^{page 1 note 1} Besides Harrison's work (referred to henceforward as Studies), which remains facile princeps among Theognidean studies, I have used the following: Hudson-Williams, T., The Elegies of Theognis (1910)Google Scholar; Allen, T. W., C.Q. xxiv (1930), 188Google Scholar; Edmonds, J.M., Elegy and Iambus, i (1932), 260–261Google Scholar; Diehl, E., Anthologia Lyrica Graeca, fasc. iii3 (1950), 19Google Scholar; J. Carrière, Théognis de Mégare (n.d. [1948?]), and his Budé edition (1948); D. C. C. Young, C.R. Ixiv (1950), 15 (review of Carriere's Budé edition) and Scriptorium, vii (1953), 1–36; M. H. A. L. H. van der Valk, Humanitas, N.s. iv|v (1956), 82; A. Garzya, Riv. Fil., N.s. xxxiv (1956), 164–72; A. Luppino, Riv. Fil., N.s. xxxv (1957), 234–8. Garzya's paper is of special value, since it provides a useful conspectus of the history of the problem back to Camerarius.

^{page 1 note 2} Then why βαλών?

^{page 4 note 1} With ⋯π⋯ στ⋯ματoς here we should per-haps compare Theognis' use of ⋯π⋯ ϒλώυσης in 63 (the parallel is suggested by L.S.J.⁹ s.v. στ⋯μα I. 3. b); if so the suggestion is that the girl's heart is not involved. Alternatively ⋯π⋯ στ⋯ματoς here, as in Plato Theaet. 142 and elsewhere (for references, see L.S.J.⁹ as above), may mean ‘from memory’ or ‘by rote’. (In either case the girl is insincere the speaker knows it).