128-192.
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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.
134.
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134.
θεμερώπιν: Empedocles 23
Δῆρις
δ᾽
αἱματόεσσα
καὶ
῾Αρμονίη
θεμε-
ρώπις. Hesychius interprets
θεμερῶπις
(αἰδώς)·
ἐρασμία
αἰσχύνη, but this is inexact, for
θεμερός (from the root
06-) means settled, tranquil, sedate; cp. Hesych.
θεμερή·
βεβαία,
σεμνή,
εὐστα-
θής; also the words
θέμα,
θέμεθλον,
θεμοῦν. Accordingly
θεμερῶπις
αἰδώς is the modesty which makes maidens quiet and sedate. Its opposite is im- plied in
σύθην
ἀπέδιλος.
135.
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135.
σύθην: the tragedians omit the syllabic augment not infrequently in lyric passages and in the narratives
of messengers. The temporal aug- ment is much less often omitted; yet
see
ἐρέθισε 181. –
ἀπέδιλος: the scholi- ast cites Hesiod O. D. 345
γείτονες
ἄζωστοι
ἔκιον. Cp. Soph. El. 871
ὑφ'
ἡδονῆς
τοι,
φιλτάτη,
διώκομαι
τὸ
κόσμιον
μεθεῖσα
σὺν
τάχει
μολεῖν,
Theocr. Id. xix. 36
ἄνστα
μηδὲ
πόδεσσιν
ἐοῖς
ὑπὸ
σάνδαλα
θείης (Bion i. 19 &
δ'
᾿Αφροδίτα
λυσαμένα
πλοκαμίδας
ἀνὰ
δρυμὼς
ἀλά-
ληται
πενθαλέα
νήπαστος
ἀσάνδαλος), Apoll. Rhod. iv. 43
γυμνοῖσιν
δὲ
πό-
δεσσιν
ἀνὰ
στεινοὺς
θέεν
οἴμους (said of Medea). -
ὄχῳ
πτερωτῷ: winged chariots are not rare in ancient art: cp. for instance
Müller-Wieseler, Denkmäler der alten Kunst, Vol. II. Plate ix. n. 110, Plate x.
п. 111, 112, where Triptolemus is seen mounted on a car furnished with swan's wings.
137.
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137.
πολυτέκνου: see on 128. Cp. Il. xiv. 201
Ωκεανόν
τε,
θεῶν
γένεσιν,
καὶ
μητέρα
Τηθύν.
138.
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138.
περὶ
πᾶσαν
εἰλισσομένου
χθόνα : cp.
ἀψορρόου
Ὠκεανοῖο Il. xviii. 399, Od. xx. 65. Cp. also
150. Ovid Fast. v. 81 duxerat Oceanus quondam Titanida Tethyn, qui terram liquidis qua patet ambit aquis. For the form
εἱλισσομένου see on 345.
139.
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139.
ἀκοιμήτῳ
ῥεύματι : cp. Il. xiv. 244
ἄλλον
μέν
κεν
ἔγωγε (the speaker is Sleep)
θεῶν
αἰειγενετάων
ῥεῖα
κατευ-
νήσαιμι
καὶ
ἂν
ποταμοῖο
ῥέεθρα
᾿Ὠκεανοῦ,
ὅς
περ
γένεσις
πάντεσσι
τέτυκται.
141.
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141 f. Synonyma haec vehemen- tiam commoti animi produnt' (Schütz). –
προσπορπατός: cp. 61.
143.
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143.
φρουρὰν
ὀχήσω: see
on
φρου-
ρήσεις, 31.
ὀχεῖν = sustinere, as in Od. vii. 211
ὀχέοντας
ὀιζύν,
xi. 618
κακὸν
μόρον,
ὅν
περ
ἐγὼν
ὀχέεσκον
ὑπ᾿
αὐγὰς
ἠελίοιο, xxi. 302
ἣν
ἄτην
ὀχέων
ἀεσίφρονι
θυμῷ. –
ἄζηλον: cp.
ἀτερπῆ 31,
ἀμέγαρτα 402; and Cho. 1017
ἄζηλα
νίκης
τῆσδ᾽
ἔχων
μιάσματα.