Plato - Ion (with Introduction and Notes by John Marshall Macgregor), 1912

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PLATO

ION WITH INTRODUCTION AND NOTES

by

v J?

M? MACGREGOR,

B.A.

Late Senior Exhibitioner, Balliol College, Oxford

Reader in Greek in the University of London

Cambridge at the

:

University Press

1912

Camfirttrge

*

PRINTED BY JOHN CLAY, M.A.

AT THE UNIVERSITY PRESS

86i

PREFACE

FOR

the matter contained in the

the

first

Introduction acknowledgment

two sections of

due

is

to

the

various histories of Greek philosophy, in particular to those

of Ritter and Preller and of Zeller, o

on Plato by the on the MSS.

~ Professor >

.

*

is

and

to the

D. G. Ritchie.

monograph

The

section

based upon the writings of Schanz and

Burnet,

to

whom

I

am

also

indebted for

information concerning the sources from which the various readings are derived.

Especial thanks are due to Professor

Henry Jackson, who read the Introduction and Notes

^ the

^

J.

late Professor

in

manuscript and added to former kindnesses by forward-

ing a

number of valuable and

suggestive comments.

Something should perhaps be added concerning the 4 references given in the Notes to Rutherford's School Greek

Grammar.

In the criticism of Classical Education during

the past few years not a futility

little

has been said concerning the

of the abstract teaching of Greek

and Latin grammar.

Experience has shown a tendency on the part of students

4953 15

PREFACE

vi

to

interpret

this

criticism

as

absolving them

from the

necessity of using, or even possessing, a text-book

grammar of It

therefore

young

on the

the language which they profess to be studying.

seemed

students,

desirable,

especially in

such as those for

whom

the

this

case of

edition

is

intended, to indicate the vital connection between a formal

Greek Grammar and the writings of Greek authors.

J.

LlSCARD, September

1912.

M. M.

CONTENTS PAGE

Preface

v

Introduction Life of Plato

ix

Plato's Writings

xii

xv

Analysis of the Ion

The Characters

of the Dialogue

The Dramatic Date The Manuscripts

Text

of the Dialogue

.

.

.

xix xxi xxii i

Notes

22

Appendices

41

Indexes

43

INTRODUCTION LIFE OF PLATO. Several accounts

of the life of Plato have come down These accounts however are all of late date; the statements which they make do not always agree and they contain much which is obviously fabulous and not a little which appears to be based upon erroneous inferences from With such material to work upon it is Plato's own works 2 It is true that we have impossible to arrive at certainty. some incidental references which rest upon a better authority,

to us

1

.

;

.

the statement of Aristotle (Metaphysics, h 6) as to the

e.g.

philosophic doctrines which Plato.

It is

exercised an

possible also to

influence upon draw some conclusions with

certainty from the philosopher's

own writings,

e.g.

his interest

evidenced by the Republic and the Laws. But in the main we have to depend for our knowledge of

in statesmanship, as

on uncritical and unreliable authorities. His father's name of an aristocratic family. is given as Ariston and through his mother, Perictione, he could claim kinship with the great Athenian law-giver, He was born in the year 427 B.C. at Athens, or, as Solon. another account has it, in Aegina, where his father had had land assigned to him under the Athenian military Plato's

life

Plato

1

2

came

See Appendix

1.

by some to have met the Magi, by others to do so he is described as the son of Apollo ; his visit to the Magi was perhaps inferred from the mention of Zoroaster in

have

e.g.

Plato

failed to

is

said ;

the First Alcibiades (121 E, 122 a).

M.

b

ION

X

According to tradition Plato 2 music by Dracon, a pupil of the famous Damon, in letters by Dionysius and in gymnastics by Ariston of Argos. His prowess, we are told, was exhibited at the great athletic festivals of Greece, at Olympia, Delphi, Nemea and the Isthmus, but the accounts vary and there is probably much exaggeration. As a young man Plato would occupation of the island 1

was trained

.

in

army in the last period of the PeloThe names of contests, in which he bore

naturally serve in the

ponnesian war.

a part, are given, but

chronologically impossible for

it is

him

have fought in the well-known battles at Tanagra (456 B.C.) and Delium (424 B.C.). The mention of these engagements would seem to be due to some confusion in the minds of our

to

authorities 3

.

In his early days Plato

is

said to have devoted himself to

Some

verses ascribed to him have abandoning these pursuits, he gave himself up entirely to philosophy and burned, so the story runs, a tragedy with which he was about to compete.

painting and to poetry.

come down

From

to us.

But

later,

Aristotle {Metaphysics

a young

man came under

Heracleitus

I.

—an influence which

of the Platonic writings.

6)

we

learn that Plato as

the influence of the doctrines of is

strongly

marked

in

some

Afterwards he turned his attention

Pythagorean and Eleatic Schools, while, most imall, he fell under the spell of the personality and teaching of Socrates. The intimacy between the two philosophers is attested by a passage in Xenophon {Memorabilia, to the

portant of

1

The Athenians

expelled the Aeginetans from their island and

occupied

it

with cleruchs in 431 B.C.

He

is

said to have been called after his grandfather Aristocles,

2

but to have received the

name

Plato because of his broad (wXarvs)

shoulders or forehead or, according to others, on account of the

breadth of his 3

style.

Antisthenes the Cynic

is

said, in

Diog. Laert. VI.

i.

1,

been present at the battle of Tanagra, and Socrates fought (Plato, Symposium, 221 a).

at

to

have

Delium

INTRODUCTION in. 6.

i),

xi

where we are told that Socrates was favourably

inclined towards Glaucon, the son of Ariston, for the sake of

Charmides, the son of Glaucon, and for the sake of Plato. final scene, when Socrates was compelled to drink But in the Phaedo he the hemlock, Plato was not present.

At the

has described the fortitude and magnanimity of his great teacher on that occasion and has paid tribute to his master in

one of the noblest passages

The

writers of Plato's

travelled widely.

The

into contact with the

in all literature.

life all

agree in stating that he

desire to bring the

Greek thinker

wisdom of the ancient

civilizations of

Egypt and the East seems to have led Plato's biographers to infer from passages in his works that he had consorted with Similarly the Magi in Phoenicia and the priests in Egypt 1 the occurrence of the name of Theodorus of Cyrene, the .

mathematician, in the

Theaetetus has perhaps given rise

to the statement that

Plato himself visited that country.

It

would appear that

after the death of Socrates in 399 B.C.

That he visited Sicily on more than one occasion, and probably South Italy as well, seems certain. According to the tradition Plato first went to Sicily to Plato withdrew for a time to Megara.

view the island and witness an eruption of Mount Etna. While there he came in contact with Dionysius, tyrant of Syracuse,

who

displeased with the philosopher's political

views caused him to be sold as a slave. ever, procured his release in the

His friends, howand a garden was bought for him

Academy, where he taught

his doctrines.

When

the

Dionysius died, Plato returned to Sicily hoping to secure from Dionysius, the late tyrant's son and successor, land and citizens wherewith to establish his ideal commonelder

wealth.

Failing to obtain these he returned to Athens, but

later visited 1

Sicily a third time in

For the Magi,

cf.

sup. p.

ix.

order to

n. 2.

Socrates' oath in the Gorgias (482 b),

*

By

make peace

Plato's biographer treats

the dog, the god of the

Egyptians,' as evidence of a visit to Egypt.

b2

ION

xii

between his

statesman Dion, and the younger

friend, the

He

Dionysius.

reconciliation

did not succeed, however, in effecting a

and coming back

Athens continued his and was buried

to

teachings, until he died at an advanced age in the

grove of Academus.

PLATO'S WRITINGS. In addition to the verses mentioned above there have been handed down as Plato's a collection of letters, a will, and a number of prose works. Of the letters some were rightly regarded as spurious by the Alexandrian critics and modern scholars have been disposed to doubt the genuineness of the rest. The will has perhaps a better title to be considered authentic. It has been observed that it contains no reference to the philosopher's books a point not likely to be omitted by a forger in a later age. Among the prose works attributed to Plato several of minor importance were

—

clearly not written

by him.

The

spuriousness of some of

these was recognized by the scholars of Alexandria.

Almost

all

the works of Plato are written in the form of

dialogues or conversations between several speakers.

a people of lively intellect and social instincts,

moreover a large amount of

leisure,

it

Among

who enjoyed

was not unnatural and that

that enquiry should take the form of a discussion

should be imparted

instruction

conversation. in Sicily

That

this

and Southern

through the medium of

was the practice of philosophers

Italy in the early years of the fifth

may

be seen from the fragments of the comic poet Epicharmus (flor. circ. 480 B.C.). In more than one passage 1 this writer presents to us in verse, apparently by century

way

B.C.

of burlesque, philosophic

ments

in

a manner

and quasi-philosophic argu-

strongly resembling that afterwards 1

See Appendix

11.

INTRODUCTION employed

prose

in

by

In

Plato.

xiii

particular

Athens

at

Socrates sought for truth rather by questioning individuals

and examining

their

answers than by listening to the formal

By

discourses of professing teachers.

his

interrogations

Socrates aimed at convicting his interlocutors of obscure

and inconsistent thinking and at stimulating them to better methods and renewed effort in the pursuit of knowledge. It was with the same objects in view and in imitation of the conversations of Socrates that the dialogues of Plato

were written. '

The

choice of the dialogue in preference to other literary

forms was doubtless due also

in great

measure

to that dra-

matic instinct which to a very marked degree Plato possessed.

A

reader of the dialogues can scarcely

fail

to

be struck by

the combination of strength and delicacy which the writer exhibits in his powers of characterization 1

.

If

we may

trust

had in this regard an excellent model. So great, we are told, was the esteem in which he held the mimes of the Sicilian writer Sophron that he slept with them

the tradition, Plato

under his pillow. Sophron's writings have unfortunately not been preserved. But if we may judge from Theocritus' fifteenth idyll ('The women at the festival of Adonis')? which is said to be based upon one of Sophron's mimes, his work was marked by an insight into character and by a skill and vigour in its portrayal which may well have excited the admiration of Plato.

Apart from the dramatic interest with which several advantages.

A

employ,

at

any

rate

of a particular science.

of

without

phraseology unintelligible to

all

There

enables a

form which professes to actual life cannot fairly

literary

reproduce the conversations

it

use of dialogue possesses

writer to invest a subject, the

explanation,

a

technical

but a few special students is

further

no need

to

have

recourse again and again to stereotyped formulae in order to 1

On

the delineation of character in the Ion, vide pp. xix

—

xxi.

ION

xiv

introduce objections to the argument or to furnish additional

The natural pauses and lively interruptions which are used in Plato's dialogues to signalize points of transition compare favourably with such expressions as the of Aristotle {Nic. Eth. II. 4). Another advantage of dialogue has been pointed out by Plato himself {Rep. 348 a). If, he says, we have a mass of arguments on the one side arrayed against a mass of arguments on the But if other, we require a jury to decide between them. we proceed step by step, testing and establishing each point in the argument before advancing to the next one, we arrive at a conclusion based on a solid foundation and avoid the necessity of having to strike a balance between conflicting explanations.

opinions.

On

the other

hand the dialogue may

at times

become

merely formal and the interlocutor pass into little more than a personified iravv \x.lv ovv or tt(os yap ov; In such passages the dramatic interest naturally tends to disappear. also be urged with

some

It

may

force that the language of everyday

cannot provide an adequate medium for the expression Thoughts which transcend the range of those which our usual words express require a special, technical terminology. Further, scientific accuracy can ill life

of philosophic truth.

tolerate the looseness with

employed.

Thus

it is

which our vocabulary

is

ordinarily

that Plato finds himself compelled to

and define the meaning of certain terms which he It must be remembered too that in dialogue it is He the author who both asks and answers the questions. can therefore frame his query in a special manner so as to suggest a particular reply. Thus he has an opportunity, if he so desires, of evading difficulties or at least of passing over them in a plausible fashion. limit

employs.

—

—

INTRODUCTION ANALYSIS OF THE ION

xv

1 .

The Ion is a brief dialogue between Socrates and the rhapsode Ion. The main lesson to be drawn from it is that a mere unreflecting appreciation of poetry must not be conintelligent and reasoned criticism of argument may be analysed as follows

founded with an

it.

The

:

Introduction (530 A

d). Ion of Ephesus, a rhapsode, Athens from Epidaurus where he has secured the Socrates meeting him first prize at the festival of Asclepius. and learning of his success expresses the hope that he may be similarly fortunate at the Panathenaea. He remarks upon the enviable position of the rhapsode who wears a fine costume and occupies himself with the study of the poets generally and Homer in particular in regard both to their language and meaning. For the rhapsode must be acquainted with the poet's meaning, if he is to interpret him to an audience. Ion agrees, declaring that this part of the in fact he deserves to be art is his peculiar excellence crowned by admirers of Homer for his services in it. (i)

arrives at

;

The

(ii)

critic

must understand poetry as a whole

—

D 532 b). Socrates will take an opportunity of hearing Ion some day. At present he will only enquire if Ion confines himself to Homer. Ion replies that this is so, but that he can expound other poets equally well when they say the same things about a subject as Homer. Homer and Hesiod (530

both speak about the art of the seer and Ion confesses that a seer would expound their meaning better than he could,

whether what the poets said concerning the art was the same or different 2 Socrates asks if poets have not a general .

1 In the ancient classification of Plato's writings the Ion is ranked as a \670s 7retpa(m/c6s, i.e. a tentative discussion. 2 This line of argument is developed later in the dialogue,

537

A— 540

r>.

ION

XVI

subject-matter

Ion admits this

;

By

differently.

'differently,'

so,

is

but says they treat

it

he explains, he means 'better

Socrates enquires if the man who knows when speaks well about numbers is the same as he who knows when a man speaks ill. Ion answers that he is the

and a

worse.'

man

same man, the

same man, Knowledge of the 'good' and the 'bad' is found in the same person. Hence the critic of good poetry must also know bad poetry, and we shall not be wrong in declaring Ion's skill to apply to other poets as well as to Homer. the physician,

(iii)

arithmetician.

Similarly

it is

the

who knows both good food and

The argument

is

bad.

supported by the analogy of other is the reason then, asks Ion, of

arts (532 B

— 533

his apathy

and inattention when other poets are the subject and his eagerness and enthusiasm about

of

c).

What

discussion,

Homer?

He is Homer from art and painter who could only

Socrates thinks he can guess the reason.

sure that

Ion cannot speak about

Has Ion

knowledge.

ever seen a

explain the works of Polygnotus and treated indifference

?

all

others with

Or a sculptor devoted solely to Theodorus Has he ever found a man who could tell what

Samian ? was good and what was bad only in the performance of a single artist, be he a player on the flute or lyre, a singer to

the

the guitar or a rhapsode

?

The 7iature of Ion's appreciation of Homer is (iv) explained 1 (533 C 536 d). Ion allows his inability to dispute the argument but reiterates that upon Homer he speaks

—

better than anyone,

approbation. filled

is

never at a loss and receives universal is because he is

Socrates replies that this

with inspiration by the god.

The

god's influence

is

magnet, which not only attracts iron rings Like the itself but infuses into them a similar power. bacchant, the poet is no longer his own master when he composes, but simply the mouthpiece of the god. This is like that of the

1

The explanation

is

of course tinged throughout with irony.

INTR OD UCTION shewn by the

fact that the several poets

different styles.

If

a poet

knew

xvii

compose

in several

the art of poetry as a whole,

he would be able to write in each and every style. The poet is filled with enthusiasm by the god, the rhapsode by the poet, the audience by the rhapsode, just as an iron ring is endowed with the power of attraction by a magnet, a second ring by the first, a third by the second. One poet is inspired by one Muse, another by another. One rhapsode is fired by one poet, another by another. As worshippers indulge in ecstasies of

of the god

made

dance and song only when they hear the strain possesses them, so it is only when mention is

who

Homer

of

that Ion's eloquence finds utterance.

The application of certain arts

(v)

Hojneric poems

to the

—

indicated (536 D Ion is still doubtful if his praise 539 e). of Homer springs from inspiration and not from knowledge.

is

Socrates, he thinks, would agree with him,

but asks

first

which

is

upon which Ion speaks in (//.

many

Homer

he were

to

hear

the part of Homer's subject-matter best.

All of

it,

Homer

replies Ion.

places speaks of special arts,

xxili. 335).

judge

if

Socrates declares he would willingly do so,

him speaking.

e.g.

chariot-driving

Ion admits that here the chariot-driver will

Each

better than he.

particular art under-

stands a particular subject-matter and one art differs from

another when

it

deals with a different subject-matter.

To

understand the same subject-matter we must use the same art,

but a different art for a different subject-matter.

speaks of chariot-driving, of mixing a potion casting a line into the sea art (Od.

xx. 351

;

77.

xn.

(//.

xxiv.

200).

There-

where

Homer

(//. xi.

639), of

fore a rhapsode cannot understand a passage

80), or of the

prophetic

For these we require the and the prophet.

chariot-driver, the physician, the fisherman

—

(vi) Where does Ion's art apply? (539 E 541 d). Which portions then of Homer's writings belong to the rhapsode ?

All of them, asserts Ion. But he has forgotten his former admission that the art of the rhapsode has a separate

ION

xviii

subject-matter (537 d) and is therefore a separate art (538 b). Ion then cannot claim the parts of the poems which belong to other arts.

Accordingly he qualifies his former

the addition of * except what belongs to other explains, includes

'what

it

befits

a

man

or free man, a ruler or subject to say.'

or

arts.'

'all'

by

This, he

woman, a

slave

But Socrates points

out that this becomes the subject-matter of different arts

according to the circumstances in which the speaker

is

who knows what a man in command ought to say in a storm, the neatherd who is aware of the proper language for a slave to use when his kine grow restive. Ion maintains that the rhapsode knows how a

placed.

It

is

the sea-captain

general should address his troops, and that he knows this in virtue of

between the

being a rhapsode, since there is no difference rhapsode and the general. Ion, says

arts of the

Socrates, is the best rhapsode in Greece therefore he must be the best general. It is strange then that the Greeks do not employ him. Athens has made other foreigners her ;

generals. (vii)

Conclusion (541 E

— 542

b).

Socrates declares that

he really can praise Homer from Ion promised to shew him many fine art and knowledge. things which he knew about Homer and has not even Ion

is

not acting

how

fairly, if

his skill applies to the poems, but has evaded and turned out at last a general. Yet if Ion's appreciation of Homer is due not to knowledge but to the inspiration of the god, Socrates allows that he has not been treated unjustly. Ion must choose between being considered unjust and being regarded as inspired. He prefers the latter

explained

the question

alternative.

INTRODUCTION

xix

THE CHARACTERS OF THE DIALOGUE. Slight as the dialogue

is,

the characters of the speakers

by a few graphic touches. been exaggerated by his recent victory at Epidaurus and he regards with self-satisfaction the coming contest at the Panathenaea 1 He is flattered by are vividly presented to the reader Ion's natural vanity has

.

Socrates' reference to the splendid dress

and

lofty calling of

the rhapsode and boastfully maintains his superiority to

other critics and his great services to the study of

So proud

is

display

to Socrates 3 seizing eagerly

it

all

Homer 2

.

he of his art that he twice makes an attempt to ,

recitation afforded

by the

on the opportunity

other's defective

for

memory 4 and ,

shewing apparently a disinclination to stop once he has begun 6 He no doubt trusted to produce as powerful an effect as that which usually attended his efforts 6 But Ion's ignorance is equal to his vanity. In reply to Socrates' questions he at once reveals his inability to conceive the true scope of the art of criticism, imagining that the work of one poet may be studied in complete isolation from that of all others 7 He cannot clearly distinguish what it is in the poems that forms his peculiar subject-matter but becomes confused and ridiculous when interrogated upon this point 8 He is an artist unable to indicate his material Thus in reality he is not a critic at all, but, as Socrates declares, a man inspired with an ecstatic enthusiasm by the genius of Homer, one whose admiration for the poet's work is unbounded, but at the same time unreflecting and unintelligent 9 And in default of being able to shew where the knowledge to .

.

.

.

.

1

53° A 537 a.

-

4 7

531 A.

2 5

8

530

C, D.

cf. dp/cet,

539

E-

537

B.

3

53o

6

535 e.

9

533

r>:

536 D.

D— 536 d.

ION

XX

which he lays claim

Homer, Ion

applicable to

is

be regarded as

characteristically enough, consents to

with a divine inspiration 1

Yet

this

concession

is

at last, filled

.

not

made

Ion vanity and ignorance are, as

without a struggle, for in usually the case, allied

is

While attracted by the idea of being considered inspired he is yet unwilling to admit his lack of art and knowledge 2 We find him taking refuge in idle and unfruitful distinctions 3 in an appeal to personal feeling 4 or in simple reiteration of a previous statement 5 when he realizes that he can no longer resist the weight of his opwith obstinacy.

.

,

,

,

ponent's argument.

and

at defiance

Finally he does not hesitate to set facts

to fly in the face of all experience 6 , in order

to avoid the necessity of allowing himself to be mistaken.

Yet on the whole Ion was probably not an unpleasant man He seems to have been a grown-up child with to meet. ;

the vanity, unreflectiveness and mutinous spirit of childhood;

but with

its

enthusiasm also and no doubt something of

its

attractiveness.

To

Ion Socrates affords an effective

His modesty

foil.

is

and he While acknowledging

in striking contrast to the rhapsode's boastfulness

disclaims for himself the

title ao(f>6s 7

.

the other's accomplishments and professing his readiness

some day

to listen to a display of

them he endeavours by

questioning Ion to discover exactly what they are 8

.

He

would be convinced by reason rather than stirred by an appeal to feeling. Accordingly he more than once politely evades Ion's attempt to indulge in quotation, and when at length the rhapsode, not to be denied, avails himself of the opportunity offered of declaiming a passage, he brings the performance to a close. So too Ion's ignorance serves to throw into 1

4 7

542 a. 533 C: 536 d.

2

536 d.

6

539 E:

532 d.

8

531 A.

cf.

536

E.

relief Socrates'

3

531 d: 540 a.

6

540 D: 541

C

INTRODUCTION superior powers of dialectic. in

argument

is

philosopher's persistency

more than a match indeed

Socrates

obstinacy.

The

xxi

seems

for

the rhapsode's

actually

to

find

a

1 The pleasure in throwing his opponent into confusion scrutiny to and distinctions drawn by Ion are submitted .

His reiterations and denials are met unby a further examination of the facts. Whereas Ion appeals to feeling, Socrates relies upon the facts of In short, he stands forth in the dialogue as a experience 2 type of matured and reflecting reason, seeking ever after truth, and seasoned with a humanity and a humour, a little

proved

invalid.

failingly

.

cynical perhaps, but never

morose or unkindly.

THE DRAMATIC DATE OF THE DIALOGUE. The Ion

is

date at which the conversation between Socrates and

supposed to have taken place

is

not a point of great

The is it possible accurately to determine it. mention in 541 D of the appointment of Phanosthenes the Andrian to a command in the Athenian service, taken in importance nor

conjunction with the statement in Xenophon, Hellenica,

I.

was sent in 407-6 B.C. to succeed 5. Conon as general at Andros, might seem to suggest that the dialogue took place later than that date. But Phanosthenes may have been employed as general on a former occasion or 18, that Phanosthenes

Plato to his

may have been

guilty of an anachronistic reference

appointment in 407-6

although certainty

is

B.C.

On

the whole, however,

no objecbetween the philosopher and

impossible, there seems to be

tion to placing the encounter

the rhapsode about 405 B.C. during the concluding stage of the Peloponnesian war. 1

e.g.

540 e.

2

54 1

C, D.

ION

xxii

THE MANUSCRIPTS. The

writings of Plato were arranged

cent, a.d.) in

groups of

by Thrasyllus

four, styled tetralogies, the

(ist

Ion being

member of the seventh tetralogy. These tetralogies appear subsequently to have been distributed between two volumes, the first volume including tetralogies I vn. The

the third

—

two leading manuscripts of Plato, the one in the Bodleian Library at Oxford (Cod. Bodleianus, MS. E. D. Clarke 39) and the other at Paris (Cod. Parisinus 1807), have each suffered the loss of one volume, the Paris manuscript presenting only the second of the two, and the Bodleian the first. In addition the Bodleian manuscript has been deprived of the

last,

first volume. Ion therefore we have to seek the aid The most important of these is in the

the seventh, tetralogy of the

For the

text of the

of other manuscripts.

Mark

at Venice (Cod. Venetus Append. Class. denoted by the letter T. This manuscript, which belongs perhaps to the tenth century, was copied from a good original there are very few omissions and practically In nowhere is the text presented wholly unintelligible. several places this MS. alone appears to preserve the genuine Indications of change in the order of words are reading.

Library of St

4 cod.

1)

and

is

;

inserted

by the

writer, as well as

readings in the margin. a

man

of

The

corrections

and variant have been

scribe appears to

some education.

There are also two Vienna manuscripts, Cod. Vindoboand Cod. nensis 54 supp. phil. Gr. 7 denoted by the letter Vindobonensis 55 supp. phil. Gr. 39 denoted by the letter F. which was brought to Vienna from The first of these Florence approximates in some places to the Bodleian MS.,

W

W

but in others to the Venetian T.

In other places again

it

INTRODUCTION

xxiii

preserves a reading apparently old but differing from those of both the Bodleian and the Venetian.

It

contains in the

margin a very large number of variant readings. The second MS. F is derived from a source differing from those of both T and W. It has suffered from interpolations at the hands of a Byzantine scholar, but it is noteworthy that the quotations from Homer in the Ion have not been corrected to agree with the text of the poet. In addition there is a second Venetian manuscript, Cod. Venetus Marcianus 189 denoted by the letter S. So far as the text of the Ion is concerned this manuscript seems to be derived from the same source as the Vienna manuscript F.

Later writers such as the makers of anthologies like

Stobaeus (date uncertain) occasionally quote passages from

The evidence for the text afforded by such quotamade possibly from memory, cannot be regarded as very weighty, but it is interesting and may at times prove of service in supporting the reading of one MS. against another. The present edition follows in the main the tradition of Plato.

tions,

the Codex Venetus (T). that

MS.

the text.

will

Variations from the readings of

be found indicated

in the notes at the foot of

;

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rov larpov koI oirola rod dXiedos, ovroo

teal oirola

av

rd rocavra

teal

(frrjcra)

IflN.

E

17

ica\

ifiol e/cXegov, eirecSr] /cal efjuireiporepos el ifxov roov

rov payfropSpv iariv,

'O/jbrjpov, oirola

/cal

go

"Icov, /cal rfj$

pa^whao irpoarjKet /cal GKOirelaOai SiaKplveiv irapa rov<; aXXou? dvOpcoirovs.

payjrwSifcrjs,

IizN.

a

'Eyo) fxev

eiriXrfa/jLGov el;

"loov,

go

^>?79,

/caLrot ov/c

15

Xoo/cpares, diravra.

fyrjfii, 00

cv ye

OiJ

2X1.

ro)

av

diravra

irpeiroi

ye

9

rj

ovrco?

eTriXrjG fiova

elvai payfrcoBbv dvSpa.

540

ION.

Tl Se

Ov

2f2.

eiriXavOdvofiai

Sr)

/jLe/JLvrjo-ac

re^vrjv erepav elvac

IX2N.

20

;

e^rjaOa

rrjv payjrooSiKrjv

rjveo^/c/cr)^;

Me/jLvrj/juai.

Ovkovv

2X1.

rr)<$

on

GOfioXoyeis

erepav ovcrav erepa yvGoaeaOat,

/cal

25

;

Nat.

IflN.

2X2. Ov/c dpa irdvra ye yVGoaerac Kara rov gov \6yov ovoe 6 payfr(p86s.

r)

pa^pSt/cr)

f

2 dirlaw

ivKa/ipaV

M.

WF

W

:

:

diriffacj

T

evl /ca/x£a\'

3 iytcdpfiaM, corr.

iyKa^aV T

F 2

:

nAATQNOI

18

TlXrjv ye iacos

IX1N. Sfl.

Ta

ra rouavra,

tolclvtcl Se Xeyet? ttXtjv

dWa

re^vcov a^ehov tl*

irola

g5

2cw/cpaTe?.

ra

tcov

aWayv B

yvooo-erac, iireiSr/

Brj

ov^ diravra;

*A

KIN.

5

dvBpl

nrpeirei, ol/jlcu eycoye,

elirelv /cal

oirola yvvaifci, /cal oirola 8ov\(p /cal oirola iXevOeptp,

dp^ofievcp

/cat oirola

2H.

*

Kp

10

yvwaerat koXKlov IflN. Sfl. elirelv,

Ov/c,

ip

OaXdrrrj

elirelv,

6

patycohbs

6 /cvftepvrjTrjs

dWa

6 fcvfiepvrjTri*; tovto ye.

ap'xovTi

/cd/uLvovros

6 patyqyBbs yvooaerat koXKlov

Sfl.

212.

Olov

ola SouXft) irpkiret^kyeis

f3ov/c6\(jL)

ftowv

aXX' oi!%

yvcocreTai,

IflN.

Xkyet? 8ov\a> a irpkireu elirelv

irapa/juvOov/MevG),

payfrpSos

Oi5 BrjTa.

'AW'

ola yvvauci irpkirovid eo~TLV elirelv

D

;

Ov.

IflN.

'AXX' ola dvBpl

25 cTTpaTTjycp

irpkirei

elirelv

yvcoaeTat

o-TpaTMOTais irapacvovvTt

Nat, ra TOiavTa yvooaeTai 6 payfrwSos.

IflN.

XI.

6

0 fiov/cokos

TaXacTLovpycp irepl eplcov ipyaaia?

2fl

2fl.

Tt Si;

7]

paty whiter] rkyyfl

o-TpaTrjyi/cr}

icTTiv 11 cLXXa

26

TWF

C

6 tarpon;

Nat.

dypiatvovacov

2fl.

rj

irpkirei

OvSe TOVTO.

'AW

IflN.

20

Xeyets,

irpkirei

'AXX' oirola

IflN. 15

rj

dpyovn.

apftovri,

irXoLov

yeiiia^ojjikvov

oirola

/ecu

oirola

6

W

:

dXXa

Acai

6

T

12

kcl/jluoptos

F

:

kol/jlvovti

TW

2

;

ION IflN.

av eycoye

yovv

TvoLrjv

19 ola

arparrjybv

irpeirei eiirelv, if

SO. yap

E

eyvcos

a

yap

l(TQ)<;

ervy^ave^

el

av

eyco

koX

gov dfia

irorepa

tou9 ev

lirira^oyLevov^

KiOapKTTrjs

;

av

tl

II2N.

/jloc

Ovkovv

ei

a\\'

K2N.

y

iinrevs

rj

;

ei 5

"Igov, yiyvGoaiceis

el

r)

rj

aireKpivoo

rov? ev KiQapL^ovjas

teal

yiyvaxTKes, GOfioXoyecs &iayiyv(6(TKeiv

Xirirovs

go

eyooy av.

iTTTrevs,

212.

Te^yrj,

Brj

teal

Ki0apicrTi/c6<;,

ittttovs ev zeal rca/cay? iirira^ofjievov^'

rjpo/jL7]v y

av,

dX)C 01)%

fj

KiOapiGTr)?

el,

8ie- 10

ravrrj

iinrevs.

fj

N<u.

2ft.

irorepov

arparrjyt/co^, "Icov.

el tcai

iTTTrcfcb^

T^

^ireuhr)

(rrpaTtcori/cd

o-rpaTrjyifcbs el yiyvobcKeis

fj

yiyvtoa/cets,

r)

fj

payjr(p8b$ 15

ay ad 6$;

ION. 2H.

54 1

Ovhev

efjuocye So/cel Siacftepeiv.

II <5? ; ovBev Xeyeis 8ia<f)€peiv

;

fiiav Xeyets

rexvr/v elvai rr)v pay(rq)8i/cr)v teal rr)v arparrjycKrfv r)

Svo ;

20

Mia

IftN.

efxotye Sokcl.

'Oarcs apa aya6b<z payfraSos eartv,

2f2.

o5ro<?

koI ayaObs arparrjyb^ rvyyavei gov ;

IflN. 212.

dvet

gov,

MaXtaTUy Ovkovv teal

ayaObs

1 tv

Xoofcpares.

octtl<;

pot, Sofcei

Sydenham; ap T: dp

8 dircKpLvu)

1

F

:

ay ados

(TTpaTrjyb? rvyx~ 25

fcal payfrqoSo? iaTiv.

Ovk av

IfiN.

go

airetcpivov

1

W:

tovto.

om.

F

|

Zywye F: iyw

TW 2

—

TW

;

TTAATQNOI

20

'AW'

Sfl.

ifcelvo

Udvv

IfiN.

B

;

ye.

Ovkovv

%Q.

BoKei aoi, ogtl<; ye dyaObs

/jltjv

arparrjybs dyaOds elvat

payJrcpSos, zeal

at) ro)v 'TLXXrjvoov

apiGTOS payfrwobs

5 el;

HoXv

IflN. T

apiGTOs

H

oS *£o6/c pares.

ye,

Kal cnpaTrjyos,

to

"low, Ttov 'RXXr/vtov

el;

ES

IflN.

tcOcy

Kal ravrd ye

'ZtoKpares*

to

etc

e

10 tS)v

Q}JLr)pov fJbaOtov.

XII. "IcoVy

Sfl.

Ill

ovv irpb? rdov detov,

ttot

Br/

apiaro?

dfuporepa

rdov

tov

'EXXrjvcov,

to

Kal

arTparrjybs Kal payjropBos, payfrtoBel? /xev nrepuwv rots

"RWrjaty crTpaTrjyeZs 15 yfivato are(f)dvto

8'

ov ;

rj

pa^lrtoBov fxev BoKel gol

eaTe^avcofievov ttoXXt)

C

XP eia ^ Lval

to?9 ^EXXtjo-l, GTparrjyou Be ovBefila; f

IftN.

H

dpyerai virb arparrjyov,

eis

do

XtoKpares, ttoXk;

Be v/ierepa Kal

r)

KaKeBaip,ovltov ovk av Itcavol elvai.

'ft fiekTLO-Te"\tov,' AiroXXoBcopov

ov yiyvtoGK-

rbv K.v%tK7]v6v

ION.

Tlolov tovtov ; %

2f2. 25

rjfierepa,

Kal arparriyeiTai Kal ovhev Belrau

arparrjyov avrol yap oleaOe

20 fie eXotro

2X1,

r)

yap

fxev

v\xtov

Ov

'Adrjvalot

iroWaKLS eavrtov arparrjybv

fjprjvraL %evov ovra* Kal <Pavoa0evr) rbv "AvBpiov Kal

'HpaKXeiBrjv rbv KXa^o/jLevtov, 0&9 6vras, evBei^a/xevovs

on

GTpaTrjyias Kal eis rd?

dpa

y

rbv

1

/xrjv

a^tot Xoyov

aXXas dp%d<;

ov%

E(f>eacov

rjBe

alprjcreraL

F

:

fxev

TW

r)

ttoXis %evovs elaL,

ek

Kal

ayec' "Iowa

arparrjybv

S*

Kal

D

IQN

21

eav Sokj) a£io$ Xoyov elvai

Ti/jLtjcret,

'AOrjvaiot fiev ecrre oi E"E</>e0-O9

'Eicfyeaiot,

ovSe/uua? eXarrcov iroXecos

/cai

rj

crv,

el p,ev aKrjOrj Xeyeis, &>9 Teyyrj /cai eirtcrrrjfirj

go *\gov,

crypixevo^, a>9

cai, ical

iroXXd

(f>d<Tfccov

/cai

eiriSel^eiv e%airarq<; fie /cai iroXXov

eOeXets

el,

viro- 5

i/juol

/caXd irepl 'Ofjurjpov iirioTa-

ravra, irepl

Sets eirihel^ai, 09 ye ovSe arret earl

A\'

ov/c

;

dXXa yap

;

olos re el "OfjbTjpov eiraivelv, dot/cets, oaris

Seivds

Se

ri

;

dpyalov,

to

gov

iraXai ifiov Xiirapovvros,

elirelv,

it avr oh air 6s

drexyoos wcrirep 0 Tlpoorevs

yiyvei 10

crrpe^o/jbevos dvco fcal Karoo, ea)9 reXevroov hiatyvyoov

542

p<e

crrparrjyds

Xva

dv€<f)dvr]<},

fjurj

el rrjv irepl 'O/jurfpov cro(f>iav.

oirep

vvv

Sr/

eiriSel^ecv el,

dXXd

elScbs

eXeyov,

e^airarqs

9eia

iroXXd

fjboipq icaX

dSi/cos

eh

el

Se

Xeyeus

irepl

p,rj

rod

rj

re^vi/cos

tj/jloov

irocrjrov,

dSi/cos dvrjp elvai

20

deio<z.

ION.

15

firjcjev

eXov ovv

&crirep eyoo elirov irepl gov, ovSev dSi/cecs.

irorepa fiovXet vofil^ecrOat, viro

gov,

viroayo/juevo^

/careyo/ievo? ef 'Ofjujpov

icaXa

Secvos

ovv re^vi/cos

'Opripov

irepl

fie,

eiricjelgrj? &)9

el fiev

UoXv

$ia<f>epei,

%(6/cpare<f

go

iroXv yap

/cdXXiov to Oelov vofjui^ecrOai.

B

2f2. rj/MV,

go

'Ofirfpov

Tovro roivvv to icdXXiov virdpyei "loov,

Oelov

elvat

/cai

p,r)

eTraLverrjv. 8 del

croc

reyyiicov

irap irepl 25

}

<r

TW

:

5' els

F

'

NOTES References are given to the School

Grammar

of Rutherford (R.)>

Cf. Theocr. xiv. 1 530 A. tov "lava \a{p€iv, sc. /ceXetfw. ToXXd rbv avdpa Qv<J)plxov. x aL P € is a salutation used both meeting and parting. Cf. salve in Latin.

X^Wv at

Ethic Dative,

r\yXv €iri8€8ijjj,T]Kas.

4| *E<J>€<rov explanatory of otKodev,

'

i

have come to

visit us.'

from your home

Ephesus

at

5

— a famous city of Asia Minor in the valley of the Cayster. k%

'EiriSavpou 4k twv 'Ao-KXijirietcov.

Aesculapius at Epidaurus.'

*

From

the festival of

Epidaurus on the

Cf. previous note.

N.E. coast of Argolis opposite Aegina was a centre of the worship god of the healing art. Athletic and musical contests were held there in his honour. Cf. Pind. Isth. VII. 74-5 iireL viv 'AXicadoov r dywv afo tijxq: ev ^-mdaijpip re irpiv ^5e/cro of Aesculapius, the

veoras.

Rhapsodes were professional reciters of the works possibly carried a lyre as a symbol of their art they played a few notes upon it at the beginning and end of their They also gave explanations of the meaning of the poet recitations. Kal

pa\|/a>8a>v.

They

of the poets.

(cf.

530

c).

/ca£

;

= also. Observe the

ifya>vC£ou ti r\\ilv.. .r\yu>vi<roi.

tenses, the imperfect

regarding the contest from the point of view of aorist

from the point of view of

marking the person interested 530 B

€v X€*y€ts

.

oirws viKTj<ro|i€v. like, the sense is

(negative

^77).

=

1

Bravo

its

result,

in the action,

its

tj/jup

duration, the

Ethic Dative,

= let me

ask.

!

After verbs of striving, taking care, and the

completed by

ottcos

Sometimes the verb of

with the Future Indicative striving

is

omitted and oirws

with the Future used alone with the force of an imperative, sure that';

'Mind

that.

5

'

Be

NOTES Kal

great Panathenaic festival

The

of Athena.

The

Internal or Cognate Accusative.

Ilava0t{vaia.

Tel

23

was celebrated every

four years in

honour

procession to the temple of the goddess was repre-

sented by Pheidias on the frieze of the Parthenon,

/cat,

i.e.

as well

as at Epidaurus.

Verbs denoting envy, admiration, and the

Ttjs tcxvtjs.

a Genitive of that to which the emotion

to o-wpa.

is

530 c.

take

R. § 77.

KaXXtcTTois in agreement with vyXv which

*

like,

due.

\lt\

suggested by v/xuv

is

Conditional use of the participle,

*Yi-yvw<TKOVTa.

unless he knows.'

yovv. This particle is regularly employed to introduce the ground upon which a statement has been made or a position taken up.

Cf.

eiireiv.

Seivbv

infr.

So

540

D

yovv av Zywye ola

yvoi-qv

Aristophanes,

in

Frogs 289

e.g.

arpaTriybv

AI.

irolbv

irpeweL

ti;

EA.

iravrobcnrbv yovv yiyverai.

Metrodorus of Lampsacus, a

MrjTpoStopos 6 Aa|x\|/aKTjv6s.

city

Minor at the northern end of the Hellespont, was a friend of Anaxagoras the philosopher and interpreted Homer allegorically, understanding the various deities to represent physical phenomena. of Asia

He

flourished in the 1st half of the 5th century B.C.

2rr|<rt|xppOTos 6 0a<rios.

Stesimbrotus of Thasos, an island in

the Aegaean off the coast of Thrace, flourished in the middle of the

5th century B.C. and wrote a also

r\avKwv.

is

mentioned

Probably an Athenian, since no local adjective

attached to his name, of

He

work upon Homer.

by Xenophon.

whom

and

to

be

Aristotle speaks [Poetics,

identified

1461 b

1)

with as

is

the Glaucon

condemning the

hasty conclusions drawn by some commentators as to a poet's

meaning.

530 CD.

«s ovt€

The

MT|Tpo8ft>pos...€'yw.

apparently as a comparative one predicate would naturally be £c/x e "

(ojs

= in

sentence was begun

such manner

as)

and the

simply = was able to speak.

appended an object

and thus there For the irregular construction of the sentence we may compare 534 ab. The irregularity might be removed either by reading, with But to the verb

is

added a

fresh

eiirelv is

comparison

Siavo'ias

ovtuj 7roXXas Kal /caX&s

oaas 4yu.

ION

24

Mr H.

Richards,

uW

for

or

u>s,

by taking the conjunction

in a

causal sense = since.

530 D.

X.â‚Ź*yâ‚Źis=

(Rep,

599 E

Homer.'

am

I

*

The word

'0|Jir|pi8wv.

Phaedr. 252

;

These

'OjuLTjpldai

glad to hear

it.'

Cf. supr. 530 B.

'Owpidai- occurs elsewhere

in

Plato

always in the sense 'devotees of

b)

must not be confused with the clan

in

Chios mentioned by Strabo as bearing that name. not the Active (iroidv),

phrasis equivalent in i

Observe that the Middle Voice

Troirjcrojxcu crxoXrjv.

frri

crdai),

Some day

I shall

rule

roffdade to

what

531 A. author of

'OjJtijpov.

him

attributed to

toctovtos

refers

to

what has preceded,

follows.

Homer

Iliad and

the

to a simple verb (e.g. here (rxoXdorw).

take an opportunity.'

As a

ToorovSe.

meaning

(7rote?-

used with a noun to form a peri-

is

the

is

the

name given

the putative

to

Other works too were

Odyssey.

in antiquity such as the Thebais (Paus. IX. 9. 5),

the Cypria and the Epigoni (Herod.

Of Homer

117; IV. 32).

II.

known. It is probable that the Iliad and the Odyssey as we have them are not the original work of a single man but have undergone a process of interpolation, alteration, and addition at the nothing

is

hands of several poets.

Hesiod was a Boeotian poet of early but uncertain works attributed to him are (i) "Epya ko1 'H^pcu,

'HorioSov. date. (ii)

The

chief

Qeoyovia,

(iii)

has not come

'heirls 'H/oa/cA^ovs, (iv)

down

'Apx^o\ov.

rj

otcu.

The

of these

last

to us.

Archilochus, a lyric poet belonging to the island

of Paros, flourished in the 1st half of the 7th century B.C.

credited with the invention of the iambic line

and the most

was its trenchant vigour A. P. 79 Archilochum proprio rabies armavit iambo). characteristic of his verse

(cf.

He

is

striking

Horace,

Fragments

only of his poetry are extant.

531

B.

<ov

Tr^pt

fit)

Tavrd \iyovo-iv;

If the relative

pronoun

introducing a clause has an indefinite antecedent, the clause

negatived by

531

c.

fir},

iroTi

not

is

oti.

emphasising the question =* pray.'

Cf.

tandem

in

Latin. ISiutcov

professions.

Kai

For

8T]jiiovp*ywv, IdiuTrjs cf.

i.e.

men

with and without special

note on 532 D.

'

NOTES 0€wv...6(xiXovvtwv,

ircpl

25

Not infrequently the

6|uXov<ri.

c&s

subject of a subordinate clause

is

introduced by anticipation in

the sentence upon which that subordinate clause depends

— some-

times as the direct object of the verb, sometimes in the genitive case governed by the preposition irepL

The Accusative

7€V€<r€is.

case

R. §§ 250-1. with the

Cf. inf. 531 £.

here

replaces

irepl

Genitive.

531 D.

04j.c1.vov

the adverb <S

Aen.

fiivTca vt}

So 'carum caput'

<jn\€ K€<j>aXrj.

354; Hor. Car?n.

iv.

Both ^vtol and

Ala.

Ata emphasize

pt]

ap.eivov. is

Cf. Verg.

used in Latin.

24. 2.

1.

531 E. ircpl iryi€ivo>v cn/rCtov oiroia €<ttiv. R. § 250. tov apio-Ta Xc-yovTa 'yvwcrcTai oti apicrra \4y€i. R. § 244. infr.

€V K€<(>aXaia>

ad summam,

ovhk t6v

532 A. ot)6V;

Cf.

c.

533

€v, sc.

4

4

briefly,'

in a word.'

\4yovra yvuverai.

Observe the force of

know the man who speaks well eitherJ he will know the man who speaks ill.

'will not

more than

rC ovv iroT€ to cUtiov.

532 B.

For the use of wort

i.e.

any

in a question,

vid. sup. 531 c.

oTav

Notice the

8e Tis...fivn cr0Tj.

|A€v Tis...8ia\fyT|Tai...€'jr€i8dv

i

change of conjunction and tense

:

'when a man

is

talking... after

he

has mentioned.'

532

evTropw

c.

on

Xtyu

Xeyid.

pres. subj. in

is

an indirect

deliberative question.

R. § 247. irouyriKij -yap irov cVri to oXov.

of to oXov.

'Surely

Notice the emphatic position

the whole that

it is

is

By

poetry.'

rb 6\ov

is

meant the whole which includes every part of poetic activity, the work of Hesiod, Archilochus, and the rest, as well as that of Homer. Cf. infr. 532 E ypa<piK7] yap tls £<ttl r^x V7 T0 ftXov ; 'It is )

the whole that

532 D.

we may

call (tls)

oXijv emphatic, 'in

6 CtVTOS TpOTTOS TTJS

In

soever in

method of that art.

its

'

its entirety.'

O*K€t|/€(0S

effect, irepi diraddov tlov

subordinate clause.

the art of painting?

€0*TI

lT€pl

O/JTClCnSv

rexv&v repeats the force of

After a

man

sc. in

T€\VWV.

has acquired any other art what-

entirety, in the case of every art, there

enquiry,'

T(3v

ijuTtvovy in the

is

the

same

regard to both the good and the bad in

ION

26 wv

vjjL6is

<f8€T€

Td iroiquara,

the poets.

i.e.

The rhapsode

18iwtt]v avOpwirov.

a professional character,

is

Socrates only an amateur, without special training.

221 C

ibid)T7jv

Cf.

Soph.

TLva rtx vr) v ^X 0PTa Oeriov elvcu top dairaXievT-qv

i\

:

531 C. Kal

532 E.

tovtov ov vvv Tipop/nv

ircpl

attracted into the case of the antecedent,

iravTos

dvSpos^in

session, R. § 106 (2). tffcjs (pTrjaai

tis

Xdp<»)|j.€v

ment';

Dem.

Olynth.

hv pydiov Kal iravrbs

t»

"ydp

i.e. 'let

Xo7a> = (lit.)

us argue

it

-ypcufHio] -yap ris corn.

= for

power of any man.'

the Cf.

The

o-€.

kcu

4

Relative

is

instance.

Genitive of Pos-

16, rh fiev ovv ewiTL^dv

I.

etvai.

let

us apprehend

it

with the argu-

out.'

The

details of a discussion are regularly

introduced by ydp.

Kal ypa^CiS = painters as well,

The

IIo\vyvc£tov.

i.e.

as

an

art of painting.

celebrated painter Polygnotus flourished in

B. c. A native of Thasos he received where his chief works were to be found in the Temple of Theseus, the Anaceum, the Stoa Poikile and the

the middle of the 5th century the citizenship of Athens

Propylaea. at

Delphi.

He

also exercised his art to adorn the temple of Apollo His subjects were generally drawn from Homer and

other poets of the Epic Cycle.

Epexegetic or Explanatory Infinitive defining the

diro<j>cuv€iv.

activity in

a

which

skill (deivds) is exhibited.

€v T€ 7pd<j>€i Kal

a pi-

We

should have expected rather d re

ed ypd<pei, as infr. 533 C a re eu paipydei Kal d

fx'r).

For the negative

supr. 531 B.

fi-rj

cf.

cf.

532 C eviropQ

its

antecedent.

533 A. otov

For the mood of

ovk ^x €l ° Tt o-uupdXTjTai.

on \tyw. The relative pronoun

fiovXei.

€virop€i o ti

Cf. supr. 532 cl'irn.

E

is

attracted into the case of

od...r)p6pLT]j>.

Vid. supr. 532 C.

AaiSdXou tov MiyrCovos. personification of skill in

Daedalus

working

is

a mythical character, the

wood and stone hence his The legend relates that he was in

;

name, Cunning the son of Craft. an Athenian, who jealous of his nephew's superior him. Condemned to death by the Areopagus he

where

he

won

the

<TVfi^d\i]TaL

friendship

of

Minos.

He

skill

fled

murdered to

Crete

fashioned

the

NOTES

27

which the Minotaur was kept, but incurring the Minos fled from his wrath on wings constructed by himself. According to one version of the story he first descended (Verg. to Earth at Cumae in Italy and dedicated there his wings. Aen. VI. 14 ff.) 'Eimov tov Ilavoirccos. Epeus with the help of Athena built the wooden horse by means of which Troy was captured. Cf. Horn. labyrinth in

hostility of

Od. VIII. 493 lirirov Kdc/nov aeiaov 'Adfyrj ; Verg. Aen, II. 264.

dovpartov rbv 'E7retds

iiroirjtrev

|

<rbv

0eo8(opov tov

famous Samian artists bore the was the son of Rhoecus and brother of bronze and sculptor in wood as well as an

The

first

Telecles, a statuary in architect.

Two

2ajj.to\».

name Theodorus.

He was

engaged

in

the construction

with Telecles he

Samians. the

made

the

He flourished

nephew of the

wooden

circ.

first,

the famous

of

temples of Hera at Samos and Artemis at Ephesus.

In conjunction

statue of Apollo Pythius for the

600 B.C.

The second Theodorus was

He

being son to Telecles.

was a

dis-

tinguished statuary in bronze and an engraver on metals and jewels.

He

practised his art during the earlier half of the 6th century B.C.

533 B

6

%\<av

«

ti

efcirrj.

Cf.

supr.

533

A

ovk

£%ei

otl

avimpdXrjTai.

ovS* 4v atiXrjcrei pa\|/a>8ia.

<y€

ovSc iv KiGapfrra ovSe cv KiOapcoSta

Observe the repeated

nor again in playing the

lyre,

nor

rhapsody, have you ever seen,' et

oddt.

'No, nor

in singing to

it

either,

nor yet in

cet.

Olympus was a mythical Mysian

'OXvp/rrov.

oijSc €V

in flute playing,

flute player be-

longing to the Mysian and Phrygian school of music, the chief figure in

which was Marsyas whose pupil Olympus

is

sometimes said to

have been.

Oapupov.

Thamyras was a celebrated

Thracian

lyrist

who

challenged the Muses to a contest and was struck with blindness for his

presumption.

6s

He

is

represented in art with a broken lyre in

Rhesus 925 (the Muse is speaking) TjfJiQp 7r6\X' eSevvarrev r^x vy) v \ Horn. 77. II. 595. 533C. 'Op<(>€a)S. Like Thamyras, Orpheus was a

his hand.

Cf. (Eurip.)

Qd/jLvptv

famous

So great was the power of his music that it drew rocks and trees after him (cf. Verg. Eclog. III. 46 Orpheaque in medio posuit silvasque sequentes), tamed the wild beasts, and even Thracian

lyrist.

ION

28

overcame the most inexorable of 455

deities,

Hades.

Phemius was a minstrel who was constrained

^rjfjiiov.

for the pleasure of the suitors in the hall of

Horn. Od.

Cf.

(Verg. Georg. IV.

ff.)

xvm.

Nothing

"IÂŤvos.

Odysseus

to sing

in Ithaca.

331.

known

is

of Ion beyond what

we

learn in this

dialogue.

kcutoi opa tovto ti &rTiv = lit.

what

it

made

the subordinate clause clause,

cf.

TOuro = To

'And

However, look what

*

i.e.

is,'

am

'I

is.'

at this,

For the subject of

the object of the verb of the principal

supr. 531 E, rbv cipLcra \4yovra yvuxrerai 6tl &pio~T<x XeyeL. ifxe irepl 'O/nrjpov

AcaWtcr' avdp&iruv \tyf.iv

used with the Future participle in the sense,

about

But

to.'

in Plato,

eviropeiv.

kclI

In Herodotus and in Plato

tpyjopai yi orot diro(|>aiv6|ievos. gpXo/JLCLL is

do you look

yet

this

Phaedo 100 b

'

intend

I

(tyxofjicu.

to,'

einx^P^ v

and here it is used with the present participle in same meaning. Similarly ptWeiv is followed both by the present and by the future infinitive. col iindei^aadaC)

the

-yap serves to introduce the detailed explanation.

533 D.

Cf.

supr. 532 E.

ouk 6v irapa

apud ov

<roi

= (lit.)

{

it

not being in your power' (Latin

Accusative Absolute, R.

te).

§ 366.

In the MSS. the

letters

appear to have been written once instead of twice, a mistake

known

technically

Some, however, accept the

haplography.

as

reading of the MSS. and assume that the use of a periphrastic form,

made up

of the participle of a verb and

simple verb

530 B

(e.g.

the substantive verb 6 vvv

8i] '(keyov.

irptirov eTj>cu

itself,

when

Xidos

- crystal.

it

EvpiirtS^s.

refers

is

in

place of the

here extended to

so that icrTi.,.ovK 6p = ovk fori.

Supr. 532

c.

\idos

wcrircp 4v ttj \{0a>, sc. St^a/xi's 4<ttl.

only

efrcu

= 7r/)^7reo>),

to a special kind

is

feminine in gender

of stone,

e.g.

8ia<f>av7]s

i)

Euripides, one of the three great Attic tragedians,

flourished in the

latter

half of the

traditionally assigned for his birth

5th century B.C.,

the dates

and death being 480

B.C.

and

406 B.C. He was a friend of Anaxagoras, the philosopher, and keenly interested in physical enquiry. Cf. e.g. frag. 271. MaYVT]Tts = of Magnesia, a town in Caria near the river

;

NOTES Maeander.

H. xxxvi.

Pliny (N.

29

127), citing as his authority for

the statement Nicander, declares that the stone was so called from the

name

of

Magnes.

discoverer,

its

'HpaK\€ictv = of Heraclea, a town in Caria some 25 miles south

But popularly, no doubt, the adjective was under-

of Magnesia.

stood to connect the stone owing to

its

power of

attraction directly

with Heracles, the embodiment of physical force. «ktt€ 8vva<r0at...wo-T'

4vCot€

With

mood.

variation of

Notice the

6pfxct06s. .TjpTTjTcii. .

the infinitive w<rre introduces a result

and subordinated to the action of the clause, with the indicative Coo-re upon which the were clause depends introduces what is in effect an independent sentence.

closely connected with

;

533 with

opjxaGos

e.

Contrast the tense of

€£apT(XT<u.

above.

1fpT7)Tai

'A hanging

string

^a/orarat

A

formed ':><'

is

string

hangs suspended.'

534 A.

kclI

intervening

members

01

uWep

The

pAoiroiou Kal

clause.

of the comparison, viz.

€ts rr\v

dpp.ov£av Kai

bination of notes.

subject

Rhythm depends upon

A

harmony

verb. is

ol fxekoiroLOL,

But

changed

is left

which was intended

tQp

fxekoiroLLOP

i)

\f/vxy,

a

com-

KaT€x6/jL€Pot agrees

to serve as the subject to the

after the intervening wenrep clause the to

is

the order in which stressed

and unstressed syllables are arranged. Kal KaT€\6jji€V0t...i] tyv\i\ tovto 4pYa£€T<u. with

to the other

KopvfSavTi&vTes.

ol

tov pv0p.ov.

els

repeated after the

is

added in reference

is

and the

form of the subject

participle Karexofxepot

without any grammatical construction.

oir€p

The antecedent

avTol \(yovcri.

to the relative

not tovto but the whole sentence tGjp fjLe\owoLQp

t\

pronoun

xf/vxv

is

tovto

ipyd^erai. \iyovo~i

Pyth.

vi.

*ydp

1-2;

S^ttovGcv

k.t.X.

Bacchylides

Leonidas of Tarentum, Anthol.

534 B.

e.g.

10;

Pind.

Ol.

Aristoph.

IX.

Birds

40-1 748 f.; 2. 28 f.

Horace Carm. iv. These participles follow, instead of which Macros,

I.

1;

are ovv ov t€\vt| TTOiovvTcs. .XeyovTes. .

suggest that a plural subject will

grammatically singular, ojcrircp (rv ircpi

534 c.

Cf.

IX.

is

substituted.

'Ofrqpov,

8i9vpd|j.povs.

orgiastic in character

sc.

Cf. supr. 534 A.

iroWa \tyeis

Kal kcl\&.

The dithyramb was

and probably of Eastern

a form

of poetry

origin.

It is first

ION

3° mentioned that he

in

a fragment of Archilochus

knows

well

how

to lead off the

(vid. supr.

smitten with wine as with a thunderbolt.

by Arion of Lesbos

He

inventor.

and

is

mean

(circ.

who

600 B.C.)

531 a)

who

says

dithyramb when his brain It

is

is

was greatly advanced

thus sometimes called

its

apparently organised and trained choruses to sing

said to have given to

it

a more

'

tragic

1

This

tone.

that he restrained the extravagance of the dance by which

was accompanied.

it

may it

was from the dithyramb that, according to Aristotle (Poet. I. 4), Greek tragedy took its rise. €VK<o|Aia. These were laudatory odes. Pindar wrote many such. These were choral hymns, resembling paeans, viropxii|jtaTa. sung with dance and gesture and written mostly in cretics (- ~ -). Fragments of viropxn^Ta are extant composed by Pindar, Simonides and Bacchylides. hn\. Poems in hexameter verse, heroic or didactic, such as Homer's Iliad and Hesiod's Works and Days. Such verses as those of Archilochus, vid. sup. 531 A. IctfiPovs.

to

8'

dXXa

It

Accusative of Respect, R. § 79. Observe vir^phais, used predicatively

<j>av\os.

tovtois xprjTOi wT)peTOis»

without the

article,

=

*

as servants.'

Cf. infr.

537 c t£x v V v ra&rrjv

irdpecmv. For the negative cf. sup. 531 B. 534 D. ots vovs Tvvvtxos 6 XciXki&vs. Tynnichus is only a name to us. We hear of him in a story told of Aeschylus, which relates that the latter refused to write a paean, a choral hymn of thanksgiving and praise proper to Apollo, on the ground that the paean of Tynnichus, like

an ancient

statue, possessed a venerable sanctity

could hope to

the copper mines (xaX*:6s) near

aT€xvws skilfully) {i.e.

='

(to

exactly,' 'precisely,'

oirep clvtos evprjfAa tl

evprjjJLd ri

535 A.

a*jrT€i...Ttjs

R.

^X

§ 112.

! 5'

1

'I

to the relative

oirep

aMs

simply nod.' is

the phrase

alone.

The form

a quotation from Tynnichus.

the Genitive.

drex^s uvo-t6l^u =

The antecedent

Xt'-yci.

MoHTav, not

dr^ws = un-

accent from

its

and modifies the clause

Cf. supr. 532 C

Mourdv = "M-ova-Qv. is

it.

be distinguished by

Tijviuxos) \£yei.

which no new work

Chalcis was a city of Euboea so called from

rival.

is

due

to the fact that the phrase

Cf. infr. 535 B.

Verbs of Touching are followed by

NOTES o ti

535 B. tovs *

comes

'

Observe that

to be used generally for

Horn. Od. xxn.

tov 'OSvoro-ca k.t.X. This

ovSov.

For the double Accusative cf. R. § 66. this word which means strictly

tfv <r€ ^pcofiai.

0€a>fx<Evovs.

spectators

3*

is

the

2

€irl

tj

ir€pl

EKdpT]v.

Horn.

II.

xxii. 79

ff.;

r\

ircpl npiafjkov.

Horn.

//.

xxn. 33

ff. ;

iroTcpov 2p4>pa>v

when engaged by an

534

e.

xxn.

//. vi.

390

1316°. ff. ;

alien

in

el

tj

^cd o*avTov ytyv&>.

composition

power

is

xxiv. 748 XXIV. 477

xxiv.

The

ff.

idea that the poet

no longer himself but

—an idea here extended

ff.

is

to apply to the

possessed

rhapsode

found in Plato also in Phaedrus 245 A; Apology 22 B

is

99 C; €v<t>veis

Laws 719 and

c.

jxaviKol,

Compare

literature, e.g. in

Aristotle's

division

;

Meno

of poets into

the latter being further defined as eKaraTLKol

(Aristot. Poet. 1455 a 32).

Sc.

Horn.

//.

ff. e

—

tl

preserved in the

is

Cf. supr,

Horn.

tov "EicTopa oppavTa.

t<3v ircpl 'Av8pop.axT]v ctaivwv

725

audience.' ff.

Homeric form which

reminiscence of the passage in the poet. 'AxtXXc'a

*

The thought has reappeared in modern Midsummer Nighfs Dream, Act v.

Shakespeare,

1

'The poet's eye in a fine frenzy rolling Doth glance from heaven to earth, from earth to heaven.' kfy^s. The Relative is attracted into the case 01 its 535 c< antecedent. 'I0cikt|.

Cf. supr. 532 E, R. § 41.

Ithaca, an island off the coast of Acarnania to the west

of Greece, was the

home

of Odysseus.

Troy was a district in the north west of Asia Minor. Its chief city was Ilium, the capital of Priam, which was taken and sacked by the Greeks after a siege of ten years. Its site has been identified with the modern Hissarlik where important archaeological discoveries have been made. SaKpvcov IjiirCjiirXavTai. Words denoting fullness and the reverse R. § 113. are followed by the Genitive Case. 6p0al al Tptxcs ftrravTai. Observe the tense and the position of the adjective=' rises on end.' viro <|>6pov. vird is employed with the Genitive to denote cause especially with words denoting feelings, which may be thus easily Tpota.

personified.

ION

32 535 D.

kXcld

For

<j>opTjTcu.

T€...-fj

Theaetetus 143 C at fiera^v tQv \6ywv irepl

rod

answering to avrov

re

cf.

re... 77 afr

airoKpivo/j.e'vov.

"irXcov

ir\iop

7}

dLrjyrjcreis irepl

So in Xenophon, Oec. more than twice the time.

€V SurjJLvpCoiS dvOpco-jrois.

lj

iv dnr\a<jli$ %poi/y

rj

number appears

=

<

rough estimate of the adult

to represent a

21.

free

3

The

5

in

male

population of Athens at that time.

ov irdvv= 'Not altogether,' and Litotes or Understatement, negative, 'Assuredly not'; o>s

so, by the figure of speech called becomes equivalent to a very decided

it

'By no means.'

The

7c Ta\rj0€s etprjorOai.

Infinitive with

to say';

vvveXovri

cos

elirelv

— 'to

R.

§

Cf.

102.

speak concisely.'

ravTa ravTa

tcov Ocarcov toiis iroXXovs

double Accusative R.

is

R.

often used

the

position

530 A rd irp&ra

tlov

&6\u)p.

— 'so

§ 340.

Vide

Ip7d£€<r0e.

for

74;

§

cbs

Cf. ws tiros elirelv

absolutely with a limiting or defining force.

of

the

vp.€is

for the

Genitive

= you

rhap-

sodists.

535

E.

Adverbial Accusative.

Seivov iuPXeirovTcis.

KoOfrra = exactly the English, Cf.

cov €"yw gXc'yov.

536 A. air*

on supr. 532 E

&va.Kp€ji.avvv$

dWrjXcou

tt)i>

4|

irepl

dXXrjXcov

dtivafuv Xajx^dveiv.

espies tne mutual reaction of

A

R. § 72

(3).

'set.'

on

tovtov ov vvv

rr\v

8vva|uv.

7)p6fjLr)v.

Cf.

535 E

Strictly these phrases should

B and B on

A.

But they are

applied to denote the repetition of an action in a fresh direction, as the meaning evidently

B and

from

B

to C,

is

that the magnetic

not that

it

power passes from B to A.

A

to

passes back again from

4k 7rXaY^ov...8aKTvXCa)v, 'suspended sideways from the rings that

hang from the Muse.' 536 AB. poets

is

in

Kal d p.h> t<5v iroiT|Tcov...^x 6Tai Y*p. 'And one of the dependence on one Muse, another on another. We use

But it is the same thing. For he is in her grasp.' avro = i£r)pT7}Tai. Observe the article to used as a pronoun. Cf. 537 A TOUV. 536 B. 'Op<j>€<as. Vide supr. 533 c.

the expression "is in the possession of."

Movcrcwov.

Musaeus, a mythological personage, was associated

some legends with Orpheus, whose son he is said Several poetical compositions and a number of

in

to

have been.

oracles

were

NOTES

33

Other legends connect him with the famous

attributed to him.

family of the Eumolpidae and the worship of Demeter at Eleusis. erreiSdv

dXXov tov

tis

|i€V

iroi/nTov $8t|.

Sc.

which

jjl£\os

is

inserted in the corresponding clause below. cviropcts o ti Xcytjs.

tov 0€ov.

536 c.

Kal

crxT]|xdT(ov

Cf. supr. 532 c.

R. 106

Possessive Genitive.

So in For the Genitive

Aristoph. Frogs 463 rb <rxvtJLa Ka ^ T0 X^/*' ^X 6^* Case cf. supr. 535 c; R. § 113.

t«v *

(2).

Notice the verbal jingle.

ptjfidTcov.

dXXwv ov J^povrtjovoriv. Verbs denoting by the Genitive Case. Cf. R.

Bl

'

neglect' are followed 6

cf.

care for

100

and

'

(3).

For the double Accusative

Cf. supr. 533 c, 532 B.

€p arras.

535

§

b.

536 D.

dv

ov8'

oip.au

Observe

'methinks.'

col

86gaiui.

is

dtfiai

you either'

0-01=' to

offik

parenthetic =

(i.e.

any more

than to myself).

«v "Ourjpos

536 E.

The

Xi-yct.

of the suppressed antecedent.

ovScvos otov

ir€pl

wv cf.

ov= about *

tov "OfJLypos

\£yei.

Kal ravTa irotd

ktrriv.

generally

of Trota

when

cf.

is

is

attraction of the relative

an incredulous one, as

prefaced by Kal.

d

Xe'-yci

Horn.

Nicrrwp. *

77.

about the turn '

xxm. 1

:

335

the turn

point of the diavXos, the race out and in. K&/jL\f/ai

rg in

question

the interrogation

ircpl Tijv Kapirijv,

344

For the

of) Patroclus.

KXivOrjvai

8e

KXivOrjvai.

below, Kfracu,

(ii)

Infinitive eZ£at,

and

dpio-Tcpd

=

ff.

formed the

Cf. Aesch.

half-

Agam.

the chariot racing for

iv&ory

Homer

presents (i)

(i.e.

the

following

K\ivd?ivai bk Kal avrds

for ev7rX6cra>.

used with the force of an Imperative.

So

dX^acrdat.

touv=

*

slightly to the left of

Observe the Epic form tquv in Homer as a pronoun.

horses).

irXTjuvrj

'

The quotation

k.t.X.

for atirds 8e KKivdriva^

f\K* Itt*

'

5

variations from the received text of

537 B.

force

diafiXov Bdrepov kGoKov ttoKlv.

L7T7ro8popta tt| kir\ IlaTpoKXa)

honour

For the

infr. 541 c.

537 A.

way

The

R. § 44.

everything.'

ulv Tvyxdvcis ovk €i8ws.

<rv

supr.

relative is attracted into the case

Cf. supr. 532 E, 535 E.

them'

for roiv, the article

(i.e.

the

being used

kvkXov iroiiyroio = the nave of the wrought wheel.' *

ION

34

Subjunctive Mood.

8od<r<r€T(u.

X£0ov.

For the case

537c.

€^t€ op6<3s \iyei...&T€

by a

tions introduced

on

irdT€pov

because this

of rkxvr\v

In indirect ques-

used as well as

r ^X v V v

is

Because he has

'

For the

may be

attraction of

otf.

used predicatively this as

raijTr)i>

an art/

into the gender

Twv nyyav. .yiyvuHTKiw. Compare the arguThere the mastery of a particular artist over a subject-matter was developed to shew that Ion's skill, if an .

all

know nothing of any is

firj

B.

should apply to

art,

article.

ckclo-ttj

ment supr. 531 particular

no

is

his art.'

a7rrei... 7-775 \pvxn$'

R. § 51.

cf.

ovkovv

is

= whether)

(

A

Sc. dpd&s.

|j.tj.

T€xvi]v tcivttjv 2x €u

and hence there *

supr. 535

cf.

poets

here

;

The

poet.

used to prove that Ion can

it is

contradiction

is

equally incompetent critic of

all

poets and

is

Ion

only apparent.

ignorant of the scope and standards of criticism.

Hence he

is

further unable

an to

which he lays claim, from those of seamanship, medicine, strategy and the like. 537 D. tt)v ykv cT€pav...TT)v 8* €T€pav. Observe that krtpav is Do you say that one art is one and another another?' predicative. dpa wcrircp eyco T€KfxaLpop.evos, 6t<xv. €T€pwv, ovtw Ka\<5...ovTa> distinguish the subject-matter of the art, to

*

.

The

sums up the 6tolv clause the second ovtoj Do you too judge as I do and when one art is answers to ui<nr€p. mastery of one subject-matter and the other of another, in that case (ovtoj) call the one art one and the other different?' 537 E. 6iroT€ "y€ ei'r] = inasmuch as it would be possible.' For Kal

<rv

;

first

ovtlj

;

i

—

the

mood 538

cf.

7T€pl

B.

kclXcos

€l'r€

'

R. § 299.

TWV

CTTWV

«V

€1't€ fiij.

Cf. supr. 537 c.

For

ir^pa €<ttI ttjs TivioxtKtjs.

Case

cf.

infr.

540 A; Thuc.

Cf. SUpT, 536 E.

€llT€S.

I.

£re/>os

followed by the Genitive

28 <pi\ovs...er£povs tQv vvv ovtwv

;

R. § 133.

538

c.

tw Maxdovi.

Machaon, a son of Aesculapius, with his men from Tricca, Ithome

brother Podaleirius led thirty ships with

and Oechalia

to assist

Agamemnon

against Troy.

He

acted as

surgeon to the Greek forces and was wounded by Paris but rescued

by Nestor. 'Ekci^St!. Hecamede, daughter of Arsinous, king of Tenedos, was assigned, when Achilles sacked that island, to Nestor for that he was foremost of all in counsel (//. XI. 627). *

'

NOTES Kal \4ya

The

irws ovto>$. XI.

lines, viz. //.

639-40

stitution of irapa for

(olV

xaX/cefy)

(pTjaiv is

iiri.

35

quotation

made up from

is

and

three

630 with sub-

ibid.

of course parenthetic

(

= inquit)

as supr. 537 A.

Pramnian wine was a rough, strong brand, so

otvo) IIpauv€ia>.

called according to the Ancient Scholiasts from a

Mount Pramne

which was placed by them in various localities. Epic Aorist, kv&oj^'I scrape,' *I grate.' Kvrj. €¥t€ opOu>s

Cf.

€i'T€ p.T].

E,

532

R. § 106

on supr. 537 c. For the Genitive Case

Sc. re^^s.

laTpiKT{s...pa\|/a)8iKifjs.

cf.

(2).

538 D. ij hi p.oX/u|3SatvT) k.t.X. The quotation is from //. xxiv. 80-2 describing the descent of Iris from Olympus by command of

The

Zeus in search of Thetis.

Homer (iii)

are

/-ter'

(i)

ixGtivi for ex'

I}i|i€p.avia. '

variations from the received text of

opovaev,

for

Xicavev

ixOu<rt>,

(iv)

(ii)

7r%a

e^e/iawa for

for

ejuLpepavia,

Krjpa..

Perfect Participle, equivalent in force to an adverb,

furiously.' <(>c3|j.6v=

'

Are we

R. § 227.

to say?'

dXuirriKTjs T€'xvT|s,,.pa\|/cu8iK'qs. Kpivai.

Cf. supr. 538c.

Epexegetic or explanatory Infinitive, defining in what

regard these verses belong to the art of the fisherman or the

rhapsode.

Cf. supr. 532 E.

<rov epo(j.€vov,

d

2poi6

p.€.

The

hypothetical clause repeats in

'When you

another form the force of the Genitive Absolute.

me,

if

you were to do

538

E.

t8t p.01 £g€vp€

Kal rd rod fi&vreus

ask

so.'

=

'

For fioL ( = pray) cf. 530 A tj/aiv. what belongs to the prophet,' i.e. in

Kai k.t.X.

also

addition to the examples already given of what belongs to the

fisherman, the physician and the chariot-driver.

iroXXaxov p-cv iroWaxov 5e Kal eV

"yap

Kal €v '08v<r<r€£a X^yei, answered below by

'IXidSt.

a k.t.X. =' to take one example what' twv M€Xa[A7ro8i8wv aavTis 0€okXv|X€vos.

olov Kal

6

according to the ancient tradition the prophetic powers.

Argos (Od. xv.

He was

first

et cet.

mortal

a dweller in Pylos but

Melampus was

who

possessed

became a

ruler

Theoclymenus was a descendant of Melampus who inherited his prophetic gift. He had slain one of his kinsmen in Argos and had fled from vengeance to Pylos where of

2256°.).

3—2

;'

'

'

ION

36 he

who had gone thither to seek news of Theocly menus induced Telemachus to take company back to Ithaca (Od. xv. 270 ff.).

with Telemachus

fell in

his father, Odysseus.

him

in his

The

Saiuovioi k.t.X.

539 A.

quotation

is

from Od. xx. 351-7

Homer

with the following variations from the received text of

a

for

daifxdjfioi

(i)

eldiOXwv cV, (iv) is

1.

deiXol,

354

yvia for yovva,

(ii)

(at/xart 5'

eidibXwv re for

(iii)

eppdbarai tolxol

kclXclI

re fieadd/uai)

omitted. rC kclkov to 86 irao"X€T€ =

What

evil is this

V€p0€ T€

7\»ia='And limbs beneath'

539 B.

otov Kal

koll cf.

cited

532 E.

w

200-7

//. XII.

suffer?

*

(viz.

your heads and

faces).

tcuxok-o-X^* ^'-yei Y*P Ka^ €VTav0a. For For yap introducing the particular passage

lirl

supr. 538 E.

supr,

cf.

ye

Perf. Indie. Pass. 3rd pers. plural of dXtiu.

elX.va.Tcu.

olov

*

Epic form = v/xCov.

vu&ov.

The

lines

which follow are quoted from

tn tne substitution of

(i)

iyKdppdX' for

ivl Ac<i/3£a\',

for irerero.

(ii) 'eirero

dpio-T€pd Xaov Upy<av= * skirting the host on his left'

err*

(lit.

leftwards).

539C.

X*rj0€TO...K6\|/€, SC. 6

= t6p

ctvTov

dpdKW.

aierdv.

Epic form, here = eauroO.

^0€V.

Kal

539 D.

<rv v€, <o"Ia>v, aXTjOrj

are right in saying so.' XQi hr\ Kal o*v.

538 D GKtyai

For

Kal drf,

<r6

TavTa Xey€is = And you, Ion, you, no less than I.' 1

ye implies

'

used hortatively with the Imperative,

539 E. eim8ij Kal cuimpoTcpos el luov. Kai = further,' For the genitive of comparison £/jlov cf. R. § 132. twv 'Ouijpov. Adjectives denoting skill and lack of followed by the Genitive Case. *

y^v

€"yw

supplied rest as

<j>T)p.i.

(e.g. oi

much

The answering

8e HXXol o<ra

as ever they

emphasize the pronoun =

540 A.

*

do /,

clause with

irork <paai.

Thus

say.').

Ttjs ijvio\i.KTjs, sc. T^xvqs.

= Then *

drj

1

besides.

skill

left

to

are

be

I say everything, the

ixh comes to be used to

Kal

is

For the case cf. 538 B. be taken with the whole

to

you admitted further that

'

et cet.

ovhl 6 pa\|/u>S6s = nor the rhapsode either.' 1

7rXijv 7€ I'o-ws tcI

54 is

4

Socrates, say everything.

ovkovv Kal cWpav, k.t.X. clause

cf.

Kai cn5= 'you, in your turn.'

drj.

TOiavTa,

sc.

Cf. supr. 532 A.

iravra yvuaeTat 6

pa\f/(?86s.

NOTES Td TOiavra

540 B.

such passages

*

ra

$k Xe^eis k.t.X.

the verb; the clause ir\T)v...Texv&v

"By

37

you mean something

'

is

rd roiavra

tt\t)v de

n)

like (ax^ddv

We

exception of what belongs to the other arts.'"

expected however rather

the object of

toiclvtcl is

a completion of the predicate.

is

k.t.X.

*

with the

should have

but the expression

Cf. R. § 68.

colloquially inexact.

540 c. ovSfc tovto, sc. yvw<jeTcu= he will not know this either? any more than what a man in command should say in a tempest 4

i.e.

at sea.

dXX* ov\ 6 povKoXos = a nd not the neatherd.' Observe that Greek uses the adversative, English the copulative conjunction. *

540

tC 8e;

D.

= quid ?

yovv dv

Yvofrrjv

force of yovv

cf.

Oh

Anglice,

!

%y<aye ota o-TpaTij-yov irpcirei €iir€tv.

The pronoun

supr. 530 c.

is

For the

emphatic = e At any

would know what it is fitting that a general should say.' Note the change from the Dative depending on irp^irei to the Accusative which is the subject of the dependent Infinitive. £cra>s -yap & Kal <rTpa,TTVYu<6s= Perhaps you have a talent for rate I

4

generalship too,'

Kal -yap participle

R.

cf.

i.e.

as well as for rhapsody.

irvy\avts

cl

For rvyxdvw with the Observe the variation of tense through

liririKos »v, k.t.X.

§ 368.

and the following sentence. If you were skilled in horses would have known (Aorist) good and bad driving (viz. in the past, when you had your opportunity, supr. 538 b). But if I had asked you, what would you have answered ? (Both tenses this

*

(Imperfect), you

'

Aorist referring to the past,

wnrajoaevovs == driven '

'

viz.

not

t]...fl.

Cf. Latin qua... qua.

ovkovv

€t

538 *

B.)

ridden.'

Kal tovs €v Ki0apC£ovTas, k.t.X.

Kal—

'again,' intro-

ducing a further example. dXX* ov\

541

A.

tj

linr€vs

ovkovv

= and not '

Kal

oo-Tis

o/yaOos Kai pcu|ra>Sos lariv. this proposition to the pa\p(()56s 4o~tiv,

Kai

(

= *also,'

The

qua horseman.' d^aBos first

Kai

(

m

*

further,'

Tvyxdvei

wv,

again

adds

*

')

preceding converse one (6'<ms &pa dyados

odros Kai dyadds aTpaTTjybs Tvyx&vei.

'too')

Cf. sup. 540 C.

o-Tpa.TTj'yos

wi>)

;

the second

marks the parallelism between pa^ySos and

arparrjyos.

€K€ivo u-qv. Cf.

on supr. 539

(xty,

E.

a strong form of

fxtv,

emphasizes the pronoun.

ION

33

/cat raOra (cf. Kai TavTa ^€ €K twv 'Op/rjpov |ia6(ov. 541 B. Latin idque) is used, generally with a participle, to add some

circumstance upon which emphasis

is

Cf.

laid.

R. § 358.

Notice the accumulation of particles.

rl 8tj itot' ovv.

Why

*

then, pray, why.' dp.<j>oT€pa= <pav\os

541

:

*

in

both respects.

pa\|/a)8ov...\pv(rw

C.

534 c ra

supr.

Cf.

o*T€(f>dv(p

splendid attire of the rhapsode r\

5

5'

tiXka

R. § 79.

ydp

[l\v

530B; 535

8£ v^tripa,

iijJL€T€pa...ir6Xis...Tj

For the

«TT€<|>avG>p,4vov.

supr.

cf.

sc.

D.

Ephesus

(supr.

530 a) and Athens. After the defeat of the Persian invasion in 478 B.C. a league was formed by the Greek states to protect themselves, especially those of their number who dwelt on the east of the Aegaean sea, from the power of Persia.

In the beginning no had suzerainty over the rest, but in the course of time the predominance and activity of Athens enabled her to reduce her single state

fellow-members of the league to a position of dependence. for

money

fleet

and

contributions Athens undertook to equip

to suppress

any Persian attempt

In return

and maintain a

The money

at aggression.

fleet was Thus cities like Ephesus employed against recalcitrant allies. ceased to have their own foreign policy and therefore no longer

so obtained

was used indeed

to

form a

fleet,

but that

required generals.

ovk dv aipeiadai

p.€

i:\oiTO frrparr\y6v .

infr.

cf.

For the double Accusative

dv...<rrp aryjybv

ijprjPTat;

R. § 68. Cyzicus

aiprjaerai arpar-qybv (541 d);

'AiroMoScopov tov Kv£iktjv6v.

is

"luva

5'

after

&pa...ovx

a city situated on an

island in the Propontis off the coast of Mysia, with which

it

was

connected by a bridge and later by a mole, which has since become

Nothing is known of Apollodorus beyond what is stated here, viz. that he was a foreigner appointed by Athens This statement is repeated in to one of her military commands. a considerable isthmus.

Aelian (xiv. A.D.

5)

who

Athenaeus

flourished in the latter half of the 3rd century

(circ.

230 a.d.) refers (xi. p. 506) to this passage malignity,' although no aspersion seems

as an instance of Plato's

*

upon the generals mentioned who are simply instanced as foreigners taken by Athens into her service. sc. ov yiyvib<rKU) = \it. 'what sort of a fellow (is) irotov tovtov 7ro?os is frequently used in dialogue this (whom) I do not know ? to be cast

;

'

'

NOTES to refer contemptuously to

dXX',

aureus

dfJLoiovs

So

Saiixbvie;

Toiavra rots

tcl

ol/xai,

fiotikuvTai

some person 536 E:

Cf. supr.

previous speaker.

39

fJLadrjTcus

iiri

180 B

(Sw/cpdr^s)

<rx o ^V s 4>p&£ov<rtv

(Oeair^ros)

7roi?7<rcu.

Clouds 247; Wasps 1202.

oOs hv

/xatfyrcus,

iroiois

Knights 32 7to?oj> /3p£r<xs The question comes to be one

Aristophanes,

in

by a

or thing mentioned

Theaetetus

in

cJ

7';

crtf

form

only, the effect being to repeat derisively the expression of the

previous speaker; so apparently here,

Pooh

!

The contemptuous tone

'

character (vide Introd. p. xix) but

of

malignity

*

541 D.

is

tovtov;

irotov

—

'1

That fellow!

of course in keeping with Ion's

may have

given rise to the charge

referred to in the preceding note.

'

Kal

«£avocr0€VTi

tov "AvSpiov

Kal 'HpaKXeCSTjv

t6v

Andros is one of the Cyclades, a group of islands in the Aegaean, south of Euboea and east of Attica. Phanosthenes is mentioned by Xenophon (Hell. I. 5. 18) as having been sent by the Athenians in the year 407-6 B.C. with KXa£o|i€viov,

sc. ov

four ships to replace

known.

yiyvuaKeis.

Conon

Clazomenae, a

at

Andros.

city of

Of Heracleides nothing

is

Asia Minor, was situated on the

Mt Corycus which juts out Aegaean sea opposite the island of Chios. "Iwva 8' apa tov 'E<(>€<riov. &pa (observe the accent) is

north side of the promontory formed by into the

inferential

=

'

then.

ovk 'A0T)vatoi

>

p,€V €<tt€ ol

cXaTTwv iroXcws;

ovScfiias

kcu, antithesis

E<f>€0'(.oi

to dp\atov Kal

Observe that y£v

passing into coordination.

(tj

1]

"E<j>€CTOS

here answered by

Cf. sup. 535

ordination {k\&t) re) passes into alternation is

is

D where

(pofirjrcu).

co-

to apx<uov

an adverbial accusative denning the extent of the application of the

For the genitive of comparison wdXeus cf. 539 E e/mov. (1. 147. 2) and Thucydides (1. 2. 6) declare that the Ionian cities in Asia Minor, of which Ephesus was one, were verb (R.

§ 79).

Both Herodotus

settled as colonies

from Athens.

The former

historian,

maintains that the settlers included representatives of

who had no claim to the name Ionian, among them, who esteemed themselves

however,

many

peoples

while even the Athenians the truest Ionians of

all,

took their wives from the Carians on whose lands they settled

(Herod. 541

ition to really.'

I.

E.

146. 4).

dXXa the

-yap o*v, k.t.X. The conjunctions mark the transdilemma with which the dialogue concludes; 'But

ION

40

d

jx^v a\T]0rj X€Y€i$...tt]v ir€pl

'O^pov

This sentence

<ro<|>iav.

repeated in a shorter form in 542 A, ei nev o$i>...&8iko$ eZ, and is, in this shortened form, contrasted with the sentence el de fir) tcxvlkos

is

...Ovdfr &5iK€lS. oo-Tis...<f>do-K(i>v eiri8ei|€iv o<TTis

(paaiceiv

used in the sense of saying what

dictitare in Latin) is often

(cf.

Observe that the relative

e|airaT^s.

imparts a causal force to the sentence = 'since you.'

The verb

not true, professing, pretending.

eirideuci'ijpai

is

and the

corresponding noun iirtdei&s are applied especially to a rhetorical display.

iroXXov os

*y€

R. § 130.

arm €<jtI TavTa...€0€X.€is

to the relative

= since.

Cf.

Seis.

ovSl

pronoun confers upon

Observe the force of

what these

subjects are,' sc.

odde"

much

less

addition of ye

So ei ye you will not tell even give an exhibition of your art 1

:

The

clirctv.

a causal force.

it

since

(iindeLKUJjp cu).

irdXai Ijxov Xiirapovvros = ' although I have long been begging 7rctXat is used with the present tense to express an action begun in the past and still being continued. Cf. the use in Latin of iam pridem and in French of depuis longtemps. 6 npci>T€vs. Proteus was a sea-god who possessed prophetic powers but would only display them if caught and held securely in spite of the diverse forms which he assumed. Cf. Od. I v. 455 ff.;

you.'

Verg. Georg. IV. 440. ews referring to a definite point in past

&os T€X€VTwv...dv€<J>dvTjs.

time

is

followed by the Indicative

participle of reXevTw

an adverb

1

(

= lit.

'

Cf. supr.

5'

dXXa <pav\os

y

oircp

vuv

8tJ

^X€YOV='as

I

said just

now/

i.e.

supr.

E.

prfilv elSus.

The

participle

nothing,' 'without knowing.' 1

KaTCxoficvos cf.

534 C rd

B.

542 A. 541

reXevruv, the present

used as the equivalent of

is

at last.'

rr[V ir€pl '0|iT{pov o-cxjn'av.

541

Mood.

ending'),

If;

Op.*npov.

is

concessive,

Cf. supr. 535

D

*

although you

firfdev

know

aTroXuXeKibs.

For 4k with the Genitive of the agent

supr. 534 e; 536 B. a><rir€p ky<a ctirov ircpl orov, viz.

supr. 536 B-D.

APPENDIX The

accounts of the

life

given in tabular form below.

I

of Plato which have reached us are

They

are not of course to be regarded

as necessarily possessing equal and independent authority. (i)

Plato's (ii)

Apuleius (2nd century a.d.) prefixes a brief account of life

to his work,

De Dogmate

Diogenes Laertius

iii.

Platonis.

contains a collection of facts about

Plato derived from different sources and of unequal value.

Olympiodorus (6th century a.d.) gives in addition to (iii) a commentary on works of Plato an account of the philosopher's life.

A summary

(iv)

the

name (v)

of Suidas

of Plato's

(? circ.

life

occurs in the lexicon

known by

1000 a.d.).

A similar summary is to

be found in the work of Hesychius

(?4th century A.D.) which has included in

it

many

interpolations

and additions of later ages. There is also extant an anonymous biography of uncertain (vi) but late date.

APPENDIX The

II

following passages from Epicharmus will serve to illustrate

the resemblance in style between the comic poet's writings and the dialogues of Plato. (a)

&mz>

A.

dp*

A.

avOpiowos

A.

atiXqais ri irpdy^a; tov

tI 5' atiXrjTas;

l'5w,

dvdpwiros

rj

ov ydp;

B. B.

4o~tiv;

atiXrjcrls

rrdvv n4v

tov.

ov8a/x&$.

tIs etjx4v rot doKet;

B.

A.

rrdvv fxev tov.

ovkQv Sokcl

4x €LV tol Ka i V€pl rujyadov; t6 ya dyadbv tl itpay p? elfiev kclO' avQ'' 6<tti$ 84 Ka

oflrws

eiSfj

fxaduv tt\v\ dya&bs

ydp at

toarrep

V

opxW LV

rj

irdv

k'

f)8r)

opxovTds

tls

yiverai.

atiXrjTas (AaB&v,

atfXrjo-iv rj

ttXokcvs rrXoKdv,

9

tv

bfioius tlcv toloijtccv 6tl

y

ovk avTos

x' d T^X va

etrj

i

Xrjs,

Texvwbs ya

/xr)v,

(Epicharmus apud Diogenem Laertium, (d)

A.

o-uk

dp

9

twv84 7' at iroT

1

lov

B.

iii.

14.)

ov84 fxd Ala Sefrrepov

B.

d/m4s vvv coSe X4yofJL€S,

Xrj

o\)84 jxav

rj

\J/r)<pov,

8ok€? Ka rot

Xrj tls

;

dXXd r#5' %X €f"

dpidixbv tls wepKraSv, ai 84 Xfjs, tov apriov

iroT64fJL€P r)

irpdrov ov84v

ZjjioXe

Kal rav virapxovvdv Xafielv,

avrbs elfiev;

r6/c'

A.

ovk 4pXv rdxa.

ov8' ai itotI fx4rpov iraxvatov irord4fJL€v

drepov ^a/ros,

rj

tov rrpoad

2ti %' virdpxoi rrjvo to fx4rpov;

Kal tos dvdpuTTovs' 6

/ul4v

ydp

1

ibvros diroTafietv ,

A. ov ydp. atf£e0',

6 84

4v jLteraXXa/yf 84 iravres 4vtI rrdvTa t8v 6 84 fjL€TaXXdo~o~€L

Kara

(ptiaiv

kloHttok'

B.

co8e vvv

ya

jxav (pOivei,

x? ovov

*

4v ruvrcp /u^vei, •

drepov

etrj

Ka

Kal tv

8r)

Krryu %^^s &XX01 Kai vvv &XX01 TeX4do_ues,

r65'

r)8rj

tiprj

rod 7ra/>e{e<rra/c6ros

KavOis aXXoL KwOnroK* afool TeX46ofxes KaTTov Xbyov. (Ibid.

iii.

12.)

D

;

;

INDEXES GRAMMATICAL AND GENERAL

I

Accusative Absolute, 533 D Adverbial, „ 530 B; 3 4 c;35E;4iB,D,E after Passive Verb, „

Genitive of Comparison, 537 D 39 e; 41 of Possession, 532 E; ,,

36c; 38c, D

530 » „ „

535 541 E

A

Anticipatory, 531 E

»

>>

5e??,

Double

,,

,,

i/JLirifAirXaadai,

„ „

„

„

538 b; 40 a fr\ovp, 530 B

„

,,

QpovTlfriv,

after

alpei-

535C

541 c

<rdai, ,,

Double

„

fraSai, 535 D Double after eptaOai,

after

ipyd-

535 b; 36 c used predicatively,

Adjective

after airreiv,

,,

iafxfios,

frepos,

536 c

534 C

531 C; 32 D Indicative in Consecutive Clause,

535 C dXXd y&p, 541 E Anacoluthon, 534 A, B

I5iuyrr)$,

533 E Infinitive

Constructio ad sensum, 530 B

,,

Dative, Ethic, 530 a; 38 e Delian League, 541 c

,,

Absolute with d>s, 535 D in Consecutive Clause, 533 d Explanatory, 38 D

532 E

534 C

didijpafipos,

emphasizing sentence, 539 e; 40 A; 41 A Kal ravra, 541 B ical,

eyKiifiiov,

534 C

£k with Genitive of Agent, 534 E

36 b; 42

a

iirideucviJi'ai,

tpXopLai

541 E

'Malignity' of Plato, 541 c

with Participle, 533 C

ydp narrativum, 39 B

532 e;

yovv, Ratifying use

40 D

of,

33 D;

530 c;

fifr

1X7)

solitarium, 539 e answered by Kal, 541 D with Participle, 530 c; 35 d;

42 A „ in Indirect Question, 537 c; 38 B, c

D

E E;

INDEXES

44 in

Relative

531 B;

Relative Pronoun, with clause Antecedent, 534 a, d ; as 42 A

Indicative,

Subjunctive, Direct Deliberative,

Clause,

32E; 34D

Ph v

i

541

A

with 530 B

Future

6-nrus ,

538 D

os 76, causal force of,

fans ov54 f outw,

„ „ repeated, 533 b „

summing up a

541 E 541

tive,

36 B

clause, 537

D

534 D tt&Xcu, with Present Tense, 541 Periphrasis for simple verb, 530D Poet compared to bee, 534 A Poetic ecstasy, 535 B ttoios in Question, 536 e; 41c irori in Question, 531 C; 32 B Predicate, Completion of, 534 c 37 c, d; 40 b

irai&v,

530 A; 35 D Reciprocal Pronoun, Use 536 A Relative Pronoun, Attraction 532 e; 33A; 35E; 38B

'Airo\\65u)pos, 541

530 A

'Ao7cX?77r£eta,

'AxiXXetfs,

J

535 B I

ro(roo-5e,

vird

530

with

D E

D

Genitive

of

Cause,

535C

Mpxgpa, <f)&<TK€U> f

534 c

54I E

of,

of,

530 a Verbal jingle, 536 c

;

PROPER NAMES "Ektw/), 535 B "EWrjves, 541 B, C 'Ett^s, 533 A

'AyXcuxpQp, 532 E 541 C, D "^Aidys, 531 c "Avdpios, 541 D 'Avdpofi&xv, 535 B 'Apt/Xoxos, 537 A 'Adrjvaioi,

'ApxiXoxos, 53 IA

re answered by ^f, 535 transference of, 532 ,,

Variation of tense, 530 A; 32 b; 33 e 40 Verb, Omission of governing,

paxf/ydds,

II

Delibera532 c; 33 A, B;

Indirect

,,

530 a 533 D 'E0l<TiOi, 54 1 D y E0e(TO5, 530 a; 541 'EirtSatfptoi,

El)pt7Tt57/S,

C

d

3 2A |H/od/cXeios,

533 D

541 D 'Hpa/cXeiams, 535 E 'Hpa/cXetdT/s,

TXaiJKwv, 530

D

'Hcr/oSos,

531 A, B, C; 32 A

Aal8a\os, 533

A

Ga/xi/pas,

533C

530 D ee65wpos, 533 B 6eo/cXi5/xei'os, 538 E Odcrios,

'E/cd^, 535 B 'EKari&n, 538C

INDEXES '10&K7I,

535 C 533 C

'05v<r<rela (quoted), 'Odvacretis,

'Idaicriaios,

IXias, 539 B,

45

D

539 A

535 B

"OXvfiwos, 533 c

(quoted), 537

A

;

39 B

38

c,

D;

"Ofirjpos,

passim 530 B 530 D 533C; 36 B

'OfJLTjpLdai,

'Op0ei5s,

KXafou^ios, 541 Kv£iK7)v6s 541 c

D 530 B 533 A II drpo/cXos 537 A IIoX^wtos, 532 E; 33 IIp^os, 535 B ncwatf^i/cua,

t

IIcwo7retfs,

AaKedai/JLditioi, AafjL\f/aK7]i>6s,

541 C 530 D

MayvTjTis, 533

D

Upwreijs, 54 1

a

E

Maxct^, 538 c MeXa/nrodidcu, 538 E

Sd/uos, 533 B

Mrjriw, 533 A

2T7)(Tl/ULpp0T0S,

Mrjrpodupos, 530 D Mouo-a, 533 e; 34 C

Tpot'a,

Movaai, 534 B, D Movo-aios, 536 B

530 D

535 c

TWtxos, 534 D ^apoad^pijs, 541

N^rwp, 537 A; 38C 'Odvaaela, 538 E; 39

D

$4juot, 533 c

D

XaX/«5ei5s,

534

D

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