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Sed falsa ad caelum mittunt insomnia Manes.
His ibi tum natum Anchises unaque Sibyllam
Prosequitur dictis, portaque emittit eburna :
Ille viam secat ad navis sociosque revisit;
Tum se ad Caietae recto fert litore portum.

900 Ancora de prora iacitur; stant litore puppes. would naturally go together, like“Cymbia His’ is explained by what precedes, vy. argento perfecta” 5.267. Gleaming with 890 foll. Anchises continues his instruc. the polish of dazzling ivory u t ions till they part at the gate.

896.] Beautiful as the ivory gate is, the 899.] “Viam secat” 12. 368. So apparitions that pass through it are false. TÉUVELV 886v. “ Post hinc ad navis gra. For the power of the shades to send ditur sociosque revisit” 8. 546. The sense dreams comp. Clytaemnestra's dream, is from Od. 11. 636, aŭTIK'ÉTELT'épre vna which was sent by Agamemnon, Soph. KIÀY &Kéevov étaipovs Autoús a duBalveus El. 459, oluar mèv oův, olual ti kåkelva àvá te apuurhoia iwoai, of Ulysses leaving uémov réuvai tad' attñ dvorpboort' óvel the shades. para. Wagn. Comp. Tibull. 2. 6. 37, “ne 900.] Recto litore,' sailing straight tibi neglecti mittant mala somnia Manes, along the shore, like “recto flumine" 8. which Virg. may have thought of, if it 57. He follows the line of coast, and it was published before his death. "Falsa' takes him to Caieta. Heyne read 'limite' probably refers both to the quality of the from three or four inferior MSS., to avoid apparition and to the message that it the repetition of litore' in the same part brings. Both may be illustrated from the of the next verse: but though the repetidreams of Hom. : in Od. 4. 796 the appari. tion is certainly awkward, it seems better tion of Iphthime is made by Athene: in to suppose a slight carelessness on Virgi's Il. 2. 6 foll. the Dream-god is sent to give part than to question the reading of all false counsel. There is apparently a similar the great MSS. Ribbeck cuts the knot combination of the two notions in Hor. by bracketing v. 901, which is repeated 3 Od. 27. 40 foll., “imago Vana, quae from 3. 277. Perhaps we may say that porta fugiens eburna Somnium ducit." Virg. inserted it as a piece of his own epic

897.7 It is difficult to choose between common-place, whether as a stop-gap or .ibi' (fragm. Vat., Rom., Gud. a m. p., not, and that this accounts for the repetiand probably Pal.) and 'ubi'(Med.). The tion of litore.' The mention of Caietà has former is the more simple, the latter the been objected to, as inconsistent with the more artificial. On the whole I have fol. opening of the next Book, where it is said lowed Ribbeck in preferring •ibi,' as 'por. that the death of Caieta, Aeneas' nurse, taque emittit eburna’ loses force by being was the occasion of the name. But this is thrown into the protasis, and even Wagn. natural and Virgilian enough; and we can does not propose to treat it as forming the hardly wish that the poet had rivalled the apodosis, though in 12. 81 he makes ' raaccuracy of Ovid, who in his brief narrapidusque' the apodosis to “ubi.? “Na- tive of Aeneas' adventures (M. 14. 157) tumque unaque Sibyllam” v. 752 above. says “ Litora adit nondum nutricis haben

898.] “Prosequitur votis ” 9. 310. tia nomen."

APPENDIX. “ Then, binding round their brows the mystic branch of bay, they rose, and in silence entered upon holy ground. ..... Fronting them rose the high altar, crowned, like the rest, with laurel, on which all must lay tribute who would inquire aught of Phoebus. Here the priests took of their offering and burnt it upon the slab. If the day were one of consultation, lots then were drawn for precedence, and he whom fortune favoured moved on, past the Omphalos, where Apollo had reposed in early days, past the tomb of Neoptolemus, past the image of Pallas, to the steps of the shrine itself. At the foot he left his train of servants, and mounted all alone, wondering at the marvels round, the open colonnades, the wondrous sculptures filling the pediments of the noble tympana, each commemorating the life and labours of a god. ... And now the jubilant trumpets of the priests pealed out, with notes that rang round the valley, and up among the windings of the Hyampeian cliff. Awed into silence by the sound, he crossed the garlanded threshold: he sprinkled on his head the holy water from the fonts of gold, and entered the outer court. New statues, fresh fonts, craters, and goblets, the gift of many an Eastern king, met his eye: walls emblazoned with dark sayings rose about him as he crossed towards the inner adytum. Then the music grew more loud : the interest deepened: his heart beat faster. With a sound as of many thunders, that penetrated to the crowd without, the subterranean door rolled back : the earth trembled: the laurels nodded : smoke and vapour broke commingled forth : and, railed below within a hollow of the rock, perchance he caught one glimpse of the marble effigies of Zeus and the dread sisters, one gleam of sacred arms; for one moment saw a steaming chasm, a shaking tripod, above all, a Figure with fever on her cheek and foam upon her lips, 'who, fixing a wild eye upon space, tossed her arms aloft in the agony of her soul, and, with a shriek that never left his car for days, chanted high and quick the dark utterances of the will of Heaven."

ARNOLD PRIZE Essay for 1859, pp. 14, 15.

NOTE on Aen. 6. 646, p. 507.-At the end of this note, after the word “epexegetical,” Mr. Conington added : “A development of this view will be found in an extract printed at the end of this Book, from a letter from Mr. D. B. Monro, Fellow and Tutor of Oriel College, to whom I am indebted for the information about the Aristotelian use of artíowvos." This extract could not be found. Mr. Monro has kindly supplied the defect by sending the following remarks on Aeneid 6. 646 :

“The passages which Virgil seems chiefly to have had in view in the description of Orpheus are Od. 8. 256–265 (see Mr. Conington's note on Aen. 6. 644), and Il. 18. 590—606, 569–572. In the first of these passages Phemius is represented as playing on the phorminx, and it would seem) singing the story of Ares and Aphrodite as an accompaniment to the dancing of the Phaeacian youth. In the second passage we are told that one of the pictures on the shield of Achilles represented a chorus dancing, “and in their midst a divine singer made music (fuéXTETO), playing on the phorminx.' In those cases the chorus is not expressly said to be one of singers : but in the proces. sion of grape-gatherers on the same shield (vv. 561–572) the troop moved along with music and joyous cries' (uolan q' iuguga te), while a boy played the phorminx and sang the Linus to its accompaniment (if that is the true meaning of λίνον δ' υπό κάλον Deide). So according to the Hymn to the Pythian Apollo (H. Apoll. 514 ff.) the god him. self led the way bearing the phorminx, while the Cretans followed and sang a Cretan paean: and in Olympus Apollo plays on the phorminx, and the Muses sing in turn (I1. 1. 604). In all these cases there is a single musician whose instrument regulates and accompanies the chorus : but whether he sings himself, and whether the chorus sings as well as dances, is not always clear. The practice may have varied with the character of the performance, as the epic or lyric element predominated. In the Lament for Hector (II. 24. 720776) there are singers who lead the wailing,' but nothing is said of instruments : Andromache, Hecuba, and Helen recite in turn their praises of the dead man, and the rest bewail in chorus. Virgil, however, has distinctly made his chorus sing or recite ( carmina dicunt') as well as dance, and therefore he probably intended to represent Orpheus as playing only. 'Septem discrimina vocum' refers in the first instance to the lyre, and could not very naturally be applied to the voice : vox' is used, like Gr. porn, for the 'note' of an instrument. (See Welcker, Ep. Cycl. vol. i. p. 329, and Kl. Schrift. vol. ii. p. 32.)”

INDEX.

A.

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A sanguine, i. 550 ; v. 299

culmine, ii. 290, 603
Abas, iii. 286
Ablative, adverbial, i. 105

mixture of instrumental and
modal, i. 2; iv. 696; vi. 449, 466

modal, ii. 185, 460; iii. 134 ; iv.
46 ; v. 29

= per with accusative, ü. 412

absolutely of father or origin,
iii. 614

without preposition after words
compounded with re, i. 358

of quality, predicative, without
adjective or participle, iii. 618
Abruptae nubes, of a storm, iii. 199
Abscondere, of passing a place, iii. 291
Ac velut, veluti, i. 148; ii. 626; vi. 707
Acamas, ii. 262
Acanthus, i. 649
Accingere, intransitive, ii. 235
Accipere, of hearing, i. 676; i. 65

of entertaining guests, ii. 353

animam, of the spot where a
person dies, iv. 652
Accusative, poetic, without preposition, i. 2

and infinitive, used to denote
indignation or surprise, i. 37

of thing along which motion
takes place, i. 524

of the person of whom a request
is made, i. 666

and ablative interchange places,
i. 195; iii. 465

-, cognate, vi. 223, 466
Acerbus, of untimely death, vi. 429
Acestes, v. 36
Achemenides, iii. 590 foll.
Acheron, vi. 295, 296
Achilli, genitive, i. 30
Acidalia, of Venus, i. 720
Acies, of the pupil of the eye, vi. 200
Acragas, iii. 703
Actium, games celebrated at, by Aeneas,

iii. 280

Actius, adjective, iii. 280
Ad = after or according to, v. 834

- and et confused in MSS., ii. 139
- quem vocibus usa est = quem allo-
cuta est, i. 64

sidera, i. 259
- unum, v. 687
Adcelerare, intransitive, v. 675; vi. 630
Adeo, iv. 96

—, after numbers, iii. 203
Adfari, of the conclamatio, ii. 644
Adflare, of a thunderbolt, ii. 649

of divine inspiration, vi. 50
Adgredi, of speaking first, iv. 92
Adhibere, of inviting the presence of the

gods, v. 62
Adire, of confronting in conflict, v. 379
Adjective, hypallage in construction with,
ii. 683; v. 663

emphatic position of in descrip-
tions, ii. 419

used for adverb, iii. 70; v. 764

from proper name for genitive,
ii. 543 ; iii. 488

not agreeing with the proper
subject of the sentence, vi. 449
Adnuere, applied to a promise of Jupiter,

i. 250
Adolere, transitive, ii. 547
Adoriri, with infinitive, vi. 397
Adspargo, -inis, not adspergo, iii. 534
Adsum, of gods, i. 734; iii. 395
Advelare, v. 246
Advena, applied to Aeneas, iv. 591
Advertere, vi. 386

of bringing a ship to land, v. 34
Aedificare, of ship-building, ii. 16
Aegri mortales, ii. 268
Aemilius Scaurus, theatre of, i. 428
Aenea, iii. 18
Aeneas, character of as drawn by Virgil,
Introduction

story in Varro about his de.
parture from Troy, ii. 636

sequel of his life after settling in
Latium, and inconsistencies in Virgil's
treatment of it, vi. 764, note

99

Aeneas, his treatment of Dido, Introd. | Alere, of a disease, iv. 2

-, his impulse to kill Helen, ii. 583 Alü, not preceded by alii, iv. 593

-, his ignorance and knowledge at Aliquod, used adverbially, ii. 81
different times hard to explain, i. 205 Aliquis = alius quis, ii. 48

-, simile comparing him to Apollo, Aliter, vi. 147
iv. 143

Alius, idiomatically used as including a
-'s descent into the shades, Warbur. person among those from whom it is
ton's theory regarding it, vi. Introd. intended to distinguish him, vi. 411
-'s reply to the Sibyl, vi. 103

Alliteration for the sake of solemnity, iv.
- Silvius, vi. 769

460
Aeneid, lines preceding commencement of, Alma, applied to the Sibyl, vi. 74, 117
found in some MSS., i. 1

Aloeus, sons of, vi. 582
- lines quoted by Serv. as found in Alpheus, ïï. 694
the margin of some copies, iii. 204

Altaria = arae, v. 54
-, third book of, its sources and Altars, two erected to a dead person, iü.
character, iii. Introd.

63; iv. 610
— , Book V., probably did not form - touched in order to add solemnity,
part of Virgil's original conception, v. iv. 219; vi. 124
Introd.

Alternare, neuter use of, iv. 287
- Book VI., inconsistencies observa. Alveus, of the hollow of a boat, vi. 412
ble in details, vi. Introd.

Amazons, i. 490
— Book Ví., vv. 1, 2; question as Ambages, of the Sibyl's predictions, vi.

to these lines belonging to Book V., v.
871

Ambiguum relinquere, v. 326
—, confusion in narrative of, ii. 781 Ambiguus, iii. 180
-, passages in, left unfinished by

-= ambigens, v. 655
Virgil, vi. 743, 744

Ambo for duo, vi. 540
— , the, instances of imperfect revision Amittere, in its old sense of dimittere, ii.
in, vi. 161

148
- prominence of female characters Amor, of a love-charm, iv. 516
in, Introd.

Amplification, turn for, in Virgil, i. 416 ;
Aenus, iii. 18

iv. 199
Aeolia = Lipara, i. 52

Anachronisms in Virgil, i. 182; ïi. 492,
Aeolides, applied to Ulysses, vi. 529

504 ; iii. 52, 63, 64, 360; iv, 244, 457;
Aequare, of keeping pace with, vi. 263 v. 119
Aequus, of being kind, vi. 129

Anchises, struck by lightning, ii. 647
Aer, of mist, i. 411; v. 20

- , death of, iii. 710
and aether, distinction between, v.

- receives gift of divination from
20

Venus, ii. 687
Aeripes, of horses, vi. 802

- acts as princeps senatus,
Aetherius, not used strictly by Virgil, i. iii. 58
546

Anchors post-Homeric, i. 169
Aethiopis of Arctinus, the, i. 489

Androgeos, not Androgeus, ii. 371
Aetna, iii. 571 foll.

Andromache, iii. 303
Aevi integer, ii. 638

Angues iubati, ï. 206
- maturus, v. 73

Anima mundi, the, doctrine of, vi. 724
Agathyrsi, iv. 146

Animae, in reference to a single person,
Agere, i. 574

v. 81
- used for ducere, ii. 441

Animi, genitive with epithet, ii. 61; iv. -
Agger viae, v. 273

529
Agitator equorum, ii. 476

Animis advertere, ii. 712
Agmen, of regular order, i. 186, 393 Animos, of a high spirit, ü. 386;
-, of serpents, ii. 212; v. 90

iv. 414
-, of water, ü. 782

Anius, iii. 80
--, of the motion of oars, v. 211 Anna, sister of Dido, iv. 8
Agmine facto, i. 82

Annales marumi, i. 373
Air and light identified, iii. 600

Antandrus, iii. 6
Ait after fatur, v. 551

Ante, pleonastic use of, after prius, iv.
Ajax Oileus, i. 39; ii. 403

27
Alba, sack of, Virgil supposed to have 1 — alios, pleonastic after comparative,

followed Ennius' description, ii. 486 L i. 347
Alban kings, list of, vi. 763

1 - omnis, after primus, ii. 40; v. 492

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