“In the general view, and publishes their praise.”
After these words I have missed out a line, of which I can make nothing satisfactory—
κἄλωρα κωλύουσαν ὡς μένειν ἐρῶ.
A few lines below, for (ὀ)υν ἐκληρώθη δορὶ, I have followed Pal. in adopting Heath’s εἵνεκ᾽ ἠρόθη δορὶ.
Choral Hymn. This final Chorus of the Suppliants and the opening one of the Persians are remarkable for the use of that peculiar rhythm, technically called the Ionic a minore, of which a familiar example exists in Horace, Ode III. 12. What the æsthetical or moral effect of this measure was on an Athenian ear it is perhaps impossible for us, at the present day, to know; but I have thought it right, in both cases, when it occurs, to mark the peculiarity by the adoption of an English rhythm, in some similar degree removed from the vulgar use, and not without a certain cognate character. In modern music, at least, the Ionic of the Greek text and the measure used in my translation are mere varieties of the same rhythmical genus marked musically by ¾. As for the structure of the Chorus, its division into two semi-choruses is anticipative of the division of feeling among the sisters, which afterwards arose when the conduct of their stern father forced them to choose between filial and connubial duty. One thing also is plain, that there is nothing of a real moral finale in this Chorus. Regarded as a concluding ode, it were a most weak and impotent performance. The tone of grateful jubilee with which it sets out, is, after the second Strophe, suddenly changed into the original note of apprehension, evil-foreboding, doubt, and anxiety, plainly pointing to the terrible catastrophe to be unveiled in the immediately succeeding play.
“Yet, mighty praise be thine,
Cyprian queen divine!”