1-127.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-1
1-127: Prologue
(πρόλογος).
88-127.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-69
88-127. Second Scene. Pro- metheus alone. With this invocation of the elements cp. Il. iii. 277
ἠέλιός
θ'
ὃς
πάντ᾽
ἐφορᾶς
καὶ
πάντ᾽
ἐπακούεις,
καὶ
ποταμοὶ
καὶ
γαῖα, Soph. Phil. 936&
λιμένες,
ὦ
προβλῆτες,
ὦ
ξυνουσίαι
θηρῶν
ὀρείων,
ὦ
καταρρῶγες
πέτραι,
ὑμῖν
τάδ',
οὐ
γὰρ
ἄλλον
οἶδ᾽
ὅτῳ
λέγω,
ἀνακλαίομαι. Apsines (Rhet. Gr. ed. Spengel I. p. 400) says:
κινεῖ
δὲ
ἔλεον
καὶ
λόγος
πρὸς
τόπον
τινὰ
γινόμενος.
122.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-96
122.
αὐλήν: cp. Od. iv. 74
Ζηνός
που
τοιήδε
γ᾽
Ὀλυμπίου
ἔνδοθεν
αὐλή.
εἰσοιχνεῦσιν : Ionic contraction, like
πωλεύμεναι 645; used because
οἰχνέω and
πωλέομαι are epic words. Cp. Eur. Med. 422
ὑμνεῦσαι, Hipp. 167
ἀΰτευν,
Ιph.
Α. 789
μυθεῦσαι. Cp. also Ag. 942
δήριος (from the Ionic
δῆρις).
124.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-97
124 ff.
κινάθισμα:
κίνημα
πλήθους, Hesych. –
οἰωνῶν : the chorus is now so near that Prometheus can distin- guish the sound of wings. -
ἐλαφραῖς
πτερύγων
ῥιπαῖς:
cp. Eur. Frg. 597
ταῖς
ὠκυπλάνοις
πτερύγων
ῥιπαῖς. –
ὑπο-
συρίζει: this does not mean leniter stridet (Blomfield), but
ὑπο- ex- presses the idea of accompaniment, as in
ὑπάδειν,
ὑποστεναχίζειν,
ὑπορχεῖ-
σθαι,
ὑπηχεῖν, succinere.
127.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-98
128-192.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-99
128-192. Parodos. It is com- matic, that is, divided between actor and chorus. The chorus enter in a winged car
(ὄχῳ
πτερωτῷ 135,
κραι-
πνόσυτον
θᾶκον 279), moved by the- atrical machinery. The car, advancing from the right side, has gradually approached Prometheus. It is seen by the spectators while still invisible to Prometheus, who can only look straight before him. At 124 the chorus are already very near, and they hear the words of 127
(φοβερόν). - The
᾿Ωκεανίδες are daughters of Oceanus and Tethys; see Hesiod Theog. 362. Hesiod (ibid. 346) enum- erates
forty-one by name, and adds
πολλαί
γε
μέν
εἶσι
καὶ
ἄλλαι,
τρὶς
γὰρ
χίλιαί
εἰσι
τανύσφυροι
Ωκεανῖναι. Aes- chylus's chorus consisted of twelve persons. The first strophe gives the motive of the chorus for coming; this is what an unknown grammarian (in the hypothesis to the Persians) calls '
παροδικά,
ὅτε
λέγει (sc.
ὁ
χορός)
δι᾽
ἣν
αἰτίαν
πάρεστιν.' - The rhythms (
ῥυθμὸς
᾿Ανακρεόντειός
ἐστι
κεκλασμένος
πρὸς
τὸ
θρηνητικόν, Schol.) are in keeping with the sorrowful tone of the composition (see 144 ff.); they
are furthermore especially appropri- ate to a female chorus.
128.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-100
128.
τάξις: said like
στάσις
Εum. 311
ὡς
ἐπινωμᾷ
στάσις
ἁμά, Cho. 458
στάσις
δὲ
πάγκοινος
ἅδ᾽
ἐπιρροθεῖ.