Sophocles Trachiniae 507

mvp-comment-264-1 ποταμοῦ σθένος ¹

mvp-comment-264-2 φάσμα ταύρου ²

mvp-comment-264-3 Acheloüs fights, then, as the

,—not merely as the (12). Sophocles is here following the traditional version. The Homeric Scamander, in conflict with Achilles, roars ‘like a bull’ ( , Il.21. 237 ). (says the schol. there) . The taurine form was given to Acheloüs, in that combat, by Archilochus (schol. ib.), by Pindar (schol. Il.21. 194 ), and by the logographer Pherecydes ( Apollod.2. 6. 5 ): perhaps, too, by Panyasis, the author of an epic . An engraved gem in the British Museum (King, Antique Gems II. pl. 34, fig. 3) shows Acheloüs as a bull, preparing to butt at Heracles. The gem is older than the time of Sophocles, and may, as Mr. Murray S. thinks, have followed the rendering of this subject on the still more archaic throne of Apollo at Amyclae ( Paus.3. 18. 5 ). Cp. n. on 520. This fight was a favourite theme in art: for the literature, see Roscher, Lex.p. 9.

mvp-comment-264-4 Ovid ( Met. 9. 1—100 ) departs from the old Greek version: his Acheloüs begins the fight in quasi-human form,—then turns into a serpent (63) ,—and then, as a last resource into a bull (80) .

498-530. mvp-comment-373-1 The power of Aphrodite here, as in Ant. 781 foll., is regarded more with awe than with delight. It has been now exemplified in Iole's conquest of Heracles, so cruel to Deianira, and destined to be so calamitous to all concerned (infr. l.872). The maidens in their sympathy with Deianira recall the time when the same power had driven heroes to do battle for her, and when she was carried triumphantly from her mother's side. There is a close correspondence, as elsewhere, between this lyric strain and passages in the preceding senarii. Cp. esp. ll. 4-40, 142-150, 441-3,465-7. The ode consists of a strophe, antistrophe, and epode, in which logaoedic rhythms are varied with anapaestic and iambic metres. The anapaests (cp. O. T. 469, 470, 479, 480) indicate the coming on of the combatants; the interrupted rhythms of the epode help to express the struggle between them, while the happy issue is marked by the trochaics and glyconics at the close.

507. mvp-comment-382-1 ποταμοῦ σθένος] An Epic expression. Cp. Il. 18. 607, ποταμοῖο μέγα σθένος Ὠκεανοῖο : ib. 486, τό τε σθένος Ωρίωνος : ib. 13. 248, σθένος Ἰδομενῆος. It is also used by Pindar and Aeschylus.

507-508. mvp-comment-383-1 ὑψίκερω τετραόρου | φάσμα ταύρου] Eustathius, p. 573, 27, reads τετράορον, but he quotes elsewhere as in the text, and the epithets redoubled about the same word are more impressive in this connection. τετράοροι ἵπποι in Od. 13. 81 are τέσσαρες ὁμοῦ ἀείροντες ἅρμα. Sophocles here employs the word in a new sense, = ἐπὶ τέσσαρσιν ἀειρόμενος, 'Upborne by fourfold means,' = 'four-footed.' This gives the Achelõus an advantage against his biped antagonist, and so lends additional terror to the description. φάσμα is in apposition with ποταμοῦ σθένος, ί.ε. σθεναρὸς ποταμός, ταῦρος παραφαινόμενος. The word φάσμα, like our 'apparition,' implies something which produces a strange impression through the eye. Cp. infr. 836, 7, δεινοτάτῳ ὕδρας . . φάσματι. Achelous enters the contest ἐναργὴς ταῦρος, supr. l. 11. Ср. Il. 21. 237, 8, τοὺς ἔκβαλλε θύραζε, μεμυκὼς ἠὔτε ταῦρος, | χέρσονδε.