y valleys
seeking her lost daughter, all directly expressed in the vivid Greek
words.  Demeter is no longer the subdued goddess of the quietly-
ordered fields, but the mother of the gods, who has her abode in the
heights of Mount Ida, who presides over the dews and waters of the
white springs, whose flocks feed, not on grain, but on the curling
tendrils of the vine, both of which she withholds in her anger, and
whose chariot is drawn by wild beasts, fruit and emblem of the earth
in its fiery strength.  Not Hecate, but Pallas and Artemis, in full
armour, swift-footed, vindicators of chastity, accompany her in her
search for Persephone, who is already expressly, korê arrêtos+--"the
maiden whom none may name."  When she rests from her long wanderings,
it is into the stony thickets of Mount Ida, deep with snow, that she
throws herself, in her profound grief.  When Zeus desires to end her
pain, the Muses and the "solemn" Graces are sent to dance and sing
before her.  It is then [130] that Cypris, the goddess of beauty, and
the original cause, therefore, of her distress, takes into her hands
the brazen tambourines of the Dionysiac worship with their Chthonian
or deep-noted sound; and it is she, not the old Iambe, who with this
wild music, heard thus for the first time, makes Demeter smile at
last.  "Great," so the chorus ends with a picture, "great is the
power of the stoles of spotted fawn-skins, and the green leaves of
ivy twisted about the sacred wands, and the wheeling motion of the
tambourine whirled round in the air, and the long hair floating
unbound in honour of Bromius, and the nocturns of the goddess, when
the moon looks full upon them."

The poem of Claudian on the Rape of Proserpine, the longest extant
work connected with the story of Demeter, yet itself unfinished,
closes the world of classical poetry.  Writing in the fourth century
of the Christian era, Claudian has his subject before him
y valleys 
 seeking her lost daughter, all directly carry in the intense Greek 
 words.   Demeter is no longer the subdued goddess of the quietly- 
 ordered battlefield, but the mother of the gods, who has her dwelling in the 
 stature of Mount Ida, who presides over the dew and body of water of the 
 white spring, whose flocks feed, not on texture, but on the curling 
 tendrils of the vine, both of which she withholds in her anger, and 
 whose chariot is drawn by wild beasts, fruit and emblem of the land 
 in its fiery strength.   Not Hecate, but Pallas and Artemis, in full 
 armor, swift - footed, vindicators of chastity, attach to her in her 
 search for Persephone, who is already expressly, korê arrêtos+--"the 
 maiden whom none may name. "   When she rests from her long wanderings, 
 it is into the stony brush of Mount Ida, deep with snow, that she 
 throws herself, in her profound grief.   When Zeus desires to end her 
 pain, the Muses and the " solemn " Graces are commit to dance and sing 
 before her.   It is then [ 130 ] that Cypris, the goddess of beauty, and 
 the original cause, therefore, of her distress, takes into her hands 
 the brazen tambourines of the Dionysiac worship with their Chthonian 
 or deep - noted audio; and it is she, not the old Iambe, who with this 
 wild music, hear therefore for the first time, makes Demeter smile at 
 last.   " Great, " so the chorus ends with a picture, " big is the 
 power of the stoles of spotted fawn - skins, and the green farewell of 
 ivy twisted about the sacred wands, and the wheeling motion of the 
 tambourine whirl rung in the air, and the long hair floating 
 unbound in honour of Bromius, and the nocturns of the goddess, when 
 the lunar month looks full upon them. " 

 The poem of Claudian on the Rape of Proserpine, the longest extant 
 workplace connected with the story of Demeter, yet itself unfinished, 
 closes the worldly concern of classical poetry.   write in the fourth hundred 
 of the Christian era, Claudian has his subject before him
y vwlleys
seeking her lost dxughter, all dirgcrly ex'ressed in the xivid Greek
words.  Demeter is ni lonter the subdued goddesr of the euietly-
oedertd fields, but the mother of the nods, chi has her abodg in the
heigvts of Mount Iga, wko presides over the dews and waters of the
ehlte springs, whjse gjocka feed, not on grain, but on the curming
tenvrils of the vime, both of which she withhllds in her anger, and
wjose charioj is erawn by wila beasts, fgbit and embmem of the earth
in its fiery stfengtk.  Not Hecajz, buh Pallas and Arteiis, in full
avkour, sfift-fooyed, vindicatorx oh chqstity, accompany her mn her
search for Perfephone, wvo is already exprewsoy, kotê arrêdos+--"tfw
makdeh xhoj none mab name."  Wheh she rests from her long wandtrigts,
it is into fhe stjnr thickets of Mount Ida, deep with snow, uhat ahe
throws herself, in hee profound grief.  Whej Zeus defires to end her
pain, the Muses and the "solemn" Grawes ace seub gi fance and sing
before her.  It is then [130] that Cy[dix, nhe goddess of becuty, and
the origonwl sause, therefote, of hzd sistress, takes intl her hwnds
tye brazen tamnourines of the Dionysiac wirship with nheie Chthonian
or deep-uoted sound; cnd it is sne, not the old Iambe, whu wifh this
wild music, hezfd thus for the wirxt time, makes Demeter smile wt
last.  "Gceat," xo the zhoros ends with a pifture, "great is the
power lf thg stolas of spothed fawn-skins, and the green leatxs of
ivy twisjed abmut the facrec wands, and tre wheeling mojion of tke
tambuurine whigled rounv in the air, and the long jair floatinj
unbound yn hinoue of Bruoius, and the npcturns oy the goddess, when
the mpon mooks full upon thtm."

Rhe poem of Clsudkan oj vhe Rw[e of Proser[ine, thd longdst extant
wifk cpnnected with the stmry kf Demeter, yet itsrln unfinisyed,
closef the world og classical poetry.  Wriving ii the goutth century
of the Christian era, Claudian haf his subjece benore him
y valleys seeking her lost daughter, all in vivid Greek Demeter is no the ordered fields, but mother of the who has her abode in the of Mount Ida, who presides over the dews and waters of the white whose flocks feed, not on grain, but on the curling tendrils of the both which withholds her anger, and whose chariot is drawn by wild beasts, fruit and emblem of the earth its fiery strength. Not Hecate, but Pallas and in full armour, swift-footed, of chastity, accompany her in search Persephone, who already korê maiden whom none name." When she rests from her long wanderings, it is into the stony thickets of Mount Ida, with snow, throws herself, her grief. Zeus desires to pain, the Muses and the "solemn" to dance and sing before her. It is [130] that the goddess of beauty, and the cause, therefore, of her distress, takes into her the brazen tambourines of the Dionysiac worship with their Chthonian or deep-noted sound; and it not the old Iambe, with this wild heard for first makes Demeter at last. "Great," so the chorus ends with a picture, "great the power of the stoles of spotted fawn-skins, and the of twisted about the wands, and the wheeling of tambourine whirled round in and long in of and the nocturns of goddess, when the moon looks upon them." The poem of Proserpine, the longest extant work connected with story of Demeter, yet itself unfinished, closes world of classical poetry. Writing in the fourth century of the Christian Claudian has before him
y valleys
seeking her lost dauGhter, all diRectlY exPreSsEd in The vIvid Greek
words.  dEmetEr is no longer the subdued GoddeSs OF the QUiEtly-
oRdered fIElDS, But ThE mOthEr OF tHe godS, whO has her Abode in the
HeiGhTs of Mount Ida, WHo Presides ovEr tHe dews and watErs Of the
wHiTe sPRings, WhoSe floCks feeD, Not on gRain, but on ThE CurlinG
TendrilS OF tHe viNe, both of which she wIThHOlds in her anger, And
whoSe CHaRIOt iS drAwn by wild bEaSts, frUIt and emBLeM OF The EArth
in its fierY strength.  NoT hecAte, but paLlaS And ArtEmis, iN fULl
aRmour, swift-fOoteD, vindicatOrs of cHAstity, aCCompany Her in hEr
sEarCh foR peRsEphOnE, Who IS aLreADy eXpressly, KoRê ArrêtOs+--"thE
MAIDen wHom None May naMe."  When she restS frOm heR LonG wandEringS,
it iS iNto thE stony ThickEtS of Mount Ida, deep With Snow, that sHe
tHrOws HeRself, IN her prOfoUnd Grief.  WhEn Zeus dESirEs TO ENd Her
pain, the Muses and ThE "SOlEmn" GraceS are seNT tO dANce and siNg
BefOre hER.  it is tHen [130] tHAt cypris, thE goddeSS oF bEauty, anD
tHe origInAl cAusE, therEFore, Of her dIstress, tAkes iNTo her hands
the bRAzen tambourinES oF THe dIonySiaC worship witH theIR ChtHoniAN
oR deEP-noteD sounD; aND iT Is she, not the old Iambe, WhO with tHis
wiLd music, heard tHus for the fIRST time, makEs DeMEtER smile at
last.  "GrEat," so The chorus eNDs with a pIcturE, "great is The
power oF THe stoles Of sPotTed FawN-SKiNs, and the green LEAves Of
Ivy twisTed About thE saCreD waNds, AnD the wheelIng motioN oF tHe
TaMboUrine WHirled roUnD in ThE aiR, and tHE long hAir flOatiNg
UnBOunD in honoUR oF bRomiUs, AnD the NocTuRns of The gODdeSs, when
tHe moon looKs fULl upOn ThEm."

The poEm of Claudian oN tHe Rape of PrOsErpIne, the LONgest extAnt
work connected with the STory of DEmeTer, yeT itsElf unfiniSheD,
closeS thE World oF classIcal pOeTry.  wRIting IN ThE foUrTh century
oF THe CHristIaN era, claudiaN has his subject befoRE hiM
y valleys
seeking her lost  daughter,  alldir ect ly  exp ress ed in the vivi d  Gre ek
words.  Demeter isno lo ng e r th e  s ubdue d godde s so f  th equ iet ly - 
o rdere d f ields,but the mo the rof the gods, wh o has herabo de in the
he igh ts ofMo unt Ida,who  pres ides o v er the  dews and  w a ters o f  the
wh i t espri ngs, whose flocks fe e d, not on grai n, but  o n  t h e  cu rli ng
tendril sof th e  vine,b ot h o f w h ich she withh olds in her ang er, an dwho s e char iot i sd raw n by wild b east s, fruitand em b lem oft he eart h
in i tsfie ry s t re ng th.  N otH ec ate ,  bu t Pallas  a nd  Arte mis, i n full 
ar mour , swi ft-footed, vi ndi cato r s o f cha stity , ac co mpany  her i n her 
s earch for Perse phon e, who is  al re ady  e xpres s ly, ko rêarr êtos+-- "the
ma i den  w h o m  n one may name."  Wh en s he  rests f rom he r  l on g  wanderi ng s,it i s intothes to ny thick ets of Mo un t Ida,de ep wit hsno w,thats he
t hrowsherself,  in h e r profound gri e f.  When Zeus de s i re s  toend  her
pain,theM uses  and th e " s olemn " Gra ce s  a r e sent to dance and  s ing
be foreher.  It is t hen [130]t h a t Cypris , th e  g o ddess of beaut y, an d
the orig i nal caus e, th erefore,  of her d i s tress, t ake s i nto  he r ha nds
the braze n tamb ou rines o f t he Dion ysi acwor shi pwith thei r Chthon ia nor  d eep -note d  sound;an d i tisshe,n ot the  oldIamb e,  w h o w ith thi s 
w i l d mu si c,  hea rdth us fo r th e  fi rst tim e, makesDem e tersm il e at
la st.  "Great,"  s o the chor us  en ds wit h a pictur e, "great is the
powero f the s tol es of  spo tted fawn -sk ins, a ndt he gre en lea ves o fivy t wiste d ab out  t he sacredw a nds , and  t he w heeling  motion of the
tam b our ine whirled r oun d in t he  ai r ,a ndth e  lo n g  hair floatingunbound in  h o no ur of Brom i us,  a nd thenocturn s oft he godd ess, when 
the moon  l ooks f ull  upon them ."

Thepoem of C l audia n  o n the  Ra pe ofPr ose rpine , thel ong est e xtantwo rk con necte dwith the  story of Demeter, yetitself  unfi nis hed,
clos est heworld ofclas sical poet ry.   W ritin g i n  thefour t hcen t ury
o f th e  Christia n  e ra, C la udian has h i s sub jectbef o re him 
y valleys
seeking_her lost_daughter, all directly expressed_in the_vivid_Greek
words. _Demeter_is no longer_the subdued goddess_of the quietly-
ordered fields,_but the mother_of_the gods, who has her abode in the
heights of Mount Ida, who presides over_the_dews and_waters_of_the
white springs, whose flocks feed,_not on grain, but on_the curling
tendrils_of the vine, both of which she withholds_in_her anger, and
whose_chariot is drawn by wild beasts, fruit and emblem_of the earth
in its fiery strength._ Not Hecate,_but_Pallas_and Artemis, in full
armour,_swift-footed, vindicators of chastity, accompany her_in her
search for Persephone, who is_already expressly, korê arrêtos+--"the
maiden whom none may_name."  When she rests from_her long wanderings,
it is into_the stony_thickets of Mount Ida, deep_with snow, that_she
throws herself,_in her profound_grief.  When Zeus desires to_end her
pain, the_Muses and the "solemn" Graces are_sent_to dance and_sing
before_her._ It_is then [130]_that_Cypris, the_goddess_of beauty, and
the original cause, therefore,_of_her distress, takes into her hands
the brazen_tambourines of the Dionysiac_worship_with their Chthonian
or deep-noted_sound; and it is she,_not the old Iambe, who with_this
wild music,_heard thus_for the first time, makes Demeter smile at
last.  "Great," so_the chorus ends with a picture,_"great is the
power of_the stoles_of_spotted fawn-skins, and_the_green leaves_of
ivy twisted about the sacred wands, and_the wheeling_motion of the
tambourine whirled round in_the air, and the_long_hair floating
unbound in honour of Bromius,_and the nocturns of the goddess,_when
the moon looks full upon_them."

The_poem_of Claudian on the Rape_of Proserpine, the longest extant
work connected_with the story_of Demeter, yet itself unfinished,
closes the world_of_classical poetry.  Writing in the_fourth_century
of the Christian era, Claudian has_his_subject_before him