561-886.
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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.).
850.
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850. Prometheus, in saying
τῶν
Διὸς
γεννημάτων instead of
τῆς
Διὸς
ἐπαφῆς, hints at what is expressly stated Suppl. 312
καὶ
Ζεύς
γ᾽
ἐφάπτωρ
χειρὶ
φιτύει
γόνον.
Το this 834 above also alludes. -
ἐπώνυμον
τῶν
Διὸς
γεννημάτων: means "called after the manner of his begetting" (by
ἐπαφή). Similarly Suppl. 314
"Επαφος
ἀληθῶς
ῥυσίων
ἐπώνυμος, where
ῥύσια = “ re- storation by
ἐπαφή.”
851.
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851.
τέξεις: the same form 869, the middle form 768.
852.
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852.
πλατύρρους: cp. Frg. 304
ἔνθα
Νεῖλος
ἑπτάρους. The uncon- tracted -poos appears in Frg. 280
πλεκτάνην
χειμάρροον. ...
853.
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854.
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854.
οὐχ
ἑκοῦσα: explained by
φεύγουσα
ἀνεψιῶν below. –
ἐλεύ-
σεται:
ἐλεύσομαι recurs Suppl. 522. Elsewhere the Attic poets use only
εἶμι.
855.
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855 f.
συγγενή: gives the motive for
φεύγουσα. –
ἀνεψιῶν : cp. Suppl. 320
Δαναός·
ἀδελφὸς
δ᾽
ἐστὶ
πεντακον-
τάπαις ...
Αἴγυπτος. -
ἐπτοημένοι : cp. Eur. Iph. A. 586
ἔρωτι
δ᾽
αὐτὸς
ἐπ-
τοάθης, Sappho Frg. 2, 5
καὶ
γελαίσας
ἰμερόεν,
τό
μοι
μὰν
καρδίαν
ἐν
στήθεσιν
ἐπτόασεν, Apoll. Rhod. Arg. i. 1232
τῆς
δὲ
φρένας
ἐπτοίησεν
Κύπρις.
857.
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857.
κίρκοι: the simile is added without comparative conjunction, in poetic fashion. For the comparison cp. Suppl. 223
ἐν
ἁγνῷ
δ᾽
ἑσμὸς
ὡς
πελειάδων
ἵζεσθε
κίρκων
τῶν
ὁμοπτέρων
φόβῳ,
Ιl. xxii. 139
ἠύτε
κίρκος
ὄρεσφιν
ἐλαφρότατος
πετεεινῶν
ῥηιδίως
οἴμησε
μετὰ
τρήρωνα
πέλειαν. sense:
859.
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859.
φθόνον
ἕξει : =
φθονήσει. Cp.
χρείαν
ἔχειν 169, and Cho. 481. The "God will begrudge them their desire,"
σωμάτων
τῶν
παρθένων
φθονήσει
αὐτοῖς (cp. 584), 'puella- rum fructum deus maritis invidebit' (Heyne). The marriage will be cele- brated, but will be dissolved in blood.
860.
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860 f.
Πελασγία: cp. Eur. Suppl. 367
καὶ
μεγάλᾷ
Πελασγίᾳ
καὶ
κατ᾿
῎Αρ- yos, Strabo p. 221
Αἰσχύλος
ἐκ
τοῦ
περὶ
Μυκήνας
῎Αργους
φησὶν
ἐν
Ἱκέτισι
καὶ
Δαναΐσι
τὸ
γένος
αὐτῶν
(ⅰ.e.
τῶν
Πελασ-
γῶν)
καὶ
τὴν
Πελοπόννησον
δὲ
Πελασ-
γίαν
φησὶν
Ἔφορος
κληθῆναι. Argos (Suppl. 634), the land of Pelasgus (Suppl. 250), is meant. —
δέξεται : both sense and syntax demand
aἱμάξεται (=
αἱμαχθήσεται, as Soph. Phil. 48
φυ-
λάξεται =
φυλαχθήσεται). Cp. Ag. 1589
θανὼν
πατρῷον
αἱμάξαι
πέδον, Pers. 595
αἱμαχθεῖσα
δ'
ἄρουρα, Eur. H. F. 573
Δίρκης
νᾶμα
αἱμαχθήσεται. The verse would thus lack the usual caesura; but see on 640, and Introd. p. 26, footnote. -
"Αρει : =
φόνῳ. –
δαμέν-
των: sc.
αὐτῶν. GMT. 848; H. 972 a. -
νυκτιφρουρήτῳ:
τῷ
νυκτὸς
ἐπιτηρή-
σαντι, Schol. More exactly night- waking, awake at night. See on 599.
αὐχένος
καὶ
στήθους
σφαγή (in ani- mals), Polyaen. viii. 48
τὸ
ξίφος
καθ-
εῖσα
διὰ
τῆς
σφαγῆς, Antonin. Lib- eral. 25
ἐπάταξαν
ἑαυτὰς
τῇ
κερκίδι
παρὰ
τὴν
κλεῖδα
καὶ
ἀνέρρηξαν
τὴν
σφαγήν.