* .tt>f tCttJL

'^^J>r\^J^. <v'>/<^J.



t T. E.


C.H., UTT.D.





E. H.


L. A.










D. L.










First printed 1941

Revised and reprinted 1942

Printed in Great Britain

This book professes to contain all the Greek poetry which has been recovered from papyri except (1) texts already published in other volumes of the Loeb

Classical Library, (2) texts destined for publication

volumes (e.g. the fragments of CalUmachus), fragments which are too small and broken to be either coherently translatable or in our opinion worth reprinting here for any other cause." A few texts from ostraca and parchment have been included for special reasons. The contents therefore exclude the fragments of Hesiod, Alcman, Alcaeus, BacchyUdes, Timotheus, Herodes and others Sappho, Pindar and Corinna are sparsely represented there remain (1) all the papyrus-fragments of Tragedy, (2) all of Comedy, except the greatest part of
in other





Texts of importance to the scholar but not yielding a connected sense to be worth reprinting here include among others the following Berliner Klassikertexte, V. 1, p. 67; P. Oxy. nos. 419, 676, 1823; Cat. Lit. Pap. B.M. nos. 51, 53, 57 P. Ryl. no. 1 P. Hibeh, nos. 10, 11 ; Archiv fur Papyrusforschung, iii. p. 1 ; Raccolta Lombroso, P.S.I, iii. no. 157 is omitted p. 29; P. Vindob. 29779. because I can make no sense of it ; and I have ventured to think that no useful purpose would be served by republishing the fragments of Dioscorus of Aphroditopolis. * Except the fragment commonly ascribed to Aeschylus, Carians (see H. Weir Smyth, Lx)eb Aeschylus^ vol. ii.).
: ; ;

(3) all of Mime (despite its want of poetry), a considerable number of fragments in lyric, altogether, iambic, elegiac and hexameter verse about four thousand two hundred lines of Greek poetry. The edition of these texts was originally undertaken by Mr. C. H. Roberts, Fellow of St. John's College, Oxford. Engaged in heavier labours he transferred but not before he had nearly the task to me completed a catalogue of all fragments to be taken from publications up to the summer of 1933"; this catalogue was seen and so far approved by Hunt Mr. Roberts handed to me at the same himself. time a book of notes, the result of long and ingenious labour on the Tragic and Comic fragments although I started the work again from the beginning, I derived great profit from his researches, and here express my gratitude. The reader will find that the text and translation of each piece are preceded by a short bibliography and an introductory note. I must briefly explain both these and the texts themselves. At the head of each text stands a full reference to the editio princeps, followed by abbreviated references to books, articles, reviews and notes which deal with the whole or some part or aspect of the text. These little bibliographies do not always aim at completeness; which, for such pieces as Hypsipyle and Ichneutae among others, was beyond both my power and the scope of my book. And I have of course excluded






" The editiones principes referred to in this catalogue are scattered over four dozen different books and periodicals, a few of which are almost one or two quite^unobtainable in England. I have at last had access to all except the ed. pr. of no. 129 (written in Russian, which I cannot read).


references to works (especially re\'iews) which seemed to add nothing to the subject. I hope that the bibUography often includes all that contributes to the elucidation of the text but I am unhappily certain that there must be some, and may be many, regrettable omissions. The bibliographies are often followed by introductory notes, which try very briefly to illuminate the texts against their literary and historical background, to elucidate their general meaning, to comment on divers matters of interest and importance such as authorship, style and date, and to give wherever possible often, I fear, where it was not possible the context of the fragment itself. Such notes are unusual in this series of volumes but they may be justified by the fragmentary nature of the texts, which are often difficult to understand without some preliminary exposition and explanation often enough both text and translation depended on matters which are discussed in the introductory note. In a few instances the notes do nothing more than justify readings in the text or points in the translathat this was necessary, will be admitted freely tion by those who have studied the latest fragments of Euphorion, or followed the controversy which rages around the Niohe of Aeschylus. These introductions were A^-ritten or re\ised after perusal of the works to which the bibliographies refer ; I am therefore heavily indebted to those works, however much I modify them or go beyond them. As for the texts again, I could not conform to the custom of this series, because I could rarely find a " received " text which I might adopt and reprint ; I must therefore construct my own. practice






has been to start with the editio princeps as a basis, and to embellish it with such modifications as were dictated by later research and by my own study." consequently it signifies I am not a papyrologist little that I have read many of my texts in the original papyri, the great majority of them in photographic reproductions most published, others bought and In my study of some of these texts, borrowed. especially nos. 1, 30 and 121, I had the incomparable benefit of Mr. Edgar Lobel's assistance those familiar with his standards will not need the reminder that his assistance in my study by no means implies his approval of my result. A word about supplements. I began eager to fill every gap with flawless fragments of my own comI ended with the desire too late to position remove all that is not either legible in the papyrus At the or replaceable beyond reasonable doubt. eleventh hour, indeed, I expelled handfuls of private yet far too much remains, hard though I poetry tried to print nothing which is inconsistent with spaces and traces in the papyrus, and to be guided, for the sense of my supplements, by certain or probable indications provided by the legible text. Of my translations I cannot think with any satisfaction. The insuperable difficulties of rendering Greek poetry into English are in no way mitigated




° In publishing the result, I have usually printed what I considered to be the best text hitherto produced ; footnotes then refer only to divergences from that standard. Such basic texts are denoted by asterisks in the bibliographies. Where no asterisk appears, it must be understood that for special reasons I have been unable to adopt any single text as basic ; in such cases, the authors of all supplements, etc., are named in the footnotes.


when the Greek is a disjointed fragment, often obscure and controversial, sometimes highly unpoetlcal. The only purpose which my versions can serve is to make it clear how I have understood the Greek if I have made it clear, and if I did understand it. Had my predecessors (most of them) had even this ideal, my task would have been much easier. Many of these fragments have not been translated


Since October 1939 I have been altogether unable to give either the time or the attention necessary to a proper reading of the proofs.'' But Mr. Roberts equally distracted by new duties has exercised


unceasing vigilance. And late, but not too late. Professor J. D. Beazley performed a miracle of deep and painless surgery on every page to him above all my readers owe whatever state of convalescence they may find in this volume ; they will never know




was before.
D. L. P.

October 1940
" In particular, I have been unable to take account of works which were published, or became accessible to me, while this book was being printed, e.g. Mette, Supplementum Aeschyleum, Berlin, 1939 (p. 31 =no. -20, p. 22=no. 35,

47= no. 1, p. 71= no. 2); Edmonds, nemos. 1939, 1 and Schmid, Philol. 93, 413 (=no. 40); Szantyr, Philol. 93, 287 (=no. 17); Schmidt, Phil. Woch. 59, 1939, 833; Collart, Rev. Et. Gr. 52, 1939, 222. Murray, in the introp.


duction to his Aeschylus (Oxford, 1940) gives" a clue to part of the contents of the forthcoming volume of Oxyrhynchus Papyri.

The whole of the first edition was destroyed by enemy action, and the translator has revised this

November 1941


120 .16 . 16. Aeschylus... 15. Eurypylus Sophocles. 11. . . Euripides. Stheneboea . 9.. Inachus Sophocles. 1... .. . The Searchers Euripides.. . .. 26 54 10.116 . Melanippe Captive . Scyrians Sophocles. Melanippe the Wise Euripides. 12. Sophocles. . Gathering of the Achaeans Sophocles.CONTENTS OF VOLUME PREFACE AIDS TO THE READER TRAGEDY.. .. . . Hypsipyle .. . 54 60 70 76 108 Euripides. . .....126 xi .. . . Antiope Euripides. Dictyulci . Niobe 2. Alcmeon through Corinth Euripides. Euripides. 5th AND Aeschylus... 4th .. CENTURIES 2 8 12 3. Alexander Euripides. .. . ... 14. . 4. 5.. . 6.. I PAGB V xix b.. 13..c. Pirithous .. ... . Cretans . Euripides. 20 22 7. 8.

28. Fragments 130 132 20.. Tantalus Sophocles. 29. ? ? 146 148 26. 140 ? Anonymous Anonymous Anonymous Sophocles. Niobe Sophocles. • . Omphale Anonymous ? Aeschylus.CONTENTS PAGE 17. Meleager . Euripides. Tereus Sophocles... 33. 21. 144 23. CENTURY b. Oeneus 158 Hector 160 Hecuba Oeneus. probably Odysseus the Deserter '. Anonymous Anonymous Anonymous Anonymous Anonymous Phrixus 170 172 ? : Seven against Thebes Speech of a Heroine 180 188 188 : Fragment .c. 19. Cratinus. . 24. Telephus Euripides. 36. 30. ? ? ? Euripides. Epicharmus. or Schoeneus. Gathering of the Ion. 25. Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous Phoenix ? ? ? 150 154 154 .. Alexander Euripides.• . The Plutuses . 35. Tyro Euripides. Myrmidons Anonymous ? Sophocles. or 162 ? 166 ? 32. 27. 37. 31. 136 136 Achaeans 22. 18. 194 196 38. 34. : Maxim 5th OLD COMEDY.

Menander. : Anonymous : Moschion. . Unp>opular Menander. : Fragment . : Fragments 46. 54. The Demes : AxoN\-Mous ? EuPOLis. 47. 4th and 3rd centuries b. Chaereas . 57.c. Anonymous Anon'ymous : ? ? Philiscus. Laches . Smicrines. Fragments 220 . ? Theophoroumene 256 260 260 268 56. 240 242 246 248 ? Menander. 51. 50. Fragment Anonymous Anon-ymous : Cooks Prologue 270 272 276 xiii 60. and a Fragment Heroes. 59. TiMOCLES. 226 MIDDLE COMEDY AND NEW COMEDY. Maxims Straton. 53. 48. 44. Aristophanes. Anonymous : A Philemon. Birth of Zeus 230 232 236 238 : Alexis Feast 49. 222 222 224 Anonymous Anonymous Anonymous Women Conversing . 52. 43. 58. . Fragment : .CONTENTS PAGE 39. and Icarians Menander. 55. Pherecrates. Prospaltians 42. 202 202 216 40. 61. EupoLis. Fragment . Sculptor. 41. 45. Plato. ? The Changeling Menander. Phoenicides Apollodorus.

66.. Daos. : Adulteress (? ii. I (early vi. 70.) 350 362 78. ..) iii. Sappho.) 328 75. 296 306 312 : Father. . ..318 . (early 374. . Slave . B. Demeas.. Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous : " Drunkard " for a (? ii. .d.d. 63. 61).) .) 366 LYRIC POEMS 80.CONTENTS PAGE 62. a.c. .d.) 332 334» : Lament Cock a.) (? i. 82. (? ii.. : A Quarrel (? ii. a. 67. 280 286 65. Slave : Fragments . 81. 69. . 77. . SoPHRON. B. . : Master . Book . .) . 320 320 322 72.C. Niceratus . 74. Mother.C. : Sympathetic Slave . . Anonymous. .316 . . MIME 73. 290 : Phaedimus. Fragment of a Mime (v. 79.. : Damsel in Distress (? a..) : Charition 336 . xiv . Slave Strobilus . probably Archilochus vii.. . Daughter Slave.C. a. Anonymous : Youth. b. B.-i.d. 71.C. : Numenius. Simon Youth. Anonymous : Two Prologues .... : Youth. Orestes (late vi.) . Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous Anonymous : : . 374 378 CoRiNNA. . B. 76.d. 68. .

386 386 86. 91..) . : Metamorphoses 422 96. Anonymous B.) : . B. AxoxYMOus Poetrj' : Fragments of Dithyrambic . Anon'^'mous : Late Hellenistic Anapaests 412 (? ii.) (? ii.-iv. : perhaps Bacchylides (or p>os. . 396 90. b.) (iii. Two Poems ?) .C. : Record of a Cure by Sarapis 424 Sailor's a. a.C.d.C. Attic . .c.d.c. .-iii.. B..-iv. 89.- 378 84.-iii.C. b.CONTENTS PAGE 83. Philicus.. Anonymous Hymn to Demeter Hymn to Demeter : B. Anonymous iv. a..) 94. Axonymous : Four Hellenistic Fragments 410 (? iii. B. Axow'MOUS AxoxYMOUS L}Tic dates. sibly SiMoxiDEs) (early v. AxoxYMOus Anonymous Anonymous (? iii.) ..) 93.c) : Fragments of Dithyrambic . Fragments of V. (\-i.) ? Dithyrambic Poem (iii. .-ii. . b. 428 XV .D.394 (? iv.) .d.c.. 92. 402 408 b.) 95.) : ..-i. A.C. : 382 Divers Fragments of Early Poetry (uncertain and various \i.) Scolia. B.C. 85. (? iv. Anonymous Song (? ii.) : 97. Pindar.C. B. perhaps (v.-iii. Anon"ymous Poetry (v. : A Visit to the Underworld 416 (? ii.390 88.- 87.

c. B.CONTENTS PAGE 98.c. 113. Antipater of Sidon (iii.) . Anonymous Anonymous : Epigram : (late b.c. 105.. PosEiDiPPUS Elegy on Old Age i..) (iii.) : Sailor's Song (? iii.c. . : Epigram B. Anonymous pany (iii.C..d. : Moral Fable (? ii.c. .) .) : Anonymous Philicus : Epigram on the Death of b. 109.C.d.) (? ..) (late vii.c. 99- 100.c) (iii. . Smyrneis Epicharmea. b. a..C.. (about 300 B. Leonidas.c. : Two Epigrams Elegy about a b. 102. 110..) : A Schoolboy's Recitation 432 ELEGIAC AND IAMBIC POEMS 101.) (iii.) (? iii. 470 115... Anonymous Anonymous Anonymous (iv. 430 432 ..) . 460 462 : War b. Hymn to Fortune a. b. PosEiDiPPUS...d. 107. Merry Com444 444 448 104. Poem in Praise of b. 438 438 probably by Axiopistus 103.C. .) : .. B.C.D.) : B. A.. MiMNERMUS. . Amyntas.. 111. for a . Anonymous Treatise Preface to an Astronomical (ii. 452 454 458 108. a. Anonymous Anonymous Anonymous Anonymous (iii. .-ii..) an Officer 466 466 468 112. b. i.d.. 114. a.) Anonymous Two Epigrams (iii.. Two Epigrams (iii.) 474 xvi .) : . .. Epigram . (iii. 106.

: Hero and Leander a.CONTENTS PAGE 116.) Anonymous Treatise on Metres (iii.484 . 119120. a. (? iv.486 . Panyasis. (? iii. a. 124.- B.) . .C. EuPHORiON. 126.d. 484 b.D.d.d.'' 123. a. 127.d. Anonymous ii. 530 534.) : 498 (. .) : .d.) (? i.) : 130. 134. Anonymous (iii.-ii. Men 129.-ii. .) Anonymous: Praise of Maximus (iii. b. . a.c. B. Anonymous Anonymous Anonymous Anonymous Anonymous b.d. 121. .) 512 : Sayings of the Seven Wise .514 516 128.c.) .) (? i. Anonymous: Fragment Erinna. Pancrates.d. : Georgic (? iii. . Heracles (early v.C. .d.) . . . : : .c. a. Dionysus and Lycurgus 520 526 528 A. Anonymous Praise of Theon iii. Anonymous Epitaphs for Euprepius. 506 508 : Drinking-Song a.) Anonymous ? Astyoche (? iii. Bassarica (iii. Three Fragments : (iii.c. 132. DioNYSius. 536 .) . ANO^fYMOUS date) : Moral Maxims (uncertain 476 117.) . b.d. a.' . by his Daughter (? iii.-iv. 122.c. . (uncertain date) .) 488 Old Woman's Lament Bucolic iii.) (. 133. The DistafF (iv. a. 125. b. 502 . 476 HEXAMETER POEMS 118. Antinous : (ii.) . 131.

.) : 147. A. a.) Address to the Nile (v. Anonymous Epithalamion (? iv. and Galerius 136.608 .D.- 604 .) 139140. . Anonymous Anonymous ache : Fragment (? v. iv. a.) .) 142.-iv.D. Anonymous : Persian (early War of Diocletian .D.) : . A. (iv. 602 602 : Incantation to Cure Head- (? v. 146.) Anonymous. a. a.. a. INDEX OF PROPER NAMES INDEX OF EDJTJONES PRINCIPES . A. A. Universe 544 550 552 137.D.CONTENTS PAGE 135. 138.D.. 145.) : Roman General 600 .d. 614 . perhaps Pamprepius of PanoPOLis.) 542 Anonymous (early : Creation of the iv. 560 560 588 .d.d. Anonymous (v.. Germanus Anonymous V. (iii.d.d.. 141. . : (early v.. a.) .) Anonymous Praise of a Roman General .. Anonymous Odyssey a.d.) : Praise of (early 590 : 143.) Appeal to a Victory of a Roman General 594 144. Anonymous (v.d. A. Tv^'o Poems (about 500 a. Anonymous: Epicedeion for a the University of Berytus : Professor of .. Anonymous vi.. .d.

when the fragments were composed. 77. it is to be understood that the papjTus has a paragraphus in that place or else provides an indication that one must be A restored.. conjecturally restored by modern scholars. certain or probable. Dots under letters signify that the letters are not certainly read .. Round brackets ( ) indicate the omission in the original of the letters enclosed. of course mean " the third century B.. Abbreviations of authors' names and of titles of works are chiefly those adopted by the latest edition of Liddell Scott's Lexicon any others will no doubt explain them- & . 113). 1 a. either by accident or through deliberate abbreviation (as in nos.C. where a speaker's name appears in brackets. Square brackets [ ] enclose letters which are lost in lacunae in the original papyrus. dots inside brackets represent the approximate number of missing letters. Dates in the index of contents refer to the time. the first century a.C.AIDS TO THE READER in notes = the original papyrus of the text. in full or abbreviated.d. selves readily. dash (jmragraphus) in the text or margin of the Greek denotes change of speaker ." not the third and first years of n throughout those centuries).d. . Dates at the head of each piece refer to the age of the papyrus (3 B.



C. enXavaa. Woch. our Papyrus certainly ascribed the lines to her. 57. Fritsch. p. 248 . Bulletin de la societe royale d'archeologie d' Alexandrie.AISXTAOS [2 A. di Fil. and that there Though eTToifMw^ovaa may is no reason whatever to assume. well be an incorrect reading. 62. 1. there is no reason to assume a further corruption-^to suppose that the intrusion of this J am bound to append text my word. 1933. 466. no. 117 . Neue Fragm. 1934. 8. 1933.] NIOBH Ed.g. Aisch. Heidelb. Schmid-Stahlin. d. it must have had a finite tense (first person) in the beginning of v. 1936. 29. 66. 1934 Reinhardt. See Korte. 1934. 22 . I Iamb. 72. Pickard-Cambridge. Reading enoifiio^ovaa as it does in v.. Cazzaniga. Sitzb. Lomb. Abh. Nachr. Phil. 3. 1st. Gr. Hermes. 1. the following notes in explanation of of this desperately difficult fragment. Greek Poetry and Life . Lesky. Rend. 1933. 7. pr. e. Niobe must be the speaker : at least. no. 52. Wiener Studien. 246. 1933. Philol. diss. Srhadewalflt. p. Gnomon. 25. Hermes. 68. 89.Norsa. Zimmermann.-E. Soph. 249 . 108 with Plate. 743 . 1933.D. 1934. Hermes. 229. 249 and Archiv. 233 and Sophokles. Vitelli . u. 117. 106 . 9. Republished ibid. Essays presented to Gilbert 3Iurray. 1934. Kloesel. 1934. Otherwise the Papyrus could have made no sense at all . 1935. Maas. if indeed it is intrusive. 28. Latte. Pfeiffer. 69. Gott. destroyed or at all altered the general grammar and construction of the sentence. . 1933-1934. ii. Rostagni. 1937. 1 . Miv. . 2. xi. 843. p. 1933. V. Lit.

hence his imperfect tense {which no editor accepts for our fragment) and the incompleteness of his line {which he leaves two syllables short).D. 7 in the form tskvois etroj^e toij redvTjKoaiv here I agree with Korte that the third person of the verb iii this citation is too easily explicable in other ways {see Korte. then. the arguments hitherto brought against the ascription are singularly weak : — (1) Hesychius quotes : v.] The Papyrus. loc. so far as we apprehend them. will her utterance be so calm. 8 ." (2) — or three— sitting on her children's The tone of the speech. certainly ascribed the lines to Niobe : to my mind. 238) to be a good reason for altering our fragment to suit it Hesychius is — clearly paraphrasing. not quoting . cit. so philosophical ? We must answer that we do not know the tone of the speech as a whole . Niobe has long been silent.: AESCHYLUS NIOBE and [2 A. There is nothing cogent in the assertion that the tone and of these lines. tomb : when at last she speaks. so gnomic. Hermes. are such that the Xiobe of Aeschylus could not or even probably spirit — " It is quite possible that Hesychius's citation comes from some other part of the same play repetitions of a striking metaphor within one play are a common feature of Greek : tragedy. and cannot be certain of that of our own small fragment. p.

the pronoun 6he. the question is of But the reading in that place is extremely course settled. Lesky. 448 4." allege that such a metaphor This is in a description of Niobe by herself is intolerable. with the meaning " sit on eggs. — (5) If rfjaSe in v. I say no more about it. since indeed we do not even know whether the word that line this in question refers to Niobe at all (v.fr. But the argument may be ignored by those who believe {as I do) that in the original See note text the offensive metaphor had no place at all. she is not lamenting for the cf. Niobe may possibly be weeping because of some consequence of her beauty . So dubious are the traces that the possibilities range over avaarfva^elrcu. 7. ijSe is not used in Aeschylus to denote the speaker. for example.e. 11 refers to Niobe. (G) Some scholars have objected that Niobe should not of her beauty in v. anyway a matter of opinion. in v. on V. but so far as our text goes. uncertain. If. ava(TTev[e]iv f[. avaaTei>[e]i. even be that of her children. without further qualificaBut since we do not know the meaning or reading of tion. (4) If dva(jTevd^e[Tcu is read in v. we read — tpvxvs] KoyLioTpa ttJctS' eVas iT€<f)p[aafi4vos. the objection dis- appears altogether. ivoud^ovaa.v o[. . avaoreva^of/xev. evidently." But where is the loss of lament the loss Niobe's beauty mentioned ? Not in the Papyrus. avaaTev[€]ij' 61. and Pearson's note on Soph. Indeed the beauty may loss or destruction of it.. As few scholars make use of this argument. Parthenius 33 ek epiv d^iKO^evi^v A-qrot TTepl KoXXiTfKvlas. ad loc. —in one version.) argument must be dismissed. 8 : it is an" intolerable lapse into sentimentality " for Niobe to regret the passing of her " poor vanished beauty. 1. which had proved fatal to them.— LITERARY PAPYRI would not have spoken thus. avaoreva^olfiai. (3) Some of those who read etno^ei. the reference should normally {in Aeschylus) be made about Niobe by another person. not by herself : i. 7.

it 1 line 15. and now I only mourn Tantalus. lieTaKXaiofxai Hec. Well may Niobe.AESCHYLUS of the children was an essential element in the However that may be. fieTaarevofuu Med. that she does nothing but mourn her father {or. the first editors called and a middle Med. but the consequences of it. {or dvaorevd^eTOi) there is the considerable objection that the middle form is being specially invented for this passage. nothing to show that it is not a passive. She must have mourned her children the beauty story. having mourned her children. who will be heart-broken when he learns these events. And we must already accept sufficient oddities in this mysterious piece without creating more. I agree with Lesky in his supposition that Tantalus does not No — — know what has happened : he is coming in the hope offinding a happy daughter and grandchildren he will find the one in mourning and the others buried." The conclusion of thefirst line cannot To dvaareva^otiai be restored with certainty {see above). it is certain that Niobe's pride in her own beauty was an important factor {Ovid. 1-4. having — abundantly lamented her children s fate. Niobe cannot say. is read. Vv. turns for a moment at the end of her speech to consideration of her father. cit. vi. 2. For instance Sovra in v.fr. doubt the preceding lines made vv. Haifa dozen apparent parallels can be quoted . mourns nobody but her father). In Soph. ed. but it is not certain that these are adequate parallels for a verb in -d^to. It seems to equal eVSoWo. iarevaCero but there is . — first. Metam. 996. exclaim on the eve of Tantalus's arrival " Long have I mourned my children. who will be distraught through this calamity. Eurypylus. .. pr.g. We may quote such rarities as orevo/xat Eur. 1-4 easily intelligible Niobe. ISl and Lesky. loc. 288) the context assists the meaning of Sovvai greatly. but {as Schadewaldt observes) in all of them (e. Ba. 214 . 2) : so Niobe may be weeping not the destruction of her beauty. 5 col. 1372. without some qualificatton. p.

the easier reading eiroifiwCovaa was later substituted {for such there. the — especially of the fiev and 8e. 1. We — alterations in the text of Aeschylus. 2-4 I construe : piov 6 (t>ol^os t6v TdvToXov i^coKeiXe. And the difficulty itself may not seem very great. call it " an absolutely certain supplement " is uncritical. e-rrw^e. here seems to be this and it meant " crying u)d. Read e. Vv. read iir- and mistakenly interpreted it as e-mKadTrmevT) toIs The great objection to giving these lines to Chorus is that this device does not remove the difficulty tvhich prompted it the apparent awkwardness of connexion. 5. do not after all know exactly how many days Niobe sat {Unless we require no more evidence than a variant reading in a Life of Aeschylus. 7-8. — to rovm- partly because the sense is more powerful and explicit.e. 6.ovaa COIOIS. To V. mourning.g." i. 66). meantime I will tell you the origin of these sufferings which you have just observed. The sources of Hesychius. Then comes a move forward to another theme " Tantalus will soon be here . TpiToijov is highly praised. For this. In vv. who paraphrases oidt. 10. and may be correct. e. of the gnome which rounds and attitude {vv. The most reasonable solution of the difficulties the original reading was eVwa^oycra. and the piece runs smoothly enough. 10-13. especially if the supplement (jmttjv is removed from v." V. 9 is the description of Niobe' s present sufferings . v. Tovm[T]epfjiiov is the likelier But reading of the Papyrus. avdis in its place. Quintilian x. 1-8). V. [T]epfiiov Toi5m[T]«/i'oi' would be preferable here if only it were the likelier reading partly to avoid yet another peculiarity {the use of to emrepfiLov as a noun).g.) Vv.: : LITERARY PAPYRI —whereas here lines assisted it does not so {though possibly the preceding els otov it).

7re^a[.'» rrjaSe Kcti iTe^p[acrfi. 12. we read that oAA' ol iiev is " certainly too long. should be read. And it is equally possible that some case of KaXXia[Tos should be read. Or. despite the evidence of I know of no evidence for the connexion of the two passages.evos is not very good. I "fits the space. V. eV dy)jico/itcrTpa rrjah^ (. not fj. the repetition offensive . not despite the adjacent eu irpdaaovres but because of it. 21.ai). e. V. And even if this were not so. ^rjTwvy] KoynoTpa Tre<^p[. fi7jvi.g. though it would be one more oddness introduced into the text. For the beginning of this.v Tiva.€vos (from <f>aivo[j. to avoid producing a line without a caesura. TT€<f>paap. V. if the reference is to the beauty of the children. such a line as (e. if iTe<f>p[ is despite ed.g..rjviv riva.evos " certain " here. ' Aesch. pr. .'> It is by no means certain that T-ijabe could not be used by Xiobe with reference to herself. 20. I would read (e. not is the reading at the end according to ed. 19." it is agree with those who find better . <f)paadTJvai. The end of this line is mysterious. '' — — ipvxfjs^ KOfjuarpa Trjah' e'/cay 7T€({>p[aan€vos.€vos' : n . [oA/Sou would be found. At the end. 438 N. Lobel advises me that Ka^Xla[T€v^la(Tl is at least as probable as the singular." but {in the same breath) aXX' ol yap I imagine that this is a mere oversight of course impossible to estimate differences so nicely in this Papyrus. . koi iT€<f>a[aixfvcov (from *<f>€vw) is no better .evcov is required. twv 7Te<f>aaiJ.av napeaKevaofievos eij to Ata^vAoj this is said to make rTe<f>p[aap. 11. [evnpa^iav is warmly praised by some.dvoi.g.Kas TTe4>a[ay. pr. possible fr. TrpoaeKTiKrjv exoiv 8t. Rather than endure either of these. xdpiv but the mot juste remains to be V. and we have already tolerated or introduced sufficient oddnesses. AESCHYLUS V.

: LITERARY PAPYRI vvv] ovSev el ^r) Trarrip ava<TTev[ Tov] hovra Kai (f>vaavTa TavrdXov ^[lav els ol]ov i^cvKciXev dXifxevov jStov Ooi/SJos" KaKov yap Trveu/za 7rpocr^[aAAe]t S6[jj. 1933. corr. 247 . ii. p. ov ydp eare Sva(f)pove[<. 10 ay^t?] fiev rj^et Sevpo TavrdXov /St'a ] KopLiuTpa rfjaSe /cat 7Te(f)a[ Ooi^os'] 8e jJLTJviv riva (f)epa>v ^AfX(f)iovi 7Tp6ppi\t. Wolff. p. pr. 3 end Latte.] ATKTYOYAKOI Ed. dvaareveiv exto. [2 A. OL S at€v] ev TTpdaaovre's ovrror -^Xmoav 20 TTLTTrovjre^ eK)(elv tjv e)(ova[ KavTT] y]a/) i^apOelaa KaXXtal 1 e. 29.oig. P. no. Immisch. /xev air Lav ^vei ^[porois 15 orav Ka^Kwaai ScD/xa TTafnn^Srjlv deXrjr y^prj jxr] recxis S]e Ovrjrov ovra oX^ov TTJeptareXXovra rov e\_K Oecov 6paavcrroiJi[elv. 8 . from Hesychius 2 Ed. p. pr.g. Bulletin de la societe royale d^archeologie d'Alexandrie. 1934. 5 Schadewaldt.. fir] jSpoTo]? KaKcodels 8' ovSev a'AA' el oKid. iyd) 7Tp]6s vjxds. dvaaTevdlofMai. 4 Beginning D.D. Kloesel. L. 66. ibid. Schadewaldt. avTai] S' oplre rov7n[r]€pfxiov ydfiov Jj/Jiap 6 rpiTatJop" tofS' icfirjuevr] rd(f)OV T€Kv]oLS €TTii)dt. no. eTToifj-co^ovcra 11. *Vitelli-Norsa.OVGa TOLS TedvTjKOCnV €KXa]vaa T'qv rdXaivav evfiopcfiov (pvi^v.ov alKcos e^e(j>vXXaaev yev\os. 28. 7 Texvois from Hesychius 6 E. Xe^co"] deo. Melanges Bidez.. 115 with Plate. 1934.

the anger of Phoebus against Amphion. d'Egypte. oX^ov Latte. . Goossens. 19. . L. moaning above my children dead.D. 1935. . 19 Lesky. ii. For see. Strong Tantalus will presently come hither.. 17 reios 17-18 €K Oewv ed. God first creates a fault in man. Now . DICTYULCI [2 A. pr. Vitelli-Norsa. nothing else. I will expound to you you are not enemies. exultant in the beautv . 120. 267 and Archiv. 1209. xi. I mourn the misfortune of their beauty. 20 Lobel. D. -/xa<7i Lobel : or some form of KoAAtoros. Chron. 21 JcoAAMrrev/iaTt ed. p. xi. So now. marriage been driven aground by Phoebus : . . wherefore he has destroyed his house \nth outrage. Tantalus. root and branch. Hermes.is a shadow. — is minded utterly to ruin his estate. 68. 9 . when He to such a life without a . Fritsch. D. Man brought to miser}. 1935.] See Korte. 1933.. 10 11 Perhaps eirl dY]K6fjuorpa TijaB' e/cds ne<f>a[ofievos. They whose turn it is to prosper never think that they shall stumble and spill forth the (welfare) of to-day. L. P. or ^i^f^] Kopuxrrpa rrjob' eVd? iT€(f>p[aanei-os. I only mourn my father. 380 a. strong who begot me and gave me forth in haven has he the high winds of calamity assault our house. 15-16 From Plato. Papiri Greet e Latini. 9 Eduard Fraenkel. pr. 249 . 8 Lobel. no. I too. Resp. (tiTcoU).AESCHYLUS NioBE. 1935. P. and guard his lips from insolence. pr. Your own eves behold my wedding's end three days already sitting here upon the tomb. Man must attend meantime to the good fortune that God gives him. 13-15 Ed. 97 .

1. 2. Gr. [€]yx(J^pt'OS. L.pvru)v edvos. p. 57. 1936. Pfeiffer. p. 541.[ toS' elvai. ^AeVco. Aisch. vii. 11 End D. Soph. et 7TOV [ [ daXdaoT)? [ai. ^VV7]Ka' [ [ai.LITERARY PAPYRI Neue Fragm. olov roSe [Sjdjpov daXdaaf]? TripL-neT [eATTtSo? rrepa. Lit. Sitzb.] darrjiJLa' Xelos 7t6v[to5 rot^Se TrXrjaLOV.Ti (f)a) iroTepa [ttovtlov repas. P.] SepKov vvv is Kev[dpict)va Kal Srj SeSopKa rcjiSerl ea. 1934. 3 Zimmermann. Fragment of the prologue of a Satyric drama. diss. 10 . L. 5 [ai. Bayer.T]ai 8' cSare 8ayvo. Danae and Perseus arrive at the shore of Seriphus enclosed in a chest. [ti] CTOt daXdacrqs Slktvov 8[djpov areyet.7T\dvTes yecxjpyol [^OTT^p T]e TTOLpL-qv [7rapaA]ot re T Sevre Ka/x7reAocr/ca^ot. ivypaatv 15 \lov. [? AiKTTs] ^vvrJK[as. [7r]e^u/<:[ta.. 10 dva^ ndcreiSov Zeu t' €vd[Xi' . Schmid-Stahlin. 6 TovSe TrXrjoiov D. ToSe D. P. . e'i rig ear KaXXo [rrdv dXLr^. 12 Schadewaldt. 1938. [dypas [i^/Lttv jSapetas. 7. L. P. Woch.rrjah'] ivavricordrrjs ^vvdTTrecrd*] 20 10 olov 9 Kfj[Tos Lobel. Phil. 262 . d.] Ti aoL (f)vXdaGii). u. Hamb. Akad. ^vyaLvav ^ k:7j[tos". (f>dXaLvav rj i (Here follow fragments of two ]eorTt lines) [Kal 8r) p]or]v larrjpi roZah^ rovpyov ov X^P^^ Trpoaco. 2.

occurs in fr. . and Goossens simultaneously 16 lov Kapa TXavKov. P. Hallo hue and cry Herdsmen and shepherds. . Good Lord. 8<u'/M)[vos end ? 13 Beginning D. Beazley (extra met rum. : 11 .» ? Dicrvs. this one near me. L.. Dictys. the job's not getting on. What are you asking me to watch In case . . 16 sqq. the Chorus of fishermen is summoned to help bring the heavy load to shore. lines) I'll .. : ! I Listen. . anyone in all of you Coastfolk and all you other seadogs the place Help us take hold of this catch. All right. . Hesp. ? . Look now at this hollow. . of the sea. cf. . 8). what are we to call this ? A seamonster ? A grampus. like ea v. or a shark. pr. b 2.. Plato. or a whale ? Poseidon and Zeus of Ocean. Dictys teas the name of the fisherman who found the chest). . icho is one of the speakers in our fragment (the word Aiicrw. raise a Farmers and ditchers. I'm looking. 17-20 Pfeiffer. it's heavy and it ! ! pulls against us. . tico ? Dictys. You understand I understand. . . probably Hyginus 63. . . .— AESCHYLUS : They are caught in the fishing-net of Dictys.. In vv. 611 d. Not a sign the sea's a millpond. . here. . . . . . 3 a proper name. DiCTiS. ed. I . . a fine gift to send up from the sea to unsuspecting mortals (Tragically) What gift of Ocean does your net conceal ? Covered ^nth seaweed like . (Here follon' fragments of tno .

2. 1913. who in return guided the Greek fleet to Troy. iii. F. : was called early in the play . who had been advised by Apollo that his painful wound could be healed by none but its author. filr Volksaufklarimg. Pap. 22. 144 N. . 1938. v. v. There were obstacles to be overcome . Wecklein. 13 Diehl.] AXAII2N ' 2YAA0r02 Schubart-Wilamowitz. Plate 30b. Bull. but in the end Achilles healed Telephus. Journ. 1907. 1909. 2. Ed. Achilles wounded Telephus. p. 78 . Berliner Klassikertexte. where they prepared a second expedition against Troy. 523 Fromhold-Treu. The following to Heracles in Arcadia) Teuthras as king of Mysia.P. New Chapters. p. where the Greeks landed by accident (having lost their way) while sailing During a conflict between Greeks and against Troy. Webster. N. d. Hermes. Mysians. Minist. Korte.T. 12 .: SOOOKAHS [2 A. Pickard-Cambridge. Rylands Library. pr. came to the Greek army at Argos in search of Achilles. 69. Sitzb. Fragments of Sophocles. . Graec. Now Telephus. . Suppl. . Miinchn. See *Pearson. The Greeks departing from Mysia were scattered by a tempest : and reassembled in Argos. 94 . 29 Srebrny. 48. and it probably transpired was based succeeded of — Telephus {born by Auge is the outline the legend on which this play — — that Achilles was absent.S. Plate III. p. Text xxiv. i. 565 .D. . Of the course of Sophocles' play we know a roll of the assembled Achaeans (1) Fromfr. Soph. 64. 1913. Hunt. 333. Archiv. Akad. 543 Schubart. Berol. 1934.

Achilles enters. Why is he expected to prove an ? And especially.: SOPHOCLES GATHERING OF THE ACH. The sequel can only be inferred from the legend : Achilles was persuaded to heal Telephus with rust from the spear which wounded him. eager to be treated by Achilles. 3) has just left the scene. Telephus {addressed in the vocative case. It is likely that he offers his services as guide in return/or reconciliation with Achilles. It is clearly expected that Achilles will prove difficult.] (2) Prom our fragment and from the story as a whole Telephus arrives. It remains therefore only to persuade Achilles to heal Telephus and to accept him as guide : this is to be done through the mediation of Odysseus. and to consent to hit appointment as guide. or he has already appointed some other obstacle once ? 13 . This offer the Greeks decline. how is it that he expects to sail at Either he does not know {or does not consider) that a guide is necessary .D. and is waylaid by Odysseus. So much is clear enough : but I do not understand the part which Achilles played. In our fragment. having been accepted as guide for the fleet. portrayed as a diplomatic go-between. which prepares to sail presently. and his offer is accepted.\EANS [2 A. V. perhaps because — they think that Telephus is a foreigner {possibly an oracle had said " no foreigner shall be your guide ")• It then appears that Telephus is after all a Greek by parentage .

c5 vaX UrjXecog.y]a> fxev d>? 20 'q[K]a). 7Tap€8pev[o)v] TTpa){i)pa\y\ av T€ 7T[rjdi]aXLa)i <^paae{LS Tchi] Kara evdv9 'I[Ato]y TTopov 'ATpet[Sai' V\hiadaL. oj)[. 15 d/crat? y' ecrrt KcoTT-qprjs arparos. Kal ttXcv- CT[o/uat] [to. dewv 10 Kal TTefXTTTrjp^ aXiCov ipeTjJioJv. ttov 'ctti avXXoyos (j)iXcov. ov ixrjv l-n ev BeovTL 8' -^XOeg. dAA' avriKa' arrevSeLV yap iv KatpwL xP^^v.ris 'EAAct?. p'qaeis ^' eKaaros pivpias Kadrjixevos Aeyei. 'OSucrcrey. to 8' epyov [ov]^ap. tJcjv 'ArpeiSdlv ov /u. Mucrta. In the second alternative. ov XPW 'f]<^vx^^ Keludai 77[d]Sa. AX. 14 . how could he explain his failure on the occasion of the first expedition ?).LITERARY PAPYRI guide.!(]t rjfJ-Tv. TCtS'' AX. /c[a. alei TTOT ecrre vayx'^Xei? Kal fxeXXere. ovT* ovv oTrXlrrjg e'^erd^erat Trapwv. 5 ak yap Te\y]e5.] rj v6r[ov rj] ^€(f>vp[o]LO hiva 7T€fx[i/jei. OA. 6pd[T]€ hpdv €TOLp. it is impossible (only for want of evidence) to identify the guide upon whom his choice had fallen {it could hardly be himself : if he was a sufficient pilot. riKrei Srj vavrav avv rcvi. T]pcoLdSas aKrag. AX1AAf[t2] /xcuv /cat av Kaivog TTOVTiag a-no ^(Oovos TjKeis. OA. So/cet arpaTeveiv koI fxeXei rots iv reXei TL fxeXXer' .os (vv arparos re M[vp]piSa}v. and therefore knows the disadvantage of sailing without a guide. [xo.ov TTopeverai.eVa»r] pLeXX-qfiara. The first alternative is possible but unlikely : he was a member of the previous expedition.

I. shall show the sailor at the prow. Man's haste should be as the time requires. Ctes. 24 Suppl. L. for him to see. and the work progresses nowhere Myself. 324). plays were . ibid. 3. seated at the speed us to the shores of Troy rudder. It is resolved. P. not Mysia brought you to the light to be our sailor. : ! ! . trim. (2) /i^w/x* 'ArpeiSdv. AcHiLL. It shall be presently. Petr. Ever idle and delaying Each one of you sits and makes a thousand speeches. but lately come AcHiLL.. Aeschin.A. the comOdyss. 818. p. as you see. .. Son of Peleus you are come in the hour of need. AcHiLL. nor of soldiers present to answer the call. am here and ready for action. I and my army of Myrmidons I shall sail without waiting for the Atridae's tardiness. The land of Tegea Hellas. You too.-c/.— SOPHOCLES This play (produced sometime be/ore Euripides' Telephus 438 B. .\leadae (see Fromhold-Treu. Yet I see no bands of oarsmen on the beach. the inscription from Aexone or Halae Aexonides including the sentence llo<f>oKXT}s eSi'Saa/cc TijAcin — — The first tu:o 4xiav . 1). r. Odysseus \Miere are our comrades from your island home gathered ? Why are you all delaying ? This is no time to rest our feet at ease. surely by the favour of a god.' . liO comes from our play. a smft x^ind from south or west shall you. — ! . § 72 : for the form 'ArpctSav in iamb. the army sails manders attend to it.. i. 326) and Mysians (ibid.. p. cit. loc. 329). p. a passage for the sons of Atreus straight to lUum. Odyss. Chorus. 15 . and escort of our oars over the sea. Froinhold-Treu.C.) was the third 0/ Sophocles' trilogy on the subject 0/ Telephus (see esp. P. It is possible that the anonymous fragment on p.

Gr. Reinhardt. [a2T. 519). Korte. Plates pr.] StVa. : may 16 . 235.] dAA' chs rd-)(Lar dpLara. [xo. i. Aegyptus. 86. cit. Poet. 146 . xi. for a line ending )(]aXK€wi' onXcov not be unique but the coincidence is striking. n. Sophokles. Soph. no. [e]jU. Et. 21 Brizi. Grenfell-Hunt. 82 .€. 5. III. " It is not proved.LITERARY PAPYRI [2 A. p. v. vai. ported by the style of the fragments. 1927. ira 10. p. p. 3 (and literature. iii. 86-87). and by the relation to the ofH Ichneutae papyrus {see ed. Milne. cf.) with a fragment attributed to Sophocles {on a theme evidently the same as that of our fragments) by The attribution is supPlutarch. i. iii. pp. . That Sophocles wrote a play entitled Eurypylus is not certain. of Soph. Cat. Fragm. Priam mourns the son of Telephus. 1175. P. 9 {ed. [a2T.] . The authorship of Sophocles is suggested" by the coincidence offr. w. .. Weil. De cohib. New Chapters. 1912. P. pr. Pickard-Cambridge.M.e. but had already been the lines themselves that the play the death inferred by Tyrwhitt from Plutarch.] eTTtCTTTacrei StVa p. 6. It is clear from was concerned with of Eurypylus (cf. ix. pr.] dyxov avpeL 7Tpo(J€i7Tag. Rev. p.) . 8. 23. €7T€l KTrjcricov (f)p€vcbv efe'Sus". Archiv. i. Od. Pap.] cS haljjiov cL SvaBaLjJLov t5 Ketpas [xo. Diehl. See *Pearson. Eurypylus) who was slain in a duel with Neoptolemus {Homer. IV. ibid. 458 d. Lit. 563. 1459 b The story on which . 26-28.. 3. 1913. loc. 343 : a play with that title is mentioned by Aristotle.€. Oxy.D.] EYPYnYA02 Ed. no. [a2T. Suppl. p. St) ov yap cktos earajs (f)up8av. 66 . this play was based was probably as [xo.

Astyoche laments the death of her son in There follows immediately the concluding portion of a Messenger's speech. Face to face you speak to him. that she and her sisters were among the women taken captive after the fall of Troy (Tzetz. separated by a short dialogue between Astyoche and the Chorus. probably in front of Priam's palace . — In our fragments. . he draws and drags you. Justice. I c 17 . aye Astyoche. given to Laomedon (or Tros) in compensation for the rape of Ganymede . Priam himself was probably one of the actors . relating the sequel of the death of Eurypylus. Justice will catch me Chorus. cit. .) Chorus. Neoptolemus was certainly the duel of Eurypylus and Xeoptolemus. Soonest is best ! ! vol. 1075). In the first part of his divided speech. destroyer ! Chorus. O sphit. hoping thus to persuade her to send her son forth to fight against the Greeks at Troy. Lycophr. The presence of the Mysian queen at Troy is less surprising since we know dialogue with the Chorus.D.] Priam sent to his sister Astyoche {irife of Telephtts and mother of Eurypylus) a golden vine. and he performed many heroic deeds before he was slain in a duel by Xeoptolemus. O my .: ! SOPHOCLES EURYPYLUS follows [2 A. Astyoche. 921. now that you have wandered from your proper wits. The further course of the play is unknown. O spirit of sorrow. he stands not far away. She sent him . loc. Beyond this all is of the action is Troy. {See Brizi. but probably included lamentation and preparation for the burial of Eurypylus. Evidently this 'AyyeAi'a was strangely divided into two parts. the scene not. Astyoche. . the Messenger narrated uncertain.

rj KOLfi^e^daL tov [v]e/<rp6v e? 77/36? yeXcor [Arr. IT.LITERARY PAPYRI [xo. vv. 6 S' api(j)l TrXevpatg /cat a<j)ayalGi [«:]ei/x6VO? €^avh[6j]v enr] 25 77aT[')^/3] pikv ov.)(OiV YlpL[ap.e]vos. 17 to fill corr.eVot 15 veKpol Tv[T]d6v [aJAA-rjAcov a77o. Tt Xe^ofxev. (^ra^.^at[a>v Si? T\6a'rf(y rjLKi(Tfj. TOV ovT€ MyCTOV ouTC TT^Ae^oy [/ca]Aa)r. TOV [77]at8a Kal yepovTa /cat vear[ta]v. o Se [to] 77av [a]cr[x')7e/<:eiv[T]o ^J^vpaiv 'A.] oj)/c €-)^o]vres a[8/>]6v 'Apyetot ^tat.!^av[e]rv.] Tt? ovxl rovfxov iv [xo.] Si'/cat jSaAet Kapa. Roberts. 5-6. [a5T.t.os] CKXaie 3( ^pv^iv p.] eVTi (^T^ao/xev. (Fragme7iis of twelve lines) \ro\Lavra iToXX(x)\y Xvypo\v ipp\o]deL arojxa' [77]oAAt7 Se aivhcov [77oA]Aa S' 'lCTT|o[t]aviSa)v 20 V(j)rj yvvaiKcbv di'S[p6]? eppnTr\(x\l. 18 22 Supplied ^. n.] [a2T.€ro {yepag davovros. aAA' ct»? (f)VT€vaa? avTos eKKaXovfilev^os' otfJiOL T€KVOV TTpOvSaJKOL O iaXO-T7][v €. roaovrov rjXdov coar e77ey. . €7761 77aAaicrjU. ota Trpoae(f}€pov Opuye?) veKpchi StSovTe? o[i)S]ei^ (1>^€X[o\vix€V(x}L.eyLaTrjv (t') eATrtScut' (ja)T[r]pLa]v. 12 km S[-]KriT6s- by Pearson. a presumed lacuna of one line in IT. TTarpcbia S tov tckvcov ofiaifiova. 6 fiev S[a]K7} Toa . Xpovov ^evcodels ov fxaKpov 77[oA]Aa»i' Kaxwv 11 ov SiKM Be^aai IT. rwi /<:a[«:]a>i 10 haifxcjv eKetpev iv 8t/cai CT€ SatfjLcov.a KOiv[6]r ')7yct>vt[cr]//. cf.

prostrate about his wounded body. (Fragments of twelve lines) So rose the moui^ful clamour from many lips. A spirit has destroyed you it is just — — AsTYOCHE.a . yet manifold the sorrow whose memory And many a "^ : — : — I ! " For this (doubtful) loc. to crown this evil ? " Messenger. the other all shamefully — . — 32 The last word in this line is preserved in a small scrap of papyrus published in P. * Pearson ad earlier victims. and many that Istrian women weave were thrown upon him (in honour of his death. (2081 b 2). Oxy. combined the son. best qualities of different ages rendering of these difficult lines. if he head ? Chorus. warrior and counsellor. not father he. . Whose hand were unrighteous. SOPHOCLES Chorus.e. ! What shall we say. no child of Telephus. And Priam. . what shall we AsTYOCHE. do the Argives loudly mock his corpse.' Alas say ? shall smite this spirit. see Those of I'urypylus and one of his " i. but his own son. linen robe. yet with a father's words bewept the kinsman of his sons calling him boy and man and elder no Mysian. so did he invoke his name " O my son. E. such garments as the Phrvgians brought) and gave unto the corpse that had no benefit of them. as to mock him with insult. disfigured twice as much by Achaean swords. 19 . Are they trampling him with violence. whom I have betrayed though in you I found the last and greatest salvation of my hopes for Phrygia Not many days our guest. see Pearson. The dead had fought the common strife their bodies* lay just apart one from the other one with but a few wounds. xvii. Not so far they went.

'^^'^^ ovs XPV (b) VH-^p] X^'-P'' '^V^ SvarXriiJiovi 7To\paVV€LV ^LOV. coincides with part of this fragment) Pearson.LITERARY PAPYRI livTj^riv Trape^eis rols A[eAetjLt/xev]oi*S'''Arpea)?. Phil. TTOVTOvavrai rcov Takanroipoiv ^porcov] vei/Lteiev olg ovT€ Saifnov ovre rt? dvrjrojv ye'jucov] ttXovtov ttot' av a^iav . p. . pr.(^ovos" dvhpa ^aXKOjhov\ra . 1936. irXoioig 'A. Oxy. xvii.] 2KYPI0I Ed. 48 . *Pfeiffer. 191 Fritsch. ocr' TT[ev\6ri 7T\ori<j\a\s /cJatVep alxlfi-qrcbv ovT€ Me/xv[a>]f ovre HalpTr-qScov TTore aKpot 36 5 [c.] XeTTTols eVt poTToiGLV ifjiTToXa? fx]aKpas del TrapappLTTTOvre?] ol 7ToXv(f)6[opoL J) 5 ^acoaav aKepSavjav rj SicoXeaav.(aiajv /cat [cwco/xoTTyt 10 arpara)f wv evXa^eias ovveK irpos d\y ddaaov rroha ig KaOetfiev eK rrja{h^) dpL^lLKvpLOVO? . Fragm. P. Zimmermann. observing that fr. of Soph.(x}] re Kdnaiva) ^porovs. 200 A. Philol. The course of the action (a) 7^ is highly uncertain. d. u. . 1932. 1927. 57. Archiv. HamE. Soph.. )(Qov6<s. 747. 511 N.^aptv. urg. 88. x. 1933. See Korte. Aisch. vaiovrd ttov K€vdfiu)v[as EujSotSo? 20 . 44 . TrarpaJiov ^evov. Hunt. KVfxa ttXtjOvov ^Xcttcjo vvv irdv. 1 (he first identified the play. In general. Neue Fragm. no. ofMcos 8e davpLdt. (Fragments of nine lines) elev ri h\^pdaco. ii. 2077. 30. Woch. diss. Kard^\eLV S' avriK eXiTL^ovaL vlv.D.

200 a. L. hoping to carry him home without delay for guard against them. whether they save or lose their profit.] of Neoptolemus to Troy from Odysseus and Phoenix were perhaps the Greek envoys. in the Nauck fr. P. L. Pearson. . Chalcodon. though foremost of fighters. the seas Well now on every side abound with Greek vessels and confederate army. 8 P.SOPHOCLES •will bequeath to those whom War has left : causing such lamentations as never Memnon nor Sarpedon. SCYRIANS the play dealt with the bringing [c. Perhaps there wa^ a plot contrived by Lycomedes and Deidameia to frustrate their designs upon Achilles' son. l-6 2 Beoiv viyMv text Meineke. 511. you . after Korte t^ctS* Fritsch. 21 . = corrupt: L. L.. loc. amid disasters. . (av /SoStjv TToSa). cit. Pfeiffer. ! . his father's : friend. Yet I revere and praise him whose long-suffering hands must pro\-ide a livelihood from day to day. after Korte (irarptKov ^evov). 7 D. Truly tals are mariners counted among unhappy mor!^to whom neither god nor man however full of Too slender riches can ever give their due reward the chance whereon they ever risk their distant enterprise. let us begone with all speed from this sea-girt land to a man. 13 D. . P. P. 14 Pfeiffer : ttJs II.d. Scyros. 16 Hunt. who dwells somewhere mss. . See further Pfeiffer. 15 D. (fragments of nine : lines') what must I do r Behold. fUhoiv Pfeiffer: 10-12 D.

d. iii. p. ttjv [ . 252 Schmidt. 2. 1936. Archiv.g. [The quarrel between Hermes and Inachus certainly occurred early in the play. 253) : but Pfeiffer has shown it to be probable. p. Fragments of 11 too small for inclusion here reveal the new words 'nop-na(j>6pos (" wearing a brooch "). Plate I. (a) I departs with his mission unaccomplished. i. The ascription of thin text to Sophocles is not absolutely certain {see Korte. See Korte. but threatening to return : the Chorus is summoned to form an additional protection for lo. no. a]ra9nov. tliough I have not followed Pfeiffer's text in all details). Tehtiinis Pnprjri. loho has been transformed into a cow and is guarded by Argus. 57-59). 23 (to this I am especially indebted. 1. the Argolis. 33. ]atv j3oa)[r . Sitzb. Hamb. Akad. Fragm. p. Pfiil. 6'J2. in the course of his commentary (e. 1935. Ed. Woch.: LITERARY PAPYRI Karrjy^ dvrjye 6^ avros og y[ [2 B. whose Inachus is obdurate : Hermes refusal leads to a quarrel. 1938. Neue Fragm.C. to make the following inferences about Satyr ic play — the course a certain extent) of the action of Zeus sent Hermes to procure for him To. From this this text I (following Pfeiffer. of Soph. See further Pearson. 56. 3. (a) bcloic is preceded by fragments which ] reveal cnjpiyyo[s it is Se kXvoj. Bayer. Hiint-Smyly. xi. 1934. .] INAXOS 2ATYPIK02 . p. 197. olt^oixai (" lament ").. The scene of the action of Sophocles' Inachus was probably Fr. hence cattle- likely that the speakers are near or among the herds of Inachus. Aisch. pr. 1302. *Pfeiffer. diss. 1933. u. Hermes demands her surrender from Inachus {father of 16). Pfeiffer. pp. Soph.] 22 . Fritsch. 46-47.

and the Chorus says " you will fail again " . The play may have ended with the departure of lo on her travels . 22 a!). which elude the Chorus and myriad eyes of Argus. If the voyage still one brouffht him hither and took him . and the liberation of lo {Iris certainly appeared and conversed with Hermes : perhaps she u-as a messenger of peace. Pfeiffer (p. who is not yet invisible. SOPHOCLES glens of Euboea. I have placed it before the others. 23 . (2) Hermes enters invisible. or with a reconciliation between Zeus and Hera. The position offr. We have two scenes. both this observation of the Chorus. because the sequence of events seems to demand it. but confident that Hermes will fail They tell him. . .C. wearing the : renders him invisible the thus he may Cap of Hades.] Hermes returns. — — and explain. the same . . Pfeiffer. he will try in vain a second time the first failure was of course his earlier dismissal by Inachus {cf. the I agree with latter. 5o) in rejecting the common inference from fr. The Chorus is alarmed. and the again. (b) and (c) come from consecutive columns.. and clearly comes in vain. home . — — change from visibility to invisibility from direct to deceitful methods suggest to me that the former scene must precede. Frs. V. (a) is quite uncertain . p. The further course of the action is quite uncertain : except that Hermes succeeded in disposing of Argus. 279 {Pearson) that the transformation of lo into a cow actually occurred in the course of this play. INACHUS (b) [2 B. (1) A quarrel between Hermes and Inachus : Hermes. clearly comes with a command from Zeus. whom he : will lull to slumber with the music of a shepherd's pipe he enters playing the pipe. 56).

ct' [xo. r'] avrov ovra dvearpei/jev rrdSa* aurov o? jjloi Sevp* [xo. nporepcov edd.aA' [xo..(. : 2-4 Beginnings D.' oiJv epcorcov ci[yy]€- [xo. : 6 TrporepaJv Korte. €l[K]daat { ) 7T[p6]s TO. Zeu.iav<j)OV. CTCt irdpeoTLV 'F. a'] * AiSoKVveas (TKOTOV d{^)porov vvaL 10 Tov Ato? /Lte. yevos. Adycav /ca/cd? et Triareoj'S' deo^Xa^[ /u. a'] Setrrepovs ttovovs 'doiKas irplv [xv- aai Kcvovs iXdv. b'] Xov. rov [xo.fxr] Xe^rjtg rrXeco. [epmhs Sis ovTos ou] TTapeuTLV ^IvdxoJi X6y[os. [xopo2 sattphn] ttoXv TToXvSplSas oTt? oSe TTpoTepwv ovop.] ifjtdupdv atoAa[v. 15 eis may be aporov 11. pLavia TctSe KAuetv.pfJi7Jv iliO(j>ripiaTa. > {b) €v ere dpoel. 20 djs [to ll.-)7 oui^. 24 . [1NAX02 Aio? 7T€(f>VK(hs] oXiyov Icrxv^i-S o/Lt[a>S'. fieyav rpoxiv. to Alov. Pfeiffer dialogue between H. P. LITERARY PAPYRI (a) [epmh2 ] ravra. rj pa Tdx^i Atds" av. Trdvra pLrj^oLvdi. x[0P02] coT^- e{l)aopdi's fei? TOP' arof ttoS' ex^iv. and I. Aid? dpa Aarpt? dSe. 15 ay yap St' (c) a. 9 dPpoTov Frifc^ch. recognized by Pfeiifer. L. [1NAX02 aAA' au^ts etjTTOv T^-qvos ald^ai AaT/3t[v.

V. Sons of Zeus. Wise. rdxiov " It " : sc. like sons of Sisyphus. " {Kp)€iaaov airo ttoS' €x*"'» " better keep away ! : 25 . Or. From Zeus again. Hermes. 574. Hermes himself. and Pfeiffer. still . . p. see Homer.. It drives you mad to hear it So you. the pipe of ^ dvafivaai." Oho.. say again. Zeus. Aesch. : "* «: Tov is certain aro may be am (Pfeiffer) : faute d« mieux. very wise is he who utters here your name aright before you tell him " The unearthly darkness of the Cap of Hades * hides you." ref.SOPHOCLES (a) Hermes.. who has turned back toward us. 747. v. of whispers. It's not the last futile errand you'll be running ! before you're ** ! much older. P. 844-8-to. . the messenger of the amours of Zeus. * The " Cap of to ^vyd or rows of Satyrs in the dance. I ! . (6) Chorus.. the devil take the lackey of ! Zeus Hermes. are up to every trick. Hades " rendered its wearer invisible . " before the day is over " (before you close your eyes in sleep) but cf. you see ? . . The prince of footmen. (with TTporepaiv) " whoever of the Front Row. but you're a weakUng. Ba. Say no more ! Inachus. . Hermes. No Inachus shall say that twice Inachus. cf. Jl. yes. . 33. are a poor hand at keeping promises Through sorrows. very rapid. You may be son of Zeus. <^ . It's a fair guess that you are Hermes from the sound you make. . stricken of God ! . and Eur. can it be ? The footman of Zeus is here ? (c) " Or.

He promises a reivard to their discoverer.T. 47. which appears to issue from the cave. The Ges. rCbv Kara) Aios (fiaXdyylcov SajfjidTCov y el firj '77-eAai[s'. Silenus reproaches the Satyrs for their from 26 . Diehl. Suppl. ^Irc/i/r.\. Milne. The scene of the action is Mount Apollo has lost his cattle .d. suddenly alarmed by a strange sound. B. i. Confused prints are disThe Chorus is covered. leading to the entrance of a cave. p. 1913. iii. . Plate II. the Chorus and its leader advance on the track of the cattle. Soph. 87 Bethe. in return for a prize of gold and release slavery. has sought them vainly in Northern Greece.M. F. beginning tojv ivavTLcov TO rdp^los. 30. Sachs. LITERARY PAPYRI €771 /Xe ejLie TToSa V€fl€L. of Soph. p. 558 . v. Walton. P. . 1174. IXNEYTAI Grenfell-Hunt. 1912. Robert. 3 Pickard-Cambridge. and has now come to the Peloponnese. Cyllene. Satyrs. . (Fragments of tetrameter dialogue. The Dramatis Personae are Apollo. Lit. Silenus. Hermes. fieya Seos dpa^el. he Cyllene in Arcadia.P. 67 1935. Harvard Class. ttov Se XPV ""oSct crTaTt^e[iv) 24 After this verse a line was later inserted in smaller 7 [Late 2 a. d. Pap.] Ed. Oxy.epaK:ovtei'|'.. Pearson. Silenus enters and offers the aid of himself and his sons the Satyrs. . pr. 25 j'. no. 1919 Ichneutae of Sophocles Korte. St. 536 Walker. Ber. Fragm. no. Wiss. 46. . a Chorus of and Hermes. After a short ode. ix. p. 167. . . 244 (to which my debt is especially great) . See *Hunt. Cat.

II. In col.— From this comes the noise which alarmed the Satyrs. pr.SOPHOCLES He's coming at me ! At me . . and panic ensues. that he must be the thief. but the strange sound is heard again. pr. The conclusion of the play is not preserved.. Now it appears that Hermes has used a cowhide to stretch over the tortoise-shell . 25 efie Xfpi kXovui or KrAovc'ei PfeiflFer. Pfeiffer). whom they cannot see because he wears the Cap of Hades. . There's terror in the sound of him " ! {Fragments of tetrameter dialogue^ " Or ' My teeth chatter vrith a great fear.d. Thereafter probself frequentlif displayed and contraMs therewith — . This childgrown marvellously in a few days. . Apollo seems to admit that Silenus and his Satyrs have earned the promised reward. mer. THE SEARCHERS cowardice. and they insisting. She informs them that she is nursing a son of Zeus and of the daughter of Atlas. 18-19 ed." ed. X. jrvii. cf. 27 .. /xe iroSa vffi^t (i^i fie' ktX.] the courage which he himwhen he was young. The chase is resumed . letters. she denying. At last they beat loudly on the roof of the underground cave . The Satyrs hear the approach of Hermes. . The fragment ends with a quarrel between Cyllene and the Chorus . [Late 2 a. and the Satyrs at once presume that the possession of this cowhide proves that Hermes is the thief of Apollo's cattle. Ho- SI 5-376. . Cyllene emerges and inquires the meaning of their uproar. The sounds of his pipe put fear and madness into them. has fashioned Hermes an instrument of music from the shell of a tortoise.

not Maia. confronted with Apollo.LITERARY PAPYRI ably Hermes. not Triphylian Pylos. makes it likely that " the denouement may not have occupied more than another two or three hundred lines " {ed. (3) the Satyrs are the hunters of the stolen cattle. comparison is largely a contrast. (4) Cyllene. Sophocles' play reveals of humour and of indecency : further. p. appeased his anger by The analogy of Euripides' Cyclops giving him the lyre. Euripides' Cyclops. and violating the [AnoAAHN KiqpvyiJi 'AttoAAcov Soi/)' TTCtcrtJv dyye'AAcD jS/JO- To\ls deoig T€ rraai' V7TLa]xvovyiaL reXelv. its diction is predominantly tragic. Ichneutae. (2) the scene is Mount Cyllene. p 228) in several points.). He Hermes diverges from the detail of the Homeric Hymn to (with which he was familiar. dTT<x\vTa (f)p[ovSa. and numerous exclamations which are below the tragic level : in its iambic metre. which is probably an early work of Sophocles {Pearson. immediately invites comparison with the The only other extant satyric drama. ^ous iyyus etSev etV aJTTOTTpodev 8etv]6v [yap ovu dXyrjfia Sva]\o(f)OV (fipevl €7T€a]T^ a. admitting only a very few vulgar phrases. 230). pr. Kal fidrrflv IxvoaKOTTOJ Xad]paV d(f)a]vibg l6v[tcov TrjXe ^ovjaTadixov /cciTn^s" Texvd\aixaT dedctv tlv* • dXX ejyoj ovk av 10 d)i6lJ.\(fiaipe9€vri ^o]us d/xoAyaSa? et Tig 5 fjLoaJxovs [t€ Trdaas Kal vo/xey/Li]a TTopr tScov.7]V OVT 28 a\v [ovt i(f)r)fx]€p<vv ^porcov . is the nurse of Hermes. so far as we can tell — much — less both admitting anapaests in the first foot only. Ichneutae is again more regular than Cyclops. It was not previously known that Sophocles had treated this story. —In Sophocles (1) the theft of the cattle pre- cedes the invention of the lyre. Pearson.

after Hunt.-0L. ^^ '^ '^"^^ A difficult problem arises out of v. . P. if vvfufxuai 173 is now free from difficulty Apollo is the subject of these lines). L. I never should have thought that any god or mortal man : . {vv. near or far.. and that Pearson's references to Aesch. are short and slight in size. Whose slaves then were they ? I\"ow Cyllene (vv.iXt/vov Ae'yo)) . to him I promise a reward. a gentle offence). strucUnique is the dialogue in iamb. Eur. fr. to make a necessary alteration in the text) that this Dionysiac Apollo is an impossible creation. To every man and every god proclaims Apollo if anyone has seen my cattle.t . 477 do not assist his argument. : 1-4 D.) refers to their master as following in the train of Dionysus withfawnskin and thyrsus. convinced vne {too late. T. From this it follows that Dionysus himself— otherwise the likeliest candidate was not their master. ture. acatal. as in Cyclops. 8. . The lyrics. Beazley {following Robert) suggests that a line has dropped out after 171 (e. far from the stables vainly I follow the traces of their stealthy plot. 29 .V. 45. 171 sqq. I fear. 341. Apollo promises freedom to Silenus and his Satyrs.fr.). theji the SeaiTOTrjs of 171 is — Apollo. o? in 172 is Silenus. and metres.9 Pearson. Grievous and heavy pain is in my heart someone has robbed me of my cows and all my calves and herds of heifers. bote can Apollo liberate the slaves of Dionysus ? Pearson {whose W — account J followed until the last moment) suggests that But Professor Beazley has Apollo himself is the master." Dionysus. Kox TcDi <f>iXoiv(oi.g. 0U0. —or /fpaTicrroji— ttot/ji. 269.-04. tetram.SOPHOCLES canon of the final cretic once only {v. Further. All are gone unseen. Not one is left. and all is natural and requires no further comment (eyyovots unintelligible.. 5 Pearson. 238 sqq. Rossbach.

]o)V 8' €7TrjX6ov (f)vXa. QeaaaXa)V [ eyKaprra 77e8t" eJTreaavdrjv BotcoTta? re eTretJra 8' y[7ys' TToAuAcrryTOu]? [77o]A[6tS"] 20 lines) (^ gap of about four ]? Aa)pt. GTTOvhrJL rdB^ r] rrdpeari Trpea^urrji [fxadcov.ad^ cos eTreKXvov ^oa)]vrog opdioiai avv Krfpvyiiaai.LITERARY PAPYRI Spdajat To8' €py[ov c5Se] rrpog ToXjxav ireaeZv. aoi.Ko[ yeiJTOv^ €vd[€V KuAJAtJvtjS' Te 8u[ ] re x<^pov eg 8u[ aypa>rr][po)v ris f] 25 cus" etre TTOtJ/xi^v etr lJLapiXoKav]r<x)v ev XoycoL 7Tap[iararai. fiarevco. riaicijt'os" eX]a)pa rod o'crt? a[v Xd^rji. Taur'] ovv eTTCLTrep [e/xa]^ov.t8' a^vroxpi^p-o. pnados eod a Kelifjievos. ear I. rravrcXeg KTjpvypi e^o^v 15 deoi\s ^porois re pLiqhiv' ayvoetv raSe* ^vdiai yap ipipLav-qs KvvqyeTU).] aov (f)OJvrip. ^ol^'' "AttoXXov. T[ot'] TravTOS arparlov ^J^TcDv] TLS [ (-(4 gap. then fragments of three \j lines) TO. : 30 . e/CTrAayet? okvojl ^i^tJoj.[toi. irpoa^iXr]? €ve[pyerr]s 35 deXojv yeveadai TCt. 30 Ta. [2IAHN02 AvKeie. 7] rcov 6p]eLcov vvpi^oyevvrjWov yevovg drjpcjjv Tt? TO.i8' eireaavdriv Sp[o]ju. vdaLV ayyeA[A6u rdSe.

I proclamation. .. .. * Marks the progress of Apollo from North to South Greece in his search. : heard your voice. tojv Hunt.SOPHOCLES would dare to do this deed. 15 aKo\o\vdlai. with Wilamowitz but v. . noXvyilvdiai Pearson. and the wealthy cities of Boeotia. which man of all the host . to one and all I make this proclamation whoever catches the prey taken from Apollo. Phoebus.. eager to be your friend and benefactor. I hurried running as you see to find if SiLEXus. 17 Murray. I follow frantic in pursuit. .. — — " Traditionally the scene of Apollo's pastures. raised in loud Fast as an old man may. So if any shepherd. and then (^A . Diehl. I . . earns forthwith the reward that lies ready here. Pearson ad loc. seeking. when the news came. SI . or any nymph-born wild-man of the mountains. then fragments of three I lines) " rushed to the fruitful plains of Thessaly . . Apollo. . . tov U. . WilamoMurray. 16 0patK]a>v Hunt. . . hvcnTi\i£iai : 13 Murray. (A gap. swiftly . visited the tribes . after Wilamowitz. . Wilamowitz. or charcoaler is at hand to hear me. gap of about four lines) neighbour. whence . farmer. . 30 to. . eXwpa Pearson. Hunt. 32 witz. that none may be unaware . Since I have heard the news. I have come and of Cyllene and to a place. Doric * . distracted with alarm I hunt and search and make full proclamation to gods and men. 23 Mekler.

aTTOvSrjv e77aiv]a). (Fragments offive two by Silenus. LITERARY PAPYRI av 7TO)s TO )(pr]iJia tovto ool Kvvrjyeaco.a deos 6 dpLt. 47 ovvayia son. reVi^Jcor. 50 2IAHNo[2] deol TV)(rj Kal SaXpov Wwr-qpLC. 56 wpoareAijs 32 . eXevdepos av [Trdv re yevog earat 45 X0[P02] 2ATT[pnN] (Fragments of twelve lines) ^vv dp. Xelav dypav avXtjaLV iKKVvrjyeaaL (t>OL^ov KAoTraia? jSous" drrearep-qpevov.] lines) Tt TOVTO . Tcbv ei Tis OTTTT^p iaTiv rj KaTrjKoos ipoi T dv CLT) 7Tpoa<f)iXrjs (f)pdaas raSe 65 ^ot^coL T dvaKTL TTavTeXrjg evepyeTTjs lines. 41 awouS^i' eVatval Pear- Hunt : corr. three by the Chorus) 38 Pearson. 40 [An.^p[ii]cro[CT]Te</>e[s line) (Fragment of one rralhag S' e/i[oy]? oaaoiai Tre/ATTOt/Li' [ a]^ emep e/CTeAet? aTrep Xeyec?.oL Keip-evov . Ta[s ^ovs aTra^cu €^€l a(f)* crjoi' 6 y* ev]pojv av 8' ip-TreSov [S6aL]v. Pearson. oar is ead^ €T\oi\p\_a\ Se. [21.. TVX^Xv pe TTpdyovs ov Spap-qp eTretyerat. Pearson. ' (Fragments offour [21.rjXa ')(^pvaov (f>LXos^ dveroj TTovovs 7rpo(f>r]vas rrapaheiypaTa.p. 7ro[iav Bcopeav dXXrjv Aeyjets.ovvov e/x7T[e8ou T]aS[e. 11: corr.] [ait. r[o] yap y€[pa]g p.] [afi. 40 Diehl.

"* Chorus of Satyrs. bring now our task to fulfilment. (Fragments of twelve . the If anyone has stolen cattle that Phoebus has lost seen them or heard of them. and King Phoebus 's greatest ! benefactor. 83 . Note. . the spoil. O Fortune. Your zeal comes not amiss good your word. Silenus. ID the Chorus) nevertheless not represented as slaves see Introd.. tno by Silenus. What's this ? lines) What is you and this other gift all you mention ? : Apollo. ! (Fragments offour SiLENUs. . and my sons. The finder gets it. the plunder. lines) who at our side let the god who is dear to us. O Guiding Spirit Grant me success in the quest whereat my course is aimed. shewed us those glittering samples of gold. only SiLENUs. (Fragments offive lines. It is waiting for him. The prize . {Fragment of one line) sharpeyed . I mil send forth if you will keep your promise.! SOPHOCLES I could hunt this treasure down for you. three hy ". . to track the loot.. Freedom for your sons. whoever he is. he shall be my friend. of a golden wreath awaiting me . of Apollo VOL. I will restore to you your cattle make good your gift Apollo. let him speak out . only make Apollo. . The Satyrs were . O Gods. .

rjv ^xl^V re] x^ arc^os rdSe Keivcov ivapyrj rdJv ^ocbv pLadelv vapa. idv Tt rojv [.] ddpet pbdXaay'r' 75 e/c/xe[/xa)/]/LteVov.aTog. 66 This was v. [hmix. 100 of the complete play (stichoraetrical a in 34 . ]v exov ]p€VOS Trpojs ovs [p-oXrji.] Qeo? deos Oeos deos' ea [ea* -jTei.] aiya.] tSov ISov- Kal rovTTicrqpLOV avrd ratv ottXcov TrdXiv. [hmix.] So/cei Trdw. avpag iav tttjl 7Tp[ SiTrXoug oKXd^coly VTToajxos eV XP^^ [ 1 ovTOis epevvav /cat 7r[ aTTavra xP'f]^'^^ Ka\l Te\\eiv 65 [hmix.] ^y]aiv Tis". pr. POIBA02 [hmix.6e6s ris rrjv d7TOL[Kia\v dyei. 59 For the aspiration.] ovk elcraKOVOJ ttco [ropcJojs rod (f)6eyp. . • j • • '• [hmix. aa(f)rj yap avd* e/cacrra cnj/xatVei rdSe.ara. [hmix. v.] x^P^'' ^pop-cot Kal Ta[ poifiS'qpi' 'IottI. .] ravT* ear* eKelva rcbv ^ocov rd ^Tjp. €X€LV eoiypiev tox^' p^^] />[• [hmix. [hmix.. .] tl Bpcop-ev.] ^a pidXa: 58 Roberts. earl rovro piirpov [hmix. ed. . 80 dAA' aura p. 70 Tt. rovpyov Bpafxelv. [hmix. rj to heov [ap'] TJvopiev. CO rdv. ad Joe.LITERARY PAPYRI [51. Totcr[t] ravTTjL ttcos SokcX. 60 > ay eta 8t) 77a? a\_ pLV7]XaTcbv 6afji[aLai. ri [ouSei? (f)rjcnv eot/cev rjSrj /<:[a/xe rrpos elSevat rdSe.

. . v.e. Perhaps rHv [^owv. Look close here is a moulding of the very size Semich. Here it is The cattle's trail Semich. . • Semich. iv. Come. pr. hullo I think we have them . . \Miat must we do. A god. The and riuv [eaui etc. . Noise * (off stage) Semich. . .. Be quiet A god is leading our colony. a god. 14. and . 79 Pearson but the reference to the cave or inmates of anj-thing is premature. 35 .). . . and bring to an end. Run hard. ! ! ! don't . . and so everything fine. col. god Hullo. ! the footprints are re- * simply " is in charge of our expedition.. . . . .SOPHOCLES WTio says he knows ? Anyone or no one ? It seems high time for me to set to work. everyone nosing the scent somewhere perhaps a follow breath of wind squatting double the scent closely the search. sir ? Were we doing our work aright ? Well ? What say our friends over there ? Semich. . . I can't yet hear their lo^\ing clearly. ed. but here are the very steps and trail of Apollo's cattle. look The very imprint of their hooves again Semich. Semich." Semich. . . a Stop. . ! ! : ! . . a god. Look. Semich. Semichorus of Satyrs. . : margin. clear to see. . . . . if a noise from those should reach your ear. They approve : each mark here is certain ! ! ! evidence. the chorus hears it indistinctly supposes that it proceeds from the cattle. . . Good gracious * i.." noise is that of the lyre . 76 Pearson.

vpoadev TJXXaKraL. 91 /ce^At/xeVoj written above by the but that would be : 110 85 av.7rovoCT[(^i^ets' ^X^^> t[iV' ecrr' [xo.] aAA?^Aoicr6 au/U77-[e7rAey]/zeVa. [xo. 7] vjjicijv 6 rponos. ddvoi. riVa cf)o^rji. e/i[ov] 8taj[y/xa y' oySa]. 85 rl iorl tovtl.] OTTCOTTJag.eip€LS pLadeXv. Seivos KVKrjajjLog TLV tov ^orjjXaTrjv. oloit '/CTrAayevTe? iv9dB' e^eviapieda rov ovSels ttIcottoJt^ 8' TJKOvaev ^poraiv. riv' elaopats.] CKet^eJv a. r\_l Set/Lt' rl irore ^aKx^veis ^X^^> ]i a[ t[i S'^ra] a-Lydd\ ol Trpo Kepxvos lp.] §17.] €/XOl TTidoV.. av rexvTjv av ris T-qv[S^ dp^ i^]evpes. SeSopKev avra S' ^rjfxaTa. Hunt kujSS' : aura Pearson.] [21. ra elxl'e 8' av ivavr" [21. ov yap iSpLS elpX rov rpoTTOv. t[i rovr lu^et?. iv ttolojl tottcoi.] aKOvaov av tov ifj6(f)Ct)i xp[vi^(^]'''os XP^'^°^ rivd. LITERARY PAPYRI vaXivaTpa(f)rj rot vac fxa ets" TovfiTTaXiv Ata to.] a[/coue [21. rtV av. ris 6 rpoTTOs rov rdyiiaros. ovxi p-av- Tl? TriOrjKOS 'fKV^a7To6vfiaiV€LS'\ TlVt' Tt ravra. 105 [xo. els TovTTLao} TO. 8 94 Kv^arrodvuaiveis dnodvfiaivus Hunt S6 .] [21. 100 rov [\aXicTr\aroi [xo. 11.] /cat TTois" a/coucr[a) piTjSevjos (f)OJV7)v kXvojv.rah' Pearson.] ow. second hand. ttov yrjs epuddeT . 95 aT]pLrivar* . ixjivos o)s Tis eV Xoxpirji Kelcrac Treacov.] V V V V.] CT[tya pi€V [21. 90 TTpoaTTaiov tSSe /ce/<At)u[eVo?] KvvrjyeTeiv TTpos yrji.Lia»? dvT^crcTe. [xo. eiCTtSe.

Listen to the thing again a moment a no noise that terrifies us here and maddens us mortal ever heard it yet .Hunt. .. that you keep turning from ? Chorus. Do what I say. . And now what trick have you invented ? what's the game ? What is it. the only instance of an anapaestic foot outside the in this play. . ! ! ! chase Chorus. no. I say ? this new one What sort of hunting on your bellies like that method do you call this ? It's a mysterv^ to me. . What is it there. A lot of help you will give me in my ! ! ! . 100 o\yxov ris i\xA'.. . What are you howling for? Who's frightening you? Whom are you looking at ? Have you seen a bogey ? Why do you keep dancing like dervishes ? . How can I listen when I hear no voice ? Chojius.! ! • SOPHOCLES They face backwards Just look at them versed What's this ? What sort of order is it ? The front marks have shifted to the rear some again are enWTiat a strange tangled in two opposite directions confusion must have possessed their driver SiLEN'us. and where on earth did you learn it ? me I never heard of such behaviour. Chorus. you that scraping sound ? want to find out {A pause. Lying on the ground Uke hedgehogs in a bush. Ow SiLEXUS (^addressing members of the Chorus severally'). No.) Why silent now ? You used to talk enough Chorus. or What is this (stooping) like an (amorous) ape Tell foolery. ! ! — ! ! : ! . . be quiet SiLEXus. do SiLENUs. first foot 37 . Listen. SiLEXus.

€]v Trdcrrji aiadi (fio^ov jSAeTTovre?. eyoj 7Tapa)v avros oe npocr^i^cb Xoycoi KvvopriKov avpLyjxa SiaKaXovp. ouSev Xeycov. a) /ca/ciara drjpiojv. ijj ip. KoXaKi TTOLfxevojv TToOev. ravr' d(f)evres evhere. vfjuv €L /XT] Lv ev /careiSTjts" et ti? iart SeiXla. [21. KaKiara dvevpa Kai 6r]pcov 6vt[€S. Tt fxoL fidXdrjs iJj6<I)ov (f)o^[e'La6e] /cat Sei/u-atVere. V V V. vavoarrjaavres e^LXvevaere rd's fiovs oTTTji. 38 . dvayva aio^ar e/c/ie/xay/neVa. [tC] St] (fio^elade iralSes cS? rrplv elcriSeXv. [a]6t)[/x]aT' ei[a]tS[e]ri^ fiovov yActJCTcra /cai (/)aXrJT€s. Travra heLjJLaTOvyievoi. Kelrai Trap' olkols vvp. TTiarot XoyoLGLV ovres epya (f)€vy€Te. ttXovtov Se )(^pva6(f)avTov e^acfjiere ov ^oi^os vfilv elire KaveSe^aro. 84 ttov Serji.(j>LKols els (f>vyr)v kXlvovtos. KOLKo/jiicrra KaveXevdepa el St. d d. KXaiovres avrrJL SeiAtat ifjo^-qaere. ov SeiXovfievov. ovSe ilj6(f>ot.LITERARY PAPYRI [21. Aey' o tl TToveXs. oS ovK TToAA' e^' TJ^rjS fJiv-qfiar' drbpeias vtto -qcxKrjfjLeva. ^e^dat /cat rov ^ovkoXov.] ndrep. Trapcbv avros /xe ovpiTTohrjyereL. Kal Trjv iXevdepcoaiv t]v KarTJiveaev T€ Kafjiol. TOiovoG TTarpog. XO. aXX eV. ['ajf^tcrrctj rpt^vyrjg olp-ov ^daiv. [xo. yvdxrqL yap avros.ai.€vog.aKovovvTes . rcov 6petTp6(f)cov ^orcbv 7TT7]aaovros .] iyco S' ev epyoLS Trapfievcov ct' aTrevdwco.] . dv Traprjis. aXX' a[l)(\fiaLcrtv e^eipyaapievov a vvv v(f)* vfxdyv Xdfx[7Tp^ a^TToppVTraiverai iJjocf)(x)i vecLpet.

or you'll be sorry you shall pay for making such a noise out of mere cowardice Chorus. was a youth whose valour set up many a splendid trophy in the nymphs' abodes he I ! I ! . slovenly. Scared as babies before you even see You throw away the golden riches that Phoebus promised and guaranteed. App. no more standing at the cross-road I will stay on the scene of action and put you on your path. I'll come. Chorus. you worthless brutes. Crit. WTiy should a mere noise alarm and scare you ? Tell me.— .): 124. 125 Pearson. 2081 (a) i. SOPHOCLES SiLENUS. 122 Nicander (see Hunt. a bogey everywhere Useless assistants spineless. but fly from action. come here and guide me yourself you'll soon find out if there is any cowardice. 117 (^oA^t? P. Come on. 39 . and the freedom he agreed to give us. SiLEN'us. and you'll learn what nonsense you are ! ! courage. You give it all up and go fast asleep Come back and search out where the cattle and the cowman went. IStmdri/ noises of alarm and encourage! 112 aci/iaT 2081 (a) i. and win you to my way of thinking. Father. you damned waxwork dummies. you worthless animals You see an ogre in every shadow. Hunt. Come here. never by cattle grazing on the hill lost never — ! : talking. Yet your father. Oxy. P. unenterprising Just flesh and chatter and wantonness in every crisis you profess loyalty. 127 140 [dj^urrco Pearson. n. Oxy. never yielded to flight. ducked at noises made he performed feats in battle whose lustre now you tarnish at some shepherd's new wheedling call. you as well as me. hovXovfjLevov Pearson. with a cheer for all like the call of the hunter to the hounds.

] jLteV. ri aiydis . Jti^S" o SpoLKis.] aAA' oy Tt ^^[ry oj)S' jLt' [e/cAtTTetv e^u7reA[^et]v aa](f)cos t[oi. [21.. j/to^ov. TLS oSe [ [ Seur'. €X€i' iX-qXvdev ifjios el. iX^X[vd€v avdyov.] OVK eariv. [51. 150 ovK elaaKoveis [21. ^ta-] doiv Slouotcrtv oX^icrqis. ttovoi. [xo.^et areyr].LITERARY PAPYRI Tt ndTrjv V7T€KXay€s v7t6 jx vneKptyes 145 t8es. dXX avros tpfjreL cry ravd^ [077171 deXeis re Ka^i-xyeve koL TrXovljei Xa^cbv rds ^ovs re /cat rov ^pvaov. 160 y[ ^Oeypi . [xo.] ai[ya.] tl eariv. oy (paveirai tolulv aAA eyco ra^o.[6]i'[ovTa Siarpi^eLv] e^TJao/xat Trpiv Xpovov. CO. 6 ypdms (Fragments of nineteen TTorep. "^ K€Kc6(l>r)[aai.]778[ . [ktaahnh] 40 TOvSe x^oepov vXcoSrj irdyov evdripov d)pfJii^drjT€ avv ttoXXtjl ^orji.] [xo. ov fievco. y dv €i8ct)/M€V ov[tiv'] €[vSov t^'S' e.] .. . . fjidjv lines) dXrjd^es eiTTOfxev. [oi? ep. KTVTTOV TTeSoprov e^avayKaaco 7TrjhT][jLaaLV KpanTvoZai koI XaKrlofxaatv o o <f)epa)V 165 oiar elaraKovaaL Kel Xiav drjpes. e)(€Tai iv TTpcoTOji Ti? oSe T/3077[a>i. el deXeis. Id) a(^ucr[e]t?[ . TL K0J(f)05 tls rjt.ol 8oK:]e[r 155 firj 7rAetcrT[ov] en CTOt'] )u.

41 . with loudest uproar ? Wliat tricks are these ? . . wherefore have you attacked this green and wooded hill. Cyllexe. I'll not allow you to desert me and sneak away from the job before we know for certain who SiLENX'S (hearing the noise). You look and search them out as you please. — . Hallo you shall pour forth a voice provide a rich reward for our house. what is your trouble? What's the good of groaning and gibbering and glowering at me ? Who is this who is caught at the very first bend ? You're caught here he comes. . and catch the cattle and the gold and get rich quick. the wizened . on o-mji deXeis v. Impossible. viii.). 13. Pearson. col. r.. . For the arrangement of those lines. Wild creatures. v. whom I follow. or are you stone-deaf? SiLENUs. . I'll apply another method make the ground ring with repeated jumps and kicks I'll soon force him to hear me.l. ed. ! — ! ! — I . Be quiet ! Chorus. Chorus. . 152 sqq. however deaf he is.SOPHOCLES ment. haunt of wild beasts. 156 Pearson. 153 in margin of 11. . Do — ! hves beneath this roof. . here he comes have you Off to prison you go Hither hullo who is this ? The wizard. « ddXeis n. Chorus. why silent ? Didn't we speak the truth Can't you hear the noise. He won't shew himself for that. 155. el Swat Wilamowitz. What is it ? I'll not stay ! stay please SiLEXus. from a v. pr. I — .) Say. . (Fragments of nineteen lines) ? Father. I'm determined not to spend much more time waiting here. j3 This was line 200 of the complete play (stichometrical ] 50 in margin.

xctptt' cfiepojv.LITERARY PAPYRI Tt? T^Se rexvr}. 7701 aTpo(f)al vI[(jj\v fxavLcbv arp€(f)ovaL.oi 7Tp[6(f)avov to TTpdyfi . dXX' evnercos p. xo.]t[ ] ] fievcov ]a .] TavT* ear' eKeivojv vvv [TpoTTCov TreTraiTepa.[ [0601^] CUV ttACoucraCT' cSSe TrapaTreTraiapLevcov voaetv 190 ro[CT .)^prj/ia. . ./careVAuov J ojjLOV TTpenov KiXevp-d ttojs KVvrjyeTOJV 1 eyyvs jjioXovrojv drjpos evvalov Tpo(f>rjs.. . vvv S' dyvocJo to . . . 180 opLOV S' dv avrL\s . fii] fxe fMT] TTpoailfaX[d^rjt. TouS'. . Vfuv OS" atet ve^pivqi Kadripipiivos Bopdi x^poiv re Qvpaov einraXij (fiepojv OTTicrdev evcd^er* dpLcfn. tov deov 175 avv eyyovoLS vu/z^atcri /cat Trat'Soiv ox^ojt. /cat Tolahe Orjpcov eKTTv[6oio [xdXXov dv dXKacFfxdTOJV vviJi(f)rjs' S[eiA'^]s' [re ireiparripiajv 200 epLV efxol yd[p ov]k [dpearov ear 42 . vvpi(f)a ri vvfi^r)]v en TToeir dvairiav.]at <f><jop[ . . ouVe ya/3 vcXkos "^[kco yX[ix)]aa* (f)€pa>v Sdiov pidxcLS ov8' d^ev6[s ttov aedev dv /xaratos" t' [d(f>* rjfiwv diyot. . /cAt^Scov o/xou Tra/x^upr' ravr' dv dXXcos ]0[.]7y[ "q kX[ ]vct»v u/Lta? ]ju.s KaKois. Tig jjccrdaracns ttovojv HO ovs Tvpoadev et^es" SeaTTorrji.Oavjjia ydp. ev TOTTOLs Tola\he tLs vepOe ydg coS' dyaardjs eydpvae diamv avhd\y.]t[ Krjpvyfxal 185 Kai ravT [/cat] a^etcra avv ttoScov XaK\riapLaai eyetTv[ta aTeyrji. ^advl^ojve Tr[avaat x^Xov . yXcoacrrjs €TetVe[T' eji? kXott7]v [ ]eVai [ avrig S' d[ /<:7ypu/<-[. [kt. .

a lacuna should be marked See Introd. . in one roar of confusion came to live on the roof above me. : : — to amaze us : ? Cyllene. . . Note. you will learn far more than by \-iolence and attempts upon a frightened nymph. . dropping that. . . . . whither your latest madcap whirlwind spins you. . what would hearing such crazy shouts you still do to a harmless nymph ? Chorus. and a youthful company. . and in the same moment again thief your words referred to a theft then. accompanied by nymphs. . Come. together with stamping of feet. . I do not 171 is is like loud quarrels started in argu- " BfOTTorrji Ss 172 Silenus.SOPHOCLES ^^"hat is this change from that task ^vhere^^"ith of old vou pleased your master r " . 191 DiehL 43 . but readily disclose the secret who is it here below the ground. clad in hide of fa>^-n.. after 171 . his descendants. that's a gentler manner than the other if you hunt hke this. bearing the hght thyrsus. Ah no. I heard a cry Uke the call of hunters when they come near the brood of a beast in its lair. assail me not with taunting. who. who spoke with a voice di\ine — . . . . Stay your anger. 'Tis strange indeed.. stately nymph I do not come to bring you strife of wars and enemies nor do I think that any unfriendly foohsh word from us shall reach your heart. But this I know it not. and to a proclamation your shouting. . Dionysus. was ever wont to sing for you that holy song in the god's train. .

. 210 d)S et (f)avelre rov Xoyov tov i^ ip-ov.ara TTpos aTTJapydvots p-ivovaa XlkvXtlv Tpo(f)7jv il^evff]eri!^oj vvKra /cat /ca0' -qp. 8e] X^P^'' '^^^^ e/x. avTojs -qpiipai /xtat i^ virrias k[ y ifirjxJavi^cFaTO- 44 . Kd^opp.€Tai ^Xdarrj. Std S' iTTapdevjevoaro ]u[. dvaaaa rcovSe.(et.covov Beds. "Hpav oTTCog p. dAA' rjavxos Trpo^aive koL lj\y}\vv[€ [xoi OTOV fidXiara Trpdy/xaTos XP^^^^ [xo.eL KovKeri axoXdt.. Z[ey]s" y[dp^ Kpv(f)[aLav is arejyrjv 'ArXavrLBog 215 TT^vS' 7jK€ vvKTOjp. Koi ris TTor aurcDi Siaxo^pdaaeraL ^porcbv.ia TTopLt. d(j)avei 8' 230 o Trevdrji (f)]OiypLa p.^€cs. /cat yap KeKpvTTrai rovpyov iv [d]€[a)]v eSpais.] OTOV jxev ovv€K rjXdov vcrrepov cf)paaoj' TO (f)dey}xa 8' 'f]pLZv rovd' oirep (j>a)vel <j)paaov. 205 [kt.LITERARY PAPYRI opOoifjdXaKTOV iv [X]6yo[ia]LV [lardvai. vfJids [xev avTov? XPV '^^^' ttS^Vai aa(f)6Js.€Vos 6 8' 225 ]? epet8et 7rat8o? els rjjSrjs aKpL-qv.evit.roLovSe 7rat8a 0r]aavp6s ariyei.] <f)LXas X-qOrji rrjs ^advt.^ei/xa^eTaf rovTov pLTfTpos 220 /caSeoTTJa /cat TTOTrJTa /cat KOifi'qp. KvXXrjvrjg adevos.[rj 7Tv]ar[L\9 i^erai Xoyov. avroZaiv vpuv ^rjp.epav. ware davfxa /cat (/)6^og p. OV7TOJ y'\dp €KTOv T^piap iK7Te(f)aap.r)xav7]L ^pip^ov /cat 77-[oA]A' i6d[p. Kara arrejos 8e TratS' i(j)LTevaev jjlovov.eraL.] roTTOiv ^X^^S".' e.at? iyd) rpecfxi)' y]ap laxvs iv voacvt. hvaevpilros \j eV] iarl rov irarpos deaei. ] . ajv^CTai /car' rj/xap ovk eVet/cora fxiytjoTos.

. I will tell you later why I came. ringing out as it did from some invisible instrument.SOPHOCLES ment. Chorus. sprouting and shooting up with no more delay. and tell me clearly just what you want. he is already thrusting forward . and tell us who in the world is setting our teeth on edge. . and ravished her unknown to the stately goddess in the cave he begot an only son. 233 kiottjs edd. in a single day. Queen of this region. . which surprised you so much. guarded in Heaven. there's a punishment in store. As for the voice you ask about. since his mother's strength is wasted in storms of sickness. . to — invented it himself.. Such is the baby whom in our strong-room we hide. humour his father. Cyllene.. it seems unnatural I am surprised and frightened by it. You must understand clearly that if you do not keep my story to yourselves. So night and day I stay beside the cradle and look to his infant needs. 45 . Explain to us this voice that is sounding. . to the full bloom of boyhood. food and drink and rest. . Every day he grows bigger and bigger. Now be calm. and you \^-i]l be the sufferers. Born less than six days ago. out of an upturned That is the kind of thing it is a vessel invented . he cealing him. whom in my own arms I nurse. Zeus came by night to this hidden dwelling of Atlas's daughter. mighty Cyllene. to prevent the news coming to Hera. ! — 215 D. P. L. We are still con. 227 yvioi]s Hunt. The facts are a secret.

] ouS' av TOIOVTOV iaTiv. rovvrog Tov^co. cl>S" ttolklXtjl SopaL KareppiKvo}- [xo. TTop- [kt.] lines^ i[K davov- [kt. TTpon-qKrjs ^ ^TTiKvpros [kt.] dAA' COS" AlrvaXos ^vrjv. I /cat TTOJ? rod TTtdcofJiai TOiovTOV ^pefxeiv. 8' av to] (f)a)Vovv earlv avTOV. (f)paaov. 7Te(f)VKev ^ reus iart.] TrXelarov yoyyvXov yap Kal ^paxvcTKeXes.] aleXovpos et/caaat haXis.] Ppaxvs xvrpojhrjg fxevos. [kt. 235 {Fragments of seven [xo. [xo. €(JX^ cf)Covqv. pbkv [kt. [kt. davovros <f)deyixa [kt. aAA' d'AAov tlv^ i^evpOV TpOTTOV.] [XTj Tos 7TopL^€LV ToidvSe ydpvv. TTtara yap ae TrpoayeXdi deds €777).LITERARY PAPYRI TOLovSe dr][p6? €K 0av6vr]os rjSovrjg e/JLfjieaTov a[yyo? €vp€ KJal kolto) S[ovei. vvv aTriareL. Kavdapos SrJT* iarlv KepoLGTrjs [xo. 46 .] TTOtd? Ti? T^v ethos.] (})a)veL al6\Xo\y ^opivr] avyyovos tcjv 26 oaTpaKOiv. ^wv S' dvav^^^ Sos rjv 6 [xo.] o?)8' cl»S" lx^€vrrJL irpoa^epes TrecfyvKev ou8 (Ls 245 KapKLVOJi.] vvv iyyvs eyvcos cot jJcdXiara Trpoacfjepes to t] [xo. fxera^v.] TTidov' ^avcov yap Orjp.] t[l KvwBaXov. [xo.

Well. 245 KapKivcoi n. exactly like a shell. 250 Marx {Rh. the inside or the outside It is ? Cyllene... In death the creature got a voice. he keeps plapng it down there. 239 This was v. sort. What sort of shape was it ? Long ? Humped ? Or short ? CvLLENE. the crust that rings the changes. y in margin. Chorus.SOPHOCLES out of a dead animal. Short. one from Etna ? Cyixene. Chorus.. col. You must believe it. pot-shaped. to contrive such utterance from the dead. Not like a weasel or a crab ? Cyixene.). WTiat part of it makes the noise ? Tell ! me. v. 300 of the complete play (stichometrical i-xyevrfii and 47 . Enormously different it's round and has short legs. xii. find some other . . not like that either . shrivelled. with a spotted skin. I can't believe that so loud a voice comes from a corpse. greets you with the truth. perhaps ? Cyllene. 3. in life it had none. Cyixene. Chorus. Like a cat or a panther. Chorus. Don't be so sceptical. 224). lines) (Fragments of seven Chorus. perhaps it is like a horned beetle. pr. Now you've nearly guessed what the creature resembles most Chorus. Cyixene. when a goddess Chorus. No. ed. Mus. brimful of pleasures . 78.

Spat? 8' vyies o^vSev. d' iy)(]daK0VTa Trji ^pr]L pcopiai. av 8 (f)drii^ avTi Tojvhe prj ^aXe- ipol {prj)h€ Bv(j(f)op7]drJLg. ovTUis 6 Trals XOLV^aaTO. oijk aAAo? ecTTiv kXottcvs olvt' 260 €Keivov. (Fragments of seven [kt and a gap of perhaps tno) ] dpTi p.eL. TrpeTTTa (8' av) Sia tovov (jidapar' ey- X^p' €..7Tavdepit. ladi TOV Saipov* ootls ttoO* os TavT eT€)(V7]aaT . o{p6o)iljdXaKT6g 255 davovri rts" 6p(f>a (f)deyp^ ^H-V KaTOfxyel tottov. i. ov y' dapevos Xd^otp'] dv lines avTrji Trji kAotttji. x^-ipei 8' cf)cov[iov /Lte'Aoj ^vp(f)0)vov e^atpei yap avrov aloXiap^a Oiqpl Trjg Xvpas. XO. 7rat8' [kt. ov pa Aia a' . <Z Trpea^^eipa. tls €)(€l 7TXd]v'q ae. [xo. xetpd^eLV [deXco.avddv(x) . 265 [kt. rtVa kXotttjv (hvetSiaag [xo.v'\vi\TT€i\s . TToZov he Tovvojx^ [kt. lines. tov drjpa fxev ^eAyv.^povaji 270 7TOvr]pe. LITERARY PAPYRI [xo. to 6 77[ars' KJaAet. au 48 8' ouv TO Xol7t6]v elg e/x' eOiStav e^ojv . TTopavvov. yvvai. TO TTpdypa 8' ovirep TTopevoj ^dS-qv. et TL rrXeov €)(€Lg. then (l>a)vo]vv 8' au Xvpav (Fragments of nine a gap of one or two) Kai TovTO XuTT-qg ear^ aKearpov kol napaaXviov Kai ti tt/joct- IpVKTt^piOV KeivcoL pLovov. pcov TOV Atoj o]vTa cf)7]X'^Trjv Ka[Aers'. dXXd 7rat8ia? ^(dpiv. ad(f)^ ladi.

IE 269 Hunt." Now don't be angry with me for saying this don't take it too hard. it simply transports him So that is how Baby to ring changes on the lyre. Beazley.SOPHOCLES it. 49 . Cyllene. {Fragments of nine lines. but Cyllene. In the previous lacuna. clear are the fantasies that the strings make around us everj-^vhere. Yes. But here's the point I am slowly coming to you may be sure. At last simply grinning at rotten tricks. then he has to cure and comfort He enjoys being crazy. For the I me Hermes made 265 Pearson. Chorus. that whoever may be the god who invented this. good lady. Cyllene must have explained that his lyre by stretching ox-hid^ across the shell. You're full of for the sake of foolery. VOL. CvLLENE. I swear I don't Uke to distress you. Our baby calls the animal a tortoise and a gap of one or two) the noisy part a lyre. invented a voice for a dead animal. you scoundrels are for an idiot. 271. singing in harmony with it . 272 Mekler. How gladly I would take him redflit — . Are you calling the son of Zeus a thief ? Chorus. if Chorus. ' all understand. What delusion possesses you now ? WTiat is this charge of theft ? Chorus. it's all And him when he is unhappy. handed ! (Fragments of seven lines and a gap of perhaps two) Cyllene. lady. land to . Loud is the voice that goes forth over the Cyixene. the thief is none other than he. What is the name you give it ? Out with you have any more detail.

o'\v pur] TttS' [eiTTTJl? {A gap. arpe^ov Xvyit^ov re pivdois. a\KapTTOV TouSe TTpO'S OVTLv' rov KXerrr-qv OKOirei. TTOvrjpo? a)V KvpeX.? ro XPVH-^ ovros elpyaap^evos pLVOKoXXrjrov dXXa>v eKXeipev ^ocjv TTOV Sopas ^ 'tto rcov Ao^lov. [kt. 285 TTavov TO XeXov (f)aXaKp6v i^Sov^i TTurvas.] €t 8' ear dXr][drj. [xo. XRV /xe Kal Xiyeiv raSe. (About six lines missing) 295 [xo.] TrXeiovs 8e y' -^'St. ei t\ls iari. av 8' aAAoCT*.LITERARY PAPYRI ei aoL (f)ep€L .] et] rot TTOvrjlpd 8pai. 280 8' ov TreLvrji. ovTOS yap ovre] rrpos Trarpo? KXiiTTqs fjij-r^Tpcoaiv rj e<j>v ovt' iyyevrjg kXottt] Kparei. ottolav deXeig ^d^iv evpioK diroov ydp pee ravra Treiaei? otto. TTpoaaTrre ttjv TTOvqpiav rjKef TcDlSe 8 OVX OVTOi TTpeTTet dXX' alev et uu Trals' TTcoyojvt ddXXojv (vg vlos ydp cov dvrjp rpdyos KvrjKcoi xXi'^dis.. then fragments of eight [kt. [xo. cS? eydi Xeyo).] tto[v] Kal jSda? vepuovai t[ [xo. Sd/xo? ddp^ei yevog. vvv [ lines) 30 50 . ifjTjKrov fi-^ 290 fxe Ta[a8' e]| dSoiJ jSi^a^e. KaKcos dKOv[eLV ov TrperreL Alos yovoji.^ap]ju-' rj ti KepSaivetv Bokcls OTTOJ? deXeis Kojxo-^^ Kal repirov cf)p€va' Tov TTolha 8' 6]vTa rod Ato? aa^et Adycot 1X7] 275 ^Xdrrre /ctvJcDv ev* reoji v4ov Xoyov. [kt.] ovK €K decov rd /xcupa Kal ye'Aota XPV Xavovra KXaUiv var^p* .

? 278-280 Pearson. . He is a ^illain. if he acts like one. He was not born a thief on the father's side and there are no light-fingered gentry in his mother's family. Stop inventing new crimes against new-born babies. You must not ! . Don't try to shift me from . You always did behave like a baby. slander a child who can prove that his father is Zeus. not upon him it's not proper.SOPHOCLES future. laugh at me to your heart's content. — . : ! ! : this path. . . stole them from any other cattle than Apollo's. Chorus. . Wriggle. ! ? (A gap. Cyllexe. Cyllexe. if it gives you any pleasure or hope of profit. .. . . You try and find your thief elsewhere . how can I help saying so Cyllexe. More now already . You're a full-grown man ^vith a beard. twist. It's time that bald skull stopped fluttering Avith ecstasy. 51 . The gods do make folk sorry for silly jokes and chatter such is my opinion. then fragments of eight lines) .. but you are as saucy as a goat among the thistles. enjoy yourselves Only don't at your ease so far as I'm concerned. Where do they graze their cattle Chorus. . . a son of Zeus may not be slandered Chorus. a poor harvest there is no hunger in his home. (About six lines missing) Chorus. But if it's true. Remember his parentage fix the crime where it belongs. the tales you tell Invent what smart remark you will One thing you will not persuade me that he who made this thing by sticking hides together.

in 305 This was v. Suppl. 305 TTviyeis /cat cti) .] o Trats' OS evhov iarlv eyKeKXTjifievos. ed. et [kt.LITERARY PAPYRI [kt.] [xo. [kt.] rjSrj jjL€ tov TratSa Travoai rov Ato? [/<:a/<"ais" Xeycov.] 7rauot/x' aV. a) TTOvrjp' .? Tt? e[^ayot. 20. e^et.. 5£ .. pr. ra? jSoi.^a[t jSde? aedev. xv. Pearson. v.] TiV. ri 7rA[ [xo.). col. Adyov. 400 of the complete play (stichometrical 8 margin.

You and your cattle will be the death 53 . The infant who is shut up in there. Chorus. . Villain WTio has them ? . if someone will bring out those ! .SOPHOCLES Cyllene. I'll stop. ! cattle ! Cyllene. of me. Cyllene. Stop slandering the son of Zeus Chorus.

D. Korte. no. Hermes. 326 and Hermes. fr. iii. Cronert. Oxy. Hermes. Nachrichten der Gesellschaft der WissenRevised text in *Snell. de Euripidis Alexandra.ETPiniAHS 8 [3 A. iv. p. 1919.* introduced by Sta rovrov 11) koX to Kaycj fxkv arcKvos iyevofx'qv K€Lvrjs arro- 'AA/c/uecDn S' €T€K€ SiSvfia rcKva TrapOevog. : Quotation in an essay in literary criticism the phrase hwarai he to avro {D. v. P. 255 . New Chapters. Archiv. [1 B. 1. p. 90-93. pr. col. S. schaften zu Giittingen. vii. " Deubner keeps 8id rovrov. 17. 134. Aegyptus. 1919. This play was produced together with Palamedes and Troades at Athens' in 415. Archiv. Heidelb. 137." . 1922. xiii. supplying {arroXvO-fivai). vii. 2g8 . 1927. 1 sqq. 1. Wilamowitz. Pickard-Cambridge. 491 .C. Abh. Luria. See Lefke.] AAEHANAP02 Ed. pr. See Korte. Miinst. 1924. 5. Ed. L. pp. 1936 . Diss.-B. 240 Deubner. 1611. The nature and sequence of events are not certainly or fully known. 54 . P. 1937. p.] AAKMEi2N AIA KOPINGOY . 1929. Akad. Einzelschriften. *Grenfell-Hiint.

). the speaker is Apollo. Even this bare outline i» in many points hypothetical. Priam sent the baby forth to be but it was only exposed. And I Alcmeon twin was without child by her but she bore to children.] nap 6eov.vpnTi8T]t. 7. not as here twins) are Amphilochus and — — Tisiphone . ev ' AXK/jL-ecovi. ALEXANDER The following is [1 b. i.EURIPIDES ALCMEON THROUGH CORINTH [3 A. The baby was Alexander {Paris). is E. rCoi hiA }i[o]pivdov Xeyofievov xnro The story is given in Apollod. Hi. 7. daughter of Teiresias . of Hecuba. and later found and reared . The -napBivos ilanto. From : the prologue. who imagined that she gave birth to a torch from which there issued serpents.. the two children (natSas 8vo Apollod. She tells of the dream (1) Prologue spoken by Cassandra. reconstruction (loc.c] a brief summary of Snell's painstaking cit.D. Now games were instituted in honour of the baby whom Priam and Hecuba mourned. by shepherds. Apollo's oracle declares that Hecuba's baby must die. yet unwed. slain — 55 .e.

he was not entitled to compete. — the prize. A debate between Deiphobus and Alexander. Cassandra returns and foretells the doom of Troy. 13-25 belong to this part. . Deiphobus is enraged at his defeat . Hecuba and Cassandra quarrel. (8) Episode. whom the former accuses of unfair competition : being a slave.) (7) Stasimon. both vanquished by Alexander. who therefore. This and the surprising victory of Alexander therein. — — (a) [xoPOS /cat firjv 8e]8op/ca TraiSa K. Hector {Vv. though a slave. is determined to compete and to win (4) Episode. {Vv. Stasimon (during which the games take place).LITERARY PAPYRI (2) Par odus. takes it easily and endeavours to pacify his brother.) (3) Stasimon. 1-2 belong to this part. Priam is informed by a shepherd that a youth named Alexander is intending to compete in the games which are about to take place.[aadv8pav aedev ^Kovaa\v ahvr(x)v (h) c5[Se Oot^etcov irapos. P. [x0P02] TV)(T]i §[iSco]ju. (5) (6) Episode. Hecuba and the Chorus mournfully recall the child whom they suppose to have died many years ago. her sons. entrance of Detphobus and Hector. Cassandra withdraws . A messenger reports the story of the games. and the choice has fallen upon one which was a favourite of this young countryman Alexander . A bull has been sought to be the prize. L. 56 . let alone to win prizes. There followed the report was probably made to Hehuba. 3-12. followed by a short dialogue between Hecuba and Cassandra.t 7Td[vTa [ArrEA02] Kpei<xaoi{v) TTe<f>vKO)s [e^cpe rdinvlKLa 4 D.

the second play of the trilogy {if indeed it was He possesses tokens to prove his story. (b) Chorus.EURIPIDES Priam referees their argument. {Vv. . but has promised his shepherd-guardian to keep his knowledge secret slay. 57 . o Tolaw oAAots yiyfertu aamjpia. « Fr. 26-38 belong to this part. How th is recogniPerhaps (as Snell suggests) tion was effected is unknown. (9) Stasimon. thus making a transition to Palamedes. and he reveals that he is not after all a slave . — — Alexander son : but at the last minute it is revealed that he is and brother of his would-be murderers. All things I yield to fortune Messenger. off the prize. it is likely enough that a divinity (Aphrodite) appeared and forecast the future.^p^<Ti/iov ifipevwv.) (11) Stasimon. murder Alexander. and Hecuba recognizes them as belonging to the baby whom many years before she had been forced to expose her Alexander. Hecuba and Deiphobus determine to (10) Episode. (a) Chorus. Alexander cried out at the point of death. . — a trilogy). Lo ! I behold your child Cassandra coming hither before the shrine of Phoebus. In the end. oifwi davovfiai. he kjiows that he is the son of noble parents. Sia to . : otherwise the latter may incur to penalties for saving a child whom he had been commanded These are brought forward. He was the champion he carried . and decides in favour of Alexander. 58 Nauck. Hecuba and Deiphobus attempt to kill (12) Exodus.'^ Thereupon Hecuba inquires his meaning. .

reXel.] [af. P. [ap.] ets" ^' dfitXXav rJKovaiv Xoycov.. rjaacov he 8ovXov <I>p]u^iv ip. 5 Schadewaldt. 15 D. dpyovvTi dvficciji (f)epeis rdSe. 12 Snell 11 D.] TovSe VLKr]r['qpi* '^Xde 8rj riva. [ah. 58 . Trctj? /cat avvearrjKev ^o^6t>[i]. P. IlpLafxos rldrjaiv eis" [ 10 [xo.] [af. (^aAAos Schadewaldt).] [af. /xe Set (f>p[/]- ov rot] Kaipos ojSLvetv patStco? vas.] o 8 coBe ixopcj)rji 8ia(f)€p[a)v 'laov adivei.LITERARY PAPYRI [xo. ArjL(f)oPe' ri ydp pLiaelv viv . L. P. L. 6a* dvhpa ^prj [tov evyevij. tivo lines) (^Fragments [xo. Upos r [eA]aiS[o? ^aAAo? (c) [xoP02 aAA' elaopu) ydp] "E/cto/d' ef ayojvLa}\y 'qKovra fiojx^^v avyyovov re. [ektap fidraios octJtis" jJiCKp^ ex^jv ey/cAr^/xara eTTTjtvecr' Seivov vo]jUt^et [ah. 8 D. 5 Kai (j^aaiv elvai y d^tov [ [xo. ou/c dAyer? 20 ^peVa[?] SouAoy [ek.(f)avrjs earji.v avT6[v ovra Svcryevrj. P. {8ia<f>epa)v Cronert). Trap'] . /ca]crtyi^7^^' "E/crop. Traihe aojTrdpeLCL S'.] 7] /cat aT€(f)ovai.] of dyojva ttov K[pivova(. 25 7 D. 15 [ahi*obo2 ou]8eV oari? eaTi Svax^p^jS dXov? Se TOt]? KaKotai jJiaXddacrei (jjpevas. (after Luria). dvS/)os" d^A aTTearepT]- IX€v[os] Atav ddv]ixei9. L. yctp. L.] OLTTavO^ . 16 Munscher.

L. . WTiy should I hate him ? there is no cause for broken hearts. (Fragments of two lines) . 25 Lefke. L. he . P. 24 D. albeit ignobly born ? . So handsome. Messenger. P. . and join battle through fear. P. . then captives of misfortune abate their (c) Chorus. 59 . . A holy branch of olive. You are too despondent. Where do they decide the contest Messenger. they start a quarrel Here they come Deiphobus. Hector. Priam appoints Chorus. arriving. And do they crown him. All that the nobleman must do. ? Chorus. Deiphobus. . prize by a slave — are my brother ! Robbed of the ? you not heart-broken How can it be ? Hector. your from the labour of the games. Only a fool is led by petty grievances think it disaster. Deiphobus. I sons. L. . Shame on all men who are first indignant. . What were the prizes that came to him ? Messenger. 23 Snell (oi to* D. fresh ! — ! — — temper Hector. 18 D.EURIPIDES Chorus. lightly." ! to Deiphobus. can see Hector and his brother. yet so strong ? Messenger. An idle spirit All Troy \n\\ see that a persuades you to bear it bondman has beaten you " ! Doubtful translation of an obscure phrase: this is perhaps the best that can be done without altering the text. does. . .). and . Yes and they call him worthy Chorus.

C. 1923. L. i. ot Tifiuial viv. 1. 31 11 has viKwi^gie 28 e. 35 TpcoLKOv yavpovfievos devp\ els ^oXou yap dv ot[i Kp]aT€L . [ek. arpcjTos y elatv els "AiSov SojJLOVS. Wecklein. 1891. 30 {jltj] yepaipeadai Se Hpidfjiov VLKl'qL Sofxavg.] ov fxrjv KoXGiS'. lu) fjLoi. Eur. . Plates I and H. Suppl. P. [ahi*obo2] |[ek. etalv T[poJ€S. The Flinders Petrie Papyri. [1]. elcrlv t[ fi-q vvv er dAA[a o]vK.] TTav doTV TrearoL.ff. Antiopa. Berlin.] ANTIOnH Ed. 29 aAAo ovk (and Swara) Snell 34 elaiv Lef ke (eortv IT) 35 Wilamowitz.] 7TOV vv[v a]v eirj [ah. 51 . 1913. e]l8rJLS y' rwv adJV T€KV(X)V Supplements by D. KaXKtviK e^o^v aTe(f>Tj. von Arnim. Wilamowitz conjectured viKwvd^ d)s. 1905. TrXrjpoL ] [ek [ah.LITERARY PAPYRI (d) [ekabh] Kal Tovs Xddpai \i\yovTag ojs iXevOepa SovXt]? yvvaiKos [Tralg evtKr^aev re'/cva. See especially *Schaal. S[vvaTa ravO' f]fxZv (f)ep€iv. 18. 1914 (revised text) . Philol.] TTcog ovv €. . o\y St^Aov CO? cr^e T7^]i8e X^'^P^ ^^^ davetv. no. according to Cronert . Taccone. New 60 . K€LVOv {xev ovd^ OS ecTTi 9av[xdt. Riv di Fil. pr. Mahaffy.€LV Opuya?. de Euripidis p. 10 [3 B. 32 and 225 .)^etv (/Lt)e[Taj8a]Aer ravrd y war [ah. except 26 Xeyovra?. diss. Pickard-Cambridge.

Hecuba. know that he is master of your . ! — him ! Deiphobus. ANTIOPE [3 B. we cannot endure it. that he. The action of this play. how the son of a slave girl overcame the children of free men Ah no. and conjecture faute de mieux (yi)^Ta^a^el. — sons . 134 (revision of parts of text) . 32 ircos ow e[*]-[-]€t Cronert. boasting ! success. while the house of Priam is robbed of the victor's honour Deiphobus.EURIPIDES (d) Hecuba. . . . V^Tiere Mould he be now. Milne. n was certainly corrupt. Deep-wounded shall he go to his grave Hecuba. Lit. 70. should be the wonder of all Troy. .] Chapters. 37 el tTOis ^oAot] et simil. Cat. 38 fjLTjndmoT' : : e77]tSijis Snell.C. 105 . the Wctor and his noble crowns ? Deiphobus. — . was probably a^ follows : (1) Prologue : a shepherd ejcplains how he discovered and reared the exposed twins 61 . . no. C. vws ow o[KeA}i« Snell I add (/x) as omitted by haplography after ow. which icas produced in or about 408 B.. B. which is consistent with the traces according to Snell if so. being what he is. Qu. . (If only he would come) hither so might he fall into the snare. . . All over the city of Troy. Roberts.C. 1935. Deiphobus. Is it not clear ? this hand must slay .M. how shall we change things for the better ? Hecuba. and secret gossip. Well. are too long. iii. Pap.

who are now grown to manhood. comes Conversation between these to hear Amphion play the lyre. Antiope sons. aAA' €L7T€p r]^]ds [Zeu]? eyevvrjoev nanqp. The centre of the discussion is. i^avSco rdSe. " which life is of greater service to the state ? " Euripides is indirectly explaining and defending his own manner and ideal of life. [JiiJTep. fxr] yafxelv jxev rjSeoJS aTTelpavrja 8' etvat aoXg reKvois [dvajjcfjeXTJ- ov yap K]aX6v rdS'. ttlOoC] rrpos dypav r evTVxrj Oei. (2) Parodus : a chorus of old men. Antiope is to-day a slave and prisoner in the palace of King Lycus and Queen Dirce. — — [AM*mN To]ycrSe /xtJS' OTTCog (f)ev^ovfJieda. (3) Episode : the celebrated controversy between Zethus and Amphion . tj/crai Se ttolvtcos ei? cSJctt' roaovSe {jltj avfJL(^opa? oi)8' av iKcfivyotfjiev el atjLia Ai]pK7]s vecijpes [X€VOv]aL 8' (hs T) •?)] ^ovXoipLeda SovvaL Slktjv.r]s [noX]eiV OTTOJS e']Aa)/Ltev dvhpa Svaae^eararov. davelv Set roitS' iv roC\ rpoTTOLa TroAe/xtojv ar'qaat X^P^- /cat crot crot 8' ^]€V ovrco. 62 15 . 10 OS r]6 XafXTTpov aWepos vaUis rreSov Xeyoj T]oaovTov. He knows that Antiope is their mother. two about the invention of the lyre and about music. the latter defending the contemplative life of the artist and philosopher. awajei /xe0' rjixcov r ixOpov dvSpa reiaerai. (4) Episode : {probably) conversation between Antiope who has been miraculously released from prison and her Neither party is aware of the relationship. The sons know nothing of either parent.LITERARY PAPYRI Zethus and Amphion. but does not know that Zeus is their father. aAAa avpijxaxeZv (fiiXoig. the former representing the soldier and statesman. 5 TjiJuv etV roS' epx^rai rvx^ rjjjiepag (f)aei. Attic shepherds.

. or our own hands shall set a trophy up above our enemies. (6) A messenger narrates the rescue of Antiope and death of Dirce at the hands of Zethus and Amphion. he enters their retreat. and grant us to come A^ith good fortune upon our prey. Not that. Amphion. eager to capture Antiope and her Led by the shepherd. (5) Hereafter must have been described the recognition of her sons by Antiope and of their mother by Zethu^ and Amphion. witz. these men. to you. Lycus enters. 2 oAA' von Arnim. 63 . who appears ex macliina and commands Lycus to yield the dominion of Thebes to the sons of Antiope. We : 1 rojvabe Roberts. represented by our fragments. elnep Wilamo9 Von Arnim. Bis death is prevented at the eleventh hour by Hermes. have come anyway to such a pass that we could not. even if we would. So much I say. . but fighting beside your friends. If Zeus was indeed our o^\n father. he will rescue us and at our side chastise the man we hate. is the way of honour. And this I say to you. having juM killed Dirce. nor how we shall escape. plot to destroy King Lycus also. . It is not known how the recognition was effected. that we may catch this impious man. my mother. Hear us. confederates. Later enters Dirce with a chorus of Bacchanals : she takes Antiope and the twins away for punishment. escape the penalty for the blood of Dirce newly shed. who dwell on the bright plain of heaven do not go marrying for your pleasure and then prove useless to the children you create. If we wait here. 5 coot' von Arnim.EURIPIDES tells all her story and laments her servitude and present danger. our fortunes come to this : either the hght of this very day shall see us die. Zethus (7) Exodus : and Amphion.

eXirep otada.. D. S' oi)/c exovaiv iv . avTos ovk driyidaas rjXdlpv {Here follow small traces of three lines. [bo. L. Spdv Set Tf Keivovs 8' otS' eyco Te^i'r^/co[Taj. areyos. 30 eV rijvS' and Trirpav D. rd^Lv TtV] aAAiyr e? TT^vS ] iv' -^ Sojucdv arelxeLv [ejcrca Tjixel? /cat TrptP" oi/<:oi. P. P. {dvpas 32 read by Roberts). el XP^ So^daai rvpavviKoJi aiycofiev j>i\oi. L. P.] [at.. e/ca?. P. d(f)pcov y' dv etT^v./Lt[ev nerpav. ra^cofxeada vvv. [bo. eVSot. ]ai Trdrpav [ Avkos TrdpeaTf [atkos] TTovar ^AvrioTrrj hpaafJLOLS €7t[ 20 TiVe? 8e xol (TvvhpcovT€s €K TTOtas" x^o[vo?. tv' KaAcu? eXe^as' 7ra]v^' TCI S' at[/3aj]CTtv <j)6[^ov.] tows' ^eVou? [eAetv. 35 TrdcTOt Se /cat to ttA]-?^^©? eto-tv ot ] [bo [at. then a gap of thirty [botkoaos [at. L. ar]firjvaT\ eiTra^'.. [at.^epotv. /caAcD? ap'. D. corr. ere /co^tjaa? i^So/u. dvOpojTre. 30 ecSv /a' [at. 25 Roberts. 7TdvT7]t. [bo. (!)[? ejvleoT^ av]Tovs eAe[t^]. ara/) AiTretv XP"*?] 8opy^opou[?] e^cD dvpas. e/C77t77T7^t aAA' ayeTe SryJ <j)povpelre Trepi^oXov Trerpas ^XeTTO^vres' Kav Tt? Sd/xcor 21 »cai n. 34-35 Von 61.] ovk dacfiaXes to8 etWa?. 31-33 D. [at. ^evot.] lines) .i^jLtJet? /cat av drjaojxev KaXws. 22 Roberts. \a\K\ri\nTpa)L. SeLvov vofiL^cov. L. .LITERARY PAPYRI [xoPOS oS* avTojg.ai Ka[/c]ci)v 25 [bo.

I know. guard the circle of the cavern. you must leave your bodyguard outside the door. friends. . There is peril in the shelter. . if we may guess from Lycus is here Silence. — . I thought it not beneath me to come in person ! — ! . Arrangement ? WTiat other than advance which long has been my ? home Lycus. Lycus. Arnim. .) and they carry no (spears).Xoyxas] Roberts (much too long 38 \'on Arnim. . Lycus. {Here folloiv small traces of three ! are dead. watch every side. 65 . IF 36 navpol ye. Away then. The king himself. Where is Antiope ? She has escaped me.EURIPIDES his royal sceptre Chorus. Since you are certain. I'm glad I have brought you well away from danger. Still. . . . you and Iwill arrange everything. let us make good arrangement . Lycus. They. (Only a few . I should be mad to let the strangers catch me ! Cowman. VOL. then a gap of thirty lines) Cowman. And who are her accom(to this ?) rock Tell me. if you speak truly Cowman. lines. this rock Cowman. Indoors. It is high time to act. Lycus. How many of these strangers are there ? Cowman. into the house. Lycus. Cowman. . fellow. Seize all who are driven from the ! — . . . for the space). Lycus. ! . Well said to remove all cause of fear . point plices ? Where do they come from ? In them out I have a chance to catch them indignation.

ydp redvTjKev.ac/)opoviJi4vrj. 66 .] 1] vcKpolaLV ov crreWt? Sd/xapTa arjv. [xo. 7T[a/3a]KaAet ttoAiv <j}o^ep6s. [xo.\yoiv 7r]e0u/ca0' : cSv ovk 0*8' eyc6. CO? /u-ctTT^v Xoycoi . L. [am. [at. dA]A' ^ Ti. Tou. TTpos vjjLoJv. rcDr veavicov x^P^S50 [at. cu] yata Kd8[jU.iyw] 8e TratSa Ny/CTeco? deXo) (j)ovev\aai x^'-P^' ^^^^ '''^X ifxiJL ^tcrerai 40 deovs TO eKOfiTTaa TTplv (^lAoujVTtt?. P.] €KixavddvoLs [at.] dAaAa^eT[a6 are^yajSoai [ ] jtxe'Ao?. Nuktc^js Roberts. seems to fit the all but the 52 [eavdaLixov] Wilamowitz : fj. Tovro yap diXoi 60 IxaBeZv. 45 <j>ovlois [J-aKajpiajv Wilamowitz.] /cAuets". [at. 6B^ dpKvojv dtSpjis". 41 D.] TTiv 8' [at..] L[S]rji [t]lv^ dae^rj ^porcov.] TT/ao? Katvov av Xeyeig KaKov. irX-qyels Treaelrai] rrjvS' dvd areyqv rdxo. [xo. tS] 7rpoCT77-[oAot Spa/Ltd] i^re? o?3/c dprj^ere.at/JLaros 8t/c[a Tot St]/ca . 55 OLpLOL Oavovfiai irpos ev- hvolv acwpLpiaxos- [am.J ea ea* [/c]at 8[i7 TT/aos' €pyco](. dv Beds OeXrji.] oA/cots' [at.i^pdvtos' dAA' djJLOJS eXa^ev orav [at. L.ou d/3at[s"]. Schaal.] dv a>s" oAcoA' rjjjidjv vtto. ovras avjfi^dxovs ap-ox^eAeiS'. 39 Aa?i»a0e D. /c]at 77-dA[tCT]/x' ^AacomKov. . ye ravpeioiai Si. P. [am. xo. 45 [T]t[? €cf)vy€v Oejov. 42 Murray.LITERARY PAPYRI Xd^vad'. fiaKa]pLa>v adevo^ ^poxoLot KaraSei Tov dSiKov]' ^poToJv 8' ay T^xvais .] lo) fXoL [XOL. .

{A cry of joyful surprise. my servants. a sound of sorrow Lvcus. . my own hand soon find that the gods who used to love her. Oh land of Cadmus. As for the child of Xycteus. : . as she idly boasted are but feeble comrades in arms {Exeunt Lycus and the Conman. aye. 223 Nauck.. rescue me Chorus. P. she perished at our hand. Yes. {Also within. Ignorant of the toils. traces. justice long delayed.EURIPIDES house. catches is at hand I have no comrade. . Who did it ? I want to know was it you ? Amphiox. it cries .'' ! ! I ! ! ! ! men and Lvcus.') Have you no tears for yoiu! ! ! them Unhappy Death ! who Ues among dead corpses ? Lvcus. Dragged by a bull and torn to wife. corr. She — shall — ! . 53-55 Suppl. Be assured. if it be God's will. L. Are you the sons of parents whom I know not to be sucJi ? Iacus. Lvcus. The roof resounds. city of Asopus Chorus. What She is dead } Another grief for me to hear Amphiox. ! ! pieces. [Groans nithin.) Those youthful hands are turned to their task Lvcus. Listen to him look at him He calls to the city in his hour of terror Justice for murder done. Come quick.) Chorus. Wilamowitz. yet sees unrighteous shall slay her. this king shall soon fall wounded in the house. my foes are twain Amphiox. — — 53 opdt[jD.. The might of the blest gods binds down the unrighteous man in the meshes of a snare what mortal ever escaped from God by cunning Lvcus.) Chorus. eneaev eXafiev 11. 67 . «x/ra</m.

]eVous opfjiT^v.€V (T(f)[LV /xt^t/do]? i^epco Trepi.] Ti TOVT* ip€vv[d]is: ip veKpol? TTevaei daviLv. . dva^. Kal 7Tp[d)]ra p. 8' 'Afi(f)iova Z-qdcoL [raS' elJTTov bevTepov 0)77X10fievov Xvpav d[vojy]a 8ta x^P^^ 85 IxeX-neLV 6eov[s (x}t]Saiaiv eifjovrai he aoL TTerpai t [e]pvp.evai hevSpr] re fxrjrpos eKXnrovO^ e8a»Aia. . • aJTrapvrjraL rdSe (Herejbllorv small fragments of three lines) airrrj t€ heivrjs [avfi(})opds °'' d7Trj]X\d'y'r) 70 nalBds T€ TovaS' u>v xP'h [€cf)7]vp€]v [/cat] ovras e/c Aid?. *Ep/xrj? dva]^ 'AjLt^tov [elvToXas Se aol o M]atas r[a)i. av p-ev [[ TTvevpua iroXepiicov Xa^covf. darv ]vTO 8' 'la/Ltiyvdv Trapa irrrdalToiJijov TrvXaiaiv i^aprvere.^€V(X)L TCUiS' €K Al]6s K-^pvylix d(f>LK6ixri]v (f)€p(X)V. vfiels S' [e77e]i8av oolos ^i KctSjUou TrdAt? XiJOpelre. re 65 p. KeX\€VCD [cf)6v]iov e^op/x[a>/i.v TO AlpK-qs ovoii eTTcovvfJiov Xd^r)t Kpi^vTjs [dTTojppovs. d)S Zeu? ifxetxdf] [. [TratSe]?.LITERARY PAPYRI [am.val ixovaiKfJL KrjXovp. 75 OS hieiaiv dareojs 80 irehia r\_d Qiql^-qs vhaaiv e^aphcbv del. a/couetv yQovos [xovapx^av cKovra hovva[i rotaSe KJaS/xeta?. (hs d. [epmh2 Travaat. orav Se ddnT-qis dXoxov els irvpav ridels aapKcov ddpoiaas rrjs TaXanrcopov <f)vaiv ocrrd TTvpcoaas "Apeos els Kp-^vrjv ^aXeZv.

go. the son of Maea. 85 Wilamowitz. . Stop. how Zeus embraced her Amphiov. And you. And when you do your wife's obsequies and set her on the pyre. . Schaal. and establish a city with seven gates beside the Ismenus.EURIPIDES out Why ask the question ? Die. Now first. : 66 rfoitSc D. King Amphion. 73 Wilamowitz. and freely give to them the throne of Cadmus 's country. a}napvrfTai Roberts. t' iKTieiTX-qyiji\€v<t)i 68 Roberts. receive from her the name of Dirce. and mighty rocks and celebrate the gods in song shall follow you. P. that goes through the city and ever waters the plain of Thebe. Your task next I speak to Zethus I command Amphion arm his hand with the lyre. L. and trees shall leave their abodes in Mother Earth. cit. when you have gathered in one place the limbs of your — unhappy queen —bum her bones and throw them . whom she bore to Zeus. when the city of Cadmus is purified. Roberts. 67 raJtS' €k 69 [kowk a\napvri<n}i Schaal 72 [kou] x^ovo^ IT ace. {Here follow small fragments of three lines') and herself was freed from distress. 69 . I will tell them their mother's history. sons. — . and find the dead Hermes. among ! ! ! : . 83 Obscure and perhaps corrupt : see 84 Roberts. . into the spring of Ares so shall its outflow. loc. You shall obey them. spellbound by your music. I command you Stop. making . your murderous attack Hermes. to Roberts. and discovered these her sons. . speaks I come with orders for you and a summons from Zeus for (your victim) here. king.

99 els <f><x)s Blass. Kparvver dvr epiov rrjabe x^ovos Xa^ovre KaS/xou aKrjrrrpa' rrjV yap d^iav a(f)6jiv TTpoarWrjcnv Zei)? eyco re avv Ati. Berol. iii. *Schubart-Wilamowitz.T. pr. XevKCO be ttcoXco to* Ato? KeKXyjixevoi rifia^ p-eyiaras e'^er' eV KaS/xoy TroAet. p. xxiii. 11 [Parchment 2-3 a. von 70 . .] Trdpeare /cat t. c5 ttoAA' deXTTTa 'Lev ridels Kad^ rjfjiepav. Plate 30a.] XeKrp' 6 jxev Qrj^ala A[7^i/r]eTai yaficov. Plate IV. Ire vvv. 2. Text V. See Schubart. e8ei^ag [els (f>cos] rctaS' d^ovXlas ifxds /cat 6 8 • eaa(f)pa[. . 164. €K f^pvycov KoXXiGTOV e\y\vaTrjpLov 95 rrjv TavraXov TraiS aAA' oaov rd^LCTTa xp^ aTT€v8eiv deov Tripufjavros ola ^ovXerai. 73. New Chapters. .d. Hunt.P. Xvct) HO 8e veiKT) /cat rd rrplv veTTpayp-eva 100 iaa<j>pa 94 ydiiwv edd. *E/)^[7^i 8]e [TTtcrut'Jos" "Apeos els Kp-qvrjv 10( [^]aXco yvvacKa Odipas. rjvpe iJiT]vvTrjs xpovos • 100 0eu8ets" piev rjpds. PickardCambridge. [at. 90 oSnep T08' evprjfx eo-. .] KPHTE2 Ed. Roberts.LITERARY PAPYRI cuar' eyju. AlpK-Tj Trap' dvSpcov vurepcov KeKXrjp^evrj. C. avv S' iyoj 8180)1x1 ctol. 129 . Qu. Berliner Klassikertexte. Graec. Pap. F.rid boKovvras ovk elvat Ato?.[a]peiav reKTovcov Qiqaei X^P'" 7j€vs T-qvSe TLfirjv.^^?. ^AfX(f>LOJv ava^. 1935. t'^ct[8' ottojs^ davovaa yrjs vaapioiai reyyrji Tre8ia Qrj^alas x^^^^os. a(f)a)iv 8e pirjrep' evrv^'Tj.

]tp7 Apf9f €aa<f>pay{oa[s] (Roberts). .] n. and enjoy great honours in the city of Cadmus. and probably mythographers too. Perhaps . edd. your mother fortunate. day by day. this play had survived hitherto only in a single quotation and a handful of references. Go now. vid. . Obedient to Hermes. Time the revealer has shown that we are false. CRETANS Arnim. Et. Rev. 22 217. King Amphion. you have discovered to the light my foolish plot.. . I never thought them sons of Zeus Live here among us. You shall both be called the White Steeds of Zeus. the other the noblest bride of Phrygia. My els quarrels I dissolve. when I have done her obsequies.EURIPIDES This honour.]<7 [. me also. Gr. Ignored by anthologists.d. 71 ...[. Zeus grants you the dignity and I grant it with him. you owe to Zeus. I will cast the ashes of my wife into Ares' fountain. and my former deeds [. ut hoKovvras Ep/ii. 106 'Ap]fos . O God. . For marriage. and rule this land in my stead. that from her grave she may flood this Theban plain with flowing waters and be called " Dirce " by men that light labour for the builder's hand. Eur. 1915. [Parchment 2-3 a. 28. . Suppl. . one shall \\'in and wed a Theban. take the sceptre of Cadmus. <f>u>g. From Ar. Roberts : 'Epfiiji [Se ireiadels Schaal. lexicographers. Now make all speed.] Croiset. . and to ! come after us. the inventor of your gift.. for Zeus has sent you all his will. ye'voj SoKOUvras: es (fipdropas.. daughter of Tantalus. Lycus. through whom are brought to pass so many things unlooked-for.

IJTERARY PAPYRI Ran. Hi. he asserted that the gods would fulfil whatever he might demand of them. The outline of the story as it was known to later mytho- graphers {Apollod. V. Minos has Just discovered the new-born Minotaur. Tov Mlvo) 8ava iraaxovra em ttIs aKrjvrjs Koi eponos ev aiaxvvrji TTjv oiKiav avTOV Sta rov Trjs Uaaicfidrjs yeyevrjfjievrjv). toe learn that its plot teas concerned with the passion of Pasiphae for a bull. Libanius. For an instance. 849 Schol. we hear that the play included a monody by Icarus. 1356 Schol. p. To prove this. Decl. combined with the evidence of Etruscan urns and a sarcophagus {references ed. Minotaur. Nauck. Pasiphae defends herself. Ran. pr.F. suggests that the plot covered the punishment of Daedalus. Malal. Hi. vol. p.G. 86. see ed. 78). In our fragment. cf. From Ar. who allege that the fault lay chiefly with a confidante {v. 78 n. 6 . p. 10 . with passion for the bull : with which she was united. and sacrificed another in its place {or Poseidon else made no blood-offering at all. and the birth of the Minotaur (cf. 1). he prayed Poseidon to send up a bull out of the sea. T. 1. p. Minos discovered the monster and imprisoned it in the labyrinth. bull to join his herd. promising that he would then Poseidon heard his prayer : but Minos sent the sacrifice it. therefore inflamed Pasiphae. But Minos condemns his wife and her accomplice 72 . p. 31. who made the wooden cow-frame in which Pasiphae enclosed herself. wife of Minos. pr. and confronts Pasiphae with her abominable sin. 472) consists of introductory anapaests recited by a chorus of Initiates devoted to the service of Idaean Zeus. 64. with the assistance of the Chorus. after enclosing herself She gave birth to the in a wooden frame shaped like a cow. the son of Daedalus : this fact. 375. The solitary quotation {from Porphyrius. Joh. p./r. 8 pides' play) —not necessarily following Euri- was this : Minos defended his claim to the dominion of Crete by the argument that the gods had given it to him. 47).

EURIPIDES dungeon. They counsel moderation. rescued Pasiphae {Hyginus 40 : Pasiphae remains at liberty). Xeyeis : Kal TpaytKov). if not supreme. On the contrary our fragment makes it clear that the characters of Minos and the Chorus were contrasted in a manner uncomplimentary to the former. see Mr. At the end of the play. The men of peace and self-control are clearly opposed to the violent and brutal king. Minos cannot ignore the Mystics. 199. pp. 35-39 are not ironical they refer conduct about which the earlier part of the play will have given more information. and bade Minos conform to the discipline of the Chorus^bretold that he must soon become a man of peace and piety. thought) Euripides employed a chorus of Mystics in this play in order to attack the doctrines which they represent. importance in the action of the drama. not after Minos or Pasiphae this fact alone proves that the part of the chorus was of great. pr. who has but lately ascended his throne. Guthrie's admirable Orpheus and Greek Religion. a wise legislator and a great ruler of his nation. a divinity appeared ex machina. we can point to the title Kpijres in support of Croiset's theory. perhaps. then. If it be thought improbable that the Chorus played so important and integral a part in the play. according to the Tragic convention {Plato. There is nothing to suggest that {as ed. is portrayed as a savage and barbaric despot. Ill. mercy and self-control. IVIinos 312 D PaSdfiavdvv yi <f>aaiv StVatov avbpa. fj-vdov — 'Attikov. The play was named after the Chorus. On the relation of the Chorus's religion to Orphism. Vv. Minos. for they are the high priests of his father's temple. 7S . w ^eXriare. rov Be Mi'vtoi' aypiov Ttva kox xaXeirov koL aSiKov. Nothing is certainly knoicn of the sequel but Croiset's inferences from our fragment are both interestto the ing and probable. With this character. to barbaric the Chorus stands in sharpest contrast.

ioTL 8' ovx iKo[va]Lov KaKov. 25 Kaireir* dvreis Kal av p. L. P. L. he Kara KaKov. is 8' e'ju. Biichener. nA5I*A[H] apvovixevrj fxev ovKer av TrdvTcog ey[a>] yap yap el rjSr] SrjXov ws €xei raSe.apTvpr]t deovs avros Ta8' ep^as Kal Karaiax^vas ipi.ivri rovpiov Xadpaiav i^aivopriv vvv 8'.] ov yap riv* dXXrjv (f>rjixl roXfirjaaL raSe* av "fS' eV KaKcovf. TTiOoijxi ae. 18 D. 12. 74 . dXyw piv. Rundsch. (f)p6vTLaov €v KaXvipai. 20 haipcov 6 rovhe Kap* i[vi7TX'qcT€V KoJKcdv. ovhk TTalScov (f)[vTop^ eiKos t^v] ttooiv diadai' ri Srjr^ av Ti]i[8€ paijvoipyjv vocrcot. pev ev TrinXoLaLV rjv ISelv. 8e . (Kodris rjSeTM. 16 tSSe D. €/c TOivhi Toi a* vTTrjXd[€ Ka\TTeTeia\aTO SiK-qv HoaeiScdv. Kayoi pev rj reKovaa KovSev airla 2 Perhaps av Wilamowitz. YsjjTTpiv. P.€]rai.TToXcxip. 6 [xev dvSpl vpov^aXov Se/xa? ip. ]\^eue Phil.LITERARY PAPYRI [xo. ex^i yap ovhev eiKOf e? rt yap ^oos rjSrj opdojg av p-dx[Xo]s ova 10 jSAei/racr' (lis €V7Tp€7r'qs TTvparjs iB'qx^W ^^pov alax^OT'qL voaati.' iaKrnJj\ev raSc. e/c deov yap vpoa^oXrjg iprjvdprjv. dva^. ov prjv Sipa? y' evp\ydpov (Lhe v^vp(f)lov' TOLcbvbe Xii<Tpco[y elveK ei?] veSoaTL^TJ pivov KadeLa\r]i odjp' o8^ i^opyLt. eiffa aco/na fi-q 8 ndx[Xo]s Hunt. pidXiara 8* ovros oiae[rat xfjoyov ^porjajv dXX ravpov yap ovk ea(f}a^[ev ov KaTr]v]^aTO iXdovra dvaeiv <j)dapa \TTo\vri(x)[L ^e]a)i. ava^.^aiT7js" Kai Trap* dpupdrajv aiXas 15 otvaiTTov i^iXapTTe 7r€p[KaL]viov yivvv.

or whoever else was confidante. dared this deed.. D. for the fact is already manifest. Beazley. Ziintz ols f[8paa evopKos] wv Croiset. Consider. Therefore Poseidon has pursued you and taken vengeance and on my head this woe is fallen. 26 raSe cf. What could I see in a bull. which when it came he swore to sacrifice to the Sea-god. so shameful ? Was it the sight of his pretty clothes ? The gleam of ^^•ine-red light that shone from The beard that was dark his eyes and auburn hair ? upon his chin ? I swear my bridegroom was less handsome Is this the passion that tempted me into an animal's hide ? Is this the cause of your distemper ? I could not even expect to make such a • husband father of my children why. If I had given my body to a man. and hide well Pasiphae. And then you cry aloud and call the gods to witness you that wrought these deeds and my disgrace I. my There is no reason in it. . to wound my heart with such distress. . why was I likely to go mad of that malady ? The evil spirit of this king has loaded me too with misfortune and he shall be the one to bear the burden of man's blame because he did not slay that bull. L. 75 . corr." none other.]vofir]v corr. God visited me with madness so though I suffer. Soph. 507 (f>dafj. L. .ai]v6fxr]v : D. 23 raupov ms. ! . selling my love for secret hire. 226). that apparition. U : Sijra riji[8' efj. ! — : : : . I say that she. my king. P.a ravpov. the mother. Hunt. . 20 TLSr)TaiTr)i[ . . of Pasiphae. 27 KaTnixapTvp-qi Wilamowitz. ri \\'ilamowitz. 22 G. L. Denial will no longer convince you. ov D. sin was not freely willed. how justly were I then exposed for a wanton As it is. Tr. P. P. . .EURIPIDES Chorus. — ! " The nurse.

r^ MiN[fl2] ap' earopLOirai . (JT) yap rj '^[ajLiJaprta.P. Aoy.] Ed. 30 au cos S'. ov fxede^cov Trdai KTjpvaaets raSe.[8os:] yap d^iov ev^ovXos SiKrjv.LITERARY PAPYRI CKpvilia TTXrjyrjv Saifiovos deriXaTov. p. von Arnim. Suppl. [xo. 1908. 852.T. and III. c5 KaKiar* avhpojv (f)pova)v. Euripidis Hypsipylae Fragmenta. [ayo]vTes" 8]cujU. *Hunt. aapKos. 19. [(Ls pLJrjKCT^ €LaLh[cocrLV TjXiov k]vkXov.ov. vi.([es"* (f)po]vTi. pL\5. pr. no. yap KovSev [c5s" 'qSLKrjKores 40 Trjs (TTJs e/cart ^'(^/^[la]? davovpieda.€vr)- Xdl^vade rrjv vavolypyov. See Herwerden. av Toi ju-' dTToAAws". Kal TTjv ^vvepyov [xT^rSe.(jaov i^'S' ravpos] ^odi. 76 . 1909. €V7Tp€7rrj yap KaTnhei^aadai KaXd. 45 XOip^tre. /c[at 817] S[68oKTai] fir} dva^aXXeadai 12 [2-3A. 50 TO [ml] 7r/o[ay]/Lta* [vTyAJi^? 8' o[yTt?] PpoTcov.^7y[i 8' iro) (f)povpo]v[j. P.D.aTa»v' S' es" eao) aura? e/3[^aT' KpvTTTJ'qpi. Plates II (a) Y^mYAH Grenfell-Hunt. TTJg arjs e/f aov voaovfiev.] TToAAotat StJAop' ^ei^Aarov] KaKov avag. e77to-. a]va^. 1912. cu]? /caAoi? ddvqi. TOO eoTiv opyrjL [/xt) Atar etgrjij?. CTOt. XiTTrjis eXevOepot. O-ry. F. tt/jo? raS' etre TTovrlav 36 KT€tV€lV SoK€L fxiai(f)6v^ KTCtv'' eTTlCTTaCTat Se TOt epya Kal a^aya? avSpoKTOvovs' ejJirjg pLT] eiT (hfiocTLTOv TTJg TTapecrri' epdig (j)ayeLV doivdofievos. yvvaiKo?. [xo.

and literature cited there. 36 piTTTeiv D. 1921. . Hypsipyla. you are the cause of my malady. my king. let her go hence under armed guard Abandoned woman Seize her.] Eur. 1913. iV'eic Chapters. Eur. is she muzzled ? a bull does not bellow thus Away. yours is the part in it sin. and never pause Free and innocent of all. maddest of madmen. Roberts. if it is your will to slay me in the seas. H. 44 Herwerden. proclaim from heaven your wife's disgrace a proud and proper theme for exhibition to all the world. Or if you lust to feed on my raw flesh. Minos. that shew this curse to be the will of God. diss. you may Feast on. Come then. and her too. as if you will have no It is you who have ruined me.d. xi-xii. stay your hand The matter deserves your thought. the accomplice take them indoors and pen them in the dungeon so shall they look no longer on the circle of the sun Chorus. Leips. . pTirr' ed. Yield not too far to ! — — ! — ! ! passion. . Many the signs. Italic. pp. de Eur. pr. 1923. P. I am determined justice shall wait no ! ! — ! : : ! ! . Hypsipyla.EURIPIDES innocent of all. let her die her noble death. longer. 52 C. 48 Herwerden. L. My king. Pickard-Cambridge. 46. we shall die to answer for your crime. 77 . Chorus. slay on you are no no\ice in bloody deeds and murder of men. diss. 45 HYPSIPYLE [2-3 a. Well. Mixos. Morel. It is never good counsel to be ruthless. : hid the affliction that a spirit sent you. Berlin-Eberine.

ii. The Petrie Papyri. 500 sqq. B. fab.c. 57. ii. with such modification as later research has made necessary. ii. 1913. See Petersen. iii. Pap.fr. is a fragment of our play (iambic trimeters ending efi^av-^ TratSo? (Mopov. The story of the play was hitherto known from (a) the scanty fragments of the play {Nauck. p. Schol. p. Restitut. 156 Italic. Class. 43 . 17 {part of a choral lyric ichich included references to Dionysus).fr. Gr. 7]— line 700 of the play. Lit. Class. Cat. 4 . Nem. no. xlix (d) p.fr. The framework is dictated partly by the natural order of events discernible in the fragments. Kai <f>r]aLV KTaveiv. (d) P. iii. l 78 . efi. Schol. 1 col. 64.. Archie. Eurydice. V. 10: see Welcker. Brussels. 1 {metre iambic. . pr. 1914. See Milne. v. Milne. It is possible that P. ix-xi). 752-770) . relating to the death of Opheltes. 27.fr. 74 . 26. [161] ibid. : The following reconstruction of the course of events is based on that of ed. (c) Apollod. 2 {metre and subject unknown).M. . iii. 74 .ff. v. Pal. Tlieb. pr. (e) Hyginus. 1 {metre and subject ujiknown). Hermes. of iambic dialogue between Amphiaraus and Hypsi- =line 600 of the play. and Eurydice). Rev. 105 . UllypsipyU d'Euripide. but especially by the stichometric letters which are read in the margins in six places 8 : = line 400 of the play. (b) Clem. 49. {small fragm. Hartung. . ad loc. 6. 40. Trag. . (f) Statins. Eur. Alex. Rev. 557. 1893. [160].fr. 25 col. ii. 1924. (6) Mahaffy. The play was written between 412 and 406 b. Tobias. xlix (c) p. 430.LITERARY PAPYRI Korte. Italic. no. X = line 1100 of the play. (v. cf. 6 = line 800 of the play. irowas ottuis all of which would occur very suitably in a speech by e. Kai (firjmv Kravetv " she admits she killed him " would harmonize verj^ well with Murray's theory that Hypsipyle confessed her deed to Eurydice. p. subject probably dialogue between Hyps. 1928.(j>avrj naihos fiopov). 120 . 3 ed. 567 Lobel. pyle). (g) Anth. 38. Petrie no.

fr. They are admitted to the palace : Hypsipyle is left alone with Opheltes. Hypsipyle appears with Opheltes in her arms. The chorus quotes other heroines whose plight was similar to hers. son of Eurydice and Lycurgus. 1-200": Hypsipyle narrates her past history and present circumstances : she was formerly queen of Scene Lemnos. each with a lyric response from Hypsipyle. a seer. now nurse of the child Opheltes in the palace of Lycnrgus and Eurydice at Nemea. They knock oji the door. Ophelies (later Archemorus). well-disposed toward Hypsipyle. 64 col. Dramatis Personae : Hypsipyle. Chorus of Nemean Women. explains the expedition of the Seven against Thebes . 310-480 {proved by stichometric h). First Episode. and tells — " lines of the These figures in each case represent approximately the complete play. Hypsipyle refuses to be comforted {vv. and her sons). 79 (from the dialogue between Hyps. but worse. Prologus. and nurse of the royal child Opheltes. It Atnphiaraus. 200-310. and wife of Lycurgus. He makes himself known to Hypsipyle. They sing a strophe and antistrophe. 1-29 of my text). Hypsipyle replies that her heart is far away with the Argonauts and Lemnos. A chorus of Nemean women enters. 30-98 of my text). Enter Euneus and Thoas. formerly wife of Jason. She returns to the palace. to whom she sings {w. The chorus wonders that she is still thinking of her distant home while such great events are occurring in Nemea the march of the Seven through Nemea against Thebes.EURIPIDES =line 1600 of the play. queen of Nemea. Amphiaraus arrives. it. 79 . : Before the palace of Lycurgus at Nemea. Eurydice. one of the Seven against Thebes. but is to-day a servant in the palace at Nemea. Parodus.

intelligible : Hypsipyle text) then becomes.] Third Episode. she would thus emphasize her forgetfulness and carelessness later in leaving Opheltes exposed . pr. The chorus sings of the quarrel of Tydeus and Polynices at Argos . as "in vain was my comlikely that punction ! " cries Hypsipyle. Second Episode. and of their marriage with the daughters of Adrastus {w. of my text. Second Stasimon. 99152 of my text). 24-25. Sei'^w /lev 'Apyiioiaiv 'AxeXcoiov poov). other possibilities. but the objections to them are grave. 163 sqq. 78 above]. long before — Amphiaraus' s brief description of it {w. in thinking it more V. 700-770. and above all it is indispensable that the audience should be acquainted with the manner of Opheltes' death. 163-183 of my text). [Herein I follow ed. They depart together (w. pp. 206 {of my herself was the speaker. she found that a serpent had stung him to death. perhaps. described the stream to Amphiaraus. 770-1080. when she returned. Hypsipyle consents {Fr. in some detail. In the end. There are. 480-550. Thereafter Hypsipyle considers a plan of escape. See further p. pr. she resolves to confess her story to Eurydice {vv. between vv. how she left him lying on the ground while she conducted Amphiaraus to a stream. 1150-1350 of the complete play).LITERARY PAPYRI He appeals to Hypsipyle to the story o/Eriphyle's necklace. 550-770. 153-162 of my text). of course. Murray first explained. 248 sqq. She describes the death of her charge Opheltes. 753 Nauck. shew him a stream of pure water for holy libation on behalf of his army. Hypsipyle returns distraught. Vv. [Subject unknown. It is possible that not Hypsipyle but a messenger reported his death : but I agree with ed. meaning that her self-surrender to Eurydice had not saved her from the extreme penalty. {of my text) must be part of a description of Opheltes' death it is highly improbable that they are part of a passage in which Hyps. [Here there is a gap in our 80 . and how. First Stasimon.

Conceivably the sons were helping Hypsipyle to escape : but. and their position in the play fairly secured by the stichometrical sign for line 400. is not a very strong one]. EURIPIDES knowledge of the action. tlien Eurydice. it is hard to see how this could have brought them into contact with Amphiaraus except in connexion with the theory that they enlisted the help of Amphiaraus in her rescue. having yielded later to the plea of Amphiaraus. 1080-1150 {proved by stichometric X). We tread safe ground again at v. How this was done is obscure. course of events so far . Possibly Euneus and Thoas were appointed executioners of Hypsipyle Eurydice might well turn to them in the absence of Lycurgus . from which point the fragments and two stichometric letters define the course and position of events very clearly. t/i vain. f Fourth death. The Chorus sings praise of Dionysus and implores his aidfor — — Hypsipyle. But between v. that Amph.. Hypsipyle is led out to her She pleads with Eurydice. : their objection. [So ed. She is in despair I VOL. It is however possible to say this mu^h : corresponding to this gap of 300 lines. there must have been a scene in which his knowledge of her sons {whom he has not yet met) was explained.] ? Third Stasimon. since it is Amphiaraus who makes her sons known to Hypsipyle. 1100. a 81 . 1150-1350.'s return seems spontaneous. Episode. 770 and v. there is obviously a gap little to — in the action of the play. Euneus and Thoas to be her For Hypsipyle later recognizes own sons : these two must there- fore have played a part of some importance in the play yet so far they have done nothing except enter the palace in the Prologus. Or perhaps Hypsipyle sent Euneus and Thoas to fetch Amphiaraus to help her in return for her earlier courtesy to him. Whether one or two episodes are missing is of course unknown. 1100 we have very guide us. might mention them to him. if so. pr. There is not much doubt about the their nature is dictated by the frag- ments themselves. Further.

L.LITERARY PAPYRI when at the eleventh hour tcith deliberate Amphiaraus arrives and recounts Eurydice had charged : the true story of Opheltes' death.s eaopLcda roiahe.. ttvXoJs. Eurydice listens to him. TTpds S' d[AAo 817 TL 8aJ/x' d^opjJLdadai xp^aiv. Ale. dSeajTroTO? lines /^[ei' o]t/c[o]? dpcrevcov KvpeX tivo survive) 10 (A ferv [r'V.] missing : fragments of &0. [r^. 5 (TT€y[r]]s Kexp^jp-ed^ [i]v[T6s d]xOrjvaL. P. tjv. yvvai. yvvY] 8[e Ne/Ltea? EupuSt/cT^ rd vvv Kparel.(ei pL[ev]el. el exofxev Sv[va]rov rjlfuv vvkt e\yavXia]ai fxiav. AvKovp[yos avros rvyxdvei decopos c5v. Hypsipyle murder Amphiaraus explains that the death was accidental. after Eur. ex gr. caused by a serpent while Hypsipyle was performing a pious service for the Argive army. SQQ-5Q1. Kal yap hcLp-ar' ovk eVio-Tarat 15 [t*. He foretells the failure of the Theban expedition. D. a> v€avLa[i. (From [ryinTAH] the Prologus) ri^e[L Trarrjp ov] a7Td[vi' excov aldvpfiara a CO CTCt? oSvpjxoJv eKyaXrjlvi.eX (f\pivag. tjtls ttot eOA2 ri rcovBe [jLeXddpojv 8€[o/xe]vot TrpoarjXOiT-qv. viielg eKpovaaT' . 8' oaojv Set" T[t] 7ro[T€] Xv[7r]7]poi S6[fXoi.] -^KtaTla' ^evo\y9 df'^oidelv ov'S' drcfjid^eiv rdSe. ovK ev ^e[va)aL rotcrS' dp' dvaTravaaipied dv. and the institution of the Nemean Games in memory of Opheltes. 82 . del 8e [(f)iXiaL rov /xoAovt' iSe^aro. to he aov o)? e. 15-17 Suppl. 184-292 of my text). {xaKapta a(pojiv rj reKova . and spares Hypsipyle {vv.

8S . the house has no master here ! . gentlemen. v. that you come here ? Thoas. This was about 180 of the play (see ed. and they converse. He departs. He probably directed Euneu^ to go to Athens and found the famous guild of musicians there called EuveiSai {ed. 64 col. {A few lines missing : fragments of two survive) Hyps. It happens. {She observes Thoas and Euneus.). we -nlsh to be brought inside the house. We shall make no trouble here you shall remain undisturbed. Hi. [Subject uncertain. Father comes soon " Many a pretty toy he brings you to soothe your heart from sorrow. 2 ed. Dionysus Melpomenus was the object of their family p. who knocked on the gate ? How enviable your mother. — {From the Prologus) ! Hyps. cult {w. pr. : rather. 21.] Exodus. Dionysus appears ex niachina Qiis name is written in the margin offr. pr. we must be off to some other house. 28).— EURIPIDES ^Fourth Stasimon. — — ! to turn the newcomer away disregarded . . Lycurgus himself chances to be on pilgrimage his wife Eurydice at present rules in Nemea. Then we will not rest in these lodgings . Amphiaraus makes mother and sons known to each other. Lady. if we can lodge here a single night. All that we need. Thoas. 1375-1720 {proved by stichometric ir). 1350-1375. Hyps. no . whoever she was What need you of our palace. Ah. pp. we have. it welcomes • ever}' stranger. 293-341 of my text). 23).) Was it you. It is not the practice of this palace Hyps. pr. .

avydv 20 av^Tjfia ro aov i I [TrpoJ/LtvT^CTa'/xai. 6 tl 8' "q X^P*-^ V ^fpO'Treu/iara 7Tp6a<f)opa TraiSl vpeTTec veapwi. I ] 60S" ivoTTrpov [K€Xaiv]o(f)a7J Ttv' 8'] . rj 30 hpoaov cttI neScot jSaAAei? Ota re SouAa. ev- \i C07TOL9 »' 7J depaTTeiais. l8ov KpoTos oSe KpordXoiV ov raSe Trrjvag. :^ rav ^Apyoj rdv Sid aov aTOfiarog del KXr^it^opiivav TO xpvaeojJLaXXov 35 TrevTrjKovrepov dtSeis. reKvov. "q iepov Sepo? o Trepl Spvos o^ots ofifxa SpdKOVTo? <j>povpei. (Parodus) [XOPOS] Tl av TTapd Trpodvpoig. TTorepa SajjLtaros" eiadSous aaipeig. Moucra. jLteAet /Lte KpeKeiv. /JLvafioavva Se crot 40 rag dyxi-dXoio Ar^jjivov rdv Alyalo? eXiaaoiv KVpLOKTVTTO'S O^X^^' Seup' or' av XeLjxoJva Ne/xet[ov] CTrayei x^^'^^^''^'-^ ottXois 45 84 . ov raSe KepKiSos laroTovov Trapafxvdia KripLvia. ^t'Aa. 25 et? vttuov TaSe fieXcoLSos avSm.LITERARY PAPYRI {Fragments of tno more lines : then a gap) \yv [doiSrji.

L. while you grow from babe to boy. : ciTrdyei IT. 21 It seems clear that there is space for 3 letters in the gap. — (Parodus) Chorus. brings war apace. . L. — " The construction of npo^vrjawy.oj. over the meadows of Nemea. L. P. is 19-21 D. like the dark gleam that with song. 45 iirayn. friend ? Sweeping the entrance to the palace. armed with bronze. in the Greek text (because of the preceding gap) altogether uncertain. O Muse. Adrastus. corr. may " at the woo you. is mine to sing only what is apt to charm a httle child to sleep or joy or comfort this is the burden of my song. no song to comfort me beside my weaving. D. Look There. that rings with the thunder of the Aegean's rolling waters ? Hither meantime. fleet of foot. 24 11 indicates an omission here. .. sounds No chant of Lemnos. 85 . WTiat make you at the doorway. . rattle ! or with smile it and ! ser\ice. Uke a slave ? Are you singing of Argo's fifty rowers her tale is ever on your Ups or the holy fleece of golden wool which on the oaktree's bough the unsleeping dragon guards ? Are your thoughts with island Lemnos. beside the shuttle pressed upon the : web. P.— EURIPIDES (Fragments of trro more lines : then a gap) in a mirror I : Hyps. P. 34 fi edd. or sprinkling water on the ground. D.

6 8' eKaXeae /xeVo[s' [ [ 50 TTOLKiXa adjjiaTa To^a re ')(pvaea KOI IJiOVO^dp. 65 AavacDv Se TTOvoy? 70J xo.LITERARY PAPYRI *Apy€tov TTehlov 77a[pet? TO rds Kiddpas epvfia Tct? ^AfxcfiLovias epyov [x^po9 eTTL (I)[Kv]TT6Bas ''A[Sp]aa[ro]? ["-^PV doov.pr]Tav 86 .OV€[s deLpojjLevot. rore /xev Ta^yttXovv Tore S' elXaTLvas avdrravpia nXaTciSe /xot raSe dvjJios vheXv leTus".LOTp6(j)ov K. €T€po9 dva^odrco. ixeaoJL 8e Tra/D* larwi 60 'AataS' eXeyov ltjiov Qprjiaa' i^oa KidapLS 'Op^eoj? fxaKpoTToXojv TTLrvXcov iperrjiaL ice- Xevapbara fieXiTOixeva. rov a Tov TToraixolo TrapO• • • 55 €Vos Atytv^ ireKvcoae YlrjAea. Ttti. 77apa ao(f)a)v ckXvov Xoyovs TTpOTCpOV COS" CTTt KVpLdrCOV ttoXlv Kal TTarplovs So/zou? OotP'tKas' . X^l''^^ « • • [t^ &]paLKiav •]cr[ -IfJ-^vrjs opovaas €7?' otSfxa yaXaveta? TTpvpvriaL dvdipai.Tupt'a Trat? EupOJTTa XlTTOVa CTTC^a tepav KoypT^TOJV Tpo(f)6v dvSpojv. lS.

father's how she of old her home and city. ' Of the ship Argo. This. Hyps. . . and » « Thebes. left Phoenicia and went over the waves to holy Crete. cables * make the fast : he. cf. playing the rowers a measure stroke." maiden of the river. Sarpedon. ' ^ Asopus. has sum. . uSeiv Beazley. . Usually P. Chorus. 823-824. . . known before 87 . . is her grandson. . Wilamowitz (though Alexandrian poetry). Peleus. Minos. : the song that my spirit is eager to chant let another sing loud the labours of the Greeks. Thracian speeding to . Ph. I have heard wise men relate the tale of left the Tyrian maid Europa. . 67 not elsewhere iSctv IT: corr. . moned earth the might . He . . and marching singly rise . where Zeus was cradled and the Curetes nursed." work of Amphion's hand. Rhadamanthys. blazons manifold . over the swell of the calm sea.EURIPIDES (he is past the plain of Argos) against the lyre-built fortress.'' Beside the mast amidships the Thracian lyre of Orpheus rang with an Asiatic dirge of sadness. Three children * she bore. son of Aegina. Eur. and over gilded bows . Q2 'Aaids 11: corr. tliis is for their long sweep of oars —now a SAvift now a pause for the blade of pine.

.d Trddea / yoos -q /Lte'Ao? rj Kiddpas cTTt SaKpvat p-ovcf* dvoSvpofieva jxerd KaAAtoTra? 677-1 TTOVOVS dv eXdoL Tis dv rj 95 [xo. LITERARY PAPYRI a T€KV(x)v dpoTOiaiv rptacrolg eXivev /c/3a[T0?] Xi^poL9 t' oX^lov apxoLV.] o) Zeu Neyu. rav 770(71? CKra. [en CT6 ovk] dTToXeLipei rov Trjarepos Trarepa [pvaeadai tto]t^. KareOprjinrjaev doihais. (f>tXa.ov av' rovaSe So/aous" dXaos. ^Apyeiav [oicr]Tpa)i 6^ irepav kXvco ^aaiXeiav 'Ico 80 [TrarJ/jas" apitjAs d/Liet^ai \Kep\aa^6pov drav. \Tav]r* dv deos els ^povTiha drji aoi. (First Episode) AM*iap[ao2] cos €)(6pov dvdpoiTTOiatv al r 88 iKSrjpiiaL . ddvarov f eAa.ea? rijaS' dXcros €X(jov. avTiKa 8'] (x)KVTropo[s] fieTavtaaerai (Fragments of six more [ry.^^- icrdrJTi aa<j>€is rrpos (TTeL-xpvras €p7Jp. 100 TLvos epLTTopiaL Tovcrh^ eyyvg opd) 7reAaTas" ^eivovs AcoplSi TreTrXcov . to piiaov. 85 \aT€p^e[C\g I^XttIs S' hrj.^e* rd 8' ip..] lines : then a gap) 90 -vepLov dyaye ttotc Kvvayov re YlpoKpiv.ex^i aedev [a)pav.

If God set this in your heart. (Fragments of six mare then a gap) Hyps. brought of old. iii. sang a lament for Death was her portion but. for what are they them close. beloved. 89 . 1. 85 Suppl. what music of mourning l\Tes and weeping. you that your father's father '^ shall save you swiftly journeying.'' . Radermacher. though Calliope assist. — ings ? Chorus. " How hateful to a man is travel : and Elay). soon He lines cares for you. for my woes what wailing or lamenting. approaching : — toward the palace they stride through the lonely grove. changed her state to horns —her doom. Apollod. Another stung far c3iTry from Argos. plainly. royal lo lordship of lands. 15. and comes in quest : . . lord of our business Nemean grove.EURIPIDES left them empire and happy too. daughter of Erechtheus. Dionysus (who appeared ex machina at the end of the " Procris. I hear. (First Episode : Aviphiaraus enters attendants) rvith armed Amphiaraus. gadflyfrom her native land. could approach my sufferthe huntress . accidentally illed by her husband Cephalus while hunting. whom her lover slew. Procris. . come. . these strangers ? I see in Dorian raiment. Zeus. . the path of moderation shall content you : and Hope shall not fail still.

TTarpas"'. et ye] ctov ^e'p-t? fxadetv.. vbojp )(^epvi^a deolatv o[8ioi'] a>s" yap vSaTcov i^a/xar' ou SieLTTeTrj.^^ot'ds". CO ^evr].\. jOUToi^ (XTracn^? alpedels 'AaaiTTta? ecrrt KA'>7t8oi}.^Tai. TLVOS Tab' dvSpcbv ijLr]Xo^oaKd Sdj/xara OAetoui^Ttas' y^?.(eatjLte^a. /carayetv [ry.^ov'os" TTOta? a77o. CTTaraiv 120 T¥. eprjaofiai.^o? TOVTTixojplov Ato?. Mu/CTjvaiv eafiev 'Apyetot yevos. rives p. [t*.oX6vTes /cat [am. opta 8' VTTep^aivovTes et? dXXr^v )(d6va 125 oTparov TTpodvaai ^ovXofxeada AavatScDr. [yap 6L>]pp.VKOvpyov fieXadpa /cAT^t^erat raSe. 'n'inTA[H] oA^ta A. 115 OS i^ AM. ay 8'] [ a>[v rt's Ja? drjpdis 90 .[77/xea]^a Trpo? Ka8p. il[oXvv€t]Kr] OeXovres (f)vy]d8a [am. yvvai.ou [i^J/Ltet? TryAa?. 105 110 /cat ct'.] e/c TCtJV' . Xafielv [xJpW'^^otJ/Lt' av eV KpcoauoZs .LITERARY PAPYRI orav T€ ^peiav elaTrecrcbv ohonropos aypovs eprjp^ovs /cat pLovoiK-rjrovs iS-qi avroAi? dvepfJLTjvevTOS airopiav e^iov OTTrjL rpavrirai' Kafxe yap to 8va)(€p€S Tovr' ela^e^rjKev dafxevos 8' elSov So/xou? TouaS' iv Ato? Aet/xcDvi Ne/LteaSo? . Ti 8e arparevead'. etre SouAt] rotcrS' i<j)iarr]Kas hofxois e'lT ovyl hovXov aajjx' e)(ova . vopiil. [et TTco? ^eot 7Te[nTOL€v ejvTvxoJS. OTpaTOV 8e TrXrjdei ndvTa avvTapaaaeTai.

Mycenae for the . where ! ! — : sheep are pastured in the land of Phlius Hyps. And who 130 oAAwv are you. . I ask you what man is called master of these halls. if only the gods may speed us with good fortune. Hyps. no informant. ? Men call it the happy dwelling of Lycurgus. all muddied by our unnumbered host. clear. 91 . god of our pitchers from running our country. ^^'hy do you march if I may learn this of you ? Amph. to pour the traveller's Ubation to the gods. or not a slave. To restore Polynices. we wish to make Danaid army. Hyps. It is my wish to fill waters. we are Argives . lady. ? tnj/iov]as OT)pdi[s AajSeiv Hunt. We have set forth towards the gates of Cadmus. ^^'ho are you ? From what country do you Streams of standing water are not come ? Amph. now in exile from his — — land. elect of all Asopia to be the priest of Zeus. to see ! fields empty No city. crossing our sacrifice frontiers to another land. madam.EURIPIDES in the wanderer's hour of need. Amph. How gladly I saw this house in the meadows Now you whether as slave you of Zeus at Nemea watch over the house. so eager . Hyps. . no way and solitary homes Such vexation is now my of knowing where to turn own.

C. [I'y. 147 €t[7rc/) 'i^v' d^toi yvvrj. ou/c e]crTt vd[CTTO?] (^^[Spt Taji8e 77pd? Sojjlov?. 150 Ti 8-^]Ta ^yetv [8et ctc Kardavovfievov 139 134 D.] Apfiovlav KaS/nos" ttotc. Arnim. (f)LXcov. ci)[? TJKovaa. ^a[v'acrtjLtor fx . who discovered that fr. (except 148.] i^/co) 8' [otTJTror' eV [fJidxt]? rrdXiv. C.] TTodev [jl[ ' [am.] ravTrjL BlScjo^lv opfxov ^AcfipoSirr] KaXov. 145-150 The text here is that of Italie.^e [am. XRV^H-^^ °^^ ^^^ [am. LITERARY PAPYRI [am. fJLavTts:] ^Aix(f)Ldp[€cos eyo). lines) e]8e^aT* ouv e^ovaa 8v[o<f)rjp. [am.] 140 deol Oecov yd[p TraLalv eu/xevet? del. . ets" 145 146 148 [am. 1924.. 92 .] yv\yri OTpareucrat [ry. by Italie).] cyrjpi' 6 KXe[t.' ocTia <f)[povova . [am.] TTots Ot/c[Aeous" rot. yvvai. [yy.B. [am. (Fragments of two [t¥. roJv Oeolg [am. 43.] IloAuScopos" ou[v e/<:AT]t^e^' ou^ auTcai' ydt'o?. TTCTrpw/jLevog 7raAa]t aa(f)Cx)s [ctoi] ^avaT[os' [am. [ti'. eSeJI^a^'.ov kXcos. 49 (Hunt) belongs to these lines. H. etVorco?. •^ /cai 135 [t¥.] 1^ Ar)iJi.] Toyrou Se 7rar[s' tov opfiov Act^Sa/coj. after Arnim (ou 6eXovr' ^vdyKaaev).] /u.. rtvos KcpSovg )(dpLv.[vla )(jdibv ovx ^kovt rjvdyKaaev.] . [t*.(/317 ya/3 arpareveiv [tf. [t*. P. Zuntz 145-146 post 147-148 Roberts. Roberts and Dr. L. see Lobel. The supplements come from Mr. TTopevreov.] ei 7TOV Beds (f>v[9 dei e'Se^ar'. 'Yi/jLTTvXrjv edpcipe {xe. ecr. On Uovaa v. G. ovofJLa [to gov vvv Kal yevos Xe^ov. ei? i^v ti?.] e8e^[a^' op/xov X^P^'' ^oXvveiKovs Trdpa.v6s [ry. 145.

whom the gods Amph. . ? Amph. I have heard. She took it I shall not return from war. My ? wife compelled me — against my will Hyps. there is no homecoming. lady. His son was Labdacus lace. . divinely endowed just. Famed Cadmus took Harmonia once wife to Hyps. if you must surely die? : . Divine of birth. Death has long since been your certain fate? Amph. your name and family.— EURIPIDES —— Amfh. Hyps. I Now tell me. Hyps.. She took the chain then. am Hypsipyle Lemnos was my home.. She was given a necklace by Polynices Hyps. Amph. Hyps. For me. With honest purpose. though she should earn dishonour ? Amph. Whence came it . Aye. 9» . Polydorus was the name they gave their — son. Amph. I needs must march my wife demands it. Hyps. Why sacrifice then. Amph. or had she some hope of profit Amph. God is generous to a child of God. So you must go to fulfil an oracle of doom ? Amph. To her Aphrodite gave a lovely necklace Hyps. son of Oecles. ! It was Amph. to march. loved ! He was one. who got the neck- (Fragments of two lines) Hyps. Hyps. The prophet Amphiaraus.

Adesp. cos eVi ^vpov eorrjKa [ dm[^t'] e^etv ot (j)6^oi 8' [e. These 153 8' eVotow] eV Hunt. rjvTTep d/i<^e7rei SpdKcov 77a/>oi/c[o?. Italic. first placed here by 154 sqq. Nauck 350. 151-152 = Fr. letters (After a gap of Jive lines. e/>t8[as" dd/x the first Stasimon) ] iv KOLTaiaL Trap* a]fjL€L^6fjb€V0L aiS[dpov r elp]eaiai 155 a^aydi KXiaias <f)V'ydS€s^ [re StjJAov TT\ep\l vvKrepov yevvaioiv narepcov Sopi dvfiov. (f)OLVLOLaiv ofjLixaai. supplements.€V€?.CTt )U.e. yopycoTTa Aeucrcra»[v.LITERARY PAPYRI [am. ov ^o/3[a>i (f)€vyova^ aet 7roLfx. come the initial of nine more) (From [xopos] vvK[r6s avXdi. 160 ^OL^ov 8' ei'[o]7ra[?] ^[aa]iXevs ivvx^vev "ASpaaros e)(cov reKva d-qpalv [^]ei5[^]ai (h'rom the second Episode) [ ] Kp'^vrj [o']/<:ta^[€Tat rts". are 163-167 Supplements even more than usually doubtful.)(oi. €7761 165 cty' iv [jSorot? eAtacrerat [rvinTAH] c5 0[iATa]Tai y[vvaLKe9. which leave hopl 159 almost inexplicable. Kpari re ^avOrjv cttl TTijXrjKa aeicjjv. 170 9* . d/JieLVOV'] oi}[8€ts" Kafjuaros evae^elv deovg.

: by D. €v poTois L. fugitives their homes. (From the second Episode) . and on his head quivers a yellow crest. the initial letters {After a gap ofJive lines. no labour. Chorus. married those to them and under* took to return them to their homes. . It is better so .. from Polynices of Thebes and Tydeus of Calydon.. and quarrelled in front of Adrastus's palace concerning their lodging for the night. 206-207. met at Argos. Cf. And King Adrastus lay in his bed he had the word of Phoebus. heroes in exile. Dear friends. that he should wed his daughters to wild animals ".^ ii. Statius. they revealed the temper of their noble fathers in battle.. and aKidCerai tis 163. Adrastus made peace between them and believing them to be the Lion and Boar who.. . an oracle foretold. 164. . courtyard in the with slaughter and stroke upon stroke of iron. ! . . where they lay . to suffer undeserving. when silent he glides among their . to worship God. would become husbands of his daughters. Theb. . 95 . Aen". herd . " I My terrors tremble on the brink master me. by strife night . come of nine more) (From the first Stasimon) . Hyps. answered strife . (except 164. Verg. HvpsiPYLE (?). . o/t/x. . 572. P.* In dread of him the shepherds ever turn to flight. 167 Arnim). There is a shady fountain and there dwells a serpent and watches over it fiercely he glares with blood-shot eyes. <f>oiv. v. fighting about their couch by night.EURIPIDES Amph.

H. KTavovcr* '0^eA]T7^i'. Petrie.aAA' drrepxojxai. (Fragments of one 9' ] TTaihi line) ov 8ia)[Aeaa?. (4) [tf.] TTOt STyra rpeiprji.] eyvcoKa Kaycb rovro /cat ^v\d^[oiiaL. : : 96 . [xo. (2) )75 [ty. 185 Wilamowitz.s el yap ^ (i^ fXOVOV. 187 D. 49c Petersen. (5) [xo. [t¥.Xd^vaaL X[6yoi. a dyov Hunt. *'175 KaKiov Wilamowitz. ii. yrj ^povpioiaiv iv kvkXoji. KpLvovQL TovTO Kal TTpodvpiia. Roberts . [xo.] (f)vXdaa€Tai. (From the fourth (?) Episode) [xopos] yew[ai' e]Ae[^as' ao)<j>povovai t' evrndrj' ev aco(f)po(nv [y]dp /ca/x' dpiOfieladali deXoj.] Se'Sot/ca davdroit TratSo? ofa 7retcro/i.] ovKovv drreLpos y & rdXaiva a\yfx<j)opu)v.] Ti S'^ra y' i^rjvp-qKa? et? aA/c[')7i' KaKcov. (3) [xo.LITERARY PAPYRI [xopos] eueA7r[i 8' o]i>Tt [prjix] e^ei? e[tVerv ^I'Aat?. [etptai]k[h] Tt TavTa Kofiipcos dvTt. P. [yd]p Ta[CTSe] 180 [xo. (TTilfiijojv Td)v[8^ L]8p[i.] TToSes" rls oe Seferai TroAt?.] Ti S' el Til/' evpoLiM [xo. which is kept by Hunt.] aKOTTCi. Arnim. 49. avfi^ovXovg [rv. The small numbers on the right indicate the sequence in 11.ai. 186.] (f)€vy€LV. L. Ta>v ifxcbv oaaoiv \j(apdv. 185-204 are partly preserved in P. Lit. {ji[aKpav C. for the /x[ see Milne. Bury. P. [t*. 172-176 rearranged by Zuntz. Supplements 184 156.s 185 Kal yovvaT* dfjLTrjexovaa ixr^Kvyeis pJjiKpdv. eoTiv ooTi? jSouAerat] SoyAou? ayeii'. Hermes. [ty. v]iKdi[s]' idj Sr) <f)LXas TOVTO y. first identified this fragment. Lond. oi)/c [oCTT]ts" e^d^ei fxe yrjs.

188 Morel. — ! . Why do you cling thus to subtle argument ? Why embrace my knees. I dread what ! I shall suffer for the baby's ! Chor. Chor. Where will you turn. in us you have friends to counsel Hyps. corr. But go Chor. The land is guarded by sentinels round about. Hyps. VOL. Have you no word of hope to friends ? tell your Hyps. Chor.• the fourth (?) Episode) {From true Chor. I will. 97 . Suppose I found a guide to take me from the land ? Chor. in son. • . Poor lady Already no stranger to sorrow Hyps. death..EURIPIDES Chor. EuRYDicE. You win : : that plan I abandon. whom you destroyed. Your words are noble. and plead so long ? You killed Opheltes. Reflect you. My feet and ready spirit shall decide. 189 Petersen. No man will want to guide a slave. and to the wise ring I would count myself among the wise. (Fragments of one line) and p. I know it well and will be on my guard. .•«. ! paths ! Chor. then ? What city will welcome you ? Hyps. Petr. Roberts. Fhght If only I had knowledge of these . WTiat defence from ruin have you discovered then? Hyps. to my 53)— avAa^cffoi P. who was my eyes' dehght .

TTOvaa tt^vS' a(f>ayds dvaaaa' rait yd/) evTrpenei a' ISdiV TOvXevdepov aoi Trpoaridripn. ctyere. Seafilav re elaopdis 215 /Lie irpds aoZai yovaaiv. jjl^ /xeAAco re dv-qiaKeLV. Sid ae ydp eXd'. /cat ak p.. [tt. npcoLpa Kal XevKolvov e^ dXfxrjs vScop ^Apyovs.] c5 Tvpds" ere yovdrwv Ik€tis 'A/u. oveiSo? dAA' 190. €1 Se KTavelv to t€kvov ovk 6pd[(Ui)]s Sokco..^td/3ea> ttltvo) 210 /cat 77-p6? 'AttoXXcovos rex^qs' Kaipov ydp rjKeis roZs epLOLaiv ev KaKoZs' yeveiov rrjs r [fi\vaai jxe' 8td ydp arjv aTToXXvpLai x^piv. o) 200 dpiq^ov.dprvpa 205 aa<f>€aTaTov Se^atr' dv i^S' e/xcDv KaKcbv. d)S aTroAAy/iat /ca/ccD?. ws Tov davelv fiev ovveK ov fxeya [arevjco. TOvp. r^ rod* eLTTopLrjv ^evots' OCTia 8e rrpd^eis datos (ov TrpoSovs Se t' ecn^t. olada ydp Srj rdp. 191 to * Apyeloiaiv "EAAr/crtV d[yp'ai]v ipLirvpajv 8t' Xevaacov P.ad[€LV roSe. nep. d7T0KTeiV[eir 190 KaKTJL opyrJL irplv opOcos npayfjia BLap. axfieXTrjix ep^ol jueya. davov/xeda. CO pidvri Trarpos OtVAeou?.LITERARY PAPYRI [rvinTAH] ovTCt) So/cet /Li[e.d. davovaav. Hunt. al(T)(pds fiiq /it' iSt^i? utt' atria? BioXXvjjiai. aiyais. rv-)(as Wilamowitz. iXde. tcu TratS'. rrjt (fivaei. Italic: tov Se 98 .6v TidTqvqp. ttAt^v oi) y ov ctt' ipialaiv dy/cdAais' 195 TCKOvaa rdXXa y' cos ifiov t€KVOV arepyova e^ep^ov. djuet^r^t S' ovhev co TctAatv' ey[c(J. corr. to Petr. ^iXojv ydp ovSev' CLaopd) TreAa? dans hofiojv jLte acoaef Kevd S t5 ivqiSeadrjv dpa. evrt [am*IAPA02] CTTLax^S. 194 ei 193 8e /lera Wilamowitz. ttJotvi'. ace.

and by your beard and by Apollo's art timely in my hour of danger you are . You that see the fortunes of the Danai in ! — . " assist Her " compassion " was the sympathy which led her to Amphiaraus or else her free confession to Eurydice.. at your knees. e<f>fpov frTw<j>€X7)fj. to slay me in evil temper. O prow of Argo. doom ! — : Hyps. queen. Save my life It is for your sake I am ruined and about to die. death is upon me. 197 €^/)/Sov wXevais no[ P. : Hunt (edd. Petr.a 11. Take me I see no friend at hand to save me. only for the false thought that I killed your son. falling here. It seems." as my own child. You are a holy man holy shall be your deed betray me. Come for you know my story and the queen may accept your word as true witness of my woe. in chains lately companion of your foreign host. . Is it your pleasure. and your name shall spell disgrace to Argos and to Hellas. before you learn all the truth of this ? \Miat. No answer ? Woe is me I have not many silent ? tears for death. my compassion was in vain. and water whitening from the spray. son of Oecles. save me. my own ! — ! — — {Amphiaraus ! enters) Amph.EURIPIDES Hyps. how miserably I perish O prophet. 1 and 2). O my two sons. see me not suffer death from a shameful charge For your fault I die. whom in all save that I bore him not I loved — — — great comfort. the babe I nursed. Amphiaraus. Now at your knees I implore you. Stop You that send this woman to her Queen of this palace you must be for at a glance I see in you nobiUty as well as grace. 99 . come. as you behold. Come. whom in my arms I fed.

ov rrpihe pdXXov r) to rijs Slktjs opcov.ai 8e (^ol^ov. 235 [eT.€K7T€pd)v missing : then fragments offour more) 100 . yuvai. alaxvvop. ala^pov yap ev jxev e^eTTLaraodaL rradexv. Kravetv fie TratSa KOLTTL^ovXevaai So/xots".] yvvai. ov 8t' ep^rrvpcov rexvrjv eTraoKco. tJkoj 8' dpT^^cov avpi<l>opaiUL ralai aals. }pv)(7]V 8' es dvhpos rj yvvaiKos ov KaXov. Tavrrjv eyd) '^eVetaa KprjvaZov \yd'\vos 8et^at 8t' dyvdiv pevp^drojv [ottojs 245 . Kapa' aco(f)pov yap ofxfjia rovp-ov 'KXX-qvcov Xoyos TToXvs Si-qKeL.] c3 ^eve Tvpos "Apyeu TrX-qoLav vaioiv ^^ova.[p ola]da. a> ^evr]. ei Ti ^ovXrjt. hia<f>epovd^ opdv.] elStos aJKyfiai rrjv rv-)(r]v 6^ VTreihoixrjv Trjv crfjv 220 a ireiarji t iKTreirvev kotos t4kvov.pJ dv e)8Aei/ra? Trapwv. eTTeiT aKovaov. rov rdxovg 8e tovS^ dves' els fjiev yap dXXo Trdv dfjuaprdveiv )(pea}v. vvv 8'.. TTpojTOV fiev ovv GOV Sel^ov.. ipevhos e'i tl Xe^op^ev. /cat 7Te(f>vx^ 225 ovtcos. arparids npodvpL' ..LITERARY PAPYRI AavaotCTiv. <j)r]al S' t]8' CKOvaicos TTapwv ya. hpdaai hk firjSev ev vadovra Trpos aedev. /cat KXveiv aedev OeXco Kal a* e/c8i8acT/cetv ovk dvd^ios yap el. [am. 240 [am. TO fxev jStatoy ovk e'x'^'^' '^^ ^' ^vae^eg. TO TTJcrSe rrjs raXanrcopov KaKov dyplcos <f>epovadv o* r\Tnov B\eoQai 0eA]a». 230 Koapelv t' ifiavrov Kal to. TvdvTUiV aKovaaa' olhd a ovra aa)(f)pova' ov yap TTOT els toS^ 6p. ^Apyetov {Three lines cos B[i.. [etTT-Je rrjiSe avfi(f)opav reKvov.

and stay your haste. it is my will to appease your temper. ! from all men's words I know your modest temper else you had never stood and looked upon these eyes. By me persuaded. this woman made known to us a sparkhng fountain. 246 [oTTcas 101 . unveil your head. tell her what befell her son You know it. Far goes the tale through Hellas. respecting not her so much as justice. if you A^ill. " : then fragments offour more) and to see essential qualities. . I should feel shame before Phoebus. Amph. armed not vrith power but piety. Now. stranger queen. lady. crossing the bounds of Argos . . For you deserve it. she says. And this. to do no kindness in return. Stranger. and all you must suffer because her son has breathed his last. (To Eurydice) Now first. Lady. ! — ! . I am ready to hear you and to inform you. whose art I practise through the flame of sacrifice. I killed him I made a plot against the palace Amph. and a discerning eye. that my gaze is modest. Err about all things else but not against the life of man or woman that is sin EuRY." Xdpat edd. whose land is Argos's neighbour. seeing you bear so harshly this poor woman's wrong : . that with holy waters I might (make) an offering for the army. And I am here to aid you in your distress. if I speak any falsehood. Of set purpose. (Three " lines missing Literally. you were there. — — .EURIPIDES the flame of holy sacrifices. For I should be ashamed if I had skill to ^^'in a kindness from you then having won it." Next listen. I knew before I came I divined your fate. . is my nature self-discipline.

evov KXveLs. a[ 250 Kai VLV rjfxels 8|0OjU-[ etAtfev d/x[^t iratSa 8' tSo[p'Te? Travrodev TTpoa^aXXofxev. ravrd pot 8e^at. direp Set /caret cfyvatv SieKTrepdv. 270 d 'Apyo[vs i^dyovcrt 7Tp6a(f)opa Sos . 259-260 Roberts. rj^et. yvvai. vratS' v(f)€Lix€vos jSe'Aet TjKovTia*.€iv a)GT€ KapTTLpLOV ordxvv. 8' oy. reKvov. Hunt). lines) (Fragments of two more TToXXol 8[e viKTjdevTes ei^ovcnv p^dx^ji Ka8/>tou [TToXirais' Travpos e/c ttoAAcDi' Aecb? 260 voarov Kvp-qaleu' (pev^erai 8' i^dpiov x^P^^ "ASpaaros.ri ravra Set ariveiv. t' "Aplyog €k @'r]^cov ttoXiv Itttol arpaTiqy\a)v eKaeacjapevog piovos.rjpi[lv TratS' delpivqaroLS rac^ot?* ou ya/3 KaO* rjpi\J. a 8' av TTapaLvdJ. 261 8' 275 102 . L. rd pev y€v6p€v[a Srj aa(j>dj's eTTtcrracrai.pav ye ravr' earai p^iav. eyco o erogevcr ''7/^tv lavrov rjv o avijvvTov 255 ^PXh y^P av [TTrjfjidrcov ttoXXcov ^avcov *Apx^l^opos opvida €[t? TO Aoi776v ovofMaaOrjcreTat. Kal Tov puev elvai rov 8e /X7y.(t cauTTyf? p^ovov d^7]ipedrj<. 256-258 Arnim {yovov 257). via avTOS T€ OvrjiaKeL' Kal raS dxdovrai PpoTOi. eiAco? ddi/jat 2-1. els yyjv <f)epovT€S yrjv avayKaiws 8 e^^et §LOV 9€pi(. 8' 'A/)yeio[i(n yev6p. (248 evaat deXovres Wecklein. P. 205 €(f)v pLev ouSet? oarLS ov Ttovei ^pordJv ddTTTGi re TCKva xdrepa Krarai.LITERARY PAPYRI 6va]aL deXlovres' dXXa Ketfxevov x'^fxal BpaKcov dali^fxax.8-254 D.

a serpent lurking struck your son with hidden sting. eager to sacrifice. P. . .EURIPIDES . and his death begins our many woes Archemorus" shall be his name hereafter. ground. . Aes. vanmany go. H. 277 C. . (275 omitted by a mistake in ed. Hie. ucoua' edd. Why should we moan at this. pier. . shall escape the foeman's grasp and come back from Thebes to Argos. but all to no purpose. 274-281 D. We rushed upon him ^Tapped his coils We. that only give dust to dust Life is a harvest that man must reap like ears of corn . but few shall come home again. 176 wccre Mss. attacked about the child from every side and I shot it down. He died. .T. I — — • The name is derived from archein (begin) and morot (doom). {Fragments of trvo more lines) Many shall yield to the : quished in battle men of Cadmus 's town. \\'hat now I counsel. . P. But.: i^frapi H. . one grows. but he must suffer he buries his children and gets others in their place then dies himself. . L. L. L. F. 278 Hunt). These things shall not be . take in good part from me. your own I tell you of a portent that has come to pass for Argos. lady. 6 tjkovo mss. the path of Nature that we must tread ? Give us your son. l^irapa Hunt.. as he lay upon the . another falls. And yet men bear it hard. clearly you understand. that we bringing from Argos all that our duty owes may bury him in a grave of remembrance everlasting. Alooe of seven commanders Adrastus shall be saved.P. No man was ever born. fr. See Aes. . D. 262 D. . 103 . when we saw it.. You have not merely lost a son. Roberts. pr. . and in Hunt. Thus what has come to pass. rjKere Porson . P. — : ..

g XPV '^^^ "^^ Trpdypiara OKOTTelv Kal rag hiairag rdJv KaKcov re KdyaOcbv 290 8e TOt? fJi€V aaxfypoaiv TToXXrjV e.LITERARY PAPYRI ToZ[s dAA' elg Tov ae[i hrjra TTTjixaaiv )(^p6vov crojis" ^poreliov irdv avvaXyrjaei yevos. rrjvhe 8' ovv Auaat ae rots' [8e aot? kXco^ (f>€pei' avv yap KaXwc a6[v. 104 . [rrpaJros cos on dp^as jjiopov.\. avTwc [aTrjaofxeada. KXeivos yap €CT[Tai ra^os iv dvdpcoTTOig o8e. irevdos reXei drjaei ae /cat TraiS' [et? to Xolttov ey/cAeets". 'Ap. . . <f>€pr]i. iv TWiSe fxev [Aei/xcDvi avXXexdelg arparog fivqad^aeralt. o) yvvai. X^P^^ am*tap[a02] TT^i' /Ltev Trap' rjpLCJV. Xpovivt 8' i^eXapupev evaixepog. (Fragments of two more [et. (f>vXXd8os are^dvovs 8i8[di'Te?* o 8e Kparcov Kad* 280 'EAAaSa dyoJvd T l^-qXcoTOs €ar[ai Kal Tre/Dt/SAeTrro? ^porolg. TOt? /LtT7 hiKaioig 8' oi)8e avp-^dXXeLV XP^<^^TTeiddj (From . the Exodus) jutav ai'a77aAti' reKva t' ava irpoxaaev o8ov 295 CTTt (f)6^ov €7rt eAt'^a?. NejLtea? /car' aAor[os'.)^e/io/30? eTTCovopidadr).etv'. c5 ywat. dvairia yap. xdpLV. aou TraiSos".] lines) TTpos rag <j>vaet.

105 . . One must look to man's character and deeds. in . . and award crowns of leaf the ^\•inner shall be envied throughout Hellas and all men shall look up to him. 287 irevflos D. and \n\\ make your son and you renowned for all time to come. in the grove of Nemea. lady.EURIPIDES but for all time all men shall suffer your sorrow. at long last she has shone forth serene. 282 Roberts. But this woman must go free. how he was called Archemorus. .. and the lives of the evil and the good and have much confidence in the righteous. P. (From Hyps. you gain " my senlce. . now to joy it turned us . L. L. my sons Now to terror. P. Amph.. : nddos Hunt. the Exodus) and me the wheel of Fortune has sped back again along a single road. but with the : unrighteous not consort at all. 283-284 Arnim. . A memorable tomb in the eyes of men this one shall be and we shall found Games " in honour of it. 286 D. lady. You The celebrated Nemean Games. 759 N. So in this meadow the host assembled shall call your son to mind. for she is innocent indeed she brings glorv to your house since your misfortune has a happy ending. 289-292 = fr. for a single day. because he first began our doom. : (Fragments of two more lines) EuRY. Thus. .

. era^av irarepa aov KaraKra310 Tore KaKCJv ld> reKvov. dechv Ttg co? aTrX-qaros "qv. el [xddois.] [tvJ] KaKeldev -qXOeg Sevpo ttws tIvi gtoXcoi. [et.et? OTpdrevpL ayovres rj^opbev Qij^a? em.ovs LKOfxav T eprjpLov KOLTav.] eV evrvylo. (X) ^€V€. d$lOS yap. LITERARY PAPYRI evet o actjt^' e^ol TrpoOvfios rjaO^ 6t* rjVTO^iqv i's aTTeSojKa Kayo) aoi Trpodv^x' Tralhe aoo. 325 ev€TT^ eveire jjiarpl crai. [et.iaiv eTpd(f)'qs d> oAAa . TctAaiva firJTep. TToXiov oTi TTarepos [etnhos] [t*.^et/Di. acfxh 8e rtjuSe ixrjrepa. Ol r<Fin[TAH2] TOI evSaipLOVOLT]?. opvidcov firj davelv. CO 305 T6KVOV. old re TopydSes iv XeKTpois eKavov evveras. 300 ovv av rcKva. cS tckvov.] a/cra? ^apv^p6p. ct' ovk erepuov Kapa. 106 . evBaLpLovoirjs Sfjra. ' 8' coGTTep cop/xi^/xea^a S?) Kai x'^'-p^S ''7f<. 315 [t*.] av CTTL S' e^eKXeipas ttojs ttoS' (Zare olSfia daXdacriov. [et. KdA. [t*.] -q yap vetv. vavrat Kconats ^avnXiov els Xcfxeva ^eviKov TTopov dyayov fie SovXocrvvas r' eTre^aaav.] OLfxoL firj 320 ivddSe Aav'atScuv jjieXeov KaKcov awv. arev* e/JLTToXdv. (jv TTCos" reKvov fie oSe t' iv tLvi reKvov.] diTOfiaarihiov y ificbv arepvcov. A-qfMvov TTOvrias. T*'in[TAH] aiat (f)vyas ifxedev as e(f>vyov.rcov 8e aa>v KaKOiv.p-€ Tcbv [et.^CDV ttoXlv. (f)6^os ex^i.] 'Apyco Kai toi^S' rjyay* els [t*.

But how were you and your brother reared. surely some god was insatiate of your sufferings Hyps. as you deserve (b) Aye. children. a weeping woman bought for gold by : — daughters of Danaus Eux. like monsters they slew their husbands in their beds ! EuN. stranger. set forth to do. my son ? Whose hand was it ? Tell me. banishment from Lemnos in the sea. And you how did you steal away from death ? Hyps. Farewell we must begone. Sons of Hyps. EuxEus. NaupUa and they brought me to servitude. and I in turn shewed Now keep your children goodwill toward your sons.— ! — ! EURIPIDES met mv entreaty ^^ith good^^ill. I went to the roaring beach and swell of the sea. my son. where the birds lie in loneUness EuN. leading our host to Thebes. O If you should know my banishment. Weep not in our good fortune. (a) Blessings upon you. Poor mother. safe and. Argo took me and him to the city of ! Colchians Hyps. rowed to a foreign harbour. oh tell your mother. because I cut not my father's grey head off. and lament Hyps. Carried by sailors. How came you hither ? What convoy brought you thence ? Hyps. blessings. keep your mother. I tremble for those woes of old Oh my ! I ! ! son. as we — . Eux. I share your sorrows. did they bid you slay your father ? Hyps. What. Tom from my breast 107 . my son.

-H. KaKo. eveire jxol reKvov. 1-12 also Grenfell-Hunt.] cTTel 8' ^Idacov eOav' ifxos. [et. 335 Kiddpag 'AataSo? StSacrKeTai. p. ijJiOig fjiiJTep. fr. P. col.et. Revised text in 25. N. TV. 125.-Wil. (a) Schubart-Wilamowitz. 1176. T€KVOV. Mus. Ed.)] Parchment 5 a. p. 37 . 85. TOVTOV S' is "Apecos ottA' eKOGpL-qaev pbd^yis. aos Trarrjp tckvo) Bvo. Trar'qp 330 TV.) A. 39. Aeqyptische Zeitschrift. Nauck. Rh.7y- p^arat?.^[iou] ye ju. ET. 78).] pLOvadv pie ipLoX^T ET. d. Hermes. Xeyeis. p. *Schubart-Wilamowitz. Akad. Ba[/f]. T^.C. oyijxaaLV. 13 [(a) MEAANinnH and [(b) 1 AE2MfiTI2 2 B. (republished by Snell. 1912.G. (Grenf. ibid. Berliner lUassikertexte. SaKpvd t StSoJS". Lewis suggested that the fragment which he published in Etudes de Papyrologie. See further Wilamowitz. vol.VLav.] 340 TV. Vv. (Schub. ©da? 1^ KopLit.d.] 'Op^eu? fie /cat tovS' rjyay^ eis" QpaLKrjs TOTTOV. 1907.] yap adacocTTai. Sitzb.] Tiva TTarepi TTore X^P'-^ ddXicoi Tidejjievos . 495.] oifioL.] aKrav Ar)p. v. C'f. belongs to this play but there is no good evidence for this ascription. (6) Blass. 390.D. pp. no. p. preuss. 153-154. nor sufficient for : Snell's tentative attribution to Melatiippe the Wise. Einzelschr. k. iii. T.LITERARY PAPYRI ET. 1880. V.] pr. xi. xi. 108 .fV fr.] St' Alyaiov 8e riVa nopov ET. p. Oxy. 2. d.

TTapeSojKC 'Apvrjv MeTairovriaii 109 . F. MELANIPPE CAPTIVE [(a) 2 1 B. by the skill of Bacchus. p. . son to your unhappy EuN. in who happened iv. . Beloch. Is he safe then ? EuN. 117. your father. 91 von Arnim. Petersen) PickardCambridge. Wiinsch. He taught Asia. Stippl.— EURIPIDES — EuN. disbelieved her story that Poseidon sent her to Italy in the charge was the father. ! of Thrace. to . son tears to my eyes you bring EuN. And what way Lemnos Aegean to the shores of Thoas. Mus. mother Hyps.-Wil. Hvps. Sic. 1931. 49. He of the king of Metapontum. New Chapters. ^evcji 67 A'oAos . conveyed both your sons Hyps. And when my father Jason died.P. . me my the music of the lyre of brother for jSres' weapons did you go over the ? Hyps. (Schub. Aeolus. Eur.y 5 a. discovering that his daughter Melanippe had borne twins.C. Hermes. be . father ? How Tell shewed he gratitude me.-H. Rh. Alas Your story is my sorrow. Orpheus brought me and him to a part ! — ! .T. 32 .d. iii. and schooled of war.D. Parchment .) (Grenf. . travelling tt/v Thessaly {Diod. 19. 604 *Hunt. Wiss. EiTNT. 63 (including notes of H. and [(b) A. Yes. .

Metapontius {as we will call the king) adopted them as successors to his throne " : no one teas then aware of their identity. so far held his peace. Years later. against whom she conceived a natural Melanippe disjealousy for their favour with the king. Boeotus and Aeolus returned.ovvTi. Boeotus and Aeolus. 110 . and plotted Autolyte. Our second fragment describes the assault of Melanippe. Melanippe bore twins.ov Arne is the lady who replaces Melanippe in Diodorus's version). who the Italian king. Hyginus 186 . remember the certain parallel of Eur. but reared by shepherds. npocna^as aTrayeiv els M. and imprisoned Melanippe who may have held some position of menial trust in the palace. like that of Hypsipyle at the court of Neniea.: LITERARY PAPYRI Kara tv)(t]v napeTnhr]fj.eTan6vTt.'s Alexander and the probable one of Sophocles' Tyro. who had reared them and knew their identity. the brothers of the queen : but not before these had explained to the youths their The plot failed. It is possible that the absence of the king may explain his kill — — queen's opportunity to act thus. in the hotise of These were exposed. covered the plot which was. who defended themselves successfully and slew their would-be murderers. iv. and heard (perhaps from the " If it seems unlikely that the king should not recognize children whom he himself had exposed in his own territory some years ago. [Perhaps the old shepherd. the sons upon " ignoble " birth —evidently the queen's brothers knew (per- haps the queen told them) that the youths were exposed children. the king's wife {Theano. that the queen's uncles should — Boeotus and Aeolus while hunting and learnt too that the doomed hoys were her own sons.^ But the queen learnt the truth. imploring her to assist them. 67) bore sons thereafter. heard the plot and discovered all to Melanippe. to destroy Boeotus and Aeolus. except perhaps an old shepherd. reared by a shepherd on the hills. Now Diod.

Pickard-Cambridge. as that very speech proves. cit.— EURIPIDES . chorus) that Melanippe was imprisoned for intervention on their behalf. found before him when he composed his play. This is a typically Euripidean plot : my summary is based upon the fragments themselves. and perhaps ordained a wedding between Melanippe and the king {who may have returned to find his wife and her brothers dead. the juanner in which Melanippe came to Metapontum. and therefore was about to punish Melanippe and her sons). if not always. On my view. posed. Melanippe may have played a part almost as important as that of Hypsipyle in the play which bears her name : her imprisonment may have occurred more than halfway through the play.) firsts the part played by Melanippe herself. we do not know. not paraphrasing Euripides' play . and she proved to them that We do not know how the scene was comit It is possible that was very brief {see below) : Melanippe greeted the youths as her sons . They liberated her. they were her sons. 67. the role usually assigned to her being given to one Arne. and Diodorus gives a version in which Melanippe plays no part at all. Second. but Poseidon appeared and told all the truth the god from the machine prophesied the wanderings of Aeolus and Boeotus. The person after whom a play is named is usually. All we can say is that the above summary {including a few traits from the fragments) is true of what Eur. How far he diverged from it. her release towards the end {after the Messenger's speech). and Diodorus iv. Hyginus 186. they were sceptical Melanippe had no sure means of proof . an important character in it. We do not know exactly how and at what point the suicide of the queen occurred. The above reconstruction solves the three problems hitherto held insoluble {but v. Thessaly is too far away : there can be no direct contact between it and Meta- — — 111 . loc. It is of course only hypothetical : for none of the fragments except the Messenger's Speech is very helpful Hyginus is clearly.

p. ravrrji rdv deals e^ei SiK-qs ndJs ovv XP'^ yvvaiKeZov yevos 112 . she must not know that these are her sons (a) IJidr7]v (Probably spoken by Melanippe) ap j/»aAAet et? yuvat/ca? e^ a. vavaroXovfieva eprjfjiLai 5 €GCo So/xajv acoi^ovatv. thouyh Melanippe must. Melanippe herself must have been in Metapontum from the start. ralg /xev yap iaT]L fujLtjSoAat' diidprvpa (Fragments follow of four lines. ending Kai dpvovfJLevaL. for this play. rd fjiepos yap Kpivcxi rdSc ^oi^ov re yap XP'r]G[XOLS 7TpO(f)r]T€VOVai Ao^LOV (f)p€va yvvalKeg. hei^o} S eycii. d-qXeia. iv yvvai^l 8' av^erat. 69) in this play : and Aeolus cannot have had any part in it. — Thirdly. dX\XrjXas ttovovs. 265 evravda Kai ttjv in of this play.] alaxvvrjv {(j)epei ovk €)(€i B). BoiuiTov. ravr^ iv dvSpaacv pcev ov^ ocrta Kadiarr^K . see Straho Metapontum) koI t6v MerdirovTov beaficorrjv fivdevovai MeXaviTnrriv Kai rov e| owt'^s and Wilam. ]ojTO£ eK^aXel yvvrj) vefJLovai 8' OLKovs Kai to. bear her sons in Metapontum. Akad. Sitzb. preuss. a S' e'ls re Moipas rds r dvcovvfxovs Oeds lepd reXeZrai. <f>rjycoL 15 diravra. {tvhich is certainly the scene (sc. oi5S yvvaLKo? ot/co? evTnvrj^ ouS' oX^tog. dpii^l S' dyvd AwSwvrjg ^dOpa S' iv deoLS av' Trpcbra [xeyiGTOV exofxev iv 10 Trap' lepdi drjXv ra? Aids (f)pevag yevos TTopevei rols deXovaiv 'EAAaSo?.vhpGiV i/joyos K€v6v ro^evjxa Kai Xeyet KaKoJs' at S' ela' afxeivovs dpaevojv.LITERARY PAPYRI pontum vi.

15 (j-evtv VOL. D.(p7ja/xo[t]j n. woman conveys the will of Zeus to all Greeks who may desire it. L.. P. (2) the play must have ended fairly soon {about 350 lines ?) after the Messenger's speech {see Wilam. L. 87). women expound Apollo's will and at the holy seat of Dodona. I 11 : fikv I 10 . As for the holy rites performed for the Fates and the Nameless Goddesses they are not holy in the hands of men among women they flourish all. : /lev ovx D. loc. {Fragments follo)v offour lines) They manage the home. (a) {Probably spoken by Melanippe) speaking and blame of women For they are better than men. and ed. 8o/:iOtJ ov edd. And in religion highest I judge this claim we play the greatest part. 4 Suppl. xce must imagine that Melanippe was liberated. n. Vain is man's evil —the twanging of an idle bowstring. cit. Later. and I will prove it. since none of the human characters could have given the necessary explanation about Melanippe's sons . : is their Beyond we cannot venture except to say that (1) the prologue mu^t have been spoken by a divinity {Poseidon). Oxy.EURIPIDES when this play begins. How then — — . So righteous is woman's part in holy service. and Poseidon spoke from the machine. — . p. and guard within the house the sea-borne wares. Berl. — . P. beside the sacred oak. In the oracles of Phoebus. Theano died. they this nor must they know that she must recognize each other. : 113 . mother. No house is clean or prosperous if the wife is absent. Their covenants have no witness . In this interval. pr. .

ol r* TTavaerai ijjoyos dyav -qyov^evoi 20 ipeyeiv yvvaiKag. ^odi 84' Kdv eXelv irpodvpLos cov. ov^i' Haraios Trdaag avhpcijv. ws 8' ovK e<j)aLv6p. . a»s" 8' '^ie[t p-dxjl atyiq t d^' rjfioJv. hiopiao) Se TtDt Aoya>i* KaKLOv ovSev yiyverai yvvaiKos. iadXrjs S' ovBev et? VTrep^oXrjv Tri<f>VK dfieivov hia^epovat 8* at ^uaci?. 35 OL 8' elg rov avrov ttItvXov TJTTeiylov Sopo?" TTerpoL t' ixd)povv x^PH-^^^^ ^' '^[p-d)v rrdpa eKeidev. avTov ndXiv vvooTpeipa? TrdSa drjp' X^P^^ Bpop. 25 {Spoken hy the Messenger -^v to the Queen) jSe'Aos [atfeaos] tLs 6 rdlpyov ToSe [xjedels ejxoL. TTj? p.aiav.o t'cos". 114 . Kov Set Tu/)aw[a aKrJTrrpa Kal dpovovg Xa^eXv 20-21 For the construction 45 (apparent omission of «'. Xiyovai 6^ (Ls €(f)vaa[v ck hovXrjs rrodev. TcDiS' €^€<f)aLv6fj.7j8a/LtcD? rctSe.kv KaK-fjs (jS) . o/u.^e/3/Lt[d8' atpovatv . yvojpLaavr\e Xeyovaf fi'qrpos cb KaaLyv[r]Toi Srj ro ndv 40 cfiLXrjs Tt hpar* . ao) 8' ayraSeA^CD . eta avXXd^ead^ dypa[s. diroKTelvovTes o[i5s' rjKLara XPW Trpo'S OedJv 8paT[e /i. TTpoacjj Tvpos dlya V elyp\iev. Katpov yap rJKeT' (f}LXojv ovS' VTrcvTrrevov [SoAov TTpoawTTOJV elaopd)VT€s oljjifxara. el fxC evpedrjL KaKrj.LITERARY PAPYRI KaKws OLKOveiv.€a6a Srj 30 opdoarabov X6y)(0-i? eTreiyovTes <f>6v\ov.^epotv (ficopdade.€uda. Tcu S' elaihovre Sl7ttv)(OV detoiv Kdp\a Tjadrjaav elirov r.<)'. at 8' eKeWev.

far off he turned again towards him. and our lances brought death on apace. At once we revealed ourselves. 42. Wecklein. do not so Your brothers Ufted a great stone. El. 45 Weil. 695. 1 159. Eur. 546. and nothing far surpasses the good one. 34 Blass. I 31 : 115 . they " Brothers of our understood all at last and spoke dear mother. eager to catch the prey. 630. " You are the sons of some slave-girl you have no . Or. when they saw their uncles twain. some on this side. for friends were they whose gaze they met. : ! . but stayed in silence. Only their natures differ. Ba. Eur." EURIPIDES should her kind be fairly abused ? Shall they not cease. 555-556. Hie. 86. and cried. : . LA. and distinguish them nothing is worse than the base woman. Plato. (6) (Spoken by the Messenger to the Queen) cast this vain shaft at me ? revealed not ourselves. were glad " Come. 346 b. Hec. . Thuc. They. and came running. the vain reproaches of men and those who deem too soon that all women must be blamed alike. Then he cried out. Hel. what are you about. some on that but as the battle advanced. . standing upright. that we catch you slaying those whom you should treat so least of all ? " For God's sake. help us with the chase and spoke You are come at the hour of need " suspecting never a " Who was it Now since we : ! ! — : — plot. Prot. and there was silence on our side. have not followed Headlam and others in removing this example of violated caesura cf. . Pseudo-Eur. ii. if one be found a sinner ? Let me speak on. Forward your brothers pressed to share the spearmen's onslaught from us came stones and boulders. 8tlv) cf. 1 125 (all in " Messengers' " speeches) .

TToS' {Fragments of seven more lines) 14 MEAANinnH H 20*H Ed. 226.ev ovv ovk] ot8' otcji OKOTrelv .OV. 1908. von Arnim.cov em.kv opeog vXljjuol (f)6^'qi KpvcjidevJTa. iii. 113 . pr. Ta8' ovKeT* ovTOJV a\u)v KaaLyv^TCuv KXveis. €vy€v]eaT€povs Xeyco.LITERARY PAPYRI TTpea^eV €)(ovr[as Svayevelg rcov €vyeva>v' Karrel rdS ela'qlKovaav lines : (Fragments of three eCT]^7yAe t' rjficov then a gap) a(/)et]AeTo. p. KaXov viKpov (f)iXo}v oanep tov Tjixels TTplv €KT€i. daughter of Chiron.!^p[e]a)i' TTjv evyeveiav tov]s yd. 1921. TOV he TrevKivcov 6t. Pickard-Cambridge. See Wilamowitz. preuss. Hippo. TO) 8' 6pa)VT OVK Tj^LOVV 60 SovXovs <l>ov€]vetv <f>aaydvoLS eXevdepois.!(7yt TrAaretai avo(f)6voiL St' rjiraros Traiajas eScu/ce veprepois BoiojJtos'. Melanippe. 50 S]volv S' dSeXcfiOLV aoLV tov av vecorepov Aoy].p dvhpeiovs (f>vaiv /cat Tovs SiKalovs toj]v Kevwv ho^aafiaTCov. KdvT€v]dev KOV(f)ov] ol XeXeLpifxevoi aAAo? aAAoa' eixop-ev (fivyrji. Eur. Sitzb. Class. Akad. ol S' els ^ap]ayy' ehvvov. iii. Suppl.V€V ^aXcov. 147. bore Melanippe to Aeolus. ol 8' wtt' evaKiovs ddpLVOVS K(x\&lt. els yrjv \t6v jSiov t' S i)((x)pei Kcxj^a rrpos yaiav ^eXr]. 26. iyo) p. exile for a year. *Rabe. Rheinisches Museum. 65 Kou cScti hovXcov. 63. 63. New Chapters. Phil. a girl During Aeolus' s absence in 116 . note . 55 elSov 8e t]6v p.

They saw us. : him (Fragments of seven more 46 Weil. turned our nimble feet to flight. . One man I saw hidden in the leafy forest on the mountain. another on the boughs of a pine . he icas told that two infants had been found being suckled by cows : regarding them as monsters.EURIPIDES right to seize the royal sceptre and throne. Our shafts fell idly to the ground . MELANIPPE THE WISE of singular beauty. . {Fragments of three tripped lines : then a gap) to the ground. each a different path. the younger of your two brothers was struck through the heart by the broad spear destined for the boar . others climbed down to a raxine. Boeotus. I know not whereby one must judge nobiUty. ignoble masters of noblemen " Now when they heard ! this . Thereupon we. I say. Men brave in character and just. and took his life away. This is my story your brothers are no more. some crouched beneath dark shadowy bushes. he determined to burn them. bore twin sons shed. and his fine corpse was given over to the dead by him. the remnant of his friends. are nobler. 61 lines) Von Arnim. but thought it not well that swords of noblemen should butcher slaves. ^ovyevrj ripara. who struck the former one and slew him. who bade her conceal the /act from Aeolus by hiding the twins in a cattle- When Aeolus returned. to Poseidon . 47 Nauck. and 117 . than the vain pretentious. albeit sons of slaves. For my part.

€V fX€V ToS' i^e^Xacrrev "KXXrjvos yevos. cat vu/x^t^ irore OvyaTTjp 'Epe. €77* 6vo[xa TOVfMov KeZo odevTTep rjp^afjLTjv. "EAArjv' €TLx6\ OS e^e(jivaev AtoAov ov )(6a)v.^/D7ya/xa)iSos" ^poTols aKT) TTovcov (f)pdl^ouaa /cat Xvrrjpia. 118 .. oaov Il'qveLos 'Agcottov 0^ vScop vypoLS 6pit. 20 IXT]Tp6s p-€v c5Se TTJs epurjs ex^i Trepi. tried desperately to save the babies' lives : Melanippe last and as a resort confessed that they were her own. 5 eTTCJVvpios x^^^ AtoAi? Tovpiov rrarpos. Xtpcoro? Se /xe eriKTe dvydr-qp AtoAojf Keivqv fxev ovv ^avdrJL KareTTrepcoaev LTTTreiai rpixl Zeus".eV aup^eVt dAA' dvoiareos Xoyos "Itov' eriKTev.. Trdaa Kal KLKXrjLOKeTat. vvfJiff)!^] 'Ittttoj Se deaTrtiotSos dvdpcoTTOJV vtto KeKXrjrai acofiaros St' dXXayas. aKTjTTrpcjv aKovei. 10 15 ovvex vfivovs T7tSe . eLS dXXrjv rroXtv (Lacuna of at least one referring to the adventures of Awpos) KXeLvds *Adiqvas E^ovdov.ov evTos ayKwoi areyet. TTVKVTJL OveXXiqi S' aWepos Stcu/cerat JXOVG€LOV e/cAtTTOUCTa l^COpUKLOV OpOS. KaXovai MeAaviTTTTT^v (/xe).LITERARY PAPYRI bad£ Melanippc attire them in funeral clothes. perhaps her secret was betrayed by a nurse to lohose care she had committed her babies in the cattle-shed) Aeolus in anger was (fir {From the Prologue) [MEAANinuiH] Zeu?. COS XeXeKrai rrj? dXrjdetas vtto.^^e6L»s" Ke/cpoTrtas. TTTopdov 8' d(f)rJK€v dXXov line.

. . 481 N.— .e. to the and Xuthus to famous Athens to him of old. and their future fame as eponymous heroes of Boeotia and Aeolis was pro- phesied. and she was driven forth. that Peneus's and Asopus's floods protect and Umit with their winding streams. (From the Prologue) Melanippe. The land is called Aeolis. and left the Corycian mountain of the Muses. . — . But he sent forth other branches to other cities .. EURIPIDES about to slay the children and punish Melanippe. because she gave these benefits to mankind. (Lacuna of at one line. when the intervention of Hippo (or Poseidon) stayed his hand. his punishment of Prometheus. This was one race that sprung from Hellen. The divine parentage of the babies was revealed. Her because she chanted songs of prophecy to men. reason of her body's change. Hellen so runs the tale of truth was son of Zeus and son of Hellen was Aeolus whom all the land obeys. " i. expounding remedies and release from pain " Zeus covered with the plumage of bay horse's hair thick fell a tempest from Heaven. . Now I must recall my tale to the point where I began to my own name. by — . his bride the daughter of Erechtheus bore Ion. Zeus punished her cf. referring adventures o/'Aajpoj) least . 119 . . That nymph of prophecy is called Hippo by the world. Such is the truth about my mother. They call me Melanippe the daughter of Chiron bore me to Aeolus. . 1-2 =fr. after my father's name. on the neck of Cecrops' land. — .

The great authority of Wilamowitz {who however did not treat the problem fully or in detail) has led many scholars to follow him in denying that Euripides wrote this play. 63. 1927. 1907. sent by Eurystheus to fetch Cerberus. See von Arnim. preuss. (h) *Rabe.). 593 Nauck is impossible for Eur. Archiv. 161 Sitzb. xvii. In the third fragdescribes the sin ment. 148 Wilamowitz. x. c) *lliint. Pickard-Cambridge. . 1 . loc. (2) that Fir. 1931.d. He was dreadfully punished for his presumption. (a nEiPieoos and pr. no. Eheinisches Museum. p. 2078. . Then Heracles. Eur. 1908. Chapters. and the statement in a Life of Euri})idcs that Tennes.. New 35 . {Herein was a great innovation : the common story ended with the deliverance of Theseus only. p. adequately refutes the charges. 40 . Theseus implores Heracles for deliverance. and elected to live in Hades.fr. Theseus would not desert his companion. Mnemosyne^ Korte. Rhadamanthys and Piritho>us were "spurious" dramas. 598' is inconsistent with Eur. (3) that there is anything un-Euripidean in the language. challenges him. Aeacus observes the approach of Heracles . iii. Svppl. 51 The story of the tragedy u is this : Pirithous went to Hades accompanied by Theseus to seek the hand of Persephone in marriage. p. Kuiper. and receives his answer. Oxy.'s views about human character. cit. being chained to a rock guarded by serpents. P. . Analecta Euripidea.) In our first fragment Pirithous (perhaps in the Prologos) and suffering of his father locion. — accomplished his labour and delivered both Pirithous and Theseus. (1) that the cosmogony implied in fr. Kuiper. Akad. Their only direct evidence is the sentence in Athenaeus {496 b) 6 rov Ueipidovv ypdipas. 145. eire Kpirias earlv 6 rvpawos ^ Ei5pi77i8ij?.S6 (2 a. In the second fragment. (4) one or two minor and even more weakly 120 .LITERARY PAPYRI 15 Ed.

i. 496 b (cf. where the same rationalizing tendency can be observed in the allegation that But (1) since the the gods are only an utilitarian invention. partly on earth : the principal events certainly occurred in Had^s . Pirithous is included among the plays of Eur. 36-37. Eur. that Tpoxan fj-avias should be take?! together as a metaphor. Trag.e. his myth rationalized : this would not be surprising if the poet were the Critias who wrote Sissyphug/r.) weighty consideration —and — is attributed to Eur. and calls upon the Aether. Vit. 138) a most Eur. This is very far from certain. on the Piraeus stone {Wilam. most reasonable to suppose that the Chorus was a band of Initiate Souls in Hades. from comparison of Or. It is further alleged that the scene of the action must have been set partly in Hades. V. scholiasts. by Plutarch. based on good or early authority : on the other side. must have been Hades in the daylight. p. but the Chorus.'s later plays (a conclusion provisionally accepted by Hunt's inference from 8 of our first fragment is wholly arbitrary {he suggested. 1 Nauck. anthologists. He j* also shews that there is no reason to believe that the doubtful ascription to Critias in Athen. 1253. Tre-s. (2) even if the myth was thus rationalized which we do not know it tcould not be the first instance of such rationalism in Euripides : no need to look beyond him taking it — — to a Critias).EURIPIDES PIRITHOUS founded charges. which sings to Zeus. El. lexicographers and others. like the Chorus of Initiates in Aristooutside It is 121 . The comparative freedom from resolution of the iambic trimeters may only indicate that Pirithous u-as not among Eur. Lib. ends of the lines are missing. Clement. — so. that Ixion's wheel was in this play made a mere figure of speech. 228). we do not know whether fiavias should be taken icith rpoxoji or not it is very easy to avoid Zielinski. Anal. p.

!^p7^/xa.LITERARY PAPYRI phanes' Frogs. create [riEiPieoos] €7T€[jnfj€V ^eo? 8e />iavia[s' dpTtcos iXevdepcoi drrjlv dpTrdaas 8' rjiKaafxevrjv yvvaiKll Svaae^eararov Xoyov cos" v€(f)€Xrjv eaireipev e? rovs Qe\aaaXovs.p6vov dvyarpi pblayoir TOLwvSc K6iJL7rco[v €\y (fyvraXixicot Ae. cf. And even if there was a change of scene. 817 ¥>. ootls (i)v tottovs els TOVcrSe . ° Ar.\ov? ripujopiai.^ei. 8' 5 voTepov Kara^Lovs [ TTOLvdg deols ereiaev fjLavcag rpoxdJi. ri . 8 Housman. o) /cat /LtaA' evroXfiwi (j>p€VL. 1-15 restored ex grat." There need be no change of scene. iyd) 8' €K€LVOv TTrjpLaT a\lvi-xQ€vr^ ex^ov [Ilepldovs ovofJLari /cat rvxas ^'^^IX '^o'ciS''] 15 (6) [aiakos] ea.aaev . was 122 . fev*. hieaTTapd-)(6rj (jvpLp\€Tp(x}L KOfjiTTaa/JLauLV TTarrjp dpLapTOiV et? de.(pt/X7rT7ji /cai /ca^' rjvrtv' alrlav. I do not see that the ascription to Critias at the end of Euripides' life is a better solution than the ascription to Euripides himself a few years earlier. 7 [tSv TravTwv trarrip TT€pi[(f>ep€s ev Slvais Befias Housman. and if Hades as the scene is itself considered strange and unprecedented. quoted above. /caTrei^' iXwv 10 diTvaTOV dvdpa)TTOL\aLV aidepos ^ddei dXXd ^ope\aaLV TivoaZs eKeZ cKpvijjev.7re/3t[ ol(TrpT]XdroLaiv a))([jji. SepKO/Jiai aTTOvSrJL nva Bevp^ iyKovovvra elnelv hcKaiov. was certainly influenced by Pirithous : If the chorus of Pirithous further the part of Aeacus. by Housman. Ban. : In conclusion (a) the direct testimonies.

— . if (like that of Ar. PiRiTHOUs. . — name from father peri and was bound thoos. . Ran. is a devotee of Persephone. circling to a wheel. and my fortunes are like his. their normal haunts would of course be separate from his place of punishment. indeed a band of Initiates. apace—bold is his spirit indeed you must tell me who you are that come near these (b) Aeacxs. hither ! regions. made in the hkeness of a woman. . my (a) . God sent infatuation upon him he seized a cloud. heaven a just penalty Zeus took and hid him in the sky's abyss. the whole the baJance of evidence is in favour of Euripidean authorship : though we still know far too little about the play to permit a definite conclusion. And I. There he was torn asunder bv northern gales he. his retribution suited to his boasting. What is this ? I see a figure hastening Stranger. Now when he was just freed from madness. if any.) it consists of " dead Eleusinian Initiates. but modern scholarship has/ailed to add much. far from the knowledge of man. It would not require much ingenuity to bring together Persephone's wor* He derives his shippers with her captive enemy. — father. I defer to the consensus of ancient opinion in publishing the play under On the name of Euripides. . and spread among the Thessalians an impious rumour. . whereby he had sinned against the gods.EURIPIDES a sense of uncertainty which nothing can dispel . and swift — Ixion his 12S .* am called Pirithous. a reason must have been given why they should appear in the same scene as Pirithous . bearing his agonies riddled in my name. . and what matter brings you. that he embraced the daughter of Cronus in fruitful For that vain boast thereafter he paid to union. strength to them. But a reason could easily have been found : Pirithous is being punished for a crime against Persephone " the chorus.

Grjaeu. ^vpvadea yap €fi ttcos hoKeZs dv dafievov. TTpoodev a IpLol r\oLOvrov dvd^ atp]et Adyos". 25 tJkco 8e Sevpo npo? ^iav. ovk €[Ji7TX[r]KTOV dAA' €A]eu^e/3a>9 ixdpolat t' e.!^^/3d[v /cat ^iAoictiJp' evfievrj. adXov Se {xoi ijjLrji yap rjXde pLrirpl KeSvrJL irpog Zeu?.LITERARY PAPYRI [hpakahs] ouSets" Xoyov. 20 8' 'VlpaKXi]s. ovofia Oecov Se TTavrcov Trarpog €^€(f)vv Aid?.e]i^a)s' [hpakah2 aavTwi ri\.^vei'60i^ Trpdyos Jl^vpwTTTjs kvkXojl 30 'AcTtas" re Tidaiqs is pLVXovs iX-qXvQa.)^at? VTTeiKOJV. i. rrji TToyXei t' ^Adrjvaiwv TTpcTTOvr' eXe^as' tolol Svarv)(ovcn yap 35 del 7TOT ei ay avpLpLa-)(os- aKr^ipiv [8e t]oi dei/ce? ear' e-)(Ovra irpos Trdrpav jxoXeZv. Xe^os XeXeKrai rrjs dXrjdetas vtto. KvpvaOecos d/). (c) [0H2ET2 (f)LXov ] TTiGTOv yap dvhpd Kal elXrjjjipievov. [0H2ET2] dAA' ov ov . Tavra GV/XTrpd^avrd aoi.^/37^i^eis" 7T[ai^TeAcD?] eixr]v ei TTvOoLTO evvoLav. ifioi Trarpl? [xev OKvog TTavT^ eKKaXvipaaOat. alaxpov 7rp]o8owai 8ucr[ju. "Apyos. o? fi errepuli' "AiSou Kvva dyeiv KeXevojv ^cDvra Trpos ^lvKrjVi8as TTvXag. 40 Xiyeiv dv d>s aKpavros yjOXrjrat rrovos. CVS avqwrov TOidvS' tovS' ojier' i^r]vprjK€vaL. Ae'yois" 8' dv' [1787^ /cai ai) rovs avjrovs 45 Xoyovs. tSetv juer ov deXcov. 124 .

men tell . but freely. once to me. that hate. hound of Hades U\ing Mycenae. obedient to the commands fetch the of Eurystheus who sent me and bade me to the gates of it. (c) Theseus. as the same. —not that he wished to see but he I I deemed that he had found therein a labour that could not accomplish. . Such were you and now you shall say . your speech does honour due Athens and yourself. And I come hither perforce. but to friends favourable. . I think you.1 EURIPIDES Heracles. You were ever champion of the oppressed. iravreXdis 23 End probably corrupt D. for it is shameful to betray a loyal friend. my name is Heracles. would Eur^^stheus say did this with your help —that all — if he heard my my task and toil were unfulfilled ? Theseus. P. . . In quest of this business have travelled round about to the farthest ends of Europe and of all Asia. My Argos. goodwill is with you : not given in heat. . for me to return home with excuses on my How gladly. the father of all the gods runs the tale of truth came to my good mother's — — bed. . And I am so for Zeus son of Zeus. Yet it were shame lips. L. when captive of the foe. 4 125 . Theseus. hating them all . to Heracles. For your desire. fatherland is I fear not to unfold all my : story. : KeSvov is Ae^off Dobree. .

Stheneboea. 1908. . . 147.. and for Proetus if he should denounce the queen. See Wilamowitz. Rheinisches Museum. in order to avoid dishonour for himself if he yields to Stheneboea. 626. iii. 3. *PickardCambridge. Bellerophon resolves to leave Tiryns. Et. Bev. pr. von Arnim. at Tiryns. 1910. and sent Bellerophon to King lobates of Caria with a secret message bidding lobates to slay him. 225 Croiset. and returned enraged Finding there another plot to to Tiryns.€t jStov. lobates sent Bellerophon forth to fight the Chimaera. von Arnim. quaest. de Eur. [BEAAEPO*nN] ovK eariv oaris (JLOveZ' T] "^ ttolvt dvrjp ei58ai- yap 7T€<f>vKcb? <jl)v iaOXos ovK e.\. select. 126 . p. TToXXovs Se ttXovtcol /cat yevei yavpovp. 494 .. Pick. sur la trag.€Vovs Svayevrjs yvvrj KaTrp. de Phil.-Camb. Proetus however listened to the slanders which his humiliated wife uttered against his guest. grecque. Phil. 1910 .LITERARY PAPYRI 16 SGENEBOIA Ed. In the prologue. oTeyais Wilam. . wife of Proetus. thinking that he would not return. 63. borne by Pegasus. text TTeiOei /cat SoActjt dr^peverai. which he rejected {she employed a Nurse as go-between). 1908. New Chapters.a)(yv' iv So/xotat vrfTna. Eur. Rabe. 43 . Rheinisches Museum. irXovaiav dpol TrAa/ca. : ralah' . 216 Sellner. Stheneh. Stahl. Sechan. made advances to him. 131 . . Suppl. 34. 63. 5 TotatSe Ylpolros yrjs dva^ v6aa>L voael' ^evov yap LKerrjv rrjaS^ e/x' iXdovTa areyrjs Xoyoiai 7 iireXdovra MS. Class. where he Bellerophon had fled from Corinth to the palace of Proetus was purified of homicide. but Bellerophon accomplished this labour.

and was — certainly a bolder innovation of its kind than anything since the chariot of Oceamis in Aeschylus's Prometheus. and justified himself brfore Proetus. he proposed to her that she should fiy with him on Pegasus to Asia Minor. he feigned compliance with Stheneboea's reiterated advances . but he has no liveUhood or he ploughs wealthy fields. Even more surprising is the disrespect for the common unity of time. . story. had perhaps no precedent. who rules this country. Her body was recovered by fishermen. (2) while Bellerophon and Stheneboea flew away from Corinth on their winged horse.EURIPIDES STHENEBOEA destroy him. but bis birth is humble.) Bellerophon. She assented: but while they were flying near Melos. is indeed astonishing. probably. (It is probable that Stheneboea's death at the hands of Bellerophon was an Euripidean innovation in the Bellerophon. I came here as a guest and supphant of this palace her tongue beguiles me . This was a remarkable tragedy. together. Further. . the duplication of the plots against the life of and of his temptation by Stheneboea. whither Bellerophon also returned. The introdiiction of Pegasus^a real horse. Bellerophon threw her down into the sea. adorned with artificial wings on to the stage. No man in the world is happy in all ways either his birth is noble. Such is the affliction of Proetus. (1) while Bellerophon went to Asia Minor and performed labours at the command oflobates . yet a foolish wife at home brings shame upon them.— Two long intervals must have elapsed during the action of the play. who brought it to Corinth . 127 . Many are proud of riches and noble birth : .

ri tXtjOl SeaTToivTqg (At least one line missing) KTrjoei 8' avaKTOs ScofxaO^ ev TreLcrdel? ^paxv. ovo els voaovvras v^piaai Sopiovs ^evos. 20 epwra Seivov. dperi^v r dyatv epois 25 tprjXcoTOS dv6pa)7ToiaLv.ovs ifjirjs XiTTOVTa yalav ^Lav(f)OV (f>6vov t' evufje . onrXoL yap eta* epa>res evTpo(j>OL x^ovr piacov o pLev yeyojs e^Qi-CfTos els "AiSiyv o 8' eis TO aa)(j>pov eir* c^epei. a>v elrjv eyoj. o? fi eSefar' els 86p.ovs 'Lrjvd 6* iKeaiov ae^cDV 15 Ylpolrov re rt/xcDv. ovTTOJTTor -qdeX-qaa Se^aadai Xoyovs. aiel yap rjrrep rcbiS* /cat i<f)€aTr)K€v Aoyojt 10 Tpo(f)6s yepaia ^vviarrjaLV Xe^o? c5 /ca/ccDs" (f)pova>v ifJLrjg vfxvel rov avTov fjLvdov fiaivrjt. /cat • KaKoppodeZadai KT^Xlba ov8' av KareLTTelv yvvaiKL Trpoo^aXeZv 30 UpoLTOV /cat hiaoTTaaai hopov 128 . eyco Be deap. os (f>deipeL ^porovs.LITERARY PAPYRI tcpv(f>aXov evvfjs els ofxiXtav Treaelv. tndov. '\ovKovv vopl^o) /cat ^aveiv ye aco(f)pova)V dAA' els dypov yap e^Uvai ^ovX'qaofxaL'f ov yap pie Xvec rotcrS' €(/)r}pevov Sopois prj deXovT* etvai /ca/cdv.^etpo? alpi eTTiacfxi^as veov.

(At least one line missing) one little act of pelding. and listening to abuse nor yet denouncing her and because I will not sin bringing shame on the vife of Proetus.! EURIPIDES and her wiles pursue me. to share her bed in secret. . and rending the house in twain But I pliant's god . (?) Now I would go forth into the fields.. ! : . (obey) my queen's (command) : . Ever and again that aged nurse who is charged with this message. that a men such as I would be man be \irtuous. who received me into his house when I left the land of Sisyphus. .-Camb. and your prize shall be this palace " I have good respect for law and Zeus. foolish man chants the same story WTience comes this madness ? Be bold. 17-18 <^va>v t' eiia? evujie x«ipas cod. with blood of new slaughter shed above them so never yet have I consented to listen to her plea. 1 K 129 . that Uve on the earth one. leads to death other leads to \-irtue and a good Ufe coveted by Better. the supand esteem for Proetus. Two kinds of love there are. I think. unmetrical: VOL. : : — — . our worst enemy. I do myself no service sitting in the palace. . though he should die for it. . 26-27 senseless and (27) Roberts suggests plausibly i^dyew for e'^icvcu. where I am a guest hor that dangerous passion which destroys the soul of man. Pick. and conspires to make the union. . " Yield. nor to offend against and I abthis stricken house. Text von Arnim. and washed my hands clean of murder. .

239. and esp. But the Telephus of Euripides was a most original and interesting character.6)(dr](T^- 8' iyw. and Menelaus reluctant. o? re irerpav ^ApKciScov Svax^lfxepov Ylav e/x^areuetS". First. 1936. he disguised himself as a beggar in rags . Archiv. see J.LITERARY PAPYRI 17 [2 B. 1938. 69. Schwenn in P. Konigsb. Schmidt in Boscher's 274 . 98 Buchwald. ytyvofxat /cat TToAA' {i)p. Att. .C. 6 eXvaev KlXeidvLa.] THAE*02 Ed. diss. 1939. koI St'Sojcrt pioi KpoLTT] 10 Tevdpas 6 Mvaos. pr. then he sought to win Agamemnon over with sly arguthe plot For Lexicon. v. xv. (From [thae*02] c5 the Prologue) tjv ya\Za narpi's]. Agamemnon being eager. ix. zur Chronol. Berliner Klassikertexte.. evOev euxop-aL yevos' Avyr] yap AXeov Trat? /Lte twl TipwOiciii TLKrei XadpaicDS 'HpaAcAet. d. 26. And Telephus himself took for his model the crafty Athenian politician. Wilamowitz. evda pi'qrep' (Lhivojv i/JirjV p^aip'. Trag. *Calderini. Chroniques d'Egypte. Korte. evd^ €{v)pcjv ifirjv jjLTjrepa KaroiKO). to abandon the expedition against Troy.-K. The action of the play was partly concerned with a dissension in the Greek army . See Goossens. p. 11. col. of this famous play. Stud. v. col.crwotS' opog Ylapdeviov. xiii. T-^X€(f)OV 8' eTTcovvfiov KoXovai [x darol Mvatav Kara x^ova' 130 . dXXa avvrepbU) Xoyov TjXdov Se yivacbv irehiov. Aegyptus. 362 .-W. For the legend see our preface to Sophocles' 'Axaiajf Su-XAoyos . a cunning fellow thriving on stratagem and deception. from which it will be evident that Sophocles' treatment of the theme gave little scope for tense or profound drama. 1935. 508 (and 139). YleXoip o/Jt^erai. 2.

I the Prologue) greet . loc.] vtents. 884 N. Cretan {to EtA«'^uia) =:/r. together with Alcmeon through Psophis. and I was born.c. where Pelops and Pan. Teuthras. the Men call me Mvsian. 1-7 13 =fab. cit. 9 tpwv 11: corr. and how obviously he merited the accusation But the that he was abasing the dignity of his profession. [This feature teas not invented by Euripides : vases prove it to be earlier. fr. The fragments do not allow us to follow Telephus pleading his own cause as if he were another person. incert fr. 131 . 1-7 (EiAei'flwa) Nauck. bore me in secret to Heracles of Tiryns. see WilamoFinally he prevailed upon Achilles v:itz. (From Telephus. my fatherland. Goossens. granted me his empire.] v:ith another display of specious and sophistical argument. pp. We see clearly how Euripides could transform a slow and stately legend into a breathless drama of intrigue and suspense. and v. Alcestis. Witness Parthenion. and tradition assigned it to Aeschylus. but there was evident occasion for surprise and subtlety. The play was produced in 438 b. whence I avow my birth. : Women. 696. the daughter of Aleus. Auge.C. Telephus in the towns of Mysia. being unsuccessful. 696 N. Ft'. Athenians never forgot the rags and tatters of his Telephus. 69-70. the mountain where my mother from her pangs. where I stor}' brief found my mother and made a home. since J'ar from Ilithyia released — . and later betraying his own identity. he boldly seized the infant Orestes and held him as hostage until Agamemnon yielded. who haunts the stormy set his boundaries Arcadian crags.EURIPIDES TELEPHUS [2 B. And long I laboured but I will make my I came to the plain of Mysia.

col.. iv.D. no. 884. irplv (y') 'Ap^aiKro? fioXcov arparos rd M. 39./a6. . ii. P. col. (3) [ X]ddpai Se tov[t]cov Spcofxevcov rivag (f>o^rJL. 1912.] FRAGMENTS (a) Ed. . 38. [ ] rovs jxei^ova ^X[i]7TOvras d[v]6pa)7TOJV Oeovs. iii. vi. 39. 143 (3) =fr.D. (6)=fr. L. P.vaco[v TrejS" e77[e]aT/3a0'>y yap 15 7Tay[ {Obscure fragments offour more lines) 13=:Nauck. 148 . col. 12-15. a\TTaaav dvTXri\aav\res ripi4pa\y ttovJov ijivxoZs. 148. Oxy. 147 . 39.draiv X^P''^ daTpo[aKo]7TOVVT€g [ivajXiav rptKv[ixL]av (2) dvpadev Xpvaovv [ov] OeXoifM [rov] dv [iXd]ovaav pLa[Kpdv "larpov [oi5]Se B6a7ro[pov 5 Xa]^cov. 144 (4) =fr.. eKiroviLv Goossens. vi. 39. p. pr. p. fr. 3. p. Suppl. (a) See von Arnim. (4) KT'^aaaO^ iv varepoiaiv ei'[/c]Aeiai' . *Grenfell-Hunt.^pov'oi[s'. 10 132 . ^ap^dpoLOLV rjpxov eKirovcov TToXXols avv ottXols. LITERARY PAPYRI TTjXov "EAAt^i' 8e o'lkojv ^lotov i^ihpvadix'qv. : ttoA- 18 m [(a) 2 A. p. ix. 1176 (from Satyrus's Life of Euripides) (1) and (2) =fr. ^PXov D. 4-12. p. 33-38. col.] 5 A. col. (5)=fr. 14 Typx^Te/cToccovII: 15 So ed. pr. Eur. (1) BooTTolpov TTepa N[eiAoy] T€ vavaroXovai ^(prip. incert.

. . . FRAGMENTS . 27.EURIPIDES Over barbarians I ruled. . . *Vitelli. in secret : whom do .) Quoted in a fragment of a comedy. me were a thousand spears until the Achaean army came. . and turned to the plains of Mysia home " settled. and explicitly ascribed to Euripides. (a) . not though I gained the Bosporus and Ister turned (2) I . 126. [(a) m 2 a. line 70-71. These things are done ? . . (See p. get you fame for 5 [tov] von Arnim.] These fragments are not explicitly ascribed to Euripides in we can only say tiiat the contexts render the the Papyrus ascription probable. Goossens 16 arpaTosOefivaci) {eTre(jTpai<j>a Korte). (3) . you fear (4) The gods farther than men they see. (6) Ed. TTay[ 11: 7j-o[St corr. . a Hellene. . would not have her going far from home. and every day drain labour to the dregs within your souls all ! Go. watching the stormy ocean high as heaven.D. at . . no. time to come. p. ii. .d. 254. my life was my task beside . Papiri Greet e Latini. 8iov€TT[i]aTpo<f>rji^- 7ray[ is corrupt: Goossens. 1913. AoiaivevjSAoietv 11. sail in (1) Beyond the Bosporus and the Nile they quest of gold. pr.] 5 A. (Obscure fragments offour more lines) " A play on the Greek name TtJAc^os-. 133 . . to gold.

evoi. rots ^tArciToi? Kvp\o\vai TToXefiiwraTOL. (b) ras yap Gvpicfjopas 16 airpoahoKrp-ovs haipiov\es Stjcoptaav.LKp[oL] yepovTt 7ra[t]Se? rjSiovs Trarpi. 134 .LITERARY PAPYRI (5) ] Te/cdv[T6] 7r[a]TpL Svafieveararoi' BofJbjcDV yap dpx€[i]v els epoor a. (6) ap.<j>iyp.

. . (6) An aged father has more j oy of little children. : bitterest foes to their nearest friends. . and prove the . . 15 yap may not be part of the original Euripidean text. 185 .. EURIPIDES hate their own father most they come to (5) yearning for rule over the house. (b) The gods appointed man's misfortunes to be unexpected.

16 Rend. stitut de jyhilologie . Schmidt. Fritzsch. 25.G. Archiv. 121-127. 134. 69. 1936. no. p. Ed. 35. i. Homer. *Grenfell-Hunt. See Korte. 447 . .D..] OM^AAH col. 221 Tov Tpiaxt^iai iTTTTOi TacDV Koi Bop€r]S -qpaaaaro opcov ix€v 'Epfjiij. Woch. P. vnd Soph. 1934.] Ed. p. introduced by apxT}v A€yd/Li€[v]os rrji 'Iwvo[? '0/x^]aATj(t) kot Omphale was a Satyric play: 'HpaK'Aeow Popetos ['Tr]Tros. 2. Quotation in an essay in literary criticism. diss. xi. 1611. 97.. IQN 19 [3 A. Annuaire de Vlnii. Neue Fragmente der Aisch. .. p. 71. 1936. 745 . 240 . 553. pr. . fr. 1935. . G. 250 L'Antiquiti Classique. with Plate. Phil. 968 Sulzberger. no. Lomb. burg. 57. Kal6n. xi. 1934.A. 33. Iliad XX. . Greet e Latini. 1211. 1936. 102.D. Archiv. 1919. \j)]hri rieAoTTO? i^eXav[vo\}JL€V S' ^opetov [tTrjTTOV dverai 686s ANONYMOUS 20 [1-2A. . Melanges Bidez. 39 Schadewaldt. Ion von Chios (Berlin 1939). Oxy. Vitelli-Norsa. Blumenthal. the phrase 6 ev its scene was Lydia. Stella. See Kcirte. 1935. 1922. ?AI>:XYA02: MYPMIA0NE2 et d'histoire orientates. For the popeios . 'ttttos cf. HamZimmermann. p. Papiri pr. xiii. with Plate. •*»~2" Eranos. Hermes. 3. Vitelli-Norsa. vii. 1st. 1935.

5. ANONYMOUS ? AESCHYLUS. of the capture of the horses of Diomedes. This evidence is surely insufficient . . there is no reason why 137 . the horses the legend At length from the boundaries of Pelops we drive O Hermes. pp. cf. 36-37 for details.).D.e.fr. MYRMIDONS [1-2 a. which Heracles gave to Eurystheus {Apollod.d. pr.] The subject of eieXavvoficv may be the Satt/rg.ION OMPHALE PooKoy-evaoiv. ii. is not required by the metre) is Aeschylean. Stcu at the end of a trochaic tetrameter. when it occurs in an iambic trimeter. cf.] form The ascription of these lines to Aeschyltis is based upon the 8mu' at the end of v. " Possibly Heracles had been sent by Omphale to fetch one of sprung from Boreas which belonged to Pelops . [3 A. in which the form. . 8 : for the only other iambic trimeter which ends with this form of the preposition (i. . . 656 . Aesch. viz. Cho. 8) " (erf. 296 Xauck. See BlumenthaJ. the North Wind's horse and our journey is at its end forth.

V. we find that although it is perhaps more like that of Aeschylus than that of Sophocles or Euripides. Sial occurs only in Aeschylus (also Agam. Euripides. Cho. El. 892. cf.. 944. found in Aeschylus. but inai. There are several points of conafford no helpful criterion. was specichosen by Aristophanes in the Frogs as an example of particularly pompous and grandiose writing. 711. 970. 1164. 1453. Ach. Cho. a new (but comparatiiiely tame) compound. Av. . 1187 (lyric) and both probably false readings) . its — — which might suggest Aeschylus is iroXvoKeSets v. 16. 9 (lyric) . it is " . Aesch. a satyric play. 417. it is not really like the style of Aeschylus. which do not occur in Aeschylus : but there is perhaps nothing that could not have occurred in [axiaaets] XevaovoL rovjxov 7T€tp[o]ls acofJLa' fxr) So/cei ttotc Kara^avdevra IlrjXeojs yovov ally Myrmidons of Aesch. apart from Stat. vocabulary. Agam. It is not as if forms of this kind were in themselves peculiarly Aeschylean. etc. parodies If we turn to the style language unadorned indeed very simple and direct. Eum. occurs also in Sophocles. Euripides and others should not have used the it is form in this icay . 610 lyrics) . and in the fragment (p. of the fragment. 448.LITERARY PAPYRI Sophocles. struction. the only word in the vocabulary . Ant. Aristophanes. Agam. 1035 {all in iambic trimeters) . The details of the linguistic evidence. clear and boldest metaphors are " shepherd " for " perhaps introduced Agamemnon and " healer of evils with an apology for death . It lacks the power and colour and metaphor of Aeschylean trimeters. 1426 (iambic of tragic style). 1485. " Stella observes that the 1S8 . 22) which is probably part of Sophocles' Inachus. 615 (both lyric. 1133. El. the fact that not so used in their extant works is a reply that may be confuted by the next discovery of a tragic fragment in a papyrus.

more sophisticated and argumentaStella. The most that can be said in favour of the ascription to Aeschylus is this : that the fragment comes from Just such a tive. and that the style and character of the speaker. but no secure inference can be made on this basis. cit. does not in fact occur in Tragic iambics outside Aeschylus . are not impossible to reconcile with Aeschylus. This evidence. Carcinus and others . True. than scene as to have included. used without metrical necessity. It is clear that the only scientific verdict must be : " Anonymous. they will stone me Stoning and torture of the son of Peleus shall prove no blessing . If Sophocles and Euripides are thought unlikely candidates for authorship.). tetr. The details can be found in whom I agree further that the character not typically Aeschylean .— ANONYMOUS his ivork. loc. with is of Achilles here more interested in himself and his own motives and we expect in Aeschylus. though not Aeschylean. is in- tee imagine Aeschylus' s Myrmidons that the form of a preposition in -al.d. ! 139 . It for the important conclusion which it purports to remains undeniable that the fragment may pro- ceed from the hand of another writer. he is psychologically more advanced. though not lightly to be dismissed. actions. . 20 is not found elsewhere in Tragic iambic trimeters {or in indeed in Tragedy at all. perhaps from the Myrmidons of Aeschylus. 1633. the nature of the action may have demanded such a character : the point is that although such a character is not impossible for an Aeschylean play. must automatically be ascribed to one of the three great Tragedians. it certainly is not typical of one." — Achilles. except Eur. we must still remember that Achilles was the hero ofplays written by Astydamas. sufficient prove. . Hel. and we have long ago been forced to abandon the assumption that a tragic fragment found in a papyrus of the 1st or 2nd century a. . The rare word npoSoaia v. troch.

epi\j>av(x)s iXelijjdepov Kar-qyopos 30. ? ixjrjvt.] Ed. T/jcdcti tt]^ a[v]€u hopos e. At[y]/LtaTt 36) ANONYMOUS 21 [2A.apa)s €r[pe]iJjaro 19. ttovt Axo. TctpjSeJi 8' jLtaijuJcoCTaf opyrji TTOLfxevo^ 'A.LITERARY PAPYRI Aavaous" oAA'] o]i'-q<T€iv Tpa)LKr]V dva x^ova' rijjiivoiai. a\vhpa rorS' a[taxpfj^?] 27.ukcoi arparayi. rovS' d7TO(f)depeL arparov CO? opdv irdpa 28. ef? a>v. TotovjS' d(f}€Lvai. Sa/xcDs" TTpi-nei Aeyet? 31. John Rylands Library. Manchester. .ara. 140 1938. evp. ovK etj/i' eyo) to.^ata)r x^^p' ^^oppLTjacx) hopl kukov Siat.^oi? vi/ca]v ye'voir' av. ] [etJTTOt /cat arparov Tay[ey]15 ujLta? ets" dvrjp ')][i]/<"[t]^€TO TjapaCTCTcm/ /cat TroAucr/ceSets' [Tt]0[e]is' ] TeuxL"*? 77]e/9t veoL? ^paljxiojatv {Fragmeyits of nineteen more lines. pr. 482. no.? davelv 21. a»? 10 rpoTTrflv roaravT-qv cktio* Xeyovat avjJLfiaxot. ov Trapcjv /xa^^Jt. o]v/xei- rdSe 34.] TOVTO Srj ^poTolaiv larpov ttovcov. ^Roberts. StaA[Aa]yat 34. including ttolvG' vpLa)v arparov 18. . p. ?20$0KAH2: AXAIflN SYAAOPOS Catalogue of the Greek Papyri in the iii. 5 . TOVTTog OVK atSiog fi e^ef oAA' ejrJTrep TLS yo-p] TOiovT[o]vs evyevecFTepovs epLOV a]u //. . evTTeriaT€p\ov\ §' .D. d]v8[p]o? TTpohoaiav 20. 91.

no. .d. too long for the space . . See Webster. ANONYMOUS ? SOPHOCLES. . Manchester." Shall fear of Greeks drive my hand to seize the spear. For o]vria€iv cf. P.] Plate IV. . unpleasant with rayeu/xara following. . 2. Eur. And you shall more : — meet your friend the " Healer of man's sorrow. pr. II Schadewaldt. for who would call such generals nobler than me ? Such leaders of your army ? one man has done you violence shaken and shattered you armour on youthful shoulders . . L.ANONYMOUS never think it to the Greeks on Trojan soil. . In V. 6 tw] is certainly too short for the space npos'] hardly makes sense. . . 141 . vol. 3. 705. 8' 12 Korte: toZov] ed. 373. 1). pr. either ed. GATHERING OF THE ACHAEANS [2 a. Hie. ayovs Schadewaldt. this hand that trembles now with anger through easily the fault of their \-ile master ? Comrades in arms are saying that I alone my absence from the fighting have made this mighty rout so am I not all in all to the Greek army ? Xo modesty forbids me to — — : speak so. Bulletin of the John Rylands Library. 13 Fritsch. (Fragments of nineteen more lines) 3-5 D. . 14 apxovs a]v Fritsch. No rather the Trojans shall sit in ease and win the victory that comes without a battle. 543. . Oct. xxii. are mistaken in giving room for only 6 letters at the beginning of the line or their facsimile is altogether misleading (the N of OJNHZEIN comes under the IT of AETZSOTSITOTMON v. 1938. Held. . p.

. In his view. e? ra 7re[ ari^aive] va[i. Odysseus here is sending Telephus to the fleet. yap rjfjicbv.) argiies differently.. he will take his opportunity (His enterprise was traditionally made to seize Orestes. p. Syll.) cit. by seizing the infant Orestes and threatening to kill him unless Achilles complied. an ordinary citizen. Our fragment may belong to a play on Achilles to heal the — Telephus then someone win over the assist him there has been a penetrate the royal palace proclamation — designed specially impede Telephus— that the plot to is to this theme. It will then deal with the following portion of fleet . is to . Once inside.F. Webster (loc. himself await- eireira Kara^a\s. that is it based on proceeds from a play on the subject of Telephus's adx^entures in Hellas. Pearson..L h6pi\oiaiv €/z7re[o-]etv daros ya[/>] o)s 142 . T. r\jf\s rvx^^S dlJi[ap]T[dvojv roXpid. 5-8 mean go dressed as an daros. a\yoi /cat i^o/u[o]t? *EAAT]vt[/cot? et/>yo]ycrt )(pfiadaL. TT^Ae[^']. easier by the complicity of Clytemnestra.G.^ouAo[?] fiev eA^e twl 5 [aroXcoi. 77-]apco[v] aii] €K vvKlrog]' etra a[6v [cru])u. The Fragments of Sophocles. epyov €7T€t] Blkt]!. 94) Telephus prevailed upon wound which he himself had inflicted.. our fragment ends shortly before the fragment of Ach. likely but far from certain.: : LITERARY PAPYRI The following reconstruction of this fragment the assumption. that Telephus will enter the palace on the pretext that he has come to seek justice. so Telephus will Vv. 579 . i. 12) begins it is the end of the scene before the arrival of Achilles.Ta]tS" /cat K\v\Pepvrj\Tais rdSe. which has been denied him by the chieftains of the state. to no foreigner may be admitted to the palace . In one account of the legend {Nauck. (p. ra TTJpcora d>s 6 [/xuldos ear .

7) trannlates " Foreigners. who has clearly been accepted as guide already. fragment in which Telephus. . not a foreigner. and the passage in the Ach. go down to the appear by night and give this signal to the sailors and the pilots. 8-9 very difficult : Webster {reading ^evov or ^evovs at the beginning of v. 1. no child of Mysia. Telephus. was the content of the decree). in Webster's view. or Eur. Tragedy adjectival) and vTre^fXelv {in the sense " remove objections ") are found in Sophocles. but KTjpvKeiov {elsewhere in not in Aesch. . the chiefs forbid to use Greek right and law " (my ing Achilles. I do not say that than that of Roberts The divergence and doubt shew clearly how : more open to objection dangerously hypothetical these reconstructions may be. is emphatically denoted as " a Tegeate. Then the task is yours go and assist . . . K€iov refers to whom Apart from the sense given to d>s 6 fxCdos eon. : the fleet in counsel. The evidence for Sophocles' authorship itself is not very strong. doToj yap tuy etc. Then. is But the whole problem is difficult is Webster's view and myself.. as the decree runs. It is clear that evidence for Sophocles' authorsh ip could well be a good deal stronger." This idea has in its favour the close connexion between our fragment. SyU. There is nothing to contradict it : the words afj-vrjarflv. this a most unnatural way of saying that the chiefs forbid foreigners to guide the Greek feet to Troy {which.e. For since our chieftains (thus our story runs) forbade him from the first the use of justice and the laws of Hellas." i. a Greek. The ascription to a play concerned with Telephus is based on the vocative T^Ae^' in v. But it leaves w. faiUng of that good fortune he makes bold to assail the palace. . He shall 143 . tajpva proclamation made in deference to an oracle that " no foreigner mag lead the Greek army to Troy. romans).ANONYMOUS he must persuade to heal Telephus.

Grenfell-Hunt. p. II. 9) .] P^O^OKAHS: NIOBH Ed.7TOu[s"] Traparaaaiadoi ay] to? iyd) 16 v(x\vap-)(6s Tig [dv]rjp ecrrai' a/)'] TO S eV toi. See *Pearson. Robert. v. av S' efajyots" Tcjv et(T€7ret]Ta* aol S' vTre^eXeZv rrdpa ToivS' €L Tl] fjLTj 7Tp6(TX0[pS]0V. Pickard-Cambridge. 334. 602 Schol. probably Artemis is shooting at her with bow and arrows (v. Blass conjectured that this fragment is part of a scene in which Artemis {v. 1) drives or has driven from the house (v. 14. He suggested further that the fragment comes from Sophocles' Niobe. Hermes. 47) relates that Niobe returned to Lydia after her children's death : now Horn. and Rk.LITERARY PAPYRI ov to] KTjpvKeiov o[v] SaKvei rrXeov av rrjah^ d(j)' earrepag yvddo\y 10 ov yap. 368. . 3). 84 . states that this was a feature of Sophocles' Niobe. t[cDi] dye ajvv tovtol^ . Series ii. 94 Blass. Townl. New 1897. 6. Apollodorus {Hi. pr.tcd[v' ndv ANONYMOUS 22 [3 B. 1897. iii. 36. ii. Lit. New Classical Fragments and other Greek and Latin Papyri. Mus. TctS'] r]v e{v) Ocofxed*. CU? dvTJp jUoAl^l. 10) who is in danger of death at her hands (v. . Iv. 96 Chapters. fxev ^elvcoL crvfiTrXejlv 7ro/i. Centralbl. 2) someone {probably a girl. no. It is therefore inferred that Apollodorus is following Sophocles when he says that Artemis shot down 144 . . Fragm. dpLvrjaTeXv ae eiCT . xxiv. .C. of Soph.

to sail with him. ANONYMOUS ? SOPHOCLES. he shall be captain of a sliip.. whom the edict stings no more than another. Chorus. for believing that ApoUodorus gives the story of Sophocles' play. But you must begone from this promontory when evening falls. 96). what follows you must not forget. . You may remove whatever makes no harmony with our plot. So far as we can judge. that the go man may arrive. I L 145 . VOL.ANONYMOUS as a citizen. p. but this is no more than a the daughters " In other respects {e. The evidence. 9). NIOBE [3 b. I have not included this piece among the fragments of Sophocles. which I have given (see further Pearson.. is not very strong. All that is fairly certain is that a girl (v. together with these men . the sparing of one son and one daughter) it is generally agreed that ApoUodorus is not giving the Sophoclean version. and Apollo glevo the sons u-hile hunting on Mount Cithaeron. Let him post an escort for the stranger. . So it is inferred that our fragment represents the shooting of one of the daughters by Artemis.g. the fragment suggests the slaying of a Niobid by Artemis . Since however the inferences both about the action of our fragment and about the nature of Sophocles' plot are by no means certain. And if success attends us here.c] of Xiobe in the house. I will ." As for the fragment itself. there is 7io mention of Niobe or a Xiobid. All that follows. it is not certain that Artemis plays any direct part in its action . 10) is on the stage in danger of death (c.

s^ d^JAi'a Kopr) 10 ANONYMOUS (Subject uncertain . und Soph. 57. d. . TANTALUS) Ed.] SOPHOCLES. Jahresb. Robert. Grenfell-Hunt. 213. Bayer. AtcTCTo/Ltat . ii. commonly ascribed to 23 [2 A. That she was killed on the stage inference. SeoTTOLva [ ^VTO . Archiv. Zimmermann. Milne. 33. . However tempting the inference may seem. Phil. G. Morel. It is assigned to Sophocles on the 146 . 1899. 34. 2. PickardCronert. 49. LITERARY PAPYRI likely guess. no. .M. is there is nothing in the fragment itself which proves that the girl a still was in fact killed. Petersen) diss. pr. Phil. commonly ascribed to the Tantalus of either Aeschylus or Sophocles. Woch. Sitzb. i. p-r]^* ejue Krd[vr)i. . Oxy. 1900. . 23. Woch. .D. 86 Weckiein. Fragm. p. Pap. 69. Hermes. 21 n. A fragment of wholly uncertain reference. . Aisch. 27 Reinhardt. 1914. 1934. 1900. 1936.. Cat. no. 209 . Burs. Hermes. of Soph. Lit. Akad. Cambridge.O.A. oAJAo. 259. Hamb. more doubtful . which has no support in TTjS 6^ O/JLOaiTOpolv (f)6^U)l [d(/>€ifi€vr] [XOPOS . i. 68 Pfeiffer. Fritsch. 511 . 745 B. 634 (with readings of Plate IV. ^OL^OV TToS' eJ^eAawet? ScofidTcov t' KarjaGTOXiCV' '^^^vpov eicre[ ]a rrjv ttoXvgtovov a[ ] [koph e/ceiCTe rrjiS' iTTOvpiaco vroSa 5 ]e? Se fxvxcXa rdprapd re [ya? ]oi TToSa KaraTTTT^^oj ]a [xo. Wilamowitz. ii. context and authorship. Neue Fragm. 251 . p. 1938. New Chapters. F. See Pearson.. iii. 1938. 508. P.

TANTALUS) grounds (1) that the postponement of eirel v. . (Chorus ?) . (NioBiD ?) . including this papyrus. Atcrao/xot 8 J^Atuao/xoi Pearson : ]a Blass. .. . . But both Toiyap and yap ovv are common in A. . (2) aOevetv with the inT(Lvh' enel ktX. .. But this depends on reading Xid]a>aai in the next line. admits that " the identification is of course not certain. has none. . A. [/ must add that Pearson. . who includes this among the fragments of Sophocles' Niobe. . The fragment is Niobe on the grounds (1) that the description XtBovpyes etKona/ia t* especially appropriate 147 . 8.] SOPHOCLES. . commonly ascribed to [2 a. hither you have sped your way world of Earth . . . depths and nether crouch mistress I . . pf.. But the reading eVei is not certain.. I will .d. . thither. 2. (4) S."] (Chorus ?) For dread of Phoebus and his sister you are driven forth free of the house. if we read twice in S. but not in A. the mournful . . (3) roiyapovv is found in S. . is found finitive is found in S. ANONYMOUS (Subject uncertain . implore nor slay . .ANONYMOUS Apollodorus or indeed in any ancient testimony. . your body . but not in A. and wilfully governing it by adevfi v. me . unhappy maid . is Xido- fond of alleged to belong to a play about compounds. is target of their bows. . 7 oTOTOTOTOTOTJoi cd. but not in A.

Jcucraf roiyapovv '\d\_ ]ev olKTpa (Tvp. 5 Kal fidyovs Trdyas is difficult to reconcile with a reference to Niobe : it would certainly suit e.] Ed. ? 20*0KAH2 THPEY2 : pr. Stiidi e Testi. KaBvypwi. Biblioteca Apostolica 148 . eiV. (2) it is easy enough to restore the lines to make e. 6 vypu>i. p. e. oiha KiLpip-aToarayds (or x^-'-' SoXovs 8' iK€ivr]s perfectly clear.rjd-qa€Tai ^ €]axov ddfx^os' ^ yap j-TTvevfxeda JSioi? irerpaiai vvv ttoXlv adevei ]petrat/Ltot . II Papiro Vaticano. KoXa^i ANONYMOUS 24 [Early 3 a. Citta del Vaticano.g.(j)opa SaTrrei ^pevag . eK]eLi'-QS ]toi IStlv 2 67761 fiovos <j>6^cjv 3 repas would do 5 less violence to S' the text. 10 ]vai fioXovd^ iKovaiovs /i[a]xas ] fxoipiov fdvTtaa^ov[ edd. 53 . might easily be part of an allusion to Niobe in a passage which concerns some other character . Vitelli-Norsa. xi.d. hivypnn. And Xi6. but II is Maas. Medea or Circe better. vol. a speech of Tantalus on first observing Niobe turned to stone on Mount Sipylus. 4 iKeXov nerpois : n. rjSri napa edd.LITERARY PAPYRI to her. otSa *cai ixop(j>r]i' : paToarayds) edd.g. TTo^vqpwv 7Tav[ ]7Te TWvSeTTllJiCOVOS (^OjScDV Xijdovpyes eiKovLGixa feSrjTepa ]ai K(xi(j>ataiv eiKeXou Trdrpais JeivTj? otSa Kal fxayovs Traya? ]vypojL kolXv^l KoiiJ. or it might refer to Medusa. TT. . But the reading of 11 in v.g.

astonished rocks. . fasc. . . . bower . . 595. . vi-ix. 1210 . TEREUS [Early 3 a. . n. 7 iTvtvfji' €vt. .. . I have returned to the of the papyrus itself and printed it as an anonymous unidentified fragment.) text and . . of bad of these terrors . *Cazzaniga. . = Pearson. . . 1st. 14-9 .is obvious: following a hint from Pfeiffer. 11 ij deoiaij}' efioXev ds eKovaiovs edd. pr. . fates . dewpovvTi. See Maas. rj 'fjuraXiv edd. now again . . . . . . therefore . is strong .ANONYMOUS The weakness of the evidence. like dull crags I .. 67. stone-image . . loc.-Zeit. . 1931. Lomb. ed. . oLKapSiois ed. . .. pr. know . ibid. . cit. because its connexion with our fragment is uncertain. wiles of sorcery . {^Arguments from a second fragment. .] Vaticana. . \rith Plate. fUyiarov e]axov edd. 10 ttcuSoj /xJcv edd. shall be laid to rest in a watery . pr. Rend. d. 8 much too short for the space (about eight before Siois) jrerpoiaivvfi-iraXiv Trirpaiaiv. . . . 9 dioi XiO^uyaai ed. pitiable misfortune rends the heart entering battles wilfully . Litt. en edd. letters : U : : ANONYMOUS ? SOPHOCLES. 11. 6app€ire. 1931. violently. . . . . dapaovvri. Opoelre fioi edd. . are worthless. 12 The second a of avriaa^ov is uncertain perhaps avTiXa^ov[.. . Deut. both for ascription to Sophocles andfor assignment to a play about Niobe.

vii. Fr. Archiv. d. 76 n. att.. xi. i. . p. 532.. Sophocles quid debeat Herodoto. Wiss. See Pearson. no. 51. elalv 1^ yap eicnv a^LOTTajxoves dXXai ral fjieXovraL 71pos Tivos r] Atos ri yAau/ca? *Addvas. . pr. Hermes. Fra^w. pp. Sitzb.C. Trept ^vyfis (early 1st cent. Plate II.). Trag. zur Chronol.. LITERARY PAPYRI 1934 . 17. 270. . . ANONYMOUS 25 [3 B. 150 . diss. iii. Quotations contained in FaKonigsb. ix. 37. Wilamowitz. p. Robert. 3. 1913. p. (6)== col. 1 . Tereus fr. p. Cambridge. d. preuss. jJicopos 8* ocrns dvdpcoTTcov ttoAlv [rav) deov Keivav ae/St^eiv [Movvov iXTTL^ei KaXoJs. . ii. v. 25-27 . 1906. 104 565 . 3-8. Buchwald.o/So7>/!.] ? 20<I>0KAH2 : TYPfi Hibeh Papyri.. a[ ]olov vScop Zeu? o TTovT eTTonrevcuv ' (6) els jJ'Ovvlos] avdpo)TTois deos [ • • • •]'to KOLvav 5 aXiov pLolpav (c) . Ed. 1921. Rasch. PickardKorte. 1906. *Grenfell-Hunt. Stnd. (b) (a) is quoted in conjunction with Soph. (a)=col. 513 . 273. 8ta77e . a.d. (c)=col. Journal des Savants. 1939. 5Q. yap ydv T€ Kal (f)OLTdt. Akad. 61 . 1916. vorinus's 44-46 . New Chapters. Weil. Itt* otSjaa re ttovtov Aet/xtDva? eix^vXXovg .

. pr. . . and the land and the leaves in the meadow . (b) One god alone common share in the sunlight . P.c] The story of Tyro was in outline as follows (there are many divergences in detail) — Tyro. who enjoy the care of God. be 9 (tov) it of Zeus or of grey-eyed Athene. 1-2 Pearson). TYRO [3 b. they discovered their mother and slew her stepmother Sidero. yes others.. . Neleu-s to Poseidon. L. D. who keeps watch over the world. 151 . worth possessing. D. by whom she had been persecuted. without much 1-2 probability. mankind . daughter of Salmoneus and Alcidice. bore Pelias and She exposed them in a little boat. had suggested Pindar as the author. . .P. for . water. 591.: . add. ANONYMOUS Xanck {=fr. 10 koXoIs U. ANONYMOUS ? SOPHOCLES. and is probably part of the same context.L. When they grew up. (a) He roams on the swell of the sea. . corr. a (c) The man is a fool. Zeus. The case for ascribing the other two fragments to the same source (Cazzaniga) is much weaker ed. who hopes our goddess ! honours none but that city well Others there are.

and that Poseidon ordered his brother Cretheus to marry Tyro {Pearson. 1691 SchoL). . loc. and that in the end Poseidon appeared ex machina and announced that he was indeed the father of the children {Ar.] . Stud. 16. see Engelmann. Lys. 104). cit. 114. bronze situla in Pickard-Cambridge. Epitr.It is highly probable that Salmoneus was still alive and played a part . 158 SchoL. p. referring to this play) and the boat in which they ivere exposed {Aristotle Poet. We know further that the result of Sidero's p. 1454 b 25. Little is known about in Sophocles' Tyro. It is likely that the recognition took place when Tyro was drawing water from a toell {archaeological evidence. p. maltreatment of Tyro was portrayed by means of an actor's mask {Pollux 4.a[i jUoAetv] 5 [civjaKTa ttovtov nrjrpi 152 . SJei/xa vvKTcpos evvovs Se Kal racrS' elaopdis 7T€v[9r]TpL]a? [^oj^o? TLS avrrjv Setfxd r* evvv^ov TrAarat KaX\Xipovv in* 'AA^eiot? TTopov [. . 141). and was effected by means of tokens {n-qplBiov yvajjoia/iarcov Menandcr. and sent them forth with the " little box of tokens " to find their parents. Or. g§- apcoyov Trarepa Xiaaop. Epitr. Arch. 273). Aristoph. 138).LITERARY PAPYRI the detail of the action of this story The recognition of mother and sons occurred towards the end of the play {Eur. From Men. Lys. we infer that the exposed children were discovered and reared by a shepherd. who later told them his story. 40) .

aid me. This evidence is very weak. p. addressed to Posei(Pearson). 5 [IleA/Jay (ed. 273).. and accepted by I'earson. . as may be seen by a reference to the passages in question " " The prayer in vv. approved by Weil. the case would be greatly strengthened. (2) The terrible dream in vv. 5-6. See Introd. . 5.. . 3 "fits certain extant fragments of the Tyro (especially fr. . . suggested by Blass. (It would not be " decisive " : Carcinus and Astydamas also wrote plays on this theme. 153 . to mother ' The ascription. . A . is entirely appropriate to the sons of Tyro " (id ). the i is a mere trace which could belong to any one of several letters.. at night .ANONYMOUS The investigation is complicated by the fact that Sophocles wrote two plays on this subject : perhaps. dread and terror by night distracts her. Note. there is not evidence enough to determine fully the action of one Tyro. the second Tyro was only a revision of the first. let alone tiro. 4) with the fact that Elis was the adopted home of Salmoneus : it is uncertain but likely that Elis was the scene of the action in Sophocles {Pearson.. At any rate. friends Good too. (3) don.) is by no means a certain restoration. (4) If the reading IleAtJas were secure in v. was \*armly supported by Wilamowitz. I implore my father to come and . the a is very doubtful . to the fair waters of Alpheus 's ford. are these mourning women whom you behold.. 660. terror. . but this is a very lame argument. pr. 661) .. . as Wclcker believed. Xow what is the ? ' obscure play is consistent (1) evidence that our fragment belongs to this The reference to the river Alpheus {v. Lord of the sea . 1.) But the reading is extremely uncertain in that place : the a is doubtful .

Archiv. Oxy. P.. *Page. ix.for the evidence. Grenfell-Hunt. ii. OVTOL t[o] ye per] TTe<f)v[K6s ANONYMOUS 27 [3 B. 178. TL jxarav ^poroi S[e] 77oAA[d TT-JeVaa^e.aAA' OT[a)t] TTapeoTiv to ttovclv Tcov t' ayadojv KeKXrjadai. col. xiii. 1912. 99. xxxi. 960 N. this fragment is to the Meleager of : Euripides {or of any .. 38.D. 1176.other poet) wholly uncertain see ed. 7rAo[uT]ajt 8e So/ce[tT'] 6 dperav [^Kare\pya. p. cfiiXos cov e/u[o]? Xeyeado).C. pr. fr. no. The attribution of pr. See Korte. 143. LITERARY PAPYRI ANONYMOUS 26 [2 A.] ? EYPiniAHS MEAEAPPOS : Ed. Partly coincides with fr. p. 1937. pr.] ? EYPiniAHS AAEHANAPOS : Ed. The Classical Quarterly .g e-)(oiT€ 7raCT[d]/xevoi 7raT/)co[i]otS'.aeaOa\j. rC] S' et Tiv' AtTv[a]s" TToyov 10 n[te/3]iav re Trerpav )(^pvariXarov iv daXdfJLot. 154 . 1938. ascribed to [X0P02] €VL ya[p] tt\o\vo£.

ed.ANONYMOUS ANONYMOUS ? EURIPIDES.-W. who insisted (in spite of his companions " See P. 13 Kad-qad' Nauck (fr. pr. . . Among the heroes assembled to chase the boar was Meleager. cit. Eimelschr. 155 . Meleager. Cfr. 20. *Snell. . loc. had forgotten her when sacrificing the first fruits of the harvest to the gods : she had therefore sent a boar to ravage the land. shall be have you heaped Mortals called my friend. s. In the prologue. . Artemis explained that Oeneus.] See Alexander by Hartung without sufficient evidence. 5. and had it in your father's house ? What was not you will abide unblest among the so from birth . 423 sqq..) N. king of Calydon. ALEXANDER [2 a. (Possibly fr. 960 lyric. S^chan. Wilamowitz. and attain a good man's name. sur la tragedie grecque. MELEAGER [3 b. ! — Why . Et. is part of the same ANONYMOUS ? EURIPIDES.c] The plot of Euripides' Meleager was briefly as follov:s * . labour. 5-7 =fr. 328. 960). Hermes. Versk.d. 1937. 959 N. . p.v. good. He who can undergo for labour lies therein.-K. p. your empty gains ? thinking that you shall achieve excellence through riches ? What though you had acquired a crag of Etna or Pierian rock of solid gold.

8ea7roT. ToXjJidi a(j> et] roh^ alricofjievos a. He gave the hide to Atalanta. being to take and of his mother Althaea) — davyiaar* eAe^as". and it the fragmentary third : then continues : — end of a avdC\9 av rtpirjs e'/cart Trapdevcoi 21. ) LITERARY PAPYRI that Atalanta should be permitted part in the adventure. {Two lines missing. alleging that it belonged to them as next of kin.e KpvipTjLs.)^ets". and to /xaratoy? d(l)po[avvag. This quarrel between Althaea and Meleager and Atalanta was portrayed in the play.) 156 . elSevai.ev7y.)(otv'7^t8t] • rdpiarelov is x^'P^^"] Xa^elv 10 pioX d^ta yap rj to Trplv S]e8ey/u. took it from hei'. 5 p. aoL t' ovk dpeara raurja. the recent behaviour of Meleager or of the Thestiadae. then Meleager killed it. brothers of Althaea. The story of the chase and its fateful end were narrated by a Messenger : Oeneus had promised the boar's hide to its slayer. eSoj/ce yepov Tepifjei ae.ri vvv p. Kayd} XeycLV rd pur) (f)DC ov] i^/OT^t^co Sd/xoi?. Atalanta first wounded the boar. But the Thestiadae. if Meleager renounced his claim. et tl rail's'] eiTreiv e. Meleager in anger killed the Thestiadae and restored the hide When Althaea heard the to Atalanta. Messenger's story. she extinguished the torch which. whom he loved. In the event. hicjTTor .vaLp€L]v Kelvo 8' elhevai deXw. including a reference to a pursuit (8]tco/ceir). Amphiaraus second . /cat vvv (f)pdaov /xot ttov "utlvI ^AraXdvrrj..' ovh^ e/cetjv • ovttoj rraXai {Here follow fragmetits of ?iineteen lines. and uncles of Meleager. dripos TLs ivdevh^ eXa^ejv dypiov Sepos.

! : : {Trvo lines missing. . for she had won it long ago. Oeneus. the hearing will not please you and I have no wish to bring unwelcome tidings to your house. Master. he concluded tcith the death of the Thestiadae . the maiden daughter of Schoeneus. may then have left the scene to comfort Althaea for her brothers' death and to dissuade her from violent of the play it is likely that revenge. is appalled at the tidings. The Messenger says that it was restored to Atalanta.. Master.) ANONYMOUS quenched. comes from the end of the Messenger's narration . if indeed it belongs to this play. Oeneus. he gave the prize back into the hands of her. and the fragmentary end of a third : then it continues : — Messenger. (Here follofv fragments of nineteen lines) 157 . if you know anything about it. and that Althaea killed herself The play closed with a divine epiphany. where is Atalanta will displease you. probably Oeneus. if Oeneus it is. It was indeed her right. Hide it not from me. now ? Messenger. Oeneus. his interlocutor. to do her honour. Our fragment. Asked what nov: Atalanta is about. that also Not long ago . he perhaps replied that she had fled with Meleager . but goes on to ask what happened to the prize afterwards.. . Towards Meleager was brought dying on to the scene. Oeneus. was destined to end the the end life of Meleager. Now tell me. old servant. if he made bold to slay them on such a charge Now this I want to hear who was the next to seize the wild beast's hide ? Messenger. Strange. .

and vv. yvcojjirjv tl Spdv. See *von Arnim. with fr. Lit. a. New Classical Fragments and other Greek and Latin Papyri. col. 1. Plate I. Series ii. 4. no. T^v V(f)r]y]€l irpd^LV [oJ^/XTyao) TroSt. Hibeh Papyri. 5 become extremely difficult) . ^KXdaiav ottojs [jloX[ojv eTTiCT^^cu fiTj TTapo. 2 may easily be a mere coincidence . Pap. Te'Ao]? yap rCbv i(f)^ line) e[/i. Cat. Grenfell-Hunt. OTTCos yevrjrat KOLTTOTrXiqpajOfJL Ta(f)os. Milne. pr. i. p. the " fortlaufender Zusammenhang " of v.]cL>t' X6yo}v cx^ts. Plate : XafiTTpov aCjSrjpov /^[eAavi ^dipavJTes (f)6vct)L (Fragments of one vvv ovv.] ? EYPiniAHS 01NEY2 : Ed. 1897. 4 is not impressive.M. 21. 3. I + Grenfell-Hunt. no. and of v. 1906. 15 ANONYMOUS 28 [Early 3 B.[eXos tj SvjaTTpa^ia ijjvxcuaiv €fjL[^€^Xr]K€] tXtjijlovcov ^poru)\y 10 yap [elB'jolv dpn to\v TedvrjKora 158 . g . 39 (revised text of w. B.C. ii. roiit TTarpaS]eX(f)[a>L\ MeAeaypcot h\oJ\prniara 5 /ceK:aAAtCTTeu/x[eVa)]v. Xppov oaov rapaypL\o\v iyd) [ p. 1. Eur. Suppl. p. 5-8 but I have not accepted his combination of f r. TVxrjL 8' dya)V(vv rwv ojOTTep Tvpavvoig dvSpdoLV [vojUt^eTai.LITERARY PAPYRI aAA epylov rjSrj toIs ofxai^oaiv /Lte'Aef €ya> S' a7r[ei/A' e? oIkov.

and restored Oeneus to the throne. when from any unexpected deed. OENEUS [Early 3 b. . All that is clear is that somebody is about to the tomb of Meleager. man ! misfortune casts u]X>n the soul For lately I saw the dead . I -will go forth to the deed whereto you guide me . Chapters. iii. . New pay honours to If iraTpaBeXcfxDi were a correct restoration in V. 154. such as are due to royal princes. . In dark blood steeping the bright steel (^Fragments . {Choral song) WTiat confusion of long-suffering . . 4. . . brother of my father . Diomedes came to Aetolia. .ANONYMOUS Oeneus. 159 . the speaker tcould be Diomedes : but the supplement is only a guess. of one line) therefore. kinsI men. Oeneus teas expelled from his kingdom by Ayrios or the sons of Agrios. sieve Agrios and his sons. I will ANONYMOUS ? EURIPIDES. Action lies now with her own . . so shall his gifts be made to Meleager. Pickard-Cambridge. . Now. .c] no. his burial rites shall be complete and he shall have Games of splendour unsurpassed. go home and stop Althaea. since you hear the end of all I have to say. arrive. . In Euripides' Oeneus. 59 (*revised text of 9-11).

355. ^Kel (f)p[ovpdg fioXojv (f)p6vTLt.e p-oi. [EKTflp] X^P^^ npos oLkovs.aXoir[ov doTTiha. ai) /ca^' \r]Bov'r]v Sojjlois rrjs 8'. Radermacher. xiii. See Korte. Amherst Papyri. Unwelcome tidings presuman assault by Greeks are announced to Hector. 1902. (a) Grenfell-Hunt. Einzelschriften v.C. 1.C. *Pickard-Cambridge. tSi^a^. (6) *SneIl. iii.^iAAe6(j? hopi. Journal dss Savants. 1901. 1901. Chapters. 100 B. Archiv. oirXa r /cat rr^v €[KK6p. (b) [ArrEAOs] a[ju-]j8aj koXcov[6v line missing) (One 6 fxev [y]d[p] eAaju. 1938.[ "E/c[tcd/3 aei(Dv ctt' avro\y 15 "^KTOjp 8e TrpdJT[os 160 . e^co yap avrrjv T'qvhe /<:a[t dAA' eKTTohojv rjfjuv aTravra. 10. The scene is before Troy. 100. Jrcliiv. Mus. pr. Rh. who calls for his armour and the captured shield of Achilles. /xi) [Biepydaiqc Kal yap els Xa[yd> (f)pevas 10 dyois dv dvhpa Kal tov evdalpaearaTov . 737 . Hermes. See Weil.] ? EKTI2P [(6) C. 138 . 152 . 1937. ably — — {a) dvBpes 7Tp[o]g a[oTU rayr' dyyeXcov aoZs ov rJKOj.LITERARY PAPYRI ANONYMOUS 29 [(a) 2 B. p. Plate II.\ OTTOJS crot Kaipitog e[|'et raSe. 5 'A. ii. ii.Lt. fxoL arfjOi.] Ed. New Cronert. no.




[(b) c.

2 b.c]



Patroclu^: therefore

time of the action then is later than the death of it is improbable that this fragment is a

part of the Hector of Astydamas, whose play certainly contained an incident which occurred much earlier in the story (Iliad vi. 472 SchoL, v. Pickard-Cambridge, loc. cit.).
(b), Snell observed the difference between Homer, II. and this play. Here it is Hector who shoots first, and Achilles who stoops to avoid the missile. Achilles then strikes Hector with his sword {enaiaev, not used of attack with his own shield, spears), which fails in vain upon the shield




carried by Hector.


no evidence, except coincidence of subject-matter,

that these two fragments proceed from the

same play.
. .

(a) Messenger (?). To the city, men. Such is the cheerless message that I came to bring to your palace. Go, king, and take heed for our defence there ; so shall all be as the time demands. bring me my armour out, and Hector. Indoors the shield of Achilles, prize of my spear I will carry it none other and Stand out of my path, or you will ruin all Why, you would bring even the bravest man to have no more heart than a rabbit . . . !











climbing a
line missing)





as for

Hector, he




(?).., brandished
. .

against him.



But Hector





line missing)



8' VTTep ltvv ^u/x[




els yrjv KeXaivov eyxos, 'qho[vrjs vtto dvr]XdXa^€' /cat 8t' wv SielvXayr)


ayTo?, aura Trpoade r[ifjL7jd€vd^ oTrXa €7Taia€V' aaTTts" 8' ov Sltjk* €ta[aj ^L(f)og aAA' lax^v avTOv, S€a7T[6Trjv 8' ottAioi}8


Tov /catvov ov 7Tpo{v)8ajK[€

[1 A.D.]





Murray, 1936,

Woch. 1937, 558

*Lobel, Greek Poetry and Life : Essays presented to See Morel, Phil. p. 295 with Plate. Korte, Archiv, xiii. 1938, 100. ;

This fragment is preceded in n by remnants of a column of iambic trimeters in which ] Td(j>ov, x\(hpas ano, ] yvvax, It appears to ] Atraj, ] xoas- can be read at the ends of lines. be a part of a tragedy composed about events which occurred immediately after the fall of Troy. Ed. pr. observes that for
lexical reasons {icnipeaev, pXa^epd, naKapiGToraTov) the frag-

of post-Euripidean date ; and suggests an unsympathetic character, e.g. Talthybius, warns a Trojan captive, e.g. Hecuba or Andromache, that she must prepare to depart with her new master ; thereupon follows the captive's lament.
is likely to be


that in the iambic trimeters


line missing)
. .

Now when over the rim's edge saw the dark spear of Hector fall idly to the ground, he cried aloud for joy and smote those arms that once he honoured, through which himself was never struck. The shield let the sword not through, but stayed it there, and betrayed not the new master of that armour
. . . :




Supplements by
20, 21 D. L. P.

ed. pr., except 18 {ireaov /lanjv ed. pr.),



[1 A.D.]

The lines present insoluble difficulties ; of which the chief concerns the identity of the speaker. It is certain that a woman speaks : the lines in general, and the references to Hector and to a child in particular, suggest Hecuba or Andromache ; the child in v. 23 will then presumably be Astyanax. If the choice is to the former seems
ovo/ia rjhicrTov


made between Hecuba and Andromache,

The plural in t€V>wv speaks for Hecuba ; the phrase rl yap -q rXi^fuov nddos ovK avrXw is reminiscent of Eur. Tro. 106 ri yap ov napa /xoi neXeai arevdxfiv spoken by Hecuba ; further, a certain generality of sentiment and breadth of outlook reference to the fall of Priam's palace, and of Troy, to the instant
slightly preferable.


of Trojan virgins (/coupcu KoDpai Sv<rwfjxf>oi. cries Hecuba, Eur. Tro. 144) are better suited to the conventional Hecuba than to the conventional Andromache {who would


perhaps not have postponed her reference to Astyanax so long). Finally, in m. 24-25 /iera fi-qrpos o(i[ci)S ov] yeivafievTjs ( = Hecuba) is a better and more convincing supplement than HfTO. fir)rp6s 6ix[ov Tr\s] yeiva/xe'vij? (^—Andromache) /ifTa opMv is a singular combination. These are indeed inconclusive grounds ; but at the same time far from





The next difficulty : these anapaests are written in H in a column {short, only 21 vv.) without any regard for metrical lines. The right-hand side of the column is missing. It is therefore quite uncertain how much is missing. Where a

ends fiaKapiarorarov beginning of the next line,
that no


it is

followed by fteXaOpov in the obviously tempting to recon7r[

struct the first line on the assumption that

is nlpiafiov,

wanting. But the assumption may be false, and the lactmae at the ends of lines much longer. I have however made the assumption, for (1) most of the lines thus admit an easy restoration of good sense ; (2) if half a dozen letters only are added to the anapaestic column, that column will be much the same in breadth as the preceding column of iambic trimeters (which did observe the metrical line as a unit). Once more, these reasons are insufficient, but neither are they negligible.





^SiGTOv Kal Bcofia



Jto o


/cai cfioi



tC yap


rX'^fJoov Trddos

ovk dv[TXw

ydlp] ijxals


hvarv)([^iais vvv Srj]


TTpoXiXonre yocbv

1-26 Supplements, other than those of ed. pr.,

by D. L.


In 20 of these 23 " lines " (as voritten in IT) the scribe begins a new line trith a new word, does not divide a word between two lines. In two lines ' he does make such a division. In one line there is some doubt. The 19th line of col. ii. begins in the Papyrus ETTXAS ; the doubtful letter before E looks like N, but the ink has both run and faded, and M though I admit it seems a fraction too broad for the space is not impossible. At least, then, it is clear that the scribe did sometimes divide a line between two words ; and his reason for doing so was probably, as ed. pr. suggests, to enable him to keep his columns fairly even. The Papyrus ends for its last 11 lines (w. 13end, in my text) two or three letters later than it ends for the first 8 lines {w. 1-12). If no more than jripiAfiov ig to be supplied after fwjcapurroraTov in H's 12th line, we proceed with the assumption that some five or six letters are missing at the ends of the last 11 lines in H ; and therefore some seven or eight, perhaps eight or nine, at the ends of the first 8 lines in II. [Morel, loc. cit., conjectures that our fragment comes from a play which was the original of Ennius's Andromache Aechmalotis ; I find no evidence for this view in his article. Korte, quoting Aristotle, Eth. Eud. cit. 4, 1239 a 37, suggests Antiphon as the author of the piece.]

dear home, and sweetest name of children Malice or injurious stole the bridal from me of old. Unhappy, surely there is no suffering sore-lamented that in my heart I drain not to the depth ? Now at last in my misfortunes fails my















of the anapaestic lines


20 of





this line

and must therefore have divided a word between and the next. The next line ends ONO followed by
at the


beginning of



v. 1.


n was certainly not a t.

Maas: but the

letter following ^SAa/Scpa in 8 weXayos Schadewaldt.


(f)6i[X€vov fxeXea

aedev, "Ew'Top,







/cat e/iiot /Lteya


ajua a[ot S' ot/cofv] oAer' oX^og.

(Traces of tno


daXafiov t' o[Ao]cot TTVpl 8a[(.oju,]ev[op', /cat] irpiv ttotc §[17] fiaKapiaroTarov n[/3ta/iou] fieXadpov [ar€]<f)dvas 6^ Upas ;(^o[vos' 'ISata?], Sta 8' ou;\; ©[atov]


Xexos alvoydfJLov [ dS[o/c]7jTa Kopais /cat d
d/x[a T/3]ajtdcrtv Se/xrt'






TTapd rai»at[v




T[otS' CTOt?] Tv/jL^oiai fi6[y]r]v

rds ads

dprjvelv [avve^r]] fie Tu;^a?.

Svarrj^ve t€kvov, arelx^
jSdcrty ey^i;v[a>]v


firjrpos o/x[.


yetra/ievi7[s'* 7t]oI jx



10-11 [eVct


a' 6T€Kov] if

Hecuba is the speaker.





arepirva, aTTicrra, aTrevKTa, drXrjTa:



next letter very doubtful. drifia seems to me possible, but I defer to Mr. Lobel's adverse judgement. Beazley suggests drrfpa (with crasis of *cai).
; ;

next comes 11 or





Ed. pr. Grenfell-Hunt, P. Oxy. viii. 1911, no. 1083, p. 60. Korte, Archiv, v. 1913, 570 PickardSee *Hunt, F.T.P. Cambridge, New Chapters, iii. 101 ; Blumenthal, Ion von
Chios, p. 56.



offering of lamentation."
: . .

Woe, woe is me, Hector, the sunlight of my Ufa and of your death our land v^ith you the happiness of our home is


(Traces of two lines) and the chamber consumed in the fatal fire, and the hall of Priam, so happy long ago, and the through Helen's unsacred coronal of Ida's land our maids of holy love a curse lay on her wedding unexpected already Troy are destined to hear they have their beds beside the Achaean ships. My fortune it is to mourn your fate alone above your tomb. Come, guide your steps, unhappy child, with
. .







. . .










have lamented so much already, that I have no give as an offering to the dead (ireAavo?, e.g. Ap>. Cho. 92). Tre'Aovoj yocnv " an offering of groans " is an odd phrase but we know nothing of this writer's style.
" x.e. I
left to


<(otA(uj] Korte. the reading of 11.



(Maas, Korte) was not



arelxe [irpos o'kovs Morel, is not. areixe ofj{(os ov] if Hecuba is the speaker.


possible Korte.




[2 A.D.]

The daughter of Oeneus (or probably Schoeneus) is the prize of a contest in which Satyrs are competing.

Evidently a Satyric drama.

— but




Oeneus is knomn to have arranged such a contest for the hand of his daughter Deianeira ; in which Heracles overcame
pr., is

Phoenix (who is party to a dialogue in fr. 4 ed. mentioned infr. 14 and in a note onfr. 19) was probably another competitor : for he married Perimede, another daughter of Oeneus (Asius ap. Pans. vii. 4. 1) perhaps, as Hunt suggests, a consolation prize. (Schoeneus also promoted such a contest for the hand of his daughter Atalanta

here too Phoenix is at home, for he took part in the chase of
the Calydonian boar.)



seems unlike that of Aeschylus or Euripides

[oiNETS] aAA' i^epovixev dXXa Trpcora jSouAo/Ltat yvcbvaL Ttves Trdpeare /cat yevov? otov

pXaarovres' ov yap vvv ye ttoj fxad[u}v exo). vvfi<f)Loi fxev Xo[po2] 2ATT[pnN] dvavTa TTevcrqi.

TraiSe? Se vvfX(f)a)v, Ba/cxtou 8' vTTTjpeTai,, decov 8' opLavXoL' -ndaa 8' TJpjjLoaraL rexvr]
eV TjIMV €(7Tl [J.€V TO. 77/30? fJ-OLXl^ Sopos, TrdXrjs dycoveg, i7Tm,KrJ£, 8pop.ov, TTvypirjs, oSovTcxJV, opx^cov dTToarpotjiai, eveLGLV a>i8at fxovatKrjg, evecrri 8e




fxavreXa rrdvra yvcord kovk iifjeva/xeva,
lajxdTOiV r XdXrjai^' ap'




fierprjais, ear* opx'^cri'S, eari rdJv Kara)


aKapnos r) deoipia; 15 aoi Xa^elv e^earc rovd* ottolov av ;)^/37yt^'>^tS', edv rrjv TTot^a rrpocrrLdr^ts e/xoi. dAA' ovx^L jJcepiTTTov TO yevos' dXXd ^ovXofiaL


/cat TOJ^S'

ddprjaaL Trpdjrov oarts epx^rai.

[a <f>po]vSov, ,ov8^ d7ro8ep/c[o/Ltat

]daa> x^^^^^ aeXi^va[





Sophocles {who wrote a Ooivi^, and perhaps an Olvevs) is a likelier candidate for authorship ; Hunt points to Soph.fr. 853, 3-5 Nauck,for a good parallel to the anaphora offcm in w. 9 sqq. of our fragment. Wilamowitz was inclined to attribute the lines to Ion of Chios, who wrote a <^otvL^ ^ Kauvevs and a Ootvi^ Sevrepos. But all this is merest guesswork ; there is not sufficient evidence for a decision. [P. land. v. p. 179, no. 76, a tiny fragment, may belong to the same play.'\

(though there is no definite criterion).


We will

speak out



first I

wish to

know who you

are that come, and of

what family

have not learnt this yet. Chorus of Satyrs. You






as suitors,


are sons of

nymphs and

ministers of Bacchus,

Every proper trade
fighting with spears,

and neighbours of the gods. part of our equipment

contests of wresthng, horse-

racing, running, boxing, biting, hitting below the

here you have songs of music, here you have

known not forged, and tests for we know the measuring of the skies, we know the way to dance, we know the lore of the world below, say, is our study fruitless ? You



choose whatever of these you your daughter to me.

will, if

you assign

Oeneus. With your family I find no fault. But I wish to see who this man is who comes






gone, nor do






of the land




the moon.


[b lS]ov,



^e^r]K€v, OLX€Ta[i aeXas'



vvKTOs darpov



6vr]iaK€i TTpos


avyqv 7]Xio[v fxavpovpievov, TovS' ad fieXava p6[arpvxov


[2-3 A.D.]


Ed. pr. Vitelli, Revue Egyptologique, N.S. 1, 1919, p. 47, oV- «i See Vogliano, Riv. di Fil. 1926, 206 * Schadewaldt. Hermes, KOrte, Archiv, x. 193i; 49 63, 1928, 1 Fickard-Cam; ;






Ino, wife of Athamas, Jealous of her rival Nephele, roasted make it unfruitful. She then gave it to an old man to sow. Athamas, ignorant of these things, conthe corn-seed to

sulted the oracle
that the


but Ino persuaded the envoys to report
fertile unless

ground would not become



sacrifice his son
ai) S'

Phrixus, child of Nephele.

ovv\ eXeyx* , et tout* iv rjSovfji ti ool.




7r[a]rTa TaXrjdrj, yipov.


[nPE2BT5 Ae^co] vapovcrrjs TavTO, KaTTOVcrqs, dva^,

€K T7ja]8e


GTrepfia Sc^aadai roSe

t dpovpas'




2 iievveneiv Beazley.


aireipeiv Vitelli.

This line
It is


spoken by Ino, not by the Old

Man who

would not say

to the king " Ask away, if it's any pleasure to clear from v. 3 that there has been some discus-


Look, how the light is gone," the flame is vanished Like a star at night or the moon's horn fading to death before a ray of sunlight And see, it breathes out a black curl of smoke .
! !






light of

a torch or altar has been extineniished


ivcu brought to the altar


but thereupon the old

man who

had sown the seed betrayed Ino's secret. The authorship of this fragment is altogether uncertain, for want of sufficient evidence. It could be the work of Sophocles ; but nothing proves it. Schadewaldt argues for

but fails to produce a single strong



The fragment may be the work of either of these two poets, or of an unknown poet of the 5th (or even 4th) century. We cannot nowadays assume that a tragic papyrus of the 2nd or 3rd century a.d., however finely written and produced, is a work of one of the three great
conclusive) argument.


Ixo. Go, question, if



Athamas. Old servant

you any pleasure." you must tell the whole

Old Man. My tale ^^11 be the same whether she be present or away, my king, that from her hand I took this seed and sowed the fields. I would I had not taken it.

sion whether Ino should be present while the king questions his servant She finally consents to remain.







opKov t' cktos ov iftevBrj Xeyco, rov SovXov e/c X^P°S" Xa^eiv.


dpvrji, yvvjac, a7T€v8ov[aa\ Bvarrjvos (f)6vov

Tot?] TToXirais

\re\Kvoiui roZs



ov Xe^ojv, anipyia tls SiScocrt aoi; KLvels] Tov avTov fivdov; €k tLvos S' eycu Xoyov 8t]djAA[uv' ToucrJSe, hovXos cur aedev; yvvai,] rd)^ dv rouS' dvS/aos' dpGevos rvxiolts TOV TTatS'] aTTOKTeivova* iyu) 8' er' ev







e;^a;v eixretv eTTTy.



CTu 8'

eiCTa/cJouet? dAo;^os" ot' v^pit^erai;



eyco] ^Ae7r[a>]

ye touS' e? o/x/iara,



et/c^ TTpoapLevojv ifjevSi] Xeyoi.

7 So I conjecture for the reading TONAfiAENHS, which must surely be a corruption. (TONAOTAONEK Is palaeo-

graphically very close to H's atyatj; D. L. P. ov Ae'^oi' Maas.







Ed. pr. *Vitelli-Norsa, Annali della reale Scuola normale See Korte, superior e di Pisa, Serie ii. 4, 1935, p. 14. Archiv, xiii. 1938, 102.
(a) This fragment is described hy ed. pr. as a " rifacimento " of Euripides' Phoenissae, apparently a schoolroom exercise. But I believe that it is part of an original Greek Tragedy written in {or not much later than) the 4th century


For 172




indeed no single phrase, of this fragment

Ino. I swear no falsehood,

— and even apart from oath, speak — slave did not get from my




Athamas. Woman, do you deny that you were bent on murder, unhappy, to destroy either our people or my children ? What, silent ? {To the Old Man) Speak, you Who gave the seed to you ? Old Man. The same tale again ? For what reason should I, your slave, try to destroy these children ? Woman, you would murder his son but you may I still hide the yet find your man a man indeed greater part in darkness, though I have much that
! : !


might say. Ixo. {To Athamas) You hear how he




Old Max. But I can look him in the eyes I do not speak untruth and rashly await the penalty.



[2 a.d.]

Kas borrowed from Euripides' Phoenissae.

There is not even a linguistic coincidence worthy of the name. Further, the style and vocabulary, though generally based upon tragedy of the 5th century, are by no means particularly Euripidean
{see below).

There is an obvious similarity of outline to Eur. Ph. Joca^ta has contrived an interview between her sons, hoping that they may still be reconciled by debate and mediation. But there the similarity ends, and the remark(2)

443 sqq.

able differences begin.

I draw attention


some of them. 173

Here apparently. 4 : the brothers here have agreed to start at — by aiming at a definite reconciliation. 272-273). 1-2. the brothers begin at once by stating their cases in alternate Jocasta then speaks. Ph. In Eur.'s play. Ph. This follows from the poet's innovation observed on v. they Here they begin at once speaking to each other. least And pijads . Indeed neither speaks directly (cf. . Polynices is willing and faintly hopeful (435-437) . A good instance : of this poet's complete independ- ence of phraseology the thought is much the same as that of Eur. Eteocles humours his mother {446 sqq. In our fragment there was evidently a dramatic moment when Jocasta insisted that both sons should give to her their swords before the debate began. does either brother formally promise to accept and abide by his mother's verdict at the end of the debate. Ph. 455 sqq.. A new and striking element : Jocasta bids Polynices swear that after the ensuing debate he will abide by her verdict. In our fragment. Jocasta hopes thus to reconcile them . the brothers have agreed to meet and try to settle their differences by arbitration. their spirit outwardly milder. V. This feature too is absent from Eur.).. but plainly does not intend to be conciliated. and Polynices actually addresses his brother by name.. to the other until the violent quarrel at the end will not even look at each other). here is a great difference in structure: —In Eur. therefore their animosity is at first suppressed. 'splay : a spectacular innovation. V. the brothers begin their debate in iambic p-qaeLs may or may not have followed this or interrupted it . 174 . neither brother addresses the other by name in this scene. Polynices hands his sword over to his mother : this feature is new. V. not in Eur. 4. In Ph. Nowhere in Eur. 3. 6.LITERARY PAPYRI Vv. 364-366 (cf. but certainly the debate and quarrel go stichomythia. and the debate is over there- upon the brothers quarrel violently in stichomythia in trochiac tetrameters.

t« Our poet going out of his way to be different from Euripides. V. 2S-29. though he does once speak of taking it away . many others in this fragment. these divergences are unintelligible except in relation to the whole of which this fragment is part : i. 19. but remarkable divergences from his example. This sentiment is not expressed in Eur. nor of the combination <f>iXra-n] with rtKovaa vocative. ^lAraTTj T€Kovaa : I have not observed another example in Tragedy of rtKovaa vocative vnthout to. Cf. 13. the new fragment exhibits not similarity to Euripides. These lines. V. 23 : in Eur.. in structure. do not appear to he based on anything in Eur. But there is no good reason to deny the phrase to a Tragedian of the 4th century {or indeed of the -Sth). In make — — phraseology. in iambic stichomythia. V. which eluded our poet. Ph.'s play. Xen.ANONYMOUS together at the beginning. in the presence of Eteocles. Vv. note on v..e. There are other differences . The relation to Euripides' Phoenissae t* confined to a broad and with this subject inevitable similarity of outline. V. w. not a complete and self-contained And " exercise. in incident. vapoBeaBai not in 175 . irapedefirjv : someone " is -rrapadfadcu ri Tivt "deposit something with good prose {Hdt. like so • • • scene." (b) There follows a brief commentary which is intended to shew that there is nothing here to compel us to assign these lines to a date later than the 4th or 3rd century b.). Nothing corresponding to this sentence («* yap KvKXamos fixov ^ffx^*" adeXicTov) occurs in the Euripidean Vv.c. 10. Vv. 22-23. either in sentiment or in phraseology. 11-17. and often in spirit and sentiment. speaks of his bringing the Argive army to Thebes. but these are sufficient to it clear that this is a fragment of an original Tragedy. a delicate point. 2. 10. Polynices never. the fragment really is a fragment.

av yap ovk : anapaest in first foot as in tm. 28 . V.' V. or Soph. 564-565 quotes only examples of the idiom where citations from Sophocles. pr. based on such passages as Soph. 509." " bring. Tragedian of the 4th century.v : here and v. but cf. did at v. 14. iravroT : perhaps from Menander." V. Eur. 10. Fab. Ph. 940. ibid. only Cycl. arparovs : plural not elsewhere in Tragedy . Theodectesfr. 3. O. V. xviii. 10 : and vv. 12-13 sqq. This is rather a heavy allowance for the first foot . Resolutions elsewhere not specially frequent 2 tribrachs in 2nd. The writer is evidently not copying the passage consecutively. Eur. 1164. avTos occurs too. Ion 931. 6. make it clear enough that Eteocles has argued meantime. Inc." 176 . I suggest a lacuna here. 390 (in a different sense). 538 is similar. as in the above Perhaps avrr) nap' avriji. nom. interpreted to follow v. less probably. 7. 8. 5. 953. 1199-1201. Iliad xviii. 'Et€okX€s : as often (form 'EreoKXees. 6 {proper name). irapa ^porols : the rhythm is rare. 443. as ed. I do not see how v. 2 dactyls in 3rd. for voc. Ba. 11. 24. eleven resolved first feet in 56 lines {one proper name) . tribrach w.: LITERARY PAPYRI Aesch. 8 {proper name). cf. " You have brought an army to attack your own country. 11 can be but only certain portions of it. 1356 t6v ainos avroO ( = aeavrov) narepa r6v8' OLTn^Xacras. 1407) .. V. | but irdvTor'. in Eur. Ph. familiar could hardly he denied to a .. 13. nom. LA. was the original reading here: ATTH could easily be corrupted to AITQ. the 929-930 alaxvvds voXiv ttjv avros avrov i. 15 =" fetch. 507-509. V. 2 in 4th foot . 4>fpfi. ( = aeavTov). Philemon. LA. 13. 15. 529 sqq. irav tot' V.C. of two armies. however Ph. -kXtjs perhaps read 'EreoKXrjs. avTrji = aeavTrji : a peculiar usage. 9. Kilhner-Gerth. dactyl w. 431-437.

" not " share "). 436 only. 586 aTroVpoTroi). V. but fiepiCetv of the Eur. 14. or Soph. Tucker in C. 19. 28. The rhythm ov8€. Aesch. 64. Or. and. 536. Or. but has parallels in StoSij/xa Ba. Perik. ANONYMOUS V. pp.) IT gives this line to Eteocles (change of speaker is denoted by (Kdeais of the but the next line suggests that first line of each new speech) it should be said by the speaker of this one. 1188. 1055. Cf. 15. 83 TrpooTtoXois KeXdjaare (usually emended). TOW c.. KeXfve fj. Warmington suggests. Eur. the emblem of royalty for the Great King and for Alexander. 224 — — evfrpdin] : for the scansion (lengthening of syllabic augment before mute and liquid) see A. or Soph. but dative not elsewhere in Tragedy. ddeXxTov : word not in Eur.R. And Sidhjua. .g. 12 . however Cycl. t* remarkable . 341 (Ph. 646. 150. xi. Tt 8' earlv o KeXeveis ffioi. i. 410-411. alria . 16. Normal in Homer . is not an improbable flight offancy for a Tragedian of the 4th century. Hel. Ba. avdyKT) Tov 4>€p€iv : I have not found a parallel to but the analogy of other words (e. 1897. 2 ovbe nados The phrase fxepl^ew to is at the beginning common {it in his- means of course " divide.) explains it easily. Pers. The word could be used by any poet after Xenophon at latest and the combination fnpi^eiv to 8id8T]na is very passable torians the 4th century and philosophers of poetry for " divide the supreme authority. el yap e/i«pi^c? line is unusual. 395. infin. The conclusion forbid us to VOL. 285 warf 8ia TovTov.01 : see Kuhner-Gerth. In Eur. the construction V. (The dative may be merely " ethic. V. H." as Prof. (who has irpaweiv). V. Agam. only Hie." There are stranger things in our scanty fragments of 4th-century Tragedy. Menander. Porson on Or. Held. npaiov : word not in Aesch. for a clear example in the 4th century. I is : —though there are several points which a fragment of 5th-century Tragedy^ call this N 177 .

KavTC . [no. atVcD. TTapedefxrjv /ioA[a)V.LITERARY PAPYRI it to an author of the 4th century or soon after. ddev €^ dvdyKiqs yaias yap avTos fJLTJTep. CTpaTCVfi ejjie. it there is nothing to prevent us assigning [noATNEiKHS] . Trap' avrrjt to ^i^os (j)'6Xaaai {xol.ls TTOvrjpos (f>€p€l. ovv yevT^- aojxai. . vo/Ltt^erat. . [no. to 8c hovvai tu.] to fXT] OeXciv oov cart.. 20 d/c[A]ea)s' )«' dnriXaaev 178 . (? arparovs dyovrl 10 Lacuna) [ex. Lacuna) [no. 15 SidSrjfi <f>€p€LV av el (f>€p€iv yap rjfids iroXepilovs yap "^v TtV to dvdyKi] Tov ipbipit^es (? aTcp pidx'fjs.^s".] Ktti fjLTjv Xe^ov e/x/Ltcro) fxrjTpos Kpiaei.].V SsiXos trapd ^porols. V ooi T\rivhe Trj\v tpvxTjv aoL. ov avyyovcoi.' Tvpavvos Tvyxdveis. "niaTevaov. [no. ae 8' i^eXey^oj ttovtot rjSiKrjKOTa. (f)iXTdTrj TCKOvaa.] lp. ouSe C. firj KeXeve /xot. OVK iveTpdTTTj' Xoittov (jypaaoi.] TO TTpdlOV TJlJidJV..t]v deXco. 'Ereo/cAes".. [iokasth] iidXiara. [no. ..oi TTpoadTTTCLS djv av Spats Tas aiTias' rjvdyKaaas.[.. 5 aAA'. firj yap ovk dv iSlSovs [loi.. €/u.] ai) ^Ittc fxoi. Ph.. It is not a " rifacimento " of Eur.. it is not a schoolmaster's or schoolboy's exercise . ov ^avryao/iai.] KoivfJL 7Te(f)VK€v c5[a]Te aAAois" [?ET.] . . ej . [eteokahs] 'Erco/cAer^? Sovs aKrjnrpa avyyovon (j>av€.

PoLYMCES. but not to your brother. Eteocles.'s most popular plays. so I must speak henceforth (in anger). I swear. Eteocles. for you would not have offered it. . 179 .. Repeat mother's judgement.. Eteocles though I shall convict you of wrong at — : — : every time. The blame you fasten on me. if I prove a villain. I beg you. He. based upon one of Eur. . " I will abide by my JocASTA. coward. Aye. Not to wish in your power : granting your will." PoLYNicES. PoLYNicES. Cease then to give me orders to others you may be king. . but going beyond its model in content. and avoiding imitation of it .. . I shall be. Mother. Shall Eteocles give up his sceptre for his brother to bear. I would not even live. If you were for dividing the crown without a battle. drove me without honour from the land : . had I not brought armies hither — — ! (? Lacuna) is Eteocles. in Fortune's. it is for all alike. none other. But I shall not prove so believe me.. he took no heed of my gentle spirit. tell me and be thought a coward by the world ? PoLYXicES. Gladly.: ANONYMOUS f« a piece of an ancient Tragedy. . guard my sword beside you. in style. but the deeds are yours It was you that compelled me to come with enemies. by coming here I have entrusted my life to you once for all. . ! PoLYNiCES. dearest mother. what need had I to bring an army ? (? Lacuna) PoLYNicES.

1880. avynia-)(ovs Trapeax^TO. Hermes. 491 and Herakles.C. . Euripidean authorship disproved by Tyrrell. Mnemos. no. LITERARY PAPYRI "Apyovs 8e .] SPEECH OF A HEROINE et Un papyrus inedit : nouveaux fragments Monuments Grecs d^autres poetes grecs : publics par Vassociation pour V encouragement des etudes grecques en France. 36. 106. 8. 99 . Weil. Kock. Rh. 4. Class. followed by ed. 269. .: p. 56 . 1922. Hermath. Assigned to New Comedy by Robertson. 8. pr. 35. 1879. d'Euripide Euripides by the Papyrus. suggesting the lines were the dyrlpprjais 180 . Rev. 76 . cf. 82. Bergk. Wilamowitz. pr. Kal TrXeiov* avTOS arparov e^ojv iXi]Xvd[a av[ [ roiyap 7Tpoa(l>[ 25 [ [ o TTapedefjirjv aoi ovS' el KvkXcottos €t)(ov 4'^XW oideXKTOv [ TL yap Tvpavvels tiA[ TjXlKOV i(f)^ VjjUV 7t[ 30 €[ kXtjOcls avvaifios ovk TO pijfJLa rovro Siacf)€p[ dSeA06v ovra Set jxe [ {Here folloivs a free space : the copying of the original did not proceed beyond this point) ANONYMOUS 34 [160 B. 15. 1883. n. Blass. 1880. Ascribed to Cobet. 2 with Plate. i.. yrj fxoi. Mus. 245 . p. 41. 1880. cf. ibid. ibid. Ed.

Fab. ibid. the famous recluse of the Serapeum at Memphis. praef. . 350 . ibid. Korte. had the implacable soul of Cyclops. and I have . . .*. 61. 76. 111. . 3rd ed. 10. Rh. Hermes. For of his why monarch this . 181 . 1926. text p.c] of Pamphile to the prjois of Smicrines in Menander. Epitr. Ixi. Menander. p. 348 . . . 134. 132 ipraef xxvi) . Platnauer. . d. who however supported the attribution to New Comedy . . 115) observed that the text (r. Mus.G. . . tit. Wilcken on the verso (Urk. note) was written by Ptolemaeus himself. Hermes. 1. which I entrusted to you . New Chapters. 1938. Robertson. in Jensen. Jensen.. name I brother brother. . The papyrus belonged to the Macedonian Ptolemaeus. Incert. come with a greater army therefore if I . not even . despite the . of. T. this suggestion contested by Korte. . are you . . : (Here Jollotvs a free space the copying of the original did not proceed beyond this point) ANONYMOUS SPEECH OF A HEROINE [160 b. Menandri reliqu.F. . utterance though am I must . p. Korte.. 666 as Eur. the fragment appears in *Nauck. 143. 155 and 168 . .ANONYMOUS Argos provided me with comrades in arms. fr. 1927. Ptolemaerzeit. of. 953 .

32. 9. tvxov laws Apollonius. imitation style — is Menander. no. But the assignment to New Comedy is by no means free from objection. Ion 931. 407 fr. v.C.F.k€. Eur. v. but openly comic in spirit. 338 sqq. the phrases i^exP'' ''^of'ov v. I. 1164. 17. the perfects tj8iVi. 1080. | fr. The elision of -ai in v. until someone can shew me a comparable passage from New Comedy. half serious of Tragic metre and style . There can be no doubt that the attribution to Euripides. 29 {=Sthenelus fr. even if avrdTTaim " corrected. v.A. 940. 29. which has been quoted as a parallel. Damoxenus fr. no. 1) . V. Fab. Anonymous. 349). 44. which combines comparatively Tragic metre with comparatively Tragic diction and spirit to the extent which we discover in our fragment. reXovs has (2) The unusual rhythm of v. I am therefore bound to seek some other context for it.A. 15 rdti (lev 8ta parallels in Eur. style and language. and is the rhythms {possible but very rare) ru>i V. Ba. 9. comparable in length. /r. but since it is a passage — of stichomythia. 25. rifjLdpTrjKe. fxev 8id reXovs v. cf. our fragment reads {to my ear) even less like Menander than like Euripides. Incert. (3) The unusual rhythm in 25 has a parallel in Pseudo- 182 ." and a few other things tolerated. I. V. Agathon century parallels in Pseudo-Eur. Now it is by no means impossible that this fragment proceeds from a Tragedy written in the 4th century B. rwv nev ayaduiv are sufficient proof. a good imitation half parody.. is mistaken. 9. and the seems to me not nearly so consistently on the Tragic level as it is in our fragment. The plain fact is that there is no extant speech in New Comedy. Perik. 5. Hi. Theodectes — . or to any Tragedian of the 6th century. 8. 33.LITERARY PAPYRI and the subscriptio to the text on the recto by his brother who was then only 13 or 14 years old. is fairly regular in metre . the parallel is wholly inadequate . p.A. 2 Kock (C. rjTToprjKe. Anonymous. In fact. or even As for the metre : (1) The elision of -at has 4thlater. 15.

1101. dyrdiTaifu are not the forms of 5th-century Tragedy : but neither is out of place in good prose and poetry of the late No objection can be brought against the con4th century. {Nikitin). Could they have been used in a Tragedy written during or soon after the lifetime of Menander ? iVe do not know . 10 : but there are several such violations even in 5th- century Tragedy. 4 {Plato. 9. {As for the " non-Tragic " word /a€xp*> /*«'xP*s '" Soph. 635. 1182. 720. 2-3 (cf. 731) or against that ofXoinov fcrri v. 571 has never been properly explained. 529. lacjs v. 1253. Denniston. 22. Phil. Aes. Descroix. 19 a-nopoi does not mean " am poor " in poetry before the 4th century.. L. In the present state of our ignorance we cit. ovoia means " property. 10 for 84 {D. Soph. N. I. 564. Xen. Soph. but I know no reason to deny it to Tragedy in the late 4th century. cannot dogmatize about what teas and what was not possible for a Tragedian writing in the age of Menander or soon afterwards. Symp. but have not sufficient reason to suppose the contrary. Pseudo-Eur. And the other forms and phrases vchich have given offence are all admitted in prose or poetry of the 4th century {see Korte. iv. Le trimetre iambique. for details).B.) apfxorret.A. Pers. As for the koitoi ye has a parallel in Eur. 9 Ti^y^awwr* oiJa' o«5jc for tvxov . I. 1). with raxn fvwopTjKt 8' ov ovk {Ha) for TfiTopTjKe in v. Korte has shewn how well these things were established in the New Comedy. Ion 1. in Eur. Held. 30). 466 d. Tro. t?. pp.)." as here {v. 2 apfiol^fi for apfiorret {Weil) . 1409 i^eXoylao). For the rest. Eur. Particles. IJ^XP^ iToaov is not the diction of 5th-century Tragedy. (2) the meaning of rprofrqKe v. language and grammar — I. struction ofapfionei v. 321. Resp. Ai. Gk. too that small changes in this ill-written papyrus would remove several of the divergences from the style of earlier Tragedy v. 10 avreiTroifu — — for ayreiiraifu {iVeif) . cf. P. V. Hel. (4) Porson's canon is violated V. 19 Such changes 183 . we have only to consider (1) the phrase Tvxov iacos V. H. loc.: ANONYMOUS in Eur. 300 sqq. Ai. 337.A. Tr. p. cf.T.

LITERARY PAPYRI {though I do not recommend them) would leave little in the language. 817 dAA' dyvoco rvxov tacos d^piov eyco /catrot ova*' OVK dv dvre tVat/Ai. 5 fxe p. 184 . or soon afterwards. TTepl TOJv y* eavTTJ? TrpayfidTCOv tacog (/)povel. 4th century b. d(f)rJKag.c. combined with the serious and earnest tone. tL jx dSiKei. aiaveauai fxe oei. Xoittov TO. which could not find a parallel in Tragedy of the 5th and 4th centuries.elt^ov rjSiK-qKe ti. or for pleasure — — ''^Cl TTOLTep. precludes the possibility of their ascription to a New Comedy : whereas there is nothing which precludes the likelihood of their ascription to a Tragedy written in the In conclusion there will. ovK 61 ifie TrpoCTTy/cet XapL^dveiv tovtojv SIktjv. as there is nothing in the metre. be some who agree with me that the comparative regularity of these lines in their tragic metre and language. I hope. the impassioned and elevated spirit which inform them. — : — perfect tenses ftnrofnjKev. Xeye. but is an isolated speech written as an in deliberate imitation of Euripides exercise. should only have to suppose further that such a phrase as fjiexpi W& noaov was as well it may have been as characteristic of Tragedy in the late 4th or early 3rd century as are the rjblKTjKfv. earo) S' o ^ovXrjf tovto. yap apixoTrei (f)pov€lv ear lacos cfxe ae fjidXXov €7ret S' /cat Aeyetv ottov ti Set.e Xoyovs Xeyco. el y . o €1? €/x r)pLaprr]Kev . 10 rdXXa Kpiveiv iarlv dvorjrov yvvq. €K TTJs avdyKTjs eKeXvo? et ye StVai' avrrjv Xeyeiv. rifidpn]K€v. o) Trarep. ixPW t} f^^^ *^^^ ^V<^ TOVTOvs Ae'yeiv ae* Kal '//. Another possibility is this : that the passage is not part of a complete Tragedy.

is it not for me to exact a penalty therefor ? And if he has wronged me. Tragedians dealt occasionally with more or less Menandrean themes. Only tell me this. ( = Ha). corr. But I : > - fitting that — : be it as you will. 6 verso (=IIb). ov oovkov D. and Now. hovers alone in a by no means lucid interspace of world We do not even know whether 4th century and world. wherein he once on 1 Text v^Titten in 11 twice. it remains for me. must I not perceive it ? Perhaps I am a fool and know it not. Blass. perforce to plead myself the cause of justice. 185 . If my husband has done me a great injury. in your speak what the time demands. is consistent rather with than with Tragedy : but it remains clear that This fine speech the treatment of the plot was Tragic. Poseidippus. Hb.ANONYMOUS by a toould-be poet of the late 4th or early 3rd century. may perhaps have good sense about her own affairs. L. Roberts justly observes that the plot of the play (as — — — New Comedy deduced especially from w.fi Weil. P. corr. ct 2 apiJL6t. Euripides himself. default. dvreivxHfu Weil. though a fool in judgement of all else. In favour of this theory are the facts (1) that if the few stylistic lapses are overlooked the spirit and style of the piece are really remarkably Euripidean. father. (2) that " Euripides " is written at the head {and foot) of the piece. you should be speaking you should be wiser than I. 20-21). 12 uTUKriccnrei lib. I "will not answer no and yet a woman. 10 ravraovKav Ha. hard to think of a good reason why such a tour-de-force should have been included in the same " anthology " as fragments from Aeschylus. father. I think. The words it is speak. the natural title But it w to a passage written in imitation of Euripides. Mr. fiev 11. once on recto .

vofJLOs. TovT elKOTOJS' P'Tj yap KaXojs Kplvaa' ipLavTrjs tov cBlov ^Xdi/jco jStor. TcDi fi€v 8ta TcAou? arepyeiv act.epos (f)ep .\. LITERARY PAPYRI ear TTJi dvSpl /cat yvvaiKi Kei/xevos rjv ex^t. p./3t noaov ttju ttjs tv^^?. ..ev dyaddJu /xe to p.ev )8iai aiTOj oe TavTqv. el 8e /at^. TLev (f>iX' .epos wv etx^v Xa^eiv.^apiv hiKaiav /cai (f)i. OT Tjv eyd> TraZs. drroaTep-qaYjLs dvSpos cSt avvixUKiaas . av 186 . av Xt]i/j€l ireZpav iv rait '/xcat jSt'cut. fxrj Kara^o) tov ^iov XvTTovfxevr] ^p-qpiar^ iartv. eVStSajs" vvv TrXovaicoi. idu 6 vvv pie Xapi^dveiv pLeXXcou dvrjp [o jut) yevoiTO.. eoTLV. rrdTep. ravT els e/i' olov tj^lovv. yeyovev eKelvos efxoL T apeaKci Trdvd* a KaKeivoji. irdTep.€. ^'87^ 'otlv. e)(OV TTcDs" BiKaLov eoTLV KaXws Tojv p. €v<f>pav€L T] Kai TTov Toaavra d fidWov dvdpo? 7] Trapovra p. avrrjv rroelv. totc a ^xp'fjv tpr^TeZv epuol dvBp* (Lt p. edv ndXiv eK€LVOs. /cdir'. arj yap -qu toO' atpeats' CTepcDi eVet' 8' aTTa^ eSco/ca?. eTcpcoi. ajcrre /xt7 TavT pie. irpos Trjs 'Earia?. c5 Trdrep. /xe'. TOV cvvaTToprjdrjvaL 8e pLTj Xa^elv p. pe SwaeLS dvhpi. 8 OCT* ap" apiaKrjL ravhpi.Xdvdpco7TOV.€ Scoaeig. ndTep. Trdrep. ouS' ecrrat 7tot€.ivr]s ipuov) ttjv ovTos au^i? dno^dXrji ovaiav. ifiov OKOTTeZv . efxoi fiev xprjarog. dAA' €aT av tva 8' dvhpi (hs (firjs. rjnoprjKe 8e* /x'. ovK ovv deXovarjs ovSe riv hvvap.

! I may not live all my Hfe in distress. 187 . which if I have it How is it will cheer me more than the man I love ? just or honourable. nor shall it ever be at least not of my 'will. me and all that pleases him. for if I judge not well. you ITa. This favour I ask you a just one. If Xafi^. nor while I can prevent it) if he should lose his substance hereafter. P. father. it is my own life that I shall injure. you had once given me. father. that the end for her. but in his poverty take no share at all ? Say. Blass. . Where in the world is all that money. rob me of the man to whom you wedded me. you . if the man who is now about to take me (which dear God forbid. corr.'' to look to my own fate. . do not is the truth. lib. if he too How long will you use my life. refuse. . father^ and full of — lovingkindness. that I should take my share of the good things he had. And justly so. Weil.— ANONYMOUS wTongs laid me : . ? For wife and husband there is a lawtill down —for him. 27 <f>ep€avvv D. that was the time for you to find a husband to But when give me to. lib. my husband has been to pleasure. shall do your epeoav 33 8f\r]n>itfi Ha. . There So by the Goddess of our Home. will you give me to another man ? And then to another. for then the choice was yours. L. father. to . for loses all ? When I was a your experiments with fortune child. corr. 37 KaKcoa Ilab. nXruufiii vvXav^. father. to love his woman for ever — do whatever gives her husband All I demanded. You so now (you tell say he is good to me but he is poor me) you give me in marriage to a man of wealth. pleases me. at once it was for me ! — — . corr.

Fritsch : d.] Ed. ap. . 141 . vii. TTupdao^* fxer* alaxvvqg Ei^pLTTiSrjs SMOAPEFATHS. Iv Kal ]j/ [ yap avT[6]T€VK[TOv] .^v rjv €v[ . Perhaps aTTevSepydr-qs. Archiv. 817 44 Treipdaofiai Radermacher {Hermes. 153.])U. pr. Gomperz. pr. Fritsch. logie d* Alexandrie. 1912. vii. 61. . Neue Fragm.^[i]Teii/([Tov ed. *Vitelli. d.e. but unless the facsimile is misleading • ANONYMOUS TNiiMH iv.D. 280. pr.^tju. ipevBepydrrjs 46 (77ro(ii)8€pyaTijs Th. no. Bulletin de la societe royale d'archSoSee Korte. 1923. p. 188 . Papiri Greci e Latini.D.ois ev8[ Jra 2 auTOTeuKTov /cat XoTTwvra <j>apiJiaKov [ Snell : 3 0a[Aa/x]ouxois ed. pr. . 350).] FRAGMENT Ed." Perhaps the lines are the work of a ANONYMOUS 35 [2-3 A. 14.i7[ ]v dpSrjv Kavaip. *Lefebvre. 1917.LITERARY PAPYRI TTpageis a povArji(vs Set Tqv o fxrj e[Jirjv eyoj rvyriv (f)€peiv. Aisch. i. 2 with Plate. 1923. 1936. p. 14.]ovxoi[s 8e 77atSes' oi5e[. See Korte. . laev viftrjXolai da[. und Soph. no. 1. diss. Archiv.. " forger. Hamburg. 56 [4-5A.

" ANONYMOUS FRAGMENT If the letters ]/x^t/xij[ [2-3 a.ANONYxMOUS pleasure by force and I shall try to endure fortune as I ought. a/i^ fr. . 4 rcere supplemented to d]/i^loc... . and Korte. of poison there is no room for Acy* in the gap. " a spurious Euripides. . and peehng . otb^v ed.D. whom the youthful Apollonios thus quaintly designates Evpivi&rjs ijfev^pYdrtjs. But the reading may as vcell have been. 4 ctoiji' S* iratSc?. without disgrace. . : my forger of Euripidean work.g.] in v. Their style and language suggest 189 . . lofty . ANONYMOUS MAXIM [4-5 A. . .).). children utterly . inflammable . 76 N. Itrp-epa : there t* therefore no probability in the ascription. pr.. .. cit.. pr.] Vitelli debates whether these lines should be assigned to Euripides or to Menander. some reason to ascribe these lines to Aeschylus's Heraclidae (cf. .. : alp^ntr^ropes Korte. . e. ..d. or of a slavish imitator of Euripides. there vcould he fir^ropcs {see ed.

Eur. 9-11 N. But it remains equally possible that the lines were part of a sen- [xaraiog iari' Travra yap ra rod fiiov ov Sia <f>p6vrjaiv.LITERARY PAPYRI that they are Tragic. Fab. and Euripides is a likely author: cf. 190 . Inc. 1063. 8ia TV)(r]v 8e ytyverai. /r. not Comic .

not by taking thought. i. New Chapters. vii.ANONYMOUS tentious poem such as we know. Powell-Barber. 18). he is : 191 . e. Chares to have composed {see Korte.g. 119 .. Archiv. thinks that taking thought makes him a fool in hfe all things are brought to pass by luck. p. If a man happy.



Fragm.EniXAPMOE 37 [1 B. v. pr. iravra 8' ev t* aa^a\ye(Dg TTvdofiejvos Slot? <f)i\Xoji t' 'A. Kal kXcos delov [Aa^etv TToXefjiiajjv fMoXthv is darv. See Blass. 1917. N. 291 Pickard-Cambridge. Dithyramb.eiv ravra Kal rots Se^LOjrepoils So/ceire SoKTJl. p. Tragedy and Comedy. . 99 Korte. aTrayyjetAat rd rrjvel Kavros daKTjdrjs ^0 194 .] Probably 0AY22EY2 AYT0M0A02 Ed. Gomperz. 1889. Com. 1 with Plate. 257 *Kaibel. Jahrb. Tots" deolg] efilv irayxv koL Kara rpoTrlpv /cat eoi/coJrcDS' Xrji Inev^aad^ . Fleck. at tls ivOvjxetv y[a axfyeiXov oaa iycLv] y' iv6[oj]v vanep €K€5 X'q[aaad* e/xe Tcov Trap' vfiejcDv dyaOiKcov /ca/ca TrpoTifidaai 6^ [d'/xa d[Ma T€ KLvjSvvov reXeaaat. . Oraec. 380.C. . Jahrb. 1889. [OAT52ET2 T7yA' aTTe\vd<hv TciSe dwKTjaai re Kal Ae^oi![^' 07TC0S SrjXd K e]t)u. Mitteilungen aus der Sammlung der Papyrus Erzherzog Rainer.^atots' rratSi 'Arpeos aip [jioXelv.

240-26i). entirely and proper that you should give thanks to Heaven. to win immortal glory by going to the foemen's and having learnt all his secrets in full and city clearly.EPICHARMUS Probably ODYSSEUS THE DESERTER [1 b..c] The play probably told of Odysseus's entry into Troy." 2 S^Aa D. If our fragment m part of this play.) " It is. and consider how my storj^ may seem true even to the sharper ^nts among them. and to give a picturesque narrative of what he professed to have seen and done. iv. I deem. Sent to Troy as a spy. Od. to fulfil a dangerous task. Homer. as appears most probable. disguised as a beggar in order to obtain information from the enemy. In these lines he is rehearsing that narrative to himself. The sequel is altogether uncertain. (He rehearses his speech. P. it is clear that Odysseus played a comic and by no means heroic role. I will retire and sit dovra here. This object he may have attained with the assistance of Helen (cf. L. Odysseus. 195 . if you will only consider how by going where you told me I was obliged to sacrifice the comforts of your camp to misery. report them home to the noble Greeks and my friend the son of Atreus. he determined to pretend that he had fulfilled his commission. and myself return right — — . ~ . unscathed..

249 with Plate. cit. 121 sqq.LITERARY PAPYRI KPATINOS 38 [Early 2 a. From the beginning of the play. 1935. son of Nicias. Vitelli-Norsa. (a) *Vitelli-Norsa. 37. 208. 1934. 261. xi. Greci e Latini. (6) *xMazon. They return in this play to Athens and Judge the wealthy. 1935. Rev. xi. cit. now living in the underworld but sending prosperity to men.d. Anc.from the deme Stiria. (revised text with Plate). pr. See Goossens. 1934. Pap. The suggestion is that the judges may be too disturbed by events {doubtless of a grave political The Chorus connature) to perform their duty patiently. no. speaks in anapaests of its anxiety about its success. 107 with Plate . p. p. whether their fortunes have been amassed unjustly. Korte.• TrXovToSoTM of Hesiod (Op. {a) 7T(x)9 fjLcv KaK6[vovs evp-qaeis. 1212. loc.). ii. [rrjv yvcofx-qv aAA' d^LOVLKOv a7TO(^atv'o/xev[ot TreipiLjieO^ ojJLCog TO rvxov aT€py€i[v aAAd (f)o^oviX€da fir) avvrxj^iacai [^apvvofievoi fi€V€Tol Kptral ov 8[ {Traces of two lines) 196 . loc. no. {the Seriphians) Cratinus turns against The first case to be called the veonXovTOTTovrjpoi at Athens. Bulletin de la socUtS royale d'archeologie cf Alexandrie. in conversation with an interlocutor. 401 (revised text). once ruled on earth by Cronus. 1935.) is that of Hagnon. Korte.] nAOYTOI Ed. Archiv. 2 K. One speaker maintains that his family has long been wealthy . 260. 603 with Plate. {So infr. Et. The Chorus enters and. See Goossens. Melanges Bidez. 29. p. these are the Salfioves sists of a plurality of Plutuses .

25 sqq.] another avers that Xicias teas a porter in the service of Pithias. 197 . whom Cratinus hated. by affairs.)j the can be Chorus was a principal actor no parallel to this found in Aristophanes. . have laid the foundation of his wealth. 11?) down to 413. let us try to be content. 65). . . how should you find them ill-dis- posed prize : ? The sentiments that we declare deserve the still. 102) . . . happens.CRATINUS CRATINUS t THE PLUTUSES [Early 2 a. 6 BiKdocoai Korte. It is clear that in the Agon of this .d. (a) . as ilazon suggests. And since his feud with Pericles. and {presunmbly) left nothing to his son. ttro lines) 5 = fr. iv. when he became one of the ITpojSouAot In 437-436 he was prominent in the expedition to settle AmphipoUs {Thuc. when Cratinus might well have been anxious lest the war with — Sparta should distract the mind of his Judges from their duty. oppressed . xti. in 430 he fell foul i. would probably have earned him immunity from this poet's attacks. play (it. of Pericles (Plut.c. the date of the play is probably to be fixed between 437 and 430 b. . Pericles 32). very likely the year teas 430. impatient (Traces of . whatever Only we fear that our judges. The politician Hagnon is a well-known character in Athenian history from the Satnian Revolt of 440-439 {Thuc. His adventures at AmphipoUs may. 166 K. {Lys.

a doubtful form.^' dKovarji. etra 8e kXctttcis tov Aia (^Traces [ of one more line. I IlAouT'oi 8' CKaXovfJied^ or* ["^PX^ Kporos" 10 Tore 8' T^v (f)a)vfjv6^ ore 7r[ar8a deos KareTTLV* aKovais KXojyixov TToXvv alveros v\juv. then a gap) 15 ( ) aAAa Zeus" KJpovov e/c j8aai[Aetas' eVjSaAAct ic]at TiTovas ro\ys aTaaidt. dAA' avTT] fJLev a]Kr\\jjLs 7Tpa>r7j. dXXrjv Se Tiv' av rja. if it 11 <l>covrjvd 11: 7 -iJKeiv KOrte.os') be- ginning nith the fvord (vs 8e rvpawihos d.€v [tJkclv i TTevaead^ rjSrj. 8ec7/i. and traces of one more.rjTovvTes K€L aadpov tJSt].pxT)S [crrepeTai. 198 .LITERARY PAPYRI <x)V 8' ovv€K €<f>'qaafj. | TiTave? fxev yevedv ia[fi€V. stands for^wv^vra. Brjfxos 8e Kparel.o\vras ^e(jfi\oZs dXvrois (Fotir lines missing. Bevp* icrvdrinev rrpos ofilaiixov r ovr 20 avTOKacriyvrjTov re TraXacov t. TratSa deos Goossens. 16 t[ovs Goossens.

our own brother in his old age decrepit now though he may be. who adds that the point of these Zeus expelled Cronus and imprisoned the Titans lines is . . . It was the time when the god devoured his son alive -with a mighty gurgle. rebellious Titans in bonds unbreakable . So Goossens {kXwyiiov noXw is taken in apposition to the action of Karitrive naXSa #cAa>y/i09 = " bruit de deglutition ") atveros vfuv may allude to a successful scene in a recent comedy (aKovais is taken in apposition to vfuv. Aesch. • : 18 areperai Beazley. This is our first excuse another you shall hear anon. . . be- ginning mith the word band) since he is robbed of his tyrant-rule. . . and . people are masters. . and the . . hither we hurried to our nearest of kin. Arjfios. Theog. 190-192 N. . (Four lines missing. who is Prometheus. they hasten at once to their old brother Titan. the Populace. . This is perhaps the best of a bad job. By race we are Titans. " vous qui etes des pierres a aiguiser (le talent des poetes) " : this seems to me hardly possible. 584. has now expelled Zeus." you cried your approval. then a gap) and the But Zeus expelled Cronus from his kingdom. and traces of one more. Prom. . we search him out." c/. And then you cheat Zeus ? .. fr. and I have not translated the word) <^i^jTo = " vivant. 199 . Cf. . {Traces of one more line. Hes.: : CRATINUS And now you shall learn why we said that we've come. and the Titans have been liberated . . where also a chorus of Titans has come to address Prometheus in an anapaestic parodus. called Riches when Cronus was in power. Unbound.

30 7}[yide( Trpo tov Gregoire (pun 'Ayvcov dyvocov the point being that H. rjv Kd[p. 28 Goossens. See Goossens. y J eaTt[i'] e[^ oa eoT ra piev [y eg Iolkijcov. cu? Ni/cta? <j>oprriy6s Ileipaer.v]ojv ttovwv [t' ev 35 net^tof pLiadojTog [ ou KaTeipevaraL Ta[S dAA' eyto Tot ju. loc. is a foreigner who has only just got his name and deme.LITERARY PAPYRI (fi) (Fragments ofJive lines) eyeipe.d Aia [ 25 eu]KepaoTov Goossens. dvyie.) — : 200 . f-iapTvpas Tovg 7rpo<7K€KXr)ix€vo[v? Trapelvcu Tcoibe XPV' '^'^^ Sreipttos' OKOTTeZv yap evKra r{6v jSiov • ov KoXova "Ayvcova vvv /cat Stj/jlov r)[ ovTos ov 7tXovt€l StKato)? ivddS' cuctt[ 30 • dAAa TTavv /jiTjv apxatoTrXovros avroji. yAaj[TTav eu- 25 Kepaarov opdovfxivrjv €LS VTTOKpiaiV Xoycxjv. i^apieivcoaco p^ddrjis. 8' [e^ dypcov. cit. aa](f)eaT€pov TO. (f)pdaas [c58'. 29 Goossens.

33 Goossens. . . Oh no ! He comes " had from the start all of wealthy ancestors. . also 34. in the pay of Pithias these things are falsely said of him . . fore . ! " Fr." opdovfxev-rjv lit. . e| apxfjs he — derived his wealth from 31 ajoT[e KAauCT€To* office ! (Goossens. well-balanced. But I. the ' Perhaps position of the tongue before speech begins. " erect. . and that is his to-day part from — houses. . Here. all witnesses who It is most desirable to have received a summons examine the life of the man from Stiria (his name is the people Hagnon now) Ill-gotten are his gains at Athens. roused for debate." as opposed to Keineimjv. 161 K. (too fragmentary for reproduction here) contain the ends of the lines of fr. "judicial. .CRATINUS (b) (Fragments ofJive lines) " My to action * spirit. on the platform. 7-8 of ed. there is play with the meaning of dpxaio-. . w. impartial. . * evKepaoTov: well-mixed. there! . part from land. Let me say so much to correct you. aoi .) Gregoire. pr. : — . . good heavens. . 35 Mazon. bestir your tongue judicial. . of this play. 1. make you better informed sweating and slaving at Piraeus. and Nicias was a porter. .

diss. 1912.) may possibly Robert. p. N. 71. P.C. loc. 1912.LITERARY PAPYRI 39 [2 B. 1 is plausibly assigned to this play. recto : and verso. cit. 1 ters. 1240 fragments of 15 lines. 21. Suppl. dvrjp yap ocnis aTr\odavov(riqs 8va(f)op[€t yvvatKos. 1918. 69 Woch. Hermes. 54. iii. Korte. Keil. Quaest. — — Vv. 1919. . p. EYnOAIS 40 M ^^ [(6) . Assigned to this play by *Schroeder. Leips. com. ovTOs ovk] eTTiarar €vtv)(€lv. Sachs. Archiv. 1911. Oxy. His 202 . (a) Lefebvre. ed.] ^HMOI Ed. p.G. 172. 276 and Ber. G. ad Periclem pertinentia capita tria. Akad. 47. Fragm. Nov. Berliner Klassikertexte. Com. . Demianczuk. iii. no. Oxy. vii. Ed. esp. 1923. 123. 321 and literature quoted there. cit.A. See Demiaficzuk.] OEPEKPATHS FRAGMENT *Schiibart-Wilamowitz. p. 385. loc. Com. pr. Phil. 62-100 o/my text {—fr. 65. 43. 862.G. p. Suppl. 1907. Catalogue gSnerale des antiquith egyptiennes du musee du Caire. Hermes. 232 Platnauer. 142. . 1920. vi. But Ifollow Korte in keeping here. P. p. 1908. 168 . p.D. Wiist. Hermes. pr. See *Jensen. 161 Demianczuk. Robert. Wilamowitz. pr. 1916. 117. Platnauer. (6) Grenfell-Hunt. with Hvpwvihl-qs in v. v. 1908 . See KOrte. New Chap1919. Archiv.G. vi. 51. ^''•^ 3 A. 2. Thieme. Com. 237 . belong to some other play see Jensen it and esp. Plates XLIXLIII. no. .

Miltiades. (1) In all that part ichich preceded the Parabasis. or examination. Pisistratus. icho ha^ recently died : it is determined that an embassy shall be sent from is ivritten in the — — — 203 . as Korte first demonstrated. Eupolis's Demoi can then hardly be doubted : its content is entirely suitable.PHERECRATES — EUPOLIS PHERECRATES FRAGMENT The man who died. The plot was the BoKifxaala. Further. Pericles and others. has [2 b. Aristides.D.irl^'^'] [(b) 3 A. This famous play was divided {by the Parabasis) into two different but essentially connected halves. the scene was set in the underworld. that this fragment vrriting as the rest. of these heroes : the present state of Athens her distress in the dark days which followed the end of the Sicilian expedition has been reported by the last of the great generals. carries little or ^^"}. The Chorus consisted of the old Demes. the address to the spectators in v. his wife has EUPOLIS THE DEMES argument. Myronides.] same handno weight .c] bears it hard because no notion how to be happy. the principal actors were the great old heroes of Athens Solon. 99 strongly supports the That this Old Comedy teas ascription to an Old Comedy. but it must be conceded that the references to the profanation of the Mysteries are out of place in any but an Old Comedy.

Miltiades spoke in favour of Pericles. Pericles with a corrupt as a i/tvxayojyos.'* the principal actors were the five ambassadors who have now risen from Hades. The famous old heroes of Athens deal after their oum manner with living offenders. pp. 26. the scene was set in the 'Ayopd at Athens. he was not technically a npoaTdrqs at Athens. " A change of * 204 . On the meaning of this word. The exclusion of Myronides is natural .LITERARY PAPYRI and the action concerns the choice of the ambassadors." The general ground for inflicting on them whatever form of maltreatment is denoted by In our fragments play. — embassy—were chosen : Solon. p. Arguments were brought forward for and against many of the groat men of old. 241-242. very obscure in this place. | Biaarpecfteiv. 1-32 are from the Parabasis of the The Chorus gives " a little list of persons in society who never would be missed. The Chorus consisted of the presentday Demes.'' is apparently the fact that they have plenty to eat. 25-28 and literature quoted. 300. 11. Miltiades with an inefficient general. see esp. pp. and he acts less as an ambassador than conductor of the others. 62-100. says that Eupolis resurrected only four TTpoardTai. no doubt Solon dealt with a moral offender. Aristides makes short work of a sycophant . being the only one . see Keil. In the end. Korte.] (2) In all that part which followed the Parabasis. Sachs. Hi. 248 sqq. Ber. The dwellers in the city striking change of dress probably accompanied this identity.. Akad. The plot was probably unfolded in a succession of scenes such as we read in tw. Pericles [^Aristides ii. see Keil. Miltiades. five the normal number of an Athenian the underworld to Athens. who is but recently dead politician. their degenerate counterparts in the city to-day. Aristides. Aristides gave evidence against Themistocles. : Vv. while the Chorus is starving. and Myronides. 672 Schol.

some politician is attacked. In the Epirrhema. Vv.EUPOLIS and the supplies as come in. re. The Statesmen sit down. and seems to have been in some measure responsible for the expedition against Mantinea. But Aristides declined to take his part. After the Parabasis. {But the passage is obscure . oXiyov re folk. 205 . But it seems clear enough that the Sycophant subsequently suffered some ill treatment at the hands of the Epidaurian. He appears to be some sort of alien {22) . 33-60. the Attic dialect does not come naturally to him (23) . 61-100. They are met by a Proboulos.) Vv. Long Walls have apparently the first pick at stick and the countryfolk receive only what <f>iXov they can glean. Aristides' first request is for a meal : the Proboulos is obliging. His identity is beyond conjecture. he is a critic of the High Command. A Sycophant comes to Aristides for justice. 21-35. see notes ad loc. That suggested that he had been sacrilegiously drinking the Sacred Soup of the Eleusinian Mysteries. and appealed to Aristides for justice. whom the Proboulos and Chorus address in terms of warm friendliness and — respect. persuading the city to take part in that enterprise although the omens were bad and the High Command adverse. His story is : He saw an Epidaurian in the street with barleycrumbs sticking to his beard. Athenian statesmen of former days emerge from the Underworld. one of the Ten Supreme Commissioners of Athens. and they must not expect much to eat {again this central theme the starvation of Athens). Indeed he dealt with him severely . The Sycophant blackmailed him for a large sum. he keeps low company . all but Myronides. Special animosity is shewn towards the Long Wall residents. but warns the Old Statesmen that things are not what they were. and warned the city that Justice was their most important virtue. What happened next is obscure. who are ex-countryVv.

d[p]iaT{'qT)i. 10 a\vr6s 8' e/cet^' o ©eoyei^j rrjv vvxd^ oXrjv TmropBcos. * The beggar of Ar. venality and appetite. Babylonians fr. 854. Ath. 68 . viii. Ar. Thesm. Aristotle. {Sia)arp€(f)€LV ovv TTpcbra pbkv )(^prj KaAAt'av tovs iv fxaKpolv reixolv ^' dfj.* . Athen. Pol. 19 Immisch. phrase. 206 . Athens Often attacked by cdmedians for his cowardice. 6 TTpos TTjv K. 32. x. 49. Ach. 20 (Traces of two more Fr.) in the change of constitu: : tion at Thuc. aTpd(f)9aL x^^S" dpiarcovrd (f)aa e7r(€)t ^evov tlv ovt' d[ai- Tov ovK ec/yaaKe dpiifjeiv.K(x)' repoL yap eicnv rjixcov N]tK7]par6v r ^ Kyapvia. 415 d. 81 K. I (recto) {a) [XOPOS AHMnNJ Kal Srj Se UeiaavSlpov] 8i€..c. I (verso) ] lines) Kd^LoZ 8r]ixr)yop€Tv. " (411 The statesman who was prominent in the following year Demoi produced in 412 b. is a doubtful 16-17 Korte. Plut. rp(Jiy\eiv 15 StSdvra ^OLVLKas V i) TL TTAeJov €Kaar(x)i ovh^ dv] rp^xos TTpLaiiXT]v.LITERARY PAPYRI Fr. 602. Xiavaoiv 8e TTpoa{a)rds OeoyeVei heiTTVOVVTl TTpog TTjV KapSlUV 6 Tcbv oA/caScDV Ttv' /cAJei/fa? aVTOV drra^ hiearpe^ev. 949.

421 b. 2Q). went through the mill at breakfast yesterday some poor foreigner was there half-starved. T. f The Long Walls were wealthy son of Hipponicus. Yes. He was dining to his heart's content (?) when Pauson came up to him and stole one of his .c. (Thuc. lines) . I wouldn't give a hair for them. For the rest of his goods and chattels. '' traders. sacks. p. ought to go through it. known from other sources. he lay there all night and broke his wind. who gives each man two or more bushels to eat.EUPOLIS Fr. together with the . first CalUas. . of Aristophanes in Vesp. . Pax 928. These returned to the land after the Spartan disaster at Pylus.c. » Not Eupolis is referring to this second occasion. . I (recto) (a) Chorus. The scholiast says that he was called " Smoke " because he boasted much and performed nothing. Ber. or at the latest after the Peace of Nicias. 3). 19). 17. . After the Spartan occupation of Deceleia." the rumour goes. and Peisander. They — (Traces of two more Fr. but prob' The ably not (Korte. (2) prostitute). •* As all for Theogenes. (Jb) which began in the spring of 413 b.* Long Wall residents/ for having more to eat for breakfast than we have then Niceratus ^ of Acharnae. etc. I (verso) . once for all. but he refused to give him a crumb. oAxa? may be deliberately ambiguous here ( =(1) merchant-ship. ii. '' 207 . A day • Played a role in the Peace of Nicias. And Pauson put Theogenes " through the mill. was a poor man who pretended to be wealthy. thinks himself fit to speak in pubhc. the butt . inhabited by immigrants from rural Attica (a) after the first Spartan invasions at the beginning of the Archidamian War (Thuc. 1183. vii. Akad.

rupt the train of thought. X^^P^' <^^ yo-p Si[/cryt Xeyco rraaojv TToXecov eK7TayX[oTdrrjv Kal (l)i. 22 above. like TpvyioiS[el rrjv ttoXlv and other suggestions. KTouS' civ -qTriKi^ev. Nub. Schol. Ar. Raven. But this. p. Robert. rat? aTparriyiaL? S' tx^epneL /cat Tpyya)tS[ et? 8e M. referring to Syracosiiis.. 208 .. Ar. rcjv a-npaypLOvcov crep-vcov [rtva?. 1297 Schol.avrLve{i)av vfxds ovros ov vplv pLefx\yrjad* OTL Tov deov ^povTCL>VT09 ovh^ eajr[TOS" epi^aXelv elire S-qaeilv) rovs arpaTTjyov? Trpog j8tav [ev Tcoi ^vXcoi. ooTis" 30 ovv apxeiv roiovrovs avhpas \alpelrai rrpo^ar' TTore. 27 Tpvywi- Korte. ye nopvcov kovxI rcvv Trjs eVaipia? 8e dAA' eSei vevaavra x<^P^^v eiV to KLvrjrrjpliov 25 Toyrcov rous" ^iXovg ecr/<:[ . 233 K. 1371. Av. says that EupoUs attacked Syracosius as a foreigner : cf. [ 35 cf. 26 Leeuwen.T]re avTWi reKvoiTO P'T^re yrj Klapnov Ap[l5TEIAH2] cS (f)epoL. seems to inter33-34 after Korte.XTdTrjv. ibid. yrj TTarpwia.LITERARY PAPYRI X^^S 8^ KO'f' TTpcoirjv Trap* rjijuv (fyparepcov ep-qlfjios riv. np[oBOTA02] TO Se TTpdyfia tl eart. h[iav haKvei Eupolis fr. 25 The change to ^tvTqrqpiov is unnecessary. el /jlt] tovs (f)iXovs rjcaxv- v[€TO. who infringed the Hberty of comedy by a law ^^ KWficoibe'iadai ovoiiaari rwa.

Cf. 1. when Heaven thundered and forbade you to assail Mantinea. onlv he was ashamed before his friends—certain non-political pansies.B. Pol. 3. Proboulos. not the superior kind why. you only had to nod your head. Thuc. . One — '' of the ten Commissioners who directed Athenian politics after the disaster in Sicily. in 418-417. . .'* What's happening here " ? .'' he said he would take the generals perforce and tie them in the stocks ? WTiosoever chooses or wouldn't — : . viii. Greetings to my native land the most dreadful yet most dear. Don't you remember how. Aristotle. N. men him like that to govern him. 418. ' This is our first information about bad omens before the famous battle. greets cities Aristides.EUPOLIS two ago he couldn't find a clan" among us. the part played by the npo^ovXas in Ar. . that ! Of is all your proper name. and about the deference of the generals to demagogic politicians. (Artstides. I P 209 . Ar. three members of the Peace Earty were made strategoi Xicias (who would be distressed y adverse portents). I have been able to attribute to these difficult lines (24-25): it is less open to objections than certain other obvious possibilities. and away you must go to the knocking-shop. appearing pany of his city. Ran. with Beazley's assistance.) other from the underworld in the comfamous Athenian statesmen. The : phratries were much importance in politics but it was * still no longer of hardly respect- able to belong to none at all. This is the best sense that. . Verse 2G may have meant: 'From the company of such people he picks himself his friends " (? eV#c[/>tVeTcuj. He even have copied our accent. Lt/s. Ath. .'> . Nicostratus and Laches. may earth never breed cattle nor bear him harvest. 29 : cf. VOL. Sly attacks on the High Command.

lines) [to x^^Xklov depfiatve 6^ rjfuv Kal dvrj 7r]eTTetv Tt[va KeXev* . Jensen. [xo. fr. ee/c pLoXes ir[€6v (f)pd[a]ov.(ai/)eiv Be (f)r)[fxi (Traces of two more Ft. at the end of this line..cos yv](Laeade rovs St^/xou? oacoi 7] KaKiov et]ai vvv Sia/ceijuevot npoadev. II (recto) [ap.. 40 dAA' €vQ4. epcLp^eB* [au]To[v ort deXei. 37-39 =:Eupolis : D. €7ret] 8o[/c]6D Kaff]rjp. €/Ltot ixeX'^aei] ravra /cat TTCTTpd^erai. rovs dvSpa^ rjBrj TOu[crS'] t[8eti' ovs ^aatv rjKeiv [7r]a[pa veKpcov. o rt flc'Aei Korte. LITERARY PAPYRI [ap.4vovs. in (The ends of eleven more V. c5 [jxaKap. 15 occurs the name lYjvpoJvlBrjv) Fr. ToiJ[a8' 210 . tva GTrXdyxvotaL] avyyevwfxeda. L.. TrdvT'q lines are preserved . [np. I .] . 108 K. rjvCJK TJp^eTov cri) /cat HoXcov rj^T]? T CKeivrj^ v]ov r cKeivov /cat <j)pev(x)V..pcon'8i?j TOT . has 52 ]VIi. 53-55 Korte. ct)]? ivravda {xev Srj rcov ^iXcov TTpoar\riaopLaL' 60 avTOJv opdos iaTriKOi\s] TT\jx\p\(e\ar [^piovos HvpcoviSr]?. opdv Jensen .] etTTe poL. II (verso) [xo. P. according to him.xov]T€s €v Totaicriv i^Soratffi KCLfieda. [np.. Ti veKpwv 55 TTpos TToXiTco[v TTodrjTos /c[ 48 l[8eiv 40 Schone. Jtos" yap walTTep"] dvSpes 46 (Lv K[t. but 11.

And greetings too . happy friend.105. to come : {The ends of eleven more V. Ran. : 11 has . Theseus fr. xi. lines are preserved .c. I will look to it it shall be done.e. Boil the kettle. . . Cho. Since Pyronides * alone is standing up. " The word Kixovns (s. Thuc. Ar. let us ask him what he wants. II (recto) lines) we want tell someone to bake the cakes. than in the good old days when you and Solon ruled that spirit of youth. that noble mind and heart.v. after Eur. . here and now will I represent my friends. But you will see at once how much worse off in ever}' way the Denies are now. parody of the Tragic style.l. whom finding we bask in such fehcity. Now since I see them sitting here. are you really come from the dead. Myronides (HvpwviStj? seems to be certainly the reading of 11) led the Athenian old men and boys to victory over the Corinthians in 458 b. . . 303. what . 79." Pr. form Tola (not elsewhere in Comedy .EUPOLIS Ar. 470. 1. . 211 . in answer to your city's prayer ? Speak. *c[-Jres) and the except Ar. [Traces of two more Fr. in 15 occurs the name IlJypcuviSryv) Fr. these gentlemen whom rumour avers to be come from the dead. Eccl. Tell me. to grips with the lungs and liver. 383 N. . Ar. Pr. . Diod. if I can trust my eyes. II (verso) Cho.) shew that this part was a * i. commanded the Athenians in victory over the Boeotians at Oenoph\i:a in 457 led an expedition to Thessaly in 454. Uke the men.

kj) At" dyafxai ae] Trjs St/catoo-uj^s" JeiTrev 75 [ST. Ill (recto) [2rKO*ANTH2 /cai Jre TTpoafJilevoi Jvuv auTtlj^J' ayvo? et/x eycu. ouVe 7760 StaCTToAd(s) ]a)V {e)7Tpa^ev ovmhavpLos /x') oAA* [ap. oo-Ty. 63-75 as given by Korte. Li P. 57 Trapa/coAeij D. o]s Ttt? 'A^T^I^a? TToAA' €T7] [ Ja? t' [am]v8/30i»? dv8p[as [xo. elirelv otc ovv) e/c[€]Aeyae i^rjXdev etTraJ [ap.] 17 /cat aa(f)6js ot[8' on Trap' ij/z.] Aey' o Ti Aeyet?.CTtou e(l)]r]v. KeXeviov tov ^evov 70 Sow] at aTaT[7f]pag eKarov x6vS]pov {tot TTICOV rjv yap fx irXovaLos. 212 . /cair' eXa^ov to xP^^^ov. yap 8t]/<:atos' et/i' avTjp. [sr. .iv e^ [^T~rj 60 Fr.. COS" VTT€\p^pova)V d7re/cAetCT(e eKTToSwv. rjXde ^ev]os The omission of ns with 'EmSawpios is perhaps inKorte. tC] eSpaaas. [ap.^pi.LITERARY PAPYRI [nrpriNiAHS ojS' avros elfx eVeti/o? ov a[v irapa- KaXelg. c5 Travovpye /cat jjioi Kv^evrd av. StSous" 8e TTotJetTOJ rtV y' o rt ttotc ^ovXeTai. ap' et? dyo]pav KaTeXvaas rjTTTjdels ttoXv. TTicbv ]oj TTor els ayo[/3a]v KVKeco 65 i^fjXde Kp^Lfivojv Trj[v] VTT-qvrjv OLvdnXecos fivaTrjpLK]oJv TOVT^ ewoovyiai TTCog iyo)' eX\da)v 8e rax^cos ot/caS' evdvs tov ^evov. 65 'E7n8aupi]os Jensen (but ti? indispensable).

the gap). . . . text). . and shewed me the door. (He had plenty of money. So you lodged in the agora. . nOT Perhaps read ns for ttot' fill inserted to but not adopted in his (TE omitted before EIS. He had been drinking the Sacred Soup. for Old Comedy carefully avoids this theme as a rule.EUPOLIS Pyr. and went straight up to the stranger. I wait now at once my heart pure I am a righteous man.'' His beard was full of ritual barley-crumbs. and hurried to his home. after your crushing . hence the opportunity for blackmail.. came into the square. Ar. Clearly an echo of the recent excitement concerning the profanation of the Mysteries : barleycorns on the beard was an obvious trace of complicity . . Say what you have to say. I happened to notice it. . Ar. 78 Jensen (suggested. A tolerable. So I said it. . men it . I know well : six years among us . . Fr. defeat ? • Barleycorn was among the ingredients of this dish. Cho. I told him to hand over £lOO.) So then he urged me to say that it was ordinary gruel that he had been drinking when he came out. Your standards of justice are very high. remarkable passage. I don't care what a man does when he pays up. Ill (recto) is Sycophant . the very who (governed) Athens many years that are not man you summoned and men : . Ar. Syc. It is I indeed. a thick soup consumed at the Eleusinian Mysteries. the dirty cheat. 79 Beazley. 213 . and got the cash. : : . .. and asked what he had been up to. Syc the Epidaurian thought it beneath his attention.

] ravra S' o(5)v It' 6<f>Xria€ig efxoi.] ^vveS-qad a*. line) tl t]ovs [ST. ydp CTu rov(j>eiXeLV Xeyecs ovnog elxjit^v. onorav ro acbp. COS" OVK eTTp\a^d[xriv he xP'>]I^o.^ dAA' ov[k eyco 85 [ap. oAA' o ^cvos 6 rov KVKeco Tnoiiy. [ST. KojXeaag p^e avvSels KaSclKels. [ap.] [ap.] 8iK:a[ia] ST^ra ravra Trdaxecv rjv e/ze. ipov ^aSi^cov Upea (rov) rov Aid?.] [2Y. og os^ TTor* rjV rGiv TTavovpyoiv e\p\ri rwv evhe^Ka. ovros il^ovXjofXTjv 8' dv /cat Aioyvqrov X[a^€LV 95 Tov lepoavXov . raxu.e' €T[t] /cat [ST. 93-94 Korte. vat ju. {Traces of one more Fr. [ap.] /cat (dAA') rovro fiov ro xpeo? /caTa0euS[ei KaKcos. Ill (verso) line) (Traces of one [ap. davovras o\_v\k edis reOvqKevat. rcbv roiovrcov Slecnrorr)?. 80 TTapa Tctjv ^davovrcov ravra )(dpLTos d^ia Joi/ et <ja(f)a>s rt? aTToddvoi. £14 .d Ata KXdovra Kadeaco a [e]v 90 ve[/c/oor?. fijapTvpo/xar tl 8' o[vk] dya)vi[o]y/Lt[e^a. rwv veci)r[€pojv ev TToAAcDt Kpdrtaros.] [ap. v^pLt. aTTaYyer' avrov /cat Trapdhor* Ot[vet y^o-p can.LITERARY PAPYRI [ST.t* ov Xeyco.

I would have liked to catch Diognetus " too. 507 N. and then you'll be ! ! sorry ! Ar..— EUPOLIS Syc. if one should truly die is . a feeble falsehood you'll never pay that debt either. it was the foreigner. in which district was the harathron ' Diognetus or execution-pit. I'll make a corpse of you. to the eponymous hero of the phyle Oineis. That for. 215 . Take him away.. Grudge not the dead their death Syc. Syc. That's right. Go and ask the priest of Zeus. * i. . may be the ^T?n. the man who drank the Sacred Soup. I don't say I didn't get Ar. Syc. Is it then right that I should suffer thus ? Ar. But there are other candidates. then you tie justice ! ! " A trial ! First : me up there's you no wasn't I who tied you up . something for the dead to be grateful . Melanippe fr. {Traces of one more Fr. " Eur. Bereds. and hand him over to Oeneus * at once he is the proper master for such slaves as this. A.^ 524. Give me witnesses ask me to come. insult me I'll pay you out one day Ar. It Ar. .e. You're not in a very strong position to talk of paying out. Syc. : : much the toughest of the new generation of gangsters. Ill (verso) line) (Traces of one line) Ar.? in the inquiry into the profanation of the Mysteries (Andoc i. 4). i. money. 15): identified by Blass with the brother of Nicias {Att. the policeman turned temple-robber.-n.

61. de Phil. 4. 333 xi. Bulletin de la societe royale d'archeologie d'Alexandrie. 1935. 1933. 111. plurals. no. xi. 9. d>s o? (^Traces (b) av BtKaios ^i line) . 11-17. Vitelli-Norsa. TedvqJKcbs ]'r) ovk dve^icov ouS' dna^ p. d'Egypte. nP02nAATI0I Ed. ANONYMOUS 41 [1 A. no. 516 Korte. pr.] ? EYnOAIS. 28. 10) the obstinate person are clearly to be distinguished both from and from the speaker of w. el /jltj] tols €V€p[re]pot. 1936. . p. Schroeder. in *Pap.oi hLa(f}deipovat vvv Y{eiaav\hpoi re /cat Ylapihes o/xov oi vvv Kparovvreg Trpayfidrcvv] rcov evddSe {Fragments of three more lines) 107 Sudhaus ap. 263. 12. xi. I follow Goossens in distinguishing three speakers in this The speaker of 19-20 is clearly the obstinate avTos of V. 1935.B. Greci e Latini. See Goossens. p. . 1935. and Chron. Rev. w. pr. Arckiv.: LITERARY PAPYRI eyw Be Trdcrqi Trpoaayopcvco rrji 77oA[ci • elvai St/catous". 137 with Plate. 1213. of one more ]8ri[xov[s ] riXva[iov €Ka)v av. Republished by ed. 4-9. The speakers of v. The fragment now yields the following information —B 216 .g deoZ^ TJpeae. 10 (N. rovTov v.oL TTjs TToXecog TrXelarov ttoXv ]ap. fragment.D.

] fails to persuade A. (IIpocnraATa was the name of a deme in the ^vXt] 'Aica/iavrtj. . (Traces of one more . . just man line) . 8. . will have come to life again . .. are here.d. and therefore turns to C and urges him some task. Chariton v. whether it be to the Prospaltians or to others on behalf of the Prospaltians. Now The I advise the whole city to practise justice. . . . or some persons are to Thus they {probably the Pros- 217 .ANONYMOUS when his health permits. of this city by far the most Peisanders and Parises " together. ANONYMOUS ? EUPOLIS. . . . once dead I would never of my ovm. . which can be understood in more than one way : C is either to tell someone how things are here with the Prospaltians. near the city u-alls. 2. in (or rather them) to do the south of Athens.e. PROSPALTIANS [1 a. is put in the form of an alternative : — either an army is to be sent. xi. . be removed somewhither. . The nature of the task is concealed in vv. . lines) Anth. Pal. {Fragments of three more » i. . .. 5-7.) The purport of the message. (h) The demes elysian had it not pleased the gods below. or to tell the Prospaltians how things Even this does not exhaust the possibilities. your present government are now corrupting you . 278. fioixoi. . .

Goossens further This is that our — — — [a ejyo) S' iv' elalv ol KaKo[i . attempts once more to persuade A. or how could they.]. though they do not shew that it is true. him justice) : the allusion in v. representative of the view that the Athenians should go forth and meet the Spartans in open battle. I-"' • [ e]l [xrj 7Tootr]v a> . C is requested to undertake the mission. But A persists in his refusal. send an army ? I suppose the demand is ironic : " either send us (to Athens) 218 . an obscure enough action : and many will think fragment permits no conjecture at once safe and The most that illuminating about the matter of its context.. loc. of army or evacuation.LITERARY PAPYRI paltians) would be unable to complain of inaction and wasteful expense or loss. cit. Since A is obdurate in his refusal. instead of watching them This theory is destroy Attic farms and villages unopposed. its subject With this view I agree : taken from contemporary events. is none other than Pericles. but am bound to mention the brilliant arid extremely daring hypothesis which Goossens put forward in Rev. . can he said is that this was a political comedy. The Prospaltians must either send an army " or evacuate their dwellings and retire within The obstinate man. C accedes.. 7 is to the withdrawal of Attic villagers and countryfolk to Athens at the start of the Archidamian War. B is the spokesman of the opposition to Pericles' war-policy . illustrated and supported by a nurnber of minute and ingenious arguments which shew that the theory is possible. and avers that they must B first consider how mtich {money ?) is to be sent to B.c.. adding force to his argument with a parody of Sophocles' Antigone 712-714. .? Se XPV^'^^^ . 431 n. [ " Why should they. In brief {and space forbids me to do de Phil. who will not act in this matter the walls.

19 that eKcunwiSovvTo . an army capable of defeating the Spartans. 7. cit.V. [XormaJly dated much it. the command is virtually *' leave your territory. I have not reconstructed text and translation on this basis. . pr. .] It will then be the first or second of the plays produced by Eupolis . . 14). or leave your territory " : since the first alternative is obviously unpracticable for the Prospaltians.ANONYMOUS accepts the suggestion {of ed. ttoXtioi (Ls hiKacrriKoi (cf.L." 219 . (1) What is the evidence that the action of our fragment is concerned with these events ? It is simply this. for there is no certainty in either of the two questions which arise.C. \illains are . . loc. V. de Phil. or indeed even cogent : it is easy enough to take the line in an — entirely different way. if I I where the were not to do .. . however we interpret its action ? It is simply the appearance of the word YlpooTToXTioiai in v.. lipoafrom Etym. (A) Now . later. For full details I must refer to Rev. 288. 343-344. but I find this the least ingenious part of his argument.c. and discovers a solution (pp. 6: this seems to me to be insufficient As for the action according to Goossens : we learn evidence. If the reference is to the Prospaltians of Eupolis. He assigns the play to the year 429 B. 344. 347) .. that it is possible to make the inference from v. the statement is not very easy to reconcile with Goossens' theory of the action of the play : he is conscious of the difficulty. . of good . pp.) that this is a fragment of Eupolis's Prospaltians. (2) W^at is the evidence that this fragment comes from Eupolis's Prospaltians. Magn.. about 420 b. But it is absolutely clear that the inference is not necessary. v. and not very difficult to interpret the rest of the lines in the same light. orav i^[i nov] 8[iK<Jjv s. and its purpose will be to attack Pericles on the ground of his policy at the beginning of the war. : hut there is nothing that proves Goossens.

[r]v aoL rdSe. 15 d 8' dvTtTetVctJi' avroTTpe/Jivog ot. 25-28. fr. P. c^ Ar. APISTO^ANHS 42 [2 A. Oxy.).t ct[ [a] dAA' Svvar* • et ydp 7ndoLp. np.^i]crT' i[s Ota rdv^aS' €crT[t TTpdyfiara 7} -^ 6 IlpoCTTTaATtoto'ii'* 7T€fji7T€Lv arparidv [ /ceAeuex' Ko/jii^eadl at'aAtCT/c[etv Iva <t»? 1X7] Kadrjadai • (^cDcr' re Trai'.^jOi7 [cr/coTreti' 10 drra cot TrepLTTcoaiv.]i' e^[ 20 [b] /te'ya arevot. p. dv6pa)7r[€. lT-19. ix.v7yt. *GrenfeII-Hunt. y^teV Tt? etKi7i rot? Adyoi?. e/ccrc(j(i)^e[Tai. TtV di/ t[. fr.\. [a] avTOis 8e vad? av. [b] . ix. d)ydd\ en koI vvv mdov Trdlcrqt. e^ecrTt[ et Set dAA'. Ed. 1176. col. perhaps e^ e'(7Tt[ 5 Korte {earl to. col. 39. 220 .]x[. 1912.\. Ran.] FRAGMENTS (a) ii.— LITERARY PAPYRI [b] jSaSt^e^' /cat (f)pdl. Te'. 11 13 Goossens. no. pr. d/adt? TTapd petdpoiacv '^v' orav ri\i ttou] S[t/cdiv. (b) *lbid. 131. 1235.D.€d^ v^eZs cos Ta[. Pafia. ipxofjiead^ o)? eoLKe. ye toutov iv kvkXcoi 7T€[pcarp€(f)€LV. dvOpcoTTo? ovros vovv exovra ou. [r] dTrd pi dAet?. pr. [r] dAA' TTocr' drdp. ed. auTO? ouSeV.^e[Tat. to Setva. 7T€tCTeT[at. 8. pievrdv d/c[ r]pL€Ls 8e vadjv j/at»TtAo[io't 7Tpoa<j>epeL? 4 Goossens.

and . See Demianczuk. So with a ship. .d. . . you'll be the death of me (B) . Platnauer. we . he who yields to the argument is saved resist. 14 Parody of Sophocles. 17 avTo/ioAeis ed. . 712-714. you Like there.. but. would be very sorry . by the way. . and you perish root and branch. iii.. Suppl.. . 221 . (A) Fellow. ARISTOPHANES FRAGMENTS p. not likely to obey a word we say. tell the how things are here (?).] From SatyTus'siiy«o/£urip/<i«». New Chapteri. . sailors what (B) . Antiphanes fr. pp. pr. 158. [2 a. . finger. : corr. you must consider how much they are to send you. a man I of sense.. 231 K. friend.). 20-21 . cf. . ? .— ARISTOPHANES (B) {To C) Go at once to . . He — if I have to twist him round my httle {To A) Come. . Either bid Otherwise them send an army .. 152. . all their is . ! (C) This fellow . it is not too late by all means do what I say See. when one stands before the torrent of the courts. (A) Impossible If I obeyed . Com. Maas.. Ant. pr. — — ! . 21 fievTov Maas {areyoifiev av ed. or remove they will say that we are just sitting here and wasting Prospaltians . (C) We're off. in a ship.

Mnemosyne. Archiv. TO LOS eariv. P. p.ou rpe<j)eiv. Com. v^pi^ofxevai.] FRAGMENT *Schubart-Wilamowitz. ANONYMOUS 44 [1-2 A. (j>pdao). Demianczuk. Weil. For Eudemus. 20. Wilamowitz. v. : Eudemus was . 2.C.LITERARY PAPYRI (a) (b) 8i' -^9 TO. ii. 1900. no. 123 . yvvaiKa KpjeLCTaov ear ev oiKiai 7] (f)apixaKLTa]s rCJv Trap" Ei587^ju. des Savants." en 8e Kal rrjv ipvxrjv fxeyas ^v axeSov u>s ev rots The sense of c^ea/n^xeTo is uncertain : it seems iroiT^fLaaiv). Grenfell-Hunt. — nAAT£lN 43 [2 B. Ed. p. . p. miaiiczuk. by which. WOMEN CONVERSING 1899. 884 and Schol. ' The context is " Aristophanes wished to measure Euripides' tongue. DeAr. . 1900. Svppl. See Korte. Berliner Klassikertexte. . 123. 233.] Ed. 1907.D. 82. p. 1920. Oxy. pr. (in a passage which praises Euripides heartily : " he was almost as great in his soul as in his poetry. See Herwerden." etc. A[e7r]Ta pi^fjuaT* [i^eajfi-qx^'^^' o[t]a fxev 77[oi]er Aeye[i]v. dAA' eyo) [tl croi 222 . . . . Journ. vi. 95 pr. 212. y. 91 . Plut. fia At".

c." to mean "scrubbed out" in the sense of "thoroughly cleansed.c] who gpeciolized in magic antidotes (^/>- /MutiTcu) against snake-bites. Hdt. 149-150 bpdfurra. .) Baptae {415 and Ameipsias The Scholiast quotes Eupolis. Class. . 92. further Theophrasttts." " (6) .G. 441 HaU and Geldart. Rev. Plant. ci. iii. than antidotes bought from Eudemus.." rf. so here metaphorically "highly polished. .] .d. 17. irpos ravra rovs rponovs ex***** PLATO FRAGMENT a (fxipnoKoirdX-qs. see Demiadczuk. p. which such fine expressions were polished up. ANONYMOUS WOMEN . Riv. G. ibid. For the argument.A. 440 Postgate. 34 Fraccaroli. 148. . Hist. [2 b. [1-2 a. by " . d &€i voieiv. di Fil. . Thesm. . fr. etc.. WUamowitz '' compared Ar. what am I to tell you ? 223 . 87 Piatt. ix. 1900. insulted I But good gracious. 13.PLATO — ANONYMOUS (a) ". b. xf"l Y°^P Jroirp-qv avSpa irpos to." Metre apparently trochaic. 969. It is better to keep a wife at home. the ** man is like the sentiments of his characters. 1900. CONVTERSING . Aristoph.

146. P. <f>XvapLa /cat Xrjpo? v^pelcos dvdnXecDS KciXXojg 6v€i8os Kai KarlayeXcog Sr) ttoXvs. p.. e^'. fr.oiov TToadicoi VTj dX7j[d]ivdjL /f[at tJouto. p. 160.]tO XRV^^*" '^^^ 7TOVo[ Xeyerai y dis ecr^' \op. 1912. aK€ljj\6lJL€da VVV TOvd^ . 1176. to[vt]coi can yap coGTrep rotai[v oitots" XP^H"^^^ evt. 1-15. pr. A[". OVK d^LOv yap <f>€p^ .]riv . €v[. €$• [. col. LITERARY PAPYRI •qv VOVV €XOifJi€V. 07T0JS aTTOKpivai yioi 5 [MTjSev rrXeov rovrov ad[€VcoaLV dv.] FRAGMENTS (a) fr. iv. 95. Sid TOVTrov[ etrj. xvi.. Com. avri^oXco. Oxy. ix. ri dv Xddpai T€7rta[ [ cyd) fi[€]v ovT€ TTLorepov 20 ANONYMOUS 45 [2 A. [ro aKvrivov. no.Xrivr] y -qXicji' Trjv /x[ev xpoav 15 IheZv ojjLOLov iari. col. 39. 224 . p. Ed. (6) *Ibid.D. . See Demianczuk. Tt ovv yevoLT ri TTaiiC^eLV rovd^ o Xeyovai T[as" MtAr^atay i)(ovaas. djyadij. dyarrep [a]€. r[ols] dvcpLiaioig. 6-17. Dernus seems to be apologizing for being deceived by oJi^X* t\p\vtov r\ov r\p6iTOV. ddXireL 8' oi3[8a/xa>s". on v€ot[tC ovk 10 8e Kal Tovr eariv eu[ Ka[l iJ. *Grenfell-Hunt.] . In (a) (a). 39. el [8]e TOt? depdTTovai KOivcocrlaifieda TO 7Tp[d]yfjLa. iari. Suppl.

Indignum enim. Ita est : dicitur et hoc ipsi simile esse ut luna soli similis —colorem aspectui eundem. the point is not clear in makes it certain that the reference uncomplimentary. too. .. no What's to be done ? Come. . but demagogues. . how to make . calorem minime praebet. I call it. to Eur.ANONYMOUS Let's be sensible. . answer me this sciUcet lorinam else. 11 is wholly uncertain. Age.d. I 225 . . [2 a. precor. and consider stronger than this. . . quid si rem cum servis communicemus ? Clam Equidem nee pingue magis . ..^^^. nothing shame. quod Milesias dicunt feminas ludere tenentes —rem Rubbish and nonsense. the context (a) . is not in that way Q . . and idiotic. quia puUi non A . Isto enim ut ventosis quae vocant ovis utimur. 11 €u[xi7] Se ev{d' ain)p aTr^t edd. . nor do we make use of VOL. . 9 j(pdnu6a Beazley. ANONYMOUS FRAGMENTS In (b). . insunt. an insult. 12 es [toO]to xpv<'^'. } : quid est illud. . .? but the original sense of this and of v. .] detail. Enimvero mentulae.

Plate V. 7Ta[p' ] 10 ANONYMOUS 46 [2 A. Oxy. 1077 See Maas. cit. vpos roialBi' e/ijSaAeiv dAa?. oTTTTai 1 fj KadevSova d kvojv rdv plv cx^t.. . 1912.\eyi\vr]ii€vos 8' ottcos dXag /cat firj AaAaj. -^s €Kaa[Tos] avros -^v. For the synizesis. pr. 1912. 1176.. Com. p. pp.]p €ad\ oXov KvpLTTiSrjv. But Beazley points out that this line may be a comic answer to the question put by Euripides. no. Woch. Demianczuk. P. fr. Tna\T€v\oiJiev Xiy\ovr]es ov Ka77-eiT[a Tr\<5\ Trovrfji a. see Kiihner-Blass. yi.7r]aAo[r?] Se XP^' " eKKhqala^^ /caJxT^yopei e/caa[TO?] rjfjLcbv. (6) ] Be llo(f)OKX[€a] Xa^cov. 126. 39. 10-13. 161. Phil. . xvii. 228-229. not oTTirai 226 . . i. LITERARY PAPYRI oAA' o[vSe T]rJL 7Tovr)p[LaL] 7T[p\oaxpioiJL€da. ix.D.] FRAGMENT *Grenfell-Hunt. oaov [ AljaxvXov v[. loc. ot]€ tcol ixdXta[9' oa] av Xeyqi . col. Ed. Suppl. p. Maas.

. . — pad an inch. diT]aT[Tjt] 4 Xey[pVTy>s ov irom^'. only remember. . And then hear one of us accuses the assembly to which each one of us — belonged (6) . she's asleep. ! take Sophocles . from Aeschylus as the whole of Euripides. . much as . 3-4 N.ANONYMOUS our knavery when someone speaks and we believe every word he says. ANONYMOUS FRAGMENT From Satyrxis's Life of Euripides . 403.. — — 227 . . Where the bitch keeps her nose when a continuation of the alternatives there propounded. and add a pinch of salt . We don't abuse him. perhaps quoting from a Doric comedy) Euripides' Ino/r. [2 a.d. In this case the line perhaps spoken by a Megarian doubtless comes from an Attic Old Comedy.] the line w attached (evidently by an humorous to writer. add a pinch don't . we have none but gentle phrases.. Sk xp<^[p^ov Wilam.



P. *Pap. 1930. that he will lose his kingdom to one of his children. is known to us from O. 165. [pea] ri ovv efxol rcov vficov. Se rovTcov TrpoaSiScoaiv ovSe ev. TO. 1930. 65. 25. Gallavotti. ^aiiq ti? av iyw 8' ipo) [t]o Ho(f)OKXiovs Ottos' 7T€7Tovda Seivd. dAA' avTos epSet X^''P'' '^°^^ MeyapaS' dyojv o Ti av reKO) yd) rovro ttcoXojv eadUi.-W. Comedy by Korte. " Possibly " gives me not a farthing's compensation for 230 . Riv. iii. suppl. pr. 8e8ot/f€ yap rov )(pT)api6v cjOTrep Kvv\a. He does this through fear of an oracle spoken by Apollo. . Xaytos' 8 Immisch. Philiskos. and consumes all the money.] ? *IAI2K02 : AI02 TONAI Ed.v. 55 . From a prologue spoken by Rhea. vii. Assigned to Middle ed. 209 x. The quotation from Sophocles. The date and authorship of the piece are uncertain. 1931. 472. . Hermes.p[6vos €KTTLV€L T€ /Cat KareadUi. s.C.-K. Bulletin de la socUtS royale d'archioRepublished by logie d'Alexandrie.D. no. pr. Greet e Latini. Vitelli-Norsa.. 1175. di Fil. TratSt" ifJLol TTOLvra tol yepojv ¥>. w. 2-3. Platnauer. New Chapters. He sells them in Megara. no.ANONYMOUS 47 [1 A. 5 and Archiv. She complains that her husband Cronus is making away with all her children. [crcJbv fxejXei. no.

no.. must be admitted to be singularly wanting in evidence. Cf. and swallows the money. Ach. BIRTH OF ZEUS [1 a. " Dreadful my sufferings " old Cronus is drinking and eating all his children up.d. He is running from that — — them " or " ^ives me no share in these (foods and drinks). Ar." But it probably means " gives me no share whatever * Possibly " does them in " in these (children). a Megarian sells his children. 729. That the Middle Comedy was read in Egypt is proved by P. 1616." but • he seems to sell them alive. In favour of the ascription to Middle Comedy are the facts (1) that the subject-matter of our fragment coincides with the plot which we assume to have deserved the title A«os yovai in a play by Philiscus ." With his own hands he does it ^ takes all my babies to Megara. He doesn't give me any share in them.: ANONYMOUS ? PHILISCUS.] : but it is a commonplace phrase which may well have occurred in a much earlier play too : cf. (2) that sitch parody of myths about 892 from myths as were well-known Me'cn. 427 (end and title of Antiphanes' Avdpoi}noyovia) : but the case in favour of ascribing our fragment to Middle Comedy in general. 231 : . or to Philiscus's play in particular. the gods {especially about such Tragedies) v:as a common feature of the ' Rhea. One of you may retort " What have your troubles to do with me ? " I reply in the words of Sophocles. Or. Eur. Oxy.*^ sells them.

Before the announced. B threatens C with physical violence : calling upon a group of men {D) to witness the fact that he is on holy ground. 53 (revised text) Korte.. iii. Zuntz suggests the following action : B is a leno {not a in New Comedy. 36. scene before a temple of Demeter. 1919. calls B a " slaver " . ov aKevapia. Ser.C. p. 19-23 B — — 232 . 166. See *Zuntz. vi. New Chapters. Akad. iii. jxa rov At'. pr. who C. ovK ravra 8rj dvfxov 7Tve\cov 10 irepav exp^(Je\y ou/ceVt] hpa\x\pL<jj!\y a\^\iav. d. ANONYMOUS 48 [3 B. tou]t' ovv SeSot/ccos" iravra /caTa7rt[ret reKva. Wiss. sacks. Archir. a slave could not so slave : see vv. and then expresses whether he It is not clear does so. accompanied by a slave Sosias. 144 and Ber. ttoB^ 'AttoAAcov Zpa-)^pirjv.] (? AAEEIS) Ed. 1918. 366. Verh. 743. someone's death has lately been . is called a "guardian" (kAtjpovo'/xos). who and is These men (D) express disapproval of the conduct of either or C {probably of the former). 5. 11 Pfeiffer. 1937. who seeks protection from the assault of a third person (C). Fraenkel. ilber d. LITERARY PAPYRI expfjoe /cdir' yap Kpovcoi OLTTeXa^e. Wilamowitz. From a beginning. Berlin. ov8e xprjixaTa. 71. Thereupon a speaker (A) philosophizes his desire to enter the temple. Mnemos. Socrates. Sitzungsherichte der koniglich prews- sischen Akademie dfr Wissenschaften. Platnauer. €K TTJ^ jSaatAetas" S' eKTreaetv vtto 7T[atSiou. or is prevented by the sudden entrance of another person (B). vii. d. p.

pr. and not property either.] threaten a freeborn gentleman) who stole a girl from her This father. In the end he will rescue and has been alleged that this fragment must be part of a . but expulsion from So in a panic he's his kingdom by his own child. of advocates . and father long ago. but it must be confessed that it is much more probable that a Chorus is intended. made C guardian of the girl when he died. and is determined to set her free from marry It the leno's control. nor pots and pans.). ed. 18 are really a Chorus : Zuntz compares crowd of fishermen in Plautus's Rudens. 23 : Attic was TTaXaiaTiKws) : but unless we suppose that he alone used the form {and there is no reason for the supposition) it is impossible to attribute the in his Poenulus 233 . so his oracle decreed a different price no longer drachmas. Apollo drachma once. that the dvhpes ofv. a pun which I cannot reproduce. This word and my " decreed " below are the same word in Greek . outside its ordinary function in [It is not certain interludes {x<>p[°^ ntXos fr. having no son. and never got it back. ANONYMOUS (? ALEXIS) [3 B.C. adopted C. like a hare lent " Cronus a from hounds. That enraged him. — swallowing " all his children.ANONYMOUS oracle. Now C loved the girl. on the ground that he is known to have used the form TTaXaiarpiKws {v. 2. You see. dear me no. her. not knowing that she was his oicn ward : but now he has discovered her identity.] Alexis is proposed as the author. pre-Menandrean comedy for the Chorus here takes an active part in the play.

VTTO GOV. Kara Kpdros SicoKOfjiai Tov KarapoLTOV KXrjpovofjLov.] eKaoTov /aaiSico? a. TrerrX-q^eTai. vt) tov Ata Toi^ '0]Ai./x776ov /cat tt)v 'A^Tjvav.]y' euAajSet. ttol. Eduard 7 ti 77o]t' lov] : Fraenkel. oAA'] elaiojv fjiera rrjs lepeias jSouAoyitat Tr]v] eTTt/xe'Aeiav ruiv TTpoar)K6vra)v AajSetv. [r ovk] eoTiv dcr[^]aAeta ttov TreTToirjKOTL Totayr'"] dKoXovdei daTTOv.] avrov. [a to 8]at/ioviov 7rapa8]eiy/xaT Trap' TO.)^[p]7^[/xa] t' evdvs Tdirix^ipa Ar^i/ferai. avvdpTraaov . roLavra T[otS'] (f>[povovaLV ev eKridrjaiv. yap. 4 TrdAw'] Suppl. TOV [b cS] ^iXriare. orav hoKrJL.LITERARY PAPYRI importance to that evidence. dvhpeg' dv ttjv X^^P^ /^°* ^e[ai]i tis 7Tpoo-(f)€pr]i. 10 Wilamowitz but the y is certain (Zuntz). fM€V€Lg. [r] 7TOL av. Aa^Se Aa^' ov . Hcoata.dg. fiap^Tvpofi 77-a]p[a] TTji vp. The oath in v. 22 is found in Alexis's ToKiariqs also : but since it occurs in Menander too. .ai VTTo] [r • . . d^ico re acoc^etv. . on ^(orjjv exojJiev aTravres. 5 . 20 [r [b] Tt] ^'/^j. Xrjcfyd-qaofJLaL. : too long for space. [b . . 234 . (fnXraTr] A-qfjLrjTep. [b] a pLapTvpofiai. . pLaoTLyia.<j>€iX€ro. Trapes". 14 PuncWilamowitz too short for the space. aXXorptav "fjv. 15 [b] TJpov 'fie. .Trpog 6e(x)v. 8tc6/c]o)U. 10 SiojKe. dvarLdrjjjbi aoL e/xauTOV. 77a]pa. dvSpaTToSiaT'qv. eu ye /cat 7raA]atcrTpt/cais" Trelpav 8' 1 eav ^ovXr]i Xa^i. Trpog tt^v d(j(f)dXeiav ivdaSl eiGTrjK' ijxavTOV dvTeTa^dpir]v re aot.

shall be struck down and get his wages on you ? (C) And who will strike him. . . I swear by Zeus of Olympia and Athene. I say. Korte. save my Ufe you \Miere the devil (C) (nho has not yet observed B).! ! ANONYMOUS it gives little or no support to the ascription of our fragment to Alexis. 15 e'cmjK Zuntz : e[6oj]K' Wilamowitz. take charge of my duties here. Sosias Stop thief him. (A) Why do the powers above place these examples before the man of sense ? To prove that each man's life is but a loan. i i li and edd. . if you Uke ! — tuation after aaiaXeiav eur^K* Beazley. and set myself to meet ! face. well and truly as ever wrestler threw his man. with the priestess to help me. — ! ! ! ! ! ! are you going ? (B) You ask me have taken you face to my ? To safety. Roberts. is after me me pass he'll get me for all he's worth Grab him. (Enter a slave furtively) For God's sake. is the answer I stand here. hand against me at the goddess's I altar. (B) I what you ! appeal man who the spot lifts his appeal to you The —gentlemen. And now I want to go indoors and. catch him I dedicate myself to (B) Demeter. curse him. which they take away with ease whenever they Uke. friend ! (B) her guardian. 235 . . inunediately. scoundrel. Come \\ith me. After him. dear goddess I beg you. . Come and try it. . (C) There's no such thing as safety after have done. catch (C) (entering). let cautious. (B) Yes.

perhaps for cancellation) 77[i]K/)t8tov K[o\x}<iov eiTVi^ev. 25 Wilamowitz. aiTLvrjs a . Tebtunis Papyri.€Vov aevrXiov pvdp. the fifteenth line is bracketed. .g. pr. in the ninth a[c6(f)po(7]iv^ 77/30? rpoTTOis exo-ipov.c] Ed.: LITERARY PAPYRI [a JvTe? rifJieZs y' ol Trapovres ivddSe Jo/Aev ere TrapavofJLelv els rrjv deov [r 25 ]o y'. too short for space. L. PX€ito]vt€S (opcavres. os Traplrjv. partly because of the non-Attic form aexnXlov. in the fifth Trpos ere /<:[a]t TOV Bteov[a. p. This may be part of a Middle or a New Comedy. ^oX^os i7nxop€v[€TaL. . crt'ou fjiiKpov yevop. In e'a(7]o/xeV 24 ANONYMOUS 49 [Late 3 b. aKoXvfios elaelX'qXvde. x. 5 236 . *Hunt-Smyly. 26 Et (IT) TouT]d y' et ovK euAJoy' excedunt lacunam " Zuntz. 1933. or neither Korte thinks an Alexandrian comedian likelier than Attic. dvSpes' eS y€ TrpoaTrall^eiv So/cei e. A FEAST iii. and the a]AA' 67761 hoKeZ rrepalvetv rovs ya^oy[? oaov raxos. voyuQayiiv Zuntz. 693. airavres too short). (f>a . {Here folloiv traces of seventeen Imes : in the fourth eTnhihwjxi tov dypov. Archiv. P. 13. 265. KcoXvaofiev D. See Korte. e]iT* dyadoLs TJBrj TV-)(aiaiv Trpos ere [avvd-qKa? ttocD.6v tlv (e)lx'^v. no. " a<f>riaoyiev Warmington. 1.

. ed. which denotes change of speaker (by leaving sHght gaps between words) in w. . 5 a[pT}as Korte. among them a The piece of land. . . mentions certuin gifts. . . . . foods mentioned later would most naturally refer to the wedding festivities. A marriage is about to take place. and in v. . marks a change of speaker (here after avhf>€s). beet kept a certain * Suppl. 21. 17. which may have been part of the dowry. 237 . He thinks he's very funny. 1-6 Suppl.c] was intended for a nominaPerhaps from the conclusion of a Comedy. chopped small. stewed a bitter little shell-fish. : . let . gentlemen. . . ANONYMOUS A FEAST possibility that airlvrjs {apros) tive case. .ANONYMOUS Chorus.. The speaker. Are we who stand here to look on and you offend against our goddess ? (C) . golden-thistle made an entrance. 7 above (after jSeAricrre). [Late 3 b. Korte. (Here follow traces of seventeen lines including the phrases I give you the land too towards you and Bion rejoiced in modest manners) . But in neither case with the support of 11. purse-tassels came dancing to the table. who may be father of the bride. 13. Since you ^^ish to have this marriage done without delay. . here and now I make a pact with you for your good fortune . . Korte. . this line. . pr.

fivpoTTcoXicoi yap dvOpdonajv tlvcov rjKovaa p^aA/cow TrepnTaTeZv KXeTrrrjv rtvd' aTreipos cDv Se rov Xeyajxevov TTpdyixaTo\s * Api.LITERARY PAPYRI ravra Kat Toaavr* (^Unintelligible eTreiS-J) Trap€<l>dvr] koX 6[iJjLa. remains ofJive more lines . 291 . 411 . JSfov. Arckiv. . Wagner. Didymus 238 . 60. Kdrte. in the sentence which Svo 'Api(TToix-qS[€t]s claiv. Allusion uncertain v. pr. (a) p. Blass. . [ps\ fiovos Bvlvalrai X[€]y€[tv 7 XdOpa ed. Perhaps Arist. . otherwise unknown play. Com.aropLrihr]v rjpofjirjv rrapLovd^ opcbv. pr.G. Suppl.id{o]yXv^s. 366 . . 45. X[ddp]a 6 ivrjXaT Trat'ei (b) Kvpi[7TL]8r)s TTov {i^rjlaw ovrois. p. ware fx eKdaveZv eTret /ioAt? ye (jtevyuiv i^eneaov aXX-qi. (a) *Diels-Schubart. Mas. Symbolarum ad comicorum TTpos rcbi. 1905. p. Berliner Klassikertexte. iii.A. including the phrase x^tpe 77oAAa) OIAHMQN 50 [2 A. 'Adrjvalos 6 XoA/covs Xeyofievos. See *Schroeder. . Fragm. Demianczuk. Rh. Wendland.] AieOrAY^OS AHOSnASMA : Ed. oIkLov should perhaps be read for the unmetrical OKiav : the fifth is spoken by a second person. an 1904. Com. 71. . 1906.D. G. in the fourth. S' evdvs fJiOL Trapaards [rjaJi a/c[€]Aet 5 re Xd^ ttv^. introduces this quotation. 60 . i. The fragment is entitled A. : erepos .

p. 150. New Chapters. vii. Leo. ' 241 n. P. 1905. Korte. cit.] crUicam capita IV. op. 249 . As I didn't know what they were talking about. 281. ill. all remains ofJive more lines) PHILEMON SCULPTOR. these lovely viands made their appearance (^Unintelligible Since . 177. Leips. Oxy. Platnauer. 72 . 1912. no. . or because of his kleptomania (e. 39. Eur.PHILEMON rh\-thm. cit. and there was bread (?) of flour. Demianczuk. . And he came straight up to me and jumped at me. who alone can speak. 61 . (6) So says Euripides. von Arnim.) (6) Grenfell-Hunt.d. fr. . p. esp. p. 1176. 25-27 . 32-36. . 5 . and barely escaped elsewhere in hiding." . 1912. pp. op. I asked Aristomedes. . (From the commentary of Didymus on Demosthenes. and graec. Archiv. 175. historiam a FRAGMENT [2 a.A.G. Suppl. ix. diss." 239 . The Greek probably means " the only p. (a) I heard some fellows near the scent-shop saying that a thief called Farthing (?) " was wandering about. col. or because he was a miser . on my leg. . . p. d. was small enough to be safe from him. — good writer. the two pieces from Timocles below) no sum of money ' See below. vi. See *Schroeder. was nicknamed " the Farthing " because he was very poor . G. and smote me with foot and fist I nearly fainted to death I ran away. — .* whom I saw passing by.

61 . reit " 2 avrnrp. y Iva fjir]K€f^ avTOV 6 Jldrvpos KXeTrrrjv IKAPIOI (6) M[a]pavav 8e rov <^[t]AauAov Auro/cAea 8e8ap/AeV[o]v yvfjivov 5 KafiLVCoi eardvai TrpoaTreTraTTaXev- pulvov Trjpea r 1 *ApLaTO[XT^hr)v.) . pr. i. Fragm. : loc. thrashed the Word may also suggest that he was i/icoXos) and because (f>i\avAos. 1904. of. 45. f entitles it 'iKapioi title of a comedy {Wagner. Com. " zu Gegendiensten beowSia/covei Korte. literature cited for Philemon above. Korte. cit. Berliner Klassikertexte. See *Schroeder. ApLGTOfJirjS-qt ra>i KaXcbt.e. perhaps a lover " {i.LITERARY PAPYRI TIMOKAHS 51 [2 A. ^ Marsyas. 411-412. but it is highly probable that this teas merely the full HPHES (a) *Kpfji7]s 8' o Matas" ravra avvStaKTopet dvTL7T[p]odvfjLU)5' ^api.evos. Diels-Schubart. Xdyrji.D. since Athenaeus ix. pp. to be The Icarians of Timocles has been inferred play. Korte for the scansion in comedy.6fJLev6s KaTa^e^r]K€V dap. 407 a satyric Sarupot. avTl-iTp. Nov.t. : 240 . cit.. op. personal allusions and attacks have no place in a satyric drama.e. IKAPIOI Ed. because /ay^'d Allusion not understood.] HPi2E2. p. a lover of the flute {i. p.

Theophilus.] {Jnfr.7rAi7v ei tis irpLaiTo. The point then is that Autocles is good for nothing but to be a dummy or mascot. cf. also Tereus —Aristomedes. 241 . He was delighted to come down. . b.iKoXeiTO 8e ^aoKavia. further Pernice. — furnace . Heroes his Hermes the son of Maea helps him conduct campaign.:: TIMOCLES TIMOCLES HEROES. SfOfifvos ^aoKaviov Cf. meaning by a reference Beazley has solved the mystery of the inner to Pollux vii. 108 (Ar. fr. iv. like the Sculptor of Philemon Middle than to New Comedy. I xii. coS Kol ' ApiarcxfxivTfS Aryei. Athen. to stop Satyrus calling him a thief. Wagner and Schroeder. . Boeot. an eager enemy. ed.) that it was produced in or about the year 342 About the Heroes nothing {above). « fashionable ne'er-do-well. 11-12 there is a direct address to the audience not certain that this could not occur in a satyric drama. 474 em Kapuvov avhpos xoAKeo*?. loc. 592 Hallji irpo Se Ttov KOfJuvuiv toIj x'^'^^'^'^'-^ '^°^ V^ yeXold riva KaTapndv n €7Ti'n-AaTT€ii' eiri <f>d6vov aTTorpoTrrji. Ichneutae.'\ It has been conis known. col. cf. jectured (on very doubtful evidence. Soph. (b) w.** (a) ICARIAXS — of andMarsyas^'the fluter Autocles" (b) to be flayed and stand naked and nailed to a . Festschrift fur Ben ndorf p.'* flute-girls).c.c. and ICARIANS it 18 [2 a. cit. A Kock. 5. "5. as a favoiir to our pretty Aristomedes. belong rather to Evidently these two plays. v. pr. such as you commonly saw erected on the furnace in a foundry. VOL. 11. 537 c R "* Trierarch 356-355 b.d.

av aTToXecnjis. 122 and Ber. The attribution of this fragment is practically certain {see to Menander' s cit. See *Korte. p. 71. text Platnauer. tf/vxpov. siichs. Oxy. 1605.] MI20YMEN02 Wilamowitz.]oAds". A soldier Thrasonides is in love with Crateia. 169. nos. 747. 28 New Chapters. li. StoTfc T)7p[e]rv Set Trapovros TovSe ra GKevrj ro 10 a(l)68pa €L 8e fxt]. Menander. his conduct towards her is Demeas [rETAS Her father yet she will have none of him.. TlpoKvr} yevrjcrqi. — LITERARY PAPYRI Std TL Trjpea KaXels. his captive. TTpos /iiySe avpL^rjre.p]oXas Wilamowitz.D.. 1918. Akademie der Wissenschaften. arrives. et fiT] KaKov rjjJLds 3 <f)epeiv CTT]oAas Korte : ras avfj. . 1013. 1919. perhaps 1238. dewv e7rt[cr].. 3rd ed.. Further fragments of this play: P. . Sitzungsherichte der kontglich preusBerlin. sischen pr. praef. TToets.). Ed. p... Kvcofievos Kpaviov. reliquiae.^eT€ MENANAPOS 52 [3 A. is Though his passion irreproachable : extreme. 1938. MtaoiJ/xevos Korte. eager to purchase his daughter's freedom : ]^/^' "^K^i-S TTpos rjp-dg. Akad. dXXa rl TL TTaddiv dvaJ/ca/XTTTetS" koI ttoXiv areXXei SlSovs . iii.. loc. 242 . dAAo.

but their happiness is rudely disturbed by the entry of Jealous Thrasonides. scratching your skull. "^ Why A frigid pun (7b whistling • Kvfiv ! ! the audience) . . For Grod's sake. Perikeiromene. ^^•ith . you have to keep a sharp eye on your belongings. The play was very similar in plot and in characters to the same author's released Crateia. . irpo and Procne parallel because she lost '' her child. and recognizes Demeas. rrjpeZv. He and his master suspect Demeas of designs upon Crateia. Get AS. stop ! No Pun on Tripevs. In the first part of our fragment. Otherwise you'll soon be a Procne. 243 . .] he lodges next door to Thrasonides. Getas {servant to Thrasonides) is probably soliloquizing. why .'' if you lose them. MENANDER UNPOPULAR [3 A. But what's the you giWng me and dodging and doubUng back ? If you are not doing us down. .D. matter you come to us. when he is about. (scratch your head). The conclusion is not known but can easily be inferred : Thrasonides who rewarded his persevering and unselfish devotion with her consent to marriage. Pun on irpo-mnj. . little knowing that he is her father. Father and daughter now recognize each other .MENANDER do you call him Tereus ? Because. .'' — . Crateia's nurse enters.

(About twenty lines missing) a[p' o]v Ttv' o[p]oJ.] c5 TToOovfJLevog <f)av[eis. [kpateia] Tt ^ovXrjL. riva Tre/atjSaAAetv /cat ^iXetv ovros [So/cets". 6 dSiKcuv. [ti? IS KaXel [ah.* €.paao[xat. t€kvov. opo) a* ov ovK av <hL6p. TTjOia.v€[rai ir(x>v Tt? e^rjKovra' Ofiojs 8e KXav[aerai.] i^rjXOev €^co. ' Thraso- 24. and the absence of resolved feet in this passage. the scansion. [ahmea2] [kpateia] TTaihiov Kpdreia. oi/ftv ovSe TrpoaSloKcofievqv fioi. are deliberately reminiscent of tragedy. [kp. Perikeiromene 338 sqq. r6\y]he tov t. Korte. Kpv7TT(jS\v ifjLavTov eTTidccoprjaaL ri 7Toiovfji€]vcov twv [tP0*02 evSov XaXovp-ivcov 6^ ajua.] e^io fie.rjTOViJie[yov yepcov ovros ye ttoXcos (f>ai.tL ^ovXerac K €^etv 7ra]/3' o'lkcoi tols arrddas rcov yeirovcov. ^tATaT[e. ri XaXelg. [fe. avrrj rig [et. rl Troet? ovros. TTarrjp efios ttov.LITERARY PAPYRI TOVTO fX Tov 8€a7r]6Tr)v KaXeaavra . and the style of the lines altogether. /3]aS. Cf. TTaX. 20 dvdpcoTTe. 23 ovTUis Roberts. outtcottoJt' at rdXag.4 . Korte. OO^ap(i)]T€pOV TOVTOV /Lta TO) ^€60 ^€VOV elSov.^ct»" 16 11 exetv 7ra]p' Korte.y)v Ihelv en. ere. avTO(j)(jjptoL ovk iycb 'Xeyov. Tt [ePASnNiAHs] €77* rovd* . perhaps rightly. TL TTap€K€]X€VaCO €171 SeiTTVOV TTOlXlV (f>av€p6s iari yap 5 ^JaSiou/A* etaci) he Kal 7Tet. rlKvov : " General sense and translation uncertain. TrdTnra x^^P^ ttoXXo.

Nurse ! ? What ! are you talking about ? Demeas. in my arms Crateia. (^Tragically) Thou art come. to see you Who is ! Where's Father ? My little daughter calUng me ? Oh Daddy. — saying. woman ? You. and : Sc. (entering). fearing a forcible attempt to kidnap Crateia. gives him immediate notice of Demeas's appearance in Crateia's company (so van Leeuwen. : ! "^ ! ! ! . caught in the act A graybeard of sixty. how nice ! ! My baby. why should he want (to keep) his neighbours' swords at home ? * Nurse I have ! . what are you doing here ? Just what I said The very man I was looking for. whom I never thought to see again Getas (re-entering with Thrasonides). . . nides. fellow. (About twenty lines missing) Surely I see an unexpected vision Crateia. Demeas Getas is faithful to Thrasonides. . but he shall suffer for it. . Here. What do you want. has ' summoned armed neighbours to his house. He's come out of doors Thrasonides. Slave. Demeas.MENANDER did you tell me to do this after calling my master I back to dinner ? " It's quite clear that he is \nll go indoors and hide myself and try to overhear what they are doing inside as well as what they're . 245 . . Korte : but the attribution of these words to Getas is by no means certain). by the look of him. Crateia Crateia. what's all this ? W^ho are you. Upon my word. never in my hfe Confound seen such an impudent stranger him. my heart's desire I behold thee. who do you think you're cuddUng and kissing ? .

ets" vvv S' ivddS^ eXdcov. o irdvT* eKpvTTTe TavTa Kr}cf)dvLt. to ddaTpov. warrep ^AaKXrjTTiov 10 ey/cara/cAt^ei? acodei? re. for further literature.) 6 TO KaKOV TOLOVTOV T^V TL fXOV TToXai GKOTOS dvavd^ ov TTavv TTepl TTjv Sidvocav. arjfiepov opd) vvv aWpiai.C.€ jjioi. 1934. Herzog. eTedv-q- 15 3 jStov Keiv ndXai. The ascription to Menander is very probable {evidence in eprjfxia fiev eari. Menander. 89. tov Xolttov xpovov dva^e^LOJKa. 8. Ixiii.A. Philol. reliquiae. pr. : . 1879. 420 Korte. rovro pboi TTiarevere. (f)povco.r]v. Un papyrus inedit : nouveaux fragments cTEuripide et d^autres poHes grecs : Monuments Grecs publies par V association pour V encouragement des etudes grecques en France. See Kock. . 15 246 . XaXd>. Weil. ndXai TL perhaps eycb tov aXXov piov eyw rpv aUov".LITERARY PAPYRI MENANAPOS 53 [160 B. or Herzog. v. and esp. tov aepa. 145 . Tr)v dnpoTToXtv. ravTO ro KaXov. kovk aKovcrcTat Xoycov ousels' Trapcov fxov raJv Sv av Xeyo). rdyadov.F. C. avBpes. to aefivov [rjv. eredviJKeiv irdXai. dvSpeg. co? eoiKe. praef. iredvrjKetv j8iov €t. KeifJievov. text p. 25 with Plate. 1938. p.] ? YnOBOAIMAIOS Ed.. TOV TrjXiKOVTOV KOL TOIOVTOV rjXlOV vvv TTpdJTOV evpoVy dvBpe?' ev VfJids ttji. 3rd ed. p.TTepnraTU}. 185.. iii. no. qu. iyoj Tov ctAAoi'.

. praef. so fine time I see yourselves. cit. the attribution to his mere guess. — ! . or protect him from distress. There seemed no difference between the beautiful.. loc. Ixiii.c] Herzog'g commentary. . made it invisible. Korte. here is solitude nobody here to listen. whatever I say. He will probably find in the course of the action that Hypobolimaeus {tentatively proposed ibid.MENANDER MENANDER Possibly THE CHANGELING cit. . (ladi^fiarat 247 . Now that I have come here. studies in philosophy have opened his eyes and stimulated his imagination. and the evil. I fancy. I have come to life : — again for the future. I never discovered the sun before so On this bright morning for the first big. the daylight." believe me I have been dead the whole of my life so far. Gentlemen. loe.) t* a his philosophy will not help him in intrigue. such was the cloud of darkness that used to hang about my wits. for At the foot of the piece is written apiarajv tf>iXoao<f>os which see Herzog. Evidently he is rehearsing a speech for some occasion : otherwise this address to the " Gentlemen " would appear inconsistent with the " solitude " to which the previous lines " refer. like a man who lies down in I walk and talk Asclepius's temple and is saved and think. The lines are evidently from the beginning of a play : a young man has come to tou-n from the country . It hid all this from me. the acropolis.) •• [160 b. the holy. the good. the theatre . there's Well.

text p. 27. Ulbricht. see spoken An old miser Smicrines by Fortune. Jensen. for the case in favour of ascription to Menander) .d. Riv. vi. 735 .LITERARY PAPYRI MENANAPOS 54 [Parchment 5 Ed. 315.] SMICRINES. 128 . praef. and has a wife and daughter. Korte. The Prologue {doubtless preceded by an earlier Vitelli. His younger brother Chaereas lives next door {the houses of the brothers form the background of the scene). 51. ^^pT^ard? re rail rpoTTCOi ttolvv " Ulbricht. * Herzog thinks that is the son of Smicrines that he has returned from his journey. und Exeg. and wishes against his A A — : 248 I . fab. [SovXrjv o5 S* elaeXi^XvO* 6 OepaTTCov iv yeirovcolv aSeAc^o? oiKel rovSe rov (^iXapyvpov a)v. TrpoaiqKCjjv vecorepos t[i?] Kara yevos 5 TCOL /Ltei/sa/ctaii. Ivi. 138 .-K. Krit. objects is one between and the daughter of Chaereas. n. p. vii. XV.) is man {hereinafter A) went abroad and left his sister in the {From the Prologue) [ttxh] e^eiv aTravra. 126. 3rd ed. Wilamowitz. 29. reliquiae. 148. v. 5. 178. Indo-Greco-Ital. p. ii. Men. Now a certain young Korte. no. a. p. 466. Stud. rovro yivcoaKe\i Koi ^rJL fiovorpoTTOs ypavv e^oiv fiiav. reliqu. lives alone with one old woman-servant. Archiv. See next note. 1916. Papiri Greci e Latini.-W. p. zu Menander. 35 revised text) . 20. f». 1922. scene. CHAEREAS pr. Vitelli. Archiv. P. Gnomon. 146 and * 3Ienaticler. reliqu." as Korte says) that the marriage to which Sm. See Coppola. 37. Chaereas is wealthy and popular. 1929. Korte. Menandr. van Leeuwen. Her story is this : — Menander Ivii. 1913. Hermes. 1 (qu. thinks (" satis audacter. Herzog.

Smicrines to his own stepson. Daos gradually reveals to Smicrines the supposed death of his brother Chaereas : he quotes Aeschylus and Carcinus to prepare him for the heavy blow. cit.] Chaereas. determines to repair A's fortunes by giving the sister in marriage When this prologue is done. Uves this miser's younger brother. his relative. Daos {a slave) conspires with one or two persons {one of them surely Chaereas) to deceive and outwit Smicrines. A's property has greatly deteriorated in his absence. The essence of the stratagem is to be the fictitious death of The purpose of this stratagem is a matter for (or Chaereas. loc. (From the Prologue) . Now. praef. viz. rather beyond) conjecture.. Menander.. appears and defends himself against the charge of avarice : he refers to gold and silver possessions." of the first act and the greatest part of the second are lost in the following lacuna of about 220 lines : in the next fragment. Fortune.d. as he knows. 249 . . He is related to our young friend. lix. KSrte. observing that care of Chaereas. Euripides to soothe him afterwards. This view seems to me completely refuted by will — Wilamowitz. death of Ch. in the neighbour's house.. MENANDER MENANDER SMICRINES. but it is wholly uncertain what part these played in the sequel : he announces The rest his intention to prevent the impending marriage. CHAEREAS [Parchment 5 a.'' In the third act. a thoroughly decent . where that attendant went in just now. father's fictitious The to marry the daughter of Chaereas. to have everything. Smicrines: this will perhaps assist A in his intention to marry her.. He Uves all alone with one old maid-servant. is designed so that his daughter may pass into the power of his nearest kinsman.

yvvaiK^ excov /cat jrapOevov KareXnrev en veav 6 ixeipaKLOKOs rrjv aSeAi^T^r.6v ovSevog.ttolvtcov Kvpia TovrcDV Ppa^evaaL Kal Stot/CTjaat. 20 2MIKP[lNH2] Iva p. rpOTTOJl. rovg Se ytvopievovg ydp-ovg 30 Tovrovg TTpoenrelv ^ouXopL* avrolg pirj TToeXv. opa)[v Karja rrjv aTToSrjfXLav [ra rod veov TvapOevov 15 otVeta jLt[e']T/D[t]a Trai'TeAcDs'.[vrap'] cSt . iroiixajg elaeveyKeZv ivddSe eiaaa.ri TLS eLTTTji fx" OTi (juXdpyvpog ]i' CTTt a<f)6hpa. Kal ToZg St/catot? ipLpevelv idv 8e p. tacD? pi€V droTTOv Kal Xeyeiv ovk ev ydpioig (About two hundred afid twenty lines missing) 250 . ttjv i/eai'[iai rtvc ovTos avvoLKL^eiv efJLeXXev vlcol rrjs yvvaiKog. lojgj TTpoetTTa. ovSelg eTTiTpeipeL. ot/xat jxev ovv avrovg cKovrag rolg vopxng €77t TravTt. rig elfii.LITERARY PAPYRI Kal ttXovoios. ovK i^erdaag ttooov iarlv o oi38' (f>€p€i )(^pvaiov oTToaa Aa^cut' rdpyvpojfxar* oi. [ov €T€K€V [ €^ dvSpog irepov (Twelve lines missing) J avTov oLog ear avrjp rapxala. ecog dv ol (jiipovreg waiv OLK€T[ai.S' dptdp.^aaKaiveiv yap elcLOaai pie 25 TO yap aKpc^eg evpedijlaerjai.'q.[at Kopat avrai 7r[ap ayjrot? elalv eKT€6paixuJivai lo cov o . Xolttov rovvofjia To]vfxov (f)pdaat. xPl^'^og ovro\s roji fjuds rrar-qp. Tv)(r].


and well-off. He has a wife and one daughter. In this house our friend left his sister, still a young girl and in this family the two lasses have been

brought up.


this brother, being, I repeat, a

decent char-

and obserWng that our young friend's property had become very modest in his absence, was about to marry the sister to a son of his ^^ife by her first
. .

. .

lines missing)

him, what sort of man he is ... to the principal. It only remains for me to reveal my name and identity I am the mistress, arbiter and disposer

these events Fortune (Exit.) Smicrixes (entering). No man shall call me " nothing but a miser " that is why I readily allowed him to fetch it in here, without examining the amount of money he brings, nor the amount of plate, nor the quantity of anything. Everything I do, they malign me. The exact sum will be discovered anyway, so long as the carriers are my own slaves. Well, it's my opinion that they will consent to abide by law and justice. If they don't, nobody is going to indulge them. I want to warn them not to perform this marriage that is going on. It may seem silly to say so, but in marriage . . . not










hundred and tnenty

lines missing)

10 av}rats Jensen, Korte

avrots Vitelli.

Wilamowitz, Korte. Wilamowitz, Korte.

22 onooov

18 S ^pei,





of two


iyo) 8e tov[t]ov rctSe ^e^ovXevfJiai [Tra^etv. TTor^ao) , ^jLrjho]^ aTTodvqLaK [aya^rji] Tu;^7]t. 35 eycoy' d(j)U[M' dAAo. TrjpeZr dvSpiKcvs




S' i^fttv CTu[i']e[tCTe]Tat;

Sei T7]t yyvaiKt rat? re TraihiaKais (f>pdaai

avTols, tva p^rj ei^Soi' napoiveZv
opOctig \iy€L£.

/cAacucrt, rous" S'
eis" /^e,

aAAou? ca[v
. .







e'iaco tis"

dyerm tovtovv


e^ei Tiv' djLteAei BiaTpi^rjv ov[

dyoiviav re, to irddos civ evarrji, [jU,]ovov o t' larpo? Tjfuv 7n6av6[Tr)r]a o;c^i Ttva.

[2MIKPINH2] Ta;^u y'



Trpos jxe rrjv rcbv

(f>€po)V d7Toypa(f)'qv,

ttoXv r

[e/Ltou] TrecfjpovTiKe.









inorjaev' 7Tp6<j)aaLV


Ttpos avTov, coare

(f)t,Xavdpa}7Ta)g cti

TttUT* i^erdS^eiv, dAA' ep^avrcbi avp,(j)6p(x>'S.

rd yap ov

(jiovepd S'qTTOvdev ccttl StTrAdoia.


rov SpaTrerov. [aaos] CO haipboves, (f)0^[€p]6v ye, vrj rov "HAtov, TO avfJi^e^[r]K6s' o]vk dv (hi-qd-qv irork dvdpaj7To[v els] roaovrov ovtojol raxv

toutou rds

ep,[Tr]ea€LV. Trddos olKiav





[SM.] ri







(Beginnings qftrvo
I lines)
is what happens to him Die now, and good luck attend you I will do it Attend I will not let go (?). now to the business like brave men. Who will be privy to our plot ? Only the ^\^fe and the girls they must be told, to prevent their crying. The others can handle
! . , .

have made up

my mind —this





indoors like drunkards, thinking Quite right. Take him indoors, somebody Certainly, he shall pass the time in and anguish, if only the trouble will begin, and the doctor lends us some degree of plausibility
. . . !
. .





(^Choral Song)

Smicrines (entering). Daos is soon back with the accounts for me. His consideration for me is most touching. He is on their side bless my soul, I'm much obliged to him I am glad to get the excuse to attack him, to examine his papers from the standpoint of self-interest, no longer Uke a public benefactor. If a figure's missing, multiply by two I know the scoundrel's little games. D.\os (entering). Ye Gods, how terrible by the sun I do protest how terrible are these events Never would I have thought that man so suddenly could fall so deep into disaster How violent a thunderbolt has fallen upon the house Smicrines. What on earth does he mean ? .









most uncertain norjaoj v. 34 is doubtless spoken by Chaereas, so probably is v. 36 /xo'iTjt, etc S9 [v€]k[p6v Korte. 41 oi5[/c evKoXov Korte.

33 Identity of speakers here (to v. 43) is see Korte for one of several possibilities,


(Traces often


/cat h\7]





orav KaKcoaai

Scofjua TrafjbTT-qSrjv OeXrji.

[2MIKPINH2] ddXie; [aa.] ovSev TTupa Xoyov


yvojfMoXoyels, rpia[sm.] ovSe




ov]S* ear* ainaTOV


iv dvOpcoiroLS KaKcbv,

to?] Ka/3/ciV[o]? (f)r]a^' iv pLidi




evTVxl'f} TLdrj\ai

Svarvx^] deos.
[2m.] Xeyets

TTavra S' Se Ti;

[eicrrji, JjjfJUKpivT].



[SM. d



ax^Sov ti

Tt TTadcov;




[aa.] X°'^'?» Auttt^







ndOovs. [aa.] oy/c CCTTtv ovSev 8etv'[dv] cSS' etTrerv ovSe irdOos [SM.] a770/cv'aiet[s" a\v.


[aa.] to,?

ya/3 avfxcbopds


aTr/JoaSoKT^TOus" Sat/xov'[es" StJoj/Dto-av'.


iarl rolv^ejvprjiJLevov,

ov Tcov TVxdvTcov. [2M.] elcreX-qXvdlev] 8e ti? larpos; [aa.] "foySet?' oi;)^eTat /zer ovv 6
57-58 =Aesch. Niobe fr. 156 N, Jensen, Korte text ed. pr. Carcinus, not otherwise known.

59 ri ravra irdvrla 61-63 quotation from 62 itov <f>7)a ev /xiat





{Traces often

Daos. Truly " God doth create a fault in man," " When he will utterly destroy his house " Smicrines. your strings of proverbs, confound






Daos. "




past reason



Won't he stop

Daos. " None of man's miseries is past belief (I quote from Carcinus) " for in one day God brings the happy to unhappiness."



Smicrines, you shall know all Smicrines. What do you mean ? Daos. Your brother (God, how shall I tell him ?) your brother is at death's door. Smicrines. What And only a moment ago he was here, talking to me What is the matter with




Daos. Distemper, a kind of melancholy, disturbance of the mind, suffocation

Heaven help

Daos. " There

us, what an illness no horror, almost, in the world,





—For Heaven " Decreed man's sorrow to be unexpected." Euripides the inventor of these Unes —none of

You'll wear "



your second raters

doctor is attending him ? Daos. None whatever. So Chaereas is done






69-70 =Eur. Orestes 1-2. rjfiepai 11, corr. Vitelli. 70-71 quotation from Eur., otherwise unknown. 74 Corrupt. oi)8et£- olxer' ovv 6 Xatpc'os Korte.


s :


[2 A.D.]


Ed. pr, *Vitelli-Norsa, Annali della reale Scuola normale super lore di Pisa, Serie ii. 4, 1935, p. 1. See Korte, Hermes, 70, 1935, 431, Archiv, xiii. 1938, 102 and Menander, reliquiae, 3rd ed. 1938, praef. xlv, text 101 Lesky, Hermes, T2,

1937, 123.

Menander' 8 @eo<f>opovfievt] has been suggested as the source of the fragment : though the word Innoiropve v. 4 is an obstacle to the attribution. Su^h words were studiously avoided by Menander {and indeed by New Comedy in general cf. however ipivTjaa, p. 282, below ; oKaro^ayos Men. Perik. Vitelli observes 204, Sa. 205, is a different type of word). that the word iimonopvos is found thrice in Alciphron, whose frequent dependence upon Menander is undoubted but this affords no legitimate inference here. The case in favour of the ascription is this : (1) The form Trapdara v. 13, attested for Menander (see Korte, Hermes, p. 432) and for him alone. (2) The rare word d€0(f>opilT(u v. 10, and the apparent presence of a divinely-possessed girl on the stage. On this evidence we must concede that there is some, perhaps a strong, probability that our fragment is part of Menander'

giiltig gesichert

" end; ive shall not use such phrases as " {Lesky, p. 124). The content of the opening lines is impossible to elucidate

with certainty. Korte thinks that the first line and half the second are spoken by the divinely-possessed girl {Theophoroumene) : the next four and a half lines by Craton, alleged to be a father who disapproves of his son's intrigue with the girl. Craton and his friend Lysias are present unseen by the girl, whose speech they overhear and misE.g. the^ girl says eiT[Tai,]aa rdfia 8u>pa meaning interpret. " I have stumbled because of my gifts," i.e. her gift of divine




[2 a.d.]


Craton thinks she means concrete literal gifts, Then rls eAajSe ae is misunderstood she had used the word eXij(f>dT)v in some different sense above. I hope that my profound disagreement with this interpretation will not be thought inconsistent with my respect for the interpreter : but (1) there is no indication in H of a change of speaker after Swpa in v. 2 ; yet such a change is essential to K.'s theory: (2) €Aa/3e(?) is not a misunderstanding of anything : coming between the words Swpa and Sovra, it is part of their context and means simply " received " {the gifts) : (3) in K.'s view, fiaivfi. w. 7 and 8 must be said by Lysias to Craton ; yet in fact, since there is an apparently demented woman oti the scene, the words should obviously be addressed to her, not to the irate father by his companion : (4) em-aiaa rdfia Scopa could not bear the meaning which K. gives it : the plain accusative is unparalleled (edv irraixaai Tt and similar phrases are of course not relevant parallels) : to 8e v. 3 is unip) there are sundry difficulties of detail. translatable in K.'s text : the sense given by K. to eXa^e is only dubiously possible : roCro y axno v. 8 should =r6 naivea6eu, referring directly to the charge /icuVei w. 7, 8 ; it cannot do so in K.'s view : the connexion of v. 7 ri ouv ovk ktX. is a little obscure {given to Craton in K.'s text). At



will be

admitted that Korte's view presents serious


that in several places {esp. in the case

of the




and of the










it is,

at best, only one


other possibilities.

My own reconstruction is by no means free from diffirWe must, I think, suppose that the Theophorouinene






does not overhear the proposal of a test {vv. 9-10) : perhaps, if she is apparently mad and tearing in confusion to and fro across the scene, this difficulty is not very great. Further,

I need hardly say I give to v. 7 tC




dissatisfied with the sense
" ;


change slight as it is—from ri.[s] to Tr[ws] in v. 4 : but I do not understand either Vitelli's to Se rls eAaySej or Korte's TO hk Ti's eAaj3e' a. in both, the sense of to 8e {and of eXa^es,

ovv ovk evhov eyce/cAei/xevi;

aiid with the


eXa^e) is

faint hope that

immensely obscure. I print my own text in the it will prompt the reader to something better.








. .













l7T7t67to[p]v€ ;

rov 8e 86v[ra

TToOev otada tovtov;

ri 8e veaviCT/co[
efcu 7repnTaT\els




Xa^ovaa ar€(^avov
[koph] ri oSv

[at2IA2] fxaivcL.




/cAetjU,[evT7 ;

[at.] /xatVet.





TTpoaTToelrai,; Xalfielv
el Qeo(j>opeiTaL' rats' dXrjdetaLaL [at.]







TO TTpoadev evddh^

eKTTiqhdi [yopos

2-3 Punctua2 eTr[Tcu]aa Korte. 4 n[ws] D. L. P. tI[s] ed. pr. 5 rt he; vfaviaKo[v Xfyeis; ed. pr. : ri Se veaviaKolv KoXels; KOrte:




by Beazley.



/ suppose that the divinely-possessed maiden is reporting in wildest excitement and distress an accusation of theft brought against her : a young man is alleged to have been her accomplice. Lysias {whose name has no precedent in Comedy) proposes to his companion a test to determine whether the girl It is clear that without further is feigning madness or not. evidence the antecedents and sequel of these lines cannot fairly

(Jt is possible that the girl is addressing her report to Lysias, and that A is the robbed man who has brought the accusation against her.)

be conjectured.

shedding (tears) from their eyes, Girl. . presents do you hear, young woman ? " he says, " they took my presents away from me How did you get tkis,^ strumpet ? How did you come to know this fellow who gave them to you ? What is the lad ., and why are you strolling the streets " with a wreath ? Lysias. You're mad Girl. Then why am I not shut up ? Lysias. You're mad Surely it's just this madness that (A) Nonsense she is assuming, Lysias ? Lysias. We can take a test, to see if she has demons For here and now in very truth a choir of in her. the Mother of the Gods comes bounding forward, or













" Perhaps this sentence is part of the girl's reported speech, recapitulating ti e|a> vepiTraTeis after the interruption If so, there is no reason to suppose that she is addressfiaivei.. ing Lysias and his companion, or even aware of their presence. * One This may be the simpler and preferable view. of the stolen gifts.
. .

possibly Ti 8c (or 8' o) vfavicrKo[s iroel, 10 Stop after yap, not before reus, Maas. Roberts.


D. L. P. 11-12 Suppl.


fJLTjTpos Oecov,

fxdXXov Se Kopv^dv[Ta>v tlvcov. 8' eV^aSt rrpos rag dvp[as Tov 7Tav8oK€iov. [a] vt] AC, ev ye, Avaia,


VTTepev (ye)* tovto ^ovXofiai- KaXrj 6ea
13 TTapdara


U, defended by Eduard





7rapaCTTd(s) ed, pr.

[2-3 A.D.]


Ed. pr. *Kalbfleisch, Papyri landanae, v., Literarische und Verwandtes, bearbeitet von Joseph Sprey, 1931, no. 77, p. 180, Plate XVI. SeeKorte, Archiv, x. 1932, 56 ; Platnauer, New Chapters, iii. 172.

cu? rjhv <^tA[ia]


Aoy[ot]s' e[

(2) (3) (4)
(5) 2,

dv rdvhpog Kparrji. ro K€pho[s rj <j)vais. CO? rjhv y\ov\ecov Kol tckvcov o[vfJi(f)OJVia. CO TTot, Ai6vv[ao]v <f)€vy€ [koLv] dX[y7Ji,s a(f)6Spa.
;(;aAe77ov icrriv ol\yos,

o)? evdXcoTos irpos

3 Suppl. Cronert.

4 Herzog.

5 Kalbfleisch.

[Late 3


Ed. pr. Guerard-Jouguet, Un Livre d'Ecolier : publications de la societe royale egyptienne de papyrologie, Textes et Documents, ii., le Cajre, p. 34, Plates VIII, IX. See KSrte, Archiv, xiii. 1938, 108. and P.-W.-K. s.v. Strata, no. 11.




rather a crowd of Corybants. They are playing the flute. Stand by the door of the inn here. (A) Well done, by Jove, well done indeed, Lysias That's what I want fine sight (?)..,.
! !



[2-3 A.D.]

Fire of ten gnomes (yvcifuu MevavSpov U written at the of which the other Jive were already known and ascribed


How sweet is friendship, If not ... by words. How hard a master is wine, if man becomes its

(3) (4)

How easily human nature }ields to profit How sweet is harmony of child and parent


from Dionysus, though


hurt you



[Late 3 b.c]

from Athenaeus

of this fragment were already known 382 c, where they are assigned to the Oo«vi#ci5es of Straton ( = Com. Att. Fragm. Hi. p. 361 Kock). Little more is known of this poet. Athenaeus xiv. 659 b




attributes the first /our lines of the same piece to Philemon Eustathius quotes v. 34 as the work of twv ns TraAattDv

by Athenaeus, our papyrus cononly 28, adding at the end three lines hitherto unknown to us. Of the missing lines, three {the first three of the piece) were certainly written in the papyrus, now lost in the mutilation of its beginning. Vv. 9-10, 12, 16 and 22 of Athenaeus's text were definitely unknown to, or for some reason omitted by, the writer of the papyrus, Vv. 26-37 of Athenaeus's text are missing from the papyrus in a

Suidas ascribes to Straton as Athenaeus's Ooti^tKt'Ses) Comedy, erroneously. Of the 47 verses 'quoted tains (in whole or in part)


Ooivi^ {doubtless the

same play

and assigns him

the Middle

lacuna which, it appears, is not large enough to have included more than four or five of those twelve lines. Further : in the lines which both texts have in common, there are many wide divergencies in reading. The first editors are clearly correct in their view that the additional lines in Athenaeus are all, or nearly all, interpolations deliberately inserted to " improve " the piece. That the omissions in U are not accidental, is proved by the fact that they nowhere spoil, inuch less destroy, the sense of their contexts. There seems to he no reason why the copyist of 11 should have omitted the lines voluntarily ; and the rem,aining view, that the lines are not omissions from IT but additions made later to Vi's original, is supported by the fact that in In each case a clear motive for interpolation is visible.
general their motive

and emphasize a point or joke,
spectator {or reader).

as the first editors observed, to stress so as to make it clearer to the Thus v. 16 is virtually nothing more

than a repetition of v. 11 ; v. 12 a repetition of v. 15 ; v. 22 was evidently added to make a clearer connexion ; w. 9-10 to expand the joke about ixipones («. 10 is intelligible only in light of the double meaning of /xcpoTres = (a) "mortals," (b) a sort of bird : here su^h an ambiguity goes clearly beyond


the original purpose

of the passage the use of obscure Homeric words in place of their colloquial equivalents).
It is

further that the inserting of changes in the reading of the context. Such changes may be either accidental, as in v. 14, where the false reading aveAoyi^o/iTji' was caused simply by
to observe

an interpolation leads



a lapse in memory or attention under the influence of the iXoyiCoiirjv in the interpolated v. 12 ; or deliberate, as in V. 17 where the interpolation of v. 16 makes the reading it is therefore changed to a<j)68p', and this in 6 S' impossible turn necessitates the substitution of -naw for a^ohpa in v. 18. Just so the interpolation of ovkovv Itjrr] in v. 22 led to the deliberate change of ovk oJS' I^tjv at the end of the next line to

ov fiavddvco.

These characteristics of interpolation were already obvious us in our Greek Tragedies. The motive is especially common the desire to emphasize, or to explain, a point in the original which, in a later age, might not be sufficiently, or

indeed at



appreciated. (Cf. Schol. Soph. Ai. 839-842 tojs ravra vodeiieadal (jtaatv vno^Xridevra vpos aa<f>r]veiav

Twv Xeyofi^cDv


Actors' Interpolations, pp. 76, 117,


the fact that interpolation might lead to con-

sequent changes in the surrounding context was already observed in a number of tragic passages. It cannot of course be proved that the interpolations in

Straton were made by actors ; but the analogy of Tragedy makes it probable. As for the variations in those lines which both texts present to us : most of them are examples of that substitution of more or less synonymous or similar words and phrases which is so peculiarly common in Tragedy and indeed generally in dramatic texts, and which is most easily explained by reference to a fault of the actor's memory : no two actors reciting 500 lines of Euripides or Shakespeare will use exactly the same words throughout : in Eur. Hec. 44 one would say


. aTrXibs els rrjv olKiav rovs deovs Kacva prjpiara ireTTopiapLevos TrdpearLV to? elarjXde yap. 11 ovSek earl 16 cm. ovk. /xd At" eyoj pikv ov' 8'. 10 oyS' dpa TTapearai SaiTvpidjv ovdels oXcjjs. cvdvs pi €777) pcuTTjcre TTpoa^Xeiltas /xe'ya. €(f>r]. TOWS' Se juepoTras" rovrovs pie ycvcoGKeiv SoKels. Athen. . [ovSels TTapearai' tovto yap vq rov Aia] oi5Se ei' yap /xa (OV av XeyrjL avvirjp.] 9-10 cm.LITERARY PAPYRI TtDiS' e/XTjv €i> TjfiaTi. 20 ^ovv 8' Athen. oi38' dpa Oveis prj^cxOov' . 6 TToaous" K€KXrjKag p^eporrag cttI Seirrvov.L 16 ri Xeyeis . en Dobree. \ovK. 14 aveXoyi'^onTiv Athen. o heZva' /car' ovopJ' eTreTTopevop/qv Tjv ev avToZg ovhe els p-oi AatTU/xc6v. 11. Thus here we lu(f>iyy' elXrjcf) . OLopiai ye. 18 el firj kskX.i^oAatS". Nt/ci^paros". Trpo^driov 1-3 absent in lacuna in 11. iyco K€KXr]Ka pieporras im heiiTVov. app€v\ ov fidyeLpov. ovkovv. Mocr. eyo).. OVK 6 o Setv'. 100). 10 Athen. [eart KardXoiTTOv.€LS on 20 dpa. 11.i7yv] ri^ei OiAtvos". 8' 'qyavdKT'qa^ (f)7]p. p. " He meant. n. ^ovv evpvpieTCOTTOv. Kock. " how many people" : he uses the Homeric 264 . piijXa 6v(ndt. ovhe els...i. ei^rjv. [ouSei? TTapearai. Athen. [ovSerepov avrcov. Xdye. Aatry/xcuv eAoyt^o/. 12 cm. ov 6va> ^ovv. Athen. 22 om. pbepoiras inl BeiTTVov KaXelv]. another ttjv efirjv TTjih' ^fiepai (see further Actors' Interpolations. n. Athen. ddXie. Katvov ndvv 17 o-^oSp' ^yav. 19 epvaix^ov Athen.'] coairep rjSiKrjpievos ov KeKXr]Ka Aairvpiova' Kaivov a(f)6hpa.^tajv.

that I've taken into my house bless my soul. It's the Sphinx's husband. fia TT/v yrjv oi5' ori napaaraa avrodi V. just because as Strange goings-on. " No broad" browed ox ? " " I'm sacrificing no oxen. and Moschion. the name. idiot " Good " Then you are immolating wethers ? " [Neither of them Only a little lord. not I : : "^ ! ! ! ! I — — ! ! ! ! word /i«po0= articulate person = human being. ov v. * The speaker takes " Articulate " to be the proper name of an ' Play with the other meaning of fj. When he came in. I hadn't inxited Trencherman " Then you are sacrificing no Earthto be sure breaker ? "* " Not I " I rephed. he looked " Tell me. 18." Tayv — ttotc V. —crwiJKev el fit) —on V. if someone had done him an injury. and I found no Trencherman among them). aXka 41 . Heaven above. that I should "] in\-ite Articulates " to dinner " Then \^"ill there be no trencherman at all ? " ["Trencherman"*? No. I said. variants -rJKOvaev 40. He's come ^\ith a stock of brand-new words.— STRATON have the pfujLora —irepa "synonymous" fivpia v. not a cook. 265 ." I thought them over :] " Philinus is coming. and so-and-so. no.epo>(i=a individual. or plough. 47. 46.e. He takes Trencherman to be a proper sort of bird. and what 's-his -name " (I went through them byname." " What None at all ? "] He was annoyed. which helps to break. and Niceratus. ox. I simply do not understand a thing he says. • i. I think not. these Articulates ? [None of them will be here. '' soil. that's the last straw. [" No such person vriW be here. how at me importantly and inquired " many Articulates have you in\-ited to dinner ? " Articulates ? ^ In\-ited to dinner ? You're crazy Do you suppose they are acquaintances of mine.

tovto 8' icrrl ri. Trrjyog. oAA' LKCTCvov avTov 23-24 jSoifAo/xai ^tjct'. 41 TjKovaev av Athen. 42 coare p-e Athen. )(epvi. dXa (f)epe' tout' ead* 6 Trrjyos. ovhk ^ovXa/xai' dypoiKorepos y i^rjv o eiju-'.. ovrco Trap 8pa)(jjLds^ /xt) /i' aTToXXvvai.pa Athen. . rcuv tov OtAijra (^tAra A) . jjioipag. Sevpo. : : 266 . els avvrJKev dv. irpos rrjs earta?. 30 roivvv XdXei e/xot y cov. tovto Sel^ov. . /LieTajSoAciv Athen. TL ovv. 25 "OpiTipov OVK olhag Xeyovra. 35 irqyos Trdpeari. a> pbdyeip' . irepnrXoKds Xiyeis . ovx} Aat/cacrei. rovrcov ovdev. dXas . 38 39 tovt' eari Trqyog. fidyetpe. ov fiavBavco tovtcdv ovSev. ^v^Xltav i>tAiTa Athen. ipels aacjiearepov 0' o jSouAet /ioi Xeyeiv. ^rjai. Sci^ov <f>^pe Athen. dAAa Sia to. ^ovXoir .. rjBrj ficTa^aXcbv \ 45 Ttt /x'^Aa Trpo^ara. drdadaXo? y eX. dXXa. 44 iKacn-a Athen. /car' eKclvov rjSr] 7Tp6a€-)(e /cat rd Xonrd piot. 43 to tov jSujSAia n. ovk otS*. 40 eAeyev aAAa pyfj-ara Athen. eXeyev €T€pa fivpia ^(^epvi^ov 40 cSctt' Toiavd* a jjid ttjv yfjv ovSe . TTapijv edvev. 45 ttAtjv iKCT. ovSe 26-37 absent in lacuna in IT.? rerrapas dno^dXco. Kal fxdXa' aurcDi Xeyeiv. 'Op^rjpLKws yap Stavoet OVTCO AaAetv etco^a. (^iqalv. . Athen. npea^v. tcD/i ^v^Xiojv 11. fjLiGTvXXa. c5a^' drnKGis /-tot StaAe'you. (f>€p€ Trjv Trpoalpeaiv. Athen. dXXd TL TTpos rj/jids rovTo. rds ovXoxvTas Kpidai. aTTOTrX'qKTe. hiTTTVx o^eXovs' eSet Ta Tov OiAiTtt Xapi^dvovTa ^v^Xia CTKOTTeiv cKaoTov Tt SuvaTtti TcDv pr]fJidTa)v.LITERARY PAPYRI ra fXTjXa Trpo^ara' firjXa Trpo^ar* . .

: plain says cook. : 267 . 42-43. of the verb fuorvWrn.e. please don't do so in I to abandon my principles for house " " " Bring hither the four drachmas a day ? " he asked." " " Well. Homeric words for sUces. lots." he repUed. * i. Zenodotus and others . sing. The words prj^ixOcjv and (in this sense) -mfyos do not occur in our text of Homer.] " Aren't wethers sheep ? " ? Wethers sheep dear cook. * The celebrated Alexandrian. he is known to have composed a glossary of obscure archaic words. madman ? " "Is there ! Am — my my ! ! Tell me anv brine ? " " " Brine ? Go to the devil what vou mean in plain language " " Thou art a wicked \\ight. " bring me the " that is what brine is." " Well. old father. imperf. See ed. doubles. portions." he said. pr." " Don't you know that ? me Homer " " Of liberty to say Homer. my good course what he Uked but what . and I know nothing about it. was at in of goodness has that to do with us ? " the rest. " groats " " " What may they be ? " " The barley " Then why talk in circles. in the style of Homer. pp. in fact the cook had used as if that were a neuter noun fuarvXKov as 1st pers. now. spits. piercers ^ till you would have had to take the works of Philitas * and look each word up to find its meaning. my don't want to know anything. I changed my tone at once and begged him to ! ! ! ." in the name " Attend to " You want "I'm used to to murder me ^\•ith Homer's style ? " talking like this. — — " Again the cook uses archaic Homeric words for commonplace things.ioTvXXov. I . talk to I'm just a simple fellow language. folds (of fat or meat). shew me where that is salt The holy water was ready he did sacrifice. tutor of Ptolemy Philadelphus.— STRATON sheep. spoke a mjnnad more words such as I swear no man on earth could have understood slashes. fiiarvXXa is meant to be plural of fj.

dvdpcjTTLVCog AaAetv

n, rov 8' ovk av ttotc Weido} Trapaarda avroOi. /cat jLlOl hoK€i paifjOJL^OTOLOVTOV TiVOS SovXos yeyovojs e/c TraiSo? aAeiTiypto?
eireira TreTrXrjadaL rojv 'OfJi-qpov pr^p^drajv.


46 AoAetv
rqv yqv




ol8' oti


ovk av Taxi) Athen. 48-50 om. Athen.

47 HeiSoi

[2 B.C.]

Berliner Klassikertexte,

Ed. pr. *Schubart-Wilaniowitz, V. 2, 1907, p. 128.

FYom an



the obscure author

—probably a

OVK €v Xoyi^rj]t

7rAoiJT[o]v, cS


[6]p,6voL[a]v K[aL] yvv[a]LK6s [ov

(Fragment of one
e-ndv 6

d\Xi^o\pievog ot/caS'

[y]v[vr] Se] pb-qOap.ov rd[^oi 7tovt]]i,

{Fragment of one






eicodev, aAA'

ravTo raxv



voXv- [t]6 yap e[tcr]evex^ev a^[pot]^[et Sd/AOt?. eTTav 8' dvayKaadivres dv[dp'\oJTTai [hvo
awt,a)[aLV a\vrol?, eKarepo? [(f)pova)v St'xa,



D. L. P.

6 End D. L. P. 8 dvdpomu) Bvo Beazley.

7 ddpol^ei


say something like an ordinary human being but Persuasion herself, though she stood on the sf>ot, could never have persuaded him. If you ask me, the scoimdrel had been the slave of one of those rhapsode-fellows from childhood, and so got stuflFed •«ith Homeric words.

younger contemporary of Menander—

[2 b.c]
see Kaihel in



s.v. 'AnoXXoSiopos, no. 57.

Your judgement

of wealth,







inferior to the

harmony of man and

(^Fragment of one line)


earns, while doors. . . .

the man, overworked, brings home all he the woman never works beyond her

(Fragment of one


Observe the lady-bee." She does none of the outdoor work, and yet her contribution to the common end is great at once, because she stores at home what the others bring in. But when two humans are
forced to live together, their spirits are yet divided,



comes from Xen. Oee. viL 17

(ed. pr.).



7TOLa[v] K[a]T[a

X6]yov ovuiav achaeiav av;
Traces of one more


" Or " can they reasonably be expected to save ? " So Beazley, to whom the interpretation of the lines is due. Vv. 3-4 were an illustration of the harmony of man and wife,

[Late 3 b.c]

Livre d'Ecolier



tions de la societe roi/ale egyptienne de papyrologie, Textes et Documents, ii., le" Caire, 1938. (a) p. 27, Plate VI See Korte, Archiv, xiii. 1938, 107-108. (6) p. 31, Plate VII.
(a) Apparently from a monologue by a cook. He complains that someone has not yet entered Simon's house, but

wastes time talking on the doorstep : Simon himself has not even got as far as the doorstep. Then the cook narrates the

preparations which he has made. Evidently Simon and another {dvOpionos v. 1) have ordered the cook to prepare for

dvdpcoTTog ovk elaep)(€T^ et? rrjv oLKiav,




raig dvpais e^co Se Siarpi^ei AaAoiv 6 HiLpLCOv 8' earlv ovdi* iirl rat? dvpaig. vfji^ovv eXvaa KaOaTrep apri etiTe /xoi,




eA[o]ucra, TTvp inorjcra, x^pvL^ov


t]6 Kavovv chs TrpoarJKev apriois

3 Si'/icovo? o Hifxcov 8' corrected from Hificov 6 Si/twvos IT. 4 Probably T[p]vfj.povv but no such word is known. It may have meant some sort of jar {eXvaa then = " I undid," i.e.




then what sort of substance are they going to save in proportion ? "

of (me more


and the fragmentary line after v. 4 expressed the idea that the woman worked indoors while the man worked outside.

[Late 3 b.c]
gome ceremony in Simon'g houge. The cook has prepared everything : but Simon and the other pergon are unreasonably glow in returning to hig {Simon' g) house ; the other pergon hag got as far as the door, where he stops and parses the time of day ; Simon himself has not even come go far

ag that. (b) Also from a monologue by a cook, but almogt certainly The gpeaker narrates how he not a continuation of (a). filched and pilfered morsels from the dishes which he had prepared for his master's table. Cf. Euphron fr. 1 Kock,

Dionygiugfr. 3
. .

{ed. pr.).


. the fellow stays out of the house, spending time chattering outside on Simon's doorstep as I have for Simon, he isn't even at the doorstep. undone the ... as he told me to just now, washed the the made the fire, drawn the holy water, basket a moment ago, just as it ought to be, knife in
; . . .
. , .

" removed the lid or stopper "). 5 rf^v w] Korte : but " after the initial t, one can hardly supply more than two Perhaps the letters, three narrow letters at the most. . .

papynis was corrupt," ed.




^[aTTja^l €X(jov fid)(aLpav ovdeis fioL AaAet.
ocro[v] SLd<j)opov rjfiepa rrjs i^/xepa?.


of three



a^av[es']' i\y]K\<e\^aX6v rtva

jjlol KpiaeAarrco ravra, rov dpiOfiov 8 laa. )(op8rjs Tt? rjv o^eXioKos' i^eXojv ropLOVS €K rod pieaov rpel?, raTr' a/cpcot avvrjyayov

ivoacfiLadiJirjv aTrrjpLOfirjadv


iyeved^ oXrj,


ro pueaov (h^eXrjal


l^dvp a7reSco/c' avroiGi, ttjv 8e KoiXiav
rjv Ti?"




epiapi/j^ ,

eXaiov i^rjpaadpirjv,
aiX(j)L6v ti Xolttov riv,



AajScov ipiovdvXevaa Kd7TrjV€yKdpir]v.
7 eoTTja Beazley


or perhaps edrjKa D. L. P.


[End of




pr. Kaibel, Nachrichten der Oesellschaft der WissenRevised text in zu Gottingen, 1899, p. 549. See Reitzenstein, *Schroeder, Nov. Com. Fragm. 45.
; ;

Weil, Rev. Et. Grec. xiii, 1900, Hermes, xxxv, 1900, 622 Cronert, Archiv, Olivieri, Riv. di FU. xxx. 1902, 435 427 Demianczuk, p. 96 Legrand, Daos, p. 506 ; Plati. 515
; ; ;






Prologue of a New Comedy, almost complete. The playwright announces that his prologue is an innovation: it will


nobody says a word to me. ence, between day and day

WTiat a


(Fragments of three





... I made it vanish. I purloined a morsel of They numbered off the sHces of meat for I made them smaller, but the same in number.

There was some tripe on a spit I took three cuts out of the middle, and then brought the ends together thus it became complete again, while the I gave them their fish centre did me a good turn. back, but I apportioned the insides to myself. There was some cheese I grabbed it. I seized the suet, I poured myself" oil, I took honey along ^vith me. There was some silphium left over, juice, cummin, mustard I took a sponge, stuffed * it full of them, and carried it away.



" From e^epaw (Korte), not novOvXaicj—ovdvXevcj, cf. Alexis


from e^apdoficu 273 Kock, ed.



pr. p. 32.

be very brief

[End of





relevant, unlike the prevailing


The question in the last line wa^ probably answered briefy, as Kaibel suggests, with sueh a phrase as " you will soon find out " or " because the author wished it so." The subject of the play was probably an affair of love between the cousins mentioned in v. 19. The identity of the speaker is uncertain ; it depends



partly on the supplement of v. 15.

J have


doubt that he

Dionysus (so Kaibd). The fragment proves

(a) that lengthy

prologues were the


fJ''i]S]e iiaKpoXoyo? 6e\6£, av vttvos rovg aJKovovra? Xd^rji.

TToXXovs yap otSa XiTrjapaJs TreLpcofievovs rcov TTpay/jLarcov Xeyeiv t]6 vpioTOV, ov rpoTTOV
o-px^v Karearrj,] /cat ro Sevrepov 7Ta[At]r, /cat 7TpoarLd€v]ra{g T)ovSe /cat ras air Las


Ta9 d7r]o8et^et?* e^ amy/oys" ytverai

rovTCov y

ayK(jL)Viaap.€voi<s prjatv


fJiaKpdv, oJxXrjpdv, e/cStSaCT/coi^ras" aacf)io?

KaKTidepijevovs /ca^' eKaarov (Lv ev otS' on ouSet? p,e]pid6r^Kev ovdev, dXXd rovd' opdi,

vpids 8' e^ dvdyKTjs ^ovXop,ai

TTav Karavjorjaai, Kal deov tl,

vrj Ata, d^Lov ivejyKclv avros, oAA' ovTa)s deov

Xeyoi' ^iov\vacm


tl TTiareveiv epLol





eyevovr* dSjeA^ot hvo ttot'' ets" rag exop-ivas ovTOi 8' €y]r]pav oIkms, Kal yiverai TTals rdJL pkv aJ\vTa)v, Ovydrpiov 8e OdrepcDi.
d^7Tohrjp,ia TLS dpL(j)OT4poLS




els 'AJCTtav, e/cet re irepl tu>v CTCD/Ltdrcov

/ciVSuvo]?" elpxdevros

ydp avrcov ddripov,

eKel hiK\r]v axdvTos rtv' dSt/cov, drepos CTTparre] rrjv acorrjpiav. €7T€l6^ 6 p.ev
(f)€vyeL X]a6d)v,







8etTai 8]td rovro, /cat yiyovev €/c/cat8e/ca

TTios TrAai'co^ai /iijSJe


D. L. P.



Schroeder. 12 WeU.

2 Weil.





early fashion of New Comedy (on the model of Euripides) ; (b) tftat the Xew Comedians, like the Roman dramatists, used
the prologue as a about their art.

medium for expressing

their opinions

nor god verbose, till slumber falls upon his Many there are, I know, who diligently try to tell their story's beginning how it came into being at the start " then the second stage who add both the causes and the proofs of this for the sake of which they are bound to make a lengthy, tiresome, speech, to an audience half-asleep,* gi^'irig the clearest information and setting every detail forth although not one spectator, I am positive, has learnt anything at all in the end they are simply waiting for the speaker to leave the stage. Now I want you to be and I, for my compelled to understand everything part, want to produce a play that does honour to your
. . .








I really

mean it, your




am Dionysus
something of

the story which you must believe
this sort


Once upon a time there were two brothers, Sosthenes and Demeas. They married into neighbouring families. One of them had a son, the other a daughter. Then they both went abroad at the same time to Asia, where they were in danger of losing their Uves one of them was put in prison, suffering an unjust punishment, and the other brought about his rescue. Thereupon the former escaped unobserved, and the latter was put in chains on the charge of smuggling him out. Thus their absence

" Or " what was the situation at the start." this meaning of dyKajvuxofievois, see Deiniadczuk, (literally " leaning on their elbows ").









jxrJKos rrj? aTToSrj^tag err).

ri ercuv,] rig av

dficfiorepoLS dfxa

ToaovTOiv ;

/cat rt






[1 A.D.]


Ed. pr. Vitelli, Studi Italiani di Filologia Classica, vii. Republished with revised text by the same 1929, p. 235. editor in *Pap. Greet e Lafini, x. 1932, no. 1176 with Plate. See Korte, Archiv, x. 56, Hermes, 72, 1937, 50 ; Vogliano, Gnomon, vi. 1930, 113 ; Platnauer, New Chapters, iii. 174.
appears probable that these events should be interpreted Laches has a son Moschion and a daughter, He has arranged a marriage children of different mothers. between them, and himself has gone abroad for a time. He hears during his absence that Moschion, who loves another girl, refuses to marry the daughter : and he therefore sends an acquaintance {€) to deal with his obstinate son. Laches himselffollows hard upon the heels of his messenger ; who upbraids him for delegating so unpleasant and difficult a mission. (It is possible that the daughter is the child of C, Vv. 1-20 it appears that the messenger, not of Laches)

as follows

Moschion has accomplices, one of


{a slave

of Laches,






/xeV, evBov




2 Perhaps

/xcDv oTrjet;


Why, you from home extended over sixteen years. may ask, should both alike need so many years, and
what was the necessity





[1 a.d.]


SeanoTTjv) is


in his support, the other intimidated

by the/other's imminent approach. The authorship is {as usual) unknown.





specially probable candidate


certain phrases, e.g. Koipov






(f>€povra Trepl yct/iou V.

26, are not in

of Menander; nor is the lengthy and circumstantial description of a storm at sea." Korte (Hermes, loc. cit.) expounds and rejects the grounds in favour of assigning this fragment to the play known as Menander' s Fabula Incerta {editions of Jensen, Sudhau^, In that play, characters named Moschion and Laches etc.). are prominent, and the action, so far as it can be discerned, is not irreconcilable with the action of our fragment, so far as it can be discerned. But similarity of names and action in Menander do not prove identity of play : and though the actions of the two pieces are similar, there are sundry discrepancies which are not easy to explain. Se£ Korte, pp.
the style

76-77 : enough

the case, as at present expounded, is not strong
to be

worth repeating in detail here.


Go ahead and never










wake up,



Stay here taking


KOrte's observations on v/S/xa/tot v^piKas {loc. corrected by himself in ^rcAtv, x. 1932, p. 217, n.









vvv avrjp yevov



Moaxi(ov{a). Tovs deovs,
/cat TrdXat,





€pi7T€cr]<hv rjycovLaKa,










et, VT] rrjv

^Adrjvdv, SeiAo? er ^Xenoi'

av ye
rov 7r]ovov
air Lav.

(f)evya)v TrpoadirreLg rrji rv)(T^L ttju




TTvevpJ ,








)(dXa^a, ^povrai,




eKaaros avrcbv




Kat TO fxijXXov ovK aTTeyvo)' tcov





iuKeipad^ ,




6pat,^iv evx^rai

TCOL Kv^epvTflr'qL j8o7^[^etv],

tovs TToSas irpoa-


(Traces of t?vo
iv KaKols


d-Traaiv, evyevaJs Trpodvix^iajv



dAA'] opdj

yap tovtovl tov



Be a




Don't leave Moschion in

the lurch

Heaven knows,

should Uke to do as you say.

But here have

suddenly tumbled into a sea of

and I'm anxious


been worried
a coward


ages that Fortune


decide against me."

(A) You're a coward, bless

my soul,



You run away from


the blame

on Fortune


at sailors

—constantly up against


Storm, gale, rain, mountainous

seas, Ughtning, hail, thunder, seasickness,




And yet

every one of them awaits the gleam


Hope and

despairs not of the future.



hold of the ropes and watches the

another prays

the Samothracian gods
sheets in
. . .


to assist the pilot, hauls the

{Traces of two


nothing but trouble




support us like a

(B) Stop


see the master here.

So wait, wait




ed. pr. renders this ambiguous phrase. 43. 1, P.-W.-K. x. 1430.


3 Me'ya Korte and others, but the name Gk. Comedy, and very rare elsewhere.





12 1083, 1084 evdi/s Trpoaamei ttji ''i'X'7' ''"'?'' o.iTLav. 13 Theogn. 1 144 e'ATrt'Sa npoafieverio. awa[yfia] Morel. 15 Toiaa^iiodpa^tv IT, corr. Edwards, Wilamowitz.












re tovtols Kaipov


iyo) /xev v^pta/xai, Ad-yrj^, <Ls ovhk els


dvdpojTTOs €T€po9 TTOJTTod^


v^piKag Se








iyoj Se 7TCOS axolr]v dv irepcos;


eXeyov eKeZ aoi'





vldii cf)€povra Trepl

ydfiov Kal dvydrepa
Trpoalxfjf- p-oi, ttcos iyd)


edv 8e


dvayKdaoi aov


Trapovros Xayi^dveiv
(ed. pr.).

26 "Perhaps ^paaovra"

[2 B.C.]


Ed. pr. Grenfell-Hunt, P. Oxy. i. 1898, no. 10, p. 21. Revised text in *Schroeder, Nov. Com. Fragm. p. 38; see Wilamowitz, Oott. Oel. Anz. 1898, 695 ; Blass, Archiv, i. Platnauer, New Chapters, iii. 113; Demiariczuk, p. Ill Milne, Cat. Lit. Pap. B.M. no. 94. 174
; ;

The authorship of the play is uncertain. Schroeder, loc. argues that it is the work of a later poet imitating Menander {especially, his Andria and Perinthia). But the It is perhaps evidence does not permit a definite conclusion.


enters and prepares the wedding ceremony. there was never alive so ill-used as I am. how am I going to force him to " take her. He is conversing with his slave. When his master. father of the affianced daughter. time said to me (C) " " what else can I do } Time after you there.c] —as Wilamowitz have used the word observed—unlikely that ilenander would e^lvrjaa {v. Don't say that (C) me here. and giving your daughter away } Suppose he won't listen to me. Laches. Ill go in here at once and take a suitable occasion to make my appearance among them. " Where are you sending Laches. being in love with a foreign woman. see p. Good I lord. who urges him to change his mind. A young man is about to break off his engagement to the daughter of a notable citizen. which he seems to fear may — be interrupted. DAOS.) a man (C) (entering nith Laches). And it's you who have ill-used me. still obdurate. 1.! ANONYMOUS with him. {Departs. the slave determines not to abandon hope but to invent a plot to save his master and himself—from ruin. leaves the scene. 281 . by sending Laches. if you aren't here ? ANONYMOUS YOUTH. 256). SIMON [2 b. Quite so. taking a message to your son about his wedding. Simon.

] tacos. r eyKaXovvrcov. [tp. aTTavjrcov ov ro- [pw]s o6toI ae 8teAeyfo]yai TTpooKad-qpievot ]es kvkXwi. SiKTjv riv atCT]. Xeyojv.cxiv rore. CO [aao2] €1776 pLOl 7t]cl)? (f)€p^ TO.LITERARY PAPYRI [tpo*imo2] rrjv TTapOevov] i^ivqcr . tad^ ort. 8' av] eiTTtov ort /caAca? elx^ tacog (fnXias X^/"'^] ''"^S' e/c TTaXaiov yevop. c5? iyco] epeXs. ov yap.TToaaKis rjpLOjjv. 10 avTos Se TTJs vw oiTJTCo? e^ovXevao)' KaXcog.€vr]s Trjv TratSa Sowat] tcov re Sofavroji^ rdre. ipiavTov.. ovk eSet TToeZv XadpaCjw? ravra. /u. tlv'] aAA' ivrpenei [tp. ctti tt^v ot/ctat' 15 TTapeylved^ tovtov yvcopipioi ^r^aovaiv ovk] eSet avveXdeZv. ov 20 (j>\yy€L\v a* .ei' Tvxoi. ei/coj [aa. 'H/xxK-Aei?- aVTOV OLOeiV TT/DOffSo/Cat? TreTTpay/xeVJ ^ rivas \6yovs puera ravT ipelv. /cat TrapaiTciaeraL ot re ovrco SiKao-TctS". avT]6v ravra koL <f>vXapxiag ' 5 TzaAat areprjajaL vvv r Ka/ccos" dSo^cot [y]ctp €(f)dv7] ^yyarjepa cot avvoiKit. 282 . (f>ria€t Ttt^'] [aa.] ovTog.] ^iXovs. earat.^wet ovSev alaxvvei. yap. tacos piev ovv (f)]av'qa€6' €Tepo[f\ a^ios Trapdevov TrpojiKog Se TrpovXa^es pLepos. Tt Se.

14 Blass. Wilam.. (after Schroeder and Blass). P. P. as for some time past that this \nll cost him his governorship. 6 D. whom do you respect ? " And you won't be able to escape the penalty all the world w ill be your prosecutor. L. and what do you suppose he's going to say afterwards ? Young Man. L. and the agreement at the time. Well. besieging you . . He will win the jury over " You have no respect for your friends " he will cry. L. And now perhaps some other suitable husband for the girl will come along. His acquaintances will add that you ought never to have enjoyed his company. 9-10 5. L. 18 XadpaUos Blass. . but you have now made other plans. 21 Beginning D. a bad job that's what it looked Uke at the time. is there anyone whom you respect } ! ! — — — — myself. how do you think he's going to bear the facts. what ? Daos. D. You can be and then to have behaved in this underhand manner. . Surely you won't say that I seduced the girl Daos. sure that he will mention how often you visited his house. 1-2 283 . that is !). 22 ovroi ae D. Now he may very possibly reply that he was justified in giving his daughter for the sake of old acquaintance.: To[pw]s Roberts.. " for tell me. Marrying his daughter to a man beneath her class (you. God bless my soul Tell me. in : ! : a circle. P. P. They will convict you clearly. P. Only Daos. Young Man.ANONYMOUS Young Man. Meantime you have received part of the do^vry in advance. It's highly probable to-day. Well and good. L. 3 D. Tell me.

25 [aa. ajvavSpia yap tovto y Trecrovra. o]uS' av Oeojv aojoeiev [tp.fi7)v vdw 40 dv Tia[af 'q T]e[Aci> 8' eyd) TdSe eTTJatvov €vpd)v 7tX[vvos TreTTorjjjLevog. dAA' o/xo)? Set Kaprepetv fxe.] [aa.KaTaA[t7rajv' )U. e\ariv ti Traihia Kapiov a\(jrelov ttolvv 6] 8 eraZpos olog. d8ed>s" ovv iyoj av^vTd^ojJiai. Happievaiv.' [aa. OLiXTj^aveLV.] aAA' ovv eycoy* a/xodev ye dpdaos] ivavaofiai. (j)ep€T(o 45 Kal dvpLLa' Kal Sevpo ulvp Ta^v 284 . Tavd' ov[tlv dv irpdTT'qi Tpoirov. ttolvtcos 8e tovt* ahvvarov ea\TLV. 817 30 v]w ou Aae.LITERARY PAPYRI [tp.o[i av rdAAa.] i5[/xas" oj)8' av aoiaovatv.s" Tig Tt. efeV. [tp. hiaacooTeov tov Tp6(f)[ipLOV. XpW • o"' d[AAa Trdvra Se]r TTporepov ey. [simxin] aT€(f)avovad^ ' eTOipca [TrdvTa- SiLVov Ti]S oSov TO fjLTJKos' vpXv TTepaive i^ dypov pLe\Tiqyayov Tpdyov jU.^e[i]/3e[tr.] aTrepx^rai.] ap' ov)( opat]? ra ttj? ^iv7]s. Trdvra et?. ottcos ae yvcopiarji [xjrj Tov tvxovt' TTavv elvai' t[6 Se TrpdyyC LKavov ydp ay/x7ro[Ti/cou re KaraKparelv 35 /<r]at ^ovKoXrjaaL SeGTToljrjv drrpdyfjiova eariv vecovqTOV ixepilddrjKa tovto ttov dira^ TTOT ^ 8t?' TavTa 8' [oy afitKpds opcb ai)A]7jTpi8tou Se6[X€va (jypovTthos' [fxeydXrjv dA]oi. aoL. dvaT€Tpa[7TTa(.

as I have discovered once or twice before now.ANONYMOUS Young Max. Put on your wreaths All is prepared. P. requires a great deal of thought. P. \^'hat an awful long journey I've brought you a goat from the farm. and bum the incense. her sweetheart " You're completely ruined . When I've come to the end of this road. it's no time to lie down and wonder what to do. 35 KaTaKparelv D. Oh yes. Ar. Roberts after Sudhaus. To get the better of a jolly chorus-girl and cheat an easy-going master that is a task for a slave bought only yesterday. Well: he's gone off and left me. Plato. I call that. This business gives ample opportunity. L. (Departs. {<•/. 46. H. Now Daos. Daos. you may have a heavy price to pay. 285 . I have to rescue my master I will stand fearlessly beside him. That's absolutely impossible. Well. L. Daos. SiMOX (entering). they will. Still I must see it through. — : — ! ! — 24 D. Tell a slave — I — ! . 29 oiS' av eTs C. P. YouxG Max. L. (for 41. But this. Cowardice. If you're caught. Parmenon. I shall have found either compUments or a dressing-down. Ax. 371 e). however he may act in the matter. First you must try everything you can he shall learn that you are no ordinary fellow.) Daos. Plut. 31 afXTjxaveTv D. 48 End Beazley. r. Finish me the rest. 1061). P. 37-43 D. Don't you see the situation of your little stranger girl ? " There's a very charming Uttle lady but oh. not even the gods could save you both now not one of them YoxTXG Max. L. I see. I'll find encouragement somewhere.


7r]a[t]8a/3tov €771

top [^cofxov ov




/cat 8€8[tcbs"


(Fragments of two more

[Early 3 b.c]


Ed. pr. Grenfell-Hunt, Hibeh Papyri, i. 1906, no. 6, p. 29, Plate IV. See *Schroeder, Nov. Com. Fragm. p. 3 (revised text) ; Korte, Archiv, vi. 228 ; Blass, Lit. Centralbl. 1906, 1079; Fuhr, Phil. Woch. 1906, 1411; Wilamowitz, iV^. Jahrb. 1908, 34; Robert, O.O.A. 1918, 181 ; Demianczuk,
Suppl. Com. p. 102.

From a scene before the houses of two men, Demeas and another (A). Demeas, conversing with his servant, enters, and meets a young man and his servant. Demeas urges the
young man to run away, and offers him money and provisions for the journey {this suggests that the young man is not a

[neanias] tl yap TrXeov Td[8';
e^epx^rai, tls.




[ahmeas] r7]v aTTvpiha Tavrrjv ev ivravda rovs dprovs e/co/iicras" d7TO(f)epe
. . .



;)^p7^o-aj^t, rcDi




Seup' avaarpeifsas 7raA[t]v. 6

ovroC\ ri Xeyere

Tt 8'



[xev (XTTOTpex^LV
fxcov pikv

dXXo TtXtjV ravrag fie Set
ovdev KioXvet.



6 D. L. P.


to bring fire to the altar here at once. I've come in anxiety and alarm .
. .



{Fragments of two more


[Early 3 b.c]
The young man native of the town in which Demean lives). is reluctant to accept this offer, and is therefore reproached
by his slave.

The young man praises Demeas warmly.
enters his house

w. 23-24 Demeas

and while


At young

is waiting for his return, there emerges from the other house its owner {A), evidently enraged because his Mcife has taken a baby in. He commands her to send it away, and inquires whither his own daughter has disappeared. The interpretation of these events is obscure and uncertain. It seems probable that the young 77ian is enamoured ofA's daughter, and that the child whom A has discovered in his house and wishes to expel, was borne by his daughter to



young man : who now first learns of the baby's Beyond this all is mere guesswork.


Young Max. For what's the good of
door creaked


it ?



coming out


Demeas (entering). Take away the basket in which you brought the bread here, and give it back to Numenius, who lent it. after you come back. (Observing the Young Man and Slave) Hullo, and what are you talking about ? Young Man. What should we have to talk about, except ... I must rim away (with ?) those women there's no reason why not. .






[ah.] ovtoj[s:] 8e y' o[u]Sa/ia)[s] Svv-^aer* aTTievat,
[ne.] ttws;

[ovk] OLTTrjXdev;
r)[avxo)]s irriaxeTe.


rdv, [eV dvafjiejva) Aa[jS]erv [Ta]vrr]v eyw;
] e/c

[ah.] 7Tp(jJT\ov jxev

TToXefiiajv (f)€vyeT€.



[/uera TaiiT]a;


Tttura TTpdrd' dyoj Ae[y]a>.
oy/c e[CTTiv aA]Aci>s".





(Fragments ofJive



icrriv irpos

ae (faXojrrjs Trjfxepov,


avpiov 8' -^'St^ iroXepnos yivofiai. y]€VOLTO S' elprjvrj ttot', cS Zeu SeoTTora, 8i]aAi;CTis' [aAy]e[ira>»' /ca/ccDv T]e Trpayndrcov.

(Fragments of three






Td[y rdSe TrpeTTOi



dpl9{pi)rjaov iv TOCToyT[a>i 8' etai]6ov 20
Tiyv yu^^at/ca


eiTreZv {jlr^v e/XT^t',

ei? Ti^v

oSov y'

eV avra rdvayKOL


vpXv Trap' [f^jxlcJov evSodev avvaK€vdcn)i. [ne.] exofiev diravra. [aotaos] "A77oAAor, 60S" dypoLKos avaKeva[a\dro)




TTOvopiai Xeycov.


10 ou/c Schroeder. 12 Tr/Dwrfov /xev waTrep] Schr. : but the " enemies " may be literal, not metaphorical, cf. 16-17 (Robert); cf. also fr. b ii. 92 Schr. inl arpaTOTrelSov, fr. f 119



Young Man. WTiat
Demeas. She can't possibly go away like that. } Hasn't she gone ? Demeas. Gently now, contain yourselves. Young Man. My good friend, must I still wait to
. .

get her

from the enemy's Demeas. First you must fly camp. Young Man. And then ? Demeas. Then do what I tell you. There is no other way. . ? Young Man. And then how shall I be able











your friend



morrow already I shall be your foe. Grant us peace, Almighty God, at last, an end to suffering and misfortune

(Fragments of three lines) Demeas. Take the money. Young Man. Oh, I couldn't possibly do that Demeas. Count it. Meantime I'll go indoors I \\ill tell my wife to pack the bare necessities for your journey too, from the household stores. Young Man. But we have everA'thing




leaves the stage)

Slave. Really, your manners

\Miy not





Young Man. That's enough


say no more.


Hunt, aAAa>j Schroeder. aXy€ivu)v D. L. P., KOKtijv Schroeder. D. L. P.

raSra Schroeder. 14 15 D. L. P. 18 19 tom toS* npeiroc



[ne.] V7J TTjv ^Adr)v[a]v

Kal deovs,



ot[8' oJTrcog, [yvjv auros" €7tl ran, irpay-


^aiVerat tis tovs rpoTTOvs 6 ArjiJi€a[s a]v[dpco]7Tos' dXXa Trjt TV^f]'' ovdkv Sia[^epen'] 0atVe[^'], ov 7r[o]et KaKcog. 30 [fephn] yvvai, Ti ^ovX[€t; vrj AC,] €Ix^[p6vt]7}t\
''EAA7y[v jSeJjSatTo;?]

vvv 7Tpa)ro[v Ik
€^co (f>€peT*
KrAaei? 7Tep[i^a]A[o]i;o-' [auro

to TrJaiSioi'. kovxl TT^po'Ceaai; avro Seu[po /xoi Vi] Ta? Ovpa?.

TTjv r)ijL€T€[pav] fiev 7ra[rSay Aeye, 7t]ov



(There follow traces of numerous lines, too fragmentary for inclusion)
28 Cf. P. Oxy. 211. 33, Menander, Perikeir.

[Early 3 b.c]



pr. (1) and (4) Grenfell-Hunt, New Classical Texts other Greek and Roman Papyri (Greek Papyri, Series ii.). [It is perhaps not certain whether (1) and (4) 1897, p. 18. belong to the same papyrus, see Gerhard, op. cit. below,
p. 41.]

Ry lands

the Greek Papyri in the John Library, Manchester, 1. 1911, no. 16, p. 25, Plate V. (3) Grenfell-Hunt, Hibeh Papyri, i. 1906, no. 5, p. 24, Plate HI. (5) *Gerhard, Griechische Papyri, Heidelberg, 1938, no.

Hunt, Catalogue of


ners'ous I
I can't tell you how actually on the job This Demeas really does shew himself a white man whereas it doesn't seem to matter to Fortune, whom she injures

YoxjXG Man. Heaven above,

am, now





{Enter a ma7i, nho stands at the door and speaks
to his Tvife, off-stage)
is your game, Bring the child out of the house, idiot, What Crying, and embracthat's the first thing ing it ? You won't let it go ? {To his slaves nithin) Now tell me, where Bring it out here to the door has the old woman (hidden) our daughter ? .

Old Max. Good heavens, what
! I





{There folloTV traces of numerous lines, too fragmentary for inclusion)
tout' earlv 'ElAAijvos rponov.



Schroeder, corr,


35 Xeye nod D. L. P.

180, p. 40.

[Early 3


P. Petrie, 4 (early 3


contains fragments of

(see Schroeder, p. 12) : but these are not intelligible or consequent enough to be included here ; the


same play


is true of Gerhard's new fragments, except the one which I reproduce as (5). See *Schroeder, yov. Com. Fragm. p. 1 1 Demianczuk, Suppl. Com. p. 98, 113; Fuhr, Phil. Woch. 1906, 1411; Leo, Hermes, 41, 1906, 629 Blass, Rh. Mus. 62, 1907, 102 ; Weil, Journ. des Sav. 1906, 514 Wilamowitz, 3\ Jahrb. Korte, Archiv, vi. 227, 228 1908, 3t Milne, Class. Rev.
; ; ; ; ;



1922, 166, 48, 1893,

and Cat. Lit. Pap. B.M. no. 91 Kock, Rh. Mus. 221; and esp. Robert, O.O.A. 1918, p. 185;






The argument appears

to be

commanded by his young master to make a great effort to obtain for him the company of a young woman. The slave has fulfilled his mission to the best of his ability : he has found her lodging, but not yet conversed with her. (2) Strobilus reproaches his master for estranging himself from his father through his passion for the young woman. has discovered great abundance of (3), (4) Strobilus His master enters, and hears what the slave treasure. has found. (5) Strobilus converses with another slave, Daos, who
slave Strobilus has been
offers to assist


him in some enterprise or








7T€lpa[y Aaju,j8av]e[t]v

Svvarov iari

Trjg Koprjg avTcoL rvx^^v,
rjv Trfiy 7Tat]8'

OTL rrjs avoias fxearog

a (jlol Trpoaerarrev^ evpov otVtav. ahvvarov rfV


avTTjv v6iJiapx\_
Jas", d>


TOLOvro[v TTarpos

d7ToaT€pii\aag aavrov eVe/c TTpoaeTL So/cjei? iXapos ye,

rov "HAt[or.

iav [NEANIA2]


rpex^LV ^OXvpLTTia. evrvx'^? dvdpojTros ei. Hpct/cAeiS", TL TTor earl to yeyevr]pL€vov

10 w[/xt]^€ Aa[/i7T]i8os rpix^iv ktA. (preceded by



Beyond this, nothing can he dearly discerned. Blass maintained that these fragments are the work of Philemon, identifying v. 21 Kpota[ with Philemon fr. 189 K. Kpoiaaii
XaXu) aoi Kal Mi'Scu koI TavroAwi. tion, though

This hazardous speculaapproved by Hunt (P. Hibeh, p. 25), has natur-

ally found little support. Xor is there any likelihood in the theory thai this play was the model of Plautus's Aulularia;

go slight is the resemblance between the two.

The word vonapxos in v. 7, being the name of an Egyptian magistrate, has led to the plausible inference that this play was written for performance in Egypt. But Schroeder
properly criticizes the view that it is the humble work of an obscure poet : were this so, " mirum esset si talis comoediae
inter papyros

non ita multas duo iam codices innotuissent." See further Gerhard, op. cit. p. 48.

Strobilus. ... to look, to approach everyone, to see if he can possibly obtain the girl because he went completely insane when he set eyes on her.

make experiments




done what he told me It was impossible
. .



have found where
the Governor.






.(You're a fool), master, to estrange your-


from such a father because of a mistress. what's more, you seem so cheerful about it




to run the




you escape,

you're a lucky



Young Man. Good heavens, what has happened

ae Self] at end of preceding line) Schroeder ; but in Paus. V. 8. 7 Lampis is a victor in the pentathlon. There is no evidence for his special fame as a runner ( Robert). Schroeder gives w. 10-11 to Strobilus : but v. Robert, loc. cit.




vvv ofS' aKpi^aJs, Sidrt rrj? oiKovfievT]^


aa(f)a)s avrr)





KOLvddSe Kar[co]LKT^KaaL Travres ol deol Kal vvv eV elal /cat yeyovaoLV evOdSe.




"Att-oAAoi^ Kal deoiy rov TTvevfJiaros Svarvx^s, ^T{p)6^i\e.




et TtV;


Kpariare rcov


CO? etV /caA[dv]


Ti a[y goats' ^xcjov; 20

(Fragments ofJour



ae ydp TreTTorjKa irXovatcLrepov.






yvcvaei rdS' e]u^y? avXXa^rjs fxids.





ovofxa aKiJKoa.






dproL napd rovroig ov
/xa]A' eSeiCTa



(Fragmenis of two







nenorjKa D. L. P.

ignores the paragraphvs before 27 ^aA' Skeat.

" Strobilus thinks a divinity is calling him, and imagines that he perceives the fragrant odour which accompanies the advent of the gods (Eur. Hipp. 1391, Aesch. P.V. 115).


Strobilus. At last I know definitely that this place alone of all on earth is holy ground for certain, and born here, and still live all the gods reside here



YouxG Max

(entering). Strobilus


Strobilus. Heavens, what fragrance " Young Man. My miserable slave Strobilus Strobilus. Who called me ?
I !


Young Max.

I did.

O mightiest of Strobilus. And who are you ? the gods, just when I wanted to see you Young >I.\n. Why do you keep shouting ? , .


(Fragments offour


have made you richer than Croesus.

Young Man. Zeus
(4) ? Strobilus. will know at once.



Listen to one syllable, and you
syllable ?


Young Man). What PYR."

What word PYR.



heard you




(^o?) loaves in their house
afraid that



.I'm very




you may



of a




{Fragments of two


* Hvp, fire, the first syllable of irupaius, pyramid : Strobilus has found hidden treasure in a pyramid. Perhaps a pun on the word afxls followed (for the word dfiis in New Comedy, see Berliner Klassikertexte, v. 2, no. xix, 32, p. 114).


[sT.] eteV- ri ovv hrj, Aae, Trpos ra[8'] eart /not; [aaos] Swa/xai yeveaOai )(prjaL[ix}o? Kayco tl <tol elg ravra. 30 [ST.] Aeye juot, fxrj aLcova, npos dewv.









KaSov aAAot' o



Tot? y^e^




OLK-qKoas, Hrpo^iXe, Trav[

KeXejvaov iXdelv



[About 200



Ed. pr, Jouguet, Bulletin de correspondance helUnique, XXX. 1906, p. 123. See *Schroeder, Nov. Com. Fragm. p. 29 (revised text) ; Korte, Hermes, 43, 1908, 37, and Archiv, vi. 230 ; Wilamowifz, N. Jahrb. 1908, 38 Demianczuk, p. 104 ; Robert, G.G.A. I9I8, p. 180; Capovilla, Bull. Soc. Arch. d^Alex. iv. 193 ; Platnauer, New Chapters, iii. 172.

The fragment begins with a soliloquy by a



have been reproached by his mistress. He says that he fears her less than her husband, the master of the house, who has just returned from a journey and knows nothing of recent developments. He will soon find that his daughter is missing from her home. Phaedimus, a yowig man in love with the daughter, appears and upbraids the slave as the cause of his misfortunes. In the brief gap' which follows, the master of the house

Strobilus. Well now, what
\'iew of this



part, Daos, in

Daos. I myself can be of some use to you in the matter. Strobilus. Tell me for God's sake don't keep it





You mustn't




secret to

. .



The young master


another wine-jar and to his fellow-revellers you have heard the whole plan, Strobilus tell











Si ScofjTOToi;] Gerhard. 37 KcKevaov Skeat.




enters the scene

[About 200 b.c]

Phaedimus tcithdraxcs to a place of con; cealment to escape his notice. The master of the house laments the disappearance of his daughter, and enters his home together tcith the slave. Phaedimus emerges from his retreat, and is greeted by Xiceratus ; vcith whom he quarrels
vigorously, alleging that Xiceratus
girl he wished to

had taken from him the marry. Niceratus denies the charge ; and has just persuaded Phaedimus to hear him out, when Chaerestratus {whom Phaedimus had sent on an errand) enters and informs Phaedimus that his charge against Xiceratus is unjust. He promises to ejrplain everything, if Niceratus will leave him alone with Phaedimus. Nicerattis




It is fairly clear that what really happened was this. The daughter {who loved and was loved by Phaedimus), fearing for some reason the return of her father, perhaps he ivould detect in her appearance the evidence of misconduct



her home.

Niceratus thought


render his

Phaedimus a signal service by harbouring her in his house which was next door, her nearest refuge. But Phaedifrifnd


not unnaturally misunderstood his comrade's motives.


rJTTOV, a> hloTTOLva,


tov Trarepa Se tovtovl rov aprioj? eX&]6vra, rov tCov yeyovoroiv ovdev 7Tv96fJi€vo]v, COS" eoiKC, Trpayixdrajv. ^ yap [Jidyas TrapdXojyos eariv r) /JLar-qv TO TTdv TTeTTpaKTai.^ TOVTOVL [Jiev ovv opo)
SeSoi/c' eycoy]e,


TTpoaiovTa daTTO^v.

'qadiqv pidXiaT* eyco]y'

X^'P^ 77oAAa, OatStjue. aKovaag otl Trapcf

€v 8' ivddS* '^Xdes evjdvS' [*AIAIM05] eyyvs, Trov7]pel\ Sta Tt; [ao.]

flOL TTpOGet

TOVT Tjpov
ToXpidis d7roXcoXe\K(x)S


Kal 10




avTov elSes.



deals Se.


{Fourteen lines missing)

[fepan] tlvos K€XevaavT[os tlvos; [ao.

dp* ovk\ avTos dv

TjvdyKaaas roiaura



the rhythm nei^ov the peculiar use of aavrov . 5 D. Phaedimus. iii. Don't come near me. . 33. I imagine. Fortune I but to the gods. lively but inartistic fragments to turbing are the V. here's someone coming I see. 15 of our fragments was the 100th line of the play. . (/xev ow 12 0[T]n[AI]H vel -[A]H Schroeder. indeed Your conduct would have forced me to. completely unaware of what has happened. dyadov at the end of the line 44 Slave. . ruined you . 8 fj. Unless something very unexpected occurs. I am less afraid of you. 16. V. all our plans have come to nothing. L. : 299 . . ! ? . perhaps a native of Alexandria. 41 . and metre oppose the ascription of these Menander : especially disform avrdiai in v. you saw . Good day to you.ANONYMOUS There is no evidence style to determine the further course of the action.dXi. and I'm glad you came to me at once. (after Schroeder) ^liyas napaXoyos Thuc. : Phaedimus. learnt {Fourteen lines missing) told you to Slave. You ask me that. . than of her father here. The play was probably the work of a poet who lived some time after Menander . Schroeder). confound you Why ever not ? Phaedimus. and have the nerve to look me in the eyes.'' Father. P. I . P. — . . Slave. you who have ruined me ! Slave. . Language. Phaed.ar' D. Who ! vii. mistress. L. . 55. He has just arrived. I was dehghted to learn that you're here. Hullo. Phaed. Who. he is hurrying toward me. Slave. 6 Schroeder.

rj (jyiXia.J ovtos (f)LXos StaS[7yAos' ecr]T[i. and 300 . 24 Schroeder. dvyarep' tl [*A. airrjVTijov ovSajjiov (hcofirjv. ojs eotKe. TTepi^aXe [*A.') LKerevoj. \to] hid xP^vov. TL XPV ^^'^^ fxev avvrideL )Lt'] . Robert thinks Nic. sent Chaer. [*A. ap' d(j)i[aTa]T[a]i.] [fe. LITERARY PAPYRI [rE. 20 avTog [4>A. [ni.] fMerd Tov oiKeZov ttoXiv o y exdpos' dnopGi rpoTTOv ttoj<5\ re /cat rtVa Set 25 auTcDi TTpoaeXdetv.] co TTtarorare] rot? 7T€7rpayp. 32 Schroeder. TToXv 8irjpidpTr]Ka rov ^aipearparov piepi€vrjKa Sevp^ rjfjLerepos els Xt/xeva Tre/Mi/ra?. P..] fjiTj dvaarpeipas ttolXlv. )(]dtp^ . [ejratpe ^tArare. [nikhpatos] (Ls ovk ran ^aiSifXioi. Tt fie TreTroLTjKa?. olov 7r€7ToiT]Kas. Tt cru Xeyeis.] 'Hpa/cAei?. ] VTTeprjKOVTLKaS arravTa? [ni.] ovk dv ravra. TToetv. VTTepeTTiTriheicxjg Stct/cetaat. 15 dvyarep. [e/Liot /cat StOTt rjydTTrjKe /cat [vrptV] y' '^v TTtaros] 30 (Eight lines missing) [*A. Ovyarep. [ao. apn /Jiavdavu) TO irpdyixa' €Kel vvv iuriv. L.€VOLg. to the harbour.] e/xou irpovoiav eip^e?.] [*A.] eKet. [ni.] Tj {p. " 25 D. Ovyarep.

quite overshoots Quite a wonderful friend. First Nic. 301 . (Eight lines missing) Your behaviour. the fact that he was fond of me. my daughter ? (Departs. I came back. sent Chaer. It remains obscure. again him. 70 . (emerging from his retreat). and why Phaed. waiting. She is. WTiat must I do now ? Old acquaintance. I do hope it wasn't a great mistake to send Chaerestratus to the harbour. (aside). 22 (Robert's expedient is impossible). friendship. (aside). aU precedent. shake hands. involves ignoring the paragraphus at v. to fetch thence. whatever it was. . . what a thing to do should never have thought it of you. \Miat do you mean ? Phaed. should think that he may have made a mistake in sending Chaer. at v. See note on v. Not meeting Phaedimus anywhere. do Phaed. large as Ufe the friend. and here I am. I Father. to the harbour to meet and delay the father.*" ! ! ! Nic. my daughter. And r. Phaed. Introductory Note : it Is most probable that Phaed. daughter \Miat made you do it. Is he going ? Niceratts (entering. My daughter. all these years. This is the man whom he sent Chaer. I suppose ? Slave. . my dear fellow. and then the enemy I wonder what is the best way to approach I (aside). what have you done to me ? At last I understand She is there now. and I could trust him once. loyal comrade.) Phaed. Good day ! to you. Our ! Phaed. aside). You exercised forethought on my behalf ? Phaed. old friend. why no reference is made to this mission. 69. Heavens. there. you are Nic.! ANONYMOUS Father.

] oiojxai )/€ 817. oiS'. hiapLaprdveLS 302 . [*A.] [*A. [ni.] 77/30S" redavpiaKa.' LITERARY PAPYRI [ni. et]77-6 jLtOt. 35 avSpeiorepovs vrj rrjv 'Adrjvdv vevoynKa baoi hvvavTai rols ^t'Aot? dt'TijSAeVeiv dSt/cowre? 'q rov^ Tolg TToXefiLOig pLa-)(OfJL€Vov<s.] [otSa?.€?0\.] [ni. TOVTOis S' 07T0JS nor iTTLTpcTTei (to) avviL- [*A. Sr] ri to£)t' e'iprjKa^. dXXd Xa[vddvovaL] fxe OL piev iTTL^ovXevovrleg ot S' d'AAJoj? (j>iXoL ovres.] TTcpipueve. kol redavp^aK [rjpov rovjro pe. [*A. roL9 fJ-€v ye kolvos 6 <j)6^o's iari. d[7To\- 55 p.] 7Tdvr\ ovK [dvriXeyco (rot. ov per[picos a 6p\ci)v 50 avvreivopLevov Ttpos epiavrov. [ni. 45 €L rovro pLiqr eyvcoKa /x[i7t' eTTiCTrJa/Ltai d)g Set decopetv.ovros rj^La)[Kas].] eywye.] SeVat 40 TroAAct/cts" avrolai dappeZv [ni. Tt ro ^rjv 6(f)€X6s [eari.] d) rdXas iyo)' oaov SL-qpdpTTjKa rod ^rjv rod ^iov ri yap lariv rjpxv rwv <f)iXa>v juet^ov dyadov. ovdev rwv ipia[vrov Trpajypidrcov KpvTTrovra . [*A. tto*? Aeye]ts". p. [avjrrjv [y]apL€LV. ipcvvra rrjg yvvaiKog dvaKo[Lvovv pL€ 7Td]v rrpos aavrov. Tt S' iarlv o XcXvTTTjKe ae. /cat KaXov VTToXafi^dvovaL ttpayola ttolclv iKarepoi. ravrrjv rod Trarpog arepeXv [ni.] Trepipeve.

I always did think it took more courage to face your friends after you have injured them. than In the latter case. But with the former. Friends are the if I greatest blessings of our existence don't know have never understood observed. must be are scheming am unaware of fact the good of liWng What do you mean ? What has upset you ? You ask me that ? Nic I do. told me I everything. to see you exasperated with me. I have often wondered how on earth their consciences give them a chance to keep their nerve. ! I have com- hfe. do you remember that I told you the whole story. Nic. and each alike presumes that he is doing something noble. side is equally frightened. I should say so.— ANONYMOUS Nic. and you have the impudence to think you would marry her I know ! I Nic You're quite mistaken. Phaed. Phaed. and others useless. Patience her away from me. and concealed nothing about my own affairs from you ? Nic You you. Tell me. lo\ing the woman as I did. I I don't contradict Only have patience Her father was going to take Phaed. WTiat a poor fool pletely missed the road in am . 803 . each to be a soldier at the front. And it astounds me beyond measure Phaed. Now what is the point of that I ? Phaed. and it —what Nic. — is —that my ? this if some of friends I against me.

(Lare fir] before ano. [*A. : — 11 etc. TTplv [^ad€'lv.aL yap ov vvo touS' iyco. ^acpeoTpaT^ .]a/ca/3ie. Trpay/xara aXXoTpiov ripZv ovra ae.] c5 Tav. [/u.] TTcD?. [*A. OVK oloOas otSa TTOvra.] vt) X^^P^ noXXd.] [ni. [ni. 75 Blass 69 oLTTo 'La<JL>[vo]s. NtKi7[p]aT[os'] [OaiSt|U. oi /cat CTU y'. [XA.op.] ov 8r]7Tov6ev "^yvorix OVK ri^iovVy ^aLpearpar' . €oiK€. ovTa jjlol on (j)iXov.os' 70 auTOS" y'. ovK o) e)LteAA[e]s' Xafx^dveiv avTqv. OatSt/xe.] KaiTTep dyvoovfjievog. c5.] [ni. has a colon (:) should be given 804 . apiarep' etA7j(^a? to Trpdyfia. hence Schroeder thinks oltto. OatSi/xe.] d/c7^/coa. [XAIPESTPATOS] ou/c (hixopirjv €LS Ai/xeW' aTTavTi^aa? ^e yap avjXTrXovs dvearpei/jev Tt? (XTreATJAv^et' Sevp' etTrcot' oVt 7raA[ai dTTO aaa)[ /<rai Tt? ovTOs.] KaT7]y6pr)Ke [jlol to. Treideis aKrouaai to TrapdSo^ov ri e/)et[?.fxavddvco ax^^ov yap e^ cut' Trpo? /^e tt^i' inroipLav ctt' €)(€LS' Sid TO S' epav /^' ere auyyvcojJLrjv rtvd 65 ttot^ Ojjico? SiSoj/Lti [<l>A. Xei}xdiC. [ni. fjcerpicog [el acojaeis ^iA[o]v.LITERARY PAPYRI ['I'A.] Ti 8' eariv. [*A. [*A.] rtVa 60 [*A..] aKovcrov.

My dear fellow. Before is just because you're in love. I me back mth a fellow-traveller . Phaed. This fellow here has upset me beyond measure. Nic. I never expected. I have listened. and Phaedimus himself." had the news that . here long ago from \Vho — " This may explain why Phaed. Phaed. met . And to you. The facts have exposed you in my sight as a personal enemy. I know pretty well what makes you so suspicious of me. Chaerestratus. (entering). WTiat Nic. But mv good Phaedimus. Chaer. you have put the WTong construction on the facts. if you \vi\\ come to the rescue of a friend.) Surely he isn't unaware that Phaed. 301 n. Change of speaker X graphus elsewhere. by the look of it. \\'hat's the matter ? (To Nic. P. you hear it ? How on earth can you ? Phaed. listen to me. to Niceratus. it's is this ? Niceratus. to the harbour (see above. Chaerestratus. You \v'in. Misunderstood as I am. Phaed. Phaed. thought he had made a mistake in sending Chaer. There Nic. 305 . Phaedimus. You don't know nothing I don't know. I didn't You see. Good day to you. . ! ? Nic. I is denoted by a pura72 D. go to the harwho turned come back Hullo. I can shew some forbearance towards you. that a man who calls himself a friend of mine . after Korte. p. L. .) he guessed that it might be too late. VOL. — I will listen to ! the miracle what on earth you can have to say Chaere:stratus bour.— ANONYMOUS You were not going to take her Phaed.

99. p. 229 . 190.] /xeTa/x[eAT7cret crot rd^a. Nov.ad6vT* . XXX. Reference to a plot. OVK kad 6 ri ov TTpd^aLs dv eveKa TrtWecus". 85 [ni. 306 . 1906. 103 with Plate. fxrjdkv Tt S' eariv etTTT^ts".A.] claepxo^aL. (Fragments of three more lines . p. ^ovXoijJL-qv dv. G. eu icr^i. Com.] [*A. yap tolovtol rpeZs yevoivro aoi (JjlXol. [*A. then end of scene denoted by ^opo]v. The story of (a) this play does not emerge clearly from the copious but obscure fragments. See *Schroeder. Jouguet. LITERARY PAPYRI [XA. a(AA') ovroal ovK av itnTpeipaLfx' ovdev elirelv ool rrapcov 80 rd Trepl toutov Trpdyfiara. aroTTOv.] FATHER.] TTavaai. Iva fiT] TTapovTos aov TTOichp^ai roii? Aoy[ou?. perhaps to secure the freedom of a girl from her master by producing false witness that she was freeborn. Korte.] earai [jLeradeadai yap p. avveiSajg et dAA' iKTToSfhv ripuv yevov. p. then fragments of fourteen lines of dialogue) ANONYMOUS QQ [End of 3 B. vi. 20 (revised text).] [xA. pr. Bulletin de correspondance hellmique. 1918. Robert. Demianczuk. ifxe fjuev pdiSiov [xA. MOTHER. Ni/cT^pare. DAUGHTER Ed.C.G.. Archiv. Fragm. Trpo? Oecov.

I am not going to stand here and let you say anything silly I know all about Niceratus. for God's sake. The recognition of the girl by her parents . It easy enough for me to change mv mind when better. You'll regret it in a minute. What's the matter ? Chaer. (Fragments of three more lines.ANONYMOUS Chaer. please I don't want to tell my story in your presence. MOTHER. Stop. DAUGHTER [End (b) of 3 b. there's nothing you could not do for want of loyalty. Niceratus. . not a word ! Phaed. effected by means of tokens especially the dress which she was wearing when in early childhood she was sent away to live with a — childless woman abroad. . I am going indoors. If you had three friends Uke him. out of our way. (c) The speaker {perhaps Moschion) describes a conversation in which he exhorted someone to assist him in the effort to secure the freedom (d) A man of the girl abovementioned. Phaed. Phaedimus. Now. 307 . Believe me. but this fellow will I be know Chaer. . I msh I might.c] Dromon complains that nobody except his servant has proved a trustworthy assistant. : : Nic. then end of scene denoted by Choral Songy then fragments of fourteen lines of dialogue) ANONYMOUS FATHER.

LITERARY PAPYRI (e) The girl and her parents prepare to enter the house of a neighbour who has promised his daughter to Moschion. and has undertaken to provide the tvedding This scene may afford an important feast and ceremonies. His motive would be that he and the girl. el . TLS ofi-qy^vpCs 7TOV. the girl's brother . lov VOT* ioTiV OVTCO [JLapTvpelv 5 fjidpTvpa] TOLOVTOV dv Tig evpoi 7ToXXa)(ov e]v doTei tovS 'EAeuCTt? eari. but think it probable that there is some 308 . V. Xeyovrog eairepa et ns. Schroeder observes that " in the New Comedy.. 3. TTpo'S dedjv. ttov V. I follow Robert in reprinting the lines as a consecutive whole . 4. nuptials prepared by parents are hardly ever fulfilled. 6. are in love. ovhels ydp eariv vy]ces ovS' aTrXovv (fjpovcjv. tLs voTjoei. Tp€(f)€lV..jTretrat Stj/jLos ei? ] d(f)eXKvaais dv. Kal /CTjSe/LtOrt] hoVTtOV . darei V. Hence her terrified exclamation after the recognition. iylyeypa^iixevcov dXXcos eVet. apparently his sister. Trdvra? he rovg Xolttovs] Atovvao? dTToXeoai. naprvpelv v. 7. 8. . dv V. " 7* Moschion my brother ? " In the end it will appear that Moschion is only an adopted son. . clue for the reconstruction of the plot as a whole. 9). 15 1-10 Schroeder prints as dialogue (changes of speaker after eVet v. 39. yevoLT* dv\ (6) en ov ra-)(v 8e Trept/xeVo). 10 e^ 6rox)\TTep eyevofirjv ol]K6Tpiip ApOjJiCOV del S' erificov avrov di\s evepyerrjv." So perhaps Moschion now refused to attend and to wed the neighbour's daughter. tis V. (a) 7] yove^cov dTToXeadvrojv Traihiov. and he and the girl will marry. r) TOV TOTTOV oOev elaiv.

(B) toO S' ktX. . It might possibly be a fragment of a scene in which somebody wished to reveal to the girl's owner {doubtless she icas in the power of a leno) that she had been restored to her family. perhaps written in Egypt. In V. suburb of Alexandria. that the scene is Athenian. . (g) A son or daughter explains to his or her mother the unseemly conduct of a man (perhaps the leno) in the presence of the girl and others. .) (a) the parents lost their baby. a low quarter.. This is Eleusis. since I was bom. cit. : change of speaker 309 . with question-mark after fiafyrvpflv. bred in my house. . .— ANONYMOUS (f) The subject-matter is altogether uncertain. however Robert. Eleusis may be the Egyptian EleuMs. ! in the last two or three lines. or wrote their address .^aAc7r]ov Schroeder *cai riva Tp6ir]ov. . (Cf. 9 /i'] axfieXK. 1 yovewv Schroeder. (6) . born and always respected him as my benefactor. Roberts. 8 Perhaps €1 /iCTaTToeiTot. .. loc. Schroeder. almost any^vhere in the city. . and what assembly goodness gracious. falsely in the registers. 6 (A) hnavd' ev doret. I . Schroeder. he infers from the word XafiiraBr](f)6pos v. you could find people to give Dromon. . to give such evidence it. . As for all the others. and Eleusis therefore the Attic taum. what assembly is going to notice if a single district ? You will not easily shift me from my ground. 10 ycvoir' av Blass. perhaps preceded by ov aov (Schroeder) or TovTov (Beazley). or gave it to a relative to bring up. 31. 4 ovkovv . may Dionyse destroy them There's not one of them with a decent or honest thought in his head. If I wait about here. 6. . it will be nightfall before (you ?) stop talking. . Hence it has been plausibly conjectured that this play was performed in Egypt.

fjLLTpa] t' e-)(ovaa . 21 ijC/iiv. rovTOV rj[juv rov rpoirov AaAe[t av ye* eoTiv. SittAt^i* rjVLK^ i^eTTejJiTTopiev TTpos TT^v] ^evrjv ae.)^pct)/xaTOS" (f>vcnv 7T€pi^ la)]8ovs. [OTFATHP eajri. he iropcfivpds. 17 20 TroAtVats' K\6pri ovK dXXoTpia (d) [nATHP TTJrepv^ ^^trojviGKov yvvaiKetov e]Kpv7T[T€ ya]p CTCtJ/x'. too short: 16 €Ve[i5d/iTjv Schroeder. JT^rai Kaipog a»S" 77ap' iXviSas 30 l''?/^*' Xa)ji7Ta8rj(f)6pov Ji^oj VTTepaycovicbv.LITERARY PAPYRI (c) Aeyovra rovrov? rovs Xoyovs ifiol Se /cat rovroji ri Trpdyfi fir) e7re[ iarllv. 25 ]dv eariv aAAa tcDi j8e^a/xyu. Tovv (Jieacot. r)[ixeiv SIO . irdrep.ev etcro. ivddS* iaTL\y.eVajt TreVAcot. T^jLttv €(f)r] ] ri^v Koprjv Swaeiv (^ re 7Tot7]CTeti^ eTOtjLto[us' Tous" ydpLovs TTpoeXdwv €-)(dks els OjU. [lAtav. 8eL'p[o' /cat yap Mocr. 36 j avep. 77at.] o Moax^fJ^v aSeA^o? e[aTiv'. BrjXoL raS'' ^JSt] /cayro? e/zjSAeTTOJ ae. oj^ojLtaJTO?. firjrep. dXXd ri o vo/At^o) KaAetv (e) [mhthp] (t)ajju. ToXfJi-qreov yap aXX Tots' et[7re]p \^pl6vov rovTCov dXrjOes 6 depdiTCOv tl [vvv diraaLV ry[ [ ] Ae'yei.^iaJV. [nA. ttjv tot* airovoav reKva. e'jLto? [eY. Xlycov.

? . ('Tis manifest). by which I am used to call (? my foster mother). mother. ..ff. 27 (WwAcoi). ' 311 . in twosent fold. . . when abroad we a child to love. If only what this servant is saying. daddy ? " fjv rdxa conatus sum " Schroeder. Thy . father looks upon thee. . (e) . thee to That lady strange. . (To Father) Moschion's here. 29 D. . \\-ith a \iolet band in the centre coloured red. His daughter . how beyond my hope . have he Don't you talk to me hke a We in there . 23 sqq. Parody of Tragic Iambic style. .SO eVei yeyevrp-ai Kaipos Schroeder. 36 " In fine versus nomen aliquod fuisse puto " {e. A length of a woman's shift. ." (d) Father. that is what he that ! said. . and prepare the ceremony for us. . who sought Shews About it it.. the whole city (will must be bold.ANONYMOUS (c) . P. agree that) the girl is no foreigner. . but why (? may I not call you by) the name. When our old friend came to keep us company yesterday. thy bonnet. Father." What " and I to do ^\^th each other " I asked.. my love.. . of the bearing of the torch extreme anxiety. Adxrjs ') " Schroeder. . Daughter. he said he would give his daughter. Moschion ! Is he my brother. L. (Tragically) It veiled thee. Mother. . . unlikely metre in this parody of Tragic style. . . . is word of truth . Daughter. Let's go in here. occasion. . —Thy garment steeped in dye. ! Is proof enough. .

Berliner Klassikertexte. 50 6 8e] KOKKLvo? yevofjievos VTraveSvero /cat irjavreXaJs '^v jSSeAwpds" ov a(j)6hp rjpeaev . occupied and thai he has no time for rest.LITERARY PAPYRI [riA. dAA' ifxe ifiol Ti a>ar d^iov. Schmidt. See *Schroeder. Phil. 43 yeveaOat Blass. Tt? dKpL^w? et/Lit. Korte.] SLAVE. Nov. [ov]r[cv\ Kal rd ttoXX* d/crj/coa rovjrov Xeyovros dpri irpos tov Seanor-qv. rjv KCKOfMiKd^ jxe 8ed[juevds" fiov rov SpofjLov 45 del Tt. p. xop[ot]{J") ay a7Tov8aLo\v dyyeXXeiv ^x^ls. ]eiv Se. 97 . 45 irpo- ANONYMOUS 67 [1 B. A 312 slave complains that his master keeps . 43 2. 1907. d^iov ravrrj^ [yeveadai rij? 68ov. Ed. P. 457 . Woch.] aSeA^os" aAAa Seypo Trpo? [rov yeirova. Centralbl.C. tadi. "qiids 40 yap kvh[ov\ 7Tpoa\hoKa>a ovtol TraAai. p. MASTER pr. v. vi. p. Fragm. . 231 . 1907. yiv[a>aKeiv ris el. 1908. Com. (revised text) Demianczuk. Com. fjLiKpov en TrpoelXdeiv . Lit. Archiv. 1310. Schubart-Wilamowitz. L. . Crusius. especially him perpettmlly when . Suppl. fid rov "H(f)aLaT[ov (g) [nAl2 CO fijrjrep. 113. ixoi)((x)hris he [idXXov KaT€(f)dvrj 42 dyye'AAetv D.

. 7-14) is obscure. L. My name ? Good heavens . ANONYMOUS SLAVE. eXeelv Blass. Yes.c] company to be entertained. for hours. (Choral Song) to tell me. . They have been waiting for us inside . P.ANONYMOUS let's go Father. Indeed he is. He behaved Hke a perfect blackguard. . it was the everything I heard him saying to his master just now. (f) What important news have you to justify this journey — ! : ! . he seemed still more like (g) Son (or same ^^^th . (Schroeder in 45). It disgusted . Daughter). . MASTER there is [1 b. His master loses patience and threatens him with a worse fate. L. an adulterer . It is an illustration of the repeated demands made upon " Here comes the donkey ! " was the slave by his master. 46 rt? c? D. aAA* e/xe D. the cry raised by a patron of the baths when his place was evidently 313 . . mother. P. He turned scarlet and tried to sneak out of it. The joke about the donkey {vv. Come on now next door. you have brought me ? always Let begging me go just a little farther up the road me tell you this I think I may properly inquire your name.

^aXavelov ian ttov eyjvojKag etvai 7Tavra[xov ov]tos Trdvd^ eavrcoL 7T€pLdy[€L' OTTOi /caAJeirat Trpcorov. Svos TTJpoaepx^r^ . — ever a bather leaves his place {v. and performs whatever {Svos is his The departing bather shouted TTpoadpxfrai has hitherto been taken as the content of the bather's shout. €TT€LTa S'] erepog TrdXiv. . [AESnOTHS] 314 drjSias Aeyei[s'. to ^aXavelov ear ovos. evdvs fierd TOVTojv dAAo?. evdvs eicr' ovos. laden like a beast of burden with equipment chiefly.)(a>S" /Soar'. 9). 10 XOJTav] rtg dTToX€L(f>9€VTOs dvaKpayrji tottov. Irj a]j3A7^T/3t8' r][ilv dydyeTe. briiir/s him his clothes.7]v fxoL SoKwv i]v x'^paKL Kovxl K[aTa\ 7t6X[l]v OTL Tols depaTTojvacv . the clothes Whenof numerous patrons {irdvO' iavrioc Trepidyei v. Kal KXCjvas. /^a rov A[ia ] axoX'r]v fX€V €x[€iv line) ovk ean [xoi (Traces of one t. 11-12). as [aotaos ]^. no doubt. 5 auve. troros.troXei(f>64vTos tottov) the Donkey duty. Ti's fxovaovpyov rjpuv dyayerc' Set 8' v-rrdpx^LV evrpeTrrj €VTp]€7tI^€i. It is most natural to suppose that the " Donkey " is a public servant at the baths. d'AAos" dveK payer. iq ae 8' ei] ttoto? tls Qvaia ns" yiverai 15 eyoiJtS' ipelv. rjviK^ dv avjx^rji. 11 a.LITERARY PAPYRI vacated (vv. ova? TrpoaepxeraL.

Who is getting things ready. : Schroeder. not in the there's a party. as fast as I can . " Here comes a departing bather.'' The and couches must be ready there Master. upon my word I oj' ! . and the situation . illustrate the discomforts . — : — if . laden greeted the departure of the present occupants. The Donkey \\ill go straight to the first caller when and the guest shouts up comes the Donkey another shouts at once. is as awkward and the poor Donkey rushed from one place to another and one duty to another : therein resembling our slave. . ." ANONYMOUS : this. ... P.. ro PaXaveTov e'en-' oros may. Son lyv. . he carries everything round on him. I dislike your conversation. where ." — bathers. of" Donkey. who would themselves be laden with gear. . sacrifice. . Beazley 315 . . . So. eta' 10 Begin{els ed. L. you keep shouting " bring us a chorus-girl " there you know (the bathman ?) is every! . I think. ." and joyfully satisfactory. and then another up comes the Donkey yet another shouts the whole establishment is nothing but the Donkey. to the servants is a bath. as Crusius it were in inverted commas it as is unnecessary). waited impatiently for the vacation of" places. of our slave. (Traces It seems to me : I'm living city. suggests.. in the trenches. you'll ! 6 Schroeder.). cannot have one line) leisure. . . Thus 6vos Tipoaipx^rcu means. signify " the whole bathing-place is nothing but cries Crusius's interpretation of the Joke is less like donkeys with bathing-gear. a place is quitted. ." But the bathers themselves would not be heavily laden would hardly Slave. ning and punctuation D. . Whenever . I know be crying " bring us a musician. — there is a drinking-party or a . pr. I shall run away .

(S [ae. ipcov [e/cetvo?] /n' els TTp6(f)aa[iv Xa^d)v] fJLiKpdv to ^dpadpov efi^laXeZ to fiev tovItcoi to 5 TTOV 2. 1898.] jxaaTcy la. SLAVE . 48 (revised text) DemianArchiv. Com.LITERARY PAPYRI [ao. [aOYAOS] TOJV 7r[Xr]p. ou/c ovoy? ayojv The phrase Svarv^es (Traces of Jive more lines. Wilamowitz. p.eXov]p.] /xa Toi' A". 3 Blass. i. Oxy. P. Com. *Schroeder.T] Kal [fiXeTTrjL fi evrjau^a. 110. pr. 20 Ti? o Xrjp]og . i. 31& . p.] YOUTH. VTTOjJievco ae SrjTTOvdev /<:at crj) av )LiT7.€X7]r€OV. OfXCDS 8' d[p. 694 czuk. See Cronert. p. no. TTCtAai. ov K€piJidTL]ov 8' e^ovTes d^LOVT* ipdv line) {Traces of one ] ctAA' ovdev. 21. Ed. Siippl. 10.A. 8' dAa^ovejuTjt tt/do? /xe axerXi'.€va)v yap ')7/xe[rs' rrjv SUrjv VTrorlpeofxev ko]v ixeipdKiov evde[piJLOv 6v. [a] p.G. Fragm.. Nov. . O. 113.D.p. [ao. e77at]t'[e]cn7ts" oTTadaLS e^ojv TrpwriaTOS ^iov Tov TavJraAou. Grenfell-Hunt. dcopaKiov in the second of them may imply that the master strikes the slave) ANONYMOUS 68 [2-3 A. 1898. p.

It is we not the hot-headed youth in love who tremble at the penalty for mistakes. not bringing donkeys . 23 ]Xl (vel Schroeder either misread or corrupt. cnraddv MevavBpos Miaou/xeVtof T? aXaCov(v€aeai. . (Traces ofJive more 22 anaBdis: TO V. . Still. (A) . Upon my word.. to prevent him seeing me there. s. What nonsense is have suffered you a long time I —bragging and boast! this. lines) Photius.d. inaction is my policy. Tell him ^ the — — " The man against * whom the slave and his master have been plotting. You haven't a farthing. Our friend " \yil\ throw me into the Pit on the smallest pretext.) Slave. {Traces of one line) nothing else.ANONYMOUS Slave. Master.] A slave fears that the follies of his young master will bring punishment upon himself: he therefore resolves to dissociate himselffrom an intrigue and to secure his own imiriunity. His master. and yet you think yourselves fit to be lovers . you rogue ? I ing continually to me Be careful. . you rascal. that you don't become the first man who ever thought highly of Tantalus's way of life Slave.v. (Departs. : ON)0ON ZHIZST . ANONYMOUS YOUTH. SLAVE [2-3 a.. . 317 .

p. XaXels. kpov\C\k6v. Abh. rj Trals Trlovari ANONYMOUS 69 [2-1 B. /cat tv^ov. TTpoaavddov {ttovcov) • Xafid fie av/Ji^ovXov fir) KaTa^povr]orjL<s olk€tov avfi^ovXiav TToXXaKLS 6 hovXo? TOVS TpOTTOVS XPV' GTOvs exojv 5 Tcdv SeaTTOTcbv iyevero aa)(f>pov€aTepos' S18 . ris. [ eiTrrjc X^^V ^tAo8eCT77-[oTci)r. {rp6(f)LiX€. to] vvv fie rG)v ivravO^ dpccXfjaai 7Tpa[yfjLev €K Ta7T€i. See Korte. der pr. 1914..C. [aotaos] tL avwovs Kara pi)ovds aavrcoi. hoK€LS TL Trapexecv ep. VTTJep^oX-q pLaTCDV ^PXV y^voLT dv Trevaerai yap avrcKa eXdcjv 6 rpo^ipios Trpcorov. Aly. apxatov rp[67TOV' iva -x^p-qarov €fi€To[g. LITERARY PAPYRI (f>pdaai yo. Sitzungsberichte der Heidelberger Akademie Wissenschaften.] SYMPATHETIC SLAVE Ed.oi epi(j)aaLV Xvirovpievov.p. aTTaye.vaJv Tis". vt) t[6v Aia. fioL. 1. t]6 TrXovrelv -qSvTTCtf rdXXa S' eari Kal TrapaSo^cov r][8ovrjs oAA* iXevdepov fie Set 10 7rp]cJi)TOv yevdaOai. 2. v.

to get a pat on the back ? Lunacy of the Old Retainer (?). 3 tto^ Beazley. why so deep in thought. all alone. Master. 23. Wilamowitz. dtare ktX. talking to yourself. 124. ibid. Wilamowitz. Don't despise the counsel of a servant slaves of good character have often proved wiser than their masters. 152. Schroeder : ^Bovrjs Blass. Siippl. Jahresb. And upon my word. Slave. who knows ?—inaction in the present crisis may be a good beginning. see ed. — " 1 For this translation. 14 Blass. The first thing the young master will ask when he arrives is. . fievt 7 <fnXo8€(rrr[6TU)v D. and Archie. Euthyd. vii. Zeik TpaycDiHos 3 irovojv add. Wilamowitz from Lucian. . 107. — — — the rest is but enough Pleasure is doubled when it proceeds from a humble and unexpected source. Plato. L. ^it makes me vomit It's nice to be ! Do it. Burs.c] Gnomon. 1." Refer it to me.ANONYMOUS whole story not I Too old-fashioned. ^^^lere is rich : ! — I my " girl ? . pr. i. you present the picture of a man in sorrow." out of date. P.' One might think. from Lucian. Menander : das Schiedsgericht. Wiist. take me for fellow-counsellor in your trouble. a» "LtLKpares. But first I must get my freedom. p. 9 t«V ANONYMOUS SYMPATHETIC SLAVE [2-1 b. 3. ovrats el Kpovos. 287 b dr. 319 . 1926.

O.LITERARY PAPYRI rj Tvx^ TO awfia KaredovXcoaaro. p. p.] NUMENIUS. vrj p. See *Schroeder. pr. no. 1904. V. who ^rpexeiv €k yeLrlovcov. From a [aotaos dialogue between Numenius and his slave. edv\ tl AuTrrjaas' tvx(j^ TO yap vvv Travjra TTeLdap-)(ovvra.G. 320 . p. 6 ye vovs VTrap^eL rots" rporroLS eXevdepo?. 54 Wilamowitz. Com. 667. 1904. ov 7Tapa(f)povd)v el (f)av]ep6?.D. Novp'^vte. P. Suppl. p. col. Demianczuk. Oxy. 116.A. p. 147 ( = (1)). 12-15. 147 ( = (2)). 669 . Fragm. P. iv. TOVTOV tov] rpoTTOv 7Tpoai6[yra aoL ov SfJT^ aTTcuaetS'. *Grenfell-Hunt. 1912. 16-22.d] rovs ScoSe/ca 6e[ovs. pr. et veZpai Set /x[e iXevdeplav aoi.D. el S' ANONYMOUS 70 [2 A.] [NOTMHNIO2] rivi XaXelg. fr. SLAVE . Nov. 22-27. 39. ANONYMOUS 71 [2 A. no. 1176.] FRAGMENTS *Grenfell-Hunt. [aoi opdtg pie. Com. Oxy. Ed. ix. Set ct' eTTiXadead^ . Trpo Tov' [aot] SlSov 8' ifiol 5 [not Sid ravra ttjv eXevde^ptav. Ed. 127.

You surely won't reject such advances as these ? Numenius. . forget it. by all the gods in heaven . . . . Com. .ANONYMOUS Though fortune may have made the body a the mind still has a free man's character. 249. Archiv.O. 61 von Arnim. So give me my hberty. 1912. p. have annoyed you in the past. . . 148 (=(3)). ANONYMOUS FRAGMENTS p. I V 321 . ANONYMOUS NUMENIUS. NuMExius. remembering his present obedience. Who are you talking to ? Slave. Fragm. 281 Korte. Eur.A. p. You must be mad a clear case if you think that I must give your hberty. Suppl. 2 Schroeder. .d.] master to forget former delinquencies. See Schroeder. L. Numenius Numenius. 8 iXevdepCav aoi D. SLA\rE asks his [2 a.] . slave. to grant him freedom. and. G. run out of the neighbour's house. P. vi. 5 Leo. . iVoc. Numenius emphatically rejects this petition. 1 npoarpexeiv edd. If I — ! ! — ! . VOL. [2 a.d. Slave. To-day you see me wholly at your service.

Archiv. 1908. Tliese two pieces are written on the verso of the papyrus whose recto contains the comic fragments nos. Tovs 7T[T€po]K07Tovv[r]as [rrjv] iX€v6€pi[a]v [Aey]€LS.] TWO PROLOGUES . B. p. Hermes. Korte. p. 230. (2) Tovs darvvo^ovs rives €l[(j\l TTVvddvrji. * A^pohLTrjs [ajyyeXwv tolovto Trpdyp-a ri. 65. Ed. *Schroeder. diss. Nov. 1908.irdXai Kara ttjv [ IJcovtav. 36 : .LITERARY PAPYRI From Satyrus's Life of Euripides. 131 (2) p. 132. Giss. na[/Lt]^[i]Ae. Bulletin de correspondance helUnique. Com. [vjeoy. 66 above. See 1906 Cf. N. pr. 7rpay)U. 34. y€y]€vrjix€vov. v€os eirieiKr]? vlos Kara S22 T[ri]v 'Icoriav ndXai. (1) p. 1920. vi. Fragm.[a] tl roiovrov dlylyeXcov iX-qXv9a. graec. 43. Epa>[s'. 1908. It is likelier that these are separate and unconnected fragments.C. 40. [OtJAoi. ANONYMOUS 72 [End 3 XXX. iXijXvd^ * A(f>[po]SiTr]£ vlos eTTieLKiqs. (3) ovK o[u]CTt[av] vevofiiKas [elvjai. yeyei^/xeV[o]v. argumentis metricis. 63 (revised text) Wilamowitz.\ii)\jj'\ avXrjTpiSes. than a continuous (1) ev rals [Tpio]8oi? crot \TTpo\ay€. (l) "Epcos. Michel. de fab. 141. Jahrb. Jonguet. Korte. . .

Love. son of Aphrodite. T. (The following romance to tell. gentle youth (Youth gentle. is come. The Greek really means rather in general denied to the poor man. Love) Is come. to tell the following romance . It seems clear that neither prologue has any necessary con- nexion with the comedy written on the (1) recto. (Long since it happened in Ionia) 323 . A..g. ANONYMOUS TWO PROLOGUES Each is [End 3 b. are ? (2) You ask. " ANONYMOUS and unbroken passage and another).c] written in a different hand. It happened in Ionia long since . after an introductory passage. the words of each line are companion repeated in the same metre but in a different order in a line. the plot was unfolded in lines which began in order with letters A. E and so on to the end of the alphabet. . Philo. B. In the first piece. who the policemen men who featherchp our freedom ! The (3) WTien a man makes money. freedom render the pun. (1) (e. you've ! always called " not property but impropriety So I licence. son of Aphrodite. In the second. neither in the hand which wrote the recto. it Pamphilus. a dialogue between Pamphilus Chorus girls smile at you at the crossroads.

10 TpoLl. 8t' rj? TO TTpdyp. Tiyi' . [i]povpi€V.to ripii exetj. TTCoXovpbivrjv evTTopog e[/)acr^e] ts" [eTrptaro.ov TT^pdypid ev TcDt TOTTOiL hr] n 5 yeyovos.LITERARY PAPYRI Kojprjv veavLGKos [vjeav Tpoi^[7]VLa]v. dpa 8[e] 7T[a(. B r[ .ev[o]t [ 16 A[ E[ ktX.r]vlav lyeav v]€avLaK[os Koprjv eTTpiar [epaa&]eis [e]i'[77-opo? TrcoXoviJLevrjv. airavra yiverai. €V d(f>^ €i>6[s ej^r}? Kara (f)va[i]v yeypa[jx]/x[eVa 10 OLKoXovda /cat avpL(f)a)va' [8t]aTp[t]jS')^[r] 8[e pirj e. [p-]ta^a)aa/x.7r[p]ts" ep. . . rJKCo (f)pdaovaa Sevpo' tov 8e p^t] SoK[e]lv r^pLds dyvpivdarujs ^X^'-^ 7rot7^T[t/c]'^[s".[eVos' Tpot^yjvtos". TpOLt.p. ep^ei? TO repixa. aTTO tov AuTtDv eratpot [ 8' dX(f>a \7tp\cx)\to\v a[p]^o[/xat. 324. Ka\X\d. .eAA[o]/x[€]v Xpfjoopeda.dro)v plrjO-qoeTat.KaT[€\^\io} yvvaiK e^ojv. €]x<^v yvvallKo] Karelfiioj.^6D/xev.[€vos Kara rovg vofiovs. (2) [epos 6 SrjfJios' tj \eyova ToitSe 8t iyo) Ki.r]VLOs Kara rovs yey€vr)[ji.[€]v. a St] vopicoL aroi)(ela 7Tpoaayopevop. [vjojjiovg yeye[i^]/u.yvia)L rcbv cttcDv yap c5v /u. dpa pL€V \epeiv €Kaarov aTTO rcbv ypap.

consecutive and ^\ithout discord. a rich young man. who address bring all fair you. He changed (By law his nationality by law . prey to love) . we will play a httle game while we tell the story. ! (2) Blest is this people I Aphrodite. the second with B.) prey to love. He Uved a married man. he changed) man. his nationality He lived a married is (That the end.) 325 . Each line we shall utter \vi\\ begin >\-ith the written characters which we are accustomed to call letters. and so forth the end of the alphabet. That is the end. purchased her at a sale sale. — as I things to pass. seeing A (Purchased her at a a maid at Trozen. set down one after another in their natural order. this am come very spot hither to I expound a matter which on brought to pass. us have no delay (^The plot is : Let I will start with the letter Alpha. seeing a maid. now unfolded in such a way that the lines begin jvith the letters first line nith of the alphabet in order — the till A. To shew you that I am not inexpert in the poet's art. a . (At Trozen.— ANONYMOUS A rich young man.) .



1935. 24. pr. Ed. There the hearth . Class.. 153. The magician 328 . di Fil. Riv. xi. Anc. follow preparations for the sacrifice of a dog. Riv. 11). Vitelli-Norsa. Kerenyi. A female magician and her assistant are performing an occult ceremony designed to liberate a group of persons {probably women) from illness The scene is an inner room. Rev. Philol. 10 Latte." i. Et. 47. Mondo Class. 4. or distress inflicted by Hecate. Phil. xiii. 1 . 259 and 467 . 6 . of which the doors are closed. Rev. Legrand. 113 and 168. Comand unadorned : yet the omission of certain essential parts of the ritual (Eitrem. salt in their immediately. See Korte. p.R. because just such openings to the body might give Thus equipped they are to sit beside access to the demon). 1932. xii. X. which here. xi. Gow. 1934. C. . Archiv. Then they must take hands (o laurel measure of protection against malevolent spirits) and about their ears (another protective or apotropaic measure their ears. The sorceress paratively straightforward A commands her patients to set down a table " just as it is. Gallavotti. Greci e Latini. 22.] SQOPDN FRAGMENT OF A MIME Studi Italiani di Filologia Classica. Lavagnini. 1935. iii. no. magic ceremony taken from contemporary life.e. serves for an altar. as often. 1214 with Plate. Eitrem. xi. UAnt. Republished by ed. 266 . di Fil. Festa. 1935. 73 [1 A. 459. 28) shews that the poet^s art is studied and selective. 1935. Oslo. Symb. in *Papiri pp. Chantraine. pr. to be opened only when all is ready for the climax of the ceremony {v.D. 88. 119 and 249.

There was however still no evidence for a fair conclusion about the subject of the mime. The patients are exhorted to keep their eyes fixed on the door. according to the Scholiast on Idyll tt. survives already {Athen. by the occurrence in it of the phrase irei yap da<f>aXTos attributed to Sophron by Ammonius. borrowed from Sophron ttjv twv npayfiaTwv vnoOeaiv : in the preface to the same poem. Auspicious silence is demanded. de — '. letting the moonlight in. 480 b).] A is concerning Hecate) sword two-edged. as usual in dog {commonly the sacrifice in a rite brought to her. The doors are opened wide. That our fragment belongs to Sophron is made highly probable. Theocritus. relating to magic.d.: SOPHRON FRAGMENT OF A MIME bids her assistant give her a these ceremonies. To this mime Kaibel assigned six other fragments which are or may be concerned with magic. xi. The climax is now at hand. or even about the meaning of its title. Theocritus's model was taken to be that mime of Sophron's which was entitled to! yuval/ce? at (fiavrt rav deav e^eXdv of which one fragment. and the invocation of or imprecation against Hecate — — begins. a torch and — incense are held ready for the act of lustration or purification which must accompany the sacrifice. if not certain. [1 a. of course. The torch is extinguished. 329 . Theocritus is censured for his d-TTeipoKaXia in borrowing the character Thestylis from Sophron not necessarily from the same mime. 69. Asphalt.

in details of magic accessories and utensils . (f>^p Tret €)(^€ 5 yap d /cat . In general. 28) : the two poems differ in characters and in scene of action . 8et[7rv]ou fiev rv /cat \_^^eviaiv d/xe^Lt^ecov dvTa[ 16 TavSe n. 122. defended by Chantraine. I agree with Legrand {p. is proved by nothing. /cat lo TTOT TttvSe 7r[u]/CTaAeycr6(j. d? /c' iycbv oprJTe. in nature and purpose of ceremony . p.. They have almost nothing in common except a general background of magic. or that this is not the mime of Sophron relation — rav rpoLTTe^av /car^ere dAo? )(ovhp6v e? rav XVP^ Koi hd(j)vav Trap ro tSa?. dacfxxXTOs .LITERARY PAPYRI part of the mime entitled ral ywaiKes thus the model of Theocritus' s second Idyll. It follows therefore either that Theocritus borrowed nothing but this general background. — 10 TO SatStov Xi^avojTOV dyere Trdaai. and suggested by nothing but the subject and the atmosphere of magic. 86s p^oi rv TOjjM^a/ces". evravda rov haeXov a^rjre waTrep ex^*" cvKap-iav vvv TTapex^ode . about the difF. 25. and that it is of our fragment to Theocritus' s poem. v/xes Se rov 7T€7TTdadcov fxoi Tttt dvpat. cS rdv a/cuAa/ca. TTOTL^dvres vvv ttot rdv lariav dcoKelre. 330 . /cat Srj ovra. TTOTvia. That it is ktX. in artistic treatment of their separate themes.

l^. used of women. ii. . may well have occurred more than once in Sophron). Put the table down just as it is. mute persons. Now go to the hearth and sit down. Here it is. let me have all the doors open You watch over there. further that it is not certain that this mime portrays an exorcism of Hecate : a deo^evla seems equally possible. 4. If Ammonius's quotation from Sophron was taken from our mime {which is not absolutely certain : the phrase Tret. particip. Let me have silence.B. WTiy. . i. oKOTrqi rv . p. (you have found) your <» : ! — feast and faultless offerings : . In Ammonius loc. just as it is. Come. Take the taper and the incense. while in these ladies' name I do my fighting. now. changed this to {or nvs). Kiihner-Gerth. the words wei yap da<f>aXTos are followed by nolos elXiaKOTruToi.SOPHRON from which to he wa^ borrowing : there is of course no recuon suppose that this was the only mime which Sophron wrote about a magic ceremony. cit. QeoTvXl.. Lady Goddess. cf. where is the pitch } Assistant. It is not at all unlikely that some of the participants in Sophron's /zT/xoi ywaiKcioi. Put the torch out. the alleged parallels all have a character of generality which is not present here. ' woTi^avTc? SSI . it. Kaibel's connexion of the two dauses i» now irol seen to be false. were male : see Kerenyi. 17-18 {Chantraine). Sorceress. Kaibcl. are not parallel to our passage : as Chantraine observes. Take a lump of salt in your hands and laurel beside your ears. esp. wishing to introduce Thestylisfrom the preface to Theocr. 82. Give me the sword. particip. ktX. you bring the dog here. . here must probably denote (or include) men instances quoted of the masc. cf. Sorceress. and added it to the fragment TTci yap aadtaXros. the masc.

dXXov.c] Ed. Collectanea Alexandrina.7]s dnXcos to ^iXovp-ev KaX\ pie iv aKp-qro) p. Manteuffel. text in pr. a]AAo//.. revised Papyrus grecs et demotiq-ues. TTapoiver?] apa* crai. rX'qfjiiojv.To£' /cparet. 291 . TTov \evff\vii(x}V' 7rp6a€)(e 7Tp6ae)(€. dva- K€KaVK€ dvTL- 6 deos 6 BpopiJLOs ofiov Kal "Epoj?. oh ovk 15 S9^ . 181 . p. 1905. Melanges Perrot. ax^^v [e^eari. de opusctilw [a *0 rXriiicuv yjeyovev [xeOvcov Kara rpoV. 1914. " DRUNKARD " .at. 137 *Powell. ipdv ov TTavres ovK {Trjs) dvTtjStKCi)' Ila<f){. Herodae Mimiambi. p.els rrjv if'vx'^v eiCT77C- aoiv [TTOtet [a [b /Lt]e Trapat^povetv. ea Kal /a' oppidv /cjat /urj />te TrepioTra' ojJLoXoyoj (f>iXeLV. See Crusius. 6771 rpavfjia Se TLva Kcbfiov oTrAi^o/Ltai* Trapa ^] 1X117? €)(a> n Ku77ptSos' p^ov ahr]Xov "E/Jcu? /a' eAa]j8' o yofj^. A with Plate. Reinach. viTo yap ru)v ttoAAcDv TTpo5 7t6g€COV ^aKx^vojv [a [b] cf)€V. [b] NaiSe? a^p6a(f)vpoi.LITERARY PAPYRI ANONYMOUS 74 [Ostrakon 2-1 b. /xi7 10 rt 7Td9r)9. 1903.

Archiv. ! . I confess my love. .c] . " " Kara rpo-nov interpretor " suitably. graecis. 16 l^foT. G. B expresses himself in vivid and semi-poetical language. Fragment of a mime representing a conversation between two persons. especially in our cups ? The gods of Wine and Love together have set my heart aflame : . .A. (B) Let me go my way." Or Kara rpoirov merry men. . 715 Blass. the wizard.— ANONYMOUS ANONYMOUS •• DRUNKARD " [Ostrakon 2-1 b. Beazley. 1905. . Love. iii." Hark. . (A) the poor fellow is . L. or you may come to harm. p. don't distract me." 13 (t^s) D. are you ? Control yourself. He has sunk deep into my soul he drives me out of my ^vits (A) Drunk. one of whom {A) is sober. p.G. has caught me. Don't we every one of us adore the Paphian goddess's gifts. drinking all those healths inspires me up and do\^Ti I leap (A) It is a sad case. . Wilamowitz. the other (B) drunk. S3S . . (B) I am ready for a revel I have a secret wound of love from Aphrodite. . my longing. 164 280. . . " after the manner of " I confess I like to be in love.he's drunk. ! — ! ! '' — man cannot resist them. and cheerful as usual. hark (B) nymphs of slender ankle. Perhaps evdv^uDv." * Or ' ut solet ' " Crusius. — . and I don't complain about it. . .

. Cronert. p. Manteuffel. ifjvxo fiasco' 6 yap d[X^€Kro)p rjar6xf]Ke ep^e irrl jjlov Kal daKoddXTTahog ipaadels dAA' iTTiOels Xidov ip. Prescott.. 132 . rj vaus fjiov e{p)pay'r]' rov K\a\T]a\&]vpLiov dnoXeaag opvidd p. aaao) l6o . de opusculis graecis.. Class. aao) .. 84. further bibliography) *Powell. Collectanea Alexandrina. G. Oxy. p. 15 8' vycaivere 834 . yjU..ov /cAatco TreptAdjSo). . 160. Crusius. TT) .ai. P. Herodae Mimiamhi. v.(]i/Lx.e[r]s' eyKareXnre. 131 . •)(dp\LV r^ovrov eKaXovixrjv p-eyas iv rayi ^lcol Kal [eA]eyd/x7jv /xa/cdpt[o]?. dvSpeg. fiov [8]vvd[X€da e/c TrepnraTov aai Trap* dAiSpoaoi? ra rov jSap .J. 219. Cronert. iv rols (f)iXo- d7Topo]v[jiaL 7TOV ^ahiaoj- . 444 . Kova .. op. 1909. vriaa .avrov Kad\ri\av)(daop. rr)v Kaphiav (f>iXoi. dXeKTopd . pr. no. LITERARY PAPYRI ANONYMOUS 75 [1 A. 39.... . See Crusius. K) Tpd(^[ots". (f>]^p€ TO €pvio[v] rpo(f)r]V avrov rov )u. 50 (denies its existence) .. cit. Philol.G. 182 . On the alleged metre: Wilamowitz. p. . Ed. p. Mits. . 166 {qu. 1928.D. and Rh. cit. ofct TTep e/c TrJaiSo? e\(j>\v\aaaev 6 <f)lXos fiov TpvxjxDV 5 Trii[p\(x)v Te\Kvov iv rats dy/caAats". 1900. loc. . 44.ou rov eTrepaarov rov 'EAAt^vikow. p^r^t .[a. Grenfell-Hunt.] LAMENT FOR A COCK ii. 1899. ] ..

Rev. 441. I know not whither I may go my ship is wTccked. edd. 15 efiaTov 11. end of a lamentfor the loss of a fightinga man. watching over it like a baby in his arms. ziir Gesch.^a QoXttlBos Blass . : ! ! — : — ! rf>o<f>i 9 ipKio[v Crusius. . 48 ottcds Vfoaaol To. Unters. Class. I was called a happy man. . . corr. . ejxev IT (v. 190). V. corr. .ANONYMOUS ANONYMOUS LAMENT FOR A COCK Phil. my friends goodbye to you . . I weep for the darling bird that I have lost Come. Traces of an earlier column in the left-hand margin prove that this was a fairly the cock. 13 ilwxofiaxiot 11. n. 1909. let me embrace its chick. gr. 440 .] Piatt. Dieterich. after (?) a walk from its childhood my friend Tryphon guarded it. Herodes vii. . Bechtel. this child of the fighter. . I fight for life my cock has gone astray he has fallen in love vith a sitting hen. corr. And you. Sprache. and left me in the lurch. 158 ibid.d. 6 Crusius. the gallant Greek For his sake I was accounted a success in life. or youth. Cronert. Fragmentfrom The speaker is long piece.^ Koxcovas OdXirovres : T<i. and be at rest. 14 daKaddXTTabos H. d. 13. we can my cock beside the sea-bedewed . Postgate. . . . 12 4>iXoCrusius. 335 . among those who love their pets. gentleman. . [1 a. cl. . the beloved. I will set a tombstone above my heart. later form of Ip-amov frequent in papyri. .

p. cit. Sudhaus. d' Italia. Lit. 2 . . 1904. i. Phil. ii. diss. Winter. Arch. Riv. 8. iii. Acad. 23 . Powell. i. Winter. Manteuffel. Powell-Barber. 1904.] CHARITION Ed. and a party of other Hellenes. 1905. iii. Rice ap. 1915.. cit. 357 . 413. Kiel. and Deut. 127 . sci. mimo. op. Preisendanz. diss. 247 Knok&'de Charitio . 13. no. Bayer. Wilamowitz. 36. Sxwh are the lack of invention in the story. pr. Charition is in the power of barbarians. Euripides' Iphigenia in SS6 . graecis. It is indeed a far cry from Attic Tragedy : yet thereto it owes. of a barbarian country bordering on The subject is the adventures of Charition. Powell-Barber. 41. cit. . 44 . Blass. de opusculis . a young Hellene woman. 1904. . in whose temple she has taken refuge. 1906. 1903. 41. p. Alexandr. no. Grenfell-Hunt. Herodae Mimiambi. 1933. that the chief sources of amusement are the dirty humour of the Clown and the gibberish of the savages. LITERARY PAPYRI ANONYMOUS 76 [2 A. 101. Eg. 279. Woch. Reich. Eos. 121 on the musical symbols esp. i. roy. however remotelyi its plot. 25. Archiv. op. . 651. 32. This is a low sort of music-hall performance. Leips. Akad. 215 Barnett. making her captors drunk. and of inspiration in the style. 1478 . 1903. Zielinski. Jahrb. de mimis Oxy.-Zeit. 125 Romagnoli. Hermes. J. et lettres de Danemark. 1926. 1906 ManteufFel. p. Rostrup. 98 and Sitzb.D. Lit. 37 Winter. 1903. Centralbl. Oxy. 1929. Hermes. 40 . New Chapters. 1910. Bull. 865 . on the barbarian language esp. Kultur der Gegenwart. Collect. 181. Woch. 1916. Vv. P. 1908 . Hultzsch. der Mimus. 39. Her brother has arrived with a party of Hellenes : and they effect her rescue by is the coast The scene the Indian Ocean. p. See Crusius. p. 22 . 103-end. N. 95-98. 1907. op. 500 . 40 Knoke. 12.. Their king {who can speak some Greek) intends to sacrifice her to Selene. Phil. New Chapters.

The barbarian " language " : Bultzsch (loc. Knoke. The date of the composition is uncertain : probably not earlier than the age of the Papyrus itself .D. cf. in both works the sister. 34-35.] Tauris wa^ evidently the model for the story {see Winter. S" is one of the Greek party {Winter.g. the ancient audiences. " to a cup"). pp. a few more or less striking coincidences. dealt what to the layman seems a deathblow. who rescues her . " come "). cit.. Euripides' Cyclops probably suggested the detail of the brother the local king. Rice (loc. Samxi Sastri. (Kanarese.. is The characters buffoon . the heroine .d. -navovii^fyrjTiKa = panam amfita {Sanskrit. kov^€i = neTpeKua = patrakke konca {Dravidian. 22) was sceptical about the theory of Hultzsch : to which Barnett. B is a Charition's brother. would be a likely date. ap. . of course. who outwits heroine's escape. [2 A. it seems. cit. they merely much rejoiced in the exquisite humour of polysyllabic nonsense. 26 : Charition = Iphigenia . p. But it is doubtful whether these coincidences are more significant than e. the foolish friend {B)=Pylades . I z 337 . : A Charition.g. and the proposed theft of the goddess's property in our mime). e. loc. the barbarian king = Thoas . Rice. too. " a little ") . In any case. cit. nectar "). late 1st or early 2nd century a.ANONYMOUS ANONYMOUS CHARITION p.) suggested that it may wholly or partly represent an ancient Indian dialect. is the of the sacred image in I.T. cit. A is captain of the rescue-ship . thinks him identical with 9 unlikely r is •' VOL. would not have understood a syllable of the jargon . " a drink. the equation ov€vi=veni {Latin. priestess of a goddess in a barbaric country. loc. is rescued by her parallel between the theft Most striking. There are. cf.

YlopSij. col. avy)(aLpe rovr\ct}v XeXvjjievaji. fiwpe. the sign Koi(i^i). 9 enters a group of barbarian women. whether of Greeks or of barbarians .) .(IAETi. 15 xat>eTe= koi[nhi] XaoTTadta = B cu Kvpia." denotes the unanimous voice of a group. B TToloL deoi. a^ . Avfinaviafj-os) ttoX{vs).. 1-43. aiy/x[ tcoaapa. [ A TTopevov ISoi) Kal at yvvalKcs [ avrcov drro Kvviqyiov 7TapayiyvovT[ai. eyw 8e 7Top[€V~ dels TO ttXolov ecjiopfxov 7TOLT]aa).. marked there (in part) for deletion. Stage-directions : T (^ in the Papyrus) probably refers to the music. are almost certainly an actor-interpolator's rewriting of a portion of the mime on the recto. may also S" Kvpla yiapLTiov. 5 A TTavaai. " all together. viz. returned from hunting.. Aa[ah] AaiTaAtavra AaAAe Aa[ah] KoraKios ava^ B . at v. which sometimes stand before or after T but more often by themselves. The two strokes. jq B ov.u. dvOpcvTre. ^oTjdei. 1. and may stand for T{vfi7raviafi6s) : cf. written on the verso of IT. 9 (9 ^" ^he Papyrus) andTd are barbarians whose Icing is designated BAi. = (curved. [xoi A fxeydXoL ol deoi. TTrjXiKa to^ikcl exovai.7rai'icr/xos) e ( = Trevra/ci? ?). LITERARY PAPYRI and unnecessary) . Xj in the Papyrus). aa[ah] AaAAe. 30-36 338 . r'rN[H] Kpavvov. Kpova(is}^= " a striking " {of musical instruments). . r avrov [JL€ eKSex^crde. T(t.

short metrical interval {95-98 Sotad. 111 iamb. Kraunou. w. Kotakos anah iosara. the straight horizontal dash may similarly depict some sort The word TTop^iri). Clown. vv. Clown. once associated with of fiute or pipe). 6-8 nopevdels iroi^aw n. I print the whole of the interpolation together at the head of the piece. Another Woman. Char. and 46-63 of my text. 45 : artillery to repel the approach of the barbarians. help me ! Hunt (too fragmentary for inclusion here). ! Look. cf. Lalle. ! Chorus. I'll go and bring the ship here are their to anchor. the remarks of the Clown. Great are the gods Clown. Hunt. Lady. 101 KaraaroXri probably means " Finale " or " Denouement. back from hunting WTiat huge bows they have Clown. Laitalianta lalle Another Woman.) Char. Laspqfhia. tetr. rejoice with ! me ! at my escape ! LCharit. 30-36 Hunt. (F) less noise ! Wait for me here. TTonjaco seel. 105-110 and 112 (F) I troch. 40-42 suggests that they are a conventional drawing of castanets . 364 below. The gods indeed Idiot ! {Makes a vul- gar noise. Fellow. . p. 45-46). is surely a stage-direction : it may have played an integral part in the action of the farce {Winter." cf. pp. KaraaTpotf)ri. 103 iamb. .ANONYMOUS have some musical significance (Winter. Good day to you ! ! . — The piece is written in vaguely rhythmical prose. . V. then. .). women. 1-43. p. Go along. 1-25 rewrites col. Another Woman. Ooh A Woman. i. Lady Charition. . with one . 339 . 26-43 rewrites 46-63.

r A ai) TOLVvv rd aeavrrjs dpov.o\y heZ T7^pta[s"] rovs ooi- SeopLevovs pL€T[a lepoGvXias raxjT'QV 0. B TTOpSi]. LITERARY PAPYRI A aXefxaKa B Trap' = koi[nhi] oXejxaKa. eKCLVcov TTpoaoj- oj)S' . A to? deXeig. ttovt)- 35 piai Tov eXeov i7na7TCOpi[evcov B av pLTj iyw dpcD. Karapx^jv [^AeVo) rov dvepiov coare Tjpidg uelpdaavras TO 'IvSlkov TTeXayos V7T[ocf)vyeLV' a)<TT€ elaeXdovaa rd aelavrrjs dpov.(petW ^xoJ.] 19 ouif ijAeo) unintelligible and probably corrupt : ov Ki]\eiv S40 .deXeis ovv els /ca[t Taij]T[as rov WioX^xov TTorapLov [aTreAaao*. /cat idv Ti SvvTji rcbv dv[adr)pLdTa)v TTJs deov ^daraaov. 30 A a[co](f)[p6]vrjaov . [ TjiJLcbv iarl "fovK rjXeco'f [xa rrfv ^Aldrjvrjv. So^aaat eivaL Trap 7ToX€fii[o]v [ 20 oXlyov iro^evaav. [ KOi[nhi] 5" pitvei. T. pi6v[ov Se to 40 TTOV rov TTarpos 6edaaad\ai... TTcD? yap VTTaKovaovoiv av\ra)v aTTTOv. dvOpcDTre. oi//ov [ r eiaeA^e roivvv av Se Sta/covi^CTT^iS' a/c/3aT60-Tep[oi' rov olvov SiSou?. B TTOLvra pLOL KaKo. ere A raXaLTTcope.770 ^ecuv atrepcr^at. ayrot ya/3 ovroi 7rp[oCTep. 25 Kvpia yiapLTLOv.^ovrat.

Nothing but trouble for me Would you . serve their food. 2. from us Clown. Don't you touch it I will take it up (F) Well. ovk ^iSejv Crusius.?-23 Crusius. By Athene. I see the wind is getting up.ANONYMOUS Char. ! I ! like me to drive them too away to the river Psoliehus (Drums. I don't need them either all I want — ! they come in person I"l| possible. Perhaps misplaced. (F) so Lady Charition. 26 has ayoo^^ in left-hand margin. Those in need (A) My good fellow. You poor fool. . we may escape across the Indian Ocean Go in ! and take up your belongings. be sensible of salvation must not commit sacrilege in the moment ! listen to of asking the gods for it. see is A n ManteufFel ad loc. give them their wine rather strong. but hardly makes sense (Hunt. And pick up any of the goddess's offerings you can. they took you for an enemy and nearly shot you CixJWN. Just as you please. Minei. who suggests that there may have been some play on aXey-aKa v. As for you (to the Cloivn). . there is no Char. iyiLviayM seems hardly appropriate at this point. then. (F) Go in. Chorus. Here : Clown. take up your own things then. Alemaka. stage-direction dycovt'a. 1 8). Alemaka. 341 . How are they going to men who try to win mercy with A\Tong? doing is to see my father's face. CloTvn imitates them) ? Char. Chorus. Char.

r /cat ixdXa.[os. deov Set peveiv oalcos. 47 Sudhaus. edv vapa- rd Trjg A prj Trat^e. rro- 6ovvt[€s] aKpaTov TTivovatv. SO C/". B r edv Se picopi.^oipiSi6t)v dvyarepes elar iyo) Kal ravras aTToXvcra). Alciphron . pLTj deXovaiv ovtcjos rrLveiv.ov idv Svvrjdr^is tl rwv A 6^ dvadrjfjidTcov rrjg deov [xaXdJaaL. iyd) dpdj. 60 B 45 S4. XoiTTOv [Se] ear tov yevovs Spdfa)[i']Ta[t] aTTeipiLJai. dXXa iToifiat. B av pr] aTTTov. TTiJbs yap V7TaKov{a)ovaL rat? eup^at? TTOv-qpiai TOV eXeov peXXovrcov 7rap[aa7Td]adai . 7TopS('r]) .2 eya> avTols Kal ttjv Tpvyiav hiaKo\y'](x). avrols rov olvov d\j<\paTOV.LITERARY PAPYRI B 8o/cc5 . koi[nhi] at ap45 = — T. iv [rjovrots rot? roTroig olvos [ov]k wvi. fJLLvdl T.50 lepoavXias ravrrjv Trapd decov alTeZadai.dt.a)fji€da [e]dv aojd6J[X€v. dAA' 55 yevcovrai SiaKovet.€f ov Set tovs aoirrjpia^ Seofievov? pee. B Kai avTai etV tov ^''wXl^ov TT€<j>evyaaL. B KvpLa XapiTiov. eroLp. ? aiTiXdau}. ev(f)rip.

if we are to escape. Suppose they refuse to drink it so ? (C) Idiot. they drink : — — ! it neat. Serve them their -wine neat. if they come here. 53 irapacf. Cloavn. Clown imitates them) Chorus. Don't be silly. 46. L. But let's get ready. Clown. P. Don't you touch it I will take it up. 3. Daughters of will little swine. How are they going to listen to the prayers of those who mean to snatch mercy through wTongdoing. 843 . see if you can tuck under your arm one of the offerings to the goddess. I call them. Char. inexperience whets their appetite. 52 imaKovovai 11.ANONYMOUS Clown. . So they too have run away to the Psolichus ! (C) They have indeed. dregs and a all Wine has never been produced p. airdodat Sudhaus. get ready. Clown.^ The goddess's property must remain ! in sanctity. Lady Charition. I get rid of them too. D. 25) except sparsely in p. At arminthi. 35. (Drums. op. 694). (Drums) Clown'. cit. 3 TO x^i-P°f^o-'<^pov VTTO ndXrjs Ao)3a)v e^ijAAo/tijv (Winter). Clown. in India (see Winter. v. Char. very few districts (Strabo. " I'll serve them. corr. wine is not for sale in this country " it follows that if they get their hands on this kind of thing. 59 End Manteuffel. Hush Those in need of salvation must not commit sacrilege in the moment of asking the gods for it.

ow AaAetv'. BA2[iAET2] t^eiaovKopixoarjSe.LITERARY PAPYRI F avToi [. Tl Xeyovlcn.. : perhaps "Don't. T 8tCT(o-os) fi€a(os) Manteuffel. KOIlNHi] kottcos. 63 Perhaps for dvaTraicrfTt/cd?] Hunt : di'a77Aa(T(ffo/xevo?) Manleuffel. jSaAe ofvov. [xecTos. pr. 70 B /coTTCo? T. Se . B Ti Xlyovai. (f)r]ai. ^padeLS. r els ra pueptdia.OTnT. T ^ ava7T€a[ OCTaAA[ ). -yoy/xt Knoke. B OKveis' r ttciv So? ra^eajs. KaXijfjiepe. T B his T KOi[nHi] BA2[lAET2] ^padlS. BA2[lAET2] t. T. -xcupe.Tra^et* ^e^rjg. ^epr]' Kovl. 76 yoviifxi writes also ed. who <• So ed pr.jSpaSi?.344 . 65 BA2[iAET2] arovKeTTaipofieXXoKopoKr] B jSaa/c'.XoXco ^la./coTTOJ?. if you are in your senses!" . BA2[iAET2 ^]padt€ = T. aAaare. jui^ yyt- r uSape? eVri. T. = T. B Xd-)(Oi- [jLtJev. u/xas" XaKriaairo. Xdxiopiev. . 6[t6tt]os dXX[daaeTai.eL' 8a/xyv 7re- Trawref Koprafies' TTerpe/ctoj • jSe/)7^* taAe/aw SeTTCu/zei^^i Sa^ur* klv^tj. B a. ovtol ] XeXovnevoi fierd rwv TTapaylyvovrai. 75 9 CT/caA/xa/carajSaTTTet/aayou/xi. T 7roA(us").

. . Brathis. bathed. hullo there ! (Drums) King. Kottos. S45 ." he says. Clown. I (Drums) Bere kanzei damun petrekio paktei kortames here ialero depomenzi petrekio damut kinze paxei zebes lolo bia bradis kottos. hurry up. Clown. Zeisoukormosede. Stoukepairomellokoroke. (Drums) Clown. confound you King. Chorus. Zopit. twice. Bratheis. (Drums. with . WTiat do they mean ? (C) Give them a drink. May Kottos kick you hard King.ANONYMOUS (C) Here they come. Yes. let us ! (Drums) King. Get away. moderate) King. So you won't talk } Good day to you. Chorus. (Drums. Clown. Clown. Brathie. loud) ? Skalmakatabapteiragouvii. Clown. ! (Drums) Clown. Not if I know it " (C) It's watery put some wine ! : in. What do they say ? (C) " Let us draw lots for portions.

T = BA2[iAEr2] fxaXTTiviaKovpovKovKov^i — tw[ KapaKo .hea7Ti.^aTrap8aTnaKOV7TLcrKaT€p. apei- piSaov = — oy7raTei[ ]ct = — T BA2[iAET2 ^ajp^apov HeXT^lvt].av fiav[ = e. = z Tpa)(ovvTepfiava. .^i?. ^t[ creoaapa. '7TapaKoviJL^pr]TLKaT€\ji]avovaiJiPprjTOVOvevi. B[A2(lA£r2)] x^^p^ovop- ^odop^a[ TovfJita)va^Ll. CTaTt. . ded 95 vpog pvOfiov dverwL ^-q/JiarL ^ap^dpcoi iirpo- .p[ T. at T. = Tt TTOtetre. dvdyco ^(opov aTrXerov. BA2[iAET2] opaSu) = T. BA2[lAET2] ovafieaapeavpiifjapahapa = r)t = la = Sa[ 85 B jjiapOa = jjLapidovpa eSpaifiai = /xat^o[ dapiovva fxapda = fxapidovpia. B at = fir] drjSiav Trav- aaade. = ^t[ 80 T.. pa koi[nhi] ajSa.. ko[i(nhi)]. 9 jSouAAtTt/caAou^i^ai TrAarayoyASa aTTuAey/cacrap. KOi[nhi] TTavovpi^prjTLKaTeixavovapi^prjTOVOvevL. BA2[iAET2] ^a^eSe = — ^ajStAtyt- SovfJL^a. a^a ouv[ 90 BA2[lAET2] 'navovii^p'iqrLKar€piavovapL^p'r]TOVOV€Vt..r nXarayouXSa = . oXvaaSi. 9 etroyjSeA- Aerpa XOVTTTepayoviJii.LITERARY PAPYRI z TovyovfjifXi = veKeXeKeQpco.

. a. (Drums) King. . . toumionarizdespit plafa- . . O goddess Moon advancing with barbaric step. Aba. . . (Drums. Oh ! Stop your dirty tricks ! {Drums) VThaX are you doing ? Z Trachountermana. . . Panoumbretikatemanouambretououeni parakoumbretikatemanouambretououeni olusadizapardapiskoupiskateman areiman ridaou oupatei . K ING. . Panoumbretikatemanouamhretououeni. . 9 Eitouhelletra choiipteragourm. . . King. Aba oun . . (Drums) KiXG. . . Ei ia da Clown. Chorus. Martha marithouma edmaimai maitho thamouna martha marithouma.ANONYMOUS Z Tougoummi Clown. (Drums) King. . Malpiniakouroukoukouhi karako Chorus. apuleukasar. . . . Orado satur . Ouamesaresumpsaradara. Zabede zabiligidoumba. . . . (Drums) . ra. unconfined the dance I lead. . Chorus. tun . ^ve times) King. 9 Boullitikaloumbai platagouMa hi . . nekelekethro. Barbaric. in! — 847 . Chorhonorhothorha goulda hi seosarachis. King.

TaAair[a avpL<f>opds. av Se. . CO A HO evpLcvqs. rrapd^aXe Sevp* dycov vavv ra^v. OpKia[. T A 8eiJ[p'. heoTToiva. 7Tp6[a7ToXov. T. l^covat. = Sore [ lSlcos deaariKov TTCxAt ^ijijca Trapakoi[nhi] 100 T 7ToX(vs).] .. iare Travre?. r opx'r)<yaL (j)rjat. Kv^epvtjrrjs is S48 I . Trj[v TTVvh\aKa. A idv iyd) 7T[p]a)ra)S' KeXevaco TTttAi AaAet?. corr. KaTaaTpo(f)€v B d7To[Xi\L7Ta)fi€V avTov €^io KaTa^iXeZv [rov) [Aejyco. r evhov koi[nhi] evSov. y[a]/C)* ddaaov {S.] B Tt B Xiyovai.s Kara- B ovTOi pbkv r eTTatvo). rjSr] rrji fiedrjL ^apovvrai. Kpova(is). Crusius (o 110 Sudhaus. TToXvg. UopSi-q).p') arravd^ erotfia 105 Tiryxo-v[€i r Travra CTOi to ttXolov op/xet irX-qaiov tL /xe'AAere. ^epirqnjs 108 eav ttIp]wtos eyw o /cu- probably KeXevaco 11 a gloss on . r dva^aXovres avrov ralg Upats [Si^aajre. l^apiriov. KaraaroAT^. yiyvov o"a»(t)^e ttjv arjv 97 [KporaXiofiov Winter. iravTa ra Tchv ^lovrcov. LITERARY PAPYRI 'IvScSv 8e TTpofjiOL rrpos t[€]p69povv [ll^-qptKov A[. TTpcopev. Hunt. e'yu)). rpopios TToXvs pi€ rrjv TravadXtav Kparei. d8]eA^e. . Sevpo e^m.

loud : Denouement) Clown. Orkis . Clown. . If Clown. come out here brother. {Drums. What. . ready } far Charition. quickly Is ! ! everything (C) Yes. talking again. unhappy Grant us your favour.hm Chieftains of India. you bungler ? Let's leave him outside to kiss the ship's behind (C) Are you all aboard ? Chorus. Well. Clo\\-n. severally . Lady goddess Save your handmaiden I ! ! ! ! S49 . everything. they 're hea\y now with the drink (C) Good I Char. bring the drum of mystic sound The frenzied Seric step ! ! . . Char. Just Uke real (Drums. Woe is me A mighty trembling masters me.. Come. . All aboard. loud : clapping) Chorus. The boat is ? at anchor not away. (C) Hoist girdles ! men ! Clown imitates them) him up and bind him with the sacred (Drums.ANONYMOUS temperate in rh}i. \Miat are they saying again (C) ? He says.. What are you waiting I for Helmsman ! ! I tell you to bring the ship alongside here at once give the order first Ship's Captain*. dance.

19 . qu. 243 culis graecis. cit. 56. vv. their mission accomplished (or rather frustrated) . 49 Knoke. during which the Adulteress left the Cf. pr. i. 46 and 138. no. LITERARY PAPYRI ANONYMOUS 77 [2 A. Oxy. v. 1906. 10 elaeXevaofiat. 26 the Adulteress departs. cit. and the Adulteress says that she will go indoors . Lyngby. The Archimima leaves the stage at v. 10. This distribution. .] ADULTERESS . Philol. where he of parts from makes no change of The speaker after yeXaacS). I follow Crusius' 8 text in the distribution w. . dovres Koi V. op. . she leaves again at etaeXde V. there is an interval after elaeXdovTcs v. for further bibliography .. See Crusius. 247 . Ed. 110 Sudhaus. and returns almost immediately. and at once inspects his corpse . Herodae Mimiamht. 10 . p. P. I suppose a pause of only a few seconds at the end of each scene : longer intervals are unlikely. pp. e^iovaa V. It is probable that all the roles were enacted by one Archi- 350 . Knox. again after eXOere v. 25-26 : the Adulteress orders scene for a moment. 61. 52 Winter. there was a brief interval for the fulfilment of her — commands. p. iii. 51. 413. v. clearly there was a pause in the action after elaeXevaofiou V.D. but appears to be a necessary expedient. 60-end it {except in v. New Chapters. 41. *GrenfeIl-Hunt. again. the slaves remove their victims. p. division of the piece into separate scenes is based upon no explicit indication in 11. op. (revised text). . is certainly correct in principle. Eranos. 35. Manteuffel. however incorrect may be in detail. at elaeXdovaa V. but in the same line the slaves have evidently returned. 81. 26. the execution of Aesopus. : Powell-Barber. der Mimus. 122 Reich. and A break in the performance is most clearly indicated by V. de opus41. 1903. Hermes. p. at dneXat elaeXOovres rjfxels 44. 35. 26 . i.

I write as though the separate characters were portrayed by separate actors. A demands that they be caught and brutally executed.— ANONYMOUS ANONYMOUS ADULTERESS [2 a. her execution and the arrest of Aesopus are commanded. The plot appears to be : •Scene / The Adulteress {hereinafter A) has made advances to a slave Aesopus. Slaves remove the — : A goes indoors to await their report. Malacus (a slave who is eager to enjoy the favour of his mistress) to poison her husband. Malacus interrupts and begins a dirge .] mima (Winter. report that Aesopus and Apollonia have escaped. together with his mistress ApoUonia. and departs — — — to prepare the fatal table. Scene apparently dead. but — VIII— The 351 . Scene VII A announces that all is ready. to the — — door. Scene II The slaves. A sends a parasite to summon her doomed husband. apparently dead. 54) : for the sake of clearness. who have probably released their fellows through compassion. husband is carried on to the scene. icho refuses her. A mourns him. Scene III Apollonia returns and is arrested . Scene V— A plots with They withdraw together. The parasite laments the passing of his master . She condemns him to death. who has been brought in apparently dead and laid beside Aesopus.d. apparently through divine intervention. She convicts — withdraws again. Scene IV Aesopus is brought. and begins to enact a dialogue between the minor characters. Scene VI A inspects the body of Apollonia. p. and goes indoors to accomplish her murderous designs. The Archimima has now finished the role of the Adulteress.

(ets'). e/cet- 852 . and inquires who he is : from the reply it appears that Aesopus and Apollonia are both and orders Spinther alive and is well. jxaKpdv SLaa7T[d]cravT€s 5 dWov (xtt' [ajAAou Kai ^AeTrere /fry 7to{t€) tcDi erepoii Sei^rjre.coix€vrj. fXT] rrjs^ oXXi^Xcdv ot/jccog [TrXjirjaOevTes cr^ayiaCTavres" Se fxed^ r)hov[7f]s diToddvcoai. avTov9 TTpos fie eao) avrdrc. Ka[l yeyovaai. avvXa^ovTles) tovtov eAKcre eariv cttl rrjv 7r€7TpCO[jL€VrjV. 7Tpody€T€ vvv KaKelvT)v d)S 7T€(f)i. vpXv Xiyoi. VOL [i]yoJ [v]ixXv K:aTay}/[€AAco]. 10 i(f)avTda9{r)crav).p. 7ratS(e?). This a fine piece of writing in I its class. who was only feigning death.. leaps up to belabour Malacus. aTTayayovrcs olv- TOVS Kara dfi(f>6T€pa rd d/c/36UTi7/3t[a KJal rd 7TapaK€L[Jieva hevSpa TTpoah-qaare. The husband now perceives the figure of Aesopus. ovT{a)s) deol vpuv [K]al vfiels i(f)o^TJd['qT]€. LITERARY PAPYRI suddenly the husband.. The construe^ (Zare. etprjKa' iyd) 8* evSov etaeAeyao/>ta[i] II ri Xeyere o[t] i5/i.

that even if they eVcr>](oi) oopar^oi) Knoke. . The writer's model was clearly the fifth Mime of Herodes: controls the Greek language easily. 12 Kar- ayyeAAo) Crusius. ANONYMOUS Hon ig elaborate and dramatically good end of style. Scene II (A) WTiat are you sapng ? Oh really. lest they die rejoicing. feasting their eyes upon each other I have cut their throats. order you to take tories them away to the two promonand bind them down to the trees there drag . and you were frightened. slaves. . who probably directness lived near the the 1st century a. Scene I (A) So seize him. I can tell you this. This author. varied and vivid.. gagged. then repentant and sentimental first exultant. them far apart from each other. Crusius. and drag him to his doom. just as she is.. . first furious and vindictive. then subtly cunning and sinister.d. That is all. and they (escaped) 11 #fa[t ? . sometimes even poetical. come and meet When you me inside. vou I 2a S5S . Now I bring out the woman too. and see that you don't shew one to the other. the gods appeared to you. affects a pleasing This Archimima hcts indeed an excellent part to play. I'm going indoors. picturesque. the language is povcerful. and and economy of — and it may Medea upon not be fanciful to detect the influence of Euripides' the character of the Archimima.

. X[dy] ere TO. fji€XXco{Giv) cos TTpoaexiovres) Tovs 6eov[?].aLvrj{L) .rjr'r]Gavr€S uMet[s d7Toa(f)a- 8]e yidaavres rje Trpo^dXere tva [iy]d) avrov 2o V€Kp6v tSco. dvayere.cra dKp]i^djs vvv IBeXv 77€t/)aCTO/xai €t redurjK'e S54 . Scots' 8e rot? €77177 aTTapa. ayaocoL €77 15 irTeLhav ol 9eol /cat rjplv (f)a[t]vea6ai. €Xk€T€. eKelvov dvat. LITERARY PAPYRI el /cat i5ju. Ill Tt (fiTjaiv. jLter' ejuou- IV €gioi. €la€Xd6vT{es) 'twere loTiv.iarL vpuv Xdycu. p. fiaariyLa. i'rjS') rjv apa. eXdeTC 277i]v07jp. a77aAAa[^a]vT€S' rau- TTJV 77a- paSore TTjpelv /cat T[ors'] dpeo^uAa^t /cat €t77aTe €V 77oAAa)t atS-fypajt e'[77]i/xeAa)S". tSeTC jxtj [/c]at o -" V7T€prj<^avos eaco. MaAa/c€. OV vvvl jJiTj XdOiOUL. O LVOfJi€Va. TTpos ra[s] dvaiag.a[?] 8[i€]<f)vyov rovs op€[o](f)[vX]aKa5 jSouAo/xai.a(d)ai YiiTivdiqp- CpLOaOV . ov 0eA(ets") TTOLetv ra Tt's" i7TLTaaa6iJie{va) rj] TLyeyove[v. . avpere.

come with me. go and look for the man kill him.) Are you mad ? (A noise. they certainly mountain-police. Apollonia. Sud- 355 .-H. Swear say the sacrificial When the gods are about to appear to us if with good omen. .^ is it ? See our high and mighty friend you. Crusius.ANONYMOUS escaped you. sing their praises as it. 19 Suppl. " like people paying attention. 13 haus. take this isn't indoors too. it's " she.." you meant ? Villain. I will try to see for certain * if * Lit. off- Go indoors and see who it is. will not evade the their Now I want to ask the gods .Malacus. I tell woman away. Spinther and. . corr. and watch her with her ! carefully. mercy. 8[i€]<l>vy€v 20 (^S') G. hand tell her over to the mountain-police. so that I may see him dead." Aesopus. prayers. .. won't you do as you're told ? What's happened to you stage. Spinther. Scene III (A) WTiat does he say if ? Oh. ^v dpa Crusius. SCEXE IV (A) Out "» I come . and throw the corpse down before me.. them to load her with chains Pull her drag her away — — As for you.

aaTtyia. olSe ottojs cuSe dvo) avveiaeXde Xiooi. iS[o]u ovros' at raXaiTTOjpe. MdXaK€ttov Trdvras ttotc dveXovaa TTOjX'qaaaa rd VTTapxovrd . oJtto)? ^117 TrdXiv TrXavrji fi epts". (fiiXelv. TTodev K]€K[a]pn€vas <f>p€vas' dpa>. vvv 40 TOV yepovr(os') iyKpaTrjs deXco y€vea{6aL) rrpiv tl TOVT{ajv) eTTiyvoZ. aoi TrdvTa Ttepl Trdvrwv aTTohojoco flOl SeSoKTtti. TrdpeXde.^ajptcreCT^at. fiot. r^prai irdaa epis- avd- TTavaov YiTTLvOrip. ai) ifjLe yap] rjdeXes ovno pL(f)rjvaL fidXXov rj 30 K€]LfM€VOV 8e Ka>(f)6v ttcos aTToSvpoixai. iyix) TO T^JLAICTU.. etaeXde. olvov Stv35 ecaeXde.. ee. 7TOV aOV TO Tj/jiLaV TOV ovtco /cat XtTa)VL{ov) . cSSe. yLaariyia' TTOTand TTepLTTarelg . GOV 6 o(f>daXiJL6s 'QjJiepcoTai.)(a} ydp ey/catpoj? (f>dpiJLaKov davdatfjiov o /xer' OLVOfjLeXiTOS btrjdijaaaa 356 .LITERARY PAPYRI eKeivos. veKpcbi ei TLS TTorje yeyovev. . p. cuSe aTp€(f)ov. c5Se ^Kafxai TO./cat €.

rather than be lover ? my ? Deaf he Ues I — how ! shall I mourn him Whatever quarrel man. to Knoke. — I will kill them and I the property and retire somewhere. dead ease all Stop ! ! . so that . con- found you. look here he is ! Poor fool. before he fatal I has any notion of the plot. . so you preferred to be cast out like this. (?) looking so ! subdued Come up here to me.ANONYMOUS he is dead. now it is may have had over ! \\ith this . mind sell made up. ^2 Sudhaus. confound you I want to strain some wine. come in here ing ? are you walk- This way ! Scene V (A) Where's the half of your tunic I is —the half of My all it. I will my ravished heart ? Spinther Why in. 357 . yap 29 ManteuflFel. 11 ace. have a drug — it comes in most conveniently — which 30 <xv will strain ou 28 TrXavTJi n€ Tis Sudhaus. ! Come Where come in. Malacus. I mayn't be bothered ! yriih jealousy again. . and yap €TTia]Tafxan Crusius. Oh. . say ? I will pay in full for ever) thing. What want now is to get the old man into I I my power.

. hoKw TTavoXrjiJLTTTOs yeyovev 6 napdjxtj GLTog' TctAas". de\[(D) to tolovtov ioTiv. pi€Tavo'qo-aa{a) Xay{rivai). MdXaKe. a[vv'\aKoXovd'qa[a]T€ avTcoi Kal tl irddiqi. TOVTO S58.aKov avyKeKpapiivov Kal to ttoZov. avTOv Kal dye Tvpog dovaa Tct vpos to apiOTOv Vfuv eTOi/x. Ti ovv avrrji iyevero. ToXas.^p6iW aov exco. dpiOTOV e[Toi]/i. iSc toji 8iaA- TTopevdelg ovv e/xe.aa[a»] iyoj Se etcreA50 VII ivaivcb. yeXdi. e.^ets' (f)dpp. Trepl tov yipovros Trpoa45 avadivpLeOa. yipovT{i) TTapdaLTC. Trapdcnre' ovros TLS iart. d[7TOK]d- Xvijjov tva tSoj avT-qv. to MoAa/ce. VI TratSiov". avTT] 84.8e Ihov olvopLcXi. Trat* ro tolovtov €<jtlv. Aa. TO t\o\ Td-)(09.kv COS 55 . ware rropevdel? rrji 7rAaT(e)tat dvpai kol- Xeaov avTov Kal cu? evrt SiaAAaya?. LITERARY PAPYRI Bcoao) avTCJL Tretv. . dveXdovTes T^jMets TcDt irapaaircoi to.di' eo-ri. p.

can see her. take the mead. and So go I want a reconcihation with the old man. — I want your help : the case is like this. —He's laughing. and see him. Malacus. Scene VII (A) Thank you. So that is settled as I 359 . my that dear toady. ! think the de\il has got into our toady fool. my good toady — I have repented. for a reconciliation. So go and stand at the broad gate and call him —say. then I Uncover her so . and take the Parasite into our confidence about the old man.ANONYMOUS together with mead and give him to drink. and see that nothing happens to him. I ? Here Malacus. and bring him to me. and the lunch is ready I beg your pardon Poor fellow. I say ! The ? case is Uke is this. —^^^lo is this And who ? she ? What's the matter with her. for being so quick. You ? have got the drug mixed. Let us too withdraw. Scene VI (A) Slave ! Slave. poor Follow him. and in will go and prepare your lunch.

6v ifxaTtov Knox. 65 TaXaLTTOjpe. <f>6vov iyKpaTTjs [sni.] d<f>€s. en rov yepovTa dveXcofMcv. iniSos /uoi LKavov. Ae/ca jxov rrjv iTapprja{Lav. d[Ay]eive.) rrjV 8of(av). av fxov [maa.] ovai olSa ydp ae octtls YiTTLvdrjp. [maa. ovai aoi. heairora. mon speech at this time. LITERARY PAPYRI ej8[o]uAdjU7yy TeT[e]AecrTaf elaeXdloujres Trepl ^ovXevacojJieda. (f)oPo[v][xat Kal yeXdaco. 7r[oTle 61. VIII TTapaaire. iydj avrov dprjvrjaa). ovros 61 <f>at. at TTcog.] UTTivd-qp.] [riAP. dra^poStre* ovaC fjiOL- aov [AESn. ro iXevdepiov rovroii (f)tos. TTavra yvcojX'qv rjijuv Kara eav 7TpoKe)(a)pr]K€. v[v]u ti yeyovev.] firj TTapdaLTe. ^vXa enl tovtov.] Trapdaire. Xeyct)' ri [xe Set Xeyeiv aTToXu}- 7ra[T]ep Kvpie.. /xaXtaTa ayiop^ev. 60 [nAP. dKXr]pe. [sni. 'qs 6 KvpLog. [sni. II has 860 .] fievovai acooi. TCJV XoLTTOJV OLa(f)aXeaTepov MaAa/ce. ri ovv deXei?. TTOLVTwv yap ydyova. tlvi jxe /caTaAeiTreis". as usual in com65 Above a(f>€s ktA. 64 T^s-=^<70a.] KaXws Ae'yei?. irdXiv Ti? iariv.

We shall plan the rest more securely if we go indoors. miserable. we also make away with the old man. Toady. to whom are you leaving I have lost my freedom of speech. hapless. tion. troublesome. I'm afraid I shall laugh Malacus.'' To him {Ironically) Let me sing him his dirge. what should I say ? {Tragically) Father and master. I say well. unlovable man Woe to you Old Man. Malacus. Scene VIII How dear toady.eve. Sudhaus. Come along. 67 Above LiTti^ijp 11 has ix€ia6(v)(j. Spinther. bring the stocks for him. {Leaping from his bier : he had only been I know who you pretending to be dead) Woe to me {Catching are Spinther.) What is it you Spinther. toady (A) ! ? — Certainly. Master. for My — ! want ? Toady. Perhaps irtorjc ooi- ol8a. if Malacus. thev are still safe ! fiovov aX-qdios ov Xeyoi. give me sufficient means of death Spixther.) Who is this again ? Spinther. to you. ! ! — ! . 361 . Quite right too Toady. what has happened ? Oh {The I now have all I want.ANONYMOUS wanted it. my light of liberty. body of the Old Man is introduced on a bier. Woe ! ! — ! — ! sight of Aesopus. Everything has gone as I intended. my reputame You were my master.

B. Archiv fur Papyrusforschvng. B. . Iuvenis frater. If we return very This (a) to the fragment itself. About this fragment speculation has exceeded all reason- able bounds. homofrugi sed qui mulierem divitem a patre commendatam afratre spretam " domo recipere non dedignetur —more follows. 97. A. Lit.M. 65. we shall not diverge much from the sober much is certain : — conclusions of the first editor. Vir senescens 'Icov Trarfip cinaedologus cum iuvene Veneris masculae vinculo coniunctus. 126 . See Milne. 153 Srcbrny. Cat. Prosw. iuvenis mollis et asotos. even more Manteuffel does not facts until the end. 1914. TTapa Tols dXX-qXovs [TTJvTi^ovcri. Petrograd.g. 21. Archiv. 1927. 123. 1917 and Eos. Journ. 146 and Hermes. p. no.] A QUARREL pr. with Plate. Nar. . Ed. 81. 1913. vii. 19.. Crusius. A and some sort of group or " chorus " denoted by the A B S62 7TOV TO SiKaLov. Readers may whether there is the least evidence e. vi. Crusius's interpretation — peruse the piece and decide for the greater part of " muliercula iuvenem amans atque divitiis sibi devinciens . Pap. Manteuffel. Minist. p. 117.D. Woch. Powell-Barber. 24. 1 p. At least five characters are designated in II . p. New Chapters. 253. de opusculis ffraecis. Korte. Herodae Mimiamhi. 401 . Knox. widely separated recede so from far from the upon the the evidence. PhUol. ei nan tribuens quod postulat sed nvyi^cov [this word depends on an unnecessary correction]. 243. Phil. i. 30. mulierculae infestus. 67. K6rte. de Stephani.: LITERARY PAPYRI ANONYMOUS 78 [2 A. when he bases inferences most questionable supplements ofvv. r. p.

15 TovTMi. B possibly be a buffoon. probably about a between them : he an older man is arbitrating . Two young men are quarrelling. Oxy. identity of the " chorus " is quite uncertain.^ (A) Where (B) is justice to Among people who be found ? spit at each other. possibly concerned with A. who complains of unjust treatment. 413.d. may The (b) There is a dispute between A and X . V. 3) . 15. 18 Tovrov) . 7) . like the cloivn in P. Beyond this point I perceive no reference which is both legitimate and important. 363 . 25). and seems likely to give his verdict in favour of X. this could be. 13 avTov. 77]i/yi{ouat 2 [ico]iTi{owK(=^€v8o/ievots) Manteuffel: Crusius. T is evidently named " Father Ion " {v. vv. B (/ refer to him hereafter as X). T acts as arbiter in the quarrel . V. question of the possession of the woman : the result of it is is woman altogether beyond conjecture.] marginal direction Koi{v^i). another man is referred to several times {v. probably a young man {v. but is not necessarily. A is probably a u-oman (javnjs v. predisposed in favour of one of the two The cause of the quarrel probably lay in the disputants. X ha^ of his recently suffered a misfortune (possibly the death father. he is a friend of the father of X. 18).ANONYMOUS ANONYMOUS A QUARREL [2 a. A is a man {v. he refers to his father) . and T has come to sympathize with him. [This fragment 'HpaKXeiSrjs : is inscribed the texts ck Pi^Xiodrjiaji Upaatov of these wretched and ephemeral pieces were circulated for the delectation of the evidently reading public. 17.

7r[d]^ei'. aJKojJu/jos (t[v.. OTt oAo? e'^ e/<:[et]ro[i> A r to]u fxepovg el. 5 r . . . koi[nhi] 8t/cat[ctJS'.JratT . ovre Kpirrji. 5 iTalpa[L et'crjif Korte eTatTa[. almost certainly not a P. [ ]va. 10 ouS' els P[ia(Jix6]v dp7Tdt. eTaipa[v 7rape]ri'a[t Crusius. [/cat vvv cog aKovaas Trj[v] fxeTaXXayr)[v TJKa} TOVTOii avWvTr-qdrjaoixevos 15 KATA2TPO*H A r Xey[e] puoi.pa»/Ltat crot.. avyyvwfn^v pi..[oL ex^. 20 A r 7t[co]s .. . ndrep rjiSeiv.. [ov . II 6 Bell: StVat[oi' KOrte. . ov . 8ia Tt.* fjud TTjv epLrjV crcolTJrjptav. Trepl ravrrjs a[vvif]Ka rrjv yvd)ii\r]v. . l((T)Tat TatJra Seiva Knox. [tov . o[v . .— . . 3-4 Trepi 8e] TtDv Koafitwv [tovtcov^ Korte : rrjv] rwv Koa^ilwv [oAAd] Crusius. LITERARY PAPYRI A aye. . rrarepa rjfxdjv rjiSeis. eKeivq (ij) yyv?) a^tctj[ AecTTaTT^. . A r TTarep lojv. TOV TovTov A r ay ov y e[ij craitos" (oj iraT-qp rjv. : : 364> . a T.ofxai. "lojv. [ovre TTapaKp-qroji. Tcov Koajxiajv [ ] rt ^ovXeveadle.~\wa The fifth letter is certainly Bell eraLpas.tov narpos avTov yeyova ^[tA]o? dvayKalos.\. [a] TrapaKXiqTOJt. [fTajiSia Manteuifel.

. but (fios is wrong and ovk very doubtful : the o after it is not in 21 Tjfo)]?.. ap' ffie eXey' av 6 aaiv[aii' aunqv . . Perhaps jS[aaaKo]v. or dragging her off to \'iolate her. I am not . S48. Come now. 19 ovK [eSiSov av : Korte : ouk [e'Se^ar'dv. Father Ion. p. So now. . (C) Chorus. .ANONYMOUS (D) Come now. Quite right. my father were would you (C) (D) (C) Damn me if I would. How Why on earth ? That . . Manteuffel.p]a e/x€ lAey' av IT. (A) Barrister. I understand your \iew about her . what are you deciding . hearing of his reverse. . 7rtu[s' o. my \'ulgar friend rade and kinsman of his father. if (D) not . n. ?' (C) WTiy not (D) Because you're wholly on the other side. I am a com(C) Pardon me. 15-16 Karaorpo^T. ManteufFel. I have come to sympathize with him. e[r] e/xoy narrjp tjv ovk 6[Te6vriKa>s 'r}^. his father. lady ^^•ill naturally (claim your) affection. : Denouement (D) Tell me. Crusius. . too (D) Father Ion I am not using you as judge or ! : banister. a^ui>[aei ^ tovtcoi Crusius. 365 . TTcos efjie eSeiK) o[7ru]i[eiv avTrjv.: cf. KaTacrToXi^. and can be forced into various combinations. Crusius: ay'. . you (C) I knew our alive. but the end of this cannot be reconciled with the evidence of v Korte . these gentlewomen ? . vou mean. father ? knew . after Bell : the letters are not legible. 22 a^ua[s iarai aoi Manteuffel.

.evai v. 62 Manteuffel. avyyove ^dp^ape that 366 . 1927. 52. 39. Catalogue of the Literary Papyri in the British Mtiseum. p.] DAMSEL IN DISTRESS *Milne. iv. Gnomon.. 398 Wiist and Cronert. there is no need to look beyond the nurse and the lister whose presence we have doubtfully <f>LXd8€X<f>e V. 5). These may be a brother and a sister. . 1 : that plural proves the presence of more than one woman beside the maiden . or ^lAaScAc^e is sister. 1928. a brother. p. elfjLt. . See Schubart. (1) The Characters. for tlieir identity. J. 56 and p.]vr[. SO sharply contrasted with two persons are probably intended. (b) 6).. .]. 34 and de opusculis graecis. (c) A nurse {rpocjii v. or both {avyyove v. (a) A young girl {vapdivos v. pr..LITERARY PAPYRI ^ r •] H'OiX[. 1928. 18) . 140.D. no. Interpretation of this fragment has gone beyond the bounds of legitimate inference. Kop-r] V. In the following account I include only so much as I judge to be certain or highly probable. for vv. or two brothers {less probably two sisters. Knox. Archiv.[ 25 jxoi ofiotog A Tvxov.A. 84. x. 15. 32.E. 153 Korte. 161 . 17. who is probably included in the fiaiv6ij. Eos. and Addenda. Philol. OVK apdaKei ovt[€ "faaTTpaXfieiaf 24 ov] fioix[o]v t[iv' e]i5vij[v ^lyTW' ov yap rod dScA^ov Crusius : ANONYMOUS 79 [3 A. 8-16 {especially 12-16) are much more suitable to a brother). Ed. 4. 1929. xv. p.

eva}i Srebrny. ANONYMOUS DAMSEL inferred under (b) above. and the transition from one character to another being made clearer to the audience by a simultaneous change of metre. • Cf. . 28 aairpa (a)Xfjua (or aairpdXfua) Korte. v. 119 e. 18 would naturally be spoken by different characters (Ae'ye irapdeve 17.ANONYMOUS (D) Do I look like (a man who an adulteress ? (C) Perhaps you do. elire Kopnr] 18). the brother 367 . 17 and v. stale fish ". but TTOTc/) seems to be fairly certain in II). the whole being performed by one Archimima. (2) The distribution of the lines among the characters. these lines this theory. IN DISTRESS (d) [3 a. natural to suppose that the speaker changes where the metre changes .] 27 : The young woman's father Wugt reads fj^rep. iii.. Manteuffel. Yet if change of metre is to accompany change of speaker. It is certain that the maiden speaks w. proverbial.. 9-16. like " faule Fische " in German. probable that her brother speaks It is w. ?\ /xotx[€]vT[/)ia}v XT][tfiofj. The Papyrus gives no indication of change of speaker. In a good author. For on vice versa.d. 1-7. (D) It is not my idea of fun . {irdrep V. Athen. is going to marry) . and must be said by the Nurse. I have followed precedent in distributing the parts on this assumption : though neither this nor any other distribution is free from objections. 132 e (Crusius).

. 6 [aaea*02] ovtco vat. LITERARY PAPYRI must speak w. The original assumption. that change of metre denotes change of speaker. There is a reference to a carousing reveller. TO . .evrj ^aaavt'^o/xai. fievT] Kol TTpoacoTTa rvrrrei TiXoKap-ovg (j7Tapaa[a)€L. Trpovoia. suspected to conceal a love-affair. V . that any other distribution (e. TrapaKaXelg LKen?. conclude from this is : the maiden has been violated at a midnight festival . Ti .Xoyoiv dvexT^i-7TeLpaC. vai. distribution of the lines. avyyove ^dp^ape.g. vvv epLaOov dXrjdco? OT[t TrXjelov ov iroOels fiereXdoCdd ti Ae^at. Koprf the father could not speak v. she is deeply distressed. rpo(j>e. Tt 776/31 acf)vpd pLov SejUtt? i^dXere. veTrrajKas ejxov ^tAaSeA^e. . 9-16. 20. who sorrow and sympathize with — — — [nAP0ENO2 Koi /XT) fir) Sejipare crco/xara. /c[ai] 10 368 . The plain fact is that the evidence is not sufficient to allow a certain. which is fidence in him. The end is uncertain. [ ]a) .op. . who is a light o' All that we may fairly love . and therefore cannot speak vv. may be wholly false. . tioned against her will by distracted womenfolk. . that of Wiist) departs still farther from the available evidence and produces no better a result. ^aivo^ievat. but ashamed to confess to her womenfolk. or even a highly probable. All we can say is. .€. The maiden is being ques(3) The nature of the plot. Kadv^pL^eTe rpoirov iixov. 17-21 the sister would not address her own sister as TtapOive. and to a festival by night. €p. Someone probably her brother reproaches her for want of conOthers coax her to reveal her secret.

6 Punctuation D. p. me anything more. dim. sc. or to her brother. Gr. and stop insulting my character Why have you thrown yourselves about my ankles ? Cruel brother. 299. so doubtful is the reading of the text there. who is annoyed that she has not had confidence in him. however Cronert. Higham. Cf \.: 17-21 " mouse-tailed" hexameters. You should nurse) are beating their breasts and ' -npovoia. 1-7 anap. iariib. these lines avoid paroxytone endings. I take (with cf. It is probable that she will discover that her unknown violator is none other than the youth whom she anyway desires to marry. this all is uncertain.: 2 pherecr. {earing their hair for sorrow.ia laroi.^i fOTo) . 2 B 369 . dim. and beats her brow. P. ' dv€. L. loc. 9-16 ithyph. to come to me " or tell (sister. 9. (resolved) iambic end = anoKpora. Beyond Girl. nothing is gained by elaborating the plot beyond this point. etc. : aristoph. N.B." you crazy creatures. partly full. cit. and tears her hair Now I know for certain that you don't want I — — ! I — .). Versk. nurse yes ? that you have fallen here ? Loving sister. 1 ^iT] The women 8€]tpaTe I Manteuffel. have a care ^ refrain from speech " I am put to trial and torture Brother. 26-27 are worthless . see Cronert. Cronert) to be a subjunctive equivalent to an imperative.. VOL.: ithyph. inferences based upon vv. ! ! . partly toith (4) The Metres. 22-end. Wilam. loc. .) Nothing is gained by introducing Mothers and Friends into a fragment which itself affords no evidence of their participation . 374. fv(f>r]ij.. do you call to me ? Is it to entreat me. reading is so uncertain that nothing is worth saying about the metre (cf.— ANONYMOUS her . {The resemblance to the plot of Menander's Epitrepontes is obvious. : adonius. Above all. Greek Poetry and Life. Stop flaying yourselves.: iamb. cit.

\pv\hev KOVK yeverrjv dypLcoTarov to-xo-. (f)avepcog dXyrjdova. 'qficpa <f)poveZ' 20 Kol KoXos eariv €(/)rj^og 6 aos he KoXrj.CTai. KOLVrjS §€ (j)ep(i}V Kai av TToOov ^ A(f>poSiTr]s avros t' i(f)T]^CL>v dypvirvov 25 r'jv VTTo KoXapiov fai^OjuaAovre . TToOels. ov TTapTjv e/xot TTOLecv vdvra KeXevaaL. exojJiev (fypevas.[rjXoj]fia.LITERARY PAPYRI eSei /cat a e/ze At[Ta]vei. elire. Trapdeve. ico' ^pax^rarov erepov vdrep. [tpo*02] dprjvov V7T€pd€fi€vq Xeye. 15 p-ij riva ^[/Lte] Koprj. [irjh^ el dcog eariv 6 ods Karex^ov aSt/cet?. yivwcrKCJ. erepov [ TTapd TTawvxl-<y^v S70 . [iTAPeENOS] eVtKroj/xa^et koL fiedvei."f Koi rovTov t.

He revels and carouses all. you're If Tell me. you do no wrong. . contrast Milne. the secret of your it's and have no fear of me. 26 kclLtovto 371 . daughter. . father. to the wakeful flute Him too I that was but the briefest craze. maid. he a god that possesses yoiu. . is handsome. One 17 . another . Milne. .. iioi Milne (for ^^). extremely difficult and doubtful. at the festival by night . and commanded me wherever I had power to Nurse. you're pretty.. 25 dvo/ia Aey« coni. ? act. 25-end : the readings of 11 are Slanteuffel. in the bloom of I dismiss : youth. Put not in love pain. is We have no ferocious father : a gentle soul. : his desire is for loves that are given to He.heart. recognize.ANONYMOUS have entreated me. . . later. off lament and tell me. ve'oji Milne. . it may be . And your young man too! Girl. CrOnert.



SAnoa 81 [Ostrakon ? 3 b. Zeitschr. Lettere. 60. Vogiiano.C. 51. 1937. 42. 1932. Annali della reale Scuola normale superiore di Pisa.. of the Literary Papyri in the See Korte. 374 . Maas.iS. 73. 1938. See Pfeiffer. 1 1 7 with Plate . Pap.] ANONYMOUS. de o/)mscu?/« (/raects. 92. di Milam. British Museum. Archiv.x. Catalogue Ed. Sprachforschung. Philol. 286. 1937. *MiIn«:.\. Norsa. Univ. Ji'Tat vries (e)v ttovtcoi doal e. i-ii.c] BOOK I Ed. pr. fasc. 8-15 with Plate. Hermes.e 7t]oXX6v S' laricov Jt'res" v(j)(x>ixe9a OTrAa vqos ovpirjv S' cre'o '\povs 6(f)pa ] jxefjivecaneda aTTiax^ lJir]S€ rovrov efx^dXTjis Trpoixrjdeaai Iv taraTai KVKco/jLevov ^firjs dXXa av ]y/xo? . 60. f. Storia e Filosofia.80 [3 B. Plate IVa. p. vol. 1927. Theander. Manteuifel. vi. vergleich. 297 . ibid.. probably ARCHILOCHUS pr. no. 1937. pp. d. Schubart. 465 . p. Serie ii. r.

ship's harness. 77 . . xiii. . . sing. I [Ostrakon ?3 b. it not in turmoil but do vou take heed . wind . . med. 1938. (?) rises in . and keep the fair . keep .c] Antik^. L. away. and altarg is too its The reading of the first line subject-matter. . 2nd & pers. imper. 90. . Korte. . spirit. p. 1938. . U. 7 TTpoixrfiiaax: S.] and subject-matter (cf. . ..C. B. 1. . Maas and SAPPHO BOOK Schadewaldt. 375 . style. . swift ships in the sea take in the sail . there follows a reference to a temple in a grove. . fr. probably ARCHILOCHUS [3 Dialect. that we may remember you it . .ANONYMOUS. . 56 Diehf) are consistent with the attribution to ArchUochus. 271 . . probable inference about uncertain to permit a In the rest. Archil'. cast . metre .

This clearly enough includes a description of a shrine of Aphrodite in the country. 1. 7r/3[oAt7roiCTa] Theander. vdov /x' D. 12 — '\hevpvyiixeKprj\ . 07r7r[at rot] )(apLev fxev dXaos OL Xl^aVCOTCD. L. ^pohoLOL 8e ttolis 6 ecr/ciaCTr'. 2 omrai. There is no other reference to Cretans in Sappho. and flowers therein. is pTJras Schubart.: . There is also a meadow. Aphrodite. . 'Avdeia. Lobel. " Cold water sounds through the " perhaps from a stream or waterfall behind apple-branches them . KvTrpi. IfKprjres or tV KpTjra? were read in v. . and the leaves rustle. iv 8e Xeificov k(xA(A) i^oto? reOaXev rjpCvoLCTLV dvdeaiv. . Theander reminds zis of 'A^poSiT?. wreath in hand. . roses bloom. 3 fioMav 376 . the poem might be a description of a shrine of this divinity and Sappho's poem might {but not necessarily) have been written in Crete on her way either to or from exile in Sicily. LITERARY PAPYRI fragrant with incense. €v S* vSwp ipvxpov /ceAaSet St' vaScov p^cD/aos" 5 fiaXivcov. aWvaaofxevcov 8e (f)vXXa>v Kwpia Kareppei. 10 fxeXXixoL TTveoiaiv evda hrj av aTepJipbar*^ eXoiaa. eV KpT^ras Theander. pr. 7Tp[ ] vdov dyvov. Hcncc Stvpv toi Seup' vfji' Lobel. unless fr. pours nectar into golden cups. who {according to Hesychius) was worshipped at Cnossus in Crete. P. 'f'atav'T^TOtf . Xpvataiaiv iv KvXiKeaaLV d^pcos 1 8€vp^vfjLws{?)'fK:pT]T€s'fI'fe\ffer: Sefpy/x/xeto-pT^raj- Schubart TTvpvfjLfMtKprjTis cd.

: : aKpws (Lobel). Schubart. P. tchose altar stands in a grove with a meadow beside it (cf. fragment. pr. since it is not certain either that v. : 8' evi 9. TefloAc T<{>Tripipivvois Schubart. . but avrjros (for airqrov) is found nowhere else. Lobel.e. pr. pr. corr. the holy temple. this text. 73-77. KAAI9-10 refloAe t nv^piv vots avdeaiv ed. corr. : EN tt . . But 9 Imro^oros elsewhere in it is . 6 fiaXiav IT. 14 IT has Schubart. into Aa»n. Anth. 5. i. . cf. Cretan women dance around an altar in a meadoio of flowers {v. or that Sappho is the author of the other frag ment. Pfeiffer: 11 does not resemble A questionable if horses should have any place in the sacred meadow. 13 So? fieSeoiaa Kurrpi Schubart. at Cnossus. 7 eWiacrrat. BOTOS D. 8 Kw/xa kclt Kareppov Pfeiffer : Karaipiov Schubart. Xcorlvoiaiv and -fipivoiaiv. But decisive — is wanting. evidence Hither. 73) is ascribed to her.. 7io. Lyr. pr. Lobel. n. 7-8 = Diehl. and the breathe the sweet scent There. dvaa.e.pi(/)i)i'ois'. L. incense. corr. Aphrodite takes up wreaths and pours nectar . Hipp. Sappho no. lAA AOTOS and . . where is a pleasant grove of apple trees. Pfeiffer. 5 w. : Tcupi + ON from . describe the worship of the same goddess Aphrodite of the Flowers. Eur. And there cold water sounds through the applebranches. p. Pfeiffer. {KaTaipi iSoros = KaTep(p)fi). . following ed. Kaippov ed. perhaps a combination of two readings. And there a lovely meadow blooms with flowers of springtime. 1 of our fragment has any reference to Cretans {though it is probable). 6. SAPPHO In that incerti auctoris {Label.. 3 noas repev avdos It is easy to infer that both fragments fidXaKov /iareiCTai). 4 Pfeiffer. 2 dfjxf)' epoevra jSto/ior. and all the place is shadowy with roses. pr. and from the whispering leaves comes slumber down. i'. 377 . al S' dvTfToi edd. {1935). SiavcDTcn jSco/xot AEMI: corr. 13-16 = no. ed. . i. . 88 (a) below). ed. and altars fragrant \\'ith frank. Vv.

Ed. 1938. Bowra. fasc. iv. Class. 1792. p. 1174. P. 95. (6) no. p. Archiv. Grenfell-Hunt. Revised text in *Mtelli-Norsa. xiii. See *Bowra. Papiri Greci e Latini. pr. 231.J FRAGMENTS OF TWO POEMS Ed. UO with Plate. 1936. Plate III .] 0PE2TA2 Coppola. . Qu. x. Pindari p. See Diehl. Introduzione a Pindaro. 130 Korte. («) no. Lyr? i. 1791. p. 1922. 86.D.LITERARY PAPYRI efji{fxe) jxeLXH^vov daXiaiai veKrap 15 oivoxoeiaa KOPINNA 82 [1 A. . 378 . xv. Anthol. Oxy. no. 201 pr.D. p. 1982. 84. {Small fragments of seven lines) OPE2TA2 po\as likv 'Q/ctavo) Xmojaa t[ ] lapov (f)dog aeXdvag 7Ta(7a[ ]cD] "Qprj S' eV Atos" dfx^poTV [ Feapog ev avdeai ye)/a[ ]ai»v )(op6s dv' iTTTaTTovXov [ niNAAPOS 83 liil [(6) ? 1 ^'^'] A.

vii. ..CORINNA— PINDAR gracefully in golden cups. PINDAR FRAGMENTS OF TWO POEMS Carmina. G. .] This fragment suggests that Orestes had a place among the native heroes of old Boeotian tradition : cf.] 137. {Small fragments of seven lines) Orestes Leaving the streams of Ocean . 1924. . Carmina. Korte.A. Pindar. . Coppola. ^rcA/r. Pindarus. cit. pp. and full discussion in Bowra. the holy light of the moon the immortal Hours from Zeus . mingled with the festive joy . .G. . . . . .D. The reference is to the second and third temples at 379 .Paeanes. . CORINNA ORESTES [1 A. loc. Schmidt. .. Schroeder.xi. . loc cit. . .. . ix. 2.D. rejoice in the flowers of spring choir through the city of seven gates .ii!a. . P. 345-346 (a) .. K^^ ? 1 [(6) ''•^•\ A.

was sent to the Hyperboreans : 9) that the former of the latter is described vaov Tov /xev *Y7repjSo)o[eat? avpais t^aixevrfs eju. these (a) and to the story (Paus. [ .]a TOtauT[ Xexos djx<j)eTr6\Xei .6p. [ 10 Kepavvcbt x^ov* avo[t^ais' Zeu?] eKp[v]i/j€V [aTTJavTCos (^Fragments (6) of eight more lines) ]p. "Lrjva Kad€iC. KprjpLvov. 8' Kot'ou dvydrrjp Xvero repTTvds eXafxi/jav 07ra. 5. x. to Motaat.p]dvov. K€.evov Kopv(f)al- -aiv VTTepOe </>uAaf[ai art/c' dyav6<^pa)v (hSivos.] ajiia Na^d^ev Ku]v^tov Xi.TTaporp6(j)U}v 8e ^[ dvai[as 5 firilXcov y^apireacri /xiy8av Trapo. ^dXKeoi {xev tolxoi.(aAKeat d VTTo KLOve's €araa\av pfpucreat 8' e^ VTrep alerov 5 deiSov KTjXrjhoveS' aXXd vtv rjpoveTT]. . .et^[ei'.LITERARY PAPYRI Delphi. Travre-^voLaiv ' A(f)aiaTov TraActjUatS" Kal 'A^[ava?] TLS 6 pvdiiog e^atVero.XaLve^€ evda dpyi^pevrav Xeyolyri 10 .]u/LtV7^crtos' 8pe7r[.[s' aeA/oy Sefxas e's* ^^ dyXaov S80 ^cto? lovres BiSvfiot .e[ ]ova? ]aAa 8' 'A/3Te/zt8[ . rod he.j(.

3-9) . Zeus rent the earth it asunder with a thunderbolt. children of Zeus (a) and One temple in his \-iolence he<* brought near to the Northern Winds. where they say the dark-clouded wielder of the bright thunderbolt. watched * the time when Coeus's gentle daughter her joy. Zeus. and also from Naxos (brought) sacrifices of fat sheep for all the Graces on the crags of Cynthus. . Muses. * Leto. above the gable sang six enchantresses. Walls of bronze. what grace was craft of this. and hid sight. utterly from . But for the other. p. bronze pillars in gold . twin children " and Apollo. 381 . 5 sqq. sitting on the peaks above. Pindar on grounds of style and vocabulary The subject is the birth of the twin Leto. {Fragments of eight more (6) lines) (Vv. pr. its destruction by a thunderbolt was the ofw. fashioned by the handi? Hephaestus and Athene supported it . when : the glorious dayUght they came. . . But . (b) Ascribed to (see ed. (a) 10 viv {fi]pov[Tdt re Kol Korte.PINDAR in detail subject {w. — tell. was released from the travail that was to Bright they shone as the sun. . 10-12.) . 87). .

142 . pr. . 61 Davison.D. 1937. Davison is justly sceptical about — 382 . 60. Rev.] Vogliano. p. . Bowra. lides fr. 47. the second of our pieces begins with the letter A . veoKeXaSos). fragments seem to he a continuation of the alphabetically arranged Dithyrambs of Bacchylides in the B. cit. xiii. and the preference for new formations (cf. 205 and literature quoted there and by Snell.g. and it is not unlikely that the first begins with the letter K (KajSeipot. or Kdarcop Kol HoXvSevKTjs). Einzelschr. 1938. But it must be confessed that the subjectmatter of the first piece is uncertain {Milne may be right in detecting a reference (w. 193:3. 1181. 12-15) to the story of divine twins. Rev. Snell. papyrus. no. 62 Snell. 98. cannot be excluded from Further. 1933. 1934. Class. 169. 5.: LITERARY PAPYRI TratSe?" ttoXvv p6d[o]v teaav drro aToix[aTCOV EJAet^uta re /cat Aajj^Jecrt?* (^Fragments of eight more lines) ANONYMOUS.M. Bacchylide. the Cabiroi consideration). perhaps BACCH YLIDES (or possibly SIMONIDES) . in the first three lines Further : the of the second piece tohepK-qs. Papiri Greet e Latini. 440 . Hermes. one of whom was to dwell in Hades. p. The latter run in order down to the letter I . 1933. 92 . 1933. BacchySeveryns. x. Korte. Castor and Polydeuces would then though others be the most natural subject — e. Class. 84 [2-3 A. *Ed. the other on earth. See Milne. Archiv. loc. Class. Rev. dub. Ascribed to Bacchylides on grounds of style : especially because of the abundance of compound adjectives.

" Now the first of our pieces also may be interpreted to be a poem about women in exile {from Troy) . aXas o^f^ Topaaaofievas) 383 . . « Pamn ANONYMOUS. stronger." Davison argues for the ascription to Simonides. 602 c-i>).j : ANONYMOUS lyachesis" and Ilithjia sent forth a great clamour from their Ups.] papyrus digcotered at Oxyrhynchus in 1928 should Jit so closely on to the end of a papyrus discovered in a tomb at ileir in 1896. But the evidence is not much.. Simonides wrote a poem about women in exile {Plutarch. So far the ascription to Simonides rests on the supposition that his treatment of this subject in this manner must have been unique. if at all. ^ . and their lamentations are in direct speech {l-o).D. MTpfei Be fie TTOfxf>vp€as Kpvoevri yap ev iToXffUM I p . On Exile 8. . perhaps BACCHYLIDES (or possibly SIMONIDES) [2-3 A. . " that poem included at least one lament tn direct speech.. {Fragments of eight more • lines) Lachesis as goddess of childbirth elsewhere only Isyll. But Davison observes further that the metre of our fragment corresponds in part with that of Plutarch's quotation {fr. . 28 Diehl) the coincidence that " a — inro nevOfos ijucvoi _ _ I iTeiesill. 18.

.]raj[v jxeXos 20 dvavBov LT] rjv. 13. can hardly he made to correspond to IV's 8t^ei'a/<-a[. . dveJxoLiJieda V7TO 7T€v9€[aLV 'qjfjLevaL' 6 KpvoevTi yap [eV 7r]oAeju.]/cta[. Davison suggests that it may he a case of a choriamb corresponding to an ionic a minore : but there is no parallel {Simon.]ei/xei^ • ]/itSi .Kai. 21 is far too hypothetical to be used as evidence here). 7 -v. ofjijuara S]vafiev€aj[v. Kvp-a 6ea)v . We must then vJTTep diJi€T€p[as veo- raros €paTv[. <f>drig . .]v eVei TToXv\h€v\hpe\oi\v at[. .€V avdt fM€ve[LV ]^p[ TOV 8 oiiXo/xelyov . . veai 8' eTr€vxo\y\T[o ir).LITERARY PAPYRI Plutarch's next word.6L»t (Fragments of eight lines) pioX eye\ipe\ Toi[a]vTa eVet hoK^.[pov Milne). 15 i]7TacravT€pai 8' la[)(al ovpavov l^ov ovS' dvhpcov [ deXTTTCOL TTepl . dpu/naySoj. . 7Tpo(f)vy€LV dd[vaT]ov.^ap[/xa]Ti [ dcoKoccn jxerel.]a»v 7ro[/3euc7'] ri[s' drr* 'lAtoy 10 a]ft- <f>avh6\y €L7T€ TOV [J.]AAai 384 . whatever that may stand for (At fikv a. OLKpirois av\_ . v. .fr.

" . . but " alywv e uktcov vanno esclusi " ed. I 2c 385 . . . . . too. a . there death. . or a whole line. For in bitter war lines) . .in defence of our youth. and metre" . . .. went up to Heaven for unexpected joy.from god declared openly that one should abide . a sequence of IjTic dactyls if so. the wave carried . . 9 Maas. VOL. that the style of the fragments as a whole is by no means reminiscent of Simonides. pr. . . of course. of many trees. an infinite load of sorrow.. 13 wjap' 'AtSt Milne. 4 avlfxolfuda repeated. (Fragments of eight Such the utterance that aroused For. and the case for Simonides becomes very weak indeed. to text of ed. on seats was not silent and young women . It is tenable. Ilium. and the song of men . treatment. pr. . 12 D. le. are admittedly curious: but in my opinion they fall far short of proof of Simonidean authorship. impossible ace. And . . we should endure to sit beneath . (after Milne). . L. P. " The coincidence of metre depends. . but the other should escape accursed multitudinous cries . The coincidences of subject-matter. prayed . . checks the glance of foemen upon us. Beazley. there is no metrical coincidence at all. on the scansion of iTop<j>vp4as : it may seem more natural to scan tojfci hi jxf TTop^upcaj aXos : afJxf)iTapaaaoft€vas opvfiaySos.ANONYMOUS suppose that Plutarch has " omitted either a word equivalent ." to one long syllable. diovtov Beazley. le. . before opv^iayhos. aK[T}cf)v Milne.

Plate VIII. V. 190 Korte. perhaps ATTIC *Schubart-Wilamowitz. Plate VI. POETRY P. ii. Berliner Klassikertexte. . See Diehl. p. p.] SCOLIA. no. Centralbl. pr. 58.songs. See *Powell. p.D. Collectanea Alexandrina. ii. 2. Alexandr. 1319 . 430 Maas.LITERARY PAPYRI AErKinn[i]AE2 loSepKet TeAAo/zevai KwTr/jiSi v€OK€[X]a8ov 25 e]uei8ea yopov ANONYMOUS 85 DIVERS FRAGMENTS OF EARLY LYRIC [1-2 A. 1908. pr. 1913. . Powell-Barber.] Ed. Two 386 scolia. Phil. 194. Lit. p. Archiv. . i. or drinking. (c) (b) . 1899. p. . Crusius. 1907. . Anth. Lyr. Woch. Schroeder. Woch. destined for recitation at . 1446 Phil. 7] Arjfivos TO TTaXaLOV et tls aWr) €v^a\iJirjv raSe toXs deola airaai (c) 7TT€pa 8' dyva Trap* "Epcoros' 'A^poSira (d) TTapdevov Koprju ANONYMOUS 86 [Early 3 Ed. 220. 1907. B. 1907. 189 Powell. Graec. Grenfell-Hunt.C. 41. Oxy. Collect. 56. New Chapters. 552 Schmidt.

fair .G. Anth. dance of new song for the Cj'prian \'iolet-eyed. of old.G. Gr. 3 sqq. . .pr. Aphrodite holy wings from Eros . 387 I .). . are uncertain. . [1-2 A. Auct." (d) A virgin girl . SaTr^oiJj iUXr) Inc. Lyr. iv. . .c] symposia or banquets. ii.] I. the collection of Attic scolia in Athenaeus xv. the gods . of all cities all . . 499 219 . (a) (h) (c) Lemnos. ANONYMOUS DIVERS FRAGMENTS OF EARLY LYRIC POETRY Diehl. Lobel. and identity of the napdevos ofvv. Greek Lyric Poetry. Anth. Gr* Leo. N. . Thus I entreated . ANONYMOUS Leucippides We arise and (begin) a . ANONYMOUS SCOLIA. . . . • Perhaps a line of Sappho. In (a) the interpretation of the title Ev^paT[ ]. Cf. 19. supplements Ev^paT[is]{orEv<f>ojpaTl(Li]) and appears tounder.D. 215. 181 Bowra. ch. ix. perhaps ATTIC [Early 3 b. .. p. Lyr. 1899. . Ed. 694 c {Diehl.

295. . the captor of Dolon . since she is The identity of the though Athene is the especially the goddess who protects and prospers Odysseus. II. corr. aripiaw . of poetic bteauty. otl Trapdevcov aTTeipooL TrXe^ojJiev vjjlvols rav Sopl acojJiaTL Keipafxevav Tp[ot]av Kara [t]6v irapa vavalv aeifivdajrotg aXovra vvKTi^drav okottov.e. sc. . II. 3 sqq.]a)l' dpri ^pvovaav aotSar TTptoroTTayet ao(f)iai hiaTTOLKiXov €K(f>€pOfl€V. MoiJct' dyavo/i/iare. .paaov ^apircov KpaT'fj[p'] e7ncrT[e(f)€a Kp[v(f)L6v re 7T]/3077t[v]€ [Xojyov. . the " toast " (the poem 388 . napOevos will then remain uncertain most natural candidate. 277. (h) MvrjfjLoavvT] Mouaav dyavojJLfiaTG fMarep [. " i. L. stand by this title identified with the napOevos who is in fact the subject of the song. cf. she is then to be It is however of vv. : -Ti? or -Toj ed.^ LITERARY PAPYRI " the Scout's Goddess " . pr. cL further. 2 * (6) 1 c3 [dyvJcDi [yw]a>i ed. pr. i. where Athene's influence in this episode is particularly stressed .e. ^ Ev(f>u)pa[Tos] D. 507 (a) €]yK€. perhaps more probable that the supplement should be Evtfxx)paT[os] " The Easy Prey. 284. Homer." a synonym for Homer's Dolon. x. ed. 245.]cOt [. pr. p. aVV€7TLa7T€0 CTCOV T€KVOJV .

). Attic songs. that we are going to weave in boundless " chants that Maiden ^ who in presence • with her spear at Troy destroyed the spy ^ caught by night beside those vessels unforgettable. guiding the spear of Odysseus (and Diomedes). no. — The Easy Capture (o) for a toast.ANONYMOUS 578." drink a riddle ^ Give notice. pr. : .) or "songs that shall have no limit or end. II. pr. Nem. Pindar. • An "improveProbably Athene.e.. Memory {b) O mother of the Muses. the Trojan spy in less direct intervention Homer. "Possibly ^p6s oitiari^ " with the dart of a spear. viii. "boundless' in their praise of Athene'' (after ed. Whether the praise of Athene should then lead to the inference that these scolia are." cf." i. x. to take the form of hence the obscurity of the phrases which « Perhaps follow. wie ganz attisch." ed. Pour a bowl brimful of Graces. ment " on Homer: who however strongly implies a "* more or of Athene in this episode. 103 below. of your children we bring out a song but lately flowering forth.B. remains uncertain (N. bedight \Wth newfollow the fashioned art. with gentle eyes." The virtues of the composition are pompously advertised in the 3rd~5th lines : then the proper theme begins the sailor is advised to hug the shore and make for safety when the southr-wind blows a gale.. The poet only suggests that Athene was invisibly present." ' Dolon. like those of Athenaeum. 15 (Beazley). (b) is " so gut A song entitled " Mnj/xoowTj. shall be sung everyM-here for ever: is to : : or "rings (wreaths) of song. which follows) a ypuf>os or riddle be obscurely phrased. the dialect of the elegy tchich follows these songs in H. 389 .

rd^os i€ao XevToXiOcov €V' [677* dycojv 10 . iii. Archiv. Neue Serie. xxii. Wien. 46.(aAe7rai' Kadopa TriXayos. Fragments of Dithyrambic poetry embedded in a prose (a) dva^oaaov Aiovvaov avrcoi. Schol.^eAc6toy hp6o\oi. 126 . and New . Dion. 1935. T on Horn. : but see . (6) 7 wepa -npoiMv coni.ev 390 . 13. ANONYMOUS 87 [c. Dem. Au' lavov TTTepvyas . TTapaTTpOLOiV. Oellacher. V(J)Ul TToSa. 14. Powell. TTapd ydv €K(f)€vy€ votov ^o^epdv [StaTroJvTOTrAavT] jxaviav. The dew of Achelous rain. 263. 136. Erste Folge. to Hymn. See Korte. Chapters. pr. pr. 1932.]crojU. Rev. no. p.C. Mitteilungen aus der Papyrussammlung der Nationalbibliofhek in Wien : Papyrus Erzherzog Rainer. ace. 195. pr. xxi. Symb.] FRAGMENTS OF DITHYRAMBIC POETRY Ed. 1932. Class. d[i. II. Oslo.LITERARY PAPYRI injd t]ol TTttUe] rey^av 'A. Cronert. xi.. " Callim. 1 B. 210. ed. 246 1935. ed.

C. ' «v is ANONYMOUS FRAGMENTS OF DITHYRAMBIC POETRY [c. which may have been a treatise on the great Dithyrambic poets of the turn of the Sth and 4th centuries b. lift up your voice to him but it I We will sing (a) 2 possibly a[ei](mn€v: strange form. Adesp. relax the sheet. ' The sails. (a) . . 248: in all these places *Axc^<Sio5 = divided in II from the preceding and following words by English colons (:). 1 in Powell. is better to avoid the 391 . written about the end of the 3rd century b.. used to denote change of speaker . p.* s^^iftly speed to the light shingle of the shore Keep a watch on the ocean.: ANONYMOUS The dews of Achelous " have bathed our ship cease faring further. Philoxenus and Melanippides are mentioned by name. pr.) (LKeavos. release the wings of linen.] text.c. this is improbable here. as ed. Alex. 2 (Powell) and Panyasis fr. Hurrah hug the shore and avoid the harsh dreadful searoving frenzy of the south-wind "^ ! I ! Perieg. 5. 433. CoUect. observe. cit.c. appears to attribute (f) to Timotheus : I do not know why). {Cronert. or a commentary on one such poet. the (Often significance of which is here uncommonly obscure. 1 B. . Epic. loc.

Trdvra 8' SdjSe/ca olv^t. e7r]ej3a tt^Acottov ISpvdeis d[vv]Spov Ai^vas doTrdaLos TToat Aeifxcovcov repev avuea retpa? CTCO/x' d/ca/Marou (e) vvix(f)av (j)0LVLK07T[r€p]vya' fAcpctTett 8' U7TO ya? ^eVo Ppiapov T€KVOv [xaarols "Apeojs TTCcfipiKog 7ra[i]8ey)u.^/)Uor€o8ovTi rpiaivai.. TTapa S' (Spa. tty[v]a 8pu?* ^uero ardxv? TTaairepiiei.' drvx^o. dfifiiya KpiOaXs dvdel Koi XevKOXiTOJV (Xjua I ^eid K:uavoTpt[xi . fi (b) Z[e]u? /Ltev eVe'jSpe/ie ^dp^apa ^povrai ydv 8' €TiVa|e noCTet8av .LITERARY PAPYRI Upat'S iv afxepai? /Lt-fjva? aTrovra. Trapa 8' u)pa ibid. in note.? if) ]^ ixaXaKOfiixaros vttvos [y]vla 7T€pl Trdvra ^aAtov (o) 5 napa Swpa ed- pr. (6) 1 S92 . (<f) "AJjU/xcovo? a[.]e0A[. [ (c) ] KapTTOJl.

and here seems insufficient for conjecture. 2 may be a corruption or misreading of FLVEITH. . sacred oak . . compound " partly of Tievdos. . but the evidence • A new. («=) 3 Perhaps ^piapoC. : but see Korte.). . 57. encompassing all his limbs . . his home far away and set foot on desert Libya rejoicing. * Subject possibly rounding the fruit on the ear. who has been absent since last year's festival. performed on certain holy days. Possibly a Siren. . : (b) don shook earth with .. (?) .. there grew a corn(c) there ear mixed ^\•ith barley.ANONYMOUS of Dionysus on holy days. cit.* she set upon her breast the strong child of Ares trembling. mourning. Twelve months he was away now the season is here. as " Evidently from an annual cult-song for Dionysus. .* : . Harpy or other ^ Perhaps winged female is the subject (ed. (/) ^Adcv 8]* Cronert 393 . (rf) ." (Beazley). the name of Penthesilea's nurse. . hinting at an Epiphany of the god. all seeds together flowers the white-coated " wheat together with the dark-haired (barley) . ' The coat is the husk surCf. But the general sense is extremely doubtful. unwearied (e) . crushed underfoot the slender flowers of the meadows. Homer. I suspect that the ridiculous KPATEI in v. . of Ammon ** . (J^ Sleep soft-eyed.^ the nursling of Misfortune . fruit . pr. Heracles. unintelligible. : jSopjSapa^povTcu ed. earth Beneath the nymph purple-winged. even he. . Zeus roared with a savage thunderclap Poseihis golden-fanged trident. '' compound. Penthesilea drvxias will then refer to her name. xx. . or epiphany of local divinity . H. and all the flowers ". . . made . . 1 loc. pr. . .

Oxy. 1898. 294. Collectanea Alexandrina. i. Versk. pp. Woch. . . hrj €vda ttoiklXcov dvdicjv dfx^poroL XeifxaKes ^advaKLOv nap* dXaos dfipoirapdivovs cmdoras (b) (c) )(^opov? dyKaXai? Sexovrai.LITERARY PAPYRI (Lcrel fjLdrrjp TratS' dyana- t]ov )(p6vi. Diehl. Rev.G.] FRAGMENTS OF DITHYRAMBIC POETRY pr.D. pp. 192-193. Phil.ir)L (f>iXov /cai )^opoLS i^Serat. Chapters. ii.A.ov ISovaa ^lAcui kJoXttcol nrepvyas dfK/je^aXev ANONYMOUS [3 A. 42 Reinach. 1919.-W. P. . N»u} III. dva- roiaiv dvaTTavfia pioxdniv. Jan. Gr. (o) i. oaris €v9vp. Anth. . Hermes. Q-q^aLS. wpatatv dydTrrjfxa. 1063 . 394. p. Ed. 1898. no. 166-167 Wilamowitz. Gr. Muenscher. Grenfell-Hunt. 1899. Powell-Barber. 9.-K. 67. Plate See *Powell. 698 and Gr. 399 . 54. 54. ii. (c) 1 (w) <f>iXov Powell. (d) (f>€pTaTOV haipLov' dyvds reKog ev [xarepos dv KaS/Lto? eyevvaae ttot Tttts" TToXvoX^oLcrt. Lyr. 14. 478 and P. xi. Et. G.

. are taken from ed.pr. about him on her lo\ing breast . Sroixeux of Aristoxenus ofTarentum. seeing her darling son after many days. Hers. men (d) All-revered God.ic evOvfur/i renders the fragment doubtful the ascription to a Dithyramb).ANONYMOUS casts her \%ings a mother. a chaste Mother's child. • The translations. . and meadows of (a).'* (6) WTio soe'er And (c) Pleasure takes the dance. In good cheer To the Hours Cherished delight. intended to reproduce the original ooetres. compare (a) With the grove of Sappho above. 395 . nor fade Receive in their embrace by shady woodland deeps Delicate Maiden-throngs Celebrating Bac- chus. with the 'PvdtuKo.D. who of old Was in the wealth. pr. ANONYMOUS FRAGMENTS OF DITHYRAMBIC POETRY [3 Fragments quoted in A. Where the fields Which decay Not. Quotations probably from 4th-century Dithyrambs {(e) per- haps from a Partheneion .] a treatise on metre identified by ed. the Ion.Teeming renowned City of Thebes Bom to Cadmus. to Respite for a space from labour. in (b).

26. and also the words in the next line aXX' aye fioi ro'Se. Odysseus only. *Gerhard. 170). prising . are concerned with the underworld. 89.6(fiov 8' acp6[evros.€vcov (2) iixd : addresses his mother.]aev. noXvaivos is used by Homer of possible supplement . 33 S96 . Griechische Papyri .iJ. Now in V. 1938.LITERARY PAPYRI (e) ^dre ^dre Ketdev Tis" alB* eg TO TTpoadev opojjievai' TTod a vedvLs.] ? DITHYRAMBIC POEM ' Ed. 32. The coincidence in phraseology is not very sur' 164. (4) The adjectives iroXimXavjs v. with the above connexion.C. xi. but in a scene relating to the underworld. 43 the speaker ^aaiX-qa TTav8[oK€a. occur also in the scene in Homer where Odysseus addresses his mother (Od. Urkunden und Literarische Texte aus der Papyrus-Sammlung der Universitatsbibliothek. is clearly consistent V. (3) There is some evidence that w. <f>6i. EO/ienSav. pr.Heidelberg. liii. p. the coincidence becomes not altogether negligible. Rev. 48 noXvaivol. cf. d)S eVTTpeTTI^S VLV dfl(l)€7T€t ANONYMOUS 89 [3 B. Class. 1939. no. fxarep these words. 178. noXvaiv^ 0[8va]aev is a (1) V. 47 sqq. 20 KipKas. vtto t. See Roberts. and one already conjectured on other grounds to deal with Odysseus. — . The evidence for the connexion of these fragments with some parts of the story of Odysseus is as follows : . the only other proper name in the piece. BoXon-qTas v.

20. 4 Wilam. the style of these fragments does not recall 397 . . We know that he wrote four dithyrambs on the story of Odysseus fr. But if this is so. Elpenor fr. Further. The evidence for the connexion of w. from whose roof he fell to his death. over the sea. 1-31 with the story of Elpenor is (1) the reference to Circe v. (2) references to death and a burial in the fragments. Cyclops ScyUa fr. it is unlikely that our fragments are part of that poem .) wrote an Odyssey in four books. of Etym. which is the only scene which can be inferred with probability from our fragments. This is therefore a possible. Come ye speeding on to the front. v. there is no room in the above scheme of Timotheus's Odyssey for the Ncjcuca. [3 b. Magn. Who then can that maiden be ? With wliat ffrace about her flows . 17-19 Wilam. ANONYMOUS ? DITHYRAMBIC POEM And 36 dva Kvnara nom-ia fieXalvau. speculation.. for though the reference to Elpenor (if there is one) wouid suit this theory well. Ed. or scene in the underworld . the references to wanderings . 9 — Wilam. pr. .ANONYMOUS (e) Onward. 5-8 Wilam. It is natural to suppose (with ed. onward now ye maids. pr.) that these four dithyrambs constituted the four books of the Odyssey. after v. dXaXr]fj.evost 46 ow vol TrXayxdeis Suit his story well. assigned these fragments to Timotheus : who {according to some uss..c] describe Odysseus aptly.. Laertes fr. though hazardous.

This is the ])Li /xeAeo? S[ .LITERARY PAPYRI Timotheus. ] Ki/D/cas" €v .. PadvTTopos.JyM-ee 'laerj ] 20 8e raffjov arrjpLynaTC T€KV(ov iKeras Trpox^ojv 398 . ]o . {Traces of tfvo lines.]. padvTToXos.]v . pr.) ] . or that he copied Homeric and turns of phrase so submissively.A/ca[ Jara ]ais" fxev (T/coTea[ Se TTOTfjiol ]ap[xevos ajAe[ ^ Kajraaropeaas KJeSpLVOV ] j8[ .[. ]e/3tCT)U. [ eJKi^vyov a. [.' vv€k[ 15 ] TeKVOV tIkvov €[. we miss the extravagant compound adjectives {KpaTepavyqs is bold .. .[ JaAAa ras Aap8ai't[ Juyora re S€a[ including ed.]. dpaavaiyis. evepiaTTjs are comparatively tame).. We miss the bold indeed the ludicrous metaphors and paraphrases of the poet o/The Persians . 77 [ d7Toa(f)aXT[ ] .. Xoyots ifxojv afxoLg olSa yap to? 7ra[ ]u Kvavavyeog ev aye[t. . opa — 'EATTT^i'Jopa ][X7Tpox€cxj ] . GLVTTeV^ ]ei8/A[ 10 <l>]a€a(f)6p[o]v aeA[ioi'] eJTTi Spo/xov ev[ viprepov avyrjv vvkt[ dvT€(f)a€ c5 . And we can hardly believe that Timotheus epithets — — wrote so simply and clearly.

. There is proves nothing decisive. . but . . . Metre. . a tomb TdiJMs. iTe<f>€]vy6Ta.. . orovaxt^]^^ 399 . vei fort. .. . .. strength . doom . . . . where discernible. . . . .. . . . . my . . 16 Fort. . . vpoxfcj.. . deception ajrara. . . L. to the foundation of a tomb . . .. Dardanian .. . . child . . (Traces qftrvo . P. . . some evidence against . in fact no strong evidence it. . . . . the course of the sun that brings light . know how . shone against . . . . of the dark-shining . . . . . ev veKvatv or ev veKpots17 ovfj-Trpoxfoi. with words . . .. in favour of the ascription to Timotheus. . . . . . . to bring safely of Circe . .. .ANONYMOUS lucid tcriting of a straightforward and comparatively unKvfuif the ambitious poet. 12 iiTi D. perished . . strewed of cedar . . unhappy escaped dark . . lines) pour forth for I . etc. . 13 Fort. to the nether rays of night . . . . my . child. . . . . . . . . of . tripped (?). who calls a wave sun aeXtos.. . suppliant pouring forth of children .

ov p^vdcjov oppcav [evTOS TToXvaiv '0\hva\aev c 400 . dve/xot?. /xarep .] [d]AA' [. [ . . tSa. U7TO ^oc^ou /s S^ Of] rade aepo. tat 8' TJyeipov [ ]y)7 fxvxov atAo[ atat 0eoi 17 8e vea ^0 JjU-eVa i/ruxo.. . . . . Kparepavyeai yop[y .JaTOTTveuo-TO? aypa [ 8' v7T0€pei(f)dr] 40 [. . . . [. . TToXvTrXavrJTa 8[ dTrarai SoAoftTjra? 8[ KTOva oS' TTiqpuara 8[ e'jLte Xvypa KcoXvaev aX[ [ 35 d)S OLva Kvp-ara TTOvria pot? dAaAT^/xeVo? rjXv[d oa j3[. . including . .^eaavara davaT\_ lines.LITERARY PAPYRI oi /Ltev ^aOvTTopov a[ [ TToXlvheyjiova 7Tai[. .. At^' a\vv ^ vat fieXaivai €Kcov .]t] . . ] . va? .. [. eXiTTOV . €VV€7T€V 8a[ [. . .]€ vifjiTVTTOV 7r[ . aye piOL roSe t[ 45 .[ eTTvevae veKVO-no [/Lt]aT€p e'jLtd.'\vopbOL . . CO . Od/xa to[ .) ]m? 8 Kttt Eu^€vt8av e .]v a aT€[va]xcLS TraOeojv . ] ] . y . ]op. . . . {Fragments of nine TrXayxdets . . . 25 pas 8 ]t7p' ] .

L. often But come. . . D. beneath the . . . My mother. . . . -blown breeze was dashed down . . . -e. of speech . . . . .. . . . . . . misty darkness 23 ot . . . . corpse. . . . . of sorrows . . . lofty . P.. . grievous he stopped me as in the waves of the sea .ANONYMOUS some the deep crossing Receiver of the Multitudes groans . . and of the kindly Goddesses . impulse . breathed . .. . collected . . bright strong . .. . wandering came . sorrows . . . . . (Fragments of nine . . . . . this. and the young . The Wanderer by deceit the crafty schemer . . . . . me this . . lines) . . . Kvai'av]yrj fivxov rjXvOov. .. . . . . . . . . . . . . . gods soul . . .. . .. . . . . recess alas ! . spoke death . . .. . .

The cult of Demeter was at this time very popular in Alexandria : new details of ritual had been instituted by Philicus wrote royal command vi. p. 258-259). /card fxifxrjaiv tcLv 'Adr]vu>v {Schol. evepicrral daXepdv (f)p€va iSpeifjaro. 402 Hymn — — . avvOel^ .-W. viii. Gnomon. Callim. ibid.r]Tpl re koL (^epae^ovrji Kai KXvfievoji to. 255 and *Hermes. 61 and iii. Maas.v. ovk elSov eSo. Od. Scofjiara /cat ^Oiixevcov ^aaiXrja 77-av8[o/cea] ]/u.S. p. Pliilislcos.^5ovtTji fivariKa i. 1927. s. 442 . ets <Ji)V e^afierpuji (sc. Ench. K€vaa I'ocoi (cf. 4. p. . It was an exercise in poetry especially in metre intended for a learned audience (Gallavotti. 1931. The ascription to Philicus is based on Hephaestion. But it is clear that our poem was not a cultsong. 439 . KXifiaKa) OIAIKOS 90 [End 3 B. Norsa. 1927. ii. See PowellBarber.] HYMN TO DEMETER Ed. New C/iapters. 30. ^advTToXcov. ix. 56. N. . including fiv^ov oj3S' . . Arcfdv. . Stoessl. xopiafx^iKUii.: LITERARY PAPYRI ] . v. 37.-K. Ar]fj. our fragment.) awe6rjKev oXov TroLrjfia- rfji . . Korte. ^av 50 (Fragments of eight-and-a-half avrpov.a]Ta lines. 1927. . Korte. AcujSav . 8a>pa a Hymn to Demeter in choriambic hexameters . 66. 1931. Studi Italiani di Filologia Classica.e. pr. . P. on the same subject and in the same peculiar metre. rijs IIAeiaSoj. is almost certainly a portion of that Hymn. 21 : ^IXiKOS Be 6 KepKvpalos. 1).C. 195 . xii.ev 7Tpo(f)V'y ojv ] Si' ddvarov dpaavaiyiha dnelpova Kv[p. 87+GaIlavotti. t\_. no. p.

. 1). . in the manner of subjects doing obeisance to an Eastern potentate. . The A woman (or Nymphs and Graces and a crowd of mortal women do homage to Demeter. OiAt<coi». goddess) has just finished speaking. varied in incident. The poet. by showering leaves over her only they must throw whatever plants or grasses they can find : there are no Then leaves. Sojpa So far as we can see.voypa4>ov irpos vfids). composed solely in lines of this metre. i. They honour her. aegis. .Koi. for Demeter has made the earth unfruitful. almost certainly cnnSeaecos from rrjs the beginning of our ypayni. . original in metre. .aTi."^ The action from vv.. as mortal victors at pan-Hellenic contests were honoured.c] 443 : evidence of the line quoted by Hephaestion. 31. the poem is teas obscurely learned. poem. Paus. 4-15 fairly clear. from Hahmous here apparently located among the hills of Attica comes lambe (there was a shrine of Demeter and Persephone at Halimous. 403 . [End 3 b. . <f>€pw Kai. through the boundless waves . escaping death . .. . their host. houses and king of the dead. of the bold .— PHILICUS illustrious Odysseus . (Fragments of eight-and-a-half lines) PHILICUS HYMN TO DEMETER p. inspired — — — " as The metre had been used before (by Simias) but so far we know. no poem had even been or ever was again — .

a]v TTevKas dveXov. but promises to find a remedy for Demeter's sorrow.. who consoles Demeter. Trja? Se yvvaLKoJv d[p. KXv]dt Xiras fXT}rp6Qiv avrahfX^ovs i7t]is oixoa-nXayxvov edpetjja Kvirpiv 'Q. Xve ^apelav o(f>pvv. was his nurse. that they are a speech by Peitho (Persuasion). now warns ns women and Demeter with rough and ready familiarity apologizes for her uncouth manners.. 22-50 have been. If the supplement in the third line is correct. . daughter of Oceanus... and can be. the line is most naturally taken as an address to Zeus. variously unfruitful. V. and offers her assistance in recovering Persephone from the underworld.. But great difficulty is caused by the fragments of lines 24-27 . with habitual skill. It is probable enough that the first 21 lines narrated some part of Demeter's search for Persephone. rj fikv [e]Ar^yev [/cara/couoyCTt S]e Nu/x^at re ScKatas Xap[i]TeV re Ilei^ous'. 404 . . firjTpi 8' €ya> avvaip.. forecasts the institution of the Eleusinian mysteries.. who is then the speaker ? Neither Demeter nor Peitho can ] ayov ^€pae(f)6vrjv vtt' aarpa a<f>aX'qcrei.os /xJeyciAay KoivoTrdrcop Xox^vfi.. 202 : sqq..LITERARY PAPYRI by the Homeric Hymn to Demeter.a kvkXcol re TTJept^ 6^ iap-os edojTTevae TfdSov jUeraJTrot?. JaCTiv 7]yr]aafjiev7]s ovOev ifiov dAAo. interpreted.. reminding him But that Amalthea.. .. Korte argues.Keav]ivr] ydXa aoi. that ichat follows is comic lanibe addresses the . The action of the 50 fragmentary verses which precede 4 in the papyrus is excessively obscure.. and told how the earth was rendered Vv. admits that she has no gifts such as the goddesses and women offer.

. and together in a ring around her all the swarm of women did . . . her connexion with the Oceanids may have remained close. as well as the same mother. . because she had the same father {Cronus). . Dione is anciently a daughter of Oceanus and Tethys {Hes. because it wovUd not be Demeter. neither Peitho nor Demeter can so far as we know say ofioairXayxvov edpcipa Kvnpw. unknit your hea\'y brow. 2 a/xj3]aacv Beazley. Theogon. 12). But I have no evidence for a close connexion of Dione with Demeter. Apollod.* ". shall bring Persephone to the starlight . and therefore no reason why she should intercede in this poem on Demeter's behaif. brought up Aphrodite {edpeif/a Kvnpiv : ofiooTrXayxvov obsister scurely referring to the fact that she is daughter in to common Zeus and Dione) : further. not on the father's. . possibly the next line continued Trarpi re. 4 KaTaKovovai. you never stumble." — — — suits the four fragmentary lines quoted above is Dione. hut can do nothing to remove them. So far as I can discover. . it may also be said that fj. Or Kal -narpi ." true Further. where I lead.rp'pl 8' iY<^ awaifjMs is a most unnatural phrase for a it should mean " I am of the same sister to use to a brother gay nrp-pi . i. although she is here regarded as daughter of Uranus.PHILICUS 8' eycl) avvaifws Peitho.." She ceased the Nymphs and Graces hearkened to righteous Persuasion. is She of Rhea.. but the phrase HJjrpoOev avTa84X<)>ov^ suggests that the speaker is sister of the listener on the mother's. therefore a sister of Amalthea ('f2*fcav]tiT7 yaXa aoi) SO. side . the only figure in mythology who kin as your mother. Beazley. Korte admits these objections. as Zeus . Take up the torches. : . . 405 . Zeus' s mother {nrjrpl S' cyw avvcufios: will then = of your mother's sister): she fiTfrpodev avraS. 353 : a Nereid.

^ea. ovdev ipol TcbvSe [TrdpeaTiv y]€pas' aAA' [cr]e[i?] 7r[e]j'^o?. 14 yrfAa t]€ Gallavotti. Various punctuations of the end of the line. e/c KaipCav Se. TTjv 8e yepaLCLV 7Tav[d7Tv](jTov jxev opetoLs 'A[A]iju.. c3 eiraKovaov ^pa)(v jxov tl Kephos.? rjdeai.oi. Norsa. 406 . Tivos eareiAe tvx\jiS' tolui Se] aepuvols 6 yeXdlos Aoyo? dp' aKephrfi^ e'^^e'y^ar' [d<f)ap 6a]p[a]aX€OV /cat /xe'ya* ^17 ^dAAeT(e) x'^prov ardaa yap ov ToSe /cat alyu)v aAA' dfi^poaia 10 S[ar/x]o[i']. yaarpog epeiafia XeTTTrjs.[s. eK Se yvvaiKcov 7r[e'AeTat vrJ]f ^OTavr) haipov oKviqpds eXd(j)ov Statra. TreAerai vvv Vogliano.^e'a[a' to? hrjjxoTig' at deal jxev a]i' oLTTOtKovaa AdAo? ]e /cat atSe. [TTOTVLajv Powell. ^IdfjL^rjs TTeii'tDm-t ^ecDi [(/)d/)/xa]/coi'. Pohlenz. dp' a/cep87.. fiova yrjs aKapirov. Gallavotti. e'yco Se Auao). Lobel. ao6 /cuAi/ca? [ o-re'/Lt/xara Kat [jSJaTTTOJ/ u'Scup ev vypcot. 7 TravaTruaroi' 8 rolai Se Lobel. LITERARY PAPYRI (f>vXXo^oXfjaaL l^(x)(f)VTa Se deav [ ]v ea-^ov to. cri) Se r^? 'Ar^tSo?. corr.15 6 [aSAioJv Gallavotti.. elpX S' aTTaihevTa . 13 aiSedeai IT: 6ed. et p^aAct. 11 o) Sai/iov Schmid. Powell. 12 End ai^eaiixev IT. .

dipped into nayav Trpoieiaa («c. 123 Pairrav KoAmac pirrav " a flowing stream. all unknown among her mountain-haunts. . plants from the barren earth all that was left they had. : : free. to fooUsh chatter like a country-cousin gossip. if you vdW relax your sorrow. Goddess. For leaves to throw upon the goddess. * 38 A." So here "water dipped-into (with or by But I have no great confidence pitchers) in the flood. The tale of humour is good for the — — solemn spirit. . .PHILICUS obeisance ^\ith their foreheads to the ground. cit. give ear to lambe from Attica.T. She stood there and cried at once aloud and boldly " Don't throw her the fodder of That is no remedy for a star\-ing god it is goats Now do ambrosia that supports her dehcate belly you. 3. 90. 199. great Spirit. ireTpa) with pitchers." " For the constr. . another view see Powell. Now by some chance HaUmous sent forth that old woman. I will set to give ! — . Not one of such boons is mine yet. I . Cf. . Eur. chaUces and WTcaths and water drawn in the stream * and now from these women your gift is the grass. et/xl x^<^^°^ <"/• S. yet timely come. These goddesses have given you. Kuhner-Gerth. the diet of the timorous deer." For in my rendering here and elsewhere in this piece. O. : — — 407 . i. Hipp. loc. p. I have given " tongue I have some benefit to offer.

. : * * Sc. next note. pr. Ed. 1938.vpohlvr} rpiaivav e^ovra tu HoaeiSdv Zeus" 8' eXax^v K. observes that the writer the regular combination seems in w. fxeXiaaai. Pindar. xiv. Carm. KMjpos 408 . " bees " cf. the gods. p. 3-10 to be contradicting Callimachus. who (Hymn to Zeus 57-66) had denied that the three gods cast his lots for their empires. " Lit. aKovaare.LITERARY PAPYRI ANONYMOUS 9] [3 B. The chief interest of this poor composition lies in its metre: of dactylic hexameter and tetrameter is familiar to us from Horace. but unique in Greek literature. 7.] HYMN TO DEMETER Aegyptus. Tis riva x^pov dvd^ei. 1934. 60 and Schol. 447. *Roberts. maintaining that Zeus won his place The poem may have gone on vjfxvov A-qfxrjlTpjos TToXvcovvfiov dpxof^ai laT[dv St]7rAa/<:'. of honour by own prowess. xiii. 28. An ungainly sentence. 10 one more line) 9 ev]pvv Korte. i. See Korte. Sevre. Kal tot' aTTo KXrjpojv fiev d(f)LK€TO S[ (Traces oj" *AyecriAas' 8' eXax^v rov cTreadai. Ed.povLSrjg pieyav ovpavov aarepoevra deviav e^^' i^acriAetai/* Td[pTapov ovjpov Kal Trdaiv jJLaKdpeacn Ta[8 rjpKei. 89. j^epcrt TTpwTcoi 8' -^Xde Xax^Zv ttovtov ^advv dXp. eQevTO 5 Kal Tov iv adavdroiai deoZs fieaaTov ttot KXrjpov. pr. cf. Archiv. iv. P.C.

i. IIoCTeiSai' ' Form of name 798. a twofold hymn to Demeter of many hither and hear it. 195 . Zeus.ANONYMOUS ANONYMOUS HYMN TO DEMETER to tell [3 b.). Hymn v. Gr. pars occidentis obtingeret (ed. pr. known only from Kaibel. fidXiaaai for the priestesses of Demeter . To him first came the lot. 1 1 Plutoni. Ar. which one should rule which district. Callim. it is a schoolmaster or how quickly and work of CaUimachus {and others) penetrated and provoked imitation. cui nomen Agesilao.g. won the wide starry heaven to hold forever as his kingdom. Ach. AyeaiXas for the king of Hades . de fals.. is accus. 130 . priestesses a time they ^ cast the lot amidst the immortal gods. And all the gods were satisfied there^^ith. Epigr. cf. Here the influence of learned Alexandrian poetry is clear from both metre and style (e.c] how Pluto stole Persephone.** who holds the trident should receive the salt eddies of the deep sea.vpo8tvr]s). 409 . Xaxelv epexeg. infin.*' that he Poseidon. (^Traces of one more line) •* the subject of ^Xde. Lactantius. it is the : work of an amateur.g. the son of Cronus. relig. . . and the compound public servant interesting to observe how far the ' (new) dXfi. And Agesilas * won Tartarus to be the district of hjs tendance. This piece sense : is not "literature " in the narrower Alexandrian e. the form IIoaei8dv accus. And then from the lots arrived To raise names I Once on start — <* ! — — . and how Demeter sought her.

vovt. Wilamowitz. 296 . Lyr.] Grenfell-Hunt-Smyly. Collectanea Alexan1902. dXoxov. n. See *PowelI. . 82. Plate I.€v' 410 . Gr. 185 Timotheos : die Perser. Anth. (a) Brief lyric poem.ov etX' "Apreju-is" a(f>dyiov *Ayap. ii. p. daropy' . aKpois (t') KXcoal TtLtVOS 7]p. (b) ^ovdd Se Xiyv^ojva opvea {d)v 6771 hL€(f)oira (r') iprjpov hpios.er)epLoXev {avTiarp. no. 3 . The Tebtunis Papyri^ i. (arp.€p. p. i.. Diehl. presumably incomplete. LITERARY PAPYRI ANONYMOUS FOUR HELLENISTIC FRAGMENTS 92 [About 100 Ed. Gr.C. in which Helen complains that Menelaus is deserting her after their return from Troy. TJv AavatSav Xo^os {p. fxovov rd/xa Koybiaai deXcov Xex€a TrdXtv els Trdrpav. 1. 343 Powell-Barber. p. Versk. New Chapters. dTreis.) 10 rj? ev€Ka TratSa rav dyap. pr. vvv 8e jxovvav d^eis p. . ii.) ore hopari TOLV TToXeixiajL ^pvycov TToXiv eTTopdeig. B. 1. 56. drina. p. G2. p.

heartless. when me. according to ed. in a com- bination of lyrical metres. 5 fiova H : possibly fiovas (gen. you cared a \ision of love and joy to me. the second go. eager only to bring me back. fem. sing. the lonely woodland " perched on the topmost pine* This poem is our only evidence for the desertion of Helen Iphigenia.] (b) An elaborate and " dithyrambic " description of dawn in the country : the writer displays Ms considerable know- ledge (c) of bees. your wife. will you begone. leaving your wife lonely. and (d) Couplets of an epigrammatic sort. for whose sake Artemis took that unwedded maid her victim from (a) You were for '' Agamemnon (b) ? Birds nimble and musical were flitting through . by Menelaus (a) after their return to Sparta. concerned with sundry aspects of the passion of love. Extracts from an anthology.). Our four extracts are followed in IT by fragments of two more one poetical. of the same sort as (c) and (d). if was a curiously heterogeneous collection. pr. : but. to my native land.C. Wilamowitz thinks that the papyrus may be the result of a writing-lesson (pieces dictated by a master to a pupil learning orthography). it — {obscene) in prose." whom the band of Danaids pursued. But now. 411 .ANONYMOUS ANONYMOUS FOUR HELLENISTIC FRAGMENTS [About 100 B. when with foeman's spear you sacked the Phrygian city.

Collectanea Alexandrina. dvi](f)drj. Woch. . cficovals. See Powell. Schmidt. ^i\eprip. after ed. Kal [S' apx^TO. Powell. 131. 1908.D. 465 . ra to.LITERARY PAPYRI KeXaSov TO. ^coarpevvT* av oprj XaXcvat. (c) epcjvra vovderovvre? ayvoeZO* on TTVp avaKaiopLevov eXaioji deXere K[ot]/xtcrat. 1907. : TaSePcooTevovTOTopr] U^.os 8e i^a7raicr(tr) AaAos" dv'Ta/Aei/Ser' a)(d).] LATE HELLENISTIC ANAPAESTS *Schubart-Wilamowitz. he. p. {d) ipcovTOS TTOTC jxev ^^xh '^*^^ XafXTTaSiov vtt* dve/xov ttotc 8e rrdXi KOLfXLl. ANONYMOUS 93 [1 A. (6) 8-9 Ttt S' ejSojaTpef tot oprj Powell. V. witz. p. Phil. Wilamo10 Or vdirais (a). 2. pr.. eaiya. pr. fxeu Tct 8' TravrofJiiyrj. e/x]eAAev. Berliner Klassikertexte. TaSe^cooTpevovTavop-q H^ : corr. Tndaval 8 epyarihes aipLOirpoac^TTOi ^ovdoTTTepoL /xeAtacrat dafiLval depeos epiOot XiTTOKevrpoi ^apva)(€Xs TTrjXovpyoL Svaepcores aaKe7T€LS to yXvKu veKrap fieXiToppvTOV dpvovaiv. New Ed.€rai. 187 412 .

ii. G. others sang aloud and spoke with voices on the hilland Echo talkative. now kindled. v. ANONYMOUS LATE HELLENISTIC ANAPAESTS [1 a. Berol." " non-mating and so producing no from love. Gr. Plate Xlb. summer's toilers in a . swarm. that the second line of this and the first agree of the next fragment should not be converted into iambic "^ trimeters." as being • I offspring. Archiv. some silent. ' References to a variety of bees (found in Powell. Graec. prepare. sides made answer in the glades. that loves lonely places. Anth. pr.] Chapters. ii. " Egypt) which build cells of mud against stones in sheltered But see Powell. transacr*ceport and mould into shape their building materials. Schubart. iv. " the epithet wriXovpyos is particularly appropriate to the species Chalicodoma. clay." cf. p.** (c) When you rebuke a lover. New Chapters. 63 situations. 198-199 (Powell)." ed. 57 . 154 certissub legibus (Powell). 413 . draw up the sweet nectar honey-laden. The willing " busy bees. some pausing. " Averse TTcis are wild bees which have no hive. Diehl.* (d) A lover's spirit.winged. Lyr. * See » Vergil. nimble. are and now die down again. i. Korte. in deep-toned. and a torch in the wind. stingless. iv. 310 . you know not that you seek to quench with oil a blazing fire."^ unhappy unsheltered. Pap.*" love. Vergil. some beginning. snub-nosed.d. which visibly collect.ANONYMOUS branches they chirped and twittered in loud sweet jargoning. with ed. 557 .workers. G. preface xii. pr.

We know with an easy nothing of (a) AItcoXcov t' 'HA[etor] edvos AvfiTjs re kXvScou. dvT]T<jij[v Sopl KOiv ao(J)Lat. who Elean because coasts . Homer to Cassandra.evoL fieyaXvvovcriv TTjV T drro ^\ovaa)v d(j>dirov avSrjV t]v ai) nepi/jivaLs ralaiv drpuroLS 15 KaQv(f>TqvdjJLevos ttovtos tis ottcus" eTTTUcras" aA[Ao]is' [o]v [fJiv9r]Tot]s (l)U)alv €7T* d/cra? (b) . -^XOlejv VTT* avTTjv ^evyXav dvd[yK7js' TTp^oavoXov olKrpds fierd TrapOeviKlajv TTaihcov i\o. t' Tei'/X7JCTta8[€S'] dv€TOL OKOTTiai. the Locrian coast is " near the sea. (b) May be part of the same poem as transition from (a). Strabo ix. 5 TO t' 'Ept)(dovLou ^XdaTlrjfx] dporcov.x^^ fieXos ol[xa)^aa\ 414 .) . Athenians are "children of Erichthonius. Of? HaAAa? dvaoa €^0x0." a quality which shares with other the sea " the wave " of Dyme because it borders represented by the obscure Teumessus {this trait borrowed from Antimachus. 409. "OpL'qp' . cf.LITERARY PAPYRI catalogue of districts in Hellas : all of them praise is then extolled as the creator of all poetry. The description of the places is indifferent work : Aetolia is (a) A Homer..s dveypatpev. Wilam.. its hero was Elean Endymion it . Boeotia is commonplace description. 10 acojv TTavres. yXavK7]g t€ 7TeA[as'] AoKpiSeS OLKTai. alverov vfivcov (jivaiv ['qp]a)iiov Xoydaiv ^eponiov TTapahe^dp. TO T€ KpiCTatcov ^ddeov rpLTToSojv u\ji]vu)l86v opos." a Achaea is .

inherit and exalt the nature of your heroic song. 767. forms became Tragedy after other lyrical 30 above) . which must still have been its acknowledged model. 426). together with her maiden daughters wailing a song that went in hand with cries of woe she sped to : 22. : . . e'fiTj/ieff/xtVa dpvTOfj. . and the sacred hill of song at Crisa's tripods. .H. " Cf.d. praised by the chosen among men and praise too your deathless voice. Aelian. This specimen is remarkably similar inform and subject-matter to no. 25 sqq. of anapaestic lyrics survived in obsolete {see no. (a) . eirrvaas is not {cf. It is etc. a painter o? eypailie rov /icv 'Otiijpov avTOv ifiovvra. and to Eur. . pr. whom above other mortals Queen Pallas has recorded among men vaUant and wise all these. 30 above. and the men that grow in the fields of Erichthonius. lack of taste in phraseology. are a periphrasis for rLs Irwcre y-e . We observe in it monotony of metre . which ^\ith such unwearying labour you wove then Uke the sea you spewed it forth to a pattern upon the shore « for men that have no poetry. V. . Homer. tovs Sc dXXovs iroirjras to. Tro. xiii. and the desert peaks of Teumessus. : . and the metre was popular for many different kinds of composition in the 1st century a.ANONYMOUS this kind of composition.): enoOyra is coarse. but doubtless vaguely Hellenistic.). The influence of Titnotheus is obvious in the phraseology (cf Toaov cjhlvwv oxtjijm Xoxevdiv = ctxIM" tooovtcov reKvwv : The writing IT. 415 . gift of the Muses. (b) She came beneath the very yoke of Necessity.€vovs (ed. Iliad iv. and of imagination in The time and place of such sentiment and description work is unknown.. curious that this part of ancient drama still inspired imitation so long after every other part of it had ceased to do so. the wave of the Locrian shores near the grey sea. Dyme. and Elean race of Aetolians.

Journal des Savants. Toi' y]7To K-at]/30? avotyeti' GKOTcaig ^[vj^XotaL Xoyov pi kpv7t[t6v]. a. Fayum Towns and their Papyri.] /xi»CTTt[8a S' 6p.[o]?. 25 ^ucrjiv. e7TtCTT]jU.cf)rjV 6] Xvpat. ii.^dpSou jLteAo? d[p/xovtas'.D. Xvypdv evpev Kava\j(f\s. SovXt] AavacDv a[rjs] ya[p yevjea? o 7ra[A]ai6s' Icov deafJLOs e[Ae]y. no. avdyKT] Trpos [^JcD? TrdaL ^e\^aiav pil^coa]ev a[aaf 30 Trap' epLoiyc. p. 2.[ {Obscure fragments of six more ANONYMOUS 94 [End 2 A. 416 . Jrchiv. 1900. [Trarjcp.a)vrjs 8eafji[6v] eXvaev TT6r\yL EiAJrj^yt'. 25. 82.X\^Krjs] dXy ovarii 35 arvyvov a].] A VISIT TO THE UNDERWORLD Ed. avverrjv [Movaav] deiaas lines) 9eap. 1901.oLh\riv 7Tp6 7Tv\Xa)V \lepd)v Kr]vTTOv Xo.(et Td[crop' tuJStVcDr rt? 8' rjpoa' IJjJ^rjV ax^jfJ-o. ttlotiv dvqrols dva^ ar\s dirlp (f^vrX-qg euoj]Stvos" piovv7]L. pr. See Cronert. *Weil. 358 . ''Atpo7t[o]? vea[/)a. Grenfell-Hunt-Hogarth.LITERARY PAPYRI ler' ^[tt'] a/cra? [o-yv/xJupojueVas" 20 SeCTTTOTi? 1^ 77p[t]v aKr]TT\rpa>v ap-)(\6s.Xox^vOev. ^ TtV[t hrj] top [vJtto t. p.

. : . A dismal incantation he found for me.formerly no doubt Adventures of a VOL. now illustrious slave of Danaans. In me alone of your noble race. . the Master planted knowledge that all men should trust. above. when I shuddered before the holy gate at the clash of the din of bronze. 22-23 em cr)j/i[ai]a$ 31-32 Schubart. For the ancient Doom of vour house has found out in its course all the fair children of your travail-pangs. .ANONYMOUS the shores that moaned in unison Avith her.] descended to the undertoorld in order to converse tcith a woman.d. [S^] ya[p ed.1 2k 4. once a sceptred Queen and ruler. Who was ploughman of the fields that grew me ? For whom did gracious Ilithyia loose the bond beneath the girdle. a mystic oracle. my father.** the hateful song of stringless symphony he who sang upon the lyre a hymn of wisdom . ANONYMOUS A VISIT TO THE UNDERWORLD man who [End 2 a. : text Schubart. now must I sing it to the sunlight. 25 sqq. pr. . (Obscure fragments of six more lines) " She refers to the beginning of the Trojan War. now dead.. Doom in another guise ? The time has come to reveal the word that lies hidden in the darkness of the Book. In vv. I do not know why she should be in doubt about the identity of her parents.17 .

and persuade Charon to ferry him across the Styx. Vergil. or adequately punished. He must now soothe Cerberus. he crosses the Acherusian lake. Kap. and the motive for the pursuit is (so far as I know) unique. His life has evidently been brought to ruin. several stages of the visitor's journey can be Xo^rjv 8' drpoLTTOv Tpi^o[v ipTTvaag TOTtOV -^Xde TOV Ol'[T]t[? CTTrjXO^ €KiUV. " Col. divinity whom he addresses. and invokes the gods. souls have their abode. sacrifices. vi. There follows an earthquake . 6 l/x]oAev vvXr]v. the visitor enters the underworld through a chasm. a.g. 1. apart from details. and seeks her out among the dead to upbraid her : he accuses her of deceit (ti Sc /x' i^ana- Twaa. and other sources : Helm. There are other descriptions of a voyage to the underworld in Greek and Latin literature. lugentes campi. Lucian und Menipp. (2) the place where guilty ghosts are punished. He then arrives at (1) the Plains of Sorrow. He blames the woman. no doubt the entrance to Hades. 11. Ne'/cuia Ar.).. In our poem. in Aen. 1906. Menippus . ibid. fiaKap. 11. the living visitor to the underworld must first undergo a certain preparation and ritual. Frogs . The details of the journey also diverge considerably from traditional lines. 9 npoThe divinity should traditionally be laeX]v\vdd ooi. Lucian. (3) the place where the pure. Here he meets 418 . and authorities quoted there). and other stories of men who descended alive to Hades in pursuit of a woman : but this fragment's description of the journey is gruesome and horrible beyond any other. LITERARY PAPYRI his wife or mistress. where the ghosts await their turn for trial by Minos. col. Homer. Traditionally (e. . in the scraps of 17 lines which follow our fragment— itselfpreceded by scanty remains of 2 columns) and complains of her luxurious living (anaraAojaa. cf. When all is ready for the adventure. So much for the traditional outline.

" axavijs " vast. an oblique road to — — The author was using highly poetical language. wherein he observes a multitude of corpses violently dead and cruelly punished. rdhjv (new in literature). For fiaKap vocat. 565. etc 419 . Here he sits on a rock and Why ? Because some part of it is to tries to catch a fish. came Along the oblique pathway he to a place whither no man ever cf. The position and description of this place do not suit the Acherusian lake .B." different kinds. He ignores Cerberus. The language and style of the poem preclude a date of composition much earlier than the date of the papyrus itself. borrowed from classical and post-classical literature of ened. 258 Helm." Rare uses are averov " consecrated. The visitor is now on the verge of a field." €fi<f>oPos "frightdiscerned. The visitor continues his journey across this river. N. crept. Lucian. aKoXomCo} "impale. This grisly fishing remains a dark mystery. . . Hel. Verg. It is clear that the poet has departed far from the firm tradition about visits to the underworld. or a further stage of the journey) the visitor arrives at the Shores of Ugliness. Menippus p. and think it an improbable act at this stage of the journey. be an accessory in his evocation of the dead woman with whom he wishes to converse ? I know no evidence for it. and came . Arrian. who cannot be conveyed across the river. especially TpaxrjXoKOTTO} (Plutarch. Ba. 375. Eur. Epictetus). 29. Aen. sees nothing of the Seat of Judgement. to Hades" — leads First. the bodies may be those of the unburied dead. Lucian und Menipp. cf. Having passed through a " toilsome land " {which may be the region just described.ANONYMOUS perhaps the steep entrance a place where dogs are devouring bodies. of his Hecate. . femin. . dispenses with the aid of Charon. vi. it is then probably the nearer side of a river encircling Hades .

.KaXiov hepcas €XKv[aas 30 420 .iCT[a]? dyKiarpov. <j>pt. dverov (S)e ttovols KpaStav (j>€piov €7tX6l^€ TTpoTTavra Sdos fiedeis' j"a>? avTOV exiov eppcoSi vopov. 15 dxo. OTavpovp-evcov Xvypd crctj/xaTa 8' [tarja^' vnlejpOe yrjs 26 TeTpaxr]XaK07T'qp. ^6^0£ yOVV Set ['jU. dvrJKe ^adel ^u0a)i.6v avea o ^evios. iXd[ji^av€V COS" ovSev oXojg TOT [[ KaTO. SeAeap 8e Xa^cJov. TTjv vr)xofji€inf]v S' e[A/<:]a»v [Tpt^a. LITERARY PAPYRI €(f)0^€lTO' /caro. .(f)Lyyi€VOL.](^OjSo[v ^ TTaaav €Tvy)(ave Ga)fxar\a' TToXXol Se /ewe? Trepl rovs veKpovs 6oLV7]g X^P''^ -qactv a. fiiapd 8e Xvdpov tis CKeZ ttvotj.[e]va Trpoa^aTOJ^' €T€pOL rrdXlV €GKoXo7TLapi€Vo[L CKpepiavTO TpoTTola TTLKpds TVXf}Srioti^at 8' iyeXojv /LieA[e]ov vcKpaJv davdrov rpoTTOV 6 Se iarecfiavcolpievai. Tov ^vdovj] Kara dvp. [.crTpa77[eA]oi' (f)6daas d[a]x'rifJiovas rjXde Trap' rjLovas. .'f 10 K[a]l Srj )(66va 8i. ivdevSe Tr€Tpa[v] Kadiaa?.ju.. ore KaXafiov fiev ehrjae veKpdt rpixi. /cat i/ra. .ves yap e/<:eiT[o tciSJtjv rrepi^ 20 SaTTcSov yepLov alvopcopcov veKpcov ireXiKL^opievcov.

rock. 421 .. . impaled. his He. 9 Possibly a conflation of two lines. hair. down catch Yet when he drew forth he could the swimming all. were laughing at the miserable manner of the corpses' death. one beginning to? awrov . again. their throats but lately cut. . hung the trophies of a cruel The Furies. So swiftly he came to that toilsome land. lay a vast plain. it he took bait and feeding the hook sent to the deepest depths. . Above the ground stood Others. For stretched around there of corpses of dreadful doom.ANONYMOUS own will. 3 ^fufmBov Beazley. 8 cwAoei^c IT: eVoSi^e Weil. crowned with wreaths. labours his the corpses to feast to all Yet —for heart was dedicated —he put terror aside. . dragging shuddering frame along. then nothing at . like pitiable bodies. . There was an abominable stench of gore. . and floated through the region. Bodies there were over the path and many dogs had come around upon them.. destiny. the Shores of Ugliness. •> the other ending exw 17 cos (8') Weil. oppwSei nopov. full beheaded or crucified. since . There. sitting on a when he had bound a reed with corpse's hair. Afraid was he —fear all bound his affrighted : knees. 18 Cancelled in IL • • .

hiaaoZ\ai\ /cAaSot? hehi)(aaixiv\rj' 5 ivos €K arcXexov? hvo 8' €7tI T['qv]8€ ^XeTTOvcr' €7rt rjv (f)v[Td. see ed. New Chapters. 1925.LITERARY PAPYRI ANONYMOUS 95 [11-111 A. METAMORPHOSES viii. Ixxx. 201. Korte. Thus (a) 1-3 the mrvs introduced an allusion to Attis (for his connexion with the tree. S[e^t]a TrXevpd ^eXiSova fX€X[avo] 7TTepo(f)aLoXo aco/xarlov ctt' dpia[T€pd S' e)S]Ae7r' drjSova 10 'yo€po(jT[ovo6p]7]voXaX^IJiova. and v. top 'Itvv /caTa/cA[ 422 . 331. p. aiyeipos CTretra ri? tjv eVet. . /:A]eTd Tr]p€a)[s appears in a small fragment of a line below) . See Powell. pr. legends they were associated.D. lktIv he veoaatov dprrdaas 'yapiipajvvxovavTO(f)iXdp7Tayog SL(f)vov[s arjeXexovs fxeaos LararaL' aToyiaaiv Se Karr^adie Ka\l yvddoC\g. 256 Philologus. 335-336) . Archiv. 15 eaihovaa S' CKpa^ev dr]So[vL?' Tov Itvv.] Ed.[aaev. and in a fragment too slight — — with which A description of trees and plants with references to the evidently for the most part stories of metamorphosis 8ta rovTo TTiTVs Kal dlpearos ^v 0iAoyaA[A] o^pax€iovorvfX7T[dvo}i Jiopv^avTL KoXudpo<j>LXdp7Tay\L. d7T€davfji. pr. 4 another tree brings in the story of Tereus . iii. Bilabel.

-rjvo is 423 . on the left she saw a nightingale. black feathers on all its body of dark hue . V. 11 lf€ ^Ae'iro* consists KoXov. . 10 Beazley.d. ed. She looked at it. . . pr. 12 veoaaiov Powell voaalov (ed. the lover of the tympanum that clashes on the arm of Cybele's priest. 2 ] oAAo <j>vt6v jSAeVo). (ffTcjAe'xous [ivpprjs inKpds precedes to]vs aaejSer? The less trees are introduced one after another icith a more or Ti i^VTOv fixed formula. cf. ANOVi^MOUS ANONYMOUS METAMORPHOSES [11-111 a.] for inclusion here the story of Myrrha'g passion for her father teas told in connexion with the tree tchich icas named after her ydfwvs). the moaner and mourner a kite had snatched its young .. ibid. on the right side by a swallow. pr. pr. ^kite . — . ^uXop-vprro- — — And therefore the pine found favour with the Corybant. split into twofold branches from one stem there came two shoots. 4 auyeipos fireiTo. rpvyoawfjuiTos. ed. Next. there was a poplar. Remarkable are the long compound adjectives other fragments too small for inclusion here present the surprising words arjiiaTonouciXos.. The metre of anapaestic dimeters. ns rjv eVei.4M ' . . *(aTcucA[acT(u. 17 Prob. ibid. of hooked talons. and shrieked with a cry for her Itys. 3 Jecra ttitw pXemo. C. her Itys. and was amazed. then unintelligible. . .: . frag. C.). : but for (to) 11 Beazley: yo€po(rr[evax]r]vo\aX. of which the second closes in an iambic. B. the lover of theft of figs. lover of all thieving and stood in the middle of the twofold stem its beak and jaws devoured the brood and the nightingale saw it.

and the pauper's malady will be transferred to him. vii. then go to sleep and phalaec). might still he a late Hellenistic piece: but it is certain {apart from catal.D. Abt. rov irevTjTOS V. and w. 137 sqq. Versk." (1) There : both ends. unhappily. 5). I have ven: 424 . as may be seen from Neither. one to a pauper {v. {Nor is there any reason to suppose that our fragment was the first column of the roll. thought it if at all. See Korte. earlier than the papyrus itself. is not completely accurate in the details of transcription. 4. For the metre {iamb.) (2) There is no doubt that the poem is not to be dated mu^h. The god undertakes to transfer to the pauper the destiny which Fate had intended for the Libyan. 140 . and in the morning to intoxicate himself with wine. the obscure line v. 257 with Plate. 1915. see Wilam. witz. pr. xviii. the facsimile and by comparison of Wilam. The action {according to Wilamowitz) : Sarapis gives two oracles. 1 was the is incomplete at first line of the poem but twi Ai^vkcoi ^pdaas V. 5. p. — " One word about the text ed. ibid. 2. (3) linguistic evidence ") that this poem did not survive in circulation for several centuries.: LITERARY PAPYRI ANONYMOUS 96 [3 A. 9). Ed. 1. pr. 8-9 all presuppose information which must have been given in lines preceding v. Gr. see Wilam. pp. trim. one to a Libyan {v. p.] RECORD OF A CURE BY SARAPIS Ed. 257. 150 in reply to Abt. 150 (revised text). Archiv. and vice versa : the Libyan has been given a deceptive oracle. is the latter completely accurate. 2). pr. is no doubt that our fragment Abt thought that v. *Wilamop. p. Perhaps the transfer will be facilitated by the fact that both patients were born under Thrason {the pauper : Abt the same constellation {v. thinks he is the Libyan) is now commanded to fast. 's text. Archiv fur Religionswissenschaft.

18. 1 7 : e'^ aboXov. It seems {as Abt thought) more probable that cv. arpatfyets for rpai^i? in v. 27 to refer to Thrason.] Perhaps similar tchen he wakes up he will be cured {v. style. s. 23)." The pauper has been told to fast and abstain. view necessity — the refer to the — 6 nkv 21. and shall But Wilam. ovTos 25 and 27 are the Libyan (Thrason) . With this view I agree. and the subject I take to be the conclusion of 26. 19). 24. only he. exactly with the indulgence of the Libyan {v. * in The language aims at poetical a simple way with a few lapses. If this is so. 10 sqq. which it maintains the invention of e^aSdxoj v. the Libyan to indulge himself. 25 is undeniably in need of minute correction. his transcription of w. but the facsimile supports Wilam. €K€lvos 23.). 27 all same person can be avoided. 24.v. Abt read — niirrei. vttolievei The poet soared aloft to (here only.: ANONYMOUS ANONYMOUS RECORD OF A CURE BY SARAPIS [3 a. therefore be the object of universal objurgation.l. the supreme difficulty in Wilam. 6 8e 22. Vv. except in the assignment of parts. Wilamowitz takes oih-os in w. are a report of the deceptive instructions which Sarapis gave to the Libyan. 25. 6-7 (repfia) of an oracle previously tured to make the very few trivial corrections which appeared I necessary.'s of making ovtos in vv. are the pauper. will find that the pauper's malady has been trans/erred to — him. 26. says nothing about addition of new fragments to the text and if he had none. OVTOS 24.d. vfjaris v. 4. Their separate acts of conduct are then described in alternate The abstinence of the pauper is to coincide in time lines. 24 is not so trivial. when he wakes advice had been given to the Libyan up. 22 to the Libyan. but also from the obvious opposition (icvei Kparauos—fiedvei. 425 . ' The contrast is clear not only from the use of ovtos. have had nothing but the facsimile to guide me.

iTpope . 22. TTJi vvktI 7Tapa(f)av€ls 6 deos eAe^e* 10 TTJs p.€iv[ag yevadp-evos . cf the records of cases at Epidaurus. In pauper had been advised to fast and abstain: w. .. von Epidauros. j ov]x ^S" 7]9eXe nolpa..oi. B XXXVI (Herzog.. Trapd Se /xotpa[v. icm .' 4 Kparovvros Wilam. &pdaa)V.. and the ground {hence yap.d^oj . . [ Abt : SexofJ-ew npoae : .^o/iev avjvTVX^cis ^aX(jjv Kdd€v[h)e. fxerd 8e TeTapTrjv 15 8' fiedve] /cat vrpoTrete. before our that oracle. . v.. .€Vov 8' iyo) aTTodepaTrevaco. p^erd Se to ..a)]p." Philol.p. Trdax^t voaov ^evrjv. exo very doubtful.. Sexofxev ] Kol Tov t[6] SaKrvXeiSiov KpaTOVv[TOS. Although there is no instance (i. [ Wilam. to Tipp\a.ov 8e to repfia rod St' (re 7T€vr)T[os' 5 avTO TTJg yap avpiov Al^vs -^S" tls dvrjp acol.]. 6-7 give the end of it. Suppl. Tov )(prjap.. aa)T7]p Al^vkwl (f)pdaa5 dTTear\y] [ Trpope . fi-qSev] avpiov. ouros" 8' Tjv 6 Ki^vs ov 6 deos etTrev. " Wunderheil. KOLvrjv avvacrrpiav ex^ov €KetVa)(i). A III. ct' Kot. the . esp. IV. 3).e. : LITERARY PAPYRI fragment begins) given to the pauper. I think we must suppose that the Libyan has somehow offended Sarapis . 3 8f. 6) for it (because the pauper will thus be cured by transference of his malady to the Libyan). TOLs] fJLOLpas yap /ae S' eyco fX€Taix(f>i... ]rojv 6 YidpaTTig ]t Tcai . jxovov dKpaTo\y 7T€lv€[iv XiJTp\o. . Kparovvlros 426 .s i^aSoxov.. ttoAu 7rapap.oipr)s dTTex^iS.

47.: fio7pa[v Abt and IT. new word. avjyruX' •'^ht and 11. Wilam. " of six measures. While you lie at rest. Abt and IT." * Quite ' Lit. the saviour. .. through which I shall save you. ring. 427 . " Lit. — — . and " Thrason.. 94). but against the your Fate for I change the Fates about.Wilam. : . .ANONYMOUS of transference of a disease from one man to another. Abt: imposs. 14 aveyjffpc Fahz." a early in the morning.. The god appeared in the night beside him. Beazley refers me to an interesting and apposite passage in Artemidorus. 9 eKeiv[w Abt. KaOevSe . 18 eK TTj]s GWTvx. . . p. ." Now this was the Libyan of whom the god had spoken. you have in full the upshot of spoke not as Fate desired. to Wilam. . " I change the clothes of Destiny. Oneirocriticon v. half the a» is 12 fwlpav Wilam. 124 : the god usually cured the offender in the end : so here. : ." " — The conclusion of the pauper's since. : clearly visible. a certain Libyan shall suffer a strange malady. . . . . and after the fourth hour * souse and drink deep having waited long without a taste of anything nothing but unmixed wine from a full-sized " pitcher and after drinking . I will cure you. told the Libyan who possessed the : oracle was this from to-morrow. and of him . . lie down and sleep." will of Fate tomorrow. Wilam. . who had the same constellation as the pauper. Kudeve U. p. . there are records of cases in which the god visits a healthy offender icith sickness {Herzog. ace. Sarapis is and departed. : . . the Libyan may have been healed in the end : the miracle-cures ofSarapis were founded on those of Asclepius. Herzog. .

1909. 445 Manteuffel. 6Q. G. C. Oslo. Ed. 134 Powell. 20 ovneipev Abt. Oxy. iii. p. Philol. 1937. Philol. 17. p. 58 . Xwaaexr/l Wilam. 1907. 1903. Archiv.D. . no. Oxy. Crusius. 236 opusculis graecis. Aco? crxvlf ^^ 6 iJLev ov]v aviararai Aa^wv to d€Oj{i) •^v Treiveiv. 180 Blass. topav \a^[oi\vy eKeivo? ird^^drj' arpa(f)eis fxevet Kparaicos ovros aKpara Kal fxedvei ]ovaav S' VTTOfievei [ TTiVJTet 8' OVT09 eKel Kaprj^[ap-qaas [xrj ovrog 8e S tt€l\v€i 25 . 670.O. de V. 425. Barber. 445 Powell. Mus. 68. 105. . 195 Wilamowitz. 6 he vfjarig dv[a][jL€V€i. . *Grenfell-Hunt. p. ffxov nelpav [oJttojj ax^C'?- ANONYMOUS 97 [2-3 A. See Crusius. 177 . 276 PowellEitrem. New Chapters. . Cronert. P. pr. Maas. . 428 . 1904. i. P. KeXevadeis. Collectanea Alexandrina.s e. Rh.A. 1909.] SAILOR'S SONG . Perhaps . . p. Spdaov] Se rovr. Grenfell-Hunt. : ov netpav [o]Xa>s crx[rjt. There is a clear contrast between (a) ocean-going sailors. LITERARY PAPYRI ] Se Tovrov "fov ireipav . Herodae Mimiambi. NatiTttt ^advKVixa[T]o8p6ixoi dXlcov Tpirojveg vSdrcov TO. . xi. Symb. . p. Qu.. iii.g. 64. Kal NetAojTat yXvKvSpofioi yeXdJVTa TrXiovres vBdrr]. 315. 72.

P. 24 fxr/ Tpa<l>els 21 o Qpdaot)]v Wilam. . 25 ireivei] Wilam. Hi. Metrically the lines are fivovpoi {fieiovpoi}. . . . Crusius (Her. . ANONYMOUS SAILOR'S SONG [2-3 a. 255. . . 519 (b) 10.] and (b) Nile-sailors. 1903. as the god commanded. one stood firm the other collapsed on the spot with a headache : : . : Maas. the facsimile shews fir) orpa^eis : /iij for ov common at this era. 134) recalls the Kcafiaarai lieiXov of P. and Nilots who sail in happy course upon 4 uSarjj v. Wilam. The poem is an invitation to these two groups of men to compete with each other in song or play. : text D. p.d. too. Tritons of the briny waves. Mimi. the subject of the competition being " the comparison {or rather contrast) " of ocean and Nile. 429 . . at the hour to which the Libyan had been appointed.ANONYMOUS the So then the one took the drink and arose other waited fasting. Oxy. p. Sailors who skim deep waters. here enoplia with iambus instead of spondee or trochee at the end : all the lines close with paroxytone words. : wew-Jet Abt : TTci]v€t 11. L. : 11 must then have had wetwjret. cit. no. : 27 mTr}r€i Wilam. The pauper stood his ground firmly without turning the the other drank neat wine and got drunk.

ANONYMOUS 98 [3 A. 181 159 . Woch. Wilamowitz. *Grenfell-Hunt. 1919. Archiv. G. Manteuffel.O. Abh. Philol. yap (for ap') [. Oslo. Collectanea Alexandrina. de opusculis graecis. p. Draheim. . 104. 123. i. 17. (fyiXoi. 310. 374. Sitzb. p.D. Eitrem. Phil. 1130. 1915. 6 Koi veiXov yovifiov U : corr. PoSlois eKeXevov /cat fxepeai rois" dvejJLOis TreXayiois ore 7tX€€lv rjdeXov iyco. eTrtyerot 11 eViyeAoi Schmidt. Phil. Oxy. 236. xi. 60. P. Powell (and Eitrem). vii. New Chapters. 1383. 1937. : 8 Deubner. ore fieveiv rjdeXov e/cet.]aT' ev^ara. 84. Woch. Preisendanz. TTeXdyovs Net'Aou re yovLfxov.] SAILOR'S SONG . PowellBarber. 59 Korte. . Deubner. eXeyov /xepe(aiv) 7TeAayto(t?)* jXr) 6 TVTTTJL TO. p. Versk. p. 141 .A. pr. See Powell. 11. 1920. no. . 1918. N[u]^. 1925.. Ed. Hermes. p. Heidelb. 195 Schmidt. 17. Symb. TreXdyT}- 10 6 TVTn](Te). LITERARY PAPYRI TTjv avyKpiaiv etTrare. 430 . TTeXdyT]' dX' VTTord^are vavaL^d[T]ats oXos dp" dvepios eTretyerai. aTTOKXeie rd TTvevjxara Kai. Akad. 1918. hos rd 2 aots n. Preisendanz. 314 and Gr. Cronert.

LA. pr. 62Q. and to stay there {in Rhodes).] has sometimes been alleged) a magic incantation it is {as the imperfect tenses suggest) the song of a Rhodian sailor. when I wanted to sail. &6s prob." 'PoSiois dw'[/iois is written in the right-hand margin.ANONYMOUS the smiling waters. [KVfj. in full strength the wind Shut up your storm-winds. I used to say to the quarters of Ocean. USED to command the Rhodian A\inds and the quarters of Ocean. " Let not the seas be smitten Subdue the Ocean to the seafarers Lo. ANONYMOUS SAILOR'S SONG This is not {as it : [3 a. the comparison of the ocean with the fruitful Nile. sendanz. = 6es (cf. friends. CrSnert defends . Pseudo-Euripides. : 431 . I used to ask the winds to control the seas {so that J might enjoy fair weather to Rhodes). 1). [a^jar' Preivvi. when I wanted to stay there. scanning a choriamb at the end (-OU yovi/iou) Maas defends the scansion NetAov yovi/xow. and is rising ! make the waters smooth to cross " I ! ! ! 9 10 [u8]aT' ed. " When I wanted to sail {to Rhodes).]aT' is too long for the space. sung by him when returned to Rhodes.d. Night. 11. Herodas vi. Kol Wilamowitz. tell us.

Gnomon. Collectanea Alexandrina. 1907. 6 ra Se ^avXa koL raTreiva ttoXXolkls 7TT€po[L]a[i. pr. Powell. D. jxev vifji^ar] koL aep. els vi/jos i^deipag.[/xa VTTrjpLKa? TTorl ydv. 10 TaxvayyeXov Schmidt.] HYMN TO FORTUNE *Schubart-Wilamowitz. 487. 1912. n : ANONYMOUS 100 [4 A. Berliner Klassikerfexte. p. Lyr. ve^og d[X(f)LdrjKafi€v[a okotiov. Studi Italiani di Filologia Classica.D. TTorepov ere KX-iqt. corr. p. 2. 313.cx}p.e.. Archiv. V. pr. Griech.] A SCHOOLBOY'S RECITATION Vitelli. tions. Ed.) : Trravonovs the reference is to the swiftness of Fortune's mutaI omit redv. following Wilam. 196 .v\av.v ddavdrcov 10 Tidvroiv yap dp^dv Kal rcXos faytovf ^x^ts. Woch. ii. Schmidt {noXvxeipe : ed. 3 Tcav t[ t[ may be read as 7r[ the reading then was probably n[vaLv. and xiv. c5 Sat/xor /xeyaAa. 1926.€V ViXcodo) K€Xai. iii. v. p. 142. 1 TToXvxipoe : n.^a* TTCJ'S XPV ''"^ct^ la^vv re Set^at /cat t[ TO. q TOLV raxvv dyyeXov ^lpt. Anth. L. iii.D. Or. 11 dyiov i. TToXvxpoe TTOiKiXo/jiopcfye 7rTav6[7Tovg dvaroZs avvofjLeaTie nayKpares Ty.va elg reov o/x. LITERARY PAPYRI ANONYMOUS 99 [3 A. p. Cronert. 1908. See Schmidt. Diehl. Phil. 1914. 663. xii. 432 . Versk. 320. Blass. 457 . 208 . Archiv. *Powell. P. (f>voLv. 557 . 126. pr. Ed. Korte. New Chapters... See Wilamowitz. 611 . ri rdv ra^vnoTpiov 'Avay/cav.

pr. " xmrfpiKas is intended to be active transitive aorist of inrepeiKo) (ed. ii. partner of ! Goddess of many hues and many guises and winged man's hearth and home. . 158. Ed.d. mel. adesp. almighty Fortune How may one demonstrate your power and ? That which is high and mighty against your countenance you dash " to the ground with a cloud of darkness set around it the mean and lowly you often exalt on your wings aloft. pr. koI rep/ia resembles V. Anth. fr.).ANONYMOUS ANONYMOUS HYMN TO FORTUNE [3 a. chor. or Necessity of sudden doom. 4 {rvxa. Lyr. nepoirwv dpxa. ANONYMOUS A SCHOOLBOY'S RECITATION [4 a.] " Something of the nature of an occasional or prize-poem " by a schoolboy. feet. p. 11 : aav tnepvya xpvaeav may have suggested irravol v. 1). . Crusius. Shall we call you gloomy Clotho. VOL. of uncertain but late era.] Hymn to Fortune. swift messenger of the immortal gods ? Of all things the beginning and the end are . . almost certainly the reading of tion to dxpov: TTovToiv n : ed. pr. I 2F 433 . perhaps to be recited on a ' Speech Day ' {Powell).d. aptly compares Diehl. Gr. O mighty spirit. suggests emenda- Maas. or Iris..

epo) fiev ovv is rj^rjs rd)(LaTa /xerpov iXdetv. (f>vrj Se /c[oCT/it]a rt? ao(f>6[v T€ vov (f>p6vrjiia yevoLTO fxoi.o[i? TTeXdaaai 434.LITERARY PAPYRI €[Tai]piK7]? [6^ eopjrijs daXvaiov KOjjiL^co. [piddrjaLV K]v{K)XoVIU. StSaa/coAou t' olkovcov TToXvv )(p6vov ^Lcovai. .€Vrj[v TTepCtJVTf p.€TapaL\os ^e'Aot/x' av Atos" 8d/i.

He means " I hope to go to the University later on. " Cf. . P." the gates of Heaven ." V. Eur. I ! ! . 8. 10 refers to the eycvKXios -naiSeia. and to live many years the pupil of my teacher. 10 nepaivTi D. the routine of education. . fr.ANONYMOUS bring the harvest-offerings of our common long to come with all good speed to the fullness of young manhood. with heavy punctua- <f)p6injfia v. . L. 435 . as I pass through the circle of my studies I yearn to rise aloft and knock upon . and I festival. A nature well-behaved and wise imaginings be mine. 911 (Wilam.). tion after : ireprjaat Cronert.



Milne. 219 and New Chapters. KOiXr]L[a^ ajcTTLcn. (6) *Wilamowitz. p. 124. CO? ot Trap ^aaiXrjo?. i.] 3 B. 742 (ostrakon). EPICHARMEA \((l) 102 [{b) [(C) 2 B. Sltzungsberichte der koniglich preussischen Akademie der Wissenschaften. Lit. See *Wyss. 1935. Bowra. 1°. 438 . pr. no. rj[i^a]v. Collectanea Alexandrina. p. 1.M. Pickard-Cambridge. 47.C. 1912. 13. 83 . 29 Korte. xiii. See Cronert.] MIMNEPMOS 2MYPNHK E Vogliano. p. Cat. p.I 3 A. 1907. p. V. 13. Ed. B. Antimachi Colophonii Reliquiae. This fragment comes from a commentary on Antimachus. p. 101 [1 A. vol. Dithyramb. Powell.] Probably by AXIOPISTUS pr. 408 . 1906. Hermes.vdo[v. Archiv. 2. no. Papiri della reale Universita di Milano. i.D. 81. p. (c) *Grenfell-Hunt. 56.C. Plate I.D. Hibeh Papyri. p. Ed. 369 . Tragedy and Comedy. 18 .. Berliner Klassikertexte. 1938. 1938. Early Greek legists. p. e7re[t p] e[r]e8e^aTO ^pa^dyLevoi. 1918. Pap. (a) *Schubart-Wilamowitz.

] fragmentary for cf. xiv.] Mimnermus wrote a Smymeis . 2 omitted. perhaps the work of one Ajciopistus {Athen. This war occurred a generation before the time of Mimnermus .C. EPICHARMEA [(a) Probably by [Hibeh Papyri. ix. fenced in their hollow shields. (c) Preface to a book of Sententiae. who flourished about 300 B. . .C. however Cronert.MIMNERMUS SMYRNEIS in which ice [1 A. So from the king.] 3 B.D. 4. . : this papyrus is dated between 280 and 240 b. 648 d OiAdxopo? 'A^ioirtarov ras yo'cofj. cf. no. they darted. 29.d.] i. cit. Mimnermus wrote elegiacs about the war between Smyrna and the Lydians under Gyges.C. who is therefore the first Greek known to have written an historical are told that poem about events in the recent past. Pans. . 439 .c.as neTroi-qKevai (fmrjaiv).] 3 a. . inclusion : AXIOPISTUS [(6) [(C) 2 B. as too loc. . when he made known his order.

tols Ka e^Qpov. alaiv at TridoLTO TLS. d [ylvva he top Sa/cetv.' yap evdvs dSovals dvTjp 5 dXovs. Se Kal yvdjfiaL . TTOTL hvaiqpLVy TTOTI TTapoivov.o)^o(Ta^. ttotI ievov. aAA' ev ex^i' Kal ao(j>al rovroicn relh Kevrpa 5 retS' evo.Ko'La[iv drjpejg aiKraAAom To[t]ai[j' ev iroevaiv ev~ [X€V€L9. Tp€(f>ovTa [TrpcoTOV eWLorai 5 (h) yap eaB* 6 ^povip-o?. ttotI KaXov T€ Kdyadov. (c) retS eveari XP'f](yai6 TToXXd /cat 7Tav[r]ota. ev St/cai Xeycov. dhoval 8' elalv KaTaTTeTTovTiarai Pporolatv dvoaioi Xaiari^ptoi. ev ttotI (f)iXov. ttotI TTOvqpov. aire ns KaKov ri. ^copog OLKia rvpawls' ttXovtos Icr^vs KaXXova j'jaAfas't d(f)povos avdpcoTTOv rv^ovra KarayeXaara yiverai. TTOT dXlai.LITERARY PAPYRI CrSnert shews that the extant TvcJfxoA. ascribed to Epicharmus can easily be distributed under the headings of the opening (a) Tovs rpoTTovs X^^P^ yvvdtJKa OtjpIlcov (f>aijJ iyoj raJv elfiev ooTis" 'q y]ct/3 Xeovri alrov t] rj ttotov \<f)€pei KVGLV M. TTOTL ^avavGOV. 440 . cos Se rovd* ovrcog ex^t.

. lion. {evo 176. women are worse than animals. . Anerd.. and Oxon. is (b) The wise man if . Pleasures are the godless pirates of pleasure catch you. 254 (Kaibef) may belong to the end of this preface.. But the hand the woman bites is the one that feeds her. it too are maxims -wise . towards the quarrelsome. the drunkard. obey them. . nor' ex^pov. 12 (ev) iTopa ToAeos hopelessly corrupt. and the beasts wag their and make first friends with their benefactors. mankind let : you sink at once. or . or the assembly. 160. Here is a proof : lands and houses and kingdoms and wealth and strength and beauty. (c) 5 evo: cf. Thumb). 441 . (a) In character. Fr. I tell you. ictX. towards the rogue or the gentleman. or tails Molossian dog. towards the stranger. and the vulgar. they fall to a fool. 126 e^o prjfia vapa Suipieixjiv dyrl rov e^eariv AioAtSa koI AojpiSa rfiv SidXeicrov evo yiyitrcu oTrorof koI dvri pruiaros. Give food or water to a . (c) Within this book are many and manifold ad\ices foe.). or any other plagues that you there's a sting within may book. while for you to use towards a friend or speaking in the courts. find — for them too my Within (6) 1 i. and maintains thai they are parts of the book to which our fragment is the preface. and become absurd. EPICHARMEA lines of this fragment (irorrl <f>iXov.

6* rjaaov dyadov Larco cry/Lt^] opov re TToXvfiadrj [yoov 20 Tpe(f>etv (Traces of two lines) aAAo? oJAAcDt yap yeyade. ev he rdSje fxadujv aTras dvrjp <f)av[r]0'eTai ovSe el Xrjp^'qaei ttot' ov8ev.a[s Aeyjetv. 8e Tov Xapjovra XvirrjaeL Xoycov. dXX' €v fiovov [t]oi)to)v eiTos. 7T€pL<f)€pOVTa TCl)vS^ del etrjv TO Se10 atriav yap rjxov 8' cos dXXcos juev itos. Ta>i'S[e rojv ovTi pbdv daKeTTT\a Spcovra TOia8[€ opborpoTTa. TTOTTO TTpdyiXa avpi^epov. rt. 442 .va- jJLevos. kovti raufrd Kpivoyies. OTTCOS eLTTTjl TIS. eiros drr^jiv p. TTelpav] avravTov XeyoL.ep. Set Xeyeiv. TToXX' OS et]77 dareia /cat Travrola Kad' ev ojs CTTOS [XeycDV. 'E7Tt. ravra Srj 'ycov elaaKovaas avvridrjpn rdv rexvoLV TCtvS'. StSou? Kal ^[pax^a 15 KaXws ao(f)6s.!^apjU. Ko]vTt TToAAo.OS' aO(f)6s TLS iyevero. fiaKpoXoyos ov /ca hvvaip.av iv P[p]ax^''' yvco p.LITERARY PAPYRI Be^Lcorepog re k* e'lrj ^cXtlcov t' is 77a[v]T' dvqp.

only a single one of bring round to your subject which- ever of them is apt.EPICHARMEA you Mill be a cleverer and a better man for all events. speech. and never talk but good sense. If he remembers every word. 443 .). shall one who takes it this book be offended by some word within —not. Men used to censure me because. L. P. a broader mind a blessing and a boon. 17 ovhk. I though shrewd enough speaker was a lengthy —could not express my thoughts with breWtv.). 19 ^. and I composed this book of rules. (Traces of tno lines) : . in other ways. because his own conduct counsel is ill-considered tell . You need no lengthy these proverbs . of course. who uttered many witty sayings of many kinds in single verses : his skill in brevity of speech as well himself he lets us test " ! wise if He who learns these maxims well shall appear a man to the world. (c) ^xuverai. Different people. pr. and in conflict with is my — let me . different pleasures " we do not all " Work of art " (ed." to make the world exclaim " Epicharmus was a philosopher. I To this charge lent an ear. 22 eKaarcM 23 avfj^ipeiv and iX^vdepots D. him. 15-23 CrSnert (16 e5 Se robe.

pr. Gr. Anth. Powell-Barber. TreidcopLeda' Tov Se 7TOTap)(ovvTOS ravra ydp ecrnv (f>€pei. yeXdv Trai^eiv )(piq(yapi€Vovs dperrji rfheadai re avvovras e? dXXriXovs re (l>\X\vap€LV /cat OKcoTTTeiv rj 5 Toiavd' ola yeXcora ^ipei. Collect. Weil. Lyr.LITERARY PAPYRI 8]e TTOVTa Set raS' cu? €[ifaoTtut ^atVerat avix(j)4peiv .[-^XiK€s. i]^ ayadov yap avhpes ap^djX€Vos TeXeu) rov \6yov Xpr] 8' [e]t? a. Plate VIII.C.] TWO EPIGRAMS Ed. ANONYMOUS 103 [3 B. . )(aipere avfiTTOTai avSpes 6p. p. 192 . 2.C. Berliner Klassikertexte.y[ad6]v. 237 . 8e aTTOvhrj eTreadco dKovwp. Alex. 62. Un papyrus inedit : nouveaux fragments d'Euripide et d'autres poetes grecs : Monuments Grecs publies 4. epy' dvSpdJv dyaddJv evXoyiav re 10 nosEiAinnos 104 [160 B. ii. (f>iXoL orav els tolovto avviXOcupLev TTpdyfJia. 1907. New Ed. See Powell. p.6v [re X^eyovrcov iv fxepcL' rjS* dperrj avpLiroaiov TriXerai.44. ejvreiTa 8' eV Kaipwi \e[yeiv eXevdepoJs. pr.] EPIGRAM FOR A MERRY COMPANY *Schubart-Wilamowitz. V. Diehl.

Riv. companion revellers I begin. they must laugh and play. . Stud. ANONYMOUS EPIGRAM FOR A MERRY COMPANY [3 b. . . and the source of honest reputation. then speak them freely as the time requires. : And let us give ear to such is the conduct of good the leader of our revels men. i. 1908. Theognis 467. 326 cone. 1910. preface to the opening of a sympatic gathering. and rejoice in their company. suitable to the occasion. 38. POSEIDIPPUS TWO EPIGRAMS [160 b.c] . Xenophanesfr. 28 with Plate. Jurenka. Wien. 1. 29. See Hiller von 445 .c] par V association pour Vencouraqement des etudes grecques en France. With good omen Hail to you. 18. Chapters. p. 58 . and to the recitation of further pieces Cf. and make sport of each other and utter such jests as bring laughter with them. di Fil. ! When friends are come together for such purpose. no. and we must therein is the Usten to each speaker in his turn : virtue of a merry company. and with good omen I will end my speech. Earnest converse must follow. 8. Tac- An early Hellenistic epigram.ANONYMOUS—POSEIDIPPUS these ad\"ices. beha\ing bravely. judge alike. 1879. Each man should as he deems expedient .

95. 1880. 1). (a) Bh. a> dva Kvt- Ilpcorev. 90. rrjiSe 10 fieaaov iyoj Oapirjg aKrrjs aropiaros re KaVCUTTOU €V 7T€pitf>ai. 35. ttXccov. i. Poseidippi Epigrammata. <l>apo?. . 1. Eplgr. B.) (a) 'EAAt^vcuj' acoTTJpa. s. no. Strabo xvii. Ileitzenstein. in the reign of Ptolemy I Soter.aTi vavn}9 oi/jerai.VU)V 5 TTvpyos o[S'] dnXaiTCOV (f)aiver (XTro o-ra- TJfxari' TTawvxi'OS Se ^[e]ctj[v] a[v]v Kvp. (b) av dpudpTOi UpcjTev.vopievioL KvpLari x<^pov ^X^ 446 . earrjaev Aeft^avoy[s"] ov yap ev AlyvTTTcoi oKOTral ovped 9 61 em dAAa x'^fial XV^V vavXo)(os eKrerarai. pp. Epigramm und Skolion. Mus. ov8* 7jrjv[6]s [o] acoTTJpos. 92. Oapou aKOTrou.2. 791. 107. €K Kopv(f)rjg rrvp fjceya Kaiofievov.LITERARY PAPYRI p. (See Suidas. Griech. 163-164. Gaertringen. v. Jjcoarparos SiOS". New Chapters. no. Blass. Epigram composed to celebrate the erection (282-281 of the lighthouse on the island Pharos (which was said to have been dedicated to Proteus. cf. p. rod X^P''^ evdetdv re /cat opdiov aidipa T€p.C. Histor. KaL K€v evr' avTO Spdfxoi Tavpov Kepas. no.v. 38. 40 and literature quoted there Schott. Powell-Barber.

"from boundless furlongs": Twv. 40. this of Pharos. ed. shines in the dajilme countless leagues " away and all night long the sailor who runs with the waves shall see a great Ught blazing from its summit. nAIOTPHXOIEnEI n. & S. 318. a Cnidian. (a) For watchman the sa\iour of Hellenes. as in the islands but low hes the breakwater where ships may harbour. was built by Sostratus. In Egypt there are no : : Lord Proteus mountain-peaks. 59. in front of the port of Alexandria. son of Dexiphanes. 82-83. (a) 3 oKOTToX ovped 9' oT eVi Blass ap. Hiller von Gaertringen. p. pr. 31 (128) Alexandria tribus omnino aditur alveis mari.H. Tauro. ' The lighthouse was Stegano. to celebrate the (b) Epigram composed foundation of a shrine to his wife Arsinoe by Ptolemy II Philadelphus. 29. whosoever sails this way. 2 /cv/iUTt n : 4At']/«iT. See ed. The architect was Sostratus of Cnidus.v.-G. Therefore this tower. p. vii. cleaving the sky straight and upright.POSEIDIPPUS 28 for details. eastern esp. Pharos. p.) Callicrates v. Thiersch. Pliny. The building was a chapel (voiokos) containing an image of Arsinoe. Poseideo. Athen. : (b) Midway between the beach of Pharos and the mouth of Canopus I have my place amid surrounding dirAaTcov here = a7rAe'of the narrow and dangerous channels leading to the p>ort of ^Alexandria . in" Lit. p. see L. V. pr. (6) SKOH.'' and yet not miss the God of Safety. s. who was worshipped there as Arsinoe-Aphrodite : it stood on Cape Zephyrium. 447 .'' O Proteus. {See Strabo xvii. N. ed. pp. And he may run even to the Bull's Horn. pr. * One scribed Ofois acuTTJpaiv. 800. between Alexandria and Canopus.) This famous building stood on the extremity of the island.

Sem. " Having set free (eWoSt'^w. nToAe/x[(u. see ed. ii. I append a few notes to Justify my renderings : V. 2) and of the queen (Apawoiqv v. below. The details of the description are very obscure. der Univ. (6) p. IBpvaaro /cat jSacrt^ (ovofjiacrev. le Caire. presumably the antithesis of ifiTToSi^u}) the bright water-drop " . dXos ipydrai dvSpes' 6 yap vavap^os 10 €T€V^€V Tovd^ Lepov TTavTos KVfMaros evXipievov. Dezember 1938. Archiv. See further my note. (a) am 10.c] TWO EPIGRAMS Ed. Un Livre d'Ecolier : publications de la societS royale egyptienne de papyrologie. — 448 . Description of a fountain.. 1938. See Korte. 106-107 . (a) p. 20. Textes et Documents.u. Guerard-Jouguet. xiii. pr.ecf)vpov. ^ ^ Xiaarjs L€pov ApaivoTjs KuTTpiSo? oAA' €771 rrjv Tue^vpiTLV aKovaojxeviqv *A(f>po- hCrriv EAAt^i'coi' oi 6 ayval ^aivere dvyarepes. ANONYMOUS 105 [Late S b. pr. 12 : cf. p. Schweitzer. 13 : Arsinoe Philadelphus or Philopator). Festgabe zur Winckelmannsfeier des arch. 22 for reference to epigrams which were written in celebration of the revival of obsolete fountains.c. written by an Alexandriari epigrammatist in the 3rd century b. Plate VI. 25. Plate V. ad loc. here only. Among the sculptures there were images of the king {v. Leipz. 1938. 5.LITERARY PAPYRI rr^vhe TToXvpprjVOv Ai^vrj? dve/icoSea TTjv avareLvojx4vr]v el? XV^V^ evda fi€ KaAAt/cpaTT]? ltoXov t.

the low semicircular bounding-wall of the basin . The following is [Late 3 b. men that labour on the seas. and fortunate to I am be able publish so important a contribution to the understand(1) ^w^n^ is ing of this obscure passage.ANONYMOUS waters. vii. Reitzenstein. to D. one of a described as a typical example).c] a brief and inadequate sum- inary of the views of Professor most grateful for his assistance. (6) 3 TijaSe n : corr. : " From Zephyrion. facHere Callicrates ing the western \nnd from Italy.9 . c A = column B= semicircular bonnding-wall C = rear wall D = month through which water flows 2g 44. Robertson. ap. 318. established me and called me the Temple of Queen Arsinoe-Aphrodite. this wall carried likely. this \vindy breakwater of pastoral Libya. Athen. ANONYMOUS TWO EPIGRAMS Vv. Our Captain ^ has made this temple a safe harbour from all the waters. that one or more columns set (it is possible. perhaps of identical columns is being The semicircle may be conceived as projecting in front of a straight rear wall. 6-9. cf. temple stands. Chaste daughters of Hellenes. hither come to her that shall be named ZephyritisAphrodite" come. Callim. name of the promontory on which the * Callicrates . S.

va[ ]t€ (f)XeyeT[ Ji^pta /cai aiyr]Xov[ UroXefilaL aaTTaatoi jSa[ ] Se^oLaOe yepas OS Kal Xdtvov [epyov id]7]KaTO Bai/jiXes olkoji KTLafjia.av tcovc tvttcol' pd^Sov KoiXrjg evros dTTOGriX^eL 8e avrjvls ariKTrj Trpos Trrepvals' klovos rjSe deaig. pp. Greek the consequent postponement of see Particles. pr. presumably the (5) TTrepvai are also parts of this base two convex mouldings which frame the cavetto moulding." (3) Punctuate after and abolish ed. antecedent to os v.covrj Oeatv r^ Se Xv^vItls GTuXovTai 'net.'s comma Se.po[v TJev^as t. " column-base in the Ionic style. pr. — TTTfpvai (a) doi. or BalXaKpov (proper name required as 5 4 epyov D. L. 450 . after evros. (4) pathos koiXt} is the characteristic cavetto moulding of the typical Attic-Ionic base. 185 sq. For Denniston. €LS rifiLa<f>ai. P.LITERARY PAPYRI (2) ne^av tcow tvttom means tvttcoi. 4) ed. (a) 3 ^a[aiXels toCto]. Trdlpos X^evKTjv e/C7ToStcra? ara5 yova.

" having set free the white water-drop of Paros " must mean " having quarried Parian marble. 451 . : 7 (rrvXovaai 11.e.ANONYMOUS 9 means "foundation " or " base^' in a noni. pr. See Introd. and within the hollow moulding speckled Syenite ghstens also set in stone. 13. • . P. all that has hitherto been described as the support for the column-shaft.) Gladly . (b) An epigram. thinks Tifua4>aipo[v] a more probable reading. Trrepvai. to be other (a) (Vv. TTd[pos D. ed. 22). having first set the bright water free. 2-6) : we can hardly suppose it than the dedication of that temple to Homer. ** up a Avork near the heels *' . and in this description of a fountain. arayutv must surely refer to the water of the spring. celebrating a person distinguished in poetry a dedication to Homer {vv.H. such is the foundation of the column. (6) deais V. " Lit. pr. . composed in the same era as the preceding and warfare. accept the gift . and was at the same time ambitious iii the world of letters. The parents of vv. 6 Ed. 6-7 are then Ptolemy III Euergetes {hence €V€pY€T<u V. Thesm. corr. . pr. This person is undoubtedly Ptolemy IV Fhilopator. L. ' For the sense of pd^8os and of granite of Syene." because Parian marble was * The dappled quarried underground by lamplight. writing a tragedy Adonis {Schol." But cnaYctiv is a most unnatural word to use here with reference to marble (despite the stalactites in the underground galleries of the Parian quarries) . This poem refers to one. Ar. technical sense. 1069) and setting up a temple to Homer {Aelian. V. " the lamp-stone. who won a great victory over Antiochus III at Raphia in 217 b. He made it into the form of a semicircle the Parian " boundarywall supports the column-base in Ionian style. 6) and his wife Berenice. Ild[pov ed. 3 sqq. who an ample building for your house. the sense of eKnoSluas is very strained .c. . Note.

Berlin.eVajt Trpa5 oAjStot c5 dvarcov evepycrai. Kdrte is clearly right in his view that the rifievos Korte. 452 . ovp[ virep 8t8[ '08uCTcreias' ]Lvav a[ evaicov nToAe/>i[ato? tou]to re [/cat 8' 'O/XT^paii eiaad TcDt TTplv Jaroi'apTejLtet'os' 'IAi]a8os' rov dyqpo) v^vov avr' ttIScov.p7]vi. p. ddavdrojv y/3a0[a])u. preussischen Wilatnowitz. pr. epevyofjievTjS Schadewaldt {vypa being then (b) 2 tov]to D. Sitzungsberichte der koniglich Akademie der Wissenscka/ten. yvoiis (?) K^ar' ovap. ANONYMOUS EPIGRAM ON THE DEATH OF PHILICUS 106 [3 B. 3 ]a TOP 'ApTffjigvos ed. the object of cKhexerai).C.laa7]v 8' rippioa[e\v 'Apaivorjv avyKXrjpov T7yv8e (b) ]r(x)v vv/xcjiaLs Kara ttSv eros. LITERARY PAPYRI 1^ 8 d(f)* 'Yfi7]TTov TTerpog ipevyofievrj TTOfia ! 10 Kpiqvrjg CKSexeTai aTrtXdSojv vypd Siatvo/xeVTj eiKova S vfxereprjv irvTTcoaaro ttlovi AuyScDt TTprjvvas. : tnrep SiS[axris. 11 Perhaps Siaivo/tie'vcui' : but the last two words are still a feeble addition. P.] Ed. pr. L..d8es. xxix. aAA' 15 €771 nrjyrjv jLier' evvofii-qs ^aivere K. [ot] tov dpiarov €v Sopl Kai Moucrai? Koipavov rjpoaare.

. 547 Chapters. and in the midst he set Arsinoe. taking up the flood from caves. 453 . and he himself is dissatisfied with yvovs. Nymphs of spring-waters ! Blessed Ptolemy set this up to Homer who wrote of old the ageless song of Iliad and Odyssey from his immortal mind. p. *Powell. . itself drenched therewith. in which Arsinoe was associated with the Nymphs of the But we know nothing of such an association and spring. v. who shares the Nymphs 's fortune every year. pr. at end of line but his introduces an unpoetical word. smooth-WTOught." . ' Possibly a reference to an annual ceremony queen's. if Jar' ovap renevos is very probably the correct reading of the end. . . into the shape of a lion's head. * The king's and through which the water poured. 547. . See Korte." Come with good order to the fountain. understand it) " all the year round.C. ANONYMOUS EPIGRAM ON THE DEATH OF PHILICUS [3 B. . ! " Fashioned. but the preceding lacuna is traces suit evos better than ovos : 8i8axr}s hard to fill. iii. Archiv.] Kew 1912. O happy benefactors of mankind You sowed the seed of a king who excels with spear and among the Muses ! (b) . 1913. 200. Your * image he modelled from rich white marble. evidently. Kara ndv eras might mean (as ed.ANOX^^MOUS Through stone" from Hymettus gushes forth the draught of springwater.

P. *Grenfell-Hunt. 90). Lit. : cf. See Wilamowitz. ( = Anth. 1904.B. {and also o/ Anth. vii. The first column of this grams by Leonidas (=:Anth. poems by Amyntas {a poet contains ends of lines of epiPal. [I omit the two fragmentary and obscure lines of Amyntas which head col.A. no. B. 21-22) in ed. written by a rather tedious and affected contemporary. Aegyptus.LITERARY PAPYRI An epigram on the death of Philicus{for whom see no. Pal.M.. the form of the name OtAi/cos {not OiAtWos).(x}€LV dvSpo? imaTafjievov' AXklvoov tls eci>v e^ atfjiaros [ aTTJo [ArjjfxoSoKov eveariov from earia (not evearw).D. i. 163) and Antipater The second column contains two hitherto n unknown : evidently an Alexandrian epigrammatist of the 2nd century b. Oxy. xiv. ANTIPATER A. Cat. pr. Powell. t.) . 61. Kat vqaovs Kwpiacrov elg naKapcov. N.c. Pal.] . loc. 1934.G. 1904. Aegyptus.] OF SIDON [1 Ed. 468 and New Chapters. p. 325. 662. hi. O. 107 AMYNTAS. who is the subject of the two epigrams in col. ii. cf. however Powell. Callim. Ot'AiKe. cit. 6-1. pr. 188 Pap. iv. ^ €v ixkv yi]pas ISojv eveariov AXkcvooco OaiT^/co?. vii. Milne. Interesting for cpx^o 8rj {jbaKapcoTos oSonropos ^PX^° KaXovs Xiopovs evae^iojv oi/jofjievos. 669 . 454 . (vv. 164). €K Kt.aa7]pe(J)eos K€(f)a\rjs evvfiva kvXicov prjpara. Del. LEONIDAS. no. p. one concerned with a Samian woman named Frexo.

ascribed to Antipater or Archias) . 548-549. LEONIDAS. Pal. And it is also clear {from the evidence of the first column) that this anthology was an ancestor. a man who knew how to live. apparently also by Leonidas .c. Your head crowned with ivy. 723). however partial and remote. . begone with revel to the Islands of the Blest. at this point the scribe stopped abruptly. Born of Alcinous 's line from .e. . poems which were variations on the same theme were put together). . go your path. AMYNTAS. and wrote no more in this column. that you saw the festive " oldage of an Alcinous. The third column contains two new dedicatory epigrams by Leonidas and Antipater. ANTIPATER A. rolling forth your lines of lovely song. composed for one Glenis. Philicus. 165.] OF SIDON [1 vii. Now it is commonly believed that the celebrated 4>55 . '' ' It was evidently suggested that descent from Homer's Demodocus explained the poetic genius of Philicus. Go your path. pr. of the Palatine Anthology. Happy. Thus it is clear that this anthology was arranged by subject-variation (i. to see the fair land of the god-fearing dead. the other concerned with the capture of Sparta by Philopoemen in 188 b. pp. . and the first word {or two words) of another epigram.D. Demodocus . the Phaeacian. See further ed. (a variant of Anth. blest wayfarer. vii.AMYNTAS— LEONIDAS— ANTIPATER the reference to the poet's convivial habits and cheerful tem- perament in old age {Philicus icas a " Phaeacian " as icell in character as by birth).

KoL TTOiag edaves vovoov vtt* apyaXdrjg. i. MS. vvv vtt' dvLKdrcDi ^iXoTToipLevi Sovpt r* 'A. Karrvov 8 oicovol 8e TrepiapLVX^pov ISovres jSoes".. according to Anthology of Meleager was arranged Kara arlxov. rj pd y* drcKvos ovK. on Anth. tls iovcra /cat e/c rivos. rplg ivos yevofiav en. awera^ev 8e avra Kara oToixelov). dXXd rpieri] TralSa Sofxcoi XiTTOfxav. p. LITERARY PAPYRI alphabetically.. (2) rav TTapos drpearov AaKeSaipLova. We must therefore either revise our views about AMYNTA2 (1) (f)pd^€. Pal. SeoKpcros. the first letter of the poem {Schol. ^eve. TtV Se rd^ov ardXcoac. P. fjiovvas ras" X^P^ 77oAAa/Cl T iv TToXiaiV hrjplV €(f)pL^€V "Ap-qs. etTre re TTdrprjV. 456 . 81. ck be yovrjos KaAAtreAeu? yevofxav. yvvai. dAA' edavov tokgTcDi. 5 pLvpovraiy ttcSlov 8' ovk eiriacn eKdpcotGKOvTa Trap ^vpojTao XoerpoLS 'EAAa? SepKopieva pivperai aKpoTToXtv.e. Jjt [xe avvevvov dvSpl Soaav.(aia>v Trprjvr]? e/c rpLaodv TJptTre fxvpidhcov aaKenos. eTTTaeTts" 6 ttoltjv S' rjXQe? is '^Xckltjv. ovvofia fxev U'pa^o) Sa/xiTj.

AMYNTAS— LEONIDAS— ANTIPATER the nature logy. couplets seem to be fj-vpovrai. syntax demands a lacuna 7 or at napos arpearov v. (2) Lacedaemon. The birds look on the smoking ruins and mourn. of Samos I was the daughter of Calliteles but I died in childbirth. lady. Oovpiv Milne. After this line. who you are. to whom they gave me as v. or of the arrangement of poems in Meleager's anthoadmit that there existed early in the 1st century a. by Milne. and of what grievous sickness ." To what age did you come ? " Thrice seven and one years old was I. cor r. 6 Read we read a Read by Wilam." Who set up the tomb ? " Theocritus. 7ToAAa<«? a/x noXeixov Powell. ttoAAoKt? ev TToXeixcDt. " Stranger. . and who your father. ."ife. . your country. u-hich {like Meleager's) was taken up into the corpus ivhich ultimately developed into our Palatine Anthology. and the oxen go not upon her plain. cf. Fraenkel. my name is Praxo. died. corr. . (1) 8 ovKaXXcTeXriarpieTTj IT. L. D." . the repetition ISovres SepKOfxeva /lupercu." Child" No less ? I left at home a child three years of age. AMYNTAS (1) and you tell Say. a different collection of Alexandrian epigrams. of old the dauntless. Hellas mourns her citadel. 457 . beneath unconquered Philopoemen and the Achaean spears. Ed. (of at least two lines) : unless 1 (Powell). 8 Read by Milne. at whose single-handed might and warfare many a time and oft the War-God shuddered now is cast headlong and defenceless by thrice ten thousand foes. And seeing the smoke leap up beside Eurotas where men bathe. The last two alternatives.d. P. (2) 2 TToXXuKis n.

l(f>diixov KaXds . but evn[ remains unintelSe^iov Beazley. rov 8[€^i. 547.^apiT^CT[io]v dypas 5 Kovpos *Ova{crL)(f)dv€[y]s. prjyvvpievov xdXv^L. 1907.([e] crqKov OTTOV Xaos iraXr^oae^iqs. ANONYMOUS 108 [3 B. Kat TTporofxav dKfiTJra Kal avro veov roSe Karrpov Sep/xa.] EPIGRAM V. *Schubart-Wilamowitz.LITERARY PAPYRI AEfiNIAAS (3) 'A/cpfoptrat Ilavl /cat €V7Ta[ rjAT^viS" ] ruju^at? o avyyeLTcov ScDpa KlvvrjyeaCjrjs. 77. ^T^S' TO avTcijt. p. 6 End Prob. Archiv. Berliner Klassikertexte. Ed.C. See Korte.6v dy]p€VTrjpa 5 ]?. v. ravTav re Trporofxav kol S[ ]''?o'[' •]' ^vpaav Kal podiovg ro^6a\h^ avedy]Ke\ Uav CO Kal vvfX(f)ai. TXrivL? dvrjepr-qae SeLKvvs (3) 1 ligible. 458 . pr. 5 [dvrprjiai] c5 vvficfyais: ilav Powell. 1. TXrjviv de^T^crat^' aieS[ ANTinATPOS (4) JjiXrjvcov aXoxoi? dvrprjtaiv rjSe Kepaarrai ravT 'A/cpcoptVai Ilaj^i Kadrjyefiovi. dKjjLTJi] ^Tex^dro Speirdvov drJKe re/J-cov poiraXov yap €v peya' rol S' dva''"]ey.

(3) neighbour Glenis dedicated gifts from the chase this head and hide and these s^\"ift feet. ['Ovaai6avev]s. " Acroria name of a mountain in Sicyon Acroreites * The was local epithet of Dionysus (Steph. horned Pan of Acroria. but oue8[ remains unintelligible: may have been an error for vlov. ANONYMOUS EPIGRAM Fragment of a long epigram. wrought 459 .). ! ANTIPATER OF SIDON Silens' mates * that dwell in caves.— ANONYMOUS LEONIDAS of Acroria " and the nymphs. were hung up by Glenis. . dcUe. . . (?). prosper the clever hunter Glenis .C.. . a scatheless " head and this new boarskin. ' axfirp-a " uninjured " as in Anth. of Hellenigtic in praise of a dedicated statue. who shewed these thank-offerings for a fine quarry. To Pan . . ix. O nj-mphs. Pal. : . and (4) to their chieftain. 3 avaXdov or avaraXeov Wilam. . vvAcu oKfiTfres (" j)ermanent "). (4) 2 Kadrjyefwvi Wilam. . son of mighty To the Onasiphanes. You dedicators in the shrine fashioned by a folk god-fearing of . : .. [3 B. : avro is meaningless and probably corrupt. Byz. prob. . 526 nymphs. O Pan.] composed cut with a sickle's edge. that not even steel has rent. and made it a club it to a fine size.

dpioTOTrdXav . avos KaAuSaji^o? rj p aTTO rds Xeiipavov evKdprroLS iv TreSiois" rpecfyero ApoLvoa? Xjoxp-oLis. Two epitaphs for a dog named Tauron. See Wilcken. i. iv. p.C.€VOS' 460 . Powell. ANONYMOUS 109 [3 B. ciTr' avx^vos d(f)p6v ddpoa g (f)pLGaCOV. vi. New Chapters. Zenon was the agent of Apollonius. 107. who died from Jiis wounds after killing a wild boar which attacked his master Zenon. pr. 6 Se Kreivag npoadev CTretS' 6rjp 'AtSav dncp dvra hpaKelv. [os ttotc /cat] ed. Archiv. Kal yelvlvojv dp-epyo- p. Catalogue general des antiquites egyptiennes du musee du Caire. who was financial minister to Ptolemy Philadelphus and Ptolemy (l) \vh6v oh* diTvei TVfM^os Tavpcova Oavovra KeZadai. [oi3S' os rTjv] or [el 8' dpa ttjv] Beazley.] TWO EPIGRAMS pr. drivaKTOV.v 'ATTeXXrjs 5 XP^Ip^W ^TJ^crctTO yvfivriv €K jLteAavo? ttoJvtov dv€px[oiji]€vr]v {Fragments of two mo7'e lines) a 5-6 dpiaTOTToXav.LITERARY PAPYRI VLKar av]ri7TdXov? OLTTTCoaL t' iXeyx^re 7T[avTai evrexvioiis] ] nXdarav /cat tov dpLaroTrdXav K[vTT]pi. 1. 453 . : but Apelles was not nXdaTrjs. Ed. *Edgar.

the golden Cyprian rising . . 546. Apollonius by the king. Gr. you conquer your antagonists. that Apelles. and. work on a great estate given to . quotes Kaibel. loc. it grew in the fertile plains of Arsinoe immovable. 550). and dashing the froth from its jaws. shaking from its neck the mane in masses in its lair. who once beheld . (1) This tomb proclaims that Indian Tauron lies dead. But his slayer saw Hades first.— ANONYMOUS old. 462. . probably the work of a professional Alexandrian poet. V. I do not know what is meant 461 by saying was like one. Engaging the — » Since the boar teas a that it drjp. These are good compositions epitaphs. 502. naked from the dark sea " . one elegiac and the other iambic. : [3 b. ANONYMOUS TWO EPIGRAMS Euergetes cf. was a common practice at this time {Wilatyiowitz ap." like a relic of the Calydonian boar. in every point you vanquish even the champion sculptor in the ring.c] he had been sent to 5) to superintend the Fayum {the nome of Arsinoe. Wilcken. S25. with skill never lets you down. cit. Epigr. It is likely that both pieces were The composition of two inscribed on the dog's tombstone. (Fragments of tno more " lines) The Anadyomene of Apelles. Like a ^^'ild beast to behold.

10 aoiit. sischen Wilamowitz. Collectanea Alexandrina. *Powell. pr. 736. 8e] Z['>^va>]va tt6v\o}v] aStSa/cra rjpyd- /cyvayov'.C. ^\vh6v ZT^rcov iXacjipdi TatS' a>S" vopios. Sitzungsberichte der kdniglich preusSee 1918. tcuiS' uV eKTepLafievos Tavpojv. o 8' d/x^t viOTcm hiaaov €p.Oiv 8e TOi' Krui^ayov cut TrapeLTrero vneardXr] Kovei. p. 1919.ip' WvaioKev. err avdevraiGiv ovk d/xi^x^^^^' KaTTpajL yap cu? auvqXdev avrtav €pLV.^ev' arrjdrj fiev rjAoKta yai/. ov /xeAAcuv o efi^/i: errt Bpa]^d[j. 131. 462 . Class. 6 /xeV Tt? CO? aTrXarog otSrycra? yevvv arridos KaTiqXoKLt^e XevKaivcxiv d^pcDt.^aXd)v lx^os iSpd^aro (f)pLcraovTog e/c arepvcov fiecrcvv /cat yat avveaveLpaaev 'At'Sat 8e Sous" 5 Tov avrox^. (2) GKvXa^ 6 rvfx^aji.€vos yap onov Xo^idi ead^ ixeydXoLO VTridrjK 10 TeVOVTOS o]v CTCot^ei 7Tp[t]v eXvaev oSovt^ 'AtSai.IJTERARY PAPYRI ai/v 8e TreCTcov GKvXaKos roX/xai au.] ELEGY ABOUT A WAR Akademie der Wissenschaften. p. fcai Kara ya? TVjji^coL rdv x'^P''^ aaro. Rev. Ed. ANONYMOUS 110 [3 B. .

with mane and all.). p. Fil. puffed out its jaws and. [3 b. He whom he followed and . oKvXa^ v. the latter. to Hades and died. unapproachable. Class. So he saved hunter Zenon from and earned his gratitude in distress. 1929. readily . Diehl. He gave the murderer froth. aaiil^ei ANONYMOUS ELEGY ABOUT A WAR 90 and ii. i. 11 1. Gr. Lyr.c] New . Archiv. When he met a boar in battle face to face. loosed not his teeth again until he sent it down to Hades.: ANONYMOUS it ploughed a furrow in its breast then immediately laid its own neck upon the ground. and fastened upon the bristling monster from the middle of its breast. fastening upon the massive nape. Korte. here in this Ught dust he * is laid to rest. (1) jy. (2) v. fearless dog. and wrapped him in the earth. : i63 . Chapters. pr. 236.: efjLvaev ed. Boll. as a rescued Zenon. For Tauron. Tauron. L. who did not despair in conflict with a killer. Anth. the hunter good Indian should. P. pr. 7. c/. unschooled " his tomb below the earth. L. {acoaas and itovwv ed. The other planted two feet about its back. (2) A dog is buried beneath this tomb. 122 . white with ploughed a furrow in his breast. 151 p. It was a very young dog. 106 Momigliano. 10 eXvaev D. vii.

now easily overcome In that case the king would probably . 8 dvex^ Xoyov Eur. of the king's anger {Wilam. (b) whose report is made to a king. 13-14. 5 €L7Tas oijvayyeXXcov els ^aatXrja X6yo[v. 11 iradovres Beazley. Momigliano. who defeated the valiant Gauls before. Std arofxarog Xoyov [ap)^^.. 7-10. and that him with the fate which had previously If so." but may still be a Macedonian. . El. who utters threats against the persons about whom the ambassador reported.. v. we must return an emphatic negative. it is As the lines stand. 6. the king cannot be Attalus. 592. Korte) the king threatens befallen the Medes. 4>64. 2. re Kal d(f)poves. more probable that the king is saying that he. v. or even a Ptolemy in Egypt (reference to Gallic mercenaries of Ptolemy PhilOf delphus. vv. CL)[v']a. dveax^ X6y[ov' dvepejs v^pcarai. i.2. Powell. (d) There is a reference to Medes and to a Gaul.. It is possible that the Gaul is the object . ]j^S".dai dovpos dvr]p TaXdTr]s. vv. To the further question. a Seleucid.7. can we identify the king and the occasion. But it is only one possibility it is not a necessary inference from the text. (c) The news exasperates the king. ^pijapov S' avriK ovaros €KX[ve p-vdov. Powell). will the effeminate Medes.: LITERARY PAPYRI This much is certain : (a) part at least of the poem was addressed to a returned ambassador. Ijeprjg o]7rtcra> epvea t^VTaXirjs puTraprjs ardxves rpi\fi6\oio.. Paus. eTrel Kal dpeilovas dXXovs rjpiels els Kpareprjv SovXoavvrjv edepi\ev ]t^S' Mi^Sotat ^advKTedvoLGiv opJjDLCos laaa. 7Tp]oa^e TTvXrj? wat TeL)(eog a[ Irjv ravrrfv rjvves ayyeXir^v. •)((h /xev] CTret pbdXa Trdvra Si' (hpyladr]. dXXd fi[dX oiKa oiaovaC\v ravrrjg paadov aTaadaXl-qs' 10 yva)aov]raL Se fxadovres.

".. Alike to the wealthy Medes ." of dirty (weed . but ^laYVTjs). The point of this obscure couplet may have " been.. my king. . and thus you spoke.. or possibly even to a war of Antiochus III against the Gauls {Momigliano.. on the occasion of his irruption into the Seleucid empire.. enough has been said to shew that without further evidence a precise identification of the king and of the occasion is absolutely impracticable. the beginning of my report is pleasant. or to the revolt of Ptolemy II's Gallic mercenaries in 274 . but there is '' at the end (oTrtCTOj).ANONYMOUS be a Seleucid . was I 2 H 465 . . you brought back the message to your king. the answer to it is mean and base. but might still be Ptolemy Philadelphus. quoting Suidas. The poem might refer to the war of Antiochus I against the Gauls in 277-276. again in 275 . the vaUant Gaul. but they shall quickly win the wages of their presumption.. 'LifuovlB-qs There are other interesting possibilities . or to any one of numerous conflicts between the Seleucid empire and those Gauls who. 15. . . Tpl^oXov: described by Dioscorides iv. or to the war of Attains against the Gauls in 230 . . ." bad news VOL. when he heard all. .. . e. " Successors of Attalus are excluded by the age of the papyrus.g. in purple raiment. If the Gauls are here the objects of the king's anger. had been settled in northern Asia Minor . . 98." or " the king's message noble. . Pliny xxi. nor amid per.'*''). . .v. : — .. and lifted up his voice in strong utterance " The men are insolent and fools. But he. since 275. in front of the gate and wall you fulfilled this embassage . . the identity of the king and the date of the occasion are still impossible to determine. . . . . . They shall learn and understand. s. since we have set others better than them to harshest slavery. the beginning of speech upon my lips crops shoots of an holy plant . was angry.

C. 1850. Jahrsb. schaften zu Gijttingen. Knox. 5 ra rravovpya 1 toOtov TTavres os Ix^' rdya^a . Wiist. Knox. Archiv. iv Triarei pceyas. irpavs. ] • ouSe iivpoia{iv [xaXaKov xpoJTa XL7TaLv6fxevo[s X^^H-^^^^ Alos re /cat aldpLa. evirpoariyopos [xlocov. </>tAo^acriAeys". Nachrichten der Oesellschaft der WissenSee Korte.. p. 1922. 466 . . New Chapters. 31.] TREATISE pr. 124 . • avroji.a[i\ evt[auTov 7To\p(f)vp€oi. 254. Ed. ayaTrare ravra Travres 6a airavr acjL>(f)pa>v. p. Burs. Letronne.C. Platnauer. ANONYMOUS PREFACE TO AN ASTRONOMICAL 112 [2 B. dnXovs.(nv €v elp-aaiv 15 ANONYMOUS POEM 111 IN PRAISE OF AN OFFICER [End 3 B. iii. 1926. . (jaXiXXrjv. pr. p. Papyrus grecs du Louvre : Notices et extraits des manuscripts de la bibliotheque imperiale et autres bibliothiques. *Cr6nert. Herodes (Loeb Classical Library).] Ed. LITERARY PAPYRI . avSpetos. 257 . 46. vii. rrjv [8' ajX-qdeiav ae^cov. 178.XPV^'^^S> ^vyevqs. kx^t' ray ad a iv avrcoL. i.

. 867-871 . noble. to a treatise on astronomy by Eudoxus.C. hater of wickedness.] Fragment of an Hellenistic poem. 918-922. his . pr. courageous. esp. 860-908. pr. praising an officer of the royal court at Alexandria. .ANONYMOUS fumes letting his soft skin grow sleek. great in trust. affable. . 16 xroi/xarat ed. bed [fragments ofa line) .] An acrostic preface. 15 ov yap nofxf). 6-8 mean : " There is one line for each month of the year {there are in fact 12 lines^ 467 . . . in correct " tragic " iambics. and honest. ed. Each man admire his many virtues All goodness lives in him good. 17 ANONYMOUS POEM IN PRAISE OF AN OFFICER [End 3 B. modest. gentle. Or. . Probably not part of a drama : but Tragic models in Eur. ANONYMOUS PREFACE TO AN ASTRONOMICAL TREATISE [2 B. . Vv. loyal to his ! : king. Hie. worshipper of truth. a patriot.C.

iv ^pa)(€L Aoy? TTJaSe re^vq? etSeVai aa<j)7J SeVov (j>aveZraiy Xoycoi.S.eis iari.^j here simply a year of 365 days. no. which consists of 35. p. pr. iarlv. Yfjuv apidpiov 8' taov cx^t ra ypdixp-ara Tat? rjixepaiaLV a? ayei fieyag ^povos' Eviaucriov' ^poTolai Trepiohov t' e^et ^povos "H/cci 4 SioiKcov darepcov yvcoplafjiara. See Weil. Milne. p. 69. Lit. 420. lO NiKaL Se TOVTCov ovOev erepov. -nipt. iii.] EPIGRAM Ed. LITERARY PAPYRI and each letter counts one day " [in fact each line contains 30 letters. 62 *Keydell. N. Er TcDiSe hei^co Trdaiv e/c/xa^etv ao(f)rjv Y/MV TToXov Gvvra^iv. B. KaXcos. Pap. ovTios (Beazley) is perhaps necessary instead of ANONYMOUS 113 [1 A. Powell. ypdpifia 8' rjpiepa. 5 jxev CTTLXO? p. 177. Kenyon. 365 =a Great Year {fj-dyas XP°^°^ v.]. Total. OuSeis" ya.. dAA' del rd TTavra eg ravrov ore dveXOrjt )(^p6vos. Herines. except the last. New Chapters.p eoTiv ivBerjs yvoypirjs orcoi ravr* iav ^vvfji. pr. as opposed to the lunar year of 364). 180 . ibid.M.D. Thus ed. Cat. 19. Revue de Philologie. 1934. An 468 epigram to a statue of Actian Apollo erected at . 189. 1895.

114). but always all come to the same " point. 7 laov ed. : : : ANONYMOUS EPIGRAM [1 A. C. pr. and give you certain knowledge of our science in a few words. when the time comes round. P. pr. Xicander {Lobel. L. the letter for a day . if he understands these verses well. : " i. cf. The first letters TEXNH (• I will reveal to you all the subtle composition of the heavens. 1) at the battle of Actium : which battle tra* " fought in sight of a temple of Apollo.ANONYMOUS of the lines spell perpendicularly EYAOEOT Eudoxus' Book of Rules ") : for parallels to this " acrostic" cf. : 11 ovdels erepov ed. 22. v. 469 . the same as on the same day of the year before. corr. L. Dionysius Periegeta {Leue. L. (to restore metre and 30 letters). P.e. Oxy. " Apollo Actius on Greek coins of Nero's era. Time brings to men a yearly circle. L. pr. D. 1795 . 175). as it governs the starry signs of which none outrivals another. P. P. D. P. There is nobody so wanting in intelligence that it will seem strange to him. The line stands for a month. Amh. Xpovos ed.D. 12 avro or' aveXdTjt 6 corr. Qu.] Alexandria in commemoration of the victory of Octavian ( = Caesar. corr. P. 5 TwiSe av ed. D. 42. D. pr. Philol. the letters Herewith provide you with a number equal to the days which a Great Year brings. 23. corr.

pr. Graec. Ed.LITERARY PAPYRI Kktlov diJi[(f)L€7Tcov. ii. Elpi^vTjs jJioxOovs evcoTTiSos evda /cAaSeuaas' yrjv €7TL NeiAcL'Ttv VLa€{T)o y7]9aX€os. 1898. Diels. Keydell. Alwvos cr[To]fxaaiv fie^orjixdve.^ea)v fzaprvpLT] Kafidrajv. Plate.aL Xovofxivq aTTToXepLov Kal dhr^piv iXevdeplov Ato? op^pov. Text on wooden From a poem about the misfortune of old age. Egypt. The writer asks the Muses to com^ to Thebes : therefore he is writing the 470 . 517 Berol. Danielsson octogenario tablets. 290. Pap. Atos" [Kpov]i.aol yap "Aprjos 5 TrlvevfJ-aJTa Kal aaKecov iaropeaev Trdrayov.8ao TToXepov Se^acrrou epycov ev Trpvrdvevpa KaXov. 1932.] nosEiAinnos ELEGY ON OLD AGE . dva vjavjjiaxe. K{al)(Tapo9 epycov [xvrjfxa f(ai) e[i5Ti. p^epeCTcrir 7} iSe^aro NetAo? dvaKra 10 xp^<^^OLS 7TrjX€. dicatae. and *Symbolae philologicae 0. 6 via€(T)o Weil. 1911. Archiv. " golden.T]v koL evOevlrjg ^advTrXovrov Zevs dr eXevdepios. p. Upsala.D." because of " * 114 [1 A. arpeKcg ea^eodr] XaZpey vi/c(at)cL>j' S' ovvopa K{ai) pdKap AevKara. Akademie der Wissenschaften. p. 845 with Schubart. Sitzungsherichte der kimiglich prenssischen Berlin. The " arms " are the floods which the Nile puts forth to embrace the land .]. A. See Cronert. evvolixLTjs] <f)6proi(n ^pL[do]p€vos hcL)po^6poLs Se K{al) Sdjjiap l3vl. Plate XVII and Text.

is writing his poem during a temporary residence in Boeotian Thebes. is [1 a. and later travels to Egypt. POSEIDIPPUS ELEGY ON OLD AGE poem in Thebes Thebes. Gr. that " Pimplean Thebes " may stand here for some Macedonian town. memorial of Caesar's deeds and witness of his prosperous labours. a Macedonian {vv. our Zeus the son of Cronus '' ! the cornfields and other bright harvests which arise: the Xpva. sea -fighting lord. received the shower. He objects to the reference to Egyptian Thebes on the grounds (1) that that city 471 . unless tee suppose that the author.— POSEIDIPPUS Master of Actium. heavy-laden with the cargo of Law and Order. that came from her Zeus of Freedom. one and only noble president at the victorious deeds wrought by Augustus. Hail.d. taking his poem with him. Lord of Leucas. ' The blessing of the flooding of the Nile was commonly ascribed to the king: Kaibel. Ep.] The tablets were found in Egypt : therefore Egyptian Thebes. for in your honour Caesar calmed the storm of war and the clash of shields." whom with golden arms the river laves. is altogether unconvincing. 981. and Prosperity's abundant riches. and came rejoicing to the land of Nile. Keydell. x«'p." and truly the very name of war was extinguished. apart from stress or strife. like Zeus the god of Freedom . loc. whose name is on the lips of Time. 14. 16).of the previous line. cit. and there he cut short the sufferings of fair Peace. and his wife. Schubart's supposition. and Nile welcomed his lord with arms of bounty.^re the same as the Scop. TTTjx.

was so insignificant that statues of poets were not likely to be set up in it (3) that the outlook of w. sufficient grounds . These are surely in(2) that its market-place . the outlook of the Macedonian does not change because he happens to be staying for a time in Egypt.) €7tI Toirjv €K)(^prjaais re /cat (ficovrjv abvrcjov Kava-)(rjoa\t5 /cat dda{vd)Tr)v d> dva o(f)pa jxe Tt/LtTycrojCTi Ma/ci^Sove? ol r vrja[a)v 61 r 8 'AoLTjs rrdcrqs yeCroves rjtovos. XifJiTTOLvere aKOTTids 'EAt/ccoviSes'. {(f>rip/q. . s. MouCTat TToXL-qriSes. 472 . et? 8e rd Qij^rjs jSaiVere (Ka)(TTaAtSes". 15 nin[ JHKI2. . Atjtovs 10 ve .(fx. Hesych.)TT[X]€iT}s Schubart. cf. 'Tlt. not in Imxor or Karnak. TTJt VK^ocvT* oiKLa rov e^^ Haptov [/cajr' efxov. 14-15 is that of a man living in Hellas. riocreiStTT-Trov 770t' €0tAa(o).d. well be that €t Tt KaXov. or in Macedon. vi(j)6evTOS a\y]a 7ttv-)^cl\s r] irap 'OAu/x- Ba/c. iq 7r[a]pa OoijSou )(pvcToXvpeai Kadapols ovaaiv eKA[ue]Te Uapvqaov TTOil. ret^ea /cat ni()Lt)7T[A]e/7ys' Gv .LITERARY PAPYRI was a place of small importance in the 1st century a.v. but still people lived there the market-place to which the poet refers may of his native town in Macedon . Kvvdtc. : the city was small enough. .^ct»t Tct? rpieret? dp^ofievai dvpiiXas' vvv Se r[oCTeiSi77-776tJt oTvyepov avvaeiaare yrjpas 5 ypaipdixevaL SeXrcov ev ^pvaeai^ aeXiaiv.

11 {rod liapiov). so called because his statue there was made of Parian marble ? Apollo is to declare from his shrine that Poseidippus is a great poet.. 3. 16-17. & S." Apollo. 13. shift to Helicon in v. — — "^ "* IIiTrAicu. loved Poseidippus once. though wapijiSos is and there are some faults which Beazley thinks {and I am loath to disagree) could never have been part of the original text. 1. ring loud from the sanctuary.POSEIDIPPUS The composition becomes tional is seen. where the snow-white house of the Parian ** stands. the local Muses of the town in v. listeners undefiled. esp. Vv. — Muses " of our city. You also.* now join Poseidippus in his song of hateful Age. inscribing the golden leaves of your tablets. god of the golden lyre. in the ravines of snowy Parnassus or at Olympus. and let your voice. Castalian maids. 473 .'. * For the sense of dvfieXai see and to Delphi in v. god of the Delphic temple. = " city of the Muses. L. eccentric. iSvo koI Ut' Diels). If the text is sound. i/jLoi 13 <3 ava Beazley (coria Schub. may honour me. s. 7. to the walls of Pimplean'^ Thebes.v. 11-14 were savagely crossed out in a moment of grace not necessarily by the author himself. return to Parnassus or Olympus in v.. Muses of Helicon. since Schubarfs drastic revision of 'OAJ^ttwi Diels to be conven- the text {in which e. enough in metre and diction. With such immortal speech make answer.g. even in my ears that the Macedonians and the peoples of the islands and the neighbours of all the Asiatic shore. if you have heard a song of beauty from Phoebus. 16 noii^fiaaiv rjyov eot/u hk ^l^Xov eXlaautv Schubart !).. an utterance. and come. — O : " These. v. son of Leto . god of Cynthus. lord. 8. Leave your peaks. starting for Bacchus his triennial ceremonies.

Fragment of a moral fable. Schubart). Archiv. Diels 16-17 It {KaTo.D. =Aij/i7? (" rheum ").i^euat haKpvov avrdp irrl iyd) LKoifxrjv y-qpai pLvariKov olfJLOv hrjixcDi 'PaSdfxavdvu /cat XacoL rravrl TTodecvog icov.(f><o has to mean "with both hands. A school text of a type very TTJar'qp ttoO^ vlov evTTopovvra tcol jSicot avrcoi to avvoXov Scopovpievov tov YiKvOrjv ^Avdxctpcnv rjyev et? Kpiaiv. 1904. KATAKATNEON corr. e^oa S' o y' utos" pi'T] deXoJv tovtov rp€(f>etv' ovK oLKiav ov KT'qp. aGKLTTCov ev TToaal Kal opOoeTrrjs dv^ op^iXov. p. pr.aT^ ov ttXovtov ^dpos. ANONYMOUS 115 [140-141 A. Plate iii. 487. See Blass. yXrjveiov coni.LITERARY PAPYRI HeXXaXov yevos ajxov djJLcpaj eoLjjLi Se ^c^Xov eXiaaoyv Xao(f)6p(x)L Keifxevog elv dyop[r]L. ipLov Se fjLrjSe arofxa [ 20 Tt? ovv . xxviii. drjhovL aXX eTTL [xev Trapr^tSos" va/xa* Kar dxXvv eojv Xvypov €(f)[ haKpva de\^p\pLd xioi^ (j)iXov KoX arevaxio.] Ed. MORAL FABLE Bulletin de correspondance X. vai. /cat XeLTTCov tckvols Sa>/xa /cat oX^ov i[[x]6v. 201." 19 va/xa Diels: A^/xa Schubart. TTOIOS TLS OVV rVpaVVOS r) TTOLOS KpLTTjS 7j vojxoderrjs dp^olos ivStKcos epel /cat jJLTjSev €7tI 474 . hellenique. : 25 is hard to believe that the text is sound here diJ. *Jouguet-Lefebvre.

who was wealthy but refused him any gift at all. what judge or ancient : lawgiver will justly say . * i. yes. piety to pride. leaving to my children my house and my happiness. 0(Xoiv Tp€(f>€iv 11. represented by the fables of Babrius.rj).] popular at this era.e. (or perhaps 475 . I am fain in old age to go the mystic path to Rhadamanthys. extracts from Hesiod. the royal seat. . sure of speech. corr.d. the songster (himself erected. " Has he not a house and properties and loads of gold ? \\Tiat tyrant. D. etc. book in hand. The poet may be ANONYMOUS MORAL FABLE [140-141 a. un^nnding in both hands a book.. then. So none must shed a tear no. my own lips . and warm tears I shed. I sit in darkness. The son. After the end of our fragment there doubtless followed the reply of Anacharsis a philosophic maxim preferring the simple life to luxury. missed by my people and all the community. from Pella. on my feet without a stick to support me. J.. . maxims of Menander.ANONYMOUS Pellaean " is my family may I be set in the crowded market-place. p. among the throng. un-nilling to keep his father. ? 4 o vlo^ TovTov fjLTj simply ov for ft. : and I make moan. sayings of wise men. L. " Macedonian. to Scythian Anacharsis for cried judgement.*" Yet on the nightingale's" cheek there are the floods of mourning . as a poet. . — A FATHER once took his son. * desires that his statue.

Republished by Collart. KaXXiard ^rjpn Xa^oiv ttolXlv ra KT-qfxaTa. He was wealthy. ist and Wilhelm Busch's " Vater werden sein dagegen sehr. 1. BY 117 [3 A. literature quoted p. o vovs €v Tj/JLLV pLOvrLKcoTaTOS deos. fiovoar. Cf.] HIS DAUGHTER e Latini.D. yvwfM. 17. 124. *Jouguet-Perdrizet.^pT7ju. Euprepius is described as a tall man. awaov aeavrov X^P^^ c5 (f)LXot£ e/c TTOvqpoJv 7TpaypidTai[v). L. 1906. heravsgegehen von C. 452.D. vi.] MORAL MAXIMS Ed. 17. pr. 476 . p. 1912.aTcav (3) (4) (5) (6) (7) (8) epcog aTravTCov rcbv deaJv TraXairaros. Studien zur Palaeografie und Papyruskunde. Ed. TraTTjp 6 Opeijjas kov^ o yevvqaas TraTrjp. 317. Paris.LITERARY PAPYRI ANONYMOUS 116 [4 A. fiovooT. hog. Vater ANONYMOUS EPITAPHS FOR EUPREPIUS. 1926/ no. Les Papyrus Bouriant. Papiri Greci See Korte. apparently by his daughter. vii. Wessely. Leipzig. yvibfj. (9) evKaipov dnoSog iv (10) " Tcov dTrdvTCOV XPVP'^'^^^ TrXeiarr] ydpis. rod deov rrjv eiKova. p. A series of epitaphs written for one Euprepius. . Archiv.. *T. piepei. no. dis- tinguished in service of state and court. (1) ^PXl l^^yLaTr) Tt'/xa (2) yepovra rov (l>poveLv ra ypafifiaTa. 1.. 35. pr. p. 158. Iva Xd^rjLg orav OeXrjts. 18. '' Cf." nicht schwer.

: ANONYMOUS ANONYMOUS MORAL MAXIMS Ten of 24 monostich sententiae already [4 a. simple phrases. most abundant of all riches ! ANONYMOUS EPITAPHS FOR EUPREPIUS. I say. (1) Letters are the first and foremost guide to understanding. (7) Father is he who rears. (4) Possessions.d. pointed conclusion. They imitate the style of the " Ionic epigram at Alexandria direct.'' (8) Your own hand must rescue you from evil estate. (3) Love is the oldest of all the gods. though uninspired. give again : : whenever you vnll.] these pieces have been wise. Here and there emerges something original and — 477 . are tolerably free " from technical flaws.d. (9) Render a timely service back to your friends in turn. the epitaphs. (10) O gratitude. are the fairest things of all. His daughter may have had composed by a professional poet : however that may be. not he who begets." (6) Our mind is our greatest god of divination. that you may receive (5) Receiving. BY HIS and is alleged to DAUGHTER [3 a. he is the image of (2) Honour the aghd man your god.] (the other fourteen were known to us) : from a schoolboy's copybook.

evos.]ov[ .7j Xeye rovs ayadovs (1) ay]yeAAei to crxVh''^ /c(at) t[vSaXfi] ov ^paxvv avSpa' TOVTO y[. f] dvydrrjp 8' dvedrjKe raSe dpeTTTrjpta Sovaa Kal (j)dipLevo}L. ]Vi'[- • • 0^ dvyd[Trjp' dAAa 8iappT]8r]v i7na7]fx[6TaTOv] /cat apiarov /cat oX^coi 7tXov[tcoi]. e. 478 . the phrase iv (laKapoiv dyopais (here only). of. . rrjs €lk[6vo^^ tj ypacfir] aVTYj KinrpeTTLOV' pdls. rovvopia S* Ey- TTpeTTlOV. (3) TOILS' iaopdis.LITERARY PAPYRI powerful.. elves dv cos el yjBr] (/)9eyyeraL "EvTrpeinos' r-qs yap tls TiapLcov ovara irapd'qaeL eiKovos eyyvdev eXdot. ao(j>6v d) ^€iV€.r] (jjcovrjv 6 l^a)Lypd(f)os c5S' ivedrjKev.g.€V Kelrat.)(ayotTos' S' ovhev eXeti/jev ejLiot. ipvx'Tj S' eV p^aKapcov dyo- ov yap €vda TTOi TotovTos dvqXvdev €is ^ Ax^povra' roJv oaiojv dvSpoiv 'HAuatov ro tcAo?" hiarpi^eiv eXa^ev davelv TrdXai e/c rivos ' eadXrjs fioLpr]s' ovSe rovs dyadovs Ae- yerai. (2) ivddSe p. Tov oX^Lov dvipa KoX Keivov. the adaptation of Callimachus' s duijiaKeif fj. oioirep dKovaop. t{6v) ^VTTpi\TT\Lov ^aaiXevai (f)LXoV. (4) et /cat p.

tjnjxri : atpafievov ytpaxDv is the text printed the (3) 4 naaav ttiv x^pw t^' OL-rrexoi. the lot he won of old from some blessed Destiny. cf. (2) 2 the D. but the brightest in prosperity and wealth daughter . Euprepius. interlinear L. retaining -rqv (Roberts). Possibly ovk (or ovS") in 11 in the following (3) 2 . figure proclaim . man. hear. ver}. too the attempt in — not altogether unsuccessful— twv ooiwv avbpwv 'HXvaiov to reXos : an essay in Ionic vnt in ov ^paxyv avbpa (tchich has a double meaning). His daughter made this dedication. even to the dead repaying her debt of nurture I was not found wanting in gratitude. P. pr. following ed. the friend even of kings. And it is said that good men do not die. you behold that happy man. . . : painter has not placed in him you would have said that Euprepius is speaking now. him no small best and and his name. Interlinear rariae lection^s occur places : — (2) 2 Ei)jrp«wia>iv. 6 at . Euprepius the wise. for (US'.. For if a passer-by should come near the portrait. but his soul is in tlie gatherings of Never vet went such a man to Acheron To live there was for holy men. Elysium is the end. . is set up the painting of the hkeness of the Euprepius Blessed. navroiv here.: ANONYMOUS in 2. I have 8'. . : TTjv Punctuation after EvTrpe-iov and S' after ipv^f) from alternative mentioned below. . stranger. he will give ear as though about to (4) Even though the still a voice. (1) an immortal verse The form and . (2) Here . (3) Here.l. (4) 1 fi-ri n (which is nonsense). 479 .

6 Be vqTTios eari [9vya]Tp6g (6) o]v yap iv avOpwrroLacv icbv i^dSit. eori.ev eKeivrjv riv Tr^v ohov dperrjs ovk CKddrjpe dipas' kvdev €s dOavarovs Kal d€L^(x)o[v] ^lov 'qXdev. 480 . o8e S' eKyovos (6) 3 roweKa pTjiSitas. rovTO TO (5) 1 p.€vos'.LITERARY PAPYRI (5) EuJTTpeTTto? fiev iycov.o)^dr]p6v acjpi' d7ToSvadp.

. the little one is my daughter's (6) When he was among men. am I . putting off this offending flesh. he trod not that path which the law of Virtue has not purified. VOL. .1 ANONYMOUS (5) Euprepius . Wherefore he departed to heaven and immortality. I 2 481 . (6) 4 aa/jLcvos ovXonevrjv toaa/xevos y^^V" ^^'^ (alternative to ow(i diToBvaanevos only) <f)vXov aTrevidfievos.



n. 692. p. 484 .K€avov TTOTajjiolo hi ^Ax^Xcolov apyvpohiva. corr. be. Aly. Powell. Oxy. TTcD? 8' eTTopevdrjg pevfx^ Q. evpeos vypa KeXevda. pr.] Ed. 1914. der Collectanea Alexandrina.^tSa jxaaraK (Fragments of two more 2 S' aeipas lines) VuKos.C. subject.] FRAGxMENT Maas.d. 2. 1899. no. Ed. 1. 1927. ii. Fragment of an hexameter poem of uncertain date and The Epic Cycle is probably excluded by reason of cos 8' dAieu? aKTrJL iv aXippavTCot e-ni 7Tdrpr]L ay[K)iarpov cXlkos 8eAeou.nANYASIS 118 [2a. Gnomon. Wissenschaften. 221. HPAKAHI2 P. . col. TeAtouxtSa II. *Grenfell-Hunt. Abh. Sitzungsherichte der Heidelherger Akademie See *PowelI. ANONYMOUS 119 [2-1 B. 251 pr. v.

How river did you silver eddies. . [2 a.PANYASIS HERACLES 8-11. {Fragments of two more lines) 485 . . come to the stream of Achelous's through the watery ways of the broad Ocean ? ANONYMOUS FRAGMENT such a word as SeXeotrxiBa (or reXiovxiSa ) : [2-1 b.] See Wilamowitz. 1900.A. 248.O. G. lifting Like a fisherman on a rock on the sea-washed shore. 43. Alexandr. Collect.c] the relation to than would be expected in an Hellenistic poem.d. Antimachus and his 4th-century posterity are possible authors : but the evidence is too meagre to permit a definite is closer Homer conclusion. *PoweIl. the enticing bait of his curved hook . p. p. 64.

. erf dpaKCS 8' a Trptv ttok €7Ta]vpofi€s dv- SayvJ^jcov t' €)([6jjicada veavjiSes iv daXdjjioiai vvfji[(f)ai]ai.] AAAKATA Ed. d e[ptov vefxev dfX(f)L7T6X]ot. Korte. Vitelli.aLV ipiOois. The paragraph : game described by Pollux ix. ra]? ev pckv Ko[pv(f>dL fxcydX' co]aTa. 1090. xi. ix. Theocr. This beautiful fragment v. 69.aiv iadXao Trjoaalv dcj)^ i[7T]TTco[v dX]X\ ta[)(\a}. Vitelli-Norsa. 172 and 288 . See Maas. 455 and 1929.v [Trpocro/xotoi d/ci^SJees" a re ttot opOpov fjidrrjp. 25. Gnomon. BauAct TaAat[i'a. Papiri Greci e Latini. ix4y* dvaa. pr. 21 . L. 325 {qu.LITERARY PAPYRI HPINNA 120 [1 B. one . New Chapters. Plate IV. 1934. t. for full discussion).(ji' dXiTraaTov. 6 Tew. 206 . Troaul 8' i^oir'q Ik 8' [irepas erepav] /xere^aAAer' 0770) Trav. Kpeas TrpoKaXeupflva dp. a is ^a6]v KVfjLa \e\vKdv fJLaivo[jL€v[oi. Archiv. is part of Erinna's DistaflF. Tttjura TV. 1929. ^[t'Aa. P. 180 and *Greek Poetry and Life. refers to the cf.^vta /cetrai rrjv[a rjSr]. p.C. ^apv aTOva])(€Laa y6rjfi[r 5 TojOrd depfi fjioi iv /fpa[8tat revs. iii. at pLiKpats T[d/ca vojlv oaov] (/)6^ov dyaye Mol/)/x]c6. no. x. 125 one spoke 4. 137. co Kojpa. Bowra. 1928. rv 8' eotcra] )(eXvvva dX\Xofi€va jjieydXas [eHpafxes /cara] -x^opriov avXds. p. Hermes. " oi Kopa D.86 girl (called the Tortoise) sat among others and with them in alternate lines. or touch. At the end of the last line the Tortoise leapt up and tried to catch. TT]va ct' 10 r)Xd[€ rejrpaatv.

last two lines are given by Pollux as (Girls) o 8* eKyovos GOV tL TTotwv aTTcuXero . or imaginary. head were huge ears. the deep wave you leapt : " I catch you.c] written in sorrow for the death of Baucis. Oh. And towards dawn your Mother. what a trembling the Bogy brought us then. when you Avere Tortoise. when we were little ones ! c — On The its all fours.^ who allotted wool to her attendant workwomen. unhappy Baucis. which {according to Suidas) consisted of 300 hexameters. * I suspect that the " Mother " here and below (v. came and called you to help with the salted meat. and it walked on and changed from one face to another ! of the others then take her turn as Tortoise. ! ran leaping through the yard of the great court." ERINNA ERINNA THE DISTAFF poem her girlhood. These traces of you. 16) is Erinna herself. and make deep moan for you. a friend of Erinna herself is said to have died at the age of nineteen : and this poem. From white horses vriih madcap bound into . Ue still glowing in my heart : all that we once enjoyed." I shouted. playing " Mothers and Children " with : : —who would Baucis the " attendant toilers " would be a row of dolls. without a care. is embers now. Both references to " Mother " seem thus more charming and apter to their contexts. We clung to our dolls in our chambers when we were girls." Thus I lament. dear maid. (Tortoise) XevKav di' 'ir-rrcjv els OdXaaaav aXaro " from white horses into the sea he leapt " (on the last word the Tortoise leaps up) hence the first line here. was perhaps her only published work. " my friend " And you. . : 487 . . [1 b. playing Young Wives.

37. Woch. xiii. 1935. BeroL. See Schubart. 'A^poSiVa. 3. Riv. Cazzaniga.. 1935. Robert. fasc. Ludwich. frr. Morel. 1357. 376. 43 b. CoH^c^ ^/«r. Ed. 1907. p. LITERARY PAPYRI dviKa 8' is iXeXaao aaor [AJe.J 1-2 ^jjj^j. Phil. 95. A further fragment witz. Philol. D. V. rjo/ca tto-vt' 15 €TL j^7rtacra[CTa] T[eas" Trapa] fxarpos BJauKi Tcu Tu ^t'Aa. 1935. 536 . Hermes. [ EYOOPmN 121 [(«) [(o) Parchment Papyrus 5 a. yircAw. 61. xi-xv 129. di Fil. 40 and iV^ew Chapters. Berliner Klassikertexte. Bonn. IJocA. II. Lobel. pr. . Scheidweiler. 490 . Wilamowitz. 31. 1. Pap. ov [y]dp fJLOL TToSe? [eVrt Aitt'^v'] diro SdJfxa ^e^aXoL. Latte. 1928. 90. 1938. Phil. Rend. xiii. Euphorionis Fragmenta. Text xxx. Hermes. p. 42. xi. Korte.. Archiv.^^ FRAGMENTS (o) *Schubart-Wilamowitz. i. Plate 1907. Pfister. 110 . Woch. 55. (6) Vitelli-Norsa. 1908. 67 . (a) 1.Aa^a[v ap'] e[p't (f)peal drJK^] KaraKXaioLaa rd [icaSea t-w] TrapaXeLTTO)' aKovaas. Graec. 1935. Hermes. diss. 63. p. Lomb. 1935. 508. The conclusion of a passage concerned with the 488 . Gnomon.d.)^atTaicrtv. V. 102. Annali della reale Scuola normale sitperiore di See Maas. PAi7. 1927 .^©? [dvSpos e^ag. [drap (f>o]iviKeos ai'Scoj Spv7TT€t pu d[X<f)l . 84 . 1935. Powell. Pisa. 68. iv. 1st.] a. 289. 62. pp. Korte. of Euphorion {one line) from Didymus's commentary on Demosthenes was recovered by Wilamo. ovo iGiSijv <^ae[crCT4 TrpeTret veJKVv ovSe yodaai 20 yvpLvaiaiv .

(b) Fro77i a roll irhich contained several arranged in alphabetical order. which included the stories of Clymcnus and poems of Euphorion In fr. [(«) [(6) Pf rchment 5 Pap}Tus 1-2 a. as we learn from the only hitherto surviving fragment fJ-ev ocms KeXi^Tqv 'AAujSrjiSa (jlowos dmjvpa (erf. 16).d. my eyes may not behold a body dead. of ed. Erinna was " a priestess or a devotee of some cult which forbade her to look on dead bodies. p. i. Hi. 63). using the first person).e. especially the bringing of Cerberus Perhaps from the 'Apal rj Uo-rqpioKXeTrrqs . " Probably. as in our fragment.EUPHORION But when you went to a man's bed. Serv. ii. 81. pr. So I lament you. dear Baucis.J labours of Heracles. Aen. ." arap v. 489 . frr. p. as Bowra suggests. the robbed complainant himself appeared and cursed the thief {i. nor may I moan with hair unbound. 30-31 Poicell) : this perhaps dealt with the adventures of Odysseus and the Thracian King Poltys {Latte. it.D. . yet a blush of shame distracts me : — . in which. pr. col. you forgot all that you heard from your Mother. 132 . in babyhood Aphrodite set obhvion in your heart. is a fragment of a poem entitled 'iTnr^ofifScov /ic(i)Ca>v (of. 2. 21 proposed by Beazley. yet neglect your obsequies " my feet are not so profane as to leave the house. EUPHORION THREE FRAGMENTS from Hades. It is preceded in H by fragments of the Thrax.] A.

V. aKTcjp {the reading is certain) has so far defied interThere is no evidence that the word can mean pretation. It looks as though Apriate is taunting Trambelus while refusing to yield to his passion : "Go and court a Leipephile. " suitor. the sense — ^ov^evrj fjL-q ttotc oTepT^Oiji Trjs dpxrjs. Since my text contains some new readings. but it remains as obscure as before. imXeyofj-evj] Se tcov arpaTicoTiov tovs evnpeTreiai Siacfjepovras. Apriate is scornfully rejecting the advances of enamoured Trambelus. and the suicide of Clymenus. evXa- Apart from this difficulty. Thereafter begins the story of Trambelus's death at the hands of Achilles. Then she leaps into the sea : it is uncertain whether she is rescued by dolphins or not. Lobel is very great. My debt to Mr. derived from a — study of a photograph. The scene of the second story is Lesbos. yrjp. Finally the moral is pointed at some length : that Justice abcays pays in the end . fxev vofiip^cjs ovk rj8eXr]aev.LITERARY PAPYRI Harpalyce {Parthenius xiii." and its usual sense seems irrelevant here. Leipephile. because of the terrible banquet (dei/ceos oIkXov). who was the daughter of lolaus and wife of Phylas {Hesiod fr. 4 ndvrcjv rutv els rpv^riv dvrjKOVTCOv dvoXavaaaa. 13. km 490 . this conclusion is supported briefly by two more instances from mythology. 4. or marry a Semiramis —you will " Why should she advise him thus ? The never marry me / sense may be " I hope that you may make a disastrous marriage " : for Semiramis notoriously slew her lovers the next morning {Diodorus ii.ai. of the passage as a whole is not very clear.). died on his own sword (e'cDi ddvev afi<f>l aibijpcji). I have written the word as a proper name. I prefix the following notes. tovtois ep-iayero. Where our fragment begins. has no connexion in our tradition with anyone named Actor.) and of Apriate and Trambelus (Parthenius xxvi. who. 142). The extant portions of the former story refer to the metamorphosis of Harpalyce into a bird {the XoXkis) eripoiatv dnexOoixevrjv opviai.

" cf. no d[jx]opS[i}]i'.^e). but an Euphorion tell." . ^ dvpawi Kporelv.i EUPHORION iravras roirs airiji TrXyfaidaavras ^<f>dvi. certainly k. ay/cds eXoiro Latte : in should be cAoi. as name — obscure as I found it. a[ relevant. have chosen so to interpret her though no such interpretation is necessary.. (the legible n in the middle is otherwise 249. For KwdnaiBes.' reading of the (aJTTO SiKparei rdfioi eyx^' Latte but dirore^veiv rixd a convincing phrase here. dyKaaaaiTo {suggested to me by Mr. 8. . But I admit that I leave this part almost. pr. nOAIKPATEOITE E . for his own purpose. How Leipephile fits into such though it is easy enough to guess. end of the line. fj see Norsa-Vitelli in 8' [ore] ed. Read " stamp your corpse jToSi Kporeoi Te[dv]€[wra {Kpcndoi Lobel) with her foot. seem the preferable reading. V. and and . F. 5. text. " deprivation. At the end of the line. 9. x. . is not 7. . <c[ai] Unless ]opS[ ]v seems certain.^ Stud. Her name is known to Hesiod : it was there/ore not originally a nomen ex facto. . Lobel) is almost entirely legible in the photograph. ore is too long . pr. Lobel's w K[wdiT(u]b€s fits the traces very well. For yr\v the sense and construction of Kporeio Eur. if the story of Actor s courting of Leipephile was in itself a record of a disastrous suit. v[v To]t (Latte) is definitely too v[eov] (Lobel) is clearly best. if not quite." related to dfitpSofiai as 491 . both. Bead ^.. known word seems a^pStov is I can only biggest dfiop^. . Ba. . and Latte. But the 8 is almost for the gap. to fit. It. and the a and o ofrdfioi are hardly to be reconciled with the traces in the text. V. a context we cannot may. eXoiTO avTT) eXoiTO ed.) Kwdvaihes might and is indeed mostly far more probable than v. V. At the long for the space. is the . 188 V. Fil. " she spoke. 121. a nickname given because she " left her lovers " . 13.

21. is . {Perhaps the sense was : " dolphins rescued her. .: LITERARY PAPYRI TTopS^ to -nephofiai. Latte's view. and sing again {or hereafter) the fate of Tramaltogether. me itnprobable. is.co6? VTTe^ 'At8ao SvdoSeKa Xolados dedXcov. /cat jtxtv ivl rpLoSoiai TroXvKpiOoio MiSetr. yprjiov. TO ypriMv. etc. avdi Se are co-ordinated The connexion of enough that avdis but the evidence fails us here . LK€TO jXTjv TlpvvOa TTaXiyKOTcoL JLvpvaOrji l. For the rhythm cf. ivavXiov 'AarepoTTOto. Atrvqv iftoXoeaaav. 10 (2) ] OTTiade ]a ]a (o) (1) (jiepoLTO avTojdL KdiTTTeae Xv-)(vov /caret VXavKutTTiov "Kpcrqi Schubart." seems to TO. The first iota it. . . ywai/ccuv eixTrfXareipa.Wilam. Tiyprjiov The word as Lobel first printed («) (1) {Fragments offour ol 8' OTTidev XacriTjc vtto lines) yaoripi KvdvcoL 7T€7T[Tr)coT€S oupaloL iv Xi-x^ixcJovro irepl TrXevprjiai hpa[Kovr€. . . 6 Tjep^ rj dvadpcouKovai ^odi 8' ev-qXaros aKficov.") V. 492 . (a) 2.?. avv Traiclv ed-qr^aavTO yvvaiKes. that the poet is saying " the dolphins did not rescue her.Tmro\y oaae (2) 3 avrodi Roberts.? rap^aXeat. t€ ypijiov edd. Kal ol ^X€(j)dpoLS rjarpaTTTero 7] TTOV QepfjidarpaLS rj ttov MeAtyouvtSt rotat pbapp^apvyai. 3 Suppl. aipr^iaiv ore p-qacroiTO aiSrjpos.e. 11 above. so belus.: riaTp6. I. very obscure. It is likely : 13-14 . Ti is certain. we may sing again {or hereafter) the escape of Apr late from the sea. Hermes.

24-25. the serpents that were his tail darted their tongues about his ribs. who exhort men to love and respect their parents. for and at the the pleasure of malignant Eurystheus crossways of Mideia. ' Cerberus. («) (1) (Fragments' offour lines) Behind. the nursling of Athena. or up inside smoky Etna. Within his eyes.. . Still. I0}rjp Lobel. ignore the tense) the advice of the living and the dead. Vv. a beam flashed darkly. but still alive). 32. (2) (Vv." The advice of the living and the dead is the wise counsel of present and past poets and moralizers. [There can be no truth in a view which equates the " living and dead " with — of v. parents are not dead {v.. ' Hersa • Lipara. 493 .) . when iron is beaten with hammers. 24. trembUng women with their children looked upon him . he * came alive to Tiryns out of Hades. . 24 : for (1) it cannot be done grammatically. lair of Asteropus. under his shaggy belly cowering. having dismissed with scorn {(rrviam-es : edd. — . being maddened after opening the basket in which lay Erichthonius. they are feeble. The corpse of Comaetho was doubtthe parents (2) the less thrown to the dogs and vultures. and the an\il roars beneath mighty blows. arrogance their feeble parents. the last of twelve labours. Truly in the Forges or in Meligunis " leap such sparks into the air. to Hersa "^ at the Glaucopium.EUPHORION this piece teas mritten soon after the first tiger to was brought Alexandria. (3) what advice do dead parents give ?] V. and Aglauros threw themselves to death from the Athenian acropolis. rich in barley. but is unavoidable here. The transitive use of dyrjvopeoj occurs nowhere The sense is " who treat with else. 4 sqq.

XeKrpov lkolo. 'A/c S . /cat fjLvqaaio 8e a [rjot ipda/j. Tov ol x^ctaixevrj yviois enL-qpape fiaprvpL-qv vetTji. 6(f)pa ej)[d]S/Ltoio 5 TrpoSopiov [9]a[Xdfioio TTa[p]6€v[iov x\apUvra ttoSl Kporeoi ya/ioi^. r] dveXvaaro KLartjv 5 oaaov oSoiTropoL ipprjaaovTO iroheaaiv dei/cea fxijSeTO 2/ce]tpa>v €vda XvrXa o]vK i-rrl Srjv. fjL€rd . Arjco. OKXOLTJ S' 'Ax€pOVTL ^apVV Xl9oV 'AcTKUXd(f)OLO. . v Sataa[t?] ydp. ^ Kcveov .Seifi-qvaaa /ca[T' ets- aAa atJytAiTTOs- ^ope 10 7T€Tp[r]S. »'[eoi']^ 'A7r/3taT77(t) [rjeu'loj K:[wa7rai]§es'. d]XXd av y V / . rec3 ^ 77.o- ^ I(^t/cAetSao SaiOpaaeo? 'loXdov "AkTOJP A€t7T€(f)LX7]V d[a}X[€]p7jv dvyarpa. 7) Acat VLV G(f)e8avoXo Tavvcraapbevq oltto to^ov 10 TatvapLT] Xoxirjiat. . <^epae(f>o- oTt fjiovvos eOrjKaTO 15 ^*) .^eAyo? TTVfMaros (ejAiTTT^Varo Aat^oV. /<:[at] Tpafx^ijXoLO Ae'^o? TeAa^txaji^taSao . yvvaiKcvv ipLTreXdreipa Apre^ij (hhiveaaw icoi raXdcopL pLerdaTTOi.io[v a]v8pa [7r]a/)a He/ietpa/Ltis- a[y/c]acrcraiTO.KWpiqs yap aXoir^delg vtto iraihl vcoLTep-qg .LITERARY PAPYRI ovv€K 'A6]rjvairis Uprjv J^S".

495 . and . that on the threshold of her fragrant boudoir she may trample the corpse of her charming bridegroom. ace. . .EUPHORION because she opened the sacred coffer of Athene or as wanderers were dashed to pieces. i. : — : : •* : . cf. . (o) (2) 6 8((rrToiv]Tjs K. Hellad. 4). Schmidt. 18 (Korte). " Lacedaemonian " (Artemis Orthia). stretch her \-iolent bow and reach him with her shaft therefrom and on the Acheron may he bear the heavy boulder of Ascalaphus. 8 veov. Lobel T€[dv]e[(lna D." he was himself or may the last to fatten the gullet of our * tortoise Taenarian'' Artemis. " bed. Phot. corr. : but 8 ov seems just S as likely. 3. .e. .. Go. be.. her pretty husband. (6) 1 kc v4ov or K€ve6v. k[cu] D. tcw^oj. who comes to women in their pangs of travail. . 7 Kpareoi 11. pr. L. (or " the Sea "). ap. . too long for space Schubart. shameless MTetch. 2 Ak cov ed. celemay you come to a (6) brate a wedding ^\ith . . son of Telamon. where Sciron invented an unnatural washing for his feet. cause he alone bore \\itness against Persephone. Now. " I will " marry Death Or her. P. (five letters). " Theseus. to Wilam. KxnxxTiaiSes Lobel. . ' i. leapt from a steep rock into the sea. F.* which Demeter in her anger fastened upon his limbs. ! . daughter of lolaus the warrior son of Iphicles. « Perhaps <* simply See Apollod. Or may a Semiramis embrace you. a new sort of " wedding' will I make for Apriate She spoke and for terror of the bed of Trambelus. . : W. 532. 5. or like Actor woo some fair Leipephile. 5 a{yK]aaaai. bihl. L. 9 ^. • Megaris : for 39. but not for long crushed by the son of Aetlira.To Lobel. Wd-qvalcov ^v TO apxolov (Paus. rijs * Euphorion may be speaking i. P.

[tV eJTL 7TV€Lo[vaav SeXc/ilves [TTJrjyoLO 8[i' vS]aTos iyKoveeoKov .etpa raAavroji. aKv^ofxevT] perd epya recov t' e7TtSe)o(/c)eTa[6 d^v8pa)[y. ai)v npcopov idcov. eoKipipavro Latte : but not improbable that they did rescue her. ]v l-)(Ovai [ au^i 8e Tpafx^-qXoilo [xjopov 'A.^tA^t 8[a- /xeVro? ^€lVO(f)6v[ 15 lines.. . ov ydp (b) 1 1 ov] fi[iv /c' i[v] vt^goictlv 'E. . 496 . iv 8' dyoprji crT7^[cr]aiTO Qeputv.^tvaCTtv it is ii. Propertius 26. y] [aJTV^avres t. followed (Fragments of sixteen by a gap of about eight lines) Yia\yh^cLp7) /ca/co8[cu/3]os' €Kovai\ov] dvSpdaiv dXylos. 17 delphinum currere vidi.ev a[ ^opS[ .!^vos" 8e Alktjv ij t' cSxra rtypTjtov det[p]et. ot pa deovs yo)VT[ai ipeOojcrt. KOV(f)6raTOS Xaiijjrjpd ov K€V 6 dvepojv Alktjs dXXrjKTOV di\yroiv pe\la (j)ij]yoi.wa>v re TTapai<f)daLds re Kapov- [tiov. "A^plrjs] vcopLrjaeiev edji e7rt.LITERARY PAPYRI . ri\roL ^eivta 25 Soprra Ato? t' dXtrco(n Tpdrre^av.] |U. -napd pijrpas 8' dyd- rfJTTeSavovs o\T\ Kev ayr]\y]op€CoaL TOKT^ag. avTLs 8e Kpvoevros Ipcorjaas TToXep^oio Eipr^j^v TToXv^oLav Itt* dvepas Idvaeiev.\. Cf. ore yovvar* oprjrai. aw^iS" tv* aet[S]ajjU. 20 i.

and send And in the Peace >nth her Prosperity to men market let him set Themis up. that we might sing hereafter ". I 27 ou. 28 pcla with KOfi written Lobel." ^ 14 TpafiPiqXo[y Trp6fi]opov Latte.) would and Teleboans.. lines. who were killed in conflict with the Teleboans while these were driving the cattle of Electryon (father of Alcmena) out of the Argolis. too long. donor of e^il. accompanied by the " Or. 6av6v[Ta)v Tl." Athenian Cephalus. who leaps up like a tiger at once in anger at the deeds of men upon whom she looks even them who provoke the gods and turn their commandments aside. and rest again from chilling warfare. Tetoi'=wv Callim. iTapatfx)>a(ji. wife of Amph. Latte) is the only plausible restoration so far suggested. 22 TEQNTEniESTAf n. Never in the island Echinades had the companions of Cephalus . and hereafter " the fate of Trambelus. (to rescue) vanquished by Achilles (Fragments of sixteen . The name Teleboans suggests that they got " 13 ? diJ..opBr]v. • . . Jbllotred by a gap of about eight lines) Pandora. 60 Pf. marry nobody but the avenger of her brothers. 9. cattle from afar. arv^avreg is fr. The lightest of winds that blow unceasing could not easily escape the swift knees of Justice when up she leaps. led an expedition against the Taphians Alcmena (later. '' * Amphitryon. 2 k 497 .EUPHORION And dolphins hastened through the dark waters her still alive . " again. beside her. . ! : — . man's sorrow selfimposed. Justice. but T(€)v^avT€s is just : possible. and such as treat their feeble parents with arrogance. Ares allot them their wages in his scales. requiter of good deeds and. scorning the counsel of the living and the dead or sin against the hospitable feast and the table of Zeus. . VOL. <^uyoi above dav. 25 irrv^airres looks impossible. . . emSep/ferai (Lobel.as 11. prol)able Tev^avreg was not in 11.

[.d$aTO. el] 40 ereov ri neXei /cat iv "AiSt X[ap/xa. ttoXvs 8' i7TiK€ia€[rat. €L firj [X]rjiSLr}LaL yvas erdpiovro ^oeaai cltt^ Tr]Xe^6at. . 110. pr. p. Collectanea Alexandrina.LITERARY PAPYRI oi . Catullus 64. 1921.D. 1924. (6) 30 ^t n. P.G. 498 . vii.. no. [Xovres • Sid ]/xa ttovtov 'ApatvoLO fj.(f)os elo TTeXoiro. alvos.o- oyS[ . . . ii.^[via . 9.] v€[a)]v KecfxxXoLo /cat *Afji(f)iTpva)vos dfxo[p^ot. 32 % Lobel.].LpoLS.] OLD WOMAN'S LAMENT . *Grenf<ll-Hunt. See Powell. CVS [S]'rjp [ji[aidco 7Ta[Tp]6s aracfios Ta. Oxy. p. €1 fj. dev €K€LpaTO 8ovpa[T OVV€K[a] TOV TTpaaaeiv. 43 Korte. 1794. p . X[o. . 117 Schmidt.A. Ed. Kd^fiopl aol S' [dXiylr) {xev yata.7) eV ^OTdvr]LaLv la 'AxauSos t. G. xv. Archiv. [JL€V €oXTTa KaKCOTCpa yrj[s V7TO OS aio X^avlKciviriv rjLfj. e? irrecfipdaGavTo veleadai 35 rerl^ov t] jjiocrxov.[. 83 funera ANONYMOUS 122 [2 A. 30 €K [re] rpixa xP^f^^rjv Kopcrqs coXoipe Koiov. Cf. . 78 and New Chapters. .

that a wild beast might be her monstrous tomb had not the Teleboans cleft the field \vith stolen oxen.] Morel. . instead of rewarding her * A sumably threw her body to the dogs and vultures. — .S . and led by a cow to the place where they must found a city. Maas. . Woeh. . P. fell in . . . — . ' Obscure form of Erasinus. 3. 73. Ught praise that will be the earth and weighty the be upon you. daughter of the Teleboan king Pterelaus.. and preexecuted Comaetho. For you. the river near Argos. had not the spearpoint cut ". .ANONYMOUS . . 499 . 400 46. allusion to some murderer and his companions. XqiZiTijim. nee funera. coming over the sea from Arsinus ^ nor would nor found among the pastures have thought to go the tracks of that Achaean cow. . 1922. 331.d. Centralbl. who were driven from their native land.. L. She cut off that lock of her father's hair which rendered Amphitryon him immortal and his kingdom secure. ill-starred. Therefore I expect he suffers still worse below the earth. PhU. 38 Trpdaaeiv ANONYMOUS OLD WOMAN'S LAMENT Cronert. D. love with Amphitryon and betrayed her coimtry to him. Comaetho. he who steeped your throat . .. . LU. [2 a. 40-41 Latte. nor and Amphitryon pressed on their vessel's had Comaetho " cut the golden hair from her father's temple. . . in blood. Farewell if truly in shall — Hades there • is any faring well.

rej/co? t€Ko[s. yukv ov avSr] x^'-P air] dpKee[i. .kv To\Zg. 500 . . [rjd p. dXXore yap aAAo[t]s' oX^[o]v Xdxos dvOpconoLaiv OLTj TOl TTeaaolo hiKTj. iyd) 8' dK6piLaTo[g d^Xijris ejpTTOj cS]8e TTodi TrXridovaav dvd tttoXlv e[. ovl8]e (Fragments of three lines) ] eXTTwpal S' idyrjaav av]ov 8e /iot olkos auret. ju-ot eoKev d[A]a>7^. rWrjai TTpoodev dvoX^eiovT evri<j)ev€6vT\ci\ S' dvoX^ov 10 roLos SLv{r])Trjai 7T€p[iaT]pe(f)eTaL TTTepvyeaaiv eV dvdpojTTOvs [dX\Xov 8' e^ aA[Ao]i» ojX^os d^e'AAet. 5 7T€a(T[o]g dpiei^opLevos [ttJotc p. o\v ae eotKC SevojJievov TcDt r rooov o[p]e[y€iv 7ra|o[a TrJatSa veeadai. ajAAore TOLai\y els dyaOov 7n'7r[Tei] /cat d(f>ve6v ali/fa . 15 pbrjX eaKC. She observes the mutability of fortune.LITERARY PAPYRI From a speech by an elderly woman to a youth. 8e ovri A677[ep]v7jTis' rrdpos €aK€ 8e TToAAd 178' /xot vecos ^a^uA[i]]ios". 7] 8' ai)[T]')^ TToXeeaat 7t[oto]v eTrel /cat gltov ope^a rja. To[t]7]5e Koi oX^ov r)iJL€T€pr]g ^Lori]^?.]. Tr]v opdas. (f)rj and says that she teas Se OL aaaov \lovaa.€v 8td rrdvra Kehaaaev dXoTj ^ov^pcoans.

to-morrow to another. and uncared for. and the rich man poor. have proffered drink and food to : many. 501 . vagabond creep thus about the I crowded city : — — . of now dice to another the way of wealth as the way —dice bring in turn a lucky throw to-day to one.). not to a cliild should you go . nor his voice. 18 i[^ €o) llpncj Morel. and SAviftly make the poor man Even thus on wheeling rich. . . my . for of old I was no outcast fields of deep corn were mine. to : . and a threshing floor. A good composition. She went near him and said " Son. pr. and many sheep this fatal famine has made havoc of them all. Mings prosperity goes up and down among men. my now is house rings to one The lot of prosperity falls man. I myself. .in the hour of need his hand cannot proffer you food. and makes first one thrive and then another. whom you behold. life are broken. my son. by an Alexandrian poet indebted to Callimachu^'s Hecale and Hymn to Demeter {see ed. . . . {Fragments of three lines) the hopes of hollow. .ANONYMOUS rich once but now ig poor.

erste Folge). Archiv. 208. Collart. P. — Tov] Se lS(i)V. Powell. Et. pr. {see Collart. Griechische Liferarische Papyri.).. i2e«. alxlh'-V^V^ fJ-^vexaptJ-os K€lvo{l)9 •)^[e] 5 yap Kpahirjv eTTLKaUai r]i. cit. ro /cat Alos ovar ia[iVet. CO vojjLecov /xe'ya Koipave.]/3t[ iravrrji ydp yapieis. *OelIacher. probably of the Alexandrian era Pan has lost his pipe wherefore Silenus approaches and taunts him : in his cataPan hid his logue of ironic possibilities. corr. 263 and New Chapters. drep aaKecov 77oA[e/xovSe . TTrjt aeo (f)[6pp. rrdvTrjL he ae d[ . TTcD? 8e x\opa)v 677 aycovas dvev avpLyy{o)s lKa\yeis TT-qt ajoi TTrjKTL? €^f]. i. ix7]XQaK07T€. : "01 tls ed. 1932.'s order of the two fragments) . 222 77. Powell. From a bucolic poem.s 6 ^ov[Tr)?. iii. . xi. Grec. 1-23. pr. the last one is trtie Vv. Nene Serie. d[oivT)v 7^ pa aev v7Tv{a)o)vTos a77eipe(n'7y[v] perd KXdijje rerjv avpiyya /car' ovpea Ad(f>vi. tlvl v[vp(l>rjL. aov ydp vtto Trrepvyeaatv del ^eper* rjTop ["Epcoro?* . 6 lalvei in note. 'ApvvTLXo? rj€ M€v[dXKas 7] AvKtSas rj QvpoLS. Maas. Vv. 46. Rev.D. 1933.Ly^ . See Korte. ')/[a]Aepov 7Tpo(T€(f)T] TiiX-qvos [dvaiS-qs' ttcos d[v €ttoito €177] e [XOL. Class. pr. 1 dvaiSijs D. 1932 {Mitteilungen aus der Papyriissainmlung der Nationalbibliothek in Wien : Papyrus Erzherzog Rainer. p. 46. 168 (whom I follow in reversing ed. : LITERARY PAPYRI ANONYMOUS 123 [3-4 A. . but they stole it nevertheless. . n[rJL\ fxeXecov kXcos evpv. L. 2 enoiTo D. 24pipe from the Satyrs. 9 rjAvSosr/Toi II.deoLa[iv 10 pLV e{8v)ov eSwKag opeaaiTToXcoi. L. P. 502 . loc.] BUCOLIC Ed.

13 sqq. where your lyre ? Where the wide fame of your songs. up and plays on it.)Pan makes himself a new one.) t* based upon this poem. 20 sqq. Or have you given it for a wedding gift to a nymph upon the mountains ? your heart flies ever beneath the wings and everywhere it is your wedding-day. but has difficulty in commanding it to any utterance of harmony. The Satyrs. how could a warrior steadfast follow into battle ^vithout a shield ? How then come you to the dancing-match without your pipe ? Where is your lute gone. great lord of shepherds. 503 . or upon a common ancestor. " Tell me. led by Silenus. Now seeing him. It is probable that Vergil's Sixth Eclogue {vv.D. Bion. 4 xopcDv cV dyuivas refers to a definite competition). Daphnis the cowherd or Lycidas or Thyrsis ? Amyntichus or Menalcas ? P'or those young men your heart is set afire. that delight even the ear of Zeus ? Did they steal your pipe upon the hills while you slept after feasting \\ithout Umit. of Love — — . tree. [3-4 A.] Pan makes himself a new flute with wa^ from an oakDionysus and perhaps Bacchanals are present. Evidently Dionysus has engaged Pan to play at a contest {v. " A character not found in the poems of Theocritus. Moschus. thus cheerfully spoke Silenus " unabashed.— ANONYMOUS ANONYMOUS BUCOLIC end. have stolen Pan's pipe . Doubtless Pan triumphed over picks it Pan the Satyrs in the end. shepherd. of the but she throws it aside. Dionysus will therefore be enraged against Pan (w. One latter tries the pipe in vain .

^TTpoadev aWepos . 40 j^eiAeo'O'tJv €(f)'qpfjiouev d](f)€7]K€. tTrraro ITepCTeuj 35 i/cjave /cat ]i8[. Aaata? aeo )(^eZpag a[v]ajyft[ [ orja(e)t' olottoXoiulv iv ovpeacv KoiXrjs 8'] eV ^7y[y]oro Aa^cov ei'ai'[^ea KTjpov Tov jxev npojTojv edaXipev ] vtt' 'qeXioLO [^oXataLV 25 TTCOTaro (f)LX6Spoaos JojLteuaa .. B[a/c.^.eAtcr(cr)a to KTjpLov (hhivovaa afji(f)i Atcuji'uo-oto Kapi^aTL. . LoJx^P^^ deOV 8' €VL(f)Vat. CKriaev dyAaoi^ darv . iuTL [X€ya[s . 0770)9 pLevoL e'/MTreSa K-qpos.]cti[ ov TOL (f)6^o<.at? 77-]ept Ilavog in'qSa oppLcoij/jLevrj is x^pov iXdelv aKpordroiai..6ojVTOS dadpLarog avx^vos Ives ^eavexpois'f ivreraro XP^S' wtt' 504 .8' TyeAJtoto ra/ceis" i57reA(i.Joptoei'f KCKpirjcoTes ]^iAaj[ J/xoiara Ba/c.) XP^^^^ Xduios YVdv OLTT* ^KOirjULV.LITERARY PAPYRI 7) av Xa^cbv avpiyya TL T€[r]v K]ve(f>a[s a/x^t [ KaXvifjag 15 Seifiaivcov aaTvpo{v)s fjLT] ae Keprofiecoaiv iir-qv [ evvfivojv TTpox^oLs K€-)(prip..) ero K-qpos ir]7^/CTi8a TTT^^e 30 ]Se peetv araAarros' eAaioji (.. OL cre(o) dafi^og TTciJs exovai Kai ovv[o[ji]a [jLJrj [.. . )U.e\vos [xovvovs 8' afji(f)l vojxrjas dlSpdajs iaa[t. 8e Krjpwi ) eJyTpTyrotj jixeAt Xei^ero ( auyats. TTLfiTrXaro 8e SpiJs' cpyov T€xi']'q€VTOs' iv avdefxoevTi.^os' ineXdajv 20 otov avavoov lSolto Kal ovk aAey[ovTa /cat p^opetT^s'..

. . . . . . . . . and while the god blew therein strongly the sinews of his neck (swelled up) as he . . lest Bacchus may approach and . olhalvova' or anhTjvav t' Beazley. .. . and the oak was filled with its cunning work. rays of the sun. . you should pour . Melted by the . .. it First he warmed in the rays of the sun . . . name. . . in 11 : ((orrropiotaiv) ed. . flew a bee that . .. Theocr. so that the wax should stand fast. and . the olive-oil . pr. in travail about the head of Dionysus..g. WTiy are you not alarmed. . took the bright wax from a hollow oak. ol coiSijkojti k-qt' 36 'Apyos laxypov avx^va iravro- 43 i. loves the dew . Shaggy Pan. 43 whi 505 .. . anointing . . to flow like . the honeycomb. and Perseus flew from the sky of old wearied . .ANONYMOUS and everjwhere . . ..... ffev Ives. . hide lest it Or did you take your pipe and about v^-ith darkness. chanals starting was leaping around Pan fitted it to the edge of her to go to the dance lips . . . . fashioned . and the are voiceless and heedless of " fetter your hairy arms on the lonely hills ? wonder. . came. . .. . . the ignorant shepherds you are in . forth of noble songs. .. see that you only . fearing the Satyrs .. wax dissolved . who hold you . 30 Incomplete lK]av€ ed. wanting . when . a pipe . . In the flower)' wax honey was distilled in porous cells. pr. .? Only about . cf. . e. . .. let go. they taunt you. dancing. . .. to Bacfounded a glorious city .» .

are (f)poveovTL Aoytcr/xcDt TrXecov vScop eXKovaa TToXvTTX-qdel rore KapwcoL.. vii. pr. 7 yeXwaaiv) Schmidt. dpxo. ov Kapiros eirl )(d6va Trdaav ohevei. aladdvera^L] TTorajiov pitprjiaiv ixeydXrjiaLV yap eTT-qXvaiv -iqv S' aTroAeiTn^t.D.A. " The reference to trees seems awkward. no.^C(jjLiaTOS" €vv8poLO TTeSrjv dXKrrjpd re Xipiov. Archiv. Schmidt.LITERARY PAPYRI TrXaTJdvoLO /u. aAA' ou/c ecr^' ore Kaprrov e(f)e8pevaovai Xa^eadaL 5 dvdpojTTOL )(^ix{r€)ovre£ €[v]rpa(f)ecov KVKXafjiLvcov TToXArj yap Net'Aoio %uai? 7roAAT7 8' em ultoji. 1921. xv. then the persea. IT. 1924. p.] GEORGIC Ed. itroliqGev Se yeXaJaa evdevLTjv. O. *Grenfell-Hunt. 10. described. pr. P. 118 . 10 diadai hlvhpea Kelva Trap* dXXrjXoiaL KoXcovaig.t'OJV ojyvyios vofios ovros drr er avaKTCov. See Korte. . Oxy. d(j)dovirj rerdwarai. From a poem about Egyptian botany. 116. 5 x<^o^^s 3 iroXvnXrjdei ed. defended by Schmidt. interrupting as it 506 . 1796. A good enough piece of writing. Beazley.G. corr.eAt^e/Ltev dp^ofJievos 11 av' dyiei^cov 45 JjSaiov' €TTrjLe x^^tXos TTJaAtv €TTve€v evpvrepoiai ANONYMOUS 124 [2A. First the cyclamen.

and brings fertihty the fruits thereof go forth to every land.. Hunt) had been mentioned already in connexion with the cyclamen. . Dioscor. But never will men be watching and waiting in need to seize the fruit of the full-grown cyclamen for great is the flood of Nile.] and forceful. flesh stretclied . 193-194. . shifting with broader . . ANONYMOUS GEORGIC concise [2 A. for she feels the fail. breathed ajrain ranged over. ii. to bind the watery mound and ward famine off. and great the Abundance that is spread over the com. . . Sfv8pa. much later. his lips . . one kind of which grew especially xmo to. should — — . Perhaps these trees (perhaps the aKavda. 507 . . of the plane-tree. . : advance of the River if it through her long roots she draws as if by conscious reasoning more water.. Pan starting to play . surviving still from our lords of old to set those trees " side by side upon hills. . This is an immemorial law.D. with some imaginative touches and obvious avoidance oftlie monotony to which the theme naturthe style ally lends itself : and technique are not dissimilar There seems : to Vergil's in the Georgics. — : does the discussion of cyclamen and persea. and thereafter produces abundant fruits.ANONYMOUS blew . More probably the lines are simply misplaced (Beazley). and smiles. to be no reason it to deny to this fragment an Hellenistic date but is possible that is . Housman ap. . .

Kaprrov aij/jia ydp dSpoairjLac TveTratVet.G. Schmidt. 299 . . P. no. Woch. no. Phil. Fragment of a series of stanzas written for a merry company. Cronert. Al. 15. Theophr. 1921.. Collect. 581 witz. Strabo xvii.P. Cf. a sim. and so forth to the end of the alphabet . 177 WilamoVersk. pr. ydp ddcoTrevroji Se yeyqdev vtt' 15 ahpoalrjL. vii. a sort of scolion or drinking-song : so arranged that the first stanza began with the letter A. iv. Oxy. 305 . 140 . .] DRINKING-SONG . our fragment preserves the series from I to E.D. n. 113. the second with the letter B. 10. de opusculis graecis. 20 evethios iyyvs IhiaSaiNet'Aoy TrXrjiivpovTos vScop veov evre Tnovaa -qpuepi-qs Kal KapiTov an' o(f)9aXixoXo ^[ejcot avvavt^Karo ^XaardJi 'qepog aKpiairjiai 14 " [ irpoTepoi. composed some two centuries later. 1922. Because evergreen. H. Oxy. Manteuffel. and Ed. 823 ANONYMOUS 125 [1 A. corr. 508 . 84. See *Powell. p. Archiv. 1924. 1795. 162. 99 . p. 2-5 . Greek Poetry Maas. Gr. xv. 1928. whether fivovpoi or iidovpoi {probably the former is correct. Grenfell-IIunt. P. i. Korte. LITERARY PAPYRI 7repcr(e)i7y 8' aKfji-qros vtto )(\o€polGL TrerrjXoig evcfiopeoL KapirayL TrepiKaXXei jXTjSe TreTraivoi fxexpts eTravdrjaovcrt kXolSoi TTporepov irepl Kapirov TTLTTTOi {JirjS^ dpa vvKTOS 7re/3cr[e]t7y? diTO KapTTOs avpL(f)€peraL jJLOvm] OT^ cyyvdev opvvrai vScop drep ^apvrj)(€OS avprjs. Hunt. for the persea see further Nicander. p.A. Life. 364. 199 Higham. The metre is " tapering " hexameter. G. Higham. Philol.ilar " acrostic " scolion. Alex.

nor yet that each stanza was intended to be an entirely separate song. cis vt^P". •* aTJfia ^fiepirfs = (rfjfj.d. night when rain rushes near. — the and by a common and something more than a series of independent songs. . in the changes of the climate ** The unwearying lovely fruits under leaves in the green : : •* : . without a violent wind. it is prepared for the dry season. the fruit is want of dew ripened. . xiii. Cf.e.] qu.(worth Cultivating) icrrL ANONYMOUS DRINKING-SONG [1 a. also p. to be supposed that these stanzas compose together a single complete poem. The work is thus something less than a single complete poem. moisture from the rains. 15. It is the sebesten-tree. 323 for a beautiful translation into English). 9. I think. is in fact more or less self-contained and independent. 509 . with plum* i.a.H. For it alone agrees therewith. yet all are connected and bound together by the occasion on which they are recited subject-matter philosophic toper's Design for Living. Pliny. 315 for explanations of the curious refrain auAet fjLoi. N. the Harmodius and Aristogiton songs in Athenaeus's collection of Attic scolia. It is not. do not pick the first crop until the like fruits. and p.ANONYMOUS persea should be fertile with it should not ripen till the t^^^gs bear fohage about the former * Nor should fruit fall from the persea in the fruit. sung in its turn. drinking the water and sending forth from the bud new fruit and shoot together. V.'' A proof of its fair culture is near to see when Nile is in its first flood. Though each stanza. and rejoices in harsh when no dew is there. " Deriving enough flowers of the second crop appear.

. . 10 KpTjra? a?3Topu[To]us' /xeA[iT]o? Tpet? rjdeXov ^x^tv. olVoy SeVa. TTcvre yaAa/CTopuTOf?. (l)€vye (/)6vovs Kal (f)evye ^dxds. ai'A[et /xoi.^- . au[Aet ^ISes" ea/3. ^^ei/xcDva.-. avXei fio[i.)^eiv. dAAa fivpov Kal rovs aT€<f)dvov[s] dyopdar^Ls. Merpa rj Tt[?] dv ttXovtov. tls dvevparo /xeVpa Trevias Tt? ev dvdpa)7TOLS .ar ex^ov 'in 7TXe\i\ova . TrXovatos d)v 8' o raAa? jSacrai^i^erai coarrep o Trevqs. /cai vy^ to. reray/LteV KOTTta ^r]T€LV TTodev rjAios 7r[o]^ev t[6] 7T66e[v] vhcop. dere p-oi vapd 7Toa{a)l 8e 20 auXet pLoc. /cat hevrepov ov /xera/xeAT^t.o[i. 25 510 .^/3U(rou TrdXiv evparo puerpov.LITERARY PAPYRI [0].' rjXios puTj avTos [eSu]. Oepos' /xot. </>[et]crai Sia(f)pov€[i]v. Kai rpeis" ^(tov'cajr* TTtttSa Kara Kpiqvr^v Kal rtapdivov rjdeXov e. 5 ravr T] cotl hioXov a7T€)(€(. S[6(!)Se]/<ra fjivpov. 15 AuSto? avAos' Kail] TTOveZ' e/xot Opyy[to]s' /caAa/xo? rd 8e AuSta Traiypiara Xvpas rd 8e ravpea TvpLirava ravra ^djv dioal t' epap-ai Kal orav aTrodavo) Ke(f)aXrjs avXov vTTep Xvprjlv. vvv yap 6 x^p-fjp. auAet ju. elg 8' oXiyov TToveaeis..^/3T7/Ltara deXei. Kal Svo TTrjyaicov vhdroiv.

For me. sight (repeated by Manteuffel). Play me a song. the Lydian pipe and play of the Lydian Phrygian reed and oxhide timbrel toil for and when me. with no after-care.. 511 . In Ufe these songs I love to sing I die. whence the rain but whence you may buy the scent and WTcaths of flowers. pp. lad beside the fountain. he that possesses money desires more money still and rich though he is. and three from snow. 3 The ijdeXov: he before Bia<f>pov€tv in Powell 6 is merely an over{€)lSfs. ten of wine.. beside my feet a lyre. Play me a song. I . . Goodwin. . Play me a song. 11 tense as in axfieXov (Higham): cf. found out the measure of gold among mankind ? For now. . You saw the spring. night has her portion due.ANONYMOUS Nor •wrong be done to you. I five of milk. wish had three natural springs of honey. poor wretch : he is tormented like the poor. . summer The sun himself is gone to rest. and Play me a song. two of fountain- water. lyre.e. of scent a dozen. forbear to quarrel. . set a flute above my head. : Labour not to seek whence comes the sunshine. So shall your pains be brief. seek to do a wrong. . . I of wealth or poverty ? repeat. nor strive in answer if a Stay far from slaughter. . . far from strife. the : Who ever found the measure Who. i. the winter and the these are for ever. wish I had a . — Play I me a song. 157-158. lass . .

: Ed.vLov vScop. no. pr. p. 1938.d.6 Oavwv ovtcos TrpoaeSoKa. Hardly more than two dozen words are more or less com- 512 . the earliest appearance of that story in Greek literature {where it was hitherto known first from Musaeus in the 5th century a. oA^i(o)? '^v 6 MiSas.e. with a single ship : the rudder consisted of two large ANONYMOUS 126 [1 A.D. oAAa Tts" eiV 'Ai'Sa o^oXov irXeov rjXvdev exojv. 486. Is this the Hellenistic poem which scholars postulate as the common source of Ovid. Catalogue of the Greek Papyri in the John Rylands Library. 98.). Plate VI the earliest extant text in Greek literary papyri which divides words one from another the division doubtless made by a j'oung pupil in a school. 35 29 " i. ati'Aei /xot.] HERO AND LEANDER : ^Roberts.oi. 30 Eep^Tjs T^v ^aaiXe[v]s 6 Xiycov Ait irdvTa piepiaai. Tpls S' oA^to? rjv 6 [K]Lvvp[a]s. OS 8uCT(t) TTriha\[t\o\j]s fiovos eaxtoe A-^p.LITERARY PAPYRI Ne/cpov edv ttot iSt^i? kol ^vrjixara Ka)(f)a vapdyrjis KOLVov eaoTTrpov 6pdL{g). ttot' Hunt. TO ^rjv TTiKpog iad^ 6 haviaas. ae deX-qi. 18 and Musaeus ? The fragment is too meagre to permit a certain conclusion. Fragment of a poem about Hero and Leander. Kav TOT aTTaiTTJaai. Heroides 17. KXalcov [ajTroStSois-. iii. Manchester. avXei p. 6 XPo'Ho? f'o'Ti Sdvos.

Time is a loan. you repay him to your sorrow.] so far as they go. {The Plate makes it clear. Our poet has in cotnmon with Musaeus (1) the word TijAeoKOTTos V. 9. defeated and deserted. 6 come after the feminine caesura in the third foot of their lines . (2) the address to Leander in the VOL. as seemed likely at first. . and he who lent you life is a hard creditor if he wants to ask you for his money back. Xerxes the king it was. ANONYMOUS HERO AND LEANDER pletely preserved : [1 a.: ANONYMOUS Whenever you see a body dead. who said he shared the universe with God yet he cleft the Lemnian waves. Play me a song.d. with a single rudder. not. 10. after the similar The two vocatives "Ecmepe v.) and Aaa>8p€ v. that yevoiade v. 5 caesura in the fourth foot. but what man went to thrice-blessed was Cinyras Hades with more than one penny piece ? Play me — : a song. except the break after the first short syllable of the fourth foot in v. 2. in a single vessel. you look into the mirror of all men's destiny : the dead man expected nothing else. I think. ." Blessed was Midas. I 2 L 513 . or pass by silent tombs. . 6 are not easy to combine. there is perhaps nothing and technique. Xerxes entered Europe with a vast army across a bridge of boats : he returned. 237. oars fastened aft. . but may of course inconsistent with Hellenistic style have been wholly free from objection in the original text. Mus. . deserted. koL doT[ r. .

Mus. 1093. Saifiovi TidvTa StJSou? oTrAt^eat ev irep [oXedpov ovSwi. vjevaaire . Eur. 514 .l929. . Kal ail TOT* "Eiarrepe. c5S' evxTji. 2 v]€vcrqT€ n. [(f)do9 eppoi. x. col. OTTiOS OKOTdajeL vv^ ovpavos r]eXio[s yfj. 111. The lines appear to describe Leander s [aarepc? dvTOjjievrjL fxrivr). . pr. Xd9p[a av r ainos (Xddpd h. H. yevoiade Se TV(f)[Xo T]a. 224. See Korte. no. Tv<l>Xoi .g. 3 T]axivcos possible in 11 -os perhaps likelier. 3. oj? (fxiT^ .^tva)? aov KaraSwoixevov TrdXtv. /cat acrT[epe?] 17T7T€v[6vto}v TrdvTes. KapTepodvfJLJe AaavSpe* [xJerTy/ce yap a[lva)g 10 Xv^vos 6 TTplv ^(x\edu)v TrjXeaKOTTOs' et77e[ or a compound of Tv<f>Xo-. Xd9p[to9 5 epnoLS.] SAYINGS OF THE SEVEN WISE : MEN logie pr. w. p. Ed. The form of Leander s name AdavSpos " which appears in this text and is nowhere else used of the hero of this story. 1132. p.Aaa]j^8pe.LITERARY PAPYRI second person. v. 28). eTTCt] Adavhpov ojvTLaaLS' ISeXv ixovov r]v8a[v€ dvixcot. 154.D.). ix.. ANONYMOUS 127 [2 A. may be explained either as a pseudo-archaism or as a scribal error " {ed. 1-6. Cer. 9. 1929. 4 Greet e Latini. 86. 240. i. Bulletin de la societe royale d^archeorepublished *Papiri d'Alexandrie. 7 May the reader find a better word here fr. (3) the appeal to the Evening Star to assist Leander. /caraSuvco/ievov 5 Or e. Vitelli-Norsa. Archiv. Mus.. 6. 24.

all the stars. ndvra deoiai Si]5ous.] Fragment. " . pr.). bow to my prayer. * on horseback. : . Or ANONYMOUS SAYINGS OF THE SE\^N WISE MEN [2 a. 990-994. .-K. . suffer I ! Moon. that night and heaven " and sun and earth may grow dark Entrusting all to Heaven. . restore thig sense to the text. Hesperus. " The first two lines are probably spoken by Hero. 8 ]Aous or ]8ovs H : o:TXia[a]fai IT. 1253: cf. " Ride * backward. refers to For Hesperus and other stars as youths P.ANONYMOUS final journey and death. 515 . for to see Leander was all her heart's desire. " Hero. in particular to the stars not to shine and vie with the of the lamp. than OKord^w. viii. " Stars. pr. an appeal to the elements to favour her lover.d. .-W. Hie. Then did he too make supplication " Back. The rest would then be a description in which the Evening Star is invoked as Leander's helper " {ed. you gird yourself even on the threshold of death. Eur. and become sightless ! your light to sink swiftly and depart So she " spoke. quoted in a monograph on maxims. to hiding " (thus prayed Leander). 1. ed. . from a poem in which perhaps the Seven Wise Men met at a symposium and each in turn expressed a profound sententia. My hazardous supplements endeavour to . . Leander lion-hearted for sorely dwindles the lamp that was bright before and looked afar. light . .

pr. V. *Grenfell-Hunt. 73. Or. G. Pap. Lit. no. Schmidt.y6p. suggested to the emperor Hadrian that a certain lotus should be named after his favourite Antinous . it was decidedly less illustrious than the others. Archiv. was just this passage of Plato which " canonized " refers to Plato the p^^uara ppaxea ] d^iofiv7](j. 673. Wise Men are mentioned together Thales. P. Myson and Chilon (e^Bo/jLos . p.A. Bias. Protagoras 343 a. See Milne. no. Pancrates of Alexandria. — ev avTois eXeyero AafceSai/xdwoj Xi'Aojv the phraseology sug- gests that he no doubt him).6vevTa dyopeveiv. Lit. ii. 1912. 643. 36.vot. viii. 30 . 2.D.G. Plato. P. 1916.LITERARY PAPYRI Cf. Woch. averring that it had sprung from the blood of a lion which the emperor had killed near Alexandria. Athenaeus (xv. 1085. Oxy. an acquaintance of Athenaeus. Miiller. 539.ov 'Avrtvooio. vaiwvy OS 7TOT€ /cat ni'[^]or TO ao(f)6v TTorl TOV . PittaCleohulus. 672 . 516 . p. the earliest passage in which the Seven cus. XtjAcuv [8' '^]px^ Xoyov A[a]K€haL[jLova Trarpiha [vrjjov eypaipev. DArKPATHS 128 [2 A. Korte. .] ANTINOUS Ed. Schmid-Stahlin. 677 d-f) quotes four lines from the poem which Pancrates wrote : — ovXrjv epTTvXXov XevKOV Kpivov nop<j>vp€r]v i^S' vaKivOov TTerrjXa yXavKOV re x^XiSovloco <j>vev Koi p68ov flapivolaiv o. Solon. 1911. and rewarded Pancrates. Cat.evov ovTTO} t.e<jivpoicri' yap avOos iirdjvvy. .M. Hadrian approved the conceit. Phil.

which probably formed the basis of our poem.. presumably comes from the same poem. ypailiavres raiha d 817 vavres i>(ivovcrn>. ii.] Hadrian and Antinous is described.PANCRATES eKaarcDi elfn)fi. " yvto^i aeavTov (know yourself). A stale and conventional lion does everything at once except move : we cry to him " Fellow. . exaggeration ruins the realism at tchich it aims. Cyn. this passage of Plato was probably the ultimate source of the plot. was too dangerous a method to be employed by any but the boldest or those who had no alternative in a chance encounter. 343 a-b Koivrji aweXdovres dnapx'fjv TTJs ao<f>Cas dvedeaav twi 'AnoXXajvt els tov vecbv tov yvcjdt ev AeX(f)ois.eva. PANCRATES ANTINOUS Ourfragment. and begin ! That Hadrian was an experienced hunter of lions. to hold forth. 88-97. The commonest method was to drive the beast into a net . Sport in Classic Times {1930). in which the slaying of a lion by [2 A. " leave thy damnable mouthings. . 474-478. If indeed the poem did describe a meeting of the Seven Wise Men. . Frontal attack. pits and poisons were probably only employed by those whose purpose was to take the lion alive (for the amphitheatre) or merely to destroy it as a danger to life and — property. It is a poor enough composition . Now Chilon. we knew already.D. whose fatherland was Lacedaemon. aeatrrov koI /xrySev ayav. cf. whether on horseback as here or on foot as in Oppian. 517 .. began to speak he it was who once at Delphi wrote the wise saying " on the temple : . See further Butler.

fxdarie 8' TiTpv[p?iovLOV Klajroinadev iyeLpofxevov Ze(^i. 8e rvrrels en fJioiXXov. 6V 770t' auaKra kXovov i^eudcoae. /xt/itve Tol]ov icjie^oixevog 8aixaaT]v[o]pa AJv-TtVoos" Xatrji fxev Aeovra . ex^v pvrrjpa -xaXivov.vaa[€ 10 6v[xovfji[e]vos' e/c yaiav cl»[? T/)77. [ojpiveTO. TToacrl 8' dp.^aA[e]'>y[v] 8e Kovvrj v]e^[os'] laTapbevrj ^[dos 'r]]xXvev lyeAt'oio.. pL]ix[(f)a cJtt' dix(l)orepoiaLV ovp['^t laxioL KJal TrXevpds acfieTeprji fidaTtyt. pbaivero 8' co? ore 8' /c{'/i[a] 7roAuKAucrTo[t]o daXdaarjg eirajpope.kv dn^ a[AAcof fxeXiayv arc BevSpea.p[oto. 5 Se^ireprji S' ey^os KeKopvdp. 25 ^p^evT] Karevavra 6[eov] kXvtov ^Avtl[v6ov re.)(aiT'>7] 20 deLpopLevT) yjv SaaKios] ojs o KareaeUro' 7] p. Kparos 8'] CK fxeydXoio /cat avx^vos e/c Aacnopo . Ota ytyavT[o]A[eTao] Atoj 7ra[po]s' aVra Tv(f)0}€v[s y e^rj] (Fragments ofjifteen more lines) 518 . 8' au A]a^/)Oj8op[a»]r crropidroiv tto^Xvv d(f>p6v oBovTcov i^avUi] (jvvapaaaopievcov evroadev eg [afar. rj 8' aTTO v[cotov drjKTOLGLV ofxouos T^ev d/ca>[/car?. 8' 'ASpiat'os' TTpoieis x^XKrjpeov €y)(ps ovSe CKcbv yap dinqpi^poTe d[7]p6s- ejvarox^T^? &]rjp ydp i^ovXero TTeLprjdrjvac *A]pyeL(f>ovTtdSao pLeyqpdrlov 'Avrtjvdoto. K€[XaLvfJL ]os'" 15 ocrae 8e Seivov vtt* 6<j)pvai TTvp ^[Ae- e/f yid^GKov.€vo\y] e^ dhajxavTos Sdfxacraev TrdpLirav TTpwTOS ovracrev.LITERARY PAPYRI iTTTTOu] 8' ^ prjiBCjcDS (fyevyovra /caret ASp['q]aTOto docorepov.

he wounded. while his fangs gnashed within.PANCRATES swifter than the steed of Adrastus. Ital. From his massive head and shaggy neck the mane rose and quivered from his other limbs it fell bushy as trees . son of the slayer of Argus. but slew it not. and dimmed the sunlight. Hadrian was first to shoot forth his bronze spear . Apollod. like Typhoeus of old against Zeus the Giant. 23 iiller. 978 (a) Kaibel. saved its master easily. . 532). . . (Fragments offifteen more ' : lines) Adrastus was saved by his horse Arion in the battle of the Seven against Thebes Homer II. — . son of Hermes. Inscr. ^nshing to test to the full how straight the other aimed he. 519 . . i. . xxiii. . He raged like a wave of the surging sea. . 7. In such guise he went against the glorious God and Antinous.evnri Schmidt 15 pwaanevt] M pifi(f>a S' Schmidt. in his right a spear tipped yviih adamant. with his own dark whip." that once . Bithynia (Eckhel vi. lovely Antinous. : <f>pL(j(jofj. . for it was his intent to miss the animal. . On such a horse Antinous awaited the manslaying lion in his left hand he held the bridle-rein. . the beast was with his paws he tore the rough yet more aroused ground in anger forth rose a cloud of dust. on his back it was like whetted spear points. 346-347. . p. 6. when he was fleeing through the press of battle. iii.Killer. Gr. . Boreas.e. when the West wind is awakened after the wind from Str}Tnon. Antinous is called ve'oj Oeos 'Epfidcov Hermes appears on the reverse of a coin struck in honour of Antinous in ' The North Wind. . and scourged his haunches and sides ^^ith his tail. .'^ Lightly upon both he leapt. . His eyes flashed dreadful fire beneath the brows he sent forth a shower of foam from his ravening jaws to the ground. ^ Stricken. '' : 2 prjiSlcos Schmidt.

Tiflis. viii. the countryside is by a sudden miracle rendered waste and desert. TrctJ/ra 8' [a]iCT[Ta* fjLOVVOS 8e TrXaJTafJiayv A[er]os" TrdXiv i$€(f)adv[6r] Xctficbv 8' -^L Trdpos] eoKe.-Georg. cpLTTeaev c5t 6vfjL](vi .]. 1925. left Where our fragment begins. (Literarische Texte). Maenads and Satyrs tracts his soul assault his person. ovBe TTapa TrreXejrjv Kp-qinq vdev ov8' eaav dp^ijiOL. ov rrdroi. 520 . 254. Ross. See Korte. 11531180 (in Russian): republished *Papyri Russischer und Georgischer Sammhingen [P. 11. Traprjv daaov AvKoopyos 5 Krjp pLeydXcoL Tdp^^eL ^e^oXrjfjievos dpu(j)aai7]i re* Koi yap dda-)(er]a irdvra koI dvSpdaiv ovk e7Tiet[/<:]Td 6vr]Totcnv TraXivopaa /xjeraTpaTTer' a/x^a[86f] epya.^Aa»[p]or Seos. Petrograd. ov dpijyKoi. pr. p.. are serpents. and so destroys them. ZereteliKrueger. Lycurgus is terrified. ed.D. LITERARY PAPYRI ANONYMOUS 129 [3 A. i. i. 69. 1918.] DIONYSUS AND LYCURGUS Ed. with madness. Fragment of a hymn to Dionysus. incomplete. €K7T€a€V ot] ^ovttXtjI^^ X^P^^ dvra TrohoZiv. [c5t 8e] TTovetro 10 deivwv. Archiv. His wife Cytis is crarujpot <j)iXo7Tai\yixove\s i^eyevovro. Dionysus appears and assails him with thunder and lightning. Zereteli. ov SevSpea. 873-880 . dAA' OT€ hrj yiyvataKe] Aio? [yojv'oi^ dyX\a6v\ ovra.d. Nachrichten der Russischen Akademie der Wissenschaften. composed in the 3rd Our papyrus is the author's own copy. century a. no. Astacius and Ardys. and Dionysus disLycurgus fights against imaginary serpents : believes that his sons. 971-1003 .

fell 7-8 ijv Y^> ddaxera and Bvrp-ois. The treatment of the story is to a great extent dependent upon older epic and tragic poetry : new to us are the punishment of Lycurgus in the underworld. oia tot' alifia ed. He is bound icith vines and conveyed to the underworld. L. vanished. Tims twice) forbid us to consider the attribution of the piece to an era earlier than the 3rd century a. pr. nor paths nor fences nor trees. but all had Only the smooth plain appeared again. Language and metre (e. pale terror fell upon his spirit . (whence) the playful Satyrs were born. flowed the spring beside the elm. son of Zeus. Lycurgus regains his senses : but his punishment has yet hardly begun. close came Lycurgus. : text D. heart-stricken with mighty fear and speechlessness. 521 . the oxgoad. wherewith he had been at labour smiting.d. For irresistibly.d. which were left They seem to unfinished. all their works were upset and turned about before their But when Lycurgus knew him for the glorious eyes.] rescued by Dionysus. P. .g. contain a reference to a Dionysia^ ceremony : so that our poem may be a cult-hymn intended for recitation at a particular festival. Neither . where he must perpetually attempt to fill with water a leaking vessel. beyond mortal defence. an the ground that she had always attempted to check her husband iji his career of wickedness. Where a meadow was before. . The last few lines. nor were there ways of watering. were meant to be an epilogue. and a few details such as the names of his wife and children.ANONYMOUS ANONYMOUS DION'YSUS AND LYCURGUS [3 a.

6]va9XoLaLv yXoepoZaiv iTrataaovTes [e]0e[t]vop'. /cat KvTtv Tj ol yri{p)aT ol 8' €7761 ovv d(f)iKOVTO 7roXvyXd)Gao[v] 8[td] (ji-qpirjs dpTL veov XrjyovTa ttovov KLxeTrjv [Ai»/cd]opyoi' Tpv6p. dXXa tot' ovk COS" eJSeT^cre deov /XTjvi/ta fiedelvai. Kpanrvcji he pnv ovtl jxevoLva alp-qaeiv davdTcoi..\y dpyaXerjv iva tXolv ert ^locov dTTOTLonrji.^]a[t]s" 8' dratatv ep\eiK]ei. Oecvojjievos epbirehov ov[k dJAeyt'a- /xJaAAov 8' jji]r]vidpi6£ d[^i7.e[»'ev] (re) KVfiaTa ju.'q d7TaXe^ri[(j\a>v Tpi^iqi ^povov. dap. 40 522 . LITERARY PAPYRI ov8e TL €K(f)dad]aL ctto? ['r]d]€X€v ot58' eplea6\ai.evov pLalvLTji].evo[v] ev /c[o]vt77t. 15 efS ot iX]d6vTa juer' a. ot S' dp' ofiapTrji. deivovTd /u.[CTTe]/)07r[at]s' Aiorucroi'. aTrjv 8' ot Trapjeovaav ecDi [7T]po[voi]]aaTO OvfiaJL.eiais ov yovov epy' dCjSrjXa Al[o]s /xeya KvBatvovTOS a)Tpvv ovv Aiovjvdos OTrdova^. t\j]]s /u. cu]p[a]e 8e ot [ixajvLrjv. etjs" rj 20 pd re 7Tpo[^Xri\s aAa jxapixaperjv aT€va)(^Ll. 6<j)icov 8' iv8aA)u6i' [e]xff[e]i'. rjv tls dr)[T]6Jv 6p]vufjievos TTvevarji.€Tai . /cat vv Ke 8rj Ta].t/x[v6i. 8o[Ai.a[vi]i7? TTT'qvr] ' d^piS [dAot]i) 30 Qij^7]v d(^t/<r[7y]Tat "ApSvv T Ka\T]dKi6v T€ hvco 77-[at]8a[s] KaXeovaa ev dyKoivrjiaL hapceZaa. ejoTT] S' darefK^rjS Trerpi^t loos.^a SetAo? V7T€K(f)vy€ Krjpa K€XaLv[rjv. pieya v7^7r[tot](f)d iaeadlai] yap epieXXov vtto Trarpo? evavriov op-yLtaot pur^Tpos. . at TTVKval ajeXdyil^ov v[tt]6 ^[povJTrJLat. w]s o ye [o-a?. 6<^p <f>rip.)^i7]? lveh\y]eTO TratSa ©^[tovi]]? 25 Kpa8[i]r]v. 35 vepl 8' aurdit X^tp' e^ldX^ovTO t^ K€Lp. ov yap Srjv TidAt Avaaa /ceAeuovTO? Atovdoou 6pdrJLa[iv fji]av[{nrj]i(nv dviqyeipev AvKoopyov.

So Dionysus urged his ministers. but rather to break him under a lengthy doom. They cast their arms around him as he lay in the dust fools they were destined to perish at their father's hand before — ! their mother's eyes For not long after. and they together sped against Lycurgus and scourged him with rods Unflinching he stood. that doom was nigh to him. that still He sent alive he might repay a grievous penalty. madness. worn out by madness. He had no will or to ask a word. till baneful Rumour of his madness should arrive at Thebes on wings and summon Ardys and x\stacius. when led bv Rumour's many tongues they came. They. aroused Lycurgus yet ! 37 Perhaps Keifievwli] should be read : but 11 has /c€i/xevo[v].ANONYMOUS to utter that poor wretch have escaped his gloomy fate but he besought not then the In his heart he foresaw divinity to abate his wrath. like a rock that of foliage. Now might : : : madness upon him. while Zeus did great honour to his son's destructive deeds. and Cytis who married him and was subdued to his embrace. juts into the marble sea and groans when a wind arises and blows. at the command of Dionysus. when he saw Dionysus come to assail him amid lightings that flashed manifold with repeated thunderclaps. and recked not of their smiting. 523 . found Lycurgus just now released from suffering. his two sons. and abides the smiting of the seas even so abode Lycurgus steadfast. from his hand before his feet. But ever more unceasing \^Tath went deep into the heart of Thyone's son he was minded not at all to take his victim with a sudden death. and spread about the phantom shapes of serpents. that he might spend the time fending them away.

o)6l[(j]iv drdp ttoXi redvqcoaiv.]^dTepot' 1. d^(f)* reKeiov 8' i^etXaro Ovfxov. (^Traces of four ohsctire lines. 55 tva rro-i? [e'7r]7^T[ai a[/u. dAA' eAe- '^p7Ta^€[v] Aiovvaro?.(UTai'}' TOLTjv [ovv] ipiSlovJTTOs i7T€KpaLaiv€ l^povtcov dv'8/3[dCTt] ^[e]to/xd.8cu/3. evidently referring to lines a present festival prose — of Dionysus. to 8e ttoAAov e? ''Ai8os" fe/<r. i. edr]K€ 8e voa^ti' oAe^p[o]u. a]Tei»'o[/xe]vos' 8e Seprjv [So]lo[vs] B* eKarepde 50 rlevovras otKTL[ar]ov Ka/xev oItov e-nixGovicxiv dvd[p\d>TT\(x)v icai vvv is p^cDpov rot' Svaae^ecov ctScoXov d]TAe[uet /cdj/xarov tov" dv^vvrov is nidov dv[rX]a)V pa)]yaX€o[v].\. Then three perhaps a sketch for future verses) 48 This line is of 45 Tieiaev adeXKTov Beazley. omitted 524 . LITERARY PAPYRI (f)rj 8' o[(f)La]? d€Lv[e]LV. ovveKa [jJijapyaLVovrt oAA' ov 7r[etCT]€v 7Tapai(f)aais ifjifjueves '^[^v.(f)ls efj^euje /cat de/rea ttcivt' eV[e87y]cr6. a^eA/CTo[t'] eov iroaiv 6s [pa Au45 ff]€i. [jLr]VLdfx[oLO. KJal vv k[€v] [aClpcov avTotat Kuti? neaev.[ar]s Aa]t)/([7jpTj9] fjLavLTjs TTetprji -nadeiov deov [eyvjco..ot[o-]t S[L]Kr]v. dAA' [o]y Qly^v] Atovvaos ilnaveJTo ajrlpejfjLa [8' eJaretoiTt Sy')7[77-a]^tT7t t' dAuovrt a]//.7r[eAov] dp.

yet frenzied by distress. evidently referring to a Then three lines of present festival of Dionysus. smiting serpents . but they were his children from whom he stole the spirit forth. Such is the penalty which the loud-thundering son of Cronus ordained for men that fight against the gods that retribution may pursue them both Uving and again in death.'s cussed (and restored) in note. he suffered the most pitiable doom of and now in " the land of Sinners all men on earth his phantom endures that endless labour—drawing water into a broken pitcher the stream is poured : . Still Dionysus abated not his wrath as Lycurgus stood unflinching. the god spread \-ines about him and His neck and both ankles fettered all his limbs. pr. when his sudden madness was undone. (Traces of four obscure lines. prose perhaps a sketch for future verses) — ' es x^P^v=h> x^^pox-' characteristic of the date of com- position. but dis54 eKxeeO' ed. imprisoned. (doubt- 525 . pr. . . too stubborn he. And now would Cytis have fallen about them but in compassion Dionysus snatched her forth and set her beyond the reach of doom. recognized the god through experience of suffering. . supplemented version of the poem. . ful metre).ANONYMOUS He thought that he was again ^^•ith real frenzy. because she had warned her lord constantly in Yet she could not perhis storms of e\il passion. suade her master. from ed. : : : forth into Hades.

pr. TTjv 6 Corrected from fxev dwixveiovrnv dotSot in II. 7 a substitute for KXelovai in II. OTTevaeias. aoiSoTToAoji S' eTrap-qyoig eTTTOLTOvov ^(eipecFCfi Xvpr/v TToXvrj^ea Kpovcuv. 8-9) as 'EpfMov 'Eyjcco^iov. though it devotes its first nine lines to a panegyric of one Theon. Abert. 11. w. Archiv. lepcoi evl 8rjp. €vda ae /cat Trat? ovros. i. but in both places the name 'EpixoO has been obliterated. Oxy. aypovopioi Se deov vopaov KXrjit^ovaL ^orrjpeg. 'Kpfxrjv 8' iv araSiois ivaycovcov dOXrjrrjpes. 4-5) the and higher up in the left-hand margin {opposite same hand has written els rov apxovra.LITERARY PAPYRI ANONYMOUS 130 [3 A. P. Archivf. Philol. vii. 675 Wagner. 2. Evidently is essentially avTos fioL reov detcrat V7TO(f)7]ropa TratSa. Ed. dva^. ii. 540. 313 1921. Xvrpov Se ^ocJov Tropes ^AttoXXcovl' 5 TovveKa [lovaoTToXov ae veoi KXeiovaiv aoihoi.a)L IQ TTihaK e\X\ai6pvrov Trpoxecov daroZaL yepalpei. 10 Corrected from Tiwv eVi Srjfitoi in II. ov yap ae Trpajnara. to poem. 256 Korte. no. Jt is clear that the Hermes. . 1919. These conventional and uninspired verses are described at the foot and in the left-hand margin {opposite w. avros TO. p. Qecov. v. Gr. fxerd iraialv eraipoi's apx^vovra veov yivcoaKOjxev. *GrenfelI-Hunt. TrpaJra Kafies Trapa TToaal reKovarjg apTL TTeacov. 1015. See Schmid-Stahlin.D. who appears have made a benefaction to his community. Musikwiss. Lit. K-A^t^ouCTt is 526 . yvfivaaicov 8e TToXfjes €77 lgkottov detSovaiv. *E/3/Lteta. 1910. 77. aAA' eVi t7]Xov.] PRAISE OF THEON . .

Here this youth also. lips. ii. incorporating his own Sevrepat (ed. Hermes. It is not likely that such a poem was often republished : probably our text is the author's copy. * evaywvios 'Ep/xdy Pind.* and cities hymn you as Guardian of their Gymnasiums. 10. let your fingers strike the seven strings of the tuneful l}Te. Therefore do latter-day minstrels celebrate your ser\ice of the Muse. hasten to sing to me about your young interpreter " : assist the minstrel. the end of the poem) hence " interpreter of H. 527 . 19 there are interlinear improvements on These are not corrections of misprints. 52-53. Governor of the Games. but deliberthe text." (who invented : the lyre). 6-7. honours you among your hallowed people in pouring forth a fountain of oil for our to\^-nsfolk. when you were new-dropped at your mother's feet and you gave it to Apollo in ransom for his oxen. N. x. holding high office among your youth- With your own . which your own hands first fashioned. and athletes in the Stadiiun call you Hermes.d. has now supplied it for the boys' also. ate alterations made. P. " Probably Theon was a young man whose wealth had " led to his early appointment to the office of gymnasiarch . <f)pOVTiSfS. Theon. It is not lately that we knew you first.. 10. . after In tr.] Theon.ANONYMOUS ANONYMOUS PRAISE OF THEON [3 a. probably. and herdsmen in the fields proclaim you Pastoral God. • Theon was evidently a man of literary tastes (cf. great master. who had previously supplied oil for the men's gymnasium. by the author himself. Wilamowitz). pr. .

p. v. " The : first foot " See of the line./cat dpLclvova ravra. LITERARY PAPYRI r)fX€V eXaiO^VTOLGLV dX€Lcf)6fJ. See Wilamowitz. p. Archiv. 69. n. ANONYMOUS 131 [3 A.] TREATISE ON METRES V. Scopa written above yieiXiyiiara Kelva in 11. TjSe /cat alvv[X€voi Scopcov A-qfJi-qrepos dyvfjs. pr. ovvcKa Kelva Trar-qp 20 ae StSa^aro. Quoted under the lemma 3 under the unintelligible aAAov. 15 8' eV* Kelva fxev iadXd <^tAo? eadXois St^/xcdi Tropes. 2. *Schubart-Wilaniowitz. 540.D. II. 19 Kcv. 698 and 710. pr. 1907.€VOl KOTvXrjLaiv. t]6jv rjcbi S' av UpcoreatXaos' dprjio? TjyefJioveve. iadXd evuaoe vvv Traiheaai rjroi fxev StSois. the writer is explaining that the first six syllables of the first of 528 . see ed. ed. Gr. raura Se Moucrat. [ajAAos in 11. Tcoi a eTTt TotCTt fxaXiara ycpalpopiev rj 7T€p e/cetVoi?. Berliner Klassikertexte. " = Homer. Ed. ii. 140. so v. pr. 17(1) q]vLK^ dv aTTOvSelols] 6 Se^to? dv [re rjpoxouog avv TovTOiL 1 /car' cajji^ov. Versk. djjLa TeaaapaKovra ixeXacvai vrjes enovro. ivoTrXtos oj[s] Sia/cetrai. yap KcZva /cat dcjivetog iropoL dvqp. 1 Korte.. ttXovtov yap Keveoio TreXei Kevcavx^a Scopa' TavTa oe Mouaacov' aocjiLiqs heharjixivos dvqp.

. parallel " Of them. ii. ScS. " TTjAou temporal Oppian. itAhara * . . fj Ap. or sharing the gifts of chaste Demeter. . forty dark ships followed in his company. . for those were taught you by your father. ' 495. . these by the Muses. //. The others a rich man might provide.ANONYMOUS ful selves but from long ago. but the term was used to cover several similar metrical units (or complexes).** So we honour you more highly for these than " for the others. it is like an the two Homeric lines are " like an enoplion " : i. more precious yet. warlike Protesilaus was commander . genitive Homer.: not what is usually understood by enoplion. 487. Those blessings of your favour you bestowed upon your people and here to-day you give blessings upon blessings. xxi. ANONYMOUS TREATISE ON METRES From to the [3 a. — i i j VOL. Hal. Rhod. with . iii. a " spondee " followed by a " trochee " followed by an " iambus. on Greek metres work of Terentianus Maurus in Latin. . but since vainglorious are the gifts of vain riches these come only from a man learned in the Muses' arts." anointing ourcomrades from oil-vessels. itself metrical." .*^ it beside an iambus. I 2 M 529 .e. 97." " WTien the right foot * is a spondee. if there is a trochee with enoplion. .d.] : a treatise. to our young men.v^ v .

] evfxevrjs e'Se'^aro* arparevcov [KJaraSe-qdevros TTore Tov Tore Kparovvros' rjv 8e rov v(. Ed. xi. ANONYMOUS 132 [4 A. ]f^cv[. TUiV )Sa<n[.w transforms an iambic trimeter into a trochaic tetrameter. i. Korte. his talent for oratory and his perseverance. He impressed his superiors by the celerity of his journey to Rome . 17 -nap' 'IraAolai). pr. pr. Erste Folge). eVet crxoXr] 7T[apecr]Ti. His appointment was a compliment to his intelligence. cf.eaT[e yald] ere . v. See Korte. the Epicedeion on the Professor at Berytus below : but this is by no means certain. Neue Serie. 83. 4 »'t[/caj]/ieV[ou ed.[. Archiv. cit.€rpos 5 yiverai. p: 225. av Se ixdvdav* dK[ovojv KprjTiKov eta vvv.] PRAISE OF MAXIMUS *Gerstinger. and we may safely The iambics : the subject city at Rome {v. Griechische Literarische Papyri.LITERARY PAPYRI av Trpoadrjis 77o8a rcoi TpilfjijeTpoji. etSo? 8 avrov iyw Sei^o). . p. T[€rpdp. rji .D. €v 2 ^aoilXewv] ed. . It is natural to suppose that the iambics are part of a preface to the hexameters. ev pvdjxcbi re rpop^aioji KXl.[v]erai ouros". loc. 224. (a) 7) ] TjXdes. had been ordered to represent his 14 ev 'IraXols. 1932 {Mifteilvnjen aus der Papyrussammlung der Nationalbibliothek in Wien : Papyrus Erzherzog Rainer. 530 . v. 7ra[t Mevotrtoy ° The writer is shewing that the addition of a cretic . pr.

° as he who then was in command requested. of Menoetius. the composition is to be dated before the end of the 3rd century a. . . if shew you " type. Maximus with his mission to the capital 12). . 4-5 is at present quite uncertain.). . adesp. it becomes : a tetrameter I ^^ill and its this descends in trochaic rhythm." N. The remain obscure.G. as many had done in the past. cretic foot to the trimeter.] was not unsuccessful in his mission. . and where he engaged in a military campaign at the request of the local — government. fr. Campaigning there. 138 (assigned to Sophocles. until the land of received you >vith friendly welcome. the example lacks the diaeresis normal in troch. Versk. 69 n." and his services to Anatolian cities are commemorated. you will listen and learn offspring " Come now. since we have leisure. Gr.B. (a) you came. Probably this poem wa^ composed entrusted in Tyre. . . on his way to Rome he arrived at some country where he was welcome.F. and Tyre is the city which {v.— ANONYMOUS If you add a . 531 . Wilam. .d. The iambic Nauck' ANONYMOUS PRAISE OF MAXIMUS conjecture that he first five lines [4 a.d. The hexameters : Maximus is applauded because he did not forget his city and succumb to the temptation to stay in the capital. . " The general sense of w. tetram. Since {in the iambics) the central imperial court is evidently still in Italy. He is described as " leader of the Tyrians and their neighbours. trimeter recurs T.

Jojvros" cri[ ]- . tto- ^776/) 532 . . . . . fi-qTTjp TTa\Tf)\ls pieya [Ka]yxa~ 5 daTrlhi 7r[atS]a ola AdKaiva auv Xa^ovaa avTLS d^' ai/LtaTde[v']TO? avepxopevov Xepoio. ol Kai i7T€iprjaaad[€ /cat] opLpiaat drjrjaaade.v [ei^Ji' ttotI 7raT/)i[Sa jW-oAAov dyauore/jot. vaeTiqiai 8e ^dppia TT\e\ovTai. aAAo.LITERARY PAPYRI " dvSpos' TTapa rov dSeA<^op' avrov ie[ ov TtavTos avhpos. . €V yap Srj rdSe tcrre 7r[o]Au [7r]Aeov eyojye. . ltl . ^^ ^•rjS' et? o-a]? ToyTCtjt TTjV [. rjKapLev . rovs avTTj hlx^Tai Xocoaa. .]av Tracriv ippoja6a[i ^]p[a./D7jjU-eVou 8e[t]i'oi} 8e KOLfJiveiv ]"'7"[• • et 8e . (/([•fjjt^ov aAA' r)? eV 'lTaAot[s'] TrpiV ye tov TreTrop(f)6Ta 15 TOVTL TTeTTeXadai tov xpovov OTadpLwpevov ov [xJPV SaTTavrjaai Kai tov o^eojs ttolvv 8' iv 68oL7TopovvT[a'^ Trap' 'iTaXoiai Ppaxet {b) .]oW ava77a[.Jtojv 7rrdAt[ aT{e)ixovai. ol 8' OTTOTav 6[v]p€Oig dilfoppot [.]^as' Tov pie ixaprvprj kotos ovK eSet^a? -qpLaprrjpievrjv.^. . . TraTpiSos e^eXddovTO Kai ainodi \yaieTdeaKov. TexviKcordrov Kai vovv exovTOSi o^vrrjTi [xev (f)peva)V SpopiCJC 8e yXwTTTjg evarlojx^^s K[e]. pa>[ CTo[. .]ouTi7^a)[.

. man of sharp Mits and fluent speech that hits the mark. the skilful. country more glorious than and to the dwellers there rejoicing comes Exultant their with them. man who sent you could believe when he measured the time must consume. . For this you know well it —far better than and seen it I —you who have put (a) to the proof Zc[to ed. (b) . . but only of the the intelligent.. . a man all. there. endure. . strong to . . The others. come back ever.ANONYMOUS It was not the task of every man. like a Spartan mother receiving back her son with his shield when he returns from bloody warfare. own country gives them welcome. pr. . . . . You were in Italy before the it. with 5 53S . . to their when . -v^ith . dwelt shields even . that even the swiftest traveller in a short space Among the Italians . forgot their country and . You took your leave of you did not prove your sponsor's vote mistaken.

Savants. A. Tvp[C]cov dyos [pOLKOJV. Ma^t/xos dvTideos. p. Pap.LITERARY PAPYRI TTCos oB* dv[rjp] €[^]€7re[crK]e Kar^ dvToXirjv 10 iparetvrjv qcoiais 7TToAie(Tcrt[r ivlKTiixevrjilatv apj-qycov. i. Lit. 14 ed.R. SchmidStahlin.] ? ASTYOCHE . Collect. pr. Weil. Lit. 9) woman {v. 1900. 1901. B. Milne. Alex. p.. ii. 76 Piatt. and that the allusion to the adventures of Telephus is 534 . 516 . rd fir] (j)6iaeL da7T€To[? aljcLv dAAd] rd fi€v detcrco. 214. 439 Journal d.J. *GrenfeIl-Hunt. . 110 .M. . ii. Powell-Barber. New Chapters. Cat. ii. and how nearly he destroyed the Achaeans when they mistook their way to Troy and landed at Mysia. pr. no. P. Ed. Phil. fjLoXirrJLaiv [ejv €vpvT€p7}i.(f)L^6'r]T[a]. 27. Oxy. See Powell. 1899. C. 20. mother of Telephus. The speaker {of V.. Boiling. 965. no. 13. (ftaivajv evvofJLLr)g rjBe rra- lepov (f>dos' epya S' [i']^[''7v]e KaXd Kal dp. From this prayer (esp.aL[v] 15 ANONYMOUS 133 [3 A.D. 63. V. avrfj) : perhaps Astyoche. She prays for a treaty between Trojans and Achaeans. 39. 8 sqq. Archiv. to The first five lines refer part of Telephus's adventures. 2. and doubtless of the preceding seven lines too) describe is a Trojan {v. Gr. 11) it seems certain that the Trojan war has already begun. 96 Cronert.

ed.) The date of composition is uncertain. {See further Robert. ap. is probable enough. .ANONYMOUS your eyes. . and countless ages shall not destroy them. revealing to them the holy Noble and renowned are the deeds that he vTOught. defeated in single combat at Troy by Neoptolemus {see p. which contains fragments of 22 hexameters probably belonging to the same speech^dealing with the dangers of travel by sea. But of this I would sing anon in ampler melolight of Law and Order.] prayer for a treaty between Trojans and : Achaeans would he irrelevant in the course of the war of Telephus and his Mysians against the Achaeans. But there is nothing Alexandrian in the style. he. dies. the son of Telephus. ties : and the problem is complicated by the verso of this papyrus. and her prayer for But there are doubtless other possibiliheaven-sent peace. . a writer who represents that tradition which reached its retrospective — 535 . and the ascription to the 3rd century The poem may then be the work of Ajj. ANONYMOUS ? ASTYOCHE [3 A. godlike Maximus.D. An obvious possibility is the story of Eurypylus. how this hero dealt in the fair Orient bringing succour to the nobly-founded cities of the East. 17 for the story) : fear for her son's fate would be sufficient reason for the anxiety of Astyoche. leader of the Tyrians — and their neighbours. pr.

6 of no. 536 . 7 Del. Ludwich. 351 . Phil. *Milne. hitherto unknown before Nonnus (but see v. Archiv.LITERARY PAPYRI direct narrative. The plural kXCts in a prayer is against the older epic convention (Boiling). p. ficra 8e a\x}vde<jir] Tpcoeaai Kal 'A[py]eioto-t ye[v]€adio (Fragments of eight more lines) KM IT.^iA:^a 5 lLr]Xe(f)os e^evdpi^e nplv "EiKrop[os olvtlov eXdelv (Fragments of two more ei lines) Kol a-n jJLOi ^Apyeioi. with notes by Wilamowitz) and Cat. 136 below). 23 . 23. See Cronert.D. ii. pr. 8 The yever^p.{o) Xdxev yev^og] 'HpaKXrjos ]] [[T]7^Ae0op' ev daXdpiOLg TToXepicuv dirdvelyde KX\vre /cat dddvarot [ZJeu? S[e TrjXeov ov yeverrjpa rjiJLerepoio /cat 'H[pa]/cA7yo? AapSdvov d/couoc 10 TOVTOJV pivdoLS'\ (ftpdacraade ju. 3 (revised text. 11 For a tentative restoration of the first three of the next eight 6 -q word AI0NY2I0E 134 [4 A. Pap.cLovT€s eg "IXiov rjXdov ['A. 137. Boiling. eV[0' 'Ayafxefjivajv (ZijXero. (Pratt). Album Gratulatorivm in honorem Henrici van Herwerden. supports the ascription of the poem to the 3rd century a.] BA22APIKA Ed. Lit.d. vii. 1902. ov] K€V en t.^ator ejvda Se /cat MeveXaos eVeVAiTO. Ken yon.[ap^C(j]t' Xvaiv. Kal tov apiarov ev 'A/ayetoi? ['A. Archiv. corr. Woch. in the climax in the poetry of Quintus Smyrnaeus : simple and Homeric style a tradition which — ij^aTTivqg irreSrjaev dv6rJiCTTo[tcri KXaSouat. Boiling. 1903.

DIONYSIUS soon fought a losing battle against the loud and pretentious followers of Nonnus. Phil. Woch. P. 1929. 1903.. Knaack. and especially Zeus. in his chambers. Morel. 82 . who is father they tell me of our Dardanus and Heracles de\ise an end to these battles too. 27. 1101 . . . and Telephus had slain Achilles. be. Wifstrand. 10. 1930. .] no. Eranos. [Telephus. Archiv. there had Agamemnon perished. 383 . 95.D. . Zeitschr. noblest among the Argives. Rev. de Phil. no. [4 A. 29. lines. before he came face to face with Hector. . is unintelligible: "chose qui ressemble a une fable. if truly .-W. (Fragments of eight more " lines) Allusion to the story that Dionysus caused Telephus to * taa Se fivdois stumble over a vine in his pursuit." the Achaeans would not have come There had Menelaus been laid to Ilium still alive. Byz. . (^Fragments oj" two more lines) he got his descent from Argive Heracles. Maas. .v. low. Hear me. a line is missing after v." Weil.M. . see DIONYSIUS BASSARICA B. immortals. Dionysius. as Beazley suggests. Perhaps.-K. Keydell. apart from warfare]. 40 . . and the Argives. . 102 . .. s. . cf. and let there be agreement. . . Bidez. . . suddenly ensnared him in branches that he looked not for. — — : . 222 . Boiling : his readings are not to be reconciled with the evidence of 11. 537 .* between the Trojans .

Some word 17 D. — Indian king. avrdp 6 altjj* dvopovae [/cat eKdope]v rjvre poit.). avrdp [yrrepdev ^ovKoXoji elS6p. . .] KLKXrj\aKovaL- 20 10 L. 7rpo. 5 a)s ol jxeu TTOLTjTov err "q 8e Me^u/xvat'oto ^a6v7Tre[p^ov ovXoavd[ is KXLoirjv iKer dpri 7Te[/3]t[^a]^eAes" ^ooctj[cra.— LITERARY PAPYRI Bassarica of Dionysius {first identified by Written long before the time of Nonnus. loc.^ee[t a[ ]7r[ 15 voov -qepeOl avriKa S' evaarr)[p deos eaav]ro. Three men (Thrasius. rrjXodev. e. 20 Trope] »c Milne.j3ou k€kXoix€volo a(f)d^av. . 538 . 7T[a)Xog . KocTfieov djLt^t Se evrvTrd'S. rd r a[. is wanting.ev[og . L. s. P. cit.a>i VTTO <j(f)ehav[a)L . A hrj yap /xiv Bo/x. Deriades. . pr. They dress the corpse of an enemy (Modaeus) in the skin.v.* 7 ou8' Irt Milne. obscure L. ol veoSapros evl xpot Svero plvog avrdp vnepde K[e]pa 7rd. Prothous and Pylaon) slay a stag and skin it at the command of a fourth (Bombus). 10 rov Xexeeoaiv Keip^evov ov8e pnv ey\yvs 8' evp* ev d[p]coLaKov[ aJ^ct^] e(f)pd[(ja\ar' \lovaav.g. apyi^s).Lt(/>aij/ev tS[ecr^at ovhe rt d'qpos e[A]et7reTO 8e/D/co/xe[voiaii'. Ylpodoos re YlvXdcov re Qpdcn6[g re hiadpojioKovr a Ki-)^6vres drdp heipavre /cat e'/c Sepos elpva\avre dvepa Xvypov diro Kparos re /cat cvlfMcov. P. this poem anticipated the theme of his Dionysiaca the Indian expedition of Dionysus and even the name of his the From Keydell. 16 12 D. see L. wrongly. .] . & S. . & S. . a[pyeTa] (Beazley. rov? 8' €v67][a€ Bo)Lt^ov evv Yipodoov [re Y[vX]dovd re Spdai6[v re Ma>8atcat ravvovra[s evrt CT/ceVjo?. . with 11: bySc'rt ed. dXXd e ^(aLrdojv 6Tn9[ev Xd^ev dcj^aaa. quote as mpil.a^eXws. avept drjpa Tt^[e](T/c[ov. ]/c lepd Xrjvea TrXeKrd.

Deriades.e.DIONYSIUS vcoman {whose name may be concealed in the end of v. and decrees that the corpse shall be eaten by its compatriots. . — — . Wilamowitz. animal upon a man.. . Thrasius came upon it. I. that they shall not escape unless they rend an animal apart and eat its flesh raw. . . . . arrayed it at the call of the wretched man from head and shoulders do^\'n. . and jumped from his bed hke a colt at a violent pours forth .. 539 .. . the horns gleamed to be seen afar to one that beheld him. Now she. see esp. leaps into the midst He their of his enemies' army. but she rushed forward and not as she came close seized him by the hair behind. they flayed Prothous and Pylaon and Bombus and slew and stripping off the skin. . He approaches the four men. . . says that he would rather eat the flesh of Dionysus. 9) awakens Dionysus. which they call But the . Dionysus. . . .] As it : it " leapt through. a tent with wide " flaps " at the door. in the guise of an whistling Straightway the Bacchanal god set oxherd. forth. " * A stag. * i. The new-flayed hide clave to his body. and tells leader. came with furious cries to the deep>winged ^ tent of Methymna's god. . moulded to the flesh above. Deriades.e. and sacred fillets on his head of tv\isted wool. and he observed them strong Bombus and Prothous and Pylaon and Thrasius stretch the covering upon >Iodaeus.'' And him she her master marked her found lying in his bed . Therefore he offers them the corpse dressed in a stag-skin. Then up he leapt. . whose men fall eagerly upon it. he wanted nothing of the ^\ild Thus did they set a counterfeited beast's form. [For the matter of numerous other small fragments belonging to our II.

€v\Qa fidXiaTa K^rjdoLOi TTvpiKavrov enl fxodov €kXo[v€Ovto. TTpLV K€ dorji evl vvktI 8iaAAu8ts" €lpva[aavTes (hfjidSia Kpea dripos diro t. oa[Tis dpiaros 35 *EAAd8os" e^ Uprjg avv d^' eaireTO..^aivefxev [ dAAa ^fj Swaojjuev. TTcXas ^cofJLOio dewlv e hvcrixeveeaoLV eXcop ct»S" . A^r]pLd8-qL 8 o[u] CKTrayXov e[7riaTaju. iXKefievai Kpeicov dyadrjv [ejptv opixTjld-qre avrdp eiTrjV vv^ rjSe reK-qt (jtdos. alyrdp eneira Tafilpifii. 6(f)pa K€ voa<f)tadelev v-n r\XeKr(iipi [(f>aeivd)i. avrtK [eVetra Kiarais Xeci/java Oi^pos ev dpyvperjiat ^[dXwfiev. Kal Kvpjxa [yeveadat Kev errjiaiv vtto a^eT€poi\aL 25 Kal fieaaov opovaev dva arparov. <f)rj 40 6 ye. aJTOLS [8'] o ye ArjpiaSrja Kal aA[Aov]? ta. rot 8e Kal avrol vtt* eirl Kpedeacri tt\_ dvSpofJieoLg XeXirjvro Kal tfiepov d[aTreTOV daai.]ej^os" T[aSe (^pa^oj* 30 yap Kev nplv rouro Kar[d arjevos aWolnos OpjJLTJV OLVOV epcvqaaire Kal ck KaKorr^ra (f)v[yoLTe.a)olo (f)dyr][T€. dAA' dyer* opdoKepcov eXacfiov fxeyav.[ 540 .^[ev avScov tS]8' dpa vvv (f)pdt. LITERARY PAPYRI oAAa fxrjhe a(f)€ag Kareepye /cat [d(T)(]aX6cov ^a[TO fivdov yL7]KeTL vvv epycoi 8r]dv[ver]ov €ar€ia)T[es. A-qpidSr]? Alos vlov djxeL^ojJLevog [TTpoaeenTev at yap Sr) jxeXetarL 8td Kpea aelo 45 oi/xct Kara^pdJ^ai fxev oLO/xat oi. 6avfi[a ISeaOai. XvaarjL o^eirji ^e^oXrip^evoi. .€ad€ yvvaiK[aj]v aT/xe[v'es" 'Iv'Sot.

. . straightway let us cast the animal's remains into silver coffers. withstand the onslaught of the gleaming wine " and escape your e\il fate. come. . wine. before in the swift night you tear apart the raw flesh of a li\-ing animal and eat it. and spoke in distress no longer at your task. where most of all the Cethaeans were rushing to the flame of battle. and cried aloud to Deriades and the : . 25 Satieiij at end edd. in your present straits. . Deriades answered the son of Zeus and spoke Would that I might cut your body limb from limb to swallow it raw. nor by the altar of the gods but we will give him up to be the spoil and prey of our enemies. " Slaves of women. P. smitten by eager madness. And when this night gives birth to brightness." He spoke and they of their own accord were fain to fall upon human flesh. a marvel to behold. 541 . hasten to rend it in good conflict for its flesh. There stood he. the finest that followed us from holy Hellas. Indians. And then .. This tall stag straight of horn.DIONYSIUS " Delay god stayed them. and to appease their boundless desire. L.e. idly standing." He spoke. : : the attack of Dionysus's army inflamed with 42 D. that they rest : way : : — — may be removed under the beaming sunshine. and leapt into the midst of the army. that he may be (devoured) by his omti comrades." " " i. consider now this to Deriades above all I speak this of my knowledge You shall not.

Toaaos e/xot? ^aatX€va[iv ijTT'qtev avrL^oX-qacov. dXXd TToXi) TrXelcov re Ka[t a]ax[o. Rev. 36 . Their infinite The news spreads rapidly throughout an era when the Roman Empire stands under four Two of them. related. 47.)^a Qeppo- TTvXdojv M. Anc.LITERARY PAPYRI ANONYMOUS PERSIAN 135 [Early 4 a. had not one {Constantius Chlorus) This is masters. 81. and fly to arms. The fragment opens at the conclusion of a fiery speech. iv.Xo]cov vtt* [6pi]okXtjs. p. 6 oa\rj\s ovh^ txvos vrrep ttovtolo deovcrqs [ejTTt TTpoadev ttXcotcov Sp[v]6x(^v rjveyKaro N7]pevs. 1903. *Reitzenstein.d. . jS]ou[Ao]/i. nach ungedruckten griechischen Texten der Strassburger Bibliothek. 7 oaov OTeLvwTTOs n. Strassburg.] WAR OF DIOCLETIAN AND GALERIUS Ed. 27. ov yap oaos areivajTrov vtt\o 7T]Tu. The other two would have rushed to their assistance. Et. See Cumont. N. Phil.a)aavTo (f)a[p]€T[p}ag alxp-o-S.S. Rev. Zwei religionsgeschichtUche Fragen.rjhos "Aprjg rjx'rjcrev V7t[o ajrpaTiiJLcn AaKcovcov. Soldiers are stirred to frenzy numbers are the world. Diocletian and Galerius. . pr. [ot] pa fxavevTes vtto TrXrjyrJLaLV *Kvvo[vs 1'\o86kov[s] jtxev arravres dv[€]t. 10 542 . are about to begin a war with Persia. 1901. . 1902.ai. lttttos Tofa 8e ^epalv eKaarog eKaprvvavro Kol irdad re [NjT^aatT^ TreSLrjixaxos tjTTTTOS" dylpdrj. Bidez.

2 d) and of Cumont compares '£). no fraction * of their number speeding across the sea did Nereus ever bring of old on Not such as the Persian arms that floating rafts. and all the my Nesaean** cavalry that fights upon the plain assembled. but greater far. 51 n. p. ouS' ix^os. maddened by Enyo's will.^. driving the Moors before him). i. 310-311 Trainmeipoxos Imros " not even a trace. Or. in 297 the Moors in Africa . . . shew that it is the Persian (not the Roman) army whose gathering is described. pr. rang beneath the Spartan host in the narrow^ cleft of Thermopylae.d." I take (with Beazley) to mean " not even a fraction. and the next sentence. literary genre victories." ' This parallel. each hand ^ith bow and spear. it is lash. .I AND GALERIUS been busy in Britain. all girded armed his They. and stung by the battle cry. — — * .ANONYMOUS ANONYMOUS PERSIAN WAR OF DIOCLETIAN [Early 4 a. " . Cyn. 543 . t. 2. Julian (Zosimus Hi. p. Nijaaioj. " t. 3. ."^ not such the numbers that advanced to meet my kings." on their quivers full of arrows. The correct language and metre of this competent but unexciting piece suggest an Alexandrian model : for which The poem is representative of a common V. : —the hymn in celebration the of a general's the poems written in honour of campaigns of Constantine (Julian. ed. the other {Maximian) engaged in Spain (of which fact this fragment is our first evidence : but we knew that in 296 he was fighting the Germans on the Rhine. perhaps he went to Africa through Spain. from Media: Oppian.

6 8' elvaXlrjs oltto At^Aou. 6 8'] 'A7rdAAa>vi KoixTf]Tr]L ANONYMOUS 136 [Early 4 a. ktX.d. o? /Ltev eoiKcos 20 aidepicji [Ait Kdpros. 6 [8'] eV Yidyyaiov 'AttoAAcuv. 81. Rev. referring Cf. 27. to the spread of the news throughout the world. 544 . nach ungedruckten griechischen Texten der Strassburger Bibliothek. Strassburg. 'Apa^Lrjs vtto X^pcrov [. See Bidez. rlrjjXeddovTa Karrjuoprjae Kopvii^a>\y. *Reitzenstein. el TcJjt fxr] tov fxev ['IJ^Tjpt/co? e'ipvev "Aprjs. v. 1901. Xoipos oLTTas Kaaiat re \TTvXai. ou8e /cat 'EAAa? drrv(TT[os. N. 15 elat 7i€vs v-nep "Odpvv. p. Zwei religionsgeschichtliche Fragen. 53 {qu. roLOS dva^ Trpea^iaros [ajycov arparov AvaovLrjcov dvroXirjv d(f)LKav€ av[v aJTrXorepcoi ^acrtXr^i. /cat yap eCT[av jjLaKdpeaacv d]/xoitot.] CREATION OF THE UNIVERSE Ed. Phil. for full interpretation and discussion : the cosmogony is Grecized Egyptian). Totv 8e KopvaaofJievoiv oyMa8os" 7T€(f)piK€ Tiydvrcolv. A in execution. grand in conception and quite forceful Not much is missing from the head of our fragment. Tcbi Se KJev 'IraXi-qdev eTreppcLovro kol olXXol Koipavoi.S. 8e [JioOos vqaoLO B[p]eTavj^i8os' djJicfyideS-qei. Ota] 8' d fiev J^pt^rr^dev.LITERARY PAPYRI (Fragments of the beginnings of nine more lines. 1903. There was a description of God and of the four elements : then God determined to make a Kow^oy out of the successful poem. pr.

He 545 2N . the blessed gods they were. ANONYMOUS CREATION OF THE UNR^RSE elements. hung blooming — — : for Zeus above. : Hermes decided that Life must the fragment begins again. 41 is probably quite a small one. Apollo to Pangaeus and as they gird their armour on. be created su7i. the other for long-haired Apollo . In the and the earth with its rivers and seas. lines) (garlands) from the sterns of ships. and that he will then transform himself into the When VOL.** Like to to the Orient with an army of Ausonians. . the sky with its planets and constellations. The gap after interval. " Maximian. .ANONYMOUS (Fragments of the beginnings of nine more .] and {where our fragment to begins) creates of himself a second god. to perform this task. the throng of Giants trembles in such guise came our elder" lord. • Diocletian. and of them v. Even as one divinity goes from Crete. place where he I may set life Hermes is looking for a down when he has created it. one in strength a match . [Early 4 a. . and round the other* blazed the flame of battle in the isle of Britain. Hermes brings creates out an end the conflict of the elements. Other kings also would have sped from Italy to help him but one " was stayed by war in Spain.d. Hermes. . Galerius. beside the younger king. the other from seagirt Deles Zeus over Othrys. * Constantius Chlorus.

In the fragments which follow.€Vcoi piappiapvyrjv [ 20 -x^cxypoji. of course. 546 . 15 yap ^LXorrjra koL p-er^ eovaiv dAAr^AotCTit' dpeLorepr)!. TTeWeaOe Sta/cptVecr^e vfJifiL [e^er/Li'^i. 5 avv rrjc e^rj Atos" vlos €[ov] yeverrjpos' €(/)€Tp.xe[iOL KeXevei.rjv TTepLOJTTTJi. [Mop(f>rjv r€rpdt. [ CO? €LTTd)V y^pvaerji pd^Scoi. €[jl6s veos iarlv 770AA' Trarpcouog Kafjuelv 'Ep/Li-^s" fjLoXa Kiocrjjiov.. diyev evKrjXcoL §€ rd^iaTa KaT€t)(€{TO Trdvra ivl yaXrjinrjL navadpLeva crroLxeia 7roAi'cr[ earr] 8' €vdvs eKaarov 6<l)€LX[op. TTaaav Iva Kp'qveiev 6 S' ly/xevo? ev repvcTO Kv^aXtfiov avrap 6 deaTrealrjv drjevfjievog vleos (f)op€a)v epya. TTaarjs evepyoio voiqpiova /JirjTepa Ti-)(y7]s.vya 6<f)daX[J. i[7Tl p^oiprji. hrjvairis [Se StxocTTaairjs Xdder dpdpnqdivra.LITERARY PAPYRI city. eTTereAAe TrepiKaXXea hcoKc Se ot pd^Sov XP'^^^W ^t'O-KoafiT^reipav. his choice fell upon Egypt {tradieven among the Greeks— the first part of the world — inhabited by men). determines to build a tionally to be In the end. e\^cpvaas Kelvos Tcot St) nva fiotpav irjs TroAuetSeo? olXkItjs. he decides {at some length) against the extremes of north and south.ov[s KapLJfivae ofxevrjs virkp aLyXrjs 10 ]s €L7T€ re pLvdov kckXvtc BaLJpLOVLTjt atjdepos avros (r') Xr]]y€fX€vaL irporepris eptSog aroi. X\ojLT€pr) 8e rts rev^cxj vip-p-i) avvqXvuil^ eaaer ifiepov [djjbcf)!? eTreira.

pr. With this the son of Zeus went . Zeus sat on a place of vantage. having created Hermes from his own person. Cf. Homer. He. his regulator.* closed his eyes ". when he opens them. . over the brightness and spoke " Hearken of air . The attribution of the poem {and of the precious one : they probably proceed from the same hand) to Soterichus is very speculative. wise parent of every serviceable art.. This mystical expression means that Hermes represented ' When Hermes each of the four elements in himself. . . the gleam united. Od. Now . and they ceased and straightway stood each in his appointed place. after v^ill Obey the word of God. : — . with whom H. drawn forth a portion of his manifold is the Hermes of my fathers in his youth. * 20 iToXvo[\iZ€tov Karafuyfiwv ed.ANONYMOUS from Bidez. (Zeus) himself bids the elements cease their former . cit. and fall apart Hereshall come together in better sort for I create mutual friendship and love among you in ! you : your day of separation. v. ha\-ing " : power that forth to accomplish all his father's bidding . . 547 .e. . is identified here. . . . they forgot their immemorial conflict. . light (so the Egyptian Thot. and with his golden wand he touched and quietude and peace at once prevailed over all the elements. and gave him a golden wand. 47 : Hermes has a staff with which he can open or close the eyes of men). loc. " i. clad in wondrous fourfold shape. To him he gave full many a command. closes his eyes. . . to make an Universe of fairest Order. . . plausibly suggests that these fragments are the introduction to a lengthy encyclopaedic poem. of which the ultimate purpose is the narration of the historical founding of a particular city. ." So he spoke. and rejoiced as he beheld the works of his illustrious son.. strife. darkness falls upon the universe .. . . towards a better destiny.

dyvr]v drpeKeeoacv e'xtuv eVt x^j'^^^'' '^^^^^y coKvg.fjs TTaTTT\aivOJV 548 . .aKpaZ'. alky dX. Svco ttoXoi [dix^orepoiOev. ovv rcoi {y)e XaLip-qpals TTTepvyeaai Aoyos Kiev ayXaos vlos KeKaapevos. TTavrodi 8' aWov opov irepl x[ puiacrqv yalav eTrlrjlilev] dKt[vi]Toig ivl beapols. eppee poyvrj vv]i 8e hir]V€K€cos drep TJparog doTpojv Xe-nraXe-qiaLV v-noariX^ovaa ^oXrjiat.^ rd (j>pov€aiV ttoXioIo hi -qepos earix^v 'Ep/X7)? ovK olos.r)dr)S.ov. . rjioveuai 1^ [ dXXd peaai'S eva koXttov doX[X x^P^^^ ^t 8e TToXvTTXdyKTOJV 7t[ VTJxerai r]7Teipoio KaatyvrjT-qg e[ d^ova 8e a(f)iyyovat.LITERARY PAPYRI avrap 6 Trayyeveralo deov TTpibra ixev alyXri€v[Ta aioepa . apprjTcoi arpo(f)dXLyy[i] 7r[a]Aii/[S]i[i^Tov ovpavov iacfyaipcoae KareaTpacpl i-nra 8e /xiv l^wvats 8te/coCT/x[eev. dXrj Sv [reipea biveX- eWa 8' eTrrjuav dXXov veplrjepo? dXXog e7n7Tp[i/xoi -qXaaKovai. ovhe Kal avTrj €iXi]7T{6)Scov [irivaaoe) ^oa>v evXrjpa lleXrivrj. . TTarpoiiov Kadapolo vo-qparos dyyeXos avv TcSt e^-q yatdvhe /ie[T Epp. dpKTOV ereive ig 8' aldojva v6t[ov] Kpvpd}[hed r olp. d^ovos [/c]at rj[avxov Xo$6v CLKLvriTOLO Kal TTOTapov KeXdSovTO? p^aivopevrjv dxdXiVOV av[ p. {Traces ofjive more ovTToi] lines) kvkXos erjv T-n-eptovo?. darpcuv rjyepovrje?.

.. . . ." ling unspeakably. . . . . . . of far-wandering mainland two poles bind fast the axis at each . . . ever truthful. and to govern each were seven leaders of the stars. . and he di\ided it into seven zones. pr. looking about circle of Moon shook : — : revolves * whirling the sky round and round. Their wanderone below another ing revolves the constellations they roam in close array. .. 26 avayiofv at end ed. {Traces ofJive more lines) The Hyperion was not yet. unbridled sounding river dug ^^•ith long coastlines gulf" in the midst swims . his noble son.. . .. with unmovable bonds to the burning south and the frosty north he stretched the obUque path of axis . . L. for ^\ith him went Reason. . 29-30 : Commas after Sii^i and aXXos. . . whirthe bright air the heavens he made a sphere. P. . . the son of the God who created all things revolving round and round. . . . of the sister . . adorned with s^^ift wings. of the rethe peaceful and unmo\ing but one mad. . the Mediterranean. .ANONYMOUS first . which itself does Prob. with holy persuasion on lips that never he he is the SAvift herald of his father's pure intention. . " By ' Earth not revolve. With this not in mind went Hermes through the grey skies alone. . . ijAaa/coFTcs ed. ** . And on all sides blazed at He fastened earth in the centre once around. . faintly gleaming under the thin rays of the stars. With him went Hermes to the earth. text D. . about its axis.. end. pr. nor yet the but the reins of her shambling oxen night without day flowed on alone unbroken. .. . .

probably not Eurycleia) of his identity by revealing the scar on his thigh. He reassures is ^coAoti at 8ycr/xo/)[o]s' 'EAttt^vco/). t\o\v a(j)ripTTaae Scu/xara Y^ipKrjs. Oxy. [XT} av y' (XTnarog iijts cu? ov voarr^aev 'OSvcrcrev^. iii.. no.] ODYSSEY Ed. Odysseus convinces somebody {perhaps Philoetius. pr. /xrjS' ovXtjv elaopdaL's rrjv tSe YlrjveXoTre la. OiAotrie. fiedrjoroj 5 TTaveo vvv aTadjJLolo. perhaps speaking to the ends of lines verso 13. *Roberts. fw-KeXXav. IloXv<l)T][XiOL a]6XrjixaTa [Ilrj]v€Xo7T€Lr]g.. P. This fragment is almost (v. 1821) uniquCy inasmuch as it treats a theme taken directly from the Odyssey.€Vos. 487. 100. pr. 6 Philoetius seems as likely a candidate). but from v.LITERARY PAPYRI Xcopov [ivKprjlrov Sit. i/ceA[a] 'Ar[T]t0aTTyt /cat avSpocfxiycoi. no.D. 550 . Manchester. 15 : so ed. ^[ajt ae lxvr]aT7Jpas rpofidovra reals crvv ^ovalv dXdadaL' 2 (re) /cat Beazley. 3 sqq. 1938. evda TToXlacrqi darv [ ANONYMOUS 137 [3-4A. Probably Odysseus is relating the adventures of himself and his friends in the first two lines : he Laertes or to Eumaeus (cf. Vv.T]p. Catalogue of the Oreek Papyri in the John Rylands Library. p.

and with this sense conventional.'' .] and promises him freedom. .ANONYMOUS seeking a temperate clime where he might found a city. 6.vhpo<f>6. .g. . That you may not be mistrustful.yoiO. here only adverbial . Apart from and vocabulary are fairly work of a competent poet. these differences the style. 2. Philoetius. whom Circe's palace like Antiphates and Polyphemus away. thus placing him in the tradition of which Quintus of Smyrna is the most celebrated representative. Leave now your stable. . ANONYMOUS ODYSSEY Philoetius. thinking that Odysseus has not returned. 552 sqq. whom we may tentatively assign to the 3rd century a." who devoured men. and from which the school of Nonnus made so violent a reaction. you see the scar which not even Penelope has seen..D. 'iceAo vv.. . . . [3-4 A. the words and phases are sometimes independent of their model : e. metre This is the stole unhappy Elpenor. . . the sense of iraveo in v. ". 11.d. .. Then he persuades his supporters to arm themselves against the suitors. . (pywv Xaiarpvyovos 'AvTi<f>dTao * \ Ibid. adXinxaTa here only in epic poetry. the hardships of Penelope. and I will set you free from fear of the suitors. . Like some details of the story. 551 . . 199-200 fivrjaafievois KukAoittoj t€ JSi'tjj ^eyoA'^- ropos 6. to fare afield " Odyssey x. . .

v. 1923. 1. ANONYMOUS 138 [4 A. v.:^a)t /cat [ix€(f>povi (Traces of ttvo more lines. 40... V. 236 . *Schubart-Wilamowitz. 1907. 9. pr. probably the beginning of another extract) 11 Or [aixvyLovi IlrjveXoTreirji.a. Schemmel. 42. {Thereafter follows too fragmentary for inclusion here a an elegiac Epicedeion to which the similar performance same iambic introduction. Phil.^ot. then fragments of five more lilies. Pap. See Korte. Vv. vv.D. col. dXXa /cat v/xet? €fX€ dcop-qacreade /car' 'Eupy/^a. slightly abbreviated at the end. Vv. — — — is prefixed. in portions too small to be included here). 12-24 recur at the end with little or no change. ed. p. Graec. Od. 194. Berol. Archiv.] EPICEDEION FOR A PROFESSOR OF THE UNIVERSITY OF BERYTUS Ed. in comic iambics. of the prooimion to the second Epicedeion {there however 552 . Fragments of an Epicedeion spoken at Berytus about a dead Professor {B-q[pvru)i. 547 . 12-end were a stereotyped passage frequently used for this purpose Thus vv. Plate XLIIIa.o /cat aAAa>(i') fjLvrjarijpcDV' KaKOTrjTos eTTeip-^OrjTe /cat vpLel?. Berliner Klassikertexle. 2. are a preface to an hexameter eulogy. Text xxix. xxiv. Ilr]V€Xo7TeiT](. 1-12 are more or less specially adapted to the occasion . Woch. 1. 1-29. Schubart.: LITERARY PAPYRI arrjctoi d[X(f)^ aoi reov olkov iXevdepov. 10 t/ceAa T7jAejU. cf.) The iambic prologue falls into two parts. 82. pr. B]€p6r)s neSov II recto V.

to which w. 10-12 are written in the margin . Evil days ^ you too have known.* I >dll set you up your house in freedom. in the case of an ex-professor). then fragments offive more lines. other subjects) Attic comedy . "their evil ways you too have known." etc. which may therefore also be a stereotype. probably the beginning of another extract) " ( Or (lit. " I will release * suitors. 1-12.e. to fare. The dead professor was a native of Smyrna. private business. Thus the poem affords a brief insight into the famous School at Berytus in the middle of We learn that the pupils studied (among the 4th century. Plato.d.).ANONYMOUS with your cattle. of the piece and the formality which it implies. that now tremble at the Or. and its remarkable But closer scrutiny reveals the artificiality esprit de corps. you.] are abbreviated to tvco lines). Homer. But do you also arm yourselves beside me against Eurymachus and the other suitors. Thucydides ." etc. In vv. ANONYMOUS EPICEDEION FOR A PROFESSOR OF THE UNIVERSITY OF BERYTUS [4 a. like Telemaehus and steadfast Penelope. not in the text." Traces of tno more lines. And at first sight we are impressed by the affection of the class for its teacher. The class 55S . and held hia w. He went to Constantinople on and died just when he was about to be appointed professor there. 10-12 could be added at will if appropriate (i. Demosthenes. 22-24 appointment at Berytus.

yap avTov ovk e^ovTes elaopdv 554 . rov p-iqro[pa ov xL'^P^S"] ovSels avXXoyos eyeydv[ei] ttotc. oig eT[i]/Lia TroAAaK-is" aAA[o]us' [eKJelvos' Kal yap -^v Seivos Xeyeiv. TrpwLrjv TrtD? irepav rjtpripbivos o\h6v rpaiTeaO ai [ €7raLV€T€OV Be Tcov fiaOrjTcov tov x^pov evyvco/jLoavvTjs ttjs dft^i aAAoJS" 5 jq tov SiSdaKaXov. ovK [are.LITERARY PAPYRI of students is clearly highly organized. St' ov re Sevpo avveXeyrjjjiev TroAAa/ct?. it is possible that these lines were added here in mimicry of some quaint mannerism of an individual. rov To\y dejdrpov SeaTTorrjv. Only in one respect. as done for the subject of the not be surprised to find it compositions of this kind are unearthed. And the portrait which the grateful pupils had painted singular token of esteem for an individual . if further and pedantic manner . v[[jie]ls T€ 7TavT€S VTTodiaeco? dXXrjg^ opov o]vK av TTpoOvfiojs TjSeoj? T riK\ov]ere. especially for such doubt whether all the virtues ascribed to the professor in his obituary were acknowledged in him in his lifetime. The sentiments of praise are indeed business as this. And we may empty . el JXT) Tov avSpa [rjovrovl redinjKorla Xoyotg [eTLJfiojv. may ive detect a difference : this prooimion is extended {in comparison with the second one) by several lines which quote Demosthenes and Thucydides in a somewhat precise was not a much was second Epicedeion. it is respect underlying the not easy to discern profound affection or even commonplace expressions. and we shall proven of yet others. perhaps.

The student had 1-2 hours of classes . the lowest reputawas enjoyed by Berytus. the Teacher v^ithout whom no meeting ever yet occurred. . chosen to turn another way ? . if I were not speaking to honour this departed soul. visit the theatre daily to see the latest e. races and animal-fights. .. he was expected to creditable to them.ANONYMOUS SchemmeVs article on the School at Berytus is relevant and interesting (J paraphrase a section of his admirable work) : " The life of students [in the Eastern schools] was nowhere — But of all universities. 554. where he gambled with dice . a little while ago." Berytus was almost entirely destroyed by an earthquake in A. we shall grieve. and in admiration of its magnificent buildings and brilliant festivals. tion . Now I must praise the circle of his pupils for courtesy toward their teacher.D. then came bath and breakfast. . He participated eagerly in the numerous festivals of the city. Do you not remember how. and the Christian therefore took the precaution to postpone baptism until his studies tcere over : he considered that baptism washed away all previous sins. no longer seeing him here.. in the evening there were drinking-parties in the company of courtesans. Our sources are unanimous in praise of the beauty of the city. . and for whose sake we assembled hither so many times. whereas for sins committed after baptism there could be no atonement. Unable to look upon 555 . no less than of the refinement and culture of its inhabitants : but they are equally unanimous in censure of its luxury and vice. as he often spoke to honour others for he was an able orator.g. None of you would gladly or willingly be listening to any other programme. . mime . the master of our Theatre. . Temptation was great.

rT]v €]pi7Tvovv dvadrjao} /cat XaXovaav eiKova.oLaLV a7Tdv[TOJV 556 . €/c TOV dejaneaiov kXcos "^pcto.ev (jiiXos vlos ivppetrao ^leXrjros K7Jp~\v^ ddavdroiv t€ /cat dvSpcjv delos "Opiiqpos "IAt]ov 35 ? 9 40 oans edrjKev vtt' 6(f>daXp. fxrjSe els ^aaKaiveroj.€vrj[s] dno 'PcojU-tj? KXeLvordro]v vaerrjpos' drrayyeXXovaa reAeuTi^i'.cDv Tov dvSpa. ] ae 8' ov Toaov eiAero TrevOos ^(a- ovS' [ore GOV vo\y(ja Kara kvk]Xov VTTcoKXaae yala 30 KOI aio Trdvra riva^e defxeiXia.ci)['y]pd[(f)a)v. crot? 8' ctti Xaols TToXXols errXeo rv^^o'S ipiKXavroiat ireaovaa' d>s OTTOT [dyyJeAtrj ^^aXeTT-q ueo rvifjev aKovdg 8lov is] "Kpfxov lovaa v€OKrLp. l^wacv recos.v eTrrj. ovTOi Siar'q^as Kiqpov dXX e[t]7ra. 15 fiev rjpydaavTO TraiSe? 8' [t^v] iv eKaaroM Kara vvv 8' <f)vaLV e]v rrji 8[t]avoiai. Tpels yap aelo yivovro TTepLKXrjiaTaroL vies. ea. Tcot ctti /iow[a>t 7Tp6a]d€ fxeya (^povleoKes iv 'AvToXirji rrep iovTi dXXoSdTTrjv dvd ya\t]av' eVet /cat rolo e/CTjrt elair* dptCTOTOKOv ae ^porol KoXieoKov aVavres". (f)]96vos e/c] 20 yap ouSets". els p^ev doihoTToXos. iyw yeypayLixevq ravrrju Tpi.^ Se So^o) rcDt TrdOet viKMfxevos TrJoAAats" €TTaiv(x>v ifJiTTeaelv VTrep^oXals Tt])U. cfirjat ttov At] [xoaOevqg' TOV TTaXaiov avyypacf)€COS aTToaTrdaas. rj TOL o p. TTpos t]ov? davovras rots ert. t.LITERARY PAPYRI €(T]'rr]aav €v ypa<j>aiaiv eiKovcov (x)\v r\7]\v T]] Suo. Kal vv^v Idlixj^cov TjpOJl eTTTj 25 KCjfjLtKOJV TTeTTavixevlps t]6 XoLTTOV eL(7KVKX'q<J0lx[at. hvo Se prjrrjpes dyavoi.

* Con- 36 Beginning D. ANONYMOUS him otherwise. I shall Avheel on to the stage my Heroic verse." even when earth gaped and sank about your mural round. Through him you gained wondrous glory. is to the city of Smyrna. . And now I will dedicate this third portrait. who set Ilium before the the : . though he because of him. coming to divine Hermus from new-founded Rome. they have set up his image in two portraits one made by the sons of painters. One was the dear sonof the fair stream of Meles.the herald of immortals and men. " from — I still Uving to the dead. let none look askance upon me." says Demosthenes (taking it from the ancient chronicler). not such. If. and shook all your foundations. — : " The reference stantinople. two glorious orators. L. not such the grief that gripped you.* bringing back the tidings of the death of our illustrious inhabitant. I seem to fall often into excess of praise while honouring him. deeply mourned. divine Homer. conquered by our calamity." And now I have made an end of Comedy 's iambics for the rest. P. not by melting wax but by speaking words. . " No malice can be. on foreign soil all men still called you Mother of Noblest Sons. as when the grievous tidings struck upon your hearing. dwelt in the Orient. For three most illustrious sons were born of you one a singer. breathing and articulate. and became a tomb for many. down upon your own folk you fell.. 557 . for his sake alone your pride used to be great. the other naturally dra\vn in the mind of each.

LITERARY PAPYRI TrXlayKToavvqv Moucn^i.op. rov kXco? evpv rrjXodev a[t]ev aKovae. taa 8e [Scupa yXajaarj? cfxDvq d[jL(f)]oT€poiai.. yXciiaari's poog rjpKecrev [cuar' aTr50 a/Auvai Motpav oAAd € vr^Xeodvpiov d/u.^aAK-[et]'>^ ^amT[ou] Koi[Ji[r]a€V dvayio] K[cuvcrT]avTn^td8os" reo[^7^Ae[o]? [er .t]a[t. 55 TOtov Xiyv aropua. A[t]AateTO 8' €yy[vg] dKoveiv (f}6eyyopLevov. rrdaai 8e ydojt rrX-qfJivpov d[yi. 45 ApicrreLSrjs re /cat a[vT6s 8e hvco pT]Trjp€S TToivTa fidX' d]AA7jAotaiv ofiouoi. ot] t' 'OSuctt^o? ISelv v7TO<f>'qT[opi. Si' "^s peev (x)\s pLeXi d[AA'] ov [o]l o]i)8' o TToXvg Tahe rravra KaKrjV a7reep[ye reAeuTTjv. d-neLpeaiaig ivl ripLoig TToXXovs KvBLocovTeg dpi^'^Xoiai dowKot?. dvdpcoTTOJV €vr][y]€[v]€(x)v dyav6(l>[p]ovas VLa[s]. Kal e/xeAAer dKov€pi[€v] -^[Xde yap eiret aiyrjae avTOS QprjLKLrjv TTorl yara[v] eov XP^^^ ^^ '^^ reXeaarjL60 Tov 8e [xerd XP^'-^ ^oiOer] ttoAi? av[6L Karaax^iv rjdeXe TtapTreTnOovaa.-qs. t6[v] 8e TToAt? ^aaiXrjog ifJiVplaJTlo veKpov Ihovaa dxvvfJLevrj. vecov tva ttojv [vo/jLCvarji.^^ovt 'P(Lp. dXXd rd y ovk eTe[Aet]To* to koL vckvv dvSpos Ihovcrla Tj 65 Pcop^r).et8e[ . Trdpos alev dSaKpv? eSdKpvaev rore QpyjLKiat 8e ydcov dAt/xu/aees" €kXvov aKTai pLVpia\ KOTTTop^evai podicoi 7TXr]aaovr[i d^aXaa\a7]s KXvl.aa[i .evrjg\ Trapd diva powSeos }hXX[r]G]TTovTOV 70 ws 558 TTOT '0]Au/Lt7nd8ej Kovpai Ato? eVvea Moi. ol piiv vaierdovatv.

559 . seeing his corpse. smitten unendingly by blows of breakers from the ocean that dashed high beside the shore of rapid Hellespont. As once the Muses nine. ed. with the Muse to inspire him the two orators were Aristides and he. 'Ardt'Sos 48 yXcLaojjs D. . pr. through which there flowed a voice . L. the brazen doom of death laid in the land of the new-bom Rome of Constantine. The city of the king mourned in sorrow when she saw him dead. Rome. and was about to hear. the holy city wished to induce him to stay there to be shepherd of her youthful flocks. 51 a^i€iM\ps A^tovijos ed. wept then " Sc." in all ways alike. Himself he had gone to Thrace to accomplish his own need and after it. and yearned to hear it speaking near by.ANONYMOUS eyes of all mankind and the wanderings of Odysseus. and equal the gifts of their tongues. . glorify so many men ^\ith countless dignities in Chairs of Honour. Yet less this kept not e\il doom from him. like honey all . that never wept her groans were heard by the sea-coasts of Thrace. pass : But these things came not to .. 50. Olympian maids of so. the ^ person who P. pr. and all the streets him to sleep were a flood of lamentation such the clear voice that was silenced whose widespread glory she had heard ever from afar. is subject of this epieedeion. the gentle sons of those noblemen who dwell in her and : — . nor availed the broad flood of his speech to avert relent- unsmiling Fate . before. cf.

See Maas. Koi TTalScov TTalSas /cat is ^adv yrjpas t/ceCT^[ai. Gnomon. wyi(j)U. Phil. 17.' 208. G.D. i. rfhif) piiya X^^P^ hiaycTT^pe'S' d^iov evpes d^LOV evpes. 3. aol Xaptre? yXvKepai koL kvSos o7Tr]S[e]L' 'Apfiovlr] -^apUaaa ydpioi'S yepag iyyvaXi^e vvp. Manchester.] TWO POEMS Ed.D. 541. 1912. Ed. 1929. Klasse. See Schmidt. with Plate.vpiJi\i86vojv rjyr^Topa Sa[Kpv)(€ovcrat " Achilles. Archiv. 6pLO(j)poavvriv S' 67Tdae\ie\v 7TOV Beds vp^jxi /cat avrcKa reKva yev€\a]dat. (f)i\ri. I ANONYMOUS. pr.cf)a vviJi<f)Lov. A wretched composition of an uncertain. 58 Korte. LITERARY PAPYRI vUa M. 250 (corrections and improvements in the text. ANONYMOUS 139 [4 A. 28. no. 140 perhaps PAMPREPIUS OF PANOPOLIS [About 500 A. pr. includ- 560 . Sitzungsberichte der Akademie der Wissenschaften in Wien. 1928. v. *Gerstinger.A. p.G.. but certainly late. Pamprepios von Panopolis . 1911. Catalogue of the Greek Papyri in the John Rylands Library. *Hunt. Hist.] EPITHALAMION .

Graindor. 25 . Cf. Woch. . Akad. . [About 500 a. 43. Schissel. 49-63. Wist.ANONYMOUS Zeus. A cento of epic words and phrases. Dear bride. d. loc. Anz. and reach a ripe old age. weeping for her son. Korte. . Theocrittts xviii. Bridegroom. Archiv. Phil. ANONYMOUS. and children's children. 237 . 257 (revised text) ." . Byzantion. 1073 . 4. whether : not adequate condemnation by Schmidt. Barber. [4 a.d. and grant that you may presently have children. 1929. 19. . Class. wailed in mourning around Thetis. May Heaven now give you concord. Wien. be yours yea worthy. the leader of the Myrmidons. great and abiding joy worthy is the husband you have found. 469. daughter of Nereus. the sweet Graces and glory attend you gracious Harmonia has bestowed honour upon your wedding. VOL.] suitable or cit. Rev.] Horna. 1929.d. x. ANONYMOUS EPITHALAMION era. by Keydell) perhaps PAMPREPIUS OF PANOPOLIS TWO POEMS ing some . d. I 2 O 561 .

and plays his pipe (27-38). and the birds are scared from the 562 . Byz. The snow melts and foods the springs and streams. to describe the successive stages of a single day and the activities of country life appropriate to each stage. The season is early winter. fields. 1934. in November (see Maas. he takes cover beneath a cliff". Against a background of a storm the poet tells of a shepherd in the early morning driving his herds to shelter. the work of your swollen streams is superfluous . loc. between storm and sunshine. pr. 9-26. Then they return to their proper tasks : the ploughman and sower are working in the described. Rain is pouring already. The six lines of this probably represent only afragment of the original composition. 552. pp. 76). and he expects a hailstorm . pp. when they will be very welcome — (49-85).) — An introductory passage. A TreeNymph addresses a Spring-Nymph with good humour : " / am already drenched by the storm . The sun gradually breaks through. Then the storm begins to clear. scattering their twigs and foliage and swelling the streams around them (39-48). 554). blends with the beginning of the theme. cit. Zeitschr. corrected and modified The theme of the poem is announced in the fifth line of the preface. {On the topic of these prologues by Schissel. reserve your energies against " the time of summer heat. and the world rejoices in light and warmth. The events of the day in the sunlit afternoon are next The countryfolk gather to honour Demeter with song and dance and sacrifice. It is " to sing of the hours and tell of their actions " . The scene then shifts when the storm breaks and attacks the Tree-Nymphs. that is.: LITERARY PAPYRI (a) The poem opens ivith a prologue in comic iambic trimeters (cf. It is in general a peculiar sort of bucolic idyll the events of a single day described against a background of the changes of weather . 8-10. hedges are built. which strikes a fairly impressive undertone of the struggle betiveen light and dark. see ed. p.

It follows the rules of a recognized literary type. The structure of the piece. perhaps composed by the author of the previous piece {ed. but the weak and vicious. Se cus al defined by Aphthonius {37. which we praised so highly. a farmer sings of the coming harvest. was not altogether the invention of this author. here the proper theme of the poem closes {140-150). indeed laboriously. supplements its title as rod avTo]v els There is no doubt that Tov naTpt/c[iov Q]fayfvrj 'lxd[v6vos). pr. monotonous rhythms. the eK<f>paais (wv€^evyfj. in that limited ambition he cannot fairly be said to have failed.ANONYMOUS seed. In general we may say of this poem that gtructure are well-planned composition itself is school of its theme and and highly poetical . His by a maid tending her flocks at evenshe dries her hair and clothes still drenched by the is repeated And storm of the morning (86-139). not a writer's rough and incomplete auto- 56^ . awt^ivyfievai. written by a person eager above all to impress an audience with his cleverness . for our papyrus is a portion of a published book. are in fact a conventional copy of an outworn tradition. and a violent thunderstorm gathers in the twilight . melody tide . his strained and too ingenious phraseology. 144-148. erotic colouring. sentimental may seem to find a touch of true tenderness.4vrj. and Vv. it is only a fragment of a complete poem. to whom he owes his excessive ornament and fullness of description. and a The poem is carefully. in which the inclination to grotesque allegory. The sun goes down. (b) This is a fragment of a poem in honour of one Patricius Theagenes. There follow six lines of epilogue in which the poet begs the favour of his audience and announces that he has been sum- moned to Cyrene {151-end). vulgar appeal to susceptible emotions. not a beginning left unfinished by its author . 17) : TTpdyfJiaTa Koi Koxpovs a/xa crwanrovacu. The writer is of the Nonnus.

iav ojpas fxeXi^eiv Kal Xeyetv to. a pagan Egyptian poet born in the year himself is not.. {See Schissel. 57. that of the poet by the first editor to be one Pamprepius ofPanopolis {biography by Asmus. 1913. 73 . ovx oaov avXa}V. 564 . it begins conventionally with an account of Theagenes' immensely distinguished ancestry. 448. Zeitschr. as it should be. Progymnast. €K<f}epovai. was a wealthy and ambitious politician of good family and varied service to the state. 89). N. according to Suidas and Photius. xocx.LITERARY PAPYRI graph. cqixepov dfxcf)' ifxe Kcbfios detSerai. cit. that the poem in its fullness obeyed the strict rules which used to govern this kind of composition {for which see Buecheler.s. wxii. Rh. loc. TTpdyfxara. 1878. . Byz.F.d. pr. against ed. . 2 [ei3vw]i' Gerstinger : but v. Schissel. ending at last with a avyKpiais. p. It is. but may provisionally assume. He lived in the second half of the This identification is reasonably certain . loc. 1909. 5 (haav 7Tapaa7r[(i]aa>(nv at fieXrjSoves. Mus. Reichel. Theagenes is identified by the first editor with the Athenian archon of that name who. He is alleged A.]v avvrpixovcnv ol X6yo\i. then his npa^ei. [/xJeAoJtSiai* yap [. a direct address to the object of its eulogy . 5th century a. 320).D. who came to patronage of Theagenes. (") Athens and lived there under the Later he quarrelled with his patron XlPV 07T0V "^ovs] Olearas evvojelv . and probably went on to describe next his avaTpoif>ri. cit. TTOlTjTcijV CrC0(f)p6vOJ^ TOV TTOLKlXoV VOVV TCJV cXkovgiv.v els evToXp. 18.) We do not know. Quaest.

not of ." Gerstinger . where he became a crafty diplomat. . who properly criticizes the first editor for entitling his book Pamprepios von Panopolis. whom the evidence might ft Just as well.. whose names are lost.d. (a) The audience must be friendly to my song. . (4) from (b) as a whole. and might very well have been summoned to Cyrene {which is all that is proved by (a) 153). pr. To-day a revel * is ringing round about me. We therefore concur with Schissel. here "song. It is therefore clear that the evidence way at variance with anything of the poems is in no we know of the career of Pamprepius. legitimately infers {l)from (a) 155 sqq. however anxiety may distract him. ANONYMOUS to Constantinople. (2) from (a) 86-100. as was also probably Theagenes . they lead him on to have the courage to sing the hours and tell their deeds." (well-disposed) " When Schissel. that he stood in some and departed close personal relation to Theagenes. would have been a pagan. a. . that the scene of the poem's recitation is Athens further (b) was certainly recited at Athens . that the poet had connexions icith Egypt . that the poet was a pagan. * xoj/xo? poem naturally con- 565. . Now (assuming that both poems are the work of one author) ed. as if there were no difference between a certainty and a possible hypothesis. executed for treason in an Isaurian fortress." ooov = ov: this tains many usages of later Greek.. (3) from the tone of{h) 4. . But it is equally clear that Theagenes may have protected a score of other persons. WTien the words come together ° they draw the poet's subtle mind discreetly with them. » " WTien the (applauding) words of listeners accompany the recital. 488. where Demeter'g relation to Athens and Attica are broadly underlined. a favourite at the court of Zenon . . Any such person would of course have recited at Athens. the (poet's) words (and ideas) are assembled.

yovoeaaav ^ dfxeXyofjielvTjv ^ x^^']^ . '»7. op-ppcov n]A')7td8[a]s' S' CKpvipe TTaXiva\rpo<j)Os aldip\os ^ ^ 26 d^a>v 566 .LITERARY PAPYRI ov)( [oajov eTTrarovoLO Xvprjs dva^dXXerai ovd^ iJSuv dfX€t^on€[v]r] fjieXeojv dpoov. ov[K€rL p.^7^ev'[To]? vtto kXitos kv[k\vos lo yrjpaXerjs aeilplrjvlpjs dKrjparov ap^^o? ajxet- dKpor[a.T\oLS [d]7]Ta[f inepvyeaaLv ore vveiovaiv dAA' oaov [a]ypr] [e/c] SprjiKTjg vL(f>eT(x}heos e/XTTVOog )(€LfM€pLOis TTeXdyeacrtv i[7T]i[a]Ka[Lp]ov(Ta da8e 15 Xdaarjs opdpiov det'Sec jxeXTTei Xi'Overjv pod^CjcoL ^[e'Ao]?' rjSi) ^aedovTos i[pi(j>Xeylos irvpos alyX-qv )(evpiaaiv dfi^polroKiov a^elaav hiepols v€(f)€- Xdcov Kal Kvvos darpaioLO 7Tvp[aid€a vypoTTopoL? VLcpdSeaai KaTaG^e[a6evTa ^^evfiarc yap )(Xo{d)ovat Kal darepeg.^eTa ov deiSe[i ovpeos o/u.ivojL ve<j)ieaai ovK€Ti vvKTOs cpevdo? 7T€pi^aXX[ev €7rp[ €a)i\ov. . dpTL pbkv dvToXirjs -x^Lovwhees avp]ai aidepicov . ]a[.-qvTjv 20 KaXv7Trofi€vo[ iTVV avvSpojjLov rjeXtojt Kvavco-ntSa 7T6\rvav opcofxev xljv)(op.

: aKpoKonois Gerstinger. 9 ovB' Gerstinger (coni. no longer did the redness of the dawn embrace the circle of the night. but was rejuvenated in extreme old age. P.. 24 e7rp[e]ff[av ed. nor that which the sound of the lyre's seven strings awakens. sings to the surge at dawn. and the fiery . 25 For d/teAy. nor that which on the slope of the prophetic mountain " is sung by the tuneful swan. changing to freshest youth his burden of melodious old age. Radermacher). 103. admitting its weakness: d/<poKe'/)ois dubiously Horna. ANONYMOUS the flute. sings how the snow-white brightness of the blazing sun is quenched by the liquid streams of rainclouds. .. ." song of the swan was sometimes ascribed to the sound of the wind in its feathers. like Here periphrased as " he changes the load of the Phoenix. no longer do we see the Moon. coni. 22 ijivxoyievwi. 11 ace. 567 . pr. L. aKpo raTois D.. Keydell . dancing upon the wintry waves of the And sweetly it sea. of the dog-star is extinguished by the watery snowstorms. For even the stars go pale before their streams. Lately the snowy winds from the East had the fruitful downpour of rain from heaven as it were milk the revolving axis of the sky hid the Pleiads . to Horna. to Horna. . did not die. but Schissel rightly 11-12 Punctuation by Maas. who is frozen among the clouds . * Reference to a notion that the swan " Parnassus..** when the breezes blow through his feather-tips " but a song which the blast of wind from snowy Thrace. the dark-eyed Lady that treads upon the heel of the sun. ' The old age's song so as to be undefiled {sc. retains II's ovd'. 13 11 ace. p. by age).. See Gerstinger. . responding in sweet utterance of song. see Gerstinger. . .

vtt' aJLOiov ofx^poTOKOio TTpodyyeXov FilXidveirjg.ojv dyiXriiaf fioyis S' dve^dXXero y^iXos [cr]vpi[y^ 1 aadfjLJaaL XeTTTaXioiaiv V7TCopo<f)Lr]s^ Tjxovs (Fragments of eight Tj lines) fxev dv[etAio-o-ou]cra ttoXvttXokov 6t. Tj 40 8e vtcfio^Xl'qTJoLO Trapd Trprjcova KoXwvqs aTTTopdoLs TTaXdfiTjiaiv dpvero 7Tapdev\o\v vScop. then a gap of about ten lines. (Fragments of three lines) I 568 . then fragments offour lines) evda Tis V€TLU)v vvfi(l)'qtog ofx^pos ipwrcov eSva reXeaaiyovoLo )^€Cov iirl Sefivia yair^s eXniaiv evaporoiai (f)epia^iov 6y[jiji\ov d(f)da- Kai €K Tis opeaaLvoficov dyeXrjKoiJiols] dyxi 30 v. Trjoprtas" M a dpriroKocaLV vipiKprjixvov (Lhlveauiv dveiaas ri\Xaa€v e? d^poxov a\yXi]v epLTTvrjg- K]vKXa Se {Xa)xv'^€VTa ^ooKpatpoto x[i'T(Ji)]vos 35 Qcoadfjievos irepl vihrov ehvaaro SetpdBa 7T€Tpr]S avpi]t.ov idetprjs "navTodi TT\op(f>vpi\ris dTreaeiaaro (f>vXXdSa Xalrr)?.LITERARY PAPYRI (Fragments of seven lines. ^oavXiov v€(f)€Cov 7Tp7]aTT]pa x^-Xa^-jevTa [So'JKevcov. .

" tree. and shook off the leafage of her bright Another on the foreland of tresses on every side. . This monstrous phrase means that the tree (here a nymph) turned snow to water on its branches. expecting a hailstorm from the clouds.'' a snowbound hill drew virgin water with arms bereft of twigs ^ . and the leaves fell off. {Fragments of three lines) Snow rushed upon the nymph. pouring their wedding-gifts upon the couch of Mother Earth. drives his heifers lately relaxed fron>the pangs of travail to a dry resting-place high up among the crags. . merely because it goes round him. and went under the The pipe hardly struck up cliff. mingled with • Circles. embraces the fertile furrow vdth. the music of its song beneath the roof. . shook (in the wind) its twisted branches. . piping to his herds. * He * The means only " made from the hide of a horned ox. from which the storm had broken off •* the twigs.ANONYMOUS {Fragments of seven lines. {Fragments of eight lines) One (nymph) unwound the twisted shoots that are her hair. 569 . then a gap of about ten fragvients offour lines) There a bridal shower of Love-gods in the guise of rain. . near the mountain-stables. here identified with a Dryad. propitious harbinger of a goddess that brings rain to birth. The shaggy circles " of ox-horn ^ coat he bound about his back. So Maas. A herdsman. then lines. hope of luckv ploughing. so meagre came his breath.

rjdXiog pLeihrjae yaXrjvrj TrvpiXapLTrejos epLirXeov at- Oippbe [re /cai ireXayos' vr]v\aLV 8' dveTTCtA- jflj Ae[T]o BeXcfyls rjpLL(f)avr)? po\dioiaiv eV] rjipi ttovtov epeacrcov. rjBr) 8eCT/u. LITERARY PAPYRI avfXfjiL)^d€Laa p6o]La[i] 7ToXvipr](f)LSo[i] ieparjs.r]£ 570 .e\j.j^a)poi/. Ai^coSea. kvkIXos aKpov ipevldiocov].[d] /c[a]A[tr]- yap V€(f)€a)V av€<f)aivero pieaaoOt. vi/jLTTopos] 8' rjarpai/jev aK:[Tas" re KXovjeovaa^ pLoyi? dpi(f>L\eXiKTOV . OVK apa hrjpov e/x[e]AAev aepTdl. rjlepLTjv 8' Ttvd .i'xX'qv v^6de\y Trdaa "Tiipla TrdxvrjS- [8k 8' yaia yJeAaacre.Tria 7TdX[tv] fJLTjrepa I 55 dp. XeTrrrj S' dved^Xeev ai[yXrj 50 ^oaKopbevT] epvKei. ovB* €TL x^overjs vSarcoSea 7TT[p]r]S. oiarevovaa KoXa)vas 8' eKehaaaev dXap.i/j€ dv-qXvaLv rjcXiov Se ^ocottlSos ota cre- X-^v-qs.d>aaTO 8' 7Tavrp6(f)ov aiyXr]v [xapvaixevTjv -xioveaai. (f}vais rjpienTTO XaXdt. oaov ve<j>os €Kt6s [ct>(']^e[v] avyx) TTpcoTojv €X[a]p. yrjOofievri dA[A' o]v (^opljxov e]pi»r«]e ^ 8^ 45 Se^aro )(^lov6tt€7tXov dvayKatrjv [Tp]o(f)6v vXrjs..v p\6dov ofx^pcov. 60 v[u])Lt^d6oi' arepva Se €t.

thus forced upon her. with splashes in the air as it rowed across the sea. ace. of the ox-eyed moon. then soaring it blazed. 52 ijlepiijv 61 iluiaaTo coni.* and opened a path back into the The light of the sun shone first Uke the glow sky. L. 103. 45 Horna. Hard it must fight to scatter the mist that rolled around on high. <f>opn6s is a seaman's cloak of coarse * The gleam " grazes on " the patch plaited material. Keydell. nor long the wet veil of snow that bound her head." nay. • Exposed themselves to the sun. Horna. girt their breasts with the brightness that fought against the snow and made the world The nature of hail was " The " stony cloak " is the thickly-falling hail which covers her like a cloak. : epeiKe Horna. which I 48 For vSarco^ia see Gerstinger. red about its rim. help her wood to grow. pasturing so much of the space as the clouds hold off. the rayless mother of the frost. There was laughter in all the land. epvKe (D. 571 . of white sky which the clouds " excluded " from their society. and peace smiled again. p. P. halfand made them warm. The dolphin leapt up. routing the shores and hills with arrows of light. to 49 Horna's 57 Maas. gleam grew. and a thin that snowclad nurse. The sun filled the air and ocean with a fiery brilliance. except do not understand). For already a circle appeared amid the clouds. " Nymphs to flourish.ANONYMOUS streams of a rain of hailstones. reading of IT. seen by ships. II Horna. Yet she beat not awav that stony cloak. rejoicing she welcomed who would She was not destined long to support the rainy surge.

ol S' ea^[p)i. . )(iojv 8' irLvdaaero 8e yaXrjvrii €ppee 7ToiKi. riraLve (ftvToaTTopov [dphpiov 572 .jSta^o/i.y6co\y\TO poioSees' €K he XapdSp-qs ajpro poos 7raA[tVo]p(70s'. oaos 6ii^po\s T^ixereprfs ejjLYjv TrpoxvdeLS Kara] XoxP'T^v evroadev d7roaT\dt. ^aaiXeia' ri jU. rrorva.X68[a]K[p]v? dvqvaj. (j>DraXtrjs apx^yovoLO (j)iXov reKos ^O. rdXav T[t 8e fivd^ov iyeipct). yepdeaai pie\XavaTepvoi\v ve^e7^ Xdo}v ovx opdats.aa.Tva)[8e]os veiodev ippit.. LITERARY PAPYRI 66? poov yairji. 80 copT].€L TrXo^KapuBos evdev ^x^is roaov olSpLa.eV>] a'iyXrjs. on pivdos.Keavolo. orav TTore Se[tpio? aWrji. pial. 70 ToXa 8' 'AlfiajSpudhcDV VTrepKVTTTOvaa yeiTOVL TTer'qXcov €W€7t[€ X'^^P^ TTJriyaLrji poSo7T[7]x]€i vviJi(f)rji' />tot.-qopos ecraerlaL dXcuals vat Tore. o/JiPp-qevTa. dvfiohaKrjs dpieivwv. evOa rewv yepdcov rLp.o)vro aw^XcKeg epveai Tt? vvpccfyaL. eiretra he /xT^ri[s' iyyvOt yap xpovos ovtos. vXrjs ovqi 7Tt.Levr} /x[d]^o[t'] <f>eyyei viK\7]\da. 65 TTrjydcDV 8e revovre? epbVKrjaavro p\ee\dpois OTeivopLevoL vLcfidSeaaL SitTrerecov Trpoxodcov.[ot XP^'^^^J ^^ti- podoiv ^pcdofxevrji.

queen of the Plantation need your streams. 82 dpSfiov aXwais Horna. 11 ace. 127 64 yaXrjy^ a<f>pi- 78 TOCTov Maas {to aov G). The sinews the their breasts its of the springs roared loud. coeval with the depths of the pinewood. were taut with the streams. back to where the nymphs. lady. laden as I ? of the black-breasted clouds How should I am with the bounty Do you not see how ! great a shower. and thereafter plans are better formed. hard-pressed by snowfloods of the heavenly outpour . peeping forth from the foUage. my dear ! Because speech touches to the heart. to her rosy-armed neighbour. spread pocui coni. And from bed the stream arose and turned again. to Horna. vanquished by the hght it forced by fair flowed away in myriad changeful tears decUning battle with the brightness. weather Snow was shaken . yowvTi.ANONYMOUS changed to a showery stream. were rooted in the There spoke an Hamadryad. Joh. drips down my tresses ? —That is why you have so Why am I aroused to speak ? deep a flood. . For that time will is near. trees. Keydell Gerstinger. to the ground. when your the dog-star burns : then be the season when your bounties are helpful 63 yaiTji —then. dear daughter of father : Ocean. a fountainnymph " Good morrow. of Gaza 2. 573 . poured upon from within my bushes. 68 Cf.

^iorajS€a Ka)fjLo[y ip\o}- TiOV tSjpei. [jL€X7T€aKo]v 8e yepovres.vro Se Kov[poL d[^6fJL€]vo(. ^]o)fji6v av[tCTTa^]e[va]i At^ojiov. €7Ta)pxTJcro.^apt[? t] fiev €<f>r] yeXocoaa. dvos Se fjbejJiTjXev €Kd(TT(X)L. is 8e dmjXas ]o 90 ]? (JKOTTeXoiai KaXavlpoTTi ravpo?.LITERARY PAPYRI e[t]cre[T]t Sn/jaXerjiaiv. fxeydXoLO ^iXo^eviriv K[e]A[e]or[o' pLeXiTovro (f>iXo(f)poavvriv 'Pa[pta]8os" [jSaai- (Fragme/its of two lines) 574 . TrepiareijjavTO S[e d^aXjeov rivd Koa/Jiov dfiaXX-qevra riOevrles atoLov] iaaofjievrjs aTaxvu)8[€]os dyyeXov 95 (^prj[s. X^P^^ ^' o. yeioTTOvcoi vv[[ji\(f>€V€rat ofiTTVta Atjco.. ottojs X'^P'-^ €i»'.TTeXdyiTTeTO et]? epiv 6pv\yiiev\rii 0tAo/AetSea [ ^5 {Fragments of six ev\da jji€T* lines) aWepicov . S' TTJdvTCS cvx^ItocSJvto . dypojvofMot dyepovTo. al'yi\h\i<x>v\ Se (fjdXayyes cTreppcoovTO ^orrjpi di/j]afX€va)i dvoeaaav S' 'EAeuaiviTj? <f)X6ya TT€VKr]5.

83 €17] Maas. All com is wedded men were praying. the yoimg men danced liness of in time. pp. corr Horna. 98 jSoaiAttijy Maas. IT ace. Hymn to Demeter. 114 sqq. folk forgathered. 89 BvT]\as coni. The bull that (rejoices) in the crags fobeyed) the crook toward the sacrifice. 90 axOofievos Ictttcto Gerstinger: ^ooKo^ievos Ko-nreTo . The : old men sang. lines) ' See Horn.r)Xev Gerstinger. 88 8' iy. Horna 96 nXa^ofieios Keydell. (^Fragments . . it and encircled the dr\' altar.. and abundant grace shone forth from her as she sped to laughing conflict.eXiT€aKov Horna. to raise up an altar to Deo. . . . that your favour may be favourable indeed " ! Smiling she spoke. laying The countryupon a fair offering of sheaves.ANONYMOUS fertile waters over gardens ever thirsty. 2nd ed. 575 . after the snow-dance of the Gods of love from the sky. propitious omen of the harvest-time to come. . Keydell . with reverence for the " generosity of great Celeus they chanted the kind^ the goddess of the Rarian {Fragments of tivo plain . . The troops of kids pressed hard upon the herdsman who kindled the fragrant torch of Eleusinian pine. and each had the sacrifice at heart. of six lines) There. . /ScAAero outoJs OKoneXoiat KaXav[pOTn TTei'derJo. to Horna {dvpiZas G). fj. . * Demeter. . Deo the goddess of the to the skilful tiller of the soil. See Allen and Halliday. The Homeric Hymns.ep. : Maas. Pos-sibly yrjdo95 cuaiov Maas.

.p[€ yvrjv dpeJTrrijpa veOXrjs.LITERARY PAPYRI TpiTTToAe/Mcot SL(f)pOlV. 105 ovTOi TTavSafidretpa (f>vaLs Tr€Ldrfiiio\vL Te)(yriL €^ opecov is dporpa ^ocov i^Liqaaro \(f>v]TX'qv . . n ace. .€v^aaa 8/5a/<:ov[T(e)totv ^i^]a S' 6€afJLO(f)6pov ireXeaaev dveeaai' ayrivopa jSoe? S' Brjuov 100 'Adrjviqs. Tt/CTOu[aa]v ioLKora reKva . /cat TO. plalvcDv evda /ca[t €v6a (f)vroo-7T]6pa SdJpa If fiipive deaivTjs. . fiev iv dpoTrjpi (nS[Ti\po)L veiov [i]Tna7T€pxovTO fieraXXevovre? dpovprjg. alfio^opcDi.^]e[i]pajv Stvevcov ipi^coXaKa.]o^6pcoi [. ^ ^ 6p]daSL7]v S' ix<ipa^€ yal-qg ravvTrXevpov Tnv^a Se 110 ajroixdha ^aLvco[v . XlOos epyov dpS/xov [y]e- . . ]^a)Totcriv ava[ ] oSevcov dvSp]op.]etV. KpV(f>ios ttot Tpa]x^^ dporpcoL vnavTiocov ipVK7]t. Te]ixv€ 8e Trvpo[(f)6pov TreSojv ipKeai' 108 8e PdKTpcoi 100 Bean. to Horna. reKvia 576 . t. ^aid fxrj dx^os epetSev is avXaKa.€'r)s €aTT€(. fiaarllcov 8' eKdrepde avvcopiSos i^via Tavpojv yrjTTovog TjVLOxelvlev ctt' l^vos rjvta retvajv pLVos €VTpT]r[oio] TTepia^iyyovra KeXevdovs.

. p6v Horna). 114 avhpofjierjs Maas: 115 p]aiva)v Keydell. He cut open a straight fold in the broad earth. must nourish the that the fruitful race of men. to Horna). a rough stone hidden should his labour field that . rcKva [. L. sprinkling this gifts way and off of the goddess . and they create offspring like to . D.. now one of the pair. . meet the plough and stay water . taking short steps he pressed his hea\-y hands lest toward the furrow. . VOL- 2P 577 . TfCrji Gerstinger but 11 ace to Horna has yifnv (. . {ay- Jcuvtov IT ace. and steered the steps of his pair of bulls and upon fast the his hips he stretched the reins that bound nostrils. drive the race of oxen from the mountains to the plough . . by Art's persuasion. P. he cut the wheatland with hedges. The oxen went . .1 : ANONYMOUS yoking for Triptolemus a dragon-chariot. . and stayed warding off with his staff the " 6€aiuxf>6pos here obscure: usually epithet of Demeter and Persephone. speedily turning up the fallow-land with iron plough the labourer whipped them. ." made the proud people of Athene law-bringers Thus was it with the sacrifices. now . passage of their tunnelled Thus did Nature omnipotent. he sowed the walking .lei'ijt at the end. the other.. and (?). turning the rich soil in rows . .

ovhe yav atyXr] ia]7T€pLrj{v) 'i[crx]vaLV€v •q 8 dp vXrjs dXvaKJd^ovaa Trdrov Kpvfxvwheos allyX-qevra pLerijXvdeVy rjeXiojL 8e y')]Xo(f)ov Kv^KXa VL\(f)O^XrjTOLO 7T€pcaT€iXaaa . 578 . jiev iacfy-^KCoro XP'^lP^ 7r[e7r]AotS'. \2l d]v8peirjv e8t7]tvev oXrjv pd^iv. including a reference opyia KcDta) Tola yepcov VVIX<f)7] /x[eA7r]e<T/<re- /xeXos S' dTra/xetjSero 12( (8') iyyvdi ^ovKoXeovaa. TTOipievioiL t. to (Fragments of nine lines. dXcoopievrjv Sk (Fragments of three r'jKa lines) TT€pL\a](f)iy^aaa TToXvppvrov /cat dvrvya II art fia^cjv etA/ce pgov yXayoevra ojiraae dvTjX^v. ou8' [dyeXrjs TLdijvrjly d]pt.\.(ji}arripi TrepLTrXoKos' Xot-iT-qv €k Se Kap-qvov dpL^iiXLaaav OLTTodXi^aaa KOjidcDV aTToardl^ovaav eeparjv. Xddev dpa 6rjXvs iovaa dvepos TToiaa elfia (jiepovaa koL d[pa\€va KaXvilsayL\iv]r] 8[ecr]/xa 7re8tAcov.€Xr]U€V . fxrjlpcbv.LITERARY PAPYRI TTvpjo^opcov 'y[€pdvco]v TToXefxiqLov eafMov ipvKCOV ] ] ToaGrjv 8' ave^aXXero ixoXtttjv daXvaiov vjjivov delScov.iTa)i'o? 13( . d-Kpa [fieX]djv yvpLVOjaev e? exx^veojv tttvxo.

a shepherd's girdle twisted round her. tending a . she bared to the sun the top of her body down to the cleft of her shapely thighs. Kat. . .a<^iyi. Fastening the snow-beaten vest around her. Maas . she went to a gleaming hill-top. . and her manly back was all a-streaming nor could the sunlight make her dry. . in answer. . swarm of cranes that devour the wheat. . it for an offering to Pan. 127 eanepi-qv iT€pi. Vat. . Horna 579. 133 G). Her body was all hidden and tightly bound in raiment. .33 and its many replicas and variations. and concealing her womanhood with a man's attire and a man's sandals bound upon her feet. to Maas. 696-698. awoke so great a song singing a hymn of . (Fragments of three lines) lightly gripping the roundness of its drew forth a milky flood and gave streaming udder. ii. Brendel. " The poet has in mind such figures of Aphrodite as Vatican Gabinetto delle Maschere 4.ANONYMOUS hostile . harvest. die Antike 6. . 132 II ace. Amelung. From her head she squeezed the flowing tresses of her hair. Maas. Evading the path of the chill forest. . coni. : . as she dripped with water in the evening. 117 dyeXrfs y€pdv<jiv Maas. (Fragments of nine lines) A maid sent back a melody herd near by. v." Still she was not forgetful of her flock the straying mother-ewe So the old man sang. 41-64 (Beazley). {imacj).

V€(f)€ajv 8' p7]yv[vf/\€va)v TCOV.. LITERARY PAPYRI I aldepirjv Ittttoi Kporeovres vtt* 'ix^eaiv drpaTTov dvrvya Tjipi €K XiTTO^eyyeos cXkov drr'qvTjg. ^ta^d/uevo? [8e pie ^ol^os cXkcl 6ripo<j)6voio <j)iXr]s errl yovvara [vvpi](f>rjs.7T€T€ pie OTTeicavTes e(f)tGTapiev[ Kvp-qvT] . [djpLVOfievrj 8e Kal avT['q TTapOevos iXK€aLTT€7TXos v[7]V.a>v. 7T€p. e^eaavro SaXos cKdrepOe Kal dXXrjXoiai x^^^^~ €7tI TToiSa Se vrjTTidxpvTa TTarrjp deipas ovaai x^^P^^ e^aXXev. rjyepeOovTO ttoXiv v€(f)eXa)Se€s arfxoi )(dov6s avreXXovTCs. irjv eKoXeaae tlOtJ- I yala 8e KapTToroKcov Xayovcov aj8rva? avealBepi Kal ve^i^ooiv eTnrpiijjaaa y\eve\dX7][y l® dAAa piOL €vpeveocT€ Kal i^ "KX[Xrjvos dpov. ottcds dKovarjc koXttov Sovttov 14 pir] vipodev dXXTqXrjLULV dpaaaofxevcov vecjieXdcov aWrjp 8' eafxapdyrjaev. diroKpTJiTrovTO 8e fjLvSaXerjv 8' /cat Trdvra reipea vovXvOefxedXa vilinTeTrjs 8' ovkcti ^aiVero 14( 6p[pLai\ve /Lte[y]a? ^povraZos drjrrjs Xd^pos eTraiyit./caAeet pie. 580 .

581 . Maas {-oiaiv G). rising from earth. A great thunderstorm was speeding on high. me me from the soil of Hellas ^\'ith . and a torch leapt from the clouds as they burst on either side and mingled one >\ith another. Cyrene calls me. And again the cloud-mists were gathering in the sky. was aroused and called fruits of her nurse.ANONYMOUS Already the steeds of Phaethon. and committed her children to the sky and clouds. Grant me your favour. A father Ufted upon his lap his infant child. and all the deep-rooted stars were hidden. A little maiden too. beating the path of heaven beneath their hooves. that it might not hear the crash of cloud bursting on cloud above. were drawing the dew-moist rail of their twilight chariot toward their drinking-pool in the western sea. . and put his hands upon its ears. fiercely rushing. and the moon was seen no more. and Phoebus constrains me and drags to the knees 146 aXXqXrjiaiv epywi Gerstinger. and speed libation. The heavens rang loud. 152 e<^ioTa/ie»foi' ve'wi 153 Maas. . in traiUng robe. Earth yielded the her teem- ing flanks.

] aXaos TT-Jacra dKripdaL[ov\ ^ev[io\v Alos. euJSiov vixvoTToXov yeverjs aKerras.(f)i~ 77oA[euei? ^utAtj?] vix€Tep7]£ \yevvrjro\pag . a[ ]o? Troi-qv Se T[lTatV]6t)J/ 5881 I . TTaVTCOV ejfXTTeSov [oil evL 'EAAi^vcov ^aAe'^ei 7Tav8-q[[JiLos ojX^os. arjs S' ey]7jyeviT7? eTnudprvpa cr[ets- Ziyva y]tyavTO^ovoto Kv^cpvTjrrjpa \opeiri\g' "Zirjvja yap avTov dvaKra /cat AlaKov rjs dp.LITERARY PAPYRI S[ei. (f)iXoL. oSt evi TTavrojv 5 fxepoTTCov TToXvrrXdyKTCov d[i7Tav€Tai i opfxri' I atJeTO? atyioxoio [Aio]? jSacriAi^io? opvi? aijOpiov TjeXtoLO ^oXr^v -x^pvcrdpiTTVKos aiyX'qs r)\s €V7]y€VLr]g iiriixdpTvpov ofSe 8' i(f)€7TOvaL KaXeaaai' 7to~ 10 Tcpjfiavol rafiolo jLia/>]T[t>v] OefjucrroTToXov dpLCtip. 15f| ev]6a fxe \^KLK\Xri\(j\KovaL AcjSucrTtSes" elaen \ [Mojucrat. TTOtov drro rrdoa 16 7raCTa[i? eV TroAeeaatv 'A]. oil [er]t TTaaas v^peL yrjpdaKOJV 'KXlkojv dvedrjKaro Mouaa?. Qedyeve?.)(aiias' eari yev[e^A7^. irpos eSedXov dpet/xareo? i IlT[oA]e/xaiou.Te].rjroLO hiKaanoXov ot^jxa yeTrdai (f)vXd(T- [vedXrj^. [h) 'EAAJaSo? ayvov ayaXjxa.

Pride of Hellas. to the seat of Ptolemy the Warrior. {^eL[vo]v G). revered Theagenes. as proof of noble birth. the eagle takes its fledgelings forth from the nest and displays them to the sky. (cr^? G). in grown old with insults. xv. have Zeus in safe keeping. where the Libyan Muses are (b) all still me. Ep.'' river. the leader of the dance that slew the Giants. in all whom whom the wealth of the Hellenes prospers abidingly. . 5 iev[Co]v (and prob.. For you are servant of Zeus himself. from which proceeds every Achaean breed in every city.. 13 Beginning Horna (Z^v]a 14 End Maas. Horna) 9 ^s Maas Horna 11) G). wherein every adventure of wandering mortals comes to rest The eagle. your lord. and Aeacus.ANONYMOUS of that dear nymph and calling huntress. yiy. to 2 End Horna. their judge that ministers the law. 16 ndaais iv noXeeacrw 17 maivotv Maas. \\ hat . Horna. 583 . the founders of your race. (and prob. Up. as their ^vitness of irreproach- You. royal bird of aegis-bearing ! Zeus. in the sight of all Zeus. Ibid. the heavenly ray of the Sun's golden gleam the Germans use the stream of the able descent. : '' The Celts put babies into the river legitimate float. friends. • Julian. has dedicated all her Muses undefiled grove of Zeus the Stranger's . 11 ace. the End Maas. a calm shelter for the race of poets Helicon. or what lyre of seven strings shall I . God. (6) 1 : bastards sink. as it were calling the God to witness that his brood is legitimate. knows how to call for \*'itness of his noble birth " .

atp.erd tovto cj)vXdaaa) aov TTodov eu/ceAaSoio CK he reov fieXTreiv Xiyaiveiv SeijUatVo). Xe^co' Ne'CTTo]po[s.]a ^e[pe]t[?]. Kal ro^a Kal epvea deaKcXa tl dXXd ol evpvT[€]p6v jxeXos p.[r]\v cretp'^v[a] KaXvir- et p-ev iv<f>66yyoL(TLV dvvp.v€ov aXXov doiSats" rj dvepa Tip.^e[ujU. Kev ju[i]i/ r]]yadeois ijetBov dpiarrjeaaiv ituKCov 'EAlAaSo? evKapdroto' ae 5/2 aeioojv S' 'EAAaSa Trdaav so dyv^cocraw riva rovrov iv \rj\pix}eaai KaXeaao). dA/cr^Je^ra /cat 'HpaKAi^a KaXdaao)' 584 . AlaKojv avSrjGW TeXapwlvijov ar/x[a] KopLi- KeKpoJTra kikXtJokoj Kal 'Epe.(^ea Slov veiarjov dp.-qevra ^odofxevov.' pikv . yeverii reis". TTarpiha ar^v TTpajrrjV TTapeXevaofiai.(f)OT€pcov yevos errXeo. (j)e\_po\p. 20 evda yap alyXrjeis avedrjKaro fxdvTis 'AttoAXcov Kal KLOdprjv 8d(f)vr]9. ^ecrropa AarriO-qv Be ae Kaivea (f)aLr]v ^ ]r)aag' d'n 'Ap/caSiT^? ae ^o-^ao)' ^ Atpea a dpx]ey6voio AvKdovos is yevos epTreis.ai yevos' dXXd 25 yap ep.. <f)€pujv rjyqropa fioXTrrj?. rdxo.]aTa (jicovrjevra evleJTTirjs real viKcbaLV ^Adrjvai.LITERARY PAPYRI CTTTa/xiTOV ^opiiiyya Tea? a/criva? [a]etcrco.

founder of the line. you have charged me with your heart's desire. {Alav G). my song would I perhaps compare him with noble heroes of Hellas rich in famous deeds. too splendid for my song. I name you Cecrops. 29 G). I will name you strong Atreus Hellas. . L. ." If I were hymning in tuneful melody some other honoured and famous man. puts my song in the * toDtov : to be this object of comparison.. oA>c)joTa Horna. But his lyre up ? pass by. I will cry that you are from You go back to the race of Lycaon. P. 37 apxeyovoio Keydell (]e 38 'Arpda Horna. the x\rcadia. Your Athens is since keep an ampler song for Athens after this one. to rjeidev 11 : i7eiSov 32 AlaKov Maas TOKOio G). 585 . and speak of you as divine Erechtheus you are the I >vill call you Nestor latest descendant of both.. " i. for your nobility obscures my song. Hokcov II (eioKov G). is shade. But singing you I sing all and know not whom among her heroes I may summon to play this part. . ex' D. I might call you Lapith Caineus . that is the mover of melodious song.e. you bear the blood of Nestor.** Aeacus I will call you you carry the blood of Telamon. Now I am inspired to sing of your descent. : : : .ANONYMOUS stretch to sing your radiance I will Your fatherland first beyond a poet's flow for there bright Apollo the prophet hung of praise and bow and divine shoot of laurel. But 1 fear to voice it. 18 Tea? aKTivas 11 acc. (Qijaea G>: (iraaaicrfivasi' Horna tlrev Arnim {rj G).

A^etov TTore Xdcjv A^eios" Kovpov eyeivaro Kvaapbivrj 45 TiT'qvcov fieydXoLGi avvq^iqaavra KV^OLpLols. de^ofM[€vrj]s Se [Oe]AJr^ta50 Xaayos els Xexos ev\arpa>T6v ttot dviqie v\ei]p7]S. Kal TOvSe (f)ep€t. Sei^oifXL €d]eXeis.dv€ipav. Se AvKOJva epcora. I iv aol 77-[a]i'Ta(s') ^X^''^> '^oivrcov [fiepo^ avTojs ervxO[ris.s rjy-qropa 4U auSijao) [cr]e HXdrcova' IIAaTaii'tSos' eaat y€V€dX[r}s. rerj? KprjSepilva] yevedXrjs. (JFragmeiits ofJive more lines) 586 . rjs d-no XeKTpcxiv *A[p]/ca8tT^S" e\<j)vreva\e AvKaova 7rot/u.eVa yairjs. ytyas T€Kva)[aa]ro 8' vvii(f)rjs dvTrjaas is Kovprjv rjpcos Avkcov [ev](x)Tn8a Ar]i. Zr^vo? eXev\depioL\o (fyiXos \yo\vos.LITERARY PAPYRI yvrjcn[os drrJeAAeiS" IleAoTri^ios'. aXXov deicrco MiXTid8[ri]v (f)vrX[r]]s. arjs €]i)7]y€VL7]s el [8' tt poreprjy eves €vxos de^cov.

Tov avijXvde G). All these men you have within you. L. shepherd of the land of Arcadia. G). and hero Lycon Pelasgus of old loved a fair maiden Deianeira. 48 evaimSa Keydell (evcAmSa G). (ev[7roii2- 587 . I will call you Plato you are of Plato's hne. Now went up to the fair couch of Deianeira when she was . . P. lines) 44 Setfoi^i Maas (8e$. sire.: ANONYMOUS and Heracles will sing : you rise a true born son of Pelops. growing to womanhood he was the dear son of . yourself you were created a part of increasing If the ancient glory of your noble family. : I you as a second Miltiades him also you have : for leader of your family. 50 D. who grew to manhood amid the mighty and begot Lycon battles of the Titans. I will lift you de- the veil from your remotest ancestry Earth teemed of old and bore a son Azeius. {Fragments offive more 42 navras Maas {navTa G). nymph with lover's intent. Zeus the god of Freedom and from her bed he . all. . got Lycaon. Giant Azeius encountered a .

p. ae D. in praise of Perhaps the Blemyes . ae ve/xeiv ert Treiap-ara ©[t^/St]? ^ ypdfxixard ao[i\ irpoiaXKev dva^ x^^^^^ V^^ ^[aAacrarjs. 1907. P. ovK opxcifjios K[oL]pavos AlyvTTTiiov o\v[7TCx)\ en (^eiSerai axvvpi€[y yrjpaXeoio Airas" ripvrjaaro NetA[ou. pr. i.88 . 114. Schmidt. : ? better dxvv[J-e[v6s nep.8ij? D. X. L. v. P. P. rpofxdoLs. 1 (Dioscorus of Aphrodito). Woch. Berliner Klassikertexte. ne/3cra[t] avaTrvevaiJoaL epLiraXiv orpvvcov QepnoroKXrja (j)vy6v\T€g.] PRAISE OF A ROMAN GENERAL pr. 5 7 H.T. 1908. Phil. tov rjivecre deaTTeaCt] ^dpfjia TTopeg vaerrjiai St' [oijj. Archiv.LITERARY PAPYRI ANONYMOUS 141 [5 A.D. V. pr. 540. See Korte. aiv^ao) Qri^iov ed. A Roman Slj^PJ'f] l^'^j general has been put in command of Egyptian aAAo? a/x[etVa)v. Oxy. and the poem Johannes in B.K. Sei^as S' ddavdroio x'^pdypLara Trafi^aaLlXrjos dareos lttttov €X[avvcov. arjs aTpar[Lr]]s Se (jydXay^ x}^aivri(f)6pos rjdeXl^ 10 2 ax»vtii[vwiv nep ed. Ed. 1793. *Schubart-Wilamowitz. (form common in late Greek : cf. 462. 5) " : ijiiTyaa> Schmidt. see the next piece. L. v. HNHSQEE col. : 0tJ. 1. Ti irXeov alvqaco ae.

.. . there is no better ruler.. 10 refer to the That was the end. and brought joy to our citizens." 589 .* The lord of land and sea sent a letter to you. Thebes. bidding you again to take in hand the stern-cables of Thebes. whom that wondrous voice has praised ? You revealed the letter of the immortal monarch. The meaning then may be " to hold the city secure. ANONYMOUS ANONYMOUS PRAISE OF A after v. for they have escaped their Themistocles. which is threatened by enemies.*' Wliy should I praise you more. riding through the town. not to let it slip away (into the seas of trouble.d. be not afraid . in grief. monly used to make a vessel fast from the stern to the shore.d. or the power of the enemy). * The hero of the poem has perhaps just returned from a ' -neianara are cables most comcampaign in Persia." Small fragments then to Thebans' welcome of their general a battle ending in treaty between Rome and her enemy.] Thebes. ROMAN GENERAL [5 a. . The king spares Egypt yet . The Persians may breathe again. written probably early in the 5th century a. And your cloaked company wished . Sober hexameters of the Homeric type. and has not yet gainsaid the prayers of ancient Nile.

KuXivSo/Jievlov S' VTTO .] PRAISE OF GERM ANUS V. 1907. L. r\fis 8e hiarrpo o}Kv\TTeres KareSv hopv \xdXK\eov. Description. 108. Berliner Klassikertexte. 2.LITERARY PAPYRI ANONYMOUS 142 [5 A. 1. The names of the soldiers are chosen at he^LTe\pr\L KpaSacov BoXi)(6a[KLOv eyxos ervipev evl yacrT[e]/3a' ttji 8 aa77tSa SaiSaXerjv p^a/xaSi? j8aA[e. [}Jiia]yero 8' XP^^ ^[y/^o? aTTeTrrr] u8[ajp alp^ari. pr. 33. a Roman commander hitherto unknown. p. Woch. Ed. iweppioolvro 8e veKpaJi txd]v€S. 959 . rrjXe 8e ol TTpoXmajv rjvrle kovi^os oveipos.7T€TiSr)v re NJeiAojtr^S' rrpo^Xrjros Ihcjv eindXpLevov 6)(0rj5 d/cJpoTarTjs" K€cf)aXrjs 7Tprjvr]s 8' Kara Iviov ovraae ^^aXKcoi10 is TTorafiov TrpoKvXivhero. 1915. 15 €a]dovres adpKag re /c[at] ey[Kara Triova (f)a>r6s. dpi(f)l 8' ap' avrov dyrjylepar^ evda /cat evOa. ^aXKos iXi]Xa[TO Kdmreoe 8' avros VTTTLOS iv Kovifjiai. ii. \avrdp 6 y rjpcos 14 End D. Avr]ofxe8cov 8' vgijuv[ /cat y]ap St) BXe/JiViov rrvKLval KXove[ovro cf>dXayyes' €v]d^ e'jSaA' A'lgv[xvov Kara yaarepa.^a]A/<:a>t yaarpos aTTodpayaKovra KaT€pp€e\y] e\yKaT]a yacrjt. *Schubart-Wilamowitz. Phil. 15. Gr. 5 llepcrlvoos 8' oXeKev AoXlov Kparepov re Y\. in tlie style of Homer. P. See Schmid-Stahlin. Lit..D. Draseke. 5Qa . of the conquest of the Blemyes on the Nile by one Germanus.vXdpTr]v ^dXrjpov ^Ay-qvopd t' aloXofi-qrrjV Alvlos avre Mi/xavTa Sa-qpcova O-qpoavvdcov Aa[j.

. and this poem was written in the same era. dust : entrails leapt . flving s^^iftly. he reeled beneath the blow of bronze. seeing Mimas the skilled huntsman leaping upon the bank of a promontory of Nile. the water was mingled with blood. and Phalerus. upon the crown into the river he rolled forward prone. shifty schemer Aenius. . sank through it. . son of Lampetus. .d. prf^rfvajp v. . Automedon battle For truly the dense ranks of Blemyes were being routed. devouring his flesh and fat entrails.d. in historical. There smote he Aesymnus in the belly the bronze spear. only). Homeric hexameters of the school ofQuintus Smyrnaeus. . . wounded him with bronze in the back of the head. Persinous slew Dolius and strong Pylartes. . again. his spirit left his flesh and flew far away hghtly as a dream fishes swarmed upon his corpse and gathered round him on this side and that.. Homer of Achilles In his right hand brandishing his far-shadowing spear he smote him in the belly therein the bronze was driven his shield of curious device he cast upon the ground. 48. and his from his belly and flowed down upon the earth. The events however are certainly The Blemyan wars occurred at the end of the 4th century a. . and Agenor. 591 . and himself dropped supine in the : .] random from Homeric catalogues : with the subtle implicaGermanus is another Achilles (cf. . and the hero stood helpless.ANONYMOUS ANONYMOUS PRAISE OF tion that GERMANUS [5 a. .

dAA' oy8' TTpos 8'] edeev Trerpa? re /cat oupea /cat p. ovbe] fxiv laxo-voojai /ewe? 8e8ai7/i. avrdp 592 o] y' alt/ja ^oavXov df^aLpiaKerrji.€VOS •^ j daTTroc j aJxpe/cecD? Tre^vaaiv a7r' dKafxdroio athrjpov i p]a Kttt e? <j)6^ov (hpro Kara (f)p€va dviiov dXvicov. ol] 8 ctAAot /cara jxeaaov ieXfJ-evoL rjvre KaTrpot .aCv ^evyovra'S oTriaauy OeLvovTOJv re] /cat eyxeaiv.. 35 O)?] dneXriye p-dxrjs [ dAA' emdjv W]Xeixvojv KXiaias r[e /c]at e[p/cea Try/cvd p-^^e re] /cat KareKTje /cat oi)? Karep-apTrre Ka\reKra. [ ] '\aivrjv rerarai.Z ^Lcf)€.eXav [v8ajp 40 evvd]? XeLTTopLevcov hil. eppee rwv fiev d7TO?0^v[xevco]v rG)v 8' a. Tt]va XolaOiov ayXeoev ripco[s. eKrvTre 8' ald[rip (Fragme7its /cat of three liiies) TtVa 8i^ rrpojrov.€]vai epKea rrvKvd. \ { arrjdecov rap^aXerf] Kpahirj avaTtaWerai j iravra 8[ ]AuTai XP°^ Setfiari. . V€(f)os.eV[ot dyprjg 8vp. v[Tr6 Xvaa-qc 45 I . /cat )(^etpes tLs Kev 25 dXv^aL dvepa To[vS'] ovirep re p.[ot] e^co TJSrj. Ol? 8]e Aeojv vopuirjL erri (jiop^dhi dvfiov dXv[iojv ^owv dyeXrjv peraveiaerai -^/xari fxe[aao)i. LITERARY PAPYRI )(yv]ro )(ayi. cos BXefjivag (f)evyov]ras drreaKeSaaev 77oAe/xo[to . -q 84 ju. reOr^rraaiv he ^[or'qpes.]^o/ieroi /car' 6pea(f)i Xlvojv vtto ] drjprjTiqpcov 8' rj-^r) 30 reKecov vrrep.aL. ouS' €o-opa)[/xai 686v.r]pevos eX ttov ati/(a] e(f)[evpoi.

. . The rest. he broke them and burned them. and started for flight. driven by fm-y irresistible. VOL. cloud stretches. distraught of mind. those smote with sword and spear the fugitives loud rang hills by hunter's nets. . . and blood . .. escape such a man as this. . . swiftly pursues a herd of cattle at midday the trained hunting-dogs cannot restrain him from entering the thick fences.. . and the herdsmen are aghast swiftly the lion leaps into the stalls. penned in the centre like boars.. attacking the tents and thick fences of the Blemyans. (Fragments of three lines) Whom first. . Even as a Uon. raging in heart against a cow in the pastures. . far floated the . .. as ? . all his intestines were poured upon path. nor do I see and already niy fearful heart leaps forth from my Who could breast. the skies . all my flesh with terror. . . and . he . . . invincible are truly created of untiring steel ? " He spoke. routed the flying Blemyans from the battlefield Not even so would he stay his hand from battle . . whose spirit and hands . I 2 Q 593 . and slew those whom he overtook and he ran to the rocks and the hills and the black waters. . ANONYMOUS and straightway the ground " a . on the defending their offspring clamour as these were slain. whom latest did that hero slay. . . searching to find them while they left their beds.

] APPEAL TO A ROMAN GENERAL See text).dTCov areivonevcov ajfjivBis. The hero whom it praises is absent . Xiyvpr) 8' dve^ofx^ee adX[7ny^ TrarptSt ari\ixaivovaa lid-xj]? TToXvyqdea vlk[7^v ovSe (f)vXalKTrjp€s TTvXecov iJjav[€\aKov ox^^[^ ^ ANONYMOUS » 143 [5 A.LITERARY PAPYRI eadope. This very difficult piece. by an inhabitant of Egyptian Thebes.pa r]ep/xavd)t prj^rivopL )(a. *Comparetti. p. ol 8' e7r[ o. is exhorted to return and 594 . Vitelli. 114 (revised Plates IV.6ras .XKOKopvaT\riL CDS" TrJL fjL€V d]rjXvs TTJi ajJuXos evTrXeKTOLS ivl Sea/Aop? Se Kal] Xcop'r]v al^-^cov arparos eoTrero. The hero. Atene e Roma. and the poem is an illiterate but powerful appeal to him to return and save The enemy perhaps the Blemyes his country once again. Ostensibly its purpose is panegyric. 1903. Ed. rovs [Kara ^^ ^wyprjcr* e/c] TToXefJuoLO TTe(f)vt. vi. Achilles and Odysseus. was written in the 5th century A. 149. no.D. eaTeve 8e X^[^^ ttogIv aTei^ofjievJT] LTTTTCDly TrpvXeeaaL Kal dK[a]p. but an ulterior motive is clearly discernible. — Perseus. obscure in phraseology and sometimes barbarous in prosody.D. V. pr. compared successively to — . T]avpo(f)6vov Se ydvvv Trepidyvvrlai af/xa* a)£ kXiolcus Tepjxavos] eTrexpcLcv. Papiri Fiorentini. again have taken advantage of his absence to renew their predatory incursions.

The mixture of panegyric and petition has a good parallel in the poem addressed to Johannes. 8. but meantime the enemy has invaded us again. Germanus fell upon the tents. L. to svuxeed him in his valiant command. fugitives from battle.T. ANONYMOUS APPEAL TO A ROMAN GENERAL [5 a. . 53 oreivofievoiv D. . Vv.ANONYMOUS splashes Even so upon its jaws that bring the oxen death. heralding to the fatherland the joyous \ictory of battle nor did the bars." away. and they . and your brother has failed us. 1.K. you left 595 .d. on the other a host of young warriors whom on the field he had taken alive. Earth moaned beneath the steps of men-at-arms and hooves of tireless horses crowded close together shrill blared the trimipet. the sense may have been : " When you went — your brother in command .] conquer . P. and to bring with him a son. who are to celebrate his deeds.d. The detail is often obscure and sometimes unintelligible. touch — . The hero and his brother re both taught the arts of war from early youth. p. . ^ght together steadfast in battle. 117 (6 a. In the gap after v. that guard the gates. v. : . B. like Achilles' Neoptolemus. Thus they followed Germanus. 1-8 : the hero and the Muses. : probably Dioscorus of Aphroditopolis). . the bronze-mailed breaker of the ranks on one side a throng of women in strong-twisted bonds.

10 dXeewev TT. avv aol dX€^LKaKo[s ] crol Kal 6p. P. corr. P. Koi ae ixdxTJv €8tSa[^a] fjiev. Koi aUl ] ovhk yvvaLKojv otlfiojyqv dXeyvvev o[Svp]oix€Vcov depnv evvfjs. L. 14 : 596 .vev \a\vdy- SetSte yap [xrj rovTo[v fxjvdov dKovai]i Kal TToatv alaxolyrji] re Kal vidai picbpiov avdiprji. .] reference to a change from laughter to sorrow in Thebes." napdevol not moved by the spectacle of women Fragmentary lines beginning o-rrXoTepl yrjpaos { suggest a detailed catalogue of injured persons : [ou/ceVt Q-q^rj Kayxa. " He is violated by barbarous victors. (f)6^o£ S' eTreSr^aev dKovrjv.]ei'e 6 " appy]KTov is nearer the re5 -nrji n corr. restored freedom to ovK dpa fxovvov oS [rjv ix]eveSr]Log. how he repelled the onset of the enemy. 25-35 : the hero is reminded of his former services : . but A'aj^os would make better sense" (Beazley).. 9 sqq. L. text D. els oaov dpyvperjv [(fypovp^ets NeiAcotSa Blvr^ly. corr. Beazley.€V UrjXeLSrjs [ivoTrjijs dTTOTreipriOevra. pronunciation).e(. dXXa Kal ayTa[t Mouo-at dpicrT€VOv[aat\ del ^auiXeiav doihrfiv ov T€K€ KaAAtoTTTjv ^[aXJKdaTTLBa TTorvLa ixr^TT^p. Beazley (error of 7 (f>povpeis Beazley. K ipwrcov Ijixepros deos eoTiv [epco]? S' ovk olhev dvdyKiqv TToXXd rig eXKOfJLevT] 7re[p] iov ^oaaaKev aKoirrjly' at]aL ^trjL fxiayovTO' ^lt] [8' ov]k eariv ojvSe ']'^6Pos'\ xpaiaiiriae. . Stjios edd.6(f)poj\y fJLiydXrjv crT[. . D. dfjLcfiorepo) S' iXirlaLvov ^-q p. rj Se Kal ovk ideXova[(i] Tolajrjv Kr]v. 6 d^eprdl^ovra ^o€Lr][v. Vv. VTTep... : 1 [enfj. 4 Beazley. LITERARY PAPYRI Then vv.[X6<xiaa implies a . mains. . 13 iroXXaKis U.

^ Not only was he a steadfast fighter so also are the Muses. Our hero once brought back the head of the enemy's leader on the point of his spear. — . who ever excel in kingly song. . . " A Heracles is nothing to the land of Egypt I — the only distinguished phrase in this sordid composition. and she disgrace her husband and bring reproaclj . perhaps read ^or]. For the first 4>^^os. Beazley. 46 need not be removed : nor should yap Se v. 27 be altered. 43.'^ for she feared lest should hear the word. nor heeded the groan of women lamenting the rights Perforce they lay with them : of their marriage-bed. 597 . one with you in spirit. and implored you both." . defender against e\-il. . [Such metrical errors as those in tT. and Ufted the mighty (unbroken) shield of oxhide. 36-end : so now he is implored to return and Thebes. and there teas rejoicing throughout Vv. made him (the husband) turn a deaf ear to his wife's cries. corr. Often one cried for her mate. 18. * The contrast is really between the one who cries out and the other who does not p>erhaps ^oav should be understood » : with ovK idiXovaa. 4. 35. but force has no part in Love . vTtibqaev 11. when you ventured the battle cry like the son of Peleus." ANONYMOUS I the city. . by your side . he is a god of Desire Love is ignorant of compulsion. . in the moment of her raWshing was of no avail terror took his hearing captive. . save his city again. Did not her lady mother bear Calliope to carry shield of bronze ? I taught you the arts of battle. ror ' TerThe reference may be to the hero's brother. As long as you stayed beside the silver tides of the Nile.'' Another endured such constraint even against her \^-ill. . . . — .

ctto? t' ef^ar' avTiKa T']oi[o]v' tL Tradovaa (jyiXov y6vo\y a/xov avTt. pvaao Kal a(f>LV eSoj/ca? dvaipe/xev [ ovBev is AlyvTTTLwv HpaKrAees:* oy[ Kol K€(j)dXr] OTOVoevTos [ Sovpos (Xtt' dKpoTaTOV 8[ tSi 25 30 SaiScov da^eoTOV del [aeXas. LITERARY PAPYRI ov Ilia Tt? ovx 'EAi/ctov. €fx]<l)acns.co[v. L. TToAl? AtTav[ TOVTO TTapos ToXv7T€vaas iXevdeplav dya[7T]dt.[rj]Xrjfia)V. dvaipeco).i. dAA' en Kal vvv ^LoroLO ya. P. D. oaaoL yap S' vtto X^^P^ aaoTTToXiv elai p. 28. aAoyiVl'' n: corr.Aeyt^a>[i'. ovSe ae tovto 7Taprjp[a^p. Tola [Ji€V dv9pa)7TOis 77eAe x^PP-^l'''^' ] cctti^ Seuero voacjjLV iovTog. 35-40 32 D. like dvaipefiev v. ^JjLtere/aa? cuSti^as' d(f)rjpTTaaa£' el [8e pueyalp^eis oujveKra TTCoxTjet'Ta rropov ttotc Ilepcrea 8' aAAov 40 {Lacu7ia of at least one line) 20 TTap^pafiev. erXr) yap TTprjvqg (cr)e KvXivhol jjbjevr] rrapa TToaal evvaerat. rjpojs.^e^rjKe yap laa ^ue'AAat?. (and lacuna after 41) Beazley. is a solecism (intended 22 Beazley. L. ov Movaa. c5t re Travrjp^ap Jot? 8t] a(f>iv Tepva>Xri Kara aaru /cat a77-[ ovv€Ka Sta 77oAi? TraAtv oA^[ta fjLvpioi 8' ioTeifjavTO yeyrjdoTels. ovv€Ka (xtt' oi[^/<'6ui' 35 hrjvairjv ^apvheopiov Tpeipag dvljrjv. Qrjfirj^ TToAAo. 598 .ev. 26 to be forms of -napaipiw. P. KvSog ex^*"^ edeXcov Kat KepBeos ovk a. ov X'^P^^ avrot?.[p 20 aTaxvcohio\s\ ev\v]piV€ovaiv "Apei T€tp^opi€VOiaLV dXe^LKaKov ae (ftavevra..ax'r]{T)o.

The city endured to fall prone and roll before your feet. This you fulfilled of old. with : • — — many a prayer . . . = Thebes is now detained. For these men. eager for glory and heedless of gain. . . .: . . rejoicing that you had turned from their homes the long-enduring heavy chains of woe. . we want no Heracles plur. but you were far away and thus at once she spoke " Jealous. And the head of the mournful . . . because of old winged . . ..e. Great hero. no Helicon. no Muse she is gone swift as the storm-winds. what made you steal our dear son away ? You have taken from us the child of our own womb. es we have you. So greatly did men rejoice (and now again your city) was in need of you. is (I * take 'Hpo- €V Aly.. light of torches for ever . and happy again because the holy city and myriads wreathed their heads. and granted them to destroy. journey. . . 599 . Perseus re. ANONYMOUS upon her sons. . another Perseus " i.. . A Heracles is nothing in the land of Egypt " . when they were hard-pressed in war. yrji. If you begrudge us.) Aiyspeaking to the distant city in which our hero #cAees nom. tip from the spearunquenchable . The warriors beneath this hand that saved their city them you rescued all. how you appeared as their defender against e\i\. '' . . we have not taken this honour from you still to-day the citizens of Thebes' cornlands sing your praises. life has no significance (?) they have no dancing. . from your love of Uberty. — ! . .

. TTwXoi )^pep]er[C\t.7Tov]oa(f)L pieveig. L. P.] S' ok[ rjlepai] yriye\yeos] Kovirjs €7ru/<ra^[e /<r]aAu7TTp>y. YV\vppov dyoig YlpidpLOV reKewv oXeTrjpa ] VTloXjiTTopOios' d)S 'OSvcrrJL 44-45 D. reKvov. . Ed.8oA[o]t . ] Evidently €TTelp]p€ev Avo-ovt.D. Krai avrdp 6 8va[pP\eveeaaLV dva^ drXrjros 'fdpovpas'f av8po(/>dvo[u] ^dKX€V€V 'Evi. LITERARY PAPYRI Uepaev? Kai jnera NeiAor eg oIk ta voariixos rjXdev. "Apeog avXot. 112.jS[ 8v<jr))(€os [. K[al yo]€p6[v davjdroio [xeXos avp[il^ov] oiaroL.['q]o}v opixrji fiaivojJievjrjL TTorapiov Koi ttoKlv i(f)d€y^av]TO . 1914.[at](/ra be irdaav . p. To]^0. Papiri Greci e Latini. Bevpo. alel [xepoTTeaatv dprjyeLgvvv a. .]aa[i' oJkovtojv.(iAej)s'] rrdpos rjiev is ouKia ArjLSafMeCrjg. . 253.a[Aioi]o x^P^^V^(f)COTa /xef d)[Kti\evTOS vrrep pdxt-v TJpievov lttttov 10 10 apovpas cancelled in EI. Trarplg 8' ert aelo p^ari^ei. OTrevSots aeo TrarplSa Kal avvoiK{ovs) €^ ou [JiTjTp^os €cf)vg. 5 ]XaK(ov vecf)os. no.ov eO-qp.ovog "Apeos oiarpcji.] VICTORY OF A ROMAN GENERAL *Vitelli. Hexameters by a poet of the school of Nonnus. pr. TTarpihi. Trapd yeirovas 6)(da\s. vyprj S' ai[/Aa]ToevTi pocoi (fiowiaaero yaZa. . . ANONYMOUS 144 [5 A. 600 . 45 d)S 'A. iii.

seated on the back . and straightway a veil of earth-born dust hid all the skv from sight . flowed on . Probably a panegyric of the same kind as no. Hither. . Now the king.. . . whom no foeman could endure. . . . ANONYMOUS VICTORY OF A ROMAN GENERAL a description of a [5 a. you are for ever helping mortal men but now you abide afar. and your country still has need of you.d. . . 601 . which contains corrections made by the first hand. . ... . This text. .. One hero. home even son. As Achilles went of old to the home of Deidameia. . steeds neighed at the goad of the familiar God of War. . . : .. . 143. . danced the fling of Enyalius the Killer of Men. Again spoke the harsh music of martial flute. a cloud . so bring a Pvrrhus to your country. . hasten to your country and fellows. riverside. From the day of your birth. \\-ith furious onset by the neighbouring . archers ofjaveUns the hiss of arrows was a mournful melody of death . 1) are engaged. of the Ausonians . and the ground was moist and purple with a stream of blood. : . .] battle in which Romans (v. the slayer of Priam's children sacker of cities as to Odysseus. is perhaps the writer's own copy.ANONYMOUS turned my after his visit to Nile. . .

.^aicDt' oTJKod^ 6piO(j)pov€OVT€s ipuov Sopiov eloave^TjTe 602 .Xrjes 6 piev Tpcoaiv 6 S' 'A. one Trojan (pedigree) of a horse " (for yever) 'mrov cf. OS Trdar)s npovevevKev vtt' rjepa pidprvg dp[ovp]r}s. ai8r]pov' erpLrjdy] he cf)d[p]vy^. eTreaavfievovs Se 8i[d)]Ka)v. meet in the house of a The Trojan is " seeking to discover the race third party. 20 (f)€v[ycov TTeTTTapbev-qs x^^vos epya X6(f)ioi TTpo^Xrjri (f)vXdaacov aKpoTaTWL 8e revovri YlvXrj's eTTa<f)aipievos darpiDV. The third person 268). 819. kings. LITERARY PAPYRI Tvipev [a^XoL'qTrjpos vtto pLvfjiai. is comically surprised.OLaL\y a^}^\r|\pooL pcerpa iropeirj^. K€(f)aXr) 8' VTrep eSpajxev ojpiwv. p. schen pr. (lihZva'S opb^poroKovs eXa(f)pil. ed. eyylvs eovras. Sitzungsherichte der koniglich preussi1887. Two and one Achaean. t/jevSopLevos 7ret.e]ive. TaAA' eTTep. fragment *Wilcken. ANONYMOUS 145 [5a.to 8' [aJTrvoov vipodi aatpia 15 ov TTeaev. Akademie der Wissenschaften zu Berlin. TiTTre hvco ^aai. 265.eLV ve(f>eX^d"\a)V 20 apovp-qs Cammelli. pr.\.. Iliad v.aAt- vovg.] Ed. Kal ov fxeOelrjJKe . the Achaean brings a colt with him. The interpretation of these comical lines is difficult.d. LTTTTrjeaai Kal avroKeXevarog oSittjs. ap. Kal TTeaev dcnraLlpojvaa.

surv"eying all the farmland. them when they .. context. .d. fell not but stayed there. and unare near. %vith his topmost spur touching the stars.o Why have vou the other of the Greeks in harmony of spirit — one of the Trojans. and let not loose the reins. infantrv. . to welcome. and literary associations of these curious It is unlikely that they refer to the Beazley suggests as a possible background the story of the mares which Zeu^ gave to Laotnedon in recompense for the rape of Ganymede. . he smote with the blows of threshing the throat was severed. Pyles. pursues them when they charge. at home —one seeking to monarchs ? dis- 603 . foot soldier. steel . hitherto unknown. . . bereft of breath. ^vith his projecting ridge watching the fields stretched out beneath. by the tactics of the ro\'ing He " who leans forward into the sky. tv. the head ran over his shoulders and fell quivering the body above. ANONYMOUS FRAGMENT lines are uncertain. for " the rescue of Hesione. " This difficult sentence appears (as Professor Beazley first observed) to refer to a mountain named Pyles.. deluding them in the <listance of the march. —come up to my house. flees . the horsemen. .] The date.ANONYMOUS of his swift steed. . . [5 a. and u-hich Laomedon refused to give to Heracles in recompense celebrated Wooden Horse. (ready) to relieve the clouds of their pangs that give birth to rain .

] ADDRESS TO THE NILE p. avTap 6 TTojXov dyei. 149. 69. V.a[iv (pevyei t aXeyetlyov TTvp eK TTjS K]€(f)aXrjs. no. c5 fxeydXe Zeu. [ 8e 7Tapde[vLKaL KvajvcoTTiScs iqpaGavlTO ]cri Kvaveaia{i) kol €a[^€uav aK-a/. An was five lines incantation intended to dispel headache. 845. pr. 1925. 1907. pr. p.t]aTOV rrvp. 144. Berliner Klassikertexte. 604 .D. 1934. vii.. Ed.LITERARY PAPYRI tJtol 6 /xev yeverjv lttttov St^T^jU-evo? evpelv. Hermes. *Norsa.ri vv [X'qSeai. but seven maidens prayed to seven (Small fragments of seven jLt] lines) ]8' iv UCTToSoKOS KaT€Ka[vdT] 6pel Kar€Kav9\y] ]vTCe>V ]CDV KpiJVaS eTTTO. 5 Kal /ce^JaATj? i7raoLSrji. 420. In the first an analogy is adduced : the house of certain Mystics burning on a hill. ANONYMOUS 146 [? 5 A. (Obscure fragments offour more lines) ANONYMOUS 147 [5-6 A. 2. Papiri Greci e Latini.] INCANTATION TO CURE HEADACHE *Schubart-Wilamowitz. (f>€vyei 8e [ eTTTO.D. See Keydell. Ed.

. .d. here as elsewhere"^ congroom of his bride Egypt. . ii. mighty Zeus ? ANONYMOUS INCANTATION TO CURE HEADACHE Spring-nymphs and extinguished the fire. loc. .T. lines it is [? 5 a. 1 (Dios- 605 . .'ANONYMOUS cover the descent of a horse. . . fires that burn in the sufferer from headache. . . . 229. unlikely to achieve its object. " See the poem in praise of Johannes. 341 . 11. Cf.K. Seven founburned down on the mountain.] Vv. B. Even so the grievous head-fire flies from the head before this incantation. .] In the next two suggested that this incantation shall extinguish the Ed. tains maidens prayed to . v. xxvi. and Keydell. {Small fragments of seven (the house) of the Mystics . flies too . cit. and put out the unwearying fire. 7-9 are addressed to the Nile. A crude composition. compare P. lines) . Nonnus (of whose school our poet is a member) vi.. while the other leads a colt 1 What now are you de\-ising. Amherst. pr. and seven dark-eyed the dark (nymphs of the fountains). corus of Aphrodito).d. burned down. {phsc7ire fragments offour more lines) ANONYMOUS ADDRESS TO THE NILE ceived as the [5-6 a.

. tcov S' e7r[ dfX(f)€7Te vvpi(j>rjv. Sevpo fxev [i^tovjecraiv a.LITERARY PAPYRI Sevpo XvpT) /x[ev a]et8e Trap* 'r]i6veGa\C\ daXdacrrjs.oXTTr\s' Kvhaiveiv €b[arj\v rrjv ov SeSdaai yvvalKe?.a\ari'50p(f)eL7]i /cat irpoadev vireiKade 7t6vt[os doLSrJL. vv[ji(f>U pLTj S-qdvve. 606 . .\aff]p. 3 Keydell 9 8' : eS tj : and .ev a. drjXvTepr]g Se v6o£ )(a.XeiTOiT€p6s eCTT[t ff]aXa. 5 Keydell.[. pr.ara p. av^ei KV[JLa[r]6€vrL ^epeaTa-)^vv] vfierepcov [S' dJTrovaio 7roAi. /cat Orjpes deXyovro. SeSiatri dnovaio Keydell . pr.Jttoitjo ed. ed. /cat ov deXyovro [yvvalKes.ppo^[ta>i^] vp-evaiajv.eiaop.

my lyre. 9T)XvT€frq = vroman Nonnus. and sing by the sea-shore. 3 Diehl : tcufxaTos avdos. with the bloom of your waves enjoy the blessing of the wedding of your roaring waters.. . the ' * The context Nonnus. 607 . Ocean once yielded to the song of Orpheus. ANONYMOUS Hither. hither and let us sing the breath of melody " to the shore I have learnt to honour one ^ whom women have not learnt to honour. that bears the com ear. and wild animals were charmed. 147. attend your bride. . Alcman fr. but women were not charmed . " aoBfiara /xoAtttjj "* 94. . . should be understood. . A woman's " mind is harsher than the sea. Tarry not. ** . xlii. suggests that 'MoCaav. Muse. D. ii. 18. — . . D. bridegroom. .

109.233. 181 103. 95. 9. 99 Amphion. 585 Aegina 87 Aenius 591 Aeolis 119 Aeolus 119 Aeschylus 227 Aesymnus 591 Anacharsis 475 Antinous 519 Antiope 65 Antiphates 551 Apelles 461 Aphrodite 93. 31. 325. 275 Asopia 91 Asopus 67. 587 Archemorus 103. 69. 461 Arsinus 499 Artemis 411. 545.INDEX OF PROPER NAMES (occurring in the greek text) Acharnae 207 Achelous 391. 519 Aeacus 583. 387. 323. 87 Amphitryon 499 Amyntichus 503 608 Aristomedes 239. 71. 125. 125. 377. 485 Acheron 479. 497. 497 Argo Aethra 495 Argos 411. 393. 113. 537. 241 Arsinoe 453. 103. 107 87. 51. 495 Ascalaphus 495 Asclepius 247 Asia 87. 527. 601 Acroria 459 Actium 471 Actor 495 Adrastus 85. 35. 71. 99. 495 Achilles 161. 333. 105 Ardys 523 Ares 69. 99. 489 Apollo 29. 537 Agamemnon Agenor 591 Agesilas 409 Alcinous 455 Alcmeon 55 Aleus 131 Alpheus 153 Althaea 159 Ammon 393 85. 585 Apriate 495 Arcadia 585. 163. 1 19 Astacius 523 . Argus 519 Aristides 559 Amphiaraus 93. 101. 109. (Arsinoe-) 449. (Zephyritis-) 449. 99. 89.

473 Cyrene 581 Cytis 523. 233.585 Atlas 45 Atreus 15. 473. 305 Chalcodon 21 Charition 339. 91. 423 Crateia 245 Crete 87. S43. 395 Caesar 471 Caineus 585 Callias 207 Callicrates 449 Calliope 89. 471. 545 Crisa 415 Croesus 295 Cronus 123. 45 Bombus 539 Bosporus 133 Britain 545 Cynthus 381. 1 2a 609 .201. 395. 69. 381. 505 Baucis 487. 291 Demeter 235. 409. 2S5.585 Celeus 575 Cephalus 497 Chaereas 255 Danai 99 Danaus 107 Daos 253.INDEX OF PROPER NAMES Asteropus 493 Atalanta 157 Chaerestratus 301. S49 Chilon 517 Chiron 119 Cinvras 513 Circe 399. 71. 93. 551 Clotho 433 Coeus 381 Athena 151. 103. 489 Bion 237 Blemyes 591 Boeotia 31 Boeotus 117 Corybants 261. 585 Atridae 15 Attica 407 Auge 131 Comaetho 499 Constantine 559 Augustus 471 Ausonians 601 Autocles 241 Automedon 591 Azeius 587 Bacchus 109. 199. 235. 195. 341.213. 341. 577 Athens 119. 125. 5-25 Curetes 87 Cybele 423 Cvclops 181 Cyllene 31. 231. 495. 529 Demodocus 455 Demosthenes 557 Deo 575 Deriades 541 VOL. 297 Daphnis 503 Dardanus 537 Deianeir* 587 Deidameia 601 Deiphobus 59 I3elos 545 Delphi 517 Demeas 275. 597 Calliteles 457 Canopus 447 Carcinus 255 Cassandra 57 Cecrops 119. 525 Cadmus 67. 409. 495. 169.

239. 385. 461. 523. 499. 255 Europa 87 Europe. 71. 69. 547. 241. 583. 557 Eurymachus 553 Gaul 465 Germans 583 • Eurystheus 125. 493. 537. 163. 101. 71 Dodona 113 Dolius 591 Hadrian 519 Hagnon 201 Halimous 407 . 599 Hellas 15. 513. 155. 583. 585 Hellen 119. 417 Ilium 15. 137. 481 Euripides 227. 125. 599 Hermes Epicharmus 443 Erechtheus 119. 433 Ismenus 69 Iris eio . 581 Hellespont 559 Hephaestus 381 Dyme 415 Echinades 497 Egypt 447. 383. 525 Dirce 63. 161. 275. 143.INDEX OF PROPER NAMES Dexiphanes 447 Diognetus 215 Dionysus 261. 537. 105. 561 Hector 59. 527. 493 Euboea 23 Homer 267. 125 Eurotas 457 Eurydice 83 Hora 379 Hymettus 453 Hyperion 549 Hypsipyle 93 lambe 407 Ida 167 Iliad 453 Ilithyia 131. 505. 167. 99. 525 463. 537 Dromon 309 Helen 167 Helicon 473. 589. 599 Eleusis 309 Elpenor 551 Elysium 479 Enyalius 601 Enyo 543 Hera 45 Heracles 125. 309. 493 Inachus 25 India 349 lo 89 lolaus 495 Ion 119. Hamadryad 573 Harmonia 93. 557 Eudemus 223 Euprepius 479. 549 Hermus 557 Hersa 493 Hesperus 515 Hippo 119 Etna 47. 393. 415. 365 Germanus 595 Glaucopium 493 Glenis 459 Ionia 323 Iphicles 495 Hades 25. 541. 453. 69. 585 Erichthonius 415 Eros 387 Eteocles 179 25. 457. 587. 131.

261 Odysseus 601 15. 99 Malacus 355. 523.INDEX OF PROPER NAMES Ister 133 Midas 513 Mideia 493 Milesias 225 Miltiades 587 Italv 449. 431. 359. 265. 509. 561 Nestor 585 Niceratus 207. 403. 559. 307 Nicias 201 Nile 133. 505. 507. 387 Leto 473 Leucas 471 Nereus 543. Nycteus 67 Lycus 65 Lysias 259. Maea 69. 533. 109. 545 Itys 423 Jason 109 Jove 261 Mimas 591 Modaeus 539 Moschion 265. 599 Nilots 429 Numenius 287. 521. 561 Mysia 15. 321 Libya 393. 305. 133 Nauplia 107 Naxos 381 Nemea 83. I Pan 131. 131. 597. 357. 589. 109. 471. 551. 93. 591. 279. 607 Othrys 545 Pallas 415 Memnon 21 Pamphilus 323 Menalcas 503 Menelaus 537 Menoetius 531 Methymna 539 VOL. 91. 361 Mantinea 209 Marsyas 241 Maximus 535 Oeneus 215 Olympia 235 Olympus 473 Onasiphanes 459 Opheltes 97 Medes 465 Megara 231 Melanippe 119 Meleager 159 Meles 557 Meligunis 493 Orpheus 87. 459. 311 Labdacus 93 Lacedaemon 457. 579 Pandora 497 Pangaeus 545 Paris 217 2r2 611 . 241 Odyssey 453 Oecles 93. 107. 507. 449 Lycaon 583. 91. 85. 105 Lemnos 85. 387 Lycidas 503 Lycon 387 Lycurgus 525 83. 125 Myrmidons 15. 517 Laches 281 Lachesis 383 Lampetus 591 Leander 315 Leipephile 495 Mycenae 91.

601 Samos 457 Sarapis 427 Sarpedon 21 Satyrus 241 Schoeneus 157 Sciron 495 Philo 323 Philoetius 551 Philopoemen 457 Phlius 91 Phoebus 9. 139.INDEX OF PROPER NAMES Parmenon 285 Parnassus 473 Parthenion 131 Pauson 207 Peisander 207. 167. 87. 305. 95. 581 Semiramis 495 Silens 459 Silenus 503 Simon 271 Sisyphus 25. 357. 147. 495 Perseus 505. 31. 587 Penelope 551. 39. 361 Stiria 201 Strobilus 295. 231 Sosias 235 Sosthenes 275 Sostratus 447 Spain 545 Sphinx 265 Spinther 355. 57. 597 Pelops 131. Phoenicia 87 Phrygia 19. 307 Phaethon 581 Phalerus 591 Pharos 447 Philicus 455 Philinus 265 Philitas 267 Rhadamanthys 475 Rome 557. 393. 483 Pylaon 539 Pylartes 591 Pyles 603 Pyronides 211 Pyrrhus 601 Phaedimus 299. 113. 297 Strymon 519 Tantalus 9. 71. 599 Persinous 591 Procris 89 Proetus 127. 601 Procne 243 317 618 . 33. 217 Pelasgus 587 Peleus 15. 129 Smicrines 255 Solon 211 Sophocles 227. 343 Ptolemy 453. 61. 137. 59. 409 Praxo 457 Priam 19. 301. 93 Polyphemus 551 Poseidippus 473 Poseidon 11. 101. 553 Peneus 119 Persephone 405. 473. 71 Piraeus 201 Pirithous 123 Pithias 201 Plato 587 Pleiads 567 Polydorus 93 Polynices 91. 75. 129 Prospaltians 221 Protesilaus 529 Proteus 447 Prothous 539 Psolichus 341.

125. 49.91. 87. 497. 599 Tryphon 335 Typhoeus 519 Xerxes 513 Themis 497 Themistocles 589 Theocritus 457 Xuthus 119 Theogenes 207 Zenon 463 Zethus 69 Zeus 11. 143. 167. Thoas 109 Thrace 87. 545. 585 Telemachus 553 Telephus 19. 25. 493 Titans 199. 51. 523. 131.71. Theon 527 Thermopylae 543 Theseus 125 Thessalv 31 Thetis 561 129. 393. 45. 473. 61. 89. 587 Tauron 461. 123. 604 119.INDEX OF PROPER NAMES Tartarus 409 Thyone 523 Thyrsis 503 Tiryns 131. 235. 243 Teumessus 415 Teuthras 131 Theagenes 583 Trambelus 495 Triptolemus 577 Tritons 429 Troy 15. 541. 215. 497. 63. 113. 395. 537 Tereus 241. 503. 107. 69. 587. 519. 109. 381. 379. 471. 537. 463 Tegea 15 Telanion 495. 521. 561. 59. 583. 151. 523. 567 Thrasius 539 Thrason 427 295. 559. 199. 589. 547. 389 Trozen 325 Thebe 69 Thebes 103. 53. 618 . 409.


no. 231 Livre d'Ecolier. 1931. 1936. 131-132 their Papyri. Griechische Papyri 1938. 968 20 615 . no. i. 3 „ no. 201 XXX. 26 no. i. 1090. p. 1925. 40 Hermes. p. 180.54 144 36 147 120 84 30 89 64 29 102 „ 25 28 64 63 56 82 Introduzione a Pindaro. no. 103 p. p. 1914. 34 Louvre. no. 17. Papyrus grecs du. 845. 1932. 280. p. 42 Cairo. i. 31 „ p. British in Museum. 180 115 66 65 72 94 10 117 18. p. 35 ii. p. p. no. no. Papiri. no. 54. 1912. 1937. Einzelschriften. no. 1181. 149 ix. 27. 1 vii. un : publications de la society royale ^gyptienne de papyrologie ii. 123 Favum Towns and pp. 1 40 109 27 Classical Quarterly. Bulletin de xxviii. 1. p. 1904. p. p. 20. 2. p. 126. 1900. xxxi. pp. p. 4 „ no. p. 253. p. Catalogue g^ndral des antiquitds ^gyptiennes du musee du 1911. v. 178. no. 1891. i. 82 Flinders Petrie Papyri. ii.— —— — INDEX OF EDITIOXES PRIXCIPES So. p. 46 1934. p. no. 169 Greek Poetry and Life. 1 Greci e Latini. 295 Heidelberg. Catalogue the— of the Greek Papyri 80 1927. 5 „ no. 27 iii. 1906. no. 1906. 6 landanae. p. 1 850. no. 77. p. 137 X. 112 iv. 21 iv. p. v. p. PapjT:. 1929. 1917. no. Melanges Bidez. 178 Correspondance hellenique. 603 105 59 57 112 38 „ p. p. 1 no. p. 25 „ pp. 1937 Hibeh Papyri. 1913.

Petrograd. p. p. p. 1935.—— — INDEX OF EDITIONES PRINCIPES M Ganges Perrot. 25 28 37 34 53 104 Nachrichten der Gesellschaft der Wissenschaften zu Gottingen 1899. 172 „ 1910. p. 10. no. p. 3 no. 862. 64 „ 1903. vi. v. p. 127 „ 1908. 83 p. no. vii. no. 21 „ 1899. 60 no. Erste Folge. p. 13 Mitteilungen aus der Papyrussammlung der Nationalbibliothek in Wien : Papyrus Erzherzog Rainer Neue Serie. 39 „ no. 1 60 9 111 129 „ p. 1879. 41 no. 68 44 23 133 75 85 118 76. 291 Milano. 11 1911. 31 Nachrichten der russischen Akademie der Wissenschaften. 1 Monuments grecs. 27 „ no. p. 64 no. 852. p. 1918. 662. p. 77 97 107 70 12 40 130 31 128 7 616 . 220. 7. 30 28 22 64 88 62. 1085. p. 212. 413. 425. 41 no. Oxyrhynchus Papyri. 549 1922. 1015. 14 no. 873 New Classical ii. p. 136 Mitteilungen aus der Sammlung der Papyrus Erzherzog Rainer. p. 73 „ 1912. 74 101 1903. 1083. 213. p. 72 „ 1904. 23 „ no. 20 no. Fragments and other Greek and Latin 1. iii. p. 14 no. p. p. 1889. No. 18 i. p. 1174. no. 219. p. ix. p. viii. 77 p. 9. p. p. p. no. 6. iv. p. no. 1898. ii. p. p. 221. p. p. 667. no. no. p. Papiri della reale Universita di. 19 no. 2 123 132 87 „ „ p. p. 214. Papyri 1897. no. i.

2078. 2077. p. 1611. X. no. 1927. p. 486. 116 124 „ xvii. Manchester. 1911. p. p. 1925. 1912. pp.46. p. Annali della reale Scuola normale superiore dl ii. no. p. p. 100 137 „ Sitzungsberichte der Akademie der Wissenschaften in Wien. 1796. 110 „ no. no. 1935. 113 125 „ no. p. 42. 25 64 no. xix. p. 3 140 Sitzungsberichte der Heidelberger Akademie der Wissenschaften. 36 15 „ Philologus. 119 Sitzungsberichte der koniglich preussischen Aka- demie der Wissenschaften zu BerUn 1887. 547 1918. v. p. p. ix. p. 1383. p. 145 15. 134 8. 487. p. 1919. p. 4. i. 1794. 84. p. p. no. 47 32 xi. p. 1791. 4 18. 1937. Ixxx. 482. p. 30 5 no. 71 1915. no. 1 69. 1919. 1792.26. 1921. 845 1912. p. 98 126 „ no. 86 no. p. Catalogue of the Greek Papyri in the i. p. 1175. 1176. 236 98 xiii. 16 p. Rheinisches Ixiii. 1928.— — — — INDEX OF EDITIONES PRIXCIPES Oxyrhynchus Papyri. 86 83 122 no. 742 743 747 145 114 106 110 102 48 52 617 . 6. 1938. 208. 1895. p. no. 1 55 121 p. 1795.45. 819 1898.50. 19 XV. 1914.S. Museum 14 1908. 16. 143-161 „ No. p. pp. 91 21 no. Abh. 28 „ 139 iii. 736 „ „ „ p. 17. p. 14 ii. 8 81 Revue de Philologie. p. 147 Rylands Library. 2. 331 95 Pisa. 3 33 p. no. 177 113 Revue Elgyptologique.

249 Studi e Testi. Soci^te royale d'arch^ologie d'Alexandrie. p. 320+xiv. 158 Tebtunis Papyri. 137 no. 13 Zwei religionsgeschichtliche Fragen. p.— — — — INDEX OF EDITIONES PRINCIPES No. 1929. 1. Lihited. 1933.. 1934. 1929. 90 61 73 116 92 6 49 . 235 X. 1 iii. p. p. p. & R. p. 1.S. 108 35 127 1. 1930. p. 249 Studien zur Palaeografie und Papyruskunde vi. 693. 28. no. Clark. no. 1906. Strassburg 1901. p. p. 1902. p. 1927. p. 1931. 47 2 41 p. 1931 Studi Italian! di Filologia Classica 1912. 692. pp. p. p. 87+ix. Bulletin de la no. 53 135 136 Printed in Great Britain by R. 119. 1912. liii. no. 38 24 100 N. 4 25. 29. 126 V. 14. 47 xii. no. Suppl. i. Edinburgh . no. 1914. p. 2 24. p. 37 vii. 1933. 1932. 3 no.

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