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ἰδού μ̓: this “μ̓” must depend on “ἰδού”: that after εὐοῖ depends on ἀναταράσσει, the shriek being here literally an ‘interjection.’

κισσός: the ivy was sacred to Dionysus, who is styled “κισσεύς” (Paus. 1. 31 § 6), “κισσοφόρος, κισσοχαίτης”, etc.: cp. Ovid Fasti 3. 767hedera est gratissima Baccho.” It was worn by bacchanals ( Eur. Bacch.81); though there seems to be no proof that it was worn, at least ordinarily, by tragic choreutae. Here, however, the Trachinian maidens imagine themselves to be bacchanals; the music of the “αὐλός” suggests the spell of the “κισσός”: and they speak as if the ivy on their brows was sending its mystic power through their whole frames, stirring them to the dance. Just so the laurel was the symbol of poetical inspiration.

βακχίανἅμιλλαν, the Bacchic competition of eager dancers, i.e., the swift dance itself. “ἅμιλλα” is oft. thus associated with eager speed: cp. O. C.1062ῥιμφαρμάτοις ἁμίλλαις”: El.861χαλαργοῖς ἐν ἁμίλλαις”: Ant.1065τρόχους ἁμιλλητῆρας.—ὑποστρέφων”, lit., ‘whirling a little’ (cp. “ὑποκινεῖν”): i.e., just beginning to set the dance in movement. Not, ‘bringing back.

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hide References (6 total)
  • Commentary references from this page (6):
    • Euripides, Bacchae, 81
    • Pausanias, Description of Greece, 1.31.6
    • Sophocles, Antigone, 1065
    • Sophocles, Electra, 861
    • Sophocles, Oedipus at Colonus, 1062
    • Ovid, Fasti, 3
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