It punisheth mortals who go the way of folly,
And madly fail to reverence the gods.
But subtly the gods still wait
Long time in hiding, and hunt down the impious man.…
In the strophe we have the shy and timid fawn which takes flight from the pasture and rejoices at her escape from the pursuit of the hunters, in the antistrophe the presumptuous man who transgresses the laws of nature and custom. In the one the timid flight, in the other the subtle (ποικίλος) lying in wait of the gods; the fawn escapes the huntsman, man escapes not the gods. The antithesis in lines 4-5 is most striking. The last lines of both strophes are identical.
A careful study of the responsion in all the wonderful variety of form it presents will suffice to show, even from these few examples, that they bear an amazing resemblance to the forms exhibited by Semitic poetry, particularly by the prophetic writings.
SEMITIC INFLUENCE AND THE GREEK CHORUS
Instead of attempting to prove here that the Greek chorus came into being under Semitic influences I will subjoin the opinion of a classical philologist who has studied the question more minutely than any one else. I refer to D. P. Thomas M. Wehofer (Untersuchungen zur altchristlichen Epistolographie, p. 16).
“For the rest, long before the Christian era Greek literature had received a strong admixture of Semitic art-forms. For, as has been convincingly proved, in my opinion, by Dr. D. H. Müller (Die Propheten, p. 244 seq.), the Greek choruses, those splendid productions of Greek poetry, must be referred for their origin to the temple of Apollo at Delphi, whither (according to the tradition preserved by Euripides in the Phœnissæ) ‘chosen Phœnician virgins were sent from Tyre to conduct the service of the god.’ It is evident that the Greek chorus, the germ from which Greek tragedy was destined to be evolved, followed the same path as Greek painting and plastic art.