P. 100, l. 471, These emblems.]—There were generally associated with mysteries, or special forms of worship, certain relics or sacred implements, without which the rites could not be performed. Cf. Hdt. vii. 153, where Telines of Gela stole the sacred implements or emblems of the nether gods, so that no worship could be performed, and the town was, as it were, excommunicated.
P. 103, ll. 493 ff., The soldiers cut off the tress.]—The stage directions here are difficult. It is conceivable that none of Pentheus' threats are carried out at all; that the God mysteriously paralyses the hand that is lifted to take his rod without Pentheus himself knowing it. But I think it more likely that the humiliation of Dionysus is made, as far as externals go, complete, and that it is not till later that he begins to show his superhuman powers.
P. 104, l. 508, So let it be.]—The name Pentheus suggests 'mourner,' from penthos, 'mourning.'
P. 105, l. 519, Acheloüs' roaming daughter.]—Acheloüs was the Father of all Rivers.
P. 107, l. 556, In thine own Nysa.]—An unknown divine mountain, formed apparently to account for the second part of the name Dionysus.
P. 107, l. 571, Cross the Lydias, &c.]—These are rivers of Thrace which Dionysus must cross in his passage from the East, the Lydias, the Axios, and some other, perhaps the Haliacmon, which is called "the father-stream of story."
P. 108, l. 579, A Voice, a Voice.]—Bromios, the God of Many Voices—for, whatever the real derivation, the fifth-century Greeks certainly associated the name with βρέμω, 'to roar'—manifests himself as a voice here and below (p. 136).
Pp. 109-112, ll. 602-641, Ye Damsels of the Morning Hills, &c.]—This scene in longer metre always strikes me as a little unlike the style of Euripides, and inferior. It may mark one of the parts left unfinished by the poet, and written in by his son. But it may be that I have not understood it.
P. 118, ll. 781 ff., Call all who spur the charger, &c.]—The typical 'Ercles vein' of the tragic tyrant.
Pp. 120-124, ll. 810 ff.—This scene of the 'hypnotising'—if one may use the word—of Pentheus probably depends much on the action, which, however, I have not ventured to prescribe. Pentheus seems to struggle against the process all through, to be amazed at himself for consenting, while constantly finding fresh reasons for doing so.