gt Ee ree a Pg pl AES aE Ἂς : a gh Reo a ne ᾿ 2 i ae ἣ tw δ a A ὦ" ᾿ ἊΣ ὧς πα eee νι a mee A OOF τς et UNC eN a4 ὧν v4 ben ἐξ 4G a VAY ὧν τι ee eee Wy rhe Τί ΣΌΣ δ + ὁ τ΄ 41 4755 πὸ St hs SIMS Vay. a 48. Τὰ ees ὁ ἢ sino Pye Na eA er ee - Ft ~ Se na ae a ΡΣ, : TENE SPL Σ 44, Wired So oman ore ee ee Fa ν a, ~~ δι - ~ », γ' “ Ae me τ: ay oh ee a ν᾿ nn Paes eae - τ Σ τῶ, οἷς eS ον A ie ς. eee A inn ae pla te, a eg TY ots THE UNIVERSITY OF ILLINOIS LIBRARY From the library of Marian EH. Sparks 98 Purchased, 1929 - 8Ss/ Azqgm cop. DS ** "7 » 3 “-ς ἀν 4 at Ὡς Pete THE PROMETHEUS BOUND OF ASCHYLUS WITH NOTES AND AN INTRODUCTION BY sot de AMS DAN AMHERST COLLEGE SIXTH EDITION. Boston ALLYN AND BACON 1893 Copyright, 1888, | By JoHN ALLYN. a [5] as a Ὁ ΗΒ Lend [7] — ΒΑ a > » a » 8 < Zi ο [7] a Ξ z a [9] ON a PREFACH. Tus book has been prepared for learners. The wants of the student, who often begins the study of the Greek drama with this play, have determined the kind of assist- ance furnished both in the Introduction and the Notes. This is the reason for the insertion of that part of the Introduction treating of the representation of Greek plays, for the numerous references to the Grammar scattered through the Notes, and for various other explanations not required by the mature scholar. In the interpretation of the text there is no claim to originality. Brevity and conciseness of rendering have been chiefly sought. The best editions have been used and freely followed, care being taken to give due credit where the language used or view adopted is that of any single editor. As the lexicon is peculiarly rich in its quo- tations from this play, the student is often referred there for the proper meaning. Very few examples from other authors have been used, the play being chiefly illustrated from itself. 676803 iv PREFACE. The text adopted is mainly that of Dindorf. Devia- tions from this have been noted where they occur, and in disputed passages the views of leading editors have been presented. By an arrangement of the publisher, and with my cordial approval, the Metrical Scheme has been prepared by Professor A. W. Goutp, of Olivet College, who has also arranged the lyrical parts of the Greek text. Obli- gation is also gratefully acknowledged to Mr. L. H. ELWELL, Instructor in Greek in this College, for assist- ance in examining the proofs of the Notes. Corrections or suggestions from any one using the book will be gratefully appreciated. In this edition, a plan of the Dionysiac theatre, as exca- vated, has been inserted in addition to the general plan of a Greek theatre given in the first issue. The added diagram is substantially a copy of Ziller’s carefully prepared map, and is accompanied by some details of the structure obtained from recent measurements. This has necessitated a revision of a part of the Introduction, which it is hoped may prove of ad- vantage to the student. Some changes have been made in the Notes also, which will appear as the book is used. My thanks are clue to all who, either by suggestion or criticism, have helped me to improve it. Roe. AMHERST COLLEGE, June, 1884. INTRODUCTION. I. AESCHYLUS. THE facts known to us of the life of Aeschylus? are few, and what we have are so interwoven with fables that it is well-nigh impossible wholly to unravel them. Then, too, some of these stories are so plausible and charming that it is not pleasant to separate them from their surround- ings and subject them to too rigid criticism. We prefer to enjoy them as we find them, even though we may not believe them to be true. He was born at Eleusis, a deme of Attica, about twelve miles from Athens. The town was built over a height, close to the sea, opposite the island of Salamis, and was consecrated to the sacred Eleusinian mysteries. His father, Euphorion, was a Ku- ; 1 The leading authorities for the life of Aeschylus are the Parian Chronicle, the Bios Αἰσχύλου, prefixed to the Medicean MSS., the Frogs of Aristophanes, Suidas’ Lexicon, and stray allusions of Athenaeus and other writers. Where no special reference is given, the Bios Αἰσχύλου is the authority. ; The name Αἰσχύλος is a diminutive of αἰσχρός, and thus means an ill-favored child. This would seem to imply some physical de- formity, or perhaps it refers to that harshness of temper to which he was subject. vil INTRODUCTION. patrid, one of those noble old families of Attica who were proud of their birth and exclusive in their taste, and was perhaps connected, as a priest, with the worship of Deme- ter; and to these moulding influences we can trace the aristocratic spirit and profound religious character of the poet. The education of Aeschylus was unquestionably as complete as the age furnished, and though more old fash- ioned than the rhetorical and dialectic training which were the admiration of a later age, it ably prepared him for his work. What that education was we are vividly told by Aristophanes ;1 and, while somewhat severe, the kind of men it made and the work they did attest its worth. Bodily vigor, mental purity, manliness, reverence for age, and patriotism, were most earnestly taught, and for the best results they are essential still. After he had passed the rudimentary stage, the great source of his literary inspiration he found in the poems of Homer. These he studied, enjoyed, and absorbed so thoroughly as to declare that his tragedies were only ‘slices from the great banquet of Homer.”* He began to write early, for Pau- sanias? says that when a boy asleep in a vineyard Dionysus appeared to him and told him to devote him- self to tragedy. At the age of twenty-five he competed with Choerilus and Pratinas, but unsuccessfully. In 490 B. ©., at the age of thirty-five, he fought with such bravery and success at Marathon that his deeds were commem- orated in a descriptive painting in the theatre at Athens.* At Salamis and Artemisium® he was also prominent, but evidently regarded his connection with these engagements 1 Clouds, 923-998. 2 Athenaeus, x. p. 488 ἃ 3 Pans. 1,,21, 2. 4 -Paus, 4, 214. 5 Paus. 1, 14, 4, INTRODUCTION. vl as less praiseworthy ; for in the epitaph which he com- posed for his own tomb he referred only to his prowess at Marathon. He reached ripe manhood before securing the distinction of a tragic victory, which was first gained in 485 B.c., at the age of forty. He was past fifty before the earliest of his extant plays, the Persae, was given ; for it was in 472 B. ©., that he gained the prize with the trilogy of which this was one part. His success as a tragic writer was chiefly gained in the sixteen years be- tween 484 and 468 8. ο.. and during this period he won _thirteen victories. Seventy plays of his seem to have been known to the ancients; and probably this number embraces only the tragedies, and does not include the satyric dramas, of which there were several.? The titles to seventy-cight plays are known, of which more than sixty seem genuine,® and Suidas makes the number ninety. It was his habit at each contest to bring forward three tragedies, followed, usually, by a satyric drama, also of his composition. In this he undoubtedly conformed to a custom which had grown up with the earlier poets. He took a step beyond them, however, in that his three tragedies formed a connected story, rising in interest as the plot developed; thus giving greater power to the production, and enhancing its dramatic effect upon those who heard it. That all his plays were cast in the form 1 Bode, Geschichte der Hellen. Dichtkunst. 2 Miller (Hist. Gr. Lit. vol. i. p. 422) thinks that the passage at the end of the βίος Αἰσχύλου should be written ; ἐποίησε δράματα ἑβδομήκοντα καὶ ἐπὶ τούτοις σατυρικὰ ἀμφίβολα πέντε, he wrote seventy dramas, also in addition to these satyric plays, five (are ascribed to him) on doubtful authority. 8 Mahaffy, Gr. Lit. vol. i. p. 249. vill INTRODUCTION. of the trilogy is hardly probable; but that this was a favorite method is well attested. The year 468 B. c. was a marked date in the life of Aes- chylus ; for he was defeated by his young rival, Sophocles, and, according to Plutarch, corroborated by the Bios Αἰσχύλου, his chagrin was so great that he retired to the court of Hiero, King of Syracuse, where he died. Others have stated that his retirement was owing to his defeat by Simonides in a competitive elegy over those who were slain at Marathon. Of his visit to the court of Hiero there can be no doubt ; but it was not his first or his last journey thither, and neither of the above reasons for his abandonment of Athens seems conclusive. It is more probable that the change he saw going on in the prin- ciples and life of the Athenians, and the waning popu- larity of his own political views, were the efficient causes of his withdrawal. Aeschylus was an aristocrat and a conservative, who had struggled side by side with the great leaders in the Persian wars; and he may have so revolted from the democracy of Ephialtes, connected as it was with the curtailment of the powers of the Areopagus, that the flattering invitation of the Sicilian tyrant was a restful boon. Aeschylus lacked the popular qualities of the younger dramatist, was too stern in his theology, too mythological in his cast of mind, too obscure in his diction, and too unsympathetic in his life, to please the multitude in happy, prosperous Athens. While in Sicily, either on this occasion or before, he composed his play called the Aetnaeans, in honor of the founding by Hiero of the city of Aetna on the site of the earlier Catana, at the foot of the great volcano. The influence of his life here is also shown in the statement of INTRODUCTION. 1X Athenaeus,! that in other plays occurred Sicilian expres- sions not understood by the Athenians; and his powerful and vivid description of the Typhon in the present play? may be due to the same reason. In | 458 B. c. we find him again at Athens when his great trilogy of the Oresteia was given; but soon after he returned to Gela, in Sicily, where he died in 456 B.c. Two reasons have been assigned for his final abandonment of his native city, both sufficiently plausible to be worthy of credence. One was the failure of the Oresteia to win the success which he felt it deserved. As a poem it must have received great admiration, for it is a matchless production ; but its _ political teachings were too conservative for the leaders of the imperial republic, the sermon was too late for the age to which it was preached. In the Eumenides, the jam play of the trilogy, Aeschylus exalts the time-hon- ored aristocratic court of the Areopagus, and in so pointed a way as certainly must have offended the great majority of his hearers, who were glad that the boulé and the ecclesia had taken the place of the higher tribunal. In this same play, too, he introduced a chorus of Furies into the theatre; and this not only roused religious preju- dices, but produced positive alarm among many of the spectators. The other reason, alluded to by several writers,? was that the charge of impiety was brought against him for revealing the sacred mysteries of Demeter, and that, as he was about to be convicted and stoned, his brother, Aminias, who had lost his hand at Salamis, held up the mutilated arm, and with this pleaded so eloquently 1 Athenaeus, ix. p. 402 b. 2 yv, 354-372. 8 Aristotle, Ethics, 111, 1. x INTRODUCTION. that Aeschylus was acquitted. The people of Gela hon- ored him with a public funeral, erected a splendid monu- ment to his memory, and paid him the highest honor. On his tomb they inscribed an epitaph,’ said to have been written by himself, in which, as we stated above, he made no mention of his poetry, but only of his military prowess. The Athenians, after his death, were quick to acknowledge his great worth, and conferred upon his memory the un- usual compliment of decreeing that whoever would bring out one of his plays—the Greek dramas were rarely repeated — should be provided with a chorus at the ex- pense of the State.” Aristophanes® makes Aeschylus say that the great evidence of his superiority is that his poetry has not died with him, and we know that, after his death, his plays were often repeated. His son, Euphorion (Suidas), gained the prize four times with dramas of his father that had been bequeathed to him, but had never been exhibited, and Philocles, a nephew of Aeschylus, is said to have gained the victory over the Oedipus Rex of Sophocles with a tragedy of his uncle. 1 We give the epitaph from the Bios Αἰσχύλου : — Αἰσχύλον Evdoplwvos τόδε κεύθει μνῆμα καταφθίμενον πυροφόροιο Tédas ἀλκὴν δ᾽ εὐδόκιμον Μαραθώνιον ἄλσος ἂν εἴποι καὶ βαθυχαιτήεις Μῆδος ἐπιστάμενος. This tomb the dust of Aeschylus doth hide, Euphorion’s son and fruitful Gela’s pride ; How tried his valor Marathon may tell And long-haired Medes who knew it all too well. PLUMPTRE. 2 Achar. 10 and Bios Αἰσχύλου. 3 Frogs, 868. INTRODUCTION. bes The improvements which Aeschylus introduced in the composition and representation of dramas were so varied and important that, like Homer in epic poetry and Herod- otus in history, he was called the father of tragedy... He found it rude and unformed: he left it mature and quite complete. Hitherto there had been but one actor who, to rest the chorus, carried on a sort of dialogue with the Coryphaeus between the choral songs. Aeschylus added a second actor,? thus completing the dialogue and, as a natural consequence, limiting the choral parts by making them secondary in the play. He was careful to keep his dialogue symmetrical by always having the parts of the two speakers perfectly balanced: but the effect is not artificial stiffness of style; rather it gives the dignity befitting his heroic character; you recognize that, like Homer, he always wrote in the grand manner. So many people desired to witness the plays that he adapted the exhibition to the size of the audience by inventing the thick-soled buskin, the masks, —of which subsequently there was a great variety, —scenery, different kinds of stage machinery ; in fact nearly everything that we find in a perfected Greek play. He made the rude chorus quiet and refined ; and in place of their boisterous, extempore effusions, taught them regular dances and wonderful poetry. By putting them in the orchestra, between the actors and the audience, they could with equal ease ad- dress either, or be the outlet for the feelings of each as the play progressed ; and, by their evolutions about the altar, they always reminded the audience that it was a 1 Philostr. Vit. Apoll. vi. 11. 2 Arist. Poet. 4, 16. ΧΙ INTRODUCTION. religious festival. So much did he enter into details that he invented many of the figures of the choral dances, and such was his skill in this that a chorister, named Telestes, (Athen. 1. 9.) by dance alone expressed intelli- gently to the spectators certain parts of the plot of the Seven against Thebes. The unwritten law, so long potent at Athens, of not allowing the audience to see any deed of cruelty or crime is said to have been introduced by Aeschy- lus. His last and greatest improvement was the trilogy, referred to above (p. ix), which gave greater range to his genius in the development of the truths to be enforced than was possible in any single play. Aristophanes, who was a great admirer of Aeschylus, in his play of the Frogs has given an exaggerated but at the same time vivid description of his mental traits and the characteristics of his style. He speaks of him as a man of ‘‘fierce temper,” a “high thunderer” (1. 814), as “fierce as a bull”? (1. 804) in his contempt of the glib- tongued, subtle rhetoric of Euripides. He permits the latter to criticise him for using “horse-crested words” (1. 818), “bolt riveted phrases” (1. 824), and again to accuse him of using words (1. 924) ‘as huge as oxen,” with “brows and crests, hideous to behold, unknown to spectators,” and to say of his art that it “swells with braggart words and ponderous phrases.” Stripped of the hyperbole of comedy, every careful student of Aeschylus will admit its truth. He was a man of proud and pas- sionate nature ; a Eupatrid by birth, and believing in his superiority ; a conservative in politics, and ultra old school in his theology; trained as a soldier, and successful in every battle ; and withal gifted with so grand an intellect that he ranks with those who have been the great intel- INTRODUCTION. ΧΙ lectual forces of the world. When such a mind writes poetry, the massive and grand, the ideal which touches the superhuman, must be the result. His style is bold, striking, often in its vehemence and virile vigor verging on the turgid and the uncouth, interspersed, too, with passages of such sweetness and pathos as to show that he was also a master of lyric song. He was pre-eminently a theological poet who appreciated the high mission of the drama as the educator and elevator of his people, before whom he discussed the grandest and most profound prob- lems of existence and destiny. Life was with him an earnest, almost terrible thing, and all through his plays he seems struggling to fathom its meaning. Sin, its en- tailment, its punishment, and its remedy; the goodness and, more still, the wrath of the gods: these were the problems that he was always wrestling with. We are constantly amazed at the depth of his insight, at the power with which he seized and held on to the greatest truths without the aid of revelation ; and his grasp is so firm that though he is obliged to coin compounds strong enough to express his meaning, yet you always feel that his thought reaches out beyond the utterance that he gave to it. He was evidently almost a monotheist in his creed, believing in a deity superior to the polytheistic cir- cle worshipped by his countrymen. Sometimes he calls this being Zeus, sometimes Fate, sometimes Destiny. He could have said with Zophar :? “Canst thou by searching find out God? canst thou find out the Almighty unto per- fection? It is high as heaven; what canst thou do? deeper than hell; what canst thou know? The measure thereof is longer than the earth and broader than the sea.” Aes- 1 Job xi. 7-9. ΧΙ INTRODUCTION. chylus makes man a little thing in comparison with the gods, points out with great plainness the necessity for \ ue faithful obedience and the folly and impotence of rebel- lion. He was undoubtedly deeply grateful to Ged for his goodness in delivering his nation from the Persians, and longed to impress on them the necessity for a pure faith and complete devotion. He saw the growing ten- oe among the people to materialism and sensuous liv- ng; knew that ridein their success and prosperity might ΄ lead to effeminacy, corruption, and decay; and he raised his strong voice to hold them te the virtues which had made them so noble, because he knew that the abandon- ment of these would sooner or later wreck the nation’s life. Aeschylus was a great poet, but he was a greater man. With the grasp of a Titan he seized some of the grandest problems offered to man, and without a true God or a Sa- vior gave them a solution full of both. Easy-flowing, sentimental, merely lyrical, he could not be; but grand, mysterious, terrible, he often was. He was, too, one of those rare men the outlines of whose character were so sharp and strong that no changes of fortune could mar or weaken them. Though defeated, after a reign as chief dramatist of nearly twenty years; though, virtually, ban- ished from his country to die in a foreign land: still, his marvellous genius continued to express itself to the end. His life was not a ruin : it was a pyramid,— or rather not a pyramid, but an Acropolis, with its Parthenon, its Erech- theum, and its Propylaea; to which more choice spirits have bowed than have ever visited the Athenian shrine ; and which, unlike the stones on which Phidias wrote his fame, will keep its brightness and its beauty forever. INTRODUCTION. XV II. PROMETHEUS BOUND. The exact date of the production of the Prometheus it is impossible to fix; but from the reference (1. 367) to the eruption of Mt. Aetna, which occurred in 479 B. C., it is probable that it was written soon after that event. ΠΠρόλογος, 1]. 1-127. A desolate mountain crag, cleft by a deep gully, fills up the centre of the stage. Two ugly demons of gigantic size, Kratos and Bia, accompanied by Hephaestus, proceed to chain Prometheus to the rock, — Hephaestus unwilling- ly, the others with exultation. Hephaestus describes very movingly the impending sufferings of Prometheus, tells him how loth he is to rivet the fetters, but that he must do it through fear of the consequences should he disobey ; Kratos is the only one of the demons who speaks, and he harshly chides the reluctant Hephaestus, and taunts the suffering prisoner. Meanwhile, the clanking of the chains, the strokes of the heavy hammer, the riveting of the fet- ters, are all plainly before the auditors, and as soon as the work is complete the executioners hurry away, Kratos turning to fling his last scoffing words at the victim because of his helplessness. His sufferings and their taunts cannot wring from Prometheus a word. Not till he is alone does he deign to tell his wrongs; and, in sublimity and pathos, his appeal to the powers of Nature to witness his sufferings, and to himself to bea them patiently be- cause of the magnitude of his benefactions and the injus- tice of his punishment, “is among the great things in the world’s poetry.”! The rustling of wings makes him aware 1 Mahaffy, Hist. Greek Lit. vol. i. p. 259. ΧΥῚ INTRODUCTION. that he is not alone, and he summons the approaching beings to bear witness to his chains and his tortures. TIdpo8os, 11]. 128-197. The Chorus of ocean-nymphs now draw near, and ex- press the deepest sympathy with Prometheus. They tell him that the sound of Hephaestus’ hammer reached their home in the deep sea caves, and that their curiosity and anxiety over his fate made them hurry to the spot. They assure him in the strongest terms of their tearful sympa- thy, but remind him that Zeus is stern and inexorable, and plainly imply that he can never obtain relief save through complete submission to him. Their maidenly modesty, their womanly sympathies, their reverence and their fear, are finely portrayed; and serve by contrast to heighten the unflinching firmness and heroic endurance of the suffering Titan. In the course of the dialogue he says that though he is in chains Zeus will at some time in the future be obliged to release him in order to save his throne ; but the only effect is to increase the amazement of the Chorus at the boldness of his words. First ᾿Εἰπεισόδιον, 11]. 193-396. At the urgent request of the Chorus, Prometheus ex- plains to them his past and present relations to Zeus. He claims that by his efficient aid the Titans were conquered, Cronus dethroned, and Zeus raised to supreme power; and that, because he would not allow the new monarch to de- stroy the human race and create a new one, his reward is torture and chains. The nymphs admit that the treat- ment is cruel, but remind him that he has sinned in dis- obeying the supreme god, and gently urge him to seek a INTRODUCTION. XVil reconciliation. He quietly parries the advice, and at the same time courteously invites them to descend to the earth and hear the complete story of his experience. At this point Oceanus is introduced to emphasize the good advice the nymphs, his daughters, have gently offered to the sufferer. Oceanus is a deity of the older order, and yet, since the younger Zeus has gained the throne, he finds it compatible with his dignity and on the whole quite agreeable to become reconciled to the new monarch. Un- able to appreciate the motives of Prometheus, he regards his resistance to Zeus as lawless rebellion, and gives him plenty of common-place advice about self-knowledge, about calmness of thought and mildness of speech; tells him how foolish is his resistance, and finally offers to go him- self and make the effort to secure his release. Prome- theus, annoyed at the urgency of one who cannot comprehend him, quietly but firmly refuses the proffered aid ; and, when Oceanus persists that he will beg Zeus to release him, Prometheus reminds him that it is danger- ous, and that, as he values his own safety, he must not attempt it. Oceanus is ready to give but not to receive advice, and, though anxious to sympathize and aid, is an- noyed at the stubbornness of Prometheus, so that they part with tempers mutually somewhat ruffled by the interview. First Στάσιμον, 11. 397-435. The Chorus, who during the interview between Oceanus and Prometheus have remained silent, now chant a brief ode in which they speak of the severity of Zeus’ rule, and proclaim themselves, in common with the people of every land, as having the deepest sympathy with Prome- theus. _ XVill INTRODUCTION. Second ᾿Εἰπεισόδιον, 1]. 486-525. Prometheus describes at length the great services he rendered to man, —that, finding him in a condition hardly above the brutes, he added to his powers, developed his resources, and taught him the useful arts; that even the knowledge of medicine and divination was derived from him; and finally he states, as his crowning benefaction, that he taught him the use of fire. To the remark of the Chorus that these great services must ultimately lead to his release, he replies that it will be done through Neces- sity, to which even Zeus must yield. When asked in what way this will be accomplished, he answers that he must not say; for it is only by refusing to divulge this secret that he can ever hope to escape. Second Σιτάσιμον, 1]. 526-560. In this beautiful ode, the Chorus pray most fervently that they may never in word or act offend the gods, but that confident hopes and bright joys may be their sweet allotment in life. Then they contrast this with the con- ition of Prometheus,— his punishment so sad, his future so hopeless,— and gently remind him that more love for God and less regard for man would have been a wiser course, and would have secured to him a continuance of that happiness which they witnessed when, at his nuptials with their sister Hermione, they joined in the marriage hymn. Third ᾿Εἰπεισόδιον, 1]. 561-886. This gives us the episode of lo, the poor persecuted priestess of Argos, who was changed by Hera, because of jealousy, into a heifer and pursued by a tormentor in the form of a hornet. Flying from land to land to escape her INTRODUCTION. xix persecutor, she reaches this desolate spot and meets Pro- metheus. He calls her by name, tells her who he is, and shows her that he is acquainted with her story. She im- plores him to unfold to her her future, and he is about to do so when the Chorus break in with the request that they might first be told of her experience hitherto. This _enables the poet to present a recital from Io of her wrongs, which she does, at some length. She describes the nightly visions that revealed to her the love of Zeus, followed by her banishment from home in obedience to the oracle ; her transformation into her present repulsive form, and her wanderings from land to land. Prometheus then, at the request of the Chorus, traces out her long and devious fu- ture course over land and sea, and tells her that at last at Canopus, a city at the mouth of the Nile, Zeus will restore her her reason and give her rest. Here she shall bear a son Epaphus, from whom, in the thirteenth generation, through the royal line of Danaiis in Argos, a mighty bow- man shall be descended who shall free Prometheus. The name of this deliverer is not given, but we know that it refers to Heracles. This gives us the connection of Io with the plot, and makes her introduction into the play both natural and highly dramatic. Third Στάσιμον, 11]. 887-906. The Chorus in this brief but beautiful ode, while sym- pathizing most keenly with Io, pray earnestly that no ambitious or unequal nuptials with the gods may tempt them from their humble, happy lot. Ἔ ξοδος, 11]. 907-1094. Prometheus declares that though Zeus is so proud and secure, he will lose his power through a marriage that he XX INTRODUCTION. is preparing to make, and that he alone can save him from ruin. He mocks at Zeus’ thunderbolts as of no avail when the day of his calamity shall come, and in the most defiant way bids him work his will, as his ultimate fall is assured. Hermes appears and gives to Prometheus the com- mand of Zeus that he reveal the secret about which he has boasted so loudly, but the sufferer flatly refuses. He scorns the “runner” of the gods, tells him that there is no created power that can compel him to yield, bids Zeus put into execution any or all of his threats, and scorns the thought that all the_artillery of heaven can do aught but shatter itself against his will. Hermes retires, the Chorus persist in sharing the fate of Prometheus, and with the breaking up of elements the play closes, and the actors pass out of sight. The Prometheus Bound is one of the greatest produc- tions of Aeschylus, and illustrates most strikingly the boldness and sublimity of his genius. The plot is very simple, and, as the hero during the whole exhibition is in full view of the audience, and chained to a rock, there is little room for action; but the poet has more than com- pensated for this by the wild grandeur of the scenery, the character of the sufferer, and the mystery, which is only partially revealed, of the play itself. It commences on an elevation that is startling, and continues without break or diminution to the close. The personages are gods, and they deport themselves throughout with a power and dig- nity becoming their position. There is no change of scenery, no abatement of the inexorable severity of Zeus or the agony of the victim; and stil], by the inherent power of the play, you are borne on swiftly from one giddy INTRODUCTION. xxl elevation to another, till finally the tempest and the earth- quake become part of the action, and Prometheus passes from sight amid such a whirlwind of forces and passions as makes a dramatic finale never surpassed in literature. Aeschylus is uniformly quite indifferent in the compo- sition of his plots, but in this tragedy he has given strik- ing proof of his genius for construction in his introduction of Io. At first thought she seems extraneous to the sub- ject ; but a little reflection shows how admirably adapted she was to heighten the effect of the play. She is the poor, | helpless victim of the love of Zeus; wearied and worried almost to disruption by the stings of the hornet ; having no wish or will, but ready to submit to anything for rest ; V/ physically free, but mentally ὦ bound ; offering no resist- ance, only crying out in her agony to be spared. Prome- theus is bound to this rock with adamantine chains ; destined to remain there for ages unless it be riven by the thunderbolt and he buried beneath the earth ; and yet, with all his present torments and his hopeless future, his spirit, the man, is the freest and most self-reliant in the whole realm of Zeus ; nothing the monarch can threaten or do can daunt or overawe him ; he will defy him to the last, and laugh at his impotent coercions. Effects are greatly 1“ heightened by contrasts, and Aeschylus has here used this principle so skilfully as to reap from it the largest advan- tage. De Quincey? says of the characters Max and Thekla in Schiller’s trilogy of Wallenstein that their ‘position ” in the play “is the finest instance of what, in a critical sense, is called relief, that literature offers ;” but the es- sayist. must, for the moment, have forgotten his Greek, 1 Essay on Schiller, p. 283. ΧΧῚ INTRODUCTION. for the part of Io here is more effective than anything that the play above mentioned affords. The purpose of the poet and the precise lessons he would teach in the Prometheus are questions which scholars have never been able fully to solve. The myth is first given by Hesiod ;1 but Aeschylus has here separated it from its absurd appendages, and given it a new dignity and power.? “There is certainly no other play of his which has produced a greater impression upon the world, and few remnants of Greek literature are to be compared to it in its eternal freshness and its eternal mystery.” Schlegel says:* “The other productions of the Greek tragedians are so many tragedies; but this I might say is Tragedy herself; her purest spirit revealed with all the annihilating and overpowering force of its first and as yet unmitigated austerity.” It would be difficult to conceive of a grander delineation of the power of character than we have here in Promees(“He stands forth as the great benefactor of man in opposition to a tyrannical cod. ) At the opening of the play (1. 17) Hephaestus shows that Zeus demands unquestioning obedience to all his com- mands, no matter how cruel or severe, and this is main- tained to the close. It is the old problem of divine sov- ereignty and free will dramatized, and from beginning to end these two great principles stand in direct and appar- ] ently hopeless opposition. The benefactions of Prome- _ theus to man have been infinite, and, though his sufferings _ may be infinite, he will never admit his guilt; and even _when the crash of the elements tears him from the crag, 1 Theog. 507 ff. ; W. & D. 37 ff. 2 Mahaffy, Greek Lit. vol. i. p. 258. 3 Lectures on Dramatic Lit. p. 93. pa ee 7 tose — ;.-.-.-. ab ites _ 2. Perna 55, ee tae ς χα nr earte +L 0 INTRODUCTION. XXili τας Ge on oo i | th. IFoo ea (x ad Ϊ Ι \ ὶ ἣκ Ἷ Θ' his ringing words of ΙΝ pierce the ears of the audi- ; : : ( στ : tors as he sinks out of sight. %~~*+~ 4 7Y κἶἄἶπ Ἵ AQAA AA-y tt x The great difficulty in comprehending the Prometheus ies Of arises from the hard lines in which Aeschylus has drawn _ the character of Zeus. It shocks our sensibilities that the Greeks should have had so low a conception of their su-, preme god, and especially that it should be given us by Ge 4 {, για τ! 4 the pious poet-priest of Eleusis. The solution of this dif & | ἡ ficulty is obtained if we understand that this play is one of a trilogy. It was followed by the Prometheus Un- bound, and was perhaps preceded by Prometheus the Fire Bringer ; and taken together the character of Zeus as an all-wise, just, and beneficent Father of all must have been clearly portrayed. Any other treatment would have been incompatible with the religious character of Aeschylus or of the Athenian audience who heard the trilogy. A few detached fragments of this last play have been preserved, and unquestionably it showed that a complete reconcilia- / tion was effected between Zeus and Prometheus. Hera- cles, the descendant of Io, delivers Prometheus by killing his tormentor, the vulture; the chorus of Titans released from Tartarus testify to the clemency of Zeus ; and Chei- ron, whom Heracles has unintentionally wounded, to gain relief from his pain gives up his immortality and willingly dies to atone for the guilt of Prometheus. The power and wisdom of Zeus are thus acknowledged, the majesty of law is vindicated, and the defiant rebel becomes a sub- missive subject. Thus Schlegel aptly makes the “ triumph of subjection”! the leading thought of the play. Incidentally, several old and important traditions con- 1 Dramatic Lit. p. 94. pea $ Xx1V INTRODUCTION, cerning the early life of man are embodied in this drama. The reference (1. 110) to the time when mankind had no knowledge of fire; when (1. 453) they dwelt in caves, and (1. 445 ff.) in their mental weakness were but little above the brutes, reminds one forcibly of certain ideas strongly held of the condition of their primitive existence upon our globe. In fact, the whole account of Prometheus of the state in which he found man and in which he left him is very suggestive of and quite in harmony with many things connected with the modern theory of the development of the race. Thus the statement of Prometheus that Zeus had resolved to destroy the human race and create a new and better one recalls the scriptural account of the deluge ; while the utterance of Hermes that the Titan must suffer forever unless a substitute should appear — verified, as it was, in the Prometheus Unbound _by Cheiron’s taking his place — shows that the Greeks had some idea of a vicarious atonement to Ὁ satisfy the claims of the law against the transgressor. | But, after all, the most prominent seed thought is the inability of man to develop himself. Through his bene- factor he learns the use of fire, acquires memory, becomes acquainted with the useful arts, is taught the courses of ‘the stars, the preservation of his own life, and his relation to the gods. All these were gifts,— gifts which came to him from a higher being, and were bestowed because of his love for man and his yearning ‘to help. him. No undevel- oped man could evolve from himself such power and knowledge as is here claimed to have been given him. What savage, for example, would ever, unaided, discover and employ fire? Unless instructed in its use, the mere sight of it would cause the most abject terror; he would INTRODUCTION. ~XXV flee from it as all lower creatures do. It is Prometheus, / the embodied forethought, who puts man in possession of A these gifts, teaches him their use, and through them lifts \ him toa higher plane. This keenness of vision on the ἢ part of Aeschylus in recognizing a power outside of man \ as necessary to his development is as admirable as it is ) complete. | 11. THE REPRESENTATION OF GREEK PLAYS. In studying Greek plays’ and their representation it is essential that we be in perfect accord with the age and place where they were given. Our whole civilization, social, political, and religious, is so different from that of the Greeks that to look at their productions with modern eyes causes a distortion in the object which no desire for impartiality can correct. Attica, where the drama bore such rich and permanent fruit, is not larger than a modern county, while our nationality stretches to both oceans and takes in every zone. Ours is a civilization of vastness, of unlimited extension, while to the Athenian everything outside of Attica was unworthy of his love. Through steam, electricity, and printing we become in- timate with every land and are put into instantaneous communication with the thoughts of every people: the Attic stayed at home and developed his greatness from himself. Our religion is a pure, spiritual monotheism ; that of Greece was a wide-extended polytheism. We 1 It is taken for granted that every student will have studied the origin of the Greek drama, the growth of the chorus and dialogue, and the time and place of the development of the complete play out of these two essential elements. Ι ΧΧΥῚ INTRODUCTION. worship the unseen, eternal Jehovah: the Greeks deified nature and worshipped man. And equally striking are the contrasts when we come to dramas and their representation. A Greek tragedy was written to enforce a moral lesson; it was an ethical sermon founded on some old maptheloge as story familiar to all: in the play of to-day the moral lesson is quite subordinate to the effort to rivet the attention by dra- matic power, and the story and the plot may originate with the author. Greek tragedy was ideal, and but slightly connected with ordinary life, while modern tragedy is a realistic picture of human_passions. and_emo- tions. Modern theatres are used throughout the whole year, are artificially lighted, and will seat from three to five thousand ; that at Athens limited its principal ex- hibitions to a short period in the spring, was open to the sky, and held not far from thirty thousand auditors. With us the same play is repeated sometimes for hun- dreds of nights, the performance on each occasion being limited to two or three hours: in Athens the best dramas were rarely repeated, and never save at long intervals ; but during the season for dramatic exhibitions the whole day was occupied in listening successively to different plays. People at the present day go to the theatre for entertainment ἢ the Greek went for worship ; the altar of his god occupied the most conspicuous spot in the build- ing, and around it a highly trained chorus performed their evolutions and chanted their odes in his honor. With us the acting is a close imitation of the personality of the characters represented ; costume, attitude, gesture, play of feature and tone of voice, all conspiring to perfect the illusion: while at Athens, owing to the great size of "ΝΙΞΊ GNVY NOSGIVNOG WOYS Gsidvay ‘SHYLVAHL M3ASHD V JO WVHOVIG AX \ INTRODUCTION. XXVli the auditorium, the figures of the actors were artificially enlarged by huge masks, thick-soled buskins, and appro- priate padding; the costumes resembled Bacchic festal robes ; while the acting was limited to sweeping evolutions and statuesque posing. Even the name tragedy, as we use it, is a misnomer when applied to the Attic drama. It might more properly be called lyrical drama or sacred opera, since it combined with the dramatic element certain features of our opera and oratorio. With such striking contrasts to prejudice our judgment, it is impossible to enter fully into the spirit of a Greek play unless we not only understand its structure, but also have as clear an idea as possible of the building where it was exhibited. We must know the form, size, and general arrangement of the theatre, and what mechanical and other contrivances were employed for scenery and stage effects. 1 The Greek theatre had three chief divisions ;— θέατρον, for the spectators; ὀρχήστρα, for the chorus; and προσκήνιον, or stage, for the actors. The orchestra was an open space in the centre of the theatre, and around this, on one side, in the form of a semicircle or a still larger segment, were the seats of the θέατρον in as many tiers as might be required for the spectators. This part of the structure around the orchestra was also called κοῖλον. Latin cavea, because the architect often took advantage of a natural hollow in constructing the build- ing. Back of the highest row of seats was an enclosing wall or columned portico, serving to define and complete the κοῖλον. For the convenience of the audience a series 1 What follows has been gathered mainly from Klein’s Geschichte des Drama’s ; Guhl and Koner’s Life of the Greeks and Romans ; Dyer’s Ancient Athens; Donaldson’s Theatre of the Greeks ; and from the works of Miiller and Mahaffy upon Greek literature. ΧΧΥΠῚ INTRODUCTION. of flights of steps, radiating and ascending from the orches- tra, divided the rows of seats into wedge-shaped sections called xepxiSes, Latin cunei (B, B). These again were di- vided transversely by one or more aisles called διαζώματα. Usually the spectators entered from the πάροδοι, (1), D) at the sides between the κοῖλον and the σκηνή, and passing through the orchestra ascended the flights of steps to their places; but in some cases entrance seems to have been provided through the outer wall back of the κοῖλον. The number of seats varied greatly in the different theatres, that of Epidaurus, for example, being estimated to accom- modate something over 10,000 spectators, while the one at Megalopolis would hold nearly if not quite 44,000. Ὀρχήστρα. This, as has been stated above, was the space (Ὁ) bounded by the κοῖλον. It corresponded to the parquette in a modern playhouse; but in the Greek the- atre was not assigned to the audience, but occupied by the chorus. This was because the chorus was the origi- nal element of the drama, out of which it grew and from which it never grew away. Hence it occupied the centre of the building, as it was the centre of the dramatic representation. At the point in the orchestra where all the radiating flights of steps would converge stood the θυμέλη (a) or altar of Dionysus, reminding the audience of the time when the whole performance was confined to choral dances in honor of the god. In the orchestra of the Athenian theatre an altar-shaped platform, on the steps of which the leader of the chorus steod to direct its movements, was also called θυμέλη (see lex.). The width of the orchestra in theatres still existing is from one fifth to one third the entire diameter of the κοῖλον, varying in dif: ferent structures from fifty to more than one hundred feet, INTRODUCTION. XX1X Σκηνή. This word means tent, and refers primarily to the king’s tent or the abode of the leading character. In the theatre it was a substantial structure which formed the background (E) of the stage beyond the orchestra, and fronting the audience. It was lofty, was built of massive stone, and represented the front of a palace or temple. It consisted usually of two stories, the upper one provided with a series of projections, which probably could be connected together by a flooring of planks, so as to form a continuous balcony for the use of actors, when the neccessities of the play required them to perform their parts from such an elevation. Instead of these pro- jections, or possibly in addition to them, an elevated plat- form on the flat roof of the scene may have been used when distant objects were to be observed. Certain me- chanical contrivances, to represent scenes and actors in mid-air, were probably attached to these projections and worked from them. The scene had three entrances, and the position of the actor in the play was determined by the door through which he first came to perform his part. Thus the pro- tagonist entered by the central door, the deuteragonist by the one at the spectators’ right, and the tritagonist by the one at the spectators’ left, though it is not to be supposed that this was an absolute rule. Προσκήνιον. This was a platform (I, F) between the σκηνή and the ὀρχήστρα. It was long and narrow, merely a speaking place where the actors appeared and performed their parts. It was called λογεῖον (speaking place), Latin pulpitum, or this may have been applied, to the central part of the stage, which appears? to have been raised, 1 Mahaffy’s Greek Lit. vol i. p. 241. XXX. INTRODUCTION. and used in the most important declamations. The pro- scenium had no such depth as we find in the stage of a modern theatre, and hence afforded very limited oppor- tunities for scenic effects. Ata later period, when a greater number of actors were required for the more complicated plots, the stage was extended into the orchestra and even as far as the thymele. When wings projected and closed in the ends of the stage they were called παρασκήνια, and the space underneath the stage and λογεῖον was styled ὕπο- σκήνιον. Before the play opened the scene was covered by a cur- tain, which was rolled down underneath the stage, and raised again at its close. A large proportion of the Greek plays required only architectural scenery, though we know that the authors were not thus limited in their composi- tions, but sometimes made landscape scenery necessary, as the grove in the Oedipus Coloneus and the rocky Caucasus in the Prometheus Bound. The plays of Eurip- ides required frequent change of scenery, and as several dramas were given at one sitting of the audience, it is clear that the stage machinery must have been rapidly developed and perfected. What these machines were we cannot always determine, but research has shed some light on several of them. The περίακτοι were large prism- shaped frames (e, 6), placed near the side entrances. Each of the three sides of the frame represented a differ- ent scene, and as they worked on a pivot, by a single turn a change of scene could be produced. Connected with the upper story of the scene was an arrangement by which the gods could appear in the air and address the personages below from what was called the θεολογεῖον (gods’ speaking place.) The μηχανή was a contrivance us INTRODUCTION. ΧΧΧΙ for representing gods and heroes in the air; hence the proverb deus ex machina. The yépavos was a crane at- tached to one of the columnar projections of the scene for the purpose of raising an actor aloft, and the αἰώρα was a flying machine by which an actor could go in mid-air along the stage in front of the audience. Still another contrivance was the βροντεῖον for imitating thunder. It consisted of bladders filled with pebbles, shaken in brazen vessels or rolled over sheets of copper which were placed underneath the stage. Lightning, too, they simulated, perhaps by means of revolving mirrors placed on some part of the σκηνή. The fondness of the Greeks for out-of-door life and their habitual enjoyment of it made it natural for the action of most of their plays to be in the open air. Some of them, however, as the Antigone and Electra of Sophocles, the Agamemnon of Aeschylus, and others, have passages where, in the evolution of the plot, an interior scene must be given. The Greeks managed this by a machine called an ἐκκύκλημα, which was either a contrivance for drawing back portions of the scenes and showing the interior, or else was a sort of platform on wheels which could be pushed out through the great cen- tral door (G), and exhibit whatever interior scene was required.} But with all these various contrivances, we are not to suppose that scenic representation was anything more than the suggestion of what we have now. The art was very crude, and the stage illusions must have been very imperfect. In such large open-air structures they used scenery simply to suggest the interpretation of the play, 1 Klein, Geschichte des Drama’s, vol. 1, page 146. XXX INTRODUCTION. expecting the imaginations of the spectators to supply the rest. Nor had they the same need of elaboration as is required in many modern plays, because the subjects of their dramas were always old and well-known mythologic tales, requiring no elaborate scenery to render them intelligible. The Dionysiac theatre at Athens, where the plays of the great dramatists were given, was begun in Olym. 70, =500 B. c., soon after the first improvements in the drama were made by Thespis, and sixteen years before Aeschy- lus gained his first prize. It was not completed till about 340 B. c., or until the financial administration of Lycur- gus. A theatre might, however, as has been suggested, like a medizeval cathedral, be used long before it was fin- ished ; and there can be little doubt that in this great stone structure the plays of Aeschylus, Sophocles, and Euripides were performed. It was situated on the south- ern slope of the Acropolis, in full view of the bay, the hills, the temples, and the city, and, according to Plato,’ would accommodate thirty thousand spectators. This may be an exaggeration, but it is safe to say that more than two thirds that number could be comfortably pro- vided with seats. From about 200 B. o., all traces of the history of this theatre are lost, and in the middle ages it disappeared entirely from view. Col. Leake was the first to point out the true locality from an Athenian coin, formerly in the collection of R. P. Knight, and now in the British Museum. Excavations were begun towards the close of the decade between 1850-1860; but from 1862 to 1865 the principal part of the work was done, and the theatre uncovered as we find it. The κοῖλον was not 1 Symposium 175, E. ba oc tt ς ~ if) 11:-- eh “δὲ 13 REMAINS 9F THEATRE OF DIONYSUS AT ATHENS. AFTER E, ZILLER. Be eee METRES E INTRODUCTION. ΧΧΧΥ built (see plan) within a regularly formed segment of a circle ; for its retaining wall, after making an are of about 250°, is extended at each end by straight walls at an angle of about 150° with the curve. ‘The arc is compressed where it meets the projecting rock of tle Acropolis,” and the retaining wall of the east parodos is some twenty-three feet longer than the western. The distance from the lowest to the highest row of seats was about 250 feet, and the extreme width 350 feet. This large space was divided into thirteen κερκίδες, by fourteen flights of steps. Only nineteen rows of seats can be traced, but the dimensions given above would carry the number up to one hundred. The height of the seats is about 1 foot 2 inches, and their breadth 2 feet 8 inches. In this breadth there is a depres- sion, some fourteen inches back from the front, for the feet of those in the row above. The separate steps of the stair- ways are of the same height as the seats, but so constructed that the front is some four inches lower than the back. Thus one ascends as he walks over the steps, which are channelled to avoid slipping. There are traces of one broad diazoma, about two thirds the distance from the front, and leading to a point of exit on the west side between walls 1 and m. The seats in the middle and upper part of the κοῖλον are cut from the native rock, while the others were of Peiraic limestone which explains their disappearance. Probably the whole of this κοῖλον belongs to the original structure, and dates from the fifth century B. C. It will readily be apparent that in such an immense θέατρον there would be a great choice in the seats. The lowest row of seats, called προεδρία, was reserved, and the privilege of occupying them was highly prized. In early XXXVl INTRODUCTION. days they were given to magistrates and foreign ambassa- dors. When the structure was uncovered the προεδρίαι were found to consist of thrones, sixty-seven in number, made of solid blocks of marble, and each provided with a com- fortable back. They are probably to be referred to the time of Lycurgus or to the early Roman period. Fifty of these thrones still remain in position with the inscrip- tions on them showing to whom they were assigned. They seem in no case to have belonged to individuals, but to have been occupied successively by those who filled the leading priestly offices: as the priest of Dionysus ; the priests of the Eleusinian mysteries, of Poseidon, Erectheus, of Zeus, Athene, Apollo, and other deities ; the interpreters of the Delphic oracle; the representatives of certain ancient priestly families, and others whose sacred functions would n.aturally give them a certain prominence in these religious festivals. Scattered over the rest of the great κοῖλον were the citizens and strangers, from the wealthy burgher to the poorest laborer. Women were admitted to the exhibitions of the tragedies, and probably certain κερκίδες were especially assigned to them.* No one was too poor to be present ; for the admission fee of two obols was paid by the state for any one who ap- plied for it, provided his name was enrolled in the list of citizens. So many persons availed themselves of this privilege that in time it cost Athens from twenty-five to thirty talents annually ; and though so onerous a tax, it was so popular that, even when it took the last obol from the public treasury, the people passed a law making it a capital offence to propose its repeal. 1 Ay. Thesm. 395; Schol. to Ar. Eccles. 22; Dyer’s Ancient Athens, pp. 83 and 336. INTRODUCTION XXXVi The form of the orchestra of the Dionysiac theatre 1s not a segment of a circle, but the arc of its boundary is continued by tangents parallel to the main axis of the theatre. Its width is in round numbers eighty feet, and its depth sixty feet. Around the orchestra, in front of the marble thrones of the κοῖλον, is a balustrade 44 inches high of marble slabs set upright and firmly bound together by iron clamps. This cannot be older than our era, and was perhaps erected for gladiatorial exhibitions. The orches- tra is paved with small slabs of Pentelic marble, and in the zentre is a large rhomboidal figure, which is paved with small rhombus-shaped red stones. This figure doubtless marked the station of the chorus. A shallow circular depression, cut in a block of Pentelic marble in the centre of the figure, probably indicates the position of the altar of Dionysus, and a circular block of white marble, found in the ruin, a little less than four feet high and richly ornamented with bas-reliefs, may perhaps be the altar itself. Considerable traces of the scene structure may still be seen in the exhumed foundation walls, but they are so broken up and confused by the changes made at different times, especially in the Roman period, that we omit all reference to this portion of the theatre in our cursory review. It will be seen at once that in a structure of such im- posing dimensions an actor of natural size would seem insignificant, and the Greeks resorted to artificial means to overcome this. It was necessary, in other words, to save the actors from appearing like pigmies, that they should be made colossal. The κόθορνοι had soles of great thick- ness to increase the height of the wearer, while over the XXXVIli INTRODUCTION. face was worn a colossal mask with a frontlet reaching above the top of the head and provided with a skilfully adjusted wig. The body was then padded out in pro- portion, and a long, gracefully worn robe was thrown over the whole figure. Great care was taken in the prep- aration of these masks and costumes, of which they had an almost endless variety. : With such a stage and such a style of representation their acting must have been very different from ours. “The narrowness and distance of the stage rendered any elaborate grouping inadmissible. The arrangement of the actors was that of a ‘ processional bas-relief.’”1 In short, it was more posing than acting, more the groupings of tableaux than the rapid movements of a passionate dra- matic plot. The profession of an actor ranked high at Athens. It demanded severe training, and when success- ful brought large compensation. The Prometheus differed in its representation from the other extant plays of Aeschylus in that very little if any use was made of the stage, the acting being almost en- tirely (Donaldson thinks wholly *) from the balconies pro- jecting from the second story of the σκηνή. The cen- tral door was closed by the scenery, representing a wild mountain range, with a fissure in the centre to which Hephaestus, accompanied by Kratos and Bia, chains an effigy of Prometheus. This lay figure was so arranged that the actor could perform his part behind it and con- cealed from view, as it would have been next to impossi- ble for a person to endure the constrained position of Prometheus during the whole performance of the play, 1 Donaldson’s Theatre of the Greeks, p. 308. 2 Theatre of the Greeks, p. 326. INTRODUCTION. XXX1x aside from the fact that the protagonist took the part of Hephaestus as well as that of the hero. After the Titan was securely chained Hephaestus and the two attendant giants retire through one of the doors leading to the balcony, and Prometheus proceeds with his soliloquy till the Chorus of Ocean Nymphs appear. They are first seen by the spectators approaching from behind Prometheus in a car which was probably suspended from the γέρανος, and was swung over to the desired position in front of the σκηνή, Here they remain till, at the request of Prometheus (1. 272), just as Oceanus appears, the car de- scends, and they take their proper place in the ὀρχήστρα. The entrance of Oceanus, riding upon a fabulous creature, is effected by mechanism similar to that used for the introduction of the Chorus, and the sea-god remains seated upon his winged steed till, at the conclusion of his part, he rides away in disgust that he has failed of success in his interview with Prometheus. Io enters from the left side to tell of her frenzied wanderings, and Hermes from the same quarter to utter the commands and warnings of Zeus. Donaldson thinks that both of these spoke from a balcony rather than the stage, but his reasoning is in- conclusive. Certainly the frantic efforts of Io to get away from her tormentor would seem to require more room for the performance of her part than the limits of a small balcony would furnish. In the grand climacteric which closes the play the scenic mountain peak is riven and the effigy of Prometheus disappears beneath the stage. AISXYAOY TIPOMHOEYS AEZMOTHS. YITIOGESTIS. Προμηθέως ἐν Σ᾽ κυθίᾳ δεδεμένου διὰ τὸ κεκλοφέναι \ nan ΄ ᾿) \ / Ὁ; » yA τὸ πῦρ πυνθάνεται Ia πλανωμένη ὅτι κατ a γενομένη ἐκ τῆς ἐπαφήσεως τοῦ Διὸς τέξεται Tan Ἔπαφον. ἐμ η δὲ Sara. ἀπειλῶν. αὐτῷ κεραυνωθήσεσθαι, ἐὰν μὴ εἴπῃ τὰ μέλλοντα ἔσεσθαι a τῷ Διί. αὐ yap ὁ penne ὡς ἐξωσθήσεται Ἢ ἢ ὁ Ζεὺς τῆς apy ὑπό τινος οἰκείου υἱοῦ. τέλος δὲ ea βροντῆς γενομένης ἀφανὴς ὁ Προμηθεὺς γίνεται. Th Κεῖται δὲ ἡ μυθοποιία ἐν παρεκβάσει παρὰ Σοφοκλεῖ ἐν Boge παρὰ δὲ. ies ὅλως Ov κεῖται. ἡ μὲν σκηνὴ τοῦ δράματος ὑπόκειται ἐν / 3 \ \ td ΕΣ ς \ ἊΝ / Σκυθίᾳ ἐπὶ τὸ Καυκάσιον ὄρος: ὁ δὲ χορὸς συνέ- στηκεν ἐξ ᾿Ωκεανίδων νυμφῶν. τὸ δὲ κεφάλαιον αὐτοῦ ἐστι Προμηθέως δέσις. 3 ? , ν Ψ ᾽ ἜΣΘΩΝ \ / ᾽ a Ἱστέον δὲ ὅτι οὐ κατὰ τὸν κοινὸν λόγον ἐν Kav- κάσῳ φησὶ δεδέσθαι τὸν Hpopneg, ἀλλὰ πρὸς τοῖς τ ΡΟ αίοὶς μέρεσι τοῦ ᾽Ωκεανοῦ, ὡς ἀπὸ τῶν πρὸς τὴν ᾿Ιὼ λεγομένων ἔξεστι συμβαλεῖν. Fs hfe 7? Are Or, , Ν A Προμηθέως ἐκ Διὸς κεκλοφότος τὸ πῦρ καὶ δεδω- ’ Ξ κότος ἀνθρώποις, δι’ οὗ τέχνας πάσας ἄνθρωποι Ψ > a sy ς we \ 616 ays PN K / εὕροντο, ὀργισθεὶς ὁ Ζεὺς παραδίδωσιν αὐτὸν Κράτει δ. Λ a > A e / x ¢ / e καὶ Bia, τοῖς αὐτοῦ ὑπηρέταις, καὶ ᾿Ηφαίστῳ, ὡς / a ἂν ἀγαγόντες πρὸς τὸ Καυκάσιον ὄρος δεσμοῖς a \ A - σιδηροῖς αὐτὸν ἐκεῖ προσηλώσαιεν. οὗ γενομένου A e an παραγίνονται πᾶσαι at ᾿Ὠκεαναῖαι νύμφαι πρὸς / > an \ > Ν Εν 5 Ἂς ἃ \ \ παραμυθίαν αὐτοῦ, καὶ αὐτὸς ὁ ᾿Ὠκεανὸς, ὃς δὴ Kat λέγει τῷ Προμηθεῖ, ἵνα ἀπελθὼν πρὸς τὸν Ala δεήσεσι καὶ λιταῖς πείσῃ αὐτὸν ἐκλῦσαι τοῦ δεσμοῦ , an a Προμηθέα.. καὶ Προμηθεὺς οὐκ ἐᾷ, τὸ τοῦ Διὸς > \ 7 \ ᾿ς . > / εἰδὼς ἄκαμπτον Kal θρασύ. καὶ ἀναχωρήσαντος τοῦ ᾿Ωκεανοῦ παραγίνεται ᾿Ιὼ πλανωμένη, ἡ τοῦ ἸΙΙνάχου, καὶ μανθάνει παρ᾽ αὐτοῦ ἅ τε πέπονθε καὶ ἃ πείσεται, καὶ ὅτι τὶς τῶν αὐτῆς ἀπογόνων λύσει αὐτὸν, ὃς ἦν ὁ Διὸς «Ηρακλῆς, καὶ ὅτι ἐκ τῆς ἐπαφήσεως τοῦ Atos τέξει τὸν "Επαφον. θρασυ- στομοῦντι δὲ Προμηθεῖ κατὰ Atds, ὡς ἐκπεσεῖται τῆς ἀρχῆς ὑφ᾽ οὗ τέξεται παιδὸς, καὶ ἄλλα βλάσφημα λέγοντι, παραγίνεται “Ερμῆς, Διὸς πέμψαντος, ἀπειλῶν αὐτῷ κεραυνὸν, εἰ μὴ τὰ μέλλοντα συμβήσεσθαι τῷ Διὶ εἴπῃ: καὶ μὴ βου- λόμενον βροντὴ καταρραγεῖσα αὐτὸν ἀφανίζει. Ἢ μὲν σκηνὴ τοῦ δράματος ὑπόκειται ἐν Σ᾽ κυθίᾳ ἐπὶ τὸ Καυκάσιον ὄρος, ἡ δὲ ἐπιγραφὴ τούτου TIPOMHOETS ΔΕΣΜΩΤΗ͂Σ. TA O DON Ὁ σι RP WO p κ[ ἨἩΦΑΙΣΤΟΣ, ΠΡΟΜΉΘΕΥΣ. ΧΟΡΟΣ ὨΚΕΑΝΊΔΩΝ ΝΎΜΦΩΝ. QKEANOZ. IQ H INAXOY. EPMH2. a f Δα STRUCTURE OF THE PLAY ἡ Υ προλόγος, vv. 1-127. ; 2 ποῦ πάροδος, vv. 128-192. J aoe. ἐπεισόδιον πρῶτον, Vv. 198-396. δὲ στάσιμον πρῶτον, VY. 3977435. ἐπεισόδιον δεύτερον, vy. 486-525. στάσιμον δεύτερον, vv. 526-560. "ἡ srg ἐπεισόδιον τρίτον, vv. 561-886. : Ἂς στάσιμον τρίτον, vv. 887-906. a = ἔξοδος, vv. 907-1093. Ὁ ΟΝ Ὥς aA Δ" f v\ Bite AA waltte-S ee ( 4 TOY APAMATOS ΠΡΟΣΩΠΑ. KPATOZ KAI BIA. f ΠΡΟΜΗΘΕῪΣ AEZSMOTH2. KPATOS, Χθονὸς μὲν és τηλουρὸν ἥκομεν πέδον, Σκύθην ἐς οἶμον, ἄβατον εἰς ἐρημίαν. ν Ἃ \ Ἁ 4 3 Ἁ Ηφαιστε, σοὶ δὲ χρὴ μέλειν ἐπιστολὰς ἃς σοι πατὴρ ἐφεῖτο, τόνδε πρὸς πέτραις ὑψηλοκρήμνοις τὸν λεωργὸν ὀχμάσαι Γ ἀδαμαντίνων δεσμῶν ἐν ἀρρήκτοις πέδαις. τὸ σὸν γὰρ ἄνθος, παντέχνου πυρὸς σέλας, θνητοῖσι κλέψας ὥπασεν: τοιᾶσδέ τοι ἁμαρτίας σφὲ δεῖ θεοῖς δοῦναι δίκην, ὡς ἂν διδαχθῇ τὴν Διὸς τυραννίδα 10 ἊΣ , ’ δὲ , , στέργειν, φιλανθρώπου δὲ παύεσθαι τρόπου. H®AISTOS. “Κράτος Bia τε, σφῷν μὲν ἐντολὴ Διὸς ἔχει τέλος δὴ κοὐδὲν ἐμποδὼν ἔτι: ἐγὼ δ᾽ ἀτολμός εἰμι. συγγενῆ θεὸν δῆσαι βίᾳ φάραγγι πρὸς δυσχειμέρῳ. 15 πάντως δ᾽ ἀνάγκη τῶνδέ μοι τόλμαν σχεθεῖν" ΄ 6 ΑἸΣΧΎΛΟΥ 3 St Ν Ν , ’ ἐξωριάζειν γὰρ πατρὸς λόγους βαρύ. ~ 3 ’ 4 > A A τῆς ὀρθοβούλου Θέμιδος αἰπυμῆτα παῖ, ἄκοντά σ᾽ ἄκων δυσλύτοις χαλκεύμασι προσπασσαλεύσω τῷδ᾽ ἀπανθρώπῳ πάγῳ, . 3 » Ν y+ \ ”~ W οὔτε φωνὴν οὔτε του μορφὴν βροτῶν ὄψει, σταθευτὸς δ᾽ ἡλίου φοίβῃ φλογὶ aA 3 / 4 3 , V4 χροιᾶς ἀμείψεις ἄνθος: ἀσμένῳ δέ σοι ε ᾽ \ > 4 4 ἡ ποικιλείμων νὺξ ἀποκρύψει φάος, ’ > ea ᾺΛλ ν ΝᾺ ’ πάχνην θ᾽ ἑῴαν ἥλιος σκεδᾷ πάλιν" ἀεὶ δὲ τοῦ παρόντος ἀχθηδὼν κακοῦ - 3 ε 4 Ν 3 ’ 4 τρύσει σ΄" ὁ λωφήσων yap ov πέφυκέ πω. τοιαῦτ᾽ ἐπηύρου τοῦ φιλανθρώπον τρόπου. θεὸς θεῶν γὰρ οὐχ ὑποπτήσσων χόλον βροτοῖσι τιμὰς ὦπασας πέρα δίκης. 3 + @ 9 A , , , ἀνθ᾽ ὧν ἀτερπῆ τήνδε φρουρήσεις πέτραν, ὀρθοστάδην, ἀὕπνος, οὐ κάμπτων γόνυ" πολλοὺς δ᾽ ὀδυρμοὺς καὶ γόους ἀνωφελεῖς: φθέγξει: Διὸς γὰρ δυσπαραίτητοι φρένες: ψΨ \ δ Ψ Ἃ ΄, aA Q7TQS δὲ TPAKUS OOTLS AV VEOV ΚΡρΑΤΉ- KPATOS. Ss Nid , Q ’ , elev, τί μέλλεις καὶ κατοικτίζει μάτην; ’ XQ ~ y 3 A Q τί τὸν θεοῖς ἔχθιστον οὐ στυγεῖς θεὸν, ὅστις τὸ σὸν θνητοῖσι προὔδωκεν γέρας; ἩΦΑΊΙΣΤΟΣ. τὸ ξυγγενές τοι δεινὸν ἡ θ᾽ ὁμιλία. A ¢ ς ( \ oy as 20 25 30 AN 35 ΠΡΟΜΗΘΕῪΣ AESMOTHS. 7 KPATOS. , 3 > en A ΜᾺ » , ξύμφημ᾽, ἀνηκουστεῖν δὲ τῶν πατρὸς λόγων 40 οἷόν τε πῶς; οὐ τοῦτο δειμαίνεις πλέον; ΗΦΑΙΣΤΟΣ. ἀεί γε δὴ νηλὴς σὺ καὶ θράσους πλέως. ΚΡΑΤΟΣ. ἄκος γὰρ οὐδὲν τόνδε θρηνεῖσθαι: σὺ δὲ τὰ μηδὲν ὠφελοῦντα μὴ πόνει μάτην. H®AISTOS. ὦ πολλὰ μισηθεῖσα χειρωναξία. 45 ΚΡΑΤΟΣ. , Saka , \ ε ε “- , τὶ νιν στυγεῖς ; πόνων yap ws ἁπλῷ λόγῳ τῶν νῦν παρόντων οὐδὲν αἰτία τέχνη. H®ATSTOS. ἔμπας τὶς αὐτὴν ἄλλος ὦφελεν λαχεῖν. KPATOS. + ἃ Y 9.5 θῃ \ A e “= vie ἅπαντ ἐπαχθὴ πλὴν θεοῖσι. κοιρανεῖν" \ ἐλεύθερος yap οὔτις ἐστὶ πλὴν Διός. Ὗ 50 ΗΦΑΙΣΤΟΣ. ¥ - 2Q\ 9 A »¥ εγνωκα τοῖσδε κοὐδὲν QUTELTTELV EX. 8 ΑἸΣΧΎΛΟΥ ΚΡΑΤΟΣ. οὔκουν ἐπείξει δεσμὰ τῷδε περιβαλεῖν, ὡς μή σ᾽ ἐλινύοντα προσδερχθῇ πατήρ ; H@AISTOS. καὶ δὴ πρόχειρα ψάλια δέρκεσθαι πάρα. ΚΡΑΤΟΣ. λαβών νιν ἀμφὶ χερσὶν ἐγκρατεῖ σθένει ῥαιστῆρι θεῖνε, πασσάλευε πρὸς πέτραις. H®AISTOS. la δὴ 3 ΜΆ x l4 περαίνεται δὴ κοὐ ματᾷ τοὔργον τόδε. ΚΡΑΤΟΣ. ἄρασσε μᾶλλον, σφίγγε, μηδαμῆ χάλα. δεινὸς γὰρ εὑρεῖν κἀξ ἀμηχάνων πόρον. ΗΦΑΊΙΣΤΟΣ. | ἄραρεν ἦδε γ᾽ ὠλένη δυσεκλύτως. ΚΡΆΤΟΣ μος Ν 4 ἴων , 5 A ty J καὶ τήνδε νῦν πόρπασον ἀσφαλῶς, ἱνα ᾽ Ν ΕΥ̓͂ ἊΝ 4 μάθῃ σοφιστὴς ὧν Διὸς νωθέστερος. ΗΦΑΙΣΤΟΣ. πλὴν τοῦδ᾽ ἂν οὐδεὶς ἐνδίκως μέμψαιυτό μοι. 55 ΠΡΟΜΗΘΕῪΣ AESMOTHS. KPATOS. ἀδαμαντίνου viv σφηνὸς αὐθάδη γνάθον στέρνων διαμπὰξ πασσάλευ᾽ ἐρρωμένως. H®AISTOS. 9. A A A ν ld , Qual, Προμηθεῦ, σων ὕπερ OTEV@M TOVOWYV. KPATOS. ry 9 5 ~ A , > 5 ~ 9 συ ὃ QU κατοκνεις ΤΩΡ Διὸς Τ ἐχθρῶν ὕπερ , Ψ Ν A στένεις ; OTWS μὴ σαυτὸν OLKTLELS ποτέ. H®AISTOS. € A l4 ’ dl ὁρᾷς θέαμα δυσθέατον ὄμμασιν. ΚΡΑΤΟΣ. ὁρῶ κυροῦντα τόνδε τῶν ἐπαξίων. ἀλλ᾽ ἀμφὶ πλευραῖς μασχαλιστῆρας βάλε. H®AISTOS. δρᾶν ταῦτ᾽ ἀνάγκη, μηδὲν ἐγκέλευ᾽ ἀγαν. ΚΡΛΤΟΣ. > Ν ΄ 3 oh , ἢ μὴν κελεύσω κἀπιθωύΐξω γε πρός. χώρει κάτω, σκέλη δὲ κίρκωσον βίᾳ. H®AISTOS. καὶ δὴ πέπρακται τοὔργον οὐ μακρῷ πόνῳ. 65 70 75 10 AISXYAOY KPATOS. 3 2 ἴω ~ / , ἐρρωμένως νῦν θεῖνε διατόρους πέδας" ὡς οὑπιτιμητής γε τῶν ἔργων βαρύς. H@AISTOS. ὅμοια μορφῇ γλῶσσά σου γηρύεται. ΚΡΑΤΟΣ. σὺ μαλθακίζου, τὴν δ᾽ ἐμὴν αὐθαδίαν ὀργῆς τε τραχύτητα μὴ ᾽πίπλησσέ μοι. H®AISTOS. στείχωμεν, WS κώλοισιν ἀμφίβληστρ᾽ ἔχει. ΚΡΑΤΟΣ. ἐνταῦθα νῦν ὕβριζε, καὶ θεῶν γέρα συλῶν ἐφημέροισι προστίθει. τί σοι Ὄ » \ ae 2 3 A ’ οἷοί τε θνητοὶ τῶνδ᾽ ἀπαντλῆσαι πόνων ; ’ , ’ὔ ψευδωνύμως σε δαίμονες Προμηθέα καλοῦσιν: αὐτὸν γάρ σε δεῖ προμηθέως, ὅτῳ τρόπῳ τῆσδ᾽ ἐκκυλισθήσει τέχνης. ΠΡΟΜΗΘΕΎΣ. a Or 52 Ν ᾿ , \ ὦ δῖος αἰθὴρ καὶ ταχύπτεροι πνοαὶ, aA ἣν , ποταμῶν TE πηγαὶ, ποντίων TE κυμάτων 80 ΠΡΟΜΗΘΕῪΣ AESMOTHS. ἀνήριθμον γέλασμα, παμμῆτόρ τε yn, καὶ τὸν πανόπτην κύκλον ἡλίου καλῶ" ¥ ὙΠ ἡ ἣν Ν A , , ἴδεσθέ μ᾽ οἷα πρὸς θεῶν πάσχω θεός. ld 3 ν ΘΓ δέρχθηθ᾽ οἵαις αἰκίαισιν διακναιόμενος τὸν μυριετῆ »" 3 ’ χρόνον ἀθλεύσω. RICE , Ν τς Ἐν. τοιόνδ᾽ ὁ νέος ταγὸς μακάρων 5 Εν 5, 8.5. Ree δ ἢ A ἐξηῦρ᾽ em ἐμοὶ δεσμὸν ἀεικῆ. φεῦ φεῦ, τὸ παρὸν τό T ἐπερχόμενον πῆμα στενάχω, πῆ ποτε μόχθων χρὴ τέρματα τῶνδ᾽ ἐπιτεῖλαι. καίτοι τί φημι ; πάντα προὐξεπίσταμαι ~ Ν ’ 3 3 , 4 σκεθρῶς τὰ μέλλοντ᾽, οὐδέ μοι ποταίνιον Ἄν. 3 \ ν \ , Ἁ Ἁ πῆμ᾽ οὐδὲν ἥξει. τὴν πεπρωμένην δὲ χρὴ αἶσαν φέρειν ὡς ῥᾷστα, γιγνώσκονθ᾽ ὅτι τὸ τῆς ἀνάγκης ἔστ᾽ ἀδήριτον σθένος. ἀλλ᾽ οὔτε σιγᾶν οὔτε μὴ σιγᾶν τύχας οἷόν τέ μοι τάσδ᾽ ἐστί. θνητοῖς γὰρ γέρα πορὼν ἀνάγκαις ταῖσδ᾽ ἐνέζευγμαι τάλας" ναρθηκοπλήρωτον δὲ θηρῶμαι πυρὸς \ , ἃ ’ὔ / πηγὴν κλοπαίαν, ἣ διδάσκαλος τέχνης πάσης βροτοῖς πέφηνε καὶ μέγας πόρος. τοιῶνδε ποινὰς ἀμπλακημάτων τίνω, ὑπαιθρίοις δεσμοῖσι πασσαλευτὸς ὦν, > ας , ? Ἁ , > \ 4 3 \ Tis ἀχὼ, Tis ὀδμὰ προσέπτα μ᾽ ἀφεγγὴς, ἘΤ 95 100 105 170 {τ 12 ΑἸΣΧΎΛΟΥ θεόσυτος, ἢ βρότειος, 7) κεκραμένη ; ἵκετο τερμόνιον ἐπὶ πάγον ᾽ὔ aes Ν ey id 7, , πόνων ἐμῶν θεωρὸς, ἢ Ti δὴ θέλων ; ὁρᾶτε δεσμώτην με δύσποτμον θεὸν, τὸν Διὸς ἐχθρὸν, τὸν πᾶσι θεοῖς 120 δι ἀπεχθείας ἐλθόνθ᾽ ὁπόσοι -- 4 > ᾿ ‘ τος \ 9 a ; τὴν Διὸς αὐλὴν εἰσοιχνεῦσιν, διὰ τὴν λίαν φιλότητα βροτῶν. es ΤᾺ ’ 9 iy 4 ’ dev φευ, τί TOT av κινάθισμα κλύω πέλας οἰωνῶν ; αἰθὴρ δ᾽ ἐλαφραῖς 125 πτερύγων ῥιπαῖς ὑποσυρίζει. πᾶν μοι φοβερὸν τὸ προσέρπον. ΧΟΡΟΣ. στρ. a. μηδὲν φοβηθῆς: φιλία γὰρ noe τάξις πτερύ- γων θοαῖς ἁμίλλαις προσέβα τόνδε πάγον, πατρῴας | , aA ’ , 4 μόγις παρειποῦσα φρένας. κραιπνοφόροι δὲ μ᾽ ἔπεμψαν αὖραι: κτύπου γὰρ ἀχὼ χάλυβος διῇξεν ἄντρων μυχὸν, ἐκ δ᾽ ἔπληξέ μου τὰν θεμερῶ- πιν αἰδῶ" 4 3. 3 ὕ » a σύθην δ᾽ ἀπίδιλος ὄχῳ πτερωτῷ. | 135 ΠΡΟΜΗΘΕΎΣ. αἷαϊ atat, τῆς πολυτέκνον Τηθύος ἔκγονα, ΠΡΟΜΗΘΕῪΣ AESMOTHS. aA + ~ , 9 ε τοῦ περὶ πᾶσάν θ᾽ εἱλισσομένου χθόν᾽ ἀκοιμήτῳ ῥεύματι παῖδες πατρὸς ᾽Ωκεανοῦ, , 3 δ ΟΡ ΄ 2 Y a SépyOnr, ἐσίδεσθέ μ᾽ οἵῳ δεσμῷ προσπορπατὸς A , / 2 ¥ τῆσδε φάραγγος σκοπέλοις ἐν ἄκροις φρουρὰν ἄζηλον ὀχήσω. ΧΟΡΟΣ. 4 ἀντ. α΄. λεύσσω, Προμηθεῦ" φοβερὰ δ᾽ ἐμοῖσιν ὄσσοις : ὁμίχλα προσῇξε πλήρης δακρύων, σὸν ’ δέμας εἰσιδούσᾳ 4 4 A 3 3 4 πέτραις προσαναινόμενον ταῖσδ᾽ ἀδαμαντοδέ- τοισι λύμαις᾽ , Ἂν 3 4 Ae Ὁ , νέοι yap οἰακονόμοι κρατοῦσ᾽ Ολύμπου, VEO A Ν ᾿ / \ a ’ χμοῖς δὲ δὴ νόμοις Ζεὺς ἀθέτως κρατύνει. Ν A \ , al dee aA τὰ πρὶν δὲ πελώρια νυν αυστοιυ. TIPOMHOEY<=. εἰ γάρ μ᾽ ὑπὸ γῆν νέρθεν θ᾽ “Αιδου τοῦ νεκροδέγμονος εἰς ἀπέραντον Τάρταρον ἧκεν, δεσμοῖς ἀλύτοις ἀγρίοις πελάσας, ὡς μήτε θεὸς , ¥ A ,» 5 , μήτε τις ἄλλος τοῖσδ᾽ ἐπεγήθει. 19 140 146 150 14 AISXYAOY νῦν δ᾽ αἰθέριον κίνυγμ᾽ ὃ τάλας ἐχθροῖς ἐπίχαρτα πέπονθα. ΧΟΡΟΣ. τίς ὧδε τλησικάρδιος στρ. β΄. θεῶν ὅτῳ τάδ᾽ ἐπιχαρὴ ; 160 , ϑ aA A τίς οὐ ξυνασχαλᾷ κακοῖς A , 4 ε + ee ’ TaN τεοῖσι, diva ye Διός ; ὁ δ᾽ ἐπικότως αεὶ 4 3 θέμενος ἄγναμπτον νόον δάμναται οὐρανίαν ,ὕ IQA , Ν x δ , γένναν, οὐδὲ λήξει, πρὶν ἂν ἢ κορεσῃ (4 Hn 4 Ἁ ἈΝ ὃ 4 κέαρ, ἣ παλάμᾳ τινὶ τὰν δυσάλωτον 166 ἔλῃ τις ἀρχάν. ΠΡΟΜΗΘΕΎΣ. Ss ‘ ¥ > 9 A 7 A ἢ μὴν €T ἐμοῦ, καίπερ κρατεραῖς ἐν γυιοπέδαις αἰκιζομένου, 4 [ν χρείαν ἕξει μακάρων πρύτανις, ὃ “A \ 4 4 > e 2 ¢ εἴξαι TO νέον βούλευμ᾽ ὑφ᾽ ὅτου 170 σκῆπτρον τιμάς T ἀποσυλᾶται. ’ 3 y 4 A Kal μ᾽ οὔτι μελιγλώσσοις πειθοῦς ἐπαοιδαῖσιν ᾽ : , 9 », 9 9 Ν θέλξει, στερεάς τ᾽ οὑποτ᾽ ἀπειλὰς ’ 9 9 Ν ’ πτήξας τόδ᾽ ἐγὼ καταμηνύσω, 175 Ν KA 9 5, ,ὕ A ὕ πρὶν ἂν ἐξ ἀγρίων δεσμῶν χαλάσῃ, ποινάς τε τίνειν τῆσδ᾽ αἰκίας ἐθελήσῃ. ΠΡΟΜΗΘΕῪΣ AEZMOTHS. 15 ΧΟΡΟΣ. ἀντ. β΄. Ν A , A ~ σὺ μὲν θρασύς τε Kal πικραῖς δύαισιν οὐδὲν ἐπιχαλᾷς, » τι A ἄγαν δ᾽ ἐλευθεροστομεῖς. 180 ἐμὰς δὲ φρένας ἐρέθισε διάτορος φόβος: δέδια δ᾽ ἀμφὶ σαῖς τύχαις, A ν K νν πᾶ ποτε τῶνδε πόνων ee χρή σε τέρμα Coe ἐσίβδευ. ἀκίχητα γὰρ ἤθεα καὶ κέαρ ἀπαράμυθον ἔχει Κρόνου παῖς. 185 ΠΡΟΜΗΘΕΎΣ. gas ¢ δ δ > ε A οἶδ᾽ ὅτι τραχὺς Kal map ἑαυτῷ δ ,ὕ ¥ , 9\\> »¥ TO δίκαιον ἔχων Ζεύς: ἀλλ᾽ ἔμπας μαλακογνώμων » > y , e A ἔσται ποθ᾽, ὅταν ταύτῃ ῥαισθῇ᾽ τὴν δ᾽ ἀτέραμνον στορέσας ὀργὴν 190 3 ΕῚ Ν 3 Ν Ν / els ἀρθμὸν ἐμοὶ καὶ φιλότητα 4 , ’ 2.49, σπεύδων σπεύδοντί ποθ᾽ ἥξει. ΧΟΡΟΣ. , be , \ , Se ἐν 7S ld πάντ᾽ ἐκκάλυψον Kal γέγων᾽ ἡμιν λόγον, ’ ’ Ἀ 3742) > Δ ποίῳ λαβών σε Ζεὺς ἐπ᾽ αἰτιάματι οὕτως ἀτίμως καὶ πικρῶς αἰκίζεται" 195 ε΄ δίδαξον ἡμᾶς, εἴ τι μὴ βλάπτει λόγῳ. 16 ΑἸΣΧΎΛΟΥ ry ΠΡΟΜΗΘΕῪΣ. ν 3 X Ud Ἁ 4 3 Ν la ἀλγεινὰ μέν μοι Kal λέγειν ἐστὶν τάδε, ΕΥ̓ Ὺ A A ἃ , ἄλγος δὲ συγᾶν, πανταχῆ δὲ δύσποτμα. 9 Q 4 >; » ’ 4 ἐπεὶ τάχιστ᾽ ἤρξαντο δαίμονες χόλου ’ 3 3 ’ 3 , στάσις τ᾽ ἐν ἀλλήλοισιν ὠροθύνετο, 200 οἱ μὲν θέλοντες ἐκβαλεῖν ἕδρας Κρόνον, ε Ν 3 ’ ~ e Ν x ὡς Ζεὺς ἀνάσσοι δῆθεν, ot δὲ τοὔμπαλιν ’ὔ’ ε \ , > » a σπεύδοντες, ws Ζεὺς μήποτ᾽ ἄρξειεν θεῶν, ἐνταῦθ᾽ ἐγὼ τὰ λῷστα βουλεύων πιθεῖν ἴω ΕῚ A Ν Ν 4 Titavas, Ovpavov τε Kat Χθονὸς τέκνα, 205 3 3 ’ ε , \ a οὐκ ἠδυνήθην: αἱμύλας δὲ μηχανὰς ἀτιμάσαντες καρτεροῖς φρονήμασιν ὦ > Ja ἢ At Ἧ βί ὃ ’ A DOVT ἀμοχθὶ πρὸς βίαν τε δεσπόσειν 3 Ν Ν , 9 ν l4 ’ ἐμοὶ δὲ μήτηρ οὐχ ἅπαξ μόνον Θέμις, Ἁ aA A 9 Ν , καὶ Tata πολλῶν ὀνομάτων μορφὴ μία, 210 τὸ μέλλον ἧ κραίνοιτο προὐτεθεσπίκει, ὧς οὐ Kar ἰσχὺν οὐδὲ πρὸς τὸ καρτερὸν χρείη, δόλῳ δὲ τοὺς ὑπερσχόντας κρατεῖν. τοιαῦτ᾽ ἐμοῦ λόγοισιν ἐξηγουμένου 3 9 la 9 X , Ν ~ οὐκ ἠξίωσαν οὐδὲ προσβλέψαι TO πᾶν. 215 κράτιστα δή μοι τῶν παρεστώτων τότε 3 , 3 > 4 lA ἐφαίνετ᾽ εἶναι προσλαβόντα μητέρα εὐ 3. ἜΜ \ aA ἑκόνθ᾽ ἑκόντι Ζηνὶ συμπαραστατεῖν. ἐμαῖς δὲ βουλαῖς Ταρτάρου μελαμβαθὴς κευθμὼν καλύπτει τὸν παλαιγενῆ Κρόνον 220 αὐτοῖσι συμμάχοισι. τοιάδ᾽ ἐξ ἐμοῦ ΠΡΟΜΗΘΕῪΣ AESMOTHS. 17 ε A ~ , ΕῚ 4 ὁ τῶν θεῶν τύραννος ὠφελημένος A A A ’ κακαῖσι ποιναῖς ταῖσδε μ᾽ ἀντημείψατο. ἔνεστι γάρ πως τοῦτο τῇ τυραννίδι νόσημα, τοῖς φίλοισι μὴ πεποιθέναι. 225 ἃ > > 9 oat) be 3 9 ὃ δ᾽ οὖν épwraT, αἰτίαν Kal ἡντινα ἌΝ , “A Ν A αἰκίζεταί pe, τοῦτο δὴ σαφηνιῶ. ὅπως τάχιστα τὸν πατρῷον ἐς θρόνον / Ρ] 9 \ 4 , , καθέζετ᾽, εὐθὺς δαίμοσιν νέμει γέρα ἄλλοισιν ἄλλα καὶ διεστοιχίζετο 230 3 , A \ A , é ἀρχήν: βροτῶν δὲ τῶν ταλαυπώρων λόγον 3 ¥ 502 9 9 9. 53. ΄ , οὐκ ἔσχεν οὐδέν᾽, GAN ἀϊστώσας γένος Ν a) » A A bs τὸ πᾶν ἔχρῃζεν ἄλλο φιτῦσαι νέον. Ν 79? 3 \ 3 ’, Ἁ 9 ~ καὶ τοισίδ᾽ οὐδεὶς ἀντέβαινε πλὴν ἐμοῦ. 3 \ > el Nee A 3 3 Ἁ ἐγὼ δ᾽ ἐτόλμησ᾽ - ἐξελυσάμην βροτοὺς 235 ~ \ , 9 ν A τοῦ μὴ διαρραισθέντας εἰς “Avdov μολεῖν. τῷ τοι τοιαῖσδε πημοναῖσι κάμπτομαι, πάσχειν μὲν ἀλγειναῖσιν, οἰκτραῖσιν δ᾽ ἰδεῖν’ θνητοὺς δ᾽ ἐν οἴκτῳ προθέμενος, “Τούτου τυχεῖν -- \ οὐκ ἠξιώθην αὐτὸς, ἀλλὰ νηλεῶς 240 ὧδ᾽ ἐρρύθμισμαι, Ζηνὶ δυσκλεὴς θέα. ΧΟΡΟΣ... / σιδηρόφρων τε κἀκ πέτρας εἰργασμένος ὅστις, Προμηθεῦ, σοῖσιν οὐ ξυνασχαλᾷ 4 9 \ Ν » 9 ἃ 3 ὃ A (ὃ μόχθοις: ἐγὼ γὰρ οὔτ᾽ ἂν εἰσιδεῖν τάδε ἔχρῃζον, εἰσιδοῦσά τ᾽ ἠλγύνθην κέαρ. 245 2 18 ΑἸΣΧΎΛΟΥ ITPOMH®@EY%. καὶ μὴν φίλοις ἐλεινὸς εἰσορᾶν ἐγώ. ΧΟΡΟΣ. ’ , y ἊΝ Ν ,’ μὴ που τι προύβης τῶνδε Και περαιτέρω ; ΠΡΟΜΗΘΕΎΣ. θνητοὺς ἔπαυσα μὴ προδέρκεσθαι μόρον. ΧΟΡΟΣ. ἃ Le) ε Ν ial ’ ’ τὸ ποῖον εὑρὼν τῆσδε φάρμακον νόσου ; ΠΡΟΜΗΘΕΎΣ. ἃ yp ® Ν 3 5. Ὁ τὰ 9 (ὃ ΄ εὖ τυφλὰς ἐν αὐτοῖς ἐλπίδας κατῴκισα. 250 ΧΟΡΟΣ. μέγ᾽ ὠφέλημα τοῦτ᾽ ἐδωρήσω βροτοῖς. ΠΡΟΜΗΘΡΎΣ. πρὸς τοῖσδε μέντοι πῦρ ἐγώ σφιν ὦὥπασα. ΧΟΡΟΣ. καὶ νῦν φλογωπὸν πῦρ ἔχουσ᾽ ἐφήμεροι ; ΠΡΟΜΗΘΕΎΣ. ap οὗ γε πολλὰς ἐκμαθήσονται τέχνας. ΠΡΟΜΗΘΕῪΣ AESMOTHS. 19 ΧΟΡΟΣ. A Ξ Ν > 3 > , τοιοῖσδε δή σε Ζεὺς ἐπ᾽ αἰτιάμασιν 255 αἰκίζεταί τε κοὐδαμῆ χαλᾷ κακῶν, 9 > »¥ + , ’ οὐδ᾽ ἔστιν ἄθλου τέρμα σοι προκείμενον ; ΠΡΟΜΗΘΕΎΣ. οὐκ ἄλλο γ᾽ οὐδὲν, πλὴν ὅταν κείνῳ δοκῇ. ΧΟΡΟΣ. δόξει δὲ πῶς ; τίς ἐλπίς ; οὐχ ὁρᾷς ὅτι ν ε ae ΘᾺ ἌΣ 9 Ν ’ ἥμαρτες ; ὡς δ᾽ ἥμαρτες οὔτ᾽ ἐμοὶ λέγειν 260 καθ᾽ ἡδονὴν σοί T ἄλγος. ἀλλὰ ταῦτα μὲν μεθῶμεν, ἄθλων δ᾽ ἔκλυσιν ζήτει τινά. ΠΡΟΜΗΘΕΎΣ. ἐλαφρὸν ὅστις πημάτων ἔξω πόδα ἔχει παραινεῖν νουθετεῖν τε τὸν κακῶς , > > Ν. Ν A> YF 3 3 , πράσσοντ᾽" ἐγὼ δὲ ταῦθ᾽ ἅπαντ᾽ ἠπιστάμην. 265 ἑκὼν ἑκὼν ἥμαρτον, οὐκ ἀρνήσομαι" θνητοῖς δ᾽ ἀρήγων αὐτὸς ηὑρόμην πόνους. οὐ μήν τι ποιναῖς γ᾽ φόμην τοίαισί με κατισχνανεῖσθαι πρὸς πέτραις πεδαρσίοις, τυχόντ᾽ ἐρήμου τοῦδ᾽ ἀγείτονος πάγου. 270 ’ N > » καί μοι τὰ μὲν παρόντα μὴ δύρεσθ᾽ ayn, πέδοι δὲ βᾶσαι τὰς προσερπούσας τύχας 9 ’ὔ 3 ε ’ Ν ᾽ὕ \ A ἀκούσαθ᾽, ws μάθητε διὰ τέλους τὸ πᾶν. 20 AISXYAOY ’ . ’ὔ la πίθεσθέ μοι, πίθεσθε, συμπονήσατε τῷ νῦν μογοῦντι. ταὐτά. τοι πλανωμένη 275 \ 4 > »¥ eR , πρὸς aot adAov πημονὴ προσιζάνει. ΧΟΡΟΣ. 9 9 4 3 fee οὐκ ἀκούσαις éreOwveas τοῦτο, Προμηθεῦ. Ἁ A 9 ~ Ν ’ καὶ νῦν ἐλαφρῷ ποδὶ κραιπνόσυτον θᾶκον προλιποῦσ᾽, 280 3 ὕ 9 e ἈΝ [4 3 Aw αἰθέρα θ αγνὸν πόρον οἰωνῶν, 3 4 Q aA ~ ὀκριοέσσῃ χθονὶ τῇδε Tea: τοὺς σοὺς δὲ πόνους 4 XN ἈΝ 3 A χρήζω διὰ παντὸς ἀκοῦσαι. OQKEANOS. ἥκω δολιχῆς τέρμα κελεύθου ὃ , Ν Ν A ἰιαμειψάμενος πρὸς σὲ, Προμηθεῦ, 285 TOV πτερυγωκῆ τόνδ᾽ οἰωνὸν ’ ’ y+ Agtase 4 4 γνώμῃ στομίων ἄτερ εὐθύνων' A A 2 »» ταῖς σαῖς δὲ τύχαις, wrt, συναλγῶ. τό τε γάρ με, δοκῶ, ξυγγενὲς οὕτως ἐσαναγκάζει, 290 , , 9 » Ψ χωρίς τε γένους οὐκ ἔστιν ὅτῳ 6 A , 9 μείζονα μοῖραν νείμαιμ᾽ ἢ σοί. ’ A » 9 ε » 3 3 A Ψ γνώσει δὲ τάδ᾽ ὡς ἔτυμ’, οὐδὲ μάτην χαριτογλωσσεῖν ἔνι pou φέρε γὰρ ΠΡΟΜΗΘΕῪΣ AESMOTHS. 21 σήμαιν᾽ ὅ τι χρή σοι ξυμπράσσειν" 295 ov γάρ ποτ᾽ ἐρεῖς ws ᾽Ωκεανοῦ , 3 δ / , φίλος ἐστὶ βεβαιότερος σοι. ΠΡΟΜΗΘΕΎΣ. » ’ὔ A Ν Ἁ Ἂς l4 9 A ἔα, τί χρῆμα; Kal od δὴ πόνων ἐμῶν ἥκεις ἐπόπτης ; πῶς ἐτόλμησας, λιπὼν ἐπώνυμόν τε ῥεῦμα καὶ πετρηρεφὴ 300 QUTOKTLT ἄντρα, THY σιδηρομήτορα > A 3 Ων > , , ἐλθεῖν ἐς αἶαν; ἢ θεωρήσων τύχας ἐμὰς ἀφῖξαι καὶ εὐνασχαλῶ κακοῖς ; δέρκου θέαμα, τόνδε τὸν Διὸς φίλον, τὸν ξυγκαταστήσαντα τὴν τυραννίδα, 305 ᾿οἵαις ὑπ᾽ αὐτοῦ eure κάμπτομαι. — | ay. OQKEANOS. ε A a) ‘\ 4 4 ὁρῶ, Προμηθεῦ, καὶ παραινέσαι γέ σοι θέλω τὰ λῷστα, καίπερ ὄντι ποικίλῳ. γίγνωσκε σαυτὸν καὶ μεθάρμοσαι τρόπους νέους: νέος γὰρ καὶ τύραννος ἐν θεοῖς. 310 εἰ δ᾽ ὧδε τραχεῖς καὶ TeDayypevous λόγους ῥίψεις, τάχ av σον καὶ μακρὰν ἀνωτέρω θακῶν κλύοι Ζεὺς, ὥστε σοι τὸν νῦν ὄχλον παρόντα μόχθων παιδιὰν εἶναι δοκεῖν. ΔΑ, 53 , 2 a ¥ 3 Ν » ἀλλ᾽, ὦ ταλαίπωρ᾽, ἃς EXELS ὀργὰς aes, 325 , Q A , 5 , ζήτει δὲ τῶνδε πημάτων ἀπαλλαγαάς. 22 AIZXYAOY 9 As ¥ 4 ’ 4 apxat tows σοι φαίνομαι λέγειν τάδε" τοιαῦτα μέντοι τῆς ἄγαν ὑψηγόρου γλώσσης, ἹΙρομηθεῦ, τἀπίχειρα γίγνεται. σὺ δ᾽ οὐδέπω ταπεινὸς οὐδ᾽ εἴκεις κακοῖς, 320 πρὸς τοῖς παροῦσι δ᾽ ἄλλα προσλαβεῖν θέλεις. οὔκουν ἔμοιγε χρώμενος διδασκάλῳ Ξ πρὸς κέντρα κῶλον ἐκτενεῖς, ὁρῶν ὅτι eats STM or erence -- ct rare τραχὺς μόναρχος οὐδ᾽ ὑπεύθυνος κρατεῖ. καὶ νῦν ἐγὼ" μὲν εἶμι καὶ πειράσομαι 325 aN , A td Cee ἢ “A 4 ἐὰν δύνωμαι τῶνδέ σ᾽ ἐκλῦσαι πόνων" \ See , >, Ὁ ¢ σὺ δ᾽ ἡσύχαζε μηδ᾽ ἄγαν λαβροστόμει. ΕΥ̓ 5 > > 3 A xj , y ἢ οὐκ οἶσθ᾽ ἀκριβῶς ὧν περισσόφρων ὅτι γλώσσῃ ματαίᾳ ζημία προστρίβεται ; ΠΡΟΜΗΘΕΎΣ. A 3 ε , 3 3 Ν 2x7. A Ἶ ζηλῶ σ᾽ ὁθούνεκ᾽ ἐκτὸς αἰτίας κυρεῖς, 330 πάντων μετασχὼν καὶ τετολμηκὼς ἐμοί. καὶ νῦν ἔασον μηδέ σοι μελησάτω. πάντως γὰρ οὐ πείσεις νιν: οὐ γὰρ εὐπιθής. πάπταινε δ᾽ αὐτὸς μή τι πημανθῇς ὁδῷ." ὨὩΚΒΑΝΟΣ. πολλῷ γ᾽ ἀμείνων τοὺς πέλας φρενοῦν ἔφυς 335 ἢ σαυτόν' ἔργῳ κοὐ λόγῳ τεκμαίρομαι. Dn back 4 ὁρμώμενον δὲ μηδαμῶς μ᾽ ἀντισπάσῃ! ὉΠ: αὐχῶ γὰρ αὐχὼ τήνδε δωρεὰν ἐμοὶ χὰ 595 ν aA id > 3 Ψ δώσειν Δί᾽, ὥστε τῶνδέ σ᾽ ἐκλύσαι πόνων. c) "ΠΡΟΜΗΘΕῪΣ AESMOTHS. IIPOMHOEYS. Ν ,’ 3 9 lal > Lal ,’ , τὰ μέν σ᾽ ἐπαινῶ κοὐδαμῇ λήξω Tore: fe \ 9 x > , 3 x προθυμίας yap οὐδὲν ἐλλείπεις. ἀτὰρ \ i , Ν 2QA 3 a μηδὲν movers μάτην yap οὐδὲν ὠφελῶν ἐμοὶ πονήσεις, εἴ τι καὶ πονεῖν θέλεις. 3 3 ε ’ὕ Ν > \ » ahh ἡσύχαζε σαυτὸν ἐκποδὼν ἔχων. ἐγὼ γὰρ οὐκ εἰ δυστυχῶ, τοῦδ᾽ οὕνεκα ΄ ν᾽ a ε , \ a θέλοιμ᾽ ἂν ὡς πλείστοισι πημονὰς τυχεῖν. > A 9- 9 , > , , OU δῆτ » €TTEL με χαι κασιυγνήτου τυχαι , > ¥ ἃ Ν e , 4 Teilpova’ Ατλαντος, ὃς πρὸς ἑσπέρους τόπους ἔστηκε κίον᾽ οὐρανοῦ τε καὶ χθονὸς » ϑ , »¥ 9 5 ὦμοις ἐρείδων, ἄχθος οὐκ εὐάγκαλον. τὸν γηγενῆ τε Κιλικίων οἰκήτορα ἄντρων ἰδὼν ᾧκτειρα, δάϊον τέρας, ἑκατογκάρανον πρὸς βίαν χειρούμενον A A A aA 5 ἢ A Τυφῶνα θοῦρον, πᾶσιν ὃς ἀνέστη θεοῖς, “ A 4 , σμερδναῖσι γαμφηλαῖσι συρίζων φόνον" ἐξ ὀμμάτων δ᾽ ἤστραπτε γοργωπὸν σέλας, ε » Ν “2.9 3 , , ὡς τὴν Διὸς τυραννίδ᾽ ἐκπέρσων Bia: ἀλλ᾽ ἦλθεν αὐτῷ Ζηνὸς ἄγρυπνον βέλος, καταιβάτης κεραυνὸς ἐκπνέων φλόγα, a ἌΝ 93.Ὁ ~ e ’ὔὕ ὃς αὐτὸν ἐξέπληξε τῶν ὑψηγόρων Ν Ἁ κομπασμάτων. φρένας γὰρ εἰς αὐτὰς τυπεὶς ἐφεψαλώθη κἀξεβροντήθη σθένος. καὶ νῦν ἀχρεῖον καὶ παράορον δέμας κεῖται στενωποῦ πλησίον θαλασσίου 28 340 345 350 355 360 24 ΑἸΣΧΎΛΟΥ 3 UA es 9 la 4 imovmevos ῥίζαισιν Αἰτναίαις ὕπο" 365 oN. 53.0.5 4 4 - κορυφαῖς δ᾽ ἐν ἄκραις ἥμενος μυδροκτυπεῖ 9 ¥ 9 ΄, , Hdatoros, ἔνθεν ἐκραγήσονταί ποτε ποταμοὶ πυρὸς δάπτοντες ἀγρίαις γνάθοις aA ’ ’ Ν 4 τῆς καλλικάρπου Σικελίας λευροὺς γύας" τοιόνδε Τυφὼς ἐξαναζέσει χόλον 370 θερμοῖς ἀπλάτου βέλεσι πυρπνόου ζάλης, καΐπερ κεραυνῷ Ζηνὸς ἠνθρακωμένος.....- δον 5} 1% » 2099 A QQ , σὺ δ᾽ οὐκ ἄπειρος, οὐδ᾽ ἐμοῦ διδασκάλου _ χρήζεις: σεαυτὸν ool’ ὅπως ἐπίστασαι" Py: ἐγὼ δὲ THY παροῦσαν ἀντλήσω τύχην, | » 375 ἔς τ᾽ ἂν Διὸς φρόνημα λωφήσῃ χόλου. OKEANOS. οὔκουν, Προμηθεῦ, τοῦτο γιγνώσκεις ὅτι ὀργῆς νοσούσης εἰσὶν ἰατροὶ λόγοι ; ΠΡΟΜΗΘΕΎΣ. ἐάν τις ἐν καιρῷ γε μαλθάσσῃ κέαρ Ν Q A & 3 ’ , καὶ μὴ σφριγῶντα θυμὸν ἰσχναίνῃ βίᾳ. 380 QKEANOS. ἐν τῷ προμηθεῖσθαι δὲ καὶ τολμᾶν τίνα ε A 9 A , ld » ορᾷς ἐνουσαν ζημίαν ; δίδασκέ με. ΠΡΟΜΗΘΕΎΣ. μόχθον περισσὸν κουφόνουν 7° εὐηθίαν. ΠΡΟΜΗΘΕῪΣ ΔΕΣΜΏΤΗΣ. ᾿ , 25 QKEANOS. \ ¥ ,’ Ν , -~ 5 \ ς J ἔα με τήνδε THY νόσον νοσεῖν, ἐπεὶ rN ’ > ἴω \ A w~ δ Ν κέρδιστον εὖ φρονοῦντα μὴ δοκεῖν φρονεῖν. 385 ΠΡΟΜΗΘΕΎΣ. ἐμὸν δοκήσει τἀμπλάκημ᾽ εἶναι τόδε. QKEANOS. σαφῶς μ᾽ ἐς οἶκον σὸς λόγος στέλλει πάλιν. IIPOMH@EYS. | μὴ γάρ σε θρῆνος οὑμὸς εἰς ἔχθραν βάλῃ. OQKEANOS. > ~ , A A Ψ ἢ τῳ νέον θακοῦντι παγκρατεῖς ἕδρας ; ΠΡΟΜΗΘΕΎΣ. τούτου φυλάσσου μή ποτ᾽ ἀχθεσθῇ κέαρ. 3090 QKEANOS. ἡ σὴ, Προμηθεῦ, ξυμφορὰ διδάσκαλος. “» ΠΡΟΜΗΘΕΎΣ. 4 ’ La) "ἢ , A στέλλου, κομίζου, σῶζε τὸν παρόντα νοῦν. ὭΚΕΑΝΟΣ. i ὁρμωμένῳ μοι τόνδ᾽ eOdvEas λόγον. λευρὸν γὰρ οἶμον αἰθέρος ψαίρει πτεροῖς 26 AISXYAOY τετρασκελὴς οἰωνός" ΠΣ} δέ τὰν 398 σταθμοῖς ἐν οἰκείοισι κάμιψεῖεν γόνυ. ΧΟΡΟΣ. one 4 ; A 3 ’, 4 A στένω σε τᾶς οὐλομένας τύχας, Προμηθεῦ, δακρυσίστακτον ἀπ᾽ ὄσσων ῥαδινῶν δ᾽ εἰβο- μένα ῥέος παρειὰν 40. Ὁ , »» ᾿ ~ 3 [4 , Ν νοτίοις ἔτεγξα παγαῖς: ἀμέγαρτα γὰρ τάδε ; Ζεὺς ἰδίοις νόμοις κρατύνων ὑπερήφανον θεοῖς τοῖς πάρος ἐνδείκνυσιν αἰχμάν. , τ, 3 ¢ ἄντ. α. πρόπασα δ᾽ ἤδη στονόεν λέλακε χώρα, μεγαλοσχήμονά Ζ σρχοϊοπρεῖν δακρῳπέει στένουσα τὰν σὰν ξυνομαιμόνων τε τιμὰν, ὁπόσοι T ἔποικον ἁγνᾶς | ᾿Ασίας ἔδος νέμονται. μεγαλοστόνοισι σοῖς πήμασι συγκάμνουσι θνατοί" Κολχίδος τε γᾶς ἔνοικοι. στρ. β΄. 415 παρθένοι, μάχας ἄτρεστοι, καὶ Σκύθης ὅμιλος, οἱ γᾶς ἔσχατον τόπον ἀμφὶ Μαιῶτιν ἔχουσι Nips "ApaBias 7 ἄρειον ἄνθος, ες Gp Bee ey? , > ἃ , etd a Braga : ὑψίκρημνόν θ᾽ ot πόλισμα , Καυκάσου πέλας νέμονται, ΠΡΟΜΗΘΕῪΣ AESMOTHS. ΟἿ pro ‘ Ν᾿ 9 / 4, > δάϊος στρατὸς, ὀξυπρῴροισι βρέμων ἐν αἰχμαῖς. ) eT Wo. , \ , » 9 , i μόνον δὴ πρόσθεν ἄλλον ἐν πόνοις 425 4 > > , “ ’ 3 Ὺ δαμέντ᾽ ἀδαμαντοδέτοις Τιτᾶνα λύμαις εἰσιδό- μαν θεὸν ᾿Ατλανθ᾽, ἃ 3 ε » ’ A ὃς αἰὲν ὑπέροχον σθένος κραταιὸν οὐράνιόν τε πόλον νώτοις ὑποστενάζει. “430 ”~ \ 4 4 4 ’ὔ βοᾷ δὲ πόντιος κλύδων το ρον στένει βυθὸς, κελαινὸς δ᾽ “Atdos ὑποβρέμει μυχὸς γᾶς, παγαΐί θ᾽ ἁγνορύτων ποταμῶν στένουσιν ἄλγος οἰκτρόν. 435 \ ΠΡΟΜΗΘΕΎΣ. - μή τοι χλιδῇ δοκεῖτε μηδ᾽ αὐθαδίᾳ σιγᾶν με: συννοίᾳ δὲ δάπτομαι κέαρ, ὁρῶν ἐμαυτὸν ὧδε προυσελούμενον. καίτοι θεοῖσι τοῖς νέοις τούτοις γέρα ,, » Ni aos, Not ΄- ὕ ᾿ τίς ἄλλος ἢ ᾽γὼ παντελῶς διώρισεν ; 440 9 > ποτα A N Χ 9 ΄ ey ἀλλ᾽ αὐτὰ σιγῶ. καὶ yap εἰδυίαισιν ἂν ε “ , > “A Ἁ , ὑμῖν λέγοιμι" τὰν βροτοῖς δὲ πήματα ἀκούσαθ᾽, -ὡς σφᾶς νηπίους ὄντας τὸ πρὶν - »" » Ν A 3 ΄, ἔννους ἔθηκα καὶ φρενῶν ἐπηβόλους. λέξω δὲ, μέμψιν οὔτιν᾽ ἀνθρώποις ἔχων, 445 9 x δ , 9:-¥ = 3 , ἀλλ᾽ ὧν δέδωκ᾽ εὔνοιαν ἐξηγούμενος ὰ μ᾿ τ ap » , οἱ πρῶτα μὲν βλέποντες ἔβλεπον μάτην, 4 > » 3 9. 9 VA κλύοντες οὐκ ἤκουον, AAA ὀνειράτων 28 AIZXYAOY δι ial ig : A Ν Ν Lg ἀλιίγκιοι μορφαῖσι τὸν μακρὸν χρόνον \y 3A , ΕΣ A epupov εἰκῇ πάντα, KouTE πλινθυφεῖς δόμους προσείλους ἦσαν, οὐ ξυλουργίαν' κατώρυχες δ᾽ ἔναιον ὥστ᾽ ἀήσυροι μύρμηκες ἄντρων. ἐν ‘Huxots ary Nats ἣν δ᾽ οὐδὲν αὐτοῖς οὔτε χείματος τέκμαρ οὔτ᾽ ἀνθεμώδους ἦρος οὔτε καρπίμου θέρους βέβαιον, ἀλλ᾽ ἄτερ γνώμης τὸ πᾶν ἔπρασσον, ἔς τε δή σφιν ἀντολὰς ἐγὼ + » 4 4 V4 ἄστρων ἔδειξα τάς τε δυσκρίτους δύσεις. Ν Ἁ 9 \ » , Kal μὴν ἀριθμὸν ἔξοχον σοφισμάτων ἐξηῦρον αὐτοῖς, γραμμάτων τε συνθέσεις, μνήμην θ᾽ ἁπάντων μουσομήτορ᾽ ἐργάτιν. καζευξα πρῶτος ἐν ζυγοῖσι κνώδαλα 4 : 3 ’ ' ’ὔ lA 3 Ψ ζεύγλαισὶ δουλεύοντα σώμασίν θ᾽, ὅπως θνητοῖς μεγίστων διάδοχοι μοχθημάτων > ᾽ ξ} 8 Ὁ >» , γένοιϊθ᾽, ud appa. τ᾿ ἤγαγον φιληνίους ἵππους, ἄγαλμα τῆς ὑπερπλούτου χλιδῆς. θαλασσόπλαγκτα δ᾽ οὔτις ἄλλος ἀντ᾽ ἐμοῦ λινόπτερ᾽ ηὗρε ναυτίλων ὀχήματα. τοιαῦτα μηχανήματ᾽ ἐξευρὼν τάλας βροτοῖσιν, αὐτὸς οὐκ ἔχω σόφισμ᾽ ὅτῳ τῆς νῦν παρούσης πημονῆς ἀπαλλαγῶ. ΧΟΡΟΣ. we ( ᾿ 4 ee) i πέπονθας aikes πῆμ᾽" ἀποσφαλεὶς φρενῶν a ἴω = πλανᾷ, κακὸς δ᾽ ἰατρὸς ὥς τις ἐς νόσον 450 455 465 470, Vt a ΠΡΟΜΗΘΕῪΣ AESMOTHS. πεσὼν ἀθυμεῖς Kal σεαυτὸν οὐκ ἔχεις ε ~ ε 4 εὑρεῖν ὁποίοις φαρμάκοις ἰάσιμος. ΠΡΟΜΗΘΒΕΥ͂Σ. τὰ λοιπά μου κλύουσα θαυμάσει πλέον, Y olas τέχνας τε Kal πόρους ἐμησάμην. » ‘ τὸ μὲν μέγιστον, εἶ τις ἐς νόσον πέσοι, 3 > 9\ 7 > 50 Χ ΕἾ , ovK ἣν ἀλέξημ᾽ οὐδὲν οὔτε βρώσιμον, > \ ἊΨ \ > Ν , οὐ χριστὸν, οὔτε πιστον, ἀλλὰ φαρμάκων / ’ ’ ΡΞ: Ν , χρείᾳ κατεσκέλλοντο, πρὶν y ἐγὼ σφίσιν ἔδειξα κράσεις Tov ἀκεσμάτων, αἷς τὰς ἁπάσας ἐξαμύνονται νόσους. τρόπους τε πολλοὺς μαντικῆς ἐστοίχισα, κἄκρινα πρῶτος ἐξ ὀνειράτων ἃ χρὴ ν 4 4 , Σ ὕπαρ γενέσθαι, κληδόνας τε δυσκρίτους. 3 , > > ens > “4 , τ ἐγνώρισ᾽ αὕτοις" ἐνοδίους τε συμβόλους γαμψωνύχων τε πτῆσιν οἰωνῶν σκεθρὼς ay > Ψ ΄, \ ΄ὕ διώρισ᾽, οἵτινές τε δεξιοὶ φύσιν - ͵ὔ gy εὐωνύμους τε, καὶ δίαιταν ἥντινα , wy > Φ \ SS > , 4 ἔχουσ᾽ ἕκαστοι, Kal πρὸς ἀλλήλους τίνες » Ν , ΩΝ , ἔχθραι TE καὶ στέργηθρα καὶ ξυνεδρίαι: σπλάγχνων τε λειότητα, καὶ χροιὰν τίνα ¥ > x ὃ ΄ ᾿ ε N ἔχοντ᾽ ἂν εἴη δαίμοσιν πρὸς ἡδονὴν, χολῆς λοβοῦ τε ποικίλην εὐμορφίαν, κνίσῃ τε κῶλα ξυγκαλυπτὰ καὶ μακρὰν ὀσφῦν πυρώσας δυστέκμαρτον ἐς τέχνην ν we ‘ Ν ᾿ , ὥδωσα θνητούς: Kat φλογωπὰ σήματα 29 475 480 485 490 495 30 AIZXYAOY ἐξωμμάτωσα, πρόσθεν ὄντ᾽ ἐπάργεμα. τοιαῦτα μὲν δὴ ταῦτ᾽" ἔνερθε δὲ χθονὸς 500 κεκρυμμέν ἀνθρώποισιν ὠφελήματα, χαλκὸν, σίδηρον, ἄργυρον, χρυσόν τε τίς φήσειεν ἂν πάροιθεν ἐξευρεῖν ἐμοῦ ; οὐδεὶς, σάφ᾽ οἶδα, μὴ μάτην φλῦσαι θέλων. βραχεῖ δὲ μύθῳ πάντα συλλήβδην μάθε, 505 πᾶσαι τέχναι βροτοῖσιν ἐκ Προμηθέως. ΧΟΡΟΣ. μή νυν βροτοὺς μὲν ὠφέλει καιροῦ πέρα, σαυτοῦ δ᾽ ἀκήδει δυστυχοῦντος: ὡς -ἐγὼῤΛῤΛΛ,, EVEATILS εἰμι τῶνδέ σ᾽ ἐκ δεσμῶν ἔτι λυθέντα μηδὲν μεῖον ἰσχύσειν Διός. 510 ΠΡΟΜΗΘΕΎΣ. οὐ ταῦτα ταῦτῃ Μοῖρά πω τελεσφόρος κρᾶναι πέπρωται, μυρίαις δὲ πημοναῖς , δύαις τε καμφθεὶς ὧδε δεσμὰ φυγγάνω' τέχνη δ᾽ ἀνάγκης ἀσθενεστέρα μακρῷ. ΧΟΡΟΣ. 4 > Ea 3 Ν 3 ,ὔ 3 me TLS OUV AVAYKYS εστιν οἰακοστρόφος; 515 ΠΡΟΜΗΘΕΎΣ. Μοῖραι τρίμορφοι μνήμονές 7 Ἐρινύες. ΠΡΟΜΗΘΕῪΣ AESMOTHS. 31 ΧΟΡΟΣ. ταν ΜῈ δι αὶ Peet: eee Snes 9 ΄, τούτων ἄρα Ζεύς ἐστιν ἀσθενέστερος: ΠΡΟΜΗΘΕΎΣ. ¥ x 3 , aN οὔκουν ἂν ἐκφύγοι ye THY πεπρωμένην. ΧΟΡΟΣ. ,’ Ν A τί yap πέπρωται Ζηνὶ πλὴν ἀεὶ κρατεῖν ; ΠΡΟΜΗΘΕΎΣ. τοῦτ᾽ οὐκέτ᾽ ἂν πύθοιο μηδὲ λιπάρει. 520 ΧΟΡΟΣ. “' ’ / > a ’ὔ ἢ πού τι σεμνόν ἐστιν ὃ ξυναμπέχεις. ΠΡΟΜΗΘΕΎΣ. ἄλλου λόγου μέμνησθε, τόνδε δ᾽ οὐδαμῶς καιρὸς γεγωνεῖν, ἀλλὰ συγκαλυπτέος ὅσον μάλιστα" τόνδε γὰρ σώζων ἐγὼ δεσμοὺς ἀεικεῖς καὶ δύας ἐκφυγγάνω. 525 ΧΟΡΟΣ. ’ , 595 ε , , στρ. a. μηδάμ᾽ ὃ πάντα νέμων “3 9 ἰφ , ‘4 5 ’ \ Beir ἐμᾷ γνώμᾳ κράτος ἀντίπαλον Zeus, μηδ᾽ ἐλινύσαιμι θεοὺς ὁσίαις . θοίναις ποτινισσομένα 530 32 ΑΙΣΧΎΛΟΥ. βουφόνοις, παρ᾽ Ὠκεανοῦ aap do Be στον πόρον, — ἐς ᾿ μηδ᾽ ἀλίτοιμι λόγοις, ΠῚ ἀλλά μοι τόδ᾽ ἐμμένοι καὶ μήποτ᾽ ἐκτακείη" 535 ἡδύ τι θαρσαλέαις ἄντ. d. τὸν μακρὸν τείνειν βίον ἐλπίσι, φαναῖς θυμὸν ἀλδαίνουσαν ἐν εὐφροσύναις. φρίσσω δέ σε δερκομένα μυρίοις μόχθοις διακναιόμενον es Ζῆνα γὰρ οὐ τρομέων ἰδίᾳ γνώμᾳ σέβει θνατοὺς ἄγαν, Προμηθεῦ. στρ. 8. φέρ᾽ ὅπως ἄχαρις χάρις, ὦ φίλος, εἰπὲ,. ποῦ τίς ἀλκά; τίς ἐφαμερίων ἄρηξις ; οὐδ᾽ ἐδέρχθης ὀλυγοδρανίαν ἄκικυν,. ED OPE! pov, ᾧ τὸ eee ἄντ. a ἔμαθον τάδε σὰς προσιδοῦσ᾽ ὀλοὰς τύχα NEES dee τόδ᾽ ἐκεῖνό θ᾽ oF ἀμφὶ ee καὶ es σὸν ὑμεναίουν ΠΡΟΜΗΘΕῪΣ AESMOTHS. 33 sy , 9 N ¢ , 9 LOTaATL γάμων, OTE TAV OMOTTAT PLOV ἔδνο ις Ε ε , \ , ' , ayayes Houovav πιθὼν δάμαρτα κοινόλεκτρον. 560 . TQ. ’ ~ ’ὔ id 4 “A 4 τίς γῆ; τί γένος ; τίνα φῶ λεύσσειν τόνδε χαλινοῖς ἐν πετρίνοισιν χειμαζόμενον ; ᾽ > , » 3 ’ τίνος ἀμπλακίας ποινὰς ὀλέκει ; σήμηνον ὅποι γῆς ἡ μογερὰ πεπλάνημαι. 565 a a, προ. χρίει τις αὖ με τὰν τάλαιναν οἶστρος, εἴδωλον “Apyou γηγενοῦς, ἄλευε δᾶ: φοβοῦμαι τὸν μυριωπὸν εἰσορῶσα βούταν. ε ὴ , , >» > » ὁ δὲ πορεύεται δόλιον ὄμμ᾽ ἔχων, 570 ἃ 2Q\ ΄ -~ ΄ ὃν οὐδὲ κατθανόντα yata κεύθει. 3 deb oe \ ‘ , ἀλλ ewe τὰν τάλαιναν ἐξ ἐνέρων περῶν κυναγετεῖ, πλανᾷ τε νῆστιν ἀνὰ τὰν παραλίαν ψάμμον. στρ. ὑπὸ δὲ κηρόπλαστος ὀτοβεῖ δόναξ ἀχέτας ὑπνοδόταν νόμον" ἰὼ ἰὼ, πόποι, ποῖ, 575 , ἴων i , , πόποι, Tou μ᾽ ἄγουσι τηλέπλανοι πλάναι ; τί ποτέ μ᾽, ὦ Κρόνιε παῖ, τί ποτε ταῖσδ᾽ ἐνέζευξας εὑρὼν ἁμαρτοῦσαν 3 34 3 AISXYAOY -ἐν πημοσύναις, ἐὴ, οἰστρηλάτῳ δὲ δείματι δειλαίαν Ν ὅδ παράκοπον ὧδε τείρεις 5 πυρί με φλέξον, 7) χθονὶ κάλυψον, ἢ ποντίοις δάκεσι δὸς βορὰν, μηδέ μοι φθονήσῃς εὐγμάτων, ἀναξ. | ἄδην με πολύπλανοι πλάναι ἀπε E γεγυμνάκασιν, οὐδ᾽ ἔχω μαθεῖν ὅπα πημονὰς ἀλύξω. ΠΡΟΜΗΘΕΎΣ. ἴω, 3 3 , la 3 4 4 πῶς δ᾽ οὐ κλύω τῆς οἰστροδινήτου κόρης a Ε , aA ih ,ὕ , τῆς Ivayetas ; ἢ Διὸς θάλπει κέαρ 590 ἔρωτι, Kal νῦν TOUS ὑπερμήκεις δρόμους Ἥ Ν Ν , ; , ρᾷ στυγητὸς πρὸς βίαν γυμνάζεται. ΤΩ. 3 : . αντ. , 5 ‘a \ Χ + Ne ts , πόθεν ἐμοῦ σὺ πατρὸς ὄνομ᾽ απύεις, εἰπέ μοι τᾷ μογερᾷ τίς ὧν “τ 5 Tis apa μ᾽, ὦ τάλας, τὰν ταλαίπωρον ὧδ᾽ ἐτήτυμα προσθροεῖς, 595 θεόσυτόν τε νόσον ὠνόμασας, ἃ μαραίνει με χρίουσα κέντροις * * φοιταλέοις, ἐή. σκιρτημάτων δὲ νήστισιν αἰκίαις 600 ΠΡΟΜΗΘΕῪΣ AESMOTH2. > AO λαβρόσυτος ἦλθον, Ἥρας 3 l4 4 ἮΝ Υ̓ ἐπικότοισι μήδεσι δαμεῖσα. δυσδαιμόνων δὲ τίνες, Ol, ἐὴ, ot ἐγὼ μογοῦσιν ; ΕΣ , A ἀλλά μοι τορῶὼς τέκμηρον O τι μ᾽ ἐπαμμένει 605 παθεῖν, τί μῆχαρ, ἢ τί φάρμακον νόσου, δεῖξον, εἴπερ οἶσθα" θρόει, φράζε τᾷ δυσπλάνῳ παρθένῳ. ΠΡΟΜΗΘΕΎΣ. λέξω τορῶς σοι πᾶν ὅπερ χρήἥζεις μαθεῖν, οὐκ ἐμπλέκων αἰνίγματ᾽, ἀλλ᾽ ἁπλῷ λόγῳ, 610 ὥσπερ δίκαιον πρὸς φίλους οἴγειν στόμα. πυρὸς βροτοῖς δοτῆρ᾽ ὁρᾷς Προμηθέα. TQ. ὦ κοινὸν ὠφέλημα θνητοῖσιν φανεὶς, τλῆμον Προμηθεῦ, τοῦ δίκην πάσχεις τάδε; ΠΡΟΝΗΘΕΎΣ. ἁρμοῖ πέπαυμαι τοὺς ἐμὸὺς θρηνῶν πόνους. 615 1. ¥ 4 x , ἘΣ 3 , οὔκουν πόροις ἂν τήνδε δωρεὰν ἐμοί ; ΠΡΟΜΗΘΕΎΣ. Ζ.9 ἡ 3 3 A A ΔΝ a 50 ye λέγ ἡντιν αιτει" παν γὰρ QV TUUOLO μου. 36 AISXYAOY IQ. σήμηνον ὅστις ἐν φάραγγί σ᾽ ὦχμασε. ΠΡΟΜΗΘΕΎΣ. βούλευμα μὲν τὸ Δῖον, Ἡφαίστου δὲ χείρ. TQ, Ν δὲ , > , , ποινὰς O€ ποίων ἀμπλακημάτων τίνεις ; 620 ΠΡΟΜΗΘΕΎΣ. τόσοῦτον ἀρκῶ σοι σαφηνίσαι μόνον. TQ. Kal πρός γε τούτοις τέρμα τῆς ἐμῆς πλάνης δεῖξον τίς ἔσται τῇ ταλαιπώρῳ χρόνος. ΠΡΟΜΗΘΕΎΣ. Ν \ a aA Ὁ ΩΣ , τὸ μὴ μαθεῖν σοι κρεῖσσον ἢ μαθεῖν τάδε. TQ. μήτοι με κρύψῃς τοῦθ᾽ ὅπερ μέλλω παθεῖν. 625 ΠΡΟΜΗΘΕΎΣ. ἀλλ᾽ οὐ μεγαίρω τοῦδέ σοι δωρήματος. TO. ? en aut Q 9 , ‘ A Tt NTA PE ELS [LOU VEY WVLO KELV TO αν ; ΠΡΟΜΗΘΕῪΣ ΔΕΣΜΏΤΗΣ. 37 ΠΡΟΜΗΘΕΎΣ. φθόνος μὲν οὐδεὶς, σὰς δ᾽ ὀκνῶ θρᾶξαι φρένας. 10. μή μου προκήδου μᾶσσον ὡς ἐμοὶ γλυκύ. ΠΡΟΜΗΘΕΎΣ. ἐπεὶ προθυμεῖ, χρὴ λέγειν: ἄκουε δή. 630 ΧΟΡΟΣ. μήπω ye: μοῖραν δ᾽ ἡδονῆς κἀμοὶ πόρε. τὴν τῆσδε πρῶτον ἱστορήσωμεν νόσον, αὐτῆς λεγούσης τὰς πολυφθόρους τύχας" τὰ λοιπὰ δ᾽ ἄθλων σοῦ διδαχθήτω πάρα. ΠΡΟΜΗΘΡΥΣ. Lal A 3 a) σὸν ἔργον, ‘lot, ταῖσδ᾽ ὑπουργῆσαι χάριν, 635 ἄλλως τε πάντως καὶ κασιγνήταις πατρός. ὡς τἀποκλαῦσαι κἀποδύρασθαι τύχας 3 Af)? 7 , » , ἐνταῦθ᾽, ὅπη μέλλοι Tis οἴσεσθαι δάκρυ XQ -~ , > ’ Ν » πρὸς τῶν κλυόντων, ἀξίαν τριβὴν ἔχει. ὃς. ; ΤΩ. > ROD 9 en ἢ a ΄ N οὐκ οἷδ᾽ ὅπως ὑμῖν ἀπιστῆσαι με χρὴ, 640 σαφεῖ δὲ μύθῳ πᾶν ὅπερ προσχρήζετε πεύσεσθε: καίτοι καὶ λέγουσ᾽ αἰσχύνομαι 38 © ΑἸΣΧΎΛΟΥ ; : A Ν θεόσσυτον χειμῶνα καὶ διαφθορὰν μορφῆς, ὅθεν μοι σχετλίᾳ προσέπτατο. | ἀεὶ yap ὄψεις ἔννυχοι πωλεύμεναι ᾿ 645 3 ἴω \ 3 \ Ld : ἐς παρθενῶνας τοὺς ἐμοὺς παρηγόρουν : : λείοισι μύθοις: ὦ μέγ᾽ εὔδαιμον κόρη, y , Ν 3, ᾿ Υ τί παρθενεύει δαρὸν, ἐξόν σοι γάμου τυχεῖν μεγίστου ; Ζεὺς γὰρ ἱμέρου βέλει πρὸς σοῦ τέθαλπται καὶ ξυναίρεσθαι Κύπριν 650 θέλει: σὺ δ᾽, ὦ παῖ, μἀάἀπολακτίσῃς λέχος Ν a 3, Ἀ ἽΝ τὸ Ζηνὸς, ἀλλ᾽ ἔξελθε πρὸς Λέρνης βαθὺν a Ν λειμωνα, ποίμνας βουστάσεις τε πρὸς πατρὸς, ε fj Ν ἴω »» , 7 ἢ E ws av τὸ Δῖον oupa λωφήσῃ πόθου. τοιοισδε πάσας εὐφρόνας ὀνείρασι 655 ξυνειχόμην δύστηνος, ἔς τε δὴ πατρὶ ἔτλην γεγωνεῖν νυκτίφαντ᾽ ὀνείρατα. ὁ δ᾽ ἔς τε Πυθὼ κἀπὶ Δωδώνης πυκνοὺς θεοπρόπους ἴαλλεν, ὡς μάθοι τί χρὴ δρῶντ᾽ ἢ λέγόντα δαίμοσιν πράσσειν φίλα. 660 δ 5.5 ,ὕ 3 4 ἤκον δ᾽ ἀναγγέλλοντες αἰολοστόμους χρησμοὺς ἀσήμους δυσκρίτως τ᾽ εἰρημένους. τέλος δ᾽ ἐναργὴς βάξις ἦλθεν ᾿Ινάχῳ “σαφῶς ἐπισκήπτουσα καὶ μυθουμένη » ’ Ν ’ 3 A 3 Q ἔξω δόμων τε καὶ πάτρας ὠθεῖν ἐμὲ,. 665 ¥ 9 A A ss 4 Ψ Ξ ἄφετον ἀλᾶσθαι γῆς ἐπ᾽ ἐσχάτοις ὅροις". 3 Ν ’, ἊΝ 3 Ν aN Ket μὴ θέλοι, πυρωπὸν ἐκ Διὸς μολεῖν κεραυνὸν, ὃς πᾶν ἐξαϊστώσοι γένος. τοιόϊσδε. πεισθεὶς Λοξίου μαντεύμασιν, ΠΡΟΜΗΘΕῪΣ ΔΕΣΜΏΤΗΣ. 39 ἐξήλασέν με κἀπέκλῃσε δωμάτων 670 ἄκουσαν ἄκων" add’ ἐπηνάγκαζέ vw Διὸς χαλινὸς πρὸς βίαν πράσσειν τάδε. εὐθὺς δὲ μορφὴ καὶ φρένες διάστροφοι ἦσαν, κεραστὶς δ᾽, ὡς ὁρᾶτ᾽, ὀξυστόμῳ μύωπι χρισθεῖσ᾽ ἐμμανεῖ σκιρτήματι 675 ἧσσον πρὸς εὔποτόν τε Kepyvetas ῥέος Λέρνης τε κρήνην᾽ βουκόλος δὲ γηγενὴς ἄκρατος ὀργὴν “Apyos ὡμάρτει, πυκνοῖς ὄσσοις δεδορκὼς τοὺς ἐμοὺς κατὰ στίβους. 3 ,΄ 3 eS 3 ΄ , ἀπροσδόκητος δ᾽ αὐτὸν ἀφνίδιος μόρος 680 lal A 3 ’ὔ 3 \ > Je i | Ν τοῦ ζῆν ἀπεστέρησεν. οἰστροπλὴξ δ᾽ ἐγὼ μάστιγι θείᾳ γῆν πρὸ γῆς ἐλαύνομαι. 4 x 7 > 3 )ϑν»ν 3 A Y κλύεις τὰ πραχθέντ᾽" εἰ δ᾽ ἔχεις εἰπεῖν O τι λοιπὸν πόνων, σήμαινε: μηδέ μ᾽ οἰκτίσας ξύνθαλπε μύθοις ψευδέσιν: νόσημα γὰρ 685 αἴσχιστον εἶναί φημι συνθέτους λόγους. ΧΟΡΟΣ. ly » » A Ea ἔα, ἄπεχε, PEv' ΕΣ πο Ὁ > » , οὔποτ᾽ οὔποτ᾽ ηὔχουν ξένους ν Ὺ»" ’, 3 3 Ν SAN μολεῖσθαι λόγους εἷς ἀκοὰν ἐμὰν, 690 οὐδ᾽ ὧδε δυσθέατα Kal δύσοιστα ΜΝ ς 4, , bE) ge Ν πήματα, λύματα, δείματ᾽ ἐμὰν 3 , , 3 4, ’ ἀμφάκει κέντρῳ ψύχειν ψυχάν' ἰὼ ἰὼ μοῖρα μοῖρα, πέφρικ᾽ εἰσιδοῦσα πρᾶξιν ‘Lous. 695 40 AISXYAOY IITPOMH@EYS. , : > πρῴ ye στενάζεις καὶ φόβου πλέα τις εἶ" | eee ¥ > ἡ ἃ Ν Ν. : ‘sae la ἐπίσχες ἔς T ἂν Kal τὰ λοιπὰ προσμαθὴῃς.. ΧΟΡΟΣ. λέγ᾽, ἐκδίδασκε: τοῖς. νοσοῦσί τοι γλυκὺ XN Ν » 3 ’ὔ A τὸ λοιπὸν ἄλγος προὐξεπίστασθαι TOPOS. ! ΠΡΟΜΗΘΕΎΣ. αν τοὺς τὴν πρίν ye χρείαν ἠνύσασθ᾽ ἐμοῦ πάρα 700 κούφως! μαθεῖν yap τῆσδε πρῶτ᾽ eypylere τὸν ἀμφ᾽ ἑαυτῆς ἄθλον ἐξηγουμένης᾽ τὰ λοιπὰ νῦν ἀκούσαθ᾽, οἷα χρὴ πάθη ἴω Ν 2 V4 Ν 4 τλῆναι πρὸς Ἥρας τήνδε τὴν νεάνιδα. σύ τ᾽, Ἰνάχειον σπέρμα, τοὺς ἐμοὺς λόγους 705 A 4vn3 ε ΕΥ 4 >. oS , ε A θυμῷ Bad’, ὡς ἂν τέρματ᾽ ἐκμάθῃς 6600. ° es Q 3 ’ > e ’ i Ν 5 ‘\ πρῶτον μὲν ἐνθένδ᾽ ἡλίου πρὸς ἀντολς στρέψασα σαυτὴν στεῖχ᾽ ἀνηρότους yas: Σκύθας δ᾽ ἀφίξει νομάδας, ot πλεκτὰς στέγας πεδάρσιοι ναίουσ᾽ ἐπ᾽ εὐκύκλοις ὄχοις, 710 ε , ΄ὔ 3 ΄ ᾿ : exnBorots τόξοισιν ἐξηρτυμένοι" οἷς μὴ πελάζειν, ἀλλ᾽ ἁλιστόνοις πόδας χρίμπτουσα ῥαχίαισιν ἐκπερᾶν χθόνα. λαιᾶς δὲ χειρὸς οἱ σιδηροτέκτονες — οἰκοῦσι Χάλυβες, ods φυλάξασθαί σε χρή. 715 ἀνήμεροι γὰρ οὐδὲ πρόσπλατοι ἕένοις. ἥξεις δ᾽ ὑβριστὴν ποταμὸν οὐ ψευδώνυμον, IIPOMH@EYS AESMOTHS. 41 ὃν μὴ περάσῃς, οὐ γὰρ εὔβατος περᾶν, .. ἃ \ ries r es 2 A πρὶν ἂν πρὸς αὐτὸν Καύκασον μόλῃς, ὀρῶν Ψ yy Ἂς 3 a) ,ὔ ὕψιστον, ἔνθα ποταμὸς ἐκφυσᾷ μένος ας Ἄ ϑ τ ee 3 4 δὲ \ κροτάφων ἀπ᾽ αὐτῶν. ἀστρογείτονας ὃὲ χρὴ Ν ε ’ 3 % κορυφὰς ὑπερβάλλουσαν ἐς μεσημβρινὴν A / » + ee | ἴω Ν βῆναι κέλευθον, ἔνθ᾽ ᾿Αμαζόνων στρατὸν ἵξει στυγάνορ᾽, at Θεμίσκυράν ποτε A 9 \ , ty . κατοικιοῦσιν ἀμφὶ Θερμώδονθ᾽, ἵνα 725 τραχεῖα πόντου Σαλμυδησσία γνάθος ἐχθρόξενος ναύταισι, μητρυιὰ νεῶν" a , 2 € , gore A a ΄, ; αὗταί σ᾽ ὁδηγήσουσι Kal μάλ᾽ ἀσμένως. 3 Ἂν + ae μὰ; 3 “A z ’ ’ ἰσθμὸν δ᾽ ἐπ᾽ αὐταῖς στενοπόροις λίμνης πύλαις Κιμμερικὸν ἥξεις, ὃν θρασυσπλάγχνως σε χρὴ 73ο λιποῦσαν αὐλῶν᾽ ἐκπερᾶν Μαιωτικόν' κι \ A > Ν 4 δ ἔσται δὲ θνητοῖς εἰσαεὶ λόγος μέγας τῆς σῆς πορείας, Βόσπορος δ᾽ ἐπώνυμος κεκλήσεται. λιποῦσα δ᾽ Εὐρώπης πέδον, 4 Y 3 7.9 SF COA “- ἥπειρον ἥξεις ᾿Ασιάδ᾽. ap ὑμῖν δοκεῖ | 735 ὁ τῶν θεῶν τύραννος és τὰ πάνθ᾽ ὁμῶς βίαιος εἶναι ; τῇδε γὰρ θνητῇ θεὸς ΄ A , ΡΣ. We) , Le χρήζων μιγῆναι τάσδ᾽ ἐπέρριψεν πλάνας. πικροῦ δ᾽ ἔκυρσας, ὦ κόρη, τῶν σῶν γάμων μνηστῆρος. οὺἣς γὰρ νῦν ἀκήκοας λόγους,Ἠ 740 εἶναι δόκει σοὶ μηδέπω ᾽ν προοιμίοις. TQ. ἰώ μοί pou 2 42 AISXYAOY ITPOMHOEYS. Q 3 3. ld 4 ’ 4 σὺ δ᾽ αὖ κέκραγας κἀναμυχθίζει: τί που δράσεις, ὅταν τὰ λοιπὰ πυνθάνῃ κακά; ΧΟΡΟΣ. ἢ γάρ τι λοιπὸν τῇδε πημάτων ἐρεῖς ; ΠΡΟΜΗΘΕΎΣ. δυσχείμερόν γε πέλαγος ἀτηρᾶς δύης. TQ. τί δῆτ᾽ ἐμοὶ ζῆν κέρδος, ἀλλ᾽ οὐκ ἐν τάχει » 3 9 Ν A 3 9 Ν , 4 Eppus ἐμαυτὴν τῆσδ᾽ ἀπὸ στύφλου πέτρας, ιὅπως πέδοι σκήψασα τῶν πάντων πόνων | 3 ’ “ Ν 3 4 A ᾿ἀπηλλάγην ; κρεῖσσον yap εἰσάπαξ θανεῖν ἢ τὰς ἁπάσας ἡμέρας πάσχειν κακῶς. ΠΡΟΜΗΘΕΎΣ. ἢ δυσπετῶς ἂν τοὺς ἐμοὺς ἄθλους φέροις, ὅτῳ θανεῖν μέν ἐστιν οὐ πεπρωμένον' αὕτη γὰρ ἣν ἂν πημάτων ἀπαλλαγή: νῦν δ᾽ οὐδέν ἐστι τέρμα μοι προκείμενον 4 Q KR \ 9 4 V4 μόχθων, πρὶν ἂν Ζεὺς ἐκπέσῃ τυραννίδος. ΤΩ. ἢ γάρ ποτ᾽ ἔστιν ἐκπεσεῖν ἀρχῆς Δία; ΠΡΟΜΗΘΕΎΣ. noov ἂν, οἶμαι, τήνδ᾽ ἰδοῦσα συμφοράν. 745 750 755 f Ὶ Γ ANY κὰκ τ΄ wrursr \- ᾿ ες τι » Ὺ " ιζΐχ .- Ὶ JN J : ' : \ Je. » x τ STs Ὁ ΠΡΟΜΗΘΕῪΣ ΔΕΣΜΏΤΗΣ. ἘΠ ΘΕ TQ. a > > a 4 3 Ν , A πῶς δ᾽ οὐκ ἂν, ἥτις ἐκ Διὸς πάσχω κακῶς ; ΠΡΟΜΗΘΕΎΣ. ε ’ » ww , A , ὡς τοίνυν ὄντων τῶνδέ σοι μαθεῖν πάρα. 760 TQ. πρὸς τοῦ TUpavva σκῆπτρα συληθήσεται ; ΠΡΟΜΗΘΕΎΣ. πρὸς αὐτὸς αὑτοῦ κενοφρόνων βουλευμάτων. ΤΩ. ποίῳ τρόπῳ ; σήμηνον, εἰ μή τις βλάβη. ΠΡΟΜΗΘΕΎΣ. γαμεῖ γάμον τοιοῦτον ᾧ ποτ᾽ ἀσχαλᾷ. IQ. θέορτον, ἢ βρότειον ; εἰ ῥητὸν, φράσον. 765 ΠΡΟΜΗΘΕΎΣ. , “αἰ 3 > Ἂς ε Ν 96. ἡ , τί δ᾽ ὅντιν᾽ ; οὐ yap ῥητὸν αὐδᾶσθαι τόδε. ΙΩ. > \ , 9 , , ἢ πρὸς δάμαρτος ἐξανίσταται θρόνων ; ΠΡΟΜΗΘΕΎΣ. ἣ τέξεταί γε παῖδα φέρτερον πατρός. 44 AISXYAOY TQ. 50.535 ¥ 3 on ΜᾺ 90... ie 4 οὐδ᾽ ἔστιν αὐτῷ τῆσδ᾽ ἀποστροφὴ τύχης ; ΠΡΟΜΗΘΕΎΣ. οὐ δῆτα, πλὴν ἔγωγ᾽ ἂν ἐκ δεσμῶν λυθείς, ---- 770 ΤΩ. 4 9S ε , ὃ + eee | Q » l4 Tis ovvy ὁ λύσων σ᾽ ἐστὶν aKovTos Atos; ΠΡΟΜΗΘΕΎΣ. τῶν σῶν τιν᾽ αὐτὸν ἐκγόνων εἶναι χρεών. ΤΩ. A S a> a 3 9 , A πῶς εἶπας ; ἢ mos παῖς σ᾽ ἀπαλλάξει κακῶν ; ΠΡΟΜΗΘΕΎΣ. τρίτος γε γένναν πρὸς δέκ᾽ ἄλλαισιν γοναῖς. TQ. 98° οὐκέτ᾽ εὐξύμβλητος ἡ χρησμῳδία. 775 ΠΡΟΜΗΘΕΎΣ. Q , A 9 A , , και μη Tl σαντὴς ἐκμαθεῖν ζήτει MTOvVOUS. ΤΩ. * , , , 3. 35. 9 a. μη μοι τροτεινωὼν κέρδος ELT ATOTTE PEL ΠΡΟΜΗΘΕΎΣ. δυοῖν λόγοιν σε θατέρῳ δωρήσομαι. ΠΡΟΜΗΘΕῪΣ ΔΕΣΜΏΤΗΣ. 45 TQ. ποίοιν ; πρόδειξον, αἵρεσίν τ᾽ ἐμοὶ δίδου. ΠΡΟΜΗΘΕΎΣ. δίδωμ᾽- ἑλοῦ γὰρ, ἢ πόνων τὰ λοιπά σοι 78ο φράσω σαφηνῶς, ἢ τὸν ἐκλύσοντ᾽ ἐμέ. ΧΟΡΟΣ. τούτων σὺ τὴν μὲν τῇδε, τὴν δ᾽ ἐμοὶ χάριν. θέσθαι θέλησον, μηδ᾽ ἀτιμάσῃς λόγους: “καὶ τῇδε μὲν γέγωνε τὴν λοιπὴν πλάνην, κ᾿ ἐμοὶ δὲ τὸν λύσοντα' τοῦτο γὰρ ποθῶ... δγ)8ς ΠΡΟΜΗΘΕΎΣ. > Ν Ἢ 3 3 > ,ὔ ἐπεὶ προθυμεῖσθ᾽, οὐκ ἐναντιώσομαι τὸ μὴ οὐ γεγωνεῖν πᾶν ὅσον προσχρῇζετε. \ A 9 “A , 4 ’ σοὶ πρῶτον, ἴοι, πολύδονον πλάνην φράσω, ἃ 3 4 \ 4 , A ἣν ἐγγράφου σὺ μνήμοσιν δέλτοις φρενῶν. ὅταν περάσῃς ῥεῖθρον ἠπείρων ὅρον, 790 Ν 3 Ν A ε “A πρὸς ἀντολὰς φλογῶπας ἡλιοστιβεὶῖς " Χ " Ps * ¥ πόντου περῶσα φλοῖσβον, és τ᾽ ἂν ἐξίκῃ Ν , , 4 . πρὸς Γοργόνεια πεδία Κισθήνης, wa ε if , Ἁ ’ αἱ Φορκίδες ναίουσι δηναιαὶ κόραι τρεῖς κυκνόμορφοι, κοινὸν ὄμμ᾽ ἐκτημέναι, 795 "ὃ ἃ 5 δέ μονόδοντες, ἃς οὔθ᾽ ἥλιος προσϑέρκεται ἀκτῖσιν οὔθ᾽ ἡ νύκτερος μήνη ποτέ. 46 ts AISXYAOY.. aA A πέλας δ᾽ ἀδελφαὶ τῶνδε τρεῖς κατάπτεροι, δρακοντόμαλλοι Γοργόνες βροτοστυγεῖς, ἃ Ν 3 N 3 Ν 4 ’ ἃς θνητὸς οὐδεὶς εἰσιδὼν ἔξει πνοάς" τοιοῦτο μέν σοι τοῦτο φρούριον λέγω. » >» A ΄ ἄλλην δ᾽ ἄκουσον δυσχερῆ θεωρίαν' ὀξυστόμους γὰρ Ζηνὸς ἀκραγεῖς κύνας aA ke ~~ Ἂ γρῦπας φύλαξαι, τόν τε μουνῶπα στρατὸν ᾿Αριμασπὸν ἱπποβάμον᾽, ot χρύσορρυτον οἰκοῦσιν ἀμφὶ νᾶμα, Ἰϊλούτωνος πόρον" »» Ἂς \ 4 Ν \ la τούτοις σὺ μὴ πέλαζε. τηλουρὸν δὲ γῆν ἥξεις κελαινὸν φῦλον, ot πρὸς ἡλίου 7 A ¥ N sf ναίουσι πηγαῖς, ἔνθα ποταμὸς Αἰθίοψ. , > » Ψ 9 9 aN 97 τούτου παρ᾽ ὄχθας ἔρφ᾽, ews av ἐξίκῃ καταβασμὸν, ἔνθα Βυβλίνων ὀρῶν azo ἵησι σεπτὸν᾽..Νεῖλος εὐποτον. ῥέος. ὯΝ ’’ > ¢ 4 Ν , i 3 id οὗτός σ᾽ ὁδώσει THY τρίγωνον ἐς χθόνα Νειλῶτιν, οὗ δὴ τὴν μακρὰν ἀποικίαν," 800 805 \ 3 ~ , , ἈΝ , , 5 ν lou, πέπρωται Dol τε καὶ τέκνοις κτίσαι. διὴ ς “ΩΝ τῶν δ᾽ εἴ τί σοι ψελλόν τε καὶ δυσεύρετον, 3 i Ν a 3 , ἐπανδίπλαζε, Kat σαφῶς ἐκμάνθανε: \ \ ’ὕ x ’ 4 ’ σχολὴ δὲ πλείων ἢ θέλω πάρεστί μοι. ΧΟΡΟΣ. 3 - aS Ἁ HK l4 εἰ μέν TL THOE λοιπὸν ἢ παρειμένον ἔχεις γεγωνεῖν τῆς πολυφθόρου πλάνης, λέγ᾽" εἰ δὲ πάντ᾽ εἴρηκας, ἡμῖν αὖ χάριν Ν ν 3 3 ’ δὸς ἦντιν αἰτούμεφθα, μέμνησαι δέ που. ἐπὶ Ὁ ἃ ΤῸΝ } ν᾿ NS Ν 820 i ΠΡΟΜΗΘΕῪΣ AESMOTHS. Ζ 47 ΠΡΟΜΗΘΕΎΣ. Ν ἴα δ ν , >, s+ , TO πᾶν πορείας HOE TEP ἀκήκοεν. Y 35 ἃ 50. Ἃ Ν , , , ὅπως δ᾽ ἂν εἰδῇ μὴ μάτην κλύουσά μου, ἃ Ἂς La fee) we) 4 , ἃ πρὶν μολεῖν δεῦρ᾽ ἐκμεμόχθηκεν φράσω, 825 τεκμήριον τοῦτ᾽ αὐτὸ δοὺς μύθων ἐμῶν. ᾿Ξ \ > Ν ῪΜ ΕῚ ’ ὄχλον μὲν οὖν τὸν πλεῖστον ἐκλείψω λόγων, πρὸς αὐτὸ δ᾽ εἶμι τέρμα σῶν πλανημάτων. 3 Ν Ν εὺ \ Ν ’ ἐπεὶ γὰρ ἦλθες πρὸς Μολοσσὰ γάπεδα, Ν > , ’ὔ 2 3 Ν » ν τὴν αἰπύνωτόν T ἀμφὶ Δωδώνην, ἵνα 830 A a , “ιν 59 δ ω \ μαντεῖα θᾶκός τ᾽ ἐστὶ Θεσπρωτοῦ Διὸς, τέρας T ἄπιστον, ai προσήγοροι δρύες, ει} @ N A 50 ΧΝ 3 ΄ ὑφ᾽ ὧν σὺ λαμπρῶς κοὐδὲν αἰνικτηρίως [4 ε Ν X ,ὔ προσηγορεύθης ἡ Διὸς κλεινὴ δάμαρ, , > ¥ ᾽ν , , [μέλλουσ᾽ ἔσεσθαι, τῶνδε προσσαίνει σέ τι;] 835 ἐντεῦθεν οἰστρήσασα τὴν παρακτίαν , > \ ,ὕ ΄ ἐτ).2 κέλευθον ἧξας πρὸς μέγαν κόλπον Peas, > 5 @ , , ἢ ἀφ᾽ οὗ παλιμπλάγκτοισι χειμάζει δρόμοις" χρόνον δὲ τὸν μέλλοντα πόντιος μυχὸς, a 3 ’ 39 3 7 ’ὔ σαφῶς ἐπίστασ᾽, ᾿Ιόνιος κεκλήσεται, 840 τῆς σῆς πορείας μνῆμα τοῖς πᾶσιν βροτοῖς. Wy en petd σοι τάδ᾽ ἐστὶ τῆς ἐμῆς φρενὸς, ὡς δέρκεται σον τὰ τοῦ πεφασμένου. τῇδέ T ἐς κοινὸν PReo cs Ϊ ΝΕ τὰ λοιπὰ δ᾽ ὑμῖ ᾿Ξ ἐς ταὐτὸν ἐλθὼν “Τῶν πάλαι λόγων ἴχνος. 845 a ἔστιν πόλις Κάνωβος ἐσχάτη χθονὸς, Νείλου πρὸς αὐτῷ στόματι καὶ προσχώματι:" 48 AISXYAOY ἐνταῦθα δή σε Ζεὺς τίθησιν ἔμφρονα, 3 a 3 A N \ N 4 ἐπαφῶν ἀταρβεῖ χειρὶ καὶ θιγὼν μόνον. ἐπώνυμον δὲ τῶν Διὸς γεννημάτων id Ν » ἃ , τέξεις κελαινὸν ΓἜπαφον,. ὃς καρπώσεται ν 4 ἊΝ 3 4 / ὅσην πλατύρρους Νεῖλος apdever χθόνα' πέμπτη δ᾽ ἀπ᾿ αὐτοῦ γέννα πεντηκοντάπαις πάλιν πρὸς “Apyos οὐχ ἑκοῦσ᾽ ἐλεύσεται θηλύσπορος, φεύγουσα συγγενῆ γάμον 39 “ὯΝ ε 3. 4 , ἀνεψιῶν' οἱ δ᾽ ἐπτοημένοι φρένας, κίρκοι πελειῶν οὐ μακρὰν λελειμμένοι, ἥξουσι θηρεύοντες οὐ θηρασίμους 4 , ΝῊ , ν ’ γάμους, φθόνον δὲ σωμάτων ἕξει θεός" Πελασγία δὲ δέξεται θηλυκτόνῳ ν , ; ΄ , ρει δαμέντων νυκτιφρουρήτῳ θράσει: γυνὴ γὰρ ἀνδρ᾽ ἕκαστον αἰῶνος στερεῖ, δίθηκτον ἐν σφαγαῖσι βάψασα Eidos: τοιάδ᾽ ἐπ᾽ ἐχθροὺς τοὺς ἐμοὺς ἔλθοι Κύπρις. ’ Ν 4 Y 4 Ν Q μίαν δὲ παίδων ἵμερος θέλξει τὸ μὴ κτεῖναι ξύνευνον, ἀλλ᾽ ἀπαμβλυνθήσεται 4 “” A la la γνώμην: δυοῖν δὲ θάτερον βουλήσεται, κλύειν ἄναλκις μᾶλλον ἢ μιαιφόνος: Ψ >» \ , , αὐτὴ Kat Apyos βασιλικὸν τέξει γένος. A vA aA ONES 3 ΄ ἴω μακροῦ λόγου δεῖ ταῦτ᾽ ἐπεξελθεῖν τορῶς. σπορᾶς γε μὴν ἐκ τῆσδε φύσεται θρασὺς ld Ἀ ἃ , bd ὩΣ 3 ΟΝ τόξοισι κλεινὸς, ὃς πόνων ἐκ τῶνὸ EME λύσει. τοιόνδε χρησμὸν ἡ παλαιγενὴς μήτηρ ἐμοὶ διῆλθε Τιτανὶς Θέμις: 850 855 860 865 870 ΠΡΟΜΗΘΕῪΣ AESMOTHS. 49 9 \ »” A A a , ὅπως δὲ yan, ταῦτα δεῖ paxpov χρόνου 875 εἰπεῖν, σύ 7 οὐδὲν ἐκμαθοῦσα κερδανεῖς. IQ. ἐλελεῦ ἐλελεῦ, ὑπό μ᾽ αὖ σφάκελος καὶ φρενοπληγεῖς μανίαι θάλπουσ᾽, οἴστρου δ᾽ ἀρδις χρίει μ᾽ ἄπυρος" 880 kpadia δὲ φόβῳ φρένα λακτίζει. τροχοδινεῖται δ᾽ ὄμμαθ᾽ ἑλίγδην, > ἔξω δὲ δρόμου φέρομαι λύσσης πνεύματι μάργῳ, γλώσσης ἀκρατής" θολεροὶ δὲ λόγοι παίουσ᾽ εἰκῆ - 885 στυγνῆς πρὸς κύμασιν ἄτης. ΧΟΡΟΣ. στρ. α΄. ἢ σοφὸς ἢ σοφὸς ὃς wn 3 , , >’ 9 lA A ? πρῶτος ἐν γνώμᾳ τόδ᾽ ἐβάστασε καὶ γλώσσᾳ διεμυθολόγησεν, ε Ν ’ὔ’ 3 ε > 9 ,’ ὡς τὸ κηδεύσαι καθ᾽ ἑαυτὸν ἀριστεύει μάακρῳ, 890 Ἁ , ex λ ’ ὃ θ ’ καὶ μήτε τῶν πλούτῳ διαθρυπτομένων μήτε τῶν γέννᾳ μεγαλυνομένων ὄντα χερνήταν ἐραστεῦσαι γάμων. 9 ’ ἀντ. α΄. , ’ ’ > μήποτε μήποτέ bh, ὦ , A , \ 3 ’ πότνιαι Μοῖραι, λεχέων Διὸς εὑὐνατειραν ¥ , ἴδοισθε πέλουσαν' 895 4 50 } AISXYAOY ἃ , ’ ἃ A 9 3 A μηδὲ πλαθείην γαμέτᾳ Twi τῶν ἐξ οὐρανοῦ. ταρβῶ γὰρ ἀστεργάνορα παρθενίαν εἰσορῶσ᾽ ᾿Ιοῦς μέγα δαπτομέναν 4 Y 9 4 ’ δυσπλάνοις Ἥρας ἀλατείαις πόνων. goo > ἐπῳδ. 2 Ν Nese Ν ε Ν ε , 3 , ἐμοὶ δ᾽ ὅτι μὲν ὁμαλὸς ὁ γάμος ov δέδια, μηδὲ κρεισσόνων θεῶν ἄφυκτον ὄμμα προσ- δράκοι με. 9 ’ὕ ἐκ ἐν: ’ὔὕ » ’ ἀπόλεμος ὅδε γ᾽ ὃ πόλεμος, ἄπορα πόριμος, οὐδ᾽ ἔχω τίς ἂν γενοίμαν: Διὸς γὰρ οὐχ ὁρῶ οος μῆτιν ὅπα φύγοιμ᾽ av. ΠΡΟΜΗΘΕΎΣ. ἢ μὴν ἔτι Ζεὺς, καίπερ αὐθάδης φρενῶν, ἔσται ταπεινός: οἷον ἐξαρτύεται γάμον γαμεῖν, ὃς αὐτὸν ἐκ τυραννίδος 4 3 Yoo 3 ~ Ν > 3 \ θρόνων τ᾽ ἄϊστον ἐκβαλεῖ: πατρὸς δ᾽ apa 910 Κρόνου τότ᾽ ἤδη παντελῶς κρανθήσεται, ἣν ἐκπίτνων ἠρᾶτο δηναιῶν θρόνων. len} ’ὔ 3 ἝΝ 3 Ν aA τοιῶνδε μόχθων ἐκτροπὴν οὐδεὶς θεῶν ΄, 9 HN "». κα N 9 a A re δύναιτ᾽ ἂν αὐτῷ πλὴν ἐμοῦ δεῖξαι σαφῶς. \ 4Qs Ss εν ’ὔ ἴω A ἐγὼ τάδ᾽ οἶδα χῷ τρόπῳ. πρὸς ταῦτα νῦν οἷς θαρσὼν καθήσθω τοῖς πεδαρσίοις κτύποις πιστὸς, τινάσσων T ἐν χεροῖν πύρπνουν βέλος. 3 \ \ b) la ALS IOIRy , XN Ν 9 οὐδὲν γὰρ αὐτῷ ταῦτ᾽ ἐπαρκέσει τὸ μὴ οὐ A 3 3 g πεσεῖν ἀτίμως TTOMAT οὐκ ἀνασχετά' ae ΠΡΟΜΗΘΕῪΣ AESMOTHS. τοῖον παλαιστὴν νῦν παρασκευάζεται ἐπ᾿ αὐτὸς αὑτῷ, δυσμαχώτατον τέρας" ὰ Ν A , > e , / ὃς δὴ κεραυνοῦ κρείσσον᾽ εὑρήσει φλόγα, βροντάς θ᾽ ὑπερβάλλοντα καρτερὸν κτύπον" θαλασσίαν τε γῆς τινάκτειραν νόσον τρίαιναν, αἰχμὴν τὴν Ποσειδῶνος, σκεδᾷ. πταίσας δὲ τῷδε πρὸς κακῷ μαθήσεται Ψ ’ > »¥ Ν ἊΝ , , ὅσον τό τ᾽ apyew καὶ TO δουλεύειν δίχα. ΧΟΡΟΣ. σύ θην ἃ xp tes, ταῦτ᾽ ἐπιγλωσσᾷ Διός. ΠΡΟΜΗΘΕΎΣ. ἅπερ τελεῖται, πρὸς δ᾽ ἃ βούλομαι λέγω. ΧΟΡΟΣ. Ν A ἊΝ , 4 καὶ προσδοκᾶν χρὴ δεσπόσειν Διός τινα ; ΠΡΟΜΗΘΒΕΥΣ. καὶ τῶνδέ γ᾽ ἕξει δυσλοφωτέρους πόνους. ΧΟΡΟΣ. πῶς δ᾽ οὐχὶ ταρβεῖς τοιάδ᾽ ἐκρίπτων ἔπη ; ΠΡΟΜΗΘΕΎΣ. τί δ᾽ ἂν φοβοίμην ᾧ θανεῖν οὐ μόρσιμον ; ΧΟΡΟΣ. ἀλλ᾽ ἄθλον av σοι τοῦδ᾽ er ἀλγίω πόροι. 51 920 925 930 52 ΑἸΣΧΎΛΟΥ ΠΡΟΜΗΘΕΎΣ. ε > 5“ , , ΄ὕ ὁ δ᾽ οὖν ποιείτω' πάντα προσδοκητά μοι. οϑς ΧΟΡΟΣ. ε A Ν 3 ’ ’ οἱ προσκυνοῦντες τὴν ᾿Αδράστειαν σοφοί. ΠΡΟΜΗΘΕΎΣ. 4 4 ἴα Q ἴω 3 3 4 σέβου, προσεύχου, θῶπτε τὸν κρατοῦντ ἀεί. ἐμοὶ δ᾽ ἔλασσον Ζηνὸς ἢ μηδὲν μέλει. , , ,ὕ Ν βμαιάκευ τε; sh δράτω, κρατείτω τόνδε τὸν βραχὺν χρόνον, Δ ὅπως θέλει: δαρὸν γὰρ οὐκ ἄρξει θεοῖς. bc ς apov γὰρ οὐκ ἀρξει θεοῖς. ἱ4ο 9 suns A \ ,ὕ Ν N Seat ἀλλ᾽ εἰσορῶ yap τόνδε τὸν Διὸς τρόχιν, τὸν τοῦ τυράννου τοῦ νέου διάκονον + TA Ν 3 ~ 3 7 A πάντως TL καινὸν ayyehov ἐλήλυθε. ΕΡΜΗΣ. σὲ τὸν σοφιστὴν, τὸν πικρῶς ὑπέρπικρον, Ν 3 ’ὔ 2-39 Ἁ 3 4 TOV ἐξαμαρτόντ ἐς θεοὺς ἐφημέροις 945 πορόντα τιμὰς, τὸν πυρὸς κλέπτην λέγω" πατὴρ ἀνωγέ σ᾽ οὕστινας κομπεῖς γάμους αὐδᾶν, πρὸς ὧν ἐκεῖνος ἐκπίπτει κράτους" καὶ ταῦτα μέντοι μηδὲν αἰνικτηρίως, ἀλλ᾽ αὖθ᾽ ἕκαστ᾽ exdpale: μηδέ μοι διπλᾶς 950 ε ΄Ν A 9 ὁδοὺς, Προμηθεῦ, προσβάλῃς-: ὁρᾷς δ᾽ ὅτι N A 4 3 N 4 Zevs τοις τοιούτοις οὐχὶ μαλθακίζεται. ΠΡΟΜΗΘΕῪΣ AESMOTHS. 53 ΠΡΟΜΗΘΕΎΣ. ’ , A ’ ’ σεμνόστομός γε καὶ φρονήματος πλέως ὁ μῦθός ἐστιν, ὡς θεῶν ὑπηρέτου. νέον νέοι κρατεῖτε καὶ δοκεῖτε δὴ 955 , > A , 3 3 5 ΄“ 3 >) A ναίειν ἀπενθῆ πέργαμ᾽- οὐκ ἐκ τῶνδ᾽ ἐγὼ δισσοὺς τυράννους ἐκπεσόντας ἡσθόμην ; τρίτον δὲ τὸν νῦν͵ κοιρανοῦντ᾽ ἐπόψομαι αἴσχιστα καὶ τάχιστα. μή τί σοι δοκῶ ᾿ταρβεῖν ὑποπτήσσειν τε τοὺς νέους θεούς; οόο χὰ \ ἴω Ν 3 , 3 A πολλοῦ ye Kal Tov παντὸς ἐλλείπω. σὺ δὲ κέλευθον ἥνπερ ἦλθες ἐγκόνει πάλιν" πεύσει γὰρ οὐδὲν ὧν ἀνιστορεῖς ἐμέ. ΕΡΜΗΣ. ae 4 Ν Ν 3 , τοιοῖσδε μέντοι Kal πρὶν αὐθαδίσμασιν ἐς τάσδε σαυτὸν πημονὰς καθώρμισας. 965 ΠΡΟΜΗΘΕΎΣ. τῆς σῆς λατρείας τὴν ἐμὴν δυσπραξίαν, σαφῶς ἐπίστασ᾽, οὐκ ἂν ἀλλάξαιμ᾽ ἐγώ. ΕΡΜΗΣ. κρεῖσσον γὰρ οἶμαι τῇδε λατρεύειν πέτρᾳ ᾿ἢ πατρὶ φῦναι Ζηνὶ πιστὸν ἀγγελον. ΠΡΟΜΗΘΕΎΣ. οὕτως ὑβρίζειν τοὺς ὑβρίζοντας χρεών. 970 54 AIZXYAOY ΕΡΜΗΣ. χλιδᾶν ἔοικας τοῖς παροῦσι πράγμασι. ΠΡΟΜΗΘΕΎΣ. A aA a ἈΝ 3 Ἂν ΘΟΝ χλιδῶ; χλιδῶντας ὧδε τοὺς ἐμοὺς ἐγὼ ἐχθροὺς ἴδοιμι: καὶ σὲ δ᾽ ἐν τούτοις λέγω. ᾿ΈΡΜΗΣ. ay eh eM , a 3 on ἢ κἀμὲ yap τι ξυμφοραῖς ἐπαιτιᾷᾳ ; ΠΡΟΜΗΘΕΎΣ. ἁπλῷ λόγῳ τοὺς πάντας ἐχθαίρω θεοὺς, 975 ὅσοι παθόντες εὖ κακοῦσί μ᾽ ἐκδίκως. EPMHS. κλύω σ᾽ ἐγὼ μεμηνότ᾽ οὐ σμικρὰν νόσον. ΠΡΟΜΗΘΕΎΣ. νοσοῖμ᾽ ἂν, εἰ νόσημα τοὺς ἐχθροὺς στυγεῖν. ΕΡΜΗΣ. ἊΨ. Ν 9 A 3 ’, “A εἴης φορητὸς οὐκ ἂν, εἰ πράσσοις Kadws. ΠΡΟΜΗΘΕΎΣ. ὦμοι. ΕΡΜΗΣ. τόδε Ζεὺς τοὔπος οὐκ ἐπίσταται. 980 ΠΡΟΜΗΘΕΎΣ. ἀλλ᾽ ἐκδιδάσκει πάνθ᾽ ὁ γηράσκων χρόνος. ΕΡΜΗΣ. \ ἣν 4 2 » A Si καὶ μὴν ov γ᾽ οὕπω σωφρονεῖν ἐπίστασαι. ΠΡΟΜΗΘΕῪΣ AESMOTHS. ΠΡΟΜΗΘΕΎΣ. Ἂ Ν 4, > “Δ 3, te - ’ σὲ γὰρ προσηύδων οὐκ ἂν ὄνθ᾽ ὑπηρέτην. ΕΡΜΗΣ. SAY ION a 7 , ἐρεῖν ἔοικας οὐδὲν ὧν χρήζει πατήρ. ΠΡΟΜΗΘΕΎΣ. Ν Ἂς 5 ’ὔ > ἃ ’ὔ 3 9 ~ ’ὔ καὶ μὴν ὀφείλων γ᾽ ἂν τίνοιμ᾽ αὐτῷ χάριν. ΒΡΜΗΣ. 5 , A e AQ?) »¥ ἐκερτόμησας δῆθεν ws παῖδ᾽ ὄντα με. ΠΡΟΜΗΘΕΎΣ. οὐ γὰρ σὺ παῖς τε κἄτι τοῦδ᾽ ἀνούστερος, εἰ προσδοκᾷς. ἐμοῦ τι πεύσεσθαι πάρα ; οὐκ ἔστιν αἴκισμ᾽ οὐδὲ μηχάνημ᾽ ὅτῳ προτρέψεταί με Ζεὺς γεγωνῆσαι τάδε, πρὶν ἂν χαλασθῇ δεσμὰ λυμαντήρια. πρὸς ταῦτα ῥιπτέσθω μὲν αἰθαλοῦσσα φλὸξ, λευκοπτέρῳ δὲ νιφάδι καὶ βροντήμασι χθονίοις κυκάτω πάντα καὶ ταρασσέτω' 985 990 γνάμψει γὰρ οὐδὲν τῶνδέ μ᾽ ὥστε καὶ φράσαι 995 πρὸς οὗ χρεών νιν ἐκπεσεῖν τυραννίδος. EPMHS. [7] » Ἄν goed ‘\ , Opa νυν εἰ σου ταῦτ apwya φαίνεται. ΠΡΟΜΗΘΕΎΣ. ὦπται πάλαι δὴ καὶ βεβούλευται τάδε. 56 ΑἸΣΧΎΛΟΥ ΕΡΜΗΣ. ἤ > - ? 4 τόλμησον, ὦ μάταιε, τόλμησόν ποτε πρὸς τὰς παρούσας πημονὰς ὀρθῶς φρονεῖν. τοοο ΠΡΟΜΗΘΕΎΣ. ὀχλεῖς μάτην με κῦμ᾽ ὅπως παρηγορῶν. εἰσελθέτω σε μήποθ᾽ ὡς ἐγὼ Διὸς ’ \ 4 ’ γνώμην φοβηθεὶς θηλύνους γενήσομαι καὶ λιπαρήσω τὸν μέγα στυγούμενον γυναικομίμοις ὑπτιάσμασιν χερῶν λῦσαί με δεσμῶν τῶνδε: τοῦ παντὸς δέω. ΕΡΜΗΣ. λέγων ἔοικα πολλὰ καὶ μάτην ἐρεῖν" td Ν > \ 3 \ ’ la τέγγει yap οὐδὲν οὐδὲ μαλθάσσει κέαρ λιταῖς: δακὼν δὲ στόμιον ὡς νεοζυγὴς πῶλος βιάζει καὶ πρὸς ἡνίας μάχει. ἁτὰρ σφοδρύνει γ᾽ ἀσθενεῖ σοφίσματι. αὐθαδία γὰρ τῷ φρονοῦντι μὴ καλῶς 2 oo 3 e \ 3 Ν Ἂ id αὐτὴ καθ᾽ αὑτὴν οὐδενὸς μεῖον σθένει. ’ 3 9X Q A 3 Lal ΄ὭΖὦἅ ᾽ σκέψαι δ᾽, ἐὰν μὴ τοῖς ἐμοῖς πεισθῇς λόγοις, οἷός σε χειμὼν καὶ κακῶν τρικυμία Ψ 9» A Ἢ \ 3 , ETELO ἄφυκτος" πρῶτα μὲν γὰρ ὀκρίδα φάραγγα βροντῇ καὶ κεραυνίᾳ φλογὶ Ἁ 4 4 AQ a ao ΠαΤΉρΡ σπαράξει τήνδε, καὶ κρύψει δέμας τὸ σὸν, πετραΐία δ᾽ ἀγκάλη σε βαστάσει. μακρὸν δὲ μῆκος ἐκτελευτήσας χρόνου Ιοος IOIo τοις 1020 ΠΡΟΜΗΘΕῪΣ AESMOTHS. 57 ἄψορρον ἥξεις ἐς φάος: Διὸς δέ τοι Ν id Ἂς 3 \ ie πτηνὸς κύων, δαφοινὸς ἀετὸς, λάβρως διαρταμήσει σώματος μέγα ῥάκος, ἄκλητος ἕρπων δαιταλεὺς πανήμερος, ’ὔ 95 Ὁ 3 , κελαινόβρωτον δ᾽ ἧπαρ ἐκθοινήσεται. 1025 τοιοῦδε μόχθου τέρμα μή τι προσδόκα, πρὶν ἂν θεῶν τις διάδοχος τῶν σῶν πόνων φανῇ, θελήσῃ 7 εἰς ἀναύγητον μολεῖν g Al > "Λιδην κνεφαῖά τ᾽ ἀμφὶ Ταρτάρου βάθη. x ω ,ὔ > ε “ΨΩ 9 5 ’ πρὸς ταῦτα Bovdev’s ὡς ὅδ᾽ οὐ πεπλασμένος 1030 ε , 3 Ν \ , 3 ’, ὁ κόμπος, ἀλλὰ καὶ λίαν εἰρημένος" ψευδηγορεῖν γὰρ οὐκ ἐπίσταται στόμα τὸ Δῖον, ἀλλὰ πᾶν ἔπος τελεῖ. σὺ δὲ πάπταινε καὶ φρόντιζε, μηδ᾽ αὐθαδίαν τὰ ’ 5 , b 4 / ’ὔ εὐβουλίας ἀμείνον ἡγήσῃ ποτε. 1035 ΧΟΡΟΣ. ε A A τὰ - A > »» ’ ἡμῖν μὲν Ἑρμῆς οὐκ ἄκαιρα φαίνεται λέγειν: ἄνωγε γάρ σε τὴν αὐθαδίαν , 3. 8 “ Ν \ 3 ’ μεθέντ᾽ ἐρευνᾶν τὴν σοφὴν εὐβουλίαν. πιθοῦ" σοφῷ γὰρ αἰσχρὸν ἐξαμαρτάνειν. ΠΡΟΜΗΘΕῪΣ. εἰδότι τοί μοι τάσδ᾽ ἀγγελίας 1040 νῷ" 9 fee , QA A ὅδ᾽ ἐθώὐξεν, πάσχειν δὲ KaKas 9 \ e > 39 ~ 5 Ν > Υ͂ ἐχθρὸν ὑπ᾽ ἐχθρῶν οὐδὲν ἀεικές. πρὸς ταῦτ᾽ ἐπ᾽ ἐμοὶ ῥιπτέσθω μὲν 58 ΑἸΣΧΎΛΟΥ \ πυρὸς ἀμφήκης βόστρυχος, αἰθὴρ δ᾽ ΡῚ ’ ἐρεθιζέσθω aA , >) 3 4 9 V4 βροντῇ σφακέλῳ τ᾽ ἀγρίων ἀνέμων" ’ >) 3 2 3 A ee? χθόνα δ᾽ ἐκ πυθμένων αὐταῖς ῥίζαις πνεῦμα κραδαίνοι, A ἃ ’ La e 4 κῦμα δὲ πόντου τραχεῖ ῥοθίῳ ξυγχώσειεν τῶν T οὐρανίων » , » \ ἄστρων διόδους, ἔς τε κελαινὸν Τάρταρον ἄρδην ῥίψειε δέμας τοὐμὸν ἀνάγκης στερραῖς δίναις" πάντως ἐμέ γ᾽ οὐ θανατώσει. ΕΡΜΗΣ. 4 , ΤᾺ ’ τοιάδε μέντοι τῶν φρενοπλήκτων βουλεύματ᾽ ἔπη τ᾽ ἐστὶν ἀκοῦσαι. , Ν 3 ’ \ ’ὔὕ τί γὰρ ἐλλείπει μὴ παραπαίειν ἡ τοῦδε τύχη ; τί χαλᾷ μανιῶν ; 9 5. τῶ ε aA 9 ε , ἀλλ᾽ οὖν ὑμεῖς γ᾽ aL πημοσύναις ξυγκάμνουσαι ταῖς τοῦδε τόπων μετά ποι χωρεῖτ᾽ ἐκ τῶνδε θοῶς, Ν ’ ε a) 3 ¢ μὴ φρένας ὑμῶν ἡλιθιώσῃ βροντῆς μύκημ᾽ ἀτέραμνον. ΧΟΡΟΣ. ἄλλο τι φώνει καὶ παραμυθοῦ μ᾽ ὅ τι καὶ πείσεις" οὐ γὰρ δή που τοῦτό. γε τλητὸν παρέσυρας ἔπος. 1045 1050 10$5 1060 1065 ΠΡΟΜΗΘΕῪΣ AESMOTHS. 59 πῶς με κελεύεις KAKOTHT ἀσκεῖν ; Ν AQ> ὦ b , 3 l4 ᾿ μετὰ TODS ὅ τι χρὴ πάσχειν ἐθέλω' τοὺς προδότας γὰρ μισεῖν ἔμαθον, κοὐκ ἔστι νόσος A “Ὁ 3 3 ᾽ A τῆσδ᾽ ἥντιν᾽ ἀπέπτυσα μᾶλλον. 1070 ΕΡΜΗΣ. ἀλλ᾽ οὖν μέμνησθ᾽ aya προλέγω" μηδὲ πρὸς ἄτης θηραθεῖσαι μέμψησθε τύχην, μηδέ ποτ᾽ εἴπηθ᾽ ὡς Ζεὺς ὑμᾶς εἰς ἀπρόοπτον πῆμ᾽ εἰσέβαλεν. 1075 μὴ Ont, αὐταὶ δ᾽ ὑμᾶς αὐτάς. εἰδυῖαι γὰρ κοὐκ ἐξαίφνης οὐδὲ λαθραίως εἰς ἀπέραντον δίκτυον ἄτης ἐμπλεχθήσεσθ᾽ ὑπ᾽ ἀνοίας. ΠΡΟΜΗΘΕΎΣ. καὶ μὴν ἔργῳ κοὐκέτι μύθῳ 1080 χθὼν σεσάλευται" βρυχία δ᾽ ἠχὼ παραμυκᾶται βροντῆς, ἕλικες δ᾽ ἐκλάμπουσι στεροπῆς ζάπυροι, στρόμβοι δὲ κόνιν εἱλίσσουσι' 1085 σκιρτᾷ δ᾽ ἀνέμων πνεύματα πάντων εἰς ἄλληλα 60 AIZXYAOY ΠΡΟΜΗΘΕῪΣ AESMOTHS. στάσιν ἀντίπνουν ἀποδεικνύμενα" ξυντετάρακται δ᾽ αἰθὴρ πόντῳ. FO97 ΝΣ 3)». 9.0 19 Ν ε dS 4 τοιάδ᾽ ἐπ᾽ ἐμοὶ ῥιπὴ Διόθεν , VA ’ aA τεύχουσα φόβον στείχει φανερῶς. 1090 > \ A 5 ὦ μητρὸς ἐμῆς σέβας, ὦ πάντων 352) ἃ Ν 4 ἔχ 9 αἰθὴρ κοινὸν φάος εἱλίσσων, > “~ > ae . » ’ ἐσορᾷς μ᾽ ὡς ἔκδικα πάσχω. ΤΩΝ (᾿ τὰν xX NOTES. NOTES. REFERENCES. G., Goodwin’s Greek Grammar. H., Hadley’s Greek Grammar. M. & T., Goodwin’s Greek Moods and Tenses. Lex., Liddell and Scott’s Greek Lexicon, seventh edition. Med., Medicean. THE play opens in a wild region of southern Scythia. The scene is a mountain range with a deep fissure in the centre where Pro- metheus is to be placed. Two demons, Kratos and Bia, of super- human size and power, appear bearing a colossal effigy of the Titan who is to be chained to the crag. Hephaestus, provided with the implements of his craft, accompanies them, prepared, though un- willingly, to execute the will of Zeus. The opening dialogue is between Kratos and Hephaestus, Bia being a mute. The characters are distributed among the actors as follows :— Protagonist : Hephaestus, Prometheus. Deuteragonist : Kratos, Oceanus, Io, Hermes. 1-127. Πρόλογος. This includes all of the play until the intro- duction of the chorus. For an explanation of the divisions of a Greek play and the terms applied to each part, see Smith’s Dict. Antiq., art. Tragoedia, pp. 1145-1146; and Schmidt’s Rhythmic and Metric, p. 115-122. 1. χθονός. As this word means level surface of the earth (see lex. ), we may conclude with Wecklein that χθονὸς πέδον is a poetic paraphrase for χθόνα. --- μέν answers to δέ in 1. 38. It is not a direct correlative, but serves to contrast the task they have accomplished in bringing the Titan there with that which now devolved upon 64 PROMETHEUS BOUND. Hephaestus (σοὶ δέ) in chaining him to the rock. — τηλουρόν, far away. — ἥκομεν, pres. as perf. (G. 200, n. 3). 2. Σκύθην, used as an adjective. —olwov, tract. This word means, primarily, band, bar, stripe. Homer (Il. xi. 24), in de- scribing the armor of Agamemnon, Says : **Ten bands were there inwrought of dusky bronze, Twelve of pure gold, twice ten of shining tin.” DERBY. Sometimes also it means a musica] strain (οἶμος ἀοιδῆς). When applied to the earth it means a road, ὦ strip of land, and then, as here, a tract. It ig usually derived from οἴσω; but, more cor- rectly (Curt.), from εἶμι. ---- ἄβατον, untrodden. Dindorf, follow- ing old grammarians who quote the verse, writes it ἄβροτον, and in this agrees with Porson and many of the leading editors, ἄβατον is, however, the reading of the MSS., and would seem to be the natural word. ἄβροτος, as used by Homer (Il. xiy. 78), means divine, holy, and not, as it must here, solitary. It is not supposable that Aeschylus would have translated Homer’s νὺξ ἀβρότη, lonely night. If ἄβροτον is used, Wecklein’s explanation is the best, that, as ἀπάνθρωπος means both mhuman and without human beings (unmenschlich ἃ, menschenleer), so ἄβροτος may signify immortal and without mortals (unsterblich u. leer von Sterblichen), 8. Ἥφαιστε. The vocative is placed before the pronoun because the address is abrupt. — σοί, dat. after μέλειν. -- ἐπιστολάς, man- data. 4. ἐφεῖτο, laid upon, enjoined, 2 aor. mid. y. ἐφίημι. ---- τόνδε, emphatic and contemptuous, with τὸν λεωργόν, lit. this Jellow here, the villain, 5. λεωργόν, defined by ῥαδιουργόν, πανοῦργον, lit. one who will do anything. — ὀχμάσαι, epexegetical of ἐπιστολάς, to bind, deriv. v. ἔχω. 7. σόν, This and σοί in 1. 8 are made thus emphatic as a personal incentive to the reluctant Hephaestus to begin his task, — ἄνθος. See ex. IT. —avpds. Heraclitus of Ephesus, the Ionic philosopher, who flourished just before 500 B.C., maintained that the fundamental physical principle was fire, which he defined as a clear, light fluid, from which everything is evolved. This “*self-kindled and self. extinguished ” flame exists, he maintained, in greatest purity in NOTES. 65 heaven, and Aeschylus, though not a disciple of Heraclitus, has skilfully used this idea to show the boldness of Prometheus’ crime in bringing it to earth. The worship of fire prevailed very early among the Persians ; for Herodotus (iii. 16) says, ‘‘ they believe fire is a god;” and the influence of their civilization and life extended natu- rally to the Ionians, with whom they were intimate. — σέλας, obj. of κλέψας. 9. ἁμαρτίας, causal gen. of crime (G. 173, 2). — σφέ, acc. sing. (G. 79, N. 3). — δίκην, satisfaction. 10. ἄν. For its use here with ὡς in a final clause (G. 216, N. 2). — διδαχθῇ, 1 aor. pass. subj. 11. στέργειν. See lex. III. 2. -- φιλανθρώπον. . . . τρόπου, and to cease from his man-loving mood, a bitter reference to Pro- metheus’ kindness to mortals. 12,13. σφῷν... ἔτι, as far as you are concerned, the command of Zeus 185 fulfilled and there is no longer any hindrance. — σφῷν, dat. of respect (G. 184, 5). 14. συγγενῆ. According to Aeschylus (1. 18), Prometheus was the son of Themis, the daughter of Uranus. Hephaestus (II. i. 571 and 578) was the son of Zeus and Hera, children of Cronus the son of Uranus. Thus Prometheus was cousin to Zeus, and second cousin, first removed, to Hephaestus. 15. φάραγγι δυσχειμέρῳ, storm-beaten gorge. 16. τῶνδε, obj. gen., for this (task). — σχεθεῖν, 2 aor. infin. fr. ἔσχεθον, a poet. lengthened form of ἔσχον, v. ἔχω. 17, ἐξωριάζειν, κιτιλ., for to neglect the command of the Sire is grievous. Porson, Blomfield, and others make the infinitive here εὐωριάζειν, on the ground that ἐξωριάζειν is found in no other pas- sage. It is, however, the reading of the MSS., and is a very appro- priate word, for it means (ἐξ and ὥρα) to leave out of one’s care, to neglect. The other word (εὖ and ὥρα) means one who is well off with reference to care, who is cheerful, and hence, but not so natu- rally, neglectful. Hephaestus here very strongly compliments the strength of will of Prometheus, by showing how much he dreads to disobey Zeus. 18. Hephaestus turns now to Prometheus and addresses him in a passage of great beauty and power. The kindness, almost rever- ence, he evinces for the captive is in marked contrast with the eh ZG g 66 PROMETHEUS BOUND. brutal coarseness of Kratos. — Θέμιδος. Hesiod (Theog. 507) makes Prometheus the son of Iapetus and Clymene ; but the Greeks in- dulged in great latitude in the genealogies of their gods and heroes. Prometheus may have been regarded as the son of Themis, because she was the deity of law and order, and Prometheus, by his devel- opment of man, enabled him to understand and be in harmony with the laws that govern nature and his own being. Perhaps, too, as Welcker says, Aeschylus preferred this maternity because he would represent the Titan as suffering in the cause of right against might. It may be also, as Paley remarks (note ad Joc.), that The- mis, as a deity of prophecy, bestowed on her son foreknowledge, but not ὀρθόβουλον. It is noticeable that the Greeks, in their polytheism, were careful to assign the highest moral attributes where they belong, in that they made the deity of Justice a woman. — αἰπυμῆτα, with lofty thoughts. Admiration rather than censure is implied in the word. 19. ἄκοντά σ᾽’ ἄκων. For the poet’s fondness for such a collo- cation, see ll. 29, 192, 218, 671. 20. προσπασσαλεύσω, shall rivet, a strong word, deriv. from πήγνυμι, Lat. pango. 21, 22. ἵν᾽. . ὄψει, where you will neither hear the voice nor see the form of mortals. —dwvhv, as ace. after ὄψει, is a case of zeugma (H. 882). For evin ὄψει, see G. 118, N. 2.— σταθευτός, scorched. — φοίβῃ φλογί. Observe the alliteration. ; 23-25. χροιᾶς ἀμείψεις ἄνθος, “Shalt lose thy skin’s fair beauty.’ (Plumptre.) The Greeks were so devoted to physical beauty that they prized it in men even more than we do now in. the other sex. — ἀσμένῳ, same stem as ἡσμένος, part. v. ἥδομαι. — σοί (G. 184, 3). The verb ἀποκρύπτω more often takes after it a gen. and 800.) or a double acc., but the dat. of the pers. is here very expressive, as though Prometheus’ sufferings from the heat and glare of the sun and his longing for change were so great that Night, out of pity, might be moved to hide the light for him. — σκεδᾷ, fut. v. σκεδάννυμι. 27. τρύσει, shall torment, the same root as τείρω, and means lit. to rub away.—6.. . πω, for the one who is to release you ts not yet born. Herakles was ultimately to free Prometheus. Hephaestus did not know this, although well aware that Prometheus was im- NOTES. 67 mortal (see 1. 753). He presents forcibly the duration of his bond- age, without affirming that it will be eternal. 28. τοιαῦτ᾽ ἐπηύρου, “such good you got.” (Woolsey.) The verb is 2 aor. mid., v. ἐπαυρίσκομαι. Others make it 1 aor. mid., and write it ἐπηύρω and ἀπηύρω. Observe in this line the four consecu- tive terminations in ov. 29, 30. ὑποπτήσσων, cowering (like a timid animal). —répa δίκης. This is not severe censure. Hephaestus makes it plain that Prometheus has transgressed the law, but the whole spirit of his address shows that he thinks the law is harsh. 31-33. For brevity, vividness, pathos, and force, these lines are admirable. The weariness and painfulness, the helplessness and hopelessness, of the captive are strikingly presented. — φρουρήσεις, shalt guard, i.e. as a sentinel who here must not sleep because he cannot. 34, 35. φθέγξει, fut. mid. 2 pers. sing. v. φθέγγομαι --- νέον. Zeus had lately ejected Cronus and taken his throne. Hephaestus here goes as far as prudence will permit in censure of Zeus, and. shows clearly where his sympathies are. The advice of Thrasy bulus (Herod. v. 92) to Periander concerning the best way to consolidate his power is pertinent (see Class. Dict., art. Periander). — κρατῇ (6. 282, 3). None are so severe on servants as those who have sud- denly risen from poverty to wealth. 87, 88. ἔχθιστον is an enemy who has been a friend. — orvyéis, loathe, a much stronger word than μισέω, which means to feel hatred, this to show it. — yépas, prize, i.e. not merely fire, but the ‘art of fire,’ which Prometheus had acquired and taught to man. 39. To... ὁμιλία, relationship and intercourse are verily ὦ mighty bond. ὁμιλία refers to their mutual knowledge of the smith’s art. In this dialogue (στιχομυθία) it will be observed that Hephaes- tus confines himself to a single verse, while Kratos employs two. 40-42. ἀνηκουστεῖν, κιτιλ., but how is possible to disobey ? ete. (6. 261). --- δειμαίνεις is used because of δεινόν above. — πλέως, nom. sing. Att. for πλέος. 43-45, dkos... θρηνεῖσθαι, to wail over this fellow is no remedy (for his sufferings). — πόνει, pres. imper. act., do not be la- boring. —pronetoa does not mean hatred of the craft itself, but disgust that his knowledge of it compels him to this service. 68 PROMETHEUS BOUND. 46, 47. νίν, acc. of third pers. pro., used by tragic writers for all genders, sing. and plur., but never reflexively. It refers here to χειρωναξία. --- πόνων, gen,, after αἰτία and has τῶν νῦν παρόντων agreeing with it. — ὧὡς ἁπλῷ λόγῳ, in a word (lit. —with εἰπεῖν supplied — to express it in a single word). For ws with the infin. in parenthetical clauses, see G. 268. For λόγῳ, see G. 184, 5. 48, ἔμπας, vet (though my art is not to blame). — ὥφελεν ex- presses a wish (G. 251, 2, N. 1), and is 2 aor. act. v. ὀφείλω. For the force of the infin. λαχεῖν (v. Aayxdvw), see G. 222, N. 2, last clause. 49, 50. ἅπαντ᾽. . . κουιρανεῖν, everything is onerous except to rule the gods, i.e. only the supreme ruler is free from care, because he alone commands all, but obeys none. κοιρανεῖν here governs the dat., like ἄρξει in 1. 940. The reading of the MSS. here is ἐπράχθη, everything has been accomplished (i.e. by you) except, ete. But ἐπαχθῆ, which was first suggested by Stanley, is such an im- provement and is withal so natural, when one thinks how readily a single letter, especially p (see v. 2), may slip into the manuscript, that it has been widely adopted as the correct reading. Another rendering is to connect θεοῖσι with ἐπράχθη, everything has been accomplished by the yods except, etc.; but the position of πλήν, as well as the sense, are against it. 51, 52. τοῖσδε, by this, i.e. by this task, imposed on me; 86. ἔργοις. Others, following Porson who objected to τοῖσδε before xov- δέν, write it ἔγνωκα καὶ τοῖσδ᾽, connecting τοῖσδε with ἀντειπεῖν. --- οὔκουν, not then. For the distinction between οὔκουν and οὐκοῦν, see lex., sub, fin, — ἐπείξει, fut. mid. 2 pers. sing. v. ἐπείγω. --- δεσμά. The plur. of δεσμός is commonly neut., though sometimes masc., as δεσμούς, 1, 525. 54-57. ψάλια, shackles. ψάλιον means the curb-chain of a horse’s bit. Others read here ψέλια, armiets, Lat. armilla. — δέρκεσθαι is used in retort for προσδερχθῇ above. — πάρα for πάρ- εστι (Ὁ. 23, 2, last clause). —vlv = αὐτά, 1.6. the shackles, — χερσίν, arms. — περαίνεταν, is being accomplished (pres.) — parg See lex. 58-62. σφίγγε, bind close. This word is akin to Σ᾿ φίγξ, the she- monster who proposed the riddle to the Thebans (the Throttler); a'so to σφήξ, ὦ wasp, because the middle of the insect is small, as NOTES. 69 though tight bound. Our Eng. 32, through the Lat., is from the same stem (Curt. Etymol., No. 157). —S8eavos .. . πόρον, for he is skilful to find an escape even from impossibilities. For the syntax of εὑρεῖν, see G. 261. — dpapev, 2 perf. act. v. dpapicxw. — ὠλένη, arm (lit. fore-arm, Lat. ulna, edbow), — μάθῃ (G. 216). — σοφιστής, contriver (lit. wise in one’s trade). After the time of Plato, it meant one who taught rhetoric, politics, etc. for pay, a sophist, and it was from the low ethical standard of many of these teachers and their greed that it came to be a term of reproach, though, even with earlier writers, it might imply slyness as well as cleverness (1. 944). For the seeming contradiction in σοφιστὴς νωθέστερος, a more dull skilful one, giving the figure oxymoron, see lex., sub, ὀξύμωρον. --- wv, that he is. The participle stands here in indirect discourse (G. 280; M. & T. 113). 638-66. πλήν, K.7.A. : i.e..my work is so thoroughly done that only Prometheus can find any fault. —péppattro, For the opt. with omitted protasis (G. 224, 226, 2). — αὐθάδη, ruthless (lit. self-willed, stubborn). —yvaGov, edge (lit. jaw, perhaps used here because (Prickard) ‘‘it bites the flesh”). — διαμπάξ, through and through, governs στέρνων (G. 182, 2). To drive an iron spike through the breast would seem to be absurd as a part of the dramatic action. since it must cause speedy death ; but it was admissible because Prometheus was immortal, and hence, while it increased the torture of the victim, it emphasized the cruelty of Zeus. 67, 68. ὕπερ. Observe the accent (G. 23, 2). Wecklein (note ad loc.) says that in the iambic verse, where the preposition follows its noun, it usually completes the verse. = ὅπως . . . ποτέ, see to u (sc. σκόπει) that you shall not at some time bewail yourself. For ὅπως μή with the indic. (G. 217, N. 4). 69, 70. How truly and completely the character of the speakers is expressed in these lines !— ὁρῶ is used because of ὁρᾷς above. ἐπαξίων (6. 171). 71-74. μασχαλιστῆρας, girths. These are the bands that go under the arms (μασχάλη, armpit), and were to be riveted on each side to the rock. — ἀνάγκη denotes here strong constraint. For its derivation, see lex. II., at the end. The asyndeton in this line, caused by the omission of the connective between the verbs, makes more vivid the unwillingness of Hephaestus and his abhorrence of 70 PROMETHEUS BOUND. Kratos. — ἦ μήν, particles of strong protestation. They show that Kratos, instead of apologizing for his brutality, exults in it. — κἀπιθωύΐξω ye πρός, and I will shout out to you too (lit. as one would hound on a dog). The verb is akin to 00s, a jackal, or wolf. — πρός is adverbial and emphatic. — xdpe κάτω, move down. The colossal size of the figure of Prometheus is shown by this command. 76-78. éppwpévas .. . πέδας, now strike the piercing fetters vigorously. Others make διατόρους pass. Wecklein (note ad loc.) says that διατόρους πέδας refer to the fetters pierced with spikes, and that these are to be struck once more to be certain that they are perfectly secure. — οὑπιτιμητής = ὁ ἐπιτ., etc., and refers to Zeus. ὅμοια, κιτιλι, your tongue is as brutal as your form. γηρύω, Lat. garrulus, and perhaps Eng. cry. As the Greek actors were ‘‘made up” for the stage, this verse shows that the ugliness of Kratos’ exterior harmonized with his character, and that Aeschylus relied on the masks for such effects. 79-81. σὺ μαλθακίζου, do you show sympathy (if you want to), lit. be softened. — éuhv shows that Kratos admits the statement of the previous verse. — ph alardnooe, do not fling at 16 --- κώλοι- σιν, dat. after ἀμφί in comp. — ἀμφίβληστρ᾽, fetters (lit. anything thrown around, as a net, a garment. While Hephaestus, who can- not longer endure the sight, hurries away, Kratos, with exultant malignity, tarries to taunt the victim and exult over his suffering. This gives time for the Protagonist, Hephaestus, to re-enter, unseen, behind the chained image and assume the part of Prometheus. 82-87. ἐνταῦθα viv; both emphatic, there now. — συλῶν, steal- ing, lit. stripping of, in a sudden and violent manner, as the arms of a slain enemy. — προστίθει, pres. imper. act. — ἀπαντλῆσαι, to relieve (G. 261). The word ἀντλέω means to bale out or relieve aship, as deriv. from ἄντλος, bzlge-water. — IIpopmPéa, a God of Forethought (πρὸ, μῆτι5). At the present day, with us, the original meaning of names is mostly lost, and they are given from fancy, caprice, or some association ; but originally they were always sig- nificant. Aischylus is very fond of using a name to stamp a char- acter or incident, and often employs it with great force. Take that use of the name of Helen (Agam. 671) where —as though it were from ef\ov — he says ἑλέναυς, ἕλανδρος, ἑλέπτολις, which (in order to preserve in English the play upon the word) have sometimes been NOTES. val rendered, the hell of ships, the held of man, the hell of cities. In the Old Testament the significance of names is marked, as Jacob, supplanter ; Rebecca, great beauty ; Judah, praise ; Samuel, asked of the Lord, etc. Bunyan, likewise, in Pilgrim’s Progress, and the Indians, in the names given to their chiefs, observe the same thing. - αὐτὸν yap, κιτιλ. γάρ explains the reason for Προμηθέα, and leads us forward to προμηθέως, for you yourself need forethought (sc. to devise) ὧν what way you shall be freed (lit. rolled out of) Jrom this contrivance. For δεῖ with gen. and acc. see G. 172, N. 2. This construction is not found elsewhere in Aeschylus (Wecklein). 88-127. SECOND ScENE. The power of silence is well illustrated here. Up to this point Prometheus has not uttered a word, — the torture and the taunts both fail to move him; but now that he is alone, he pours forth his heart in an invocation, which for grandeur, beauty, and solemn pathos must always take the highest rank. Banished from heaven, condemned to ages of torture, and insulted past endurance by the brutal servants of his enemy, he ignores it all, and appeals to the primal forces of nature from which all that was purest in the elemental worship of the Greeks had sprung, while in plainest terms he proclaims the cruelty of Zeus in return for his great services to man. 89-92. ποντίων. Probably the audience were to understand from this passage that Prometheus’ place of bondage was within sight of the Euxine Sea. — ἀνήρυιθμον, countless, because the sur- face of the sea is always in motion. — yéAacpa, smile. It refers to the rippling, dancing sheen of the sunlit sea. Others translate it laughter, which is more literal, and the phrases ‘‘ laughing waves,” ‘* laughing tides,” have the highest poetic authority ; but laughter always implies sound as well as sight, which makes it inappropriate here. Keble’s ‘“‘many-twinkling smile of ocean” is the translation of the lex. — kal... καλῶ, and the all-sceing orb of the Sun I invoke, It will be noticed that in this appeal to the powers of nature there is a rising gradation, till here the appropriate climax is reached. This worship of Helios is one of the earliest and most natural forms of idolatry. We find references to it in Homer ; and Pausanias speaks of it as established in Elis, Corinth, Argos, Megalopolis, and various other places. At Rhodes, where it was very prominent, the Colossus, 105 feet high, that rose in the 2 PROMETHEUS BOUND. harbor, was a representation of Helios. For the suffering and dying to address the sun was a common form of invocation. See Kur. Alcest. 243. — θεῶν θεός. This repetition of words is an Ho- meric beauty, attractive to Aeschylus, and used with skill and force. See note on 1. 19. 93-97. ‘‘The change here from iambics to anapaests marks the expression of more passionate bitterness. ,With returning composure the more quiet metre is resumed” (Wecklein). — δέρχθηθ᾽, 1 aor. pass. imp. v. dep. δέρκομαι. --- Staxveropevos, worn out; lit. scraped to nothing. — τὸν μυριετῇ χρόνον. Observe the article here, through the myriad years of time (assigned to me). This must be taken with limitations, for Prometheus was ultimately (1. 773) to be re- leased. — ἀθλεύσω, endure, lit. wrestic, as though struggling with his chains. — τοιόνδ᾽ agrees with δεσμόν, such a shameful bond. ἀεικῆ is probably used because of αἰκίαισιν in 1. 98. — tayds, ruler, lit. arranger ; v. τάσσω, to arrange. It is employed elsewhere by Aeschylus only in the Pers., and there always of a captain. ravyés and véos both imply contempt for Zeus. 99-105. πῆ ποτε. . . ἐπιτεῖλαι, whence shall a limit of these woes arise. ἐπιτεῖλαι intrans., like ἀνατεῖλαι, the rising of the stars. Others (see lex.) make ἐπιτεῖλαι trans., with τέρματα for its obj., and render it, fix ὦ limit, ete. χρή, it will be observed, is used here like μέλλει. Others (see lex.) translate it, ¢s dt fated, etc. — προὐξεπίσταμαι for mpd ἐξ, etc. The word is emphatic, 1 know fully beforehand. — σκεθρῶς, deriv. from σχεῖν, the 2 aor. v. ἔχω. As the son of Themis, he was possessed of foreknowledge. See note, 1. 18. — ὡς ῥᾷστα, with patience. ὡς heightens the superlative (lex. ITI. b). — γυγνώσικονθ᾽ agrees with the omitted subject of φέρειν, because I know (G. 277, 2). — ἀνάγκης. He seeks to make his fatalism a means of comfort in his distress, While the theology of Aeschylus is elevating and strong, it is far from being a consistent system. In 1. 323 and 550-551 he makes Zeus supreme; while in 1. 518 he puts him on a par with Pro. in this passage, and says plainly that he cannot ‘escape what is fated.” So in the Agamem. (1. 68) he says, ‘‘ things will be accomplished as foredoomed.” The prevailing doctrine, however, is that Zeus is coequal and often he is made identical with fate and justice. — ἀδήρυτον, invincible, lit. without strife, from a priv., and δῆρις, contest. NOTES. To 106-118. οὔτε σιγᾶν, «.7.A. The anguish and anger were so great that both silence and speech were equally intolerable and impossible. οὔτε, οὔτε are used because they belong with ἐστί, while μή belongs with σιγᾶν (G. 283, land 3). σιγᾶν depends on οἷον (G. 261). — τύχας is ace. after σιγᾶν. σιγάω was probably originally intrans., Lat. si/eo; but in use it often takes an 800. (see lex. II.). — γέρα, acc. plur., contr. from γέραα. — πορών, 2 aor. act. part.; a favorite word of Homer. — évéfevypat, perf. pass. v. évgevyvum, I have been involved or bound. — ναρθηκο- πλήρωτον, κιτιλ., and 7 discover (lit. hunt for) the secret source of fire, filling the hollow of the reed. ναρθηκοπλήρωτον is pass. in form, but act. in sense. The νάρθηξ is a tall plant with a pithy stalk. The modern Greeks call it νάρθηκας, and employ it for the same pur- pose that Prometheus did. It is said to grow abundantly along the sea-shore south of the Acropolis at Athens. —- πέφηνε, has proved, 2 perf. act. v. φαίνω. — πόρος, resource. — ποινάς, G. 159. — ἀμπλακημάτων, G. 173. — πασσαλευτὸς av, being secured (lit. pinned down). Paley writes it πεπασσαλευμένος, and Wecklein (from 1. 438) gives προυσελούμενος, but we see no good reason for deviating from the usual reading. 114-127. ἃ ἃ, ah/ ah! These words may be used to express various emotions, as pain, fear, etc.; but here they denote merely surprise. Prometheus hears the distant rustling of wings, as the chorus of sea-nymphs approach, and wonders that any living thing should come to so desolate a spot. — τίς. .. κεκραμένη. Mrs. Browning very elegantly translates these lines : ** What a sound, What a fragrance, sweeps up from a pinion unseen, Of a god, or a mortal, or nature between !” Divine beings, like the daughters of Oceanus, were anointed with ambrosial ointment, and the breezes would bear their odors before them as they approached. dx, Doric for ἠχώ, and ὀδμά for ὀδμή, which is poet. for ὀσμή. For this use of the Doric for the Ionic, gee G. 30, and Donaldson’s Theatre of the Greeks, pp. 31, 362. προσέπτα for προσέπτη, poet. 2 aor. act. v. deponent προσπέτομαι. kexpasévy is partly human and partly divine, like the demigods. — τερμόνιον, fur distant (lit. ut the world's end).— ἢ τί δὴ θέλων, or for what purpose. —opare, κιτιλ,, behold me, in chains and im 74 PROMETHEUS BOUND. anguish, a@ god. — tov... ἐλθόνθ᾽, the one who is hated by all the gods (lit. who comes as an object of hatred to all the gods). δί ἀπεχθείας ἐλθόνθ᾽ is nearly equivalent to ἀπεχθόμενον. For this use of διά with the gen., see lex., διά A, IV. — θεοῖς (G. 186, Ν. 1). —aidtip . . . ὑποσυρίζει, and the air rustles with the light strokes of wings. ῥιπή, from pirrw, means literally the force with which anything is thrown ; and here it refers to the flapping of the wings (see lex.). In 1. 1089 it means storm or blast. — πᾶν, «7.4. The pathos of this line is touching. His mind is clear; he does not weaken in the slightest in his resolve. But the physical anguish and mental strain are so great that it is impossible to be calm; he fears something may be coming to increase his torture. 128-192. ἸΠ]Πάροδος, or entrance song of the chorus. The word (παρά and 663s) means that the chorus entered (see lex. HI. 2) from the side of the stage. Strictly speaking, there is here no parodos, for the chorus begin at once a dialogue with Pro. Their part, however, is put into strophic and antistrophic lyrics, and set to music, and thus embraces every essential feature of a purely choral song. This chorus of ocean nymphs was represented as approaching from behind, and they were seen by the spectators before they were visible to Pro. They came in a car that was fur- nished with wings (8x πτερωτῷ, 1. 135), and it remained suspended in mid-air till the nymphs, at the urgent request of Pro., leave it and alight on the ground. Probably the car was suspended by ropes from the yépavos, and was swung into view from behind the scene to the required position. This conception by Aeschylus of a chorus of Oceanides is very appropriate and effective. Their beauty and grace, their modesty and simplicity, their curiosity and pity, are all charming, and are in marked contrast to the grand and rugged nobility of Pro. The greatness of the principle for which he suffers, the heroism of his will, which makes him free although in chains, they cannot comprehend ; but they know that he is in dis- tress, and with tender, tearful sympathy they come to pity, to ad- vise, and if possible to relieve. Pro. treats them with the greatest gentleness and respect, and though they cannot change his purpose or ease his pain, he is grateful for their presence, and freely tells them the story of his wrongs. 128-130. μηδέν, emphatic, nothing at all. — πτερύγων θοαῖς NOTES. 75 ἁμίλλαις, swift rivalry of wings. Ooats is a case of enallage for θοῶν. — προσέβα, Doric for προσέβη. See note on 1.115. This use of the Doric a for ἢ prevails in the choruses of the Attic drama, because the Dorians were the first to develop choral songs, and to connect them intimately with war and worship. All the people were taught to sing as an aid to military evolutions and the cele- bration of martial victories; and this led to such rapid development that all choral poetry came to be run in Doric forms, which the Athenians adhered to in the period of their ripest culture, as though compelled by a linguistic copyright. Then, too, these archaic forms had been so long used in choral worship that the Greeks came to love the dialect as essential to the service, and hence insisted on retaining it ; just as the Ephesians preferred the ugly old idol in their great temple of Artemis to the finest statue of the goddess completed in later times, and as some persons at the present day consider it almost profanation to correct even the grammatical errors in King James’ version of the Bible. — μόγις, with difficulty. — παρειποῦσα, having persuaded (lit. having talked over to one’s side). Women were kept in such seclusion in Greece that it was almost a breach of propriety for these maidens to visit Pro., even to express their sympathy with his sufferings. 132-135. κτύπου yap ἀχὼ χάλυβος, for the echo of ringing steel. — διῇξεν, 1 aor. act. v. διαΐσσω. --- μυχόν, innermost part. The word may be used because the female apartments (gynaeconitis) were in a remote and secluded part of the house. In]. 453 we find it again, but referring to the recesses of caves. — é is separated by tmesis from ἔπληξε. In 1. 360 this verb takes the ace. of the person and the gen. of the thing. — τὰν θεμερῶπιν αἰδῶ, my sedate modesty. θεμερῶπιν is from θεμερός, sedate (perhaps v. τίθημι, steadfast), and @y, the face. This training by Oceanus of his children to be retiring and respectful is quite in contrast with certain modern manners of the young. — σύθην, poet. 1 aor. pass. v. gevw, with the augment omitted (G. 106, 2). — ἀπέδιλος, sandal- less, a word which became proverbial for hastily. — 6x, car, a vehicle named from its capacity to hold or carry (ἔχω). 137-143. πολυτέκνου. Hesiod (Theog. 133, 337, 349, etc.) makes Oceanus the son of Uranus and Gaia, and the husband of Tethys, by whom he begat three thousand rivers and as many Oceanides, —~ 76 PROMETHEUS BOUND. ἔκγονα, adj., used as subst. ἔκγονα and παῖδες, in appos. with subjects of δέρχθητ᾽ and ἐσίδεσθε. --- τοῦ εἱλισσομένου belongs with Ὠκεανοῦ. This representation of the ocean as a great river encir- cling the earth is usually supposed to be derived from Homer, but the references, while making it probable, are not conclusive. The passage so often quoted from the description of the shield of Achilles (11. xviii. 607, 8) does not state that the ocean encircled the border of the shield; and dwdppoos (Il. xviii. 599 ; Od. xx. 65), which has usually been interpreted to mean flowing back upon itself, may pos- sibly, as Mr. Gladstone suggests, mean tidal, as opposed to the tide- less Mediterranean. See lex. dWdppoos. Perhaps the myth, as fully developed, was of somewhat later growth. — ἀκοιυιμήτῳ. The rest- lessness of the ocean is vividly given here; and as the Mediter- ranean is a comparatively quiet sea, some have thought that the Grecks had gained from the Phoenicians a knowledge of the ereat currents of the Atlantic. — προσπορπατός, secured (lit. pinned down). — τῆσδε. . . ἄκροις, on the extreme headlands of this gorge. — φρουράν, watch, from πρό and ὁράω, to see in front of one. Observe here how aptly Pro. uses words employed by Kratos and Hephaestus before. See πόρπασον, 1. 61; φάραγγι, 1. 15; and φρουρήσεις, 1. 31. 144-151. φοβερὰ. . . εἰσιδούσᾳ, and a dimness, caused by fear, full of tears, overspreads my eyes as I behold thy form. For φοβερά, see lex. I]. 2. εἰσιδούσᾳ agrees with ἐμοί, implied in ἐμοῖσιν ὄσσοις. This is a case of constructio ad sensum (H. 523). Some MSS. give here εἰσιδοῦσιν, and Wecklein and Weil read εἰσιδοῦσαν. — οἰακονόμοι, riers, lit. helmsmen. These nautical metaphors were popular with the Athenians, because they were a maritime people. Aeschylus, too, had served in the great sea-fight at Salamis. — ᾽Ολύμπου, G. 171, 3. — ἀθέτως = ἀθέσμως, arbitrarily. — ta... ἀϊστοῖ, and the mighty ones (see lex.) of old he now destroys (lit. makes unseen). This refers to Zeus’ overthrow of the older dynasties of Uranus and Cronus. πελώρια expresses very forcibly the brute power of the huge Titans. It is from πέλωρ, monster, a word commonly employed in a bad sense, as of the Cyclops, the Python, etc. Prickard refers here to Agam., 1, 167-175, which Blackie ~ translates : NOTES. 77 ‘Who was s0 great of yore, With all defiant valor brimming o’er, Is mute ; and who came next by a stronger arm Thrice vanquished fell ; But thou hymn victor Zeus: so in thy heart His truth shall dwell,” 152-158. εἰ γάρ, «.7.0., for would that he had hurled me beneath the earth and below, etc. For ef γάρ with ἧκεν, see G. 251, 2. ἧκεν, 1 aor. act. v. Inu. —"“Avdov, G. 182, 2. — εἰς, into. Observe the degrees of depth here indicated, Tartarus being the lowest. Homer places Tartarus as far below Hades as that is below Heaven; but later poets describe it as the place where wicked spirits are punished, and sometimes make it synonymous with Hades. Aes- chylus follows more nearly the Homeric idea. — ἀπέραντον. See lex. 11. So in reference to the net of Ate, 1. 1078. — δεσμοῖς, 6. 186. — πελάσας, having cast me into (lit. brought me near to). — ὡς ἐπεγήθει, so that, etc., might be rejoicing (as they are). Others, following Elmsley, write it ἐγεγήθει, should have rejoiced. See G. 216, 3; M. ἃ T. 44, 3, near the bottom of the page. — ἐχθροῖς ἐπίχαρτα : see lex. émixapros, 2, and G. 185. 159-166. tls .. . ἐπιχαρῆ, who of the gods is so cruel as to rejoice at these things? érw=dore αὐτῷ, to be followed by τάδ᾽ ἐπιχαρῆ εἶναι. --- δίχα: G. 182, 2, second paragraph. — ἐπικότως, in his wrath. κότος means grudge, and implies that there was a kind of stolid stubbornness in Zeus. — θέμενος. See lex. A. 11. 6 — δάμναται, pres. mid. v. δάμνημι = dduasw, lords it over (lit. subdues). — κορέσῃ, glut, 1 aor. act. v. κορέννυμι. For πρίν with the subj., see G. 240, 1,2; 239, 2; 232, 3. — παλάμᾳ, skilful plan. The Greeks were never averse to stratagem or the worst deceit, provided it led to success ; and δυσάλωτον shows that Zeus was too strong to be overcome by direct attack. This severe con- demnation of Zeus by the chorus is so at variance with the rever- ence and exalted piety of Aeschylus as to puzzle many critics; but Grote’s explanation (vol. i. p. 384), referred to by Paley, is the best. He says: ‘‘ Zeus, though superior to all the other gods, and exercising general control, was never considered, either in Grecian legend or in Grecian religious belief, to be superior in so immeasur- able a degree as to supersede all free action and sentiment on the 78 PROMETHEUS BOUND. part of gods less powerful. There were many old legends of dis- sension among the gods, and several of disobedience against Zeus: when a poet chose to dramatize one of these, he might so turn his composition as to sympathize either with Zeus or with the inferior god, without in either case shocking the general religious feeling of the country. . . . We are not to forget that Pro. is not a man, but a god, —the equal of Zeus in race, though his inferior in power, and belonging to a family of gods who were once superior to Zeus.” This helps to lessen the shock to our religious sensi- bilities which this severe language of the chorus causes, but does not remove the necessity for the after play of the Prometheus Unbound, in which it is believed that the character of Zeus was exhibited in a milder and more beneficent light. See Introduction, p. XXVil. 168-177. αἰκιζομένου, tormented, pass., though more commonly dep.: see 1. 195 (G. 277, 5). — πρύτανις, ruler. The senate (βουλή) at Athens was composed of five hundred members, fifty being se- lected by lot from each of the ten tribes. Each tribal section ruled for one-tenth of the Attic lunar year, — namely, thirty-five or thirty-six days; and this term of office was called a Prytany. Out of these fifty πρυτάνεις one was chosen to be chief president, or ἐπιστάτης; he then chose nine πρόεδροι, and the business of ad- ministration was in the hands of this smaller body. The πρυτάνεις had the first place and hearing in the ἐκκλησία, took the lead in all matters in the βουλή; but, though so powerful for the time being, had no authority beyond their brief term of office. (See lex.) By the use of the word here, Pro. emphasizes his con- tempt for the sovereignty of Zeus; showing that he regards his elevation to power as the result of chance rather than worth, and that his enjoyment of it will be brief. — δεῖξαι has ἐμέ for its subject, implied in ἐμοῦ above. It is explanatory of ἐμοῦ, and like it depends on χρείαν ἕξει = χρήσει. For the infin. after a noun and a verb, see M. & T. 92, 1, N. 2. — BovAeup’, plot ; namely, the marriage with Thetis. See ll. 764, 909, 910. — σκῆπτρον τιμάς τ΄. For these acc. after the pass. verb ἀποσυλᾶται, see G. 197, N. 2. — ἀποσυλᾶταν is pres. in the sense of the future (G. 200, n. 7). — πτήξας. See lex. 11. 2. — For χαλάσῃ and ἐθελήσῃ, see G. 240, 1, 2; 232, 3. — ποινάς, kt.A., and shall be NOTES. 19 willing to pay the penalty for this outrage. There is something sublime in this defiance. Although Pro. is chained to this crag, is aware that increasing sufferings will wear and torture him, and that ages must pass before he can be relieved; yet his spirit is so unbending that he boldly demands not only release but satisfaction for his wrongs. 180-185. ἄγαν δ᾽ ἐλευθεροστομεῖς, but you are too free of speech. Aeschylus is fond of making such sonorous compounds with στόμα and γλῶσσα. See λαβροστόμει, 1. 827; χαριτογλωσσεῖν, 1. 294; θρασυστομεῖν, Suppliants, 1. 203. — ἐρέθισε, 1 aor. act. v. ἐρεθίζω. This omission of the augment is a trace of the epic style. — διά- τορος, piercing. — σαῖς. Though their fear is διάτορος, it is all for Pro. — πᾶ... ἐσιδεῖν, (wondering) where it is fated for thee, having beached thy bark, to 866 the end of these woes. τέρμα is the obj. of the infin., and κέλσαντ᾽ is used absolutely ; lit. having put to shore. For πᾶ ποτε χρή, see ll. 99, 100, and for the metaphor, 1. 148. ae 186-192. οἵδ᾽. . . Ζεύς, 7 know that Zeus is severe, and retains justice in his own grasp; {. 6. that he is an irresponsible ruler, a τύραννος. — ὅταν ταύτῃ parody, when he shall be thus broken down. ταύτῃ is explained in].170. There is-such a provoking mystery in these hints of Pro. that they arouse the curiosity and then the anger of Zeus as the play proceeds. For the subj. ῥαισθῇ, G. 232, ὃ. — στορέσας, calming, lit. making level or smooth. — els. . . ἥξει, he shall at some time eagerly come into agreement and Friendship with me eager (to receive him). For σπεύδων σπεύδοντι, see ἄκοντά σ᾽ ἄκων, 1. 19, and note ad loc. 193-396. First ᾿Εἰπεισόδιον. This includes all of the dialogue that comes between whole choral odes. In this episode we have two scenes: the first (1. 193-283), the dialogue between Pro. and the leader of the chorus; and the second (1. 284-396), between Pro. and Oceanus. 193-204. πάντα λόγον should be taken together. Paley, follow- ing the Schol. Med., thinks that Aeschylus uses here the proverbial curiosity of women to enable him to give at length the story of Pro.; but this is a needless slander of the sex. The recital is per- fectly natural, whether the request had come from men or women. — γέγων᾽, imperative from epic 2 perf. yéywva, with pres. signif. —~ 80 PROMETHEUS BOUND. εἴτι μὴ βλάπτει, {7 you are in no way harmed (G. 221). — ἀλγεινὰ . . . δύσποτμα, these things are indeed painful for me even to speak of; but it is a patn to keep silent, and in all respects a hard lot. For λέγειν, see G. 261, 2. --- στάσις. . . ὠροθύνετο, and mutual strife was aroused among them. — ot pév: apposition with δαίμονες. -- ἀνάσσοι : 6, 216. — δῆθεν, forsooth; ironical, showing the contempt of Pro, for Zeus. — τοὔμπαλιν = τὸ ἔμπαλιν, and is the obj. of σπεύδοντες --- ἄρξειεν, object clause after was Ge 217, N. 1; M.&T. 45, Ν. 4. It is explanatory of τοὔμπαλιν. 204-215. βουλεύων, though advising (G. 277, 5). Tt takes λῷστα (superlative of ἀγαθός) for its obj. — πιθεῖν depends on ἠδυνήθην. --- Τιτάνας. Pro. is called a Titan by Aeschylus and his mother The- mis, a Trravis (1. 874); “but unless we identify Themis and Earth these Titans were not strictly his brethren, but only of kindred race” (Paley). — ἠδυνήθην. For the double augment, see G. 100, N. 2. —atpudas . . . δεσπόσειν, but they, despising subtle plans, in their “rugged souls” imagined that, without effort and by mere brute force, they would prevail. For the infin. δεσπόσειν, in in- direct discourse, see G. 203, n. 2; M. & T. 27, N. 8. — πολλῶν ὀνομάτων μορφὴ pla. These words refer to Tata, who was also called Rhea, Demeter, Cybele, ete. ὀνομάτων ig a possessive or attributive gen. — 9 κραίνοιτο, in what way {{ would be accom- plished. For the opt. with 7, see G. 242, 1, Ὁ; bre τῆδε 1 that in the following manner. — προὐτεθεσπίκει, pluper. act. v. προθεσπίζω. It is singular, because it refers primarily and more directly to Θέμις for its subj. — Χρείη. . . κρατεῖν, but by craft it was necessary for the more powerful (lit. those who had conquered) torule. χρείη is opt. of indirect discourse (6. 243). — ἐμοῦ éEnyou- μίνου. The gen. abs. denotes time, when I, etc. — οὐκ οὐδέ, The two negatives strengthen the negation (G. 283, 9). — τὸ πάν, at all. 216-225. παρεστώτων : see lex. B. II. 2. The word is 2 perf. part. — προσλαβόντα μητέρα ἑκόνθ᾽, with the assistance (lit. having taken as a partner) of my mother, willingly. Many editors write it προσλαβόντι, agreeing directly with μοι, and both forms are admissible ; but the acc. is better, because of the infin. which follows. For ἐἑκόνθ᾽ ἑκόντι, see note, 1. 19. At first Pro. sided with the Titans in their struggle against the ambition of Zeus; but when they scorned his advice that they should use stratagem instead NOTES. 81 of force, he deserted them, and with his mother Themis gave such assistance to Zeus that his success was complete. --- ἐμαῖς δὲ Bov- λαῖς, and by my advice. Pro. claims the whole credit of the vic- tory, and thus magnifies immensely the ingratitude and cruelty of Zeus. — μελαμβαθὴς κευθμὼν, the deep black vault. — αὐτοῖσι συμμάχοισι. See lex. αὐτός, 1. 5; G. 188, 5, N. — τοιάδ᾽ ἐξ ἐμοῦ ὠφελημένος, having been thus aided by me. ὠφελέω takes two ace. in the act., and one of them is retained here (G. 197, Ν. 2). — ἔνεστι. . . πεποιθέναι, 7207 somehow this malady inheres in despot- ism, not to trust its friends. The oppression of the Athenians by the tyrant Hippias, their knowledge of the cruelties practised by East- ern despots, and their intense enjoyment of the freedom which they had gained through the Persian wars, made them keenly appreciat- ive of such a sentiment as this. ' 226-236. ὃ 8 οὖν épwrat’, however, as to your question ; t. 6. that in ll. 198, 194. — τοῦτο is the antecedent of 6. — σαφηνιῶ, fut. act. v. σαφηνίζω. — νέμει, pres. act., he assigns. This change of tense is unnecessary and unusual, but is probably done for greater vividness. — λόγον οὐκ ἔσχεν οὐδέν᾽, he had no regard. —GAN... νέον, but he desired, having destroyed (lit. having made unseen) the whole race, to plant another new one. This statement of Pro. sug- gests the Mosaic account of the destruction of man by the flood (Gen. vii.). — τοῦ... μολεῖν, from going utterly ruined to Hades. τοῦ belongs with μολεῖν. For μή, see G. 283, 6. Before “Acdov, supply δόμον, which εἰς governs. μολεῖν is 2 aor. act. v. βλώσκω. 237-245. τῷ τοι. See lex. ὁ, A, viii. 3. — κάμπτομοι, 7 am bent. This must not be taken literally, for Pro. had absolutely refused to yield. — πάσχειν, ἰδεῖν. These infinitives depend on the adjectives (G. 261, 2), which agree with πημοναῖσι. --- θνητοὺς... προθέ- pevos, and pitying mortals (lit. placing mortals before me as objects of pity). —éppvOpropar. See lex. ῥυθμίζω, 11. 2. This is also iron- ical; for Pro. was determined that no torture should bring him into harmony with Zeus. — θέα, apposition with the subject of ἐρρύθμι- σμαι. --- ἄν... ἔχρηζον (G. 222). --- εἰσιδοῦσά τ᾽ ἠλγύνθην κέαρ, and seeing I am pained in heart (lit. when I saw I was (at once) pained in heart). otre.. . τέ are correlative. 246-254. Kal... ἐγώ, and verily I am ὦ sad object for my friends to contemplate. The emphasis is on φίλοιβ. Pro. does not 6 82 PROMETHEUS BOUND. expect or desire any compassion from Zeus.-—ph.. . περαιτέρω͵ did you not possibly proceed even further than this. For μή, see G. 282, 2. This word, when used interrogatively, usually expects a negative answer, and the line can be read so here; viz. surely tt cannot be that you proceeded, etc. (lex. μή, C. 1.). — προδέρκεσθαι. The Greeks were a joyous people, delighting in the present, devoted to the pur- suit of happiness, and careful to exclude everything sad from their thoughts and lives. Pro. does not mean that he took away from them a knowledge of death, but that he prevented them from seeing it as a dreadful certainty, hovering constantly before them, and thus hindering all healthy and happy activity. See Hebrews ii. 15. For μή before προδέρκεσθαι, see G. 283, 6 ; M. & T. 95,2 ny. ᾿ὶ - νόσον, obj. 561. --- τυφλάς, blind, i.e. to the future. This refers to προδέρκεσθαι μόρον. Paley denies that this refers to Pandora, and quotes the finely expressed distinction that “instinct is ignorant that it knows, and reason knows that it is ignorant ; but spirituality does more, — it hopes.” — κατῷῴκισα, causative. — μέγ εὐ. βροτοῖς, a great boon, this, thou didst bestow on mortals. — φλογωπὸν πῦρ ἔχουσ᾽, possess the ‘‘ved-eyed” fire. Τῷ 15 a notice- able fact that the lower the savage state of a people, the more super- stitious they are about fire, the greater their difficulties in producing it, and their care in preserving it. — ἐκμαθήσονται. The fut. is used because he claims that there is practically no limit to the advantages which his gift will bring to them. They not only have learned, but shall learn. See 1. 7, παντέχνου πυρός. 256-261. χαλᾷ, supply σέ. --- ἄθλου, of the struggle. It is mase. With προκείμενον it refers to the contests proposed and the prizes fixed for the national games. — δοκῇ (G. 232, 3). Wecklein assigns 1.256 to Pro., for the sake of preserving the dialogue in alternate lines, (στιχομυθία) ; but the transfer from the Chorus to Pro. is so abrupt after αἰτιάμασιν, that the change is at least a doubtful im- provement. —ds . . . ἄλγος, but that you have erred is both un- pleasant for me to say and poimful for you (to hear). otre... τά are correlative, and also ἐμοί... , col. Others make ws a modal conj. for ὅπως, Lat. guomodo, how. : 263-270. ἐλαφρὸν ὅστις, dt is easy for one τὐῆο. --- πημάτων ἔξω πόδα ἔχει. This is a modification of the proverb ἔξω τοῦ πηλοῦ ἔχειν, to keep one’s foot out of the mire. See lex. ἔξω, I. 2, Ὁ, at x NOTES. 83 the end. — τὸν κακῶς πράσσοντ᾽, the one who is in trouble (G. 165, N. 2). -- ἥμαρτον. The word is used because of ἥμαρτες above. ~ ἀρνήσομαι. Pro. admits with the greatest frankness that it was an error to thwart the will of Zeus and defy his power, and then shows that though an error it was not a sin, but that he is the victim of his love for man. The juxtaposition of ἥμαρτον and θνητοῖς ἀρήγων makes the rebuke especially stinging. So hard-hearted and unjust is this ruling god that he treats even philanthropy as a crime. — nipopnv. For the augment in this 2 aor. see G. 103, Ν. -- οὐ φόμην, κιτλ, We have here an acknowledgment of the power of Zeus, coupled with astonishment that he should exercise it. Pro. virtually says: ‘I know that Zeus is supreme, and that he is a cruel tyrant; but I did not suppose that he would be so bitter against me and so unfeeling towards mortals as to treat me thus.’ — κατισχνανεῖσθαι, waste away, the fut. mid. used passively. The verb ἰσχναίνω means to make lean, to dry up, to reduce, 1, 380. — πεδαρσίοις, poet. for μεταρσίοις, lofty. — πάγον (G. 171). 271-276. — pot, ethical dative (G. 184, 3, N. 6).— μὴ δύρεσθ᾽, do not bewail, The verb is poet. for ὀδύρεσθε. --- βᾶσαι, 2 aor. part. plur.— tds... ἀκούσαθ᾽, “my coming fortunes hear.” (Plumptre.) — διὰ τέλους, from beginning to end. See lex. διά, A, I. 1. Pro. is ready to describe both his future sufferings and his ultimate deliverance ; but absolutely refuses (ll. 175, 523, 990) to explain his threats against Zeus. — πίθεσθέ por, πίθεσθε. We have this urgent repetition because of some hesitation on their part to leave their car.—t@ viv μογοῦντι, the one now in distress. The νῦν is emphatic, and has direct reference to the thought which follows, — To-day I am in trouble, but to-morrow it may be you. -- ταὐτά... προσιζάνει, in the same way misery, wandering about, takes its seat now by one and now by another, ταὐτά = κατὰ ταὐτά. See lex. κατά, B. IV. 2. πρὸς ἄλλοτ᾽ ἄλλον are used distri- butively. See lex. ἄλλοτε. 277-283. οὐκ ἀκούσαις ἐπεθώϊξας τοῦτο, you have urged this upon those who are not unwilling. For the verb see 1. 78. ἀκούσαις from ἄκων, Attic contr. for ἀέκων. --- ὀκριοέσσῃ χθονὶ τῇδε πελῶ, I am about to approach this rugged earth. πελῶ is fut. act. v. πε- Ad fw (G. 110, 2, N. 1 (b)), used intransitively. The verb is sing. because the leader of the Chorus is supposed to speak for the whole 84 PROMETHEUS BOUND. company. This is very common in dramatic poetry. See H. 519. — τοὺς σοὺς δὲ πόνους. .. διὰ παντὸς, the complete story of your γ0068. 284-396. Second Scene in the First Episode. Oceanus, the father of the Choral Nymphs, appears upon a winged creature and takes up the dialogue with Pro. This entrance of Oceanus enabled the car containing the Chorus to descend, and the Sea Nymphs to alight and take their proper places in the orchestra between the spectators and the stage. 284-295. ἥκω... κελεύθου, “I have reached the bourn of my weary road.” δολιχός is the long race-course in opposition to στά- διον, the short course. Its length varied, but Pindar (0, iii. 59) states that in the chariot races the στήλη was rounded twelve times, giving a length of twenty-four stadia. See Smith’s Dict. Antiq. p. 1055, art. stadium. τέρμα (G. 162). Oceanus came from the far-distant west, outside the pillars of Herakles. Others con- nect τέρμα with the participle, and translate (see lex. διαμείβω, 2) having completed the limit. —olwvev. From τετρασκελής (1. 395) we infer that this winged creature must have been a beast rather than a bird. Perhaps it was a griffin, a fabulous animal with the head and wings of an eagle and the body of a lion. The colossal winged lions and winged bulls with human heads, found in Nineveh, and symbolizing in one form strength, speed, and intelligence, prove that the Orientals found nothing repulsive in such impossible creations, and, as we know that in plastic art the Greeks were much indebted to the Assyrians, it is not improbable that we have a trace of that influence here. — γνώμῃ στομίων ἄτερ, by my own will without a bridie, an exaggeration of the superior intelligence of his winged courser. The Greeks sometimes ascribed such quali- ties even to inanimate things. In Odys. viii. 555-559, Alcinous says to Odysseus : “ Declare thy land, Thy people, and thy city, that our ships May learn, and bear thee to the place ; for here In our Pheacian ships no pilots are, Nor rudders, as in ships of other lands : Ours know the thoughts and the intents of men.”’ BRYANT. NOTES. 85 Wecklein (note ad loc.) also refers to Il. xviii. 417-420, where, in speaking of Hephaestus, the poet says : ““Two golden statues, like in form and look To living maidens, aided with firm gait The monarch’s steps ; and mind was in their breasts, And they had speech and strength, and from the gods Had learned becoming arts.” BRYANT. — τὸ Evyyevés. Oceanus was the son of Uranus and brother of Iapetus, and hence was the uncle of Pro. — ἐσαναγκάζει, compels, The laws of kinship were very binding. The plots of many of the Greek tragedies are based on the principle that children must avenge the wrongs of their parents. — οὐκ. . . σοί, there is no one to whom I would pay greater honor than to you (lit. bestow a greater share). This refers to the custom, often alluded to by Homer, of giving the chiefs the best of the booty. See also Genesis xliii. 34. νείμαιμ᾽ is an apodosis of the less vivid future with ἄν omitted, the protasis being in χωρὶς γένους (G. 224, N. 1; M. &T. 50, 2, ν. 1). — τάδ᾽ ὡς ἔτυμ᾽, that this is true (lit. this as true). — eve for ἔνεστι, --- συμπράσσειν. Oceanus is very officious and self-confident in his talk ; but desires Pro. to understand that it is not by words (γλωσ- σεῖν) but by deeds that he would express his interest. 297-305. ἔα. .. ἥκεις, Ha! What? And now have you too come? etc. See lex. χρῆμα, 11.2; καὶ, A. II. 1; 67, 1.5. The cool contempt of these words is striking. Instead of being grateful to Oceanus for taking such a long journey to express his sympathy and proffer his aid, he expresses surprise mingled with annoyance at his coming, and intimates that curiosity is his main motive. — ἐτόλμησας, did you dare. There is a sneer here at the weakness of Oceanus’ character in so completely yielding to Zeus. — πετρηρεφῆ αὐτόκτιτ᾽ ἄντρα, rock-urched, natural grottoes. πετρηρεφῆ = πέτρα and ἐρέφω, to cover with a roof. αὐτόκτιτ᾽, self-wrought (from αὐτός and xrigw, to produce), refers to caves made by the action of the waves. — σιδηρομήτορα és αἶαν, to this land, the mother of tron. The Greeks obtained iron from the Chalybes, who dwelt on the southeastern part of the Euxine, in Pontus ; but this statement, taken in connection with 1. 715, makes it evident that Aeschylus Jocated them farther east and north, in Scythia. afav, poet. for - 86 PROMETHEUS BOUND. γαῖαν, for γῆν. --- ἀφῖξαι, perf. 2 pers. sing. v. ἀφικνέομαι. --- Evva- σχαλῶν, fut. part. v. συνασχάλλω. See lex. συνασχαλάω. — τόνδε, me. See lex. I. 6. This and the following explanatory ace. are in appos. with θέαμα. — τὸν ξυγκαταστήσαντα, the one who aided (him) to secure. In these concluding lines Pro. modifies somewhat his contemptuous tone, and is willing to arouse the indig- nation of Oceanus, as the latter beholds his sufferings. 308-324. ποικίλῳ, versatile, lit. crafty. See αἱμύλας μηχανάς, 1. 206. The word, however, as used here, is intended to compli- ment the genius of Pro. The following lines show us that Oceanus does not desire him to be less crafty, but less bold and outspoken. — γίγνωσκε σαυτόν : another form of γνῶθι σαυτόν. The Scho- liast puts it; γνῶθι σαυτὸν ὅτι ἥττων ef τοῦ Avs. This was one of the sayings of the Seven Sages. — τεθηγμένους, cutting, lit. sharpened. — ῥίψεις, hurl out. For εἰ ῥίψεις ; dv κλύοι, see G. 227. - καὶ θακῶν, even though seated (G. 277, 5). This 18 prophetic of the conclusion of the play (1. 944 ff.), where Zeus, angered by the defiant words and threats of Pro., displays his power with ter- rible effect. — ὥστε... δοκεῖν, so that the nresent crowd of troubles will seem to you mere child’s play. τὸν νῦν ὄχλον is Doderlein’s emendation, adopted by Dindorf and others. Paley retains χόλον, and connects μόχθων with παιδιάν : “ so that the present wrath (of Zeus) may seem to you a mere mockery of suffering.” Wecklein reads : τὸν νῦν χόλου παρόντα μόχθον, the present distress of bitterness. παρόντα seems to be used merely to round out the phrase, as we sometimes find it in Trag. at the end of a verse. See lex. πά- peut, IV. — ἄφες, 2 aor. act. imper. v. ἀφίημι. — dpxat’, old- fashioned things. — τἀπίχειρα = τὰ ἐπίχειρα, the wages. The article with the predicate is rare (G. 141, N. 8). — οὐδέπω, not yet, implying that in the end he will be compelled to yield. — οὔκουν . ἐκτενεῖς, you will not then, if you follow my advice, stretch out your foot (lit. limb) against the goads. Compare Acts ix. 5. For the part. in the protasis, see G. 277, 4 ; 226, 223. — οὐδ᾽ ὑπεύθυ- vos, and even irresponsible. The Athenian magistrates were respon- sible to the people, and were obliged to give an account of their administration to a judicial assemblage of the citizens when their period of service had closed. 325-329. εἶμι, 7 shall go, fut. sense. — μηδ᾽ ἄγαν λαβροστόμει, NOTES. 87 and especially do not talk too boldly. λαβρός is lit. the fury of natural forces, like the twrbwlence of a swollen stream. — ἢ οὐκ... προστρίβεται, do you not know precisely, since you are exceeding clever, that punishment is inflicted on ὦ rash tongue? ἢ οὐκ forms one syllable by synizesis. It is equivalent to the Lat. nonne. προστρίβομαι is oftener mid. than pass. Oceanus evidently has no appreciation of the grandeur of Pro.’s resolve, nor any conception of the force of his will. He is the politic adviser, the prudent go-between, who recognizes the power of Zeus, and in a fatherly way tries to induce Pro. to submit rather than continue a foolish conflict, which must result in even greater suffering than he is now enduring. 330-334. ζηλῶ, 7 envy, used ironically. — ὁθούνεκ᾽ = ὅτου and ἕνεκα, because. — κυρεῖς = κυρεῖς dv. It has here merely the force of the copula, are. See lex. 11. 3. — πάντων. . . ἐμοί, having shared and dared everything with me. ἐμοί belongs with both parti- ples and is a case of zeugma. With τετολμηκώς, we would naturally have per’ ἐμοῦ, or, if the dat. is retained, συντετολμηκώς. Paley makes the part. equivalent to τολμηρῶς. --- ἔασον, have done. See lex. 11. 2. — μελησάτω. For this use of the third pers. aor, imper. with μή, see G. 254, N.; M. & T. 86, Nn. 1, (0). --- vw, him ; i.e. Zeus. — πάπταινε 8 αὐτός, but do you be on your guard yourself, lit. peer cautiously around. — πημανθῇς, G. 218. Beneath this apparently kindly word of warning, there is a slight sneer at the prudent course of Oceanus. Pro. is so proud of his defiance, and so determined unaided to maintain it, that he will not allow any one else the privilege of suffering with him. Even svmpathy, when it is coupled with advice, is hardly endurable. 335-339. πολλῷ... τεκμαίρομαι, you are naturally far better Jitted to advise your neighbors than yourself ; I judge from deeds, end not from words. ἔργῳ refers to the actual facts of the case ; ἃ. 6. the condition of bondage and torture in which he found Pro. φρενοῦν depends on ἀμείνων, G. 261. For ἔφυς, see lex. B. II. — αὐχῶ, Iam confident. It is repeated for emphasis, because of Pre.’s incredulity. 340-346. τὰ. .. ποτέ, really, I am obliged to you for this, and by no means will I ever cease to be. ἐπαινῶ (see lex. III.) is a polite refusal of the offer, like the German Ich danke Ihnen. Others (see 88 PROMETHEUS BOUND. lex. ἐπαινέω, 1. 2) translate the verb, I commend. μέν is here fol- lowed by ἀτάρ, instead of the direct correlative τὰ δέ. — ἀτὰρ μηδὲν move, but by no means exert yourself, — μάτην qualifies πονήσεις. - ἐμοί, after ὠφελῶν, which in poetry takes a dat. of the person (lex. 1. 8). — εἴ τι καὶ πονεῖν θέλεις, although you are willing to make some effort. — εἰ δυστυχῶ, . . . θέλοιμ᾽ ἄν. See G. 227. — ὡς πλείστοισι, to as many as possible. 347-350. οὐ δῆτ. The passage from this point to 1. 377 is assigned by some MSS. and by the older editions to Oceanus ; but modern editors, following Elmsley, more properly refer it to Pro. — κασιγνήτον. According to Hesiod (Theog. 507 ff.), Atlas was the son of Iapetus and brother of Pro. — τείρουσ᾽, distress, lit. rub away. — ἑσπέρους, western; here used as an adj. The common opinion, since the time of Herodotus, has been that the name Atlas belonged to a chain of mountains in northwestern Africa; but Hesiod (Theog. 517) places Atlas near the garden of the Hesperides, i.e. in the extreme west; and Humboldt, with great probability, fixed upon the lofty peak of Teneriffe, in the Canary Isles. This great mountain was once volcanic, and may have been known to Phoenician voyagers. — οὐρανοῦ te καὶ χθονός, both of heaven and earth. The idea of the Greeks was that the earth is a flat plain ; and as Atlas must stand upon it in performing his task, this state- ment of Aeschylus, if taken literally, is impossible. As has been well observed, the only propriety in speaking of the “ pillar of heaven and earth” must be in the idea that heaven is at one end of the column and earth at the other. Hesiod states that ‘‘ Atlas supports the spacious heaven ;” and Homer (Od. i. 53, 54) that he “holds the lofty pillars which keep apart (ἀμφὶς ἔχουσιν) earth and heaven.” The first is natural and exact, while the last may mean that he has charge of, without actually holding them up. Atlas was the leader of the Titans in their war against Zeus, and was condemned to this labor by his conqueror ; so that his suf- ferings are felt the more keenly by Pro. because they are inflicted as a punishment by their common foe. For explanations of this myth of Atlas, see Smith’s Dict. Biog., p. 406. 351-371. γηγενῆ, earth-born ; agreeing with Τυφῶνα, who was the youngest son of Tartarns and Gaea. — Κιλικίων, The monster is located here because Asia Minor has always been so subject to * NOTES. 89 voleanic eruptions, and this country was much better known to the early poets than the regions farther west. This description of Typhon is evidently inspired by Pindar’s first Pythian ode, written in honor of Hiero of Syracuse but a short time before Aeschylus went there from Athens. Pindar was the first one to transfer the monster from Asia Minor to Sicily, and in this was followed by Aeschylus. In Hesiod (Theog. 821 ff.), Typhon and Typhoeus are two distinct beings, but here they are the same. He is a fire- breathing giant; and with Aetna pressing upon his breast, in his struggles for relief he is the cause of volcanic eruptions and earth- quakes. He is also the father of the Harpies, and of all the destruc- tive winds. Our words typhus and typhoon are both derived from it. In the first, which means to burn slowly, the fire generated by the monster is prominent ; and, in the second, the fury of the de- structive hurricane. — πᾶσιν ὃς ἀνέστη θεοῖς, who stood up against all the gods. The MSS. give ἀντέστη, which confuses the metre by putting an anapest in the fourth place; and this emendation is adopted by Dindorf and others. For ἀνέστη in the signification to fight against, see lex. B. 5. — σμερδναῖσι. . . φόνον, hissing Jorth nurder from his fearful jaws. — ἤστραπτε γοργωπὸν σέλας, there flushed forth a fierce-eyed glare. γοργωπόν is lit. gorgon-faced, and refers to the fierce repulsiveness of the snaky-haired monster, who turned all who looked at her into stone. — ὡς ἐκπέρσων. See G. 277, N. 2. —8s. . . κομπασμάτων, which silenced (lit. struck him out of) his lofty boasts. — κἀξεβροντήθη σθένος, and by the lightning he was blasted in his strength (lit. had his strength struck out), G. 197, N. 2. — παράορον, sprawling. The word is Doric for παρήορον, and is the form used in trag. It means literally a horse who draws in loose traces by the side of the regular pair. Such a horse, when not pulling, would be loose, nerveless. — itrodpevos. Pindar (Ol. iv. 10) calls Aetna the ‘‘ windy weight (holding down), the hundred-headed, mighty Typhon.” — μυδροκτυπεῖῦ, forges the red- hot tron. The statement given in this line about Hephaestus has no connection with the tradition that makes the bowels of Mount Aetna the workshop of the Cyclops. Here the god ‘sits on the summit, and produces those strange ringing noises which have frequently attracted the attention of modern observers, and which Humboldt attributes to the fracture of masses of obsidian” (volcanic 90 PROMETHEUS BOUND. glass) ‘‘deep in the bowels of the earth.” — ἐκραγήσονται, shall burst forth ; 2 fut. pass. Υ. ἐκρήγνυμι. Aeschylus here refers to an event as future which had already occurred, probably only a few vears before this play was written. Thucydides: (iii. 116), in speaking of the third eruption of Aetna, which occurred B. C. 425, gays: λέγεται δὲ πεντηκοστῷ ἔτει ῥυῆναι τοῦτο μετὰ τὸ πρότερον ῥεῦμα, and it is said that this eruption took place i the fiftieth year after the former eruption. This gives us 475 B.C.; but a more accurate date is (Parian Chronicle) 479 B. ©. Aeschylus went to Sicily about 469 B.C., and Pindar’s first Pythian ode, to which we have referred above, was cornposed in 474 B.C., 80 that in these two events we get the approximate date of the preparation of this play. See Introduction, p. xix.). — καλλικάρπου. The fertility of Sicily has been extolled by many ancient writers, especially by Strabo and Virgil. It was said to be the native country οὗ wheat ; was famous for its honey and saffron ; its sheep, cattle, and horses; and its grapes, olives, and fruits of every description. — ἐξαναζέσει, shall cause to boil forth. — θερμοῖς « -. ζάλης, with the hot darts of his unapproachable, fire-breathing storm. The older editions, and also Hermann, have ἀπλήστου, insatiate. The reading is uncertain, but the line is thoroughly Aeschylean. The powerful hold which this old myth of the contest between the gods and the Titans took upon the Greek imagination, and the place it held in their religious: faith, are well illustrated in the bas-reliefs of the great altar recently recovered from Pergamon, and now in Berlin. This description by Aeschylus has sometimes been criticised as too rhetorical, and as bordering on the turgid ; but it ig calm in comparison with the colossal passion of the story as told in these marbles. 374-376. ὅπως ἐπίστασαν, as you know how ; a sarcastic refer- ence to the prudent policy of Oceanus. — ἐγὼ δὲ τὴν παροῦσαν ἀντλήσω τύχην, but 1 will exhaust (lit. drain dry) my present woe. The verb ἀντλέω means to bale out the bilge water from a ship. — λωφήσῃ: G. 239, 2; 282, 3. 378-386. ὀργῆς νοσούσης εἰσὶν ἰατροὶ λόγοι, words are the healers of a disordered mind. This is the reading of the MSS., and Cicero’s version (Tuse. iii. 31) of the passage confirms it : “ Oceanus: Atqui, Prometheu, te hoc tenere existimo Mederi posse rationem iracundiae.’”’ NOTES. 91 As, however, ὀργῆς is here rendered anger (iracundiae), it cannot naturally be taken with νοσούσης. The text is uncertain, and various readings are in use. Some have ψυχῆς for ὀργῆς, and in- stead of νοσούσης, feovons and also σφριγώσης are found. — ἐν καιρῷ, opportunely. — καὶ pr... Bla, and not reduce by force the angry spirit. σῴφριγῶντα has reference to an inflamed tumor, which may be reduced by soothing applications, but not by violence. The metaphor is used because of ἰατροί above. Paley and Weck- lein, following Hermann, read σφυδῶντα, to which they give much the same meaning as to σφριγῶντα. — ἐν τῷ προμηθεῖσθαι δὲ Kal τολμᾶν, but in cautious boldness. The article belongs with both infinitives, which may be taken to form a compound idea. Weck- lein, following the older reading, gives προθυμεῖσθαι, and the sen- tence would then read, but in being zealous and bold. — μόχθον is the obj. of ὁρῶ understood. — ἐπεὶ. . . φρονεῖν, since for one who 8 really sensible, not to appear so hath greatest gain. Oceanus does not object to being accused of εὐηθία, because he may thereby escape suspicion. For φρονοῦντα, see lex. IV. Instead of μὴ δοκεῖν φρονεῖν, others write μὴ φρονεῖν δοκεῖν, to seem to be senseless. — τἀμπλάκημ᾽ = τὸ ἀμπλάκημ. Pro. is so determined to avoid even the appearance of submission, that he is unwilling to have a friend intercede for him lest he should be thought to have in- spired it. 388-395. μὴ yap, yes, for 7 fear lest ; G. 218. — θρῆνος οὑμός, ᾿ pity for me. ὁ ἐμός is equivalent to an obj. gen.; G. 147, N. 1. — τῷ νέον θακοῦντι, with the one who is just now occupying. νέον is intensely sarcastic, and implies that the possession of the throne by Zeus is not only recent, but will be transient. For the syntax of the dat. with εἰς ἔχθραν βάλῃ, see G. 186, N. 1, last example. — ἕδρας is cognate acc.; G. 159. τούτου... φυλάσσου, beware of this one, lit. be on your guard against this one; G. 173. — ἀχθέσθῃ, 1 aor. pass. subj.; G. 218. — κέαρ, acc. specification. — στέλλου, set out. See lex. II. — κομίζου, begone. — ὁρμωμένῳ. . . λόγον, you have urged this advice upon me as I am hastening away. Mrs. Browning elegantly renders it: “Thy words drive after as I rush before.” -- οἶμον, path. See 1. 2, and note. —Walpa. See lex. I. — ey ? 92 PROMETHEUS BOUND. Kgs τετρασκελὴς οἰωνός. See 1. 286 and note. — ἄσμενος, gladly, lit. well pleased ; connected with ἁνδάνω and ἥδομαι. --- τἄν = τοι ἀν. 397-485. First Ztdowov. This isa song of the chorus, which is not interrupted by a dialogue, and is without anapests or trochees. The reason for the name is uncertain ; perhaps because of its regu/ar structure (στάσις, ἵστημι), or, as others say, because it was not sung till the chorus had taken its place in the orchestra, after the πάροδος. 397-405. τᾶς οὐλομένας τύχας, for thy wretched fate. οὐλομένας is a poet. 2 aor. mid. part. v. ὄλλυμι. It is used by the tragic poets only in lyrics, and generally as an adj. in act. sense, like ὀλοός. — τύχας (G. 173). — δακρυσίστακτον. .. παγαῖς, and pouring forth (lit. letting drop) a flood of tears from my tender eyes, I have wet my cheek with their rainy fountains. For the emendation of Her- mann of εἰβομένα for λειβομένα, see lex. εἴβω. — ἀμέγαρτα τάδε, thus insolently (lit. in ὦ way that none would envy). — ὑπερήφανον αἰχμάν, arrogant will. aixudy is lit. spear point, but may mean authority, because the spear might be the emblem of power instead of a sceptre. Others make it mean martial spirit, and would trans- late the phrase haughty mood, citing Ag. 467, Cho. 619; but even in these cases, Hermann (though with doubtful correctness) trans- lates it by imperium. 406-414. στονόεν, sadly. It is a neut. adj. used adv. — λέλακε, 2 perf. act. v. λάσκω, with present sense. — δακρυχέει στένουσα, sheds tears, lamenting. A word has evidently been lost here ; and we adopt Hermann’s emendation of δακρυχέει, instead of changing, as the older editors have done, the στένουσα to στένουσι, and mak- ing they (referring to the inhabitants) its subject. — ξυνομαιμόνων τε, and (that) of thy kindred, i.e. the other Titans. — τιμάν, glory. — ὁπόσοι... νέμονται, and as many (θνατοί) as occupy the neigh- boring abode of holy Asia. ἔποικον is used as an adj. Some editors —-as Paley — make ἔποικον 50s = ἐποικίαν, and limit it to the colo- nies of Asia Minor. The use of the adj. ἁγνᾶς here admits of several explanations. It may merely illustrate the reverence of the Greeks for external nature, like ἱερῶν ποταμῶν, sacred rivers (Od. x. 351); ἱερὰς βήσσας, sacred glens (Od. x. 275); κνέφας ἱερόν, sacred darkness (ll. xvii. 455), ete.; or, as Bothe suggests, Asia was ‘‘sacred,” because so much of their religious culture NOTES. 93 originated in the East. Still another explanation is to translate ἁγνάς ᾿Ασίας, pure Asia, and refer the proper name to the nymph from whom (Hes. Theog. 359) the continent may have been named. The boundary between Europe and Asia, Aeschylus (1. 735) places at the Cimmerian Bosporus. 415-419. Κολχίδος, a district of western Asia, bordering on the southeastern portion of the Euxine Sea, and joining Pontus, It was celebrated from the earliest times for its manufacture and trade in linen. Among many of the poets, especially those of the Roman period, Colchis, as the birthplace of Medea and the possessor of the Golden Fleece, was the native seat of sorcery and witchcraft. — παρθένοι, i.e. the Amazons. In ll. 723-725 they are described as destined to dwell on the river Thermodon, which empties into the Euxine some three hundred miles west of Colchis; but in many eases in this play any attempt to reconcile the localities with geo- graphical accuracy is hopeless. Probably the errors are the result of ignorance, though it is possible that in certain cases he intended to be vague. — μάχας. For the case, see lex. under ἄτρεστος. — Σκύθης, used as an adj. ὅμιλος, horde. The word is very fitting as descriptive of this restless, roving, warlike people. — yas ἔσχα- τον τόπον. Northeast of the Palus Maeotis. they placed the limits of the earth and the river ’Qreavés. 420-430. ᾿Αραβίας. The text is robably corrupt, for Aeschylus could hardly have been so ignorant as to suppose that Arabia ex- tended to the Caucasus. —pévov . . . ὑποστενάζει, on/y one other deity have I beheld in woe, subdued by adamantine indignities, the Titan Atlas, who always groans under the miylty, excessive weight of the pole of heaven on his back. Various suggestions have been made to mend the rents in this difficult and undoubtedly corrupt passage. In the above rendering we take ὑπέροχον σθένος κραταιὸν οὐράνιόν τε πόλον as a case of hendiadys for ὑπέροχον σθένος Kpa- ταιὸν οὐρανίου πόλου. With νώτοις supply a part., and hence it would read, lit., he groans under it, holding it on his back. For the syntax of the dat., see G. 190. Dindorf inserts γᾶς before οὐράνιον and writes it ὀχῶν στενάζει instead of ὑποστενάζει, but with- out MS. authority. Hermann’s reading of ὑποστεγάζει for ὕποστε- νά ζει has not met with approval. 431-433. ξυμπίτνων, dashing in harmony. — Kedawes. . . Yas, 94 PROMETHEUS BOUND. und the dark abyss of Hades rwmbles beneath the earth. “Aidos is poet. gen. from an obsolete nom, "Ais ="Acdys. The description in this choral ode of the powers of Nature manifesting such deep sympathy with Pro. is very beautiful and effective. 7 436-525. Second ᾿Εἰπεισόδιον. This dialogue is confined to Pro. and the Coryphaeus. Pro. describes very graphically the benefits he conferred upon men and the development they gained through him, and states that for all this unselfish philanthropy he is re- warded with chains and torture. 436-438. χλιδῇ, pride. It is derived from xAlw, to be soft, and hence it may mean any habits connected with effeminacy ; as luxury, arrogance, etc. —cvvvola .. . προυσελούμενον, but 7 am gnawed in heart by reflection, seeing myself thus abused. The pain of his pres- ent position, riveted to this wild crag, is torture enough ; but even this is greatly increased because the sufferer feels that the treatment is undeserved. And throughout the whole of this passage our sym- pathies are keenly enlisted for Pro. We know he has no right to rebel against Zeus and defy him so fiercely ; still his efforts for the good of man have been so great and so successful that we are ready to forgive much because of the grandeur of his philanthropy. πρου- σελούμενον is a rare word and its derivation is uncertain, though its meaning is clear. The Med. MS. gives προσηλούμενον with ε writ- ten over the 7, and other MSS. προσελούμενον ; but προυσελούμενον, as Porson has shown, is probably the correct form. It occurs in only one other passage, namely Aristophanes, Frogs, 1. 730. See lex., προυσελέω. 439-440. καίτου, yet. In spite of these indignities from which I suffer, Zeus was obliged to rely upon my advice to arrange the privi- leges and duties of his associate divinities. — νέοις here implies con- tempt. — γέρα, prerogatives. — παντελῶς διώρισεν, defined exactly. 441-444. kal... λέγοιμι, and (with reason) for I should speak to you who understand it. ὑμῖν is emphatic, as the chorus were the daughters of Oceanus who had taken part in the con- troversy. For the opt. λέγοιμι, see G. 224, and for the omitted protasis, G. 226, 2. — τὰν --Ξ τὰ ἐν. — os... ἐπηβόλους, how those who before were foolish I endowed with reason and made ““ true in aim of soul.” νηπίους means here as weak intellectually as in- fants. NOTES. 95 445-446, μέμψιν οὕτιν᾽ ἀνθρώποις ἔχων, not disparaging man at all ; lit., having no complaint against men. — ἐξηγούμενος. See lex. IV. Both this part. and. ἔχων denote cause (G. 277, 2). — ὧν. See 6. 153. 448, κλύοντες οὐκ ἤκουον, hearing did not hear. Paley observes correctly that κλύω here refers to the physical and ἀκούω to the intellectual faculty; but this is not because of any such radical dif- ference in the words, for they are synonymous. They were so un- developed that their faculties were feeble and confused, and mind and body were not in harmony. Compare the partial power of the man who had just received his sight (Mark viii. 24), ‘‘ And he looked up and said, I see men, as trees, walking.” 450-452. ἔφυρον εἰκῆ πάντα. See lex., φύρω, 11]. --- κοὔτε... ξυλουργίαν, and they had no knowledge of sunny houses built of brick, nor of working in wood. For οὔτε followed by ov, see lex. οὔτε, 11. 5, Ὁ. πλινθυφεῖς, lit. brick-woven, because the horizontal lines between the layers of brick resemble the regularity of the threads in weaving. προσείλους is in contrast with κατώρυχες. ἦσαν tor ἤδεσαν, pluperf. act. v. οἶδα. --- kardpuxes, underground, ie. in dug-outs. i 454-458. χείματος, ἦρος, θέρους, The earliest divisions of the | year among the Greeks were χειμών (winter) and θέρος (summer). To these were afterwards added ἔαρ (spring) and ὀπώρα (autumn). As agriculture was dependent on the seasons of the year, it was natural to connect its leading processes with certain regularly re- curring celestial phenomena. Hesiod (Works and Days, 381 ff.) fixes the beginning of the harvest season by the rising of the ** Atlas-born Pleiades” (about the 19th of May), and the time of _ ploughing by their setting (about the 3d of November). — βέβαιον, sure. Pro. claims that, until he taught them astronomy, all their knowledge of the seasons was limited to what they could surmise from the changes of the weather. — Svoxp(rovs. This has been explained by Blakesley, in Herodotus ii. 4, as the difficulty of distin- guishing between the true setting of a star and its apparent or heli- acal setting, when, by its nearness to the sun, it is rendered invis- ible by its superior brightness. This statement of the poet does not imply any scientific acquaintance with astronomy, such as recent discoveries and investigations prove the Egyptians to have pos- 96 PROMETHEUS BOUND. sessed ; but refers to simple inferences derived from observation of the heavenly bodies. 459. ἀριθμόν, the art of number. —€oxov σοφισμάτων, pre- eminent of devices. There was a tradition (Cicero, Tus. Disp. ii. 10) that Aeschylus was a Pythagorean, and we know that philosopher paid great attention to arithmetic and its application to weights, numbers, and the theory of music; but aside from this, numbers underlie so many arts and sciences as to be of vital importance in any such enumeration of benefits conferred as we have here. And, besides, as Blackie says, ‘‘there is nothing in which the civilized man so remarkably distinguishes himself from the savage as in the power to grasp and handle the relations of numbers.” 460-461. γραμμάτων te συνθέσεις, and combinations of letters, i.e. the first use of the alphabet. Between the written and spoken language of every people there is a vast gap, and Pro. claims that by him this gap was closed. — μνήμην θ᾽ ἁπάντων μουσομήτορ᾽ ἐργάτιν, and memory, the laborious mother of all arts. Others write it μνήμης without θ᾽, making the gen. depend on μουσομήτορα, and the verse explanatory of γραμμάτων τε συνθέσεις, Which would require the rendering, laborious nurse-mother of the memory of all things. ‘he tirst we think preferable, though there is the highest authority for the second. μνήμην does not mean here the art of memory, mnemonics, —for that is said to have originated with Simonides of Ceos, — but strength of memory, a faculty which in early times, in the lack of books, was greatly cultivated and valued. In μουσομήτορα we have an allusion to the tradition that the Muses were the daughters of Mnemosyne (meniory), as well as to the fact that they presided over the arts and sciences. 462-466. κνώδαλα. .. σώμασίν θ᾽, beasts subject to collars and the weight of men’s bodies. Or ζεύγλαισι and σώμασιν may be dat. of means, — serving with collars and with thevr bodies. In either case we follow the later Scholiast and Hermann in connecting σώμασιν with δουλεύοντα instead of what follows. Some of the older editors put a colon after δουλεύοντα and write &puar instead of ἅρμα τ΄. The passage would then be translated, and that by their bodies they might be the substitutes, etc., I brought horses under chariots. The objection to this rendering is that among the Greeks κνῴδαλα were more properly διάδοχοι than ἵπποι were ; while ἵππους NOTES. 97 is very naturally explained by the clause which follows. Weil, Schiitz, and Wecklein write cdyuacw instead of σώμασιν, subject to collars and to saddles. — yévo.v®’. For the optative with ὅπως, see G. 216. —t’ ἅρμα... ὕππους. We have here a reference to chariot-racing, which may well be styled the pride of ostentatious Iwaury. 468-471. λινόπτερ᾽ ναυτίλων ὀχήματα, Jinen-winged cars of sailors. The gracefulness of a ship moving under full sail makes appropriate this highly poetic expression. Where ὄχημα means ship, it is usually with some additional word. See lex. 2. — ἀπαλ- λαγῶ, 2 aor. pass. subj. ν: ἀπαλλάσσω. For the subj. with ὅτῳ, see G. 244; M. & T. 71. 472-475. aixés, shameful, poet. for decxés. — ἀποσφαλεὶς φρενῶν πλανᾷ, having failed in judgment you go astray, ἀποσφαλείς, 2 aor. pass. v. ἀποσφάλλω. --- κακός, The chorus do not mean to imply that Pro., in 411 that he has done for mankind, is no better than an incompetent physician ; but that his sufferings have so un- nerved him that, like a quack, his self-reliance fails when disease attacks him. The words are sympathetic and not scornful. — καὶ . ἰάσιμος, and as to yourself you are unable to discover by what remedies you can be healed ; ““ σεαυτόν properly belongs to the sec- ond clause as its subject, being attracted into the first, as if it were ὁποίοις φαρμάκοις εἶ αὐτὸς idoos.” (Woolsey.) See also G. 146. The reply of the chorus is introduced to rest Pro., in his detailed account of the benefits he has conferred upon mankind. 478-482. εἴ tis πέσοι, ἦν ἀλέξημ᾽, See G. 225,— ἀλέξημ᾽, specific, -- οὔτε, ov, οὔτε. See lex. οὔτε, I]. 5, b. Besides the φάρμακα here referred to the Greeks used poultices or plasters (καταπλαστά) ; strong scents to revive a person (ὀσῴραντάλν ; charms, or words of healing (ἐπῳδαί), ete. The ἐπῳδαί were employed by empirics, who used very much the same means to delude the simple-minded as are in vogue among the mesmeric and spiritualistic impostors at the present day. Many editors find in this passage confirmation of the tradition that the poet was a Pythagorean, as we know that the disciples of this order were much interested in medicine ; but prob- ably this supposed connection between the two had no other basis than that they both preached the purest and loftiest morality. It is not necessary, however, to suppose that Aeschylus intended to 7 98 PROMETHEUS BOUND. display any profound knowledge of the art of healing. Pro. refers to it very naturally here, because of ἰατρός and ἰάσιμος above. — κατεσκέλλοντο, they pined away (lit. became skeletons). The verb σκέλλω, means to dry, to parch; hence our word skeleton means, literally, ὦ withered body, a mummy. — πρὶν ἔδειξα. See G. 240, first example, and 239, 1. 484-487. μαντικῆς, divination. We have in the lines which fol- low yuite a complete account of the various forms of divination so much in vogue among the Greeks. The chief sources, as given here, from which they derived a knowledge of the future, were dreams, sounds, omens by the way, the flight and habits of birds, and sacri- fices. In addition to these they employed for this purpose signs in the heavens and various physical phenomena, also lots, magical arts, and omens derived from the person himself, as sneezing, ring- ing in the ears, and sudden palpitation of any part of the system. The superstitions connected with this science were as manifold and complex as the deductions were obscure and absurd. That it had, however, a most important place in Greek thought and life is shown in many ways, and in none more than by the prominence which Aeschylus assigns to it here. — ἐστοίχισα, arranged, i.e. sys- tematized. — ὕπαρ, γοαϊίέῃ. --- κληδόνας te δυσκρίτους, and omi- nous sounds hard to be understood. This probably refers to all ‘omens from a word or sound, whatever might be their source ; as, thunder, the sound of the victim approaching the altar, the cries of birds, the crowing of a cock, the sudden sneezing or coughing of a person, etc. — ἐγνώρισ᾽, aor. act. v. γνωρίζω. 487. ἐνοδίους τε συμβόλους, and signs occurring on the way. These were many and often made to extend to minute things ; as, a dog or a fowl crossing one’s path, the coming unexpectedly upon toads, serpents, bees, or ants; all were ominous. The appearance of a weasel was regarded as very unlucky, while an owl was so auspi- cious as to give rise among the Athenians to the proverb yAavé ἵπταται, the owl is out. 488-490. οἰωνῶν, i.e. birds of prey ; as, eagles, vultures, hawks, etc. — δεξιοί, propitious, lit. on the right hand. The Greek observer of the flight of birds looked towards the north, and appearances in the east, on his right, were favorable, and those on his left the reverse. This was because the west was the abode of night and NOTES. 99 gloom, while the east was the region of light, the place whence the joyous sun-god daily came. — φύσιν, acc. specif. —etovipous, un- propitious. The word is euphemistic for ἀριστερός, on the left. The Athenians were so careful to avoid words of ill-omen, that they called the Furies ᾿Ευμενίδες (kindly) instead of ᾿Ερινύες, and changed the name of the Black Sea from ”Aéevos (inhospitable, because sur- rounded by savage tribes), to Evéewos (friendly). This acc. is one of those irregularities of construction not uncommon in Aeschylus. Instead of εὐωνύμους we should expect εὐώνυμοι, and this reading has been adopted by several editors. As it stands, it is the object of διώρισα understood. 492-495. ξυνεδρίαι, social habits. This sitting together of birds was a: good omen, and was opposed to διεδρία (sitting apart). — σπλάγχνων, of the inward parts. This refers to the nobler parts ; as, the heart, lungs, liver, οἷο. --- λειότητα. A smooth plumpness was favorable, while a thin and wrinkled condition of the organ was a bad sign. The acc. is the object of διώρισα. --- ἔχοντ᾽ agrees with a pronoun understood referring to σπλάγχνα and subj. of εἴη. For ἔχοντ᾽ ἂν εἴη, see G. 224, 226. — χολῆς. . . εὐμορφίαν, and the mottled auspicious form of the lobe of the gall-bladder. 496-506. κνίσῃ τε κῶλα ξυγκαλυπτά. Some editors trace in this a reference to the story of Hesiod, that Pro., in distributing the parts of an ox, deceived Zeus and roused his anger by leading him to choose the portion covered with fat which contained only bones instead of as usual the best pieces ; but the connection is too vague to be probable. In the sacrifice, after the victim had been flayed and cut into pieces, the limbs (κῶλα), including the thighs (pot), and sometimes other portions, were covered with fat to facilitate the burning, and wine was poured over them. —paxpav ὀσφύν, long loin. Hermann says μακράν is used because it included the tail. — ϑυστέκμαρτον, puzzling. — ὥδωσα, 7 guided. — καὶ... ἐπάργεμα and fire-eyed symbols which were before filmed in darkness I made clear. — τοιαῦτα, sc. qv. — ἀνθρώποισιν, dat. after ὠφελήματα, which, together with the explanatory accusatives in the next line, is the obj. of ἐξευρεῖν. --- φήσειεν dv. See G. 226, 2, b. — ἐμοῦ, gen. after πάροιθεν. For ph with θέλων, see G. 283, 4. --- πᾶσαι τέχναι βροτοῖσιν, ail arts (came) to mortals. i No one can thoughtfully read this passage from line 442, without 100 PROMETHEUS BOUND. being constantly reminded of the modern theory of the gradual development of man. In the imperfect and pitiable condition in which Pro. found him, with intellectual powers hardly better than the lower orders of creation, without knowledge and hence without ambition or exertion, he was utterly degraded and wretched. But here the parallelism ends. The poet does not represent man to have had a potency within, which, unaided, energized his dormant faculties, and by gradual evolution developed him into a Greek; on the contrary, his condition was as hopeless as it was helpless, till Pro., a god, gave him those powers by which the higher moral and intellectual faculties were awakened and exercised. The passage shows conclusively that Aeschylus believed in the development of the race, but it was not a development which man himself could originate; the added powers were gifts from a being above and superior to himself, and without them he would have remained as primitive and feeble as at first. 507-510. μή belongs with both the following imperatives. — νυν simply strengthens the appeal of the verb, and has here no reference to time. See lex. II. 8. --- ὠφέλει benefit. Observe the force of the present (lit. be benefiting) in both the imperatives. — εὐελπίς εἰμι, 7 am full of hope. — μηδὲν μεῖον ἰσχύσειν Διός, will be no less mighty than Zeus. The chorus are so moved by Pro.’s recital of what he has done for man as to feel that if he will make the same effort for himself he may rival the power of his tormentor. They do not say this because of any lack of loyalty towards Zeus, but on account of their sudden sense of the endowments of Pro. 512-514. πέπρωται. See lex. répw, I]. — φυγγάνω. For the present in the sense of the future, see G. 200, N. 7; M. & T. 10, nN. 7. — τέχνη. Some make this refer to the art of Hephaestus in hinding Pro. ; but if it has any personal reference it is probably to Pro. himself, who replies that all his knowledge and skill are noth- ing in opposition to Necessity, and that his release depends on its decrees. This is not inconsistent with the general truth embodied in the line which Blackie happily renders : ‘Though Art be strong, Necessity is stronger.” 516-518. — Μοῖραι, κιτιλ. The Fates are the representatives of eternal and inexorable law, and the Furies watch over their exe- NOTES. | 101 cution, — μνήμονες. They are thus called, because they neither forget nor forgive. — οὔκουν dv ἐκφύγοι. We must be careful how we deduce the creed of Aeschylus from this single passage. His theology was not clear and well defined, but flexible and not always _ consistent. He seems to have had a vague idea ofa single, eternal, supreme God, which he calls Fate, or Destiny, or more often Zeus. In this passage he makes Zeus subservient to the Furies, but in his Kumenides he as clearly reverses it. In fact, the prevailing doc- trine of all his tragedies is that Zeus is the God of gods, superior to, or identical with, Fate or Destiny. He delighted to preach a stern theology, and when, as here, the decrees of God are his thought, he puts it with special force. Dramatic fitness probably determined the statement in this case, which is made by Pro., and not necessarily by the poet as his personal belief. For the optative, which is a mild assertion, see G. 226, 2, Ὁ. and n. 1. 520, 521. τοῦτ᾽ οὐκέτ᾽ ἂν πύθοιο, you cannot learn this. τοῦτο refers to the marriage of Zeus and Thetis. οὐκέτι is lit. up to this point and no farther. The optative is the same as ἐκφύγοι above. λυπάρει, pres. imper. act. — σεμνόν awful. 526-560. Second Urdoipov. This choral ode has marked beauty and appropriateness. The rugged, martial nature of Aeschylus delighted in the grand and awful and mysterious ; yet the range of his genius was such that he could write poetry as tender and sweet as the best of his gentler rival Sophocles. The sea nymphs pray for submission to the will of Zeus, for faithfulness in every duty, and extol the charms of a quiet life with its simple pleasures and joys. They bewail the sufferings of Pro. , which they attribute to irrever- ence towards the gods and unwise interest in man; and contrast it with the happiness of his nuptial day, when they were present and joined in the marriage hymn. 526-534. μηδάμ᾽ ὁ πάντα νέμων Geir’... Ζεύς, never may the all- directing Zeus place, etc. θεῖτο is 2aor. opt. mid. (G. 251). γνώμᾳ (6. 185). — μηδ᾽. . . Bovddvors, nor may I cease to upproach the gods with holy feasts of oxen slain. For the part. ποτινισσομένα, see G. 279, 1. --- ἀλίτοιμι λόγοις. Boastful and defiant words against the gods, such as Pro. had freely used, were especially abhorrent to the Greeks. 536-548. — ἡδύ. . . εὐφροσύναις, ‘tis sweet to pass a long life in 102 PROMETHEUS BOUND. confident hopes, nowrishing the spirit im joys that are bright. — διακναιόμενον. Some word is wanting here. Hermann thinks it is an adverb meaning cruelly or wretchedly, and Weil (note ad loc.) says, ‘‘ Elegantissime Heimsoeth μυρίοις δέμας διακναιόμενον μοχθή- μασιν." --- ἰδίᾳ γνώμᾳ, in your self-will. —oéBe. This is a very strong word, as though Pro. had transferred his worship from God to man. 544-051. φέρ᾽ ὅπως ἄχαρις χάρις. After φέρ᾽, supply ἰδού (σκό- πησον, Schol.) and translate; come, see how thankless ἐδ the favor, ie., your favor to men brings no thanks to you. For the imper. φέρε, see lex. 1X. 1. The text is probably corrupt. — ποῦ τίς ἀλκά, where is there aid and what? For the double interrogative, see lex. τίς, B. 1. 7, last part. — ἐφαμερίων, gen. possessive, ie., what help can creatures of a day,(bring). — ἐμπεποδιυσμένον sc. ἐστί. --- παρεξί- act, will thwart. The word from παρέξειμι is present, as future (G. 260, N. 8, (b)). 555-560. τὸ διαμφίδιον.. . κοινόλεκτρον. And this very differ- ent strain has stolen over me from that (lit. and that), when, joyful over the nuptials, I sang the marriage hymn about your bath and bed, when, by gifts persuading, you led away Hesione, our father’s child, to be your wedded wife. On the peculiar construction found here, Woolsey, note ad loc. says: ‘‘The Greeks said either τοῦτο διαφέρει τούτου, or τοῦτο Kal τοῦτο διαφέρουσι, or τοῦτο διαφέρει καὶ τοῦτο. This last is the form of the present sentence. The poet might have said τόδε τὸ μέλος προσέπτα διαμφίδιον, making 6. the predicate; instead of which he employs it as an epithet, and brings in τόδε afterwards, as epexegetical of μέλος." —Aovtpd. Bathing was an important ceremony connected with nuptial rites, and care- fully observed. At Athens, from the earliest times, the water for this bath was taken from the well Kallirrhoé, which was called, from the time of Pisistratus, ᾿Εννεάκρουνος, or the well of nine fountains. The water was always brought by a child who was a near relative. — tpevatovv. On the wedding day, just at dusk, the bridegroom came and conducted the bride in a chariot to her future home. Relatives and friends accompanied them, forming a slowly moving procession through the streets, and then the hymeneal songs were chiefly sung. — vos πιθών. This was the Homeric custom, but afterwards it was entirely reversed, the father having to provide a NOTES. 103 dowry, and the negotiations were conducted without any sentiment . or lack of selfishness on either side. In fact, parents were so anx- ious to dispose of their daughters that suitors advanced in years were quite acceptable. —‘Hovdvayv. Nothing positive is known of this character. According to Acusilaus, in Buttmann’s Scholia on the Od. x. 2, she was the daughter of Oceanus and Tethys, but ὁμοπάτριον plainly implies that the sea nymphs connected her only with the former. For ἰότατι in the sense of ἕκατι, see 16χ., 11. 561-886. Third ᾿Εἰπεισόδιον, Io and Prometheus. For the rela- tion of the myth of Io to this play, see Introduction, p. xxv. As to the form given Io upon the stage, it is impossible to decide posi- tively whether she was represented as a heifer with.a woman’s head furnished with horns (ll. 588 and 674), or as a woman with horns, though the latter is the more probable (see Herod. ii. 41) and ac- cords best with Athenian refinement; and yet we know they did not hesitate to make the hideous, disgusting Centaurs prominent in their sculpture; and it must be remembered that all myths, how- ever repulsive, when connected with religion, are easily elevated into sublimity. Pausanias (iii, 18, 7), in describing a bas-relief at Amyclae, the work of the sculptor Bathycles, says: ‘+ Here, like- wise, Hera is seen looking at Io, the daughter of Inachus, changed into a cow.” That the story of the poor maiden took a strong hold upon the imagination of Aeschylus is shown by its prominence here and in his play of the Suppliants. In the latter, (11. 569-570) he says distinctly, βοτὸν μιξόμβροτον τὰν μὲν Bods τὰν δ᾽ αὖ γυναικός, a creature half human, partly heifer and partly woman. 561-573. φῶ, shall I say. G. 266. --- λεύσσειν, sc. ἐμέ.--- τίνος » +. ὀλέκει, as a punishment for what crime do you perish. The acc. ποινάς must be treated as in a sort of apposition with the verb. —xple, stings. It means, lit., to rub, to anoint. — εἴδωλον ΓΑργου γηγενοῦς. The phrensied Io thinks that the spectre of the slain Argus is constantly pursuing her, and confounds him with the tor- menting gad-fly. On the stage he was probably represented as a herdsman, with form only dimly visible to the audience and accom- panied by a buzzing sound like that of some insect. He is usually called the son of Agenor, or Inachus, but sometimes is spoken of as an Autochthon, i.e., γηγενής. --- ἄλευε δᾶ, drive him away, Earth. For another meaning for δᾶ, see lex. — περῶν, intrans., isswing (lege IT, 8]: — πλανᾷ, sc. ἐμέ, with which νῆστιν agrees, 104 PROMETHEUS BOUND. 573-588. bd... νόμον, and his sonorous, wax-joined pipe sounds forth in an under tone ἃ sleep-giving strain. δόναξ refers to the pan-pipes of the herdsman Argus which Io still hears. A flute was probably played behind the stage, and its soothing tones were heard accompanying the song of Io. ὑπνοδόταν well expresses the fatigue and exhaustion of Io, inclined to sleep but unable to because of her tormentor. —7¢ belongs with ἁμαρτοῦσαν, erring in what ?— δεί- ματι δειλαίαν παράκοπον, ὦ timid creature phrensied through fear. -- φθονήσῃς. For the two cases after this verb, see lex. 1.3. “The gen. is causal. See. G. 178. — γεγυμνάκασιν, have tormented (lit. exercised). The word expresses most vividly the toilsome weariness of her protracted wanderings. Paley observes that this perf. form is too late Attic for Aeschylus, and he would read ἐγύμνασαν κοὐκ ἔχω. --- βούκερω. See note on |. 561. 589-606. πῶς ov. See lex. πῶς II. 7. — τῆς Ivaxelas, the dawgh- ler of Inachus. Tnachus was a river-god, and the most ancient hero and king of Argos. In the dispute between Poseidon and Hera for the possession of Argos, he decided in favor of Hera, and as a result established her worship there and became the first priest of her temple. The chronological tables of the priestesses of this temple, ‘twas said, placed his daughter Jo at the head of the list. — ὑπερμή- κεις δρόμους, interminable courses. δρόμους is a cognate acc. retained in the pass. See G. 197, κ΄ 2, and 159, N. 4 and 5, — γυμνάζεται is pass. — προσθροεῖς, takes the two ace. μέ and ἐτήτυμα (G. 166), though the latter is translated as an adv. — θεόσυτόν Te νόσον, the heaven-sent malady; i.c., according to the Schol., τὸν Διὸς ἔρωτα. --- & for ἥ, referring to νόσον. ---- χρίουσα, stinging. — σκυιρτη μάτων... ἦλθον, and with famishing, tormenting leaps, rushing furiously, L have come. σκιρτημάτων αἰκίαις is lit. torments of leaps. —"Hpas is wanting in the MSS., but has been restored by Hermann. — ot ἐγώ, such things as I. οἷα refers to ταῦτα, the obj. of μογοῦσιν, and ἐγώ is the subj. of woy understood. — τέκμηρον, indicate, i.e., by some sion. The verb is rare in the act. — τί pfjxap. The MSS. have τί μή we χρή, for which we adopt the reading first proposed by Elmsley. 609-629. τορῶς. Io asks for some sign or token, and in reply Pro. says that he will reveal everything she may wish to learn. — ὥσπερ. . . στόμα, ws it is right to open the mouth to friends. ΑἹ- though she is a stranger to him, he will give her the confidence of NOTES. 105 an intimate. — Bporois, dat. after the verbal noun δοτῆρ᾽ (G. 185). ὦ κοινόν ὠφέλημα θνητοῖσιν φανείς, O thou who hast appeared as a boon to all humanity (lit. a common boon to mortals). ὠφέλημα is not predicate after εἶναι understood, but is in direct apposition with the pronoun referring to Pro. For φαίνομαι with omitted infin., see lex. B. I]. — τοῦ δίκην, in punishment Jor what, cognate ace. with πάσχεις. --- θρηνῶν, G. 279, 1. -- πόροις and πύθοιο are potential opt., in the sense of the fut. (G. 226, 2, b> ΜΠ ἃ Pegges N. — βούλευμα, κιτιλ., the will of Zeus, but the grip of Vulcan. Δῖον is a possess. adj. of Ζεύς. --- ἀρκῶ = δύναμαι. Or it may be used like ἀρκεῖ μοι, it is enough for me to declare, ete. — τέρμα δεῖξον tis ἔσται χρόνος, show what time shall be the limit, etc. Some editors (see Paley) put a comma after δεῖξον, with τέρμα as its obj., but we prefer to make τέρμα predicate after ἔσται. --- μήτοι με κρύψῃς τοῦθ᾽. For the double acc. see G. 164, and for the subj., G. 254. — δωρήματος ; G. 173. — μὴ οὐ are here used, because μέλλεις is practically a negative, being equivalent to μὴ μέλλει. See GC. 283, 7,N.— ods... φρένας, but I dread to break your heart. — μᾶσσον ws. As given here these words are equivalent to μᾶλλον ἢ ὡς, and this view is adopted by Wecklein : for ὡς alone after ἃ com- parative is very doubtful. Hence Porson and others write it μᾶσσον ἢ ὡς, pronouncing the ἢ ws as one syllable. Hermann, Paley, and others write it μᾶσσον ὧν. A suggestive solution is one offered by Paley. He says, ‘‘ Perhaps, after all, the Schol. Med. was right in supplying τὸ ἀκούειν. The line would then be punctuated thus : μή μου προκήδου μᾶσσον" ws ἑμοὶ γλυκύ. There isa slight ellipse of ἀλλὰ λέγε τὸ πᾶν." 632-639. τὴν τῆσδε. The article belongs with νόσον, on which τῆσδε depends. — τὰ λοιπά. See G. 197, N. 2. — διδαχθήτω, let her learn (lit. be taught). — πάρα. Observe the accent (Gr 23,523 — ταῖσδ᾽ ὑπουργῆσαι χάριν, to grant these a favor, — κασιγνή- tats. Inachus, as a river god, was the son of Oceanus, and hence was a brother of the sea nymphs. — ὡς τἀποκλαῦσαι κἀποδύ- ρασθαι. These aor. infinitives are the subj. of ἔχει. --- ὅπη μέλλοι. This is equivalent to the opt. in general supposition (G. 225, 233). — οἴσεσθαι δάκρυ, to win a tear (lit. to win itasareward). See lex. φέρω, VI. 3. — ἀξίαν τριβὴν ἔχει, ἐδ time well spent (lit. involves a worthy rubbing away, i.e., of time). 106 PROMETHEUS BOUND. 640-654. ὅπως. -. χρή, how 1 can disobey you. ἀπιστέω = ἀπειθέω. — καὶ λέγουσ᾽ αἰσχύνομαι, Lam ashamed even to speak. For the part. in the sense of the infin., see G. 279. — διαφθορὰν μορφῆς. Paley, quoting from the Schol. Med., connects these words with αἰσχύνομαι, and says, ‘‘ Nothing vexes a woman more than the loss of her good looks.” As pleasant banter of the gentler sex this is well enough; as an interpretation of this passage it is weak. The loss of beauty is a great trial, but it is nothing com- pared to the loss of virtue and character. It was the knowledge that she was hated by the gods, the fact that she was a helpless, animalized vagabond, the remorse that arose from the conscious- ness of her sin, that wrung the heart of Io, and made her ashamed to tell the story. — mpooérraro, The verb refers particularly to the χειμῶνα, and denotes the suddenness of the visitation. — πωλεύ- μεναι, Ionic for πολούμεναι, thronging. — παρθενῶνας, virgin cham- ber. The word is used mostly in the plural. The apartments of the women were small chambers around an open court and com- municating with it, and were back of those of the men and sepa- rated from them. — tl... μεγίστου, why art thow all too long unwedded, when it is in thy power to secure the noblest spousal. ἐξόν is acc. absolute (G. 278, 2). — πρὸς σοῦ, by thee. — ξυναίρε- σθαι Κύπριν, to make thee his bride (lit. to join im love). Mrs. Browning translates it, — “ And fain would touch thy beauty.” Κύπριν is a name of Aphrodite, because of the island Cyprus, where she was most revered. Her worship, which was ignoble and de- grading, was unquestionably introduced from the East, and the goddess was probably identical with the Semitic Astarte. — Aépyys. Lerna is a small marshy district, south of, and about five miles dis- tant from, Argos. In this part of the Argive plain there are numer- ous copious springs; and the traditional story that here Herakles slew the hundred-headed Hydra arose from the first successful drain- ing of this region and the bringing of the land under cultivation. — βαθύν, rich, namely, deep-soiled. — ποίμνας . . . πατρός. “The natural order is πρὸς τὰς ποίμνας καὶ τὰς βουστάσεις τοῦ πατρός (Ἰνάχου (Prickard). — ὡς ἄν, that so. For the dv, see G. 216, Ν. 2. — Δῖον. See l. 619. 655-668. eddppdvas, nights. The word means lit. kindly time, ν NOTES. 107 and is euphemistic for the period of darkness, which was dreaded. — ξυνειχόμην, constrained. — ἐπί, lit. towards. For this use of the preposition with the gen., see lex. A. 2, c. The greater distance of Dodona is the reason for the indefiniteness of the expression. For further reference to Dodona, see 1. 830 and note. — πυκνοὺς θεοπρό- πους ἴαλλεν, kept sending frequent messengers. θεοπρόπος is like θεωρός, a deputy sent to consult an oracle. — χρή. The direct form gives greater vividness as a thing of present duty than would be conveyed by the indirect χρείη (G. 247). — δαίμοσιν, dat. after φίλα. --- alodooropous . . . εἰρημένους, oracles of doubtful import, obscure, and darkly spoken. αἰολόστομος means lit. changeful of speech. — ἄφετον agrees with ἐμέ, and is to be joined with ἀλᾶσθαι, Sree to wander. Sacred flocks were exempt from all labor, and were permitted to roam at will. Io, as consecrated to the god, could do the same. — μολεῖν, This is the apodosis of the protasis in εἰ θέλοι. The infin. would regularly take dv, which some editors adopt by changing ἐκ to ἄν. μολεῖν here is instead of μολεῖσθαι, and depends on βάξις ἦλθεν above. For the aor. infin. instead of the fut. after verbs denoting an oracular response, see M. ἃ T. 23, ν. 2. — ἐξαϊστώσοι. This is the fut. optative after μολεῖν, instead of the fut. indicative after μολεῖσθαι. See G. 203, N. 3; M. & T. 26, and Remark. 670-686. ἐξήλασέν. . . ἄκων, he drove me forth, and shut me out from home ; he loath, I loath. — πηνάγκαζε. The imperfect shows the reluctance of Inachus to obey the command. — πρὸς βίων, perforce. — κεραστὶς δ᾽, ὡς ὁρᾶτ᾽, This makes it clear that she was furnished with horns, but it gives us no light as to the stage appearance of the rest of her form. See note on 1. 501. — χρισθεῖσ᾽, stung. See lex. III. — ἧσσον, 7 rushed; imperf. v. ἀΐσσω. — Kepxvelas. Most of the MSS. give Keyxpelas, which is also the reading of Pausanias (ii. 24, 8). Its exact position is doubtful. Some identify the ῥέος with the Erasinus, and locate Cerchnea about half way between Lerna and Argos, while others place it a few miles west of Lerna. — Δέρνης te κρήνην, and the fountain of Lerna. Two other readings for this passage have approved author- ity. The MSS. give Λέρνης ἀκρην re; while Dindorf, following Spanheim, writes it ἀκτήν τε Λέρνης. But Paley, in defending the reading given here, says quite conclusively : ‘‘ A cow, persecuted 108 PROMETHEUS BOUND. by flies, naturally seeks the water.” — ἄκρατος ὀργήν, violent im wrath. ἄκρατος is used especially with reference to strong, un- mixed wine. — SeSopkas . . . στίβους, gazing after my footsteps. — ἀφνίδιος. Some editors write it αἰφνίδιος ; but the first is the MSS. reading, and is preferable, as it is derived from d@vw. See lex. under αἰφνίδιος. --- μόρος, fate. Argus was killed by Hermes with a stone, who was from this exploit called ᾿Αργειφόντης. Hera placed Argus’ hundred eyes in the tail of a peacock. This old myth, as well as that concerning the manner of his death, goes to show that the whole story was symbolically connected with the peacock. See Paley, also Apollodorus, ll. 1, 8. After the death of Argus, Hera did not relax her jealous anger against Io, but sent the gadfly to be her constant tormentor. — γῆν πρὸ γῆς. See lex. γῆ, 11. --- ἐλαύνομαι is passive. —kAvets. For this use of the present tense, where the action is finished, see M. & T. 10, N. 5. —et... πόνων, but if you can state what toils remain. — συνθέτους, false (lit. put together). 687-695. ἄπεχε, keep (her) off (see lex.). This is spoken to Pro. by the chorus, who are shocked by the story of Io, and they wish to avoid all contact with such an unfortunate creature. — οὔποτ᾽ ηὔχουν, I never expected, v. αὐχέω (lit. felt confident). — μολεῖσθαι, This fut. infin. mid. is a rare form, but is the regular construction in indirect discourse after verbs of wishing, expecting, etc. See G. 208, n. 2; Μ. & T. 27, nN. 3. — οὐδ᾽... ψυχάν, nor that woes, infanvies, terrors, so hard to see and hard to bear, with two- edged sword should chill my soul. Observe the similarity of sound in the endings of the words, as well as the alliteration in ψύχειν ψυχάν. For the present infin. ψύχειν, instead of the regular fut., after verbs of expecting, etc., see M. & T. 15, 2, N. 2. — πέφρικ᾽, v. φρίσσω. — πρᾶξιν. See lex. IV. 696, 697. πρῴ, too soon. — προσμάθῃς. For this subj. after ἔς τ’ dv, see G. 239, 2, first example; and M. & T. 66, 2, third example. 700-718. ἠνύσασθ᾽, you obtained ; v. ἀνύω. — Thode, gen. after μαθεῖν. G. 176, 1. — στρέψασα. The wanderings of Io here described (ll. 707-735) show that Aeschylus’ knowledge of geog- raphy was very limited and very imperfect. The description is a mixture of truth and fiction, and is probably derived largely from NOTES. 109 the travelling merchants who controlled the trade with the wander- ing tribes and other peoples occupying the regions to the north and east of the Euxine. It is impossible in some cases to reconcile his statements with the actual localities, and we shall only attempt to indicate the positions of the places as they occur in the text. — στεῖχ᾽ ἀνηρότους γύας, approach the uniilled lands. This is prob- ably the region north of the Euxine, between the rivers Borysthenes (Dnieper) and Tanais (Don), or even farther east. — πλεκτὰς στέγας, wicker houses. — πεδάρσιοι = μετάρσιοι, perched high in air, — ὄχοις, wagons. This brief allusion to the manners of the Scythians accords closely with Herodotus, who (iv. 9) speaks of them as neither “sowing nor tilling anything.” And, again (iv. 46), he says they are ‘‘ house carriers, mounted archers, living not from till- age, but from flocks and herds.” This custom of living in what our pioneer westerners call ‘‘ emigrant wagons,” resembles more closely the life of the modern gypsies than that of the nomads of Eastern Russia, though some of the Kalmuck tribes, it is said, use similar movable houses. — πελάζειν, infin. for imper. (G. 269). So also ἐκπερᾶν, 1. 713. = ἀλλ᾽. . . ῥαχίαισιν, but keeping close along the sea-resounding breakers. χρίμπτω is most used in the pass. with the dat., where it means to approach. Here it means literally, bringing the feet close to, etc. See lex. 714-726. χειρός. See G. 179, 2.— Χάλυβες. If Lo had this people on her ‘‘left hand” as she came around the Euxine from the north, then Aeschylus must have supposed them to live in Scythia, whereas their locality was southeast of the Euxine, southwest of Colchis. — ὑβριστήν. This probably refers to the Hypanis (Koo- ban), which rises in the Caucasus and empties into the Euxine just south of the Cimmerian Bosporus. As Io did not reach this strait till long after crossing this river, it is probable that the poet confounded the sources of the Hypanis with the mouth of the Borys- thenes or Tanais, on the north of the Euxine. — Καύκασον. Aes- chylus seems to have regarded the Caucasus as a solitary peak, and to have had no knowledge of it as a chain of mountains stretching for seven hundred miles from the Caspian to the Black Sea, with dome-shaped summits varying from 8,000 to 18,000 feet in height. --- κροτάφων, swmmit. The word means lit. the side of the forehead, and in the plur. the temples. — βῆναι és, pursue, lit. go 110 ~ PROMETHEUS BOUND. into. —at... Θερμώδονθ᾽, who at some time shall inhabit Themis- cyra about Thermodon. The river Thermodon is in northwestern Pontus, and empties into the Euxine. The town of Themiscyra was near its mouth, and the neighboring district, called by the same name, was famous for its production of grain and for the variety and excellence of its fruits. In 1. 415 the Amazons are placed in Colchis, and from there Aeschylus makes them, in this passage, emigrate to their more settled home in Pontus. — Zadpv- δησσία. This is a gross geographical error, for Salmydessus is in Thrace, on the shore of the Euxine, 300 miles west of Themis- cyra. The term is applied to the whole coast from the promontory of Thynias to the Thracian Bosporus, and, from its dangerous char- acter, it was greatly dreaded by mariners. 729-741. ἰσθμὸν Kuppeprxov. This is the isthmus connecting the Taurica Chersonesus (Crimea) with the mainland of Sarmatia. — λίμνης. This is the Palus Macotis (Sea of Azof), which was so shallow as to be called a marshy lake. — αὐλῶνα Marwtixdv. Maeo- tic Strait; namely, the Cimmerian Bosporus. — Βόσπορος. Prop- erly Ox-ford, although this derivation is confined to Aeschylus and has no philological connection with the myth of Ilo: for in all other compounds of βοῦς the diphthong is retained. — ἤπειρον ἥξεις ᾿Ασιάδ᾽, you will come to the continent of Asia. —Blatos, cruel. —THSe . . . πλάνας, for a god, desiring to wed this mortal maid, has cursed her with these wanderings. — γάμων, obj. gen. after μνηστῆρος, Which depends directly upon ἔκυρσας. --- etvar.. . . προοιμίοις, believe to be scarcely a preface. 743-760. κέκραγας, cry out. The form is 2 perf. v. κράζω. --- δυσχείμερόν. . . Sins, ὦ stormy (lit. very wintry) sea of baneful misery. —@AN’. The τί is to be repeated here: but why did I not throw myself, etc. —8mws ἀτηλλάγην. For the indic. mood after ὅπως, see G. 216, 3; M. ἃ T. 44, 8. --- αὕτη yap ἦν, for this (i.e. θανεῖν) would be. The protasis is to be supplied from the context. -- δ᾽, The δέ is correlative with μέν after θανεῖν, the line between being parenthetical. — ποτ᾽ ἔστιν. For the accent and signification of ἔστιν, see 6. 28, 8, N. 1, near the end. — τήνδ᾽ ἰδοῦσα συμφοράν, to witness this event. For the participle in the sense of the infin. (6. 279, 1). — πῶς δ᾽ οὐκ ἄν, and how should I not (sc. ἡδοίμην). --- as... Tapa, you may learn that this ts so (lit. since then this ts NOTES. 111 so, it is permitted you to learn it). We have here the gen. absol. with ὡς where we might expect the participle to agree with the object of the verb. See G. 280, x. 4; M. & T. 113, n. 10 (b). 761-769. tipavva. See lex. II., first example. — σκῆπτρα is acc. (G. 197, N. 2). --- πρὸς αὐτὸς αὑτοῦ. Most editors use the more natural order αὐτὸς πρὸς αὑτοῦ, and the metre permits it ; but, as Wecklein says, ‘‘the bringing αὐτὸς αὑτοῦ together em- phasizes [scharft] the thought and the irony of the thought.” γαμεῖ and ἀσχαλᾷ are both future. — θέορτον ... φράσον. ‘4 heavenly bride, or human? Speak out, tf tt be utterable.” (Mrs. Browning.) τί 8 ὅντιν᾽ ; sc. épwrds.—od.... τόδε, for this must not be spoken. — ἐξανίσταται. For the pres. in the sense of the fut., see G. 200, nN. 7; ΜΝ. & T. 10, N. 7. --- ἔστιν. See G. στο ΝΠ 770-789. ἄν. This implies an opt., and to complete the sense we must supply εἴην αὐτῷ ἀποστροφή. The condition is in the par- ticiple AvOels. — Διός, gen. absol. with ἄκοντος in the sense of a par- ticiple (H. 791, Ὁ 1. --- τρίτος ye γένναν πρός, yes, {56 third in descent after, etc. According to the Scholiast, this list of thirteen generations was as follows; Epaphus, Libya, Belus, Danaus, Hy- permnestra, Abas, Proetus, Acrisius, Danae, Perseus, Electryon, Alemena, and Herakles. — δυοῖν. . . δωρήσομαι, 7 will grant you. either one of two recitals (lit. I will present you with, etc.). You can have δωρεῖσθαι τί τινι or δωρεῖσθαι τινά τινι. --- ποίοιν, gen. and in the same construction as λόγοιν. --- πρόδειξον, tel] first (see lex. 2). — dpdow, perhaps future, though more probably subj. in a question of doubt (ἃ. 256). — 4... %. This is the Homeric use, instead of πότερον. . . ἤ (see lex. #, 11. 2). — τοῦτων, sc. χαρίτων. --- τῇϑε, 1.6., Io. — θέσθαι, 2 aor. mid. infin. v. τίθημι. --- yéywve. For the tense of this imperative see lex.— μὴ ov. See G. 283, 7; M. & T. 95, 3, p. 202, third example. — μνήμοσιν δέλ- τοις φρενῶν, “ In thy soul’s book of memories.” (Mrs. Browning.) 790-801. ῥεῖθρον. This is the Cimmerian Bosporus, and the nar- rative of Io’s wanderings is here resumed from 1. 735. — πρὸς, «.1.X., towards the fire-eyed Orient, highway of the sun. —s τ᾽ ἂν ἐξίκῃ, until you come (G. 239, 2; 232, 8). --- πεδία Κισθήνης. The geo- graphical difficulty here presented is quite beyond solution. Aeschy- lus makes Io journey eastward till she reaches the ‘‘ Gorgonian plain 112 PROMETHEUS BOUND: of Cisthene,” although Hesiod (Theog. 274 f.) places the Gorgons in the extreme west in the neighborhood of Night and the Hesper- ides, and Herodotus (ii. 91) locates them in Libya. The position of Cisthene is not known; but a line of the comic poet Cratinus makes it a mountain ‘‘at the limits of the earth,” and one Scholiast says it is a ‘city of Libya or Ethiopia.” To the extreme west of Libya, rather than the east, would seem to be the direction of her wanderings ; but whether by the natural route of central Europe and Spain and Gibraltar can only be conjectured. And further on (J. 805), where he speaks of the Arimaspians, he carries her to the extreme northeast to the borders of the ocean, and then at once transfers her to the southeast to Ethiopia. Probably some verses have been lost ; for while the poet’s geographical knowledge is very imperfect, we can hardly suppose it to have been so strangely inaccu- rate as we find it here. As the text stands, the conclusion of Grote (vol. i. p. 85) is pertinent : that the route of lo “ in the Prometheus defies all comprehension, even as a consistent picture ; nor has the erudition of the commentators been successful in clearing it up.” — PopxiSes. They were also called Graeae (Γραῖαι) because their hair was gray from their birth. They were probably marine deities, and the idea was derived from the appearance of the sea-birds resting on the water, or the white foam as seen on the surface of the waves. The single eye and tooth they used by passing it around from one to the other. —@s . . . ποτέ, whom neither the sun looks upon with his rays or the nightly moon at all. The west was the region of gloom and terror, because the dreaded darkness followed the setting sun. —Topyéves. Homer mentions (Od. xi. 634) only one Gorgon, who is one of the terrors of Hades ; but Hesiod (Theog. 278) speaks of three, whose names were Stheno, Euryale, and Medusa. — εἰσιδὼν ἕξει πνοάς, shall see and live, because they would be turned to stone. - τοιοῦτο τοῦτο φρούριον, such a guard as this (of the place). Others make φρούριον = οἷον φρουρήσασθαι. 803-806. ὀξυστόμους. . . φύλαξαι, for beware the sharp-fanged voiceless hounds of Zeus, the grifins. The griffin was a fabulous creature, part beast, part bird, placed by the ancients at the extreme north, in the Rhipean mountains which bordered on the ocean, be- tween the Hyperboreans and the Arimaspians. They were supposed to guard the gold of those regions, especially from the Arimaspians NOTES. 113 who came on horseback to steal it. The griffin was represented with the body of a lion, the head and wings of an eagle, the ears of a horse, and with a comb of fishes’ fins. Their guardianship of gold and their form make it probable that the conception of the griffin arose in the east, which has always been regarded as the original home of the precious metals, and where monstrosities of form are not repulsive, but are given to most of their divinities. They are called hounds because of their fierceness in executing the mandates of Zeus against men. —’Aptpacmdv. A fabulous people of northern Scythia, and called ‘‘one-eyed”’ because, according to Herodotus (iv. 27), their name is a compound of the Scythian word ἄριμα = one, and oro} ==ecye. Another derivation, given in the lex., is from dpt=one, and paords=eye. Dr. Smith (Dict. Geog. p. 213) con- nects it with a tribe living at the present time on the middle Volga, and whose native name is Mari=men. — Ἰλούτωνος πόρον, the ford of Piuto. The name of the god of the lower world is derived from πλοῦτος, as he was regarded as lord of all treasures hidden in the earth. 808-814. πρὸς ἡλίου πηγαῖς, near the fountains of the sun. This has been thought to refer to the famous ‘‘fountain of the sun” near the temple of Zeus Ammon in the Oasis Magna, in the desert west of the Nile. The spot attracted the notice of Herodotus (iv. 181), and is still famous for its production of pomegranates and dates. — ποταμὸς Αἰθίοψ. This has usually been interpreted to refer to the Niger, but more probably it means the upper Nile. The extreme ignorance of the ancients in geography is well illustrated by the statement of Strabo (xx. p. 696) that when Alexander found croco- diles in the Hydaspes in India, he supposed he had reached the sources of the Nile, and thought seriously of sending a fleet down the stream to Memphis. — καταβασμόν. This term is applied to the steep slope which separates Egypt and Libya; but here it is probably confounded with the Cataracts of the Nile below Syene, which are called by Herodotus (11, 17) κατάδουποι. --- Βυβλίνων ὀρῶν. These mountains are mythical. — σεπτόν, holy. Among the Egyptians the Nile was personified, and received divine honors. A . class of priests must have been consecrated to it, for Herodotus says (11. 101) that none but a priest of the Nile could bury a person drowned in its waters. And this deification of the stream is not 8 114 PROMETHEUS BOUND. strange in view of the fact that the land itself was ‘‘the gift of the Nile.” ‘That it,” says Donne, ‘‘should have been an object of worship with the Egyptians, and that its image and phenomena should have entered deeply into their whole religious system, was unavoidable. As regarded its external aspect, it flowed between sand and rock, the sole giver and sustainer of life in that valley of death ; it was, both in its increment and its decrease, in its course through vast solitudes and thronged populations alternately, the most suggestive and expressive of emblems for a religion which rep- resented in such marked contrast the realms of creation and destruc- tion, of Osiris and Typhon.” — εὔποτον, sweet. The pleasant taste of the Nile water has made it famous from the earliest times. The Persian monarchs had it brought to Susa and Ecbatana for their own use, and the emperor Pescennius Niger, when his soldiers asked for wine, said, ‘‘ Have you not the water of the Nile γ᾽ — μακράν, remote, i.e. in its distance from Argos. — σχολὴ, κιτιλ, There is a grim humor about this line which is very striking. 819-828. εἰ μὲν ἔχεις, if you can. — τῇϑε, to her, i.e. lo. — πα- pepévov, passed over. —atrotperda, we crave, poetic for αἰτού- μεθα (G. 119). — μέμνησαι δέ που, and you, I think, remember it. This perf. mid. of μιμνήσκω is in use the classical pres., as the form μιμνήσκομαι is only used in late prose. — τέρμ’, extent. — ἄν. For the use of dv in a final clause after ὅπως, see G. 216, N. 2. — μή. The negative belongs with the participle, and we have μή in- stead of οὐ through the influence of the subj. εἰδῇ, which would have μή if it were negative. See H. 841; G. 283, 4, last clause. — κλύουσα. The participle stands here in indirect discourse after a verb meaning fo know. See G. 280, and 1. 62. — πρὶν μολεῖν δεῦρ᾽, before she came hither. — ὄχλον τὸν πλεῖστον λόγων, the main part of the account (lit. throng of words). — τέρμα, limit. The journey from Argos to Dodona he omits, thus implying that its in- cidents were unimportant, and also, perhaps, because it dealt with geographical details too commonplace for recital. τέρμα refers to the end of that part of her wanderings. 829, 830. γάπεδα, Doric for γήπεδον. The form has been restored for δάπεδον, which has the first syllable short. This latter word means, literally, any level surface, and thus, absolutely, the grownd. — Δωδώνην. This oracle of Zeus among the mountains of Epirus NOTES. 115 was the oldest in Hellas, Being so remote from the centre of Greek life, it became less important than Delphi, but was always ranked as one of the three greatest oracles, the others being those of Delphi and of Zeus Ammon in Egypt. Its antiquity is shown from its being several times referred to by Homer (Il. ii. 748, xvi. 233; Od. Xiv. 327, xix. 296). Zeus at Dodona was said to dwell in the stem of an oak, and his statue was placed in its hollow trunk, which was at first his only temple. The deity revealed himself by the rustling of the branches and leaves, which the priests interpreted. Herodo- tus (ii. 55) assigns to it an Egyptian origin, alleging that a black dove flew from Thebes to this spot, and directed the establishment of the oracle. Sophocles (Trach. 171) speaks of the oracles being delivered from ‘‘ the ancient oak” by ‘‘ twin doves,” and has con- founded the talking tree with the Herodotean fable. The site of the temple of Dodona has been a much-vexed question, though from its being located on the Molossian plain, and dedicated to Thesprotian 4cus, it was evidently situated near the frontier of Molossis and Thesprotia. The excavations begun a few years since by M. Momyko, a Polish engineer, and continued by M. Karapanos, have shown that it was in the valley of Tcharakonista, a few miles southwest of Lake Pambotis ; the remains of statuary, the inscriptions relating to the oracle, and the well-preserved theatre making this quite clear. 834-843. 4. The article is used because it is the direct statement of the oracle, namely, od ἡ Διὸς δάμαρ. --- τῶνδε προσσαίνει σέ τι, does aught of these things please you? or, with Wecklein, ‘‘awaken in k you pleasant memories ?” This line is bracketed, as being, perhaps, an interpolation. Wecklein makes only the first two words spu- rious, and would substitute for them something like κλύεις μάται᾽ ἤ. Others write it ἔσεσθ᾽ εἰ τῶνδε, and for the omitted apodosis in such a sentence, see M. ἃ T. 53, N. 1, last reference ; G. 226, 4, N. 2. — ᾿οἰστρήσασα is intransitive, v. οἰστράω, frantic. —Thv παρακτίαν κέλευθον Has, you rushed along the sea-side track. The ace. is cog- nate. — κόλπον ‘Peds, gulf of Rhea. This refers to the upper part of the Jonian or Adriatic sea. — παλιμπλάγκτοισι χειμάζει δρόμοις, you are storm-driven in mazy courses. It presents forcibly the fitful nature of her wandering, as she flies this way and that to escape her tormentor. — "Idvos has the first syllable short. — πορείας, journey, i.e. up to the sea, not across it. It is used differently in 1. 733. — 116 PROMETHEUS BOUND. φρενός, intelligence. Mrs. Browning translates it very happily, “soul's power.” --- πεφασμένου, v. φαίνω. The lex. inclines to make it from φημί, but it seems better to regard Pro. as stating that his vision is so penetrating that it sees far more than that which merely meets the eye. The Schol. says, τοῦ πεφασμένου : τοῦ φανεροῦ. 845-849. τῶν πάλαι λόγων, ic. the statement in 1. 814 of the founding of an Egyptian colony. — KaveBos was situated at the mouth of the Canobic branch of the Nile, about fifteen miles north- west of Alexandria. Greek legends derived its name from the pilot of Menelaus, who died and was buried there. Observe the anach- ronism, in that Aeschylus makes the city to exist earlier than the eolony founded by the children of Io. Before the founding of Alex- andria it was the resort of sailors and foreigners, and enjoyed quite an extensive commerce. Here the scarlet dye was manufactured, called Hennah, which has always been much used by ladies in the East to stain their nails. Some few remains of the place are found about three miles from Aboukir. — προσχώματι, bar. It refers to the alluvial deposit heaped wp (προσχώννυμι) at the mouth of the river. —oe τίθησιν ἔμφρονα, renders thee intelligent. — ἐπαφῶν » 4. μόνον, “ Only by the touch and by the stroke Of his undreaded hand.” Mrs. BROWNING. 850-852. γεννημάτων, Legetting. See lex. Il. τῶν γεννημάτων = τῆς γεννήσεως, the result being put for the act. It is a gen. of cause. — κελαινὸν Ἔπαφον, dusky Epaphus. The son is so named because derived ‘‘ from the creative touch of Zeus” (ἐπαφῶν). The Greek legend with reference to Epaphus was, that after his birth Hera caused him to be hidden, but Io found him in Syria. Subse- quently he became king of Egypt, married Memphis, the daughter of Nilus, and gave her name to the city which he founded. His only daughter, Libya, gave her name to Africa. — πλατύρρους, broad-flowing. The Nile is thus named because of the width and placidity of the natural stream, and more still by reason of the wide extent of land covered by its annual inundation. At Cairo, the average depth of the river at the height of the flood is over thirty feet, and the extreme width in the Delta is often over a hun- dred miles. — ἀρδεύει, irrigates. NOTES. 117 853-864. πεντηκοντάπαις. These are the daughters of Danaus, who fled to Greece to escape the sons of Aegyptus, with whom their father was at variance. — ot 8’ érronpévor, but these (i.e. the sons of Aegyptus) crazed, oi déis Epic for οὗτοι dé. — κίρκον. . . λελειμ- μένου, like hawks not far behind the doves. The participle is lit. left behind by (lex. B. 11, 2). κίρκοι is for ws κίρκοι, the ws being sometimes omitted in poetry. See lex. ws, G. — σωμάτων, the persons (1.6. τῶν παρθένων). -— φθόνον ἕξει Ξεεφθονήσει. --- ΠΠελασγία, i.e. Argos. — δέξεται, sc. αὐτάς. --- θηλυκτόνῳ. . θράσει, (the cousins) being overcome by woman's murderous slaughter through cour- age that watched at night. With δαμέντων se. τῶν ἀνεψιῶν. Some editors, following Porson, would supply αὐτούς after δέξεται, and read dauévras instead of δαμέντων, but this is unnecessary. — στερεῖ, fut., see lex. At the command of their father each of the Danaides mur- dered her husband on the nuptial night, except Hypermnestra, whose love for Lynceus led her to spare him. Aeschylus has made this legend of Danaus and Aegyptus the basis of his play of the Suppliants ; here he only alludes to it in the briefest way in outlin- ing Io’s connection with the deliverance of Pro. — σφαγαῖσι, throat. — ἔλθοι is opt. of wish. 865-875. ἵμερος θέλξει τὸ μὴ κτεῖναι, See lex. θέλγω, II. 2. For the article with the infinitive here, see M. & T. 92, nN. 8. -- γνώμην, purpose. — κλύειν, to be called, Lat. audire. — βασιλικὸν yévos. According to the Schol. this was Abas, who was said to have been the twelfth king of Argos. He founded the town of Abae in Phocis, and was famous for his warlike exploits. — θρασύς, a bold one, namely, Herakles, who was to deliver Pro. by killing the eagle that preyed on his liver. — ὅπως δὲ χὥπη, but how and in what inanner. Observe the tautology. yarn for καὶ ὅπη. ΑἸ] this which Pro. declines to tell, we may suppose was fully disclosed in the lost play of the ‘*‘ Prometheus Unbound.”’ 877-886. ἐλελεῦ. This might be a cry of joy or pain — here the latter. Sometimes, too, it was a war-cry, and it was always intense. This spasm of frenzy with which Io is seized through the attacks of her tormentor comes in with special dramatic force after her long dialogue with Pro., and serves to display more vividly the unfeeling tyranny of Zeus. — ὑπὸ θάλπουσ᾽, burn me within. The preposition belongs with the verb. — οἴστρου δ᾽ ἄρδις χρίει μ᾽ ἄπυρος, and the 118 PROMETHEUS BOUND. 3 sting of the estrus, not forged in fire, torments me. For ἄπυρος, see lex. 7. χρίω means to touch lightly the surface, and hence to prick, to sting. — φρένα, breast. — τροχοδινεῖται ἑλίγδην, whirl round and round (lit. ὧν a whirl), — Oodrepol . . . ἄτης, and my turbulent words dash idly against the billows of abhorrent fute. The metaphor is that of a swollen river meeting the waves of a stormy sea, 887-906. Third Στάσιμον. The chorus in this beautiful ode praise contentment with one’s lot, dwell upon the evils.of too ambi- tious nuptials, and pray that they may never be wooed by any of the immortals. They show throughout a reverential fear of the gods, and enhance, by contrast, the fearless, defiant spirit of Pro. 887-893. 8s. Paley and Wecklein refer here to the proverb, said to have originated with Pittacus of Mytilene, τὴν xara σαυτὸν ἔλα, marry according to your station. — ds τὸ Kyndetoar καθ’ ἑαυτόν, that to wed in one’s own rank. καθ᾽ ἑαυτόν is used because of κατὰ σαυτόν in the proverb just quoted. The infin. is the subj. of ἀρι- orever. — διαθρυπτομένων, enervated. —peyadvvopévey, exalted. Ob- serve the similarity of these participles in their length, their position, and their ending. — χερνήταν, artisan. In Athens, where the pro- portion of slaves to freemen was four to one, every kind of manual labor would necessarily be thought degrading. — ἐραστεῦσαι is in the same construction as κηδεῦσαι above. 894-900. εὐνάτειραν, partner. — πέλουσαν = οὖσαν. --- πλαθείην, wed. The form is 1 aor. opt. pass., v. πελάζω. See lex. C. 1. --- ἀστεργάνορα παρθενίαν ‘lots, the virgin 70, unblessed with wedded love (lit. the unwedded maidenhood of Io). — ϑυσπλάνοις. . . . πό- νων, by the wretched, toilsome wanderings inflicted by Hera. The πόνων, which is omitted in two MSS., and whose presence is ques- tionable, is treated as equivalent to an adj. agreeing with ἀλατείαις. As Paley says, “ἀλατείαις πόνων is less intelligible than ἀλατειῶν πόνοις would have been.” Ἥρας is gen. of the author. See Mat- thaie’s gram. 375; Crosby, 434. : 901-906. ἐμοὶ. . . γάμος, but for myself, because my marriage is with an equal, ἐμοὶ is emphatic. — ὄμμα. Many editors read ἔρως before ἄφυκτον, and then duua becomes a cognate acc. after προσδράκοι, instead of subject. — ἀπόλεμος, κιτιλ. See lex, IT. — ἄπορα πόριμος, fruitful in difficulties. — οὐδ᾽ ἔχω τίς ἂν γενοίμαν, 4 do not know what I should do. For the optative, see G. 245; M. NOTES. ΠῸ ὦ Τ. 72. The protasis is understood. — φύγοιυμ᾽ is ia the same con- struction as γενοίμαν. 907-1093. “EgoS0s. Final Act. First Scene —lines 907-943. This is the dialogue between Prometheus and the Coryphaeus, and prepares the way for the final catastrophe. Pro., with hatred un- mitigated and pride unweakened, predicts in the plainest terms the overthrow of Zeus through his marriage with Thetis, and then with most startling boldness defies his thunderbolts, and tells him that all the artillery of heaven cannot save him in the hour of his dethronement. 907-912. καίπερ αὐθάδης, sc. dv. See M. & T. 109-0 N, 6.0 —— οἷον = ὅτι τοιοῦτον. Some editors write it τοῖον, but with less au- thority. —8s . . ἐκβαλεῖ, which shall hurl him from his sover- eignty and throne, and render him unseen. Or ἄϊστον may be rendered ‘‘ utterly,” in close connection with the verb, — apa. This is not mentioned elsewhere; but if original with Aeschylus is a most natural supposition. — ἥν is cognate acc. after ἠρᾶτο, and has ἀρά for its antecedent. 915-927. χῷ -- καὶ ᾧ. — πρὸς ταῦτα viv θαρσῶν καθήσθω, there- Sore let him now in confidence occupy his seat. — οὐδὲν... πεσεῖν, Sor in no way shall this save him from falling (lit. shall hinder for him the falling.) See lex. ἐπαρκέω, 2. For μὴ οὐ, Bee. α. 288, 7. Μ. &T. 95, 3, p. 202, fourth example. — πτώματ᾽ is cognate acc. — ἔπ’ αὐτὸς αὑτῷ, himself against himself. For the collocation, com- pare πρὸς αὐτὸς αὑτοῦ, 1. 762. —8s 8x, Prickard very pertinently remarks here: ‘‘ As this child never came to birth, the prophecy is somewhat too confident.” — σκεδᾷ is future. —doov.. . δίχα, how far apart are sovereignty and service. 929-934. — τελεῖται, future. —mpds, adv., moreover. These two lines may be paraphrased thus. Chor. Your wish is father to these threats ’gainst Zeus. Pro. Which will be accomplished, and I wish them too. — δεσπόσειν. For the future after a verb of expecting, see M. & T. 27, N. 3; G. 208, N. 2. — τί. . . μόρσιμον, but why should I fear, whose fate is not to dic? The protasis of dv φοβοίμην is to be found in what follows. The sense is, “If I cannot die (indic. with εὖ why should I fear.” See G. 227. — πόροι. The subject is a pronoun referring to Zeus. | 936-943. — ᾿Αδράστειαν, a surname of Nemesis. Some derive 120 PROMETHEUS BOUND. it from Adrastus, who built the first shrine to Nemesis, by the river Asopus, but another and better etymology is from διδράσκειν, the being whom no one can escape. It isa gentle admonition to Pro. to yield to inevitable destiny, and abate his fruitless stubborn- ness. ‘Though offered with extreme gentleness and courtesy, he meets it with a contempt which is well-nigh fierce. — ἀεί, for the time being. It belongs with the participle. See lex.— pol... μέλει, but I cure less than nothing for Zeus. — τρόχιν, runner, said with the utmost scorn. — διάκονον, servant, also derisive. The English word deacon comes from it, as the designation of a servant of the church. — πάντως, at all events. 944-1035. "Εξοδος. Second Scene. Entrance of Hermes, and dialogue between him and Prometheus. Hermes, directed by Zeus, commands Pro. to reveal this secret of the fatal marriage, about which he has boasted so loudly; and the Titan, with the proudest defiance and the most withering disdain for the command and its author, refuses. 944-951. τὸν πικρῶς ὑπέρπικρον, “the bitterly o’er-bitter.” (Plumptre.) — λέγω, 1 address. - ἐκπίπτει is pres. in the sense of a vivid fut. SeeG.200,n.7; M.&T. 10, N. 7, also ll. 171, 767. — αὖθ᾽ ἕκαστ᾽. See lex. ἕκαστος, 111. --- μηδέ por διπλᾶς ὁδοὺς προσ- βάλῃς, nor impose on me ὦ double journey, i.e., do not oblige me to come from heaven to this desolate spot a second time to get my answer. 953-962. σεμνόστομός, K.T.A., solemnly spoken and full of spirit is the word, as befits a menial of the gods. The contempt in the re- ply is stinging; ὑπηρέτου is gen. after μῦθος. — δισσούς, i.e. Ura- nus and Cronus. — μή σοι δοκῶ, do I seem to you. μή in direct ques- tions with all tenses of the indic. is like μῶν, Lat. num, and expects a negative answer. Lit. 7 do not seem to you, do I?— πολλοῦ ye καὶ τοῦ παντὸς ἐλλείπω, much, yes, and wholly do I fall short of it, With the genitive, sc. τοῦ ταρβεῖν. --- ἐγκόνει, see lex. 966-970. τῆς... . δυσπραξίαν, my suffering for thy servitude, -- οἶμαι is ironical. Many editors assign ll. 968, 969 to Pro. ; but ofuae is so clearly and naturally ironical that it is better to adopt the suggestion of Hermann and divide them as here. — λατρεύειν is because of λατρείας above. -- οὕτως. . . Χρεών, so must imsolence be met by insolence. NOTES. 1721 971-981. χλιδᾶν, to revel. — ξυμφοραῖς, dat. of cause, on account of (your) misfortunes. — ἐπαυτιᾷ takes two accusatives. — κλύω ... νόσον, I infer that you are suffering from no slight malady. The sting here is very keen. — el πράσσοις καλώς, if you should ever prosper. See G. 224, first example; M. & T. 34, 1, a. — ὦμοι. This single word, wrenched from the tortured sufferer by the πράσ- cows καλῶς is wonderful for its condensed pathos, for its confession of pain. Though his will was Titanic, and his courage heroic, yet his heart wouid bleed, and he could not completely hide the agony. — πάνθ᾽, obj. of ἐκδιδάσκει. --- ὁ γηράσκων χρόνος, maturing time. 983-986. ot... ὑπηρέτην, for in that case I would not be con- versing with you who are a menial. —Kal. . . χάριν, and surely, owing him a favor, I might repay it. Wecklein (note ad loc.) makes ὀφείλων equivalent to a condition = εἰ ὥφειλον, but the irony is much more intense to connect the participle closely with the verb, and supply the protasis from the context. —ds παῖδ᾽ ὄντα pe, as though I were a child. 991-996. πρὶν... λυμαντήρια, before these outrageous bonds are loosed. This whole reply of Pro. is grand in its defiance and overwhelming in its power. His will here fully reasserts itself ; and this superhuman elevation of spirit is maintained to the end. The diction, too, in its boldness and grandeur, fitly and fully sus- tains the character which it portrays. — πρὸς ταῦτα, therefore. — viv, i.e., Zeus. 1000-1006. πρός, in view of. — ὀρθῶς φρονεῖν, to be wise, — ὀχλεῖς. . . παρηγορῶν, you disturb me in vain, as though address- ing a wave. — εἰσελθέτω. For the third person, aor. imper. in pro- hibitions, see G. 254, n.; M. ἃ T. 86, N. 1, Ὁ. — θηλύνους, woman- ish in mind. — τὸν μέγα στυγούμενον, him whom 1 intensely loathe (lit. the yreatly loathed). The verb is very strong ; and when we think that he uses it against his supreme god who has condemned him to terrible and protracted torture, this spirit of defiance touches the sublime. — ὑπτιάσμασιν, wpliftings. In supplication it was customary to plead with upturned hands. See lex. ὕπτιος, 11., for the expression, ὑπτίας χεῖρας avareivew, to lift up the upturned hands. — τοῦ παντὸς Sw, that I’m far from (lit. I lack the whole). . 1007-1010. λέγων... ἐρεῖν, though speaking much, τέ seems 122 PROMETHEUS BOUND. that I shall speak in vain also. — réyyer ; μαλθάσσει : 2 pers. sing. pres. pass. — Saxav, champing. Some translate it, taking the bits between his teeth ; but it seems to refer to his restlessness of spirit rather than to any force exerted to get free. — βιάζει ; paxe: 2 pers. sing. pres. mid. 1011-1018. ἀτὰρ... σοφίσματι, but you trust too much to your weak scheme. Hermes styles the bold statements of Pro. (1. 167, 186, 987, ff.), that Zeus will be compelled to release him in order to learn his secret, as a σόφισμα, a trick. — avOadla.. . σθένει, for self-will, in one who does not well reflect, ttself by ttself as utterly powerless. The MSS. have μεῖζον, but the leading editors have adopted Stanley's emendation of μεῖον. 1015-1024. τρικυμία, mighty wave. Every third wave was thought to be the largest. See lex., and compare the Lat. fluctus decu- manus. — ἔπεισ᾽, shall come. — ὀκρίδα φάραγγα τήνδε, this ravine of rock. — werpata δ᾽ ἀγκάλη σε βαστάσει, and a rocky ledge shall hold thee up. The poet seems to mean that this wild gully where Pro. is chained shall be broken up ; that the Titan in falling shall be caught by a projecting crag, and so wedged in as to be completely hidden in a tomb of the mountain. — μῆκος, period (lit. here, stretch). — κύων. The eagle is called a hownd because of his fierce- ness in executing the will of Zeus. For the same word applied to griffins, see 1. 803. — δαφοινός, murderous. The word seems to refer to the ravenous spirit of the vulture, though possibly it is an epithet only of its color, tawny. See lex. — λάβρως... ῥάκος, shall ravenously tear off great flesh rags from thy body. — πανή- μερος == πανημέριος, and hence means, not every day, but all day long. 1027, 1028. mpl... φανῇ, “« Unless some god endure Vicarious thy tortures.” — BLACKIE. (Lit. appear as a substitute. etc.). The substitute here referred to was Chiron, the wisest and kindest of the centaurs. He was a friend of Herakles, but was accidentally wounded by one of his poisoned arrows; and, as the wound was incurable, he, though immortal, became weary of life, and was willing to die for Prome- theus. Thus the decree of Zeus was satisfied, his anger appeased, and his reconciliation with Pro. complete. The fatal marriage with NOTES. 123 Thetis was avoided by wedding her to Peleus, by whom she became the mother of Achilles. This sacrifice by Chiron of himself for Pro. is a clear instance of vicarious suffering. For other instances of the same thing, see the case of Alcestis, the wife of Admetus, in the Alcestis of Euripides, and that of Menoeceus, in the Phoenissae, by the same ‘author. Though this doctrine was not prominent among the Greeks, it here closely resembles the Christian idea of the atonement. 1029-1039. ἀμφί, arownd. It governs the gen. See lex. A. II. — πεπλασμένος, v. πλάσσω. See lex. V., near the end. — λίαν εἰρημένος, seriously spoken. — τελεῖ is fut. act. — οὐκ ἄκαιρα, not ill-timed. While the chorus have the greatest sympathy for Pro., they have also the most profound reverence for Zeus, and a dread of his power. Hence they are torn by conflicting emotions; for while unwilling to desert Pro., they are anxious to save him if they can. They feel the force of Hermes’ authoritative words, and, with that gentle kindliness which they have manifested from the beginning, urge Pro. to yield. — σοφῷ. The reproof given in this verse has connected with it a very subtle appeal to the vanity of Pro. That consummate wisdom, they claim, which he has shown in his treatment of man ought to save him from persisting in his hostility to Zeus. Even they have little appreciation of the greatness of soul which leads him to defy the unjust mandates of an omnipotent god. Mrs. Browning very aptly translates the ὌΝ *« When the wise err, their wisdom proves their shame.” 1040-1093. "E€oS0s. Final scene: the Climax and Catastrophe ; Chorus, Prometheus, and Hermes. 1041-1051. ὅδ᾽ eOdvéev, has this fellow shouted out. The words imply both contempt and anger. For the verb, cf. ll. 73 and 398. — πρὸς ταῦτα, wherefore. — πυρὸς ἀμφήκης βόστρυχος, the forked twist of fire. — ἐρεθιζέσθω. . . ἀνέμων, be maddened by the thunder and the convulsive fury of wild winds. -— κῦμα. . . διόδους, and let it (i.e. πνεῦμα) wildly commingle the wave of the sea with its stormy dashing and the paths of the heavenly constellations. For the optatives, here denoting an exhortation, see G. 251, ν. 8 ; M. & T. 82, N. 1. Some editors (see Wecklein), following the Schol., make ξυγχώσειεν = ξυγκαλύψειεν, and treat κῦμα as nominative; translat- 124 PROMETHEUS BOUND. ing it, let the wave hide, ete. But ξυγχώννυμι means to heap to- gether, to confownd ; and the idea here is that the elements are thrown into wild confusion. — ἄρδην, away. 1054-1062. φρενοπλήκτων, frenzy-stricken. —tl γὰρ. . . μα- νιῶν, for in what does the fate of this one fall short of madness ? In what does he abate his ravings? For μή, see G. 283, 6. μὴ παρα- παίειν --- τοῦ μὴ παραπαίειν after ἐλλείπει. For the meaning here given to this infin., see lex. — ὑμεῖς, 1.6., the sea nymphs. — μετά ποι xwpetr’, withdraw somewhere. The preposition belongs with the verb. oc—=7ov which is the MSS. reading and retained by Hermann. — ἠλιθιώσῃ, craze. — μύκημ᾽, Toar. 1065-1070. παρέσυρας. See lex. παρασύρω, 4. The chorus, finding Pro. unmoved and immovable, catch something of his spirit, talk defiantly to Hermes, and heroically refuse to leave their friend. - προδότας. This is possibly a reference to Themistocles, who was banished in 471 B. c., and was at the time suspected of those trea- sonable designs which he soon after confirmed by deserting to the Persian king. — ἀπέπτυσα, loathe (lit. spit out). 1071-1079. Hermes solemnly enjoins on the chorus to remember his warnings, and insists that when their folly brings their ruin they must not blame Zeus or himself, for they are voluntary victims. He then retires from the stage, and the crash of the elements, which forms the climax of the play, begins. — μηδὲ πρὸς ἄτης θηραθεῖσαι, nor when pursued by Ate.—pySt. . . εἰσέβαλεν, nor ever say that Zeus has thrust you into anguish unforeseen. — αὐταί is subject of εἰσεβάλετε understood. — λαθραίως, secretly. — ἀπέραντον. See lex. ΤΙ. --- ἐμπλεχθήσεσθ᾽, wild you be entangled. The form is fut. pass. v. ἐμπλέκω. 1080-1093. No sooner has Hermes withdrawn than Pro. an- nounces that all the forces of nature are about to display their power, and his words are closely followed by the chaos which he predicts. The chorus slowly disappear through a trap-door in the orchestra, and Pro. through a similar opening in the stage. In the midst of the wild ruin, above the roar of the thunder and the blast of the storm, is heard the last cry of the Titan to his mother Themis to witness the greatness of his wrongs. — σεσάλευται, reels t0 and fro (lit. has been made to shake). — Bpuxta δ᾽ ἠχώ, and the subter- ranean roar. βρυχία means, literally, from the depths of the sea. — NOTES. 125 ἕλικες... ζάπυροι, and the fiery curls of lightning flash forth. ἕλικες means, literally, zigzag, when applied to lightning. — στάσιν ἀντίπνουν, a discord of conflicting gales. — ῥυπή, blast. See 1. 126 and lex. --- τεύχουσα φόβον, intended to cause terror. So Blomfield, Paley, and others. — πάντων, for all. It would be difficult to conceive of a grander climax than these closing lines. Though the play opens on so lofty a plane that we fear the poet may not be able to sustain it, still, with apparently the greatest ease, he carries us along till the very elements, in their responsiveness to the will of Zeus, seem animate and sentient ; and yet, amid all this force and fury, the poor, tortured Pro. never warers in the proud freedom of his will, but grandly defiant and thus grandly triumphant passes away amid a convulsion of nature no- where paralleled in dramatic writing. The diction is extremely bold and powerful ; but the scene, the actors, and the emotions are all so much above and beyond nature that there is no exaggeration in it. The last words of Pro., as his first (1. 90), are an appeal from the injustice of Zeus. We append the metrical version by Mrs. Browning of the last scene, which in its preservation of the spirit of the original is admirable. PROMETHEUS. Unto me, the foreknower, this mandate of power, He cries, to reveal it! And scarce strange is my fate, if I suffer from hate, At the hour that I feel it ! Let the locks of the lightning, all bristling and whitening, Flash, coiling me round ! While the ether goes surging ’neath thunder and scourging Of wild winds unbound ! Let the blast of the firmament whirl from its place The earth rooted below, — And the brine of the ocean, in rapid emotion, Be it driven in the face Of the stars up in heaven, as they walk to and fro! Let him hurl me anon into Tartarus —on— To the blackest degree, With Necessity’s vortices strangling me down | But he cannot join death to a fate meant for me! 126 PROMETHEUS BOUND. HERMES. Why, the words that he speaks and the thoughts that he thinks Are maniacal, — sad ! And if Fate, who hath bound him, just loosens the links, Yet he’s nigh to be mad. Then depart, ye who groan with him, Leaving to moan with him, — : Go in haste ! lest the roar of the thunder, in nearing, Should blast you to idiocy, living and hearing. CHORUS. Change thy speech for another, thy thought for a new, If to move me and teach me indeed be thy care ! For thy words swerve so far from the loyal and true, That the thunder of Zeus seems more easy to bear. How ! couldst teach me to venture such vileness? Behold ! I choose, with this victim, this anguish foretold ! For I turn from the traitor in hate and disdain, — And I know that the curse of the treason is worse Than the pang of the chain ! HERMEs. Then remember, O nymphs, what I utter before, — Nor, when pierced by the arrows that Até will throw you, Cast the blame on your fate, and declare evermore That Zeus thrust you on anguish he did not foreshow you. Nay, verily, nay ! for ye perish anon For your deed — by your choice !— by no blindness of doubt, No abruptness of doom ! — but by madness alone, In the great net of Até, whence none cometh out, Ye are wound and undone ! PROMETHEUS. Ay ! in act, now, — in word, now, no more ! Earth is rocking in space ! And the thunders crash up with a roar upon roar, —= And red eddies of lightning flash fires in my face, — And the whirlwinds are whirling the dust round and round, — And the blasts of the winds universal leap free, And blow each upon each, with a passion of sound, — And ether goes mingling in storm with the sea ! Such a curse on my head, in a manifest dread, From the hand of your Zeus has been hurtled along ἢ O my mother’s fair glory! O ther, enringing All eyes with the sweet common light of thy bringing, Dost thou see how I suffer this wrong? St A 4..., 4: ee Quon QIN Zeetr+ p. πα, ὟΝ ΩΝ THE LYRIC PARTS OF THE PROMETHEUS. THE LYRIC PARTS OF THE PROMETHEUS. § 1. THE arrangement adopted here is based upon the system of Rossbach and Westphal, as finally set forth by Dr. J. H. Schmidt in his “ Kunstformen der Griechischen Poesie” (Leipzig, 1868-1872). This system has been given to the English and American public in Dr. J. W. White's “Introduction to the Rhythmic and Metric of the Classical Languages,” an admirable translation, or rather adaptation, of Dr. Schmidt’s brief compendium of his larger work. This little book, or its German original, is indispensable to the classical student who desires to appreciate the wonderful art and beauty of the Greek chorus. § 2. The chorus may be described briefly as the song sung by a band of dancers while dancing or moving rhyth- mically to the music of it. Each strophe is composed of one or more rhythmical periods, and each period consists of a number of rhythmical sentences or strains. All of these sentences, with the occasional exception of one at the begin- ning, middle, or end, are so arranged as exactly to balance one another and bring the dancers back, at the close of the period, to the place from which they started. Take, as an example, the comparatively simple movement of the three periods in the last chorus of the Prometheus :— 9 130 LYRICS OF THE PROMETHEUS. ‘Genes 1 lib ) aa 3 2 4 = ἐπ. ὧι + It seems evident at a glance that whatever figure, be it dance or march, the chorus executed during the first three measures of I. could be reversed or duplicated during the last three, thus bringing them back to their original position. The five measures in the middle may have been an interlude sung while at rest between the two movements. So in 1]., the 5, 2, 5, measures bring the singers back to their starting point; as do the 2, 3, 2, measure of III. While the four measures at the end were sung while at rest. A more complicated period is found in the second strophe of the second Stasimon : —- Ὁ = ΠΤ Ὡς A == ἐπ. Here we have three measures of prelude, then 4, 6, 4, measures, exactly balanced by another 4, 6, 4, measures, followed by four measures at rest to close the period. That the parts correspond in this order, and not in the reverse order, will be evident at once on consulting the scheme. The first four ὦ ὦ |] t | A tee 4 The second forrwi—yvu|— ul ue |_Al=4 , 4 The third four SO) --ὧ τε 4 The fourth four vu lowvl_o|_ Al =4 LYRICS OF THE PROMETHEUS. 191 Further details regarding the structure of such periods can be found in Books IIT., IV., and V. of Dr. White’s “ Intro. duction,” already referred to. § 3. Dr. Schmidt has given an arrangement of the choruses of the Prometheus in the first volume of his ‘‘ Kunstformen,” and his schemes have been followed as far as possible. But the text he used differs so widely from that of the present edition that not a single chorus remains as he arranged it. The structure of one period — the third period in the second strophe of the Parodos — has been changed from four to three sentences, in accordance with a manuscript correction by Dr. Schmidt, furnished through the kindness of Dr. J. W. White ; but for the other changes Dr. Schmidt is not responsible. § 4. The main features of the new notation have been adopted by Prof. Goodwin in his Greek Grammar, and by Allen and Greenough in their Latin Grammar ; but for con- venience of reference a brief explanation of the signs and terms used in the following schemes is added here. Those who wish a fuller explanation will find it in Dr. White’s “ Introduction.” I. ὦ marks the short syllable, which is the unit of measure in Greek verse. It is called a mora and may be assumed equal to an eighth note ( δ) in music. — along syllable, having the time of two morae. ι-- along syllable protracted so that it has the time of three morae. tu a long syllable having the time of four morae. πω a so-called cyclic dactyl, having the time of three morae, about equal to > an irrational syllable, commonly a long syllable having the time of one mora. w two short syllables that have the time of only one mora. 132 LYRICS OF THE PROMETHEUS. W 8 long syllable corresponding to two short ones. σὺ the reverse of the preceding. A a short syllable lacking to complete the measure at the end of the verse. It may be regarded as equal to an eighth rest (5) in music. A, ‘x, '% similar rests of two, three, and four morae. : indicates that the syllable or syllables before it form an anacrusis (upward beat), the first full measure beginning after this sign. | the end of a strain or rhythmical sentence. J] the end of a period. ἢ the end of a system. ap. (προῳδικόν) Marks ἃ prelude or opening strain. ἐπ. (ἐπῳδικόν) a closing strain. : The beginning of a new period is indicated, in the choral passages, by indenting or setting in the line. The chief ictus in each measure, or foot, falls on the first syllable in it. II. Measures are three, four, five, and six morae long. Those containing 3 morae (8 time) are Choreic (iambic and trochaic) and logaoedic. 4, morae (2 time) are doric, dactylic, and anapaestic. 5 morae are paeonic (YY ὦ YY) and bacchiic (44 YX vy). 6 morae are ionic (— — ὦ v) and dichoreic (— ὦ — >). The dochmiac (WWuUIWull) is not so much a measure as a strain composed of two unequal measures. The paeonic, bacchiic, ionic, and dochmiac are all used to express intense feeling or great excitement. Choreic with anacrusis is called iambic; without it, tro- chaic. The logaoedic differs from the choreic in admitting the LYRICS OF THE PROMETHEUS. ote cyclic dactyl and other resolutions and contractions. It is thus a livelier measure than the choreic. The dactylic is more regular and solemn than the doric. The doric differs from the dactylic in admitting chorees (— v, with the time L v) in certain places. The anapaestic differs from the dactylic in having an anacrusis, a stronger secondary ictus on the arsis, and allow- ing more frequent resolutions and contractions. § 5. The anapaestic is the regular march music of the Greeks. In the so-called anapaestic system it is often used to usher in the chorus or to accompany their departure, and to mark the entrance or exit of other persons in the drama. Prometheus employs it here in the two systems preceding the arrival of the chorus, and again in the intervals of their first song. It is used by the chorus as they alight and march to their place; and by Oceanus, as he enters. Io also uses it as she comes on the stage and again when she departs. It is employed once more in the grand closing scene, where Mrs. Browning’s translation in the same metre recalls the magnificent sweep of some of the lines. The anapaestic system, as employed here, is composed of tetrapodies with occasional apparent dipodies, and ends with a tripody, called a paroemiac. It is supposed that there was a pause of eight morae — two measures — after each dipody, thus giving it the same time as the tetrapodies and allowing the speaker to rest. After the paroemiac came a final or indefinite pause. A list of the passages in which this system appears is to be found in the Metrical Index. The scheme of the first system, which will serve for all, is given here. 134 LYRICS OF THE PROMETHEUS. - Anaparstic System (93-100). a | PE EE Poet es [ΘΙ | πεῆσεν ΠΩΣ αὐ ΕΣ csi a ΙΝ Seo fee τς a a Oe ee is ες το ἘΞ is [ee τ Meier π᾿ ὁ 6. Lines 115 and 117 are in the bacchiic (ᾧ 4, IT.) metre to express the rising excitement of Prometheus at perceiving any signs of life in that lonely spot. Line 115 is composed of two bacchiic dipodies : — Wb a De || ππ-κ7 Line 117 is a bacchiic tripody : — τος | υωνφψοί § 7. Scheme of the choruses. I. PARODOS (128-192). First STROPHE AND ANTISTROPHE. 128-1385 = 145-151. Logaoedic (§ 4, IL.). σι |τυ]ο πε Ul eee εὐ πες ll aa @ εσι.- prey i er] (os Ιπωφτνσνἤοε δ οἱ Ee οὐ thes te τ} is Lo τ Uli lbw ea eS Wee a a τὴς πὴ LYRICS OF THE PROMETHEUS., 135 Dr. Schmidt explains the lively metre, the long verses, and the absence of periodic structure in this strophe and anti- strophe, as intended by Aeschylus to represent the eagerness and haste of the Oceanids as they come flying through the air, finishing their song while still on the wing. The change from logaoedic to choreic metre in the following strophe and antistrophe seems to indicate a less excited tone. ; SECOND STROPHE AND ANTISTROPHRE. 159-166 = 178-185. Choreie and logaoedic (ἢ 4, IL.). [. eee aA ΠΡ 1 Bank Se OR | ener Pes ee AT Hit ΟΣ ΝΥ εν | πον τυ Ὁ ΥΩ ACH Been ποτ ἡ ee Cd Al AiG Feb pee | LS ὠτὸς {πὰ | τ λον el TEENIE Ror CEO SAR A δ" I. τ ἢ Tog tees 4 δ) s) 4 4 Cee II. FIRST STASIMON (397-435). First STROPHE AND ANTISTROPHE. 397-405 = 406-414. Lonic with substitutions of dichorees εὐ 4, IT.). Ι. eee Ae Le Gu is ee ee! ball ΕΠ ha | τος ete 136 LYRICS OF THE PROMETHEUS. Th ὧοὧὐΓ-Ἐςὐὠὐ- οἱ - ὧι : wi vovl|._—wvvliw lo) ἢἵἝθο τὺ Bre We 2, Rose FE) I. 2= 7p. II. 9 )) : 2 Io 2 = ἐπ. SECOND STROPHE AND ANTISTROPHE. 415-419 = 420-424. Trochaic and logaoedic (ἡ 4, 11.). {. σου τ Ba ΞΕ] ἧς τ τ Ξὰ τα πιν}}}} Ἔχ ee ] ee i --οἹτωυυ] :ουἹόύῳ. τυ oe L 4 tLe i) ) EPopDE. 425-435. Logaoedic (ὃ 4, 11.). τὺ {τ τ 58 Ἐπ ας ἘΞΑ [Ὁ χ ἢ yin Ul τοίου ILS) a Ὄπ || ee ey OE, Le) ee I | aa Gl ge ΠπΠπὔ (| | .ὐὐὖὐ οι IL. val oo lL τ ge NAR > Ὁ On nt [30 ea i wi > low foe] ew τ εὐ eee ἢ LYRICS OF THE PROMETHEUS. 137 eae S , III. SECOND STASIMON | (526-560). First STROPHE AND ANTISTROPHE. 526-535 = 536-544. Doric (§4, 11.). lis at a AN Ι ΣῈ ὦ τ παι ἘΠ 0Π eh Ca a Διι το ΧΟ Pew hie A] Tl; a ye, eee |e x Cd ES ey a πε τς ΚΘ ae θεν, OCP a He πὸ peered | Les Tier TE. "ἢ :) :) 5 ; Ἶ : 138 LYRICS OF THE PROMETHEUS. SECOND STROPHE AND ANTISTROPHE. 545-552 = 553-560. Logaoedic (§ 4, I1.). ὡϊ- πω ϊτυσγ- loo bli. fae CO eT a) es Ns ae ΞΙ Lo ee Pee 1 | Wak Oe ew io Ue AU Rr πον Ξε ween win ωὡ: που Ξου τῶν τ ! -.ῖῳφὐἱτου! !.. ola, vila ὧὐ οι 3 == 1p Δι { 4~ Gee 4, 4 -Ξ-- ἐπ IV. MONODY OF I0 (561-608). PROODE. 566-573. Logaoedic and dochmiac (ἡ 4, 11.). set eg oe | CP es a asa Lo oa ee ee ee τ| ey ees [Ξ- τι Ξ τ το a) a στρα τ eee Porte tan Mabe ie Gop τ λ ul] u| [Ξ- ἘΠ ΧΩ -ωου[ .-ὐ]- ὧἹ]. Ὑ[{.-ώ}.0.. τ eee Ὄπ’ CN | LYRICS OF THE PROMETHEUS. 139 STROPHE AND ANTISTROPHE. 574-587 = 593-608. Logaoedic, dochmiac, and bacchiie. ee Cee ee eh ee rp AN Aare! je a ΞΘ 2 oe le All wore rn Pal Poa Al Pepe τ ep my te | AF co Sg $d ΘΝ ΞΕ 9 a ὦ Ὁ | GS | eR eee IF Bro nem es AS are eer) ee er A CAR ΤῊ ποῖ. ἘΠ (hiss galery 1 που Cee eC Ree OP [ΚΕ τ αἢ) Seis es CERO TE Deny a la Tee SER Dy | eet Kf Meets fe et Al eee ς|τ ref | oo | A Hl te At, AT aero anh ee me re es [oe FP Dr. Schmidt thinks that we ought not to expect a balanced periodic structure in such monodies as this of Io. The choral songs, being accompanied by rhythmical movements or dances of the chorus, required a symmetry of form, where part ex- actly corresponded to part. But the monodies were unaccom- panied by orchestric movements, and therefore required no such periods; while the changmg metres and the irregular sequence of the rhythmical sentences are better adapted to express the frenzy of the speaker. The following choric song also exhibits the same excited character in its metres, though it falls naturally into the periodic structure. 140 LYRICS OF THE PROMETHEUS. V. CHORIC SONG (687-695). Paeonic, dochmiac, and logaoedic ({ 4, II.). Ἶ᾿ τ τ ἢ πα NAN Saye [ΞΞ οὐ τ Ne a πος: ΕΣ whi > low Ν᾿ πιο oe Ψ. ulwulwvu|_Aill SP see Ne oS ee Le) | ees eS Rag ena coer se) πο ey ee ἐΞ- ἢ cease I. 2="p. 15. Ὁ 5 doch. doch. 5) doch, 4 5 6 = ἐπ, VI. THIRD STASIMON (887-906). STROPHE AND ANTISTROPHE. 887-893 = 894-900. Doric (ἡ 4, IL). Ποῦ] τ ὺλη π΄ πιο :.. - ἢ LI. tLiowile 2 flo VU leu έν ΡΥ. ΚΣ ee Peo gn | CE ἐπ νΝ ἢ IT. τ (oR τ πες κ ἢ. εὐ ks π ὦ pores i eee tee Mees HE ᾿ ) ) a 5 2 LYRICS OF THE PROMETHEUS. 141 EPODE. 901-906. Logavedic and choreic (ἢ 4, I1.). et τ al oer Δ} Die ery Peal ΘῈ ΓΘ ὑκῶσυ | Se ee ey Ge rs [al ARI LSS ed EE Ψ Er) ΟΝ ΤΆ RR a RS Beier? (eke Ay ΟΕ Pe ἢ δ: Fe: AG ee reas {8 INDEX OF THE METRES ACCORDING TO THE LINES. Norg, — The reterences are to the sections where the schemes are to be found. 93-100 . . . . . Anapaestic, § ὅ. LD ALT ors a ae ΒηΘΟΝ ὁ 6. 120-127. a τος 128-190 4°. 9.24 Τρυποραϊ δ ἢ 7, 1. 186-144. {πὸ τς Ὁ ΟΑπδάδθεῖό, ᾧ 5. 146-10}. νον τς Ὁ Τρ δεάϊο; ΔΎΣΕΙ: 19 Ξ) pS te or eee Anapaestic, § 5. 109. 1086... τ. oChoreie and logaoedic, § 7, 1. 167-177. τς Amapaestic, § 5. 178-186) τ Choreieand logaoedic, § 7, I, 186-192"... , Amapaestic, § 5. Pa A eso ie pe ΘΕ τ τ 28420 Fe ces eee τί ἷς 897-414. . . . . . Tonic and dichoreic, § 7, II. 415-424 . . . . . "Prochaic and logaoedic, ᾧ 7, IL AZb aS bo sea ΉΤΟ Logaoedic, ᾧ 7, ΤΊ. b8G—b4e US Dorie, § 7, ΤΠ. 645-5005 oo ρις᾿ Logaoedic, § 7, IIT. 5.0} 0008 a Anapaestic, ὁ 5. ce τρξ To ee σον εν ας Logaoedic and dochmiac, ὁ 7, IV. ΕἸ υτρϑ7, τ . Logatedic, dochmiac, and bacchiic, § 7, IV DGS Ws ac, oe, τ τῷ τ ai fy pS Paeonic, dochmiac, and logaoedic, § 7, V. 878-886. . . . . . Anapaestic, ὁ 5. Ge (ep08) ae ee Doric, Sa R040" IGS ρον Anapaestic, § 5. PI54-1062 0. ee ge LOC3=1070 Gees s = 4071-1099 ee fs τ 1080-1004. a ee if af The lines not included in this Index are in the zambic trimetre. Allyn & Bacon .... Boston. Adopted at the High Schools of Bath and Hallowell, Maine; Hartford, Norwich, and Meriden, Ct.; Ogdensburgh, Ilion, Plattsburgh, Adams, and Flushing, New York; Jersey City, Montclair, and INV Plainfield, New Jersey ; York, abs Pittsburgh, and Beaver, Pa.; Cleveland and Findlay, Ohio; Decatur and Quincy, 1]].; Saint Paul, Minnesota; 12Π10. Bound in Leather. and at With col- Phillips Academy ored Maps, Exeter, N. Hampshire; Plans, Illus- Wesleyan Academy, trations, and Wilbraham, Mass.; Vocabulary. Thayer Academy, $1.60. Braintree, Mass. ; Adofied at Colgate Academy, Berkeley School, Hamilton, N.Y.; Friends’ Central ers York City; High School, Dr. Pingry’s School, Philadelphia; Hasbrouck Institute, Horner Sch., Dearborn Morgan Sch. Oxford, Peddie Institute, N.J.; De Lancy School and Germantown Academy, Pa. In the Prep. 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Y.; Franklin, Titusville, Williamsport, Pa. ; Quincy and Rockford, Ill.; Burlington, Ia.; Leavenworth, Kan.; Denver, Colo. ; and many others of similar standing. Prof. H. 5. Kritz, Wabash College, Crawfordsville, ind. — Y ou will be pleased to know that I am having better success in teaching a beginners’ class in Frost’s Primer than with any other book hitherto used. R. W. Tunstall, Principal Norfolk Academy, Va. —It is a delight alike to eye and mind. The next time I hear anybody question the educational value of Greek, I am going to show him this book as my only argument. It shall certainly be adopted for our next class. Charles E. Lord, Principal Franklin Academy, Pa:—I think the Greek Primer by far the best book for beginners that I have ever seen. It works admi- rably with the class, and they are much interested. Allyn & Bacon.... Boston. Keep’s Homer’s Iliad Thurber’s Vocabulary Are now made in the following forms: Iliad, Books I.-III., cloth . . .. . . $0.90 ——_— bound with Vocab., leather 1.20 Iliad, Books I.-VI., leather . .. .. 1.40 ————_ bound with Vocab., leather 1.60 Vocabulary to Iliad, I-VI, paper . . . 0.50 The editions of Books I.-VI. contain a fac- simile of a page of the famous Venetian Manu- script of the Iliad. No pains have been spared to make these the most useful and practical editions of the Iliad that can be put into the hands of a beginner, and they are almost untvers- ally accepted, not only as the best school editions of any part of Homer, but also as text-books of altogether exceptional merit. Prof. M. L. D’Ooge, University of Michigan. — It is unquestionably the most useful and the most attractive school edition of the first six books of the Iliad that has ever been prepared for English-speaking - students. The Introduction, the Essay on Scanning, and the Sketch of the Epic Dialect are each admi- rable in its way; while the notes in general seem well suited to the wants of those for whom the edition is designed. Allyn & Bacon.... Boston. Moss’s ae . HINTS ON TRANSLATION, First NOTES, Greek AND VOCABULARY. Revised edition. Reader. 160 pages. 70 cents. It is the aim of the author to furnish a book for beginners which shall be simple and interest- ing, and at the same time contain a large number of such words, phrases, and idioms as are of frequent occurrence in Attic Greek. The book contains no disconnected sentences; it consists of a series of carefully graded exercises for trans- lation, beginning with the simplest stories, and ending with extracts adapted from Xenophon, Herodotus, and Lucian. William C. Collar, Head-Master Roxbury Latin School, Mass. —It is one of the brightest and most amusing school-books that I have ever seen. We have used it for a number of years with great satis- faction. Prof. J. B. Sewall, Principal of Thayer Academy, Braintree, Mass. — The work is well done, and I think the volume will prove very valuable for begin- ners, especially for sight-reading. Prof. E. B. Clapp, ///inois College, Jacksonville, 71. --- There can be no question of the success with which Professor Moss has striven to make his book easy, interesting, and progressive. Allyn & Bacon.... Boston. Greek Prose Com position. Allinson’s 16mo. Cloth. 212 pages. $1.00. This book is intended for use in writing con- nected Greek prose. It presupposes a knowl- edge of forms, and contains: I. Notes_on Idiom and Syntax, explaining the use of the article, pronouns, participles, moods, and tenses. II. Summary of Rules for cases and accents. III. - Exercises, carefully graded, and arranged in three sections. Ιν. Α general vocabulary. Dr. Morris H. Morgan, Harvard College.—I1 have carefully examined the book, and believé that it isa most excellent guide. Especially am I pleased with the fact that the exercises are based on real Greek models and expressed in the English language. This book is not disfigured by the vile jargon which was invented by the adversary for particular use in such manuals, a language certainly spoken nowhere upon earth and, I trust, not elsewhere. I hope the book will meet the great success it deserves. Prof. Robert Sharp, Zulane University, New Orleans. —1I need not say that I am pleased with the book; my action in adopting it for my classes shows as much. But I will say that it supplies our needs here better than any other book I have yet seen. Allinson's Greek Composition. Adopted for use at: Phillips Exeter Academy, N. H. ; Wesleyan Academy, Wilbraham, Mass. ; Hopkins Grammar School, New Haven, Conn.; William Penn Charter School, Philadelphia; Marston’s University School, Baltimore ; Smith Academy, St. Louis, Missouri; Bowdoin College, Brunswick, Maine; Harvard College and Boston University, Mass. ; Columbia College, New York City ; Hobart and Alfred Colleges, New York ; Allegheny Coliege, Meadville, Pa. ; Johns Hopkins University, Baltimore ; Denison University, Findlay College, and University of Cincinnati, Ohio; Lake Forest University, Wheaton Coll., Ill.; Wabash College, Crawfordsville, Ind. ; University of Michigan, Ann Arbor ; University of Missouri, Columbia ; University of Alabama, Tuscaloosa ; Tulane University, New Orleans, La. ; Iowa and Cornell Colleges, Iowa. Dr. E. R. Humphreys, Uuzversity Tutor, Boston. —I have found it to be a judicious, scholarly work, which honestly fulfils its avowed purpose; and it certainly ought to have a large and constant use in the colleges and higher classical schools of the country. Prof. William P. Taylor, Pantops Academy, Va. — I have nothing but praise for the work, especially for the (Votes and the Syntax. It is difficult to see how the author could be surpassed in his admirably clear condensation of so much grammatical matter. I shall use it with my classes hereafter. Allinson. Bristol. Felton. Fernald. Frost. Keep. Kelsey. Mather. Moss. Sewall. Thurber. Tyler. Wagner. Williams. Winans. Greek Text-Books. Greek Prose Composition . Select Orations of Lysias Aristophanes’ Birds . Clouds Isocrates’ Panegyricus . Greek Historians . Greek Primer . Mea ΉΤοΣ Homer’s Iliad. Books I.-VI. With Vocab. Books [.-III. With Vocab. Xenophon’s Anabasis, I.-1V . Greek and Roman Mythology Prometheus of Aéschylus . Herodotus and Thucydides Electra of Sophocles First Greek Reader . Conditional Sentences Vocabulary to Iliad, I.-VI. Demosthenes de Corona . Olynthiacs Philippics Olynthiacs and Philippics in one vol. Plato’s Phaedo Apology and Crito Lucian, Selections : Short Extracts. . Xenophon’s Memorabilia Symposium . . . B1.00 T,00—, 1.10 1.10 80 1.50 το 1.40 1.60 1.20 1.60. TOS 1.10 1.20 1.20 I. 20-= 1.40 1.20— Ce ae τ «ὦ glae «λον Ὁ καὶ | Form evvos (τας τ ἐν εἶν { 8 0 049 4 ἐπ ὁ yy 5 CQ Ξ Θ Ξ + :ς Θ Ces CNY 5 το -" mal Ξ oO ἢ oe) I bay ¢ = Taek wa ces a fS Lowa ος Sa Sve ah oe f page ges Se ot jes Te a ee