Paul Derouda wrote:Again, I simply don't know Aeschylus well enough to know for sure, nor have I read any specific literature on the subject. So I can't be certain of the precise meaning of the word order just here. This is what I think on the basis of what I know about linguistics in general. In poetry, because of metric constraints among other things, the relative importance of word order must be less than in prose; the author is allowed to take some liberties, and probably the nuances communicated by the word order are to be interpreted less strongly than in prose. Also, the author is allowed to make constructions impossible in prose for some special effect. But I don't think there's such a thing as truly free word order, in any language or any genre; I very much suspect word order always affects the meaning of the sentence, through salience or otherwise, though in some languages and genres its relative importance may be diminished.
I agree. Totally free word order in Ancient Greek is a myth prominent among native speakers of English who are accustom to the SVO pattern. There are several things that draw attention to τάχος in:
A. Ag. 280 καὶ τίς τόδ' ἐξίκοιτ' ἂν ἀγγέλων τάχος;
τόδ' highlights τάχος
clause final postion highlights τάχος
τάχος is central issue in the question 
τόδ' is separated from τάχος
all of these work together to make τάχος salient. The problem often encountered in linguistic analysis is one form of constituent marking is stressed while the others are ignored.
 the question isn't really about who relayed this message, it is more about how could this message get here so soon. It is a question about speed.
C. Stirling Bartholomew