[Footnote 43: Megalartus, from μέγας, large, and ἄρτος, a loaf. Megalomazus, from μέγας, great, and μάζα, a barley-cake.] [Footnote 44: The cyathus held the twelfth part of a _sextarius_, which was about a pint; and the Romans who wished to preserve a character for moderation used to mix their wine in the proportion of _nine_ cyathi of water to _three_ of wine. Poets, who, according to Horace, were good for nothing till they were inebriated, reversed these proportions:— Tribus aut novem Miscentur cyathis pocula commodis. Qui Musas amat impares, Ternos ter cyathos attonitus petit Vates. Tres prohibet supra Rixarum metuens tangere Gratia, Nudis juncta sororibus.—_Hor._ iii. 19. 11.] [Footnote 45: The cottabus was a Sicilian game, much in vogue at the drinking-parties of young men in Athens. The simplest mode was when each threw the wine left in his cup so as to strike smartly in a metal basin, at the same time invoking his mistress's name. If all fell in the basin, and the sound was clear, it was a sign that he stood well with her. The basin was called κοτταβεῖον, the action of throwing ἀποκοτταβίζειν, and the wine thrown λάταγες, or λαταγή. The game afterwards became more complicated, and was played in various ways; sometimes a number of little cups (ὀξύβαφα) were set floating, and he who threw his cottabus so as to upset the greatest number, in a given number of throws, won the prize, which was also called κοτταβεῖον. Sometimes the wine was thrown upon a scale (πλάστιξ), suspended over a little image (μάνης) placed in water: here the cottabus was to be thrown so as to make the scale descend upon the head of the image. It seems quite uncertain what the word is derived from.—Vide L. & S. Gr. Eng. Lex. υ. κότταβος.] [Footnote 46: Schlegel gives a very different interpretation to this story. He says—"In Æschylus the tragic style is as yet imperfect, and not unfrequently runs into either unmixed epic or lyric. It is often abrupt, irregular, and harsh. To compose more regular and skilful tragedies than those of Æschylus was by no means difficult; but in the more than mortal grandeur which he displayed, it was impossible that he should ever be surpassed, and even Sophocles, his younger and more fortunate rival, did not in this respect equal him. The latter, in speaking of Æschylus, gave a proof that he was himself a thoughtful artist;—'Æschylus does what is right, without knowing it.' These few simple words, exhaust the whole of what we understand by the phrase, powerful working unconsciously." This is the comment of a man of real sense, learning, taste, and judgment.—_Dramatic Literature_, p. 95. (Bohn's Standard Library.)] [Footnote 47: This was a name given to Pericles by Aristophanes, Acharn. 531.] [Footnote 48: "Νάρθηξ, a tall umbelliferous plant, (Lat. _ferula_,) with a slight knotted pithy stalk, in which Prometheus conveyed the spark of fire from heaven to earth."—L. & S. Gr. Eng. Lex. in voc. νάρθηξ.]