Ιε. Αλλ' ὦ κρατύνων Οἰδίπος χώρας ἐμῆς, Ορᾷς μὲν ἡμᾶς ἡλίκοι προσήμεθα Βωμοῖσι τοῖς σοῖς· οἱ μὲν, ὅδε πω μακρὰν 15 Ayopara gane, wo TE IIaanddos Sumors 20 out any comment; for instance, the mere reprinting the words raah xevos may, without comment, lead the reader to observe that there is an allusion thereby intended to the moon's being an object well known to the whole world. 10. IIpo Twvd. The middlemost and foremost of the groupe of suppliants is the one who afterwards styles himself uptus Zvos: and he is, in fact, distinιερευς guished from the rest by a sort of zany's cap or cowl which he wears. 16. One of the petitioners has the same prototype as Voltimand in Hamlet, drawn in fig. 55, which prototype constitutes the hieroglyphic bird on the person of Ralph, now Edipus; and this explains the expression & maxpan Treat. πτεσθαι. Βυθῶν ἔτ ̓ ἐχ οἵατε φοινίς σάλο. 25 30 Ος γ ̓ ἐξέλυσας ἄςυ Καδμείων μολών, 35 23. This line alludes to the libration of the moon, as the next does to its reddish-yellow or fiery colour. 25, 26, 27. Prototypes of all the objects mentioned in these lines may be traced in the moon, the obscuration of which seems to be denoted by the two next lines. 33. Ανδρων πρωτον, and ξυναλλαγαις. Νota. 35. Μολων regards the librations, and προσθηκη θε (39) intimates that all the appearances in the moon are to be ascribed to the sun, whose light she borrows. Σκληρᾶς ἀοιδε δασμὸν ὃν παρείχομεν. 40 45 50 50. This line, and the repetition in the next of an, expression before used, and ios afterwards, regard the librations of the moon, or her restoration to equilibrium ; as it or Tw in 46 regards her motion or planetary wandering. Παρέσχες ἡμῖν, καὶ τανῦν ἴσος γενε. 66 Ως δεν ἐςιν ἔτε πύργος, ἔτε ναῦς, 66 σε Έρημος ἀνδρῶν μὴ ξυνοικούντων ἔσω. 55 60 Οι. Ω παῖδες οἰκτροί, γνωτὰ κὐκ ἄγιωτά μοι Προσήλθεθ ̓ ἱμείροντες· εὖ γὰρ οἶδ' ὅτι Νοσεῖτε πάντες, καὶ νοσοῦντες, ὡς ἐγὼ Οὐκ ἔςιν ὑμῶν ὅςις ἐξ ἴσε νοσεῖ. Τὸ μὲν γὰρ ὑμῶν ἄλγος εἰς ἕν ̓ ἔρχεται Μόνον καθ ̓ αὑτὸν, κεδέν ̓ ἄλλον· ἡ δ ̓ ἐμὴ Ψυχὴ πόλιν τε καμὲ καί σ ̓ ὁμου ςένει. Ως' εχ ὕπνῳ γ' εὕδοντά μ' ἐξεγείρετε, Αλλ' ἴςε πολλὰ μέν με δακρύσαντα δή, Πολλὰς δ ̓ ὁδὸς ἐλθόντα φροντίδος πλάναις" 65 55. Nota συν ανδρασιν, and the whole of the two following lines; and note the frequent use of ανδρες, βροτοι, and ανθρωποι, with reference to the appearance of human figures in the moon. 62. Εις ενα Μονον, κεδίν' αλλον. 65. Note this line, and the terms δακρυσαντα, πολλας οδες πλαναις, εν σκοπών, and μονην just following. 3 Ην δ' εὖ σκοπῶν εὕρισκον ἴασιν μόνην, او Δρῶν, ἢ τί φωνῶν, τήνδε ῥυσάιμην πόλιν. 70 75 70. Creon has the same prototype as Bacchus, drawn ante in fig. 116. He is stated in line 83 to be πολυτερης παγκαρπε δάφνης, and so is he drawn in that figure (116) conformably to his prototype. 71. Επεμψα Φοιβε δώματα intimates that the moon is not to be considered but by a reference to her borrowing her light from the sun; and Tubixa and πύθοιτο have regard to the resemblance of an hourglass, or oracle (by which the sun's course is observed), situate just before Creon, and often noticed in the former pieces. 77. Note the whole of this line, and ω'ναξ Απολλον, and particularly the expression λαμπρος ομματι, απ |