^{page 166 note 1} Detailed discussion in Wetzel, G., De Euripidis Fabula Satyrica, quae Cyclops inscribitur, cum Homerico comparata exemplo (Wiesbaden, 1965).Google Scholar

^{page 166 note 2} See (for literature) Duchemin, J., Euripide. Le Cyclope (Paris, 1945), x–xvGoogle Scholar, (for art) ibid., xxvii–xxviii.

^{page 166 note 3} As by Wieseler, F., Scenische und kritische Bemerkungen zu Euripides KyklopsGoogle Scholar, Abhandlungen der königlichen Gesellschaft der Wissenschaften zu Göttingen, Histor.-philolog. Klasse xxvii. 5 (1881), 1–37.

^{page 166 note 4} Aristias fr. 4 (Nauck²), Kratinos frs. 140–1 (Edmonds).

^{page 167 note 1} Thucydides, vi. 2.Google Scholar

^{page 167 note 2} For similar rocky décor cf. Sophocles' Ichneutae (n. 5 below) and (possibly) Aeschylus' Dictyulki: cf. Haas, M. Werre-De in Papyrologica Lugduno-Batava x (Leiden, 1961), 18.Google Scholar

^{page 167 note 3} 51–4. A ‘boulder’ was in fact used for a production in Ibadan: Pathmanathan, R. Sri, ‘A Playwright Relaxed or Overworked?’ Greece & Rome x (1963), 125.Google Scholar

^{page 167 note 4} The cave, in fact, replaces comic houses.

^{page 167 note 5} Sophocles, , Ichneutae 214Google Scholar (ed. Page, D. L., Greek Literary Papyri, i [1942]).Google Scholar

^{page 167 note 6} Even Odysseus can use words like σκαρδαμ⋯σσειν and χρ⋯μπτεσθαι (626).

^{page 167 note 7} Pollux, iv. 142.Google Scholar

^{page 167 note 8} e.g. 145, 194. So does Polyphemos, 229.

^{page 168 note 1} 169. Cf. Ion of Chios fr. 2 D³, 9; Aristophanes, , Eccles. 948.Google Scholar

^{page 168 note 2} e.g. Lysistrata 937.Google Scholar

^{page 168 note 3} There is an old problem of how the Sileni (who are horses) become fused with the Satyrs (who are goats).

^{page 168 note 4} Pollux, iv. 142.Google Scholar

^{page 168 note 5} BM 1947 7–14, 18: our Plate 6, which is reproduced by courtesy of the Trustees of the British Museum.

^{page 168 note 6} The blinding, of course, takes place inside the cave, and the figures on the krater (apart from Odysseus, p. 170) are naked.

^{page 168 note 7} Depending on the attribution of 664 (see under).

^{page 168 note 8} Duchemin, , op. cit. xvGoogle Scholar: cf., for example, his Skiron and Busiris. In Sophocles' Ichneutae (45) they seem to be in service to Apollo: but see Page, op. cit. 29.

^{page 168 note 9} 124; cf. 156. The variant ἄχαρις should be rejected.

^{page 169 note 1} The possibility of introducing sheep is firmly denied by Peter Arnott: see ‘The Overworked Playwright’, Greece & Rome, viii (1961), 167Google Scholar, and An Introduction to the Greek Theatre (London, 1959), 121–2.Google Scholar Sri Pathmanathan (art. cit. 125) can contemplate ‘an errant dummy sheep’. But dummies (cf. p. 173) may not be needed: Greek sheep (I am informed) are very docile.

^{page 169 note 2} Patterson, John, The Cyclops of Euripides (New York, 1900), at 36.Google Scholar

^{page 169 note 3} σὺν τᾷδε τρ⋯γου χλα⋯νᾳ μελ⋯ᾳ (80).

^{page 169 note 4} Anacreon fr. 168 B⁴.

^{page 169 note 5} Athenaeus 630 c.

^{page 169 note 6} On the question of ‘right’ and ‘left’ on the Greek stage see Handley's, E. W. edition of the Dyskolos (London, 1965), 128ff.Google Scholar

^{page 170 note 1} The number is assumed from Odyssey ix.Google Scholar

^{page 170 note 2} SirPickard-Cambridge, A., The Dramatic Festivals of Athens ², rev. Gould, John and Lewis, D. M. (Oxford, 1968), 180.Google Scholar

^{page 171 note 1} ξενικ⋯ν / κρε⋯ν κεχαρμ⋯νος βορᾷ. This is a national preference of the Cyclopes (126).

^{page 172 note 1} καταφυγα⋯ πολλα⋯ π⋯τρας (197).

^{page 172 note 2} Others prefer a derived sense ‘hurry on there’ (Simmonds, D. M. and Timberlake, R. R., Euripides, The Cyclops, Cambridge, 1927).Google Scholar

^{page 173 note 1} δασυμ⋯λλῳ ⋯ν αἰγ⋯δι κλινομ⋯νῳ (Reiske), MSS. καιν⋯μενα.

^{page 173 note 2} 21. Cf. 78–9, 459 (but ⋯μματα, 470, ⋯μμασιν, 511), 475, 627, 636, 648, κτλ.

^{page 173 note 3} Duchemin, , op. cit. xxvii.Google Scholar

^{page 173 note 4} 214. Note the chorus's ambiguous π⋯ρεστιν.

^{page 173 note 5} Duchemin, , op. cit. 102.Google Scholar For a possibly ‘dark red and shiny’ bald Silenos see Aeschylus, , Dictyulki 787 ff.Google Scholar (Haas, Werre-D, op. cit. 58).Google Scholar

^{page 174 note 1} 229.

^{page 174 note 2} ψε⋯δεσθ᾽ ἔγωγε τῷδε το⋯ ῾Ραδαμ⋯νθυος / μ⋯λλον π⋯ποιθα … (273–4).

^{page 174 note 3} Schmid, W., ‘Kritisches und Exegetisches zu Euripides' Kyklops’, Philologus lv (1896), 57 n. 10.Google Scholar

^{page 175 note 1} Wieseler, , op. cit.Google Scholar

^{page 175 note 2} 353–4, σ⋯ τ᾽, ὦ φαενν⋯ν ⋯στ⋯ρων οἰκ⋯ν ἕδρας / Ζε⋯ ξ⋯νν᾿.

^{page 175 note 3} ἄριστον at this period is a later meal than ‘breakfast’ (⋯κρ⋯τισμα): the Cyclops has not been in to lunch. Cf. Thucydides iv. 90.

^{page 175 note 4} Cf. 482 (in), 519 (out), 607 (in), 624 (out), 655 (in), 663 (out).

^{page 175 note 5} The text, unfortunately, is uncertain.

^{page 175 note 6} He has picked up the rhythm, however, from the satyrs (495 ff.): cf. their words (492 ff.).

^{page 175 note 7} This seems to be the underlying notion, though the text of 514ff. is doubtful.

^{page 175 note 8} Pickard-Cambridge, , op. cit. 125.Google Scholar

^{page 176 note 1} We are reminded of a cruder Betsy Prig and Sarah Gamp: ‘Drink fair, Betsy, drink fair.’

^{page 176 note 2} ⋯πολεῖς (558) means ‘you're killing me’ not (as in the Aristias fragment, p. 166 n. 4) ‘you're spoiling the wine’.

^{page 176 note 3} 589. There are precedents, even in tragedy, for crawling on all fours (e.g. Euripides, , Hecuba 1058).Google Scholar

^{page 177 note 1} Arnott, , art. cit. 169Google Scholar, Duchemin, , op. cit. xvii.Google Scholar

^{page 177 note 2} See p. 167 n. 3.

^{page 177 note 3} 599–607; cf. 350–5.

^{page 177 note 4} ⋯ν τῴ κινδυνε⋯σομεν (654). For this characteristic cowardice cf. Sophocles, , Ichneutae 111 ff., id.Google Scholar (?), Inachus 24 ff. (Page, 26)Google Scholar; and Haas, Werre-De, op. cit. 34.Google Scholar

^{page 178 note 1} Odyssey ix. 475 ff.Google Scholar

^{page 178 note 2} Sophocles, , Philoctetes 19.Google Scholar

^{page 178 note 3} Two at least were murdered (396–404).

^{page 178 note 4} The finale, in fact, will be something like that of Aristophanes' Wasps or Ecclesiazusae.