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θεοὶ -- πόληας. Od. XVII 485 f. Cf. Nägelsbach Hom. Theol. pp. 166—168. Πρωτέως καὶ Θέτιδος. For Proteus see Od. IV 456—458. Aeschylus also wrote a satyric drama called Proteus: Fragg. 208—213. The transformations of Thetis to escape marrying Peleus had been celebrated by Pindar (Nem. IV 62 ff.), Sophocles (Fr. 548), perhaps also (as Stallbaum thinks) by Hesiod in his ἐπιθαλάμιον εἰς Πηλέα καὶ Θέτιν (see Goettling's Hesiod pp. XLIX and 304). ὡς ἱέρειαν -- βιοδώροις: from Aesch. Ξαντρίαι (Schol. on Ar. Frogs 1344). Dindorf (Aesch. Fr. 170) restores as follows: ὀρεσσιγόνοισι | Νύμφαις κρηνιάσιν κυδραῖσι θεαῖσιν ἀγείρω, | Ἰνάχου Ἀργείου ποταμοῦ παισὶν βιοδώροις. Herwerden's βιοδώρου is a wanton change: the sons of the river-god are his tributaries, and lifegiving like himself. It is not clear why Hera was disguised as a priestess. The incident in Inachus' history most suited to dramatic treatment was the persecution of his daughter Io by Hera in consequence of her intrigue with Zeus. As Io was a priestess of Hera, Hera may have disguised herself as another priestess in order to discover her husband's unfaithfulness: see Apollod. Bibl. II 1. 3 φωραθεὶς δὲ (sc. ὁ Ζεὺς) ὑφ᾽ Ἥρας, τῆς μὲν κόρης ἁψάμενος εἰς βοῦν μετεμόρφωσε λευκήν, αὐτὴν δὲ ἀπωμόσατο μὴ συνελθεῖν. The subject seems to have been treated by Sophocles in his satyric drama Inachus (Fragg. 255—278). With ὡς ἱέρειαν ἀγείρουσαν cf. ἀγύρται in 364 B and note ad loc.
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