561-886.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-375
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.).
567.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-378
567 f. Quod dicit av, id scite et convenienter spectatoris cogitationem ad ea quae extra scenam gesta sunt, traducit' (Schütz). –
εἴδωλον: acc. depending on
εἰσορῶσα. –
γηγενούς : cp. Suppl. 305
῎Αργον
παῖδα
γῆς.
ἄλευ᾽
ὦ
δᾶ: in a frenzy of fear, Io interrupts her sentence with this cry. Cp. Suppl. 528 and Sept. 141
ἄλευσον, Sept. 86
ἰ
ἰὼ
θεοὶ
θεαί
τ᾽
ὀρόμενον
κακὸν
ἀλεύσατε.
δᾶ is vocative of
Δᾶς =
Ζᾶς =
Ζεύς (cp.
ἃ
Ζήν, Suppl. 162), but it is a mere interjection, not an invocation of the particular god. Cp. Eum. 874
οἰοῖ
δᾶ,
φεῦ.
569.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-379
569.
τὸν
μυριωπὸν
εἰσορῶσα
βού-
ταν: as if
οἰστροῦμαι and
῎Αργον
γη-
γενῆ had preceded the intermediate exclamation. With
ψάμμος) recurs Ar. Lys. 1260
(τᾶς
ψάμμας) and Hdt. iv. 181.
