Sophocles Trachiniae 202

ed. Lewis Campbell

φωνήσατ᾽, ὦ γυναῖκες, αἵ τ᾿ εἴσω στέγης

Trachiniae. Sophocles. ed. Lewis Campbell. Oxford. 1879.

Current edition Experimental

Greek (Lewis Campbell, 1879) (OCR draft) (Greek) (Greek (Lewis Campbell, 1879))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 205-496 focus
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 202 focus
HER
Then even there,
With thine own hand uplifting this my body,
Taking what friends thou wilt, and having lopped
Much wood from the deep-rooted oak and rough
Wild olive, lay me on the gathered pile,
And burn all with the touch of pine-wood flame.
1205
Let not a tear of mourning dim thine eye;
1205
But silent, with dry gaze, if thou art mine,
1205
Perform it. Else my curse awaits thee still
1205
To weigh thee down when I am lost in night.
1205
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 205 focus
Jubelnd ertöne der Gesang
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 202 focus
Hyllus
Alas ! what doubts arise,
What fears perplex me !
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 202 focus
Hercules
If thou art false, call vengeance on thy head.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 141-495 focus

Commentary

Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))

mvp-comment-106-1 εἴσω 1 ἔσω 2

mvp-comment-106-2 στέγης … αὐλῆς 3

mvp-comment-106-3 ὄμμα φήμης τῆσδε, ἄελπτον ἐμοὶ ἀνασχόν 4

mvp-comment-106-4 The wording here, ὡς … ἀνασχόν 5 τῆσδε 6 τῆσδ’ ὃ 7 ἄελπτον 8

Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus

202-203. mvp-comment-157-1 αἵ τ᾿ εἴσω στέγης.. αἵ τ᾿ ἐκτὸς αὐλῆς] The variety of expression has little or no significance. Deianira addresses herself to the women who belong to the house, as well as to the Chorus who have come to visit her, and are standing before the gates.