Aeschylus As Oral Performance PDF

Aeschylus as Oral Performance: Rhythm, Structure, and
Meaning in the Persians.
Thesis submitted for the degree of Ph.D.

by
Reuben Ramsey
The University of Newcastle, Australia.
T o Go d fre y T a n n er,
wh o s e t eac h i n g a nd frie nd s hip
in sp ired m y l i fe lo n g lo v e o f p hi lo lo g y;
to P r o fe sso r s Mi c hae l E wa n s a nd Haro ld T arra nt
wi t h o ut wh o s e fa it h , e nc o ura g e me n t a nd ad vi ce
th i s wo r k wo u ld ne v er h av e b ee n co mp let ed ;
to m y p ar e nt s, B er nie a n d Va l Ra ms e y,
wh o ha ve lo ved a nd s up p o rted me t hro u g ho u t m y li fe;
T o my d a u g h ter s wh o ha ve mi s sed me ;
and to m y frie nd s,
wh o p ut up wi t h me
an d l is te n ed to me a nd fed me
and wo ke me up i n t h e mo r n i n g s.
1
Abstract………………………………………………………………...8
Chapter 1. General Introduction. .................................................... 8
Preamble. ..................................................................................... 8
Parry and Lord. ............................................................................ 10
Foley, et al. ................................................................................. 14
Literacy: Preamble. ...................................................................... 15
Havelock, et al. ............................................................................ 19
Thomas, Tannen, et al. .................................................................. 22
Aeschylus and Oralit y. .................................................................. 39
Chapter 2. Research Method: Introduction to Analysis by Tone

group. ............................................................................................ 47
Why Tone -Gr ouping? .................................................................... 47
Chafe, Bakker, and the logos. ........................................................ 48
Principles of Anal ysis by Tone Group. ........................................... 57
1. The Principle of Isolation (Tonal Identity) . ............................. 58
2. The Principle of Separation. ................................................... 58
3. The Principle of Grammatical Relation. ................................... 59
4. The Principle of Least Interference. ........................................ 59
Anal ysis by Tone gr oup: Application of the Method. ....................... 60
Step 1. Generate the Working Text. ............................................ 60
Step 2. Scansion. ....................................................................... 61
Step 3. Translation. ................................................................... 62
Step 4. Secondar y Analysis. ....................................................... 63
Plan of Commentaries on the Tonally Affective Texts. .................... 64
A note on the translations. ............................................................ 66
A note on the Experi mental Text. ................................................... 67
Chapter 3. Principal Measures and Nomenclature. .......................... 68
Resol ved and Analecti c Di meters: Dact ylopaests and Trochiambs. .... 68
2
Dact ylopaests. .............................................................................. 70
Trochiambs. ................................................................................. 73
Chapter 4. Anapaestic Dimeters: The Parodos and beginning of the

Atossa Scene. ................................................................................. 79
Introductor y Notes: The Parodos 1-64 [1 -77].................................. 79
Metrical Commentary, 1st movement 1 -7 [1 -10] .............................. 81
Introduction t o the Int erpretive Commentaries . ............................... 92
The Parodos, 1-64 [1-77]. ............................................................. 92
Interpreti ve Comme nt ary, 1st movement . ........................................ 94
Metrical Commentary, 2nd movement 8 -15 [11 -20]. ...................... 104
Interpreti ve Comment ary, 2nd Movement . .................................... 116
Metrical Commentary, 3rd movement 16 -20 [ 21 -29]. ..................... 125
A Note on the Catalogue of Commanders 16 -58 [21 -68]. ................ 131
Interpreti ve Comment ary, 3rd Movement . ..................................... 133
Metrical Commentary, 4th movement 21-32 [ 30 -41]. ..................... 137
Interpreti ve Comment ary, 4th Movement . ..................................... 148
Metrical Commentary, 5th Movement, 33-40 [42 -49] . .................... 153
Metrical Commentary, 6th Movement, 41 -48 [50 -56] . .................... 166
Metrical Commentary, 7th Movement, 49-58 [57-68] . .................... 180
Metrical Commentary, 8th Movement, 59 -64 [69 -77] . .................... 193
The Atossa Scene: Opening Anapaests 140 -154 [145 -159]. ............ 205
Metrical Commentary, Atossa Scene, 1st Movement (140 -148) [145 -

153]. ......................................................................................... 206
Interpreti ve Comment ary, Atossa Scene , 1st Movement . ................ 212
3
Metrical Commentary, the Atossa Scene, 2nd Movement, 150 -154
[154 -159]. ................................................................................. 216
Interpreti ve Comment ary, Atossa Scene, 2nd Movement . ............... 221
Chapter 5. Strophic Lyric: The First Ode, 65 -137 [61-117]. ........... 228
Introductor y notes. ..................................................................... 228
A Note on the order of strophic pairs. .......................................... 229
Metrical Commentary, First Strophic Pair , St rophe and Antistrophe A

65-80 [78 -97]. ............................................................................ 233
Interpreti ve Comment ary, First Strophic Pair . ............................... 245
Metrical Commentary, Second Strophic Pair , Strophe and Antistrophe

B 81 -92 [98 -109]. ....................................................................... 253
Interpreti ve Comment ary, Second Strophic Pair . ........................... 261
Metrical Commentary, Third Strophic Pair , Strophe and Antistrophe C

101-114 [110 -119]. ..................................................................... 264
Interpreti ve Comment ary, Third Strophic Pair . .............................. 273
Metrical Commentary, Fourth Strophic Pair, Strophe and Antistrophe

E 126 -137 [133 -144] . .................................................................. 276
Interpreti ve Comment ary, Fourth Strophic Pair . ............................ 285
Metrical Commentary, Fifth Strophic Pair, Strophe and Antistrophe D

(114 -125) [125 -132]. .................................................................. 290
Interpreti ve Comment ary, Fifth Strophic Pair . .............................. 299
Metrical Commentary, Epode 93 -100 [120 -124]. ........................... 304
Interpreti ve Comment ary, Epode. ................................................. 312
Chapter 6, Trochaic Tetrameters, The Elders’ Formal Address to

Atossa, and t he Darius Scene. ....................................................... 317
Introductor y Notes. .................................................................... 317
Metrical Commentary, The Atossa Scene , 155-158 [160 -167]. ........ 318
Interpreti ve Comment ary, 155 -158 [160 -167]. ............................... 325
Metrical Commentary, The Darius Scene , 694-702 [700 -711]. ........ 329

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Interpreti ve Comment ary, 703-708 [712 -719]. ............................... 354
Metrical Commentary, The Darius Scene: Stichic Dialogue 715 -738

[727 -780]. ................................................................................. 376
Chapter 7. Iambic Trimeters: The Messenger’s Speech and The

Darius Scene. ............................................................................... 419
Introductor y notes. ..................................................................... 419
Metrical Commentary, Messenger Scene, 1st Movement 353-360 [353 -

366]. ......................................................................................... 421
Metrical Commentary, Messenger Scene, 2nd Movement 353 -376 [ 367 -

385]. ......................................................................................... 439
Metrical Commentary, Darius Scene , 681-693 [681 -699]. .............. 463
A note on the transposition of lines [686 -688] to post [691]. .......... 478
Interpreti ve Comment ary, Darius Scene , 681-693 [681 -699a] . ........ 481
Metrical Commentary, 765-786 [765a -801]. .................................. 488
Interpreti ve Comment ary, 765-786 [765a -801]. ............................. 515
A Note on the transposition of lines [776a -778a] to post [780a]. .... 516
Metrical Commentary, Darius Scene , 800-812 [800a -819]. ............. 528
Interpreti ve Comment ary, 800 -812 [800a -819]. ............................. 542
Chapter 8. Conclusions. ................................................................ 550
Preamble: The Persians as an Oral -aural Phenomenon ................... 550
Separation of the lines of the traditional text into Tone Groups. ..... 552
Syndetic Separation. ................................................................... 554
Consonantal Clash. ..................................................................... 555
5
The Interaction of Accents. ......................................................... 556
Intra -t onal separation of Tone Groups. ......................................... 556
Lines that are the same in both traditional and tonall y affective texts.
................................................................................................. 559
Parataxis. .................................................................................. 561
Parataxis and Translation. ........................................................... 564
Initial Findings by Verse Type. ................................................... 565
Dact ylopaests: Anapaestic Di meters and Strophic Lyric. ................ 565
Anapaests. ................................................................................. 566
Paroemiacs. ............................................................................... 567
Irregular Paroemiacs. .................................................................. 568
Lyric. ........................................................................................ 571
Strophic Corresponsion . .............................................................. 572
Trochiambs: Trochaic Tetrameters and Iambi c Trimeters. .............. 576
Tetrameters. ............................................................................... 576
The Tetrameter Coupl et. ............................................................. 577
Stichic dialogue. ........................................................................ 578
Trimeters. .................................................................................. 581
The Trimeter Couplet. ................................................................. 582
Trochiambs: Tri meters vs. Tetrameters. ........................................ 584
Musical and Poetic Conventions, Perfor mance Considerations. ....... 588
Rests. ........................................................................................ 588
The Actors’ Breath. .................................................................... 589
Clarity of Deli ver y. .................................................................... 591
Audience Comprehension. ........................................................... 591
Singing versus Speaki ng. ............................................................ 591
Traditional Metrics: A Comparison of Approaches and Findings. .... 593
Preamble: The Alexandrians and the Textual Tradition. ................. 593
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Metrical Considerations. ............................................................. 595
Accent and Ictus. ........................................................................ 599
Diaereses and Caesurae. .............................................................. 601
Synizesis and Correption. ............................................................ 602
Synaephia and Enj ambment. ........................................................ 603
Non -elision at Line -end. ............................................................. 606
Scanning to word -end. ................................................................ 608
Lines that do not scan to word -end. .............................................. 609
Rhythm over Metre. .................................................................... 609
Rhythm and Meaning. ................................................................. 614
The Robert the Rose Horse Syndrome. ......................................... 616
Tone grouping and the traditional text. ......................................... 618
Future Directions. ...................................................................... 620
Post -Script: Did Aeschylus Write a Script? ................................... 621
Appendices. .................................................................................. 626
Appendix I. Wor king Text. ............................................................. 627
Appendix II. Translation of Wor king Text. ...................................... 664
Appendix III. Experi mental Text. .................................................... 684
Appendix IV. Translation of Experi mental Text. .............................. 729
Appendix V. The Xerxes Scene: Anapaests and Lyric Kommos, Str ophe
and Antistrophe A and B. (908 -973) [908 -979]. ................................ 748
Appendix V I. Lyric Corresponsion Tests: Working Text. .................. 804
Appendix V II. Lyric Corresponsion Tests: Experi mental Text. .......... 809
Appendix V III. Textual Emendation. ............................................... 814
Appendix IX. Di gital Files: A udio and Searchable Text . ................... 818
Appendix X I. Tables of Measures. .................................................. 822
Bibliography……………………………………………………… …….….. 859
7
Abstract.
T hi s s t ud y p r es e nt s a n e xp er i me n ta l ap p ro ac h to t he r h yt h mi c a nd se ma n tic
in ter p r et at io n o f t he te x t o f t h e Pe r sia n s . T hi s a p p ro ac h i n terp r et s t he li ne s o f
th e p l a y a s a s er i es o f se l f -co nt ai n ed ut ter a nce s, cal led to ne gro up s, r at h er
th a n a cco r d i n g to t he m etri ca ll y r e g ula r l i ne s o f t he trad it io nal te x t s. T o ne
gr o up s ar e to t he sp o k e n wo rd wh a t p u n ct u at io n is to t he wri tte n wo rd ; t he y
o r ga n i se t he ma te r ia l i n t o d is cree t se ma n t ic u n it s.
T he e f f ect o f a na l ys i s b y to ne gr o up i s to s ho w th at t he p la y i s co mp o se d o f a
ser ie s o f se l f -co n ta i ned st ate me nt s fro m wh i c h me a ni n g i s co n st r uct ed . T hes e
st ate me nt s co m mo nl y s c an to wo rd -e nd as rec ur r in g r h yt h mi c al u n it s. A
me tr ica l s ys te m i s t e nt at iv el y p ro p o s ed o n t hi s b as is . It i s ar g u ed t h at t hi s
ap p r o ac h r ep r e se n ts t he te xt acco rd i n g to t h e o ra l -a ura l q ua li ti es o f t h e
o r i gi na l p er f o r ma nc e.
T he t h es i s co n tai n s a ge ner al i ntro d u ct io n t h at c an v as s es t he i ss u e s p er t ai ni n g

to o r a l tr ad i tio n a nd t h e d ict ate s o f t he o ra l -a ura l p er fo r ma n ce co nt e xt o f earl y
tr a ged y, fo l lo wed b y a n in tro d uc tio n to to ne - gro up i n g a s a n i nt erp re ti v e
p r ax i s, a nd a d e ta iled m et ho d o lo g ica l st at e me nt .
T her e fo llo ws a c h ap t er ( T ab les o f Me a s ure s a nd No me n cla t ure) t ha t d e s crib e s

th e r e c ur r e n t r h yt h mic al u n it s wi t h a t heo re ti ca l st ate me nt o f t h e i mp li ed
p r i ncip le s o f t he ir ge n er atio n.
T wo ne w t e xt s, a W o r ki n g T e xt a nd a n E xp er i m en ta l T ex t, are ge n era te d fro m

th e a n al ys i s b y to ne - gr o up o f t he s ele cted p o rt io n s o f t he p la y. T he se te x ts are
exp er i me n t al a nd s ho u ld b e re gard ed o nl y a s a fi rst s tep s to ward a te xt o f t he
p la y t h at b et ter r ep r e se n ts it s o r i gi n i n o r al p er fo r ma nce.
T he b ul k o f t he t he s is c o n si s ts o f fo ur c h ap t ers o f me tr ica l a nd i n terp re t iv e

co m me nt ar i es , o ne fo r e ac h o f t he fo ur p ri nc ip a l t yp e s o f p o etr y u s ed i n
tr a ged y. T her e i s a s ep a r ate d i sc u s sio n o f a na l y sed p o r tio n s o f t he ko m mo s
( Ap p e nd i x V) .
T he ce n tr a l co n cl u sio n s are t h e n p re se n ted , alo n g wi t h a s ur v e y o f d i rec t io n s

fo r f u r t her s t ud y.
8
Chapter 1. General Introduction.
Preamble.
The purpose of this introduction is to survey issues pertaining to
the question: Why should we expect to see signs of an oral tradition
in the drama of Aeschylus? 1 In other words, it seeks to determine
whether or not the poetics of oralit y are likel y to be influential on
the poetic expectations of poets and audiences in the classical
period, and especially in the tragedy of the earl y fifth century. In
doing so I will review the relevant issues pertaining to both oralit y
and literacy, and various scholarl y responses to them, and assess
the likel y impact of literacy on the poetics of the period.
1 Influences on the present discussion include but are not limited to the
following works and authors: the works of Milman Parry (in Adam Parry
[ed.] [1971] The Making of Homeric Verse: The Collected Papers of Milman
Parry); A.B. Lord, (1960) The Singer of Tales; (1968) Homer as an Oral Poet;
(1975) ‘Perspectives in Recent Work on Oral Literature’ in J.J. Duggan (ed.)
Oral Literature, 1-24; Eric A. Havelock, (1963) Preface to Plato; (1982) The
Literate Revolution in Greece and its Cultural Consequences; Walter Ong,
(1982) Orality and Literacy: The Technologising of the Word; Rosalind
Thomas, (1989) Oral Tradition and Written Record in Classical Athens;
(1992) Literacy and Orality in Ancient Greece; Deborah Tannen, (1982a)
‘Oral and Literate Strategies in Spoken and Written Narratives’, Language
58.1, 1-21; (1982b) ‘The Myth of Orality and Literacy’ in W. Frawley (ed.)
Linguistics and Literacy, 37-50; (1995) ‘Relative Focus in Involvement in Oral
and Written Discourse’ in Olsen, Torrance and Hildyard (eds) Literacy,
Language and Learning: The Nature and Consequences of Reading and
Writing, 124-147; John Miles Foley, (ed.) (1986) Oral Tradition in Literature:
Interpretation in Context; (1999) ‘Introduction: What’s in a Sign?’ in E.A.
Mackay (ed.) Signs of Orality, 1-27; Wallace Chafe, (1970), Meaning and the
Structure of Language; (1982) ‘Integration and Involvement in Speaking,
Writing, and Oral Literature’ in D. Tannen (ed.) Spoken and Written
Language: Exploring Orality and Literacy, 35-53; (1994), Discourse,
Consciousness and Time: The Flow and Displacement of Conscious Experience
in Speaking and Writing; Egbert Bakker, (1999) ‘How Oral is Oral
Composition?’ in E.A. Mackay (ed.) Signs of Orality, 29-47; Wulf
Oesterreicher, (1997) ‘Types of Orality in Text’ in E. Bakker and A. Kahane
(eds) Written Voices, Spoken Signs: Tradition, Performance, and the Epic Text,
190-214.
9
The following discussion will demonstrate that the world in w hich
Aeschylus lived and worked, and the audiences for whom he
composed, were saturated in a rich oral tradition and a ubiquitous
oral practice; and that literacy, in as much as it could theoreticall y
be expected to have produced significant changes in the poetic
expectations of his audiences, was less influential than might
otherwise be supposed. Tragedy, by its very nature as a
performance medium, was composed to be interpreted aurall y, and
the influence of oral poetics on those of Aeschylus is theoreticall y,
supported.
Why are these considerations relevant to a study of earl y tragedy, a

branch of poetics that flowered two or three hundred years after the
advent of literacy in Greece, and one, moreover, that has long been
regarded as a literary medium par excellence? 2 J.A. Davison
(1968a, 141) states the case succinctl y:
It is, in m y opinion, essential that this process [by
which the Greeks attained to a literary culture]
should be understood, at least in its main outlines, by
all who concern themselves wi th the interpretation of
Greek literary texts… the understanding of the
relationships of Greek authors to their public on the
one hand and to their material on the other is an
important factor in the social and economic history
of Greek literature and of t he Greek people.
The following discussion treats the interaction between oral and

written modes of communication in the years leading up to 472BC
2 Jesper Svenbro, for example, assumes, without argument or discussion, that

tragic actors committed their speeches to memory from written texts (1990,
371). For Eric Havelock, poets ‘after Homer undoubtedly… composed in
writing’ (1963, 39), and Charles Segal claims ‒ again without argument ‒
that tragedy is ‘inseparable’ from writing (1982, 132).
10
on this basis. There is no doubt that the Greeks of the earl y fifth
century were developing a literary cultur e; nevertheless that culture
had its roots in an oral -aural past. We begin with an overview of
the development of current notions of oralit y, from the ground -
breaking work of Milman Parry, to the more nuanced responses of
the later twentieth century and th e present day. Any discussion of
oralit y as a historical phenomenon must also consider the
phenomenon of literacy, and its likel y impact on the culture and
poetics of earl y fifth century Athens; the claims that the
introduction of an alphabetic writing sys tem produced a ‘literate
revolution’ in Greece are examined; as are claims that specific
features of discourse are inherentl y ‘oral’ or ‘literary’. On this
basis we can derive a picture of the oral -literate milieu at Athens in
the first quarter of the fift h century BC, and assess its likel y impact
on the poetic expectations of Aeschylus and his audiences.
From these theoretical beginnings, this thesis becomes a practical

interpretive exercise: the practice of interrogating, through the lens
of its implied intonational groupings, the surviving text of
Aeschylus’ Persians for its oral-aural characteristics. 3
Parry and Lord.

Before going on to a survey of definitions of oralit y and various
claims for its nature and characteristic features, it should be
observed that the only evidence we have for the historical oralit y of
the Greeks is traditional, and that this tradition, even the works of
Homer and Hesiod as we have them today, has been mediated to
some extent by literacy and lettered awareness. We cannot be sure
3Analysis by intonation-group, or tone group, and its application to the text

of the Persians is described fully in Ch.2, Research Method: Application of the
Method.
11
when the Homeric texts -as-writing were first unified, and can onl y
guess at their relation to their purel y oral predecessors. 4
For earl y scholars in oralit y, notabl y Milman Parry and Albert

Lord, composition in performance was the signal defining fe ature
of oral-traditional poetry. The critical understandings derived from
their work have been profoundl y influential on our understanding of
the surviving Greek epics and epic works across cultures. There
were, however, certain important misapprehensions associated with
these earl y works. The most obvious and important of these was the
view that epic formulae were principall y mnemonic and metrical
devices. This view led to a perception of epic composition as being
principall y if not purel y mechanistic (Fo ley 1999, 1-5). Allied to
this was the view, still quite influential, that formulae are by their
nature fixed and invariable (Lord 1951, 71, 72). Parry and Lord
hold that the use of formulae lies at the centre of interpretations of
texts in oral theory.
The definition of the formula offered by Milman Parry remains the

standard: ‘a group of words which is regularl y employed under the
same metrical conditions to express a given idea’ (Parry 1930, 80).
Renoir (1986, 103) employs a similarl y narrow definition of oral
poetry: ‘metrical utterances composed orall y by a poet working
within a tradition of oral rhetoric and subject matter for the benefit
of a live audience accustomed to listening to this kind of
composition’. These definitions are useful and complet e in their
4 This is not remarked on often enough, nor stated explicitly. George M.

Calhoun (1944, 1) notes that up to the time of the Alexandrian critics longer
texts of Homer, with many more repetitions than are found in our modern
texts, seem to have been ‘plentiful’ and ‘as highly esteemed as our shorter
texts’. He goes on to observe (2): ‘It is significant, in my opinion, that this
tendency [toward editorial intervention and the removal of repeated lines]
first appears at a time when the practice of publicly reciting Homer is
disappearing and manuscripts are becoming abundant’.
12
own right, and effectivel y condense the earl y conceptions of
oralit y. They refer, however, onl y to primary oralit y , 5 and are of
limited use in the discussion of oral -traditional influence into
literate ages.
Albert Lord famously declared the us e of formulaic elements to be

an unfailing indicator of oralit y; and, conversel y, that the limited
use of such formulaic elements (as much as fift y or sixt y percent)
was a sign of literary or written composition (Lord 1968, 24). 6
In 1951, in response to an article by Cecil M. Bowra (1950), Lord

retained a definition of formula based on the notion of exact
repetition. Bowra’s article, however, prefigured the more open -
ended understandings of oralit y. Bowra (1950, 185) identifies three
classes of formula: n oun-adjective combinations, repeated lines
and, thirdl y, repeated ‘themes’. Lord (1951, 71) denied the third
class the status of formula because the ‘formula requires exact
word-for-word, metrical-pattern-for-metrical-pattern repetition’.
This is in spite of the fact that the passages cited contain both exact
and close repetitions, and occur in thematicall y similar contexts. 7
Moreover, both authors fail to distinguish adequatel y between
events (which they both call ‘themes’), narrative incidents
expressed as phrases or lines in a poem, and themes -proper, that is,
the underl ying context that gives these events their meaning. 8
5 For this term, see Ong (1982, 11): ‘the orality of a culture entirely
untouched by any knowledge of writing or print’.
6 A view challenged by e.g. Finnegan (1977), who finds that formulae alone
cannot serve to distinguish between ‘oral’ and ‘literate’ composition.

7 (1951, 72-3): Od. 1.146-151, 3.338-342 and 21.270-273.
8 In the passages cited by Lord, the events are incidents like people eating
and drinking to their hearts’ desire (ἔπ ι ό ν θ’ ὅ σο ν ἤ θε λε θυ μ ό ς ,

Od.21.273); the theme is the civilised pleasure of cultivated elites.
13
Broader considerations such as these inform much of the current
thinking on oralit y. 9
Additionall y, there are other features of oral poetics, such as ring

composition and those formulations, such as chiasmus, that would
eventuall y become enshrined under the rubric ‘rhetorical figures’.
While studies focus on repetition, 10 ring composition, 11 and
formulaic construction, 12 the fact that structures were meant to be
interpreted aurall y and in the moment of their utterance – as is the
case with tragedy – tends to fade into the background. Similarly,
the complexit y of the narrative structures of epic tends to be
overlooked. Ring composition in particular is a very subtle feature
of narrative discourse, and we need not suppose that compositional
rings were meant to be meaningful or purposefull y composed;
rather we should accept that they were meaningful, and meaningful
moreover, as a natural function of the telling of a tale. 13 The how of
the telling of a tale offers important insights into how the tale
works in transmission, and into its meaning. As will be seen in the
commentaries below, the poetry of the Persians shows many of
these features, including rhythmic -mnemonic features of a
qualitativel y different kind to those of epic. 14
9 John Miles Foley describes this approach as ‘going beyond a simple

description of a structure or pattern to ask what and how it means’ (1999,
15-16).
10 Calhoun (1944); Assaël (1993-4); Pickering (2000), (2003).
11 van Otterlo (1944a), (1944b); Holtsmark (1970); Lord (1986); Minchin
(1995), (2011).
12 Calhoun (1935); Nagler (1967); Visser (1988); Finkelberg (2004).
13 This is noted by Albert Lord (1986, 54) with reference to Avdo
Mededovic’s Smailagic Meho. Lord observes: ‘Even though (the poet) did not
plan it as such, the ring pattern is there, inherent in the narrative itself… the
focus of the narrative is the centre of the ring. It is the narrative and its
meaning that makes the ring in the first place’.
14 The paroemiac, for example, remains a key structural and narrative
feature of the anapaestic dimeters analysed in this study; see Conclusions:

Anapaests, Paroemiacs; Rhythm and Meaning.
14
Foley, et al.
The earlier perceptions of oralit y have been substantiall y modified
by subsequent scholarship. Foley (1986; 1999) speaks in terms of
communication strategies and of a mode of composition wherein
composition is enabled, but not limited by, tradition. Bakker (1999)
refers to a continuum of composition between the purel y oral on the
one hand and the purel y literary on the other; in practice, the
ancient works surviving to us rarel y occupy a place at either
extreme of this continuum. Nagy (1990) identifies the mechanisms
by which oral communication resolves itself in to a system of
poetics.
Reflecting the movement a way from the earlier essentialist

definitions, Oesterreicher (1997) and Bakker (1999) distinguish
between the medial sense of oralit y, that is, the mode of
transmission of the text, and the compositional sense, that is, the
conditions under which the text is composed. They thereby arrive at
the notion of an oral -literate continuum. Instead of a simple oral -
literate dichotom y, Bakker suggests a distinction be made between
spoken and written discourse on the one hand, and oral and literate
discourse on the ot her; and that the ‘oral’ and the ‘literate’, as
modes of discourse, can be seen as ‘two poles or extremes of a
continuum with numerous gradations in between’ (1999, 30).
Similarl y, Oesterreicher (1997, 193) speaks of a ‘spectrum’.
Consequentl y, works can no longer be evaluated as simpl y being

either ‘oral’ or ‘literate’. 15 Alain Renoir (1986, 110), in his
15On the complex interrelation between the various modes of composition

(oral, literate, literate moderated by orality and ‘oral’ moderated by literacy)
see Oesterreicher 1997, Bakker 1999 and Webber 1986 (with reference to
the Spanish epic Cantar del mio Cid).
15
discussion of oral -traditional features in written texts, observes that
while we can, by empirical observation, determine whether a text
was composed in accordance with the framework of oral traditional
poetics, we are unable to test whether the actual composition took
place orall y or with the aid of writing. 16 Additionall y, some texts
which we assume to have been composed in writing ‘contain the
indisputable elements of oral -formulaic rhetoric’. Literate poets
may yet produce poetry that is predominantl y oral in both
conception and delivery, 17 and an orall y-composed discourse can be
captured in writing; these conceptions allow for a consideration of
oral influence in the poetics of literate ages. 18 There is no such
distinction in poetics; all poetics are, ultimatel y, orall y derived.
This is true, too, of tragedy, whose performance context, to say
nothing of its compositional context, was principall y oral -aural.
Neither is there any linear development in relative degrees of oral

versus literary character of poetics across time : it ebbs and flows
according to fashion and the accidents of history. This is especiall y
true when one compares the poetics of differen t times and cultures.
Thucydides may be more ‘literary’ than Herodotus, and Plato more
‘literary’ than Thucydides, but the very form of Plato’s dialogues is
closel y bound up with a lived oral -aural experience, perhaps more
so even than the speeches that pu nctuate Thucydides’ narrative.
Literacy: Preamble.
Before attempting to understand something of the mix of oral and
literary modes of thought and exposition in these diverse cultures,
16 See Conclusions: Post-script, Did Aeschylus Write a Script?

17 Nimis (2004), for example, discusses oral-traditional features in Greek
novels, products of literary ages.
18 Ong’s ‘oral residue’ (1982, 36).
16
and particularl y Athens of the earl y fifth century BC, we must
consider the fact of literacy and its implications.
A conception of literacy in fifth century Athens is important to the

present study on several grounds. First, if one accepts the modern
view (far from certain, at least in most of its formulations) that
literac y in a communit y influences the thinking of the people and
re-conditions their communicative expectations, then a high literacy
rate among audiences of tragedy can be expected to influence the
type of poetry thought to prove effective. That is, to put it
somewhat crudel y, oral -influenced poetics can be expected to
appeal to primaril y oral audiences, whereas audiences in which a
significant proportion have a developed literary awareness (and this
proportion need not represent the majorit y) will demand, and b e
able to take advantage of, different approaches to story -telling.
Even so, in the case of tragedy in performance, these poeticall y
cultivated – and literate – individuals will remain under the
constraints of the fleeting moment of the voice.
Our view of Athenian literacy in the time of Aeschylus must,

unfortunatel y, remain largel y speculative. We can onl y appeal to
the balance of probabilities and in turn to plausible interpretation
of the scant y evidence. 19 To begin with, it is impossible to arrive at
an adequatel y unifying definition of literacy. 20 Where it is not
possible to make any single definition of literacy conform to all its
levels and uses without over -simplification and distortion,
19 As shown in the commentaries, analysis of the text of the Persians by tone

group provides considerable evidence, that is, insight into the organisational
principles that inform tragedy as an oral-aural phenomenon.
20 The problem of the definition of literacy is discussed in detail by Rosalind
Thomas (1992, 8-11). She concludes (11): ‘It is therefore highly misleading
to produce some statistical calculation of “literacy rates” for ancient Greece,
based inevitably upon some single definition of literacy’. See her n.20 (11)
for a bibliography of more ‘sensitive’ approaches.
17
evaluations as to the development of literacy and its effects on the
communities that possess it are problematic also . According to
Thomas (1992, 5), it is not possible to reconstruct a coherent
picture of the development of literacy or of its impact on the
communities of archaic Greece. Attempting calculations on the
basis of any single definition of literacy is bound to be misleading.
Furthermore, the presence of writing in a culture does not

necessaril y denote wide -spread literacy. Scholars have made
various attempts to place a figure on the number of literates in a
given epoch. 21 As Thomas observes, this activit y, aside from being
highl y speculative, misses the important point that it is not so much
the number of literates in a communit y, as the uses to which writing
is put and the t ype of information it is used to convey, where a nd
when, by and to whom, that is crucial in understanding a people’s
relation to both literacy and its presumptive opposite, oralit y. It is
the qualit y of the literacy rather than the quantit y of literates that
will be telling (Morpurgo Davies 1986, 55 wit h n.9). Rather than
asking who can read or write, Thomas poses the more penetrating
question, what is written and why, and by whom is it read and why
(1992, 8).
The earliest surviving Greek texts date from the seventh century BC
and at least 154 graffiti survive from this time at Athens (Thomas,
1992, 65; Havelock, 1963, 39 with n.4, n.6 ). The earliest examples
of writing are ‘piecemeal and (to us) often unintelligible’ (1992,
61). The writing is often ‘faltering’ and does not touch on the realm
of the spoken word; many inscriptions consist onl y of proper names
21Murray (1993, 98) holds that ‘Archaic Greece was a literate society in the
modern sense’; Burns (1981) hold levels of literacy and numbers of literates
to be high; Davison (1962a; 1962b) gives a lower estimate, as does Knox
(1931); Thomas (1992) declines an estimate.
18
or even of single letters ( ibid). The ‘Dipylon vase’ begins in verse
and then ‘tails off into incoherence and a bit of the alphabet’ (1992,
58). Earl y writing is simplistic – a far cry from the soph isticated
poetic compositions of the preliterate ages. Evidence suggests that
the marking or guarding of propert y was one of the earliest uses of
writing. The existence of Abecedaria, inscriptional remains that
seemingl y served to model the alphabet, along with certain
inscriptional evidence, demonstrate that the application of writing
down to the latter part of the sixth century was a hard -won
achievement. 22 Far from being an organism of the spoken word, as
we tend to perceive it, earl y writing has the char acteristic of a tool
of the order of a hammer; characters are hammered out, words are
beaten into shape out of the raw elements of characters and the
sounds they represent. There is also the status of writing to
consider. 23 Plato, writing a century after Ae schylus first produced
his dramas, records a deep anxiet y about the propriet y of the
written word and its role. 24
Where efforts to construct estimates of numbers of literates and

degrees of literacy are highl y speculative activities, the lower
estimates on both counts for the earl y fifth century at Athens are to
be preferred with caution. On this basis, the presumption of
obligatory fluent reading -literacy for participation in tragedy will
have limited the number of potential performers, and tragedy’s
22 Even public inscriptions down to the fifth century BC show a distant

relationship with writing; the letters are ill-formed, often cramped; writing
boustrophedon bespeaks a concern with the record over the reading of the
record; the Ionian alphabet, the nearest ancestor to the Greek alphabet in use
today, was not formally adopted in Athens until the end of the fifth century.
23 Davison (1968b, 219-222) surveys the development of literature, that is, of
books in something more like our modern sense of literary vehicles and finds
that these became common only over the course of the fourth century.
George Kennedy (1991, 254) notes that: ‘before the end of the fifth century
BC most oratory was extempore and not published in written form’.
24 The signal example is Phaedrus 274e1-275b3.
19
abilit y to appeal to wide audiences. Even where we assume a high
degree of literacy in potential performers, we must take into
account the fact that the tradition of choral performance pre -dates
any period of extensivel y developed literacy in the communities of
Greece.
Havelock, et al.
Over the course of the twentieth century, and especiall y from the
earl y 1960s, a variety of claims have been made for the effects of
literacy on thought, culture and poetics. The leading figures in this
development are Jack Good y and Ian Watt (1968), Eric Havelock
(1963, 1982) and Walter Ong (1982, 1986). These writers, building
in turn on the work of psychologists and anthropologists such as
Claude Lévi -Strauss, Lucien Lévy-Bruhl, and Aleksandr Luria,
remain influential, the res ervations and revisions of later scholars
notwithstanding.
Goody and Watt first argued that the thought, philosophy and
historiography, and even the democracy of the Greeks were the
special product of the introduction of writing. Havelock proposed
that the special character of the Greek alphabet – the first to have
specific signs for vowels – changed peoples’ ways of thinking and
expressing themselves, thus allowing for literacy as we understand
it today. 25 He first proposed the thesis that the Greeks were a
principall y oral societ y to the time of Plato. Despite the
reservations as to the effects of his ‘revolution’, Havelock’s
contention that Athens was a principall y oral societ y down to the
later part of the fifth century seems to reflect the consensus vi ew. 26
25 M.T. Larsen (1989, 46) challenges the notion that a vocalic alphabet
necessarily bespeaks an especial relationship with the spoken word. See also
Thomas (1992, 52-6).
26 See the discussion of Rosalind Thomas’ work, below.
20
Walter Ong describes the different psychodynamics of ostensibl y
oral and literate cultures. The differentiating factor is described as
a literary, critical and self -reflective consciousness that is seen as
qualitativel y different from the allegedl y pr e-critical, and largel y
non self-differentiating conscious of purely oral cultures. 27 This
process is often referred to as the ‘literate revolution’. 28 While, as
we shall see, these theses cannot stand unqualified, many of the
perspectives derived from them remain useful in investigations of
the interaction between oral -traditional and literate poetics. 29 In
general, Ong’s claims are stronger when the elements are viewed as
tendencies or habits of thought and communication that are present
in both oral and lit erary poetics rather than as absolute
characteristics of either mode of discourse.
Ong identifies (1982, 37 -49) nine aspects of communication in

which oral communication may be expected to differ from literary
(or literate) communication. According to Ong, oral poetics are: (i)
additive rather than subordinative; (ii) a ggregative rather than
anal ytic; (iii) redundant or “copious”; (iv) c onservative or
27 There is also an element of racism underlying these theories, which can be

seen in some of the early titles in the development of these theses: Lévi-
Strauss (1962) La Pensée sauvage; and, more tellingly, Lévy-Bruhl (1910) Les
Fonctions mentales dans les sociétés inférieures; (1923) La Mentalité primitive.
There is also an undercurrent of chauvinism in some of theoretical
formulations: that, for example, the Greeks’ invention of the world’s first
vocalic alphabet, and the developments which arose from it, are a product of
their native genius. Such assumptions are challenged by Rosalind Thomas
(1992, 15-28).
28 The short title of Eric Havelock’s collected essays (1982).
29 Mark Amodio (2005, 8) accepts the view that even in Aristotle's time ‘only
a very small percentage of the population would have been able to

participate directly in literate culture’. Nagy (1990, 20) says that oral poetry
was ‘long dead even by the time of Plato’. He is, however, referring to the
purely oral practice of composition, or re-composition, in performance, in a
culture entirely innocent of writing; not to the traditions that informed these
practices.
21
traditionalist; (v) close to the human life world ( practical,
experiential); (vi) agonisticall y toned; (vi i) empathetic and
participatory rather than objectivel y toned; (viii) homeostatic; (ix)
situational rather than abstract. In some respects these
characteristics are interdependent: features (i), (ii) and (iii) may be
regarded as facets of a single characte ristic, parataxis, which may
further be identified with (ix); 30 all are related to the paratactic as
opposed to syntactic organisation in speech. 31 As embedded features
of a poetic or cultural discourse each of these features may
contribute to (iv), in as much as aggregative expression of
situationall y concrete notions will tend toward the generation of
concrete-situational thinking, which will furth er tend toward
conservatism; (vii) ‘empathetic participation with concepts’ implies
that the conception will be situational (ix), and grounded in
personal and shared experiences (v); these factors may also
contribute to the agonistic approach (vi) identifi ed by Ong.
Characteristics (vii) and (ix) can also be seen as mutuall y
dependent aspects of a single modalit y of thought, that is, one
grounded in a continuall y re -created experiential present.
These principles of ostensibl y oral communication can serve as

convenient sign -posts toward the lingering effects of oral traditions
into literate ages.
30 The first two elements of Ong’s analysis are summed up in the phrase of
Levi-Strauss (1966, 245, quoted by Ong 1982, 39): ‘the savage [i.e. oral] mind
totalizes’.
31 The paratactic exposition of ideas may be regarded as the signal feature of
the text of the Persians under analysis by tone group. See Conclusions:
Separation of the lines of the traditional text into Tone Groups, Parataxis. For
a discussion of these features of language in speech and the poetics of
Homer, see Bakker 1999, 42.
22
Thomas, Tannen, et al.
However, the claims made for a supposed literary consciousness
have been overstated. In more r ecent times, the notion of the
literate rev olution, and claims for literacy as a powerful agent for
cultural change have been moderated by historical, anthropological
and literary research, especiall y by the work of Rosalind Thomas on
literacy and oralit y in earl y Greece. Furthermore, there have be en
important developments in our understanding of oralit y and of oral -
aural cultures, and of the on -going influence of oral -aural
communication, and in our understanding of the nature of literacy
in earlier Mediterranean cultures. 32 The tendency has been to see
such changes as can be observed in the habits and thinking of
various peoples of various ages as being influenced by a number of
factors of which literacy is but one. With reference to peoples and
cultures, the concepts of ‘literate’ and ‘oral’ can no longer be
considered in isolation, as if they are somehow in opposition to
each other; to understand the culture of the Greeks and the
developments within that culture we must look to a variet y of
factors, and most especiall y, given that our information a bout these
times is largel y drawn from literary sources, the interaction
between supposedl y oral and literate modes of communication. The
result is that oral and literate modes of thought and expression now
tend to be perceived as not differing quite as dr amaticall y as was
32M.T. Larson (1989, 143), in a study of the literary and social uses of
ancient Mediterranean scripts, finds that ‘It is not meaningful to claim that
the fully developed syllabic system was incapable of representing human
speech “at its most basic level”. Nor is it credible to base a theory concerning
the contrasts between such literary compositions as Homer and Gilgamesh
on the differences between an alphabetic and mixed syllabic/logographic
system of writing… serious historical analysis cannot be reduced to a
question of technology’.
23
originall y thought, and that where changes do occur they occur over
much greater distances of time than might readil y be supposed. 33
Much of the later work on the differences, or otherwise, between

oralit y and literacy has been done in th e context of our
contemporary and predominantl y literate culture. Nevertheless,
there are perspectives that can be usefully applied to the study of
historical oralit y and the transition between primary oralit y and
later poetic modes influenced by developme nts in literacy.
Where earlier theorists had argued that writing had produced in

Greece democracy, rational thought, historiography and philosophy
– in short, all of the hallmarks of western civilisation – a view less
focussed on literacy versus oralit y sees many of these innovations
as nascent in the pre -literary history of the Greeks, in their
competitive nature, in their love of debate and even in their pre -
literary poetic traditions. The individual elements that make up
tragedy, as well as the didacti c tradition it maintains, are largel y
pre-literate.
Rosalind Thomas’ approach to these issues is more subtle and

represents perhaps the clearest interpretation of the
interdependence of oralit y and literacy implied by the approaches
of Bakker and Oesterreicher. In her 1992 study, Literacy and
Orality in Ancient Greece , she notes the ‘vagueness’ of the use of
the term ‘oralit y’ (1992, 6). The word itself, ‘coined deliberatel y
33 Walter Ong is cognisant of this fact. He notes (1982, 26) that the process of
change between primary orality and a fully enculturated literacy is a slow
one: ‘Only very gradually does writing become composition in writing, a kind
of discourse – poetic or otherwise – that is put together without a feeling that
the one writing is actually speaking aloud’. He acknowledges also (1986, 34)
that writing as an independent means of composition grows out of orality
only by stages.
24
on the analogy of “literacy”’ (1992, 6) should, in its purest sense,
refer to peoples who rel y ‘entirel y on oral communication rather
than written’. But this is onl y a useful starting point for the
investigation of the wider implications of the phenomenon. The
Lord/ Parry-derived school of thought tends to class as oral only
poetry that is composed only in performance, on the spur of the
moment as it were, a classification that might accord with much
sympotic poetry but which ‘would exclude much poetry that was
indeed composed and propagated completel y without writing’
(1992, 6), and ma y well even exclude Homer. 34
Thomas distinguishes three basic components of oralit y:

communication, composition and transmission. This immediatel y
gives us a wider interpretative basis for approaching actual (as
opposed to purel y theoretical) oral practise s in the ancient world
such as the oral performance of written works. 35 Emphasising the
‘straight-forward, descriptive sense’ of the terms oral and literate
(‘either something is written or spoken’, 1992, 6), Thomas
continues: ‘[the terms] become more than merel y descriptive tools
and start to impl y a whole mentalit y or worldview … oral culture is
innocent, pure and natural, uncorrupted by the written word …the
pure manifestation of a people’s character’. While this perhaps
overstates the case a little, this is certainly the tenor of theories
34 Lord (1951, 80) allows for some relaxation of the strict thesis: ‘We tend to
forget, although there is abundant material available to prove the point, that
the good oral poet, like every other good poet, devotes much leisure time to
thinking of his songs and to practicing them’. I think it is highly likely, in
terms of the practice of poets in purely oral, entirely un-literate traditions,
that the operative strategy was one of dynamic re-composition in
performance; a feat only achievable after much ‘walking and talking’, that is,
after considerable compositional effort prior to the act of performance.
35 Bakker’s second continuum (1999, 31), spoken versus written modes of
transmission, addresses this important perspective.

25
that are built around a perceived dichoto my that is essentially a
modern literate construction.
As Rosalind Thomas has been at pains to show, 36 literacy is by no

means the unitary phenomenon it might at first glance seem to be.
We must begin any investigation by bearing in mind that the
earliest evidence for a particular kind of writing is not necessaril y
representative of its earliest use (Thomas 1992, 57); that there is a
period of development that necessaril y occurs pr ior to the more
full y-formed manifestations that survive.
M. T. Larsen, like Thomas, stresses the over -simplification in

attributing Greek genius to the advent of alphabetic writing.
‘Things are more complicated than that, and there is no escape from
the painstaking analysis of the “cultural causes”, the basic
understanding of the intellectual universe in which our ancient
documentation was shaped, even though technology may seem to
offer miraculousl y easy short -cuts’ (1989, 145).
The existence of public inscriptions does not necessaril y denote a

high level of literacy among a large number of individuals in a
communit y. 37 It may be that public inscription was an expression of
civic identit y of the order of a public statue, that is, that its
symbolic and monumental significance as an emblem of culture,
continuit y and power was greater than its value as a means of
making information public. The imposing stone inscriptions,
especiall y in communities in which the bare fact of writing has a
certain magical m ysti que, will have had an enormous atmospheric
36 Oral Tradition and Written Record in Classical Athens (1989); Literacy and
Orality in Ancient Greece (1992); ‘Literacy and the City-State in Archaic and
Classical Greece’ in A.K. Bowman and G. Woolf (eds.), Literacy and Power, 33-
50 (1996).
37 So Havelock (1963), 39.
26
impact that goes beyond the information conveyed in writing. They
express important facts about the communit y’s identit y, not the
least of which is the fact that ‘we possess writing’. Furthermore,
the literacy of public inscriptions is of a different order from the
literacy of a book or papyrus.
Again, the literacy of the public funereal inscription is of a

different order from that of the public legal inscription and the
literacy of the written poem is of a diff erent order from that of the
written technical treatise. An understanding of this point is crucial
to any who seek to interpret works that survive to us in writing in
terms of the milieu of their composition and their intended
performance contexts. It is c rucial also to note that, in the earl y
stages of the development of what we can call cultivated literacy
(that is, the highl y developed literacy which we tend to associate
with literacy per se in our present century) the written documents
tend to echo the spoken form of pre-literate models. 38 Archaic
funereal inscriptions, for example, appear in verse because verse
was the surest pre-literate way of ensuring memorial; even in the
post-classical period legal notices of treaties and decrees were
inscribed acco rding to the form of their spoken pronouncement
(Thomas 1992, 65). The very ubiquit y of writing in late -archaic and
earl y classical Greece, and at Athens in particular, both underscores
and obscures the overwhelmingl y oral character of the transactions
of every-day life.
Thomas holds the view that it is plausible at least that many more
people in ancient Greece could read than could write (two different
skills which are not sufficientl y distinguished in many studies of
38Mark Ammodio (2005, 12): ‘oral-traditional features are occasionally

employed in literary productions to emphasise or simulate authoritative
discourse’.
27
ancient literacy, see Thomas 1992, 11 ). It is likel y that phonetic
literacy was reasonabl y widespread, given the abundance of
democratic documentation (but remember Aristides’ peasant!); but
that written texts of poetry and prose, and the abilit y to read them
fluentl y, were rare and likel y ‘c onfined to the highl y educated and
wealthy elite, and their secretaries’ (Thomas 1992, 11). That
addendum is significant. Fluent reading requires not onl y an
orthography adapted to its needs but time and practice; where
wealthy individuals (such as the Euc lides of Plato’s Theaetetus )
made use of reading slaves, the indication is that they had neither
the time nor the inclination to develop the skills necessary to the
fluent performance of a menial and mechanical task. This does not
prevent them from acquiri ng some of the cognitive advantages
associated with literacy; they can at any stage bid the slave to
repeat individual passages or whole sections or works so long as
they have the leisure to sit and listen. It does mean, however, that
where the means of transmission remains essentiall y oral, there will
necessaril y be a lag in the development of the t ypes of discourse
most readil y characterised as literary; the cues and organisational
principles associated with oralit y will tend to be preserved both for
the sake of listening audiences – and even those earl y authors who
planned to disseminate their works through writing will have
anticipated audiences of listeners greater by far than those of
readers – and because of the old habits of oral expression.
Characteristicall y literary language does not develop overnight, it
develops over centuries and relies, moreover, on many more
cultural and technological factors than the mere presence of
writing. 39
39Cp. Havelock (1963), 294: ‘These works were composed by writers, who
however composed under audience control, so they had to conform to the
idiom and the genius of preserved oral communication’.
28
The ‘recurrent theme’ of Thomas’ book is that earl y writing is ‘in
service of the spoken word’ (1992, 73). That is to say, that the
written form of words reflect the pre -existing spoken models and
formall y represent them. Writing was a supplement to the oral
character of every-day transaction, not a substitute for it.
In general, Thomas asserts that the influence of writing on the

thinking of a people is not as great as Ong, Havelock , and others
would have it. In her anal ysis of the quotidian and legal uses of
writing down to the beginning of the cla ssical period, Thomas finds
no evidence of the sudden ‘discovery of self or development of
rationalit y attributed by some to the effects of literacy’ (1992, 72).
Almost every factor in the investigation of writing and literacy

stresses the simultaneit y o f written and oral modes of
communication in the ancient world, denying a uni -dimensional
view that demarks the oral from the lettered. 40 The notion of
literacy as a monolithic phenomenon is a ‘modern fallacy’ (Thomas
1992, 9).
The implication is that the thought and expression belonging to the

oral world is naturally conveyed in the writing down of that thought
and expression. Thomas uses this to explain the continuit y of
poetry in memorials and in earl y scientific exegesis. Before the
existence of writing poetic composition is one of the most secure
ways of ensuring the longevit y of any expression of thought and
40Something of the markedly oral character of the daily life of Athens is

preserved even in Aristotle in spite of his sophisticated use of literacy. This is
seen in those works of his, notably the Poetics, which have the character of
lecture notes rather than of finished literary works. Even at this fairly late
period we have writing used in the service of orality, a usage that testifies to
the growing sophistication with which one could make use of the written
word and the importance of orality in communication.
29
feeling. It is therefore quite natural that when it comes to the
writing down of those thoughts that they will be expressed in the
ordinary way in which one expresses any thought worth keeping,
that is, in verse. In the same way, when earl y lawmakers composed
their written laws in the form of curses they were, according to
Thomas (1992, 72), preserving a traditional oral form of legal
sanction. With reference to archaic law, Thomas stresses the ‘vast
mass of orall y conducted business, unwritten law, powerful
officials … not to mention attitudes to the written word conditioned
by earlier beliefs’ so that the ‘written record and the oral
background are mutuall y interactive’ (Thomas 1992, 73). With
regard to the writing down of law, the important questions are not
onl y who could read it , but who decided which laws should be
written down and in what form. These questions relate to each
other. What is writ ten will be mediated by the expectation of who
will be able to read it , as well as by other cultural factors , and
readers will, depending on the culture in which the writing occurs,
largel y be determined by the same or related factors.
This view is eviden ced in inscriptional sanctions, such as those at

Teos (dated roughl y to the first half of the fifth century by Graham
1992, 54), which as was often the case, occur in the form of a curse
against those who do not truthfull y discharge the duties of their
office. According to Thomas (1992, 68), a ‘surprising number’ of
these earl y codes betray ‘considerable anxiet y’ about the possible
abuse of power by those charged with the reading of the law from
inscriptions. The injunction against those who fail to ‘read o ut the
writing on the stele to the best of their memory and power’
highlights the communit y’s dependence on those who can read for
access to the written laws and the proposed sanctions emphasise the
power of those with access to the written word , and, equall y, the
power of being able to read. The implication is that readers are a
30
significant minorit y in communities up to at least the earl y fifth
century BC, some three centuries after the first introduction of
writing to Greece. As stressed by Thomas, oralit y is the primary
influence on communication for a long time after the introduction
of writing to a communit y 41 or a tradition. 42
There are, then, certain aspects of communicative st yle that do

seem to belong, naturall y as it were, to both oral and literary
composition. Here research into contemporary oralit y and literacy
provides useful perspectives. Deborah Tannen (1982a, 1982b and
1985) identifies certain charact eristics often associated with
‘oralit y’ and ‘literacy’ , which are actually derived from genre.
Different genres have different expectations attached both in
composition and reception. Tannen’s work on the features of
contemporary oral discourse finds that discourse modes vary along
the twin axes of planned -unplanned and formal -informal, rather
than reflecting a true distinction bet ween the spoken and the
written, and that many features associated with oralit y or literacy
are, in fact, determined by the character and aim s of the discourse
in question (1982a, 18; 1982b, 3). Tannen finds that the featu res of
language and thought noted above do not reflect oralit y or literacy
per se but derive from what she calls ‘relative focus on personal
involvement’ (1985, 124). Tannen moves away from an oral -literate
dichotom y and refers instead to planned and unpla nned discourse,
41 We have evidence for what was, in the fifth century, still a primarily oral
culture which at the same time made extensive use of writing. G.L.
Hendrickson (1929, 184) observes in Aristophanes, Plato and other classical
writers ‘the atmosphere of a time still near the beginning of books’ and J.A.
Davison (1962b, 224) notes Plato’s ‘regrettable propensity’, shared with
other classical authors, for ‘quoting from memory and then not verifying his
quotations’, a distinctly oral way of doing things.
42 Thomas is not alone in this. To cite but one influential instance, John Miles
Foley calls the ongoing oral tradition ‘the single most dominant
communicative technology of our species’ (1999, 1).
31
following Elinor Ochs, 43 and formal and informal discourse,
following Wallace Chafe. 44 While she views the two terminologies
as broadl y synonymous, she finds Chafe’s more apt (1982a, 6).
Tannen distinguishes certain features of discourse that are usuall y
presumed to belong to ‘oral’ or ‘literate’ communication (1982a, 2 -
3). According to her anal ysis t ypicall y oral features include: a
focus on subjective knowing (less focus on detail; specific facts), 45
internal evaluation through vocabulary cho ice (monitoring
strategies); the inclusion of features that create involvement (for
example, a preference for demonstrative over definite pronouns);
she also notes Chafe’s ‘fragmentation’ 46 and the fact that oral
constructions are supposedl y context -bound and, therefore use
paralinguistic cues such as gestures and facial expressions.
Typicall y literate features of discourse include: repetition of sounds
and words, syntactic structures and rhythm, 47 focus on content
rather than context (‘abstraction’, as per O ng’s anal ysis), the
integration of ideas through complex syntactical structures
(‘subordinative’ rather than ‘aggregative’), and de -
contextualisation, that is, evaluation through lexicalisation (e.g.
‘nominalisation’, Chafe 1982, 39f), and explicit stateme nts of
meaning, relationship, etc.
43 Ochs, E. (1979). ‘Planned and unplanned discourse’ in T, Givon (ed.) Syntax

and Semantics. Vol. 12: Discourse and Syntax. New York: Academic Press.
44 Chafe, W (1979). ‘Integration and involvement in spoken and written
language’. Paper presented at the 2nd Congress of the International

Association for Semiotic. Cf. Chafe 1982, 35-53.
45 This corresponds to Ong’s ninth category, situational rather than abstract.
46 For fragmentation and integration (i.e. paratactic as opposed to syntactic
structures) see Chafe 1982, 38-39.

47 These features are characterised as principally oral by most scholars;
Tannen describes them as ‘quintessentially literary’. The discrepancy derives

in part from Tannen’s focus on the spoken and written discourse of highly
educated 20th century individuals; consequently, her distinctions depend
largely on the level of literacy of her subjects.
32
An important consequence of Tannen’s work is that all
compositions are to a greater or lesser extent conditioned by prior
oralit y; individual expressions are conditioned by their prior
relation (or lack thereof) to an or al formulation. That is to say,
even when an author is composing in a genre that requires a self -
consciousl y literary presentation (as, for example, an academic
paper) that author is automaticall y going to be ‘translating’ from an
interior and essentially oral discourse.
For the purposes of the present study, the significance of Tannen’s

work is that features that foster engagement in creative works are
primaril y derived from oral communicative strategies. Her research
shows that the more personalised genr es, that is, those that seek to
engage audiences on personal and emotional levels, are more likel y
to show features t ypical of oral -interpersonal discourse than are
those that are motivated by intellectual or impersonal concerns; and
that certain genres, s uch as creative fiction, combine ‘features
expected in informal spoken discourse with others expected in
formal writing’ (1982a, 1).
In fact, when the lists of discourse features associated by Tannen

with formal and informal, planned and unplanned composi tion are
applied to the poetry of Homer and Aeschylus, both poets show a
number of both purportedl y ‘oral’ and ‘literary’ features.
Table 1.1. Features of Informal/ Unplanned composition.
FE ATURE IN H O M E R IN A E S C H .
D e p e n d e n c e o n m o r p h o s yn t a c t i c s t r u c t u r e s l e a r n e d e a r l y i n Y Y
life
Reliance on immediate context to express relationships N N

between prop ositions
Preference for d eictic modifiers Y (cond- Y (cond-

itioned b y itioned b y
language) language)
33
Avoidance of relative clauses N N
Preponderance of repair mechanisms Y N
Use of parallelism; rep etition of phonemes, lexical items, Y Y

s yn t a c t i c c o n s t r u c t i o n s
T e n d e n c y t o b e g i n n a r r a t i v e i n p a s t t e n s e a n d s wi t c h t o N N
present
Table 1.2. Features of Formal/ Planned Composition.

Complex morphosyntactic structures learn ed later in life Y Y
Lexicalisati on of relationshi ps bet ween prop ositions Y Y
Preference for d efinite articles Y (cond- Y (cond-

itioned b y itioned b y
language) language)
Use of relative clauses Y Y
Ab s e n c e o f r e p a i r m e c h a n i s m s N Y
Less use of Pa rallelism N N
Tendency to use past tense in narrative Y Y
Similarl y, b oth poets show features associated by Tannen with a

high focus on interpersonal involvement:
Table 1.3. Features Productive of Involvement in discourse.

Devices for monitoring communication channel N N
Concreten ess th rou gh specific detail Y Y
Personal quality (e.g. use of first p erson) Y – in first Y – by-

person product of
narrative dramatic
passages mimesis
Emphasis on people and relationships Y Y
Emphasis on actions and agents rather than states Y Y

and objects
Direct quotation Y Y
34
Reports of sp eaker’s mental processes Y – omniscient Y
narrator
Fu zziness N N
Emphatic particles Y Y
These findings confirm Tannen’s observation that many of these

features seem ‘to be a matter of register conventions’ (1982, 7). 48
Certain ostensibl y literary features are found in both poets as a
result of the formal and planned nature of the works (e.g. the use of
complex syntactic structures) or from the distance necessaril y
created by the performance context (e.g. the absence of devices for
checking the communication channel); 49 other features (notabl y
reliance on immediate context, reports of speaker’s state of mind)
seem to be derived from their respective poetic conventions,
particularl y those of drama. Others again (such as the presence of
earl y-learned morphosyntactic structures) may be thought to be
derived from the works’ proximit y to primary oralit y , or from the
native features of the language (e.g. the preference for deictic
pronouns).
On the other hand, certain features c ommonl y identified with

historical oralit y (to differentiate the phenomenon from the
contemporary oralit y discussed by Tannen) are confirmed as
features of oral registers (focus on involvement, concreteness,
parataxis). Highl y formalised oral poetics have the additional
48Minchin (2014), 270-1 arrives at a similar view.

49It could be, however, that devices such as ring-composition, paroemiacs, or
the ‘Robert the Rose Horse Syndrome’ (for which see Conclusions:
Traditional Metrics Comparison) exist to make up for the absence of
‘monitoring’ strategies in formal performance contexts, in that they provide
cues to the audience to reconnect with the narrative. Something similar can
be said of the epic formula: ‘The resulting phrase or verse, which takes
somewhat longer to enunciate that a noun unadorned, slows the
presentation of new information and allows listeners an extra moment to
absorb it’ (Minchin 2014, 272-3).
35
distinguishing feat ure of rel ying on means other than writing to
promote and preserve audience engagement and the propagation of
the poems. Repetitions of metre, of lexical items, and of syntactic
structures, are all important organisational principles in pre -literate
poetics. Tannen’s findings indicate that they were themselves
derived from the natural patterns of speech, in conversation and
narrative. 50
The features of discourse t ype (formal or informal) and discourse

motivation (relative focus on involvement) identified b y Tannen, in
tandem with more historicall y nuanced notions of the ‘oral’ and the
‘literary’, can be used to explain features of the poetics of
historical oralit y as societies graduall y become increasingl y literate
and literary.
To speak of ‘oral’ or ‘lite rate’ in an exclusionary sense is an

oversimplification , and tends toward an overestimation of the
impact of writing on a culture. Specifically, it obscures the
historical processes involved, in as much as a people’s needs and
inclinations will inevitabl y determine the uses to which they put
writing after its introduction; these uses will in turn determine the
effect it has on their perceptions of it. Similarl y, it might be helpful
to think in terms of poetic cultivation , rather than describing
individuals as ‘oral’ or ‘lit erate’. An individual ‒ be they poet or
spectator ‒ living in a principall y oral milieu will be more or less
cultivated according to their skills, preferences and experiences.
These skills may include familiarit y with the written word.
This anal ysis implies the view that just as literacy is not a unitary
phenomenon, neither is primary historical oralit y. Therefore, when
50 Cf. Nagy 1990, 26 on the derivation of epos from traditional narrative.

36
one considers the effects of literacy in a culture, one must take into
account the unique character of its pre -literate state. As Thomas
observes, ‘The evidence for Greece shows both a sophisticated and
extensive use of writing in some spheres and what is, to us, an
amazing dominance of the spoken word. Fifth -century Athens was
not a “literate society”, but nor was it quite an “oral societ y”
either’ (Thomas 1992, 4). 51 Interestingl y, Keith Thomas is able to
make the same claim for seventeenth -century England. 52
Literacy and oralit y therefore must be considered in tandem:

‘Rather than separating the literate areas in one period from the
oral, or still worse, the earlier centuries, supposedl y oral, from the
later, supposedl y ‘literate’ ones, we should examine the interaction
of oral and written communication techniques’ (Thomas, 1992, 5).
That is to say, we must interrogate our s urviving texts – on the
level of both sound and sense – for features that can inform our
understanding of them as a lived, spoken phenomenon. This
formulation most closel y approaches the understanding of oralit y
51 Cp. Havelock (1963), 292: ‘The old and the new, the oral and the written
techniques of preservation, go on side by side’. As with Havelock, most of
Thomas’ evidence is for the mid- to late fifth century; we may suppose the
progress toward a ‘literate’ society to have been less developed in the earlier
part of the century.
52 K. Thomas (1986, 98): ‘Indeed, it is the interaction between contrasting
forms of culture, literate and illiterate, oral and written, which gives this
period its particular fascination.’ And this after more than a millennium of
literacy in the Western tradition. He notices (120) in early-modern England
the same mingling of oral and literate traditions that Rosalind Thomas
observes in classical Greece. England possessed very early on a distinct
literary language developed over centuries under many and diverse
influences (121). This literary language was effectively divorced from most
spoken dialects and registers and at the same time informed the most
prestigious forms of the spoken and written language. In Greece, by way of
contrast, the influential language tradition, most especially that of Homer,
had developed over centuries and was similarly divorced from most spoken
forms of the language, but it was an oral rather than a literary poetic
tradition.
37
that I wish to bring to the interpretation o f the Persians. Analysis
by tone group gives us a praxis for approaching this goal.
A concept of oralit y does not exist independentl y of the existence

of writing (Thomas 1992; Foley 1999); oralit y does not conceive of
itself as such, cannot be conceived o f at all, without reference to
literacy; and neither can be conceived of without reference to
communication. In relation to an awareness of diverse literary
modes, and the power of writing and speech, oralit y is merel y one
of many discourse modes. The esse ntial feature that the different
modes of composition and dissemination share is that they exist for
the purpose of the communication of ideas. The deceptivel y simple
term ‘oralit y’ is shrouded in ever -increasing ambiguit y. Does it
refer to an all-but pre-historic ‘primary’ oralit y? Does it refer to
the communication resources of illiterate or semi -literate people
and communities? Does it refer to the literary -aware spoken
discourse of literates? Is it an unconscious echo of childhood
language, of the rhyt h mic and tonal properties of traditional tales?
It is all of these things.
Long before the existence of writing very complex materials were

conveyed orall y (Thomas 1992, 4). This is something often
overlooked in the study of epic as an oral phenomenon. Before
literacy there is onl y communication; after literacy there is still
onl y communication. This communication is by no means simple.
People do not communicate other than as they think. If they are to
develop new ways of communicating, they must first deve lop new
ways of thinking. In this paradigm is revealed the interrelation of
oralit y and literacy in the very earl y days of their co -existence.
Oralit y influences literacy in providing it with models of
communication (strategies, formulae, tale -t ypes, and a range of
cognitive-emotional cues pertaining to vocabulary, metre and
38
melody). Literacy, in turn, influences oralit y (in its later stages) by
adding new conceptual and communicative possibilities. When
considering the gradations in the interaction of oral it y and literacy
we must bear in mind is that there will inevitabl y have been a kind
of transition within each phase as well as a kind of transmission
between phases; it is not a simple matter of a transition from one
state (oralit y) to another (literacy); different individuals will have
made different uses of the available technologies (oral and written)
at the same historical moment. At the same time we should not
expect to see individuals using the reading or compositional habits
of the twent y-first century AD in the fifth century BC; nor should
we expect to see the elaborate use of literary technologies in the
poetics of a culture whose association with the written word is
counted onl y in tens, rather than thousands, of generations and
whose primary mode of transmission and reception is oral -aural.
We must therefore speak of historical oralit y to distinguish it from

the many manifestations of language that aggregate to themselves
the designation ‘oral’ in the study of historical and contemporary
language use. Historical oralit y is, first, that phase of oralit y that
precedes the use of writing. Second, it is that phase of the use of
writing that is yet heavil y and unconsciousl y influenced by oral
models. Above all else, oralit y is tradition. There is, on t he one
hand, the tradition of poetry and communication that is age -old and
influences every communication, no matter its conception or its
medium; on the other hand are the reactions of individuals and
groups toward and away from to those same traditions a s they are
exposed to new technologies of communication.
In all eras, oralit y is, above all, immediacy, be it the immediacy of

face-to face talk, the immediacy of pre -literary (sometimes called
pre-critical) minds, or the immediacy of the performance cont ext.
39
Before writing there still existed the same range of planned and
unplanned, formal and informal discourse types that inform
communication to this day. It becomes apparent, then, that many of
the features associated with historical oralit y, in texts
presumptivel y ‘oral’ and ‘literate’, are there because of the dictates
of their conceptual and performative contexts. 53 This makes it
possible, indeed necessary, for one to look for features of literacy
in oralit y while one is looking f or features of oralit y in more
literary discourse t ypes.
Aeschylus and Orality.

One of the most important insights of oral theory is that a
consideration of the oral -traditional context, that is, the poetic
antecedents, of any work is a pre -requisite for faithful
interpretation of that work (Foley, 1986, 9).
Homer is the ultimate model for the tragedians. It seems not

uncommon for the Greeks to class the tragedians and Homer
together. Aristotle, at any rate, is clear on this ( Poet.1449b17-18):
‘Wherefore, whoever knows about tragedy, good and bad, knows
about epic’. 54 For Aristotle, epic and tragedy are distinguished from
each other onl y in the manner of presentation, that is, by narration
in the case of Homer, though he too may narrate as if he were
someone else (1 448a21-2); in the case of the dramatic poets by
53 An important source of confusion as to what orality is, what orality isn’t

and the mechanisms by which it supposed to operate is the failure of many
theorists to adequately distinguish between the primal orality of entirely
pre-literate communities, and the contemporary orality of pre-literate and
illiterate individuals and communities of historical times.
54 See also in Plato: Laws 595b10 (‘first teacher and guide of the tragedians’);
604c4 (all the poetic representers begin with Homer’); 605c1 (‘Homer or
some other of the tragic poets’); 607a2 (‘the most poetic and first of the
tragic poets’).
40
representation in character (1448a23 -4). 55 Similarl y, Aristotle
describes Sophocles (1448a25 -9) as, one the one hand, the same
type of representer ( μιμη τ ής ) as Homer, in that they both represent
( μι μο ῦ ν τ αι ) serious ( σ π ο υ δ αίο υ ς , what we might call ‘heroic’ or
‘grand’) characters; on the other , as the same as Aristophanes, in as
much as they both represent characters acting and doing (that is,
they are both dramatists). These are clear indications that the
Greeks saw them as elements of a single poetic tradition. According
to Havelock (261-313), Aristophanes’ Aeschylus, at any rate, is
portrayed as one with his roots deep in oral tradition. At Frogs
1030-1042, ‘Aeschyl us’ firml y aligns himself with the great figur es
of the oral-epic tradition, a sentiment that accords with Aeschylus’
own alleged evaluation of his work as ‘slices from the great
banquet of Homer’. 56
The epic tradition is preserved in the very many Homeric words and
phrases used in Aeschylus’ tragedy. 57 Diction aside, there are
certain obvious points of similarit y between epic and tragedy. Both
classes of poetry derive from the same mythic -historical tradition,
stories and modes of story-telling known to both poet and audience
from their earliest childh ood. As is natural, the telling of these
stories will preserve certain features of language and
communicative strategy found in earlier tellings. The principle of
impersonation, fundamental to tragedy, is likewise to a certain
extent, taken up from epic. T he difference is that the epic poet is
narrating a story, and temporaril y – without mask or costume –
assumes the identit y and speaks the words of many characters as the
55 Aristotle says: ‘By the representation of … those represented as doing and

moving’.
56 Athenaeus, Deipnosophistae, 8.347e.
57 Parry gives (1932, 26) a list of eighteen Arcado-Cyprian words found in
Homer. Of this list, fifteen are readily recognizable from Aeschylus’

vocabulary. See also the numerous notices-in-passing of the various edd.
41
situation demands; but in tragedy the poet creates characters who
are played by differ ent actors, and differentiated by masks and
costumes, and in his work therefore is full dramatic impersonation
throughout.
Both the tragedian and the epic poet thus freel y assume, and play
on, the background knowledge of their audiences. They do this in
terms of themes and plot as well as in the matter of ornament and
explanation; it is with reference to the old that they construct the
new. While Homer and Aeschylus reflect vastl y different worlds
(that of the oikos in Homer and of the polis in Aeschylus), the
values of respect and order and consequence, and much of the
language that supports them, are held in common.
It cannot be said that any of the extant tragedies of the fifth century
were composed in performance. It is probable that the composition
in performance of epic poetry was a dying art form, if not actuall y
dead, by the end of the sixth century BC. At the same time, we
cannot overlook the fact that throughout the fifth century, and
indeed for centuries afterward, the affairs and transactions of dail y
life were poetic culture was principall y oral -aural; and that the
dominant poetic forms were oral -traditional and oral -derived.
Further, it must be remembered that drama is always an essentiall y
oral art form and, moreover, the fact that the earl y t ragedies were
not composed in performance does not necessaril y indicate that
they were composed in writing. 58
The work of theorists in oralit y provides a basis for making

interpretive analogies between certain narrative strategies used in
epic and others employed by the fifth -century tragedians. Renoir
58See Conclusions: Post-script, Did Aeschylus Write a Script? Cf. Bakker

1999, 29-32.
42
proposes a paradigm (1986, 116ff) by which works composed in
writing, but in accordance with a tradition of oral -formulaic
rhetoric, may be approached by taking into account the degree to
which both poet and audiences are apparentl y steeped in the
relevant tradition, on the basis of the degree to which we may
suppose the poet is writing for listeners or readers. A poet may
compose in writing on the assumption that the work will be read (or
recited) to large g roups of people well -versed in oral traditional
forms; conversel y, oral compositional communication strategies
may be used as the basis for a written work intended for an
audience of readers (1986, 118). These works can nevertheless be
satisfactoril y inter preted on an oral -rhetorical basis (1986, 125).
Renoir’s conclusions (135) serve as an important reminder to me in

my research:
When interpreting a presumabl y written literary work with
roots in oral tradition, we ought not to attempt forcing the
text int o the canons of one rhetorical tradition or another;
we ought, instead, to take the text on its own terms and to
base our interpretation on such rhetorical tradition or
traditions as we find clearl y represented there. In so doing
we shall spare ourselves t he frustration of looking for things
that are not there wh ile overlooking those that are.
It is on this basis that I make the following (tentative) formulation

regarding the composition of tragic narratives:
The oral-traditional poem (or rather, the trad ition of which the
poem is an expression) has evolved in transmission, the
fundamentals of which are intuitivel y grasped by a skilled poet in
specific composition. Both factors, the fixity of tradition and the
43
inspiration of the poet, are always involved in any composition
even, it may be argued, to the present day. 59
The relevance of this statement to the study of tragedy is

underscored by the fact that tragedy unquestionabl y was developed
in a predominatel y, but not exclusivel y, oral culture. In other
words, in the case of the works of the fifth -century tragedians, the
compositional and performative contexts will be very different from
those of their oral -traditional precedents , but conceptuall y, within
the framework of transmission and tradition, we may e xpect to find
important parallels. In the case of tragedy, whose composition in
writing we may for the present accept as a moot point, we may
assume a high degree of familiarit y with the oral -epic tradition in
both poet and audience and, while we may never know exactly how
the poems were composed, there is no doubt they were principall y
intended for aural reception.
In reading our traditional texts of Aeschylus, then, we should look

for signs of their aurall y-affective character, that is, those features
of his discourse that reveal something of the oral -aural character of
their original performance. Aeschylus’ audienc es will have
expected many of the discursive strategies of traditional poetics and
will have been primed, by the familiar conventions of their poetics,
to successfull y interpret Aeschylus’ original poetry in the same
terms. In the co -existence of writing and oralit y, and the uses in
which they are mutuall y supportive, we see that the extensive use
of writing in earl y fifth -century societ y does not contradict the
essentiall y oral character of dail y transactions; nor does the
59This formulation was derived from Webber’s statement that: ‘The

complexity beneath an appearance of simplicity …is the result of its having
evolved intuitively by ear and then having been continually refined through
performance’ (1986, 72).
44
essentiall y oral character of com munication deny sophisticated
relationships with the written word. We may, therefore, expect to
find many ‘Signs of Oralit y’ in the earl y tragedy of Aeschylus.
Under anal ysis by tone group, the Persians is shown to be

comprised of a series of short – ten to twent y lines of the tonally
affective text – self-contained songs and poems, called movements
in this study, each of which is composed of a series of simple,
internall y coherent statements. 60 These movements are demarked by
recognisable opening and closi ng strategies, repeated thematic
vocabulary, ring-composition, and so on. Similarl y, key thematic
vocabulary is flagged for the spectators’ attention by, for example,
position in its verse; erratic or out -of-place rhythms are used to
signal emotional and d ramatic key points. None of these features
can be supposed to be meaningful except on the basis of an extant
and influential oral tradition.
The following study examines the traditional text of Aeschylus’

Persians with reference to the expositional struct ures inherent in
the phrases of which the lines are composed.
The primary hypothesis is that a tone -grouped text will better

represent the rhythms and structures of the performance text, the
generation of its narrative and the presentation of its themes than
do the traditional texts. The corresponding null hypothesis is that a
tonall y affective text will adversel y affect the rhythm and meaning
of the text.
60The standard theatrical term is ‘beats’. In the present study, however, the
term ‘beat’ is used with reference to the duration of a line. See Research
Method: Analysis by Tone group: Application of the Method, Step 3
(scansion).
45
The secondary hypothesis is that a tone -grouped text will better
reflect the text of the play as an oral-aural phenomenon performed
within an oral -aural cultural context. That is, that the tonall y
affective text will offer insights into the mechanisms by which the
play was to be interpreted in the fleeting moment of its original
performance, and that it will show features that conform to those
expected a principally oral -aural milieu. The corresponding null
hypothesis is that the tonall y affective text will be irrelevant to any
presumed performance context, offering no insight into the nature
of the play as an oral -aural phenomenon, or to the societ y for which
it was composed and performed.
The following chapter introduces the concept of the tone group as a

linguistic phenomenon, outlines the method of anal ysis by tone
group, and gives the plan for the c ommentaries that form the bulk
of this dissertation.
46
Chapter 2. Research Method: Introduction to Analysis by Tone
group.
The following chapter presents an introduction to the concept of
tone-grouping and its theoretical origins, and that of the logos, the
basic organisational unit of anal ysis by tone group. There follows a
description of the principles and method of anal ysis by tone group
that are used to generate the Working and Experimental Texts. The
chapter closes with a general outline of the comme ntaries that form
the bulk of this dissertation.
Why Tone-Grouping?
Anal ysis by tone group is the product of a happy accident; a by -
product of an earlier study into patterns of lexical recurrence in the
earl y plays of Aeschylus. 61 The study required that t he recurrent
vocabulary be anal ysed within its lexical context. For this purpose,
the lines of the traditional were of limited use as editors vary
considerabl y in their lineation of the text. Similarl y the notion of
the sentence is of dubious value, as a s entence – as with the lines of
the traditional texts – may contain more than a single idea. This
feature of the language of epic is discussed by Edgar Bakker. 62 In
that article, Bakker argue s that intonation unit, or tone group is a
more meaningful way of i nterpreting the Homeric poems as speech
(1999, 37-43). The concept of the tone group itself is derived from
the work of Wallace Chafe. 63 On this basis I began anal ysing the
recurrent lex ical vocabulary within the implied tonal groupings of
the traditional t exts. During the writing up of the commentaries I
noticed I had inadvertentl y cited a recurrence of a word with
61 That is the recurrence of word-roots, not of exact verbal repetition.

62 Bakker (1999), ‘How Oral is Oral Composition?’ in E.A. Mackay (ed) Signs
of Orality: The Oral Tradition and its Influence in the Greek and Roman World.
This article is an important influence on the discussion that follows, and on
the development of analysis by tone group.
63 Chafe (1994), Discourse, Consciousness and Time, 53ff.
47
reference to different implied intonational grouping s. That is, my
anal ysis of tone groups had been ad hoc and inconsistent. I had no
choice but to anal yse m y materials thoroughl y from line one. The
play I began with was the Persians. Furthermore, I felt it was
necessary to scan the resulting phrases; if anal ysis by tone group
made rhythmic nonsense of the poetry, it would be a serious
objection to m y method. The effect on the poetry – and on the
meaning of the lines – was immediate and obvious. The resulting
phrases were metricall y regular and rhythmicall y beautifull y
balanced, their meanings apparent in simple clarit y. It seemed as
though I was witnessing for the first time the way in which the
individual phrases must have been expressed in their original
performance; and also that important keys to interpreting this play,
rhythmicall y, musicall y, and criticall y had been hidden in plain
sight for thousands of years. For a time I literall y could not credit
what I was seeing. Thus anal ysis by tone group was born.
Chafe, Bakker, and the logos.

Tone in linguistics refers to the semantic function of word -groups
in spoken language as a unit of mental and linguistic processing; a
tone group is a statement moderated by one of these tones. The
facult y of producing and perceiving these tonal -semantic cues is
fundamental to human speech. Wallace Chafe (1994, 69) describes
tone groups (Chafe calls them ‘into nation units’) as ‘the linguistic
expression of information that is, at first, active in the
consciousness of the speaker and then, by the utterance of the
intonation unit, in the consciousness of the listener’. Chafe sees
tone grouping, or rather, its eff ect in spoken communication, as
derived from ‘echoic memory’ (1994, 55). Echoic memory describes
the human abilit y to ‘shift one’s consciousness of sound from a
semi-active to an active state during the first few seconds after it
has ceased to reverberate in the air’ (ibid); it is in virtue of this
48
facult y that we are able to ‘process sound sequences as wholes, not
just “from left to right” as the sound enters our ears’ ( ibid). The
tone group is an utterance of about the right duration to be
‘processed in its entiret y with the help of echoic memory’ ( ibid).
Chafe opines that ‘it would not be far -fetched to speculate that
echoic memory evolved as a necessary component of the evolution
of language’ (ibid).
Chafe makes the non -controversial claim that natural spoken

language is not produced in a smooth continuum but in ‘spurts’
(1994, 57). 64 These spurts are not merel y conditioned by the
necessit y of breathing; ‘this physiological requirement operates in
happy synchrony with some basic functional segmentations o f
discourse’ (ibid). 65 These ‘spurts’ of communication are roughly
analogous to the tone group. Importantl y, these tone groups are
nearl y always defined by pauses in the flow of speech (1994, 59). 66
Chafe goes on to observe (1994, 62):

Intonation units emer ge from the stream of speech with a
high degree of satisfying consistency, not just in English,
but in all languages I have been able to observe and in fact
in all st yles of speaking, whether conversation, storytelling,
oration, the performance of rituals, or even (or especiall y)
reading aloud. That fact suggests they play an important
role in the productio n and comprehension of language .
64 This claim is supported by Deborah Tannen’s studies on face to face

conversation: Tannen 1982a, 1982b and 1985.
65 See Conclusions: Performance Considerations, the Actors’ Breath.
66 This becomes relevant in determining where the ‘rests’, in the musical
sense, are to be understood in the delivery of the individual tonally grouped

phrases, or lines of the tonally affective texts.
49
Tone-grouping as a tool of structural analysis first came to m y
attention in the aforeme ntioned article by Edgar Bakker. Bakker
describes tone groups (1999, 39) as a unit of spoken language that
is:
usuall y four to seven words long; it can be a complete
syntactic unit, such as a clause, but it can also be something
that needs to be complemented to make sense syntacti call y;
and in spoken language it is marked by intonational
boundaries, and often by pauses .
Bakker applies an experimental method of anal ysis by tone group to

Iliad 6.390-403. In so doing he demonstrated the ‘arbitrary’ nature
of the sentence divisions g iven in the traditional lineation. 67 The
Oxford text makes three sentences of what Bakker anal yses into
twent y-six separate syntactical units. Bakker argues that the pattern
of successive phrases given by tone -grouping is more relevant to
the anal ysis of Homer’s poetry than the division into punctuated
sentences. Bakker also notes the logic of the developmental relation
between successive units, most of which ‘coincide with the
hemistichs of the hexameter, comparable in length to the intonation
units that are observable in ordinary speech’ (1999, 41). Each unit
functions independentl y and at the same time ‘builds on the other[s]
in an ongoing flow of incoming detail’ ( ibid.). In other words,
meaning is generated in the paratactic succession of internall y
coherent statements.
What Bakker did not advert to in his study was the rhythmic and
structural significance of the tone groupings he gave. It was this
effect of Bakker’s anal ysis by tone group that struck me most
forcibl y: there is no other way to say it th an that reading Homer’s
67 Bakker used the 1920 OCT (1999, 41 n.18).

50
poetry in tonal groupings felt better. On the printed page the
meaning of the phrases becomes more apparent; the sequencing and
interdependence of ideas more clear; both ring composition and so -
called enjambment stand out clearl y as meaningful structural
features and lose any appearance of accident. As far as the oral
presentation of the lines is concerned, they are far easier to
reproduce with the voice from the page and far easier to interpret;
the natural rhythm of the phrases bec omes outstandingl y clear; as a
result the verses are presumabl y better memorised (and understood)
and one can onl y assume that the lines so disposed better reflect the
living context of their performance. 68 An oral performance, no
matter how it was composed , can onl y ever be a succession of
utterances. Tone -grouping, as a phenomenon of language,
contributes to the inner structural meaning of these utterances and
moderates their relation to other phrases before and after. It
seemed, at first glance, that Home r’s poetry was more at home in
its natural tonal groupings than in the hexameters which are
traditionall y supposed to be its native metrical convention.
In his anal ysis, Bakker (1999, 39) makes the following claims for
the importance of tone -grouping:
The intonation unit is not onl y a universal manifestation in
speech of the workings of human consciousness; it is also
the point of departure for any enhancement of speech in the
form of oral traditions. The intonational and prosodic
properties of the unit ca n be stylised into metrical
properties; and their cognitivel y determined length makes
them the ideal basis for formulas as the basic ingredients of
epic discourse. In other words, the intonation units of
68Bakker says (1999, 41): ‘[T]he text of the passage is characterized by a

thoroughly oral conception, and so very far removed from our conception of
a written text.’
51
ordinary speech become the metrical units of special , poetic
speech.
He adds: ‘I propose, then, that it is the intonation unit of spoken

language that lies at the basis of essential aspects of Homeric st yle,
such as the very concept of formula, as well as parataxis and
colometry’. 69
Bakker’s views offer an important parallel to the underl ying

principles of Gregory Nagy’s proposed model for the development
of epos as poetic speech. 70 In questioning the purel y metrical, rather
than thematic, relevance of the Homeric epithets, Nagy observes
that metric trends do not make new phrases, rather: ‘predictable
patterns of rhythm emerge from favourite traditional phrases with
favourite rhythms; the eventual regulation of these patterns,
combined with regulation of the syllable count in the traditional
phrases, constitutes the essential of what we know as meter’ (1990,
30). It is worth noting here with Nagy that while the Greek
hexameter is regularly divisible into four cola, which divisions
correspond to places in the verse where word -breaks regularl y
occur (caesurae and diaereses), 71 these divisions by word -break are
onl y a surface phenomenon and that, according to Nagy, ‘what is
reall y going on is that the colon lengths regularl y coincide with
69 In other words, tone groups are self-organising. It will be observed that

the translations attached to the several commentaries in this thesis are
presented almost entirely without punctuation. Early indications are that
natural-language tone-grouping performs many of the functions of
punctuation in literary transmission, where tonal clues are either lacking or,
at best, only implied. That is, tone-grouping is to the spoken word what
punctuation is to writing. See below, a Note on the translations.
70 Nagy (1990), Greek Mythology and Poetics, especially ‘Sema and Noesis:
The hero’s Tomb and the “Reading” of Symbols in Homer and Hesiod’, 202-
222.
71 Nagy cites Frankel (1960), ‘Der kallimachische und der homerische
Hexameter’ in Wege und Formen fruhgriechische Denkens (2nd ed), 100-156.

52
syntactical phrase or clause lengths’ (1990, 31). The Homeric cola,
then, coincide broadly with tone groups; and, moreover, it is these
traditionall y favoured tone groups that condition the rhythm of the
verses which then, secondaril y, condition rhythmic and metrical
expectations. 72
Returning briefl y to Bakker’s anal ysis of Homeri c verse, three

features become immediatel y apparent when Homer’s poetry is
taken out of the context of the hexameter and presented on the basis
of tone groups: first are structural features such as long and short
phrase lengths, the repetition of key ideas , and ring-composition, a
well-attested feature of oral poetics. On the printed page, as in the
hearing, these structural features become self -evident; whereas in
the traditional lineation they are obscured. Second is that the
‘dact ylic hexameter’ of the r egular metrical line is replaced with
smaller regularl y disposed units of speech, the basic metrical
element of which seems to be the spondee; the phrases scan as
anapaests as often as not. 73 Third is the paratactic nature of the
exposition. This means that the narration of an episode or event is
developed as a series of discreet statements that build meaning
additivel y in the narrative.
Thus we have a clear notion of tonal grouping that, al though it is

derived from studies in modern -era face-to-face communication,
transfers quite well to the consideration of ancient Greek poetics. It
remains, though, to be determined whether any such notion was
meaningful to the Greeks. We must attempt to an swer the question
72 This foreshadows the principle of Rhythm over Metre. See Conclusions:

Traditional Metrics Comparison, Rhythm over Metre.
73 For this feature of the rhythm of phrases as identified in this analysis, see
Ch.3, Principal Measures, especially the discussion of the dactylopaestic

pentasyllables.
53
as to whether tonal grouping was a meaningful structural principle
in the Greek conception of language.
As it happens, we have an important piece of evidence that the

Greeks interpreted meaning through the interaction of multiple
signs in Plato’s definition of the logos, given at Sophist 262c1-5.
Here a logos unquestionabl y consists of more than one word, and,
moreover, its meaning is said to be generated only in the interaction
of concepts rather than in concepts in isolation: ‘The juxta position
of (names of things) in no way constitutes a logos; the utterances
( τὰ φ ω νη θέ ν τ α ) reveal nothing of whether it is this way or that way,
active or inactive, existing or not, until someone mixes ( κ ε ράσῃ )
rhēmata with onomata’. Plato then gives an ex ample, which is
affirmed in the dialogue (262c9 -262d1): ‘a man learns’ ( ἄ ν θρω π ο ς
μα ν θά νει ) is the ‘simplest and first’ ( ἐ λάχ ιστό ν τε κ αὶ π ρ ῶ το ν )
logos.
From Plato’s example one may readil y infer that the defining terms
onoma and rhēma correspond to our mo dern notion of noun and
verb respectivel y, and this is indeed the most common modern
interpretation. The supposition is confirmed in Plato’s own
definitions of the terms: ‘That which describes actions we
sometimes call a rhēma’ (262a3-4), 74 and ‘to those who perform
these actions we give the vocal sign onoma’ (262a6-7). 75
Interestingl y, then, we have here a near -contemporary definition of
what corresponds to the term word in our modern usage: ‘a vocal
sign’. 76 The somewhat tortuous periphrasis indicates the di fficult y
74 τὸ μὲν ἐπὶ ταῖς πράξεσιν ὂν δήλωμα ῥῆμά που λέγομεν.

75 τὸ δέ γ᾽ ἐπ᾽ αὐτοῖς τοῖς ἐκείνας πράττουσι σημεῖον τῆς φωνῆς ἐπιτεθὲν ὄνομα.
76 A search of the TLG archive gives only two other
σημεῖον τῆς φωνῆς.
occurrences of the same phrase in the corpus: Stobaeus, Anth.2.4.17;
Ammonius, in Aristotelis, 49.1. Both are late (C.5-6AD) and both are
54
Plato had in conceiving words as a unitary phenomenon. 77 A logos,
by Plato’s definition, is always a plurality. 78
It is this Platonic definition that informs the method of tonal

anal ysis as applied to the text of the Persians. However, as the
examinations of the Persians will show, we need more nuanced
definitions of the two elements of the logos, onomata and rhēmata.
We are, perhaps, too readil y guided by Plato’s examples of both
these classes of words. Onomata are words like lion, deer, horse
(262b9-10); rhēmata are words like walks, runs, sleeps (262b5).
From this, and from Plato’s definitions, we may suppose that the
terms correspond to our names ‘noun’ and ‘verb’ and this
essentially direct quotations of this passage from the Sophist. Svenbro (1990,
369) attributes a parallel phrase, σημεῖα ἀνθρωπίνης φωνῆς, to Hippokrates On
Regimen 1.23.
77 The French linguist Andre Martinet calls the very notion of the unitary and
isolated ‘word’ into question. The problem as he sees it is ‘whether the

isolatable segments that are currently designated as words correspond to a
definite linguistic reality’ (1965, 40). ‘All efforts to give the term ‘word’ a
truly scientific status ran up against the fact that aside from clear-cut cases,
there are others where none of the usable criteria permit a yes or no reply …
its extension to all utterance of all languages complicates grammatical
description more often than it simplifies it’ (51). Interestingly, Martinet
proposes (51ff) the term ‘syntagm’ in place of the ‘non-scientific’ term
‘word’. ‘Syntagm’, defined (51-2) as ‘any group of several minimal signs’,
corresponds very closely to the tone group.
78 Reference to LSJ sub λόγος, reveals that the vast majority of attested uses
refer to semantic units much greater than a single ‘word’ as we conceive it

today; definitions (or, rather, interpretations derived from its use in different
authors) include notions as broad as ‘language’, ‘talk’ to the more specific
‘saying, maxim, proverb’; Chantraine (Dictionnaire Etymologique) gives λόγος
sub λέγω, the ‘original sense’ of which is given as ‘collect, gather, select’ or
‘count, enumerate’. As for λόγος, given as a secondary derivation from λέγω, it
is ‘a very ancient form of great importance’ meaning ‘a connection or
sequence’ or ‘words’ (note the plural). Its meanings in Attic-Ionic, says
Chantraine, recall the notion of counting and collecting attached to the
principal meaning of the verb λέγω (collect, itemise) and the notion of ‘logos’
as the summation of a number of elements or events. The notion of plurality
remains inescapable.
55
assumption accords with the definiti on of ἄ ν θρω π ο ς μ α ν θά νει as the
most basic logos.
This definition, however, does not cover every instance of what

might otherwise be described as a tone group. Interjections, such as
‘Yes, by God!’ or ‘Hol y smoke!’ do not meet the necessary criteria;
no do single word responses like yes or no. Again, certain phrases
occur quite naturall y in Greek without an explicit verb. If the Greek
sentence ἰ σ χ υ ρ ὸ ς ὁ ἄ ν θρωπ ο ς , ‘the man (is) strong’, can constitute a
logos by Plato’s definition, where ‘the man’ is the nam e (onoma)
and ‘(is) strong’ is its predicate ( rhēma), so too must ὁ ἄν θρ ωπ ο ς ὁ
ἰσ χ υ ρ ό ς , ‘the strong ( rhēma) man (onoma)’. There is then some
support for the notion that noun + adjective combinations ought to
satisfy the basic definition of a logos or tone group. Whereas
onomata are clearl y the names of things, that is, nouns, rhēmata
can be more meaningfull y understood as, literall y, ‘things said
(about a name)’, that is, as predicates.
From this point of departure we may define the logos as a self-

contained and coherent utterance. It is by its nature a compound
utterance and, moreover, as seen above with adjectival phrases, one
that does not necessaril y require a verb; what is required is (a) a
name, and (b) some contextualising information. According to
Plato, meaning is generated in the combination of these two
elements. Plato’s definition is therefore roughl y equivalent to that
of a tone group.
On this basis, the working definition of a logos, or tone group, is:

an utterance that consists at least of a noun and a predicate that can
be pronounced in the space of a single breath (or tone).
56
This definition, however, is merel y a starting point for this
anal ysis; the notion of the logos is, after all, a purel y theoretical
notion that is super-imposed on the poetry that su rvives in the
traditional texts. On the present definition, a single word cannot be
construed as a logos, but there are several lines of the tonall y
affective texts that consist of single words, some of which can be
understood as being predicated on actions, while others can onl y be
predicated on previous utterances. 79 There is, additionall y, a third
variation from the strict form of the logos that derives from the
phenomenon of intra -tonal separation, an artificial subdivision
within what would ordinaril y be regarded as a single tonal
grouping. 80 Nevertheless, the fact that this method of anal ysis
delivers rhythmically regular and semanticall y cogent results in
nearl y every instance of its application shows its utilit y as a
starting-point for anal ysis and interpretation.
It remains to test the definition of the logos derived from Plato on

poetic texts through anal ysis by tone group. The following
discussion of the principles and method of this anal ysis is intended
to allow others to appl y this research method to other texts by
ancient composers.
Principles of Analysis by Tone Group.

In the process described below the traditional text is anal ysed
according to its implied tonal groupings. The initial results are
given as the Working Text. T he Working Text is then anal ysed in
79 For the first type see line [157] of the Experimental Text with
commentaries (Ch.4, Anapaestic Dimeters); for the second, see lines [730]
and [738] with commentaries (Ch.6, Trochaic Tetrameters).
80 Line [2] of the tonally affective texts fails the definition for this reason. See
below, Principles of Analysis by Tone Group: The Principle of Grammatical

Relation; and Conclusions: Separation of the lines of the traditional text into
Tone Groups, Intra-tonal separation of Tone Groups.
57
detail with respect to its lineation, its implied measures, and its
generation of meaning in the metrical commentaries to each
section. This process leads to an Experimental Text, which becomes
in turn the object of the interpretive commentaries on each section.
The Working Text contains all lines and readings of the traditional
surviving text, with onl y changes in lineation co rresponding to the
implied tone groups of the originals. 81 The Experimental Text
features all changes to lineation, scansion, and the deletions and
variant readings suggested by the anal ysis of the Working Text and
proposed in the commentaries. The specific – and limited – claims
made for this text are described full y below.
There are four main Principles of anal ysis by tone group. These
principles appl y to the generation of the Working Text (see below,
on the Application of the Method).
1. The Principle of Isolation (Tonal Identit y).

In the first instance, a tone group must correspond to the Platonic
definition of a logos.
2. The Principle of Separation.

A potential tone group must always be isolated, at least for the
initial anal ysis. The force of this principle can be summed up in the
guiding aphorism when in doubt, separate.
81 Given the variation in editorial points of view, ‘traditional text’ is

something of a misnomer. The principal edition used for the traditional text
is that of Garvie (2009); additionally I have consistently consulted, West
(1990), Page (1972), Broadhead (1960), Smyth (1926, via Perseus.tufts.edu)
and Sidgwick (1899). In addition to the commentaries in the editions of
Broadhead and Garvie, I have also consulted West (1990) Studies in
Aeschylus, and H.J. Rose (1957) A Commentary on the Surviving Plays of
Aeschylus.
58
3. The Principle of Grammatical Relation.
A single tone group shall be grammatically independent from the
surrounding phrases. While, however, tone groups are internally
coherent and independent phrases, they may form a part of larger
grammatical constructions; that is, tone groups can contribute to a
grammatical structure while preserving their tonal identit y. This
principle extends also to the anal ysis of measures within lines of
the tonall y affective texts: wherever possible the measures sh ould
reflect the implied grammatical relations within lines. Allied to this
is the phenomenon of intra -tonal separation, in which a longer tone
group is artificiall y separated into two distinct tonal groupings, or
lines of the tonall y affective text . 82
4. The Principle of Least Interference.

Anal ysis must confine itself to the features of the traditional text in
the first instance. This principle is double barrelled. First, it
dictates that the necessary starting point for all anal yses is the full
form of the traditional text and that, different lineation
notwithstanding, the full content of that text is presented without
other variation (textual emendation). Where the resulting lines fail
to produce a meaningful text, justifications must be offered before
any textual emendation is adopted into the Experimental Text.
Second, for the purpose of metrical anal ysis, tone -grouping does
not allow for metrical interventions such as correption, synizesis,
synaephia, etc., in the first instance . Furthermore, all sylla bles are
to be scanned to their natural quantit y in the first instance. For
example, the diphthongs -ai and -oi are always scanned long in
nominatives plural, and short vowels preceding plosive + liquid
82For a description and analysis of this feature of the tonally affective texts,
see especially the metrical and interpretive commentaries to lines [1-4]
(Ch.4, Anapaestic Dimeters) and the metrical commentary to lines [730-731]
(Ch.6, Trochaic tetrameters). See also Conclusions: Separation of the Lines of
the Traditional Text into Tone groups, Intra-tonal Separation.
59
consonantal combinations are to be scanned long. Devi ations from
this principle are to be justified by the rhythmic and metrical
properties of the lines and of the movements that contain them.
Consideration of these rhythmic -metrical features is an important
aspect of the generation of the Experimental Text (see below).
Analysis by Tone group: Application of the Method.

The principles of analysis by tone group are to be applied regularl y
and rigorousl y in each of these stages of anal ysis.
The method outlined below describes the generation of the Working

Text, the principal object of the metrical commentaries to each of
the anal ysed sections of the play, and the generation of the
Experimental Text.
Step 1. Generate the Working Text.

The first step is to group the words by semantic affinit y, that is, by
the presumed tonal affiliation within a single phrase. The
subjective nature of this necessary first step requires the strictest
adherence to the principles of anal ysis described above, especiall y
the Principle of Isolation. The aim of this process is to de rive a new
lineation for the text being studied, one in which every distinct tone
group is given its own line in what becomes, in effect, a tonally
affective text. 83
Somewhat surprisingly, the roughl y comparable tone groups of

English (m y native tongue) s erved as a useful guide. Also helpful is
reading the lines aloud with, as much as possible, what seems to be
a natural intonation -grouping, and with something like the force of
83I.e. one that reflects the presumed aural qualities of the original in
performance. The term is used to describe both the Working and the
Experimental Text.
60
breath that would be required for their successful delivery in a day -
time open-air theatre. 84 The resulting text forms the basis of the
Working Text. The lines of that text are numbered in the ordinary
way, with the numbers given in square brackets to distinguish them
from the line numbers of the traditional text in the commentar ies
and discussions. Because, however, of the discontinuit y of the
passages anal ysed in this study, and because the tonall y affective
text tends to have a greater number of lines than the traditional
texts, continuous line-numbering is impossible. For cons ecutive
passages the line-numbering of the Working Text continues from
the previous anal ysed movement. In other instances, the numbering
of the tonall y affective texts corresponds to the first line of the
traditional text. 85
Step 2. Scansion.
The original scansions of the Working Text admitted onl y the
standard bi -, tri-, and tetra-syllabic measures recognised by
traditional metrics. 86 At an intermediate stage of the anal ysis of the
various sections of the play, the pentasyllabic measures evidenced
themselves as a fundamental feature of the rhythms of the tonall y
affective lineation, and these were thereafter routinel y admitted
into the Working Text. Similarl y (and in partial contravention of
84 This feature of the tonally affective texts ‒ and of the presumptive original
performance context ‒ is discussed in Conclusions: Performative
Considerations, The Actors’ Breath.
85 In some cases, as between the end of the stichic dialogue and the first of
Darius’ trimeter narratives, there is an overlap in the line-numbering, and

the designations e.g. [765a], etc. are used.
86 The initial scans were done using the scansion tool provided by the
University of Vilnius at <http://www.thesaurus.flf.vu.lt/eiledara/>. This tool

is designed for hexameter analysis and returns only approximate results,
which were then checked and compared against information from LSJ
(Intermediate Greek-English Lexicon, 1889/ 1975 reprint), and from other
sources where necessary. It is likely the tonally affective texts retain some
errors of scansion.
61
the Principle of Least Interference), all line-final syllables are
scanned long regardless of their natural quantit y.
For reference, the Working and Experimental Texts feature a beat -

count in the right -hand margin. These were included for the sake of
quick reference to the length of individual lines and for an
overview of the structural patterns within movements. The beat -
counting is simple: a long syllable counts as one beat, and a short
syllable counts as a half -beat. Occasionall y, and especiall y in the
tonall y affective texts of trimeter and tetrameter passages, the li nes
count to half-beats. 87 In these cases the simple rules are:
Closed final: round half -beats down.
Open final: round half -beats up.
With the initial scansions, the Working Text is completed, and the
next phase of the analysis can begin.
Step 3. Translation.
The translation of the resulting tone groups, the lines of the tonall y
affective text, should be a relativel y straight -forward process given
the naturall y coherent and self -contained nature of any well -formed
tonal grouping. Ease of translation is one of the hallmarks of the
tonall y affective texts.
While difficulties in translation are not necessaril y an indication of

an error in the primary anal ysis of step one, they are often an
important clue that something of the meaning or the form of the
lines has been misinterpreted, or that the traditional text contains
87 E.g. the commonly-occurring measure ( - - u - - ) will count to 4.5 beats. For

all measures provisionally identified in this study, see Ch. 3, Principal
Measures.
62
material that does not conform to the same poetic principles that
inform the bulk of the text.
Step 4. Secondary Anal ysis.

The lines of the Working Text can now be anal ysed in terms of
their key features: rhythmic cohesion, semantic unit y, and their
narrative-thematic functions.
In this dissertation the results of the secondary anal yses are

presented in two parts, the metrical and the interpretive
commentaries.
The purpose of the metrical commentary is to justify the form of

the lines with reference to their tonal -semantic individuation, and
to describe and anal yse their rhythmic and metrical features. 88 One
important function of these commentaries is to identify, describe
and – where possible – account for so -called ‘illegal measures’,
that is, measures that are out -of-place in the context of the
individual lines and their movements. 89 A secondary purpose is to
explore, and accept or reject, the scansion of longer measures than
are admitted i n the Working Text. 90 As a by-product of this process,
changes in scansion and textual emendations (deletions,
transpositions and the acceptance of variant readings) may be
proposed and adopted into the Experimental Text. On completion of
this process, a fi rst-draft version of the Experimental Text can be
finalised and translated.
88 In this study rhythm is understood as an inherent quality of verse; metre is

analysed rhythm.
89 For example, an isolated short syllable in an anapaestic context will always
be regarded as an illegal measure in the first instance. There are no illegal

measures in the Experimental Text derived from this study.
90 See Ch.3, Principal Measures.
63
The purpose of the interpretive commentary is to explore the
narrative, thematic and dramatic implications – that is, broadly
speaking, the critical implications – of the tonall y-affective text
and lineation given in the Experimental Text of each movement. In
many instances, these features of the tonall y affective text will be
adduced in support of the form of the Experimental Text.
Plan of Commentaries on the Tonally Affective Texts.

The bulk of this thesis presents the commentaries and tonall y
affective texts, with one chapter devoted to the anal ysis of each of
the four main t ypes of poetry characteristic of tragedy: anapaestic
dimeters (Chapter 4), strophic l yric (Chapter 5), trochaic
tetrameters (Chapter 6), and iambic trimeters (Chapter 7).
The following passages are subject to anal ysis by tone group: 91

lines 1-64 (the anapaestic dimeters of the parodos), lines 65 -137
(first choral ode), lines 140 -154 (the anapaestic prelude to the
Atossa scene), and lines 155 -158 (the Elders’ tetrameter address to
Atossa). After this the anal ysed passages are discontinuous: lines
354-373 of the Messenger’s speech (apparent as two distinct
movements under this anal ysis), lines 681 -693 (Darius ’ trimeter
91 The study began with the intention of analysing the entire play. Upon
completing the analyses up to line 158 it became apparent that it was neither
possible – time and scope permitting – nor necessary to do so. After that the
passages for analysis were selected on the basis of verse type. The lines from
the Messenger’s speech were chosen by feeding the line numbers of that
scene into the random number generator at www.random.org. The analysis
begins from the start of the semantic unit in which the result fell. The
passages from the Darius scene (trimeters and tetrameters) were analysed
from the beginning of that scene. The inclusion of the stichomythia was
deliberate as analysis of that poetic form was felt to be a necessary inclusion.
The two passages of Darius’ narrative trimeters where chosen as being
internally coherent narrative passages that could be compared with the
trimeters of the Messenger scene. The kommos was analysed from Xerxes’
entrance to the end of the second strophic pair.
64
address to the elders), lines 694 -714 (the tetrameter dialogue
between Darius, the Elders and Atossa), lines 715 -738
(stichom ythia between Darius and Atossa), lines 765 -786 (Darius’
‘historical’ narrative in iambic trimeters), lines 801 -812 (Darius
‘prophetic’ narrative), and, finall y, lines 908 -930 (anapaestic
introduction to the Xerxes scene) and lines 931 -973 (the first two
strophic pairs of the kommos). 92
Each section of the commentaries begins with the presentation of

the Working Text and a simple line-by-line translation. The
Working Text and translation are given complete in Appendices I
and II. There follows a brief introductory note and a line -by-line
commentary on the rhythmical and metrical characteristics of the
movement (Metrical and Colometric Considerations).
The convention for referencing lines in the metrical commentaries

is to give the line numbers of the traditional text (Garvie’s), with
the corresponding lines of the Working Text in square brackets
followed by the form of the line(s) as given there. The designations
‘init’, ‘med’, and ‘fin’ are given with the line numbers of the
traditional text where a line of the tonally affective text
corresponds onl y to one part of the traditional line.
The metrical and colometric conside rations include justifications of

the presentation of the lines as they appear in the tonall y affective
text, and discussions of their metrical form and rhythmical
qualities. After the metrical anal ysis, certain changes to the
scansion and readings of the Working Text may be proposed
(Textual Criticism). These form the basis of the Experimental Text,
which is given at the end of each of the metrical commentaries. The
92These last are presented in Appendix V for comparison with the anapaestic
dimeters analysed in Ch.4 and the strophic lyrics analysed in Ch.5.
65
Experimental Text and translation are given in full in Appendices
III and IV.
The interpretive commentary follows. For each movement these

begin with a translation of the Experimental Text. This is followed
by a discussion of the critical -hermeneutic implications of each line
or other relevant sub -section of the text. The interpretive and
performative implications of proposed changes to the text are also
discussed, and are sometimes adduced as additional support for the
form of the Experimental Text.
A note on the translations.

All translations given throughout this study are m y own. Wherever
possible, I have kept to the simplest possible line -by-line
translations. Even in these, something of the paratactic nature of
the exposition used throughout this play can be seen, as well a s
something of the innate poetry of the statel y succession of complete
and coherent ideas of which this play is composed. In deference to
this feature of the tonall y affective texts, I have tried as far as
possible to avoid the use of punctuation, allowing the tonall y
individuated phrases to stand by virtue of their tonal and semantic
force. This, however, has not always been possible or practical. In
some instances the syntax of the Greek phrases does not correspond
to the more strict demands of word -order in English. In others,
some functional aspect of the delivery of the lines, notabl y intra -
tonal separation, dictates a necessary minimum use of punctuation.
In the majorit y of cases, however, the paratactic nature of the
exposition renders punctuation in the English translation helpful
but not strictl y necessary. The chief exception to this practice is in
the use of question marks. These are used throughout for the
convenience of the modern reader.
66
A note on the Experimental Text.
The Experimental Text f eatures all transpositions, emendations,
changes in orthography, etc. that are adopted as a result of the
discussions of each section of the traditional text, as well as a
critical apparatus detailing the new readings and scansions.
It aims to present th e clearest possible representation of Aeschylean

compositional st yle as identified in this study, in terms of the
rhythm of the individuated lines, the rhythmic balance of their
movements as a whole, and the paratactic exposition of thought.
Beyond this, the text makes no additional claim to completeness or
correctness; for the first we must look to the Working Text, for the
second to the responses of other scholars in this field.
In seeking to demonstrate the applications of this method, the

Experimental Text will sometimes err on the side of exploration.
This feature of the text is especiall y evident, for example, in the
sixth movement of the parodos (lines [50 -56] of the Experimental
Text). There is little doubt that some genuinel y Aeschylean
material has been excised. It seems, for example, likel y that
Aeschylus will have named commanders here as in the other
movements of the Catalogue. The Experimental Text of that
movement should, perhaps, be regarded as a cautionary example of
the excessive applicati on of a theoretical position.
67
Chapter 3. Principal Measures and Nomenclature.
The purpose of this chapter is to describe the most common
regularl y-occurring measures provisionally identified in this study.
These measures constitute the basic terminology of the following
commentaries. At this earl y stage of enquiry the scansions given
with each line cannot be said to be definitive; they are an initial
attempt at describing in metrical terms the rhythms implied by the
tonall y affective lineation . The discussions below are necessarily
brief. For a full description of all the measures provisionall y
identified in this study, see Appendix X, Tables of Measures.
Resolved and Analectic Dimeters: Dactylopaests and

Trochiambs.
The basic metrical foot of the verse t ypes anal ysed in this study is
the spondee ( - - ), and the basic measure is the dimeter ( - - - - ).
Of these dimeters there are two t ypes: resolved dimeters, called
dactylopaests – these correspond to anapaests and dact yls – and
analectic dimeters called trochiambs – iambics and trochaics.
These two verse systems account for all the metrical forms and
rhythmic nuances identified in this study. Resolution and analexis
produce pentasyllabic measures. These pentasyllables are the
principal rhythmic unit, and by themselves account for 197 of the
632 occurrences. The pentasyllables are supplemented by regularl y -
occurring hexa- and heptasyllabic measures, and by the shorter
subsidiary measures. In 96% of cases, these measures scan to word -
end. 93
While in traditional metrics the lines are of a standardised length

according to verse t ype, anal ysis by tone group suggests that line
lengths varies within passages, and that the interplay of longer and
93 See Conclusions: Scanning to word-end.

68
shorter phrase -lengths is central to the presentation of the dynamic
rhythmic qualities of the poetry. For example, it will be seen in the
‘anapaestic dimeters’ of the parodos that very few of the lines of
the tonall y affective texts actuall y reflect this form. 94 From the
point of view of analysis by tone group an ‘anapaestic dimeter’ is
simpl y a line composed of 2x dact ylopaests, which can then be
described in a manner that better reflects the rhythmic diversity of
these lines.
As shown in the detailed commentaries on each section, these

measures tend to scan to word-end in phrases consisting for the
most part of between one and three words. Longer phrases are
possible, and will generall y be used to emphasise narrative and
dramatic focal points with emphasis given by the longer line. 95
‘Anceps’ Syllables.
No attempt is made in this study to map the anceps positions of
traditional metrics against their occurrences in the measures
provisionall y identified here. The term is used, however, to identify
syllables that are lengthened by position at line -end. 96 As these
line-final syllables have a bearing on the measures that are scanned,
certain measures are identified as ‘anceps’ forms. For example, the
‘anceps’ form of the didact yl ( - u u - u u ) will be ( - u u - u - ),
i.e. an ‘anceps’ didact yl. Sometimes the ‘a nceps’ form of a measure
will be treated under a different system. For example, the ‘anceps’
form of the pentasyllabic amphibrach ( u - - - u ), noted under
Other Trochiambic Pentasyllables, will appear as a trochiamb -1
( u - - - - ).
94 See Conclusions: Initial Findings by Verse Type, Anapaests.

95 Cf. commentaries on line [16] as a signal instance.
96 See Research Method: Analysis by Tone group: Application of the Method,
Step 3. Scansion.
69
These so-called ‘anceps’ forms are noted in the discussions below.
Dactylopaests .
The term dact ylopaest is preferred to the traditional designations
anapaestic or dact ylic because, in the anapaestic lines anal ysed in
this study, ostensibly dact ylic measures occur about as frequentl y
as anapaestic ones. Additionall y, while the term ‘anapaestic
dimeter’ covers a diversit y of metrical forms, anal ysis by
dact ylopaestic pol ysyllables gives a more rhythmicall y nuanced and
transparent indication of the metrical qualities of indivi dual lines.
The most common of the dact ylopaestic measures identified in this

study are the dact ylopaestic pentasyllable s. Other dact ylopaestic
measures appear as hexasyllables and heptasyllables. These are
admitted to the Experimental Text on considerations of scansion to
word-end, the rhythmic qualities of the lines, and the grammatical
and semantic affiliations within them.
An attempt is made below to categorise the forms of the various

measures occurring in dact ylopaests. Similarl y, an attempt is mad e
to describe the basis on which the various measures are formed,
that is, by analexis or by resolution of an open measure. Regardless
of how we should choose to describe the formation of these
measures, it must be borne in mind that this is an initial att empt to
define in anal ytical detail something that simpl y sounded well on
the poet’s ear in composition, and that the measures are not
actuall y formed on any such mechanistic basis.
Dactylopaestic Pentasyllables.
These pentasyllables are equivalent to an anapaestic monometer in
traditional metrics, and are the most commonl y-occurring metrical
70
form in this anal ysis. For convenience they are called simpl y
‘dact ylopaests’, with a number identifying which of the four
syllables of the open measure is resolved.
Schema of dact ylopaestic pentasyllables ( dact ylopaests).

Open Dact ylopaest ( - - - - )
Dact ylopaest -1 ( u u - - - ) (anapaestic)
Dact ylopaest -2 ( - u u - - ) (dact ylic)
Dact ylopaest -3 ( - - u u - ) (anapaestic)
Dact ylopaest -4 ( - - - u u ) (dact ylic)
These are the onl y pentasyllabic measures that occur in the

anal ysed anapaests and l yric.
(Regular) Dactylopaestic Hexasyllables.

Two classes of hexasyllabic dact ylopaest are identified in this
study. The regular dact ylopaestic hexasyllables a re described in the
table below. The principles of their formation, whether by
resolution of one syllable in an open pentasyllable ( - - - - - ), or by
the analectic inclusion of two short syllables in an open
dact ylopaest ( - - - - ), is unclear. The tabl e below assumes that the
measures are formed by resolution.
Schema of (Regular) Dact ylopaestic Hexasyllables.

Open ( - - - - - )
Hexasyllable-1 ( u u - - - - )
Hexasyllable-2 ( - u u - - - )
Hexasyllable-3 ( - - u u - - )
Hexasyllable-4 ( - - - u u - )
Hexasyllable-5 ( - - - - u u )
71
Of these, the open pentasyllable, hexasyllables -1 and -3 are
scanned in the Experimental Text.
Dipartite Dactylopaestic Hexasyllables .

There are a class of hexasyllabic measures identified in this study
that appear to be f ormed by combinations of the two basic
trisyllabic dact ylopaestic measures, the anapaest and the dactyl.
Schema of Dipartite Dact ylopaestic Hexasyllables.

Dianapaest ( u u - u u - )
Didact yl ( - u u - u u )
‘Anceps’ Didact yl ( - u u - u - )
Dactanapaest ( - u u u u - )
Anadact yl ( u u - - u u )
‘Anceps’ Anadact yl ( u u - - u - )
Of these, onl y the didact yl and the anadact yl are not scanned in the
Experimental Text; their ‘anceps’ forms do occur.
(Regular) Dactylopaestic Heptasyllables.

These measures, seemingl y formed on the same basis as the
dact ylopaestic penta - and hexasyllables , are rare, but seem secure
in their rhythmic contexts.
Schema of (regular) Dact ylopaestic Heptasyllables.

Heptasyllable -1 ( u u - - - - - )
Heptasyllable -2 ( - u u - - - - )
Heptasyllable -3 ( - - u u - - - )
Heptasyllable -4 ( - - - u u - - )
Heptasyllable -5 ( - - - - u u - )
Heptasyllable -6 ( - - - - - u u )
72
Of these, onl y the heptasyllables -2 and -3 are scanned in the
Experimental Text.
Other Dactylopaestic Heptasyllables: the ‘analectic’ or ‘double -

resolved’ heptasyllables.
Certain heptasyllabic measures appear to be formed from one or
other of the dipartite hexasyllabic measures; in the case of t ype
(A), by the addition (analexis) of a long syllable at the mid -point –
that is, between the two trisyllabic measures of which the
hexasyllable is composed – or, in the case of t ype (B) at the end. Of
the four principal dipartite hexasyllables, three, the dianapaest, the
didact yl and the dactanapaest, are f ound as heptasyllables of this
class in the anal ysed portions of the play. They could also be the
result of double resolution (see Appendix X ).
Schema of Analectic Heptasyllables.

Dianapaest (A) ( u u - - u u - )
Dianapaest (B) ( u u - u u - - )
Anadact yl (A) ( u u - - - u u )
(‘Anceps’) ( u u - - - u - )
Dactanapaest (A) ( - u u - u u - )
Dactanapaest (B) ( - u u u u - - )
Didact yl (A) ( - u u - - u u )
(‘Anceps’) ( - u u - - u - )
Didact yl (B) ( - u u - u u - )
Of these, the anadactyl (A), which is of the same form as the

Didact yl (B), and the didact yl (A), are not scanned in this study.
Trochiambs.
Trochiambs is the term used in this study to describe both iambic
trimeters and trochaic tetrameters under anal ysis by tone group.
73
As with the dact ylopaests of the anal ysed anapaests and l yrics, the
trochiambic verse systems show certain affinities between iambic
and trochaic verse, with the same measures appearing in both verse
types. 97 While the terms ‘iambic trimeter’ and ‘trochaic tetrameter’
cover a diversit y of rhythmic forms, the anal ysis of this study is at
once more specific and more nuanced. It is, however, far from
complete, and certain measures resist formal classification. 98
Trochiambic Pentasyllables.
The basic rhythmic unit in trochi ambs is again the pentasyllable .
There are two classes of trochiambic pentasyllable , regular and
multi-analectic. The regular trochiambic pentasyllables can be
described as being form ed by analexis of a single short syllable in
the open measure, and are called simpl y ‘trochiambs’ , with a
number identifying the syllable at which the analectic short syllable
appears. The second class is described below.
Schema of (Regular) Trochiambs.

Open ( - - - - )
Trochiamb-1 ( u - - - - )
Trochiamb-2 ( - u - - - )
Trochiamb-3 ( - - u - - )
Trochiamb-4 ( - - - u - )
Trochiamb-5 ( - - - - u )
Of these possible measures, onl y the trochiamb -5 is not scanned in

this study.
97 There are, however, certain differences. For this see Conclusions:

Trimeters vs. Tetrameters.
98 See Appendix X, Tables of Measures.
74
Other (Multianalectic) Trochiambic Pentasyllables.
The principle underlying the formation of these commonl y -
occurring measures remains unclear. They show either two or three
short syllables in an uncertain open measure. They are likel y a
manifestation of an aurall y pleasing rhythmic form, a nd may be
compared with e.g. the lecythium on that basis.
Schema of Other Trochiambic Pentasyllables.

‘True’ Iambic ( u - u - u )
Iambic ( u - u - - )
Iambo-Cretic ( u - - u - )
Trochaic ( - u - u - )
Diiambic ( - - u - u )
Pentasyllabic Amphibrach ( u - - - u )
Of these, the ‘true’ iambic pentasyllable and iambo -cretic are not
scanned in this study. The iambic pentasyllable is properl y the
‘anceps’ form of the ‘true’ iambic pentasyllable. As it is a
commonl y-occurring measure, the designat ion ‘iambic’ is retained
for that form. The ‘anceps’ forms of the diiambic pentasyllable is
the trochiamb -3; of the pentasyllabic amphibrach it is the
trochiamb-1.
Trochiambic Hexasyllables.
There are three classes of trochiambic hexasyllable identified i n
this study: regular, dipartite (and tripartite), and dianalectic .
Schema of (regular) Trochiambic Hexasyllables.

Hexasyllable-1 ( u - - - - - )
Hexasyllable-2 ( - u - - - - )
Hexasyllable-3 ( - - u - - - )
Hexasyllable-4 ( - - - u - - )
75
Hexasyllable-5 ( - - - - u - )
Hexasyllable-6 ( - - - - - u )
Of these, onl y hexasyllables -3 and -4 are scanned in this study.
Dipartite and Tripartite Hexasyllables.

This second class of hexasyllabic measures are apparentl y formed
on the repetition of one of the subs idiary trochiambic measures.
There are four measures of this class .
Schema of Dipartite and Tripartite Hexasyllables.

Dicretic ( - u - - u - )
Triiamb ( u - u - u - )
Tritrochee ( - u - u - u )
‘Anceps’ Tritrochee ( - u - u - - )
All are scanned in the anal ysed portions of the play.
Dianalectic Hexasyllables.
Another class of hexasyllables can be described as dianalectic,
showing two regularly-spaced short syllables within the open
measure ( - - - - ). The ditrochaic hexasyllable here is the same as
the ‘anceps’ tritrochee given in the table above.
Schema of Dianalectic Hexasyllables.

Diiambic ( u - u - - - )
(Ditrochaic) ( - u - u - - )
Spondaio-diiambic ( - - u - u - )
Spondaio-ditrochaic ( - - - u - u )
Onl y the spondaio -ditrochee is not scanned in this study. Its

‘anceps’ form is the trochiambic hexasyllable -4.
76
The above tables account for all the regularl y -formed trochiambic
hexasyllables. 99
Trochiambic Heptasyllables.
There are two classes of these heptasyllables, regular and analectic.
(Regular) Trochiambic Heptasyllables.

These measures are analogous to the regular trochiambic
pentasyllables and hexasyllables, as well as to the corresponding
dact ylopaestic measures. They feature a single short syllable within
a coherent measure. They are named for the position at which the
short syllable occurs.
Heptasyllable -1 ( u - - - - - - )
Heptasyllable -2 ( - u - - - - - )
Heptasyllable -3 ( - - u - - - - )
Heptasyllable -4 ( - - - u - - - )
Heptasyllable -5 ( - - - - u - - )
Heptasyllable -6 ( - - - - - u - )
Heptasyllable -7 ( - - - - - - u )
Of these, onl y heptasyllables -3 and -4 are scanned in this study.

They are onl y marginall y more common than the regular
hexasyllables described above.
Other Trochiambic Heptasyllables.

There are three members of this class that regularl y occur
throughout the anal ysed portions of the play:
99There are three additional irregular measures that are discussed in

Appendix X, Trochiambs: Irregular Hexasyllables.
77
Schema of Other Trochiambic Heptasyllables.
Lecythium ( - u - u - u - )
‘Anceps’ Iambic Lecythium ( u - u - u - - )
Dicretic (A) ( - u - - - u - )
Bacchiac (A) ( - - u - u - - )
This class of measures is the single most common, accounting for

29% of trochiambic measures. Other hypothetical forms that do not
occur in this study are discussed in Appendix X.
Tetrasyllables.
Of the tetrasyllabic measures recognised by traditional metrics,
onl y the epitrite -3 and the diiamb appear in the Experimental text.
These measures are discussed in Appendix X.
The above tables account for the majorit y of measures identified in

this study. The Subsidiary Measures t hat are used to fill out lines,
and the non-admission of octosyllabic measures, are discussed in
Appendix X.
78
Chapter 4. Anapaestic Dimeters , The Parodos and beginning of
the Atossa Scene.
Introductory Notes : The Parodos (1-64) [1-77].

Under anal ysis by tone group the parodos reveals itself to be made
up of a number of distinct ‘movements’ each of which is closed
with a paroemiac. 100 Each movement explores different rhythmical
variations of the metre of the opening lines, and each of them
corresponds exactl y to a larger sense u nit. That is, the chorus of
Elders successivel y explores several different issues in the parodos,
with each issue corresponding to a stanza of the printed text.
Moreover, under this anal ysis , each movement is seen to consist of
a succession of individuated , complete and coherent ideas. This
phenomenon of parataxis is central to the poetics of the entire
play. 101
In the discussion that follows the text of the parodos is broken up

according to these movements. 102 In the opening two movements of
the parodos Aesch ylus introduces all the information necessary for
(a) the basic rhythmic principles underl ying the parodos in its
entiret y, and (b), the basic interpretive praxis appropriate to the
play. These include the phenomenon of intra -tonal separation,
rhythmic variation, and of quasi -antithesis. 103 These features are
seen in the relation between the themes of the first two movements,
100 See Conclusions: Initial Findings by Verse Type, Paroemiacs.

101 See Conclusions: Separation of the lines of the traditional text into Tone
Groups, Parataxis.
102 The term Movement corresponds to the theatrical term ‘beat’, which
describes passages in a performance which are somehow marked off from

others, by pace or tone of some other applied theatrical effect. Here the
effects are identifiable by rhythmic and sense distinctions.
103 These features of prosody are discussed in the commentaries attached to
each movement and are described in Conclusions: Intra-tonal Separation,

and Traditional Metrics Comparison, Rhythm and Meaning.
79
within the movements themselves, and even within individual lines
of the tonall y affective texts.
The basic metrical unit of the entr ance song is the dact ylopaest –
equivalent to an anapaestic monometer. 104 These correspond to four
time measures, called here ‘beats’. 105 In many cases the basic four -
beat line is filled out with a single disyllabic or trisyllabic foot,
most commonl y a spondee or an anapaest. In other instances the
line consists of two dact ylopaestic measures – an anapaestic
dimeter – giving a line of eight beats. In other cases again these 8 -
beat lines are filled out with another of the shorter measures; these
lines are always dramatic or narrative focal points.
In certain instances, six - and seven- syllable measures appear to be

operative. These are discussed in the metrical commentaries to each
line and accepted or rejected on rhythmic, grammatical or semantic
grounds.
For the form of the Metrical and Interpretive Commentaries in this

and subsequent chapters, see Chapter 2, Research Method.
104 In these discussions, and in the Working Text, the dactylopaestic

pentasyllables (and their ‘open’ tetrasyllabic variant) are assumed to be the
dominant metrical form. See Ch.3, Principal Measures: Dactylopaests.
105 An infelicitous term. The different line lengths all seem to correspond to
the same number of beats per bar, as understood in contemporary music.

Both tonally affective texts are accompanied with a note of the beat counts
for each line. See Methodology.
80
Metrical Commentary, 1st movement, 1 -7 [1-10]
◡ ◡ — — — (4 )
Τάδ ε μ ὲν Περ σ ῶν [1 ]
— — ◡ ◡ — (4 )
τῶ ν ο ἰχ ο μέ ν ων
— ◡ ◡ — — (4 )
Ἑλλάδ ᾽ ἐς α ἶα ν
— ◡ ◡ — — (4 )
π ισ τὰ κ α λεῖ τ αι
— — — ◡ — [4]
κ αὶ τῶ ν ἀφ νε ῶ ν [ 5]
— ◡ ◡ — — | — ◡ — [6 ]
κ αὶ π ο λυ χ ρ ύ σ ω ν ἑδ ρά νω ν
◡ ◡ — | ◡ ◡ — — [— ] (6 )
φ ύ λακ ες κ α τὰ π ρεσβ εί α ν
— — ◡ ◡ — | — — (6 )
ο ὓ ς αὐ τὸ ς ἄ ν αξ Ξ έρξ ης
◡ ◡ — | — — ◡ ◡ — (6 )
β ασ ιλ εὺ ς Δ αρ ει ο γ ε νὴς
— ◡ ◡ — — | ◡ ◡ — — (7 )
εἵλε το χ ώ ρ ας ἐφ ο ρεύ ε ιν [1 0 ]
81
We are of the Persians
Of those who are gone
To the Greek land
We are called the faithful
And of their rich [5]
And much-golden abodes
We are guardians according to our rank
Whom the Lord himself Xerxes
King born -of-Darius
Chose to oversee his lands [10]
Notes.
The first movement of the parodos begins with a succession of
four-beat dact ylopaestic measures. In the first five lines of the
tonall y affective text, Aeschylus uses four of the five basic
dact ylopaestic measures. From line [6] of the Working Text the
dact ylopaestic measures are supplemented by additional, shorter
measures, producing distinctive rhyth mical variations. The change
from four-beat to six -beat phrases accompanies notice of the
Elders’ special role as guardians of the Empire and introduces the
first mention of Xerxes.
Metrical and colometric considerations .

1 [1-2]: Τ ά δ ε μὲ ν Π ερ σ ῶ ν / τ ῶ ν ο ἰχο μέ ν ων : this line of the
traditional text can be taken as the expression of a single compound
logos, with Περ σ ῶ ν as noun and τῶ ν ο ἰχ ο μ ένω ν as predicate, in
apposition with the introductory Τάδ ε . The grammatical
construction, however, extends to line [4] of the tonall y affective
text, and the whole of the first movement is essentiall y a single
compound sentence. The tonal separation is all but guaranteed by
82
the ν - τ consonantal clash, which has the effect of enforcing a slight
but nevertheless rhythmicall y significant pause in oral delivery. 106
Under this arrangement Τάδ ε is the noun and Περ σῶ ν is the predicate
and line [1] therefore constitutes a logos according to the
definitions of this study. 107 This is not the case, however, with line
[2], τ ῶν ο ἰχ ο μ έν ω ν . This then, in the opening lines of the play, is
the first instance of intr a-tonal separation, a rhythmic -semantic
effect used throughout the play. 108 The rhyt hmical regularit y
produced by this arrangement of the lines is a secondary
consideration, but it should be noted that the lines of the traditional
text to separate at the diaeresis. 109
Line [1] scans to word -end as dact ylopaest -1. 110 Line [2] present s a
dact ylopaest-3.
2 [3-4]: Ἑ λ λ άδ ᾽ ἐς αἶα ν / π ισ τὰ κ αλ εῖ τ αι : tonal separation within

line 2 of the traditional text is affirmed by two factors. First is the
ν-π consonantal clash. Similarl y, the clash between the nu of
ο ἰχ ο μέ νω ν and the aspirated vowel o f Ἑ λλ άδ militates against the
reading of τῶ ν ο ἰχ ο μ ένω ν Ἑ λλάδ ᾽ ἐς αἶ αν as a single tonal unit. 111
The second consideration is one of grammatical relation. The
phrase π ισ τὰ κ αλεῖ τ α ι is part of the first principal clause of the
106 See Conclusions: Separation of the lines of the traditional text into Tone
Groups, Consonantal Clash.
107 See Ch.2, Research Method, Chafe, Bakker and the logos.
108 See the metrical commentary on lines [3-4], and the interpretive
commentary on lines [1-4], below; and Conclusions, Separation of the lines of

the traditional text into Tone Groups, Intra-tonal separation of Tone Groups.
109 The diaereses of the lines of the traditional texts are understood to be a
function of the standard length of phrases in the original oral presentation of

this play. See Conclusions: Traditional Metrics Comparison, Diaereses and
Caesurae.
110 See Conclusions: Traditional Metrics Comparison, Scanning to word-end.
111 See Conclusions: Separation of Lines of the Traditional Texts.
83
play: ‘We are (by) the Persians c alled the Faithful’. This principal
clause is under intra-tonal separation, which is enforced by the
intervening subordinate clause, ‘those (Persians) who are gone to
the land of the Greeks’. 112
This lineation is supported by the rhythmic regularit y of these four

lines, which is reflected throughout the parodos. These rhythmic
qualities become apparent when the lines are intoned as
individuated phrases. 113
Lines [3] and [4] scan to word -end, presenting paired examples of
dact ylopaests -2.
3-4 [5-7]: κ α ὶ τ ῶ ν ἀφ νε ῶ ν / κ αὶ π ο λυ χρ ύ σω ν ἑδ ρά νω ν / φ ύ λα κ ες κ α τὰ
π ρ εσ β εί α ν : the separation of line [5] from line [4] is a matter of
grammatical independence. π ισ τὰ κ αλεῖ τ α ι represents the end of one
principal clause and κ αὶ τῶ ν ἀφ νε ῶ ν the beginning of another; there
is no question that they would ever be delivered within the same
tonal boundary. The syndetic κ αὶ also suggests tonal separation
here. The same language feature also suggests the tonal
individuation of lines [5] and [6]. 114 Here the separation is also
emphasised by the ν - κ consonantal clash. In the light of the uniform
rhythmic character of the surrounding lines, κ α ὶ π ο λυ χρύ σω ν
ἑδ ρ άν ω ν must be construed as a tonall y individuated phrase.
112 Effectively, then, the first four lines of the play, that is, its first four
distinct and tonally individuated sense units, are under intra-tonal
separation. For the dramatic effect of this, see the interpretive commentary
on lines [1-4], below.
113 See Appendix IX, Audio, recordings 2 and 3.
114 See Conclusions: See Conclusions: Separation of the lines of the
traditional text into Tone Groups, Syndetic Separation.

84
The individuation of line [7] presents a divergence from the usual
interpretation of the traditional texts. All editors consulted, with
the single exception of Page, print a comma after φ ύ λ ακ ες showing
that they construe ἑδ ρ άν ων φ ύ λ ακ ες and κ α τὰ π ρ εσβ εί α ν ο ὓ ς αὐ τ ὸ ς ,
κ τλ . as the operative phrases. Uniquel y, Martin West prints all of
[5-7] as a single line , but he construes (by punctuation) ἑδ ρά ν ων
with φ ύ λ ακ ες . 115
The metrical regularit y imposed by the traditional lineation leads to

the following assumptions: first, that a ll the lines must be of a
similar length; second, that ἑδ ρά νω ν is to be construed with the line
on which it is printed (and we see here at least some awareness of
the importance of tone -grouping); third, by implication of the
second, that φ ύ λακ ες , because it belongs to the foregoing phrase,
cannot be construed with the subsequent phrase. All these
assumptions are problematic under anal ysis by tone group .
The traditional arrangement makes no allowance for pauses, that is,

musicall y, rests, either between ph rases or at the end of a line. This
is exactl y what the tonall y affective text does . By virtue of the
ordinary conventions of reading , each conceptual unit, or tone
group, is given its own aural and semantic space.
The six-beat phrases of lines [6 -10] are easil y intoned within the
same rhythmic space as the four -beat phrases of lines [1 -5].
Moreover, the longer line [6], foreshadows and prepares for the
rhythmic variation of line [7] very gracefull y. The phrases flow
smoothl y, and each one presents a singl e coherent idea that
115In general, punctuation in the text of Aeschylus should be regarded as an

orthographic representation of the tonal features of language. See Ch.2,
Research Method: A note on the translations; Conclusions, Musical and
Poetic Conventions, Rests.
85
develops in sequence key dramatic and thematic elements of the
drama. That is, meaning is generated paratacticall y . 116
For these reasons, the lineation of the Working Text is retained for
the Experimental Text.
Line [5], κ αὶ τῶ ν ἀφ νεῶ ν , presents what could be regarded as an

illegal measure: it is scanned as a trochiambic pentasyllable -4. 117
Assumed synizesis of the epsilon, will produce an open

dact ylopaest of four long syllables. 118 This, however, seems less
well-suited to the rhythm of the movement as a whole.
Alternativel y, we can allow that the consonantal combination - φ ν-

will not make position. 119 The line will then scan as a dact ylopaest -
3. This scansion is offered for comparison in the Experimental
Text.
The single short syllable is not, however, necessaril y offensive and

some consideration should be given to its retention. In spoken
intonation it does not seem to affect unduly the rhythm of the
passage; if anything, it rather seems to enhance it. 120 The difference
in the effect of int onation with and without synizesis or the
116 For the central importance of parataxis to this play, see the Introduction
to the interpretive commentary, below, and Conclusions: Separation of the
lines of the traditional text into Tone Groups, Parataxis.
117 In the Working Text, trochiambic measures occur in non-strophic
dactylopaests here and at lines [51], [60], [61] and [71]; other measures
featuring isolated short syllables occur at [6], [18], [48], [58], [61] and [74].
See the commentaries ad loc.
118 West, Tragoediae, xxxiii, does not include this word in his discussion of
synizesis. See Conclusions: Musical and Poetic Conventions, Synizesis.

119 Cf. Raven, Greek Metre, 23: ‘the tendency is for the doubtful syllable to be
long in epic, short in Attic verse and especially in comedy’.

120 Cf. Appendix IX, Audio 2 and 3.
86
scansion of two short syllables is a signal example of the difference
between a visual-metrical anal ysis and an aural -rhythmical
anal ysis. 121
Line [6], κ αὶ π ο λυ χ ρ ύ σων ἑδ ρά νω ν , is scanned as a dact ylopaest -2 +

cretic. This is the first of the six -beat lines of the movement, and
the first of many lines that show a pentasyllabic measure with is
‘filled out’ with a subsidiary measure. 122
The initial syllable of ἑδ ρ άν ω ν is scanned long according to the

Principle of Least Interference. As was noted regarding the
quantities of ἀφ νε ῶν , above, the phoneme - δρ- does not always make
position. For purposes of comparison it is scanned short in the
Experimental Text, which gives a dact yl opaes t-2 + final anapaest.
However it is scanned, line [6], along with lines [7] and [9], is one
of the many lines of the tonall y affective texts which can be
scanned as an octosyllabic measure. Octosyllabic measures are not,
however, considered for this study. 123
Line [6] rhythmically prepares for the change of rhythm presented

in line [7].
Line [7] presents yet another interesting metrical phenomenon. In

the Working Text, it is scanned to word -end as initial anapaest +
dact ylopaest-1. This is, however, the first potential occurrence of a
dianapaest ( u u - u u - ).
121 See Conclusions: Traditional Metrics Comparison, Rhythm Over Metre.

122 See Appendix X, Tables of Measures: Subsidiary Measures.
123 See Appendix X, Tables of Measures: A note on octosyllabic measures.
87
As is continuall y affirme d throughout this anal ysis, however, the
lines of this play show an overwhelming tendency to scan to word -
end, and the dianapaest does not do so here. This is not a fatal
objection; there are lines in the tonall y affective text that do not
scan to word -end, notabl y paroemiacs. 124 The deciding factor is
grammatical affiliation: here κ α τὰ governs π ρεσβ εία ν ; in terms of
the logos, φ ύ λ ακ ες is the noun and κ α τὰ π ρ εσβ εί αν is the predicate.
Therefore the dianapaest is not scanned for this line in the
Experimental Text. 125
Line [7] presents an apparent shift in time -signature from the

steady 4/4 rhythm of the first six lines to a 3/4 rhythm. This allows
for the following pair of rhythmicall y and semanticall y distinct 6 -
beat phrases, the paratactic string of nominatives designating
Xerxes. The emphasis thus placed on Xerxes is by itself a fair
justification for the rhythmic change. The following lines appear to
reassert the dominant 4/4 rhythm of this movement.
5-6 [8-9]: ο ὓ ς αὐ τὸ ς ἄ ν αξ Ξ έρ ξης / β α σιλεὺ ς Δ αρειο γ ε νὴς : The lines

could as well be disposed in other patterns, for example, ο ὓ ς α ὐ τὸ ς
ἄν αξ / Ξ έρ ξη ς β ασ ι λε ύ ς / Δ αρει ο γ ε νὴς , giving a series of four -beat
phrases leading to the closing paroemiac. ο ὕ ς αὐ τὸ ς ἄν α ξ certainl y
constitutes a logos although it could also include the name Xerxes
and, for that matter, everything up to Δ αρ ειο γ ε νὴς .
The lineation of the Wor king Text is determined by the Principle of

Grammatical R elation; words must be grouped by semantic
affinities. Xerxes is, above all, the anax, the war-leader, and his
124 See Conclusions: Lines that do not scan to word-end, and Dactylopaests,
Paroemiacs.
125 Cp. Line [146] in the Elders’ spoken dactylopaests. There a dianapaest
forms a line with a dactylopaest-1.

88
role as such – along with his relation to Darius, and his difference
in character – is of central importance to the interpretation of the
play; 126 and β ασ ιλε ὺ ς Δ αρειο γ εν ής is a suitabl y grand and
thematicall y significant title. 127
Line [8], ο ὓ ς αὐ τὸ ς ἄν αξ Ξ έρξης , scans to word-end as a

dact ylopaest-3 + spondee. The pattern of accented syllables is
regularl y balanced throughout the line, and suggests a rhythmic
unit y. The line is therefore scanned as a dact ylopaestic
heptasyllable-3. 128
Line [9], β ασ ι λεὺ ς Δ αρειο γ εν ὴς , presents an initial anapaest +

dact ylopaest-3. The line scans to word -end with each measure
corresponding to a single word. The traditional texts read
Δαρ ε ιο γ ε νὴ ς with a grave accent (through presumed synaephia).
Here, however, it is phrase-final, and is read in the Experimental
Text with an ox ytone accent.
7 [10]: ε ἵλ ε το χ ώ ρ ας ἐφ ο ρεύ ε ιν : a paroemiac scanning to word -end

as a dact ylopaest -2 + final minor ionic. 129 The same form of the
paroemiac closes the second movement. For the different tonal
effects of these paroemiacs, see the interpretive commentary,
below.
126 Xerxes’ relative youth, and the closeness in age and relationship of the
Elders with Darius are also of central importance. See the interpretive
commentary, below.
127 The same line is repeated at [150] of the Working Text. On that occasion,
however, there is a very different emphasis. See the interpretive

commentary ad loc.
128 See Ch.3, Principal Measures: (Regular) Dactylopaestic Heptasyllables.
129 A dactylopaest + minor ionic is the standard one for paroemiacs. See
Conclusions: Initial Findings by Verse Type, Paroemiacs.

89
Textual criticism.
The following are the textual and metrical changes adopted for the
Experimental Text of this movement.
Line [5]: scan ἀφ ν εῶ ν as an anapaest; app crit. suggest reading
ἀφ έν ω ν (see interpretive commentary).
Line [6] scan ἑδ ρ ά νω ν as anapaest
Line [8] scan as dactylopaestic heptasyllable -3
Line [9] Read Δ αρ ειο γ ενής for line-end.
90
Experimental Text.
1st movement (1 -7) [1-10] 130
◡ ◡ — — — (4 )
— — ◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — [4]
— ◡ ◡ — — |◡ ◡ — (6 )
κ αὶ π ο λυ χ ρ ύ σ ω ν ἑδ ρ ά νω ν
◡ ◡ — | ◡ ◡ — — [— ] (6 )
— — ◡ ◡ — — — (6 )
◡ ◡ — | — — ◡ ◡ — (6 )
β ασ ιλ εὺ ς Δ αρ ει ο γ ε νής
— ◡ ◡ — — |◡ ◡ — — (7 )
130[5]: scanned final anapaest, suggest reading ἀφ ένω ν ; [6]: scanned final
anapaest; [8] scanned dactylopaestic heptasyllable-3; [9]: Δ αρειο γ ε νής
(Δαρ ειο γ ε ν ὴ ς trad.)
91
Introduction to the Interpretive Commentaries: Implications for
Interpretation and Performance.
The victories over the Persian Empire in 490 and 480 filled the
Greeks with a special pride, just as the sheer size and diversity of
the Persian Empire fill ed the Greeks with a special awe; these
factors, coupled with the perception of the ‘barbarian’ as being
somehow the antithesis of the Greek, were taken as a vindication of
the Greek ethos. The essential differences are: diversity: the
Persians are heterogeneous, the Greek homogeneous; extent: the
Persian Empire was vast while the Greek were, comparativel y,
small communities at the fringes of that Empire; resources: the
wealth of the Persians was all but inconceivable to the Greeks , who
were poor by comparison; character: the Persians were seen by the
Greeks as ‘slavish’ for a number of reasons, particularl y the
Eastern custom of doing obeisance to superiors which the Greeks
called proskunēsai, ‘to fawn like a dog’. 131 Each of these
fundamental differences in character is emphasised in the parodos
and developed throughout the play.
The Parodos 1-64 [1-77].

The parodos is broken up into a succession of movements, each of
which deals with a single idea or a separate development of an id ea.
On this view, it becomes apparent that that the movements of the
parodos come in pairs, which, in terms of their subject matter,
present a thesis and (quasi -) antithesis. The thesis sets the central
idea – e.g. the glory of the Persian Empire in the fi rst movement –
which then becomes the subject of a contrasting treatment in the
subsequent movement – e.g. by the Elders’ expression of their
doubts in the second movement. 132 Nevertheless, each movement is
131Cf. line [157].

132With this we may compare the form and content of the first ode. See Ch.5,
Lyric: A note on the order of the strophic pairs.
92
rhythmicall y distinct and self -contained, and can be understood
with reference onl y to itself. This accounts for the separation of the
parodos into the several movements given in the Working and
Experimental Texts.
The movement of thought in the parodos is as follows:
1-2: glories of Persia opposed to expression of the Elders’ doubts

3-4: the great arm y summarised is opposed to mention of named
commanders
5-6: reference moves from Egypt’s named commanders to mention
of the π λῆ θο ς ; this is contrasted with the ὄ χλο ς of Lydians.
7-8: the catalogue closes with another overview of the arm y; this is
contrasted in the eighth movement with another hint at disaster.
93
Interpretive Commentary, 1st movement: The Elders’ Self -
Introduction.
The translation of the Experimental Text is as follows:
We are the Persians

(By) those who are gone
To the Greek land
And of their rich(es) [5]
King born-of-Darius
Notes.
The opening movement of the parodos is effectivel y a single
sentence composed of three principal clauses, each of which
presents a key feature of the Elders’ self -identification: [1 -4] ‘We
are (by) those Persians – who are gone to the Greek land – called
the Faithful’; [5 -7] ‘we are guardians of their wealth and
possessions according to our status’; [8 -10] ‘the king himself chose
us to oversee his lands’ [8 -10]. Each of the component ideas of
these self-identifying main clauses is presented as a single coherent
and internall y complete statement.
Lines [1-4]: ‘We are the Persians / (By) those who are gone / To
the Greek land / We are called the faithful’. These lines present
the first of the three cla uses of the first movement. This first
principal clause, however, ‘We are (by) the Persians called the
Faithful’, contains a subordinate clause, ‘those who are gone to the
94
Greek land’. Effectivel y then, each of the four separable elements
of these two clauses is under intra -tonal separation. 133 In the
traditional texts these independent clauses are mingled in two lines,
giving no indication of their grammatical independence or semantic
relation. Lines [1] and [4] are therefore presented under intra -tonal
separation. This separation is enforced by the intervening
subordinate clause of lines [2] and [3] which is itself intra -tonall y
separated.
Line [1] introduces the Elders’ self -identification. Essentiall y it

means ‘We are Persians’. When line [1] is considere d in isolation
the genitive is possessive, making the national affiliation of the
chorus of Elders clear in the very first line of the play. However, in
the light of the grammatical construction of lines [1 -4], it is
possible to understand the genitive as simultaneousl y possessive
and subjective. 134 Because English cannot render the dual force of
the construction, the possessive meaning onl y is given in the
translation. The subjective genitive would be translated as ‘We are
by the Persians… called the faithfu l’ (= ο ἱ Πέρσ αι κ αλο ῦ σ ι ἡ μ ᾶς
π ισ τ ά ). 135
133 That, is, with artificial tonal boundaries. See Conclusions: See
Conclusions: Separation of the lines of the traditional text into Tone Groups,
Intra-tonal Separation.
134 Broadhead (1-2n, 38): ‘the genitive may be possessive or partitive (so
Sidg.)’; Garvie (1-2n, 50) rejects this as the Elders are not part of the
expedition. He defines it as ‘possessive with π ιστὰ ’. There is, however, no
necessary indication, or dramatic relevance, in the idea that the chorus
represent only a section of the ‘Faithful’. In his note Garvie also cites
Denniston’s suggestion that the effect of the assimilation of the gender to the
neuter plural of π ισ τὰ is to ‘mitigate the harshness of the inevitable
asyndeton’. This observation pertains only to the traditional texts. That the
asyndetic presentation of the first principal clause is not inevitable, and is, in
fact, put to very effective use is shown below with reference to the intra-
tonal separation of [1] and [4] and, especially, [2] and [3].
135 On the collective neuter plural, Τάδ ε … π ι σ τὰ , see Rose, 2n; Broadhead, 1-
2n; Garvie, 1-2n.

95
There is disagreement among critics as to the force of τ ῶν
ο ἰχ ο μέ νω ν . As in English, ‘gone’ can refer to death as well as
simpl y to movement in space. Broadhead ( Persae, 1-2n, 38) states
that ‘the opening sentence is purel y factual, so that it would be out
of place to anticipate there the forebodings expressed in lines 8 -
11’. In response to this Winnington -Ingram observes (Studies, 198)
that ‘the occurrences of this word must be considered together and
in order, and li ght may be thrown on the verbal art of Aeschylus’;
and this without reference to the force of the paratactic succession
of ideas that is so clearl y and consistently demonstrated in this
study. 136 Winnington -Ingram’s detailed analysis ( Studies, 198-199)
is not greatl y different from that offered below, except that he
overlooks Atossa’s use of the word at line 178. He concludes (199)
by observing that ‘if this line of interpretation is correct, Aeschylus
has graduall y – and deliberatel y – unfolded the implicati ons’ of the
word ο ἴ χ ο μ αι . Garvie (1-2n, 50) supports this, comparing the use of
the word with the Phrynichan original in which there is no such
ambiguit y. 137 He rightly notes ( ibid.) that one must ‘distinguish
between the audience’s expectation and that of t he Chorus’. The
136 See Conclusions: Parataxis. The proleptic development of key ideas is

central to both the presentation of the drama and to the development of key
themes in Aeschylus. Alan Foley in his introduction to Mackay (ed.) (1999),
6, calls this kind of proleptic development of theme ‘indexical reference’. This
notion allows that the meaning of any word depends on inferences drawn
from its earlier occurrences in the same work or tradition; the prolepsis
‘dependably designates an emergent reality’.
137 Not, however, because of the use of βαίνω which can have similar
connotations; in Phrynichus’ play the death of the army is known to the

Persians. Cf. Winnington-Ingram (Studies, 198) and Garvie (1-2n, 50). Rose
(1n, 86), who seems to affirm the ominous effect, takes issue with the notion
that ο ἴχ ο μα ι is more ominous than βαίνω and declares that both words are
equally ill-omened; unfortunately, however, we do not have enough of
Phrynichus’ text to know how he developed the concept, but with Aeschylus
we do. Sheppard (1915, 33) calls the Phrynichan usage ‘colourless’.
96
spectators know the outcome of the expedition while the Elders are
still in a state of ignorance. In this we may compare the impact of
the Catalogue of Commanders, which, for the Elders is a roll -call of
the might y leaders of the Persian ho st, but which for the audience is
a roll-call of the dead.
The word appears at line -end in the traditional and the tonall y
affective texts, but in the tonall y affective texts the phrase is given
in tonal isolation. Its next occurrence is at line 13 [16], where it
appears at line-end in the tonall y affective text – in the traditional
texts it is enjambed to the beginning of line 14 – and is given as the
chief cause of the Elders’ doubts that form the substance of the
second movement. It appears a third time in the eighth and final
movement of the parodos at lines 59 -60 [69-71]. 138 Its subject there
is ‘the flower of men of the Persian land’ and it carries the
denominative sense of going, but this occurrence of the word is
accompanied, as noted by Win nington-Ingram (99), by explicit
references to the grief of loss ( π ό θῳ σ τέ ν ετ αι μα λερ ῷ , line [74]) and
fear ( το κ έες τ ᾽ ἄλο χ ο ί … τρο μ έο ντ αι , lines [75-77]). The word occurs
again at line 178, which is not anal ysed in this study, at the
beginning of Atossa’s description of her troubling dream. Here it
again carries the denominative sense of ‘going’, and Xerxes (‘m y
son’) is its subject. It is accompanied, however, by a pun on
‘Persians’ and π έρ θω , ‘to sack’ or ‘destroy’: π αῖς ἐ μὸ ς … ο ἴχε τ α ι
π έρ σ α ι θ έλω ν . 139 It next appears climactically in the first statement
of the messenger and forms the focal point of his introduction of
the news of the disaster at line 252: τὸ Π ε ρσῶ ν δ ᾽ ἄ ν θο ς ο ἴχε τ α ι
138 That is, at the end of the Catalogue of Commanders. On the tragic force of
this catalogue, see the interpretive commentary to the third movement,
below.
139 Winnington-Ingram, who does not note this passage, does note the
connection with this issue, citing also Broadhead, 65-7n.

97
π εσ ό ν . Here, precisely when the Elders learn that the disaster they
feared has already o ccurred, the close combination of ‘gone’ and ‘is
fallen’ makes the connotation of ο ἴχο μ αι in relation to the unfolding
of the tragedy clear and forceful. It will come as no surprise that
the remaining two occurrences of ο ἴχο μα ι unambiguousl y refer to
the death of the Persian forces, and occur in the same form as in
line [2]. At 546, in the prologue to the second ode, the Elders sing
of the ‘much -grievous fate’ ( μό ρο ν … π ο λυ π εν θῆ ) of those who are
gone ( τῶ ν ο ἰ χ ο μέ νω ν ). 140 The final occurrence leaves no doubt as to
the force this word acquires over the course of the play. It comes
from the mouth of Xerxes himself and is the focal point of his
entrance speech at 915 -918 [917-920]: ‘Zeus! If onl y you had
covered me in that fate of death ( θ α ν ά τ ο υ μοῖρα, cp. μό ρο ν , 546,
above) with those who are gone’. There, too, the tonall y affective
texts identify τῶν οἰχομένων as a tonall y individuated phrase. 141
There is, then, a clear and well -crafted build-up of tension, brought
about by a skilful use of inference and association. This chain of
indexical reference is entirel y consistent with the repetitive
strategies of oral poetics and wit h Aeschylus’ own repetitive
compositional practices.
In the light of these considerations, it is clear that the word ο ἴχο μ αι

acquires ominous implications as the play progresses. While the
first use of ο ἴχ ο μ αι in line [1] can be said onl y to give the subt lest
suggestion of disaster, the suggestion is there all the same.
140 In this passage there is a great deal of lexical repetition of material

present in the earlier parts of the play, including πολυάνδρων στρατιὰν (533-
534, cf. [13]).
141 See the metrical commentary ad loc. There the words τῶν οἰχομένων are
further emphasised by their presence in the last clause of Xerxes’ first

speech.
98
The operative factor is ‘anticipatory tension’ (Garvie, 1 -2n, 50).
We may suppose that Aeschylus knew his audience would contrast
his opening lines with the Phrynichan original, and that they knew
in broad outline how this story must go in much the same way they
knew the rough trajectory of m ythical narratives; dramatic tension,
and audience interest, can onl y be stimulated and maintained by
such devices as this. The question is not ‘ what will happen?’ but
‘how will it happen?’ Audience interest lies not so much in the tale,
but in the telling of the tale.
It remains to show, with reference to the intra -tonal separation of

lines [2] and [3], that the ominous connotation of the word is
activated by other means in the earliest moments of the play. As
described above, the phrase ‘those who are gone’, creates a moment
of subtle suspense derived from the contrast between the denotative
and connotative meanings of ο ἴχο μ αι ; and in part from the ex pected
completion of the incipient principal clause of line [1]. The notion
of ‘being gone’ could form the entiret y of the subordinate clause.
Nevertheless the questions will arise: ‘gone where?’ What does
‘gone’ mean? Does it refer to death or to movement in space? These
questions are answered immediatel y in line [3] with a formulation
that insists on the ordinary denominative meaning of ο ἴχο μ αι : they
are gone to the land of the Greeks.
This, however, is much more than a simple statement of fact. The

Athenian audience already knows the outcome of this ‘going’, and
knows, perhaps with a sense of pride, that ‘going’ to the ‘Greek
lands’ caused the death of many Persians in battles in which many
of those present at the theatre had fought. Thus the connotation of
death is enforced in the minds of the spectators on a semantic level,
even as it is denied by the denotation of its grammatical context.
99
The effect is one of deferred, or deflected, expectation, or of
misdirection. 142
Effectivel y, then, by insisting on its denotative meaning in a way

that plays on its connotation, Aeschylus activates the deathl y
connotations of the word ο ἴ χο μ αι in its first occurrence in this play.
The simple statement of line [4] then completes the Elders’ self -
identification from lin e [1], and completes the first principal clause
of the play. The role of the Elders as trusted supervisors is re -
emphasised at lines [7] and [10].
Lines [5-7]: ‘And of their rich(es) / and much -golden abodes /

(we are) guardians according to our rank’. The second principal
clause continues the Elders’ self -identification with reference to
their responsibilit y for maintaining the wealth of the Persian
Empire in the absence of the King.
The adjective ἀφ νε ῶ ν is translated as ‘riches’ for the sake of a

smooth rendering in English, but it corresponds to a proposed
textual emendation, ἀφ έν ω ν for ἀ φ ν ε ῶ ν , tentativel y offered in the
critical apparatus to the Experimental Text.
The paratactic nature of exposition u sed throughout this play

provides the strongest argument for this emendation. Where line [5]
142 I do not wish to trivialise a powerful dramatic technique, but the cognitive
and emotional effects produced by these lines are very much like those of the
hackneyed trope of modern-era stage comedy, which also relies on intra-
tonal separation: ‘Your uncle John is dead… tired!’ This trope, which to
moderns seems trivial and tired, is the distant descendant of a dramatic
technique that is very nearly as old as drama itself. See the interpretive
commentary on lines [154-159] for a discussion of another apparent
dramatic trope that would seem to moderns too trite for a genre as elevated
as tragedy.
100
is understood, on metrical grounds, to form part of a longer line,
the reading of an adjectival form is natural. Here, however, where
the phrase is isolated as a t onall y and semanticall y individuated
unit, the adjective is problematic. If we read the adjectival form of
the traditional texts we must assume that intra -tonal separation is
operative here, but for the sake of the musicalit y of the passage
rather than for the semantic and dramatic effect. This is not a very
serious problem, but it should be noted that all other instances of
intra-tonal separation proposed in this study, as at lines [1 -4], are
put to a more nuanced and dramaticall y cogent effect.
The emendation is onl y tentativel y suggested; it is not adopted into

For line [7], anal ysis by tone group gives ‘Guardians by virtue of
our rank’ its own line. This gives perfectly good sense and,
arguabl y, better sense than those constructi ons that take κ α τὰ
π ρ εσ β εί α ν with ο ὓ ς α ὐ τὸ ς ἄ ν αξ κ τ λ . In this form the statement
defines the chorus again with respect to their trustfulness, line [4],
but presbeian gives the additional idea of rank that is appropriate
to older persons. We can assume that the Elders’ age would have
been shown by their masks, and their rank by their costume.
Nevertheless, this remark conveys our first textual, that is, verbal,
representation of them as old men. This perception depends on this
single word until the fact of t heir age is confirmed in their meeting
with the ghost of Darius (681 -682 = [681 -683]). The full force of
both words, trusted guardians and senior statesmen, is emphasised
in this short phrase and it is impossible to satisfactoril y render both
these concepts in English. 143 The Elders’ closeness in age and
143On the force of π ρ ε σ β εί α ν , with reference both to age and honourable

rank, see Rose, 4n; Broadhead, 3-4n, 39; and Garvie, 3-4n, 51. All agree that
both notions are carried in this single word. So Smyth, who translates ‘by
101
sympathy with Darius and Atossa, as opposed to Xerxes, has
important consequences for the interpretation of the play and
especiall y of its final scene. 144
Lines [8-10]: Whom the Lord himself Xerxes / King born -of-
Darius / Chose to oversee his lands. The final principal clause of
the first movement is important because it completes the Elders’
self-identification by telling us that they were chosen by their lord
himself and, at the same time, introduces Xerxes i n a suitabl y grand
manner. Broadhead (5-6n) notes that ‘the accumulation of titles for
Xerxes is in accordance with the servile obeisance of the Great
King’s subjects’. 145 Line [8] emphasises Xerxes’ role as current
king and, with the word ἄ να ξ , the important notion of a war -leader
is introduced for the first time in the play. This aspect of Xerxes’
character forms the basis of the sharpl y critical evaluations of him
later in the play, especiall y by the Ghost of Darius.
Line [10] emphasises the fact that Xe rxes’ status and his position as
King (and war -leader) depend on his relationship with Darius and,
by implication that is full y developed over the course of the play,
on the success and stabilit y of Darius’ rule. The quasi -antithetical
force of this parata ctic construction, and its implications for the
interpretation of the play, is obscured in traditional lineation.
Taken together, these lines present the first of many quasi -
virtue of our rank and years’; Ewans, whose chief concern is the
performabilty of his text for modern actors, compounds the ideas of π ιστὰ
and π ρ εσ β εί α ν in his lines 2-3 with the title ‘faithful Elders’; Sommerstein
attempts to express both ideas with the single word ‘seniority’.
144 See especially the interpretive commentaries on lines the spoken
anapaests of [145-159], the trochaic tetrameters of [160-167] and [681-

780], the iambic trimeters of [765a-801], especially [794ff], and on the
kommos (Appendix V), especially lines [921-937] and strophe and
antistrophe A, [938-955].
145 Note also the paratactic force of the accumulated nominatives.
102
antithetical propositions that generate much of the play’s dramatic
and thematic impact. Here the implied antithesis is between Xerxes’
role as independent King, and his dependence on the successes of
his father. 146
Line [10] closes the third principal clause and the movement, and
completes the tripartite self -identification of the Elders. In the
Greek the line is a regular paroemiac, a verse form which closes the
movements of the parodos in every instance. 147
That this is the end of the first sense unit, or movement, is

supported on several counts: the three main clauses all pertain to
the single topic of the Elders’ self -identification, all of which are
grammaticall y linked in what in modern terms is a single long
sentence; the Elders begin an entirel y new topic at line 8 [11]; and
the μὲ ν of line [1] is answered by the δ ὲ of that line.
146 Darius’ historical reign was not, of course an unalloyed success. This fact,
and especially the defeat at Marathon ten years earlier, is largely suppressed
in the narrow world of the play for dramatic and thematic reasons. The
defeat at Marathon is briefly alluded to at 236 and 244. Garvie (158-274n,
104) says that the purpose here is ‘not to denigrate Darius, but to add the
final touch to the foreboding of the characters’ before the Messenger’s
entrance. Marathon is mentioned by name at 472-477, where Atossa adduces
it as the first cause of the present disaster (cf. Broadhead, 472n; Garvie, 472-
9n, 216). In spite of this failure and its consequences, Darius is able to claim
at 785-786 [799-801] that ‘All of us who held this power were never seen to
cause such sufferings’.
147 The end of the eighth (and final) movement of the parodos, and the
second of the dactylopaestic movements that open the Atossa scene, are
possible exceptions. See the metrical commentaries ad loc.
103
Metrical Commentary, 2nd movement, 8 -15 [11-20].
— ◡ ◡ — — (4 )
ἀμφ ὶ δ ὲ νό σ τ ῳ [1 1 ]
— ◡ ◡ — — (4 )
τῷ β ασ ιλεί ῳ
— ◡ ◡ — — | ◡ ◡ — (6 )
κ αὶ π ο λυ χ ρ ύ σ ο υ σ τρ α τιᾶς
— — |◡ ◡ — |◡ ◡ — (6 )
ἤ δ η κ ακ ό μ αν τις ἄγ α ν
— ◡ ◡ — — | — ◡ ◡ — [— ] (8 )
ὀ ρ σ ο λο π εῖ τ αι θυ μὸ ς ἔ σωθ ε ν [1 5]
— ◡ ◡ — — | ◡ ◡ — | ◡ ◡ — | — — [— ] (1 1 )
π ᾶσ α γ ὰ ρ ἰσ χ ὺ ς Ἀσι α το γ ε νὴς ο ἴ χωκ ε
◡ — |— ◡ ◡ — — [6 ]
[νέο ν δ ᾽ ἄνδ ρ α β αΰ ζει]
— ◡ ◡ | — ◡ — (4 )
κ ο ὔ τε τις ἄγ γ ελο ς
— ◡ ◡ — — (4 )
ο ὔ τε τις ἱπ π εὺ ς
— ◡ ◡ — — | ◡ ◡ — — (7 )
ἄσ τυ τὸ Περ σ ῶ ν ἀφ ικ νεῖ τ αι [ 20 ]
104
And yet about the return [11]
Of our King
And for the much-golden arm y
Already too much a prophet -of-doom,
The spirit within is disturbed [15]
For all the Asian -born strength is gone away
[and howls (for? at? around? about?) a young man]
And neither a messenger
Nor yet a horseman
Has come to the cit y of the Persians [20]
Notes:
The first movement describes the Elders’ public role and status.
The second movement expresses a second aspect of their identit y,
the inner life of their doubts and fears. The movement opens with a
δὲ clause, which answers the adversative μὲ ν of line [1] and implies
a new construction much more effectively than the subordinate
clauses of the first movem ent. This is expressed by the ‘a nd yet’ of
the translation above.
The rhythmic force implied by the (heavier) initial dact yl of line

[11], which corresponds to the (lighter) initial anapaest of [1], that
implies a more sombre mood, and suggests a change of tempo.
This movement is divided into two subsections. The first, [11 -15]
gives the first expressi on of the Elders’ doubts; the second, [16 -
20], gives the concrete reason for them.

8 [11-12]: ἀ μ φ ὶ δ ὲ νό σ τ ῳ / τ ῷ β ασι λεί ῳ : this line of the traditional
text can be expressed as a single tone group, and could, therefore,
be presented as a single line. It is onl y in comparison with the
105
form, rhythm and implied musicalit y of lines [1 -2] that they are
given in this form. Line [12] cannot be considered a logos under the
terms of this study – it stretches the definition too far to suppose
that a definite article can act as a predicate. The form of the lines
must therefore be considered an instance of intra -tonal
separation. 148
Lines [11] and [12] scan to word -end as dact ylopaests -2, ostensibl y
‘dact ylic’ measures, which stands in contrast to the ‘anapaestic’
measures of lines [1 -2]. 149 This implies a slower tempo for the
beginning of the second movement. When the lines are intoned with
an awareness of the tonal qualities of the words that they present, it
is difficult not to deliver lines [11 -12] at a slower tempo than that
of the first movement. 150
9-10init [13 -14]: κ α ὶ π ο λυ χρύ σ ο υ σ τρ α τιᾶς / ἤδ η κ ακ ό μ α ν τις ἄγ α ν :

anal ysis by tone group strongl y supports this construction. In this
form, line [13] creates an i mplied contrast between the Elders’
feelings for their King and for the arm y, while line [14] ἤδ η
κ ακ ό μ α ν τις ἄγ α ν , is crucial to the interpretation of the play and the
role of the Elders in it. 151 The force of the phrase is effectivel y
obscured in the transm ission of our text. The issue hangs on the
single word ἤ δ η (line 9fin).
148 For the effect of the intra-tonal separation in conjunction with line [13],
see the interpretive commentary on these lines.
149 See Ch.3, Principal Measures: Dactylopaestic Pentasyllables.
150 See Appendix IX, Audio 2 and 3 with notes.
151 This is discussed in the interpretive commentary, below.
106
All editors consulted give line 9 as κ αὶ π ο λυ χρύ σο υ σ τρ α τιᾶς ἤ δ η
through the presumed necessit y of metrical regularit y. 152 This
naturall y leads to the construction of ἤδ η with the much-golden
arm y, giving a sense something like ‘… and already for the many -
manned arm y …the spirit within is disturbed’. This is a somewhat
clumsy idea clumsil y expressed, but it gives sense, of a sort, and
does little violence to the Greek.
By contrast, the tonal lineation shows, with a degree of certaint y

given the regular application of the method, that ἤδ η must belong
tonall y (because it belongs rhythmicall y) to the phrase κ ακ ό μ α ν τις
ἄγ α ν because it cannot possibl y belong with κ αὶ π ο λυ χ ρύ σ ο υ
σ τρ α τιᾶς , which construction presents metrical difficulties and
uncertain sense.
The movement mirrors the first, although in a contracted form, in

beginning with successive four -beat phrases which lead into
successive six -beat phrases. Line [15] presents the first eight -beat
phrase in the parodos, which serves to complete the Elders’
expression of their inner doubts and prepares for the even longer
eleven-beat phrase of line [16] which gives the concrete reason for
these doubts and forms the climax of thi s movement.
The metre of this passage is regular and predominantl y dact ylic,

with onl y lines [13] and [14] showing anapaestic measures. But
why should we anal yse these verses in this way? For the purpose of
demonstrating the application of the method I wi ll discuss the
process.
152Or πολυάνδρου (Wecklein): West and Sommerstein. This reading will be

adopted for the Experimental Text, see below and in the interpretive
commentary.
107
The phrase κ αὶ π ο λυ χ ρύ σο υ σ τρ ατ ιᾶς presents a self-contained tonal
grouping, as does κ α κ ό μα ν τις ἄγ α ν . ἤδ η might, conceivabl y, belong
to the first phrase, in accordance with current editorial practice.
However, the sense ‘(I am conc erned) already for the many-manned
arm y’ is syntactically very obscure and of uncertain force,
especiall y given the distance between ἤδ η and the presumptive verb
ὀ ρ σ ο λο π εῖ τ αι . 153
Accepting that outcome for now, we must then determine whether

ἄγ α ν is to be read with κ ακ ό μ α ν τις or with ὀ ρσο λο π εῖ τα ι . κ ακ ό μα ν τις
ἄγ α ν is an acceptable logos, giving a metricall y acceptable four -
beat phrase of two anapaests, and ‘too much a doom -sayer’ is the
kind of phrase we might expect to see thus rhythmicall y isolated.
Similarl y, ἄγ α ν ὀ ρ σ ο λο π εῖ τ αι , too-much perturbed, forms a logos
and gives good sense.
But if ἄγ α ν is to be construed with ὀ ρσο λο π εῖτ αι , ἤδ η must certainl y

belong to κ ακ ό μ αν τις , because κ ακ ό μ αν τ ις by itself, cannot,
according to the basic principles of this meth od, constitute a logos.
The phrase ἤ δ η κ ακ ό μα ν τις , is acceptable as a logos on the same
basis as κ ακ ό μ αν τις ἄ γ α ν , but susceptible to the objection that the
metre of the resulting phrase ἄγ α ν ὀ ρσο λο π εῖτ αι κ τ λ . ( u - - u u - - )
is rhythmicall y irregular and metricall y unacceptable.
We are left then with either:
153 Analysis by tone group generally produces an entirely unambiguous text

in line-by-line translation. This is a vital consideration in a play which we
know was composed for performance, i.e., for oral/aural appreciation.
Paratactic, as opposed to syntactic, constructions are a signal feature of oral
communication strategies. See Conclusions: Parataxis.
108
κ αὶ π ο λυ χ ρ ύ σ ο υ σ τρ α τιᾶς ἤδ η / κ ακ ό μ αν τι ς ἄγ α ν / ὀ ρσο λο π εῖ τ α ι
κ τλ ., or
κ αὶ π ο λυ χ ρ ύ σ ο υ σ τρ α τιᾶς / ἤδ η κ ακ ό μ αν τι ς ἄγ α ν / ὀ ρ σο λο π ε ῖ τα ι κ τλ .
The issue depends on the semantic difficult y of reading of ἤδ η with

π ο λυ χ ρ ύ σ ο υ σ τρ α τιᾶ ς . The question naturally arises: How could
already possibl y refer to the arm y? Why already? Already what?
When ‘already’ is read with ‘much -golden arm y’, no simple yet
satisfactory interpretation suggests itself; there is no pla usible
semantic or grammatical link. 154 When, however, ‘already’ is read
with ‘too much a prophet -of-doom’, a very plausible interpretation
presents itself: the Elders have been troubled by doubt for some
time; this is not their first moment of insecurit y, b ut it might be
their first expression of it. 155 Moreover, the reading ἤδ η κ ακ ό μ α ν τ ις
ἄγ α ν gives the meter ( - - | u u - u u - ) which is rhythmicall y very
strong, and regular in terms of the metrics evinced elsewhere in this
play.
The reading of lines [13 -15] given in the Working Text is therefore
retained in the Experimental Text, except that π ο λυ ά νδ ρο υ is read
for π ο λ υ χ ρ ύ σ ο υ . 156
154 The importance of simplicity cannot be over-rated in an oral-aural

context, especially in a genre as thematically dense as tragedy. See
Conclusions, Parataxis, and Performance Considerations.
155 For a full discussion of the implications of this for our understanding of
the play, see the interpretative commentary.

156 For the purposes of the present study, there is no metrical or rhythmical
difference.
109
Line [13] scans to word -end as a dact ylopaest -2 + final anapaest.
This metrical form contains its own antithesis, with the initial
dact yl of the dact ylopaest -2 balanced by the final anapaest. 157
Line [14], scanned in the Working Text as a dact ylopaest -3 + final

anapaest, presents the second instance of a possible dianapaest, one
of the dact ylopaestic hexasyllables hypotheticall y propo sed in this
study. 158 In the Working Text line [14] does not scan to word -end.
Scanning a dianapaest here will make the line scan to word -end.
Moreover, the scansion is suggested by grammatical and semantic
affiliation: ἤ δ η governs the whole construction, an d, given its
thematic importance, for which see the discussion of these lines in
the interpretive commentary, it is fitting that the word should the
rhythmicall y isolated in this way.
On this reading of the text, the line presents a shift in rhythm from
the steady 4/4 rhythm that predominates in the first two movements
to a 3/4 rhythm that parallels that of line [7] and introduces the
climactic longer lines that follow, just as line [7] rhythmicall y
introduces the first mention of Xerxes.
The initial spondee + dianapaest is therefore scanned in the

Experimental Text.
10fin-11 [15]: ὀ ρ σ ο λο π εῖ τα ι θυ μ ὸ ς ἔσ ω θε ν : this form of the line

presents a convincing tonal unit y and gives good sense. The
principal advantage of this construction is that it preserves the
grammatical relation between θυ μὸ ς and its verb ὀ ρσο λο π εῖ τ αι .
157 The implications of this antithesis are discussed in the interpretative

commentary.
158 See Ch.3, Principal Measures: Dipartite Hexasyllables.
110
Additionall y, the form of the line suits the implied rhythm of the
whole passage. 159
The line shows the first full anapaestic dimeter to be scanned in the
tonall y affective texts. The eight -beat phrase closes the Elders’
expression of their inner fears, and leads rhythmicall y into the
following eleven-beat line which begins another sense unit
describing the concrete cause of those fears.
Line [15] scans to word -end as 2x dact ylopaests -2.
12-13init [16]: π ᾶ σ α γ ὰρ ἰσχὺ ς Ἀσι α το γ ε νὴς ο ἴ χωκ ε : although π ᾶσα

γ ὰ ρ ἰσ χ ὺ ς and Ἀ σ ια το γ ενὴς ο ἴ χωκ ε satisfy the conditions of
individuated logoi, grammatical, rhythmic and semantic
considerations all militate against that lineation . The Principle of
Grammatical Affiliation dictates that close grammatical relation
will influence, but not determine, the unity of tonal g roupings. On
this construction the noun -phrase and verb are expressed as a
rhythmical unit y. This is an important consideration, but not final;
we have already seen in lines [1 -4] a subject separated from its
verb by two tonall y distinct utterances, and in [11-12] the artificial
separation of a grammaticall y unified phrase. The rhythmical and
semantic factors are, however, decisive. The line presents the
climax of this movement and is at once a narrative, dramatic and
thematic focal point. 160 The long phrase is metricall y well-formed,
and rhythmicall y appropriate to its importance.
In the Working Text, the line is scanned to word -end as a

dact ylopaest-2 + 2x anapaests + final molossus. The two anapaests
159 An effect best appreciated aurally. See Appendix IX, Audio 2 and 3.
160 These emphases are discussed in the interpretive commentary.
111
correspond to the single word Ἀσ ια το γ εν ὴ ς and are therefore
legitimatel y scanned as a dianapaest. Given the climactic
importance of the line, a final molossus is not out of place at this
juncture. As ο ἴ χ ωκ ε stands at line-end, it is read with nu -moveable
in the Experimental Text.
13fin [17]: ν έ ο ν δ ᾽ἄ νδ ρ α β αΰ ζε ι : an intractable line and phrase. As

it stands, the phrase has no relationship with the phrases before and
after. Traditional metrics assumes a regular number of syllables per
line, and necessaril y scans this phrase with ο ἴχωκ ε . This, however,
is exactl y one of the issues that anal ysis by tone group is designed
to test, and the construction presented here is the preferred one: the
alternative destroys the status of lines [16] and [17] as coherent,
self-contained logoi. Allied to this is the tendency of mis construed
or interpolated lines to be metricall y regular but rhythmicall y
incoherent within the broader context of the movements that
contain them.
As given in the Working Text it presents an illegal measure,

scanning as initial iamb + dact ylopaest -2. The line is unusually
difficult to scan, due to the uncertain quantities of β αΰ ζει , which
can be scanned as an anapaest, a bacchius, a molossus or a cretic.
The scansion given in the Working Text is considered the most
likel y form for dact ylopaests. 161
The line as it stands is unsatisfactory on tonal, rhythmic and

metrical grounds. Either there is a lacuna , 162 and a satisfactory
161 Cp. line [18], below, and lines [48], [58], along with line [74] of the
Working Text only, all of which show isolated short syllables. In each case,
however, there are plausible solutions to the purely metrical difficulties.
162 Post 12 (Valckenaer); Post 13 (Meckler). These and other proposed
remedies for the line are discussed in the interpretive commentary.

112
conjecture for filling it could remedy the metrical irregularit y , or
the line is an interpolation .
On the grounds discussed here and in the interpretive commentary,

the line is rejected from the Experimental Text.
14 [18-19] κ ο ὔ τε τις ἄγ γ ελο ς / ο ὔ τε τις ἱπ π εὺ ς : these two logoi are

given as distinct lines according to the Principle of Separation;
not… and not… clauses are held to be ton all y distinct.
In oral delivery these two lines are rhythmicall y well -differentiated

and lead elegantl y into the closing paroemiac of line [20].
Furthermore, the musicalit y implied by the tonal accents is
suggestivel y reminiscent of a recognisable closing formula in
Western music; these lines, along with the paroemiac of line [20]
sound very much like the verse -closing refrain of And the Band
Played Waltzing Matilda by Eric Bogle, and the formulation
foreshadows the Robert the Rose Horse syndrome that closes the
following movement. 163
In the Working Text, line [18] scans to word -end as dact yl + cretic.
Given the repetition of this same metrical form at line [58], it is
likel y that it presents a genuine variant of the dact ylopaest metrical
scheme, a hexasyllable of the form ( - u u - u - ). This measure is
understood as the line-final form of the didact yl ( - u u - u u ). 164
163 Lines [26-29], below. See Conclusions: Traditional Metrics Comparison,

The Robert the Rose Horse syndrome.
164 An ‘anceps’ form. See Ch.3, Principal Measures: Dipartite Hexasyllables,
and ‘Anceps’ Syllables.

113
This scansion is given in the Experimental Text. Line [19] scans as
a regular dact ylopaest -2, and ἱπ π εύ ς is read for its position at line -
end.
15 [20]: ἄ σ τυ τὸ Πε ρ σ ῶν ἀφ ικ νεῖ τ αι : the movement closes with a

regular paroemiac that scans to word -end as a dact ylopaest -2 +
minor ionic. See the interpretive commentary for a discussion of
the tonal and musical qualities of this line.
Textual criticism.
Line [13]: read π ο λυ ά νδ ρο υ (Wecklein) for MSS. π ο λυ χρύ σο υ .
Line [14]: scan dianapaest.
Line [16]: scan dianapaest; ο ἴ χωκ ε : read ο ἴ χωκ ε ν for line-end.
Line [17]: del. νέο ν δ ᾽ἄνδ ρ α β αΰ ζει .
Line [18]: scan anceps didact yl ( - u u - u - ); read ἱπ π εύ ς for line-
end.
A new translation corresponding to the emended text is presented

with the interpretive commentary.
114
Experimental Text.
2nd movement (8 -15) [11-20]. 165
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — | ◡ ◡ — (6 )
κ αὶ π ο λυ ά νδ ρ ο υ σ τρ α τιᾶς
— — |◡ ◡ — ◡ ◡ — (6 )
— ◡ ◡ — — | — ◡ ◡ — [— ] (8 )
— ◡ ◡ — — | ◡ ◡ — ◡ ◡ — | — — [— ] (1 1 )
π ᾶσ α γ ὰ ρ ἰσ χ ὺ ς Ἀσι α το γ ε νὴς ο ἴ χωκ ε ν
— ◡ ◡ — ◡ — (4 )
κ ο ὔ τε τις ἄγ γ ελο ς [1 8 ]
— ◡ ◡ — — (4 )
ο ὔ τε τις ἱπ π εύ ς
— ◡ ◡ — — | ◡ ◡ — — (7 )
165[13] πολυάνδρου Wecklein, πολυχρύσου MSS; [14] scanned dianapaest; [16]

scanned dianapaest; οἴχωκεν for line-end, οἴχωκε MSS; [16-18 infr.] del. νέον
δ᾽ἄνδρα βαΰζει; [18] scanned anceps didactyl, read ἱπ π εύ ς for line-end.
115
Interpretive Commentary, 2nd Movement: First warning note of
disaster.

Of our King
And for the many-manned arm y
Already too much a prophet -of-doom
The spirit within us is disturbed [15]
And neither a messenger [18]
Nor yet a horseman
Notes.
There are two crucial insights into the attitude of the Elders to
Xerxes and the military situation that derive from the tonall y
affective lineation, especiall y the isolation of the phrase ἤδ η
κ ακ ό μ α ν τις ἄ γ α ν in line [14], and of π ᾶ σα γ ὰρ ἰσχὺ ς Ἀσ ια το γ εν ὴς
ο ἴ χ ωκ ε ( ν ) in line [16].
The second movement shows features that stand in sharp contrast to

the implied musicality of the first. The tempo is slower and heavier,
corresponding to the sombre mood of this movement. The
paroemiac is strongly suggestive of the downward tone of finalit y;
whereas the paroemiac of the first movement suggests the upward
tone of continuation. 166
166 See Appendix IX, Audio 5 and notes.

116
Lines [11-12]: ‘And yet about the return / Of our King’. The
separation of these lines emphasises the word ‘King’; Xerxes, as
King, is the focal point, and cause, of the tragedy that is about to
unfold.
The separation of the lines is artificial, and depends on the

presumed musicalit y of the movement; the phrase ἀμ φ ὶ δ ὲ νό σ τ ῳ τ ῷ
β ασ ιλ εί ῳ could present a single tonal -grouping and should properl y
be translated ‘and for the kingl y return’. It is impossible to render
this phrase in English according to the line divisions given in the
tonall y affective texts. The intra -tonal separation, however,
emphasises the contrast in the Elders’ feelings for the King on the
one hand, and for the men of the arm y on the other. The Elders, if
we may so interpret the different force of ἀμφ ὶ , governing first a
dative and then a genitive, are concerned about the Kingl y return
but for the many-manned arm y. This a quasi -antithesis is t ypical of
this play, and is active throughout, especiall y in the kommos, where
Xerxes is criticised for the loss of so many men. 167 In this respect
the kommos, with its list of named Persian commanders, tragicall y
mirrors the Catalogue of Commanders that begins in the next
movement. The antithesis is emphasised in the metrical form of line
[13], which in the Greek presents a rhythmic antithesis, with the
initial dact ylic foot of the da ct ylopaest-2 balanced by the final
anapaest ( - u u - - | u u - ). 168
Line [13]: ‘And for the many -manned army’. π ο λ υ ά νδ ρο υ , and not
π ο λυ χ ρ ύ σ ο υ , is read in the Experimental Text. Sommerstein,
following West (Studies, 75), prints Wecklein’s conjecture. Most
167See especially lines [926-931b] of the third movement in that scene.

168Cf. [35], τοξοδάμαντές τ᾽ ἠδ᾽ ἱπποβάται, where the antithesis implied by the
style of fighting of two distinct divisions of men also is supported by a
rhythmic antithesis.
117
editors, however, print the MSS. π ο λυ χρύ σ ο υ . West’s objection to
the MSS. reading is that it ‘gives a wrong emphasis’ in as much as
the Elders’ concern is for the men of the expedition rather than the
wealth they took away with them (this in spite of the f act that their
second self-defining statement, lines [5 -7], focuses on their
guardianship of the wealth of the Empire). To it I would add the
observation that the two words, π ο λυ χρύ σ ων in line [6] and
π ο λυ ά νδ ρ ο υ in line [13], linked and likened by the forc e of the
compound in π ο λ υ -, emphasise separatel y the two outstanding
features of the Persian Empire from the Greek point of view: its
wealth in gold and in numbers of men. The true, and tragic,
significance of this ‘much -ness’ will be brought home to the
audience (as to the characters in the playing space) in due course.
Furthermore, the reading strengthens the quasi -antithesis noted
above: reading π ο λυ χ ρ ύ σ ο υ σ τρ ατ ιᾶς contrasts Xerxes and the arm y;
but reading π ο λυ ά νδ ρ ο υ σ τρα τ ιᾶς contrast s Xerxes and the many men
of the arm y.
In terms of the unfolding of the drama it is noteworthy that this

mention of Persian wealth (in men or in gold) comes in tandem with
the second occurrence of a form of the verb ο ἴχο μ αι in line [16]: the
Elders are concerned for the many-manned arm y because ( γ ὰ ρ ) all
Asia’s strength, along with her king, is gone away.
Lines [14-15]: ‘Already too much a prophet -of-doom / The spirit

within us is disturbed’. This form of the lines provides a second
subtle yet important indication of the Elders’ attitude to Xerxes.
Cruciall y, line [14] tells us that the Elders have had doubts about
Xerxes, his ambition and abilities for some time; possibl y since the
expedition first set out, or perhaps even from the time he came to
power. In the present passage the expression of doubt is supported
by the quasi -antithesis between lines [11] and [12]. The same doubt
118
is expressed more forcefull y, and Xerxes is again the comparative
of another, starker contrast, at lines [149 -153]. The subtle mention
of an ongoing concern about Xerxes picks up on the even subtler
hint in the first movement: the difference in age between the young
Xerxes and the Elders. This difference in age is exploited
throughout the play, espec iall y in the Elders’ relationship with
Atossa and Darius, and in Darius’ condemnation of Xerxes. 169 If we
accept this doubt as an aspect of the Elders’ character, it has
profound implications for our interpretation of their words, and the
attitudes behind th em, in the rest of the play. There are, then, good
grounds for accepting this lineation, and the interpretation for
which it alone gives grounds.
Line [16]: ‘ For all the Asian -born strength is gone away ’ . This
phrase gives the ostensible reason for the Elders’ troubled spirit.
The form of the line in the tonall y affective texts is justified by its
importance. This long line presents the climactic moment of this
movement, and has implications for the inter pretation of this play.
Its length and rhythmical form render it an effective narrative focal
point, and lend support to the arguments for the ominous
implications of Aeschylus’ use of ο ἴχο μ αι , which here is doubly
emphasised by the length of the line and by its position at line -
end. 170 Dramaticall y speaking it foreshadows the Catalogue of
Commanders that begins in the following movement. The dramatic
effect of the line is further emphasised in coming immediatel y upon
the Elders’ admission of (long -held?) doubt.
169 Especially at [795].

170 The implications of the use of οἴχομαι are fully discussed in the
Interpretive Commentary on lines [2-3]. The long chain of indexical
reference begins in the first moments of the play, and it depends for much of
its success on the success of this line.
119
Line [17] (del): ‘and howls (for? at? around? about?) a young
man’. The main issues with this line are discussed by Broadhead
(13n and Appendix I, 249 -50), who favours interpretation of the
existing text, and by Garvie (12 -13n, 53-4), who accepts a p robable
lacuna. Broadhead observes (13n) that the text is probabl y corrupt.
From the perspective of anal ysis by tone group, the weaknesses of

the line are as follows.
The phrase is technicall y acceptable as a logos, presenting a name

( ν έο ν δ ᾽ἄ νδ ρ α ) and predicate ( β αΰ ζει ), but accepting any of the
possible subjects for β αΰ ζει that are offered by the text is
problematic. Of the potential candidates, each is well -disposed in
the tone group to which it naturall y belongs.
Accepting θυ μὸ ς as the subject for bo th ὀ ρσο λο π εῖ τ αι and β αΰ ζ ει

does not automatically contradict the principles of anal ysis by tone
group, but the grammatical subject occurs two lines earlier in the
tonall y affective text. This is not a fatal objection, and there is too
little comparative material for us to be certain that this is not the
correct construction. T here is, however, no indication of any such
complex syntax in the anal ysed portions of the play, even in l yrics,
and certainl y not in the parodos; throughout the play a succession
of essentiall y simple paratactic statements is overwhelmingl y
preferred to complex syntactic structures. 171
171See, however, the Working Text and commentaries on lines [39-41],

which presents a string of syndetic nominatives lacking a verb, and [52-54],
in which article and noun are separated by two lines of the tonally affective
text. Both these passages are suspect on stylistic grounds.
120
With π ᾶσ α γ ὰ ρ ἰσ χ ὺ ς Ἀσι α το γ ε νὴς as subject for both ο ἴ χωκ ε and
β αΰ ζ ει , the lines are at least presented as consecutive paratactic
statements of related ideas, but we are left with the problem of the
interpretation of β αΰ ζει : the word ‘usually… expresses hostility’
(Garvie, 12-13n, 53), and most of the interpretations offered by
critics are unconvincing, and stretch both meaning and sense in a
way that does not accord with the rhetorical and poetic clarit y that
is evident throughout the anal ysed portions of the play. Broadhead
(13n, 249) finds none of the interpretations satisfactory except,
perhaps (250), Murray’s ‘For all the strength of Asia born / Like
hounds at a young master’s horn / Baying, away hath flown.’ But
Murray’s interpretation makes the line a simile and intrudes other
concepts that are not found in the text. Furthermore, as Broadhead
rightl y notes (249), the attitude of the army to Xerxes is not a
relevant issue in the parodos, or, indeed, at any point in the play. 172
To these considerations we may add that δὲ shows a strong tendency

to mark the beginnin g of a new topic, or sentence . This
consideration militates against construing the phrase w ith a subject
occurring in any earlier line. 173
Garvie, who also finds the suggested interpretations unsatisfactory,

prefers to suppose there is a lacuna after β αΰ ζ ει . 174 The lost text is
assumed to contain the subject of β α ΰ ζει , usuall y supposed to be a
172 Broadhead, 249: ‘To insert a clause on the restiveness of the army
introduces a thought that has no bearing on what is for the moment
uppermost in their minds’ (his emphasis); albeit he then finds (250) favour
with Murray’s conjecture (see above), which alludes to the attitude of the
army. Cf. Garvie, 53: ‘The attitude of the army to the expedition is nowhere
an issue in this play’.
173 See Conclusions: The Separation of the Traditional Text into Tone groups,
Syndetic Separation.
174 Posited by Tournier and Meckler. Other lacunae are posited: Schütz, after
οἴχωκε; Valckenaer, after νέον.

121
young wife – νύ μφ η τ ις or similar. This alternative is open to the
objection that the issue is not relevant in this movement. Young
wives – mothers also could be mentioned, given the status of
Atossa as both wife and mother (cf. [162 -165]) – are not wanted
here. The indications of impending doom are as yet onl y subtle, and
any reference to lamentation is out of place immediatel y before the
Elders cheer themselves out of their sense of foreboding by
celebrating the Catalogue of Commanders.
Other subjects are p ossible: a reference to the men of the arm y,

however, would be equivalent to the assumption that the ἰσχὺ ς is
the subject; and some further reference to the Elders ’ feelings is
equivalent to assuming that θυ μὸ ς is the subject. At this stage of the
play, however, the onl y hint of any disaffection is the single phrase
ἤ δ η κ ακ ό μ αν τις ἄγ α ν ; and the ones that are to follow are similarl y
subtle. These last two possibilities are also open to the objection
that ἄ νδ ρ α is, to say the least, an obscure designation for Xerxes.
Given that there are hints of disaffection among the Elders here and
elsewhere, 175 and that their attitude to Xerxes is critical in the earl y
part of the kommos, construing their θυ μὸ ς as the subject of β α ΰ ζει
seems the most plausible solution for interpreting the traditional
text as it stands. As for a lacuna, given the structure of the phrases
identified throughout this study, it is less likel y a matter of a
missing word or two, but rather of a complete phras e equivalent to
at least one dact ylopaestic measure. Given the musical context – if
the hypothetical reconstruction given in Audio 3 (Appendix IX) is
even remotel y correct – the musicalit y is admirabl y fitted to the
175These hints occur in the spoken dactylopaests that follow the first ode, at
[148-153] and [158-159], and in the trochiambs of their first address to
Atossa, especially [166-167].
122
content of the movement without this line, and it disrupts the
paratactic succession of simple statements that creates meaning
directl y and succinctly, and is characteristic of Aeschylean
composition as identified in this study.
The most probable solutions to the problems of the text, from the
perspective of anal ysis by tone group, are that a later hand has
attempted to repair a corruption with reference to literary -metrical
conventions rather than to oral -aural ones, 176 or that a later actor or
producer has intruded a note of criticism with an ey e to
foreshadowing the Elder’s attitude to Xerxes in the kommos. A third
possibilit y is that both the present line and the content of the
lacuna are an interpolation. 177
The deletion of this line, also supported on metrical and rhythmic

grounds, creates a ‘ clean’ version of the text that gives excellent
sense and conforms to the poetic and communicative strategies
observed throughout the anal ysed portions of the play.
Lines [18-20]: ‘And neither a messenger / Nor yet a horseman /

Has come to the city of the Persians’. These lines close the
movement with a compositional ring, with ἀφ ικ νεῖ τ αι recalling the
νό σ τῳ of line [11]. Their form is determined by the presumed
musicalit y of the movement. 178 In comparison with the paroemiac of
the first movement, line [10], which, on the basis of the pattern of
accents, seems to indicate a rising tone indicative of continuation,
line [20] strongl y suggests the downward tone appropriate to
176 See Conclusions: Rhythm over Metre.

177 Michael Ewans has conjectured in conversation that this line and the
lacuna – with nymphe tis Persis vel sim – are the work of the same
interpolator.
178 See the discussions in the metrical commentary and Appendix IX, Audio 5.
123
closure. 179 The introductory material in which the Elders self -
identify and admit somethi ng of their inner fears and the reasons
for them concludes here; the next movement introduces the
Catalogue of Commanders. Furthermore, the rhythmical quality of
the lines, and the tonal qualities of the patterning of accents, seem
to indicate that the thi rd movement is spoken rather than sung. This
line, then, is taken to end the sung introduction to the play.
179 See discussion in Appendix IX, Audio 5.

124
Metrical Commentary, 3rd movement , 16-20 [21-29].
— ◡ ◡ — — (4 )
ο ἵτε τὸ Σο ύ σ ω ν [ 21 ]
— — ◡ ◡ — (4 )
ἠ δ ᾽ Ἀγ β α τά νω ν
— ◡ ◡ — — (4 )
[κ αὶ τὸ π αλ αιὸ ν
— ◡ ◡ — [— ] (4 )
Κίσ σ ιο ν ] ἕ ρ κ ο ς
◡ ◡ — |◡ ◡ — (4 )
π ρ ο λιπ ό ν τες ἔβ α ν [ 2 5]
— ◡ ◡ — — (4 )
ο ἱ μὲ ν ἐφ ᾽ ἵπ π ω ν
— ◡ ◡ — — (4 )
ο ἱ δ ᾽ἐπ ὶ ν αῶ ν
— — ◡ ◡ — (4 )
π εζο ί τε β άδ η ν
◡ ◡ — — — | ◡ ◡ — [— ] (7 )
π ο λέμο υ σ τῖφ ο ς π αρέχ ο ν τες [ 29 ]
Those who from Sousa [21]

And Agbatana
[And the ancient
Kissian] fortress
Going forth set off [25]
Some riding horses
Some aboard ships
Some on foot step-by-step
Forming the columns of war [29]
125
Notes:
This movement looks back to the ἰσ χ ὺ ς Ἀ σια το γ ε ν ὴ ς of line [16] in
the second movement, and in so doing introduces the Catalogue of
Commanders. It is likel y this movement is a chanted or intoned
counterpoint to the singing of the first two movements. The mo od
in this movement is lighter, with more anapaestic than dact ylic
measures.

16 [21-22]: ο ἵ τ ε τὸ Σ ο ύ σ ων / ἠ δ ᾽ Ἀγ β α τ άνω ν : these phrases are
presented as individuated logoi in the Working Text according to
the Principle of Separation, and the form is suggested by
comparison with the opening lines of the first and second
movements. The two phrases can, however, be delivered within a
single tonal grouping, and there is no consonantal clash supporting
the separation. Wher e κ αὶ shows a tendency to mark the beginning
of a new tone group in the anal ysed portions of this play, ἠ δ ὲ seems
to act as a tone-internal conjunction: of the six occurrences
anal ysed in this study, onl y one other (in line [966] of the kommos)
is probabl y line-initial. 180 Additionall y, if κ αὶ τὸ π αλ αι ὸ ν / Κί σσι ο ν
ἕρ κ ο ς is an interpolation, the grammatical attraction between the
article τ ὸ and noun ἕ ρ κ ο ς suggest a longer phrase length. See below,
on [22-23] for a discussion of a suggested reading of these lin es.
Line [21] scans to word -end as a dact ylopaest -2; line [22] as a
dact ylopaest-3.
180Garvie (16n): ‘there are 12 or 13 occurrences of this epic conjunction in

Pers… all of them in anapaests or lyrics, and most of them in catalogues of
names’. See also Conclusions: Syndetic Separation.
126
17 [22-23]: κ αὶ τὸ π α λ αιὸ ν / Κίσσ ιο ν ἕρκ ο ς : these two lines of the
Working Text should present a single tonal grouping based on their
grammatical affiliation. Intra -tonal separation, while possible,
seems unwarranted here. The separation is suggested by the form of
the surrounding lines, by the ν - κ consonantal clash, and the
interaction of the accents; the grave accent of π αλ αιὸ ν does not flow
easil y into the acute accent of Κίσσιο ν . The effect is heightened
when the aural qualities of the distinct measures to which they
belong are taken into consid eration. 181 Line [25], π ρο λιπ ό ν τ ες ἔβ α ν ,
also could be construed with this line as a single tonal grouping,
which would give a line of twelve beats. Nevertheless, κ αὶ τὸ
π αλ αιὸ ν κ τλ . has the force of a subordinate clause, which will
enforce tonal separation.
The possibilit y that κ αὶ τὸ π αλ αιὸ ν Κ ίσσιο ν is an interpolation must

be considered on rhythmic and semantic grounds. Given the
uncertain status of the separation of lines [21] and [22], and the
force of the grammatical attraction of τὸ … ἕρκ ο ς , its deleti on will
give:
— ◡ ◡ — — | — — ◡ ◡ — | — [— ] (1 0 )
ο ἵτε τὸ Σο ύ σ ω ν ἠδ ᾽ Ἀ γ β α τά νω ν ἕρκ ο ς [21 ]
◡ ◡ — |◡ ◡ — (4 )
π ρ ο λιπ ό ν τες ἔβ α ν [2 5]
This long phrase is rhythmicall y well -balanced, as can be seen in

the interaction the four accented syllables. It forms an admirable
transition to intoned speech from the singing hypothesised for the
first two movements. 182
181 See the interpretive commentary for further discussion of the status of
this line in the text.
182 Appendix IX, Audio 7 demonstrates this.
127
This is the form of the lines proposed for the Experimental Text.
Line [21] scans to word -end as dact ylopaest -2 + dact ylopaest -3 +
final spondee. The final measures, however, seem to present a
rhythmical unit y and are scanned as a dactylopaestic hep tasyllable-
3 ( - - u u - - - ).
18init [25]: π ρ ο λι π ό ν τ ες ἔ β α ν : in the light of the discussion of lines

[21-24], above, this line must const itute an individuated logos. Its
separation from the preceding line is suggested by the ς - π
consonantal clash and by the assumed difficult y of delivering such
a long phrase within a single tone group, that is, on a single
breath. 183 Additionall y, while the accents of line [21] in the
Experimental Text are well balanced and form a rhythmic whole,
the inclusion of this phrase destroys that balance. Line [25] stands
in apposition to both line [21] and lines [26ff], and begins a new
rhythmical complex. This increases the likelihood of its separation
from the surrounding phrases.
The 2x anapaests of the Working Text do not scan to word -end. The
balance of the accented syllables suggest rhythmic unit y, and a
dianapaest is scanned in the Ex perimental Text.
18fin-20 [26-29]: ο ἱ μὲ ν ἐφ ᾽ ἵπ π ω ν / ο ἱ δ ᾽ἐπ ὶ ν α ῶ ν / π εζο ί τε β άδ ην /

π ο λέ μο υ σ τῖφ ο ς π α ρ έχ ο ν τες : the separation of these lines into
individuated logoi is uncontroversial. The μὲ ν … δ ὲ clauses of lines
[26] and [27] impl y tonal separation as in English; the separation of
line [28] is dictated by the regular separation of subordinate
clauses; and line [29], a regular paroemiac, is isolated by virtue of
its structural function and grammat ical integrit y.
183 See Conclusions: Performance Considerations, The Actors’ Breath.

128
Lines [26] and [27] scan to word -end as dact ylopaests -2. The
dact ylopaest-3 of line [28] presents a rhythmic inversion of the
previous lines. Again, rhythm is supportive of an implied contrast –
that between soldiers carried and those goin g on foot – and is
characteristic of Aeschylus’ rhythmic virtuosit y.
Line [29] scans to word -end as a dact ylopaest -1 + minor ionic, a

regular formation for paroemiacs.
See the interpretive commentary for a discussion of the rhythmic

significance of thes e five lines.
Textual criticism.
Line [21]: construe ο ἵτε τὸ Σο ύ σ ω ν ἠδ ᾽ Ἀγ β α τά νω ν ἕρκ ο ς ; scan as
dact ylopaest-2 + dactylopaestic heptasyllable -3.
Lines [23-24]: del. κ αὶ τὸ π αλ αιὸ ν Κ ίσσιο ν .
Line [25]: scan as dianapaest.
129
Experimental Text.
3rd Movement (16 -20) [21-29]. 184
— ◡ ◡ — — | — — ◡ ◡ — — — (1 0 )
ο ἵτε τὸ Σο ύ σ ω ν ἠδ ᾽ Ἀ γ β α τά νω ν ἕρκ ο ς [ 21 ]
◡ ◡ — ◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — (4 )
◡ ◡ — — — | ◡ ◡ — [— ] (7 )
184[21-25 infr.]: del. καὶ τὸ παλαιὸν [22], Κίσσιον [23init], scanned

dactylopaest-2 + dactylopaestic heptasyllable-3; [25] scanned dianapaest.
130
A Note on the Catalogue of Commanders (16 -58) [21-68].
Lines 16-58 of the traditional text [=21 -68] constitute a verbal map
– albeit a rough one – of the Persian dominions. It begins at lines
[21-29] at the ancient capitals of Susa and Ecbatana. The fourth
movement [30 -41] introduces a catalogue of Persian leaders
directl y under Xerxes. In the fifth movement [42 -49] the bird’s-eye
over-view of the Persian dominion s moves to Egypt at the southern -
most extremit y of the Empire, mentioning in sequence the Nile,
Memphis and Thebes. The narrative map then moves back up the
Ionian coast to Lydia in the sixth movement [50 -56], and in the
seventh [57-68] to Mysia ‘the neigh bours of sacred Tmolus’ –
presumabl y a toponym for Sardis, the western capital of the Persian
Empire, before spiralling inland south -west to close at the ancient
centre of Babylon. It is possible that the mention of Babylon is
misplaced from an earlier mov ement. 185
Each station on the map is noted with reference to local leaders,

their peoples or other remarkable features, all variations on the
oral-epic patterning of such catalogues. The focus of the Elders’
attention is more often than not the Commanders. There are,
however, certain passages, the third movement among them, in
which the focus turns to the men of humbler station involved in the
expedition. The emphasis throughout is on the size and diversit y of
the Persian dominions.
The Catalogue is of the greatest dramatic importance. For the

Elders, in their ignorance of what has already befallen the army,
the Catalogue is a celebration of the might of the Persian Empire,
and the naming of the Persian heroes seems to dispel for a moment
the gloom of the se cond movement. For the Athenian audience,
See the interpretive commentary on lines [62-63] in the fourth

185
movement.
131
however, the Catalogue of Commanders is understood as a Roll -
Call of the Dead. The confidence and pride of the Elders in this and
the subsequent movements contrasts starkly with their despair at
hearing news of the disaster, and their critical condemnation of
Xerxes in the kommos.
132
Interpretive Commentary, 3rd Movement: Introduction to the
Catalogue of Commanders.
These from the fortress of Susa and Agbatana [21]

Some riding horses
Some aboard ships
Notes.
This movement recalls the vastness and diversit y of the Persian
Empire, and acts as a prelude to the Catalogue of Commanders. Its
metrical form is regular for dact ylopaests. The form of the
Experimental Text, however, suggests it is spoken – chanted or
intoned – in contrast with the singing of the first two movements.
The ten-beat phrase of line [21] presents a dynamic change from the
predominantl y four - and six-beat phrases of the sung movements.
The lines of the spoken movements show longer line -lengths more
frequentl y than the sung movements. These longer lines are more
readil y delivered within the constraints of a breath in intonation
than in singing. The accents and the rhythmic qualities of the
movement suggest a lighter tone.
Lines [21-25]: ‘These from Sousa and Agbatana / [And the

ancient] (del.) / [Kissian] (del.) fortress / Going forth set off’.
The translation given above is that of the Working Text. I t is,
perforce, somewhat stilted. Editorial reactions indicate the line is
somewhat out of place; at best it is an irrelevant tautology. Kissia
is ‘not a cit y but a region’ (Garvie, 17n) ‘in which Susa was
situated’ (Broadhead, 16 -17n), whereas Susa and Ec batana are
cities and, moreover, are probabl y envisioned as the capitals of
133
Persia and Media respectivel y. Garvie feels it is ‘unlikel y that A.
here is describing the cit y of Susa itself’. 186 Kissia is mentioned at
line 120 [129]. Broadhead (16 -17n) says that ‘Aeschylus seems to
have imagined… that there was a cit y Κί σ σα distinct from Susa’ and
cites 120 as evidence. This, however, does not seem to be the case,
and lines [23 -24] interrupt the rhythm of the passage, and add little
to its sense beyond inaccurat e geography. 187 On these consideration,
the lines are regarded as suspicious and deleted from the
Experimental Text.
With their removal, and allowing the translation of the genitive

with an ablative sense, the sense becomes clear: 188
These from the fortress of Susa and Agbatana

Going forth set off
This then presents Susa and Ecbatana, the capitals of Persia and
Media, as the stronghold of Persian dominion, and the point of
departure for the expedition. The description of these cities
together as a ἕρ κ ο ς seems to suit Aeschylus’ approach to poetic
compression, and the emphasis imparted by this striking metaphor
foreshadows the judgement of Darius: the ostensible cause of the
186 17n, following Tammaro, V. (1990). ‘Su due oasis die “Persiani” di
Eschilo’. Eikasmos 1, 83-88.
187 So Garvie, 120-5n, 28; this, however, seems to be an error of
interpretation. As discussed in the interpretive commentary on line [129],

the literal and metaphorical antidoupos (‘re-echoing’ or ‘counterpoint’) of
strophe and antistrophe D makes it easier to understand τὸ Κισσίων πόλισμ(α)
as a circumlocution for the μέγ᾽ἄστυ Σουσίδος of line 119 [128]. The
implication of this is that it was the interpolator, and not Aeschylus, who was
unaware of the relation between the two place names; the misunderstanding
becomes more likely the further one is removed in time from the events that
this play relates. Cf. the interpretative commentaries on strophe and
antistrophe D, especially [128].
188 See Conclusions: Parataxis and Translation.
134
disaster, going out -of-bounds, is one of the central issues of this
play.
The translation of the Experimental Text renders the relative ο ἵτε as

a demonstrative. Garvie (16n) says it is ‘unlikel y that the
antecedent is to be found as far back as 12, but we may understand,
if we wish, ‘<bringing news concerning those> who’. 189 The force
of the paratactic structures, especiall y the tonal and semantic
individuation of the several movements, makes this unlikel y, and
the addition of extra -textual semantic elements in translation and
interpretation is unnecessary. ο ἵ τε will refer to the subject matt er of
the entire preceding movement, the main focus of which is the
forces that make up the arm y. It also looks forward to the
subsequent movements, which could explain Aeschylus’ use of the
relative. Additionally, ο ἵ τε presents a change in focus from the first
and second movements: Xerxes is out of the picture until the first
strophic pair of the ode that follows the Catalogue.
The phrase ‘going forth set off’ presents the t ype of pleonastic
construction for which Aeschylus is criticised at Frogs 1152-1176.
[26-29]: ‘Some riding horses / Some aboard ships / Some on foot

step-by-step / Forming the columns of war’. This is the first clear
instance of the Robert the Rose Horse syndrome, a rhythmical
syndrome extending over several lines of the tonall y affect ive text
that bears a striking resemblance to recognisable rhythmic forms
189 So Broadhead (16-17n): ‘The antecedent of the rel. here is the warriors of
line 12 [=16], rather than Περσ ῶ ν (15)’. His mention of 15 [20] is irrelevant
in this context; the phrase to which the word belongs is ‘the city of the
Persians’, to which no news has come.
135
found in English. 190 A similar rhythmic pattern, albeit in truncated
form, is seen in the fourth movement at [36 -38], and lines [18 -20]
in the second movement show a certain affinit y w ith it. In each
instance these rhythmic syndromes are used to close their
movements and, consequentl y, the final line is a paroemiac. Note
that the distinctive rhythmic force of this syndrome increases the
likelihood that [25], π ρο λιπ ό ν τες ἔβ α ν , belongs to the preceding
logos.
See Conclusions: Traditional Metrics Comparison, The Robert the Rose

190
Horse Syndrome, and Appendix IX, Audio 7.

136
Metrical Commentary, 4th movement, 21-32 [30-41].
— ◡ ◡ — — | — — ◡ ◡ — (8 )
ο ἷο ς Ἀμ ίσ τρ η ς ἠδ ᾽ Ἀρ τ αφ ρέ νης [ 30 ]
— ◡ ◡ — — | — — — — (8 )
κ αὶ Μ εγ αβ ά τη ς ἠδ ᾽ Ἀ στάσ π ης
— — — — | ◡ ◡ — (6 )
τ αγ ο ὶ Π ερ σ ῶ ν β ασι λῆ ς
◡ ◡ ◡—| ◡ ◡ —|◡ ◡ — [7 ]
[β ασ ι λέως ὕ π ο χ ο ι μ εγ άλο υ ]
— — ◡ ◡ — | — — ◡ ◡ — (8 )
[σ ο ῦ ν τ αι ] σ τ ρ α τι ᾶς π ο λλῆς ἔφ ο ρο ι
— ◡ ◡ — — | — — ◡ ◡ — (8 )
το ξ ο δ άμ α ν τές τ᾽ἠδ ᾽ ἱπ π ο β άτ αι [ 3 5]
◡ ◡ — |◡ ◡ — (4 )
φ ο β ερ ο ὶ μ ὲν ἰδ εῖ ν
— — ◡ ◡ — (4 )
δ εινο ὶ δ ὲ μά χ η ν
— — — —|◡ ◡ — — (7 )
ψυ χ ῆ ς εὐ τλ ή μο νι δ ό ξῃ
— — — —| — ◡ ◡ — — | — — — — (1 2 )
[Ἀρ τε μβ άρ η ς θ᾽ ἱπ π ιο χ άρμης κ αὶ Μ ασ ίσ τρης ]
◡ ◡ — | ◡ ◡ — | — ◡ ◡ — — | — — — — [— ] (1 3 )
[ὅ τε το ξο δ ά μ ας ἐσ θλ ὸ ς Ἰμ αῖο ς Φα ρα νδ άκ η ς τ( ε)]
— — ◡ ◡ — | — — — X (7 X)
[ἵπ π ω ν τ᾽ἐλ α τὴ ρ Σο σ θ άνης ] [ 41 ]
137
Men like Amistres and Artaphrenes [30]
And Megabates and Astaspes
King-commanders of the Persians
[Servants of the Great King]
The Overseers of the great arm y [are eager]
Bow-fighters and horse -riders [35]
Fearful to behold
Terrible to fight
In (their) steadfast glory of spirit.
[And chariot -fighting Artembares and Masistres]
[And bow-fighting noble Imaius and Pharandakes]
[And driver-of-horses Sosthanes] [41]
Notes:
This is the first movement of the Catalogue of Commanders. It is
likel y that this is another sung movement, but it presents a different
phrase length to those of the first two movements. Although lines
[30], [31], [34] and [35] of the Working Text, are twice the length
of those of the first two movements, the implied musicalit y – four
isochronic beats per bar – is the same. Line [32] suggests a
counterpoint 3/4 rhythm, as do lines [7] and [14] of the first and
second movements. Similarl y, the accents of these lines are
strongl y suggestive of a musical presentation. Although the
movement opens with ‘dact ylic’ measures, the overall mood is
positive; the disposition of the accents, on the second and fourth
beats of each line, is suggestive of their lighter tempo and mood.
Under anal ysis by tone group, the movement presents several
suspect passages.
138
21-22 [30-31]: ο ἷο ς Ἀ μί σ τρης ἠ δ ᾽ Ἀρ τ αφ ρέ νης / κ αὶ Μεγ αβ ά της ἠ δ ᾽
Ἀ σ τάσ π η ς : these lines are the same as those of the traditional texts.
As such they are the second and third full anapaestic dimeters that
appear. 191 The absence of line-internal consonantal clash and the
use of ἠ δ ὲ impl y the tonal unit y of each line. Conversel y, the use of
κ αὶ and the ς - κ consonantal clash suggest their separation fro m each
other. 192
Line [30] scans to word -end as dact ylopaest -2 + dact ylopaest -3,
while line [31] shows a dact ylopaest -2 + open dact ylopaest. This is
the first certain instance of this metrical form. 193
23-24init [32]: τ α γ ο ὶ Π ερσ ῶν β α σιλ ῆ ς : a six-beat line following the

two eight-beat lines of [30-31]. The line suggests the 3/4 rhythm
that punctuates each of the sung movements. 194 Each accented
syllable falls on a beat, and they seem well -balanced in the context
of the line.
This lineation, however, destroys the unity of line 24 of the

traditional texts, which looks like a noteworthy rhetorical figure
and preserves the earliest textual evidence for the title Megas
Basileus with reference to the King of Persia. 195
191 The first is line [15] in the second movement.

192 See the discussion of the likely tonal force of these conjunctions in the
metrical commentary on line [21].
193 Cf. the metrical commentary on line [5], where it could be scanned by
synizesis.
194 Cp. lines [7] and [14].
195 This problem is discussed in the interpretive commentary to lines [32-
38], below.
139
The line is scanned as an open dact ylopaest + anapaest. The
potential dact ylopaestic heptasyllable -5 is rejected here because of
the grammatical unity of the phrase τ αγ ο ὶ Περσῶ ν , and because of
the corresponding final anapaest in the subsequent line [34] o f the
Experimental Text.
24fin [33]: [ β α σ ιλέ ως ὕ π ο χο ι μ εγ άλ ο υ ] : in the Working Text the

initial measure is a paeon -4: the Principal of Least Interference
holds that each syllable must be given its natural quantit y in the
first instance. West ( Tragoediae) indicates by diacritic that he
scans β α σ ιλέ ως as an anapaest by synizesis. 196 This is a plausible
solution, giving a 6 -beat line of 3x anapaests. The fact that the
epsilon has been transmitted with the traditional text does not
necessaril y support the view t hat the three short syllables were
rhythmicall y affective; they could be derived from a later
orthographic tradition. Neither is synizesis a purel y visual -analytic
phenomenon; where metrical regularit y is the mechanism of the
interplay of rhythmic variatio n, then synizesis can equall y be an
oral-aural phenomenon. 197
With assumed synizesis, however, the line is suspicious from the

point of view of its metrical uniformit y. The indications of this
study are that rhythmic variation was of greater importance to
Aeschylus than metrical regularit y. 198 Additionall y, the qualit y and
balance of its accented syllables are out of character with those of
the surrounding lines. 199 The line seems to have been composed
196 Cf. also his discussion of synizesis at Tragoediae, xxxiii.

197 See Conclusions: Traditional Metrics Comparison, Synizesis and
Correption.
198 See Conclusions: Rhythm over Metre.
199 This is best observed with reference to the Experimental Text, see below.
140
with reference to literary-visual metrical regularit y with out regard
to its rhythmic -aural qualities.
On the rhetorical inutilit y of the line, see the discussion in the

interpretive commentary. The somewhat intrusive qualit y of the
phrase might explain some of the editorial difficulties with σο ῦ ν τ αι .
The line is therefore suspect on rhythmic, metrical and rhetorical

grounds. However, there is insufficient comparative material to
make a final evaluation on any of the issues noted above: the line is
given in obeli in Working Text and, for purposes of dem onstration
and comparison, it is deleted from the Experimental Text.
25 [34]: [ σ ο ῦ ν τ αι ] σ τρ α τι ᾶς π ο λ λ ῆ ς ἔφ ο ρο ι : all editors, with the

exception of West, print a comma before and after σο ῦ ν τ αι ,
presumabl y because it is felt that the verb must refer to both
β ασ ιλ ῆ ς … ὕ π ο χ ο ι and ἔφ ο ρ ο ι . A comma is understood to represent a
tonal break. 200 Anal ysis by tone group shows that this is
unnecessary: the verb σο ῦ ν τα ι fits neatl y and naturall y into [34] if
we construe it as an intransitive – as the tonall y affective lineation
suggests we ought. 201 The poetry of the parodos evinces enough
paratacticism to make the double dut y unlikel y: the previous logoi
are a string of asyndetic nominatives descriptive of the
commanders; there is no need for the comma.
Even without the tonal boundary implied by the comma, however,

σ ο ῦ ν τ αι is rhythmicall y intrusive. As scanned in the Working Text
the line presents a metricall y regular 2x dact ylopaests-3, but it is
rhythmically irregular. The problem here seems to be related to the
200 See Conclusions: Performance Considerations, Rests.

201 Cf. LSJm sub ΣΕΥΩ II.2.
141
balance of accented syllables: the three circumflex accents of
σ ο ῦ ν τ αι σ τρ α τιᾶς π ο λ λῆς are not rhythmicall y well -balanced, and
seem to create a lag that inhibit s the rhyt hmic flow in the
succession of lines as they are intoned, and, consequentl y, the final
ἔφ ο ρ ο ι of this line, with its initial acute accent, is rhythmically
infelicitous, straining both sense and breath. In contrast with this,
line [57], which scan s to the same measures, seems both
rhetoricall y and rhythmicall y very well -balanced. Reading aloud
and comparing the innate rhythm of these two lines as given in the
Working and Experimental Texts will confirm this. 202
This is important when considering th e implied musicalit y of the

movement as a whole. As with the first two movements, the reading
of the lines of the Experimental Text with musical values for the
accented syllables creates the distinct impression of a piece that
was sung. 203 The music is latent in the form of the words and the
interplay of their accents. With line [33], and σ ο ῦ ν τ αι read in line
[34], the passage, while metricall y sound, is rhythmicall y stilted;
but with the deletions the rhythm and its implied musicalit y is
restored.
σ ο ῦ ν τ αι deleted from the Experimental Text on rhythmic grounds.

For a discussion of the semantic and rhetorical difficulties with this
word, see the interpretive commentary, below.
202 Nevertheless, its metrical identity with line [57] could prompt a re-
evaluation of the form of this line, regardless of the rhythmical differences
implied by the relative patterning of their accented syllables. It could,
however, be the case that the present line is modelled on the metrical form
of [57] but without attention to the rhythmicality implied by the accented
syllables and of the movements that contain them.
203 For the hypothetical musical values of the Greek tonal accents, see
Appendix IX, Audio 3 with notes.

142
The line then scans to word -end, and by grammatical affinit y within
the phrase σ τρ α τιᾶς π ο λλ ῆ ς , as a dact ylopaest -1 + final anapaest.
26 [35]: τ ο ξ ο δ ά μα ν τές τ᾽ ἠδ ᾽ ἱπ π ο β ά τ αι : the line is the same as that

of the traditional texts, scanning to word -end as dact ylopaest -2 +
dact ylopaest-3. The implied antithesis between foot - and horse-
soldiers is reflected in the rhythmical antithesis implied by these
measures with the ‘anapaestic’ dact ylopaest -3 opposed by the
‘dact ylic’ dact ylopaest -2. This construction is t ypical of the many
pleasing rhythmic effects found in Aeschylus’ poetry and may be
taken as evidence toward the semantic cogency of rhythmic form.
27-28 [36-38]: φ ο β ερ ο ὶ μὲ ν ἰδ εῖ ν / δ ει νο ὶ δ ὲ μάχ ην / ψ υ χ ῆ ς ε ὐ τλ ήμο νι

δ ό ξῃ : these lines present a truncated example of the Robert the Rose
Horse syndrome, which was seen closing the third movement at [26 -
29]. The separation of lines [36] and [37] is determined by the tonal
differentiation of μὲ ν … δ ὲ clauses, which is supported by the ν - δ
consonantal clash. Line [38] is tonall y differentiated by virtue of
its semantic and grammatical independence from the preceding
clauses, by the ν - ψ clash of consonants, and by virtue of the
structural importance of paroemiacs.
Line [36] is scanned to word-end as a dianapaest in the

Experimental Text. Line [37] is a dact ylopaest -3. Line [38] is of a
metricall y regular formation for paroemiacs, presenting an open
dact ylopaest + minor ionic. It does not, however, scan to word -end,
and is deemed rhythmicall y irregular on that basis.
According to the grammatical relations inherent in the line, it can

be scanned to word-end as initial spondee + final dact ylopaestic
hexasyllable-3, corresponding to the phrase εὐ τλή μο ν ι δ ό ξ ῃ . This
form explores the pos sibilit y that paroemiacs are defined as much
143
by their musical and semantic context as by their metrical form, and
is given in the Experimental Text. 204
29-32 [39-41]: Ἀ ρ τ εμβ ά ρης … Σο σ θά νης : these lines represent, after

the paroemiac, the sudden intrusion of very long phrases in a
movement that is otherwise rhythmicall y well -balanced.
Additionall y, the string of nominative phrases is without a verb,
unless we must suppose they are governed by the ο ἷ ο ς of line [30].
The intervening paroemiac makes this extreme l y unlikel y.
Furthermore, the lines add nothing of substance to the movement in
terms of dramatic meaning or the development of the narrative;
they are semantically and structurall y divorced from it.
The lines are metricall y regular, but problematic in te rms of rhythm

and the forms of their measures. Line [39] is the least problematic.
It scans to word -end as open dact ylopaest + dact ylopaest -2 + open
dact ylopaest. Longer lines usuall y correspond to narrative and
dramatic focal points, which is not the case here. 205 Noting the mid-
line κ α ὶ and the ς -κ consonantal clash, we could read κ αὶ Μα σί στρης
as a separate tone group, but the consonantal clash is not a difficult
one, and the change does little to improve the rhythm when the line
is spoken aloud. In contrast with other lines of the tonall y affective
texts, which separate readil y and with good sense, this line seems
to have been composed as a metrical rather than as a rhythmical
unit y.
The same can be said of line [40]. This line is also the onl y line in
the parodos that shows a line-final τ ε . In all other instances τ ε is a
204 There are seventeen paroemiacs analysed in this study, seven of which
are irregular. The line is discussed further at Conclusions: Dactylopaests,
Irregular Paroemiacs.
205 Cp. lines [16], [42], [154].
144
phrase-internal conjunction. In the traditi onal texts this is given as
θ’ because of the presumed force of the aspirated initial of line
[41]. Given, however, the clear differentiation between
individuated phrases demonstrated in this anal ysis, this is
impossible. 206
Representing the aural value of the line-final τε gives a line of

thirteen beats and makes the final measure a pentasyllable of the
form ( - - - - - ). In the anal ysed portions of this play this measure
occurs elsewhere only in trochiambs and in trochiambic lines in
lyrics; and so it mus t be regarded as an illegal measure here. 207
Again, the line conforms to the dictates of a visual -metrical
anal ysis that is more appropriate to written than to spoken texts.
Line [41] can be considered a paroemiac in as much as it conforms

to the traditional definition, a catalectic anapaestic dimeter. It is,
however, the onl y paroemiac identified in this study that does not
feature a final minor ionic. In the Working Text it scans to word -
end as a dact ylopaest -3 + final molossus. Broadhead ( Appendix II,
286) describes this as an ‘unusual paroemiac’ . 208 As with the
previous lines, line [41] seems to have been composed on metrical
principles that pay little regard to the oral -aural qualities of the
lines or their movement s.
206 See Conclusions: Traditional Metrics Comparison, Non-elision at line-end.

207 Trochiambs: [770a]; Lyric trochiambs: [961] and [973]. Of these lines
only [770a] and [961] are secure; [973] is subject to emendation. See
commentaries ad loc.
208 Garvie (30-2n, 60) also notes its irregularity, citing West (Greek Meter,
95). Of the seven parallels for ‘the last biceps being contracted’ noted by
West, one other occurs in this play: the supposed paroemiac of 152 (= [156-
157]), which, as discussed in the metrical commentary ad loc., is not a
paroemiac. Of the other five, three are noted as doubtful (Aesch, Sept. 826,
Eur. Hipp. 1350 [v.l.] and Or. 1015). There seems to be a fairly secure
example of the phenomenon at Aesch. Ag. 366. Supp. 7 is not a paroemiac in
as much as it does not close its sense-unit.
145
Lines [39-41] are semanticall y redundant and grammaticall y and
structurall y isolated from the rest of the movement. They conform
onl y to a highl y developed literary-visual understanding of
metricalit y, and are rhythmicall y out of character with the prosodi c
principles seen in this passage and in general throughout the secure
portions of this play. The lines are therefore considered corrupt
from the point of view of anal ysis by tone group. The passage looks
and sounds like a Hellenistic or Byzantine -era interpolation. The
possibilit y that they are a misplaced element of the original
performance is considered in the interpretive commentary, below.
Textual criticism.
Line [33]: delete β ασ ιλέως ὕ π ο χ ο ι μ εγ άλο υ .
Line [34]: delete σ ο ῦ ν τα ι .
Line [36]: scan dianapae st.
Line [38]: scan irregular paroemiac: spondee + dact ylopaestic
hexasyllable-3
Lines [39-41]: delete.
The Experimental Text is as follows:
146
Experimental Text.
4th movement (21-32) [30-41]. 209
— ◡ ◡ — — | — — ◡ ◡ — (8 )
— ◡ ◡ — — | — — — — (8 )
— — — — |◡ ◡ — (6 )
τ αγ ο ὶ Π ερ σ ῶ ν β ασι λῆ ς [ 3 2]
◡ ◡ — — — | ◡ ◡ — (6 )
σ τρ α τιᾶς π ο λλῆ ς ἔφ ο ρ ο ι [ 3 4]
— ◡ ◡ — — | — — ◡ ◡ — (8 )
◡ ◡ — ◡ ◡ — (4 )
— — ◡ ◡ — (4 )
— — |— — ◡ ◡ — — (7 )
ψυ χ ῆ ς εὐ τλ ή μο νι δ ό ξῃ [ 38 ]
209[32-34 infr.] del. βασιλέως ὕποχοι μεγάλου; [34init] del. σοῦνται; [38] scan
dactylopaestic hexasyllable-3; post [38] del. [39] Ἀρτεμβάρης θ᾽ἱππιοχάρμης
καὶ Μασίστρης; del. [40] ὅ τε τοξοδάμας ἐσθλὸς Ἰμαῖος Φαρανδάκης τ(ε); del. [41]
ἵππων τ᾽ἐλατὴρ Σοσθάνης.
147
Interpretive Commentary, 4th Movement : The Catalogue of
Commanders I.

And Megabates and Ataspes
King Commanders of the Persians [32]
Overseers of a great arm y [34]
Fearful to behold
Terrible to fight
In (their) steadfast glory of spirit [38]
Notes.
This is the first movement of the Catalogue of Commanders. 210 The
translation of the Working Text given with the metrical
commentary is grammaticall y complex and somewhat stilted. In
contrast, the translati on of the Experimental Text shows a
paratactic succession of coherent phrases that taken together
present a portrait of the idealised Persian military commander.
The musical implications of lines [30 -38] are clear in terms of their
internal rhythmic chara cter, their rhythmic interaction with each
other, and in the implied musicalit y of their accents. Lines [39 -41],
which are deleted from the Experimental Text, are of a different
rhythmic character: their longer phrase lengths, and the musicall y
incoherent pattern of accented syllables, seem appropriate to
spoken lines.
For a discussion of the issues pertaining to the Catalogue, see 4.4.2, A

210
Note on the Catalogue of Commanders.

148
[30-31]: ‘Men like Amistres and Artaphrenes / And Megabates
and Ataspes’. The names of these four ‘king-commanders’ can be
identified, for the most part, with known individuals. The names
are meant to sound convincingl y Persian and exotic. 211
[32-37]: ‘King Commanders of the Persians / [Servants of the

Great King] (del.) / The Overseers of the great army [are eager]
(del.) / Bow -fighters and horse -riders / Fearful to behold /
Terrible to fight / In (their) steadfast glory of spirit’. Suspicion
falls on lines [33] and [34init]. There is as yet insufficient evidence
of Aeschylean st yle under anal ysis by tone group to make certain
judgements. Nevertheless these are excluded from the Experimental
Text, principall y on st ylistic grounds.
Line [33] of the Working Text seems to deviate from the elegant
and austere Aeschylean approach to phrasing and rhythm. In the
context of the rest of the movement line [33] adds little of value,
except that it provi des an opportunit y for someone to include the
well-known designation μέγ ας β ασιλε ύ ς with reference to Xerxes. 212
Similarl y, σ ο ῦ ν τ αι seems rhythmicall y out of place in its line, and
out of character with the rest of the movement as well as with the
approach to rhythmic composition seen in the other movements of
the parodos.
211 For discussion of the Persian names in this movement see Rose, 21n and
29-32nn; Garvie, 21-2n, 29-30n and 30-2n; and especially Broadhead,
Appendix V, 318-321. Also cited are E.G. Schmitt (1978) Die Iranier-Namen
bei Aischylos, and Dawe (1964) The Collation and Investigation of Manuscripts
of Aeschylus.
212 Broadhead (24n): ‘This seems to be the earliest mention in the extant
Greek literature of the title βασιλεὺ ς μέγας’. The line is sure to be strongly
defended.
149
Indeed, one might question the necessit y of [33 -34init] at all. Lines
[30-38] form a single compound -logos composed of a string of
paratactic nominative phrases, all descriptive of the four captains
mentioned in lines [31 -31], all governed by ο ἷο ς and the
unexpressed verb ‘to be’, ending with a paroemiac.
When comparing the simple and meaningful flow of ideas in the

Experimental Text with the Working Text, the presence of line [33]
and the additional verb σ ο ῦ ν τ αι is semanticall y intrusive. It seems
then, that σ ο ῦ ν τ αι was added to address the imbalance created by
the intrusive – because interpolated – line [33], either by the same
or a later interpolator.
As noted in the metrical commentary, they are also rhythmically out

of character with the rest of the movement and with all the
dact ylopaestic movements anal ysed i n this study: Aeschylus seems
to avoid metrical uniformit y within any one line of verse. With the
deletions the lines seem rhythmicall y regular, are more in harmony
with the rhythm of the movement as a whole, and the truncated
Robert-the-Rose-Horse syndrome of lines [36-38] seems better
placed in rhythmic and musical terms. 213 Furthermore, with the
deletions the passage is rhythmicall y and musicall y similar to the
first two movements of the parodos.
Lacking comparisons we can say nothing more. Line [33] and the
verb σ ο ῦ ν τ αι are not certainl y regarded as interpolations, but from
the perspective of anal ysis by tone group they are intrusive both
rhythmicall y and semanticall y. For purposes of comparison and
evaluation [33-34init] are excluded from the Experiment al Text.
On this, see Conclusions: Traditional Metrics Comparison, the Robert the

213
Rose Horse Syndrome.

150
[39-41]: ‘And chariot -fighting Artembares and Masistres / And
bow-fighting noble Imaius and Pharandakes / And driver -of-
horses Sosthanes’. In the anal ysed portions of this play we see that
every phrase additivel y builds on the preceding ones, the reby
creating meaning. In other words, every phrase is important and
directl y contributes to the unfolding of the narrative and the
development of the drama and themes. This is not the case here: the
string of nominative phrases is grammaticall y and semant ically
divorced from the rest of the movement, adding little more than
proper names that are no more or less exotic than those of [30 -31],
but they are, perhaps, a little more uncertain in form and
derivation. 214 The attributed qualities, however, ‘bow -fighter’,
‘noble’ and ‘driver-of-horses’, have already been succinctl y and
elegantl y expressed in lines [33 -35] of the Experimental Text, but
this t ype of repetition is not entirel y out of character for Aeschylus.
The absence of a main verb is problematic. The main verb of [30 -

38] is also unexpressed, but its force is unambiguousl y signalled by
the ο ἷο ς of line [30]. Linguistic sign -posts such as this can be
regarded as indispensable where the transmission of meanin g
depends entirel y on the successful delivery and interpretation of
every single phrase within its broader context.
Additionall y, as noted above and in the metrical commentary, [39 -

41] are qualitativel y different to [30 -38]; they present much longer
phrase-lengths and a differing approach to rhythm; they seem
chanted rather than sung.
214See especially, Garvie, 29-30n and 30-2n. On Persian names in general,

see n.255, above.
151
There are several possibilities for the retention of these lines. They
could have been misplace from post 22 [31], where they would form
part of a long – and impressive – paratactic string of nominatives
all governed by ο ἷο ς . 215 This would then be a chanted break in the
singing of [30-38], which could be a powerful theatrical device.
Alternativel y, in their present position in the traditional texts, they
could present a truncated movement, chanted or intoned; that is, a
kind of dact ylopaestic mesode that rhythmicall y foreshadows the
long 12-beat phrase of the line [42] in the fifth movement. They
should then be regarded as a truncated fifth movement introducing
the remainder of the catalogue.
Nevertheless, given the metrical and grammatical irregularities, the

fact that the lines add nothing either to the themes of the play or to
its dramatic development, and that the flow of ideas – and the
musicalit y of the movement – is greatl y improved by their deletion,
the lines are considered suspect. We cannot, however, on present
evidence, categorically exclude them: their exclusion from the
Experimental Text is determined as much by the rhythmical
character of the fourth movement as a whole as by problems
inherent in the lines.
This assumes that [33] and [34init] were not a part of the original
215
composition.
152
Metrical Commentary, 5th Movement, 33-40 [42-49].
— — ◡ ◡ — | — ◡ ◡ — — | — ◡ ◡ — [— ] (1 2)
ἄλλο υ ς δ ᾽ὁ μέγ ας κ αὶ π ο λυ θ ρέμ μω ν Νεῖ λο ς ἔπ εμ ψε ν
— — — — | — — — — (8 )
Σο υ σ ισ κ άνη ς Πηγ ασ τ α γ ὼν [ 4 3]
— — ◡ ◡ — (4 )
Αἰγ υ π το γ ε νή ς
◡ ◡ —|◡ ◡ —| — ◡ ◡ — — (8 )
ὅ τε τῆ ς ἱ ερ ᾶς Μέμφ ι δ ο ς ἄρχω ν [ 4 5]
◡ ◡ — — — (4 )
μέγ ας Ἀρ σ άμη ς
— — ◡ ◡ — | — — ◡ ◡ — | — ◡ ◡ — [— ] (1 2 )
τάς τ᾽ ὠγ υ γ ίο υ ς Θή β ας ἐφ έπ ω ν Ἀ ριό μ αρδ ο ς
— ◡ —◡ ◡ —| — — ◡ ◡ — [9 ]
[κ αὶ ἑ λειο β ά τ αι ν αῶ ν ἐρέ ται ]
— — — — | ◡ ◡ — — (7 )
δ εινο ὶ π λῆ θό ς τ᾽ἀ νά ρ ιθ μο ι [ 49 ]
And the great and many-feeding Nile sent others

Sousiskanes Pegastagon [43]
Egyptian-born
And the captain of sacred Memphis [45]
Great Arsames
And the governor of ancient Thebes Ariomardos
[And marsh -treading rowers of ships]
A terrible uncountable multitude [49]
153
Notes:
This fifth movement is the second of the Catalogue of Commanders.
We leave the captains of Persia and are introduced to their Egypt ian
counterparts. Rhythmicall y and musically this movement represents
a departure from the patterns that predominate in the earlier
passages. It opens with a single sonorous 12 -beat logos. In contrast
with the preceding movement, the rhythms and patterning of
accents seem to indicate that this movement was chanted or
intoned.
The lines of the Working Text are presented in a way that is

inconsistent with the uniform rhythmic character of the movement.
Assuming rhythmic uniformit y seems plausible on the basis of the
interaction of the length and qualit y of syllables 216 and the relative
position of their accents. Where rhythmic uniformit y is the deciding
factor – and rhythmic, as opposed to metrical, uniformit y is a signal
feature of the other movements of t he parodos – the form is best
determined with reference to the separation of lines [45] and [46] in
the Working Text.

33-34init [42]: ἄ λ λο υ ς δ ᾽ ὁ μ έγ ας κ α ὶ π ο λυ θ ρέ μ μω ν Νε ῖ λο ς ἔ π ε μψ ε ν :
this line is longer even than th e lines of the traditional texts; it
cannot be convincingly separated into shorter phrases as at e.g. [11 -
12], where the separation emphasises an antithetical effect. There is
no grammatical or semantic basis for separation. The onl y basis on
which the lines could be separated is according to its measures.
This would give ἄλλο υ ς δ ᾽ὁ μέγ ας / κ α ὶ π ο λυ θ ρέμ μω ν / Νε ῖ λο ς
ἔπ εμ ψε ν . This fails on st ylistic grounds: it is rhythmicall y stilted
I.e. whether their vowels are ‘front’ or ‘back’. Cf. especially the
216
commentary on line [47].

154
and does not conform to the paratactic principles evinced
throughout the re st of the parodos. Separation here would be
distracting rather than illuminating. The phrase can onl y have been
delivered within a single tonal grouping and within a single breath.
The length of the line and the disposition of the accented syllables
seem to indicate that it was spoken. The accents are well -spaced
and seem to assist the smooth delivery of the potential clashes of
consonants; ς - κ and ν - ν are not especially difficult combinations.
When the line is delivered within a single tonal space the rhy thm is
strong and well-balanced.
Line [42] scans to word -end as a series of three dact ylopaestic

measures: a dact ylopaest -3 + 2x dact ylopaests -2.
34fin-35 [43-44]: Σ ο υ σ ισκ ά νης Πηγ ασ τ αγ ὼν / Αἰγ υ π το γ ε ν ής : this line

could present a 12 -beat logos matching t hat of [42], but
phonological and semantic inconsistencies with that arrangement,
and the separation given in the Working Text seems better to reflect
the rhythmic form of the movement as a whole.
The interaction between the final front -vowel of Πηγ ασ ταγ ὼ ν and
the initial back vowel of Αἰγ υ π το γ ε νής enforces a very slight but
rhythmicall y effective pause in spoken delivery. Additionall y, the
line presents an asyndetic string of nominatives, and the singular
adjective can appl y onl y to one of the named indiv iduals. 217 If these
lines are to be presented as a single tone group the adjective should
217Cp. [59-60] for the asyndetic presentation of two named individuals with
an adjective – but there the adjective is plural.
155
properl y be plural – either Αἰγ υ π το γ ε ν ῆ ς (Ionian) or Αἰγ υ π το γ ε ν εῖς
(Attic). 218
The deciding factor here is rhythmic regularit y. Lines [43 -44], [45-
46] and [47] of the Working Text present three grammatically and
semanticall y distinct references to commanders. Lines [45 -46] show
clear phonological grounds for separation, and it is on the model of
these lines that [47] is separated in the Experimental Text. In this
lineation each reference to a commander is presented as an
unbalanced couplet of eight - and four-beat lines. On the separation
of these lines – normall y identified as intra -tonal separation – see
the interpretive commentary.
There remains the problem of the asyndetic nominatives and the

singular adjective in lines [43 -44]. There is some doubt as to
whether Sousiskanes and Pegastagon were meant to present two
names or four. 219 One solution is to take Πη γ ασ τ αγ ὼ ν as an adjective
rather than as a proper name. Garvie ( 34-8n, 61) notes Richardson’s
attempt to read this as ‘comptroller of the Upper Waters’. 220 The
change requires onl y a very minor emendation: π ηγ ασ τ αγ ῶ ν , or
π η γ ὰ ς τ αγ ῶν , for Πη γ ασ τ αγ ὼ ν . In metrical terms the alternatives are
irrelevant, but the choice betwee n the compounded or
uncompounded forms must be made. π ηγ α στ αγ ῶ ν could be an
Aeschylean compound, and his use of π ηγ αῖς τε Νεί λο υ γ ει το ν ῶν at
218 These readings are suggested in the critical apparatus of the

Experimental Text as an alternative to reading π η γ ὰ ς τ αγ ῶν for
Πη γ ασ τ αγ ὼν .
219 This is reflected in the scholia and editorial reactions. See Rose, 21n;
Broadhead, 34n; Garvie, 34-8n, 60-61.

220 Richardson in M.E. White (ed.) (1952). Studies in Honour of Gilbert
Norwood, 62. Garvie finds this ‘unconvincing’ but does not say why. He also
notes attempts (citing Teuffel) to produce the same effect by more drastic
emendation, to πηγαῖς ταγών (ῶν?) or ταγὸς πηγῶν.
156
line 311 (cf. Broadhead, 311n.) seems to indicate that the
periphrasis was familiar. The fact that the Nile is ment ioned in the
previous line makes it more likel y that π η γ ασ τ αγ ῶ ν could have been
successfull y interpreted. Alternativel y, the pattern of accents and
the rhythmic-semantic separation into two words makes the phrase
clearer, and therefore less likel y to be mi sconstrued by the
audience, and the reading seems to suit the rhythmic cadence of the
line. For these reasons π η γ ὰ ς τ αγ ῶ ν is tentativel y proposed in the
For a discussion of the semantic and structural implications of this

reading, and the translation ‘Marshal of the Delta’, see the
Interpretive Commentary on this line.
If, however, Πη γ ασ τα γ ὼν is to be retained, we should read

Πη γ ασ τ αγ ών for its position at line -end. This is noted in the critical
apparatus of the Experimental Text.
As given in the Experimental Text, line [34] scans to word -end as

2x open dact ylopaests. Line [35], Αἰγ υ π το γ ενής , is a dact ylopaest -3.
36-37init [45 -46]: ὅ τ ε τῆ ς ἱερᾶ ς Μέ μφ ιδ ο ς ἄ ρχω ν / μέγ ας Ἀρσά μης :

the rhythmic separation implied by the ν - μ consonantal clash is
emphasised by the force of the acute accents on the initial syllables
of the words ἄρ χ ω ν and μέγ ας . Additionally, [45 -46] will seem
rushed when pronounced within a single tonal boundary. The
resulting loss of clarit y runs the risk of rendering the lines a merel y
rhythmical soundscape rather than a series of meaningful
The discussion assumes Σο υ σισκ άνης is a proper name. See, however,

221
Appendix V, line [966], where the possibility that it is a title is considered.

157
statements. The form of these lines provides the template for the
form of [43-44] and [47-47a] in the Experimental Text.
In the Experimental Text line [45] is scanned to word-end as a

dianapaest + dact ylopaest -2. The seeming violation of the Principle
of Grammatical Affiliation is not problematic: ὅ τε τῆς ἱερᾶς
presents an acceptable rhythmic formation, and there is a strong
grammatical -semantic attraction within the phr ase Μέ μφ ιδ ο ς ἄρ χων .
Line [46] as a dact yl opaest -1.
37fin-38 [47]: τ ά ς τ ᾽ὠ γ υ γ ίο υ ς Θ ήβ α ς ἐφ έπ ω ν Ἀριό μ αρδ ο ς : there are

no grammatical, semantic or phonological grounds for the
separation. The separation of Ἀ ριό μ αρδ ο ς in the Experimental Text
is assumed on the basis of the rhythmical regularit y of this
movement. Line [47] scans to word -end as 2x dact ylopaests -3, line
[47a] as a dact ylopaest -2.
39 [48]: κ α ὶ ἑ λειο β ά τα ι ν αῶ ν ἐρ έ τ αι : Garvie scans the initial foot as

an anapaest by correption. 222 This intervention is contrary to the
Principle of Least Interference that informs this anal ysis in the first
instance. Common functional words should, however, be allowed a
rhythmic force beyond the formal dictates of the length of their
written syllables, and the correption of κ αὶ is accepted in the
Experimental Text. The line will then scan to word -end as a
dianapaest + dact ylopaest -3. 223
222 39-40n: ‘For the shortening of καὶ in hiatus in anapaests cf. 52, 60, 542,
Supp.975, Cho.373 and see K-B I 197-8, FJW on Supp.541-2’.
223 The irregular metrical formation ( - u - u u - ) could be regarded as a
pherecratean, given by Raven, Greek Metre, 75, as ( - u | - u u - ); but by Maas,

Greek Metre, 43, and West, Greek Metre, 30, as ( x x - u u - - ). Cp. line [372] in
the Messenger’s trimeters.
158
For a discussion of this line in the context of the rest of this
movement, and for the lacuna t hat is tentativel y proposed in the
Experimental Text, see the interpretive commentary, below.
40 [49]: δ ει νο ὶ π λῆ θό ς τ᾽ ἀ νάρι θ μο ι : the formation of this paroemiac

is regular for this play, scanning to word -end as an open
dact ylopaest + minor ionic.
Textual criticism.
Line [43]: read π η γ ὰ ς τ αγ ῶ ν for Πηγ α σ ταγ ὼν . Critical Apparatus: if
Πη γ ασ τ αγ ὼν is retained, read Πηγ ασ τ αγ ώ ν for line-end.
Line [44]: Critical Apparatus: if Π ηγ ασ τ α γ ὼν is retained, read
Αἰγ υ π το γ ε ν ῆ ς (Ionian) or Αἰγ υ π το γ ε ν ε ῖς (Attic) for Αἰγ υ π το γ εν ής .
Line [48]: scan dianapaest by correption of κ αὶ .
Lines [48-49 infr.]: a possible lacuna. See interpretive commentary.
A new translation, showing onl y minor variations, is given with the

Experimental Text.
159
Experimental Text.
5th Movement: (33-40) [42-49]. 224
— — ◡ ◡ — | — ◡ ◡ — — | — ◡ ◡ — [— ] (1 2 )
— — — — | — — — — (8 )
Σο υ σ ισ κ άνη ς π η γ ὰ ς τ αγ ῶ ν [ 4 3]
— — ◡ ◡ — (4 )
◡ ◡ — ◡ ◡ — |— ◡ ◡ — — (8 )
◡ ◡ — — — (4 )
— — ◡ ◡ — | — — ◡ ◡ — (8 )
τάς τ᾽ ὠγ υ γ ίο υ ς Θή β ας ἐφ έπ ω ν [ 47 ]
— ◡ ◡ — [— ] (4 )
Ἀρ ιό μ αρ δ ο ς [ 47 a]
◡ ◡ — ◡◡ —|— — ◡ ◡ — (8 )
κ αὶ ἑλ ειο β ά τ αι ν αῶ ν ἐρέ ται
< l a c una ? > <4 >
— — — — | ◡ ◡ — — (7 )
224[43]: πηγὰς ταγῶν for Πηγασταγὼν (trad), or read Πηγασταγών for line-end;
[44]: (if Πηγασταγών is retained) read Αἰγυπτογενῆς (Ionian) or Αἰγυπτογενεῖς
(Attic); [45]: scanned dianapaest; [47a]: scan dactylopaest-1; [48] scan
dianapaest by correption of καὶ; [48-49 infr.]: a possible lacuna. See
interpretive commentary.
160
Interpretive Commentary, 5th Movement: Catalogue of
Commanders II.

Sousiskanes Marshal of the Delta [43]
Egyptian-born
Great Arsames
And the governor of ancient Thebes [47]
Ariomardos [47a]
And marsh-treading rowers of ships
< follow them >
Notes.
The form of the first line and the character of the rhythms –
especiall y the interaction of the accents – indicates that this is a
spoken movement. The version given in the Experimental Text and
the accompanying translation show a formal symmetry that is
different from that seen in the sung movements.
Line [42]: ‘And the great and many -feeding Nile sent others’.
The lack of apposition between ἄλλ ο υ ς and the nominatives that
follow is not problematic. 225 Line [42] is a self-contained logos in
its own right and corresponds to a complete sentence in English,
serving as an introduction to the content of the rest of the
225I.e., it is not necessary to understand ‘these were’ or ‘there went’ or

similar. Cf. Rose, 34n; Broadhead, 34n; Garvie, 34-8n.
161
movement. The catalogue of three commanders that follows is
enough to justify the nominatives. The Catalogue of Ships at Iliad
2.494ff, reflects the grammatical structure here: the commanders
and their contingents are listed in the nominative but they are
introduced, at 2.493, with the words ἀρ χ ο ὺ ς αὖ νη ῶ ν ἐρ έω ν ῆ ά ς τε
π ρ ο π άσ ας . Given that Aeschylus’ c atalogue is likel y modelled on
the epic formulation, the construction is appropriate.
Lines [43-47]: ‘Marshal-of-the Delta Sousiskanes / Egyptian -

born / And the captain of sacred Memphis / Great Arsames /
And the governor of ancient Thebes / Ariomardos’. As noted in
the metrical commentary, the lineation is determined by the
rhythmic regularit y of the movement. Although this gives the
artificial separation of what could be expressed as single tone
groups, the lines are not treated as being under intra -tonal
separation. Instead, the adjective is treated as tonall y distinct from
its noun. The construction is paralleled in English: ‘There was
Tom, a butcher, Dick, a baker, and Harry, a candlestick maker’.
On the form and likely meaning of the name Sousiskanes see

Broadhead (34n, 42-3) and Garvie (34-8n, 60). Garvie (34 -8n, 61)
notes Richardson’s attempt to read Πηγ ασ τ αγ ὼ ν as an adjective,
‘comptroller of the Upper Waters’. 226 Broadhead (34n) interprets
Teuffel’s conjecture, π η γ αῖς τ αγ ῶ ν or τ αγ ὸ ς π η γ ῶ ν , as meaning
Sousiskanes governed the sources of the Nile. This is unlikely. As
Broadhead notes (311n), π η γ ή refers to flowing waters, and that
π η γ αῖς Νεί λο υ at line 311 is a peri phrasis for the Nile. While
‘spring’ is a legitimate secondary meaning of π η γ ή , the uses are
226Richardson in M.E. White (ed.) (1952). Studies in Honour of Gilbert

Norwood, 62. Garvie also notes attempts (citing Teuffel) to produce the same
effect by more drastic emendation, to πηγαῖς ταγών (ῶν?) or ταγὸς πηγῶν.
162
typicall y metaphorical (LSJ vid. π η γ ή ). The most obvious reference
for π η γ ὰ ς in this context is the flowing waters of the Nile itself.
The term will refer to eithe r the Nile Delta, or impl y that S. had
responsibilit y for the river throughout Egypt. Mention of
Sousiskanes, then, will be of the form (name + area of command +
attribute), as is the case with Arsames (Memphis and ‘great’) and
Ariomardos (Thebes and ‘gove rnor’). This construction gives
additional sense with reference to the form of the Catalogue as a
verbal map. The movement is a map within a map, moving from
northern Egypt, at the delta, south to Memphis and then to Thebes,
towards the southern -most extent of the Persian dominions. 227 In its
map-like qualit y and north -to south movement, this the movement
mirrors the Catalogue as a whole. In the verbal map of the greater
Catalogue, Egypt represents the southernmost point of reference
before the ‘map’ traces i ts way northward up the coast of Asia -
Minor. 228
According to Rose, (34n), Broadhead (34n) and Garvie (34 -8n, 60-
61), ‘Egyptian -born’ Sousiskanes is mentioned again at 961 as
coming from Ecbatana. This, however, is a misinterpretation
derived from a failure to take the significance of the whole
movement into account when evaluating the meaning of a single
word. At 961 [967], the phrase Ἀγ β ά τα ν α λιπ ώ ν refers to all the
parastatai who accompanied Xerxes and were lost, and designates
the point of departure of the entire expedition, not the place of
origin of Sousiskanes alone. In this movement the usual practice is
227 Herodotus tells us that he personally travelled only as far as Elephantine,

about 300km south from Thebes (2.29), and in (2.30) tells us that the
Persians had a garrison there, implying that this marked the boundary of
their dominion. Cf. A.R Burn in his 1972 introduction to the Penguin edition
of the Histories (de Sélincourt trans., 30): ‘Herodotus went exactly as far as
the Persian frontier post’.
228 See 4.4.2, a note on the Catalogue of Commanders.
163
to give the commander’s name in the second element of the couplet,
but the practice here is reversed. Egyptian -born is thereby
emphasised in the first couplet, as is appropriate in a movement
that describes the Egyptian contingents.
Lines [48-50]: ‘And marsh -treading rowers of ships’. This line

presumabl y refers to all th e Egyptian contingents under the three
commanders. The ‘marshes’ can be taken to refer to all of that area
of Egypt that is subject to the annual flooding of the Nile. The
Egyptians’ role in Xerxes’ arm y was principall y naval (Broadhead,
39n, citing Herodotus 7.97), and we can suppose ‘rowers’ to have
applied to the fighting men accompanying all three commanders.
Broadhead, however, notes (39n) that at Thucydides 1.110 the
marsh-dwellers, eleioi, are specificall y inhabitants of the Nile
Delta, and were cons idered by that author to be the ‘most warlike
of the Egyptians’. Given the general agreement among
commentators that Aeschylus is creating dramatic impressions and
not writing a sober history, the distinction is unimportant.
The line gives good sense and is rhythmicall y and, given the
correption of κ αὶ , metricall y well-formed, 229 but in the context of
the rest of the movement it seems out of place; it does not reflect
the regular rhythm of the movement as a whole and gives a
rhythmicall y unconvincing lead -up to the closing paroemiac.
Additionall y, the phrase is semanticall y intrusive. The movement
leaps suddenl y from notice of commanders to notice of their
contingents, without convincing connection. There is not the same
sense of carefull y prepared rhythmic a nd semantic closure that we
have seen in the preceding four movements; there is no suggestion
of Robert the Rose Horse.
229 See the metrical commentary.

164
It seems its main purpose is to provide an overt plural to justify the
π λῆ θ ο ς of line [49] in spite of the presence of a string of
nominatives singular that could well be accepted as the required
pluralit y, especiall y when we consider that a reference to leaders
also implies the presence of the contingents under their command.
Rather than suspect the line, it seems better to posit a lac una.
Something like ‘And the marsh -treading rowers of ships /
accompany them’ is required. A single dact ylopaest would balance
the rhythm of the movement as a whole, and have the rowers treated
in the same way as the commanders, with a name (rowers), a pla ce
(the marshes) and an attribute (following their commanders to war).
On these rhythmic, stylistic and structural grounds, a lacuna is
proposed in the Experimental Text.
Line [49]: ‘A terrible uncountable multitude’. The translation

attempts to capture t he force of the ‘accusative of respect’ of
π λῆ θ ο ς . Garvie observes (39 -40n) that the v.l. ἀ νά ρι θμο ν is ‘the
error of someone who took π λῆ θο ς to be nominative’. Garvie,
however, is alone among the editors consulted for this study, in
noting in his critical apparatus the additional variant reading
δ εινὸ ν . The nominative phrase is arguabl y stronger in that its sense
is clearer and more in keeping with the paratactic constructions that
are characteristic of the rest of the parodos and the other analysed
portions of the play. The reading has the additional advantage of
matching the nominatives of the other principle clauses of the
movement. This reading is not given in the Experimental Text, but
is noted here for further consideration. 230
230Given the widely-recognised potential – mentioned variously by all

commentators consulted in this study – for true readings to be found in
isolation in virtually any manuscript, it is interesting that both variants occur
165
Metrical Commentary, 6th Movement, 41 -48 [50-56].
— ◡ ◡— — | ◡ ◡ — | — — — [— ] (1 0 )
ἁβ ρ ο δ ια ί τω ν δ ᾽ἕπ ε ται Λυ δ ῶ ν ὄ χλο ς [ 50 ]
— ◡ ◡ — — | — ◡ ◡ | — ◡ ◡| — ◡ — [— ] [1 1 ]
ο ἵτ᾽ ἐπ ίπ α ν ἠ π ειρο γ εν ὲ ς κ α τέχο υ σι ν ἔθ νο ς
— ◡ ◡ — — | — — ◡ ◡ [—] (8 )
[το ὺ ς Μι τρ ο γ α θὴς Ἀ ρ κ τεύ ς τ᾽ ἀγ α θό ς ]
◡ ◡ — | ◡ ◡ — |— ◡ ◡ — —| — — (1 0 )
[β ασ ι λῆ ς δ ίο π ο ι χ αἰ π ο λύ χρυ σο ι Σάρδ ε ις ]
◡ ◡ — | — — — ◡ ◡ | — — — [— ] (1 0 )
[ἐπ ό χ ο υ ς ] π ο λ λο ῖς ἅρ μ ασι ν ἐ ξο ρμ ῶσι ν
— — ◡ ◡ — | — — ◡ ◡ — (8 )
[δ ίρ ρ υ μ ά τ ε κ α ὶ τρίρρ υ μα τ έλη] [ 5 5]
◡ ◡ — — — |◡ ◡ — — (7 )
φ ο β ερ ὰ ν ὄ ψι ν π ρο σιδ έ σθ αι
And a horde of rich -living Lydians follows [50]

Who control every mainland nation
[These Mitrogathes and goodl y Arkteus]
[King-commanders and much-golden Sardis]
[Riders] they stir up on many chariots
[Two-beam and three-beam rigs] [55]
A fearful sight to behold
Notes:
The length of the phrases and the interaction of the accented
syllables suggest this is another spoken movement. That this is a
in Garvie’s Oac. ἀνάριθμον also occurs in Nd, as a superscript correction in P

and in the related MSS. L and Lb.
166
new sense unit is indicated by the paroemiac of line [49], by the
introduction of new nationalit y, and by the additive δ ὲ of line [50].
The transition from notice of commanders to notice of the
contingents is for eshadowed by the mention of the host ( π λ ῆ θο ς ) of
‘marsh-treading Egyptians’ of line [48] with which we can contrast
the horde ( ὄ χ λο ς ) of line [50]. 231
There are many rhyt hmic and semantic difficulties in this

movement. As noted in the metrical commentaries, the obelised
material is excluded from the Experimental Text. The hand of a
talented but misguided corrector is evident in the lack of rhythmic
and semantic cohesion seen in this movement, and it is, at present,
impossible to disentangle the genuine and s purious elements in a
meaningful way. A hypothetical reconstruction is, however, offered
below; but it is purely speculative, and the textual problems remain
unresolved.

41-42init [50]: ἁ β ρ ο δ ι αί τ ω ν δ ᾽ἕπ ε τα ι Λυ δ ῶ ν ὄ χλο ς : the form of line
41 in the traditional texts is determined by the presumed necessit y
of uniform line -length in traditional metrics. Under anal ysis by
tone group, however, there is no doubt that ὄ χ λο ς belongs to this
line. The interaction of the acce nts of Λυ δ ῶν and ὄ χ λο ς combine
pleasingl y to round off the line; and the word ‘horde’ is emphasised
by its position at line -end. 232
Line [50] scans to word -end as a dact ylopaest -2 + medial anapaest

+ open dact ylopaest. If this scansion is correct, this is the first line
On this quasi-antithetical relation between movements, see 4.2.2.

231
On the non-utility of enjambment in oral-aural poetic contexts, see

232
Conclusions: Traditional Metrics Comparison, Enjambment.

167
of the parodos in which regular dact ylopaestic measures are
supplemented with a line -internal measure. Here, however, the
consonant combination - χλ - allows for the scansion of a short
vowel. 233 This will give ( u u - - - u - ) for the final measure, an
‘anceps’ anadact yl (A). 234
The latter scansion is adopted in the Experimental Text.
42fin-43init [51]: ο ἵ τ᾽ ἐπ ίπ α ν ἠ π ε ιρο γ ε νὲς κ α τέχο υ σι ν ἔ θ νο ς : the

line presents a single grammatical construction that can readily be
expressed within a single tonal boundary. Additionall y the accents
are well-balanced and facilitate the easy delivery of the line. In the
Working Text, however, this line does not scan to word -end. Using
the regular dact ylopaestic measures evidenced elsewhere in the
parodos, including the hexasyllabic dianapaest, the line shows the
following form:
— ◡ ◡ — —| — ◡ ◡ — ◡ ◡ | — ◡ — [— ] [1 1 ]
ο ἵ τ᾽ ἐπ ίπ α ν ἠ π | ειρο γ ενὲς κ α τέχ | ο υ σι ν ἔ θ νο ς
Moreover, this scansion presents what must be regarded as an

illegal measure in the first anal ysis: a final epitrite -2, found
elsewhere onl y in l yric and spoken trochiambs.
Scansion to word-end gives choriamb + dact ylopaes t-3 + a

hexasyllable of the form ( u u - u - - ):
— ◡ ◡ — | — — ◡ ◡ — | ◡ ◡ — ◡ — [— ] [1 1 ]
233 Raven, Greek Metre, 23. Cp. ἔ θ νο ς in line [51].

234 See Ch.3, Principal Measures: Other Dactylopaestic Heptasyllables.
168
The initial choriamb is the first to appear in the dact ylopaests of
the parodos. Choriambs occur in nine other lines in the Working
Text, and onl y twice in trochiambs, at lines [738] and [768], where
they present single logoi. The other seven occurrences are all in
lyric dact ylopaests. 235 On this basis the choriamb provisionall y can
be regarded as dact yl opaestic.
The dact ylopae st-3 corresponds to the single word ἠπ ειρ ο γ ε νὲς and
presents no difficulties.
The measure ( u u - u - - ) remains irregular, but the consonant

combination - θν - allows short scansion in tragedy, giving a final
dianapaest. 236
This scansion is adopted for the Experimental Text.
43fin-44init [52]: τ ο ὺ ς Μ ι τρο γ α θὴς Ἀρκ τεύ ς τ ᾽ἀγ α θό ς : the article

referring to the ἐπ ό χ ο υ ς of line [54] is ambiguous, because in its
present context it can onl y be understood as a demonstrative
pronoun of the Homeric -epic t ype. The grammatical relation
between the nominative singular ὄ χλο ς of line [50], the nominative
plural ο ἵ τ(ε ) of line [51], and the accusative plural article here is
strained. In a printed text, το ὺ ς , along with its presumptive noun,
can be interpreted with onl y mi nor difficult y. In an oral -aural
context, however, the meaning of the construction could very well
be lost altogether. This is entirel y out of keeping with the
235 See the metrical commentaries on lines [92, 95, 102, 118, 119, 138 and
962]. Each of these, with the possible exception of [138], seems to form a
functional hexa- or heptasyllabic measure. Of these, only line [962] in the
kommos appears in what might be regarded as lyric trochiambs; but the
blending of dactylopaestic and trochiambic lines is a feature of that strophic
pair.
236 Raven, Greek Metre, 23.
169
paratactic succession of internall y coherent phrases seen elsewhere
in the parodos. The grammati cal construction το ὺ ς … ἐπ ό χο υ ς , with
article and noun separated by two distinct logoi, is unparalleled
anywhere in dact ylopaests and in the other anal ysed portions of this
play. 237 On these grounds the line is suspect. On the proposed
deletion of this line f rom the Experimental Text, along with [53 -
54init], see the interpretive commentary, below.
The line as given in the Working Text scans to word -end as a

metricall y regular dact ylopaest -2 + dact yl opaest -3.
44fin-45init [53] β α σ ι λῆς δ ίο π ο ι χ αἰ π ο λύ χρ υ σο ι Σάρδ εις : there is

an error in the Working Text, caused by the difficulties of
construing these lines in accordance with the communicative
strategies employed in the rest of the parodos. β ασιλ ῆς δ ίο π ο ι ,
referring to Μ ιτ ρ ο γ α θ ὴ ς Ἀρκ τεύ ς τ᾽ ἀ γ α θό ς , is a subordinate clause
that is tonall y differentiated from χ α ἰ π ο λύ χρυ σο ι Σάρδ ε ις ; all
editors consulted print commas on either side of the phrase. On this
basis the phrases should be understood as standing in tonal
isolation. , giving each element of the lines its proper tonal
individuation, we should read:
◡ ◡ — |◡ ◡ — (4 )
β ασ ιλ ῆ ς δ ίο π ο ι
— ◡ ◡ — — | — — (6 )
χ αἰ π ο λ ύ χ ρ υ σ ο ι Σάρδ ε ις
◡ ◡ — | — — — ◡ ◡| — — — [— ] (1 0 )
ἐπ ό χ ο υ ς π ο λ λ ο ῖς ἅρ μα σιν ἐ ξο ρ μῶσι ν
237 Three if we count Μιτρογαθὴς κτλ. as also intervening.

170
Under this arrangement there is still some question as to the
inclusion of ἐπ ό χ ο υ ς (see below). The lines still, however, show
metrical and rhythmic properties, especiall y in the pattern of line -
lengths, that are out of keeping with the rest of this moveme nt.
45fin-46 [54]: [ ἐ π ό χ ο υ ς ] π ο λλ ο ῖς ἅρ μ ασι ν ἐ ξο ρ μῶσ ιν : the interaction

of the accents of ἐπ ό χ ο υ ς and π ο λλο ῖ ς , as well as the slight ς - π
consonantal clash, seem to indicate rhythmic, if not tonal,
separation of these elements of the line. As given in the Working
Text the line scans to word -end as an initial anapaest +
dact ylopaest-4 + open dact ylopaest. This form, in which two full
dact ylopaestic measures are supplemented with an initial isolated
measure, is not paralleled in the tonall y affective text of the
parodos. 238 Deletion of ἐπ ό χ ο υ ς gives a metricall y regular and
rhythmicall y more acceptable line of dactylopaest -4 + open
dact ylopaest.
47 [55]: δ ίρ ρ υ μ ά τε κ αὶ τρί ρρυ μα τ έλη : the line is the same as that

of the traditional texts. The line is metricall y regular, scanning to
word-end as 2x dactylopaests -3, but the rhythm is intrusive. The
retrogressive accent of the enclitic τε enforces the rhythmic
isolation of δ ίρ ρ υ μά , impl ying an isolated bacchic foot that is out of
keeping with the rhythmic and metrical character of the rest of the
parodos. The same force implies the rhyt hmic unit y of τ ε κ α ὶ
τρ ίρ ρ υ μ α τέλ η (iamb + dact ylopaest -3). The oddl y stilted rhyt hmic
qualit y of the line tends to lessen the closing force of the paroemiac
of line [56]. This is not a very great difficult y, but it is taken into
consideration in excluding this line from the Experimental Text. 239
Cp. the effect of the line-final molossus in the important line [16].
238
This line is discussed at Conclusions: Traditional Metrics Comparison,

239
Rhythm over Metre.

171
For further discussion of this line in the context of it s movement,
see the interpretive commentary, below.
48 [56]: φ ο β ερ ὰ ν ὄ ψιν π ρο σιδ έσ θ αι : the line is a regular paroemiac,

scanning to word -end as a dact ylopaest -1 + minor ionic.
Textual criticism.
Line [50]: scan choriamb + anceps anadactyl (A).
Line [51]: scan to word -end as choriamb + dact ylopaest -3 +
dianapaest.
Line [52]: delete.
Line [53]: delete.
Line [54]: delete ἐπ ό χ ο υ ς .
Line [55]: delete.
172
Experimental Text.
6th movement (41 -48) [50-56]. 240
— ◡ ◡ — — | ◡ ◡ — — — ◡ [—] (1 0 )
ἁβ ρ ο δ ια ί τω ν δ ᾽ἕπ ε ται Λυ δ ῶ ν ὄ χ λο ς [ 50 ]
— ◡ ◡ — | — — ◡ ◡ — | ◡ ◡ — ◡ ◡ [— ] [1 1 ]
— — — ◡ ◡ | — — — [— ] (1 0 )
π ο λλο ῖς ἅρ μ ασ ι ν ἐ ξο ρ μῶσι ν [ 5 4]
◡ ◡ — — — | ◡ ◡ — — (7 )
φ ο β ερ ὰ ν ὄ ψι ν π ρο σιδ έ σθ αι [ 56 ]
240[50]: scanned choriamb + anceps anadactyl (A); [51]: scanned choriamb +

dactylopaest-3 + dianapaest; [52]: del. τοὺς Μιτρογαθὴς Ἀρκτεύς τ᾽ἀγαθός;
[53]: del. βασιλῆς δίοποι χαἰ πολύχρυσοι Σάρδεις; [54]: del. ἐπόχους; [55]: del.
δίρρυμά τε καὶ τρίρρυμα τέλη.
173
Commanders III.

They stir forth on many chariots [54]
A fearful sight to behold [56]
Notes.
The quasi-antithetical relation of successive movements continues
here, with a change of topic from the leaders of the arm y to those
who make up its mass.
Anal ysis by tone group suggests the exclusion of lines [52 -54init]
on semantic, tonal , and rhythmical grounds. The overtl y-Homeric
digression on chariots in line [55] is also excluded. Of these
deletions, that of line [55] is the least secure.
The Experimental Text preserves the stately progress of rhythm and

subject matter and leads, wit h a strong and concise movement, to
the final movement of the Catalogue -proper.
Lines [50-51]: ‘And a horde of rich -living Lydians follows / Who

control every mainland nation’. This is a signal case of
enjambment in the traditional texts (= 41 -42init), which
phenomenon is contrary to the principles of anal ysis by tone group;
ὄ χ λο ς clearl y belongs to the first phrase of this movement. 241
In line [51] the change from singular to plural subject is paralleled

by the asyndetic change of case seen at lines [42 -43]. The change
241See Conclusions: Traditional Metrics Comparison, Synaephia and

Enjambment.
174
presents no great difficult y as ‘horde’ is conceptuall y at least
plural, especiall y when it is, as here a horde of Lydians.
See Garvie (42 -3n) for the adverbial force of ἐπ ίπ αν ; he would

understand the construction as ‘who control a nation that is entirel y
continental’. This, however seems to be a strained interpretation,
designed to account for the fact that the Ionian Greeks are not
mentioned in the Catalogue. Broadhead (42 -3n), in defending the
type of construction translated above, observes that ‘the Ionian
Greeks must be included among the races settled on the coast of
Asia Minor’, and that ‘the humiliating fact that the Ionians were
compelled to fight against their kinsmen’ must be acknowledged. In
other words, this line does gloss over the presence of Ionian Greeks
in Xerxes’ arm y; they are otherwise conspicuous by their absence.
The omission is justified on two grounds: the Athenians doubtless
still remembered their aborti ve role in the Ionian ‘revolt’, which, in
Herodotus’ view, was the cause of Darius’ invasion of Greece, and,
consequentl y, of Xerxes’. 242 Further, the inclusion of such a
difficult issue does not suit Aeschylus’ dramatic aims, or the
controlled way in which he presents the central issues of the
parodos, the size and magnificence of the Persian Empire, and the
Elders’ troubling doubts.
Line [52]: ‘[(These) Mitrogathes and noble Arkteus] (del.)’. All

of lines [52-54] scan to word -end as regular measures and ar e not
out of harmony in terms of their internal rhythms. The main
problem with the lines is their rhetorical irrelevance, and the
separation of the article το ὺ ς of line [52] and noun ἐπ ό χ ο υ ς of line
[54]. This strained construction highlights the rhetorica l mismatch
between these lines, the rest of the movement, and the parodos as a
242 Hdt. 5.97, 5.105, 7.5.

175
whole. They are plausibl y the work of an interpolator, albeit they
could well be constructed on the original Aeschylean composition.
If we construe το ὺ ς in line [52] as an epic -inspired demonstrative,

it becomes the onl y example of its kind in this play. However, as a
demonstrative, we must assume it refers back to the (singular) ὄ χλ ο ς
of line [50]. 243 It introduces, however, a strained grammatical
construction into the passage. I f we accept it as a demonstrative it
cannot refer also to ἐ π ό χο υ ς because ‘these (as yet unseen and
unmentioned) riders’ is an unlikel y construction in terms of those
evinced so far; and yet grammatical considerations dictate that they
must be taken togeth er. There is ambiguity here, and Aeschylus’
poetry elsewhere under this anal ysis is entirel y straight -forward.
Simpl y deleting ἐπ ό χ ο υ ς , along with line [53], goes a long way to

restoring the simple and rhetoricall y well -balanced constructions
seen throughout the parodos:
These Mitrogathes
And noble Arkteus
Stir up on many chariots.
Nevertheless, the strained syntax and grammar, as well as the

flowery and intrusive rhetoric of these lines in the traditional texts,
militate against a sure reconstruction. It strikes one as a very
difficult passage from which to extract clear meaning in the
fleeting moment of its original performance. The same objection
may be made also for line [53] (see below).
243 See comments on line [51], above; a ‘horde’ is conceptually a plurality.

176
The nominatives Μι τ ρ ο γ α θὴς Ἀρκ τεύ ς τ᾽ἀγ α θό ς could belong to a
text derived from the original performance, assuming that
Aeschylus will have named Commanders here in keeping with the
form of the other movements of the parodos.
The many forms of the name Mitrogathes impl y an uncertain textual

tradition, and one in which several hands over different ages have
attempted to restore the required sense and metrical regularit y to
whatever was left of the original text. The textual variant Μη τρ ο -
(or Μ η τ ρ α -) suggests that the name may have been originall y meant
to be Greek; and the same can be said of Ἀρκ τεύ ς . 244 In this there
might be a clue to the original form of the lines; the troubling
omission of Greeks in Xerxes’ arm y might explain discrepancies in
the textual tradition.
Line [53]: ‘[ King-commanders and much-golden Sardis] ’. As

noted in the metrical commentary, this line should properl y be
presented as two tonall y differentiated phrases. It is possible that
the words β ασ ιλ ῆ ς δ ί ο π ο ι belong to the original performance, but it
is equall y possible, given t he rhetorical irrelevance of the phrase
and the rarit y of the vocabulary, that they are derived from a later
classicising tradition. 245 The sense given by the inclusion of the line
seems purel y ornamental. 246
244 On the form of Μιτρογαθὴς, see West (Studies, 76), who finds, however that
the element -γαθὴς is inexplicable as Greek. It is possible that it is derived
from γηθέω, to delight. Garvie (43-4n, 64) says of Ἀρκτεύς that the name
‘seems to be purely Greek’.
245 See Garvie 43-4n, p.64. We may compare line the sequence of line [32],
which seems secure, and line [33], which is regarded as suspicious under
analysis by tone group.
246 While ornamental language is in keeping with tragic style (so Aristotle in
his famous definition), analysis by tone group suggests, for the secure
passages at any rate, that ornamentation in this play is expressed in
177
The same may be said of the phrase χ αἰ π ο λύ χρυ σο ι Σάρδ ε ις . Again
the line seems to belong a more complex st yle than to the statel y
progression of narrativel y and thematically cogent ideas that is
characteristic of the rest of the parodos.
While it remains possible that many of the individual words of this

passage belong to the original performance, their semantic and
rhetorical properties are alien.
Line [54]: ‘Stir up [riders] on many chariots ’. The inclusion of

ἐπ ό χ ο υ ς seems to be an attempt to provide an object for ἐ ξο ρ μ ῶσι ν .
As discussed in the metrical commentary, ἐπ ό χο υ ς is rhythmicall y
difficult, and the line gives better sense without it, requiring onl y
that we understand the implied plural of ὄ χλο ς as its subject and
construe the verb as intransitive. 247 This simple expedient is
adopted in the Experimental Text.
Line [55]: ‘[Two-beam and three-beam rigs]’. The line, in its

‘loose apposition’ to the rest of the movement (Garvie, 47n), is not
entirel y out of keeping with the paratactic structures observed
elsewhere in the analysed portions of the play, but the overt
Homericism and its inconsistent rhyt hm seem, under anal ysis by
tone group, to be the work of a later, literary interpolator.
Aeschylus does use Homeric images and echoes Homeric models
often, but where he does so he uses his own poetic language and
register.
rhythmic virtuosity and a stately succession of clear images; not in mere

flowery redundancy.
247 LSJ vid. ἐξορμάω II.
178
Line [56]: ‘A fearful sight to behold ’. This line closes the
movement with a return to the subject of its first line, the ‘horde’
of Lydians. In contrast with the other lines of the Working Text,
this phrase is rhythmicall y and rhet orically regular.
A note on the Experimental Text.

Anal ysis by tone group shows that a very definite rhythmic and
semantic structure underlies the genuinely Aeschylean elements of
the parodos. The analysis of this movement suggests, but does not
endorse as correct, the hypothetical arrangement of the
Experimental Text that seems to better represent the characteristics
of Aeschylean poetry. 248
In this instance the contention is that the Aeschylean rhythms and

structures remain largel y intact, but the editor ial intrusions that can
be detected in this passage cannot yet be satisfactoril y resolved.
With the proposed deletions the aurall y -affective character of the
verses, and the serene logic behind the progression of ideas,
becomes apparent. Of the lines excluded from the Experimental
Text, lines [53] and [55] should, perhaps, be retained, although the
latter remains doubtful. The text would then read:
ἁβ ρ ο δ ια ί τω ν δ ᾽ἕπ ε ται Λυ δ ῶ ν ὄ χλο ς
ο ἵ τ᾽ ἐπ ίπ α ν ἠ π ειρο γ ε νὲς κ α τέχο υ σ ιν ἔθ νο ς
το ὺ ς Μ ι τρ ο γ α θὴς Ἀρκ τεύ ς τ᾽ ἀγ α θό ς
π ο λλο ῖς ἅρ μ ασ ι ν ἐ ξο ρ μῶσι ν
δ ίρ ρ υ μά τ ε κ αὶ τ ρίρρ υ μα τ έλη
248On the limitations claimed for that text, see Ch.2, Research Method, A note
on the Experimental Text.
179
Metrical Commentary, 7th Movement, 49-58 [57-68].
— — ◡ ◡ — | — — ◡ ◡ — (8 )
σ τεῦ ν τ αι δ ᾽ ἱερ ο ῦ Τ μώ λο υ π ελά τ αι [ 57 ]
◡ ◡ — | ◡ ◡ — | — ◡ ◡ | — ◡ [— ] (8 )
ζυ γ ὸ ν ἀμφ ιβ α λεῖ ν δ ο ύ λιο ν Ἑλλ άδ ι
— — ◡ ◡ — (4 )
Μάρ δ ω ν Θά ρ υ β ις
— — — ◡ — (4 )
λό γ χ η ς ἄκ μ ο ν ες [6 0 ]
— ◡ — — — |— — [7 ]
κ αὶ ἀκ ο ν τισ τ αὶ Μυ σο ί
◡ ◡ — | — ◡ ◡ — [—] (6 )
Β αβ υ λ ὼν δ ᾽ἡ π ο λύ χ ρυ σο ς
— — ◡ ◡ — | — — — — (8 )
π άμμ ικ το ν ὄ χ λο ν π έ μπ ει σύ ρδ η ν
— — ◡ ◡ — (4 )
ν αῶ ν τ᾽ἐπ ό χ ο υ ς
— — — — | — ◡ ◡ — — (8 )
κ αὶ το ξο υ λκ ῷ λήμ α τι π ιστο ύ ς [6 5]
◡ ◡ —|◡ ◡ — |— [—] (6 )
τὸ μαχ αιρ ο φ ό ρ ο ν τ᾽ἔ θ νο ς
— — — |◡◡— |◡◡ — (7 )
ἐκ π άσ η ς Ἀ σ ίας ἕπ ε τ αι
— — ◡ ◡ ◡ —| ◡◡ — — [7 ]
δ ειν αῖς β ασ ι λέως ὑ π ὸ π ο μπ αῖς [6 8 ]
180
And the neighbours of Sacred Tmolus are eager [57]
To cast the yoke of slavery over Greece
Mardon Tharybis
Anvils of the spear [60]
And javelin -wielding Mysians
And Much-Golden Babylon
Sends out an all -mixed horde in a long line
Riders on ships
And men trusted for their bow -fighting courage [65]
And the sword -wielding nation
Of all Asia follows
The terrible summons of the King [68]
Notes:
In contrast with that the previous movement, the anal ysis of this
movement is quite straight -forward. The tonal separations implied
by the individual phrases seem clear, but other possible
constructions are discussed in the metrical commentaries below.
The passage c onforms to the rhythmic and semantic properties
observed throughout the parodos. The several apparent exceptions
are noted in the commentaries; all are remediable with reference to
interventions familiar to traditional metrics. 249
This movement deviates slightl y from the regular forms seen in the
rest of the parodos: there are more hexasyllabic measures here than
in any previous movement, and the movement ends with not one but
two seven-beat phrases, a phrase-length usuall y reserved for
paroemiacs. It is hypothesised that this prosodic feature
corresponds to the end of the Catalogue -proper.
249These are the isolated short syllables of lines [58], [60] and [61], and the
apparent tribrach of line [68].
181
49 [57]: σ τ εῦ ν τ αι δ ᾽ἱερ ο ῦ Τ μώλ ο υ π ε λά τ αι : this line, and [58], are
the same as in the traditional texts. The phrases form acceptable
logoi and follow the basic four -beat rhythmic pattern of the
parodos. The line is scanned to word -end as 2x dact ylopaests -3. 250
The longer initial line -lengths are taken to indicate that the
movement is spoken or intoned.
50 [58]: ζ υ γ ὸ ν ἀ μφ ιβ α λε ῖν δ ο ύ λι ο ν Ἑλλ άδ ι : the line is the same as in

the traditional texts. Its initial measure, given in the Working Text
as 2x anapaests, scans to word -end as a dianapaest, and this
scansion is given in the Experimental Text. The second measure ,
with its isolated short syllable, is a didactyl ( - u u - u u ) with its
final syllable lengthened at line -end. 251
51 [59-60]: Μ άρ δ ω ν Θ ά ρυ β ις / λό γ χης ἄκ μ ο νες : line [59] does not

form a logos according to the definition used in this study. If we
are to accept it as such we have to allow a kind of phrase -internal
parataxis that is unexampled elsewhere. 252 The string of paratactic
nominatives that introduces Xerxes at [5 -6] will not serve as a
parallel: these refer all to one individual of especial status in t he
world of the play. As such, [59] seems suspicious. It is, however,
rhetoricall y and rhythmicall y well -balanced by line [60]. The
separation of the lines is proposed on rhythmical grounds , and is
supported by the ς - λ consonantal clash. Furthermore, the t onal
250 This line is discussed with reference to the repetition of measures at

Conclusions, Traditional Metrics Comparison, Rhythm over Metre.
251 A so-called ‘anceps’ didactyl. Line [18] presents the same measure in
isolation.
252 But cf. [43-4] in the fifth movement, where, if the proper name
Πη γ ασ τ αγ ών is read, two paratactic nominatives are rendered integral to a

logos by virtue of a (potentially, see the metrical commentary) plural
adjective.
182
separation of an adjectival phrase from its noun phrase is
rhetoricall y common enough to allow their separation despite their
grammatical relation. 253
Line [59] scans to word -end as a dact ylopaest -3, although alpha in
Persian names is usuall y scanned long. Given, however, the
uncertain quantit y of these vowels, the dact ylopaestic measure is
accepted in this instance.
The phrase λό γ χ η ς ἄκ μο ν ες is an acceptable logos, and provides a

context for the asyndetic nominatives of [59].
The line is scanned in the Working Text as a trochiamb -4. 254 The
consonantal combination - κμ - is, however, one that does not
necessaril y make position, giving a regular dact ylopaest -3, and this
scansion is given in the Experimental Text. 255 At the same time, it
should be observed that the trochiambic measure does not
necessaril y harm the rhythmic presentation of the movement.
52init [61]: κ αὶ ἀκ ο ντ ισ τ αὶ Μυ σο ί : the line is given in the Working

Text as scanning to word -end as a trochiamb -1 + final spondee, and
the line, which is not a paroemiac, counts to seven beats according
to the conventions of this study. 256 This is because correption is not
admitted in the Working Text. As seen in the metrical commentary
on line [48], however, correption, especiall y in the case of common
function-words such as κ αὶ , is admissible. 257 On the basis of the
253 Cp. the discussion of lines [43-47], at 4.6.1, above.

254 See Ch.3, Principal Measures: (Regular) Trochiambic Pentasyllables.
255 Raven, Greek Metre, 23.
256 See Ch.2, Research Method: Application of the Method.
257 See also Conclusions: Traditional Metrics Comparison, Synizesis and
Correption.
183
grammatical and rhythmical unit y of the phrase, line [61] is given
in the Experimental Text as a dact ylopaestic h eptasyllable-1.
52fin-54init [62 -63] Β α β υ λ ὼ ν δ ᾽ἡ π ο λύ χρ υ σο ς / π άμ μικ το ν ὄ χ λο ν

π έ μπ ε ι σ ύ ρ δ η ν : lines [62-63] could be taken as the single phrase
‘and much-golden Babylon sent forth a mixed horde’, and be
expressed together as a single tonal grouping. This h owever, would
give a line of fourteen beats, an inordinatel y long line in a context
that carries no especial narrative or thematic weight; the limits of
the actor’s breath will be a decisive factor. 258 Additionall y, the ς - π
consonantal clash will tend to enforce a tonal boundary.
Both lines form acceptable logoi. In line [62] Babylon and ‘much -
golden’ present both name and predicate, and the phrase ‘sends
forth a mixed horde’ is also an acceptable logos. The paratactic
character of the expr ession of thought is entirel y in keeping with
the structures seen throughout the parodos.
Line [62] scans to word -end as an anapaest + dact ylopaest -2. Note
that in the traditional texts of line [62] (= 52fin -53init), the δ ὲ is
line-final, but is neverthel ess elided into the initial vowel of line
53, presumabl y because the lines are treated as under synaephia.
Here the lineation represents that phonetic feature within the
context of a natural phrase and line. 259
Line [63] scans to word -end as a dact ylopaest -3 + open

dact ylopaest.
258See Conclusions: Musical and Poetic Conventions, The Actors’ Breath.

Enjambment; and Non-elision at line-end.
184
54fin [64]: ν α ῶ ν τ᾽ἐπ ό χο υ ς : the line scans to word -end as a
dact ylopaest-3. On the rhetorical weakness of this line, see the
interpretive commentary, below.
55 [65]: κ α ὶ το ξο υ λκ ῷ λή μα τ ι π ισ το ύ ς : this line stands in paratactic

apposition to line [64]. As with lines [59 -60], [62-63], and [66-67],
these lines could be taken to form a single logos, here of twelve
beats. This possibility is worth further consideration, and we may
compare the longer phrase lengths of lines [42] and [50 -51], which
begin their movements. These, however, are given as separate lines
because of the force of the syndetic κ αὶ . 260 Additionall y, although
the ς - κ consonantal clash is not a difficult one, it presents an
opportunit y for a pause, and for an intake of bre ath, before the
ensuing longer phrase. The line scans to word -end as an open
dact ylopaest + dact ylopaest -2.
56init [66]: τ ὸ μαχ αιρ ο φ ό ρο ν τ᾽ἔ θ νο ς : as noted above, lines [66 -67]
could present a single tonal boundary, and here there is no
consonantal clash o r clear point of grammatical separation to
determine the separation.
The determining factors are semantic and rhythmic. The phrase ‘the
sword-wielding nation’ presents a single coherent image, to which
line [67] stands in paratactic apposition. Where [66 -67] are
construed as a single line the apposition is implicit, but the full line
does not so effectively reflect its semantic force. 261 Additionall y, a
pause allows for an intake of breath between the distinct phrases,
and better prepares for the paroemiac of line [68].
260 Cp. the discussion of line [42] in the fifth movement which features a
phrase-internal κ αὶ , and the interpretive commentary, below.
261 West alone of editors consulted gives this lineation. See, however,
Conclusions: Traditional Metrics Comparison, Synaephia and Enjambment.

185
There is, however, a rhythmic difficult y with the separated
lineation: on the principle that - θν - does not necessaril y make
position, ἔ θ νο ς in line [51] was scanned ( u - ) for the sake of a
metrically regular dianapaest. Here, however, it m ust be scanned as
a spondee in order to avoid an illegal trochiambic measure. This is
not the case where [66 -67] are given as a single line:
◡ ◡ — ◡ ◡ — | ◡ ◡ — — — |◡ ◡ — ◡ ◡ — (1 2 )
τὸ μαχ αιρ ο φ ό ρ ο ν τ᾽ ἔ θ νο ς ἐκ π ά σης Ἀσ ίας ἕπ ετ αι
No attempt is made in this study to account for the discrepancy.

There is as yet too little comparative material to say whether such
rhythmic variation presents the genuinel y Aeschylean practice.
The Experimental Text defaults to the Principle of Separation, an d

gives the separated lineation; some consideration , however, should
be given to the single line.
Line [66] scans to word -end as an initial dianapaest + final

spondee.
56fin-57 [67]: ἐ κ π άσ ης Ἀσί ας ἕπ ε τ αι : given the separation of this

line from [66], thi s logos stands in paratactic apposition to τὸ
μαχ αιρ ο φ ό ρ ο ν τ᾽ἔ θ νο ς .
The advantages of the arrangement here can be seen in comparison

with that of the traditional texts. All editors except West (see
n.305, above) give line 57 as Ἀσ ίας ἕπ ε τ α ι , which makes no good
sense grammaticall y or rhythmicall y. The isolated anapaestic
monometer – a dianapaest – exists onl y because presumption of a
metricall y regular line -length. The recognised unit y of the
186
paroemiac further necessitates this lineation; th e two words are
simpl y left over and are thus isolated.
The grammatical and rhythmic unit y of the phrase ἐκ π άσης Ἀσ ίας

determines that the line should be scanned to word -end as a
dact ylopaestic hex asyllable-4 + final anapaest in the Experimental
Text.
The line scans to seven -beats, a phrase-length that is reserved for

paroemiacs in every other movement of the parodos. It could be
that the phenomenon is related to the end of the Catalogue of
Commanders, and that Aeschylus is emphasising the closure of th e
Catalogue-proper with what is, in effect, a double -paroemiac.
58 [68] δ ε ι να ῖς β ασ ιλέ ως ὑ π ὸ π ο μπ αῖς : again, anal ysis by tone group

preserves the closing paroemiac. It is of regular formation except
for the three short syllables of β ασι λέως . West shows by diacritic
that he scans β α σ ιλέ ω ς as an anapaest by synizesis. For the sake of
metrical regularit y, the Experimental Text follows West. This will
form a regular paroemiac of the form dactylopaest -3 + minor ionic.
Textual criticism.
Line [58]: scan initial dianapaest.
Line [58]: scan final didact yl.
Line [60]: scan dact ylopaest -3. Note original trochiamb -4 in critical
apparatus.
Line [61]: scan heptas yllable by correption of κ αὶ .
Line [66]: scan initial dianapaest.
Line [67]: scan dact ylopaesti c hexasyllabl e-4.
Line [68]: scan dact ylopaest -3 by synizesis of β ασιλ έως .
187
Experimental Text .
7th movement ( 49-58) [57-68]. 262
— — ◡ ◡ — | — — ◡ ◡ — (8 )
◡ ◡ — ◡ ◡ — | — ◡ ◡ — ◡ [— ] (8 )
— — ◡ ◡ — (4 )
— — ◡ ◡ [— ] (4 )
◡ ◡ — — — — — (6 )
◡ ◡ — | — ◡ ◡ — [—] (6 )
— — ◡ ◡ — | — — — — (8 )
— — ◡ ◡ — (4 )
— — — — | — ◡ ◡ — — (8 )
◡ ◡ — ◡ ◡ — |— [—] (6 )
— — — ◡◡— |◡◡ — (7 )
— — ◡ ◡ — | ◡◡ — — (7 )
δ ειν αῖς β ασ ι λ έως ὑ π ὸ π ο μπ αῖς [6 8 ]
262[58]: scanned dianapaest + didactyl; [60]: scanned dactylopaest-3 for

W.T. trochiamb-4; [61]: scanned heptasyllable-1 by correption of κ αὶ ; [66]:
scanned dianapaest; [67]: scanned initial hexasyllable-4; [68]: scanned initial
dactylopaest-3 by synizesis of β ασιλ έως .
188
Commanders IV.

Mardon Tharybis
Riders on ships
Of all Asia follows
Notes.
This is the final movement of the Catalogue of Commanders, and
the second to last movement of the parodos. The tonal boundaries
are less clear than in the earlier ones. The intra -tonal separation in
these cases presents the paratactic expression of the separable
elements of compound sentences and is rhythmicall y affective.
Lines [57-58] ‘And the neighbours of Sacred Tmolus are eager /

To cast the yoke of slavery over Greece ’. Mention of Tmolus
brings the verbal map to Sardis, the western capital of the Empire,
close to the point of departure of Xerxes’ arm y. The text reads
Wecklein’s σ τεῦ ν τ αι , following Garvie, West and Page. 263
263σ τε ῦ τ αι is read by Broadhead, Rose, Sidgwick, and Weir Smyth; on the

form of the word, see Garvie, Broadhead and Rose (49n).
189
Line [58] is reminiscent of the words attributed to Xerxes himself
at Hdt.7.8C.2: ο ὕ τω ο ἵ τε ἡμῖ ν αἴ τιο ι ἕξο υ σι δ ο ύ λιο ν ζ υ γ ὸ ν ο ἵ τε
ἀν αί τιο ι . It is possible that Herodotus, a friend of Sophocles, might
have quoted Aeschylus. Garvie ( 50n) cites the yoke as ‘the
dominant metaphor of the play’. The metaphor is Aeschylean. 264
The two lines given in the tonall y affective texts could be

expressed in English within a single tonal boundary. Nevertheless,
‘they are eager’ presents a single idea , as does ‘to cast a yoke of
slavery’, and this seems to be the regular way of presenting more
complex constructions in Aeschylus. 265 Moreover, in separation, the
phrases can be delivered more easil y and more clearl y, and the
chances of successful interpreta tion by the audience are increased.
Lines [59-60]: ‘Mardon Tharybis / Anvils of the spear’. Again,

these lines could be presented within a single tonal boundary, but
the asyndetic construction indicates separation in delivery. Taken
together, the lines ar e rhetoricall y flat, whereas separation lends
them a certain grandeur. The metaphor ‘anvils of the spear’, thus
isolated, can be taken as foreshadowing the crushing defeat that,
unbeknownst to the Elders, has already occurred.
Lines [62-63]: ‘And Much-Golden Babylon / Sends out an all -

mixed horde in a long line’. With the mention of Babylon here, the
264 Cf. e.g. Agamemnon 218. The word used there is λέπαδνον. This is the first
occurrence of the word ζυγὸν in this play. ζυγὸν recurs as a noun three times,
at 71 [86] in the first ode, 196 in Atossa’s account of her dream, and at 594 in
the Messenger’s speech; there are another seven occurrences in verbal forms
and adjectival compounds. Cf., for example, 129 [137] and 138 [144]
(strophe and antistrophe E) in the first ode.
265 This type of construction is seen throughout the first ode, cf. especially
strophe B, 81-81 [98-103].

190
verbal map moves southwest. 266 The δ ὲ of line [62], however,
indicates a new construction, 267 and Babylon signifies a new
element of the Persian domain. This is c ontrary to the practice of
the earlier movements, which treat of individual racial groupings.
Additionall y, in the verbal map of the catalogue, Babylon lies
between Susa and Ecbatana (third movement) and Egypt (fifth
movement). 268 This is onl y a minor diffic ulty. As the passage
stands, the impression of large numbers of men remains the
focus. 269
Lines [64-65]: ‘Riders on ships / And men trusted for their bow -
fighting courage’. These lines stand in paratactic apposition to the
‘all-mixed horde’ of line [63]. ‘Riders on ships’ conforms to the
basic definition of a logos, but it might be fairl y described as a
weak one. The ships, however, will be a central element of the
disaster related in the Messenger’s speech, and the rhythmic and
rhetorical strength of line [65] saves the line from pointlessness.
‘Bow-fighting’ is a signal epithet for the Persians in general.
These lines could be delivered within a single tonal boundary, but

it seems less likel y here than at e.g. [59 -60]. There are no instances
of a line-internal κ αὶ in the parodos, except where that word is
integral to a single self -contained phrase, as at line [42].
266 See the discussion of the Catalogue as a verbal map at 4.4.2. On the
significance of Babylon, which was by the time of this expedition no longer
an independent satrapy, see Broadhead (53n).
267 See Conclusions: The Separation of the Traditional Text into Tone Groups,
268 Cf. the list of names at [39-41] deleted from the end of the fourth
movement. It was hypothesized that these could have been misplaced from
another part of the play.
269 Cf. e.g. lines [13], [49]. See Garvie (54n) for the force of σύ ρδ ην . Cp. β ά δ ην ,
line [28], π αμπ ή δ η ν [758], φ ύ ρ δ η ν [818].

191
Lines [66-68]: ‘And the sword -wielding nation / Of all Asia
follows / The terrible summons of the King’. These lines present
a single grammatical construction as three distinct tone groups. The
arrangement given in the tonall y affective texts does no violence to
the meaning of the phrases, and it gives each distinct element of the
close of the movement its own aural -conceptual space.
The word ἔ θ νο ς contrasts with the clear notices of the many nations
that comprise the Persian Empire in the Catalogue. Broadhead (56n)
and Garvie (56 -8n) would translate ἔ θ νο ς as ‘host’, but the point
would seem to be the unit y of the diverse peoples arranged agai nst
the Greeks; the word ‘nation’ covers this adequatel y, but we must
resist the temptation to interpret this word in anything like the
modern sense of ‘nation -state’. Were this trope noticed by listeners,
it would represent a wonderful compression of the significance of
the ethnological catalogue: that these many nations are come as one
against Greece.
192
Metrical Commentary, 8th Movement, 59 -64 [69-77].
— — — [— ] (4 )
το ιό νδ ᾽ ἄν θο ς
— ◡ ◡ — — (4 )
Περ σ ίδ ο ς αἴ ας [7 0 ]
— ◡ — — — [4]
ο ἴχ ετ αι ἀνδ ρ ῶ ν
— ◡ ◡ | — — — (6 )
ο ὓ ς π έρ ι π ᾶσ α χ θὼ ν
◡ ◡— | — — — [— ] (6 )
Ἀσ ιῆ τις θρ έ ψ ασ α
◡ — | ◡ ◡ — |◡ ◡ — [6 ]
π ό θῳ σ τέ νε τ αι μ αλ ερ ῷ
◡ ◡ — |◡ ◡ — (4 )
το κ έες τ ᾽ἄλο χ ο ί [7 5]
— ◡ ◡ — — | — — ◡ ◡ [—] (8 )
[θ’ ]ἡ μερ ο λεγ δ ὸ ν τεί νο ν τα χρό νο ν
◡ ◡ — — (3 )
τρ ο μέο ν τ αι
Such is the flower

Of the Persian Land [70]
(And) of men that (are) gone
For whom all the land
Of Asia that reared them
Groans with a burning longing
And parents and wives [75]
As time stretches out day by day
Tremble
193
Notes.
This short passage acts as a coda to the parodos and leads into the
first Ode, 65 -137 [78-144]. In the Working Text, we see
trochiambic measures in line [71] (cp. line [60] in the seventh
movement) and an iso lated initial iamb in line [74]. Additionall y,
this is the onl y movement in the Working Text of the parodos that
does not end with an unambiguousl y isolated paroemiac. In the
Working Text the paroemiac is present but is divided between lines
[76] and [77]. Further, the Working Text poses certain problems of
grammatical relation and difficulties in translating compound
phrases. This stands in contrast with the bulk of the parodos, in
which a line-by-line translation is readil y derived from the
paratactic series of phrases.
Alternative arrangements are described in the commentaries below,

and presented in the Experimental Text.

59-60 [69-71]: τ ο ιό νδ ᾽ ἄν θ ο ς / Περσ ίδ ο ς αἴα ς / ο ἴχε τ αι ἀνδ ρῶ ν : this
series of phrases could b e delivered as a single tonal grouping of
twelve beats. 270 There is a ς - π consonantal clash between lines [69]
and [70], but it is not a very difficult one. There are no phonetic
grounds for the separation of lines [70 -71].
The matter rests, in part, on wh ether this movement is supposed to

have been sung or recited. 271 If it is assumed to have been sung the
270 Cp. line [42] of the fifth movement.

271 See Burling (1966, 1423). He notes that in the case of Sing a Song of
Sixpence, we ‘can assign the regular metrical pattern… in two ways’. He
describes the difference as being between 2/4 time and 4/4 (1424); the
difference is between singing and reciting, where the singing requires a rest
194
elements of this single grammatical construction must be regarded
as being under intra -tonal separation. On the relevance of this to
the dramatic effectiv eness of this movement, see the interpretive
commentary below. When [69 -71] are recited as a single tone
group, the suggestion of rests between distinct phrases, that is, tone
groups, remains.
Here it is assumed that the final movement of the parodos is sung,

as seems plausibl y the case with the first, second and fourth
movements, and that the grammaticall y related lines are given
under intra-tonal separation; the singing will provide a transi tion to
the l yrics that follow.
On this basis, line [69] scans to word-end as an open dact ylopaest,

[70] as a dact ylopaest -2.
Line [71] showing a trochiambic pentasyl lable -2 in the Working

Text. Here we may shorten the final syllable of ο ἴχε τ αι by
correption in hiatus with ἀνδ ρῶ ν . This will give a metricall y regular
dact ylopaest-2. This scansion is given in the Experimental Text,
and the original scansion is noted in the critical apparatus. 272
61-62 [72-74]: ο ὓ ς π έρ ι π ᾶσ α χ θ ὼ ν / Ἀσιῆτ ις θρ έψ ασ α / π ό θ ῳ

σ τέ ν ε τα ι μ αλ ερ ῷ : the form of these lines in the Working Text is
based on the strength of the phrase ‘the whole ground’, and the
uncertain relation of the word θρέ ψασ α to the implied tonal
groupings of the lines. There are other problems of grammatical
between each phrase, while recitation requires a rest only between every
two phrases.
272 Cp. Line [60]. The trochiambic measures do not affect the rhythm of the
movements unduly, and both lines should be noted as possible examples of

Aeschylus’ rhythmic freedom.
195
relation: the nominatives π ᾶσ α χ θὼ ν and Ἀ σιῆτ ις are separated
despite their grammatical relation.
According to the measures identified in this study, line [72] of the

Working Text will scan as a dact ylopaestic hexasyllable -2, and line
[73] as a heptasyllabe-1.
Line [74] in the Working Text shows an initial isolated iamb, a

metrical feature seen onl y in the trochiambs of the Working Text,
which must be regarded as an illegal measure.
Construing the nominative phrase π ᾶσ α χ θὼ ν Ἀσιῆ τις as part of a

single tone group, and θρέψ ασ α , along with its verb, σ τ έν ετ αι , as a
part of a single tone group in apposition to the previous line gives
the following arrangement:
— ◡ ◡ — — | — ◡ ◡ — — (8 )
ο ὓ ς π έρ ι π ᾶσ α χ θὼ ν Ἀσιῆ τις
— — ◡ ◡ — | ◡ ◡ — |◡ ◡ — (8 )
θρ έ ψ ασ α π ό θῳ σ τέ νε τ αι μ α λερῷ
This arrangement is to be preferred to tha t of the Working Text on

the grounds of grammatical affiliation and because it conforms
more closel y to the type of paratactic exposition seen throughout
the parodos. This lineation is given in the Experimental Text,
which is, then, the same as that of the traditional texts.
Scanning to word -end, line [72] presents 2x dact ylopaests -2. Line
[74] shows an initial dact ylopaest -3 + final dianapaest
corresponding to the phrase στ έν ε τα ι μ αλε ρῷ .
63-64 [75-77]: τ ο κ έες τ᾽ ἄλο χο ί / [ θ’]ἡ μερο λεγ δ ὸ ν τ εί νο ν τα χρό νο ν /

τ ρ ο μέο ν τ αι : this arrangement fails on grammatical and metrical
196
grounds: the second τε cannot be separated from its phrase as is
given in the Working text, nor can it be elided at line-end under
anal ysis by tone group. 273 More importantly, the arrangement
corrupts the form of the closing paroemiac.
An alternative lineation gives both ‘ το κ έε ς τ᾽ἄ λο χο ί τ (ε) ’ and

‘ ἡ μ ερ ο λεγ δ ὸ ν ’ as individuated tonal groupings, and preserves the
paroemiac of line [77]:
◡ ◡ — ◡ ◡ — — (5 )
το κ έες τ ᾽ἄλο χ ο ί τ(ε ) [7 5]
— ◡ ◡ — — (4 )
ἡ μερ ο λεγ δ ό ν
— — ◡ ◡ — | ◡ ◡ — — (7 )
τεί νο ν τ α χ ρ ό νο ν τρο μ έο ν τ αι
The acceptance of this lineation in the Experimental Text

necessitates the reading of ἡμε ρο λεγ δ ὸ ν as a single-word logos under
intra-tonal separation; it cannot possibl y form a tonal unit y with
line [75]. 274
Line [75] scans as a dianapaest (B). It is possible, however, that the

rhythmic force of a line -final τε was negligible, and that the line
was equivalent to a dianapaest . Line [76] scans as a dact ylopaest -2,
and line [77] scans as a regular paroemiac, dact ylopaest -3 + minor
ionic.
On the dramatic force of this lineation, see the interpretive

commentary on lines [75 -77].

274 There are several such lines, notably line [157] in the second movement
of the Atossa scene.
197
Textual criticism.
Line [71]: scan dact ylopaest -2 by correption of ο ἴχε τ αι in hiatus;
note alternative scansion in critical apparatus.
Lines [72-74]: construe as: [72] ο ὓ ς π έρι π ᾶσα χ θ ὼν Ἀσιῆ τις ; [74]
θρ έ ψ ασ α π ό θῳ σ τέ νε τ αι μ α λερῷ .
Line [72]: scan 2x dact ylopaests -2.

Line [74]: scan dact ylopaest -3 + final dianapaest.
Line [75]: read line-final τ (ε) ; scan as dianapaest (B).
Line [76]: read ἡ μερ ο λεγ δ ό ν , with acute accent for position at line -
end.
Line [77]: read τεί νο ν τα χρό νο ν τ ρο μέ ο ν τ αι for regular paroemiac.
198
Experimental Text.
8th movement (59 -64) [69-77]. 275
— — — [— ] (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — | — ◡ ◡ — [—] (8 )
ο ὓ ς π έρ ι π ᾶσ α χ θὼ ν Ἀσιῆ τις [7 2]
— — ◡ ◡ — | ◡ ◡ — ◡ ◡ — (8 )
θρ έ ψ ασ α π ό θῳ σ τέ νε τ αι μ α λερῷ [7 4]
◡ ◡ — ◡ ◡ — — (5 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — | ◡ ◡ — — (7 )
275[71]: scanned dactylopaest-2 by correption in hiatus, note original

trochiamb-2; [72]: scanned 2x dactylopaests-2; [74]: scanned final
dianapaest; [75] read line-final τ(ε), scanned dianapaest (B); [76]: read
ἡμερολεγδόν read for line-end; [77]: construe as regular paroemiac.
199
Interpretive Commentary, 8th Movement: Coda to Parodos.
The translation on the Working Text is as follows:
Such is the flower

Of the men that are gone [71]
From the Persian Land [70]
For whom all the land of Asia [72]
Having reared them groans with a burning longing [74]
Counting the days
Tremble as time stretches out
Notes.
The epilogue to the Catalogue of Commanders reintroduces, and
verball y echoes, the first hints of doom in the opening lines, [1 -4],
and the second movement.
As discussed in the metrical commentary, the form of the lines in

both Working and Experimental Texts is not entirel y satisfactory.
Nevertheless, anal ysis by tone group gives some insights into the
way that meaning, narrative and dramatic effects are constructed in
this play.
Lines [69-71]: ‘Such is the flo wer / Of the Persian Land / (And)
of men that (are) gone’. The awkwardness of the translation of the
Working Text derives from an attempt to represent both the sense
and the order of the Greek phrases. As noted in the metrical
commentary, these lines could be presented as a single tone group
that can translated as ‘Such is the flower of men of the Persian land
that is gone’. Ease of translation, however, is not an issue in
determining the likely original form of these lines, and the
200
difficult y can be remedi ed by transposing lines [70] and [71] in the
English translation. This gives perfect sense for the separated
phrases, and highlights important differences between Greek and
English, but also that these differences are principall y those of
necessary word -order, which is more strictl y predetermined in
English than in Greek. This is an unusual expedient because in the
rest of the parodos the succession of phrases generall y produces a
simple and straight -forward line-by-line translation that reproduces
the paratactic qualities of the original. Lines [69 -71] present a
single compound expression given under intra -tonal separation. The
difficult y here pertains onl y to the English translation.
Under intra-tonal separation, each distinct element of the

construction is able to achieve its full semantic – that is, also,
narrative and dramatic – force. Line [69] looks back to the
Catalogue of Commanders, describing them metaphoricall y as a
flower. This is the first use of this metaphor, which will be taken
up again, most notably in the opening lines of the Messenger’s
speech at 252: τὸ Π ε ρ σ ῶ ν δ ᾽ ἄ ν θο ς ο ἴχε τ α ι π εσό ν . Note the
recurrence there also of ο ἴχ ο μα ι , cf. line [71]. 276 In line [70] the
phrase ‘of the Persian Land’ is given prominence, which again
recapitulates the force of the Catalogue by emphasising the unit y of
the diverse subjects of the Persian Empire. 277 This, along with [71],
introduces the final movement of the parodos with t ypical
Aeschylean ring-composition. The separation of line [71], ο ἴχε τ αι
276 After the Messenger’s introductory speech, the image of the flower
appears twice in the evocation of Darius scene (612, and 618), again in
Darius’ damning evaluation of Xerxes’ actions at 821-2; and finally, again
with reference to the lost Persian army, at 925 [930] in the second
movement of the kommos. See also the discussion of οἴχομαι at 4.3.2.
277 It is impossible to say whether this type of poetic compression would
have been noticed by the original audience. We may, however, compare the
similar compression of line [66], which describes the combined forces
described in the Catalogue as an ἔθνος.
201
ἀνδ ρ ῶν , emphasises the foreboding of disaster that first appears in
the parodos in the second movement. 278
Lines [72-74]: ‘For whom all the land of Asia / Having reared
them groans with a burning longing’. The impression of
foreboding intensifies in these lines.
The phrase ‘all the land of Asia’ re -enforces the notion of vastness
and unit y of purpose that characterises the Persians in the parodos.
As such the single line compresses and recapitulates the essence of
the Catalogue of Commanders, as does line [70], above.
The word θρ έ ψ ασ α is translated here as ‘Having reared them’, rather

than ‘nurturing’ or the like, because this seems better to represent
the force of the aorist, but it is also conditioned by the needs of the
English translation, which cannot present the separation by tone
group of noun and participle as readil y as the Greek.
The phrase ‘groans with a burning longing’ foreshadows the

expressions of grief that will later dominate the play. The line
contains the first of thirteen occurrences of σ τ έν ω and its
derivatives. In each of the later occurrences the word
unambiguousl y connotes grief at the loss of the arm y. Here,
however, a mention of reactions of grief would come too early, and
its combination with ‘longing’ ensures that the emphasis is not y et
on mourning, and the word appears quite naturall y in its context
here.
278 The movement from confidence to a sense of foreboding is mirrored also

in the succession of emotional and cognitive states presented in the first ode
as given in the Experimental Text (see Ch.5, Lyric: Introduction). A similar
movement from confidence to doubt is evident in the contrasting moods of
the first three choral odes of the Agamemnon.
202
Lines [75-77]: ‘And parents and wives / Counting the Days /
Tremble as time stretches out’. As discussed in the metrical
commentary, the lines are given in a different form in the
Experimental Text. It is unclear which lineation is to be preferred.
The Experimental Text preserves the grammaticall y necessary

construction τε … τ ε , and preserves the regular paroemiac that was
separated into different lines in the Working Text.
There is an interpretive point that could steer judgement in favour

of the lineation of the Experimental Text. In either version there is
little alternative to presenting a one -word line; in the Working Text
it is the final word of the movement and of the parodos: τ ρο μέ ο ν τ αι ,
‘tremble’, whereas in the Experimental Text it is the adverbial
ἡ μερ ο λεγ δ ό ν , ‘counting-the-days’.
While the isolation of τρο μέο ν τ αι in the Working Text could be

approved on grounds of dramatic effectiveness, it would seem to be
an over-emphasis; we may compare the subtle way in which the
vocabulary of grief is introduced with στ έ νε τ αι , above. Here at the
end of the parodos there are still onl y hints of foreboding, and the
Elders return to a brisk and confident tone in the ode that follows.
By way of contrast, the isolation of ἡ με ρο λεγ δ ό ν adds to the tension

of the movement in a more subtle way. The word, and its semantic
and rhythmic isolation, gives a sense of time passing, with which
we may compare lines [18 -20] in the second movement. The
lineation heightens the sense of longing expressed in line [74] by
giving it quantit y, a dimension in time, as well as the qualit y
denoted by π ό θ ῳ μ αλ ερ ῷ .
203
It is not possible to prefer either arrangement categoricall y at this
stage.
The references to parents in line [75] can have no special

significance to the audience at this stage, and will seem entirely
natural to the tenor of the Elders’ reflections, but it can be taken to
foreshadow Atossa’s appearance in the play space from 150ff. 279
This movement bring the parodos to a close, and we may imagine a

pause and a change of the disposition of the Elders on the orchestra
before the beginning of the first ode, analysed in Chapter 5 . The
dact ylopaestic prelude to the Atossa scene is discussed in the
following sections.
279 See the interpretive commentary to lines [155-157].

204
The Atossa Scene: Opening Anapaests, 140-154 [145-159].
Two anapaestic movements, 140 -154 [145-153] and 155-158 [154-
159], open the first scene after the ode. 280 They are treated here
with the non -l yric dact ylopaests, while in the Working and
Experimental Texts they appear in proper sequence, after the first
ode. They are succeeded by the trochiambs of the Elders’ salute to
Atossa, 155-158 [160-167], anal ysed in Chapte r 6, Tetrameters, and
the ensuing dialogue of 159ff. The anal ysis shows that they
conform, for the most part, to the regular dact ylopaests of the first
six movements. The onl y irregular feature of these two movements
is the so-called ‘co -opted’ paroemiac of line [153].
280 The preceding ode is taken to end the first scene. However, as the chorus
here continues with the dactylopaestic rhythms of the parodos, there are
grounds for considering this movement part of the preceding scene. In any
case, this and the subsequent movement segue between the parodos and
first ode and the dialogue with Atossa. Cf. Garvie, 140-54n.
205
Metrical Commentary, Atossa Scene, 1st Movement , 140-148
[145-153].
— ◡ ◡ — — (4 )
ἀλλ᾽ἄγ ε Πέρ σ αι [1 4 5 ]
◡ ◡ —|◡◡ — |◡ ◡ — — [— ] (8 )
τό δ ᾽ ἐν εζό με νο ι σ τέγ ο ς ἀρχαῖο ν
— ◡ ◡ — — | — ◡ ◡ — — | — ◡ [— ] (1 0 )
φ ρ ο ν τίδ α κ εδ νὴ ν κ αὶ β α θύ β ο υ λο ν θ ώμε θ α
— — ◡ | ◡ — — (5 )
χ ρ εία δ ὲ π ρ ο σ ήκ ε ι
— ◡ ◡ — — | — — (6 )
π ῶς ἄρ α π ρ άσ σ ει Ξ έρ ξης
◡ ◡ — |— — ◡ ◡ — (6 )
β ασ ιλ εὺ ς Δ αρ ει ο γ ε νής [1 50 ]
[ ◡ ◡ — | ◡ ◡— | ◡ ◡ — | ◡ ◡ [— ]] [8 ]
[τὸ π α τρ ωνύ μιο ν γ έ νο ς ἡμέ τερο ν]
◡ ◡ — — — | — ◡ ◡ — — (8 )
π ό τερ ο ν τό ξο υ ῥῦ μ α τ ὸ νικ ῶ ν
— ◡ ◡ — — | — — — — | ◡ ◡ — [— ] (1 1 )
ἢ δ ο ρ ικ ρ ά νο υ λό γ χ ης ἰσχὺ ς κ εκ ρά τηκ ε ν
But come Persians [145]

Sitting beneath this ancient roof
Let’s take deep and subtle thought
There is need of it
How fares Xerxes
King born -of-Darius [150]
[And our eponymous race]?
Is perhaps the drawing of bows victorious?
Or has the strength of sharp -pointed spear prevailed?
206
Notes:
There is a clear change of mood with this movement. The chorus
moves from the stately and musical language of the parodos and
first ode to a mixture colloquial language and courtl y formality
from line [145]. The movements are probabl y spoken. This explains
the colloquial flavour of e.g. [145] and [148 -149], and, at the same
time, shows the diverse qualities of language that can be presented
within a single poetic system. In these two dact ylopaestic
movements there are certain hints pointing to the attitude of the
Elders to Xerxes.

140init [145]: ἀ λ λ ᾽ἄγ ε , Πέρ σα ι : this line is tonall y differentiated by
its grammatical distinctiveness from [146], and by its introductory
function. It scans to word -end as a dact ylopaest -2.
140fin-141 [146]: τ ό δ ᾽ ἐ νεζό με νο ι σ τέγ ο ς ἀρ χα ῖο ν : the phrase ‘sitting

beneath this ancient roof’ clearl y represents a single tonal
grouping. The line scans to word -end as a dianapaest +
dact ylopaest-1.
142-143init [147]: φ ρ ο ν τίδ α κ εδ ν ὴν κ α ὶ β α θ ύ β ο υ λο ν θώ με θ α : the

tonal unit y of this line is guaranteed by the grammatical relation of
the noun and its two adjectives and by the verb that governs the
construction. In the traditional texts, θώ με θ α is enjambed. 281 Note
that the first three lines of this movement progress in length from
one to two to three measures, which heightens the impact o f the
terse statement of line [148]. It is assumed that θ ώμε θ α is enjambed
in the traditional texts for the sake of the paroemiac shown by all

Enjambment.
207
editors consulted in this study. On this see the interpretive
commentary, below.
Line [147] scans to word -end as 2x dactylopaests -2 + final cretic. 282
143fin [148]: χ ρ εί α δ ὲ π ρο σήκ ει : this logos, scanned strictl y to

word-end, gives a metricall y odd but rhythmicall y satisfactory
combination of an antibacchius with bacchius, an apparent break
with the rhythmical scheme of the parodos. Given the brevit y and
internal cohesion of the phrase, however, the line is scanned in the
Experimental Text as a dact ylopaestic hexasyllable -3. For the force
of this shorter line, see the interpretive commentary, below.
144-146 [149-150]: π ῶς ἄρ α π ρ άσσει Ξ έρξ ης / β α σιλε ὺ ς

Δ αρ ειο γ ε νή ς : these lines recall the first introduction of Xerxes at
lines [8-9], with only a slight difference in rhythm. Because of the
rhythmic unit y of the phrase line [149] is scanned as a
dact ylopaestic heptasyllabl e-2. Line [150] scans to word -end as
initial anapaest + dact ylopaest -3.
For the implications of the differences between these paired lines

and [8-9] in the first movement, see the interpretive commentary,
below.
146 [151]: τ ὸ π α τρ ω νύ μιο ν γ έ νο ς ἡ μέ τ ερο ν : of the editions consulted

Weir Sm yth prints this corrupt line, Broadhead brackets it, and
Rose acknowledges its existence (146n, 100) on the basis of the
Murray-Maas Oxford text of 1955; it is not given in Garvie’s text,
282For the final cretic, see Appendix X, Tables of Measures: Subsidiary

Measures; it could be argued that the final measure should be scanned as a
dactyl but it does not seem to be a crucial point, and the usual practice of
scanning all final syllables long is preserved here.
208
while West (Studies, 78-9) prefers an emendation. Rose accepts the
explanation of the corruption given by D.F. Robertson; 283 as do
Broadhead (146n) and Garvie (144 -5n). Aside from its intrusive
lack of sense (which is not remedied by West’s conjecture) the line
also presents an unrelieved su ccession of four anapaests. This, in
itself, may almost be regarded as a mark of interpolation or
corruption. 284 The line is excluded from the Experimental Text.
146 [152]: π ό τερ ο ν τό ξο υ ῥῦ μ α τὸ νικ ῶ ν : this line presents the first

part of an either… or ques tion and as such is tonall y differentiated
from the successive line. It scans to word -end as a dact ylopaest -1 +
dact ylopaest-2.
147-148 [153]: ἢ δ ο ρ ικ ρ ά νο υ λό γ χ ης ἰσχὺ ς κ εκ ρά τηκ ε ν : this line

should properl y be regarded as a single tone group because it
represents a single coherent idea. The line, however, presents
metrical difficulties: it contains the onl y paroemiac identified in
this study that is not unambiguousl y differentiated from the
surrounding lines. There is clearl y need of a paroemiac, as the
Elders’ deliberations are prematurel y terminated by the notice of
the arrival of Atossa in line [154] in the subsequent movement.
With this we may compare the difficulties of the paroemiac, line

[77], in the eighth movement of the parodos. There, however, t here
was an interpretive point that could justify the separation of a tone
group by intra-tonal separation. 285 It seems unlikel y that a similar
phenomenon is active here.
283 D.S. Robertson (1924), Classical Review 38, 110. His view is that
Δαρ ε ιο γ ε ν ὴ ς was corrupted to Δαρείο υ γ έ νο ς , and a scholiast’s remark,
γ ρ .( απ τέ ο ν) Δαρ ειο γ ε ν ὴ ς ; γ έ νο ς ἄ με τρο ν , later found its way into the text.
284 See Conclusions: Traditional Metrics Comparison, Rhythm over Metre.
285 See the interpretive commentary on lines [75-77] at 4.9.2.
209
For further discussion of these lines, see the interpretive
commentary, below. In the absence of comparative material, the
phenomenon is termed a ‘co -opted’ paroemiac, 286 and the line is
given in the same form in both Working and Experimental Texts.
Line [153] scans to word -end as a dact ylopaest -2 + paroemiac of

the form open dact ylopaest + minor ionic.
Textual criticism.
Line [148]: scan dactylopaestic hexasyllable -3.
Line [149]: scan dactylopaestic heptasyllable -2.
Line [151]: delete.
286See the discussion of this line and line [57] at Conclusions: Initial Findings
by Verse type, Irregular Paroemiacs.
210
Experimental Text.
Atossa Scene, 1s t Movement (140 -148) [145-153]. 287
— ◡ ◡ — — (4 )
◡ ◡ — ◡◡ — |◡ ◡ — — [— ] (8 )
— ◡ ◡ — — | — ◡ ◡ — — | — ◡ [— ] (1 0 )
— — ◡ ◡ — — (5 )
— ◡ ◡ — — — — (6 )
◡ ◡ — |— — ◡ ◡ — (6 )
◡ ◡ — — — | — ◡ ◡ — — (8 )
π ό τερ ο ν τό ξο υ ῥῦ μ α τ ὸ νικ ῶ ν [1 5 2 ]
— ◡ ◡ — — | — — — — | ◡ ◡ — [— ] (1 1 )
287 [146]: scanned dianapaest; [148] scanned dactylopaestic hexasyllable-3;

[149]: scanned dactylopaestic heptasyllable-2; [150-152 infr.] del. τὸ
π α τρ ω νύ μιο ν γ έ νο ς ἡ μέ τερο ν ; [153]: scanned ‘co-opted’ paroemiac, cp. line
[77] in the eighth movement of the parodos.
211
Interpretive Commentary, Atossa Scene 1st Movement: The
Elders Take Counsel.
But come, Persians [145]

There is need of it
How fares Xerxes
King born -of-Darius? [150]
Is, perhaps, the drawing of bows victorious ? [152]
Notes.
Anal ysis by tone group continues to bring clarit y to the text and its
themes. Translation and interpretation are facilitated by insight s to
the text that are obscured in the traditional arrangement of lines.
The lines have a dynamic life of their own, brought about by their
internal cohesion and paratactic interrelation. For the use of
punctuation in the translation of this movement, see Chapter 2,
Research Method: A note on the translations.
Line [145]: ‘But come, Persians’. The tone of this line is brisk and
businesslike, and signals the beginning of a new phase in the
presentation of the drama. The colloquial tone of ἀλλ ᾽ἄγ ε
foreshadows the upcoming trochiambic movements, which more
usuall y represent every-day speech.
Line [146]: ‘Sitting beneath this ancient roof’. The active

participle of the Greek should properl y be rendered ‘taking seats’,
but the translation above is preferred for its rhythm in the English.
While the line is a self -contained logos, the grammatical sense is
completed by the subsequent line.
212
Line [147]: ‘Let’s take deep and subtle thought’. This line stands
in apposition to [146]. The translation ‘Let’s’ is more app ropriate
to the indications of relaxed informalit y in this movement. It seems
that the Elders are at ease, as among equals; they are, after all,
experienced men of similar high rank in conference in their place of
office. The easy familiarit y in such a con text would be familiar to
the Athenian audience, lending an air of realism to the drama. This
may be contrasted with the strict formality of their first notice of
Atossa in the subsequent movement, and their initial address to her
in the first movement of their dialogue. 288 ‘Take’ for ‘place’
( θώ με θα ), given also by Sommerstein, is an easier rendering in
English.
The paroemiac created by the artificial enjambment of θώ με θα in the

traditional texts is unnecessary. This is not the end of a sense unit;
the questions of [149 -153] explicitl y define the ‘need’ referred to
in [148] in a way that is admirabl y suited to the mimesis of drama.
In the series of questions that follows, the Elders’ doubts and fears,
which have been only hinted at so far in the course of th e play, are
presented in a realistic fashion appropriate to a discussion among
the chosen guardians of the Empire.
Line [148] ‘There is need of it’. This brief logos continues the
colloquial atmosphere of the ἀλ λ᾽ ἄγ ε Πέρ σαι of [145]. At the same
time, however, this terse remark gives an indication of the tension
that underlies the Elders’ deliberations. The ‘need’ that exists is
expanded upon in the series of questions at lines [149 -153].
288See the commentaries to the first movement in Ch.5, Trochaic

Tetrameters.
213
Aeschylus is revealing something more of the Elders’ attitude to
Xerxes: What need is present? The Persian host ‘is gone’, and there
has been no news, a fact that was a source of anxiet y to the chorus
at [16-20], and this alone might explain the need for d eliberation.
Nevertheless, t his curt allusion to pressing need introduces the
series of questions that follows. That there is need to discuss
Xerxes and whether or not he has been successful is another
expression of the Elders’ doubts about their king. Exp ressions of
doubt and fear notwithstanding, the Elders have sung of the Persian
host onl y in glowing terms and there is no mention of the
possibilit y of defeat until line [153]. The brevit y of this line makes
it a narrative and dramatic focal point, which is emphasised by the
comparative length of the surrounding lines.
Line [149-150]: ‘How fares Xerxes / King born -of-Darius?’ The

Elders are about to mention the possibility of defeat for the first
time at [152 -153], and they do so with less than reverent m ention of
Xerxes. Given that the rhythmical circumstances are almost
identical, this near-repetition of [8-9] and the omission of the
honorific ‘Lord’ may be taken as significant; and the addition of
the standard titles, King Darius -born, if they have not in fact been
transported here from [8 -9], seems almost perfunctory. The
admission of the possibilit y of defeat follows. The implication is
that the Elders have less than perfect confidence in the King.
Line [151] ‘[And our eponymous race]’: With the refer ence to
Xerxes we expect some mention also of the arm y because it has
been the regular practice to mention them together throughout the
play (cp. lines [11 -13] in the second movement of the parodos and
the first and second strophic pairs). This line of the traditional text
is widel y regarded as corrupt. Following Robertson’s theory of the
214
source of the corruption , 289 the line is excluded from the
Experimental Text.
Line [152-153]: ‘Is perhaps the drawing of bows victorious? / Or

has the strength of sharp -pointed spear prevailed?’ The Elders
express their doubts about the safet y of the expedition – the matter
that requires deep and subtle thought – with a tentative either… or
question, reflected in the translation by ‘perhaps’. This line
presents an important dramatic crux: despite their periodic
expressions of anxiety, this is the Elders’ first admission of the
possibilit y of defeat.
The so-called co -opted paroemiac of line [153] is problematic for

anal ysis by tone group. The phrase δ ο ρικ ράνο υ λό γ χης , literally
‘spear-headed spear tip’, is redundant and seems unlike the usual
Aeschylean pleonasm. 290 The line has implications for the treatment
of the paroemiac of line [77] in the Experimental Text, which could
conceivabl y be of a similar form. One possibilit y exp lanation for
the construction is that line [153] is divided between two speakers,
as if one interrupts the other, but it there is nothing in the text,
apart from the redundancy of the expression, and the purel y
metrical difficult y of the co -opted paroemiac, to suggest this.
The line is the onl y instance in which analysis by tone group fails
to deliver unambiguousl y meaningful results in terms of both sense
and the unique metrical identit y of a paroemiac. 291
289 See note 327, above.

290 Cp. π ρ ο λιπ ό ν τες ἔβ α ν in line [25].
291 This line is discussed at Conclusions: Initial Findings by Verse Type,
215
Metrical Commentary, Atossa Scene, 2nd Movement, 150 -154
[154-159].
— — ◡ ◡ — |◡ ◡ — — — | ◡ ◡ — — — (1 2 )
ἀλλ᾽ἥ δ ε θεῶ ν ἴσο ν ὀ φ θ αλ μο ῖς φ άο ς ὁ ρ μᾶ τ αι
— — ◡ ◡ ◡ — [4]
μή τη ρ β ασ ιλ έως [1 5 5 ]
◡ ◡ —|◡ ◡ — [5]
β ασ ίλ ει α δ ᾽ἐ μή
— — — (3 )
π ρ ο σ π ί τν ω
— — — — | ◡ ◡ — — — (8 )
κ αὶ π ρ ο σ φ θό γ γ ο ις δ ὲ χρεὼ ν α ὐ τ ὴν
— — — —|◡ ◡ — — (7 )
π άν τ ας μύ θο ισ ι π ρο σ αυ δ ᾶ ν [1 59 ]
But she (who is) equal to the light in the eyes

of the gods approaches
The mother of the King [155]
My Queen
I bow to t he ground
And with speeches befitting her
All speak in myth [159]
Notes:
The chorus notice the approach of Atossa and break off their
deliberations as abruptl y as they began them. The movement
conforms to the regular patterns of dact ylopaests. Of the
arrangements presented by modern editors, West’s is probabl y the
most reflective of the tonal characteristics of this movement.
216
150-151init [154]: ἀ λ λ᾽ἥδ ε θεῶ ν ἴ σο ν ὀ φ θα λ μο ῖς φ άο ς ὁ ρ μᾶ τ αι :
According to the basic pri nciples of analysis by tone group this
phrase cannot be fairly subdivided; it is a single, connected and
coherent logos. The interaction of the acute and circumflex accents
supports the unit y of the phrases. The efficacy of a tonal lineation
is predicated on the fact that each phrase is to be given in print
according to the natural intonation units.
On these grounds line [154] is given in the Experimental Text in

the same form as the Working Text. The length of the phrase (12
beats) parallels the length o f the first lines of the spoken third,
fifth, sixth movements. See the interpretive commentary below for
a discussion of the implications of this form of the line.
The line scans to word -end as dact ylopaest -3 + 2x dact ylopaests -1.
151fin [155]: μ ή τ η ρ β ασι λέως : the Working Text shows a tribrach,

again corresponding to the word β α σιλέ ως , on the initial assumption
that words will be given their full syllabic value in oral delivery. 292
In the case of the gen. sing. β ασιλέ ως , synizesis is admitted in the
Experimental Text in all its occurrences. 293 The line then scans to
word-end as a dact ylopaest -3.
152 [156-157]: β α σ ίλει α δ ᾽ἐ μή / π ρο σπ ί τν ω : this line of the

traditional colometry is identified as a paroemiac by Sidgwick,
Broadhead and Garvie, and by West, who presents it by indentation
as what has been termed a co -opted paroemiac for the purposes of
292See Ch.2, Research Method: the Principle of Least Interference.

293See Conclusions: Traditional Metrics Comparison, Synizesis and
Correption.
217
this study. 294 West’s arrangement presents all of [155 -157] as a
single line, which is satisfactory given only that we accept line -
internal punctuation – which necess aril y will involve pauses
between phrases. 295 Garvie, who separates π ρο σπ ί τν ω from the rest
of its phrase with a colon, says ‘the isolated π ρο σπ ί τ νω is more
effective’ (152n). Under this anal ysis, punctuation in the printed
texts is held to correspond to a tonal, and consequentl y, a
rhythmical break. The present movement, however, extends from
150-154 [154-159] and the αὐ τὴ ν of 153 [158] clearl y indic ates,
with its bare reference to Atossa, a continuation of general sense
and, in as much as 153 -154 [158-159] continue the Elders’ initial
reaction to the appearance of their Queen, there is no break in sense
here. 296 Under anal ysis by tone group the movements of this play
correspond to sense units, all of which are closed with a paroemiac.
There is no paroemiac here. 297
The single word π ρ ο σ π ίτ νω [157] does not form a logos according to

the regular principles of anal ysis in this study. 298 It can, however,
be accepted as meaningful in the context of the original
performance if the word is taken to present a stage direction; a low
bow (or full obeisance) executed by the twelve persons of the
294 Cf. line [153] in the preceding movement.

295 For the irregularity of this presumed paroemiac, showing a final molossus
rather than the usual minor ionic, Broadhead is able to offer in support only
Pers.32 [41], a line which is suspected as an interpolation under this
analysis. See the metrical and interpretive commentaries to the fourth
movement.
296 Cf. Broadhead (Persae, 68, 152n): ‘…π ρο σπ ί τ ν ω seems, at first sight to be
in the middle of [an anapaestic system]’. He justifies the seeming paroemiac

with reference to stage movement dependent on π ρο σπ ίτ ν ω .
297 For further discussion, see the interpretive commentary, below.
298 See Ch.2, Research Method: Chafe, Bakker and the logos.
218
chorus will take some time and allow for the separation of this
single word. 299
Line [156] scans to word -end as a dianapaest. Line [157] scans to

word-end as a single molossus. The molossus, so isolated, suits the
gravit y of the associated action and foreshadows the heavy qualit y
of the many long syl lables of Elders’ ritualised greeting of Atossa
in the subsequent movement.
153 [158]: κ α ὶ π ρ ο σ φ θ ό γ γ ο ι ς δ ὲ χρ εὼ ν αὐ τὴ ν : this line is the same

as in the traditional texts. It scans to word -end as an open
dact ylopaest + dact ylopaest -1.
154 [159]: π ά ν τ ας μύ θ ο ισ ι π ρο σ αυ δ ᾶν : the paroemiac that closes this

dact ylopaestic period presents a metrically regular open
dact ylopaest + minor ionic. It does not, however, scan to word -
end. 300
Textual criticism.
The Experimental Text of this movement contains onl y changes in
scansion, and no new translation is necessary.
Line [155]: scan to dact ylopaest -3 with synizesis of β α σιλέ ως .

299 For discussions see Garvie (152n) and Broadhead (152n).

300 See Conclusions: Initial Findings by Verse Type, Irregular Paroemiacs.
219
Experimental Text.
Atossa Scene, 2nd Movement (150 -154) [154-159]. 301
— — ◡ ◡ — |◡ ◡ — — — | ◡ ◡ — — — (1 2 )
— — ◡ ◡ — [4]
◡ ◡ — ◡ ◡ — [5]
— — — (3 )
— — — — | ◡ ◡ — — — (8 )
— — — —|◡ ◡ — — (7 )
301[155]: scanned to dactylopaest-3 by synizesis of β ασι λέως ; [156] scanned

dianapaest.
220
Interpretive Comment ary, Atossa Scene, 2nd Movement: The
Arrival of Atossa.
But she (who is) equal to the light in the

eyes of the gods approaches
My Queen
I bow to the ground
Notes.
There is some indication , in the final two lines, of dissimilation on
the part of the Elders: they are planning to tell the Queen what they
think she will want to hear , rather than continue with th e tenor of
the previous movement. This nuance of the lines is often
overlooked both in criticism and in translation; and it is, perhaps,
onl y readil y identified under anal ysis by tone group, that is, when
attention is given to the semantic integrity of eac h phrase, as well
as its paratactic relation to the others in each movement.
Line [154]: ‘But she (who is) equal to the light in the eyes of the
gods approaches’. What we see in the Elders’ first notice of
Atossa’s approach is a variant of the ‘Quiet! He’ s coming!’
standby; it is possible that the trope actuall y is as old as drama
itself. Here, it is clothed in ritualised language but there are
nevertheless certain hints that a subtext is in operation, one that
allows the Elders to preserve the necessary f ormalities, and also
indicates their genuine respect for Atossa; the comparison between
221
Atossa and the light of the eyes of the gods is made before she can
be presumed to be in earshot. 302
The presence of what is to us a hackneyed stage device may be

taken as evidence for the cultural ubiquit y of dramatic clichés of
this t ype. Moreover, in as much as the device is situationall y
derived, that is, it represents elements readil y recognisable from
real-world situations, it may be taken as additional evidence fo r the
oral-traditional basis of Athenian drama. 303 The trope also allows
the introduction of a character in a way that enhances, rather than
detracts from, the flow of narrative and drama.
Furthermore, it can be understood as reflective of the Elders’

understandable surprise at the unexpected arrival of their Queen
and their agitation at having come so close to being caught in the
act of criticising their King.
Atossa’s appearance may be taken as a theatr ical coup for

Aeschylus. For the Athenian spectators, who knew in broad outline
the direction the plot must follow but who did not know how
Aeschylus would unfold the story, her appearance is otherwise
unexpected, but is subtl y foreshadowed by the Elders’ mention of
wives and mothers – Atossa is both – in the parodos and preceding
ode. It can onl y have been a powerful element in the presentation of
the drama.
[155-157]: ‘The mother of the King / My Queen / I bow to the

ground’. The separation of these line s is to be preferred on
302 Cf. Garvie (150-4n), Broadhead (152n). As noted by Garvie (ibid.), the
remark anticipates the sentiments expressed in their first address to her at
157ff. [160-167].
303 These features of compositions are discussed in the General Introduction.
222
semantic and dramatic grounds. Lines [155] and [156] stand in
apposition to each other. They express two distinct and important
aspects of the Elders’ relation to Atossa: her relation to Xerxes and
her status within the Persian stat e. The emphasis on her status as
the mother of Xerxes [155], subtl y introduces her relationship with
Darius. The connection between these roles is developed in lines
[160-165]. 304 The simple but powerful line [156] emphasises the
Elders’ genuine reverence fo r Atossa, also expressed in line [154].
On the other hand, line [157], π ρο σπ ί τ νω , stands apart from the

preceding lines in that it signifies a new and distinct action. If we
assume that the stage action is suited to the word, the isolation of
this word an d the accompanying action emphasises verball y and
visuall y the respect the Elders feel toward Atossa.
I am in agreement with those commentators, notabl y Garvie (152n),

who feel it likel y that the Elders suit their actions to the word and
at least bow low to the ground. That they prostrate themselves is
not out of the question. Whether π ρο σπ ί τ νω is held to be a stage
direction or not, the word certainl y connotes the action, as does its
heavy meter. As Garvie notes (152n), the rhythmic form (of his
paroemiac), as well as the word π ρο σ π ί τν ω , ‘suggests stage
movement before the final lines’. 305 The implied stage direction also
suggests the temporal and rhythmical isolation of the word and its
associated action. It would seem strange, where a single word is
intimatel y, almost automaticall y, tied to an associated action, were
the Elders to use such a word in the first person singular, and not
suit their movements to it in some way. If the Elders are presumed
304 Lines 155-8 of the traditional texts, the first trochaic tetrameters of the
play, analysed, in Ch.6, Tetrameters.
305 The same view applies to the tonally isolated π ρο σπ ί τν ω in the present
context.
223
to make full obeisance, it can be subsumed under the rubri c of
Aeschylean spectacle, and of t ypical Greek notions about the habits
of Persians.
[158-159]: ‘And with speeches befitting her / All speak in myth’.

While anal ysis by tone group presents these lines as per the
traditional lineation, the implications of the lines seem to have
been missed; there is a tendency to construe them as a single long
phrase split over two lines rather than as two tonall y and
semanticall y distinct phrases. 306 When they are considered as
separate statements, important implications re veal themselves.
In both tonall y affective and traditional lineations, αὐ τὴν is

unambiguousl y associated with χρε ὼ ν ; there are syntactical grounds
for construing it with π ρο σ αυ δ ᾶ ν , but this is not how logoi are to be
interpreted under the principles of this anal ysis. The play to this
point has been seen to consist almost exclusivel y of a paratactic
succession of coherent phrases, and we must assume that meaning
is generated in the same way. Moreover, while s yntactical relations
between distinct utterances are appropriate to literary texts, in the
lived moment of oral performance each statement is a self -
contained whole, with distinct semantic and rhythmic properties,
and that is the way in which they are most likel y to have been
306 Broadhead (153-4n) defends π ρο σφ θό γ γ ο ις as something other than a

‘mere pleonasm’ (presumably in relation to μύ θ ο ισι ) and thus implies – as
well as by giving the two lines a single note – that he accepts the two lines as
a single coordinated phrase; Garvie (153-4n), again in a single note for the
two lines, gives the meaning ‘with words of salutation’; West (Studies) is
silent on these lines. Of the translators consulted, Ewans (1996), in deference
to the dictates of contemporary performance, translates ‘Now we must speak
in words of greeting’; Sommerstein (2008) gives ‘and it is right (for χρ ε ὼν
αὐ τὴ ν , see below) that we all address her with words of greeting’; Smyth
(1926) gives: ‘It is fitting also that we all address her with words of
salutation’.
224
appreciated. We must therefore consider the implications of
parataxis in translation and interpretation.
The first statement, [158], defines the characteristic of the speech

the Elders proposes to make to the Queen: the greetings
( π ρ ο σ φ θό γ γ ο ις ) are to be suited to her ( χρε ὼν αὐ τὴ ν ). We may
suppose that the reference is to her rank, but it can also refer to her
status as the mother of Xerxes, of whom, according to the
implications previous movement, the Elders were about to speak
criticall y; and as the wife of Darius, to whom the Elders feel deep
bonds of affection and loyalt y. 307 π ρο σφ θό γ γ ο ις can also mean
simpl y ‘speech’ or ‘utterance’ and if we choose to construe it in
this way the implications become more clear, and refer to
everything that is said in the rest of this scene.
The second statement, [159], is more ambiguous and contains the

difficult word μύ θο ισ ι . In the translation of line [159], the word is
rendered with its English cognate, myth, in an attempt to convey
some of the ambiguities of these lines. Chantraine (Vol.3, 718)
gives the primary definition of μῦ θο ς as ‘a suite of words that has
meaning, context, discourse’. Between the time of Herodotus and
Plato the word was acquiring the sense of fiction, in opposition to
λό γ ο ς , ‘literal truth’ (LSJ sub μῦ θο ς ). The notion here, as indicated
by line [158], is clearl y one of ‘prepared speech’. Taken literall y,
the word in this context could mean simply that the Elders will
prepare, and do indeed deliver, salutations befitting the mother and
wife of a god (156-158 = [163-164]). On the other hand, the word
can be taken to refer to a prepared speech that will tell her what the
307This has been hinted at with reference to the age of the members of the
chorus at line [4], this relationship is not made explicit until line 681-682init
[681-683]; the Elders are the same age as Darius, and companions of his
youth.
225
Elders think she will want to hear; or one that it is safe for them to
deliver; that the Elders will put asid e their doubts and reservations,
keep them from her, and attempt to comfort her, as they do in their
response to her dream. As we shall see, in lines [166 -167], they do
not entirel y succeed in this. There are grounds for reading the
present lines according to either interpretation. We need not prefer
one over the other; and we may expect that different spectators in
the original audience will have made different sense of the lines
according to their lights.
In terms of structure and meaning, the more nuanc ed interpretation

is derived most readily from a praxis of translation and
interpretation that pays special attention to the paratactic
separation of ideas. Throughout these commentaries we see clear
meaning generated by the paratactic succession of ideas; here we
see it used to achieve subtle ambiguit y; 308 the distinct ideas, that
the speech is to be suited to Atossa and one that has been carefull y
prepared, are rendered more ambiguous by the fact of their tonal
individuation. The Elders’ doubts about Xerxes have onl y been
alluded to – most recentl y at the end of the previous movement –
[152-153], and the spectators cannot have been entirel y sure of the
Elders’ motivations, or their relations to others in the world of the
play. Therefore it is entirel y approp riate, both in terms of the
presentation of the character of the Elders , and of the dramatic
development of the play, that they will, ‘With words (especially)
suited to her / all speak in (carefull y) prepared speech’.
It is possible that [158 -159] are utt ered while the Elders are still
bowed, in something of an Attic drama equivalent of a stage
308With this we may compare the effect of the intra-tonal separation of lines
[1-4] in the first movement. This is discussed in the interpretive commentary
on those lines.
226
whisper. Given the seemingl y genuine respect of the Elders for
Atossa, and their deep misgivings about the political and military
situation, this will have been, dr amatically speaking, a highl y
effective technique.
227
Chapter 5. Strophic Lyric: The First Ode , 65-137 [61-
117].
Introductory notes .
The examination of the first choral ode requires a different
approach from that of the preceding chapter. This is necessitated by
the different poetic conventions of l yric, and by the necessit y of
observing the principles of corresponsion.
The l yrics of the first ode are principall y dact ylopaestic, but they
feature a greater variet y of measures than has been observed in the
dact ylopaests of the parodos; pentasyllables feature, but are fewer
in comparison to other measures. Additionall y, the final strophic
pairs show trochiambic metra. For these reasons so -called ‘illegal
measures’ are more difficult to identify, and are a less effective
index of corruption or other textual problems arising from
transmission; the variable nature of the rhythms used makes the
form of the lines, in the first instance at least, much less
predictable. The notion of strophic corresponsion i s too firml y
entrenched in our understanding of tragic l yrics to be ignored; the
corresponsion between strophe and antistrophe, or the lack of it, is
therefore a crucial indication of the aptness of anal ysis by tone
group to the study of tragic verse. The principle of corresponsion is
of great service to a tonal anal ysis of these l yrics and, in many
instances, the anal ysis delivers results that exceed expectations in
terms of strophic corresponsion. In certain instances, the
corresponsion derived from this anal ysis is exact, but in others
there are minor metrical discrepancies that are not always
remediable by emendation or by variant scansion. 309 In the present
309 See Conclusions: Initial Findings by Verse Type, Strophic Corresponsion.

228
ode corresponsion is closer in the earlier movements, and becomes
less precise as the emotional int ensit y increases.
A Note on the order of strophic pairs.

In the parodos we have seen that this play is constructed of a
paratactic succession of internall y coherent statements. This applies
also to the first ode, where the lines present a succession of
coherent thought that additivel y build meaning. This feature
suggests another phenomenon of paratactic structure: that meaning
is generated through the paratactic succession of strophic pairs.
The flow of thought in the first stasimon, especiall y in connect ion

with the so-called mesode (93 -100), is a topic of controversy. In all
MSS it appears after the second strophic pair. Garvie’s text adopts
Müller’s transposition, following West and most modern editors,
and places it after the third strophic pair. Follo wing Garvie, 310 who
approves the transposition on st ylistic and structural grounds, we
may describe the flow of though in this ode as follows:
A1 and A2: The Persians have crossed into Greece by land and by
sea;
B1 and B2: and are irresistible by virtue of equipment, numbers and
spirit;
C1 and C2: Persian military success on land comes from god; and
now we have learned to cross the sea (by bridge, recalling A1);
Mesode: But who can escape the machinations of a god?
D1 and D2: and so I am worried that there w ill be woe;
E1 and E2: because all our forces are gone across the bridge
(recalling A1 and A2), and there is an air of foreboding.
310Garvie (1999). ‘Text and Interpretation in Persae’. Lexis 17, 21-40,

especially 21-22 and 25-26; See also his 1-139n, 46-49, and Broadhead, 93-
106n and sqq.
229
This arrangement has many advantages, not the least of which is
that is preserves a t ypicall y Aeschylean compositional ring between
A1-2 and E1-2. There is, however, another arrangement that (a)
accords with the paratactic exposition observed in this play; and (b)
presents a plausible dramatic movement – and one, moreover, that
is reflected in the parodos – from reflections on Persian glory to
the rising of doubts and fears; and then to acceptance and a focus
on immediate concerns:
A1 and A2: the Persians are gone; they are gone by land and sea;
B1 and B2: Xerxes is a dragon -arm y with many hands and ships;
no-one can withstand the arm y as no -one can withstand the sea;
C1 and C2: because god -sent destiny prevailed, Persians prevail in
wars; but now they have contrived to cross the sea;
E1 and E2: for ( γ ὰ ρ ) all the host is gone like a swarm; and all the
Persian girls are missing their men (recalling their earlier concerns
about the crossing of the arm y);
D1 and D2: for this reason I am afraid; and all the women will
mourn alone (the Elders allow, for the moment, their fears to
overwhelm them);
EPODE – but who can escape the deceit of a god? (the Elders pull
back from the brink of despair with a philosophy of fatalistic
acceptance).
There follows the dact ylopaestic prelude to the Atossa scene in

which the Elders say, in effect (140 -148): Come, let us pull
ourselves together and dis charge our responsibilities. 311
311 Lines [145-153]. These are discussed in Ch.4, Anapaests.

230
The development of thought seen in the latter arrangement is more
in keeping with the expository st yle of the rest of the play to this
point and with the logical unfolding of the drama.
As for the cause of the original mis placement of the epode (if that
is indeed the case), there is no simple explanation. Garvie (1999,
26) observes that it could have been an accident or that an early
editor ‘misunderstood the connection of thought and deliberatel y
transposed the stanza’. In r esponse to Garvie, Martin West observes
(in Garvie’s article, 38) that the second hypothesis is ‘quite out of
the question’ and that the transposition must have been accidental
because ‘ancient scholars did not behave like that’ ( ibid). On the
contrary, it seems fairl y certain that ancient editors – be they
scholars or actor-producers – did interfere with texts to address
their own aims, the transmitted ending of the Seven Against Thebes
being the signal example. Whether the original transposition was
intentional or accidental, the transmitted order of the stanzas is
problematic.
The transposition of the fourth and fifth strophic pairs, and the
placement of the epode at the end of the ode, has been adopted into
the Experimental Text for the sake of compari son and evaluation.
The transposition is also reflected in the metrical and interpretive
commentaries, with the order of stanzas of the traditional text as
presented in Garvie’s edition preserved in the Working Text onl y.
For purposes of reference to the E xperimental Text, each section is
given the designation First Strophic Pair, Second Strophic Pair, and
so on.
The regular practice for the anal ysis of l yrics in this chapter will be
to examine the stanzas by corresponding lines. In each instance the
Principle of Separation is applied rigorousl y. That is, the tone
231
groups that are initiall y identified are the smallest possible units.
This method is the most effective for (a) identifying the smallest
rhythmical elements for purposes of anal ysis and compariso n and
(b) testing for potential corresponsions. Through this process
anal ysis by tone group is able to deliver a text that observes both
the integrit y of the component logoi and the necessit y of strophic
corresponsion.
For these purposes each potential logos is given a designation (1a,

2a, 3a, etc. for the strophe and 1b, 2b, 3b, etc. for the antistrophe)
and discussed with reference to those paired designations (1a -1b,
for the first pair of corresponding lines, 2a -2b for the second, and
so on).
232
Metrical Commentary, First Strophic Pair: Strophe and
Antistrophe A, 65-80 [78-97].
Strophe A (65-71) [78-87].
1a ◡ ◡ — — [— ] (4 )
π επ έρ ακ ε ν μὲ ν [7 8 ]
2a ◡ — — ◡ ◡|— — [6 ]
ὁ π ερ σ έπ το λ ις ἤδ η
3a ◡ ◡ — — | ◡ [— ] [4]
β ασ ίλ ειο ς σ τρ α τὸ ς [8 0 ]
4a — — ◡ ◡ — |— ◡ ◡ — — (8 )
εἰς ἀν τ ίπ ο ρο ν γ εί το ν α χώρ α ν
5a ◡◡ — — |◡◡ — (5 )
λινο δ έσ μ ῳ σχεδ ί ᾳ
6a — ◡ ◡ — — (4 )
π ο ρ θ μὸ ν ἀμ είψ ας
7a ◡ ◡ — ◡ ◡| — — (5 )
Ἀθ α μ αν τίδ ο ς Ἕλλ ας
8a ◡ ◡ — ◡ | ◡ — [— ] (5 )
π ο λύ γ ο μφ ο ν ὅ δ ι σμ α [8 5]
9a ◡ ◡ — ◡ ◡ — (4 )
ζυ γ ὸ ν ἀμφ ιβ α λὼ ν
10a — ◡ ◡ — — (4 )
αὐ χ έ νι π ό ν το υ
233
Antistrophe A (74-80) [88-97].
1b ◡ ◡ — — [—] (4)
π ο λυ ά νδ ρ ο υ δ [ε] [8 8 ]
2b ◡ ◡ —|— ◡ ◡ — — (6 )
Ἀσ ί ας θο ύ ριο ς ἄρ χω ν
3b ◡ ◡ — — |◡ [ — ] [5]
ἐπ ὶ π ᾶσ αν χθ ό ν α [ 90]
4b — — ◡ ◡ — |— ◡ ◡ — — (8 )
π ο ιμ αν ό ρ ιο ν θεῖο ν ἐλ αύ νει
5b ◡ ◡ — |— ◡ ◡ — (5 )
δ ιχ ό θε ν π εζο νό μο ις
6b — ◡ ◡ — — (4 )
ἐκ τε θ αλ άσσ ας
7b ◡ ◡ — ◡ |◡ — — (5 )
ὀ χ υ ρ ο ῖσ ι π επ ο ιθ ὼς
8b ◡ ◡ — |◡ ◡ — (4 )
σ τυ φ ε λο ῖς ἐφ έ ταις [9 5]
9b — ◡ ◡ — |◡ ◡ — (5 )
χ ρ υ σ ο γ ό νο υ γ ε νεᾶς
10b — ◡ ◡ — — (4 )
ἰσ ό θ εο ς φ ώς
234
Strophe A
It has crossed [78]

The cit y-sacker already
The arm y of the King [80]
To the neighbouring land opposite
On a flax -bound raft
Making the crossing
(Over) Athamantid Helle
A many-riveted roadway [85]
Casting a yoke
Across the neck of the sea
Antistrophe A
And of the many men

The warlike leader of Asia
Against the whole world [90]
Drives his godlike herds
At once by land
And from the sea
Trusting in tough
And rugged commanders [95]
Of the gold -born race
A man equal to a god
235
Notes.
The corresponsion test for this arrangement of the lines is as
follows:
1a ◡ ◡ — — [— ] (4 )
1b ◡ ◡ — — [— ] (4 )
2a ◡ — — ◡ ◡ | — — [6 ]
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — — | ◡ [— ] [4]
3b ◡ ◡ — — | ◡ [— ] [5]
4a — — ◡ ◡ — | — ◡ ◡ — — (8 )
4b — — ◡ ◡ — | — ◡ ◡ — — (8 )
5a ◡ ◡ — — | ◡ ◡ — (5 )
5b — ◡ — | — ◡ ◡ — [5]
6a — ◡ ◡ — — (4 )
6b — ◡ ◡ — — (4 )
7a ◡ ◡ — ◡ ◡ | — — (5 )
7b ◡ ◡ — ◡ | ◡ — — (5 )
8a ◡ ◡ — ◡ | ◡ — [— ] (5 )
8b ◡ ◡ — ◡ ◡ — (4 )
9a ◡ ◡ — ◡ ◡ — (4 )
9b — ◡ ◡ — | ◡ ◡ — (5 )
10a — ◡ ◡ — — (4 )
10b — ◡ ◡ — — (4 )
Under the un -nuanced anal ysis by tone group the stanzas resolve to
the same number of logoi with commensurate beat -counts. The onl y
exceptions, 8a-8b and 9a-9b are discussed below.
There is a high degree of metrical and rhythmical corresponsion in

the Working Text, and the Experimental Text corresponds exactly.
236
The minor variations, for example, between lines [86] and [96],
will be an important comparative for other l yric passages in this
and other plays. The rhythmic patterns revealed here, and in the
first ode in general, are not greatl y distinguished from those of the
parodos, except there are a greater number of hexa - and
heptasyllabic measures.
Metrical and colometric considerations.

1a-1b: π επ έρ ακ ε ν μὲν [78] / π ο λυ ά νδ ρο υ δ ( ὲ) [88]: these groupings
are the result of the rigid application of the Principle of Separation.
The μ ὲν and δ έ phrases of these lines answer each other, but the
lines of the Working Text do not form logoi according to the basic
definition of this study. The separ ation of the phrases necessitates
the restoration of the elided epsilon of δ ὲ . This is a speculative
treatment, and although it helps achieve corresponsion in this and
subsequent lines, it remains unsatisfactory. For the lineation of the
Experimental Text, see the discussion of 2a -2b, below.
Both lines of the Working Text scan to word -end as dact ylopaests -
1.
2a-2b: ὁ π ερ σ έπ το λ ις ἤδ η [79] / Ἀ σ ί ας θο ύ ρ ιο ς ἄρχ ω ν [89]: these

lines of the Working Text fail corresponsion by one half -beat, and
2a [79] does not form a satisfactory logos. The simple expedient of
presenting [78-79] and [88-89] as a single line remedies this:
1a ◡ ◡ — — | ◡ ◡ — — | ◡ ◡ — — (9 )
π επ έρ ακ ε ν μὲ ν ὁ π ερσ έπ το λις ἤδ η
2a ◡ ◡ — — | ◡ ◡ — — |◡ ◡ — — (9 )
π ο λυ ά νδ ρ ο υ δ ’ Ἀσί ας θο ύ ριο ς ἄρχω ν
This, then, is the same lineation as the traditional text. For

convenience, the lines have been scanned as a succession of minor
237
ionics and do not scan to wor d-end. The remaining lines of this
strophic pair, however, do scan to word -end.
In contrast with the other lines of this strophic pair, lines [88 -89]
show a longer phrase length. With this we may compare the longer
lines that introduced the spoken movemen ts of the parodos. 312
3a-3b: β α σ ίλ ειο ς σ τρ α τ ὸ ς [80] / ἐ π ὶ π ᾶσ α ν χ θό ν α [90]: both lines of

the Working Text present individuated logoi and correspond
metricall y, and are scanned to word -end as a minor ionic + final
isolated iamb.
On the basis of the internal rhythmic cohesiveness of both phrases,

these measures are scanned in the Experimental Text as a
hexasyllabic ‘anadactyl’, with the final short syllable is lengthened
by position at line-end. 313 Although both lines contain the same
number of syllables and form the same metrical pattern, their beat -
counts differ on the basis of the convention employed in this study.
While both lines count to four -and-a-half beats, line [80] becomes
four beats because of its closed final syllable, while line [90] is
counted as five beats because of its open final. Despite this,
corresponsion must be regarded as exact.
In line [80] σ τρ α τό ς is read for its position at line -end.
4a-4b: ε ἰς ἀ ν τί π ο ρ ο ν γ ε ί το ν α χ ώρ α ν [81] / π ο ιμ α νό ρ ιο ν θ εῖο ν

ἐ λα ύ ν ει [91]: both lines present self-contained tonal groupings and
312 See the commentaries on the third and fourth movements of the parodos
in Ch.4, Anapaests.
313 A so-called ‘anceps’ anadactyl. See Ch.3, Principal Measures: Dipartite
Dactylopaestic Hexasyllables. Its corollary, the ‘dactanapaest’, ( - u u u u - ),

occurs in the kommos, strophe B, line [967].
238
stand in paratactic apposition to the preceding lines. The lines scan
to word-end as dact ylopaest -3 + dact ylopaest-2. This anapaestic
dimeter is not shown by any of the editors consulted in this
study. 314
5a-5b: λ ι νο δ έ σ μ ῳ σ χ εδ ί ᾳ [82] / δ ιχό θε ν π εζ ο νό μο ις [92]: the tonall y

affective texts read π εζο νό μο ις with the majorit y of the manuscript
tradition. Lines [82 -83] and [91-92] could form a single tonal
grouping. The interactions of the accented syllables in each line,
however, seem to dictate a subtle yet appreciable pause in delivery
between phrases, and the lineation also better presents the rhyt hmic
and semantic force of the lines. They are therefore kept in isolation
in the Experimental Text.
In the Working Text these li nes are metricall y identical but scan to
word-end differentl y. On the basis of the grammatical cohesiveness
and rhythmic balance of their accented syllables, both lines are
scanned as dianapaests (A) in the Experimental Text. 315
6a-6b: π ο ρ θ μὸ ν ἀμ είψ ας [83] / ἔ κ τε θ αλ άσσ ας [93]: according to the

lineation of the tonally affective texts, these lines are presented as
under intra-tonal separation, where π ο ρ θ μ ὸ ν ἀ μεί ψας and ἔκ τε
θ αλάσ σ ας present distinct grammatical elements within a larger
paratactic construct ion.
Lines [83] and [93] scan to word -end as dact ylopaests -2.
314 Garvie, West, Sommerstein and Page give [80-81] and [90-91] as single
lines. Broadhead, Sidgwick and Smyth read a line-break within the words
ἀν τίπ ο ρ ο ν and π ο ιμ α νό ριο ν .
315 See Ch.3, Principal Measures, Dactylopaests: Other Dactylopaestic
Heptasyllables.
239
7a-7b: Ἀ θ α μ α ν τίδ ο ς Ἕ λλ ας [84] / ὀ χυ ρο ῖσι π ε π ο ι θὼς [94]: these lines
are given under intra -tonal separation in the tonall y affective
texts. 316 The scansion of the Working Text is unsatisfactory. On the
basis of their internal rhythmic and grammatical cohesion, they are
scanned in the Experimental Text as dianapaests (B). 317
8a-8b: π ο λύ γ ο μφ ο ν ὅ δ ισ μ α [85] / σ τ υ φ ελο ῖς ἐφ έ τα ις [95]: these lines,

along with the following pair, fail corresponsion by a fu ll beat.
Line [85] scans to a dianapaest (B) on the basis of its grammatical
unit y; the same measure that appears in lines [84] and [94]. Line
[95] scans to word-end as a dianapaest.
9a-9b: ζ υ γ ὸ ν ἀμφ ιβ α λὼ ν [86] / χ ρ υ σο γ ό νο υ γ ε νε ᾶς [96]: these lines

also fail corresponsion by a full beat. Line [86] scans to word -end
as a dianapaest, which corresponds to the dianapaest of line [95].
Line [96] scans to as a dactanapaest (A) ( - u u - u u - ) by virtue of
its grammatical and rhythmic unit y. In contrast with t he dianapaest
(B) of line [85], we see rhythmical corresponsion between different
metrical forms:
◡ ◡ — ◡ ◡ — [— ] (5 )
π ο λύ γ ο μφ ο ν ὅ δ ι σ μ α [8 5]
— ◡ ◡ — ◡ ◡ — (5 )
χ ρ υ σ ο γ ό νο υ γ ε νεᾶς [9 6 ]
The lines then correspond with resolution in alternate syllables. In

the Experimental Text lines [86] and [85] are transposed, achieving
corresponsion here, and between lines [86] and [95].
316 For further discussion of this, see the interpretive commentaries, below.
317 See Ch.3, Principal Measures: Other Dactylopaestic Heptasyllables.
240
10a-10b: α ὐ χ έν ι π ό ντ ο υ [87] / ἰ σ ό θεο ς φ ώς [97]: both lines scan to
word-end as dact ylopaests -2, and stand in apposition to the
preceding lines.
Textual Criticism.
Lines [78-79] and [88-89]: construe as single lines.
Lines [80] and [90]: scan ‘anceps’ anadactyl; read σ τρ α τό ς for line-
end.
Lines [82] and [92]: scan dianapaest (A).
Lines [84] and [94]: scan dianapaest (B).
Lines [85] and [86]: transpose to achieve strophic corresponsion. 318
Line [85]: scan dianapaest (B).
Line [96]: scan dactanapaest (A).
The Experimental Text is as follows.
318 See the interpretive commentary, below.

241
Experimental Text.
First Strophic Pair, 65 -80 [78-97].
Strophe A, (65 -71) [78-87] 319
1a ◡ ◡ — —|◡ ◡ — — |◡ ◡ — — (9 )
π επ έρ ακ ε ν μὲ ν ὁ π ερσ έπ το λις ἤδ η [7 8 ]
2a ◡ ◡ — — ◡ [— ] [4]
β ασ ίλ ειο ς σ τρ α τό ς [8 0 ]
3a — — ◡ ◡ — |— ◡ ◡ — — (8 )
εἰς ἀν τ ίπ ο ρο ν γ εί το ν α χώρ α ν [8 1 ]
4a ◡ ◡ — — ◡ ◡ — (5 )
5a — ◡ ◡ — — (4 )
6a ◡ ◡ — ◡ ◡ — — (5 )
7a ◡ ◡ — ◡ ◡ — (4 )
ζυ γ ὸ ν ἀμφ ιβ α λὼ ν [8 6 ]
8a ◡ ◡ — ◡ ◡ — — (5 )
9a — ◡ ◡ — — (4 )
319[80]: scanned ‘anceps’ anadactyl; [82]: scanned dianapaest (A); [84]

scanned dianapaest (B); [85] and [86] transposed; [86] scanned dianapaest;
[85]: scanned dianapaest (B).
242
Antistrophe A, 74 -80 [88-97] 320
1b ◡ ◡ — — | ◡ ◡ — — |◡◡ — — (9 )
π ο λυ ά νδ ρ ο υ δ ’ Ἀσί ας θο ύ ριο ς ἄρχω ν [8 8 ]
2b ◡ ◡ — — ◡ [— ] [5]
ἐπ ὶ π ᾶσ αν χθ ό ν α [9 0 ]
3b — — ◡ ◡ — |— ◡ ◡ — — (8 )
π ο ιμ αν ό ρ ιο ν θεῖο ν ἐλ αύ νει [9 1 ]
4b ◡ ◡ — — ◡ ◡ — (5 )
5b — ◡ ◡ — — (4 )
ἔκ τε θ αλ άσσ ας
6b ◡ ◡ — ◡ ◡ — — (5 )
7b ◡ ◡ — ◡ ◡ — (4 )
8b — ◡ ◡ — ◡ ◡ — (5 )
9b — ◡ ◡ — — (4 )

dianapaest (B); [96]: scanned dactanapaest (A).
243
Corresponsion test for Experimental Text:
1a ◡ ◡ — — | ◡ ◡ — — | ◡ ◡ — — (9 )
1b ◡ ◡ — — | ◡ ◡ — — | ◡ ◡ — — (9 )
2a ◡ ◡ — — ◡ [— ] [4]
2b ◡ ◡ — — ◡ [— ] [5]
3a — — ◡ ◡ — | — ◡ ◡ — — (8 )
3b — — ◡ ◡ — | — ◡ ◡ — — (8 )
4a ◡ ◡ — — ◡ ◡ — (5 )
4b ◡ ◡ — — ◡ ◡ — (5 )
5a — ◡ ◡ — — (4 )
5b — ◡ ◡ — — (4 )
6a ◡ ◡ — ◡ ◡ — — (5 )
6b ◡ ◡ — ◡ ◡ — — (5 )
7a ◡ ◡ — ◡ ◡ — (4 )
7b ◡ ◡ — ◡ ◡ — (4 )
8a ◡ ◡ — ◡ ◡ — — (5 )
8b — ◡ ◡ — ◡ ◡ — (5 )
9a — ◡ ◡ — — (4 )
9b — ◡ ◡ — — (4 )
244
Interpretive Commentary, First Strophic Pair: Strophe and
Antistrophe A.
Strophe A
Already the cit y-sacker has crossed [78]
To the neighbouring land opposite [81]
Making the crossing
Casting a yoke [86]
Antistrophe A
And the warlike leader of many-manned Asia
Drives his godlike herds [91]
At once by land
And from the sea
Trusting in tough
Notes.
Anal ysis by tone group delivers exact corresponsion between
strophe and antistrophe in a passage seemingl y regarded as
245
intractable. 321 At the same time it has been used to make cogent
textual criticisms.
The lineation presented in the Experimental Text is understood as

being determined by the intra -tonal separation of longer phrases
into their component logoi. In general, intra -tonal separation
appears to be more frequent in the l yrics of this first ode than in the
parodos, where the phenomenon is associated with narrative and
dramatic focal points. We may suppos e that in the different musical
context of l yric, the limits of the actors’ breath will also have been
a determining factor. The individuated phrases work well both
rhythmicall y and semanticall y, and the separation gives each phrase
the maximum potential f or impact (and comprehension) in the
original performance context. An alternative lineation is discussed
at the end of this section.
The strophe focuses on the crossing of the arm y and the means by
which this is achieved. The antistrophe recasts this same event with
reverence to the ‘warlike leader’, Xerxes. This construction will be
mirrored in the second strophic pair, where the strophe begins with
a reference to Xerxes , who is identified metaphoricall y with his
arm y, which is then metaphoricall y describ ed as an unstoppable
natural force.
Line [78]: ‘Already the city -sacker has crossed’. This is given as
two lines in the Working Text. As can be seen from the translation
of that text, the separation is not impossible, and could be
321The difficulties in this passage are best seen in those edd. (Smyth,
Sidgwick, Broadhead and West) who, for the sake of corresponsion read line-
breaks in the middle of words. This can only be regarded as entirely counter-
intuitive in terms of the tonally affective appreciation of the poetics of this
play. See also Garvie’s somewhat perplexing scansion of this strophic pair in
his Metrical Appendix (372).
246
determined by the musica l context. The Experimental Text removes
the illegal measure of line [79] in the Working Text and delivers
corresponsion. Lines [78 -81] present the first grammatical
construction of the strophe, corresponding to that of lines [88 -91]
in the antistrophe. Th e sense here is that the cit y-sacking army of
the king has already crossed to the neighbouring land.
Line [80]: ‘The army of the king’. Garvie (65-72n, 72) notes that
this expression prepares us for the ‘double tragedy of both army
and king’, an interpret ation which is supported by the tonal
separation of the phrase. The line should perhaps properl y be
translated as ‘the kingl y arm y’, recalling as it does the ‘kingl y
return’ of lines [11 -12] in the second movement. Rose (65 sqq.n), in
noting the asyndetic constructions of which these stanzas are
composed, observes that phrases such as this and the γ εί το να χώρα ν
of line [81] are ‘each very nearl y one word’, an observation that
anticipates the effectiv eness of an anal ysis by tone group and the
paratactic structures identified in the tonall y affective texts.
Line [81]: ‘To the neighbouring land opposite’. This line

completes the larger grammatical construction of lines [78 -81],
corresponding to that of lines [88 -91].
Lines [82-83]: ‘On a flax -bound raft / Making the crossing’.

These lines form an additional grammatical construction that stands
in apposition to lines [78 -81] and prepares for that of lines [84 -87].
Lines [84-87]: ‘(Over) Athamantid Helle / Casting a yoke

(transp.)/ A many -riveted roadway (t ransp.) / Across the neck of
the sea’. As shown in the metrical commentary, the transposition of
lines [85-86] achieves corresponsion between these and lines [95 -
96]. This reading gives much better sense. The crossing is
247
described as the metaphorical casti ng of a yoke, which is then
described in concrete terms as a well -built roadway. The yoke -
imagery closel y recalls that of line [58] of the parodos; as Garvie
notes (65-72n, 73), ‘in seeking to cast a yoke of slavery on Greece
Xerxes finds it necessary to yoke the Hellespont’. The objective
genitive of Ἀ θ αμ α ν τί δ ο ς Ἕλλ ας may be explained by the force of the
compound verb in ἀμ φ ι -.
The construction of the traditional texts makes reasonable sense,

but there is something odd in its sense and the rhythmic interaction
of the phrases, which could be assumed to derive from the lost
conventions of Greek poetics. It was only upon experimenting with
the transposition – purel y for the sake of metrical corresponsion –
that the better sense of this reading became ap parent.
Line [88]: ‘And the warlike leader of many -manned Asia’. As

discussed in the metrical commentary, two lines of the Working
Text are conjoined to achieve corresponsion. The topic of the
antistrophe remains the crossing of the Hellespont, but now Xe rxes,
the ‘warlike leader’ is the focus. The first grammatical construction
of the antistrophe, that ‘the war -leader drives his divine flock
against the whole world’, extends from [88 -91], reflecting the
construction of lines [78 -81] in the strophe.
[90-91] ‘Against the whole world / Drives his godlike herds’.

These lines could be presented as a single tone group. The
separation given in both tonall y affective texts is presumed to show
more clearl y the force of the individual phrases, which are given
under intra-tonal separation. See below for a discussion of an
alternative lineation.
248
Lines [92-93]: ‘At once by land / And from the sea’. Again, these
paired lines could be delivered as a single tone group. The
grammatical irregularit y of the phrase δ ιχ ό θε ν π ε ζο νό μο ις is not
greatl y troubling. The word δ ιχ ό θ ε ν itself implies a separation, and
the separation here has the additional advantage of isolating the
phrase ἐκ τε θα λάσ σ α ς ; the sea is the scene of the principal disaster
in the world of the play. The dati ve of π ε ζο νό μο ις can be understood
as a dative of means; it is equivalent to the π ε ζο ί τε β άδ η ν of line
[28]. 322
Lines [94-95]: ‘Trusting in tough / And rugged commanders’.

These two lines could be taken together as a logos. See below for a
discussion of a n alternative lineation of this strophic pair. The
separation of the lines emphasises the chiasmus that is present
regardless of how the lines are construed, and the isolated adjective
will not be troubling to an audience that has been conditioned to
intra-tonal separation. In the context of this strophic pair, every
second line presents a grammatical construction that awaits
completion in the subsequent phrase.
[96-97] ‘Of the gold -born race / A man equal to a god’. I have
read the v.l. χ ρ υ σ ο γ ό νο υ of F (Garvie’s designation for Laur.31.8).
Garvie’s defence of the better -attested reading χρυ σο νό μ ο υ (73-80n,
75-6) is unconvincing. Rather than being ‘pointlessl y flat’, the
repetition of the root -gen- is evocative of the wealth of the
Persians, and of the uni t y of their diverse arm y, with which the
parodos is chiefl y concerned; and a parableptic repetition of the
root of π ε ζο νό μ ο ις , line [92], seems an unlikel y source of the
variation. Additionally, the reading χρυ σο γ ό νο υ gives a better basis
322For a defence of Blayde’s π εζο νό μ ο ς τ ’ , see Garvie, 73-80n, 75, and

Broadhead, 76n.
249
for the grandiose designation of Xerxes in line [97]. Both Xerxes
and Darius will be described as divinities in the Elders’ first
address to Atossa at 155 -158 [160-167]. 323
A note on an alternative lineation.

The paired lines that make up subsidiary sense units in this stro phic
pair could well be presented as single lines corresponding to single
logoi. This approach makes for a smoother English translation, but
that is of secondary importance. 324 The exception here is predicated
on the transposition of lines [85] and [86], giv en in the
Experimental Text: when these are taken together there is an
unconvincing hiatus between ὅ δ ισ μ α and α ὐ χένι , and elision to
ὅ δ ισ μ’ causes a half-beat failure in corresponsion. For this reason
the final two lines of strophe and antistrophe are presented as per
The difference between the two presentations could very well

reflect the difference between the longer lines of a literary text, and
one that represents the shorter musical phrases around which the
delivery in performance was structured. Here, then, is an
alternative lineation, without presumed intra -tonal separation.
323These lines are discussed in Ch.6, Tetrameters.

324Note that while this alternative lineation makes for a smoother English
translation, the order of the paired phrases will be reversed in nearly every
instance.
250
Strophe:
1a ◡ ◡ — — |◡ ◡ — — |◡ ◡ — — (9 )
π επ έρ ακ ε ν μὲ ν ὁ π ερσ έπ το λις ἤδ η [7 8 - 9 ]
2a ◡ ◡ — — ◡ ◡ | — — ◡ ◡ — | — ◡ ◡ — — (1 2 )
β ασ ίλ ειο ς σ τρ α τὸ ς εἰ ς ἀν τίπ ο ρ ο ν γ εί το να χώρα ν
3a ◡ ◡ — — ◡ ◡ — | — ◡ ◡ — — (9 )
λινο δ έσ μ ῳ σχεδ ί ᾳ π ο ρ θμ ὸ ν ἀμε ίψ ας [8 2- 3 ]
4a ◡ ◡ — ◡ ◡ — — | ◡ ◡ — ◡ ◡ — (9 )
Ἀθ α μ αν τίδ ο ς Ἕλλ ας ζ υ γ ὸ ν ἀ μφ ιβ αλ ὼν [8 4- 8 6 ]
5a ◡ ◡ — ◡ ◡ — — (5 )
6a — ◡ ◡ — — (4 )
Antistrophe:
1b ◡ ◡ — — | ◡ ◡ — — |◡ ◡ — — (9 )
π ο λυ ά νδ ρ ο υ δ ’ Ἀσί ας θο ύ ριο ς ἄρχω ν [8 8 - 9 ]
2b ◡ ◡ — — ◡ ◡ | — — ◡ ◡ — |— ◡ ◡ — — (1 2 )
ἐπ ὶ π ᾶσ αν χθ ό ν α π ο ι μ α νό ριο ν θεῖο ν ἐ λαύ νε ι
3b ◡ ◡ — — ◡ ◡ — | — ◡ ◡ — — (9 )
δ ιχ ό θε ν π εζο νό μο ις ἐ κ τε θ αλά σσας [9 2- 3 ]
4b ◡ ◡ — ◡ ◡ — — | ◡ ◡ — ◡ ◡ — (9 )
ὀ χ υ ρ ο ῖσ ι π επ ο ιθ ὼς σ τ υ φ ελο ῖς ἐφ έτ αις [9 4- 5 ]
5b — ◡ ◡ — ◡ ◡ — (5 )
6b — ◡ ◡ — — (4 )
This lineation would stretch the limits of the actors’ breath,

especiall y given the circumflex accent late in line 2b. While the
phrases so-disposed present grammatical unities, their sense is
251
blunted by the rhythmic compression that arises when the rests
implied by the form of the Working and Experimental Texts are
removed.
252
Metrical Commentary, Second Strophic Pair: Strophe and
Antistrophe B , 81-92 [98-109].
Strophe B (81 -86) [98-103].
1a ◡◡ ◡— | — ◡ ◡ — — [6 ]
κ υ άνεο ν δ ᾽ὄ μ μ ασι λεύ σσω ν [9 8 ]
2a ◡ ◡ — | — ◡ ◡ — [— ] (6 )
φ ο νίο υ δ έργ μ α δ ράκ ο ν το ς
3a ◡ ◡ — | — ◡ ◡ — — (6 )
π ο λύ χ ειρ κ αὶ π ο λυ ν αύ τ ας [1 0 0 ]
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
Σύ ρ ιό ν θ᾽ἅ ρμ α δ ιώκ ω ν
5a ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
ἐπ άγ ει δ ο υ ρικ λύ το ις ἀνδ ρά σι
6a — ◡ — ◡| — — (5 )
το ξ ό δ α μ νο ν Ἄρη [1 0 3 ]
Antistrophe B (87 -92) [104-109].
1b ◡ ◡ — | — ◡ ◡ — — (6 )
δ ό κ ιμο ς δ ᾽ο ὔ τις ὑ π ο σ τὰς
2b ◡ ◡ — |— ◡ ◡ — — (6 )
μεγ άλ ῳ ῥ εύ μ α τι φ ω τ ῶ ν [1 0 5 ]
3b ◡ ◡ — |— ◡ ◡ — — (6 )
ἐχ υ ρ ο ῖς ἕρκ ε σι ν εἴργ ειν
4b ◡ ◡ — |— ◡ ◡ — — (6 )
ἄμ αχ ο ν κ ῦ μ α θ αλάσσ α ς
5b ◡ ◡ — — | ◡ ◡ — — | ◡ [— ] [7 ]
ἀπ ρ ό σ ο ισ το ς γ ὰρ ὁ Π ερσᾶ ν σ τρ ατ ὸ ς
6b — ◡ — ◡ | — [— ] (5 )
ἀλκ ίφ ρ ω ν τε λα ό ς [1 0 9 ]
253
Strophe B
Glancing darkl y with his eyes [98]
The stare of the deadly dragon
Many-handed and many-shipped [100]
Driving a S yrian chariot
He leads against spear -famous men
Bow-fighting Ares [103]
Antistrophe B
No one is reckoned to stand
Against this great tide of men [105]
To ward off with strong walls
The unfightable wave of the sea
For the Persian arm y is irresistible
And the people are valiant [109]
Notes:
The corresponsion test for this strophic pair is as follows:
1a ◡ ◡ ◡ — | — ◡ ◡ — — [6 ]
1b ◡ ◡ — | — ◡ ◡ — — (6 )
2a ◡ ◡ — | — ◡ ◡ — [— ] (6 )
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
3b ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
4b ◡ ◡ — | — ◡ ◡ — — (6 )
5a ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
5b ◡ ◡ — — | ◡ ◡ — — | ◡ [— ] [7 ]
6a — ◡ — ◡ | — — (5 )
6b — ◡ — ◡ | — [— ] (5 )
254
The stanzas show a high degree of corresponsion when the lines are
disposed according to tone groups. The lineation is much the same
as that of West; Garvie gives them as longer lines, each composed
of two consecutive logoi and, in so doing, he avoids the breaking of
words at line -end. 325 From the point of view of anal ysis by tone
group it is surprisin g that the continuous sense -units of ἐπ άγ ει
δ ο υ ρ ικ λύ το ις ἀ νδ ρ ά σ ι and ἀπ ρό σο ισ το ς γ ὰρ ὁ Περσᾶ ν σ τρ α τὸ ς were
ever separated. The practice might be explicable with reference to
enjambment; but there is no evidence of genuine enjambment
anywhere in the analysed portions of this play. The tonal lineation
is in accordance with the paratactic succession of phrases that is
seen throughout this anal ysis.
The first four lines of strophe and antistrophe are metricall y

identical, scanning as an initial anapaest + dact ylopaest -3, or one-
and-a-half anapaestic measures according to traditional metrics.
The same metrical form occurs at line [62] of the parodos, and in
the Elders’ brief l yric response to Darius at [700 -703].
Lines [103] and [109] show trochiambic measures. The blending of

dact ylopaests and trochiambs is a feature of other l yric stanzas.

1a-1b: κ υ ά νεο ν δ ᾽ὄ μ μ α σι λεύ σσ ω ν [98] / δ ό κ ι μο ς δ ᾽ο ὔ τις ὑ π ο σ τὰς
[104]: in the Working Text, these lines fail corresponsion onl y by
the additional half -beat of κ υ άν εο ν . Scanning with synizesis
achieves exact corresponsion and this scansion is adopted for the
325 West et al. do this in the penultimate line of the strophe for the sake of a
paroemiac. On the absence of paroemiacs in this ode see the discussion of 6a-
b, [103] and [109], below.
255
Experimental Text. 326 Both lines scan to word -end as initial
anapaest + dact ylopaest -2. ὑ π ο σ τάς will be read for line -end in line
[104].
2a-2b: φ ο νίο υ δ έ ρ γ μ α δ ρ άκ ο ν το ς [99] / μ ε γ ά λῳ ῥ εύ μ α τι φ ω τῶ ν [105]:

these lines show perfect corresponsion. Line [99] is tonall y
differentiated from [98] in as much as the metaphor is a subordinate
clause. Similarl y, although lines [104 -105] could be expressed
within a single tonal space, line [105] provides context to line
[104], ‘No one is reckoned to stand’, which otherwise could stand
as an expression of a single and self -contained idea.
Both lines scan to word -end as an initial anapaest + dact ylopaest -2.
3a-3b: π ο λύ χ ειρ κ αὶ π ο λυ ναύ τ ας [100] / ἐ χυ ρο ῖς ἕρκ εσι ν εἴρ γ ειν

[106]: the metrical regularit y of the tone groups continues with
these lines, with both scanning to word -end as initial anapaest +
dact ylopaest-2.
4a-4b: Σ ύ ρ ιό ν θ᾽ἅ ρ μ α δ ι ώκ ω ν [101] / ἄ μ αχο ν κ ῦ μα θ α λάσσ ας [107]:

these lines are of the same form as the preceding three. Line [101]
is another subordinate clause in the lengthy description of Xerxes
as the dragon-arm y. Lines [106-107] could be presented as a single
line as in Garvie’s text. The separation of these lines, however,
heightens the force of the metaphorical, and traditional, description
of the Persian arm y as an ‘unfi ghtable wave’.
The lines scan to word -end as an initial anapaest + dact ylopaest -2.
326So Garvie (Metrical Appendix, 372), who scans the word as an anapaest.
See Conclusions: Traditional Metrics Comparison, Synizesis and Correption.
256
5a-5b: ἐ π άγ ει δ ο υ ρ ι κ λύ τ ο ις ἀ νδ ρά σι [102] / ἀ π ρό σο ισ το ς γ ὰρ ὁ
Π ερ σ ᾶ ν σ τ ρ α τὸ ς [108]: these lines depart from the metrical
regularit y of the earlier lines, but their form is all-but guaranteed
by the corresponsions of the surrounding lines. As scanned in the
Working Text, they are metricall y identical but rhythmicall y
different, and are not scanned to regular dact ylopaestic measures.
Line [102], however, can be scanned to wor d-end as an initial

anapaest + ‘anceps’ didact yl (A), while [108] will scan as an initial
minor ionic + ‘anceps’ anadact yl. 327 The rhythmic difference
between the two lines is reflected in the disposition of their
accented syllables, and may be taken as poin ting to allowed
rhythmic variations between corresponding stanzas. It does not
seem reasonable to scan one or other of the lines without regard to
word-end for the sake of metrical regularit y.
σ τρ α τό ς is to be read for line-final position.
6a-6b: τ ο ξό δ α μ νο ν Ἄρ η [103] / ἀ λκ ίφ ρω ν τε λα ό ς [109]: both lines

scan to word -end as trochiambic measures. The blending of
dact ylopaests and trochiambs is a feature of several strophic pairs,
notabl y the second strophic pair in the kommos, while strophe and
antistrophe D (see below) show exclusively trochiambic measures.
The lines show a rhythmical unit y that is, in part, enforced by their
brevit y, and they each are scanned as an ‘anceps’ tritrochee. 328
Strophic corresponsion shows that the phoneme - φρ - does not make
position here, and ἀ λ κ ίφ ρω ν is scanned with a short syllable.
327See Ch.3, Principal Measures: Other Dactylopaestic Heptasyllables.

328See Ch.3, Principal Measures: Trochiambic Hexasyllables, Dipartite and
Tripartite Hexasyllables.
257
Textual Criticism.
As the changes in the Experimental Text are metrical, no new
translation is required.
Line [98]: scan initial anapaest by synizesis of κ υ ά νεο ν .

Line [102]: scan anapaest + ‘anceps’ didact yl.
Lines [103]: scan ‘anceps’ tritrochee.
Line [104]: read ὑ π ο σ τάς for line-end.
Line [108]: scan minor ionic + ‘anceps’ anadact yl; read σ τρ α τ ό ς for
line-end.
Line [109]: scan ‘anceps’ tritrochee.
258
Experimental Text.
Second Strophic Pair, (81-92) [98-109]. 329
Strophe B (81 -86) [98-103].
1a ◡ ◡ — | — ◡ ◡ — — (6)
κυάνεον δ᾽ὄμμασι λεύσσων [98]
2a ◡ ◡ — |— ◡ ◡ — [—] (6)
φονίου δέργμα δράκοντος
3a ◡ ◡ — | — ◡ ◡ — — (6)
πολύχειρ καὶ πολυναύτας [100]
4a ◡ ◡ — | — ◡ ◡ — — [6]
Σύριόν θ᾽ἅρμα διώκων
5a ◡ ◡ —|— ◡ ◡ — — ◡ [—] [8]

ἐπάγει δουρικλύτοις ἀνδράσι
6a — ◡ — ◡ — — (5)
τοξόδαμνον Ἄρη [103]
Antistrophe B (87 -92) [104-109].
1b ◡ ◡ — | — ◡ ◡ — — (6)
δόκιμος δ᾽οὔτις ὑποστάς
2b ◡ ◡ — |— ◡ ◡ — — (6)
μεγάλῳ ῥεύματι φωτῶν [105]
3b ◡ ◡ — |— ◡ ◡ — — (6)
ἐχυροῖς ἕρκεσιν εἴργειν
4b ◡ ◡ — |— ◡ ◡ — — (6)
ἄμαχον κῦμα θαλάσσας
5b ◡ ◡ — — | ◡ ◡ — — ◡ [—] [7]
ἀπρόσοιστος γὰρ ὁ Περσᾶν στρατός
6b — ◡ — ◡ — [—] (5)
ἀλκίφρων τε λαός [109]
329[98]: scanned with synizesis of κ υ άν εο ν ; [102]: scanned anapaest +

didactyl (A); [103]: scanned ‘anceps’ tritrochee; [104] read ὑ π ο σ τάς ; [108]:
scanned minor ionic + ‘anceps’ anadactyl, read στρ α τό ς ; [109]: scanned
‘anceps’ tritrochee.
259
The Corresponsion Test for the Experimental Text:
1a ◡ ◡ — | — ◡ ◡ — — (6 )
1b ◡ ◡ — | — ◡ ◡ — — (6 )
2a ◡ ◡ — | — ◡ ◡ — [— ] (6 )
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
3b ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
4b ◡ ◡ — | — ◡ ◡ — — (6 )
5a ◡ ◡ — | — ◡ ◡ — — ◡ [— ] [8 ]
5b ◡ ◡ — — | ◡ ◡ — — ◡ [— ] [7 ]
6a — ◡ — ◡ — — (5 )
6b — ◡ — ◡ — [— ] (5 )
260
Interpretive Commentary, Second Strophic Pair: Strophe and
Antistrophe B.
Strophe B (81 -86) [98-103].

Antistrophe B (87 -92) [104-109]

Notes.
Both strophe and antistrophe composed of a pa ratactic series of
couplets, with the second line in apposition to the first. This
relation is clearer in the strophe; several paired lines of the
antistrophe could be expressed as single tone groups, but it is not
necessary to suppose intra -tonal separation; although the first three
couplets are grammaticall y related, each stands as a self -contained
idea. In the light of the insights gained from an anal ysis by tone
group, the editorial confusion over these stanzas seems
bewildering. 330
330 Cf. e.g. Garvie (87-92n). The expression of thought and the development
of the metaphors seems much more straight-forward than his analysis would
indicate.
261
The importance of the aurall y-affective qualities of these lines is
demonstrated by the interventions of editors who break a word at
line-end for the sake of a single beat, or a supposed paroemiac.
When these lines are intoned to an isochronic four -beat measure it
becomes clear that there must be a pause before the beginning of
the final phrase in both stanzas. In general, and as we have seen
from the very beginning of the parodos, pauses are essential to the
satisfactory rendering of the rhythmic propertie s of the poetry.
The development of the imagery in strophe and antistrophe can be

described as follows:
Strophe: Xerxes, especiall y his stare, is likened to a dragon [98 -

99]; the dragon is described as many-handed and, in a surprising
(and enjoyable) twi st on the metaphor, ‘many-shipped’, whereby
the entire expeditionary force is imagined as a part of the body of
the Xerxes-dragon, which is driving a chariot [100 -101]; 331 as
dragon-arm y, Xerxes pits the bow of Persia against the spear of
Greece [102-103].
Antistrophe: No one is reckoned to withstand this ‘dragon’ – now a

tide of men [104 -105]; or to ward off the waves of the sea (= the
tide of men = the dragon = Xerxes) with stout walls [106 -107];
because the arm y is irresistible and the people brave [108 -109].
With this appreciation of the paratactic development of what is

effectivel y a single idea, the power of Xerxes and his arm y, little
additional comment is necessary. The following points should,
however, be observed:
331 Rose (84n) describes the adjective ‘Syrian’ as meaning, generally, ‘Asian’
or ‘Oriental’.
262
Lines [102-103]: ‘He leads agains t spear-famous men / Bow -
fighting Ares’. Sm yt h, Sidgwick, Broadhead, West and
Sommerstein all break line [102] after the first syllable of ἀ νδ ράσι .
Although this is indeed the end of an ‘anapaestic system’, the
presumed paroemiacs are irregularl y formed an d count onl y to six
beats rather than the seven of the regular Aeschylean paroemiac.
From the point of view of anal ysis by tone group, the integrity of
the phrases is such that any attempt to enforce line -breaks for the
sake of an assumed paroemiac is coun ter-intuitive. There are no
paroemiacs in this ode.
Lines [104-105]: ‘No one is reckoned to stand / Against this

great tide of men’. As noted by Garvie (97 -92n), the word δ ό κ ιμο ς
is of uncertain force. The primary meaning is ‘examined, tested’
and in general, of persons, ‘trustworthy, approved, esteemed,
notable’ (LSJ sub. δ ο κ ιμ- ασί α II, - ο ς ). The translation ‘reckoned’
represents the force of both meanings and suits the tenor of the
passage. The Greek victory is unexpected.
Lines [106-107]: ‘To ward off with strong walls / The

unfightable wave of the sea’. The construction here is the
equivalent of ‘or to...’ The absence of any expressed ‘or’ clause
makes these lines a paratactic equivalent to, and development of,
the metaphor of [104 -105].
Lines [108-109]: ‘For the Persian army is irresistible / And the

people are valiant’. The final lines of the antistrophe give the
cause underl ying all the previous statements. Additionall y, the
‘and’ clause of [109] gives the reason for the claim of [108 ] in
parataxis: the Persians are irresistible because they are valiant.
263
Metrical Commentary, Third Strophic Pair: Strophe and
Antistrophe C, 101-114 [110-119].
Strophe C 101 -105 [110-114]
1a ◡◡ — — ◡ ◡ | — ◡ ◡ — — |◡ ◡ — [—] (1 1 )
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ’ἐκ ρά τησε ν τὸ π αλ αι ό ν
2a ◡ — — ◡ ◡ | — — [5]
ἐπ έσ κ η ψ ε δ ὲ Πέ ρσα ις [1 1 1 ]
3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
π ο λέμο υ ς π υ ργ ο δ αΐκ το υ ς δ ιέπ ει ν
4a — ◡ ◡ — — | ◡ ◡ — (6 )
ἱπ π ιο χ άρ μας τ ε κ λό νο υ ς
5a ◡ ◡ — |◡ — ◡ — (5 )
π ό λεώ ν τ᾽ἀ ν ασ τάσ εις [1 1 4 ]
Antistrophe C 109-114 [115-119]
1b ◡ ◡ — | — ◡ ◡ — ◡| ◡ — — | ◡ ◡ — | ◡ ◡ — (1 2 )
ἔμ αθ ο ν δ ᾽εὐ ρυ π ό ρο ιο θ αλάσ σας π ο λι αι νο μ έν ας
2b — ◡ ◡ — — (4 )
π νεύ μ ατ ι λάβ ρ ῳ [1 1 6 ]
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
ἐσ ο ρ ᾶ ν π ό ν τιο ν ἄλσο ς
4b ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
π ίσ υ νο ι λεπ το δ ό μο ις π είσμ ασι
5b — ◡ ◡ — |◡ — ◡ — (6 )
λαο π ό ρ ο ις τε μ αχ α ν αῖ ς [1 1 9 ]
264
Strophe C:
For God-sent fate prevailed of old
And imposed on the Persians [111]
The pursuit of tower -destroying wars
And the clashes of chariots
And the razing of cities [114]
Antistrophe C:
And they learned when the wide -bearing sea is greyed
By a rough wind [116]
To look upon the sacred grove of the open sea.
Trusting in finel y-wrought cables
And people-bearing machines [119]
Notes.
This strophic pair presents great difficulties in metrical and
rhythmic interpretation. Nevertheless, anal ysis by tone group is
able to make some progress toward reconciling these difficulties.
There are several problems of corresponsion here, as can be seen
from the corresponsion test:
1a ◡ ◡ — — ◡ ◡ | — ◡ ◡ — — | ◡ ◡ — [—] (1 1 )
1b ◡ ◡ — | — ◡ ◡ — ◡ | ◡ — — | ◡ ◡ — ◡ ◡ — (1 2 )
2a ◡ — — ◡ ◡ | — — [5]
2b — ◡ ◡ — — (4 )
3a ◡ ◡ — | — ◡ ◡ — — | ◡ ◡ — (8 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
4b ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
5a ◡ ◡ — | ◡ — ◡ — (5 )
5b — ◡ ◡ — | ◡ — ◡ — (6 )
265
All paired lines fail corresponsion by between one and two full
beats. There is a full -beat discrepancy between 1a and 2a, 2a and
2b, and 5a and 5b; and a two -beat discrepancy between 3a and 3b
and 4a and 4b. 332
The longer initial phrases of this lineation are reminiscent of the

first strophic pair, and of the intoned movements of the parodos. 333
There are several emendations and variant scansions detailed in the

commentaries below, some of which are unorthodox. The legitimacy
of these measures might rightl y be challenged; their purpose is to
demonstrate that close corresponsion can be achieved wit h
relativel y minor variations in the rhythmic delivery of each spoken
line.
The very closeness of the paired lines, however, raises important

questions as to whether exact corresponsion was always required.
The metrical discrepancies are present, and one wonders whether
the difference of a half -beat between lines was held to be of
rhythmic importance, and whether these minor differences in
rhythm and meter between were a feature of the original
performance text. Of the paired lines noted above, all occupy the
same space in terms of the number of beats in the line but each
332 The lineation of the Working Text is a second attempt; an earlier

arrangement applied the Principal of Separation rigorously, but failed to
produce anything like corresponsion, and the only way to proceed was by
joining logoi.
333 Cp. the lineations of West and Garvie. Were one to try to sing these
according to the notions of rhythm and musicality that inform this analysis –
that rests between phrases are necessary to both sense and delivery – the
problems of corresponsion re-assert themselves.
266
presents a different metrical form, and consequentl y a different
presentation of rhythm. 334

1a-1b: θ ε ό θε ν γ ὰ ρ κ ατ ὰ Μο ῖρ ’ ἐκ ρά τησ ε ν τὸ π αλ αι ό ν [110] / ἔ μ α θ ο ν
δ ᾽ εὐ ρ υ π ό ρ ο ιο θ αλά σ σ ας π ο λι αι νο μ έ νας [115]: below is the
corresponsion test for these lines:
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ’ ἐκ ρά τησε ν τὸ π αλ α ιό ν
1a ◡ ◡ — | — ◡ ◡ — | ◡ ◡ — — | ◡ ◡ — [— ] (1 1 )
2a ◡ ◡ — | — ◡ ◡ — | ◡ ◡ — — | ◡ ◡ — |◡ ◡ — (1 2 )
ἔμ αθ ο ν δ ᾽εὐ ρ υ π ό ρο ιο θ αλάσ σας π ο λι αι νο μ έν ας
There is a rhythmic discrepancy at either εὐ ρυ π ό ρο ι ο or

π ο λια ινο μέ ν ας . Both words seem out of character with the earlier
motifs. Line [110] strikes one as a very strong line and t ypically
Aeschylean; in contrast, the overt Homericisms of [115] seem like
Hellenistic interpolations. 335 The problem probabl y pre -dates our
earliest MSS. The expedient of emending εὐ ρυ π ό ρο ιο to εὐ ρυ π ό ρο υ
achieves better corresponsion:
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ’ ἐκ ρά τησε ν τὸ π αλ α ιό ν
1a ◡ ◡ — | — ◡ ◡ — | ◡ ◡ — — | ◡ ◡ — [— ] (1 1 )
2a ◡ ◡ — | — ◡ ◡ (— )| ◡ — — | ◡ ◡ — | ◡ ◡ — [1 1 ]
ἔμ αθ ο ν δ ᾽εὐ ρ υ π ό ρ[ο υ ] θ αλάσ σας π ο λι αι νο μ έν ας
The lines now are closer to corresponsion, but there is a single

half-beat discrepancy at θ αλάσσ ας in 2a [115].
334 See Conclusions: Dactylopaests: Anapaestic Dimeters and Strophic Lyric,

Strophic Corresponsion. Given the lack of comparative material, it is not
possible to make a final determination on these issues at this time.
335 Compare this flowery language with the striking and original extended
metaphors of the second strophic pair. See also line [55], where Homeric
flourishes also occur in a suspicious passage.
267
The visual-metrical expedient of scanning θα λάσσ ας as an anapaest
will be controversial, but it can be justified by the natural quantit y
of the accented syllable, and the uncertain phonetic value of - σσ -
and - ττ - in Attic pronunciation. 336
The lines now cor respond with resolutions in the final measures.
Line [110] will scan to word -end as an initial dianapaest (A) + 2x
minor ionics. Line [115] scans to the same initial measure, with 3x
anapaests.
This scansion is adopted in the Experimental Text for the pur poses
of comparison and evaluation. Suspicion remains on π ο λι αι νο μ έν ας ,
which, like εὐ ρ υ π ό ρ ο ιο , presents an uncharacteristicall y Homeric
flourish; but no further solutions present themselves.
2a-2b: ἐ π έσ κ η ψε δ ὲ Π έρσ αις [111] / π ν εύ μα τ ι λ άβ ρῳ [116]: there is a

full-beat discrepancy between these lines. The expedient of
suppl ying ἐ ν in [116] goes some way to remedying this problem,
and gives better sense to that line internally and in context.
Additionall y, there is some licence for treating the phone me - σκ - as
syllable-releasing. 337 This will allow the scansion of an initial
anapaestic foot; the natural quantit y of its accented syllable can be
taken to support this treatment.
The lines will then correspond with resolutions:

ἐπ έσ κ η ψ ε δ ὲ Πέ ρσα ις
2a ◡ ◡ — ◡ ◡ | — — (5 )
2b (— ) — ◡ ◡ | — — (5 )
(ἐν ) π νεύ μα τι λάβ ρ ῳ
336Cp. the treatment of - σκ - in line [111]. Cf. West, Greek Metre, 17.
337West’s term. Cf. Greek Metre, 16-17. This treatment of - σκ - is usually
confined to an initial syllable.
268
The internal rhythmic cohesion of both lines allows the scansion of
pol ysyllables. Line [111] scans to word -end as a dianapaest (B),
and line [116] will scan as a dact ylopaestic hexasyllab le-3.
3a-4b: π ο λέ μο υ ς π υ ρ γ ο δ αΐκ το υ ς δ ιέπ ε ιν [112] / π ί συ νο ι λ επ το δ ό μ ο ις

π ε ίσ μ ασ ι [118]: with the transposition of line [117] to post [119]
(see below), these are corresponding lines, but there remains a half-
beat discrepancy between them. The corresponsi on test is as
follows:

3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
4b ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
The metrical corresponsion is not exact, and line [118] is shorter by

a half-beat in its last four syllables. An unorthodox metrical
intervention will achieve corresponsion with resolutions: scanning
π είσ μ ασ ι as a molossus. The intervention is somewhat dub ious, but
it could be argued for on the basis of the natural quantit y of the
uncontracted form of the word, * π είσ μ α τ- σ ι . This scansion is
adopted for the Experimental Text, with the original scansion of the
Working Text noted in the critical apparatus. It may be, however,
that a metrical discrepancy of a single half -beat was of no account
in the musical context of l yrics in tragedy, because of the
conventional appreciation of broad corresponsion among the
original audiences . The final measure would then be an ‘anceps’
dactanapaest (A).
Lines [112] and [118] will then correspond with resolution in the
final measures:
269
3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
4b ◡ ◡ — | — ◡ ◡ — | — — [— ] (8 )
π ίσ υ νο ι λεπ το δ ό μο ις π είσμ ασ ι
Line [112] scans to word -end as initial anapaest + dact ylopaest -2 +

final anapaest. On the basis of the rhythmical and grammatical
unit y of the phrase λ επ το δ ό μο ις π είσμ ασι , line [118] scans to word -
end as an initial anapaest + a dact ylopaestic heptasyllabl e-2.
4a-5b: ἱ π π ιο χ άρ μας τε κ λό νο υ ς [113] / λ α ο π ό ρ ο ις τε μ αχα ν αῖς [119]:

with the transposition of [117], these are corresponding lines. The
corresponsion test is as follows:
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5b — ◡ ◡ — |◡ — ◡ — (6 )
λαο π ό ρ ο ις τε μ αχ α ν αῖ ς
These paired lines correspond in terms of their length but show

different metrical forms. Line [113] scans to word -end as a
dact ylopaest-2 + final anapaest. Line [119] scans to word -end as a
choriamb + diiamb. The presence of tro chiambic measures is a not -
uncommon feature of l yric passages that are principall y
dact ylopaestic. 338
5a-3b: π ό λε ώ ν τ᾽ἀ ν ασ τ άσ εις [114] / ἐ σ ο ρᾶ ν π ό ν τιο ν ἄλσο ς [117]:

with the transposition of [117], these lines correspond as follows:
338See Conclusions, Strophic Corresponsion; cf. the final lines of the second
strophic pair; the phenomenon occurs also in strophe and antistrophe E and
the lyrics of the kommos. Strophe and antistrophe D are trochiambic. The
choriamb occurs more commonly in the analysed dactylopaestic passages.
See Appendix X, Tables of Measures: Subsidiary Measures, Choriambs.
270
π ό λεώ ν τ᾽ἀ ν ασ τάσ εις
5a ◡ ◡ — |◡ — ◡ — (5 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
These lines represent the final problem of this strophic pair: they
fail corresponsion by a full beat and show different metrical forms.
Additionall y, the presence in line [114] of the same trochiambic
measure that rounds off line [119], above, should give pause, as the
lines are in corresponding positions in the Working Text. Despite
the common final measure, their corresponsion was inexact and the
discrepancy of two full beats bet ween [112] and [117] and [113]
and [118] remained unresolved; there is no practical remedy for the
metrical discrepancy between line [114] and any other candidate.
The scansion of the Working Text is retained.
Textual criticism.
The anal ysis by tone group has delivered close corresponsion
between strophe and antistrophe. There remain, however, certain
metrical and rhythmic difficulties that defy remedy at this stage,
most particularl y the seeming necessit y of accepting dact ylopaestic
and trochiambic metra in corresponding lines. The following
features are adopted into the Experimental Text.
Line [110]: scan dianapaest (A) + 2x minor ionics.

Line [111]: scan dianapaest (B), ( u u - u u - - ).
Line [115]: read εὐ ρ υ π ό ρ(ο υ ) for εὐ ρυ π ό ρο ι ο ; scan dianapaest (A) +
medial anapaest ( θ αλ άσσ ας ) + final dianapaest.
Line [116]: read (ἐ ν) π νεύ μ ατ ι λάβ ρ ῳ ; scan dact ylopaestic
hexasyllable-3.
Line [117]: transpose to post [119].
Line [118]: scan dactylopaestic heptasyllable -2 with unorthodox
scansion of * π ε ίσ μ α τ- σ ι .
271
Experimental Text.
Third Strophic Pair, (101-114) [110-119].
Strophe C. (102 -107) [110-114] 339
1a ◡◡ — — ◡ ◡ — |◡ ◡ — — |◡ ◡ — [—] (1 1 )
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ’ἐκ ρά τησε ν τὸ π αλ αι ό ν
2a ◡ ◡ — ◡ ◡ — — (5 )
3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5a ◡ ◡ — |◡ — ◡ — (5 )
Antistrophe C 109 -114 [115-119]
1b ◡ ◡ — — ◡ ◡ (— ) | ◡ ◡ — | ◡ ◡ — ◡ ◡ — (1 1 )
ἔμ αθ ο ν δ ᾽εὐ ρυ π ό ρ(ο υ ) θ αλ άσ σ ας π ο λι αι νο μ έ ν ας
2b (— ) — ◡ ◡ — — (5 )
(ἐν ) π νεύ μα τι λάβ ρ ῳ [1 1 6 ]
4b ◡ ◡ — | — ◡ ◡ — | — — [— ] [8 ]
π ίσ υ νο ι λεπ το δ ό μο ις π είσμ ασ ι [1 1 8 ]
5b — ◡ ◡ — |◡ — ◡ — (6 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
ἐσ ο ρ ᾶ ν π ό ν τιο ν ἄλσο ς [1 1 7 ]
339[110]: scanned initial dianapaest (A); [111]: scanned dianapaest (B) for
original ( u - - u u - - ); [115]: read εὐ ρ υ π ό ρ(ο υ ) for εὐ ρυ π ό ρο ιο , scanned
dianapaest (A) + medial anapaest for θαλ άσσ ας ( u - - ) + final dianapaest;
[116]: read ( ἐν ) π νεύ μ α τι λάβ ρ ῳ , scanned hexasyllable-3; [117]: transposed
to post [119]; [118]: scanned final heptasyllable-2, with *π είσ μα τ- σ ι , for
original final cretic.
272
Interpretive Commentary, Third Strophic Pair: Strophe and
Antistrophe C.
Strophe C: 101-105 [110-114].

For God-sent fate prevailed of old [110]
And imposed on the Persians
Antistrophe C 109-114 [115-119].

(In) a rough wind [116]
Trusting in finel y-wrought cables [118]
To look upon the sacred grove of the sea [117]
Notes.
The corresponsion test for the Experimental Text is as follows:
1a ◡ ◡ — — ◡ ◡ — | ◡ ◡ — — | ◡ ◡ — [—] (1 1 )
2a ◡ ◡ — — ◡ ◡ (— ) | ◡ ◡ — | ◡ ◡ — ◡ ◡ — (1 1 )
1b ◡ ◡ — ◡ ◡ — — (5 )
2b (— ) — ◡ ◡ — — (5 )
3a ◡ ◡ — | — ◡ ◡ — — | ◡ ◡ — (8 )
4b ◡ ◡ — | — ◡ ◡ — | — — [— ] (8 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5b — ◡ ◡ — |◡ — ◡ — (6 )
5a ◡ ◡ — | ◡ — ◡ — (5 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
273
In terms of its metrical and rhythmic presentation, this strophic pair
presents what are among the greatest difficulties for anal ysis by
tone group. In terms of the presentation of thought, however, it is
entirel y in keeping with the paratactic structures observed
throughout this play.
The strophe relates the earl y history of Persian conquest and

expansion, and the antistrophe extends the narrative to the crossing
of the sea. This is the last movement – that is, strophic pair – in
this ode in which the Eld ers express unalloyed confidence in the
success of the Persian arm y. In the subsequent movements the
Elders’ mood becomes increasingl y desperate, until they bring
themselves to fatalistic acceptance in the epode. 340
The crossing of the sea is an important narrative and dramatic crux,

standing at the mid -point of the first ode, and at the centre of the
thematic concerns of this play; at lines 744 -752 Darius cites the
bridging of the Hellespont, and the disrespect of the gods, as the
epitome of Xerxes’ foll y. 341
The earl y success of the Persians is related in a simple series of

paratactic statements in the strophe: their success is derived from
god-sent fate, and the tower -destroying wars, chariot battles , and
destruction of cities all follow from the dictates of that fate.
In the antistrophe, the succession of thought is less direct. Reading

the transposition of line [117] to post [119] makes the stanza
present a single main clause, ‘they learned… to look upon the sea’,
340 This discussion assumes the ordering of stanzas given in the

commentaries and Experimental Text. See A Note on the Order of Strophic
Pairs, above.
341 Cf. e.g. lines 744-51 of the traditional text, and Garvie, 745-51n.
274
with three intervening subordinate claus es describing the conditions
under which this was achieved. Intervening subordinate clauses are
a common feature of this play, and are paralleled e.g. in lines [1 -4]
of the parodos.
This, then, is a plausible reconstruction in terms of the narrative

structures seen elsewhere in this play, and one that has the
advantage of presenting the crucial idea of encounters at sea as the
final image of the strophic pair. Nevertheless, the transposition is
experimental, and no attempt has been made to reconcile the
changes suggested here with the textual and critical tradition.
275
Metrical Commentary, Fourth Strophic Pair, Strophe and
Antistrophe E , 126-137 [133-144].
Strophe E (126-131) [133-138]
1a — ◡ | — — ◡ — (5 )
π ᾶς γ ὰ ρ ἱπ π ηλ ά τας [1 3 3 ]
2a — ◡ — ◡ — |◡ — [6 ]
κ αὶ π εδ ο σ τ ιβ ὴς λε ὼς
3a — ◡ — |— ◡ — — | ◡ — — [8 ]
σ μῆ νο ς ὣς ἐκ λέλο ιπ ε ν μελισ σᾶ ν [1 3 5 ]
4a ◡ — ◡ — | ◡ — [5]
σ ὺ ν ὀ ρ χ άμ ῳ σ τρ ατ ο ῦ
5a ◡ — — — ◡ |— ◡ — — [7 ]
τὸ ν ἀ μφ ίζ ευ κ το ν ἐξ α μ είψ ας
6a — ◡ ◡ —|◡ ◡ — — ◡ |— ◡ — — (1 0 )
ἀμφ ο τέρ ας ἅ λιο ν π ρῶ ν α κ ο ι νὸ ν αἴ ας [1 38 ]
Antistrophe E (132 -137) [139-144]
1b — ◡ — — (4 )
λέκ τρ α δ ᾽ἀ νδ ρῶ ν
2b ◡ — — ◡ — | ◡ — ◡ [— ] [6 ]
π ό θῳ π ίμπ λα τ αι δ ακ ρ ύ μα σι ν [1 40 ]
3b — ◡ — | — ◡ — — |◡ — — [1 0 ]
Περ σ ίδ ες δ ᾽ἁβ ρο π ε ν θε ῖς ἑκ άσ τα
4b ◡ — | ◡ — ◡ [— ] [5]
π ό θῳ φ ιλά νο ρι
5b ◡ — — — ◡ | — ◡ — — — |◡ ◡ —|◡ ◡ — [1 3]
τὸ ν αἰχ μ άε ν τα θο ῦ ρο ν εὐ ν α τῆρ᾽ ἀπ ο π ε μψ α μέ ν α
6b — ◡ — |◡ — — (5 )
λείπ ε τ αι μ ο νό ζυ ξ [1 4 4 ]
276
Strophe E
For all the horse -born [133]
And foot-stepping people
Have left like a swarm of bees [135]
Following the leader of the arm y
Crossing the (bridging?) yoke
A common oceanic promontory of both lands [138]
Antistrophe E
And the beds of men
With longing are filled with tears [140]
And every soft -grieving Persian girl
With husband -loving longing
Having sent away her warlike bold bedmate
Is left yoked alone [144]
Notes:
The order of strophic pairs found in the traditional texts is
preserved onl y in the Working Text. The commentaries and
Experimental Text follow the transposition of verses discussed in
the Introduction to this chapter, and strophe and antistrophe E are
presented as the fourth strophic pair.
This movement stands in stark contrast to the preceding three in

that it pres ents trochiambic measures almost exclusivel y. The same
metricalit y appears in the fifth strophic pair, strophe and
antistrophe D. 342
The lineation of the Working Text is unsatisfactory, as shown by

the corresponsion test:
342For a description of the trochiambic system, see Ch.3, Principal Measures:

Trochiambs.
277
1a — ◡ | — — ◡ — (5 )
1b — ◡ — — [3]
2a — ◡ — ◡ — | ◡ — [5]
2b ◡ — — ◡ — | ◡ — ◡ [— ] (7 )
3a — ◡ — | — ◡ — — | ◡ — — [8 ]
3b — ◡ — | — ◡ — — | ◡ — — [9 ]
4a ◡ — ◡ — | ◡ — [5]
4b ◡ — | ◡ — ◡ [— ] [5]
5a ◡ — — — ◡ | — ◡ — — [7 ]
5b ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — | ◡ ◡ — [1 3]
6a — ◡ ◡ —|◡ ◡ — — ◡ |— ◡ — — (1 0 )
6b — ◡ — |◡ — — (5 )
Onl y 3a-b and 4a-b show the same beat -value, although there is a
discrepancy of a full beat according to the counting conventions
used in this study. 343 This lineation was conditioned by the initial
supposition that lines [133] and [139] form separate logoi,
according to the strict application of the Principle of Separation.
The resulting separation of 2a and 2b, [134] and [140], seems
plausible.
The lineation of the Working Text is similar to that of West,

Broadhead, Weir Smyth and Sidgwick, who, however, break words
at line-end at lines 128 and 135. This is unacceptable, and
unnecessary, under the principles of this anal ysis. The lineation of
the Experimental Text is very close to those of Garvie and Page,
except that 3a [135] and 3b [141] are presented as ‘subsidiary’
logoi under intra-tonal separation.
343 See Ch.2, Research Method: Step 2, Scansion.

278
The arrangement given in the Experimental Text stretches grammar
and syntax, as well as the limits of the actors’ breath and the
spectators’ abilit y to successfull y interpret the lines, but it at least
give satisfactory sense and achieves excellent metrical, if not
rhythmical, corresponsion.
As shown in the corresponsion test for the Experimenta l Text (see

below), there is exact metrical corresponsion throughout. There is,
however, a rhythmical discrepancy of a full beat between 2a -2b and
4a-4b. In both cases the strophe contains the shorter line.

1a-2a and 1b-2b: π ᾶς γ ὰ ρ ἱπ π η λά τ ας [133] / κ α ὶ π εδ ο σ τι β ὴς λεὼ ς
[134] and λ έ κ τρ α δ ᾽ ἀν δ ρ ῶν [139] / π ό θῳ π ί μπ λ α τ αι δ ακ ρύ μ ασι ν [140]:
Both these paired logoi can meaningfull y be expressed as a single
tonal unit, which, moreover, achieves exact corresponsion:
π ᾶς γ ὰ ρ ἱπ π η λ ά τας κ αὶ π εδ ο σ τ ιβ ὴς λε ὼς
1a — ◡ — — ◡ — | — ◡ — ◡ — ◡ — [1 0 ]
1b — ◡ — — ◡ — | — ◡ — ◡ — ◡ [— ] [1 0 ]
λέκ τρ α δ ᾽ἀ νδ ρ ῶ ν π ό θ ῳ π ίμπ λα τ αι δ ακ ρύ μ α σιν
The initial lines of strophe and antistrophe, then, are the same as
those presented in Garvie’s text. Garvie ( Metrical Appendix, 372)
identifies the measure as 2x cretics + final lecythium. The
designation lecythium is retained for this measure. 344 As, however,
the isolated cretic foot ( - u - ) is a functional rhythmic element in
344According to the conventions of nomenclature employed in this study, the

measure should be termed a heptasyllabic tritrochee (B). The term
lecythium is retained for convenience. See Ch.3, Principal Measures: Other
279
trochiambic verses, the initial measure is designated a dicretic for
the purposes of this study. 345
The lines then are metricall y identical but show a different

rhythmic character in the differ ent quality and relative positioning
of their accented syllables. This finding has important implications
for the way in which strophic corresponsion is to be understood. 346
3a-3b: σ μ ῆ ν ο ς ὣς ἐ κ λέ λο ιπ ε ν με λισσᾶ ν [135] / Π ε ρσίδ ες

δ ᾽ ἁβ ρ ο π ε ν θ εῖς ἑκ ά σ τα [141]: these lines of the tonall y affective texts
could be presented as tonal unities with the subsequent lines, but
the resulting phrase-lengths are out of character with the rhythmic
qualities of the surrounding lines, and, at thirteen beats, are
inordinatel y long. 347
Additionall y, the separation of lines [135 -136] is supported by the

ν-σ consonantal clash, which is exacerbated by the interaction of
the perispomenon accent of με λισσᾶ ν and the grave accent of σ ὺ ν .
In lines [141-142], the naturall y long final of ἑκ άσ τ α could cause a
similar rhythmic break. Furthermore, while [135] refers back to the
preceding lines, [141] refers forward to the remainder of its stanza.
The separation of these lines gives a pleasing rhythmical effect that

is in keeping with the surrounding lines, and, by achieving
345 See especially the function of the cretic in stichic dialogue, Ch.6,
Tetrameters.
346 See the following in Conclusions: Musical and Poetic Conventions, Singing
vs. Speaking; Initial Findings by Verse Type, Strophic Corresponsion;

Traditional Metrics Comparison, Rhythm over Metre.
347 This is how both West and Garvie give the line in their edd. For a line of a
similar beat-count, see on 5a-5b, below, and the interpretive commentary on

those lines. See also Conclusions: Performance Considerations, The Actors’
Breath.
280
maximum rhythmic and semantic impact, better allows the different
point of grammatical and semantic reference for each line.
The scansion of the Working Text is unsatisfactory. Given the

rhythmic unit y of the final phrase -elements in both lines, they are
scanned in the Experimental Text as an initial cretic + dicretic
(B). 348
4a-4b: σ ὺ ν ὀ ρ χ ά μ ῳ σ τ ρ α το ῦ [136] / π ό θῳ φ ι λά νο ρι [142]: these lines

are the onl y ones of the Working Text that show exact
corresponsion, except that in [136] the isolated iamb is line -final
whereas in [142] it is initial. Given the rhythmic and semantic unit y
of the phrases, each line is scanned as a triiamb. 349 Note that while
the lines are metrically identical, the qualit y and relative positions
of their accents is quite different, impl ying a different melodic
effect.
5a-5b: τ ὸ ν ἀμ φ ίζ ευ κ το ν ἐ ξ αμε ίψ ας [137] / τ ὸ ν αἰχ μάε ν τ α θο ῦ ρο ν

εὐ ν α τῆ ρ ᾽ ἀπ ο π εμ ψ αμ έν α [143]: the lineation trialled in the Working
Text fails corresponsion by five full beats. The first measures of
each line, however, are metricall y identical, as is line [138] to the
end of [143]. The simplest expedient, then, is to join lines [137]
and [138] to correspond to [143], which delivers exact
corresponsion:
348 So-called on the analogy of the heptasyllabic forms identified in

dactylopaestic verse system. See Ch.3, Principal Measures: Other
Trochiambic Heptasyllables. On the same analogy we may expect to see a
heptasyllabic dicretic (A) of the form ( - u - - - u - ), one of the most common
metrical forms in the trimeters and tetrameters analysed in this study.
349 See Ch.3, Principal Measures: Trochiambs, Dipartite and Tripartite
Hexasyllables.
281
τὸ ν ἀ μφ ίζ ευ κ το ν ἐξ α μ είψ ας ἀμ φ ο τέρ ας ἅλι ο ν
5a ◡ — — — ◡ |— ◡ — — — |◡ ◡ — ◡ ◡ — [1 2]
5b ◡ — — — ◡ | — ◡ — — — |◡ ◡ — ◡ ◡ — [1 3]
While presenting exact corresponsion, this arrangement is

problematic in terms of the findings of this study: both lines count
to twelve and thirteen beats respectivel y under the conventions
used in this study. This line length will have stretched the limits of
the actors’ breath – and the spectators’ abilit y to successfull y
interpret it – and the same feature was adduced in rejection of a
proposed lineation of lines [135 -136] and [141 -142], above.
The length of these lines can, however, be justified with reference

to their function in this ode. 350 The lines focus on two key aspects
of dramatic and thematic concern: the bridging of the Hellespont –
to the Greeks a remarkable and awe -inspiring feat – and the absence
of the greater part of the men of Persia. Additionall y, the s ense of
desperation that is implicit in their length and the necessary
rapidit y of their delivery, can be taken to foreshadow the emotional
outburst of strophe and antistrophe D. 351
350 In this connection we may also note the longer lines of the spoken
movements of the parodos, of which line [16] is the signal example. In the
trochiambic passages analysed in this study, too, the interaction of longer
and shorter lines is seen to play an important structural-semantic role. A
similar compositional feature is noted with reference to Homeric verse by
Bakker (1999), 43-6.
351 An alternative lineation would read the intra-tonal separation of τὸ ν
ἀμφ ί ζευ κ το ν and τὸ ν α ἰχμάε ν τ α . It is difficult, however, to see any rhythmic

or semantic advantage in this, and the longer lineation is accepted into the
Experimental Text.
282
The lines scan as a pentasyllabic amphibrach + medial trochiamb -1
+ final dianapaest. 352 Note that line [137] does not scan to word -
end.
6a(fin)-6b: π ρ ῶ ν α κ ο ι νὸ ν αἴ ας [138fin] / λ είπ ε τ αι μο νό ζυ ξ [144]:

given the lineation of [137] and [143], these two phrase -elements
are left to correspond as single lines, a lineation presented by all
editors consulted in this study. Both lines scan to word -end as an
‘anceps’ tritrochee. 353 Note that the long final is the natural
quantit y in both cases.
Textual criticism.
Lines [133-134] and [139-140]: construe as single lines [133] and
[140]; scan dicretic + lecythium.
Lines [135] and [141]: scan dicretic (B).
Lines [136] and [142]: scan triiamb.
Lines [137] and [143]: scan pentasyllabic amphibrach + medial
trochiamb-2 + final dianapaest.
Lines [138] and [144]: scan ‘anceps’ tritrochee.
The Experimental Text is as follows.
352 The only dactylopaestic measure in these stanzas. For the other measures
see Ch.3, Principal Measures: Trochiambs.
353 See Ch.3, Principal Measures: Trochiambs, Dipartite and Tripartite
Hexasyllables. This is also the final measure of strophe and antistrophe B.

283
Experimental Text.
Fourth Strophic Pair (126 -137) [133-144]. 354
Strophe E (126-131) [133-138]
1a — ◡ — — ◡ — | — ◡ — ◡ — ◡ — [1 0 ]
π ᾶς γ ὰ ρ ἱπ π ηλ ά τας κ αὶ π εδ ο σ τ ιβ ὴς λε ὼς
2a — ◡ — | — ◡ — — ◡ — — [8 ]
3a ◡ — ◡ — ◡ — [5]
4a ◡ — — — ◡ |— ◡ — — —|◡ ◡ — ◡ ◡ — [1 2]
5a — ◡ — ◡ — — (5 )
π ρ ῶν α κ ο ι νὸ ν αἴ ας [1 38 ]
Antistrophe E (132 -137) [139-144]
1b — ◡ — — ◡ — | — ◡ — ◡ — ◡ [— ] (4 )
λέκ τρ α δ ᾽ἀ νδ ρῶ ν π ό θ ῳ π ίμπ λα τ αι δ ακ ρύ μ α σιν
2b — ◡ — | — ◡ — — ◡ — — [1 0 ]
Περ σ ίδ ες δ ᾽ἁβ ρο π ε ν θε ῖς ἑκ άσ τα [1 41 ]
3b ◡ — ◡ — ◡ [— ] [5]
4b ◡ — — — ◡ | — ◡ — — — |◡ ◡ — ◡ ◡ — [1 3]
5b — ◡ — ◡ — — (5 )
354 [133]: scanned dicretic + lecythium; [135]: scanned cretic + dicretic (B);
[136]: scanned triiamb; [137]: scanned pentasyllabic amphibrach +
trochiamb-2 + dianapaest; [138]: scanned ‘anceps’ tritrochee; [140]: scanned
dicretic + lecythium; [141]: scanned cretic + dicretic (B); [142]: scanned
triiamb; [143]: scanned pentasyllabic amphibrach + trochiamb-2 +
dianapaest; [144]: scanned ‘anceps’ tritrochee.
284
Interpretive Commentary, Fourth Strophic Pair: Strophe and
Antistrophe E.
Strophe E (126-131) [133-138]

For all the horse -driving and foot-marching folk
Has left like a swarm of bees [135]
Crossing the sea yoked from both sides
A shared promontory of the land [138]
Antistrophe E (132 -137) [139-144]

And beds are filled with tears of longing for menfolk
And the soft -grieving Persian girls each [141]
Is left b ehind yoked alone [144]
Notes.
Experimental Text corresponsion test:
1a — ◡ — — ◡ — | — ◡ — ◡ — ◡ — [1 0 ]
1b — ◡ — — ◡ — | — ◡ — ◡ — ◡ [— ] [1 0 ]
2a — ◡ — | — ◡ — — ◡ — — [8 ]
2b — ◡ — | — ◡ — — ◡ — — [9 ]
3a ◡ — ◡ — ◡ — [5]
3b ◡ — ◡ — ◡ [— ] [5]
4a ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — ◡ ◡ — [1 2]
4b ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — ◡ ◡ — [1 3]
5a — ◡ — ◡ — — (5 )
5b — ◡ — ◡ — — (5 )
Under the arrangement of stanzas proposed in the introduction to

this chapter, this strophic pair provides a transition from the
285
description of the successful growth of the Persian Empire through
mainland wars and their subsequent crossing of the sea in th e third
strophic pair (strophe and antistrophe C), and the outburst of
fearful emotion in the fifth (strophe and antistrophe D).
The present movement presents in the strophe the consequences of

the bridging of the Hellespont – that all the forces have le ft
mainland Asia – and the consequences of that accomplishment –
that the Asian girls are alone and longing for their partners – in the
antistrophe. The contemplation of the ‘soft -grieving Persian girls’
leads to the cit y ‘empt y-of-men’ and the ‘women-filled throng’ that
characterise the subsequent strophic pair.
The Experimental Text delivers exact corresponsion, but at the cost

of the grammatical and semantic unit y within logoi that is
characteristic of the tonall y affective texts throughout this study.
The grammatical difficulties in this passage are explained by
Garvie (126-32n, 90-91) as reflecting Aeschylus’ use of
‘paradoxical language to emphasise the surprising nature of Xerxes’
achievement’. 355 The sense of the paratactic succession of
‘paradoxical’ expressions is, I believe, given fairl y in the
translation of the Experimental Text.
Line [133]: ‘For all the horse -driving and foot -marching folk’.
The γ ὰ ρ clause presents the content of the rest of this stanza as the
consequence of the achievements outlined in antistrophe C. The
absence of any mention of ships, noted by Garvie (126 -32n, 89), is
determined by the fact that, with the bridge of boats described in
the previous strophic pair, this is essentiall y a land -invasion.
355Cf. Broadhead (130-2n, 63-4) for insight into the editorial confusion this
passage has caused.
286
The failure to allude to ships could have been a conscious dramatic
decision on Aeschylus’ part: his audience already know the
outcome of this campaign, but they do not yet know the dire ction
the tale will take, and the Messenger’s account of the Battle of
Salamis that will form the centrepiece of the tragedy will remain a
surprise. Additionally, Aeschylus seems to be setting up the
contrast between the land -arm y of the Persians and the s eafaring
Greeks. The bridging of the sea will be condemned by Darius at
744-750.
Lines [135-136]: ‘Has left like a swarm of bees / Following the

leader of the army’. The lines focuses on the mass of men that
have left following the ὄ ρχα μο ς , Xerxes. Both t hese features have
been developed at length in the parodos and the earlier strophic
pairs. For discussion of the simile of the bees, and of Xerxes as the
‘queen’, see Garvie (126 -32n, 90).
Lines [137-138]: ‘Crossing the sea yoked from both sides / A

shared promontory of the land’. There is some slight difficult y in
the separation of the seemingl y grammaticall y related words
ἀμφ ί ζευ κ το ν , ἅλιο ν and π ρῶ ν α , and ἀμφ ο τέ ρ ας and αἴ ας . The simplest
supposition is that this is an instance of intra -tonal separation, and
the mention of the ‘surprising achievement’ of the bridging of the
Hellespont would seem to warrant the device. 356 Additionall y, the
construction gives emphasis to the phrase π ρ ῶ να κ ο ινὸ ν αἴ ας , which
works well in tonal isolation, and summarises the effe ct of Xerxes’
remarkable achievement: the two lands have, in effect, become
one. 357
356Garvie, 126-32n, 190.

357All editors consulted for this study read π ρ ῶ ν α κ ο ινὸ ν αἴ ας in
corresponsion with λεί π ετ αι μο νό ζυ ξ .
287
This and line [143] are the longest, by one half -beat, to be
identified under this anal ysis. The lines in the form given here will
challenge the limits of the actors’ breath , but they are well -
balanced phonemically and in the disposition of their accents.
Line [139]: ‘And beds are filled with tears of longing for
menfolk’. The first line of the antistrophe presents the
consequences of the bridging of the Hellespont and the departure of
all the men – this time described from the point of view of the
women left behind. The grief of women as an omen of disaster will
be picked up in the following stanzas, strophe and antistrophe D.
Line [141]: ‘And the soft -grieving Persian girls each’. Lines
[141-144] present a main clause, ‘the soft -grieving Persian girls is
each left yoked-alone’ with two intervening subordinate clauses,
‘with husband-loving longing’ and ‘having sent her away her
warlike bold bedmate’.
The translation ‘each ’ for ἑκ ά στ α seems somewhat unconvincing

when given in isolation as here, but it reads well in the context of
the stanza, and is true to the grammatical qualities of the Greek and
the force of the intra -tonal separation. The line -final position of
ἑκ άσ τα makes the sense universal among Persian women – including
Atossa – and subtl y emphasises the absence of all the men.
Lines [142-143]: ‘With husband -loving longing / Having sent

away her warlike bold bedmate’. The word π ό θο ς recalls line [75]
in the parodos, where the Elders’ reflections had taken a gloomy
turn before the resurgence of confidence brought about by their
contemplation of Persian successes in the first three strophic pairs
of the ode. There as here, the thought of the departure of the arm y
leads to the contemplation of those left behind, and to the outburst
288
of emotion that will occur in the subsequent stanzas. On the length
of [143], see the metrical commentary ad loc. and the interpretive
commentary on [137], above.
Line [144]: ‘Is left behind yoked alone’. This phrase picks up the
yoke-metaphor from line [58] of the parodos, and line [86] of
strophe A. It also foreshadows Atossa’s less metaphorical but all
the more significant reference to yoking in her description of her
dream in the next scene (lines 189-192).
The yoke metaphor is poignant here. It lends pathos to the image of

grieving women with a metaphor that is also used to describe the
cause of their grief: Xerxes’ leading of the arm y outside the
ordained bounds of the Persian Empire. I n dramatic terms, it is
fitting that this metaphor par excellence should immediatel y
precede the fearful outburst of the ensuing strophic pair.
289
Metrical Commentary, Fifth Strophic Pair: Strophe and
Antistrophe D, 114-125 [125-132].
Strophe D (114 -118) [125-128]

1a — ◡ — |◡ — ◡ — — [6 ]
τ αῦ τά μο ι μ ελ αγ χί τω ν φ ρ ὴ ν [1 2 5 ]
2a ◡ — ◡ — |◡ — [5]
ἀμύ σ σ ε τ αι φ ό β ῳ
◡ — [e x .]
ὀᾶ
3a — ◡ — | ◡ — ◡ — | — ◡ —| ◡ — ◡ — — (1 2 )
Περ σ ικ ο ῦ σ τρ α τεύ μ α τ ο ς το ῦ δ ε μὴ π ό λις π ύ θη τ αι
4a ◡ — — | ◡ — ◡ |— ◡ [— ] (7 )
κ έν α νδ ρ ο ν μέγ ᾽ἄσ τυ Σ ο υ σίδ ο ς [1 28 ]
Antistrophe D (120-125) [129-132]
1b — ◡ — ◡ — | ◡ — [— ] [7 ]
κ αὶ τὸ Κ ισσίω ν π ό λισ μ( α)
2b — ◡ — ◡ | — ◡ — [6 ]
ἀν τίδ ο υ π ο ν ᾄ σε τ αι [1 30 ]
◡ — (e x .)
ὀᾶ
3b — ◡ — | ◡ — ◡ — — | ◡— ◡| — ◡ — (1 1 )
το ῦ τ᾽ ἔπ ο ς γ υ να ικ ο π λη θὴς ὅ μιλο ς ἀπ ύ ω ν
4b — ◡ — — | ◡ — ◡ —|◡ [—] (8 )
β υ σ σ ίνο ις δ ᾽ἐ ν π έπ λο ι ς π έσῃ λ ακ ίς [1 3 2 ]
290
Strophe D
For these reasons m y black -shrouded mind [125]
Is torn with fear
Woe
May the cit y never hear of this for the Persian arm y
The great cit y of Susa is empt y-of-men [128]
Antistrophe D
And the Kissian township
Will sing in counterpoint [130]
“Woe”
This word uttered by a woman -filled assembl y
And tearing will fall on their linen robes [132]
Notes:
Following the order of stanzas discussed in the introduction to this
chapter, this strophic pair is the last before the epode that closes
the ode. The corresponsion test for this strophic pair as given in the
Working Text is as follows:
1a — ◡ — ◡ | — ◡ — — [6 ]
1b — ◡ — ◡ | — ◡ — [— ] [7 ]
2a ◡ — ◡ | — ◡ — [5]
2b — ◡ — ◡ | — ◡ — [6 ]
3a — ◡ — | ◡ — ◡ — | — ◡ — ◡ | — ◡ — — (1 2 )
3b — ◡ — | ◡ — ◡ — | — ◡ — ◡ | — ◡ — (1 1 )
4a ◡ — — | ◡ — ◡ | — ◡ [— ] (7 )
4b — ◡ — | — ◡ — | ◡ — ◡ [— ] (8 )
There are full-beat discrepancies between each of the paired lines,

but onl y in 1a -1b is this the result of the counting conventions of
291
this study. 358 For the rest there is a genuine discrepancy of one long
syllable. This discrepancy a lternates between lines, that is, the first
line of the antistrophe is shorter by one beat, and the second line is
longer by one beat, and so on. All editors consulted in this study
remedy this discrepancy by breaking π ύ θη τ αι and γ υ ν αικ ο π λη θὴ ς at
line-end, a practise that is rejected under the principles of this
anal ysis. 359 The full beat discrepancy between strophe and
antistrophe that preserves the integrit y of words and phrases must
be preserved, and must therefore be understood as a qualit y of the
original poetry. This could be a literal representation of the
‘antidoupos’, rhythmical counterpoint, mentioned in line [130].
Anal ysis by tone group produces near -corresponsion in this

passage. If the lineation of the Working Text is to be preferred, we
must suppose that either (a) our traditional texts are corrupted by
interventions toward metrical corresponsion, or (b) strophic
corresponsion need not be exact. The Experimental Text achieves
similar corresponsion, with deletions; the effect of antidoupos is
preserved.

1a-2a: τ α ῦ τ ά μο ι μελα γ χί τ ων φ ρὴ ν [125] / κ αὶ τὸ Κισσ ίω ν π ό λισμ ( α)
[129]: this lineation necessitates the reading of the elided alpha of
π ό λισ μ α . 360 Although the logoi show the same metrical pattern, the
358 See Ch.2, Research Method: Step 2, Scansion.

359 Page’s longer lines allow him to break π ύ θη τ αι only, a word that is
deleted from the Experimental Text; this strophic pair is the only one in the
first ode in which Garvie breaks words at line-end. See Conclusions: Initial
Findings by Verse Type, Strophic Corresponsion.
360 According to the principle of separation, elision between logoi is not
admitted. See Conclusions: Traditional Metrics Comparison, Non-elision at

line-end.
292
different accentuation implies a different rhythm; this could reflect
the antidoupos signalled in the antistrophe.
The separation of these lines from 2a -2b in the Working Text is

conditioned by the Principle of Separation in the first instance, but
it is not certain that we should construe the passage in this way.
Joining lines [125-126] and [129 -130] will give two 11 -beat lines
(the same as Garvie’s lineation). 361 This resolves the half -beat
discrepancy of the Working Text, and restores the elided alpha of
the traditional texts:
τ αῦ τά μο ι μ ελ αγ χί τω ν φ ρ ὴ ν ἀ μύ σσ ε ται φ ό β ῳ
1a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
2a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
κ αὶ τὸ Κ ισσίω ν π ό λισ μ᾽ ἀ ν τίδ ο υ π ο ν ᾄσ ε τα ι
The resulting lines are given in the Experimental Text, and scan to
word-end as 2x lecyt hia.
3a-3b: Π ερ σ ικ ο ῦ σ τ ρ α τ εύ μ α το ς το ῦ δ ε μὴ π ό λ ις π ύ θη τ αι [127] /
τ ο ῦ τ ᾽ἔπ ο ς γ υ ν αικ ο π λη θ ὴς ὅ μι λο ς ἀπ ύ ω ν [131]: these lines are
metricall y identical up to their final syllables, but [131] is shorter
by a full beat; the metrical variation corresponds to π ύ θη τ αι . If
antidoupos is accepted as a rhythmic -structural principle for this
strophic pair, this is not a very great difficult y, and the discrepancy
remains in the alternate lineation of the Experimental Text.
361 Both West and Broadhead use a shorter lineation, closer to that of the
Working Text. This requires the enjambment of φ ρ ὴ ν . This is reflected here
in that φ ρ ὴ ν belongs grammatically to the first element of [125-126], but
scans with the second measure. On the non-utility of enjambment in oral-
aural contexts, see Conclusions: Traditional Metrics Comparison, Synaephia
and Enjambment.
293
More troubling from the perspective of this anal ysis is that [127 ] is
composed of two separate notions. Unless we take ‘of this Persian
arm y’ as the direct object of π υ ν θά νο μ αι , which gives a peculiar
sense, these phrases should belong to two separate tonal groupings.
The most natural way to construe the genitives is wi th ὀ ᾶ : ‘Woe for
the Persian arm y’; slightl y less naturall y we may understand ‘Woe
for this Persian arm y (that I have recentl y been talking about)’. 362 It
is difficult to construe the phrases with π υ ν θά νο μ αι . 363
There are, however, other tone grouping possibilities implied by

these lines. In experimenting with arrangements of the various
potential phrase -groupings of the traditional text, it became
apparent that several ‘clumps’ of phrases – elements of tone groups
rather than full y formed ones – were metricall y identical, but could
not be made to correspond because of the presence of other words
that may or may not be taken to belong to the same tonal grouping.
On this basis suspicion fell on π ύ θη τ αι , which, as noted above,
destroys the metrical corresponsion o f [127] and [131]; in the same
way, suspicion fell on το ῦ τ᾽ἔπ ο ς in the antistrophe.
The words το ῦ τ ᾽ἔπ ο ς can be explained as an intrusive gloss on the

relation between ἀπ ύ ων and ὀ ᾶ ; the woman-filled throng calling out
(this word) ‘Woe’. The removal of το ῦ τ᾽ ἔ π ο ς produces
corresponsion (allowing for the effect of the antidoupos ) between
Περ σ ικ ο ῦ σ τρ α τεύ μ α τ ο ς το ῦ δ ε and γ υ ν αικ ο π ληθ ὴς ὅ μι λο ς ἀπ ύ ων . 364 Its
362 ‘Genitive of exclamation or cause’, Garvie, 115-19n, 87. These feature in

the kommos also.
363 On the many attempts at interpreting π ύ θ η τ α ι see Garvie, 115-19n, 88;
Broadhead, 117-19n; Rose, 117-19n, 97-8. Either the cry or the Persian army
must somehow be the source of the information that the great city of Susa is
emptied of men, and no construction on either line is entirely convincing.
364 There are numerous problems of corresponsion and tonal affinity that
arise when το ῦ τ᾽ ἔπ ο ς is retained in the reading.

294
deletion, however, isolates the μὴ π ό λ ις π ύ θη τ αι of the strophe in an
intractable way. This phrase is less explicable as a gloss, but it
could have intruded as an explanation of κ έν α νδ ρο ν κ τλ . by an
editor or producer who did not understand Περ σικ ο ῦ σ τρ α τεύ μ α το ς
το ῦ δ ε as a continuation of the exclamator y ὀ ᾶ . Ιt is possible that it
was interpolated to restore corresponsion after τ ο ῦ τ᾽ἔπ ο ς had been
accepted into the text of the antistrophe.
The supposed extra-metricalit y of ὀ ᾶ is also troubling. 365 While

extra-metrical utterances are consistent with the str uctural -
rhythmical importance of pauses (rests), they are not entirel y
consistent with the principles of anal ysis by tone group, especiall y
where, as in the strophe, the supposedl y extra -metrical word forms
a grammatical unit y with subsequent phrase and th erefore should be
construed with it as a tonal unit y.
On the basis of these considerations, a new reading and lineation is

proposed, and what at first seemed an intractable passage becomes
readil y accessible: 366
ὀ ᾶ Περ σ ικ ο ῦ σ τρ ατ εύ μα το ς το ῦ δ ε
2a [— ] — ◡ — | ◡ — ◡ — — [— ] [9 ]
2b [— ] ◡ — ◡ — — | ◡ — ◡ — ◡ — [9 ]
ὀ ᾶ γ υ ν αικ ο π λη θὴς ὅ μ ι λο ς ἀπ ύ ω ν
While 2a is two syllables shorter than 2b, the beat -counts are the
same, and both lines contain four accented syllables. This may be
365 Garvie notes Korzeniewski’s objection (‘Studien’ I 566, Gr. Metrik 175-6)
to constructing ὀ ᾶ as extra-metrical: that it forms a single expression with
what follows. Grammatically (and tonally) this is a strong objection and is
approved by the principles of this analysis.
366 For this reading, the omicron of the exclamatory ὀᾶ is treated as semi-
vocalic, and the word is scanned as a single long syllable. This will give a
pronunciation something like ‘Waa!’
295
taken as an expression of the antidoupos , which is preserved, and
even enhanced, in this reading. The additional syllables of 2b can
be taken as reflecting the peak of the Elders’ agitation in the final
stages of their emotional outburst.
Line [127] scans to word -end as an epitrite-3 + final diiambic

hexasyllable. Line [131] scans to word -end as an ‘anceps’
tritrochee + final triiamb. 367 The reading is adopted for the
Experimental Text.
4a-4b: κ έ ν ανδ ρ ο ν μ έγ ᾽ ἄσ τυ Σο υ σίδ ο ς [128] / β υ σσ ίν ο ις δ ᾽ ἐν π έπ λο ις

π έ σ ῃ λ ακ ίς [132]: the remaining lines of the stanzas show close
corresponsion, but fail by one full beat – a long syllable or
equivalent. Nevertheless, the near or exact corresponsion produced
by lineation by tone group in this ode – and the rhythmic and
metrical regularit y it evinces i n the other types of poetry anal ysed
in this study – must give us pause. Both lines contain four accented
syllables, but they are disposed differently in each line, indicating
a rhythmic difference. The same phenomenon was noted in the case
of lines [125] and [129], above. Here, the effect can be referred to
the antidoupos that is signalled in line [129/130].
The antidoupos can be seen in the metrical form of the lines, where
in almost every instance a long syllable in the strophe is opposed to
a short in the antistrophe: 368
367 All of these measures recur, scanning to word-end, in the analysed

portions of this play. See Ch.3, Principal Measures: Trochiambs, Dipartite and
Tripartite Hexasyllables. Note the similarity of the diiambic hexasyllable to
the triiamb.
368 The exceptions are the corresponding long final syllables of κ έ ν ανδ ρ ο ν
and β υ σ σ ί νο ις , and the final syllable of λ ακ ίς , which has no corresponding

syllable in the strophe.
296
κ έν α νδ ρ ο ν μέγ ᾽ἄσ τυ Σ ο υ σίδ ο ς
4a ◡ — — | ◡ — ◡ — ◡ [— ] (7 )
4b — ◡ — | — ◡ — ◡ — ◡ [—] (8 )
β υ σ σ ίνο ις δ ᾽ἐ ν π έπ λο ι ς π έσῃ λ ακ ίς
The antistrophe is longer by a full beat ; in the arrangement of

stanzas proposed in this study, it is the final line of the ode -proper
before the epode that introduces the more sober mood of the
dact ylopaests that open th e Atossa scene.
Line [128] scans to word -end as an initial bacchius + triiamb. Line

[132] scans to word -end as an initial cretic + lecythium.
Textual criticism.
Lines [125-126] and [129-130]: construe as single lines [125] and
[129]; scan to word -end as 2x lecythia.
Line [127]: delete μὴ π ό λις π ύ θη τ αι ; scan, with monosyllabic ὀ ᾶ ,
epitrite-3 + diiambic hexasyllable ( u - u - - - ).
Line [128]: scan bacchius + triiamb.
Line [131]: delete το ῦ τ᾽ ἔπ ο ς ; scan, with monosyllabic ὀ ᾶ , ‘anceps’
trochaic hexasyllable + final triiamb.
Line [132]: scan cretic + lecythium.
297
Experimental Text.
Fifth Strophic Pair (114 -125) [125-132] 369
Strophe and Antistrophe D
Strophe D (114-118) [125-128]
1a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
τ αῦ τά μο ι μ ελ αγ χί τω ν φ ρ ὴ ν ἀ μύ σσ ε ται φ ό β ῳ
2a [— ] — ◡ — | ◡ — ◡ — — [—] [9 ]
3a ◡ — — | ◡ — ◡ — ◡ [— ] (7 )
Antistrophe D (120-125) [129-132]
1b — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
2b [— ] ◡ — ◡ — — |◡ — ◡ — ◡ — [9 ]
ὀ ᾶ γ υ ν αικ ο π λη θὴς ὅ μ ι λο ς ἀπ ύ ω ν [1 31 ]
3b — ◡ — | — ◡ — ◡ — ◡ [—] (8 )
369[125]: scanned 2x lecythia; [127]: del. μὴ π ό λι ς π ύ θη τ αι , scanned

epitrite-3 + diiambic hexasyllable; [128]: scanned bacchius + triiamb; [129]:
scanned 2x lecythia; [131]: del. το ῦ τ᾽ ἔπ ο ς , scanned ‘anceps’ trochaic
hexasyllable + triiamb; [132]: scanned cretic + lecythium.
298
Interpretive Commentary, Fifth Strophic Pair: Strophe and
Antistrophe D.
Strophe D
For these reasons m y black -shrouded mind
is torn with fear [125]
Woe for the Persian arm y [127]
The great cit y of Susa has been emptied of men [128]
Antistrophe D
And the Kissian township will sing
in counterpoint [129]
‘Woe’ uttered by an all -female assembl y [131]
Notes.
The corresponsion test of the Experimental Text is as follows:
1a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
1b — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
2a [— ] — ◡ — | ◡ — ◡ — — [— ] [9 ]
2b [— ] ◡ — ◡ — — | ◡ — ◡ — ◡ — [9 ]
3a ◡ — — | ◡ — ◡ — ◡ [— ] (7 )
3b — ◡ — | — ◡ — ◡ — ◡ [— ] (8 )
The metrical discrepancies between corresponding lines evinced in

this passage reflects the minor metrical discrepancies seen in the
earlier movements of this ode. This, however, is the first movement
in which we see variation between strophe and antistrop he used to a
recognisable purpose, that is, the rhythmic manifestation of the
ἀν τίδ ο υ π ο ς of line [129] in the antistrophe. This passage will have
299
implications for our understanding of strophic corresponsion when
more comparative material becomes available.
On the basis of its rhythms and metrical forms, and in its paratactic
exposition of thought, the Experimental Text conforms to the
poetics identified throughout this study. This, however, was
achieved at the cost of two major textual emendations: the exc ision
of the problematic phrase μὴ π ό λις π ύ θ η τ αι , and of το ῦ τ᾽ἔπ ο ς .
If the experimental reading is accepted, the credit must go to the

regular application of the principles of anal ysis by tone group and
to the insights into Aeschylean poetics it provides, which amount to
an affirmation of the oral -aural character of the poetics of
tragedy. 370
In the Experimental Text this is the final movement of the first ode.
The Elders’ gloom y reflections in strophe and antistrophe E lead to
the emotional outburst here. In the strophe t he Elders express the
fears arising from the departure of the Persian arm y – with which
we may compare the second movement of the parodos – and in the
antistrophe they expand on the implications of these fears should
they come to be realised.
The paired stanzas give the Elders’ fullest expression of their

doubts and fears before news of the disaster arrives. Further, the
reading of the Experimental Text gives the impression that the
statements of strophe and antistrophe were not planned, rational
statements; rather, they are a spontaneous (and unwonted?)
370It must be stressed that these findings do not tell us whether Aeschylus
composed orally or with writing; they merely show that the poetic
conventions belong more to an oral-aural context than to a literary one.
300
outpouring of genuine emotion. Coming at the end of the ode -
proper, this will have been very effective on the stage.
The Elders will then restore themselves with reflections on the

power of ineluctable fate in the epode before a brisk return to their
sense of responsibility in the dact ylopaestic prelude to the Atossa
scene at 140 -149 [145-153]. 371
Lines [125]: ‘For these reasons my black -shrouded mind is torn

with fear’. Lines [125-126] of the Working Text are presented as a
single line in the Experimental Text.
According to the order of stanzas in the Experimental Text, the

reasons ( τ αῦ τά μο ι ) the Elders’ minds are ‘torn with fear’ are the
departure of the army across the bridge of boats and the weeping of
the forlorn wives it causes (strophe and antistrophe E). 372 This,
rather than the bare fact that the Persians are now waging wars
across the sea, which is the subject of antistrophe C onl y, is a
natural and dramaticall y convincing cause for fear. The subject of
strophe C, the earl y successes of the Persians in war, can hardly be
regarded as sufficient cause for the emotional outburst present ed in
this movement. 373 This arrangement presents a more logical
progression of thought and emotion than that of the traditional
texts.
371 That passage is analysed in Ch.4, Anapaests.

372 See the discussion of the ordering of the stanzas in the Introduction to
this chapter.
373 On the effect of the emotions of women on the morale of the populace in
Aeschylus, cp. the dialogue between Eteocles and the chorus of Young
Women at Seven Against Thebes, 182-263. The dialogue follows immediately
upon their extravagant expressions of fear in the first ode, 78-181.
301
The line can be interpreted as a simple, self -contained statement of
the Elders’ feelings: ‘I fear, lest… .’ It need not b e construed with
μὴ π ό λις π ύ θ η ται . 374
Line [127]: ‘Woe for the Persian army [May the city never hear
this] (del.)’. As shown in the metrical commentary, this line is
intractable, and the phrase μὴ π ό λις π ύ θ η τ αι was identified as the
crux of the difficult y.
The line of the Experimental Text gives excellent sense and is much
more in keeping with the rhythm and rhetorical st yle of the rest of
the play; the inclusion of the exclamation in tonal unit y with the
rest of the line is a distinct advantage over the s upposedl y extra-
metrical exclamation of the traditional texts.
The onl y problem that remains is the demonstrative το ῦ δ ε . ‘This

Persian arm y’, if taken literall y does not give the best sense unless
we construe it as meaning ‘this Persian arm y (that I have been
talking about, and whose safet y is m y primary concern)’. This is
not implausible. το ῦ δ ε can also be understood as a metri gratia
equivalent of τ ο ῦ .
Line [128]: ‘The great city of Susa has been emptied of men’.
Under this arrangement everything after ὀ ᾶ in line [127] becomes a
part of the same extended cry of woe. The statement that the ‘Great
cit y of Susa is empt y of men’ is quite true, and the Elders have
expanded on this at some length. The departure of ‘all the Asian -
born strength’ was given as the primary reason for their unease at
374The phrase is deleted from the Experimental Text. For the alternative
reading, see Garvie, 120-5n, 88. None of the interpretations offered is
convincing. See also Broadhead, 117-19n; and Rose, 117-19n, 97-8: ‘The
relation of these clauses is doubtful’.
302
line [16] in the parodos, and was the central idea of the preceding
strophic pair (strophe and antistrophe E).
Line [129]: ‘And the Kissian township will sing in counterpoint’.

As discussed in the metrical commentary, lines [129 -130] are given
as line [129] in the Experimental Text. The longer initial lines
allow the word ἀ ν τίδ ο υ π ο ν to perform its proper function within the
rhythmical context of the ode, which is to introduce, in a line that
corresponds exactl y with the strophe, the rhythmic counterpoint
that is evident in the succeeding lines of the antistrophe.
The ‘Kissian Township’ refers to Susa, picking up on, and re -

echoing, the mention of that place in line [128].
Line [131]: ‘[This Word] (del.) “Woe” uttered by a woman -filled

assembly’. As given in the Experimental Text, the exclamation ὀ ᾶ
is construed as a part of this line. 375 It is appropriate to the
antidoupos that characterises this movement that the first cry o f
woe is in direct speech, while the second is, in effect, the reported
speech of the ‘all -female assembl y’ who ‘sing in counterpoint’.
Line [132]: ‘And tearing will fall on their linen robes’. This
expression of grief will be performed in the kommos, not by
women, but by the Elders themselves, at the direction of Xerxes.
375 See above, on line [127], and metrical commentary, 3a-3b.

303
Metrical Commentary, Epode , 93-100 [120-124].
◡ ◡ — — |◡ ◡ — ◡ — |◡ ◡ — | — ◡ ◡ — — [1 3]
δ ο λό μη τι ν δ ᾽ ἀπ ά τ αν θ εο ῦ τίς ἀ νὴρ θ να τὸ ς ἀλύ ξει
◡ ◡ — — |◡ ◡ — —|◡ ◡ —|◡ ◡◡ ◡|— — (1 2 )

τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ π ήδ ημ α το ς εὐ π ε τέ ο ς ἀ ν άσσω ν
◡ ◡ — — | ◡ ◡ — —|◡ ◡ — [— ] (9 )
φ ιλό φ ρ ω ν γ ὰ ρ π ο τι σ αί νο υ σ α τὸ π ρ ῶτ ο ν
◡ ◡ — | ◡ ◡ — | — — ◡ — — [9 ]
π αρ άγ ε ι β ρ ο τὸ ν εἰς ἀ ρ κ ύ στ α τ’ Ἄ τα [1 2 3 ]
◡ ◡ — — ◡ ◡ — | — ◡ ◡ — — | ◡ ◡ — (1 1 )
τό θε ν ο ὐ κ ἔ σ τ ιν ὑ π ὲρ θ να τὸ ν ἀλύ ξ α ν τ α φ υ γ εῖν
What mortal man can escape the scheme -minded

deception of a god?
Who with light foot is lord of a nimble leap?
For fawning at first with friendl y mind
Atē draws a man into the net [123]
From where it is not possible for a mortal
escaping to flee
Notes:
This movement illustrates the greatest difficulties in a project of
this kind: this corrupt passage has been reworked by generations of
editors attempting to bring sense and form to the uncertain
traditional text. An anal ysis by tone group can onl y be attempted
after acknowledging that one is anal ysing editorial conjectures
toward metrical regularit y, which have only a distant relation to the
lines of original performance.
304
The lineation of the Working Text differs fr om Garvie’s onl y in
that π α ρ άγ ει is given with its natural tonal grouping. West’s
lineation differs from Garvie’s in implied musicalit y, where West
disposes the lines by hemistichs. 376 West’s arrangement is closer to
the Experimental Text given below, but he gives longer lines
toward the end of the movement. 377 The Working Text adheres
closel y to Garvie’s text because it is necessary to propose several
textual emendations in deriving the Experimental Text.
The epode shows metrical forms that are evident both in the
parodos and the ode. As such it seems to form a kind of rhythmical
bridge to the chanted dact ylopaests that introduce the Atossa scene.
The line numbering for the traditional text follows Sidgwick, whose
text preserves an earlier, shorter lineation .

93-94 (Sidg.) [120] δ ο λ ό μη τ ιν δ ᾽ἀπ άτ α ν θεο ῦ τίς ἀ νὴρ θ ν α τὸ ς
ἀ λύ ξ ει : this 13-beat phrase is an inordinatel y long line. Garvie
(Metrical Appendix , 372) scans θεο ῦ with synizesis, as does West. 378
376 Cf. Burling (1966, 1423) who notes that certain verses can be read in two
ways depending on the way the beats are emphasised; in the case of Sing a
Song of Sixpence, the lines may be disposed as either one or two verses, each
of sixteen beats: either ‘Sing a song of six-pence [REST] a pocket full of rye
[REST]’ or ‘Sing a song of sixpence a pocket full of rye’. Although Burling
does not draw attention to it, the different arrangements seem to represent a
different musicality; perhaps reflecting a distinction between an
unaccompanied vocal versus a musical arrangement.
377 Smyth, Sidgwick and Broadhead are among those editors who attempt to
render this passage as a corresponding strophic pair, uses a similar lineation,

but a substantially different set of readings to those given by Garvie. On the
relation between diaereses and line-end in the tonally affective text, see
Conclusions: Traditional Metrics Comparison, Diaereses and Caesurae.
378 See Conclusions: Traditional Metrics Comparison, Synizesis and
Correption. We need not suppose that the word was pronounced as a

305
This gives a line of 4x minor ionics. In this ode, onl y lines [137]
and [143] approach its length. 379 Moreover, separation in those
lines, though possible, showed no clear semantic or rhythmic
advantages. Here, however, there is a clear point of separation after
θεο ῦ , that is, at the diaeresis of the four minor ionics. 380
Separation at this point gives two lines, [120] and [120a], of 2x

minor ionics, scanning with synizesis in [120]. Line [120a], scans
to word-end as an anapaest + dact ylopaest -2.
This lineation is given in the Experimental Text. For further

discussion, see the interpretive commentary, below.
95-96 (Sidg.) [121]: τ ίς ὁ κ ρα ιπ νῷ π ο δ ὶ π ήδ η μ α το ς εὐ π ε τέο ς

ἀ νά σ σ ω ν : this line exemplifies the textual difficulties in this
passage. The text is undoubtedl y corrupt and any attempts to
anal yse it in terms of its implied tonalit y are, in effect, attempts to
anal yse editorial conjectures. Garvie notes (93 -100n, 84) that his
text is that of Page, West and Hall with ‘onl y minor variations’,
and that it ‘provides a satisfactory Io nic metre’. By joining the
shorter lines, Garvie is able to avoid reading line -breaks within
words.
The Working Text, however, presents metrical and semantic

difficulties: the line does not scan to word -end as recognisable
measures, and the four short syllables of εὐ π ε τέο ς ἀ νάσσ ω ν , a
monosyllable; only that the short syllable was not felt to impact the rhythm
of the line.
379 See the metrical commentary on strophe and antistrophe E. Although
these lines are given in the Experimental Text as twelve-and-a-half beats in

length, their form is not entirely certain.
380 The minor ionic is principally a dactylopaestic measure. See Appendix X:
Subsidiary Measures, Ionics.

306
heptasyllable of the form ( - u u u u - - ), are troubling. There are
several lines that do not scan to word -end presented in the tonall y
affective texts so this cannot be regarded as a fatal objection.
Similarl y, the hexasyllabic measure ( - u u u u - - ) appears in the
second strophe in the kommos, but that is in a very different
metrical and dramatic context, and seems more appropriate to the
Elders’ heightened emotion in that scene than to the air of fatalistic
acceptance here. Additionall y, the sense of the lines is difficult to
construe, and the expression of thought shows nothing like the
rhetorical clarit y seen throughout this analysis.
As discussed in the interpretive commentary, Emperius’ conjecture

is accepted for t he Experimental Text – reading, however, εὐ π ετέ ως
for his εὐ π ε τῶς , for which there is MSS. authorit y: 381
◡ ◡ — — ◡ — | — — ◡ ◡ | — ◡ ◡— ◡ — —
τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ π ήδ ημ α τό δ ’ εὐ π ε τ έως ἀνᾴσ σω ν
This reading better represents the rhetorical and rhythmic character

evinced elsewhere in this play, and it shows a plausible point of
tonal separation after π ο δ ὶ :
◡ ◡ — — ◡ — [5]
τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ
— — ◡ ◡ | — ◡ ◡— ◡ — — [7 ]
π ή δ η μ α τό δ ’ εὐ π ε τ έως ἀνᾴσ σω ν
Under this lineation, line [121init] scans as an ‘anceps’

anadact yl. 382
381 Garvie, App. Crit., line 96: N2T. As discussed below, the variation is not
metrically significant.
382 Cp. lines [80] and [90] in strophe and antistrophe A. See also Ch.3,
Principal Measures: Dipartite Dactylopaestic Hexasyllables.

307
Line [121a] shows the final measure ( - u u - u - - ), which scans as
an ‘anceps’ tritrochee, with synizesis of ε ὐ π ετ έως . 383
On reading Brunck’s ἀν ᾴσσω ν for ἀν άσσω ν , see the interpretive

commentary on these lines. This lineation and scansion is given
with the Experimental Text.
97 (Sidg.) [122]: φ ιλό φ ρ ω ν γ ὰρ < π ο τι > σα ίν ο υ σ α τὸ π ρῶ το ν : on this

reading there is a suggestion of a pause in delivery after γ ὰρ ; the
final rho does not blend smoothl y with the pi of Hermann’s <π ο τι > ,
and the two intervening syllables unbalance the interaction of the
accented syllables, and, consequentl y, the rhythm of the line. 384
Separation by intra -tonal separation at γ ὰ ρ would give a sense
something like: ‘For she is friendl y / Fawning at first’, which is not
insupportable. The line scans to 3x minor ionics, which do not scan
to word-end. The reading is acceptable.
There is, however, an alternative: reading σ αί νο υ σ α with the codd.

It seems the prefix was supplied by editors who felt constrained by
the supposed necessity of uniform line -length and metrical
regularit y, and that the – obviousl y corrupt – passage needed to be
massaged into minor ionics.
Reading with the manuscript tradition gives:
◡ ◡ — — | — — ◡ ◡ — [—] (4 )
φ ιλό φ ρ ω ν γ ὰ ρ σαί ν ο υ σα τὸ π ρ ῶ το ν
383 Cp. line [131], antistrophe D. The tritrochee can take this form without its
native short final being lengthened by position at line-end.
384 The same may be said of Wellauer’s π αρ α- .
308
The line will then scan to word -end as a minor ionic +
dact ylopaestic hexasyllable -3. 385 This reading is adopted into the
Experimental Text.
98 (Sidg.) [123]: π α ρ άγ ει β ρο τὸ ν εἰς ἀρ κ ύ σ τ α τ’ Ἄ τα : this, reading

with Garvie after West, shows another trochiambic measure. West
describes the measure ( u u - - - u - - ) as an ‘acceptable’ ionic
dimeter. Under anal ysis by tone group, however, the full form of
the line must be ( u u - u u - - - u - - ). 386 The line scans to word -
end as a dianapaest + trochiamb -3.
The trochiambic measure is not very troubling, and it is not the

onl y one shown by the present anal ysis in the epode. 387 A case could
be made for scanning the phrase ἀρ κ ύ σ τ α τ’ Ἄτ α as a dact ylopaest -2,
on the basis of the natural quantit y of the accented upsilon of
ἀρ κ ύ σ τα τ’ , and by virtue of the uncertain phonetic force of the
phoneme - σκ -. 388 For purposes of comparison and evaluation, the
dact ylopaestic scansion is presented in the Experimental Text with
the original trochiamb noted in the critical apparatus.
99-100 (Sidg.) [124]: τ ό θ ε ν ο ὐ κ ἔσ τι ν ὑ π ὲρ θ ν α τὸ ν ἀ λύ ξ α ν τ α

φ υ γ εῖ ν : the effect of ὑ π ὲρ in tmesis (see interpretive commentary) is
heightened by a pause, and corresponding line -break, after that
word. This lineation will give:
385 See Ch.3, Principal Measures: (Regular) Dactylopaestic Hexasyllables.

386 On the position of the single word π αρ άγ ει in the traditional texts, see the
387 See line [121a] in the Experimental Text. Cf. also the fourth and fifth
strophic pairs (E and D). In the kommos, the second strophic pair shows a
similar blend of dactylopaestic and trochiambic metra.
388 See West, Greek Metre, 17, on the treatment of initial σ κ , and cp. the
similar treatment of ἐπ έσκ ηψε in line [111] of strophe C.

309
◡ ◡ — — ◡ ◡ — (5 )
τό θε ν ο ὐ κ ἔ σ τ ιν ὕ π ερ
— ◡ ◡ — — |◡ ◡ — (6 )
θ να τὸ ν ἀλύ ξ α ν τ α φ υ γ εῖν
ὑ π ὲρ becomes ὕ π ερ by anastrophe, back -referring to its own line.

Line [124], then, scans to word -end as a dianapaest (A). On the
basis of the grammatical affinit y between θ ν α τὸ ν and ἀλύ ξ αν τ α , line
[124a] scans as a dactylopaest -2 + anapaest, but it does not scan to
word-end.
Textual criticism.
Line [120]: construe as [120] and [120a]; scan as 2x minor ionics
with synizesis of θεο ῦ .
Line [120a]: scan as initial anapaest + dact ylopaest -2
Line [121]: construe as [121] and [121a]; scan ‘anceps’ anadactyl
( u u - - u - ).
Line [121a]: scan as initial minor ionic + ‘anceps’ tritrochee by
synizesis of εὐ π ε τ έως ; read ἀ νᾴ σσω ν (Brunck) for ἀ νάσ σω ν .
Line [122]: read φ ιλό φ ρων γ ὰρ σ αί ν ο υ σ α τ ὸ π ρῶ το ν (codd.): scan as
minor ionic + dact ylopaestic -3.
Line [123]: scan initial dianapaes t + dactylopaest -2; note original
trochiamb-3 in critical apparatus.
Line [124]: construe as [124] and [124a]; scan as dianapaest (A).
Line [124a]: scan as dact ylopaest -2 + final anapaest.
310
Experimental Text.
Epode (96-100) [120 -124a] 389
◡ ◡ — — |◡ ◡ — — (6 )
δ ο λό μη τι ν δ ᾽ ἀπ ά τ αν θ εο ῦ [1 20 ]
◡ ◡ — | — ◡ ◡ — — (6 )
τίς ἀ νὴ ρ θ ν α τὸ ς ἀλ ύ ξ ει [1 20 a]
◡ ◡ — — ◡ — [5]
τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ [1 21 ]
— — ◡ ◡ | — ◡ — ◡ — — (8 )
π ή δ η μ α τό δ ’ εὐ π ε τ έως ἀνᾴσ σω ν [1 21 a]
◡ ◡ — — | — — ◡ ◡ — [—] (8 )
φ ιλό φ ρ ω ν γ ὰ ρ σαί ν ο υ σα τὸ π ρ ῶ το ν [1 2 2 ]
◡ ◡ — ◡ ◡ — | — ◡ ◡ — — (8 )
π αρ άγ ε ι β ρ ο τὸ ν εἰς ἀ ρ κ ύ σ τ α τ’ Ἄ τα [1 2 3 ]
◡ ◡ — — ◡ ◡ — (5 )
τό θε ν ο ὐ κ ἔ σ τ ιν ὕ π ερ [1 2 4 ]
— ◡ ◡ — —|◡ ◡ — (6 )
θ να τὸ ν ἀλύ ξ α ν τ α φ υ γ εῖν [1 2 4a]
389 [120]: scanned original ( u u - u - ) as minor ionic with synizesis of θε ο ῦ ;

[121]: scanned ‘anceps’ anadactyl; [121a] scanned original ( - u u - u - - ) as
‘anceps’ tritrochee by synizesis of εὐ π ε τέ ως ; [122] read σ αί νο υ σ α for
<π ο τ ι>σ αί νο υ σ α , Hermann; [123]: scanned dactylopaest-2 for WT
trochiamb-3; [124]: scanned dianapaest (A); [124a]: scanned dactylopaest-2
+ final anapaest.
311
Interpretive Commentary, Epode.
The scheme-minded deception of God [120]

What mortal man can escape? [120a]
Who with light foot [121]
(Is) nimbl y making this leap? [121a]
For fawning at first with friendl y mind [122]
From where it is not possible [124]
For a mortal escaping to flee [124a]
Notes.
On the position of the epode at the end of the ode, see the
conjectured arrangement at the introduction to this chapter.
This passage presents great difficulties for anal ysis by tone group,
not because it does not respond to the analysis, but because the text
is so uncertain. Working from modern editions in which are
preserved multiple layers of uncertain tradition and editorial
conjecture, it is difficult to guess at the form of the original. There
is, in all likelihood, genuinel y Aeschylean material here, but it is
impossible to tell where it might begin and end. Even slight
editorial interventions can alter the form of a passage. T he epode,
in particular, has been massaged into minor ionics; to anal yse it is
to anal yse the accumulated poetic conjectures of centuries of
editorial intervention. Nevertheless, the tonal arrangement of the
epode can be taken to conform to the likely aura l presentation of
these lines.
Lines [120-120a]: ‘The scheme -minded deceit of God / What

mortal man can escape?’ With the lineation of the Working Text,
the most natural way to translate line [120] is to invert the order of
312
the phrases in the Greek origin al: ‘What mortal man can escape the
scheme-minded deceit of God?’ The lineation of the Experimental
Text, which divides the single over -long line into two rhythmic and
semantic units, makes this impossible.
The translation of the Experimental Text is not an entirel y natural

rendering, but neither is the construction entirel y alien to English,
and the effect will be less stark in the Greek. The separation of
these lines reinforces a hysteron-proteron figure, and helps them
achieve their maximum dramatic im pact. The accusative forms will
let the spectators know line [120] is an incomplete construction,
and the hysteron-proteron will not have been difficult to interpret.
Line [120] acts as the topic sentence of the epode; everything that
follows is to be int erpreted as the action of the δ ο λό μη τι ν δ ᾽ἀ π άτ α ν
θεο ῦ . The construction makes the semantic and dramatic force of
this line inescapable, and achieves the maximum potential for
spectator comprehension.
Line [120a] is prophetic – Xerxes will not escape the c onsequences

of his grandiose scheming, nor will his army. For the Elders it is a
philosophical reflection on the ineluctabilit y of fate, but for the
audience there is dramatic irony in the Elders’ remark because they
know with certaint y that the Persian ar m y will be destroyed.
Lines [121-121a]: ‘Who with light foot / (Is) nimbly making this
leap?’ The single line of the Working Text is presented as two lines
in the Experimental Text, and again there is a hysteron-proteron
figure. The reading π ή δ ημ α τό δ ’ εὐ π ε τ έως ἀνᾴσ σω ν is to be preferred
over π η δ ή μ α το ς εὐ π ε τ έο ς ἀν άσσω ν , and not merel y because it
removes the oddl y out -of-place tetrabrach; where Aeschylus
introduces stark rhythmic variations he does so with a specific end
313
in mind. 390 While Aeschylus could, conceivabl y, call somebody
‘Lord of the Leap’ – or rather, describe them in passing as ‘be -
lording the leap’ – it would be more in keeping with his observed
st yle to use such a term with reference to a named individual, and
to use it in a way that enhances the meaning of the wider context
and of the phrase used . There is nothing of this here. The participle
is merel y decorative, and unconvincing at that. Aeschylus does not
break the carefull y prepared flow of ideas, or of rhythms, in this
way.
On the other hand, the construction: ‘The scheme -minded deception

of a god / What mortal man can escape? / Who with light foot / (Is)
nimbl y making this leap?’ gives consistent sense; the demonstrative
π ή δ η μ α τό δ ’ refers to the implied swiftness and power necessary to
escape. Additionall y, the sense of the verb ἀ νᾴσσ ων is more in
keeping with the imagery of κ ρ αιπ νῷ π ο δ ὶ and εὐ π ε τέως , thus
reinforcing the semantic unit y of the hysteron-proteron figure.
Garvie (93-100n, 85) says that ἀ νᾴσσ ω ν is too anticipatory of the

net image. This objection is, I think, answered above; the sense of
the line refers back to [120 -120a], and, in any case, this kind of
anticipatory construction is not entirel y out of place in the context
of the hysteron-proteron figures of [120 -120a] and t he present
lines. Furthermore, the phrases lead elegantl y to the image of the
net in the following lines, which expand on the impossibilit y of
escape in a manner that is entirel y consistent with the expression
and development of though in this play.
390Runs of three or more short syllables are generally an indication of

heightened emotion and of dramatic intensity, cp. lines [935] and [979] in
the kommos, and in trochiambs (trochaic tetrameters, Atossa to Darius),
[725].
314
Line [122]: ‘For fawning at first with friendly mind’. The epode
abandons the hysteron-proteron figures seen in the previous lines.
The sense of this line is straightforward, setting up the conditions
under which the ensuing line will occur: people are beguiled by
their hopes and their earlier successes.
Line [123]: ‘Atē draws a man into the net’. No attempt has been
made here to critique the textual problems surrounding the
problematic phrase ἀ ρ κ ύ στ α τ’ Ἄ τα , and West’s conjecture, followed
by Garvie, is retained for the tonall y affective texts.
None of the editors consulted remarks on the seeming ‘pre -

enjambment’ of the single word π αράγ ει from the previous line of
the traditional texts. This is what comes of constructing texts on
the basis of a purel y visual -metrical praxis that pays little regard to
the meaning of words and phrases, their grammatical relations, or
their implied rhythms. W hen these considerations are taken into
account there is no alternative but to construe π αρ άγ ει with the line
to which it belongs both grammaticall y and semanticall y.
Lines [124-124a]: ‘From where it is not possible / For a mortal

escaping to flee ’. Again, no attempt has been made here to address
the textual difficulties of this line, and the readings of the tonall y
affective texts follow Garvie. 391
The Experimental Text’s division of line [124] is based primaril y

on metrical considerations. The line -final position of ὕ π ερ
emphasizes the poetic effect of the tmesis of either ὑ π ερ αλύ ξ αν τ α or
ὑ π ερ φ υ γ εῖ ν . Both interpretations are plausible and, with the
For discussions of these difficulties, see Rose 114n, Broadhead 114n,

391
West 93-101n, and Garvie 93-100n, 86.

315
separation given in the Experimental Text, it is conceivable that the
force of ὕ π ερ is applicable to both.
θ να τὸ ν , rejected by some editors, preserves the compositional ring

with line [120a], as does the reading ἀ λύ ξα ν τ α ; and the tautological
construction ‘escaping to flee’ is exactl y the form of utterance for
which Aeschylus is criticised at Frogs 1152ff.
Broadhead, who reads ὕ π ερ θ’ ἄ ν α το ν for ὑ π ὲρ θ ν α τὸ ν , makes some

interesting points in defence of his reading (114n, 60 -61),
especiall y in relation to his view that the Elders do not say that
escape from the snares of fate is impossible, merel y that it is
impossible to escape unharmed. Either interpretation fits with the
epode’s air of fatalistic acceptance. 392
392After the epode, according to the arrangement given in the Experimental

Text, the Atossa scene opens with the Elders’ brisk return to the business at
hand. These lines are analysed in Ch.4, Anapaests.
316
Chapter 6, Trochaic Tetrameters, The Elders’ Formal Address
to Atossa, and the Darius Scene.
Introductory Notes.
The purpose of this chapter is to test the efficacy of anal ysis by
tone group in interpreting the rhythmic and semantic qualities of
several passages of trochaic tetrameter verse. The anal ysed
passages are the Elders’ formal greeting to Atossa at lines 155 -158
[160-167] – the first tetrameters of the play – and, from the Darius
scene, Darius’ dismissal of the Elders – including the Elders’ two
brief l yric speeches – lines 694-702 [700-711], Darius’ first address
to Atossa, 703-708 [712-719], Atossa’s repl y, 709 -714 [720-726],
and the stichic dialogue between Darius and Atossa 715 -738 [727-
780]. 393
The tetrameters of the traditional text show the same tendency to

separate into grammaticall y and semanticall y self -contained
statements that scan to word -end as regular and recognisable
measures that was seen in the anal ysis of dact ylopaestic poetry. In
the case of tetrameter verse, the lines of the traditional text show
an even more marked tendency to separate into tone groups by
hemistichs. Again, pentasyllabic measures are the principal
rhythmic unit, admixed with hexasyllabic and heptasyllabic
measures, and with shorter subsidiary measures.
393Darius’ first speech, in iambic trimeters, will be analysed in the following

chapter.
317
Metrical Commentary, The Atossa Scene , 155-158 [160-167].
— ◡ — — — | ◡ — [— ] (7 )
ὦ β α θυ ζώ νω ν ἄ ν ασσ α [1 6 0 ]
— ◡ — |◡ — ◡ — [6 ]
Περ σ ίδ ω ν ὑ π ερ τά τη
— ◡ — — — |◡ — — (7 )
μῆ τερ ἡ Ξ έρ ξο υ γ ερα ι ά
— ◡ |— — — ◡ — (6 )
χ αῖρ ε Δα ρ είο υ γ ύ ν αι
◡— ◡ — — | — ◡ — — [7 ]
θεο ῦ μὲ ν εὐ νά τε ιρ α Περσῶ ν
◡— ◡ — | — — ◡ — [6 ]
θεο ῦ δ ὲ κ αὶ μή τηρ ἔφ υ ς [1 6 5 ]
— ◡ — | — — ◡ — [— ] (7 )
εἴ τι μὴ δ αί μω ν π αλ α ιὸ ς
— ◡ — — — | ◡ — (6 )
νῦ ν με θ έσ τη κ ε σ τρ α τ ῷ [1 6 7 ]
O Queen of deep -girdled (women) [160]

Of Persian women the most -exalted
Aged mother of Xerxes
Greetings wife of Darius
Bed-mate of a god
You are also the mother of the god of the P ersians
Unless the ancient daimōn [166]
Has now forsaken the arm y
318
Notes.
This speech is the third movement of the Atossa scene. The first
two dact ylopaestic movements are anal ysed in Chapter 4,
Anapaests.
There are certain metrical features of this carefull y constructed

piece that are onl y appreciable under analysis by tone group. There
is also evidence for the admission of synizesis in trochiambs.
In this movement, the diaereses of the traditional text co rrespond to

distinct phrases that benefit, both rhythmicall y and thematically,
from a separate lineation and intonation. The tonall y affective texts
are composed entirely of the hemistichs of the traditional texts,
which form couplets of eight and seven sy llables. In contrast to the
lineation of the traditional texts, the pattern of phrase lengths
points strongl y to the implied rhythmicalit y of the passage, and
therefore also to the likel y timing and nuance of the phrases in oral
delivery.
Metrical and col ometric considerations .

155 [160-161] ὦ β α θυ ζώ νω ν ἄ ν ασσ α / Περ σίδ ω ν ὑ π ερ τ άτ η : this line is
a single grammatical entit y comprised of two tone groups under
intra-tonal separation. The separation occurs at the diaeresis.
The presumption of intra -tonal separation is somewhat arbitrary;

there are no rhythmic or phonetic features of the line that indicate
its presence. It must be noted, however, that this is not the case for
the other lines of this movement. They are readil y separable at their
diaereses and, wh en separated, benefit the appreciation of both
rhythm and meaning. The present line features a chiasmus, a
rhetorical figure in which the order of grammaticall y and
semanticall y related words is reversed, which is emphasised by the
319
intra-tonal separation. Furthermore, the dictates of clear
enunciation and audience comprehension argue against the delivery
of these two lines within a single rhythmical space; separation
makes their force stronger both rhythmicall y and conceptually.
Line [160] scans to word -end as a trochiamb -2 + final bacchius, a

metrical formation that is repeated in lines [162], [164] and [166],
that is, in every second line of the movement. 394 Line [161] is
scanned in the Working Text as an initial cretic + diiamb. The line,
however, presents a rhythmic unit y, and should be scanned as a
trochaic heptasyllable, or lecythium. This measure, the lecythium,
is one of the most commonl y-occurring measures in the trimeters
and tetrameters analysed in this study. The lecythium is scanned in
the Experim ental Text.
156 [162-163]: μ ῆ τ ε ρ ἡ Ξ έρξο υ γ ερ αιά / χα ῖρε Δ αρείο υ γ ύ να ι : line

156 cannot be pronounced convincingl y as a single phrase. The
rhythmic force of the acute accent of γ ερα ιά makes some kind of
separation after this syllable all -but unavoidable. 395 According to
the principles of this study, the vocatival phrase is held to be
tonall y distinct from the clearl y identified phrase of greeting.
Line [162] scans to word -end as a trochiamb -2 + bacchius. Line

[163] is scanned in the Working Text as an isol ated trochee +
trochiamb-4, a scansion that allows for the grammatical force of the
lone imperative χ αῖρ ε . 396 This scansion could reflect the original
394 On the non-admission of octosyllables, see Appendix X, Tables of

Measures, A note on octosyllabic measures.
395 The final syllable of the vocative, short by nature, is scanned long by
position at line-end according to the metrical conventions used throughout

this study.
396 On isolated disyllables, see Appendix X: Subsidiary Measures.
320
cadence of intonation in performance, but on the basis rhythmic
regularit y of this movement, the line is sc anned as a dicretic (A). 397
157 [164-165]: θ ε ο ῦ μ ὲ ν εὐ νά τ ειρ α Πε ρσῶν / θ ε ο ῦ δ ὲ κ α ὶ μή τ ηρ

ἔφ υ ς : the μὲ ν … δ ὲ … construction all but guarantees tonal separation
in this line of the traditional text.
Line [164] is scanned in the Working Text as an iambic

pentasyllable + epitrite-2. 398 It does not, however scan to word -
end. 399 Line [165] is scanned to word -end as a diiamb + epitrite -3. 400
The question of the possible synizesis in θε ο ῦ arises. S ynizesis was

approved in dact ylopaests in every instance of this wor d. Scanning
with synizesis will give:
Line [164]: ( - u - - - | u - - )
Line [165]: ( - u - - - | u - )
Synizesis does not solve the problem of scansion to word -end in

line [164], but it does give the regular metrical form seen
throughout this movement. Given the careful construction evident
in this movement, synizesis of θεο ῦ is admitted into the
Experiment al text.
397 Like the lecythium, this measure is a key structural feature of both
trimeters and tetrameters.
398 This commonly occurring measure is properly the ‘anceps’ form of the
‘true’ iambic pentasyllable, which does not occur in the analysed portions of
the play. For this reason the simpler term is used for the anceps form. See
Ch.3, Principal Measures: Other (Multianalectic) Trochiambic Pentasyllables.
399 See Conclusions: Traditional Metrics Comparison, Lines that do not scan
to word-end.
400 This is the only instance of a line of this form noted in this study. Diiambs
and epitrites are, however, regular for trochiambs in general.

321
Line [164] scans as a trochiamb -2 + bacchius. It does not scan to
word-end.
Line [163] shows the same metrical form as [165], but with
different grammatical relations. 401 The balance of accented syllables
– disregarding for the moment the two grav e accents of δ ὲ κ α ὶ – is
the same, with a circumflex accent on the initial syllable (with
synizesis) and acute accents on the fourth and sixth. 402 On these
grounds Line [165] is scanned as a dicretic (A).
158 [166-167]: ε ἴ τι μὴ δ αί μω ν π αλ αιὸ ς / ν ῦ ν μ ε θέσ τηκ ε σ τρ α τῷ : the

separation of this line of the traditional text is supported by the ς - ν
consonantal clash, by the difficult interaction between the grave
and circumflex accents, and by the regular phrase -lengths in the
rest of this movement. Although the t wo logoi could be presented
within a single tonal boundary, the moment of suspense implied by
this lineation also supports separation here. This could be regarded
as an instance of intra -tonal separation, but it is not necessary to
the lineation proposed here.
Line [166] is scanned in the Working Text as an initial cretic +

trochiamb-3 on the basis of the grammatical integrit y of the phrase -
element ε ἴ τι μὴ . Although the line will scan to word -end according
to the same measures seen in lines [160], [162] and [164 ], the
rhythmic and semantic force of the grammatical construction should
be acknowledged. 403 Line [167] scans to word -end as a dicretic (A).
401 See the commentary above with n.395.

402 For a theoretical view of the tonal qualities of the Greek accents, see
Appendix IX: Audio 3 with notes.
322
Textual criticism.
The Experimental text is the same as the Working Text except for
variations in scansion. There is no new translation.
Line [161]: scan trochaic heptasyllable (lecythium).

Line [163]: scan dicretic (A).
Line [164]: scan initial trochiamb -2 by synizesis of θ εο ῦ .
Line [165]: scan dicretic (A) by synizesis of θεο ῦ .
Line [166]: scan initial cretic + tr ochiamb-3; read π α λα ι ό ς for line-
end.
323
Experimental Text .
The Elders’ Formal Address to Atossa 155 -158 [160-167] 404
— ◡ — — — | ◡ — [— ] (7 )
— ◡ — ◡ — ◡ — [6 ]
— ◡ — — — |◡ — — (7 )
— ◡ — — — ◡ — (6 )
— ◡ — — — |◡ — — [7 ]
— ◡ — — — ◡ — [6 ]
— ◡ — | — — ◡ — [— ] (7 )
εἴ τι μὴ δ αί μω ν π αλ α ι ό ς
— ◡ — — — ◡ — (6 )
404 [161]: scanned lecythium; [163]: scanned dicretic (A); [164]: scanned
initial trochiamb-2 by synizesis of θ εο ῦ ; [165]: scanned trochiamb-2 by
synizesis of θ εο ῦ ; [166]: cretic + trochiamb-3, read π αλ αι ό ς for line-end;
[167]: scanned dicretic (A).
324
Interpretive Commentary, The Atossa Scene: The Elders’
Formal Address to Atossa 155 -158 [160-167].

Bed-mate of a god
You are also the mother of the god of the Persians
Has now forsaken the arm y(?)
Notes.
In each of the lines of the traditional text of this speech there is an
implied antithesis, or contrast, that is largel y obscured in the
traditional lineation, but which is emphasised under this anal ysis.
In this way thematic issues are isolated that bear on the
interpretation of the play.
The formal language of the translat ion reflects the Greek, which
has a ritualised quality in its metrical regularit y and predominance
of long syllables.
Lines [160-161]: ‘O Queen of deep -girdled (women) / Of Persian

women the most -exalted’. The separation of these lines requires
that the word ‘women’ be supplied for the English translation – a
rare necessit y in the translation of the tonall y affective texts.
Nevertheless, the separation has some advantages. The presumption
of intra-tonal separation heightens the effect of the chiasmus, thus
emphasising two dimensions of Atossa’s status: her social status as
highest among Persian women – identified in this play as the main
325
locus of grief over the loss of the arm y, 405 and her political status as
Queen (and Queen -Mother). This sort of quasi -antithesis is
operative throughout the anal ysed portions of this play, and
especiall y in the paired oppositions of this movement.
The full form of the line, however, also has advantages. The length
of the line will require a somewhat hurried delivery, and this , in
combination with the chiasmus, could be an instance of comedic
relief. The Elders have said in lines [158 -159] that they will ‘say
all in carefull y prepared speech’; in its full form, the line gives the
opposite impression, one of embarrassed haste. 406
Lines [162-163]: ‘Aged mother of Xerxes / Greetings wife of

Darius’. These lines again identify two distinct characteristics of
Atossa from the point of view of the Elders: their similarit y in age
– in contrast with the young Xerxes – is emphasised along with her
status as mother of Xerxes [162]. 407 Her close relationship with
Darius is emphasised in [163].
Under this lineation χ αῖρε is to be construed with Δ αρεί ο υ γ ύ να ι ,

and not with μῆ τερ ἡ Ξ έρξο υ γ ερ αι ά , indicating that the relationship
with Darius is the privileged one from the point of view of the
Elders. Thus the lineation enhances the dramatic significance of
each line by the regular quasi -antithesis used throughout the play.
The relationship of both the Elders and Atossa to Darius is of great
importance, foreshadowing the condemnation of Xerxes in the
405 See especially the eighth and final movement of the parodos and
antistrophe E with strophe and antistrophe D.
406 See the commentaries on lines [154-159] in Ch.4, Anapaests. That
movement also begins with a longer line, and was taken to be indicative of
the Elders’ surprise at the sudden and unexpected appearance of Atossa.
407 See lines [681-683], and for Xerxes’ youthful folly, lines [974-976a], with
744-751, which are not analysed in this study.

326
Darius scene and the kommos. The subtle negative judgement of
Xerxes will be taken up in the final couplet of this movement. 408
Lines [164-165]: ‘Bed-mate of a god / You are also the mother of

the god of the Persians’. The implied antithesis in this couplet
reflects the crucial distinction between Darius and Xerxes. The
adversative character of these paired statements ( μὲ ν … δ ὲ κ αὶ )
reflects the Elders’ genuine respect and affection for Atossa. There
is, however, a barbed point to the construction. The line -final ἔφ υ ς ,
can, of course, mean simpl y ‘you are’ or ‘you became’;
nevertheless, this special status and all it implies about A tossa ‘by
nature’ is to be challenged in the succeeding couplet.
Lines [166-167]: ‘Unless the ancient daimōn / Has now forsaken

the army (?)’ The uncertain statement of the protasis may be taken
as a reflection of the Elders’ genuine concern for Atossa, a nd it
should, perhaps, be understood as a tentative question. For this
reason a question mark is given in parentheses in the appended
translation. The εἴ τι μὴ clause refers back to line [165]: ‘You are
the mother of the god of the Persians unless….’ Now Atossa’s
status as mother of a god is dependent on the unnamed divinity. The
activit y of the δ αίμ ων is a key concept in this play and the present
line is its first occurrence. 409 Its occurrence here is coupled with a
408 For discussions of the Elders’ apparent doubts about Xerxes, see the
interpretive commentary on lines [14-15] in the second movement of the
parodos, and on the first movement of the Atossa scene, in Ch.4, Anapaests.
409 The word daimōn occurs twenty times in this play, and another four times
in adjectival compounds. Of these, the most important are discussed briefly

here. At line 203, Atossa, in response to her troubling dream, attempts to
appease the apotropaic daimones, who, however, send the troubling omen of
the hawk and the eagle in response; at line 345, the daimōn is explicitly
blamed for the downfall of the Persian forces: ἀλλ᾽ ὧδε δαίμων τις κατέφθειρε
στρατόν; and at 353-4 [= 353-357, q.v.], the appearance, from somewhere, of
the evil daimōn is adduced as the first cause of the whole disaster. There
327
clear statement of the doubts that have be en increasingl y apparent
since line [14] in the parodos. The tonal lineation is dramaticall y
effective: the rest between lines allows for a breath’s space of
anticipation in the minds of the spectators – unless the ancient
divinity… what? As yet we have seen only the Elders’ vague
presentiments of disaster, and under these rhythmic circumstances,
this strong expression of doubt will come with additional force.
This is soon to be compounded with the description of Atossa’s
dream and, climacticall y, by the ar rival of the Messenger.
follow several passing references to the activity of the daimōn, who brings
sorrow or good fortune (e.g. Atossa’s ‘hateful daimōn’ at line 472; the ‘too-
heavy daimōn’ at 515; the ‘well-flowing’ daimōn at 602). From line 620 there
is a sudden change of emphasis, and Darius himself becomes a daimōn to
whom the Persians can appeal for help as one of the ‘holy daimones of the
earth’ at 628, and again at 634 and 641 as respectively a ‘King equal to
divinity’ (isodaimōn) and a ‘proud daimōn’ (cp. line [164] in the present
movement). The word occurs twice in the stichic dialogue between Darius
and Atossa at [= 748-751], where it is a great daimōn that has robbed Xerxes
of his wits. There are several passing references to the daimōn in Darius’
critical evaluation of Xerxes’ career, and, finally, the word plays an important
role in Xerxes’ self-condemnation and the Elders’ stern criticism of him in the
kommos (lines [912], [925], [949] and [960]). In its final occurrence at line
1005, the ultimate blame for the disaster passes from Xerxes to the daimones
who caused ‘an unlooked-for and outstanding evil’.
328
Metrical Commentary, The Darius Scene , 694-702 [700-711].
ELD: ◡ ◡ — — | ◡ ◡ — — (6 )
σ έβ ο μ αι μὲ ν π ρο σιδ έσ θ αι [7 0 0 ]
◡ ◡ — | — ◡◡ — — (6 )
σ έβ ο μ αι δ ᾽ ἀν τί α λέξ α ι
◡ ◡ — — — |◡◡ — — (7 )
σ έθ εν ἀρ χ αίῳ π ε ρὶ τά ρβ ει
D A: — ◡ — ◡| — ◡ — [ — ] [6 ]
ἀλλ᾽ ἐ π εὶ κ ά τ ωθ εν ἦλ θο ν
— ◡ — | ◡ — ◡ [—] [5]
σ ο ῖς γ ό ο ις π επ ε ισμέ ν ο ς
— ◡ — — | — ◡ — [— ] (7 )
μή τι μ ακ ισ τ ῆρα μῦ θο ν [7 0 5 ]
— ◡ — ◡ — | ◡ — [5]
ἀλλὰ σ ύ ν το μο ν λέγ ων
— ◡ | — ◡ — ◡ — [— ] [7 ]
εἰπ ὲ κ α ὶ π έρ αι νε π ά ν τ α
— ◡ — — — | ◡ — (6 )
τὴ ν ἐ μὴ ν α ἰδ ῶ με θείς [7 0 8 ]
ELD: ◡ ◡ — — |◡ ◡ — — (6 )
δ ίο μ αι μ ὲν χ αρί σα σθ α ι
◡ ◡ — |— ◡ ◡ — — (6 )
δ ίο μ αι δ ᾽ἀ ν τί α φ άσ θ α ι [7 1 0 ]
— — — — | ◡ ◡ — [— ] (7 )
λέξ ας δ ύ σ λ εκ τα φ ίλο ι σιν
329
ELD: I am (too) awestruck to look on you [700]
I am (too) awestruck to speak before you
Because of m y ancient fear of you
DA: But since I have come from below

Persuaded by your cries
(Give me) no long speech [705]
But speaking concisely
Speak out and make everything clear
Having put your awe of me aside
ELD: I fear to oblige you

I fear to speak plainly before you [710]
Speaking hard words to dear friends
Notes.
This movement is the second of the Darius scene -proper, after the
invocation scene, 59 9-680. Darius’ first speech, 681 -693 [681-699]
in iambic trimeters, is anal ysed in the following chapter. The line
numbering of this and the subsequent movements is derived from
that of the Working Text and continues on from Darius’ first
speech. This ‘abo rted epirrhema’, (Garvie, 694 -702n), is the onl y
passage of its kind anal ysed in this study, and will serve as a
comparison when more material becomes available.
Darius’ speech is given by all editors as three lines of trochaic

tetrameters, but under anal ysis by tone group they separate at the
diaeresis into six trochiambic lines. The regular alternation of
330
longer and shorter lines resembles the Elders’ tetrameter address to
Atossa, and, in the measures used, iambic trimeters. 410
For the sake of the integrit y of this movement, it will be convenient

to discuss the Elders’ brief speeches in l yric dact ylopaests before
turning to the intervening speech of Darius. The El ders use the
dact ylopaests of the parodos with each speech closed by a
paroemiac.

694-695 [700-701]: σ έ β ο μ αι μὲ ν π ρ ο σιδ έσθ α ι / σέβ ο μ αι δ ᾽ἀ ν τί α
λ έξ αι : as scanned above, the first of these metricall y identical logoi
is scanned to word -end as 2x minor ionics. This was dictated by the
presumed tonal and grammatical force of μὲ ν , which adheres to the
beginning of an utterance, especiall y when it is balanced by a
contrasting δ έ clause. Given, however, the significance of σ έβ ο μα ι –
which gives the reason for the Elders’ failure to respond to Darius’
direct questions – both lines can be scanned to word -end as initial
anapaest + dact ylopaest -2, a rhythmical pattern that would not be
out of place in the parodos. 411
This scansio n is given for both lines in the Experimental Text.
410 See Conclusions: Initial Findings by Verse Type, Trimeters vs.

Tetrameters.
411 This combination of measures occurs as a single line nine times in the
parodos and first ode. Broadhead (Appendix II, 292) finds that the ‘Ionic
scansion is surely the natural one’ but notes that Kolár (p.152, otherwise
uncited by Broadhead but it can only be Antonius Kolár’s De re metrica
poetarum Graecorum et Romanarum, Prague 1947; cf. the review by R
Lattimore, CP 46.1, 1951, 61-62), reads them as anapaests ‘because of the
paroemiacs and the Chorus’ “pudor et cupiditas loquendi” (Broadhead’s
quotation, ibid.).
331
696 [702]: σ έ θε ν ἀ ρ χ α ίῳ π ερὶ τ άρβ ει : the line scans as a regular
paroemiac of the same form as lines [29] and [56] in the parodos.
700-702 [709-711]: δ ίο μ αι μὲ ν χ αρίσ ασ θ αι / δ ίο μ αι δ ᾽ ἀ ν τί α φ άσ θ αι /

λ έξ ας δ ύ σ λεκ τ α φ ί λο ισ ι ν : the first two lines of the antistrophe
correspond precisel y with those of the strophe, with ἀ ν τί α
occupying exactl y the same position in each line. 412 As with line
[700], line [709] is scanned to word -end as 2x minor ionics in the
Working Text, and, for the same reasons as given above, could be
scanned to word -end as an initial anapaest + dact ylopaest -2.
The paroemiac features a long initial syllable, giving an open

dact ylopaest in place of the dact ylopaest -1 of line [702]. This
variation does not affect the corresponsion between strophe and
antistrophe. It is, however, interesting to note that the most
common MSS. reading has δ είο μα ι in place of δ ίο μ αι . 413 It can onl y
be that the secondary reading is preferred by editors on the basis of
strophic corresponsion. Garvie (700 -2n) finds δ είο μ αι ‘no easier’
than δ ίο μα ι , and Broadhead’s opinion (700 -2n) is that ‘in view of
our ignorance we may content ourselves provisionall y with
Hermann’s suggestion’.
The problem with the alternative readings is that they do not mean
what they ought to mean here: ‘I am afraid’. It is questionable as to
whether δ ίο μα ι , normall y transitive and meaning ‘put to flight’ is
apposite, especiall y given its grammatical relation to the infinitive;
still more doubtful is Hermann’s δ ίε μ αι , given its primary meaning,
412 Garvie, 700-2n; Broadhead, 700-2n.

413 So Garvie, 700-2n; Broadhead, 700-2n; Italie, Index, sub δ ίο μαι .
Nevertheless Garvie, along with West and Page in their editions, reads
δ ίο μ αι , a reading with some manuscript authority (see editions ad loc.);
Broadhead, Weir Smyth and Sidgwick read Hermann’s δ ίεμ αι .
332
‘pursue’. 414 We are left then with the ‘unmetrical’ δ είο μ αι . 415 The
notion of fear is more closel y aligned to the σέβ ο μαι of the strophe
than is the notion of fleeing; in any case the Elders do not flee.
Rather, they are attempting to explain their second refusal to grant
Darius’ request. It is easy to suppose that Aeschylus used a word
based on the root * δ ε ι -, ‘fear’. The f act that Darius uses δ έο ς in the
subsequent line, the onl y use of this word in the play, seemingly
‘taking up’ the lexical cue in a manner entirel y consistent with
Aeschylean practice, should give us additional reason to prefer this
alternative.
Reading δ είο μ αι gives the following scansion:

—◡ — — | ◡◡ — — [7 ]
δ είο μ αι μὲ ν χ α ρίσ ασ θ αι
—◡ — — | ◡◡ — — [7 ]
δ είο μ αι δ ᾽ ἀν τί α φ ά σ θ αι
— — | — — |◡ ◡ — [—] (7 )
Line [709] and [711] will now scan as an epitrite -2 + minor ionic, a
form that is by no means out of place in other l yric passages, which
are seen to admit a mixture of dact ylopaestic and trochiambic
forms. 416 Rhythmicall y, however, the first two lines seem like
malformed paroemiacs. The seven -beat phrases would make th e
antistrophe trochiambic; trochiambs use seven -beat phrases freel y.
414 See discussions in Garvie and Broadhead, ad loc. Broadhead, 700-2n,

observes that ‘others’ construe it as a middle form of δ ί ω , explaining it on the
analogy of έ  and ῦ . LSJ sub δ ί εμ αι gives ‘fear’ as a secondary
meaning, based, apparently, only on Hermann’s conjecture (cf. Supplement,
92).
415 Garvie, 700-2n.
416 Cf. strophe and antistrophe B, D and E in the first ode, and strophe and
antistrophe B in the kommos.

333
The presence of a paroemiac at the end of a trochiambic sequence,
could be seen as a further demonstration of Aeschylus’ metrical
freedom; it is, at any rate, strikingl y unusual.
The form of the verb is, however, morphologicall y strange. If the

word is indeed coined on δ είδ ω – cp. aor.inf δ εῖσ αι ; also δ ει μό ς (and
Δεῖμο ς ) and, particularl y, δ εῖμ α 417 – then we should expect
something like δ ε ῖ μαι . This, although an unattested and merel y
conjectural hapax, is a perfectl y understandable word in this
context, and gives both the required meaning and scansion:
— — | — ◡◡ — — (6)
δ ε ῖ μ αι μ ὲν χ αρ ίσα σ θα ι
— — | — ◡◡ — — (6)
δ ε ῖ μ αι δ ᾽ἀ ν τί α φ άσ θ αι
— — — — | ◡ ◡ — [—] (7 )
It is easy to imagine how the unusual word * δ ε ῖ μ αι could have been

corrupted to the morphologicall y regular δ είο μ αι ; and from there it
is a matter of the normal textual interventions toward metrica l
regularit y practiced by editors ancient and modern.
The conjectured reading δ ε ῖ μ αι is offered for consideration in the

Experimental Text.
Line [711] is a regularl y formed paroemiac, an open dact ylopaest +

final minor ionic, that does not scan to word-end. 418
Cf. Chantraine, Dictionnaire, sub δ είδ ω .

417
Seven of the seventeen paroemiacs identified in this study do not scan to

418
word-end. See Conclusions: Initial Findings by Verse Type, Paroemiacs.

334
It remains to complete the anal ysis of this movement with
discussion of Darius’ speech, 697 -699 [703-708].
697init [703]: ἀ λ λ ᾽ ἐπ ε ὶ κ ά τω θ εν ἦλ θο ν : this line is scanned in the

Working Text as a ditrochee + eptrite -2. On the basis of the
introductory ἀλ λ᾽ ἐπ ε ὶ , and the rhythmic and grammatical integrit y
of the phrase κ ά τ ω θε ν ἦλ θο ν , the line is scanned to word -end as an
initial cretic + iambic pentasyl lable in the Experimental Text. 419
697fin [704]: σ ο ῖς γ ό ο ις π επ ε ισμ έν ο ς : for a fuller discussion of the

separation of this line from [703] see the interpretive commentary,
below. The separation is supported by the ν - σ consonantal clash,
and by the difficult interaction of the circumflex accents. The line
is scanned to word -end as an initial cretic + final diiamb, but on the
basis of the common occurrence of this measure in both tetrameters
and trimeters, the line is scanned as a lecythium in the
Experimental Text.
698init [705]: μ ή τι μ ακ ισ τῆρ α μῦ θο ν : this line is given in tonal

separation from line [706] because protasis and apodosis are held to
be tonall y distinct elements of a single semantic construction. The
adversative ἀλλὰ of line [706] strengthens th e sense of tonal
individuation.
The line is scanned in the Working Text as 2x epitprites -2. Given,

however, the lexical integrit y of the prohibitive μή τι , and the force
of the enclitic accent, and the grammatical relation of the phrase -
419For the rejection of the possible octosyllabic measure, Appendix X, Tables

of Measures, A note on octosyllabic measures.
335
element μ ακ ισ τῆ ρ α μ ῦ θο ν , the experimental scansion initial trochee
+ trochiambic hexasyllable -4 is given in the Experimental Text. 420
698fin [706]: ἀ λ λ ὰ σ ύ ν το μο ν λέγ ω ν : the line is scanned in the

Working Text as a ditrochee + cretic, a rhythmical inversion of the
metricall y identical line [704]. It is not the contention of this study
that inversions of this kind are planned; rather that they are a
natural concomitant of the broad rhythmic scheme that Aeschylus is
using. In the present line, the interaction of the accented sy llables
seems to present a well -balanced rhythmical unit y, and it is scanned
as a lecythium in the Experimental Text.
699init [707]: ε ἰ π ὲ κ α ὶ π έ ρα ιν ε π ά ν τ α : the possibilit y that this line

could form a tonal grouping with line [706] as the single phrase
‘speaking succinctl y tell and explain all’ is to be discounted
because of the interaction of the accented syllables of λ έγ ω ν and
εἰπ ὲ , the rhythmic and semantic unit y of the lines, and because of
the regular structure of longer and shorter lines that defines this
speech.
Line [707] is metricall y identical to line [703]; the different beat -

counts are produced by the conventions employed here in this
study. 421 The rhythmical boundaries are not clear in this line, which
is open to a number of metrical interpretat ions. In the Working Text
the line is scanned as an initial trochee + ‘anceps’ tritrochee,
because of the presumed force of ε ἰπ ὲ , grammaticall y isolated by its
420 Isolated initial trochaic feet are scanned six times in the Working Text, in
which only pentasyllables are admitted. This is the only occurrence in the
Experimental Text. See Appendix X, Tables of Measures: Subsidiary
Measures. For the hexasyllable, see Ch.3, Principal Measures: (Regular)
421 See Ch.2, Research Method: Step 2, Scansions.
336
position before the syndetic κ αὶ . On the basis, however, of the force
of the grave accents of εἰπ ὲ κ αὶ , the grammatical integrit y of
π έρ αι νε π ά ντ α , and the metrical identit y of this line with [703], this
line is scanned to word -end as cretic + iambic pentasyllable in the
Experimental Text.
699fin [708]: τ ὴ ν ἐμὴ ν αἰδ ῶ μ εθ είς : in the Working Text, the line is
scanned to word -end as a trochiamb -2 + final isolated iamb. The
line, however, presents a rhythmic and tonal unit y, and is scanned
as a dicretic (A) in the Experimental Text.
Textual criticism.
Line [700]: scan initial anapaest + dact ylopaest -2.
Line [703]: scan initial cretic + iambic pentasyllable.
Line [704]: scan lecythium.
Line [705]: scan initial trochee + trochiambic hexasyllable -4.
Line [707]: scan initial cretic + iambic pentasyllable.
Line [709] and [710]: read δ ε ῖ μ αι for δ ί ο μ αι ; scan spondee +
dact ylopaest-2.
The changes made for the Experimental Text require no new

translation.
337
Experimental Text.
Darius’ Encouragement to the Elders 694 -702 [700-711] 422
ELD: ◡ ◡ — | — ◡ ◡ — — (6)
σέβομαι μὲν προσιδέσθαι [700]
◡ ◡ — | — ◡◡ — — (6)
σέβομαι δ᾽ἀντία λέξαι
◡ ◡ — — — |◡◡ — — (7)
σέθεν ἀρχαίῳ περὶ τάρβει
D A: — ◡ — |◡ — ◡ — [—] [6]
ἀλλ᾽ ἐπεὶ κάτωθεν ἦλθον
— ◡ — ◡ — ◡ [—] [5]
σοῖς γόοις πεπεισμένος
— ◡ |— — — ◡ — [—] (7)
μή τι μακιστῆρα μῦθον [705]
— ◡ — ◡ — ◡ — [5]
ἀλλὰ σύντομον λέγων
— ◡ — | ◡ — ◡ — [—] [7]
εἰπὲ καὶ πέραινε πάντα
— ◡ — — — ◡ — (6)
τὴν ἐμὴν αἰδῶ μεθείς [708]
ELD: — — | — ◡ ◡ — — (6)
δεῖμαι μὲν χαρίσασθαι
— — | — ◡ ◡ — — (6)
δεῖμαι δ᾽ἀντία φάσθαι [710]
— — — — |◡ ◡ — [—] (7)
λέξας δύσλεκτα φίλοισιν
422 [700]: initial anapaest + dactylopaest-2; [703]: scanned cretic + iambic

pentasyllable; [704]: scanned lecythium; [705]: scanned initial trochee +
trochiambic hexasyllable-4; [706]: scanned lecythium; [707]: scanned cretic
+ iambic pentasyllable; [709] and [710]: read δ εῖμ αι for δ ίο μ αι (codd.),
δ ίεμ αι (Hermann); scanned initial spondee + dactylopaest-2.
338
Interpretive Commentary, The Darius Scene: Darius’
Encouragement to the Elders.



Notes.
The tonall y-affective lineation reveals nuances of thought and
expression. As has been shown consistently throughout this study,
anal ysis by tone group tends to enhance the rhythmic and semantic
impact of the poetry, and here particularly, tonal separation brings
a life and warmth to the lines that is all but entirel y obscured in the
metricall y regular lines of our traditional texts.
In contrast with the trimeters of Darius’ initial address to the

Elders, with its air of joyous reunion with old comrades, the
tetrameters here and in the subsequent movements seem,
structurall y at least, much more formal.
339
Darius’ second speech in th e play space presents a series of three
paired lines that develop a single idea – that the Elders should
speak freel y. The speech can be read as a series of gentle
encouragements to the Elders: ‘But since I am here, and I was
called by you (after all), (it is not necessary to) give a long speech;
but tell me concisel y (i.e., without the usual formalities), speak and
explain everything; put aside your reverential awe’.
The tone of this rendering contrasts vividly with the peremptory

and almost bull ying ton e of one that makes no allowance for the
separation of phrases and ideas: ‘But since I am here having been
called by you / make no long speech but speaking concisel y / speak
and explain everything without your reverential awe’.
It remains possible to pla ce other nuances of interpretation on the

shorter lines; an actor could deliver them with ghostl y hollowness,
or with regal disdain. Although it remains uncertain what specific
nuance Aeschylus intended, a sharp, peremptory speech is out of
character with the warm greeting of Darius’ first speech; it would
have an entirel y different tone.
Lines [700-702] and [709 -711]. The Elders respond to Darius’

initial address, or rather, attempt to explain their failure to respond.
These lines bear the hallmarks of Ae schylean composition in their
concise presentation of the key ideas, and in their metrical form,
which is in keeping with those observed in the other dact ylopaestic
passages. The Elders’ brief speeches provide a naturalistic and
dramaticall y effective mean s of allowing the long dialogue between
Darius and Atossa that follows this movement.
340
The tentativel y proposed emendation, δ εῖ μαι , discussed in the
metrical commentary, gives the sense that is required of δ ίο μ αι or
δ ίεμ αι (for the unmetrical δ είο μα ι of the MSS).
Further, the dramatic context provides some justification for the

long initial syllables of the antistrophe. The Elders are, as they
have stated, [700 -701], in a state of superstitious, or religious,
terror. This is compounded by the fact t hat the same terror inhibits
them from obeying what amounts to a direct command from their
one-time, much -respected King. The drawn -out rhythm of the
antistrophe expresses this fear succinctl y in a way well adapted to
the oral-aural context of live perform ance. The word is echoed by
the δ έο ς of Darius speech in the following movement;
[703-704]: ‘But since I have come from below / Persuaded by

your cries’. When line [703] is delivered in conjunction with [704],
the whole phrase must be expressed within a shorter period of time,
allowing for the actor’s breath, and the line becomes the
introductory of a peevish and accusatory complaint, in which
‘persuaded by your cries’ is irreducibl y attached as the cause of
Darius’ ‘coming from below’.
When, however, line [703] is isolated, it becomes the prooemion of

the rest of the speech. It means nothing more than ‘But since I am
here (you might as well take advantage of the fact)’. Isolation will
also allow a longer, more meaningful pause, a deeper breath, before
the subsequent phrase. This is an important factor throughout this
speech; and one that very likel y pertains to all spoken trochiambs.
Here, the separation brings out gentler possibilities for the
interpretation of line [704]: Darius reminds the Elders that it was
their cries that summoned him. In isolation it loses its peevish
341
character and becomes a teasing reminder that they had a reason for
summoning him; their need to communicate.
This more sympathetic interpretation of Darius’ speech is preferred

here, but it remains possible to deliver these lines in stern, regal, or
dismissive tones. The greater time allowed for the delivery of each
line, and the pauses that delineate each phrase, will facilitate their
nuanced delivery, regardless of interpretation.
[705-706]: ‘(Give me) no long speech / But speaking concisely’.

These paired lines continue the gentle encouragement of the Elders.
They provide a transition between Darius’ first remarks, and give
additional context to the imperative construction of [707 -708]. 423
[707-708]: ‘Speak out and make everything clear / Having put

your awe of me aside’. The final pair of lines gives the main focus
of this speech. Darius is giving the Elders permission to speak
freel y, without fear of his rank or displeasure. This is the second of
Darius’ three direct requests for information. The first request, at
the end of his first speech, line [699], and the present one, are met
by an awed refusal by the Elders. It is only when he directs his
question to Atossa at line [715] t hat he will receive concise
information.
423Cp. The form of address used by the Elders in their opening address to
Atossa at [160-167]. Darius repeats his request for concise information at
line [715].
342
Metrical Commentary, The Darius Scene, 703-708 [712-719].
— ◡ — |◡ — ◡ — — | — ◡ — | — — ◡ — [1 3]
ἀλλ᾽ἐ π εὶ δ έο ς π αλ αιὸ ν σο ὶ φ ρ εν ῶ ν ἀ ν θίσ τ α τα ι
— ◡ — — — |◡ — — — ◡ | — ◡ — ◡ — (1 3 )
τῶ ν ἐ μῶ ν λέκ τρ ω ν γ ε ραιὰ ξύ ννο μ’ εὐ γ εν ὲς γ ύ ν αι
— ◡ — | — — ◡ — ◡ |— ◡ — [8 ]
κ λαυ μά τω ν λ ή ξ ασ α τῶ νδ ε κ αὶ γ ό ω ν
◡ — ◡ — | — [— ] [5]
σ αφ ές τί μο ι λ έξο ν [7 1 5 ]
— — — ◡ — | — — ◡ — |◡ — ◡ — (1 1 )
ἀν θρ ώπ ει α δ ᾽ἄ ν το ι π ήμα τ ᾽ ἂ ν τύ χο ι β ρο το ῖς
— ◡ — ◡ | — ◡ — — [6 ]
π ο λλὰ μὲ ν γ ὰ ρ ἐκ θ αλ άσσης
— ◡ — — — | ◡ ◡ — ◡ — | — — (1 0 )
π ο λλὰ δ ᾽ ἐκ χ έρ σο υ κ α κ ὰ γ ίγ νε τ αι θ νη το ῖς
◡ — — |◡◡◡ — |◡ — ◡ — (8 )
ὁ μάσ σ ων β ίο το ς ἢ ν τ α θῇ π ρό σ ω [7 1 9 ]
Well, since the old fear stands against your wits

Aged companion of my bed noble lady
Ceasing these cries and groans
Tell me clearl y [715]
Human troubles will come to human beings
Indeed many from the sea
And from the land come many evils to mortals
If a longer lifetime is stretched far [719]
343
Notes.
This movement reflects the rhythms of natural speech. Unlike the
speech of Darius at [703 -708], the lines of the traditional text do
not all separate at their diaereses; any attempt to force this is
counter-productive. Instead, the phrases identifie d by tonal
grouping tend to correspond to a single line of the traditional text,
or to separate asymmetricall y. This speech shows the alternation of
longer and shorter phrases that was observed in the first two
passages of tetrameters anal ysed above, but t he line lengths are
asymmetrical. 424
Metrical and colometric considerations :

703 [712]: ἀ λ λ᾽ἐπ εὶ δ έο ς π α λ αιὸ ν σο ὶ φ ρε νῶ ν ἀν θ ίσ τ α τα ι : this line
of the Working Text is the same as that of the traditional texts. It is
a long phrase of thirteen beats, one of th e longest in the anal ysed
portions of the play, and there is no entirely convincing
grammatical or phonemic point of tonal separation.
On the basis, however, of the grammatical integrit y of the phrase -

element δ έ ο ς π α λα ιὸ ν , the grammatical attraction of σ ο ὶ to the
second element of the line, and the – admittedl y subtle – ν - σ
consonantal clash, separation after π αλ αιὸ ν is trialled in the
Experimental Text.
The resulting line [712], ἀ λλ᾽ἐ π εὶ δ έο ς π α λαι ό ν , scans to word -end

as initial cretic + iambic pentasyllable. π αλ αι ό ν is read with an
acute accent for its position at line -end.
424See Conclusions: Initial Findings by Verse Type, The Tetrameter Couplet;

Trimeters vs Tetrameters.
344
Line [712a], σ ο ὶ φ ρ ε νῶ ν ἀ ν θίσ τ α τ αι , is scanned to word -end in the
Working Text as initial cretic + final epitrite -3. The balance of the
accented syllables, however, suggests the s cansion of a dicretic
(A), which is given in the Experimental Text.
704 [713]: τ ῶ ν ἐ μῶ ν λ έκ τρω ν γ ερ αιὰ ξ ύ ν νο μ ’ εὐ γ εν ὲς γ ύ ν αι : the line

of the Working Text is the same as that of the traditional texts, but
the line is neither rhythmicall y nor semanticall y convincing in its
present form.
As given in the Working Text the line scans as an initial trochiamb -

2 + medial pentasyllabic amphibrach + final trochaic pentasyl lable.
εὐ γ εν ὲς γ ύ ν αι ought to be rhythmicall y and tonall y separated from

the earlier part of the line because it is a distinct vocatival
utterance that introduces the remaining lines of the Darius’ speech
and marks the change of focus from the Elders to Atossa.
Separation at this point will require that we read ξύ νν ο μ ( ε) at line-
end, because the basic principles that inform this study do not
allow elision of a vowel between distinct tonal groupings. The final
epsilon of ξύ ν νο μ( ε ) will have been regarded as an error in
transmission where metricall y regular lines are presumed to be
basic structural unit of the poetry, and it will have been deleted to
remove the hiatus and to restore metrical regularit y. This will scan
as an irregular hexasyllable of the form ( u - - - u - ), which occurs
onl y here and at [725] . 425
425 See Appendix X, Tables of Measures: Trochiambs, Irregular Hexasyllables.

Both involve restored elided syllables (cf. Conclusions: Traditional Metrics
Comparison, Non-elision at line-end). Cp. line [714], which shows the inverse
of this measure.
345
There are, however, two additional possibilities for the scansion of
this measure. The first is to scan the hexasyllable according to its
component words, giving an antibacchius + cretic. 426 The second is
less orthodox. Given the force of the grave final syllable of γ ε ραιὰ ,
which, as a vocatival alpha is short by nature, and its proximity to
the orthotone initial syllable of ξύ νν ο μ ( ε) , it is possible that the
initial xi does not make position here. This will give a more
regular-seeming triiamb for the second measure of the lines.
While the unorthodox metrical intervention seems more convincing

both to the eye and to the ear, the irregular hexasyllable is
presented in the Experimental Text.
The presence of another vocative in the previous tonal grouping is

not a problem for the separation of line [713a], εὐ γ ε νὲς γ ύ ν αι – the
two vocatives are still tonall y and rhythmicall y distinct entities –
but the absence of any ve rb in the four tone groups is a difficult y
that does not seem to have been appreciated by editors. What seems
to be required is a verb meaning speak with or turn to (instead of
the Elders), which is what Darius does.
The most likel y place for the missing verb is at ξύ ν νο μ (ε) , which can
easil y be emended to a form of ξυ ν νέ μω , most likel y the future
ξυ ν νε μῶ . This would have Darius saying ‘If I can’t get sense from
you, I’ll speak with my aged wife; Dear Lady, etc.’ While this is
perhaps a more attractive reading than that of the traditional text, it
is not without problems. First, the finite verb will requir e the
reading of an accusative for its direct object, and the onl y possible
426Cp. line [714], below, in which these measures are reversed in another
irregular hexasyllable.
346
candidate is the adjectival γ ερ αιὰ ( ν ) . 427 Departing further from the
transmitted text, one could read γ υ ν αῖκ α in place of γ ερ αιὰ ( ν) , which
will give the same scansion. The close -range repetition of
γ υ ν αῖκ α … γ ύ ν αι , however, is unsatisfactory, but it cannot be said to
be impossible for Aeschylus.
While these ideas seem to merit consideration, the reading of

ξύ ν νο μ(ε ) , and the separation of the phrase εὐ γ εν ὲς γ ύ ναι , is adopted
for the Experimental Text.
Line [713] will then scan to word -end as a trochiamb-2 + the

irregular hexasyllable ( u - - - u - ), and line [713a] scans to word -
end as a trochaic pentasyllable.
705init [714]: κ λ α υ μά τ ω ν λή ξα σα τ ῶ νδ ε κ α ὶ γ ό ω ν : here the lines of

the traditional text separate tonall y but, in contrast with the
previous movement, they do so asymmetricall y, and we see the
alternation of longer and shorter phrases more clearl y
differentiated.
The scansion of the Working Text shows initial and final cretic
feet, with a medial hexasyllable of the form ( - - u - u ), a measure
that occurs some ten times in the Working Text. This scansion was
given on the assumption that τῶ νδ ε should adhere more closel y to
the first of the genitives than to the second, but thi s need not
necessaril y be the case, especiall y given the rhythmic force of the
short final alpha of λ ή ξα σα . Scanning κ λ αυ μά τω ν λή ξ ασ α as a single
measure gives a hexas yllable of the form ( - u - - - u ), an inversion
of the irregular hexasyllable of line [713], above. As with that line,
427For adjectival forms as substantives, see Appendix V for the commentary

on line [951] in antistrophe A of the kommos.
347
there is the possibility of scanning the measure according to its
component words as a cretic + antib acchius. Given, however, that
the two irregular hexasyllables identified in this movement
represent a metrical inversion, ( u - - - u - ) versus ( - u - - - u ),
and the fact that they occur in close proximit y, the irregular
hexasyllable is scanned in the Experimental Text. 428
The line is scanned to word -end as initial ( - u - - - u ) + final

trochaic pentasyllable.
705fin-706init [715]: σ α φ ές τ ί μο ι λέ ξο ν : this phrase will not

constitute a tonal group with the previous logos, as it is a distinct
imperative phrase. If we are to pronounce [714 -715] as a single
line, even the most perfunctory attention to the natural tonality of
the words will enforce a pause, even if onl y because of the ν - σ
consonantal clash between γ ό ω ν and σ αφ έ ς . As a single line we
ought to print a comma identifying the subordinate clause, and a
comma constitutes a tonal boundary.
The line of the Working Text scans as diiamb + spondee.

Nevertheless, there is a certain rhythmic unit y to the concise
imperative phrase, which is scanned as a diiambic hexasyllable
( u - u - - - ) in the Experimental Text.
706fin [716]: ἀ ν θ ρ ώπ ει α δ ᾽ἄ ν το ι π ήμ α τ᾽ ἂν τύ χο ι β ρο το ῖς : an
eleven-beat logos. As can be seen on the printed page of the tonall y
affective texts, the longer lines followed by a shorter coun terpart
are an important structural principle. 429 Here, the longer line
introduces the gnomic second half of this speech.
428See Appendix X, Tables of Measures: Trochiambs, Irregular Hexasyllables.

429I note in passing that this structural feature is mirrored in the simple line-
by-line translation, above.
348
There is no possibility that line 706 of the traditional text could be
expressed as a tonal unit y; there will be a brief but cogent pa use
between the imperative of line [715] and the present line, and the
traditional lineation, derived from the presumed necessit y of
metricall y regular lines, obscures the meaning and the rhythms of
the phrases.
The scansion of the Working Text shows a s ubtle balance of rhythm

and accent, with two accented syllables in each measure. This
scansion, however, does not take into account the probable
rhythmic and semantic force of the enclitic το ι , which forms a
grammatical and semantic unit with ἀ ν θρ ώ π εια δ ᾽ἄ ν . On the basis of
this grammatical, and therefore tonal affiliation, they should belong
to the same measure. The line will then scan as an initial
trochiambic hexasyllable -4 + final lecythium. The long measures
are appropriate to a sententious gnomic utte rance.
707-708init [717 -718]: π ο λλὰ μὲ ν γ ὰρ ἐκ θ αλά σσης / π ο λ λὰ δ ᾽ ἐκ

χ έ ρ σ ο υ κ ακ ὰ γ ίγ ν ε τα ι θ νη το ῖς : the first of these lines, π ο λ λὰ μ ὲ ν γ ὰρ
ἐκ θ αλά σ σ η ς , is held to be in tonal isolation by virtue of the
adversative μὲ ν … δ ὲ … construction. Its metrical formation,
ditrochee + epitrite -2 forms a rhythmic contrast between the longer
lines before and after it. Line [718], π ο λ λ ὰ δ ᾽ἐκ χέρσο υ κ ακ ὰ
γ ίγ νε τ αι θ νη το ῖς , is acceptable as a logos, and can be delivered as a
single tone group. In the Working Text the line is scanned as an
initial trochiamb -2 + an irregularl y formed pentasyllable ( u u - u -
) + final spondee. 430 This scansion, however, does not reflect the
grammatical relations inherent in the line. Moreover, the two short
430 Possibly a heptasyllable of the form ( u u - u - - - ).

349
syllables corresponding to κ ακ ὰ are unusual in trochiambs, and
should properl y be regarded as an illegal measure. 431
There is, however, the possibilit y of a further tonal separation here:

— ◡ — ◡ | — ◡ — — [6 ]
— ◡ — — — ◡ [— ] (6 )
π ο λλὰ δ ᾽ ἐκ χ έρ σο υ κ α κ ά
— ◡ — — — [4]
γ ίγ νε τ αι θ νη το ῖς
This lineation is justified by the proleptic nature of the

construction, with the nominative κ ακ ά expressed onl y in the δ ὲ
clause, and the verb expressed onl y at the very end of the
construction. The resulting lines, while metricall y regular, seem to
falter rhythmicall y, but the awkwardness could reflect the
somewhat pompous nature of the utterance.
Faced with a lack of com parative evidence, it is, perhaps, a matter

of opinion as to which lineation will be the more likel y to be
successfull y interpreted aurall y. The latter lineation has the
advantage of preserving the grammatical relations within each
phrase, conforms to the adversative μ ὲν … δ ὲ construction, is
metricall y and rhythmicall y regular, emphasises by position at line -
end the important word κ ακ ὰ , which is the grammatical subject of
both [717] and [718], and gives emphasis to the central idea of the
entire construction, that ‘evils come to mortals’. If this lineation is
accepted, the lines should properl y be regarded as being under
intra-tonal separation.
431See Appendix X, Tables of Measures: Resolved Measures in Trochiambs,

and Conclusions: Trimeters vs. Tetrameters. Both verse types show five
resolved measures in the Experimental Text.
350
On these grounds the latter lineation is given with the Experimental
Text. Line [717] scans to word -end as a troch aic pentasyllable +
bacchius. Line [718] scans to word -end as a dicretic (A), and
[718a] scans to word -end as a trochiamb -2. The Experimental Text
will read κ ακ ά for its position at line -end.
708fin [719]: ὁ μά σ σ ω ν β ίο το ς ἢ ν τ α θῇ π ρό σω : the line presents a

separate grammatical – and therefore tonal – construction from that
of [716-718a]. It presents certain metrical and rhythmic difficulties.
The metrical formation, bacchius + paeon -4 + diiamb, is
unprecedented in, and out of character with, the rest of th is
speech. 432 This feature could be justified with reference to the
significance of the line, which presents a coda to the extended
gnomē of [716-718a], and its rhythmical distinctiveness could be
explained by the peculiarities of the Greek gnomic register. 433
Garvie (706-8n, 283) comments on the oddit y of this construction;

Broadhead, however, finds it ‘Aeschylean’ (706 -8n). The line
seems corrupt in both the difficult y of its sense and in its metrical
form. Given, however, the uncertain nature of the Greek g nomic
register and the lack of comparative material, the line presents an
impasse, and is retained in the same form in the Experimental Text.
Textual criticism.
Line [712]: read as [712] and [712a]; read π αλ αι ό ν for position at
line-end; scan cretic + iam bic pentasyllable.
432 Compare, however, lines [722] and [725] in Atossa’s reply, where the
same metrical formulation, essentially a resolved epitrite-2 (with | u u u - - |
for | - u - - |), appears twice as the first measure of its line, and seems much
less out of character with the rest of the speech.
433 Compare here line [716] and, to a lesser extent, line [718] in the Working
Text.
351
Line [712a]: scan dicretic (A).
Line [713]: read as [713] and [713a]; scan as trochiamb -2 +
irregular hexasyllable ( u - - - u - ).
Line [713a]: scan as trochaic pentasyllable.
Line [714]: scan as irregular hexasyllable ( - u - - - u ) + trochaic
pentasyllable.
Line [715]: scan as diiambic hexasyllable.
Line [716]: scan trochiambic hexasyllable -4 + lecythium.
Line [717]: scan trochaic pentasyllable + bacchius.
Line [718]: read as [718] and [718a]; scan dicretic (A); read κ ακ ά
for line end.
Line [718a]: scan as trochiamb -2.
352
Experimental Text .
Darius to Atossa (703-708) [712-719] 434
— ◡ — | ◡ — ◡ — [— ] [6 ]
ἀλλ᾽ἐ π εὶ δ έο ς π αλ αι ό ν [7 1 2 ]
— ◡ — — — ◡ — (6 )
σ ο ὶ φ ρ ε νῶ ν ἀ ν θίσ τ α τ αι [7 1 2a]
— ◡ — — — | ◡ — — — ◡ [— ] [1 0 ]
τῶ ν ἐ μῶ ν λέκ τρ ω ν γ ε ραιὰ ξύ ννο μ ( ε) [7 1 3 ]
— ◡ — ◡ — (4 )
εὐ γ εν ὲς γ ύ ν αι [7 1 3a]
— ◡ — — — ◡ |— ◡ — ◡ — (9 )
◡ — ◡ — — [— ] (5 )
— — — ◡ — — | — ◡ — ◡ — ◡ — (1 1 )
— ◡ — ◡ — |◡ — — [6 ]
— ◡ — — — ◡ [— ] (6 )
π ο λλὰ δ ᾽ ἐκ χ έρ σο υ κ α κ ά [7 1 8 ]
— ◡ — — — [4]
γ ίγ νε τ αι θ νη το ῖς [7 1 8 a]
◡ — — |◡◡◡ — |◡ — ◡ — (8 )
434 [712]: read π αλ αι ό ν for line-end, scanned lecythium; [712a]: scanned

heptasyllabic dicretic (A); [713]: scanned trochiamb-2 + hexasyllable ( u - - -
u - ); [713a]: scanned trochaic pentasyllable; [714]: scanned hexasyllable ( -
u - - - u ) + trochaic pentasyllable; [715]: scanned diiambic hexasyllable;
[716]: scanned trochiambic hexasyllable-4 + lecythium; [717]: scanned
trochaic pentasyllable + bacchius; [718]: read κ ακ ά for line-end, scanned
dicretic (A); [718a]: scanned trochiamb-2.
353
Interpretive Commentary, The Darius Scene: Darius to Atossa.
Well since the old fear [712]

Stands against your wits [712a]
Aged companion of my bed [713]
Noble lady [713a]
And from the land many evils [718]
Come to mortals [718a]
Notes.
After the Elders’ second refusal of Darius’ request for information,
he finall y loses patience. He addresses them onl y the first clause of
this movement before turning abruptl y to Atossa.
The movement resolves into two sections of six and five lines
respectivel y. In the first, [712 -715], Darius briefl y dismisses the
Elders and turns to Atossa, encouraging her to speak to him. In the
second, [716 -719], he attempts to sooth her fears with gnomic
commonplaces as to the nature of human suffering.
The Greek gnomic idiom has no easy analogue in English, and

although achieving a matching register in English translation is
difficult, the process of delineating the different tonal groupings is
not.
354
Lines [712-712a]: ‘Well since the old fear / Stands against your
wits’. If there is no testiness in Darius’ previous speech, there is
here. The absence of a verb in the following lines seems to impl y
that Darius disdains to complete his sentence in his impatience with
the Elders. He then turns abruptl y to Atossa and addresses her
verblessl y in what seem to be the slightl y playful but courteous
tones of a close companion, as is appropriate.
The length of this line in the Working Text, one of the longest in
the anal ysed portions of the play, could be understood as indicative
of Darius’ impatience with the Elders’ unwillingness – or inabilit y
– to speak.
The longer line of the Working Text somehow implies a longer

pause, allowing for the actor to take a breath before the next long
line, and perhaps also to allow time for Darius turn to face Atossa
in a suitabl y theatrical manner. The intra -tonal separation of the
Experimental Text allows for the same thing. This is not a matter of
merel y theatrical adornment: in a perform ance context as
problematic as the daytime open -air theatre of Dionysus, it is
dramaticall y and theatricall y necessary that as many spectators as
possible have opportunit y to notice the change of focus in the
drama before them.
Lines [713-713a]: ‘Aged companion of my bed / Noble lady’. The

two distinct vocatival phrases are given incorrectl y in the Working
Text. Line [713a] is more closel y attached to the imperative λ έξο ν
of line [715], even allowing for the intervening subordina te clause.
The asyndetic – and verbless – change of focus is awkward, but
could be explained by Darius’ impatience with the Elders.
355
The conjectured reading, ξυ ν νεμ ῶ for ξύ ν ν ο μ(ε ) , discussed in the
metrical commentary but rejected for the Experimental Text , would
resolve the problems of syntax in the first two lines of this
movement, and provide a more naturalistic way for Darius to turn
to Atossa from the Elders.
The phrase ‘Aged companion of m y bed’ is of interest. The

translation renders the phrase in f ormal language, but if the hints of
good-natured banter are anything to go by, a translation something
like ‘m y old love’ could be more appropriate.
Lines [714-715]: ‘Ceasing these cries and groans / Tell me

clearly’. There is a sense of a gentle encourag ement in these lines.
Line [714] is neither a command nor a complaint; it is the kindl y
chiding appropriate to a long and close relationship. The tone is in
keeping with the fast -paced and naturalistic stichic dialogue
between Darius and Atossa, if not to the – understandabl y – more
formal nature of Atossa’s first address to Darius’ spectre.
The imperative verb of l ine [715] presents the simple request for
clear information that is the focal point of t he first phase of this
movement.
Lines [716-718a]: ‘Human troubles will come to human beings /

Indeed many from the sea / And from the land many evils /
Come to mortals’. The second phase of Darius’ speech consists of
a series of gnomic commonplaces seemingl y intended to put Atossa
at ease.
These lines pre sent some minor difficulties in translation,

presumabl y due to the gnomic register, an idiom that in Greek is
quite different from its English counterpart. A more accurate
356
translation of line [716], one that corresponds to the thought as
well as to the spe cial idiom, would run something like: ‘There are
indeed human troubles and they likel y come to human beings’.
This, however, is unsatisfactory in the poetic context of the English
translation, and effectivel y presents what would be two distinct
tonal groupings in spoken English. Conversel y, the three tone
groups of lines [717 -718a] would more naturall y be expressed as a
single tone group in the English idiom: ‘And many evils come to
mortals from both land and sea’. The translation of the
Experimental Text i s more appropriate to the paratactic structure of
the Greek original.
Interestingl y, although the English idiom is not a precise

counterpart of the Greek, there is a tonal parallel in English:
(a) (there are) many (things that come) from the sea (with t he
intonation appropriate to the first element of a list);
(b) and many evils from land (with the tone appropriate to a medial
element of a list, or to the expression of a contrasting idea);
(c) (that) happen to mortals (final tone of closure, also approp riate
to a detached clause that unifies two or more threads).
Line [719]: ‘If a longer lifetime is stretched far ’. The import of

[716-718a] is that human beings are prone to troubles; in line [719]
Darius observes that this is more likel y the longer one’s life gets.
The present line gives the conditions ( ἢ ν ) governing the likelihood
of the preceding clauses, as a kind of brief coda or concluding
observation. The unusual metrical form of this line was noted in the
metrical commentary, where it was tentative l y suggested that the
irregularit y was derived from some peculiarit y of the Greek gnomic
register; it could, however, be that the triteness of Darius’ gnomic
commonplaces is emphasised here by a somewhat awkward and
prosaic final line.
357
The reference to the advanced age of Atossa and the Elders is
subtle but nevertheless effective. In this regard Darius’ final
remark seems like another element in his good -natured attempts to
put his ‘old bedmate’ at her ease.
358
— ◡ — — — | ◡ — — — ◡ | — ◡ — — — (1 3 )
ὦ β ρ ο τῶ ν π ά ν τω ν ὑ π ε ρσχὼ ν ὄ λβ ο ν εὐ τυ χ εῖ π ό τ μῳ [7 20 ]
— ◡— | ◡ — ◡ — — |—◡ — |— — ◡ — [1 2]
ὡς ἕως τ᾽ ἔλευ σ σες αὐ γ ὰς ἡλίο υ ζ ηλω τὸ ς ὢ ν
◡ ◡ ◡| — — — ◡ | — — — ◡ —|◡ — ◡ [—] [1 2]
β ίο το ν εὐ αί ω να Πέρσ αις ὡς θ εὸ ς δ ιήγ αγ ες
— ◡ — |— — ◡ — ◡ |— ◡ — ◡ — | ◡ [— ] [1 2]
νῦ ν τέ σ ε ζη λ ῶ θα νό ν τα π ρὶ ν κ ακ ῶ ν ἰδ εῖ ν β άθο ς
— ◡ — ◡ — |◡ — — — ◡ | — ◡ — ◡ — (1 2 )
π άν τ α γ άρ Δαρ εῖ᾽ ἀκ ο ύ σῃ μῦ θο ν ἐ ν β ρ αχεῖ χρό ν ῳ
◡◡ ◡ — —| — ◡ — — | — ◡ [—] (9 )
δ ιαπ επ ό ρ θ η ται τ ὰ Πε ρσῶ ν π ράγ μα ( τα ) [7 2 5 ]
— — — ◡ [— ] [4]
ὡς εἰπ εῖ ν ἔπ ο ς
You who exceed all mortals in wealth [720]

by virtue of a blessed fate
So long as you beheld the light of the sun
you were enviable
You lead a blessed life among the Persians as a god
And now I envy you being dead before seeing
the depth of woes.
The whole story Darius you shall hear
in a short time
The Persian state has been utterl y ruined [725]
Or so one might say
359
Notes:
Atossa replies to Darius’ good -natured familiarit y with the reserved
formalit y appropriate to her in the world of the play, and in the
imagination of the Athenians.
With the exception of lines [725 -726] the lines of this speech in the
Working Text are th e same as those of the traditional texts. Both
Garvie (703-14n) and Broadhead (697 -9n) 435 note the symmetry of
the three-line speeches of Darius and Atossa in the traditional texts.
Anal ysis by tone group destroys that sym metry. However, the
evidence of the analysed portions of this play alone indicates that
contrast is much more important to Aeschylean poetics than is
symmetry. This is seen, for example, in the quasi -antitheses he
regularl y presents both rhythmicall y and semanticall y. Furthermore,
a case could be made that the symmetry observed in the traditional
texts is an artefact of the presumption of metricall y uniform lines,
and that the contrasting asymmetry, which is seen in the rhythmic
structure of individual lines and the formal structures of whole
movements, is derived from the necessary tonal formulations
implied by the words used.
As discussed below there is a possibilit y of tonal separation in all

lines, but the boundaries are by no means distinct or necessary to
the interpretation of the spee ch. In the following discussion, lines
[720], [721] and [722] are all identified as being under intra -tonal
separation, and in the case of lines [723] and [724] it is uncertain
whether the lineation of the Experimental Text represents intra -
tonal separation, or genuinel y distinct tonal groupings. Intra -tonal
435Broadhead observes: ‘In the epirrhematic compositions of early tragedy

such symmetry was doubtless the rule’. As is argued throughout this thesis,
however, such symmetries are merely apparent, and do not take into account
the aural, as opposed to purely visual, qualities of the spoken phrases of
which the lines of the traditional texts are composed.
360
separation is suggested by the tonal qualities of the lines in this
speech more than by their metrical form. That is, while the
separation of the concluding clauses of each logos is not strictly
necessary according to the regular application of the principles of
anal ysis by tone group, it is strongl y implied by virtue of those
same principles. In all cases the resulting lineation presents a series
of unbalanced couplets that scan to word -end as recognisa ble and
recurring trochiambic measures. 436
The lineation of the Experimental Text brings with it an

appreciation of both the tonal qualities and formal structure of this
movement that is entirel y in keeping with their oral -aural
presentation in their origin al performance context. These same
qualities of tone and structure seem appropriate also to the dramatic
context of this speech. Furthermore, these perspectives are all -but
entirel y obscured in our traditional texts: they are unavailable to
any reader who has not made an especial study of traditional
metrical theory. The presentation of these lines in a tonall y
affective text makes them easier to read and easier to interpret.

709 [720]: ὦ β ρ ο τῶ ν π ά ν τ ων ὑ π ερσ χὼ ν ὄ λβ ο ν εὐ τυ χεῖ π ό τμ ῳ : this line
of the traditional text is scanned to word -end in the Working Text
as a trochiamb-2 + medial pentasyllabic amphibrach + trochiamb -2.
The phoneme - τμ - allows for short scansion, and the first syllable of
π ό τ μῳ is ‘commonl y short in tragedy’, 437 giving regularl y formed
trochaic pentasyllable ( - u - u - ). This scansion is adopted for the
Experimental Text.
436 For the structural significance of these asymmetrical couplets, see

especially Darius’ first speech in Ch.7, Trimeters.
437 LSJ sub π ό τ μο ς , where exceptions are, however, noted.
361
The line could be delivered with a differentiated tone, isolating the
subordinate clause ε ὐ τυ χε ῖ π ό τμ ῳ from the vocatival phrase:
— ◡ — — — | ◡ — — — [— ] (9 )
ὦ β ρ ο τῶ ν π ά ν τω ν ὑ π ε ρσχὼ ν ὄ λβ ο ν
— ◡ — ◡ — [5]
εὐ τυ χ εῖ π ό τμ ῳ
This could be regarded as an instance of intra -tonal separation, but

the tonal separation could be justified on the basis of the tonal
differentiation of the vocatival phrase and the subordinate clause,
which gives the presumptive reason for Darius’ state of
blessedness.
As shown below, each line of the traditional text is susceptible to

this kind of rhythmical presentation, even though in each case the
whole line could plausibl y be expressed as a single tonal grouping.
The tonal effect suggested here i s rhythmicall y pleasing and is not

out of keeping with the rhythmical variations we have seen
elsewhere.
Line [720] scan to word -end as a trochiamb-2 + final trochiamb -1

in place of the pentasyllabic amphibrach of the Working Text; 438
line [720a] scans as a trochaic pentasyllable.
710 [721]: ὡ ς ἕ ως τ᾽ἔ λευ σσ ες αὐ γ ὰς ἡ λίο υ ζηλ ω τὸ ς ὢ ν : once again

there is the possibility of enforcing the tonal separation of the
subordinate clause ζ η λω τὸ ς ὢ ν :
438Cp. line [724] with note below, where the measure is admitted. See Ch.3,
Principal Measures: Other (Multianalectic) Trochiambic Pentasyllables.
362
— ◡— ◡ — ◡ | — — —◡ — (9 )
ὡς ἕως τ᾽ ἔλευ σ σες αὐ γ ὰς ἡλίο υ
— — ◡ — [3]
ζη λω τὸ ς ὢ ν
Line [721] scans to word -end as an initial tritrochee + trochiamb -4.

The isolated phrase, line [721a], consists of a single epitrite -3. 439
711 [722]: β ίο το ν εὐ α ίω ν α Πέρσ αις ὡς θεὸ ς δ ι ήγ α γ ες : there is no

clear indication that this line of the traditional text is anything
other than a single, coherent and self -contained logos. As scanned
in the Working Text it presents a full trochaic tetrameter, counting
the initial measure as a ‘resolved’ epitrite -2, that does not scan to
word-end.
Here, again, there is the possibilit y of intra -tonal separation at the

diaeresis, where the ὡς clause is a tonall y differentiated subordinate
clause:
◡◡ ◡ — — — ◡ — — (7)
β ίο το ν εὐ αί ω να Πέρσ αις
— ◡ — ◡ — ◡ [— ] [5]
ὡς θ εὸ ς δ ιή γ αγ ες
The scansion of this proposed lineation is problematic, owing to the

initial tribrach. There are several possibilities for the scansion of
the new line [722]. First, we could scan, without regard to word -
end, a trochiamb-2 with resolution in the first syll able + final
439See Ch.3, Principal Measures: Tetrasyllables. See also Appendix X, Tables

of Measures.
363
bacchius. 440 Alternativel y, the line can scan to word -end as the
initial measure ( - u - - - u ) with resolution in the first syllable +
final spondee. The irregular hexasyllable defies classification, but
it appears also in line [714] in the pr evious movement; spondees,
however, are infrequent in trochiambic verse, occurring onl y as
isolated measures corresponding to single words. One might also
allow a kind of correption in the word β ίο το ν , as if the iota becomes
semi-vocalic. The acute accent makes this seem unlikel y, and the
problem of scansion to word -end remains.
Since the formulation trochiamb + bacchius – lacking resolutions –

appears as a structural feature in other anal ysed tetrameter
passages, including line [723], below, the former sc ansion is
adopted for the Experimental Text. The line does not scan to word -
end. Line [722a] scans to word -end as a lecythium.
712 [723]: ν ῦ ν τ έ σ ε ζηλ ῶ θα νό ν τ α π ρ ὶν κ ακ ῶ ν ἰδ εῖ ν β ά θο ς : in

keeping with the treatment of the rest of this speech, this line of the
traditional texts has been presented as a single logos in the
Working Text because it could be delivered as a single tonal
grouping. In this instance, however, there is a reasonabl y clear
tonal separation between the two distinct concepts of envy and the
subordinate clause giving the reason for that envy.
There are, however, two points at which the separation could occur.
The choice depends on whether one construes θ α νό ν τα with νῦ ν τέ
σ ε ζη λ ῶ or π ρ ὶ ν κ ακ ῶ ν ἰδ εῖ ν β ά θο ς . This gives either:
440Cp. the Elders’ tetrameter address to Atossa, in which this metrical form
occurs in alternate lines. Of these lines, only line [164], which has a line-final
Περ σ ῶ ν , does not scan to word-end.
364
(a) — ◡ — — — [5]
νῦ ν τέ σ ε ζη λ ῶ
◡ — — — | ◡ — ◡ — ◡ [— ] (8)
θ αν ό ν τ α π ρ ὶ ν κ ακ ῶ ν ἰδ εῖν β ά θο ς
(b) — ◡ — — — | ◡ — [— ] (7)
νῦ ν τέ σ ε ζη λ ῶ θα νό ν τα
— ◡ — ◡ — ◡ [—] [5]
π ρ ὶν κ ακ ῶ ν ἰδ εῖ ν β ά θ ο ς
Alternative (b) is to be preferred on rhythmic and st ylistic grounds.

Option (a) can be considered attractive in as much as it presents a
pleasing inversion of the rhythmic pattern of the other couplets
with the shorter phrase preceding the longer, a structural feature
that appears in the anal ysed trimeters of Darius’ historical
narrative. At present, however, it seems best to reject option (a)
because metrical considerations argue against it: the trochiamb -2 +
final bacchius, and isolated lecythium, of option (b) are more
common metrical forms in the anal ysed portions of this play, and
the rhythms of the resulting lines seem more in keeping with that of
the rest of the movement. 441
The latter lineation, with separation aft er θ α νό ν τα , is given in the

Experimental Text. Nevertheless, in the absence of a significant
body of comparative material, we cannot make a certain judgment.
See the interpretive commentary on these lines for the rhetorical
advantages of this lineation.
441 See the commentary on line [722] above, where, however, the trochiamb-
2 is resolved to ( u u u - - - ).
365
Line [723] scans to word -end as a trochiamb -2 + final bacchius, and
line [723a] scans as a lecythium.
713 [724]: π ά ν τ α γ άρ Δ αρ εῖ᾽ ἀκ ο ύ σῃ μῦ θο ν ἐ ν β ραχ εῖ χρό ν ῳ : here

again there are two possible points of tonal separation, isolating
either π ά ν τ α γ άρ Δ αρ εῖ(ε ) or ἐ ν β ρ αχε ῖ χρ ό νῳ : 442
(a) — ◡ — ◡ — |◡ — — — [— ] (8 )
π άν τ α γ άρ Δαρ εῖ᾽ ἀκ ο ύ σῃ μῦ θο ν
— ◡ — ◡ — (4 )
ἐν β ρ αχ εῖ χ ρ ό νῳ
(b) — ◡ — ◡ — [— ] (5 )
π άν τ α γ άρ Δαρ εῖ(ε )
◡ — — — ◡ | — ◡ — ◡ — (8 )
ἀκ ο ύ σ ῃ μῦ θο ν ἐ ν β ρ α χεῖ χρό νῳ
The former lineation is metricall y more regular in terms of the

metrical patterns seen in this movement, but the point of separation
does not seem entirely natural, especiall y in comparison with the
lineation that corresponds to the intrusive vocative of t he first line.
The latter lineation preserves something more of the natural

tonalit y of the lines. The vocatival Δ αρεῖ ( ε) intrudes on what would
otherwise be a single self -contained tonal grouping: ‘You shall hear
all in brief’, and this is where we shoul d expect a tonal break if
anything like the natural patterns of speech are operative here. It is
easy to imagine that the final epsilon, were it preserved in any pre -
Alexandrian textual tradition, would have been removed to avoid
On the restoration of the elided epsilon, see Conclusions: Traditional

442
Metrics Comparison, Non-elision at Line-end.

366
the hiatus that would appear under the assumption of metrically
uniform lines.
This lineation presents a pentasyllabic amphibrach. 443 It also shows

an inversion of the alternation of long and short lines, with the
shorter line preceding the longer, a feature that was rejected in the
case of the alternative arrangements of lines [723] and [723a],
above. Here it should be observed that in troductory shorter phrases
are a feature that marks new topics of conversation in the stichic
dialogue that commences in the following movement. Furthermore,
the latter lineation has the advantage of isolating at line -end the
first direct address of Darius by name since his appearance in the
play space, and preserves the grammatical integrit y of the phrase
ἀκ ο ύ σ ῃ μῦ θο ν ἐ ν β ρ α χ εῖ χρό νῳ .
The latter arrangement is accepted for purposes of evaluation into

the Experimental Text. Line [724] scans to word -end as an ‘anceps’
tritrochee. Line [724a] scans to word -end as a pentasyllabic
amphibrach + trochaic pentasyllable.
714 [725-726] δ ι απ επ ό ρ θη τ αι τ ὰ Πε ρσῶ ν π ρά γ μ α( τ α ) / ὡς εἰπ εῖ ν

ἔπ ο ς : this is the onl y line of the traditional texts that shows
unambiguous tonal separation. It must contain two tonal groupings
because a qualifying subordinate clause cannot belong tonall y to
the clause to which it refers. As with the case of the elided epsilon
of Δα ρ εῖ( ε) , above, the experimental lineation requires the
restoration of an elided syllable; the hiatus will have been emended
away under the presumed necessit y that lines must be metrically
equivalent.
443Ch.3, Principal Measures: Other (Multianalectic) Trochiambic

Pentasyllables. The measure is scanned in corresponding lines [137] and
[143] of the Experimental Text of strophe and antistrophe E in the first ode.
367
On the strength of this necessary tonal separation, the structural
features evinced by the less -certain tonal and intra-tonal
separations in the earlier lines find at least some confirmation these
separations are an operative feature of the rhythmic scheme of this
movement.
Line [725] scans to word -end as a trochiamb -2 with resolution in

the first syllable ( u u u - - -) + an i rregular hexasyllable of the
form ( u - - - u - ). 444 Line [726] scans as a trochiamb -4.
Textual criticism.
Line [720]: construe as [720] and [720a]; scan trochiamb -2 +
trochiamb-1.
Line [720a]: scan trochaic pentasyllable.
Line [721]: construe as [721] and [721a]; scan tritrochee +
trochiamb-4.
Line [721a]: scan as epitrite -3.
Line [722]: construe as [722] and [722a]; scan resolved trochiamb -2
+ bacchius.
Line [722a]: scan lecythium.
Line [723]: construe as [723] and [723a]; scan as trochiamb -2 +
bacchius.
Line [724]: construe as [724] and [724a]: read Δ αρεῖ (ε) for non-
elision at line-end; scan ‘anceps’ tritrochee.
Line [724a]: scan pentasyllabic amphibrach + trochaic
pentasyllable.
444 Cp. line [713], above.

368
Line [725]: read π ρ ά γ μα ( τα ) for non-elision at line-end; scan
resolved trochiamb -2 ( u u u - - - ) + irregular hexasyllable ( u - - -
u - ).
369
Experimental Text.
The Darius Scene: Atossa to Darius (709-714) [720-726] 445
— ◡ — — — | ◡ — — — [—] (9)
ὦ βροτῶν πάντων ὑπερσχὼν ὄλβον [ 7 20 ]
— ◡ — ◡ — [5]
εὐτυχεῖ πότμῳ [ 7 20 a]
— ◡— ◡ — ◡ | — — —◡ — [9]
ὡς ἕως τ᾽ἔλευσσες αὐγὰς ἡλίου [ 7 21 ]
— — ◡ — [3]
ζηλωτὸς ὢν [ 7 21 a]
◡◡ ◡ — — — | ◡ — — (7)
βίοτον εὐαίωνα Πέρσαις [722]
— ◡ — ◡ —◡ [—] [5]
ὡς θεὸς διήγαγες [ 7 2 2 a]
— ◡ — — — | ◡ — [—] (7)
νῦν τέ σε ζηλῶ θανόντα [723]
— ◡ — ◡ — ◡ [—] [5]
πρὶν κακῶν ἰδεῖν βάθος [ 7 2 3 a]
— ◡ — ◡ — — (5)
πάντα γάρ Δαρεῖ(ε) [724]
◡ — — — ◡ | — ◡ — ◡ — ( 8)
ἀκούσῃ μῦθον ἐν βραχεῖ χρόνῳ [ 7 2 4 a]
◡◡ ◡ — — — |◡ — — — ◡ [—] [9]
διαπεπόρθηται τὰ Περσῶν πράγμα(τα) [ 7 25 ]
— — — ◡[—] [4]
ὡς εἰπεῖν ἔπος [ 7 26 ]
445[720]: scanned trochiamb-2 + trochiamb-1; [720a]: scanned trochiamb-2;

[721]: scanned tritrochee + trochiamb-4; [721a]: scanned epitrite-3; [722]:
scanned resolved trochiamb-2 + bacchius; [722a]: scanned lecythium; [723]:
scanned trochiamb-2 + bacchius; [723a]: scanned lecythium; [724]: Δα ρε ῖ(ε )
for line-end, scanned ‘anceps’ tritrochee; [724a]: scanned pentasyllabic
amphibrach + trochaic pentasyllable; [725]: scanned resolved trochiamb-2 +
irregular hexasyllable.
370
Interpretive Commentary, The Darius Scene: Atossa to Darius.

By virtue of a blessed fate [720a]
So long as you beheld the light of the sun [721]
You were enviable [721a]
A blessed life among the Persians [722]
You lead as if a god [722a]
And now I envy you being dead [723]
Before seeing the depth of woes [723a]
Darius [724]
You shall hear the whole story in a short time [724a]
Or so one might say
Notes.
The contrasting formalit y of language between this speech and the
previous one is reflected in the differences in tone. Darius is
familiar and respectful; he is a King, and moreover a dead one, so
he can do as he likes; additionall y, although he was aware that
something is amiss, he as yet had no direct knowledge of the scale
of the disaster or its effects. Atossa, on the other hand, is
constrained by customary practice, her lower social status, awe of
the supernatural, and an in -depth knowledge of both the disaster
and its likel y consequences.
The acceptance of the intra -tonal separation of the clauses of each

of the logoi that comprise this speech brings out a sense of both the
careful formalit y and the natural hesitancy that is implicit in her
lines and which is, dramaticall y speaking, entirel y appropriate.
371
There are some minor difficulties in the translation of the lineation
of the Experimental Text, especiall y in the case of lines [724 -
724a], but onl y in as much as the lines require a departure from t he
regular practice of line -by-line translation.
Lines [720-720a]: ‘You who exceed all mortals in wealth / By

virtue of a blessed fate’. These lines could be delivered within a
single tonal boundary, as given in the Working Text. The full line,
however, is inordinatel y long, and, as such, detracts from the effect
of the meanings it contains. The tonal differentiation of the
subordinate clause allows for the maximum impact of the two
distinct semantic elements, that Darius is the most blessed of
mortals, and that this was by virtue of his blessed fate.
This lineation emphasises the role of the gods and of fate in

Xerxes’ downfall, and clearl y signals the contrast between the
career of Darius and that of Xerxes, which will be more full y
developed in Darius ’ iambic speeches in the movements that follow
the stichic dialogue.
The word π ό τ μο ς appears in compounds on two other occasions:

272, δ υ σ π ό τ μως ἐφ θ αρ μέ νω ν , ill-fatefull y destroyed, and 280,
ἄπ ο τ μο ν , where it has the same meaning. Both occurrences are in the
context of the Elders’ mourning the lost Persian host and refer
unambiguousl y to death. This is the onl y instance in which the
word can be said to have a positive connotation ( εὐ τυ χ εῖ ); there
may, however, be a deliberate irony here, as Darius exceeds all
others in happiness on account of his blessed, or lucky, death. That
idea is developed in the subsequent lines. This, then, may be taken
as an additional argument in favour of the tonal separation of these
lines.
372
Lines [721-721a]: ‘So long as you behe ld the light of the sun /
You were enviable’. If the intra-tonal separation is allowed, it
effectivel y isolates the phrase ‘being enviable’ for the spectator’s
special attention. Atossa will expand on Darius’ blessedness in both
life and in death in lines [722-723a].
Lines [722-722a]: ‘A blessed life among the Persians / You lead

as (if) a god’. In this and the following line (or couplet, if the
intra-tonal separation is allowed) Atossa expresses paired aspects
of Darius’ good fortune – his blessed lifetim e and his timel y death.
The intra-tonall y separated phrase of line [722a] thus isolates for
the spectators’ attention the first of these aspects of his
‘blessedness’. The contrast between the divine status of Xerxes and
Darius respectivel y has been operati ve since the Elders’ first
address to Atossa at lines [160 -167].
Lines [723-723a]: ‘And now I envy you being dead / Before

seeing the depth of woes’. In the metrical commentary, two
experimental lineations were trialled. In translation the difference
between the alternatives is that of the difference between (a) ‘and
now I envy you – (because) you died before seeing the depths of
sorrow’; and (b) ‘and now I envy (that) you (are) dead – before
witnessing the depths of sorrow’. The second alternative was
accepted into the Experimental Text and presents the antithesis
between two successive couplets, Darius in life [722 -722a] and
Darius in death [723 -723a]. Again, the contrast between Darius and
Xerxes is implicit in the tonal arrangement of the lines: Xerxes still
lives to ‘see the depths of woes’. π ρὶ ν κ α κ ῶν ἰδ εῖ ν β ά θο ς then
closes the first salutatory element of the speech as it introduces the
next, in which Atossa tells Darius for the first time of the
destruction of the Persian forces.
373
It should be noted, however, that the implied tonalit y of the whole
line as it is presented in the traditional texts preserves a kind of
desperation that is appropriate to the emotive import of the
statement. Despite this, the semantic and thematic contrast within
the line i s clear, and merits the emphasis that is derived from the
presentation of two distinct tonal groupings.
Lines [724-724a]: ‘Darius / You shall hear the whole story in a

short time’. The translation of these lines, which should more
accuratel y be ‘For all, Darius, / you shall hear the story in a short
time’ represents the greatest departure from the Greek that has been
admitted into any line translated in this study. The problem lies in
the grammatical relation between π ά ν τ α and μῦ θο ν , which cannot be
reflected in translation when the words appear in separate lines.
This is not a difficulty in the case of the Greek original under intra -
tonal separation, because of the inflected nature of the Greek
language, whereby grammatical and synt actical relations between
words are implicit in their forms, and where intra -tonal separation
is in any case the deliberate and artificial imposition of a tonal
boundary within what would otherwise be a single tone group.
Note also that the more literal t ranslation requires punctuation

according to the conventions of English orthography, and that
punctuation is read in the Greek text by modern scholars only in
deference to our own, literary, orthographic conventions. Moreover,
in as much as a comma defines a kind of tonal separation, or at the
very least a pause, its presence in these lines makes aural nonsense
of the elided vowels. Such punctuation has no place in the oral
context of the spoken word and should not be printed in our texts.
In the metrical commentary, the intrusive vocative was identified as

the point of implied tonal separation. This effectivel y isolates the
374
first direct address of Darius by name. Coming from the mouth of
Atossa, this is important, especiall y in the light of the Elders’
awestruck inabilit y to speak with their deceased monarch. Atossa,
as his ‘lawful wife’, line [713], will have had more freedom to
address Darius so simpl y and directl y in their former life together
as now in the world of the play. The bare vocative, innocent of
flowery and courtl y formal trappings, introduces the spare
statement of the disaster that follows. On this basis, the single word
‘Darius’ given in the translation of the Experimental Text seems
appropriate.
Lines [725-726]: ‘The Persian state has been utterly ruined / Or

so one might say’. This line of the traditional text is the onl y one
in this speech that unambiguousl y separates into two distinct tone
groups. The first gives, as promised in the previous couplet, a
succinct summary of the disaster an d its likel y effects. The
concluding statement lends an additional air of a more relaxed
familiarit y between Atossa and Darius that was first introduced by
her use of the unadorned vocative in line [724], and which will
become more apparent in the fast -paced and informal interaction of
the stichic dialogue that follows.
375
◡ ◡ ◡ — [3]
Δα: τίνι τρόπῳ [ 7 27 ]
— — ◡ — — | — [—] [6]
λοιμοῦ τις ἦλθε σκηπτὸς
— ◡ — ◡ — ( 4)
ἢ στάσις πόλει
—◡— [2]
Ἄτ: οὐδαμῶς [ 7 30 ]
— — ◡ — — | — ◡ — — — |◡ [—] [10]
ἀλλ᾽ ἀμφ᾽ Ἀθήνας πᾶς κατέφθαρται στρατός
— ◡ — | ◡ — ◡ — —| — ◡ — ◡ — [11]
Δα: τίς δ᾽ἐμῶν ἐκεῖσε παίδων ἐστρατηλάτει
— [—] [2]
φράσον
— ◡ — — — [4]
Ἄτ: θούριος Ξέρξης
◡ — — — ◡ |— — — ◡ [—] [9]
κενώσας πᾶσαν ἠπείρου πλάκα [ 7 35 ]
— ◡ — — — | ◡ — — (7)
Δα: πεζὸς ἢ ναύτης δὲ πεῖραν
— ◡ — ◡ — | ◡ — [5]
τήνδ᾽ ἐμώρανεν τάλας
— ◡ ◡[—] ( 3)
Ἄτ: ἀμφότερα
◡ — | ◡ — ◡ — [4]
διπλοῦν μέτωπον ἦν
◡ — | ◡ — ◡ — [4]
δυοῖν στρατευμάτοιν [ 7 40 ]
376
— ◡ — | ◡ — ◡ — [—] [7]
Δα: πῶς δὲ καὶ στρατὸς τοσόσδε
— ◡ — ◡ — | ◡ — [5]
πεζὸς ἤνυσεν περᾶν
— ◡ — |— — ◡ — — | — [—] (9)
Ἄτ: μηχαναῖς ἔζευξεν Ἕλλης πορθμόν
— ◡ — ◡ [—] ( 4)
ὥστ᾽ ἔχειν πόρον
— ◡ | — ◡ — [—] (5)
Δα: καὶ τόδ᾽ ἐξέπραξεν [ 7 45 ]
— ◡ — ◡ — |— — ◡ [—] [7]
ὥστε Βόσπορον κλῇσαι μέγαν
— ◡ — [3]
Ἄτ: ὧδ᾽ ἔχει
— — ◡ — | — — ◡ — |◡ — ◡ [—] (10)
γνώμης δέ πού τις δαιμόνων ξυνήψατο
— (1)
Δα: φεῦ
◡ — ◡ — ◡ |— — [5]
μέγας τις ἦλθε δαίμων [750]
— ◡ — ◡ — |◡ — [5]
ὥστε μὴ φρονεῖν καλῶς
— ◡ — |◡ — ◡ — [—] [6]
Ἄτ: ὡς ἰδεῖν τέλος πάρεστιν
— ◡ — ◡ — |◡ [—] [5]
οἷον ἤνυσεν κακόν
— ◡ — | — — ◡ — — (7)
Δα: καὶ τί δὴ πράξασιν αὐτοῖς
— ◡ —|◡ — ◡ [—] [6]

ὧδ᾽ ἐπιστενάζετε [755]
— ◡ — ◡ — | ◡ — — [6]
Ἄτ: ναυτικὸς στρατὸς κακωθεὶς
377
— ◡ — ◡ — | ◡ [—] [5]
πεζὸν ὤλεσε στρατόν
— ◡ — — — |◡ — — (7)
Δα: ὧδε παμπήδην δὲ λαὸς
— ◡ — — — |◡ [—] (6)
πᾶς κατέφθαρται δορί
— ◡[—] [3]
Ἄτ: πρὸς τάδε [760]
— — — ◡ |— [—] [6]
ὡς Σούσων μὲν ἄστυ
— ◡ — ◡ — | ◡ — [6]
πᾶν κενανδρίαν στένει
— ◡ — [3]
Δα: ὦ πόποι
— — ◡ — — [4]
κεδνῆς ἀρωγῆς
— ◡— ◡ — | ◡ — [6]
κἀπικουρίας στρατοῦ [765]
— ◡ — | — — ◡ — — |— [—] (9)
Ἄτ: Βακτρίων δ᾽ἔρρει πανώλης δῆμος
— ◡ — ◡ — ( 4)
οὐδέ τις γέρων
— ◡◡[—] ( 3)
Δα: ὦ μέλεος
— — ◡ — — |— ◡ — |◡ — ◡ [—] (10)
οἵαν ἄρ᾽ ἥβην ξυμμάχων ἀπώλεσεν
◡ ◡ ◡ — |— — ◡ — — |— [—] (9)
Ἄτ: μονάδα δὲ Ξέρξην ἔρημόν φασιν [ 77 0]
— — — ◡[—] [5]
οὐ πολλῶν μέτα
— ◡ — — | — ◡ — — (7)
Δα: πῶς τε δὴ καὶ ποῖ τελευτᾶν
378
— ◡ — |— — ◡— (6)
ἔστι τις σωτηρία
— ◡ — ◡ — | ◡ — [—] [6]
Ἄτ: ἄσμενον μολεῖν γέφυραν
— ◡ — | — — ◡ [—] (6)
ἕν δυοῖν ζευκτήριον [775]
— ◡ — — — | ◡ — — — [—] (9)
Δα: καὶ πρὸς ἤπειρον σεσῶσθαι τήνδε
— ◡ — ◡ [—] ( 4)
τοῦτ᾽ ἐτήτυμον;
— (1)
Ἄτ: ναί
◡ —| ◡ — ◡ — — [5]
λόγος κρατεῖ σαφηνὴς
— ◡ | — ◡ — ◡ [—] [5]
τοῦτό γ’οὐκ᾽ ἔνι στάσις [ 7 80 ]
Da: In what way? [727]

Has some bolt of plague come ?
Or unrest in the cit y?
At: Not at all [730]

Rather, near Athens the whole arm y
was destroyed
Da: Which of m y sons led an arm y there ?

Speak
At: Warlike Xerxes

Having emptied the whole land utterl y [735]
Da: Was the venture by ship or by foot

That the wretch foolishl y undertook ?
379
At: Both
There was a doubled front
For paired campaigns [740]
Da: And how could such a great arm y

Accomplish the crossing on foot ?
At: He yoked the strait of Hellē with contrivances

So as to have a crossing
Da: And he accomplished this [745]

So as to close the might y Bosporus ?
At: That is the case

Perhaps somehow his judgement was touched
by some daimōn
Da: Pheu
Some great daimōn came [750]
So that he thought not well
At: And the result is there to see

In the scale of the evil he accomplished
Da: And what happened with them

That you groan at it in this way? [755]
At: The naval force was worsted

And the land arm y destroyed
Da: And so the entire people
380
Was completel y destroyed by the spear ?
At: It is for this [760]

That the cit y of Sousa
All mourns its emptiness -of-men
Da: Oh Alas
For the diligent protection
For the allies of the arm y [765]
At: The whole of the Bactrian people is destroyed

Not an old man (survives)
Da: The fool

So much youthful vigour of our allies
he has destroyed
At: They say he is alone and bereft [770]

Not with the many
Da: How and where is he to end up ?

Is there any salvation ?
At: He was pleased to reach the bridge

One yoke between two (places) [775]
Da: And he has made it safel y to this land?

Is that true?
At: Yes
The report is clear
On that at least there is no contradiction [780]
381
Notes.
For the purpose of the anal ysis of the stichom ythia, the strictest
application of the Principle of Separation has been observed
throughout. In gene ral it will be observed that the division of the
stichom ythia into tone groups allows for the maximum
differentiation of each phrase, thus ensuring maximum clarit y of
delivery and audience comprehension in the original performance
context. The lines of the traditional text separate into tone groups
that conforms to the metrical patterns observed throughout this
study.
The term stichic dialogue is preferred to the traditional term

stichom ythia because anal ysis by tone group destroys the formal
arrangement by which stichom ythia is known. Nevertheless, the
metrical forms evinced under this anal ysis are uniform, and are
consistent with those seen elsewhere in the anal ysed portions of
this play. There are, however, several rhythmic formations that are
unique, especiall y the one, two or three syllable single -word
utterances that punctuate the movement.
Although the formal symmetry of line against line is lost, there are
certain observable rhythmic tendencies that appear throughout this
movement, and which are he ld in common with the other analysed
portions of this play, both dact ylopaests and trochiambs.
The first is the tendency of each of the lines of the traditional text
to separate into distinct logoi; that is, each line is sub -divided into
at least two cola, most commonl y at either the first or the last
measure, or at the diaeresis. In the present passage the isolation of
a single measure occurs where new topics are taken up (e.g. [730],
[733]); as the topics are developed the lines of the stichom ythia
tend to be separable at a point closer to the middle of the line.
382
At [732-746] Darius and Atossa exchange questions and answers
about Xerxes and the history of the campaign. At [747 -748] there is
an abrupt change of topic. The first measure is an isolated cre tic
that refers back to the previous phase of the discussion, and the rest
of the line introduces a new idea, that of the role of the divinity.
This pattern recurs throughout the dialogue where there is a change
of topic or focus, e.g. at lines [733], [747 ], [760] and [778]. Yet
other lines separate into three logoi, for example, the first line of
the dialogue.
One unique feature of this passage is the presence of very short

isolated elements, including monosyllabic lines. These are not logoi
according to the basic definitions of this study, but they are
presented as such. Their presence demonstrates that the stichic
dialogue is a poeticall y crafted representation of recognisable
elements of every-day interpersonal speech. Natural speech tends to
come in ‘spurts’, and that is exactl y what we see here. 446 The
monosyllabic responses, φ εῦ and ναί, are guarantees that the
rhythms of this stichic dialogue represent those of natural speech.
Another factor that has gone largel y unnoticed in the anal ysis of
these lines is that of the limits of the actors’ breath. Where editors
and critics preserve stichom ythia because of its visual
distinctiveness, and because it has long been considered one of the
key elements of tragic verse, they must do so on the understanding
that these lines will present what are among the longest lines of the
play and therefore present the greatest challenges to the breath of
the actors who must deliver them. 447 Furthermore, enforcing a single
446 Tannen (1982, 9). These ‘spurts’ are ‘determined by a combination of

prosodic and intonational cues’, as is seen here.
447 See Conclusions: Musical and Poetic Conventions, The Actors’ Breath.
383
tonal value on these lines, which is what a demand tha t they be kept
as single lines amounts to, decreases the emphasis on each of their
several components; and this will, in turn, decrease the likelihood
of their successful interpretation by the audience.
The tonal anal ysis of these lines shows the same met rical regularit y
we have seen in the other anal ysed sections of this play, with
recurrent measures, especiall y lecythia and dicretics (A). This
offers us a unique view of the art of the stichic dialogue in which
the rhythms of natural speech are developed within a uniform
poetic framework. As discussed in the commentaries below, there is
a rhythmical unit y in the regular recurrence of metrical elements
that binds the passage as it makes poetry of the patterns of ordinary
speech.
The structural importance of these rhythmic elements is clear. The

truncated logoi indicate the beginning of new sense units, while
longer cola, usuall y heptasyllabic, indicate the end of speeches.
Anal ysis by tone group isolates these rhythmic structures, and
highlights key words and central themes, by identifying the
semantic individuality of the phrases that express them. In the
recurrence of these rhythmic patterns we perhaps hear an echo of
the earliest formalised patterns that turned natural speech into
formalised poetic speec h. 448

715 [727-729]: τ ί ν ι τ ρό π ῳ / λοιμοῦ τις ἦλθε σκηπτὸς / ἢ σ τάσ ις π ό λει :
it is clear on two grounds that the first element of this line must
stand as an isolated logos. First, a question will always stand in
tonal isolation from dependant clauses that guess at its answer. The
448 For this, see Nagy (1990), 18-35.

384
either/ or questions of lines [728 -729] are also held to be two
tonall y distinct utterances.
Line [727], τί νι τρ ό π ῳ , presents a paeon -4, equivalent to a resolved

cretic foot. 449 In general resolved measures are taken to indicate
excitement or disturbance. That certainl y is the case here, as the
line gives Darius’ immediate response to the news of the
destruction of the Persian forces in lines [725 -727]. But here we
probabl y should regard it as the natural rhythm of the ordinary
phrase. The resolved cretic is analogous to the resolved trochiambs
in lines [722], [725] and, in this movement, line [770].
Line [728] in the Working Text is scanned to wor d-end as a

trochiamb-3 + final spondee. The purpose of the metrical system
tentativel y proposed in this study is to preserve a sense of the
rhythm of each line in a visual -metrical context, and it is not clear
that the trochiambic heptasyllable -3 that can be scanned here
achieves this. Nevertheless, the heptasyllabic scansion is presented
for the sake of comparison and evaluation in the Experimental Text.
σκηπτός is read for its position at line -end.
Line [726] scans as a trochaic pentasyllable.
716 [730-731]: ο ὐ δ α μῶ ς / ἀ λλ᾽ ἀμφ ᾽ Ἀ θή ν ας π ᾶς κ α τ έφ θ αρ τ αι σ τρα τ ό ς :

as with line 715 of the traditional text, the first element of the line
must be regarded as being tonall y distinct: the simple phrase ‘Not
at all’ refers back in negation to Darius’ guesses at the problem,
449 Lines [730], [747], [760] and [763] all consist of single cretics, lines [738]
and [768] of single choriambs, and lines [750] and [778] are monosyllabic.
All are typical examples of the ‘spurts’ of speech that punctuate natural
dialogue.
385
whereas the second, tonall y distinct part of the line gives the true
answer.
Line [730] gives a single cretic measure, conforming to the two to

three beat length of the short isolated phrases. As elsewhere, a
difference in beat -count of onl y one half -beat, or a single short
syllable, seems to be irrelevant to the overall rhythmical scheme.
In the Working Text, line [731] scans to word -end as trochiamb-3 +

trochiamb-2 + final iamb. These pentasyllabic measure and isolated
final and initial iambs are a common feature of this movement as
scanned in the Working Text.
There is also the possibilit y of intra -tonal separation in this line:
— — ◡ — — [4]
ἀλλ᾽ ἀ μφ ᾽ Ἀ θή ν ας
— ◡ — — — | ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι σ τρ α τό ς
The separation is supported by the ς - π consonantal clash and by the

interaction of the paroxytone and circumflex accents of Ἀ θή ν ας and
π ᾶς .
The intra-tonal separation would be especiall y effective here in that

it isolates the phrase ἀλλ ᾽ ἀμφ ᾽ Ἀ θή ν ας , giving special precedence
by phrase-end to the single word Ἀ θή ν ας , which is, of course, of the
greatest significance to the Athenian audience , for whom these
lines were composed. The formation could conceivabl y be matched
by the intra-tonal separation of Darius’ repl y (see below) but there
is no corresponding consonantal clash in that line.
386
Line [731], then, scans to word -end as a trochiamb -3. Given the
significance of the line, and the balance of its accented syllables,
line [731a] is scanned as a dicretic (A). This rhythmic scheme is
the same unbalanced couplet that characte rises the anal ysed
trimeter passages.
717 [732-733] τ ί ς δ ᾽ἐ μῶ ν ἐκ εῖσ ε π α ίδ ω ν ἐσ τρ α τη λά τει / φ ράσο ν : line

[732], along with [733], presents a rhythmical inversion of the two
logoi of Atossa’s previous speech, where the cretic of line [730] is
balanced with the isolated spondee of line [733]. 450 This
corresponds to the phrasing of ordinary speech, which stichomythia
represents, and to similarl y isolated elements in the rest of this
dialogue.
The scansion of line [733] given above and in the Working Text,
initial cretic + iambic pentasyllable + trochaic pentasyllable, seems
best to account for the rhythmicalit y of the passage.
There is a possibilit y of intra -tonal separation here at ἐ σ τρα τ ηλ άτε ι .

ἐσ τρ α τη λά τει is somewhat surprising; Darius could have said almost
anything from ‘did this’ to ‘acted so foolishl y’. In this respect the
trope could be said to prefigure the isolated phrase τή νδ ᾽ ἐ μώρ α νε ν
τάλ ας in [737]. The artificial separat ion is also supported by the
discontinuit y of the accented syllables, with four syllables, all but
one of them long by nature, intervening.
On the other hand, the full form of the line gives a tone of
surprised disbelief that is appropriate here, where Da rius first
learns that the disaster occurred at Athens. For this reason it seems
450φ ρ άσ ο ν is scanned as a spondee because of the present-tense stem. If the

alpha of the first syllable is scanned short, it will present an isolated iamb.
387
preferable to give the line without intra -tonal separation in the
Experimental Text.
718 [734-735]: θ ο ύ ρ ιο ς Ξ έρξη ς / κ ε νώσ ας π ᾶ σα ν ἠ π είρο υ π λ άκ α : the

separation of these lines is supported by the ς - κ consonantal clash
and by the dramatic importance of the phrase θο ύ ριο ς Ξ έρξ ης , which
deserves special emphasis, and by the subordinate nature of κ ε νώσ ας
π ᾶσ α ν ἠ π ε ίρ ο υ π λάκ α .
Line [734] scans to word -end as a trochiamb -2. Line [735] scans to
word-end as a pentasyllabic amphibrach + trochiamb -4. 451 This
scansion seems to reflect the rhythmic qualities of the line than
does the alternative of isolating κ ε νώσ ας and scanning a bacchius +
dicretic (A). 452
719 [736-737]: π ε ζὸ ς ἢ ν αύ της δ ὲ π εῖρ α ν / τή νδ ᾽ ἐμ ώρ αν ε ν τάλα ς :

the separation here is suggested by the ν - τ consonantal clash.
Furthermore, as is the case with a great many lines both in this
stichic dialogue, and elsewhere in the analysed portions of this
play, the individual concepts are more likel y to be successfully
interpreted when they are pronounced as d istinct tonal entities.
Additionall y, the separation allows for the isolation of Darius’
harsh judgement of Xerxes in line [737].
Line [736] scans to word -end as a trochiamb -2 + final bacchius, a

formation that occurs frequentl y in the previous movement. In the
Working Text, line [737] is scanned as a trochaic pentasyllable +
451 For the pentasyllabic amphibrach see on line [724] in the previous
movement and Ch.3, Principal Measures: Other (Multianalectic) Trochiambic
Pentasyllables.
452 All the bacchii identified in this scene are line-final. The dicretic (A) is
scanned in lines [731a] and [759].

388
final iamb. The balance of the accented syllables, however,
enforces a rhythmic unit y on the line when it is pronounced. It is
therefore scanned as a lecythium.
720 [738-40]: ἀ μ φ ό τερ α / δ ιπ λο ῦ ν μ έ τωπ ο ν ἦ ν / δ υ ο ῖ ν σ τ ρα τ ευ μ άτ ο ι ν :

the separation of these lines is proposed on several grounds. Line
[738] is a tonall y distinct one -word response to Darius’ direct
question of lines [737 -737]. The separation of lines [739] and [740]
is support ed by the ν - σ consonantal clash, and by the force of the
near-adjacent circumflex accents of ἦ ν and δ υ ο ῖ ν . Additionall y, the
separation reinforces the implied antithesis between the two
campaigns, which is further emphasised by the repetition in two
well-balance phrases of words meaning ‘two’.
The isolated word ἀ μ φ ό τερ α , line [738] scans as a choriamb. This

measure occurs onl y here and at line [768] below outside l yrics,
where, however, it is associated with trochiambs. Here the measure
is guaranteed by t he relation of stichic dialogue to ordinary speech,
in which one-word answers, especiall y to direct questions, are
common. The resulting 3 -beat line corresponds rhythmicall y, if not
metricall y, to the other isolated words in this dialogue in occupying
roughl y the same temporal and tonal space.
The separation of lines [739] and [740] is dictated, in part, by the

consonantal clash between ἦ ν and δ υ ο ῖ ν , a particularl y difficult
combination to pronounce fluidl y, that is, without a pause. The ν - μ
combination o f δ ιπ λο ῦ ν μ έ τωπ ο ν presents no such difficulties: the
combination is much easier to pronounce. Again, the interplay of
the adjacent accented syllables in δ ιπ λο ῦ ν μ έ τωπ ο ν is easier to
pronounce fluidl y than the two circumflex accents of ἦ ν δ υ ο ῖ ν , in
which there is an intervening unaccented syllable
389
The rhythmicall y and semanticall y balanced lines [739] and [740]
scan to word -end as triiambs . This is one of the few occasions
where metricall y identical lines succeed one another, but this does
not seem out of place where each of the lines is marked with
explicit reference to dualit y. 453
721 [741-742]: π ῶ ς δ ὲ κ αὶ σ τρ α τὸ ς το σό σδ ε / π εζὸ ς ἤ νυ σε ν π ερᾶ ν :

there is no difficult y in presenting this line of the traditional text as
two distinct logoi. Although the line could be expressed in a single
tone, the delivery becomes flat in both the Greek original and in
English translation. In English, the tonal effect can be represented
with italics for emphasis: ‘And how did an arm y of that size
manage a crossing on foot?’ The tonal effect of the separation
emphasises both the size of the arm y and the difficult y of the
accomplishment.
On the basis of the grammatical cohesion of the phrase elements

π ῶς δ ὲ κ αὶ and σ τρ α τ ὸ ς το σό σδ ε , line [741] is scanned as cretic +
iambic pentasyllable in both Working and Experimental Texts. 454
Line [742], is scanned in the Working Text with an isolated final

iamb. On the basis of the rhythmic unit y of the line, and the
common occurrence of the measure, it is scanned as a lecythium in
722 [743-744]: μ η χ α να ῖς ἔ ζευ ξε ν Ἕ λλης π ο ρ θ μό ν / ὥσ τ᾽ ἔχει ν π ό ρο ν :

in this line of the traditional text there is a tonal distinction
between principal and subordinate clauses. There is no consonantal
clash, but separation is indicated by the interaction of the adjacent
453See Conclusions: Traditional Metrics Comparison, Rhythm and Meaning.

454Cp. line [707] in the second movement of the Darius scene, Darius’
encouragement of the Elders.
390
acute accents of π ο ρ θ μό ν and ὥσ τ᾽ . Additionall y, the aspirated
syllable requires an intake of breath that contributes to a rhyt hmical
break between the phrases.
The interaction of the accented syllables at the beginning of the

line supports the scanning of the initial cretic of μηχ αν αῖς .
Similarl y, the grammatical integrit y and the balance of the acute
accents, on every third syllable, supports the scansion of a
trochiambic heptasyl lable -3 ( - - u - - - - ) for ἔ ζευ ξ εν Ἕλλ ης
π ο ρ θ μό ν . This scansion is presented in the Experimental Text.
Line [744] scans to word -end as a trochaic pentasyllable.
723 [745-746]: κ α ὶ τό δ ᾽ ἐξ έπ ρ αξε ν / ὥ σ τε Β ό σπ ο ρο ν κ λῇ σα ι μέ γ α ν : as

with the previous line of the traditional text, the separation here is
determined by the fact that ὥσ τ ε Β ό σπ ο ρο ν κ λῇσ αι μέγ α ν is a
subordinate clause.
Line [745] scans to word -end as an ‘anceps’ tritrochee. Line [746]

scans to word -end as a trochaic pentasyllable + epitrite -3.
724 [747-748]: ὧ δ ᾽ ἔχ ε ι / γ ν ώμ ης δ έ π ο ύ τις δ αι μό νω ν ξυ νήψ α το :

The isolated three -beat phrase indicates another change of topic.
Line [747] affirms briefl y Darius’ question of lines [745 -746] and
present an isolated cretic.
While line [748] could be delivered within a single tonal boundary,

that lineation does not reflect adequatel y the implied tonalit y or the
meaning of the line. The phrase γ νώ μης δ έ π ο υ , can be understood
as the protasis of a hesitant question or speculative statement under
intra-tonal separation from the epitasis. This lineation will require
391
reading the indefinite form π ο υ ; it and the enclitic τις belong to
separate intonational groups:
— — ◡ — [4]
γ νώ μη ς δ έ π ο υ
— — ◡ — |◡ — ◡ [—] [7 ]
τις δ αι μό ν ω ν ξυ νή ψα το
The intra-tonal separation should perhaps be regarded as an

instance of full tonal separation. Regardless of the exact
mechanism, the separation of lines [748] and [748a] is given in the
Experimental Text.
Line [748] scans as an epitrit e-3, Line [749] as epitrite -3 + diiamb.
725 [749-751]: φ ε ῦ / μέγ ας τις ἦ λ θε δ αί μω ν / ὥσ τε μὴ φ ρο νεῖ ν

κ αλ ῶς : as in the other changes in topic in this dialogue, a short line
in one speech is balanced by one in the subsequent speech, here a
monosyllable. The implied tonalit y of the speech requires that the
monosyllable stands in isolation; the same phenomenon occurs in
the case of ν αί in lines [778 -780], which are metricall y identical.
The separation of lines [750] and [751] is determined by the

subordinate clause ὥ σ τε μὴ φ ρο νε ῖν κ αλ ῶς .
On the basis of the grammatical integrit y of the line and the

balance of its accented syllables, line [750] scans to word -end as a
heptasyllabic triiamb, or ‘iambic’ lecythium . 455 On similar grounds,
line [751] is scanned as a lecythium.
455The measure occurs only here and at [779] in identical metrical

circumstances. See Ch.3, Principal Measures: Other (Multianalectic)
392
726 [752-753]: ὡ ς ἰδ εῖ ν τ έλο ς π άρεσ τι ν / ο ἷο ν ἤ νυ σε ν κ ακ ό ν : tonal
separation occurs at the diaeresis of the traditional text, where ο ἷο ν
ἤ νυ σ ε ν κ ακ ό ν is a subordinate clause. On the basis of the balance of
accented syllables and the subtle ν - τ consonantal clash, line [752]
is scanned to word -end as a cretic + iambic pentasyllable. The
rhythmic integrit y of line [753] suggests the scansion of a
lecythium.
727 [754-755]: κ α ὶ τί δ ὴ π ρά ξα σι ν α ὐ το ῖς / ὧδ ᾽ ἐπ ισ τε νά ζε τε : the

separation of these lines is determined by the subordinate ὧδ ε
clause. Line [754], which would ordinarily be scanned as 2x
epitrites-2, is scanned as an initial cretic + trochiamb -3 on the basis
of the grammatical integrit y of its co mponent phrases. The scansion
is supported also by the grave -acute-grave rhythmic pattern of
accents in κ α ὶ τί δ ὴ . Line [755] shows a lecythium; given the
monosyllable of the elided ὧδ ᾽ , there is no other possibilit y of
scansion to word -end.
728 [756-757]: ν α υ τ ικ ὸ ς σ τ ρα τ ὸ ς κ ακ ω θεὶς / π ε ζὸ ν ὤ λεσε σ τρ α τό ν :

these logoi form two distinct clauses, presenting the antithesis
between the Persian land and naval forces. On the basis of the
grammatical cohesion of the phrase -element ν αυ τικ ὸ ς σ τ ρα τὸ ς , line
[756] scans to word-end as an initial trochaic pentasyllable + final
bacchius. Line [757] is metricall y identical to line [742], and
despite certain phonetic differences, shows a similar rhythm in the
disposition of its accents. It is therefore scanned to word -end as a
lecythium.
This lineation requires the reading κ ακ ωθ ε ίς at line-end for

κ ακ ω θεὶ ς .
393
729 [758-759]: ὧ δ ε π α μ π ήδ η ν δ ὲ λα ὸ ς / π ᾶς κ α τέ φ θα ρτ αι δ ο ρί : the
separation of λ αὸ ς from the adjective π ᾶς might seem to contravene
the principle of grammatical relation. The lines could be understood
as a single phrase under intra -tonal separation, but this is not
necessary to their successful delivery or interpretation.
Additionall y, the separation is furthe r supported by the ς - π
consonantal clash at the diaeresis, and the resulting phrases scan in
accordance with the rhythmic patterns of this dialogue; the
combination of a pentasyllable + bacchius is frequent. 456 For the
implications of the separation of these lines, see the interpretive
commentary, below.
Line [758] scans to word -end as a trochiamb -2 + bacchius. The

lineation of the tonally affective texts will require that we read
λαό ς for position at line -end.
On the basis of the grammatical and semantic relation of π ᾶς

κ α τέφ θ αρ τ αι , line [759] can be scanned to word -end as a trochiamb -
2 + final iamb corresponding to δ ο ρί . On the basis of the
disposition of its accented syllables, it is scanned as a dicretic
(A). 457
730 [760-762]: π ρ ὸ ς τ άδ (ε) / ὡς Σο ύ σω ν μὲ ν ἄ σ τυ / π ᾶ ν κ ε να νδ ρί α ν

σ τέ ν ει : line [760] stands in tonal isolation on the grounds that a
contextualising phrase such as ‘and moreover’ will be tonall y
distinguished from subsequent clauses. The length and metrical
formation of the line conforms to the sho rt introductory clauses that
456See Conclusions: The Tetrameter Couplet.

457Cp. [731a], which features similar vocabulary and pattern of accented
syllables.
394
punctuate this dialogue, and the lineation requires the restoration of
the elided epsilon of τάδ (ε) .
The tonal separation of lines [761] and [762] is less clear, and the
lines could be expressed as within a single tonal bounda ry. For the
separation in different tone groups of a noun and its corresponding
adjective, see the metrical and interpretive commentaries on [758 -
759]. The constructions are similar, and the parallel could be
deliberate. Here, however, the separation is de termined by the
different semantic force of ἄσ τυ and π ᾶ ν ; they are not in apposition.
The phrase Σο ύ σ ων ἄ σ τυ , ‘the town of Susa’, is a semantic and
grammatical unit. π ᾶ ν is adverbial, and is to be construed with
κ εν α νδ ρ ί αν σ τέ νει .
Line [761] is scanned to word-end as a trochiambic hexasyllable -4.

On the basis of the rhythmic integrit y implied by the qualit y and
position of the accented syllables, line [762] is scanned as a
lecythium.
731 [763-765]: ὦ π ό π ο ι / κ εδ ν ῆς ἀρ ωγ ῆς / κ ἀπ ικ ο υ ρί ας σ τρ α το ῦ :
Darius gives a three line speech in response to the three line speech
of Atossa. The exclamation of line [763] corresponds to the
introductory logos of line [760], showing the same metrical form,
an isolated cretic.
Lines [764] and [765] are distinct exclamations, and are therefore
given as separate lines. 458 Line [764] scans to word -end as a
trochiamb-3. Line [762] is scanned in the Working Text as a
458Cp. the separation of the successive genitives of cause, also after an

introductory exclamation, at lines [922-924] in the second movement of the
Xerxes scene.
395
trochaic pentasyllable + single iamb. Line [765] is difficult to
anal yse rhythmicall y because the effect of the initia l long syllable
in crasis, the interaction of the accented syllables, and the effect of
the adjacent sigmas of κ ἀπ ικ ο υ ρί ας and σ τρ α το ῦ are all uncertain.
For purposes of comparison and evaluation, the line is scanned as a
lecythium in the Experimental Text .
732 [766-767]: Β α κ τ ρ ί ω ν δ ᾽ἔ ρρει π αν ώλης δ ῆ μο ς / ο ὐ δ έ τις γ έρ ων :

this line of the traditional text is very probabl y corrupt. 459 The
separation of the phrases here is determined by the subordinate ο ὐ δ έ
clause.
Line [766] presents the same metricalit y as [743], and is scanned as

an initial cretic + trochiambic heptasyllable -3 in the Experimental
Text, albeit the rhythmic qualities of their accented syllables is
different.
No alternative reading of line [767] su ggests itself, and the line is

retained in obeli in the Experimental Text, where it is scanned as a
733 [768-769]: ὦ μ έλεο ς / ο ἵα ν ἄρ᾽ ἥβ ην ξ υ μ μάχ ω ν ἀπ ώ λεσ εν : the

exclamation of line [768] must be tonall y distinct from the
principal clause. 460 It is scanned as a choriamb (cp. line [738],
above). The line could scan to a cretic foot with synizesis of - εο ς ,
but the intervention does not seem warranted here. In eith er case, it
corresponds to the phrase length for the other introductory lines in
this dialogue.
459See Garvie, 732n, 289-90; Broadhead, 731-3n; Rose, 732n.

460All editors consulted for this study print a comma after the exclamation.
Both Ewans and Sommerstein imply tonal differentiation in their
translations.
396
Line [769] is given in the Working Text as a single logos. The ν - ξ
consonantal clash and the interaction of the accented syllables of
ἥβην and ξυ μ μάχ ων , however, indicate the rhythmic separation, and
the lines are given under intra -tonal separation in the Experimental
Text. On the rhetorical advantages of this lineation, see the
Line [769] scans to word -end as a trochiamb -3, and, on the basis of
the balance of its accented syllables, line [769a] scans as a
lecythium. 461
734 [770-771]: μ ο ν άδ α δ ὲ Ξ έρξη ν ἔρη μό ν φ ασι ν / ο ὐ π ο λ λῶ ν μέτ α :

the separation of these lines is determined by the normal separation
of principal and subordinate cla uses. The hexasyllable of [770],
corresponding to μο ν άδ α δ ὲ Ξ έρξη ν , is elsewhere treated as a
trochiamb-2 with resolution in the first syllable. 462 The line is filled
out by a rare instance of a trochiamb -1. 463 Line [771] scans to a
trochiamb-4.
735 [772-773]: π ῶ ς τε δ ὴ κ α ὶ π ο ῖ τε λευ τᾶν / ἔσ τι τ ις σ ω τηρί α : as is

shown by the question marks printed by all editors, this line of the
traditional text is made up of two distinct questions, that is, of two
distinct tone groups. Line [772], however, presents two questions
as one: ‘how and where did he end up?’ On this basis the line is
scanned as an initial cretic, corresponding to π ῶς τε δ ὴ , +
trochiamb-3 in the Experimental Text. This scansion is supported
461 Another instance of the trimeter couplet (cp. lines [731-731a], above). See
also Conclusions: The Trimeter Couplet, and Trimeters vs. Tetrameters.
462 Cp. the initial measures of lines [722] and [725] in the previous
movement, and the resolved cretic of line [727] in the present movement.
463 Cp. line [776], below, where the initial trochiamb-2 is unresolved.
397
by the rhythmic force of the accented syllables. The line could be
given under intra-tonal separation at these rhythmical boundaries,
but the contrasting nature of the double -barrelled question seems to
be conveyed sufficientl y clearl y by the line as it is given. On the
basis of the rhythmic unit y of line [773], and the balance of its
accented syllables, it is scanned as a dicretic (A) in the
Experimental Text.
736 [774-775]: ἄ σ μ ενο ν μο λε ῖν γ έφ υ ρ α ν / ἕ ν δ υ ο ῖν ζευ κ τ ήριο ν : The

phrases are to be regarded as tonall y distinct because the principal
clause describes Xerxes’ safe arrival, while the subordinate clause
describes the means of his escape.
Line [774] scans to word -end as a trochaic pentasyllable + final

bacchius, a commonly occurring formulation in this dialogue , and
in anal ysed tetrameters . The rhythmic separation of these two
elements of the line is further supported by the interaction of the
accented syllables of μο λ εῖ ν and γ έφ υ ρ α ν .
Editors differ in their readings of 736fin, line [775] of the tonall y

affective tex ts. Garvie, alone among the editors I have consulted,
follows Page’s emendation, ἕν δ υ ο ῖν ζευ κ τήριο ν , and this reading is
retained for the Experimental Text. Sidgwick, Weir Sm yth,
Broadhead, Sommerstein and West all read Askew’s γ αῖ ν δ υ ο ῖ ν
ζευ κ τη ρ ί α ν . Regardless of the reading, all editors except West print
a comma between this phrase and that of line [774]. In any case, the
scansion is the same, and the line scans to word -end as a dicretic
(A).
737 [776-777]: κ α ὶ π ρὸ ς ἤπ ειρ ο ν σεσ ῶσ θαι τή νδ ε / τ ο ῦ τ᾽ ἐ τή τυ μ ο ν :

this line of the traditional texts presents two distinct questions, and
as such, the two phrases are to be regarded as tonall y distinct.
398
Line [776] scans to word -end as a trochiamb -2 + trochiamb -1. 464
Line [777] scans as a trochaic pentasyllable.
738 [778-780]: ν α ί / λ ό γ ο ς κ ρ α τεῖ σαφ ην ὴς / το ῦ τό γ ’ ο ὐ κ ᾽ ἔ νι

σ τά σ ις : the single word ν αί forms a tonally distinct element, as is
shown by the colon printed by all editors except Sommerstein, who
punctuates with a comma. 465 Lines [779] and [780] are also distinct
logoi: ‘the report is clear; in this at least there is no contradiction’.
The separation is emphasised by the ς - τ consonantal clash between
σ αφ η νὴ ς and το ῦ τό . The lineation of the tonall y affective texts
requires that we read σαφ η νής for line-end, and this accentuation
further supports the separation of the lines.
These lines show the same metre as [749 -751], the other speech in
this dialogue that features an isolated monosyllable as its first l ine.
Line [779] is scanned as an iambic lecythium. 466 Line [780] shows a
similar rhythmic integrit y to line [751], and is also scanned as a
lecythium. 467
Textual criticism.
The variations between the Working and Experimental Text are
principall y metrical, requiring an extensive critical apparatus. The
464 Cp. line [770], where the initial trochiamb-2 shows resolution in the first
syllable.
465 Cp. the one-word lines [733], [738], and the monosyllabic φ εῦ of line
[749].
466 Cp. the metrically identical line [750]. Note, however, the balance of the
accented syllables of the present line: ( U - u _ u - U ).

467 Although the lines are metrically identical, there is some melodic
distinction, with line [759] showing circumflex accents for the acute accents
of [780], and vice versa, roughly in corresponding positions.
399
several changes in the lineation of the Experimental Text require a
new translation.
Line [728]: read σ κ η π τό ς for position at line -end; scan trochiambic

heptasyllable -3.
Line [731]: construe as [731] and [731a]; scan as trochiamb -3.
Line [739]: scan triiamb.
Line [740]: scan triiamb.
Line [743]: scan initial cretic + trochiambic heptasyllable -3.
Line [745]: scan ‘anceps’ tritrochee.
Line [748]: construe as [748 ] and [748a]; read π ο υ for π ο ύ ; scan
epitrite-3.
Line [748a]: scan epitrite -3 + diiamb.
Line [750]: scan heptasyllabic triiamb.
Line [756]: read κ ακ ωθ είς for position at li ne-end.
Line [758]: read λ αό ς for line-end.
Line [760]: read τάδ(ε) for τάδ’.
Line [761]: scan trochiambic hexasyllable -4.

Line [766]: scan init ial cretic + trochiambic heptasyllable -3.
Line [769]: construe as [769] and [769a] under intra -tonal
separation; scan trochiamb -3.
400
Line [770]: scan resolved trochiamb -2 + trochiamb -1.
Line [772]: scan initial cretic + trochiamb -3
Line [779]: read σ αφ η νής for line-end; scan heptasyllabic triiamb.
401
Experimental Text.
The Darius Scene: Stichic Dialogue 715-738 [727-780] 468
◡ ◡ ◡ — [3]
Δα: τί νι τρ ό π ῳ ; [7 27 ]
— — ◡ — — — [— ] [6 ]
λο ιμο ῦ τις ἦλ θε σκ ηπ τό ς ;
— ◡ — ◡ — (4 )
ἢ σ τά σ ις π ό λ ει ;
— ◡— [2]
Ἄτ: ο ὐ δ α μῶς [7 30 ]
— — ◡ — — [4]
ἀλλ᾽ ἀ μφ ᾽ Ἀ θή ν ας [7 31 ]
— ◡ — — — ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι σ τρ α τό ς [7 31 a]
— ◡ — | ◡ — ◡ — —| — ◡ — ◡ — [1 1 ]
Δα: τίς δ ᾽ ἐμ ῶν ἐκ εῖσε π αί δ ων ἐ σ τρα τ ηλά τει ;
— [— ] (2 )
φ ρ άσ ο ν
— ◡ — — — [4]
Ἄτ: θο ύ ρ ιο ς Ξ έρξ ης
◡ — — — ◡ | — — — ◡ [— ] [9 ]
κ ενώ σ ας π ᾶσ αν ἠπ είρ ο υ π λάκ α [7 3 5 ]
— ◡ — — — | ◡ — — (7 )
Δα: π εζὸ ς ἢ ν αύ της δ ὲ π ε ῖρα ν
— ◡ — ◡ — ◡ — [5]
τή νδ ᾽ ἐ μώ ρα νε ν τά λας ;
468[728]: scanned trochiambic heptasyllable-3, read σκ ηπ τό ς for line-end;

[731]: scanned trochiamb-3; [731a]: scanned dicretic (A); [737]: scanned
lecythium.
402
Stichic Dialogue continued 720 -724 [738-748a] 469
— ◡ ◡[ — ] (3 )
Ἄτ: ἀμφ ό τερ α
◡ — ◡ — ◡ — [4]
δ ιπ λο ῦ ν μέ τ ωπ ο ν ἦ ν
◡ — ◡ — ◡ — [4]
δ υ ο ῖν σ τρ α τευ μά το ι ν [7 40 ]
— ◡ — | ◡ — ◡ — [— ] [7 ]
Δα: π ῶς δ ὲ κ αὶ σ τρ α τὸ ς τ ο σό σδ ε
— ◡ — ◡ — ◡ — [5]
π εζὸ ς ἤ νυ σε ν π ε ρᾶ ν ;
— ◡ — |— — ◡ — — — [— ] (9 )
Ἄτ: μη χ αν αῖς ἔζευ ξε ν Ἕλ λ ης π ο ρθ μό ν
— ◡ — ◡ [— ] (4 )
ὥσ τ᾽ ἔχ ε ιν π ό ρο ν
— ◡ — ◡ — [— ] (5 )
Δα: κ αὶ τό δ ᾽ ἐ ξέπ ρ α ξε ν [7 4 5 ]
— ◡ — ◡ — |— — ◡ [—] [7 ]
ὥσ τε Βό σ π ο ρο ν κ λ ῇσα ι μέγ α ν ;
— ◡ — [3]
Ἄτ: ὧδ ᾽ ἔχ ει
— — ◡ — [4]
γ νώ μη ς δ έ π ο υ [7 48 ]
— — ◡ — | ◡ — ◡ [— ] [7 ]
τις δ αι μό ν ω ν ξυ νή ψα το [7 48 a]
469 [739]: scanned triiamb; [740]: scanned triiamb; [742]: lecythium; [743]:
scanned final trochiambic heptasyllable-3; [745]: scanned ‘anceps’
tritrochee; [748]: scanned epitrite-3, read π ο υ ; [748a]: scanned epitrite-3 +
diiamb.
403
Stichic Dialogue continued 725-729 [749-759] 470
— (1 )
Δα: φ εῦ
◡ — ◡ — ◡ — — [5]
μέγ ας τις ἦλ θε δ αί μω ν [7 50 ]
— ◡ — ◡ — ◡ — [5]
ὥσ τε μὴ φ ρο νεῖ ν κ αλ ῶς
— ◡ — |◡ — ◡ — [—] [6 ]
Ἄτ: ὡς ἰδ εῖ ν τέλο ς π άρεσ τι ν
— ◡ — ◡ — ◡ [— ] [5]
ο ἷο ν ἤ νυ σ εν κ ακ ό ν
— ◡ — | — — ◡ — — (7 )
Δα: κ αὶ τί δ ὴ π ρ άξ ασι ν α ὐ το ῖς
— ◡ — ◡ — ◡ [— ] [6 ]
ὧδ ᾽ ἐπ ισ τ εν άζε τε ; [7 5 5 ]
— ◡ — ◡ — | ◡ — — [6 ]
Ἄτ: ν αυ τικ ὸ ς σ τρ α τὸ ς κ ακ ωθ είς
— ◡ — ◡ — ◡ [— ] [5]
π εζὸ ν ὤλ εσε σ τρ α τό ν
— ◡ — — — |◡ — — (7 )
Δα: ὧδ ε π α μπ ήδ η ν δ ὲ λ αό ς
— ◡ — — — ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι δ ο ρί [7 59 ]
470[750]: scanned heptasyllabic triiamb; [751]: scanned lecythium; [753]:

scanned lecythium; [755]: scanned lecythium; [756]: read κ ακ ω θε ίς for line-
end; [757]: scanned lecythium; [758]: read λ αό ς for line-end; [759]: scanned
dicretic (A).
404
Stichic Dialogue continued 730 -733 [760-769a] 471
— ◡ [— ] [3]
Ἄτ: π ρ ὸ ς τάδ (ε ) [7 6 0 ]
— — — ◡ — [— ] [6 ]
ὡς Σο ύ σ ω ν μὲ ν ἄ σ τυ
— ◡ — ◡ — ◡ — [6 ]
π ᾶν κ ε ν α νδ ρί α ν σ τέ νε ι
— ◡ — [3]
— — ◡ — — [4]
κ εδ νῆ ς ἀ ρωγ ῆς
— ◡— ◡ — ◡ — [6 ]
κ ἀπ ικ ο υ ρ ί ας σ τρ α το ῦ [7 6 5 ]
— ◡ — | — — ◡ — — — [— ] (9 )
Ἄτ: Β ακ τρ ίω ν δ ᾽ ἔρρει π α ν ώλης δ ῆ μο ς
— ◡ — ◡ — (4 )
[ο ὐ δ έ τ ις γ έρω ν ]
— ◡ ◡[ — ] (3 )
Δα: ὦ μέ λεο ς
— — ◡ — — [4]
ο ἵα ν ἄρ ᾽ ἥβ η ν [7 6 9 ]
— ◡ — ◡ — ◡ [— ] [5]
ξυ μ μάχ ω ν ἀπ ώλε σε ν [7 6 9 a]
471 [761]: scanned trochiambic hexasyllable-4; [762]: scanned lecythium;

[765]: scanned lecythium; [766]: scanned cretic + trochiambic heptasyllable-
3; [769]: scanned trochiamb-3; [769a]: scanned lecythium.
405
Stichic Dialogue continued (734 -738) [770-780] 472
◡ ◡ ◡ — — — | ◡ — — — [— ] (9 )
Ἄτ: μο ν άδ α δ ὲ Ξ έρ ξη ν ἔρ ημό ν φ α σι ν [ 7 7 0 ]
— — — ◡ [— ] [5]
ο ὐ π ο λλῶ ν μέ τ α
— ◡ — |— — ◡ — — (7 )
Δα: π ῶς τ ε δ ὴ κ αὶ π ο ῖ τε λευ τᾶ ν ;
— ◡ — — — ◡— (6 )
ἔσ τι τ ις σω τηρ ία ;
— ◡ — ◡ — | ◡ — [— ] [6 ]
Ἄτ: ἄσ με νο ν μ ο λεῖ ν γ έφ υ ρ α ν
— ◡ — — — ◡ [— ] (6 )
ἕν δ υ ο ῖ ν ζευ κ τήριο ν [7 7 5 ]
— ◡ — — — | ◡ — — — [— ] (9 )
Δα: κ αὶ π ρ ὸ ς ἤπ ειρο ν σεσ ῶσθ αι τή νδ ε ;
— ◡ — ◡ [— ] (4 )
το ῦ τ᾽ ἐτ ή τυ μο ν ;
— (1 )
Ἄτ: ν αί
◡ — ◡ — ◡ — — [5]
λό γ ο ς κ ρ α τ εῖ σ αφ η νής
— ◡ — ◡ — ◡ [—] [5]
το ῦ τό γ ’ ο ὐ κ ᾽ ἔ νι σ τά σις [7 8 0 ]
472[770]: scanned resolved trochiamb-2 + trochiamb-1; [772]: scanned

cretic + trochiamb-3; [773]: scanned dicretic (A); [775]: scanned dicretic (A);
[779] read σ αφ η νή ς for line-end, scanned heptasyllabic triiamb; [780]:
scanned lecythium.
406
Interpretive Commentary, The Darius Scene: Stichic Dialogue .

Has some bolt of plague come?

But near Athens [731]
The whole arm y was destroyed [731a]
Da: Which of m y sons led an arm y there?

Speak
At: Warlike Xerxes


That the wretch foolishl y undertook?
At: Both

Accomplish the crossing on foot?


So as to close the might y Bosporus?
407
Perhaps somehow his judgement [748]
Was touched by some daimōn(?) [748a]
Da: Pheu



Da: And thus the entire people

Was completel y destroyed by the spear(?)

Universall y mourns its emptiness -of-men
Da: Oh Alas

[Not an old man (survives)]
Da: The fool
408
How great the youthful vigour [769]
Of our allies he has destroyed [769a]

Not with the many
Da: How and where is he to end up?

Is there any salvation?


Is that true?
At: Yes
The report is clear
Notes.
The stichic dialogue is subdivided into four phases, each of which
is identified structurall y by monosyllabic lines of one to three beats
in length, often in two consecutive speeches.
In the first phase, [727 -746] (= 715 -723), Darius discovers that the
problem facing the Persians is military, and through question -and-
answer learns of the arm y’s leader, the size and di sposition of the
forces, and of the bridging of the Hellespont.
The second phase, [747 -759] (= 724 -728), sees Atossa steer the
dialogue in a new direction, speculating that some divinit y had
conspired in the development of Xerxes’ plans for invasion. The
409
rest of this second phase explores the consequences of the daimōn’s
activit y, the destruction of the whole people by both land and sea
[752-759] (= 726 -729).
The third phase, [760 -767] (= 730-733), describes the effect of

Xerxes’ actions on the Persian s tate and her allies. It begins with a
clear indication of a new topic at line [760] (= 730init), π ρὸ ς τάδ ε ,
‘in addition’. The exclamatory ὦ πόποι, [763] (= 731init)
emphasises Darius’ role as a ‘good’ King, one who is concerned for
the well-being of his armies. The topic then closes with an
evaluation of Xerxes’ pitiable state, ὦ μέλ εο ς , [768] (= 733init) and
its consequences for the Persian allies [769-769a] (= 733fin).
In the fourth and final phases, [770 -780] (= 734-738), Darius and
Atossa discuss Xerxes’ personal safet y and the means of his return,
preparing the way for his appearance in the playing space in the
following scene.
Contrary to t he practice observed throughout this study, question

marks are used in the translation of the tonall y affective texts, out
of deference to English orthographic traditions, and to identify two
speeches, [748 -748a] and [758-759], that might be interpreted as
tentative statements rather than as genuine questions. 473 It will be
observed that questions are nevertheless clearl y identified by
question-words, syntax appropriate to questions, and, in oral
delivery, by the appropriate intonation.
Lines [727-729]: ‘In what way? / Has some bolt of plague come?
/ Or unrest in the city?’ Darius’ wrong guesses at the trouble
emphasise the limits of his knowledge. His especial understanding
473 Cp. also lines [166-167] in the Elders’ tetrameter address to Atossa.
410
– derived from his role as both ‘good’ king and empowered entit y
among the dead (cf. line [697]) – does not come into play until
immediatel y after the stichic dialogue closes, in line 739, which is
not anal ysed in this study. Additionall y, his ignorance is
dramaticall y necessary to the retelling of the disaster that is the
focus of this movement.
Lines [730-731a]: ‘Not at all / But near Athens / The whole army
was destroyed’. Atossa’s repl y is brief and frank. The intra -tonal
separation of lines [731] and [731a] allows maximum emphasis for
both the naming of the cit y of Athens and the blun t summation of
the awful consequences of the defeat. The mention of their city will
have been of great importance to the Athenian spectators. One can
almost imagine a roar of approval from the assembled Athenians at
this remark.
Lines [732-733]: ‘Which of my sons led an army there? / Speak’.

The question further emphasises the limitations on Darius’
knowledge. His curt imperative introduces the second phase of the
dialogue, and emphasises in its brevit y his acknowledgement of
seriousness of the situation.
Lines [734-735]: ‘Warlike Xerxes / Having emptied the whole

land utterly’. Atossa’s brief repl y recalls the essential information
of the first and fifth strophic pairs of the first ode, where Xerxes is
‘the warlike leader of many-manned Asia (line [88]), and the cit y of
Susa is ‘empt y of men’ (line [128]). 474
Lines [736-737]: ‘Was the venture by ship or by foot / That the

wretch foolishly undertook?’ Darius’ judgement of Xerxes is
474That is, strophe and antistrophe A and D according to the ordering of

stanzas proposed in this study.
411
harsh and comes quickl y on his learning that Xerxes has emptied
Persia of men for the sake of a foreign expedition. The intra -tonal
separation of these lines emphasises Darius’ first judgement on his
son, and foreshadows those later in this scene.
On this construction, the demonstrative τ ήνδ ᾽ will have to be

understood as meaning ‘the one that he foolishl y undertook’,
referring to the π εῖρ α ν , ‘venture’, in line [736]. The formation
could be explained by the fact that the verb ἐμ ώρα νε ν , ‘acted
foolishl y’, represents the first time a character openl y convicts
Xerxes of foll y in all -but abusive terms. 475
Lines [738-40]: ‘Both / There was a doubled front / For paired

campaigns’. The separation of this single line into three aurally
distinct utterances will ensure the greatest clarit y in delivery. [738]
is a direct answer to a direct qu estion. The paired lines [737 -740],
each with an explicit reference to dualit y, emphasise Xerxes’
achievement in bridging the Hellespont, and the extraordinary
nature of the expedition. The varied nature of the expedition – in
terms of the mixture of both nationalities and troop -t ypes – has
been a feature of the language of the play since the parodos. 476
There is a further reference to dualit y – textual difficulties
notwithstanding – with reference to the bridge of boats in line
[775], below.
Lines [741-742]: ‘And how could such a great army / Accomplish

the crossing on foot?’ The question emphasises the trul y surprising
element of Xerxes’ achievement, the crossing of the sea by an arm y
475 Cp. line [768] and, to a lesser extent, lines [749-751], below, and lines
[926-928] in the second movement of the Xerxes scene.
476 Cf. especially lines [26-29], and lines [83-87], [118-119] and [137-138] in
the first ode.

412
of foot soldiers. The question introduces the discussion of the
bridge of boats.
Lines [743-44]: ‘He yoked the strait of Hellē with contrivances /

So as to have a crossing’. Atossa’s repl y is in keeping with the
simple and direct statements she uses throughout this dialogue, as
requested by Darius in lines [705 -707] and [715]. For the metaphor
of the yoke, see the interpretive commentary on lines [57 -58] in the
seventh movement of the parodos.
Lines [745-746]: ‘And he accomplished this / So as to close the

mighty Bosporus?’ Darius request for more precise information
once again emphasises the surprising nature of Xerxes’ bridging of
the Hellespont.
Lines [747-748a]: ‘That is the case / Perhaps somehow his

judgement / Was touched by some daimōn(?)’ The isolated
phrase, ὧδ ᾽ ἔχ ει , refers briefl y back to the previous series of
questions and answers before Atossa offers an opinion as to the
possible cause of this state of affairs i n line [748]. The intra -tonal
separation of lines [748 -748a] allows greater emphasis for both
γ νώ μη and the δ αί μω ν , and adds a sense of hesitancy to her comment.
This lineation is reflected in Darius’ next speech. As translated in
the Experimental Text, Atossa’s speech is interpreted as a tentative
question. It remains for Darius to interpret the influence of the
divinit y as negative in lines [750 -751].
Lines [749-751]: ‘Pheu / Some great daimōn came / So that he

thought not well’. Line [749] is another single-word logos, as
exclamation of disgust, disbelief or lament. Lines [750 -751] further
the notion that Xerxes is the victim of the disordering influence of
some divinit y. μὴ φ ρ ο νεῖ ν κ αλ ῶς foreshadows Darius’ later
413
judgements on Xerxes at e.g. line 750 -1, π ῶς τ άδ ᾽ ο ὐ νό σο ς φ ρ ενῶ ν
εἶχ ε π αῖδ ᾽ ἐ μό ν , and 782, Ξ έρ ξης δ ᾽ ἐ μὸ ς π αῖς ὢ ν νέο ς νέ α φ ρ ο νεῖ .
Lines [752-753]: ‘And the result is there to see / In the scale of

the evil he accomplished’. The consequences of the disaster are
not yet ‘present to be seen’. This trope is reflected in Darius’
request for more accurate information in the subsequent lines.
Lines [754-755]: ‘And what happened with them / That you

groan at it in this way?’ The dialogue continues in a naturalistic
way, with Darius asking for clari fication of Atossa’s somewhat
obscure remark of lines [752 -753].
Lines [756-757]: ‘The naval force was worsted / And the land
army destroyed’. The bipartite description of the disaster reflects
the Messenger’s narrative, and the antithesis between navy an d land
arm y that has been developed throughout the play.
Lines [758-759]: ‘And so the entire people / Was completely

destroyed by the spear(?)’ In the translation of the Experimental
Text these lines are treated as a re -affirming statement rather than
as a question; it requires no direct answer and does not receive one.
This and the short phrase of line [760] indicate the introduction of
a new topic.
The separation of these lines can be understood as being analogous

to a tonal emphasis such as ‘So the peo ple – in its entiret y – really
has been utterl y destroyed? ’ This construction gives separate but
equal emphasis to both ‘the entire people’ and ‘all destroyed by the
spear’, and allows the reinforcement of the π αμ π ήδ η ν of line [758]
by the initial π ᾶς of line [759]. The pleonasm, the quasi -antithesis
(all the people versus the complete destruction of all the people)
414
and the paratactic exposition of the single concept are consistent
with Aeschylean practice as observed in this study.
Lines [760-762]: ‘It is for this / That the city of Sousa /

Universally mourns its emptiness -of-men’. The short separated
phrases of this and Darius’ subsequent speech coincide with the
third change of topic in this dialogue: Darius and Atossa now
discuss the consequences of Xer xes’ actions, for Persia itself at
lines [761-765], for the allies at lines [766 -769], and, finall y, for
Xerxes himself at lines [770 -777].
The lineation gives Susa at line -end, recalling the importance of the
place at lines [21] and [128 -129]. The construction of π ᾶ ν as an
adverb might be problematic – the adverbial form is more
commonl y τ ὸ π ᾶ ν – but it seems justified by the lineation. The
construction gives equal emphasis (a) to the cit y, and (b) to its
common grief.
Lines [763-765]: ‘Oh Alas / For the diligent protection / For the
allies of the army’. It seems likel y that both κ εδ νῆς ἀρωγ ῆς and
κ ἀπ ικ ο υ ρ ί ας refer to the role of the arm y. Garvie (731n) identifies
both as genitives of exclamation. It is possible, however, that the
lines should be understo od as referring to the care that Xerxes
should have shown for his forces; if this is the case, the lines
should be translated ‘ for the careful protection of the allies of the
arm y’.
Lines [766-767]: ‘The whole of the Bactrian people is destroyed /

[Not an old man (survives)]’. The ο ὐ δ έ τ ις γ έρω ν of the traditional
415
texts is identified as corrupt by editors. 477 Broadhead observes
further (731 -3n) that the word δ ῆ μο ς might also have been
corrupted. None of the proposed interpretations or emendations is
convincing. The ο ἵ α ν ἄρ᾽ ἥβ η ν of line [769] implies that there was
some reference to young men here. 478
Lines [768-769a]: ‘The fool / How great the youthful vigour / Of

our allies he has destroyed’. The youth of Xerxes and the army
relative to the age of the Elders, Atossa and Darius is a recurring
theme in this play. The antithesis is implied by the intra -tonal
separation of lines [769] and [769a] – Xerxes’ personal fate will be
discussed in the following lines. The construction lends additional
force to the statement about the destruction of the Persian allies,
which has been the focus of the dialogue since the Bactrians were –
somewhat abruptl y – introduced at line [766 ].
The translation ‘fool’ for μέλεο ς seems appropriate here, and

corresponds to the word’s primary sense, ‘idle, useless’, rather than
to the secondary, and more commonl y translated, ‘unhappy,
miserable’ (LSJ vid. μέλεο ς ).
Lines [770-771]: ‘They say he is alone and bereft / Not with the
many’. Resolved measures like that of line [770] occur in lines that
represent intense emotion in the speaker; here Atossa is evidentl y
moved by the first mention in this dialogue of Xerxes’ personal
fate. Garvie (734n) says that Atossa ‘quite gratuitousl y’ mentions
Xerxes here, but the reference is foreshadowed by Darius’ criticism
of him in line [768], and by the reference to the lost youth, with
whom Xerxes is regularl y associated throughou t the play. Atossa
477 See Rose, 732n; Broadhead, 731-3n; Garvie, 731n. Rose calls the last
words of the line of the traditional texts ‘rank nonsense’.
478 So Broadhead, 731-3n.
416
could be trying to evoke some sympathy for her son in the face of
Darius’ criticism. The abrupt change of focus is also appropriate to
naturalistic dialogue.
Lines [772-773]: ‘How and where is he to end up? / Is there any

salvation?’ Garvie suggests (735 -8n) that ‘Darius’ interruption
may indicate his impatience’. There is some question, however, as
to whether this really is an interruption. Atossa’s statements of
lines [770-771] are a grammaticall y complete indirect quotation
( φ α σ ι ν ). That Darius uses the same infinitive construction in line
[772], and that Atossa responds in the same way in lines [774 -775],
is quite natural in ordinary spoken discourse, which stichic
dialogue represents. 479
Lines [774-775]: ‘He was pleased to reach the bridge / One yoke
between two (places)’. Again, the bridge of boats is referenced as
an outstanding feature of Xerxes’ expedition. This is the onl y point
in the play at which the bridge is referred to non -metaphorically
(cp. lines [743 -744], above). Howeve r one reads the phrase ἕ ν δ υ ο ῖν
ζευ κ τή ρ ιο ν – Page’s emendation – the description parallels other
references to the bridge at e.g. lines [137 -138] in strophe E. 480
Lines [776-777]: ‘And he has made it safely to this land? / Is

that true?’ The subordinate clause of line [777] is reall y a separate
question expressing Darius’ genuine concern for Xerxes’ safety.
Line [776] can be interpreted as another re -affirming statement.
479 Tannen (1982, 7) identifies parallel syntactic constructions as a feature of

face-to-face, or unplanned, discourse, citing Elinor Ochs (1979) ‘Planned and
Unplanned Discourse’ in Givón (ed.) Discourse and Syntax. New York:
Academic Press, 51-80.
480 On the reading of the transmitted text, see Garvie. 735-8n, 292;
Broadhead, 734-6n, 185; Rose, 736n.

417
Lines [778-780]: ‘Yes / The report is clear / On that at least
there is no contradictio n’. The one-word repl y of line [778] again
reflects the patterns of ordinary conversation. The ‘report’ of line
[779] refers to the φ α σιν of line [770], which has conditioned the
grammatical constructions of the ensuing lines. σ τάσις in line [780]
closes the stichic dialogue with characteristic ring -composition,
echoing line [729] of Darius’ first speech, but the connotation of
the word is different, here meaning simply ‘disagreement’ rather
than ‘civil strife’. Garvie notes (735 -8n, 292) that it ‘is possib le to
punctuate with the colon before, not after το ῦ τό γ ’ ’. That
punctuation corresponds to the lineation given here.
418
Chapter 7. Iambic Trimeters: The Messenger’s Speech and The
Darius Scene.
Introductory notes.
The purpose of this chapter is to demon strate the utilit y of analysis
by tone group on iambic trimeters. A secondary aim is to test the
hypothesis that iambic trimeters and trochaic tetrameters are
manifestations of the same rhythmic system, identified in this study
as trochiambs. The hypothesi s will be supported where the two
verse t ypes are seen to be composed of the same or similar
measures. The combination and disposition of these measures
within the lines of the tonall y affective texts will be considered, as
will the alternation of longer a nd shorter phrase -lengths, the
occurrence of resolved measures, and of intra -tonal separation. 481
In this chapter two consecutive movements of the Messenger’s

speech are anal ysed, lines 353 -360 [353-366] and 361 -373 [367-
385], followed by three non -contiguous movements from Darius’
trimeters, his first speech on appearing in the playing space, his
greeting to the Elders, from 681 -693 [681-699], the second a
‘historical ’ narrative from 765 -786 [765a-801], and the third a
‘prophetic’ narrative detailing further aspects of the Persian
disaster not narrated in the Messenger scene, from 800 -812 [800a-
819]. 482
Iambic trimeters tend to separate tonall y at the diaeresis of the

lines of the traditional text, and to present unbalanced trimeter
couplets that characterise trimeter passages in this anal ysis, and
481 The initial results of this inquiry are presented in Conclusions: Initial
Findings by Verse Type, Trimeters vs, Tetrameters.
482 On the numbering of the lines in these scenes, caused by an overlapping
in the numeration of analysed passages, see the notes to the metrical

commentaries.
419
which are obscured under the traditional lineation . 483 The line-
lengths of the trimeters are, for the most part, shorter than those of
the anal ysed tetrameters, resolving most commonl y into phrases of
five and seven syllables. The second of the anal ysed Messenger’s
speeches and Darius’ historical narrative are di stinguished by
structural regularit y. The first of the Messenger’s speeches, Darius’
greeting to the Elders’ and his ‘prophetic’ narrative follow the
same basic structure, but show more freedom in line -length.
The orall y affective presentation of the line s of these movements

gives nuanced insight to the semantic unity of the passages, and to
the paratactic generation of meaning. The ease of translation that
anal ysis by tone group provides is evidenced here as elsewhere in
the anal ysed portions of this play.
483See Conclusions: Initial Findings by Verse Type, The Trimeter Couplet;

The Tetrameter Couplet; and Trimeters vs. Tetrameters. For separation at
the diaeresis see Conclusions: Traditional Metrics Comparison, Diaereses
and Caesurae.
420
Metrical Commentary, Messenger ’s Speech 1st Movement , 353-
360 [353-366].
— — [—] ( 3)
ἦρξεν μέν [ 35 3 ]
— — — [—] ( 4)
ὦ δέσποινα
— — — ◡ — [5]
τοῦ παντὸς κακοῦ [ 35 5 ]
◡ — ◡ — — ( 4)
φανεὶς ἀλάστωρ
— ◡ — — — | ◡ [—] (6)
ἢ κακὸς δαίμων ποθέν
◡ — ◡ — — ( 4)
ἀνὴρ γὰρ Ἕλλην
— ◡ — — — | ◡ — (6)
ἐξ Ἀθηναίων στρατοῦ
— — ◡ — ◡| — ◡ — — —| ◡ [—] (10)
ἐ λ θ ὼ ν ἔ λ ε ξ ε π α ι δ ὶ σ ῷ Ξ έ ρ ξ ῃ τ ά δ ε [ 36 0 ]
— — ◡ — — | — ◡ — ◡ — | ◡ [—] (10)
ὡς εἰ μελαίνης νυκτὸς ἵξεται κνέφας
— — ◡ — ◡ |— [—] (6)
Ἕλληνες οὐ μενοῖεν
— ◡ — ◡ — | ◡ — ◡ — ◡| — [—] [9]
ἀλλὰ σέλμασιν ναῶν ἐπανθορόντες
— ◡ — ◡ [—] ( 4)
ἄλλος ἄλλοσε
— — ◡ — — [5]
δρασμῷ κρυφαίῳ [ 36 5 ]
◡◡ ◡ | — — — ◡[—] (6)
βίοτον ἐκσωσοίατο
421
It began [353]
My Queen
The whole misfortune [355]
With the appearance of an Avenging Spirit
Or an evil daimōn from somewhere
A Greek man
From the Athenian arm y [359]
Arriving spoke to your son Xerxes these thing s
That when the darkness of black Night comes
The Greeks would not stand
But leaping to the decks of their ships
Each one separatel y
In secret flight [365]
Will seek to save its life
Notes:
This speech begins with lines that are shorter than the majority of
those seen in other trimeter passages. As the narrative develops
they conform more to the pattern of the regular trimeter couplet .
The order of longer and shorter phrases tends to be rever sed when
the narrative changes focus. A long line and a recurrence of the
Robert the Rose Horse S yndrome appear at the narrative climax of
the movement.

353 [353-355]: ἦ ρ ξε ν μέ ν / ὦ δ έ σπ ο ι ν α / τ ο ῦ π α ν τὸ ς κ ακ ο ῦ : the first
line of the traditional text consists of one principal clause with an
intrusive vocatival phrase. As given above, the metrical anal ysis
shows a succession of short phrases that lengthen incrementally: a
single molossus, an open trochiamb for the vocatival phrase, and a
trochiamb-4.
422
The vocatival phrase will necessaril y intrude as a tonall y distinct
element in an oral presentation that gives value to the meaning of
the words and to their function in natural language. There is a
tendency for the i ndividual phrases to separate themselves on the
basis of their grammatical relations; that is, the incipient fragment
of the principal clause forms one ‘clump’ of speech, the vocative a
second, and the conclusion of the principal clause a third. All
editors except West print a comma after μέ ν , indicating a break in
tonal delivery.
West’s μὲ ν , however, is attractive: the vocatival phrase intrudes,

but it seems to attract itself rhythmicall y and semanticall y to the
first phrase of the traditional line.
Metrical considerations help in the anal ysis:

— — ◡ — — — [— ] [6 ]
ἦ ρ ξε ν μ ὲν ὦ δ έσπ ο ιν α
— — — ◡ — [5]
το ῦ π α ν τὸ ς κ α κ ο ῦ
This gives an initial line that is metrically identical to [728] in the

stichic dialogue, and the unbalanced couplet of seven and five
syllables that t ypifies much of the iambic poetry anal ysed in this
study. Onl y the Principle of Separation prevents us from treating
the phrases in this way. The alternative lineation, ἦρξε ν μέ ν / ὦ
δ έσ π ο ιν α το ῦ π αν τὸ ς κ ακ ο ῦ , gives an irregular rhythm and metre,
and a line meaning ‘Queen of the whole misfortune’, which is
nonsensical in the present context, and therefore must be rejected.
423
It is not possible, given the absence of comparative material, to
make a final judgement at this stage. The rhythmicall y regular two -
line arrangement is attractive, but it is equall y possible to give all
three phrases under intra -tonal separation.
Given that the first line of the traditional text is not a complete
grammatical unit in its own right – the grammatical construction
extends to the end of line [357] (=354fin) – the intrusion of the
vocatival phrase, and the tonall y distinct nature of any subord inate
clause, it seems best to adhere to the Principle of Separation in the
first instance, and give the lineation of the Working Text in the
Experimental Text also.
354 [356-357]: φ α ν εὶς ἀ λάσ τ ωρ / ἢ κ ακ ὸ ς δ αί μω ν π ο θ έν : that this

line of the traditional t ext consists of two distinct tone groups is
guaranteed by the subordinate ἢ clause.
The lines show the five - and seven-syllable unbalanced couplet that
characterises trimeter verse in the tonall y affective texts. Line
[356] scans to word -end as an iambic pentasyllable. Line [357]
presents a rhythmic unit y in the balance of its accented syllables,
and is scanned to word -end as a dicretic (A).
355-356 [358-360] ἀ ν ὴρ γ ὰρ Ἕλ λη ν / ἐξ Ἀ θ η να ίω ν σ τρ α το ῦ / ἐ λ θὼ ν
ἔ λεξ ε π αιδ ὶ σ ῷ Ξ έρ ξῃ τάδ ε : the subsequent two lines of the
traditional text are again a coherent grammatical construction,
consisting of three distinct tone groups: ‘a Greek man’ , being ‘from
the Athenian arm y’ , who ‘came and spoke to your son as follows’.
Each of these is to be re garded as occupying its own distinct tonal
space, and therefore is to be given its own line in an aurall y
affective presentation of the text.
424
Line [359] is scanned as a trochiamb -2 + final iamb in the Working
Text, where pentasyl labic measures are the la rgest metrical unit
allowed. The rhythm of the line when it is pronounced justifies the
scansion of a dicretic (A), and this scansion is given in the
Experimental Text.
Line [360] in the Working Text is the same as line 356 of the
traditional texts. Both the tonal lineation and the metrical form of
this line deserve special discussion. The line, scanned to word -end,
presents a ditrochaic pentasyllable ( - - u - u ) – corresponding to
ἐλθ ὼ ν ἔλ εξε – while the remainder of the line, π αιδ ὶ σ ῷ Ξ έρξ ῃ τάδ ε ,
presents a rhythmic unit y and is scanned as a dicretic (A).
There the further possibilit y of the intra-tonal separation of line

[360]. There is a suggestion of a subtle rhythmic break between
ἐλθ ὼ ν ἔλ εξε and π αιδ ὶ σῷ Ξ έρ ξῃ τάδ ε . Allowing intra -tonal
separation here preserves the structural integrit y of the unbalanced
couplets, in which the dicretics (A) of lines [357], [359] and the
present line, [360a] are balanced by rhythmicall y well -formed
shorter measures in every other line.
An alternative lineation will preserve the seeming grammatical

relation between ἐλ θ ών and ἐξ Ἀ θ ην αί ων στρ α το ῦ :
— ◡ — — — | ◡ — — — (8 )
ἐξ Ἀ θη ν αίω ν σ τρ α το ῦ ἐλθ ώ ν
◡ — ◡ — ◡ | — — — ◡ [—] (8 )
ἔλεξε π αιδ ὶ σ ῷ Ξ έρξῃ τάδ ε
While the formations look regular, these metrical combination s are

found nowhere else in the anal ysed portions of this play. They fail
to convince on rhythmic grounds also. The interplay of accents is
less convincing than in the former lineation; the circumflex accent
425
of σ τ ρ α το ῦ does not combine well with the acute accent of the
phrase-final ἐλ θ ώ ν . Conversel y, the combination of grave and acute
accents of ἐ λ θὼ ν ἔλε ξ ε , is rhythmicall y pleasing.
The intra-tonal separation of lines [360] after ἔλε ξε is therefore

presented in the Experimental Text. Under this lineation , the
diiambic pentasyllable of line [360] will scan as a trochiamb -3 by
line-end. The Experimental Text reads ἔλ εξε( ν) for position at line -
end. Had the nu-moveable persisted in any pre -Alexandrian textual
tradition, it would naturall y have been removed f rom the full
metrical line; here, the intra -tonal separation of lines [360] and
[360a] will also be supported by the ν - π consonantal clash.
The implications of this lineation , and its component measures, are

discussed in the interpretive commentary on these lines.
357 [361]: ὡ ς ε ἰ μ ελα ί νης νυ κ τὸ ς ἵ ξε τ αι κ νέφ ας : this line of the

Working Text is the same as that of the traditional texts. In the
Working Text the line is scanned to word -end as a trochiamb -3 +
trochaic pentasyllable + final iamb. Adhering to the Principle of
Grammatical Relation, the line can be scan ned as the irregularly-
formed heptasyllable ( - - u - - - u ) + trochaic pentasyllable. The
heptasyllable is not found anywhere else in the anal ysed portions of
this play, and must be regarded as an illegal measure in the first
instance. 484
Some kind of rh ythmic separation seems implied by the phonemic

clash between the sibilant final of ν υ κ τ ὸ ς and the aspirated initial of
ἵξε τ αι , as well as by the interaction of the grave and acute accents
484 Cp., however, the irregular hexasyllables at lines [713], [714] and [725].
426
on adjacent syllables. 485 Intra-tonal separation after νυ κ τὸ ς will give
a structurall y regular unbalanced couplet with a trochiambic
heptasyllable -3 in place of the dicretics (A) that form the longer
lines in the rest of this movement.
The intra-tonal separation of lines [361] and [361a] is given for

purposes of compariso n and evaluation in the Experimental Text.
Line [361] scans as a trochiambic heptasyllable -3, while line [361a]
scans as a trochaic pentasyllable. Under this lineation, ν υ κ τ ό ς is
read for position at line -end.
358init [362]: Ἕ λ λη νες ο ὐ μ εν ο ῖε ν : that this logos is tonall y

distinct from the surrounding phrases is shown by internal cohesion
of the previous couplet, and the presence of the adversative ἀ λ λὰ in
line [363], which clearl y defines a semantic and therefore tonal
boundary. All editors punctuate afte r μ εν ο ῖεν , which similarl y
indicates a tonal boundary.
The line is scanned in the Working Text a ditrochaic pentasyllable

+ spondee, but it does not scan to word -end. Given the structural
importance of heptasyllabic measures in this and other trimeter
passages, and the rhythmic integrit y of the line, it is scanned in the
Experimental Text as a bacchiac (A). 486
358fin-359init [363]: ἀ λ λὰ σ έλ μ ασι ν να ῶ ν ἐπ α ν θο ρό ν τ ες : this logos

presents another distinct phase of the narrative introduced by the
adversative ἀλλὰ . The line seems to present a single coherent tonal
grouping both rhythmicall y and semanticall y. The line in the
485 Cp. the commentary on line [360], above, where the same combination of
accents appears euphoniously within a single pentasyllabic measure.
486 See Ch.3, Principal Measures: Other (Multianalectic) Trochiambic
Heptasyllables.
427
Working Text is not scanned to word -end, showing a trochiambic
pentasyllable + ‘true’ iambic pentasyllable of the form ( u - u - u )
+ final spondee. 487 This scansion has the additional problem of not
reflecting the grammatical integrit y of the phrase σέλ μα σι ν ν α ῶν .
Allowing for these features of the line, it can be scanned to word -
end as a lecythium + final iambic pentasyllable of the commonly
occurring t ype, corresponding to the single word ἐπ α ν θο ρό ν τες .
With this scansion, the line could form the regular unbalanced
couplet by intra -tonal separation, but here it is rhythmicall y
unconvincing. Intra-tonal separation necessitates an artificial p ause
within a phrase, and the rhythm of this line seems better without it.
Additionall y, the longer line leads elegantl y to the ‘Robert the Rose
Horse’ syndrome that closes this movement.
Although intra-tonal separation should, perhaps, be preferred, if

onl y for reasons of structural regularit y, it is not assumed for this
line for the reasons given above. Note, however, whatever the
lineation, the change in the order of longer and shorter measures
between lines [361 -362] and the present line reflects a cha nge of
direction in the narrative.
359fin-360 [364-366] ἄ λ λο ς ἄ λλο σε / δ ρ ασ μῷ κ ρυ φ αίῳ / β ί ο το ν

ἐκ σ ωσ ο ί α το : this line-and-a-half of the traditional texts clearl y
resolves into three logoi conveying two distinct images of the
manner in which the headlong fl ight of the Greeks will supposedl y
occur, and the hoped -for outcome of these actions.
487For this measure, a ‘true’ iambic pentasyllable, first hypothesised as the

corollary of the trochiambic pentasyllable ( - u - u - ). See Ch.3, Principal
Measures: Other (Multianalectic) Pentasyllables. The designation ‘iambic
pentasyllable’ is retained for its ‘anceps’ form ( u- u - - ).
428
Line [364] scans as a trochaic pentasyllable, and [365] scans as a
trochiamb-3.
Line [366], scanned to word -end in the Working Text as an isolated

tribrach + trochiamb -4, shows a dicretic (A) with apparent
resolution in its first syllable . 488
The three lines that close this movement conform to the general
pattern of the Robert the Rose -Horse syndrome, which first was
noted in the dact ylopaestic lines [27-29] in the third movement of
the parodos, and in truncated form at lines [36 -38] of the fourth
movement. 489 This is the first instance of the syndrome found in
trimeters, but here, too, it closes the movement in which it
appears. 490
Textual Criticis m.
Line [360]: construe as lines [360] and [360a]; read ἔ λεξ ε( ν) for
line-end; scan as trochiamb -3.
Line [361]: construe as lines [361] and [361a]; read νυ κ τό ς for line-
end; scan trochiambic heptasyllable -3.
Line [362]: scan bacchiac (A).
Line [363]: scan lecythium + iambic pentasyllable.
Line [366]: scan as resolved dicretic (A).

489 See Conclusions, Traditional Metrics Comparison, the Robert the Rose-
Horse Syndrome.
490 See also lines [816-819] in Darius’ prophetic narrative, 7.5.1-2.
429
The Experimental Text and accompanying translation is as follows:
430
Experimental Text.
Iambic Trimeters : Messenger’s Speech 1st Movement, 353-360
[353-366] 491
— — [— ] (3 )
ἦ ρ ξε ν μ έν [353]
— — — [— ] (4 )
ὦ δ έσ π ο ι ν α
— — — ◡ — [5]
το ῦ π α ν τὸ ς κ α κ ο ῦ [355]
◡ — ◡ — — (4 )
φ α νεὶς ἀ λάσ τωρ
— ◡ — — — ◡ [— ] (6 )
ἢ κ ακ ὸ ς δ αί μω ν π ο θέ ν
◡ — ◡ — — (4 )
ἀνὴ ρ γ ὰ ρ Ἕλ λη ν
— ◡ — — — ◡ — (6 )
ἐξ Ἀ θη ν αίω ν σ τρ α το ῦ
— — ◡ — [— ] [4]
ἐλθ ὼ ν ἔλ εξε (ν ) [ 36 0 ]
— ◡ — — — ◡ [— ] (6 )
π αιδ ὶ σ ῷ Ξ έρ ξῃ τάδ ε [ 36 0 a]
— — ◡ — — — [— ] [6 ]
ὡς εἰ μ ελ αί νη ς νυ κ τό ς [ 36 1 ]
— ◡ — ◡ [— ] (4 )
ἵξε τ αι κ ν έφ ας [ 36 1 a]
491[357]: scanned dicretic (A); [359]: scanned dicretic (A); [360]: scanned
trochiamb-3; [360a]: scanned dicretic (A); [361]: scanned trochiambic
pentasyllable-3, read νυ κ τό ς for line-end.
431
Messenger’s Speech, 1st Movement, continued 358 -360 [362-
366] 492
— — ◡ — ◡ — [— ] (6 )
Ἕλλη νες ο ὐ με νο ῖε ν
— ◡ — ◡ — ◡ — | ◡ — ◡ — [— ] [9 ]
ἀλλὰ σ έ λμ ασ ι ν ν αῶ ν ἐπ α ν θο ρό ν τες
— ◡ — ◡ [— ] (4 )
ἄλλο ς ἄ λλο σ ε
— — ◡ — — [5]
δ ρ ασ μῷ κ ρ υ φ αί ῳ [ 36 5 ]
◡ ◡ ◡ — — — ◡ [— ] (6 )
β ίο το ν ἐκ σ ωσ ο ί α το
492[362]: scanned bacchiac heptasyllable (A); [363]: scanned lecythium +

iambic pentasyllable; [366]: scanned resolved dicretic (A).
432
Interpretive Commentary, Messenger ’s Speech: The Beginning
of the Battle of Salamis .
It began [353]
My Queen
A Greek man
From the Athenian arm y
Arriving spoke [360]
To your son Xerxes these things [360a]
That when of black Night [361]
Darkness Comes [361a]
Notes.
The tonall y-affective text presents a different structure to that of
the traditional texts, but one that nevertheless is highl y formalised.
The movement is composed of rhythmicall y similar unbalanced
couplets of five and seven syllables, except in its firs t and final
lines, which show rhythmic variations appropriate to their place in
the narrative. The Experimental Text, with intra -tonal separations
at lines [353-355], [360-360a] and [361-361a] makes for a slightl y
stilted rendering in English, but the para tactic succession of ideas
is clear. Here, the larger narrative of the beginning of the battle is
constructed from a paratactic series of shorter narratives.
433
Lines [353-357]: ‘It began / My Queen / The whole misfortune /
With the appearance of an Avengin g Spirit / Or an evil daimōn
from somewhere’. The grammatical unit y of these two lines of the
traditional text is difficult to render in English while giving
deference to the form and ordering of the phrases in the poetic
original. The rhythm of the phrases – especiall y that of the first
three lines of the tonall y affective text – seems apt to the beginning
of a tale.
While the principal clause of the first line of this movement, ‘The
whole trouble began’ ends at line [355], the grammatical
construction does not: the rhythm of the successive lines, and the
grammatical construction, builds to a climax in line [356 -375]
φ α νεὶς ἀ λάσ τωρ / ἢ κ ακ ὸ ς δ αίμ ω ν π ο θέ ν ; an earl y and emphatic
declaration that Xerxes’ actions, and the disaster, were caused by
the action of ‘some divinit y’. Lines 354 -55 of the traditional text
are a single grammatical construction composed of five distinct
tonal groupings, all governed by the single verb ἦρξ εν .
The verb is a part of ἄρχω , to begin or be first. The object phrase in

the genitive rules out its being a part of ἔ ρδ ω , to do. It must be then
either an absolute or an active usage; either ‘the evils began’ or
‘someone began the evils’. If it is the former then we should expect
an agent phrase in the dative, a genitive absolute , or a prepositional
phrase governing some other case – and this is the form implied by
the English translation. Instead, we have a succession of
nominative phrases; and unless the nominatives are in complete
grammatical isolation, they can onl y be constru ed as the subject of
ἦ ρ ξε ν . Therefore, the construction can most accuratel y be expressed
in English, without deference to the precise form of the poetic
original, as: ‘My Queen, an avenging spirit, or evil daimōn, having
434
appeared from somewhere, began all our trouble’. There is no other
way to understand this grammatical construction.
The lineation of the Experimental Text gives weight and space

appropriate to the meaning of each line; the heavy metre, with short
syllables appearing onl y toward the end of the construction,
contributes to the gravit y of this delivery; and the spectators will
have opportunit y to dwell on the meaning of each phrase, but
especiall y the climactic φ α νεὶς ἀλάσ τ ωρ of line [356].
The individuation of lines [356 -357] gives due emphasis to the role
of the unknown daimōn in causing the Persian downfall. 493
Lines [358-360a]: ‘A Greek man / From the Athenian army /

Arriving spoke / To your son Xerxes these things’. In terms of
the events of the battle of Salamis, it is here that the Mess enger
gives a direct answer to the Queen’s question of 350 -352: the battle
began with Themistocles’ ruse. 494
This lineation has several advantages. First, the lines show the
paratactic development of an important idea in four distinct steps:
493 See the discussion of the occurrences of the word daimōn in the
interpretive commentary on lines [166-167] in the Elders’ first address to
Atossa at 6.1.3, above.
494 Judging by the glaring omission of his name from the narrative, it seems
that Themistocles’ fall from grace and ostracism either had already occurred,
or was well in train, by the time of the composition of this play. Lenardon
(1959, 45) distinguishes the date of his ostracism (474/3) from that of his
eventual flight (471/0). The role of the Alcmaeonid Pericles as choregos
should also be taken into account. Lenardon (26) notes in passing that the
decree bringing Themistocles to trial was proposed by a certain Leobotes,
son of Alcmaion.
435
there was a Greek, an Athenian, who came and spoke – to your son
Xerxes. 495
Second, under this lineation, ἀν ὴρ γ ὰρ Ἕ λ λην at line [358] and

φ α νεὶς ἀ λάσ τωρ at line [356] are metrically identical, as are ἢ κ ακ ὸ ς
δ αίμ ω ν π ο θέ ν and ἐ ξ Ἀθ ην αί ω ν σ τρ ατ ο ῦ at lines [357] and [359].
This provides an answer by rhythmic analogy to the question
implied by the indefinite φ α ν εὶς … π ο θ έν of [356-357]. While the
Persians in the play comfort themselves with the notion of the
intervention of some unspecified divinit y, the Greek audience will
appreciate this representation of an important event in their recent
history, and its acknowledgement of their cit y’s role in it. The tonal
isolation of line [359], ἐξ Ἀθ ην αί ων σ τρ ατ ο ῦ , gives precedence to
the Athenians, reflecting both the historical reali t y of the event,
and the Athenians’ pride in their role in the victory.
At first sight it might seem odd to construe ἐλ θὼ ν ἔλε ξε rather than

ἐξ Ἀ θη ν αίω ν σ τρ α το ῦ ἐλθ ὼ ν , but the tonal isolation of ἐ λ θὼ ν ἔλ εξε
lends a vividness to the Messenger’s narrative t hat is lacking in ἐξ
Ἀθ η ν αί ω ν σ τρ ατ ο ῦ ἐ λ θὼ ν . The intra-tonal separation of lines [360 -
360a] is determined by formal and rhythmic factors. The coming -
and-speaking of ἐλ θ ὼ ν ἔλ εξε (ν ) in line [360] signals the activity of
both the unnamed Greek and the unnamed daimōn, while the line -
initial π αιδ ὶ σ ῷ Ξ έρ ξ ῃ of [360a] returns the focus of the cause of
the disaster to Xerxes. Finall y, this lineation presents the
culmination of this phase o f the narrative as two distinct utterances,
allowing line [360a] to be rhythmicall y associated with the other
495 This is how Weir Smyth (Perseus.org) translates the line: ‘A Hellene, from
the Athenian host, came to your son Xerxes and told this tale’. Both Ewans
and Sommerstein, however, apparently construe ἐλθὼν with ἐξ Ἀθ ην α ίων
σ τρ α το ῦ .
436
stand-alone dicretics (A) of lines [357] and [359]. The narrative
develops steadil y toward the presentation of this single idea, which
in itself contains the seed of the disaster: the King believes the
story and the fate of the Persian fleet is sealed. 496
Lines [361-361a]: ‘That when of black Night / Darkness Comes’.

Again, the intra -tonal separation of these lines is conditioned by
considerations of rhythm and the overall structure of this
movement. The order of longer and shorter phrase in the couplets is
reversed here, corresponding to the introduction of the report ed
speech of the messenger. The intra -tonal separation isolates the
phrase ὡς εἰ μελ αί νη ς νυ κ τὸ ς as if it were to be the first element of
a participial genitive absolute construction, with the finite
construction ἵξ ετ αι κ νέφ ας appearing as a surprising and ornamental
contradiction of grammatical expectation.
The double emphasis on the black darkness of night becomes more

than an ornamental pleonasm, and perhaps will have appealed to the
memories of those among the spectators – and of Aeschylus himself
– who had witnessed the tense hours before dawn and battle.
Line [362]: ‘The Greeks would not stand’. This simple statement
carries the crux of Themistocles’ deception of the Persians. The
simple elegance of the phrase in isolation emphasises at once the
Persian hopes for victory that will be described in the subsequent
movement and the Greek – especiall y Athenian – pride at their
achievement. The line is divorced from a couplet, and thus
introduces the longer line [363] and the special rhythmic effects
that close this movement.
496 Cp. lines [367-369] in the following movement.

437
Line [363-366]: ‘But leaping to the decks of their ships / Each
one separately / In secret flight / Will seek to save its life’. Line
[363] is formed as an unbalanced couplet of seven and five
syllables, but presents a unified rhythmic and semantic whole that
introduces the Robert the Rose Horse syndrome that closes this
movement. Here the rhythmic syndrome conveys the notion of a
headlong flight. The rhythm of this sequence of lines is adapted to
the expression of this idea, with the s yncopation of alternating long
and short syllables at the initial of each successive measure in lines
[363-364] balanced by the heavier trochiamb -3 of line [365]
culminating in the resolved dicretic (A) of line [366].
The vividness of the words and their rhyt hm reflects the degree to
which Xerxes is taken in by the ruse. This topic is advanced in the
following movement.
438
Metrical Commentary, Messenger’s Speech , 2nd Movement 353 -
376 [367-385].
◡ — ◡ — — | — [— ] (6 )
ὁ δ ᾽εὐ θὺ ς ὡς ἤ κ ο υ σε ν [ 36 7 ]
— ◡ — ◡ ◡ |— — ◡ — [— ] (8 )
ο ὐ ξυ ν εὶς δ ό λο ν Ἕ λλη νο ς ἀ νδ ρὸ ς
— ◡ — ◡ — | ◡ [— ] [5]
ο ὐ δ ὲ τὸ ν θε ῶ ν φ θό ν ο ν
— — ◡ — — | — ◡ — — — | ◡ [— ] [1 0 ]
π ᾶσ ιν π ρ ο φ ω νεῖ τό νδ ε ν αυ άρχο ις λό γ ο ν [ 37 0 ]
— — ◡ — — | — [— ] [6 ]
εὖ τ ᾽ἂ ν φ λέγ ων ἀκ τῖσι ν
— ◡— | ◡ ◡ — — [6 ]
ἥ λιο ς χ θό να λή ξῃ
◡ — ◡ ◡ ◡ ◡| — ◡ — ◡ — [8 ]
κ νέφ ας δ ὲ τέ με νο ς αἰ θέρο ς λάβ ῃ
— — ◡ — | — — ◡ — | — — ◡ [— ] [1 0 ]
τά ξα ι ν εῶ ν σ τῖφ ο ς μὲ ν ἐ ν σ το ίχο ις τ ρισὶ ν
— — ◡ — — [4]
ἔκ π λο υ ς φ υ λ άσ σει ν [ 37 5 ]
— ◡ — | ◡ — ◡ — [5]
κ αὶ π ό ρ ο υ ς ἁλιρρ ό θ ο υ ς
— — ◡ ◡ — (4 )
ἄλλ ας δ ὲ κ ύ κ λ ῳ
— ◡ — — — | ◡ — (6 )
νῆ σ ο ν Αἴα ν το ς π έριξ
— — ◡ — |— — ◡ — | — — ◡ [— ] [1 0 ]
ὡς εἰ μό ρ ο ν φ ευ ξο ία θ ᾽ Ἕλλη νες κ ακ ό ν
— — ◡ — — [4]
ν αυ σ ὶ ν κ ρ υ φ αίως [ 38 0 ]
439
— ◡ — — — | ◡ [— ] (6 )
δ ρ ασ μὸ ν εὑ ρ ό ν τες τι ν ά
— — ◡ — — | — ◡ — | ◡ — ◡ [— ] (1 0 )
π ᾶσ ι σ τέρ εσ θ αι κ ρ α τὸ ς ἦν π ρο κ είμε νο ν
◡ — ◡ — [— ] (4 )
το σ αῦ τ᾽ ἔ λεξ ε
— ◡ — — — | ◡ [—] (6 )
κ άρ θ ᾽ὑ π ᾽εὐ θύ μο υ φ ρ εν ό ς
— — ◡ — ◡ | — ◡ — | — — ◡ [— ] (1 0 )
ο ὐ γ ὰ ρ τὸ μέ λλο ν ἐ κ θε ῶν ἠ π ί σ τ α το [ 38 5 ]
And as soon as he heard this [367]

Not understanding the deceit of the Greek man
Or the jealousy of the gods
He gave this command to all the captains -of-ships [370]
That when burning with its beams
The sun quits the Earth
And darkness takes the region of the sky
Draw up the formations of ships in three lines
To guard the exits [375]
And the sea-roaring straits
And yet others in a circle
Surrounding Aias’ Island
For that should the Greeks escape an evil fate
With their ships covertl y [380]
Finding some means of escape
It was decreed that everyone shall be deprived of his head
He spoke these things
In high good spirits
For he did not know what was to come from the gods [385]
440
Notes.
This movement conforms broadl y to the rhythmic and structural
forms seen in other anal ysed trimeter passages, but shows greater
variation. The unbalanced couplets observed here are less strictl y
formulated, and the intra -tonal separations that for m many of them
are less certain; it could be that the ten -beat phrases that punctuate
the Working Text correspond to the form of the lines in the original
performance. Where practical, however, the intra -tonal separation
of these lines is trialled for purp oses of comparison in the
Experimental Text. Metricall y, there are a greater number of
resolved measures and variant feet than are seen elsewhere, and a
pherecratean rhythmic scheme is provisionall y identified in lines
[368] and [373 -374]. Of the thirteen lines of the traditional text,
five appear in the same form in the Working Text: 363 [370], 366
[374], 369 [379], 371 [382] and 373 [385]; additionall y, 365 [373]
is the same, except that the enjambment of λήξῃ from 364fin is not
admitted. Of these, howeve r, all but the last three are susceptible to
intra-tonal separation, giving structurall y regular unbalanced
couplets. The order of longer and shorter phrases tends to be
reversed with each new phase of the narrative, and the longer lines
appear at narrative focal points.

361init [367]: ὁ δ ᾽εὐ θ ὺ ς ὡς ἤκ ο υ σ ε ν : this line introduces the first
principal clause of the movement: ‘as soon as he heard this… he
made this announcement to all the captains -of-ships’. The main
clause is completed at line [370], after two intervening subordinate
clauses. All editors consult ed print a comma after ἤκ ο υ σε ν . The
printed punctuation and the intervening subordinate clauses
indicate a tonal boundary.
441
The line is not scanned to word -end in the Working Text. The
balance of the accented syllables gives the line a unified rhythmic
character, and can be scanned as a diiambic heptasyllable. 497 It is
possible, however, that the final syllable of εὐ θὺ ς should be
scanned long given the force of its final sibilant in conjunction of
the aspirated initial syllable of ὡς . If this is the case, the n the
measure should be scanned as a trochiambic heptasyllable -1.
The diiambic heptasyllable is scanned in the Experimental Text.
361fin-362init [368]: ο ὐ ξυ νεὶς δ ό λο ν Ἕλλ ην ο ς ἀ νδ ρὸ ς : this line

gives the first of the two subordinate clauses that interrup t the
grammatical construction of lines [367] and [370]. The ο ὐ … ο ὐ δ ὲ …
construction identifies them as tonall y distinct utterances.
In the Working Text the line shows an apparent epitrite -2 with

resolution in the final syllable + trochiamb -3.
The metrical form ( - u - u u - - | u - - ) is a pherecratean scheme +

final bacchius, an artefact of the tonall y affective lineation, which
does not scan to word -end. 498
There is, however, a suggestion of a rhythmic break between the

final nu of δ ό λο ν and the aspirated initial of Ἕλλη νο ς , which is
enhanced by the interaction of the accented syllables. In the
original performance context, the necessaril y forceful delivery of
the aspirate will require an intake of breath, and the resulting pause
could be taken to artificiall y lengthen the final syllable of δ ό λ ο ν ,
giving a regular trochaic pentasyllable.
497 See Ch.3, Principal Measures: Other Trochiambic Heptasyllables.

498 Cp. lines [372-373], below.
442
The same phenomenon also suggests the intra -tonal separation of
these phrases. This lineation will give two pentasyllabic measures
that, in combination with lines [367] and [369], form the regularl y-
occurring unbalanced couplets that t ypify the trimeters anal ysed in
this study.
For the sake of comparison and evaluation, intra -tonal separation is

trialled in the Experimental Text. The implications of the
separation are discussed in the interpretive commentary.
Line [368] scans as a trochaic pentasyllable, and line [368a] scans

as a trochiamb-3. Additionall y, ἀνδ ρό ς is read for line -end.
362fin [369]: ο ὐ δ ὲ τὸ ν θε ῶ ν φ θό νο ν : this line is the second element

of the bipartite subordinate clause and is therefore to be regarded
as a tonall y distinct entit y.
On the basis of the rhythmic and grammatical integrit y of the line,

it is scanned as a lecythium in the Experimental Text.
363 [370]: π ᾶσ ι ν π ρ ο φ ων εῖ τό νδ ε ν αυ άρ χο ις λ ό γ ο ν : this line

completes the incipient principal clause of line [367], and is the
first of the five lines in this movement that are the same as the
traditional texts.
The initial measure is a trochiamb -3. On the basis of the

grammatical and rhythmic i ntegrit y of the remainder of the line, it
is to be scanned as a dicretic (A). This scansion conforms to the
structurall y-regular unbalanced couplet, and suggests the
possibilit y of intra -tonal separation. While the separation here is
443
not entirel y certain, it is given for comparison and evaluation in the
364-365init [371 -372]: εὖ τ᾽ἂ ν φ λέγ ων ἀκ τ ῖσ ιν / ἥ λιο ς χ θό ν α λ ήξῃ :

the phrase φ λ έγ ω ν ἀκ τῖσι ν is a subordinate clause intruding on the
principal clause, εὖ τ᾽ ἂν … ἥλιο ς χ θό ν α λή ξῃ . This language feature
determines the separation of the lines into distinct tonal groupings.
The separation is further suggested by the interaction of the final
nu of ἀκ τ ῖσ ι ν and the initial aspirate of ἥλ ιο ς . The phenomenon
could be said to constitute a ‘consonantal ’ clash, if that is an
acceptable term in the case of aspirated vowels. 500
The rhythmic character of the line [371] justifies the scansion of a

trochiambic heptasyl lable -3. This scansion is given in the
Line [372] presents another phere cratean measure ( - u - u u - - ),

which again is an artefact of the tonall y affective lineation. 502 The
measure can be described as a trochiambic hexasyllable -2 with
resolution in the fourth syllable. The pherecratean is not regarded
as an illegal measure, and is scanned in the Experimental Text.
For a discussion of the theatrical effect of the rhythmi c variation in

this and the subsequent line, see the interpretive commentary on
lines [371-373], below.
499 Cp. lines [731-731a] in the stichic dialogue, which are of the same form.
500 Cp. the discussion of line [368], above.
501 Cp. line [728] in the stichic dialogue, which is of the same metrical form.
502 Cf. the discussion of [368], where, however, the measure is removed by
intra-tonal separation within the line. See Appendix X, Tables of Measures:

Resolved Measures in Trochiambs.
444
365fin [373]: κ ν έ φ ας δ ὲ τ έμ εν ο ς α ἰ θέρο ς λ άβ ῃ : this clause
completes the pleonastic temporal clause: ‘when the sun quits the
earth and darkness holds th e sky’. This second element is tonall y
distinct by virtue of its grammatical individuation, and the regular
separation of subordinate clauses.
The initial measure appears to be another ‘resolved’ measure, in

this case, a ‘true’ iambic pentasyllable ( u - u - u ) with resolution
in the fourth syllable ( u - u u u u ). While the measure is irregular,
the form and rhythm of the expressions do not seem out of place in
its context, and it ought to be accepted as a genuine rhythmic
variation, a hexasyllabic repr esentation of the pherecratean scheme
that appears in the previous line. The second measure is a
regularl y-occurring trochaic pentasyllable.
After the four short syllables of δ ὲ τέμ ενο ς , there is a suggestion of

a rhythmic break between these two measures, especiall y when the
line is delivered forcefull y. Although this is one of the least certain
instances of intra -tonal separation proposed in this study, it
demonstrates the application of the method, and that lineation is
given in the Experimental Text.
Line [373] will then scan as an iambic pentasyllable with resolution

in the fourth syllable ( u - u u u - ), and line [373a] scans as a
trochaic pentasyllable. 503
366 [374]: τ ά ξ αι νε ῶν σ τῖφ ο ς μὲ ν ἐν σ το ίχο ις τ ρισὶ ν : this line in

this is the same as that of the traditional texts. The delayed μὲ ν
503 The so-called iambic pentasyllable is actually the final anceps form of the
‘true’ iambic pentasyllable. See Ch.3, Principal Measures: Other
(Multianalectic) Trochiambic Pentasyllables.
445
tends to enforce a uniform tonalit y on the passage, and it is
difficult to identify a workable tonal or rhythmical separation.
The line is susceptible to intra -tonal separation, and will conform

to the struct urall y-regular unbalanced couplet that characterises
most trimeter speeches in this anal ysis. Separating after μὲ ν , the
onl y point at which a tonal break is plausible, gives:
— — ◡ — — — [— ] [6 ]
τά ξα ι ν εῶ ν σ τῖφ ο ς μὲ ν
— — — ◡ [— ] [4]
ἐν σ το ίχ ο ις τρ ισὶ ν
According to the measures identified in this study, the lines will

scan as a trochiambic heptasyllable -3, and a trochiamb -4.
The question arises as to whether a line -final μὲ ν is acceptable. In

the passages anal ysed for this study we find line-final μὲ ν and δ ὲ
onl y in lines [78] and [88] in the Working Text of strophe and
antistrophe A, but these becomes elements of a longer line in the
Experimental Text. Of the eleven occurrences of μὲ ν in the anal ysed
portions of this play, all lines but one, [758], ὡς Σο ύ σ ω ν μὲ ν ἄ στυ ,
have it as the second word of its phrase, but there it is the second
word of a self -contained phrase Σο ύ σω ν μὲ ν ἄσ τυ , and the
construction is similar to the one here.
Sidgwick, alone of the editors consulted, reads Brunck’s νεῶ ν μὲ ν

σ τῖφ ο ς . This reading gives:
— — ◡ — — — [— ] [6 ]
τά ξα ι ν εῶ ν μ ὲν στ ῖφ ο ς
— — — ◡ [— ] [4]
ἐν σ το ίχ ο ις τρ ισὶ ν
446
The metricalit y is the same as that of the previous arrangement, but
without the line -final μὲ ν .
The issue depends on whether σ τῖφ ο ς refers to a definite formation

of ships or one of several such formations. The phrase νε ῶν σ τῖφ ο ς
μὲ ν implies that this is the main body of the fleet. This is
Broadhead’s view (366 -8n; cf. Garvie, 366-8n, who implies sup port
for Broadhead). Broadhead argues that ‘the particle sometimes
follows closel y cohering words’ but the parallel he offers ( Δ ιὸ ς
ὁ ρ ίο υ μὲ ν , Plat. Laws 842e) is not comparable. First, it is in prose,
not poetry; furthermore the two words that precede μ ὲν are a single
grammatical entit y, the cult title, Zeus of Boundaries, are both in
the genitive, and must be regarded as a single syntactical unit. In
the present case, νε ῶ ν and σ τῖφ ο ς are merel y linked associativel y.
Rose (366-8n) says that σ τῖφ ο ς refers to the main body of the fleet
and that the ἄλ λ ας of line 368 [377] refers to the detachment sent to
encircle Salamis, as described at Hdt.8.76.1. This would seem to be
the case: νε ῶ ν , rather than σ τῖ φ ο ς , is the operative word, albeit
σ τῖφ ο ς is the direct o bject of τάξ αι . This is confirmed by the gender
of ἄλλ ας δ ὲ , which, being grammaticall y feminine, can onl y refer to
the ships, and not to their neuter -gendered formations. The
construction should then be understood as referring to a definite
body of ships, the main body of the fleet, and not to one of several
formations of equal status. On this basis, μὲ ν should most likely be
construed with ν εῶ ν , and Brunck’s νε ῶ ν μ ὲν σ τῖφ ο ς be preferred.
This, then, is the reading of the Experimental Text, with τρ ισ ί ν read

for its position at line -end. Under that lineation, line [374] scans as
a trochiambic heptasyllable -3, and line [374a] scans as a trochiamb -
4.
447
367 [375-376]: ἔ κ π λο υ ς φ υ λάσσ ει ν / κ α ὶ π ό ρο υ ς ἁλιρρόθους : the
separation of this line of the traditional text is uncontroversial, and
the resulting lines form the unbalanced couplet that t ypifies
trimeters in this study. Line [375] is a purpose clause, completing
the grammatical construction of [374], while line [376] is a
pleonastic addition.
Line [375] shows a single trochiamb -3. Line [376] is scanned as a

lecythium in the Experimental Text on the basis of the rhythmical
integrit y indicated by the balance of its accented syllables.
368 [377-378]: ἄ λ λ ας δ ὲ κ ύ κ λῳ / νῆ σο ν Αἴα ν τ ο ς π έρ ιξ : this line of

the traditional text separates into two distinct phrases at the first
caesura, which scan to recognisable metrical units. The separation
is determined by the semantic apposition of the phrases, where
νῆ σ ο ν Αἴα ν το ς π έρ ιξ has the force of a subordinate clause. The
separation is supported by the inharmonious conjunction of opposed
accents and long final and initial syllables of κ ύ κ λῳ and ν ῆσο ν .
Line [377] is scanned in the Working Text as a dact ylopaest -3. The
phoneme - κλ - does not always make position, 504 and assuming that it
does so here can only be for the sake of enforcing a visual -
anal ytical metrical regularit y on a seemingl y aberrant line. Given
the resolved measures of lines [372] and [373], above, the form of
the line can be understood as another in stance of Aeschylus’
rhythmic freedom. Nevertheless, the syllable occupies the anceps
position in traditional metrics, and can be scanned long at need. For
the purpose of comparison, the trochiambic scansion is given in the
504 West, Greek Metre, 16; Raven, Greek Metre, 23.

448
Experimental Text. Line [378] is a well-balanced semantic unit y,
and is scanned as a dicretic (A) in the Experimental Text. 505
369 [379]: ὡ ς ε ἰ μό ρ ο ν φ ε υ ξο ί α θ ᾽ Ἕλληνες κακόν : this line is the same

as that of the traditional text, and resists separation because there is
no unambiguous tona l boundary. The ν - φ consonantal clash suggests
the possibilit y of intra -tonal separation, which would emphasise by
line-end the important word μό ρο ν . Additionall y, this would reflect
the alternation of longer and shorter phrases seen throughout this
movement, but not the same structural regularit y.
The line presents problems of scansion. The first element, ὡς εἰ

μό ρ ο ν , scans to word -end as an epitrite -3, a rarel y-occurring but
seemingl y legitimate measure. The second element, φ ευ ξο ί α θ ᾽
Ἕλληνες κακόν, can be scanned either as an initial antibacchius +
trochiamb-4, or as an octosyllabic measure of the form ( - - u - - - u
- ). Antibacchii are rare in comparison to the more commonl y
occurring bacchii, and are not found in medial position in the
anal ysed porti ons of this play. 506 Octosyllables are not admitted in
the metrical system proposed in this study. 507
Alternativel y, the line can be scanned, without regard to word -end,

according to the regular measures identified throughout this
movement, as either:
505 See the metrical commentaries on lines [51] and [66] in Ch.4, Anapaests,
where the word ἔ θ νο ς was scanned differently according to different
rhythmic circumstances.
506 See Appendix X, Tables of Measures: Subsidiary Measures, Bacchii and
Antiabcchii. None of the latter are scanned in the Experimental Text.

507 Exceptions are made only in the case of regular heptasyllabic measures
with resolutions. See Appendix X, Tables of Measures: A note on octosyllabic

measures.
449
— — ◡ — —| — ◡ — — — ◡ [— ] [1 0 ]
Or as:
— — ◡ — — — ◡ | — — — ◡ [— ] [1 0 ]
The first scansion gives a trochiamb -3 + bacchiac (A), while the

second gives an irregular heptasyllable of the form ( - - u - - - u ) +
trochiamb-4. Despite the irregular measure, the second scansion
should be preferred on the basis of the grammatical aff iliations
within the line.
Additionall y, there is no basis for the intra -tonal separation of this

line, and when it is intoned, the combination of the aspirated final
and initial syllables of φ ευ ξο ί α θ᾽ Ἕλλη νες implies a rhythmic
regularit y that will allo w the scansion of a trochiambic
heptasyllable -3 in place of the irregular measure. Despite the
unorthodox y of this intervention, it seems the most satisfactory
solution to the metrical difficulties inherent in this line.
The line is given in its full form in the Experimental Text, and
scanned as a trochiambic heptasyllable -3 + trochiamb -4.
The line should be carefull y noted for revision when more

comparative material becomes available, especiall y with reference
to the metrical impact of aspirated syllabl es. The form of the line is
discussed further in the interpretive commentary, below.
370 [380-381]: ν α υ σ ὶν κ ρυ φ αί ως / δ ρ ασ μὸ ν εὑ ρό ν τες τι νά : the

separation of this line of the traditional text is far from
unambiguous. Nevertheless, the Principle of Separ ation dictates
that these phrases should be separated in the first instance;
450
although they are syntacticall y related, they are grammatically
independent, and both the paratactic structure and the form of the
unbalanced couplet are regular for the analysed portions of this
play.
Line [380] scans as a trochiamb -3, and line [381] scans as a dicretic
(A).
371 [382]: π ᾶσ ι σ τέρ εσ θ αι κ ρ ατ ὸ ς ἦ ν π ρο κ εί με νο ν : this line is given

as per the traditional texts.
The line is, however susceptible to intra -tonal separati on at two

points, both of which will give a structurall y -regular unbalanced
couplet. Separation after σ τέρεσ θ αι will give two phrases meaning
‘for all to be deprived’ and ‘of their heads it was decreed’; while
this is not entirel y convincing, it is not without dramatic effect.
Conversel y, separation after κ ρ α τὸ ς has the advantage of preserving
the grammatical integ rit y of the phrase ‘for all to be deprived of
their heads’.
While the latter separation is to be preferred on grammatical

grounds, neither is as convincing as the full line in this context,
and it is retained in the Experimental Text. The line is scanned as a
trochiamb-3 + lecythium. This scansion conforms to the trimeter
couplet, and is implied by the interaction of the accente d syllables
in the two measures. T he close occurrence of the accents of π ᾶ σι
σ τέρ εσ θ αι seems to separate that measure from the eup honious
grave-circumflex -acute combination of accents in κ ρ α τὸ ς ἦ ν
π ρ ο κ είμ ενο ν .
372 [383-384]: τ ο σ αῦ τ ᾽ ἔλε ξε / κ άρ θ ᾽ὑ π ᾽ εὐ θύ μο υ φ ρ εν ό ς : the phrases

of this line of the traditional text are treated as a principal clause,
451
το σ αῦ τ᾽ἔ λεξ ε , and a contextualising subordinate clause,
κ άρ θ ᾽ὑ π ᾽εὐ θύ μο υ φ ρ εν ό ς . As with the ἔλ εξε of line [360] in the
previous movement, we may choose to read ἔλε ξε( ν) for its position
at line-end; this would reinforce the separation of the lines by
virtue of the resultant ν - κ consonantal clash; and, as with line
[360], had the moveable nu been preserved in any pre -Alexandrian
textual tradition, it would have been removed under the force of its
position in the metricall y regular line. Line [383] scans as an
iambic pentasyllable, while line [ 384] scans as a dicretic (A).
373 [385]: ο ὐ γ ὰ ρ τὸ μέλ λο ν ἐκ θε ῶ ν ἠπ ίστ α τ ο : this line of the

traditional text is taken to present a single tonal grouping. The
initial measure is a pentasyllable of the form ( - - u - u ), which is
termed a ditrochaic penta syllable under the system of nomenclature
proposed in this study. It is tempting to suppose intra -tonal
separation here purely for the sake of the much more regular
trochiamb-3 that would appear as a result, but the regularl y -spaced
longer lines that punct uate the end of this movement a rgue against
it here; this is most definitel y a narrative and dramatic focal point.
The second element is scanned as a dicretic (A).
Textual criticism.
Line [367]: scan diiambic heptasyllable ( u - u - - - - ).
Line [368]: c onstrue as lines [368] and [368a]; scan trochaic
pentasyllable.
Line [368a]: scan trochiamb -3; read ἀ νδ ρό ς for position at line -end.
Line [370]: construe as lines [370] and [370a]; scan trochiamb -3.
Line [371]: scan as trochiambic heptasyllable -3.
Line [372]: scan pherecratean ( - u - u u - - ).
452
Line [373]: construe as lines [373] and [373a]; scan ‘variant’
pherecratean ( u - u u u - ).
Line [374]: read τ άξ αι νεῶ ν μὲ ν σ τῖφ ο ς (Brunck); construe as lines
[374] and [374a]; scan trochiambic heptasyllable -3.
Line [374a]: scan trochiamb -4; read τ ρισ ί ν for line-end.
Line [377]: scan trochiamb -3, ἄλλ ας δ ὲ κ ύ κ λ ῳ .
Line [379]: scan trochiambic heptasyllable -3 by rhythmic
intervention ( φ ευ ξο ί α θ᾽ Ἕ λλη νες ) + trochiamb-4.
Line [381]: scan as dicretic (A).
Line [382]: scan as trochiamb -3 + lecythium.
Line [383]: read ἔλε ξ ε (ν ) for line-end.
Line [384]: scan d icretic (A).
Line [385]: scan ditrochaic pentasyllable + dicretic (A).
453
Experimental Text .
Messenger’s Speech 2nd Movement 353 -376 [367-385] 508
◡ — ◡ — — — (6)
ὁ δ᾽εὐθὺς ὡς ἤκουσεν [ 36 7 ]
— ◡ — ◡ [—] ( 4)
οὐ ξυνεὶς δόλον [ 36 8 ]
— — ◡ — [—] [4]
Ἕλληνος ἀνδρός [ 36 8 a]
— ◡ — ◡ — ◡ [—] [5]
οὐδὲ τὸν θεῶν φθόνον
— — ◡ — — [5]
πᾶσιν προφωνεῖ [ 37 0 ]
— ◡ — — — ◡ [—] (6)
τόνδε ναυάρχοις λόγον [ 37 0 a]
— — ◡ — — — [—] [6]
εὖτ᾽ἂν φλέγων ἀκτῖσι ν
— ◡— ◡ ◡ — — [6]
ἥλιος χθόνα λήξῃ
◡ — ◡ ◡ ◡[—] ( 4)
κνέφας δὲ τέμενος [ 37 3 ]
— ◡ — ◡ — ( 4)
αἰθέρος λάβῃ [ 37 3 a]
— — ◡ — — — [—] [6]
τάξαι νεῶν μὲν στῖφος [ 37 4]
— — — ◡ [—] [4]
ἐν στοίχοις τρισίν [ 37 4 a]
508[367]: scanned diiambic heptasyllable; [368]: scanned trochaic

pentasyllable; [368a]: scanned trochiamb-3, read ἀνδρός line-end; [369]:
scanned lecythium; [370]: scanned trochiamb-3; [370a]: scanned dicretic
(A); [371]: scanned trochiambic heptasyllable-3; [374]: scanned trochiambic
heptasyllable (A), read τ ά ξ α ι ν ε ῶ ν μ ὲ ν σ τ ῖ φ ο ς (Brunck); [374a]: scanned
trochiamb-4, read τρ ισ ίν for line-end;.
454
Messenger’s Speech 2nd Movement, cont. [375 -385] 509
— — ◡ — — [4]
— ◡ — ◡ — ◡ — [5]
— — ◡ — — (4 )
— ◡ — — — ◡ — (6 )
— — ◡ — — — — | — — — ◡ [— ] [1 0 ]
ὡς εἰ μό ρ ο ν φ ευ ξο ί α θ ᾽ Ἕλλη νες κ ακ ό ν
— — ◡ — — [4]
— ◡ — — — ◡ [—] (6 )
— — ◡ — — | — ◡ — ◡ — ◡ [— ] (1 0 )
◡ — ◡ — [— ] (4 )
το σ αῦ τ᾽ ἔ λεξ ε ( ν)
— ◡ — — — ◡ [—] (6 )
— — ◡ — ◡ | — ◡ — — — ◡ [— ] (1 0 )
509[375]: scanned trochiamb-3; [376]: scanned lecythium; [377]: scanned

trochiamb-3; [378]: scanned dicretic (A). [379] scanned trochiambic
heptasyllable-3 + trochiamb-4; [381]: scanned dicretic (A); [382]: scanned
trochiamb-3 + lecythium; [384]: scanned dicretic (A); [385]: scanned
ditrochaic pentasyllable + dicretic (A).
455
Interpretive Commentary, Messenger’s Speech: Xerxes Reaction
to the Greeks’ Message .

Not understanding the deceit [368]
Of a Greek man [368a]
He announced to all [370]
This command to the captains -of-ships [370a]
And darkness the region [373]
Of the heavens takes [373a]
Draw up the mass of ships [374]
In three lines [374a]
With their ships in secret [380]
In high good spirits [384]
For he did not know what was to come from the gods
Notes.
In this movement the Messenger turns from narrating the beginning
of the sea battle, with reference to the ‘avenging spirit’ and the
‘Greek man’, to a description of Xerxes’ actions upon hearing the
deceitful message from the Greeks. As in the previous movement,
456
Xerxes’ failure is attributed to the actions of divinit y. Here,
however, the influence is attributed to the gods ( ἐ κ θ ε ῶ ν ), rather
than to the κ ακ ὸ ς δ αί μω ν ; the two references to the gods and
Xerxes’ ignorance of their plans in lines [369] and [385] make a
compositional ring of this movement.
The movement consists of three phases. The first and longest, lines
[367-378], is the Messenger’s description of Xerxes’ immediate
reaction and orders for the disposition of his f leet. The second,
lines [379-382], describes his orders regarding the execution of his
officers should they fail to trap the Greeks. That these orders are
derived from Xerxes’ overconfidence and ignorance of the gods’
plans is made plain in the final phase , lines [383 -385].
Line [367]: ‘And as soon as he heard this’. That Xerxes was

completel y taken in by Themistocles’ ruse is made abundantl y clear
by this single pointed logos. From this point in the narrative, as in
the events themselves, Xerxes has lost control of the battle and of
his campaign. The fact of his ignorance and his false expectations
are the subject of the remainder of this movement.
Lines [368-369]: ‘Not understanding the deceit / Of a Greek man

/ Or the jealousy of the gods’. These lines are paired subordinate
clauses intruding on the principal clause of lines [367] and [370],
‘As soon as he heard this… he gave the following order’.
Lines [368-368a] tell us that Xerxes was ignorant of the deception,

and of the intentions of the Greek man . The intra-tonal separation
of these lines is not entirel y convincing. Here the alternation of
longer and shorter lines of the couplets is reversed within an
element of the narrative. The structure gives equal rhythmic weight
457
to ‘deceit’ and ‘a Greek man’ . 510 Again, we see quasi -antithesis
playing a key role in the generation of meaning; in the bipartite
subordinate clause of these lines, with line [369], Themistocles’
ruse is given equal importance to the jealousy of the gods. 511
Lines [370-370a]: ‘He announced to all / This command to the

captains-of-ships’. These lines complete the principal clause of
line [367]. It is at the giving of this order that the fate of Xerxes’
arm y are is sealed. The intra -tonal separation is uncertain , but it
emphasises the poetic-rhetorical chiasmus of the phrases π ᾶσ ι ν …
ν αυ άρ χ ο ις and π ρ ο φ ω ν εῖ … λό γ ο ν .
Lines [371-373a]: ‘When burning with its beams / The sun quits
the Earth / And darkness the region / Of the heavens takes’. The
separation of lines [37 1-372] is a matter of ordinary tonal
differentiation. The difference in intonation is one of measured
delivery, as between ‘and when, burning with his rays, the sun quits
the earth’ and the more pedestrian ‘and when the sun quits burning
the earth with his rays’. Both convey the same basic idea, but the
former is truer to the form and word -order of the Greek; the
punctuation in that rendering corresponds to the tonal groupings
identified here.
These four lines present two principal clauses. The first, εὖ τ᾽ ἂ ν …

ἥ λιο ς χ θό να λή ξῃ , contains an intrusive subordinate clause, φ λ έγ ων
ἀκ τῖσ ιν . Lines [373 -373a] are a pleonastic recapitulation, a
subordinate clause in apposition to the temporal adverb of the
510 This formulation points to the moral lesson of the play. While celebrating
the victory of the Greeks, it is also a warning to the Athenians about the
dangers of excess and an unjust Empire. In 472 BC the Delian League was
already transforming into the Athenian Empire.
511 See also Garvie, 361-3n, 185-6, with 354n. Garvie observes that in this
poetic-narrative trope, ‘the god is embodied in the man’ (361-3n, 186).

458
principal clause. The awkwardness of the English translation, which
keeps to the word -order of the Greek original, does not pertain to
the Greek. The aural effect of this lineation is grand and somewhat
surprising conceptuall y. Rose, Broadhead and Garvie all note that
the language from this line is ‘elevated’. 512
The surprising rhythmic qualities of these subordinate clauses, with

their pherecratean measures, seem somewhat out of character with
the rest of the movement. Trimeters allow resolutions, but these are
mostl y found in later Euripides. 513 They seem to deviate f rom the
statel y clarit y of the two principal clauses of lines [370 -370a] and
[374-374a], which might , after all, present the simple and direct
construction of the original performance:
π ᾶσ ιν π ρ ο φ ω νεῖ
τό νδ ε ν αυ άρ χ ο ις λό γ ο ν
τάξαι νεῶν μὲν στῖφος
ἐ ν σ τ ο ί χ ο ι ς τρ ι σ ί ν
To this it can be objected that the ‘elevated’ language is

appropriate to the reported speech of the King. The same argument,
however, could equall y have been made by an actor -interpolator of
any period who wished to demonstrate his own virtuosit y. The lines
are not otherwise regarded as suspicious in this anal ysis, but they
should be noted for further investigation when more comparative
material is available.
Rose, 364n; Broadhead, 364-5n; Garvie, 364-5n.

512
West, Greek Metre, 85-6, and Introduction, 25-6; Maas, Greek Metre, 67;
513
Raven, Greek Meter, 29. See Appendix X, Tables of Measures: Resolved

Measures in Trochiambs.
459
Lines [374-374a]: ‘Draw up the mass of ships / In three lines’.
This line completes the principal grammatical construction of line
[370], giving in indirect speech Xerxes’ actual command to his
captains. The form of this line, including the proposed
transposition of μὲν and στῖφος, is discussed full y in the metrical
commentary, above.
Lines [375-376]: ‘To guard the exits / And the sea -roaring
straits’. These lines contextualise Xerxes’ command of line [374]
with a series of two purpose clauses, again in indirect speech.
These commands refer to the main body of the fleet mentioned at
line [374]. Their content and rhythmic form should be compared
with lines [373 -373a].
Lines [377-378]: ‘And yet others in a circle / Surrounding Aias’

Island’. The ἄ λλ ας of line [377] refers back to the mention of the
main body of the fleet at line [374]; these ‘ others’ are a detachment
of the main fleet, sent to cut off any possibilit y of escape (cp. line
[379]). 514 Line [378], ν ῆσο ν Αἴ αν το ς π έριξ , provides further context
for this action, in the same way that line [375] provides context for
the command of line [37 4].
Line [379]: ‘For that should the Greeks escape an evil fate’. This
line is the first that resists intra -tonal separation. It presents a focal
point in the narrative, re -enforcing Xerxes’ mistaken expectation
that the Greeks will flee. The same expecta tion is made the subject
of a rhetorical trope in the following lines.
514For the disposition of Xerxes’ fleet, see Rose, 366-8n; Garvie, 366-8n, 186-
7; Broadhead, 366-8n, with Appendix VI, especially 327ff. Cf. also Hdt. 8.76.1.
460
There is a textual difficult y in this line that is not noted by any of
the commentators consulted in this study: the singular verb,
φ ευ ξο ί α θ’ , governs a plural subject, Ἕλ λη ν ες . Michael Ewans has
suggested reading Ἕλ λην τις , a plausible emendation that does not
affect the meter or the sense of the passage, but one that is,
perhaps, contradicted by the plural ναυ σὶ ν of line [381]. No further
attempt has been made to overcome this difficu lt y in this study.
Lines [380-381]: ‘With their ships in secret / Finding some

means of escape’. The tonal separation of this line highlights a
rhetorical trope that plays on the differing expectations of the
characters in the play and of the Athenian spe ctators. For the stage -
Persians the line -final κ ρυ φ αί ως refers to the secret flight of the
Greek fleet; for the spectators it refers to Themistocles’ ruse. The
individuated line [381] completes the grammatical construction,
and emphasises for the spectator s, with their knowledge -in-
hindsight, the degree to which the Xerxes has been deceived; the
Athenians will ‘escape an evil fate’, and do intend to do something
κ ρ υ φ αί ως with their ships; but flight is not their plan. να υ σὶ ν
κ ρ υ φ αί ως recalls δ ρ ασ μῷ κ ρυ φ αί ῳ of line [365] in the previous
movement, emphasising the success of Themistocles’ plan.
Line [382]: ‘It was decreed that everyone shall be deprived of

his head’. This is the second line that resists separation. It, too,
presents a narrative focal point. For the Messenger, ‘everyone’
means all the ships’ captains (cp. [370 -370a]; for the audience it
refers to the outcome of the Greek victory.
The indicative ἦ ν π ρ ο κ είμε νο ν shows that lines [381 -382] are no

longer the presentation in oratio obliqua of Xerxes’ words, but is
461
the Messenger’s own report of the substance of what was said. 515
The sudden change from indirect speech to straight report lends
vividness to the Me ssenger’s narrative.
Lines [383-385]: ‘He spoke these things / In high good spirits /

For he did not know what was to come from the gods’. The
separation of lines [383] and [384] is held to be the ordinary tonal
separation. Line [383] refers back to the r eported speech of lines
[371-382], while line [384] is a contextualising subordinate clause.
There is a grim dramatic irony in these lines. The ‘high good

spirits’ with which Xerxes gives his orders in lines [371 -382]
indicate the degree to which Xerxes has been taken in by the report
of ‘the Greek man’: Xerxes believes that the beheadings will be
unnecessary because the Greeks will be trapped and easil y defeated;
the spectators, however, know that it is the Persians who are in fact
doomed, and that it is Xerxes’ mistaken belief, and not just the
final threat of execution, that amount to a death -sentence for his
captains and troops. This audience knowledge is courted in the
slight pauses between the phrases of lines [383 -384], and the
rhythm of the phrases leads elegantl y and with appropriate
emphasis to the crushing denouement of the Messenger’s final
evaluation at line [385]. That line is another narrative focal point,
and, like lines [379] and [382], is an indivisible phrase. It presents
the culmination of the several statements as to Xerxes’ ignorance of
the facts, and the intervention of the divinit y, around which this
and the previous movement are structured. The reference to the
gods makes a compositional ring with line [369].
515 So Garvie, 369-371n, 187-8; and Broadhead, 369-371n: ‘As the text stands
it is simplest to make ἦν π ρο κ ε ίμε νο ν = ‘it had been decreed by Xerxes’, so
that the conditional φ ευ ξο ία θ ᾽ is oblique as part of what had been decreed.’
462
Metrical Commentary, Da rius Scene, 1st Movement, 681-693
[681-699].
— — ◡ — — [4]
ὦ π ισ τὰ π ισ τ ῶν [6 8 1 ]
— ◡ — |— — ◡ — (6 )
ἥ λικ ές θ᾽ἥ β η ς ἐμῆς
— — ◡ — — [5]
Πέρ σ αι γ ερ αιο ί
◡ ◡ ◡ — |◡ — ◡ [— ] (5 )
τί ν α π ό λις π ο νε ῖ π ό ν ο ν
◡ — ◡ — — |— ◡ — ◡ — | ◡ [— ] (9 )
σ τέ νε ι κ έκ ο π τ αι κ αὶ χαράσ σε τα ι π έδ ο ν [6 8 5 ]
— — ◡ — — | — ◡ — (7 )
λεύ σ σ ω ν δ ᾽ ἄκ ο ι τι ν τὴ ν ἐ μὴ ν
◡ — ◡ — | — — (5 )
τάφ ο υ π έλ ας τ αρβ ῶ
◡ — | ◡ — ◡ — | ◡ — ◡— (7 )
χ ο ὰ ς δ ὲ π ρ ευ με νὴς ἐδ εξάμ ην
— — ◡ — — | — ◡ — — — | ◡ — [1 1 ]
ὑ μεῖς δ ὲ θρ η ν εῖ τ᾽ ἐγ γ ὺ ς ἑστ ῶ τες τάφ ο υ
— — ◡ — — |— ◡ — — — |◡ — [1 0 ]
κ αὶ ψυ χ αγ ωγ ο ῖς ὀ ρ θι άζο ν τες γ ό ο ις [6 9 0 ]
— — | ◡ — ◡ [— ] [5]
ο ἰκ τρ ῶς κ αλεῖσ θ έ μ (ε)
— ◡ | — — — ◡ [— ] [5]
ἐσ τὶ δ ᾽ο ὐ κ εὐ έξο δ ο ν
— — ◡ — — [4]
ἄλλως τε π ά ν τως
463
— ◡ — ◡ — |◡ — [6 ]
χ ο ἰ κ α τὰ χ θο νὸ ς θεο ὶ
◡ — ◡ — — | — [—] (6 )
λαβ ε ῖν ἀμε ίνο υ ς εἰσὶ ν [6 9 5 ]
— ◡ — ◡ — (4 )
ἢ με θιέ ν αι
◡ — ◡ — — | — ◡ — — — |◡ — — — (1 2 )
ὅ μως δ ᾽ ἐκ εί νο ις ἐ νδ υ ν ασ τεύ σ ας ἐγ ὼ ἥκ ω
◡— ◡ — | ◡ — ◡ — | ◡ — [8 ]
τάχ υ νε δ ᾽ὡς ἄ με μπ το ς ὦ χρό νο υ
◡ — ◡ — — | ◡ — ◡ | — — — ◡ [— ] (1 0 )
τί ἐσ τ ι Πέρ σ αις νεο χ μὸ ν ἐμβ ρι θὲς κ ακ ό ν [6 9 9 ]
O (most) trusted of the trusted [681]

Companions of m y youth
Aged Persians
With what trouble is the cit y troubled?
The ground groans and has been struck and furrowed [685]
And seeing m y bedmate
Standing by m y tomb I am troubled
And kindl y I have accepted her libations
While standing near my tomb you chant dirges
And raising necromantic cries [690]
Piteousl y you call on me
It is not easy to leave (the underworld)
All else besides
Even the gods beneath the earth
Are better at taking [695]
Than at letting go
464
Nevertheless being powerful among them I have come
Make haste that I might not be blamed for the time
What new weight y evil is there among the Persians? [699]
Notes:
This is the first movement of the Darius scene. He speaks in
trimeters, but shifts to tetrameters from line 697. These, to the end
of the stichic dialogue, are anal ysed in Chapter 6, Tetrameters.
From line 759 to the end of the scene, Darius speaks in trimeters.
Two non-contiguous sections of these, lines 765 -786 and 800 -812,
are anal ysed in this chapter.
This movement shows the regular unbalanced couplets seen in other

trimeter passages, but uses contrasting longer lines, as in the
second anal ysed movement of the Messenger’s speech. The longer
lines [685] and [689] give the signs by which Darius knows
something is amiss. Lines [686] and [697], which are part of special
– and identical – rhythmic constructions, show intra -tonal
separation in the context of longer lines.
The Experimental Text contains the transposition of lines [686 -688]

to post line [691]. These changes are proposed on semantic rather
than metrical groun ds and are discussed full y in the interpretive
commentary, below.
Metrical and colometric considerations :

681-682init [681 -683]: ὦ π ισ τὰ π ι σ τῶ ν / ἥ λικ ές θ ᾽ἥβ ης ἐ μῆς /
Π έρ σ αι γ ε ρ α ιο ί : these three logoi stand in tonal isolation most
effectivel y, each giving a different salient feature of the Elders
from Darius’ point of view. ὦ πιστὰ πιστῶν and ἥλικ ές θ ᾽ἥβ ης ἐ μῆς
are semanticall y distinct aspects of the Elders’ identit y and are, as
such, tonall y differen tiated. Similarl y, ἥ λ ικ ές θ ᾽ἥβ ης ἐ μῆς and
465
Πέρ σ αι γ ερ αιο ί define two related but distinct aspects of the Elders,
their closeness in age to Darius, and their advanced age. The
separation here is supported by the ς - π consonantal clash.
Line [681] scans as a trochiamb-3. The balance of accented

syllables in line [682] suggests a rhythmic unit y, and it is scanned
as a dicretic (A). Line [683] closes the vocatival address with
another trochiamb -3. Together with line [648], the lines form
structurall y-regular trimeter couplets.
682fin [684]: τ ί ν α π ό λ ις π ο νεῖ π ό ν ο ν : the line is scanned in the

Working Text as a paeon -4 + diiamb. This scansion is supported by
the ς - π consonantal clash, and by the disposition of the accented
syllables. 516 In terms of the metrical form s identified in this study,
however, the line looks like a lecythium ( - u - u - u - ) with
resolution in the first foot ( u u u - u - u - ). This, then is one of the
few octosyllabic measure admitted in this study, and the ‘resolved’
lecythium is given in the Experimental Text. 517
683 [685]: σ τ έ νει κ έκ ο π τ αι κ αὶ χ αρ άσσε τα ι π έδ ο ν : this line of the

traditional text could be regarded as a single tonal grouping. The
metrical form, which will scan to word -end as an iambic
pentasyllable + lecythium, conforms to t he unbalanced couplets that
characterise trimeter passages. The syndetic κ αὶ corresponds to the
potential point of separation. 518
516 Cp. lines [681-682], above, where the ς -π clash was cited as a factor in the
separation of the lines. Although the clash is the same, the lines are
qualitatively different, both in terms of their grammatical form and the
disposition of their accents.
518 See Conclusions: Syndetic Separation.
466
Here, however, where the line is rhythmicall y well -balanced and
suited to its meaning, and κ αὶ is a phrase-internal conjunction , the
full form of the line is retained for the Experimental Text.
684-685init [686 -687]: λεύ σσω ν δ ᾽ἄκ ο ι τιν τὴ ν ἐ μὴ ν / τάφ ο υ π έ λας

ταρβῶ: the τ αρ β ῶ of line 685init belongs grammaticall y, and
therefore tonall y, with line 684 of the traditional texts. 519 The
separation of the Working Text presents the characteristic
unbalanced couplet. The Principle of Separation dictates that all
potential tonal groupings must be isolated in the first instance, and
‘seeing m y wife’ is a grammaticall y and semanticall y coh erent unit
of speech. The integrit y of the resulting phrase ‘near m y tomb I am
afraid’ is less satisfactory: Darius is afraid because he sees his wife
near his tomb, not because he is near his tomb himself; presumed
intra-tonal separation leaves us with th e same difficult y. The lines
could be expressed within a single tonal boundary, but this would
give a line of twelve beats, the longest in any trochiambic passage.
An alternative lineation deserves consideration. Treating λεύ σ σων

δ ᾽ἄκ ο ι τι ν τὴ ν ἐμ ὴ ν τά φ ο υ π έλ ας as the initial logos, with τα ρβ ῶ
under intra-tonal separation as a one -word clause describing the
result of the first gives:
— — ◡ — — | — ◡ — ◡ — ◡ — (1 0 )
λεύ σ σ ω ν δ ᾽ ἄκ ο ι τι ν τὴ ν ἐ μὴ ν τ άφ ο υ π έ λας
— — (2 )
τ αρ β ῶ
One-word lines occur at several places in the anal ysed portions of

the play, especiall y in the stichic dialogue that poeticall y
I.e., the word is under enjambment in the traditional texts. See

519
Conclusions: Traditional Metric Comparison, Synaephia and Enjambment.

467
represents ordinary speech. Here, the isolation of τ αρβ ῶ is
dramaticall y and poeticall y effective. This is not to be regarded as
enjambment; the word is rhythmicall y isolated. Along with the
iambic pentameter of line [688], the lines form a rhythmic sequence
that is nearl y identical to that of lines [697 -698], below.
The alternative lineation is given with the Experimental Text. L ine

[686] scans to word -end as a trochiamb-3 + lecythium. Line [687]
scans as an isolated spondee.
685fin [688]: χ ο ὰ ς δ ὲ π ρευ με νὴς ἐδ εξά μη ν : the iambic pentameter is

somewhat surprising, but the line of the tonall y affective text is
unambiguous; the δ ὲ of this and the following line guarantee their
tonal differentiation, and the present line will form a tonal
grouping with line [686 -687], whatever lineation is applied. Line
[698] is identical and occurs in the same rhythmic circumstances.
Scanning the iambic pentameter as a coherent metrical unit will

give a decasyllable, by far the longest measure identified in this
study. 520 There are, however, rhythmic differences implied by the
accented syllables that should be acknowledged in the absence of
more comparative material. In the Experimental Text the line is
scanned to word -end as an initial triiamb + final diiamb.
686 [689]: ὑ μ εῖς δ ὲ θ ρη νε ῖ τ᾽ ἐγ γ ὺ ς ἑσ τῶ τες τ άφ ο υ : this line is the

same in both the traditional and tonall y affective texts.
Nevertheless, the line scans as a t ypical unbalanced couplet: a
trochiamb-3 + dicretic (A). The line really consists of a principal
clause, ὑ με ῖς δ ὲ θρ η ν εῖτ ᾽ , and a contextualising subordinate clause,
The potential decasyllables are discussed in Appendix X, Tables of

520
Measures: A note on octosyllabic measures.

468
ἐγ γ ὺ ς ἑσ τῶ τες τάφ ο υ ; nevertheless, the phrases can be pronounced
within a single tonal boundary, in Greek as in English. Separation
at this point will require reading θρη νεῖ τ ( ε ), which would produce
an irregular couplet composed of a hexasyllable + heptasyllable. 521
It is possible that the contracted personal ending - ε ῖτ ( ε ) was
susceptible of special treatment at line -end, but there is too little
comparative material to be certain.
While the irregular couplet deserves consideration, the line is

retained in its full form in the Experimental Text.
687 [690-691]: κ α ὶ ψυ χ αγ ω γ ο ῖς ὀ ρ θι άζο ν τες γ ό ο ις / ο ἰκ τρῶ ς

κ αλε ῖσ θέ μ( ε) : these lines are given as tonall y distinct entities
because they consist of a principal clause, ‘pitiabl y you call on
me’, with a contextualising subordinate clause, ‘raising
necromantic cries’. The presentati on of the subordinate clause
before the principal clause is simpl y a matter of prolepsis, a
recognised rhetorical figure. The paratactic construction is entirel y
in keeping with the practice observed elsewhere in the anal ysed
portions of this play.
The isolation of line [691] requires the insertion of the elided

epsilon of μ (ε) , producing a metricall y regular couplet.
Additionall y, elision before a strong punctuation mark, shown in all
editions, is entirel y counter -intuitive to the consideration of these
lines as an oral -aural realit y. 522
521 Cp., however, line [767a] in Darius’ historical narrative, which presents a
similarly irregular couplet. That line, however, might be the product of an
ancient textual emendation.
469
Line [690] is metricall y identical to line [689], a trochiamb -3 +
dicretic (A), and the accented syllables are similarl y disposed. The
line presents another t ypical couplet delivered as a single line. On
the dramatic significance of these full iambic trimeters, see the
On the basis of the subtle yet tangible rhythmic effect of the ς - κ

consonantal clash in combination with the interaction of the
accented syllables of ο ἰκ τρῶς and κ αλε ῖσ θέ , the scansion of the
Working Text, spondee + diiamb, should perhaps be preferred, and
the rhythmic isolation of ο ἰκ τρ ῶς , ‘pitiably’, seems appropriate.
Nevertheless, the measure ( - - u - u - ) is a regularl y-formed

dianalectic hexasyllable, a spondaio -diiamb, which is scanned in
the Experimental text for purposes of comparison and evaluation. 523
688fin [692]: ἐστὶ δ᾽οὐκ εὐέξοδον : this line is tonall y differentiated

from the previous line by virtue of the conjunction δ ὲ which signals
a new grammatical, an d therefore tonal, construction. Similarly,
line [693], ἄλλ ως τε π άν τως , introduces a new topic.
The line scans as a dicretic (A).
(689-690)[693-696]: ἄ λλ ως τε π άν τ ως / χο ἰ κ α τὰ χθ ο ν ὸ ς θεο ὶ /
λ αβ εῖ ν ἀ μεί νο υ ς ε ἰσ ὶν / ἢ με θι έν αι : these two lines of the traditional
text are presented as four distinct logoi in the tonall y affective
lineation. Each line presents a distinct element in the paratactic
construction of this brief gnōme. The lines present measures that
are t ypical of the u nbalanced couplets around which the other
trimeter passages are structured, except that the construction
523 See Ch.3, Principal Measures: Trochiambs, Dianalectic Hexasyllables.

470
consists of onl y five lines, with the reversal of the order of longer
and shorter phrases occurring within a sense unit.
Line [696], ἢ με θι έν α ι , is separated on the presumption that an or -

clause is tonall y distinct from a preceding clause. The line could be
regarded as being under intra -tonal separation.
Nevertheless, the lines are given in separated form in the

Experimental Text according to the Prin cipal of Separation. This
can be regarded as a provisional lineation, and one that might well
be reconsidered in due course. For the interpretive implications of
this lineation, see the interpretive commentary, below.
Line [693] scans as a trochiamb -3, while line [694] scans as a

lecythium. Line [695] seems to present a tonal unit y and is scanned
as a diiambic heptasyllable in the Experimental Text. Line [696]
scans as a trochaic pentasyllable.
691-692init [697]: ὅ μ ως δ ᾽ἐκ εί νο ις ἐ νδ υ να σ τεύ σας ἐγ ὼ ἥ κ ω : this line

of the Working text is twelve beats in length, presenting a
challenge to the limits of the actor’s breath. 524 In general, it seems
that the longest phrase -length in any trochiambic passage is around
ten beats. The additional two beats correspond to th e word ἥκ ω .
According to the t ypical rhythmic patterns identified in trimeter

passages, the line will scan as an iambic pentasyllable + dicretic
(A) + spondee. However, on the analogy of lines [686 -687],
discussed above, the intra -tonal separation of ἥκ ω is trialled here
also. The interaction of the accented syllables, the long final front
524See Conclusions: Musical and Poetic Conventions, The Actors’ Breath;

Singing vs. Speaking.
471
vowel of ἐγ ὼ and the aspirated initial long back vowel of ἥκ ω seem
to confirm the implied separation; the delivery of the lines is
facilitated by an intake of breath.
The intra-tonal separation of these lines gives the following

arrangement:
◡ — ◡ — — | — ◡ — — — ◡ — (1 0 )
ὅ μως δ ᾽ ἐκ εί νο ις ἐ νδ υ ν ασ τεύ σ ας ἐγ ὼ [6 9 7 ]
— — (2 )
ἥκω [6 9 7 a]
Line [697] scans to word -end as an iambic pentasyllable + dicretic

(A), while the intra -tonall y separated line [697a] scans as an
isolated spondee. With line [698], these lines present the same
rhythmic pattern as in lines [686 -688]. The effect of the intra -tonal
separation is discussed in the interpretive commen tary.
692fin [698]: τ ά χ υ νε δ ᾽ ὡς ἄ με μπ το ς ὦ χρό ν ο υ : this line must be

tonall y differentiated from Darius’ ἥ κ ω -statement, and from the
question that follows. This is the second line in this movement that
scans to an iambic pentameter. On the basis of the gr ammatical
relations within the line, line [698] presents a rhythmic inversion of
line [688], scanning as an initial diiamb + final triiamb. 525
693 [699]: τ ί ἐσ τι Πέρ σα ις νεο χ μὸ ν ἐ μβ ριθ ὲς κ ακ ό ν : the τί ἐσ τ ι of

this line marks it as a tonall y differentiated q uestion. It is the
fourth line in this movement that is the same in both traditional and
tonall y affective texts.
On the possibility that a full iambic pentameter could be scanned, see the
525
metrical commentary to line [688] with n.520.

472
In the Working Text it is scanned to word -end as an initial iambic
pentasyllable, a final trochiamb -4, with an unusual medial
amphibrach. 526 No other combination of pentasyllabic or longer
measures seems to adequatel y represent the rhythm of the line. In
traditional metrics, the line is problematic because it contains an
additional syllable:
◡ — ◡ — | — ◡ — ◡ |— — — ◡ | [— ] [1 0 ]
τί ἐσ τ ι Πέ ρ σ αις νεο χ μὸ ν ἐμβ ρι θὲς κ ακ ό ν
This difficult y is resolvable by the presumption of synizesis in

νεο χ μὸ ν :
◡ — ◡ — | — — ◡ — |— — ◡ | [— ] (1 0 )
τί ἐσ τ ι Πέρ σ αις ν εο χ μὸ ν ἐμβ ρι θὲς κ ακ ό ν
In terms of the metrical praxis identified in this study, the line will
scan to word -end as either τί ἐσ τ ι Πέρσ αι ς | νεο χ μὸ ν ἐμ β ρι θὲς
κ ακ ό ν , an iambic pentasyllable + dicretic (A), or τί ἐσ τι Πέρσ αις
νεο χ μὸ ν | ἐμ β ρ ι θὲς κ ακ ό ν , an irregular heptasyllable wit h a short
final + trochiamb-4. These measures correspond to possible points
of intra-tonal separation that will produce t ypical unbalanced
couplets.
Consideration of intra-tonal separation indicates that there could

actuall y be two distinct tone groups in this line, in effect, a double -
barrelled question, and the doubling -up of the question -intonation
is potentiall y a dramaticall y and theatricall y effective trope. 527
526No amphibrachs are scanned in the Experimental Text.

527The treatment of questions is an interesting side-issue that arises from
this study. For the theme of Darius’ ignorance in this and subsequent
movements, see the interpretive commentary below. Cp. also the
interpretive commentaries to lines [727-728] and [772-773] in the stichic
dialogue, Ch.6, Tetrameters.
473
The choice between the two constructions is not easy; we arrive at
constructions meaning e ither ‘What is new with the Persians? Some
weight y evil?’ or ‘What is (wrong) with the Persians? Some new
and weight y evil?
The ς - ν consonantal clash militates in favour of separation after

Πέρ σ αις , as does the formal consideration that every trimeter
movement anal ysed in this study ends with a long measure whether
the lines are separated or not, and in each instance the measure is a
dicretic (A).
On these grounds, and although the separation of the lines is not

certain, it is given in the Experimental Text for purposes of
comparison and evaluation.
Line [699] scans as an iambic pentasyllable, and line [699a] scans

as a dicretic (A).
Textual criticism.
The proposed transposition of lines [686 -688] to post [691] is
discussed below.
Line [682]: scan dic retic (A).

Line [684]: scan ‘resolved’ lecythium ( u u u - u - u - ).
Line [685]: scan final lecythium.
Lines [686-688]: transpose to post [691].
Line [689]: scan trochiamb -3 + dicretic (A).
Line [690]: scan trochiamb -3 + dicretic (A).
Line [691]: scan spo ndaio-diiamb; read μ (ε) for line-end.
Line [686]: (transposed) read λεύ σσω ν δ ᾽ ἄ κ ο ιτι ν τὴ ν ἐ μὴ ν τάφ ο υ
π έλας ; scan as trochiamb -3 + lecythium.
Line [687]: (transposed) read τα ρβ ῶ .
474
Line [688]: (transposed) scan as triiamb + diiamb.
Line [692]: scan dicretic ( A).
Line [695]: scan as diiambic heptasyllable ( u - u - - - - ).
Line [697]: construe as lines [697] and [697a]; read ὅ μως δ ᾽ἐκ ε ίνο ις
ἐνδ υ ν ασ τεύ σ ας ἐγ ὼ ; scan iambic pentasyllable + dicretic (A).
Line [697a]: scan spondee.
Line [699]: construe as [699] and [699a]: scan iambic
pentasyllable.
Line [699a]: scan dicretic (A) by synizesis of ν ε ο χ μ ὸ ν .
475
Experimental Text.
The Darius Scene 1st Movement: 681 -693 [681-699] 528
— — ◡ — — [4]
— ◡ — — — ◡ — (6 )
— — ◡ — — [5]
◡ ◡ ◡ — ◡ — ◡ [—] (5 )
◡ — ◡ — — |— ◡ — ◡ — ◡ [— ] (9 )
— — ◡ — — | — ◡ — — — ◡ — [1 1 ]
ὑ μεῖς δ ὲ θρ η ν εῖ τ᾽ ἐγ γ ὺ ς ἑστ ῶ τες τάφ ο υ [6 8 9 ]
— — ◡ — — |— ◡ — — — ◡ — [1 0 ]
— — ◡ — ◡ [— ] [5]
ο ἰκ τρ ῶς κ αλεῖσ θ έ μ (ε) [6 9 1 ]
— — ◡ — — | — ◡ — ◡ — ◡ — (1 0 )
λεύ σ σ ω ν δ ᾽ ἄκ ο ι τι ν τὴ ν ἐ μὴ ν τ άφ ο υ π έ λας [6 8 6 ]
— — (2 )
τ αρ β ῶ [6 8 7 ]
◡ — ◡ — ◡ — | ◡ — ◡— [7 ]
χ ο ὰ ς δ ὲ π ρ ευ με νὴς ἐδ εξάμ ην [6 8 8 ]
528 [682]: scanned dicretic (A); [684]: scanned lecythium with resolution in
first syllable; [685]: scanned final lecythium; [686-688]: transposed post line
[691]; [689]: scanned trochiamb-3 + dicretic (A); [690]: scanned trochiamb-
3 + dicretic (A); [691]: scanned spondaio-diiamb, read μ(ε) for line-end;
[686]: read λ εύ σ σ ω ν δ ᾽ ἄκ ο ιτ ιν τὴ ν ἐ μὴ ν τάφ ο υ π έλ ας , scanned
trochiamb-3 + lecythium; [687]: read ταρ β ῶ ; [688]: (iambic pentameter)
scanned triiamb + diiamb.
476
The Darius Scene 1st Movement (continued): [692 -699]. 529
— ◡ — — — ◡ [— ] [5]
ἐσ τὶ δ ᾽ο ὐ κ εὐ έξο δ ο ν [6 9 2 ]
— — ◡ — — [4]
— ◡ — ◡ — ◡ — [6 ]
◡ — ◡ — — — [— ] (6 )
— ◡ — ◡ — (4 )
◡ — ◡ — — | — ◡ — — — ◡ — (1 0 )
ὅ μως δ ᾽ ἐκ εί νο ις ἐ νδ υ ν ασ τεύ σ ας ἐγ ώ [6 9 7 ]
— — (2 )
ἥκω [6 9 7 a]
◡— ◡ — |◡ — ◡ — ◡ — [8 ]
◡ — ◡ — — (4 )
τί ἐσ τ ι Πέρ σ αις [6 9 9 ]
— ◡ — — — ◡ [—] (6 )
νεο χ μὸ ν ἐμ β ρ ι θὲς κ ακ ό ν [6 9 9 a]
529[692]: scanned dicretic (A); [694]: scanned lecythium; [695]: scanned

diiambic heptasyllable ( u - u - - - - ); [697]: read ὅ μως δ ᾽ ἐκ εί νο ις
ἐνδ υ ν ασ τεύ σ ας ἐγ ώ , scanned iambic pentasyllable + dicretic (A); [697a]:
read ἥ κ ω ; [698]: (iambic pentameter) scanned diiamb + triiamb; [699]:
scanned final dicretic (A) by synizesis of νεο χ μ ὸ ν .
477
A note on the transposition of lines [686 -688] to post [691].
Parataxis has been shown to be an essential element in the
generation of meaning in this play. The exposition of thought and
meaning throughout the anal ysed portions of this play depends on
the logical progression of clear statements, that is, the development
of narrative through the sequential presentation of coherent ideas.
On this basis, the following discussion will argue for the
transposition of lines [686 -687] (=684-685) to post [691]
(=688init).
In the traditional arrangement of lines 6 81-693, the progression of

Darius’ thought, or of the subject matter of the lines, may be
described as follows:
681-682 [681-684]: Consists of a vocative address to the Persian

elders with a question as to what troubles the state so much that he
has been summoned from the underworld.
683 [685]: Indicates the means by which Darius understands there

is a problem: the land itself, with which he is associated by virtue
of his earthl y role and his subsequent burial within it, is disturbed.
684-685init [686 -697]: Additionall y, Darius himself is disturbed

( τ α ρ β ῶ ) by the presence of his wife at his tomb. Here the thought
jumps suddenl y from notice of the external signs of general
disturbance to talk of what disturbs Darius personall y. These lines,
along with 685fin [688], below, are transposed in the Experimental
Text.
685fin [688]: Here the train of thought seems to derail somewhat.

The phrase χοὰς δὲ πρευμενὴς ἐδεξάμην strikes one as an unconvincing
contraction. The sudden reference to Atossa in [686 -687], and to
478
the acceptance of her libation, is out of place, especiall y given the
content of the subsequent lines.
686-688init [689 -691]: The δὲ of line [689] indicates a new element

of the exposition. The content of the thought, however returns to
the disposition of the Elders (cf. [681 -684]) and to external signs of
disturbance (cf. [685]); they are standing near his tomb and calling
him with lamentations.
688fin [692]: Darius states that it is not easy to return from the
underworld. The mention of exit from the underworld could be said
to follow from καλεῖσθέ μ[ε], but the context of that remark was of
signs of disturbance, rather than of the circumstances of his return .
698-693 [693-699]: The remainder of the speech unfolds in the

paratactic manner observed elsewhere in this play: lines [693 -696]
elaborate on the difficulties inherent in the leaving of the
underworld; [697 -697a] explain that Darius was able to achieve this
because of his status there; nevertheless, his time is limited [698];
lines [699-699a] return to the question of the cause of the
disturbance, forming a compositional ring in the usual manner
associated with Aeschylean and also oral poetics.
Allowing the transposition, we obtain the following sequence of

thought, one that is both more simple and more clear and, in terms
of the paratactic exposition of ideas, more logical:
[681-684]: Vocative address to chorus with question as to the

nature of the trouble.
[685]: first sign of trouble: the disturbance of the earth.
479
[689-691]: second sign of trouble: the presence and lamentation of
the Elders. This feature touches on the troubles of the Persians who
dwell on the land that has been described as being disturbed in line
[685].
[686-688 transposed]: third sign of trouble: the presence of Darius’

wife, apparentl y in some ritual capacit y ( χ ο ὰ ς … ἐ δ ε ξ ά μ η ν ). This
feature touches Darius personall y ( τ α ρ β ῶ ).
[692]: ἐστὶ δ᾽οὐκ εὐέξοδον follows easil y from the me ntion of Darius’
acceptance of the libations in line [688]. The link between the
acceptance of the libations and (temporary) return from the
underworld would have been clear to Aeschylus’ original audience
and no further explicit statements would be requir ed. 530 This allows
somewhat for the terse curtailment of his reference to his
acceptance of the libations which seemed oddl y out of place in the
context of the traditional lineation.
[693-697a]: allowing the transposition proposed here gives a better

sense to these lines also: the acceptance of libations forms another
compositional ring and another quasi -antithesis, this time between
the character and habits of the gods below the earth, [693 -696], and
Darius himself, [697 -697a], who is, as stated on several occasions,
a god to the Persians. 531
[698-699]: the lines retain their original sense.
The possibilit y of the transposition could scarcel y have been

noticed where individuated logoi are conjoined in the longer lines
of the traditional lineation. With the t ransposition the speech is
530 See Broadhead, Appendix III, especially 302-3.

531 Cf. Lines [164-165] and [722-722a].
480
much more in keeping with Aeschylus’ poetics in terms of the
paratactic generation of meaning. Furthermore, the proposed
transposition presents the kind of quasi -antithesis with which we
have become familiar since the beginning o f the play. The
antithesis is, however of a qualitativel y different kind: where they
were literal in the earlier scenes (e.g., mounted soldiers versus
those going on foot), then metaphorical (e.g. in the first ode’s
depiction of Xerxes as a dragon composed of the elements of his
armies), here the antithesis is put to thematic and emotional effect;
the three distinct ‘proofs’ of disturbance in Persia are presented in
a paratactic sequence of increasing relevance to the speaker,
Darius.
Interpretive Commenta ry, Darius Scene: Darius Greets the

Elders.

Aged Persians
The ground groans and has been
struck and furrowed [685]
While standing near my tomb you chant dirges [689]
Piteousl y you call on me [691]
And seeing m y bedmate Standing by m y tomb [686]
I am troubled [687]
And kindl y I have accepted her libations [688]
It is not easy to leave (the underworld) [692]
Not least because
481
Than at letting go
Nevertheless being powerful among them [697]
I have come [697a]
What (troubles) Persians? [699]
Some new and weighty evil? [699a]
Notes.
Again, anal ysis by tone group provides important insights to the
flow of meaning and to the innate poetic structures in this
movement. The following discussion is based on the translation of
the Experimental Text, including the proposed transposition of
lines [686-688]. As per the regular practice in this study,
punctuation is used here onl y in the case of questions for the
convenience of modern readers. 532
Lines [681-683]: ‘O (most) trusted of the trusted / Companions

of my youth / Aged Persians’. The movement opens with a
tripartite vocatival greeting, consisting of three distinct statements
defining the Elders from the point of view of their relationship w ith
Darius. Each statement occupies a distinct aural and conceptual
space, ensuring there is opportunit y for the audience to hear and
interpret each utterance. Darius’ first statements recalls the Elders’
self-identification at lines [1 -4], and this aspect of their character
is the first thing that Darius affirms on his appearance in the
playing space. The second emphasises the Elders’ close connection
with Darius, identifying them as companions of his youth. The
third, Πέρ σ αι γ ερ αιο ί , emphasises that their seniorit y among the
Persians is by virtue of their advanced age. Both age and rank are
532 See Ch.2, Research Method: A note on the translations.

482
suggested by the Elders’ self -identifying statement, φ ύ λ ακ ες κ α τὰ
π ρ εσ β εί α ν , at line [7].
In his first three lines, Darius identifies the Elders as greatl y

trusted companions of his youth who are experienced and therefore
reliable counsellors. This furthers the dramatic isolation of the
younger Xerxes, and gives the earlier expressions of the Elders’
doubts about Xerxes and his programme additional status in the
world of the play.
Line [684]: ‘With what trouble is the city troubled?’ Darius

comes to the point quickl y after his delighted greeting of his old
companions. The line forms a compositional ring with lines [698 -
699] at the end of this movement. The presentation in the
traditional texts of this remarkable logos is unsatisfactory. Its
frantic alliteration, assonance and rhythm all contrive to
differentiate it from its surrounds. Additionall y, the musical
properties of the accents make it recognisabl y a perturbed question
asked in peremptory tones. The irregular rhythm, with its resolved
lecythium, reflects the disturbance to th e earth that will be
described in the following line.
Line [685]: ‘The ground groans and has been struck and
furrowed’. The long line of both traditional and tonall y affective
texts is well -balanced, and reflects the disturbance Darius has felt
from the Underworld. It presents the first of three signs that
something is amiss in Persia; the ground itself is suffering some
unidentified torment. The translation above reflects something of
the assonance and alliteration of the Greek original, with ground,
groans, struck and furrowed, doing the duty of the - κ -, - χ -, and - ε -
sounds that characterise this line.
483
Lines [689-691]: ‘While standing near my tomb you chant dirges
/ And raising necromantic cries / Piteously you call on me’. With
the proposed transpositio n of lines [686 -688] these lines follow
naturall y from Darius’ mention of the distress of the Earth itself.
The signs of disturbance within the land are compounded by this
second indication of trouble, the cries and groans of the Elders. As
representatives of the Persians (lines [1 -10] of the parodos), the
Elders are representative of the troubles afflicting the people also.
Lines [689] and [690] are differentiated by the prevalence of long

syllables, contrasting with the lighter metres of the other lines.
These heavy measures are closel y associated with the thrēnoi,
libations and funerary practices alluded to here and throughout this
movement.
The focus of these lines is not on the fact that the Elders are
singing dirges, but on the fact that they are doi ng so at Darius’
graveside. This, in combination with the disturbance of the earth at
[684], and the presence of Atossa in an official religious capacit y at
[686-687], all indicate the serious peril to the state, which indeed,
is the main emphasis of this first speech of Darius. 533 Line [691],
‘pitiabl y you call on me’, emphasises the Elders’ distress and that
Darius is present only because he has been summoned. 534
Lines [686-687] (transposed): ‘And seeing my bedmate Standing

by my tomb / I am troubled’. This is one of two lines in this
movement for which the intra -tonal separation of the final word is
533 The concern for the security of the state forms a typical compositional
ring. On the importance of hero-worship as salvation for the state generally,
and in connection with the origin of tragedy itself, see Seaford (1994),
Reciprocity and Ritual, 314ff. For the role of the dead as bringers of
important insight and information, see Broadhead, Appendix III, p.302.
534 Cp. lines [703-704] in the following (trochaic) movement, Ch.6.
484
proposed (see also on line [697 -697a], below). Line [686] gives the
third sign of disturbance, and, line [687], it affects Darius
personall y. The artificiall y is olated τα ρβ ῶ could be accompanied by
a formalised body movement to emphasise both the isolation of the
word and its dramatic importance – Darius is himself disturbed, but
he does not yet know what the trouble is.
These lines and [697 -697a] are followed b y the onl y two iambic
pentameters found in the anal ysed portions of this play. It is
possible that the artificiall y isolated spondees of these lines are
what ‘allow’, rhythmicall y speaking, the metrical distinctiveness of
the lines that follow them.
Line [688] (transposed): ‘And kindly I have accepted her

libations’. Under the proposed transposition of line [686 -688], this
statement leads smoothl y to Darius’ digression as to the difficulties
in leaving the Underworld. This line and line [698] below account
for two of the three instances of iambic pentameters identified in
this study. 535 The positioning of these lines, allowing for the
transposition, might shed some light on the structural significance
of their form: while they do not, in the strictest sense, conclude
their sense units, they do signal a change in direction of thought;
the first, χ ο ὰ ς δ ὲ π ρ ε υ με νὴς ἐδ ε ξά μη ν , ends Darius’ account of what
has brought him back from the underworld and his first impressions
upon arrival; the second, τάχυ νε δ ᾽ ὡς ἄ με μπ τ ο ς ὦ χρό νο υ , leads to
the terse demand for information that closes the movement.
Line [692]: ‘It is not easy to leave (the underworld)’. This line
follows easil y from Darius’ mention of the fact of his appearance in
535The third is at line [806] in Darius’ prophetic narrative. These are

discussed in Conclusions: Trimeters vs, Tetrameters, and Appendix X, Tables
of Measures: A note on octosyllabic measures.
485
the upper world, consequent to his acceptance of Atossa’s libations.
It introduces the somewhat ominous gnomic commonplaces of the
ensuing lines.
Lines [693-696]: ‘Not least because / Even the gods beneath the
earth / Are better at taking / Than at letting go’. The
arrangement presented in the tonall y affective texts is the simplest
and most congruous in terms of the rhythm and metricalit y of this
movement. The translation of line [693] better represents the force
of the statement than the more literal ‘all else besides’. The
separation of line [696] gives added emphasis to the dark
implications of this gnomic parenthesis: the jealousy of the gods
was a key theme in the first anal ysed movement of the Messenger’s
speech. 536 Additionall y, the idea of ‘taking’ and ‘letting go’
pertains to the wealth and power of the Persian Empire, which
Xerxes has risked in his attempted annexation of the Greek
mainland. 537 The potential loss of prosperit y, and the putative role
of the gods in the disaster, are subtl y re -enforced in these lines.
Lines [697-697a]: ‘Nevertheless being powerful among them / I

have come’. On the effect of the intra -tonal separation of these
lines, see on lines [686 -697], above. ἥκ ω statements are a regular
feature of a character’s first appearance in the playing space. The
statement deserves special emphasis – here by intra-tonal
separation – by virtue of the extraordinary circumstances of Darius’
appearance.
Line [698]: ‘Make haste that I might not be blamed for the
time’. This line emphasises the limits of Darius’ power. Limits on
536Cf. lines [356-357] and [368].

537Cf. Atossa’s speech at lines 159-172, especially 163-4 and 168, and Darius’
remarks at 751-752. These lines are not analysed in this study.
486
power are a central theme of the play and of much of Darius’
speeches in the rest of this scene. It also provides a naturalistic
mechanism for Darius’ impatience with the inabilit y of the Elders
to answer his questions, which generates the subsequent stichi c
dialogue between Darius and Atossa.
Line [699]: ‘What (troubles) Persians? / Some new and weighty

evil?’ Darius’ restatement of his question at line [684] closes the
movement with a compositional ring, which emphasises Darius’
ignorance. This impression of limited knowledge is also shown by
his two wrong guesses at lines [728 -729]. The first question
features the onl y resolved measure in this movement. According to
the lineation of the Experimental Text, the single question of the
traditional text is given as two distinct questions.
The separation given in the Experimental Text was determined by

structural considerations: all other trimeter movements anal ysed in
this study show dicretics (A) as their final measure. The lineation
requires that the verb ‘troubles’ be supplied in the translation. The
concept could readily be understood from the bare dative of th e
Greek, but some consideration should be given to the alternative
lineation, which will give νεο χ μό ν at line-end in line [699]. The
word νεο χ μό ς has political connotations, often drastic, ( LSJ, sub
νεο χ μέω ), and Darius’ two wrong guesses at the beginning of the
stichic dialogue both refer to matters that affect the polit y. The
rhetorical povert y of the phrase ἐ μβ ρι θ ὲς κ ακ ό ν , however, argues
against this lineation. A similar emphasis could be said to be
achieved, albeit to a lesser extent, by the rhythmic d istinctiveness
of the synizesis of ν ε ο χμὸ ν in the scansions of the Experimental
Text.
487
Metrical Commentary, Darius Scene , 765-786 [765a-801].
— — ◡ — [3]
Μῆ δ ο ς γ ὰ ρ ἦ ν [7 6 5a]
◡ — ◡ |— ◡ — ◡ — (6 )
ὁ π ρ ῶ το ς ἡ γ ε μὼ ν σ τρ α το ῦ
— — | ◡ — — — [5]
ἄλλο ς δ ᾽ ἐκ εί νο υ π αῖς
◡ — ◡ | — ◡ [— ] [4]
τό δ ᾽ ἔρ γ ο ν ἤ νυ σ ε ν
◡ — ◡ — — | — [— ] (4 )
τρ ί το ς δ ᾽ἀπ ᾽ αὐ το ῦ Κῦ ρο ς
— — — ◡ — (5 )
εὐ δ αί μω ν ἀ νή ρ [7 7 0 a]
— — | ◡— ◡ — ◡ | — — — ◡ — (1 0 )
ἄρ ξ ας ἔ θη κ ε π ᾶ σι ν εἰ ρήνη ν φ ί λο ις
◡ — ◡ — — (4 )
φ ρ έν ες γ ὰ ρ αὐ το ῦ
— ◡| — ◡ — ◡ — [5]
θυ μὸ ν ᾠ ακ ο σ τρ ό φ ο υ ν
— — ◡ — — [4]
Λυ δ ῶ ν δ ὲ λ αὸ ν
— ◡ — | — — ◡ [— ] (6 )
κ αὶ Φρ υ γ ῶν ἐκ τ ήσ ατ ο [7 7 5 a]
— — ◡— | ◡ — ◡ | — ◡ — ◡— [1 0 ]
Ἰ ωνί α ν τε π ᾶ σ α ν ἤ λα σεν β ί ᾳ
◡ — |◡ — — — [— ] (6 )
θεὸ ς γ ὰ ρ ο ὐ κ ἤχ θηρε ν
— — — ◡ — [5]
ὡς εὔ φ ρ ω ν ἔ φ υ
488
— — ◡ — [3]
Κύ ρ ο υ δ ὲ π αῖς
◡ — ◡| — — — ◡ [— ] [6 ]
τέ τ αρ το ς η ὔ θυ νε σ τ ρ α τό ν [7 8 0 a]
— — ◡ — ◡ | — [— ] (6 )
π έμπ το ς δ ὲ Μάρδ ο ς ἦ ρξε ν [7 8 1 ]
— — — ◡ — [5]
αἰσ χ ύ νη π ά τ ρ ᾳ
◡ — ◡ | — — — [— ] (6 )
[θρ ό νο ισ ί τ᾽ἀρ χ αίο ι σι ]
— ◡ — ◡ — (4 )
τὸ ν δ ὲ σ ὺ ν δ ό λῳ
— — ◡ — |— — ◡ — ◡ |— ◡ — (1 0 )
Ἀρ ταφ ρ έ νη ς ἔκ τει νε ν [ἐσθ λὸ ς ἐ ν δ ό μο ις ] [7 8 5 ]
— — ◡ — |◡ — [—] (6 )
ξὺ ν ἀνδ ρ άσ ι ν φ ίλο ισι ν
— ◡ — ◡ [— ] (4 )
ο ἷς τό δ ᾽ ἦ ν χ ρ έο ς
— — ◡ | ◡ ◡ [— ] (5 )
[ἕκ το ς δ ὲ Μάρ αφ ις ]
— ◡ — |— — ◡ — (6 )
[ἕβ δ ο μο ς δ ᾽Ἀρ τ αφ ρέ νη ς ]
— — ◡ — | ◡ — ◡ — ◡ | — ◡ [— ] [9 ]
κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α το ῦ π ε ρ ἤ θελο ν [7 9 0 ]
— — ◡ — ◡ | — [— ] (6 )
κ ἀπ εσ τρ ά τευ σ α π ο λλὰ
— — — ◡ — [5]
σ ὺ ν π ο λλῷ σ τ ρ α τ ῷ
— — ◡ — |◡ — ◡ |◡ ◡ ◡ —|◡ — [1 0 ]
ἀλλ᾽ο ὐ κ ακ ὸ ν το σό νδ ε π ρο σέβ αλο ν π ό λε ι
489
— — ◡ — — [4]
Ξ έρ ξη ς δ ᾽ ἐμὸ ς π αῖς
— ◡ — | ◡— ◡ — [6 ]
ὢν νέο ς νέ α φ ρο νε ῖ [7 9 5 ]
— — ◡ — — | — ◡ — | ◡ — ◡ [— ] (9 )
κ ο ὐ μ νη μο νεύ ει τὰς ἐ μὰς ἐπ ισ το λάς
— — ◡ — | ◡ — [— ] (6 )
εὖ γ ὰ ρ σ αφ ῶς τό δ ᾽ ἴσ τ( ε)
◡ — | ◡ — ◡ [— ] [4]
ἐμο ὶ ξ υ ν ή λικ ες
— — ◡ — — [4]
ἅπ α ν τες ἡ μεῖς
— ◡ — | ◡ — ◡ [— ] [5]
ο ἳ κ ρ ά τη τάδ ᾽ἔ σχο μ εν [8 0 0 ]
— — ◡ — — | — ◡ — — — | ◡ [— ] [1 2]
ο ὐ κ ἂν φ α νεῖ με ν π ή μα τ᾽ἔ ρξ α ν τες τό σ α
For there was Mēdos [765a]

The first leader of the arm y
And a son of his
Completed the work
Third after him (was) C yrus
A blessed man [770a]
His rule established peace among all his friends
Because his mind
Governed his passions
And the people of the Lydians
And of the Phrygians he acquired [775a]
And overwhelmed all Ionia by force
Because God did not hate him
490
Since he was well -minded by nature
And the son of C yrus
Fourth guided the army [780a]
And fifth Mardos ruled [781]
A disgrace to his fatherland
And the ancient thrones
Him by means of a ruse
Noble Artaphrenes killed in his halls [785]
Aided by faithful men
To whom this was a dut y.
[Sixth Maraphis]
[And seventh Artaphrenes]
And I attained by lot that which I desired [790]
And I made war often
With a great arm y
But never did I heap so great an evil on the cit y
And m y child Xerxes
Being young thinks new things [795]
And does not remember m y precepts
You well know this clearl y
Men of m y own age
Each one of us
Who once held these powers [800]
Would never been seen to have worked
such great sufferings
Notes.
This section was chosen as being representative of a specifi c type
of narrative, the historical narrative. In the following section, a
passage of prophetic narrative will be analysed. The lines from
[765a-780a] are so-designated because of an overlap in the
numbering of the lines from the stichic dialogue.
491
As with the second movement of the Messenger’s speech, there are
a number of lines that are the same in both traditional lineation and
that of the Working Text. These are lines [771a], [776a], [785],
[790], [793], [796] and [801]. Lines [765a -766a] and [779a -780a]
could also be presented as in the traditional texts.
In this movement, however, each line of the traditional text is

susceptible to intra -tonal separation, which produces the
unbalanced couplets that t ypify the trimeter passages anal ysed in
this study. Moreover, with the transposition of lines [776a -778a] to
post [780a], the form of the couplets show their structural
importance: the order of longer and shorter lines is reversed at each
new stage of the narrative, a feature that is observed – but without
uniformit y – in other trimeter passages.
It was in the anal ysis of this movement that the characteristic

trimeter couplets were first observed, and the alternation of longer
and shorter lines that the proposed intra -tonal separations delivers
is too regular to be simpl y ignored. In this respect, this is one o f
the most important movements presented in this study in terms of
the abilit y of anal ysis by tone group to predict outcomes in
lineation, and to evaluate important rhythmic distinctions inherent
in its structure. The structural insights derived from this movement,
especiall y in the way that intra -tonal separation is applied to
enforce a structural and rhythmical unit y on the verses, will have
implications for the metrical interpretation of other iambic and
trochaic passages. The special rhythmic and struct ural properties of
this movement could, however, be derived from the fact that Darius
is speaking in vatis voce.
492
The lineation will be, perhaps, controversial, but it is trialled in the
Experimental Text.

765 [765a-766a]: Μ ῆ δ ο ς γ ὰ ρ ἦ ν / ὁ π ρ ῶ το ς ἡγ εμ ὼ ν σ τρ α το ῦ : this
line of the traditional text could be delivered as a single tone
group. The separation is determined by the Principle of Separation.
‘There was Mēdos’ is the construction that should be understood
from the lineation of the Working Text, but the definite article with
π ρ ῶ το ς argues against this interpretation, and ‘Mēdos wa s the first’
is the construction favoured by the Greek.
According to the metrical system tentativel y proposed in this study,

line [765a] of the Working Text, scans to word -end as an epitrite -3,
a rare measure, but one that seems legitimate in trochiambs.
Line [766a], however, poses certain problems of metrical

interpretation. We must either scan an initial amphibrach + trochaic
pentasyllable, as in the Working Text, or scan the whole line as an
octosyllabic ‘tetriamb’. A third possibility is to scan the line with a
final isolated iamb. These are common in the Working Text, where
pentasyllabic measures are the longest admitted measure, but none
of these are retained in the Experimental Text . 538 The solution
should depend on the rhythmic and semantic properti es of the line.
In this case it is a question of whether ὁ π ρῶ το ς ἡγ ε μὼ ν , or ἡγ εμὼ ν
σ τρ α το ῦ , is the operative idea, and on whether the tonal properties
of the line in oral delivery support that rhythmical division.
538The isolated iambs and trochees of the Working Text are likely the
product of that text’s failure to comprehend the metrical structures
operative in the analysed sections of this play. See Appendix X, Tables of
Measures: Subsidiary Measures, Iambs and Trochees.
493
Given the role of Xerxes as war -leader (cf. ἄν α ξ in line [8] of the
first movement of the parodos), and the focus of this narrative on
the succession of rulers, ἡγ εμ ὼν σ τρ α το ῦ should be regarded as the
central motif of this line and this movement.
As discussed in the introductory note to these commentaries, the

longer lines of this movement are susceptible to intra -tonal
separation giving the unbalanced couplets that t ypify the trimeter
passages anal ysed in this study. In the case of the present line the
alternative lineation will give:
— — ◡ — ◡ — [— ] (6 )
Μῆ δ ο ς γ ὰ ρ ἦ ν ὁ π ρ ῶ τ ο ς
— ◡ — ◡ — (4 )
ἡ γ εμὼ ν σ τρ α το ῦ
This will be construed as the intra -tonal separation of the single

phrase ‘Mēdos was the first leader of the arm y’, giving equal
weight to the related concepts, with ‘leader of the arm y’
emphasised by its artificial isolation. In consideration of the formal
metrical regularit y of this movement as a whole, and as discussed
in the introductory notes to these commentaries, this lineation is
trialled in the Experimental Text.
Line [765a] is scanned as a bacchiac (A), and line [766a] is scanned

as a trochaic pentasyllable.
766 [767a-768a]: ἄλλο ς δ ᾽ἐκ εί νο υ π αῖς / τ ό δ ᾽ ἔργ ο ν ἤ νυ σ εν : these

lines of the tonall y affective text present two distinct aspects of the
second, unnamed, ruler of the Empire, first that he was a son of
Mēdos, which gives the precedent for hereditary succession, and
secondl y that this son ‘accomplished this task’, leading the army
494
and the Empire. The separation of these lines is also determined by
the ς - τ consonantal clash, and by the interaction of adjacent accents
of π αῖς and τό δ ᾽ἔρ γ ο ν , which rhythmicall y individuate line [768a].
The force of these accented syllables provides a kind of spring -
board effect to the delivery of that line, and their successful
delivery will require an intake of breath on the part of the actor,
which further suggests rhythmic separation.
Line [767a] seems well -balanced, especiall y in terms of the

disposition of its accented syllables, and the line is scanned in the
Experimental Text as a trochiambic hexasyllable -3, and line [768a]
scans as a triiamb.
The lines, already under some suspicion on the basis of the bare
adjective ‘another’ – if it is not a corruption of a name – comes
under further suspicion here; this is the onl y couplet in this
movement that presents two hexasyllabic measures. 539
While no attempt to remedy this difficulty is made in this study, on

the basis of its rhythmic and semantic irregularit y, the line should
be noted for further examination when a greater body of
comparative material is available. Further issues surrounding this
line are discussed in the interpretive commentary, below.
768 [769a-770a]: τ ρ ίτ ο ς δ ᾽ἀπ ᾽ αὐ το ῦ Κῦ ρο ς / εὐ δ αί μω ν ἀν ήρ : these

lines of the tonall y affective text are separated by virtue of the
subordinate clause ‘a blessed man’, which is held to be tonall y
distinct from the principal clause.
539 Cp. the spurious line [788], which is also hexasyllabic.

495
Line [769a] is scanned as an iambic pentasyllable + isolated final
spondee in the Working Text. This scansion seems to better reflect
the rhythmic qualitie s of the line than does the diiambic
heptasyllable that could be scanned here. The force of the adjacent
circumflex accents of αὐ το ῦ and Κ ῦ ρο ς seem to require some sort of
rhythmic individuation. Furthermore, when the line is intoned with
any force – and the line must have been delivered with sufficient
force to reach the ears of potentiall y several thousand spectators –
the dictates of the breath seem to require an even greater rhythmic
separation, one that amounts, in effect, to the intra -tonal separation
of C yrus’ name. Intra-tonal separation here produces an inversion
of the alternation of longer and shorter lines that is repeated
regularl y throughout this movement:
◡ — ◡ — — (4 )
τρ ί το ς δ ᾽ἀπ ᾽ αὐ το ῦ
— ◡ — — — ◡ — (6 )
Κῦ ρ ο ς εὐ δ αί μω ν ἀ νήρ
Line [769a] scans to an iambic pentasyllable. Line [770a] is

scanned as a dicretic (A). On the implications of the form of these
lines see the interpretive commentary, below.
769 [771a]: ἄ ρ ξ ας ἔ θη κ ε π ᾶσι ν ε ἰρή νη ν φ ίλο ις : this line of the

tonall y affectiv e text is the first in this movement that is the same
in both the Working Text and the traditional texts. The metrical,
rhythmic and rhetorical properties of the line are interesting. There
are several possibilities for the scansion of this line, depending on
whether ἄρ ξας ἔ θη κ ε or ἄρξ ας ἔ θηκ ε π ᾶσι ν is taken to represent the
first rhythmic element; the line is susceptible to intra -tonal
separation at either of these points.
496
Alternative (a), ἄρ ξ α ς ἔθηκ ε | π ᾶσι ν εἰ ρή νη ν φ ίλο ις , scans as an
iambic pentasylla ble, which will become a trochiamb -3 under intra -
tonal separation, with a dicretic (A), one of the most commonly
occurring measures in both trimeters and tetrameters anal ysed in
this study. Alternative (b), ἄρξ ας ἔθ ηκ ε π ᾶσιν | εἰρή νη ν φ ίλ ο ις ,
gives a hepta syllabic measure of the form ( - - u - u - u ), a
bacchiac (A) with final short syllable. + trochiamb-4.
Alternative (b) emphasises the artificial poetic separation of the

adjective and noun that is present however the form of the line is
construed. The separation of π ᾶσι ν from φ ίλο ις , however, seems less
convincing on grammatical, semantic and rhythmic groun ds.
Given the grammatical integrit y of the phrase π ᾶσι ν εἰ ρή νη ν φ ίλο ις ,

and relativel y common occurrence of the corresponding measures in
the other anal ysed portions of the play, the simplest scansion,
iambic pentasyllable + dicretic (A), ought to be appl ied to the
lineation of the Working Text if the proposed intra -tonal separation
is not accepted.
On the same grounds, the first alternative lineation, reading

ἔθη κ ε( ν) for line-end, is presented in the Experimental Text:
— — ◡— [— ] [4]
ἄρ ξ ας ἔ θη κ ε (ν )
— ◡ — — — ◡ — (6 )
π ᾶσ ιν εἰρ ή νη ν φ ίλ ο ις
With this lineation, the shorter line of the couplet precedes the
longer, as in lines [769a -770a], above, and [772a -773a], below.
767 [772a-773a]: φ ρ έ νες γ ὰρ αὐ το ῦ / θυ μὸ ν ᾠ ακ ο σ τρό φ ο υ ν : these

lines of the tonall y affective text are derived from the regular
497
application of the Principle of Separation; each phrase stands as a
distinct tonal entit y. The interaction of the circumflex final of
αὐ το ῦ and the initial aspirated consonant of θυ μὸ ν seem to require
some rhythmic separation, even if onl y according to the dictates of
breathing; an aspirated initial seems to require more breath than
other initials.
Line [772a] scans as an iambic pentasyllable. Line [773a] scans as

a lecythium.
770 [774a-775a]: Λ υ δ ῶν δ ὲ λ αὸ ν / κ αὶ Φρυ γ ῶ ν ἐκ τήσ α το : this line

of the traditional text presents two distinct aspects of C yrus’
military conquests. The separation is supported by the syndetic κ αὶ ,
which tends to enforce a tonal boundary. 540 The lineation conforms
to the short -long structure of the couplets in this phase of the
narrative.
Line [774a] scans to word -end as a trochiamb -3, and λ αό ν is read at

line-end. Line [775a] is scanned as a dicretic (A) in the
Experimental Text.
771 [776a]: Ἰ ω ν ία ν τε π ᾶσ α ν ἤλ ασε ν β ίᾳ : this is the second line of

this movement that is the same in both the Working Text and the
traditional texts. According to that lineation, the line would be
scanned as a heptasyllable of the form ( - - u - u - u ) + final
See Conclusions: Separation of the Lines of the Traditional Texts into

540
Tone Groups, Syndetic Separation.

498
In the light of the structural regularit y of this movement, intra -
tonal separation is trialled at the onl y metricall y valid point of
separation in the line:
— — ◡— ◡ — [— ] (6 )
Ἰ ωνί α ν τε π ᾶ σ α ν
— ◡ — ◡— (4 )
ἤ λασ εν β ίᾳ
Line [776a] will then scan as a bacchiac (A), and line [776b] as a
trochaic pentasyllable. Here and in the subsequent couplet we see a
change in the order of longer and shorter lines without a
corresponding change in sense. This feature of the narrative, in
relation to the proposed transposition of lines [779a -780a] to post
[775a], is discussed in the interpretive commentary, below.
772 [777a-778a]: θ ε ὸ ς γ ὰ ρ ο ὐ κ ἤχ θη ρε ν / ὡς εὔ φ ρ ω ν ἔφ υ : these

lines of the tonall y affective text are given as distinct logoi on the
basis of the subordinate ὡς clause. The relativel y uncontroversial
tonal separation of the Working Text thus reflects the same
structural form seen throughout this movement. Line [777a] scans
to word-end as diiambic heptasyllable, and line [778a] scans a s a
trochiamb-4.
773 [779a-780a]: Κ ύ ρ ο υ δ ὲ π αῖς / τέ τ αρ το ς η ὔ θ υ ν ε σ τρ α τό ν : the

separation of the lines in the Working Text is based on the
Principle of Separation, and on the semantic individuation of the
phrases ‘the son of Cyrus’ and ‘fourth ruled the a rm y’. Separation
here produces an irregular couplet, with an unusual initial
amphibrach in line [780a], which is not resolvable except with
reference to an octosyllabic measure (cp. the commentary on lines
[765a-766a], above).
499
There is, however, another p oint of intra-tonal separation, which
will produce what seems to be th e regular structural form for this
movement:
— — ◡ — ◡ — [— ] (6 )
Κύ ρ ο υ δ ὲ π αῖς τέ τ αρ το ς
— — — ◡ [— ] [5]
η ὔ θυ νε σ τ ρ α τό ν
This lineation is trialled in the Experimental Text. Line [779a] will

then scan as a bacchiac (A), while line [780a] scans as a trochiamb -
4.
The transposition of these lines to post [775a] is discussed in the

774 [781-782]: π έ μπ το ς δ ὲ Μά ρδ ο ς ἦρ ξε ν / αἰσχύ νη π ά τρᾳ : the

separation of these lines is uncontroversial: the phrase ‘a disgrace
to his fatherland’ is a descriptive subordinate clause, and is
therefore held to be tonall y distinct.
Line [781] scans to word -end as a bacchiac (A), and line [782]
presents a trochiamb -4.
These lines, in which the separation into different tone groups is

unambiguous, represent precisel y the same metricalit y as do those
pairs of lines that are subject to intra -tonal separation on the basis
of the supposed metrical regularit y of this move ment.
775 [783-784]: θ ρ ό νο ισ ί τ᾽ἀρ χα ίο ισι ( ν) / τὸ ν δ ὲ σὺ ν δ ό λ ῳ : this line

of the traditional texts blends not onl y two tonall y distinct logoi; it
also blends two entirel y distinct phases of the narrative. Line [783]
is a secondary subordinate clause in ap position to lines [781 -782].
500
Line [784] introduces a new sub -narrative, that of the death of
Mardos, which leads directl y to the tale of Darius’ accession. This
feature of the exposition is represented by the colons printed
between these two clauses in all editions consulted for this study.
The presentation of two distinct concepts within the single line of
the traditional texts is entirel y contrary to the paratactic succession
of succinct ideas of which this play is seen to be composed under
anal ysis by tone group.
Lines [781-783] and [784-785a] represent the onl y phases of the

broader narrative of this movement that are expressed over three
lines rather than the usual couplets. This feature doubtless accounts
for the presentation of two such disparate na rrative elements in the
single line of the traditional texts, and represents a clear break
from the highl y formalised structure of this movement, and as such
casts doubt on lines [783], θρό νο ισί τ ᾽ἀρχ αίο ισι ( ν) , and [785fin],
ἐσ θ λὸ ς ἐ ν δ ό μ ο ις .
On the excision of these lines from the Experimental Text, see the
interpretive commentary on lines [781 -787], below.
Line [783] is deleted from the Experimental Text. Line [784],

which, with its adversative δ ὲ , introduces the sub -narrative of
Mardos’ death at t he hands of the Persian conspirators with a
corresponding change in the order of longer and shorter lines, and
776 [785]: Ἀ ρ τ αφ ρ έ νη ς ἔκ τει νε ν ἐ σθ λὸ ς ἐν δ ό μο ις : this line of the

Working text is the same as that of the tra ditional texts. The phrase
ἐσ θ λὸ ς ἐ ν δ ό μ ο ις , however, is a subordinate clause. On this basis,
and on that of the structural regularit y of this movement, the
501
phrases of can be separated, giving a structurall y regular couplet:
— — ◡ — — — [— ] [6 ]
Ἀρ ταφ ρ έ νη ς ἔκ τει νε ν
— ◡ — ◡ — (4 )
ἐσ θ λὸ ς ἐ ν δ ό μ ο ις
Line [785], Ἀ ρ ταφ ρ έ ν η ς ἔκ τ ει νε ν , scans as a trochiambic

heptasyllable -3. The variation from the more common
heptasyllables does not undul y affect the rhythm of the line or the
passage, and coinci des with the presence of the proper noun. A
similar variation occurs at line [769a], where a diiambic
heptasyllable coincides with the proper name C yrus. Line [785a]
The artificial separation of these lines by intra -tonal separation

emphasises the rhetorical -poetic chiasmus that is present however
the lines are construed, but the figure seems unconvincing here,
especiall y in context with line [786].
Line [785a], which, if retained, will present three lines rather than
two for this phase of the narrative, is deleted from the Experimental
Text on structural and semantic grounds, as is line [783], above.
The problems with these lines are discussed in the interpretive
commentary on lines [781 -787].
777 [786-787]: ξ ὺ ν ἀν δ ρά σι ν φ ίλο ισι ν / ο ἷς τό δ ᾽ ἦ ν χρέο ς : on the

basis of the grammatical integrit y of the construction, suggested by
the datives in both hemistichs, this line of the traditional texts
could be expressed as a single tonal grouping. Here, however, the
subordinate clause, ο ἷς τό δ ᾽ ἦ ν χρέο ς , suggests tonal separation.
Additionall y, there is a suggestion of a rhythmical boundary
502
between the nu of φ ί λο ισι ν and the aspirated initial syllable of ο ἷς ,
which coincides with the point of tonal separation.
Line [686] sca ns to word-end as a bacchiac (A). Line [687] scans as

a trochaic pentasyllable. The lines conform to the dominant
structure of this movement.
778 [788-789]: [ ἕ κ το ς δ ὲ Μάρ αφ ις ] / [ ἕβ δ ο μο ς δ ᾽ Ἀρ τ αφ ρέ νη ς ] : this

line of the traditional text, first deleted by Schütz, is widel y
regarded as an interpolation. Sidgwick, Broadhead and Garvie
retain the line in obeli. Garvie (778n) dismisses it with the curt
remark that it is an interpolation, while Broadhead (778n, 195 -6)
gives a more detailed discussion, finding th at it is ‘safest to bracket
the line’ (196). Page and Sommerstein do not print the line, and
Rose makes no allusion to it. Onl y Weir Smyth and West, among
editors consulted for this study, retain it. 541 The line is composed of
two colourless and irrelevant logoi, giving simple ordinals and a
proper name.
Line [788] scans to an uncertain hexasyllable depending on the

quantit y of the vowels in the proper name, Μάρ αφ ις . Of the possible
scansions, onl y the trochiambic hexasyllable -3 reflects the
measures identified throughout this study, but the hexasyllable, like
those of lines [767a-768a], is held to be suspicious, given the
structural regularit y of the rest of the movement. Line [789] scans
as a dicretic (A), which at least is a metricall y regular formation.
Schütz’s deletion of the lines is accepted for the Experimental Text.
541West (Studies, 88) discusses the line in ‘The King’s Ghost’s Ghost Kings.’ in
M. A. Flower and M. Toher (edd.) (1991). Georgica: Greek Studies in honour of
George Cawkwell (BICS Suppl. 58), 182–8.
503
779 [790]: κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α το ῦ π ερ ἤ θε λο ν : again, this line is
the same as that of the traditional texts. There is no clear point of
full tonal separation, unless one takes ‘that whi ch I desired’ as a
subordinate clause. This is questionable; certainl y the English
equivalent of the line can be expressed within a single tonal
boundary. The line, however, conforms exactl y to the dominant
structural form implied by the metricalit y of thi s movement as a
whole when intra-tonal separation is applied after ἔκ υ ρσ α :
— — ◡ — ◡ — [— ] (6 )
κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α
— ◡ — ◡ [— ] (4 )
το ῦ π ε ρ ἤ θελο ν
This lineation is adopted for the Experimental Text, in line with the
observed structural features of the rest of this movement. Line
[790] scans as a bacchiac (A). Line [790a] scans as a trochaic
pentasyllable.
780 [791-792]: κ ἀ π εσ τ ρά τ ευ σ α π ο λ λὰ / σὺ ν π ο λλῷ σ τρ α τῷ : the

separation of this line of the traditional text into two logoi is
relativel y uncontroversial where an agent clause, ‘with a great
arm y’, is held to be tonall y distinct from the principal clause, ‘I
waged many wars’. Here, again, is confirmation on the basis of true
tonal separation of the structural principal seen th roughout the
Experimental Text of this movement. Line [791] scans as a
bacchiac (A), with π ο λλά read for its position at line -end. Line
[792] shows a trochiamb -4.
781 [793]: ἀ λ λ᾽ο ὐ κ ακ ὸ ν το σό νδ ε π ρο σ έβ αλο ν π ό λει : once again this

line of the traditional te xt could be expressed within a single tonal
boundary. By now, however, it will come as no surprise that the
line will scan to word -end in accordance with the other couplets of
504
this movement when it is given under intra -tonal separation after
το σ ό νδ ε :
— — ◡ — ◡ — [— ] (6 )
ἀλλ᾽ο ὐ κ ακ ὸ ν το σό νδ ε
◡ ◡ ◡ — ◡ — (4 )
π ρ ο σ έβ αλο ν π ό λε ι
Line [793] scans as a bacchiac (A). Line [793a] is scanned as a

trochaic pentasyllable with resolution in the first syllable. The
rhythmic and semantic qualities of the hexasyllabic line should be
compared with lines [767a -768a], [788], and [798].
782 [794-795]: Ξ έ ρ ξη ς δ ᾽ἐ μὸ ς π αῖς / ὢ ν ν έο ς νέ α φ ρο νεῖ : there is

some question as to whether this single line of the traditional text
presents two tonal groupings or three; eit her ‘Xerxes m y son, being
young, thinks new things’, or ‘Xerxes m y son, being young thinks
new things’, but the implied structure of the rest of the movement
ought to be taken into account, and the latter lineation should be
preferred.
Line [794] scans as a trochiamb-3. Line [795] scans as a lecythium

in place of the more common bacchiac (A). The order of longer and
shorter phrases is reversed in this and the following couplet. 542
783 [796]: κ ο ὐ μν η μο ν εύ ει τὰς ἐ μὰς ἐ π ισ το λ άς : there is no point of

full tonal separation in this line of the traditional text, but
assuming intra-tonal separation after μ νη μ ο νεύ ε ι produces the
structurall y regular unbalanced couplet, with the order of longer
and shorter phrases corresponding to that o f lines [794-795]:
542 Cf. the interpretive commentaries on lines [771a-775a] and [799-801].

505
— — ◡ — — [5]
κ ο ὐ μ νη μο νεύ ει
— ◡ — ◡ — ◡ [— ] [5]
τὰ ς ἐ μὰ ς ἐπ ισ το λάς
This lineation is adopted for the Experimental Text. Line [796]

scans as a trochiamb -3. Line [796a] scans as a lecythium. The
consecutive couplets, [794-795] and [796 -796a], are of identical
metrical form.
784 [797-798]: ε ὖ γ ὰ ρ σ αφ ῶς τό δ ᾽ ἴσ τ( ε) / ἐ μο ὶ ξυ νήλ ικ ες : this line

of the traditional text is given as two distinct logoi because ‘O men
of m y own age’ is an int rusive vocatival clause that is not taken as
forming a tonal unit y with the principal clause ‘you all know this
well’.
Separation at this point of the line of the traditional texts requires

that we read the elided epsilon of ἴ σ τ(ε ) . Had it survived in any pre -
Alexandrian textual tradition, it would have been deleted to avoid
the hiatus imposed by the form of the metricall y regular line of the
traditional texts.
Line [797] scans as the regular bacchiac (A); Line [798] shows a
triiamb in place of the more regular trochaic pentasyllable. Despite
the slightl y irregular hexasyllable, the rhythmic and semantic
properties of the line seem secure.
785 [799-800]: ἅ π α ντ ες ἡμε ῖς / ο ἳ κ ρά τ η τάδ ᾽ἔσχο με ν : the tonal

separation of these distinct logoi is determined by the subordinate
clause, marked by the relative pronoun ο ἳ . The order of longer and
shorter lines is reversed in this dramaticall y important couplet, and
also in the next.
506
Line [799] scans as a trochiamb -3. Line [800] scans as a lecythium.
786 [801]: ο ὐ κ ἂ ν φ αν εῖ με ν π ή μ α τ᾽ἔ ρξ α ν τες τό σ α : this line of the

traditional text could be given as a single climactic tonal grouping
as there is no clear point of tonal separation. The line would then
be twelve beats in length, which approaches the hypothetical
maximum line-length for the successful de livery and interpretation
of the line; in practice, very few lines of the tonall y affective texts,
especiall y of the Experimental Text, exceed ten beats in length ;
there are none in the anal ysed trimeters . On this basis, as well as in
the light of the impl ied structural unit y of this movement as a
whole, the line also is given under intra -tonal separation in the
Experimental Text.
There are, however, two points in the line where intra -tonal
separation can be supposed, but consideration of their metrical fo rm
makes the decision between them a simple one:
(a) — — ◡ — — — ◡ [— ] (7 )
ο ὐ κ ἂν φ α νεῖ με ν π ή μα τ ( α)
— — — | ◡ [— ] [5]
ἔρ ξ αν τ ες τ ό σα
(b) — — ◡ — — [4]
ο ὐ κ ἂν φ α νεῖ με ν
— ◡ — — — ◡ [— ] (6 )
π ή μ ατ ᾽ἔρ ξα ν τες τό σα
Lineation (a) conforms outwardl y to the order of longer and shorter

phrases that predominates in this movement, but it scans to an
octosyllabic measure, or to a trochiamb -3 + final cretic.
Additionall y, the reading requires the restoration of the elided
507
alpha of π ή μ α τ( α) . Neither of these factors is decisive: an elided
syllable was restored in the case of lines [797 -798], and
octosyllabic measures – heptasyllables with resolutions – were
admitted to the Experimental Texts in the case of line [366] in the
Messenger’s speech and line [684] of Darius’ first speech. It is not
impossible that such metrical features belong to a genuine line of
Aeschylean poetry.
The decisive factor is grammatical. Onl y lineation (b) conforms to

the observed tendency of the logoi identified in this study to be
coherent grammatical and semantic entities.
On this basis, the latter lineation, presenting another inversion of

the long-short patterning of phrase -lengths, is given in the
Experimental Text. Line [801] scans as a trochiam b-3. Line [801a]
scans as a dicretic (A).
Textual criticism.
On the proposed transposition of lines [776a -778a] to post [780a],
see the notes to the interpretive commentary and on lines [779a -
780a] and [776a-778a], below.
Line [765a]: read Μῆ δ ο ς γ ὰρ ἦν ὁ π ρῶ το ς ; scan as bacchiac (A).

Line [766a]: read ἡ γ ε μὼ ν σ τρ α το ῦ ; scan trochaic pentasyllable
Line [767a]: scan trochiambic hexasyllable -3.
Line [768a]: scan triiamb.
Line [769a]: read τρ ί το ς δ ᾽ ἀπ ᾽ αὐ το ῦ ; scan iambic pentasyllable.
Line [770a]: read Κῦ ρ ο ς εὐ δ αί μω ν ἀνή ρ ; scan dicretic (A).
Line [771a]: construe as [771a] and [771b]; read ἄ ρξ ας ἔ θηκ ε ( ν) for
position at line-end; scan trochiamb-3.
Line [771b]: read π ᾶ σ ιν ε ἰρή νη ν φ ίλο ις ; scan dicretic (A).
508
Line [774a]: read λ α ό ν for line-end.
Line [776a]: construe as [776a] and [776b]; read Ἰ ων ία ν τε π ᾶ σα ν ;
scan bacchiac (A).
Line [776b]: read ἤ λ ασε ν β ίᾳ ; scan trochiamb -4.
Line [777a]: scan diiambic heptasyllable.
Line [779a]: read Κύ ρ ο υ δ ὲ π α ῖς τ έ τα ρτ ο ς ; scan as bacchiac (A).
Line [780a]: read η ὔ θυ νε σ τρ α τό ν ; scan as trochiamb -4.
Line [783]: del. θ ρ ό ν ο ισί τ ᾽ἀρχ αίο ι σι .
Line [785]: del. ἐσ θλ ὸ ς ἐν δ ό μο ις ; read Ἀ ρτ αφ ρέ νης ἔκ τ ει νε ν ; scan
trochiambic heptasyl lable -3.
Line [686]: scan as bacchiac (A).
Lines [788-789]: del. Schütz.
Line [790]: construe as lines [790] and [790a]: read κ ἀγ ὼ π ά λο υ
δ ᾽ἔκ υ ρ σ α ; scan bacchiac (A).
Line [790a]: read το ῦ π ερ ἤ θελο ν ; scan trochaic pentasyllable.
Line [791]: scan bacchiac (A); read π ο λ λά for line-end.
Line [793]: construe as lines [793] and [793a]; read ἀ λλ᾽ ο ὐ κ ακ ὸ ν
το σ ό νδ ε ; scan bacchiac (A).
Line [793a]: read π ρ ο σέβ α λο ν π ό λει ; scan resolved trochaic
pentasyllable ( u u u - u - ).
Line [796]: construe as [796] and [796a]; read κ ο ὐ μνη μο νεύ ε ι ; scan
as trochiamb-3.
Line [796a]: read τὰ ς ἐμὰς ἐπ ι σ το λάς ; scan as lecythium.
Line [797]: scan bacchiac (A); read ἴσ τ (ε) for non-elision at line -
end.
Line [798]: scanned triiamb.
509
Line [801]: construe as lines [801] and [801a]; read ο ὐ κ ἂν
φ α νεῖ με ν ; scan trochiamb -3.
Line [801a]: read π ή μα τ ᾽ἔρξ α ν τες τό σ α ; scan dicretic (A).
510
Experimental Text.
Darius Scene, Historical Narrative, (765 -786) [765a-801a] 543
— — ◡ — ◡ — [—] (6)
Μῆδος γὰρ ἦν ὁ πρῶτος [ 7 6 5 a]
— ◡ — ◡ — ( 4)
ἡγεμὼν στρατοῦ
— — ◡ — — — [5]
ἄλλος δ᾽ἐκείνου παῖς
◡ — ◡ — ◡ [—] [4]
τόδ᾽ἔργον ἤνυσεν
◡ — ◡ — — ( 4)
τρίτος δ᾽ἀπ᾽αὐτοῦ
— ◡ — — — ◡ — (6)
Κῦρος εὐδαίμων ἀνήρ [770a]
— — ◡ — [—] [4]
ἄρξας ἔθηκε(ν) [ 7 7 1 a]
— ◡ — — — ◡ — (6)
πᾶσιν εἰρήνην φίλοις [ 7 7 1 b]
◡ — ◡ — — ( 4)
φρένες γὰρ αὐτοῦ
— ◡ — ◡ — ◡ — [5]
θυμὸν ᾠακοστρόφουν
— — ◡ — — [4]
Λυδῶν δὲ λαόν
— ◡ — — — ◡ [—] (6)
καὶ Φρυγῶν ἐκτήσατο [775a]
543[765a]: scanned bacchiac (A); [766a]: scanned trochaic pentasyllable;

[767a]: scanned trochiambic hexasyllable-3; [768a]: scanned triiamb;
[769a]: scanned iambic pentasyllable; [770a]: scanned dicretic (A); [771a]:
read ἔ θη κ ε( ν ) for line-end, scanned trochiamb-3; [771b]: scanned dicretic
(A); [773a]: scanned lecythium; [774a]: read λ α ό ν for line-end; [775a]:
scanned dicretic (A).
511
Darius Scene, Historical Narrative cont. [779a -787] 544
— — ◡ — ◡ — [— ] (6 )
Κύ ρ ο υ δ ὲ π αῖς τέ τ αρ το ς [7 7 9 a]
— — — ◡ [— ] [4]
η ὔ θυ νε σ τ ρ α τό ν [7 8 0 a]
— — ◡— ◡ — [— ] (6 )
Ἰ ωνί α ν τε π ᾶ σ α ν [7 7 6 a]
— ◡ — ◡— (4 )
ἤ λασ εν β ίᾳ [7 7 6 b]
◡ — ◡ — — — [— ] (6 )
θεὸ ς γ ὰ ρ ο ὐ κ ἤχ θηρε ν [7 7 7 a]
— — — ◡ — [5]
ὡς εὔ φ ρ ω ν ἔ φ υ [7 7 8 a]
— — ◡ — ◡ — [— ] (6 )
— — — ◡ — [5]
αἰσ χ ύ νη π ά τ ρ ᾳ [7 8 2 ]
— ◡ — ◡ — (4 )
τὸ ν δ ὲ σ ὺ ν δ ό λῳ [7 8 4 ]
— — ◡ — — — [— ] [6 ]
Ἀρ ταφ ρ έ νη ς ἔκ τει νε ν [7 8 5 ]
— — ◡ — ◡ — [— ] (6 )
— ◡ — ◡ [— ] (4 )
ο ἷς τό δ ᾽ ἦ ν χ ρ έο ς [7 8 7 ]
544[776a]: scanned bacchiac (A); [776b]: scanned trochaic pentasyllable;

[777a]: scanned diiambic heptasyllable; [779a]: scanned bacchiac (A); [779a-
780a]: transposed to post [775a]; [780a]: scanned trochiamb-4; [781]:
scanned bacchiac (A); [783]: del. θρ ό νο ισί τ᾽ἀ ρχαίο ι σι ( ν) ; [785]: scanned
trochiambic heptasyllable-3; [785fin]: del. ἐσθ λὸ ς ἐν δ ό μο ις ; [786]:
scanned bacchiac (A).
512
Darius Scene, Historical Narrative cont. [790 -798] 545
— — ◡ — ◡ — [— ] (6 )
κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α [7 9 0 ]
— ◡ — ◡ [— ] (4 )
το ῦ π ε ρ ἤ θελο ν [7 9 0 a]
— — ◡ — ◡ — [— ] (6 )
κ ἀπ εσ τρ ά τευ σ α π ο λλά
— — — ◡ — [5]
— — ◡ — ◡ — [— ] (6 )
ἀλλ᾽ο ὐ κ ακ ὸ ν το σό νδ ε [7 9 3 ]
◡ ◡ ◡ — ◡ — (4 )
π ρ ο σ έβ αλο ν π ό λε ι [7 9 3a]
— — ◡ — — [4]
— ◡ — ◡— ◡ — [6 ]
— — ◡ — —| [5]
κ ο ὐ μ νη μο νεύ ει [7 9 6 ]
— ◡ — ◡ — ◡ [— ] [5]
τὰ ς ἐ μὰ ς ἐπ ισ το λάς [7 9 6 a]
545[788-789]: del. (Schütz); [790]: scanned bacchiac (A); [790a]: scanned

trochaic pentasyllable; [791]: read π ο λλά for line-end, scanned bacchiac (A);
[793]: scanned bacchiac (A); [793a]: scanned resolved trochaic
pentasyllable; [795]: scanned lecythium; [796]: scanned trochiamb-3;
[796a]: scanned lecythium.
513
Darius Scene, Historical Narrative cont. [797 -801a] 546
— — ◡ — ◡ — [—] (6 )
◡ — ◡ — ◡ [— ] [4]
— — ◡ — — [4]
— ◡ — ◡ — ◡ [— ] [5]
— — ◡ — — [4]
ο ὐ κ ἂν φ α νεῖ με ν [8 0 1 ]
— ◡ — — — ◡ [— ] (6 )
π ή μ ατ ᾽ἔρ ξα ν τες τό σα [8 0 1 a]
546 [797]: read ἴσ τ (ε) for line-end, scanned bacchiac (A); [798]: scanned
triiamb; [800]: scanned lecythium; [801]: scanned trochiamb-3; [801a]:
514
Interpretive Commentary, Darius Scene: Historical Narrative
765-786 [765a -801].
For Mēdos was the first [765a]

Leader of the arm y
And a son of his
Completed the work
Third after him
Cyrus a blessed man [770a]
Ruling he established [771a]
Peace among all his friends [771b]
Because his mind
And fourth the son of C yrus [779a]
Guided the arm y [780a]
And all Ionia [776a]
He overwhelmed by force [776b]
Since he was well-minded by nature
A disgrace to his fatherland [782]
Him by means of a ruse [784]
Artaphrenes killed [785]
To whom this was a dut y [787]
And I attained by lot [790]
That which I desired [790a]
With a great arm y
But never so great an evil [793]
515
Did I inflict on the cit y [793a]
And does not remember [796]
My precepts [798]
Men of m y own age
Each one of us
Would never be seen [801]
Working such great sufferings [801a]
A Note on the transposition of lines [776a -778a] to post [780a].

There remains a narrative -structural difficult y in lines [769a -779a],
in which the reign of C yrus is treated with five sub -narrative
couplets, rather than one; in contrast, that of his unnamed son –
Cambyses – receives onl y a bare mention in a single couplet. In the
Working Text, th e alternation of longer and shorter lines seems
haphazard. With the proposed transposition, the change in the order
of alternating longer and shorter phrases in each couplet
corresponds to a new development in the narrative. This
phenomenon extends to line [781], which introduces the Mardos
sub-narrative. From here the alternation of longer and shorter
phrases is put to a different use as the movement reaches its climax,
the accession of Darius, the ‘good’ King par excellence.
The view proposed here is th at Aeschylus’ knowledge of the history

of Persia and her rulers was imperfect, and that this narrative is
structured around the thematic and dramatic necessit y – especiall y
the contrast between the career of Xerxes and those of the earlier
Kings – rather t han on the dictates of historical accuracy. It is
further supposed that later editors, noting this inaccuracy,
516
especiall y in the light of Herodotus’ account, ‘fixed’ the narrative
to make it more historicall y accurate.
Notes.
The Experimental Text of thi s movement shows a highl y formalised
structure in which a paratactic succession of self -contained phrases
produces the narrative. Under this anal ysis, the movement is
composed of twent y unbalanced couplets of alternating lines of five
(occasionall y six) an d seven syllables, with the order of the longer
and shorter lines reversed each time there is a change in the
direction of the narrative.
In the commentaries below the difficulties surrounding line [767a],

the deletion of lines [783] and [785fin] are dis cussed. The measures
adopted, especiall y the deletions, highlight the rhetorical and
structural clarit y of the movement.
Lines [765a-766a]: ‘For Mēdos was the first / Leader of the

army’. With the separation of the two elements of this first line of
the traditional text, the role of the Persian Kings as leaders in war
is given the principal emphasis. This emphasis is present
throughout the movement (cf. η ὔ θ υ ν ε σ τρ α τό ν in line [780a]), and
especiall y when Darius’ narrative reaches the story of his own
career as leader of the arm y at lines [791 -792], κ ἀπ εσ τρά τε υ σα
π ο λλά / σ ὺ ν π ο λ λῷ σ τ ρα τῷ .
It is impossible to determine whether Μῆδ ο ς is given as a personal

name or means simply ‘a Mede’. 547 It seems fairl y certain that in
547Garvie, 765n, interprets it as ‘A Mede, i.e. Cyaxares’; see also his 759-86n,
300-301. Broadhead, 765ff.n, 192, and in the supplementary note 765ff.n,
278-279, gives a useful survey of the issue and editorial responses to it; he
interprets (279) Μῆ δ ο ς as Cyaxares and ἄλ λο ς as his son Astyages, which
517
this movement Aeschylus is more concer ned with the moral and
thematic qualities of his Kings than with bare historical reality.
Lines [767a-768a]: ‘And a son of his / Completed the work’. It is

uncertain to whom ‘another’ refers. Garvie (766n) interprets it as
‘“another man, his son”, or (perhaps better) “ another Mede, his
son”’. Broadhead (766n) considers this possibilit y but notes also
that the word ἄλλο ς was viewed with suspicion by Bentley, who
thought it ‘to be the corruption of some name’. Certainl y it is a
fairl y colourless description for someone who ‘completed the work’
and who, in the earlier manuscript tradition, is lionised as one
whose ‘mind governed his passions’, a remark that refers in the
modern texts to C yrus, following Page’s transposition of line 767 to
post 769.
The lines fall under suspicion in this analysis because they form the
onl y couplet composed of two hexasyllabic lines in the tonally
affective texts. 548 Given the regularit y evinced throughout the rest
of this movement, the discrepancy points to a corruption in the line.
No attempt is made here to remedy this difficult y.
makes ‘Aeschylus’ account tally exactly with the known historical facts about
the rulers of Medo-Persia from Cyaxares onwards’. He goes on to say (ibid.)
that ‘We should not, however, overlook the possibility that Μῆ δ ο ς , for the
poet, was a supposed mythical ancestor’. This is the view of Rose, 765sqq.n:
‘Μῆ δ ο ς is clearly a proper name, the supposed eponymous ancestor of the
Medes’. He finds that this catalogue of Kings ‘[shows] the limited knowledge
of Persian history possessed by so intelligent a Greek at that date’, as
exemplified by the fact that Aeschylus ‘knows no name earlier than Cyrus the
Great’.
548 Cp. the interpolated line [788], which is deleted from the Experimental
Text following Schütz. Lines [768a], [793a] – a resolved trochaic

pentasyllable – and [798] are hexasyllabic, but these are the shorter lines of
their couplets.
518
It is possible that the line as we have it is a product of a
historicising revision of this movement, and that it contains
elements of lines that were otherwise disposed in the original
performance.
Lines [769a-770a]: ‘Third after him / Cyrus a blessed m an’.

The separation before the personal name Cyrus in the Experimental
Text is based largel y on the structural regularit y of this movement.
Under this lineation, the dominant idea is not that C yrus ruled third
in succession, but that he was a ‘blessed man’ .
The form of the couplet given in the Experimental Text represents

an inversion of the alternation of longer and shorter phrases, which
corresponds to the introduction of the first Persian ruler. This is the
first of four consecutive couplets in the Exp erimental Text in which
the shorter line precedes the longer.
Cyrus’ name, emphasised by line -initial position and the inversion

of the order of longer and shorter lines, merits special distinction.
He is credited, in the lines of the narrative that follo w, with
bringing many nations under Persian control, in effect, with
bringing the Empire to something like the magnificent status
described in the parodos.
The following three couplets, [771a -771b], [772a-773a] and [774a-

775a], show the shorter line prec eding the longer. Under the
traditional lineation, then, C yrus is treated to six lines describing
his career – six couplets in the Working Text – while his son
receives onl y the single introductory couplet.
From lines [776a-776b] to [777a-778a], which are transposed in the

Experimental Text, the longer lines again precede the shorter, but
519
without an apparent corresponding change in topic. With the
transposition, these couplets will refer to ‘the son of C yrus’ –
Cambyses – whose mention, as a new ruler and therefore a new
element in the narrative, is introduced with a return to the long -
short form of the unbalanced couplet.
Lines [771a-771b] and [772a -773a]: ‘Ruling he established /

Peace among all his friends / Because his mind / Governed his
passions’. These two couplets preserve the short -long pattern that
was introduced with the first mention of Cyrus in lines [769a -
770a]. They describe two distinct but related elements of his
character. The fact that his ‘mind governed his passions’ is given as
the cause of his success in establishing ‘peace among all his
friends’.
Lines [774a-775a]: ‘And the people of the Lydians / And of the

Phrygians he acquired’. This third couplet describes C yrus’
military achievements (cf. line [766a], ἡγ εμὼ ν σ τρ α το ῦ , and line
[780a], η ὔ θυ νε σ τρ α τ ό ν ). In the lineation of the Experimental Text
these lines are taken as concluding the narrative of C yrus’ career.
Lines [779a-780a] and [776a -778a] (transposed): ‘And fourth the

son of Cyrus / Guided the army / And all Ionia (transpose d)/ He
overwhelmed by force (transposed) / Because God did not hate
him (transposed) / Since he was well -minded by nature’
(transposed). In the lineation of the Experimental Text the
introduction of the next ruler of Persia, the unnamed Cambyses II,
is accompanied by another change in the order of longer and shorter
lines in each couplet, with the longer lines again preceding the
shorter.
520
Lines [776a-776b], ‘And all of Ionia / he took by force’, should,
from a historical perspective, refer to C yrus, and s eemingl y
continue the narrative from lines [774a -775a], regarding C yrus’
conquest of Phrygia and Lydia. Considerations of the formal
structure of this movement argue against a direct continuation.
According to Herodotus – who had his own problems of thema tic

and narrative balance to contend with – Cambyses’ military
activities were largely confined to Egypt and North Africa, places
that do not feature in this narrative, but he at least had Greeks in
his service, C ypriots at 3.19.3, and Greek mercenaries at 3.25.2 and
3.25.7. Most significantl y, in terms of the possibilit y of a later
historicising revision of this movement, Herodotus states at 2.1.2
that Cambyses considered the Ionian and Aeolian Greeks as his
inherited subjects, and included them in the arm y he was raising
against Egypt. At 3.44, however, Herodotus also describes the
alliance between Polycrates of Samos, until that time the ruler of an
independent and powerful state – one of the most powerful among
the Ionians – and Cambyses, and it was in t he last days of
Cambyses’ rule that Pol ycrates met his end (3.120 -1.25),
effectivel y ending Samos as an independent power.
This, then might be enough to justify the statements of [776a -776b]

from the point of view of Aeschylus’ narrative, and to explain the
hypothesised later revision in the light of Herodotus’ History.
More difficult are lines [777a -778a], ‘and god did not hate him /
because he was well -minded by nature’. This assessment runs
entirel y counter to that of Herodotus, which will have infor med the
dominant historical tradition of later times. Herodotus’ Cambyses is
the opposite of one who εὔ φ ρ ων ἔφ υ . Here, however, Aeschyl us’
thematic treatment of the succession of Kings is important:
521
Aeschylus is keen to demonstrate the thematic differences between
the earlier rulers of Persia and Xerxes, who has ‘destroyed the
state’. 549 For this he needs all of his Kings – except the murdered
Mardos – to be ‘good kings’, and successful.
Given that Aeschylus’ historical knowledge was probabl y not exact,

there is the possibility of some confusion between Cambyses I and
II, and further, between Cambyses II and his father C yrus. This, in
combination with his treatment of the overall narrative, in which
thematic concerns take precedence over historical accuracy, may be
taken to justify the statements made about Cambyses in
Experimental Text. The same considerations can be taken to explain
the hypothetical historicising revision of later times, as well as the
absence of Cambyses’ name from the narrative.
Lines [781-787]: ‘And fifth Mardos ruled / A disgrace to his

fatherland / [And to the ancient thrones] (del.) / Him by means
of a ruse / Artaphrenes killed / [Noble (Atraphrenes) in his
halls] (del.) / Aided by faithful men / To whom this was a duty’.
The regular pattern of unbalanced couplets is interrupted here,
where three lines of the Working Text introduce the rule of Mardos,
and three lines describe his death at the hands of the conspirators.
The problem here is not merel y that the formal symmetry of the
movement is broken, although that is enough at least to cast
suspicion on the superfluous third lines. The intrusive clauses
interrupt the semantic flow of the narrative to no good effect. The
lines themselves, ‘and to the ancient thrones’, and ‘noble
(Artaphrenes) in his halls’, add nothing to the narrative but
irrelevance: why say thrones and not throne? Whose halls are they?
549 Cf. lines [728], [801-801a], [929] and [940-941].

522
Artaphrenes’ or Mardos’? Both? Neither construction carries the
conviction of the rest of the movement, which is expressed in the
statel y succession of simple statements that are necessary to the
progression of the narrative. The phrase θ ρό νο ισ ί τ᾽ἀρχ αίο ι σι is
suspicious also for its self -consciousl y archaic Homericism; ἐ σθλὸ ς
ἐν δ ό μο ις for its sheer banalit y. 550
Additionall y, the inclusion of these phrases interrupts the rhythm of

the passage. This is not merel y a matter of an interruption of the
formal structure of the movement; it is a matter of the interaction
of the internal rhythms of line each line with its neighbours. This is
best appreciated when the lineation of the Working Text is read
aloud and contrasted with that of the Experimental Text, in the
context of the movement as a whole. This is an instance in which
we can see clearl y that metrical regularit y does not equate with
rhythmical harmony. 551
If, then, θρ ό νο ισ ί τ᾽ἀ ρ χαίο ι σι was interpolated on these grounds, or

by an actor or producer in order to dress up the narrative with a
quasi-Homeric flourish, the superfluous ἐ σθλὸ ς ἐ ν δ ό μο ις would
have had to be included in ord er to redress the balance of the
metricall y regular lines of the traditional texts.
It is on these considerations, as well as in the light of the formal

symmetry of this movement as a whole, that the decision was taken
to excise the intrusive phrases from the Experimental Text.
550 There are, however, other epic touches that are preserved in the
Experimental Text of this movement: ξὺ ν ἀ νδ ρ άσιν φ ίλο ισι ν in line [786]
and the epic relative pronoun το ῦ π ε ρ in line [790a].
523
There remains the problem of whether these lines conform to the
structural pattern observed throughout the movement. It is here,
just before the half -way point of the movement, that the change in
the order of longer and shorter li nes seems to be put to a different
use. Between lines [781] and [787], the order of longer and shorter
phrases alternates in each couplet. Rhythmicall y, however, the
structure works admirabl y, with the form of the couplets and their
sense flowing smoothl y from one to the next. Further, lines [784 -
787] do not describe the reign of Mardos, but rather the sub -
narrative of his death at the hands of the conspirators. From line
[790] the regular structural pattern, with changes in the order of the
longer and shorter phrases, continues to the end of the movement.
Lines [788(del) -789(del)]: ‘[Sixth Maraphis] / [And seventh

Artaphrenes]’. These two lines do not suit the flow of this
movement in terms of metre, rhythm, or in general sense. The lines
are colourless and add nothing of substance to the narrative. This is
especiall y important because the beginning of Darius’ reign is
directl y linked – in the tradition preserved by Herodotus, at any
rate – with the death of ‘Mardos’/ ‘Smerdis’/ Gaumata. 552
Lines [790-790a]: ‘And I attained by lot / That which I desired’.

There is some controversy as to which logos κ ἀ γ ὼ belongs. That the
editors consulted construe κ ἀγ ὼ with the foregoing line – either line
777 or 778, depending on their treatment of the interpolated lines –
is shown by the colon printed in all editors, excepting onl y Weir
Smyth and Sidgwick, the two earliest considered in this thesis. 553 If,
552 Herodotus seems to preserve an anti-Dareian tradition in which Darius

plays a subordinate role in the conspiracy. Cf. Hdt.3.62-78, especially 3.70 for
Darius as a late-comer to the conspiracy. Contrast with Darius’ own account,
Behistun 1.10-14, especially 1.13.
553 Garvie, 779n, 304-5, who obelises line 778, construes κ ἀγ ὼ with the
foregoing, arguing that ‘A[eschylus] could hardly omit the part that Darius
524
however, the formal regularit y of the lineation proposed here is
correct, there is no doubt that κ ἀγ ὼ forms a rhythmic u nit with
π άλο υ δ ᾽ἔκ υ ρ σ α , and not the ο ἷς τό δ ᾽ ἦ ν χ ρέο ς of the preceding line
(accepting Schütz’s deletion of line 798 [788 -789]). It seems that
for the sake of the flow of his narrative – and its formal structure –
Aeschylus has glossed over the details of the conspiracy, ‘loosel y’
(so Garvie, 779n, 305) referring to it with the mention of drawn
lots.
Similarl y, one might expect that with the introduction of that

section of the narrative that deals with Darius’ reign there should
be a corresponding revers al in the order of longer and shorter
phrases, but there is not. Darius’ accession, however, is closely
related to the conspiracy against Mardos, and the form of the lines
seems to reflect this. Here, however, rhythmic, rather than purel y
formal considerat ions take precedence, and the rhythm of this series
of couplets seems coherent, and very beautiful. In the lineation of
the Experimental Text, the longer phrases precede the shorter until
line [794], which introduces Darius’ evaluation of Xerxes and his
career.
Lines [791-792]: ‘And I made war often / With a great army’.

These lines show to what extent Aeschyl us is capable of glossing
over historical facts that do not square with his narrative and
thematic concerns. There is no doubt that this line distant l y recalls
played in the plot’. Broadhead, too, 779-80n, argues in favour of construing

κ ἀγ ὼ so that it refers to the famous plot, arguing, after Wilamowitz
(Interpretationen, 54), that κ αὶ , also, is ‘obviously inappropriate’, and
suggests that the syntactic difficulties can be met by means of punctuation,
with a comma after χ ρ έ ο ς and a colon after κ ἀγ ὼ . As argued throughout this
study, however, punctuation in a written text corresponds to a tonal
boundary in a spoken one; and κ αὶ here, in any case is additive, not
emphatic. Rose, 779n, seems to favour the construction proposed here.
525
Marathon, which is otherwise referred to onl y obliquel y at lines
236 and 244, and directl y at 475. It is clear that Aeschylus could
not entirel y ignore Marathon, but it does not work well with the
thesis that Xerxes alone of all the Kings of Per sia has erred by
overstepping his natural boundaries.
Lines [793-793a]: ‘But never so great an evil / Did I inflict on

the city’. This line of the traditional text could be expressed within
a single tonal boundary, and is so given in the Working Text. Th e
force of the line, undoubtedl y a narrative and dramatic focal point,
merits some metrical distinction. In the lineation of the Experiment
Text, the rhythmic distinctiveness is presented by the resolved
initial syllable of the trochaic pentasyllable of li ne [793a]. It is
immaterial as to whether by π ό λει Aeschylus (and his Darius) refers
to Susa or to the Persian state as a whole; from the point of view of
Darius and the Elders they may be taken to be synonymous. 554
Lines [794-796a]: ‘And my child Xerxes / Being young thinks

new things / And does not remember / My precepts’. Here again
the order of longer and shorter phrases is reversed as the narrative
arrives at the career of Xerxes.
Lines [797-798]: ‘You well know this clearly / Men of my own

age’. The order of longer and shorter lines is reversed again. This
couplet is a parenthetical address to the assembled Elders, and
introduces the final phase of Darius’ narrative. With the passing
reference to the likeness in age of Darius and the Elders, it
incidentall y re-enforces the implied antithesis between the earlier
rulers of Persia and the young Xerxes.
554 Cp. line 761, and, analysed in this study, lines [21] and [128] (with [129]
if, as supposed in this study, μέγ ᾽ἄσ τυ Σο υ σίδ ο ς and τὸ Κισσί ω ν π ό λι σμ( α)
are indeed synonymous).
526
Lines [799-801a]: ‘Each one of us / Who once held these powers
/ Would never been seen / Working such great sufferings’. After
the parenthetical address to the Elders in the preceding couplet, the
order of longer and shorter lines is again reversed, corresponding to
the crushing denouement, Darius’ unfavourable evaluation of
Xerxes in contrast with the earlier rulers of Persia.
527
Metrical Commentary, Darius Scene, 800-812 [800a-819].
— — ◡ — — [4]
π αῦ ρ ο ι γ ε π ο λλ ῶ ν [8 0 0 a]
— ◡ — — — |◡ — — | — ◡ — [— ] [1 0 ]
εἴ τι π ισ τεῦ σ αι θε ῶ ν χρὴ θ εσφ ά το ισι ν [8 0 1 a]
— ◡ — |◡ — ◡ — |— — [— ] [1 0 ]
ἐς τὰ νῦ ν π επ ραγ μέ ν α β λέ ψ αν τ α [8 0 2 ]
— — — ◡ — |◡ — ◡ — [8 ]
σ υ μβ αί νει γ ὰ ρ ο ὐ τ ὰ μέ ν τὰ δ ᾽ο ὔ
— — ◡ — [— ] [5]
κ εἴπ ερ τάδ ᾽ ἐσ τί
— ◡ — ◡ — | ◡ — — — [8 ]
π λῆ θ ο ς ἔκ κ ρ ι το ν σ τρ α το ῦ λ είπ ει [8 0 5 ]
◡ — ◡ | — ◡ — |◡ — ◡ [— ] [7 ]
κ εν αῖσ ι ν ἐ λπ ίσ ι ν π επ εισμέ νο ς
— — ◡ — ◡ | ◡ ◡ [— ] (6 )
μίμ νο υ σ ι δ ᾽ἔ ν θ α π εδ ίο ν
— — — | ◡ — — — [7 ]
Ἀσ ωπ ὸ ς ῥ ο αῖς ἄρδ ει
◡ — — — ◡ | — — — ◡ [—] [9 ]
φ ίλο ν π ία σ μ α Βο ι ωτ ῶ ν χ θο νί
— — ◡ — | — — |◡ — ◡ — ◡ — (1 0 )
ο ὗ σ φ ιν κ ακ ῶν ὕ ψισ τ᾽ ἐπ α μμέ ν ει π α θ εῖ ν [8 1 0 ]
◡ ◡ — ◡ — [— ] (5 )
ὕ β ρ εως ἄπ ο ιν α
— ◡ — | ◡ — ◡ — [5]
κ ἀθέ ω ν φ ρ ο νη μ ά τω ν
— — ◡ — ◡ | — ◡ [— ] [7 ]
ο ἳ γ ῆ ν μο λό ν τες Ἑ λλά δ (α )
528
— ◡ — ◡ — |— — ◡ — — [8 ]
ο ὐ θε ῶ ν β ρ έ τη ᾐδ ο ῦ ν το συ λᾶ ν
— ◡ — ◡ — |◡ — [5]
ο ὐ δ ὲ π ιμπ ρ άν αι νε ώς [8 1 5 ]
— — ◡ — — [5]
β ωμο ὶ δ ᾽ἄ ϊσ το ι
— ◡ — | — — ◡ [— ] (6 )
δ αιμ ό ν ω ν θ᾽ἱδ ρ ύ μ ατ α
— — ◡ — — [4]
π ρ ό ρ ρ ιζ α φ ύ ρ δ ην
— ◡ — — — | ◡ — [6 ]
ἐξα νέ σ τρ α π τ αι β ά θρω ν [8 1 9 ]
Few indeed of many [800a]

If one must believe the pronouncements
of the gods [801a]
Looking at our present circumstances [802]
It is not that some come to pass while others do not
And since this is the case
The outstanding host of our arm y remains [805]
Persuaded by empt y hopes
And they wait on that plain
(that) Asōpos waters with his streams
The dear fattener of the Boiotian land
Where it awaits them to suffer
the highest of evils [810]
Recompense for wanton violence
And godless thinking
Those who went to Hellas
Did not scruple to plunder the images of the gods
Or to burn their temples [815]
Altars (were) obliterated
529
The images of the daimones
In utter confusion root and branch
Were hurled from their foundations [819]
Notes:
Lines [800a] and [801a] are necessary designations because of the
overlap with the lineation of the preceding movement.
After the narrative of the Kings of Persia, Darius tells the Elders
(796-797) that the army that is still in Greece will not achieve a
return to safet y. The Elders ask how this could be so (798 -799), and
whether it will not get safel y home. Darius’ response extends from
800-842, of which onl y the first twelve lines are anal ysed here.
The measures and combinations of measures in this movement are

unusual for trimeters. Some seem better suited to the rhythm of the
passage than others. Although some of the lines of the Working
Text are susceptible to the regular unbalanced couplets seen i n the
anal ysed trimeter passages, the form seems to be varied t hroughout
this movement. Where, however, the phenomenon seems applicable,
the lines are so -disposed in the Experimental Text for the purposes
of comparison and evaluation.
Metrical and colomet ric considerations .

800init [800a]: π α ῦ ρ ο ι γ ε π ο λ λῶ ν : this brief remark is Darius’
direct answer to the Elders’ question of lines 798 -799, and as such
stands in tonal isolation from what follows. The line scans to word -
end as a trochiamb-3.
800fin-801init [801a]: ε ἴ τι π ισ τεῦ σ αι θ εῶ ν χ ρὴ θεσφ ά το ισι ν : there

is some question as to whether this line of the tonall y affective text
530
ought to be subject to intra -tonal separation, producing a
structurall y regular unbalanced couplet:
— ◡ — — — ◡ — [5]
εἴ τι π ισ τεῦ σ αι θε ῶ ν
— — ◡ — [— ] (6 )
χ ρ ὴ θ εσ φ ά το ισ ι ν
The following lines of the Working Text, however, are not

susceptible to the same treatment. Additionall y, the grammatical
relations, which, in the previous movement seemed deliberate and
convincing, are strained and do not seem to carry the same semantic
force. For these reasons, the line probably should be construed as in
the Working Text, and scanned according to the measures given
above.
Nevertheless, the intra -tonal separation is trialled in the

Experimental Text for purposes of comparison and evaluation. Line
[801a] is scanned as a bacchiac (A), and line [801b] is scanned as a
trochiamb-3.
801fin-802init [802]: ἐ ς τ ὰ ν ῦ ν π επ ρ αγ μέν α β λέ ψ α ν τα : this line,

referring back to lines [801a -801b], stands as a tonall y individuated
subordinate clause. Although it could be subjected to the same kind
of intra-tonal separation after π επ ρ αγ μέ ν α , the measures are not
regular, showing an initial lecythium + fi nal molossus. 555
This scansion corresponds to the grammatical integrit y of the

phrase ἐς τὰ ν ῦ ν π επ ρ αγ μ έ να , and the line is therefore kept in its
present form in the Experimental Text.
555 For this measure, see Appendix X: Subsidiary Measures, Molossi.

531
Note that the final alpha of π επ ρ αγ μέ να , although naturall y short, is
scanned long here. The syllable occupies the line -final anceps
position in the traditional lineation, which could justify intra -tonal
separation when more comparative material is available.
Alternativel y, we could allow that the phoneme - β λ - makes position
here.
802fin [803]: σ υ μβ αίν ει γ ὰρ ο ὐ τὰ μέ ν τὰ δ ᾽ ο ὔ : this line of the

Working Text is a self -contained gnomic utterance, and is as such
presented as a tonally individuated logos. On the presence of a
monosyllable at line-end, see Garvie (486 -7n) with references. 556
There is little likelihood that intra -tonal separation is operative
here, although it could have been applied after γ ὰρ ο ὐ . This
treatment seems rhyt hmicall y and semanticall y less effective than
the presentation of the full line as a rhythmical whole.
The scansion of the Working Text is retained for the Experimental

Text, an initial trochiamb -4 + final diiamb. Additionall y, the
reading of this line as a single logos requires that we read μὲ ν for
μέ ν , which further implies the rhythmic unit y of t he line.
803init [804]: κ ε ἴπ ε ρ τάδ ᾽ἐσ τί : a conditional clause, referring back

to the previous statement. Its tonal individuation from the phrases
before and after is acknowledged by all editors consulted in this
556 There, however, the monosyllable at line-end is undoubtedly an artefact

of the metrically regular line. Garvie describes this (486-7n) as a ‘striking’
enjambment. If it were a genuine property of the poetics of the passage, it
would in effect be a kind of ‘reverse’ enjambment, with only the first
(monosyllabic) element of the phrase presented in one line, and the bulk of it
presented in the next. The parallel passages given by West (Greek Metre, 83-
4, cited by Garvie) will prove useful in determining whether the
phenomenon is indeed derived from the misinterpretation of the lines on a
purely metrical rather than a tonal-rhythmical basis.
532
study, who print a comma after ἐσ τί and read an acute accent for
phrase-end.
Line [804] scans as a trochiamb -3.
803fin-804init [805]: π λ ῆ θο ς ἔκ κ ρ ι το ν σ τρ α το ῦ λείπ ε ι : this line of

the tonall y affective text describes the consequences of line [803],
that oracles are fulfilled completel y or not at all. As such it is
tonall y distinct from the previous line. The subsequent line is a
subordinate clause in apposition to this principal clause, and is
therefore tonall y distinct.
The scansion of this line is not entirel y certain. In the Working

Text it is scanned by hemistichs, giving a trochaic pentasyllable +
epitrite-1. The epitritic measures are rare in the Experimental Text,
especiall y first and fourth epitrites, but they seem legitimate in
trochiambs. 557 The line can also scan as a lecythium, correspon ding
to π λῆ θο ς ἔκ κ ρ ι το ν σ τρ α το ῦ , with a final spondaic foot. This
scansion corresponds to the enjambment of λ είπ ει in the traditional
texts. This enjambment, however, is an artefact of the presumption
of a metricall y regular line, rather than a genuine fea ture of the
prosody.
The latter scansion is given in the Experimental Text for purposes

of comparison and evaluation.
804fin [806]: κ ε ν αῖ σ ι ν ἐ λπ ίσι ν π επ εισ μέ νο ς : this phrase is a

subordinate clause contextualising the principal clause of line
557See Ch.3, Principal Measures and Appendix X, Tables of Measures:

Trochiambs, Tetrasyllables.
533
[805], and is as such held to be tonall y distinct from that line. This
is the third iambic pentameter line to be identified in this study. 558
In the Experimental Text the line is scanned as a triiamb,

corresponding to the phrase -element κ ε ν αῖ σιν ἐ λπ ίσι ν , with a final
diiamb corresponding to π επ εισ μέ νο ς .
805init [807]: μ ί μ ν ο υ σι δ ᾽ἔ ν θ α π εδ ίο ν : this line is a new principal

clause in the unfolding of the narrative. The grammatical
construction is completed at line [810] of the Working Text, with a
bipartite ornamental subordinate clauses intervening in lines [808 -
809].
This line features the onl y resolved measure identified in this

movement, a bacchiac (A) with resolution in the penultimate
syllable ( - - u - u u u - ). This is unusual, with the onl y other
resolved heptasyllables identified in this study showing resolution
onl y in the first syllable. 559 On the basis of the rhythmical integrity
of the line, the octosyllabic resolved measure is scanned in the
Working Text.
805fin-806init [808]: Ἀ σ ωπ ὸ ς ῥο αῖς ἄρδ ει : this line of the tonall y

affective text is held to be a tonall y individuated logos on the basis
of its semantic independence from line [807], and the subordinate
nature of line [809].
558 The others are lines [688] and [698] in Darius’ opening address to the
Elders. Although the decasyllabic measures are not admitted in the metrical
system proposed in this study, the lines are noted in Conclusions: Trimeters
vs Tetrameters. Although the metrical circumstances are not identical, the
presence here of the pentameter after a disyllable that could be subject to
intra-tonal separation, could warrant a reconsideration of the form of line
[805]. See also Appendix X, Tables of Measures: A note on octosyllabic
measures.
534
The scansion of the Working Text, in which pentasyllables are the
longest admitted measures, is based on the line -internal
grammatical relations. The quantit y of the initial alpha of Ἀσ ωπ ὸ ς is
doubtful; it is scanned long in the Experimental Text , giving a
trochiambic heptasyl lable -4.
806fin [809]: φ ί λο ν π ί ασ μ α Βο ι ωτ ῶ ν χ θο νί : this line is a secondary

subordinate clause completing the bipartite subordinate clause
descriptive of the river Asopus. As such it is held to be tonally
individuated.
The line featu res a rare instance of a pentasyllabic amphibrach +

final trochiamb-4.
807 [810]: ο ὗ σ φ ι ν κ α κ ῶ ν ὕ ψισ τ ᾽ ἐπ αμ μέ νει π α θε ῖν : this line of the

Working Text is the same as that of the traditional texts. It is a
subordinate clause dependant on the principal clau se of line [807].
As such, it is held to be a tonall y individuated entit y.
According to the interpretation of prosodic features applied

throughout this study, longer lines seem in general to correspond to
narrative, dramatic or thematic focal points. This certainl y can be
said of the present line, and the lineation of the Working Text could
well be the correct form of the line. This being the case, the line
should be scanned to word -end as a trochaic hexasyllable -3 + final
triiamb.
The line, however, is s usceptible to intra -tonal separation after

κ ακ ῶ ν ὕ ψισ τ ( α ), which will produce the structurall y regular
unbalanced couplet, with a hexasyllabic measure in place of the
535
more common pentasyllable. 560 This will necessitate the reading of
the elided alpha of ὕ ψισ τ ( α ) for its position at line -end.
For the purposes of comparison and evaluation, the intra-tonal

separation is trialled in the Experimental Text.
Line [810] scans to word -end as a bacchiac (A), and line [810a]
scans as a triiamb.
808init [811]: ὕ β ρ ε ως ἄπ ο ι να : This line of the tonall y affective text

is given in isolation in accordance with the Principal of Separation.
Additionall y, the additive κ αὶ of line [812] tends to suggest tonal
separation.
As scanned in the Working Text the line presents an apparent initial

anapaest, or a trochiamb -3 with resolution in the first syllable.
West, however, shows by diacritic that he scans the line with
synizesis, which will give an iambic pentasyllable. For purposes of
comparison and evaluation, the line is scan ned with synizesis in the
Regardless of how the line is scanned it forms, with line [812], a

regular unbalanced couplet, with the shorter line preceding the
longer.
808fin [812]: κ ἀ θ έω ν φ ρο ν ημά τ ω ν : this line of the tonall y affective

text is an additive clause, differentiated from line [811] on the
grounds of their grammatical and semantic independence, and by
560 Cf. lines [793-793a] and [797-798] for relatively secure instances of this
phenomenon.
561 Properly the ‘anceps’ form of the ‘true’ iambic pentasyllable. See Ch.3,
Principal Measures: Other (Multianalectic) Trochiambic Pentasyllables.

536
the presence of the syndetic κ α ὶ , which is generall y understood in
this study as defining a tonal boundary.
The line is scanned as a lecythium in the Experimental Text.
809init [813]: ο ἳ γ ῆ ν μο λό ν τες Ἑλλ άδ ( α) : this line of the tonally

affective text is given as a self -contained logos because it is an
introductory clause on which each of the successive statements of
lines [814-819] depend. Each of these successive statements is
likewise considered a tonall y individuated logos.
The lineation requires the restoration of the elided alpha of

Ἑλλάδ (α ) at line-end. This, however, poses a metrical difficult y.
Without the restored alpha, the line would scan as a bacchiac (A).
With Ἑλ λάδ ( α) , however, we must scan either an octosyllabic
measure of the form ( - - u - u - u - ), or scan to word-end as a
ditrochaic pentasyllable + final cretic. As the onl y octosyllabic
measures admitted to this study are formed on the recognisable
heptasyllables with resolution of one long syllable, the
pentasyllable + cretic is given in the Experimental Text. 562
809fin-810init [814]: ο ὐ θε ῶ ν β ρέ τ η ᾐδ ο ῦ ν τ ο συ λᾶ ν : this line of the

Working Text stands as an individuated logos. There is no obvious
point of intra-tonal separation, but the line could be separated at its
diaeresis. This would produce two lines of the same measures
shown in the Working Text, a trochaic pentasyllable and a
trochiamb-1. As the separation is unnecessary, and does not
produce the regularly-appearing unbalanced couplet, the line is
retained in the same form in the Experimental Text.
For the final cretic see Appendix X, Tables of Measures: Subsidiary

562
measures, Cretics.
537
810fin [815]: ο ὐ δ ὲ π ι μπ ρά ν αι νε ώς : the ‘and not’ of this line
identifies it as an individuated logos. It is scanned as a lecythium
in the Experimental Text by virtue of the seeming rhythmic
integrit y of the line.
811init [816]: β ω μ ο ὶ δ ᾽ ἄ ϊσ το ι : the additiv e δ έ of this phrase

identifies it as a self -contained logos. In combination with line
[817] it forms the regularl y-appearing unbalanced couplet, with the
shorter line preceding the longer. The lines scans to word -end as a
trochiamb-3. Lines [816 -819] present another instance of the Robert
the Rose Horse S yndrome, here, uniquel y, composed of the
unbalanced couplets that t ypify trimeters in this anal ysis. 563
811fin [817]: δ α ι μό νω ν θ ᾽ἱδ ρύ μ α τα : the τε of this phrase identifies it

as an isolated element of an ‘and… and…’ construction. It therefore
presents an individuated tonal grouping. The line scans as a
bacchiac (A).
812init [818]: π ρ ό ρ ρ ι ζ α φ ύ ρδ η ν : this line of the tonall y affective

texts could form a logos with the following line. In the Working
Text it was given in isolation according to the Principle of
Separation in the first instance. In combination with the following
line it forms a t ypical unbalanced couplet. For these reasons it is
retained in the same form in the Experimental Text. The line scans
as a trochiamb-3.
812fin [819]: ἐ ξ α ν έσ τ ρ απ τ αι β ά θ ρω ν : although this line could be

taken to form a logos with the foregoing, it stands convincingly in
563Cf. lines [364-366] in the first of the analysed Messenger’s speeches.

Those lines show the ‘truncated’ three-line form. See Conclusions:
Traditional Metrics Comparison, The Robert the Rose Horse Syndrome.
538
tonal isolation. The length of the phrase could require an intake of
breath – and a concomitant rhythmic pause – to achieve forceful
delivery. Additionally, the force of the Robert the Rose Horse
Syndrome that closes with this line tends to emphasise its rhythmic
separation.
The line scans to word -end as a bacchiac (A).
Textual criticism.
Line [801a]: construe as lines [801a] and [801b]; read ε ἴ τ ι
π ισ τ εῦ σ αι θεῶ ν ; scan bacchiac (A).
Line [801b]: read χ ρ ὴ θεσ φ ά το ισι ν ; scan trochiamb -3.
Line [802]: scan lecythium + final molossus.
Line [803]: read phrase -internal μ ὲν for μ έν .
Line [805]: scan lecythium + spondee.
Line [806]: scan triiamb + diiamb (iambic pentameter).
Line [807]: scan resolved bacchiac (A), with resolution in the
penultimate syllable ( - - u - u u u - ).
Line [808]: scan as trochiambic heptasyllable-4.
Line [810]: construe as lines [810] and [810a]; read ὕ ψισ τ( α ) for
position at line-end; scan bacchiac (A).
Line [810a]: read ἐπ αμ μέ νει π α θεῖ ν ; scan triiamb.
Line [811]: scan iambic pentasyllable by synizesis of ὕ β ρ ε ω ς .
Line [813]: scan ditrochaic pentasyllable + cretic.
539
Experimental Text.
Darius Scene, Prophetic Narrative (800 -812) [800a-819] 564
— — ◡ — — [4]
παῦροι γε πολλῶν [ 80 0 a]
— ◡ — — — ◡ — (6)
εἴ τι πιστεῦσαι θεῶν [ 80 1 a]
— — ◡ — [—] [4]
χρὴ θεσφάτοισιν [ 80 1 b]
— ◡ — ◡ — ◡ — |— — [—] [10]
ἐς τὰ νῦν πεπραγμένα βλέψαντα [ 80 2 ]
— — — ◡ — |◡ — ◡ — [8]
συμβαίνει γὰρ οὐ τὰ μὲν τὰ δ᾽οὔ
— — ◡ — [—] [5]
κεἴπερ τάδ᾽ἐστί
— ◡ — ◡ — ◡ — | — — [8]
πλῆθος ἔκκριτον στρατοῦ λείπει [ 80 5 ]
◡ — ◡ — ◡ — |◡ — ◡ [—] [7]
κεναῖσιν ἐλπίσιν πεπεισμένος
— — ◡ — ◡ ◡◡ [—] (6)
μίμνουσι δ᾽ἔνθα πεδίον
— — — ◡ — — — [7]
Ἀσωπὸς ῥοαῖς ἄρδει
◡ — — — ◡ | — — — ◡ [—] [9]
φίλον πίασμα Βοιωτῶν χθονί
— — ◡ — — — [—] [7]
οὗ σφιν κακῶν ὕψιστ(α) [ 81 0 ]
◡ — ◡ — ◡ — [4]
ἐπαμμένει παθεῖν [ 81 0 a]
564[801a]: scanned bacchiac (A); [801b]: scanned trochiamb-3; [802]:

scanned lecythium + molossus; [803]: read μ ὲν for μ έν ; [805]: scanned
lecythium + spondee; [807]: scanned resolved bacchiac (A), ( - - u - u u u - );
[810]: scanned trochiambic heptasyllable-3; [810a]: scanned triiamb.
540
Darius Scene, Prophetic Narrative continued, [811 -819] 565
◡ — ◡ — [— ] (5 )
ὕ β ρ εω ς ἄπ ο ιν α
— ◡ — ◡ — ◡ — [5]
— — ◡ — ◡ | — ◡ [— ] [7 ]
— ◡ — ◡ — |— — ◡ — — [8 ]
— ◡ — ◡ — ◡ — [5]
— — ◡ — — [5]
— ◡ — — — ◡ [— ] (6 )
— — ◡ — — [4]
— ◡ — — — ◡ — [6 ]
565[811]: scanned iambic pentasyllable by synizesis of ὕ β ρ εως ; [812]:

scanned lecythium; [815]: scanned lecythium; [817]: scanned bacchiac (A);
[819]: scanned bacchiac (A).
541
Interpretive Commentary, Darius Scene: Prophetic Narrative
800-812 [800a -819].

If one must believe [801a]
The pronouncements of the gods [801b]
The dear fattener of the Boiot ian land
Where for them the highest of evils [810]
It remains to suffer [810a]
Altars are obliterated
Have been hurled from their foundations [819]
Notes.
In this movement, those lines which are susceptible to intra -tonal
separation into the unbalanced couplets typical of trimeters under
this anal ysis, have been so -given in the Experimental Text. The
structural feature is, however, less regularl y applied her e, and the
542
lineation sometimes produces difficulties in translation that are not
generall y seen in the other anal ysed portions of the play.
This movement is characterised as a prophetic narrative because it

narrates events – derived from oracular pronounc ements – that are
yet to come to pass in the world of the play. 566
Line [800a]: ‘Few indeed of many’. This brief logos is Darius’

succinct repl y to the Elders’ direct question of lines 798 -799. The
rest of the movement goes on to develop this remark with sp ecifics
of their plight and pronouncements as to its causes.
Lines [801a-801b]: ‘If one must believe / The pronouncements of

the gods’. These lines are given under intra -tonal separation in the
Experimental Text for purposes of comparison and evaluation o n
the basis of the formal structure t ypical of trimeters. The
construction separates the grammatical relations within the full line
in a way that makes a line -by-line English rendering difficult. More
literall y we should understand something like ‘If to be lieve of the
gods / the pronouncements one ought’, an unsatisfactory
translation. For this reason the translation above departs from the
line-by-line translation that has been the hallmark of the passages
translated in this study, and the intra -tonal separation is presented
at a convenient break in the English translation of the full line of
the Working Text. The disjunction is not quite so violent in the
case of the Greek, but the dative θεσφ ά το ι σιν of line [801b], which
is dependent on the infinitive π ι στ εῦ σ αι of [801a], is separated in a
way that can onl y be understood as a kind of proleptic construction
that emphasises the importance of oracles to the speech that
follows.
566 Cf. line 739, φ εῦ , τ αχ ε ῖ ά γ ᾽ ἦ λ θε χρ ησμ ῶ ν π ρ ᾶξις .

543
Nevertheless, it seems that the intra -tonal separation which was
applied for the sake of testing the formal structural arrangement of
the unbalanced couplets might not legitimatel y appl y to this line.
Line [802]: ‘Looking at our present circumstances’. Garvie notes

(800-2n) that ‘ β λέψ α ν τα agrees with the understood subject of
π ισ τ εῦ σ αι ’, and translates lines 800fin -802init as ‘if one is to put
any trust in the oracles of the gods, looking at what has happened
now’. According to the paratactic succession of ideas in the tonall y
affective text, however, the infinitive π ισ τ εῦ σαι governs onl y θ εῶν /
θεσ φ ά το ισ ι ν , leaving β λέψ α ν τα in apposition to ἐς τὰ νῦ ν
π επ ρ αγ μέ ν α , that is, the recent disaster. The point of the present
line, that these events, τὰ νῦ ν π επ ρ αγ μέ να , are in fulfilment of an
oracle or oracles, is made more explicit in the subseq uent line.
Line [803]: ‘It is not that some come to pass while others do
not’. A simple gnomic statement of perceived fact. Darius
maintains that oracles are not fulfilled by halves. As such this line
contextualises both the statement of lines [801a -801b] and the rest
of the narrative.
Line [804]: ‘And since this is the case’. This brief line re-enforces
the statement of line [803] and introduces as a fait accompli the
remainder of the speech, in which Darius narrates the fate of those
Persian forces that were not destroyed at Salamis.
Lines [805-806]: ‘The outstanding host of our army remains /

Persuaded by empty hopes’. In the translation of these lines,
λείπ ει is construed as intransitive. This might stretch the sense of
the Greek somewhat, but in the context of the paratactic structure
of this movement, it seems a legitimate poetic substitute for the
544
λείπ ε τ αι that might otherwise be expected. Of the translators
consulted for this study, all import Xerxes as the understood
subject of λείπ ει , a construction that is understandable given the
doubtful case of the neuter π λῆ θο ς ἔκ κ ρι τ ο ν . If, however, Xerxes is
in fact to be understood as the unexpressed subject of λείπ ει , it
seems an odd chance for the poet to have missed, especiall y given
the harsh evaluatio ns of him made elsewhere in this scene.
Additionall y, the context for this speech is given by the Elders in

line 795: ‘but we will raise a select and well -equipped expedition
( εὐ σ τ αλῆ το ι λεκ τὸ ν … στ ό λο ν = π λῆ θο ς ἔ κ κ ριτο ν σ τρ α το ῦ ); and
Xerxes is not menti oned.
If Xerxes is held to be the unexpressed subject of λ είπ ει , then the

‘vain hopes’ of line [806] must certainl y also be his. If however,
the π λῆ θο ς ἔκ κ ρ ι το ν σ τρ α το ῦ is understood as the subject of an
intransitive verb, then the κ ε ν αῖσι ν ἐ λπ ίσι ν are theirs also. 567 The
implied change in subject from π λῆ θο ς ἔκ κ ριτο ν to σ τρ α τ (ό ς ) ,
reading the π επ εισ μέ ν ο ς of the traditional texts, is not too violent
for Aeschylus’ Greek. One could, however, read π επ ε ισμ ένο ν to
preserve the same grammatical subject thr oughout. The confusion,
assuming for the sake of argument that π ε π εισμέ νο ν is the correct
reading, could derive from the uncertain grammatical subject of
λείπ ει . It is not deemed necessary that this change be adopted for
The above contention is further supported by line [807], in which

there is another sudden grammatical change, where the plural verb
567Note also the implied contrast between π ισ τ εῦ σαι θ εῶ ν … θεσφ ά το ισιν

and κ ε ναῖ σ ι ν ἐλπ ίσ ιν π επ εισ μέ νο ς . The stratos is perhaps viewed as
trusting in Xerxes, rather than in the gods.
545
μίμ νο υ σ ι without doubt has the men of the arm y as its unexpressed
subject.
Lines [807-809]: ‘And they wait on that plain / (that) Asōp os

waters with his streams / The dear fattener of the Boiotian
land’. Here three lines of the tonall y affective text present a single
grammatical construction, which is eventuall y completed by the
spatial relative clause of lines [810 -810a].
Line [807], as noted above, refers to the activit y of the men of the
arm y, and emphasises the intransitive force of λ είπ ει .
Lines [808-809] are somewhat odd both rhythmicall y and

semanticall y. We should expect some spatial adverb or relative
pronoun in apposition to π εδ ίο ν , such as the ο ὗ of line [810], to
complete the grammatical construction of line [807]; the
construction of [807] and [810 -810a] works well without the
intrusive lines. Line [809] stands out from the rest of the movement
by virtue of the unusual pent asyllabic amphibrach. On the strength
of these considerations, both lines might fairl y be viewed with
suspicion.
The lines are not obelised in the Experimental Text for two reasons.
First, the word π εδ ίο ν of line [807] needs some kind of
contextualisation, and it is entirel y in keeping with the paratactic
communication strategies observed throughout the anal ysed
portions of the play that this should be given in a separate logos.
Second, there is a precedent for this t ype of purel y ornamental
phrasing in an earlier passage that is not anal ysed in this study. In
line 487 of the Messenger’s speech mention of the river Spercheius
is followed by a purely ornamental phrase containing both the
words π εδ ίο ν and ἄρ δ ει . The lines, then, might plausibl y be said to
546
preserve an inheritance from the formulaic predecessors in the
poetic tradition from which the present poem is derived.
While the lines are not obelised in the Experimental Text, their
semantic and rhythmic irregularities should be noted for further
reference when more comparative material is available.
Lines [810-810a]: ‘Where for them the highest of evils / It

remains to suffer’. The single line of the Working Text is given
under intra-tonal separation in the Experimental Text on the
analogy of the regula rl y-occurring unbalanced couplets. Barring a
single exception at lines [813 -815], the structure predominates in
the subsequent lines of this movement. Both lines of the
Experimental Text present well -formed and coherent logoi,
composed of regular measures. The translation of these lines under
intra-tonal separation is true to the word order of the full line of
the Working Text.
Lines [811-812]: ‘Recompense for wanton violence / And godless

thinking’. These lines of the tonall y affective texts, for which th e
separation is relatively uncontroversial, conform structurall y to the
unbalance couplets identified in this movement and in Darius’
historical narrative. For the notion of hubris and its relation to
‘godless thinking’ see Garvie, 808n with refs. 568
The remainder of this movement characterises Xerxes’ hubris and

‘godless thinking’ in terms of violent affronts to the divine.
568The word is used again in this play only at lines 819-821, in the context of
thought that is taken beyond the proper bounds: ὡς οὐχ ὑπέρφευ θνητὸν ὄντα
χρὴ φρονεῖν / ὕβρις γὰρ ἐξανθοῦσ᾽ ἐκάρπωσεν στάχυν / ἄτης.
547
This theme is maintained throughout the Darius scene. Lines 744 -
751 specificall y describe Xerxes’ ‘novel boldness’ as the
outrageous treatment of the gods, specificall y Poseidon and the
deified Bosporus, which is further characterised as a ‘sickness of
the mind’ in line 750. At lines 827 -8init Zeus is cited as the
‘punisher of the excessivel y overweening thoughts’, and of those
who, like Xerxes at lines 830fin -831, ‘leave off well -thought states
of mind, harming-the-gods with overweening boldness’.
Lines [813-815]: ‘Those who went to Hellas / Did not scruple to

plunder the images of the gods / Or to burn their temples’.
These lines pre sent a departure from the pattern of unbalanced
couplets seen elsewhere, with three lines, two of them longer than
the standard seven syllables, introducing Darius’ narrative of the
crimes committed by the Persians under Xerxes.
Line [813] stands in gramm atical and tonal isolation, and, in

passing, censures all ‘those who went to Greece’ as responsible for
these crimes, and not just Xerxes alone.
Taken together, lines [814] and [815] present the first of series of
three couplets that describe the ‘wanton violence’ and ‘godless
thoughts’ of lines [811 -812]. The lines do not conform to the
observed patterning of the unbalanced couplets identified
elsewhere, but there is a passing similarity, with a decasyllabic line
standing in place of the regular heptasyl lable, and a heptasyllabic
line taking the place of the shorter line of the couplet.
Lines [816-819]: ‘Altars (were) obliterated / The images of the

daimones / In utter confusion root and branch / Were hurled
from their foundations’. In outward form, the final four lines of
this movement conform to the unbalanced couplets, with the shorter
548
phrase preceding the longer, and the separations are in each case
relativel y uncontroversial.
Semanticall y and grammaticall y, however, there is an important

difference. In the Experimental Text of Darius’ historical narrative,
the unbalanced couplets each expressed a single self -contained
idea. Here, in contrast, line [816], the first line of its couplet in
purel y structural terms, stands in tonal, grammatical and seman tic
isolation, whereas lines [817 -819] present a single grammatical
construction extending over three lines.
This feature can be justified with reference to the Robert the Rose
Horse syndrome these lines represent. 569 The construction presents
an effective dramatic-rhetorical climax in which the altars are
merel y obliterated – though that is bad enough – while the images
of the daimones – who are of special significance in this play – are
treated to two expansionary lines describing their utter destruction,
ending the movement with a kind of rhetorical crescendo.
Cp. also the ‘truncated’ version of this rhythmic syndrome at lines [364-
569
366] for a similar departure from the semantic integrity of the couplets.
549
Chapter 8. Conclusions.
Preamble: The Persians as an Oral-aural Phenomenon
The foregoing discussions explore the surviving text of the
Persians as a phenomenon of poetic language that is conditioned by
the organisational principles that inform natural speech. On the
basis of the rhythmic regularit y and semantic clarit y of the tonall y
affective texts, the first hypothesis, that a tonall y affective text will
better represent the rhythms and structures of the performance text,
is provisionall y confirmed. The secondary hypothesis, that a tonall y
affective text will better reflect the text of the play as an oral -aural
phenomenon performed within an ora l-aural cultural context,
likewise receives support on the basis of the narrative, dramatic,
and theatrical insights that are derived from the tonall y affective
texts.
We do not have to look very far for signs that the tonall y -affective
lineation support s, rather than disrupts, the rhythmic poetry of the
anal ysed verses. Each line of the tonall y affective text presents a
self-contained and coherent idea; in succession they additively
create meaning. Moreover, the play is seen to be constructed out of
a succession of relativel y short, self -contained and narrativel y
distinct short poems, be they songs, speeches, or strophic l yrics.
The recurrence of very many of the measures provisionall y
identified in this study shows that the lines of which these are
composed are rhythmicall y coherent, both in themselves, and in the
context of the other lines of their movements.
The affinit y shown between the lines of this play and the tonal
groupings of natural speech is such that we must take the tonal
effectiveness of t he lines into account, at least in the first instance.
550
In his anal ysis of the intonation properties of Homeric poetry,
Bakker concludes (1999, 46):
‘The rhythmical finesse that we find in Homeric poetry does
not make that poetry less ‘oral’… nor does it presuppose
writing in our sense of written composition. What is
important is that we have a text whose essence lies in being
performed, and which gives us ample information on its oral
conception.’
Under anal ysis by tone group, the same features can be o bserved,
and the same claims can be made, for Aeschylean poetics also.
On this basis, lineation by tone group makes, arguabl y, better sense

of the lines, their contexts and their meanings within the narrative
of the drama than do the metricall y regular li nes of the traditional
texts. The strengths of anal ysis by tone group are demonstrated by
the grammatical, semantic and rhythmic coherence of every line.
The impression derived from the tonall y -affective texts is that of a
composition that was designed to be delivered orall y, and
interpreted aurall y. That is, anal ysis of the tonall y affective text
shows how the poetry of the Persians is informed by, and responds
to, the dictates of an oral -aural milieu. The present study presents
the first tentative steps t oward that more nuanced understanding of
the poetics of tragedy as an aural and sematic realit y.
The following discussion is presented in five main parts. The first,

Separation of the Lines of the Traditional Text into Tone Groups,
describes the principal mechanisms of separation into tone groups,
and their implications. The second, Initial Findings by Verse Type,
describes the key features of the dimeter, lyric, trimeter and
tetrameter passages as anal ysed in this study, with references to
their predominant rhythmic forms. The third, Musical and Poetic
551
Conventions, describes the implications of this study for our
understanding of its poetic features in the context of its
performance. The fourth gives a brief critique of traditional metrics
with reference to the initial findings of this study. Finall y, future
research directions are canvassed. The chapter closes with a
speculative post -script: Did Aeschylus write a script?
Separation of the lines of the traditional text into Tone Groups.

This process is alw ays a highl y subjective one in the first instance.
It is saved from arbitrariness by adherence to the principles and
methods of anal ysis by tone group, as well as by the semantic and
rhythmic regularit y of the resulting lines. Where the tonall y
affective expression of distinct ideas is allowed as a functional
aspect of the generation of meaning (parataxis) the individual
phrases will constitute clearl y differentiated elements of the
exposition. Given the opacit y of the traditional texts of this play,
an important inference is that the individualised phrases are closer
to the speech units (lines) that the spectators would have heard in
the original performance context than are the lines of the traditional
text; and, on that basis, that the tonall y affective l ines should be
represented in the texts and oral presentations of our own time.
The poetic phrases identified in this study t ypicall y correspond to

both the Platonic logos, and the definitions of the tone group (or
intonation unit) given by Chafe and Bakk er. 570 They are between
two and seven words in length, 571 are often complete syntactic units,
570Chafe (1994), 69; Bakker (1999), 39.

571The longest lines presented in the Experimental Text consist of seven
words. Cf. G. Miller (1956), ‘The Magic Number Seven Plus or Minus Two’;
the average is around four words, the practical limit identified by N. Cowan
(2001), ‘The Magical Number 4 in Short-term Memory: A Reconsideration of
Mental Storage Capacity’; both authors are cited by Elizabeth Minchin, with
reference to her use of the term ‘cognitive ceiling’ (2014, 268).
552
and, as often, are complemented by other tone groups in the
generation of meaning. 572 With reference to their function as
discrete elements of transmission, both in the learning and in the
performance, they correspond to Chafe’s definition of ‘echoic
memory’, which allows listeners to ‘ process sound sequences as
wholes’ (Chafe, 1994, 55). The lineation of the Working and the
Experimental Texts, then, corresponds to what we might expect
from a poetics developed and composed in a principall y oral -aural
milieu.
Given that a nuanced reading of the rhythmic properties of the lines

of the traditional text – a reading at present available onl y to
experts – should allow for rests (of indeterminate duration,
commonl y occurring between hemistichs), and that the positioning
of these rests commonl y highlights words and phrases of dramatic
or thematic significance, the question that must be answered is why
not separate them? 573 A presentation that not onl y values the tonal
distinctiveness of the phrasing implied in the traditional texts, but
also helps identify their rhythmical distinctiveness and their
semantic-narrative importance, potentially has great advantages for
the appreciation of both the rhythm and meaning of the poetry and
should, perhaps, be favoured for this reason alone.
It might seem an outrageous supposition that the structural and

organisational and semantic properties of tonalit y in contemporary
English bears any relation to that of Ancient Greek. Nevertheless,
the results of this study are such that the notion at least deserves
further consideration. The separation of phrases into the l ines of
572 This is a restatement, with reference to the analyses presented in this

study, of Bakker’s description on the tone group (1999, 39f).
573 Cf. with commentaries e.g. line [160] with ἄν α σσα at line-end; line [157]
for the isolation of an implied stage direction (π ρο σπ ί τν ω ).

553
the tonall y affective text depends heavil y on contemporary notions
of tonalit y and tone -grouping. Separations regularl y occur in the
case of (a) distinct clauses; (b) subordinate clauses, including
vocatival phrases; (c) points of punctuation. 574 There are, however,
certain other language features of the Greek text that tend to
coincide with the beginning and end of distinct tone groups. These
are discussed briefl y below.
The syndetic conjunction κ αὶ tends to indicate the beginning of a
distinct tone group. It occurs 29 times in the Experimental Text. Of
these, 16 instances begin a new sense unit, a further 11 are phrase -
internal conjunctions; 575 there are two doubtful instances in which
the conjunction might begin a distinct tone group that is not so -
presented in the experimental text. 576 Similarl y, the particle δ ὲ (also
in the construction μ ὲν … δ ὲ ) commonl y indicated the beginning of
a new tone group, rather like the aural equivalent of a capital letter
in English orthography. The particle δ ὲ occurs 52 times in the
passages anal ysed in this study. Of these, seven occur in μὲ ν … δ ὲ
constructions, and in nine instances it has the concessive or
additive force of a conjunction. In 36 instances, then, δ ὲ identifies
what in idiomatic English would be a new sentence, albeit that in
some of these instances it also has a concessive or additive force.
574 Given, however, that punctuation is often applied by editors in deference

to contemporary orthographical conventions, it is something less than a
reliable guide in all instances.
575 E.g. line [42], ἄλλους δ᾽ὁ μέγας καὶ πολυθρέμμων Νεῖλος ἔπεμψεν. This is one
of the longest lines of the Experimental Text. Other instances of line-internal

καὶ are conditioned by strophic corresponsion (e.g. lines [100] and [133]) or
other rhythmic features of the text (e.g. line [707]).
576 Lines [147] and [685].
554
By way of contrast, the epic conjunction ἠ δ ὲ is predominantl y
phrase-internal. In onl y one of its six occurrences does it begin a
new line (line [966]), but this is conditioned by strophic
corresponsion. The force of the post -positive τ ε is less certain. It is
by nature a phrase -internal conjunction, and it often appears as the
central element of a three -word tone group. 577 Where, however, it
occurs at line-end, it can be taken to indicate the presence of a new
tonal grouping. 578
Consonantal Clash.
The phenomenon of consonantal clash is an important one. Its
application in anal ysis by tone group assumes that the brief bu t
unavoidable rhythmic variation caused by competing consonants –
including aspirates – will affect the rhythm of oral delivery. It is
very common for consonantal clash to occur at the boundaries of
tonal units. There are certain lines in which clashes inv olving
aspirated vowels seem to have a similar effect on the enunciation of
the lines. 579
There are, of course, very many instances of adjacent consonants

within lines of the tonall y affective texts. Nevertheless, while
consonantal clash is seldom grounds for separation on its own, it
often coincides with other rhythmic and semantic features of the
text that indicate tonal separation; where there is a semantic or
rhythmic break, the force of the clash tends to reinforce, however
slightl y, the tonal separations. Therefore, consonantal clash should
577 E.g. lines [28], [109], [119].

578 E.g. line [75].
579 E.g. lines [371-372], [368-369], [786-787]; in line [379] an aspirated
initial is treated as making position, where the longer line resists separation
by virtue of its rhythmic integrity. Cp. also lines [2-3] with commentaries.
There are additional semantic features dictating the intra-tonal separation of
these lines.
555
be taken into consideration when considering the likel y spoken
force of a passage of the traditional text. 580
The Interaction of Accents.

The interaction of accented syllables within lines is one of the more
intriguing features of this text under analysis by tone group. As an
indicator of the tonal and rh ythmic integrity of the lines, and of
their boundaries, it is, perhaps, of even greater importance than
consonantal clash. In the foregoing commentaries, the interaction of
the accented syllables within phrases is often cited as an influential
factor of scansion to word -end within lines composed of more than
one measure. That is, the accented syllables are seen to be a
functional aspect of the rhythm of the lines. 581
Intra-tonal separation of Tone Groups.

The Principle of Separation demands that every distin ct utterance,
that is every phrase that is clearl y delineated by both tone and
content, ought to be given as an individual line in the new printed
version of the text. This is fundamental to the entire concept of
anal ysis by tone group: that the printed te xts must represent as
closel y as possible the oral -aural realities of the lines of the play.
Intra-tonal separation is defined as the imposition of an artificial

tonal break on what would ordinaril y be a single tone group. It has
an effect akin to that o f a pregnant pause. Intra -tonal separation is
not admitted into the Working Text, but it is an important
phenomenon underl ying the form of much of the Experimental Text.
It is admitted in anapaests and, especially, in the anal ysed trimeter
and tetrameter p assages, where it is a key factor in the presentation
580Cf. lines [6-7].

581This is discussed further under Traditional Metrics Comparison, Accent
and Ictus, below.
556
of the unbalanced couplets that characterise those movements. 582 It
is not admitted in any l yric passages, where the lines are
conditioned by strophic corresponsion and regularl y consist of
independent to ne groups.
Intra-tonal separation is admitted into the Experimental Text onl y

where it is supported by rhythmic and semantic considerations, as
described in the metrical and interpretive commentaries. The three
main textual features that indicate the pos sibilit y of intra -tonal
separation are problematic rhythmic forms both within lines and in
the context of their movements, difficulties in interpretation of the
full form of the lines, and finall y, places where the initial analysis
of the Working Text prod uces very long lines that likel y challenge
the abilit y of actors to deliver them and of spectators to interpret
them successfull y. 583 These factors are often related.
Intra-tonal separation is used to create dramatic tension through

suspense; in some instan ces it is used to emphasise important
semantic features of the discourse that tend to be obscured in the
traditional lineation. 584
In the majorit y of instances, the intra -tonall y separated elements

correspond to the definition of a logos, or tone group. 585 In other
instances there is some doubt as to whether the separation of
582 See below, Initial Findings by Verse-type: The Tetrameter Couplet; The
Trimeter Couplet.
583 See below, Performance Considerations: The Actors’ Breath, and
Audience Comprehension.
584 The narrative-semantic impact of intra-tonal separation is discussed e.g.
in the commentaries to lines [1-4] (Ch.4, Anapaests); its dramatic impact e.g.
in the commentaries to lines [730-731a] (Ch.6, Tetrameters).
585 For two instances in which this is not the case, see the intra-tonal
separation of single words ‒ in almost rhythmically identical circumstances

‒ at lines [686-687] and [697-697a].
557
phrases admitted in the Experimental Text is a matter of intra -tonal
separation or of the ordinary distinction between individual
phrases. 586 In some cases intra -tonal separation is not acc epted into
the Experimental Text because of the internal rhythmic and
semantic properties of the lines in question. 587
The admission of intra -tonal separation to the Experimental Text

produces metricall y regular – and semanticall y and dramatically
cogent – results in every instance. Therefore, anal ysis by tone
group presents further evidence that the poetry of this play is
designed to be appreciated aurall y; and that it was composed on
principles of oral -aural, not literary, communication. On this basis
it becomes increasingl y clear that these texts must be presented in
print in a way that emphasises the oral -aural character of the
original composition and performance.
Lines under intra-tonal separation :

The following lines are regarded as being under intra -tonal
separation. Doubtful instances are noted with a question mark.
Anapaests: [1 -4], [5-6?], [11-12], [43-44?], [45-46?], [47-47a?],

[69-71?], [75-78], [912-913?], [931 -931b].
Tetrameters: [160 -161?], [712-712a], [718-718a], [720-724a], 588

[731-731a], [748 -748a].
586 See e.g. lines [43-47a] and [758-759], which could be regarded as either
normal tonal separation or intra-tonal separation.
587 See e.g. lines [147] and [685], for which intra-tonal separation is not
admitted to the Experimental Text despite the presence of a line-internal καὶ;

lines [382] and [385], where intra-tonal separation was not applied, despite
the fact that the separated lines would correspond to the dominant form of
the trimeter couplet.
588 Comparison between the form of this movement (Atossa to Darius, 709-
714 [720-726], Ch.6, Tetrameters) in the Working and Experimental Texts

558
Trimeters: [353 -355?], [360 -36a], [361 -361a], [368 -368a], [370-
370a], [373-373a], [374-374a], [380 -381?], [686-787], [697 -697a],
[699-699a], [771a-771b], 776a-776b], [790-790a], [793-793a],
[796-796a], [801 -801a], [801a-801b], [810-810a].
Lines that are the same in both traditional and tonally affective
texts.
The principal text used for the derivation of the Working Text is
Garvie’s 2009 edition. This text was selected for its very many
excellent qualities, as well as for its recent date of publication.
Garvie’s text, however, could fairl y be described as something
other than ‘traditional’, especiall y in its lineation of the movements
of the first ode. Garvie tends to give longer lines than the earlier
editors, and, in so doing, largel y avoids giving a line -break within
words, a feature of the text that is all too frequent in earlier
editions. 589
The 440 lines of the Experimental Text present 77 lines (17.5%)

that are the same as the traditional text. These lines necessarily
represent the full metrical line of their respective metrical t ypes.
This study shows that while such lines do occur, they are in the
minorit y. 590
shows the potential of intra-tonal separation as both a structural and

semantic feature of the discourse. See the commentaries ad loc.
589 He does not, however, avoid this entirely, as e.g. with πύθη- /
-ται at lines 117-18. That word is deleted from the Experimental Text.
590 In anapaests and trimeters there are other lines that are artefacts of the
tonally affective lineations, and which scan to the equivalent of a full line
under traditional metrics. These are discussed under the appropriate
heading at Initial Findings by Verse Type, below.
559
Anapaests, 30 lines (26.5% of lines of anal ysed anapaests in
Experimental Text): [10] = 7 (paroem.), [20] = 15 (pa roem.), [29] =
20 (paroem.), [30] = 21, [31] =22, [35] = 26, [38] = 28, [45] = 36,
[48] = 39, [49] = 40 (paroem.), [54] = 46, [56] = 48 (paroem.), [57]
= 49, [58] = 50, [65] = 55, [68] = 58 (paroem.), [71] = 60, [72] =
61, [74] = 62, 591 [77] = 64 (paroem.), [152] = 146, [158] = 153,
[159] = 154 (paroem.), [915] = 913, [916] = 914, [919] = 916, [920]
= 918 (paroem.), [923] = 919, [923] = 920, [925] = 921.
Lyric, 40 lines (35.7%): [78] = 65, [88] = 74, [133] = 128, [137]
=130, [139] = 134, [142] = 136, [144] = 139, [125] = 116, [129] =
123, [132] = 125, [700 -702(paroem.)] = 694 -696, [709-
711(paroem.)] = 700 -702, [938] = 931, [941] = 934, [945] = 939,
[947] = 941, 592 [950] = 943, [951] = 941, 593 [954] = 946, [955] =
947, [956] = 950, [961 -967] = 955-961, [968] = 963, [973-979] =
966-973.
Tetrameters: none.
Trimeters, eight lines (6.5%): [379] = 369, [382] = 371, [385] =

373, [685] = 683, [686] = 684, [689] = 686, [690] = 687, [697] =
691,
Nine of the thirt y lines of anapaests are paroemiacs, the

preservation of which is a key feature of the relevance of analysis
by tone group to the poetics of this play.
591 This line, however, should probably be separated at its diaeresis.

592 With deletion of [καὶ] in E.T.
593 With deletion of †καὶ in E.T.
560
The high figure for lyric is determined in part by the dictates of
strophic corresponsion. The higher proportion of identical lines in
the l yrics of the kommos is determined by the dramatic qualities of
those lines. 594
The eight trimeter lines all occur at narrative and dramatic focal
points. There is one additional line in the anal ysed trimeters that
corresponds to a full metrical line. 595
Parataxis.
The initial findings of this study are that the poetics of the play as
revealed under anal ysis by tone group conform to James A.
Notopoulos’ assessment of fifth century composition (1949, 1):
‘A survey of the literature up to the middle of the fifth
century reveals various degrees of unit y involved, but
indicates that the predominant t ype is a paratactic and
inorganic flexible unit y as observed in the Homeric poems.
Parataxis of st yle and of structure began with oral poetry
and influenced the structure of post -Homeric literature, even
if it was a written literature’.
Notopoulos, however, is describing a surface phenomenon of

composition. The strategy he describes is indeed consistent with the
approaches associated with pre -literary poetics, and with the
poetics of this play, but the importance of parataxis to the
construction of this play as both narrative and drama takes on new
dimensions under this anal ysis, which reveals something of the
mechanisms by which it operates. This feature of composition is
594 The lines become something of a soundscape representing the mourning

of the Persians, and are, as such, highly compressed semantic elements. Cf.
Gurd (2013).
595 See Initial Findings by Verse Type: Trimeters, below.
561
crucial to a nuanced understanding of the methods of exposition
used in this play.
As understood in this study, parataxis is two -fold: it refers to the

succession of individuated, complete and coherent ideas and to the
way in which this steady succession of meanings cr eates meaning
on a larger scale. Parataxis is an appositional, rather than rectional,
approach to syntax and communication. In apposition syntactic
units are modified by one another, in rection they govern one
another. Bakker builds on the work of Antoine Miellet, 596 who noted
in Homeric Greek and other earl y Indo -European languages ‘a
pervasive tendency for words and phrases to be autonomous, not
governed by other constituents in the sentence’ (1999, 41). That is,
‘instead of sentential arrangements, we see a relation of addition
between units; each unit builds on the other in an ongoing flow of
incoming detail’ (ibid.). This evaluation reads like an explanation
of Aeschylean syntax; it also describes the structural basis for ring-
composition and prolepsis. B akker, in demonstrating this
phenomenon in the Iliad, observes that the notion of the goal (or
preview-construction) ‘saves’ the appositional approach to syntax
from seeming randomness, noting that in spoken discourse
‘something can be said, not as informa tion in its own right, but
with an eye to the situation to be reached in due course’ (1999, 43).
The implication of this is that many features of any discourse are
by-products of the modes of thought that underlie the composition,
rather than of the proces s of composition itself. In other words,
even while a poet may consciousl y strive to created pleasing
effects, he composes on the basis of what he is accustomed to think
and hear.
596Meillet and Vendryes (1937), Traite de grammaire compare des langues

classiques, Paris.
562
Under anal ysis by tone group the Persians is seen to be composed
of three distinct yet related narrative elements: the line (or tone
group), the movement, and the scene. The narrative and dramatic
movement of the play as a whole is constructed on the paratactic
succession of these three elements.
The play is presented as a seri es of short, internall y coherent

phrases that build meaning additivel y. 597 A succession of these
phrases constitute a movement by the paratactic succession of
ideas. A movement is a relativel y short, self -contained expression
of what is essentially a single idea, but one that is itself
constructed of a coherent succession of dis tinct but related ideas. 598
The succession of movements in turn generates the development of
the narrative, and of the drama, within each scene. Each scene
presents a series of unified wholes that in turn create narrative and
dramatic flow of the play in par atactic succession.
It is in the succession of these individuated ideas – be they lines,

movements or scenes – that the drama unfolds; semantic, thematic
and dramatic meaning are created by addition, juxtaposition and
inference within movements, and, in t he succession of movements,
of scenes.
597 It should be noted that parataxis is not the same as semantic or

grammatical isolation; rather, parataxis tends to rely on semantic and
grammatical links within single phrases. In other words, the individual
statements in a paratactic discourse must each be complete and coherent.
Grammatical linking of phrases will often, but not necessarily, render the
construction syntactic.
598 The longest movement in the Experimental Text is the stichic dialogue at
57 lines. Darius’ historical narrative extends to 34 lines. The shortest, at four

lines, is the sixth movement of the parodos. The average length of the 38
movements analysed in this study is 11.5 lines.
563
This study finds that the paratactic succession of distinct and
coherent ideas is the fundamental principle behind the generation of
this play in composition. This feature of its composition is in turn
responsible for the successful transmission of the play’s meaning –
narrative, thematic and dramatic – to the spectators in its original
performance context.
Parataxis and Translation.

The translation of the tonall y affective lineation automatically
brings out the paratactic nature of exposition used throughout this
play, and in so doing provides further insights into the structures
inherent in individual passages, and into the play itself. There are
important implications also for the accessibilit y of the Greek text
and for its translation. The principle applies to all the verse -types
used in the play.
Each tonall y affective line of the Greek presents a simple and self -
contained idea, and these can then be translated with relative ease.
The simple line -by-line translations tend to reproduce the paratactic
st yle that informs the Greek original. Very often the translations
evince poetic qualities that are simpl y a by -product of the simple,
line-by-line expository st yle of the Greek. Onl y very rarel y is it
necessary to suppl y words that are not in the text to achieve a
satisfactory translation. 599
Ease of translation should be regarded as important evidence for the

validit y of this anal ytical method in as much as ease of translation
can be said to be analogous to, and to r eflect, ease of
599As is the case e.g. in the translation of line [2], where the dual force of the
genitive is difficult to render in English; see also lines [69-71], where it was
necessary to transpose lines [70] an [71] in order to achieve a satisfactory
English rendering. This does not affect the sense or the implied tonality of
the Greek.
564
comprehension in an oral -aural context. There are important
implications also for the teaching of ancient Greek: the tonally
affective lineation opens up the possibility that students of ancient
Greek could be translating Aeschylus in their first year or so of
study.
Initial Findings by Verse Type.

This study was never intended as an exercise in metrics.
Nevertheless, the rhythmic character of the lines of the tonall y
affective text, and the recurrence of very many of the rhythmic
forms provisionall y identified, are such that their importance
cannot be ignored. The following is a discussion of the rhythmic
forms of the tonall y affective lineation by verse t ype. For the forms
of the measures and counts of their occurrences, see Chapter 3,
Principal Measures and Nomenclature , and Appendix X, Tables of
Measures. 600
Dactylopaests: Anapaestic Dimeters and Strophic Lyric.

The dact ylopaestic pentasyllables are the most common measure in
the anal ysed passages of both anapaests and l yric; they occur tw ice
as often in anapaests, where they are the principal rhythmic -
structural element. The longer, hexa - and heptasyllabic measures
are more common in lyric. The anal ysed lyric passages also show
occasional use of trochiambic measures that do not appear in t he
anapaests of the parodos or the prelude to the kommos. 601 The
tentativel y proposed system of nomenclature is provisionall y
supported.
600 All figures and percentages for the occurrences of measures by type are
derived from the tables in Appendix X, Tables of Measures.
601 Isolated trochiambic measures appear in Str. and Ant. B and C of the first
ode, and in Str. and Ant. B of the kommos; Str. and Ant. E and D in the first
ode are exclusively trochiambic.
565
Anapaests.
92 lines of the anapaestic dimeters – all in the play – were anal ysed
by tone group, producing 113 lines in the Experimental Text. These
lines contain 178 occurrences of provisionall y identified
measures. 602
The most commonl y-occurring measure is the dact ylopaest -2, which
occurs 42 times in anapaests (23.6% of measures). 603 Of these, 17
occur as single lines (15.04% of lines), making this the most
common form of a line in anapaests.
Of the 113 lines of anal ysed anapaests, 24 lines (21.2%) are

equivalent to an anapaestic dimeter, or two dact ylopaestic
pentasyllables. 604 To this figure may be added 14 paroemiacs, or
catalectic dimeters (12.4%). 605 Of these dimeters, 8 are artefacts of
the tonall y affective lineation. 606
By way of contrast there are 45 lines (39.8%) that are equivalent of

anapaestic monometers, 22 in the parodos, 3 in the prelude to the
Atossa scene, and 17 in the prelude to the kommos.
There are, additionally, 16 lines (14.2%) that are equivalent to one -

and-a-half monometers; A further 3 lines (2.6%) are shorter than a
602 These figures include the anapaests of the earlier part of the Xerxes scene.
603 See Appendix X, Tables of Measures: Dactylopaests. The measure occurs
and additional 27 times in strophic lyrics.
604 Compare this figure with the 30 anapaestic lines of the parodos, the
Atossa scene, and the anapaestic prelude to the kommos that are the same as
those of the traditional text. Of those, 15 are paroemiacs.
605 There are 17 paroemiacs identified in this study, 15 of which occur in the
anapaests of the parodos and the kommos. Of these, one is a so-called co-
opted paroemiac and presents a line that is longer than a dimeter.
Paroemiacs are discussed separately below.
606 Lines [15], [43], [47], [63], [146], [910], [929] and [930].
566
monometer, 9 lines (7.9%) that are slightly l onger than a dimeter,
and 2 lines (1.8%) that are slightl y longer than a monometer.
The longest lines, [42] and [154], are twelve beats in length
according to the counting conventions used in this study, and are
equivalent to an anapaestic trimeter. Both lines open their
movements and seem to present the practical maximum length of a
spoken line.
This study demonstrates that the majority of ostensibl y anapaestic

lines are anapaestic monometers; it seems that this line -length is
the basic structural unit of the anapaests of this play. These
measures are filled out by others, longer or shorter, and these
combinations form all the line t ypes presented in the Experimental
Text. 607 These measures are scanned to word -end in 96.6% of
cases. 608
The tonall y affective texts of the anal ysed anapaests are composed
of relativel y short rhythmicall y and semanticall y coherent phrases
that lend themselves to an oral -aural mode of transmission, both for
the actors in acquiring their lines, and for the spectators in the
original reception -in-performance. We may provisionall y suppose
that these lines were composed in accordance with these features of
an oral-aural culture.
Paroemiacs.
The regular preservation of the paroemiacs is one of the most
important findings of this study with regard to the application of
607 The same may be said ‒ although to a lesser extent ‒ of the Working Text,
which, however, has a less-developed approach to scansion.
608 All non-scanning lines in the Experimental Text of anapaests are
paroemiacs. See the following discussion of Paroemiacs, and Lines that do

not scan to word-end, below.
567
anal ysis by tone group , and its relation to the poetics of this play,
showing a clear relation between the implied tonalit y of the text
and the poetic forms of which it is composed.
A paroemiac is traditionall y defined as an anapaestic dimeter

catalectic, ‘which is the last line of a system’ of anapaests. 609 This
definition is satisfactory for the anal ysis of the anapaestic dimeters
of traditional metrical anal ysis. However, this study shows that a
different metrical and rhythmical system is in operation.
A paroemiac is defined, for the purposes of this study, as a closing

device for a larger sense -unit – or ‘movement’ – in dact ylopaestic
verse, consisting of one dact ylopaestic measure (including the open
dact ylopaest) + a final minor ionic. Such aurall y-affective closure
mechanisms are an essential ingredient of oral poetics.
There are seventeen paroemiacs identified in this study. Of these,

ten are defined as regular paroemiacs, that is, as scanning to word -
end and comprising of one dact ylopaestic measure + a final minor
ionic. In anapaestic dimeters the regular paroemiacs occur at lines
[10], [20], [29], [49], [56], [68], [76], and [925]; in l yric
dact ylopaests they occur at lines [702] and [955].
609 D.S. Raven (1968), 92. Cf. also 57-60. It is perhaps a matter of opinion
whether these belong to the ‘strict dimeter systems’, in which, as Raven
notes (1968, 60) ‘they are only used to close a period’. West (1982, 198)
gives the basic form of the paroemiac and notes (1982, 53) that Archilochus,
Stesichorus and Ibycus begin strophes with it; he nowhere makes mention of
its use at the end of an anapaestic period. There is nothing in the studies of
these authors, or in Maas, that adequately describes the form of the complete
stanzas as we find them here.
568
Seven paroemiacs are identified as irregular. Of these, four
conform to the regular pattern of a dact yl opaest + minor ionic, but
they do not scan to word -end. These are:
Line [159]: π άν τ ας μύ θο ι| σι π ρο σ αυ δ ᾶ ν
Line [710] (l yr.): λέ ξ ας δ ύ σλ εκ τ| α φ ίλο ισι ν
Line [920]: θα νά το υ κ α τὰ μ ο ῖρ| α κ α λύ ψ αι
Line [946] (l yr.): π έ μ ψω π ο λύ δ ακ ρ| υ ν ἰ αχ ά ν
The other three irregularl y-formed paroemiacs deserve special

discussion.
The first of these, line [38], is scanned in the Experimental Text as

an initial spondee + dact ylopaestic hexasyllable -3:
Line [38] — — | — — ◡ ◡ — —
ψυ χ ῆς εὐ τλ ήμο νι δ ό ξῃ
Clearl y, however, this line falls into the same category as the first
four irregular paroemiacs that simpl y do not scan to word -end, and
it should be scanned ψυ χῆς εὐ τλ ήμ| ο νι δ ό ξ ῃ . This scansion gives
deference to the form of the regular paroemiac and makes them
readil y identifiable in a visual -metrical anal ysis.
Line [937] in the kommos is the last line before the commencement
of the l yric-proper in that scene. It is irregul ar in formation and
does not scan to word -end:
569
Line [937] — — ◡ ◡ ◡ | ◡ ◡ — —
αἰ νῶς ἐπ ὶ γ ό ν| υ κ έκ λ ιτ αι
The initial measure, apparentl y an epitrite -3 with resolution in the

final syllable, occurs onl y here in the analysed portions of the play.
The irregularit y of the line could anticipate the form of the ensuing
lyric stanzas, which contain very many resolved feet and blend
dact ylopaestic and trochiambic measures.
The final irregular paroemiac occurs at line [153] in the first

movement of the Atos sa scene. It is termed a ‘co -opted’ paroemiac
because it is the onl y instance of a paroemiac that is not
convincingl y separated both tonall y and rhythmicall y from the rest
of its movement:
Line [153] — ◡ ◡ — — | — — — — | ◡ ◡ — [— ]
ἢ δ ο ρ ικ ρ ά νο υ | λό γ χ ης ἰσχὺ ς | κ εκ ρά τηκ ε ν
The line contains a properl y formed regular paroemiac, but it is not

readil y separable from the first element. 610
There is one additional instance of an irregular paroemiac that does

not appear in the Experimental Text. Line [41] of the Working Text
shows the following form:
Line [41] — — ◡ ◡ — | — — —
[ἵπ π ω ν τ᾽ἐλ α τὴρ Σο σ θ άνης ]
610 See the metrical commentary ad loc. Cp. also the paroemiac of line [77],
where the phenomenon of intra-tonal separation allows for the preservation
of the regular paroemiac. Both lines occur at points of a sudden change in the
direction of the drama; [77] closes the parodos, and [153] immediately
precedes the Elders’ first notice of the arrival of Atossa. Such dramatic
considerations should be taken into account when analysing the form of
these lines.
570
For the deletion of this line from the Experimental Text, along with
lines [39-40], see the metrical and interpretive commentaries to the
fourth movement of the parodos.
These paroemiacs represent the only lines in the anal ysed anapaests
that do not scan to word -end. This phenomenon could be said to
derive from their nature as a recognisable rhythmical form with the
specific function of closing a sense unit ; and that their fixed and
recognisable form may take precedence over the boundaries of the
words that comprise them.
Lyric.
132 lines of the traditional text of strophic l yrics were anal ysed, 611
producing 112 lines of the Experimental Text, showing 183
provisionall y identified measures, of which 141 are dact ylopaestic,
and 42 are trochiambic.
The most commonl y-occurring measure is the dact ylopaest -2, which
occurs 27 times. 612 The most commonl y-occurring trochiambic
measure is the lecythium, which occurs 11 times. 613
The most commonl y-occurring line t ype shows an initial anapaest +

dact ylopaest-2, a form which occurs 13 times in l yric (11.6% of
lines). 614
611 This figure is derived from Sidgwick’s edition rather than Garvie’s.
Sidgwick’s lineation bears a closer relation to the traditional line-numbering.
612 14.8% of all lyric measures, and 19.1% of dactylopaests in lyric. This is
also the most commonly-occurring measure in anapaests.

613 6.01% of all lyric measures, and 26.2% of trochiambic measures in lyric.
614 Eight of these appear in strophe and antistrophe B. The same
combination of measures also appears in line [62] of the parodos, and, in

combination with a final anapaest, in line [112] of strophe C.
571
Of the 112 lines of the Experimental Text of l yric passages, 16
(14.3%) are the same as those of the traditional text, and 104
(92.8%) are scanned to word -end. 615
In general, the strophic l yrics use the same measures as the

anal ysed anapaests, and in similar combinations. The pentasyllables
are less common in lyric (27.9% of measures) than in anapaests
(64.6% of measures). By way of contrast, hexasyllabic measures are
marginall y more common in l yric (12.02% of measures), than in
anapaests (11.8% of measures). 616 There are, additionall y, 9
dact ylopaestic measures that appear onl y in l yric, while onl y 4 of
the provisionall y identified measures appear in anapaests but not in
lyric.
Strophic Corresponsion.
As the several corresponsion tests show, anal ysis by tone group
exceeds expectations in its applicatio n to the strophic l yrics
anal ysed in this study. 617 The method delivers very close
corresponsion, even in the unmodified lineations of the Working
Text. Moreover, analysis by tone group very often is able to
identify the measures – or even the syllables – at which a failure in
corresponsion occurs. With these insights, one is occasionall y able
to suggest simple and plausible methods of achieving
corresponsion. 618
615 See below, Lines that are the same as those of the traditional text, and
Lines that do not scan to word-end.
616 The figures reflect the very common occurrence of the dianapaest in
anapaests (17 occurrences in anapaests, 7 in lyric). The other hexasyllables

are far more common in lyric.
617 See Appendices VI and VII, for strophic corresponsion tests for the
Experimental and Working Texts respectively. These are given also in the
metrical commentaries to each of the several strophic pairs.
618 See e.g. the transposition of lines [85] and [86] in strophe A, and, less
certainly, the variant readings in lines [115] and [116] of antistrophe C.

572
In the Experimental Text, several interventions for the sake of
metre are proposed. These include assumed synizesis and
correption, which have at least the authorit y of traditional metrical
theory behind them, the transposition of lines (e.g. [85] to post [86]
in strophe A; [117] to post [119] in antistrophe C), deletions (e.g.
in lines [127] and [131] in strophe and antistrophe D), and proposed
new readings of the traditional text (e.g. [116] in antistrophe C). 619
Others are, perhaps, more controversial, such as the unorthodox
scansions (e.g. scanned short syllables in ἐπ έσ κ ηψ ε , line [111];
θ αλάσ σ ας , line [115]) that are adopted into the Experimental Text
for the sake of producing nearer corresponsion than is shown in the
Working Text. These interventions are largel y predicated on a
visual perception of metrical regularit y which could, after all, hav e
no bearing on the aural and rhythmical value of the original
performance. In other words, we must ask whether the discrepancy
between ( u u u - ) and ( u u - ) – without presumed synizesis –was
noticed by the poet or his audience; and whether the presume d
necessit y of exact corresponsion belongs to later, literary -visual
approaches to the interpretation of the text. It is not possible to
answer these questions on the basis of this study alone, but it is one
of the important achievements of anal ysis by ton e group that the
lines resulting from the aurall y affective presentation of the
traditional text bring the stanzas so tantalisingl y close to
corresponsion even without these interventions.
Of the 52 pairs of corresponding lines in lyric, excluding the eig ht

lines of the non-corresponding epode, there are 17 pairs (32.7%)
that fail in corresponsion in some degree.
619See Appendix VIII, Textual Criticism and Emendations, for a list of all
textual emendations proposed in this study.
573
In six of these instances, 620 the lines correspond except that the
final syllable of one line is open, while the other is closed. This
discrepancy is observable because of the beat -counting conventions
employed in this study. This minor difference in corresponding
lines does, however, show that at least some variation could be
permissible in strophic corresponsion.
Five paired lines show the same b eat-count, but one line is longer
by one or more syllables. In four of these, it is simpl y a matter of
lines that correspond with resolutions. 621 In three additional cases,
lines correspond with resolutions in different positions in the
line. 622 There is, however, a difference of two syllables, that is not
caused by the presence of resolved syllables, between
corresponding lines [127] and [131] in strophe and antistrophe E;
the lines, however still show the same beat -count. 623
In two cases, paired lines show the same beat count but have
dact ylopaestic and trochiambic measures in corresponding
positions. 624 There is one final instance in which paired lines show
different (trochiambic) measures, and a discrepancy of a full long
syllable. 625
620 Lines [80] - [90], [102] - [108], [135] - [141], [137] - [143], [961] - [973]
and [963] - [975].
621 In Str. and Ant. C, lines [110] - [115], [111] - [116], [112] - [118], and in
Str, and Ant. B of the kommos, lines [759] - [971].

622 All occur in Str. and Ant. A in the kommos.
623 The measures are all trochiambic. The effect is attributed to a literal
manifestation of antidoupos, counterpoint (cf. line [129]). See Ch.5, Lyric and
the commentaries ad loc.
624 Lines [113] - [119] and [114] - [117]. See the commentaries ad loc.
625 Lines [127] - [131].
574
Related to the above consi derations is the phenomenon of
corresponding lines that are metricall y identical, but show a
different rhythmical character in the length of the individual words
that make up the lines, and in the relative length, qualit y and
positioning of their accented syllables. This is the case with almost
every pair of otherwise corresponding lines, and it seems that a
different rhythmic character is acceptable in lines that evince the
same metrical structure, and which have the same duration, that is,
which occupy th e same musical space. These considerations raise
the possibilit y that successful corresponsion was conditioned by
expectations of broad similarities between strophic pairs – allowing
minor variations in the number or quantity of syllables – and,
perhaps, b y the musical context. The implications for strophic
corresponsion are that it could sometimes amount to little more
than the expectation of rhythmic similarity between phrases; and
that the difference of a half -beat, or even a full beat – that is of a
short or a long syllable – was not held to affect the corresponsion
between stanzas. 626
The question arises as to whether exact corresponsion was desired

or achieved in every instance. The findings of this study
provisionall y suggest that broad corresponsion w as enough to
satisfy the functional poetic requirements, and that the rhythm
presented by, for example, accented syllables, was enough to make
the poetry ‘work’. If anal ysis tone group even remotel y reflects a
functional characteristic of the poetics of th is play – and the results
626For close, but inexact, ‘corresponsion’ in trochiambs, see the metrical

commentary to lines [794-975] in Darius’ historical narrative. There, in what
apparently are carefully regulated couplets of alternating longer and shorter
lines, trochiambs counting to half-beats are seen to ‘correspond’ to trochaic
pentasyllables that count always to four full beats. In the same movement
the commonly-occurring bacchiac (A), which counts to six beats, is seen to
‘correspond’ to lecythia that count always to half-beats. For the counting of
the ‘beats’ of a line, see Ch.2, Research Method: Step 2, Scansion.
575
of this study strongly suggest that it does – then we should consider
the possibilit y that these non -corresponsions were a qualit y of the
original performance; and that the assumption of precise strophic
corresponsion in every ins tance could be a chimaera of later
metrical theory.
At present there is too little comparative material to determine

whether the metrical features of the strophic pair s are the product
of various corruptions, or of genuinel y Aeschylean – and very
possibl y traditional – rhythmic and metrical variations. The failures
in corresponsion might provide insights into the metrical and
rhythmic freedom allowable in strophic l yric.
Trochiambs: Trochaic Tetrameters and Iambic Trimeters.

The anal ysed trimeter and tetr ameter passages share the same
measures, with onl y few exceptions. 627 The tentative system of
nomenclature is provisionall y supported. 628
Tetrameters.
43 lines of the traditional text were anal ysed by tone group,
producing 94 lines in the Experimental Text, showing 131
occurrences of provisionall y identified measures. These lines scan
to word-end in 97.9% of cases. 629 There are no lines in the analysed
tetrameters that present a metricall y complete trochaic tetrameter.
627 The ostensibly trochaic trochiamb-2 does not appear in trimeters; the
‘iambic’ trochiamb-1 and trochiamb-3 do appear in the analysed tetrameters.
The similarities and differences between the two verse types as seen under
this analysis are discussed at Trimeters vs. Tetrameters, below.
628 The principles of their formation, however, remains unclear, and the
proposed nomenclature does not quite suit all the measures identified. See
comments under each class of measure in Ch.3, Principal Measures:
Trochiambs, and Appendix X, Tables of Measures.
629 See Lines that do not scan to word-end, below.
576
The most commonl y-occurring measure is th e lecythium, which
occurs 16 times (12.2% of measures). 630 Other commonl y-occurring
measures are the trochaic pentasyllable (13 occurrences, 9.9% of
measures in tetrameters), the trochiamb -2 (12 occurrences, 9.2% of
measures in tetrameters), and the dicretic (A) (10 occurrences,
7.6% of measures). 631
Of the 94 lines of the Experimental Text of anal ysed tetrameters,

not one is of the same form as the traditional text. 632 The most
common line form is the lecythium, with 100% of its occurrences in
the anal ysed tetr ameters representing complete lines of the tonall y
affective text.
The Tetrameter Couplet.

More important than individual lines, perhaps, is the common
occurrence of the tetrameter couplet. This is t ypicall y an
unbalanced couplet, consisting of lines of e ight and seven syllables,
but the form seems to allow considerable variation within the basic
framework of longer and shorter lines. Of the 94 lines of anal ysed
tetrameters, there are 19 couplets (38 lines, 40.4% of anal ysed
tetrameter lines) that conform to the regular 8 - and 7-syllable form.
These account for all the lines in the Elders’ first tetrameter
address to Atossa, and in Darius’ first tetrameter address to the
Elders. 633 The regular form of the couplet appears in each movement
of the anal ysed tetra meters, even where, as in the stichic dialogue
630 The lecythium seems to be a key structural element also in trimeters,

where it occurs 15 times (10.7% of trimeter measures), and 11 times in lyric
(26.2% of trochiambic measures in lyric). See Appendix X, Tables of
Measures: Other Trochiambic Heptasyllables.
631 See Ch.3, Principal Measures, and Appendix X.
632 This is in stark contrast with the Working Text, which does not admit
intra-tonal separation, on which, see above.

633 [160-167] = 155-8; [703-708] = 697-9.
577
(see below), considerable variation is allowed. 634 Irregular
variations of the unbalanced tetrameter couplet range from 10 - and
5-syllables, 635 11- and 5-syllables, 636 and even 12- and 2-syllables,
for longer forms. 637 In 100% of the regularly-formed couplet, the
longer line precedes the shorter; in 4 instances onl y of the irregular
variants, the shorter line precedes the longer. 638 This is in stark
contrast with the trimeter couplet, which tends to alternate the
order of its longer and shorter lines to coincide with changes of
direction in the narrative. Finall y there are 5 instances of the
trimeter couplet, 639 and 3 instances of balanced couplets, 640 all of
which appear in the stichic dialogue onl y. There is onl y one line –
outside the stichic dialogue – that stands in isolation from a
couplet. 641
These account for all the lines of anal ysed tetrameters, except those
of the stichic dialogue, which deserve special discussion.
Stichic dialogue.
Stichom ythia, a dialogue form is which each speaker delivers one
full tetrameter line, is one of the signal poetic forms of tragedy.
634 It appears twice in [712-719] = 703-708 (36.36% of lines in that

movement), twice in [720-726] = 709-714 (33.33% of lines in that
movement), and 8 times in [727-780] = 715-738 (stichic dialogue - 28.07%
of lines in that movement).
635 There are 8 couplets (17.02% of tetrameter lines) of this form or its
equivalent by resolution (e.g. lines [770-771]; lines [720-720a] and [725-

726] in Atossa’s first reply to Darius; lines [721-721a] in the same movement
show a 10- and 4-syllable variant.
636 E.g. lines [713-713a]; lines [714-715] show an 11- and 6-syllable variant.
637 Lines [732-733] in the stichic dialogue.
638 Lines [718a-719], [724-724a], [734-735], and [745-746].
639 Lines [728-729], [731-731a], [761-762] (with hexasyllabic shorter line;
see on the trimeter couplet, below), [764-765], and [769-769a].

640 Lines [739-740] and [750-751].
641 Line [716] in Darius’ first Address to Atossa. See the commentaries ad loc.
for the special properties of this isolated gnome.

578
The effect of anal ysis by tone group on the lines of the
stichom ythia between Darius and Atossa is unambiguous, and likel y
controversial. Under this anal ysi s, every line of the dialogue is
broken up into between two and three lines of the tonall y affective
text. For this reason it is termed ‘stichic dialogue’ rather than
stichom ythia.
The stichic dialogue is composed largel y of regular and irregular

forms of the tetrameter couplet, supplemented in many cases by
much shorter lines of between one and four syllables. The lines
show a greater freedom of variation in form than is seen in the
other anal ysed tetrameters. Nevertheless, the Experimental Text of
the stichic dialogue shows a highl y-structured and poeticall y
formalised representation of natural speech. The form of the lines
in the Experimental Text is naturalistic and yet rhythmicall y well -
balanced; they stand in stark contrast with the rigid formalit y of the
traditional text.
No attempt has been made in this study to account for the fact that
each speech in the stichic dialogue is equivalent to a traditional
trochaic tetrameter. The main findings that pertain to this study are
(a) that the lines are rhythmicall y coherent, presenting the same
measures and combinations of measure that are seen in the other
anal ysed portions of the play; and (b) that the smooth -flowing and
naturalistic form of the tonall y affective text represents more
strongl y and consiste ntl y the patterns of every-day speech, which
stichom ythia, in particular, is supposed to reflect.
To cite the impact of the tonall y affective lineation on just one line
as an instance, we may refer to lines [749 -751] (=725). The line is
clearl y made up of three distinct tonal utterances: an exclamation
( φ εῦ ), a principal clause ( μέγ ας τις ἦλ θ ε δ αίμ ω ν ) and a
579
contextualising subordinate clause ( ὥσ τε μὴ φ ρο νεῖ ν κ αλ ῶς ). When
these are delivered as per the traditional lineation, they come
across as cumbersome and wooden; there is no drama or passion in
them. Additionall y, the long lines will present challenges to an
actor who must project his lines to an audience of thousands in a
day-time open -air theatre. 642 By way of contrast, the three lines of
the Experimental Text are rhythmicall y well -formed, and each gives
ample space for the force of each phrase to be heard and interpreted
by the spectators. It could be argued that the punctuation of the
traditional texts does the work of tonal grouping, but even so,
without a clear praxis for interpreting the relevant tonal groupings
the use of punctuation is haphazard; 643 and the length of the lines
tends to obscure rather than clarify the significance of each
component phrase. Additionall y, where the phrases are made
distinct in utterance in accordance with the natural speech
intonation implied by printed punctuation, the pauses between
phrases will necessarily impact on the rhythm of the lines,
rendering the fifteen -syllable metrical line of the catalectic
tetrameter rhythmicall y irrelevant. 644
The provisional finding is that the tonall y affective text of the

stichic dialogue better reflects both the forms of na tural speech, the
implied structures of the spoken lines, and the exigencies of the
playing space than do the lines of the traditional text.
642 See Musical and Poetic Conventions: Performance Considerations, below.

643 Of the editors consulted, West, Sommerstein, Broadhead, Sidgwick and
Smyth separate the three phrases identified in line 125 with commas; Garvie
prints a comma after φ εῦ only; Page prints the line without punctuation.
644 See Ch.2, Research Method: A note on the translations; and, below,
Musical and Poetic Conventions: Rests.

580
For a full discussion of the form of the lines, and their rhythmic
and interpretive implications, see the metrical and interpretive
commentaries in Chapter 6, Tetrameters.
Trimeters.
69 lines of the traditional text were anal ysed, producing 122 lines
in the Experimental Text, showing 140 occurrences of provisionall y
identified measures. These measures scan to word -end in 100% of
cases. Of the 122 lines, onl y 18 (14.7%) are composed of more than
one measure. That is, of 140 measures, 104 (74.3%) constitute
complete lines of the Experimental Text. There are 9 lines (7.4%)
that scan as metrically complete iambic trimete rs, of which eight
are the same as the traditional text. 645
The most commonl y-occurring of the provisionall y identified

measures is the trochiamb -3, which occurs 26 times in trimeters
(18.6% of measures in the anal ysed trimeters). Of these, 21 occur
as single lines (17.2% of lines), which makes the trochiamb -3 the
most common line-form in the anal ysed trimeters. The dicretic (A)
is scanned 21 times (15% of measures), 17 of which account for
whole lines (13.9% of lines); the lecythium is scanned 15 times in
trimeters (10.7% of measures), 9 of which account for whole lines
(7.4% of lines); the trochaic pentasyllable occurs 11 times (7.9% of
measures), 10 of which account for whole lines (8.2% of lines); the
bacchiac (A) and the iambic pentasyllable, both oc cur 10 times
(7.1% of measures). All the bacchiacs (A) account for whole lines
(8.2% of lines). 7 occurrences of the iambic pentasyllable account
for whole lines (5.7% of lines).
645Line [363] is an artefact of the experimental lineation. Additionally, line

[732] is the length of an iambic trimeter, but shows ostensibly trochaic
measures. See also above, Separation of the lines of the traditional text into
tone groups: Lines that are the same in both traditional and tonally affective
texts.
581
That 100% of these measures scan to word -end, along with the high
proportion of measures that account for complete lines of the
Experimental Text, constitutes provisional evidence that the
lineation derived from anal ysis by tone group genuinel y reflects the
rhythmic and semantic structures that underpin the trimeter verses
anal ysed in this study. The same features offer support for the
trimeter couplet as a genuine feature of the trimeters anal ysed in
this study.
The Trimeter Couplet.

The regular trimeter coupl et is an unbalanced couplet of 7 and 5
syllables per line. Irregular c ouplets show longer lines of 9, 10 or
12 syllables, and of 2, 6 or 7 syllables for the shorter lines. As
opposed to the tetrameter couplet, where the longer line generall y
precedes the shorter, the order of longer and shorter lines in the
trimeter couplet tends to be reversed with changes of direction in
the narrative.
There are 51 trimeter couplets (102 lines) in the 122 lines of

trimeters in the Experimental Text (83.6% of lines). Of these, 42
(82.35% of couplets) are regular, and 8 are irregular. 646 There is one
balanced couplet of 6 syllables per line. 647 Of the eight irregular
couplets, two are analogous to the tetrameter couplet. 648
646 Lines [362-363], [373-373a], [690-691], [686-687], [697-697a], [804-

805], [807-808], and [814-815].
647 Lines [767a-768a]. The lines come under suspicion and might be the
result of an early textual intervention. See the commentaries ad loc.

648 Lines [807-808] show an 8- and 7-syllable couplet, with a resolved
syllable in the first line. Lines [814-814] show a couplet of 10- and 7-
syllables.
582
Of the 51 trimeter couplets presented in the Experimental Text, 27
have the shorter line preceding the longer. Of these, 25 a re
regularl y-formed. 23 have the longer line first, of which 18 are
regularl y-formed. The remaining couplet is balanced.
Of the 122 lines of trimeters in the Experimental Text, there are 20

lines that do not form a couplet. 649 Of these, 5 reflect the form o f
the regular couplet, 650 scanning to word -end as two measures of five
and seven syllables; of these all but one show the shorter measure
preceding the longer.
The form of the regular trimeter couplet corresponds to the schema

given by Maas ( Greek Metre, 66):
( x - u - x | - u | - u - u - ).
Maas notes (ibid.) that ‘every line has a caesura either after the
fifth or after the seventh element’. 651 This feature accounts for the
form of the regularl y-formed trimeter couplet, and for those longer
lines that present the regular five and seven syllable measures. As
shown, however, it does not account for all of the trimeter lines
anal ysed in this study. Such variations from the regular schema
tend to occur at narrative and dramatic focal points, and present
pleasing rhythmical variations that enhance, rather than detract
from, the rhythmic unit y of their movements.
The trimeter couplets are often the product of intra -tonal

separation, and some of the separations will no doubt be
controversial. Nevertheless, where the resulting phrases scan to
649 Lines [353-55], [364-366], [379], [382], [385], [685], [689], [688], [692],
[698], [800a], [802-803], [806], [809], and [813].
650 Lines [379] (short-long), [382], [385], [685], and [689].
651 I.e., the lines scan to word-end as measures of five and seven syllables.
See below, Diaereses and Caesurae.

583
word-end in every instance, are semanticall y self -contained, and
generate meaning by the paratactic succession of phrase on phrase,
the form of the lines as given in the Experimental Text seems to
reflect a genuine aspect of t he poetic principles that inform the
lines. The lines, so -disposed, give maximum clarit y to each phrase,
which will make them more readil y learned by performers and
interpreted by spectators.
Trochiambs: Trimeters vs. Tetrameters.

The tetrameters and trim eters anal ysed for this study show certain
affinities. The measures presented below are identified as ‘iambic’
or ‘trochaic’ according to the position of the first short syllable.
The purpose of the discussion below is not to determine whether
they are man ifestations of the same system of versification, but to
offer an initial survey of the similarities and differences between
the two verse-t ypes as they appear under anal ysis by tone group.
Of 28 provisionall y identified trochiambic measures scanned in the

Experimental Text, 24 occur in either trimeters or tetrameters. 652 Of
these, ten are held in common:
Trochiamb-3: 26 (trim.) / 5 (tetram.) [iambic]
Trochiamb-4: 9 / 4 [trochaic]
Iambic pent. : 10 / 6 [iambic]
Trochaic pent.: 11 / 13 [trochaic]
Pent. Amphibrach: 1 / 2 [iambic]
Triiamb: 6 / 2 [iambic]
Heptasyllable -3 6 / 3 [iambic]
Lecythium: 15 / 16 [trochaic]
652The others are found in lyric only. The following discussion excludes
those measures proposed as part of a hypothetical system in Ch.3, Principal
Measures, and Appendix X, Tables of Measures that are not found in the
Experimental Text.
584
Dicretic (A): 21 / 10 [iambic]
Diiamb: 4 / 2 [iambic]
Total: 109 / 63
Of the seven ‘iambic’ measures held in common, all bu t one, the

pentasyllabic amphibrach, are more common in trimeters. Two of
the three ‘trochaic’ measures, the trochaic pentasyllable and the
lecythium, occur in roughl y equal proportions in both verse t ypes,
with the ‘trochaic’ trochiamb -4 occurring twice as often in
trimeters. Similarl y, of three instances of iambic pentameter lines,
two occur in tetrameters. 653 The measures seem to be used more or
less indifferentl y, according to the dictates of their rhythmic
context.
The following measures occur in trimet ers onl y:

‘open’ tetrasyllable (1); diiambic pentasyllable (2 – iambic);
trochiambic hexasyllable -3 (1 – iambic); trochiambic heptasyl lable -
4 (1 – trochaic); bacchiac (A) (10 – iambic); diiambic heptasyllable
(3 – iambic).
Trimeters present four unique m easure t ypes (16 instances) that are
‘iambic’. Onl y one measure can be regarded as ‘trochaic’.
The following measures occur in tetrameters onl y: trochiamb -1 (3 –

iambic); trochiamb-2 (12 – trochaic); tritrochee (1 – trochaic);
‘anceps’ tritrochee (2 – trochaic); iambic hexasyllable (1 – iambic);
trochaic hexasyllable (2 – trochaic); ‘anceps’ lecythium (2 –
trochaic); epitrite-3 (4 – iambic).
653Lines [688] and [698], which occur in similar rhythmic circumstances; the
occurrence in trimeters is at line [806].
585
Tetrameters present five unique measure types (19 instances) that
are ‘trochaic’. Three measures (8 instances) can be regarded as
‘iambic’.
On these initial findings, it seems that the unique measures tend to

conform to the appropriate verse -t ype.
Of the subsidiary measures scanned in this study, the following

occur in the anal ysed trimeters and tetrameters:
Spondee: 3 (trim.) / 1 (tetram.)
Trochee: 0 / 1
Cretic: 1 / 14
Bacchius: 0 / 12
Molossus: 2 / 0
Choriamb: 0 / 2
Total: 6 / 29
Tetrameters make greater use of the subsidiary measures, especiall y

the trisyllabic cretic and bacchius. These commonl y fill out the
eight syllable longer lines of the tetrameter couplet.
Additionall y, both verse-t ypes show a number of unique irregular

measures. In trimeters there are three octosyllabic measures
scanned in the experimental text. 654 These are formed by resolution
of one long syllable in an otherwise regularl y -occurring
heptasyllabic measure. To these must be added the irregular
‘pherecratean’ measures of lines [372 -373].
654Lines [366], [684], and [807]. See Appendix X, Tables of Measures: A note
on octosyllabic measures.
586
In tetrameters, there are five resolved measures: cretics with
resolution in the first foot at lines [719] and [727]; trochiambs -2
with resolution in the first syllable at lines [722], [725] and [770].
Additionall y, there are a further three measures, irregularl y -formed
hexasyllables, at lines [713], [725], and [714], which are not
analogous to any trimet er measures. 655
The unbalanced couplet is a signal feature of both verse t ypes.

There are five instance of regular trimeter couplets in tetrameters,
and two instances of (irregular) tetrameter couplets scanned in
trimeters. 656
There are, then, some grounds for accepting that trimeters and
tetrameters are manifestations of the same basic principles of
versification. Maas, at any rate, treats them together as part of the
same metrical schema ( Greek Metre, 66). Garvie (159 -248n, 105)
cites Michelini, who argue s that the Persians, in particular, ‘marks
an intermediate stage in which trimeter and tetrameter co -
existed’. 657 The two verse-t ypes share many common measures, but
those that are unique to each tend to conform to the expectations
that they be ‘iambic’ or ‘trochaic. The unbalanced couplet appears
to be a key structural feature in both verse t ypes. The anal ysed
trimeters show greater variation in line -length and a more
dramaticall y effective use of the interplay between longer and
shorter lines. Both verse t ypes show resolved measures, which are
marginall y more common in trimeters; in both verse t ypes these
655 See Appendix X, Tables of Measures: Trochiambs, Irregular Hexasyllables.

656 See under Tetrameter Couplet and Trimeter Couplet, above.
657 Ann N. Michelini, Tradition and Dramatic Form in the Persians of Aeschylus
(Leiden, 1982); Garvie also cites Edith Hall (edn., 120), who ‘rightly remarks
that “it is easy to overplay such evolutionary models”’.
587
tend to occur at narrative and dramatic focal points. 658 One clear
difference is that the tetrameter line tends to be somewhat longer
than that of the trimeter, but even here the evidence is
inconclusive. In the absence of a greater body of comparative
material it is preferable to regard their differences and similarities
as evidence of Aeschylus’ rhythmic freedom within two related but
distinct verse systems.
Musical and Poetic Conventions , Performance Considerations.

The following discussion examines the key featur es of the lineation
of the Experimental Text and their implications. Unless otherwise
stated, all discussion refers to the lineation of the Experimental
Text.
Rests.
Pauses are what makes poetry poetry and music music. Musicalit y
and rhythm simpl y cannot exist without pauses; it is, in fact, the
pauses that define rhythm as much as or more so than the audible
elements of the composition. Any arrangement of the individual
lines of a play – and the accompanying rhythmic -metrical analysis
– that not onl y all ows for such rests, but also gives clear
indications of where they should occur, is to be preferred to one
that makes no such allowances.
Even as printed in the traditional texts, the individual phrases of

the lines tend to demand some kind of separation as they are spoken
aloud. This feature commonl y corresponds to points at which
modern editors use punctuation to make better sense of the printed
form of their texts. Punctuation, especially periods and colons,
commonl y correspond to a pause in spoken lan guage, and these
See the discussion of this feature of prosody in Appendix X, Tables of

658
Measures: Resolved Measures in Trochiambs.

588
pauses cannot but affect the rhythm of a line that contains them. It
is often extremel y difficult to pronounce certain lines of the
traditional text without some kind of tonal separation, so long as
one is giving any thought at all to what is being said. To argue that
what is being said is irrelevant to the poetry – and this is what must
be argued by those who would have the distinct phrases uttered all
of a single piece – is entirel y counter -intuitive. 659
The lines of the tonall y affective texts represent the patterns

corresponding to the spoken word. For the importance of rests to
the appreciation of this p lay aurall y, refer to Appendix IX , Audio,
with Audio 1 and 2, with notes .
The Actors’ Breath.

Breath is vitall y important, as any sing er or actor will be able to
affirm. In the original performance context of the Theatre of
Dionysus at Athens, this will have been of even greater importance.
The actors necessarily had to project their voices to the farthest
limits of the audience space, i n daylight hours in the presence of
the greater part of the adult Athenian population. Even given the
fine acoustic properties of the Athenian theatre (which, however, at
the earl y period, were probabl y not quite so excellent as those of
the later survivin g theatre at Epidauros), we can suppose that this
presented a challenge (Sophocles, it is said, preferred not to act in
his own plays owing to the weakness of his voice).
Here also we might speculate that the masks worn by the actors will
also necessitate a focused, slow and clear delivery of the individual
words of each line.
659 See also under Metrical Considerations, below.

589
Therefore the exigencies of breath, breathing, and phrasing are
crucial factors in determining the validit y of many of the tonal
separations proposed in this study. It is a matter of performabilit y.
A line that, in full, will extend the actor’s breath almost to a point
below its tidal volume will be much less likel y to be successfull y
delivered than the same line phrased so as to allow the maximum
force of breath for every distinct utterance.
Twelve beats (as they are counted in this study) seems to be the
practical maximum length of a line. Twelve -beat lines are rare, as
are even lines of ten or eleven beats. In the parodos twelve-beat
lines appear onl y at the beginning of passages that seem to have
been intoned rather than sung. 660 Of the lines anal ysed in this study,
onl y line [42] of the fifth movement of the parodos, and line [154]
of the first movement of the Atossa scene , both in dact ylopaests,
are as long.
It is assumed here that the chanted dact yl opaests are intoned in a

way that is not dissimilar to singing, in terms of the requirements
of the actors’ breath. This form of delivery allows for the
successful delivery of longer lines.
By way of contrast, it is assumed that trochiambic passages were

delivered in a much more naturalistic manner. The breathing
associated with ordinary discourse (and the stichic dialogue in
particular mimics the ordinary patterns of speech) does not allow
for the same ‘stretching’ of the breath. The longest lines in the
trochiambs of the Experimental Text are ten beats (sometimes noted
as 11-beats in the case of an open final syllable), and the majorit y
660 See Singing versus Speaking, below.

590
are shorter, between four and seven bea ts in length. Ten beats
seems to be the approximate practical limit in trochiambs.
Clarity of Delivery.
In general the shorter line -lengths identified under anal ysis by tone
group allow for the most forceful and clear delivery of each
utterance of the pl ay. Each line is to be given its own sonic and
semantic space, allowing not onl y for the successful interpretation
of the individual lines, but also of their meaning in the context of
their movements, in which, as has been shown, meaning is derived
from the paratactic succession of simple, coherent statements.
Audience Comprehension.
These same consideration pertain also to the likelihood of the lines
being successfull y interpreted by the audience. Where longer
phrases are constrained within a single bre ath (which here again
can be regarded as broadl y analogous to a tone group), their several
elements tend to become less distinct. This lack of distinction will
onl y hinder audience comprehension. Furthermore, the increased
clarit y that comes when each phra se is delivered in isolation and
with the full power of the actor’s voice will make the phrases more
likel y to be successfull y interpreted conceptuall y as well as aurall y.
That is, careful phrasing makes the words more likel y to be heard
and their meaning more likel y to be understood.
Singing versus Speaking.

On the basis of the qualit y and patterning of the accented syllables,
it seems fairl y clear that the first two movements of the parodos
were sung; 661 from there the parodos moves between sung and
chanted movements as follows: 1st movement: sung; 2nd
See the hypothetical reconstruction of the melody of these two

661
movements at Appendix IX, Audio 3.

591
movement: sung; 3rd movement: intoned; 4th movement: sung; 5th
movement: intoned; 6th movement: intoned; 7th movement:
intoned; 8th movement: (probabl y) sung.
The movements that are ostensibl y musical are t hose that are most
likel y to have been delivered by the whole chorus; the chanted or
spoken movements are more plausibl y delivered by individual
members. The phrases that are assumed to have been sung tend to
be shorter and more often subject to intra -tonal separation. The
likel y cause of this is the different requirements on the actors’
breath and the dictates of the accompanyi ng musical form.
It is assumed that l yrics were sung, a view that is largel y

conditioned by our contemporary understanding of l yri cs as the
words of a song. But was this necessaril y the case? The longer
initial lines of the tonall y affective texts in all strophic pairs except
the second (strophe and antistrophe B) are reminiscent of the longer
initial lines of the movements of the parodos that are supposed in
this study to have been chanted or intoned. Additionall y, the lyric
stanzas do not show the same indications of musicalit y in the
character and dispositions of their accented syllables that is seen
in, for example, the first two movements of the parodos, and,
moreover, corresponding lines show clear indications of metrical
regularit y but are rhythmicall y quite different. 662
Homeric poetry, it is assumed, was intoned line -by-line to the

accompaniment of a lyre, and it could be, the n, that the same
phenomenon is operative here, and that the ‘l yrics’ were intoned in
the context of a single tonic note from the double -aulos. This
suggestion is made onl y very tentativel y.
662 Eg. Corresponding lines [102]-[108], [113]-[119], [134]-[140].

592
Traditional Metrics: A Comparison of Approaches and Findings.
Preamble: The Alexandrians and the Textual Tradition.
Our present -day texts of the tragedies of classical Athens are
derived from those reconstructed by the scholars of Alexandria. It
was their task to reconstruct viable texts of the surviving plays
from a manifold textual tradition.
Written editions of the plays began circulating very soon after the
original performance. These earl y texts proliferated over time,
either from different sources or from multiple copying from one or
more sources. We may suppo se that the Lycurgan recensions
imposed some stability on the tradition, but each new copy had to
be hand-written and errors inevitabl y will have been compounded.
Furthermore, the tradition becomes a purel y textual one, stripped of
all the musical and thea trical contexts of the original performance.
By the time of the Alexandrian scholars, some three hundred years

later, the tradition was manifold, and we may expect any number of
conventions of orthography – spelling, lineation, speech attribution,
etc. Much of the material, however, would be fairl y secure and
broadl y shared between texts of different provenance; there were
also no doubt very many discrepancies, some slight, others,
perhaps, involving the transposition, addition or removal of lines or
even of entire movements.
The onl y way the Alexandrians were able to distinguish good

readings from bad was by scanning the written texts visuall y –
without word or line spacing – and so identify the metrical
parameters, and to cull those lines, or versions o f lines, that
wouldn’t scan correctl y. Indeed, their visual -metrical
reconstructive method was the onl y one that could possibl y have
593
identified words and phrases that suited their metrical context, and,
if our present texts are of any value at all, theirs was something of
a miraculous achievement.
In this task, however, the Alexandrian scholars made many

assumptions, and the most important of these, from the point of
view of this study, is the notion of symmetry; that all lines should
be of the same metrical length. Notions of balance and symmetry
stood at the forefront of all scientific and artistic endeavour; the
signal example of this is the perfect circularit y of the Ptolemaic
universe. Furthermore, over the centuries, the poetic works of the
ancients had acquired a special status: they were looked to as the
perfect developed form of the highest literary art and one,
moreover, which was far -removed from the world of their own
present day.
Given that these scholars were working in a developed literary

tradition, it is not surprising that they failed to take into account
the oral-aural qualities of the tradition they were working on.
The notion of symmetry, while no doubt was central to their highl y

successful reconstruction of the wording and metre of the plays,
also all-but completely obscured the rhythmical and musical
qualities of those same texts; as soon as it is arbitraril y decided
that the ‘lines’ of any poetic work are all of eight beats’ duration
(or of so many syllables, or of so many accents) , the natural rhythm
of long and short phrases, the relevance of accent, word -end, and,
perhaps most crucially, of rests, is obscured or lost. 663
663 See Performance Considerations: Rests, above.

594
It is little wonder then, given the great success of the Alexandrian
methods, and the importance given to the literary status of these
plays, that it was easy to suppose that the attendant musical
conventions were simpl y lost. Furthermore, when rests are removed
or misplaced in any musical composition, the result is rhythmicall y
and musicall y meaningless, and it i s almost unavoidable that
scholars of later ages would suppose these conventions –
misrepresented in a purel y textual tradition – to be entirel y alien to
anything known in their own time. 664 Such is the current view of our
surviving texts of tragedy.
The fact remains that the texts as we have them remain un -singable
in their present form. The present study challenges the formal
assumptions of the Alexandrians, most especiall y the notion of
metricall y uniform line length. With analysis by tone group we
have the beginning of the possible reconstruction of the rhythms –
and meanings – that are presentl y obscured but nevertheless latent
in the traditional texts as we have them. 665
Metrical Considerations.
When considering the origin of Greek poetics, there seem to be two
starkl y differentiated possible trajectories. Either:
(a) Greek-language poetics, from its earliest development in a

context devoid of writing , broke deliberatel y and consistentl y from
664 The problem may be illustrated with reference to a well-known children’s

song, as it might appear in a far-future text, long after the associated tune
and rhythm were lost. Note, that while the lineation of the first two lines still
preserves a rhythm of a sort, the closing phrase preserves its tonal identity.
Mary had a little lamb little
Lamb Mary had a little lamb
Its fleece was white as snow.
665 And even, perhaps, of the melodies. For a speculative treatment of this
issue, see Appendix IX, Audio 3 with notes.

595
nearl y every principle of natural -language communication (acc ent
and word-end, phonology, syntax, semantics), or:
(b) Greek language poetics, from its earliest development in a

context devoid of writing , exploited and developed all the
rhythmical and musical potential inherent in natural language
communication.
Certain of the features of the traditional text are explicable with

reference to perspectives derived from anal ysis by tone group. The
following discussion examines the consensus views derived from
contemporary metrical theory from that perspective.
Chris Golston and Thomas Riad anal yse the verse t ypes of tragedy
in terms of markedness, an index of how far the metres deviate
from the regular rhyt hm their forms impl y. 666 They come to some
very surprising conclusions, namel y that some Greek metres are
rhythmical while others are not; that metre need not be rhythmic;
that arrhythm y is the defining characteristic of some metres; they
claim to disprove the notion that all variant metres are ‘just
rhythmical in a different way’ (2000, 100). In contrast, anal ys is by
tone group shows that all the poetic t ypes anal ysed in this study are
inherentl y rhythmical, and that rhythm need not be regularl y
metrical; rather, many rhythmic effects rely on asymmetrical
variations in metre – and the conclusion that all Greek metres are
‘rhythmical in a different way’ is provisionall y supported.
The different findings are predicated on differences in the basic

assumptions of the two approaches. Cruciall y, Golston and Riad
begin with the assumption that ‘metrical structure bears a strict
Chris Golston and Tomas Riad (2000). ‘The Phonology of Classical Greek
666
Metre’. Linguistics 38.1, 99-167.

596
relation to the prosodic structure of natural language’. 667 This same
assumption lies at the heart of anal ysis by tone group.
Where the approaches diverge, however, is in what is taken to be

the basic unit of poetic verse. In defining the prosodic hierarchy,
Golston and Riad assume it is the full metrical line; they go so far
as to define the full line as the Intonational Phrase (104). Analysis
by tone group assumes it is the tone group, which corresponds to
the second level of their prosodic hiera rchy, the phonological
phrase. 668 In contrast, anal ysis by tone group holds their
‘Intonational Phrase’, the full metrical line, as an artefact of a
literary, that is, visual -metrical, approach to the interpretation of
verse, and one that is all -but complet el y divorced from its aurall y
affective characteristics.
On the basis of this study, certain of the specific claims made by

Golston and Riad may be challenged, while others find some
support.
- That metre need not be rhythmic (100). This assertion is bas ed on

the assumption that the intonational phrase is equivalent to the full
metrical line, and conforms to the expectation that accent and
word-end are irrelevant to ancient Greek poetics. 669
667 2000, 100. This is the closest they come to showing any understanding at
all of the oral-aural qualities of the poetry they are analysing.
668 I do not dispute the notion of a prosodic hierarchy (2000, 103-4 with n.3).
As one, however, who has spent many hours reading Greek verse aloud; and
one, moreover, who has experienced the frustration of the consistent un-
rhythmicality of metrically regular lines, the notion that the full metrical line
necessarily is the basic intonational unit is, in my judgement, questionable to
say the least.
669 See Accent and Ictus and Diaereses and Caesurae, below.
597
- That ‘metrical structure bears a strict relation to the prosodi c
structure of natural language’ (100, discussed above). Anal ysis by
tone group formall y adopts the same basic assumption, but in terms
of rhythm, not of metre.
- That ‘poetic metre is generall y identifiable from prosodic

regularities involving phrasing, quantit y and rhythm’ (102). The
findings of this analysis agree, provisionall y, but would rephrase
the principle as: the rhythms of poetic speech are generall y
identifiable from prosodic regularities involving phrasing, quantit y
and recurrent rhythmic patt erns. The findings of this study suggest
that metre is dictated by, and subordinate to, rhythm. 670
- That where in prose syntax can be said to determine prosody

(102), so that the sound of the phrase is of negligible importance,
poetic syntax ‘reverses the natural order of things such that HOW
the text sounds become primary and what syntactical and
morphological structures are used becomes secondary’ (103). The
findings of this study concur, in as much as this is an inescapabl y
obvious feature of poetic spee ch regardless of one’s anal ytical or
critical approach. Nevertheless, this study finds that the syntactic
and morphological structures are identifiable with tone groups in
every instance, and therefore are of primary importance in the
presentation of both rhythm and meaning.
- That metricalit y is symmetrical and binary: ‘Intonation al phrases

(lines) branch once’ (105). This study shows an inherent metrical
asymmetry that is nevertheless rhythmicall y balanced. This
discrepancy could, in part, be derived fro m the differing
significance given to the tone group, and from an approach to
As expressed in the axiom ‘metre is analysed rhythm’. See Rhythm Over

670
Metre, below.
598
versification that consequentl y makes no allowance for pauses
between phrases, that is, at line -end.
- That ‘marked syntactic structures in poetry are often done because

of the metre’ (106). In terms of the findings of this study, such an
evaluation is unnecessary and potentiall y misleading: unnecessary
because the phenomenon (extending also to word -choice) is readil y
observable in all t ypes of poetry; potentiall y misleading beca use,
first, this study shows that the rhythmic principles of the verse can
also preserve the natural-speech intonation of the phrases; second
because it is the rhythm of these natural speech phrases, not the
metre, that determines these things.
On the basis of these initial findings, the following brief

observations on the prosodic features associated with the traditional
text are in order. These stand in stark contrast with the findings of
traditional metrics .
Accent and Ictus.

Accent and ictus, and ars is and thesis, have a much -disputed
relevance to Greek poetics. Golston and Riad find that ‘there is no
discernible pattern to where the lexical stresses go’ (109). This is
supported with reference to the work of distinguished classical
scholars, whose statements, quoted by the authors, are worth noting
here:
(109) In English rhyt hmic ‘‘arsis’’ and ‘‘thesis’’ signify the

stressed and the unstressed syllables respectivel y, a
distinction which does not exist in Greek metrics (Maas
1962: section 8).
599
(109) Word accent is of secondary importance, and seems to
have played no significant part in the structure of verse
(Raven 1962: section 13).
(110) [I]n Greek there appears to be no attempt to achieve

agreement between accent and metre in any part of the line
in any spoken form [of metre] (Allen 1973: 262).
(111) [W]ord divisions are completel y irrelevant for

purposes of syllable quantit y. It is as if the entire line we
resyllabified without regard to word divisions prior to
metrical scansion (Steriade, 1982). 671
All of these claims are challenged by the findings of this study.

Where Golston and Riad summarise these findings under the rubric
that ‘prosody is independent of the morphosytax in metre’ (112),
anal ysis by tone group finds that they are mutuall y suppo rtive. 672
Accent and word -end, far from being irrelevant or actuall y

contradictory to the dictates of metre, regularl y support the rhythms
of the phrases when anal ysed by tone group. No attempt has been
made in this study to quantify ictus and arsis and thesis
systematicall y, but the initial indication is that these features of
prosody are related to the accented syllables as disposed in the
tonall y affective lineation. These findings have important
671 My italics. This, I argue, is exactly what did happen, probably at

Alexandria, as described above.
672 One asks: how could such counter-intuitive linguistic features have
developed naturally in a purely oral-aural context; one, moreover, as must

have been the case in earliest times, without a pre-existing and stable poetic
(much less a literary) tradition? The likely answer, it seems, is that they
could not have.
600
implications for the further development of our understanding of
ancient Greek poetics.
Diaereses and Caesurae.

In this study diaeresis is understood as a word -break that coincides
with the end of a metrical foot, and a caesura is a word -break
within a metrical foot. In this study, therefore, onl y those lines that
do not scan to word -end are held to have caesurae. 673
In the anal ysed anapaests, all 4 - and 5-beat phrases are regarded as
stable rhythmic elements and are held to be without diaeresis or
caesura. The majority of 6 -beat phrases, 674 and all 10-beat phrases
show a diaeresis corresponding to word -end; but it is
asymmetricall y placed. This is true also of more than one half of
the paroemiacs anal ysed in this study. 675 These may be termed weak
diaereses. All 8-beat phrases are made up of two measures, and all
have a word break at their midpoint; in other words, a central
diaeresis. The 12 -beat phrases are each composed of three
measures, and show two diaereses. That is, these verses exhibit a
regular word-break that coincides with metrical divisions. These
may be designated strong diaereses.
The evidence of the anal ysed tetrameter and trimeter passages is

that the diaereses and caesurae of the traditional metrical line are a
product of the standard line -length of the originals performance,
and of a misinterpretation of the basic rhythmic units , and
673 See Lines that do not scan to word-end, below. Word-end refers to
grammatically related groups of words, rather than to the beginning and
ending of all individual words.
674 I.e., those that are scanned as more than one measure.
675 See Lines that do not scan to word-end. The only lines in the analysed
anapaests that do not scan to word-end are paroemiacs. See Anapaests:

Irregular Paroemiacs, above.
601
especiall y of the unbalanced couplets . 676 That is, the diaeresis is
caused by the average length of the colon; and that the colon is
coincident with the logos of the tonall y affective appreciation of
this poetry.
It is precisel y t his contrast between these phrase lengths, and

between phrases with a strong, a weak, or no diaeresis, that is
rhythmicall y interesting. When the lines are intoned according to
these patterns the effect is pleasingl y rhyt hmical , and the variations
seem put to good effect; the natural rhythms of all secure passage
are enhanced by the contravention of metrical regularit y. Therefore
the individual logoi of this play are its fundamental compositional
elements and should be given as such in any presentation of a
printed text that seeks to represent the oral -aural realit y of the
original performance of this play.
This being the case, the separation of the individual phrases in the
printed version of the texts is no mere formal affectation. It
materiall y benefits both the oral expression of the lines , and their
interpretation and translation. It can onl y be that such a separation
reflects the original oral -aural context of their delivery and should
be adopted as a regular practice. 677
Synizesis and Correption.

The very supposition of synizesis indicates the discrepancies
inherent in the assumed uniformit y of the several metrical schemes.
As far as liberties taken with the text in the name of metrical
regularit y and strophic corresponsion are concerned, this is a mino r
intervention. Anal ysis by tone group, on the other hand, takes a
676 I.e., the assumption that each line is composed of tetrasyllabic measures,
rather than the penta- and heptasyllabic measures identified in this study.
677 See Future Directions, below.
602
deliberatel y naïve approach to scansion, accepting in the first
instance whatever the text offers and applying onl y the barest
minimum of theoretical presuppositions. In this way, it is hop ed,
we will have, in what is, after all, an entirel y new approach to
textual anal ysis, the opportunit y to discover more about poetic and
musical conventions about which we now know practicall y nothing
with any certaint y.
Several lines of the Experimental Text are scanned with synizesis,

always for the sake of metrical regularit y. If the presumption is
correct, the evidence would seem to indicate that synizesis, like
correption, is a rhythmic -aural phenomenon and not a visual -
metrical one. We need not suppo se, however, that β ασιλ έως was
pronounced ‘ β ασ ιλώς ’ ; it is enough to acknowledge that the epsilon
was pronounced in such a way that its rhythmical intrusion was
negligible. With this we may compare the correption of κ αὶ in lines
[48] and [61]. Correption is admitted to the Experimental Text –
again for the sake of metrical regularit y – on the grounds that
insistence on the full length of a written syllable is the result of a
visual rather than aural anal ysis.
We should, however, not discount the possibilit y that the metrical

irregularities of the Working Text present genuine rhythmic
variations that were part of the oral -aural character of the original
performance.
Synaephia and Enjambment.

The phenomenon of synaephia supposes that certain lines of the
traditional text are to be read in conjunction with the following
line, that is, that they are to be read without a pause between the
phrases. The lineation of the Experimental Text and the
corresponding translation demonstrates one of the important
603
advantages of presenting the lines of a text in accordance with
implied tonal grouping: it is difficult – almost impossible – to read
the corresponding lines of the traditional text without punctuati on
or assumed synaephia. In the original oral -aural performance of
these lines, however, there was no punctuation, onl y longer and
shorter phrases delivered with the appropriate intonational
emphasis. Where the phrases are given their proper rhythmic value
and aural space, synaephia is irrelevant – and is in fact impossible
given the basic principles of anal ysis by tone group, under which
every utterance is to be presented as occupying its own aural
domain. 678 Under anal ysis by tone group, synaephia is regard ed as
an artificial device designed to account for the presence of tonall y
effective speech clusters that are misconstrued by a lineation that is
derived from visual -metrical anal ysis rather than from the
appreciation of rhythm by the ear.
Enjambment is another signal feature of the traditional texts. It was

used by Albert Lord (1960, 130 -1) as an indicator of literary, as
opposed to oral, poetics. Enjambment is defined as ‘the mismatch
of sentence and verse’ (Bakker, 1999, 44). Bakker observes further:
‘This surel y denotes an important feature of Homeric st yle
and poetry’ but to the extent that “sentence” figures in its
definition… we have to be prepared, again, to acknowledge
that our own literate conception of language and texts may
be involved. I propo se, then, to view enjambment in terms
of the basic units that make up Homeric discourse, rather
than in terms of the sentence that we impose on it.’ ( ibid.).
678 Cp. line [62] (= 52fin-53init). The line-final δὲ of the traditional text is
elided into the initial vowel of line 53 under presumed synaephia, a result of
the misconstruction of phrase lengths in the context of the metrically regular
line. Under analysis by tone group, however, this prosodic feature is
irrelevant as the words clearly form a single tonal grouping. See also Non-
elision at Line-end, below.
604
Under anal ysis by tone group, where each phrase is a self -contained
whole, enjambment is regarde d as an essentiall y literary
phenomenon derived from the visual -metrical characteristics of
written verse. There are no run -on lines in oral poetics, or in the
aural appreciation of them; there are onl y longer or shorter
phrases. 679 Enjambment is regarded as being derived from a visual -
metrical understanding of prosody; in speaking there is onl y the
complete phrase. 680
There could be some relation between enjambment in the traditional

texts and the phenomenon of intra -tonal separation proposed in this
study. In intra-tonal separation, however, the artificiall y isolated
rhythmic element in no way forms a rhythmic or metrical unit y with
the subsequent phrase, as is the case in enjambment -proper. 681
Consequentl y, intra-tonal separation it is not enjambment, but a
different kind of rhythmical effect altogether. The effect is that of a
pregnant pause, which allows for increased emphasis on the closing
element of any statement.
With reference to Homeric enjambment, Bakker finds that :

‘[the] sophistication and enjambme nt is not syntactic as a
subtle or complex interaction between the sentence and the
verse; it operates in an entirel y different dimension. This is
679 Cf. Bakker (1999, 45): ‘enjambment tends to occur in clusters, creating
areas of metrical turbulence at emotional high points in the narrative’
(Bakker’s emphasis). In other words climactic verses tend to be longer than
the surrounding ones. This phenomenon can be observed also in the
Experimental Text. Cf. e.g. lines [15-16], [681-688].
680 Similarly, it is counter-intuitive to suppose that a poetic tradition, the
major part of which was developed in a period of primary orality and very
early literacy, could ever find meaningful expression in the enjambment of
half-words.
681 Cf. especially lines [686-687] (=684-5init) and [696-697a] (=691-2init).
There the isolated disyllabic elements are enjambed in the traditional text.
605
the dimension of rhythm as the domain in which speech
can… become poetry’ (46).
It is precisel y this dimens ion of the surviving text of the Persians

that is explored in this study.
Non-elision at Line-end.
Under the principles of anal ysis by tone group, in which every
distinct phrase is regarded as occupying its own aural and rhythmic
space, the phenomenon of elision at line -end is rejected as a
functional poetic phenomenon. 682
Elision is a function of ordinary speech, and relies on the close

phonetic interaction of vowel sounds. Where, however, the initial
and final vowels do not interact because of the aural separation of
the distinct phrases to which they belong, this study assumes there
is no possibilit y of elision. The individuated tone groups must
always be separated by a pause, and there is therefore no phonetic
mechanism by which the sounds could interac t, and the elision of a
final syllable occur. The paratactic qualities of the text as presented
in this study supports the notion of clear tonal separation between
all distinct semantic entities.
The phenomenon of elision at line -end is held to be derived from an

earl y, probabl y Alexandrian, misinterpretation of the length of the
poetic line, on the presumption that lines should all be of the same
length. The same misapprehension produces the breaking of tone
groups between lines without regard to grammar, sense or dramatic
impact.
682The remarks here apply also to the aspiration of consonants at line-end,

and for the use of nu-moveable, which is regularly read at line-end in the
Experimental Text; cf. lines [360] and [383].
606
The non-admittance of elision at line -end requires that the elided
syllables be read in the Experimental Text. The following lines
show the restoration of elided final syllables:
[75]: τ (ε)
[691]: μ (ε)
[713]: ξύ ν νο μ (ε )
[724]: Δ αρ ε ῖ (ε)
[725]: π ρ άγ μ α( τ α)
[760]: τάδ(ε)
[797]: ἴσ τ( ε)
[810]: ὕ ψι σ τ( α)
[813]: Ἑλ λάδ ( α)
Note that onl y one of these involves a line-final τε , a word that

commonl y occurs at the end of its phrase. 683 The phenomenon does
not occur in the analysed l yric passages, where the lineation is
supported by strophic corresponsion. Some of these instances lead
to rhythmic irregularit y; 684 others do not. 685 In the absence of
comparative material, it is too earl y to ma ke a final judgement;
either the metrical turbulence is legitimate, reflecting Aeschylus’
rhythmic freedom, or they are an irregular artefact of the
experimental lineation. It remains possible that the initial
supposition of this study is incorrect, and th at in certain instances
elision at line-end can be said to occur. 686
683 Cp. [966], however, where a line-final τε is deleted from the Experimental
Text. An additional instance occurs in the Working Text at line [40] (del.).
684 E.g. line [813], the single instance of cretic in trimeters; lines [713] and
[725], the scansion of the same irregular hexasyllable in both instances (See
Appendix X, Tables of Measures: Trochiambs, Irregular Hexasyllables).
685 E.g. lines [760] (tetrameters), [810] (trimeters).
686 In the case of line final τε , or vocatives in - ε , it could be that the ordinary
pronunciation was close enough to elision to make no rhythmic impact.

607
Scanning to word -end.
The Experimental Text contains 440 lines of tonall y affective text,
showing 632 provisionall y identified measures. Of these measures,
96% scan to word-end (97% of lines).
In this study, word -end is understood as by Maas:

At places where word -end is aimed at or avoided, we count
as a “word” not every part of a sentence that according to
our system of writing Greek is written separatel y, but the
whole group formed b y an important part of the sentence
(i.e. noun, verb, &c.) together with any prepositives (i.e.
article prepositions, monosyllabic conjunctions, and
pronouns, &c.) and postpositives (monosyllabic enclitics,
conjunctions, &c.) that go with it. 687
Scanning to word-end means that a rhythmic-metrical element, a

measure, coincides with a short string of words. These short strings
of words are either tone groups or shorter elements of which tone
groups are comprised. For the most part, scansion to word -end
entails the scansion of a whole line as a single rhythmic and
metrical unit. The initial experiments with scanning to word -end
show that it does not do undue violence to the poetry; in fact it
could be said to aid in the appreciation of it on the page and to
assist with the oral delivery of the lines. The metrical forms
produced are regularly-formed and are often -repeated throughout
the play.
The rhythmic-metrical system tentativel y proposed in this study has

the potential to deepen our appreciation of the oral -aural character
687 Hugh Lloyd-Jones trans., (1962), 84.

608
of this poetry and to further our understanding of the regularity of
the rhythmical principles that underlie its composition.
Lines that do not scan to word -end.

There are twelve lines containing twent y -four measures in the
Experimental Tex t that do not scan to word -end: seven of these
occur in l yric, three in anapaests, and two in tetrameters. All lines
of the anal ysed trimeter passages scan to word -end.
Lyric: lines [78], [88], [137], [124a], [711], [946], [959].
Anapaests: lines [159], [920], [937]
Tetrameters: lines [164], [722].
Of these, lines [159], [711], [920], [937], and [946] are irregular
paroemiacs, which seem to present a special case in both metrical
form and rhythmic function. 688
Rhythm over Metre.

Metre is anal ysed rhythm. In other words, metre refers to the
literary-visual interpretation of poetic rhythm; rhythm refers to the
oral-aural qualities of that poetry in performance.
The primary objective of this study is the evaluation of lineation by

tone group. Metrical anal ysis is an important, but secondary, part of
this endeavour. The metrical system, however, that is tentativel y
proposed, and which informs the scansions of the Experimental
Text, is purel y an experimental by-product of the main focus of this
research.
688 These are discussed under Anapaests, Irregular paroemiacs, above.

609
The anal ysis employed in this study is necessaril y predominantl y
visual. Nevertheless I have made every attempt to give precedence
to the aural qualities of the lines and passages under anal ysis.
Aural-rhythmic analyses produce very different results f rom visual -
metrical ones.
In general, metrical uniformit y is viewed with suspicion under

anal ysis by tone group; in the anal ysed portions of the play, at
least, Aeschylus seems to overwhelmingly prefer rhythmic
variation, and, in comparison with the measu res evinced from
secure sections of the traditional text, metrical uniformit y seems
fundamentall y un -Aeschylean.
Under anal ysis by tone group, and the system of metrics that is
derived from it, the scanned measures identify important rhythmic
characteristics that in many instances supersede the effect of the
underl ying metre. Two lines of identical metrical form can have a
very different rhythmical character. For example, the paroemiacs of
the first two movements, lines [10] and [20], have an entirel y
different tonal emphasis which is determined by the differences in
the patterns of their accented syllables and by the differences in the
interaction of vowels and consonants:
— ◡ ◡ — — | ◡ ◡ — — (7 )
— ◡ ◡ — — | ◡ ◡ — — (7 )
The differences in the tonal effect of these metricall y identical

lines is discussed fully in the commentaries ad loc., and in the
introduction to Appendix IX, Audio 6.
610
Similarl y, the Elders’ tetrameter address to Atossa at lines [160 -
167] contains three lines that are scanned as trochiambic
pentasyllable -2 + final bacchius. The pattern and qualit y of their
accented syllables is similar, but not identical. 689 However, line
[166], which is of the same metrical pattern, shows a different
pattern of accented syllables, and is scanned in the Experimental
Text with an initial cretic, identifying the grammatical -semantic
importance of the phrase εἴ τι μὴ . 690
The rhythmic features of the lines under examination are so metimes

of service in evaluating the readings of the traditional text. There
are certain lines and phrases, which, while they scan acceptably,
fail on rhythmic grounds; they seem to wreck the rhythm of their
associated passages. 691 Very often the rhythmicali t y of the passages
under anal ysis is very clear, and moreover, readil y recognisable to
modern sensitivities. In general, it will be noticed that errors in the
traditional text, whether they are interpolations or misconstructions
of lines, are metrically ap propriate but rhythmicall y incoherent, and
are seemingl y composed with reference to literary -visual metrical
qualities, rather than rhythmic -aural qualities.
One seeming manifestation of the above phenomenon is the rarit y

of repeated feet and measures in the more secure portions of the
tonall y affective texts. Lines [33 -34init] (=24 -25init) of the
689 Of these, line [164] is one of only two lines in tetrameters that are not
scanned to word-end. See, however, the following note on line [705].
690 These lines seem to present the standard form of the longer line of a
regular tetrameter couplet. Cp. also the metrically identical line [705], which
contains the only initial isolated iambus scanned in the Experimental Text.
This is a highly experimental approach to scansion. For the limitations of the
Experimental Text, see Ch.2, Research Method: A note on the Experimental
Text.
691 See e.g. the excisions of lines [17], [23-24] and [33-34init] of the
Experimental Text
611
Working Text are deleted from the Experimental Text. 692 Line 24 of
the traditional texts scans, assuming synizesis, as an anapaestic
dimeter of four consecutive anapaests, while line [33] in the
Working Text scans to three. In the tonally affective texts, three
consecutive anapaests are scanned onl y in that line, and at [959] in
lyric. Four consecutive anapaests are found onl y at line [151] (=
146) of the Working Text, which is also deleted from the
Experimental Text. 693 Line [959] (=952) seems reasonabl y secure,
and corresponds with resolutions to line [971] of the antistr ophe. 694
With these we may compare lines [921 -922] in the Elders’ first
address to Xerxes (= 918). The four consecutive anapaests of the
traditional text become two lines of the tonall y affective text.
However, the effect of two lines with the same metrical form
(dianapaests) is qualitativel y different from that of a single line
with four anapaests. The necessary pause between distinct tone
groups gives the each phrase an entirel y distinct rhythmic and
semantic force. 695
The same phenomenon also applies to re peated measures. There are

very few lines of the Experimental Text that scan with repetitions
of the same measure. There are three lines in the Experimental Text
that scan to 2x dact ylopaests -3: lines [46], [57], and [923]. 696 These
lines are well-balanced in their internal rhythm, the balance of their
692 Lines 24fin-25init in Garvie’s text.

693 The line is widely held to be corrupt. Garvie, who does not print it
observes that the line is ‘metrically correct’ but yields ‘no acceptable sense’
(144-5n, 94).
694 Line [971], however, features a reading derived from M. See the
commentaries ad loc.
695 See also on the metrically identical lines [739-740] under Rhythm and
Meaning, below.
696 Additionally, there are four lines presenting 2x dactylopaests-2 (lines
[15], [42], [72] and [147]); line [154] shows a dactylopaest-3 + 2x

dactylopaests-1. There are no instances of repeated measures within a line in
the analysed trimeters or tetrameters.
612
accented syllables, and are admirabl y suited to its context both
rhythmicall y and dramaticall y. With these we may compare lines
[34], [55] and [912] in the Working Text onl y. Lines [34] and [55]
are out of char acter in terms of their inner rhythmic balance, and in
the context of their movements; in the Experimental Text, a shorter
version of line [34] is given, and line [55] is deleted. A different
lineation is given for lines [912 -913] is given in the Experimen tal
Text. 697
In the anal ysed trimeters of Darius’ historical narrative, lines [783]

and [785fin] of the Working Text are deleted from the Experimental
Text on similar grounds; although they scan acceptabl y, they
impact negativel y on the rhythmic and semant ic balance of the
trimeter couplets that characterise that speech. 698
If these lines are indeed interpolations, as they are identified in this

study, they can be taken to demonstrate the fact that using the same
metrical formulations that Aeschylus uses doe s not necessarily
produce Aeschylean poetry; his rhythmic forms depend heavily on
the line-internal balance of accents, as well as on the wider
rhythmical context.
The apparent misuse of the rhythmic form in the deleted lines

seems to be derived from att empts to match the surface metrical
forms of Aeschylus’ poetic st yle without reference to the necessary
line-end pauses, to the rhythmic balance of the line itself, and of
the surrounding lines. In other words, the poetry has been
understood visuall y but n ot aurall y; metricall y but without
reference to rhythm.
697 See the commentaries ad loc.

698 See the commentaries ad loc.
613
Rhythm and Meaning.
One of the most important aspects of the semantic importance of
rhythmic variation is seen in the interplay of longer and shorter
lines. These contrasts are the essence of the tri meter and tetrameter
couplets; in trimeters especiall y the alternation between long -short
and short-long couplets tend to correspond to changes in the
direction of the narrative. 699 In the anal ysed anapaests, though they
are less regular structurall y, the in terplay of longer and shorter
lines is also put to narrative, dramatic and theatrical effect. The
signal example of this is line [16] in the second movement of the
parodos, which gives the reason for the Elders’ sense of unease.
Rhythmic form is an adaptable manifestation of Aeschylus’

dramatic and poetic art. At its simplest we see the implied
antitheses between archers on foot and mounted horsemen in line
[35], which is supported by the rhythmic antithesis in which the
initial dact ylopaest-2 is balanced by the ensuing dact ylopaest -3.
Again, lines [739 -740] in the stichic dialogue show metrically
identical consecutive lines, both of which are marked with explicit
references to dualit y. Further, the Elders’ speeches to Xerxes in th e
anapaestic prelude to the kommos, lines [921-925] and [926-937],
feature nine instances of an open dact ylopaest, more than any other
speech anal ysed in this study; four of these occur within the space
of three lines. Long measures predominate in the foll owing
movement also. This affords some indication that the heavil y
‘spondaic’ measures are associated with deep emotion, especiall y
grief. Similarl y, resolved measures tend to occur at emotional high
points in the narrative.
See especially, Darius’ historical narrative, lines [765a-801a], where this

699
compositional feature determines, in part, the form of the movement in the

Experimental Text.
614
There are, however, more subtl e manifestations of rhythm in
support of meaning. The phrase β ασι λεὺ ς Δαρε ιο γ ε νής occurs twice
in the Experimental Text at lines [9] and [150], where it
corresponds to complete lines of the tonall y affective text; 700 but
they are put to different but mutuall y dependent uses. The first
occurs in the context of the pride and confidence that characterises
the opening movement of the play; the second occurs in the context
of the further exploration of the Elders’ doubts (cp. the second
movement of the parodos), and seems to be used with irony.
There are further indications that metrically identical lines play an

important thematic and dramatic role in this play. As discussed in
the commentaries to the first anal ysed movement of the
Messenger’s speech, lines [356 -359] present two metricall y
identical forms of the trimeter couplet, where line [356], φ α νε ὶς
ἀλάσ τωρ , is metrically identical to line [358], ἀ νὴρ γ ὰ ρ Ἕλ λη ν , and
line [357], ἢ κ ακ ὸ ς δ αίμ ω ν π ο θέ ν , is the same as line [359], ἐξ
Ἀθ η ν αί ω ν σ τρ ατ ο ῦ . Thus the ‘av enging spirit’ is identified with the
‘Greek man’, and the indefinite construction ‘the evil daimōn from
somewhere’ is answered by the definite statement ‘from the
Athenian arm y’.
Similarl y, there is the repetition of the same measures, with

reference to Xerxes, in the parodos and the kommos. Lines [8 -9],
ο ὓ ς αὐ τὸ ς ἄ ν αξ Ξ έρ ξ η ς / β ασιλ εὺ ς Δ αρειο γ ενής , are metricall y
identical to lines [912 -913] in Xerxes’ opening speech , ὡς
ὠμο φ ρ ό ν ως δ α ίμ ων / ἐ νέβ η Περσ ῶν γ εν εᾷ . Again, at line [919] in the
same movement, we find a verbatim repetition of line [2] of the
parodos, τῶ ν ο ἰχ ο μέ ν ων , with the same metrical form corresponding
700The discussion assumes that line [150] (= 144fin-145) is a genuine

recurrence of the royal title. See the commentaries ad loc.
615
to the accusatory Ξ έρ ξᾳ κ τα μέ ν α ν in line [927] of the Elders’
response. 701 Rhythmic repetitions at such long range can be
supposed meaningful where they are supported by other theatrical
or musical cues.
Despite a lack of comparative material, the initial indications are

that such dramatically cogent rhythmic ‘echoes’ are a part of the
poet’s design for this play. Lineation b y tone group illuminates
these heretofore undiagnosed poetic effects.
The Robert the Rose Horse Syndrome.

The important structural function of paroemiacs, which are
preserved throughout the anal ysed portions of the play, has already
been noted. 702 The Robert the Rose Horse Syndrome is another
closing device that at once demonstrates the importance of such
aurall y cogent closing strategies to Aeschylean poetics, and the
similarit y of the apparent musical conventions of this play and
those of our own time. 703
The term ‘syndrome’ is used because it characterises a rhythmicall y

recognizable but metricall y distinct pattern of phrasing. It is its
rhythmicall y recognisable form that allows it to perform as a
closure mechanism. The syndrome appears in both anapaests and
trimeters, and closes its movement in each instance.
701 It should be noted that the ambiguity of the first use of τ ῶν ο ἰχο μ έν ω ν in
the parodos is absent from the extended mourning of the Xerxes scene. See
the interpretive commentary to the first movement of the parodos in Ch.4,
Anapaests.
702 See above, Dactylopaests: Anapaestic Dimeters and Strophic Lyric,
Paroemiacs.
703 That the musical conventions of tragedy are alien to our own is one of the
commonly-held beliefs about the poetics of tragedy that is challenged by this

study. See also Appendix IX, Audio 7.
616
In the children’s book Robert the Rose Horse by P.D. Eastman,
Robert the Horse is allergic to roses – every time he smells one he
sneezes. And what a sneeze! On each occasion, Robert’s sneeze is
followed by a repetition of the following rhythmic pattern,
expressed with different words according to t he situation and,
consequentl y, minor variations in metre. On page 17, for example,
we find ‘Kerchoo! went Robert.’ This provides the necessary
semantic and narrative link for what follows, and introduces the
rhythmic syndrome. 704 The passage continues:
Bang went the window
Bang went the door
Up went the roses
And the doctor fell down flat
This – to us – familiar rhythmical pattern is manifestl y the same as

that used at lines [26 -29]:
π ο λέμο υ σ τῖφ ο ς π αρέχ ο ν τες
There are four occurrences of this rhythmic syndrome identified in

the anal ysed portions of this play. The first, at lines [26 -29], is
described above. This represents the full four -line form of the
syndrome. The second and third occurrences are described as
‘truncated’ forms, consisting of onl y three lines. The truncated
forms occur at lines [36 -38], in anapaests, and at lines [364 -366] in
trimeters. The fourth, again consisting of four lines, closes Darius’
prophetic narrative at lines [816 -819].
704 This effect is matched by e.g. line [25], π ρο λιπ ό ν τες ἔβ α ν .

617
The presence of the Robert the Rose Horse syndrome in these
movements indicates a strong affinit y between the poetics of the
Persians and the poetics of English children’s verse. 705
Tone grouping and the traditional text.

With these principles in mind, we may com pare the seeming
inutilit y of West’s lines 51 -3:
Μάρ δ ω ν , Θ άρ υ β ις , λό γ χης ἄκ μο νες κ αὶ ἀκ ο ν τισ τ αὶ
Μυ σ ο ί ; Βαβ υ λὼ ν δ ᾽ἡ π ο λύ χρυ σο ς
π άμμ ικ το ν ὄ χ λο ν π έ μπ ει σύ ρδ η ν .
In contrast with the regular phrase -lengths identified in this study,

West’s line 51 is an inordinatel y long line, and the anapaestic
dimeters of the traditional texts are suddenl y supplanted by an
anapaestic trimeter without any of the narrative or semant ic impact
that we see regularl y in the tonall y effective texts. The lineation
seems entirel y arbitrary. Note particularly the inclusion in one line
– with semantic irrelevance that requires hard punctuation – of
Μυ σ ο ί with the phrase Β αβ υ λ ὼν δ ᾽ἡ π ο λύ χρ υ σο ς . The use of
punctuation also points to grammatical and rhythmic
inconsistencies. Note the absence of a comma between λ ό γ χης
ἄκ μο νες and κ αὶ ἀκ ο ν τισ τ αὶ . Why admit a comma earlier in the line,
but omit one where the phrases, and the ideas they convey, are
clearl y distinct entities? Why should we allow the separation by
enjambment of Μυ σ ο ί from the phrase to which it clearl y belongs,
and why should we allow the separation, by punctuation, of the
same word from the rest of its line, where that line is supposed to
705Cf. Burling (1966) for a discussion of the rhythmical affinities of simple

four-beat children’s verse in languages as different from one another as
English, Chinese and Arabic.
618
present a metrical unit y? 706 There are no good reasons; but the
demonstrated semantic, syntactic and rhythmic effectiveness of
anal ysis by tone group gives good reasons why we should regard
such arrangements with a degree of scepticism .
Lineation by ton e group reveals what is potentiall y the first fallacy

of the post -Alexandrian lineation: that all lines of a poetic t ype
must be, broadl y speaking, of the same length, that is, of the same
metrical, as opposed to rhythmic, value. 707 This important
misperception accounts for many of the features of our traditional
texts and metrics: the lack of rests, the necessit y of reading with
synaephia, the confusion over the rhythmic importance of accent
and word-end, and the difficulties surrounding bridges, caesurae
and diaereses. The metricall y regular line lengths of the traditional
text introduce the first parallax error, the first shifting of the go -
stop window of sense and meaning, which cruciall y changes our
perceptions of both the form and the meaning of this pla y. The
misconstrued phrasing that results, and the concomitant shifting of
words to different lines and semantic units, produces others in turn.
Our modern texts, translations and interpretations of this play all
bear the legacy of this important misappreh ension. This same
misperception further alludes to what might be called the first
fallacy of modern metrics: that the poetry of tragedy, and classical
poetry in general, makes use of poetic and metrical conventions
that are essentiall y alien to our own. Th is is not the case in the first
706 See remarks about the rhythmic force of punctuation in Musical and
Poetic Conventions: Rests, above.
707 Burling (1966, 1419) observes: ‘It is important to realise that the number
of weak or unstressed syllables between adjacent beats is extremely variable

and that the number is apparently irrelevant to the larger rhythmic pattern.
In general, anything from none to three unstressed syllables can occur
between any two adjacent beats’. Burling is discussing poetry of four
isochronic beats per line, such as the first song of the parodos has revealed
itself to be.
619
song of the parodos, and the rest of the anal ysed portions of the
play show rhythms and other rhetorical features that are entirel y
familiar. 708
Future Directions.
The most significant problem for this study is the absence of
comparative material, and the anal ysis by tone group of the
complete text of this play is a necessary first step. Following that
task, the anal ysis of the entire corpus of surviving tragedy must be
undertaken, preferably in the order in which we suppose t hey were
composed. To these should be added the surviving works of
Aristophanes. It is possible that the diachronic anal ysis of the
surviving plays will throw light on the development of poetics in
tragedy over the course of the fifth century. 709 In the light of these
studies, the anal ysis by tone group of earlier and later poetic works
– including those of Homer – should also be considered.
The rhythmic, dramatic and theatrical insights derived from this

study are such that it is almost as though we hav e access to an as
yet undiscovered play. Should anal ysis by tone group be of similar
value in the anal ysis of other surviving poetic works, there is
licence to anal yse the works of prose authors of the fifth century
also; not necessaril y for rhythmic prope rties – although I strongl y
suspect that these properties of certain prose texts will be highl y
708See Appendix IX, especially Audio 3 and 8.

709The few thumb-sketch analyses of passages from Sophocles and Euripides
show that while the lines of the traditional texts do separate into tone groups
that scan to many of the measures identified in this study, there could be, e.g.
a higher proportion of lines that are the same as those of the traditional
texts.
620
illuminating – but for their semantic properties, and insights to the
way these authors generate meanings. 710
What are perhaps the most exciting implications of this work on the
Persians is in the area of reception. The translations of the tonall y
affective texts are highl y accessible and inherentl y dramatic; the
tonall y affective Greek text offers the possibilit y that even near -
beginners in the study of classical Greek can approach the plays of
one of the greatest poets in history in their original language. More
exciting still is the possibilit y – however remote at this stage –
that, assuming that the insights into the implied musicalit y of
certain of the anal ysed sections of the play continue to bear fruit,
and given the collabo ration of trained musicologists, philologists,
scholars of drama and of the classical theatre, we might, within a
decade or two, be able to put on a credible facsimile of this play in
its original language and something like its original performance
context for the first time in more than two thousand years.
Post-Script: Did Aeschylus Write a Script?

In the light of the foregoing anal yses and discussions, it is worth
considering certain features of writing that suggest that Aeschylus
need not necessaril y have composed his plays in writing, nor taught
his choruses and actors with scripts in anything like the modern
sense. We will never know for sure. Nevertheless, Jesper Svenbro
(1990), to n ame but one example of many, is able to assume (a)
perfect literacy (in the modern sense of a ‘highl y literate person’)
710 A metrical analysis of Plat. Apol.40a1-4, ἐμο ὶ γ άρ , | ὦ ἄ νδ ρες δ ικ ασ τ αί

| — ὑ μᾶς γ ὰ ρ | δ ικ ασ τ ὰ ς κ αλ ῶν | ὀ ρ θῶς ἂ ν κ αλο ίη ν — | θ αυ μά σιό ν
τι γ έγ ο νε ν , shows that the passage can be scanned as bacchius (or
anapaest) + 3x molossi (or open hexasyllable + molossus) + trochiamb-4 +
trochiambic hexasyllable-4 + a final bacchiac (A) with irregular resolutions.
All these measures scan to word-end. Note also that the principal clause, ἐμο ὶ
γ άρ θ αυ μάσ ιό ν τι γ έγ ο νε ν , is under intra-tonal separation.
621
on the part of tragic poets, who are further assumed, without proof
or discussion, to have composed and taught their compositions in
writing; and (b) near -perfect literacy on behalf of their performers
who are assumed to have learned their several parts from a written
script. 711 While I do not deny that this could have been the case
even in the very early period, the assumptions are entirel y
unwarranted and, moreover, there are many cogent reasons for at
least accepting the possibilit y that it was not the case.
In the face of such assumptions, one is left to wonder how poets

taught their choruses in earlier epochs when writing was either no n-
existent or at least very new, and fluent reading rare or non -existent
in the greater part of the population. My contention is that the poets
taught their choruses in the same way primary school teachers teach
their pre-literate charges choral song today: by model, mimicry and
repetition.
There are certain technological difficulties that should be taken

into consideration. First is the state -of-the-art of writing itself in
the earl y fifth century BC. As discussed in the General
Introduction, writing was not yet the willing tool of expression it is
today; it was a difficult art that required time and effort to master
and the available materials, chisels, st yli, brushes, or charcoal, did
not lend themselves to fluent writing as gel -tip pens and
alphanumeric keyboards do. Moreover, the Ionian alphabet, which
we most closel y associate with the Greek language, was not
formall y adopted at Athens until the late fifth century, and the local
Athenian script was somewhat ambiguous in its treatment of vowels
711 These unwarranted assumptions are readily adduced as proof of other

uncertain claims; in Svenbro’s case, and he is not alone, the proposition that
silent reading was so common in the fifth century that it was cause for no
comment.
622
and diphthongs. We should also consider the cost and scarcit y of
writing materials. It is not too daring to speculate that writing
materials were rather more scarce than common at Athens in
472BC. It must be regarded as highl y unlikel y that they existed in
such quantities as to make practical the kind of word -by-word
editing that we generall y associate with the practice today. Other
writing technologies, wooden, clay or wax tablets, or leather, would
very quickl y become far too cumbersome given the length of the
plays; and the writing would have to be very large by our standards
to remain legible. 712 For the same reasons these technologies are
unlikel y to have made convenient play -scripts; the cost in time,
labour and materials in their writing would be considerable. 713
Aeschylus was his own actor and for him using a script was
probabl y not an issue. The question of the use of scripts for his
actors and choruses does, however, raise the thorny question of
literacy in the ancient world. The necessity of a high degree of
literacy on the part of the choruses and actors will have severely
limited the numbers of people eligible to participate. Even were we
to assume a predominantl y aristocratic participation (a reasonable
presumption, perhaps, but by no means secure) we must take into
account the fact that the tradition of choral performance – and,
indeed, of poetry itself – pre-dates any period of extensive literacy
in the communities of Greece.
712 A prepared text of the Persians, representing an amalgamation of several

twentieth-century editions, shows that the play has 5,161 individual
utterances or, as we would say, ‘words’, including exclamations. Of these
1,881 belong to the chorus.
713 I came on an interesting perspective on this when discussing the use of
scripts in tragedy with a friend who has extensive experience as a producer

in both large and small scale theatre and film. When I mentioned that the
chorus consisted of twelve individuals she stopped me with: ‘A cast of twelve
and no photocopier? That settles it: they did not use a script!’
623
When one considers the principall y oral character of dail y
transactions in clas sical Athens, especially those, such as legal
activities, that we now would characterise as either ‘literate’ or
‘literary’, the question arises as to what sort of advantages people
would expect from written as opposed to oral composition and
transmission. The issue pertains in that orall y composed material,
material that is initially composed in the time -honoured manner,
that is, by ‘walking and talking’, and then edited with the aid of
writing, will still preserve a predominantly oral character; the
written or edited sections will conform more to ancient and
established conventions than to nascent literary ones.
Under anal ysis by tone group the Persians is seen to be composed

of a series of relativel y short, self -contained movements;
essentiall y, a series of short poems. These short poems can readil y
be committed to memory, and the order in which they must come
will be dictated by the paratactic nature of the flow of the
narrative. In teaching his actors and choreutai, Aeschylus was
faced with, on the one hand, a system of writing that was
cumbersome, expensive, ill -adapted to finesse, and of dubious
status; on the other hand, in the oral tradition in which he, his
actors, and his audiences were reared, he had ready -made poetic
frameworks for composition an d time-honoured methods for
teaching the words, with their music, and the dance. On the one
hand, the spoken voice, natural, smooth -flowing, the very mother of
poetry; on the other, writing, new -fangled, laborious in both the
writing and the reading.
On the view presented here, Aeschylus could have found writing

useful for what we might call structural editing, that is, for
constructing a kind of running sheet for the order in which the
individual songs and speeches were supposed to occur; he might
624
also have found in writing, even if onl y in chalk on a convenient
wall, a useful tool for structuring the training of his choruses and
actors.
Nevertheless, this study offers no conclusive proof that the play

was composed without the aid of writing. Given, howe ver, the force
of the discreet and self -contained nature of the phrases, lines and
movements of the tonall y affective texts, along with the technical
difficulties associated with a written script, the uncertainties
around the levels of literacy of potentia l actors and chorus -
members, we may fairl y submit that Aeschylus could well have
composed in writing, and taught his actors with a script, but he did
not need to.
625
Appendices.
626
Appendix I. Working Text.
Anapaestic Dimeters. Parodos (1-64) [1-77].
1st movement (1 -7) [1-10].
◡ ◡ — — — (4 )
— — ◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — — ◡ — [4]
— ◡ ◡ — — | — ◡ — [6 ]
κ αὶ π ο λυ χ ρ ύ σ ω ν ἑδ ρά νω ν
◡ ◡ — | ◡ ◡ — — [— ] (6 )
φ ύ λακ ες κ α τὰ c ρεσβ εί α ν
— — ◡ ◡ — | — — (6 )
◡ ◡ — | — — ◡ ◡ — (6 )
β ασ ιλ εὺ ς Δ αρ ει ο γ ε νὴς
— ◡ ◡ — — | ◡ ◡ — — (7 )
627
2nd movement (8 -15) [11-20].
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — | ◡ ◡ — (6 )
κ αὶ π ο λυ χ ρ ύ σ ο υ σ τρ α τιᾶς
— — ◡ ◡ — |◡ ◡ — (6 )
— ◡ ◡ — — | — ◡ ◡ — [— ] (8 )
— ◡ ◡ — — | ◡ ◡ — | ◡ ◡ — | — — [— ] (1 1 )
π ᾶσ α γ ὰ ρ ἰσ χ ὺ ς Ἀσι α το γ ε νὴς ο ἴ χωκ ε
◡ — |— ◡ ◡ — — [6 ]
[νέο ν δ ᾽ ἄνδ ρ α β αΰ ζει]
— ◡ ◡ | — ◡ — (4 )
κ ο ὔ τε τις ἄγ γ ελο ς
— ◡ ◡ — — (4 )
ο ὔ τε τις ἱπ π εὺ ς
— ◡ ◡ — — | ◡ ◡ — — (7 )
628
3rd movement (16 -20) [21-29].
— ◡ ◡ — — (4 )
ο ἵτε τὸ Σο ύ σ ω ν [ 21 ]
— — ◡ ◡ — (4 )
ἠ δ ᾽ Ἀγ β α τά νω ν
— ◡ ◡ — — (4 )
[κ αὶ τὸ π αλ αιὸ ν
— ◡ ◡ — [— ] (4 )
Κίσ σ ιο ν ] ἕ ρ κ ο ς
◡ ◡ — |◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — (4 )
◡ ◡ — — — | ◡ ◡ — [— ] (7 )
629
4th movement (21-32) [30-41].
— ◡ ◡ — — | — — ◡ ◡ — (8 )
— ◡ ◡ — — | — — — — (8 )
— — — — | ◡ ◡ — (6 )
τ αγ ο ὶ Π ερ σ ῶ ν β ασι λῆ ς
◡ ◡ ◡ —| ◡ ◡ —| ◡ ◡ — [7 ]
[β ασ ι λέως ὕ π ο χ ο ι μ εγ άλο υ ]
— — ◡ ◡ — | — — ◡ ◡ — (8 )
[σ ο ῦ ν τ αι ] σ τ ρ α τι ᾶς π ο λλῆς ἔφ ο ρο ι
— ◡ ◡ — — | — — ◡ ◡ — (8 )
◡ ◡ — |◡ ◡ — (4 )
— — ◡ ◡ — (4 )
— — — — |◡ ◡ — — (7 )
ψυ χ ῆ ς εὐ τλ ή μο νι δ ό ξῃ
— — — —| — ◡ ◡ — — | — — — — (1 2 )
[Ἀρ τε μβ άρ η ς θ᾽ ἱπ π ιο χ άρμης κ αὶ Μ ασ ίσ τρης ]
◡ ◡ — | ◡ ◡ — | — ◡ ◡ — — | — — — — [— ] (1 3 )
[ὅ τε το ξο δ ά μ ας ἐ σ θλ ὸ ς Ἰμ αῖο ς Φα ρα νδ άκ η ς τ( ε)]
— — ◡ ◡ — | — — — X (7 )
[ἵπ π ω ν τ᾽ἐλ α τὴ ρ Σο σ θ άνης ] [ 41 ]
630
5th movement (33-40) [42-49].
— — ◡ ◡ — | — ◡ ◡ — — | — ◡ ◡ — [— ] (1 2 )
— — — — | — — — — (8 )
Σο υ σ ισ κ άνη ς Πηγ ασ τ α γ ὼν [ 4 3]
— — ◡ ◡ — (4 )
◡ ◡ — | ◡ ◡ — | — ◡ ◡ — — (8 )
◡ ◡ — — — (4 )
— — ◡ ◡ — | — — ◡ ◡ — | — ◡ ◡ — [— ] (1 2 )
τάς τ᾽ ὠγ υ γ ίο υ ς Θή β ας ἐφ έπ ω ν Ἀ ριό μ αρδ ο ς
— ◡ — ◡ ◡ — | — — ◡ ◡ — [9 ]
[κ αὶ ἑ λειο β ά τ αι ν αῶ ν ἐρέ ται ]
— — — — | ◡ ◡ — — (7 )
631
6th movement (41-48) [50-56].
— ◡ ◡ — — | ◡ ◡ — | — — — [— ] (1 0 )
ἁβ ρ ο δ ια ί τω ν δ ᾽ἕπ ε ται Λυ δ ῶ ν ὄ χλο ς [ 50 ]
— ◡ ◡ — — | — ◡ ◡ | — ◡ ◡ | — ◡ — [— ] [1 1 ]
— ◡ ◡ — — | — — ◡ ◡ [— ] (8 )
[το ὺ ς Μ ι τρ ο γ α θὴς Ἀ ρ κ τεύ ς τ᾽ ἀγ α θό ς ]
◡ ◡ — | ◡ ◡ — |— ◡ ◡ — — | — — (1 0 )
[β ασ ι λῆ ς δ ίο π ο ι χ αἰ π ο λύ χρυ σο ι Σάρδ ε ις ]
◡ ◡ — | — — — ◡ ◡ | — — — [— ] (1 0 )
[ἐπ ό χ ο υ ς ] π ο λ λο ῖς ἅρ μ ασι ν ἐ ξο ρμ ῶσι ν
— — ◡ ◡ — | — — ◡ ◡ — (8 )
[δ ίρ ρ υ μ ά τ ε κ α ὶ τρίρρ υ μα τ έλη ] [ 5 5]
◡ ◡ — — — | ◡ ◡ — — (7 )
632
7th movement (49-58) [57-68].
— — ◡ ◡ — | — — ◡ ◡ — (8 )
◡ ◡ — | ◡ ◡ — | — ◡ ◡ | — ◡ [— ] (8 )
— — ◡ ◡ — (4 )
— — — ◡ — (4 )
— ◡ — — — |— — [7 ]
◡ ◡ — | — ◡ ◡ — [—] (6 )
— — ◡ ◡ — | — — — — (8 )
— — ◡ ◡ — (4 )
— — — — | — ◡ ◡ — — (8 )
◡ ◡ —|◡ ◡ — |— [—] (6 )
— — — ◡◡— |◡◡ — (7 )
— — ◡ ◡ ◡ —| ◡◡ — — [7 ]
δ ειν αῖς β ασ ι λέως ὑ π ὸ π ο μπ αῖς [6 8 ]
633
8th movement: (59-64) [69-77].
— — — [— ] (4 )
— ◡ ◡ — — (4 )
— ◡ — — — [4]
— ◡ ◡ | — — — (6 )
ο ὓ ς π έρ ι π ᾶσ α χ θὼ ν
◡ ◡— | — — — [— ] (6 )
Ἀσ ιῆ τις θρ έ ψ ασ α
◡ — | ◡ ◡ — |◡ ◡ — [6 ]
π ό θῳ σ τέ νε τ αι μ αλ ερ ῷ
◡ ◡ — |◡ ◡ — (4 )
το κ έες τ ᾽ἄλο χ ο ί [7 5]
— ◡ ◡ — — | — — ◡ ◡ [—] (8 )
[θ’ ]ἡ μερ ο λεγ δ ὸ ν τεί νο ν τα χρό νο ν
◡ ◡ — — (3 )
τρ ο μέο ν τ αι
634
1st Ode (65-137) [78-144].
Strophe A (65 -71) [78-87].
1a ◡ ◡ — — [— ] (4 )
π επ έρ ακ ε ν μὲ ν [7 8 ]
2a ◡ — — ◡ ◡|— — [6 ]
ὁ π ερ σ έπ το λ ις ἤδ η
3a ◡ ◡ — — | ◡ [— ] [4]
β ασ ίλ ειο ς σ τρ α τὸ ς [8 0 ]
4a — — ◡ ◡ — |— ◡ ◡ — — (8 )
εἰς ἀν τ ίπ ο ρο ν γ εί το ν α χώρ α ν
5a ◡◡ — — |◡◡ — (5 )
6a — ◡ ◡ — — (4 )
7a ◡ ◡ — ◡ ◡| — — (5 )
8a ◡ ◡ — ◡ | ◡ — [— ] (5 )
9a ◡ ◡ — ◡ ◡ — (4 )
ζυ γ ὸ ν ἀμφ ιβ α λὼ ν
10a — ◡ ◡ — — (4 )
635
Antistrophe A (74 -80) [88-97].
1b ◡ ◡ — — [—] (4)
π ο λυ ά νδ ρ ο υ δ [ε] [8 8 ]
2b ◡ ◡ —|— ◡ ◡ — — (6 )
Ἀσ ί ας θο ύ ριο ς ἄρ χω ν
3b ◡ ◡ — — |◡ [ — ] [5]
ἐπ ὶ π ᾶσ αν χθ ό ν α [ 90]
4b — — ◡ ◡ — |— ◡ ◡ — — (8 )
π ο ιμ αν ό ρ ιο ν θεῖο ν ἐλ αύ νει
5b ◡ ◡ — |— ◡ ◡ — (5 )
6b — ◡ ◡ — — (4 )
7b ◡ ◡ — ◡ |◡ — — (5 )
8b ◡ ◡ — |◡ ◡ — (4 )
9b — ◡ ◡ — |◡ ◡ — (5 )
10b — ◡ ◡ — — (4 )
636
Strophe B (81 -86) [98-103].
1a ◡ ◡ ◡ — | — ◡ ◡ — — [6 ]
2a ◡ ◡ — |— ◡ ◡ — [— ] (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
5a ◡ ◡ —|— ◡ ◡ — | — ◡ [— ] [8 ]
6a — ◡ — ◡ |— — (5 )
Antistrophe B (87 -92) [104-109].
1b ◡ ◡ — | — ◡ ◡ — — (6 )
δ ό κ ιμο ς δ ᾽ο ὔ τις ὑ π ο σ τὰς
2b ◡ ◡ — |— ◡ ◡ — — (6 )
3b ◡ ◡ — |— ◡ ◡ — — (6 )
4b ◡ ◡ — |— ◡ ◡ — — (6 )
5b ◡ ◡ — — | ◡ ◡ — — | ◡ [— ] [7 ]
ἀπ ρ ό σ ο ισ το ς γ ὰρ ὁ Π ερσᾶ ν σ τρ ατ ὸ ς
6b — ◡ — ◡| — [— ] (5 )
637
Strophe C (102-107) [110-114].
1a ◡◡ — — ◡ ◡ | — ◡ ◡ — — |◡ ◡ — [—] (1 1 )
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ ’ ἐκ ρά τησε ν τὸ π αλ αι ό ν
2a ◡ — — ◡ ◡ | — — [5]
3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5a ◡ ◡ — |◡ — ◡ — (5 )
Antistrophe C (190 -114) [115-119].
1b ◡ ◡ — | — ◡ ◡ — ◡| ◡ — — | ◡ ◡ — | ◡ ◡ — (1 2 )
ἔμ αθ ο ν δ ᾽εὐ ρυ π ό ρο ιο θ αλάσ σας π ο λι αι νο μ έν ας
2b — ◡ ◡ — — (4 )
π νεύ μ ατ ι λάβ ρ ῳ [1 1 6 ]
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
4b ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
5b — ◡ ◡ — |◡ — ◡ — (6 )
638
Epode (96-100) [120 -124].
◡ ◡ — — |◡ ◡ — ◡ — |◡ ◡ — | — ◡ ◡ — — [1 3]
δ ο λό μη τι ν δ ᾽ ἀπ ά τ αν θ εο ῦ τίς ἀ νὴρ θ να τὸ ς ἀλύ ξει
◡ ◡ — — |◡ ◡ — —|◡ ◡ —|◡ ◡◡ ◡|— — (1 2 )

τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ π ήδ ημ α το ς εὐ π ε τέ ο ς ἀ ν άσσω ν
◡ ◡ — — | ◡ ◡ — —|◡ ◡ — [— ] (9 )
φ ιλό φ ρ ω ν γ ὰ ρ < π ο τι > σαί νο υ σ α τὸ π ρ ῶ το ν
◡ ◡ — | ◡ ◡ — | — — ◡ — — [9 ]
π αρ άγ ε ι β ρ ο τὸ ν εἰς ἀ ρ κ ύ στ α τ’ Ἄ τα [1 2 3 ]
◡ ◡ — — ◡ ◡ — | — ◡ ◡ — — ◡ ◡ — (1 1 )
τό θε ν ο ὐ κ ἔ σ τ ιν ὕ π ερ θ να τὸ ν ἀλύ ξ α ν τ α φ υ γ εῖν
Strophe D (114 -118) [125-128]
1a — ◡ — |◡ — ◡ — — [6 ]
τ αῦ τά μο ι μ ελ αγ χί τω ν φ ρ ὴ ν [1 2 5 ]
2a ◡ — ◡ — |◡ — [5]
ἀμύ σ σ ε τ αι φ ό β ῳ
◡ — [e x .]
ὀᾶ
3a — ◡ — | ◡ — ◡ — | — ◡ —| ◡ — ◡ — — (1 2 )
Περ σ ικ ο ῦ σ τρ α τεύ μ α τ ο ς το ῦ δ ε μὴ π ό λις π ύ θη τ αι
4a ◡ — — | ◡ — ◡ |— ◡ [— ] (7 )
639
Antistrophe D (120-125) [129-132]
1b — ◡ — ◡ — | ◡ — [— ] [7 ]
κ αὶ τὸ Κ ισσίω ν π ό λισ μ( α)
2b — ◡ — ◡ | — ◡ — [6 ]
ἀν τίδ ο υ π ο ν ᾄ σε τ αι [1 30 ]
◡ — (e x .)
ὀ ᾶ,
3b — ◡ — |◡ — ◡ — — | ◡— ◡ — ◡ — (1 1 )
το ῦ τ᾽ ἔπ ο ς γ υ να ικ ο π λη θὴς ὅ μιλο ς ἀπ ύ ω ν
4b — ◡ — — ◡ — | ◡ — ◡ [—] (8 )
Strophe E (126 -131) [133-138]
1a — ◡ | — — ◡ — (5 )
π ᾶς γ ὰ ρ ἱπ π ηλ ά τας [1 3 3 ]
2a — ◡ — ◡ — |◡ — [5]
κ αὶ π εδ ο σ τ ιβ ὴς λε ὼς
3a — ◡ — |— ◡ — — | ◡ — — [8 ]
4a ◡ — ◡ — | ◡ — [5]
5a ◡ — — — ◡ |— ◡ — — [7 ]
τὸ ν ἀ μφ ίζ ευ κ το ν ἐξ α μ είψ ας
6a — ◡ ◡ —|◡ ◡ — — ◡ |— ◡ — — (1 0 )
ἀμφ ο τέρ ας ἅ λιο ν π ρῶ ν α κ ο ι νὸ ν αἴ ας [1 38 ]
640
Antistrophe E (132-137) [139-144]
1b — ◡ — — [3]
λέκ τρ α δ ᾽ἀ νδ ρῶ ν
2b ◡ — — ◡ — | ◡ — ◡ [— ] (7 )
π ό θῳ π ίμπ λα τ αι δ ακ ρ ύ μα σι ν [1 40 ]
3b — ◡ — | — ◡ — — |◡ — — [9 ]
Περ σ ίδ ες δ ᾽ἁβ ρο π ε ν θε ῖς ἑκ άσ τα
4b ◡ — | ◡ — ◡ [— ] [5]
5b ◡ — — — ◡ | — ◡ — — — |◡ ◡ —|◡ ◡ — [1 3]
6b — ◡ — |◡ — — (5 )
Atossa Scene, Introductory Anapaests (140 -154) [145-159].
1st Movement (140 -148) [145-153]

— ◡ ◡ — — (4 )
ἀλλ᾽ἄγ ε , Πέ ρ σ αι [1 4 5 ]
◡ ◡ —|◡◡ — |◡ ◡ — — [— ] (8 )
— ◡ ◡ — — | — ◡ ◡ — — | — ◡ [— ] (1 0 )
— — ◡ | ◡ — — (5 )
— ◡ ◡ — — | — — (6 )
◡ ◡ — |— — ◡ ◡ — (6 )
[ ◡ ◡ — | ◡ ◡— | ◡ ◡ — | ◡ ◡ [— ]] [8 ]
[τὸ π α τρ ωνύ μιο ν γ έ νο ς ἡμέ τερο ν]
641
◡ ◡ — — — | — ◡ ◡ — — (8 )
π ό τερ ο ν τό ξο υ ῥῦ μ α τ ὸ νικ ῶ ν
— ◡ ◡ — — | — — — — | ◡ ◡ — [— ] (1 1 )
ἢ δ ο ρ ικ ρ ά νο υ λό γ χ ης ἰσχὺ ς κ εκ ρά τηκ ε ν [1 5 3 ]
2nd Movement (150 -154) [154-159]

— — ◡ ◡ — |◡ ◡ — — — | ◡ ◡ — — — (1 2 )
— — ◡ ◡ ◡ — [4]
◡ ◡ —|◡ ◡ — [5]
— — — (3 )
— — — — | ◡ ◡ — — — (8 )
— — — —|◡ ◡ — — (7 )
642
Trochaic Tetrameters: Elders to Atossa (155-158) [160-167]
— ◡ — — — | ◡ — [— ] (7 )
— ◡ — |◡ — ◡ — [6 ]
— ◡ — — — |◡ — — (7 )
— ◡ |— — — ◡ — (6 )
◡— ◡ — — | — ◡ — — [7 ]
◡— ◡ — | — — ◡ — [6 ]
— ◡ — | — — ◡ — [— ] (7 )
εἴ τι μὴ δ αί μω ν π αλ α ιὸ ς
— ◡ — — — | ◡ — (6 )
643
Iambic Trimeters : Messenger’s Speech (353-376) [353-385].
1st Movement 353 -360 [353-366].
— — [— ] (3 )
— — — [— ] (4 )
— — — ◡ — [5]
◡ — ◡ — — (4 )
— ◡ — — — | ◡ [— ] (6 )
◡ — ◡ — — (4 )
— ◡ — — — | ◡ — (6 )
— — ◡ — ◡| — ◡ — — — | ◡ [— ] (1 0 )
ἐλθ ὼ ν ἔλ εξε π αιδ ὶ σ ῷ Ξ έρξῃ τάδ ε [ 36 0 ]
— — ◡ — — | — ◡ — ◡ — | ◡ [— ] (1 0 )
ὡς εἰ μ ελ αί νη ς νυ κ τὸ ς ἵξε τ αι κ ν έφ ας
— — ◡ — ◡ | — [— ] (6 )
— ◡ — ◡ — | ◡ — ◡ — ◡ | — [— ] [9 ]
— ◡ — ◡ [— ] (4 )
— — ◡ — — [5]
◡ ◡ ◡ | — — — ◡ [— ] (6 )
644
2nd Movement 353-376 [367-385].
◡ — ◡ — — | — [— ] (6 )
— ◡ — ◡ ◡ |— — ◡ — [— ] (8 )
ο ὐ ξυ ν εὶς δ ό λο ν Ἕ λλη νο ς ἀ νδ ρὸ ς
— ◡ — ◡ — | ◡ [— ] [5]
— — ◡ — — | — ◡ — — — | ◡ [— ] [1 0 ]
π ᾶσ ιν π ρ ο φ ω νεῖ τό νδ ε ν αυ άρχο ις λό γ ο ν [ 37 0 ]
— — ◡ — — | — [— ] [6 ]
— ◡— | ◡ ◡ — — [6 ]
◡ — ◡ ◡ ◡ ◡| — ◡ — ◡ — [8 ]
κ νέφ ας δ ὲ τέ με νο ς αἰ θέρο ς λάβ ῃ
— — ◡ — | — — ◡ — | — — ◡ [— ] [1 0 ]
τά ξα ι ν εῶ ν σ τῖφ ο ς μὲ ν ἐ ν σ το ίχο ις τ ρισὶ ν
— — ◡ — — [4]
ἔκ π λ ο υ ς φ υ λ άσ σει ν [ 37 5 ]
— ◡ — | ◡ — ◡ — [5]
— — ◡ ◡ — (4 )
— ◡ — — — | ◡ — (6 )
— — ◡ — | — — ◡ — | — — ◡ [— ] [1 0 ]
— — ◡ — — [4]
645
— ◡ — — — | ◡ [— ] (6 )
— — ◡ — — |— ◡ — | ◡ — ◡ [— ] (1 0 )
◡ — ◡ — [— ] (4 )
το σ αῦ τ᾽ ἔ λεξ ε
— ◡ — — — | ◡ [—] (6 )
— — ◡ — ◡ | — ◡ — | — — ◡[— ] (1 0 )
The Darius Scene (681 -748) [681-780].

Iambic Trimeters: Darius to Elders (681 -693) [681-699].
— — ◡ — — [4]
— ◡ — |— — ◡ — (6 )
— — ◡ — — [5]
◡ ◡ ◡ — | ◡ — ◡ [— ] (5 )
◡ — ◡ — — | — ◡ — ◡ — | ◡ [— ] (9 )
— — ◡ — — | — ◡ — (7 )
λεύ σ σ ω ν δ ᾽ ἄκ ο ι τι ν τὴ ν ἐ μὴ ν
◡ — ◡ — | — — (5 )
τάφ ο υ π έλ ας τ αρβ ῶ
◡ — | ◡ — ◡ — | ◡ — ◡— (7 )
χ ο ὰ ς δ ὲ π ρ ευ με νὴς ἐδ εξάμ ην
646
— — ◡ — — | — ◡ — — — | ◡ — [1 1 ]
ὑ μεῖς δ ὲ θρ η ν εῖ τ᾽ ἐγ γ ὺ ς ἑστ ῶ τες τάφ ο υ
— — ◡ — — |— ◡ — — — |◡ — [1 0 ]
— — |◡ — ◡ [— ] [5]
ο ἰκ τρ ῶς κ αλεῖσ θ έ μ (ε)
— ◡ | — — — ◡ [— ] [5]
ἐσ τὶ δ ᾽ο ὐ κ εὐ έξο δ ο ν
— — ◡ — — [4]
— ◡ — ◡ — |◡ — [6 ]
◡ — ◡ — — | — [—] (6 )
— ◡ — ◡ — (4 )
◡ — ◡ — — | — ◡ — — — |◡ — — — (1 2 )
ὅ μως δ ᾽ ἐκ εί νο ις ἐ νδ υ ν ασ τεύ σ ας ἐγ ὼ ἥκ ω
◡— ◡ — |◡ — ◡ — |◡ — [8 ]
◡ — ◡ — — |◡ — ◡ | — — — ◡ [— ] (1 0 )
τί ἐσ τ ι Πέρ σ αις νεο χ μὸ ν ἐμβ ρι θὲς κ ακ ό ν [6 9 9 ]
647
Trochaic Tetrameters: Darius to Elders (694-702) [700-711]
ELD: ◡ ◡ — — | ◡ ◡ — — (6 )
◡ ◡ — | — ◡◡ — — (6 )
◡ ◡ — — — |◡◡ — — (7 )
D A: — ◡ — ◡| — ◡ — [— ] [6 ]
— ◡ — | ◡ — ◡ [—] [5]
— ◡ — — | — ◡ — [—] (7 )
— ◡ — ◡ — | ◡ — [5]
— ◡ | — ◡ — ◡ — [— ] [7 ]
— ◡ — — — | ◡ — (6 )
ELD: ◡ ◡ — — | ◡ ◡ — — (6 )
δ ίο μ αι μ ὲν χ αρί σα σθ α ι
◡ ◡ — |— ◡ ◡ — — (6 )
δ ίο μ αι δ ᾽ἀ ν τί α φ άσ θ α ι [7 1 0 ]
— — — — | ◡ ◡ — [— ] (7 )
648
Trochaic Tetrameters: Darius to Atossa (703-708) [712-719].
— ◡ — |◡ — ◡ — — | — ◡ — | — — ◡ — [1 3]
ἀλλ᾽ἐ π εὶ δ έο ς π αλ αιὸ ν σο ὶ φ ρ εν ῶ ν ἀ ν θίσ τ α τα ι
— ◡ — — — |◡ — — — ◡ | — ◡ — ◡ — (1 3 )
τῶ ν ἐ μῶ ν λέκ τρ ω ν γ ε ραιὰ ξύ ννο μ’ εὐ γ εν ὲς γ ύ ν αι
— ◡ — | — — ◡ — ◡ |— ◡ — [8 ]
◡ — ◡ — | — [— ] [5]
— — — ◡ — | — — ◡ — |◡ — ◡ — (1 1 )
— ◡ — ◡ | — ◡ — — [6 ]
— ◡ — — — | ◡ ◡ — ◡ — | — — (1 0 )
π ο λλὰ δ ᾽ ἐκ χ έρ σο υ κ α κ ὰ γ ίγ νε τ αι θ νη το ῖς
◡ — — |◡◡◡ — |◡ — ◡ — (8 )
Trochaic Tetrameters: Atossa to Darius (709-714) [720-726].
— ◡ — — — | ◡ — — — ◡ | — ◡ — — — (1 3 )
ὦ β ρ ο τῶ ν π ά ν τω ν ὑ π ε ρσχὼ ν ὄ λβ ο ν εὐ τυ χ εῖ π ό τ μῳ [7 20 ]
— ◡— | ◡ — ◡ — — |—◡ — |— — ◡ — (1 2 )
ὡς ἕως τ᾽ ἔλευ σ σες αὐ γ ὰς ἡλίο υ ζ ηλω τὸ ς ὢ ν
◡ ◡ ◡| — — — ◡ | — — — ◡ —|◡ — ◡ [—] [1 2]
β ίο το ν εὐ αί ω να Πέρσ αις ὡς θ εὸ ς δ ιήγ αγ ες
— ◡ — |— — ◡ — ◡ |— ◡ — ◡ — | ◡ [— ] [1 2]
νῦ ν τέ σ ε ζη λ ῶ θα νό ν τα π ρὶ ν κ ακ ῶ ν ἰδ εῖ ν β άθο ς
649
— ◡ — ◡ — |◡ — — — ◡ | — ◡ — ◡ — (1 2 )
π άν τ α γ άρ Δαρ εῖ᾽ ἀκ ο ύ σῃ μῦ θο ν ἐ ν β ρ αχεῖ χρό ν ῳ
◡◡ ◡ — —| — ◡ — — | — ◡ [—] (9 )
— — — ◡ [— ] [4]
ὡς εἰπ εῖ ν ἔπ ο ς
Trochaic Tetrameters: Stichic Dialogue (715 -738) [727-780]
◡ ◡ ◡ — [3]
Δα: τί νι τρ ό π ῳ [7 27 ]
— — ◡ — — | — [— ] [6 ]
λο ιμο ῦ τις ἦλ θε σκ ηπ τὸ ς
— ◡ — ◡ — (4 )
ἢ σ τά σ ις π ό λ ει
— ◡— [2]
Ἄτ: ο ὐ δ α μῶς [7 30 ]
— — ◡ — — | — ◡ — — — | ◡ [— ] [1 0 ]
ἀλλ᾽ ἀ μφ ᾽ Ἀ θή ν ας π ᾶς κ α τέφ θ αρ τ αι σ τρ α τό ς
— ◡ — | ◡ — ◡ — —| — ◡ — ◡ — [1 1 ]
Δα: τίς δ ᾽ ἐμ ῶν ἐκ εῖσε π αί δ ων ἐ σ τρα τ ηλά τει
— [— ] [2]
φ ρ άσ ο ν
— ◡ — — — [4]
◡ — — — ◡ |— — — ◡ [— ] [9 ]
— ◡ — — — | ◡ — — (7 )
— ◡ — ◡ — | ◡ — [5]
τή νδ ᾽ ἐ μώ ρα νε ν τά λας
650
— ◡ ◡[ — ] (3 )
◡ — | ◡ — ◡ — [4]
◡ — | ◡ — ◡ — [4]
— ◡ — | ◡ — ◡ — [— ] [7 ]
— ◡ — ◡ — | ◡ — [5]
π εζὸ ς ἤ νυ σε ν π ε ρᾶ ν
— ◡ — | — — ◡ — — | — [— ] (9 )
— ◡ — ◡ [— ] (4 )
— ◡ | — ◡ — [— ] (5 )
— ◡ — ◡ — | — — ◡ [— ] [7 ]
ὥσ τε Βό σ π ο ρο ν κ λ ῇσα ι μέγ α ν
— ◡ — [3]
— — ◡ — | — — ◡ — | ◡ — ◡ [— ] (1 0 )
γ νώ μη ς δ έ π ο ύ τ ις δ α ιμό νω ν ξυ νή ψ ατ ο
— (1 )
Δα: φ εῦ
◡ — ◡ — ◡ |— — [5]
— ◡ — ◡ — |◡ — [5]
651
— ◡ — |◡ — ◡ — [—] [6 ]
— ◡ — ◡ — | ◡ [— ] [5]
— ◡ — | — — ◡ — — (7 )
— ◡ — | ◡ — ◡ [— ] [6 ]
ὧδ ᾽ ἐπ ισ τ εν άζε τε [7 5 5 ]
— ◡ — ◡ — | ◡ — — [6 ]
Ἄτ: ν αυ τικ ὸ ς σ τρ α τὸ ς κ ακ ωθ εὶς
— ◡ — ◡ — | ◡ [— ] [5]
— ◡ — — — |◡ — — (7 )
Δα: ὧδ ε π α μπ ήδ η ν δ ὲ λ αὸ ς
— ◡ — — — | ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι δ ο ρί
— ◡[— ] [3]
Ἄτ: π ρ ὸ ς τάδ ε [7 6 0 ]
— — — ◡ | — [— ] [6 ]
— ◡ — ◡ — | ◡ — [6 ]
— ◡ — [3]
— — ◡ — — [4]
— ◡— ◡ — | ◡ — [6 ]
652
— ◡ — | — — ◡ — — | — [— ] (9 )
— ◡ — ◡ — (4 )
ο ὐ δ έ τις γ έρω ν
— ◡ ◡[ — ] (3 )
— — ◡ — — | — ◡ — | ◡ — ◡ [— ] (1 0 )
ο ἵα ν ἄρ ᾽ ἥβ η ν ξυ μμ άχ ων ἀ π ώλ εσε ν
◡ ◡ ◡ — |— — ◡ — — | — [— ] (9 )
Ἄτ: μο ν άδ α δ ὲ Ξ έρ ξη ν ἔρ ημό ν φ α σι ν [7 7 0 ]
— — — ◡ [— ] [5]
— ◡ — |— — ◡ — — (7 )
Δα: π ῶς τ ε δ ὴ κ αὶ π ο ῖ τε λευ τᾶ ν
— ◡ — |— — ◡— (6 )
ἔσ τι τ ις σω τηρ ία
— ◡ — ◡ — | ◡ — [— ] [6 ]
— ◡ — | — — ◡ [— ] (6 )
— ◡ — — — | ◡ — — — [— ] (9 )
Δα: κ αὶ π ρ ὸ ς ἤπ ειρο ν σεσ ῶσθ αι τή νδ ε
— ◡ — ◡ [— ] (4 )
— (1 )
Ἄτ: ν αί
◡ —| ◡ — ◡ — — [5]
λό γ ο ς κ ρ α τ εῖ σ αφ η νὴς
— ◡ | — ◡ — ◡ [— ] [5]
653
Iambic trimeters: Darius (Historical Narrative) (765 -786) [765a-
801].
— — ◡ — [3]
Μῆ δ ο ς γ ὰ ρ ἦ ν [7 6 5a]
◡ — ◡ |— ◡ — ◡ — (6 )
ὁ π ρ ῶ το ς ἡ γ ε μὼ ν σ τρ α το ῦ
— — | ◡ — — — [5]
◡ — ◡ | — ◡ [— ] [4]
◡ — ◡ — — | — [— ] (6 )
τρ ί το ς δ ᾽ἀπ ᾽ αὐ το ῦ Κῦ ρο ς
— — — ◡ — (5 )
εὐ δ αί μω ν ἀ νή ρ [7 7 0 a]
— — | ◡— ◡ — ◡ | — — — ◡ — (1 0 )
ἄρ ξ ας ἔ θη κ ε π ᾶ σι ν εἰ ρήνη ν φ ί λο ις
◡ — ◡ — — (4 )
— ◡| — ◡ — ◡ — [5]
— — ◡ — — [4]
Λυ δ ῶ ν δ ὲ λ αὸ ν
— ◡ — | — — ◡ [— ] (6 )
— — ◡— | ◡ — ◡ | — ◡ — ◡— [1 0 ]
Ἰ ωνί α ν τε π ᾶ σ α ν ἤ λα σεν β ί ᾳ
654
◡ — |◡ — — — [— ] (6 )
θεὸ ς γ ὰ ρ ο ὐ κ ἤχ θηρε ν
— — — ◡ — [5]
ὡς εὔ φ ρ ω ν ἔ φ υ
— — ◡ — [3]
Κύ ρ ο υ δ ὲ π αῖς
◡ — ◡| — — — ◡ [— ] [6 ]
τέ τ αρ το ς η ὔ θυ νε σ τ ρ α τό ν [7 8 0 a]
— — ◡ — ◡ | — [— ] (6 )
— — — ◡ — [5]
αἰσ χ ύ νη π ά τ ρ ᾳ
◡ — ◡ | — — — [— ] (6 )
[θρ ό νο ισ ί τ᾽ἀρ χ αίο ι σι ]
— ◡ — ◡ — (4 )
τὸ ν δ ὲ σ ὺ ν δ ό λῳ
— — ◡ — |— — ◡ — ◡ |— ◡ — (1 0 )
Ἀρ ταφ ρ έ νη ς ἔκ τει νε ν [ἐσθ λὸ ς ἐ ν δ ό μο ις ] [7 8 5 ]
— — ◡ — |◡ — [—] (6 )
— ◡ — ◡ [— ] (4 )
ο ἷς τό δ ᾽ ἦ ν χ ρ έο ς
— — ◡ | ◡ ◡ [— ] (5 )
[ἕκ το ς δ ὲ Μάρ αφ ις ]
— ◡ — |— — ◡ — (6 )
[ἕβ δ ο μο ς δ ᾽Ἀρ τ αφ ρέ νη ς ]
— — ◡ — | ◡ — ◡ — ◡ | — ◡ [— ] [9 ]
κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α το ῦ π ε ρ ἤ θελο ν [7 9 0 ]
— — ◡ — ◡ | — [— ] (6 )
κ ἀπ εσ τρ ά τευ σ α π ο λλὰ
655
— — — ◡ — [5]
— — ◡ — |◡ — ◡ |◡ ◡ ◡ —|◡ — [1 0 ]
ἀλλ᾽ο ὐ κ ακ ὸ ν το σό νδ ε π ρο σέβ αλο ν π ό λε ι
— — ◡ — — [4]
— ◡ — | ◡— ◡ — [6 ]
— — ◡ — — | — ◡ — | ◡ — ◡ [— ] (9 )
κ ο ὐ μ νη μο νεύ ει τὰς ἐ μὰς ἐπ ισ το λάς
— — ◡ — | ◡ — [— ] (6 )
◡ — | ◡ — ◡ [— ] [4]
— — ◡ — — [4]
— ◡ — | ◡ — ◡ [— ] [5]
— — ◡ — — | — ◡ — — — | ◡ [— ] [1 2]
ο ὐ κ ἂν φ α νεῖ με ν π ή μα τ᾽ἔ ρξ α ν τες τό σ α
Iambic Trimeters: Darius Scene (Prophetic Narrative) (800 -812)

[800a-819].
— — ◡ — — [4]
— ◡ — — — |◡ — — | — ◡ — [— ] [1 0 ]
εἴ τι π ισ τεῦ σ αι θε ῶ ν χ ρ ὴ θ εσφ ά το ισι ν [8 0 1 a]
— ◡ — | ◡ — ◡ — | — — [— ] [1 0 ]
656
— — — ◡ — |◡ — ◡ — [8 ]
σ υ μβ αί νει γ ὰ ρ ο ὐ τ ὰ μέ ν τὰ δ ᾽ο ὔ
— — ◡ — [— ] [5]
— ◡ — ◡ — | ◡ — — — [8 ]
◡ — ◡ | — ◡ — |◡ — ◡ [— ] [7 ]
— — ◡ — ◡ | ◡◡ [—] (6 )
— — — | ◡ — — — [7 ]
◡ — — — ◡ | — — — ◡ [—] [9 ]
— — ◡ — | — — |◡ — ◡ — ◡ — (1 0 )
ο ὗ σ φ ιν κ ακ ῶν ὕ ψισ τ᾽ ἐπ α μμέ ν ει π α θ εῖ ν [8 1 0 ]
◡ ◡ — ◡ — [— ] (5 )
ὕ β ρ εως ἄπ ο ιν α
— ◡ — | ◡ — ◡ — [5]
— — ◡ — ◡ | — ◡ [— ] [7 ]
— ◡ — ◡ — |— — ◡ — — [8 ]
— ◡ — ◡ — |◡ — [5]
— — ◡ — — [5]
— ◡ — | — — ◡ [— ] (6 )
657
— — ◡ — — [4]
— ◡ — — — | ◡ — [6 ]
The Xerxes Scene: Anapaests and Lyric Kommos, Strophe and

Antistrophe A and B. (908 -973) [908-979].
1st Movement, Xerxes’ Entrance Speech (908-917) [908-920].
—— (2 )
ἰώ [9 0 8 ]
— — ◡ ◡ — (4 )
δ ύ σ τη νο ς ἐγ ώ
◡ ◡ — — — | — ◡ ◡ — — (8 )
σ τυ γ ε ρ ᾶς μο ίρ ας τ ῆσδ ε κ υ ρήσ ας [9 1 0 ]
◡ — — |◡ ◡ — [4]
ἀτεκ μ αρ το τά τη ς
— — ◡ ◡ — | — — ◡ ◡ — (8 )
ὡς ὠμ ο φ ρ ό νως δ αί μω ν ἐνέβ η
— — ◡ ◡ — (4 )
Περ σ ῶ ν γ ε νε ᾷ
◡ ◡ — — — (4 )
τί π ά θ ω τλή μω ν
◡ ◡ — |◡ ◡ — | — — — — (8 )
λέλυ τ αι γ ὰ ρ ἐ μο ὶ γ υ ί ων ῥ ώμ η [9 1 5 ]
— — ◡ ◡ — | ◡◡ — — — (8 )
τή νδ ᾽ ἡ λικ ί α ν ἐσιδ ό ν τ ᾽ ἀσ τῶ ν
— ◡ ◡ — — (4 )
εἴθ ᾽ ὄ φ ελ εν Ζεῦ
658
— ◡ ◡ — — (4 )
κ ἀμὲ με τ᾽ ἀ νδ ρ ῶ ν
— — ◡ ◡ — (4 )
◡ ◡ — |◡ ◡ —|◡ ◡ — — (7 )
θ αν ά το υ κ ατ ὰ μο ῖ ρα κ αλύ ψα ι [ 9 20 ]
2nd movement, Elders’ Initial Greeting to Xerxes (918 -921) [921-

925].
◡ ◡ — |◡ ◡ — (4 )
ὀ το το ῖ β ασ ι λεῦ [9 21 ]
◡ ◡ — | ◡ ◡ — (4 )
σ τρ α τιᾶς ἀγ α θῆς
— — ◡ ◡ — | — — ◡ ◡ — (8 )
κ αὶ π ερ σ ο νό μο υ τι μῆς μεγ άλ ης
— — — — (4 )
κ ό σ μο υ τ᾽ἀ νδ ρ ῶ ν
— — — — | ◡ ◡ — [— ] (7 )
ο ὓ ς νῦ ν δ αίμ ω ν ἐπ έκ ε ιρεν [9 2 5 ]
3rd Movement, Elders’ Condemnation of Xerxes (918 -930) [926-

937].
— — — — |— — — — |— — (1 0 )
γ ᾶ δ ᾽αἰ άζε ι τὰ ν ἐγ γ α ία ν ἥβ α ν
— — ◡ ◡ — (4 )
Ξ έρ ξᾳ κ τ αμ έν α ν
◡ ◡ — |— ◡ ◡ — — (6 )
Ἅιδ ο υ σ άκ το ρ ι Περσ ᾶ ν
659
— ◡ ◡ — — | — — — [— ] (8 )
ἀγ δ αβ ά τ αι γ ὰ ρ π ο λλο ὶ φ ῶτ ες
— — — — | — ◡ ◡ — [— ] (8 )
χ ώρ ας ἄν θο ς το ξο δ ά μ α ντ ες [9 30 ]
◡ ◡ — — — | — ◡ ◡ — — | — — — — (1 2 )
π άνυ τ αρ φ ύ ς τις μυ ρι ὰς ἀνδ ρ ῶ ν ἐξέ φ θ ιν τ αι
— — — — (4 )
αἰ αῖ αἰ αῖ
— — — — (4 )
κ εδ νᾶς ἀλκ ᾶς
◡◡ — — — (4 )
Ἀσ ί α δ ὲ χ θώ ν
◡ ◡ — — — (4 )
β ασ ιλ εῦ γ αίας [9 3 5 ]
— — (2 )
αἰ νῶς
— — |◡◡ ◡ ◡ | ◡ — — [7 ]
αἰ νῶς ἐπ ὶ γ ό ν υ κ έκ λι τ αι
Kommos: Strophe and Antistrophe A (931 - 949) [938-955].
Strophe A (931 -940) [938-946].

Ξ έρ ξη ς
1a ◡ ◡ — — — | — — [— ] (7 )
ὅ δ ᾽ἐγ ώ ν ο ἰο ῖ αἰ ακ τὸ ς [9 38 ]
2a ◡◡ — — — (4 )
μέλεο ς γ έ νν ᾳ
3a — ◡ ◡ — — (4 )
γ ᾷ τε π α τρ ῴᾳ [9 40 ]
4a ◡ ◡ | ◡ ◡ ◡ ◡ — (4 )
κ ακ ὸ ν ἄρ᾽ ἐγ ε νό μ α ν
660
Χο ρ ό ς
5a — — — — |— — (6 )
π ρ ό σ φ θ ο γ γ ό ν σ ο ι νό σ το υ
6a — ◡ ◡◡◡ ◡ ◡ — (5 )
τὰ ν κ ακ ο φ ά τιδ α β ο ά ν
7a ◡ ◡ ◡ ◡ ◡|◡ — (4 )
κ ακ ο μ έλε το ν ἰὰ ν
8a ◡ ◡ — — — |— — — — |— — (1 0 )
Μαρ ια νδ υ νο ῦ θρη νη τῆ ρο ς [π έμ ψω ] [9 4 5 ]
9a — — ◡ ◡ — | ◡ ◡— — (7 )
π έμψ ω π ο λύ δ ακ ρυ ν ἰ α χάν
Antistrophe A (950-961) [947-955].

Ξ έρ ξη ς
1b ◡◡ — — — |— — — [— ] (8 )
ἵετ ᾽ α ἰα νῆ κ αὶ π ά νδ υ ρτο ν [9 47 ]
2b — ◡ ◡ — — (4 )
δ ύ σ θρ ο ο ν αὐ δ ά ν
3b — — ◡ ◡ — (4 )
δ αίμ ω ν γ ὰρ ὅ δ ᾽ αὖ
4b ◡ ◡ ◡ ◡ | ◡ ◡ — (4 )
με τά τρ ο π ο ς ἐπ ᾽ ἐ μο ί . [9 50 ]
Χο ρ ό ς
5b — — — | — — — [— ] (7 )
ἥ σ ω το ι κ αὶ π ά νδ υ ρ τ ο ν
6b — ◡ ◡ | — ◡ ◡ — — (6 )
λαο π α θῆ τε σ εβ ίζ ω ν
7b ◡◡ ◡ ◡ ◡ |◡ — (4 )
ἁλί τυ π ά τε β άρη
661
8b ◡ ◡ — — — | — — — [— ] (8 )
π ό λεως γ έ ν ν ας π ε ν θη τῆρο ς
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
κ λάγ ξω δ ’ αὖ γ ό ο ν ἀρί δ ακ ρυ ν [9 5 5 ]
Kommos: Strophe and Antistrophe B (950 -973) [956-979]
Strophe B (950-961) [956-967].

Ξ έρ ξη ς
1a ◡ ◡— | ◡ ◡ — — (5 )
Ἰ άν ων γ ὰ ρ ἀπ ηύ ρ α [9 56 ]
2a ◡ ◡— | — — [— ] (5 )
Ἰ άν ων ν αύ φ αρκ το ς
3a — — |◡ ◡ — — (5 )
Ἄρ η ς ἑ τερ αλκ ὴς
4a ◡ ◡— ◡ ◡ | — ◡ ◡ [— ] (6 )
νυ χ ί α ν π λάκ α κ ερ σάμ ενο ς
5a — — ◡ ◡ | — [— ] (5 )
δ υ σ δ αί μο νά τ᾽ἀκ τά ν [9 6 0 ]
Χο ρ ό ς
6a — — — ◡ —|— — — — — [1 0 ]
ο ἰο ιο ῖ β ό α κ α ὶ π ά ν τ᾽ἐ κ π εύ θο υ
7a — ◡ ◡ — | — ◡ — [— ] [6 ]
π ο ῦ δ ὲ φ ίλω ν ἄλλο ς ὄ χλο ς
8a — ◡ — | ◡ — ◡ — [6 ]
π ο ῦ δ έ σ ο ι π αρ ασ τά τ αι
9a — ◡ — |◡ — ◡ — [5]
ο ἷο ς ἦ ν Φ αρ α νδ άκ ης
10a — — ◡ ◡ — |— — — [— ] (8 )
Σο ύ σ ας Πε λάγ ω ν κ αὶ Δα τά μ ας [9 6 5 ]
662
11a — [◡ ◡ — — ] — — — | — — — — [— ] (1 2 )
ἠ δ ὲ [Ἀγ αβ ά τ ας ] Ψάμ μι ς Σο υ σισκ άνης τ (ε)
1 2a — ◡ ◡ ◡ |◡ — (4 )
Ἀγ β ά τ αν α λ ιπ ώ ν [9 6 7 ]
Antistrophe B (962 -973) [968-979]

Ξ έρ ξη ς
1b ◡ ◡ — |◡ ◡ — [—] (5 )
ὀ λο ο ὺ ς ἀπ έ λειπ ο ν [9 6 8 ]
2b ◡ ◡— | — — [— ] (5 )
Τυ ρ ίας ἐκ ν αὸ ς
3b — — ◡ | ◡ — — (5 )
ἔρ ρ ο ν τ ας ἐπ ᾽ ἀκ τ αῖς [9 7 0 ]
4b ◡ ◡ — ◡— — | ◡ ◡ — [7 ]
Σα λ αμι νιά σι σ τυ φ ε λο ῦ
5b — — ◡ ◡ | — — (5 )
θεί νο ν τ ας ἐπ ᾽ ἀκ τ ᾶς
Χο ρ ό ς
6b — — — — — | — — — [— ] (9 )
ο ἰο ιο ῖ π ο ῦ δ ὴ π ο ῦ Φ αρ νο ῦ χο ς
7b —◡◡ — — | ◡ ◡ [— ] (6 )
Ἀρ ιό μ αρ δ ό ς τ ᾽ἀγ α θό ς
8b — ◡ | — — — ◡ — (6 )
π ο ῦ δ ὲ Σευ άλκ ης ἄ ν α ξ [9 7 5 ]
9b — ◡ — ◡ | — ◡ — [5]
ἢ Λίλ αιο ς εὐ π ά τωρ
10b — — ◡ ◡ — | — — — — (8 )
Μέμφ ις Θ άρυ β ις κ αὶ Μασ ίσ τρ ας
11b — — — — | — — — — (8 )
Ἀρ τεμβ άρ ης τ᾽ἠδ ᾽ Ὑσ τ αίχ μας
12b ◡ ◡ |◡ ◡ ◡ ◡ — (4 )
τάδ ε σ ᾽ἐπ α νερό μ αν [9 7 9 ]
663
Appendix II. Translation of Working Text.
The Parodos (1-64) [1-77].

1st movement (1 -7) [1-10]: Elders’ Self-introduction.
We are of the Persians
Those who are gone
To the Greek land
2nd Movement (8-15) [11-20]: First warning note of disaster.

Of our King
And for the much-golden arm y
Already too much a prophet -of-doom,
For all the Asian-born strength is gone away
[and howls (for? at? around? about?) a young man]
And neither a messenger
Nor yet a horseman
664
3rd Movement (16 -20) [21-29]: Introduction to the Catalogue of
Commanders.
Those who from Sousa [21]
And Agbatana
And the ancient
Kissian fortress
Some riding horses
Some aboard ships
4th Movement (21-26) [30-41]: Catalogue of Commanders I.

Megabates and Ataspes
King-commanders of the Persians
[Servants of the Great King]
The Overseers of the great arm y [are eager]
Fearful to behold
Terrible to fight
In (their) steadfast glory of spirit.
[And chariot -fighting Artembares and Masistres]
[And bow-fighting noble Imaius and Pharandakes]
[And driver-of-horses Sosthanes] [41]
5th Movement (33-40) [42-49]: Catalogue of Commanders II.

And the great and many-feeding Nile sent others [42]
Sousiskanes Pegastagon
Egyptian-born
Great Arsames
665
And the governor of ancient Thebes Ariomardos
[And marsh -treading rowers of ships]
6th Movement (41-48) [50-56]: Catalogue of Commanders III.

[These Mitrogathes and goodl y Arkteus]
[King-commanders and much-golden Sardis]
[Riders] they stir up on many chariots
[Two-beam and three-beam rigs] [55]
A fearful sight to behold
7th Movement (49-58) [57-68]: Catalogue of Commanders IV.

Mardon Tharybis
Riders on ships
Of all Asia follows
8th Movement (59-64) [69-77]: Coda to Parodos.

Such is the flower
Of the Persian Land [70]
(And) of men that (are) gone
666
For whom all the land
Of Asia that reared them
Groans with a burning longing
As time stretches out day by day
Tremble
First Ode, 65-137 [78-144].

Strophe A, (65 -71) [78-87].
It has crossed [78]
The cit y-sacker already
To the neighbouring land opposite
Making the crossing
Casting a yoke
Antistrophe A, 74 -80 [88-97].

And of the many men
The warlike leader of Asia
Drives his godlike herds
At once by land
And from the sea
Trusting in tough
667
Strophe B (81 -86) [98-103].
Antistrophe B (87 -92) [104-109].

Strophe C 101 -105 [110-114].

For God-sent fate prevailed of old
And imposed on the Persians [111]
668
Antistrophe C 109-114 [115-119].
By a rough wind [116]
To look upon the sacred grove of the open sea.
Trusting in finel y-wrought cables
Epode (93-100) [120-124].

What mortal man can escape the scheme -minded
deception of a god?
Who with light foot is lord of a nimble leap?
For fawning at first with friendl y mind
From where it is not possible for a mortal
escaping to flee
Strophe D (114 -118) [125-128]

For these reasons m y black -shrouded mind [125]
Is torn with fear
Woe
May the cit y never hear of this for the Persian arm y
The great cit y of Susa is empt y-of-men [128]
Antistrophe D (120-125) [129-132]

And the Kissian township
Will sing in counterpoint [130]
“Woe”
This word uttered by a woman -filled assembl y
669
Strophe E (126 -131) [133-138].
For all the horse -born [133]
And foot -stepping people
Have left like a swarm of bees [135]
Crossing [bridging?] yoke
A common oceanic promontory of both lands [138]
Antistrophe E (132-137) [139-144].

And the beds of men
With longing are filled with tears [140]
And ever y soft-grieving Persian girl
Is left yoked alone [144]
Atossa Scene, (140-158) [145-167].

1st Movement (140 -148) [145-153]: The Elders Take Counsel.
But come Persians [145]
There is need of it
How fares Xerxes
King born -of-Darius [150]
[And our eponymous race]?
Is the drawing of bows victorious
Or has the strength of sharp -pointed spear prevailed? [153]
670
2nd Movement (150 -154) [154-159], The arrival of Atossa.
But she (who is) equal to the light in the eyes of the gods
approaches
My Queen
I bow to the ground
3rd Movement (155-158) [160-167], The Elders Greet Atossa.

Bed-mate of a god
Has now forsaken the arm y
Messenger Scene, (353-376) [353-385].

1st Movement (353 -360) [353-362]: The Beginning of the Battle of
Salamis.
It began [353]
My Queen
A Greek man
Arriving spoke to your son Xerxes these things
That when the darkness of black Night comes
671
2nd Movement, 353 -376 [367-385], Xerxes’ reaction to the Greek

ruse.
Not understanding the deceit of the Greek man
He gave this command to all the captains -of-ships [370]
And darkness takes the region of the sky
Draw up the formations of ships in three lines
With their ships covertl y [380]
In high good spirits
For he did not know what was to come from the gods [385]
672
Darius Scene, (681-739) [681-780]; (765-786) [765a-801]; (800-
812) [800a-819].
1st Movement (681-693) [681-699], Darius Greets the Elders.
Aged Persians
The ground groans and has been struck and furrowed [685]
And seeing m y bedmate
Standing by m y tomb I am troubled
And kindl y I have accepted her libations
While standing near my tomb you chant dirges
Piteousl y you call on me
It is not easy to leave (the underworld)
All else besides
Than at letting go
Nevertheless being powerful among them I have come
What new weight y evil is there among the Persians?
2nd Movement 694-702 [700-711], Darius Encourages the Elders.


673
Having put yo ur awe of me aside

3rd Movement (703-708) [712-719], Darius to Atossa.

Well, since the old fear stands against your wits
Aged companion of my bed n oble lady
And from the land come many evils to mortals
674
4th Movement (709-714) [720-726], Atossa to Darius.
You who exceed all mortals in wealth by virtue
of a blessed fate
So long as you beheld the light of the sun
you were enviable
You lead a blessed life among the Persians as a god
And now I envy you being dead before seeing
the depth of woes.
The whole story Darius you shall hear in a short time
Or so one might say
5th Movement (715 -738) [727-780], Stichic Dialogue.

Has some bolt of plague come ?

Rather, near Athens the whole arm y
was destroyed
Da: Which of m y sons lead an arm y there ?

Speak
At: Warlike Xerxes


That the wretch foolishl y undertook ?
675
At: Both

Accomplish the crossing on foot ?

So as to have a crossin g

So as to close the might y Bosporus ?

Perhaps somehow his judgement was touched
by some daimōn
Da: Phew



Da: And so the entire people

Was completel y destroyed by t he spear?
676
All mourns its emptiness -of-men
Da: Oh Alas

Not an old man (survives)
Da: The fool

So much youthful vigour of our allies
he has destroyed

Not with the many
Da: How and where is he to end up ?

Is there any salvation ?

Da: And he has made it safel y to this land ?

Is that true?
At: Yes
The report is clear
677
6th Movement (765-786) [765a-801], Darius’ Historical Narrative.
For there was Mēdos [765a]
The first leader of the arm y
And a son of his
Completed the work
Third after him (was) C yrus
A blessed man [770a]
His rule established peace among all his friends
Because his mind
And of the P hrygians he acquired [775a]
And overwhelmed all Ionia by force
And the son of C yrus
Fourth guided the army [780a]
A disgrace to his fatherland
And the ancient thrones
Him by means of a ruse
Noble Artaphrenes killed in his halls [785]
To whom this was a dut y.
[Sixth Maraphis]
[And seventh Artaphrenes]
And I attained by lot that which I desired [790]
With a great arm y
But never did I heap so great an evil on the cit y
678
And does not remember m y precepts
Men of m y own age
Each one of us
Would never been seen to have worked such great sufferings
7th Movement (800-812) [800a-819], Darius’ Prophetic Narrative .

If one must believe the pronouncements
of the gods [801a]
And if this is the case
[The dear fattener of the Boiotian land]
Where it awaits them to suffer the
highest of evils [810]
Altars (were) obliterated
Were hurled from their foundations [819]
679
Xerxes Scene (908-973) [908-979], Anapaestic Introduction and
Lyric Kommos.
1st Movement (908-917) [908-920], Xerxes’ Entrance Speech.
Oh! [908]
Wretched me!
Having come to this hateful fate [910]
Most unexpected
How savagel y the daimōn came
To the Persian people
What will happen to miserable me?
The strength has left m y limbs [915]
Seeing the age of these townsmen
Zeus! If onl y
Me also with those men
Those who are gone
Fate had hidden in death [920]
2nd Movement (918 -930) [921-937], Elders’ Initial Greeting to

Xerxes.
Otototoi O King [921]
For the noble arm y
And for the great Persia-ruling honour
And for the adornment of Men
Whom now the daimōn has cut down [925]

937]
The land cries out for her native youth [926]
Killed by Xerxes
The filler of Hades with Persians
For many men were led away
The bow-fighting flower of our country [930]
680
Close-packed thousands of men have perished
Aiai aiai
For the reliable strength
The land of Asia
O King of the world [935]
Woefull y
Woefull y has been struck to her knees [937]
Strophe A (931 -940) [938-946].

Xerxes
Here I am oioi pitiable [938]
A source of grief to my race
And to m y paternal land [940]
I have become an evil
Elders
In response to your return
The evil -omened shout
The cry of evil tidings
Of a Maryndian dirge-singer [I will send forth]
I will send forth a many-teared outcry [946]
Antistrophe A (950-961) [947-955].

Xerxes
Send forth eternal and all -mourning
An ill-sounding dirge
Because the daimōn once again
Is turned against me [950]
Elders
I shall send forth all -mourning
Reverencing the people’s suff ering
681
(And) the sea -beaten weight
Of a mourner for the cit y for our race
I will sound once more a cry full -of-tears [955]
Strophe B (950-961) [956-967]

Xerxes
The Ionian took (them) away [956]
The Ionian fenced -with-ships
Ares Protector -of-others
Razing the night -time expanse
And the ill -omened shore [960]
Elders
Cry oioioi and learn all
Where is the host of your companions ?
Where are the others who -stood-beside you?
Men like Pharnouchus ?
Sousas Pelagōn and Datamas ? [965]
And [Agabatas] Psammis and Sousiskanes
Who left from Agbatana?
Antistrophe B (962 -973) [968-979]

Xerxes
I left them dead [968]
Out of a Tyrian ship
Wandering towards the shore [970]
Rugged Salaminian
Beating against the shore
Elders
Oioioi where oh where is Pha rnouchus?
And goodl y Ariomardos ?
682
And where is Lord Seualkes ? [975]
And noble Lilaios?
Memphis Tharybis and Masistras ?
And Atembares and Hystaichmas ?
I ask you again and again [979]
683
Appendix III. Experimental Text.
Anapaestic Dimeters. Parodos (1-64) [1-77].
1st movement, 1 -7 [1-10] 714
◡ ◡ — — — (4 )
— — ◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — [4]
— ◡ ◡ — — | ◡ ◡ — (6 )
κ αὶ π ο λυ χ ρ ύ σ ω ν ἑδ ρ ά νω ν
◡ ◡ — | ◡ ◡ — — [— ] (6 )
— — ◡ ◡ — — — (6 )
◡ ◡ — | — — ◡ ◡ — (6 )
— ◡ ◡ — — | ◡ ◡ — — (7 )
714[5]: scanned final anapaest, suggest reading ἀφένων; [6]: scanned final
anapaest; [8] scanned dactylopaestic heptasyllable-3; [9]: read Δαρειογενής
for line-end.
684
2nd movement, 8 -15 [11-20]. 715
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — | ◡ ◡ — (6 )
κ αὶ π ο λυ ά νδ ρ ο υ σ τρ α τιᾶς
— — |◡ ◡ — ◡ ◡ — (6 )
— ◡ ◡ — — | — ◡ ◡ — [— ] (8 )
— ◡ ◡ — — | ◡ ◡ — ◡ ◡ — | — — [— ] (1 1 )
π ᾶσ α γ ὰ ρ ἰσ χ ὺ ς Ἀσι α το γ ε νὴς ο ἴ χωκ ε ν
— ◡ ◡ — ◡ — (4 )
κ ο ὔ τε τις ἄγ γ ελο ς [1 8 ]
— ◡ ◡ — — (4 )
ο ὔ τε τις ἱπ π εύ ς
— ◡ ◡ — — |◡ ◡ — — (7 )
715[13]: πολυάνδρου Wecklein, πολυχρύσου MSS; [14]: scanned dianapaest;

[16]: scanned dianapaest; read οἴχωκεν for line-end; [16-18 infr.]: del. νέον
δ᾽ἄνδρα βαΰζει; [18] scanned anceps didactyl, read ἱππεύς for line-end.
685
3rd Movement, 16 -20 [21-29]. 716
— ◡ ◡ — — |— — ◡ ◡ — — — (1 0 )
ο ἵτε τὸ Σο ύ σ ω ν ἠδ ᾽ Ἀ γ β α τά νω ν ἕρκ ο ς [ 21 ]
◡ ◡ — ◡ ◡ — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — (4 )
◡ ◡ — — — | ◡ ◡ — [— ] (7 )
716[21-25 infr.]: del. [23] καὶ τὸ παλαιὸν; del. [24init] Κίσσιον [21-24fin],
scanned dactylopaest-2 + dactylopaestic heptasyllable-3; [25] scanned
dianapaest.
686
4th movement, 21 -32 [30-41]. 717
— ◡ ◡ — — | — — ◡ ◡ — (8 )
— ◡ ◡ — — | — — — — (8 )
— — — — | ◡ ◡ — (6 )
τ αγ ο ὶ Π ερ σ ῶ ν β ασι λῆ ς [ 3 2]
◡ ◡ — — — |◡ ◡ — (6 )
σ τρ α τιᾶς π ο λλῆ ς ἔφ ο ρ ο ι [ 3 4]
— ◡ ◡ — — | — — ◡ ◡ — (8 )
◡ ◡ — ◡ ◡ — (4 )
— — ◡ ◡ — (4 )
— — | — — ◡ ◡ — — (7 )
ψυ χ ῆ ς εὐ τλ ή μο νι δ ό ξῃ [ 38 ]
717[32-34 infr.] del. βασιλέως ὕποχοι μεγάλου; [34init] del. σοῦνται; [38] scan
dactylopaestic hexasyllable-3; [39]: del. Ἀρτεμβάρης θ᾽ἱππιοχάρμης καὶ
Μασίστρης; [40]: del. ὅ τε τοξοδάμας ἐσθλὸς Ἰμαῖος Φαρανδάκης τ(ε); [41]: del.
ἵππων τ᾽ἐλατὴρ Σοσθάνης.
687
5th Movement, 33 -40 [42-49]. 718
— — ◡ ◡ — | — ◡ ◡ — — | — ◡ ◡ — [— ] (1 2 )
— — — — | — — — — (8 )
Σο υ σ ισ κ άνη ς π ηγ ὰς τ αγ ῶ ν [ 4 3]
— — ◡ ◡ — (4 )
◡ ◡ — ◡ ◡ — |— ◡ ◡ — — (8 )
◡ ◡ — — — (4 )
— — ◡ ◡ — | — — ◡ ◡ — (8 )
τάς τ᾽ ὠγ υ γ ίο υ ς Θή β ας ἐφ έπ ω ν [ 47 ]
— ◡ ◡ — [— ] (4 )
Ἀρ ιό μ αρ δ ο ς [ 47 a]
◡ ◡ — ◡◡ —|— — ◡ ◡ — (8 )
κ αὶ ἑλ ειο β ά τ αι ν αῶ ν ἐρέ ται
< l a c una ? > <4 >
— — — — | ◡ ◡ — — (7 )
718[43]: read πηγὰς ταγῶν for Πηγασταγὼν, or read Πηγασταγών for line-end;
[44]: (if Πηγασταγών is retained) read Αἰγυπτογενῆς (Ionian) or Αἰγυπτογενεῖς
(Attic); [45]: scanned dianapaest; [47a]: scan dactylopaest-1; [48]: scan
dianapaest by correption of καὶ; [48-49 infr.]: a possible lacuna. See
interpretive commentary.
688
6th movement, 41 -48 [50-56]. 719
— ◡ ◡ — — | ◡ ◡ — — — ◡ [—] (1 0 )
ἁβ ρ ο δ ια ί τω ν δ ᾽ἕπ ε ται Λυ δ ῶ ν ὄ χ λο ς [ 50 ]
— ◡ ◡ — | — — ◡ ◡ — | ◡ ◡ — ◡ ◡ [— ] [1 1 ]
— — — ◡ ◡ | — — — [— ] (1 0 )
π ο λλο ῖς ἅρ μ ασ ι ν ἐ ξο ρ μῶσι ν [ 5 4]
◡ ◡ — — — | ◡ ◡ — — (7 )
φ ο β ερ ὰ ν ὄ ψι ν π ρο σιδ έ σθ αι [ 56 ]
719[50]: scanned choriamb + anceps anadactyl (A); [51]: scanned choriamb +

dactylopaest-3 + dianapaest; [52]: del. τοὺς Μιτρογαθὴς Ἀρκτεύς τ᾽ἀγαθός;
[53]: del. βασιλῆς δίοποι χαἰ πολύχρυσοι Σάρδεις; [54]: del. ἐπόχους; [55]: del.
δίρρυμά τε καὶ τρίρρυμα τέλη.
689
720
7th movement, 49 -58 [57-68].
— — ◡ ◡ — | — — ◡ ◡ — (8 )
◡ ◡ — ◡ ◡ — | — ◡ ◡ — ◡ [— ] (8 )
— — ◡ ◡ — (4 )
— — ◡ ◡ [— ] (4 )
◡ ◡ — — — — — (6 )
◡ ◡ — | — ◡ ◡ — [—] (6 )
— — ◡ ◡ — | — — — — (8 )
— — ◡ ◡ — (4 )
— — — — | — ◡ ◡ — — (8 )
◡ ◡ — ◡ ◡ — |— [—] (6 )
— — — ◡◡— |◡◡ — (7 )
— — ◡ ◡ — | ◡◡ — — (7 )
δ ειν αῖς β ασ ι λ έως ὑ π ὸ π ο μπ αῖς [6 8 ]
720[58]: scanned dianapaest + didactyl; [60]: scanned dactylopaest-3 for

W.T. trochiamb-4; [61]: scanned heptasyllable-1 by correption of καὶ; [66]:
scanned dianapaest; [67]: scanned initial hexasyllable-4; [68]: scanned initial
dactylopaest-3 by synizesis of βασιλέως.
690
8th movement, 59 -64 [69-77]. 721
— — — [— ] (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — | — ◡ ◡ — [—] [7 2] (8 )
ο ὓ ς π έρ ι π ᾶσ α χ θὼ ν Ἀσιῆ τις
— — ◡ ◡ — | ◡ ◡ — ◡ ◡ — (8 )
θρ έ ψ ασ α π ό θῳ σ τέ νε τ αι μ α λερῷ [7 4]
◡ ◡ — ◡ ◡ — — (5 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — | ◡ ◡ — — (7 )
721[71]: scanned dactylopaest-2 by correption in hiatus, note original

trochiamb-2; [72]: scanned 2x dactylopaests-2; [74]: scanned final
dianapaest; [75]: read line-final τ(ε), scanned dianapaest (B); [76]: read
ἡμερολεγδόν for line-end; [77]: construe as regular paroemiac.
691
1st Ode, 65-137 [78-124a]. 722
Strophe A, 65-71 [78-87] 723

1a ◡ ◡ — —|◡ ◡ — — |◡ ◡ — — (9 )
π επ έρ ακ ε ν μὲ ν ὁ π ερσ έπ το λις ἤδ η [7 8 ]
2a ◡ ◡ — — ◡ [— ] [4]
β ασ ίλ ειο ς σ τρ α τ ό ς [8 0 ]
3a — — ◡ ◡ — |— ◡ ◡ — — (8 )
εἰς ἀν τ ίπ ο ρο ν γ εί το ν α χώρ α ν [8 1 ]
4a ◡ ◡ — — ◡ ◡ — (5 )
5a — ◡ ◡ — — (4 )
6a ◡ ◡ — ◡ ◡ — — (5 )
7a ◡ ◡ — ◡ ◡ — (4 )
ζυ γ ὸ ν ἀμφ ιβ α λὼ ν [8 6 ]
8a ◡ ◡ — ◡ ◡ — — (5 )
9a — ◡ ◡ — — (4 )
722 Reading the order of stanzas proposed in Ch.5, A note on the ordering of
stanzas.
723 [80]: scanned ‘anceps’ anadactyl; [82]: scanned dianapaest (A); [84]
scanned dianapaest (B); [85] and [86] transposed; [86] scanned dianapaest;
[85]: scanned dianapaest (B).
692
Antistrophe A, 74 -80 [88-97] 724
1b ◡ ◡ — — | ◡ ◡ — — |◡ ◡ — — (9 )
π ο λυ ά νδ ρ ο υ δ ’ Ἀσί ας θο ύ ριο ς ἄρχω ν [8 8 ]
2b ◡ ◡ — — ◡ [— ] [5]
ἐπ ὶ π ᾶσ αν χθ ό ν α [9 0 ]
3b — — ◡ ◡ — |— ◡ ◡ — — (8 )
π ο ιμ αν ό ρ ιο ν θεῖο ν ἐλ αύ νει [9 1 ]
4b ◡ ◡ — — ◡ ◡ — (5 )
5b — ◡ ◡ — — (4 )
6b ◡ ◡ — ◡ ◡ — — (5 )
7b ◡ ◡ — ◡ ◡ — (4 )
8b — ◡ ◡ — ◡ ◡ — (5 )
9b — ◡ ◡ — — (4 )

dianapaest (B); [96]: scanned dactanapaest (A).
693
Strophe B (81 -86) [98-103]. 725
1a ◡ ◡ — | — ◡ ◡ — — [6 ]
2a ◡ ◡ — |— ◡ ◡ — [— ] (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
5a ◡ ◡ —|— ◡ ◡ — — ◡ [— ] [8 ]
6a — ◡ — ◡ — — (5 )
Antistrophe B (87 -92) [104-109].

1b ◡ ◡ — | — ◡ ◡ — — (6 )
δ ό κ ιμο ς δ ᾽ο ὔ τις ὑ π ο σ τάς
2b ◡ ◡ — |— ◡ ◡ — — (6 )
3b ◡ ◡ — |— ◡ ◡ — — (6 )
4b ◡ ◡ — |— ◡ ◡ — — (6 )
5b ◡ ◡ — — | ◡ ◡ — — ◡ [— ] [7 ]
ἀπ ρ ό σ ο ισ το ς γ ὰρ ὁ Π ερσᾶ ν σ τρ ατ ό ς
6b — ◡ — ◡ — [— ] (5 )
725[98]: scanned initial anapaest by synizesis of κυάνεον; [102]: scanned

anapaest + didactyl (A); [103]: scanned ‘anceps’ tritrochee; [104] read
ὑποστάς; [108]: scanned minor ionic + ‘anceps’ anadactyl, read στρατός; [109]:
scanned ‘anceps’ tritrochee.
694
Strophe C. (102 -107) [110-114]. 726
1a ◡◡ — — ◡ ◡ — |◡ ◡ — — |◡ ◡ — [—] (1 1 )
θεό θε ν γ ὰ ρ κ α τὰ Μο ῖ ρ ’ ἐκ ρά τησε ν τὸ π αλ αι ό ν
2a ◡ ◡ — ◡ ◡ — — (5 )
3a ◡ ◡ — | — ◡ ◡ — — |◡ ◡ — (8 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5a ◡ ◡ — |◡ — ◡ — (5 )
Antistrophe C 109-114 [115-119]
1b ◡ ◡ — — ◡ ◡ (— ) | ◡ ◡ — | ◡ ◡ — ◡ ◡ — (1 1 )
ἔμ αθ ο ν δ ᾽εὐ ρυ π ό ρ(ο υ ) θ αλ άσ σ ας π ο λι αι νο μ έ ν ας
2b (— ) — ◡ ◡ — — (5 )
(ἐν ) π νεύ μα τι λάβ ρ ῳ [1 1 6 ]
3b ◡ ◡ — | — ◡ ◡ — | — — [— ] [8 ]
π ίσ υ νο ι λεπ το δ ό μο ις π είσμ ασ ι [1 1 8 ]
4b — ◡ ◡ — |◡ — ◡ — (6 )
5b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
ἐσ ο ρ ᾶ ν π ό ν τιο ν ἄλσο ς [1 1 7 ]
726[110]: scanned initial dianapaest (A); [111]: scanned dianapaest (B) for
original ( u - - u u - - ); [115]: read εὐρυπόρ(ου) for εὐρυπόροιο, scanned
dianapaest (A) + medial anapaest for θαλάσσας ( u - - ) + final dianapaest;
[116]: read (ἐν) πνεύματι λάβρῳ, scanned hexasyllable-3; [117]: transposed to
post [119]; [118]: scanned final heptasyllable-2, with *πείσματ-σι, for original
final cretic.
695
Strophe E, 126 -131 [133-138]. 727
1a — ◡ — — ◡ — | — ◡ — ◡ — ◡ — [1 0 ]
π ᾶς γ ὰ ρ ἱπ π ηλ ά τας κ αὶ π εδ ο σ τ ιβ ὴς λε ὼς
2a — ◡ — | — ◡ — — ◡ — — [8 ]
3a ◡ — ◡ — ◡ — [5]
4a ◡ — — — ◡ |— ◡ — — —|◡ ◡ — ◡ ◡ — [1 2]
5a — ◡ — ◡ — — (5 )
π ρ ῶν α κ ο ι νὸ ν αἴ ας [1 38 ]
Antistrophe E, 132 -137 [139-144].
1b — ◡ — — ◡ — | — ◡ — ◡ — ◡ [— ] (4 )
λέκ τρ α δ ᾽ἀ νδ ρῶ ν π ό θ ῳ π ίμπ λα τ αι δ ακ ρύ μ α σιν
2b — ◡ — | — ◡ — — ◡ — — [1 0 ]
Περ σ ίδ ες δ ᾽ἁβ ρο π ε ν θε ῖς ἑκ άσ τα [1 41 ]
3b ◡ — ◡ — ◡ [— ] [5]
4b ◡ — — — ◡ | — ◡ — — — |◡ ◡ — ◡ ◡ — [1 3]
5b — ◡ — ◡ — — (5 )
727[133]: scanned initial dicretic + final lecythium; [135]: scanned final

dicretic (B); [136]: scanned triiamb; [137]: scanned pentasyllabic
amphibrach + trochiamb-2 + final dianapaest; [138]: scanned tritrochee;
[140]: scanned dicretic + lecythium; [141]: scanned dicretic (B); [142]:
scanned triiamb; [143]: scanned pentasyllabic amphibrach + trochiamb-2 +
final dianapaest; [144]: scanned tritrochee.
696
Strophe D, 114 -118 [125-128]. 728
1a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
τ αῦ τά μο ι μ ελ αγ χί τω ν φ ρὴν ἀ μύ σσ ε ται φ ό β ῳ
2a [— ] — ◡ — | ◡ — ◡ — — [—] [9 ]
3a ◡ — — | ◡ — ◡ — ◡ [— ] (7 )
Antistrophe D, 120 -125 [129-132]
1b — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
2b [— ] ◡ — ◡ — —|◡ — ◡ — ◡ — [9 ]
ὀ ᾶ γ υ ν αικ ο π λη θὴς ὅ μ ι λο ς ἀπ ύ ω ν
3b — ◡ — | — ◡ — ◡ — ◡ [—] (8 )
728 [125]: scanned 2x lecythia; [127]: del. μὴ πόλις πύθηται, scanned

monosyllabic ὀᾶ, + epitrite-3 + iambic hexasyllable; [128]: scanned bacchius
+ triiamb; [129]: scanned 2x lecythia; [131]: del. τοῦτ᾽ἔπος, scanned
monosyllabic ὀᾶ + trochaic hexasyllable + triiamb; [132]: scanned cretic +
lecythium.
697
Epode: Coda to Ode, 96 -100 [120-124a] 729
◡ ◡ — — |◡ ◡ — — (6 )
δ ο λό μη τι ν δ ᾽ ἀπ ά τ αν θ εο ῦ [1 20 ]
◡ ◡ — | — ◡ ◡ — — (6 )
τίς ἀ νὴ ρ θ ν α τὸ ς ἀλ ύ ξ ει [1 20 a]
◡ ◡ — — ◡ — [5]
τίς ὁ κ ρ αιπ ν ῷ π ο δ ὶ [1 21 ]
— — ◡ ◡ | — ◡ — ◡ — — (8 )
π ή δ η μ α τό δ ’ εὐ π ε τ έως ἀνᾴσ σω ν [1 21 a]
◡ ◡ — — | — — ◡ ◡ — [—] (8 )
φ ιλό φ ρ ω ν γ ὰ ρ σαί ν ο υ σα τὸ π ρ ῶ το ν [1 2 2 ]
◡ ◡ — ◡ ◡ — | — ◡ ◡ — — (8 )
π αρ άγ ε ι β ρ ο τὸ ν εἰς ἀ ρ κ ύ σ τ α τ’ Ἄ τα [1 2 3 ]
◡ ◡ — — ◡ ◡ — (5 )
τό θε ν ο ὐ κ ἔ σ τ ιν ὕ π ερ [1 2 4 ]
— ◡ ◡ — —|◡ ◡ — (6 )
θ να τὸ ν ἀλύ ξ α ν τ α φ υ γ εῖν [1 2 4a]
729[120]: scanned minor ionic by synizesis of θεοῦ; [121]: scanned ‘anceps’

anadactyl; [121a] scanned ‘anceps’ tritrochee by synizesis of εὐπετέως; [122]
read σαίνουσα for <ποτι>σαίνουσα (Hermann); [123]: scanned dactylopaest-2
for WT trochiamb-3 (ἀρκύστατ’); [124]: scanned dianapaest (A); [124a]:
scanned dactylopaest-2 + final anapaest.
698
Atossa Scene, Introductory Anapaests (140-154) [145-159].
1st Movement, 140-148 [145-153]. 730
— ◡ ◡ — — (4 )
◡ ◡ — ◡◡ — |◡ ◡ — — [— ] (8 )
— ◡ ◡ — — | — ◡ ◡ — — | — ◡ [— ] (1 0 )
— — ◡ ◡ — — (5 )
— ◡ ◡ — — — — (6 )
◡ ◡ — |— — ◡ ◡ — (6 )
◡ ◡ — — — | — ◡ ◡ — — (8 )
π ό τερ ο ν τό ξο υ ῥῦ μ α τ ὸ νικ ῶ ν [1 5 2 ]
— ◡ ◡ — — | — — — — | ◡ ◡ — [— ] (1 1 )
730[146]: scanned dianapaest; [148] scanned dactylopaestic hexasyllable-3;

[149]: scanned dactylopaestic heptasyllable-2; [150-152 infr.] del. [151] τὸ
πατρωνύμιον γένος ἡμέτερον (Schütz; Buttler); [153]: scanned ‘co-opted’
paroemiac.
699
2nd Movement, 150 -154 [154-159]. 731
— — ◡ ◡ — |◡ ◡ — — — | ◡ ◡ — — — (1 2 )
— — ◡ ◡ — [4]
◡ ◡ — ◡ ◡ — [5]
— — — (3 )
— — — — | ◡ ◡ — — — (8 )
— — — —|◡ ◡ — — (7 )
731[155]: scanned to dactylopaest-3 by synizesis of βασιλέως; [156] scanned

dianapaest.
700
Trochaic Tetrameters: Atossa Scene, 3rd Movement, 155 -158 [160-
167] 732
— ◡ — — — | ◡ — [— ] (7 )
— ◡ — ◡ — ◡ — [6 ]
— ◡ — — — |◡ — — (7 )
— ◡ — — — ◡ — (6 )
— ◡ — — — |◡ — — [7 ]
— ◡ — — — ◡ — [6 ]
— ◡ — | — — ◡ — [— ] (7 )
εἴ τι μὴ δ αί μω ν π αλ α ι ό ς
— ◡ — — — ◡ — (6 )
732 [161]: scanned lecythium; [163]: scanned dicretic (A); [164]: scanned
initial trochiamb-2 by synizesis of θεοῦ; [165]: scanned trochiamb-2 by
synizesis of θεοῦ; [166]: cretic + trochiamb-3, read παλαιός for line-end; [167]:
701
Messenger Scene, (353-376) [353-385].
1st Movement, 353-360 [353-366]. 733
— — [— ] (3 )
— — — [— ] (4 )
— — — ◡ — [5]
◡ — ◡ — — (4 )
— ◡ — — — ◡ [— ] (6 )
◡ — ◡ — — (4 )
— ◡ — — — ◡ — (6 )
— — ◡ — [— ] [4]
ἐλθ ὼ ν ἔλ εξε (ν ) [ 36 0 ]
— ◡ — — — ◡ [— ] (6 )
π αιδ ὶ σ ῷ Ξ έρ ξῃ τάδ ε [ 36 0 a]
— — ◡ — — — [— ] [6 ]
ὡς εἰ μ ελ αί νη ς νυ κ τό ς [ 36 1 ]
— ◡ — ◡ [— ] (4 )
ἵξε τ αι κ ν έφ ας [ 36 1 a]
733[357]: scanned dicretic (A); [359]: scanned dicretic (A); [360]: scanned
trochiamb-3; [360a]: scanned dicretic (A); [361]: scanned trochiambic
pentasyllable-3, read νυκτός for line-end.
702
1st Movement, continued 358 -360 [362-366]. 734
— — ◡ — ◡ — [— ] (6 )
— ◡ — ◡ — ◡ — | ◡ — ◡ — [— ] [9 ]
— ◡ — ◡ [— ] (4 )
— — ◡ — — [5]
◡ ◡ ◡ — — — ◡ [— ] (6 )
734[362]: scanned bacchiac heptasyllable (A); [363]: scanned lecythium +

iambic pentasyllable; [366]: scanned resolved dicretic (A).
703
2nd Movement 353-376 [367-385]. 735
◡ — ◡ — — — (6 )
— ◡ — ◡ [— ] (4 )
ο ὐ ξυ ν εὶς δ ό λο ν [ 36 8 ]
— — ◡ — [— ] [4]
Ἕλλη νο ς ἀ νδ ρ ό ς [ 36 8 a]
— ◡ — ◡ — ◡ [— ] [5]
— — ◡ — — [5]
π ᾶσ ιν π ρ ο φ ω νεῖ [ 37 0 ]
— ◡ — — — ◡ [—] (6 )
τό νδ ε ν αυ άρ χ ο ις λό γ ο ν [ 37 0 a]
— — ◡ — — — [— ] [6 ]
— ◡— ◡ ◡ — — [6 ]
◡ — ◡ ◡ ◡ [— ] (4 )
κ νέφ ας δ ὲ τέ με νο ς [ 37 3 ]
— ◡ — ◡ — (4 )
αἰ θέρ ο ς λάβ ῃ [ 37 3a]
— — ◡ — — — [— ] [6 ]
τά ξα ι ν εῶ ν μ ὲν στ ῖφ ο ς [ 37 4]
— — — ◡ [— ] [4]
ἐν σ το ίχ ο ις τρ ισ ί ν [ 37 4a]
735[367]: scanned diiambic heptasyllable; [368]: scanned trochaic

pentasyllable; [368a]: scanned trochiamb-3, read ἀνδρός line-end; [369]:
scanned lecythium; [370]: scanned trochiamb-3; [370a]: scanned dicretic
(A); [371]: scanned trochiambic heptasyllable-3; [374]: scanned trochiambic
heptasyllable (A), read τάξαι νεῶν μὲν στῖφος (Brunck); [374a]: scanned
trochiamb-4, read τρισίν for line-end.
704
2nd Movement, cont. [375 -385]. 736
— — ◡ — — [4]
— ◡ — ◡ — ◡ — [5]
— — ◡ — — (4 )
— ◡ — — — ◡ — (6 )
— — ◡ — — — — | — — — ◡ [— ] [1 0 ]
ὡς εἰ μό ρ ο ν φ ευ ξο ί α θ ᾽ Ἕλλη νες κ ακ ό ν
— — ◡ — — [4]
— ◡ — — — ◡ [—] (6 )
— — ◡ — — | — ◡ — ◡ — ◡ [— ] (1 0 )
◡ — ◡ — [— ] (4 )
το σ αῦ τ᾽ ἔ λεξ ε ( ν)
— ◡ — — — ◡ [—] (6 )
— — ◡ — ◡ | — ◡ — — — ◡ [— ] (1 0 )
736[375]: scanned trochiamb-3; [376]: scanned lecythium; [377]: scanned

trochiamb-3; [378]: scanned dicretic (A). [379] scanned trochiambic
heptasyllable-3 + trochiamb-4; [381]: scanned dicretic (A); [382]: scanned
trochiamb-3 + lecythium; [384]: scanned dicretic (A); [385]: scanned
ditrochaic pentasyllable + dicretic (A).
705
The Darius Scene (681 -748) [681-780].
Iambic Trimeters: Darius to Elders (681 -693) [681-699a]. 737
— — ◡ — — [4]
— ◡ — — — ◡ — (6 )
— — ◡ — — [5]
◡ ◡ ◡ — ◡ — ◡ [—] (5 )
◡ — ◡ — — | — ◡ — ◡ — ◡ [— ] (9 )
— — ◡ — — | — ◡ — — — ◡ — [1 1 ]
ὑ μεῖς δ ὲ θρ η ν εῖ τ᾽ ἐγ γ ὺ ς ἑστ ῶ τες τάφ ο υ [6 8 9 ]
— — ◡ — — |— ◡ — — — ◡ — [1 0 ]
— — ◡ — ◡ [— ] [5]
ο ἰκ τρ ῶς κ αλεῖσ θ έ μ (ε) [6 9 1 ]
— — ◡ — — | — ◡ — ◡ — ◡ — (1 0 )
λεύ σ σ ω ν δ ᾽ ἄκ ο ι τι ν τὴ ν ἐ μὴ ν τ άφ ο υ π έ λας [6 8 6 ]
— — (2 )
τ αρ β ῶ [6 8 7 ]
◡ — ◡ — ◡ — | ◡ — ◡— [7 ]
χ ο ὰ ς δ ὲ π ρ ευ με νὴς ἐδ εξάμ ην [6 8 8 ]
737 [682]: scanned dicretic (A); [684]: scanned lecythium with resolution in
first syllable; [685]: scanned final lecythium; [686-688]: transposed post line
[691]; [689]: scanned trochiamb-3 + dicretic (A); [690]: scanned trochiamb-
3 + dicretic (A); [691]: scanned spondaio-diiamb, read μ(ε) for line-end;
[686]: read λεύσσων δ᾽ἄκοιτιν τὴν ἐμὴν τάφου πέλας, scanned trochiamb-3 +
lecythium; [687]: read ταρβῶ; [688]: (iambic pentameter) scanned triiamb +
diiamb.
706
1st Movement (continued): [692 -699]. 738
— ◡ — — — ◡ [— ] [5]
ἐσ τὶ δ ᾽ο ὐ κ εὐ έξο δ ο ν [6 9 2 ]
— — ◡ — — [4]
— ◡ — ◡ — ◡ — [6 ]
◡ — ◡ — — — [— ] (6 )
— ◡ — ◡ — (4 )
◡ — ◡ — — | — ◡ — — — ◡ — (1 0 )
ὅ μως δ ᾽ ἐκ εί νο ις ἐ νδ υ ν ασ τεύ σ ας ἐγ ώ [6 9 7 ]
— — (2 )
ἥκω [6 9 7 a]
◡— ◡ — | ◡ — ◡ — ◡ — [8 ]
◡ — ◡ — — (4 )
τί ἐσ τ ι Πέρ σ αις [6 9 9 ]
— ◡ — — — ◡ [—] (6 )
νεο χ μὸ ν ἐμ β ρ ι θὲς κ ακ ό ν [6 9 9 a]
738[692]: scanned dicretic (A); [694]: scanned lecythium; [695]: scanned

diiambic heptasyllable; [697]: read ὅμως δ᾽ἐκείνοις ἐνδυναστεύσας ἐγώ, scanned
iambic pentasyllable + dicretic (A); [697a]: read ἥκω; [698]: (iambic
pentameter) scanned diiamb + triiamb; [699]: scanned dicretic (A) by
synizesis of νεοχμὸν.
707
Trochaic Tetrameters: Darius to the Elders, 694-702 [700-711] 739
ELD: ◡ ◡ — | — ◡ ◡ — — (6 )
◡ ◡ — | — ◡◡ — — (6 )
◡ ◡ — — — |◡◡ — — (7 )
D A: — ◡ — |◡ — ◡ — [— ] [6 ]
— ◡ — ◡ — ◡ [— ] [5]
— ◡ |— — — ◡ — [— ] (7 )
— ◡ — ◡ — ◡ — [5]
— ◡ — | ◡ — ◡ — [— ] [7 ]
— ◡ — — — ◡ — (6 )
ELD: — — | — ◡ ◡ — — (6 )
δ ε ῖ μ αι μὲ ν χ αρίσ ασ θ αι
— — | — ◡ ◡ — — (6 )
δ ε ῖ μ αι δ ᾽ ἀν τ ία φ άσ θα ι [7 1 0 ]
— — — — | ◡ ◡ — [— ] (7 )
739 [700]: scanned anapaest + dactylopaest-2; [703]: scanned cretic + iambic

pentasyllable; [704]: scanned lecythium; [705]: scanned initial trochee +
trochiambic hexasyllable-4; [706]: scanned lecythium; [707]: scanned cretic
+ iambic pentasyllable; [709] and [710]: read δεῖμαι for δίομαι (codd.), δίεμαι
(Hermann); scanned spondee + dactylopaest-2.
708
Trochaic Tetrameters: Darius to Atossa, 703 -708 [712-719] 740
— ◡ — | ◡ — ◡ — [— ] [6 ]
ἀλλ᾽ἐ π εὶ δ έο ς π αλ αιό ν [7 1 2 ]
— ◡ — — — ◡ — (6 )
σ ο ὶ φ ρ ε νῶ ν ἀ ν θίσ τ α τ αι [7 1 2a]
— ◡ — — — | ◡ — — — ◡ [— ] [1 0 ]
τῶ ν ἐ μῶ ν λέκ τρ ω ν γ ε ραιὰ ξύ ννο μ( ε) [7 1 3 ]
— ◡ — ◡ — (4 )
εὐ γ εν ὲς γ ύ ν αι [7 1 3a]
— ◡ — — — ◡ |— ◡ — ◡ — (9 )
◡ — ◡ — — [— ] (5 )
— — — ◡ — — | — ◡ — ◡ — ◡ — (1 1 )
— ◡ — ◡ — |◡ — — [6 ]
— ◡ — — — ◡ [— ] (6 )
π ο λλὰ δ ᾽ ἐκ χ έρ σο υ κ α κ ά [7 1 8 ]
— ◡ — — — [4]
γ ίγ νε τ αι θ νη το ῖς [7 1 8 a]
◡ — — |◡◡◡ — |◡ — ◡ — (8 )
740[712]: read παλαιόν for line-end, scanned lecythium; [712a]: scanned

dicretic (A); [713]: scanned trochiamb-2 + irregular hexasyllable; [713a]:
scanned trochaic pentasyllable; [714]: scanned irregular hexasyllable +
trochaic pentasyllable; [715]: scanned iambic hexasyllable; [716]: scanned
trochiambic hexasyllable-4 + lecythium; [717]: scanned trochaic
pentasyllable + bacchius; [718]: read κακά for line-end, scanned dicretic (A);
[718a]: scanned trochiamb-2.
709
Trochaic Tetrameters: Atossa to Darius, 709 -714 [720-726] 741
— ◡ — — — | ◡ — — — [— ] (9 )
ὦ β ρ ο τῶ ν π ά ν τω ν ὑ π ε ρσχὼ ν ὄ λβ ο ν [7 20 ]
— ◡ — ◡ — [5]
εὐ τυ χ εῖ π ό τμ ῳ [7 20 a]
— ◡— ◡ — ◡ | — — —◡ — [9 ]
ὡς ἕως τ᾽ ἔλευ σ σες αὐ γ ὰς ἡλίο υ [7 21 ]
— — ◡ — [3]
ζη λω τὸ ς ὢ ν [7 21 a]
◡◡ ◡ — — — | ◡ — — (7 )
β ίο το ν εὐ αί ω να Πέρσ αις [7 2 2 ]
— ◡ — ◡ — ◡ [— ] [5]
ὡς θ εὸ ς δ ιή γ αγ ες [7 2 2a]
— ◡ — — — | ◡ — [— ] (7 )
νῦ ν τέ σ ε ζη λ ῶ θα νό ν τα [7 2 3 ]
— ◡ — ◡ — ◡ [—] [5]
π ρ ὶν κ ακ ῶ ν ἰδ εῖ ν β ά θ ο ς [7 2 3a]
— ◡ — ◡ — — (5 )
π άν τ α γ άρ Δαρ εῖ(ε ) [7 2 4 ]
◡ — — — ◡ | — ◡ — ◡ — (8 )
ἀκ ο ύ σ ῃ μῦ θο ν ἐ ν β ρ α χεῖ χρό νῳ [7 2 4a]
◡◡ ◡ — — — |◡ — — — ◡ [—] [9 ]
— — — ◡ [— ] [4]
ὡς εἰπ εῖ ν ἔπ ο ς [7 26 ]
741[720]: scanned trochiamb-2 + trochiamb-1; [720a]: scanned trochiamb-2;

[721]: scanned tritrochee + trochiamb-4; [721a]: scanned epitrite-3; [722]:
scanned resolved trochiamb-2 + bacchius; [722a]: scanned lecythium; [723]:
scanned trochiamb-2 + bacchius; [723a]: scanned lecythium; [724]: read
Δαρεῖ(ε) line-end, scanned trochaic hexasyllable; [724a]: scanned
pentasyllabic tribrach + trochaic pentasyllable; irregular hexasyllable; [725]:
scanned resolved trochiamb-2 + irregular hexasyllable.
710
Trochaic Tetrameters (Stichic Dialogue): 715 -738 [727-780] 742
◡ ◡ ◡ — [3]
Δα: τί νι τρ ό π ῳ; [7 27 ]
— — ◡ — — — [— ] [6 ]
λο ιμο ῦ τις ἦλ θε σκ ηπ τό ς ;
— ◡ — ◡ — (4 )
ἢ σ τά σ ις π ό λ ει ;
— ◡— [2]
Ἄτ: ο ὐ δ α μῶς [7 30 ]
— — ◡ — — [4]
ἀλλ᾽ ἀ μφ ᾽ Ἀ θή ν ας [7 31 ]
— ◡ — — — ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι σ τρ α τό ς [7 31 a]
— ◡ — | ◡ — ◡ — —| — ◡ — ◡ — [1 1 ]
Δα: τίς δ ᾽ ἐμ ῶν ἐκ εῖσε π αί δ ων ἐ σ τρα τ ηλά τει ;
— [— ] (2 )
φ ρ άσ ο ν
— ◡ — — — [4]
◡ — — — ◡ | — — — ◡ [— ] [9 ]
— ◡ — — — | ◡ — — (7 )
— ◡ — ◡ — ◡ — [5]
τή νδ ᾽ ἐ μώ ρα νε ν τά λας ;
742[728]: scanned trochiambic heptasyllable-3, read σκηπτός for line-end;

[731]: scanned trochiamb-3; [731a]: scanned dicretic (A); [737]: scanned
lecythium.
711
Stichic Dialogue continued, 720-724 [738-748a] 743
— ◡ ◡[ — ] (3 )
◡ — ◡ — ◡ — [4]
◡ — ◡ — ◡ — [4]
— ◡ — | ◡ — ◡ — [— ] [7 ]
— ◡ — ◡ — ◡ — [5]
π εζὸ ς ἤ νυ σε ν π ε ρᾶ ν;
— ◡ — | — — ◡ — — — [— ] (9 )
— ◡ — ◡ [— ] (4 )
— ◡ — ◡ — [— ] (5 )
— ◡ — ◡ — |— — ◡ [—] [7 ]
ὥσ τε Βό σ π ο ρο ν κ λ ῇσα ι μέγ α ν;
— ◡ — [3]
— — ◡ — [4]
γ νώ μη ς δ έ π ο υ [7 48 ]
— — ◡ — | ◡ — ◡ [— ] [7 ]
τις δ αι μό ν ω ν ξυ νή ψα το [7 48 a]
743[739]: scanned triiamb; [740]: scanned triiamb; [742]: scanned

lecythium; [743]: scanned trochiambic heptasyllable-3; [745]: scanned
‘anceps’ tritrochee; [748]: scanned epitrite-3, read που (indef.); [748a]:
scanned epitrite-3 + diiamb.
712
Stichic Dialogue continued, 725-729 [749-759]. 744
— (1 )
Δα: φ εῦ
◡ — ◡ — ◡ — — [5]
— ◡ — ◡ — ◡ — [5]
— ◡ — |◡ — ◡ — [—] [6 ]
— ◡ — ◡ — ◡ [— ] [5]
— ◡ — | — — ◡ — — (7 )
— ◡ — ◡ — ◡ [— ] [6 ]
ὧδ ᾽ ἐπ ισ τ εν άζε τε ; [7 5 5 ]
— ◡ — ◡ — | ◡ — — [6 ]
Ἄτ: ν αυ τικ ὸ ς σ τρ α τὸ ς κ ακ ωθ είς
— ◡ — ◡ — ◡ [— ] [5]
— ◡ — — — |◡ — — (7 )
Δα: ὧδ ε π α μπ ήδ η ν δ ὲ λ αό ς
— ◡ — — — ◡ [— ] (6 )
π ᾶς κ α τέφ θ αρ τ αι δ ο ρί [7 59 ]
744[750]: scanned heptasyllabic triiamb; [751]: scanned lecythium; [753]:

scanned lecythium; [755]: scanned lecythium; [756]: read κακωθείς for line-
end; [757]: scanned lecythium; [758]: read λαός for line-end; [759]: scanned
dicretic (A).
713
Stichic Dialogue continued, 730-733 [760-769a]. 745
— ◡ [— ] [3]
Ἄτ: π ρ ὸ ς τάδ (ε ) [7 6 0 ]
— — — ◡ — [— ] [6 ]
— ◡ — ◡ — ◡ — [6 ]
— ◡ — [3]
— — ◡ — — [4]
— ◡— ◡ — ◡ — [6 ]
— ◡ — | — — ◡ — — — [— ] (9 )
— ◡ — ◡ — (4 )
[ο ὐ δ έ τ ις γ έρω ν ]
— ◡ ◡[ — ] (3 )
— — ◡ — — [4]
ο ἵα ν ἄρ ᾽ ἥβ η ν [7 6 9 ]
— ◡ — ◡ — ◡ [— ] [5]
ξυ μ μάχ ω ν ἀπ ώλε σε ν [7 6 9 a]
745 [761]: scanned trochiambic hexasyllable-4; [762]: scanned lecythium;

[765]: scanned lecythium; [766]: scanned cretic + trochiambic heptasyllable-
3; [769]: scanned trochiamb-3; [769a]: scanned lecythium.
714
Stichic Dialogue continued (734 -738) [770-780] 746
◡ ◡ ◡ — — — | ◡ — — — [— ] (9 )
Ἄτ: μο ν άδ α δ ὲ Ξ έρ ξη ν ἔρ ημό ν φ α σι ν [ 7 7 0 ]
— — — ◡ [— ] [5]
— ◡ — |— — ◡ — — (7 )
Δα: π ῶς τ ε δ ὴ κ αὶ π ο ῖ τε λευ τᾶ ν;
— ◡ — — — ◡— (6 )
ἔσ τι τ ις σω τηρ ία ;
— ◡ — ◡ — | ◡ — [—] [6 ]
— ◡ — — — ◡ [— ] (6 )
— ◡ — — — | ◡ — — — [— ] (9 )
Δα: κ αὶ π ρ ὸ ς ἤπ ειρο ν σεσ ῶσθ αι τή νδ ε;
— ◡ — ◡ [— ] (4 )
— (1 )
Ἄτ: ν αί
◡ — ◡ — ◡ — — [5]
λό γ ο ς κ ρ α τ εῖ σ αφ η νής
— ◡ — ◡ — ◡ [—] [5]
746[770]: scanned resolved trochiamb-2 + trochiamb-1; [772]: scanned

cretic + trochiamb-3; [773]: scanned dicretic (A); [775]: scanned dicretic (A);
[779] read σαφηνής for line-end, scanned heptasyllabic triiamb; [780]:
scanned lecythium.
715
Iambic Trimeters: Darius’ Historical Narrative, 765 -786 [765a-
801a] 747
— — ◡ — ◡ — [—] (6 )
Μῆ δ ο ς γ ὰ ρ ἦ ν ὁ π ρ ῶ τ ο ς [7 6 5a]
— ◡ — ◡ — (4 )
ἡ γ εμὼ ν σ τρ α το ῦ
— — ◡ — — — [5]
◡ — ◡ — ◡ [— ] [4]
◡ — ◡ — — (4 )
τρ ί το ς δ ᾽ἀπ ᾽ αὐ το ῦ
— ◡ — — — ◡ — (6 )
Κῦ ρ ο ς εὐ δ αί μω ν ἀ νήρ [7 7 0 a]
— — ◡ — [— ] [4]
ἄρ ξ ας ἔ θη κ ε (ν ) [7 7 1 a]
— ◡ — — — ◡ — (6 )
π ᾶσ ιν εἰρ ή νη ν φ ίλ ο ις [7 7 1 b]
◡ — ◡ — — (4 )
— ◡ — ◡ — ◡ — [5]
— — ◡ — — [4]
Λυ δ ῶ ν δ ὲ λ α ό ν
— ◡ — — — ◡ [— ] (6 )
747[765a]: scanned bacchiac (A); [766a]: scanned trochaic pentasyllable;

[767a]: scanned trochiambic hexasyllable-3; [768a]: scanned triiamb;
[769a]: scanned iambic pentasyllable; [770a]: scanned bacchiac (A); [771a]:
read ἔθηκε(ν) for line-end, scanned trochiamb-3; [771b]: scanned dicretic (A);
[773a]: scanned lecythium; [774a]: read λαόν for line-end; [775a]: scanned
dicretic (A).
716
Darius Scene, Historical Narrat ive cont. [779a-787] 748
— — ◡ — ◡ — [— ] (6 )
Κύ ρ ο υ δ ὲ π αῖς τέ τ αρ το ς [7 7 9 a]
— — — ◡ [— ] [4]
η ὔ θυ νε σ τ ρ α τό ν [7 8 0 a]
— — ◡— ◡ — [— ] (6 )
Ἰ ωνί α ν τε π ᾶ σ α ν [7 7 6 a]
— ◡ — ◡— (4 )
ἤ λασ εν β ίᾳ [7 7 6 b]
◡ — ◡ — — — [— ] (6 )
θεὸ ς γ ὰ ρ ο ὐ κ ἤχ θηρε ν [7 7 7 a]
— — — ◡ — [5]
ὡς εὔ φ ρ ω ν ἔ φ υ [7 7 8 a]
— — ◡ — ◡ — [— ] (6 )
— — — ◡ — [5]
αἰσ χ ύ νη π ά τ ρ ᾳ [7 8 2 ]
— ◡ — ◡ — (4 )
τὸ ν δ ὲ σ ὺ ν δ ό λῳ [7 8 4 ]
— — ◡ — — — [— ] [6 ]
Ἀρ ταφ ρ έ νη ς ἔκ τει νε ν [7 8 5 ]
— — ◡ — ◡ — [— ] (6 )
— ◡ — ◡ [— ] (4 )
ο ἷς τό δ ᾽ ἦ ν χ ρ έο ς [7 8 7 ]
748[776a]: scanned bacchiac (A); [776b]: scanned trochaic pentasyllable;

[777a]: scanned diiambic heptasyllable; [779a]: scanned bacchiac (A); [779a-
780a]: transposed to post [775a]; [780a]: scanned trochiamb-4; [781]:
scanned bacchiac (A); [784-785infr.]: del. [783] θρόνοισί τ᾽ἀρχαίοισι; [785]:
scanned trochiambic heptasyllable-3; [785fin]: del. ἐσθλὸς ἐν δόμοις; [786]:
scanned bacchiac (A).
717
Darius Scene, Historical Narrative cont. [790 -798]. 749
— — ◡ — ◡ — [— ] (6 )
κ ἀγ ὼ π άλο υ δ ᾽ἔκ υ ρσ α [7 9 0 ]
— ◡ — ◡ [— ] (4 )
το ῦ π ε ρ ἤ θελο ν [7 9 0 a]
— — ◡ — ◡ — [— ] (6 )
κ ἀπ εσ τρ ά τευ σ α π ο λλά
— — — ◡ — [5]
— — ◡ — ◡ — [— ] (6 )
ἀλλ᾽ο ὐ κ ακ ὸ ν το σό νδ ε [7 9 3 ]
◡ ◡ ◡ — ◡ — (4 )
π ρ ο σ έβ αλο ν π ό λε ι [7 9 3a]
— — ◡ — — [4]
— ◡ — ◡— ◡ — [6 ]
— — ◡ — — [5]
κ ο ὐ μ νη μο νεύ ει [7 9 6 ]
— ◡ — ◡ — ◡ [— ] [5]
τὰ ς ἐ μὰ ς ἐπ ισ το λάς [7 9 6 a]
749[788-789]: del. (Schütz); [790]: scanned bacchiac (A); [790a]: scanned

trochaic pentasyllable; [791]: read πολλά for line-end, scanned bacchiac (A);
[793]: scanned bacchiac (A); [793a]: scanned resolved trochaic
pentasyllable; [795]: scanned lecythium; [796]: scanned trochiamb-3;
[796a]: scanned lecythium.
718
Darius Scene, Historical Narrative cont. [797 -801a] 750
— — ◡ — ◡ — [—] (6 )
◡ — ◡ — ◡ [— ] [4]
— — ◡ — — [4]
— ◡ — ◡ — ◡ [— ] [5]
— — ◡ — — [4]
ο ὐ κ ἂν φ α νεῖ με ν [8 0 1 ]
— ◡ — — — ◡ [— ] (6 )
π ή μ ατ ᾽ἔρ ξα ν τες τό σα [8 0 1 a]
750 [797]: read ἴστ(ε) for line-end, scanned bacchiac (A); [798]: scanned
triiamb; [800]: scanned lecythium; [801]: scanned trochiamb-3; [801a]:
719
Iambic Trimeters: Darius’ Prophetic Narrative (800 -812) [800a -
819]. 751
— — ◡ — — [4]
— ◡ — — — ◡ — (6 )
εἴ τι π ισ τεῦ σ αι θε ῶ ν [8 0 1 a]
— — ◡ — [— ] [4]
χ ρ ὴ θ εσ φ ά το ισ ι ν [8 0 1 b]
— ◡ — ◡ — ◡ — |— — [— ] [1 0 ]
— — — ◡ — |◡ — ◡ — [8 ]
σ υ μβ αί νει γ ὰ ρ ο ὐ τ ὰ μὲ ν τὰ δ ᾽ο ὔ
— — ◡ — [— ] [5]
— ◡ — ◡ — ◡ — | — — [8 ]
◡ — ◡ — ◡ — |◡ — ◡ [— ] [7 ]
— — ◡ — ◡ ◡◡ [—] (6 )
— — — ◡ — — — [7 ]
◡ — — — ◡ | — — — ◡ [—] [9 ]
— — ◡ — — — [—] [7 ]
ο ὗ σ φ ιν κ ακ ῶν ὕ ψισ τ ( α) [8 1 0 ]
751[801a]: scanned bacchiac (A); [801b]: scanned trochiamb-3; [802]:

scanned lecythium + molossus; [803]: read μὲν for μέν; [805]: scanned
lecythium + spondee; [807]: scanned resolved bacchiac (A); [810]: scanned
trochiambic heptasyllable-3.
720
Darius Scene, Prophetic Narrative continued, [810a -819] 752
◡ — ◡ — ◡ — [4]
ἐπ α μμέ νε ι π α θ εῖ ν [8 1 0 a]
◡ — ◡ — [— ] (5 )
ὕ β ρ εω ς ἄπ ο ιν α
— ◡ — ◡ — ◡ — [5]
— — ◡ — ◡ | — ◡ [— ] [7 ]
— ◡ — ◡ — |— — ◡ — — [8 ]
— ◡ — ◡ — ◡ — [5]
— — ◡ — — [5]
— ◡ — — — ◡ [— ] (6 )
— — ◡ — — [4]
— ◡ — — — ◡ — [6 ]
752 [810a]: scanned triiamb; [811]: scanned iambic pentasyllable by synizesis

of ὕβρεως; [812]: scanned lecythium; [813]: read Ἑλλάδ(α) for line-end; [815]:
scanned lecythium; [817]: scanned bacchiac (A); [819]: scanned bacchiac
(A).
721
The Xerxes Scene: Anapaests and Lyric Kommos, Strophe and
Antistrophe A and B. (908 -973) [908-979].
1st Movement, Xerxes’ Entrance Speech, 908 -917 [908-920] 753
—— ( 2)
ἰώ [908]
— — ◡ ◡ — ( 4)
δύστηνος ἐγώ
◡ ◡ — — — | — ◡ ◡ — — ( 8)
στυγερᾶς μοίρας τῆσδε κυρήσας [910]
◡ ◡ — ◡ ◡ — [4]
ἀτεκμαρτοτάτης
— — ◡ ◡ — — — (6)
ὡς ὠμοφρόνως δαίμων
◡ ◡ — |— — ◡ ◡ — (6)
ἐνέβη Περσῶν γενεᾷ
◡ ◡ — — — ( 4)
τί πάθω τλήμων
◡ ◡ — ◡ ◡ — | — — — — ( 8)
λέλυται γὰρ ἐμοὶ γυίων ῥώμη [915]
— — ◡ ◡ — | ◡◡ — — — ( 8)
τήνδ᾽ ἡλικίαν ἐσιδόντ᾽ ἀστῶν
— ◡ ◡ — — ( 4)
εἴθ᾽ ὄφελεν Ζεῦ
— ◡ ◡ — — ( 4)
κἀμὲ μετ᾽ ἀνδρῶν
— — ◡ ◡ — ( 4)
τῶν οἰχομένων
◡ ◡ — ◡ ◡ —|◡ ◡ — — (7)
θανάτου κατὰ μοῖρα καλύψαι [ 9 20 ]
753[911]: scanned dianapaest; [912-913]: construed with intra-tonal

separation, see metrical commentary; [915]: scanned dianapaest; [920]:
scanned dianapaest.
722
2nd Movement, Elders’ Initial Greeti ng to Xerxes (918 -930) [921 -
937]. 754
◡ ◡ — ◡ ◡ — (4 )
◡ ◡ — ◡ ◡ — (4 )
— — ◡ ◡ — | — — ◡ ◡ — (8 )
— — — — (4 )
— — — — | ◡ ◡ — [— ] (7 )
754 [921]: scanned dianapaest; [922]: scanned dianapaest.

723
3rd Movement, Elder’s Condemnation of Xerxes, 922 -930 [926-
937]. 755
— — — — |— — — — |— — (10)
γᾶ δ᾽αἰάζει τὰν ἐγγαίαν ἥβαν [ 9 26 ]
— — ◡ ◡ — ( 4)
Ξέρξᾳ κταμέναν
◡ ◡ — |— ◡ ◡ — — (6)
Ἀΐδου σάκτορι Περσᾶν
— ◡ ◡ — — | — — — [—] ( 8)
ἀγδαβάται γὰρ πολλοὶ φῶτες
— — — — | — ◡ ◡ — [—] ( 8)
χώρας ἄνθος τοξοδάμαντες [ 9 30 ]
◡ ◡ — — — ( 4)
πάνυ ταρφύς τις [ 9 31 ]
— ◡ ◡ — — ( 4)
μυριὰς ἀνδρῶν [ 9 31 a ]
— — — — ( 4)
ἐξέφθινται [ 9 31 b ]
— — — — ( 4)
αἰαῖ αἰαῖ
— — — — ( 4)
κεδνᾶς ἀλκᾶς
◡◡ — — — ( 4)
Ἀσία δὲ χθών
◡ ◡ — — — ( 4)
βασιλεῦ γαίας [ 9 35 ]
— — ( 2)
αἰνῶς
— — ◡◡ ◡| ◡ ◡ — — [7]
αἰνῶς ἐπὶ γόνυ κέκλιται [ 9 37 ]
755[928]: read Ἀΐδου for MSS. Ἅιδου; [931]: scan dactylopaest-1; [931a]: scan
dactylopaest-2; [931b]: scan open dactylopaest; [937]: scan resolved
epitrite-3.
724
Kommos: Strophe and Antistrophe A (931 - 949) [938-955].
Strophe A, 931 -940 [938-946]. 756
Ξ έρ ξη ς
1a ◡ ◡ — — — | — — [— ] (7 )
2a ◡◡ — — — (4 )
3a — ◡ ◡ — — (4 )
4a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
κ ακ ὸ ν ἄρ᾽ ἐγ ε νό μ α ν.
Χο ρ ό ς
5a — — — — |— — (6 )
π ρ ό σ φ θ ο γ γ ό ν σο ι νό σ το υ
6a — ◡ ◡◡◡ ◡ ◡ — (5 )
7a ◡ ◡ ◡◡◡ ◡ — (4 )
κ ακ ο μ έλε το ν ἰά ν
8a ◡ ◡ — — — |— — — — (8 )
Μαρ ια νδ υ νο ῦ θρη νη τῆ ρο ς [9 4 5 ]
9a — — ◡ ◡ — | ◡ ◡— — (7 )
756[941]: scanned resolved dianapaest; [943]: scanned resolved

dactanapaest (A); [944]: read ἰάν for line-end; [945]: del. πέμψω.
725
Antistrophe A, 950 -961 [947-955]. 757
Ξ έρ ξη ς
1b ◡ ◡ — — — | — — [— ] (7 )
ἵετ ᾽ α ἰα νῆ π άνδ υ ρ το ν [9 47 ]
2b — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
με τά τρ ο π ο ς ἐπ ᾽ ἐ μο ί. [9 50 ]
Χο ρ ό ς
5b — — — | — — [— ] (6 )
ἥ σ ω το ι π ά νδ υ ρ το ν
6b —◡ ◡◡◡ ◡ ◡ — (5 )
λαο π α θέ α τε σέβ ω ν
7b ◡◡ ◡ ◡ ◡ ◡ — (4 )
8b ◡ ◡ — — — | — — — [— ] (8 )
9b — — — ◡ ◡ | ◡◡ — [—] (7 )
κ λάγ ξω δ ’αὖ γ ό ο ν ἀρί δ ακ ρυ ν [9 5 5 ]
757[947]: del. καὶ; [950]: scan resolved dianapaest; [951]: del. καὶ; [952]: read
λαοπαθέα τε σέβων (Prien), scanned resolved dactanapaest (A); [953]:
scanned resolved dianapaest.
726
Strophe B (950-961) [956-967]. 758
Ξέρξης
1a ◡◡— ◡ ◡ — — (5)
Ἰάνων γὰρ ἀπηύρα [956]
2a ◡◡— — — [—] (5)

Ἰάνων ναύφαρκτος
3a — — ◡ ◡ — — (5)
Ἄρης ἑτεραλκὴς
4a ◡◡— ◡ ◡ — |◡ ◡ [—] (6)

νυχίαν πλάκα κερσάμενος
5a — — ◡ ◡ — [—] (5)
δυσδαίμονά τ᾽ἀκτάν [960]
Χορός
6a — — — ◡ —|— — — — — [10]
οἰοιοῖ βόα καὶ πάντ᾽ἐκπεύθου
7a — ◡ ◡ — | — ◡ ◡ [—] [6]
ποῦ δὲ φίλων ἄλλος ὄχλος
8a — ◡ — ◡ — ◡ — [6]
ποῦ δέ σοι παραστάται
9a — ◡ — ◡ — ◡ — [5]
οἷος ἦν Φαρανδάκης
10a — — ◡ ◡ — |— — — [—] ( 8)
Σούσας Πελάγων καὶ Δατάμας [965]
11a — — — — | — — — — ( 8)
ἠδὲ Ψάμμις Σουσισκάνης
12a — ◡ ◡ ◡ ◡ — ( 4)
Ἀγβάτανα λιπών [967]
758[956]: scanned dianapaest (B); [957]: scanned dactylopaestic

hexasyllable-1; [958]: scan dactylopaestic hexasyllable-3; [960]: scan
dactylopaestic hexasyllable-3; [962]: scan initial short syllable for ὄχλος;
[963]: scanned lecythium; [964]: scanned lecythium; [966]: del. Ἀγαβάτας,
del. τ(ε); [967]: scanned dactanapaest.
727
Antistrophe B (962 -973) [968-979]. 759
Ξέρξης
1b ◡ ◡ — ◡ ◡ — [—] (5)
ὀλοοὺς ἀπέλειπον [968]
2b ◡ ◡— — — [—] (5)
Τυρίας ἐκ ναὸς
3b — — ◡ ◡ — — (5)
ἔρροντας ἐπ᾽ ἀκταῖς [970]
4b ◡ ◡ — — — |◡ ◡ — (6)
Σαλαμινῖσι στυφελαῖς
5b — — ◡ ◡ — — (5)
θείνοντας ἐπ᾽ἀκτᾶς
Χορός
6b — — — ◡ —| — — — — [—] [9]
οἰοιοῖ βόα ποῦ σοι Φαρνοῦχος
7b —◡◡ — — | ◡ ◡ [—] (6)

Ἀριόμαρδός τ᾽ἀγαθ ός
8b — ◡ — ◡ — ◡ — [5]
ποῦ δὲ Σευάλκης ἄναξ [975]
9b — ◡ — ◡ — ◡ — [5]
ἢ Λίλαιος εὐπάτωρ
10b — — ◡ ◡ — | — — — — ( 8)
Μέμφις Θάρυβις καὶ Μασίστρας
11b — — — — | — — — — ( 8)
Ἀρτεμβάρης τ᾽ἠδ᾽ Ὑσταίχμας
12b ◡ ◡ ◡ ◡ ◡ ◡ — ( 4)
τάδε σ᾽ἐπανερόμαν [979]

hexasyllable-1; [970]: scan dactylopaestic hexasyllable-3; [971]: read
Σαλαμινῖσι στυφελαῖς; [972]: scan dactylopaestic hexasyllable-3; [973]: read
οἰοιοῖ βόα ποῦ σοι Φαρνοῦχος (Hermann); [975]: scanned lecythium; [976]:
scanned lecythium; [979]: scanned resolved dianapaest (A).
728
Appendix IV. Translation of Experimental Text.
The Parodos (1-64) [1-77].

1st movement (1 -7) [1-10]: Elders’ Self-introduction.
We are the Persians

(By) those who are gone
To the Greek land
2nd Movement (8-15) [11-20]: First warning note of disaste r.

Of our King
And for the many-manned arm y
Already too much a prophet -of-doom
And neither a messenger [18]
Nor yet a horseman
729
3rd Movement (16 -20) [21-29]: Introduction to Catalogue of
Commanders.
These from the fortress of Susa and Agbatana [21]
Some riding horses
Some aboard ships
4th Movement (21-26) [30-41]: Catalogue of Commanders I.

And Megabates and Ataspes
King Commanders of the Persians [32]
Overseers of a great arm y [34]
Fearful to behold
Terrible to fight
In (their) steadfast glory of spirit [38]
5th Movement (33-40) [42-49]: Catalogue of Commanders II.

Sousiskanes Marshal of the Delta [43]
Egyptian-born
Great Arsames
And the governor of ancient Thebes [47]
Ariomardos [47a]
And marsh-treading rowers of ships
< follow them >
730
6th Movement (41-48) [50-56]: Catalogu e of Commanders III.
They stir forth on many chariots [54]
A fearful sight to behold [56]
7th Movement (49-58) [57-68]: Catalogue of Commanders IV .

Mardon Tharybis
Riders on ships
Of all Asia follows
8th Movement (59-64) [69-77]: Coda to Parodos.

Such is the flower
Of the men that are gone [71]
From the Persian Land [70]
For whom all the land of Asia [72]
Having reared them groans with
a burning longing [74]
Counting the days
Tremble as time stretches out
731
1st Ode, 65-137 [78-124a]. 760
Strophe A, (65 -71) [78-87].
Already the cit y-sacker has crossed [78]
To the neighbouring land opposite [81]
Making the crossing
Casting a yoke [86]
Antistrophe A, 74 -80 [88-97].

And the warlike leader of many-manned Asia
Drives his godlike herds [91]
At once by land
And from the sea
Trusting in tough
Strophe B (81 -86) [98-103].

760Reading the order of stanzas proposed in Ch.5, A note on the ordering of

stanzas.
732
Antistrophe B (87 -92) [104-109].
Strophe C 101 -105 [110-114].

For God-sent fate prevailed of old [110]
And imposed on the Persians
Antistrophe C 109-114 [115-119].

(In) a rough wind [116]
Trusting in finel y-wrought cables [118]
To look upon the sacred grove of the sea [117]
Strophe E (126 -131) [133-138].

For all the horse -driving and foot-marching folk
Has left like a swarm of bees [135]
Crossing the sea yoked from both sides
A shared promontory of the land [138]
733
Antistrophe E (132-137) [139-144].
And beds are filled with tears of longing for menfolk
And the soft-grieving Persian girls each [141]
Is left behind yoked alone [144]
Strophe D (114 -118) [125-128].

For these reasons m y black -shrouded mind is torn with fear
Woe for the Persian arm y
The great cit y of Susa has been emptied of men [128]
Antistrophe D (120-125) [129-132]

And the Kissian township will sing in counterpoint
‘Woe’ uttered by an all -female assembl y
Epode (96-100) [120-124a].

The scheme-minded deception of God [120]
What mortal man can escape? [120a]
Who with light foot [121]
(Is) nimbl y making this leap? [121a]
For fawning at first with friendl y mind [122]
From where it is not possible [124]
For a mortal escaping to flee [124a]
734
Atossa Scene, (140-158) [145-167].
1st Movement (140 -148) [145-153]: The Elders Take Counsel.
But come, Persians [145]
There is need of it
How fares Xerxes
King born -of-Darius? [150]
Is, perhaps, the drawing of bows victorious [152]
2nd Movement (150 -154) [154-159], The arrival of Atossa.

But she (who is) equal to the light in the eyes of the gods
approaches
My Queen
I bow to the ground
3rd Movement 155-158 [160-167], The Elders Greet Atossa.

O Queen of deep-girdled (women) [160]
Bed-mate of a god
Has now forsaken the arm y(?)
735
Messenger Scene, (353-376) [353-385].
1st Movement (353 -360) [353-362]: The Beginning of the Battle of
Salamis.
It began [353]
My Queen
A Greek man
Arriving spoke [360]
To your son Xerxes these things [360a]
That when of black Night [361]
Darkness Comes [361a]
2nd Movement, 353 -376 [367-385], Xerxes’ reaction to the Greek

ruse.
Not understanding the deceit [368]
Of a Greek man [368a]
He announced to all [370]
This command to the captains -of-ships [370a]
And darkness the region [373]
Of the heavens takes [373a]
736
Draw up the mass of ships [374]
In three lines [374a]
For that should the Greeks escape
an evil fate
With their ships in secret [380]
It was decreed that everyone shall be
deprived of his head
In high good spirits [384]
For he did not know what was to come
from the gods
Darius Scene, (681-739) [681-780]; (765 -786) [765a-801]; (800-

812) [800a-819].
1st Movement (681-693) [681-699], Darius Greets the Elders.
Aged Persians
The ground groans and has been struck
and furrowed [685]
While standing near my tomb you chant dirges [689]
Piteousl y you call on me [691]
And seeing m y bedmate Standing by m y tomb [686]
I am troubled [687]
And kindl y I have accepted her libations [688]
737
It is not easy to leave (the underworld) [692]
Not least because
Than at letting go
Nevertheless being powerful among them [697]
I have come [697a]
Make haste that I might not be b lamed
for the time
What (troubles) the Persians? [699]
Some new and weighty evil? [699a]
2nd Movement 694-702 [700-711], Darius Encourages the Elders.



738
3rd Movement (703-708) [712-719], Darius to Atossa.
Well since the old fear [712]
Stands against your wits [712a]
Aged companion of my bed [713]
Noble lady [713a]
And from the land many evils [718]
Come to mortals [718a]
4th Movement (709-714) [720-726], Atossa to Darius.

By virtue of a blessed fate [720a]
So long as you beheld the light of the sun [721]
You were enviable [721a]
A blessed life among the Persians [722]
You lead as if a god [722a]
And now I envy you being dead [723]
Before seeing the depth of woes [723a]
Darius [724]
You shall hear the whole story in a short time [724a]
Or so one might s ay
5th Movement (715 -738) [727-780], Stichic Dialogue.

Has some bolt of plague come?
739
But near Athens [731]
The whole arm y was destroyed [731a]
Da: Which of m y sons led an arm y there?

Speak
At: Warlike Xerxes


That the wretch foolishl y undertook?
At: Both

Accomplish the crossing on foot?


So as to close the might y Bosporus?

Perhaps somehow his ju dgement [748]
Was touched by some daimōn(?) [748a]
Da: Pheu
740



Da: And thus the entire people

Was completel y destroyed by the spear(?)

Universall y mourns its emptiness -of-men
Da: Oh Alas

[Not an old man (survives)]
Da: The fool

How great the youthful vigour [769]
Of our allies he has destroyed [769a]

Not with the many
741
Da: How and where is he to end up?
Is there any salvation?


Is that true?
At: Yes
The report is clear
6th Movement (765-786) [765a-801a], Darius’ Historical Narrative.

For Mēdos was the first [765a]
Leader of the arm y
And a son of his
Completed the work
Third after him
Cyrus a blessed man [770a]
Ruling he established [771a]
Peace among all his friends [771b]
Because his mind
And fourth the son of C yrus [779a]
Guided the arm y [780a]
And all Ionia [776a]
He overwhelmed by force [776b]
742
A disgrace to his fatherland [782]
Him by means of a ruse [784]
Artaphrenes killed [785]
To whom this was a dut y [787]
And I attained by lot [790]
That which I desired [790a]
With a great arm y
But never so great an evil [793]
Did I inflict on th e cit y [793a]
And does not remember [796]
My precepts [796a]
Men of m y own age
Each one of us
Would never be seen [801]
Working such great sufferings [801a]
7th Movement (800-812) [800a-819], Darius’ Prophetic Narrative.

If one must believe [801a]
The pronouncements of the gods [801b]
743
The dear fattener of the Boiotian land
Where for them the highest of evils [810]
It remains to suffer [810a]
Altars are obliterated
Have been hurled from their foundations [819]
Xerxes Scene (908-973) [908-979], Anapaestic Introduction and

Lyric Kommos.
1st Movement (908-917) [908-920], Xerxes’ Entrance Speech.
Oh [908]
Wretched me
Most unexpected
How savagel y the daimōn
Came to the Persian people
What will happen to miserable me ?
Zeus if onl y
Those who are gone
744
2nd Movement, Elders’ Initial Greeting to Xerxes (918 -930) [921 -
937].
For the noble arm y
And for the adorn ment of Men

937].
Killed by Xerxes
A great heap [931]
Thousands of men [931a]
Have perished [931b]
Aiai aiai
The land of Asia
Woefull y
Woefull y has been struck to her kne es [937]
745
Strophe A (931 -940) [938-946].
Xerxes
Elders
Of a Maryndian dirge-singer
A many-teared outcry I will send forth [946]
Antistrophe A (950-961) [947-955].

Xerxes
Send forth eternal all -mourning
Elders
I shall indeed send forth all-mourning
Reverencing the people’s suffering
Strophe B (950-961) [956-967].

Xerxes
The Ionian fenced-with-ships
746
Elders
Men like Pharnouchus
And Psammis Sousiskanes
Antistrophe B (962 -973) [968-979].

Xerxes
Rugged Salaminian
Elders
Oioioi cry where is Pharnouchus
And goodl y Ariomardos
And where is Lord Seualkes [975]
And noble Lilaios
Memphis Tharybis and Masistras
And Atembares and Hystaichmas
747
Appendix V. The Xerxes Scene: Anapaests and Lyric Kommos,
Strophe and Antistrophe A and B. (908 -973) [908-979].
The aim of this Appendix is to afford comparison with the analysed

anapaests and l yrics of Chapters 4 and 5, to see to what extent the
dact ylopaestic measures identified in the earlier parts of the play
are effective here also.
The recitative anapaests f rom the entrance of Xerxes, 907 -930, and
the first two strophic pairs of the kommos, 931-973, are anal ysed by
tone group.
As shown below, the pentasyllables, scanning to word -end, are the

principle structural unit here also, and these are supplemented by
longer and shorter measures in similar ways. The paratactic
development of meaning is also much like the earlier anal ysed parts
of the play.
748
Commentary to Xerxes Scene: 1st Movement, 908 -917 [908-920].
—— (2 )
ἰώ [9 0 8 ]
— — ◡ ◡ — (4 )
◡ ◡ — — — | — ◡ ◡ — — (8 )
◡ — — |◡ ◡ — [4]
— — ◡ ◡ — | — — ◡ ◡ — (8 )
ὡς ὠμ ο φ ρ ό νως δ αί μω ν ἐνέβ η
— — ◡ ◡ — (4 )
Περ σ ῶ ν γ ε νε ᾷ
◡ ◡ — — — (4 )
◡ ◡ — |◡ ◡ — | — — — — (8 )
— — ◡ ◡ — | ◡◡ — — — (8 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — (4 )
◡ ◡ — |◡ ◡ —|◡ ◡ — — (7 )
θ αν ά το υ κ ατ ὰ μο ῖ ρα κ αλύ ψα ι [9 20 ]
749
Oh [908]
Wretched me
Most unexpected
How savagel y the daimōn came
To the Persian people
Zeus if onl y
Me also with the men
Those who are gone
Notes:
Xerxes’ entrance speech conforms to the same metrical and
rhythmic patterns seen in the parodos, including the use of a
tonall y differentiated paroemiac to close the movement.
Commentary.
908 [908] ἰ ώ : the exclamation is not regarded as an extrametrical
unit, but as a meaningful rhythmic – and for its expression of
emotion – semantic element. 761 It corresponds to the brief
introductory logoi that introduce new speakers and new topics that
are seen in the anal ysis of the stichic dialogue.
761On this feature of the Persians, see Gurd (2013): ‘the Persae is intensely
and persistently engaged with sound’ (122).
750
909init [909]: δ ύ σ τη ν ο ς ἐγ ώ : this logos presents a tonall y distinct
element between the exclamatory ἰ ώ and the explanatory ph rase of
the following line. The line scans to word -end as a dact ylopaest -
3. 762
909fin-910 [910-911]: σ τ υ γ ερ ᾶς μ ο ίρ ας τῆσδ ε κ υ ρή σας /

ἀ τ εκ μ αρ το τ άτ η ς : line [910] presents a well -balanced rhythmical
unit y, and in pronouncing the line it is difficult to not draw a
breath before embarking on the long final word. It is assumed the
lines are under intra -tonal separation.
The effect of the separation would be presented in ordinary English

orthography as something like: ‘having come to this hateful fate –
so unexpected(l y)’. The isolation of this single word could be
accompanied by a gesture to the rags he is wearing; in the world of
the play it is indeed entirel y unexpected that a Persian King should
be stripped of his finery.
Line [910] scans to word -end as a dact ylopaest -1 + dact ylopaset -2.
Cp. line [151], which is metricall y identical.
Line [911] is scanned in the Working Text as the hexasyllabic ( u -

- u u - ). The tonal boundaries seem secure, and, on the assumption
that - κ μ - need not make position here, the measure is scanned as a
dianapaest in the Experimental Text.
911-912init [912 -913]: ὡ ς ὠ μο φ ρό νως δ α ίμ ω ν ἐ νέβ η / Περ σῶ ν γ ε νε ᾷ :

line [912] in the Working Text is the same as line 911 in the
traditional texts. It is given as a single tone group because of the
762Cp. lines [22] and [37], where the measure also corresponds to individual
logoi.
751
close grammatical attraction of the verb and adverb, and the
interaction of the accents complements the rhythm of the line.
There are two alternative lineations:

(a) — — ◡ ◡ — | — — ◡ ◡ — |— — ◡ ◡ — (1 2 )
ὡς ὠμ ο φ ρ ό νως δ αί μω ν ἐνέβ η Περσ ῶ ν γ ε νεᾷ
(b) — — ◡ ◡ — — — (6 )
ὡς ὠμ ο φ ρ ό νως δ αί μω ν
◡ ◡ — |— — ◡ ◡ — (6 )
ἐνέβ η Περ σ ῶ ν γ ε νεᾷ
Lineation (a) is rhythmicall y unique, and lines with repeated

measures are rare in the anal ysed portions of the play. 763 It is also a
very long line.
Lineation (b), with presumed intra -tonal separation, would not be

out of place in the parodos. In fact, identical measures occur in
lines [8-9] of the first movement:
— — ◡ ◡ — — — (6 )
◡ ◡ — | — — ◡ ◡ — (6 )
Additionall y, the t ype and disposition of the accented syllables in

[912] and [8] is exactl y the same. In line [913] there is one
additional accented syllab le, but the quality of the peris pomenon
accents at the end of the line pre sents a melodic inversion of the
763Line [15] in the second movement of the parodos is one of the few secure
examples of 2x dactylopaests-2.
752
pattern of accents in line [9]. Such parallelism can onl y be regarded
as remarkable, and on the strength of this consideration lineation
(b), with intra-tonal separation, is given in the Experimental
Text. 764
The lineation t hus emphasises the role of the daimōn in the

disaster, and that it is a Persian disaster. There is, perhaps an ironic
barb in this: Xerxes’ acknowledgement of this is bracketed by
references to his own pitiable state at [909 -911] and [914-916].
912fin [914]: τ ί π ά θω τ λή μω ν : there is no question that this brief,

rhetorical question constitutes anything other than an individuated
tone group.
The line scans to word -end as a dact ylopaest -1.
It is reasonable to suppose that Xerxes’ sense of his own

wretchedness is compounded by the demeanour of the Elders, whose
harsh judgement of him will be confirmed in their repl y, especiall y
at lines [926-928]. Here, the Elders could demonstrate their
disapproval by means of some combination of posture, gesture and
stage-blocking.
913 [915] λ έ λυ τ αι γ ὰ ρ ἐμο ὶ γ υ ίω ν ῥ ώμ η : this and the subsequent line

are presented here as they appear in the traditional texts. The 2x
anapaests of the Working Text scan to word -end as a dianapaest.
The final measure is an open dact ylopaest.
764Soon, in the second movement of the Elders’ reply, the rhythmic form is
recalled, with a variation in metre, at line [928]. Again, the reference is to
Xerxes.
753
Line [915] stands alone as an expression of Xerxes’ extreme
emotional state – we could fairl y expect the movements performed
with the line to reflect this – which is then further contextualised
by the reference to the Elders in line [916].
914 [916]: τ ή ν δ ᾽ ἡ λικ ί α ν ἐσ ιδ ό ν τ᾽ ἀσ τ ῶ ν : this line is the same in the

traditional texts. It scans to word -end as a dact ylopaest -3 +
dact ylopaest-1.
While the age of the townsmen might not be to the point from a
modern perspective, the implied distance in age and experienc e
between Xerxes and the Elders has been a salient feature
throughout the play.
In the translation below, the force of τή νδ ᾽ is transferred to the

mention of the Elders; the more literal translation ‘seeing this age
of the townsmen’ is infelicitous.
915init [917] ε ἴ θ ᾽ ὄ φ ε λε ν Ζεῦ : it could be argued that the vocatival

Ζεῦ should be understood as a distinct tonal entit y, but the rhythm
is disruptive and out of character with the rest of the speech. It is
assumed that this traditional introduction to an unfulfilled wish has
been ossified as a tonal unit y.
All of [917-920] must be understood as being under intra -tonal

separation, and must be interpreted both as a series of self -coherent
statements expressing an unfulfilled wish.
The line presents a dact ylopaest -2.
915fin-916 [918-919]: κ ἀ μὲ μ ε τ᾽ ἀ νδ ρ ῶ ν / τῶ ν ο ἰχο μέ νω ν : it is

possible that [918 -919] could be delivered as a tonal unit y. They
754
are given as distinct tonal elements here on the basis of the ν - τ
consonantal clash, and, perhaps more importantl y, on the analogy
of lines [1-2]. While the rhythmic form of these lines i s not
identical, the echo will have been clear. This lineation also recalls
the dramatic importance of ο ἴχο μ αι , no doubt to stinging effect. 765 It
is presumed that the lines are under intra -tonal separation.
Line [918] scans to word -end as a dact ylopaest -2; line [919] scans
as a dact ylopaest -3.
917 [920]: θ α ν ά τ ο υ κ α τ ὰ μο ῖρ α κ αλύ ψ αι : as is the case in nearly

every instance in the anal ysed portions of the play, a dact ylopaestic
movement closes with a tonall y distinct paroemiac. The form
dianapaest + minor ion ic is the onl y paroemiac anal ysed in this
study that shows this form. 766 As is the case with less than half of
the paroemiacs anal ysed, it does not scan to word -end. 767
We might fairl y suppose that Xerxes’ wish for death is not mere
window-dressing, but is brought about both by his pitiable state and
the implied distress – and anger – of the Elders.
765 For a discussion of the thematic importance of this word, see the
interpretive commentary on lines [1-4] in the first movement of the parodos.
766 Nevertheless, it is a regular formation. Cf. Raven, Greek Metre, 57.
755
Experimental Text.
Xerxes’ Entrance Speech (908 -917) [908-920] 768
—— (2 )
ἰώ [9 0 8 ]
— — ◡ ◡ — (4 )
◡ ◡ — — — | — ◡ ◡ — — (8 )
◡ ◡ — ◡ ◡ — [4]
— — ◡ ◡ — — — (6 )
ὡς ὠμ ο φ ρ ό νως δ αί μω ν
◡ ◡ — |— — ◡ ◡ — (6 )
ἐνέβ η Περ σ ῶ ν γ ε νεᾷ
◡ ◡ — — — (4 )
◡ ◡ — ◡ ◡ — | — — — — (8 )
— — ◡ ◡ — | ◡◡ — — — (8 )
— ◡ ◡ — — (4 )
— ◡ ◡ — — (4 )
— — ◡ ◡ — (4 )
◡ ◡ — ◡ ◡ —|◡ ◡ — — (7 )
θ αν ά το υ κ ατ ὰ μο ῖ ρα κ αλύ ψα ι [9 20 ]
768[911]: scanned dianapaest; [912-913]: construed with intra-tonal

separation, see metrical commentary; [915]: scanned dianapaest; [920]:
scanned dianapaest.
756
Oh [908]
Wretched me
Most unexpected
How savagel y the daimōn
Came to the Persian people
Zeus! If onl y
Those who are gone
757
Commentary to Xerxes Scene: 2nd Movement 918 -921 [921-925].
◡ ◡ — |◡ ◡ — (4 )
◡ ◡ — | ◡ ◡ — (4 )
— — ◡ ◡ — | — — ◡ ◡ — (8 )
— — — — (4 )
— — — — | ◡ ◡ — [— ] (7 )

For the noble arm y
And for the adornment of men
Notes:
This is the Elders’ initial response to the appearance of Xerxes to
the play space. The metrical forms evinced are consistent both with
the internal rhythm of this movement and with the other
dact ylopaestic passages anal ysed in this study.
The absence of honorifics in the Elders’ initial address to Xerxes

(cp. [160-167] to Atossa and [700 -701] and [709-711], to Darius) –
and the absence of any reference to his ‘pitiable state’ of
appearance – is to be compounded by their harsh criticism of him in
the subsequent movement.
758
Commentary.
918init [921]: ὀ τ ο τ ο ῖ β ασι λεῦ : this cry of woe, including the
vocative, is considered tonall y distinct from the genitives of caus e
of the following lines.
The line is rhythmicall y well -balance by its accented syllables, and

scans as a dianapaest.
918fin [922]: σ τ ρ α τ ιᾶς ἀγ α θ ῆς : the three genitive phrases in the

following lines stand in isolation from the initial exclamation and
each other. Each expresses a distinct object of the Elders’ grief.
The line scans to word -end as a dianapaest. The metrical identit y of

[921] and [922] identifies the Elders’ cry of woe with the loss of
the arm y, their principal concern. 769 The fate of the Persian Empire,
along with Persia’s continued prosperit y, has been an element of
concern throughout the play. 770
919 [923] κ α ὶ π ε ρ σ ο νό μο υ τι μῆς μεγ ά λης : this line of the traditional

text consists of a single tonal grouping. Note the alternation of
longer and shorter phrases as the movement builds to its focal point
and closure in line [925].
The line scans to word -end as 2x dact ylopaests -3.
920 [924]: κ ό σ μο υ τ᾽ἀ νδ ρ ῶ ν : this line is the same as that of the

traditional texts.
769See Conclusions: Rhythm Over Metre.

770Cp., especially, lines 585 and 589-90 in strophe C of the second ode: οὐκέτι
περσονομοῦνται… βασιλεία γὰρ διόλωλεν ἰσχύς.
759
The line scans as an open dact ylopaest, a measure that occurs
frequentl y in the kommos. 771
921 [925]: ο ὓ ς νῦ ν δ α ί μω ν ἐπ έκ ειρ εν : is a regular paroemiac

featuring an initial open dact ylo paest. As has been the case in every
instance of a paroemiac except line [153], the line of the traditional
text is the same as that of the tonall y Experimental Text.
Note that while they acknowledge the putative role of the unnamed
divinit y, they specifi call y blame Xerxes at [927 -928]. 772
See Conclusions: Traditional Metrics Comparison, Rhythm and Meaning.

771
Cp. [138-139], [353-357], [745-748] and [911-912], with which we can

772
compare Xerxes’ self-condemnation at [940-941].

760
Experimental Text.
The Experimental Text features onl y changes in scansion from the
Working Text, and no new translation is required.
Elders’ Initial Greeting to Xerxes (918 -930) [921-937] 773
◡ ◡ — ◡ ◡ — (4 )
◡ ◡ — ◡ ◡ — (4 )
— — ◡ ◡ — | — — ◡ ◡ — (8 )
— — — — (4 )
— — — — | ◡ ◡ — [— ] (7 )
773 [921]: scanned dianapaest; [922]: scanned dianapaest.

761
Commentaries to Xerxes Scene: 3rd Movement 922 -930 [926-
937].
— — — — |— — — — |— — (1 0 )
γ ᾶ δ ᾽αἰ άζε ι τὰ ν ἐγ γ α ία ν ἥβ α ν [9 26 ]
— — ◡ ◡ — (4 )
◡ ◡ — |— ◡ ◡ — — (6 )
Ἅιδ ο υ σ άκ το ρ ι Περσ ᾶ ν
— ◡ ◡ — — | — — — [— ] (8 )
— — — — | — ◡ ◡ — [— ] (8 )
◡ ◡ — — — | — ◡ ◡ — — | — — — — (1 2 )
π άνυ τ αρ φ ύ ς τις μυ ρι ὰς ἀνδ ρ ῶ ν ἐξέ φ θ ιν τ αι
— — — — (4 )
— — — — (4 )
◡◡ — — — (4 )
◡ ◡ — — — (4 )
— — (2 )
αἰ νῶς
— — |◡◡ ◡ ◡ | ◡ — — [7 ]
αἰ νῶς ἐπ ὶ γ ό ν υ κ έκ λι τ αι [9 37 ]
762
Killed by Xerxes
Close-packed thousands of men have perished
Aiai aiai
The land of Asia
Woefull y
Notes:
With the exception of the irregular paroemiac, this movement
conforms to the metrical and rhythmic patterns observed elsewhere
in dact ylopaests. The paroemiac is not identified as such by any of
the editors consulted for this study, and is the onl y line in this
movement that does not unambiguousl y scan to word -end.
The l yric alpha, apparent from line [926], along with the unique
form of the paroemiac, might indicate that this movement is a
species of l yric anapaests, foreshadowing the strophic verses of
[938ff].
The lack of formal salute noted in the commentary to the previous

movement is compounded here with sharp criticism of Xerxes.
763
Commentary.
922-923init [926]: γ ᾶ δ ᾽ αἰά ζει τὰ ν ἐγ γ αία ν ἥβ α ν : while it is
possible to separate γ ᾶ δ ᾽αἰ άζε ι from τὰ ν ἐγ γ αί α ν ἥβ α ν as two
distinct logoi, there seems to be no rhythmic or conceptual
advantage, and the line is coherent in rhythmic and grammatical
terms. There is no consonantal or accentual clash to sugg est
rhythmic separation, and the phrases taken together are
rhythmicall y pleasing. The length of the line prepares for and
emphasises the importance of the shorter line [927].
The line scans to word -end as 2x open dact ylopaests +

supplementary final spon dee. 774
923med [927]: Ξ έ ρ ξᾳ κ τ αμ έ να ν : the impact of this crucial phrase

guarantees its tonal and aural -rhythmical isolation. It scans to
word-end as a dact ylopaest -3. This is the strongest censure of
Xerxes in the entire play, and its tonal individuation is well-
deserved. Its metrical form and the disposition of its accented
syllables mirror that of τ ῶν ο ἰχο μ έν ω ν , lines [2] and [919]. 775
923fin-924init [928]: Ἅ ι δ ο υ σ άκ το ρι Π ερσᾶ ν : this subordinate

clause is a tonall y distinct phrase on rhyt hmic and semantic
grounds. The sense of rhythmic separation is enhanced by the final
nu of [927] and the initial aspirate of the present line, and the
interaction of the accented syllables.
774 This, along with line [942], is one of two lines that potentially features an
‘open’ dactylopaestic hexasyllable ( - - - - - - ). See Appendix X, Tables of
Measures: Dactylopaestic Heptasyllables.
775 See Conclusions: Rhythm and Meaning.
764
The line scans to word -end as an initial anapaest + dact ylopaest -2,
a common metrical form. In the Experimental Text, the proper name
is given as Ἀΐδ ο υ in order to emphasise the initial anapaest. 776
924fin-925init [929]: ἀ γ δ αβ άτ αι γ ὰρ π ο λλο ὶ φ ῶ τες : the γ ὰρ clause

indicates a new construction, and therefore a new tone group. As
translated above, ἀγ δ αβ ά τ αι is taken to mean ‘led off’ (i.e. under a
forced march; Kraus’ interpretation cited by Garvie, 924 -7n). If this
is correct, the sense is good. 777
The line scans to word -end as a dact ylopaest -2 + open dact yl opaest.
925fin-926init [930]: χ ώ ρ ας ἄ ν θο ς το ξ ο δ άμ α ν τ ες : all editors

consulted in this study read a comma between ἄ ν θο ς and
το ξ ο δ άμ α ν τες , impl yi ng a tonal separation. West, also printing the
comma, gives the same phrase as his line 926. While χ ώρ ας ἄ ν θο ς
by itself constit utes an acceptable logos, το ξ ο δ άμ α ν τες cannot be
construed with [931]. Its language recalls lines [35] and [69 -70] of
the parodos and line 249 -52 of the Messenger’s first speech (not
anal ysed in this study). The line is a rhythmic inversion of the
previous line, scanning as an open dact ylopaest + dact ylopaest -2.
926fin-927 [931] π ά ν υ τ αρφ ύ ς τ ις μυ ριὰς ἀ νδ ρ ῶ ν ἐξ έφ θι ν τ αι : there

is no certain point of tonal separation anywhere in this line.
776Cp. Ἀϊδωνεύς, twice in line 650, which is not analysed in this study.
777Schütz’s proposed reading ἁβ ρο β ά τ αι , cited by Rose, 924n, deserves
consideration; there are numerous lexical repetitions in the kommos (Garvie,
1002-7n), and words in ἁβ ρ ο - are common in this play (41, 135, 541, 543
and 1072).
765
There are three potential tone groups, all scanning to word -end as
regular dact ylopaestic measures:
◡ ◡ — — — (4 )
π άνυ τ αρ φ ύ ς τις
— ◡ ◡ — — (4 )
μυ ρ ιὰ ς ἀ νδ ρ ῶ ν
— — — — (4 )
ἐξέφ θι ν τ αι
The first measure is a dact ylopaest -1, the second a dact ylopaest -2,
and the third an open dact ylopaest.
The ς - μ consonantal clash is a difficult one not to pause on, and, in

combination with the force of the enclitic, suggests rhythmic
isolation. The construction, including the indefinite τις , implies
that the adjective τ α ρ φ ύ ς , is to be construed as a substantive i n
apposition to μυ ρ ιὰ ς ἀνδ ρ ῶν . The phrase ‘altogether a great heap’
seems an acceptable formulation. Similarly, μυ ριὰς ἀ νδ ρ ῶ ν in
isolation is an acceptable rhythmic and semantic formulation.
The isolated ἐ ξέφ θι ν τ αι is least convincing. There is, however, some

grammatical support for its separation, in that the verb governs all
the nominative phrases of lines [929 -931]. All editors consulted
print a comma before this word, impl ying a consensus as to its
tonal separation from the rest of the line.
One advantage of this lineation is that it gives a string of seven 4 -

beat lines leading to [936 -937], which close this movement. This
rhythmic structure, heavil y laden with long syllables, could have
been designed to heighten the sense of intense emotion in this
scene. On the other hand, it is questionable whether this effect,
which could border on monotony or bathos, is as effective as the
766
very long logos produced by construing all three phrases as a tonal
unit y.
Nevertheless, the above lineation is given in th e Experimental Text

for purposes of comparison and evaluation.
928-929 [932-935]: α ἰ αῖ αἰ αῖ / κ εδ νᾶς ἀλκ ᾶς / Ἀσ ία δ ὲ χ θώ ν /

β ασ ι λεῦ γ αί ας : these two lines of the traditional texts show
convincing tonal separations. In each case the separations are at the
diaeresis, and the lines scan to word -end as regular dact ylopaestic
measures.
Line [932], αἰ αῖ α ἰα ῖ , an open dact ylopaest, is held to be tonally

distinct because it is a cry of grief that introduces the Elders’ final
statement, that the land of Asia is fa llen to her knees. Line [933],
κ εδ νᾶς ἀλκ ᾶς , a second open dact ylopaest, is a genitive of cause,
which are held to be tonall y distinct in anal ysis by tone group (cp.
[922-924] above and [763 -765] in the trochiambs of the stichic
dialogue). The long final syllables with their circumflex accents
suggest the rhythmic individuation of these phrases.
Line [934], Ἀ σ ία δ ὲ χ θώ ν , a dact ylopaest-1, introduces the final

principal clause of the present speech, ‘the land of Asia is fallen to
her knees’, and is therefore tonall y distinct from what precedes it.
Line [935], β ασ ιλ εῦ γ αί ας , a dact ylopaest -1, is an intrusive
vocatival phrase and these, too, are held to be tonal l y distinct
elements of any larger grammatical construction (cp. [133 -135],
[353-355], [681 -683]). Note the rhythmic force of the
dact ylopaests -1 in successive lines, which may be indicative of
increasing emotional intensit y.
767
The difference in force betwe en χ θώ ν and γ αί ας is unclear. As they
are translated here, there is a suggestion of an ironic barb directed
at Xerxes: his attempt to become the ruler of two continents has
failed, and the irony could have been re -enforced by the tone of its
declamation in the original performance.
930 [936-937] α ἰ ν ῶς / αἰ νῶς ἐπ ὶ γ ό νυ κ έκ λ ι τα ι : the twinned

exclamation α ἰν ῶς αἰ νῶς could be construed as a single tonal group
on the analogy of [932], which will conform to the regular four -
beat phrasing of the greater part of t his movement. αἰ ν ῶς , however,
is not an exclamation, it is an adverb in apposition to κ έκ λι τ α ι ;
nevertheless, it clearly has an additional exclamatory force.
Additionall y, this lineation leaves onl y the phrase ἐπ ὶ γ ό νυ κ έ κ λιτ αι

to close the movement; 778 this then would be the onl y non -l yric
dact ylopaestic system that does not close with a paroemiac.
The lineation of the Working Text allows the first αἰ νῶς to have
full exclamatory force while construing the second in its natural
grammatical relation with r est of the final phrase.
The paroemiac is irregular: it does not scan to word -end and it is

one half-beat short of the standard seven -beats of the regular
paroemiacs. Furthermore, it features an apparent trochiambic
measure, an epitrite -3 with resolution in the final syllable, + final
minor ionic. Nevertheless, the rhythm of this arrangement seems
convincing, and the irregular paroemiac is not unparalleled, and can
be further explained with reference to the proximit y of the line to
the l yrics-proper of the next movement. 779
778 This lineation is given only by Sidgwick and Weir Smyth.

768
On this basis, this the lineation of the Working Text has been kept
in the Experimental Text also.
Textual criticism.
Line [928]: read trisyllabic Ἀΐδ ο υ for disyllabic Ἅιδ ο υ .
Line [931]: construe π άνυ τ αρφ ύ ς τις , scan dact ylopaest -1.
Line [931a]: construe μυ ριὰς ἀ νδ ρ ῶ ν , scan dact ylopaest -2.
Line [931b]: construe ἐ ξέφ θι ν τ αι , scan open dact ylopaest.
Line [937]: scan epitrite -3 with resolution in final syllable + minor
ionic.
The Experimental Text is given below with a corresponding new

translation.
769
Experimental Text.
937] 780
— — — — |— — — — |— — (1 0 )
γ ᾶ δ ᾽αἰ άζε ι τὰ ν ἐγ γ α ία ν ἥβ α ν [9 26 ]
— — ◡ ◡ — (4 )
◡ ◡ — |— ◡ ◡ — — (6 )
Ἀΐδ ο υ σ άκ το ρ ι Περσ ᾶ ν
— ◡ ◡ — — | — — — [— ] (8 )
— — — — | — ◡ ◡ — [— ] (8 )
◡ ◡ — — — (4 )
π άνυ τ αρ φ ύ ς τις [9 31 ]
— ◡ ◡ — — (4 )
μυ ρ ιὰ ς ἀ νδ ρ ῶ ν [9 31 a]
— — — — (4 )
ἐξέφ θι ν τ αι [9 31 b]
— — — — (4 )
— — — — (4 )
◡◡ — — — (4 )
◡ ◡ — — — (4 )
780[928]: read Ἀΐδ ο υ for MSS. Ἅιδ ο υ ; [931]: scan dactylopaest-1; [931a]:
scan dactylopaest-2; [931b]: scan open dactylopaest; [937]: scan resolved
epitrite-3.
770
— — (2 )
αἰ νῶς
— — ◡ ◡ ◡| ◡ ◡ — — [7 ]
αἰ νῶς ἐπ ὶ γ ό ν υ κ έκ λι τ αι [9 37 ]

Killed by Xerxes
A great heap [931]
Thousands of men [931a]
Have perished [931b]
Aiai aiai
The land of Asia
Woefull y
771
Commentaries to Xerxes Scene: Lyric Kommos, Strophe and
Antistrophe A 931 - 949 [938-955].
Strophe A (931-940) [938-946]
Ξ έρ ξη ς
1a ◡ ◡ — — — | — — [— ] (7 )
2a ◡◡ — — — (4 )
3a — ◡ ◡ — — (4 )
4a ◡ ◡ | ◡ ◡ ◡ ◡ — (4 )
Χο ρ ό ς
5a — — — — |— — (6 )
6a — ◡ ◡◡◡ ◡ ◡ — (5 )
7a ◡ ◡ ◡ ◡ ◡|◡ — (4 )
κ ακ ο μ έλε το ν ἰὰ ν
8a ◡ ◡ — — — |— — — — |— — (1 0 )
Μαρ ια νδ υ νο ῦ θρη νη τῆ ρο ς [π έμ ψω]
9a — — ◡ ◡ — |◡ ◡— — (7 )
π έμψ ω π ο λύ δ ακ ρυ ν ἰ α χάν [9 46 ]
772
Antistrophe A (950-961) [947-955]
Ξ έρ ξη ς
1b ◡◡ — — — |— — — [—] (8 )
ἵετ ᾽ α ἰα νῆ κ αὶ π ά νδ υ ρτο ν [9 47 ]
2b — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ | ◡ ◡ — (4 )
Χο ρ ό ς
5b — — — | — — — [— ] (7 )
ἥ σ ω το ι κ αὶ π ά νδ υ ρ τ ο ν
6b — ◡ ◡ | — ◡ ◡ — — (6 )
λαο π α θῆ τε σ εβ ίζ ω ν
7b ◡◡ ◡ ◡ ◡ |◡ — (4 )
8b ◡ ◡ — — — | — — — [— ] (8 )
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
773
Strophe A
Xerxes
Elders
Of a Maryndian dirge-singer [I will send forth]
I will send forth a many-teared outcry [946]
Antistrophe A
Xerxes
Send forth eternal and all -mourning
Elders
I shall indeed send forth all -mourning
Notes:
The purpose of this section was not to provide solutions t o the
textual problems in these strophic stanzas, but to demonstrate that
anal ysis by tone group produces something like metrical
774
corresponsion; and to provide some comparative material for the
strophic song of the first ode (Chapter 5). Nevertheless, anal ysis by
tone group delivers broad corresponsion between strophe and
antistrophe, and provides some plausible solutions to some of the
problems of the text.
The lineation of the Working Text produces close corresponsion

between strophe and antistrophe:
1a ◡ ◡ — — — | — — [—] (7 )
1b ◡ ◡ — — — | — — — [— ] (8 )
2a ◡ ◡ — — — (4 )
2b — ◡ ◡ — — (4 )
3a — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4a ◡ ◡ | ◡ ◡ ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ | ◡ ◡ — (4 )
5a — — — — | — — (6 )
5b — — — | — — — [— ] (7 )
6a — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
6b — ◡ ◡ — | ◡ ◡ — — (6 )
7a ◡ ◡ ◡ ◡ ◡ | ◡ — (4 )
7b ◡ ◡ ◡ ◡ ◡ | ◡ — (4 )
8a ◡ ◡ — — — | — — — — | — — (1 0 )
8b ◡ ◡ — — — | — — — [—] (8 )
9a — — ◡ ◡ — | ◡ ◡ — — (7 )
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
As shown, onl y four of the nine paired lines fail in corresponsion,

and onl y lines [945] and [954] fail by more than a full beat.
775
In general the lines of the traditional texts show here the same
tendency, demonstrated thro ughout the anal ysed portions of this
play, to separate at the mid -line and to conform largel y to the
regular dact ylopaestic measures. Exceptions are noted in the
commentary below.
Thus the hints of criticism of Xerxes that have been presented

throughout the play, from line [10], achieve full expression at the
beginning of the ritual lamentation of the kommos that closes this
extraordinary play. The attitude of the Elders to Xerxes is seen
immediatel y: ‘I respond to your return with an evil -omened shout,
etc.’ Given their formal displays of reverence in the presence of
both Atossa, [154 -165], and the Ghost of Darius, [700 -702] and
[709-711], this, along with the absence of a formal salute, or any
concern for Xerxes’ ‘pitiable state’ can onl y be understood as the
strongest possible censure.
Commentary.
1a-2a: ὅ δ ᾽ ἐγ ώ ν ο ἰ ο ῖ α ἰ ακ τὸ ς [9 38 ] / ἵε τ᾽ αἰα ν ῆ κ αὶ π ά νδ υ ρ το ν [9 4 7 ] :
the antistrophe gives a line that is longer than that of the strophe by
one long syllable. Line [938] scans to word -end as a dact ylopaest -1
+ molossus. It has been the usual practice in this study to treat
exclamations as tonall y distinct; here, however, the exclamation
forms a tonal unit y with the rest of the line. This is notionally
supported by strophic corresponsion. Line [947] scans as a
dact ylopaest-1 + open dact ylopaest.
It is not uncommon for corresponding lines to differ by as much as

a full beat in the analyses given in this study. 781 Corresponsion can
be achieved by deleting κ αὶ from [947], after Passow (cf. Garvie
781 See Conclusions: Initial Findings by Verse Type, Strophic Corresponsion.

776
app. crit.). For purposes of comparison and evaluation, Passow’s
deletion is adopted into the Experimental Text. Both lines then scan
to word-end as a dactylopaest -1 + final molossus. 782 The deletion
requires that π ά νδ υ ρ τ ο ν must be construed as a substantive. The
same construction is provisionall y supported for the same word in
line [951], below.
Note that in both cases the opening lines of both stanzas scan to
seven beats, the onl y lines in the dact ylopaestic verses anal ysed in
this study that do so. They are not regarded a s paroemiacs, as they
do not show the final minor ionic that seems to be the regular
rhythmical indicator of closure in the analysed portions of this
play.
2a-2b: μ έ λεο ς γ έν ν ᾳ [9 39 ] / δ ύ σ θρο ο ν αὐ δ άν [9 48 ] : both lines are four

beats in length but they are not metricall y identical: the strophe
shows a dact ylopaest -1 while the antistrophe shows a dact ylopaest -
2. For the purposes of this study, this is accepted as a satisfactory
corresponsion. 783
3a-3b: γ ᾷ τε π α τρ ῴᾳ [9 40 ] / δ αί μ ων γ ὰρ ὅ δ ᾽ αὖ [9 49 ] : again, analysis

by tone group delivers lines of the same length in strophe and
antistrophe; and again they show two different dact ylopaestic
measures: the dact ylopaest -2 of the strophe is balanced against the
dact ylopaest-3 of the antistrophe.
782 See Appendix X: Subsidiary Measures, Molossi.

783
Garvie (931-3n) notes that ‘the metrical correspondence with the
antistrophe is loose but legitimate in anapaests’. Cp. the metrical antidoupos
of strophe and antistrophe D.
777
4a-4b: κ ακ ὸ ν ἄρ ᾽ ἐγ ε νό μ α ν [9 41 ] / μ ε τά τρο π ο ς ἐπ ᾽ ἐ μο ί [9 50 ] : these
lines are the same as those of the traditional texts and show exact
corresponsion.
Both lines can be interpreted as dianapaests with resolution of the

first long syllable, or as tripl y resolved open dact ylopaest s, with
onl y the final syllable being unresolved. 784
5a-5b: π ρ ό σ φ θο γ γ ό ν σ ο ι ν ό σ το υ [9 4 2 ] / ἥ σω τ ο ι κ αὶ π ά νδ υ ρτ ο ν [9 51 ] :
line [951] is longer than [942] by one long syllable. Weils’ deletion
of κ αὶ is accepted into the Experimental Text in order to show
corresponsion. Both lines could be interpreted as open
dact ylopaestic hexasyllables, but the accented syllables of the
metricall y identical lines show different rhythmic properties.
Line [942] is scanned as an open dact ylopaest + final spondee,

allowing for the tonal and semantic force of the enclitic σο ι . Line
[951] is scanned as 2x molossi.
The attitude of the Elders is seen immediatel y: ‘I respond to your

return with an evil -omened shout, etc.’ Thus the criticisms of
Xerxes that have been present from line [10] achieve full
expression at the beginning of the ritual lamentation of the kommos
that closes this extraordinary play.
6a-6b: τ ὰ ν κ α κ ο φ ά τιδ α β ο ά ν [9 4 3 ] / λ αο π α θῆ τε σεβ ί ζω ν [9 5 2 ] : the

line-end τὰ ν of line Garvie’s line 935 forms a tonal unit y with
[943]. The line is scanned as a dactanapaest (A) with resolution in
the fourth (analectic ) syllable. 785
784 See Appendix X, Tables of Measures: Other Dactylopaestic Heptasyllables.

785 See Appendix X, Other Dactylopaestic Heptasyllables.
778
Line [952] is difficult. Even allowing that the eta of λ αο π α θῆ
corresponds to two shorts of κ ακ ο φ ά τ ιδ α , 6b is longer by a full beat
(one long or two short syllables), and there is no easy excision to
avoid the discrepancy. Of the suggested em endations (cf. Garvie,
944-8n, 349), Prien’s λ αο π α θέ α τε σέβ ω ν gives a similar sense to the
transmitted text and produces perfect corresponsion. This reading is
accepted into the Experimental Text. It may be supposed that the
Elders feel ‘religious awe’ be cause of the putative activit y of the
daimōn; and in part because of the sheer scale of the disaster,
which is characterised in line [953] with specific mention of the
naval defeat at Salamis. 786
7a-7b: κ ακ ο μέ λε το ν ἰὰ ν [9 4 4 ] / ἁλί τυ π ά τε β ά ρη [9 5 3] : the phrases

identified under analysis by tone group correspond exactl y. The
lines are metricall y, if not rhythmicall y identical to lines [941] and
[950], and are scanned to the same measure, for which see above.
8a-8b: Μ α ρ ι α νδ υ νο ῦ θ ρη νη τ ῆρο ς [π έμ ψω] [9 4 5 ] / π ό λεως γ έ ν νας

π ε ν θη τ ῆ ρ ο ς [9 5 4] : [945] is longer than [954] by two full beats.
Following Garvie (Metrical Appendix, 935-40 = 944-8, 375)
Μαρ ια νδ υ νο ῦ is scanned as a dact ylopaest -1, corresponding to
π ό λεως γ έ ν ν ας in [954]. θρη νη τῆρο ς and π εν θη τῆρο ς correspond. The
superfluous syllables correspond to π έ μ ψω in [945] onl y, and it is
deleted from the Experimental Text. Its retention removes any
chance of close corresponsion between lines [945 -954] and [946-
955]. Alternativel y, another κ λάγ ξω must be added to either [954] or
786Cp. Garvie, 944-8n, 349, who finds the word problematic. Cp. also Rose
(941-7n), who regards σ έβ ω ν as a ‘certain correction’ and describes it as
‘impressively used’ on the grounds that ‘the Chorus feel… awe, recognising a
judgement of God’.
779
[955] after Hermann’s conjecture, but that gives an unsatisfactory
sense. The direct object of κ λάγ ξ ω is the γ ό ο ν of [955] and these
words should therefore be construed as belonging to the same tone
group; the word does not readil y form a t onal unit y with [954]. 787
Both lines scan to word -end as a dact ylopaest -1 + open

dact ylopaest.
9a-9b: π έ μψ ω π ο λύ δ ακ ρυ ν ἰ αχ άν [9 46 ] / κ λ άγ ξω δ ’ αὖ γ ό ο ν ἀρίδ ακ ρυ ν
[9 5 5 ] : both lines of the tonall y affective text scan as paroemiacs,
although [946] does not sca n to word-end. Both lines are
rhythmicall y and semanticall y coherent, and close their passages
effectivel y. Line [946] shows a dact ylopaest -3 + minor ionic but
does not scan to word -end. Line [955] scans to word -end as a
dact ylopaest-4 + final minor ionic. Line [955] presents the final
evaluation and outcome of the rest of the stanza, meaning in effect,
‘And so I shall never cease (= δ ’αὖ ) to cry out a groan full of tears’.
Textual criticism.
Line [941]: scan resolved dianapaest.
Line [943]: scan resolved dactanapaest (A).
Line [944]: read ἰά ν for line-end. Scan resolved dianapaest.
Line [945]: delete π έ μψω .
Line [947]: delete κ α ὶ .
Line [951]: delete κ α ὶ .
Line [952]: read λ αο π α θέ α τε σ έβ ω ν (Prien); scan resolved
dactanapaest (A).
787Contrast Rose’s judgement (948n): ‘Hermann’s doubling of κ λ άγ ξ ω is

indispensable’. On this he offers no further comment except to refer the
reader to his line 940, on which there is no note.
780
The Experimental Text and translation are as follows.
Experimental Text.
Kommos: Strophe and Antistrophe A (931 - 949) [938-955]
Strophe A (931 -940) [938-946] 788
Ξ έρ ξη ς
1a ◡ ◡ — — — | — — [— ] (7 )
2a ◡◡ — — — (4 )
3a — ◡ ◡ — — (4 )
4a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
Χο ρ ό ς
5a — — — — |— — (6 )
6a — ◡ ◡◡◡ ◡ ◡ — (5 )
7a ◡ ◡ ◡◡◡ ◡ — (4 )
κ ακ ο μ έλε το ν ἰά ν
8a ◡ ◡ — — — |— — — — (8 )
Μαρ ια νδ υ νο ῦ θρη νη τῆ ρο ς [9 4 5 ]
9a — — ◡ ◡ — |◡ ◡— — (7 )
788[941]: scanned resolved dianapaest; [943]: scanned resolved

dactanapaest (A); [944]: read ἰά ν for line-end; [945]: del. π έμ ψω .
781
Antistrophe A (950-961) [947-955] 789
Ξ έρ ξη ς
1b ◡◡ — — — | — — [— ] (7 )
ἵετ ᾽ α ἰα νῆ π άνδ υ ρ το ν [9 47 ]
2b — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
Χο ρ ό ς
5b — — — | — — [— ] (6 )
ἥ σ ω το ι π ά νδ υ ρ το ν
6b —◡ ◡◡◡ ◡ ◡ — (5 )
λαο π α θέ α τε σέβ ω ν
7b ◡◡ ◡ ◡ ◡ ◡ — (4 )
8b ◡ ◡ — — — | — — — [— ] (8 )
9b — — — ◡ ◡ | ◡◡ — [—] (7 )
789[947]: del. κ αὶ ; [950]: scan resolved dianapaest; [951]: del. κ α ὶ ; [952]:

read λαοπαθέα τε σέβων (Prien), scanned resolved dactanapaest (A); [953]:
scanned resolved dianapaest.
782
Strophe A
Xerxes
Elders
Of a Maryndian dirge-singer
A many-teared outcry I will send forth [946]
Antistrophe A
Xerxes
Send forth eternal all -mourning
Elders
I shall indeed send forth all -mourning
783
1a ◡ ◡ — — — | — — [—] (7 )
1b ◡ ◡ — — — | — — [—] (7 )
2a ◡ ◡ — — — (4 )
2b — ◡ ◡ — — (4 )
3a — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
5a — — — — | — — (6 )
5b — — — | — — [— ] (6 )
6a — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
6b — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
7a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
7b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
8a ◡ ◡ — — — | — — — — (8 )
8b ◡ ◡ — — — | — — — [—] (8 )
9a — — ◡ ◡ — | ◡ ◡ — — (7 )
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
784
Commentaries to Xerxes Scene: Lyric Kommos, Strophe and
Antistrophe B 950-973 [956-979].
Strophe B (950-961) [956-967]
Ξ έρ ξη ς
1a ◡ ◡— | ◡ ◡ — — (5 )
Ἰ άν ων γ ὰ ρ ἀπ ηύ ρ α [9 56 ]
2a ◡ ◡— | — — [— ] (5 )
Ἰ άν ων ν αύ φ αρκ το ς
3a — — |◡ ◡ — — (5 )
Ἄρ η ς ἑ τερ αλκ ὴς
4a ◡ ◡— ◡ ◡ | — ◡ ◡ [— ] (6 )
νυ χ ί α ν π λάκ α κ ερ σάμ ενο ς
5a — — ◡ ◡ | — [— ] (5 )
δ υ σ δ αί μο νά τ᾽ἀκ τά ν [9 6 0 ]
Χο ρ ό ς
6a — — — ◡ —|— — — — — [1 0 ]
ο ἰο ιο ῖ β ό α κ α ὶ π ά ν τ᾽ἐ κ π εύ θο υ
7a — ◡ ◡ — | — ◡ — [— ] [6 ]
π ο ῦ δ ὲ φ ίλω ν ἄλλο ς ὄ χλο ς
8a — ◡ — | ◡ — ◡ — [6 ]
π ο ῦ δ έ σο ι π αρ ασ τά τ αι
9a — ◡ — |◡ — ◡ — [5]
ο ἷο ς ἦ ν Φ αρ α νδ άκ ης
10a — — ◡ ◡ — |— — — [— ] (8 )
Σο ύ σ ας Πε λάγ ω ν κ αὶ Δα τά μ ας [9 6 5 ]
11a — [◡ ◡ — — ] — — — | — — — — [— ] (1 2 )
ἠ δ ὲ [Ἀγ αβ ά τ ας ] Ψάμ μι ς Σο υ σισκ άνης τ (ε)
1 2a — ◡ ◡ ◡ |◡ — (4 )
Ἀγ β ά τ αν α λ ιπ ώ ν [9 6 7 ]
785
Antistrophe B (962 -973) [968-979]
Ξ έρ ξη ς
1b ◡ ◡ — |◡ ◡ — [—] (5 )
ὀ λο ο ὺ ς ἀπ έ λειπ ο ν [9 6 8 ]
2b ◡ ◡— | — — [— ] (5 )
Τυ ρ ίας ἐκ ν αὸ ς
3b — — ◡ | ◡ — — (5 )
ἔρ ρ ο ν τ ας ἐπ ᾽ ἀκ τ αῖς [9 7 0 ]
4b ◡ ◡ — ◡— — | ◡ ◡ — [7 ]
Σα λ αμι νιά σι σ τυ φ ε λο ῦ
5b — — ◡ ◡ | — — (5 )
θεί νο ν τ ας ἐπ ᾽ ἀκ τ ᾶς
Χο ρ ό ς
6b — — — — — | — — — [— ] (9 )
ο ἰο ιο ῖ π ο ῦ δ ὴ π ο ῦ Φ αρ νο ῦ χο ς
7b —◡◡ — — | ◡ ◡ [— ] (6 )
Ἀρ ιό μ αρ δ ό ς τ ᾽ἀγ α θό ς
8b — ◡ | — — — ◡ — (6 )
π ο ῦ δ ὲ Σευ άλκ ης ἄ ν α ξ [9 7 5 ]
9b — ◡ — ◡ | — ◡ — [5]
ἢ Λίλ αιο ς εὐ π ά τωρ
10b — — ◡ ◡ — | — — — — (8 )
Μέμφ ις Θ άρυ β ις κ αὶ Μασ ίσ τρ ας
11b — — — — | — — — — (8 )
Ἀρ τεμβ άρ ης τ᾽ἠδ ᾽ Ὑσ τ αίχ μας
12b ◡ ◡ |◡ ◡ ◡ ◡ — (4 )
τάδ ε σ ᾽ἐπ α νερό μ αν [9 7 9 ]
786
Strophe B
Xerxes
The Ionian fenced-with-ships
Elders
And [Agabatas] Psammis and Sousiskanes
Antistrophe B
Xerxes
Rugged Salaminian
Elders
Oioioi where oh where is Pharnouchus
And noble Lilaios
787
Notes:
The strophe separates convincingl y into shorter measures
corresponding to individual tone groups that are for the most part
metricall y recognisable; variations are noted in the commentary
below.
The corresponsion test is as follows:

1a ◡ ◡ — | ◡ ◡ — — (5)
1b ◡ ◡ — | ◡ ◡ — [—] (5)
2a ◡ ◡ — | — — [—] (5)
2b ◡ ◡ — | — — [—] (5)
3a — — | ◡ ◡ — — (5)
3b — — ◡ | ◡ — — (5)
4a ◡ ◡— ◡ ◡ | — ◡ ◡ [—] (6)
4b ◡ ◡ — ◡— — | ◡ ◡ — [7]
5a — — ◡ ◡ | — [—] (5)
5b — — ◡ ◡ | — — (5)
6a — — — ◡ — | — — — — — [10]
6b — — — — — | — — — [—] (9)
7a — ◡ ◡ — | — ◡ — [—] [6]
7b — ◡ ◡ — — | ◡ ◡ [—] (6)
8a — ◡ | — ◡ — ◡ — [6]
8b — ◡ | — — — ◡ — (6)
9a — ◡ — |◡ — ◡ — [5]
9b — ◡ — ◡ | — ◡ — [5]
10a — — ◡ ◡ — | — — — [—] (8)

10b — — ◡ ◡ — | — — — — (8)
788
11a — [◡ ◡ — —] — — — | — — — — [—] (12)
11b — — — — | — — — — (8)
12a — ◡ ◡ ◡ | ◡ — (4)
12b ◡ ◡ |◡ ◡ ◡ ◡ — (4)
The stanzas fail in corresponsion by one half -beat at 4a-4b, 6a-6b,

and 8a-8b; and by more than a full beat (i.e., by the equivalent of at
least two long syllables) at 12a -12b, which line, however, features
the probabl y spurious name Agabatas.
In the discussion below, an arrangement for Xerxes’ speeches in

strophe and antistrophe is proposed which gives close
corresponsion in all paired lines but in which the tonal groupings of
the antistrophe seem broken or blended, especiall y in line [959]; it
remains possible, however, that this arrangement is closer to the
form of the original performance and a textual emendation is
tentativel y proposed.
In the Elders’ speeches in both strophe and antistrophe the tonall y

affective lines are for the most part the same as in Garvie’s text.
There are, however, some minor variations in lineation and in the
anal ysis of metre that are discussed in the commentaries below.
In this strophic pair there seems to be a kind of rhythmic

counterpoint between alternating dact ylopaest ic and trochiambic
cola. This feature might be caused by the rhythmical qualities of
the Persian names in both strophe and antistrophe. I have, however,
followed Garvie (Metrical Appendix , 375-6) in scanning as long
most doubtful quantities in these names, excepting those of Π ελάγ ω ν
and Θάρ υ β ις , which Garvie also scans as anapaests.
789
Xerxes begins, unprompted, to explain the loss of his arm y. In their
responses, the Elders continue their condemnation of Xerxes, this
time with an accusatory string of questio ns presenting a list of
names that recalls the Catalogue of Commanders of the parodos –
now emphaticall y a roll -call of the dead.
Commentary.
1a-1b: Ἰ ά νω ν γ ὰ ρ ἀπ η ύ ρα [9 56 ] / ὀ λο ο ὺ ς ἀπ έ λειπ ο ν [9 6 8 ] : in the
Working Text both lines are scanned to word -end as initial anapaest
+ minor ionic. The tonal qualities of the lines, especiall y [968],
impl y a rhythmic unity. On this basis the lines are scanned to word -
end as dianapaests (B) in the Experimental Text.
The interpretation of lines [956 -958] is straight -forward,

necessitating onl y that we suppl y ‘them’, i.e. the men of the army,
as the unexpressed direct object of ἀπ ηύ ρ α in line [956]. 790 ‘The
Ionian’ is Ares, who, by association and inference, is equated with
the victorious Greeks in their ‘fence of ships’ at line [957].
2a-2b: Ἰ ά νω ν να ύ φ αρ κ το ς [9 5 7 ] / Τυ ρί ας ἐκ ν αὸ ς [9 6 9 ] : both lines are

scanned in the Working Text as initial anapaest + molossus. It is
open to interpretation whether the molossus is native to
dact ylopaests or trochiambs. On the basis of the present study it
seems that the measure is used to fill out lines of either verse
type. 791 An alternative scansion, a dact ylopaestic he xasyllable-1, is
given in the Experimental Text for purposes of comparison and
evaluation. 792
790 For the various, more extravagant interpretations of these lines see
Broadhead, 950-4n, 229-30; Garvie, 950-3n, 350-1.
791 See Appendix X: Subsidiary Measures, Molossi.
792 See Ch.3, Principal Measures: Dactylopaestic Hexasyllables. Cp. also lines
[958] and [970] and lines [960] and [972], below, for hexasyllabic measures
of an analogous form.
790
3a-3b: Ἄ ρ η ς ἑ τερ α λκ ὴ ς [ 9 57 ] / ἔρρο ν τ ας ἐπ ᾽ ἀκ τα ῖς [9 7 0 ] : the
scansion of the Working Text shows metrical identit y but a
different rhythm is implied by word -length. Line [957] scans as a
spondee + minor ionic, while [970] scans to word -end as an
antibacchius + bacchius.
In both cases, however, the lines show the same placement of

accented syllables, which might well prove an important clue in the
reconstruction of the musicalit y of this pair of stanzas. On this
basis the lines are scanned in the Experimental Text as
dact ylopaestic hexasyllables -3.
Note that Ἄρ η ς is scanned here with an initial long syllable; it is

possible the word should be scanned with an initial short syllable
(cf. LSJ sub Ἄρ η ς : ‘in Trag., regularl y ᾰ , but A. uses ᾱ even in
dialogue’); but in that case the measure would scan with an initial
isolated iamb, a metrical feature found in this study onl y in
trochiambic dialogue, and the line would fail corresponsion by one
half-beat. 793
4a-4b: ν υ χ ί αν π λάκ α κ ε ρσά με νο ς [9 59 ] / Σ α λ α μι νιάσ ι σ τυ φ ε λο ῦ [9 7 1 ] :

these lines present the greatest difficulties for metrical anal ysis in
this strophic pair. Additionall y, as the traditional text stands, the
dative plural of Σ αλ α μι νιάσι cannot readily form a logos with the
genitive σ τυ φ ελο ῦ .
793An alternative lineation based on presumed tonal groupings was trialled.

This gave Ἰ ά νω ν ν αύ φ α ρ κ το ς Ἄρ η ς for 3a, and Τυ ρίας ἐκ ν αὸ ς ἔρρο ν τας
for 3b. While this form of the lines gives is entirely plausible in terms of tonal
grouping and gives fair corresponsion, the arrangement caused intractable
tonal, rhythmic and metrical difficulties in all subsequent lines and was
abandoned.
791
The word Σα λ αμι νιά σ ι in line [970] presents metrical problems in its
present form. I follow Garvie (and LSJ) in scanning long the
syllable - μι ν - but I have reservations about the shor t quantit y of the
alpha of its termination. So scanning would seem to be a
contravention of the Principle of Least Interference with regard to
the quantit y of syllables. 794
A ready solution to this problem appears in the apparatus criticus

of all editors: the word as it stands in our present texts is a modern -
era conjecture (Hermann’s, 1859) which appears in the texts of all
editors I have consulted. It appears that the acute accent is deemed
necessary to suit the presumed requirement of a short syllable. T he
manuscript tradition, however, contains the reading Σα λα μι νῖσ ι(ν ) . 795
I therefore propose that we abandon Hermann’s emendation and

return to the MSS. reading; the movable nu is metricall y irrelevant
in the arrangement proposed here (on the reading of σ τυ φ ε λο ῦ , see
below). This measure will deliver excellent corresponsion:
νυ χ ί αν π λάκ α κ ερ σά με νο ς
◡ ◡ — ◡ ◡ | — ◡ ◡ [— ]
◡ ◡ — — — | ◡ ◡ —
Σα λ α μι νῖ σ ι σ τυ φ ε λο ῦ
794 The working assumption in this study is that syllables which hide an
ancient contraction are to be scanned long. Here we have the contraction of
the hypothetical dative plural form *Σα λ αμι νι α νσι . On this basis the line fails
corresponsion and seems irremediable.
795 Sidgwick: 965 σαλαμινῖσι M; Page: 965 Cαλαμινιάcι Hermann: -νῖcιν M, -νῖcι
vel -νίcι rell. (-νίτιcιν Tr); Broadhead: 965 σαλαμινίσι: corr. Herm.; West:
σαλαμινῖσι(ν) vel -μινίσι : corr. Hermann1 428; Garvie: 965 Σαλαμινιάσι
Hermann: σαλαμινῖσιν M, σαλαμινίσι (-ῖσι) rell.
792
Acceptance of this reading requires onl y that we accept that
Aeschylus was capable of coining the hapax ‘Salaminis’. He is fond
of this form of the feminine nominal termination, notabl y in the
toponymic adjectives Περσίς and Ἀσίς . 796
A final problem with th is arrangement is the presence of the dative

plural Σ αλ α μι νιάσ ι (or Σα λα μι νῖσι ) with the genitive singular
σ τυ φ ε λο ῦ . Given the high degree of corresponsion in all other lines
in these paired stanzas and the efficacy of tonal grouping
demonstrated throughou t this study, it seems likel y that these words
do form a logos. Emendation of σ τυ φ ελ ο ῦ to σ τυ φ ε λα ῖς is a simple
expedient and does not affect the metre of the passage. The
transmitted error, if that is what it is, can be explained with
reference to the mis taken construction σ τ υ φ ελο ῦ θεί νο ν τ ας ἐπ ᾽ ἀκ τᾶς .
The reading of the dative might also explain the (earlier?) textual
variant σ τυ φ έ λο υ ς . 797
Line [971] will then scan to word -end as a dact ylopaest -1 + final
anapaest. The reading, Σα λ αμι νῖσ ι σ τυ φ ελ αῖς , is given in the
Experimental Text.
Line [959] is scanned the same way, without regard to word -end.
5a-5b: δ υ σ δ αί μο νά τ᾽ἀκ τ άν [9 6 0 ] / θ εί νο ν τ ας ἐπ ᾽ἀκ τᾶς [9 7 2] : line

[960] scans to word -end as a minor ionic + spondee; line [972] can
be scanned in the same way, but given the grammatical affinity
796 Περσίς: 59, 135, 155, 250, 288, 406, 541, 646, 1070 (?) and 1074. Ἀσίς: 549
and 763. Other toponymic adjectives of this form are Σουσίς (119 and 557),
Ἑλληνίς (334), νησιῶτις (390), Δωρίς (486, 817,), Ἀχαιίς (488).
797 The reading tends to be found in the earlier Mss. (13th-14th centuries),
excluding, of course, the 10th century M: Page: BCHYa; West: ; Garvie: 
Ya.
793
between the preposition and its noun, the scansion θ εί νο ν τ ας |
ἐπ ᾽ἀκ τᾶς , antibacchius + bacchius, is also possible (cp. commentary
on line [970], above, which presents the same metricalit y; the lines
are in fact almost ident ical). Note also that the complete lines scan
as a dact ylopaestic hexasyllable -3. This scansion is presented in the
Experimental Text.
6a-6b: ο ἰο ιο ῖ β ό α κ αὶ π άν τ ᾽ἐκ π ε ύ θο υ [9 6 1 ] / ο ἰο ιο ῖ π ο ῦ δ ὴ π ο ῦ
Φ α ρ νο ῦ χ ο ς [9 7 3] : reading Garvie’s text (after Page), these logoi fail
corresponsion by one full beat; and the short syllable of β ό α is not
represented in the antistrophe. Hermann’s conjecture, ο ἰο ιο ῖ β ό α
π ο ῦ σ ο ι Φαρ νο ῦ χ ο ς , read by Sm yth, Sidgwick and, more recently,
Broadhead, (cp. Sommerstein who translates the conjecture but does
not print it in his text) gives much better sense, and presents a more
convincing corresponsion, in terms of both metre and sense,
between strophe and antistrophe: both lines present a trochiamb ic
pentasyllable -4 + open trochiambic pentasyllable. It is fitting that
the Elders should respond with the ‘same exclamation as in the
strophe’ (Garvie, 966 -73n); but here I would take that to include
βόα, where Hermann’s π ο ῦ σο ι Φ αρ νο ῦ χο ς should be understood as
the direct object of ο ἰο ιο ῖ β ό α . On this reading there is a pleasant
asymmetry between the ‘Shout “oioioi” and learn all’ of line [961]
and the ‘Oioioi, shout “where is your Pharnouchus”’ of the present
line. Hermann’s conjecture is given in the Ex perimental Text.
For this self -address by the Elders we should compare Ag.1346-

1371 and the two dactylopaestic movements that introduce the
Atossa scene, [145-153] and [154 -159]. We might imagine that this
line, and the string of questions that follows, w ere sung by the
chorus in unison, or by subsections, either part -choruses or
794
individuals in alternation with one another. 798 Either interpretation
is satisfactory, but the latter will have been more dramaticall y
effective; the sense of agitation that could b e conveyed through
stage-blocking and gesture will be reflected in the clusters of
asyndetic nominatives in the lines that follow.
7a-7b: π ο ῦ δ ὲ φ ίλω ν ἄ λλο ς ὄ χ λο ς [9 6 2 ] / Ἀρι ό μ αρδ ό ς τ ᾽ἀγ α θό ς [9 7 4] :

these lines are the same as in Garvie’s text. The line of the strophe
is longer than that of the antistrophe by one half -beat. Line [962],
here scanned as two trochiambic measures, choriamb + epitrite -2,
presents one of the few instances in which a pentasyllabic measure
is present but does not scan to word -end. Both π ο ῦ δ ὲ φ ίλ ων ἄ λ - and
the personal name Ἀ ρ ιό μ αρδ ό ς ( τ᾽ ) present dact ylopaests -2.
In the first anal ysis the first syllable of ὄ χλο ς is scanned long; if,
however, we allow that the consonantal combination - χλ - does not
make a short syllable long by pos ition, we may scan - ο ς ὄ χ λο ς as an
anapaest (again without regard to word -end) corresponding to
ἀγ α θό ς . This will deliver exact corresponsion, and line [962] will
scan to word -end as 2x minor ionics. Line [974] has the same
metrical form but is scanned to word-end as a dact ylopaest -2 +
final anapaest.
8a-8b: π ο ῦ δ έ σ ο ι π αρ ασ τά τ αι [9 6 3] / π ο ῦ δ ὲ Σευ άλκ ης ἄ να ξ [9 7 5 ] :

these lines are, as presented under anal ysis by tone group, the same
as in Garvie’s text. Here the line of the strophe is one half -beat
shorter than that of the antistrophe. The lines present another
trochiambic counterpoint to the predominant dact ylopaests of these
798See Broadhead, 955n, 231, who attributes the former interpretation to

Linwood, and the latter to Prickard and Sidgwick. Rose, 950-54n, 156-7,
gives an attractive disposition of the lines between choreutai.
795
stanzas. Note that the personal name Σευ ά λκ ης , in which the
metrical and rhythmic variation occurs, is ‘betrayed by the “l”
sound’ as non-Iranian (Garvie, 966 -73n). 799 If exact corresponsion
is required we can scan the proper name as the equivalent of a
cretic, assuming textual corruption rather than a genuine phonemic
variation that allows the scansion. On this basis, both lines can be
scanned to word -end as lecythia. 800 The variant scansion is
9a-9b: ο ἷο ς ἦ ν Φ αρ αν δ άκ ης [9 6 4] / ἢ Λίλ αιο ς ε ὐ π ά τω ρ [9 7 6 ] : again,

the lines show the same form here as in Garvie’s text. Line [964] is
of the same metrical form as [963]. The rhythmic qualities of the
lines and the disposition of their accents justifies the scansion of
lecythia here also.
10a-10b: Σ ο ύ σ ας Πελάγ ω ν κ αὶ Δ α τά μ ας [9 6 5 ] / Μ έμ φ ις Θάρ υ β ις κ α ὶ

Μ ασ ίσ τρ ας [9 7 7 ] : the lines are the same as in Garvie’s text. Here the
anapaestic dimeters are described as scanning to word -end as a
dact ylopaest-2 + open dact ylopaest. The metricalit y of the Persian
names is difficult: Garvie scans long all doubtful syllables of these
personal names, except for the corresponding apparent anapaests of
Πελάγ ων and Θ άρ υ β ις . This is very likel y correct, especiall y gi ven
the propensit y of l yrics toward long alphas; and it gives exact
corresponsion for the lines. It should be noted, however, that this
requires the emendation to Δ α τά μ ας (Passow) of the name Δο τ άμ ας ,
read in the majorit y of manuscripts. 801 This would give a line of the
form dact ylopaest -3 + epitrite-2 for [965] which would cor respond
799 Ibid: ‘The names, except for Seualkes, are slightly less mangled by the
copyists than in the strophe’.
800 So-identified by Garvie (Metrical Appendix, 375).
801 Garvie, app. crit.: Δα τά μας Passow: δ ο τά μας vel δ ό τ αμ ας ferre codd; West,
app. crit.: Δατά μας Passow1 52: δ ο τάμ ας vel δ ό τ αμ ας ferre .

796
exactl y with [977] if we scan short the ambiguous alpha of the first
syllable of Μ ασ ίσ τρ α ς . The dact ylopaestic scansion is retained for
11a-11b: ἠ δ ὲ [ Ἀγ α β άτ α ς ] Ψά μμις Σο υ σισκ άν ης τ (ε) [ 9 6 6 ] / Ἀρ τ εμβ ά ρης

τ ᾽ ἠ δ ᾽ Ὑσ τ αίχ μ ας [9 7 8 ] : ‘Agabatas’ is probabl y a mistaken repetition
for the Ἀγ β ά τ α ν α of the subsequent line in the strophe and should
either be obelised, as per most editors consulted in this study, or
relegated to the apparatus. In this study the latter alternative is
preferred as it presents a ‘clean’ text that reflects the most likel y
form of the original performance; the name is removed from the
Experimental Text.
Even without Ἀγ αβ ά τ ας , the lines fail corresponsion by one long

syllable. The problem here is caused by the n on-admittance of
elision at line-end under this anal ysis. The onl y other example of
line-final τ (ε) in the anal ysed portions of this play is in line [40] in
the fourth movement of the parodos, which is provisionall y
identified as spurious along with the li nes before and after it; in all
other instances τ ε is phrase- and line-internal. On the basis of this
study, at any rate, it can be said that, in general, elision at line -end
does not occur. It may be that the particle was allowed as a special
instance due to its enclitic nature, and perhaps because of some
peculiarit y of its pronunciation in the Attic dialect of Aeschyl us;
but such speculation is futile as there is as yet insufficient
comparative material to make a final evaluation. For purposes of
comparison and evaluation, line [966] is read as the asyndetic ἠδ ὲ
Ψάμ μις Σο υ σ ισ κ άν η ς in the Experimental Text, and is scanned as 2x
open dact ylopaests. Line [978] also scans to word -end as 2x open
dact ylopaests. On the present anal ysis it is supposed that the
797
as yndeton is reflective of the Elders’ extreme agitation. 802
Interestingl y, however, the word Sousiskanes appears in asyndetic
relation to Pegastagon in the fifth movement of the parodos. There,
however, the Experimental Text reads Σο υ σισκ ά νης π ηγ ὰς τ αγ ῶν ,
that is, the ordinary apposition of noun and adjectival phrase the
‘marshal of the delta’, rather than asyndetic paratactic nominatives.
It could be that ‘Sousiskanes’ is a title, and that Psammis and
Pegastagon are the proper names to which it is attributed; but if it
is a title it is difficult to discern, beyond some connection with
Susa, what it could mean.
12a-12b: Ἀ γ β ά τ α ν α λιπ ώ ν [9 6 7 ] / τ άδ ε σ᾽ἐ π α ν ερό μ αν [9 7 9 ] : again, the

lines are the same as in Garvie’s text. They correspond with
resolution in the anti strophe. Garvie ( Metrical Appendix , 376)
identifies these lines as either a single anapaestic metrum (i.e., two
anapaestic feet with resolutions) or a ‘hypodochmiac’. A
hexasyllabic scansion can be given for both lines; in the case of
line [979] it is the ‘resolved’ dianapaest (A) observed in lines [941]
and [950] and [944] and [953] in the previous strophic pair. In
those cases the metrical corresponsion between lines is exact,
whereas here, the corresponding lines show a different metricalit y
and rhythm, while still preserving metrical corresponsion with
resolution in the first foot of the antistrophe. For the purposes of
comparison and evaluation, the hexasyllabic and heptasyllabic
scansions are presented in the Experimental Text. Line [967] is
scanned as a dactanapaest; line [979] is scanned as a dianapaest (A)
with resolution in the first long syllable.
802Broadhead, 956-61n, 231, that the ‘alternation of copulation and

asyndeton is common in the Persae’.
798
Ἀγ β ά τ αν α λ ιπ ώ ν refers to all the named individuals – not, pace
Garvie, to Sousiskanes alone – and, by implication, all the Persian
forces of which these named individuals are representative. In the
third movement of the parodos, Agbatana, along with Susa, is
similarl y used as a representative point of departure for all the
diverse nations of which the Persian Empire was composed.
There is heavy emotive a nd semantic stress on the final line of the

antistrophe. The timeless aorist of the verb neatl y expresses the
ongoing force of the Elders’ grief and of their condemnation of
Xerxes; no amount of information or explanation will bring these
men back or heal the Persians’ sorrow.
Textual criticism.
Line [956]: scan dianapaest (B)
Line [962]: scan to word -end as 2x minor ionics, with initial short
syllable for ὄ χ λ ο ς .
Line [966]: del. Ἀγ αβ άτ ας ; del. τ (ε) ; read ἠ δ ὲ Ψά μμις Σο υ σ ισκ ά ν ης .
Line [967]: scan dactanapaest.
Line [968]: scan dianapaest (B)
Line [971]: read Σ αλ αμι νῖ σι σ τυ φ ε λαῖς for Σ αλ αμ ιν ιάσι σ τυ φ ελο ῦ .
Line [973]: read ο ἰο ι ο ῖ β ό α π ο ῦ σο ι Φα ρν ο ῦ χο ς (Hermann) for ο ἰο ιο ῖ
π ο ῦ δ ὴ π ο ῦ Φαρ νο ῦ χ ο ς (Page).
Line [979]: scan resolve Dianapaest (A).
799
Experimental Text.
Kommos: Strophe and Antistrophe B (950 -973) [956-979],
Strophe B (950-961) [956-967] 803
Ξέρξης
1a ◡◡— ◡ ◡ — — (5)
Ἰάνων γὰρ ἀπηύρα [956]
2a ◡◡— — — [—] (5)

Ἰάνων ναύφαρκτος
3a — — ◡ ◡ — — (5)
Ἄρης ἑτεραλκὴς
4a ◡◡— ◡ ◡ — |◡ ◡ [—] (6)

νυχίαν πλάκα κερσάμενος
5a — — ◡ ◡ — [—] (5)
δυσδαίμονά τ᾽ἀκτάν [960]
Χορός
6a — — — ◡ —|— — — — — [10]
οἰοιοῖ βόα καὶ πάντ᾽ἐκπεύθου
7a — ◡ ◡ — | — ◡ ◡ [—] [6]
ποῦ δὲ φίλων ἄλλος ὄχλος
8a — ◡ — ◡ — ◡ — [6]
ποῦ δέ σοι παραστάται
9a — ◡ — ◡ — ◡ — [5]
οἷος ἦν Φαρανδάκης
10a — — ◡ ◡ — |— — — [—] ( 8)
Σούσας Πελάγων καὶ Δατάμας [965]
11a — — — — | — — — — ( 8)
ἠδὲ Ψάμμις Σουσισκ άνης
12a — ◡ ◡ ◡ ◡ — ( 4)
Ἀγβάτανα λιπών [967]

hexasyllable-1; [958]: scan dactylopaestic hexasyllable-3; [960]: scan
dactylopaestic hexasyllable-3; [962]: scan initial short syllable for ὄχλος;
[963]: scanned lecythium; [964]: scanned lecythium; [966]: del. Ἀγ αβ ά τ ας ,
del. τ(ε ) ; [967]: scanned dactanapaest.
800
Antistrophe B (962 -973) [968-979] 804
Ξέρξης
1b ◡ ◡ — ◡ ◡ — [—] (5)
ὀλοοὺς ἀπέλειπον [968]
2b ◡ ◡— — — [—] (5)
Τυρίας ἐκ ναὸς
3b — — ◡ ◡ — — (5)
ἔρροντας ἐπ᾽ ἀκταῖς [970]
4b ◡ ◡ — — — |◡ ◡ — (6)
Σαλαμινῖσι στυφελαῖς
5b — — ◡ ◡ — — (5)
θείνοντας ἐπ᾽ἀκτᾶς
Χορός
6b — — — ◡ —| — — — — [—] [9]
οἰοιοῖ βόα ποῦ σοι Φαρνοῦχος
7b —◡◡ — — | ◡ ◡ [—] (6)

Ἀριόμαρδός τ᾽ἀγαθός
8b — ◡ — ◡ — ◡ — [5]
ποῦ δὲ Σευάλκης ἄναξ [975]
9b — ◡ — ◡ — ◡ — [5]
ἢ Λίλαιος εὐπάτωρ
10b — — ◡ ◡ — | — — — — ( 8)
Μέμφις Θάρυβις καὶ Μασίστρας
11b — — — — | — — — — ( 8)
Ἀρτεμβάρης τ᾽ἠδ᾽ Ὑσταίχμας
12b ◡ ◡ ◡ ◡ ◡ ◡ — ( 4)
τάδε σ᾽ἐπανερόμαν [979]

hexasyllable-1; [970]: scan dactylopaestic hexasyllable-3; [971]: read
Σαλαμινῖσι στυφελαῖς, Σαλαμινιάσι στυφελοῦ, trad.; [972]: scan dactylopaestic
hexasyllable-3;[973]: read οἰοιοῖ βόα ποῦ σοι Φαρνοῦχος (Hermann); [975]:
scanned lecythium; [976]: scanned lecythium; [979]: scanned resolved
dianapaest (A).
801
Strophe B
Xerxes
The Ionian fenced -with-ships
Elders
Where is the host of your companions?
And Psammis Sousiskanes
Antistrophe B
Xerxes
Rugged Salaminian
Elders
Oioioi cry where is Pharnouchus
And noble Lilaios
802
1a ◡ ◡ — ◡ ◡ — — (5 )
1b ◡ ◡ — ◡ ◡ — [— ] (5 )
2a ◡ ◡ — — — [— ] (5 )
2b ◡ ◡ — — — [— ] (5 )
3a — — ◡ ◡ — — (5 )
3b — — ◡ ◡ — — (5 )
4a ◡ ◡ — ◡ ◡ | — ◡ ◡ [— ] (6 )
4b ◡ ◡ — — — | ◡ ◡ — (6 )
5a — — ◡ ◡ — [— ] (5 )
5b — — ◡ ◡ — — (5 )
6a — — — ◡ — | — — — — — [1 0 ]
6b — — — ◡ — | — — — — [— ] [9 ]
7a — ◡ ◡ — | — ◡ ◡ [— ] (6 )
7b — ◡ ◡ — — | ◡ ◡ [— ] (6 )
8a — ◡ — ◡ — ◡ — [6 ]
8b — ◡ — ◡ — ◡ — [5]
9a — ◡ — ◡ — ◡ — [5]
9b — ◡ — ◡ — ◡ — [5]
10a — — ◡ ◡ — | — — — [—] (8 )
10b — — ◡ ◡ — | — — — — (8 )
11a — — — — | — — — — (8 )
11b — — — — | — — — — (8 )
1 2a — ◡ ◡ ◡ ◡ — (4 )
1 2b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
803
Appendix VI. Lyric Corresponsion Tests: Working Text.
Below are presented the corresponsion tests for all l yric passages
presented in the Working Text.
1st Strophic Pair: Strophe and Antistrophe A 65 -80 [78-97].
1a ◡ ◡ — — [— ] (4 )
1b ◡ ◡ — — [— ] (4 )
2a ◡ — — ◡ ◡ | — — [6 ]
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — — | ◡ [— ] [4]
3b ◡ ◡ — — | ◡ [— ] [5]
4a — — ◡ ◡ — | — ◡ ◡ — — (8 )
4b — — ◡ ◡ — | — ◡ ◡ — — (8 )
5a ◡ ◡ — — | ◡ ◡ — (5 )
5b — ◡ — | — ◡ ◡ — [5]
6a — ◡ ◡ — — (4 )
6b — ◡ ◡ — — (4 )
7a ◡ ◡ — ◡ ◡ | — — (5 )
7b ◡ ◡ — ◡ | ◡ — — (5 )
8a ◡ ◡ — ◡ | ◡ — [— ] (5 )
8b ◡ ◡ — ◡ ◡ — (4 )
9a ◡ ◡ — ◡ ◡ — (4 )
9b — ◡ ◡ — | ◡ ◡ — (5 )
10a — ◡ ◡ — — (4 )
10b — ◡ ◡ — — (4 )
804
2nd Strophic Pair: Strophe and Antistrophe B 81 -92 [98-109].
1a ◡ ◡ ◡ — | — ◡ ◡ — — [6 ]
1b ◡ ◡ — | — ◡ ◡ — — (6 )
2a ◡ ◡ — | — ◡ ◡ — [— ] (6 )
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
3b ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — [6 ]
4b ◡ ◡ — | — ◡ ◡ — — (6 )
5a ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
5b ◡ ◡ — — | ◡ ◡ — — | ◡ [— ] [7 ]
6a — ◡ — ◡ | — — (5 )
6b — ◡ — ◡ | — [— ] (5 )
3rd Strophic Pair: Strophe and Antistrophe C 101 -114 [110-

119].
1a ◡ ◡ — — ◡ ◡ | — ◡ ◡ — — | ◡ ◡ — [—] (1 1 )
1b ◡ ◡ — | — ◡ ◡ — ◡ | ◡ — — | ◡ ◡ — ◡ ◡ — (1 2 )
2a ◡ — — ◡ ◡ | — — [5]
2b — ◡ ◡ — — (4 )
3a ◡ ◡ — | — ◡ ◡ — — | ◡ ◡ — (8 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
4b ◡ ◡ — | — ◡ ◡ — | — ◡ [— ] [8 ]
5a ◡ ◡ — | ◡ — ◡ — (5 )
5b — ◡ ◡ — | ◡ — ◡ — (6 )
805
4th Strophic Pair, Strophe and Antistrophe E 126 -137 [133-144].
1a — ◡ | — — ◡ — (5 )
1b — ◡ — — [3]
2a — ◡ — ◡ — | ◡ — [5]
2b ◡ — — ◡ — | ◡ — ◡ [— ] (7 )
3a — ◡ — | — ◡ — — | ◡ — — [8 ]
3b — ◡ — | — ◡ — — | ◡ — — [9 ]
4a ◡ — ◡ — | ◡ — [5]
4b ◡ — | ◡ — ◡ [— ] [5]
5a ◡ — — — ◡ | — ◡ — — [7 ]
5b ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — | ◡ ◡ — [1 3]
6a — ◡ ◡ —|◡ ◡ — — ◡ |— ◡ — — (1 0 )
6b — ◡ — |◡ — — (5 )
5th Strophic Pair: Strophe and Antistrophe D (114 -125) [125-

132].
1a — ◡ — ◡ | — ◡ — — [6 ]
1b — ◡ — ◡ | — ◡ — [— ] [7 ]
2a ◡ — ◡ | — ◡ — [5]
2b — ◡ — ◡ | — ◡ — [6 ]
3a — ◡ — | ◡ — ◡ — | — ◡ — ◡ | — ◡ — — (1 2 )
3b — ◡ — | ◡ — ◡ — | — ◡ — ◡ | — ◡ — (1 1 )
4a ◡ — — | ◡ — ◡ | — ◡ [— ] (7 )
4b — ◡ — | — ◡ — | ◡ — ◡ [— ] (8 )
806
Lyric Kommos, Strophe and Antistrophe A 931- 949 [938-955].
1a ◡ ◡ — — — | — — [—] (7 )
1b ◡ ◡ — — — | — — — [— ] (8 )
2a ◡ ◡ — — — (4 )
2b — ◡ ◡ — — (4 )
3a — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4a ◡ ◡ | ◡ ◡ ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ | ◡ ◡ — (4 )
5a — — — — | — — (6 )
5b — — — | — — — [— ] (7 )
6a — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
6b — ◡ ◡ — | ◡ ◡ — — (6 )
7a ◡ ◡ ◡ ◡ ◡ | ◡ — (4 )
7b ◡ ◡ ◡ ◡ ◡ | ◡ — (4 )
8a ◡ ◡ — — — | — — — — | — — (1 0 )
8b ◡ ◡ — — — | — — — [—] (8 )
9a — — ◡ ◡ — | ◡ ◡ — — (7 )
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
807
Lyric Kommos, Strophe and Antistrophe B 950 -973 [956-979].
1a ◡ ◡ — | ◡ ◡ — — (5)
1b ◡ ◡ — | ◡ ◡ — [—] (5)
2a ◡ ◡ — | — — [—] (5)
2b ◡ ◡ — | — — [—] (5)
3a — — | ◡ ◡ — — (5)
3b — — ◡ | ◡ — — (5)
4a ◡ ◡— ◡ ◡ | — ◡ ◡ [—] (6)
4b ◡ ◡ — ◡— — | ◡ ◡ — [7]
5a — — ◡ ◡ | — [—] (5)
5b — — ◡ ◡ | — — (5)
6a — — — ◡ — | — — — — — [10]
6b — — — — — | — — — [—] (9)
7a — ◡ ◡ — | — ◡ — [—] [6]
7b — ◡ ◡ — — | ◡ ◡ [—] (6)
8a — ◡ | — ◡ — ◡ — [6]
8b — ◡ | — — — ◡ — (6)
9a — ◡ — |◡ — ◡ — [5]
9b — ◡ — ◡ | — ◡ — [5]
10a — — ◡ ◡ — | — — — [—] (8)

10b — — ◡ ◡ — | — — — — (8)
11a — [◡ ◡ — —] — — — | — — — — [—] (12)

11b — — — — | — — — — (8)
12a — ◡ ◡ ◡ | ◡ — (4)
12b ◡ ◡ |◡ ◡ ◡ ◡ — (4)
808
Appendix VII. Lyric Corresponsion Tests: Experimental Text.
Below are presented the corresponsion tests for all l yric passages
1st Strophic Pair: Strophe and Antistrophe A 65 -80 [78-97].
1a ◡ ◡ — — | ◡ ◡ — — | ◡ ◡ — — (9 )
1b ◡ ◡ — — | ◡ ◡ — — | ◡ ◡ — — (9 )
2a ◡ ◡ — — ◡ [— ] [4]
2b ◡ ◡ — — ◡ [— ] [5]
3a — — ◡ ◡ — | — ◡ ◡ — — (8 )
3b — — ◡ ◡ — | — ◡ ◡ — — (8 )
4a ◡ ◡ — — ◡ ◡ — (5 )
4b ◡ ◡ — — ◡ ◡ — (5 )
5a — ◡ ◡ — — (4 )
5b — ◡ ◡ — — (4 )
6a ◡ ◡ — ◡ ◡ — — (5 )
6b ◡ ◡ — ◡ ◡ — — (5 )
7a ◡ ◡ — ◡ ◡ — (4 )
7b ◡ ◡ — ◡ ◡ — (4 )
8a ◡ ◡ — ◡ ◡ — — (5 )
8b — ◡ ◡ — ◡ ◡ — (5 )
9a — ◡ ◡ — — (4 )
9b — ◡ ◡ — — (4 )
809
2nd Strophic Pair: Strophe and Antistrophe B 81 -92 [98-109].
1a ◡ ◡ — | — ◡ ◡ — — (6 )
1b ◡ ◡ — | — ◡ ◡ — — (6 )
2a ◡ ◡ — | — ◡ ◡ — [— ] (6 )
2b ◡ ◡ — | — ◡ ◡ — — (6 )
3a ◡ ◡ — | — ◡ ◡ — — (6 )
3b ◡ ◡ — | — ◡ ◡ — — (6 )
4a ◡ ◡ — | — ◡ ◡ — — (6 )
4b ◡ ◡ — | — ◡ ◡ — — (6 )
5a ◡ ◡ — | — ◡ ◡ — — ◡ [— ] [8 ]
5b ◡ ◡ — — | ◡ ◡ — — ◡ [— ] [7 ]
6a — ◡ — ◡ — — (5 )
6b — ◡ — ◡ — [— ]
3rd Strophic Pair: Strophe and Antistrophe C 101 -114 [110-

119].
1a ◡ ◡ — — ◡ ◡ — | ◡ ◡ — — | ◡ ◡ — [—] (1 1 )
1b ◡ ◡ — — ◡ ◡ (— ) | ◡ ◡ — | ◡ ◡ — ◡ ◡ — (1 1 )
2a ◡ ◡ — ◡ ◡ — — (5 )
2b (— ) — ◡ ◡ — — (5 )
3a ◡ ◡ — | — ◡ ◡ — — | ◡ ◡ — (8 )
4b ◡ ◡ — | — ◡ ◡ — | — — [— ] (8 )
4a — ◡ ◡ — — | ◡ ◡ — (6 )
5b — ◡ ◡ — |◡ — ◡ — (6 )
5a ◡ ◡ — | ◡ — ◡ — (5 )
3b ◡ ◡ — | — ◡ ◡ — [— ] (6 )
810
4th Strophic Pair, Strophe and Antistrophe E 126 -137 [133-144].
1a — ◡ — — ◡ — | — ◡ — ◡ — ◡ — [1 0 ]
1b — ◡ — — ◡ — | — ◡ — ◡ — ◡ [— ] [1 0 ]
2a — ◡ — | — ◡ — — ◡ — — [8 ]
2b — ◡ — | — ◡ — — ◡ — — [9 ]
3a ◡ — ◡ — ◡ — [5]
3b ◡ — ◡ — ◡ [— ] [5]
4a ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — ◡ ◡ — [1 2]
4b ◡ — — — ◡ | — ◡ — — — | ◡ ◡ — ◡ ◡ — [1 3]
5a — ◡ — ◡ — — (5 )
5b — ◡ — ◡ — — (5 )
5th Strophic Pair: Strophe and Antistrophe D (114 -125) [125-

132].
1a — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
1b — ◡ — ◡ — ◡ — | — ◡ — ◡ — ◡ — (1 1 )
2a [— ] — ◡ — | ◡ — ◡ — — [— ] [9 ]
2b [— ] ◡ — ◡ — — | ◡ — ◡ — ◡ — [9 ]
3a ◡ — — | ◡ — ◡ — ◡ [— ] (7 )
3b — ◡ — | — ◡ — ◡ — ◡ [— ] (8 )
811
Lyric Kommos, Strophe and Antistrophe A 931 - 949 [938-955].
1a ◡ ◡ — — — | — — [—] (7 )
1b ◡ ◡ — — — | — — [—] (7 )
2a ◡ ◡ — — — (4 )
2b — ◡ ◡ — — (4 )
3a — ◡ ◡ — — (4 )
3b — — ◡ ◡ — (4 )
4a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
4b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
5a — — — — | — — (6 )
5b — — — | — — [— ] (6 )
6a — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
6b — ◡ ◡ ◡ ◡ ◡ ◡ — (5 )
7a ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
7b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
8a ◡ ◡ — — — | — — — — (8 )
8b ◡ ◡ — — — | — — — [—] (8 )
9a — — ◡ ◡ — | ◡ ◡ — — (7 )
9b — — — ◡ ◡ | ◡ ◡ — [— ] (7 )
812
Lyric Kommos, Strophe and Antistrophe B 950 -973 [956-979].
1a ◡ ◡ — ◡ ◡ — — (5 )
1b ◡ ◡ — ◡ ◡ — [— ] (5 )
2a ◡ ◡ — — — [— ] (5 )
2b ◡ ◡ — — — [— ] (5 )
3a — — ◡ ◡ — — (5 )
3b — — ◡ ◡ — — (5 )
4a ◡ ◡ — ◡ ◡ | — ◡ ◡ [— ] (6 )
4b ◡ ◡ — — — | ◡ ◡ — (6 )
5a — — ◡ ◡ — [— ] (5 )
5b — — ◡ ◡ — — (5 )
6a — — — ◡ — | — — — — — [1 0 ]
6b — — — ◡ — | — — — — [— ] [9 ]
7a — ◡ ◡ — | — ◡ ◡ [— ] (6 )
7b — ◡ ◡ — — | ◡ ◡ [— ] (6 )
8a — ◡ — ◡ — ◡ — [6 ]
8b — ◡ — ◡ — ◡ — [5]
9a — ◡ — ◡ — ◡ — [5]
9b — ◡ — ◡ — ◡ — [5]
10a — — ◡ ◡ — | — — — [—] (8 )
10b — — ◡ ◡ — | — — — — (8 )
11a — — — — | — — — — (8 )
11b — — — — | — — — — (8 )
1 2a — ◡ ◡ ◡ ◡ — (4 )
1 2b ◡ ◡ ◡ ◡ ◡ ◡ — (4 )
813
Appendix VIII. Textual Emendation.
This appendix features all variant readings, transpositions proposed
for the Experimental Text. Variations in scansion between the
Working and Experimental Texts are not noted, except in cases
where synizesis, correption, or unorthodox metrical interventions
are admitted.
Parodos (1-64) [1-77].

[5]: (suggested reading) ἀφ έ νω ν (anap.).
[9]: read Δ αρ ει ο γ ε νή ς for line-end (anap.).
[13]: read π ο λυ ά νδ ρ ο υ Wecklein (anap.).
[16]: read ο ἴ χ ωκ ε ν for line-end (anap.).
[16-18 infr.]: del. [17] νέο ν δ ᾽ἄ νδ ρα β αΰ ζ ει (anap.).
[18]: read ἱπ π εύ ς for line-end (anap.).
[21-25 infr.]: del. [23] κ αὶ τὸ π αλ αιὸ ν . del. [24init] Κί σσιο ν (anap.).
[32-34 infr.] del. β ασ ιλέως ὕ π ο χ ο ι μ εγ άλο υ (anap.).
[39]: del. Ἀρ τε μβ άρ η ς θ᾽ἱπ π ιο χάρ μης κ α ὶ Μασ ίσ τρης (anap.).
[40]: del. ὅ τ ε τ ο ξο δ άμ ας ἐσ θλὸ ς Ἰ μ αῖο ς Φ αρ ανδ άκ ης τ(ε ) (anap.).
[41]: del. ἵπ π ω ν τ᾽ἐ λ α τὴρ Σο σ θά νης (anap.).
[43]: read π η γ ὰ ς τ αγ ῶν for Πηγ ασ τ αγ ὼ ν , or read Πηγ ασ τ αγ ώ ν for line-
end (anap.).
[44]: (if Π η γ α σ τ αγ ών is retained) read Αἰγ υ π το γ ε ν ῆ ς (Ionian) or
Αἰγ υ π το γ ε ν εῖς (Attic) (anap.).
[48]: scan dianapaest by correption of κ αὶ (anap.).
[48-49 infr.]: a possible lacuna. See interpretive commentary
(anap.).
[52]: del. το ὺ ς Μ ι τρ ο γ α θὴς Ἀ ρκ τ εύ ς τ᾽ἀγ α θό ς (anap.).
[53]: del. β ασ ι λῆ ς δ ί ο π ο ι χ αἰ π ο λύ χρυ σο ι Σάρδ εις (anap.).
[54]: del. ἐ π ό χ ο υ ς (anap.).
[55]: del. δ ί ρ ρ υ μ ά τε κ αὶ τρίρρ υ μ α τέλ η (anap.).
814
[68]: scanned initial dact ylopaest -3 by synizesis of β ασι λ έω ς
(anap.).
[75]: read line -final τ( ε) (anap.).
[76]: read ἡ μερ ο λεγ δ ό ν for line-end (anap.).
1st Ode, 65-137 [78-124a].

[85] and [86] transposed (l yric).
[98]: scanned initial anapaest by synizesis of κ υ ά νεο ν (l yric).
[108]: read σ τρ α τ ό ς for line-end (l yric).
[115]: read εὐ ρ υ π ό ρ (ο υ ) for εὐ ρυ π ό ρο ιο ; scanned medial anapaest for
θ αλάσ σ ας . See metrical commentary (l yric).
[116]: read (ἐ ν) π νε ύ μα τι λάβ ρ ῳ (l yric).
[118]: scanned final heptasyllable -2, with *π είσ μα τ- σ ι , for original
final cretic (l yric).
[127]: del. μὴ π ό λις π ύ θη τ αι (l yric).
[131]: del. το ῦ τ᾽ἔπ ο ς (l yric).
[120]: scann ed minor ionic by synizesis of θεο ῦ (l yric).
[122] read σ αί νο υ σ α for <π ο τι >σ αί νο υ σ α (Hermann) (l yric).
[123]: scanned dact ylopaest -2 for WT trochiamb -3 ( ἀρ κ ύ σ τ α τ’ )
(l yric).
Atossa Scene, Introductory Anapaests (140 -154) [145-159].

[150-152 infr.] del. [151] τὸ π α τρω νύ μιο ν γ ένο ς ἡ μέ τερο ν (Schütz.
Buttler) (anap.).
[155]: scanned to dact ylopaest -3 by synizesis of β ασιλ έ ως (tetram.).
[164]: scanned initial trochiamb -2 by synizesis of θεο ῦ (tetram.).
[165]: scanned trochiamb -2 by synizesis of θε ο ῦ (tetram.).
Messenger Scene, (353-376) [353-385].

[361]: read νυ κ τό ς for line-end (trim.).
[368a]: scanned trochiamb -3, read ἀ νδ ρό ς line-end (trim.).
815
[374]: read τάξαι νεῶν μὲν στῖφος (Brunck) (trim.).
[374a]: read τρ ι σ ί ν for line-end (trim.).
[379] scanned trochiambic heptasyllable -3 + trochiamb -4 ( φ ε υ ξο ί α θ ᾽
Ἕλλη νες ) (trim.).
The Darius Scene (681 -748) [681-780].

[686-688]: transposed post line [691] (trim.).
[691]: read μ( ε) for line-end (trim.).
[699]: scanned dicretic (A) by synizesis of νεο χ μὸ ν (trim.).
[709] and [710]: read δ εῖμ α ι for δ ίο μ α ι (codd.), δ ίεμ α ι (Hermann)
(l yric).
[712]: read π α λα ι ό ν for line-end (tetram.).
[718]: read κ ακ ά for line-end (tetram.).
[724]: read Δ αρ ε ῖ (ε) line-end (tetram.).
[728]: read σ κ η π τό ς for line-end (tetram.).
[748]: read π ο υ (indef.) (tetram.).
[756]: read κ ακ ω θείς for line-end (tetram.).
[758]: read λ αό ς for line-end (tetram.).
[779] read σ αφ η νή ς for line-end (tetram.).
[771a]: read ἔ θ η κ ε( ν) for line-end (trim.).
[774a]: read λαό ν for line-end (trim.).
[784-785infr.]: del. [783] θ ρό ν ο ισ ί τ᾽ ἀ ρχ α ίο ισ ι (trim.).
[785fin]: del. ἐσ θλ ὸ ς ἐν δ ό μο ις (trim.).
[788-789]: del. (Schütz) (trim.).
[791]: read π ο λλ ά for line-end (trim.).
[797]: read ἴ σ τ(ε ) for line-end (trim.).
[803]: read μὲ ν for μέ ν (trim.).
[811]: scanned iambic pentasyllable by synizesis of ὕ β ρ εως (trim.).
[813]: read Ἑ λλ άδ ( α) for line-end (trim.).
The Xerxes Scene (908 -973) [908-979].

816
[928]: read Ἀ ΐδ ο υ for MSS. Ἅιδ ο υ (anap.).
[944]: read ἰ ά ν for line-end (lyric).
[945]: del. π έμ ψω (semel Ya, bis rell. [Garvie app.crit.]) (lyric).
[947]: del. κ α ὶ (lyric).
[951]: del. κ α ὶ (lyric).
[952]: read λ αο π αθ έα τε σ έβ ω ν (Prien) (lyric).
[966]: del. Ἀ γ αβ ά τ ας , del. τ( ε ) (lyric).
[971]: read Σ αλ α μι ν ῖσ ι στυ φ ελ α ῖς (M Σ αλ α μ ινῖσ ι ) (lyric).
[973]: read ο ἰο ιο ῖ β ό α π ο ῦ σο ι Φ αρ νο ῦ χ ο ς (Hermann).
817
Appendix IX. Digital Files: Audio and Searchable Text (.docx).
IX.(i). Audio.
Audio 1. Garvie text.
A reading of the traditional text (using that of Garvie, 2009). The

reading attempts to appl y the standard conventions of reading a
text. No attempt is made to appl y synaephia, as these points are not
clearl y demarked in the traditional texts. The traditional text shows
certain rhythmic qualities, which, however, seem haphazard or
erratic, and which stand in stark contrast to the rhythmic qualities
of the Experimental Text.
Audio 2. Experimental T ext (spoken).
A reading of the Experimental Text of the same passage. The first

and second movements present similar but n on-identical approach
to rhythm and melody. Lines [1-6] are paralleled by lines [11 -13];
line [7] by line [14], seemingl y with a different time signature and
a final dianapaest in [14]; and lines [8 -9] by line [15 -16], the
climactic lines of the second mov ement. 805 Lines [18-19] provide a
melodic and rhythmic segue to the closing paroemiac of line [20],
which performs the same closure function as line [10].
Note that the anapaestic first foot of line [1] that suits the
confidence of the Elders in that moveme nt is counterbalanced by
the heavier dact ylic first foot of line [11] which introduces the their
first expression of their doubts.
805Line [17] is excluded from the Experimental Text. See the commentaries
ad loc.
818
Audio 3. Experimental text (sung).
A hypothetical reconstruction of the melody based on the melodic

qualitied of the tonal accents of the printed texts. Melodic
variations are applied on the following basis:
Acute accent: up a tone

Grave accent: tone-neutral or up a semi -tone
Circumflex accent: down a tone.
This speculative approach follows that of W.B. Sanford (1967) The

Sound of Greek. The main point of departure is that Sanford
attributes to the ci rcumflex accent both a rising and falling tone.
The almost ballad -like rhythmical and melodic qualit y is sustained

throughout the first two movements. The apprehension of this fact
chiefl y depends on the sudden shift from four -beat to six - beat
phrases, and on the tonal qualit y of the paroemiacs.
[I’m not a musician and I’m afraid m y notions (and performance) of

these musical values is onl y an approximation. According to the
interpretation of the musical values of the accents proposed here, it
seems that the melody returns to the basic value (‘tonic note’?)
after each accented syllable.]
Audio 4. Translation of [1 -20] (sung).
This recording demonstrates that the English translation has similar

poetic qualities to those of the Experimental Text. This is presumed
to derive from the paratactic qualities of the original.
819
Audio 5. Comparison of implied melodic qualities of lines [ 2] and
[12].
Lines [2] and [12], carry the sa me melody although they differ
metricall y. The dactylopaest -3 of line [2] is ostensibl y anapaestic,
whereas the dact ylopaest-2 of line [12] is dact ylic. 806 Nevertheless,
the same accents occur on the corresponding syllables of each line,
as do the hypotheticall y proposed beats of the rhythm; the fourth
beat of each line is a rest:
X X X |X
τῶ ν ο ἰχ ο μέ ν ων .
X X X |X
τῷ β ασ ιλεί ῳ .
Audio 6. Comparison of implied tonal properties of lines [10] and

[20].
This recording compares the tonal force of the paroemiacs of the

first and second movements. Line [10] seems to represent the
lifting tone of continuation; line [20] seems to represent the fallin g
tone of closure. 807
Audio 7. Comparison of melodic qualities of lines [18 -20] and the

Refrain of And the Band Played Waltzing Matilda by Eric Bogle.
This recording compares lines [18 -20] with the verse -end refrain of
a contemporary ballad. The recording shows that the presumed
806See Ch.3: Tables of Measures, Dactylopaestic Pentasyllables.

807This effect can also perhaps be understood from the ‘run through’
recording (Audio 8). Line [20] closes the sung introduction to the parodos;
the next movement is spoken.
820
melodic qualities of these lines bear a close resemblance to certain
tradition English -language poetic rhythms .
Audio 8. Run-through of lines [1-42].
This recording demonstrates something of the ef fect that is deriv ed

from the al ternation between sung and spoken passages. Note
particularl y the occurrence of the Robert the Rose Horse syndrome
in the 3rd movement, the onl y spoken movement on the recording.
NB. Line [35] of the 4th Movement was inadvertentl y omitted fr om

the recording.
IX.(ii). Searchable Files.

These are speciall y prepared versions of the Working and
Experimental Texts. Their purpose is to allow others to search the
rhythmic forms provisionall y identified in this study.
In order to search any measure, cut and paste a measure, beginning

and ending with the divisor: |. 808
Legend (ET onl y).

q the measure has been identified and counted (Searching ‘q|’
will give the number of measures in any section of the text).
tq trochiambic measure in dact ylopae sts (l yric onl y) .
jq measure that does not scan to word -end (search ‘jtq’ for
trochiambs in l yric that fail scansion to word -end).
|P paroemiac.
|Pi irregular par oemiac.
808NB. Searching ‘| ^t’ (note the space) will give the number of lines in any
section of the text; or use Advanced Find/ Special Character/ Tab Character.
821
Appendix X. Tables of Measures.
In this study, 337 lines of the traditional text 809 are anal ysed,
producing an Experimental Text of 440 lines, containing 632
occurrences of provisionall y identified measures. 810
The figures given for each measure cannot be regarded as the true
figures, because the work is highl y experimental at this earl y stage,
and many forms might be found – especiall y in the case of the so -
called subsidiary measures – that are merel y apparent.
The tables below attempt to describe a theoretical system of the

classes of measures identified, and something of the principle s
underl ying their forms. Certain of these hypothetical measures do
not occur in the analysed portions of this play.
A note on octosyllabic measures.

In the Working Text, onl y pentasyllables and subsidiary measures
of traditional metrics are admitted. In the Experimental Text, the
hexa- and heptasyllabic measures are allowed according to the
apparent rhythmic integrit y of the individual lines.
There are many lines in dact ylopaests, trochiambs and l yric metres
that could be scanned to octosyllabic measures. Octosyllables are
not, however, considered for the purposes of this initial study,
809 I.e., just under one third (31.3%) of the text: lines 1-158, 353-357, 681-
738, 765-786, 800-812, and 909-973. By poetic type, 92 lines of anapaests,
132 lines of lyric, 69 lines of trimeters, and 43 lines of tetrameters are
analysed. Although Garvie’s text and lineation are used as the basis of the
Working and Experimental Texts, this figure is derived from Sidgwick’s text,
which is closer to the lineation of the MSS. E.g., Garvie’s text gives Sidgwick’s
lines 133-139 as three lines of text. See also Conclusions: Initial Findings by
Verse Type.
810 For the derivation of the Experimental Text from the Working Text, see
Ch.2, Research Method: Application of the Method.

822
except in the case of certain resolved heptasyllabic measu res, which
are discussed below.
In a study that aims to identify the functional rhythmic

characteristics of the poetry being anal ysed, octosyllabic measures
are too long a measure to meaningfull y describe rhythm as opposed
to metre. The use of such long measures would amount to
describing all of the varied lines of a passage as simpl y ‘anapaestic
dimeters’.
There are, however, five lines in which octosyllabic measures are

admitted to the scansion of the Experimental Text. All but two of
these are confined to the trimeters of the traditional texts, and are
formed on recognised heptasyllabic measures with resolution of a
long syllable, seemingl y for dramatic emphasis.
Line [366] in the first anal ysed movement of the Messenger’s

speech shows an apparent di cretic (A) with resolutions in the first
syllable, giving the measure ( u u u - - - u - ).
Line [684] in Darius’ first speech (trimeters) presents a regularl y -

occurring lecythium ( - u - u - u - u- ) with apparent resolution in
the first syllable, giving the measure ( u u u - u - u - ). According
to the internal rhythm of the line, however, the scansion paeon -4 +
diiamb should, perhaps, be preferred.
Line [807] of Darius’ prophetic narrative shows an apparent

bacchiac (A) with resolutions in the penultimate syllable, giving a
measure of the form ( - - u - u u u - ). It is possible that the
measure is related to the anacreontic schema, given by West
(Introduction, 85) as ( u u - u - u - - ), with contraction in the first
foot and resolution in the penultimate syllable.
823
In the l yric anapaests of the kommos, two additional octosyllables
are scanned in corresponding lines [943] and [952]. These are
interpreted as dactanapaests (A) with resolution of the analectic
fourth syllable ( - u u u u u u - ).
Finall y, the anal ysed trimeter passages show three iambic

pentameter lines, [688] and [698] and [806], which could
potentiall y be scanned as decasyllabic ‘quin tiambs’. While the lines
are metricall y identical, each has a different implied rhythm, and
they are scanned to word -end according to the shorter component
measures. 811
Dactylopaests: Principal Measures.

In the Experimental Text of the anal ysed anapaestic dimeters and
lyric passages, there are 361 individual measures, 178 in the
anal ysed anapaestic dimeters, all of which are unambiguousl y
dact ylopaestic, and 183 in the anal ysed l yric passages, of which
141 are dact ylopaestic, and 42 are trochiambic. 812
Dactylopaestic Pentasyllables (Dactylopaests).

These measures account for 167 of the 361 measures in
dact ylopaests (46%); 115 of the 178 measures in anapaests (65%),
and 51 of the 183 l yric measures (28%).
Table 1. Dact ylopaestic Pentasyllables (Dact ylopaests) .

Na me Fo r m All Ana p. Ly r ic Tet ra m. Tr i m.
Te xt
o pe n ( - - - - ) 33 22 10 - 1
811These lines are discussed in Conclusions: Trimeters vs. Tetrameters.

812The blending of dactylopaestic and trochiambic measures is a feature of
certain strophic pairs. See Conclusions, Initial Findings by Verse Type, Lyric.
824
-1 ( u u - - - ) 25 18 7 - -
-2 ( - u u - - ) 69 42 27 - -
-3 ( - - u u - ) 38 32 6 - -
-4 ( - - - u u ) 2 1 1 - -
To t a ls 167 115 51 - 1
Table 2 Dact ylopaestic Pentasyllables: position in line.

Na me Fo r m In it ia l M edia l Fina l I so la te d To ta l
o pe n ( - - - - ) 13 1 13 6 33
-1 ( u u - - - ) 12 1 6 6 25
-2 ( - u u - - ) 18 3 27 21 69
-3 ( - - u u - ) 15 1 9 13 38
-4 ( - - - u u ) 2 - - - 2
To t a ls 60 6 55 46 167
The dact ylopaests – equivalent to an anapaestic or dact ylic

monometer in traditional metrics – are considered either
‘anapaestic’ or ‘dactylic’ by virtue of their form. The open
dact ylopaest is neither. Of the dact ylopaestic pentasyllables, the
dact ylopaest-1 ( u u - | - - ) and dact ylopaest -3 ( - - | u u - )
ostensibl y can be regarded as ‘anapaestic’, and the dact ylopaest -2
( - u u | - - ) and dactylopaest -4 ( - - | - u u ) may be regarded as
‘dact ylic’. Nevertheless, they both occur in the same rhythm ic
system. In the anal ysed portions of the play – which include all of
the anapaestic dimeters – there are 63 ‘anapaestic’ dact ylopaests
825
and 70 ‘dact ylic’ ones. Given that these measures scan to word -end
in approximatel y 95% of cases, the figures seem to i ndicate that
Aeschylus uses dact ylic measures freel y in his anapaests. 813
(Regular) Dactylopaestic Hexasyllables.

These hexasyllables are equivalent to roughl y one -and-one-quarter
of an anapaestic monometer, and therefore resist classification as
either ‘anapaestic’ or ‘dact ylic’.
Table 3. (Regular) Dact ylopaestic Hexasyllables.

Te xt
O pe n ( - - - - - ) 2 - 2 - -
-1 ( u u - - - - ) 2 - 2 - -
-2 ( - u u - - - ) 0 - - - -
-3 ( - - u u - - ) 8 2 6 - -
-4 ( - - - u u - ) 1 1 - - -
-5 ( - - - - u u ) 0 - - - -
To t a ls 13 3 10 - -
Table 4. (Regular) Dact ylopaestic Hexasyllables: position in line.

O pe n ( - - - - - ) - - 2 - 2
-1 ( u u - - - - ) - - - 2 2
-2 ( - u u - - - ) - - - - -
-3 ( - - u u - - ) - - 2 6 8
813There are only three lines in anapaests and seven in lyric that do not scan
to word-end. See Conclusions: Lines that do not scan to word-end.
826
-4 ( - - - u u - ) 1 - - - 1
-5 ( - - - - u u ) - - - - -
To t a ls 1 - 4 8 13
These measures account for 0.04% of the measures in anapaests and

lyric, and are more than three times more common in l yric.
Dipartite Dactylopaestic Hexasyllables.

These measures, like the dact ylopaestic pentasyllables, correspond
to an anapaestic monometer, and allow an ‘anceps’ final syllable.
They seem to be formed on combinations of anapaests and dact yls.

Alternativel y, they could be described as being formed by double -
resolution of the open dact ylopaest ( - - - - ). The table below tests
this alternative principal. Against this interpretation is the fact that
the measures that are not composed of a combination of dact yl s and
anapaests, the final three measures on the table below, are not
found in this study. 814 The dipartite interpretation of their formation
finds some limited support in the Experimental Text. Certain of the
measures could be scanned in the Working Text, e. g. an anadact yl
in line [122], but the lines are subject to variant interpretations in
the generation of the Experimental Text. Given the paucit y of
comparative material, this cannot be regarded as decisive. In any
case, the system proposed in this study i s intended to be descriptive
rather than prescriptive. For this reason, this class of hexasyllables
is described as the combination of the trisyllabic dact ylopaests into
a single rhythmic unit, and they are described here as ‘dipartite’
hexasyllables.
See, however, on double-resolved heptasyllables, below, evidence for

814
which is found in this study.

827
Table 5. Dipartite Hexasyllables.
Te xt
Dia na pa es t ( u u - u u- ) 24 17 7 0 0
Di da ct y l ( - u u - u u ) 0 0 0 0 0
Di da ct y l ( - u u - u - ) 2 2 0 0 0
( ‘ a nc ep s’ )
Da ct a na pa est ( - u u u u - ) 1 0 1 0 0
Ana da ct y l ( u u - - u u ) 0 0 0 0 0
Ana da ct y l ( u u - - u - ) 4 0 4 0 0
( ‘ a nc ep s’ )
- ( u u u u - - ) 0 0 0 0 0
- ( - - u u u u ) 0 0 0 0 0
( ‘ a nc ep s’ ) ( - - u u u - ) 0 0 0 0 0
To t a ls 31 18 11 0 0
Table 6. Dipartite Hexasyllables: position in line.

Na me Fo r m In it. M ed. Fin . I so l. To ta l
Dia na pa es t ( u u - u u- ) 9 - 7 8 24
Di da ct y l ( - u u - u u ) - - - - -
Di da ct y l ( - u u - u - ) - - 1 1 2
( ‘ a nc ep s’ )
Da ct a na pa ( - u u u u - ) - - - 1 1
est
Ana da ct y l ( u u - - u u ) - - - - -
Ana da ct y l ( u u - - u - ) - - 1 3 4
( ‘ a nc ep s’ )
828
- ( u u u u - - ) - - - - -
- ( - - u u u u ) - - - - -
( ‘ a nc ep s’ ) ( - - u u u - ) - - - - -
To t a ls 9 - 9 13 31
These measures account for 0.09% of measures in dact ylopaests,

and are marginall y more common in anapaests than in l yric. The
dianapaest, in particular appears to be an important rhythmic unit.
(Regular) Dactylopaestic Heptasyllables.

The open hexasyllable ( - - - - - - ) is not found in this study, but
lines [926], [942] and [951] could be so scanned. It seems that the
analectic addition of two short syllables in an open pentasyllable is
a better descriptor of these relativel y rare measures than is the
notion of resolution in an open hexasyllable.
Table 7. Dact ylopaestic Heptasyllables.

Te xt
O pe n ( un cer t a i n) - - - - -
-1 ( u u - - - - - ) 0 0 0 0 0
-2 ( - u u - - - - ) 1 0 1 0 0
-3 ( - - u u - - - ) 3 3 0 0 0
-4 ( - - - u u - - ) 0 0 0 0 0
-5 ( - - - - u u - ) 0 0 0 0 0
-6 ( - - - - - u u ) 0 0 0 0 0
829
To t a ls 4 3 1 0 0
Table 8. Dact ylopaestic Heptasyllables: position in line.

O pe n ( un cer t a i n) - - - - -
-1 ( u u - - - - - ) - - - - -
-2 ( - u u - - - - ) - - 1 - 1
-3 ( - - u u - - - ) - - 1 2 3
-4 ( - - - u u - - ) - - - - -
-5 ( - - - - u u - ) - - - - -
-6 ( - - - - - u u ) - - - - -
To t a ls - - 2 2 4
Although these heptas yllables are among the rarest measures

identified in this study, accounting for onl y 0.01% of measures,
their occurrences seem relativel y secure, e.g. at line [8] of the
parodos. Of the four occurrences, onl y one is found in l yric.
Other Dactylopaestic Heptasyllables: the ‘analectic’ or ‘double -

resolved’ heptasyllables.
As described in Chapter 3, these measures are understood as being
formed by the analectic inclusion of a long syllable within one of
the dipartite hexasyllables; at the midpoint in the case of t ype (A),
and at the end in the case of t ype (B). Alternativel y , the same
measures can be interpreted as an open pentasyllable ( - - - - - )
with resolutions in two syllables. Under this system there are
eleven primary measures, with an additional four ‘anceps’ (anceps
830
final) measures. For the sake of completeness, th e ‘ionic’
heptasyllable and its ‘anceps’ form are included in the following
table. These could onl y be formed by double -resolution rather than
by analexis in the dipartite hexasyllables. None of these appear in
the anal ysed portions of the play.
Once again, the absence of measures identified here in which

adjacent long syllables are resolved must be regarded as important,
if not decisive. For this reason, the notion of analexis is preferred
over double-resolution, but neither system adequatel y reflects the
importance of their rhythmic effect on the ear of their intended
audiences.
Table 9. Analectic Heptasyllables.

Na me Fo r m All Ana p. Ly r ic Tet ra m Tr i m
Te xt
O pe n 815 ( - - - - - ) 2 0 2 0 0
1 st ( u u u u - - - ) 0 0 0 0 0
2 nd 816 ( - u u u u - - ) 0 0 0 0 0
3 rd ( - - u u u u - ) 0 0 0 0 0
4th ( - - - u u u u ) 0 0 0 0 0
4th ( - - - u u u - ) 0 0 0 0 0
( a nce p s)
Dia na pa es t ( u u - - u u - ) 5 0 5 0 0
( A)
Dia na pa es t ( u u - u u - - ) 7 1 6 0 0
(B)
Ana da ct y l ( u u - - - u u ) 0 0 0 0 0
( A)
815 See Table 3, above. This is the same measure.

816 This measure is the same as a dactanapaest (B) ( - u u u u - | - ).
831
Ana da ct y l ( u u - - - u - ) 1 1 0 0 0
( A)
( a nce p s)
Da ct a na pa ( - u u - u u - ) 1 0 1 0 0
est ( A) 817
Di da ct y l ( - u u - - u u ) 0 0 0 0 0
( A) 818
Di da ct y l ( - u u - - u - ) 1 0 1 0 0
( A)
( a nce p s)
Io n ic ( - - u u - u u ) 0 0 0 0 0
he pt a sy l la
ble
Io n ic ( - - u u - u - ) 0 0 0 0 0
he pt a sy l la
ble
( a nce p s)
To t a ls 17 2 15 0 0
Table 10. Analectic Heptasyllables: position in line.

O pe n 819 ( - - - - - ) - - 2 - 2
Dia na pa es t ( u u - - u u - ) 2 - - 3 5
( A)
Dia na pa es t ( u u - u u - - ) - - - 7 7
(B)
Ana da ct y l ( A) ( u u - - - u - ) - - 1 - 1
( a nce p s)
Da ct a na pa est ( - u u - u u - ) - - - 1 1
( A)
Di da ct y l ( A) ( - u u - - u - ) - - 1 - 1
( a nce p s)
To t a ls 2 - 4 11 17
817 Dactanapaest (B) ( - u u u u - | - ) = 2nd analectic (or doubly resolved)

heptasyllable, see above.
818 Didactyl (B) ( - u u - u u | - ) = dactanapaest (A) ( - u u | - | u u - ), see
above.
819 See Table 3, above. See also (Regular) Trochiambic Hexasyllables, below.
832
Of the fifteen hypothetical measures listed in the table above, onl y
five, including the hypothetical pentasyllabic open measure, are
found in the anal ysed portions of this play. These five account for
onl y 0.05% of measures in dact ylopaests, and occur more
frequentl y in l yric. 820 All the measures that do occur can be
described as being formed by the analectic addition of a long
syllable at either the middle or the end of one of the dipartite
hexasyllables presented in Table 5.
The ‘open’ pentasyllable appears in the lyrics of the kommos at

lines [961] and [973], but these lines show another trochiambic
measure, and therefore the measure should probabl y be regarded as
trochiambic.
Other Heptasyllabic Measures.

There are also seemingl y tripl y-resolved measures based on an open
dact ylopaest ( - - - - ). The measure ( u u u u u u - ) is scanned five
times in the Experimental Text, at corresponding lines [941] -
[950], and [944] - [953], and at line [979], which corresponds to the
onl y occurrence of the dactanapaest at line [967]. In the
commentaries (Appendix V), these are interpreted as dianapaests
with resolution of the first long syllable.
The related measures ( - u u u u u u ) and its anceps form

( - u u u u u - ) do not occur in the anal ysed portions of the play.
Subsidiary Measures in Dactylopaests:

The tables above account for 232 of the 361 occurrences of
dact ylopaestic measures scanned in this study. The exceptions are
Cp. the analogous trochiambic heptasyllables, below, which are more

820
common.
833
the 42 trochiambic measures that occur in l yric passages, and the as
yet unclassified ( - - u u u ) in the paroemiac of line [937]. 821
Additionall y, there are 87 ‘subsidiary’ measures, the di -, tri- and

tetra-syllabic measures of traditional metrics. These are discussed,
along with those used in trochiambic verse, under Subsidiary
Measures, below.
Trochiambs.
Trochiambs is the term used in this study to describe both iambic
trimeters and trochaic tetrameters under anal ysis by tone group.
The trochiambic passages anal ysed in this study resolve to repeated

and recognisable measures. The lines are of varying length, but
there is a formal symmetry in trochiambs that is qualitativel y
different from that of dact ylopaests. Nevertheless, there is the same
tendency for longer lines to coincide with narrative and dramatic
focal points that is seen in dact ylopaests. Pentasyllabic measures
occur, supplemented by hexa - and heptasyllabic measures, as well
as by shorter subsidiary measures. In the Experimental Text of the
anal ysed iambic trimeter and trochaic tetrameter passages, there are
271 individual measures, 140 in the analysed trimeters, and 131 in
the anal ysed tetrameters. There are an additional 42 trochiambic
measures that occur in l yric. 822 98% of the trochiambic measures
anal ysed in this study scan to word -end. 823
Trochiambs: Principal Measures.
821 See Conclusions: Initial Findings by Verse Type, Irregular Paroemiacs.

822 These are discussed below. See also, Dactylopaests: Principal Measures,
above, and Conclusions: Lyric.
823 See Conclusions: Lines that do not scan to word-end.
834
While dact ylopaests can be described as being formed by resolution
in one of the four long syllables of the basic open measure,
trochiambs seem to be the product of the analectic addition of one
or more short syllables within the same basic foot. 824 As with
dact ylopaests, how ever, this system does not quite cover the
formation of all measures; while that description covers the
apparent formation of a dicretic ( - u - - u - ), the more commonl y
occurring dicretic (A) ( - u - - - u - ) would appear to be formed on
an open pentas yllable, or else by the analectic inclusion of two
short and one long syllable. 825 Nor does the system account
adequatel y for commonl y occurring measures such as the ‘trochaic
pentasyllable’ ( - u - u - ). This is an important reminder that the
metrical system used in this study is an attempt to quantify a
system of poetics that ultimatel y depends on what sounded well to
both poet and audience. A purel y quantitative anal ytical system is
inadequate to the description of a poetics based on the interplay of
rhythm.
Trochiambic Pentasyllables.
This class of trochiambs accounts for 20% of trochiambic measures.
There are 47 additional pentasyllabic measures, which are described
below. Together, these two classes of pentasyllables account for
35% of the trochiambic measures identified. 826 The basic schema of
the trochiambic pentasyllable is as follows:
824 See above, Resolved and Analectic Dimeters.

825 The dicretic occurs twice, the dicretic (A), thirty-one times, in the
analysed portions of the play. The open pentasyllable occurs twice, only in
lyric dactylopaests.
826 Thus the pentasyllables are marginally more common than the
heptasyllabic measures, which account for 100 of the 313 trochiambic

measures (32%).
835
Table 11. Trochiambic Pentasyllables (Trochiambs).
Na me Fo r m All Te xt Tr i m. Tet ra m. Ly r ic
O pe n ( - - - - )
1 1 0 0
Tro ch ia mb - 1 ( u - - - - )
3 0 3 0
Tro ch ia mb - 2 ( - u - - - )
14 0 12 2
Tro ch ia mb - 3 ( - - u - - )
31 26 5 0
Tro ch ia mb - 4 ( - - - u - )
15 9 4 2
Tro ch ia mb - 5 ( - - - - u )
0 0 0 0
To t a ls 64 36 24 4
Table 12. Trochiambic Pentasyllables: position in line.

O pe n ( - - - - )
- - - 1 1
Tro ch ia mb - 1 ( u - - - - )
- - 3 - 3
Tro ch ia mb - 2 ( - u - - - )
11 2 - 1 14
Tro ch ia mb - 3 ( - - u - - )
4 0 3 24 31
Tro ch ia mb - 4 ( - - - u - )
3 0 4 8 15
Tro ch ia mb - 5 ( - - - - u )
- - - - 0
To t a ls
18 2 10 34 64
Of the trochiambic pentasyllables, the trochiambs -1, -3, and -5 may

be regarded as ‘iambic’, while the trochiambs -2 and -4 are
‘trochaic’. There are 33 ostensibl y iambic measures, 26 of which
occur in trimeters. The remaining nine measures occur in
836
tetrameters. There are 29 ‘trochaic’ measures, 16 of which occur in
tetrameters, and four in l yric. The remaining nine occur in
trimeters. On these initial findings, it seems that iambic and
trochaic verses each admit measures from the other group at
roughl y the same rate. 827
Other (Multianalectic) Trochiambic Pentasyllables.

There is another class of pentasyllabic measures containing two
short syllables, representing 15% of trochiambic measures. The
principle of their formation is unclear. They could be formed by
double-analexis on a trisyllabic open measure, i.e. a molossus, or
by the analectic inclusion of a single long syllable in either a
diiamb ( u - u - ) or a ditrochee ( - u - u ). This formulation,
however, does not account for the ‘true’ iambic pentasyllab le ( u -
u - u ) or the pentasyllabic amphibrach ( u - - - u ). For this reason,
multi-analexis is the favoured interpretation of their formation –
despite the fact that the molossus is not an unambiguousl y
trochiambic measure. 828 The uncertaint y might indic ate that they are
simpl y favoured verse patterns. They scan to word -end in all cases.
Table 13. Other Trochiambic Pentasyllables.

Na me Fo r m All Tr i m. Tet ra m. Ly r ic
Te xt
O pe n un cert a i n
0 - - -
‘ t ru e’ ia mb i c ( u - u - u )
0 0 0 0
Ia mb ic ( u - u - - )
( ‘ a nc ep s’ ) 16 10 6 0
Ia mbo - cret ic ( u - - u - )
0 0 0 0
Tro cha ic ( - u - u - )
24 11 13 0
827 See Conclusions: Trimeters vs. Tetrameters.

828 See Subsidiary Measures, Molossi, below.
837
Dii a mb i c 829 ( - - u - u )
2 2 0 0
Pent a sy lla bi c ( u - - - u )
a mp h ib ra c h 830 5 1 2 2
To t a ls
47 24 21 2
Table 14. Other Trochiambic Pentasyllables: position in line.

O pe n un cert a i n
- - - - 0
‘ t ru e’ ia mb i c ( u - u - u )
- - - - 0
Ia mb ic ( u - u - - )
( ‘ a nc ep s’ ) 2 1 6 7 16
Ia mbo - cret ic ( u - - u - )
- - - - 0
Tro cha ic ( - u - u - )
5 0 3 16 24
Dii a mb i c ( - - u - u )
2 - - - 2
Pent a sy lla bi c ( u - - - u )
a mp h ib ra c h 5 0 0 0 5
To t a ls
14 1 9 23 47
This second class of trochiambic pentasyl lables is used

indifferentl y in both trimeters and tetrameters, and accounts for
15% of trochiambic measures. With the exception of the trochaic
pentasyllable, all could be regarded as ‘iambic’ on the basis of
position of the first short syllable.
There are three classes of trochiambic hexasyllable identified in
this study: regular, dipartite (and tripartite ), and dianalectic.
829 The ‘anceps’ form of this measure will be a trochiamb-3.

830 The ‘anceps’ form of this measure will be a trochiamb-1.
838
As with the analectic pentasyllables, the first (regular) class are
named for the position of a short syllable in a hypothetical open
pentasyllable, which occurs twice in the anal ysed portions of the
play, both times in lyric, and in c ompany with another trochiambic
measure. Although it was included in Tables 3 and 4, it should be
regarded as a trochiambic measure, and it is given again in the
tables below.
Table 15. (Regular) Trochiambic Hexasyllables.

Name Form All Text Trim. Tetram. Lyric
O pe n ( - - - - - )
2 0 0 2
-1 ( u - - - - - )
0 0 0 0
-2 ( - u - - - - )
0 0 0 0
-3 ( - - u - - - )
1 1 0 0
-4 ( - - - u - - )
3 0 3 0
-5 ( - - - - u - )
0 0 0 0
-6 ( - - - - - u )
0 0 0 0
To t a ls 6 1 3 2
Table 16. Trochiambic Hexasyllables: position in line.

O pe n ( - - - - - )
- - 2 - 2
-1 ( u - - - - - )
- - - - 0
-2 ( - u - - - - )
- - - - 0
-3 ( - - u - - - )
- - - 1 1
-4 ( - - - u - - )
1 - 1 1 3
839
-5 ( - - - - u - )
- - - - 0
-6 ( - - - - - u )
- - - - 0
To t a ls
1 0 3 2 6
Onl y six of these measures occur in the anal ysed portions of the
play, accounting for 1.9% of trochiambic measures. The ‘anceps’
form of the hexasyllable -6 would be the open hexasyllable. 831 The
single instance of the hexasyllable -3 occurs in the possibl y corrupt
trimeter line [767a]. The three occurrences of the hexasyllable -4
are in tetrameter passages; two, at lines [716] and [761] seem
secure, according to the readings of the traditional texts, and occur
in combination with other recurrent measures. The third, at line
[705] occurs in combination with an initial iamb. The line could be
scanned as an octosyllable ( - u - - - u - - ). 832
Dipartite and Tripartite Hexasyllables.

This second class of hexasyllabic measures is apparentl y formed by
the repetition of one of the subsidiary trochiambic measures. They
appear to be analogous to the dipartite dact ylopaestic
heptasyllables.
Table 17. Dipartite and Tripartite Hexasyllables.

Dic ret ic ( - u - - u - )
2 0 0 2
Tr iia mb ( u - u - u - )
12 6 2 4
831 Ostensibly a dactylopaestic measure, it is not found in this study. See

Dactylopaests, Heptasyllables, above.
832 See Trochiambs: Subsidiary Measures, Iambs. For the potential
octosyllable, see the Note on octosyllabic measures, above, and the metrical
commentary ad loc.
840
Tr it ro c he e ( - u - u - u )
1 0 1 0
Tr it ro c he e ( - u - u - - )
‘ An ce ps’ 8 0 2 6
To t a ls
23 6 5 12
Table 18. Dipartite and Tripartite Hexasyllables: position in line.

Dic ret ic ( - u - - u - )
2 - - - 2
Tr iia mb ( u - u - u - )
2 - 3 7 12
Tr it ro c he e ( - u - u - u )
1 - - - 1
Tr it ro c he e ( - u - u - - )
‘ An ce ps’ 1 - 1 6 8
To t a ls
6 0 4 13 23
These measures account for 7% of the identified trochiambic

measures.
Dianalectic Hexasyllables.
These measures appear to be formed by the analectic inclusion of
two evenl y-spaced short syllables in the open tetrasyllable.
Table 19. Dianalectic Trochia mbic Hexasyllables.

Dii a mb i c ( u - u - - - )
2 0 1 1
Tro cha ic ( - u - u - - )
8 0 2 6
Spo n da io - ( - - u - u - )
di ia mb 1 1 0 0
Spo n da io - ( - - - u - u )
dit ro c hee 0 0 0 0
To t a ls
11 1 3 7
841
Table 20. Dianalectic Trochiambic Hexasyllables: position in line.
Ia mb ic ( u - u - - - )
- - 1 1 2
Tro cha ic ( - u - u - - )
1 - 1 6 8
Spo n da io - ( - - u - u - )
di ia mb - - - 1 1
Spo n da io - ( - - - u - u )
dit ro c hee - - - - 0
To t a ls
1 0 2 8 11
The ‘anceps’ form of the spondaio -ditrochee is a trochiambic

hexasyllable-4 (see table 15). Of the three occurrences of that
measure, two feature a final short syllable lengthened by position.
The ‘trochaic’ hexasyllable is properl y the anceps form of the
measure ( - u - u - u ), which is not found in this study.
Irregular Hexasyllables.
There are three hexasyllabic measures that do not conform to the
classes described above.
Lines [713] and [725]: ( u - - - u - ). In line [713] the measure i s an

artefact of a textual intervention; in line [725] it seems secure, but
is again an artefact of a restored elided final syllable. 833 The same
measure with resolution in the fourth syllable ( u - - u u u - ) could
be scanned in line [719] of the same move ment, but the line is
scanned according to its individual measures in the Experimental
Text. 834
833 See Conclusions: Non-elision at line-end.

834 These measures are described in Subsidiary Measures, below.
842
Line [714]: ( - u - - - u ). This is the inversion of the previous
measure. The line should, perhaps, be scanned as a hexasyllable -2,
or a dicretic. See the metr ical commentary on that line for a
detailed discussion; note also the scansion of the line in the
Working Text, with initial and final cretics with a medial ditrochaic
pentasyllable.
There are two classes of these measures. The first class, the regular
heptasyllable, is the least common. The principle underl ying the
formation of the secondary class in unclear, but they are analogous
to other measures identified in this study. For convenience these
are treated together in tables 23 and 24, below, albeit that they
seem to derive from different principles of formation.
(Regular) Trochiambic Heptasyllables.

The principles of the formation of this class of heptasyllables is
unclear, and there is no open form given with the table belo w. As
with the other regularl y-occurring measures, it seems they are
formed on an organic basis, that is, according to what sounds well
to the ear, rather than on purel y mechanistic principles.
Table 21. (Regular) Trochiambic Heptasyllables.

-1 ( u - - - - - - )
0 0 0 0
-2 ( - u - - - - - )
0 0 0 0
-3 ( - - u - - - - )
9 6 3 0
-4 ( - - - u - - - )
1 1 0 0
-5 ( - - - - u - - )
0 0 0 0
843
-6 ( - - - - - u - )
0 0 0 0
-7 ( - - - - - - u )
0 0 0 0
To t a ls
10 7 3 0
Table 22. (Regular) Trochiambic Heptasyllables: position in line.

-3 ( - - u - - - - )
1 - 2 6 9
-4 ( - - - u - - - )
- - - 1 1
To t a ls
1 0 2 7 10
Of the seven possible forms, onl y two are found in this study,
accounting for onl y 3.2% of trochiambic measures. They are more
common in trimeters than in tetrameters.
Other trochiambic heptasyllables.

These are the most commonl y-occurring class of measures in
trochiambs. The (A) and (B) classes are formed on the ana logy of
the analectic dact ylopaestic heptasyllables.
Table 23. Other Trochiambic Heptasyllables.

Na me Fo r m All Tr i m. Tet ra m. Ly r ic
Te xt
Le cy t h i u m ( - u - u - u - )
42 15 16 11
Ia mb ic ( u - u - u - - )
Le cy t h i u m 2 0 2 0
( ‘ a nc ep s’ )
Dic ret ic ( A) ( - u - - - u - )
31 21 10 0
Dic ret ic ( B ) ( - u - - u - - )
2 0 0 2
844
B a cch ia c ( A) ( - - u - u - - )
10 10 0 0
Dii a mb i c ( u - u - - - - )
H ept a sy lla bl e 3 3 0 0
To t a ls
90 49 28 13
Table 24. Other Trochiambic Heptasyllables: position in line.

Le cy t h i u m ( - u - u - u - )
5 - 9 28 42
Ia mb ic ( u - u - u - - )
Le cy t h i u m - - - 2 2
( 'a n ce ps ')
Dic ret ic ( A) ( - u - - - u - )
- - 4 27 31
Dic ret ic ( B ) ( - u - - u - - )
- - 2 - 2
B a cch ia c ( A) ( - - u - u - - )
- - - 10 10
Dii a mb i c ( u - u - - - - )
H ept a sy lla bl e - - - 3 3
To t a ls
5 0 15 70 90
The dicretic (A) and bacchiac (A) were named on the analogy of the
so-called analectic heptasyllables in dactylopaests. 835 The
‘bacchiac’ is the dactylopaestic hexasyllable -3 ( - - u u - - ). The
analectic addition of a long syllable renders it a trochiambic
measure. The dicretic (B) occurs onl y twice, in corresponding lines
[135] and [141].
Tetrasyllables.
There is an additional class of trochiambic measures consisting of
four syllables, the epitritic measures and the diiamb. These
835 See above, Table 9.

845
correspond to an iambic or trochaic foot in traditional metrics; the
onl y class of trochiambic measures that do so. The hypothetical
corollary of the diiamb, the ditrochee, does not occur in the
Experimental Text. These measures occur onl y rarel y, but they
seem secure in the anal ysed portions of the text.
Table 25. Tetrasyllables.

E pit rit e - 1 ( u - - - )
0 0 0 0
E pit rit e - 2 ( - u - - )
0 0 0 0
E pit rit e - 3 ( - - u - )
5 0 4 1
E pit rit e - 4 ( - - - u )
0 0 0 0
Dii a mb ( u - u - )
8 4 2 2
To t a ls
13 4 6 3
Table 26. Tetrasyllables: position in line.

E pit rit e - 1 ( u - - - )
- - - - 0
E pit rit e - 2 ( - u - - )
- - - - 0
E pit rit e - 3 ( - - u - )
2 - 1 2 5
E pit rit e - 4 ( - - - u )
- - - - 0
Dii a mb ( u - u - )
1 - 7 - 8
To t a ls
3 0 8 2 13
846
Resolved Measures in Trochiambs.
In his discussion of iambic trimeters ( Greek Metre, 28-30), D.S.
Raven notes that trimeters in tragic dialogue will admit resolutions ;
dact yls in the first and third feet, and anapaests in the first foot
onl y. He notes further ( ibid, 29): ‘In general, however, [iambic]
lines with resolved feet are fairl y rare, except in the later plays of
Euripides’. These strictures are based on the metricall y regular
line. Where, however, the tone group is understood to be the basic
structural element of the poetry under analysis, the relative
positions of resolved syllables will vary. His statement ( ibid., 28)
that such resolutions ‘are practicall y excluded from the last metron
of the line’, can therefore provisionall y be disregarded because
there is as yet insufficient comparative material to make any firm
judgement as to the relative positions of any poetic phenomenon
observed by traditional metrics within the context of the lines and
measures identified in this study.
The above tables account for all the measures identified in this
study, except for the ‘pherecratean’ heptasyllable ( - u - u u - - ) of
line [372]. Additionall y, three heptasyllabic measures appear with
resolutions in trimeters: a dicretic with resolution in the first
syllable ( u u u - - u - ) at line [366]; a lecythium with resolution in
the first syllable ( u u u - u - u - ) at line [684]; and a bacchiac (A)
with resolution in the penultimate long syllable ( - - u - u u u - ) at
line [807]. These are th e onl y octosyllabic measure s admitted in
trochiambs. 836
There are seven other instances of resolved measures in the

Experimental Text. Each is identifiable as a variant of measures
identified in this study.
836 See above, A Note on octosyllabic measures.

847
In trimeters the following resolved measures appe ar:
Lines [372-373]: ( - u - u u - - ) and ( u - u u u - ). Line [372]

shows a pherecratean measure. Line [373] seems to present a
hexasyllabic variant of the same schema. 837
In tetrameters there are the following resolved measures:
Lines [719] and [727]: ( u u u - ), a cretic with resolution in the

first syllable, noted as a paeon-4 in the metrical commentaries.
Lines [722], [725] and [770]: ( u u u - - - ), a trochiamb -2 with
resolution in the first syllable.
These resolved measures can be given as instances of Aeschylus’

rhythmic freedom and virtuosit y, which allows considerable
variation within a poetic framework that is nevertheless highl y
structured.
Subsidiary Measures.
The dact ylopaests and trochiambs i dentified in this study are
supported by thirteen subsidiary measures. These are the individual
two, three, and four-syllable measures of traditional metrics, which
may be regarded as the ‘alphabet’ of the Greek poetic language.
With these, the monos yllabl es that occur in the stichic dialogue
must be included. 838 These measures account for 126 of the 632
measures (19.9%) scanned in the Experimental Text.
837Raven, Greek Metre, 92; West, Introduction to Greek Metre, 33.

838The dibrach, tribrach, tetrabrach and amphibrach are not included in the
tables below. These forms appear only as elements of standard or resolved
forms of the other measures identified in this study.
848
As with all the measures provisionall y identified in this study, their
occurrence is uncertain, or at lea st open to interpretation. Many of
these measures will disappear if, for example, octosyllabic and
longer measures are admitted; in other instances again, their
presence in certain lines may open to other rhythmic -metrical
interpretations.
Table 27. Subsidiary Measures.

Name Form All Text Anap. Lyric Trim. Tetram.
Monosyllable (-) 2 0 0 0 2
Spondee (--) 14 7 3 3 1
Iamb (u-) 0 0 0 0 0
Trochee (-u) 1 0 0 0 1
Anapaest (uu-) 34 11 23 0 0
Dactyl (-uu) 0 0 0 0 0
Cretic (-u-) 19 1 3 1 14
Bacchius (u--) 13 0 1 0 12
Antibacchius (--u) 0 0 0 0 0
Molossus (---) 8 2 4 2 0
Choriamb (-uu-) 6 1 3 0 2
Minor Ionic (uu--) 28 12 16 0 0
Major Ionic (--uu) 1 0 1 0 0
Totals 126 34 54 6 32
849
Table 28. Subsidiary Measures: Position in line.
Name Form Initial Medial Final Isolated Total
Monosyllable (-) - - - 2 2
Spondee (--) 4 - 5 5 14
Iamb (u-) - - - - 0
Trochee (-u) 1 - - - 1
Anapaest (uu-) 22 1 11 - 34
Dactyl (-uu) - - - - 0
Cretic (-u-) 13 - 2 4 19
Bacchius (u--) 2 - 11 - 13
Antibacchius (--u) - - - - 0
Molossus (---) 1 - 5 2 8
Choriamb (-uu-) 3 - 1 2 6
Minor Ionic (uu--) 5 3 20 - 28
Major Ionic (--uu) 1 - - - 1
Totals 52 4 55 15 126
Subsidiary measures occur more commonly in anapaests and l yric,

with 88 individual measures scanned; only 38 subsidiary measures
are scanned in trochiambs. 839
In dact ylopaests, the principal subsidiary measures are anapaests,

minor ionics and spondees. Cretics, molossi, choriambs and major
ionics also occur.
839Of these, only six occur in analysed trimeters. This may be a result of the
structurally regular couplet that characterises that poetic type.
850
In trochiambs the principal subsidiary measures are the cretic and
the bacchius, with scattered instanc es of spondees, molossi and
choriambs. Additionall y, there is a single instance of a subsidiary
trochee, and two occurrences of a monosyllabic measure.
Monosyllables .
The two isolated monosyllabic lines [749] and [778] correspond to
one-word responses i n the stichic dialogue. These are tonall y
individuated utterances. Cp. lines [730] and [738] in that dialogue,
and in dact ylopaests, line [157]. The stichic dialogue, in particular,
is a carefull y crafted poetic representation of ordinary speech.
Spondees.
These are principall y dact ylopaestic, with ten of fourteen instances
occurring in anapaests and l yric. The five isolated instances seem
secure, according to the principles that underlie this study. In other
instances, the spondee will likel y form part of longer measures than
are recognised in this study. 840
The three instances found in l yric occur in dact ylopaestic contexts

and cannot be adduced as trochiambic measures. Of the three
occurrences of this measure in trimeters, two represent the one -
word lines [687] and [697], which occur in similar rhythmic
contexts in Darius’ first speech; the third seems to be well -
disposed, supporting a lecythium at line -end in line [805]. The
single spondee scanned in tetrameters is also the one -word line
[733] in the stichic dialogue.
840E.g., potentially, lines [61] and [66] (anapaests), and [805] (trimeters). At
lines [926] and [942] in the kommos, the spondee will very likely form part of
the open hexasyllable that was hypothesised with reference to the regular
dactylopaestic heptasyllables.
851
Iambs and Trochees.
Isolated iambs and trochees are more common in the Working Text
(eleven iambs and two trochees), where pentasyllables are the
longest admitted measures. None of these appear in the
Experimental Text. The single trochaic f oot that appears there is
scanned in the octosyllabic line [705] on grounds of grammatical
affiliation; the line was scanned with an isolated final spondee in
the Working Text.
Anapaests.
These are exclusively dact ylopaestic. The majorit y of the anapaests
in the Experimental Text seem securel y differentiated from the
other measures in their lines. Where octosyllabic measures are
allowed, however, many of these would disappear along with the
pentasyllabic measures together with which they most commonl y
occur. 27 of the 34 anapaests form a line with a pentasyllabic
measure, and in 18 of these they appear in combination with a
dact ylopaest-2.
Of the 22 initial anapaests, nine occur in the twelve lines of the

second strophic pair of the first ode. A tenth coul d be scanned in
place of the initial ionic of line [108] in the antistrophe, but it
would not scan to word -end and rhythmic considerations argue
against it.
Two of the final anapaests, however, could potentiall y be regarded

as forming larger measures. Lin e [32] shows an initial open
dact ylopaest with final anapaest ( - - - - | u u - ). Two alternative
scansions to word -end are possible: an initial spondee +
dact ylopaest-3 ( - - | - - u u - ), or a dact ylopaestic heptasyllable -5
852
( - - - - u u - ). It remain s unclear which scansion best describes
both the rhythm and metricalit y of this line.
Dact yls.
The absence of isolated dact yls is somewhat surprising. One might
suppose that it is due to the fact that this is ‘anapaestic’ poetry.
Given, however, the fac t that there are slightl y more ‘dact ylic’
pentasyllables than ‘anapaestic’ ones in the Experimental Text
(70:63), one should not leap too hastil y to that conclusion.
Certainl y, such a relativel y minor discrepancy does not seem to
account for the absence of isolated dact yls.
Final dact yls will become cretics by line end, as in line [147], the
onl y cretic foot scanned in anapaestic dimeters. But against this we
must weigh the relativel y few occurrences of the dact ylopaest -4
( - - - u u ), which occurs onl y twice in the anal ysed portions of the
play. These would become trochiambs -4 ( - - - u - ) with their final
syllable lengthened at line -end, but this measure does not occur in
dact ylopaests, except as the initial measures in corresponding lines
[961] - [973] of strophe and antistrophe B of the kommos. 841
A greater body of comparative material, with both dact ylic and

anapaestic poetry anal ysed for its tonal -rhythmic qualities, will
throw more light on this issue.
Cretics.
This is principall y a trochiambic measure, most commonl y -
occurring in tetrameters. Of the nineteen cretic feet presented in the
Experimental Text, onl y four occur in anapaests and l yrics; of the
remaining fifteen, all but one occur in tetrameters. All three
841The blending of dactylopaestic and trochiambic measures is a feature of

certain strophic pairs as analysed in this study. See Conclusions: Lyric.
853
examples from l yric occur as initial measures in strophic pairs that
are principall y trochiambic (strophe and antistrophe E, lines [135]
and [141], and antistrophe D, line [132], corresponding to an initial
antibacchius in line [128] of the stro phe). 842
The onl y cretic scanned in anapaests is formed by a line-final

dact yl (corresponding to the single word θώ με θ α ) in line [147]. 843
Two potential final cretics are scanned as ‘anceps’ didact yls in
lines [18] and [58].
Bacchii and Antibacchii.

All but one of the thirteen occurrences of bacchii appear in the
anal ysed tetrameter passages. Of these, eleven appear as the final
measure in the longer line of the tetrameter couplet. 844 The single
occurrence in trimeters is as the initial measure of the problemat ic
line [719]. 845 The single occurrence in l yric is in the trochiambic
context of strophe and antistrophe D.
The non-occurrence of the antibacchius is interesting, and may be

attributed to the shorter line -lengths presented in the Experimental
Text; of the four occurrences of molossi in l yric and two in
trimeters, all but one – the initial measure of line [951] – show an
842 The corresponsion of these measures is taken to represent a poetic

antidoupos, or counterpoint rhythm, that characterises this strophic pair (cf.
ἀντίδουπον in line [129] of the antistrophe). See the metrical commentary, ad
loc.
843 The only final cretic in trochiambs, in line [813], is also formed of a line-
final dactyl, corresponding to the word Ἑλλάδ(α). This is the case also for the
isolated cretic of line [760].
844 See Conclusions: The Tetrameter Couplet. The bacchius may be said to
distinguish trochaic from iambic verse.

845 The measure is scanned to word-end. It is supposed in the commentary
ad loc. that the form of this line is characteristic of the Greek gnomic register.
The line is discussed under Trochiambs: Irregular Hexasyllables, above.
854
antibacchius with its final syllable lengthened by position at line -
end. 846
Molossi.
These are principall y dact ylopaestic. Of eight molossi scanned in
the Experimental Text, six occur in anapaests and anapaestic lyric
stanzas, while the remaining two appear in trimeters. 847 The four
examples in l yric occur in dact ylopaestic contexts; three of these
show a ‘natural’ antibacchius with its final s yllable lengthened at
line-end. The same is true of one of its two occurrences in
anapaests at line [16]. 848 Six, then, of eight occurrences in the
Experimental Text are ‘disguised’ antibacchii, onl y two of which
occur in unambiguousl y trochiambic circumstan ces (trimeters).
The isolated molossi occur in both anapaests and trimeters. The

isolation of the single word π ρ ο σπ ί τ νω in line [157] (anapaests)
seems secure. The ἦ ρ ξεν μέ ν of line [353] is perhaps less so.
The single initial molossus occurs in line [951] of antistrophe A of

the kommos. The line is scanned as 2x molossi, the onl y line of its
type in the anal ysed portions of the play. This scansion seems to
suit the rhythm of the line, rather than the hypothet ical open
hexasyllable that could be scanned.
846 A similar phenomenon was adduced in explanation of the non-occurrence

of isolated dactyls.
847 Lines [353] and [802]. Given the occurrence of trisyllabic lines in the
stichic dialogue, the non-occurrence of this measure there might be an

accidental feature of the vocabulary of this particular play.
848 Cp. line [157], where it occurs as an isolated measure in dactylopaests.
855
Choriambs.
Four of the six choriambs scanned in the Experimental Text appear
in anapaests and l yric passages. 849 In anapaests, onl y line [51] of
the parodos shows a choriamb as an initial measure. The three
occurrences in l yric, however, appear in trochiambic contexts: two
in line [962] of the kommos, and one in line [119] of antistrophe C
of the first ode. The two remaining occurrences occur in the
tetrameters of the stichic dialogue, corresponding to single -word
lines.
Given that the single appearance in anapaests at line [51] seems

genuinel y Aeschylean, the choriamb, although ostensibl y
trochiambic, must be regarded as an indifferent measure that can be
used to fill out a variet y of lines in different poeti c contexts.
Minor Ionics.
Dact ylopaestic. All the twent y-eight minor ionics scanned in the
Experimental Text occur in anapaests and anapaestic l yrics. Of
these, sixteen occur as the final measure of a paroemiac. 850
Additionall y, minor ionics are not scanned in the anal ysed
anapaestic dimeters except in paroemiacs.
Sixteen out of twenty-eight occurrences of minor ionics, are

scanned in strophic lyrics. Of these, onl y four close a paroemiac.
The other twelve tend to occur in clusters. Of the measures
identified in dact ylopaestic passages, minor ionics are the most
likel y to not scan to word -end, and there is some question as to
whether they reall y suit the rhythm of their lines. In strophe and
849 Of the two that appear in trochiambs, both are isolated, corresponding to
single word responses in the stichic dialogue. See Trochiambs, Subsidiary
Measures, below.
850 See Conclusions: Paroemiacs.
856
antistrophe A in the first ode, for example, corresponding lines [78]
and [88] are the same in the Experimental Text as in the traditional
texts, and are scanned as 3x minor ionics out of deference to
traditional metrics and for the sake of showing clear corresponsion:
Line [78]: ◡ ◡ — — |◡ ◡ — —|◡ ◡ — — (9 )

Line [88]: ◡ ◡ — — |◡ ◡ — — |◡ ◡ — — (9 )
Both lines, however, can be scanned to word -end according to

measures identified in this study:
Line [78]: ◡ ◡ — — ◡ ◡| — — ◡ ◡ — — (9 )
Line [88]: ◡ ◡ — — ◡ ◡ — | — ◡ ◡ — — (9 )
Line [78] would then scan as an anadact yl + dact ylopaestic

hexasyllable-3, while line [88] would scan as a dianapaest (A) +
dact ylopaest-2.
The fact that corresponding lines could show different measures

may be taken as confirmation of t he principle of rhythm over
metre. 851 By way of contrast, the adjacent minor ionics of line [110]
of strophe C and line [120] of the epode seem relativel y secure. 852
851See Conclusions: Rhythm over Metre; and Strophic Corresponsion.

852For the scansion of line [110], cp. the very difficult and probably corrupt
corresponding line [115].
857
Major Ionics.
Onl y one major ionic is scanned in the Experimental text. It occurs
in line [121a] of the Epode, a passage that is characterised by very
many textual difficulties. The scansion seems secure, given the
reading presented in the Experimental Text. The single appearance
of that measure could call t he reading of the Experimental Text into
question.
858
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Aeschylus as Oral Performance: Rhythm, Structure, and

Meaning in the Persians.

Thesis submitted for the degree of Ph.D.

The University of Newcastle, Australia.

Parry and Lord. ............................................................................ 10

Foley, et al. ................................................................................. 14

Literacy: Preamble. ...................................................................... 15

Havelock, et al. ............................................................................ 19

Thomas, Tannen, et al. .................................................................. 22

Aeschylus and Oralit y. .................................................................. 39

Chapter 2. Research Method: Introduction to Analysis by Tone

Why Tone -Gr ouping? .................................................................... 47

Chafe, Bakker, and the logos. ........................................................ 48

Principles of Anal ysis by Tone Group. ........................................... 57

1. The Principle of Isolation (Tonal Identity) . ............................. 58

2. The Principle of Separation. ................................................... 58

3. The Principle of Grammatical Relation. ................................... 59

4. The Principle of Least Interference. ........................................ 59

Anal ysis by Tone gr oup: Application of the Method. ....................... 60

Step 1. Generate the Working Text. ............................................ 60

Step 2. Scansion. ....................................................................... 61

Step 3. Translation. ................................................................... 62

Step 4. Secondar y Analysis. ....................................................... 63

Plan of Commentaries on the Tonally Affective Texts. .................... 64

A note on the translations. ............................................................ 66

A note on the Experi mental Text. ................................................... 67

Chapter 3. Principal Measures and Nomenclature. .......................... 68

Chapter 4. Anapaestic Dimeters: The Parodos and beginning of the

Introductor y Notes: The Parodos 1-64 [1 -77].................................. 79

Metrical Commentary, 1st movement 1 -7 [1 -10] .............................. 81

Introduction t o the Int erpretive Commentaries . ............................... 92

The Parodos, 1-64 [1-77]. ............................................................. 92

Interpreti ve Comme nt ary, 1st movement . ........................................ 94

Metrical Commentary, 2nd movement 8 -15 [11 -20]. ...................... 104

Interpreti ve Comment ary, 2nd Movement . .................................... 116

Metrical Commentary, 3rd movement 16 -20 [ 21 -29]. ..................... 125

A Note on the Catalogue of Commanders 16 -58 [21 -68]. ................ 131

Interpreti ve Comment ary, 3rd Movement . ..................................... 133

Metrical Commentary, 4th movement 21-32 [ 30 -41]. ..................... 137

Interpreti ve Comment ary, 4th Movement . ..................................... 148

Metrical Commentary, 5th Movement, 33-40 [42 -49] . .................... 153

Interpreti ve Comment ary, 5th Movement . ..................................... 161

Metrical Commentary, 6th Movement, 41 -48 [50 -56] . .................... 166

Interpreti ve Comment ary, 6th Movement . ..................................... 174

Metrical Commentary, 7th Movement, 49-58 [57-68] . .................... 180

Interpreti ve Comment ary, 7th Movement . ..................................... 189

Metrical Commentary, 8th Movement, 59 -64 [69 -77] . .................... 193

Interpreti ve Comment ary, 8th Movement . ..................................... 200

Metrical Commentary, Atossa Scene, 1st Movement (140 -148) [145 -

Interpreti ve Comment ary, Atossa Scene , 1st Movement . ................ 212

Interpreti ve Comment ary, Atossa Scene, 2nd Movement . ............... 221

Introductor y notes. ..................................................................... 228

A Note on the order of strophic pairs. .......................................... 229

Metrical Commentary, First Strophic Pair , St rophe and Antistrophe A

Interpreti ve Comment ary, First Strophic Pair . ............................... 245

Metrical Commentary, Second Strophic Pair , Strophe and Antistrophe

Interpreti ve Comment ary, Second Strophic Pair . ........................... 261

Metrical Commentary, Third Strophic Pair , Strophe and Antistrophe C

Interpreti ve Comment ary, Third Strophic Pair . .............................. 273

Metrical Commentary, Fourth Strophic Pair, Strophe and Antistrophe

Interpreti ve Comment ary, Fourth Strophic Pair . ............................ 285

Metrical Commentary, Fifth Strophic Pair, Strophe and Antistrophe D

Interpreti ve Comment ary, Fifth Strophic Pair . .............................. 299