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THE CLASSICAL WEEKLY is published by The Classical Association of the Atlantic States, weekly, on Mondays from October 1 to May 31 inclusive, except in weeks in which there is a legal or School holiday, at Barnard College, Broadway and 120th St., New York City.

All persons within the territory of the Association who are interested in the language, the literature, the life and the art of ancient Greece and ancient Rome, whether actually engaged in teaching the Classics or not, are eligible to membership in the Association. Application for membership may be made to the Secretary-Treasurer, Charles Knapp, Barnard College, New York. The annual dues (which cover also the subscription to THE CLASSICAL WEEKLY) are two dollars. The territory covered by the Association includes New York, New Jersey, Pennsylvania, Delaware, Maryland, District of Columbia. Outside the territory of the Association the subscription price of THE CLASSICAL WEEKLY is two dollars per year. If affidavit to bill for subscription is required, the fee must be paid by the subscriber. Subscribers in Canada or other foreign countries must send 30 cents extra for postage.

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CHARLES KNAPP, Barnard College, Columbia Univeristy.

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WALTON B. MCDANIEL, University of Pennsylvania DAVID M. ROBINSON, The Johns Hopkins University B. L. ULLMAN, University of Pittsburgh

H. H. YEAMES, Hobart College

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Works on

Classical Drama

The Attic Theatre, by A. E. Haigh. 3rd edition, revised by A. W. PICKARDCAMBRIDGE. 8vo (9 x 6), pp. xvi, 396, with 35 illus. $4.20.

The Tragic Drama of the Greeks, by A. E. Haigh. Index, Notes, and six plates. 8vo (9 x 6), pp. viii+500. $4.20. Ancient Classical Drama, including Shakespeare's Macbeth arranged as a classical drama, by R. G. MOULTON. 2nd edition, Cr. 8vo (734 x 534), pp. xx + 480. $3.00.

These works should be in the library of every school where there is a course in the classical drama.

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A set of four complicated charts which present the entire language at as many glances.

Adopted for general class-room use by teachers in hundreds of Secondary Schools in all States of the Union.

No higher recommendation for any School book has ever been offered than this: thatexclusive of the general adoptions-hundreds of pupils all over the United States have judged it of such practical value that they have purchased copies on their own responsibility to facilitate their work.

Price, per set, bound in heavy, tough, manila cover, postpaid, 40c.


Blair Academy, Box D

The Classical Weekly

APR 24 1918


MONDAY, APRIL 22, 1918


Columbia University
Summer Session

July 8-August 16, 1918

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No. 24

A feature of the new



is the insertion of new material for reading. This includes a simplified narrative of Caesar's Campaign against the Helvetians, serving as an introduction to the second-year Latin, and several pages of Eutropius. Within the lessons themselves connected reading is given as far as possible. This greatly increases the interest of the student in the text. (IN PREPARATION)

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Smyth's Greek Series for Schools and Colleges

Edited under the supervision of HERBERT WEIR SMYTH, Ph.D., Eliot Professor

of Greek Literature, Harvard University

For the Study of Greek Life and Art

Wright's Short History of Greek Literature

The volume is intended first of all for students of Greek, who in their second or third year of college will profit immensely by a general survey of Greek literature. Unlike similar one-volume works in English, this book does not neglect the centuries following the death of Aristotle, but on the contrary devotes about one hundred pages to a treatment of the Alexandrian and Graeco-Roman periods. Fowler & Wheeler's Handbook of Greek Archæology

This handbook is intended primarily for the use of students beginning the study of Greek archaeology. In the subjects of Greek sculpture and coins it has not been difficult for the English reader to get at the salient archaeological facts, but in other departments there are almost no elementary works which cover the ground adequately. The book thus meets a distinct need.

Richardson's History of
Greek Sculpture

For ten years Professor Richardson was Director of the American School of Classical Studies at Athens. His firsthand acquaintance with the Greek sculpture preserved in the chief museums of Europe has also given his book a quality of freshness and independence of view. The volume combines description with criticism, and is profusely illustrated with many rare photographic reproductions.

Fairbank's Handbook of
Greek Religion

A simple, comprehensive study of the facts in regard to Greek religion. This handbook treats the subject under three headings; forms of worship and belief; historical sketch of Greek religion; and the relation of religion in Greece to other phases of social development.







Entered as second-class matter November 18, 1907, at the Post Office, New York, N. Y., under the Act of Congress of March 1, 1879


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NEW YORK, APRIL 22, 1918

In THE CLASSICAL WEEKLY 10.17 I discussed a troublesome part of Cicero, Cat. 1.5, the sentence Si te iam, Catilina, crudelius factum esse dicat. Concerning this discussion Mr. C. R. Austin, of the South Side High School, Newark, New Jersey, has written as follows:

I feel that your first two translations are hard to grasp on account of the position of the negative and that the third is a bit bald. It seems also unfortunate that quisquam must be lost, as its force is so apparent and its presence so essential. May I suggest that a free rendering might go somewhat as follows: "I shall have to fear, I suppose, not that all loyal citizens will say that I have acted too late, but rather that some one will say I have acted (a little) too cruelly".

A good many, I am aware, translate this passage as Mr. Austin does. To that translation, however, there is one fatal objection, in the fact that non was not set by Cicero in front of the conjunction ne. The translation would be justified only if the Latin ran, Non mihi verendum non ne hoc, etc., and if, instead of quisquam, aliquis occurred in the sentence, Mr. Austin's expression "someone" is affirmative; quisquam belongs regularly in negative company (the negative is often implicit rather than explicit).

My first two translations are difficult to grasp because of the position of not. But not stands in the English translation exactly where non stands in the Latin. Cicero wrote the complicated Latin sentence; any adequate translation of it is certain to be likewise complicated. My third translation "I am sure that all loyal citizens", etc., is, as Mr. Austin says, bald. It is, in fact, not a translation at all, but a paraphrase, meant to convey to the reader a hint of the final suggestions of the passage.

Let us come back to the matter of the position of non in Cicero's sentence. If he had been minded to write, non mihi verendum non ne, etc., he might have done so without hesitation. It is no news to the readers of THE CLASSICAL WEEKLY that in translation the right handling of non (i.e. the placing of its English equivalent) is, at times, a difficult matter. One fine illustration of this difficulty lies in the fact that good scholars have, in various Latin Grammars, laid down the doctrine that in certain Latin sentences we have examples of ut non instead of ne in final clauses, and have cited as an example Cicero, Cat. 1.23 confer Manlium ut a me non eiectus ad alienos,

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ut non petisse Saguntinos, sed rerum serie. tractus ad id bellum videri posset, Cicero, C. M. 36 ut reficiantur vires, non opprimantur (we may have here, however, rather a consecutive subjunctive) and such passages on the other hand as Gellius, 19.8.12 Sed haec ego dixi, non ut . . . fierem, sed ut ne destituerem, or Pliny Epp. 2.6.2 Vinum.

in tria genera discripserat, non ut potestas eligendi, sed ne ius esset recusandi, Cicero, De Officiis 2.62, qui se adiuvari volent non ne adfligantur, sed ut altiorem gradum ascendant. . 3.61 Ita nec ut emat melius nec ut vendat quicquam, simulabit aut dissimulabit vir bonus.

To these passages I can add now the following: Plautus, Mostellaria 389-390 Satin habes si ego advenientem ita patrem faciam tuom, non modo ne intro eat, verum etiam ut fugiat longe ab aedibus?; Cicero, De Officiis 2.84 Tabulaevero novae quid habent argumenti, nisi ut emas mea pecunia fundum, eum tu habeas, ego non habeam pecuniam <'adherescent' non again>? Quam ob rem ne sit aes alienum quod rei publicae noceat providendum est, quod multis rationibus caveri potest, non, si fuerit, ut locupletes suum perdant, debitores lucrentur alienum. ('What

is the meaning of an abolition of debts, except that you shall buy a farm with my money, that you shall have the farm, I shall not-have (I shall lose) the money? We must therefore take measures betimes that there shall be no debt of a sort that shall hurt the commonwealth [this menace can be guarded against by many devices], not that, if such indebtedness does occur, the rich shall lose their property, while the debtors gain what belongs really to some one else'); Pliny, Epistles 1.5.13 Interrogavi.

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ut tibi nocerem, sed ut Modesto. . . ; 1.8.3 Ideo nunc rogo ut non tantum universitati eius attendas, verum etiam particulas, qua soles lima, persequaris; 1.8.13. . ita nunc in ratione edendi veremur, ne forte non aliorum utilitatibus sed propriae laudi servisse videamur; Gellius 20.1.5 Obscuritates. non adsignemus culpae scribentium, sed inscitiae non adsequentium. . . . The last passage is particularly interesting because of the second non,

which is 'adherescent' with adsequentium. In this passage it would have been possible to write ne for the first non. A careful examination of all these passages will make plain the significance of the position of non in Cicero, Cat. 1.5, our starting-point, and will prove the incorrectness of the translation which Mr. Austin prefers. C. K.


In the Annali of the Instituto di Corrispondenza Archeologica in Rome, for 1847, page 216 and Plate K, is published a vase, the present location of which is unknown'. This vase is a krater of South Italian make, with a comic scene, the interpretation of which has been the subject of many articles by learned men, who nearly all differ one from the other. I venture to propose an interpretation of the scene which has not, as far as I know, been suggested before.

Panofka, who first published the vase in the Annali, says that it represents Creon, an old man disguised as Antigone, and a spear-bearer2; while Heydemann maintains that it pictures Antigone arrested by two guards, in a scene of parody3.

It is obvious that the scene is thought of as comic; so why should we not try to find some extant comedy in which a scene corresponding to this occurs? It seems to me that we can find just such a scene in the Thesmophoriazusae of Aristophanes.

We know that the Thesmophoriazusae was brought out in 411 B. C., at the City Dionysia. This vase must have been made after that date, if we accept the theory that it represents a scene from this play. But this offers no real objection from the point of view of technique, as these comic vases are dated at the end of the fifth or the beginning of the fourth century.

The Thesmophoriazusae would lend itself to the imagination of the vase-painter because, being a non-political play, it would appeal to a far larger circle than a scene from one of the political comedies would, as the latter, outside of Attica, would probably not be understood by many people, on account of the purely local allusions.

It will be remembered that the plot of the Thesmophoriazusae is as follows.

Euripides, in order to defend himself against the attacks of the women at the Thesmophoria, sends his father-in-law, Mnesilochus, disguised as a woman, and dressed in clothes borrowed from the tragic poet Agathon, to plead his cause. Mnesilochus goes to the festival of the women, and in an eloquent address makes out a very good case for his son-in-law.

'Those who have not access to the files of the Annali will find the vase published in Reinach's Répertoire des Vases Peints Grecs et Etrusques, 1.273, note 1.

The vase had, however, been previously published by Gerhard, Antike Bildwerke, Plate 73, and pp. 312 ff.

In an article entitled Die Phylakendarstellungen auf bemalten Vasen, Jahrbuch Arch. Inst., 1886, p. 303. no. t. Heydemann knows the Aristophanes reference; see p. 303, note 252.

He is betrayed, however, by the effeminate Kleisthenes, who, because he comes as close to being a woman as any man can, is admitted, without question, to the women's mysteries. Kleisthenes announces that a man has fraudulently obtained admission to the ceremonies, and, after a scene more easily conceived than described, Mnesilochus is discovered to be the guilty person.

Mnesilochus takes advantage of the confusion to snatch from the breast of one of the women what to all outward seeming is a baby. The 'mother' then seizes the center of the orchestra, and laments in the following manner1: MICA

Hoy, hoy, there! hoy!

He's got my child, he's got my darling, O!

He's snatched my little baby from my

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of all your bold assurance. Zounds, his words are very dreadful; more than dreadful, past endur


Yes, indeed, they're very dreadful, and

he's got my baby too.

Impudence rare! Lock at him there,
Doing such deeds, and I vow and

Never minding or caring,-
Or likely to care.

All the time that these exquisite sallies and retorts are being exchanged, Mnesilochus goes on taking the large number of garments off the 'baby'. And, as he does so, he speaks as follows: MNESILOCHUS

Now I'll undo these wrappers, These Cretan long-clothes; and remember, darling,

It's all your mother that has served you thus

Throughout this paper, I use the translation of B. B. Rogers (1904 edition). This is perhaps the most remarkable translation of a play of Aristophanes ever written, as it was composed from memory, without a text.

For the text see lines 688-709; for the translation see pages 160-161.

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