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εἰδότες ἔργων...παραίνεσιν—note the triple antithesis in this sentence. For ἐκ πολλοῦ cf. ch. 67, 15. 2 ἡ ξύνοδος ἦν, Ἀργεῖοι—construction in accordance with the sense (πρὸς τὸ σημαινόμενον): cf. iv. 23, 2, τὰ περὶ Πύλον ἐπολεμε<*>το, Ἀθηναῖοι μέν κ.τ.λ. Poppo adds Tac. Hist. i. 19, patrum favor aderat, multi etc. ἐντόνως—only here in Thucydides, who does not use the adjective at all: Xen. Anab. vii. 5, 7, ἐντόνως ἁπῄτει τὸν μισθον. ὀργῇ—vii. 68, 1, ὀργῇ προσμίξωμεν. Jowett renders ‘with great fury and determination’. ὑπὸ αὐλητῶν—‘to the accompaniment of many fluteplayers stationed in the ranks according to custom’: cf. Xen. Hell. ii. 2, 23, τὰ τείχη κατέσκαπτον ὑπ̓ αὐλητρίδων: see also Liddell and Scott for the general use of the preposition to denote anything attendant. For νόμῳ the best manuscripts have νόμου, and two have ὁμοῦ. νόμου may be retained in the sense of tune (see ch. 68, 18) as governed by ὑπό: but ἐγκαθεστώτων would thus stand rather awkwardly by itself. Arnold cites Hdt. vi. 60, to show that the flute-players were a separate caste in Sparta as they were in Egypt.
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