205-224.
mvp-comment-159-1
The Chorus in response to Deianira raise this strain, accompanied, at least in the latter part of it (216 foll.), with dancing, or some rapid motion to and fro. Cp. Aj. 693-717, О. Т. 1086–1109, Ant. 1115-1152, for similar expressions of hope before some catastrophe. See also O. C. 1044 foll., El. 1384-1397. The maidens who are come to visit Deianira (1) challenge the maidens within the house to shout for joy, and (2) invite the young men to accompany them; (3) they encourage each other to raise the hymn to Artemis, (4) they dance under the excitement of the flute and the thyrsus, (5) they call attention to the coming of Lichas with the captives. These quick changes mark the feeling of trepidation which the situation is calculated to produce.
205.
mvp-comment-160-1
ἀνολολύξατε δόμοις] There is no cause for changing the MS. reading of this line, which, as Hermann pointed out, has the same metre as El. 1384, ἴδεθ᾽ ὅπου προνέμεται. The plur. imperative is addressed to all within the house (young men and maidens), who are mentioned separately afterwards.
206.
mvp-comment-161-1
ὁ μελλόνυμφος is either (1) used collectively-the indefinite singular for the indefinite plural (
Essay on L. § 20. p. 31
)-or (2) there is an ellipse of χόρος (κατὰ σύνεσιν). The former (1) is more probable, and the gender is to be accounted for, as in l. 151 supr., τὴν αὑτοῦ σκοπῶν πρᾶξιν. The word μελλόνυμφος may be suggested by Deianira's description in ll. 144-150. Those to whom marriage is in futurity. Such echoes of the dialogue are frequent in the choric songs. ἐν δέ] · And therewith.'
Essay on L. § 18. p. 26.
κοινός] Mingling' with the voices of the maidens. Cp. O. C. 1500, τίς αὖ παρ᾽ ὑμῶν κοινὸς ἠχεῖται κτύπος; κοινὸς feminine occurs only here.
207.
mvp-comment-162-1
ἴτω] Nauck well quotes Fr. 435, ἴτω δὲ Πυθιὰς βοὰ θεῷ : Eur. Fr. Phaeth. 775, l. 52, ἴτω τελεία γάμων ἀοιδά. τὸν .. προστάταν] The accusative is governed by the general notion of celebrating' implied in the preceding words. See
E. on L. § 16. p. 23.
εὐφαρέτραν] ‘Lord of the quiver,' an epithet which either (1) simply brings the figure of the god vividly before the eye, cp. ἀργυρότοξος, or (2) implies his propitious power.
209.
mvp-comment-163-1
προστάταν] “The protector,' Apollo προστάτης οι προστατήριος, is rightly invoked by those within the house, as having his altar at the gate. El. 637-
210.
mvp-comment-164-1
παιᾶνα παιᾶν] The repetition imitates the hymn itself, in which the same sounds would be often renewed. ἀνάγετε] Cp. Eur. Phoen. 1350, ἀνάγετε κωκυτόν. ὦ παρθένοι] The Chorus now address themselves, as below l. 821, ἴδ᾽ οἷον, ὦ παῖδες, προσέμιξεν ἄφαρ, κ τ.λ.
211.
mvp-comment-165-1
βοᾶτε τὰν .. "Αρτεμιν] ‘Call aloud the name of Artemis.' Cp. supr. 207. ὁμόσπορον] ‘His sister. See the Homeric Hymn to Apollo, ll. 14 foll., and the Hymn to Artemis, l. 2.
212.
mvp-comment-166-1
Ὀρτυγίαν] Two accounts are given of the use of this epithet: (1) that as, according to the Scholiast of Apollonius Rhodius, the name Ortygia primarily belonged to Artemis as worshipped in Aetolia, she is so named here in compliment to Deianira: (2) that Artemis Ortygia was believed to haunt some place in the neighbourhood of Trachis. The latter is confirmed by l. 637, and by the most natural meaning of γείτονας in this passage, viz. 'in our neighbourhood.' The comparison of the Syracusan Ortygia (Pind. Pyth. 2. 10, 11, 'Ορτυγίαν ποταμίας ἕδος᾿ Αρτέμιδος) may suggest that the goddess was imagined to haunt wooded promontories or peninsulas, which had been left wild from being difficult of access. The quail (ὄρτυξ) may have been peculiarly abundant in such places. For γείτονας, i.e. Μηλιάδας, cp. Phil. 725, Μηλιάδων νυμφᾶν, κ.τ.λ.
214.
mvp-comment-167-1
ἀμφίπυρον] Artemis is commonly represented with a torch in either hand. Cр. О. Т. 207, 8, τάς τε πυρφόρους | ᾿Αρτέμιδος αἴγλας ξὺν αἷς | Λύκι᾿ ὄρεα διάσσει.
216.
mvp-comment-168-1
This line seems to mark the point where the dance, or the rapid movement of the Chorus, begins. The elision of the termination in ἀείρομαι is very unusual.
216.
mvp-comment-168-2
ἀείρομ᾽ οὐδ᾽ ἀπώσομαι τὸν αὐλόν] 'I am uplifted, and will not repel the flute;' i.e. I will yield to its power. The following words are not addressed to Deianira, but are an apostrophe to the power of the flute, 'The sovran of the willing soul' (as Gray calls the lyre, in summing up the first Pythian), which is compelling them to the dance. Cp. Αj. 693, περιχαρής δ᾽ ἀνεπτάμαν.
219-220.
mvp-comment-169-1
ἰδοὺἅμιλλαν] • Behold even now (glory to Iacchos), the ivy stirs up my soul, and makes me quick to turn in' (or 'into') 'the Bacchic course!' The ivy upon their brows, or wound about the thyrsus, with which they incite each other to the dance. βακχίαν .. ἅμιλλαν is probably acc. in app. with the action of ὑποστρέφων. Turning me' either in,' or 'into the Bacchic course.' Others, with the Scholiast, would render, Converting my soul (from sorrow) to the Bacchic dance.'
222.
mvp-comment-170-1
ἰὼ, ἰὼ Παιάν] The Chorus are just leading up the Paean, which from its monotony could not have been continued with dramatic effect, when Lichas arrives, and they break off. The correction of the text is due to Dindorf, who also reads γυναικῶν. But there is no reason to assume that the three lines must be alike. The iambic tripody with a pause makes a good transition to the other form, CICIC!!. (Qy. ἰδέ· | ἴδ᾽ ὦ φ. γ.?)
