128-192.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-99
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.
170.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-130
170.
νέον : new, and hence danger- ous. So Suppl. 341
πόλεμον
αἴρεσθαι
νέον. –
βούλευμα :
περὶ
τοῦ
ἔρωτος
τῆς
Θέτιδός
φησι, Schol. See Introduc- tion, pp. 9 and 17. - 'Id consilium hic subobscure et ambigue Prome- theus indicat; in quo magna cernitur
ars poetae, qui sic et attentionem spectatorum acuit et actionis trag- icae cursum, ne iusto citius ad finem perveniat, inhibet ac suspendit' (Schütz).
171.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-131
171.
ἀποσυλᾶται: the present is here used, without reference to time, to express simply the working out of a result. Cp. 764, 948.
172.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-132
172 ff.
οὔτε ...
τ᾿
οὔποτε: for
οὔτε ...
τε ср. 244, 260; and for
οὔτε ...
τ'
οὔ(ποτε) Soph. Ant. 763
ἔμοιγε ...
οὔθ᾽
ἥδ᾽
ὀλεῖται
πλησία
σύ
τ᾽
οὐδαμὰ
τοὐμὸν
προσόψει
κρᾶτα, Eur. Hipp. 302
οὔτε
γὰρ
τότε
λόγοις
ἐτέγγεθ᾽
ἥδε
νῦν
τ᾽
οὐ
πείθεται, Heracl. 605
οὔτε
τούτοις
ἥδομαι
πεπραγμένοις
χρησμοῦ
τε
μὴ
κρανθέντος
οὐ
βιώσιμον, Thuc. i. 126
οὔτ᾽
ἐκεῖνος
ἔτι
κατενόησε
τό
τε
μαν-
τεῖον
οὐκ
ἐδήλου.
Βy
οὔτε .. persuasion and force are contrasted. The change from
οὔτε to
τ᾽
οὔποτε accompanies the change in structure from
θέλξει
τo
πτήξας
κατμηνύσω.
Ε...
Τε Similarly in the example
from Soph. (Ant. 763) quoted above. -
μελιγλώσ
σοις: recalls Il. i. 249
τοῦ
καὶ
ἀπὸ
γλώσσης
μέλιτος
γλυκίων
ῥέεν
αὐδή. Cp. Eur. Frg. 891
εἴ
μοι
τὸ
Νεστόρειον
εὔγλωσσον
στόμα ...
δοίη
θεός. - The caesura after the second foot of the anapaestic tetrapody
(μελι-γλώσσοις) is not observed with absolute strict- ness before Euripides.
176.
mvp-aeschylus-tlg0085-tlg003-wecklein-allen1893-com-eng1-133
176.
χαλάσῃ: sc.
με. Here tran- sitive, but intransitive in 58 and 179. Cp.
λωφᾶν 27.