Sophocles Trachiniae 508

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.

507-508. 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.