Aeschylus Prometheus Bound 592.app-592-1

ed. Gottfried Hermann

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Critical apparatus to Prometheus Bound (OCR draft) (Latin) (Latin and Greek critical apparatus to Gottfried Hermann's 1852 edition of Prometheus Bound.)

Provisional text from uncorrected OCR; expect errors.

Editions (7)
Προμηθεὺς Δεσμώτης First1KGreek (Aeschyli Tragoediae. Sidgwick, Arthur, editor. Oxford: Clarendon Press, 1902.) — 609-886 focus
Προμηθεὺς δεσμώτης Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, editor. London; New York: William Heinemann; G.P. Putnam's Sons, 1922.) — 609-886 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Guilielmus Dindorfius, 1882.) — 593 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Gottfried Hermann, 1852.) — 593 focus
ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ (OCR draft) Experimental (ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ. Paul Mazon, 1920-1925.) — 593 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. N. Wecklein, 1885.) — 593 focus
πόθεν ἐμοῦ σὺ πατρὸς ὄνομ᾽ ἀπύεις;
εἰπέ μοι τᾷ μογερᾷ τίς ὢν
τίς ἄρα μ᾽, ὦ τάλας,
620
τὰν ταλαίπωρον ὧδ᾽ ἔτυμα προσθροεῖς,
θεόσυτόν τε νόσον ὠ-
νόμασας, ἃ μαραίνει με χρίουσα κέντ-
ροισι φοιταλέοις, ἔ ἔ.
σκιρτημάτων δὲ νήστισιν αἰκίαις
625
λαβρόσυτος ἦλθον,
ἐπικότοισι μήδεσι δαμεῖσα. δυσ-
δαιμόνων δὲ τίνες οἱ,
ἔ ἔ, οἳ ἐγὼ
μογοῦσιν, ἀλλά μοι τορῶς
630
τέκμηρον ὅ τι μ' ἐπαμμένει
Aeschyli Prometheus Vinctus (OCR draft) Experimental (Aeschyli Prometheus Vinctus. Ulrich von Wilamowitz-Moellendorff, 1914.) — 593 focus
Translations (8)
Prometheus Bound Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, translator. London; New York: William Heinemann; G.P. Putnam's Sons, 1922. (Modernized by Perseus.)) — 575-605 focus
Prometheus Bound. (OCR draft) Experimental (Prometheus Bound.. Theodore Alois Buckley, 1849.) — 593 focus
From whence utterest thou the name of my father? Tell me, the woe-begone, who thou art, who, I say, O hapless one, that hast thus correctly accosted me miserable, and hast named the heaven-inflicted disorder which wastes me, fretting with its maddening stings? Ah! ah! violently driven by the famishing tortures of my boundings have I come a victim to the wrathful counsels of Juno. And of the ill-fated who are there, ah me! that endure woes such as mine? But do thou clearly define to me what remains for me to suffer, what salve: what remedy there is for my malady, discover to me, if at all thou knowest: speak, tell it to the wretched roaming damsel.
PROMÉTHÉE ENCHAINÉ (OCR draft) Experimental (PROMÉTHÉE ENCHAINÉ. Paul Mazon, 1920-1925.) — 593 focus
des dieux qui me consume et me taraude d'un aiguillon de folie vagabonde, hélas ! Dans l'in-
famie des bonds affamés dont la fougue m'emporte, j'arrive, victime des volontés rancunières d'Héra 1 . Qui donc parmi les malheureux endure maux pareils, pareils, hélas ! à ceux qui
sont les miens ? Allons, signifie-moi nettement quelles souffrances m'attendent. Est-il une issue, un remède à mon mal ? Montre-le moi, si tu le sais. Parle et renseigne la triste vierge errante.
Prometheus Chained (OCR draft) Experimental (Prometheus Chained. Robert Potter, 1779.) — 593 focus
Whence is it that I hear my father's name?
Speak to my miſery, tell me who thou art;
What wretch art thou, that to a wretch like me
Uttereſt these truths, naming the malady,
Which, heav'ninflicted, ſtings my tortur'd ſoul
605
To frenzy? Hence with hurrying ſteps I rove
Foodleſs, purſued by neverceaſing wrath.
Ah me! What child of miſery ever ſuffer'd
Miſery like mine?
But tell me, clearly tell me
610
What woes await me yet, what eaſe, what cure?
Say, if thou know'ſt, ſpeak, tell a wand'ring virgin.
Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli (OCR draft) Experimental (Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli. Ettore Romagnoli, 1922.) — 593 focus
Com'è che il nome sai di mio padre ?
Dimmelo, a questa meschina dillo.
Chi, sventurato, sei tu, che a questa
misera parli sí vere cose,
700
ed il celeste morbo hai nomato
che me tapina strugge, e m'incalza,
ahi, ahi! coi pungoli della demenza?
Ahimè, ahi!
Movendo, a sconci balzi, famelica,
705
spinta dal rabido furore d'Era,
impetuosa giunsi. Fra i miseri
chi v'è che soffra quello ch'io soffro ?
Deh!, chiaro insegnami, tu, adesso, mostrami
che cosa debbo patire ancora.
710
E dimmi inoltre, se lo conosci,
se v'è del male rimedio o farmaco.
Schiudi le labbra : favella a questa
vergine, a errore misero spinta.
Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii (OCR draft) Experimental (Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii. Ioannes Sanravius, 1555.) — 593 focus
Vnde tu mei patris nomen vociferaris
Dic mihi miseræ, quis'nam sis miser.
Meq; miseram verè dixisti.
590
Diuinitus missum malum nomasti,
Quod me urit pungens
Stimulis acribus, heu heu,
Saltationum ieiunam,
supplicijs
595
Vehemens veni,
Culpandis curis domata.
Deorum infœlicium aliqui qualia ego patiuntur?
Sed manifestè mihi significa,
Quid me pati
600
oportet, et quid non: quod'nã sit morbi remedium
Ostende: si nosti, narra,
Dic huic vagæ puellæ.
English (E. D. A. Morshead, 1908) (OCR draft) Experimental (Aeschylus, Prometheus Bound — Morshead translation. Wikisource transcription; speech corresp and card milestones aligned to Smyth perseus-grc2.) — 593 focus
Alack, thou namest Inachus my sire!
Wottest thou of him? how, from lips of pain,
Comes to my woeful ears truth's very strain?
How knowest thou the curse, the burning fire
645
The god-sent, piercing pest that stings and clings?
Ah me! in frenzied, foodless wanderings
Hither I come, and on me from on high
Lies Hera's angry craft! Ah, men unblest!
Not one there is, not one, that is unblest as I.
650
But thou—tell me the rest!
Utter the rede of woes to come for me;
Utter the aid, the cure, if aid or cure there be!
German (J. J. C. Donner, 1854; OCR review) (OCR draft) Experimental (Aeschylos. Deutsch in den Versmaßen der Urschrift. Stuttgart: Hoffmann, 1854. Native Donner line citations, Smyth card correspondence, selected textual readings and metrical facsimiles. Remaining OCR differences and unattributed reading notes are documented in the linked review inventory.) — 593 focus
Wie wurde dir meines Vaters Name kund?
Sage mir's, der Dulderin!
Und wer, Armer, bist du selbst,
Der mich Qualvolle so mit treffendem Namen nennt?
Der du das Leid aussprachst, das von den Göttern mich
595
Endlos quält, das in's Herz zehrend bohrt
Stacheln rasenden Wahnsinns? Ha!
In irren Sprunges stürmender Hast, gejagt
Von grollender Rache Hera's,
Kam ich hieher, in wildwühlenden Hungers Qual.
600
Wer ist der Unselige, der (o Graun !)
Duldet, was ich dulde?
Auf, enthülle mir
In klarer Rede, welches Leid
Mir noch bevorsteht, zeige, wenn du kannst, den Weg,
605
Meine Qual zu heben!
O sprich, gib der unsel'gen Jungfrau Bescheid!

Commentary

Critical apparatus to Prometheus Bound (OCR draft) (Latin and Greek critical apparatus to Gottfried Hermann's 1852 edition of Prometheus Bound.) focus

592. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-674

στυγητὸς:
στυγητῶς
Vit.

592. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-675

πρὸς βίαν:
πρὸς βίειν
G.

592. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-676

γυμνάζεται:
γυμνάζεται
Μ.
γυμανάζεται
Lips. et in margine
γρ. βιάζεται
, quod etiam Vind. 2. 4. in margine habent, in textu Arund. Cantabr. 2.

English commentary on Prometheus Bound (OCR draft) (N. Wecklein, translated by F. D. Allen. Ginn & Company, 1893; compared with the 1891 printing. Printed commentary pages 31–144. Provisional alignment and unresolved OCR are visibly flagged.) focus

561-886. mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-375

1
2
561-886. Third Episode. Io and Prometheus. The myth of Io is connected with that of Prometheus by the person of Heracles, the libera- tor of Prometheus, who is descended from paphus, the son of Zeus and Io (see on 774). The appearance of Io therefore prepares the way for the introduction of Heracles in the Προ- μηθεὺς λυόμενος. But the immediate significance of this scene consists in the present relation of Zeus and Io. Io appears as innocent and yet perse- cuted; her sufferings, superficially considered, put Zeus in the worst possible light. Accordingly the in- dignation of Prometheus rises more and more, till at last, carried away by passion, he vaunts his secret in such terms that the interposition of Zeus becomes inevitable. So the transition to the catastrophe is pre- pared. The geographical part of this episode, with its description of marvels, like the scene of Heracles in the Προμηθεὺς λυόμενος (see below, Frg. VII. and VIII.), doubtless had a peculiar charm for the Athenians of the period. On the origin of the myth of Io, see Introd. p. 9, footnote. Io appears as a horned maiden (588, 674; so indi- cated by her mask). In early Greek art, especially in vase-paintings, she has the figure of a cow outright. On the throne of the Amyclaean Apollo, a work of the sculptor Bathycles (about Ol. 60), Hera was represented as glaring at Io, 'who is already a cow' (Paus. iii. 18. 7). On an archaic black-figured vase of the Munich collection (No. 573; see Panofka, Argos Panoptes, plate 5), Argus is seen, seated on the ground, a fero- cious figure with long hair and beard, and a huge eye in his shaggy breast; he holds in his hand a long cord, attached to the horns of a cow. Near by stands Hermes, grasping the cord near the horns with his left hand, and about to draw his sword with his right. Argus's dog
stands at bay in front of his master. Through the influence of this trag- edy, Io came later to be depicted in art as a maiden with horns. So, for instance, on a red-figured vase of the Berlin Museum (Panofka, l.c., plate 3). The stinging gadfly' of the legend (cp. Suppl. 306 BΑ. τί οὖν ἔτευξεν ἄλλο δυσπότμῳ βοΐ; ΧΟ. βοη- λάτην μύωπα κινητήριον, Verg. Georg. iii. 147 cui nomen asilo Ro- manum est, oestrum Graii vertere vocantes), which is mentioned in Io's narrative, 675 be- low, had also to be omitted in the scenic representation. The difficulty was met by a figurative conception of οἶστρος; the maddening sting was interpreted as the reminiscence of the crafty eye of Argos (567). — On account of the unusual manner of Io's entrance and exit, the anapaests which commonly accompany the ar- rival and departure of a personage are here and at 877 given to the actor, not to the chorus. So above, at the entrance of the chorus (120 ff.).