ἀνά, ‘throughout it.’
 ‘And it [the vineyard] was set [or ‘bristled’] everywhere with poles of silver.’
 With κυανέην κάπετον understand “ἔλασσεν”, for the meaning of which cf. A 575, I 349.—“κύανος” was evidently used like the many-hued gold and the tin and the silver, for inlaying; it has been shown to have been a blue glass paste (cf. Schuchhardt, Schliemann's Excavations, pp. 117, 118).
 αὐτήν, the vineyard.
 φέρον, to the wine vat.ὕπο, ‘to its accompaniment’; the lyre accompanied his song.—The Linus song was a plaintive melody, upparently widely known in very early times. “Linos is the same as “Αἴλινος”, the refrain of the Phoenician lament (ai lênu, ‘woe to us’) which was introduced into Greece, where it was supposed to mean ‘Woe, Linos.’ Hence the mythical name, Linos. The lament was sung throughout the Semitie world by the women, ‘weeping for Tammuz’” (Sayee, Ancient Empires of the East, Herodotos, 1-111, p. 168). So much for the origin of the name. The meaning of the song to the Greeks themselves is more important. The Argive story (Pausanias, I, 43, 7; cf. II, 19, 8) ran that Linus was the son of Apollo and Psamathe, daughter of a king of Argos; the boy was exposed by his mother for fear of her father and was torn to pieces by shepherd dogs. The story symbolizes the tender bloom of nature which droops and dies before the glowing heat of Sirius, the dog-star. 571, 572. τοὶ δὲ κτλ., ‘while the others [youths and maidens] stamping the ground in unison accompanied the boy with song and plaintive cry, tripping with their feet.’
 χρυσοῖο, genitive of material.
 κόπρου, ‘cow-yard.’
 αὔτως, cf. B 342.
 δακέειν, ‘as to biting,’ infinitive of specification. The dogs, refusing to bite, were keeping out of the lions' way.