The indefinite relative pronoun suggests that the subject of the Chorus’s thought has shifted to an individual whose identity has yet to be discovered and to whom the immediately following prepositional phrase (καθ᾽ ὑπερβολὰν) and participle (τοξεύσας) join either praise or criticism for “surpassing” accuracy with a bow, and since the play’s only association with archery has been the implicit connection of plague and Apollo with the metaphorical arrows of disease (cf. Iliad Bk.1), the audience might suppose this song to be a paean to that god, yet given the Chorus’s foregoing complaint that mortal good fortunes express nothing more than meaningless serendipity, the audience would hardly expect now to hear it praise the plague-dispensing god. The suggestion of excessive accuracy is more likely to be an additional complaint, either for the god’s bringing down a man or a city who did not deserve it, yet criticism would only justify Apollo’s harsh treatment of Thebes, for such complaints would be more than impious. Thus, while the audience may suppose the Chorus correctly to have identified Apollo as the agent behind the town’s sufferings, it must find Thebes in the wrong if it is blaming that god for its woes. [P] [Aj] [Mw]