9 His infernal mouth.]—Ver. 76. ‘Stygio’ means ‘pestilential as the exhalations of the marshes of Styx.’
10 Form of a dragon.]—Ver. 98. This came to pass when, having been expelled from his dominions by Zethus and Amphion, he retired to Illyria, and was there transformed into a serpent, a fate which was shared by his wife Hermione.
11 With painted cones.]—Ver. 108. The ‘conus’ was the conical part of the helmet into which the crest of variegated feathers was inserted.
12 When the curtains.]—Ver. 111. The ‘Siparium’ was a piece of tapestry stretched on a frame, and, rising before the stage, answered the same purpose as the curtain or drop-scene with us, in concealing the stage till the actors appeared. Instead of drawing up this curtain to discover the stage and actors, according to our present practice, it was depressed when the play began, and fell beneath the level of the stage; whence ‘aulæa premuntur,’ ‘the curtain is dropped,’ meant that the play had commenced. When the performance was finished, this was raised again gradually from the foot of the stage; therefore ‘aulæa tolluntur,’ ‘the curtain is raised,’ would mean that the play had finished. From the present passage we learn, that in drawing it up from the stage, the curtain was gradually displayed, the unfolding taking place, perhaps, below the boards, so that the heads of the figures rose first, until the whole form appeared in full with the feet resting on the stage, when the ‘siparium’ was fully drawn up. From a passage in Virgil’s Georgics (book iii. l. 25), we learn that the figures of Britons (whose country had then lately been the scene of new conquests) were woven on the canvas of the ‘siparium,’ having their arms in the attitude of lifting the curtain.
13 Echion.]—Ver. 126. The names of the others were Udeus, Chthonius, Hyperenor, and Pelor, according to Apollodorus. To these some added Creon, as a sixth.
14 Mars and Venus.]—Ver. 132. The wife of Cadmus was Hermione, or Harmonia, who was said to have been the daughter of Mars and Venus. The Deities honored the nuptials with their presence, and presented marriage gifts, while the Muses and the Graces celebrated the festivity with hymns of their own composition.
15 So many sons.]—Ver. 134. Apollodorus, Hyginus, and others, say that Cadmus had but one son, Polydorus. If so, ‘tot,’ ‘so many,’ must here refer to the number of his daughters and grandchildren. His daughters were four in number, Autonoë, Ino, Semele, and Agave. Ino married Athamas, Autonoë Aristæus, Agave Echion, while Semele captivated Jupiter. The most famous of the grandsons of Cadmus were Bacchus, Melicerta, Pentheus, and Actæon.
16 Before his death.]—Ver. 135. This was the famous remark of Solon to Crœsus, when he was the master of the opulent and flourishing kingdom of Lydia, and seemed so firmly settled on his throne, that there was no probability of any interruption of his happiness. Falling into the hands of Cyrus the Persian, and being condemned to be burnt alive, he recollected this wise saying of Solon, and by that means saved his life, as we are told by Herodotus, who relates the story at length. Euripides has a similar passage in his Troades, line 510.
17 The Hyantian youth.]—Ver. 147. Actæon is thus called, as being a Bœotian. The Hyantes were the ancient or aboriginal inhabitants of Bœotia.
18 Gargaphie.]—Ver. 156. Gargaphie, or Gargaphia, was a valley situate near Platæa, having a fountain of the same name.
19 Crocale.]—Ver. 169. So called, perhaps, from κεκρύφαλος, an ornament for the head, being a coif, band, or fillet of network for the hair called in Latin ‘reticulum,’ by which name her office is denoted. The handmaid, whose duty it was to attend to the hair, held the highest rank in ancient times among the domestics.
20 Nephele.]—Ver. 171. From the Greek word νεφέλη, ‘a cloud.’
21 Hyale.]—Ver. 171. This is from ὕαλος, ‘glass,’ the name signifying ‘glassy,’ ‘pellucid.’ The very name calls to mind Milton’s line in his Comus—
‘Under the glassy, cool, translucent wave.’
22 Rhanis.]—Ver. 171. This name is adapted from the Greek verb ῥαίνω, ‘to sprinkle.’
23 Psecas.]—Ver. 172. From the Greek ψεκὰς, ‘a dew-drop.’
24 Phyale.]—Ver. 172. This is from the Greek φιαλὴ, ‘an urn.’
25 Took up water.]—Ver. 189. The ceremonial of sprinkling previous to the transformation seems not to have been neglected any more by the offended Goddesses of the classical Mythology, than by the intriguing enchantresses of the Arabian Nights’ Entertainments; as the unfortunate Beder, when under the displeasure of the vicious queen Labè, experienced to his great inconvenience. The love for the supernatural, combined with an anxious desire to attribute its operations to material and visible agencies, forms one of the most singular features of the human character.
26 Autonoëian.]—Ver. 198. Autonoë was the daughter of Cadmus and Hermione, or Harmonia, and the wife of Aristæus, by whom she was the mother of Actæon. We may here remark, that in one of his satires, Lucian introduces Juno as saying to Diana, that she had let loose his dogs on Actæon, for fear lest, having seen her naked, he should divulge the deformity of her person.
27 Melampus.]—Ver. 206. These names are all from the Greek, and are interesting, as showing the epithets by which the ancients called their dogs. The pack of Actæon is said to have consisted of fifty dogs. Their names were preserved by several Greek poets, from whom Apollodorus copied them; but the greater part of his list has perished, and what remains is in a very corrupt state. Hyginus has preserved two lists, the first of which contains thirty-nine names, most of which are similar to those here given by Ovid, and in almost the same order; while the second contains thirty-six names, different from those here given. Æschylus has named but four of them, and Ovid here names thirty-six. Crete, Arcadia, and Laconia produced the most valuable hounds. Melampus, ‘Black-foot,’ is from the Greek words μέλας, ‘black,’ and ποῦς, ‘a foot.’
28 Ichnobates.]—Ver. 207. ‘Tracer.’ From the Greek ἰχνὸς, ‘a footstep,’ and βαίνω,