Aeschylus Prometheus Bound 561

Robert Potter (Translator)

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Whither, ah whither am I borne t
!
To what rude ſhore, what barb'rous race? O thou,
Whoe'er thou art, that chain'd to that bleak rock,
The ſeat of deſolation, rueſt thy crimes,
Say on what ſhore my wretched footſteps ſtray.-
575

Prometheus Bound. Aeschylus. Robert Potter (Translator). London. 1779.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Prometheus Chained (OCR draft) (English) (Prometheus Chained. Robert Potter, 1779.)

Provisional text from uncorrected OCR; expect errors.

Editions (7)
Προμηθεὺς Δεσμώτης First1KGreek (Aeschyli Tragoediae. Sidgwick, Arthur, editor. Oxford: Clarendon Press, 1902.) — 561-573 focus
Προμηθεὺς δεσμώτης Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, editor. London; New York: William Heinemann; G.P. Putnam's Sons, 1922.) — 561-573 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Guilielmus Dindorfius, 1882.) — 561 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Gottfried Hermann, 1852.) — 561 focus
ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ (OCR draft) Experimental (ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ. Paul Mazon, 1920-1925.) — 561 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. N. Wecklein, 1885.) — 561 focus
τίς γῆ; τί γένος; τίνα φῶ λεύσσειν
τόνδε χαλινοῖς ἐν πετρίνοισιν
χειμαζόμενον ;
τίνος ἀμπλακίας ποινὰς ὀλέκῃ;
σήμηνον ὅποι
585
γῆς ἡ μογερὰ πεπλάνημαι.
Aeschyli Prometheus Vinctus (OCR draft) Experimental (Aeschyli Prometheus Vinctus. Ulrich von Wilamowitz-Moellendorff, 1914.) — 561 focus
Translations (7)
Prometheus Bound Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, translator. London; New York: William Heinemann; G.P. Putnam's Sons, 1922. (Modernized by Perseus.)) — 561-570 focus
Prometheus Bound. (OCR draft) Experimental (Prometheus Bound.. Theodore Alois Buckley, 1849.) — 561 focus
What land is this? what race? whom shall I say I here behold storm-tossed in rocky fetters? Of what trespass is the retribution destroying thee? Declare to me into what part of earth I forlorn have roamed.
PROMÉTHÉE ENCHAINÉ (OCR draft) Experimental (PROMÉTHÉE ENCHAINÉ. Paul Mazon, 1920-1925.) — 561 focus
avec ce chant, un autre bien différent, revole maintenant vers moi, le chant d'hyménée que j'entonnai jadis autour du
bain et du lit de tes noces, le jour où, sensible à tes présents, Hésione, notre sœur, fut conduite par toi au lit de l'épousée 1 !
Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli (OCR draft) Experimental (Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli. Ettore Romagnoli, 1922.) — 561 focus
Dove son? fra che genti? Costui
che legato ai dirupi vegg'io,
esposto ai rigori del cielo,
chi sarà ? Questa pena ferale
660
per quale misfatto patisce ?
Or tu dimmi in che parte del suolo,
o me misera!, errando son giunta.
Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii (OCR draft) Experimental (Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii. Ioannes Sanravius, 1555.) — 561 focus
Quæ terra, quæ natio? quem dicam videre,
Nunc
555
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.) — 561 focus
Alack! what land, what folk are here?
Whom see I clenched in rocky fetters drear
Unto the stormy crag? for what thing done
Dost thou in agony atone?
Ah, tell me whither, well-a-day!
610
My feet have roamed their weary way?
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.) — 561 focus
Welch Land? Welch Volk? Wen sehen wir dort
An dem Felsabhang in die Bande gezwängt,
Unwettern ein Spiel? Um welches Vergeh'n
Zehrt Strafe dich auf? O verkünde, wohin
560
In die Welt ich Arme verirrte!

Commentary

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

571. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-647

τὴν:
τὴν
G.

571. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-648

ψάμμον:
ψάμμαν
Μ. superscripto a recentiore manu
ον
.

572. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-649

ὀτοβεῖ: Apertum est indicio aliquo, quod statim animadverteretur, admonendos de strophae initio fuisse spectatores. Quare non dubitandum est quin hic modi cantus fuerint mutati. Plutarchus de ira cohibenda p. 456.
ὥςπερ ὁ τῶν βουκόλων κηρόπλαστος ὀττοβεῖ δόναξ ἀχέτας ὑπνοδόταν νόμον
. Non pertinet huc
πλάσις
et
πλάσμα
arundinum, de quibus Theophrastus Hist. plant. IV. 11. ed. Schn. et Salmasius Exerc. Plin. p. 85. dixerunt, sed intelligitur quod Virgilius dixit Ecl. II. 32.
Pan primus calamos cera coniungere pluris instituit
.
ὀτοβεῖ
M. In ceteris libris et apud Plutarchum
ὀττοβεῖ
.

573. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-650

ὑπνοδόταν νόμον:
ὑπνοδότ᾽ ἄνομον
G.

574-575. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-651

ἰὼ ἰὼ πόποι, ποῖ μ᾽ ἄγουσιν τηλέπλανοι πλάναι;:
ἰὼ ἰὼ ποῖ ποῖ. πόποι πόποι πῆ μὲ ἄγουσι
Μ.
ἰω ἰὼ ποῖ ποῖ. πόποι πόποι πῆ μὲ ἄγουσι
Vit.
ἰὼ ἰὼ ποῖ ποῖ. πῶ ποῖ. πῶ ποῖ. ποῖ μὲ ἄγουσι
G. Vind. 1. 3.
ἰὼ ἰὼ ποῖ. ποῖ. πῶ, πῶ, πῶς πῆ μὲ ἄγουσιν
Lips. Aug. et sic, sed
ἄγουσι
, edd. vett.
ἰὼ ἰὼ πῶ, πῶς ποῖ μὲ ἄγουσ' αἱ
Ven. 2. Par. K. L. Alii aliter peccant. Tum
τηλεπλαγκτοι
sic M.
τηλέπλαγκτοι
Par. A. B. edd. vett.
τηλέπληκτοι
G.
τηλέπλακτοι
Lips. Aug.
τηλίπλακτοι
Vit.
τηλέπλαγκται
Colb. 1. 2. Cantabr. 1. Par. K. L. N. nisi in terminatione erratum est apud Butlerum. Denique
πλάνοι
Vit. edd. vett. et sic, non adscripto supra
αι
, etiam M.
πλάναι
G. Lips. Aug. Par. Α. Β. Vindobonenses quattuor aliique. Seidlerus in libro de versibus dochmiacis p. 84. et 141. corrigendum putavit
ἰώ ἰὼ πόποι, ποῖ, πόποι, ποῖ μ᾽ ἄγουσι τηλέπλανοι πλάνοι
,adscito in antistrophico versu
ἐτήτυμα
. Horum illud quidem,
ἰώ ἰὼ πόποι
, non dubitandum quin verum sit. Neque minus verum
τηλέπλανοι
, quocum propter sonum et propter librorum consensum in v. 585. rectius
πλάναι
quam
πλάνοι
coniungitur. Sed
ποῖ, πόποι
valde inelegans est, debebatque id
ὦ πόποι
scribi, si quidem
ποῖ μὲ ἄγουσι
statim iunctum fuit cum
τηλέπλανοι πλάναι
. De quo valde dubitandum est propter plerorumque et optimorum librorum in antistrophico versu scripturam duos Creticos exhibentium, qui usitatissimus numerus in dochmiacis est, quum vix alibi Creticus et ditrochaeus, molle et fractum genus numeri, inseratur. Quare scripsi
ἰὼ ἰὼ πόποι, ποῖ μὲ ἄγουσιν .... τηλέπλανοι πλάναι;
ut excidisse post
ἄγουσιν
significarem vocem iambum facientem, quam non puto
πόποι
fuisse, sed fortasse
μακραί
vel
χθονός
.

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.).

574. mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-380

3
4
574 f. ὑπὸ ... ότοβεῖ: see on 126. a croire Hec. 970 αἰδώς μ᾽ ἔχει ἐν τῷδε πότμῳ τυγχάνουσ᾽ ἵν᾽ εἰμὶ νῦν, Iph. Τ. 947 ἐλ- θὼν δ᾽ ἐκεῖσε, πρῶτα μέν μ᾽ οὐδεὶς ξένων ἑκὼν ἐδέξατο, Cycl. 330 δοραῖσι θηρῶν σῶμα περιβαλὼν ἐμὸν καὶ πῦρ ἀναίθων χιόνος οὐδέν μοι μέλει, Ιοη 927 ὑπεξαν- τλῶν ... ἄρδει με, Hipp. 22 τὰ πολλὰ δὲ πάλαι προκόψασ᾽, οὐ πόνου πολλοῦ με δεῖ. See Krüger I. § 56, 9, 4, and note on 201 above. - With μυριωπὸν βούταν cp. Suppl. 304 πανόπτην οἰοβούκολον, also 677 below. 570. δόλιον ὄμμα: aptly charac- terizes the crafty glance of the pur- suing spectre. - Dochmii are the proper rhythm for monodies of trag- edy which express passionate agita- tion. 571. κατθανόντα: cp. Suppl. 305 ῎Αργον, τὸν Ἑρμῆς παῖδα γῆς κατέκτανε. 572. ἀλλά με: the relative clause is continued, as usual, by an indepen- dent sentence. 573. ψάμμαν: the form ψάμμη (for (not of short) words between prepo- sition and verb, see Krüger II. § 68, 48, 4, and below on 878. – κηρόπακ- τος: wax-joined. Cp. Eur. Iph. T. 1125 συρίζων ὁ κηροδέτας κάλαμος οὐ- ·ρείου Πανός, Theocr. Id. i. 128 ἔνθ᾽ ὧναξ καὶ τάνδε φέρ᾽ εὐπάκτοιο· μελί- πνουν ἐκ κηρῶ σύριγγα καλάν, Εp. xiii. 4 κηροδέτῳ πνεύματι μελπόμενος, Ovid. Metam. i. 711 disparibus cala- mis compagine cerae inter se iunctis, Verg. Ecl. ii. 32 Pan primus calamos cera con- iungere pluris instituit. The flute of the αὐλητής was here actually heard, accompanying the strophic portion of Io's song. The foregoing portion was recitative (παρακαταλογή). · ὑπνοδόταν νόμον : the "slumberous lay" depicts the exhaustion of Io.