Sophocles: The Plays and Fragments, Volume 1: With Critical Notes, Commentary and Translation in English Prose (Cambridge Library Collection - Classics)

. The hill near Thebes on which the Sphinx sat was called ffeioi' 6pos. References in lost Hesiodic poems: schol. on //. 23. 680. 2 He speaks merely of 0 rh liri) Trocqaas a OlSiiroSeia ovo/iafovai (9. 5. 11). But the inscription known as the 'marmor Borgianum' refers it to Cinaethon, a Lacedaemonian poet who treated epically the Dorian family legends, and who is said to have flourished about 775 B.C. Pausanias, however, who quotes Cinaethon on several points of genealogy, certainly did not regard the Oedipodeia as his work.

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claimed descent from Thersandros, son of Polyneices 1 . To represent these children as the offspring of an incestuous union would have been to declare the stream polluted at its source. We learn from Proclus that in the epic called the Cyprian Lays (Kinrpia), which included the preparations for the Trojan war, Nestor related ' the story of Oedipus' (ra Trepl OlSlirovv) in the course of a digression (eV •n-a/>e«:/3oo-et) which comprised also the madness of Heracles, as well as the story of Theseus and Ariadne. This was probably one of the sources used by the Attic dramatists. Another source, doubtless more fertile in detail, was the epic entitled the Thebaid (@i?/3ai!^), and now usually designated as the ' Cyclic Thebaid,' to distinguish it from a later epic of the same name by Antimachus of Colophon, the contemporary of Euripides. Only about 20 verses remain from it2. The chief fragment relates to the curse pronounced by Oedipus on his sons. They had broken his strict command by setting on his table the wine-cups {e.Kirwfid'vd) used by Lafus; and he invoked a curse upon them:— ai/tya Se traialv iolcn fier afi(f>oTepoicnv eTrapcu; dpyaXeas rjpaTO' $ecv 8 ov \dv6av 'Epivvv' col ov oi irarpcoi' iw)eirj
Pindar.

This Thebaid—tracing the operation of a curse through the whole history of the house—must have had an important share in moulding the conception of the Aeschylean trilogy. § 4 - Pindar touches on the story of Oedipus in 01. 2. 35 ff. Destiny has often brought evil fortune after good,— ef ovirep e/ereive Aaov fiopi/j.o'} crvvavTofievo1;, iv Bk TlvOdovi riXevcreu. 1 2

Pind. 01. 2. 35. See the Didot ed. of the Cyclic fragments, p. 587.

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ihdicra S' o£et' 'Eptwu? eTre(f>ve ol avv aWaXotyoviq

fyevo?

aprjiov—

' — from the day when his doomed son met Lai'us and killed him, and accomplished the word given aforetime at Pytho. But the swift Erinnys beheld it, and slew his warlike sons, each by the other's sword.' Here the Fury is represented as destroying the sons in direct retribution for the parricide, not in answer to the imprecation of Oedipus. A fragment of Pindar alludes to the riddle of the Sphinx, and he uses ' the wisdom of Oedipus' to denote counsel wrapped in dark sayings,—since the skill which solves riddling speech can weave it1. § 5. The logographers could not omit the story of Oedipus The logoin a systematic treatment of the Theban myths. Hellanicus of SraPhersMitylene (circ. 450 B.C.) is mentioned by the scholiast on the Phoenissae (61) as agreeing with Euripides in regard to the selfblinding of Oedipus'2. The contemporary Pherecydes of Leros (usually called ' Athenian' since Athens was his home) treated the legends of Thebes in the fifth of ten books forming a comprehensive survey of Greek tradition3. According to him, Iocasta bore two sons to Oedipus, who were slain by the Minyae: but, as in the Oedipodeia, his second wife Euryganeia bore Eteocles and Polyneices, Antigone and Ismene. This seems to be the earliest known version which ascribes issue to the marriage of Iocasta with Oedipus. § 6. However incomplete this sketch may be relatively to The dramthe materials which existed in the early part of the fifth century atlstsB.C., it may at least serve to suggest the general conditions under which Tragedy entered on the treatment of the subject. The story of Oedipus, defined in its main features by a tradition older than the Odyssey, had been elaborated in the epics of later poets 1 Pind. fr. 62 a'iviyixa vapBivov \ ef aypiav yvadw. Pyth. 4. 263 rhi Oi5iw6Sa aotptav. Pindar's elder contemporary Corinna had sung of Oedipus as delivering Thebes not only from the Sphinx but also from TTJK Tevfiij^a-lau aXiiireKa—a fox from the Boeotian village of Teumessus : but we hear no more of this less formidable pest. (Bergk, Poet. Lyr. p. 949.) 2 MUller, Frag. Histor. 1. 85. 3 MUller, ib. 1. 48.

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and the prose of chroniclers. There were versions differing in detail, and allowing scope for selection. While the great outlines were constant, minor circumstances might be adapted to the dramatist's chosen view. Aeschylus, Sophocles, and Euripides agree in a trait which does not belong to any extant version before theirs. Iocasta, not Euryganeia, is the mother of Eteocles and Polyneices, Antigone and Ismene. They agree also in connecting the doom of the two brothers with a curse pronounced by Oedipus. Neither the scanty fragments1 which alone represent the Oedipus of Euripides, nor the hints in the Phoenissae, enable us to determine the distinctive features of his treatment. With regard to Aeschylus, though our knowledge is very meagre, it suffices at least to show the broad difference between his plan and that of Sophocles. Aeschylus. Aeschylus treated the story of Oedipus as he treated the story of Agamemnon. Oedipus became the foremost figure of a trilogy which traced the action of an inherited curse in the house of Labdacus, even as the Oresteia traced the action of such a curse in the house of Pelops. That trilogy consisted of the 1 Nauck Eur. Fragm. 544—561, to which Unger adds Soph. fr. incert. 663, Meineke adespota 107, 309, others adesp. 6. Almost all the verses are commonplaces. From fr. 546, 547 I should conjecture that the Creon of Eur. defended himself against a charge of treason in a passage parallel with Soph. O. T. 583—615. One fragment of two lines is curious (545): Wei's 5e Mokbftov iraTS' ipeiaavres irtSy \ eiiofifiarovfiev KOX SwWv/iev Kopas. Quoting these, the schol. on Eur. Ph. 61 says: iv ik T

From the prologue of the Phoenissae it appears that Eur. imagined Oedipus to have been found on Cithaeron by the linrofiouKoXoi of Polybus, and taken by them to the latter's wife. The Iocasta of Eur. herself relates in that play how, when the sons of Oed. grew up, they held him a prisoner in the palace at Thebes—that the disgrace might be hidden from men's eyes. It was then that he pronounced a curse upon them. When they have fallen, fighting for the throne, Iocasta kills herself over their bodies, and Creon then expels Oedipus from Thebes. The mutilated vxiOecns to the Phoenissae does not warrant us in supposing that the Oenomaus and Chrysippus of Eur.,—the latter containing the curse of Pelops on Laius—formed a trilogy with his Oedipus.

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Laius, the Oedipus, and the extant Seven against Thebes; the satyric drama being the Sphinx. From the Laius only a few words remain; from the Oedipus, three verses; but some general idea of the Oedipus may be gathered from a passage in the Seven against Thebes (772—791). Oedipus had been pictured by Aeschylus, as he is pictured by Sophocles, at the height of fame and power. He who had delivered Thebes from 'the devouring pest' (TUV upira^avhpav tcfjpa) was admired by all Thebans as the first of men. ' But when, hapless one, he came to knowledge of his ill-starred marriage, impatient of his pain, with frenzied heart he wrought a twofold ill': he blinded himself, and called down on his sons this curse, that one day they should divide their heritage with the sword. ' And now I tremble lest the swift Erinnys bring it to pass.' Hence we see that the Oedipus of Aeschylus included the imprecation of Oedipus upon his sons. This was essential to the poet's main purpose, which was to exhibit the continuous action of the Erinnys in the house.. Similarly the Lams doubtless included the curse called down on Laius by Pelops, when bereft by him of his son Chrysippus. The true climax of the Aeschylean Oedipus would thus have consisted, not in the discovery alone, but in the discovery followed by the curse. And we may safely infer that the process of discovery indicated in the Seven against Thebes by the words eVet S' dprl^pcov \ iyivero.. .yaficov (778) was

not comparable with that in the play of Sophocles. It was probably much more abrupt, and due to some of those more mechanical devices which were ordinarily employed to bring about a ' recognition' on the stage. The Oedipus of Aeschylus, however brilliant, was only a link in a chain which derived its essential unity from ' the mindful Erinnys.' § 7. The Oedipus Tyrannus of Sophocles was not part of a Sophocles. trilogy, but a work complete in itself. The proper climax of such a work was the discovery, considered in its immediate effects, not in its ulterior consequences. Here the constructive art of the dramatist would be successful in proportion as the discovery was naturally prepared, approached by a process of rising interest, and attended in the moment of fulfilment with the most J. s. c

xx

Original features of

his plot,

INTRODUCTION.

astounding reversal of a previous situation. In regard to the structure of the plot, this is what Sophocles has achieved. Before . .

r

.

giving an analysis of his plot, we must notice two features of it which are due to his own invention. (1) According to previous accounts, the infant Oedipus, when exposed on Mount Cithaeron, had been found by herdsmen, and reared either in Southern Boeotia, or at Sicyon, a place associated with the worship of the Eumenides. Sophocles makes the Theban herd of La'ius give the babe to the herd of Polybus, king of Corinth, who rears it as his own. Thus are prepared the two convergent threads of evidence which meet in the final discovery. And thus, too, the belief of Oedipus concerning his own parentage becomes to him a source, first of anxiety, then of dread, then of hope—in contrast, at successive moments, with that reality which the spectators know. (2) The only verses remaining from the Oedipus of Aeschylus show that in that drama Oedipus encountered and slew Lai'us at a meeting of three roads near Potniae, a place in Boeotia, on the road leading from Thebes to Plataea. At the ruins of this place Pausanias saw 'a grove of Demeter and Persephone". It appears to have been sacred also to those other and more terrible goddesses who shared with these the epithet of irorviai,-—the Eumenides iirorviaZ^ Oeal, Eur. Or. 318). For the purpose of Aeschylus, no choice of a scene could have been more fitting. The father and son, doomed by the curse in their house, are brought together at a spot sacred to the Erinnyes:— KekevOov Tplohov, evda rpiwv Ke\ev0cov TloTVuahcov

'We were coming in our journey to the spot from which three highroads part, where we must pass by the junction of triple ways at Potniae.' But for Sophocles this local fitness did not exist. For him, the supernatural agency which dominates the drama is not that of the Furies, but of Apollo. He transfers the scene of the encounter from the 'three roads' at Potniae to the ' three roads' 1

a\
2

Aesch. fr. 167 (Nauck).

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near Daulia1 in Phocis. The ' branching ways' of Potniae can no longer be traced. But in the Phocian pass a visitor can still feel how the aspect of nature is in unison with the deed of which Sophocles has made it the theatre2. This change of locality has something more than the significance of a detail. It symbolises the removal of the action from the control of the dark Avenging Powers to a region within the influence of that Delphian god who is able to disclose and to punish impurity, but who will also give final rest to the wanderer, final absolution to the weary mourner of unconscious sin. § 8. The events which had preceded the action of the Oedipus Supposed Tyrannus are not set forth, after the fashion of Euripides, in a eJ^fj^1" formal prologue. They have to be gathered from incidental hints the plot. in the play itself. It is an indispensable aid to the full comprehension of the drama that we should first connect these hints into a brief narrative of its antecedents as imagined by Sophocles. La'fus, king of Thebes, being childless, asked the oracle of Apollo at Delphi whether it was fated that a son should be born to him. The answer was,' I will give thee a son, but it is doomed that thou leave the sunlight by the hands of thy child : for thus hath spoken Zeus, son of Cronus, moved by the dread curse of Pelops, whose own son (Chrysippus) thou didst snatch from him; and he prayed all this for thee.' When a son was indeed born to La'ius of Iocasta his wife, three days after the birth he caused it to be exposed in the wilds of Mount Cithaeron. An iron pin was driven through the feet of the babe, fastening them together, —that, if perchance it should live to be found by a stranger, he might have the less mind to rear a child so maimed; from which maiming the child was afterwards called Oedipus3. The man chosen to expose the babe received it from the hands of the mother, Iocasta herself, with the charge to destroy it. This man was a slave born in the house of La'fus, and so belonging to the class of slaves whom their masters usually treated 1

Danlis was the Homeric form of the name, Daulia the post-homeric (Strabo 9. 423). See the note on verse 733. s The incident of the pierced feet was evidently invented to explain the name OiSlrovs (' Swellfoot,' as Shelley renders it). In v. 397 i foiSiv elSbs OlSlirovs suggests a play on oXSa. 2

C2

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with most confidence. He was employed in tending the flocks of Laius on Mount Cithaeron, where they were pastured during the half-year from March to September. In the glens of Cithaeron he had consorted with another herdsman, servant to Polybus, king of Corinth. Seized with pity for the babe, the Theban gave it to this herdsman of Polybus, who took it to Corinth. Polybus and his wife Merope were childless. They reared the child as their own ; the Corinthians regarded him as heir to the throne; and he grew to man's estate without doubting that he was the true son of the Corinthian king and queen. But one day it chanced that at a feast a man heated with wine threw out a word which sank into the young prince's mind ; he questioned 4he king and queen, whose resentment of the taunt comforted him; yet he felt that a whisper was creeping abroad ; and he resolved to ask the truth from Apollo himself at Delphi. Apollo gave him no answer to the question touching his parentage, but told him these things—that he was doomed to slay his father, and to defile his mother's bed. He turned away from Delphi with the resolve never again to see his home in Corinth ; and took the road which leads eastward through Phocis to Boeotia. At that moment Laius was on his way from Thebes to Delphi, where he wished to consult the oracle. He was not escorted by the usual armed following of a king, but only by four attendants. The party of five met Oedipus at a narrow place near the ' Branching Roads' in Phocis ; a quarrel occurred; and Oedipus slew La'ius, with three of his four attendants. The fourth escaped, and fled to Thebes with the tale that a band of robbers had fallen upon their company. This sole survivor was the very man who, long years before, had been charged by Laius and Iocasta to expose their infant son on Cithaeron. The Thebans vainly endeavoured to find some clue to the murder of Laius. But, soon after his death, their attention was distracted by a new trouble. The goddess Hera—hostile to Thebes as the city of her rival Semele—sent the Sphinx to afflict it,—a monster with the face of a maiden and the body of a winged lion; who sat on a hill near Thebes (the <£>ticeiov

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and chanted a riddle. ' What is the creature which is two-footed, three-footed, and four-footed; and weakest when it has most feet ?' Every failure to find the answer cost the Thebans a life. Hope was deserting them; even the seer Teiresias had no help to give; when the wandering stranger, Oedipus, arrived. He solved the enigma by the word man: the* Sphinx hurled herself from a rock; and the grateful Thebans gave the vacant throne to their deliverer as a free gift. At the same time he married Iocasta, the widow of Lai'us, and sister of Creon son of Menoeceus. The sole survivor from the slaughter of La'ius and his company was at Thebes when the young stranger Oedipus ascended the throne. The man presently sought an audience of the queen Iocasta, knelt to her, and, touching her hand in earnest supplication, entreated that he might be sent to his old occupation of tending flocks in far-off pastures. It seemed a small thing for so old and faithful a servant to ask ; and it was readily granted. An interval of about sixteen years may be assumed between these events and the moment at which the Oedipus Tyrannus opens. Iocasta has borne four children to Oedipus: Eteocles, Polyneices, Antigone, Ismene. Touches in the closing scene of the play forbid us to suppose that the poet imagines the daughters as much above the age of thirteen and twelve respectively. Oedipus has become thoroughly established as the great king, the first of men, to whose wisdom Thebans turn in every trouble. And now a great calamity has visited them. A blight is upon the fruits of the earth; cattle are perishing in the pastures; the increase of the womb is denied; and a fiery pestilence is ravaging the town. While the fumes of incense are rising to the gods from every altar, and cries of anguish fill the air, a body of suppliants—aged priests, youths, and children— present themselves before the wise king. He, if any mortal, can help them. It is here that the action opens. § 9. The drama falls into six main divisions or chapters. Analysis The following analysis exhibits in outline the mechanism of the ^ plot, which deserves study. I. Prologue: 1—150. Oedipus appears as the great.prince whom the Thebans rank second only to the gods. He pledges

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himself to relieve his afflicted people by seeking the murderer of La'fus. Parodos: 151—215. The Chorus bewail the pestilence and invoke the gods. II. First Episode: 216—462. Oedipus publicly invokes a solemn curse upon the unknown murderer of La'fus. At Creon's suggestion he sends for the seer Teiresias, who refuses to speak, but finally, stung by taunts, denounces Oedipus himself as the slayer. First Stasimon: 463—512. The Chorus forebode that the unknown murderer is doomed; they refuse to believe the unproved charge brought by the seer. III. Second Episode: 513—862. Creon protests against the suspicion that he has suborned Teiresias to accuse Oedipus. Oedipus is unconvinced. Iocasta stops the quarrel, and Creon departs. Oedipus then tells her that he has been charged with the murder of La'fus. She replies that' he need feel no disquietude. Lai'us, according to an oracle, was to have been slain by his own son; but the babe was exposed on the hills; and La'fus was actually slain by robbers, at the meeting of three roads. This mention of three roads (v. 716) strikes the first note of alarm in the mind of Oedipus. He questions her as to (1) the place, (2) the time, (3) the person and the company of Laltus. All confirm his fear that lie has unwittingly done the deed. He tells her his whole story—the taunt at Corinth—the visit to Delphi—the encounter in Phocis. But he has still one hope. The attendant of La'fus who escaped spoke of robbers, not of one robber. Let this survivor—now a herdsman—be summoned and questioned. Second Stasimon: 863—910. The Chorus utter a prayer against arrogance—such as the king's towards Creon; and impiety—such as they find in Iocasta's mistrust of oracles. IV. Third Episode: 911—1085. A messenger from Corinth announces that Polybus is dead, and that Oedipus is now king

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designate. Iocasta and Oedipus exult in the refutation of the oracle which had destined Oedipus to slay his sire. But Oedipus still dreads the other predicted horror—union with his mother. The messenger, on learning this, discloses that Polybus and Merope were not the parents of Oedipus. The messenger himself, when a herdsman in the service of Polybus, had found the infant Oedipus on Cithaeron, and had brought him to Corinth. Yet no—not found him; had received him from another herdsman (v. 1040). Who was this other herdsman ? The Corinthian replies:— He was said to be one of the people of Laius. Iocasta implores Oedipus to search no further. He answers that he cares not how lowly his birth may prove to be—he will search to the end. With a cry of despair, Iocasta rushes away. Third Stasimon: 1086—1109. The Chorus joyously foretell that Oedipus will prove to be a native of the land—perchance of seed divine. V. Fourth Episode: mo—1185. The Theban herdsman is brought in1. ' There,' says the Corinthian, ' is the man who gave me the child.' Bit by bit, the whole truth is wrung from the Theban. ' The babe was the son of Laius; the wife of Laius gave her to me.' Oedipus knows all, and with a shriek of misery he rushes away. Fourth Stasimon: 1186—1222. The Chorus bewail the great king's fall. VI. Exodus: 1223—1530. A messenger from the house announces that Iocasta has hanged herself, and that Oedipus has put out his eyes. Presently Oedipus is led forth. With passionate lamentation he beseeches the Chorus of Theban Elders to banish or slay him. Creon comes to lead him into the house. Oedipus obtains 1

The original object of sending for him had been to ask,—' Was it the deed of several men, or of one?'—a last refuge. But he is not interrogated on that point. Voltaire criticised this as inconsistent. It is better than consistent; it is natural. A more urgent question has thrust the other out of sight.

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from him a promise of care for his young daughters; they are presently brought to their father, who takes what he intends to be a last farewell. For he craves to be sent out of the land ; but Creon replies that Apollo must pronounce. As Creon leads Oedipus within, the Chorus speak the closing words: No mortal must be called happy on this side death. The With reference to the general structure of the plot, the first discovery, point to observe is the skill with which Sophocles has managed those two threads of proof which he created by his invention of the second herdsman. We have :—• (1) The thread of evidence from the reported statement of the Theban herdsman as to the place of the murder, in connection with Iocasta's statement as to the time, the person of Lams, and the retinue. This tends to show that Oedipus has slain Lai'us—being presumably in no wise his kinsman. The proof of Oedipus having slain Lai'us is so far completed at 754 (alai, -raS' rl&r/ Siacpavrj) as to leave no longer any moral doubt on the mind of Oedipus himself. (2) The thread of evidence from the Corinthian, showing, in the first instance, that Oedipus is not the son of Polybus and Merope, and so relieving him from the fear of parricide and incest. Hence the confident tone of Oedipus (1076 ff.), which so powerfully contrasts with the despair of Iocasta : she has known the worst from v. 1044. (3) The convergence of these two threads, when the Theban herdsman is confronted with the Corinthian. This immediately follows the moment of relief just noticed. It now appears that the slayer of Lai'us has also committed parricide and incest. Aristotle's § io. The frequent references of Aristotle to the Oedipus criticisms. Tyrannus indicate its value for him as a typical masterpiece, though the points for which he commends it concern general analysis of form, not the essence of its distinctive excellence. The points are these:— 1. The'recognition' (avayvwpi,cn
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2. This reversal is peculiarly impressive, because the Corinthian messenger had come to bring tidings of the honour in store for Oedipus. 3. Oedipus is the most effective kind of subject for such a reversal, because he had been (a) great and glorious, (b) not preeminently virtuous or just, (c) and, again, one whose reverses are not due to crime, but only to unconscious error. 4. The story is told in such a manner as to excite pity and terror by hearing without seeing (as in regard to the exposure of the child, the killing of Lafus, the death of Iocasta). 5. If there is any improbability in the story, this is not in the plot itself (iv Tot? -rrpajfiaaiv), but in the supposed antecedents (e'fo) rfj<; rpaya>Sla<;).

In this last comment, Aristotle indicates a trait which Improbabis certainly open to criticism — the ignorance of Oedipus JjJ^anteas to the story of Lafus. He knows, indeed, the name of his cedents. predecessor—though Creon does not think it unnecessary to remind him of the name (103). He also knows that Laifus had met a violent death: but he does not know whether this had befallen at Thebes, or in its neighbourhood, or abroad (109—113). Nor does he know that Lafus was reported to have been slain by robbers, and that only one of his followers had escaped (116— 123): and he asks if no search had been made at the time (128, 566). Iocasta, who has now been his wife for many years, tells him, as if for the first time, the story of the oracle given to Lalus, and he tells her the story of his own early fortunes— though here we need not press the fact that he even names to her his Corinthian parents : that may be regarded as merely a formal preface to a connected narrative. It may be conceded that the matters of which Oedipus is'supposed ignorant were themes of which Iocasta, and all the persons about the new king, might well have been reluctant to speak. Still it is evident that the measure of past reticence imagined, both on their part and on his, exceeds the limit of verisimilitude. The true defence of this improbability consists in frankly recognising it. Exquisite as was the dramatic art exercised within the scope of the action (eV Tots irpdy/iaa-i), this art was still so far nafve as to feel no offence at some degree of freedom in the treatment of that

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thus a negative witness to the mastery shown by the artist who could construct such a drama as the Oedipus Tyrannus with such materials. The modern dramatists, as we shall see, teach the same lesson in a more positive form. Walter Scott's estimate of Seneca's Oedipus needs modification, but is just in the main. 'Though devoid of fancy and of genius,' he says, it 'displays the masculine eloquence and high moral sentiment of its author; and if it does not interest us in the scene of fiction, it often compels us to turn our thoughts inward, and to study our own hearts.' Seneca's fault, however, so far as the plot is concerned, seems less that he fails to interest, than that, by introducing the necromantic machinery, and by obliterating the finer moral traits of his Greek original, he has rendered the interest rather ' sensational' than properly dramatic 1 . The § 20. The Oedipe of Corneille was produced at Paris in 1657. CorneiUe. After an interval which followed the unfavourable reception of his Pertharite in 1653, it was with the Oedipe that Corneille returned to the theatre, at the instance of his patron, Nicolas Fouquet, to whom it is dedicated. I t is immaterial for our purpose that this play is far from exhibiting Corneille at his best; nor need we here inquire what precise rank is to be assigned to it among his less successful works. For the student of Sophocles, it has the permanent interest of showing how the subject of the Oedipus Tyrannus was adapted to the modern stage by a typical artist of the French classical school. The severely simple theme of Sophocles, with its natural elements of pity and terror, is found too meagre by the modern dramatist. H e cannot trust to that alone; he feels that he needs some further source of variety and relief. T o supply this, he interweaves an underplot of secondary persons—' the happy episode of the loves of Theseus and Dirce.' Theseus is the king of Athens; Dirce is a daughter of the deceased Lalus. The drama opens with a love-scene, in which Theseus is 1 A small trait may be noticed as amusingly characteristic of the Roman poet of the Empire. The Laius of Sophocles goes to Delphi /Jcuos—with only four attendants (752). Seneca makes Lams set out with the proper retinue of a king ;—but most of them lose their Way. Plures fefellit error ancipitis viae: Paucos fidelis curribus iunxit labor.

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so heavily upon both. Sophocles had found in human nature itself the sanction of 'the unwritten laws,' and the seal of faith in a beneficence immortal and eternal; but his personal attitude towards the ' sceptical' currents of thought in his age was never, so far as we can judge, that of admonitory protest or dogmatic reproof. It was his temperament to look around him for elements of conciliation, to evoke gentle and mediating influences, rather than to make war on the forces which he regarded as sinister:—it might be said of him, as of a person in one of his own plays, ovroi crvve^deiv aXka ovfx,v. But is there any reason to think that the Oedipus Tyrannus marks a moment when this mind—'which saw life steadily, and saw it whole'—was partly shaken in its self-centred calm by the consciousness of a spiritual anarchy around it which seemed fraught with ultimate danger to the cohesion of society, and that a note of solemn warning, addressed to Athens and to Greece, is meant to be heard throughout the drama ? Our answer must depend upon the sense in which we conceive that he places Oedipus or Iocasta at issue with religion. § 12. As regards Oedipus, it might be said that, in this par- Oedipus, ticular aspect, he is a modern character, and more especially, perhaps, a character of the nineteenth century. The instinct of reverence for the gods was originally fundamental in his nature: it appears in the first act of his manhood—the journey to Delphi. Nor did he for a moment mistrust the gods because the doom assigned to him was bitter. Then he achieved a great intellectual success, reached the most brilliant prosperity, and was ranked by his fellow-men as second to the gods alone. He is not spoiled by his good fortune. We find him, at the opening of the play, neither arrogant nor irreverent; full, rather, of tenderness for his people, full of reverence for the word of Apollo. Suddenly, however, the prophet of Apollo denounces, him. Instantly his appeal is to the intellect. If it comes to that, what claim has any other human mind to interpose between his mind and Heaven ? Is he not Oedipus, who silenced the Sphinx ? Yes, but presently, gradually, his own mind begins to argue on the other side. No one is so acute as he, and of course

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INTRODUCTION.

he must be the first to see any facts which tell against himself. And now, when he is face to face with the gods, and no prophet stands between, the instinct of reverence, inborn in his noble nature finds voice in the prayer, 'Forbid, forbid, ye pure and awful gods, that I should see that day !' After varying hopes and fears, his own mind is convinced of the worst. Reason, which had been the arbiter of faith, now becomes the inexorable judge of sin, the most instant and most rigorous claimant for his absolute abasement before the gods. Iocasta.

§ 13. Plainly, it would be a mis-reading to construe the fate of Oedipus as a dramatic nemesis of impiety; but the case of Iocasta is at first sight less clear. She, at least, is one who openly avows scorn for oracles, and urges her lord to share it. I t may often be noticed—where the dramatist has known how to draw from life—that the true key-note of a dominant mood is struck by a short utterance on which no special emphasis is thrown, just as, in life itself, the sayings most truly significant of character are not always long or marked. For Iqcasta, such a key-note is given in the passage where she is telling Oedipus that a response from the Delphian temple had warned LaYus that he was destined to be slain by the child whom she bore to him. ' A n oracle came to La'fus once—/ will not say from Phoebus himself, but from his ministers' (v. 712). Iocasta thoroughly believes in the power of the gods to effect their will (724),—to punish or to save (921). But she does not believe that any mortal— be he priest or prophet—is permitted by them to read the future. Had not the Delphian priests doomed her to sacrifice her first-born child,—and this, without saving the life of her husband, Lalus ? The iron which years ago had entered into the soul of the wife and mother has wrought in her a result similar to that which pride of intellect has produced in Oedipus. Like Oedipus, she still believes in the wise omnipotence of the gods; like him also, she is no longer prepared to accept any mortal interpreter of their decrees. Thus are the two foremost persons of this tragedy separated from the offices of human intercession, and directly confronted in spirit—one by his self-reliance, the other by her remembered anguish—with

INTRODUCTION.

xxxi

the inscrutable powers which control their fate. It is as a study of the human heart, true for every age, not as a protest against tendencies of the poet's own, that the Oedipus Tyramms illustrates the relation of faith to reason. § 14. The central figure of the drama is brought into clearer Teiresias. relief by the characters of Teiresias and Creon. Teiresias exists reon" only for the god whom he serves. Through him Apollo speaks. As opposed to Oedipus, he is the divine knowledge of Apollo, opposed to human ignorance and blindness. While ' the servant of Loxias' thus stands above the king of Thebes, Creon stands below him, on the humbler but safer ground of ordinary humanity. Creon is shrewd, cautious, practical, not sentimental or demonstrative, yet of a fervid self-respect, and with a strong and manly kindliness which comes out in the hour of need1. It might be said that the Creon of the Oedipus Tyrannus embodies a good type of Scottish character, as the Creon of the Antigone —an earlier sketch—is rather of the Prussian type, as it is popularly idealised by some of its neighbours. Teiresias is the gauge of human insight matched against divine; Creon, of fortune's heights and depths, compared with the less brilliant but more stable lot of commoner men. 'Crave not to be master in all things; for the mastery which thou didst win hath not followed thee through life'—are his words to Oedipus at the end ; and his own position at the moment exemplifies the sense in which 'the god ever gives the mastery to the middle state' 2 . § 15. There is no external evidence for the time at which Supposed the Oedipus Tyrannus was first acted. Internal evidence warrants the belief that it was composed after the A ntigone, and before temporary the Oedipus Coloneics. The probable limits thus indicated might be roughly given as about 439—412 B.C. More than this we cannot say. Modern ingenuity has recognised Pericles in 1 Lest it should be thought that in the note on p. 106 the harsher aspect of Creon's character is unduly prominent, I may observe that this note relates to vv. 5 n—862, and deals with Creon only as he appears there. The scene which begins at v. 1422—and more especially vv. 1476 f.—must of course be taken into account when we offer, as here, a more general estimate of the character.

TO Kpdrot ffeos unrcurtv, Aesch. Eum. 528.

xxxii

INTRODUCTION.

Oedipus,—the stain of Alcmaeonid lineage in his guilt as the slayer of Lalus,—the 'Dorian war, and a pestilence therewith' in the afflictions of Thebes. This allegorical hypothesis need not detain us. But it may be well briefly to remark the difference, for drama, between association of ideas and direct allusion. If Sophocles had set himself to describe the plague at Athens as he had known it, it might have been held that, in an artistic sense, his fault was graver than that of Phrynichus, when, by representing the capture of Miletus, he ' reminded the Athenians of their own misfortunes.' If, however, writing at a time subsequent to the pestilence which he had survived, he wished to give an ideal picture of a plague-stricken town, it would have been natural and fitting that he should borrow some touches from his own experience. But the sketch in the play is far too slight to warrant us in saying that he even did this; perhaps the reference to the victims of pestilence tainting the air (Oavaraifiopa v. 180) is the only trait that might suggest it. Thucydides (II. 50), in describing the plague of 429 B.C., notices the number of the unburied dead. The remarks just made apply equally to the supposed allusion in vv. 883 ff. to the mutilation of the Hermae (see the note on 886). Alleged A tradition, dating at least from the 2nd century B.C.1, thVpiay. affirmed that, when Sophocles produced the Oedipus Tyrannus, he was defeated for the first prize by Philocles,—a poet of whose work we know nothing. Philocles was a nephew of Aeschylus, and, as Aristeides observes 2 , achieved an honour which had been denied to his uncle. The surprise which has been expressed by some modern writers appears unnecessary; the composition of Philocles was probably good, and it has never been held that the judges of such prizes were infallible. 1

The Words in the prose iir6$er) has been generally identified with Dicaearchus of Messana, the Peripatetic, a pupil of Aristotle and a friend of Theophrastus. We might place his 'floruit,' then, somewhere about 310 B.C. ; there are indications that he survived 296 B. c. If, on the other hand, the iiroSiaeis were ascribed to the grammarian Dicaearchus of Lacedaemon, a pupil of Aristarchus, this would bring us to about 140 B. c. 2 ir. 256.

INTRODUCTION.

xxxiii

§ 16. The name of an actor, once famous in the chief part of The actor this play, is of interest also on more general grounds. Polus, a native of Aegina, is said to have been the pupil of another tragic actor, Archias of Thurii,—the man who in 322 B.C. was sent to arrest Demosthenes and the other orators whose surrender was demanded of Athens by Antipater1. It would seem, then, that Polus nourished in the middle or latter part of the 4th century B.C. —only some 50 or 60 years after the death of Sophocles. Physically well-gifted, and of versatile grace, he was equally successful as Oedipus the King, and in the very different but not less difficult part of Oedipus at Colonus2. Like the poet whose masterpieces he interpreted, he enjoyed a vigorous old age; and it is recorded that, at seventy, he acted ' eight tragedies in four days'3. It will be remembered that, in the Electra of Sophocles, an urn, supposed to contain the ashes of Orestes, is placed in the hands of his sister, who makes a lament over it. Polus once acted Electra not long after the death of his son. An urn, containing the youth's ashes, was brought from the tomb; the actor, in the mourning garb of Electra, received it, and, on the scene, suffered a natural grief to have vehement course4. 1

Plut. Dem. 28 TOVTOV di [Archias] Qoipiov &VTO. T$ yhei X670S ?x el vT0Kpive rpaycpdias kv r^Trap
Aulus Gellius 7. 5 Histrio in terra Graecia fuit fama celebri qui gestus et vocis claritudine ceteris antestabat....Polus lugubri habitu Electrae indutus ossa atque urnam a sepulcro tulit filii, et quasi Orestis amplexus opplevit omnia non simulacris neque imitamentis sed luctu atque lamentis veris et spirantibus. Lucian lupp.

Tragoed.

•qiuv ava.T4<j)7)vas.

§ 3 oi5% 6pfi...e0' ST(J> IIUXOS 57 'Aptcrddrinos

dvrl

Aibs

Id. Menippus § 16 (on the contrast between the life of actors

on and off the stage) ijSri §t Trepas lxOVT°s To" Spa/iaroi, airoSva&ixevos (KaaTos avTuv rr\v xPrja^ilraffT01' ^KelvTjv iaOijra Kal rb TrpoawTreiov atrodtfxevos KOX Karafias dirb TUIV lixfiaTCbv iriv-qs KOX Tcnreivbs irep^pxerai, O{IK4T' 'Ayaixi/iviav 0 "Arpeas ovdt

Kpiuv 6 MecoiK^ws, dXXci IIwXos XapifcX^ous 2irv/x>s Beoyelrovos Mapad&vios. ['Polus, son of inconsistent with rbv Alyiv/jTr/v in Plut. Dem. 28, been a native of Aegina who was afterwards enrolled

Xovvieis dvofn.a.^6 fievos rj Charicles, of Suniiim,' is not for the great actor may have in the Attic deme of Sunium.]

XXXIV

INTRODUCTION.

Significance of the story.

Little as such an incident may accord with modern feeling or taste, it is at least of very clear significance in relation to the tone of the Attic stage as it existed for a generation whose grandfathers were contemporary with Sophocles. Whether the story was true or not, it must have been conceived as possible. And, this being so, nothing could better show the error of supposing that the old Greek acting of tragedy was statuesque in a cold or rigid sense,— in a sense excluding declamation and movement suitable to the passions which the words expressed. Play of feature, indeed, was excluded by the use of masks; but this very fact would have increased the need for appropriate gesture. The simple grouping—as recent revivals have helped us to feel—must have constantly had a plastic beauty rarely seen on our more crowded stage1; but it is inconceivable, and the story just noticed affords some direct ground for denying, that this result was obtained at any sacrifice of life and truth in the portrayal of emotion. Demosthenes tells us that some of the inferior tragedians of his time were called 'ranter's'9. It might be said, of course, that this indicates a popular preference for an undemonstrative style. But it might with more force be replied that • ranting' is not a fault which a coldly ' statuesque' tradition would have generated.

Other plays on the subject.

§ 17. The story of Oedipus was one of a few subjects which the Greek dramatists never tired of handling. Some eight or nine tragedies, entitled Oedipus, are known by the names of their authors, and by nothing else3. Plato, the poet of the Old I d . De mercede conduct. § 5 roh rpayiKois iwoicpiTaU...ot iwl fiiv TTJS aKr)vr\s 'Ayaidixvum IKCUTTOS airou fj Kp4*r 7} avrbs 'Hpa/cXijs el/riv, ?{ai Si PIuXos ij 'AptarSSimos, i.TroBiiievoi. T 4 Tpoaonreia, ylyvovrai.

The Aristodemus coupled by Lucian with Pnlus is the actor mentioned by Aeschines and Demosthenes ; the latter specially notices that he and Theodorus had both often acted the Antigone of Sophocles (or. 19. § 246) > Satyrus is the comic actor mentioned by the same orators (Aeschin. 2. § 156, Dem. or. 19. § 193). Thus we see how, in later Greek literature, Polus had become one of a small group of names typical of the best histrionic art of the classical age. 1 On the sense in which a 'plastic' character is common to Greek Sculpture, Tragedy, and Oratory, cp. my Attic Orators, vol. 1. pp. xcviii—ciii. 2 Dem. or. 18. § 262 /uaddiaas airov rots ^apvarbvois tirucahoviMvoit iiceivois vTroKpiTaXs, Hi/xiXif KOI 'SuKpdrei, irpiTaywyliXTm. 3 An OiSivovs by the Carcinus whom Aristophanes ridicules is quoted by Arist. Rhet, 5. 16. 11. Xenocles is said to have been victorious, with a series of plays

INTRODUCTION.

xxxv

Comedy, wrote a Lams, which was perhaps a parody of the Aeschylean play; and the Middle Comedy was indebted to Eubulus for an Oedipus from which a few verses are left—a travesty of the curse pronounced upon the unknown criminal1. Julius Caesar, like the younger Pitt, was a precocious dramatist, and Oedipus was his theme2. The self-blinded Oedipus was a part which Nero loved to act3, and the last public recitation which he ever gave, we are told, was in this character. The Greek verse at which he stopped is on record : whose it was, we know not4. Of all the Greek versions, not one remains by which to gauge the excellence of Sophocles. But the literatures of other languages make some amends. Nothing can better illustrate the distinctive qualities of the Sophoclean Oedipus than to compare it with the treatment of the same theme by Seneca, Corneille, Dryden and Voltaire. So far as the last three are concerned, the comparison has a larger value. The differences between the spirit of the best Greek Tragedy and that of modern drama are not easily expressed in formulas, but can be made clearer by a particular example. Perhaps the literature of drama hardly affords any example so apposite for this purpose as the story of Oedipus. § 18. Seneca has followed, and sometimes paraphrased, The Oedipus including an OlSlirovs, against Euripides, one of whose pieces on that occasion was °f Seneca, the Troades, probably in 415 B. c. An OISITTOVS is also ascribed to Achaeus (Nauck Trag.fr. p. 584), Theodectes (p. 623), and, more doubtfully, to Diogenes of Sinope (p. 627); also by Suidas to Philocles, and to each of two poets named Nicomachus (one of Athens, the other of the Troad). 1 Meineke Com. Frag. pp. 231 (Plato), Eubulus (451). Of the latter's five verses, the last three are—b'tms b"1 iirl Seiirvov TJ cpl\ov riv' fj ££vov | KaXiaas oviifiokhs {7rpd.iia.T0, I vy&s 7&01T0 firjSiv oixodev Xa/3ciV. I t seems quite

(irura possible,

as has been suggested, that Eubulus was parodying verses from the Oedipus of Euripides. 2 Sueton. Iul. Caes. 56 Feruntur et a puero et ab adolescuntulo quaedam scripta, ut laudes Herculis, tragoedia Oedipus. 3 Sueton. Nero 21 Tragoedias quoque cantavit personatus. Inter cetera cantavit Canacen parturientem, Orestem matricidam, Oedipodem excaecatum, Herculem insanum. 4 ib. 46 Observatum etiam fuerat novissimam fabulam cantasse eum [Neronem] publice Oedifum exsulem, atque in hoc desisse versu, ohrpus Bavelv fi dvaye a&yyaiMs irarrip. Dio Cassius (63. 28) also quotes the verse as one on which Nero's mind d w e l t : TO tiros ^KeiVo a-vvexas

J. S.

iverdei.

d

xxxvi

INTRODUCTION.

Sophocles with sufficient fidelity to heighten the contrast between the original and the rhetorical transcript. For the comparative student of drama, however, the Roman piece is by no means devoid of instruction or of interest. Seneca's plot diverges from that of Sophocles in three main points, (i) Teiresias does not intuitively know the murderer of Lafus. When his aid is invoked by Oedipus, he has recourse to the arts of divination. Manto, the daughter of the blind seer, reports the signs to him, and he declares that neither voice of birds nor inspection of victims can reveal the name. Lams himself must be called up from the shades. In a grove near Thebes, Teiresias performs the awful rites which evoke the dead; the ghastly shape of Laltus rises— Stetit per artus sanguine effuso horridus— and denounces his son. This scene is related to Oedipus by Creon in a long and highly-wrought speech (530—658). Here, as in the earlier scene with Manto (303—402), copious use is made of detail from Roman augural lore, as well as of the Nekyia in the eleventh book of the Odyssey—suggesting a contrast with the lightness of touch which marks that passage of the Sophoclean Antigone ( 9 9 8 — i o n ) where Teiresias describes the failure of his appeal to augury. There, the technical signs are briefly but vividly indicated; in Seneca, the erudition is heavy and obtrusive. (ii) After the discovery of the parricide and the incest, and when Oedipus has now blinded himself, Iocasta meets and thus accosts him:— Quid te vocem? Natumne? dubitas? natus es, natum pudet Invite, loquere, nate: quo avertis caput Vacuosque vultus? Oed. Quis frui et tenebris vetat? Quis reddit oculos? matris, heu, matris sonus. Perdidimus operam. Congredi fas amplius Haud est. Nefandos dividat vastum mare... Iocasta presently kills herself on the stage. Here, at least, Seneca has the advantage of Euripides, whose Iocasta speaks

INTRODUCTION.

xxxvii

the prologue of the Phoenissae, and coldly recites the horrors of her past life,—adding that Oedipus has been imprisoned by his sons, 'in order that his fate might be forgotten—for it needs much art to hide it 7 The Iocasta of Sophocles rushes from the scene, not to re-appear, at the moment when she finds Oedipus resolved to unbare that truth of which she herself is already certain, and leaves the terrible cry thrilling in our ears— lov, lov, Bvari]ve' TOVTO yap a k^co fiovov Trpoaenrelv, dWo 8' oviroff varepov. In the truth and power of this touch, Sophocles is alone. Neither' Seneca, nor any later dramatist, has managed this situation so as to express with a similar union of delicacy and strength the desperate anguish of a woman whom fate has condemned to unconscious crime. (iii) Seneca had no 'Oedipus at Colonus' in view. He was free to disregard that part of the legend according to which Oedipus was expelled from Thebes by Eteocles and Polyneices, and can therefore close his play by making Oedipus go forth into voluntary exile:— Mortifera mecum vitia terrarum extraho. Violenta fata et horridus morbi tremor Maciesque et atra pestis et tabidus dolor Mecum ite, mecum: ducibus his uti libet. § 19. The closeness with which Seneca has studied Sophocles Seneca's can be judged from several passages2. It is instructive to notice * ela '| on t o that, while Seneca has invented rhetorical ornament (as in the opening dialogue, 1—105, and the Nekyia, 530—568), he has not known how to vary the natural development of the action. He has compressed the incidents of Sophocles into the smallest compass; and hence, notwithstanding the rhetorical episodes, the whole play consists only of 1060 lines, and would not have occupied more than an hour and a half in representation. Seneca is 1

E u r . Phoen. 64 tv afivrj/xcw TVXQ j yivoiTo, TroWunf

2

Such are, the scene in which Oedipus upbraids Creon (Sen. 678—708, cp. Soph. 532—630); the questioning of Iocasta by Oedipus (Sen* 773—783, cp. Soph. 740— 755); the scene with the messenger from Corinth, and the final discovery (Sen. 783— 881, cp. Soph. 955—1185).

dz

xxxviii

INTRODUCTION.

thus a negative witness to the mastery shown by the artist who could construct such a drama as the Oedipus Tyrannus with such materials. T h e modern dramatists, as we shall see, teach the same lesson in a more positive form. Walter Scott's estimate of Seneca's Oedipus needs modification, but is just in the main. 'Though devoid of fancy and of genius,' he says, it 'displays the masculine eloquence and high moral sentiment of its author; and if it does not interest us in the scene of fiction, it often compels us to turn our thoughts inward, and to study our own hearts.' Seneca's fault, however, so far as the plot is concerned, seems less that he fails to interest, than that, by introducing the necromantic machinery, and by obliterating the finer moral traits of his Greek original, he has rendered the interest rather 'sensational' than properly dramatic 1 . The § 20. The Oedipe of Corneille was produced at Paris in 1657. CorneiUe. After an interval which followed the unfavourable reception of his Pertharite in 1653, it was with the Oedipe that Corneille returned to the theatre, at the instance of his patron, Nicolas Fouquet, to whom it is dedicated. I t is immaterial for our purpose that this play is far from exhibiting Corneille at his best; nor need we here inquire what precise rank is to be assigned to it among his less successful works. For the student of Sophocles, it has the permanent interest of showing how the subject of the Oedipus Tyrannus was adapted to the modern stage by a typical artist of the French classical school. The severely simple theme of Sophocles, with its natural elements of pity and terror, is found too meagre by the modern dramatist. H e cannot trust to that alone; he feels that he needs some further source of variety and relief. T o supply this, he interweaves an underplot of secondary persons—' the happy episode of the loves of Theseus and Dirce.' Theseus is the king of Athens; Dirce is a daughter of the deceased La'ius. The drama opens with a love-scene, in which Theseus is 1 A small trait may be noticed as amusingly characteristic of the Roman poet of the Empire. The Laius of Sophocles goes to Delphi /3a«5s—with only four attendants (752). Seneca makes Laius set out with the proper retinue of a king;—but most of them lose their way. Plures fefellit error ancipitis viae: Paucos fidelis curribus iunxit labor.

INTRODUCTION. urging Dirce not to banish him from Thebes :—

xxxix her presence at

N'ecoutez plus, madame, une pitie cruelle, Qui d'un fidele amant vous feroit un rebelle... To the end, the fortunes of this pair divide our attention with those of Oedipus and Iocasta. Corneille does not bring Teiresias on the scene; but Nerine, ' lady of honour to Iocasta,' relates how the seer has called forth the shade of LaYus. The ghost does not (as with Seneca) denounce Oedipus, but declares that the woes of Thebes shall cease only ' when the blood of Lai'us shall have done its duty.' The discovery is brought about nearly as in Sophocles, though the management of the process is inferior in a marked degree. The herdsman of Lai'us—whom Corneille, like Dryden and Voltaire, names Phorbas, after Seneca's example—kills himself on the stage; Iocasta, snatching the poniard from him, plunges it in her own breast. Oedipus blinds himself. No sooner have the gory drops flowed from his eyes, than the pest which is ravaging Thebes ceases: the message of the spirit is fulfilled :—' the blood of LaKus has done its duty.' Theseus and Dirce, we understand, are made happy. The chief character, as drawn by Corneille, shows how an artificial stoicism can destroy tragic pathos. The Oedipus of Corneille is an idealised French king of the seventeenth century —one of those monarchs concerning whom Dirce says, Le peuple est trop heureux quand il meurt pour ses rois; he learns the worst with a lofty serenity; and his first thought is to administer a stately rebuke to the persons whose misdirected forethought had saved him from perishing in infancy :— Voyez ou m'a plonge votre fausse prudence. Dirce admires his impassive fortitude :— La surprenante horreur de cet accablement Ne coute a sa grande ame aucun egarement. Contrast with this the life-like and terrible power of the delineation in Sophocles, from the moment when the cry of despair bursts from the lips of Oedipus (1182), to the end.

xl

INTRODUCTION.

The

R 21. Twenty-two years after Corneille, Dryden essayed the

Oedipus of

*

,

TT-

•

4.u i. i.-

TT

i.

J

t. J

Dryden. same theme. His view was that his rrench predecessor had failed through not rendering the character of Oedipus more noble and attractive. On the other hand, he follows Corneille in the essential point of introducing an underplot. Dryden's Eurydice answers to Corneille's Dirce, being, like her, the daughter of Laius. Corneille's Theseus is replaced by Adrastus, king of Argos,—a personage less likely, in Dryden's opinion, to eclipse Oedipus. When the play opens, Oedipus is absent from Thebes, and engaged in war with Argos. Meanwhile plots are being laid against his throne by Creon—a hunch-backed villain who makes love to Eurydice, and is rejected by her much as Shakspeare's Richard, Duke of Gloster—who has obviously suggested some traits—is repulsed by the Lady Ann. Presently Oedipus returns, bringing the captive Adrastus, whom he chivalrously sets free to woo Eurydice. From this point, the piece follows the general lines of Sophocles, so far as the discovery is concerned. Oedipus is denounced, however, not by Teiresias, but, as in Seneca, by the ghost,—which Dryden, unlike Seneca, brings on the stage. It is singular that Dryden should have committed the same mistake which he perceived so clearly in Corneille. Eurydice and Adrastus are less tiresome than Dirce and Theseus, but their effect is the same. The underplot spoils the main plot. The tragic climax is the death.of Eurydice, who is stabbed by Creon. Creon and Adrastus next kill each other; then Iocasta slays herself and her children; and finally Oedipus throws himself from an upper window of the palace. ' Sophocles,' says Dryden, ' is admirable everywhere; and therefore we have followed him as close as we possibly could.' In a limited verbal sense, this is true. There are several scenes, or parts of scenes, in which Dryden has almost transcribed Sophocles1. But the difference of general result is complete. The Oedipus of Sophocles does perfectly that which Tragedy, according to Aristotle, ought to do. It effects, by pity and terror, the ' purgation' of such 1 As in the scene with the suppliants (Act I. Sc. i.); that between Oedipus and Iocasta (Act i n . Sc. i.); and that between Oedipus and Aegeon (the messenger from Corinth, Act IV. Sc. i.).

INTRODUCTION.

xli

feelings ; that is, it separates them from the alloy of mean accident, and exercises them, in their pure essence, on great objects —here, on the primary instincts of natural affection. In relation to pity and terror, Tragedy should be as the purgatorial fire,— exemit labem, purumque reliquit Aetherium sensum atque aurai simplicis ignem. Now, Dryden's play first divides our sympathy between the fate of Eurydice and that of Oedipus; next, it involves it with feelings of a different order,—loathing for the villainy of Creon, and disgust at the wholesale butchery of the end. Instead of ' purging' pity and terror, it stupefies them; and the contrast is the more instructive because the textual debt of Dryden to Sophocles has been so large. It is right to add that, while the best parts of the play—the first and third Acts—are wholly Dryden's, in the rest he was assisted by an inferior hand1. And, among the places where Dryden's genius flashes through, it is interesting to remark one in which he has invented a really Greek touch,—not in the manner of Sophocles, certainly, yet such as might occur in Euripides. Oedipus is pronouncing the curse on the unknown murderer:— But for the murderer's self, unfound by man, Find him, ye powers celestial and infernal! And the same fate, or worse than Lai'us met, Let be his lot: his children be accurst; His wife and kindred, all of his, be cursed ! Both Priests. Confirm it, heaven! Enter JOCASTA, attended by

Women.

Joe. At your devotions ? Heaven succeed your wishes ; And bring the effect of these your pious prayers On you, and me, and all. Pr. Avert this omen, heaven! Oedip. O fatal sound ! unfortunate Jocasta! 1 ' What Sophocles could undertake alone, Our poets found a work for more than one' (Epilogue). Lee must be held accountable for the worst rant of Acts iv. and v.; but we are not concerned here with the details of execution, either in its merits or in its defects.

xlii

INTRODUCTION.

What hast thou said? an ill hour hast thou chosen For these foreboding words! why, we were cursing! Joe, Then may that curse fall only where you laid it. Oedip. Speak no more ! For all thou say'st is ominous: we were cursing; And that dire imprecation hast thou fasten'd On Thebes, and thee, and me, and all of us. The § 22. More than either Dryden or Corneille, Voltaire has Voltaire, treated this subject in the spirit of the antique. His Oedipe was composed when he was only nineteen. It was produced in 1718 (when he was twenty-four), and played forty-six times consecutively—a proof, for those days, of marked success. In 1729, the piece having kept its place on the stage meanwhile, a new edition was published. I t is not merely a remarkable work for so young a m a n ; its intrinsic merit, notwithstanding obvious defects, is, I venture to think, much greater than has usually been recognised. The distinctive ' note ' of the modern versions —the underplot—is there, no doubt; but, unlike Corneille and Dryden, Voltaire has not allowed it to overshadow the main action. The hero Philoctetes revisits Thebes, after a long absence, to find Oedipus reigning in the seat of La'fus. The Thebans are vexed by pestilence, and are fain to find a victim for the angry g o d ; Philoctetes was known to have been the foe of the late king, and is now accused of his murder. Iocasta had been betrothed to Philoctetes in youth, and loves him still. She urges him to fly, but he resolves to remain and confront the false charge. A t this moment, the seer Teiresias denounces Oedipus as the criminal. Philoctetes generously protests his belief in the king's innocence; and from this point (the end of the third Act) appears no more. Thenceforth, the plot is mainly that of Sophocles. T h e first scene of the fourth Act, in which Iocasta and Oedipus inform each other of the past, is modelled on Oed. Tyr. 698—862, with some characteristic differences. Thus, in Sophocles, the first doubt of Oedipus as to his parentage springs from a taunt uttered at a feast (779). Here is Voltaire's substitute for that incident (the scene, of course, being Corinth):—

INTRODUCTION.

xliii

Un jour, ce jour affreux, present a ma pense"e, Jette encore la terreur dans mon ame glacee; Pour la premiere fois, par un don solennel, Mes mains, jeunes encore, enrichissaient l'autel: Du temple tout-a-coup les combles s'entr'ouvrirent; De traits affreux de sang les marbres se couvrirent; De l'autel, e'branle' par de longs tremblemens, Une invisible main repoussait mes presens; Et les vents, au milieu de la foudre eclatante, Porterent jusqu'a moi cette voix effrayante: "Ne viens plus des lieux saints fouiller la purete; "Du nombre des vivans les dieux t'ont rejete; "Us ne regoivent point tes offrandes impies; "Va porter tes prdsens aux autels des Furies; "Conjure leurs serpens prets a te de'chirer; "Va, ce sont la les dieux que tu dois implorer." This is powerful in its way. But where Voltaire has introduced a prodigy—the supernatural voice heard amid lightnings— Sophocles was content to draw from common life, and to mark how a random word could sink into the mind with an effect as terrible as that of any portent. Voltaire has managed the final situation on Corneille's plan, but with infinitely better effect. The High Priest announces that Oedipus has blinded himself, thereby appeasing the gods; and the play closes with the death of Iocasta :— IOCASTE.

O mon fils! helas! dirai-je mon e"poux? O des noms les plus chers assemblage effroyable! II est done mort? L E GRAND PR£TRE.

II vit, et le sort qui l'accable Des morts et des vivans semble le se'parer1; 1 Voltaire borrowed this verse from Corneille,—'parcequ' ayant precisement la meme chose a dire,...il m'etait impossible de 1'exprimer mieux'; and Corneille was himself translating Seneca's ' nee vivis mixtus, nee sepultis? Voltaire was perhaps unconscious that the ground which he assigns here was exactly that on which the repetition of passages in the Greek orators was defended—viz. that TO KOKUS eiireiv ojra£ vepiyiyvercu, 51s Si owe ifd^x^ai (Theon, irpoyvnvdu/iaTa I : see my Attic Orators, vol. I. p. lxxii.).

xliv

INTRODUCTION. II s'est prive du jour avant que d'expirer. Je l'ai vu dans ses yeux enfoncer cette epe'e, Qui du sang de son pere avait ete trempee; II a rempli son sort, et ce moment fatal Du salut des Thebains est le premier signal. Tel est l'ordre du ciel, dont la fureur se lasse; Comme il vent, aux mortels il fait justice ou grace; Ses traits sont epuises sur ce malheureux fils: Vivez, il vous pardonne. IOCASTE.

Et moi je me punis. {Elk sefrafipe.) Par un pouvoir affreux reservee a Finceste, La mort est le seul bien, le seul dieu qui me reste. Lai'us, rec,ois mon sang, je te suis chez les morts: J'ai vegu vertueuse, et je meurs sans remords. LE CHOEUR.

O malheureuse reine! 6 destin que j'abhorre! IOCASTE.

Ne plaignez que mon fils, puisqu'il respire encore. Pretres, et vous Thebains qui futes mes sujets, Honorez mon bucher, et songez a jamais Qu'au milieu des horreurs du destin qui m'opprime J'ai fait rougir les dieux qui m'ont force'e au crime. Voltaire's § 23. Voltaire was conscious of the objections to his own criticisms. e p£ s o c j e o f philoctetes; no one, indeed, could have criticised it with more wit or force. 'Philoctetes seems to have visited Thebes only for the purpose of being accused': not a word is said of him after the third Act, and the catastrophe is absolutely independent of him. In a letter to the Jesuit Poree, with whom he had read the classics, Voltaire apologises for Philoctetes by saying that the Parisian actors would not hear of an Oedipus with no love in it; ' I spoiled my piece,' he says, ' t o please them.' But it is certain, from what he says more than once elsewhere, that he regarded some underplot as a necessity. His remarks on this point are worth noting, because they touch an essential difference between the old Greek view of drama and that which has prevailed on our stage. ' The subject (Oedipus)

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did not, in itself, furnish me with matter for the first three Acts; indeed, it scarcely gave me enough for the last two. Those who know the theatre—that is, who are as much alive to the difficulties as to the defects of composition—will agree with what I say.' 'In strictness, the play of Oedipus ought to end with the first Act.' Oedipus is one of those ancient subjects 'which afford only one scene each, or two at most—not an entire tragedy.' In short, to demand a modern drama on the simple story of Oedipus was like setting one to make bricks without straw. Corneille found himself constrained to add the episode of Theseus and Dirce; Dryden introduced Adrastus and Eurydice1. § 24. Now, why could Sophocles dispense with any such add- Essential ition, and yet produce a drama incomparably more powerful ? between The masterly art of Sophocles in the structure and development Sophocles of the plot has already been examined, and is properly the first modems, attribute of his work which claims attention. But this is not the only, or the principal, source to which the Oedipus Tyrannus owes its greatness; the deeper cause is, that Sophocles, in the spirit of Greek Tragedy, has known how to make the story of Oedipus an ideal study of character and passion. Corneille, Dryden, Voltaire—each in his own way—were thinking, ' How 1 'All we could gather out of Corneille,' says Dryden, 'was that an episode must be, but not his way.' Dryden seems to have felt, however, that it was demanded rather by convention than by artistic necessity. The following passage is interesting as an indication that his instinct was better than his practice :—' The Athenian theatre (whether more perfect than ours, is not now disputed), had a perfection differing from ours. You see there in every act a single scene, (or two at most), which manage the business of the play; and after that succeeds the chorus, which commonly takes up more time in singing, than there has been employed in speaking. The principal person appears almost constantly through the play; but the inferior parts seldom above once in the whole tragedy. The conduct of our stage is much more difficult, where we are obliged never to lose any considerable character, which we have once presented.' [Voltaire's Philoctetes broke this rule.] ' Custom likewise has obtained, that we must form an underplot of second persons, which must be depending- on the first; and their bye-walks must be like those in a labyrinth, which all of them lead into the great parterre; or like so many several lodging chambers, which have their outlets into the same gallery. Perhaps, after all, if we could think so, the ancient method, as it is the easiest, is also the most natural and the best. For variety, as it is managed, is too often subject to breed distraction; and while we would please too many ways, for want of art in the conduct, we please in none.' (.Preface to Oedipus.)

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am I to keep the audience amused ? Will they not find this horrible story of Oedipus rather too painful and monotonous? Will they not desire something lighter and pleasanter—some love-making, for instance, or some intrigue?' 'What an insipid part would Iocasta have played,' exclaims Voltaire, ' had she not retained at least the memory of a lawful attachment, and trembled for the existence of a man whom she had once loved!' There is the secret frankly told. Sophocles, on the other hand, concentrates the attention of the audience on the destiny of Oedipus and Iocasta. The spectators are enchained by the feelings which this destiny moves at each step in its course. They are made to see into the depths of two human souls. It is no more possible for them to crave minor distractions than it would be for our eyes or thoughts to wander, if we were watching, without the power of arresting, a man who was moving blind-fold towards a precipice. The interest by which Sophocles holds us is continuous and intense ; but it is not monotonous, because alternations of fear lead up to the worst; the exciting causes of pity and terror are not unworthy or merely repulsive, for the spectacle offered is that of a noble and innocent nature, a victim to unknown and terrible forces which must be counted among the permanent conditions of life, since the best of mankind can never be sure of escaping them. When the worst has befallen, then Sophocles knows how to relieve the strain; but it is a relief of another order from that which Corneille affords by the prospect of Theseus being made happy with Dirce. It is drawn from the natural sources of the tragedy itself; the blind king hears the voices of his children. References § 25. A comparison may fitly close with a glance at two phetic'0 points in which the modern dramas illustrate Sophocles, and instinct. w hich have more than the meaning of details. Dryden has represented Oedipus and Iocasta as haunted, from the first, by a mysterious instinct of their true relationship. Thus she says to him :— When you chid, methought A mother's love start1 up in your defence, 1

born,'

= ' started,' as again in this scene : ' Nature herself start back when them wert

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And bade me not be angry. Be not you; For I love La'ius still, as wives should love, But you more tenderly, as part of me1. Voltaire has the same thought (Act II. Sc. ii.), where Iocasta is speaking of her marriage with Oedipus : je sentis dans mon ame etonne'e Des transports inconnus que je ne congus pas: Avec horreur enfin je me vis dans ses bras.

There is a similar touch in Corneille. Oedipus is watching Dirce—whom he believes to be his step-daughter, but who is in fact his sister—with her lover Theseus (Act ill. Sc. iv.): Je ne sais quelle horreur me trouble a leur aspect; Ma raison la repousse, et ne m'en peut defendre. Such blind warnings of nature are indeed fitted to make the spectator shudder ; but they increase the difficulty of explaining why the truth was not divined sooner; and they also tend to lessen the shock of the discovery. In other words, they may be poetical,—they may be even, in the abstract, tragic,—-but they are not, for this situation, dramatic; and it is due to the art of Sophocles to observe that he has nowhere admitted any hint of this kind. § 26. Next, it should be noticed that no one of the later The imdramatists has been able to avoid leaving a certain element of im- e[°men|l_ probability in the story. We saw above that Aristotle alludes to how mathe presence of such an element, not in the plot itself, but in the bygthe supposed antecedents. It consists in the presumed ignorance of modems. Oedipus and Iocasta regarding facts with which they ought to have been familiar. Sophocles tacitly accepts this condition, and, by doing so, minimizes its prominence ; so much so, that it may be doubted whether many readers or spectators of the Oedipus Tyrannus would think of it, if their attention had not been drawn to it previously. Seneca has not attempted to improve on that example. But the moderns have sought various ways of evading a critical censure which they foresaw; and it is instructive to consider the result. The Oedipus of Corneille 1

Act 1. Sc. i. : cp. what Oedipus says in Act II. Sc. i.

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knows that Lalus was said to have been killed by robbers; he also knows the place and the date. Further, he distinctly remembers that, at the same place and at the same date, he himself had slain three wayfarers. Strange to say, however, it never occurs to him that these wayfarers could possibly have been Lalus and his attendants. He mildly suggests to Iocasta that they may have been the robbers (Act I. Sc. i.); though, as appears from the circumstances which he himself afterwards relates (Act IV. Sc. iv.), he had not the slightest ground for such a supposition. This device cannot be deemed an improvement on Sophocles. Dryden's expedient is simpler :—• Tell me, Thebans, How Laius fell; for a confused report Pass'd through my ears, when first I took the crown ; But full of hurry, like a morning dream, It vanish'd in the business of the day.

That only serves to show us that the dramatist has an uneasy conscience. Voltaire's method is subtler. Oedipus thus excuses himself for having to question Iocasta concerning the death of Lalus :—Madame, jusqu' ici, respectant vos douleurs, Je n'ai point rappeld le sujet de vos pleurs; Et de vos seuls perils chaque jour alarmee Mon ame a d'autres soins semblait etre ferme'e. But, as the author admits, the king ought not to have been so long deterred, by the fear of displeasing his wife, from informing himself as to the death of his predecessor: ' this is to have too much discretion and too little curiosity.' Sophocles, according to Voltaire, ought to have suggested some explanation of the circumstance that Oedipus, on hearing how Lalus perished, does not at once recollect his own adventure in the narrow pass. The French poet seeks to explain it by hinting at a miraculous suspension of memory in Oedipus :— Et je ne concpis pas par quel enchantement J'oubliais jusqu' ici ce grand evdnement; La main des dieux sur moi si long-temps suspendue Semble oter le bandeau qu'ils mettaient sur ma vue.

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But this touch, though bold and not unhappy, must be classed with the transparent artifices of the stage. The true answer to the criticisms on this score which Voltaire directs against Sophocles, Corneille, and himself is contained in a remark of his own, that a certain amount of improbability is inherent in the story of Oedipus1. If that improbability is excluded at one point, it will appear at another. This being so, it is not difficult to choose between the frank treatment of the material by Sophocles, and the ingenious but ineffectual compromises of later art. § 27. The recent revivals of Greek plays have had their great Revivals reward in proving how powerfully the best Greek Tragedy can [^ appeal to modern audiences. Those who are furthest from being surprised by the result will be among the first to allow that the demonstration was needed. The tendency of modern study had been too much to fix attention on external contrasts between the old Greek theatre and our own. Nor was an adequate corrective of this tendency supplied by the manner in which the plays have usually been studied; a manner more favourable to a minute appreciation of the text than to apprehension of the play as a work of art. The form had been understood better than the spirit. A vague feeling might sometimes be perceived that the effectiveness of the old Greek dramas, as such, had depended essentially on the manners and beliefs of the people for whom they were written, and that a successful Sophocles presupposed a Periclean Athens. Some wonderment appeared to greet the discovery that a masterpiece of Aeschylus, when acted, could move the men and women of to-day. Now that this truth has been so profoundly impressed on the most cultivated audiences which England or America could furnish,—in Germany and France it had been less unfamiliar,—it is not too much to say that a new life has been breathed into the modern study of the Greek drama. § 28. Recent representations of the Oedipus Tyrannus have The Oedipus 1

In the fifth letter to M. de Genonville:—' II est vrai qu'il y a des sujets de tragedie ou Ton est tellement gine par la bizarrerie des evenemens, qu'il est presqu' impossible de reduire l'exposition de sa piece a ce point de sagesse et de vraisembknce. Je crois, pour mon bonheur, que le sujet d'CEdipe est de ce genre.'

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INTRODUCTION.

Tyrannus a peculiar significance, which claims notice here. The incestuous experi"Cia relationship—the entrance of Oedipus with bleeding eyes—these ment. are incidents than which none could be imagined more fitted to revolt a modern audience. Neither Corneille nor Voltaire had the courage to bring the self-blinded king on the stage ; his deed is related by others. Voltaire, indeed, suggested1 that the spectacle might be rendered supportable by a skilful disposition of lights,—Oedipus, with his gore-stained face, being kept in the dim back-ground, and his passion being expressed by action rather than declamation, while the scene should resound with the cries of Iocasta and the laments of the Thebans. Dryden dared what the others declined ; but his play was soon pronounced impossible for the theatre. Scott quotes a contemporary witness to the effect that, when Dryden's Oedipus was revived about the year 1790, 'the audience were unable to support it to an end; the boxes being all emptied before the third act was concluded.' The result § 29. In May, 1881, after seven months of preparation, the Harvard Oedipus Tyrannus was acted in the original Greek by members of Harvard University. Archaeology, scholarship, and art had conspired to make the presentation perfect in every detail; and the admirable record of the performance which has been published has a permanent value for every student of Sophocles2. References to it will be found in the following commentary. But it is the impression which the whole work made on the spectators of which we would speak here. Nothing of the original was altered or omitted ; and at the last Oedipus was brought on the scene, 'his pale face marred with bloody stains.' The performances were seen by about six thousand persons,—the Harvard theatre holding about a thousand at a time. As an English version was provided for those who needed it, it cannot be said that the language veiled what might else have offended. From first to last, these great audiences, thoroughly representative of the most cul1 In one of his notes on Corneille's Preface to the Oedipe (Oeuvres de Corneille, vol. VII. p. 262, ed. 1817). 2 An Account of the Harvard Greek Play. By Henry Norman. Boston: James R. Osgood and Co., 1882. The account is illustrated by 15 photographs of characters and groups, and is dedicated by the Author (who acted the part of Creon) to Professor J. W. White. See Appendix, Note 1, p. 280.

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tivated and critical judgment, were held spell-bound. 'The ethical situation was so overwhelming, that they listened with bated breath, and separated irr silence.' ' The play is over. There is a moment's silence, and then the theatre rings with applause. It seems inappropriate, however, and ceases almost as suddenly as it began. The play has left such a solemn impression that the usual customs seem unfitting, and the audience disperses quietly1.' There is the nineteenth century's practical interpretation of Aristotle. This is Tragedy, ' effecting, by means of pity and terror, the purgation of such feelings.'

§30. A few months later in the same year (1881), the Oedipe Hoi Oedipus Tyrannus was revived in a fairly close French transla- Theatre tion at the Theatre Francais. When the version of Jules Francais. Lacroix was played there in 1858, the part of Oedipus was filled by Geoffroy; but on this occasion an artist was available whose powers were even more congenial. Probably no actor of modern times has excelled M. Mounet-Sully in the union of all the qualities required for a living impersonation of the Sophoclean Oedipus in the entire series of moods and range of passions which the part comprises; as the great king, at once mighty and tender; the earnest and zealous champion of the State in the search for hidden guilt; the proud man startled by a charge which he indignantly repels, and embittered by the supposed treason of a friend; tortured by slowly increasing fears, alternating with moments of reassurance; stung to frenzy by the proof of his unspeakable wretchedness; subdued to a calmer despair; finally softened by the meeting with his young daughters. The scene between Oedipus and Iocasta (vv. 700 —862) should be especially noticed as one in which the genius of Sophocles received the fullest justice from that of M. Mounet-Sully. In the words of a critic who has finely described the performance2:— ' Every trait of the tragedian's countenance is now a witness to the inward dread, always increasing upon him, as he relates his own adven1

Account of the Harvard Greek Play, pp. 36, 103. Saturday Review, Nov. 19, 1881. The article was written by Sir Frederick Pollock. 2

J. S.

e

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ture, and questions her for more minute details of the death of Laius. His voice sometimes sinks to a trembling gasp of apprehension, as the identity of the two events becomes more and more evident. He seems to be battling with fate.' With a modern audience, the moment at which the selfblinded Oedipus comes forth is that which tests the power of the ancient dramatist; if, at that sight, repugnance overpowers compassion, the spell has been imperfect; if all other feelings are absorbed in the profound pathos of the situation, then Sophocles has triumphed. We have seen the issue of the ordeal in the case of the representation at Harvard. On the Paris stage, the traditions of the French classical drama (represented on this point by Corneille and Voltaire) were apt to make the test peculiarly severe. It is the more significant that the moment is thus described in the excellent account which we have cited above:— ' Oedipus enters, and in the aspect of the man, his whole history is told. It is not the adjunct of the bleeding eyes which now most deeply stirs the spectators. It is the intensity of woe which is revealed in every movement of the altered features and of the tottering figure whose bearing had been so majestic, and the tone of the voice,—hoarse, yet articulate. The inward struggle is recognised in its necessary outward signs. The strain on the audience might now become too great but for the relief of tenderness which almost immediately succeeds in the parting of Oedipus from his children. Often as pathetic farewells of a similar kind have been presented on the stage, seldom has any made an appeal so forcible.' Conclusion.

In the presence of such testimonies, it can no longer bedeemed that the Tragedy of ancient Greece has lost its virtue for the modern world. And, speaking merely as a student of Sophocles, I can bear witness that the representation of the Ajax at Cambridge (1882) was to me a new revelation of meaning and power. Of that performance, remarkable in so many aspects, I hope to say something in a later part of this edition. Here it must suffice to record a conviction that such revivals, apart from their literary and artistic interest, have also an educational value of the very highest order.

THE TEXT. § i. The manuscripts of the Oedipus Tyrannus which have been MSS. used, chiefly used in this edition are the following' In the Biblioteca Mediceo-Lorenziana, Florence. L, cod. 32. 9, commonly known as the Laurentian us., n t h century. In the Bibliotheque Nationale, Paris. A, cod. B, cod. E, cod. T, cod.

2712, 13th century. 2787, ascribed to the 15th cent. (Catal. 11. 553). 2884, ascribed to the 13th cent. (? ib. 11. 565). 2711, 15th cent. In the Biblioteca Marciana, Venice.

V, cod. 468, late 13th century or early 14th. V2, cod. 616, probably of the 14th cent. V3, cod. 467, 14th cent. V4, cod. 472, 14th cent. 1

There is no doubt that L is of the nth century, and none (I believe) that A is

of the 13th. These are the two most important dates. In the case of several minor MSS., the tendency has probably been to regard them as somewhat older than they really are. The dates indicated above for such MSS. are given on the best authority that I could find, but I do not pretend to vouch for their precision. This is, in fact, of comparatively small moment, so long as we know the general limits of age. Excluding L and A, we may say broadly that almpst all other known MSS. of Sophocles belong to the period 1300—1600 A.D.

e2

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In the Bodleian Library, Oxford. Cod. Laud. Misc. 99 (now Auct. F. 3. 25), late 14th century. Cod. Laud. 54, early 15th cent. Cod. Barocc. 66, 15th cent. In the Library of Trinity College, Cambridge. Cod. R. 3. 31, mainly of the late 14th century, in parts perhaps of the early 15 th. These MSS. I have myself collated. The following are known to me in some cases by slighter personal inspection, but more largely from previous collations, especially from those of Prof. L. Campbell (2nd ed., 1879):—Pal. = Palat. 40, Heidelberg: Vat. a = cod. 40 in the Vatican, 13th cent, (ascribed by some to the 12th): Vat. b, cod. Urbin. 141, ib., 14th cent.: Vat. c, cod. Urbin. 140, ib., 14th cent.: M, cod. G. 43 sup., in the Biblioteca Ambrosiana, Milan, 13th or early 14th cent: M2, cod. L. 39 sup., ib., early 14th cent: L2, cod. 31. 10 (14th cent.) in the Bibliot. Med.-Lor., Florence; F, cod. Abbat. 152, late 13th, ib.: A, cod. Abbat 41, 14th cent., ib.: Rice. cod. 34, in the Biblioteca Riccardiana, Florence, sometimes ascribed to the 14th cent, but really of the 16th (see F. N. Papageorgius, 'cod. Laurent, von Soph.,' etc., p. 406, Leipzig, Teubner, 1883). In making a first selection of MSS. to be collated, I was guided chiefly by what I already knew of their character and of their relations to each other, as these might be inferred from the previous reports; and this list was afterwards modified by such light as I gradually gained from my own experience. L and A being placed apart, several MSS. exist, equal in age and quality to some of those named above; but, so far as I am able to judge, the list which has been given may be said to be fairly representative. In the present state of our knowledge, even after all that has been done in recent years, it would, I think, be generally allowed that the greatest reserve must still be exercised in regard to any theory of the connections existing, whether by descent or by contamination, between our MSS. of Sophocles. We have not here to do with well-marked families, in the sense in which this can be said of the manuscript authorities for some other ancient texts; the data are often exceedingly complex, and such that the facts could be equally well explained by any one of two, or sometimes more, different suppositions. This is a subject with which I hope to deal more fully on a future occasion; even a slight treatment of it would carry me far beyond the limits which must be kept here. Meanwhile, it may be

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useful to give a few notes regarding some of the MSS. mentioned above, and to add some general remarks. Codex A, no. 2712 in the National Library of Paris, is a parchment of the 13th century1. It is a volume of 324 pages, each about 11 \ inches by 9 in size, and contains (1) Eur. Hec, Or., Phoen., Androm., Med., Hipp.: (2) p. 117—214, the seven plays of Soph.: (3) Ar. Plut, Nub., Ran., Eq., Av., Acharn., Eccl. (imperfect). The text of each page is in three columns; the writing goes continuously from left to right along all three, so that, e.g., vv. 1, 2, 3 of a play are respectively the first lines of columns 1, 2, 3, and v. 4 is the second line of col. 1. The contractions are naturally very numerous, since the average breadth of each column (i.e. of each verse) is only about 2 inches; but they are regular, and the MS. is not difficult to read. Codex B, no. 2787, in the same Library, written on thick paper, contains (1) Aesch. P. V., Theb., Pers.: (2) Soph. O. T, Track., Phil., O. C. Codex E, no. 2884, written on paper, contains (1) the same three plays of Aesch., (2) Soph. AL, EL, O. T, (3) Thedcr. Idyll. 1—14. Both these MSS. have short interlinear notes and scholia. In E the writing is not good, and the rather frequent omissions show the scribe to have been somewhat careless. Though the Catalogue assigns E to the 13th cent., the highest date due to it seems to be the middle or late 14th. T, no. 2711, on thick paper, a MS. of the 15th cent., exhibits the seven plays of Sophocles in the recension of Demetrius Triclinius, the grammarian of the 14th cent. The single-column pages, measuring about 11 \ by 7J, contain copious marginal scholia, which are mainly Triclinian. The general features of the Triclinian recension are wellknown. He occasionally gives, or suggests, improved readings, but his ignorance of classical metre was equalled by his rashness, and especially in the lyrics he has often made havoc. Of the Venetian MSS., V, no. 468, a paper folio of the late 13th or early 14th cent., contains (1) Oppianj (2) Aesch., P. V., Theb., Pers., Agam. (imperfect): (3) Soph., the 7 plays (but Track, only to 18, O. C. only from 1338). Vs, no. 616, a parchment in small folio, probably of the 14th cent., contains (1) Soph., the 7 plays: (2) Aesch., 5 plays (Cho. and Suppl. wanting). V3, no. 467, a paper 8vo. of the 14th cent., has the 7 plays of Sophocles. V4, no. 472, a paper 8vo. of the 14th cent., has (1) Ar. Pint, Nub., Ran.; (2) Soph. AL, EL, Ant. (imperfect), O. T, with marginal scholia. 1 It contains the entry, 'Codex optimae notae. Codex Memmianus. Anno D. 1731 Feb. 16 Die.' In 1740 it had not yet been collated (Catal. n. 542).

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Of the Bodleian MSS., Laud. Misc. 99 (Auct. F. 3. 25), late 14th cent., contains Soph. O. T, El, At'.: Laud. 54 (early 15th cent.) the same three: Barocc. 66, 15th cent., the same three, with Eur. Phoen. The MS. of Trin. Coll. Camb. (late 14th—early 15th) has EL, AL, O. T. Of the Florentine MSS., the famous L, cod. 32. 9 (parchment, n t h cent), contains, as is well known, besides the 7 plays of Soph., also the 7 plays of Aesch., and the Argonaiitica of Apollonius Rhodius. The first corrector, sometimes distinguished as the ^opOwrqs, who compared the first hand with the archetype, is generally believed to have been of the n t h century. It continued to receive corrections, conjectures, annotations, from various hands, down at least to the 16th century1. L2, cod. 31. 10 (14th cent), contains the 7 plays of Soph., while V (cod. Abbat. 152), of the late 13th cent, has only At., EL, O. T, Phil., and A (cod. Abbat. 41), of the 14th cent., only AL, EL, 0. T. As regards the relation of L to our other MSS., while much else is obscure or disputable, two facts, at least, are clear. (1) It seems to be established beyond reasonable doubt that L cannot be regarded as the archetype of all the other MSS. which are known to exist. Some of these evidently represent a tradition, not only independent of, but presumably older than, L. Two particular pieces of evidence to this effect occur in the Oedipus Tyrannies; (i) verse 8oo, omitted in the text of L, and only inserted in the margin by a hand certainly later than several of the MSS. which have the verse in the text: (ii) the words TTOVIW fj roh foots written at v. 896 in the text of L,—these being corrupted from a gloss Travrjyvpit,€iv TOISfootswhich exists in full in the Trinity MS. and elsewhere8. (2) Taken as a whole, L is decidedly superior to any other MS. of Sophocles which we possess. On the other hand, it often shares particular errors from which some of the other MSS. are free, and these errors are sometimes of the grosser sort. It is safe to conclude that the scribe who wrote the text of Sophocles in L was not of high intelligence, being much inferior in this respect, apparently, to the first corrector, or 'Stopd'amfs': though allowance may also be made for the 1 Under the auspices of the London ' Society for the Promotion of Hellenic Studies,' it is proposed to publish a photographic facsimile of the text of Sophocles in this MS., with an Introduction in which its palaeographic character will be described by Mr E. Maunde Thompson, of the British Museum. 2 A valuable discussion of this point is given by Prof, Campbell, vol. 1. pp. xxv—xli.

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TEXT.

lvii

supposition that the former took a view of his office which precluded him from amending even the more palpable mistakes of the archetype which he transcribed. § 2. The subjoined table shows the principal cases in which the Deviations reading adopted in my text is not that of L, but is found in some other r o m MS. or MSS. ; or, if not in any MS., in a citation of Sophocles by an ancient author1. The reading of L is placed first; after it, that of my text. Note L's faults in vv. 332, 337, 657, 730, 1387, 1474. 43 rovj TTOV. 182 irapa/2co/uov] Trapd. pwfiiov. 221 avro] airos. 229 do-(f>ai\rjs~\ d/3\a/3rjs. 240 )(€pvi(3as] ^ep^i/Jos. 290 rd T ' ] TO. y. 296 oufeA.c'yxMi'] ov£e\ty£
337 opfurjv^ opyqv. aeAAo7ro'S
347 tlpydaOai 8'] elpyda&ai 0'. Hesychius.

396 TOV\ rov.

466

528 l£ o/z/xaTtov opBiav Se (re A ) ] ef

ofi/xdrav 8' opdiav re Suidas. 598 aurots airav] avToi
713 ^f^t] ^ot. 730 SnrXats] TpivrXais. 749 * 8' av] af 8'. 800 The verse is wanting in the text of L, having being supplied in the margin by a late h a n d . 870 KctraKoi/xacrg] KaTaKOifj.d(7€t. 9 0 3 6p66v\ SpO'. 926 KctTOio-#'] KaTio-0'. 957 o-iy/xifvas] (Ti]fid.VTit>p. 967 Krayciy] KTCVCIV.

976 A.e^os] XiKrpov.

1055 TOV 6'] TWS\

1075 dvapprjgrj sic] dvapprf^ti.

1170 aKou'cof] axovetv Plutarch. I 1 9 7 expan^o-as] iKparrjae (f). v<j!>' ijyijroS] vff>i]yrjTov. 1264 €//,7T€7rA.r;y/i£vr/v] kjXTmcX^yjxivrjV. ^>op€ii/] ep€iv. 1387 avccr^o^v] uv eaxpfJLYjv. 1474 'yyovoiv]

1260 1320

§ 3. In relation to a text, the report of manuscript readings may be Scope of valuable in either, or both, of two senses, the palaeographical and the annual;!. a critical. For example, in O. T. 15 L reads 7rpocn7i//.£0a, and in 17 ion. OT«WTES. These facts have a palaeographical interest, as indicating the kind of mistakes that may be expected in MSS. of this age and class. But they are of no critical interest, since neither Trpoa-gixtOa nor O-TCVOVTes is a possible variant: they in no way affect the certainty that we must read -n-poatj/xeOa and o-flcVovTes. In a discussion on the characteristics and tendencies of a particular MS., such facts have a proper (and it may happen to be, an important) place, as illustrating how, for instance, 1 may have been wrongly added, or 6 wrongly altered, elsewhere. The editor of a text has to consider how far he will report facts of which the direct interest is palaeographical only. The rule which I have followed is to report only those readings of MSS. which have a direct critical interest, that is, which affect the 1

On p. 164, in crit. note line 2, the first word should be read O.TTOTOIJ.QV, not diroTfiov: v. 877, then, is not an instance in which my text deviates from L.

lviii

THE

TEXT.

question as to what should be read in that place of the text; except in the instances, not numerous in this play, where a manuscript error, as such,, appeared specially significant. Had I endeavoured to exhibit all, or even a considerable part, of the mere mis-spellings, errors of accentuation, and the like, which I have found in the MSS. which I have collated, my critical notes must have grown to an enormous bulk, without any corresponding benefit, unless to the palaeographical student of the particular codex and its kindred. On the other hand, I have devoted much time, care, and thought to the endeavour not to omit in my critical notes any point where the evidence of the MSS. known to me seemed to have a direct bearing on the text. The use of § 4. The use of conjecture is a question on which an editor must be ' prepared to meet with large differences of opinion, and must be content if the credit is conceded to him of having steadily acted to the best of his judgment. All students of Sophocles would probably agree at least in this, that his text is one in which conjectural emendation should be admitted only with the utmost caution. His style is not seldom analogous to that of Vergil in this respect, that, when his instinct felt a phrase to be truly and finely expressive, he left the logical analysis of it to the discretion of grammarians then unborn. I might instance vvv •n-acn x (O. T. 596). Such a style may easily provoke the heavy hand of prosaic correction; and, if it requires sympathy to interpret and defend it, it also requires, when it has once been marred, a very tender and very temperate touch in any attempt to restore it. Then in the lyric parts of his plays Sophocles is characterised by tones of feeling and passion which change with the most rapid sensibility—by boldness and sometimes confusion of metaphor—and by occasional indistinctness of imagery, as if the figurative notion was suddenly crossed in his mind by the literal. Our text— § 5. Now consider by what manner of process the seven extant plays mitited'anS" °^ *k's m o s t bold and subtle artist have come down to us through about 23 centuries. Already within some 70 years after the death of Sophocles, the Athenian actors had tampered in such wise with the texts of the three great dramatists that the orator Lycurgus caused a standard copy to be deposited in the public archives of Athens, and a regulation to be made that an authorised person should follow in a written text the performances given on the stage, with a view to controlling unwarranted change1. Our oldest manuscript dates from 1400 to 1500 years after the time of Lycurgus. The most ancient sources which existed for the 1 [Plut.] Vit. Lycurg. § 11.

THE

TEXT.

lix

writers of our MSS. were already, it cannot be doubted, seriously corrupted. And with regard to these writers themselves, it must not be forgotten what their ordinary qualifications were. They were usually men who spoke and wrote the Greek of their age (say from the n t h to the 16th century) as it was commonly spoken and written by men of fair education. On the other hand, as we can see, they were usually very far from being good scholars in old classical Greek; of classical metres they knew almost nothing; and in respect of literary taste or poetical feeling they were, as a rule, no less poorly equipped. In the texts of the dramatists they were constantly meeting with things which they did not understand, and in such cases they either simply transmitted a fault of the archetype, or tried to make sense by some expedient of their own. On the whole, the text of Sophocles has fared better in the Its general MSS. than that of either Aeschylus or Euripides. This needs no c o n d l t i o n explanation in the case of Aeschylus. The style of Euripides, apparently so near to common life, and here analogous to that of Lysias, is, like the orator's, full of hidden snares and pitfalls for a transcriber: Xurj fxiv yap iSeiv, as the old epigram says of it, ei 8c TI<S avrrjv I c«rfiaivoi, yoXtTrov Tprj^yTtprj (TKOXOTTO'S. Where, however, our MSS. of

Sophocles do fail, the corruption is often serious and universal. His manuscript text resembles a country with generally good roads, but an occasional deficiency of bridges. Is there reason to hope that, in such places, more light will yet be obtained from the manuscripts or scholia now known to exist? It appears hardly doubtful that this question must be answered in the negative. The utmost which it seems prudent to expect is a slightly increased certitude of minor detail where the text is already, in the main, uncorrupted. I need scarcely add that the contingency of a new MS. being discovered does not here come into account. § 6. Such, then, are the general conditions under which an editor of Textual Sophocles is required to consider the treatment of conjectural emendation, should"1 It would seem as if a conservative tendency were sometimes held to be have no desirable in the editor of a text. When a text has been edited, we las< might properly speak of the result as 'conservative' or the contrary. But an editor has no more right to set out with a conservative tendency than with a tendency of the opposite kind. His task is simply to give, as nearly as he can ascertain it, what the author wrote. Each particular point affecting the text must be considered on its own merits. Instances have not been wanting in which, as I venture to think, editors of Sophocles have inclined too much to the side of unnecessary or even disastrous

Ix

THE

TEXT.

alteration. On the other hand, it is also a serious fault to place our manuscripts above the genius of the ancient language and of the author, and to defend the indefensible by 'construing,' as the phrase is, 'through thick and thin.' Who, then, shall be the judge of the golden mean? The general sense, it must be replied, of competent and sympathetic readers. This is the only tribunal to which in such a case an editor can go, and in the hands of this court he must be content to leave the decision. Con§ 7. The following table exhibits the places where the reading former*5 ° adopted in my text is found in no MS., but is due to conjecture. The critics, ^ reading placed first is one in which L agrees with some other MS. or ' ' n MSS-> except where it is differently specified. After each conjecture is placed the name of the critic who (to the best of my knowledge) first proposed i t : where the priority is unknown to me, two or more names are given. 198 reXei] reXelv Hermann. 200 A long syllable wanting. < i a v > Hermann. 2 — ^ 0 wanting. < (rvfifia^ov > Kennedy. 248 a/xoipov] dfiopov Porson. 351 TrpocreiTra?] 7rpoetiras Brunck. 360 Xeyeiv] \cyav Hartung. 376 fie...ye aov] ae...y' i/xov1 Brunck. 478 irerpa<s ws ravpos (TTCTpatos o Talpos first hand of L)] 7reVpas icroVavpos E. L. Lushington. 537 Iv e/j,oi] Iv //.oi Reisig. 537 KOVK\ rj OVK A. Spengel and Blaydes. 538 yvopiVot/^i] yvwpioiyui Elmsley. 657 0-' inserted by Hermann after Xoyw. 666 KOL TaS'] TO. §' Kennedy (rdS1 Herm.). 672 eAceivoV] IXeivov Porson. 693 el ere VOd.vy]] irpovijvev Hermann. 815 TIS rov&e y avSpos vvv ear a.6\ut>Tepos (others TIS TOCSC y aySpds ICTTIV a^XwoTcpos)] Tts TovSe vvv ecrr avSpos a^Atiurcpos. I had supposed this obvious remedy to be my own, but find that P. N. Papageorgius {Beitrdge p. 26, 1883) ascribes it to Dindorf in the Poet. Seen.: this then must be some former edit, for it is not in that of 1869 (the 5th), and in the Oxford ed. of i860 Dind. ejected the verse altogether: see my crit. note on the place. 817 <S...Tiva] 5V...TIVI Wunder. 825 /M7V (/X-^O-T' first hand in L)] /JLI]8' Dindorf.

876 aKpoTarav] aKporarov Wunder.

(t'lcTat, sic, L ) ] 6t£eT
6e<Sv Hermann.

893

906 — w - ^ or u - ^ 3 wanting.

943 f. rj TeOvrjKe IIoAvySos ; el 8k fir) \ Xiym y 1

891 e^

Ov/xiSi (others 6v[io"> or

]

TraXatyara Linwood.

eyw Ta.Xrj6h~\ Triclinius

On p. 82, in crit. note, line 2, for 71- /xou read 7 (/wv.

THE TEXT.

lxi

conjectured T\ T(.6vr]Ki iron1 IIo'Xi>/3os ylpwv; \ (I /J.rj Xeyta TaXr)0£s, which Erfurdt improved by substituting IIoA.ii/3o?, d> yipov for TTOV IIO'A.I>/8OS yepiav. 987 ju.£yas] /liyas y Porson, 993 57 oi 0e/xn-6V] ^ ov^l 0£/UTOV Brunck. 1002 £yioy' oi3 (lywy' ou^i A)] £yuj ou^i Porson. 1025 TEKUJV] T « ^ W Bothe, Foertsch. 1062 OVK aV EK rptTrys] ovS' iav Tpirr]<; Hermann. 1099 T(3V] TCLV Nauck. IIOO irpocrirtXacrOiicf^ Trarpos ireXacrBsicr' Lachmann. 1109 'EAtKonaSooi'] 'EA.IK Erfurdt. 1218 oSvpo^ai] Sv'pofiai, Seidler. 1244 Imppij^aa] lTnppd£acr Dobree. 1245 K"A.€i] KaXcT Erfurdt. 1264 TrXeKTats £(opai? i/ATren-XeyfievrjV (L c/xirEirXijyjiicVrjv)' o Se | OVMS S' (A omits 8'). TrXtKTawnv aiajpato-iv €f*.TreTr\eyfJ.£vr]v 6 8c | 07ra>s 8' also Occurs.] TrXcKTaicriv aliapai(nv £/xir£7rXcy/ieviyv. | o 8' cos Campbell. 1279 ai/xaros (others ai/xards T ' ) ] ai/iaToiJs Heath. 1310 8ia7reraTai] Sia7ra>rttT Hermann. 1341 TOV oXiOpiov piyav (others fj.tyaj\ TOV ply oXiOpwv Erfurdt. 1348 fM]?>' dvayvtavat TTOT av (or Trore)] firjBi y av yvuivat Trore Hermann. 135° vo^u,a8os] voyaaS' Elmsley. 1360 a^Xtos] adeos Erfurdt. 1365 e$u] e n Hermann. 1401 [ie[i.vr]a6' o n ] fi€fj.v7]a-6i n Elmsley. 1495 yoviv(riv\ -yovoicrii/ Nauck. 1505 fir} a(ji€ TraptSrjs] /x»f 0"<^)£ •Jrcpu'Srjs Dawes. I5 X 3 ^ e t ] *? Dindorf. 1517 etjui] ei/tt Brunck. 1521 vvv...vvv] vvv...vw Brunck. 1526 ooTis.../cai Tvp^ais €7n/3Xe7r(i)v] ou Tt's...rais TV^an £ir£/3Xe7r£V Hartung, partly after Martin and Ellendt. § 8. The following emendations, adopted in the text, are due to the Conpresent editor. The grounds on which they rest are in each case stated {^ ^ in the commentary :— editor. 227 vir£$t\(£v I auTos] 624 orav] ok av. 640 8pao"ai...8uoii'] 1091 OiSiVov] OlSiirovv. 1218 (us TTfpiaXXa la)(£(i)V (vv. II. 7T£pi'aXa, a^f'wv)] w 877 1

On p. 176, crit. note, line 2, insert vov after Ti&\rt\Kt.

lxii

THE

TEXT.

In a few other places, where I believe the text to be corrupt, I have remedies to suggest. But these are cases in which the degree of probability for each mind must depend more on an aXoyos ala-Orjcrf;. Here, then, the principles of editing which I have sought to observe would not permit me to place the conjectures in the text. In the commentary they are submitted to the consideration of scholars, with a statement of their grounds in each case. 1090 OVK lay rciv avptov] rav iiriovaav tv
Notation.

§ 9. In my text, a conjecture is denoted by open type, as Tf.\*lv for Te'Aei in 198: except in those cases where a slight correction, which at the same time appears certain, has been so generally adopted as to have become part of the received text; as apopov for a/toipov in 248. In such cases, however, no less than in others, the fact that the reading is due to conjecture is stated in the critical note. The marks f t signify that the word or words between them are believed by the editor to be unsound, but that no conjecture seemed to him to possess a probability so strong as to warrant its insertion in the text. It was only after my text had been printed that I received, through the kindness of Mr P. N. Papageorgius, his Beitrdge zur Erkldncng und Kritik des Sophokles. Pars Prima. Iena, Fromann (H. Pohle) 1883 : pp. 40. I gladly take this opportunity of mentioning his emendations of the O. 71, which, had his work reached me earlier, would have been recorded in my critical notes :— (i) 329 ra/x' cos civ euro)] Tap es cr' dveiVct). (2) 360 KCU Tovpyov av CTOV TOVT e(f>rjv uvai jxovov, where etvai, though found in A and others, has come in L from a later hand. For etcat he proposes eyco. (3) 815 Tis TOXJSE y avSpos vvv tar at9AicoTepos (L)] Tt9 TOVSC y* avSpos vvv os o dt5XtcuTepos; (4) 360 77 \iTUpa \iy€iv (L)] ^ Vjreipa Xoyois; I am

glad to find him confirming the remark made in my critical note (p. 80), o

that the Ae'yeiv of L points to \6ywv, which, as he notices, occurs in a gloss by a late hand, d [wanting in L] irelpav \6yo>v /«veis. In 1881 the same author published his Kritische undpalaeographische Beitrdge zu den alien Sophokles-Scholien, and in supplement to it (1883), Codex Laur. von Soph, und cine neue Kollation in Scholien-Texte (37 pp.),

THE

TEXT.

lxiii

giving in many places the true readings of the old scholia in the MS., and also some old lemmata and scholia hitherto unpublished1. 1 His transcript of an old schol. on v. 35, p. 20, enables me to supplement my crit. note on is 7' in 35. An old schol. there in L runs, os re /io\ux> aarv ~Ka.5iJ.aoi>, tva Kal i] awo H&rjs avrov d'0i£is dij\u$y (the parent, doubtless, of the corrupt BUTE juoXetc aarv KaSfietoy). The reading os T', then, claims such weight as is due to the fact that it was recognised by the scholiast : but this circumstance does not affect the preference which, on other grounds, seems due to os 7'.

METRICAL ANALYSIS. IN my text, I have exhibited the lyric parts with the received division of verses, for convenience of reference to other editions, and have facilitated the metrical comparison of strophe with antistrophe by prefixing a small numeral to each verse. Here, in proceeding to analyse the metres systematically, I must occasionally depart from that received division of verses—namely, wherever it differs from that which (in my belief) has been proved to be scientifically correct. These cases are not very numerous, however, and will in no instance cause difficulty. The researches of Dr J. H. Heinrich Schmidt into the Rhythmic and Metric of the classical languages have thrown a new light on the lyric parts of Greek Tragedy1. A thorough analysis of their structure shows how inventive and how delicate was the instinct of poetical and musical fitness which presided over every part of it. For the criticism of lyric texts, the gain is hardly less important. Conjectural emendation can now in many cases be controlled by more sensitive tests than were formerly in use. To take one example from this play, we shall see further on how in v. 1214 the Si/ca^i TOV of the MSS. is corroborated, as against Hermann's plausible conjecture Suca^ei T\ The work of Dr Schmidt might be thus described in general terms. Setting out from the results of Rossbach and Westphal, he has verified, corrected, and developed these by an exhaustive study of the Greek metrical texts themselves. The essential strength of his position con1

Dr Schmidt's work, ' Die Kunstformen der Griechischen Poesie und ihre Bedeutung,' comprises four volumes, viz. (1) ' Die Eurhythmie in den Chorgesangen der Griechen,' &c. Leipzig, F . C. Vogel, 1868. (2) 'Die antike Compositionslehre,'&c. ib. 1869. (3) 'Die Monodien und Wechselges'ange der attischen Tragbdie,' &c. ib. 1871. (4) ' Griechische Metrik,' ib. 1872.

METRICAL

ANALYSIS.

lxv

sists in this, that his principles are in the smallest possible measure hypothetical. They are based primarily on internal evidence afforded by Pindar, Aeschylus, Sophocles, Euripides and Aristophanes. To Professor J. W. White, Assistant Professor of Greek at Harvard University, is due the credit of having introduced Dr Schmidt's system to English readers1. With regard to the lyric parts of this play, were I to give merely a skeleton scheme of them, the application of it to the Greek text might prove a little difficult for those who are not already acquainted with the results indicated above. For the sake, therefore, of greater clearness, I give the Greek text itself, with the scheme applied to it. Such notes as appeared requisite are added. A few explanatory remarks must be premised. PrelimmA syllable of speech, like a note of music, has three conditions of remarks, utterance: (i) length of tone, (2) strength of tone, (3) height of tone. (1) Length of tone—according as the voice dwells a longer or shorter time on the syllable—is the affair of Quantity. A 'short' syllable, as distinguished from a 'long,' is one which is pronounced in a shorter time. (2) Strength of tone—according to the stronger or weaker ' beat,' ictus, which the voice gives to the syllable—is the affair of Rhythm. 'Rhythm' is measured movement. The unity of a rhythmical sentence depends on the fact that one syllable in it has a stronger ictus than any other. (3) Height of tone—according as the voice has a higher or lower pitch—is the affair of Accent. In modern poetry, Accent is the basis of Rhythm. In old Greek poetry, Quantity is the basis of Rhythm, and Accent has no influence which we can perceive. The facts which we have now to notice fall, then, under two heads: I. Quantity, as expressed in Metre: and II.

Rhythm. I. Metre. § r. In Greek verse, the short syllable, denoted by ^ , Metre, is the unit of measure, and is called ' a time' (Lat. mord): a long 1

By bis excellent translation, made conjointly with Prof. Dr Riemenschneider, and revised by Dr Schmidt, of the ' Leitfaden in der Rhythmik und Metrik der Classischen Sprachen' (Leipzig, 1869)—an epitome, for schools, of the principles established in the ' Kunstformen.' The ' Introduction to the Rhythmic and Metric of the Classical Languages' was published at Boston, by Ginn and Heath, 1878 ; and in Prof. White's edition of this play (id. 1879) the lyrics are constituted in conformity with it. Here, I have felt it necessary to assume that few of my English readers would be familiar with Dr Schmidt's results, and have therefore deemed it expedient to give fuller explanations than would otherwise have been necessary.

lxvi

METRICAL ANALYSIS.

syllable, - , has twice the value of a short; so that - u is a foot of ' three times.' The short syllable has the musical value of a quaver J^ or \ note (i.e. eight of which make 23:). The long syllable has therefore the value of I or a J note. § 2. As in music J , signifies that the J note has been made onehalf as long again (/. e. \ +§• = §), so in Greek verse the long syllable could be prolonged by a pause, and made equal to three short syllables. When it has this value, instead of — we write '—. § 3. In a metrical foot, there is always one syllable on which the chief strength of tone, or ictus, falls. This syllable is called the arsis of the foot. The rest of the foot is called the t/iesis1. When a long syllable forms the arsis of a measure, it can have the value of even more than three short syllables. When it becomes equivalent to four (= J , a J note), it is written thus, •—'. When to five (= J . J , # note), thus, LU. § 4. When the long syllable (written <—) is made equal to three short, it can be used, alone, as a metrical substitute for a whole foot of three short 'times,' viz. for - ^ (trochee), ^ — (iambus), or ^ ^ ^ (tribrach). So, when (written •—J) it has the value of four short, it can represent a whole foot in |- (J) measure, viz. —.«^> (dactyl), u u - (anapaest), or — (spondee). And so LL1 can replace any -| measure, as — « —, - ^ ^ v, ^w — (paeons), ^ — , — ^ (bacchii). This representation of a whole foot by one prolonged syllable is called syncope, and the foot itself is ' a syncopated trochee,' &c. § 5. When two short syllables are used, by ' resolution,' for a long one (^^ for J ) this is denoted by —. Conversely the sign w means that one long syllable is used, by ' contraction,' for two short ones. § 6. An 'irrational syllable' (
METRICAL ANALYSIS.

lxvii

marked >. Thus in the trochaic verse (0. T. 1524), ), or by an apparent — ^ (written — >). In a metrical scheme J means that a long syllable is admitted as an irrational substitute for a short one. § 7. When a dactyl takes the place of a trochee, it is called a cyclic dactyl, and written -w ^.

The true dactyl ( - ^ J) = J J ^ : the

cyclic = J J J : /.«. the long syllable loses \ of its value, and the first short loses \, so that we have - ^ + TV + i = f • So the cyclic anapaest, o

^ v—, can replace an iambus. § 8. A measure can be introduced by a syllable external to it, and having no ictus. This syllable is called the anacrusis (dvaKpova-cs, ' upward beat'). It can never be longer than the thesis of the measure, and is seldom less. Thus, before — >->, the anacrusis would' properly be ^ (for which an irrational syllable > can stand). Before — v ^, it would be w or —. The anacrusis is divided from the verse by three vertical dots • § 9. It will be seen that in the Parodos, 2nd strophe, 1st period, 3rd verse, the Greek letter o> is printed over the syllables oroAos which form the anacrusis. This means that they have not the full value of u u or two |- notes ( IH), but only of two T \ notes (.^J) 1 § 10. Pauses. Thefinalmeasure of a series, especially of a verse, might always be incomplete. Then a pause represented the thesis of the unfinished foot. Thus the verse vvv 8' e7ri|KeKXo/Aei^|a ^ v^ is incomplete. The lacking syllables ^ ^ are represented by a pause. The signs for the pause, according to its length, are as follows :—• A pause equal to ^ is denoted by A , musically *1 for ^J* n

!>

*~

)>

>j

A ;

v

™" J

A

II. Rhythm. § 11. Metre having supplied feet determined by Rhythm, quantity, Rhythm combines these into groups or 'sentences' determined by ictus. Thus in verse 151, <3 Aids aSveircs ^an, || TIS TTOTC ras 7roXuxPlj/a'ol'> there are two rhythmical sentences. The first owes its rhythmical unity to the chief ictus on <3, the second to the chief ictus

J.s.

/

Ixviii

METRICAL ANALYSIS.

on Tt's. Such a rhythmical KWXOV or sentence almost always consists of feet equal to each other. The end of a sentence is denoted by the sign ||. § 12. Rhythmical sentences are again combined in the higher unity of the rhythmical period. Here the test of unity is no longer the presence of a chief ictus on one syllable, but the accurate correspondence with each other of the sentences which the period comprises. The period is seen to be such by the fact that it is neither less nor more than an artistic and symmetrical whole. § 13. In the choric type of lyrics, which Tragedy uses, we find, as in other Greek lyric types, the rhythmical sentence and period. Their correspondence is subordinate to that of strophe and antistrophe. Each strophe contains usually (though not necessarily) more than one rhythmical period. Each period of the strophe has its rhythmical counterpart in a period of the antistrophe. And, within each period, the rhythmical ' sentences' (/«3Aa) accurately correspond with each other. § 14. In the choric dance which accompanied the choric song, the antistrophe brought the dancer back to the position from which, at the beginning of the strophe, he set out. Hence the necessity for strict metrical correspondence, i.e. for equal duration in time. When any part of a choric song is non-antistrophic, this means that, while that part was being sung, the dancers stood still. A non-antistrophic element could be admitted in any one of three forms : viz. (1) as a verse prefixed to the first strophe—a 'proode' ox prelude, TO irpouiSiKov, if 7rpoa)8o's, denoted by vp.: (2) as a verse inserted between strophe and antistrophe—a 'mesode' or interlude, TO HUO-USIKOV, ij juco-coSo's : (3) as a verse following the last antistrophe—an ' epode' or postlude, TO CTTUSUCOV, rj empSoV. During the pause at the end of a verse in a choric ode of Tragedy, the dance and song momentarily ceased; but instrumental music probably filled the brief interval. Such pauses correspond no less exactly than the other rhythmical divisions. We will now see how these principles are exemplified in the lyrics of the Oedipus Tyrannus. Under each line of a strophe I give in smaller type the corresponding line of the antistrophe, since the comparison is often instructive, especially with regard to irrational syllables. 1

Distinguish the masc. 0 exijjSis, a refrain, esp. the epodic distichon as used hy Archilochus and Horace.

METRICAL

I.

ANALYSIS.

lxix

Parodos, vv. 151—215.

FIRST STROPHE.

(I., II., denote the First and Second Rhythmical Periods. The sign || marks the end of a Rhythmical Sentence; ]] marks that of a Period.) I. I.

a) Stos irpwra ae 0covos I ay\a

2 . 7TV

cs an ||

T I S TTOTS | T a s TTO\V

os Svyar

ep

||

Sios | a/xfipoT a8 |

4.

0?iy8as

I tKTera/i

apre/xiv

| a KUKXO | e r r 070/)

t

•

lite 17 1c

ava

||

j as e/8 | as A

\-/ v-»

3.

| )(pv
— \y w

| a i o/3tp ||av <j>peva || as Bpovov \ eixcXea | Oacraei

I SaXie | 7rat | a v A

ai ; <poi(3ov en | a/3oXoc |

I I . 1. a/X(j>i(roi rpiaaoi a \

1

| w

os Tt /xoi [ »; veov || 17 Trepi | TcXXo|iiev | ais cop | ais 7raA.iv || oi.irpo(j>av\ rp-e fioi || enroTe | Ktu vporep | as a r | as

2.

\ asTCKVOV

opw/iev I as TroXei

TOTTI

|| a c
eX7riSos I afifipore

vjrep || | <£a/j Kai i«w>]]

I. /VVJ-/ Period: 4 verses. Metre, dactylic. Verse 1. The comma after — in the 3rd foot denotes caesura. Verse 2. The dots ; after irv show that it is the anacrusis: see § 8. The sign

Ixx

METRICAL

ANALYSIS.

I— means that the long syllable here has the time-value of — ^ or a § note, so that 6
off by j | . In v. 1, we have 2 v. 2 one sentence of 4 feet; 4. the same as in v. 2. The series the form of the entire Rhythmical

Here the curve on the left means that one whole group (verses 1, 2) corresponds with the other whole group (verses 3, 4). The curves on -the right mean that the 1st sentence of the 1st group corresponds to the 1st of the 2nd, the 2nd of the 1st to the 2nd of the 2nd, the 3rd of the 1st to the 3rd of the 2nd. The vertical dots mean that the figure or figures between any two of them relate to a single verse. This is called the palinodic period : meaning that a group of rhythmical sentences recurs once, in.the same order. II.

Second Period: 2 verses. Metre, still dactylic. Verse 1.

The

last foot, ais 7raA.iv, is a true dactyl (not a ' cyclic,' see § 7); it is not contracted into ; and it closes a rhythmical sentence. Now, when this happens, it is a rule that the immediately preceding foot should be also an uncontracted dactyl. Why do not ais wp, as ar, break this rule ? Because, in singing, two \ notes, ^ Q , instead of one \ note, I, were given to the syllable wp, and likewise to ar. This is expressed by writing wp, and not merely wp. In v. 1 we have two rhythmical sentences of 4 feet each : 4, 4.

In

METRICAL ANALYSIS.

lxxi

v. 2, the same. The series, then, is 4 4. 4 4., and the form of the Rhythmical Period is again palinodic:—

SECOND STROPHE.

I. I.

apiOfM

I yap
api9[j.os | oXXv

[ rat

2. irr; • /xara vocr ] et 8e | fioi Tfpo | ?ras A II vq

• Xc o

ta 3.

O-TO\OS davar

8e | -ye«SXa | 7rpos ?re5 | a —^ v-/

—^J KJ

^—

~

• ouS cvt I <^>povTt8os | e y x I os A

3

• a<j>opa \ Keirai av | oi/cr | ws

II. 1. (1) TIS a I Ae^erou | oure yap | £Kyora ] ot 7roXt | atr !>

—

w \y

2.

ext [ /iarepes

— t ^ / v ^ — \^\_/ av£erai ODT£ TOK 1 oitrtv ||

I

Pa/uov 3-

LJ

Kafiar | wv ave) ^ || overt y w

<•

LKT

4. aXA

aXX >0ex | ^XXat

II ' 0revax

1

5. Kpficrcrov a | fi.aijxaKer o)v virep

en

ovo-

£S

A

1 '"

ov8 av | aXX | w TrpocrtS || ot9 enrep | cu7TTcpov | opviv r

6. OKT

aiK

j w xpv&e

| ou Trvpos | a

$vyar

e

op/j.evov

j ep 5tos

av 7rpos

ov I ^eou A 3

«

OKK

7ra

I

ay

| yrjpvs op \ avkos

lxxii

METRICAL ANALYSIS.

I. First Period: 3 verses. The metrical basis of the rhythm is the choree (or ' trochee,' - S), for which the cyclic dactyl (-^ ^, see § 7) and tribrach (^ ^ ^) can be substituted. The rhythm itself is logaoedic1. When chorees are arranged in ordinary choreic rhythm, the ictus of arsis is to that of thesis as 3 to 1 (^- o): when in logaoedic, as 3 to 2 (-=-0). The latter has a lighter and livelier effect. Verse 1. The anacrusis , since it is an ' irrational' syllable (§ 6),—a long serving for a short. The anacrusis can here be no more than ^>, since it can never be longer than the thesis (§ 8), which is here ^, since v^ ^ ^ represents — ^. Verse 3. u> written over OTOXOS means that the two short syllables here have only the time-value of •->, or ^ H , not of ^ ^ or ^ ^ : see § 9. ovSevi and <£/DOVTI8OS are cyclic dactyls (—^ ^, = — J), not true ones (— ^ J), see § 7. The second syllable of eyx°s i s marked long, because the last syllable of a verse (syllaba anceps, avWafirj a&a^opos) always can be so, and here os is the first of a choree, — ^, which the pause A completes. Verses 1, 2, 3 contain each one rhythmical sentence of 4 feet; the series is therefore . 4 . 4 . 4 . , and the form of the period is:— When two rhythmical sentences of equal length correspond to each other, they form a ' stichic' period (vTiyos, a line or verse); when, as here, more than two, they form a repeated stichic period. 1 The name X07aoi8i/c6s, 'prose-verse,' meant simply that, owing to the apparently lawless interchange of measures (—w, V*-"J, — > , for — v->) in this rhythm, the old metrists looked upon it as something intermediate between prose and verse. It should be borne in mind that the essential difference between choreic and logaoedic rhythm is that of ictus, as stated above. The admission of the cyclic dactyl is also a specially logaoedic trait, yet not exclusively such, for it is found occasionally in pure choreics also. The question, ' Is this rhythm choreic or logaoedic ?' can often be answered only by appeal to the whole poetical and musical character of the lyric composition,— the logaoedic ictus being always more vivacious than the choreic. See, on this subject, Grieck. Metrik% 19. 3. Students will remember that ' logaoedic verse' is 3. generic term. —\J

*~*

— \-t

Three kinds of it have special names : (1) the logaoedic dipodia, as Ka.tmvhov \ a/D^aj|, —*~>

vy

—

_

*_*

\j

is a n 'ASiiviov ixirpov : (2) t h e tripodia, fivpuoTov \ ov KVKX \ oifia ||, a QepeKpaTeiov: — ^

V^

_

\y

\s

—

W

(3) the tetrapodia, which is very common, vvvyapefi | 01 ,ue\ | ei x°P I etmatH, is the 'glyconic,' TXVKUVUOV. (2) and (3) can vary the place of the cyclic dactyl, and can be catalectic. The logaoedic (5) pentapodia and (6) hexapodia, both of which occur in tragedy, are not commonly designated by special names.

METRICAL ANALYSIS.

lxxiii

II. Second Period: 6 verses. Metre, dactylic, Verse 2. The anacrusis K\VT is marked > since it is a really short syllable serving ' irrationally ' (§ 6) as a long: for, the measure being — v^ ^, the anacrusis should properly be ^ ^ or — (as aKT in the antistr. actually is). Verse 3. OIK = - ^ v^ (§ 4). This syncope (§ 4) in the penult, measure makes a ' falling ' verse : see on Str. 1., Per. 1., v. 4. ~ = a. pause equal to ^ ^ (§ 10). Verse 1 contains 1 rhythmical sentence of 4 feet: v. 2, the same: v. 3, two sentences each of 3 feet: v. 4, the same : vv. 5, 6, the same as 1, 2. Series : . 4 . 4 . 3 3 . 4 . 4 , and the form of period is :— The curves on the left show the correspondence of whole rhythmical groups; those on the right, that of rhythmical sentences. If the second group of • 3 3 • had followed the second of • 4 • 4 •, this would have been a simple palinodic period, like the 1st of Strophe 1. But as the groups are repeated in reversed order, it is called a palinodicantithetic period.

THIRD

STROPHE.

I. I. ap • a « j TOV I fj,a\epov | 09 || vvv a | ^aX/cos | acnnS |
• ti

\

a£

I r a r e aa | x/"" 7 II ourpocp \ av air \ ayicvk \ av

a£

ei fie

ca 0 e \ I oifA av | adafiar | evSar \ et
ov S/aaju, I 77/xa

3. iraX ap

I— 4 . €7T apr

vwTto" I at 7rarp

as /\

irpoaraQ \ evra \ ras r e | wvpcpop \ ovs

; ovpov

—

w

I—

^ \-» \_/

— <««

t t r I cs /X€y ] av

at7\ I as £vv \ ats ||

'— Tptr

\VKI op

fj

as A

]

METRICAL ANALYSIS.

lxxiv II. i. UT

£S TOV CITT I

o£evov

I av re KI \ KXTJO-K \ u

TOV

a A

op/j, | ov \\ raoS eir \

avv/i

>

2. TtA.

eiv yap | ei Tt | vvi; a^> | rj \\ TOVT €7r | rjfi,a.p | cpx e T I a t wra

3 . TOV

trek 4- «>

j

cut

] OP II /xcupaS

a) I rav | irvpop | tov |] afrrpair ]

rji> \ ai

| wi' o/i I ocroX | ov

av Kpar

ay\a

ri.fi.ov

\ ev

| aiv \ ov

VTTO | O-^tcr | ov Kep | a w airo \

A'

Be \

| to

A 3

01s | 8eov

I. First Period: 4 verses. The choree - ^ is again the fundamental measure, as in Str. 11. Per. 1., but the choreic rhythm here expresses greater excitement. Verse 1. The place of the syncope ('—, § 4) at TOV and os, each following a tribrach, makes a Wising1 rhythmical sentence, in contrast with the 'falling' sentence (see Str. 1. Per. 1. v. 4), such as > verse 4. This helps to mark the strong agitation. Verse 4. e-n- means that the proper anacrusis, ^, can be represented by an 'irrational' syllable (as apr in the antistr.). Verse 1 has 2 sentences of 4 feet each: 2, 1 of 6 : 3, the same: 4, the same as r. Series : . 4 4 . 6 . 6 . 4 4 . Form of period:—

A palinodic-antithetic period, like the last.

II. Second Period: 4 verses. Metre, still choreic. Note the weighty effect given by syncope (!—) in the ' falling' sentences of v. 1, and in

METRICAL

ANALYSIS.

lxxv

v. 3. In v. 1, eir is marked > ('irrational'), because the following dactyl is only cyclic (equal to — J), and the thesis being ^, the anacrusis cannot be more: cp. v. 4. Verses i, 2, 3, have each 2 sentences of 4 feet each. Verse 4 forms 1 sentence of 6 feet, to which nothing corresponds : i.e. it is an epode (§ 14), during the singing of which the dancers stood still. (This was dramatically suitable, since Oedipus came on the scene as the last period began, and his address immediately follows its conclusion.) Series :—4 4 . 4 4 . 4 4 . 6 = onoSi/coV. Form of period :—•

The period is generically palinodic, since a group recurs, with the sentences in the same order. But the group recurs more than once. This is therefore called a repeated palinodic period, with 'epode' or postlude.

METRICAL ANALYSIS.

lxxvi

II.

First Stasimon, vv. 463—512.

FIRST STROPHE.

I . I . TIS • OVTLV I a

|

| £i7re | wtrp | a

eta

|

e • \a(x^e \ yap j rou — > — — —^ 2. appr]T I appyjT |

aprt

| ws <pa.v |

cfioivi |

a«rt

avSpa \ irai/r ix

I

a vtv a I tAXaS | a>v A

II. I.

a 7a/) ux I aypi

\ av

wv aOevap | oirep | ov A

2. U\

av ara T

| avrpa \ K
a TroSa I vw/A I av A I irerp

as !
—*•/

I I I . I. evorrX

~

>

os yap CTT I awov eir | evOpwan \ et A os

/itcXe

I

ui iroSi

\

xWeu >

I

uv

Kai (TTepoTr I ats o 81 | os ycver | a s A | yas airo —

3. 3, jxavr

>

ai oo a/xc7r I ovrai aet

—


| WK

vj

ava7rAax | i/r | 01 A ] fajpra [ Trepiiror

ar | at

j a

| \ep
I irapvaua \ ov TQV a \

et
A [|

ev

I

av

]

METRICAL ANALYSIS.

lxxvii

I. First Period: 2 verses. Rhythm, logaoedic, based on the choree, — ^ : see Parodos Str. 1. Period 1. Each verse has 2 sentences of 4 feet each. S eries: . 4 4 . 4 4 . Form of period:—

A palinodic period, like the 1st of Parod. Str. 1.

II. Second Period; 3 verses. Rhythm, the same, but in shorter, more rapid sentences. Each verse has 1 sentence of 3 feet. Series : • 3 • 3 • 3- Form of period :—

A repeated stichic period: see Parod. Str. 11. Per. 1.

III. Third Period: 3 verses. Rhythm, the same: remark the weighty hexapody of v. 3, expressing how the hand of the avenging god will be heavy on the criminal. In v. 2,
was not a true cyclic dactyl, = J ! 3 ^ , but = J J ^ .

In the antistr., the

corresponding voa^it, is — > for — ^. Verses 1 and 2 have each 1 sentence of 4 feet: v. 3 has 1 of 6 feet, an iirtp&iKov, during which the dance ceased. Series: . 4 . 4 . 6 . = «JT. Form of period :— 4\ A stichic period (see Parod. Str. 11. Per. 1.), with postlude. 6 = €7T.

lxxviii

METRICAL ANALYSIS. SECOND

STROPHE.

I . I . Suva, fueu ovv | Sctva Tapacro" || ei o"o<£os ot [ tavoOeras || aXX o nev ovv | feus OT airoW ||

UK £weroi

| Kai Ta pporav

2. ovre SOKOWT | OVT airo^iacrK [| OVT ort \ c | | o) 8 cnropw ]] eiSores o^Sp | wv S on fiavr \\ is srXeoe ij \J \J

— — \s \J

I I . I. 7T€roa • at8

OVT

| yu (pcperou

w\; — — evOaSop \\ wv OVT OTTKT | O> A ||

2. TI yap • rj Xay88aKt8 | ais A || Trapa '• fieifeiev av \ rjp 3 . f\ TO)iro\vj31 ov veixos £« | etT OVTC Trap || oiOev irorey |
ov 7rpos OT I ov S?7 y3ao"av <j>avep 5.

ETTt

a 7a/) e7r

^aaav

| to A

/cop | a

wrcpo

Tav £7rt I Sa/tov A O4 (TO0OS ^

6 . <j)a.Tiv • et/x

a is TW OTT

ais

\J W

[| /coupos a

a)v A

| oviroT o<j>\

av

I. ^i>rf Period; 2 verses. Metre, choriambic (— ^ ^ —). This measure suits passionate despair or indignation: here it expresses the feeling with which the Chorus hear the charge against their king. Choriambics do not admit of anacrusis. Each verse has 2 sentences of 2 feet each. Series : . 2 2 . 2 2 . Form of period:—

A palinodic period.

METRICAL ANALYSIS.

lxxix

II. Second Period: 6 verses. Metre, ionic ( — <J J), an animated, but less excited, measure than the preceding choriambic. Note that one verse (3) has no anacrusis. Such an ionic verse is most nearly akin to a choriambic, in which anacrusis is never allowed. Here we see the consummate skill of Sophocles in harmonising the character of the two periods. Verse i. V = — (§4): "7T = a pause equal to ^ -^ (§ 10): the whole is thus ^ ^. Verse 1 has 2 sentences of 2 feet each : v. 2, 1 of 2 feet: v. 3, 2 of 3 feet: v. 4, same as 1; v. 5, same as 2; v. 6, same as 3. Series : . 2 2 . 2 . 3 3 . 2 2 . 2 . 3 3 . Form of period:—

A palinodic period.

lxxx

METRICAL ANALYSIS.

III.

First Kommos, vv. 649—697'.

TTIO • ov 6e\ I rjcr I as <j>pov | 77s || as r a v | a£ | Xitro-o/x | a i A ] 7W

• at TI

I jueW |

eis Kofi

| if || etK Sop. \ av \ TOVS €
[Here follows an iambic dimeter.]

II.

irpiv\ vrjiTL I ov \\vuvTtv\ 8 OK

IS fiU'

<paw

>

ov u«

I. TOV

2 . O~VV

]

I a^y (os X07 [ WJ* || 7J\de 15a?rr [[ ct 5e | /cat TO | p.7] VBLK | O^ [Here follows an iambic trimeter.] - ,

III.

opK || a) //.ey av Kar j aiSeo" | a i A

aX | is 7as

\^

v^

— \^ —

iroT ev 01 TI | a A irpoirovovixev

\ as

Xoy | eotra || IJXOV fiaX | etv A ]] ^ e

| \TJ%€P || afrou jae^ [ etv

[Here follow two iambic trimeters.] 1

The received constitution of this K0ftii6s—which, for convenience of reference to other editions, I have indicated in my text of the play—is as follows : (i) ist strophe, 649—659, (2) 2nd strophe, 660—668 ; (3) 1st antistr., 678—688, (4) ind antistr., 689—697. The division exhibited above is, however, in stricter accord with scientific method. Here, Periods I. I I . I I I . correspond to the ist strophe and 1st antistrophe of the traditional arrangement: Period IV. corresponds to the 2nd strophe and 2nd antistrophe. Thus the whole KO/ifids, so far as it is lyric, might be conceived as forming a single strophe and antistrophe. These terms, however, are not applicable to the KOHIXOI, nor to the fiovifSlai (lyrics sung by individual actors, fii\ij euro O-KIJP^S), in the same accurate sense as to the odes sung by the Chorus, since here there was no regular dance accompanying the song. Consequently there was no need for the same rigour in the division of the composition. The principles which governed the structure of the Kopfioi and ixovtpUai. have been fully explained by Dr Schmidt in vol. III. of his Kunstformen, 'Die Monodien und Wechselgesdnge der Attischen Tragodie.'

lxxxi

METRICAL ANALYSIS. I V . I . ov I rov | Tiavr \ tov 0* \ wv 0e | ov 7rpofj, | ov A we • a£ |

etir

j ou fxzv j ovx & ] ^ ^ f^-o

2. a \ t I ov CTret

a<£iAos | oTt TTV/A | a TOV A airopov

3.

j CTTI 0po»* | ijttct

oX • oifJLav pov ire • (pavdat. fx av

4. aXX

a

ya | <j>6ivovcra

JJLOL flucr

yav

5-

ei cr evo<x
\
et I if/v\ | av rab a\

KaK | 50OJ-

v | ova | av Kar

|

6. 7rpo(r • atj/ I ei I TOIS TraX | a t T O | irpos | (rtfxov ra

• I'l/i' I ev |

ITO/J.TOS

j av 7fv

Oi

|

A ]]

o

I. First Period: i verse, choreic. Two sentences of 4 feet each, forming :— 4\ 4/

A stichic period.

II. Second Period: 1 verse, choreic. The rhythmical sentence of 2 feetTOVT cv op»c || has nothing corresponding with it, but stands between 2 sentences of 4 feet each : i.e. it is a /u-co-wSos or interlude. The form of the period is thus :—

2

j

A mesodic stichic period.

4'' III. Third Period: 2 verses. Rhythm, dochmiac. When an interchange of measures occurs in Greek verse, it is nearly always between measures of equal length: as when the ionic, ^ ^ , in f time, is interchanged with the dichoree, — ^ — ^, in § time. The peculiarity of the dochmius (iroCs So'^/xios, ' oblique' foot) is that it is an interchange

lxxxii

METRICAL ANALYSIS.

of measures not equal to each other,—viz. the bacchius v/ — or — v^ (with anacrusis), and shortened choree, — A . The fundamental form is ^ ; yj I - A ||. The varieties are due to resolution of long syllables, or to the use of ' irrational' instead of short syllables. Seidler reckoned 32 forms; but, as Schmidt has shown, only 19 actually occur, and some of these very rarely. With resolution, the commonest form is that seen here, ^ ] ^^ — ^ | — A ||. Each verse contains two dochmiac sentences: i.e. we have fDoch. 'iDoch. A palinodic period. /Doch. (Doch. IV. Fourth Period: 6 verses. In 1, 2, 5, 6, the metre is choreic (— J). In 3, 4, the metrical basis is the paeon, here in its primary form, the 'amphimacer' or 'cretic/ — ^ - , combined with another measure of the same time-value (f), the bacchius (y or — J)x. Verse 1 has 1 sentence of 6 feet; v. 2, the same; v. 3, 1 of 3 feet; v. 4, the same; vv. 5, 6 the same as 1, 2. Series : . 6 . 6 . 3 . 3 . 6 . 6 . : i.e.

Here we have no repetition of whole groups, but only of single sentences. The period is not therefore palinodic. And the single sentences correspond in an inverted order. This is called simply an antithetic period.

1

In v. 4, if Dindorf s conjecture (p8was for (j>dlvovi\av J ev irovois.

The ear will show anyone that this is rhythmically better than what I obtain with the MS. tpffivovcra and irbvoiuiv, and the conjecture <j>dwas is entitled to all the additional weight which this consideration affords. On other grounds—those of language and of diplomatic evidence—no less distinct a preference seems due to

METRICAL ANALYSIS.

IV.

Second Stasimon, vv. 863—910.

FIRST

I.

£i

STROPHE.

; /Hoi £vv I et I f) <j>ep \ OJTI || fioipa

vfip •

ts

lxxxiii

tpvr I ev I et

rup [ avvov []

[ Tav ev || trorroi/ \ ayvel

v[3pis \ "et TTOXX ||

wy i/7T ^

vy

[ €pTr\i]G& j ^

av Xoy I
• jui; T( I

^

wvyv-*

KOipa — \~f \J

|

/nijSe

y\

OPT | a

—

2. «i/f • nroSes I ovpavi | av

3.

| crv/Mpep \

/\

||

ctKp • OTIXTOV I uaava

\ pacr

81 • aiOepa. | TCKV(I)6

[ CVTES | WV O | XVJJ/JT | os

axp • OP a x o | TOJXOV up J ouffep | eis ap |

A

II

ayK | OP

I I I . I. ira • T-qpfiovoi I ovSt | vtv 6va | ra <j>van | avep ev8 \ 2.

€

ov iroSt

• TiKnv

| xpt]Hi \ fua XPV I ™

—

>

J- s.

^ I u s 5ex

jrore | Xuo- ]| a i Seop |

—V w

3. jiieyas • tv TOVT | ois^eos | Oeov

Ka

| ovSe | fxav TTOT€ | XaO | a KaTa I KOifn. I acr

7roX • ei 7ra\ | ai
To

— vy

ovSc

I

'

aiT

| ov

—

| y?/p ] a(TK | et

\

A -H

ou X?/£ I w 7rore [ irpouTaT \ <xv \ ur)

S

lxxxiv I.

METRICAL ANALYSIS. First Period: i verse.

Rhythm, logaoedic.

Two sentences, of 4 feet each, are separated by a mesode or interlude, consisting of the sentence of 2 feet ixoipa \ rav ev : i. e. \ 2] 4/ II.

A stichic mesodic period.

Second Period: 3 verses.

Rhythm the same1.

Verse 1 has 1 sentence of 6 feet: v. 2 is a mesode of 3 feet: v. 3, the same as 1 : i.e.

A mesodic stichic period.

III. Third Period: 3 verses. Rhythm the same. For the mark
An antithetic period.

(See First Kommos, Per. iv.)

1 The conjectural reading oipavlq. | aWipi, adopted by Prof. White and (as I suppose) by Dr Schmidt, would give in v. 3

> ai6

\J^J ^ I — ^J — W L-— • depi TGKV \ tad j e^res | uv o \ \vfiir \ os f\ \\

In the antistrophe, Prof. White reads simply aKphrwrov daava§S.
• OTO/J.OV | up \ ovuev \ eis av \ ayK | OK A II

Now, there is no apparent reason for doubting the genuineness of the reading on which the MSS. agree, ovpavlav \ Si aWipa: while in the antistr. the sense affords the strongest reason (as it seems to me) for holding, as has so generally been held, that something has fallen out before Airirofiov. That something I believe to be Hxpov, which I have conjecturally supplied. Whether, however, TO/JLOV wp can properly be treated as a cyclic anapaest (v^ v^—,..equal in time-value to - u or a | note) seems

METRICAL ANALYSIS.

lxxxv

SECOND STROPHE. I. I. ciSe | Tts VTrep | OTrra | )(ep(nv \\ OVKCT I —

2.

1 TOV a

\^

—

I 01KTOI> |

\j

Ct/U

— vj

—

17 Xoy I a) irop I ever I a i A || 70s

67T I OjU0a\

[ op (re/3 | <*>v

\j

—\j

w

—

\j

'

—

—

3. SIK • a s a<£o;8 I JJTOS [ ov | Se A 0118 ; 4.

es TOX a^ I o«ri

Sai/Jiov I cov e8 I 17 ce/J | u v ouSe

5.

I rai>

KCLK • a

et 6.

] m | or A II

0

viv eX I OITO

| /noip

j XelP°

; (U?; Ta5e

8lKT7rOTjM, I OV X a P I IV X^- 1 ^ I

iraaiv

II. I.

\ ap/ioa

jirj

a s

A

TO | KcpSos I KfpSav | a SIK | ai 1

ciircp —

^

rtav a

—

>

—

^i

—

>

OK I OV I f l !

—

ai A

cr&rrtav epi

travT av \ acirav >

A

\ ei fipm \ 01s

aXK 2. K0.1

| a

I SCLKT j a

\ ii.rj\a$ | 01 \X2

—

a ^ | u>v A ae I rav re \
III. I. TIS

aiev

£Tt TTOT | ev | TOIO-8 a v | ?7p Oe

OVTO.

| 70/) I

Xai'

3

| apx \ a" 17 A

1 ou 7raX |

ai^ar

| a

2. ev^er I a t xj/v\ I a s aju I vve.iv || BtatpOiT I -

v,

e£aip -

[ oucti' >

-w

j Tjdij -

>

3. tt yap I ai rot | at8e | 7rpa^Eis

-

-

Ti/ii

ai A

KovSap. I ou Ti/M I ais a I ffoXXwx | e/upay 4 . Tt et

8f

TO I Seio

a doubtful point. An alternative would perhaps be to write aitpov ; airoTop, \ ov up | , treating ov wo as an inverted choree.

lxxxvi

METRICAL

ANALYSIS.

I. First Period: 6 verses. Rhythm, logaoedic. Each verse contains i sentence of 4 feet: and the six verses fall into 3 groups: i. e.

[A repeated palinodic period.

II. Second Period: 3 verses. Rhythm, the same. In v. 3 ==^ over 6i£ means that in the antistrophe 6avar represents, by resolution, a long syllable, see § 5. Verses 1 and 3 have each one sentence of 6 feet: v. 2 is a mesode of 4 feet: i. e.

A stichic mesodic period.

III. Third Period: 4 verses. Rhythm, the same. In v. 4, the last syllable of x°Pevelv IS marked short, because, being the last of a verse, it can be either long or short; and here it is the second of a choree, — ^. Verses 1 and 3 have each 1 sentence of 6 feet: v. 2 is a mesode of 4 feet: v. 4 is an epode of 2 feet. Thus, in this period, the dancers stood still during the alternate verses, 2 and 4. The form is :—

A stichic mesodic period, with postlude.

METRICAL ANALYSIS.

lxxxvii

V. Third Stasimon (properly a Hyporcheme1), vv. 1086—1109.

I. 1. enrep ey |
I

«(T(rij3aT

|

U>KIO

ap | a

| aip \
a ira | T/)OS T e \ | a
3. t O"K eo- I ij Tav I atipi I ov f II iravcreX | IJVOI/ | /xijou crc j yc t

5)

ft

I I . 1. Kai irarpi

7e Tts

Bvyarrip f ||

\ w Tav \ 0tSi7r | ovv

Xo|i

/\

| ou Tij) | 70/3 7rXa/c | es

||

aypovo/J, I 01 Traff | ai 0 i \ | 01 2. Kai Tpo<^> I ov KCU I /xarep

| av^eiv ||

| as ai> ' a dance-song,' merely denotes a melody of livelier movement than the ordinary ordffi/ua of the tragic Chorus, and is here expressive of delight. Thus Athenaeus says (630 E ) ii 8' iTopxru^aTiKii (6pxo<ns) t% KWIXIKTJ OIKUOVTCU, T)TIS KaXeirai

Kdpda!-- vatyviddas b" el a/Mporepcu: ' the hyporchematic dance is akin to the comic dance called 'cordax,' and both are sportive.' Fragments of viropx^^aTa, which were used from an early age in the worship of Apollo, have been left by several lyric poets,—among whom are Pratinas (who is said to have first adapted them to the Dionysiac cult),—Bacchylides, and Pindar.

METRICAL ANALYSIS.

lxxxviii

at wpos I 17/tctfv ||
3. K<XI x°P

os

«0 0

0e

[ os ecu || CM en* a/cp | uv

ope \ wv evp || ij/ua I _ « L_ _ 01s rvp I a w I ots A II 5e£a.T

—

4.

1

•

171 c I

\j

'

|

e/c | TOU

—

—

oi^€ I croi [ Se A !| viS \ uv | ais

5. TOUT ap I ea-T |

«

| ij A

I. i^'rj-/ Period: 3 verses. Rhythm, logaoedic. If in the first sentence of v. 3 we adopt for the antistrophe Arndt's conjecture, rj
A palinodic period, with mesode.

If, on the other hand, we should hold that rj o-eye T« OvyaTijp represents the true metre (being c o r r u p t e d from rj a-iy <[vo-£ Trarrjp), a n d that OVK eery rav

avpiov should be amended to rdv tTTLowav e
2.

y*i

\j

OV TOV 0 Trai'os op |

—

\v[nrov eacnfiar

a I Trap | wv ||
a

\ ira \\ rpos 7reX | aa$ \ ei
3. eirt • ovcrav to~ | 17 | TavcreX | r/vov ae ye ]

vat Tra | TTJP |

OJV

Xo|i

TJ

ju.17 ov o"£ | ye A

[ as rip \ yap irXa/c | es

METRICAL ANALYSIS.

lxxxix

and v. 3 would be an epode, the form being:—

A palinodic period, with postlude.

6 = hr. II. Second Period: 5 verses. Rhythm, the same. Verses 1, 2, 4, 5 have each one sentence of 4 feet: v. 3 has 3 sentences, the first and third of 4 feet each, the second of 3 (the words «K «ri rjpa <j>ipovTa). Series : .4. 4 . 4 3 4 . 4 . 4., i.e.

Here, single sentences correspond in an inverted order, while the middle sentence of v. 3 has nothing corresponding to it, but forms a mesode or interlude. This is therefore a mesodic period. We need not add ' antithetic,' because, where more than two single sentences (and not groups) are arranged about a mesode, their arrangement is normally inverted.

xc

METRICAL

VI.

ANALYSIS.

Fourth Stasimon, vv. 1186—1222. F I R S T STROPHE

(forming a single period). 1. 1 I QI yeve | ai /3poT | wv A || ocr I TIS KaO vir \ ep |3oX | av 2. 0" | a s evap | i(fyi | o roifeiw I as cKpar | 3 . TIS I yapTt^av w I 4.

^
A

| TOV \ iravr cv \ Saifiovo; | oX|8 | ov

| r]p 7r\e \ ov

A

|j

fev /cara | fiev (pdur | as

r a s cw I 8at/Aovt | a s <j>ep | ct A || irapOcv I oi'

5-

^ TOO* I OVTOV 00" I OV So/C | £1^ A [| ^p^(T/t^)5 I oc davar

j w^5 e/i I a

6. Kat So£ I avr euro | KXIV | at YWOCt

I ITVpyoS

OLV I

€(J"T

I

A ||

0,

7. TOV ; o-ov I Tot 7rapa | Sety/x, €\ \ wv A |[

v • L!!

K

i r - 6uj r L." _> __ _ „ _

8. TOV • o"ov I 8ai//,ova | TOV O"OV |
WT 6

I Ti^t ||

a8t]s

\rais neya~\\

aicnv

\ cv

9. ov I SevjuaKap | i£ | a> A || 6?; I (Haiatv av | affff | UK

Rhythm, logaoedic. Verse 1 contains 1 sentence of 4 feet: v. 2, 2 of 4 feet each: v. 3, 1 of 4 feet; to which answer respectively vv. 7, 8, 9. Verses 4, 5, 6 also contain each 1 sentence of 4 feet, v. 4 answering

METRICAL ANALYSIS. to v. 6, and v. 5 forming a mesode. 4 . 4 4 . 4 . thus forms the period :—

xci

The series . 4 . 4 4 . 4 . , 4 . 4 . 4 . ,

Since the whole group, consisting of vv. 1, 2, 3, recurs once, the period is palinodic; since the sentences formed by vv. 4 and 6 are grouped about the interlude formed by v. 5, it is also mesodic.

SECOND —

I. 1.

o

'

—

\J

—

STROPHE. ^,

vuv 8 a/c I ov I uv T I S ] a(?A.i

— \J

—

| carep | o s A

[ 0 I ncocfl 0 | iravB op \ we XP 0 '' I

eupe
OS

ev irov | ots A

aypt

of I ei I TOK aya.fi. | oy 7a/* | ov TraX | a4

3. £yv

aAXa y

OIKOS

| a

ou A ]]

re/cv I ov/iev | OK I I . I.

1 I
I w I

Xai.'

I

eioc

|

M TCKV \ ov

2. o) / i c y I as A.t/A | TJV A || eiSe ff I —

\j

ei8e

—

\ ae —

\j

3. avros I ijpK€or I ev A [| IMTjiroT I

eiSo,«

| av

4 . iraiSi I KO.L i r a | rpi OaXafu, | rjiroX | &> 7reo" | £tv A 5i/po I ^iai 7ap |

w
| oXe^t | oc x e I " ^

xcii

III.

METRICAL ANALYSIS.

I. TTCOS TTOTC I 7T(os TTOO | at irarp | co || aiaaXoK CK (TTo/j.a.T | av TO S

|

opdov

| «
| a s A ||

\ uir || eiv aveirv | ev
2. criy eSuv | a | Orj&av | es TO
[ KOI/U |

ijua

| TOV/IOV | O/iift | a

I. First Period: 3 verses. Rhythm, choreic. Verses 1 and 2 have each 1 sentence of 6 feet: v. 3 forms an epode or postlude of 4 feet: i.e.

A stichic period, with postlude.

II.

Second Period: 4 verses. Rhythm, the same. In v. 4 tpi is an apparent tribrach, representing a cyclic dactyl, -w ^, and having the time-value of J]"jjJ«^ (see § 7). This denoted by writing S ^ ^> because the 'irrational' character, though in strictness shared by the first and second short syllables, is more evident in the first. Verses 1, 4 have each 1 sentence of 6 feet, vv. 2, 3 each 1 of 3: i.e.

3-N

•

)

j An antithetic period : see First Kommos, Per. iv.

3-^

III. Third Period: 2 verses. Rhythm, the same. Verse 1 has 2 sentences, each of 4 feet: v. 2 has 1 of 6 feet, and forms an epode or postlude: i. e. 4\ A 6 = iir.

A stichic period, with postlude : see Parod. Str. 11. Per. 1., Stas. 1. Str. 1. Per. m.

METRICAL ANALYSIS.

VII.

xciii

Second Kommos', vv. 1297—1368.

(After the anapaests of the Chorus, 1297—1306, and of Oedipus, 1307—1311, followed by one iambic trimeter of the Chorus, 1312, the strophic system of lyrics begins at 1313.)

FIRST STROPHE

(forming a single period).

I.

t • O) (TKOT I OV A || 1 ) M 0lX

I OS

2. ve<j> '• os i[nov airo | rpoirov o r \\ nrXofievov
3.

v^ v^ —

\y

iroXos er

— , v./

||

^ —

a | a.Tov A ||

t /wi/i/tos er | i 7 a p \^

—

a • Sa^iarov TC | Kai Svcr || ovpitrrov | ov A 3 vir '• o/xevcii ne

\ TOX rv
[Here follow four iambic trimeters.] Rhythm, dochmiac: see First Kommos, Period in.

It will be

seen that every dochmiac metre here is a variation of the groundform KJ':

« | — A ||, by substitution either of ^ ^ for —, or of > (an

irrational syllable, apparently long) for ^ , as in v. 3, KrjSevwv. Verse 1 1 At v. 1336, and in the corresponding 1356, an iambic dimeter is given to the Chorus (Period i n . , v. 3). With this exception, the Chorus speaks only iambic trimeters, which follow a lyric strophe or antistrophe assigned to Oedipus. Since, then, the lyrics belong all but exclusively to Oedipus, the passage might be regarded as his ixovtgMa, interrupted by occasional utterances, in the tone of dialogue, by the Chorus. If, however, regard is had to the character and matter of the whole composition, it will be felt that it may be properly designated as a KO/J./JI,6S, the essence of which was the alternate lament. On a similar ground, I should certainly consider it as beginning at 1297, though the properly lyric form is assumed only at 1313.

METRICAL ANALYSIS.

XC1V

is a dochmiac used as a prelude (Trpo
A palinodic period, with prelude.

[Doch. (•Doch. IDoch.

SECOND STROPHE.

I.

a

TTOWWV

o\ 2.

Ta8 I ijv a I] iroWuv <£i\ | 01 A

oid O(TTH

aypias

o

7rc5

I as

a r a o €/j.a TTO.0 | t o

VOfJ.

niroSi

I — \j

II.

as e —

||

Xwr OTTO re

\j

— ^,

—

^

\ tpovov ^

l^—

o I avTO ] ^ € i p vw I ovTts (I aAA c y ] OJ I es xaP

1 '^ I

a) y op I (DVTI I f/.rjSev \ rjv 18 \ ew yX\)K | v

A ||

VTO

III.

I rji> os ||

It

I /cayeo* |

wee ,&

y a p eS«i /u. op | av e yap av dap

TOT > 2. OT

A

|

o^Sey [|

||

\ w

I;K 0 I \ I OKriy I ou5 e/4 | oi TOCT |

3- w

TtxvO OTT I cocnrtp | Kat o~v | cptjs

0e\

ovn — v/

4. Tt

877T £/A I

OVK 5-

«T

ocS a x

| os

A ||

I Ka/j.01 I TOUT ac | r/v ^~• oi

— v^

'—,

—

\j

I fiXtTTTOv I )? || crrepKTOv

ow 7ra I T/)OS 7 |

av (pop | ews ||

vjkdov

—

v/

01s e

I K\T]6 I tf> \ uv e \
v^

—

I ij wpoo- I 17 y o p | ov A \

ovde

• to"T aK I ov I ttv I a8ov | a <£i\ | ot A ]] •

^

| vv/iipi | os

METRICAL IV.

i. cur

ANALYSIS.

ayer £K TOT | LOV OT || I r a ^ i o r a | /AE A

vw S u

aScos ^cy

| ei/j, av ||

mnw Se

u

—,

o

—

*-»

vy

v-»

—

^

| Trais —

ov A

2. cur op.

||

oyevqs S a0 | av avr \\ off e^w TO\ | as <*J **S

\J

<<J

W

Ka.Tapa.TO | TaTov £T || I 8e Kai 6e | ots Se n irpetrfiv | 4 . e^^p

xcv

repoc er

• OTaTOi/ /3poT | « i v

TOVT 1

eXa% oiSiir

|| i Kajcou KOK A

A

| OX

]

| oys

[Here follow two iambic trimeters.]

I. First Period: 2 verses. Rhythm, dochmiac. In verse 1 (antistrophe), we have aypias : observe that if we read air' dyplas the dochmiac would have one v too much, and see my note onv. 1350. In v. 2, the MS. reading VO/JUX8O? is impossible, as the metre shows, cpovov, by resolution for - , as in the strophe, since the last syllable of a verse can be either long or short : see on Parod. Str. 11. Per. 1. v. 1, and cp. Xopeviw, Stas. 11. Str. 11. Per. in. v. 4. Metre would admit IXa/Je p or ?A.a/3ev, but not, of course, ikva-i //.' or IXvo-ev. Each verse has 2 dochmiac sentences, i.e.

poch. /iDoch. I . \fDoch.

A palinodic period.

LDoch.

II. Second Period: 1 verse. Rhythm, choreic. Two sentences, each of 4 feet: i.e. 4\ 4/

A stichic period.

XCV1

METRICAL ANALYSIS.

III. Third Period: 5 verses. Rhythm, choreic, except in verse 1, which is a dochmiac, serving as prelude (TrpoySiKov). Verse 2 has 1 sentence of 6 feet: v. 3, 1 of 4 feet: v. 4, 2 of 4 feet each: v. 5, 1 of 6 feet. The first of the 2 sentences in v. 4 forms a mesode; which can either (as here) begin a verse, or close it, or stand within it, or, form a separate verse. Series : . 6 . 4 . 4 . 4 . 6 . : form :—

A mesodic period, with prelude. See Stas. in. Per. in.

IV. Fourth Period; 4 verses. Rhythm, dochmiac. Verses 1, 2, 3 have each two dochmiac sentences : v. 4 has one, which forms an epode: i.e. fDoch.' iDoch.-

jDoch." iDoch.. fDoch."iDoch. Doch. = IT

A repeated palinodic period, with postlude.

METRICAL ANALYSIS.

xcvii

RELATIONS OF LYRIC FORM AND MATTER.

In the lyric parts of Tragedy, the poet was a composer, setting words to music. Words, music, and dance were together the expression of the successive feelings which the course of the drama excited in the Chorus, or typical spectator. It is obvious, then, that the choice of lyric rhythms necessarily had an ethical meaning, relative to the mood which in each case sought utterance. It is everywhere characteristic of Sophocles that he has been finely sensitive to this relation. So much, at least, moderns can see, however far they may be from adequately appreciating the more exquisite secrets of his skill. Without attempting minute detail, we may glance here at some of the chief traits in which this skill is exemplified by the lyrics of the Oedipus Tyrctnnus. I. PARODOS. First Strophe. The Theban Elders are reverentially awaiting the message from Delphi, and solemnly entreating the gods for deliverance from their woes. With this mood the dactylic rhythm is in unison. The Greek dactylic measure was slow and solemn, the fitting utterance of lofty and earnest warning—as when oracles spoke—or, as here, of exalted faith in Heaven. Second Strophe. Period i. The chorees, in logaoedic rhythm, express the lively sense of personal suffering (dvdpiOfia yap epu> \ mf/mTa). Per. II. Dactyls, somewhat less stately than those of the opening, again express trust in the gods who will banish the pest. Third Strophe. Choreic rhythms of the strongest and most excited kind embody the fervid prayer that the Destroyer may be quelled by the Powers of light and health. II. FIRST STASIMON. The doom has gone forth against the unknown criminal; and the prophet has said that this criminal is Oedipus. First Strophe. While the rhythm is logaoedic throughout, the fuller measures of Period i. are suited to the terrible decree of Delphi; those of Per. n. to the flight of the outlaw; those of in. to the rapid pursuit, and, finally, to the crushing might, of the Avenger. Second Strophe. Period i. The choriambic rhythm—the most passionate of all, adapted to vehement indignation or despair—interprets the intensity of emotion with which the Theban nobles have heard the charge against their glorious king. Period n. Passing to their reasons for discrediting that charge, the Chorus pass at the same time from the choriambic rhythm to the kindred but less tumultuous ionic, which is here (as we have seen) most skilfully linked on to the former.

xcviii

METRICAL

ANALYSIS.

III. The FIRST KOMMOS, in its 3rd and 4th Periods, shows how dochmiac measures, and paeonic combined with choreic, can suit varying tones of piteous entreaty or anxious agitation; an effect which, as regards dochmiacs, the SECOND KOMMOS (VII) also exhibits in a still more impressive manner. IV. In the SECOND STASIMON, logaoedics are the vehicle of personal reflection and devotion; the lively measures of the Hyporcheme which holds the place of THIRD STASIMON (V) speak for themselves. VI. In the FOURTH STASIMON we have a highly-wrought example of lyric art comparable with the First Stasimon, and with the Parodos. The utter ruin of Oedipus has just been disclosed. First Strophe. It was a general rule that, when a verse was opened with a syncope, anacrusis must precede. By the disregard of this rule here, an extraordinary weight and solemnity are imparted to the first accent of the lament: 1 l

—

—^/

w

—

\j

—

t I wj€V€ I at fipoT I (ovAy. (See the musical rendering of this, Appendix, Note 1, § 10, p. 284.) So, again, in the profoundly sorrowful conclusion 1—

—^/

^,

—

drawn from the instance of Oedipus, ov8 | ev fiaKap | i£a> A ||. And, since his unhappy fate is here contemplated in its entirety, the whole strophe forms a single rhythmical period. The Second Strophe—reflecting on particular aspects of the king's destiny—is appropriately broken up into three short periods; and the choreic rhythm is here so managed as to present a telling.contrast with the logaoedic rhythm of the first strophe. The weightiest verses are those which form the conclusion. I have but briefly indicated relations of which the reader's own ear and feeling will give him a far more vivid apprehension. There are no metrical texts in which it is more essential than in those of ancient Greece never to consider the measures from a merely mechanical point of view, but always to remember what the poet is saying. No one who cultivates this simple habit can fail to attain a quicker perception of the delicate sympathies which everywhere exist between the matter and the form of Greek lyrics.

SOcDOKAEOYS 0IAITT0Y5

J. S.

TYPANN02

500KAE0Y5 OlAinOYS

TYPANNOS i.

API5TO*ANOYS TPAMMATIKOY YHO0E212. Aurcuy YLopivBov OiSurovs, iraTpos v66<>s r£v andvTiav XoiSopov/ievos £eVoSt irv6i(r6ai T1V9IKVTCxrir6pov. cupcuv S« TA-IJ/JWOI' er (rrevuis dfjua^LToii eirev€ Aaiov ytwrjropa. /irjTpos dyvoovp.evri<s Se ®)7/8as eiA.e (cai voo-os [uucpd. Kpecov 8« ffe/iM^^eis Ae\<j)iKr)v irpds ccrTtai',

10

irv8rjTai TOV KOIKOV iravvnjpiov, a)vfjs iw.vTiKrj6vov. odev paOiov iavrov OiStVovs raA.as Sioxras TC \epa\v i^avdXoxrev Kopas,

15

APISTO#ANOTS TIIOeBSIS] 'ApitrTotpdvovs inypajina. tit T6V Ti)pawo>< o/5irow A. Vox iirlypa/jft.a melius de titulo libri quam de argumento dititur. 3 Oeatrur/i&Toiil v6/iuiv 64\(i A, unde patet fuisse qui i\0in> pro ^Xffey legerent. 11 rti0i)Ttii codd., notissima structural nihil causae erat quod Brunck. TVSOITO scriberet. 15 Surais re -x^P"^ Optimorum codd. lectionem SurcraU TC xeP
4

IO*OKAEOYS

API2T0$AN0T2 TPAMMATIKOT] The first of the three prosefcroWcreisto the Antigone is also ascribed in the MSS. to Aristophanes of Byzantium (fior. 200 B.C.). His name is likewise given in the MSS. to the metrical iiroBiaus prefixed to all the extant comedies of his namesake except the Thesmophoriazusae. All these ascriptions are now generally held to be false. There is no reason to think that the fashion of metrical arguments existed in the Alexandrian age; and the language in every case points more or less clearly to a lower date. The verses above form no exception to the rule, though they are much more correct than the comic viroOeaeis. See Nauck's fragments of the Byzantine Aristophanes, p. 156 : Dindorf agrees with him, Schol. Soph. vol. II. p. xxii.

II. AIA TI TYPANN02 O TYPANN02

OIAIIIOYS

EIIirErPAIITAI.

iirl (Wpurei

daripov oriyeypairrcu.

8e T Y P A N N O N arraires avrov iTriypd<j>ovo~iv, cos l^iypvTa. Trdo-qs SOC^OKXEOVS iroiijtrecos,

*

Kaurep •qTTTjOivra VTTO "SIXOKXEOVS, cos

<prjo~i

fieri 8f -

5 OVTCS, Sid TOWS ^pdvovs TC3V 8i8ao"KaA.i.cov Kal 8id r d Trpdyfiara'

dXijTrjv

yap Kal -n-qpov OtoWoSa rov lirl KoXtovco eis T"ds 'At9i^vas diKVtiiar?7S tf>rjo-iv. "Ofj.r]pos yovv TOV iravriav Trapavop-unaTov "E^eTov /3ao"i\ta r}o~l Kal ov rvpavvov Eis "ExeToi' jScwiXJJa, pporaji> SijX^'/ioca.

irpoo'ayopev6rjvai M cjbacrt TOV Tvpavvov airo TCOV Tvpprjvdiv' xaXeirovs yap Ttvas 7r«pi XjjoTeiW TOUTOUS ytv4o~8au on 8e veoSrepoj' TO TOS TVpdvvov 15 ovofia S^Xov. OUT£ y a p "Opr/pos ovre 'Ho-toSos oiiTe aXXos ovSels TCOI/ 7TaXaic3v Tupavvov ev Tots Troiij/Aacrtv 6vop.d£ei. 6 8e 'Apto-TOTeXi/s ev KD/Aowov 7roXtTeta TOVS Tupavvous I^IJCTI TO irpoTcpov aio-v/i.v>fTas irpoo-ayopet!ecrc9ai.

evrjiwT€pov

yap

2 ^jr(7pd(/)owrii'] Sic cum cod. Laurentiano Dindorf.: vulg. iireypaQov. 4 nPOTEPQN, 01J TTPANNON, air6v] L, Dind.: vulg. nPOTEPON i W r , ou TTPANNON. 2 Tvpavvov ,.tinypd,cpovs'Apxi\6xov xP|5I'0US] c i r c - 670 B.C. It is about 679 B.C. that Orthagoras is said to have founded his dynasty at Sicyon, and ' the des^ pots of Sikyon are the earliest of whom we have any distinct mention,' Grote m , 43.

OIAITTOYI TYPANNOI

5

12 "Exfoi'] Od. 18. 85. 15 offre ya.p "O/iripos] For the writer of this vir!i6c<ns, then (unless he made an oversight), ' Homer' was not the author of the ' Homeric hymn' to Ares, 8. 5, AvTiplouri rvparve, SucaurraTWV &yi tpwrwv. The earliest occurrences of the word rvpavvos which can be approximately dated are (1) Alcaeus fr. 37 Bergk, circ. 606 B.C., referring to Pittacus; see below on 17: (2) Pind. Pyth. 3. 85, where it is convertible with (iaaCkeis, ib. 70 (Hiero of Syracuse), date perh. 474 B.C. (see Fennell's introd.): and (3) Aesch. P. V. 736 6 TUP 6eu>v ripavvos (Zeus), date circ. 472—469 B.C. On the question as to the origin of ripayvos, scholars will read with interest the opinion of the author of Greek and Latin Etymology. Mr Peile has kindly communicated to me the following note :—"There seems no reason to doubt the usual connection of ripavros with \Jtur, a by-form of \ArAR. It does not occur, I think, in Greek, but it is used in Vedic,—as is also the common epithet tur-a, ' strong,' applied chiefly to Indra, but also to other gods. Rarer cognates are turvan, = 'victory,' and turvani='victorious,' also of Indra. The primary meaning of the root was ' to bore'—then ' to get to the end' of a thing—then 'to get the better of it. There is another family of words, like in form, with the general sense of ' haste'; e.g. turvanya, a verb-stem in Vedic = 'to be eager,' and turanyu an adjective. These, I think, are distinct in origin. In form they come nearer to ripavvos. But I think that they are late Vedic forms, and therefore cannot be pressed into the service. The form in Greek is difficult to explain in either case. If there were an Indo-Eur. turvan (whence the Sanskrit word), the Greek might have formed a secondary turan-yo: but one would expect this to have taken the form rvpcuvo. Taking into account the entire absence of all cognates in Greek, I think that it is probably a borrowed word, and that from being an adjective (? = 'mighty'), it became with the Greeks a title." 16 iv Kv/J.alav TroXire/p] Cp. schol. in Eur. Mai. 19 (Dind. voli IV. p. 8) alX«' tolas Si 0IJ
III. AAAOX 'O Tvpavvos OlBiirovs 7rpos avTiSiaoToAi/i/ TOU iv TW KoAcp e7riyeypaiTTai. TO KedXa.iov Si TOV Spa/taros yvcuo-is ru>v tStW K a w OtStVoSo?, Kal 81 ay^oV^S 6aVaros 'Io/caarij?.

'Haec in fine fabulae habet L, om. A, qui de sequentibus nihil habet praeter aenigma Sphingis,' Dind. Schol. 11. 13. XPH2M0S O AO0EIS AAIfit TOt ©HBAIfii. Aate Aafi8o.Ki8ri, irai'Swi/ yevos oXfiiov afrcts. TOI <j>ikov vlov' drdp Treirpio/j.ivov eoriv eov \€ipe
6

Z0cJ>0KAEOYZ Zevs KnoyiSi;?, TliXoTTOs (rrvyepais

apa'uri iriO

ov <j>£Xov T^/Mratras vlov' 6 S* rjv^aTO croi TaSe

XPH2M02 0 AO0EI2] Aegre careas articulo, quern L praebet, T addens : vulg. XP7)1*^ 5o#eis \atif. ? 5i«xrw...effTi*'] Legebatur etiam fiiv (pl\ov vibv Arap r6de
TO AINirMA THS S4»irrO2. *E
8c vrjv /xovov ocr
O. KivtiTai dvd T afflipa. Kal Kara TTOVTOV. oiTOTav TrXeidTOKTiv epahojitvov tv6a r a ^ o s yviouriv

d^iavpoTarov

iroa\

iriXti

fiatvrj,

avrow.

1 I$)\ST\V\ tpiHTiv Athen. 456 B, ^017^ L , A . 3 Ktveirai] yiyrfrac L. 4 ipttSofievov Athen. et Euripidis codd. meliores: iirciybiievov L, A, quae lectio, quamvis primo aspectu placeat, vera non est. Neque enim festinationi tarditas opponitur, sed numero pedum imbecillitas. Athenaeus 456 B introduces his quotation of the riddle thus : Kal TO rijs 5£ atvLyfxa 'Atr/cX^irtaSijs £v rots TpayipSovtifrois TOIOVTOV elcat tpTjaii: Asclepiades of Tragilus in Thrace, a pupil of Isocrates, wrote (circ. 340 B.C.) a work called Ipay^dovfieva (' Subjects of Tragedy') in six books, dealing with the legendary material used by the tragic poets, and their methods of treatment. The ktviyixa, in this form, is thus carried back to at least the earlier part of the fourth century B. C.

TOY AINIPMAT02. KA{i(?i Kal OVK l64Xovo~a, KaKOTrrepe MotJcra

Oavovroiv,

<j>o>vrji r)fj,eT€pr]i aov TeXos afjur\a.Kvr]s. avOpwirov Kare/U^as, 09 •qviKa yatav iepirei, TTpCyrov t(pv T£Tparrou9 vqirio% IK Xayovoiv' •yrjpaXeos 8e TreXtov rpirarov

iro'Sa fiaKTpov ep

au^eva <j>opTLL,uiv, yr/pai 5 epelSei] l%el v e ^ ^"'OT" codd.: correxit Gale. The Awis is not in the MSS. of Sophocles, but is given by the schol. on Eur. Phoen. 50 [fsifiyfji ifios ircus OISITTOVS 2™ nvis tpaffW ' KXDfo' K. T. X. Valckenaer, Schol. Phoen. p. 28, gives it as above from a collation of three MSS,

OIAITTOYI TYPANNOI

TA TOT APAMAT02 I0KA5TH. AITEAOS. OEPAITON Aaiov.

IEPEY2. KPEON. XOPOS yepovTwv ©-qfiaiw. TEIPESIAS.

ESAITEAOS.

The iKtrai in the opening scene (like the irpcmofviroi at the close of the Eumenides of Aeschylus) would come under the general designation of a •Ko.payppfrf'liiua-—which properly meant (not, of course, 'an auxiliary chorus,' but) anything which the choragus provided in supplement to the ordinary requirements of a drama, and was specially applied to a fourth actor, according to Pollux 4. n o irapaxopify>j/Aa d TtTapros vjrojcpmjs TI ira.pa.8£y£a.iTo. The distribution of the parts among the three actors would be as follows:— OEDIPUS, •jrpaJTaywno-njs. IOCASTA, PRIEST OF ZEUS, MESSENGER from the house SERVANT OF LAIUS, CREON, TEIRESIAS, MESSENGER

(efay

from Corinth (ayycXos),)

STRUCTURE OF THE PLAY. 1.

irpoXo-yos, verses i — 1 5 0 .

2.

irapo8os, 1 5 1 — 2 1 5 .

3.

eireur6Siov irpuTov, 2 l 6 — 4 6 2 .

4.

(rruo-inov trpuTov, 4 6 3 — 5 1 1 .

5.

Iir
6.

o-rd
7.

hratrohiov Tplrov, 9 1 1 — 1 0 8 5 .

8.

o-Tdo-ipov TpCi-ov, 1 0 8 6 — 1 1 0 9 .

9.

fimo-oSiov T^rapTOV, 1 1 1 0 — 1 1 8 5 .

10.

OTCl
II.

?£o8os, 1223—1530.

1222.

In reference to a Greek tragedy, we cannot properly speak of 'Acts'; but the mxpoSog and the o-Tao-t/ia mark the conclusion of chapters in the action. The Oedipus Tyrannus falls into six such chapters. The parts named above are thus defined by Aristotle (Poet. 12):— 1. irpAXo-yos = fiepoi 6Xov TpayaSiai TO irpo x°P°v TapoSou, 'all that part of a tragedy which precedes the parodos' (or 'entrance' of the Chorus into the orchestra). 2. mdpoSos = 17' TTpwrr] Xc^is 0X01; x°P°v> < t n e first utterance of the whole Chorus.' 3.

«rei
p-tk

' all that part of a tragedy which comes between whole choric songs.' 4.

orao-i|j.ov = /teXos x°P°v

T

°

ovev dvaTrcua-Tov /cai Tpo\aiov,

'a

song of the Chorus without anapaests or trochaics.' a-rdo-ifiov is ^stationary': O-TOO-I/XOV/w'Xos, a song by the Chorus at its station—after it has taken up its place in the orchestra—as distinguished from the irdpo&os or entrance-song. [I do not now think that the notion of 'unbroken'—by anapaests or dialogue—can be included in the term.] Aristotle's definition needs a few words of explanation, (i) The anapaestic was especially a marching measure. Hence the TrapoSos of the

OIAITTOYI TYPANNOI

9

older type often began with anapaests {e.g. Aesch. Agam. 40—103, Eum. 307—320), though, in the extant plays of Soph., this is so with the Ajax alone (134—171). But a o-Tao-ifxov never begins with anapaests. Further, the antistrophic arrangement of a aTaa-i/xov is never interrupted by anapaests. Yet, after an antistrophic O-TOLO-IIXOV, the choral utterance may end with anapaests: thus the third oTa..ov of the Antigone is antistrophic from 781 to 800, after which come immediately the choral anapaests 801—805 : and we should naturally speak of 781—805 as the third stasimon, though, according to Arist, it strictly consists only of 781—800. (2) By Tpoyaiov Arist. plainly means the trochaic tetrameter: i. e. a oracri/*ov must not be interrupted by dialogue (such as that which the Chorus holds in trochaic tetrameters with Aegisthus and Clytaemnestra, Aesch. Ag. ad Jin.). Measures into which trochaic rhythms enter are, of course, frequent in o-ra<xi/xa. 5. £go8o$ = jitepos o\ov TpaywSias fieO' o OVK tort xopov /ieXos, 'all that part of a tragedy after which there is no song of the Chorus.' Verses 649—697 of the second ZireuroSiov form a short KO^OS. The Chorus are pleading with Oedipus, lyric measures being mingled with iambic trimeters. Arist. {Poet. 12) defines the KOHHOS as Opfjvos KOIVOS Xopov KOU d-Tro o-K-qvfj';, i.e. a lamentation in which the Chorus (in the orchestra) took part with the actor on the stage. An example of the on a larger scale is Soph. El. 121—250.

io

I0*0KAE0YI

0IAIII0T2. D, TEKNA, KdBfiov rod TraXcu via rpoij, nod' IBpas rdcrSe jiioi dod^ere 8' ofxov fjikv OvfiLajJidrcov Se iraidvcov dyco StKauSv

ye/xet,

r e /cat crrevayfJidTcov'

^rj Trap

dyyeXcov,

Scene:—Before the palace of Oedipus at Thebes. In front of the large central doors (/?aii = (abstract for concrete): Eur. Cycl. 189 dpvmv Tpofjxxi = apves [x.tva.i. Cadmus, as guardian genius of Thebes, is still rpo^ev? of all who are reared in the <5<3/m KaS/Aeiov (v. 29). Campbell understands, 'my last-born care derived from ancient Cadmus,'—as though the rpoevs were Oedipus. But could KdSfiov Tpo<j>ij mean ' [my] nurslings [derived

OIAITTOYI TYPANNOI

n

OEDIPUS.

My children, latest-born to Cadmus who was of old, why are ye set before me thus with wreathed branches of suppliants, while the city reeks with incense, rings with prayers for health and cries of woe ? I deemed it unmeet, my children, to hear these things at the mouth from\ Cadmus'? It is by the word reVva that Oedipus expresses his own fatherly care. 2 Sipas. The word t8pa = ' posture,' here, as usu., sitting: when kneeling is meant, some qualification is added, as Eur. Ph. 293 yovvireTeis eSpas TrpocnriTva) (8061) always = ' t o hasten' (transitive or intrans.). But Empedocles and Aesch. clearly use Oodtfa as = Odo-o-w, the sound and form perh. suggesting the epic dadcra-w, 0oWos. See Appendix, Note 2. 3 iKTr)p£ois K\d8oi
KXCISOUS

l^€(TT^ixp.ivov^

l^ovrcs :

Xen.

Anab. 4. 3. 28 Snjy/cuXcojUevovs TOVS dKOVTicrras Kal iTTi/3ef3\r]fi.evov<s TOVS To£oras, 'the javelin-throwers with javelins grasped by the thong (ayifuX->7), and the archers with arrows fitted to the string.' So 18 efev Sk. The verbal contrast is

12

ZO0OKAEOYZ aXXcov aKoveiv avros <wS' iXrjXvOa, o TrS.cn KXCLVOS OISITTOU? KaXov/Juevot;. d\\\ w yepaii, (f>pd(,\ iirel Trpertwv e<£us 7rpo TftJi'Se (fxiiveuv, TLVL rpoira KaBearare, 77 crrepfavres; GJS diXovTos aiv trpocrapKeiv traW SucraXy^ros y a p aV

IO

11 In cod. Laur. 32. 9 (L) pr. manus ffrip^avres scripserat; quod recentior in cT^avTes mutavit, littera e talem in modum grandiore facta ut vicinam p obscuraret. In margine schol. a-rip^avref interpretatur per 17877 ire!rov06T(S-

merely between the fumes of incense burnt on the altars as a propitiatory offering (//. 8. 48 re/xevos j8w/x,os TC Qvr)iii), and the sounds— whether of invocations to the Healer, or of despair. 7 oXX»v. Redundant, but serving to contrast dyyikwv and O-UTOS, as if one said, 'from messengers,—at second hand.' Blaydes cp. Xen. Cyr. 1. 6. 2 omas prj Si' ctAAoJv ipfj.7]v£uiv r a s TWV 6CWV o"Ujii/3ovA.i'as o"w€tijs, dW avros...yt c386 = 8€5po, as in vv. 144, 2 9 8 , a n d often in S o p h . : even with opav, as in Trach. 402 /?A.€<£' <SSc = /3Xeire Stvpo. 8 6 ird
'called Oedipus famous in the sight of all,' not 'called famous Oed. by all.' C p . 7rai\o<;. T h e t o n e is H o m e r i c (0*/. 9. 19 tl/x 'OSwevs ..KCU //.eu wXeos ovpavov IKCI, imitated b y Verg.

Aen. 1. 378 sum plus Aeneas...fama super aethera notus): Oedipus is a type, for the frank heroic age, of Arist.'s yu.eyaAoi/™x°s—o peyaAwu awov a£«oi', a^tos &v (Eth. N. 4. 3). 9 &f«is, which is more than «, refers, not to appearance (forf), but to the natural claim (^u'o-ts) of age and office combined. 10 irpo TUVSC, 'in front of,' and so ' o n behalf of,' 'for' these. Ellendt: ' Non est aim TWVSC, nee virtp raivSe, sed fwXXov s.

juaAiora rwSe, prae ceteris dignus propter auctoritatem et aetatem.' Rather OVTI TWVS« = ' a s their deputy': virep ^ ^ 8 6 = 'as their champion': Trpd T
TI, £*T£ Icrrip^art

( n o t Trorepov 8ft-

o-avT£s; ^ o-TEpfavres;), 'in what mood are ye set here, whether it be one of fear or of desire?' 11 orepfjavTts, 'having formed a desire': the aor. part., as At. 212 eVei <7£... I oT£pfas aviyzi ' i s constant to the love which he hath formed for thee.' El. 1100 KOX TI (3ov\r]6e.ls irdpei; Ai. 1052 £A7ri'(ravT£S...ay£tv.

Cp. O. C. 1093 Kat TOV dypevrdv 'ATTOAACO | KOI

OlAinOYZ TYPANNOZ of others, and of all. Tell me, natural part placed here, that I would

13

have come hither myself, I, Oedipus renowned then, thou venerable man—since it is thy to speak for these—in what mood are ye with what dread or what desire ? Be sure gladly give all aid; hard of heart were I,

Cod. Paris. 2787 (B) arip^avTes, superscripto iraSovres. Cod. Paris. 2884 (E) ari^avrei habet in trrip^avres mutatum (non crrfyj-. in GTQ.), cum gloss. iraBbvTes, VTro/nelvavTet. Biblioth. Bodleianae cod. Laud. 54 ffri^avres cum gl. vwofieivavTes. ffT^avres A: quae 1. librariis procul dubio debetur mirantibus quo pacto

I aripyui 8i7rA.as apcoyds | //.oXelv, ' I desire': where, in such an invocation (iw...Ze5,...TTOJOOIS, K.T.X.), orepyw surely cannot mean, ' I am content.' Oed. asks : Does this supplication mean that some new dread has seized you (SCKTOVTCS)? O r t h a t ye have set your hearts (
some particular boon which I can grant?'—Others render
i.e. a r e ye c o m e in

vague terror, or in contentment, as believing that I would be willing to help you? This is ingenious and attractive. But (a) it appears hardly consonant with the kingly courtesy of this opening speech for Oedipus to assume that their belief in his good-will would reconcile them to their present miseries, (b) We seem to require some direct and express intimation of the king's willingness to help, such as the words cos 6ikovTo<s...Tra.v give only when referred to <£pa'fe. W The rhythm seems to favour the question at orep£avTes.—pa£
14

I04>0KAE0YI etrjv TOidvSe

fxr) ov naToiKTeipcDV

eBpav.

IEPETS. dW,

a> KpaTvvcov OlS(,irov<;

6pa<> [jiev i7ju,as 77X1K01 /8&)/Aoicrt r o t s c o t s , oi yaef ovSeVw TTTecrOcu, (jQivovTQ.%, oi Se a"iV yrfp te/317?, eyw ^ez/ Zijvos, otSe T ' rjdeav

Xe/crot' TO 8' aAAo (f>v\ov i^crrefjifjiivov dyopaicrt OaKei, Trpos r e IlaXXaSos StTrXots

20

Traflovres, lyTro/ieivacTes in arip^avres quadrarent. 1 3 /i^ KaroiKretpap Par. 2712 (A), B. 1 8 ifpeis codd.: edd. plerique cum Brunck. ieprjs. Gratior sane post jSopefs formae Atticae veterioris sonus. Bentleium frustra lepeis scribentem secutus est Nauck., qui iyH> pi? in £71^76 mutavit. 0! 64 r' rjCdtwv, L, A. In L accessit signum elisionis (') post rasuvam; litterae ir tamen, ex qua

(you may be sure) I will not lay hands on you, teach me.' 13 jiij oi Ka-roucTcCpov. An infinitive or participle, which for any reason would regularly take ^17', usually takes ny ov if the principal verb of the sentence is negative. Here, Suo-aXyijros = OVK evd\yr]To<s: Dem. Fals. Legat.

§ 123 (7roXeis) ^aXeirat

Xa/?civ...ju->; ov

^povai KCU 7roXtopKi'a

(.yf.

Xa/jySavovTi), where ^aXeTrat = ov paStai: ' cities not easy to take, unless by a protracted siege.' The participial clause, jxrj ov KaToiKrdpwv, is equivalent to a protasis, tl /«; KaToiKTeipoi/ii. Prof. Kennedy holds that the protasis is ei /j.rj OeXoi/u understood, and that faj ov KaroiKTeipwv is epexegetic of it:—' Yes (yap) I should be unfeeling, if I did not wish (to help y o u ) : that is, if I refused to pity such a supplication as this.' But the double negative p7 ov could not be explained by a negative in the protasis («i inrj 6ikoifi.C): it implies a negative in the apodosis (Suo-aXyijros o.v &r\v). Since, then, the resolution into OVK tvaXyr/To^ civ enjf is necessary, nothing seems to be gained by supposing a suppressed protasis, ei /XT) 6i\oi/u. 16 p«|ioiV €/x.as Eur. Tro. 746. The proper Attic form for the aor. of srEVo/ttu was CTTO'/M/!', which alone was used in prose and Comedy. Though forms from hn6.p.-t)v sometimes occur in Tragedy, as in the Homeric poems, Elms, had no cause to wish for Trrdo-Oai here.

OIAITTOYZ TYPANNOS

15

did I not pity such suppliants as these. PRIEST OF ZEUS.

Nay, Oedipus, ruler of my land, thou seest of what years we are who beset thy altars,—some, nestlings still too tender for far flights,—some, bowed with age, priests, as I of Zeus,—and these, the chosen youth; while the rest of the folk sit with wreathed branches in the market-places, and before the two shrines of Pallas, factum T Duebner. suspicatus est, ne levissimum quidem vestigium depreliendere potui. Cod. Venet. 472 (V4), quocum consentit B, 01 5' rjXdtuv. Wunder. coni. 01 5' cfir' riBiav, quod recepit Dindorf. (ed. i860), collate Antig. v. 787 itr' ivOpdiruv: Musgrav. cf. Aristid. Pan. I. 96 /^"H n? TiSXei &rt T£JP 'EWYIVIKWV. Equidem vereor ut Graece dicatur iw' yS^av \CKTOI hoc sensu, ex omni iuventute delccti ('chosen to repre-

17
Mm. 10. 58. Thebes was divided from N. to S. into two parts by the torrent called Strophia. The W. part, between the Strophia and the Dirce, was the upper town or Cadmeia: the E. part, between the Strophia and the Ismenus, was y KO.T} fiovXrj CKa$rjTO iv Trj iv dyopa. oroa, Sid TO Tas -ywaiKas iv Trj JS.a8fi.eia

Otafiotjiopid^iv: unless KaS^tia has the narrower sense of 'acropolis.' Cp. Arist. Pol. 4. (7) 12. 2 on the Thessalian custom of having two dyopa.1—one, i\ev$epa, from which everything fldvavo-ov was excluded, irprfs re noU(C8os...vaots. Not 'both at the two temples,' &c., as if this explained ayopaun, but 'and,1 &c.: for the dyopaC

16

IO*OKAEOYI vaots, iff'

'Icrfirjuov re juai'Teia

TroXts ya-p, MCfftp

KOLVTOS eicropas,

rj8r) craXeuei KavaKovtyicrai fivdcav e.T ovx

dyav

Kapa

oia re (f>oiv£ov crakov, KOKV^LV iyKaipffois

^oro'?,

25

sent the youth'). 2X (Mirelf L, ex fiavrdas radendo factum: manet litterae a pars superior. A /xai/reTa (sic). E

would have their own altars of the ayopaToi 6e.ol, as of Artemis (161). One of the dnrXol vaoC may be that of IlaXXas "Oyxa, near the 'OyKaLa irvXri on the W. side of Thebes (iro'Xas | "Oyxas 'A^avas Aesch. Theb. 487, "Oyica IlaXXas ib. 501), whose statue and altar hr viraWpw Paus. mentions (9. 12. 2). The other temple may be that of Athene KaS/x.6i'a or of Athene 'lo-firjvia—both mentioned by the schol., but not by Paus. Athene Zoxmypia, too, had statues at Thebes (Paus. 9. 17. 3). The schol. mentions also 'AXaX/. ' T h e oracular ashes of Ismenus' = the altar in the temple of Apollo 'Io-yni/i'ios, where divination by burnt offerings (7; Si' l^irvpiav frnvrda) was practised. So the schol., quoting Philochorus (in his irtpl /tavTiK^s, circ. 290 B.C.). o-n-oSu : the embers dying down when the //.avTeiW has now been taken from the burnt offering: cp. Ant. 1007. Soph, may have thought of 'AiroXXwv STO'&OS, whose altar (IK ri^pa.% TSSV UpetW) Paus. saw to the left of the Electrae gates at Thebes: 9. 11. 7. 'IO-|J.T]VOO, because the temple was by the river Ismenus: Paus. 9. 10. 2 eon Se \n$os lv Se^ia i w TTUXOJV (on the right of the 'HXcVrpai iruXai on the S. of Thebes, within the walls) Upos 'A7rdXX(ovos * KaXeiTai 8e o re Xo<^os KO.1 O 0eos 'Ioyxi^wos, TrapappeovTO<; TOU iroTajxov Tavrg rod laix-qvov. Ismenus (which name Curtius, Etym. 617, connects with rt \%, to wish, as = 'desired') was described in the Theban myths as the son of Asopus and Metope, or of Amphion and Niobe. The son of Apollo by Melia (the fountain of the Ismenus) was called Ismenius. Cp. Her. 8. 134 (the envoy of Mardonius in -the winter of 4 8 0 — 7 9 ) T$'IayMjyia) 'A7roXX
OtAITTOYI TYPANNOI

17

and where Ismenus gives answer by fire. For the city, as thou thyself seest, is now too sorely vexed, and can no more lift her head from beneath the angry waves of death; a blight is on her in the fruitful blossoms of the land,

11. 4 the Theban heroines are asked to come n-ap MeXi'av (because she shared Apollo's temple) ' to the holy treasure-house of golden tripods, which Loxias hath honoured exceedingly, and hath named it Ismenian, a truthful seat of oracles' (MSS. /xavruiav, not [lavrimv, Fennell): for the tripod dedicated by the Sa<£ra<£dpos, or priest of Ismenian Apollo, see Paus. 9. 10. 4. Her. saw offerings dedicated by Croesus to Amphiaraus iv T<3 VIJW TOV 'lo-fiyvLov 'ATTO'AAWVOS ( I . 52), and notices in-

scriptions there (5. 59). T h e 'la^viov, the temple at Abae in Phocis, and that on the hill UTWOV to the E. of Lake Copais, were, after Delphi, the chief shrines of Apollo in N. Greece. 24 pu8»v, 'from the depths,' i.e. out of the trough of the waves which rise around. Cp. Ant. 337 irepi^pv^LOKnv | vtpwv VTT olSfiao-w, under swelling waves which threaten to engulf him. Arat. 426 viro{Spvxa vavrlWovTCLi. fyoivtav here merely poet, for Oavao-inov, as Tr. 770 oivias I ixOpas e'xi&'rjs IO'S. But in At. 351 oivia £aA.i; = the madness which drove Ajax to bloodshed, ir o«x ola n: for position of tn, cp. Track. 161 0Cvov6ivovo-a) on the fruits of the ground, on flocks and on child-birth: (2) by a pestilence (Xoi/xos) which ravages the town. Cp. 171 ff. For the threefold blight, Her. 6. 139 d.iroKTewa.epe ovre yvvat/ce's T€ Kai iroi[J.vai oytiotcus ITLKTOV KCLI irpo TOC : Aeschin. In H^re

Ctes. § 111 pyre yrjv KapTrols tfyepeiv

yuvai/cas TIKVO. TIKTCIV yovevcriv eoiKora, dX\a

ripara,

/AT/TE j3o
Kara vJ yrj ov ivvex^Pel avrois ivTaaOcu' TTJV re yap
avrrjv ITTOWVVTO, irp\v «

KOXUKO. rjKtiv, e<j>6eipe, TOVS r e T<3V yvvaiKwv

TOKOUS dreKtis iiroUt, nal Ta<s ayeAas Trovy]pui<; efiocrKtv.

25 KO\V£IV

The datives mark the points or parts in which the land <j>8Cva. £yKapiros is the shell or case which encloses immature fruit,—whether the blossom of fruit-trees, or the ear of wheat or barley: Theophr. Hist. Plant. 8. 2. 4 (of Kpifhj and irvpos) irp\v av Trpoav£rjOa.<; (o J. S. 2

18 ivov(Ta 8' dyeXous ySowojuois TOKOUTL re yvvoLiKutv iv 8' 6 Trvp(f)6po<; Beds eXavvei, Xotjaos e^^ta-Tos, TTOXII/, I5<£' ou KCVOVTCU Swyxa KaSjUerov* yueXas 8

(TTevayficns Kal yoois 7rXouTi£eTcu. jxiv

ono

vvv

OVK ICTOVJJL^VOV cr

otoe Traioes tLpixecrv

dvhpwv

3°

eyco

ecpeo-rioi,

Se irpcorov ev r e crujac^opats /3tou

KpivovT€% ev re SOLIIJLOVWV crvi'aXXayals' 2 9 KaSjUeiW A, et codd. aliquot recentiores.

Cf. v. 35.

tv T77 KaXvKt yevr/Tai. 26 dyeXai powdfioi (paroxyt.) = dyeXai /3o
oxen are pastured, El. 181. Cp. EL 861 yolapyois a/At'XXats dpyoJv ^ijA.
Iv ayu,i'XAais =

5- 28 dpitr6a.pfi.aTov.. .ylpas = yipa<s

dpio-rov ap/xaTo?. The epithet marks that the blight on the flocks is closely connected with that on the pastures: cp. Dionys. Hal. 1. 23 (describing a similar blight) ovre xo'a KTiqvecnv !<£v£i-o K17'?. nSicouri, the labours of child-bed: Eur. Med. 1031 oreppas iv TOKOIS dXyrjSovas". Iph.

T.

1466

yvvawcs ev TOKOIS

Dionys. Hal. 1. 23 d8cX<^a 8€ TOVTOIS (/.«. to the blight on fruits and crops) iylvero irepC re Trpoj3a.Tu>v Kal yvvaiKtSv yoras' ^ yap iifip-/SXOVTO

Ta €fnf3pva, r) Kara

TOVS TOKOV9 8te<^)^eipcTO HCTTLV a

Kat T a s <^>epoij-

o-as crvvSiaXiy^vayittva. 27 d^vois, abortive, or resulting in a still birth. 4v 8', adv., ' a n d among our other woes,' 'and withal': so 183, Tr. 206, Ai. 675. Not in 'tmesis' with o-K^as, though Soph, has such tmesis elsewhere, Ant. 420 kv 8' ifito-TwOr), ib. 1274 ev 8' eaeurev. For the simple o-Kijil/os, cp. Aesch. Ag. 308 6pos 9«As, the bringer of the plague which spreads and rages like fire (176 KpCvrvov dfi irvpos, 191 ^>Xeyei /nc): but also with a reference to fever, Hippocrates 4. 140 OKO'CTOWI Se T6pos 0€os I Tirav lTpo/iij^eijs refers to the representation of Prometheus with the narthex, or a torch, in his right hand (Eur. Phoen. 1121 8e£ta &e XajjLirdSa | Ttroi' Hpofi.r]6ev<s e^epev 10s). Cp. Aesch. 7%i?5. 432 avSpa Trvp6pov, I \£yei 8e Xa/in-a?, K.T.X. Here also the Destroyer is

OlAinOYI TYPANNOI

19

in the herds among the pastures, in the barren pangs of women; and withal the flaming god, the malign plague, hath swooped on us, and ravages the town; by whom the house of Cadmus is made waste, but dark Hades rich in groans and tears. It is not as deeming thee ranked with gods that I and these children are suppliants at thy hearth, but as deeming thee first of men, both in life's common chances, and when mortals have to do with more than man: 31

OVK i L , sed K, u t videtur, ex x ' facto.

imagined as armed with a deadly brand,—against which the Chorus presently invoke the holy fires of Artemis (206) and the ' blithe torch' of Dionysus (214). For 6cis said of Xot/xo's, cp. Simonid. Amorg. fr. 7. 101 ou8* altf/a \i/i.ov

OLKtr/s ajroicrerat, | lydpov

(rvvoiKTjTtjpa, 8u
6eov. Soph. fr. 837 dXX' y
1031 TO /xav6dveiv 8': Ar.

Av.

1716 &v/ua}ia.Ttov S\ Besides 8' and T', the only certain example is ravr, 332; in O. C. 1164 /XOAOVT* is doubtful. 30 irXovrCJenu with allusion to nXovrw, as Hades was called by an euphemism (uVoKoptaTi(c<3s, schol. Ar. Pint. 727), OTI IK riji KarwOtv avicrai o TTXOUTOS (crops and metals), as Plato says, Craf. 403 A. Cp. Sophocles fr. 252 (from the satyric drama Inachus) IIXOUTWVOS (="AI8OU) ij8' £7r€«ro8os: Lucian Timon 21 (DAOVTOS

speaks), 6 UXOVTWV (Hades) dirooreWei /ic irap' avrovs aTe irkovroBoTrj^ Koi /ifyaAo'Sco/JOS Kal auTos &V SijXoi your KOL T<3 ovofiart. Schneid. cp.

Statius Theb. 2. 48 pallentes devius umbras Trames agit nigrique Jovis vacua atria ditat Mortibus. 31 O«K Urovnevov <»•', governed by KpCvovres in 34. But the poet began the sentence as if he were going to write, instead of i^c/ieaO' tyiarioi, a verb like i/cereucyiei': hence hrov^tvov instead of la-ov. It is needless to take lecrTioi in the sense of «eT£uo/tev,—like <j>Oopa's...\jnjovi Wivro Aesch. Ag. 814, or ytVos...veWoi' divov Sufipl. 533. Musgrave conj. ioW/*evot as = 'deeming equal,' but the midd. would mean 'making ourselves equal,' like avTHTovnivov Thuc. 3. 11. Plato has l
20

I04>0KAE0Y2 os y

e^e'Xvcras, a a r u KaSpeLou fJioXcov,

crK\y]pa<s aotSou

Sao-ju.oV ov

Kal Tau^ 5 v "qpaiv ovhev

35

vapeC)(o[jLev

efeiS&is

irkiov

ouS' e/cSiSa^^eis, aXXd irpocrdrjKrj 0eov Xeyei vofii£,€L & TJJU.IV opOcjcrat fiCov' vvv T,

(6 KpaTUTTOv iracriv

OlhOirov Koipa,

40

LKeTevofiev ere TravTes oiSe TrpocrrpoTroi

dkictjv TLV evpelv runty, ei/re TOV ^eac <j>TJ[Ar)v aKovcras

e i r ' air' dvSyaos otcr^a TTOU"

3 5 os 7' codd. omnes. Elmsl. coni. els T', quasi responderet vvv T' in v. 40: quod recepit Campb. Vulgatam tueor, neque coniecturae satis opitulari credo qxiod annotavit schol. in cod. Laur. acre /io\tTv S.<JTV Kati/ieiov: qua sententia, parum liquet.

of life (o-v/i^Qpais fiiov). Such owaAAayat were the visit of the Sphinx (130) and of the irvptfropo's 6eos (27). Cp. 960 voaov vwaWayrj, Trach. 845 oiXiattrt cruvaXA-ayais, 'in fatal converse.' But in Ant. 156 6tv, ' his presence dispenses with (solves the need for) the toil of thy feet.' This is better than (1) 'freed the city from the songstress, in respect of the tribute,' or (2) ' freed the city from the tribute (Satr/iof by attraction for Sacr/xoC) to the songstress.' 36 o-K\i]pds, 'hard,' stubborn, relentless. Eur. Andr. 261 O-KXYJPOV 6pa nothing more than anyone else knew, nothing 'that could advantage thee.' Plat. Crat. 387 A TT\4OV TI 17/uv ecrrai, we shall gain something. Sympos. 217 C ovSev yap [Hoi irXe'ov vfv, it did not help me. IgciSu;—IKSISaxfcts: not having heard (incidentally)—much less having been thoroughly schooled. 38 irpotrityicQfleov,' by the aid of a god.' [Dem.] In

OlAtnOYI TYPANNOZ

21

seeing that thou earnest to the town of Cadmus, and didst quit us of the tax that we rendered to the hard songstress; and this, though thou knewest nothing from us that could avail thee, nor hadst been schooled ; no, by a god's aid, 'tis said and believed, didst thou uplift our life. And now, Oedipus, king glorious in all eyes, we beseech thee, all we suppliants, to find for us some succour, whether by the whisper of a god thou knowest it, or haply as in the power of man; KaSpetov L, KaSfielav A. Kadnewv ex KaS/ieiuv factum B : contraria in V 4 ratio. Ut in v. 29, ita hie quoque genit. pluralem librariis commendavit locutio pedestri propior. 4O vvv 8' Blaydes. 4 3 irov A, cod. Ven. 468 (V), cum codd. plerisque. TOV L, superscr. irov a manu admodum recenti: B T 8 in ir8 mutatum a manu recenti. TOV Schneidewin., Dindor'f., Blaydes.

Aristog.

I. § 24 rj evTa£ia Trj TWV VO/XO>V TrpocrOujKy) TU>V alcr)(p<Sv ir

' discipline, with the support of the laws, prevails against villainy.' Dionys. H a l . 5. 67 TtpottQ-qiayi fioipav

iireixpv

OVTOI TOIS ev aXayyi

'these served as supports to the main body of the troops.' nvi, to take his side : Thuc. 6. 80 TOIS dSiKovfu-tvoK... : so Soph. O. C. 1332 ots av crv Trpo
42 CKTC olaOa

d\t
aKOvaas tfarffji.rjv Oeuiv TOV (by

having

heard a voice from some god), #re ola-6a dkKrjv air avSpos irov (help obtainable from a man, haply). Not, 'knowest from a m a n ' (as thy informant): this would be Trapa. or irpos avSpos. So in Od. 6. 12 W K a?ro yuifSea eiS^rj oWpou, Her. 1. 43), any rumour, or speech casually heard, which might be taken as a hint from the god. Od. 20. 98 Zev Trdrep... | rjfi.r)v Tt's (JLOL <£acr0a>...(Odysseus prays), ' L e t some one, I pray, show me a word of omen.' Then a woman, grinding corn within, is heard speaking of the suitors, ' may they now sup their last': •^aipev S« K\erjS6vi SZos 'OSvo-o-cvs, 'rejoiced in the sign of the voice.' 6p.<jirj was esp. the voice of an oracle; KA^SWV comprised inarticulate sounds

22

IO*OKAEOYZ KOU

opa> juaXicrTa. TSSV /3ouXev/Aar&»i\

45

i#', to fipoTwv aptcrr', avopGaxjov irokiv'

W, evXafiyj 6r)ff'" ws
8e ^

croTrjpa icXr^ei TIJS irdpos

es opdov KCLL irecroWes vcrrepov, a\X' acr^>aXeia rrpS' avopdcacrov iroXiv. T'

48

50

ircipos L, /»s a manu recentiore, deletis litteris quas Xai fuisse neque negare

( K \ . Svo-KpiTows, Aesch. /*.' ^

486).

4 4 — 4 5 <5s Tot
I

take these two verses with the whole context from v. 35, and not merely as a comment on the immediately preceding words «r' aV avSpos oia-da. TTOV. Oedipus has had practical experience (i[nreipia) of great troubles; when the Sphinx came, his wisdom stood the trial. Men who have become thus efnrtipoi are apt to be also (wii) prudent in regard to the future. Past facts enlighten the counsels which they offer on things still uncertain; and we observe that the issues of their counsels are not usually futile or dead, but effectual. Well may we believe, then, that he who saved us from the Sphinx can tell us how to escape from the plague. Note these points. (1) The words ^ircCpouri and povX.fup.dTuv imply the antithesis (a) between past and future, (b) between 2pyo and \6yoi. Cp. Thuc. 1. 22 oaoi Se /JovXiJ(TOVTCU T(3v T€ yevofiivoiv TO craves o-Koirfiv nal r<Sv /xeWovnav Trore av6is Kara, TO dvOpowreiov roiovriav KO.1 irapaTrXrjo-iW icriarQai. (2) r a s

|v|i(j>opds TWV pov\6«|iaT«ov, the events, issues, of their counsels: Thuc. I. 140 ivhe^erai yap r a s £v/u.^>opas T
affairs can be as incomprehensible in their course as the thoughts of m a n : ib. irpos TCU |vju.^>o/oas KOX TCIS yviLfia-z TjO£7ro/i«i/ovs, altering

their views according to the events. 3. 87 T^S ivfiopa<; T<3 a?ro/6avTi, by the issue which has resulted. (3) £<J
OIAITTOYI TYPANNOI

23

for I see that, when men have been proved in deeds past, the issues of their counsels, too, most often have effect. On, best of mortals, again uplift our State! On, guard thy fame,—since now this land calls thee saviour for thy former zeal; and never be it our memory of thy reign that we were first restored and afterward cast down: nay, lift up this State in such wise that it fall no more! potest quisquam neque affirmare;

totae evanuerunt.

49

//.e/ju/iiiieSa codd.:

IxtliviflxeBa Eustath., Herm., Erfurdt., Dobraeus: vide annot. Triclinius, Elms., Blaydes.

5O ardvret y'

repute—as the next clause explains. Oed. is supposed to be above personal risk; it is only the degree of his future glory (55) which is in question;—a fine touch, in view of the destined sequel. 48 TTJS iropos irpo9v|i.Cas, causal genit. : Plat. Crito 43 B iroXXa'/dS fx.lv &j cre...evSa.ijU.oVicra TOV Tpoirov. 49 |M|ivv\a.TTfj.e8a 817 xat ravra vepl dfj.oiv. EuStathlUS

(1303. 46, 1332. 18) cites the word here as |«|iv<£|«9a (optative). We find, indeed, fiefivZo Xen. Anab. 1. 7. 5 (v. 1. ix.efj.vrjo), fieiivewTo II. 23. 361, fuefLvuTo Xen. Cyr. 1. 6. 3, but these are rare exceptions. On the other hand, fxefJivyfirjv II. 24. 745, pepvyTO Ar. Plut. 991, Plat. Rep. 518 A. If Soph, had meant the optative he would have written /ae/AvrjjU.e&x: cp. Philoct. 119 a.v...KiKXrjo. See Curtius Greek Verb 11. 226 (Eng. tr. p. 423). T h e personal appeal, too, here requires the subjunct, not optat.: cp. O. C. 174

jJL-rj hrJT dSLK7j8S, Track.

F o r partic. with juc/x|"7/'uu Pind. Nem. Ant.

1 1 . 15

1112 OLUTOS r

C

8 0 2 yu/^S' CLVTOV 6dv(a.

P- X e n . Cyr.

50 ordvTes T' K.T.X.

3. 1. 31 €/U.€JU.V>JTO -yap

diriLv.

Ovara fj.eij.va.o-6u 7re/xo-TeAA
loose. 51 da\eCqi, 'in steadfastness': a dative of manner, equivalent to acr<£aA(3s in the proleptic sense of wore dcrfaXi) dvai. Thuc. 3. 56 01 firj TO. £v/j,<popa irpos Trjv o8ov avrols a c r ^ a A e i ' a irpdacrovrK,

those

who securely made terms on their own account which were not for the common good in view of the invasion. 3. 82 dcr(f>aXei^ 8c TO imfiovXeio-ao-Oai. (where acr^xzActa is a false reading), to form designs in security, opp. to TO ifnrX-qKTux; 6£v, fickle impetuosity. The primary notion of (' not slipping') is brought out by TreowTes and dvopOiao-ov.

24

I04>0KAE0YZ opviQi yap KCKL TTJV TOT' alcrito Trape
Tvyr\v yevov.

cos etirep apfets ri^crSe 7175, axnrtp £vv dvSpdcrcv KOXXLOV 17 Ka>T)<; fcpareiv'

55

OJS ovSev icrTLv ovre Trvpyos ovre vavg epy)[xo<; dvhpoiv fiT) £vvoiKovvTan> ecroj. OI.

w TraiSes olicrpoC, yvcoTa. KOVK dyvaiToi jaoi irpocrrfKdeff l/JLcCpovTes'

ev yap otS' ort

vocrevre iravre?, /cai ^ocrovt'Te?, cus eyw OUK

60

ecrriv v{x.(ov OCTTLS i$ LCTOV vocrel.

TO phs yap vfxcav aXyos cis cv 52 6'pvi0i...alo-f(j>, like secunda alite or fausta avi for fow omine. A bird of omen was properly otcovos: Od. 15. 531 ov TOI avev Otou hrraTO Sc^ios opvis' | lyvmv yap p.iv iaavra. iScuv oliavov lovra'. Xen. Cyr. 3. 3. 22 otaivois xprjtrajiievos aicrtoi?. But cp. Eur. I. A. 6oj opviOa fi,\v T6V&' aiCTLOV iroiov/iiOa: Her.

73° opviOos OVVCKO. : Ar.

Av.

720 ^rjlt,t) y vfilv opvts 1(TTI, irrapfjiov r opviOa. KaXelrt, | £vfj.f3o\ov opviv, cjxovrjv opviv, OepdirovT opvt.v, ovav opviv. For d a t , Schneid. cp. Hipponax fr. 63 (Bergk) 8e£iw...i\6a>v pwStu (heron). I n Bergk Poet. Lyr. p. 1049 fr. incerti 27 &e£irj O-ITTT; (woodpecker) is a conject. for §££0; a-LTrrj. Kal is better taken as = 'also' than as ' b o t h ' (answering to /cat ravvv in 53). 54 apgas...KpaTtts...KpaT£tv. Kparetv TIVOS, merely to hold in one's power; ap-^iv implies a constitutional rule. Cp. Plat. Rep. 338 D OVKOVV TOVTO KpaTeZ iv £Ka(TTij TTOA.£I, TO ap^ov % H e r . 2. I aAAov9

re irapaXa/3tov T(3v ^px c K a ' ^ K a ' 'EXXifvcav T<3V eVeicpaTee, /'^. the Asiatics who were his lawful subjects, and the Greeks over whom he could exert force. But here the poet intends no stress on a verbal contrast: it is as if he had written, etirep ap^i?, aWep apx^is. Cp. Track. 457 nd ft.\v SeSotKas, ov KaXcus Tappets : below 973 wpovXeyov... | r;vSas. 55 |iv dvSpttJs. Cp. 207 fuv ats = as e^ovua. El. 191 dciKct crui' aroXa. Ai. 30 et. Ant. 116 £vv 0' linroKOfiois KopvOcortri. 56 ws ovSiv eo-Tiv ICT.X.

Thuc. 7. 77 avSpes yap TOXIS, KOL OV TCI^I? OV8«

aVSpeov Kfvat. Dio Cass. 56. 6 avOpanroi yap TTOV TTOXIS io~Tiv, OVK K.T.X. Her. 8. 61 (Themistocles, taunted by Adeimantus after the Persian occupation of Athens in 480 B.C. with being aVoXis, re-

OlAinOYS TYPANNOZ

25

With good omen didst thou give us that past happiness ; now also show thyself the same. For if thou art to rule this land, even as thou art now its lord, 'tis better to be lord of men than of a waste : since neither walled town nor ship is anything, if it is void and no men dwell with thee therein. OE. Oh my piteous children, known, well known to me are the desires wherewith ye have come: well wot I that ye suffer all; yet, sufferers as ye are, there is not one of you whose suffering is as mine. Your pain comes on each one of you torted) iwvTOLcri...cos eir) /cat 7roAis KCU yrj p\,i^iav rjirep Keivouri, t o r ' av SnjKOcriai vjje's i ewcri TreTrXrjpiti/jiivai. iriJp'Yos = t h e city wall with its

towers : the sing, as below, 1378 : Ant. 953 ov irvpyos, ov\ aXUrvTroi | ... raes: Eur. Hec. 1209 ?r«pi£ Se irvpyoi clx' en 7TTOA.IV. 57 L i t , 'void of men, when they do not dwell with thee in the city': ov8pV So-w is epexegetic. Rhythm and Sophoclean usage make this better than to take dvhpmv fir) £WOIK. I. as a gen. absol. Cp. Ai. &fi\ yvfivov (faavevra TCOV apwrjtiwv arep : Phil. 31 Kkwjv ocKYjaiv dvOpiOTruiv 8tx a : Lucret. 5. 841 muta sine ore etiam, sine voltu caeca. 58 -yvwrd KO«K #yv«Ta. This formula is used when the speaker feels that he has to contend against an opposite impression in the mind of the hearer: 'known, and not, {as you perhaps //link,) unknown.' / / . 3. 59 « r a /nc KCIT' CUO-OLV eraKecras ovS' xnrip dl<j<xv, duly, and not,—as you perhaps expect me to say,—unduly. Her. 3. 25 efifi.avT]<; re ccuv KCU ov ^pev^pijs—being mad,—for it must be granted that no man in his right mind would have acted thus. O. C. 397 [Zaiov KOVX} fivpiov xpovov, soon, and not after such delay as thy impatience might fear. 60 voo-oivT6s...vo
not one of you whose pain is as mine. In Plat. Phileb. 19 B (quoted by Schneid.) the source of the anacolouthon is the same: n-rj yap Suvajxtvoi TOVTO Kara Travros EVOS KO.1 6JJ,OIOV KCU TOLVTOV 8pav /cm TOV ivavTiov, cos d Tra.pe\0(i>v Xoyos i[iijwcrev, o i S e i s «is ovSev o v S e v o s av •qfj.aiv ovSe-

•n-OTeyivoiTo a^os,—instead of the tamer OVK av ycvoipeBa. 62 clsiva... liovov Ka9" auTc!v. Kaff avrov, ' by himself (O. C. 966), is strictly only an emphatic repetition of povov: but the whole phrase ets iva p'vov naff OVTOV is virtually equivalent to eis tva tKao-rov KaO' avVo'v, each several

26

IO*OKAEOYZ Ka0y avrov, 1

T d\\'

KOvSev dXXoV

r\ 8' i/xr)

) TTOXIV re Koifxe KCU cr 6[iov ovx vvvcp y

crrevei.

evoovra, [JL egeyeipere,

Icrre woXka fiev fie BaKpvcravra. S77, S' dSous ekdovra, povrC8ot; TTXOVCH?. S' ei> (TKOTTOJV evpuxKov Tacriv eirpa^a'

Kpeovr',

ifiavTov

TraiSa y a p yafifipov,

es ra, YIVOLKCL

7°

IVre/i.'/'a <&oi[iov Sw/xa^', OJS TTVOOLO' O TL Spcov 17 T I ci)VQ}v TtjvSe pvcraifjuqv KOX [x ^fJ-O-p rjSy) ^vixfieTpovfievov 67

TTOKIV. xpovq)

TrXavour L, oi ex ai facto: superscriptum est avrl Tr\di>ais BTJKVVTIKUS. T

alt

habet: ubi schol. in marg. formae masculinae suffragatur, TOI)S tpvya.Si.Kois

one apart from the rest. 64 TTOXIV T« KdjiJ Ka\ 6(3«>, ]. 68 cvpiO-KOV, 'could find' (impf.). Elmsley r/vpto-Kov. Cuitius (Verb 1. 139, Eng. tr. 93) justly says that we cannot lay down any definite rules on the omission of the temporal augment in such forms. While the omission

TYPANNOS

27

for himself alone, and for no other; but my soul mourns at once for the city, and for myself, and for thee. So that ye rouse me not, truly, as one sunk in sleep: no, be sure that I have wept full many tears, gone many ways in wanderings of thought. And the sole remedy which, well pondering, I could find, this I have put into act. I have sent the son of Menoeceus, Creon, mine own wife's brother, to the Pythian house of Phoebus, to learn by what deed or word I might deliver this town. And already, when the lapse of days is reckoned, Tr\avovs citans. ir\avois, non ir\cLvcus, indicat script, corapendiaria in B. tamen codd. recentiorum TXavcus praebent.

Multi

of the syllabic augment was an archaic and poetical license, that of the temporal was 'a sacrifice to convenience of articulation, and was more or less common to all periods.' Thus iiKatpv could exist in Attic by the side of rJKa^ov, tvpLo-Kov by the side of rjvpia-Kov. On such a point our MSS. are rarely safe guides. 69 Ta*n)v &rpaga, a terse equivalent for ravTrj epyu? ixpfjo'dfji.rjv. 71 o n 8(XSV...TC ijwovwv. Cp. Plat.

Rep.

4 1 4 D OVK oT8a oiroia.

ToX[irj rj TTOIOIS Xoyois

xpwjucvos

ipu>. These are exceptions to the rule that, where an interrogative pronoun (as TIS) and a relative (as ooris) are both used in ari^ indirect question, the former stands first: cp. Plat. Crito 48 A OVK apa...povTi
Gorg.

Tts, Kal ovTiva KCU oiroia

TI ipovaiv

ol TTOXXOI 17/tas,

dXX'

o TI

4 4 8 E OVSEIS epcora iroia. TIS e«7 17 Yopyiov 8eot KaXtiv TOV Topyiav:

/ca/ca : Phileb.

T€\VT],

d

lira'tiM, aXXa

ib. 500 A eicAe^acrfJai iroTa aya#(i

17 B (lO'/xey) irocra T£ ecrrt Kal o i r o i a .

72 Spuv rj

<)>wvwv: there is no definite contrast between doing and bidding others to do: rather 'deed' and 'word' represent the two chief forms of agency, the phrase being equivalent to 'in what possible way.' Cp.

Aescb. P.

V. 659 OeoTTpo-rrovs "aXXev, «5s fid.601 TL ~xprj | Spajvr' vj

XiyovTa SaLfxaaiv irpdo-aetv iXa. p«
imply that he was confident of a successful result, and doubtful only concerning the means; it is therefore less suitable. 73 KO.£ H' i]|»ap...xp6v(j>. Lit, 'and already the day, compared with the lapse of time [since his departure], makes me anxious what he doth': i.e. when I think what day this is, and how many days ago he started, I feel anxious. T[8T], showing that to-day is meant, sufficiently defines 17/xap. XP°V1? is not

28

S04>0KAE0YZ

Xvirei TI irpdcrcrei' TOV yap et/coro? nepa aTrecrri TrXeCo) TOV KOLOT/JKOVTOS -^povov. OTCLV S' IKTJTCU, TrfViKavr" iya KGIKOS fj,rj Spcov av elrjv rrdvff' ocr av §17X01 J ti. aAA ets KOAOV crv r ei7ras otoe r

75

"AiroXXov, el yap iv crcoTrjpL fZalr) XafiTrpos wcrTrep

. aAA. et/cacrai jaev, rjdv;. TToXvcrTe^s

OI.

ra^'

ov yap av Kapa

<5S' elpire TrayKapirov Sdcfyv-qs.

ela-ofieaOa' ^u/i/Aerpos yap ws icXveiv.

7 4 !re/>at L, et placuit quidem Porsono, v. 75 delendum censenti, irepq. legere: vide tamen annot. 7 8 irpocTdxovTa. codd., sed verbum cum xpis non cum

for T<3 XP<'V¥! the time since he left,—though this is implied,—but is abstract,—time in its course. £v|i|j.«Tpoii|«vov = cp. Her. 4. 158 o-vfifieTpr)cra/xevot rrjv mprjv Trj% ij/j.eprj's, VUJCTOS Traprjyov, ' h a v i n g calculated t h e time,

they led them past the place by night': lit., 'having compared the season of the day (with the distance to be traversed).' Eur. Or. 1214 KCU S77 7T€'Xas viv Sto/«iT(i)v eivai SOK<3P | TOV yap -^povov TO /xrjKO's avro

crvvrpi^u

'for the length of time (since her departure) just tallies (with the time required for the journey).' 74 Xim-ei rt irpdo-o-ei: At. 794 wore /*' w&iveiv TI <#nj?. Toi -yip SIKOTOS ir^pa. TO eiKos is « reasonable estimate of the time required for the journey. Porson conjectured TOV yap EIKOTOS Ttpa, as ='for he overstays the due limit'—thinking v. 75, aireo-Ti...xpovou, to be a spurious interpolation. The same idea had occurred to Bentley. But (1) TrcpSv with the genitive in this sense is strange (in 674 Ovpov irepav is different), and would not be readily understood as referring to time; (2) it is Sophoclean to explain and define TOV eiKoros irepa by 7i-/\.£«o TOV KadiJKovTO's ypovov.

78 tis KaXov, to fit p u i p o s e , ' o p p o r t u n e l y ' :

Plat. Symp. 174 E (h KCLXOV rjKws. Ai. 1168 «ai firjv h avTOV Kaipov... | irdpuo-iv. Cp. Ar. Ach. 686 eis Tax°s = TOX«
= evTcAws. otSe: some of those suppliants who are nearer to the stage entrance on the spectators' left—the conventional one for an arrival from the country—have made signs to the Priest. Creon enters, wearing a wreath of bay leaves bright with berries, in token of a favourable answer. See Appendix, Note 1, § 2. 80 «v nSxi]...0(1410x1: may his

OlAinOYZ TYPANNOI

29

it troubles me what he doth ; for he tarries strangely, beyond the fitting space. But when he comes, then shall I be no true man if I do not all that the god shows. PR. Nay, in season hast thou spoken; at this moment these sign to me that Creon draws near. OE. O king Apollo, may he come to us in the brightness of saving fortune, even as his face is bright! PR. Nay, to all seeming, he brings comfort; else would he not be coming crowned thus thickly with berry-laden bay. OE. We shall know soon: he is at range to hear.— irp6 compositum, credo, significantes: ne enim in talibus duplex a scriberetur, inferiorum temporum Graecis Latina suadere poterant exempla, ut astare, postemplum.

radiant look prove the herald of good news. Xanirpds with h> TVXQ K.T.X., —being applicable at once to brilliant fortune and (in the sense of <£a<,8pds) to a beaming countenance. b> TUXU, nearly =/JLCTO. Tuxq^, 'invested with,' 'attended by': cp. 1112 Zv n yap jxaKpw | yrfpa £wd8ti: Ai. 488 crOivovros Iv irXovno. TV^T] ownjp (Aesch. Ag. 664), like TTpaKTUip (ib. H i ) , 6e\KT(op TTUOIO (Aesch. Suppl.

(Eum.

186).

82 tlKao-ai \Uv, ijSiis (sc. /JaiW).

1040), Kapavi
Cp. EL 410

TOV vvKripov, SoKeiv 1/J.oL O. C. 151 hvv | //.aKpaCwv T',

•qSus, not 'joyous,' but 'pleasant to us,' 'bringing good news': as 510 ?;8v7roXts, pleasant to the city: El. 929 iJSiis ovSe p.rpp\ Sva-^ept]';, a guest welcome, not grievous, to her. In Track. 869 where aijSrys KO.1 O-Wpv<j>ixivri is said of one who approaches with bad news, aijSifc is not 'unwelcome,' but rather 'sullen,' 'gloomy.' 83 iroXv(rre(})^s...8dvT)s. The

use of the gen. after words denoting fulness is extended to the notions of encompassing or overshadowing: e.g. TrepLartcprj \ ...dv6ea>v 6-qK^v {El. 895), o-Ttyriv...ys [v. I. rj] Kanjpe^eis So/xot (Eur. Hipp. 468). But the dot. would also stand: cp. Od. 9. 183 oTrios...ha<\>vyvX\ois, SutrTv^s Ottapo'; &v; So Fabius Pictor returned from Delphi to Rome coronaius laurea corona (Liv. 23. 11). 84 •ydp ws KX.V«IV. H e is at a just distance for hearing: commensurate (in respect of his distance) with the range of our

30

ZO*OKAEOYI Ki)8evfia, irai Mevoi/cews, TIV

rjfilv

rjKeLS TOV deov

^jxr^v

85

(ftepcov;

KPEI2N. icrOXrjv' \kyoi KCLT opdov 01.

e<mv OVT

yap

KCU TO, hva^top,

i£e\66vTa,

travT

Se iroiov TOUTTOS ;

av

el

TV^OL

evTV)(elv.

ovTe yap

dpaavs

ovv 7rpo8eicra<s elfu TW ye vvv \6yco.

90

KP. ei TSe ^py^ets TrXrjcna^ovTcdv Kkveiv, erotjLio? threw, OI.

eire /cat crTei^eiv ecra).

es TravTas auSa.

rwi'Se ya/3 v\eov
TO TTev9o<s rj Ka\ T ^ S eyn^s \jjir)(r)s nepL. KP, XeyoLfib av oi avmyev rj^as

rjKOVcra TOV deov ndpa.

95

^oi/Sos eyu.^avws a v a ^

/xiacr/ia ^wpa?, ws reOpa^evov eu T77S', iXavveiv,

^Oovl

JU.^8' av^/cecrTov Tpeew.

8 8 i^e\B6vra codd. Quod Suidas et Zonaras s.v. Si
voices (implied in KAUCIV). 85 KijSevjia, ' kinsman' (by marriage), here = ya/x/3po's (70). ^4#£ 756 ywaiKos <Sv SovXev^a /UT; /*£. Eur. C^". 928 rai'Soi' 0'iKovpijfj.aTa = Tas ei/Sov oixovpowas, 87 Xfyw Ydp...«vTvx«iv. Creon, unwilling to speak plainly before the Chorus, hints to Oedipus that he brings a clue to the means by which the anger of heaven may be appeased. 88 ^«X6OVT«, of the event, ' having issued'; cp. 1011 /xr/y«,ot$oi/3os igikOy o-a^'s: so 1182 ef^Koi, Theword is chosen by Creon with veiled reference to the duty of banishing the defiling presence (98 eXavvetv). ira'vTa predicative with evrv^iv, 'will all of them (= altogether)- be well.' Xeyw «iTDx«tv dv = A.ey (90), Creon's own saying (Xe'yto, 87). irpo8«C
741.

91 TrXijo-iajo'vTwv here = TTXIJO-LOV OVTWV. usu. the verb = either

(1) to approach, or (2) to consort with (dat), as below, 1136. 92 Art

OIAITTOYI TYPANNOZ

31

Prince, my kinsman, son of Menoeceus, what news hast thou brought us from the god ? CREON.

Good news: I tell thee that even troubles hard to bear,—if haply they find the right issue,—will end in perfect peace. OE. But what is the oracle ? So far, thy words make me neither bold nor yet afraid. CR. If thou wouldest hear while these are nigh, I am ready to speak; or else to go within. OE. Speak before all: the sorrow which I bear is for these more than for mine own life. CR. With thy leave, I will tell what I heard from the god. Phoebus our lord bids us plainly to drive out a defiling thing, which (he saith) hath been harboured in this land, and not to harbour that which is past cure. KOI
So E u r . Jon 1120

(quoted by Elms., etc.) irerrvo-fxivai. yap, el Bavetv r}fms \peu>v, | rjSiov av 6a.voijj.iv, tiff opav <£dos: i. e. elre opav cjydos (xPv)> (v&lov &v opaJ/tev avTo). fl...dre, as Aesch. Eum. 468 av 8', el SiKaiw; eire fir], Kplvov BiK-qv. 93 ts irctvTas. Her. 8. 26 OVTS rjvt(T-)(£TO V irXiov dymvi^ofiat rj Trepl T17S epavTOv i/fv^s. TOV8«, object, gen. with TO TrevOos (not with irepi): cp. EL 1097 m Zr;vos evae/leia,. 94 T) Ka\, 'than even.' This

must not be confounded with the occasional use of rj KO.[ in negative sentences containing a comparison: e.g. Ai. 1103 OVK ?i'Xos : A n t i p h o n de caed. Her.

§ 23 efijTcu-o ovScV TI fiaWov

VTTO TU>V SXKIOV rj

Kpoi% av eio-to : EL 637 KAVOIS ay rfit]. 97 <5s marks that the partic. ov expresses the view held by the subject of the leading verb i.e., 'as having been harboured'='which (he says) has been harboured.' Cp. Xen. An. 1. 2. 1 IXeye Oappelv «!s KaTao-Tijo-o/iivtov TovTizv eU TO Se'ov: he said, 'Take courage, in the assurance that' &c. 98 eXaweiv for i£e\avveiv was regular in this context: Thuc. 1. 126 TO ayos ZXavveiv riys 6eov (i.e. to banish the Alcmaeonidae): and so 1. 127, 128, 135, 2. 13. |iT]8' avrJKco-Tov Tp6J>ei.v. T h e /uaoyx.a was

32

ZOOKAEOYI

OI.

TTOLO) Kadapfiai;

T I S 6 rpoTros Trjs £v]JL<j>opa<;;

KP.

dv8pr)\aT0vvra<;,

77 6vov TTOXLV

Xvovras, GJ? T O S ' cu^ia

OI. KF. OI.

-^eifid^ov

IOO

TTOXIV.

yap avhpos Tijvhe /xrjvvei, TVX^V ; T ^ ij/xtv, (wag, Aaxos Trof rjyefx.on' yrjs TrjcrBe, nplv ere Ttjv8' aTrevOvveiv TTOXLV. e£oiS' (XKOVCOV' ov yap el
KP. TOUTOU OavovTos vvv

imcrTeWet

TOUS auroeVras X e t /°'

105

cra^ws

l

^Mofo" A, superscripto a m. recentiore ^Tot xe'i""f0I'7'0S TO simile in Bodl. Laud. 54 schol., xe'/U(>i"OI"'os t "' T l T "'' TapaTTovros. Qui talia annotaverunt, xeif*6fc" accus. absolutum esse intellexerant. Lectionis xeill^tel' in paucis sequioris notae codd. inventae, nulla est auctoritas; quanquam L

in the sense that it could not be expiated by anything else than the death or banishment of the blood-guilty. The version, ' and not to cherish it till past cure' (i.e. (Sore dv-uJKeo-Tov tlvai), suits the context less well, since the guilt was incurred long ago, and Thebes has already suffered. Cp. Antiphon Tetr. T. y. § 7 OIVTI TOU ira66vTo<; (in the cause of t h e d e a d ) iiricricq'irTOfi.ev vfilv ™ TOVTOV ov(o TO fx,ijvifia piwv a x e f f a / i e v o v s Tracrav Trjv iroX-iv Ka.60.pav TOV yu.ta
Tuiv d

'to heal with this man's blood the deed which angers the avenging spirits, and so to purge the whole city of the defilement.' 99 irofo... gv|uj>opas. By what purifying rite (does he command us iXavvuv TO /uiacr/ia)? What is the manner of our misfortune (i.e. our defilement)? E u r . Phoen.

390 rt's 6 Tpowos airov;

TI <j>vyd(TLv TO 8vo-)(£p£s -y ' w h a t is

the manner thereof?' (sc. TOV KOKOU, exile).

|v|i.c|>opa$, euphemistic for

guilt, as Plat. Legg. 9 3 4 B Xo)(j)i]o-ai 7roXXa fiepr] rijs ToiavT-qs £vfiopas, to

be healed in great measure of such a malady (viz., of evil-doing): ///. 8 5 4 D iv T<3 irpoo-unria KOI r a w X€Pa>L 7P a< £ £ 'S Trjv ^vfj.4>opdv, with

his

misfortune [the crime of sacrilege] branded on his face and hands.' Her. 1. 35 o-vficfiopy e^o/ievos = £va.yrjs, under a ban. Prof. Kennedy understands: 'what is the mode of compliance (with the oracle)?' He compares O. C. 641 rySe yap £vvoio-ofnai ('for with that choice I will comply'). But elsewhere, at least, o-v^opd does not occur in a sense parallel with o-u/x^tpeo-Oai, 'to agree with.' 100 d.v8pT)XaTovvTos. As if, instead of Troiio KaOapfup, the question had been ri TroiovvTas; 101 cJs

OlAinOYZ TYPANNOI

33

OE. By what rite shall we cleanse us ? What is the manner of the misfortune ? CR. By banishing a man, or by bloodshed in quittance of bloodshed, since it is that blood which brings the tempest on our city. OE. And who is the man whose fate he thus reveals ? CR. Lalus, king, was lord of our land before thou wast pilot of this State. OE. I know it well—by hearsay, for I saw him never. CR. He was slain; and the god now bids us plainly to wreak vengeance on his murderers—whosoever they be. ec

Xeifia.^ov exhibet, ubi « non a prima manu profectum videtur. Cod. in biblioth. Coll. SS. Trin. Cant. R. 3. 31, qui xei/mfei habet, ipse se refellit, non suae sed verae lectionis interpretatione adiecta Ka6a xeijuafoiros. In V 4 autem x«/«afS' factum est ex x«/xafoj'. 1O7 Tivae L sine accentu ; litteram a damnaverat librarius, puncto superposito,

T68' aljitt xe^ojov irdXiv, since it is this blood [ro'Se, viz. that implied in <£6Vov] which brings the storm on Thebes, yf.in.alpv, ace. absol. »s presents the fact as the ground of belief on which the Thebans are commanded to a c t : ' Do thus, assured that it is this blood,' &c. Xen. Hellen. 2. 4. I 01 8e TpiaKovra, oSs i£ov ^817 avi-ois Tupawilv aSecus, v, K.T.X.

Cp. Eur. Suppl. 268 iroXts 8E irpos TTOXIV I «rr?jfe xeL~

tlo-a, 'city with city seeks shelter, when vexed by storms.' 104 v, to steer in a right course. The infin. is of the imperf., = Trporepov rj dvrjvOvve^, before you were steering (began to steer). Oedipus took the State out of angry waters into smooth: cp. 696 e/xav -yav <j)l\av I Iv TTOVOIS aXvovtrav Bvvovaiv

ovpiav Tpoiriv,

KOLT' 6p6ov ovpi&as : fr. 151 TrX^xTpots

'with

t h e helm

(TrXiJKTpa, t h e blades

a7rev-

of t h e

x-ijSaXia) they steer their bark before the breeze.' 105 oi 7dp elo-et86v 7e x«. As Oed. knows that Lai'us is dead, the tone of unconcern given by this colloquial use of oviru (instead of oxnroTe) is a skilful touch. Cp. El. 402 XP. av 8' co>x' ir«<m...; EA. ou 8rJT<x.' fi/qtru) vov TOtrdvS' elrjv Ktvq: E u r . Hec. 1278 ^.rjirm fiaveir] T w Sapis ToaovSe Trais: II. 12. 270 aXX oviroi TrdvT&s 6/xoloi \ dvipei iv jroXe/io): c p . o u r (ironical)

' I h a v e yet t o l e a r n . '

107 TOOSOVTO^VTOS...

nvas. TOVS implies that the death had human authors; rwa.% that they are unknown. So in O. C. 290 oTay 8' 6 Kvpios \ -n-aprj rts, 'the master— whoever he be.' Tin«p«iv, 'punish.' T h e act., no less than the midd., is

J. s.

3

34

IOOKAEOYZ

OI.

ol

S' eicrl

TTOV yrj<;;

TTOV T O S '

eupedrjcrerai

i ^ o s TraXatas hva-TeK/xaprov a m a s ; KP. iv rfj8' e<j>a
11 o

TTorepa S' eV oi/cois ^ V d y p o i s d Aai'os 17 y ^ s £73"' aXXr/s rwSe O-V^TT'ITTTU 6vq);

KP. Oeapos, cos e^aaKev, •77/3OS OXKOV ovKed'

01.

iicSrjficov TraXiv

IKZO' , cos <xTreo"raX'>j.

ouS' ayyeXos T I S ovSe crvyLirpaKToip

115

oSou

/ca/reTS', OTOU T I S eK/xadcav e^pijcraT 5 a y ; KP.

dvtjaKovcri

y&p, TTXTJV els T I S , OS o/3a) vya)i>

quod aut ipse aut alius postea delere voluit. In cod. A, qui pariter Tivacr habet, simile punctum non ad a pertinere existimo, sed spiritum lenem esse litterae t in old., quod, Oedipi personam indicans, voci nvaa proximum est. -nvaa sine accentu praebent etiam Bodl. codd. Laud. 54, Barocc. 66. nvh.a T, E, V, V3, V s , V . Lectionem TWO. codex quod sciam nullus, sola habet Suidae editio Mediolanensis,

thus used even in prose: Lysias In Agor. § 42 Ti/jLwpeiv Snip avrov tus ovia ovra, to punish (Agoratus), on his own account, as his murderer. X«ipl Ti(io)p6tv, here, either 'to slay' or 'to expel by force,' as distinguished from merely fining or disfranchising: in 140 Toiavry \up\ nixaptlv is explained by Kravwv in 139. 108 iroii To8'...aWas; ToSe "xyos o m a s = iX^os rrj(rSe airtas, cp. rovfiov <j)ptv
28 TqvV ovv e/c€tV(i) iras TI<S alriav

vt/j.€i.

F o r 8v
track, cp. Aesch. Eum. 244 (the Furies hunting Orestes) etev TO'8' eo-u raVSpos €Kavh T€Kfiap. T h e poet hints a reason for what might else have seemed strange—the previous inaction of Oedipus. Cp. 219. 1 1 0 £<j>atrKe, SC. 6 0€OS {evpiB-qcricrOaL

TO I^VOS).

TO 8^ JT)TOU(I.6VOV : 8J h a s

a sententious force, = ' now.' T h e yvdfi-r], though uttered in an oracular tone, is not part of the god's message. Cp. Eur. fr. 435 TI vvv Bpmv €LTa Saijuovas KaXei' | TW yap TTOVOVVTI KO.1 Otas crvXXa/x 113 trvpirlwrn. T h e vivid historic present suits the alertness of a mind roused to close inquiry: so below, 118, 716, 1025, etc. Cp. Ai. 429 ica/cots Toioio-Se (Tv^TrtTTTiOKOTa. 114 8«up6s: La'ius was going to Delphi in order to ask Apollo whether the child (Oedipus), formerly exposed by the god's command, had indeed perished: Eur. Phoen. 36 TOV 7T
I £i JU.IJK£T' ftrj.

» s f<()o
OIAITTOYZ OE.

TYPANNOI

35

And where are they upon the earth ? Where shall the

dim track of this old crime be found ? CR.

In this land,—said the god.

What is sought for can

be caught; only that which is not watched escapes. OE.

And was it in the house, or in the field, or on strange

soil that Lalus met this bloody end ? CK.

'Twas on a visit to Delphi, as he said, that he had left

our land; and he came home no more, after he had once set forth. OE.

And was there none to tell ?

Was there no comrade

of his journey who saw the deed, from whom tidings might have been gained, and used ? CR.

All

perished,

save

one

who

fled

in

fear,

and

cum ceterae rivis tueantur (s.v. tTurriXKa). Mirum mihi quidem quod nvi. receperunt Elmsleius, Erfurdt., Dindorf., Blaydes. 1 1 7 OTOV cum ceteri codd. turn etiam L. Versantur enim in re minime probabili qui primam Laurentiani manum Swov, STOV nomrisi recentem dedisse affirmant. Factum est sane T post deletam litteram quae JT esse potuit, tota autem interiit : quam delevisse non recentior mantis videtur, sed vel prima ipsa vei certe antiqua.

the Thebans at the time when he was leaving Thebes. 4K8I]|I<5V, not going abroad, but being [= having gone] abroad : cp. Plat. Legg. 864 E oi/ctiTO) TOV iviavrov *K&r)ixu>v. <Ss = e l m : X e n . Cyr. I. 3 . 2 (os 8e CU^IKCTO Ta.\i(Tra...rjp 68ov, suggests xareiSe [had seen, though he did not speak]: and this, by a kind of zeugma, stands as verb to ayyeXos also. Cp. Her. 4- l ° 6 io~6rJTab Se op(ovo~i TTJ 2KD6IKJ5 O/XOITJV, yAv-yuv, 'having fled in fear': <j!>o'/3o), m o d a l d a t i v e ; c p . T h u c . 4 . 88 Slot T£ TO iTraytayd

€iTT€iv TOV Bpao't'Sav Kal irepl TOV Kapirov <j>6fia> 3—2

36

Z04>0KAE0YI b)v eiSe Trkrjv eu ovSev el^' eiSws

01.

TO Troiov ;

et> y a p TTOXX.' av i^evpou ixaOelv,

120

o-pXW fipa.\etav el X&fioipev iX KP. Xijcrras e^acr/ce crwrv^o^Tas ov pu>fJi~Q KTaveiv viv, aXXa CUP TrXijdev OI.

TTWS ovf o XrjcrTijs, et TL firj £vv

£77pacrcrer

1

KP. oo/couvra TauT r)v' ouSeis apaijos 01.

apyvpca

evueuo , es TOO av TOA/XIJ? e p r j ;

125

Aatou 8' OXWXOTOS

iv Ka^ois

kyiyvero.

KO.KOV 8e TTOLOV i/xTToScov TvpavvCSos OVTU> Trecrovcrrjs eipye

TOVT"

i^etSeuat;

KP. T) 7TOIKIXW8OS *Z
130

Tavrj wpocnjyeTO. fyvoxrav. 5. 70 eVroi'OS Kal opyij \s aM tiScos 17/xii' dyyuX.rj's (To.rj. Iocasta says (849), in reference to this same point in the man's testimony, KOVK ICTTIV avrip TOVTO y eK/JaXtiv 7raA.iv. 120 TO TTOIOV;. Cp. 291 : El. 670 7rpay/xa tropavvuiv /xeya. | KA. TO TTOLOV, (a £ev ;

ihri. Ar. Pax 696 eu'Seujuovcr iracr^ei Sc ^at'/Aaarov. 'EPM. TO T I ; IfjeiJpoi (ia0€tv. One thing would find out how to learn many things, i.e. would prove a clue to them. T h e infin. fiaOuv as after a verb of teaching or devising: Her. 1. 196 aAAo Se n i^ivprjKam. vecDari ycvtcrflai. Plat. Rep. 519 E Iv oArj TTJ 7ro'X£t TOVTO pr}yavS.Tai eyycvicrOai. 122 ?<J>a(TKs ^<»fi.r], in the strength not of one man. Cp. Her. 1. 174 iroW-rj x«pi ipya.£,o[j.£vwv T<3V KvtSiojv. Ant. 14 oWAg x«pt = by the hands of twain. So perh. x V ' StSu/ia Pind. Py///. 2. 9. 123 6ir,'unless/mvjtfwtf': Tr. 586 eiTip} BOK<S \ irpdo-vuv v, etc. Schneid. cp. Thuc. I. 121 KCLL TI airuS KO.1 lirpaao-ero is Tas TrdAtts TavTas TrpoSocrias irepi: and 5. 83 virrjpxe Se Tl avrots Kai e/c TOS "Apyovs avTO^ev Trpaa-a-o/xevov. 125 eirpd
Cp. 402 eSd/cets—eyvus: 432 IKO'/TIJI'—exaAeis.

126 SOKOVVTO...

OIAITTOYZ TYPANNOI

37

could tell for certain but one thing of all that he saw. OE. And what was that ? One thing might show the clue to many, could we get but a small beginning for hope. CR. He said that robbers met and fell on them, not in one man's might, but with full many hands. OE. HOW, then, unless there was some trafficking in bribes from here, should the robber have dared thus far ? CR. Such things were surmised; but, Laius once slain, amid our troubles no avenger arose. OE. But, when royalty had fallen thus, what trouble in your path can have hindered a full search ? CR. The riddling Sphinx had made us let dark things go, and was inviting us to think of what lay at our doors. ijv expresses the vivid presence of the 8o'£a more strongly than «8d/cei would have done: (cp. 274 raS' tar dpio-Kovff): Her. 1. 146 ravra Se rjv yivo/teva hi MiXifrw. 128 4(iiroS»v sc. ov, with KOKCSV, not with tlpye, 'what trouble (being) in your path.' Cp. 445 vap(ov...ifjiiro8wv | o^Xeis. TvpawCSos. Soph, conceives the Theban throne as having been vacant from the death of Laius—who left no heir—till the election of Oed. The abstract rvpawtSos suits the train of thought on which Oed. has already entered,—viz. that the crime was the work of a Theban faction (124) who wished to destroy, not the king merely, but the kingship. Cp. Aesch. Cho. 973 i8«r$e \u>pa% TVV SITTXJJV rvpawtBa (Clytaemnestra and Aegisthus). 130 iroiKiXuSis, singing 7roi/aX<x, subtleties, «uvry,u.aTa: cp. Plat. Symp. 182 A 6 7rcpi TOV cpojra vo/xos iv p.iv rais aXXais 7ro'X€(ri vorjcral paSios' aTrAcus yap wpurrai' 6 8' ivOdSe Kal IV AaKcSat/xoj/i TTOIKI'XO?. Her. 7. 111 irpojaavTis Se -q xpeovaa, Karcwrep iv AeX^oio-i, Kal o^Sci/ TTOIKIXtorepov, 'the chief prophetess is she who gives the oracles, as at Delphi, and in no wise of darker speech.' 131 The constr. is irpoo-Tj-yero ^S.%, |K0^VTas rd di|>avtj, o-Koirely TA irpos iroo-f.

irpooTJY«TO, was drawing US (by h e r

dread song), said with a certain irony, since irpoad-yeo-Oai with infin. usually implies a gentle constraint (though, as a milit. term, ara'y/07 ydyovTo, reduced by force, Her. 6. 25): cp. Eur. Ion 659 XP°Vv jrpocrd£ofiLai | 8a/j,apT* lav

(re (TKrjirTpa Tap.' e\eiv

xOovos.

T6

irpos iro
dtjiavrj, obscure questions (as to the death of Laius) of no present or practical interest. Pind. Isthm. 7. 12 8a/xa pXv 7rapoixo/x€voi' ] xaprepav

tiravae

/j.ipifj.vaV

TO 8e i r p o s TTOSOS dpuov

del VKOTTUV j XPVH-a

38 01.

IOcJ>OKAEOYZ dXX' i£ vTrapxfjs av6is

aW

iyai avco.

eTra^iws yoip t&otySos, a^uws Be cri) Trpo TOV 0av6vTos Trjvft eOecrd' irncrT WOT' ivSiKCi)? o\jjecr0e Ka/xe crv/x.ju.a^oi', yfj

135

T^Se Ti[LG)povvTa T<5 6ea> 6" a/xa.

vnep yap

ov^i TW^ dircoTepa) (f>t,\cov

dXX' auros aurou TOUT' dirocrKehco [AVO~O<;. OOTIS y a p

17 P £K€IVOV

KcifJi av ToiavTTj xeiPL

6 KTOLVCOV Ta^'

at>

Tiju.wpeu' dikoi.

140

KeCvco irpocrapK(M> ovv i/jLavrov (o
apavres

LKTrjpas /cXaSovs,

1 3 4 irpd habent optimi duo codd., L, A : inter reliquos, V3, Bodl. Laud. 54 (cum interpr. virip uterque), Barocc. 66, Misc. 99. vpbs codd. aliquot, inter quos B,

E, T, V, V2, V4: vide annot.

rfyS ISeaS' inarpo^v.

Variam lect. Tyvde

Oeairl^ei ypatpyv notat schol. in marg. L, quae cum plane supervacua et eadem insulsa

•jrav. Ant. 1327 Tav TTOO-IV xaxa. 132 4g vTropxijs, i.e. taking up anew the search into the death of Lai'us. Arist. de Anim. 2. 1 -KOXW 8' wmrep i£ VTrapxqs iTravLu>iJ.tv : SO 7raA.tv ovv otov c^ virap^rjs Rhel. I. I . 14 : [ D e m . ]

or. 40 § 16 7raA.iv i£ vwapxrjs \ayyavova-l, fnoi Sucas. T h e phrase tv Trj rrjs knivo-iK7Js aKpoacrews 8. 3 (Berlin ed. vol. 1. 247 b 29): elsewhere the word occurs only in i£ vTrapxrjs. Cp. El. 725 i£ ira-oo-rpo<£??s = VTrocrTpa<j}€VTei : Her. 5. 116 i< vei;s : Thuc. 3. 92 IK Kaivrj';. avBis, as he had done in the case of the Sphinx's riddle : aird =TOdfyavrj. 133 4ira|£»s (which would usually have a genitive) implies the standard—worthily of his own godhead, or of the occasion—and is slightly stronger than aj£
4 0 0 viraKovvov,

CLKOVOOV. 134 irpi, on behalf

of, c p . Trpo TWVSC

10, O. C. 8 1 1 : Xen. Cyr. 8. 8. 4 et Tis...Staiaj'Sweixme irpo /3ao-iA«us: 1. 6. 42 a£taxroixri cr« 7rpo iaxTusv f$ov\eve
e.g. H e r . I. 124 ojro<JTa.vT£s COT' CKEIVOU Kal yevofitvoi

Trpos
' ranged themselves on your side': 1. 75 eAino-as Trpos eoivrov TOV xPVcrlJ^v i, that the oracle was on his side: below, 1434 Trpos a-ov...^>pa.a-
OlAinOYl TYPANNOI

39

OE. Nay, I will start afresh, and once more make dark things plain. Right worthily hath Phoebus, and worthily hast thou, bestowed this care on the cause of the dead; and so, as is meet, ye shall find me too leagued with you in seeking vengeance for this land, and for the god besides. On behalf of no far-off friend, no, but in mine own cause, shall I dispel this taint. For whoever was the slayer of Laius might wish to take vengeance on me also with a hand as fierce. Therefore, in doing right to Lai'us, I serve myself. Come, haste ye, my children, rise from the altar-steps, and lift these suppliant boughs; sit, docet quanta mutandi licentia grammatici interdum uterentur. 1 3 8 avTOv recte B, T, alii; eorum in quibus aiirov legitur sunt L et A. 1 3 9 iKeivov L (ex cr

IKHVOIT factum), A : ineivov B. Pravam 1. ^xeivos deteriorum codd. unus et alter admisit.

will speak on your side,—in your interest: Track. 479 KCU TO Trpos KCIVOV Xc'yeiv, to state his side of the case also. *mij, a turning round (O. C. 1045), hence, attention, regard: cTriorpcx^iJv TiOeo-Oai (like (Ttrov&qv, irpovoiav TLO., Ai. 13, 53^) =CTiorpe<£eo"#ai(TIVOS), Phil. 599Dem. In Aristocr. § 136 OVK eVeorpa<j!>»7 'heeded n o t ' = o{i8ev i<j>povncre ib. § 135. 137 v-a\f -yap oi\\. K.T.X., i.e. not merely in the cause of Laius, whose widow he has married. The arrangement of the words is designed to help a second meaning of which the speaker is unconscious: 'in the cause of a friend who is not far off' (his own father). The reference to Laius is confirmed by KCIVOI irpoa-apKiav in 141. 138 OLVTOV = ifiavrov : SO K\a.tb>...avTr} irpos airnfv, El. 285 : rov% y avros avrov iroXefitovs (OUK i<3 Odirreiv) Ai. 1132. diroo-KeSoi, dispel, as a taint in t h e a i r : cp. Oil. 8. 149 o-Kc'Saow 8' airo lofSea Ovfuov: Plat. Phaed. "J"J D [i.rj...o ave/xos avrrjv (rrjv \)/V)(r]v) eKySatVovtrar IK TOV crw/xaros Sicuftvaa KCI.1 SiacrKtSawvcriv. 139 ^KUVOV i Kravtiv. eKtivov is

thus placed for emphasis: cp. 820. 140 roiairn, referring to Kravwv, implies ovia: on Ti/xuipw see 107. The spectator thinks of the time when Oed. shall be blinded by his own hand. 142 iralSes. The king here, as the priest in 147, addresses all the suppliants. d'XXos (144) is one of the king's attendants, pddpuv | Wao-Ot K.T.X. Cp. Ant. 417 x^ ov os...aeipas: Phil. 630 vvs>% ayovTa. Prose would require a compound verb : Xen. Symp. 4. 31 viravia-TavTai...6a.K0iv. dpavrts. Aesch. Suppl.

481 KXaoovs ye TOVTOVS ax\§ Iv ayKaXats XajSoJi' | /3a>/ioiis

4o

Z04>0KAE0YZ

aXXos Se KaS/xou XaoV wS' adpoitjera, 6JS TOW e//,ou Syoacrovros' 17 yd/> evTU^ets cruz^ Tw 0e&j (f)avov[JLeff', rj 7re7rT&)/cores. IE. c3 7raiSes, ioraj//.ecr#a. rwi^Se y a p Kal Seup' e/3r)iJ.ev u>v oS' e^ayyeXXerai. *3?oi/3os 8' o •n'eju.i/'as TacrSe /[/.avretas 8' IKOLTO Kal voaov

Travcrr^'/Dto?.

145

150

X0P02. (TTp. a'. cS AtOS d8u£7reS ^WXTt, Tt9 7T0T£ TttS

TTo\v\pV(TOV

2 nu^awos ayXaa? e/8as CTT' aA.Xovs Sat/iovcov iy\(i>pLxe!s...'irenT
they succeed in their search for the murderer, who, as they now know, is in their land ( n o ) : 'ruined,' if they fail, since they will then rest under the dvr)K«TTov p.io,<xfi.a (98). The unconscious speaker, in his last word, strikes the key-note of the destined ^pra-eYeta. 147 JwatSEs: see on 142. 148 KO.1 &evp' i/3-qfj.ev, we e'en came here: i.e. this was the motive of our coming in the first instance. Phil. 380 eVciS^ Kal Xeyeis OpaavaTOfiuiv: Lys. In Eratosth. § 29 irapa rov irore Kal Xr/\j/ea-de Soojvj egaYY&^«T<", proclaims on his own part (midd.), of himself:

i.e. promises unasked, ultro pollicetur. Cp. Ai. 1376 dyytWo/mi...wai <J>LXOS, ' I offer friendship.' Eur. has thus used i£ayy. even where metre permitted the more usual cirayyeAAopu: Heracl. 531 Ka^ayyeXXofiai | 6irq(TKuv, I offer to die. 149 a|ia: *. ^. may the god, who has summoned us to put away our pollution, at the same time come among us as a healing presence. 151—215 The Chorus consists of Theban elders—men of noble birth, 'the foremost in honour of the land' (1223)—who represent the Ka'8/xou Aao's just summoned by Oedipus (144). Oedipus having now retired into the palace, and the suppliants having left the stage, the Chorus make their entrance (7rapo8os) into the hitherto vacant opyrjcnpa.. For the metres, see the Analysis which follows the Introduction. 1st strophe (151—158). Is the god's message indeed a harbinger of health ? Or has Apollo some further pain in store for us ?

OlAinOYZ TYPANNOS

41

and let some other summon hither the folk of Cadmus, warned that I mean to leave nought untried ; for our health (with the god's help) shall be made certain—or our ruin. PR. My children, let us rise; we came at first to seek what this man promises of himself. And may Phoebus, who sent these oracles, come to us therewith, our saviour and deliverer from the pest. CHORUS.

O sweetly-speaking message of Zeus, in what spirit »st ? ,, -^ , 1 • strophe, hast thou come from golden Pytho unto glorious 1st antistrophe (159—166). May Athene, Artemis and Apollo succour us! •2nd strophe (167—178). The fruits of the earth and the womb perish. 2nd a?itistrophe (179—189). The unburied dead taint the air: wives and mothers are wailing at the altars. 3rd strophe (190—202). May Ares, the god of death, be driven hence: may thy lightnings, O Zeus, destroy him. $rd antistrophe (203—215). May the Lycean Apollo, and Artemis, and Dionysus fight for us against the evil god. 151 IJMITI, of a god's utterance or oracle (1440), a poet, equivalent for <j>VM'•CP- 3 I o "•""' °'»>v(3v §wnv. AiAs. because Zeus speaks by the mouth of his son; Aesch. Enm. 19 Aios wpo^ifTijs §' «rri Ao|iots -n-aTpos. dSuen-is, merely a general propitiatory epithet: the Chorus have not yet heard whether the response is comforting or not. It is presently told to them by Oed. (242). Cp. El. 480 dSv7rvoW...oi'et1oaTa)v, dreams breathing comfort (from the gods). TCsn-oTc.gpas; What art thou that hast come ? i. e. in what spirit hast thou come ? bringing us health or despair? 152 IIu6a>vos, from Pytho (Delphi): for the gen., see on 142 fidOpaiv I lo-Tao-Oe. Tas trdkvxpvo-ov, 'rich in gold,1 with allusion to the costly dvaQrifixxTo. dedicated at Delphi, and esp. to the treasury of the temple, in which gold and silver could be deposited, as in a bank, until required for use. Iliad 9. 404 ovS1 Sa-a Xdlvos ovSos a^Topos t^ros iepyu I $ot'/3ou 'AiroWwvo's, TivOoZ ivl 7ccrp-qicra~g. T h u c . I . 121 VCLVTLKOV Te own) TTJS virap^ovcrrji r e ovcri'as i^apTWo/AeOa, Kai CITTO T W iv Ae\oi$ KOLI 'OXv/xTrta -^pr]fid.Toiv. A t h e n . 233 F T<3 ft.lv ovv iv AeX^ois 'ATT6XX
time of Lysander] ia-Topovtnv dvarfOrjvac. Eur. Andr. 1093 Qeov yv'aXa (recesses), drjcravpovs /3poT<3v. Ion 54

42

ZO*OKAEOYZ 3 ©rjySa9 ; e/crerajiiai, o/3epav (frpeva SeCfian ir&Wotv, 4 irjLe. AaXie Ilata^, 5 a,fx\ crol a£oju,evos TI JUOI rj viov 155 617 7re/HTeX\oju,eVais aptus iraXiv i^avvcre.i<; )(peo<;. 7 et7re ju.01, <3 -^pvcr€a<s TIKVOV 'EKTTLSOS, a/xfipoTe <&a//,a.

avr. a'. vp
'AOdva, 160

159 KeK\o/j.(voa L (w a manu admodum recenti), A, E : KexXo'/ucos V, V 4 , B, al. :

(the young Ion) Xpvarov\a.KQ. TOV 6tov, | ra/xiav re TTOLVTWU. Pind. Pyth. 6. 8 iv TroXv^pwo) *kircXkuiVia....vaira. (i.e. iv Ili)0ot). 153 The bold use of licr^Tonai is interpreted by o|3cpdv <j>pe'va jrdXXwv, which is to be taken in close connection with it. iKre is not found elsewhere of mental tension (though Dionys. De Comp. Verb, C. 15 ad fin. has 17 717s Sictvoias eKraoris KCU TO TOV SufjuxToi a-n-poa-SOK^TOV) : dread'

and Triclinius wrongly explains here, ' I am prostrated by

(cKirejrXrjy^at,

Trap ocrov 01 €KirXaycvT£? (.KTCUTIV cco/iaros

d.KiV7]<Tiav Trdcr)(ov(riv : c p . E u r . Afed.

585 ev yap CKT«vei
Kal Cp.

Xen. Cyr. I. 3. I I €<«s Trapareivaifii TOVTOV, axnrep ovros «ju,e irapaTilvn a77o o-ov KwXu'wv,—'rack,' 'torture' him. But iraparelvea-Oai, when used figuratively, usually meant ' t o be worn out,' 'fatigued to death' : e.g. Plato Lysis 204 C TraparaO^a-eTai VTTO crov a/coiW Oa/id

X/yovros, enecabitur, he will be tired to death of hearing it. So Xen. Mem. 3. 13. 6 iraparirafiai fnaKpav 6S6v iroptvOiis. irdXXwv, transitive, governing <j>p€va, making my heart to shake; not intransitive, for iraXAojUEVos, with <£peVa as accus. of the part affected. An intransitive use of mxXXco in this figurative sense is not warranted by such instances as Ar. Lys. 1304 KOV$O, •KOXK.WV, 'lightly leaping in the dance': Eur. El. 435 ?7raXXe Se\cj>fc (= la-KipTa), 'the dolphin leaped': ib. 477 ?7nroi liraXXov 'quivered' (in death). Cp. Aesch. P. V. 881 KpaSia <£d/?a> <j>ptva Xaxrifei: so, when the speaker is identified with the troubled spirit within him, we can say <£peVa 7raXXo),—where 4>plva. has a less distinctly physical sense than in Aesch. I.e., yet has physical associations which help to make the phrase less harsh. 154 AdXic. The Delphian Apollo is also Delian—having passed, according to the Ionic legend, from his native Delos, through Attica, to Delphi (Aesch. Eum. 9). A Boeotian legend claimed Tegyra as the birthplace of

OlAinOYZ Thebes ?

TYPANNOI

I am on the rack, terror

43

shakes my soul, O thou

Delian Healer to whom wild cries rise, in holy fear of thee, what thing thou wilt work for me, perchance unfelt before, perchance returning in the fulness of the years: tell me, thou immortal Voice, born of golden Hope ! First

call

I

Athene,

and

on

on

thee,

thy

daughter

sister,

of

guardian

Zeus, of

our

divine

1st ami-

land,

KefcXo^cif) V 3 , Bodl. Barocc. 66 : KexXo/^cw V 2 , Bodl. L a u d . 54 : treTtXojucu, U Blaydes.

A p o l l o : P l u t . Pelop. 16 ivTavBa /ivOoXoyovai TOV 6tov yivicrOai, KCLL TO JU.£V 7r\rj(TLov opos ArjXos KaXeLTcu. W e c a n scarcely say, however, with Schneidewin that AaAte here ' bewrays the Athenian,' when we remember that the Theban Pindar hails the Delphian Apollo as AVKU KO.1 AdXov dvdo-o-wv $oT/3e (Pyth. 1. 39). lijie (again in 1096), invoked with the cry Irj : cp. Tr. 221 ico to! Hatav. Soph, has the form TTOHWV, iranjtov as = ' a healer' (not with ref. to Apollo), Phil. 168, 832. 155 a£6pcvos (rt. ay, whence ayios) implies a religious fear : cp. Od. 9. 478 O-^LTXC , i-irel (jelvovs o&x a^€o am Zvl OLKW | ia-9ifjievaL. f\ WovTJ...ird\iv. A r e we t o suffer s o m e new plague, for some recent impiety ? Or are we to be visited by a recurrence of plagues suffered in past years, on account of some old defilement? The second guess is right: it is the old curse in the house of Labdacus that is at work. 7raA.iv recalls Aesch. Ag. 154 fiijxvu yap of$epd iraXtvoproi

| OIKOVO/J.OS SoXia fxydfiuiv (JLrjvtS TCKIWOIVOS.

viov, adjective with x P e 0 S • 1™klv> a d v e r b with e£avvovT]T^ |ioi instead of ev^o/xai 7rpo<jiavrjvai. C p . Plat. Legg. 686 D dit ofiXl\pas TOV O~T6XOV OV Tripi h~iaXey6fji.e6a e$o£i fioi TrdyKaXos.. .tlvai. B. /?. § 10 diroXvof/.evos

8k VTTO TE T^S d\r]6uas

yap 7rpos TOVTOV Antiphon

Tetr.

TWV Trpa^OtvTwv viro r e

TOV v6jx.ov KaO' ov 8to)K£Tai, ouSe T<SV imrrjSevfjMTOiv ctvena S i x a t o i TOIOVTUIV KaKuiv d^iovaOai io~fjitv.

X e n . Cyr. 8. 8. 10 YJV Se auToig vofLifiov

160 -yaidoxov has this sense only here.

I n O. C. 1072

44

IO*OKAEOYZ 3 AprefiLV, d KVKkoevT dyopds Bpovov eu/cXea OdcrcreL, 4 Kal Qoifiov ii\6ya TTI^XIXTOS, eX^ere Kal vvv.

o-rp. /3'. ai TTOTTOI, dvdpid[ia yap 2 TT^ara 1 I'ocret 8e /^ot irpova^ CTTOXO?,

OVS'

S a TIS aXeferai. oure yaya eKyova 4 /cXvras ^^ovos au^erat ovre TOKOLCTLV

lift povTi8o
171

it is the Homeric epithet of Poseidon, 'girdling the earth,' tov yaiao^ov. Cp. IIaA.A.tts 7roA.ioi)^os Ar. £ ^ . 581 (7roXtao^os Pind. {?/. 510), TroXuTtjov^oi 6eoi Aesch. Theb. 6g. 161 KVKXOCVT a^opas Opovov = KVK\O€O-(T7]<; ayopa? Opovov, a throne in the centre of the agora; cp. Ant.

7 9 3 veixos aVSpcuv £VV<XL{J.OV, Track.

9 9 3 <3 K^vat'a Kptpn.% f3u>jxiov.

K%iK\o£VTa should not be pressed as if asserting a definitely circular

form for the agora; the notion is not so much 'round' as 'surrounding,'—the epithet marking that the sitting statue of Artemis is the central object. The phrase may have been partly suggested by the familiarity of the word KVKAOS in connection with the Athenian agora, of which it perhaps denoted a special part; schol. Ar. Eq. 137 0 Se KVKXOS 'hdrjvqcrCv icrri

KaOairep [laKeWos,

(form) rijv TTpoo-rjyopiav Xa/3
aXXa wvia, Kal tfaiperios 81 ot l)(6ves. CLCTTV

Kayopas xpaivw

KVKXOV, ' the

bounds' : cp. Thuc. 3. 74

CK Tijs KaTao-KCvrjs

hrj irarpao-Kuai

^copis Kpe
Cp. Eur. Or. 919 oAtyaias circle of

the

agora,' i. e. ' its

T(

^S oiKias i-as iv KVKXW T^S ayopas, ' a l l

round' the agora. In //. 18. 504, cited by Casaubon on Theophr. Char. 2. 4, kp<3 lv\ KVKXW refers merely to the yepovi-es in council. I prefer my version above to (1) 'her round throne, (consisting) of the agora,'—a strained metaphor, for $povo<s is the chair of the statue: (2) 'her round seat in the agora'—/cuxXo'evra meaning that the pedestal of the statue was circular: (3) 'her throne in the agora, round which ot r a n KVKXLOI x°P ' ge themselves.' This last is impossible. CVKXIO,, alluding to Artemis EwXeia, the virgin goddess of Fair Fame, worshipped

OIAITTOYS TYPANNOZ

45

Artemis, who in the centre of our agora holds her throne of fame, and on Phoebus the far-darter: O shine forth on me, my threefold help against death ! If ever aforetime, in arrest of ruin hurrying on the city, ye drove a fiery pest beyond our borders, come now also! Woe is me, countless are the sorrows that I bear; a plague is 2nd on all our host, and thought can find no weapon for defence. The fruits of the glorious earth grow not; by no birth of children

esp. by Locrians and Boeotians: Plut. Arist. dyaXfia

20 y3o/ios yap avrrj KOX

Trapd iraaav dyopdv ISpvrai, KO.1 TrpoOvovcriv at r e yajxov)x.ivai Kai

0! ya/iowTes: also at Corinth, Xen. Hellen. 4. 4. 2. Pausanias saw a temple of "Apre/us Ei>«Xeta, with a statue by Scopas, near the Ilpom'Ses irvkai on the N. E. side of Thebes. Near it were statues of Apollo Boedromios and Hermes Agoraios. The latter suggests that the Agora of the Lower Town (which was deserted when Pausanias visited Thebes) may have been near. In mentioning the dyopd, Soph, may have been further influenced by the fact that Artemis was worshipped as 'Ayopaia: thus in the altis at Olympia there was an 'Apre/u'Sos 'Ayopcuas /?
S o Aesch. Theb. I l l ISCTE trapQivum iKetriov Xoypv BovXcxrvvas inrep,

'to avert slavery.' Cp. 187. (Spwpivas iroXei: the dat. (poet.) as after verbs of attacking, e.g. hnkvai, imriOea-dai. Musgrave's conj. vtrepopwIJLivai TTo'Xet (the compound nowhere occurs) has been adopted by some editors. 166 ^via-ar tKToirCav, made IKTOTTIOV, = e£a)p«raT6, a rare use of dvvui like Troitiv, Kadiardvat, aVoSei/cvwai: for the ordinary use, cp. 720 IKUVOV yvvaev | <j>ov£a yevi(r8ai, effected that he should become. In Ant. 1178 TOVTTOS ok ap' 6fiB6v rjvvaa's, the sense is not 'made right,' b u t ' brought

d u l y to pass.'

JXBtre KO.1 VBV, a n echo of Trpodi>rp-e p.01,

wpoTtpas having suggested KO.1 VVV : as in 338 aAX' ip.e i^e'yeis repeats opyrjv e/xi/juj/ia rrjv ip.r)V. 167 TTOTTOI, OXOV, K-T.X.

170 OTOXOS, like crrparos (Pind.

Pyth. 2. 46, etc.) = Xaps. ^vi = Ivevn, is available. povr£8osfyx°s>not, a weapon consisting in a device, but a weapon discovered by human wit, cy^os w TIS dXi^erai being a bold equivalent for prjxavrj dXe^rjrripia. 173 TOKOKTIV, by births: i.e. the mother dies, or the child is still-born:

46

IO4X3KAEOYZ 5 ir/Kov KafnaTOJu dve^ovcri yvvauKes' 6 aWov 8' av aXXw TrpocrtSots drrep evnrepov 7 KpcLcrcrov ajaat//,a/ceVou Trupos op/J-evov 77-pos kcnripov Oeov'

i 74 opviv

o k /?'. & 7roXts avapiOfAOS OXXVTOU' 2vr)\4a Se yeveOXa npos ireSw 0avaTa6pa 3 eV 8' aXo^ot iroXtai T' eVt iaKTav irapa fiejfjuov dXXoOev aXXat 182 oXvypayv TTOVCOV licrrpes eTTi(TTevd)(ov(nv. 185 6 iraiav Se Xa/*7rei crroi'oecrcra TC yfjpvs ofiavXo<s' 7 cS^ tnre/3, w ^pvcrea dvyarep At09, 8 eucoTra 18O Veram 1. 6ava.Ta(j>6pa., quam ex cod. Palat. 40 et Laur. 31. 10 (L2) affert Campb., inveni etiam in V. L Bavararftopia (sic), a m. rec. in -a correctum:

see on 26, and cp. Hes. Op. 244 ou'Se ywaiKcs TIKTOWLV. If TOKOKTLV = '/« child-bed' (and so the schol., eV rots TOKOIS), the meaning implied

would be that all the women perished in their travail, since ofy avc^ovtrt could not be explained as merely = ' do not soon or easily surmount.' 175fiXXov8'...oXX<j>, ' one after another.' The dative here seems to depend mainly on the notion of adding implied by the iteration itself; though it is probable that the neighbourhood of 71750s in wpoo-t'Sots may have been felt as softening the boldness. That irpoo-opav could be used as = ' to see in addition' is inconceivable ; nor could such use be justified by that of ivopav riia as = opdv iv TIVL. And no one, I think, would be disposed to plead lyric license for aXkw wpds 1801s on the strength of aKTav irpos eriripau 6eov in 177. Clearly there was a tendency (at least in poetry) to use the dative thus, though the verb of the context generally either (a) helps the sense of' adding,' or (b) leaves an alternative. Under (a) I should put El. 235 rUrtw arav aT<us: Eur. Helen. 195 oaK/roa SaKpvo-L fioi. rj>epv. U n d e r (b), E u r . Or. 1257 Tnjfiara Tnjfiaa-iv i£eipy: JPhoen. 1496 tj>6va>
the datives might be instrumental. On the whole, I forbear to recommend a\\ov 8' av oXXa •n-poo-tSois, though easy and tempting; cp. Thuc. 2. 4 aXXot Se SXXrj Trj<s wo\e
TYPANNOZ

47

do women surmount the pangs in which they shriek; and life on life mayest thou see sped, like bird on nimble wing, aye, swifter than resistless fire, to the shore of the western god. By such deaths past numbering, the city perishes: unpitied, 2nd antiher children lie on the ground, spreading pestilence, with none to mourn: and meanwhile young wives, and grey-haired mothers with them, uplift a wail at the steps of the altars, some here, some there, entreating for their weary woes. The prayer to the Healer rings clear, and, blent therewith, the voice of lamentation : for these things, golden daughter of Zeus, send us the bright face of comfort. 6avaTTj<j>6poi (sic) A. Dativus, voci iriStf debitus, in codd. fere omnes irrepsit. 1 8 2 Trapafiwiuov L, A, plerique. irapafitofuov,B, T, V2, V , al. avSav Tapa.f}ibfuoi> Hartung., ax^v irapaf3oiiuoi> Nauck. aWai codd.: a\\av Dindoif.

part. (//. 11. 571 Bovpa...opfjieva 7rpo'), 'sped, 1 'hurried,' since the life is quickly gone. KptipAs, because the irvp<j>6po<} Aoi/uos drives all before it. 178 aK-rdv irpis for wpos dxrav, cp. 525 : O. C. 126 aXcros £s TSLVB' dixaifiaKcrav Kopav. «v, masc, referring to akXov ...a\\ip,—'to such (deaths) knowing no limit': cp. dvdpi.9ij.os Oprjvoyv El. 232, ix.r\v5>v \ dvripSixos Ai. 602, where the gen. depends on the substantival notion (dptOixos) in the compound. 180 ^ve8Xa (TTOXCCOS), 'her sons': cp. 1424 ra Ov-qrwv yivedka. the sons of men. VT^O, unpitied ; dvodcTOs, without oLcros, lament, made for them: they receive neither Tacj>rj nor Oprjvos.

C p . T h u c . 2. 50 TTOXXWV drdfjxav

(in the plague, 430 B.C.).

yvyvofiivtov

181 Iv 8', cp. on 27. iv\ adv.: Her.

7. 65 r d f a Be KaXd/xiva. eTxpv,...€Trl Be, (riB'qpov {v. 1. -os) r/v.

But em =

eireo-Ti, II. 1. 515. 182 aKTav iropd paipiov, 'at the steps of the altars': Aesch. Cho. 722 axT^ ywyMTos, the edge of the mound : Eur. Her. F. 984 d[ilfiui/jLLavI eTTTr]$e KprjTnB', at the base of the altar. 185 iKTfjpts with Xvypuv irovwv, entreating on account of (for release from) their woes, causal gen.: cp. dXyelv TUX»?S, Aesch. Ag. 571. 186 Xdpim: 473 tXa/j.if/e...<j>dfj.a: A e s c h . Theb.

104

KTVTTOV BeBopKa. 6p.avXos, i.e.

heard

at

the same time, though not ovfujxovos with it. 188 <5v«irep: see on 165. 189 evwira dXKav: cp. dyavrj (raivcva' | eX^rt's, Aesch. Ag. 101 (where Weil

48

IO*OKAEOYI

arp. •/. *Aped re TOV (jiaXepov, os vvv 2 cj)\eyev fie Tre/K/Soaros dvTidtpv, 3 TrakCcrcrvTOV Spdixr}[jia 4 enovpov

eiT

es

191

vnrrCcrai i r a r p a s

fiiyav

5 6dXa[xov 'A[jL,
8reXeu> yap, ei TI vuf

195

a^,

1 9 4 aTovpov L (cum interpr. ixaKpav)'. est tamen a a manu recentiore. Prima (irovpov scripsit, quod primo loco scholiasta interpretatur; deinde airovpov (airopov scribens) ita explicat ut significet airo TUIV Spwv T-rjs jrarpas. In V, ut in L, airovpov factum est ex iirovpov. T (irovpov. A et ceteri airovpov, 1 9 8 rcXeiv, r4\ir) Bodl.

fiaveicr), IXapov <£eyyos Ar. Ran. 455. 190 "Aped T« K.T.X. The ace. and infin. "Apea...v(OTCo-ai depend on 80s or the like, suggested by the preceding words. Cp. //. 7. 179 ZeO Trdrcp, rj Aiavra Xa^civ rj TvStos vlov (grant that). Aesch. Theb. 253 6to\ TroXTrat, \vr\ pe. SovAetas rvyilv. (j.a\«pov, raging: cp. //.a\epov xvpos II. g. 242: jU.aAepuh'...A.COVTCDJ' Aesch. ^4^. 141. Ares is for Soph, not merely the war-god, but generally /?poT-oXoiyo's, //£,? Destroyer: cp. ^4/. 706. Here he is identified with the fiery plague. axaXitos aapeu)v): Ares comes not, indeed, as the god of war, yet shrieks of the dying surround him with a cry (/SOT;) as of battle. 191 irepipo'aros could not mean 'crying loudly': the prose use ('famous ' or 'notorious,' Thuc. 6. 31) confirms the pass, sense here, dvnajwv, attacking: Her. 4. 80 yvTiao-dv fx.iv (ace.) ol OpifiVes. Aesch. has the word once only, as = 'to meet' (not in a hostile sense), Ag. 1557 irarep' avrido-aaa: Eur. always as = ' t o entreat'; and so Soph. El. 1009. Dindorf reads tf>kiyu pe Trepi(i6a.Tov (the accus. on his own conject.), dvTidloj (suggested by Herm.), ' I p r a y that' etc. But the received text gives a more vivid picture. 192 v
OlAinOYI TYPANNOI

49

And grant that the fierce god of death, who now with no 3rd brazen shields, yet amid cries as of battle, wraps me in the s iop flame of his onset, may turn his back in speedy flight from our land, borne by a fair wind to the great deep of Amphitrite, or to those waters in which none find haven, even to the Thracian wave; for if night leave aught undone, Barocc. 66, seu dormitante librario, seu sensum expediri putante si accus. ad d<prj referretur. el. rjv V 3 . 60aX/xiuv ifJLaiv | avrrj yivoir awwOtv ipirovarj KaXws : ib. 467 aXXa Tavra filv | peiVw KO.T ovpov. Active in Track. 9 5 4 Zirovpos EO-TICOTIS avpa. (schol. avefxoS ovpios i-rrl rrj'i okias), 'wafting.' T h e V. I. aTrovpov

would go with TraTpas, 'away from the borders of my country'—from Ionic ovpos = opos, like o/*oupos (Her. 1. 57), irpoaovpos (Phil. 691), £vvovpos (Aesch. Ag. 495), rrjXovpo's. Pollux 6. 198 gives t^opos, e|dptos, but we nowhere find an Ionic an-ovpos : while for Attic writers afopos (from opos) would have been awkward, since acpopos ' sterile' was in use. 194 [Uyav I OaXapov 'A|tiTp£Tas, the Atlantic. OdXajios 'A/t^iTpir^s alone would be merely ' t h e s e a ' (Od. 3. 91 kv n-cAayei /xerd Kv/xacrtv 'A/j.cjuTpiTrjs), but f-iyav helps t o localise it, since t h e Atlantic (17 ?£«> arriXiwv OdXaa-aa •q 'ArXavTis KaXtofnivr}, H e r . I. 202) was esp. 7? fieydXr] ddXacro-a. T h u s

Polyb. 3. 37 calls the Mediterranean rrjv KOB' JIMS,—the Atlantic, rrjv t£o> no! fxeydXrjv vpo<7ayopevo/j.ivriv. In Plat. Phaedo 109 B the limits of the known habitable world are described by the phrase, TOVS ^XP1- T<"V 'Hpa/cXeiW o-TjjXoii' diro $a?s, Ag. 1282), cp, a7ro£tvoii
K.T.X.

The epithet ©pifxtov here suggests the savage folk to whom Ares is ayx'TToXis on the W. coast of the Euxine (Ant. 969). Ovid Trist. 4. 4. 55 Frigida me cohibent Euxini litora Ponti: Dictus ab antiquis Axenus ille/uit. J. S.

198 T«\e:v Ydp...*px«Tai.

Reading reXetv, as Herm. suggested, 4

So

SO*OKAEOYZ 9 TOUT

sir

rjfjLap

IOTOV, CO

u dcTTpairav

TTVp(j)6pa)V

Kpart]

2OO

vificov,

Zev Trarep, viro 6Ccrov Ke.pa.vvco. y. AvueC

ava£,

2y8e'Xea dikoifi 3dpayya

T& TC era yjpv
dyKvkav

ctv dSd/xaT

205

irpooTa.6e.vTa,

SOO rov 5 irvptpopoiv codd.

ivhaTeiadcu

Tas re nvp6pov<;

Syllabam longam desiderari docet versus 213 (irekaa-

Brji/ai <j>\4yovTa). tav Si rav Trvp<j>bpuv H e r m a n n .

Praebet autem cod. Flor. A b b . 152

(F) rax c3 Tvpipopoiy. In voce irvp<popat> 0 super u scriptum a m. rec. habent L, A, a l . : Kparei (v. 201) A, al. Hinc confiata est lectio quam E sine ulla varietatis mentione

instead of re'Aei, I construe thus:—el TI vv£ d4>xi> VH-aP «i"«PXeTa' TOVTO, ' If night omit anything (in the work of destruction), day comes after it to accomplish this.' i-c-Xeiv is the infin. expressing purpose, as often after a verb of going or sending, where the fut. participle might have been used : cp. Her. 7. 208 tir€fnr£...KaTda-Koirov mirea, iSta9aL [ = Olj/OfJLeVOv] OKOCTOl T€ CtCTl, K.T.X. : T h l l C . 6. $O ScKO. Si TWV V€<Sv TTpOVITefllj/aV €? TOV /xtyav

Xifiiva

TrXivcrixi

T6 KOX KaTa
K-qpv^ai.

Here the pres. inf. is right, because the act is not single but repeated. Observe how strongly reXetv is supported by the position of the word ('To accomplish,—-if night omit aught,—day follows'). No version of T&ei explains this. The most tolerable is :—'In fulness—if night omit aught—day attacks (htipyerai) this': but I do not think that such a rendering can stand. See Appendix, Note 4. cl...d^. Cp. 874 £i vTrepirXij&Ofj (lyric): O. C. 1443 ei (TTeprjOw (dialogue): Ant. 710 KU 7-is rj (do:): Iri' using ei with subjunct., the Attic poets were influenced by the epic usage, on which see Monro, Homeric Grammar § 292. The instances in classical prose are usu. doubtful, but in Thuc. 6. i\ £t iva-Tw&ivhas good authority. 199 4ir"...?px€rai: for the adverbial eVt Separated from tpxerai, cp. O. C. fjyj /-^S' e?ri 7rXeto> Opijvov iytipcre. This is ' tmesis' in the larger sense : tmesis proper is when the prep, is essential to the sense of the verb : / / . 8. 108 OVSTOT' air klvilav lX6fx.rjv = oi5s dtj}€LX6fjLr]v AIVEIW: cp. Monro H. G. § 176. 200 rov = ov, sc "Aped (190). 203 Awwie, Apollo, properly the god of light (XVK), whose image, like that of Artemis, was sometimes placed before houses (El. 637 $oi/?e irpocrTaTypie, Aeseh. Theb. 449 Trpoo-Tarrjpt'as | 'Apre/uSos), so that the face should catch the first rays of the morning sun

OlAinOYZ TYPANNOI

51

day follows to accomplish this. O thou who wieldest the powers of the fire-fraught lightning, O Zeus our father, slay him beneath thy thunder-bolt. Lycean King, fain were I that thy shafts also, from thy bent 3rd antibow's string of woven gold, should go abroad in their might, s rop our champions in the face of the foe; yea, and the flashing offert, a irvp<popov aarpairav \ Kpdrei v£i>.uv. 2O5 dSdjUaor' codd.: ada/iar Erfurdt. 2 O 6 Super irptxTTaBivTa. scriptum est et in L et in A irpoiaraneva, unde videas librarios participium duxisse a verbo 7r/)oiVri7/xt, non a irpouTdvu. Dindorfius irpoaraxB^vTOi scribere iubet, tanquam coniecturae debitum. Ipsum autem TrpoaraxSivra illud in cod. Par. B inveni. Verumtamen minor est huius codicis fides quam ut contra ceteros valeat, praesertim cum lectionis irpoarafihTa. salva sit ratio.

avrq\ioi Again. 519): then, through AVKHOS being explained as \VKOKTOVOS (Soph. El. 7), Apollo the Destroyer of foes: Aesch. Theb. 145 Av/cei' ava£, AVKEIOS yevov | CTparoJ Saiui. Cp. below, 919. 204 dyicvXay. dyKvXri, a cord brought round on itself, a noose or loop, here = the vevpd of the bent bow. dyKvXwv, the reading of L and A, was taken by Eustath. 33. 3 of the bow (ay/aAa To£a). 205 4v8aTstoTtpoi fjLevoi "Aprjos Sareovrat, ' share the rage of war,' give and take blows. Others understand, ' I would fain celebrate,' a sense of «v8aTU
(as = ' launched') is improbable (1) because it would mean rather ' having set out on a journey'; cp. O. C. 20 : (2) on account of the metaphor in dpoiyd. •xpoaTa.QivTa. from TrpouTtivb) (a verb which does not occur)

would scarcely mean ' directed against the enemy,' but rather ' strained against the bow-string.' irpoo-TaxOcvTa, found in one MS., would make 4—2

52

200KAE0YI 4'AprejaiSos aiyXas, £i)V at? 5 AVKL

opea Siacrcrei1

6 TOV ~^pvaojxiTpav

r e KLKKIJCTKOJ,

7 racrS' eTrcivvfiov yas,

2Io

^ov euiov, i' O/XOCTTOXOV

\eyovT 12 7T€V/ca *7TI TOV aTTOTljMOI/ O* 0601? 214

#CoV.

2I5

dyXau)7ri 7refe(i codd.: vide annot.

dpwya prosaic, while irpoa-radcvra—if not strictly suitable—is at least poetical: the difference is like that between speaking of ' auxiliary forces' and of ' champions.' 207 'Apr^uSos al-yXas, the torches with which Artemis was represented,—holding one in each hand (Ar. Ran. 1362 Siwvpovs dvexpvo-a Xa/ATrdSas, Track. 214 "ApTe/nv a//.<£un;pov),—in her character of AuXvKrj, trcXao-^wjpos, <£<»
KOX co/c€tr;s

i\a.oiat. AiKia: the Lycian hills are named here in order to associate Artemis more closely with her brother under his like-sounding name of AVKEIOS. At Troezen there was even a temple of "April's AvKua: Paus. says (2. 31. 4) that he could not learn why she w a s SO called (es 8e Trjv iniKk'quiv

ovSev et^ov TrvBidOai Trapd. TQV

i£rjyi)TtSv), and suggests that this may have been her title among the Amazons—a guess which touches the true point, viz. that the AVKUO. was a feminine counterpart of the AVK«IOS. 209 TAV xPwrollCTP<"'. p-irpa, a snood: Eur. Bacch. 831 AI. KO/MJV /A«V hv\
so is Thebes called B a ^ e t a (Trach. 510), while he, on the other hand, was KaSjuei'as vv/u.<£as dyaX/jta (1115). T h e mutual relation of the names is intended here by hrwwp.ov. T h e word usually means called after (TITO'S). But apxa>v enwu/xos, ijpiocs CTTOJVV/AOI were those who gave names to the year, the tribes: and so Soph. Ai. 574 (O-«KOS) iiruivujxov, the shield which gave its name to Eurysaces. Cp. Eur. Ion 1555 where Athene says, £7rioyv//.os Si o-^v d
OIAIFTOYI T Y P A N N O I

S3

fires of Artemis wherewith she glances through the Lycian hills. And I call him whose locks are bound with gold, who is named with the name of this land, ruddy Bacchus to whom Bacchants cry, the comrade of the Maenads, to draw near with the blaze of his blithe torch, [our ally] against the god unhonoured among gods. thy land. 211 oly<5ira.,.«jiov, 'ruddy'—'to whom Bacchants cry evoV Note how in this passionate ode all bright colours (xpWas, ei;'(o?ra, Xpv(rowv, aiyXas, -^va-ofJ-LTpav, otvdJira, dyXawiri),

a n d glad s o u n d s

(ii/te Haidv, tviov), are contrasted with the baleful fires of pestilence and the shrieks of the dying. 212 MaivaSw <5|J.OOTO\OV = o-reXXofievov a//.a rats Maivao-u', setting forth, roaming with the Maenads : Apoll. Rhod. 2. 802 O/JLOO-TOXOS vfuv cTreaOcu. The nymphs attendant on Dionysus, who nursed the infant god in Nysa, and afterwards escorted him in his wanderings, are called MaivaSes, ©uiaSes, B a ^ a i . / / . 6. 132 ^aivofxevoio Aunvviroio Tidijvas [ creve KCLT TqydOtov NtKnyiov* al 8' ayua iratrai | OvcrOXa [i.e. thyrsi a n d torches) ya.\xjoX Karixevav.

Aesch. fr. 397 irdrtp ®€oivc,

MaivaSwv t,evKnjpie, who bringest the Maenads under thy spell. / / . 22. 460 jieydpoio SiccrtruTo, juxuvaSi ten;, | TraWofievrj upahirjv. Catullus 63. 23 capita Maenades vi iaciunt hederigerae: as Pind. fr. 224 puf/avxevi ovv K/\.OVO>. Lucian may have had our passage in mind, when he mentions the /xirpa and the Maenads together: Dial. D. 18 BrjXvs ovro>,.. .piTpq. fitv IJC KOIATJV, TO. 7roXA.a 8e /taivo/^evats Tali ywai£i uvviiv. 214 A cretic has been lost. Prof. Kennedy's .xov is simple and appropriate. Arndt's conjecture, Soua ('destroying, consuming,' prob. from rt. 8a.F, to kindle, Curt. Etym. § 258) is supported by the possibility of a corruption AAIAI having been rejected as a gloss on ITCVKO.. Cp. //. 9. 347 fhj'iov irvp, Aesch. Theb. 222 •n-upi Sato). But in connection with the 'blithe torch' of Dionysus so sinister an epithet seems unsuitable. 215 T6V dir<5Ti|iov. See on a.7r6£evov 196. Ares is 'without honour' among the gentler gods: cp. //. 5. 31 (Apollo speaks), TApes, "Apes f3poTo\oiye, /juai<j}6ve, Tiv^a-LirXTJTa: and ib. 890 where Zeus says to Ares, ?x^'°" r ° s T« /*ot ' c r a '' 6t(3v, K.T.X. SO the Erinyes are o-Tvyq Oe
216—462 First eimo-oSioy. Oedipus re-enters from the palace. He solemnly denounces a curse on the unknown murderer of Laius. The prophet Teiresias declares that the murderer is Oedipus.

54

I04>0KAE0YI . airets K\VCOV

a o carets, ra^u, eav uekrj<; e Se^ecrOai

Trj VOCTM

ff

VTrrjpeTeiv,

aXicfjv \ a / 3 o i ? a y K
dyw feVos fJ-£v rov Xoyov rovS' i£ep£, Se Toi) Trpa){6euros' ou ydya a v fjuaKpav

220

auT05, /XT) OUK e^aii' Tt 221

ai!rd L, nullam indicans lectionis varietatem.

avrbs A.

Cum ceterorum

216 OITCIS: Oedipus had entered in time to hear the closing strains of the prayer for aid against the pestilence which the Chorus had been addressing to the gods. & 8" alms. The place of Xipois is against taking OXKI^V KdvaKov(|>iA.oi/ Se^ti. rapi' emphatic by place: 'you pray (to the gods) : hear me and (with their help) you shall have your wish.' TTJ v&o-a iirt]p«T«tv, = Qe.pa.-Kf.vzw rrjv yocrov, to do that which the disease requires (for its cure), like vTnqpfToiqv T<3 irapovTi 8a.tfj.ovi El. 1306. In Eur. fr. 84. 7 oi8' av Tre.vljp£iy<,eu'. Ace. to the commoner use of the word, the phrase would mean to humour the disease, i.e. obey morbid impulses: cp. Lysias In Eratoslh. § 23 rr) eavrov irapa.voii.lq. irpo6vfius<s i$v7n]peT(Sv, eagerly indulging the excess of his own lawlessness. 218 OXKT{V, as well as dvoKoii+itriv, with KOK«V : Hes. Op. 199 Kanov S' OVK

to-0-f.Tai akKij: Eur. Med. 1322 ipvfia TroXe/xi'as \epo9 : below I2OO Oavarwv ...•n-vpyos. 219—223 d-yw£&osn*v...Td8e. Oedipus has just learned from Creon that La'ius was believed to have been murdered by robbers on his way to Delphi, but that, owing to the troubles caused by the Sphinx, no effective search had been made at the time (114—131). H e has at once resolved to take up the matter—both because Apollo enjoins it, and as a duty to the Theban throne (255). But the murder occurred before he had come to Thebes. H e must therefore appeal for some clue—• o-vp.poXov—to those who were at Thebes when the rumour was fresh, ov Y&p dv jiaKpdv | ?xv«w>v OVTOS K.T.X. justifies i£«p
personal knowledge of the matter, I must make this appeal to you Thebans for any information that you can give m e ; for I could not have tracked the matter far alone (avros), |«i OUK t\av n
OlAinOYS TYPANNOI

55

OE. Thou prayest; and in answer to thy prayer,—if thou wilt give a loyal welcome to my words and minister to thine own disease,—thou mayest hope to find succour and relief from woes. These words will I speak publicly, as one who has been a stranger to this report, a stranger to the deed; for I could not have tracked it far by myself, if I had not had some clue. codd. alii hoc alii illud habeant, idcirco praeferendum cst HUTOS quod sententiam clarius enuntiat: vide annot.

not had some clue : vOv 8', but as it is (having no clue),—iiorepos yap K.T.X., for it was only subsequently to the date of the crime that I became a Theban—I address myself to you.' 219 £&os, ' a stranger' to the affair, is tinged with the notion, ' unconnected with Thebes' : and this is brought out by do-nSs in 222. 220 oi -yap dv | l'xvevov...(i^ OVK ^X°>v. firj OVK, not /xtf, is used, because the principal verb "xvtvov has ov before it. Two views of the conditional sentence are admissible. I prefer (a) to regard the protasis as d ixrj etxov implicit in firj OVK ZX<WAs ixveuoy av, [irj l ^ w (if I had not), could represent "\vevov av, cl juij so OVK i^yevov av, fii) OVK ixwv> could r e p r e s e n t OVK "xvtvov ov, £i irf So in 13 firj ov KaToiKTtCpiav = ci fir} KaroiKTeipoifU. T h e o t h e r

view (b) would regard the protasis as suppressed, and (Lrj OVK I^WV as exempting a special case from the effect of the negative condition: (ei yap

/H17 e£e«roi) OVK i^evov

av, fUTj OVK I^COV K.T.X., 'for (if I h a d

not

appealed to you) I could not have tracked the crime far,—unless, indeed, I had had some due.' But the word ?€vos has already intimated that Oed! looks to Thebans for the needful o-v/t/JoXov. It seems, therefore, an inappropriate refinement to reserve the hypothesis of his being able to dispense with their aid, because possessed of a <XV/A/3OXOV from some independent source. For other explanations of the passage, see Appendix, Note 5. TOO irpaxBevros, the murder. We cannot, I think, understand 'what was done at the time by way of search': for (a) TO •n-paxOiv, as opp. to o Xoyos, must surely mean the epyov to which the Xo'yos is related: (b) Oed. has lately expressed his surprise that nothing effective was done (128), and could hardly, therefore, refer with such emphasis to TO irpaxOiv in this sense. 221 OVTOS, 'by myself,' unaided: cp. //. 13. 729 aXX' ovmus a/xa warra Svvrjo-eai avTOS IXio-Qai: (not, 'even I myself, with all my insight.') avTo (sc. TO wpaxOiv) would stand: and OUT-OS is so far tautological that it really implies the protasis. Yet its emphasis helps to bring out the sense more forcibly: and cumulative

56

IO*OKAEOYI vvv 8', vcrrepos yap doro? ets dorous vfiiu Trpo(f>(i)v<5 Tract KaS/u.eioi5 TaSe 1 ocrrts 7ro0' Vfj,ci)v Ad'Cov TOV Aa/SSa/cou KOLTOLSCV avSpos e/c TWOS SicJXero, TOVTOV Kekevoi Travra a-qfiaivuv l

225


/ca#' avrou* irelcrerai yap aXXo fj.€V dorepyes ouSeV, 7175 S' dVeio-iv d/SXa/Sifs' et S' au TIS aXXor oXhev i£ aXXijs ^ o ^ o s TOV avTo^eupa, fjur/ crtco7rdrft)* TO yap

230

2 2 7 , 2 2 8 vireifeXwp | avros codd. iire^eXeiv praeeuntibus K. Halmio et Blaydesio, ai)T6>' ex mea coniectura scripsi. 2 2 9 i.a<j>a\rii L (ascripto yp. o^XajSijs a manu rec), cum paucis codd., quorum est V4. af}\afiii$ A, E (cui d
expression is not in such cases foreign to the manner of Soph. 222 vvv 8' reverts to the statement that he is ££vo<; to the matter: 'but as it is,—as I have no avfi/Sokov,—(and it was impossible that I should have had one,) for it was only subsequently to the date of the deed and of the rumour that my first connection with Thebes was formed.' lio-repos sc. TOV irpa^ivTo^: for the adj. instead of an adv. vorepov, cp. Ai. 217 vvKrepos...dirzXuifiijSri: II. 1. 424 x#'£os"t$rl'-Xen. An. 1. 4. 12 TOIS 7rpoTcpois (= TTporepov) /X€Ta Kvpov

&vo.(iu.<ji. eis do-Tois Ttku

inter

cives censeor: a metaphor from being rated (for taxation) in a certain class: Her. 6. 108 «s Botamws reXeW: Eur. Bacch. 822 es ywaticas ef ai'fipos TeA.<3. doros ds acrois like Ai. 267 Kotvos ev KOtvoi(rt: ib. 467 iv/jLTrecrwv /xovos jaovots: 7%. 135 cv ^Va £evov: ib. 633 toP«trai TOUTTCKXTIH' vire^Xaiv | avT&s Ka8' avTou is the reading of

all the MSS. : for the virt£e\6u>v of the first hand in one Milan MS. of

the early 14th cent. (Ambros. L 39 sup., Campbell's M2) is a mere slip. I feel certain that we should read iire|«\eiv | avVov naB' aii-ov, the change of avriv into a4r<5s having necessarily followed that of iiregeXi-iv into xme|e\cJv, due to an interpretation which took the latter with ijwpetTai. I find the key to the true sense in Thuc. 4. 83 (Arrhibaeus, the enemy of Perdiccas, makes overtures to Brasidas, and the Chalcidians exhort Brasidas to listen): eSioWKov avrdv prj vire£eXelv T<3 HepSiKKa TO. Setva, 'they impressed upon him that he must not remove the dangers from the path of Perdiccas'—by repulsing the rival power of Arrhibaeus. iVefcAeir rd Sciva = to take them away (ex)

OlAinOYI TYPANNOI

57

But as it is,—since it was only after the time of the deed that I was numbered a Theban among Thebans,—to you, the Cadmeans all, I do thus proclaim. Whosoever of you knows by whom Laius son of Labdacus was slain, I bid him to tell all to me. And if he is afraid, I bid him to remove the danger of the charge from his own path; for he shall suffer nothing else unlovely, but only leave the land, unhurt. Or if anyone knows an alien, from another land, as the assassin, let him not keep silence ; for Campb.), et codd. plerique. d(3\a^^s Aid., Brunck., Herm., Linwood., Wunder., Blaydes., Kennedius: djs Dindorf. (qui tamen in annot. a/3\a/3?/s, ut aptius, verum esse suspicatur), Schneidewin., Campbell., J. W. White.

from under (wo) the feet,—from the path immediately before him : T<3 UepSiKKa being a dat. commodi. So here: KCI |i*v <)>o|3«iTai, and if he is afraid (as knowing himself to be the culprit), then I bid him (K«X«VW continued from 226) iiregeX«tv T6CT-CKXTHUIto take the peril of the charge out of his path avTov KOO' avToS (by speaking) himself against himself If the culprit is denounced by another person, he will be liable to the extreme penalty. If he denounces himself, he will merely be banished. By denouncing himself, he forestalls the danger of being denounced by another. Instead of a dat. commodi auV(3 (corresponding to r<3 nepSuucp in T h u c ) , Soph, has written KO.8' airov, because self-accusation is the mode of doing the act expressed by viregeXetv, which implies KaT-qyopfjaau. The pregnant naff avrov is rendered still less harsh by the fact that TOVITCKXT)|IO precedes. There is no 'aposiopesis'or 'suppressed clause': we have simply to carry on K«XCVO>. For other explanations, see Appendix, Note 6. 229 opXap^s, the reading of A and most MSS., 'without damage,' dfajfuos, is far more suitable than a
58

ZO*OKAEOYI yoi> xtf X"/ 315 f/ 3 °0'' c eicrerai. el 8' av a-iCDirrjcrecrde, /cai rt? 17 (ftCXov Seicra? dircocreL TOVITOS 17 ~^avTov roSe,

a/c rwi'Se Bpdcra), raura ^p?) xXueir ifiov. Sp' a7rau8w TOVTOV, ocrris iari, yrjs

235

17s eyci Kpdrrj r e KCU dpovowz vefjca), yjr iaSe^ecrdac

[xrjTe irpocrcJHoveiv riva,

iv $€(H)v ev)(cucrL /XIJTC KOIVOV TToieZcrOaL, ^re

dvfiacnv

^epft/Sos vefiecv'

240

a>0€LV S' a7r' OIKWV Travra?, cus jaiacr/iaros rovS' TJJUU' WT05, ws TO ITU^IKOV #eo£i fiavreiov

£i;4yjvev aprtws e/ioi.

eyci yu.et' ovt> TOtocrSe TW re Sat/xovt TW r' dvSpl ra) OavovTi cru//,jU.a^os Tre\(o

245

24O x^Pvt^a
the (expected) gain, Ta /j-yvvrpa. Track. 191 oVa>s | irpos o-ov n vat/xt Kat KTW/XY/V X^Piv- ^32 irpoo-KeCireTtti, will be Stored up besides (cp. Eur. ^4/L'. 1039 aXyos a\y^i.. .Trpo(TKitji.ivov, added). X"P15 KeiTai is perf. pass, of -^dpiv rWefiai or Ka.TaTi6efx.ai {TLVC or 7rapa nvt),'—a metaphor from deposits Of money: r a ^prjfiaTa...K€icr6ui Trap' 01$ TIUIV av vfuv SOKTJ [Plat.] Epist. 346 c. 233 4>&°u» avToii with dirwo-ei only (//. 15. 503 trBai KaKa vrjtov).

2 3 4 Scbras (Xov a s = SetVas virip

<j>i)>.ov (like

i, if>povTi£civ) would be too harsh, and lhythm is against it. TOUITOS...T68€, this command to give up the guilty. 236—240 dirai>8« (d-n--, because the first clauses are negative), I command, (/AT/) nva -yijs "rijo-Se that no one belonging to this land («JT' co-S^eo-floi \n\-re irpoo-^uvttv shall either entertain or accost TOV divSpa TOJTOV, 87s Kat ciSai/toi'os. Since |iiiT«...|MJTe in 238 connect 4o-8«x«ve!v, we require either (a) separate verbs for ««xatcrl a n d 8iina) as Elms, proposed and Blaydes reads, firjBl instead of /wfre before 8i!(jia
TYPANNOZ

59

I will pay his guerdon, and my thanks shall rest with him besides. But if ye keep silence—if anyone, through fear, shall seek to screen friend or self from my behest—hear ye what I then shall do. I charge you that no one of this land, whereof I hold the empire and the throne, give shelter or speak word unto that murderer, whosoever he be,—make him partner of his prayer or sacrifice,—or serve him with the lustral rite ; but that all ban him their homes, knowing that this is our defiling thing, as the oracle of the Pythian god hath newly shown me. I then am on this wise the ally of the god and of the slain. praebere cod. Laur. 31. 10 (L 2 ): nam in cod. V4, ubi Campb. x^/"/'i3os agnovit, nisi me oculi mei fefellerunt, legi. rjs TrdAts: Cho. 294 Se'xccr^ai 8' ovre

uvWvav

Tiva.

here = Kotvaivov, cp. At. 267 rj KOIVOS ev Koivoiai Xvirwidai

240 KOIVAV

£vvwv.

Plat.

Legg. 8 6 8 E (the slayer) £w«rTios avrois firjSeTrore yiyvecr9u> jx-qhi Koivtovoi

Upuv. x^PvlP°s (partitive gen.) is more suitable than xepvifias to the idea of exclusion from all fellowship in ordinary worship: x*PvlPat> vlpuv would rather suggest a special xa^apo-is of the homicide. When sacrifice was offered by the members of a household (KOIMVOV wai xepvi/W.. .KTIJO-UW

JSU/AOU m-'Aas Aesch. Ag. 1037) or of a clan (x«pWr ^parcpw Eum. 656), a brand taken from the altar was dipped in water, and with the water thus consecrated (x^pv^) t n e company and the altar were sprinkled: then holy silence was enjoined (eu'^ryjuta ZG-TW) : and the rite began by the strewing of barley meal (OVAOXVTCU) on altar and victim. (Athenaeus 409: Eur. H. F. 922 ff.) Ace. to Dem. Adv. Lept. § 158 a law of Draco prescribed xe'pvi/3os [so the best MSS. : r. I. \ePv^wl'] elpyeaOai TOV o.v8pocj>6vov, OTTOVSIOV, KpaT7]p
sc. avSaJ, understood from the negative airavSw: cp. Her. 7. 104 O&K iwv
6o

I04>0KAE0YZ «:arevx°i Ltat ^e T°v SeS/aoucoT1', etre TIS efs
250

TOUTS' a/DTtws r^pa.<jd[i.r)v.

\>[kxv Se r a O r a TTOLVT eTrtcr/o^Trrw reXeii' w7re/> T' ifi-avTov

TOV deov re TrjcrSe re

yrfi

<5S' a/ca/DTrws Koiddcos i<j)9apiJLevr)<;.

ovS'

et y a p ^ i ' TO irpayfia

firj OerjkaTov,

255

oLKadaprov u/Aas ei/cos 17V OUTWS eaV, y

dpCaTov

/SacriXews T ' OXCOXOTOS,

2 4 8 frfioipov A et plerique codd.: Kdfioipov B, et in L erasa est ante a/toipox littera quae K procul dubio fuerat: PIP aixoipov E, T : w>> a/xopov Porson. 267 j3affi\^«s T'. Sic recte L, A, et codd. meliores aliquot: alii T' omittunt. Fatendum 246 KaT«vx°lJLau

Suidas Karev)(eo-6aC

TO Karapaa-Qai.

KCU 72,o
OVTU) Il\a.T(i>v. P h o t . Lex.

7 KaTcv^ccr^at Tool' 'Aj^aKoy dvrl TOV Kara Tiov 'A^aiaJi' ev^ccr^at.

p . 148. OVTO)S

2O<^OKXT/S. Here the ref. is to Plato i ? ^ . 393 E TOV 8C (the Homeric Chryses, priest of Apollo)...KaTeo^aOai TWV 'A^aiuJv 7rpos 6e6v. But Photius prefixes the words, Ka-Texr^crOaC TO KarapdaOai. OVT
Sep.

3 9 4 A Karev^€TO Ticrai

TOUS 'Axatous TO. a SaKpva. ctre TIS : whether the unknown man (ns) who has escaped discovery is «ts, alone in the crime, or one of several, TIS, because the person is indefinite: cp. 107. 248 viv a|u>pov: Porson (praef. Hec. p. ix) defends the redundant viv by Trach. 287 avTov 8' e/ctivov, tvT av dyvd OvfiaTO. \ pi£r] irarpwa) Zrjvl T^S dXdaems, \ 4>P°ve<-

VLV

<^S rjiovTa.

The

form d/topos occurs in Eur. Med. 1395 (where a/xoipo's is a v. I.); a/x/x.opos in Hec. 421, Soph. Phil. 182.

KOKOV KCUOUS : Phil. 1369 la K«KO)S CLVTOVS

KCLKOVS. AT. Pint. 65 dm (T 6\<S KCLK6V KaK
249 «ire»xo(i.ai,

TYPANNOZ

61

And I pray solemnly that the slayer, whoso he be, whether his hidden guilt is lonely or hath partners, evilly, as he is evil, may wear out his unblest life. And for myself I pray that if, with my privity, he should become an inmate of my house, I may suffer the same things which even now I called down upon others. And on you I lay it to make all these words good, for my sake, and for the sake of the god, and for our land's, thus blasted with barrenness by angry heaven. For even if the matter had not been urged on us by a god, it was not meet that ye should leave the guilt thus unpurged, when one so noble, and he your king, had perished ; est in ipso L r ' non a prima manu scriptum fuisse: accessit tamen a manu, ut Duebnerus quoque vidit, antiqua. Vide annot.

imprecate on myself: Plato Critias 120 B ravja. «rev)£a'/«vos avrwv avrio Kal T<3 d avrov yeva. oSKOien,v...£t)W [i.r]8e KOIVWOS lepwv.

P l a t . Euthyphro

4 B Kal el fiev ev BiKy [eKreivev],

lav,

if he slew the man justly, forbear; el Se firj, hre^ievai (prosecute the slayer), edvTcep 6 KTfiVas avvicmos croi Kal d/xorpaire^os y. taov yap TO /xiaor/ia ylyverai, edv i;vvfi<; T<3 TOIOUTO) fvvctSoJs Kal fir) tt^>oo-«ots ueavTov re Kal IK^IVOV TJJ SIKJJ lire^iwv.

251 TOICTS', the slayer or slayers

(247): see on 246. 254 ax&piras Kd8&os: El. 1181 <3 cra/j,' ari/nws Ka.0eo><s icpOapfiLtvov: below 661 aOeoi, a^>tX.os, forsaken by gods and men. 256 eUds ^v. The imperfect indie, of a verb denoting obligation (ISet, )(pyjv, irpoafJKev, CIKOS rjv), when joined without av to an infinitive, often implies a conditional sentence with imperfect indie, in protasis and apodosis : e.g. OVK EIKOS r/v lav = OVK S.V ciare (el TO. Seovra oroieiTe), you would not (now) be neglecting it, (if you did your duty): Xen. Mem. 2. 7. 10 €i /JUV TOLVVV alaxpov TI 1/xeA.Aov epydo-ecrSai [if I were now intending—as I am not], Odvarov dvr avrov Trpoaiperiov rjv, = Trpor]poift.t]V av (el TO, Seovra eiroiovv). T h u c . 6. 78 Kal /xaAiara ei/cos rjv v/^as ...TrpoopaarOai, = irpoewpare av ci r a eiKora eiroietTe. So iftov\6/i.r]v, r/^iovv,

without av, of that which one wishes were true, but which is not so. 257 Ptto-iX^wsT*: TE is to be retained after /WiAecos, because (1) there is a climax, which is destroyed if /JaarA«os stands merely in apposition with aVSpos dpicrTov: (2) dvfipos dplorov represents the claim of birth

62

S04>0KAE0YI dk\' i^epevvav' vvv 8', iirel Kvpai T eyw i)(O)V [lev ap^as a? e/ceivos et^e irpiv, €)(0)v Se XeKrpa KCLL ywai^' ofiocnropov, Kowwv

r e TTCLLSCOV KOIV

av,

el

Keivo)

260

yivos

r\v av w avff

o

es TO Keivov xpar

3>v eya) rah',

evqhao

rj

(ocnrepel TOV{J.OV

, /cam iravr a^ifcytcu

265

3 5 8 KvpQ> T' codd.: xvpH y' T. F. Benedict. (Observationes in Soph., Lips. 1820), ap. Blaydes. ad loc.; Campb.

and personal merit,—Pao-ckim, the special claim of a king on his people. Cp. Phil. 1302 avSpa TroXefUOV | i^Opov re. 258 K«p» T* iyio = lyu> re Kvpio, answered by KOLVSIV TC, K.T.X. For re so placed cp. El. 249 efppoi r civ aiSius | a.Tra.VTWV T tva£($tia BvarZv. 260 6[idcnropov = djuowos cnre.ipojj.£vriv, I.e. r/v KCLL CKEIVOS einreipe: b u t i n 4 6 0 TraTpos I

ofioairopos = d/touos (nyv avrryv) o-wupaw. d/noyevr/s in 1361 is not similar. 261 KOIVUV iraCSwv Koivd t^v av kKKt^vKora, common things of (= ties consisting in) kindred children would have been generated : = KOWWV TTCU'SCDV Kowrj <j>vo-is iyevero av, a brood, common to Lai'us and Oedipus, of children akin to each other (as having the same mother, Iocasta) would have issued: ' children born of one mother would have made ties between him and me.' For av doubled cp. 139, 339. KOIVWV = dStXtjuov, ofialfuwv (Ant.

i o) KOIVOV avTa.&€\
T h e language

of

this passage is carefully framed so as to bear a second meaning, of which the speaker is unconscious, but which the spectators can feel: Iocasta has actually borne children to her own son Oedipus: thus in KOIVWV 7ratS(ov Koiva... tKTrecfrvKOTa, t h e obvious sense of Koivd, ' common

to

Ldius and Oedipus] has behind it a second sense, in which it hints at a brood who are brothers and sisters of their own sire: see below 1403 f. This subtle emphasis—so ghastly, ^wcTottnv—of the iteration in KOIVWV Koivd must not be obliterated by amending KOLV av into KVfiaT (Nauck) or -yc'vos | i«\ 'Svoruxio-sv, is susceptible of the sense—' if his son (Oed. himself) had not been ill-fated.' KUV(O yeVog eSwruxw 6 (hi s hope of issue was disappointed) is here a bold phrase for KCIVOS ISvarrvxyo-e ra rrepl ylvo<s : for Oed. is not now) supposed to know the story of the exposed babe (see 717 f.). Cp. Eur. Andr.

4 1 8 Tram 8' dvOpwiroi'S ap' rjv | t^ruffrj • rtKv ' OOTIS 8' OUT' airtipos u>v

OIAIFTOYS TYPANNOZ

63

rather were ye bound to search it out. And now, since 'tis I who hold the powers which once he held, who possess his bed and the wife who bare seed to him; and since, had his hope of issue not been frustrate, children born of one mother would have made ties betwixt him and me—but, as it was, fate swooped upon his head ; by reason of these things will I uphold his cause, even as the cause of mine own sire, and will leave nought untried vjlyti, | rj&aov fiiv dXyti, SvcrTv^aJv 8' tvSaifiovcl: ib. 711 y areipos ovo~a dvi^iTai | TIKTOVTOIS aWovs, OVK clover' aim) TtKva' \ uAA' et TO 8vo"TU)(€i iraiSuiv izipi, K.T.X.: Suppl. 66 eliTCKvia opp. to 263 vvv 8', 'but as it is,' with aor. equivalent to aper/., as 0. C. 84, 371. Cp. below 948 KOX vvv SSe | 7rpos Trjs TV^TJ^ oA.t,ovro'...vvv 8' els TTJV f$ov\rjv eiuayovcrtv.

i.e. he was cut off by a timeless fate, leaving no issue, cp. 1300 : Ant. 1345 £7T! KpaTL fjioi \ woT/ios...el£ptn TTOSOS a.KjJLav Aesch. Eum. 3 6 9 , Ag. 1175 Satjacov vTrepfiaprjs ifnTiTvixiv: Pers. 515 (3 $v
ayav jfiapis | iroSoiv ivrfWov iravrl Uepa-tKtu yeVei. 264 dv0' tuv, therefore. The protasis eVei Kvpm (258) required an apodosis introduced by ami rovTuiv: but the parenthesis vvv 8' « TO KCCVOV K.T.X. (263) has led to &v

being irregularly substituted for TOVTW. Cp. 1466 : Antiphon De Caed. Herod. § I I Scof as At. 1346 (TV TOOT' OSucraeij TOUS' {nrepfj-a^Zi i/ioi;

Cp. II. 5. 185 ov^

o y' avivde 6eov TCISE /AatVeTai. Brunck, Nauck and Blaydes adopt the conj. TOSS'. But the MSS. agree in the harder and more elegant reading. 265 «ir€pnaxov|i6fiov Trapatr^ot), as in Eur. Hipp. 284 -T dcjuyfiai, ' I have tried all means.' In prose d
64

IOOKAEOYI TOV avTo^ecpa TOV cjjoPov Xa/Seiv T(o Aa/38ciKeL

ovv yvvaLK(ov TraiSas, d\A.a r<w w 0epeio-OaL KOLTL TOVS' i)(6iovi' he rois aXXoitrt KaSyaeiois, c a r ' dpeo~Kovd', rj r e 73-aKres eu fweiev etcraei ^eoi. X(J. (oo-nep fi apouov ekapes, wo, avag, epco.

2 70

TW

275

27O 77js, quod Vauvillers. coniecit, ne unius quidem codicis fide niti vulgo traditum est. Ccrte ^r\v habent L, A, reliqui fere omnes. Inveni tamen in cod. Venet. 468 (V) clare scriptum 71JS, quod nemo dubitabit qui formas litteranim v et
usu. = to be brought to a situation, as Her. 8. n o 1% iraaav aViKceo/ieVoio-i, though put to any torment; Plat. Euthyd. 292 E tis Xrjv ye dvopiav diKeir6e. 267 TU Aap8aKt£o> iraiSl, a dat. following t,ryru>v K.T.X.

as = Tijuwpov/tievos.

For Aa^SaKcCu—IIoXvSupou re cp. Eur. Med.

404 TOIS ~S,icrvuoi,<s rots T' 'Iao-ovos yo/xots: for the adj., Crf! 3. 190 ^LKOKTIJT7JV TioLavTicv [ = IIotavTOs] ayXaov vlov : Her. 7. 105 rois Mao-xa-

jj.uoi(Ti eKy6voi
at Thebes an inscription which he assigns to the age of Laius : ravra •qXiKL-qv av eir) Kara Kd'iov TOV AafiSaKov

TOV TloXvScopov TOV K.d8fiov.

Cad-

mus, in the myth, is the son of Agenor king of Phoenicia, whence Carthage is 'Agenor's city' (Verg. Aen. 1. 338): Polydorus, son of Cadmus and Harmonia, was king of Thebes. 269 f. construe: KOI «{fXolJLal T0^S Tailra |»i] SpuScriv \for t h e m , Ph. 1019 /ecu troi iroXXaKis TOS' rjvidfj.r]v\ 8«ovs dvi^vai avTois |IT(T &porov Tiva y i s , p-iyr' oBv Tvva^^v irotSas.

The acc. 8«ois as subject to dvUvai is better than a dat. Oeols with cvxo|j.ai would b e : Xen. Anab.

6. ii 26 tv^ofiai hovvai yu.01 TOVS ^COVS

aiTiov TWOS vfiiv dyaOov yivio~8oLi: Ar. Thesm. 3 5 ° Tats 8* aXXatcrti' v[i.7v TOVS 6eo\)5 I ev^eoSe irao-ais TTOXXO. Sowai KayaOd. 2 7 1 (J.T,T OVV: 'no, nor.'

Aesch. Ag. 474 /-"/T' eoji' TTToXnr6p6r)s, | pr\T ovv auros aXovs, K.T.X. Soph.

Phil. 345 UT dXrjOks UT dp' ovv \xAn\v: cp. above v. 90. But ovv with the first clause, below, 1049 : El. 199, 560 : see on 25. 272 <j>9«petcr9ai,

a fut. found also in Eur. Andr. 708 (8epei 2 sing.): Thuc. 7. 48 (f>6epeio-6ai: Ionic ^tOapiofnai Her. 9. 42, 8. 108. ((jtOaprjo-o/xai in

OIAITTOYI TYPANNOI

65

in seeking to find him whose hand shed that blood, for the honour of the son of Labdacus and of Polydorus and elder Cadmus and Agenor who was of old. And for those who obey me not, I pray that the gods send them neither harvest of the earth nor fruit of the womb, but that they be wasted by their lot that now is, or by one yet more dire. But for all you, the loyal folk of Cadmus to whom these things seem good, may Justice, our ally, and all the gods be with you graciously for ever. CH. Asthou hast put me on my oath, on my oath, O king, I will speak. ut ab illo librario scribuntur, semel contulerit. In cod. Venet. 467 (V3) ambigi sane potest de extrema vocabuli littera; postquara vero diligenter inspexeram quomodo utramque eadem manus alibi scribere soleret, satis mihi persuasum habui, non yrji> sed 777s huic quoque libro iure vindicari.

Hippocr., Arist, Plut). The schol. says, <j>6aprjvaL 8« ypa.ea>, ov <j>8epeio-8ai, distinguishing eS^opou with fut. infin., ' I vow' (to do), from eZxppa-t with pres. or aor. infin., ' I pray.' But verbs of wishing or praying sometimes take a fut. infin. instead of pres. or aor.: Thuc. 6. 57 ifiovXovro...irpOTL(i.
and Tenses § 27. N. 2. a. 273 rots aXXouri. The loyal, as opp. to ol fuj ravra 8pu>j/T« (269). 274 lor* dpidKovr, cp. 126. rj Tt o-v|i|Laxos A£m],

Justice who ei>er helps the righteous cause ; Blaydes needlessly writes 17 Ai'/oj re o~vfj.fia.xo';.

O. C. I O I 2 iXOecv apcoyovis orvfip.d)(ovs T£ (ras 6eas).

275 eS: cp. Track. 229 276 Bo-irep n" apatov K.T.X. under a curse [if I speak speak. Aeschin. In Ctes. § KOV \afitly

a\A.' EJ \ikv typeO', ev 8e Trpojpias, eVop-

TOV 'A8T]VO.LV 8rjfiov.../3ori6'ii
to bind

them

by an

oath

that they would help. Xapelv here has nearly the same force as in Xafieiv

alxfiaXuiTov

etc. : Lys.

or. 4 § 5 viroxei.pi.ov

XafStov TO o-oyta,

having got his person into my power, apatov = rrj dpa evoxov, cp. op/aos...A.ey
J- S.

5

66

S04>0KAE0YZ OVT f-KTapov yap

Setfat. Qoifiov OI.

oure rbv KTavovT

TO Se (rfrqfia TOV Tre/t^avTos rjv TOS' eitreiv,

SIKCU' eXefas'

OCTTLS etpyaa-raC Trore.

aXX' dvayKcicrai 0eov<;

av /XT] pe/uucriv ouo

cw ets ovvan

280

avrjp.

XO. r a Sevrep' e/c TWINS' av Xeyoifi? a/Ao! 8o»cei. OI.

et /cat rp'iT

X O . dvaKT

Icrii,

(JLT) Trapfjs TO fj.rj ov pdo~ai.

dvaKTL Tavd'

opcovT

evricrrajLtai

ot/Jw Teipecrtav, 7rap' ou TIS av OI.

aXX ou/c ev apyois eTTefixfja yap

ovoe TOVT

285

p f

Kyoeo^Tos CITTOI'TOS 8LTT\OV<;

j ^ irapcov p 7roju.irous" TraXat Se ^^11^ 2 8 1 Codices vel dx sine accentu praebent (ut L et A) vel av: vera lectio av, a Brunckio restituta, in nullo, quod sciam, extat.

' As thou hast received the (self-surrendered) suppliant under thy pledge.' 277 -ydp after JKTOVOV merely prefaces the statement: Plat. Prot. 320 c SOKCI Toivvv...ft.v6ov

v[uv Xiyetv.

v]v yap irore K.T.X.

278 8ti|cu, ' p o i n t

to.' Note the emphatic place of the word: the speaker knows not that he is face to face with the slayer. T& tfT|Ulia> a c c . of general reference. The simpler form would have been, r/v TOU fofrnjiia /cat Xucrai: but, instead of a verb which could govern T68* tlirciv is substituted, because it conveniently introduces the clause 8
KOL/J.' avay/ca'f«s TaSe.

av as 580, 7 4 9 :

O. C. 13, Ant.

1057,

Phil. 1276, At. 1085. oJS'ovtts: Ant. 884 ovS av cis iravo-atr' ac: O. C. 1656 ov8' av th I OVTJTWV <j>pa Ivos, Cyr. 4. 1. 14 juijSe irpos /tiW), and in prose oiSe tts stood without elision: in Ar. Ran. 927 etc., where the MSS. have ouSe ev (Dind. writes ovScev), ovS' av h> is a possible p. /. 282 U TwvSe = perd TaSe: Dem.rflsCor. § 313 Xoyov e/c Xdyov Xiywv. For BeijTepa, second-^rf, cp. the proverb Sevrepos irXovs: Plat. £%!£• 943 C rrjv T<5V ap«rT«W Kpttriv...KaL T-qv TWV SeuTtpwv Kal rpiruiv. ax \^-yoi|ii: see on 95. 283 TO pj ov, not TO ixrj, because the sentence is negative: below, 1232: Ant. 544 M

OIAITTOYI TYPANNOZ

67

I am not the slayer, nor can I point to him who slew. As for the question, it was for Phoebus, who sent it, to tell us this thing—who can have wrought the deed. OE. Justly said ; but no man on the earth can force the gods to what they will not. CH. I would fain say what seems to me next best after this. OE. If there is yet a third course, spare not to show it. CH. I know that our lord Teiresias is the seer most like to our lord Phoebus; from whom, O king, a searcher of these things might learn them most clearly. OE. Not even this have I left out of my cares. On the hint of Creon, I have twice sent a man to bring him; and this long while I marvel why he is not here. p aTt/ia'o-gs TO p.i] ou I Qavelv. But even in such a negative sentence the simple TO p? occurs, below, 1387 : Ant. 443. 284 OVOKT': Od. 11. 151 Teipecaao ava/cros.

TO,VT& opcivTa, n o t = TavTa <j>povovvra or

yiyvw-

ovcovTa, 'taking the same views,' but seeing in the same mamier, i.e. with equal clearness : 6puvra absol., as O. C. 74 00-' av \eyoip.i, irdvff opwvra \e£ofw.L: TouTci adverbial = Kara ravrd: the dat. OVOKTI as Her. 4. 119 TOJUTO Sy Vfuv iirprfo-o-ofiev.

287

OVK iv dpYois TOOTO Ka.TeKi.irov

would

have meant, ' I did not leave this among things neglected.' Soph, fuses the negative form with the positive, and instead of Karekiirov writes 4irpagd|ii)v: ' I saw to this (midd.) in such a manner that it also should not be among things neglected.' -n-pdao-eo-dai (midd.) elsewhere usu. = 'to exact' (Thuc. 4. 65 etc.): here = Siairpdcraeo-8ai, effect for oneself. For Iv cp. OVK iv £Aa<£pa> ZirouvfJLrjv ( H e r . I. 118), iv ev)((pti | 0.6ov (ravra)

Phil.

875, ravr ovv iv alo-\pwtfe/ievosEur. Hec. 806. apyots, not things undone, but things at which the work is sluggish or tardy; O. C. 1605 KOVK rjv IT ovftiv dpyov top icpUro: Eur. Phoen. 766 iv 8' io-rlv T]p.lv dpyov, £i Tt 6£a.-

TOV I oluivo/jLavTis Tetpco-t'as ?x« cj>pdo-ai, i.e. 'in one thing our zeal has lagged,—the quest whether' & c : Theognis however (583 Bergk 3rd ed.) h a s rd piv 7rpo/3e'^K£i' dp.T]^av6v io-Ti yevto-Oai | dpyd, = diroirjTa,

infeda.

288 SiirXovs I iroiiirovs: he had sent two successive messages—one messenger with each. irop.Tros = one who is sent to escort (Trep-veiv) or fetch a person (O. C. 70). The words could mean (as Ellendt takes them) 'two sets of messengers': but the other view is simpler, and consists equally well with oiSe in 297. 289 f.r\ irapciv 8av|iciJ«Tai = 6avp.d£
68

IO*OKAEOYI

XO.

KOLI

OI.

TO, TTota TO.VTO, )

fxrjv

TOL y

dXka Kcocfra /cat TraXaC ivy). TTOLVTa ydp

CTKOITci)

290

\6yOV.

XO. davelv i\e)(6r) Trpos TWCJV ohoi/rropcav. (Jl. rjKOvcra Kayo)' TOV O LOOVT ovoevs opa.. XO. a\X' ei r t fx.h> 8rj Sei/to/rds y e^et [xepo<s, rds JU.-^ V T I BpmvTL Tap/3os, ouS' CTTOS o/3eZ

295

XO. a\X' ov£e\ey£a)v avrov
(p

29O rd r' aXXa L. ret 7' aXXa A: ubi 7' non corrector dedit, sed manus prima, quae litteram 5 facere inceperat, hanc autem in 7 mutavit. 2 9 3 TOK 5' ISOVT' codd. omnes. Anonymi coniecturam TOV 5^ SI>I2VT', a Burtono citatam, receperant Dindorf., Nauck., Blaydes. 2 9 4 SeijxaToir f (sic) L, ubi f non prima scripsit manus, sed ex 7' fecit corrector, facillima mutatione, cum formam r haberet: simile exemplum vides in v. 516. Setfiards T' A et ceteri quos quidem cognoverim omnes: unus cod. Urb. 140 (Vat. c) T' an 7' habeat, in dubio relinquit Campb. Haesisse tamen in illo T' grammaticos vel inde colligere potes quod in cod.

wonder why' and 'Iwonder that.'

Xen. Anab. 4. 4. 15 (he spoke of)

rd py oVra o3s OVK OI/TOL : i. e. et TI pr) -qv, e\tya> on OVK rjv.

290 TO. 7' aXXa

...tTrc\: the rumours which were current—apart from the knowledge which the seer may have to give us. Not, '•the other rumours.' Cp, Plat. Phaed. IIO E KOX \L$OLS KOL yfj Kal TOIS aAAois £alois T« Kat (jiVTOi';.

Ktt><(>d: the rumour has died down; it no longer gives a clear sound. Cp. fr. 604 XTJOTJV TC Tiijv airavT curcorep^yu.eV??!', | Kwrjvt avavSov. Al. 911 o 71-avTa KWC^OS, 0' irdvT aiSpis, reft of all sense a n d wit. 291 TO iroia, cp. 120. 292 68oiiropci>v: t h e survivor h a d spoken^ of X-ga-rai, 122. T h e

word now used comes nearer to the truth (cp. 801 68ourop<5v); but, as the next v. shows, Oed. does not regard this rumour as a different one from that which Creon had mentioned. 293 T4V 8' 186VT' : the surviving eye-witness: cp. 119 av eT8e, TTXI^V lv K.T.X. Oed. has not yet learned that this witness could be produced; cp, vv. 754 ff. ISOVTO is better than the conj. SpaWa (1) as expressing, not merely that the culprit is unknown, but that no eye-witness of the deed is now at hand: (2) because, with 6pa, it has a certain ironical point,—expressing the king's incredulity as to anything being made of this clue. Cp. 105, 108. 294 8e£|ittT6s7'. Set/m, prop, 'an object of fear,' is used by Her. and the poets as = 8eos: Her. 6. 74 KAeo//,£i'ea...§ei/i.a. ZXafie %TrapTi.r)T(.wv: Aesch. Suppl.

566 yXwpin 8ei[jLa.Ti 6v/x6v I TrdWovT : E u r . Suppl.

599 <us

OlAinOYZ TYPANNOZ

69

CH. Indeed (his skill apart) the rumours are but faint and old. OE. What rumours are they ? I look to every story. CH. Certain wayfarers were said to have killed him. OE. I, too, have heard it, but none sees him who saw it. CH. Nay, if he knows what fear is, he will not stay when he hears thy curses, so dire as they are. OE. When a man shrinks not from a deed, neither is he scared by a word. CH. But there is one to convict him. For here they bring at last the godlike prophet, in whom Paris. T rot superscriptum inveni. Quod et Hartung. et Kennedius coniecerunt, Seifidrwv 2x« /xtpos, receperunt Ritter., Van Herwerden., Campb. Vide annot. 2 9 7 ov£e\\4yxa" (sic) L. Alterum \ erasit manus prima: £ super 7 scripsit aut prima (ut Duebnero visum est) aut antiqua. ov^eXiy^av A, E, codd. Venet. 616, 467 (V2, V3), Bodl. Laud. 54, Misc. 99, alii. ol£e\tyx»»' B, T, V, V4, al. Codicum igitur auctoritas paullo gravior cum 1. ov^eKiy^av facit. Eodem inclinat maiore etiam, ut opinor, momento Graeci sermonis usus: vide annot. ju.01 v<j> ijiraTL Seijua x^-oeP°v

Tapwrca:

id. El. 767 e/c Sci/iaros, from fear.

Cp. above, 153. The yt gives emphasis: the apai of Oed. were enough to scare the boldest. Hartung and, independently, Prof. Kennedy conjecture Seip-droiv c^ei /*«pos- The plur. Setjuara means either (a) objects of fear, or {b) much more rarely, fears, with reference to some particular objects already specified: as in El. 636 Seifmrmv a vvv l^(o, ' the terrors which I now suffer,' alluding to the dreams. Here we seem to need the sing., 'fear.' 295 TOS
Cp. Isocr. or. 8. § 139 SATT OVK a.Troptf(ro[ji,ev fxeff" <Sv

K(oXwo/xev TOVS Ifa/xapTavovTas, aXXa TTOXXOVS Z£ofiev TOVI eroi/xcos KCU

7rpo6vfiu>% <7vvayu>vi£ofi.evov<; TJ/I'IV : where, however, the present

part, a-vvaywvilojxivov; is relative to the future I^o/xtv. To this it may be objected: (1) the present participle with lorir would not be suitable unless the conviction were in act of taking place: (2) the fut. partic. not only suits the context better—'one to convict him' [supposing he is here]—but also agrees with the regular idiom: e.g. Phil. 1242 TI'S toTcu / / ovirLK(x>\v(XiOv raSe; El, 119 7 ovS' ovirapij^wv ovB' 6 KioKxxrtav irapa.; (cp. Ant. 2 6 1 ) : Aesch. P. V. 27 o X<£?7i/ yap o i iri^vKt TTU>: X e n .

70

ZO^OKAEOYI avQpumoiv \x.6v(a.

OI.

w Travra VCOJJLOJV Teipecrta, SiSa/cTa re apprjToi T , ovpdvid

re Kal

300

-^Oovocm^rj,

TToXtv fiev, el KOL [JLTJ /3A.eVeis, fypoveLs S' 01a vocrw avvecmv

r/s ere fiovvov

<&o2/3o<; ydp,

el Kal ju.17 xXuets TIUI' dyyekoiv,

\x.6vr]v o.v iXdelv rovSe

rov

el rous KTCLVOVTCLS Adiov 3O5

305

\x.aQ6vTe
d Kal /tij codd.: d TI ^T) L. Stephanus, Dindorf., Wunder., Hartung.

Anab. 2. 4. 5 6 ijyry
dvOpioirwv p-ova>,

above all other men: cp. (9. C. 261 /xovas .. | o-ai^etv oias re K.T.X., Athens, above all other cities, can save: Isocr. or. 14. § 57 d^etXere 8e fj.6vot T W 'EXXrJvoiv TOVTOV TOV Zpavov, unice (though others owe it also). 300 & irdin-a vupuv: vw/xato (vc/x) means (1) to distribute, (2) to dispose, and so to wield, ply, (3) figuratively, to ponder, animo versare: lv\ pecri KepSe evo)/x.as Od. 18. 2 1 6 : iv tacrl vpe
Teiresias): (4) then, absolutely, to observe: Her. 4. 128 vcopoi/TEs ...o-ira avaipto/teVovs, observing the moment when they were cutting forage. Similarly here,—with the idea of mental grasp unaided by eyesight. Plato {Crat. 411 D) fancifully connects yvaifn-q with VOJ/XIJCTIS, —TO

yap vu>fx.S.v KOX TO (TKOirelv

TOLVTOV.

SiSaicrd re | app-qTa T « , c p .

the colloquial p-qTov app-qTov T £7ros (O. C. IOOI dicenda tacendd): apprjTa = dir6ppr]TaL: Her. 6. 135 apprjTa ipd iKcfrrjvao-av. 301 ovpdvia T« KOV X9OVOpovcts introduces

OIAITTOYZ TYPANNOZ

71

alone of men doth live the truth. OE. Teiresias, whose soul grasps all things, the lore that may be told and the unspeakable, the secrets of heaven and the low things of earth,—thou feelest, though thou canst not see, what a plague doth haunt our State,—from which, great prophet, we find in thee our protector and only saviour. Now, Phoebus—if indeed thou knowest it not from the messengers—sent answer to our question that the only riddance from this pest which could come was if we should learn aright the slayers of Lalus, the apodosis after a concessive protasis, as Her. 8. 22 « <5E ifitv IO TOVTO //.17 SwaroV 7roirj
e n Kal vvv IK TOS [iio~ov ijfuv

X e n . Cyr. 5. 5. 21 aXX' t i /xrjSe TOVTO.../3ov\ei

diroKpivao-Oai, av

8e TOvvTtWtv Xiye. 303 i]S SC. voaov. irpo<mCTf|V yocrou, a protector from a plague: strictly, one who stands in front of, shields, the city's distempered state. Cp. Ai. 803 Trpoo-TrjT avayxaias T V ^ S , shelter my hard fate. In E u r . Andr.

220 yc.ipov dpcriviov vocrov | Tavrrjv yo(7ov/xev, aAXa

7rpovo-Trjntv

KaX<3s, 'we suffer this distemper more cruelly than men, but ever rule it well,' the idea is that of administering (not protecting), as in Trpoio-Tao-Oai T^S ijXtidas, to regulate one's own early years, Isocr. or. 15. § 290. Cp. 882. 304 |iovvov: this Ionic form (like xoupos, Sovpi, ^tcos, yowara) is used in dialogue by Soph.: Aesch. has not /IOWOS, though in P. V. 804 rov T£ fiowwira 0-Tpa.Tov. In [Eur.] Rhes. 31 /j.6vapxoi is now restored for fiovvapxou 305 A Kal ^ K\^«IS, implying that he probably has heard it. Ai. 1127 hnvov y fXTrais, ci KO\ ^rjs 6a.v<6v. Track. 7 1 Trav TOIWV, £i Kal TOVT 2TX»7) KXVOI TIS av, if indeed. On ei Kai and Kal d see Appendix,

Note 8. Others would render, 'if you have not heard from the messengers also,' supposing it to be a hyperbaton for « /AI; KXUCIS Kal TWV dyyiXiov. This is impossible. Prof. Campbell compares Thuc. 5. 45 Kal rjv h TOV $r}fi,ov TavTa Xeycocrti', as if p u t for fjv KOX CS TOV &rjfi.ov :

but there the passage runs thus; (Spartan envoys had been pleading •with effect before the Athenian BouXi;:)—TOV 'AXKI/3ICI8IJI' i6/3ovv fx,yj Kal, t]V £S TOV fyfj/jLov Tavra.

Xiycocnv,

lit ay ay tavTai

TO TrXyjOoi

Kal diriMrdfj -q 'ApyetW o-u/a/xa^ia: where the Kai before rjv goes with eVayaywi'Tai. Dindorf, Nauck and Blaydes are among those who adopt the conj. el TI p-fj, 'unless perchance': for n so used, see below 969, 0. C. 1450, Tr. 586, 712: but no change is required. 308 |ia8ovT« eu. ev = 'with care,' 'aright': cp. Ai. 18 eVeyvcos cv: ib. 528 lav TO Ta)(6tv «5 ToXfjiS. TCXUV. Meineke's conj. fj, adopted by

72

IO4>OKAEOY5: KTetvaifi-ev,

77 yrjs

vy<£8a<; iK

(TV 8' ovv 9ovrj
el

IX,TJT

pvcrai

TIV

olcavwv a.Tiv

3

1 0

dWrjv pavTucrj? e^eis oSoV,

creavTov Kal TTOXLV, pvcrai S' e/xe,

pvcrai Se 7rav [xiacrfia TOU TeOvrjKOTos. ev croc yap ecrfitw avopa o axpekew cup we r e KOLL hvvauo

KaXXtcrros 7rova>v.

315

TEIPE2IA2. (f>€v povelv w? SCLVOV h>Ba. fir) \vr)

(j>povovvTL.

ravra

yap

/caXws

eiows oiwAecr • ou yo-p OLV oevp 01.

L

rl S' ecTTLV; OJS

31O Errant, credo, qui lectionem o-i> KCJ', nusquam alibi inventam, cod. Laurentiano imputant. Prima manus, nisi fallor, non ab vvv verum ai ovv (omisso 5') scripserat, 5' recentior supplevit. ai vvv Blaydes. 31S Mendosa 1. ?x et noa in A solo occurrit, sed etiam in V3, Bodl. Laud. 54, Barocc. 65; videtur in Misc. 99

Nauck, is weak, and against the rhythm. 310 air otavuv <j>dnv: for airo, see 4 3 : ^inv, 151. 311 a\Xr)v 6Bov, as divination by fire (see on 21), to which Teiresias resorts (Ant. 1005) when the voice of birds fails him. 312 pvo-ai 6vov, as reminding the hearer that vengeance is due for innocent blood. Both irav and the usual sense of (iCao-no forbid us to understand, 'avenge the uncleanness [i.e. the unpunished murder] of the dead man.' For pSo-ou. Se Blaydes conj. \vaov 8i, comparing Eur. Or. 598 /uWyua Xwrai. But the triple pSo-ai is essential to the force. 314 i^ o-ol = penes te: O. C. 248 lv vfuv o5s Oew | KeifitOa rXd/jLovi^ : E u r .

Ale. 278 iv
avSpa, accus. before, not after,

710 d\X' avBpa, KEI TIS rj (ro(j>6^, TO fxa.vQa.vav \ TTOW

alcrxpov ov$£v. In both places avSpa has a certain stress—' for mortal man.' But in At. 1344 ai'Spa 8' ov SiVaiov, ei Odvoi, fiXdirruv TOV io~&\uv,

OIAITTOYI TYPANNOI

7%

and slay them, or send them into exile from our land. Do thou, then, grudge neither voice of birds nor any other way of seer-lore that thou hast, but rescue thyself and the State, rescue me, rescue all that is defiled by the dead. For we are in thy hand ; and man's noblest task is to help others by his best means and powers. TEIRESIAS. Alas, how dreadful to have wisdom where it profits not the wise! Aye, I knew this well, but let it slip out of mind ; else would I never have come here. OE. What now ? How sad thou hast come in ! quoque ?%oi ab (xel ortum esse.

irbvoa L, ubi uv antiqui correctoris est: irbvuv A,

Off

4

2

B, V , L . itbvuv (sic, non irbvoa irbvtiiv) E. Itaque lectio ir6vav, quae elegantior est, etiam librorum auctoritate plus valet quam irdvos. 3 1 7 Xiijt L, Xt/7; (sic) L 2 , r , Pal. Contra A et plerique \iu, quod ' ut gravius dictum ' praetulerunt Hermann, et Erfurdt. Vide tamen annot.

avSpa is the object, agreeing with TOV ZO-6X6V. 315 o' «v fyoi T€ K0* BvvaiTo, by means of all his resources and faculties. The optat., as Ant. 666 dXX' ov irdAis cmfcTEie, ToCSe xprj nXveiv: Xen. Cyr. I. 6. 19 aXXa TOV fikv airrov Xiyeiv, a ixrj ei8eeXoCrj a utv ?X ot ' KaXXurra av ttavoii). 317 Xij-g: for subjunct. Without av, cp. O. C. 395 os veos iria-Q: Ai. 1 0 7 4 \v6a. fir} KaOe
1008 o TI KOX fiva-ri. On the other hand, the indie. Xvei would state the fact: cp. O. C. 839 fiij ViVacro-' a fir) Kparets: ib. 1442 fir) TreW a fir) 8ci. But L has Xvy and some other MSS. have Xvrf. and it is much more likely that this should have become Xvei than vice versa. TA.TJ XIJT| = Xv&iTeXfj, only here : cp. Eur. Ale. 627 <j>rifil TOLOVTOVS ya/tovs I

Xveiv /9poTo~s. ravTa yip (I have to bewail this now), for, though I once knew it, I had forgotten it. Teiresias, twice summoned (288), had come reluctantly. Only now, in the presence of Oedipus, does he realise the full horror of the secret which he holds. 318 8uoW = let slip out of my memory; perh. a common use, though it occurs only here: cp. o-aS^eaOai t o remember, Plat. Theaet. 153 B KiaraL re /xa6rjfiaTa KO.1 <7(o£eTOU : Rep. 45s B a tfiaOe,
Terent. Phormio 2. 3. 39 perii hercle: nomen perdidi, 'have forgotten.' 319 TC 8' &rTiv ; El. 920 <j>iv r^s avoids.. .XPYS. rt o" eoriv; and so often in

74

I00KAE0Y2

T E . dc/>es fi

e? owcous' pacrra

ydp

TO crov re

320

KOLya> SLOicrco Tovfjuov, rjv. ifJbol Tridrj. OI.

OVT evvofi

eiTras ovre

T ^ O , 7) cr evpeye, liii. opa> yap

<pariv.

ovoe CTOL TO crov (fxovrjix IOV

7T/3OS Kaipov OI.

Trpoo~fyikrj TroXei

TTJVO anocrTepoiv

ju.17 7T/3O5 Sewv

a>s ovv /A17S' ey&i r a u r o v nddo). (f>povSv

Traires cre irpocKwovfJiev T E . Trai/res y a p ou (frpoveLT'.

325

y 01S' iycu S' ov [i/r\ TTOTC

Ta/x,, 6JS av eiTTw /AI) r a cr', iK^>rjV(a /ca/ca. OI. Tt ^ 5 j £weil>o!>s ov (j>pdo~eLS, dW ivvoeis TT/aoSoui'at /cat naTatydeipai irokiv;

330

3 2 2 ofir' evvoix1 (sic) L, in rasura: mox irpovtpiXri, ubi eer corrector addidit. Prima manus, credo, ^vvo^ov scripserat, ipsa autem in ^vvof^ correxit, dein recte irpoi\T) dedit. Ivvofiov habent pauci codd.; irpo
Soph.: Be marking that the attention is turned to a new point, as in Tt 8'; quid vero 2 (941), or to a new person : Isaeus or. 8. § 24 ov Si rt's tt; 321 SioCo-w, bear to the end : Eur. Hipp. 1143 8a.Kpv£puv could not mean 'to bear apart' (from each other), though that is implied. 322 OVT' iwo^ K.T.X. OVK evvo/w., not in conformity with usage, which entitled the State to benefit by the wisdom of its /mvTis. The king's first remonstrances are gentle. 323 dirodTiv, of a divine message, 151. 324 opu-ydp K.T.X. ( / d o not speak), for I see that neither dost thou speak opportunely: (I am silent) therefore, lest I too should speak unseasonably. 325 irpAs Kcupdv = Kaipiws, as with evvirreiv Track. 59. <Ss p]8*ty<"T TrdOw, influenced by the form of the preceding clause with ovSe pov<Sv 7', if thou hast understanding (of this matter): cp. 569 Ifi o!s yap p ; <j>povw criyav ij>i\<j>: not, ' i f thou art s a n e . '

But in 328 ov <j>poveiTe= ' a r e

OIAITTOYI TYPANNOZ

75

TE. Let me go home ; 'twill be best that thou bear thine own burden to the end, and I mine—if thou wilt heed me. OE. Thy words are strange, nor kindly to this State which nurtured thee, when thou withholdest this response. TE. Nay, I see that thou, on thy part, openest not thy lips in season : therefore take I heed lest I, too, have the like hap. OE. For the love of the gods, turn not away, if thou hast knowledge : all we suppliants implore thee on our knees. TE. Aye, for ye are all without knowledge; but never will I reveal my griefs—that I say not thine. OE. HOW sayest thou ? Thou knowest the secret, and wilt not tell it, but art minded to betray us and to destroy the State ? secundus mansit. 3 2 6 , 3 2 7 Hos versus Oedipo recte tribuit L : quos quod choro A aliique codd. assignant, versum 327 causae fuisse credo. Parum tempestive se chorus interponit dum crescente sensim ira rex et vates colloquontur. Cum vehemens oratio utrimque iam exarsit, turn demum convenienter intercedit chorus (v. 404).

without understanding,' are senseless. 328 iya 8' ot> |«] WOT* !|i& (<Js dv pi} etiro xd
507 D ovh' d W a i s iroXXais, Iva jj.yj £i7ra> o v S c / i t a , TOIOVTOV irpocr-

hei ovSevos, i.e. few,—not to say none: Hippias minor 372 D TOIOVTOS tlfii otos Trip cf/xi, iva pr/bev i/xavrov /Z6t£oi' eiirto,—to say nothing more of myself. The substitution of <5s av for the commoner iva in no way alters the meaning. For »s av |H], cp. Ar. Av. 1508 TOUT!...TO (TKiaSciov VTrlpiy* | dvco^cv, <us ov fit] fi iSaxriv 01 OtoC. F o r <6s av stira |ii^

instead of ok av fir) etirw, cp. 255, Phil. 66 el 8' ipyda-fi | prj ravra. (2) The emphatic position of x&y suits this version. (3) fc<|njv is more forcible than «1W If the meaning were, ' I will not reveal my griefs, in order that I may not mention (CITTW) thy griefs,' the clauses would be ill-balanced. See Appendix, Note 9. 330

76

IO*OKAEOYI

TE. iyco OVT i/xavrov ovre cr dXyvvco. TL TCLVT' aXXft>9 eXey^eis ; ov ydp dv irvdoio JJLOV. OI. OVK, d> KGLKwv Ka/acrre, Kdl yap av Trerpov <j>v(TLV crv y opydvELas, e^epeis iroTe, aXX' aiS' areyKTos KareXeur^ros <j>avei; TE. opyrjv ejne/At/zw TTJV ifJLrjv, rr/v o"fjv S' 6/JLOV vaiovcrav ov KareiSes, dXX' ifie i/»eyei?.

335

OI. ris yap TOLavr' av OVK av opyltpvr eirq KKVCOV, a

vvv o~v Trjvh' ari/*a^ets 770X11';

340

TE. i^fei yap avrd, Kav iyco ayrj crreyo). 3 3 2 ^7ib OVT' cum paucis codd. B et Bodl. Barocc. 66: iydi r' L, A, plerique. T' illud tanquam pro otire positum explicabaut, ut docent scholiastae verba, a7r6 KOIPOV TO ov.

337

•V-,

6p/j.riv L. Est 7 ab antiqua manu. Credit Duebnerus ipsum illud

because IK^VW implied that he knew. Cp. 704 m/ros Ivi/aSuk r) fiaOwv a\Xov irdpa, i.e. of his own knowledge, or on hearsay? Not, 'being an accomplice' (as Ant. 266 fvveiSevai | TO irpayfua /3ov\evtravTi): Oed. can still control his rising anger. 332 I71J OUT K.T.X. The ruggedness of this verse is perh. designed to express agitation. Cp. 1002 iyw ov)(i: O. C. 939 eyco OVT' avavSpov : ib. 998 iyw ovSe: Ant. 458 ey(O OVK e[ie\\ov. ravr'; see On 29. 334 Trrrpov | fyicriv: Eur. Med. 1279 <s> TaXaiv", us ap yo-Oa Trerpos ^ crtSa'pos. For the periphrasis cp. Plat. Phaedr. 251 B IJ-TOU irTcpov vais, — TO irrepov, iretf>vKos wcrirtp irevK€t being constituted a s it is : Timae. 45 B TT}VTOP'fSktapa>v <j>v.: 84 C ?J TOU fiveXov <j>v
man 'with whom one cannot make an end,'—who cannot be brought to the desired issue. In freely rendering, ' Wilt thou never make an end ?' we remember, of course, that the adj. could not literally mean 'not finishing.' Possibly it is borrowed from the colloquial vocabulary of the day: the tone is like that of the Latin odiosus. 337 ^pipi!"*; a or. referring to the moment just past : SO oft. €7rrjVeo-a, gwrjica., Ijo-Orjv : aire-

OlAinOYI TYPANNOI

77

TE. I will pain neither myself nor thee. Why vainly ask these things ? Thou wilt not learn them from me. OE. What, basest of the base,—for thou wouldest anger a very stone,—wilt thou never speak out ? Can nothing touch thee ? Wilt thou never make an end ? TE. Thou blamest my temper, but seest not that to which thou thyself art wedded : no, thou findest fault with me. OE. And who would not be angry to hear the words with which thou now dost slight this city ? TE. The future will come of itself, though I shroud it in silence. /J prius 7 fuisse: equidem vero propius duco primam manum calami lapsu opuyv scripsisse. Nullum alias eiusdem mendi vestigium. rr/i/ a-qv d' L, A, ceteri paene omnes. Dindorfius 'ex duobus apographis' TT)V aol 5' in textum recepit. Hoc in V4 quidem inveni: alter Dindorfii codex quis sit, nescio. Sed vide annot.

•KTVtra (Eur. Hec. 1276) : eScfa/nijv (Soph. El. 668).

o(i,oi> | vaCovo-av, while

(or though) it dwells close to thee,—possesses and sways thee. Cp. O. C. J07A.IS (1134) and ftXdfir) (El. 785) ^U'VOIKOS: (Tvvva.if.lv wovois (Ph. 892): oi<; I dpyaTs (Ai. 639). But (as Eustathius saw, 755. 14) the words have a second meaning: ' thou seest not that thine own [njv 0-171/, thy kinswoman, thy mother] is dwelling with thee [as thy wife].' The ambiguity of TI)V v vaCono-av, the choice of KdTtiSes, leave no doubt of this. Cp. 261. 338 dXX.'ty.ei^-yeis: the thought of opyrjv c/xe/Ai/fio TYJV Zp-rfv returns upon itself, as if from a sense that the contrast between ip.ip.\j/w and Kareio'eg would be imperfectly felt without such an iteration : this is peculiarly Sophoclean; cp. above 166 (ZX&ere KOL VVV): Schneidewin cp. also Ai. 1111 OV...T^S
iTw.

| dXXd Tts

Cp. the phrase avTo Sei^ct, res ipsa arguet, the result will show:

78

ZO*OKAEOYZ

OI.

OVKOVV a y

TE.

OVK av irepa

ij^et /cat ere yj>y\ keyew pdo~aLfj.i.

ifioC.

TT/DOS r a S ' , ei

0VflOV Si' Opyfjs 17TIS dypKOTOLTT]. OI.

Kal fjirjv iraprjcroi y atrep £VV[T][JL'.

ovhiv,

Icrdi yap

a>s opyrjs exco, SOKWV

Kal £vjj.<j)VTevcrai rovpyov, fir) x 6 / 30 "' Kaivoiv /ecu Tovpyov TE.

aXyjdes',

345

ipol

elpydcrdai ff, OCTOV

el S' iTi/y^aves

ySXeVcov,

dv crov TOVT" ifftrjv elt'at [JLOVOV.

ivviirm

crk raJ Kr/pvyfiaTi

vvv npocravSav

fnjre

350

rovcrBe

oi'rt yrjs rrjcrB' dvocrio) fiwicrTopi. 3 4 7 elpyd
Soph. fr. 355 layy 8' avro Setfei Tovpyoi'. 342 owKOvvd-/ <[{«. Elmsley, Nauck and Hartung read OVK OVV .. .e/W; but the positive \p-fj is stronger without the query. ' Then, seeing that they will come, thou on thy part (Kal pa'crcu|u. The courteous formula (95, 282), just because it is such, here expresses fixed resolve. 344 TJTIS dypuoTdTi]: / / . 17. 61 ore TI'S re \ku>v...ftovvdpTrdaij 17ns dpLarrj: Plat. Apol. 23 A iroWal a7T£^£tai...Kai olai ^aXc7r(UTaTat: Dem. Olynth. 2. § 18 ei fiiv yap TIS dvrjp ICTTIV Iv avrdis o t o s £/xir«ipos TTO\£(JLOV KOU dyooviav [sc. ior£],

TOVTOVS,

K.T.X. 345 Kal |ii]v with -ye, 'aye verily': cp. El. 554 where rjv «fc?« hm is answered (556) by KCU firjv e^Hj/x'. »s opYijs ?xw = «Xon' °pyys <"s Ix0*! being so wroth as I am. Thuc. 1. 22 iraP1luT«vo-ai ...«tpYd
OlAinOYI TYPANNOZ

yg

OE. Then, seeing that it must come, thou on thy part should'st tell me thereof. TE. I will speak no further; rage, then, if thou wilt, with the fiercest wrath thy heart doth know. OE. Aye, verily, I will not spare—so wroth I am—to speak all my thought. Know that thou seemest to me e'en to have helped in plotting the deed, and to have done it, short of slaying with thy hands. Hadst thou eye-sight, I would have said that the doing, also, of this thing was thine alone. TE. In sooth ?— I charge thee that thou abide by the decree of thine own mouth, and from this day speak neither to these nor to me: thou art the accursed defiler of this land. gradatio sive KKIIXO.^: forti enim dicto non iam fortius sed lenius subicitur.

351

•jrpoaeiTTOLS c o d d . : 7r/>oe?7ras B r u n c k .

plotter.1 5i)|«|)vr€vo-ai: Pind. Isth. S (6) 12 avv re ol Bai/uov vTevei 86£av: At. 953 IlaXAas (jyvrevti, irfjfia: El. 198 Seirav Seivws irpofpvTtv&avTe1; I fiopdv (of crime). SvXd
Xfpolv. 349 Kal ToiJp-yov...TOVTO, the doing of this thing also, airrjv rrjv Trpa^iv, as dist. from the plotting and the direction of the act. 350 dX.tie«s; K.T.X. The same word marks the climax of Creon's anger in Ant. 758: cp. Ar. Av. 393 ITCOV; etc. Ivvftru o-*...£|i|Wvei.v I command that thou abide : SO Phil. IOI Aeyto (Te...\a/3eiv. 351 $ir«p irpoctiras (sc. eju-juevciv), by which thou didst proclaim that (all) should abide: this is better than taking cpircp as by attraction for o-irep, since irpoii-Kov could take an ace. of the thing proclaimed (e.g. ieviav, iroXe/jLov, Odvarov), but not of the edict itself (as Kripvyjia). 353 <JsovTi....|udoTopi, an anacolouthon for <Js ovra.../judcrropa, as if Ivviiru) s ri /** JXtos T^S

80 OI.

IOOKAEOYZ ourcus dvaiSais TO prjfjia;

i£eir]cra<; TOSC

KOX TTOV TOVTO

TE.

Tre(f>evy(f TakyjOes yap

OI.

TTJOOS TOV S i S a ^ e i ? ;

TE. 7rpos aov'

(TI> yap

<j>€v^€cr0ai So/ceis

',

355

lo~xyov rpecfxo.

ov yap

e/c ye TIJS Te^v^s.

/x dicovTa vpovrpe\poi

OI.

TTOIOV \6yov;

X4y' avdi?,

TE.

ov^i

OI.

ou^ wcrre y' etTreiv yi'oxrToi' 1 a \ \ '

izvvrJK.a'i irp6o~6ev;

keyeuv.

<ws [JiaXkov fj-dOa). 17 '/CTreipa Xeycov;

360

au^ts (f>pdcrov.

o 36O •>} inwupai \iyeiv L. Littera o, quae super ^ scripta a manu rec. iam paene evanuit, coniecturam \6ywr videtur indicare. Lectionis X^yoi nullum vestigium est. 17 Vxetpa (sic) X^eix A, et ceteri, scripto in quibusdam V TaXanrwpov Ko'pijs eicr^X^e trvyye'vetai' ivvoov/jLO'to. 354 l£cKCvr]o-as. is u s e d of starting game, El. 567 i^eKivqa-evTTOSOLV \ ...ov. of rousing

one from rest, Trach. 1242, and fig. of exciting pain which had been lulled, ib. 979. Here the notion is that of a sudden and startling utterance. But the choice of the word has also been influenced by the common use of Kiviiv in the sense of mooting subjects which should not have been touched: Eur. El. 302 hzii 8« /civets /JLVOOV, i.e. since thou hast broached this theme: cp. O. C. 1526 a S' tfayiara firjhi /avarcu Xdya). In.Eur. Med. 1317 TI racrSe Ktveis Kava/xoxA.€veis TruXas; Porson, with the author of the Christus Patiens, reads Aoyous, thinking that Ar. Nub. 1399 <S KaivuJv e7roi)v | KIV^TO Kal /xo^XevTa alluded to that place. S o d.KLvr]Ta (CTTIJ) = aTToppr/Ta O. C. 6 2 4 , ^4«A T060 opcrets //.c TaKivrjTa Sia pevwv 4>pa.a-ai. \ Kiyei, K.T.X. 355 KOI irou K.T.X. A n d on what g r o u n d

dost thou think to escape (punishment for) this thing? For iroS cp. 390: Ai. 1100 irov e Odirrei; tK<}>evyetv: Eur. Med. 795 i r a u W

TOVTO <)>ei57«iv h e r e = TOVTOV TJJV SLKTJV <j>6vov | evyovo-a, fleeing from ( t h e

penalties of) the murder: Cic. Pro Cluent. 59 § 163 calumniam (=crimen calumniae) non effugiet. But in Lys. In Erat. § 34 TOVTO...OV evyo) = 'I do not avoid this point.' 356 to-xvov expresses the living strength of the divine instinct within him: cp. £WT<X 482. rpfya-. see on ifajri<j>vKev 299. 357 T^XTIS, slightly contemptuous; cp. 388, 562, 709. 358 irpo«-

OIAITTOYI TYPANNOS

81

OE. SO brazen with thy blustering taunt ? And wherein dost thou trust to escape thy due ? TE. I have escaped : in my truth is my strength. OE. Who taught thee this ? It was not, at least, thine art. TE. Thou : for thou didst spur me into speech against my will. OE. What speech ? Speak again that I may learn it better. TE. Didst thou not take my sense before ? Or art thou tempting me in talk ? OE. NO, I took it not so that I can call it known :—speak again. reipa (sic). 7; ireipq. \4ywv; Hartung.: rj 'xweipq. \&yt#; Campb.: oixi iwrjicas; irpbs rl IXOV 'Kireipcj. \tyeip; proposuit Blaydes.

u: the midd., as 1446: but the act., Ant. 270, El. 1193. 360 1? Xfywv; or (while you do understand my meaning already) are you merely trying by your talk (teyav) to provoke a still fuller statement of it? Her. 3. 135 Seuras /u.17 ev eKjreipuTo Aapcios, was making trial of him: Ar. Eq. 1234 KO.1
55 Trjv 3>i\oKT>]TOv ere 8ei | ^v^rjv

OTTWS Xoyoiariv CKKXCI^CIS

': where, as here, the partic. denotes the process. If we read v, we must supply ware: 'tempting me so that I should speak': a weak sense. \6ya> could only mean, 'by thy talk': whereas it would naturally mean 'in word' (only, and not epy<j>). Musgrave conj. Xox<3i/ (laying a snare for me); Arndt p IXtlv, (to catch me): Madvig £K iretpas Xeye6s; But, with Xtywv, all is, I think, sound. 361 oi\ &rre y K.T.X. OV (£vvrji«x) OVTU> y' aKpiyScus wore uireiv. cp. 1131. •yvwo-Tov: 'known.' So the MSS: but yvami 58, yvanov 396. I n fr. 262

«K Kapra. /3ai
av yivoiT

dvrfp,

yvaiTOs — ' well - k n o w n , '

yvdpi/ioi: but Soph, used yvuxrr6<s in the same sense in the Hermione (Antiatticista 87. 25). It has been held that, where a sigmatic form of the verbal (as yveooros) existed along with the non-sigmatic (as yvwroi), Attic usage distinguished yvworos as = 'what can be known' from yvtoToi as = 'what is known.' But there is no ground for assuming

J. s.

6

82

IO*OKAEOYZ

TE.

c/>ove'a ere (f>7]fju rdvBpos

ov ^ r e i s

OI.

dXX' ou Tt -^aCpoiv Sis ye rrrjfjLovds ipecs.

TE. eiiro) r t STJTO. KaXX', if' opyitpQ OI.

ocrov ye ^pr^eis*

TE. \e\7)9evat, alcrxicrff

Kvpeiv.

irkiov;

ws indnqv elpyjcrerat.

365

ere c/>i7)u,i cruv TOIS ^>IXTOTOIS cyuXoiW, ovS' c5paf u»' et KCLKOV.

OI.

77 Kal yeyr)9a>s TOJVT del Xe'^ew So/cets;

TE.

e*7rep TI y ' CCTTI TT}S dXyjOeCas crOevos.

OI.

aAA. ecrri, n-A7)i> cror

croi oe TOUT OVK ear,

TUctXoS T<£ T ' COTa TOV TC VOVV TO. T

Op\LO.T

enei

370

el.

TE. (jv S' d^Xios ye TauV oveiSi^wi', ct crol ouoeis os ov)(L Ttovo oueiOLEL OI.

jLiids Tpi(j>ei Trpos VVKTOS, \sjr\T dWov,

TE.

ov ydp

ware

OCTTIS o)<; opa,

ere ^olpa

irp6<; y

/3\d\pai

TTOT dv.

375

e/xou Trecreiv, e7rel

376 Sursum deorsum rem versant codd. omnes, fie...ye ffov praebentes, excepto Flor. Abb. 41 (A), qui ere...ye crov habet: ae.,.yi fiov Brunck.

that such a distinction was observed. o5 JT]T€IS K.T.X.

ffirjixi
See Appendix, Note 10. 362 (OVTO.) rov dvSpd1: ov (TOV cfioviaf

^IJTETS. 363 irrmovds: /. e. such charges are downright irrj/j.ovai, calamities, infamies. There is something of a colloquial tone in the phrase: cp. Ai. 6 8 /AIJSC opa.v Si^ov | TOV dv8pa:

El. 301 o iravr' avaXicis OVTOS, rj

irao-a j3\d(3r]. Cp. 336 aTcXcvT^ros. 364 «Sir«, delib. subjunct.: Eur. Ion 758 £i7rIXTCITOIS K.T.X. = o-vv T0 i\Ta.Tr) (Iocasta): since 6{u\ovyr implies wedlock, and not merely the companionship denoted by fw
367 lv" el KOKOI!: cp. 413, 1442.

Track. 375 irpv TTOT et/u

wpay/mTos; 368 ^Kal: ' dost thou indeed?' Aesch. Eum. 402 ^ KO\ TOLavTas T<5S' €7rtppot^eTs cjivyds; 370 wXi}v opa) of o-ot, as in O. C. 787 OVK « m (TOI TOLVT, dXXa
OlAinOYZ TYPANNOS

83

TE. I say that thou art the slayer of the man whose slayer thou seekest. OE. NOW thou shalt rue that thou hast twice said words so dire. TE. Would'st thou have me say more, that thou mayest be more wroth ? OE. What thou wilt; it will be said in vain TE. I say that thou hast been living in unguessed shame with thy nearest kin, and seest not to what woe thou hast come. OE. Dost thou indeed think that thou shalt always speak thus without smarting ? TE. Yes, if there is any strength in truth. OE. Nay, there is,—for all save thee; for thee that strength is not, since thou art maimed in ear, and in wit, and in eye. T E . Aye, and thou art a poor wretch to utter taunts which every man here will soon hurl at thee. OE. Night, endless night hath thee in her keeping, so that thou canst never hurt me, or any man who sees the sun. TE. NO, thy doom is not to fall by me: Med. 476 tcrwa-d a-'- $, of wretched folly. Cp. the use of avoXftos, Ai. n 5 6 , Ant. 1025 (joined with a/3ot>Xos), fiiX.tO'; {Ai. 621), KaKoSaijuuiv, K.T.X. 373 oti8«W (coriv) 8$ o«x^ = TOS Tts: [Plat] Ale. I 103 B ovSeis os ovx VTrepP\-q6A<5...Tr£evy€. Ai. 725 rfpa.o-0-ov...ovTLs tvff 0% ov. More properly ovSeis oo-rts ov, declined (byattraction) in both parts, as Plat. Phaed. 117 D ouSeva ovnva ov KarijcXawe. 374 |iias -rpfyti irpds VVKTOS, thou art cherished by (thy life is passed in) one unbroken night: the pass, form of /ua vv£ o-e Tp4u. Cp. Ai. 859 rjs e//.oi: fr. 521 Tfpirv<Ss yap del irdvras avoia. r p e ^ s t : i.e. folly ever gives a joyous life: Eur. Hipp. <3 itovoi rpetjiovTes Ppomvs cares that make up the life of men. |uot might be simply /AOVIJS, but, in its emphatic place here, rather = ' unbroken,' unvaried by day : cp. Ar. Rhet. 3. 9 (\4£iv) tlpo\t,ivvjv KOX T<3 crvT/8e p[av, forming one continuous chain. T h e ingenious conj. /xcuas (nurse) seems to me far less forcible. 376 (OVK 6—2

I04>0KAE0YI 'ATTOWOV, OI.

Kpeovros 17 crou Tavra,

TE. Kpeav OI.

<W r a S ' iKirpa

be croi irrjii

Ta.^euprjfj.ara;

ovocu, akk

<w TrX-ovre /cat r u p a w t /cal re^vq VTrep(f)epov(ra T<S

auros crv aroi. rexy-qs

380

irokvt^\(

ocros Trap' v/xiv o (j)66vo<; et Trjcroe y

apXVS ovvex,

OVK (xirryvov, Kpeav Xddpa p

i)v €^01 TTOAIS

elcre^elpKrev,

6 VLCTTOS, ovf a-pXV$

xmekdaiv e/c^SaXeiv iy

vels payov

roiovSe fjirj-^avopp

BoXiov a.yvp7r\v, o o r t s ei' TOIS 379

K/^wx S^ codd., recte.

Kpiav ye temere dedit Brunck.

Zy<6 (re /3\aij/v 8« = 'iV2zj, Creon'—introducing an objection, as Track. 729 roiavra 8' av Xe^etev K.T.X.: O. C. 395 yipovra 8' 6p6ovv \avpov. 381 ra iro p£, locative dative, denning the sphere of virep<(>€pouo-a, like 2TI ovpavu I Zeus .£/. 174. iroXv^i]X

seems to denote life generally, rather than a particular station: (2) the phrase, following •n-Xovre KCU rvpawi, would be a weak addition. For the general sense of T€xvil c p . Phil. 138 Tiyya. yap re)(vas erepas Trpov^ei | Kal yvio/ia, 7ra/j' OTQ> TO 6etov I Atos (TKrj-xTpov dvacrcreTai : for skill a n d wit (yvwfurj), surpassing

those of other men, belong to him by whom is swayed the godlike sceptre which Zeus gives. Ant. 365 TO ^yoMoev Te'xvas, the inventiveness of (human) skill. The phrase here has a reference to that (jmvTLKTJ) Ttyyi) of Teiresias which Oed. surpassed when he solved the riddle: cp. 357. 382 irap' «(itv...<)>vXdv\d
OlAinOYI TYPANNOZ

85

Apollo is enough, whose care it is to work that out. OE. Are these Creon's devices, or thine ? TE. Nay, Creon is no plague to thee; thou art thine own. OE. O wealth and empire and skill outmatching skill in life's keen rivalries, how great is the envy that cleaves to you, if for the sake, yea, of this power which the city hath put into my hands, a gift unsought, Creon the trusty, Creon mine old friend, hath crept on me by stealth, yearning to thrust me out of it, and hath suborned such a scheming juggler as this, a tricky quack, who hath eyes only for his gains, be neuter: 'a thing given, not asked.' But this use of the neuter adj., when the subject is regarded in its most general aspect, is far most common in simple predications, as //. 2. 204 OVK dya66v TroXvKot.pa.viri: Eur. Hipp. log Tcpirvov IK (cwayias | TpdVe£a TrXrfprjs. And yvarov in 396—which must agree with yv—favours the view that here also the adjectives are fem. Cp. //. 2. 742 KXUTOS 'ImroSajaeia: Thuc. 2. 41 yrjv la-fiaTov:

7. 87 do-juai OVK dvtKToi: Plat. Rep.

573 B fj.avia?...iiraKTOv :

Eryxias 398 D apen} SiSaKTos : O. C. 1460 nrepcoTos flpovTr) : Track. 446 £i.../Ae/MTTos elfu (Deianeira). 385 Tavnjs, redundant, for emphasis: Xen. Cyr. 8. 7- 9 T<5 §* Trpoj3ov\eveiv /ecu TO •qy€iu9ai, e<j> on av Kaipos SoKJ} ctvat, TOVTO wpooTaTTa>. 387 «<(>eVs, having secretly sent as his agent, 'having suborned.' [Plat.] Axiochus 368 E irpocSpous lyK<x0eVous vcj)€VTei, 'having privily brought in suborned presidents.' The word |utY<>s expresses contempt for the rites of divination practised by Teiresias : dYtyn)s taunts him as a mercenary impostor. So Plut. Mor. 165 F joins ayvpTO.% KOX y6-qra<s, Zosimus I. I I /xdyois r e Kal

dyvprais.

The passage shows how Asiatic superstitions had already spread among the vulgar, and were scorned by the educated, in Greece. The Persian ftayos (as conceived by the Greeks) was one who claimed to command the aid of beneficent deities (Sat/xovcs dyatfoepyoi), while the yor/s was properly one who could call up the dead (Suid. 1. 490 : cp. Plut. De Defect. Orac. c. 10). So Eur. Or. 1496 (Helen has been spirited away) ^ nv (by charms) r/ fiaymv | rixyaia-iv r/ 6t TOIS JCTJKXOIS ayetpovTto 1/..., ot Svolv d/JoXoiv T<3 Trpoarv^ovTi aT

86

IO*OKAEOYI [JLOVOV Se'Sop/ce, rr/v Teyyqv

iveC, $lp

8' e<j>v TU^XOS.

etTre, irov crv ILOLVTIS et cra^-q^;

TTtus ou^, ocf 77 pa\jjcooo<; evoao Tjvoas TI rotcrS' a(TTo1cn,v Kanoi

TO y ' aivt/yfi

39°

r\v KVCOV,

iKkvrrjpiov;

o^X} TOVTTIOVTOS t)v

dvSpo? SieLTreiv, dXKa fiavTeCas ISei* TJV OVT' an' OICJVWV o~v irpovavq<; €)(cov OVT' IK 6eaJv TOV yvcorov

395

aXA.' iyoi p.6ka>v,

6 /xrjBh' eiStus OISITTOVSJ eTravcra vtt', yvcofjby Kvprj(ja<s ouS' a7r' olcovcov [xadcoV ov §7) a-v neipa.'s

iKJ3akeLV, BOKSV

0p6voL<s

irapacrraTrjcreiv rots Kpeovreiot? Tre'Xas.

400

So/cet? /x,ot K^al cru ^w cruv^els raSe el Se /ai) 'SOKGIS yepcov 396

TOU L, T, Barocc. 66: TOV A et plerique.

iv TOIS K^p8«oT,v, in the case of gains: cp. Ai. 1315 iv ifiol 6pau\iav *XU; [ ore! 8l8a£ov, K.T.X. irov ; where ? i.e. in what sense ? Eur. Ion 528 •JTOV 8c fioi warrjp av;

(I ijs = Trir)vas w:

cp. 355.

3 9 1 Kvav, e s p .

because the Sphinx was the watchful agent of Hera's wrath : cp. 36. Ar. Ran. 1287 has a line from the %<j>tyi of Aesch., 2<£i'yya Svo-ayu,£pidi/ [vulg. hvo-a/xepiav] TrpvTaviv KVVO. irifnru, ' the watcher who presides over evil days' (for Thebes). pcu|«j>83s, chanting her riddle (in hexameter verse), as the public reciters chanted epic poems. T h e word is used with irony: the baneful lay of the Sphinx was not such as the servant of Apollo chants. Cp. 130. 393 T6 7' atvivii is nominative: the riddle did not belong to (was not for) the first comer, that he should solve it.

O.C.

751 ovydfitov

6. 22 TToW-q yap ovaa

I e/wrapos, ciAXd TOVTTUOVTOS apTTarrai,

[17 crrparia]

Thuc.

ov micros Itrrai TroAcws «7roSe'£ao"#ai.

6 hnav, a n y o n e who c o m e s u p ; c p . P l a t . Rep. 372 D C09 vvv 6 TV\U>V KOX oiSev Trpocn]Ku)v tp^erat

iir' OVTO.

3 9 4 Swiireiv, ' t o declare,'

implies t h e drawing of clear distinctions),

' to s o l v e ' :

(where Sia

c p . 854.

395

fjv oiir dir otwvwv ?x w v °^T> & ^S("V TOV •yvwTov («X<0V) wpovi))ovtis J a n d t h o u

TYPANN02

87

but in his art is blind ! Come, now, tell me, where hast thou proved thyself a seer ? Why, when the Watcher was here who wove dark song, didst thou say nothing that could free this folk ? Yet the riddle, at least, was not for the first comer to read; there was need of a seer's skill; and none such thou wert found to have, either by help of birds, or as known from any god : no, I came, I, Oedipus the ignorant, and made her mute, when I had seized the answer by my wit, untaught of birds. And it is I whom thou art trying to oust, thinking to stand close to Creon's throne. Methinks thou and the plotter of these things will rue your zeal to purge the land. Nay, didst thou not seem to be an old man, wert not publicly seen to have this art either from (dir) birds, or as known through the agency of (IK) any god. irpov+ovus, when brought to a public test. For dir-6 cp. 43 : U with 8«Sv TO«, of the primary or remoter agent (Xen. Hetten. 3. 1. 6 a /3ao-iAetfpri (43) or other sign, YVWTOV: cp. on 384. 396 he was a mere stranger who chanced to arrive then. 6 prfilv elSus = 6 l)(u>v OUTCOS wcnrep ei /xijStv j]8r], who is as if he knew nothing. So 6 ^Sei/ (sc. iLv Ai. 1231) is ' one who exists no more than if he were not' (Ant. 1325 ToV OVK ovra [laXXov rj fur/Seva).

400

ir&.as, adv., SO Aesch.

Theb.

669 •n-apao-raTetv TrcXas. 401 KXatav : cp. 368, 1152: Ant. 754 KACUW <£pevo)(ms. 6 oTivOels, Creon, as whose agent (387) Teir. is regarded: so in Thuc. 8. 68 o Trjv yviajx-qv eliriav is contrasted with d TO 7rpay//.a £vv6eis. 402 aYnXaretv = TO ayos iXavveiv (see On 98), in this case (100), to expel the /uaorcop. Her. 5. 72 KX€O/i£Mjs...ay>jXaT«£t ki ima-Tia (households) 'A&jvatW. The MSS. of Soph, have dyr]\a.Tciv (L. has no breathing), and so Hesych.; so also the grammarians in Bekker's Anecdota Vol. 1. p. 328. 32, p. 337. i r : Eustathius, however (1704—5), and Suid. s. v., quoting Soph., give the aspirate. Curtius distinguishes (1) ay-os, guilt, object of awe, whence ivayys: Skt. ag-as, vexation, offence: Etym. § 116: (2) root ay, <X£-O-/«H reverence, ay-10-s, holy, ay-vo'-s p u r e : S k t . y ^ (jag-A-mi) reverence, consecrate: Etym.\ 118. In Aesch. Cho. 155 and Soph. Ant. 775 he would with Herm. write ayos as = ' consecrated offering.' In both places, however, ayospiaculum will stand: and for ayos in the good sense there is no other evidence. But this, at least, seems clear: the compound synonym for TO ayos eXaweiv (Thuc. 1. 126) should be written dy-qkantv. '86K«S is the scornful

88

IOOKAEOYI elvcu, iraOatv eyv(o<; av old irep <j>pov€L<;.

X O . rjiuv opyfj

fikv

eiKatpvcri

KOI TO. TOUS' errq

XeXex^ai KCLI TO.
SoKeZ

405

oet o ov TOiovToiv, aAA omus r a TOU feou IxavreV a.pi
ei Kal Tvpaweis,

i^tcrcoTeov TO yovv

icr' avTiXe'^at' rouSe yd/3 Kayco Kpa.T(o. ov yap rt cro! ^w 8oi)\os, dWd Aofia' w a r ' 01) Kpeoi'TOS TrpooraTOV Xeyco h", eiretSi) Kat TV<^>\6V

410

yeypdifjofjuai. p?

cru Kat SeSop/ca? KOU ySXeirets iv' et ouo

evc/a vaieis,

ovo

OTWI' OIKCIS

4O5 Oi5£7rou codd. Usitatior vocativi forma OJSiTrous est, quam Dindorfius, Elmsleium et Reisigium secutus, solam esse veram statuit. Dandum est aliquid tamen librorum consensui, qui etiam in 0. C. 557, 1346 OlSlirov praebent; neque quemquam infitias iturum reor quin hie saltern locus vocativum sigmate carentem auribus magnopere commendet. Post T&
phrase of an angry man ; I know little concerning thee, but from thine aspect I should judge thee to be old : cp. 562 where Oed. asks, TOT' ow o' /navTis OVTOS r/v iv Ty Tex}^; Not (1) ' seemed,' as opposed to really being; nor (2) ' wert felt by me ' to be old : a sense which I do not see how the word could yield. 403 iraOiJv, by bodily pain, and not merely fiaOuv, by reproof: cp. 641. old ir«p <j>pov6oveh>.

405 KOI TO.
407

emphatically resumes oirws \4
: SO Track. 4 5 8 TO firj irvOto-Oai, TOSTO fji dXyvveiev av. 408 A KOI For el Kal see on 305. IJicrwrfov K.T.X. = 8«i i£urovv TO yow tcra

avTtXefat, one must equalize the right at least of like reply; i.e. you must make me so far your equal as to grant me the right of replying at the same length. The phrase is a pleonastic fusion of (1) tliowe'ov TO avTiXefcu with (2) crvyxuiprjTeov TO laa avTiAe£ai. 410 Aoijiq.: see note to 853. 411 <2or' oi Kplovros K.T.X. ' Y o u charge me with being the tool of Creon's treason. I have a right to plead my own cause when I am thus accused. I am not like a resident alien, who can plead before a civic tribunal only by the mouth of that patron under

TYPANNOI

89

thou should'st have learned to thy cost how bold thou art. CH. T O our thinking, both this man's words and thine, Oedipus, have been said in anger. Not for such words is our need; but to seek how best we shall discharge the mandates of the god. T E . King though thou art, the right of speech, at least, must be deemed the same for both; of that I too am lord. Not to thee do I live servant, but to Loxias; and so I shall not stand enrolled under Creon for my patron. And I tell thee—since thou hast taunted me even with blindness—that thou hast sight, yet seest not in what misery thou art, nor where thou dwellest, nor with whom. SedopKihs KOV B: <si, Ktd SeSopKiis, ov post Reiskium Brunck. Cui coniecturae quod obiecit Hermann., KOL Sedopntis non quamvis videns sed etiam videns significare, id quidem facile potest redargui; quis enim nescit quam saepe /ecu simplex compositi Katwep officio fungatur ? Immo SiSopnas KOV idcirco melius est quam Sedopxus ov, quod multo fortius : vide annot. whom he has been registered.' Every JUCTOIKOS at Athens was required iinypdfao-Oat •RpoXOV |i* <Jv«£8io-as. As wv«C8«ras could not stand for an-eKaActras, 'called me reproachfully,' TV((>XOV must stand for ok TVCJ>\OV ovra. For the ellipse of ovTa, cp. El. 899 cos 8' iv ya\t]vr) Tvdvr iSepKOfxrjv TOTTOV. for that of
IK£T£VO), irpoa-ihrjr avofx.ov.

4 1 3 orv Kal S^SopKas.

'Thou both hast sight and dost not see,' i.e. thou hast sight, and at the same time dost not see. The conject. of Reiske and Brunck, (ri, Kal SeSop/cuis {though having sight), ov /JAeVeis, spoils the direct contrast with TV^AOV. 414 ?v6a vaCas might mean, ' in what a situation thou art': but, as distinguished from the preceding and following

go

I04>0KAE0YI dp

oTcr^' d<j> S>v el;

K
rots croLCTLv avTov vipde

wv

KaC or' dix.LiT\rj£ ju/^rpos re KCLI TOU crov iXa. TTOT' €K yrj? rfjoSe pkiirovra,

4*5

nairl yfj<; avca,

SewoVous

trarpos

dpd,

vvv \xkv opff, erreiTa Se CTKOTOV.

(BOTJS Se T ^ S cnjs TTOIOS OVK lo-rat \Lfirjv,

T^-i9at,pu)v OV^L cruyLK^wvos

420

ra^a,

KaTaCcrdr] T W VjaeVatov, 6V So//.ot5 avopiiov

eicreVXeucra?, evTrXoias TV)(COV ;

dX\o)v Se irX-rjOos OVK iiratcrddvei K(XKU>V,

a cr' eficrojcra croi re /cat rots crois TZKVOLS.

425

4 2 5 Locus varie tentatus nulla eget medicina: quod infra paucis explicare conatus sum.

clauses, is best taken literally: 'where thou dwellest'—viz. in thy murdered father's house. 415 dp' oTo-Bo, K.T.X. Thy parents are unknown to thee. Yea, and (KO.1) thou knowest not how thou hast sinned against them,—the dead and the living. 417 d(j.<|>iirXiig: as in Track. 930 dfurjiLTrXrjyi, (JHurydvip = a sword which smites with both edges, so here diu{>ur\rj£ dpd is properly a curse which smites on both sides,—on the mother's and on the father's part. The pursuing 'Apd must be conceived as bearing a whip with double lash (SwrXr/ /jidani, Ai. 242). Cp. s, carrying two torches {Track. 214). The genitives wp&%, might be causal, with a/i^t7rXif^, 'smiting twice—-for mother and for sire,' but are better taken with dpd, which here = 'Eptvus: cp. Aesch. Theb.

70 'Apd

T,

"Epivis iron-pos 17 peyacrdevTJs.

418 8«IV(5TTOVS, with

dread, untiring chase: so the Fury, who chases guilt 'as a hound tracks a wounded fawn' (Aesch. Eum. 246), is xaAico7rovs (El. 491), Tavvirovs (Ai. 837), KdnfiTTovs ('fleet,' Aesch. Theb. 791). 419 p\6rovTa K.T.X., i.e. TOTE UKOXOVfikiTrovra,el Kal vvv 6p6d /3Ae7r£is. T h e Greek love of direct antithesis often co-ordinates clauses where we must subordinate one to the other: cp. below, 673 : Isocr. or. 6 § 54 TTWS OVK alcrxpov,...rrjv ftxv TUvpwirrjV KCU Trjv'AcrCa.v ft,e(TTrjv Trerroi,r]Kevai,TpO'iraCu>v,...virep 8c ffjsiraTpiSos ...fjii]Be jiiav pdyriv a.ivecr6ai ^e/iax^/ievous; pXfrreiv
Of thy cry what haven shall there not be (i.e. to what place shall it not be borne),—what part of Cithaeron shall not be resonant with it (o-v/t<£u>vos ?<mu sc. avrfj), re-echo it? If we took
OlAinOYZ TYPANNOI

91

Dost thou know of what stock thou art ? And thou hast been an unwitting foe to thine own kin, in the shades, and on the earth above; and the double lash of thy mother's and thy father's curse shall one day drive thee from this land in dreadful haste, with darkness then on the eyes that now see true. And what place shall not be harbour to thy shriek, what of all Cithaeron shall not ring with it soon, when thou hast caught the meaning of the marriage-song wherewith thou wert borne to thy fatal haven in yonder house, after a voyage so fair ? And a throng of other ills thou guessest not, which shall make thee level with thy true self and with thine own brood. «TT
(imitated by Eur. Or. 1077): the augural seat of Teiresias is o'uavmi XifjLijv Ant. 1000: the place of the dead is "AtSov ib. 1284: cp. below, 1208. 421 irotos KiScupuv, vigorous for TTOLOV fuepo's K.iOaipwvo'i. 422 6'rav KaToCo-Bn K.T.X. : Sv, cognate ace. to as if -fi^vaiov had been TTXOVV. 86(iois, local dat. (381): is added predicatively, though it (thy course) led thee to no true haven: ewXoCas TUX^V, because Oed. seemed to have found oA/Jos, and also because the gale of fortune had borne him swiftly on: cp. ovb' opiov ov6' la-Topmv, 1484. TOV ti|Wvaiov, sung while the bride and bridegroom were escorted to their home, / / . 18. 492 vvfia<s 8' e/c OaXdfiav 8ai8
ava a a r u , •jroXvs 8' V/J.£VCUOS opdpei, as

distinguished from the iTridaXdpiov afterwards sung before the bridal chamber: Ant. 813 ovO' vjX€vai
92

SOOKAEOYZ Tavra KOLI Kpeovra

KOL TOV/XOV

i^e* crov yap OVK ecmv KCIKLOV o a r i s e/cTpt/3^creTat TTOTC OI. rj ravTa STJT' dveicra Trpos TOWTOV ; ets oXeOpov ; ou^l Qa&crov; ou rrdXiv oiKOiv TWVS'

1 b . ovo LKOfJLT]v eycoy OI.

ov yap

TE. T^eis

rt

/laipoi,

av, et o"u /A1^

cr' 178^ [itapa

TOIOIS'

([(fnjfAev,

yoveva-L

430

dvoo-Tpacfreis

(JHIIVTJCTOVT', CTTEI

6JS

/^ev crot So/ceT,

435

8', 01 cr' e(f>vcrav, efipove<;.

OI. Trotoicrt; jxelvov.

m 8e /A' e/cc/)vet o

434 c7x
oixras KOLKOL.

Dem. In Mid. § 7 2 n & s di]0eR...TOv TrpoTrr]\o.K.L£}e(r6a.i, as

= ' unused to gross contumely' (generally, but with immediate ref. to a blow).

428 lin-pip^o-erai, rooted out. Eur. Hipp. 683 Zev% ere yev-

vrjrwp i/JLOs I Trp6ppi£ov inrptyttev.

430 OVK els o'XeOpov K.T.X.

Ar.

Plut.

394 OVK h KopaKas; Trach. 1183 ov 6dcr<7ov oio-£is; Cratinus No/^oi fr. 6 (Meineke p. 27) OU'K aTrepprfow; 66pov (Tiyuxr o.vau^(fj(TU raSe; irdXiv o>|/oppos like EL 53 aipoppov •q^ofj.ev iraXiv: the gen.

OJKWV TWV8' with dirooTpa<)>€ls.

432 iK6[i.r\v—iKaXeis: c p . 1 2 5 , 4 0 2 .

434 o-xoXjj
OIKOVS: (?. C 6 4 3 So/tons (TTec)(jeiv

OIAITTOYI TYPANNOI

93

Therefore heap thy scorns on Creon and on my message: for no one among men shall ever be crushed more miserably than thou. OE. Are these taunts to be indeed borne from him ?— Hence, ruin take thee ! Hence, this instant! Back !—away ! —avaunt thee from these doors ! TE. I had never come, not I, hadst thou not called me. OE. I knew not that thou wert about to speak folly, or it had been long ere I had sent for thee to my house. TE. Such am I,—as thou thinkest, a fool; but for the parents who begat thee, sane. OE. What parents ? Stay...and who of men is my sire ? firmatur, quod addita particula ye vocis o-xoXfl vim non modo non auget sed etiom extenuat. e;uovs.

4
Distinguish

o-reAA.€-

ardai, to summon to oneself, from o-TeAAeiv said (i) of the messenger, below 860 Trtfixj/ov riva a-TeXovvra: (2) of him who sends word by a messenger, Phil. 60 ol a-' iv A.mus o-Tet/Wres ef O'KOV ixoXtiv. having urged thee with prayers to come: Ant. 164 vfjM,';...irofi,Tro1<Ti.v... \ loretA' lKe£8' refers back to the taunt implied in juuSpa vrjpov€s: cp. Phil. 1271 TOIOUTOS rjo-Oa (referring to what precedes—thou wert such as thou now art) -rots Aoyoieri ^o're fiov \ ra TO£' e/cAen-Tcs, TTKTTOS, drijpos \d6pa. In fr. 700 (quoted by Nauck), KO.1 TOV #eoi' TOIOSTOV €^£7n'oraju.at, | co^ois [i.ev aivtRriypa,... | crxatoTs Se (fravXov, we have not the preceding words, but doubtless TOIOVTOV referred to them, us \>h> o-ol SoKrt. (i> nor v&v adheres to the following rather than to the preceding word, it seems unnecessary to read with Porson cos irpXv o-c/>co or v&v cnonfp. Here we have <5s |x£v povovV«I. The pres. is not

94 TE. OI. TE. OI. TE. OI. TE. OI.

Z0*0KAE0Y2 178' iQjxepa vo~ei vs; 5 TOIGUJT' oveiSt^ o?s e/i' eupiycrets fieyav. aurTy ye \L{VTOI cr iq Tv^r) SicoXecrev. aXX' ei TTOXIV TTJVS' i^ecrocr', ou /AOI ju,e'Xei. aireifii TOIVVV' /cat arv, irai, KOjiu£e /xe. Ko/xi^e'rcu S ^ ' " cJs TTapoJv arv y ipiroBaJv , crvdei's r av OVK dv dkyvvcus vXeov. airei/ju wv ovveic rjAuov, ov TO (TOP Seicra? TrpoacoTrov' ov yap earff OITOV fi' oXels. Xeyw Be crot" TOV avSpa TOVTOV, OV TraXat eis aireiXoiv KavaKrjpvcrcrojv (f>6vov

440

445

450

445 ai 7' A et plerique. Et est 7' quidem in L, erasis duabus quae praecesserant littcris: in marg. autem scripsit manus recentior yp. ai 7c Ex uno cod. Vat. 40

historic (for iijefoo-e), but denotes a permanent character: 'is my sire.' Eur. Ion 1560 rjSe TIKT« cr, is thy mother: so perh. Herad. 208 Trariyp 8' IK. rrja-Be yevvarai
(f>evyeiv = vyds ctvat passim. ShilletO thus takes oi iirayofievoi Thuc. 2. 2, 01 TrpoStSovTEs ib. 5, ot Sia^aXXovrcs 3. 4 ; which however I should rather take simply as imperfect participles, =ot iirrfyovro, wpoiSt'Sotrar,

BUfiaWov. He well compares Verg. Aen. 9. 266 quern dat Sidonia Dido (is the giver): in Persius 4. 2 sorbitio tollit quem dira cicutae I find rather a harsh historic pres. 440 oiiicovv K.T.X. Well (ovv—if I do speak riddles), art not thou most skilled to read them ? 441 roiaW 6veC8i# (|ioi), make those things my reproach, in which [ots, dat. of circumstance] thou wilt find me great: i. e. mock my skill in reading riddles if thou wilt; but thou wilt find (on looking deeper) that it has brought me true honour. 442 OCTIJ ye \UVTOI. It was just (yt) that fortune, however (IM'VTOI), that ruined thee. \« emphasises the preceding word: SO 778 OTTOVST/S y€ fxivTOL'. 1292 piofji.rji ye [AIVTOI.; Phil. 93 Tre[/.
(since I have been sent): 1052 vwav ye jneVrot: Ant. 233 re'Xos ye TVXT] implies some abatement of the king's boast, yvw/j.T] s, 398. 443 «|eV«(r', 1st pers., not 3rd. 445 KO|ui;eT(i> Stjfl". Srjra in assent, as Aesch. Supfil. 206 Zevs Se yevrqrwp 1801. AAN. iSoiro hrjra.

OlAinOYZ TYPANNOI

95

T E . This day shall show thy birth and shall bring thy ruin. OE. What riddles, what dark words thou ever dost speak! TE. Nay, art not thou most skilled to unravel dark speech ? OE. Make that my reproach in which thou shalt find me great. TE. Yet 'twas just that fortune that undid thee. OE. Nay, if I delivered this town, I care not. TE. Then I will go : so do thou, boy, take me hence. OE. Aye, let him take thee: while here, thou art a hindrance, thou, a trouble: when thou hast vanished, thou wilt not vex me more. TE. I will go when I have done mine errand, fearless of thy frown: for thou canst never destroy me. And I tell thee— the man of whom thou hast this long while been in quest, uttering threats, and proclaiming a search into the murder of ai n' recepit Campb. Sed lectio cti 7 ' ut libroram fide ita sua vi commendatur, quippe quae optime conveniat indignantis fastidio. rd 7' £/j.iroBtii> B.

*(j.iroSuv with irapdv,—present where thy presence irks : cp. 1 2 8 : p a d d e d to
TAV avSpa TOI!TOV...O5TO'S ecrnv K.T.X.

T h e antecedent, attracted

into the case of the relative, is often thus prefixed to the relative clause, to mark with greater emphasis the subject of a coming statement: Track. 283 TOO-Se 8' a<Tirep tlxrop<j.s | ...^(opovcri: / / . 10. 416 (^vXaxas 8' as cipeai, rjptas, I owns KtKpifiAvq pverai orparov: Horn. hym. Cer. 6 6 Kovpr/v rrjv ITCKOV... I TTJS dSivqv OTT' OIKOVO"O : Ar. Plut. 200 rrjv Svvafn.iv rjv vjAtL<s <j>a.Tt I ? x e " ' /**> faunjs $fo-ir6rr]s y€vrjv <JK5VOV, p r o -

claiming (a search into) the murder: cp. Xen. Mem. 2. 10. 2 o-ioorpa TOVTOV dvaKrjpvTTiov: A n d o c . De Myst.

§ 4 0 ^ n p - a s TC 17S17

96

SOOKAEOYI TOP Aaieuov, OUTOS CCTTLV iv0a.Se, Revo's \6ya> /u,eroiKOs, €LTCL 8'

iyyevrjs

(fxxvrjcreTat, ©rj/Saio'S, ovS' rja6rjcr€Tat Trj i-V[i<$>opq.' TV(f>\6<s yap al •JTTCU^OS avrl trkovcriov wpoSeiKVVs yalav Se iraial

%£vt)V eiri

455

i/xTropevaeTaL.

TOIS avrov

auTos Kal irarijp,

4K SeSo/)KOTos

£wa>v

Kct£ i^s ei^u

vios f a l TTOCTL1;, Kal TOV varp6<s 6fi6a-Trop6<s r e Kal (f>ovevs. Kal ravr etcrw Xoyi^ou'

la>v

460

Kai* Xdfiys ixfjevcrfJievov,

dpoveu>. XO.


T I S OVTIV

a ^ecTTTieVeta AeX^l? etTre

rrerpa

4 6 1 Xii^BS tyevapiivov L et edd. plerique. Xc£/3j7S ^' i\pev A, E, V, al., qubs secuti sunt Brunck. et Hermann. Placet Blaydesio quoque Ad/3gs /x' in hoc versu, in 462 TOT' 77817 legere. Dum vero in 462 (V ijfiij habeamus, in 461 pronomine facile caremus. 4 6 3 el7re factum est in L post deletum verbum quod

KCKrjpvyfieva tKarov fivaq. 451 r&v Aatciov: Cp. 267. 452 £«'vos |I4TOIKOS, a foreign sojourner: ^cVoy, because Oed. was reputed a Corinthian. I n poetry /JCTOIKOS is simply one who comes to divell with others: it has not the full technical sense which belonged to it at Athens, a resident alien: hence the addition of £eros was necessary. Cp. O. C. 934 /*€TOIKOS rrjotie y-ijs: Ant. 868 7rpos ovs (to the dead) aS' eyai jLteroiKos ip^o/uu. tfoa Si opp. to vvv p.ev, implied in 4v8d8e. lYVeviis> 'native,' as yewrjTos is opp. to TTOUJTOS (adoptivus). 454 Tfj J«ii<()opij: the (seemingly happy) event: cp. El. 1230 KCITU
BaKpvov.

4K 8t8opj«>Tos: X e n . Cyr. 3. 1.

17 ei atfipovoi o-cJ^jotor yeyevrjTtu. 455 Jevrjv Siri, sc. yrjv : O. C. 184 ^eivo? hr\ iivrji : Ph. 135 iv £iva £ivov. 456 ^atav with irpoSaKvis only: pointing to, i.e. feeling, \j/rj\aujv, the ground before him : so of a boxer, \(.p
OIAITTOYI TYPANNOI

97

Lalus—that man is here,—in seeming, an alien sojourner, but anon he shall be found a native Theban, and shall not be glad of his fortune. A blind man, he who now hath sight, a beggar, who now is rich, he shall make his way to a strange land, feeling the ground before him with his staff. And he shall be found at once brother and father of the children with whom he consorts; son and husband of the woman who bore him; heir to his father's bed, shedder of his father's blood. So go thou in and think on that; and if thou find that I have been at fault, say thenceforth that I have no wit in prophecy. CHORUS.

Who is he of whom the divine voice from the Delphian rock hath ist strophe. non dubito quin t?5e fuisset, praesertim cum in Flor. Abb. 152 (T) elSe a pr. m. scriptum recentior in e?7re correxerit. Noverat scholiasta etSe illud, quod tamen huic loco ita est alienum ut vix aliunde quam ex incuria librariorum gigni potuerit.

we should write eiri), and supplying rrjv 6S6v with n-poSei/tvus. 457 Juvwv: the idea of daily converse under the same roof heightens the horror. Cp. Andoc. DeMyst. § 49 ots...exp<3 KOX ols o-vvfjo-da, your friends and associates. 458 a8e\<j>os OVTOS. If d8eX<|>os stood alone, then 6s Kal iraTTjp we should read aii-os: at once sire and brother of his own children. Cp. Phil. 119
here act., = T?;v avrrjv cnrtipuiv. but passive above, 260. Ace. to the general rule, verbal derivatives with a short penult, are paroxytone when active in meaning (see on /3owd//.ois, v. 26). But those compounded with a preposition (or with a privativum) are excepted : hence 8ia/3o\os, not 8ia/3d\os. So ofi6dcrKeiv Mviajvas ras TTOXVopav: Phil. 1411 aa-Ktiv S' aijSiyv -rrjv 'HpaxXeous | ...KXVCLV.

J: in respect to seer-craft: for the dat. cp. Eur. I. A. 338 T<5 8OK€IV fxlv ov^t XPV&VJ

T<

? ^ (BovXeaOai QeXmv.

463—511 First crraVi^ov. Teiresias has just denounced Oedipus. Why, we might ask, do not the Chorus at once express their horror? The answer is that this choral ode is the first since v. 215, and that j . s. 7

98

IO0OKAEOYI 2 appy)T apprpciiv TekecravTa (JHUVCCUCTL y^pcriv ; 3 a>pa, viv deWaoW 4 LTTTTCOV crOevapdrepov 5 vya TroSa voi^iav. 6 CVOTTXOS yap iir avrbv kmvQpwcTKu 7 irvpl /cat crTepoirats o Atos yeveras, 8 oeivcu o aja ZTTOVTOLI 9

465

47°

4 6 6 ae\\oTr65(i)i> codd.: aeXXdSuv Hesych. 4 7 2 Veram 1. oi/airXd/ctjTOJ habet L, superscripto tamen /it falsam correctionem indicante. Praeter Laur. 31. 10 et

therefore, in accordance with the conception of the Chorus as personified reflection, it must furnish a lyric comment on all that has been most stirring in the interval. Hence it has two leading themes: (1) 'Who can be the murderer?': 1st strophe and antistrophe, referring to vv. 216—315. (2) ' I will not believe that it is Oedipus': 2nd strophe and antistrophe, referring to vv. 316—462. \st strophe (463—472). Who is the murderer at whom the Delphic oracle hints ? He should fly : Apollo and the Fates are upon him. 1st antistrophe (473—482). The word has gone forth to search for him. Doubtless he is hiding in waste places, but he cannot flee his doom. znd strophe (483—497). Teifesias troubles me with his charge against Oedipus : but I know nothing that confirms it. 2nd antistrophe (498—511). Only gods are infallible; a mortal, though a seer, may be wrong. Oedipus has given proof of worth. Without proof, I will not believe him guilty. 463 6«nri&reia, giving divine oracles (hrfj), fem. as if from SetriricTr^s (not found): cp. api-iorna, iJSuAreia. Since 6e-(nr-i-s already involves the stem cr«r (Curt. E. § 632), the termination, from fen- (id. 620), is pleonastic. A«\<j>ls ir£rpa. The town and temple of Delphi stood in a recess like an amphitheatre, on a high platform of rock which slopes out from the south face of the cliff: Strabo 9. 418 01 Ae\<£oi, ireTpdSSes \
OIAITTOYZ TYPANNOI

99

spoken, as having wrought with red hands horrors that no tongue can tell ? It is time that he ply in flight a foot stronger than the feet of storm-swift steeds : for the son of Zeus is springing on him, all armed with fiery lightnings, and with him come the dread, unerring Fates. Palat. 40, etiam T m>aw\6.Kf[Toi praebet: quo in cod. ascripsit schol. aeawX&K-qToi xpv ypdupew (metri causa)...evprirai yip KO.1 b> nvi rav Tahcu.0T6.T0iv /3i/3Ma>>\

A et plerique.

8' vVo8e'8po/x.£ firjarcra. (the valley of t h e Pleistus).

465 app^i-' apprp-wv:

Blaydes c p . O. C. 1237 TTpo-n-avTa | KaKa Kaxw, Phil. 65 ea\a.T etrxaTiov, Aesch. Pers. 681 w TTKrra TTUTTISV ijfXt/ce's T 77/817? e/Arjs, Uepcrai yepovres. C p . also 1301 /J.ei£ova T(oj> ^.OKtcrTaJV. (But .£7. 8 4 9 8eiXaia SeiAaiW

[xvpeis], cited by Blaydes, and by Jelf § 139, is not in point.) 466 dcXXdSuv: O. C. 1081 aeXXata Ta^jptocrros ireXeias: fr. 621 deWdSes <pa>vaL Not ' daughters of the storm,' as if alluding to- the mares impregnated by Boreas, II. 20. 221. Eor the form cp. Ovo-raSa? Amis Ant. 1019. 467 tirircDv, instead of "wirtav 7roSos : Her. 2. 134 rrupafuSa Se Kal OUTOS direXiTreTO 7roXXov eXocrca) T.OU 7raTpos : Xen. Cjr. 3. 3. 41 ^olpav ?x£T£ '"'Scv yjrrov evTi/Mov TWV TrpwTocrraTiov. 470
erring ox failing in pursuit: cp. Track. 120 aAXa n s fl«<3*' | atcv ava/iTrXoKi/Tov *Ai8a a-^e So/^cov epvK«, some god suffers not Heracles to fail, but keeps him from death. Metre requires here the form without (i. d/jLirXaKetv is prob. a cognate of irXa^w (from stem n-Xay for B-Xax, .Curtius Etym. § 367), strengthened with an inserted /*; cp.

7—2

ioo

I04>0KAE0YI

dvr. a. ikafjujje yap TOV vu^oevros a/mcos (jiavelcra 2 <£aju,a TLapvacrov TOV aSrjXov avSpa irdvT l)(yevei,v. 475 3 (jjoLTa yap VTT dypCav & vXav dvd T avrpa. KOLI 6 jiieXeos ju.eA.ew TTOSI 7 TO. ju,ecro/A^>a\a y a s ajrovoa-fy'djuv

480

4 7 8 irirpaa da ravpou (sic) L, quod fecit antiqua manus ex ireTpaiotr 0 ravpoa. irirpas dis TaCpos A et ceterorum pars maior. V autem et cod. Ambros. G. 56 (M) irerpaios (is ravpos exhibent: quod, prima Laurentiani manu adiuvante, eo ducere videtur ut credamus vocem irerpaios aliqua saltern vetustatis auctoritate niti. Nimirum

<x/3poTos, d/i/3poTos. 473 ?Xa|i>|/6: see on 186. TOV VW()6£VTOS: the message flashed forth like a beacon from that snow-crowned range which the Thebans see to the west. I have elsewhere noted some features of the view from the Dryoscephalae pass over Mount Cithaeron :—' At a turn of the road the whole plain of Boeotia bursts upon the sight, stretched out far below us. There to the north-west soars up Helicon, and beyond it, Parnassus; and, though this is the middle of May, their higher cliffs are still crowned with dazzling snow. Just opposite, nearly due north, is Thebes, on a low eminence with a range of hills behind it, and the waters of Lake Copais to the north-west, gleaming in the afternoon sun.' (Modern Greece, p. 75.) 475 Join T4V dSr|\ov avSpa, and take irovra as neut. plur., 'by all means.' The adverbial iravra is very freq. in Soph., esp. with adj., as Ai. 911 o iravra KOS, 6 -navr but also occurs with verb, as Trach. 338 TOVTWV e^co yap iraVr' b lya>. Here, the emphasis on irdin-a would partly warrant us in taking it as ace. sing, masc, subject to iyytvuv. But, though the masc. nominative wag sometimes = mxs TIS, it may be doubted whether Soph, would have thus used the ambiguous iravTa. alone for the ace. sing. masc. Ellendt compares 226, but there iravra is ace. plur. neut. 478 ir£rpas lo-oravpos is Prof. E. L. Lushington's brilliant emendation of TreTpaTos 0 ravpo?, the reading of the first hand in L. It is at once closer to the letters, and more poetical, than ircrpas arc raSpos (Dorvilte), •n-irpa'; "era ravpois (M. Schmidt), or irerpas cos ravpos, which last is a prosaic correction found in some MSS. I suppose the corruption to have arisen thus. A transcriber who had before him HETPA2I2OTAYPO2 took the first O for the art., and then amended IIETPA212 into the familiar word

OlAinOYI TYPANNOI

101

Yea, newly given from snowy Parnassus, the message hath Ist anti" strophe, flashed forth to make all search for the unknown man. Into the wild wood's covert, among caves and rocks he is roaming, fierce as a bull, wretched and forlorn on his joyless path, still seeking to put from him the doom spoken at Earth's central lectio quam V et M praestant id agebat ut traditum irerpaios cum correctione ws conciliaret. irerpolos 6 ravpos legunt Hermann., G. Wolff., Schneidewin.: Trerpas ws roOpos Campbell. Coniecit irtrpas are ravpos Dorville: receperunt Wunder., Hartung., Dindorf., Nauck., Blaydes. irirpas ttra raipois coni. M. Schmidt.: irirpas labravpos elegantissime E. L. Lushington.: vide annot.

IIETPAIOS. With a cursive MS. this would have been still easier, since in TT£Tp<wwroTa.vpopos can well mean ' wild' or ' fierce of heart' as a bull. And we know that in the lost Kpiovva Soph, used la-o6dva.To6vTu>v (schol.). The image also suggests the fierce despair of the wretched outlaw: Aesch. Cho. 275 diro^pij/xaToto-t fi^iais Tavpov/ju-vov, 'stung to fury by the wrongs that keep me from my heritage': Eur. Med. 92 o/i/ia Tavpovjxiv-qv. Ar. Ran. 804 l/JXei/^e yovv ravp 1780v eyKv^as Kara : Plat. Phaed. 117 B ravprjSov VTroft\eij/a.s rrpoi rov avOpwirov. On the reading Trcrpacos o ratJpos see Appendix, Note 11. 479 x^P^"", solitary, as one who is- dpijTparepmv irpoo"8e^£Tat; 480 rd |i«(ro'(i<|)aXa 70S iiavreia = rot diro fieaov d/<.<^aXo{! yas : El. 1386 Sa)/*aT(ov viroareyoi = TO fTeyjj 8co/i,aT
Am/comfxets KTVTTOV? yipoiv. The o/i<^aXos in the Delphian temple (Aesch. Eum. 40), a large white stone in the form of a half globe, was held to mark the spot at which the eagles from east and west had m e t : hence

102

200KAE0YI 8 fiavreua'

rd S' del

a-rp. /3'. Seivd fiev ovv, Sewd Tapdcrcrei cro<£os oloivo6era<;, 4 8 3 2 ovre SOKOVVT' OVT diro^do-Kovd'' o TL Xefcu 8' diropa). 485 3 7reT0ju,at o eAirtcriv OVT evuao opuiv OUT OTTMTO). 4 Tt yd/3 77 AaySSaKtSais 17 [ouYe TavuV TTW 5 TW IIoXuySoT; vei/co? €KeiT ovTe wdpoidev TTOT eycoy' 6 e/xadov, irpos OTOV SI) < fiacravlt,(tiv > fi 4 9 3 Excidit aut ionicus a minore post (imBov vel post 5i): aut choriambus post fiaaavq. pa conieci: vide annot. Tpbs OTOV. Inveni in Bodl. Laud. 54

Pindar calls Delphi itself /j.£yav o/u.<£aAoV eipvKoX-n-ov | ...Revo's {JVem. 7. 33): Liv. 38. 48 Delphos, umbilicum orbis terrarum. dirovocr<|>ft;v, trying to put away (from himself): the midd. (cp. 691) would be more usual, but poetry admits the active: 894 t^u^as a/iwetv: Eur. Or. 294 avaKa\v7TTf...Kapa: Pind. Pyth. 4. 106 KOfLifcotv = KO[ii£6fievos (seeking to r e c o v e r ) : 0. C 6 <j>epovra = <j>ep6fji.evov. I n Phil. TWOS = to rob one of a thing: but here we cannot

9 7 9 a.Trovo(r[£tiv Tivd

render 'frustrating.' 482 Juvra, 'living,' i.e. operative, effectual; see on 45 £okras. iMpiiroTdrai: the doom pronounced by Apollo hovers around the murderer as the oTo-rpos around some tormented animal: he cannot shake off its pursuit. The haunting thoughts of guilt are objectively imaged as terrible words ever sounding in the wanderer's ears. 483 f. The Chorus have described the unknown murderer as they imagine him—a fugitive in remote places. They now touch on the charge laid against Oedipus,— but only to say that it lacks all evidence. Seivd (Uv oiv. ovv marks the turning to a new topic, with something of concessive force : ' it is true that the murderer is said to be here': i^v is answered by & after X^u: 8«iva is adverbial: for (1) TopdacrKovTa being explained as 'negative' in the sense of 'admitting of negation,' a7rd<^ao-tv «at a.Tri
OIAITTOYS TYPANNOZ

103

shrine : but that doom ever lives, ever flits around him. Dreadly, in sooth, dreadly doth the wise augur move me, who 2nd approve not, nor am able to deny. How to speak, I know not; I am fluttered with forebodings; neither in the present have I clear vision, nor of the future. Never in past days, nor in these, have I heard how the house of Labdacus or the son of Polybus had, either against other, any grief that I could bring as proof lectionem a nemine quod sciam prius memoratam, Trap' orov, adiecta interpr. Trap' ov, •!}yow TOU vtlxovs.

Cp. Ant. 1102 KOX TtxvT araivets (cat Soxeis irapeiKa&Ti'; ' a n d you recommend this course, and approve of yielding?' The pregnant force of SoKoivra is here brought out by the direct contrast with dirocJHio-KovTa. I n gauging the rarer uses of particular words by an artist in language so subtle and so bold as Soph, we must never neglect the context. 485 X^«, deliberative aor. subj. 486 iviaSe, the actual situation, implies the known facts of the past; dirfcrw refers to the seer's hint of the future, v. 453 (/Sai^'own K.T.X. Od. 11. 482 atlo 8', 'AxiAAev, I OVTIS dvrjp irpoirdpoiOe

(ia.Ka.pra.TOs, OVT dp' 6TTI (nor will

be hereafter). 487 f. *j AapSaicCSais rf r

avepa. As the mutilated verse stands in the

104

I00KAE0YZ 7 im rav imSafiop

(JMXTLV el/x OiSiTroSa Aa/SSa/ciSai? 495

8 i.TTiKOVpov davdruv.

r-o

aVr. /3'. aXX' 6 fjuev ovv Zeus o T ' 'ATTOXXCUV ^ w e r o l Kai ra

2eiSores' dvhp&v S' o n jxdvri<s TT\4OV T} 'yoj (peptrcu, 500 3 Kauris ov/c eo-Ttv dhqdrjs' cro<£ia. S' av cro^Cav 4 TTapafjueCxjieiev dv-qp.

[ a v Kara(j>aiy)v.

5 dXX' 0U7T0T1 eyaiy' av, Trptv ISoLfi opOov CTTOS, fJ£/j.(f)O(j.evc!)v 6 <j)cwepa yap

err' a u r w Trrepoecrcr' ^ X ^ e Kopa

7 iroTe, Kal o~o(f>6<s b)(f>dr) /3ao-dva> 6' a8u7roXts" rai a V e^ 5O9 (j>avep& yap £w' avrQ. Hermannus, cum versui 493 ifiaOov itpbs OTOV Si) /3a
MSS., it cannot, I think, be translated without some violence to Greek idiom: the most tolerable version would be this :—' setting out from which (irpos OTOV neut., referring to VEIKOS), I can with good warrant (j3aardvw) assail the public fame of Oed.' Then p<xra.va> would be an instrumental dative equivalent to (id.cra.vov l^v: and irpos OTOU would be like 1236 irpoi TWOS TVOT a m a s ; Ant. 51 7rpos avroairv tf|u, a phrase from war: it is unnecessary to suppose tmesis : Her. 1. 157 o-rparov «r' Iwvrov iovra: Eur. I. A. 349 TV-VTO. /lev o~e TrpiiJT irr^XOov, Iva ae TrpioO' rjvpov KCLKOV, censured, t h e e : Andr. 6 8 8 TOJVT tv povu>v u iTnjX.6ov, OVK dpy^s \dpiv. 497 T h e

gen. 8avaT»v after lirtKovpos is not objective, 'against' (as Xen. Mem. 4. 3. 7 Trvp...hriKovpov...\\r!i-xpwi), but causal, ' o n account of'j being softened by the approximation of inUovpos to the sense of TI/XCO/DOS : E u r . El. 135 €A.#ois TW§e •KOVWV ipoi Ta //.eXea \vrqp, | ...irarpC 6' al/xdrav \ l\6io-Tv eTrt/coupos (= ' a v e n g e r ' ) . T h e allusive plur. 6avd,T
aiju.aTo)i/ there,

a n d OWTTOIW Oavdrouri.

Aesch.

Ch. 5 2 : c p .

above, 366 rots <£IAT<XTOIS. 498 It is true (o«v, cp. 483) that gods indeed (|i*v) have perfect knowledge. But there is no way of deciding in a strict sense (dXT]8rfs) that any mortal who essays to read the future attains to more than 1 do—i. e. to more than conjecture: though I admit that one man may excel another in the art of interpreting omens according to the general rules of augural lore

OlAinOYI TYPANNOI

105

in assailing the public fame of Oedipus, and seeking to avenge the line of Labdacus for the undiscovered murder. Nay, Zeus indeed and Apollo are keen of thought, and ™J antiknow the things of earth; but that mortal seer wins knowledge above mine, of this there can be no sure test; though man may surpass man in lore. Yet, until I see the word made good, never will I assent when men blame Oedipus. Before all eyes, the winged maiden came against him of old, and he was seen to be wise; he bore the test, in welcome service to our State; never, therefore, by the verdict of my verbis aveph yb.p versus finitur, proximus a verbis iir' airy incipit) deleverat librarius duos versus inter $avtp&, ykp et iir' airnp: quod tamen ad nullum textus vitium spectat. Erraverant scribentis oculi, quod ipse simul ac senserat, illatos aliunde versus expulit. 61O ijSiiTroXis codd., Hermann., Nauck., Blaydes.: dStfiroXis Dindorf., Campbell.

({<j: cp. o-o<£os ouovotfe'ras 484). The disquieted speaker clings to the negative argument: 'Teiresias is more likely to be right than a common man : still, it is not certain that he is right.' 500 irX6>v <j>epcrai, achieves a better result,—deserves to be ranked above me : Her. 1. 31 SOKCIOV irdyxy SevTepeia ySv oUrtcrBai, 'thinking that he was sure of the

second place at least.' Xddy I TpoxdXounv

504 irapa|utt|/Eicv: Eur. / . A. 145 /uj T « o-e

o^ois Trapafneuj/afiiivrj J ...atrrprq.

506 -irplv CSoip'.

After

an optative of wish or hypothesis in the principal clause, irpiv regularly takes o p t a t . : Phil.

961 0X010 firjirw Trp\v jx.d6oi^)! el KOI irocXiv | yvwfirjv

jucrourcts. So after 07705, OOTIS, Iva, etc.: Aesch. Eum. 297 e\6oi... | oVoos yh/oiTo : Eur. Helen. 435 TIS av...[w\oi | OOTIS Siayyet'Xcie. opBov: the

notion is not 'upright/ established, but 'straight,'—justified by proof, as by the application of a rule: cp. Ar. Av. 1004 op#c3 /xeTprjarui Kavovi -irpoariOeis : SO below, 8 5 3 , Ant. I I 7 8 TOVVOS W9 oip' opdov rjvvtra';. 507 KaTa<j>afr]v: Arist. Metaphys. 3. 6 dSvvarov a/xa Ka.Tadvai nal aTro<jidvai d\r]6
508 irTep(5€o-o-a...Kopo: the Sphinx having the face of a maiden, and the winged body of a lion: Eur. Phoen. 1042 a 7ircpoiWa irap6ivo<;. See Appendix, Note 12. 510 pao-dvw with dSviroXis only, which, as a dat. of manner, it qualifies with nearly adverbial force: commending himself to the city under a practical test,—i.e. epyw KCU OV Xoyw. Pind. Pyth. 10. 67 TreipuWi 8£ Kai xpwos iv fia&dva) irpeira KOL voos op66$:

106

IOOKAEOYZ 8 pevos

OVITOT

6cf)Xijaei, KaKiav.

K P . dvSyaes TTOXITCU, heiv

$H

ITT^ •nenvcr\x.kvQ<$

xarriyopeZv p.ov TOV rvpavvov OlSCvovv irapei/JL drXyjTcov. el yap iv r a i s fujU.<£o/3cu? TCUS vvv vo\i.llfi.i irpos y

ifxov

515

Trenovdivai

XoyoLcrLV etr' epyoicriv ei? fiXdfirjv epov, OVTOI /8tov /AOL TOV fxaKpaicavos TTOOOS, (f>epovTi TujvSe ySafiv. ov yap eis airkovv 5 1 6 ir/>6(T T' ^/aoO L, post factam in littera T' rasuram; neque dubium videtur quin T' ex /"' ortum sit, ut in v. 294 $el/j.ar6
' a n upright mind, like gold, is shown by the touchstone, when one assays it': as base metal Tpifiu re KCU irpoo-ySoXcus | /x.£Xa^i7ray^s ireXci I SiKaiwOus Aesch. Ag. 391. dSviroXis, in the sense of dvSdvwv TTJ irdAei (cp. Pind. Nem. 8. 38 ao-rois dScov): boldly formed on the analogy of compounds in which the adj. represents a verb governing the accus., as CJ>I\6TTO\IS = <j>i\wv rqv iro\iv, opOoiroXi's (epithet of a good dynasty) = op6 o n the part of: Track. 4 7 1 KW7T ifJiov Krqo-ei

X^PLV-

512—862 £7T£tcrd8iov Sevrepov, with KG/I/IOS (649—697). Oedipus upbraids Creon with having suborned Teiresias. The quarrel is allayed by Iocasta. As she and Oedipus converse, he is led to fear that he may unwittingly have slain Laius. It is resolved to send for the surviving eye-witness of the deed. Oedipus had directly charged Creon with plotting to usurp the throne (385). Creon's defence serves to bring out the character of Oedipus by a new contrast. Creon is a man of somewhat rigid nature, and essentially matter-of-fact. In his reasonable indignation, he bases his argument on a calculation of interest (583),—insisting on the substance in contrast with the show of power, as in the Antigone

OIAITTOYZ TYPANNOI

107

heart shall he be adjudged guilty of crime. CREON.

Fellow-citizens, having learned that Oedipus the king lays dire charges against me, I am here, indignant. If, in the present troubles, he thinks that he has suffered from me, by word or deed, aught that tends to harm, in truth I crave not my full term of years, when I must bear such blame as this. The wrong of this rumour touches me not in one L

ipse tamen f super ye scriptum habet. Equidem credo lectionem n inde provenisse, quod cum y' in T' corruptum fuerat, rudes elisionis legum librarii ipsum illud T', quasi pro n positum, ad .

his vindication of the written law ignores the unwritten. His blunt anger at a positive wrong is softened by no power of imagining the mental condition in which it was done. H e cannot allow for the tumult which the seer's terrible charge excited in the mind of Oedipus, any more than for the conflict of duties in the mind of Antigone. 515 dTXi)T»v. The verb arXijTeo), found only here, implies an active sense of drXip-os, impatiens: as jue/Mrrds, pass, in O. C. 1036, is active in Track. 446. So from the act. sense of the verbal adj. we find dXacrriw, dvaurOrjriw, dvaia-^yvriw, dveXTicrrita, dirpaKriw.

516 irpds y 4|toB, from

me, whatever others may have done. The weak correction irpos rt pov was prompted by the absence of u with
atjiov €^pov: 519 <^>epovn: 520 <j>epu: such repetitions are not rare in the best Greek and Latin writers. Cp. 1276, 1278 (opov), Lucr. 2. 54—59 tenebris—tenebris— tenebris—tenebras. 518 pCoti TOO naxp.: Ai. 473 TOU /xa/cpou xpy&w /3«w : O. C. 1214 at fiakpal \ ajxipai, where the art. refers to the normal span of human life. For pfos (uucpaUv cp. Track. 791 foxnrdpevvov Xinrpov. 519 els dirXow. The charge does not hurt him in a single aspect only, —1. e. merely in his relation to his family and friends (ISia). It touches him also in relation to the State (Koivfj), since treachery to his kinsman would be treason to his king. Hence it 'tends to the largest result' fe \Uyurrov), bearing on the sum of his relations as man and

io8

SO^OKAEOYZ rj tfliLia, /XOL rod Xoyov <xXX' es fieyucrrov,

TOVTOV

el KOLKOS pkv

epei,, iv

520

iroXei,

/ca/cos Se Trpos crov teal iXa>v KeKXrjcroiiai.

XO. aXX' r)Xde /xev Si) opyfj

TOVTO

roweiSos r a ^ ' av

(Hiaardkv [JLOLXXOV rj yvafirj <j>pevcov.

KP. TOV 7T/)o? 8' icfxivOr) r a i ? e/xais yvcofJLaLS o n

525

ireicr^eis o jaavri? TOU? Xoyous ifievSeis Xeyot; X O . rjvSaTO [xev TaS', oTSa S' ou yvcS/A-fl rivi. K P . e£ o\x,[i,a.TOiv S' 6p6u>v r e /ca TOUTTUCXIJ/AO, TOUTO 5 2 5 Vulgo legebatur vel Trpds TOUS' (et hoc quidem, non irpos TOV 5', habet inter aliqs A), vel irpos TOV S\ quod praetulit Brunckius. Multi autem codd. veram lectionem TOV Trpos 5' servant; quorum sunt L et B, pravo tamen accentu TOV irpdo6" exhibentes. Cum TOVTTOS habeant T et L2, Nauckius TOCTTOS legit, omisso post X^yoi

citizen. The thought is, r) t^jxia ov^ a.Tr\ij 1 CXov | TO.-^ av T I fjt,7]vCov(Tiv €is yevos

irdXai: 'for such would perhaps have been (i.e. probably was) the pleasure of the gods, wrath against the race from of old': where av belongs to v\v, and could not go with i*,r)viov av = on tfiuLaOrf a v o r f$i.a.alvtTai o n e/xijVLOV

av or fi.-qvtoiev av. raxa, as = ' perhaps,' is commonest with optat. and av, but occurs also with simple indie, as Phil. 305 rax' ovv TIS aK
OlAinOYI TYPANNOI

109

point alone, but has the largest scope, if I am to be called a traitor in the city, a traitor too by thee and by my friends. CH. Nay, but this taunt would have come under stress, perchance, of anger, rather than from the purpose of the heart. CR. And by whom was it set forth that my counsels won the seer to utter his falsehoods ? CH. Such things were said—I know not with what meaning. CR. And was this charge laid against me with steady eyes and steady mind ? interrogationis signo. S 2 8 Suidam i% ip.ixi.rav 5' dpOuv re recte legentem confirmare tres tantum videntur codd., V, A, Trin. Lectionum quae in codicibus praevalebant duae sunt familiae: (i)
ditional r/XBev av to a positive rj\6e. Cp. the use of the optat. with Sy in mild assertion of probable fact: enyow 8' av OVTOL Kp^Tts, Her. 1. 2. It is hardly needful to add that rj\6t cannot be taken with fiuurOh/ as a mere periphrasis for tfimaOvi {II. 18. 180 v 6eo>v: E u r . Or. 9 4 /JouAei rdfyov fwi irpoi Kadv8i], ' w a s

set forth' (for the first time). Who originated the story which Oedipus repeated? Cp. below, 848: Antig. 620 o-o^i'a yap ?K TOD | K\CLV6V ZTTOS Tre(j>avTai: Track.

I

Xoyos JXAV ICTT

ap^aios

avOpw-Kwv ^avci's.

527 T)V8OTO: these things were said (by Oedipus); but I do not know how much the words meant; i.e. whether he spoke at random, or from information which had convinced his judgment. 528 The reading 4f;d|j.|i,dTwv8' dpBoovre gives a fuller emphasis than lij o(j.|iaTO)v opBwv Sk: when 8" had been omitted, re was naturally changed to 8*. The place of re (as to which both verse and prose allowed some latitude) is warranted, since ojx.jx.a.Twv-6p6mv opposed to dp^s-^pei'o's forms a single notion. eg='with': El. 455 e£ v-n-epripas XCP°S) Track. 875 cf aKivqTOV TTOSOS. O(I|MITpeVes Siaorpo^ot | yvoj/tT/s dirrj£av s: Eur. H. F. 931 (when the frenzy comes on Heracles), o' 8' ovKtff rjv, I aXX' iv

al6api*.evos, K.T.X.

In

Hor.

no X0. 01.

I00KAE0Y2 OVK otS'# a y a p Bpcicr' ol KpaTovvres ov^ opw. auros 8' 08' 17877 Sca/JLaTcov e£a> irepa. as OVTOS av, ffws Bevp' tfXOes; 77 rocroVS' e x T0X.ju.77s trpocrcoirov cucrre Tas exacts crreyas t/cou, (j)oi>€v; fj.oL TOVT' ifiovXtvcra) 77 Tovpyov <us ou yvcapLoifii crov roSe 8oXw vpoa-epnov 77 ou/c dXe^oCfjiyjv p,a9a>v; ap oxr^i papou icrTi. Tovy^eCprjfid. crov,

530

535

54°

6 3 7 ex ^ o i codd.; quod cur nolim recipere, rationes allatas infra videbis. Iv fioi. Reisig., Hermann., Dindorf. 63B yi/upLaoi/u codd., Schneidewin., Campbell.:

Carm. 1. 3. 18 Bentley gave rectis oculis for siccis. 530 O«K 0I8*. Creon has asked: 'Did any trace of madness show itself in the bearing or in the speech of Oedipus?' The Chorus reply: 'Our part is only to hear, not to criticise.' These nobles of Thebes (1223) have no eyes for indiscretion in their sovereign master. 532 Join OSTOS 'irov, like Toi/xov pevwv-ovtipov {El. 1390), v£tKos-av8/3cov £VVOLI/J.OV {Ant. 793) 535 ri\%

4(ITJS closely follows rovSt rdvSpos, as in Ai. 865 fi.v6ija-ofi.ai immediately

follows Aias Opoti. If a Greek speaker rhetorically refers to himself in the third person, he usu. reverts as soon as possible to the first. 537 iv juu. The MSS. have iv 4|iol. But when a tribrach holds the second place in a tragic senarius, we usually find that (a) the tribrach is a single word, as Phil. 1314 rjaOnfv I iraripa | TOV dfwv tiXoyovvrd ae : or (b) there is a

caesura between the first and the second foot, as Eur. Tro. 496 Tpvxtp\a nepl I Tpv)(r)pov elfievriv xpoa : Eur. Phoen. 511 k\BovT\a. avv oir\|ots TovSe Kal TropOovvra yrjv, if there we should not read iXOovr iv OTTXCHS. With iv i[u>\ (even though we regard the prep, as forming one word with its case) the rhythm would at least be exceptional, as well as extremely harsh. On such a point as 4|ioV versus |noi the authority of our MSS. is not weighty. And the enclitic \u», suffices : for in this verse the stress is on the verbal notion (I8«v),—Creon's supposed insight: the reference to Oedipus is drawn out in the next two verses by the verbs in the 1st

OIAITTOYI TYPANNOZ

in

CH. I know not; I see not what my masters do : but here comes our lord forth from the house. OEDIPUS.

Sirrah, how earnest thou here ? Hast thou a front so bold that thou hast come to my house, who art the proved assassin of its master,—the palpable robber of my crown ? Come, tell me, in the name of the gods, was it cowardice or folly that thou sawest in me, that thou didst plot to do this thing ? Didst thou think that I would not note this deed of thine creeping on me by stealth, or, aware, would not ward it off? Now is not thine attempt foolish,— Elmsleius, Nauck., edd. plerique: vide annot. fl39 rj O$K conicientes opem loco necessariam tulerunt A. Spengel. (teste Nauck.) et Blaydes., cum codd. omnes proclivi mutatione KOVK praebeant.

person, yvpioiju.i—a.\e£oL/jLr]v.

I8wv...iv: prose would say iviStov,

either

with or without iv (Thuc. I. 9 5 : oirep /cat iv TIS Uavo-avia iveiSov:

3. 30

O...TOIS iroXe/uois ivopwv): cp. Her. 1. 37 ovre nva SeiXiriv vapi8
or the like from I8»v: 'thinking that either I would not see...or would not ward it off': an example of what Greek rhetoric called o's (from the form of X), since the first clause corresponds with and the second with SeiXia. •yvcopiotim. 'Futures in -aru are not common in the good Attic period: but we have no trustworthy collections on this point': Curtius, Verb 11. 312, Eng. tr. 481. On the other hand, as he says, more than 20 futures in -ico can be quoted from Attic literature. And though some ancient grammarians call the form 'Attic,' it is not exclusively so: instances occur both in Homer (as //. 10. 331 dyXaWis. dX4jot|uiv. This future has the support of the best MSS. in Xeri. An. 7. 7. 3 OVK

H2

IOOKAEOYI avev re vXt^Oovs KOU fy'ikwv TvpavvtSa drjpav, o TrXrjOei ^prj^acriv

ff

aXCcr/cerai;

KP.

olcrO' <ws irolrjcrov;

OI.

XeyeLV crv Setvos, \x.a.vQ6.veiv 8' iyai KCIKOS

la

avrl TOJV elprjpdvcov

avTOLKOvcrov, Kara uplv

aov'

hvcrfxevr) yap

avros \LO.QWV.

Kal ftapvv a

KP. TOVT' at/To vvv fiov TrpSr' aKovaov OI.

545

evprjK i/xoC. OJS ipco.

TOVT' avTo jxyj /not pd£,', oV&is OVK el Ka/tos.

KP. et rot voyLitjeis KTrJix.<x TT\V avdahiav elvaC TI TOU vov x^P^y OI.

ei Tot vojmt^eis avSpa

°'"K opOa? poveis. crvyyevrj

550

Ka/cws

Spciiv ov% vpove2<;. 541

7r?k750ous codd. : 7r\oi5rou coniecit anonymus in translatione Germanica a.

o!s 7roXe^.tous aA.efo/*€^a: and of grammarians, Bekk. A need. p. 4 1 5 : the aorist aXe^cu, 6.\i£a., cp. de£a>, oSa^co) but from a stem <XXK with unconsciously developed e, making aXc/c (cp. d\-a\Kov): see Curtius, F " ^ , 11. 258, Eng. tr. 445. Homer has the fut. dXe^Vo), and Her. dX^a-ofj-ai. 541 TTXTJOOVS refers to the rank and file of the aspirant's following,—his popular partisans or the troops in his p a y ; $(\av, to his powerful connections,—the men whose wealth and influence support him. Thus (542) xp'iFW"' is substituted for <£i\wv. Soph, is thinking of the historical Greek rvpawos, who commonly began his career as a demagogue, or else 'arose out of the bosom of the oligarchies' (Grote i n . 25). 542 8, a thing which, marking the general category in which the rupavvk is to be placed : cp. Xen. Mem. 3. 9. 8 96vov 8c OTCOTIW o TL £117. So the neut. adj. is used, Eur. Hipp. 109 TepTrvov...\ TpcOTE^a irXifprjs: Eur. ffel. 1687 yvio/iijs, o iroXXais iv yvvai£lv OVK ivi. 543 oto-9' <5s iroCiio-ov; In more than twelve places of the tragic or comic poets we have this or a like form where a person is eagerly bespeaking attention to a command or request. Instead of ola-6' ok SeZ CTE TToifjtrai; or dlvO' ous ere KeXeva) iroojcrai; the anxious haste of the speaker substitutes an abrupt imperative : ola-ff ws iroi^arov ; That the imperative was here felt as equivalent to 'you are to do,' appears clearly from the substitutes which sometimes replace it. Thus we find (1) fut. indie; Eur. Cyel. 131 olcrO' OVV o Spao-ets; Med. 600 olaO' a5s f/.eTev£u KO.1 o-o<j>u)Tepa <j>avu;

OIAITTOYI TYPANNOZ

113

to seek, without followers or friends, a throne,—a prize which followers and wealth must win ? CR. Mark me now,—in answer to thy words, hear a fair reply, and then judge for thyself on knowledge. OE. Thou art apt in speech, but I have a poor wit for thy lessons, since I have found thee my malignant foe. CR. NOW first hear how I will explain this very thing— OE. Explain me not one thing—that thou art not false. CR. If thou deemest that stubbornness without sense is a good gift, thou art not wise. OE. If thou deemest that thou canst wrong a kinsman and escape the penalty, thou art not sane. 1803, recepit post Nauckium Dindorf. in Poet. Scenicorum ed. quinta (1869). Nollem factum. Sana est vulgata 1., quod infra paucis docere conatus sum.

where the conjectures Spdcrov (Canter) and iierev&u (Elmsley) are arbitrary: so with the 1st pers., / . T. 759 dXX' ola-8' o Spao-a; (2) a periphrasis: Eur. Suppl. 932 dXX' o W o Spai/ = tos <5ei Troietv avrqv, where Trouire is a conjecture. T h e theory of a transposition (iroirjo-ov, ota-6'
very matter (my supposed hostility to you): i.e. in what a light I will place it, by showing that I had no motive for it.

548 f. TOUT' a«Ti K.T.X.

Oedipus flings back Creon's phrases, as the Antigone. of Aeschylus bitterly echoes those of the Krjpv£ (ai8<3—av8<m—rpa^vs—Tpa^w', Theb. 1042 f.). An accent of rising passion is similarly given to the dialogue between Menelaus and Teucer (Ai. 1142 ^817 TTOT eTSov dv8p' iyw—1150 eyw Se y avSp' oirto7ra). Aristophanes parodies this style, Ach. 1097 AAMAX02. irai, irai, ep' cfu Sevpo TOV yvXiov ifwl. AIKAIOnOAIS. irai, irai, ep' e£u> Sevpo rrjv Kio-rrjv ifioL.

549 KTtj(i.a : c p . Ant. 1050 o<7<j> Kpd-

TUTTOV KTrj/jLaTiav tvfiovXLa. 550 TOO VOV XWP^S : for au^aSt'a is not necessarily

devoid of intelligence: as Heracles says (Eur. H. F. 1243) av(?aSes d j . s.

8

ii4 KP.

ZO*OKAEOYI ^vjXf^rjfjLL croi r a u r ' £V8LK

elpyjcrdcu.

ird67)[JL oTrotov
TO Se

SiSao-fce /xe.

eTret^es, 17 ou/c hreides,

cos xPe^V P ^™

TOV creixvo/xavTiv avhpa

rrefj-xpacrOai, TWO. ;

555

KP. Kal W J ' ed' auros efyu T&5 fiovXevfjLaTL. OI.

7rocroi> TIV' 17&? S?J0' d Aa'tos

KP. SeSpaKe nrolov ipyov',

\p6vov

ov ya-p ivvoco.

OI,

aj>avro
KP.

fioLKpol irakaioC

OI.

TOT' OW

KP.

cro(j)6<s y

OI.

ifunjcrar

d ixdvns OUTOS O/AOIOJ? / c a f icrov Tt/A<w)u,evos. ovv ijx,ov n TW TOT' ei> "ypovca ;

KP. OVKOVV ifjiov y OI.

560

T ' a i ' [JLeTprjdeicv ~)(povoi.

eo^TWTOs ovhafiov

aXX' OUK epevvav

TreXas.

565

TOV davomros Ic

K P . TrapecrxojLiev, 7rws 3 ' o O ^ i ;

KOVK

5S5 xp«' ^ L, ubi spiritum et accentum litterae ij addidit manus certe recentior; prima tamen xp^V vel xPe"? scripserit necne, propterea dubito quod intervallum est iusto maius inter litteras i et T\. XPe'' 'h -A- (superscripto XP1> v KTVTTOV; (?(/. 4. 6 8 2 rj i'nre/j.evo.1 8/j.wfjcru> 'OSvtrtr^os OtCoio.

Such 'synizesis' points to the rapidity and ease of ancient Greek pronunciation: see J. H. H. Schmidt, Rhythmik und Metrik § 3 (p.. 9 of Eng. tr. by Prof. J. W. White). 556 While such w'ords as dpwrTo/iavTis, 6p66ft.a.vTi<; a r e seriously u s e d i n a g o o d sense,
man In regard to my opinion' (dat. of respect): not, ' a m identical with my former opinion' (when the dat. would be like <J?ot/3o> in 285). Thuc. can dispense with a dative, 2. 61 KOU iy
OIAITTOYZ TYPANNOI

115

CR. Justly said, I grant thee: but tell me what is the wrong that thou sayest thou hast suffered from me. OE. Didst thou advise, or didst thou not, that I should send for that reverend seer ? CR. And now I am still of the same mind. OE. HOW long is it, then, since La'ius— CR. Since La'ius... ? I take not thy drift... OE. —was swept from men's sight by a deadly violence ? CR. The count of years would run far into the past. OE. Was this seer, then, of the craft in those days ? CR. Yea, skilled as now, and in equal honour. OE. Made he, then, any mention of me at that time ? CR. Never, certainly, when I was within hearing. OE. But held ye not a search touching the murder ? CR. Due search we held, of course—and learned nothing. significari suspicor), et sic codd. plerique. Bodl. Barocc. 66 xpefa\ superscripto a: r , xp"' V"601 Unus cod. A &vaneTpT)Beiev. Confer v. 1348, ubi eodem mendo (vera lectione &v yvwvai. in dvayvwuai corrupta) codd. omnes laborant.

the

word,

it

means

'prey'

(Ag.

1326

8ov\rj<s Oavovarji

XeipuijuaTos): Soph, uses it only here (though he has Ant. 126): Eur. never. 561 paKpol K.T.X. : long and ancient times would be measured; i.e. the reckoning of years from the present time would go far back into the past; |ioKpoi denoting the course, and iroAcuot the point to which it is retraced. Some sixteen years may be supposed to have elapsed since the death of Lai'us. 562 iv 1-5 Tfyyn: slightly contemptuous. Iv of a pursuit or calling: Her. 2. 82

TCOJ/ 'EAAT/VCOV 01 iv TroLtjaa •yevo/u.evoi:

Thuc.

3.

28

ol

iv

TOIS

TTpayfiaai: Isocr. or. 2. § 18 ol iv Tali oXtyap^tats KOX T
(meaning, the administrators thereof) : Plat. Phaed. 59 A i\o[a Ty/naiv ovrutv : Legg.

762 A TWV iv Tats -yewpytat?: Protag.

317 C

(Protagoras of himself as a o-o<^to-T7ys) 7roAAa -ye h-q rjSr/ el/A iv ry Tfyyi}. 565 ovSo|ioS with to-ruTos ir^Xas, ' when I was standing anywhere near';

but equivalent in force to, ' on any occasion when I was standing near': cp. Ai.

1281 ov ovBa/iov <£ijs ov§€ o-u/x/J^vou iroSt.

567 irop&rxojMV, we

held it, as in duty bound : irapi^eiv, as distinct from 2xeiv> expressing that it was something to be expected on their part. Cp. O. C. 1498 irapa
F o r irapi
u6 OI.

IO*OKAEOYZ 770)9 OVV Toff

0VT0S O O~O6<; OVK T^uSa TCtSe ?

KP. OVK OLO • e

TocroVSe y ' olcrda KOLI Xeyois av eu ^povwv.

57°

KP. Troiov TOO' ; et y a p oTSa y', OVK dpvrjo~ofj.ai. OI.

odovueK,

el ixrj crol £yvt)\de,

TOL<S e/xd?

OVK av TTOT CTTTE Aatou Sia<£#opas. KP. ei jnev Aeyet r a o , auros oicrc' • ey&> oe c o u fiaOelv SiKaiw r a u ^ ' airep Ka/iov o~v vvv. 01.

iKfidvdav'

ov yap

575

Brj ovevs

KP. TI orjT ; aoek<pr)v TT)V efirp 01.

apv7]0~i<; OVK iveo~Tiv
K P . ap^eis S' iKeCvrj ravTci y ^ s ICTOJ/ vefuov \ OI.

a v 17 6ekovo~a

KP.

OVKOVV

TTOLVT ifj

f^

icrovyxat o~cpv iyco Svoiv

57O T6
ara£«Ds...af«Ds:

575

fi.a$£.v...$']6

iKfiAvQav.

570 Too-ovSe 7".

If we

read TA
572 The

simple answer would have been :—' that you prompted him to make his present charge': but this becomes:—'that, if you had not prompted him, he would never have made it.' £i>vtjX6e: Ar. Eq. 1300 <j>aa\v aXXiy'Xats o-vvtX6flv i-as Tpiijpeis es Xoyov, 'the triremes laid their heads together': ib. 467 iSta 8' exei rots AoiceSai/Aovtois ^vyyiyveTat. TOLS 4|«ls: the conject. Toi6opd$ = OVK av et7rev on iyio Aaiov 8U9fipa, but with a certain bitter force added;—' we should never have heard a word of this slaying of Laius by me.' Soph, has purposely chosen

0IAII70YZ TYPANNOZ

117

OE. And how was it that this sage did not tell his story then ?

CR. I know not; where I lack light, 'tis my wont to be silent. OE. Thus much, at least, thou knowest, and could'st declare with light enough. CR. What is that ? If I know it, I will not deny. OE. That, if he had not conferred With thee, he would never have named my slaying of Laius. CR. If so he speaks, thou best knowest; but I claim to learn from thee as much as thou hast now from me. OE. Learn thy fill: I shall never be found guilty of the blood. CR. Say, then—thou hast married my sister? OE. The question allows not of denial. CR. And thou rulest the land as she doth, with like sway ? OE. She obtains from me all her desire. CR. And rank not I as a third peer of you twain ? accentum addidit. Inter editores quibus TO aov 64 y' placuit numerantur, quod mireris, Bmnck., Hermann., Dindorf., Nauck., Burton. Cum Porsono ad Eur. Med. 461 et Elmsleio roaovSe 7' probaverunt Erfurdt., Blaydes., Campbell. T6OOP Si 7' cum Reisigio Wunder. 6 7 2 rhs codd.: rdaS' Doederlein., Wunder., Hartung., Dindorf., Blaydes. 6 7 5 raO8' codd.: raSB' Brunckius, quem secuti sunt edd.

a turn of phrase which the audience can recognise as suiting the fact that Oed. had slain Laius. For 8icu|>6opas instead of a clause with Sia<£0«ip£"'> Cp. T h u c . 1. 13 7 ypijii/'as rrjv €K ]§a\ayiuyos wpoayycXo-iv rrjs ai/a^wpijVeajs Kal

•nyv T<3v ye<j>vpiav...ov SiaXwriv. 574 To write o-ov instead of iv ya/j,/?pos Aids iacri) might warrant the version, 'hast married, and hast to wife.' 579 yns with apx«is: (o-ov W|u>v explains TOVTO, —'with equal sway' (cp. 201 Kparrj ve/ioiv, and 237): y^s urov v€/xu>v would mean, 'assigning an equal share of land.' 580 •g 6&.ovo-a: cp. 126, 274, 747. 581 rpCTos: marking the completion of the lucky number, as O. C. 8, At. 1174, Aesch. Eum. 759 (Tpirov | 2
n8 OI.

IOOKAEOYZ ivTavda

yap Brj Kal Ka/cos <j>aCvet C\os.

KP. OVK, el 8tSoi/>js y

ws eya> cravrw


Xoyov.

et TLV av So/ceis

£vv <£oy8oicn, juaXXov 77

CVOOVT , et r a y

awf

585

e£ei Kparrj.

iya> fiev ovv OVT auros ipelpoiv ecf>vv Tvpavvo
a\Xos OCTTLS croffypovelv

Spav,

imcrTaTau

vvv jjiku yap e«r crov TTOLVT avev (f>6/3ov (ftepa), el S' avros rjp*)(ov, iroWa Srjr

KOLV O,KO)V eSpcov.

ixeLV

e/AOt TVpawl<; rjhiav

rjs akvirov

590

/cat BvvacrTtlas

£v ;

TOCTOVTOV ^Trarijju.evos Kvpca h)
595

^

ot cre0ev 5 0 7 Nisi quod in E mendose legitur ica\ov
(Sentent.

231) OdXaa-aa Kal Trvp Kal ywrj

rpcrov KCKOV.

582 evralSo •yap:

(yes indeed:) for (otherwise your treason would be less glaring :) it is just the fact of your virtual equality with us which places your ingratitude in the worst light. 583 8i8o£r]s X070V: Her. 3. 25 Xoyov CWVTCO SOVS oTi...€/A«AXe K.T.X. f on reflecting that,' etc.: [Dem.] or. 45 § 7 (the speech prob. belongs to the time of Dem.) Xoyov 8' £//.avn3 tvpla-Kd) K.T.X.

Distinguish t h e / / « r . in Plato's TTOIKIXIJ TTOIKIKOV;

SiSovs Xo'yovs, applying speeches (Phaedr. 277 c). 587 OVT' airds would have been naturally followed by OVT' dXXa> TrapaLvdi/jL av, but the form of the sentence changes to OUT' akX.01 (Iftupei). 590 ix o-oi: i< is here a correct substitute for irapa, since the king is the ultimate source of benefits: Xen. Hellen. 3. 1. 6 IKUVIO 8' avrr] rj x">Pa Swpov «c /JacrtXews e&odrj. $ipa = (^epo/tai, as O. C. 6 etc. 591 KCIVOKOV: he would do much of his own good pleasure, but much also (Kal) against it, under pressure of public duty. 594 ofrirw, ironical: see on 105. 595 TO 8« KO\<£ : honours which bring substantial advantage (real power and personal

OIAITTOYI TYPANNOZ

119

OE. Aye, 'tis just therein that thou art seen a false friend. CR. Not so, if thou would'st reason with thine own heart as I with mine, And first weigh this,—whether thou thinkest that any one would choose to rule amid terrors rather than in unruffled peace,—granting that he is to have the same powers. Now I, for one, have no yearning in my nature to be a king rather than to do kingly deeds, no, nor hath any man who knows how to keep a sober mind. For now I win all boons from thee without fear; but, were I ruler myself, I should be doing much e'en against mine own pleasure. How, then, could royalty be sweeter for me to have than painless rule and influence ? Not yet am I so misguided as to desire other honours than those which profit. Now, all wish me joy; now, every man has a greeting for me; now, those who have a suit to thee crave speech with me, indicaret. Quid autem sibi velit verbum iiacakoStn viderat quisquis in B annotavit /i£
altcdWovvi

coniecit

Musgravius (cui etiam ^iriKaXowi in mentem venerat), recepit Diiidorf.: sed vide annot.

comfort), as opp. to honours in which outward splendour is joined to heavier care. El. 61 So/cdS piv, ovSev prj^a uvv Kep8« KOKOV: i.e. the sound' matters not, if there is xepSos, solid good. 596 mien. \a(po>, 'all men wish me joy': lit. 'I rejoice with the consent of all men': all are content that I should rejoice. Cp. O. C. 1446 dva£iai yap irao-Cv tore v, all deem you undeserving of misfortune: Ar. Av. 445 irao-t TOIS KptTats I KOX TOIS Oearals TT5.<TI. The phrase has been suggested by x<"P£' f^h but refers to the meaning rather than to the form of the greeting: i. e. irdo-i \alpv> is not to be regarded as if it meant literally, ' I have the word x a 'P € s a 'd to m e by all.' This is one of the boldly subtle phrases in which the art of Soph, recalls that of Vergil. Others understand: (1) 'I rejoice in all,'—instead of suspecting some, as the rupawos does, who Bov&ti.. .loicri ipltrTouri.. .y(a.ipti Se roicri KaKurrouri T(3V dcrrwv

Her. 3. 80: (2) 'I rejoice in relation to all'—i.e. am on good terms with all: (3) 'I rejoice in the sight of all': i.e. enjoy a happiness which is the greater because men see it: (4) 'I rejoice in all things.' This last is impossible. Of the others, (1) is best, but not in accord with the supposed position of Oedipus o TrS.
120

ZO*OKAEOYI TO

yap TV)(elv avrdtcri

TTws o->jr

TTOLV

evravd' evi.

ey<w /ceii> a y Aapoi/A

ou/c aV yevoiro

acpeis T a o e ;

vovs Ka/cos /caXais (j>povcov.

600

dXX' OUT' ipacTTrjs TiJcrSe rjjs yik6fj/r)<; ecjivv ovr

av fxer

aXXov

KOX TWVS' ikeyxpv

vev6ov

Spcovro<s av rXaCrjv TTOT4. TOVTO fieu TlvdciS'

ia>v

Ta \pr)cr0evT', el cra^xws iJyyeiXa croi*

TOUT' aXX', eai* fie TW repaaKoiroy

Xdf3r)
KOIV?7 Tt ySouXeuo-avTa, yu.77 /A' an-Xy

605

Kjavrjs

xp7j
Xafieiv.

yvoifirj S' aS^Xw jiii; fie ^copts a m w . ou y a p hiKaiov OUTC TOUS /caKous \ia.Tt)v 598 Servatur in duobus codd., T et L2, vera 1. TTSC. Est in L auroicr [non avTotia] airav clare scriptum. Nullum post airav litterae T vestigium. Consentiunt cum L in airav codices Vaticani tres, Pal., et Trin.: pluralis airavT1 extat in A et

with them. Seneca's Creon says (Oed. 687) Solutus onere regio, regni boms Fruor, domusque civium coetu viget. In Greek tragedy the king or some great person is often thus called forth. Cp. Aesch. Cho. 663 : Orestes summons an OIK4TI)'S by knocking at the ipKcia iriX-q, and, describing himself as a messenger, says—i£e\6eTixd.Tuiv TeA.eo-<£d/oos | ymr) i-oVap^os,—when Clytaemnestra herself appears. So in Eur. Bacch. 170 Teiresias says—TI'S lv irvXauri KdSfnov ixKaXel BO/JLWV ; 'where is there a servant at the doors to call forth Cadmus from the house?'—ITO> TIS, €icrayyiXA.£ Tcipctrias ort | tryrii viv: then Cadmus comes forth. The active e/cKaXetv is properly said (as there) of him who takes in the message, the middle iKKaXelo-Oai of him who sends it in: Her. 8. 19 o-T-as iirl TO
idiawev, £\oXa/<£v*, 'fawned, wheedled, flattered': in tragedy only once, Eur. Alidr. 630 ^>I'XIJ/A' cSe^w, irpoSoriv aLKaXXwv Kvva. 598 To...rvxrtv sc. wv xpyCovo-Lv. The reading airovT, whether taken as accus. after TVX«IV ('to gain all things'), or as accus. of respect ('to succeed in all') not only mars the rhythm but enfeebles the sense. When cwroto-i was corrupted into auTots, wdv was changed into dirav, ag it is in L..

OlAinOYI TYPANNOI

121

since therein is all their hope of success. Then why should. I resign these things, and take thos*e ? No mind will become false, While it is wise. Nay, I am no lover of such policy, and, if another put it into deed, never could I bear to act with him. And, in proof of this, first, go to Pytho, and ask if I brought thee true word of the oracle; then next, if thou find that I have planned aught in concert with the soothsayer, take and slay me, by the sentence not of one mouth, but of twain—by mine own, no less than thine. But make me not guilty in a corner, on unproved surmise. It is not right to adjudge bad men good reliquis plerisque. Praetulerunt TT&VT' Bothius et Burges. 6O4 irevdov A, L (ex ireWov factum), cum codd. plerisque: iriffov T, irv8ov Nauck.

= £v T(3 tKKaXeiv (it, in gaining my ear: cp. O. C. 585 ivravda yap fioi K€Lva
Cp. Her. 5. 106 (Histiaeus to Dareius) /3a0ey£ao

eVos; Z/J.C ftovXevcrai Trprjy/JLa IK TOV
600 oiK OLV -y^voiTo K.T.X. Creon has been arguing that he has no motive for treason. H e now states a general maxim. ' N o mind would ever turn to treason, while it was sound.' As a logical inference, this holds good only of those who are in Creon's fortunate case. If, on the other hand, KOX»S povwv means 'alive to its own highest good,' and not merely to such self-interest as that of which Creon has spoken, then the statement has no strict connection with what precedes: it becomes a new argument of a different order, which might be illustrated from Plato's KaKos «K«JV ovSets. It would be forcing the words to render: ' A base mind could not approve itself wise,' i.e. 'such treason as you ascribe to me would be silly,' 603 8X«-yx.ov, accus. in apposition with the sentence: Eur. H. F. 57 V 8ucnrpa£ia | ^s /AIJITOO*, OCTTIS KOX //.erais ewous ifjLOL, I TVJ(OI, l\wv eA.ey^oi' ai^ei>S«rraTov.

605 i w r ' #X\O = TOVTO 8e.

Soph, has TOVTO fxiv irregularly followed by TOVT' avtfis {Ant. 165), by flra {Ph. 1345), by Si {Ai. 670, O. C. 440). T<£ TepaerKdira>. This title (given to Apollo, Aesch. Eum. 62) has sometimes a shade of scorn, as when it is applied by the mocking Pentheus to Teiresias (Eur. Bacch. 248), and by Clytaemnestra to Cassandra (Aesch. Ag. 1440). 608 \ap\i, 'apart': i.e. solely on the strength of your own guess (yvoj^r; dS?j\os), without any evidence that I falsified the oracle or plotted with

122

Z04>0KAE0YS XpycToix; vofxC^eiv ovre rows XP1?0"7"0"? KOLKOVS. irap' avT& (SIOTOV, ov irkeicrTov t.\ei. dXX' iv -)(p6vcp yvacrei r a S ' do"<£aXa!s, irrel X/oovos 8LK(UOV dvhpa Zeiicvvaw fj.6vo<s,

6IO

KCLKOV Se Kav iv ^pepa- yvo'vrjs fua.

615

XO. KaXals e\e£ev euXaySovyxev^) irecrslv, a v a ^ -
OI.

orav Ta^vs TIS ovirifiovkevav \d6pa X^Pjjy T&Xyv Set /cd/ie fiovkeveiv irakiv. ei 8' rjcrvxatfibv vpocrfJievo}, TO. TovSe fiev TreTrpayfiev' ecrTai, ra/Aa. 8' i

KP. TI S^ra ~xprjZ,e.i<;; 77 OI. TjKicrTa' 6vrj
/xe yij (f>vyeli> ere )8ouXoju,ai ecrn TO 6oveiv. mo-Tevcrcjv Xe'yets;

AT

*

*

*

*

*

620

625

*

KP. ou y a p povovi>T<£ cr' eu /SXeWco. OI. TO youi' e/i,oV. KP. aXX' e'f icrou Sei /cdpV. OI. dXX' e<^us Ka/co?. 623—626 Nemini qui hunc locum diligenter perpenderit dubium fore credo the seer.

612 TOV irap' airi? P£OTOV K.T.X. : the life is hospes comesgue

corporis, dearest guest and closest companion : cp. Plat. Gorg. 479 B ^17 vyi.il $vxfj crvvoLKilv: and the address of Archilochus to his own Ov/ios as his trusty ally (Bergk fr. 66),—®uju,c, Ovp dfirf^dvouri KT/S«O-IV KVKWjueve, I craSev, $viX.ei sc. Tts, supplied from airrcp: H e s . Op. 12 T)Jv fx,iv KEV eiraivrfo-«iE voi;o-as | rj 8' fTTLft.oifi.riT)]. 614 XP°V°S : cp. P i n d . fr. 132 a.v8pwv SiKaiiov j(p6vos apicTTO's: Olymp. 11. 53 ° T> i£*)>-£yxo>v fovos | aXa^etav inqrvino

615 KOKOV 8J: the sterling worth of the upright man is not fully appreciated until it has been long tried : but a knave is likely (by some slip) to afford an early glimpse of his real character. The Greek love of antithesis has prompted this addition, which is relevant to Creon's point only as implying, 'if I had been a traitor, you would probably have seen some symptom of it erenow.' Cp. Pind. Pyth. 2. 90 (speaking of the <j>0ovepo£): a-TdOixas Se TIVOS eAKOjitevoi | Trepicro-as €V

OIAITTOYZ TYPANNOI

123

at random, or good men bad. I count it a like thing for a man to cast off a true friend as to cast away the life in his own bosom, which most he loves. Nay, thou wilt learn these things with sureness in time, for time alone shows a just man; but thou could'st discern a knave even in one day. CH. Well hath he spoken, O king, for one who giveth heed not to fall: the quick in counsel are not sure. OE. When the stealthy plotter is moving on me in quick sort, I, too, must be quick with my counterplot. If I await him in repose, his ends will have been gained, and mine missed. CR. What would'st thou, then ? Cast me out of the land ? OE. Not so: I desire thy death—not thy banishment— that thou mayest show forth what manner of thing is envy. CR. Thou speakest as resolved not to yield or to believe ? [OE.

NO ; for thou persuadest me not that thou art worthy of belief.]

CR. NO, for I find thee not sane. OE. Sane, at least, in mine own interest. CR. Nay, thou should'st be so in mine also. OE. Nay, thou art false. quin post versum 625 unus desit versus : infra pluribus rem exposui. Versum 624 Creonti, v. 625 Oedipo tribuunt codd. In v. 624 pro ora? scripsi (is OP.

Ant.

oBvvapov l a Trpoade KapSi'a, | vplv oaa povriSi 4 9 3 <£tA.eI 8' d 6v/x6s Trpocrdtv rjprj&Oai KAOTTCVIS T&V [irj&tv dpflcus Iv

(TKorta rc)(vo)fi.€va)v. 617 The infin. foovtiv is like an accus. of respect {e.g. fJovXyv) construed with both adjectives : ' in counsel, the quick are not sure.' Cp. Thuc. 1. 70 orivo^o-ai dfcis. 618 rayis ™ xwp-%, advances in quick fashion; nearly = Taxews TTWS. Ai. 1266 tv, rov OavovTOS <us raxeta TIS PporoLs | x«P's Biappel, in what quick sort does it vanish. 622—626 T£ 8TJTO, XPT)S"S ;...TA -yoOv 4(idv. A discussion of this passage will be found in the Appendix, Note 13. My conclusions are:—(1) Verse 624, orav irpoSeiiy^ K.T.X., which the MSS. give to Creon, belongs to Oedipus; and for orav we must read <»s&v. (2) Verse 625, <us o&x virel£
124

ZO*OKAEOYZ

KP. ei Se gvvir)<; fiyjhiv; K P . OVTOL KCLKaJs y

OI. dpKTeov y

apxovTos.

OI. <3 TTOXIS 770X15.

KP. Ka.fi.oL 7roXe&)s /xereo"Ttv, ov)(l crol /xovco. XO. Travcraa-ff, a^a/cres* Kdipiav TT^S'

630

8' V[JUV o/><3

e/c So/Jbcov aTeu^ovaav

'loKacrTrjv, fjueff 77s

TO wi/ trapeaTOs vei/cos eu OeaOav I0KA2TH. TI TT}V dj3ov\ov,

(3 TaXauircopoL

y\wcrcrr]<; hrrjpaud';

ovB' iTraicrxyvtcrde,

ouT
yrj<;

635

KOLKO. ;

OVK et cru T 01/cous cru re, ILpiov, KOX fxjrj TO fJbrjSev aX^yos ei? pey'

Kara

crriyas,

otcrere;

KP. ojaaijae, Sewd jx OiStirous o o"os 7roo"ts Svoiv Sifcatot Spdv

diroKpivas

KCLKOZV,

640

6 2 9 In L apx°>TO
ws ip<5.

OI. TOVT" avro

fly) jj.01 <j>pa£. 628

dpicrfov —Sei ap\etv, one must rule : cp. Ant. 677 dfivvTe' earl T019 Koa-fiovjiievois. Isocr. or. 14 § 10 ov rmv aWtav avroi<s dpKTeov (they ought not t o rule over others) aAAot TTOXV //.SiWov 'Opxp/ievtois

<j>6pov oltTreov.

In

Plat. Tim. 48 B dpia-iov = Set apy^aBai, one must begin; in Ai. 853 dpKTtov TO irpaynn. = must be begun. Some understand—'one must be ruled^ and OVITOI KOKOJS y ap^ovros, 'No, not by one who rules ill': but

(a) though dpKria •jro'Xis might mean, 'the city is to be ruled,'an absolute passive use of apxriov is certainly not warranted by such an isolated example as oi KaTcnrXiyKTeov eoriV ('we must not be unnerved') in Dein. In Dem. § 108: (b) dpxo^ai TIVOS, ' I am ruled by o n e ' (instead of « or v-n-6), could only plead the analogy of aKovui TIWS, and lacks evidence. 629 oipxovros, when one rules. dpKTeov being abstract, 'it is right to rule,' there is no harshness in the gen. absol. with rtvds understood (cp. 612), which is equivalent to Idv TIS apxiT- CP- Dem. or. 6 § 20 XeyovTos av Tivos Trto-Tewai o*€o-0e; ' think you that, if any one had said it, they would have believed?' = oteo-9e, d T19 eXeyt, 7ri,o-T£{io-cu av (avTOvs); <3

OIAITTOYZ TYPANNOI

125

CR. But if thou understandest nought ? OE. Yet must I rule. CR. Not if thou rule ill. OE. Hear him, O Thebes ! CR. Thebes is for me also—not for thee alone. CH. Cease, princes; and in good time for you I see Iocasta coming yonder from the house, with whose help ye should compose your present feud. IOCASTA.

Misguided men, why have ye raised such foolish strife of tongues ? Are ye not ashamed, while the land is thus sick, to stir up troubles of your own ? Come, go thou into the house, —and thou, Creon, to thy home,—and forbear to make much of a petty grief. CR. Kinswoman, Oedipus thy lord claims to do dread things unto me, even one or other of two ills, — sed mutavit in iivfipar' corrector antiquus. 6 3 7 Kptuv L, A, et reliqui codd. fere omnes: quod tuentur Hermann., Nauck., Blaydes. Kptov E, probantibus Elmsleio, Dindorf., Campbell. 6 4 O Spaaai SiKaioi Svotv diroKplvas naxotv codd. Quibus causis adductus sim ut Svotv...Spav scriberem, infra leges. In T super Svoiv scripsit ovvllfio'is librarius quem non effugerat inaudita contractio.

iroXxs: here, an appeal: in Attic comedy, an exclamation like o tempora, o mores : Blaydes cp. Eupolis ap. Athen. 424 B U> -TTOXIS, cus CISTV^IJS el yu.aA.Xoi/ -rj KaXws poveis: and so Ar. Ach. 27. 630 Most of the MSS. have /HETEOTI rrjab" ovy(!,. Had they /XETECTTI S' ov (which appears only in a few inferior MSS.) we should hardly be warranted in ejecting rijo-b": but, having the choice, we may safely prefer |i
7roXecos ov fieVoxos elvai. 637 OIKOVS (the king's palace), ace. after el (cp. 533); KOTO, with o-T^as only, referring to the house of Creon, who is not supposed to be an inmate of the palace: see 515, 533. 638 TO HT)8JV aVyos, the grief which is as nothing (EL 1166 hi^ai...\rrjv fjLrj&ev h TO yiujScV): els |if/a <))4p«i.v, make into a great matter: cp. (Phil. 259) vocros | del TE^XE KOTTI p,e7£ov Ep^erai. 640 Svoiv... diroKpCvas KaKotv. This is the only extant example of 8w>tv scanned as

126

I00KAE0Y5:

17 yrj yvvai, /ca/cws et\7)a TOVJJLOV crcGju,a arvv Te^yrj Kcu
645

(3 7T/3OS QeStV TTLCTTevCrOV, OtSlTTOUS, TCtSe,

ju.aX.KTTa ju.ei' TOVO

opKOV alvecrdels

decov,

eneura /cdjue roucrSe ff ot irdpeicri croi. KOU.IXO S.

crrp. a'.

XO. l TTidov dektjera1; povT]cras T, dva£, XCcrcrofiaL. OI. 2 TI croi #e\eis S^r' eiKadoi;

649

one syllable, though in the tragic poets alone the word occurs more than 50 times. Synizesis of v is rare in extant Greek poetry : Pind. Pyth. 4. 225 yei/Cui/: Anthol. 11. 413 (epigram hy Ammianus, 1st century A. D.) UIKI/XOV, ySvofr/jLov, irqyavov, d
Eur. I. T. 970

145 6 oiorpois 'Hpivvatv,

where most editors write '~Epivvv, as ib. 299 'Epivvs (ace. plur.). Hes. Scut. 3 'HAe/cTpDcovos. It might be rash to say that Soph, could not have used Suotv as a monosyllable ; for he has used the ordinary synizesis in a peculiarly bold way, Ai. 1129 fi-q vvv dripa 6eovs ^eois o-co-co/ieVos: but at least it moves the strongest suspicion. diroKpCvas, on the other hand, seems genuine. dnoKplvuv is properly secernere, to set apart: e. g. yrjv (Plat. JRep. 303 D): or to select : id. Legg. 946 A TTXIJOCI TU>V ij/rjipuiv cwroKpiVavTa?,

having selected (the men) according to the number of votes for each. Here, ' having set apart (for me) one of two ills' is a phrase suitable to the arbitrary rigour of doom which left a choice only between death and exile. For 8uotv Elms, proposed TOIVS' or roivhi. y : Herm., roivS %v. I should rather believe that 8pdv was altered into Spacrai by a grammarian who looked to dir<3vy€iv: Ant. 204. ni]T£ KTepC£ti.v fitijTe KuiKvcrai. See also O. C. 71,2 TJKW ydp ov% <«s Spav TI /3ouA.ij0eis, where in prose we should have expected Spda-ai. The quantity of diroKpCvas is supported by Aesch. P. V. 24 d-KoKpv^a: diroTpowq and its cognates in Aesch. and Eur.: cTriKpvTTTeu' Eur. Suppl. 296: iirlicpdviov I. T. 51. Blaydes conj. Soiis Suotv
OIAITTOYI TYPANNOI

127

to thrust me from the land of my fathers, or to slay me amain. O E . Yea; for I have caught him working evil, by ill arts, against my person. CR. NOW may I see no good, but perish accursed, if I have done aught to thee of that wherewith thou chargest me ! Io. O, for the gods' love, believe it, Oedipus—first, for the awful sake of this oath unto the gods,—then for my sake and for theirs who stand before thee ! CH. OE.

Consent, reflect, hearken, O my king, I pray thee! Kommos. What grace, then, wouldest thou have me grant thee ?

KOLKOIV (where I should at least prefer KO.K6V) : but since, with either of these supposed readings, the construction would have been perfectly clear, it is hard to see how diroKp£vos—a far-sought word—could have crept in as an explanatory gloss. 642 8p<5vra Kaicus TOV|«5V a-apa would properly describe bodily outrage : here it is a heated way of saying that Creon's supposed plot touched the person of the king (who was to be dethroned), and not merely the vofioi TroXecos. 644 apaios = wo-Trcp airos lTro.pvtfi.ai. 647 SpKov fltSv (object, gen.), an oath by the gods (since o n e said Ofivvvai 6eov<s) : Od. 2. 377 6ewv fiiyav opKOV airiafivv : IO. 299 fi.aKa.ptav fieyav opKOV d/xoo-om: Eur. Hipp. 657 opKois Oewv. B u t in O. C. 1767 Aios "OpKos is personified. 649—697 The KO/H;U.OS (see

p. 9) has a composite strophic arrangement: (1) 1st strophe, 649—659, (2) 2nd strophe, 660—668; answering respectively to (3) 1st antistr., 678—688, (4) 2nd antistr., 689—697. 649 BeXiio-os, having consented {iridTivuv). 0. C. 757 Kpv>j/ov (hide thy woes), ^eAvjVas aarrv Kal Sofiovs fioXeiv. Isae. or. 8 § I I Taiira irovfjvai /AT; OeXrfaas. P l u t . Mor. 149 F povijcras, having c o m e t o a s o u n d m i n d . Isocr. Or. 8 § 141 KaXov &TTW iv rais T<3v a\.\a>v aSiKiats Kal juavwus irpuTovs €v ^ p o v i j V a i / T o s Trpocrrrjvai T»JS TCOV 'TJXKIJVMV iXevOtpias.

651 fiKaSw: the aor. subj. is certainly most suitable here: Phil. 761 jSovXei Xaftuifiai; El. 80 Qk\c.is | fieivoifiev, In such phrases the pres. subj. (implying a continued or repeated act) is naturally much rarer: f3ovku iiria-Koir<SiJ.ev X e n . Mem.

3. 5. 1.

A s regards t h e form of t'tKaOw,

Curtius ( Verb 11. 345, Eng. tr. 505), discussing presents in -6w and past tenses in -6ov from vowel stems, warns us against 'looking for anything particularly aoristic in the 0' of these verbs. In Greek usage, he holds, 'a decidedly aoristic force' for such forms as
128

IO*OKAEOYS

XO.3TOV 01.

OVT€ TTfiiv vrfTiov vvv T iv opK(p

4 OT
XO. 5TOV ivayrj

jieyav

0 1 . <j>pd£e Si} T I <£T?S.

(f>t\ov /ATJTTOT' iv alria

6 crvv d<j>avel \6ya> 01.

X 0 . oI8a/

a

OLTL/XOV

7 ei vvv inicrTCJ, T a u ^ prav 8 QrjTcov okeOpov

656

fiakeuv.

t,rjry
rj
p.

XO. low TOV ndvTcov decav Oeov irpofjiov 2 AXiov

iirel d9eo<s a<^)tX.os o r t

3 okoCfJLOLV, (j>p6v7)O-LV el Tavh'

660

Trvfiarov k\(ti.

4 a \ X a jiiot hvo-fJLopq) ya 6Cvovcra 5 rpvyei

\jnr\av,

665

TO, 8' et Ka/cois Ka/ca

6 Trpocrdxjjei, TOIS i r a X a i r a i r p o s cr(f)
6 5 6 T&I> ^ayijt <[>l\ov ^TITTOT iv atriat [ consentiunt cum Laurentiano reliqui codd. fere omnes. /3aXeii' tamen, quod Suidas legit, inveni etiam in cod. T. 6 S 9 vyrjv L, ab antiqua manu factum ex tpvyelv, quod in aliis

established itself: and he justly cites El. 1014 as a place where is in no way aoristic. H e would therefore keep the traditional accent, and write o-xe'0eiv, UKO.6UV, with Buttrnann. Now, while believing with Curtius that these forms were prob. in origin presents, I also think that in the usage of the classical age they were often aorists: as e.g. axiOtiv in Aesch. Theb. J^ICJ distinctly is. 652 plyav, 'great,' i.e. strong, worthy of reverence, Iv 6'pK<j>, by means of, in virtue of, his oath; Eur. TfO. 669 ^we'ffti yevei irXovro) re KavSpcia /xiyav'. for Iv, cp. Phil. 185 iv T oSwais 6fji.ov I Xifiw T* oiKrpos. 656 'that thou shouldest never lay under an accusation (4v OIT£<J poXetv), so as to dishonour him (dniiov), with the help of an unproved story (o-iv davtf Xo'-ycj>), the friend who is liable to a curse (Ivayfj)': i.e. who has just said (644) apaios oXotju-av K.T.X.

Aeschin. In Ctes. § 1 1 0 yiypaTnai

TXS Ta8e, (^r]uL} Trapaj3aivoL,...€Va.yq^,

yap OUTCOS iv Trj dpa,' tl

i)o-LV, e<7Tco TOU'AiroXXtovos, ' l e t

him rest under the ban of Apollo': as Creon would rest under the ban of the gods by whom he had sworn. Her. 6. 56 IvTOdya Ivi\i<x6ai, to be liable to the curse. Iv atrCij paXetv: [Plat.] Epist. 7. 341 A cos

OIAITTOYI TYPANNOI

129

Cll. Respect him who aforetime was not foolish, and who now is strong in his oath. O E . NOW dost thou know what thou cravest ? CH. Yea. O E . Declare, then, what thou meanest. Cll. That thou shouldest never use an unproved rumour to cast a dishonouring charge on the friend who has bound himself with a curse. O E . Then'be very sure that, when thou seekest this, for me thou art seeking destruction, or exile from this land. Cll. NO, by him who stands in the front of all the heavenly 2nd host, no, by the Sun ! Unblest, unfriended, may I die by the stro P he uttermost doom, if I have that thought! But my unhappy soul is worn by the withering of the land, and again by the thought that our old sorrows should be crowned by sorrows springing from you twain. quibusdam codd. mansit. 66O Be&v Scbv. In L deiv paene evanuit, tanquam si librarius eluere voluisset: in A deletum est, relicto inter Sew et rpo/xov quattuor litterarum spatio. Et plerique quidem codd. 6ebv omittunt; minor est numerus eorum qui, lit V, OeHv reiciunt, debv servant. Integrae 1. Oeav Btbv pepercit cod. T. 6 6 6 nal rd5' codd. Recte delevit Hermannus Kal, quod versus antistrophicus 695 spurium esse docet. TCI S' Kennedius. 6 8 8 afyCi'w (i.e. a
iv aiTia TOV EUKVVVTO. d\\'

avrov avrdv, 'so that he may never

blame his teacher, but only himself,' equiv. to infiaXuv curia: cp. the prose phrases e/i/3aAAe<.v eis eru/ic^opas, ypa<£as, e\6pav, K.T.X. TCur. Tro. 305 eU e/x ain'av /^a'Ai).

660 OVTOV—OV /xd TOV, as not seldom; USU.

followed by a second negative (as if here we had OVK I^W rdv8e cppovrjaiv): 1088, Ant. 758, etc. irponov, standing foremost in the heavenly ranks, most conspicuous to the eyes of men : the god 'who sees all things and hears all things' (//. 3. 277 os TOU' £^>opas KO.1 iravr iiraKoveis): invoked Trach. 102 as <3 Kpa-nareiwv KOJ ofifxa. 663 8 TI mi|taTdv (tort), oXoC|xav: Schol. (f>0apeir]v owtp Ifr^arov, fjyovv aircoAeiav ^ris ia

666 f. rd 8— ' v -. and, on the other hand, if the ills arising from you two are to be added to the former ills. Prof. Kennedy gives rd 8', rightly, I think: for y& 8Cvou
9

130 OI.

I04>0KAE0YI o 8' ovv LTG), KOU ~xpri /^e Trcu'TeX.&>9 Qavciv, r\ yfjs

669

aTLfiov TTJCTS' d,TTaxT07)vai, /3ia.

TO yap ekewov

crov, OV TO TOVS',

670

eTroiKTeCpa) cno^a.

OUTOS o , evU av r/,

crTvyijcrerai.

KP. crTvyvos [j.ev tuKwv S-ijXos el, /3apus 8', oVai' Trepdcrys. at Se TOtauTai cf>vcrei<; ais Si/catws eicriv aXyicxTat epet,v. OI. OVKOVV fjb eacrets Ka/cTos eT; KP. crou /i.ei' rv^tov ayvcoTOS, ev oe Totcro tcros. 672

675

Aeeii'oi' codd.: k\etvov cum Porsono edd.

3 4 8 Kai juot Tpirov PIVTOVTI... | ay^ou irpocrrjtliiv, ' h e c a m e near t o m e . ' E u r . Hipp. 188 TO jU-e'v eo"Ttv a7r\o{!t'" T(3 8e CTUVUTTTCI | Xvirrj re tfcpevwv

Xepcriv re TOVOS, ' is joined.' It is possible, but harsh, to make •n-poo-ai/'ct act. with yrj as subject. Since in 695 uXvovcrav KO.T 6p66v cmpio-as is clearly sound, Herm. rightly struck out /cat before -rd 8' here. See on 696. 669 6 8' oiv. then let him go: Ai. 114 <j>e\iJTov.

I n 1199 (where see

note) rav yafiuf/. TrapO. xpwix'i$°v i s n o ' a similar case. Prof. Kennedy, placing a comma after iirotKrelpo), but none after TOVS', construes: TO (Tov CTTOjua IXavov

(eVrt), OVK liroiKrupw

TO TOvSe.

o-ru^rjo-crai, pass.

Other examples in Soph, are 1500 oveiSieia-Oe: O. C. 581 SjyAcoo-erai, 1186 XE^CTCH :

Ant.

210 Ti/njcrtrai, 637

a|tooo-£Tai :

El.

971 KOXCI:

Phil. 48 <j>v\d£eTai: among many found in prose as well as in verse are aSiK?}o-o/mi, dXiafro/xai, eao"o//.at, ^ijyu.ttoo"o/xai, Tifiijaofuu,

oji^eX^o-oynai.

The middle forms of the aorist were alone peculiar to that voice; the so-called ' future middle,' like the rest, was either middle or passive. 673
OIAITTOYI

TYPANNOI

131

OE. Then let him go, though I am surely doomed to death, or to be thrust dishonoured from the land. Thy lips, not his, move my compassion by their plaint; but he, where'er he be, shall be hated. CR. Sullen in yielding art thou seen, even as vehement in the excesses of thy wrath; but such natures are justly sorest for themselves to bear. OE. Then wilt thou not leave me in peace, and get thee gone ? CR. I will go my way; I have found thee undiscerning, but in the sight of these I am just. [Exit. object of anger, and so, 'vehement,' 'fierce': At. 1017 Svaopyos, Zvytfpa fiapv';, ib. 656 ixijviv fia-peiav: Phil. 1045 fiapvi re KCU fiapeiav 6 £eVos elite: Ant. 767 vovs 8' eori TI]KIKOVTO% d\yyj(ras fiapvs.

674 irepcurgs

absol.,= 7rpoo-fc) ikOrji: O. C. 154 7repas, (you go too far), ib. 885 tripav irepwcr* otSe 817. follow, partitive gen.: cp. II. 2. 785 Bieirpri(r fioxOrjpias: 2 Epist. Tim. 2. 16 iiA TrXeiov ydp KpoKoil/owLv ao-e/3eia?. Others render: 'resentful [or 'remorseful'] even when thou hast passed out of wrath': but (a) nepdcr^ with a simple gen. could not bear this sense: (b) the antithesis pointed by |iiv and 8* is thus destroyed. 677 dfv«Tos, act., 'undiscerning,' as 681, 1133 : pass., 'unknown,' Ph. 1008, Ant. 1001. Ellendt is not quite accurate in saying that Soph, was the first who used ayvws in an active sense, for it is clearly active in Pind. Pyth. 9. 58 (478 B.C.) ovre TrayKapTTUtv tyvruiv vr\Tsou>ov OVT ayviaTa. 6i)puiv (j(6ovos oltrav), ' a portion

of land not failing in tribute of plants bearing all manner of fruit, nor a stranger to beasts of chase.' The passive use was, however, probably older than the active: compare Od. 5. 79 dyva)T£s...aXXi;\o«Tt (pass.) with Thuc. 3. 53 ayvwres aAA^Awv (act.), ev 8J TOIO-8' £ovAoi Trap' o^\o> p.ov<Tii«aT£poi Aryeiv : and so, more boldly, O. C. 1213 o-Kaioowav tpvXdvaaw Zv Ipol (meiudke) KaraSijXos eorat. tiros, aequus, just: Plat. Legg. 975 c TOVpeWovTa SiKacr•njv la-ov zo-tirOai. [Dem.] or. 7 § 35 (by a contemporary of Dem.) «r

. So Ph. 685 icros lv lows dvrjp. The scholiast explains, irapa. Se TOVTOts TI;S ofioias S o ^ s yv KOU irpurqv eixov ""V' *!"*, i- e.

'of the same repute as before.' To me such a version of i«ros appears most 9—2

132 XO. IO. XO. IO. XO.

SO*OKAEOYI l yvva.ii TI/ieXXeis KO^itfiiv SO/JLCOV TOVS' ecrw ; 678 2 fxaOovad y 17719 17 T^XV680 3 Sd/c^cris dyvws Xoycov rfkde, SaTrrei Se Kai TO /AI) VSIKOJ'. & d/A(f)oii> OLTT" OLVTOIV ; XO. vai^i. I O . Kai TIS 171/ \ 0 y 0 5 ; 5aXis ejaoiy', aXi
OI. 7 djoas 1^' r/Kw;, ayados aiv yvw/xrjv 8 Tovfxbv Trapt,€i<; Kai KaTa^^kvvuiv

dvijp, Keap ;

XO. 1 wi'af, et7ro^ /Aev ov^ aTra^ povov, 2 tcr^i 8e 7rapa(f>povLiMov, dnopov

689

iirl <j>p6vLjxa

3 TT€(f>di>6a.L ja' a ^ et cr' 684

Xo'705 L et codd. plerique: 6 X670S A, E (cum gloss. 17 8ia0opo), Bodl.

Laud. 54, Barocc. 66.

6 8 8 irapiris Kai KaTa^\6ve^

cum Hartungio Dindorf.,

posito post rficfis interrogationis signo, sublata autem interpunctione post avrip. Con-

Strange. 678 Creon leaves the scene. The Chorus wish Iocasta to withdraw Oedipus also, that his excited feelings may be soothed in the privacy of the house : but the queen wishes first to learn from the Chorus how the dispute began. 681 86Knv...KO|inros Ta.Be yu.aAA.ov fj ipyuv IUTLV dXijdna: 3- 43 Trjs ov fiefiaLov So/ofcrea)?. 8airrei 84: Oedipus was incensed against Creon, without proof; on the other hand (84) Creon also (K<XI) was incensed by the unjust accusation. 8dirm might be historic pres., but need not be so taken: Creon is still pained. Aesch. P. V. 437 o-vwoia Se Scwi-To/iai Keap. The version, 'and even injustice wounds,' would make the words a reflection;—'An accusation galls, even when unfounded': but this is unsuitable. 683 f. a|i<|>oiv air" avTOiv SC. rt\de TO vtixos; Thus far, Iocasta only knew that Oedipus charged Creon with treason. The words of the Chorus now hint that Oedipus himself was partly to blame. ' So then,' Iocasta asks, 'provocation had been given on both sidesi' Xo-yos, the story (of the alleged treason): for the words of Oed. (642 SpiSvTa KdKoos, ri)(yq Kaiaj) had been vague. 685 irpoirovoujie'vas, ' already troubled,' not, ' troubled exceedingly.' irpoirovtiv always = to suffer before, or for: Lucian lupp. Trag. § 40 'KO-qva "Ap-qv KarayotvL^Tai, arc Kai irpoTretrovriKoTa OI/MU EKTOS rpav/iaros, already disabled.

687 The

OIAITTOYZ TYPANNOZ ,

Cil. ,

133

Lady, why dost thou delay to take yon man into the ist antistrophe,

r house ? Io. I will do so, when I have learned what hath chanced. CH. Blind suspicion, bred of talk, arose; and, on the other part, injustice wounds. Io. It was on both sides ? CH. Aye. Io. And what was the story ? CH. Enough, methinks, enough—when our land is already vexed—that the matter should rest where it ceased. OE. Seest thou to what thou hast come, for all thy honest purpose, in seeking to slack and blunt my zeal ? CH. King, I have said it not once alone — be 2 n d antisure that I should have been shown a madman, bankrupt in sane counsel, if I put thee away — thee,

firmat participium napiels ascripta in L et A interpretatio licMuy. 6 9 3 el (re vocr
evasive answer of the Chorus has nettled Oedipus by implying that the blame was divided, and that both parties ought to be glad to forget it. He could never forget it (672). Ap£s W IJKEIS conveys indignant reproach: a grave charge has been laid against your king; instead of meeting it with denial, you are led, by your sympathy with Creon, to imply that it cannot be directly met, and must be hushed up. Ant. 735 6pa<s raS' o)9 eipr/Kas (u; ayav veos: El.

628 opas ; irpos opyrjv (Kijjepei.

688 irapuls with Toi)|iov K&tp, seeking to relax, enervate, my resentment: a sense which the close connection with KaraupXivuv interprets, though the more ordinary meaning for wapitis, had it stood alone here, would be 'neglecting,' 'slighting' (TTOOOS irapeiTo, El. 545): cp. Ar. Eq.

436

TOV 7roSos TrapUi, slack away (some of) the sheet: Eur. Cycl. 591 w v a Trapa/xivo's: Or. 210 T<3 \{av Trapei/xevoi, (neut.) by too great languor. Schneidewin understands, ' neglecting my interest, and blunting (your) feeling': but TOV|J.OV must surely agree with Ke'ap. 692 iirl p6vi|ia: [ D e m . ] or. 25 § 31 iirl /j,ev K<X\6V y xpTav8ai dv, oblique of Tre^atr/xei'os av r/v: for t h e t e n s e Cp. IsOcr. or. 5 § 56 Xonrov av rjv...d firj bmroL-qTO. T h e el vofl;o|j,ai of t h e

MSS. would necessarily imply t h a t t h e C h o r u s do

134

IOOKAEOYI 4 os T ijxav yav i,\ai> Iv TTOVOMTIV

5 akvovcrav Kar' opdov ovpicra<s, 6 x a i w T eurro/ATTOs av yivoio. 10.

77/365 Oecov SCSa^ov

KCL^, a.va£,

695

OTOV TTOT£

fifjvLv rocriji'Se vpdyfxaTO<; cmjcras e^eis01.

ipw'

are yap rcavb' es vXeov,

Kpiovros,

yvvai,

cre/Sw

'JQO

old fj.01

IO.

X.ey\ e i aaa)<s TOV

OI.

ovda fie r)a\ Aatov

10.

auros ^weiSeis, 17 paOatv dWov trdpa.;

KaOeardvai.

6 9 4 iroVois codd.; q.uod> cam versui 665 ((pOiuovaa) non respondeat, Dindorf. ibi (pOwlis legit. Sed praestat, servato <j>$ivov' facta est rasura in T', quod tamen 5' prius fuisse non ausim dicere. Deletum est aliquid super

reject Oedipus: Ant. 304 €t7rtp to-^ei Z«iis IT' e^1 eyuou o-^3a5. T h e change of one letter restores the required «vocr<|>ijonov. 694 K.T.X. AS SsTOcannot be epic for o?, T« goes with oiipuras: cp. El. 249 eppoi T* a.v aiSoSs I airavrojv T* evcrc^eia ^varw. 695 oXi5ovaiv TOIS ?raAai irpovaAJ/tTov, which I should prefer to Nauck's ingenious irpowa.il/ei rots -trdXai i-a Trp6a.Ta. Verse 667, however, seems right as it stands: it gives a better rhythm for the closing cadence than we should obtain by adding a syllable. And if so, A Sivaio (or 8-6v<j) -yevov here must be reduced to -^ — —. (1) If with Hermann we simply omit yevov, the elliptical «l Svvato— understanding "
OlAinOYI TYPANNOZ

135

who gavest a true course to my beloved country when distraught by troubles—thee, who now also art like to prove our prospering guide. Io. In the name of the gods, tell me also, O king, on what account thou hast conceived this steadfast wrath. OE. That will I ; for I honour thee, lady, above yonder men:—the cause is Creon, and the plots that he hath laid against me.v Io. Speak on—if thou canst tell clearly how the feud began. OE. He says that I stand guilty of the blood of Lai'us. Io. As on his own knowledge ? Or on hearsay from another ? vocem Siivcuo, quod crii fuisse nihil indicat. rauvv r eiiwo/j.iros el Svvaio yevov A . Repetunt duvaio omnes quos videriin codd. praeter Bodl. Barocc. 66 qui habet el divtu 6 yevov. Numero testimoniorum praevalet ravvv 5', pondere ravir T', quippe quod et A et antiquus Laurentiani corrector comprobent.

define the sense of av yevoio, and that av yivoio was corrupted to yevov when et Svvoio had crept into the text. (4) Prof. Kennedy acutely conjectures et TO y iv o-oi: 'now also | with thy best skill thou ably waftest.' Since the metre of 667 is not certainly sound, no treatment of our verse can be confident. 697 Kan': these men know i t : allow me also to know it. 6'T...irpa-y|i.aTOS, causal gen.; Ant. 1177 Trarpl fj.7]v{aai <j)6vov. 698 cri-ijo-os ?x"s, hast set up, i.e. conceived as an abiding sentiment, referring to 672 and 689. Cp. Eur. I. A. 785 eA7ris...|ofav...|o-i">7a-a crat raS' « aXkr)\a.% \ [ivdevo-ovo-i (Fritzsch). 700 TWVS' 4S irXe'ov = irXiov r) rova&e, not TTXSOV rj otSe. The Chorus having hinted that Oedipus was partly to blame, he deigned no reply to their protests of loyalty (689 f.). But he respects Iocasta's judgment more, and will answer her. The Chorus, of course, already know the answer to her question. 701 KpeWros, sc.
eyxaXetv V«IK6S (TIVI) = to charge one with as Phil. 328 ypkov (TIVOS) KO.T OZTZV

charging them with having provoked your anger at a deed. 704 avros £t>v«i8»s: i. e. does he speak as from his own knowledge (of your guilt) ?

136 OI.

fiavriv fxev ovv KaKOvpyov eicr7reju<'/'as> eVet TO y eis eavrov TTOLV ikevOepol crTO/xa.

10.

crv vvv afftels creavTov 3>v Xeyeis 'tfdKovcrov,

KO.1 \i6.ff ovvi.it

705

iripi ecrrt croi

ovhkv jAavTi.K'rjs eX9v Te)(PT)<s. (j>a.pci) Se o~oi oi/3ou y

air

ijkOe Aal'a> 7ror', OUK ipco avTov, TU>V S' VTrrjpzToiv a/no,

CIJS CLVTOV yj^ot, jxolpa

ocrris yivoiT 713

710

ifiov

7r/)os TraiSos Oaveuv,

re KO.KV.VOV irdpa.

ij'£« L, Bed ex rffot factum.

^'Joi V et IA

ifjei A et codd. plerique, ut

705 |«v ouv, 'nay.' EL 1503. Ar. Eq. 13 NI. Acye sets wholly free (from the discredit of having brought such a charge): Ant. 445 «£co /Bapua's alrtas ZKeudtpov: Plat. Legg. 756 D iXcvdcpov 6.<$>ua6cu TTJS ^ry/xtas.

707 d<)>€ls O-IBMTOV, an

appropriate phrase, since dtpitvai was the regular term when the natural avenger of a slain man voluntarily released the slayer from the penalties: Dem. or. 38 § 59 av 6 TraSatV awds dtpfj rov (jwvov TOV 8pa.cra.vTai Antiph. or. 2 § 2 011 TOV aiTiov a<£eVres TOV dvaiTiov SiuKOfiev.

708 |id8' K.T.X. : learn

that-thou canst find no mortal creature sharing in the art of divination. a7TTerai //.avriK^s ivOiov KO.1 aXrj^oCs: this was much the same as the Egyptian belief, Her. 2. 83 fuivTmrj Sc avroXcn
TWV 8k QtStv

OIAITTOYI TYPANNOS

137

OE. Nay, he hath made a rascal seer his mouth-piece; as for himself, he keeps his lips wholly pure. Io. Then absolve thyself of the things whereof thou speakest; hearken to me, and learn for thy comfort that nought of mortal birth is a sharer in the science of the seer. I will give thee pithy proof of that. An oracle came to Lai'us once—I will not say from Phoebus himself, but from his ministers—that the doom should overtake him to die by the hand of his child, who should spring from him and me. saepe usu venit cum inter indicativum et optativum pendeat lectio. Canter.; efoi K. Halm., quod receperunt Nauck., Blaydes.

?|« coniecit

(2) Secondly, the /xaVns might be a man who reads signs from birds, fire, etc., by rule of mystic science : it was against this rexyi that scepticism most readily turned: Eur. El. 399 Ao^i'ou yap efnrtSoi | •^prjCTfioi, fipoT&v Sc jiavTiKrjv ^aLpeiv \eyu>. Iocasta means : ' I will not say that the message came through the lips of a truly god-possessed interpreter; but at any rate it came from the priests; it was an effort of human [XCLVTIKT].' SO in 946, 953 #eiov fia.vre.viM.ia, are oracles which professed to come from the gods. Others render :—' Nothing in mortal affairs is connected with the mantic art': i.e. is affected by it, comes within its ken. Then brr\v fyov will not stand for c^erai (which it could not do), but for &xeh a s meaning 'is of,' 'belongs to.' Her. has e?xe'" a s = etvat, with expressions equivalent to an adverb, as 2. 91 dy&vo. yvfivLKov Sict irdcrr]<; dy wvi'^s l\ovra, ' consisting in every sort of contest,' as he might h a v e said TroXvrpoira'S t)(OVTa : SO 3. 128 Trepi TCOWS>V t ^ o n a TOJV (=7roXXa^u!s): 6. 42 K a r a ^copiyv (=t/«.7reSa)s) e ^ o v T e s : J. 220 ev

e£a/u.cTpoio-i c^ovTa. But such instances are wholly different from the supposed use of txav a^0lle a s = twai with a partitive genitive. 711 OUK ipSt K.T.X. The exculpation of Apollo himself here is obviously not inconsistent with 720, which does not ascribe the prediction to him. And in 853 (ov ye. Aortas | Sian-e) the name of the god merely stands for that of his Delphian priesthood. 713 4jgoi is better than the conject. ?fot ('constrain'), as expressing the suddenness with which the doom should overtake him. El. 489 i7fci...\E/Hvvs. The simple ace. av-nSv, since 7'Jgoi = KaraXrJi/'OiTO: cp. Her. 9. 26 <£a/tev rjfleas LKviiuOa.1 yyefiove.ve.lv, instead of h ^e'as (2. 29). 714 00-n.s Y^VOIT' is oblique for ooris av ytvr/Tat, (whoever may be born), not for Sons iyevero (who has been

138

SOOKAEOYI /cat TOI> fjueu, bicnrep

y

rj ^ d n s , feVoi Trore

7J 5

\rjovevov
Kelvos eV£eu^as 7708011/

eppupev aWcov ~)(ovea yevicrdai

opos.

yjvvcrev

72°

TraTpos, ovre Action,

TO Seivoi' ou^oySetro, TT/JOS TratSos Oaveiv. TOLOLVTCL (jyrjfjLai fiavTtKal

oiv Ivrpiirov ^peiav

ipevva

Sidjpurav,

crv [A7]8ev av yap paSttws avros

av Oeos

aveL.

725

01. olou /jf aKovaavT' dprCas ex 10.

Trotas fiepL/Avr)1? TOV0'

VTTOCTTpanels

Xeyets;

7 1 0 eh afiarov opos codd.: ii.fia.Tov eh Upos cum Musgravio Erfurdt., Dindorf., Bothius, Hartung., Seidler. 7 2 2 6aye?i> codd. In A autem yp. iraOeiv super Baveiv rubris littevis scripsit manus antiqua; recentior eandem lectionem in marg.

born): Laius received the oracle before the birth of the child. 715 glvoi: not Thebans, much less of his own blood. 716 see on 733. 717 SUo^ov. 'Three days had not separated the child's birth from u s ' : three days had not passed since its birth. Plut. Tib. Gracch. § 18 KeXeva-avros €.K.e.ivov hux.u)(uv TO 7rA.T7#qs, to keep the crowd off. pXaoras cannot be ace. of respect (' as to the birth'), because Si&rxov could not mean ' had elapsed': when SKETCH/ is intrans. it means (a) to be distant, Thuc. 8. 79 8i oXiyov ravrrj 97 Sa/^os njs rjirtipov : or (b) to extend, Her. 4. 42 ^a.. .Ste^oucrav Is TOV 'Apdfiiov KOXTTOV. 718 KaC = ore (parataxis instead of hypotaxis): Thuc. I. 50 rj8rj Se^voi/f£...Kat ot KopiV0iot e^airtVr/s irpvfji.vav tKpovovTo. apepa iroSotv = ra vpd : IVS«IJ|OS, fastened together by driving a pin through them, so as to maim the child and thus lessen the chance of its being reared if it survived exposure : Eur. Ph. 22 (Iocasta speaks) tfuv iraiSa, KO.1 (nrupas

fiplos, | yvovs

Ta//.7rAaKry//,a TOV 6eov re

<£aTiv, I Xei/iuiv' i<s "Hpas Kal Kt^aipdUvos Xiwa's StScocri J3OVK6XOKTLV itpos, | (r<j>vpwv (TiStjpa Kevrpa Siairecpa^ fiiuov (better fiiawv), | Sdev viv 'EAAas u>v6fiat,cv OJSiVouv. S e n e c a Oed. 8 1 2 Forata ferro

gesseras vestigia, Tumore nactus nomen ac vitio pedum. 719 ets oiparov 6'pos: the tribrach contained in one word gives a ruggedness which is certainly

OlAinOYI TYPANNOZ

139

Now Lai'us,—as, at least, the rumour saith,—was murdered one day by foreign robbers at a place where three highways meet. And the child's birth was not three days past, when Lai'us pinned its ankles together, and had it thrown, by others' hands, on a trackless mountain. So, in that case, Apollo brought it not to pass-that the babe should become the slayer of his sire, or that Lai'us should die— the dread thing which he feared—by his child's hand. Thus did the messages of seer-craft map out the future. Regard them, thou, not at all. Whatsoever needful things the god seeks, he himself will easily bring to light. OE. What restlessness of soul, lady, what tumult of the mind hath just come upon me since I heard thee speak! Io. What anxiety hath startled thee, that thou sayest this ? Laurentiani notavit. Et receperunt quidem iraBeiv Erfurdt., Wunder., Dindorf., Hartung. Proclivis erat mutatio; nee dubium mihi videtur quin Baveiv verum sit. 7 3 8 I'/TTOffTpaelsT, V4 : quod probat Kayser., recepit Dindorf.

intentional here, as in 1496 rov irarepa Trarrfp, At. 459 TrcSia TaSe. A tribrach in the 5 th place, always rare, usually occurs either when the penultimate word of the verse is a paeon primus (— ^ ^ ^), as El. 326 ivrdtftia X€P°^V> o r when the last word is a paeon quartus (^ ^ *-< —), as Phil. 1302 avSpa TTo\iu.Lov. Verse 967 below is exceptional. 720 KavT<xS6': cp. 582. 722 It is more likely that, as our MSS. suggest, ira9etv should have been a commentator's conjecture than that Oovetv should have been a copyist's error (from v. 713). No objection can be drawn from the occurrence of 717009 TTCUSOS 6aveiv so soon after 713: see on 519. 723 Toia{JTtt...8i»p«rav, i.e. made predictions at once so definite and so false: $ij|uu, a solemn word used scornfully: cp. 86. The sense of Suofiurav in 1083 is slightly different: here we might compare Dem. or. 20 § 158 d Apa.KO)v...Ka0apov &iu>pi
IX)0KAE0Y2 OI. IO.

eSo^' aKovcrai crov TOS', COS d Acuos KaTacr(f)ayeur) vpos rpiTrXats a/xaftrot?. rjvSaTO yap Taur', ovSe irco Xrj^avT ?XeL-

OI.

Km CTOU ere' o ^wpos OUTOS ov TOO 771' Tratfos;

IO.

^WKIS ju.et' 17 y ^ KXry^erai, cr^tcrr)} S' OSOS

es ravro Aekcfxav /cowro AavXtas ayet. OI. /cat TIS XP°VO<S TOICTS' ecrriv ov^ekrjkvOat^ ; IO. cr^eSot1 TI 7rp6cr0€v rj cru Trjcrh' e^wi' dpXVv £awov TOVT iK^pv^dr) vokec. OI. w Zei!, TI JUOU Spacrai /3e/3ou\evcrai IO. rt S' ecrrt crot TOVT', OIOLTTOV;, ivdvfxiov; OI. \irqTTOi \h ipaTa' TOV 8e Action (f>vcriv

73^

735

74°

73O SiTrXafs, quod habent L aliique complures, mendum est manifestum; neque euim ita explicari potest ut compita significentur ubi via, per quam Laius incedebat, cum dualms aliis se coniunxit. Inter paucos qui rpiirXats tuentur sunt A et E. 74O cpvcriv I -rfx' t?xe P^ie T'lva- 5' d/c,u];K 17,87)8 ?%uv codd., nulla varietate praeterquam

on account of (= startled by) what care,—like a man whom a sound at his back causes to turn in alarm:—far more expressive than i-rrujTpa^ii's, which would merely denote attention. For the causal gen., cp. 724 and At. 1116 TOV 8t croS ij/6(j>ov I OVK av (rrpa€07]v.

731 Xi^avr': t h e b r e a t h of

rumour is as a breeze which has not yet fallen: cp. At. 258 IOTOS «JS Aifyet, and O. C. 517. 733 (TXIO-TI^ 8' 686s. In going from Thebes to Delphi, the traveller passes by these ' Branching Roads,'—still known as the rpioSoi, but better as the o-rcvo; from Daulia it is a leisurely ride of about an hour and a half along the side of Parnassus. The following is from my notes taken on the spot:—' A bare isolated hillock of grey stone stands at the point where our path from Daulia meets the road to Delphi, and a third road that stretches to the south. There, in front, we are looking up the road down which Oedipus came [from Delphi]; we are moving in the steps of the man whom he met and slew; the road runs up a wild and frowning pass between Parnassus on the right hand and on the left the spurs of the Helicon range, which here approach it. Away to the south a wild and lonely valley opens, running up among the waste places of Helicon, a vista of naked cliffs or slopes clothed with scanty herbage, a scene of inexpressible grandeur and desolation' {Modern Greece p. 79). At this cr^icm; oSos Pausanias saw TO. TOV Aalov fj.vijiit.aTa. KCU OIKITOV TOV lirop.€vov: t h e legend was that

Damasistratus

TYPANNOI

141

OE. Methought I heard this from thee,—that Laius was slain where three highways meet. Io. Yea, that was the story; nor hath it ceased yet, OE. And where is the place where this befell ? Io. The land is called Phocis ; and branching roads lead to the same spot from Delphi and from Daulia. OE. And what is the time that hath passed since these things were ? Io. The news was published to the town shortly before thou wert first seen in power over this land. OE. O Zeus, what hast thou decreed to do unto me ? Io. And wherefore, Oedipus, doth this thing weigh upon thy soul ? OE. Ask me not yet; but say what was the stature of quod laxe pro ct%e praebet A. Pro TIVO. 8' Nauckius dedit rlvos, quod recepi: vide quae infra annotata sunt. Duas fere medendi vias inierunt editores. (i) Servatis eT^e et rlva 5', pro exo;? Brunckius coniecit Tore, Kennedius eVi. (2) Servatis riva S' et (xu"> P r 0 e'Xe Dindorfius coniecit y\6e, Hartungius Irvxe, Schneidewinus et Blaydesius dpire.

king of Thebes had found the bodies and buried them (10. 5 § 4). The spot has a modern monument which appeals with scarcely less force to the imagination of a visitor,—the tomb of a redoubtable brigand who was killed in the neighbourhood many years ago. 735 TOIO-B". For the dat., cp. H e r . 2. 145 Aiovvcru) \i.kv vvv...KaToi i^aKoaia cVea KCLL ^iXia jU.aA.iara eori es efii" 'Hpa/cXei 8£...Kara tivctKocna itTta.' I l a v i Si...Kara

TO oKraKoaia fidXia-ra « (fie. Then from persons the idiom is transferred to things: ThllC. 3. 29 y/xepai fidXtcrTa rjcrav rfj MVTIXIJVJJ la\o>KVLa

kirrd. 736 (rx«8dv TI. irpotrBev. The interval supposed between the death of La'ius and the accession of Oedipus must be long enough to contain the process by which the Sphinx had gradually brought Thebes to despair: but Soph, probably had no very definite conception of it: see on 758. 738 co Zii. A slow, halting verse, expressing the weight on his soul: the neglect of caesura has this purpose. 739 4vflu'|uov: Thuc. 7. 50 rj tre\t]VTj £KXeiVei...K
01 'A.By]valoi...iTricr^eiv

eKtXevov

TODS

CTpar^yous,

ivO-ifkiov TroLovfuevoi. 740 I do not believe that Soph., or any Greek, could have written <|>6pdi«, rCva 8' ctK|iTJv rjpiis <SxMV> which Herm. was inclined to defend as if TWO. cfava-iv £Tx« = «'s rjv v
142

IOOKAEOYI TIV

IO.

ei)(e pd£e, TLVOS

/neyas, 'yyodtfav

dpTi

dK/JLrjv rj/3r]<s XevKavffes

Kapa,

(Jiop
oijiioi raXa? 1 eoiK ijiavrov

ei? apa?

Setms TrpofidWcov aprtaj? ov/c etSeVat. IO.

7T&!?
OI.

Sewws dOvfiai

jLii)

fiXeirav

745 ava£.

d fi.dvTi's TJ.

Seifeis Se juaWov, ^ ^ Iv itjeiTrgs ert. IO. OI.

/cat ^,i)v d/
75°

avSpa? Xo^tra?, ot' dvijp dp^r)yerrj<;; IO.

TreW ^crav ot ^u/ATravres, eV 8' avroicrtv T^^ Kr}pv£'

OI.

aTryjvrj 8' rjye Ad'iov jxLa.

atcu, r a S ' i^Srj Suacjiavf}. Tts ^

Trore

7 4 2 x" 0 1 '^'' ••• Xewcai'Ws L, A, et codd. plerique : xv0^uv ••• Xfi"favSe!s T : X»'oaf<«»'...Xeu/caj'Wc A. Nullus quod sciam codex x"°"-£°'' habet; L enim, quem unum eius 1. testera citat Campbell., nisi me oculi mei fefellerunt, xpoafuv clare scriptum exhibet. Hartungium taraen secutus praetulit Dindorf. x"0^i"0" • • - AE u*rar^eis, x"oa^ov in x^oafwr propter voc. iiiyas mutatum esse credens, ~kevKavdeU vero turn demum in \evKav$£s transiisse. Mihi quidem vulgatam lectionem et simplicitas et elegantia

construction; and to restore TIVOS seems by far the most probable as well as the simplest remedy. No exception can be taken to the phrase TtVos ci.KiJi.rjv ^y3ijs as = ' the ripeness of what period of vigorous life.' 742 xv0<"&''n' ^«vKav8^s Kapo = 2^(01' ^yoa^ov \CVKOUS Kapa: Ar. Nub. 978 yyav% uicnrep ftifXoio-iv cirijv^ei (the down on his chin was as the bloom on apples): here the verb marks the light strewing of silver in dark hair. As Aesch. has fieXavdls yeVos, 'swarthy' {Suppl. 154), so in Anthol. 12. 165 (Jacobs 11. 502) Xev/cavtfrfs = ' of fair complexion' as opp. to s. 744 TdXas, as being for raXavs: Ar. Av. 1494 oi/toi TaXas, 6 07T
I n Anthol.

9. 3 7 8

( J a c . 11. 132) KOX KOI/XCO

fi.eTa.j3d';, Z raXa?, aXXa^o'^i, TaXav is an easy remedy: but not so in Theocr. 2. 4 d<£' <S raXas OV$£TTO6' r/Kei, where ireXas has been conjectured. foiKO...o«K €l84vai = taiKtv on OVK rjSr] : cp. 236 f. 749 Kal |iiiv, ' i n d e e d ' I fear (as you do): Ant. 221, El. 556. dv 8' is certainly preferable to a 8' av in a poet whose versification is not characterised by any love of unnecessary SiaXvcns. Even in prose we find 3s av Se instead of os o"i av,

0IAITT0Y2 TYPANNOI

143

Lal'us, and how ripe his manhood. Io. He was tall,—the silver just lightly strewn among his hair; and his form was not greatly unlike to thine. OE. Unhappy that I am! Methinks I have been laying myself even now under a dread curse, and knew it not. Io. How sayest thou ? I tremble when I look on thee, my king. OE. Dread misgivings have I that the seer can see. But thou wilt show better if thou wilt tell me one thing more. Io. Indeed I tremble, but will answer all thou askest, when I hear it. OE. Went he in small force, or with many armed followers, like a chieftain ? Io. Five they were in all,—a herald one of them; and there was one carriage, which bore Laius. OE. Alas! Tis now clear indeed. — Who was he magis commendant. Nihili est piXas, quod cum A et Pal. habet V, ex /jt^yas tamen factum. 7 4 9 o 8' av L, A, et plerique: av 5' Dresd. 183 (a), 3' Bodl. Laud. 54. Editorum alii d 5' av, alii av S' legere maluerunt. Apud Sophoclem av S' non dubito praeferre, habita pvO/iov ratione quem Sophoclea poesis in universum dilexit: si autem de Euripidis versu res ageretur, a 5' a? cum maiore codd. numero darem.

Her. 7. 8. 750 (Jaw's identifies the chief with his retinue, the adjective, when so used, suggesting a collective force like that of a stream, full or thin: so iroXvs pu, ?roXi)s irvu of vehement speech, etc.; Eur. Or. 1200 rjv iroXi>s TiLprj, if he come in his might: crv^vov iroXt^vtov, a populous town (Plat. Rep. 370 D). 751 Xoxfras: cp. Aesch. Cho. 766 XO. •n-ws ovv KtXevei vw fjioXelv eoraX/tcvov; | ...r) £vv Xo^i'rais eirc /cat fx,ovocrTij3rj; TP. ayetv KEXEVEI Sopvcj>6pov; 6ira.ovapos (114)- The herald's presence would add solemnity to the sacrifice and libation at Delphi: Athen. 660 A iSpaov (=Z6vov) Se 01 KTjpvKts «XP' ^oXXov, (3ov6vTovvTes... KOX 6' "Apeas iropov avOpwiroi KaXeoitrt -•= Iv6a. vopoi cortv oe 'A.

KCLXOVO-LV. The dinjvT), properly a mule-car (Pind. Pyth. 4. 94) but here drawn by colts (802), and in the Odyssey synonymous with a[ia£a (6. 37,

57), was a four-wheeled carriage used for travelling, as dist. from the two-wheeled war-chariot (ap^a): its Homeric epithet v\j/rj\rj indicates

144

IO. OI. IO.

OI. IO. OI.

ZO*OKAEOYZ o roucrSe Xefas rows Xoyovs vfilv, ywat; ouceu? Tt5, ocrirep licer e/fcrw^eis fxovos. 77 /caV 86/J.OICTL jvyydvei ravvv irapav; ou STJT'' a^>' ou y a p KeWev rjXde KOI Kpdrr) ere T eiS' ey^ovra Kdlov T SXcoXora, efi/cerevcre TTJ? ifirjs ^eipo? Oiyoiv dypovs cre irdfixfiai KIXTTI iroLfivtav po/ids, ws TrXetcrrov etij rovS' (XTTOTTTOS acrrews. KaTrefjujf iyco viv • a^tos y a p o f SovXo? ep€LV rjv rrjcrSe KOU [xeL^ TTOJS af' jtxoXoi S?70' ij/xli' & r a ^ e i vdXiv; TrdpecrTW dXXd 7ipos Tt rovr' e^iecrai; Se'Soi/c' ifjLCLVTOV, d> yvvai, /AT) 7ro\A.' ayav

755

760

765

7 5 S Sairep cum ceteris L, facta quidem in o litura, nullo tamen litterae a manente vestigio. 7 6 3 o y' dvrjp L : 0 ^ 7 ' dc^o A, id agente librario ut metro subveniret, S 7' in d St y' mutato. Et praevaluit in codd. d 5^ y\ quanquam cum

that it stood higher on its wheels than the ap/xa : it could be fitted with a frame or basket for luggage (virepTcptr] Od. 6. 70, Trdpiw; II. 24. 190). 756: cp. 118. OIK£VS = otKcV^s, as in the Odyssey and in a VOJIOI %o\wvo% in Lysias or. 10 § 19, who explains it by Ocpd-Kinv. The Iliad has the word only twice, both times in plur., of'inmates' (slave or free: 5. 413 : 6. 366). 757 Vi Kal marks keen interest: El. 314 y KCLV lyia Oaparovaa fiaWov h \6yovs I TO-LIS aov; LKoifjLrjv ; 758 The poet has neglected clearness on a minor point, which, so far as I know, has not been remarked. The OIKCVS—sole survivor of the four attendants—had fled back to Thebes with the news that Laius had been slain by robbers (118—123). This news came before the trouble with the Sphinx began : 126—131. And the play supposes an interval of at least several days between the death of Laius and the election of Oedipus: see on 736. Hence KeWev rjX.6* Kai...e?8c cannot mean that the okevs, on reaching Thebes, found Oedipus already reigning. Nor can we suggest that he may have fled from the scene of the slaughter before he was sure that Laius had been killed: that is excluded by 123 and 737. Therefore we must understand:—'when he had come thence, and [afterwards] found that not only was Laius dead, but you were his successor.1 (For the parataxis o-e Tc.Aaioi' T£ see on 673.) I incline to suspect, however, that

OIAITTOYI TYPANNOZ

145

who gave you these tidings, lady ? Io. A servant—the sole survivor who came home. OE. IS he haply at hand in the house now ? Io. No, truly; so soon as he came thence, and found thee reigning in the stead of LaTus, he supplicated me, with hand laid on mine, that I would send him to the fields, to the pastures of the flocks, that he might be far from the sight of this town. And I sent him ; he was worthy, for a slave, to win e'en a larger boon than that. OE. Would, then, that he could return to us without delay! Io. It is easy : but wherefore dost thou enjoin this ? OE. I fear, lady, that mine own lips have lately uttered paucis V SS' avrjp habet. alii vel ws vel ws 7'.

oV arrjp coniecit Hermann., recepit Dindorf.

Coniecerunt

Sophocles was here thinking of the man as coming back to find Oedipus already on the throne, and had overlooked the inconsistency. 760 X«p6s 81701V, marking that the i/cereta was formal; as when the suppliant clasped the knees (airreo-0. 761 d-ypoiis might be ace. of motion to (O. C. 1769 ©?7y3as 8" »^uas | ...trc/juj/ov); but it is better here governed by M.: for the position of the prep. cp. 734, 1205, El. 780 OIJTE pvKTos OVT i£ 17/xepas. vo|ids: on Cithaeron, or near it, 1127. The man had formerly served as a shepherd (1039), and had then been taken into personal attendance on La'ius (oucevs). 762 TOSS" oWirros dor«»s, ' far from the sight of this town': that is, far from the power of seeing it: whereas in El. 1487 KTavuiv wpo6«s|...aTO7rTov jjpov = 'far from our eyes': the gen. as after words of ' distance from.' See Appendix, Note 14. 763 of: the o y of L (clumsily amended to o 8e y in other MSS.) prob. came from of, rather than from 6vov, 'so

far as a woman might.' nk, however, is commoner in this limiting sense (1118); ola more often = 'like' (751). Here ola qualifies <xgu>s, implying that in strictness the faithful service of a slave could not be said to create merit. 764 typnv. cp. 590. 766 irap«mv: 'it is easily done.' Eur. Bacch. 843 HE. lK9u>v y is OZKOVS dv 80/07 fiovXevaofmi. | AI. efeo-Ti'

•jravTrj TO y ifiov evrperrh irdpa. Not, 'he is here' (nor, 'he is as good as here,' as the schol. explains): in 769 ?!eTai='he will come from the J. S. 10

146

IOct>OKAEOYI

IO.

elprjfxev Tj [AOL, 8L a viv elcnSeiv Oekco. aW ifeTat fiev afta Se TTOV Kaya> r<£ y Iv crol 8vcr(f)6pa>s e^

01.

KOV fir) cTTeprjdfjs y'

es TOCTOVTOV ik

e/x,o£» /Se/JaJxos. T<5 yap av Kal //,ei£ovt KegaiiA av i) croi oia r v ^ s TOtacro io>v; i/xol waTrjp [J.ev IloXvySos 77V 'KaptvOios, \iy\rr\p Se Mepoirrj AcapCg. -qyo^rjv S' avi}^ acrTwv ixeyi
775

i75 ye //-eWot TIJS e/x^s OVK a^ia.

avrjp yap iv SetTT^ois JU,' VTrepTr\rjam6el<; KaXei Trap' oivot TrXacrros <ws etrjv Trarpc. Kaycj fiapvvdels TTJV (JLCV ovcrav rj^epav oXis KaT€(r)(ov, daWepa 8' iwi' ire'Xas 7 7 0 /x^9r;s A et codd. plerique, quos secuti sunt Hermann., Wunder., Hartung. Sed in L /^0i;s fjictum est ex /neBrji.: Y ixidrj habet. [itSy Nauck., Blaydes.,

pastures' 768 8i a. The sense is : ' I fear that I have spoken too many words ; and on account of those words I wish to see him': cp. 744, 324. Not: l I fear that my words have given me only too much cause to desire his presence.' A comma after poi is here conducive to clearness. 770 Kd-yw and irou express the wife's sense that he should speak to her as to a second self, iv
The plural of iXms is rare as = anxious forebodings : but cp. 487. 772 \uCtflvi.: strictly, 'more important': cp. Dem. or. 19 § 248 dvTi...Tr/s TToXtlOS TTjV QlXlTTTTOV ^CVldV KOI <j)lXca.V TToXXti) fJ-tL^OVCL TJyT]
Xvo~iTeXeo~Ttpav: as Ant.

637 oi8£is...yct/x,os | {J.ei£
fylptcrOai

aov

KaXws yyovfuivov, no marriage can be a greater prize than your good guidance. The Kal with X^ai|j.' av:—could I speak? ' Lysias or. 12 § 29 irapa. TOV TTOTC Kal Xyif/eo-Oe o*LK-qv, from w h o m will

faction?

y o u ever exact satis-

773 Iwv, present, not future, part. : Ant. 742 Sid

OIAITTOYZ TYPANNOI

147

words too many; and therefore am I fain to behold him. Io. Nay, he shall come. But I too, methinks, have a claim to learn what lies heavy on thy heart, my king. OE. Yea, and it shall not be kept from thee, now that my forebodings have advanced so far. Who, indeed, is more to me than thou, to whom I should speak in passing through such a fortune as this ? My father was Polybus of Corinth,— my mother, the Dorian Merope; and I was held the first of all the folk in that, town, until a chance befell me, worthy, indeed, of wonder, though not worthy of mine own heat concerning it. At a banquet, a man full of wine cast it at me in his cups that I was not the true son of my sire. And I, vexed, restrained myself for that day as best I might; but on the next I went Campbell., recte. Genitivus enim ita demum commode diceretur, si vox JI^OTI non vinolentiam sed vinum significaret.

Trorpi. Xen. An. 3. 2. 8 81a <£iXtas levau 775 The epithet • Dorian ' carries honour: Merope was of the ancient stock, claiming descent from Dorus son of Hellen, who settled in the region between Oeta and Parnassus. The scholiast's comment, UeXoTrovvrjcnaia], forgets that the Theban story is laid in times before the Dorian ( conquest. 776 irptv |»t ...eiTCOTi]. The use of -rrptv with the aorist or imperf. indie, is limited to those cases in which irp'w is equivalent to 2v Trplv rJKova-a, ' I did not become aware until I heard'; which we could also render,' before I heard.' B u t ' I became aware before I heard' would be lyvmv irplv d.Kova-aL (not ^Kovo-a). See Prof. B. L. Gildersleeve in the American Journal of Philology vol. n. p. 469. bri<m\: a verb often used of enemies suddenly coming upon one: Isocr. or. 9 § 58 fiwpov Seii/ ZXaOev avrov £7ri TO ySao"iXeiov e?rio"Tas: Her. 4. 203 ipi rrj K.vprjvaiwv TTOXL €Trtcnrr] = A.eya>, as Plat. Prot. 311 E arocf>i(TTrjv ... oVo/xafowt ... TOV avSpa ctvat. irXaoros, 'feigned (in speech),' ' falsely called a son,' iroTp£, 'for my father,' i.e. to deceive him. Eur. Ale. 639 fiaa-riS yvvaucos o->;s VTre/3\i]$r]v Xa9pa, w h e n c e virofioXifMuos = v66os.

782 KOT^ITXOV, SC. ijjjxvrov.

In classical Attic this use occurs only here: in later Greek it recurs, as Plut. 10—2

148

IOQKAEOYI narpos T' yjXeyxpv' 61 Se roweiSos rjyov TW [Ltdivri TOV \6yov. TO. [lev KCCVOLV irepTrofJLrfv, O/AWS 8'

/LM?T/3OS

e /i

aet TOVU

vcpeipire yap

7^5

iroXv.

Xddpa Se firjrpos KCU Trarpos Tropevoficu HvOcoSe,

/cat ju,' d $oiy8os wi' ju,e&> LKOfLTjv

aTLfjLov iijeTTefJAJjev, aXXa 8' aOXua Kal 8eiva /cat SvcrTrjva cos firjTpl

e

irpov(f>r)vev

Xdyav,

Jgo

6

fx,ev XP "7 Z* pi'X@'tjvait yivo<s 8'

CLTXTJTOV dv6pa>voi(Ti

ZrjXaxToii^

opav,

ovev<s 8' icroCixrjv TOV <j>VTevcravTO<; iraTpos. /cdycu '7ra/coi;o"as r a v r a TTJV K.opivdiav

TO Xoi7rov e/c/Aerpouju,efos ^(66va

795

79O wpoi<pa.vT] codd. Est autem in E interpretatio ir/WS€i£e : quo confirmatur Hermanni coniectura irpoi<j>yivev, a Wundero, Nauckio, Blaydesio, Dindorfio recepta.

Artaxerxes § 15 enTer oui/ ^17 Karacrxwr. v/icis //.ev K.T.X. Cp. ?xc» eirto^cs (' stop'), in Plat., Dem., etc. 784 TW |MWV« : the reproach was like a random missile: Menander fr. 88 OUT' IK x^pos f^Oivra Karepov \160v I paov Karacr-)(ilv, OVT diro yXoj'o-trijs Xoyov. The dat., because 8w4>6p<»s Toi'vttSos I'^OV = wpyitflvro eveKa. TOU 6V€LBOVS. 785 6(J.o>sS': cp. 79 1 ! a n d n. on 29. 786 t)4>apire Yip iro\i: so v<^ep7reti/ of malicious rumour, Aesch. Ag. 450 <j>0ovepov 8' inr' aXyos cpTrei | TT/JOSIKOIS 'Arpet'Sais. Libanius 784 A (quoted by Musgrave) TTOXVS TOIOVTOS veipTre Xoyos (perhaps suggested by this passage). Pind. Isthm. 3. 58 TOCTO yap dOdvarov cfxavoiev eprrei, | ct rts eu etirr; TI. Cp. Ant. 700 roiaS' ipefivrj criy' cVepxcTai <j>dris. For iroXv cp. 0 . C. 517 TO 7roXu TOI xai /xy/Sapia X^yov, that strong rumour which is in no wise failing: z'£. 305 ITOXV...TO trov ovo/^a | 8n;Ka iravTas. This version also agrees best with 775, which implies that the incident had altered his popular repute. We might render: 'it was ever recurring to my mind with force': but this (a) is a repetition : (b) is less suited to 7roXv, which implies diffusion. 788 wv IKIJ|MIV aTi(iov = cm/xov TOVTOIV a iKOfirjv, not graced in respect of those things (responses) for which I had come: Eur. Andr. 1014 arifiov opydvav x*Pa TtKTOfrvvas, not rewarded for its skill. For a iKo/x-qv (cogn. accus. denoting the errand, like ip-^ofiai dyyeXtav) cp. 1005 TOVT' dLKofir]v: O. C. 1291 a 8' rj\6ov...6eKw \££ai: Ar. PI. 966 o TI /xaXiaV eXij'Xv^as : Plat. Prot. 310 E aXX' auTa TaiJTa /cat

OIAITTOYI TYPANNOS

149

to my mother and father, and questioned them; and they were wroth for the taunt with him who had let that word fly. So on their part I had comfort; yet was this thing ever rankling in my heart; for it still crept abroad with strong rumour. And, unknown to mother or father, I went to Delphi; and Phoebus sent me forth disappointed of that knowledge for which I came, but in his response set forth other things, full of sorrow and terror and woe ; even that I was fated to defile my mother's bed ; and that I should show unto men a brood which they could not endure to behold; and that I should be the slayer of the sire who begat me. And I, when I had listened to this, turned to flight from the land of Corinth, thenceforth wotting of its region by the stars alone, Vide annot. 7 9 1 xpeV ^ L, paene eraso i post if: X/3"' V A. Ceteri codd. eodem fere modo variant ut in v. 555, q. v.: nullus quod sciam %Pe^V habet.

vvv yK(o Trapd. <je (where the acc. is cogn. to rjKt]v«v, suggested by Herm., has been adopted by several recent editors. Cp. Herod. 1. 210 T<3 <5e d Sai/xuv •n-poiaiv€, and so 3. 65, 7. 37 : Plut. Dem. § 19 h> ols y) re TlvOla Seivd. irpov(j>aive /xavrevfjiaTa KOX 6 xprjo-fws TJSCTO : Camill. § 4 (a man who pretended to /xayri/07) \6yia irpovcjiaivev diroppijTa • Dem. or. 21 § 54 Toii e<j> e/cao-TT/s pivTeias irpoaivoi*evois 0£ols, the gods announced (as claiming sacrifice) on each reference to the oracle. Yet the fact that Trpo<j>a[veiv was thus a vox sollennis for oracular utterance would not suffice to warrant the adoption of irpoii<|>T)V6v, if the irpo«<|>dvTi of the MSS. seemed defensible. irpov<j>avi] Xfywv would mean, ' came into view, telling': cp. above, 395> and El. 1285 vvv 8' C^OD W irpov^avrj'S Se | <j>i\Ta.Tav €^pvKTOi dyyiXXtov TrpeVei, Ag. 3 0 ) : but, in reference to the god speaking through the oracle, it could only mean, by a strained metaphor, 'flashed on me with the message,' /. e. announced it with startling suddenness and clearness. The difficulty of conceiving Sophocles to have written thus is to me so great that the special appropriateness of v turns the scale. 791 Y^VOS 8': see on 29. 792 6pav with which, thus defined, is in contrast with 8T)XWO-
ISO

10*0KAE0YI eevyov, Hvda ILTJTTOT' 6ipoi.ft.rjv 6veC8r) TCOV ificov

8' IKVOVIJLCU rovcrSe TOUS ^olyaovs ev ot?

crv rov rvpavvov TOVTOV oWvcrBai, Xeyets. Kai . TpLirXrjs or' rj Ktkevdov T^CTS' dSonrop&iv ireXas, hnavBa fjiOi KTJpvi; re Kairl ira>\iicfjs avr)p aTrrjvy)
auros ff 6 irpeafiws irpos fitav rfkavverriv.

800

805

Kaya> TOZ' e/CTpeVovra, TOV Tpo^Xarijv, Si' opyfjs' Kai JU,' d TrpecrySvs W5 opa, 7 9 7 TeXoifitva cum cett. codd. L ; erasa tamen post a littera quam c fuisse conicias. reXoTj/xevov autem an re\ov^vo)v ibi primo stetisset, nescio. Post xP7l(rP-&1' particulam y' addunt B, V, V3, V 4 . 8OO Deest in solo L hie versus: accessit

the region of Corinth, I went my way into exile, to some place where I should not see fulfilled the dishonours of [= foretold by] my evil oracles.' aorpois !K|i.eTpoii|j.*vos: i.e. visiting it no more, but only thinking of it as a distant land that lies beneath the stars in this or that quarter of the heavens. Schneidewin cp. Aelian Hist. Anim. (irepl ^w 7. 48 •>;«£ 8' ovv ('AvSpoxX^s) es rijv Aifivrjv KOI Tas p.iv •jrdAtts aT Kai TOVTO 81} TO Xe.y6jj.EVOv ao'Tpocs a v r d s tcrrjixalv^TO, Trpo-gtL Se es

ryjv Zprjprjv: ' proceeded to leaVe the cities, and, as the saying is, knew their places only by the stars, and went on into the desert.' Wunder quotes Medea's words in Valer. Flacc. 7. 478 quando hie aberis, die, quaeso, profundi Quod caeli sp'ettabo latusi &)«vyov might share with eKprrp. the government of TT^V Kop. yfttoa., but is best taken absolutely. Sense, not grammar, forbids the Version :—' I went into exile from the Corinthian land (TT)V KopivBiav); thenceforth measuring my way on earth (x.9ova) by the stars.' P h r a s e s like virao-rpov...fnrJxaP opi^ofiat ydpov 8vo-povos I 'f'vya, (Aesch. Suppl. 395)) aorpois TeKjj.aipeo'Ba.i 6B6v (Lucian

Icaromenippus § 1), are borrowed from voyages in which the sailor has no guides but the stars. Such phrases could be used figuratively only of a journey through deserts: as Hesych. explains the proverb aorpois OTjjixeioikr#ai-

.

fiaKpdv Kai ipijixrjv

0S0V /3aSi£eiv

~q Se fj,^Ta<j>opd aVd raiv

796 Sv8a = cKcto-e Iv6a. di|/o£nt]v after the secondary tense for o\j/o[iai: w with the fut. as 1412 : Ai. 6 5 9 : El. 380, 436 :

OIAITTOYI TYPANNOZ

151

to some spot where I should never see fulfilment of the infamies foretold in mine evil doom. And on my way I came to the regions in which thou sayest that this prince perished. Now, lady, I will tell thee the truth. When in my journey I was near to those three roads, there met me a herald, and a man seated in a carriage drawn by colts, as thou hast described; and he who was in front, and the old man himself, were for thrusting me rudely from the path. Then, in anger, I struck him who pushed me aside—the driver; and the old man, seeing it, autem in marg. a manu recentissima. Omissum igitur non animadverterat antiquus ille codicis corrector qui in supplendo siquid prima manus neglexerat alias Lyncea se praestabat; unde dubitatio potest incidere, fueritne is versus necne in archetypo quocum ille Laurentianum contulit.

Track. 800. 800 K<XC xT|XdTr|s. I understand the scene thus. Oedipus was coming down the steep narrow road when he met the herald (to be known for such by his stave, K^pv/cciov) walking in front of the carriage (ifyeijuov). The herald rudely bade him stand aside ; and Ia'ms, from the carriage, gave a like command. (With the imperfect TJX.aw£rr|v, ' were for driving,' irpAs P'av need not mean more than a threat or gesture.) The driver (TpoxT|Xdrr|s), who was walking at his horses' heads up the hill, then did his lord's bidding by actually jostling the wayfarer (iKTp&rovra). Oedipus, who had forborne to strike the sacred herald, now struck the driver; in another moment, while passing the carriage, he was himself struck on the head by Laius. He dashed La'ius from the carriage; the herald, turning back, came to the rescue; and Oedipus slew La'ius, herald, driver, and one of two servants who had been walking by or behind the carriage; the other servant

152

I00KAE0Y2: /xecrov Koipa SnrXois KevTpoicrC fiov ov [xrjv Icrrjv y

ericrev, dWd

Ka6iKero. crwro/AWs

8iO

TUTrels e/c r^crSe ^eipo5 UTTTIO? dTrrjvrjs evdvs

e/c/cuXivSerai"

KTeivco Se TOUS fuyxTravras.

ei Se T&5 ^eV&>

TOVTW TrpocrrjKei, Aaxw T I

crvyyeves,

Tt5 rouSe vui' ecrr' av8po5 a^Aiwrepo?; Tts i-^dpoSaifxcov fiaXKov dv yivoir

815

dvrjp;

8 O 8 6xov codd. : est in B gloss, TOV a/j^iaros. In uno cod. T inveni quod primo aspectu 6xov videri poterat; re perpensa tamen illic quoque credo librarium 6%ov dare voluisse. &xov coniecit Schaefer.: flxovs Doederlirms, quod receperunt Hartung., Dindorf., Nauck., Blaydes. 8 1 4 AaiV codd., recte : vide annot. Aai'ou Bothius, Wunder., Hartung., Dindorf., Blaydes. 8 1 5 Ws rovSi y' avSpbs vvv £GT' ad\idirepos L, paene eluto vvv, et superscripto a m. rec. gloss. J t t w (i. e. aXXoff?). rls rovdi y' ai>5pbs iarlv (sic) ad\id)Tepos A. Ceterorum codd. alii hanc lect., alii illam repetunt. Vocem vvv, qua priori fortunae repentina calamitas opponitur, pro genuina habeo; contra, si 1
(unperceived by Oedipus) escaped to Thebes with the news. 808 6'xov : 'from the chariot—having watched for the moment when I was passing— he came down on me, full on my head (|U
takes accus. only as = to reach, lit. or fig. (as //. 14. 104 /xdXa ™'s pe KO.61.KZO 6vfx.6v). SiirXots K6VTpoi
OlAinOYI TYPANNOS

153

watched the moment when I was passing, and, from the carriage, brought his goad with two teeth down full upon my head. Yet was he paid with interest; by one swift blow from the staff in this hand he was rolled right out of the carriage, on his back ; and I slew every man of them. But if this stranger had any tie of kinship with Larus, who is now more wretched than the man before thee ? What mortal could prove more hated of heaven ? Whom no stranger, no citizen, is allowed dSAtcirepos, particulam ye metri causa intrusam esse credens postquam dvdpbs e sua sede migraverat. Elmsleius coniecerat Tcivdp6$, quo recepto Blaydesius dedit Hs rovde rdpdpbs 'iiT1 ?r' adXtibrepos, Campbellius ris rovde ravSpbs Ztrrtp ddXtuirepos. Dindorfius olim (ed. i860) versum e textu eiecerat; est autem plane necessarius, cum, si deleretur, nihil habiturum esset pronomen Sv (v. 817) ad quod referretur. Sed iampridem (ed. 1869) poenituit virum doctissimum quod insontem versiculum capitis daranasset: sapit tamen etiamnunc Draconem, reposuit enim ris TOVS' anoieiv dvdpbs d6\iu>repos, collato v. 1204. 8 1 7 $...Ti.vb. codd., quod defendit Hermann., interpretans tp ny ?{eoTi, %ivav nvb. Six^Sai. air6v: ' cui non concessum est ut quisquam eum recipiat.' <jS in ov mutavit Schaefer., idem neck servans, ut

a7ro8iSoVai, far fari referri) : Thuc. 1. 35 ovx o/*ota 17 the renunciation of such an alliance is more serious, OT>VT6|UI>S, in a way which made short work: cp. Thuc. 7. 42 ijimycro hzifiiaQai rfj Trtipa. Kai 01 |«vTo/xo)TaTijv ijyeiro Ziairo\i[i.-q(Tiv, the quickest way of deciding the war: Her. 5. 17 tori Se O-T5VTO/*.OS xapTa. (sc. oSos), there is a short cut.

T h e conject. O-UVTO'KDS (Tr. 923 X*P'L) would efface the

grim irony. 812 yA TOVT^ might apply to Oedipus himself (452). H a d we n without a-vmtvte, Aaiov (part, gen.) would then be necessary. T h e constructions of Trpoo-rjKtiv axe. (1) Trpo TIVI, I am related t o : (2) Trpoo-ijKa ixoi TIVOS, I have a right in, or tie with: (3) TrpocnjKtL fnoiTI, it belongs to me. Here it is (3). 817 8V...TIVI. The MSS. »...Tiva must be rendered : ' t o whom it is not allowed that any one should receive (him)': but the words would naturally m e a n : 'to

154

S04>0KAE0YS Sdyums he^ecrdai, coUeiv o air

p.rj8e vpocrffxtiveiv

OLKWV,

KOLI rao

nva,

o i m s aAA.os r)v

fj *yaj V ifxavra) racrS' apas d 7rpocrTi#eis. Se TOU davovTos ) , hi dp' ovxi

iv ^epolv

(bvvep uiXer.

T^as avayvos;

ap

820

ifx-aiv e
et /u-e ^pi) vye2v,

i JLIOI Vy0VTL fJiTjCTTl TOUS C/iOUS iScW

S' ifL^arevecv TrarpCSos, rj ya/^ois fie Set lxr}Tpo<s £,vyr)vai Uokvfiov,

/cal irarepa

825

KaraKraveiv

os i£ev
dp' OVK drr w/xov ravra Sai/xovos Tt? az/ Kpuvav in avhpX TWS' av 6p9oir) \6yov; p/rj SfJTa p.r) 8rjr', w fewy dyvov cre'/Sas, TavTTjv rjp.dpav,

dW

e/c

830

fiporcov

a
opa<; d(f)iyjjLevrjv. r a v r ' OKvqp''

ecus S' ai> o w

absolute diceretur ?|ecrri. Coniecit Elmsleius oJ, quasi attractum esset ad roCSc avdpis, structura sane durissima. Nauckio venit in mentem ei ^ij %ivuv...Tivl, mox autem, pro nvi. in v. 818, i/xi. Nihil opus est mutare, modo legas 6V...TIW cum Wunder., Hartung., Dindorf. Frequens in codd. hoc genus inversionum ; cf. v. 376. 8 2 4 ixfiffTi.. L ix-qre (correctum a manu antiqua ex pr/cm.), A, T (cum yp. p.-// 'UT'C) E, V2, V3, Bodl. Laud. 54. 8 2 5 /XJJT' {/ij3aTeiei.v L, facto ab antiqua manu /n^re ex lUij'or', quod prima dederat. ,UT}T' A quoque et alii. Possis igitur legere (1) ut

whom it is not allowed to receive anyone.' In 376, where
See

above, 241. Kal Td8". And these things—these curses—none but I laid on myself. As the thought proceeds, the speaker repeats rdSe in a more precise and emphatic form: cp. Plat. Rep. 606 B eVai/o KepSaiveiv yyurai, Trjv yBovrjv. 821 iv xepotv, not, 'in their embrace,' but, ' by their agency': //. 22. 426 ok oi^cXev Oavieiv iv-^epcnvIprjcnv. 822 f. dp'—op* ovxi. Where apa is equivalent in seit'se to ap ov, this is because it

OIAITTOYI TYPANN02

155

to receive in his house; whom it is unlawful that any one accost; whom all must repel from their homes! And this —this curse—was laid on me by no mouth but mine own! And I pollute the bed of the slain man with the hands by which he perished. Say, am I vile ? Oh, am I not utterly unclean ?—seeing that I must be banished, and in banishment see not mine own people, nor set foot in mine own land, or else be joined in wedlock to my mother, and slay my sire, even Polybus, who begat and reared me. Then would not he speak aright of Oedipus, who judged these things sent by some cruel power above man ? Forbid, forbid, ye pure and awful gods, that I should see that day! No, may I be swept from among men, ere I behold myself visited with the brand of such a doom ! CH. TO US, indeed, these things, O king, are fraught with fear; Elmsleius monuit, pyre robs tpois ISeiv | firrr' infiaTeiew, subaudiio ?£e, quod vereor ut Sophocleae Xd/itres facile patiantur: (3) iam res ad triarios rediit, neque alia superest ratio quam ut, /ATJUTI servato, /J.i)d' £/jifla.Tei5eii> cum Dindorfio scribas. 827 Huius versus, post Wunderum a Dindorfio fraudis insimulati atque uncis inclusi, causam orare nullo coram iudice reformidem : vide annot. ££4(f>v
means, 'are you satisfied that it is so?' i.e. 'is it not abundantly clear?' {EL 614). Here, the transition from apa to ap' <>•&•£ is one' from bitter irony to despairing earnest. 827 IldXvpov. Wunder and Dindorf think this verse spurious. But it is, in fact, of essential moment to the development of the plot. Oedipus fears that he has slain Lai'us, but does not yet dream that Lai'us was his father. This verse accentuates the point at which his belief now stands, and so prepares us for the next stage of discovery. A few MSS. give iie9pe\j/€ «af e'^vo-e : but the Homeric •xpoTtpov varepov (Od. 12. 134 dptyiKTa. TtKovaa re) seems out of place here just because it throws a less natural emphasis on i£ecj>v<je. 829 in dv8pl T$8e with op8o£r) X.6-yov, speak truly in my case. Isaeus or. 8 § I €7U TOIS TOIOVTOIS, <3 avSpcs, avayK-q iarl )(O.\e7rws cf>eptiv, in Such cases. II. 19. 181 opas, see on 99. 834 8' o$v.

So

where the desponding <£vAa£ hopes for the best, Aesch. Ag. 34, yivouo

156

ZOCJJOKAEOYI

Trpos TOV wapovTOS iK(Aa.$r)s, e^' ikirtSa. 01.

/cat jj.rjv Toaovrov TOV dvSpa

y

835

icrrC fioi rrj<s eXiri'Sos,

TOV [ioTrjpa

TrpocrfJcelvaL /JLOVOV.

IO.

Tre^ao-fJievov Se rt's 7ro#' 77 Trpodv/xca;

OI.

e'ya> StSafw
TrdOos.

IO.

TTOLOV Se fjuov Trepio-crov ^/covcras

OI.

X^ards e^>acr«:es avrov

avSpas

cus viv KaTaKT€Lvaiev.

ei jixej' 05^ e n

840

Xefei TOP auroi' dpiOjxov, OVK iyai 'KTCLVOV' ov yap

IO.

yivoiT

dv ets ye rots TroXXois tcros'

ei o

at-op

TOVT

€0~TIV tfSrj Tovpyov

aXX' cos <{>avev ye

84O Nauck.

845

ev oto^wvoi' avorjo-ei, o-aqxos ets e'^ne piirov.

TOVTTOS
C170S pro Tr&ffos coniecerunt Blaydes., M. Schmidt., Arndt., a l . : recepit 8 4 3 KaraKTcivaiev L, a manu antiqua; prima manus, quae in hac voce

8' ovv K.T.X.

835 TOV irapovros, imperf. part., = IKUVOV 6 S Traprjv:

Dem.

or. 19 § 129 01 crv/XTrpecr/SeiJovTcs KO.1 Trapovrc; KaTa/jLapTvprjaovaiv, i.e. o* ovveTrpto-pevov Kal Traprjaav- 836 -rijs IXirtSos. The art. is due to the mention of iXircSa just before, but its force is not precisely, ' the hope of which you speak.' Rather iXniSa is 'some hope,' rrj% eWSos is 'hope' in the abstract: cp. Dem. or. 19 § 88 rj\iKa Tracriv dvOpunroii dyaOd €K T?JS elpyvr]* ylyverai., i.e. 'from peace,' not 'the peace.' 838 irt^ao-^vov, sc. avrov: gen. absol. El. 1344 reXov/xiviov CLTTOIIC dv, when (our plans) are being accomplished. 840 iraOos, a calamity,—viz. that of being proved blood-guilty. The conjecture &yos is specious. But xdOos shows a finer touch; it is the euphemism of a shrinking mind (like the phrase yv TL 7rd6u> for Odvw). For perf. with dv cp. 693. 841 irepunrdv, more than ordinary, worthy of special note: Her. 2. 32 roik dXXu TC fjL7]xavd(rOa.i...Trepi(T(rd, i.e. among other remarkable enterprises : Eur. Suppl. 790 TO fitv yap OVK TJXTT^OV av TreKOvOivai \ ir&Qos Trtpurcrov, ei ydjxu>v aTre^vyrjv, I h a d n o t

deemed it a more than common woe. Iocasta is unconscious of any point, peculiar to her version, on which a hope could depend: she had reported the story of the slaughter in the fewest words, 715—716. 844 TOV avTov dpi8|iov, i.e. TTXCI'OVS and not era: or, in the phrase of grammarians, TOV TTXIJOWTLKOV and not TOV en/cov dpiO/wv. 845 to-os: 'one

OIAITTOYS TYPANNOS

157

yet have hope, until at least thou hast gained full knowledge from him who saw the deed. OE. Hope, in truth, rests with me thus far alone; I can await the man summoned from the pastures. Io. And when he has appeared—what would'st thou have of him ? OE. I will tell thee. If his story be found to tally with thine, I, at least, shall stand clear of disaster. Io. And what of special note did'st thou hear from me ? OE. Thou wert saying that he spoke of La'ius as slain by robbers. If, then, he still speaks, as before, of several, I was not the slayer: a solitary man could not be held the same with that band. But if he names one lonely wayfarer, then beyond doubt this guilt leans to me. Io. Nay, be assured that thus, at least, the tale was first told ; scribenda videtur haesisse, quid dare voluerit dubium est. plerique. KaraKTelveiav cum paucis V 2 .

KaTanrelvaiev A et codd.

cannot be made to tally with (cannot be identified with) those many': Tots iroXXots, referring to the plur. Xgo-ras (842). 846 olojwvov, journeying alone. The peculiarity of the idiom is that the second part of the compound is equivalent to a separate epithet for the noun: i.e. ol6?wvos, 'with solitary girdle,' signifies, 'alone, and girt up.' O. C. 717 Tv NrjpijSwv, not, 'with a hundred feet each,' but, countless, and dancing: ib. 17 irvKvoirTtpoi aijSdves, not, thickly-feathered, but, many and winged: ib. 1055 SIO-TOXOUS a8eX<£as, not, separatelyjourneying sisters, but, two sisters, journeying: At. 390 8itrcrapx a s fiturikyjs, not, diversely-reigning kings, but, two reigning kings: Eur. Ale. 905 Kopos /Aovoirats, not, a youth with one child, but, a youth, his only child: Phoen. 683 8IOJVU//.OI 6eai, not, goddesses with contrasted names, but several goddesses, each of whom is invoked. So I understand Eur. Or. 1004 //.ovoVcoXov'Au), 'Eos who drives her steeds alone' (when moon and stars have disappeared from the sky). 847 €is iyk p£irov: as if he were standing beneath the scale in which the evidence against him lies j that scale proves the heavier of the two, and thus descends towards him. 848 eirCoTCuro <|>aviv roiJiros «8«, know that the tale was thus set forth: eirCo-rao-o uS <j>aviv Toi'iros <58e, know that you may take the story to have been thus set forth: where us merely points to the mental attitude which the subject of lirCoTtwro is to assume. Phil. 567 ws TO.VTCT"toTa>SpdfJLtv', ov j

158

IO*OKAEOYS KOVK icrTLv aur<w TOVTO y

TroXts yap rjKova,

eKJiakziv

irdXiv'

OVK iya> /JLOVT], raSe.

et 8' ovv TL KaKTpeTTOLTo TOV irpoo-dev OVTOL TTOT, wvai;, TOV ye Aatov

850 Xoyov,

(j)6vov

eu St/catais opdov, ov ye Ao^ta? -^prjvai iratSos ££ i/xov Oaveiv. KOLCTOI, VIV ov KCZVOS y

KareKTav, dW

6 Zvo~Trjv6
avros irapoidtv

G>O~T> ov)(l jx.avTeia'i y

dv ovre

wXero. TTJS1 iya>

/3Xc\jjat,iM dv ovveK ovre TrjS" dv 01.

KaXaJ? voixitfiLS.

dW

855

va-repov.

OJUWS TOJ' ipydrrjv

Tcvd o-reXovvTa, firjSe TOVT d^rjs.

860

8 5 1 Variam 1. KO.1 rpiiroi.ro (quae defendi quidem potest, multo tamen minus est probanda quam KaKrpiTroiro) praebent A, E, et prima manus in V;). 8 6 2 rbv

h-L, know that you may assume these things to be a-doing, not delayed: and ib. 253, 415: below 956. So with the gen. abs.: Ai. 281 o5s <S8' iyovrmv TCWS' iirca-raaBai ere xpij, these things being so, you must view them in that belief. 849 kpaXetv, repudiate: Plat. Crito 46 B TOVS 8k \6yovs ovs iv ™ efj.TrpoaOev eXtyov ov hvvafx.ai vvv €K/3a\elv, 851 A Kawpfrroi/ro, if he should tarn aside: see on 772 Kai...A.e£ai/u' av. 852 TOV •y« Aa£o« <(>dvov. Iocasta argues: 'Even if he should admit that the deed was done by one man (a circumstance which would confirm our fears that the deed was yours), at any rate the death of Lalus cannot be shown to have happened as the oracle foretold; for Laius was to have been killed by my son, who died in infancy. The oracular art having failed in this instance, I refuse to heed Teiresias when he says that you will yet be found guilty of slaying your father Polybus.' Iocasta, bent on cheering Oedipus, merely alludes to the possibility of his being indeed the slayer of La'ius (851), and turns to the comforting aspect of the case—viz., the undoubted failure of the oracle, on any supposition. This fine and subtle passage is (to my apprehension) utterly defaced by the conjecture
OlAinOYZ TYPANNOI

159

he cannot revoke that, for the city heard it, not I alone. But even if he should diverge somewhat from his former story, never, king, can he show that the murder of Lai'us, at least, is truly square to prophecy; of whom Loxias plainly said that he must die by the hand of my child. Howbeit that poor innocent never slew him, but perished first itself. So henceforth, for what touches divination, I would not look to my right hand or my left. OE. Thou judgest well. But nevertheless send some one to fetch the peasant, and neglect not this matter. ye codd.: xrbv ye Bothius, Dindorf. annot.

Lectio rbvSe, quani V habet, nihili est.

Vide

show dearly (Her.), SiaS-qXoo), SiapprjSyjv, 'in express terms': so above, 394 alviyixa...Sienreiv = ' t o declare' (solve) a riddle. Ao££as : a surname of the oracular Apollo, popularly connected with Xo£o's, 'oblique' (akin to Xex-pio?, obliquus, luxus 'sprained'), as = the giver of indirect, ambiguous responses (Xofa KOX kira[i,<j>oTepit,ovTa, Lucian Dial. Dear. 16): Cornutus 32 Xo^tav Sc KOX TrepuTKeXwv OVTWV TS>V )(prj (Callim. Del. 292) would then be other forms of Phoebus and Artemis a\*£ij•njpioi, d\c£ifjiopoi (above, 164), 'defenders.' Iocasta's utterance here is not really inconsistent with her reservation in 712 : see note there. 857 oiVe TJJ8«—oiVe rjjSe = OUT' im Ta.Se OVT €7ri Odrcpa, neither to this side nor to that : Phil. 204 •>} irov 17JS' r) rfjSe TOVCUJ/ : //. 12. 237 (Hector to Polydamas): TVV17 8' oltovolcn Tavvirrtpvye^ai TreCOe, | «IT* CTTI wpos r/<3 T ifeXtoV re, | dr eir' dpuTTepa rot ye TTOTI £,6ov

859 KaXus vojiC^is: he assents, almost mechanically—but his thoughts are intent on sending for the herdsman. 860 OT«XOVVTO, ' to summon': oreXXeiv = ' t o cause to set out' (by a mandate), hence ' t o s u m m o n ' : O. C. 297 o-K07ros 8e viv | os Koi/xe Sevp' lirep-Trev

160 IO.

ZO*OKAEOYI TrefJLxjjct) TO)(yva
aXX' layyuev es S6fiov<s.

ouoei' y a p a p irpagai/ji

av an/ ov croi

qnKov.

X O . OTp. a', ei jXOL i^VVZli) ep<3VTL 2 jjLolpa TOLV evcrtiTTov dyvetav 3 ipyoiv

Xoywv

re 7rdW<wv, otv VO/AOL TtpOKUvrai

865

iJT dc^-QS, ' a n d do not neglect this.' With a point after o we could render: 'neglect not even this': but Oed. does not feel, nor feign, indifference. 862 -yap, since £«>|MV K.T.X. implies consultation. The doubled av gives emphasis: cp. 139. <Sv o£ croV <|>CW = TOUTWI' a irpafat ov crot tXov ICTTL. Phil. 1227 «rpa£as tpyov irotov
863—910 Second OTWI/XOV. The second eima-oSiov (512—862) has been marked by the overbearing harshness of Oedipus towards Creon; by the rise of a dreadful suspicion that Oedipus is avayvos—bloodguilty for Lams; and by the avowed contempt of Iocasta, not, indeed, for Apollo himself, but for the [WLVTIK-Q of his ministers. These traits furnish the two interwoven themes of the second stasimon : (1) the prayer for purity in word as in deed: (2) the deprecation of that pride which goes before a fall;—whether it be the insolence of the ripa.wo<s, or such intellectual arrogance as Iocasta's speech bewrays (Xo'yoi, v. 884). The tone of warning reproof towards Oedipus, while only allusive, is^yet in contrast with the firm though anxious sympathy of the former ode, and serves to attune the feeling of the spectators for the approach of the catastrophe. 1st strophe (863—872). May I ever be pure in word and deed, loyal to the unwritten and eternal laws. 1st antistrophe (873—882). A tyrant's selfish insolence hurls him to ruin. But may the gods prosper all emulous effort for the good of the State. 2nd strophe (883—896). Irreverence in word or deed shall not escape: the wrath of the gods shall find it out. 2nd antistrophe (897—910). Surely the oracles concerning La'ius will yet be justified : O Zeus, suffer not Apollo's worship to fail. 863 it |ioi guvtfo] |ioipa <|wpovTi is equivalent to tWe StarcAot/u epu>v, the part, implying that the speaker is already mindful of dyveCa, and prays that he may continue to be so : whereas el /i.01 epeiv, an aspiration towards

OIAITTOYS TYPANNOZ

161

Io. I will send without delay. But let us come into the house : nothing will I do save at thy good pleasure. C H . May destiny still find me winning the praise of rever- ist ent purity in all words and deeds sanctioned by those laws s r o p e> dyvda. as not yet attained. Though ixotpo is not expressly personified (cp. Pind. Pyth. 3. 84 TIV Se fwlp' evSat/x.oi'ias CVCTCU), the conception of it is so far personal that £we£i] is tinged with the associations of £wcL?>etri, and thus softens any boldness in the use of the participle; a use which,, in principle, is identical with the use after such verbs as SIOTCXW, rvyxdvw, Xavtidvo). cj>^povTi (=fapofjLtvo),see on 52o)...d-yveiav, winning purity, regarded as a precious Krrjfia {Ant. 150): cp. 1190 irXeov Tas evSai/AOVias <£e'pei: El. 968 £W£'j8etav...oicrei (will win the praise of piety): Eur. Or. 158 virvov...4>epoixiv(o x<xpav. 864 cvo-eirrov, active, 'reverent,' only here : so 890 riav dcreTTTwv, also act., 'irreverent deeds,' as in 'Eur. Helen. 542 npwreajs dcrivTov mxiSos, impious, unholy: see on 515. 865 »v vd|ioi irp<$K«ivTai i\|/Cir., 'for which (enjoining which) laws have been set forth, moving on high,'—having their sphere and range in the world of eternal truths : IJI^I'TTOSCS being equiv. to v^/rjXol KO! vxj/ov mxTotWes: see on ol6£wvov 846, and contrast x^ovoa"rlI^V 3 O 1 - The metaphor in v<5|ioi was less trite for a Greek of the age of Sophocles than for us : cp. Plat. Legg. 793 A Ta KaXovfu-eva VTTO TWV TTOXX(SV dypaa

-—otrre vofiovs Sei wpocrayopevetv avTai ovre appyjTO. idv. ir (Thuc. 3. 45 «v ovv Tais ToXecrt iroXXmv Oavdrov t,fjjua strengthens the metaphor: Xen. Mem. 4. 4. 21 Suo?v ye TOZ SISOWIV ot Trapa/JouVovres r o i s viro ryyeiv, it
aypa(j>oi vofj.01. which are eV irdarj \u>p<} Kara, ravrd vo/xi^o/ievot,—as to

revere the gods and honour parents. Arist. Rhet. 1. 13. 2: 'I consider law (vofnov) as particular (iSiov) or universal (KOIVOV), the particular law being that which each community defines in respect to itself,—a law partly written, partly unwritten [as consisting in local custom]; the universal law being that of nature (TOV Kara cpva-iv). For there is a certain natural and universal right and wrong which all men divine (/xavT€vovTai), even if they have no intercourse or covenant with each other; as the Antigone of Sophocles is found saying that, notwithstanding the interdict, it is right to bury Polyneices' {Ant. 454, where she appeals to the aypama ia.Xri 6e
II

162

IO*OKAEOYI 4 v^tTroSes, ovpaviav 5 Si' aWepa

reKvcoBevTes,

6 TraTrjp ixovos, ovSi

£>v *O\V[JLTTOS

viv

7 Ovara <£ucris dvepcov scTiKTev, ovSe //.aV Trore \ a # a Kara/an/uacref 9 fieyas «* TOUTOIS 0eos, ovSe yr/pdcrKeu.

870

air. a'. v/3/xs (ftvreveL Tvpavvov 2 U/8/HS, et TroXAaJp VTTepTrXrjcrdfj 3 a jai) 'triKaipa

873 fxarav,

fnqhk avjif^epovra,

875

8 7 O oi)5> /i9}j/ irore L, A, codd. plerique: ot55£ jnoiy ffori (sic) V : oi55£ /tr/wore E . Maior ergo codd. auctoritas pro 1. oi)5£ n&v TTOTC....KaraKOLfidaei facit quam pro 1. ovii n-qiroTe...Ka.Ta.KoiiAa.<xri. H a b e t certe L Ka.TaKoifj.d
Introd. to Arist. Rhet. p. 239. 866 oipavCav 81 aie^pa TeKvwe^vT«s, called into a life that permeates the heavenly ether (the highest heaven): the metaphor of T«KV
TO <£vo-£i SiVaioi/): Kal


irepl

TOV /JLY)

KTUVCIV TO efitj/v^ov' TOVTO yap ov rurl [i.\v StVatoi/ TKTI 8' ov Si'xaiov,

a TO [lev TraVTinv v6ft.ifJ.ov 8ta r' tvpvfj.iSovTO'S | aiOepO's rjvt-

TtTaroi 8ta r d-jrXerov av yrj'i (so Scaliger rightly amended s: Emped. 438): where the special reference of Empedocles is to a principle of life common to gods, men, and irrational animals (irvevfia TO Sia iravTOS TOV Koa/iov hvrJKOV "/'v^s rpoirov, SextUS Emp. Adv. Math. 9. 127: cp. Cope ad loc). al0o<; epxtTat. ovpavov elcrw | aWipos ex 81^5: where, Olympus being the mountain, the ovpavos is above the aWrjp, since i£ alOipos could not = Z£ aWpas, after clear weather: and so //. 2. 458 Si' aWepos ovpavov iK€i: II. 19. 351 ovpavov eKKareiraXTo 81* aldipoi: cp. Ant. 420. Here oi!pav(av atOt'pa = the highest heaven. 867 "OXvpn-os: not the mountain, as in the Iliad, but, as in the Odyssey (6. 42), the bright supernal abode of the gods: and so = the sky itself: O. C. 1654 yyjv TE

OlAinOYZ TYPANNOS

163

of range sublime, called into life throughout the high clear heaven, whose father is Olympus alone; their parent was no race of mortal meri, no, nor shall oblivion ever lay them to sleep ; a mighty god is in them, and he grows not old. Insolence breeds the tyrant; Insolence, once vainly surfeited on wealth that is not meet nor good,

1st anti°p e*

s

ficurei in A (cui calami fortasse lapsu Campb. aoristum subiunctivi tribuit), et in reliquis codd. paene omnibus, exceptis L2, A, Pal., Trin. Quocirca cum fateri debeamus, lectionem f/.7iT0Te...KaTa.K0tuaiTQ sententiae nihilo secius convenire, alteram. tamen, ut multo gravioribus innixam testimoniis, praeferendam duximus. ofiov I Kal TOV 6e<Sv "OXvfiirov. 870 ?TVKT«V, ' was their parent,' sometimes used instead of ereKe where the stress is not so much on the fact of the birth as on the parentage, 1099, O. C. 982, fr. 501 : Pind. P. 9. 15 Zv 7roTe...Neus...?TiKTO'. (It would be prosaic to render, 'brought forth successively,'—developed.) o«8i |tdv...KaraKoi|iairci: the MSS. favour this reading, and ovSJ jidv is suitable as = ' n o , nor...' But I do not see how ov /^...KaraKot/xotrj; could be rejected on the ground which Prof. Campbell assigns, as ' too vehement.' In itself ov fi.ij simply expresses conviction: Plat. Phaed. 105 A OVKOVV 17 i/oi^V T° ivavriov

<5 avrrj im<j>epei del ov furj irore

Bi^rjrai,

<us e/c T(3v Ttpoo'Otv

cu/AoXoyip-ai; 871 fiivas tv roiiroisfl«o«:the divine virtue inherent in them is strong and unfailing. Cp. Eur. fr. 188 6t6s TIS Iv tjfuv, 9«rfs without a r t , as 880: O. C. 1694 TO ipov «K OCOV. Better thus than, 'there is a great god in these'—which is weak after what has preceded. 873 fippis. The tone of Oedipus towards Creon (esp. 618—672) suggests the strain of warning rebuke. Aeschylus, with more elaborate imagery, makes v(3pis the daughter of <Wcre/3ta. and the parent of a via v/3pi<s. which in turn begets icdpos and Opdaos {Ag. 764). nipavvov, here not ' a prince,'—nor even, in the normal Greek sense, an unconstitutionally absolute ruler (bad or good),—but, in our sense, 'a tyrant': cp. Plat. Pol. 301 C OTav fitfTe Kara VO/AOVS pijTt Kara. t6t] TrpaTrg rts cis ap^tov, irpao~TroirJTai 8« (uoTrep o emo~nj)j.(ov vo~ei i\ eiriTij8ev/x.ao"tv ~q afj.<j>OTepois fitOvT« Kal ZpwTiKOS Kal fieXayxoXiKoi yevrjTai.. F o r tl with

II—2

164

SO*OKAEOYI 4 OLKporaTov elcravafiacr' 5 airoTo^ov wpovaev eis avayKav, 6 evff ov iro&l xprftrCfiw TO KaXws S' ex 0 1 ' Xatcr//,a [JLI]TTOT€ Xucrat 0eov atrou/iai. 9 ^eoV ou Xrjtja) irork TrpocrTaTav lcry(O)v.

TJ

arp. yS'. et Se Tt9 vnepoTrra ^epaiv

rj \6yco nopeveTcu,

88o 883

8 7 6 seq.

aapov in 877 ex mea coniectura supplevi. aKporarav eiaavafiS.
subj., see on 198. 876 dKp6raTov is metrically required for correspondence with vi//tVo8cs in 866. The MSS. have dKpoTdrav, possibly due to dvayKav. In 877, diro'Tojiov apovtrev «ls avayKav, there is a defect of one long syllable or two short ones, the corresponding verse of the strophe, 866,

being BC aWipa T£KVO)#CVT£S U>V "OAI^/ATTOS.

diroTO|iov seems un-

questionably right: neither aTroTfwv (which occurs as a variant) nor aTropov is nearly so forcible, or so appropriate to this image of the sudden, headlong fall. If, then, airoTo^ov is kept, these methods of correction are open:—(1) T o prefix i£- to wpowev. T o this the objection, I think, is that aKpirarov euravapacr must then mean, 'having climbed to the highest point'; i.e. a«poT. must be a substantive; for, with clowa/?. (this would not hold of dvaj3a
19. n 6.KpoTa.Tt\v Kopvrjv ^XOO-KOTTOV elcrava-

fiawuiv : and so in all places (about 14) where it occurs in the Homeric poems the verb has an accus. Now, ro aKporarov might serve for such : but surely not aKporarov. (2) T o supply before dir<>TO|i.ov.a noun agreeing with dKpiTOTov. Arndt conj. al^i-os ('A#<3ov, 'Apa^vatov al7ros Aesch. Ag. 285, 309). Another possibility is oX/Jov. I propose dicpov, which a scribe ignorant of metre might easily have taken for a redundancy generated by aKpororov. 877 dir6TO|iov...€ts dvd-yicav, to sheer ruin: the epithet of the precipice being transferred to the abyss which receives h i m : Her. 1. 84 TO \Ly/t.ivoi. C p . P l a t . Legg. 716 A o Se T6S ef itro fj.eyaXav^ia.'; rj xpiyjU.aa-U' liraipo^vos rj Ti/xats r) KCU o-aj/taros

OIAITTOYI TYPANNOZ

165

when it hath scaled the crowning height, leaps on the abyss of doom, where no service of the feet can serve. But I pray that the god never quell such rivalry as benefits the State; the god will I ever hold for our protector. But if any man walks haughtily in deed

or word, 2nd

strophe. deinde irdr/iov voluit corrector in airSrofnov mutare, hoc cum v. avayKav iuncturus. Est autem et in L et in A gloss, airoppuya ad v. O.W6TO/J.OV. Pro aKporaray nulla extat in codd. lectionis varietas. Habent item codd. quos viderim omnes tSpovaev, excepto T, qui avupovaev insulse praebet. Frustra erunt qui ad expediendas huius loci tricas plus opis a codicibus exspectant. Rationes vero quibus coniectura axpov finnatur infra annotatae sunt.

a/La veorrjTi Kal dvoia. (jtXeyerai rrjv if/vxrjv pe0' vfiptb)1:...fJ-CTO. Se xpovov ov TTOXVV virov Tiyn
avdo-TdTov €Troir)(T€. 878 xpi(r'li
deed and word of circling dance, i.e. in linking of the hands and in

166

Z04>0KAE0YS 2 Awas a^oySijros, ovSe 3 Baifiovcov £$7) v, l KO.KO. viv eXoiro fxoipa, 5 SucnroT/tou ^dpuv ^XtSas, 6 ei JU,IJ TO KepSos Kephavev

7 /ecu TWV dcreiTTcov ejoferai, 877

885

St/cauu?

890

89O tplcTox L : ubi litteram £ ex 7 ortam esse mihi quidem haud certum videtur. HpZercu A. Consentiunt in voce, in spiritu tantum variant ceteri codd. 891

song : cp. 864. 885 ACKO.S d<j>dpt)Tos, not fearing Justice: cp. 969 ai/rawros <£yxovs> not touching a spear. The act. sense is preferable only because class. Greek says o[3r]0a<s -rrjv BUrjv, not 4>oftrj0eis vird Trji

81/ojs: the form Of the adj. would warrant a pass, sense : cp. Tr. 685 <XKTIVOS. . .aOiKTov. With a<^>o/3os (At. 366) a<jf>o/3?jTos cp. drap/ify's (7V. 322) arap/S^Tos (y4/. 197). 886 ®*\, images of gods, whether sitting or standing; but always with the added notion that they are placed in a temple or holy place as objects of worship. Timaeus p. 93 ISos- TO a.yaXfx.0. KCU d rdiros iv £iStav TOV TO T^S 'A^Tjvas eSos Ipyacra^tvov, i.e. the chryselephantine Athena Parthenos; cp. Hut. Per. 13 6 Se "fcciSias iipyd&To fikv T ^ S 6eoC TO xpvtroCj' ISos, Xen. Hellen. 1. 4. 12 IIXwTqpva. tjyev ij 7roXi5, TOV ISovs KaTaKeka\viXfj.evov T^S 'A^ijvas : z.^. t h e

dpxaiov jSpeVas of Athena Polias in the Erechtheum was veiled in sign of mourning (the death of Aglauros being commemorated at the festival of the Plunteria). Paus. 8. 46. 2 <£
OIAITTOYX TYPANNOI

167

with no fear of Justice, no reverence for the images of gods, may an evil doom seize him for his ill-starred pride, if he will not win his vantage fairly, nor keep him from unholy deeds, but must lay profaning hands on sanctities. eSiercu naraifav L. e^erai nardfav (sic) A : deest iota subscriptum in aliis quoque cockl., ut B, V, Bodl. Laud. 54. Recepi quod Blaydes. coniecit, 8l£tTcu : vide annot.

allusion is, indeed, uncongenial to it. But a light touch like this— especially in a choral ode—might fitly strike a chord of contemporary feeling in unison with the emotion stirred by the drama itself. I do not see how to affirm or to deny that such a suggestion was meant here. 888 8DO-W6T|IOD, miserably perverse : Ant. 1025 OVKIT IO-T... j a/3oi>Aos OUT'

ai'oX/3os. 890 TWV do-einw: see on 864. S?p£erai, keep himself from : O. C. 836 elpyov, 'keep off' (the holy ground): Her. 7. 197 ak m m TO aA.o~os eyivero, P l a t . Legg.

CIUTOS Te epyeTO aurov Kai vfj (rrpaTiy Trday

TrapyyyeiXe.

8 3 8 A Cl)S €V T£ KOLL aKpljUo'S UpyOVTCU TTJ'S TWV KaXlSv £uyOV(TUK.

As to the form, Her. has Ipyo or iipyw: in Attic the MSS. give Aesch. Eum. 566 Ka.Te.pya.Qov : Soph. Ai. 593 £vvep£eTe: Thuc. 5. U TrtpUp^avTes (so the best MSS., and Classen): Plat. Gorg. 461 D KaOepiys (so Stallb. and Herm., with MSS.) : Rep. 461 B ^vvipiavTos: Rep. 285 B ep^as. So far as the MSS. warrant a conclusion, Attic seems to have admitted ip- instead of dp- in the forms with £ T h e smooth breathing is right here, even if we admit a normal distinction between elpyio ' to shut o u t ' and eipyu ' t o shut in.' 891 BCf-erai. This conjecture of Blaydes seems to me certain. The form occurs Eur. Hippol. 1086 /cXa«ov TIS O.VTS>V ap ip.ov ye 6(£frcu: Her. 652 el 8e T<3vSe irpocrdi^ei yept. Hesych. has 6l£e
tooth and nail to gain' : fr. 26 ra p.ev | Stxat' «raiVei TOV 8k KepSaweiv e^ou. Some explain e$erai as ' a b s t a i n ' : Od. 4. 422 aylaQai re ySt'ijs Xvaai re yepovTa: Her. 6. 85 CO-^OVTO TTJS aywy^s. To this there are two objections, both insuperable: (1) the disjunctive 7},—with which the sense ought to be, 'unless he gain &c...or else abstain': (2) /j.a.Ta£wv, which could not be added to ?|cTai as if this were mivo-cTou. (JMT^UV, acting with rash folly: Her. 2. 162 direfiaTaCae, behaved in an unseemly manner: Aesch. Ag. 995 airXayxya 8' OVTI p\a.Ta.t,ei, my heart does not vainly forebode. T h e reason for writing yua.Tc££w, not /«iTa£w, is that

168

ZO^OKAEOYI 9TIS e n TTOT iv ToicyS dvrjp OeaJv

11 ei y a p at rotatSe Tr/aafets rt/xtat, 12 TI Set )ite

895

air. /?'. ovKen TOV dOucrov ei/u y a s eV 6yLa\6v creftav, 2 oi38' es rov 'AySatcri vaoV, 900 8 9 2 seq. ris ?« TTOT' & ToiirS' ai'^p | 8v/j,t2i j34\ri epgerai (sic) ^u^as d/ivvav L. Sic etiam A, in quo et 0u/tcSi et Ip^erai (sic) clare scripta sunt. Plerique codd. Ip^erai (sic) habent. Pro Ov/ty, pauci quidam Su/ioi/ praebent. Extat dvnui (sic) in B, E, T, Pal., V2, V3, V4. Pro iv rdtaSe, habet E cum paucis aliis iv TOVTOIS, B (omisso ii>)

the form fnwrdlifa is well attested (Her., Josephus, Hesych., Herodian): while there is no similar evidence for ixardtfa, though the latter form mig?U have existed, being related to a stem fiara (/UXITIJ) as SiKa£-v $i\r\, 'arrows of anger,' could mean, 'taunts hurled by an angry man'; but, alone, could not mean, 'the arrows of the divine wrath.' The readings of the MSS. might have arisen either through the v of Oeuiv being written, as it often is, in a form resembling fi, and a> having then been transposed (so that dv/iiS would have arisen before #v//,dk); or from a gloss Ovpov on i/ar^ds. For P&.11 cp. Plat. Legg. 873 E •K'krfv Sa-a Kepawos t) Tt Trapa 6tov TOIOVTOV /?e'A.os lov. 894 ci'Jerai. This COnject. of Musgrave (which Blaydes adopts) involves only the change of one letter from Spgerai.: and nothing would have been more likely than a change of euferai into ip^erai if the scribe's eye or thought had wandered to ipierai in 890, especially since the latter is not obviously unsuited to the general sense. But ?p|eTdi here is impossible. For (1) we cannot render: ' will keep off the shafts from himself, so as to ward them from his life': this would be intolerable. Nor (2), with Elmsley: 'who will abstain from warding off the shafts of the soul (the stings of conscience, ^v^tts fi&rj) from his mind (#17x01!)?' i.e. who will not become reckless? This most assuredly is not Greek, ei'gerai., on the other hand, gives just the right

OlAinOYI TYPANNOZ

169

Where such things are, what mortal shall boast any more that he can ward the arrows of the gods from his life ? Nay, if such deeds are in honour, wherefore should we join in the sacred dance ?

and

No more will I go reverently to earth's central inviolate shrine, no more to Abae's temple

2nd anti"

s rop e

aiirois: quae mera fudit incuria. BeCiv pro 6a} coniecit Hermann.; eH^erai. pro ?p!ercu Musgravius. Vide annot. 8 9 6 Post x°/ )cl ' e '" habet L in eodem versu haec verba, Troveiv 17 TOIS 6eoi
sense: 'If justice and religion are trampled under foot, can any man dare to boast that he will escape the divine wrath?' 896 xopdav. The words irovuv rj TOIS 6101s added in a few MSS. (including L) have plainly arisen from a contracted writing of Travrjyvpt&Lv TOIS 6tot<s which occurs in a few others. This gloss correctly represents the general notion of Xopeveiv, as referring to the x°P°^ connected with the cult of Dionysus, Apollo and other gods. The x°P°'s was an element so essential and characteristic that, in a Greek mouth, the question TL 8CI jae x°Pe^iLV> would import, 'why maintain the solemn rites of public worship?' Cp. Polybius 4. 20 (speaking of the youth of Arcadia) /uem Se TavTa TOVS QiXoiivov KOX TijioOiov vojuows fiavOdvovTes (learning the music of those masters)

TroXXfj i\orif>Lia. ^ o p e i i o u i r i KO.T' iviavrov TOIS Aiovuo-iaKOis hi TOIS #ecny>ois, 01 [ikv TraiSes TOIIS 7rai8iKOi)S dyuSvas, 01 Se Tois TUIV av^putv Xeyo/xei/ovs. E u r . Bacch. 181 Sei...Aioi'vicrov... ocroi' Ka6' i?/xas OWUTOV av^ecrdaL [neyav' \ irot Set \opeveiv, irol KaOicrTcivai 7ro'Sa, I Kai Kpara aelcrai TTOXIOV; i^-qyov
The Theban elders need not, then, be regarded as momentarily forgetting their dramatic part. Cp. 1095 xop^tcrdcu. 898 attiKrov: cp. the story of the Persian attack on Delphi in 480 B.C. being repulsed by the god, who would not suffer his priests to remove the treasures, <£as auras txavos tiva.1 TWV iiavrov TrpoKaTrj(r6a.i, Her. 8. 36. 6|i,<j)aX6v: see on 480. 900 T6V "Apoio-i vaov. The site of Abae, not far N. of the modern village of Exarcho, was on a hill in the north-west of Phocis, between Lake Copais and Elateia, and near the frontier of the Opuntian Locrians. Her.

8. 3 3 tvOa r/v upov 'ATTOXXWVOS TTOXXOLCTL Ka.Te(TK£va
TrXavcriov, Orjcravpoicri TE rjv

Se

Kai

TO'T£

Kai

vvv

KOI

I04>0KAE0YZ 3 ovSe TCLV

4 el jxrj r a S e ^ e t a TTOLCTLV dp/jiocrei.

C d\A.\ cu KparvvoiV, 7 Zev, TrdvT

etTrep opff

dvdcrcrcov,

a«rouet?,

/AT) Xddou

8 ere r a i ' re crdv dddvarov

aiev dp^dv.

$9lvovTa yap Aa'iov <7ra\ai(f)ara> 10 d4cr^>aT i^aipovcnv rjSr), 11 KovSa/i.ov Tt/iais 'ATTOXXWI' i[i.a,vijs' 12 Ippet Se TO, #eta. IO.

905

9 10

^wpas avaKres, So£a /tot

9O3 c5p(?6c L, 8/>ff' A et ceteri codd. 9O4 \
^prj(TT7jpLov avToOc

KOI TOVTO TO tepov cnjXr/O-avTes iv£Trpr](Ta.v (the P e r s i a n s

in 480 B.C.). Hadrian built a small temple beside the ancient Upov, Paus. 10. 35. 3. 901 T&V 'O\v|iiriav, called by Pindar SEOTTOIV' aXaBua.% {01. 8. 2), because divination by burnt offerings (fiavriKr) Si' ifx.Trvp
sentence,—'the vindication of thy word.'

Elms. cp. Eur. Med. 332

0IAIT70YI TYPANNOI

171

or Olympia, if these oracles fit not the issue, so that all men shall point at them with the finger. Nay, king,—if thou art rightly called,—Zeus all-ruling, may it not escape thee and thine ever-deathless power! The old prophecies concerning Lai'us are fading ; already men are setting them at nought, and nowhere is Apollo glorified with honours ; the worship of the gods is perishing. 10.

Princes of the land, the thought has come to me

codd. plerique exlribent, quanquam in paucis stat vox iraXati. vel ante Xafou vel post Biatftara plene scriptum (non 6iaaT'). Lin wood, autem, qui in v. str. 892 u>» TOIOITS' pro iv roiaS' coniecerat, hie legit 8ti>oi>Ta y&p ri. Aa'tov irakalipaTa.: quem sequitur Blaydes. Arndt., qui ipse TraXalrpara coniecerat, rh voci Aai'ou non praefixit, cum in v. 802 iv roluS' servaret.

Zev, firj XaBoi V8* os amo? KaKuv. 906 After <|>6ivovTa Y&p Aa'Cov we require a metrical equivalent for Oewv /3i\rj in 893. The iraXaid in the marg. of L and in the text of other MSS. favours ira\a£<J>aTa, proposed by Linwood and Arndt, which suits 4>8£vovra: cp. 561. Schneidewin conj. TLv66xpr]<j-Ta. Aaiov. Aatou, object, gen.: cp. Thuc. 1. 140 TO TWV MeyapeW \f/T]4>i.a-fii,a {about them). 908 IgcupoCo-iv, are putting out of account. This bold use comes, I think, not from the sense of destroying (Xen. Hellen. 2. 2. 19 jj.rj cririvSecrOai 'A6r]va(oK dW e£aipeiv), but from that of setting aside, excluding from consideration: Plat. Soph. 249 B TOUTM T<3 Aoyco ravrdi' TOVTO IK T<3V OVTU>V i£aip-ij
this same thing out of the list of things which exist.

Cp. Theaet. 162 D

0eoi>s...ovs eyco €K T€ TOV Xeyciv Kail TOV ypaeiv ircpl avrwv,

OJS e'urlv r] <<5s

OVK EicriV, e£cup<3. T h e absence of a gen. like Xoyov for c^aipovo-iv is softened by <|)8£VOVTO, which suggests 'fading from men's thoughts.' 909 Ti|jiats...4H>avr^, manifest in honours (modal d a t ) : i.e. his divinity is not asserted by the rendering of such worship as is due to him. Aesch. P. V. 171 (of Zeus) (TKrjiTTpov TijJid.<s T diTocrvXaTat.. 910 TO. 8eta, 'religion,' both faith and observance: cp. O. C. 1537. 911—1085 eireto-oStov rpirov. A messenger from Corinth, bringing the news that Polybus is dead, discloses that Oedipus was not that king's son, but a Theban foundling, whom the messenger had received from a servant of La'ius. Iocasta, failing to arrest the inquiries of Oedipus, rushes from the scene with a cry. 911—923 Iocasta comes forth, bearing a branch (iKerripia), wreathed with festoons of wool (o-re^ry), which, as a suppliant, she is about to lay on the altar of the household god, Apollo AVKEIOS, in front of

172

I04>0KAE0YI vaovs iKecrOai Saifiovav, rdS' iu CTT€
ATTOXXOV, ay^icrros yap

915

et,

ffiyfjcai, rotcrSe o~vv KaTevyfj,ao~LV, O7T<us XVO-LV TLV rjjAv OJS vvv

oK.vov[ia> iravres

Kelvov

fiXeirovTes

920

evayrj iKTr

s Kv$e.pvr\rr\v

8 1 7 He 0oj3oucr Xe7H L, i.e. \^yg. Post \ey facta est rasura. Potuit quidem prima manus \eyoi. scribere, vel \tyei: nihil tamen superest quod aut hanc 1. aut illam firmet. iji' 0d/3ous \£yii (sic) A : eadem lectio in B, E, V, ceteris, nisi

the palace. The state of Oedipus frightens her. His mind has been growing more and more excited. It is not that she herself has much fear for the future. What alarms her is to see 'the pilot of the ship' (923) thus unnerved. Though she can believe no longer in human fiavriK-q, she has never ceased to revere the gods (708); and to them she turns for help in her need. 912 vaovs 8ai|i6vwv can only mean the public temples of Thebes, as the two temples of Pallas and the 'la^viov (20). The thought had come to Iocasta that she should supplicate the gods; and in effect she does so by hastening to the altar which she can most quickly reach (919). 913 O-T^TJ: see on 3. £iri6v|urf|MiTa, offerings of incense: cp. 4. In El. 634, where Clytaemnestra comes forth to the altar of Apollo Trpoo-Tanjpios, an attendant carries Ovfrnra irayKapira, offerings of fruits of the earth. Xapoij
3. 2. 1 eSo£ev a v T o i s irpCKpvXa.Ka.'; K(XTaaTrjcravTas


rov? orpaTiwras. 916 T<1 Kaivd, the prophecies of Teiresias, TOIS imXai, by the miscarriage of the oracle from Delphi: 710 f. 917 TOV P l a t . Gorg. 5 0 8 D tlfu Se tin, T(jS ^ov\o/j,4vto,

wrinp

ol a.Ti[wt. TOV ZOIX

OIAITTOYI TYPANNOZ

173

to visit the shrines of the gods, with this wreathed branch in my hands, and these gifts of incense. For Oedipus excites his soul overmuch with all manner of alarms, nor, like a man of sense, judges the new things by the old, but is at the will of the speaker, if he speak terrors. Since, then, by counsel I can do no good, to thee, Lycean Apollo, for thou art nearest, I have come, a suppliant with these symbols of prayer, that thou mayest find us some riddance from uncleanness. For now we are all afraid, seeing him affrighted, even as they who see fear in the helmsman of their ship. quod r A^yoi praebet. Quae cum ita sint, haud dubie suadent codd. ut rjf...\dyri potius quam d...\4yoi vel el...\iyi] legamus. 92O Ka.Ttiyixa.tJLV codd.: Karapy/ituriv Wunder., Hartung., Dindorf., Nauck., Blaydes.

av re TVITTUV Poik-qrai, K.T.X.—as outlaws are at the mercy of the first comer: O. C. 752 TOVTTLOVTO<S dpirda-ai. rjv <)>opovs X^YU has better MS. authority than d Xe'yoi, and is also simpler: the latter would be an opt. like At.

520 dvhpi TOI xptv (=XPV)

I C-v^f-fiy rpo&sivcu, TtpTrvov el

ri

TTOV irddoi: cp. ib. 1344: Ant. 666. But the statement of abstract possibility is unsuitable here. el-.-Xiyrj has still less to commend it. 918 o«, seeing that, = hra&q: Dem. or. 1 § 1 ore roiwv ovrtos ?x c ' : s o o7roTE Thuc. 2. 60. 919 AVKCI' "AiroXXov: see on AvKtu 203. 920 KaTcifyiiao-iv, the prayers symbolised by the iKer^pia and offerings of incense. The word could not mean 'votive offerings.' Wunder's conject. KOTap-yiuuriv, though ingenious, is neither needful nor really apposite. That word is used of (a) offerings of first-fruits, presented along with the elpeo-uavrj or harvest-wreath, Plut. Thes. 2 2: (b) the ovko)(VTai or barley sprinkled on the altar and victim at the beginning of a sacrifice : Eur. / . T. 244 \Lpvi$6.
174

AITEAOS. dp

av nap

TOL TOV

vfiwv,

Tvpdvvov

ci $evoi, ji.d8oifx OTTOV Sco/iar' icrrlv OISLTTOV ;

925

/AaXicrra S' auTW eirrar', et KOJTMTQ* OTTOV. XO. oreyai

ju.ep aiSe, KCIUTOS li'Soi', w ^eVe"

yvi'iy Se p.r)Tiqp rfie

TCOV KCLVOV

reKvcov.

A r . aA.A. oApia Te Kai fui' oApiots aet yivoiT', IO.

iKeivov y

ovcra Trai'TeXi}? Sd/Jiap.

avrws oe «:ai cru y , w fef eueiretas ovveK.

930

agio? yap et,

aXXct (J>pdC orov

d(f)l^at ^w r t crrjfjLrjvai, dikcov. AT. dyaOd SOJUCHS r e /cat irocrei ra crw, y w a i . IO.

TOL TTola ravTa;

TT/3OS TIVOS 8' dLy[JLevo<;;

935

926 KC£TKT0' A. KaroicrB' L et codd. plerique. Hinc fortasse, ut Dindorfio visum est, materiem sumpsit grammaticus in Bachmanni Anecd. vol. i. p. 358. 20, qui Sophoclem rb dlaSe airb rod ol'Sare /cara trvyKoirrjv usurpasse tradit. 933 .^afrt /ti; Kotjucoi' VTTVW. 924 When the messenger arrives, Iocasta's prayer seems to have been immediately answered by a Xwts evayjfs (921), as regards part at least of the threatened doom, though at the cost of the oracle's credit. 926 ndXio-ra denotes what stands first among one's wishes : cp. 1466 : Track. 799 /xaXtcrTa fj.lv /xe $es | ivravO' OTTOV /JL€ firj TIS otpirai /3poT(oV I ei 8' OIKTOV lo^eis, K.T.X. : Phil. 617 olovro fiiv fjidXia-O' IKOVO-IOV XajSwv, | el fir] 6e\oi 8", CLKOVTO.: Ant. 327 oXK evpeOurj

fi.lv jiiaAio"r'' lav 8e TOI | \rj<j>6fj re KO.1 firj K.T.X. 928 Y«vi] 8J. Here, and in 930, 950, the language is so chosen as to emphasise the conjugal relation of Iocasta with Oedipus. 930 irovTcXijs, because the wife's estate is crowned and perfected by the birth of children (928). The choice of the word has been influenced by the associations of TCAOS, with marriage. Aesch. Eum. 835 $vrj irpo iraL&wv KO.1 ya.fi.-qXi.ov (the marriage rite): ib. 214'Hpas rcAcias KW. Atos TrtoroJ/xara : schol. on Ar. Thesm. 973 infioivro ev TOIS ya/iots <us wprravct? ovres rwv ya.fi.mv' reXos 8c o ya/xos: Pindar JVem. IO. 18 TtXeia /jirJT-rjp—^Hpa, who (Ar. Th. 976) icA^Sas yd.fi.ov <^>vAaTT£i. In Aesch. Ag. 972 dvrjp T«Aetos=oiKoSccriroTr;s: as 80/ios •qfi.iTtXrj^ (IL 2. 700) refers to a house left without its lord: cp. Lucian Dial. Mort. § 19 iq'fUTiXrj fiiv TOV

OlAinOYZ TYPANNOZ

175

MESSENGER.

ME. Might I learn from you, strangers, where is the house of the king Oedipus ? Or, better still, tell me where he himself is—if ye know. CH. This is his dwelling, and he himself, stranger, is within; and this lady is the mother of his children. ME. Then may she be ever happy in a happy home, since she is his heaven-blest queen. Io. Happiness to thee also, stranger! 'tis the due of thy fair greeting.—But say what thou hast come to seek or to tell. ME. Good tidings, lady, for thy house and for thy husband. Io. What are they ? And from whom hast thou come ? dubitari non potest quin recte legatur, quanquam L (cum V et Pal.) x^s TI habet, T autem Kal TL 9 3 6 irpbu L, quod tamen ex iraph fecit manus vel prima (ut mihi videtur) vel certe antiquissima; paullo recentior addidit S' post ri'cos. irapa L2 et Pal.: irpbt A et plerique.

wS

KaTokiiriov, ^fipav 8e rrjv veoya/xov yvvatKa. 9 3 1 OVTWS {Trach. 1040 auT
Aeolic accent), = 'in that very way': hence, according to the context, (a) simply 'likewise,' or (b) in a depreciatory sense, 'only thus,'—i.e. ' inefficiently,' ' vainly.' The custom of the grammarians, to write avras except' when the sense is 'vainly,' seems to have come from associating the word with OUTOS, or possibly even with euros. For Soph., as for Aesch. and Eur., our MSS. on the whole favour av-ras: but their authority cannot be presumed to represent a tradition older than, or independent of, the grammarians. It is, indeed, possible that was an instance of old aspiration on false analogy,—as the Attic (Aeolic a/t/xes for do-jut's) was wrongly aspirated on the analogy of (see Peile, Greek and Latin Etymology p. 302, who agrees on this with Curtius). In the absence of evidence, however, that avrws was a like instance, it appears most reasonable to write avrms. 932 eveireCas, gracious words, = ev<j!>»7/*ia.s, in this sense only here : elsewhere = elegance of diction : Isocrates rrjv cveirciav «K 7ravros SHOKEI /cat TOV yXai^upws \eyciv o-TOxaCerai fiaWov rj TOC a^eXws (Dionys. Isocr. 538). 935 irpis TCVOS, 'sent by whom,' bringing a message on the part of whom: while irapd TWO* would be simply ' from whom.' Had 7rapd been genuine, the less obvious Trpds would not have been likely to supplant it in A and other MSS.

176 AF. 10. AF. 10. AF. 10. AF. IO.

01.

IOOKAEOYI Trjs KopCvdov. TO 8' CTTOS ovc;epa> rjooio fj.eu, 7TWS o ou/c a v ; acr^aAAot? o ic r t o' ecrrt; iroiav BvvafJLLV <5S' e^ei SiiTXrjv ; Tvpavvov OVTOV ovTn^cjpLou ~)(6ovo<; T-I^S 'laO/xCas CTTTJO-OVO-LV, ws ^vSar' e/cet. 940 n o ; ou^ d 7rpeo~f3vs IIoXu/3os ey/cyoar^s e r t ; ov S^T', ei7ei I'll' OavaTos Iv r a ^ o i s ex ei * 7ra>s etnas ', V) redvrjKe IloXuySos, < <S > yipov ; et /LIT) \eyca Takr/des, a^tw davelv. w npoo-iToX', ou^i SecrTroT^ r a S ' GJS r a ^ o ? 945 fjioXovcra Xefeis; cS ^ew Iv ecrre1 rourov OiStirous TraXat TOP avhp €(f>evye firj KTOVOL, kal vvv o8e 77-pos r ^ s TV)(7]S oXcaXev ov8k TOVS" VTTO. tS
Tt JU,' itjeTrefjLxjjoi) Sevpo 10.

rcui'Se

hoifiarcav;

cucove TavSpos TOUSC, /cai CTKOTTCI

KXVOV

TO. criyjv iv T/KU TOV Oeov ix.avTeifj.aTa. 8 4 3 •? TiBmiKe nd\i//3os; AP. ei S£ fiy | \ ^ w 7' fyci TVLX^S L et A. Scripsit Triclinius, irfis eiTras; ^ TiBvijKe IIdXv/3os 7^pw><; | Ar. ei /ii} X^w TOXIJWS K.T.X. Qua coniectura paullum in melius flexa praebent codd. aliquot recentiores y4pm> pro yipwv : nullus autem, quern quidem cognoverim, w yipov exhibet. Acceperant igitur librarii versum mutilum, TTUS (TTTCLS ; y rtSv-qKe H6\vflos; quem explere placuit aut versu 944 per ineptias distento, aut ratione Tricliniana. Potuit certe poeta « yipov scribere,

L, too, has irpoa- made from wapd by (as I think) the first hanVi itself; certainly by an early hand. Cp. Od. 8. 28 IKIT i/wv 8<S | 17c 7rpds •ijottav yj la-irepiiov dvOpwTroiv. 936 TO 8' Jiros, 'at the word,' accus. of the object which the feeling concerns: Eur. El. 831 TI XPW a^vjucis; 937 d
C p . Aesch. Ag. 1049 TTUOOI dv, el ireiOoi', dirti6oiq<; 8' urois.

941 4YKPaT11s = *v KP<*-Til '• Civ.

1. 14.

C

P- f-vap\o% = iv dpxfj,

943 A defective

in office, A p p i a n

Bell.

verse, ir<Ss etiras; i\ T^6VI)K« IldXvpos; h a s

been patched up in our best MSS. by a clumsy expansion of the next verse (see crit note). The lipav supplied by Triclinius (whence some

OIAITTOYS TYPANNOI

177

ME. From Corinth : and at the message which I will speak anon thou wilt rejoice—doubtless ; yet haply grieve. Io. And what is it ? How hath it thus a double potency ? ME. The people will make him king of the Isthmian land, as 'twas said there. Io. How then ? Is the aged Polybus no more in power? ME. NO, verily: for death holds him in the tomb. Io. How sayest thou ? Is Polybus dead, old man ? ME. If I speak not the truth, I am content to die. Io. O handmaid, away with all speed, and tell this to thy master! O ye oracles of the gods, where stand ye now! This is the man whom Oedipus long feared and shunned, lest he should slay him; and now this man hath died in the course of destiny, not by his hand. [Enter OEDIPUS. OE. Iocasta, dearest wife, why hast thou summoned me forth from these doors ? Io. Hear this man, and judge, as thou listenest, to what the awful oracles of the gods have come. vel a %ive. Mini vero magis arridet Nauckii sententia, restituendum suspicantis ?r<2s eliras; i; riBvriKtv Ol&iirov warrip; Sed utinam vir eximius manum de tabula tollere voluisset, neve versum 944, qui sanus est, hunc in modiim refingere ; ridvr\Ke IIo\u(3os' el 8t M, dfifi 6avelv. Praeeunte Nauckio Dindorfius in Poet. Scenic, ed. v. dedit jrws cliras; 17 Tt9vt[Kev OlStwov iraTijp; | AF. ri9ri]Kti>' el Si fir/, avros dftw davelv.

95O

•Q81
late MSS. have -^pov) was plainly a mere guess. Nauck's conj. OlSfarov irai-ifr; is recommended (1) by the high probability of a gloss HoXvpos on those words: (2) by the greater force which this form gives to the repetition of the question asked in 941: (3) by the dramatic effect for the spectators. 946 » 8«Sv iMurcvpara. Iocasta's scorn is pointed, not at the gods themselves, but at the yaaireis who profess to speak in their name. The gods are wise, but they grant no irpoVoia to men (978). Cp. 712. 947 Xv ia-ri: tvo as 367, 687, 953, 1311,

1515-

O. C. 273 iKo/j.r]v iv

LKOfj.r)v. T»«TOV T6V avSpo...Tpe'(i<»v

he feared and avoided this man, |uj KTCIVOI (airov). 949 TVXT|S, i.e. in the course of nature, and not by the special death which the oracle had foretold. Cp. 977. 951 i^eiri^a, the midd. as in «KKO(see on 597), /«T<Mre//,7r«r0ai, etc., the act. being properly used J. S. 12

178 OI.

SO<J>OKAEOYI OUTOS Se TIS nor'

ecrri KOL TI /MOI Xeyei;

IO. e« TTJS KopCvdov, irarepa

TOV

a w dyyeXwv

OI. AF.

6$s OVK4T OVTCL UoXvfiov, aXk' dXwXora. TI <£^5, £eV; auros /xot crii
OI.

i>o
OI. AY.

955

960

e(f)0LTo.

AT. Kai T&3 jiiaKpw ye crv/Ajaerpovjuevos XP^VOI. eu ^>ei), r t 8177' av, w ywcu, o-/co7roird TIS iv eoTiav, ^ TOUS at'w

965

opvis, wv vTjyr)T
954 TI (ioi X^ei;

'what does he tell (of interest) for me?' (not 'what does he say to me?': nor 'what, pray, does he say?'). 956 «Ss: see on 848. 957 oiuulvTCDp is, I think, unquestionably right. A is among the MSS. which have it, and in several it is explained by the gloss /^i/imf?. That the word was not unfamiliar to poetical language in the sense ('indicator,' 'informant') which it has here, maybe inferred from Anthol. 6. 62 ( J a c o b s I . 205) KVKkoreprj fio\ifiov,

are\i8a>v o-rjfidvTopa irXevprys, t h e

pencil which makes notes in the margin of pages: Nonnus 37. 551 arjfiAvTopi (jxavjj. On the other hand, otnujvas Y«VOU could mean nothing but 'place yourself in the position of having told me,' and could only be explained as a way of saying, ' tell me at once.' But such a use of yevecrOai with aor. partic. would be unexampled. The only proper use of it is made clear by such passages as these: Ai. 588 firj irpoSoiis ij/xas •yevr?, do not make yourself guilty of having betrayed us : Phil. 772 p j crauToV 6' a//.a | Kaju,e...KTeiVas ywy, do not make yourself guilty of having slain both yourself and me. 959 «{i (
£

" °^a

KC

" Oovpos Trep wv, where Strabo p . 183 gives

018a; and so Pors. here would write
OlAinOYZ TYPANNOZ

179

OE. And he—who may he be, and what news hath he for me ? 10. He is from Corinth, to tell that thy father Polybus lives no longer, but hath perished. OE. HOW, stranger ? Let me have it from thine own mouth. ME. If I must first make these tidings plain, know indeed that he is dead and gone. OE. By treachery, or by visit of disease ? ME. A light thing in the scale brings the aged to their rest. OE. Ah, he died, it seems, of sickness ? ME. Yea, and of the long years that he had told. OE. Alas, alas! Why, indeed, my wife, should one look to the hearth of the Pythian seer, or to the birds that scream above our heads, on whose showing I terea nisi codicis V auctoritate firmari videtur lectio ar/nrivas, quam falsam esse mihi persuasum habeo : vide annot. 9 5 9 eS tad' codd.: aa<j>' tad' Porson., ged vide infra : Ka.Ti.a6' Hartung.: t£ia6' Meinekius.

preceding crocus is decisive against this. Soph, had epic precedent, //. I. 385 ev £tS(ik dyopeve, etc. Cp. 1071, iov lov. Oavdo-qiov pfpiK<5ra: At. 516 /toipa... | Ka$ei\ev "AiSou 0ai>ao~i^ous oiKijTopas ; Ph. 424 Ba.vu>v...fypo\&o<;. 960 {woXXo-yjj : see on 34. 961 o-|UKpd poirij, leve momentum: the life is conceived as resting in one scale of a nicely poised balance: in the other scale is that which sustains the life. Lessen this sustaining force ever so little, and the inclination (poTrrj), though due to a slight cause (oyuKpa), brings the life to the ground (cvvdgci). Plat. Rep. 556 E uxrirep crw/na vo<76ITO), and of the long years (T» |MIKP<J> XP°V(S>> causal

dat.), in accordance with their term (o-n(i.n«Tpoii|ievos, sc. avroh, lit. ' commensurably with them'): the part, being nearly equiv. to o-v/i/xerpws, and expressing that, if his years are reckoned, his death cannot appear premature. Cp. 1113, and Ant. 387 iroia £u/u./neTpos Trpovftrjv 'seasonably for what hap?' f965 n}v II\j06(i,avTiv lorCav = nijv HvOol f TiK-qv ia-Tiav, as Apollo himself is HvOofj.avTis, i. e. 6 nu0oi fiams, Aesch. Cho. 1030: cp. HvOoKpavros, Tiv66xpr](JTOS, HV$6VIKOS. ia~rta.v, as O. C. 413 Ae\<£iKi7s a.<j> ecrrt'as: Eur. Ion 461 $otj8);ios...yas I /H€O-o/x^>aXos 966 KXajovTas, the word used by Teiresias of the birds when 12—2

180

204>0KAE0YI efJieWov TTcnepa TOV e/xoV; d Se davaiv Kevde.i Karw 8rj yrjsm axjiavcrTos /care(p(7(.f

eya 8' oS' ii/ddSe

e y ^ o u s ' et Tt ^17 Twyxw Tr66a> OUTCU O a v

vavcov

evq

g €JXOV.

ra S' ovv Trapovra crvWafiaJv 9e.crvlcrjJ.aTa Keirai Trap VALSTJ IIo\vy8os OL£L ovSevos. 10.

OVKOVV iyco croi ravTa

OI.

TjvSas" eyai Se ra ^>o'/8o) TrapyiyojjL-rjv.

irpovXeyov

TraXat;

10.

/A7j vvv er' avraJv fiyjhkv e? dvpov

/SaXiys.

975

0 6 7 Kraveh L, A, et ceteri fere omnes : in uno V2 KTeveiv vidi. Kreveiv tamen cum Dindorfio verum esse duco: plura infra habes. 0 6 8 Post (cdru forte omiserat 5)) prima Laurentiani manus, ipsa vero supplevit. Cum autem A et ceteri 5q ha-

their voice (<£0o'yyos) h a d ceased t o b e clear t o h i m , Ant. i c o i KO.KI3 | KXa'^ovras oiarpw KO.1 j3e^3apy8apto/ieva). (3v vr]-yiiTol>v ^ . OVTOIV, qnibus indicibus: 1260 o5s vcjiriyrjTOv TWO'S : C. C. 1588 v^yjyrjrrjpo'S OTJSCVOS

^>I'A.OJI/. In these instances the absence of the part, is softened by the noun which suggests the verb; but not so in O. C. 83 o5s C/AOV jxovryi TrcAas. 967 Kreveiv. KTavav, which the MSS. give, cannot be pronounced positively wrong; but it can hardly be doubted that Soph, here wrote KTtveiv. If Kravelv is right, it is the only aor. infin. after //.CAAOJ in Soph., who has the fut. infin. 9 times [El. 359, 379, 5 3 8 : Ai. 925, 1027, 1287: Ant. 4 5 8 : Phil. 483, 1084): and the pres. infin. 9 times {El. 305, i 4 8 6 : Ai. 443 = O. T. 678, 1385: O. C. 1773: Tr. 79, 756: Phil. 409). Aeschylus certainly has the aor. in P. V. 625 fujroi )u,e Kpvi//rjs TOC0' oTrcp fniXXw iraOeiv. Excluding the Laconic ISijv in Ar. Lys. 117, there are but two instances in Comedy, Av. 366 TL fieWer and Ach. 1159 /«A\OVTOS \a.$<Tiv. Cp. W. G. Rutherford,

nichus pp. 420—425, and Goodwin, GVft^ Moods and Tenses § 23. 2. The concurrence of tribrachs in the 4th and 5 th places gives a semi-lyric character which suits the speaker's agitation. 968 Kettki, is hidden. Ai. 635 'AiSa Ktvdwv. In Tr. 989 o-iyfj KevOeiv may be regarded as transitive with a suppressed a c e , ' t o shroud (thy thought) in silence.' Elsewhere Kev9m is always trans., and only the perf. KtKtvda intransitive. 8r| here nearly = rjBt]: cp. Ant. 170 or' ovv U>\OVTO... | eyto KpaTr] &r)...e)(a).

969 otyavoros = ov xj/avo-a?:

cp. d.i^6j3rjTOi 885 (with

note) : Phil. 688 dfxipiirXr]KTa p66ia, billows beating around:

Tr. 446

OIAITTOYZ TYPANNOZ

181

was doomed to slay my sire ? But he is dead, and hid already beneath the earth ; and here am I, who have not put hand to spear.—Unless, perchance, he was killed by longing for me: thus, indeed, I should be the cause of his death. But the oracles as they stand, at least, Polybus hath swept with him to his rest in Hades: they are worth nought. Io. Nay, did I not so foretell to thee long since ? OE. Thou did'st: but I was misled by my fear. Io. Now no more lay aught of those things to heart. beant, nulla de ea voce suspicio inde oriri debet quod deest in codd. Trin. et T. Dindorfius, qui olim Karudev coniecerat, iam Harm Si; reposuit. Coniecit Nauckius Kevdet Kara 777s' OiSlirovs 5'. Dedit autem ex coniectura Blaydesius Kara K^KevBe yrjs.

O?, blaming: Eur. Hec. 1117 viroirTos, suspecting. Cp. note on 515. etTi|Hj, an abrupt afterthought:—unless perchance: see on 124. Tw|i
dist. from uVo, is strictly in place here, as denoting the ultimate, not the proximate, agency. 971 i-i 8' ovv irap<$vTa: but the oracles as they stand, at any rate (8' oiSv, 669, 834), Polybus has carried off with him, proving them worthless (agi' ovSevos, tertiary predicate), and is hidden with Hades, TO irapovra, with emphasis : even supposing that they have been fulfilled in some indirect and figurative sense, they certainly have not been fulfilled to the letter. The oracle spoke of bloodshed (^oveus, 794), and is not satisfied by Kari^Oiro i£ i/xov in the sense just explained. o-uWapuv is a contemptuous phrase from the language of common life : its use is seen in Aristophanes Plut. 1079 vvv 8' d-n-iOi ^aipwv o-v\Xafiv

d, now be off—with our blessing and the girl: Av. 1469 crv\Xa/36vre's rd irrepd, let us pack up our feathers and be off: Soph, has it twice in utterances of angry scorn, O. C. 1383 av 8' Ipp

airo7TTt»OTos T€ KaTrcLTup ifiov I KdKuSv Ka.Ki
avWafioiv

apas, begone...and take these curses with thee: Phil. 577 eWAei o-cavTov o-v\\a/3u>v IK TrjaSe yrj<s, 'hence in thy ship—pack from this land !' 974 riifSas instead of 7rpovA.ey«: see on 54. 975 vw, enforcing the argument introduced by OVKOW (973), is clearly better than the weak vvv. is 6v(ibv P<£X.x|s: Her. 7. 51 cs OVJWV jSaXeu KCU TO iraAatov liros: 8. 68 KUI ToSe « dvpov /JaAcv, cos K.T.X.

I . 84 iStoV...TtoV Ttva AuSioj/

Kara/faira...

KOI h OVJIOV iftdXtTo. The active in the Bios '0/j.rjpov § 30 « ZfiaXe TO prjOiv. In El. 1347 oiS« y h Ovfiov ep is not really

182

IO0OKAEOYI

OI. 1O.

Kal 7TC3? TO fj.r)Tpo<; XeKrpov OVK oKvelv fie Set; TI o av (popoiT avapwiros, OJ r a Try? T V ^ ; Kpa.Tei, TTpovoia, S' icrrlv ouSei'os o~a(f>7]<;; eiKrj KpaTicrrov tfiv, oirws S I W I T O TIS. cru S' eis TO. fjL7)Tp6epei. KaXaJs arravra Tavr' av i&Cp-qro oL.

OI.

10.

0 7 6 W^os OIJK oKveiv fit dei L, ubi \iKTpov super X^xos corrector scripsit. OVK 6KV(IV /ie Set A. Utramque lectionem codd. aliquot firmant: suadent pvd/x6s et ordo verborum ut cod. A potius sequamur quam scribamus OVK Set X^x°s9 8 7 ye post /ityas in codd. deest omnibus. Cuius rei

980

"Kticrpov tamen &Kvelv /xe causam

similar. 977 u, 'for whom,' in relation to whom: not, 'in whose opinion.' TA TI]S TU^S is here somewhat more than a mere periphrasis for rj Tvxq, since the plur. suggests successive incidents. rixr\ does not here involve denial of a divine order in the government of the world, but only of man's power to comprehend or foresee its course. Cp. Thuc. 5. 104 TrixrrevofiCev rrj fx,ev TI/\TJ IK TOV 6UOV JXTJ iXaaadaeaBai. Lysias or. 24 § 2 2 ov /Jiovov jj.iTaXa.fHiv rj Tv^rj ju.01 eZaiKtu ev Trj iraTpi&i, t h e Only privi-

lege which Fortune (i.e. my destiny) has permitted me to enjoy in my country. 978 irpo'vowi. Bentley on Phalaris (xvn, Dyce ii. 115) quotes Favorinus in Laertius Plat. § 24 as saying that Plato Trpwros kv cjuXocrofaa ...wv6iJ.av\a.TTy is lat er t h a n

Plato. Lennep, in his edition of Phalaris (p. 158), puts the case more exactly. The Stoics, not Plato, first used irpovoia, without further qualification, of a divine providence. When Plato says Trjv TOV Otov... •Trpovoiav (Tim. 30 c), Trpovotas 0ei3i/ (44 c), the phrase is no more than Herodotus had used before him, 3. 108 TOV 6etov -q vpovoiTj. The meaning of FavoHnus was that Plato first established in philosophy the conception of a divine providence, though popular language had known such a

OlAinOYZ TYPANNOZ

183

OE. But surely I must needs fear my mother's bed ? Io. Nay, what should mortal fear, for whom the decrees of Fortune are supreme, and who hath clear foresight of nothing ? 'Tis best to live at random, as one may. But fear not thou touching wedlock with thy mother. Many men ere now have so fared in dreams also : but he to whom these things are as nought bears his life most easily. OE. All these bold words of thine would have been well, were not my mother living; but as it is, since she lives, I must needs fear—though thou sayest well. Io. Howbeit thy father's death is a great sign to cheer us. fuisse suspicor, quod cum /ii^ycts scriptum esset /tel"^ (ut in A), alterum r', tanquam errore duplicatum, delevit impeiitus metri librarius. Restituit autem ye Porsonus, qui ad Eur. Phoen. v. 1638 haec dicit: ' Ita postulat metrum...idemque coniecit nescio quis in editione Londinensi a. 1746, sed neglexit Brunckius.'

phrase before. Note that in O. C. 1180 wpoVoia TOV &eov = 'reverence for the god': in Eur. Phoen. 637 a man acts 8eta. -rrpovoia = 'with inspired foresight': in Xen. Mem. 1. 4. 6ffpovo^TtKaJs= not, 'providentially,' but simply, 'with forethought' 979 CIKTJ: cp. Plat. Gorg. 503 E OVK clur} ipti, dXX' o(3ou. (f>o/3ei(r6ai es n = to have fears regarding it: Tr. 1211 d o/3el Tpos TOVTO : O. C. 1119 pr} 6avp.a.t,i Trpos TO Ai?rapcs. 981 Kav ovtCpao-iv, in dreams also (as well as in this oracle); and, as such dreams have proved vain, so may this oracle. Soph, was prob. thinking of the story in Her. 6. 107 that Hippias had such a dream on the eve of the battle of Marathon, and interpreted it as an omen of his restoration to Athens. Cp. the story of a like dream coming to Julius Caesar on the night before he crossed the Rubicon (Plut. Caes. 32, Suet. 7). 983 irap" ov&v: Ant. 34 TO Trpoiyfi.' ayeLv \ ou'x ws irap' ovBiv. 984 «|e£pt)To: the e£- glances at her blunt expression of disbelief, not her frank reference to a horrible subject. 987 «f>0a\.|i.os: the idea is that of a bright, sudden comfort: so Tr. 203 Deianeira calls on her household to rejoice, ijp.ris dvaaxpv

rrjaSe vvv Kapirovfieda (the Unexpected n e w s t h a t

Heracles has returned). More often this image denotes the 'darling' of

184

I04>0KAE0YS

OI.

/xeya?, ^vvit)^'

AF. OI. Al. OI. AT.

Trotas Se KOU yvvaiicbs e/f^oySeicr^' vnep; MepoVijs, yepaue, TLo\vf3os 17s w/cei //.era. T(, o ecrr e/ceii^is VJU.II/ e? (popov (pepov; Oe/jkarov jU.cu'Teujna SeivdV, u> £ei>e. rj pyjjov; rj ou^t OefiLTov ak\ov elSevai;

OI.

juaXto-ra y ' 1

j

dXXa 1-775 Z>o>o~q<; (f>6/3os.

990

CTTTC ya/3 /xe Ao^ias TTOTC

fjuyy}v
995

9 9 3 15 ou Bejxirbv codd. omnes, quasi librariis hiatum inter ij et oi) legitimum esse arbitrantibus: est tamen in cod. T superscriptum
a family (Aesch. Cho. 934 o<£0aA/x.os O'LKIOV), or a dynasty that is 'the light' of a land (SoccAi'as S' law \ 66a\fi,6$t Pind. 01. 2. 9: o BCITTOV TraXaios oX^3os,...7rvpyos ao-T£os, o/i/ia T£ ^atvvdraTOv | ^kvoiai, Pyth. 5. 51). Not merely (though this notion comes in) 'a great help to seeing' that oracles are idle (S^'Xwo-ts cus ra juarrev/AaTa Ka/«Ds «xei> schol.). A certain hardness of feeling appears in the phrase: Iocasta was softened by fear for Oedipus and the State: she is now elated. 989 Kal with «i<4>o|3etoPov <|>^pov, tending to fear: cp. 519. 992 6«i\aTov, sent upon us by the gods : cp. 255. 993 The MSS. having ov 9t|iiTov, the question is between ov'xl 8C|UTOV and ov Otfjuo-rov. The former is much more probable, since 0«/UTO'S is the usual form, found in Attic prose, in Eur. (as Or. 97 crot 8" ov^t Oefinov), and in Soph. O. C. 1758 aXX' ov OefiiTov K€L
poet, form, found once in Pindar (who has also 0e/xu-o's), and twice in the lyrics of Aesch. H a d we aXX
OIAITTOYS TYPANNOI

185

OE. Great, I know; but my fear is of her who lives. ME. And who is the woman about whom ye fear ? OE. Merope, old man, the consort of Polybus. ME. And what is it in her that moves your fear ? OE. A heaven-sent oracle of dread import, stranger. ME. Lawful, or unlawful, for another to know ? OE. Lawful, surely. Loxias once said that I was doomed to espouse mine own mother, and to shed with mine own hands my father's blood. Wherefore my home in Corinth was long Bijinhv. Cum autem in Bodl. Laud. 54 dXXois pro aXXoJ" scriptum invenissem, venit mihi in mentem, ut cuivis poterat, TJ OVK aWoitri Be/urdv eld&ai; Prior in eandem coniecturam inciderat Blaydes.

my father': Eur. Or. 284 c'pyaorat S' i/xol | /jirjTp&ov alfjia, I have wrought the murder of a mother. 997 «|l(j.ov, = 'on my part': 11 KopivOos4g e|u>0 (iaKpav airipKeiTO = ' Corinth was inhabited by me at a great distance,' meaning, ' I took good care not to go near my old home at Corinth.' This implies as the corresponding active form, iy... | o\f/oiaO'. Cp. Ant. 715 virriois KWTW I o-rpiij/as TO Xomov <jik/iao-iv vavTiWtTai, having upset his ship, he makes the rest of his voyage keel uppermost (/. e. his voyage comes to an a b r u p t e n d ) : id. 310 lv

ciSoVes TO KepSos h>Qiv olcniov

| TO Xonrov dp-rrd-

: where etSo'res means 'taught by capital punishment': Ai. 100 SIJ TCI/A' dat,pdo-$(ov oir\a. We must not, then, render: (1) ' Corinth was inhabited (by others) at a great distance from m e ' : where If ifiov would be very harsh for dv ifi.ov. When IK denotes distance from, it refers to things or places. Nor (2) 'Corinth was exchanged by me for a distant home,' as if this were the pass, of eyii d-TnpKow ix Tiys KopivOov, 'migrated from': where both the use of the passive and the use of the imperf. tense would be incorrect. airoiK«tv is a comparatively rare word. Eur. has it twice (H. F. 557: I. A. 680: in both with gen., '•to dwell far from'): Thuc. once with /naKpav (3. 55) and Xen. once (Oecon. 4. 6),—both absol., as = '/
186

IOOKAEOYI fxiv, dXX' TO. TWf TeKovTw

ofJLjjLaO' TJSCO-TOV

AT.

•>} yap r a S ' 6KVU>V KeWev rjad'

OI.

Trarpo? r e yjp-Qtfxtv JJLTJ (fyovevs elvat,

j3\eveLv.

aTroTTToXis;

IOOO

ylpov.

A F . Tt 817/ iya> o u ^ i TouSe TO{! 6/Sov cr,

dva^,

ineCvep evvovs rfkdov, i^eXvcrdfirjv; OI. KCU fLrjv -^apiv y av d^iav Xa/8ots ifjiov. A F . Kal /A^V jLtaXicrra TOUT' d(j>LK6fji.r)v) 6Vcos (TOU TTpOS SojLlOUS ekdoVTOS

OI.

1005

ev TTpd^aLflC TL.

aXX. OVTTOT' et//.t Tots cfivTevcra.crCi' y 6[JLOV.

AF. w Trat, KaXw? et SrjXos OVK elSats TL Spas. OI.

7ra5s, w yeptxii;

irpos Oeaiv SiSaavce jae.

AF. et Twj'Se <^euyets OVVZK et? OIKOUS yxoXeiv. OI.

TapySw ye JLI^ JUOI $ o i ^ o s

1010

i£e\6r/

AF. 7) JU,T) /Atacrjua TaJv (f>vTevcrdvT(ov OI.

TOVT

a i r o , irpecrfiv,

TOVTO JX eicraei
1OO1 Trarpls re codd.: Trarpds ye Elmsleius, Elaydes., secundum Hermanni coniecturam, quam ipsius 5ei5re/3ai
as prob. Theocr. 15. 7 (reading <3 /nOC a7rotKcZs with Meineke): Plato once thus {Legg. 753 A), and twice as = to emigrate («K Toprwos, Legg. 708 A, is ©ouptovs, Euthyd. 271 c) : in which sense Isocr. also has it twice (or. 4 § 122, or. 6 § 84): Pindar once (with accus. of motion to a place), Pyth. 4.258 KaAXiWav diruKtio-av, they went and settled at Callista. 998CTTVX<S>S,because of his high fortunes at Thebes. 999 T<SV T«K(!VTV= TWV

yoveW : Eur. Hipp. 1081 TOVS Te.K.ovia.% ocrta Spal', and oft.: cp. H. F. 975 /?oa §€ /J-tJTrjp, w TCKWV [ = <Sffarep],Tt Spas ; 1000 dir<JirroX.is, exile, as O. C. 208. 1001 ira/rpos n. So the MSS., rightly. It is the fear of Oed. regarding his mother by which the messenger's attention has been fixed. In explaining this, Oed. has indeed mentioned the other fear as to his father: but in v. 1000, i? yap raS' OKVWV, the messenger means: ' S o this, then, was the fear about her which kept you away?'—alluding to his own question in 991. As the speaker's tone seems to make light of the cause, Oed. answers, ' and that further dread about my father which I mentioned.' Trarpos -ye is unsuitable, since it would imply that this was his sole fear. 1002 iyooiJxt: synizesis, as Ph. 551 e'yw tl/u, O. C. 998

OIAITTOYI TYPANNOI

187

kept by me afar; with happy event, indeed,—yet still 'tis sweet to see the face of parents. ME. Was it indeed for fear of this that thou wast an exile from that city ? OE. And because I wished not, old man, to be the slayer of my sire. ME. Then why did I not free thee, king, from this fear, seeing that I came with friendly purpose ? OE. Indeed thou should'st have guerdon due from me. ME. Indeed 'twas chiefly for this that I came—that, on thy return home, I might reap some good. OE. Nay, I will never go near my parents. ME. Ah my son, 'tis plain enough that thou knowest not what thou doest. OE. HOW, old sir ? For the gods' love, tell me. ME. If for these reasons thou shrinkest from going home. OE. Aye, I dread lest Phoebus prove himself true for me. ME. Thou dreadest to be stained with guilt through thy parents ? OE. Even so, old man—this it is that ever affrights me. Erunckius: £yi> o$xl coniecit Porsonus, receperunt edd. plerique. Si Hyur/' oi genuina lectio fuisset, vix transiturum erat ov in oixl: contra, si ovxl in ou semel corrupissent librarii, facillime poterat £y& in tyosyc mutari. 1O11 rap/3i3 L, A, codd. reliqui fere omnes: Tapft&v Erfurdt., Vat. a, c.

€yio o£8e, and El.

1281 : Ant.

458 Jyu OVK.

1004 KO.1 HTJV, properly

'however'; here, like our 'well indeed' (if you would do so).

The

echoing Kal |M)V of 1005 expresses eager assent. Cp. Ant. 221. 1005 TOOT a(j>iK6|j.T|v: see on 788. 1008 KOXUS, pulchre, belle, thoroughly,—a col-

loquialism, perh. meant here to be a trait of homely speech : cp. Alciphron Ep. 1. 36 ireivqaw TO KOIXOV (' I shall be fine and hungry'): Aelian Ep. 2 ZireKoijre TO CTKEXOS irdw XP>7
think that rapp&v is right; not that TapP<3 could not stand, but Greek idiom distinctly favours the participle. Ant. 403 KP. r/ KOU ^wirji KOX Aeyeis 6p6u>s a <j>yjs ; $ Y . Tavrrjv y' I8os SsXf.ro. K P . iropOwv ye Tijv8e y^v. Plat. Symp. 164 E euror ovv o n . . . r]KOifii.—/caAws (v. I. xaXws y),
]: cp. 1182 ifrjKOi crarj, come true.

1013

Cp. Tr. 408 TOVT avr

i88 AF. dp' 6lcr6a Srjra Trpos StK^s ovSev Tpe[xa)v ; OI.

7TC3S 8' ou^t, Trais y ' ei TcwSe yewjjT&Ij' e(j>vv;

1015

1

AT. odovveK 77V crot IIoXu/3o9 ovSet ev yeVei. OI. 7T&JS eiTras; ov y a p IIoXv/3os i£evcre /xe; AF, ou JXSXXOV ovSev rovSe raVSpos, aXX' icroi'.

OI. AT. OI. AF. OI. Al. OI. AF. OI. AP. OI.

Kat 7rais o vcra<; ef tcrou TW fir)8ev[; aXX' ou cr' iyeCvaT' OVT' e/ceii'os OVT' eyw. aXX' avrl TOU S>} TratSa JJJ wuofxdCeTo ; hwpoV TTOT,' Icrdl, TMV i[JiSv ^ELpbiV \af3j y a p irpLV avrov eg'eireicr aTratoia. (TV S' ijXTrokrjCTa
1020

1025

1O25 TeKiiv codd. Coniecturam procul dubio veram Tiixwy, quam Bothio Dindorfius, Foertschio Hermannus tribuit, receperunt Herm., Dind., Nauck., Blaydes.

TOVTO (TOV fjLaOfiv. 1014 irpAs [8CKT]S, as justice would prompt, 'justly.' irpis prop. = 'from the quarter of,' then ' o n the side o f : Thuc. 3. 59 ov u-pos T-iJs v^itTtpas So^rys...Ta8e, not in the interest of your reputation : Plat. Gorg. 459 c idv n -tj/xiv 7rpos \6yov ij, 'if it is in the interest of our discussion.' Rep. 470c ovSiv...a.Tr6 rpo-n-ov Acytts1 opa Srj K<xl d roSe Trpos Tpoirov \eyu>, ' correctly.' Theophr. Char. 30 (= 26 in my 1st ed. p. 156) •n-pos rpoVo-u -niakCiv, to sell on reasonable terms. 1016 ivy^vei: [Dem.] or. 47 § 70 OVK toriv iv ya'€L tro<s, compared with § 72 ifnol Se OVTC yevu TrpoarJKtv. 1019 Tiu |j.r)S«v£, dat. of d /xijSeis, he who is as if he were not (in respect of consanguinity with me): Ant. 1325 TOV OVK ovra jUaAAov T] firjSeva. 1023 air' OXXTJS X«pos JA \afiu>v. 1025 l|iiroX.ii(ras...ri TUX^V: z'.£ ' D i d you buy me,

or did you light upon me yourself in the neighbourhood of Corinth?' Oed. is not prepared for the Corinthian's reply that he had found the babe on Cithaeron. 4|nro\ijo-as: cp. the story of Eumaeus (Od. 15. 403—483) who, when a babe, was carried off by Phoenician merchants from the wealthy house of his father in the isle Syria, and sold to

OlAinOYI TYPANNOI

189

ME. Dost thou know, then, that thy fears are wholly vain ? OE. HOW SO, if I was born of those parents ? ME. Because Polybus was nothing to thee in blood. OE. What sayest thou ? Was Polybus not my sire ? ME. NO more than he who speaks to thee, but just so much. OE. And how can my sire be level with him who is as nought to me ? ME. Nay, he begat thee not, any more than I. OE. Nay, wherefore, then, called he me his son ? ME. Know that he had received thee as a gift from my hands of yore. OE. And yet he loved me so dearly, who came from another's hand ? ME. Yea, his former childlessness won him thereto. OE. And thou—had'st thou bought me or found me by chance, when thou gavest me to him ? ME. Found thee in Cithaeron's winding glens. OE. And wherefore wast thou roaming in those regions ? ME. I was there in charge of mountain flocks. OE. What, thou wast a shepherd—a vagrant hireling ? Laertes in Ithaca: the Phoenician nurse says to the merchants, TOV KCV ayoifx im vijos, o 8' VJUV //.vpiov oi, oirrj 7rc/3a(rijT£ KO.T' dAAo-

6p6ov<; avBpunrov;. TU\I1IV is answered by €i5/Dwv(io2 6)as in 973 irpovXeyov by 7;i!Sas. Cp. 1039. The TCKWV of the MSS. is absurd after vv. 1016— 1020. The man has just said, 'Polybus was no more your father than I am'; Oed. is anxiously listening to every word. H e could not ask. a moment later, ' H a d you bought me, or were you my fatherV 1025 The fitness of the phrase vairatais in-uxats becomes vivid to anyone who traverses Cithaeron by the road ascending from Eleusis and winding upwards to the pass of Dryoscephalae, whence it descends into the plain of Thebes. 1029 farl &]•«£*, like bn /xio-fty Her. 5. 65 etc. Orjreia, labour for wages, opp. to SouXeia: Isocr. or. 14 § 48 TTOWOVS f>Xv ... SowXevovTas, aAAovs 8' ITT\ Orjniav JoVras. irXav^s, roving in search of any employment that he can find (not merely changing summer for winter pastures, 1137). The word falls lightly from him who is so

i go

I04>.0KAE0YZ

AF. crou 8', & T4KVOV, o-aTifp ye TW TOT' IV *xp6v(d. 1030 OI. TI 8' aXyos tcrx o l ' r ' "M^ Ka/coisf fie XafjuftdveLS; AY. iroZoiv dv apOpa fiaprvprjcre.L€v TO, era. OI.

oifioi, Tt TOUT

OLpxcuov iweireis

KCLKOU l

AT. \vot (r V^OVTO. SiaTopous TTOSOU' d/c/iasOI.

Seitw y

oVeiSos enrapydveov dvtikon.iqv.

l°35

AF. WOT' d)voiidcr9rj
w irpos ^ec3v, irpo<; firjTpos,

AT.

OVK oTS'1 d Sous 8e T a u / e^iou Xwoi' povtZ

rj TraT/sos; (f>pdcroi>.

OI.

7] yo-p irap

a.Kkov [JL eAapes ovo auTos TV^COV ;

1O3O croO 3'.. .eis L , iv Kaipoia Xafifidveis Pal. Mirum sane foret si a

soon to be o' •n-Xavr/rr]'; OiSiVous (O. C. 3). 1030 orov 8'. With the 66vr]T6<; y OVK eTrt^ijXos 7re'\«i. 'True, but....' T h e gentle reproof conveyed by 8^ ye is not unfitting in the old man's mouth: and a double ye, though admissible, is awkward here. 1031 T£ 8' ciX-yos K.T.X. And in what sense wert thou my a-mrrjp ? T h e Iv KO.KOIS of most MSS. is intolerably weak: 'what pain was I suffering when you found me in trouble ?' From the iv Kaipoto- of L and another good MS. (a most unlikely corruption of so familiar a word as KaKots), I conjecture e'-yiaipuv, 'when you lighted on m e ' : cp. 1026, 1039. Soph, has that verb in El. 863 T\VI\TOI% OXKOIS iynvpo-ai (meet with). 1035 oTropydvuv, 'from my swaddling clothes': i.e. 'from the earliest days of infancy' (cp. Ovid Heroid. 9. 22 Et tener in cunis iam love dignus eras). The babe was exposed a few days after birth (717). El. 1139 ovTe...Trvpo% I dvei\6/j.r]v...a.6\iov j3dpos. Some understand, ' I was furnished with cruelly dishonouring tokens of my birth,' 8«ivws tnwei'Stcrra

OlAinOYS TYPANNOZ

191

ME. But thy preserver, my son, in that hour. OE. And what pain was mine when thou foundest me in distress ? ME. The ankles of thy feet might witness. OE. Ah me, why dost thou speak of that old trouble ? ME. I freed thee when thou had'st thine ankles pinned together. OE. Aye, 'twas a dread brand of shame that I took from my cradle. ME. Such, that from that fortune thou wast called by the name which still is thine. OE. Oh, for the gods' love—was the deed my mother's or father's ? Speak! ME. I know not; he who gave thee to me wots better of that than I. OE. What, thou had'st me from another ? Thou did'st not light on me thyself? vera lectione KCDCOIS falsa sed exquisita Ktupots, metro eadem repugnans, in optimo codice extitisset. Immo ipsum illud iv jccupois vulneris est antiqui cicatrix. Restituendum credo iyKvp&v /ic \a/if}dreis: cf. Tir^iv in vv. 1025, 1039. Vulgata quidem 1. iv KtiKoh hie magis languet quam ut ferri possit. Coniecit iv KO.\§ Wunder., iv
o-irapyava, alluding to a custom of tying round the necks of children, when they were exposed, little tokens or ornaments, which might afterwards serve as means of recognition (crepundia, monumentd): see esp. Plautus Rudens 4. 4. in—126, Epidicus 5. 1. 34: and Rich s.v. Crepundia, where a wood-cut shows a statue of a child with a string of crepundia hung over the right shoulder. Plut. Thes. 4 calls such tokens yvwpi
192

I04>0KAE0YZ

AF. 01. AF. OI. AY.

dWd TroLfj.rjv aXXos e/cSi'Swcri /JLOL. rts OUTOS ; y] Kdroio~6a S^XaJcrai Xoyw; TWV Aaiov BTJTTOV TIS cavofid^ero. ^ TOU Tvpdvvov rrjcrSe yrjs irdXau TTOT4; nakicTTa- TOVTOV rdvSpos ouros r\v

OI.

Tj K<XO~T €TL (,(01/ OVTOS,

OVK,

A l . V/ACIS y

apicrT

eioetr

1040

CuCTT 1061V

av

OI. eoTiv rts Vjjitov TWV irapecrTcoTcov

ocrns /caroiSe TOV fioTrjp ov ivviirei, v »

T

s

»

3

-v

y

3 / 1 / r v s

»

c \ /

eir o w eTT aypcov eire Kavaao CLCTLOCOU ; crrjiA-qvaO', (<5s d /catpos evprjcrOai TaSe. XO. OLfiau jxev ovoev akkov 7] TOP eg aypcov,

ov /ca/xareues irp6o-0ev etcriSeiv 770

a.v r a o

o u ^ TJKLO~T av

drdp

WKao-TT] Xeyoi.

OI. yuvat, voets eKelvou OVTLV' aprtw? fioXelv i(f>L€[ieo-0a ; TO'VS' ovros Xeyei; IO.

ri o

ovrtv

prjdevra

1050

et7re; fjurjdev evTparnrj<;.

ySovXou /u/^Se [i.envfjo-0ai

I

O55

TO. oe fxdTrjv.

1 O 5 5 /xo\e?v £cprfpeerffa rbv $' ovrot X^7EI ; L , A , et codd. plerique, cum rbv $' illud tanquam pro &v 6' dictum Hbrarii acciperent. Itaque super rbv scriptum est in cod. B &vnvu, in Bodl. Laud. 54 6V. Veram 1. rbvS1 tres saltern codd. praebent (M,

ceived as given before the exposure—is not the sting; and on the other hand it would be forced to take 'named' as meaning 'doomed to bear the name.' 1044 Ponjp: cp. 837, 761. 1046 elSeir" = d8eir]Te, only here, it seems: but cp. cTrc=ci?;Te Od. 21. 195 (doubtful in Ant. 215). eiSeTjuei/ and ci/nei/ occur in Plato {Rep. 581 E, Theaet. 147 A) as well as in verse. In Dem. or. 14 § 27 KaraOtirc is not certain (Kara601TC Baiter and Sauppe): in or. 18 § 324 he has lv6e.(.r)T*. Speaking generally, we may say that the contracted termination -tiev for -etrjaav is common to poetry and prose; while the corresponding contractions, -elpev for -£U7/x£v and -CITE for eu?Te, are rare except in poetry. 1049 ovv with the first tin, as El. 199, 560 : it stands with the second above, 90, 271, Ph. 345. eir' a7pcov: Od. 2 2. 47 iroAXa jnev iv peydpouriv. ..iroXXa 8' iir dypov: (cp. O. C. 184 eTrl |evr;s, El. 1136 Kairl yrj<s dXXrjs :) the usual Attic phrase was h> ayp<3 or KO.T dypovs. 1050 0 xcupis : for the art., cp. [Plat.] Axiochus 364 B VVV O Kaipos evSttfacr^at rrjv del OpvXovfievrjv vpos

0IAITT0Y2 TYPANNOI

193

ME. NO : another shepherd gave thee up to me. OE. Who was he ? Art thou in case to tell clearly ? ME. I think he was called one of the household of Lai'us. OE. The king who ruled this country long ago ? ME. The same : 'twas in his service that the man was a herd. OE. IS he still alive, that I might see him ? ME. Nay, ye folk of the country should know best. OE. IS there any of you here present that knows the herd of whom he speaks—that hath seen him in the pastures or the town ? Answer! The hour hath come that these things should be finally revealed. CH. Methinks he speaks of no other than the peasant whom thou wast already fain to see; but our lady locasta might best tell that. OE. Lady, wottest thou of him whom we lately summoned ? Is it of him that this man speaks ? Io. Why ask of whom he spoke? Regard it not...waste not a thought on what he said...'twere idle. M 3 a pr. manu, A); cod. autem Par. 2884 (E), cui rbvS' dubitanter imputatum video, T<SJ> 0' habet.

aov
crOai SiSatr/caXos, to be the established teacher. 1051 Supply h/vbrav (airov), not tvviitu. The form ot|uu, though often parenthetic (as Track. 536), is not less common with infm. (Plat. Gorg. 474 A O W eycu o7//.ai Setv eii/ai), and Soph, often so has it, as El. 1446. 1053 av...av: see on 862. 1054 vosts = 'you wot of,' the man—i.e. you understand to whom I refer. We need not, then, write ei KUVOV for IKWOV with A. Spengel, or voils; Ueivov with Blaydes, who in 1055, reading TOVS', has a comma at c<£i<(/xeo-#a. Cp. 859. 1055 rdvS' is certainly right: TOV 8' arose, when the right punctuation had been lost, from a desire to connect Xfya with I«)>ifyi£pdo~ov.

I I P . TI 8' OVTLV ; Ar.

Av. 997 o-ii 8' ei Tts a.v'hpwv; M. ocms tly.' eyco ; Mmov. J. S.

Plat.

Euthyphr. 13

194 OI. IO. OI. IO. OI. IO. OI. IO. OI.

IO*OKAEOYZ av yivoiTO TOVO', oV&>s iy<*> XafScov (rrjiiela TOLOLVT' OU ^>avw rovfidv yevos. firj 7T/3OS de&v, elirep n TOV cravTov fiiov K-qhei, [jLaTevcrrjs TOV0'' aXis voaovcr' iyd. Odpcrec av /xkv yap ovS" idv /xijrpos (£avcu T/H'SOUXO? ii<(f>avei O/ACUS TTI^OU /AOt, Xurcro/Aat' yu.r) Spa raSe. OT)K ai/ Tridoifj^v fir} ov r a 8 ' eKfj-adelv cra^w?. /cat JH^V (frpovovcrd y eu r a Xwcrra crot Xeyw. ra, Xwcrra TOIVVV ravTci [x aXyvvei irdkai. w SvanTOT/JL1, eWe firjirore yvoi^s os eT. afet r t s iXdcjv Sevpo TO> fioTrjpd [JLOL ; S' eare irkovaita -^aipeiv yevei. OVK

1060

1065

IO/O

1O61 coffoOcr' ?xw consensu satis mirabili codd. praebent oranes, uno excepto, ut videtur, codice quodam Chigiano, de quo nihil praeterea compevtum habeo quam quod scripsit Dindorfius (ed. i860): ' ^ c i ex scholiasta et apographo Chigiano apud Schowium in libro de charta papyracea Borgiana restitutum pro ? x u ' : idem vero in Poet. Scenic, ed. quinta (1869), nulla cod. Chigiani mentione facta, soli scholiastae hanc 1. tribuit. 1O62 0118' av CK rpirris codd.: in L vocis av accentus a prima manu, spiritus a recentiore venit. Primam Hennanni coniecturam, oi35' ear rpirriS, 2 B rCva ypa<j>rjv ffe yeypaTrrai;

SO.

r)VTiva;

OVK ayiwfj.

1058

Since

OVK ICTTIV OJTIOS, OVK av yivono ira-ws mean ' there is, there could be found,

no way in which,' TOS6' is abnormal; yet it is not incorrect: 'this thing could not be attained, namely, a mode in which] etc. Cp. the mixed constr. in Ai. 378 ov yap yivoir' av ravd' oirws ov% <SS' e^fiv (instead of e^«). 1060 Since the answer at 1042, Iocasta has known the worst. But she is still fain to spare Oedipus the misery of that knowledge. Meanwhile he thinks that she is afraid lest he should prove to be too humbly born. The tragic power here is masterly. 1061 aXis vo
ravra ovr-q ctrv^wv elvai : Athen. 435 D XPV Tiveiv, 'Ai/TiVarpos yap Ixavos tern vq<m>. 1062 For the genitive Tp£ii]s (ii]Tp6s without CK, cp. El. 341 ovarav irarpos, 366 KaXoi! | TA$ TpCSovXos, thrice a slave, sprung from the third (servile) mother: i. e. from a mother, herself a slave, whose mother and grandmother had also been

OIAITTOYI TYPANNOZ

195

OE. It must not be that, with such clues in my grasp, I should fail to bring my birth to light. Io. For the gods' sake, if thou hast any care for thine own life, forbear this search ! My anguish is enough. OE. Be of good courage; though I be found the son of servile mother,—aye, a slave by three descents,—thou wilt not be proved base-born. Io. Yet hear me, I implore thee : do not thus. OE. I must not hear of not discovering the whole truth. Io. Yet I wish thee well—I counsel thee for the best. OE. These best counsels, then, vex my patience. Io. Ill-fated one! May'st thou never come to know who thou art! OE. GO, some one, fetch me the herdsman hither,—and leave yon woman to glory in her princely stock. receperunt Erfurdt., Elmsleius, Wunder., Hartung., Nauck. Quae haud dubie vera est. Cum enim ib.v in formam vulgatiorem an correptum fuisset, praepositionem ix corrector intulit, ut planam faceret genitivi rpirris rationem; av autem pro Hu> accipi voluit, syllabae necessario productae vel ignarus vel oblitus. Postea minus ieliciter coniecit Hermannus oiS' hi el V T/J/TIJS (oiS' OK el rpl-rip Campbell): av ita explicans ut ' ad suppression aliquem optativum' pertineret: unde, cum el ad tpavu iam referatur, structurae duplex insolentia gratuito se intrudit.

slaves. No commentator, so far as I know, has quoted the passage which best illustrates this: Theopompus fr. 277 (ed. Miiller 1. 325) UvOoviKrjv... fj BaK^i'Sos l**v y\v 8OV\T] TTJS avXr/TpCSos, exciVr; 8e 2iv(o7nys -r^s ®pa.TTr]s,... cuOTc ylvetrOai pr) pjbvov TpCSovXov dXXa KOU rpLiropvov avriyi'. [ D e m . ] or. 58 § 17 fl yap 6<}>U\.OVTOS a&Tui TOV Trdinrov i r a \ a i . . . S i a TOVT otifcrerai Sciv

aTTOivyttv ort irovr]pds eK rpiyovias ecrrtV..., 'if, his grandfather having formerly been a debtor,...he shall fancy himself entitled to acquittal because he is a rascal ofthe third generation.' Eustathius Od. 1542. 50 quotes from Hipponax 'A$«d TOVTOV TOV tTrraSovXov (Bergk fr. 75), i.e.

' seven times a slave.' For the force of rpi-, cp. also Tptyt'yas, i-pur/mi-os (thrice-sold,—of a slave), Tpnrt8o>v (a slave who has been thrice in fetters). Note how the reference to the female line of servile descent is contrived to heighten the contrast with the real situation. 1063 KaKii = Svoytmjs, like SeiXos, Opp. to aya#os, ivOXoi \ Od. 4. 63 aXX' dvBpwv yivo<s tori Siorptcjiiaiv

/3ao-iXr/o>v | crKj;7rroi;^(i>i/ •

1067 Td X^o-Ta^.TouTa: cp. Ant.

iirel

ov KC KaKol roiovaSe

TEKOISV.

96 TO Seivov TOVTO (i.e. of which you

13—2

i96 IO.

I04>0KAE0YI lov lov, Sucrnpe" TOVTO y&p cr' [IOVOV Trpocrenreiv, aXXo S' ovnoff

vcrrepov.

XO. r t Trore fiefirjKev, OtStVous, V7r' ayptas atjacra Xvnrjs 17 yw?7 ; Se'Sot^' OTTOS /i-i) '/c T^S cruuTriJs TijcrS' avapprj^ei OI.

oVoia, -^prjtfii /cei crfxiKpov

pvyvvTco'

KaKa.

IO

75

TOV/JLOV S' eycu,

ecrrt, <J"aip\h l&elv

fiovXrjcroiJLai.

avrr) 8' icrws, (frpoveL yap ws yv^i) /xeya, T}}i' hvayiveiav

rrjv i/xTJu alcr^yveTai.

iya> S' ifiavTov

TratSa 717s T u ^ s vi\x.
1080

r/Js eu StSoucnjs ov/c 1O75 avappfer) (sic) L, A, et codd. plerique: avapp^u V, Bodl. Laud. 54 (cum gloss. eJs <#>us Sef^ei), E (ex dvapprj^r] factum): dcapij|ei Trin.

speak). 1072 Iocasta rushes from the scene—to appear no more. Cp. the sudden exit of Haemon (Ant. 766), of Eurydice (ib. 1245), and of Deianeira (Tr. 813). In each of the two latter cases, the exit silently follows a speech by another person, and the Chorus comments on the departing one's silence. Iocasta, like Haemon, has spoken passionate words immediately before going: and here O-UMTTJS (1075) is more strictly 'reticence' than 'silence.' 1074 8«'8oiKa has here the construction proper to a verb of taking thought (or the like), as 7rpo/xr70ov/x\T]
OlAinOYI TYPANNOI

197

Io. Alas, alas, miserable!—that word alone can I say unto thee, and no other word henceforth for ever. [She rushes into the palace. CH. Why hath the lady gone, Oedipus, in a transport of wild grief? I misdoubt, a storm of sorrow will break forth from this silence. OE. Break forth what will! Be my race never so lowly, I must crave to learn it. Yon woman, perchance—for she hath a woman's pride-—thinks shame of my base source. But I, who hold myself son of Fortune that gives good, will not be dishonoured.

will to tell the tale aright. That these futures are normal, and do not arise from any confusion of present wish with future act, may be seen clearly from Plat. Phaedo 91 A KO.1 eyu /J.OL 8OK« lv ™ Trapovn TOCTOVTOV [JLOVOV £t<eiv(iiv OLOicretv'

ov y a p OTTCOS TCHS 7rcLpov 8o£€i

dX-qOrj Trpo8vfiri6rj
though, as it is, her 'proud spirit' only reaches the point of being sensitive as to a lowly origin. Oedipus himself jxiya <j>povei in a higher sense. The sentiment implies such a position for women as existed in the ordinary life of the poet's age. Cp. Eur. Heracl. 978 irpos ravra. rrjv 0pa<juav oorts au 6e\r) | KCLI Trjv povov
human parentage, Oed. is the ' son of Fortune' (said in a very different tone from 'Fortunaefilius' in Hor. Sat. 2. 6. 49): Fortune brings forth the months with their varying events; these months, then, are his brothers, who ere now have known him depressed as well as exalted. He has faith in this Mother, and will not shrink from the path on which she seems to beckon him; he will not be false to his sonship. We might recall Schiller's epigram on the Wolfians; whatever may be the human paternity of the Iliad, 'hat es doch Eine Mutter nur, Und die Ziige der Mutter, Deine unsterblichen Ziige, Natur.' T^S «S 8i8ov£v 8' ev 81801V7 Z€V9, 0. C. 1435. Not gen. abs., 'while she prospers me,' since the poet, riis for avrrj<; could stand only at the beginning of a sentence or

198

IO*OKAEOYZ yap Tr€<j)VKa fiTjTpos" oi Se crvyyeveis ixrjvis yae fiLKpov KCU fj-iyav hia>pi(rav. rotocrSe S' eKvs OVK dv itjeXdoijA e n TTOT aXXo?, wcrre fiv} K/xadelv rovfiov yeVos.

TT]<S

1085

XO. a-Tp. cLirep iyu> fidvTvs elfju ical Kara yv(^\iav iS/3i?, 2 ov TOP *O\vfJLTrov 1OB4 In L prima manus scripsit TOI6CT5' in6s tiff OVK. Quod cum antiquus Siopffwr^s intactum transmisisset, dedit recentior manus roibo&e b", us autem punctis notavit, delendum significans. TOL6
clause, as 1082. 1082 YYmts, as being also sons of Tv'x'?: the word further expresses that their lapse is the measure of his life: cp. 963: CLXKO. £VIXVTOS almv (Ag. 107), years with which bodily strength keeps pace. Pind. Nem. 5. 40 irdr/ios o-viyycvj;?, the destiny born with one. 1083 Buipurav: not: ' have detertnined that I should be sometimes lowly, sometimes great'; to do this was the part of controlling Tv\v- Rather: ' have distinguished me as lowly or great': i. e. his life has had chapters of adversity alternating with chapters of prosperity; and the months have marked these off (cp. 723). The metaphor of the months as sympathetic brothers is partly merged in the view of them as divisions of time : see on 866, 1300. 1084 ' Having sprung of such parentage («K<|>VS, whereas <£u's would be merely ' having been born such') I will never afterwards prove («|&8oi|u, evadam, cp. i o n ) another man' (oiXXos, i.e. false to my own nature). The text is sound. The license of TTOT' at the beginning of 1085 is to be explained on essentially the same principle as /Ac'Xas 8' | , etc., (29, cp. 785, 791) at the end of a verse; viz. that, where the movement of the thought is rapid, one verse can be treated as virtually continuous with the next: hence, too, At. 986 ov\ OCTOV ra^os | hrJT OVTOV a£«is hevpo; Ph. 66 ti 8' ipydtrei | fi.rj

tavra. So here Soph, has allowed himself to retain in | irori in their natural connexion instead of writing hi \ aAAos ITOT. The genuineness of •JTOT' is confirmed by the numerous instances in which Soph, has combined it with hi, as above, 892, below, 1412 : Ai. 98, 687: Tr. 830, 922. 1086—1109 This short ode holds the place of the third a-rda-ifiov. But it has the character of a 'dance-song' or vir6py(r)ix.a, a melody of livelier movement, expressing joyous excitement. The process of

OlAinOYI

TYPANNOZ

199

She is the mother from whom I spring; and the months, my kinsmen, have marked me sometimes lowly, sometimes great. Such being my lineage, never more can I prove false to it, or spare to search out the secret of my birth. CH. If I am a seer or wise of heart, O Cithaeron, thou iststrophe. shalt not fail—by yon heaven, thou shalt not!—to know in the exciderat 5': deinde rudis rei metricae libvarius us inseruit (aptam ratus asseveranti particulam, cf. Ai. 39 ws IGTLV dvdpbs rovSe rdpya raDra COA), ut versum labantem quomodocunque fulciret. roibaSe 5i) 0tis coniecit Blaydes.: Toi6o"5e 5^ (pis OVK av j.' In I anfios wore fiyj ov ixaBuv Nauck. Dindorf., qui olim coniecerat OVK av work | dWoios, nunc (ed. 1869) versus 1084, 1085 uncis inclusit.

discovery now approaches its final phase. The substitution of a byporcheme for a regular stasimon has here a twofold dramatic convenience. It shortens the interval of suspense; and it prepares a more forcible contrast. For the sake of thus heightening the contrast, Soph, has made a slight sacrifice of probability. The sudden exit of Iocasta has just affected the Chorus with a dark presentiment of evil (1075). We are now required to suppose that the spirited words of Oedipus (1076—1085) have completely effaced this impression, leaving only delight in the prospect that he will prove to be a native of the land. A hyporcheme is substituted for a stasimon with precisely similar effect in the Ajax, where the short and joyous invocation of Pan immediately precedes the catastrophe (693—717). The stasimon in the Trachiniae 633—662 may also be compared, in so far as its glad anticipations usher in the beginning of the end. Strophe (1086—1C97). Our joyous songs will soon be celebrating Cithaeron as native to Oedipus. Antistrophe (1098—1109). Is he a son of some god,—of Pan or Apollo, of Hermes or Dionysus ? 1086 |idvTi.s: as El. 472 £i fuj 'y(o Trapdcfrpoiv fxavris

Zw KOL yv
\enrofj.eva o-o^as: SO O. C. ic8o, Ant. 1160, Ai. 1419 : cp. //.aircuo/ieu = ' to presage.' 1087 KaTd with an accus. of respect is somewhat rare {Tr.

IO2 KparurTtvoiv

KUT o/xfia : ib. 3 7 9 '/ Kapra Xa/xTrpa KOI K<XT o/A/xa

KCU <j>v(Tiv), except in such phrases as Kara Travra, KOLT OUSEV, Kara TOVTO.

Cp. Metrical Analysis. 1088 o-3 =ov fid: see on 660. dire£p«v = aTreipos: Hesych. 1. 433 direcpovas' diretpdrovs. SO^OKXIJS ®ve
thinks that aVeiparovs here meant direpavTow; ('limitless'): but elsewhere dirupaTo*; always = 'untried' or 'inexperienced.' Conversely Soph. used aimpos in the commoner sense of dWpcov, 'vast,' fr. 481 \LTWV

200

IOOKAEOYZ 3 a) KiOaLpwv, fovK ecrrj rav avpiov'f logo iiravaikrjvov, [xrj ov ere ye KOU nraTpiaiTav OlSCvovv 5 KCU rpo(f>6v KOLI fx.arep'

av^etv,

6 KOX -)(opeveo-0cu Trpos tf/Acov, cos iirl rjpa

epovTa r o t s

1O9O owe fari TCLV aipiov codd., cui repugnat versus antistrophici metrum ( I I O I ) . Utriusque loci coniunctim habeatur ratio oportet. Super rhv avptoy scriptum est in

aVeipos cvoWifptos KOLKWV. irepd-w, to go through, ireipa (irepia), a goingthrough (fieritus, periculum), are closely akin to Trlpa, beyond, irepas, Treipap a limit (Curt. Etym. §§ 356, 357): in poetical usage, then, their derivatives might easily pass into each other's meanings. 1090 T<1V eirioSo-av l
/u.ot iroBi ircus: cp. also Tr, 500 oiSe TOV (vvv^ov 'AiSav, followed by rj IIoo"6i8a<<)i a Tiva.KTopa yaias.

(2) T h e p h r a s e T&V ai'piov irava-eXT)vov is

very singular, oi'ptov (from the same rt. as ijws, aurora) is always an adverb. In Tr. 945 -q avpiov is opp. to 7} -n-apovaa. -qixtpa.: Lysias or. 26 § 6 17 a{!/Hov -qfiipa: in Eur. Hipp. 1117 TOV avpiov...xpwov is ace. of o avpiov XP^vos, as in Ale. 784 TTJV avpiov /xeWovaav of rj avpiov {JiiXXovcra. Thus ^ avpiov Travo-ikrjvoi can mean only, ' the full-moon of to-morrow': not merely the 'coming' or 'next' full-moon. Granting the phrase (as if we should say r} avpiov vv£), it presupposes that the day on which the Chorus speaks is precisely the eve of a full-moon. (3) Now in Par. A TVJV iTriovo-av is written over Tav avpiov: and Par. B has the gloss, Kara. ry)v avpiov Trdvv Xafjnrpdv r/fiepav. T h e corruption would have happened thus. Since rj l-mova-a could be used without rjfu-ipa as = ' tomorrow' (Polyb. 5. 13. 10), a reader who took mv tiriowav here as = 'the coming day' wrote rav avpiov above it or in the margin; and the more familiar gloss supplanted Tav €7nowav in the text. Then iravo-eXiivov was explained as = 7ravu Xa/x7rpav, and the whole phrase was wrongly interpreted as it is in the gloss of Par. B, 'the all-bright morrow.' The O5K before &J-T| was naturally added to complete the assumed trochaic metre. iravceXi]Vov (sc. copav): Her. 2. 47 £V Trj airfj lKavo~t\rjVia. T h e meaning is: 'At the next full-moon we will hold a joyous

OIAITTOYI TYPANNOS

201

coming season of full moon that Oedipus honours thee as native to him, as his nurse, and his mother; and that thou art celebrated in our dance and song, because thou art well-pleasing to our prince. cod. A Tip iwtovcrav. Delelo oik, credo reponendum esse TCLV itnovaav trrri: vide annotationem. OVK£TI TOV irtpav dedit Dindorf. 1O91 OiSixovf scripsi: OiSlwov codd.

visiting the temples with x°Pot' {Ant. 153) in honour of the discovery that Oedipus is of Theban birth; and thou, Cithaeron, shalt be a theme of our song.' Cp. Eur. Ion 1079, where, in sympathy with the nocturnal worship of t h e gods, d<JT£punro<; | dvt)(6p(.vcr£V alOrjp, | ^(opevei Bi 2«A.ai a.

The rites of the Theban Dionysus were vvxruip TU. TroWd (Eur. Bacch. 486). 1091 Tra.Tpi.M-av, since Cithaeron partly belongs to Boeotia; so Plutarch of Chaeroneia calls the Theban Dionysus his TrarpiwTrjv 6e.6v, Mor. 671 c. I read OlSCirow instead of OlSiirov. With the genitive, the subject to aiii-eiv must be either (1) 17/ms understood, which is impossibly harsh; or (2) Tav...7ravcreA.77yov. Such a phrase as r/ TravaiXrjvos au£ei (re, i.e. ' sees thee honoured,' is possible; cp. 438 178' -q^ipa <j>vo-u o-e «ai §iatf>6tpu: but it is somewhat forced; and the order of the words is against it. The addition of one letter, giving OlSfarow, at once yields a clear construction and a pointed sense. ' T h o u shalt not fail to know that Oedipus honours thee both as native to him, and as his nurse and mother (i.e. not merely as belonging to his Theban fatherland, but as the very spot which sheltered his infancy); and that thou art celebrated in choral song by us (irpos ijnuv), seeing that thou art wellpleasing to him.' |iii ov with oii^iv, because oi* dirupw lo-rj = a verb of hindrance or denial with a negative : the experience shall not be refused to thee, but that he shall honour thee. atypv, not merely by praises, but by the fact of his birth in the neighbourhood : as Pindar says of a victor in the games, Olymp. 5. 4 rdu adv TTOXIV av^av, Pyth. 8. 38 avfcov •ndrpav. 1092 Tpoov, as having sheltered him when exposed: r[ p eSe'^ou; 1391. nax4p*, as the place from which his life rose anew, though it had been destined to be his rafyos, 1452. 1094 \opei«[email protected], to be celebrated with choral song: Ant. 1153 •na.vvvypi | \opivova-i rov Ta/ii'av "IaKxov. (Not 'danced over,' like ddStro TC/AEVOS, Pind. 01. 11. 76.) 1095 liri T]pa <|>4povT£s: see Merry's note on Od. 3. 164 aSris eir' 'ATpei% 'Kyajxijxvovi -rjpa <£e'poi>Tes. ijpa was probably ace. sing, from a nom. yjp, from rt. dp (to fit), as = ' pleasant service.' After the phrase

202

I00KAE0Y2 7 iT^ie
aVr.

T15 O"6, TCKVOV, TtS Cr' €TLKT£ TOLV fJLaKp
IO98

2 Ilavos opeo-crt/3ara 7raIIOO 3 r / ) o s ireXaaOeicr ', 717 o-e ye T15 Ov/drr/p iAo^Lov~f; TW yays TrXa/ces aypovoyLOL Tracrcu l\cu'

5 eft? d KiAXams avdcrcroiv,

1104

1O97
1 1 O 1 Conicio r) at y'

l
Tjpa ipuv had arisen, im was joined adverbially with V, 497. 1096 Irjie, esp. as the Healer: see on 154. 1097 0-0IS*: El. 150 NiOySa, o-e- S' tycoye vifiao Oeov. apltrr' : i.e. consistent with those oracles which still await a Awis ciayiy's (921). 1098 £n.KT«: see on 870. 1099 T<SV |uucpaibvuv: here not goddesses (Aesch. Th. 524 8apo(3ioio-i 6eoia-iv) but the Nymphs, who, though not immortal, live beyond the h u m a n s p a n ; Horn. Hymn. 4. 260 at f> ovre ^VIJTOIS OVT dOavdroia-iv tirovTO-i.' I SijpoV fitv Inwoven Kal afiftporov ctSap eSoucrti/. T h e y consort with P a n , os r dva irluy\ \ SevSpijevT a/^vSts <J>OLTS. xopoijOeo-i Nv/i^ai?,

Hymn. 19. 2. 1100 In Ilavos dp«r
OIAIITOYI TYPANNOI

203

O Phoebus to whom we cry, may these things find favour in thy sight! Who was it, my son, who of the race whose years are many 1st antithat bore thee in wedlock with Pan, the mountain-roaming stroPhe> father ? Or was Loxias the sire that begat thee ? For dear to him are all the upland pastures. Or perchance 'twas Cyllene's lord, Aofi'ou, quod L habet. Originem mendi de monstrare infra conatus sum. rj d yi ns 8vya.T7)p | Ao|i'ov A et plerique, ubi TIS metri explendi gratia manifesto accessit. 7) ai ye Kal yeveTas \ Aofi'ou dedit Dindorf., cum in versu strophico 1090 oiWn rav ertpav exhibeat. Arndt., qui illic OVK Hay ray ojjpiov servat, hie 7} at y' evvaretpoi TIS coniecit, quod receperunt Blaydes., Campbell. Nauckius autem rj at 7' evvdreipa scribit, omisso TIS, cum in v. 1090 ray aCpi pro roe aipiov legat; et sic Kennedius. i) ai y' oifpeios Kbpa Hartung.

Apollo thy father V Dindorf conjectures, fj o-v ye Kal yeveVas I believe that Sophocles wrote rj o-l y ?<j>«viraTr]p) would most easily pass into PEOYrATHP (ytdvyarrjp), and TIS (which is not found in our best MS., L) would be inserted for sense and metre, the change of AoJCas to AogCo-u necessarily following. The corruption to Ovyar-qp would have been further assisted by the fact that, after the reference to the Nymph, another feminine noun might have been expected. For
Callim. Hymn.

Apoll.

47 ov&t KCV cuyes | Sevoaro

Xi'Ses, rjo-iv 'AiroXXoiv | fioo'KOfi.ivrj'i 66aXfi,6v Inrfyaycv. dvdo-o-uv, H e r m e s : Ho?n. Hymn.

/3pe<£eW 1104

imfirj-

6 KuXXavas

3. 1 '"Epixrjv v/xvei, Mova-a, Aios K
vioV, I K.vXXrjvr]'; fieZiovTO. KOX 'ApxaSuys TroXvfjL^Xov : Verg. Aetl. 8.

138

quern Candida Maia \ Cyllenes gelido conceptum vert ice fudit. The peak of Cyllene (now Zirid), about 7300 ft. high, in N. E. Arcadia, is visible

204

I04>0KAE0YS 6 effi 6 BaK^eio? 0eos vaiwv in' atcpwv 6pia>v oeg-aT

e/c rot>

7 Nv[JL(f>av 'EXt/cw^tSwv, a t s TrXetcrra crv/i/,77cu£ei. OI.

ei ^pry T I /ax/xe firj

crvvaWd^aPTd

TTCO,

IIIO

TT/Decr/Seig, oTafyia<x#cu, TOP /3OTT?/)' o p a v So/cco,

ovvep TraXau £,r)Tovjj,ei>. ev re y a p Te TOU5 ayovras cocnrep oi/cera5 eyvo>K i^iavTov'

TT} 8' iincrTTjixy] crv /JLOV civ TTOV, TOV fioTYJp ih(x)V

I i r

5

11O7 eii/M/^a] ire Ku^ia Kennedius: aypev/ia M. Schmidt. 11O9 'EXiieui'idSuj' codd.: 'EXIKUV/SWI/ Porson. Et in cod. A quidem prima manus 'EXIKOICISOS dederat (hoc enim, non 'HXIKUVISUV, compendiaria scviptura voluit indicare): dein correctoris ruber stilus litteram a inseruit et signum addidit quo pluralis terminatio denotaretur.

from the Boeotian plain near Leuctra, where Cithaeron is on the south and Helicon to the west, with a glimpse of Parnassus behind i t : see my Modern Greece, p. 77. 1105 6 B a s i c s Oeos, not ' t h e god BaV^os' (though in O. C. 1494 the MSS. give Hocra.?>au>vw} 6e