Aeschylus Prometheus Bound 683.app-683-2

ed. Gottfried Hermann

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Prometheus Bound. Aeschylus. ed. Gottfried Hermann. Lipsiae. 1852.

Current edition Experimental

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.) — 687 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Gottfried Hermann, 1852.) — 687 focus
ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ (OCR draft) Experimental (ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ. Paul Mazon, 1920-1925.) — 687 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. N. Wecklein, 1885.) — 687 focus
ἔα ἔα, ἄπεχε, φεῦ·
οὔποτ᾽ οὔποτ᾽ οὔχουν ξένους
715
μολεῖσθαι λόγους
Aeschyli Prometheus Vinctus (OCR draft) Experimental (Aeschyli Prometheus Vinctus. Ulrich von Wilamowitz-Moellendorff, 1914.) — 687 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.)) — 609-885 focus
Prometheus Bound. (OCR draft) Experimental (Prometheus Bound.. Theodore Alois Buckley, 1849.) — 687 focus
Ah! ah! forbear! Alas! Never never did I expect that a tale [so] strange would come to my ears, or that sufferings thus horrible to witness and horrible to endure, outrages, terrors with their two-edged goad, would chill my spirit. Alas! alas! O Fate! Fate! I shudder as I behold the condition of Io.
PROMÉTHÉE ENCHAINÉ (OCR draft) Experimental (PROMÉTHÉE ENCHAINÉ. Paul Mazon, 1920-1925.) — 687 focus
Des-
tinée, Destinée, je frémis à contempler le sort d'Io !
Prometheus Chained (OCR draft) Experimental (Prometheus Chained. Robert Potter, 1779.) — 687 focus
No more, no more, forbear. Ah never, never
Conceiv'd I that a tale ſo ſtrange ſhould reach -
My ears; that miſeries, woes, diſtreſſes, terrors,
695
Dreadful to ſight, intolerable to ſenſe,...
Should ſhock me thus: woe, woe, unhappy fate!
How my ſoul ſhudders at the fate of Iö!
Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli (OCR draft) Experimental (Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli. Ettore Romagnoli, 1922.) — 687 focus
Ahimè, taci, ahimè, taci!
Mai non credevo che queste orecchie
800
udir dovessero sí strani casi,
né che terrori, brutture, spasimi
tanto a vederli fieri e a soffrirli,
con l'affilata
punta dovessero l'alma aggelarmi.
805
Ahi, destino, destino!
Se d'lo contemplo
la triste sorte, m'investe un brivido!
Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii (OCR draft) Experimental (Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii. Ioannes Sanravius, 1555.) — 687 focus
Ah ah, abstine heu,
Nunquam optarem inaudita verba venire
In meum auditum: neq; huc tristia spectatu,
Et non toleranda nocumenta, mala, terricula bicipiti
Stimulo pungere animam meam,
690
Heu heu, fors fors,
Horrui videns actionem Iouis.
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.) — 687 focus
Woe! woe! avaunt—thou and thy tale of bane!
O never, never dared I dream
750
Such horror of strange sounds should pierce mine ear,
Such loathly sights, such tortures hard to bear,
Outrage, pollution, agony supreme,
Wasting my heart with double edge of pain!
Ah Fate, ah Fate! I gaze on Io's dole,
755
And shudder to my soul!
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.) — 687 focus
O wehe, weh! Halt' ein, weh!
Nimmer, nimmermehr wähnt' ich, daß
So schmerzvolles Leid mir je dring' in's Ohr,
Nie, daß so grausenhaft und unerträglich
Qualen und Marter und Angst, ein zweischneidig Schwert,
690
Eiskalt mir durchbohre das Herz!
O Graun, o Graun! Schicksal, Schicksal!
Wie füllt Jo's Leiden mich mit Schauder!

Commentary

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

683. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-773

θείᾳ:
θείας
Lips. Aug.

683. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-774

γῆν πρὸ γῆς:
γῆς πρὸς γῆν
G. Vit. Lips. Aug. aliique et Ald.
γῆς πρὸ γῆν
Bess.
γῆν πρὸς γῆς
vel
γῆς πρὸς γῆς
alii.
γῆν ἐκ γῆς
Rob.
γῆν προγῆς
, a sec. manu ad
προ
adscripto accentu et
σ
, Μ.
γῆν πρὸ γῆς
Turn. Cicero ad Att. XIV. 10.
itaque γῆν πρὸ γῆς cogito
.

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.).