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Sed falsa ad caelum mittunt insomnia Manes.
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. 720—776) 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.)”
A sanguine, i. 550 ; v. 299
culmine, ii. 290, 603
mixture of instrumental and
modal, ii. 185, 460; iii. 134 ; iv.
= per with accusative, ü. 412
absolutely of father or origin,
without preposition after words
of quality, predicative, without
of entertaining guests, ii. 353
animam, of the spot where a
and infinitive, used to denote
of thing along which motion
of the person of whom a request
and ablative interchange places,
-, cognate, vi. 223, 466
Actius, adjective, iii. 280
- and et confused in MSS., ii. 139
sidera, i. 259
—, after numbers, iii. 203
of divine inspiration, vi. 50
gods, v. 62
emphatic position of in descrip-
used for adverb, iii. 70; v. 764
from proper name for genitive,
not agreeing with the proper
of bringing a ship to land, v. 34
story in Varro about his de.
sequel of his life after settling in
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
-, simile comparing him to Apollo, Aliter, vi. 147
Alius, idiomatically used as including a
Alliteration for the sake of solemnity, iv.
Aloeus, sons of, vi. 582
Altaria = arae, v. 54
63; iv. 610
Alternare, neuter use of, iv. 287
Amazons, i. 490
to these lines belonging to Book V., v.
Ambiguum relinquere, v. 326
-= ambigens, v. 655
Ambo for duo, vi. 540
Amplification, turn for, in Virgil, i. 416 ;
Anachronisms in Virgil, i. 182; ïi. 492,
504 ; iii. 52, 63, 64, 360; iv, 244, 457;
Anchises, struck by lightning, ii. 647
- , death of, iii. 710
- receives gift of divination from
Venus, ii. 687
- acts as princeps senatus,
Anchors post-Homeric, i. 169
Androgeos, not Androgeus, ii. 371
Andromache, iii. 303
Angues iubati, ï. 206
Anima mundi, the, doctrine of, vi. 724
Animae, in reference to a single person,
Animi, genitive with epithet, ii. 61; iv. -
Animis advertere, ii. 712
Anius, iii. 80
Annales marumi, i. 373
Antandrus, iii. 6
Ante, pleonastic use of, after prius, iv.
followed Ennius' description, ii. 486 L i. 347
1 - omnis, after primus, ii. 40; v. 492