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the Orestes '' of our Poet. These resemblances were not only the favourite objects of poetical description ; but also were borrowed by Artists in their representation of Rivers : The Scholiast on Pindar" informs us, “ that the Bull in Agrigentum, which was shewn in his time for that of Phalaris, was only a statue of the river Gelon:" And Ælian 12, in his Various History, where he has a Chapter on the images of Rivers, observes, “ that some Nations represent them under an human form ; but others confer on them the shape of Oxen.” He then enumerates four instances of this last mode of representation, prevailing among different People; and adds, “ that the Athenians in their exhibition of Cephisus honour him under the image of a Man; but at the same time projecting horns, répazla de ÚMO Paívovlc." “ They represent Rivers, says Phurnutus 13, as bearing horns, and having the aspect of a Bull, since their course has something violent and roaring :” The learned Spanheim 14 in his Differtation on Coins remarks, “ that we may trace vestiges from ancient coins of this representation :" He there produces one of the River Achelous 15 thus exhibited, and likewise an engraving of the Rhenus bicornis, or Rhine with two horns : He also inserts another of the Neptune Taupeos, whose forehead prefents the two horns. The Author of the Polymnetis 16 has very inaccurately asserted, “ that the Poets do not attribute this device to any rivers, but to Aufidus and Eridanus :" Now the above passages demonstrate that all Rivers almost

10 V. 1373. 11 Puth. Od. 1. v. 185 12 L. 2. C. 23. ed. Gron. vol. 1. p. 157. 13 De Nat. Deor. c. 22. 14 De præft. & ufu. Numisin. Disiert. 5. p. 359, 350, 361.

15 See also a figure of this Achelous in the firit yol, of the Greek Anii. quities by Giævius. Dial. 14. p. 231.

were

were thus addreffed and personified; and Valerius Flaccus ex. pressly applies this resemblance indiscriminately, as a general term to Rivers, Elatis cornibus Amnes.

(Argon. l. 1. V. 106.)

According to Mr. Bryant, in his Analysis of Ancient My, thology, “Every personage who had any connexion with the history of the Ark, was described with some reference to this hieroglyphick. As the Patriarch was esteemed the great Deity of the sea, and at the fame time was represented under the semblance of a Bull, or with the head of that animal, we find this circumstance continually alluded to by the Poets and Mythologists of Græce ; And as all Rivers were looked upon, as the children of the Ocean, they likewise were re, presented in the same manner." (Vol. 2. p. 436 & 437.)

! No LXIII.

Verse 1288. IIē7pòs dolor réyw.

1336. By another right the God's.

CREUSA having farcastically said to lon, that he was no longer the Son of Apollo, but of Xuthus, he replies, “ Yet I have been ; I mean in regard to the riches of a father;" as if he had said, Apollo was my foster parent ; for. I was nurtured by the produce of his temple: Thus I interpret this paisage, in which Barnes could discover no perfpicuous sense, and suspects that it is corrupt. Dr. Musgrave,

inclining

inclining to the same opinion, has proposed an emendation, which I cannot approve, since it is a violent alteration of the words; and the sense is directly contrary to my interpretation. The amendment of Heath”, who substitutes to trápos instead of 76crcos, renders the rhythm of the line too un, musical.

N° LXIV. Verse 1396. Eryão ou norma ng Trépondev ciobóć uoc. 1450. I thought thou long hadît known to keep thee

silent.

THIS line, which in the Greek editions is in the mouth of the Chorus, is given by Heath to Ion; and he supposes it to allude to the concealment of the poison 3 : But I can discover no necessity for this alteration: It appears natural for the Chorus extremely interested for Creusa, who was now ruhing from the altar on the recognition of the pledges, to advise her to be filent, which they do by reminding her of her former silence in general, and perhaps alluding to the concealment of her connexion with Apollo. The Translator understanding it, as Heath, has transferred it to the mouth of Ion.

Non enim de eo nunc, ut de Patre adoptivo loquor. See his Note on V. 1307 of his Edition. 2 Nor, in lon. p. 142.

3 l. pem autem, cum hæc dicit, venenum relpicere putandum est. Not. in Jon. p 142.

N° LXV.

N

N° LXV. Verse 1406. 'Puoiocomas Tóyw.

1461. I take thee at thy word.

I Understand this passage, that Ion, astonished at the conduct of Creusa, now violently embracing him and the casket, asserts, “I am arrested by your words ; as the pledge of the Debtor is by the Creditor :" She denies immediately the force of this remark by averring, that Ion was now discovered to be her friend, and consequently there was no attack on the person or property of a Stranger. We have already had a similar allusion in this play, when Xuthus, em. bracing lon his supposed Son, exclaims,

My touch
Afferts no pledge; my own, and that most dear

I find. (V. 529.) I once thought that pro..éZomar was to be here interpreted in an active sense, as a middle verb, to signify, “I arrest thee as my pledge :" The English Translator has adopted this idea: but the reply of Creusa determines me in favour of the other acceptation.

N° LXVI.

NO LXVI. Verse 1419. 'Exdi Bayua neprídos.

1474. Essay of the loom. HENCE it appears, that the employment of the Græcian Women of the most elevated rank consisted in works of em. broidery, in which they seem eminently to have excelled ; The instrument, used for that purpose, was the nepris, or Thuttle. This curious vest of the Athenian Queen appears from the following description of it to have been of a rich design; and the subjects, interwoven in it, prove the heroick manners of the female sex in the Græcian states ; The figures of the Gorgon 'and Serpents ? are historical emblems : Thus the Chorus of Athenian Women on their first arrival at the Delphick Temple are struck with the resemblance of Hercules and Iolaus there painted to those Heroes, whom they themselves had embroidered ? :

The subject on the web
Design'd these hands have wrought in ductile gold.

(V. 194 ) And in the Hecuba of our Poet the Chorus of Trojan Caprives describes the chariot of Minerva, and the race of the Titans, destroyed by the lightning of Jupiter, as the objects of their embroidery 4 : The latter are also thus mentioned in the Iphigenia in Tauris: We may likewise recollect how the

! V. 1425. ? V. 1427. ? V. 197. - V. 471. V.223.

royal

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