Sophocles Trachiniae 205

ed. Lewis Campbell

ἀνολολύξατε δόμοις ἀνολολύξετε δόμοις ἀνολολύξατε, δόμοις ἀνολολύζετε δόμοις
205

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)) — 205 focus
HYL
Alas that thou shouldst challenge me to this,
1210
To be thy murderer, guilty of thy blood!
1210
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)) — 205 focus
Hercules
It is not wicked
If I request it of thee.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 205 focus
Hyllus
Sacred to Jove?
1190
I know it well, for oft
1190
‘The victim have I offer’d on that mount,
1190
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-107-1 This lively ‘dance-song’ (

ὑπόρχημα
) is the direct response of the Chorus to Deianeira's appeal (202
φωνήσατ’
),—expressing their delight at the good news. As Dr. W. Christ, who calls it ‘a paean to Artemis and Apollo,’ justly remarks ( Metrik § 443), its contents clearly point to a distribution of the verses between different singers. (1) The first part, down to v. 215 (
Νύμφας
), is an invitation to song and dance; this would be given either by the coryphaeus, or by the leader of one semichorus. (2) The second part, vv. 216—220 (
ἀείρομ’...ἅμιλλαν
), is the response, delivered by the leader of the other semichorus. (3) Then, at v. 221, the whole Chorus joins in with the refrain of the paean,
ἰὼ ἰὼ Παιάν
. (4) The coryphaeus then gives the last three verses, which introduce the next scene.—For the metres, see Metrical Analysis.

mvp-comment-107-2 ἀνολολυξάτω 1 δόμοις 2 ἁ 3 ὁ 4 δόμοις 5 ἐφεστίοις 6 ἐν δὲ κοινὸς ἀρσένων 7

mvp-comment-107-3 Hence we have to choose between these views, of which I prefer the first. (1) ἁ μελλόνυμφος 8 ἁ μελλόνυμφος 9 δόμος … ὁ μελλόνυμφος 10

mvp-comment-107-4 ἀνολολυξάτω 11

mvp-comment-107-5 δόμοις 12 ἀλαλαῖς 13

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

205-224. mvp-comment-159-1 The Chorus in response to Deianira raise this strain, accompanied, at least in the latter part of it (216 foll.), with dancing, or some rapid motion to and fro. Cp. Aj. 693-717, О. Т. 1086–1109, Ant. 1115-1152, for similar expressions of hope before some catastrophe. See also O. C. 1044 foll., El. 1384-1397. The maidens who are come to visit Deianira (1) challenge the maidens within the house to shout for joy, and (2) invite the young men to accompany them; (3) they encourage each other to raise the hymn to Artemis, (4) they dance under the excitement of the flute and the thyrsus, (5) they call attention to the coming of Lichas with the captives. These quick changes mark the feeling of trepidation which the situation is calculated to produce.

205. mvp-comment-160-1 ἀνολολύξατε δόμοις] There is no cause for changing the MS. reading of this line, which, as Hermann pointed out, has the same metre as El. 1384, ἴδεθ᾽ ὅπου προνέμεται. The plur. imperative is addressed to all within the house (young men and maidens), who are mentioned separately afterwards.

206. mvp-comment-161-1 ὁ μελλόνυμφος is either (1) used collectively-the indefinite singular for the indefinite plural ( Essay on L. § 20. p. 31 )-or (2) there is an ellipse of χόρος (κατὰ σύνεσιν). The former (1) is more probable, and the gender is to be accounted for, as in l. 151 supr., τὴν αὑτοῦ σκοπῶν πρᾶξιν. The word μελλόνυμφος may be suggested by Deianira's description in ll. 144-150. Those to whom marriage is in futurity. Such echoes of the dialogue are frequent in the choric songs. ἐν δέ] · And therewith.' Essay on L. § 18. p. 26. κοινός] Mingling' with the voices of the maidens. Cp. O. C. 1500, τίς αὖ παρ᾽ ὑμῶν κοινὸς ἠχεῖται κτύπος; κοινὸς feminine occurs only here.