^{page 231 note 1} (1140), mentioned only with the last of the series of activities to cease, is to be understood as the cause for the cessation of all of them, just as (1131), which opens the first, serves as the motto for the whole series.

^{page 231 note 2} It is the second in the series of the four activities. The first, chariot-riding (1131–3), is explicitly ascribed to Hippolytus (, 1131); the third, garlanding (1137–8), implicitly (cf. e.g. 73 ff.); of the fourth, bridal rivalry (1140–1), he is the object.

^{page 231 note 3} For 1144–5 see e.g. the solution Barrett offers; he also quotes that of Maas. For 1135–6 it can be argued (a) that the poet passed over Phaedra's death and its consequences because this choral ode deals with the fate of Hippolytus exclusively; or that it is not a temporary pause in the music that is referred to but a permanent change; and (b) that it may be somehow possible to refer the to Hippolytus' hymns to Artemis; or to maintain that what is not mentioned need not therefore be nonexistent: Hippolytus may have found time for music when relaxing at night from his hunting and chariot-riding. To 1140–1 it can be retorted that girls are notorious for pining away in romantic dreams just for the men who reject them.

Still, while every single passage can be explained away, for all of them together an extraordinary amount of explanation would be needed.

^{page 232 note 1} Whatever that means. See Barrett ad loc. See also Lloyd-Jones, H. in J.H.S, lxxxv (1965), 171,Google Scholar and Willink, C. W., C.Q. N.s. xviii (1968), 42Google Scholar (where the reference to I.A. 194 is based on error).

^{page 232 note 2} Trozen, or Athens, or both ? See Barrett, pp. 32–4.Google Scholar

^{page 232 note 3} See Beaumont, R. C., J.H.S. Ivi (1936), 191.Google Scholar

^{page 232 note 4} In 1120–50 the chorus do not explain in what relationship they stand to the hero, or why they are so involved in his fate. Such an explanation would have led to exclusive identification of the hero of the song with Hippolytus.

^{page 233 note 1} opening the antistr. repeats opening the str., 1120.

^{page 233 note 2} in the last period of the antistr. (1140) is echoed by aa (1142) in the first period of the epode.

^{page 233 note 3} Chariot-riding in the first period of the antistr. follows upon hunting which makes up the last period of the str., 1126–30, repeating the order mentioned by Hippolytus in 109–112.

^{page 233 note 4} This period too is connected to the last period of the str., Artemis being referred to in both (1138–9: ; 1130: ).

^{page 233 note 5} There is asyndeton throughout, but for the in the very beginning (1142) which connects the epode with the antistr. (on another connection see above, n. 2).

^{page 233 note 6} This repeats the pattern of the first str., where the apostrophe of nature (the haunts where Hippolytus used to hunt in the train of Artemis, 1126 ff.) follows upon the chorus's declaration of their personal reaction to the situation (1120: ). The obvious difference between str. and epode is that while the reason for the chorus's agitation is condensed to in the epode (1142), it is elaborated in a long causal clause (1121–5) in the str. (on some functions of which see p.234m3). In both str. and epode the apostrophe is consequent on the reason stated for the chorus's feelings: in the str. the haunts where the hero used to hunt are envisaged in a state of deprivation due to his departure (1125), in the epode pity for the mother is called up by the of the son.

^{page 234 note 1} The Graces are implicated either as natural guardians of youth (in Athens apparently especially of male youth; their names appear in the list of of the Oatr of the Athenian Ephebi. Tod, , in Gr. Hist Inscr. ii. 306Google Scholar, remarks that although the inscription dates from the fourth century both the vocabulary of the oath formula and the names of the witnesses attest its high antiquity. For other connections of the Graces with Ephebi see P.W., s.v. Charites) since all that is radiant and growing belongs to their domain; and they are therefore blamed for not having prevented the hero's departure; or, since they are closely connected with Aphrodite (in graphic art they appear as her subordinate companions, see P.W. ibid.), they vaguely represent her and are therefore by implication accused of having brought about his expulsion ( …; 1148–50) from home and country in spite of his innocence 1149).

^{page 234 note 2} Unlike the second apostrophe (1148) this is introduced by , which it has in common with 1126 and 1127, the apostrophes of nature in the first str.; on which see p. 233 n. 6).

^{page 234 note 3} In this fourth and final period the hero is again spoken of (and not addressed as he is in the antistr. and the beginning of the epode), thus returning to the way he was introduced in the first strophe. When this is noticed, his designation by becomes all the more poignant, as it comes as contrast to his first appearance as ‘brightest star’ (1123). The two passages (str.: 1121–5, and epode: 1148–50) complement each other: in both the hero is envisaged as on his way, but the goal is mentioned only in the str. (1125 ), the starting-point only in the epode (, 1150). Of the two descriptions given to the starting-point, the one, cV warplas yfiy, recalls the cause for the hero's departure stated in the str., (1124), whereas the other, , the very last words of the whole song, links the stasi-mon back to the Here and Now of stage and action, and is taken up by in 1151–2.

^{page 235 note 1} See 973 ff.; 1043; i048f.; 1052; 1056; 1087 ff.; 1093–4. Death as punishment is proposed and rejected in 1043–7 ff.

^{page 235 note 2} The curse is indeed understood to have caused Hippolytus' death: 1167 ff.

^{page 235 note 3} It is referred to three times: in the beginning, the middle, and the end of the triad; of these, only 1140 uses plain language, guage, ; 1125 and 1148–50 paraphrase.

^{page 235 note 4} which is stated as goal (1125) could be taken also as euphemism for Hades' realm. Cf. PI. Ap. 40c: .

^{page 235 note 5} It is sung at the very moment at which the curse is being fulfilled.