[97] Jenidscheh.
[98] Western Africa.
[99] Gumusch-dagh.
[100] According to Suidas, Daphnidas ridiculed oracles, and inquired of the oracle of Apollo, “Shall I find my horse?” when he had none. The oracle answered that he would find it. He was afterwards, by the command of Attalus, king of Pergamum, taken and thrown from a precipice called the Horse.
[101] The incursions of the Treres, with Cimmerians, into Asia and Europe followed after the Trojan war. The text is here corrupt. The translation follows the amendments proposed partly by Coraÿ, and partly by Kramer, τὸ δ’ ἑξῆς Ἐφεσίους.
[102] These innovations or corruptions were not confined to the composition of pieces intended for the theatre, but extended also to the manner of their representation, to music, dancing, and the costume of the actors. It was an absolute plague, which corrupted taste, and finally destroyed the Greek theatre. We are not informed of the detail of these innovations, but from what we are able to judge by comparing Strabo with what is found in Athenæus, (b. xiv. § 14, p. 990, of Bohn’s Classical Library,) Simodia was designated by the name of Hilarodia, (joyous song,) and obtained the name Simodia from one Simus, or Simon, who excelled in the art. The Lysiodi and Magodi, or Lysodia and Magodia, were the same thing, according to some writers. Under these systems decency appears to have been laid aside.
[103] Od. ix. 3.
[104] Aidin-Gusel-Hissar.
[105] The chain of mountains between the Caÿster and the Mæander, the different eminences of which bear the names of Samsun-dagh, Gumusch-dagh, Dsehuma-dagh, &c.