бо 70 Iam Samos a laeva fuerant Naxosque relictae Et Paros et Clario Delos amata deo, p. 133, E. I 1063 Dextra Lebynthos erat silvisque umbrosa Calymne 111 Cinctaque piscosis Astypalaea vadis, Cum puer, incautis nimium temerarius annis, Nec tenues ventos brachia mota tenent. [quit, 66 Ossa tegit tellus: aequora nomen habent. 111 106 a 150 VII. IPHIGENIA. She is here, thine own, thy long-lost sister, Whom great Diana from the altar snatch'd, And safely placed here in her sacred fane.-GOETHE ARGUMENT. IPHIGENIA, priestess of Diana in the Tauric Chersonese, is about to sacrifice two strangers, according to the inhuman custom of the place, when she discovers that one of them is her brother. She returns with them to Greece.-(EPIST. EX PONTO, III. 2.) This story is the subject of a play by Euripides, the "Iphigenia in Tauris," and also of one of Goethe's masterpieces, under the same name. ΙΟ Description of the Altar, and its Attendant Customs. Quoque minus dubites, stat basis orba dea: Decolor affuso tincta cruore rubet. 123 134 112 P. 148 E 1196 106 I 116 p. 142 (1) a Iphigenia is carried hither by Diana, and made priestess of her temple. Two captives are brought to her for sacrifice. 20 Regna Thoans habuit Maeotide clarus in ora Sceptra tenente illo liquidas fecisse per auras 125 Praefuerat templo multos ea rite per annos, Cum duo velifera iuvenes venere carina, Evincti geminas ad sua terga manus. 107 c 107 c p. 134, III.B. 4 She prepares the sacrifice, but, before completing it, asks of their home, and finding that their city is her own, lets one of them go free, on condition that he carry for her a letter to one of her family. 39 Spargit aqua captos lustrali Graia sacerdos, 112 Dumque parat sacrum, dum velat tempora vittis, 153 2 "Non ego crudelis, iuvenes; ignoscite !" dixit 145 a Ritus is est gentis. Qua vos tamen urbe venitis? 121c 40 "Alteruter votis" inquit "cadat hostia sacris : 132 While the two friends quarrel as to who shall go, she writes a letter to her brother-and lo! it is her brother to whom she gives it. 50 Their escape. Ire iubet Pylades carum periturus Orestem : Dum peragunt pulchri iuvenes certamen amoris, Ad fratrem mandata dabat, cuique illa dabantur,... Nec mora, de templo rapiunt simulacra Dianae, Mirus amor iuvenum, quamvis abiere tot anni, 140 4 100 ARION, a minstrel, returning from Sicily to Lesbos, is attacked by the crew of the ship in which he has embarked, who threaten to kill him for his treasure. He obtains a short respite, sings a last song, and jumps overboard; and is carried to land by one of the dolphins which, attracted by his music, are following in the vessel's wake.—(FASTI, II. 83 foll.) The story is found in Herodotus, i. 24, and is a favourite subject on Greek vases. ΙΟ 20 The Power of Arion's Music. QUOD mare non novit, quae nescit Ariona tellus ? .23, note Saepe sequens agnam lupus ista voce retentus: Saepe canes leporesque umbra cubuere sub una, Et sine lite loquax cum Palladis alite cornix Tamquam fraternis obstupuisse modis. 112 106 I 111 The attack. Arion asks that he may sound his lyre for the last time. Inde domum repetens puppim conscendit Arion, 124 (1) Quid tibi cum gladio? dubiam rege, navita, pinum ; 125 The rescue. 30 Dant veniam, ridentque moram. Capit ille coronam, Traiectus pinna tempora cantat olor. 150 100 115 106 a Ille sedens citharamque tenet, pretiumque vehendi, 141 2 |