Illustrate the force of παρα in composition: state the uses of αρα with its consequent variation of quantity: explain the formation and meaning of the 3rd future: and give the force of adjectives in ιμος. IX. Explain the religious system of Æschylus, and illustrate from the Agamemnon his ideas of φθόνος and ἄτη. With what propriety has Eschylus been termed the poet of the imagination, Sophocles the poet of the feelings, and Euripides the poet of reality? WEDNESDAY, 16TH FEB., 2 TO 5 P.M. GREEK. R. C. W. RABAN, M.A. Translate into English. Ι. (α) οὕτω δ ̓ Ατρέως παῖδας ὁ κρείσσων Τρωσὶ θ ̓ ὁμοίως. ἔστι δ ̓ ὅπη νῦν ὀργὰς ἀτενεῖς παραθέλξει. ἰσόπαιδα νέμοντες ἐπὶ σκήπτροις ἰσόπρεσβυς, Αρης δ' ουκ ἔνι χώρα, κατακαρφομένης, τρίποδας μὲν ὁδοὺς M στείχει, παιδὸς δ ̓ οὐδὲν ἀρειων, ΚΑΣΑΝΔΡΑ. (6) μάντις μ' 'Απόλλων τῷδ ̓ ἐπέστησεν τέλει ΧΟΡΟΣ. μῶν και θεός περ ἱμέρῳ πεπληγμένος, ΚΑΣΑΝΔΡΑ. προτοῦ μὲν αἰδώς ἦν ἐμοι λέγειν τάδε. ΧΟΡΟΣΕ ἁβρύνεται γὰρ πᾶς τις εὖ πράσσων πλέον. ΚΑΣΑΝΔΡΑ. ἀλλ ̓ ἦν παλαιστής, κάρτ ̓ ἐμοῦ πνέων χάριν. ΧΟΡΟΣ. ἢ καὶ τέκνων εἰς ἔργον ἤλθετον νόμῳ ; ΚΑΣΑΝΔΡΑ. ξυναινέσασα Λοξίαν ἐψευσάμην. ΧΟΡΟΣ. ἤδη τέχναισιν ἐνθέοις ᾑρημένη, ΚΑΣΑΝΔΡΑ. ἤδη πολίταις πάντ ̓ ἐθέσπιζον πάθη. ΧΟΡΟΣ. πῶς δῆτ ̓ ἄνατος ἦσθα Λοξίου κότῳ, ΚΑΣΑΝΔΡΑ. ἔπειθον οὐδέν, οὐδέν, ὡς, τάδ' ἤμκλακον· ΧΟΡΟΣ. ἡμῖν γε μὲν δὴ πιστὰ θεσπίζειν δοκεῖς. (ε) τὸ μὲν γυναῖκα πρῶτον ἄρσενος δίχα II. (a) ἐπειδὴ δὲ σιγᾷς, ὅτι μὲν ἀπορεῖς, συγγνώμην ἔχω σοι, ἃ δὲ τότ ̓ ἔλεγες, ἐγὼ νῦν λέξω. οὐ μέμνησθε αὐτοῦ τὰ μιαρὰ καὶ ἀπίθανα ῥήματα, ἃ πῶς ποθ ̓ ὑμεῖς ὦ σιδήρεοι ἐκαρτερεῖτε ἀκροώμενοι ; ὅτ' ἔφη παρελθὼν “ ἀμπελουργοῦσι τινες τὴν πόλιν, ἀνατετμήκασι τινες τὰ κλήματα τοῦ δήμου, ὑποτέτμηται τὰ νεῦρα τῶν πραγμάτων, φορμορρας φούμεθα, ἐπὶ τὰ στενά τινες ὥσπερ τὰς βελόνας διείρουσι.” ταῦτα δὲ τί ἐστιν, ὦ κίναδος; ῥήματα ἤ θαύματα; καὶ πάλιν ὅτε κύκλῳ περιδινῶν σεαυτὸν ἐπὶ του βήματος ἔλεγες ὡς ἀντιπράττων ̓Αλεξάνδρῳ 66 ὁμολογω τα Λακωικὰ συστῆσαι, ὁμολογω Θετταλοὺς καὶ Περραιβοὺς ἀφίστάναι σὺ γὰρ ἄν κώμην ἀποστήσαις; σὺ γὰρ ἂν προσέλθοις μὴ ὅτι πρὸς πόλιν, ἀλλὰ πρὸς οἰκίαν ὅπου κίνδυνος πρόσεστιν ; ἀλλ ̓ εἰ μέν που χρήματα ἀναλίσκε ται, προσκαθιζήσει, πρᾶξιν δὲ ἀνδρὸς οὐ πράξεις· ἐὰν δ ̓ αὐτόματόν τι συμβῇ, προσποιήσῃ και σαυτὸν ἐπι τὸ γεγενημένον ἐπιγράψεις· ἄν δ ̓ ἔλθῃ φόβος τις, ἀποδράσῃ· ἐὰν δὲ θαρρήσωμεν, δωρεὰς αἰτήσεις και χρυσοῖς στεφάνοις στεφανοῦσθαί. (b) Οταν τοίνυν, ὦ Αθηναῖοι, ὁ μέν νομοθέτης ἀρχὰς ὀνομάζῃ, οὗτοι δὲ προσαγορεύωσι πραγματείας καὶ ἐπιμελείας, ὑμέτερον ἔργον ἐστὶν ἀπομνημονεύειν καὶ ἀντιτάττειν τὸν νόμον πρὸς τὴν τούτων ἀναίδειαν, καὶ ὑποβάλλειν αὐτοῖς ὅτι οὐ πσοσδέχεσθε κακοῦργον σοφιστὴν οἰόμενον ῥήμασι τοὺς νόμους ἀναιρήσειν, ἀλλ ̓ ὅσῳ ἄν τις ἄμεινον λέγῃ παράνομα γεγραφώς, τοσούτῳ μείζονος ὀργῆς τεύξεται. χρὴ γὰρ ὦ Αθηναῖοι τὸ αὐτὸ φθέγγεσθαι τὸν ῥήτορα καὶ νόμον· ὅταν δὲ ἑτέραν μὲν φωνὴν ἀφιῇ ὁ νόμος ἑτέραν δὲ ὁ ῥήτωρ, τῷ τοῦ νόμου δικαίῳ χρὴ διδόναι τὴν ψῆφον, οὐ τῇ τοῦ λέγοντος ἀναισχυντίᾳ. ΙΙΙ. (α) σὲ τὸν σοφιστήν, τὸν πικρῶς ὑπέρπικρον, πορόντα τιμάς, τὸν πυρὸς κλέπτην λέγω· (6) Καίτοι πολλοὶ παρ ̓ ὑμῖν, ἄνδρες Αθηναῖοι, γεγόνασι ῥήτορες ἔνδοξοι καὶ μεγάλοι πρὸ ἐμοῦ, Καλλίστρατος ἐκεῖνος Αριστοφῶν, Κέφιος, Θρασύβουλος ἕτεροι μυρίοι· ἀλλ ̓ ὅμως οὐδεὶς πώποτε τούτων διὰ παντὸς ἔδωκεν ἑαυτὸν εἰς οὐδὲν τῇ πόλει, ἀλλ ̓ ὁ μὲν γράφων οὐκ ἄν ἐπρέσβευσεν, ὁ δὲ πρεσβεύων οὐκ ἄν ἔγραψεν. ὑπέλειπε γράφων ἕκαστος ἑαυτῷ ἅμα μὲν ῥαστώνην, ἅμα δ', εἴ τι γένοιτ', ἀναφοράν. τί οὖν ; εἴποι τις ἄν, σὺ τοσοῦτον ὑπερῆρας ῥώμῃ καὶ τὸλμῃ ὥστε πάντα ποιεῖν αὐτὸς ; οὐ ταῦτα λέγω, ἀλλ ̓ οὕτως ἐπεπείσμην μέγαν εἶναι τὸν κατείλη φότα κίνδυνον τὴν πόλιν, ὥστ ̓ οΰκ ἐδόκει μοι χώραν οὐδὲ πρόνοιαν οὐδεμίαν τῆς ἰδίας ἀσφαλείας διδόναι, ἀγαπητὸν εἶναι, εἰ μηδὲν παραλείπων τις ἃ δεῖ The death of Nelson was felt in England as something more than a public calamity: men started at the intelligence, and turned pale; as if they had heard of the loss of a dear friend. An object of our admiration and affection, of our pride and of our hopes, was suddenly taken from us; and it seemed as if we had never, till then, known how deeply we loved and reverenced him. What the country had lost in its great naval hero-the greatest of our own and of all former times-was scarcely taken into the account of grief. So perfectly, indeed had he performed his part, that the maritime war, after the battle of Trafalgar, was considered at an end: the fleets of the enemy were not merely defeated, but destroyed: new navies must be built, and a new race of seamen reared for them, before the possibility of their invading our shores could again be contemplated. It was not, therefore, from any selfish reflection upon the magnitude of our loss that we mourned for him the general sorrow was of a higher character. WEDNESDAY, 16TH FEB., 10 A.M. TO 1 P.M. LATIN: GRAMMAR, &c. R. C. W. RABAN, M.A. I. Denique tanto opere in dubiis trepidare periclis posteraque in dubiost fortunam quam vehat aetas, nec prorsum vitam ducendo demimus hilum Write the above passage in Latin prose, changing archaic forms and unusual words into those used by Cicero. II. Mention the peculiarities of style which are met with in Tacitus, and examine his character of the Emperor Tiberius. Narrate the chief events recorded in the IIIrd Book of the Annals. III. Distinguish solus, singularis, unicus; dulcis, jucundus, amænus; deinde, proinde: ferus, immanis, ferox: hostis, inimicus; timeo, metuo: and state when unus can be used with a plural. Give the root meaning of atrox, and interpret its use in the phrases— atrox prælium, atrox sævitiæ exemplum, Agrippina semper atrox, ingruebat nox nimbo atrox, derive proavus, atavus, desidero, mobilitate, succedere, repertores. IV. Write short notes grammatical or illustrative on the following passages. (a) Romana civitas olim data, cum id rarum, nec nisi virtuti (b) Viginti clarissimarum familiarum imagines antelatæ sunt, (d) Bibulus hominum admiratione et benevolentia in caelo est; |