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Metellus. We know nothing of this event unless Ovid, supposing Cybele and Vesta to be the same, refers to the preservation of the Palladium, which forms the subject of the extract in p. 101.

OVID. FASTI. II. 83.

INTRODUCTION.

THE celebrated story of Arion is thus narrated by Herodotus :— "This Periander, son of Cypselus, was, as we have said, tyrant of Corinth; and the Corinthians give an account, confirmed by the Lesbians, of a most extraordinary occurrence which fell under his notice. I mean the arrival of Arion, the Methymnian at Tænarus, borne by a dolphin. Arion was unrivalled in his time as a performer on the harp, and the first, so far as we know, who composed dithyrambics, and taught them at Corinth. This Arion having, as they relate, passed some time with Periander, sailed for Italy and Sicily, whence, when he had accumulated a large fortune, he wished to return to Corinth. At Tarentum he hired a Corinthian vessel, for he had not so much confidence in any people as in the Corinthians. But the crew, as soon as the vessel was well out at sea, formed the design of throwing him overboard that they might seize his treasure. As soon as he knew their purpose he had recourse to entreaties, offering them all his money if they would only spare his life; but the sailors, unmoved by his prayers, offered him no other alternative but that of killing himself, in which case they would bury him on shore, or of casting himself instantly into the sea. Reduced to this extremity, Arion asked that he might be permitted to clothe himself in his attire, and, standing on the quarterdeck, to sing, promising that when he had finished he would destroy himself. The sailors, pleased to hear the most celebrated performer of the age, retired to the lower deck: he then, putting on all his vestments, and taking his harp and standing upon the farthest part of the stern, performed the Orthian ode: the moment he concluded he threw himself, with all his rich vestments, into the sea. The crew continued

their course to Corinth, but Arion, as the story goes, was received on the back of a dolphin and carried to Tænarus, and, having gained the land, proceeded in the same vestments to Corinth, where he narrated what had happened. Periander not giving credit to this tale, held Arion in close custody, and meanwhile watched for the sailors. When they arrived at Corinth, calling them before him, he enquired whether they had anything to relate concerning Arion, to which they replied that they had left him well and prosperous at Tarentum in Italy. Just as they spoke Arion, clad in the very dress in which he had cast himself into the sea, appeared before them: they, confounded, could no longer deny their guilt. Such is the story related both by the Corinthians and the Lesbians: and there is at Tænarus a small brazen statue, dedicated by Arion, which represents a man seated on a dolphin.”1

1...8. The effects of the music of Arion are the same as those usually attributed to the strains of Orpheus and Amphion.

Hor. C. I. xii. 5.

Orphea silvæ

Compare

Aut in umbrosis Heliconis oris = Aut super Pindo, gelidove in Hæmo,
Unde vocalem temere insecutæ =
Arte materna rapidos morantem
Blandum et auritas fidibus canoris

=

Fluminum lapsus celeresque ventos, = Ducere quercus.

and Virg. G. IV. 510, (the whole passage is one of exquisite beauty.)

Mulcentem tigres et agentem carmine quercus.

4. (Restitit.) Stood still-stopped short in its flight.

5, 6. There is a remarkable coincidence of expression here with the inspired prophet Isaiah, XI. 6.

"The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid, and the calf, and the young lion and the fatling together; and a little child shall lead them."

7. The owl was at enmity with the crow, because the latter was detested by the goddess of Wisdom on account of chattering and talebearing propensities. See note on "cornix invisa Minervæ," p. 258.

9. (Cynthia.) Artemis, so called from the mountain Cynthus (Monte Cintio) in Delos her native isle. Hence also Apollo is styled Cynthius.

Intonsum pueri dicite Cynthium. Hor. C. I. xxi. 2.

10. Fraternis...modis. The strains of her brother Apollo lord of

1 Herod. I. 24. Taylor's Translation.

the lyre. Modus is properly a measure—a measured sound—a musical sound.

13. (Ausonis ora.) The country originally called Ausonia or Opica, for they are synonymous, was the district around Cales and Beneventum; but in later times the name was applied as widely as that of Italia.

14. (Ita.) In this manner-on board of ship.

19. (Dubiam.) The helm being abandoned by the steersman, the ship would no longer be holding a steady course.

21. (Pavidus.) Many editors consider this inappropriate, and would substitute vacuus, which is found in one MS. only. Both Herodotus and Aulus Gellius, however, expressly mention the terror of Arion.

23...26.

Arion here assumes the attire which minstrels were wont to wear upon state occasions; thus Apollo, when he comes forth to contend with Pan, is thus described, Met. XI. 165.

Ille caput flavum lauro Parnaside vinctus,
Verrit humum Tyrio saturata murice palla,
Distinctamque fidem gemmis, et dentibus Indis
Sustinet a læva: tenuit manus altera plectrum.
Artificis status ipse fuit

.........

on which the words of Auct. ad Herenn. IV. 47, serve as a commen

tary.

"Uti citharædus quum prodierit, optime vestitus, palla inaurata indutus cum chlamyde purpurea, coloribus variis intexta, et cum corona aurea magnis fulgentibus gemmis illuminata, citharam tenens exornatissimam, auro et ebore distinctam, ipse præterea forma et specie sit, et statura apposita ad dignitatem." Compare also Tibull. II. v. 5....10. p. 24, and notes p. 193.

25. (Tyrio...murice.) The different species of shell-fish which yielded the principal ingredient in the purple dye, were found in greatest abundance on the coasts of Phoenicia, of Africa, and of Laconia, and hence the epithets, Tyrius, Sidonius, Afer, Gætulus, Laconius, Oebalius, &c. perpetually applied to this colour by the poets. See note p. 389.

(Bis tinctam.) A garment which had been twice dyed purple, and had therefore drunk as much of the precious liquor as the wool was capable of absorbing, was distinguished by the epithet dibaphus, (díßapos.) Thus Plin. H. N. IX. 39. “ Dibapha tunc (i. e. in the age of Cicero) dicebatur quæ bis tincta esset, veluti magnifico impendio, qualiter nunc omnes pene commodiores purpuræ tinguntur." The Roman magistrates and chief priests wore a robe fringed with

purple (toga prætexta), and hence dibaphus is used by Cicero for a magistracy or priesthood. Thus Ep. Fam. II. 16. "Curtius noster dibaphum cogitat," i. e. is aiming at a magistracy; and again Ep. Att. II. 9. “Vatinii strumam sacerdotii dißápy vestiant."

26. (Suos...sonos.) "Its own proper tones," such as it yields in

the hands of a skilful artist.

27. (Icta...pollice.) The cords of the lyre were swept either with the fingers, or with a pointed instrument, made of ivory or metal, shaped like a finger, and called plectrum (πλñ×тgov) or pecten. Virg.

Æ. VI. 645.

Nec non Threicius longa cum veste sacerdos, Obloquitur numeris septem discrimina vocum, Iamque eadem digitis, iam pectine pulsat eburno. Hor. C. II. xiii. 26.

Et te sonantem plenius aureo-Alcae, plectro

27...28. The order of construction is "Veluti olor traiectus canentia tempora dura penna cantat flebilibus numeris," where canentia tempora are the snowy temples, or head of the swan, penna, the arrow with which it is pierced.

28. (Cantat olor.) The strange notion universally current among the Greeks and Romans, that the swan poured forth melodious strains when in the agonies of death, seems to have arisen from the circumstance that the Egyptians used the figure of this bird as a hieroglyphic for a musical old man, Γέροντα μουσικὸν βουλόμενοι σημῆναι, κύκνον ζωγραφοῦσιν· οὗτος γὰρ ἡδύτατον μέλος ᾄδει γηράσκων. Hence it was accounted sacred to Apollo, and poets are figuratively addressed Hor. C. IV. ii. 25.

as swans.

Multa Dircæum levat aura cycnum.

Cicero thus reports the expressions of Socrates on this subject,

"Itaque commemorat, ut cycni, qui non sine causa Apollini dicati sint, sed quod ab eo divinationem habere videantur, qua providentes quid in morte boni sit, cum cantu et voluptate moriantur, sic omnibus bonis et doctis esse faciendum." Tuscul. Disp. I. 30.

30. (Spargitur, &c.) Arion, by plunging suddenly into the sea, splashes up the water upon the ship.

34. (Cantat.) If we understand carmen after cantat, then pretium will be in apposition with carmen.

1 So says Horapoilo, 11. 39. See Sir Thomas Browne upon Vulgar Errors, Book III. c. 27.

OVID. FASTI. II. 305.

INTRODUCTION.

The following pretty description belongs to one of numerous adventures of Hercules. The hero, after the completion of his twelve labours, became involved in a quarrel with Eurytus lord of ŒŒchalia, whose son Iphitos he slew in a moment of phrenzy although the youth was at the time his guest. The rites necessary to wash away the stain of blood were performed, but the wrath of heaven was not yet appeased, for the most sacred ties had been violated, and the murderer was smitten with a sore disease. The Pythia announced that no release would be granted unless he were sold and remained in slavery three years. The sum of money received was to be given to Eurytus as the price of blood. Accordingly he was made over by Hermes to Omphale, daughter of Iardanus, queen of the Lydians.1

1.

Domina is used here in the strict sense. Hercules was the slave of Omphale.

(Iuvenis.) It is well known that this term was applied to all who were in the vigour of manhood, to all who were fit for military service. Tirynthius.

See note p. 305.

2. Faunus. See introduction to Extract from Fasti. II. 267. p. 316. The Italian god, it will be observed, is here taking a ramble in Asia.

3. (Montanaque numina, &c.) "ye Nymphs of the hills." See note p. 368.

5. (Odoratis, &c.) "With her perfumed locks flowing over the shoulders."

6. (Mæonis.) "The Lydian queen." Mœonia was the original name of Lydia. See note on Ov. Amor. I. xv. 9.

Apollodor. II. 6, 1. We have already stated that this fable probably arose from Hercules being confounded with the Lydian hero Sandon. See p. 302. Those who wish to see a discussion upon this topic may consult Muller's Dorians, Vol. I. p. 456. Engl. Trans. and his essay in the Rheinisches Museum. Vol. III. p. 22.

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