ἄκουσα πρὸς τοῦ θηρὸς
ἔρξειεν
ἔρξεν τάδε.
935
Trachiniae. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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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)) — 947-971 focus
Χορός
πότερα πρότερον ἐπιστένω,
πότερα μέλεα περαιτέρω,
δύσκριτʼ ἔμοιγε δυστάνῳ.
950
πότερα πρότερον ἐπιστένω,
πότερα μέλεα περαιτέρω,
δύσκριτʼ ἔμοιγε δυστάνῳ.
Χορός
τάδε μὲν ἔχομεν ὁρᾶν δόμοις,
950
τάδε δὲ μένομεν ἐπʼ ἐλπίσιν·
κοινὰ δʼ ἔχειν τε καὶ μέλλειν.
τάδε μὲν ἔχομεν ὁρᾶν δόμοις,
950
τάδε δὲ μένομεν ἐπʼ ἐλπίσιν·
κοινὰ δʼ ἔχειν τε καὶ μέλλειν.
Χορός
εἴθʼ ἀνεμόεσσά τις
γένοιτʼ ἔπουρος ἑστιῶτις αὔρα,
955
ἥτις μʼ ἀποικίσειεν ἐκ τόπων, ὅπως
τὸν Δῖον ἄλκιμον γόνον
μὴ ταρβαλέα θάνοιμι
960
μοῦνον εἰσιδοῦσʼ ἄφαρ·
ἐπεὶ ἐν δυσαπαλλάκτοις ὀδύναις
χωρεῖν πρὸ δόμων λέγουσιν
ἄσπετόν τι θαῦμα.
εἴθʼ ἀνεμόεσσά τις
γένοιτʼ ἔπουρος ἑστιῶτις αὔρα,
955
ἥτις μʼ ἀποικίσειεν ἐκ τόπων, ὅπως
τὸν Δῖον ἄλκιμον γόνον
μὴ ταρβαλέα θάνοιμι
960
μοῦνον εἰσιδοῦσʼ ἄφαρ·
ἐπεὶ ἐν δυσαπαλλάκτοις ὀδύναις
χωρεῖν πρὸ δόμων λέγουσιν
ἄσπετόν τι θαῦμα.
Χορός
ἀγχοῦ δʼ ἄρα κοὐ μακρὰν
965
προύκλαιον, ὀξύφωνος ὡς ἀηδών.
ξένων γὰρ ἐξόμιλος ἥδε τις βάσις.
πᾷ δʼ αὖ φορεῖ νιν; ὡς φίλου
προκηδομένα βαρεῖαν
ἄψοφον φέρει βάσιν.
αἰαῖ, ὅδʼ ἀναύδατος φέρεται.
970
τί χρὴ θανόντα νιν ἢ καθʼ
ὕπνον ὄντα κρῖναι;
ἀγχοῦ δʼ ἄρα κοὐ μακρὰν
965
προύκλαιον, ὀξύφωνος ὡς ἀηδών.
ξένων γὰρ ἐξόμιλος ἥδε τις βάσις.
πᾷ δʼ αὖ φορεῖ νιν; ὡς φίλου
προκηδομένα βαρεῖαν
ἄψοφον φέρει βάσιν.
αἰαῖ, ὅδʼ ἀναύδατος φέρεται.
970
τί χρὴ θανόντα νιν ἢ καθʼ
ὕπνον ὄντα κρῖναι;
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 947 focus
Bejammr' ich erst Herakles' Loos,
Und dann der Herrin leztes Leid?
Weh, wo beginn' ich Unsel'ge?
Erste Gegenstrophe.
Bejammr' ich erst Herakles' Loos,
Und dann der Herrin leztes Leid?
Weh, wo beginn' ich Unsel'ge?
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 947-970 focus
Chorus
Which disaster shall I bewail first? Which is more to be pitied? In my grief I cannot decide.
Which disaster shall I bewail first? Which is more to be pitied? In my grief I cannot decide.
Chorus
One sorrow may be seen in the house; for one we wait with apprehension. To have and to await are one and the same.
950
One sorrow may be seen in the house; for one we wait with apprehension. To have and to await are one and the same.
950
Chorus
oh, that some strong breeze, a fair wind, might arise at our hearth
to bear me far from this land, so that I might not die of terror when I look but once
955
upon the mighty seed of Zeus! For they say that he is approaching the house in torments from which there is no deliverance, a wonder of unutterable woe.
960
oh, that some strong breeze, a fair wind, might arise at our hearth
to bear me far from this land, so that I might not die of terror when I look but once
955
upon the mighty seed of Zeus! For they say that he is approaching the house in torments from which there is no deliverance, a wonder of unutterable woe.
960
Chorus
Ah, he was not far off, but close to us, he for whom I cried in advance, like the shrill nightingale! Here is a foreign procession of strange men. And in what manner, then, do they bring him? In sorrow, as for some loved one, they tread their mournful, noiseless tread. Ah, he is carried on in silence!
965
Should I think that he is dead, or just asleep?
970
Ah, he was not far off, but close to us, he for whom I cried in advance, like the shrill nightingale! Here is a foreign procession of strange men. And in what manner, then, do they bring him? In sorrow, as for some loved one, they tread their mournful, noiseless tread. Ah, he is carried on in silence!
965
Should I think that he is dead, or just asleep?
970
Commentary
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
935. mvp-comment-679-1 πρὸς τοῦ θηρός] 'Induced by the Centaur.' The construction is κατὰ σύνεσιν, the feeling of the place being, as is implied in ἄκουσα, that Deianira was a passive agent, and that her act was πεπονθὸς μᾶλλον ἢ δεδρακός (Ο. C. 267.)