Calling at the end of this antistrophe upon Athena, “golden daughter of Zeus,” to grant “sweet-faced protection” to those Theban women whose voices carry aloft their choral hymn to Apollo, their characterization of the women’s lament as a hymn draws an explicit parallel to themselves, Theban townsmen engaged in songful prayer to Athena. This doubling of choruses, the one singing about the other, the one calling Athena’s attention to the other which is in turn calling to Apollo, the audience might also recognize the chorus of Athenian citizens performing under the patronage of Dionysos in the shadow of the Parthenon, Athena’s own great temple, and thereby implicitly calling Athens’ gods to witness this performance of Athenian men performing Theban men evoking the image of Theban women, all calling at once to Athena. Sitting together as a community in the Theater of Dionysos, Athens suddenly finds itself crying out in unison for help from its own goddess. [Gt-a] [P] [Mw]