[1337-1339] The simple mode of expression would have been: τί ἐμοὶ ἡδέως βλεπτόν, ἢ στερκτόν, ἢ ἀκουστὸν ἔτ᾽ ἐστίν; what henceforth can be pleasurably seen, or loved, or heard by me? But instead of the third clause, we haveἢ προσήγορον ι ἔτ᾽ ἔστ᾽ ἀκούειν ἡδονᾷ, “or what greeting is it longer possible for me to hear with pleasure? ” προσήγορον, passive in Soph. Phil. 1353, is here active, as in Soph. Ant. 1185 “Παλλάδος θεᾶς ι ὅπως ἱκοίμην εὐγμάτων προσήγορος”. ἡδονᾷ, modal dat. adverbially, as ὀργῇ 405. The form ἡδονάν, intermediate between Attic ἡδονήν and Doric ἁδονάν, is given by L in Soph. El. 1277, where Herm. keeps it, but most edd. give ἁδονάν. If right, it was a compromise peculiar to tragedy. The Doricism of scenic lyrics was not thoroughgoing: here, for instance, we have τλάμων （1333） yet προσήγορον （1338）.
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