The “mighty bird of Zeus” seems here, from the answer of the Chorus, to mean not the “eagle” but the “sun,” which roused men from their sleep as the cock did, so that “cockcrow” and “sunrise” were synonymous. It is, in any case, striking that Zeus, rather than Apollo, appears as the Sun-God. Footnote 224: The words refer to the myth of Apollo's banishment from heaven and servitude under Admetos. Footnote 225: In the Acropolis at Athens the impress of a trident was seen on the rock, and was believed to commemorate the time when Poseidon had claimed it as his own by setting up his weapon there. Something of the same kind seems here to be supposed to exist at Argos, where a like legend prevailed. Footnote 226: The Hellenic Hermes is distinguished from his Egyptian counterpart, Thoth, as being different in form and accessories. Footnote 227: A possible reference to the Egyptian Osiris, as lord or judge of Hades. Comp. v. 145. Footnote 228: “Shall I,” the Chorus asks, “speak to you as a private citizen, or as a herald, or as a king?” Footnote 229: It would appear from this that the king himself bore the name Pelasgos. In some versions of the story he is so designated. Footnote 230: The lines contain a tradition of the wide extent of the old Pelasgic rule, including Thessalia, or the Pelasgic Argos, between the mouths of Peneus and Pindos, Perrhæbia, Dodona, and finally the Apian land or Peloponnesos. Footnote 231: The true meaning of the word “Apian,” as applied to the Peloponnesos, seems to have been “distant.” Here the myth is followed which represented it as connected with Apis the son of Telchin (son of Apollo, in the sense of being a physician-prophet), who had freed the land from monsters. Footnote 232: The description would seem to indicate—(1) that the daughter of Danaos appeared on the stage as of swarthy complexion; and (2) that Indians, Æthiopians, Kyprians, and Amazons, were all thought of as in this respect alike. Footnote 233: The line is conjectural, but some question of this kind is implied in the answer of the Chorus. Footnote 234: By sacrificing personal likings to schemes of ambition, men and women contract marriages which increase their power. Footnote 235: The Gods of conflict are the pilots of the ship of the State. The altar dedicated to them is as its stern: the garlands and wands of suppliants which adorn it are as the decorations of the vessels. Footnote 236: Some editors have seen in this an attempt to enlist the constitutional sympathies of an Athenian audience in favour of the Argive king, who will not act without consulting his assembly. There seems more reason to think that the aim of the dramatist was in precisely the opposite direction, and that the words which follow set forth his admiration for the king who can act, as compared with one who is tied and hampered by restrictions. Footnote 237: