they produced a grandiose effect. Euripides used nearly the same number of forms in -wua,1 and some of them frequently. πέπλωμα, a more pretentious word than πέπλος, occurs in all three tragic poets, and is put in the mouth of Euripides by Aristophanes in a parody in Ach. 426 δυσπινή πεπλώματα "; cf. Témλos in 423. A few lines farther on in the Acharnians (432) the same character, the rag-stitcher Euripides (ὁ ῥακιοσυρραπτάδης), is made to employ ῥακώματα in the same position, the end of the line, and with the same tragic swagger. He had used in succession first the poetic λακίδας πέπλων (423), then πεπλώματα, and now ῥακώματα. ρακώματα, the poetic form of the homely word rags (þáкŋ 433, 438, šákia 412, 415) has the appearance of being a comic coinage, the tragic ending being added for the sake of bombast. It occurs nowhere else in the literature.

The sphere of use of forms in -evμa derived from verbs in-cứʊ and -evoμa may be defined with more exactness. Their great frequency in Euripides and rarity in Herodotus, Thucydides, and the orators are the striking facts about them. This becomes evident if one leaves out of account βούλευμα, κέλευ(σ)μα, στράτευμα, and τόξευμα, which are common in both poetry and prose, ἐπιτήδευμα and πολίτευμα, which are common in prose, and the familiar words πνεῦμα (πνέω), ῥεῦμα (ῥέω), χεῦμα (χέω). Then it appears that Aeschylus has 12 forms in -evua, Sophocles 9, and Euripides 38, while on the other hand Herodotus has no example, Thucydides uses only ἱκέτευμα, νεῦμα, and σκύλευμα, and of the orators only three have examples: Isocrates and the pseudoDemosthenes use παίδευμα, Aeschines αλαζόνευμα, and Demosthenes Tovýρevμa. Formations of this kind that had such a large and varied use in tragedy, Aristophanes felt free to take up

'Aeschylus has 34, Sophocles 21, and Euripides 28.

2 Cf. Nauck, Trag. graec. frag2., p. 443 and adesp. 42.

8

3 Cf. Oaλáμevμa (=0áλaμos) Eur. Bacch. 120, lyric passage; λárpevpa (=λάτρις) Tro. 1106, lyr. pas.; πόρθμευμα (=πορθμός) Aesch. Αg. 1558 lyr. pas.; γαμήλευμα (=γάμος) Cho. 625, lyr. pas.; κήδευμα (=κηδεστής) Soph. O. T. 85, Eur. Or. 477; #πрéoßevμa(=ñρeσßevrýs) Eur. Suppl. 173; kıvdúvevμa (=kívduvos) Soph. Ant. 42, O. C. 564, Eur. I. T. 1001; »úμßeνμa (=νύμφη) Eur. Tro. 420 ; ἄγνευμα (=αγνεία) Tro. 501 ; τύμβευμα (=τύμβος) Soph. Ant. 1220; σκώπευμα (=σκώψ) Aesch. fr. 79 ; θεράπευμα (=θεραπεία) Phoen. 1549, lyr. pas.; ǹyeμóvevμa (=nyeμwv) Phoen. 1492, lyr. pas.; τύρευμα (=τυρός) Εl. 496, Cycl. 162.

3

and employ for his own purposes. He has 16 forms in -evμa, some of them drawn from Euripides. iνμа 1 Th. 1066 comes from the beginning of the prologue of Euripides' Andromeda. It is probable that divevpa too in Th. 122 is taken from Euripides, for an ancient commentator on κρούματα 'Ασιάδος (120) reports that Aristophanes is here parodying the Erechtheus of Euripides, and the parody in all probability extends down to the words δινεύματα 2 Χαρίτων at the end of the sentence, cf. Nauck, Eur. fr. 370. There are, besides, other passages, e. g. vss. 110, 120, in Agathon's lyric dialogue that remind one of Euripides. A similar expression, Xapírov KηжеÚμата Av. 1100, may likewise have been drawn from some poetic source, compare Pindar's Xapíтwν кāпоν (O. 9, 40) and Stesichorus' words Χαρίτων δαμώματα καλλικόμων quoted by Aristophanes in Pac. 798. oμíλevμa3 found in Ran. 819 only is a direct reference to the poetry of Euripides, and, just as the long compounds ἱππολόφων, κορυθαίολα, φρενοτέκτονος, and ἱπποβάμονα (818-21) imitate the grandiose style of Aeschylus, so it is fair to assume that oμideúμara is meant to be an imitation of Euripidean phraseology. xópevμa Av. 746 is a word of which Euripides was fond, cf. Phoen. 655, H. F. 891, Bacch. 132, Ion 1474, El. 875, all lyric passages. On the other hand, xopeía occurs only once in Euripides, namely Phoen. 1265-the only place in tragedy, according to the Thesaurus-and here it is in iambic trimeter. Aristophanes' word is xopeía, even in choral passages, cf. Th. 956, 968, 980, 982, Ran. 336, 398, 1303. That there is parody in Av. 746 is most likely, since parodies both precede and follow, cf. Rossbach u. Westphal, Griech. Metrik3 2, 402, Nauck, Phryn. fr. 19, p. 725, and v. d. Sande Bakhuyzen, De Parod. P. 82.

There is something of tragic bombast in the long trailing words βωμολοχεύματα, ἀλαζονεύματα, τερατεύματα, and κοβαλικεύ

1A distinctly Euripidean word, cf. I. T. 1428, fr. 114.

'Cf. diveúw in Eur. Phoen. 792. Here as always in Euripides the poetic diveuw is in a lyric passage. Of the noun divn he is extremely fond. diveúμara is Bentley's generally accepted conjecture, supported by the scholiast's explanation ópxýμara, for diaveúμara of the MSS.

3

* σμιλεύματα ἔργων=ἐσμιλευμένα (σμιλευτὰ ἔργα. σμίλευμα is quoted from this passage by Poll. 7, 83.

'It is found first in Pratin. 1, 1.

para, none of them high, dignified, or serious words in meaning. They are all used in the plural by Aristophanes. The last occurs in Eq. 332 preceded by Tavovрyía and Opáσe. To these words Koßaλeía (Dinarchus) would have corresponded in form; but, if a less abstract word with the meaning 'knavish deeds' had been desired, then κόβαλα (Eq. 417) or κόβαλα έργα (Pherecr. 162) would have answered the purpose. The comic poet, however, preferred кoßaλikeúμara, a good verse-close, a word of imposing sound and length and formed with the suffix -pa, familiar in tragedy, to give it additional pretentiousness. Bwμodóɣevμa (Eq. 902, Pac. 748, cf. Eq. 1194), TepáteĽμa (Lys. 762, cf. Nub. 318), and åλačóvevμa (Ach. 63, 87, cf. Eq. 290, 903) are less common in the literature than the formations in - from these same stems,1 and, in general, more derivatives in a than in -μa are formed from the verbs in -evw and -evoμai of this class that denote the possession of some quality. It would be difficult to show the influence of Euripides upon the comic poet in the use of these four words or to give any evidence that Aristophanes even had him in mind when he used them. For, after all, nouns in -μa were not new-witness the three score and more of them in Homer, nearly as many in Pindar, and the goodly number found in inscriptions of the seventh, sixth, and following centuries—and, besides, they were perfectly natural and easily made formations. It must be remembered too that most verbs in -euw are of late origin, and that derivatives in -ua from these verbs would in consequence be slower to emerge. Yet the remarkable thing about Euripides' usage is that he employed substantives in -pa in a variety of meanings and in very great numbers, thus anticipating the development of the Greek language in a later age, as seen in the Koine; that he apparently created new words in -pa (Schirlitz implies that there were as many as 80 of these); that his free use of forms in -evua stands in striking contrast to their paucity in Herodotus, Thucydides, and the orators; and that the ratio

-μα

'A comparison of βωμολοχεύματα Eq. 902 with ἀλαζονείαι 903 and Owneiaι 890 shows that in the plural at least the forms in -μa and those in a have the same meaning, since "pluralizing abstract nouns makes them concrete", Gildersleeve, Syntax, §44. cf. Kühner-Gerth, Griech. Gram. 1, p. 16 f. Of the two sets of derivatives those in -ua are by nature nearer to concrete nouns than those in -a.

of the number of nouns in -evua in Euripides to the number of verbs in -euw and -evoua that he employs is very much greater than this ratio is in other Greek authors. The most that can be said, however, about the word ẞwμoλóɣevμa and the rest is that they are extended forms made after the Euripidean fashion, for Aristophanes himself acknowledged the influence of Euripides when he confessed that he borrowed the tragic poet's terseness or condensation of speech;1 but whether in the present instance this imitation was intentional or not is open to question.

χόρδευμα, ζώμευμα, and διεντέρευμα, are plainly comic coinages. Aristophanes made up the form xópdevμa in Eq. 315 (cf. fr. 591) in place of xopon (Ach. 1040, 1119, Nub. 455, fr. 461), partly no doubt for the purpose of getting a word that would more nearly correspond in form with κárrupa ('shoe-sole' 'rissole'). In like manner he formed wμeúμara in Eq. 279 as a substitute for Cwuós-a word that is prominent in the thought and conversation of the Sausage-seller, cf. 357, 1174, 1178— in order that it might more closely resemble Cúμara, i. e., ὑποζώματα, for which it was used παρὰ προσδοκίαν. Another word denoting a kind of food that was extended through the addition of the same ending is νωγαλεύματα (= νώγαλα) in Araros 8, cf. Aíxvevμa Sophron fr. 24 (Kaibel), owaμwpeúμaτa Pherecr. 230, Boμßvλeúμara adesp. 960, and κapúκevμа. Again, the suffix is used in the comic formation διεντέρευμα Nub. 166 (cf. ἐντερεύω) 'gutology', 'penetrative insight into the evrepov of the gnat'.

TRINITY COLLEGE, N. C.

CHARLES W. PEPPLER.

1TÒ OтPOYYÚλov, Ar. fr. 471, cf. schol. Plat. Apol. 19c: 'Apiσropávns κωμῳδεῖτο ἐπὶ τῷ σκώπτειν μὲν Εὐριπίδην, μιμεῖσθαι δ' αὐτόν.

VI. CONSTRUCTION OF COORDINATED WORDS IN THE PHILIPPINE LANGUAGES.1

INTRODUCTION.

In the Philippine languages, while many groups of coordi nated words are connected by a conjunction meaning 'and', that is, have a simple copulative construction, there are a number of constructions denoting the sum or coordination of two things that have in common the peculiarity that a word is first used indicating either the whole combination, or more than the whole combination, and this is then limited by a word denoting one of the members of the combination. For example, the expression 'John and his father' is expressed in Tagalog by magama ni Juan, magama being a noun meaning 'father and son', ni Juan meaning of John', literally 'father and son combination of John'.

Such constructions as this occur in many of the Philippine languages, probably originally in all. They may be divided into two classes, viz., (a) subtractive, those in which the first element denotes more than the whole; (b) explicative, those in which the first element denotes the whole combination.

The subtractive combinations may be exemplified in several Indo-European languages, e. g. German anderthalb, dritthalb: Latin undeviginti, duodeviginti; but so far as I know there is no correspondent to the explicative combinations in either IndoEuropean or Semitic.

Coordinated words in Philippine languages, therefore, have three types of construction. These will be considered in the following order, viz., subtractive, explicative, and copulative.

SUBTRACTIVE CONSTRUCTIONS.

The subtractive combinations are found chiefly in the numer als and in various measures. In expressing the numbers inter

'The languages discussed will be abbreviated as follows, viz.: Bik. = Bikol; Bon. Bontok Igorot; Ceb. = Cebuan (Bisayan); Hil. Hiliguayna (Bisayan); Iban. = Ibanag; Ilok. = Iloko; Nab. Nabaloi Igorot; Pamp. = Pampanga; Pang. = Pangasinan; Sam.-Ley. = Samaro-Leytean (Bisayan); Tag. = Tagalog.