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[8] Νάρκισσόν: see on 12 and 428. The narcissus was the peculiar flower of the Great Goddesses; cf. O. C. 683, Hesych. “Δαμάτριον: ἄνθος ὅμοιον ναρκίσσῳ”. The origin of the connexion is perhaps uncertain; at all events we may doubt whether it was due to etymology (“νάρκη” the numbness of death), as some suppose (Preller-Robert i.^{2} p. 760, Pater Greek Studies p. 103, 152). There may have been a later mystic explanation. The flower was certainly chthonian, being also sacred to the Eumenides (schol. l.c. from Euphor. fr. 43, Düntzer). It was planted on graves (Anth. Plan. App. 120). The narcissus was specially mentioned by Pamphos in his version of the rape: Paus.ix. 31. 9κόρην τὴν Δήμητρός φησιν ἁρπασθῆναι παίζουσαν καὶ ἄνθη συλλέγουσαν, ἁρπασθῆναι δὲ οὐκ ἴοις ἀπατηθεῖσαν ἀλλὰ ναρκίσσοις”. Pausanias' allusion to “ἴα” refers to the common tradition; Aus. Mir. 82, Diod.v. 3(the Sicilian version), Förster p. 31. On the violet see Cook in J. H. S. xx. p. 1 f.; he compares Bacchyl.iii. 2, for its connexion with Persephone, which, however, is not very clearly marked, although in later times it was distinctly funereal. In the hymn, attention is drawn to the narcissus, not to the violet, which is only one among a number of flowers. Later poets generally include it in their list of flowers in the “ἀνθολογία”; cf. Nicand. Georg. fr. 74. 60ὑάκινθον ἰωνιάδας τε χαμηλὰς

ὀρφνοτέρας, ἃς στύξε μετ᾽ ἄνθεσι Περσεφόνεια”; Ov. Met. v. 392aut violas aut candida lilia carpit”; Shakespeare Winter's Tale iv. 4. 116 f. violets dim.
ὃν φῦσε δόλον: cf. Il. 8.494 ὅν ποτ᾽ ἐς ἀκρόπολιν δόλον ἤγαγε”. καλυκώπιδι: this beautiful epithet is not found in Homer; cf. h. Aphr. 284, h. Dem. 420, and Orph. h. lxxxix. 2.

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