[10\7: Ar., _Tagenist. fr._ 488, 9: ~dia\ tau=ta ga/r toi kai\ kalou=ntai (hoi ne/kroi\) maka/rioi; pa=s ga\r le/gei tis, _ho makari/tês_ oi/chetai ktl., makari/tês~, then, was already, by that time, a common expression for the dead which had lost its full sense and value, just like the German "selig" (which is borrowed from Greek). Strictly speaking it means a condition approaching the existence of the ~ma/kares theoi\ aie\n eo/ntes~. The full meaning still appears in the appeal to the heroized Persian monarch: ~makari/tas _isodai/môn_ basileu/s~, Aesch., _Pers._ 633 (~nu=n d' esti\ ma/kaira dai/môn~, E., _Alc._ 1003); cf. also Xen., _Ages._ xi, 8, ~nomi/zôn tou\s eukleô=s teteleutêko/tas makari/ous~. Such passages allow us to see that ~maka/rios, makari/tês~ were not used of the dead in any sense ~kat' anti/phrasin~, as ~chrêsto/s~ sometimes is (Plu., _Q. Gr._ v, p. 292 B; though on grave inscr. it is generally meant in its proper sense); cf. ~eukrinê/s~, Phot. Suid. ~makari/tês~ frequently occurs as applied to one lately dead in late writers: see Ruhnken, _Tim._, p. 59. Lehrs, _Popul. Aufs_^2., p. 344. Doric form ~zameri/tas~: Phot. ~makari/tas~. _~makari/a~_ "Blessedness", the land of the Blessed, i.e. the dead, is only used in a humorous sense in such phrases as ~a/pag' es makari/an~ (Ar. _Eq._ 1151), ~ba/ll' es makari/an~. So, too, is ~_es olbi/an_. hôs eis makari/an; to\ eis ha/|dou~, Phot. (~makari/a~, the name of a sacrificial cake--Harp. ~neê/lata~--occurs in modern Greek usage as a cake used at funerals, Lob., _Agl._ 879).] [11\7: The punishment of Ixion for his ingratitude to Zeus consisted according to the older form of the story in his being fastened to a winged wheel and then being whirled through the air. That Zeus ~etarta/rôsen~ him (Sch. Eur., _Ph._ 1185) must then be a later story or one which did not become current till later: not until A.R. iii, 61 f., is there any mention of Ixion in Hades, though after him frequently; cf. Klügmann, _Annali d. Inst._, 1873, pp. 93-5. (The analogy with the punishment of Tantalos and its displacement from the upper world to Hades is obvious; see Comparetti, _Philol._ 32, 237.)] [12\7: Aesch., _Eum._ 273 f.; cf. _Supp._ 230 f. The fact that in this passage the poet says ~ekei= dika/zei ta\mplakê/math', _hôs lo/gos_, Zeu\s a/llos~ simply shows that he is not simply following his own ideas in this fancy of a judgment in the other world (~ouk emo\s ho mu=thos~). It does not in the least suggest (as Dieterich, _Nek._ 126, seems to think) that he is reproducing popular tradition or could be so doing. Only theological doctrines, at that time at least, knew anything of such a judgment in the future life upon the deeds of this: it is _their_ ~lo/gos~ that Aesch. is following (in this one point). See below, p. 425.]