Aeschylus Prometheus Bound 154

Anna Swanwick (Translator)

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PROMETHEUS
Such oracle my mother, born of eld,
Themis, hoar Titaness, to me rehearsed.
But how and where, to tell, needs lengthy speech,
Nor would the knowledge aught advantage thee.

Prometheus Bound. Aeschylus. Anna Swanwick (Translator). London. 1886.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

Prometheus Bound (OCR draft) (English) (Prometheus Bound. Anna Swanwick, 1886.)

Provisional text from uncorrected OCR; expect errors.

Editions (7)
Προμηθεὺς Δεσμώτης First1KGreek (Aeschyli Tragoediae. Sidgwick, Arthur, editor. Oxford: Clarendon Press, 1902.) — 128-194 focus
Προμηθεὺς δεσμώτης Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, editor. London; New York: William Heinemann; G.P. Putnam's Sons, 1922.) — 128-195 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Guilielmus Dindorfius, 1882.) — 152 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. Gottfried Hermann, 1852.) — 152 focus
ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ (OCR draft) Experimental (ΠΡΟΜΗθΕΥΣ ΔΕΣΜΩΤΗΣ. Paul Mazon, 1920-1925.) — 152 focus
Προμηθεὺς Δεσμώτης (OCR draft) Experimental (Προμηθεὺς Δεσμώτης. N. Wecklein, 1885.) — 152 focus
εἰ γάρ μ' ὑπὸ γῆν νέρθεν θ' Ἅιδου
τοῦ νεκροδέγμονος
εἰς ἀπέραντον Τάρταρον ἧκεν,
δεσμοῖς ἀλύτοις ἀγρίοις πελάσας,
ὡς μήτε θεὸς μήτε τις ἄλλος
165
τοῖσδ᾽ ἐπεγήθει.
νῦν δ᾽ αἰθέριον κίνυγμ᾽ ὁ τάλας
ἐχθροῖς ἐπίχαρτα πέπονθα.
Aeschyli Prometheus Vinctus (OCR draft) Experimental (Aeschyli Prometheus Vinctus. Ulrich von Wilamowitz-Moellendorff, 1914.) — 152 focus
Translations (8)
Prometheus Bound Perseus (Aeschylus, Volume 1. Smyth, Herbert Weir, translator. London; New York: William Heinemann; G.P. Putnam's Sons, 1922. (Modernized by Perseus.)) — 128-195 focus
Prometheus Bound. (OCR draft) Experimental (Prometheus Bound.. Theodore Alois Buckley, 1849.) — 152 focus
Oh would that he had sent me beneath the earth, and below into the boundless Tartarus of Hades that receives the dead, after savagely securing me in indissoluble bonds, so that no god at any time, nor any other being, had exulted in this my doom. Whereas now, hapless one, I, the sport of the winds, suffer pangs that gladden my foes.
PROMÉTHÉE ENCHAINÉ (OCR draft) Experimental (PROMÉTHÉE ENCHAINÉ. Paul Mazon, 1920-1925.) — 152 focus
mes ennemis !
Prometheus Chained (OCR draft) Experimental (Prometheus Chained. Robert Potter, 1779.) — 152 focus
Beneath the earth,
Beneath the gulfs of Tartarus, g
that ſpread
Interminable o'er the dead,
160
Had his ſtern fury fix'd this rigid chain,
Nor gods, nor men had triumph'd in my pain.
But pendent in th' ætherial air,
The pageant gratifies my ruthleſs foes,
That gaze, inſult, and glory in my woes. h
165
Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli (OCR draft) Experimental (Eschilo, Prometeo legato: traduzione italiana di Ettore Romagnoli. Ettore Romagnoli, 1922.) — 152 focus
Prometeo, veggo. Ed una fosca nuvola
di lagrimose stille
mi preme le pupille,
te contemplando in lacci indissolubili
170
•
Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii (OCR draft) Experimental (Aeschylus, Prometheus vinctus: versio Latina Ioannis Sanravii. Ioannes Sanravius, 1555.) — 152 focus
Sì uerò me sub terram ad inferos
Mortiferos in immenſum
Tartarum misiſſet, uinculis in disſolutis
Ferociter appropinquans, ut neque Deus,
160
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.) — 152 focus
Had he but hurled me, far beneath
170
The vast and ghostly halls of Death,
Down to the limitless profound
Of Tartarus, in fetters bound,
Fixed by his unrelenting hand!
So had no man, nor God on high,
175
Exulted o'er mine agony—
But now, a sport to wind and sky,
Mocked by my foes, I stand!
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.) — 152 focus
O hätt' er hinab in den Hades mich
Zu den Todten gestürzt, in der Tartarosnacht
Unermeßliche Kluft, mit unlösbarem Band
Zornvoll mich umstrickt, daß weder ein Gott
155
Noch ein Anderer sonst frohlockte darob!
Nun schweb' ich den Lüften ein Spielwerk hier,
Muß dulden zur Lust für die Feinde !
Zweite Strophe.

Commentary

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

154. mvp-aeschylus-tlg0085-tlg003-hermann1852-appcrit-lat1-152

ἧκεν:
ἧκε
G. Lips.

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

128-192. mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-99

1
2
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.