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.
515.
mvp-comment-387-1
εὔλεκτρος.. Κύπρις] ‘Aphrodite, the giver of desired marriage.' So εύχλοος Δημήτηρ is Demeter who gives abundant herbage. ῥαβδονόμει ξυνοῦσα] 'Was there directing all. The ῥαβδονόμος, οι ῥαβδοῦχος, was not the βραβευτής οι βραβεύς (in this case Ζεὺς ἀγώνιος) who awarded the prize, but the regulator of the contest, who was not necessarily the same person. Cp. Plat. Prot. 338 A (Hippias loq.), πείθεσθέ μοι ῥαβδοῦχον καὶ ἐπιστάτην καὶ πρύτανιν ἑλέσθαι, ὃς ὑμῖν φυλάξει τὸ μέτριον μῆκος τῶν λέγων ἑκατέρου.
517.
mvp-comment-388-1
Schndw. regards this line as a hendiadys describing the noise made by hand and bow together, 'There was the sound of the hand, the sound of the bow, i. e. the sound of the hand upon the bow. But χερός rather means, Of blows with the fist,' and in τόξων πάταγος is included, besides the twang of the bow, the whizz and loud impact of the arrow. Musgrave objects to τόξων as unsuited for close fighting (cp. Hdt. 3.78. § 3), and absurdly suggests ταρσῶν. The arrows might be delivered before closing, or Heracles might retire a few paces. But it is needless to press the details of the description, which is meant to suggest in a few words the incidents of a varied encounter. Cp. the meeting of Satan and Death in Milton, or of Christian and Apollyon in the Pilgrim's Progress.
519.
mvp-comment-389-1
ἀνάμιγδα] Therewithal.' The crashing blows of the bull's horns were mingled with the twanging of the bow, etc., in a confused noise. The more usual form is ἄμμιγα.
520.
mvp-comment-390-1
ἦν] This, the so-called 'schema Pindaricum,' does not occur elsewhere in Sophocles. Cp. Eur. Ion 1146, ἐνῆν δ'.. ὑφαί: Hes. Theog. 321, τῆς δ᾽ ἦν τρεῖς κεφαλαί. It only happens where the verb precedes the noun, and it is here used for the sake of the emphatic repetition of ἦν ἦν-ἦν. Recent philology inclines to consider ἦν in such cases not as the 3rd person singular, but as a dialectical form of ἦσαν.
520.
mvp-comment-390-2
ἀμφίπλεκτοι κλίμακες] Twistings and mountings on the back. The κλίμαξ was a trick in wrestling. Hermann conjectures the nature of it to have been that mentioned by Ovid, Met. 9. 51, in describing this very contest, viz. the act of giving the adversary a sudden push so as to turn him round, and then trying to throw him by mounting on his back. For the use of the verbal ἀμφίπλεκτοι, cp. supr. 357, ῥιπτός and note, and see Hdt. 3. 78, συμπλακέντος Γωβρύεω τῷ Μάγῳ.
521.
mvp-comment-391-1
μετώπων.. πλήγματα] 'Blows given with the forehead-of Achelous. Cp. Ovid, Met. 9. 44, 5, Totoque ego pectore pronus | Et digitos digitis, et frontem fronte premebam.'
522.
mvp-comment-392-1
στόνος] 'Groanings'-not from pain, but from the extremity of effort.
523.
mvp-comment-393-1
foll. Cp. supr. 24, ἐγὼ γὰρ ἥμην ἐκπεπληγμένη φόβῳ. ὁ δ᾽ εὐῶπις ἁβρά] The Chorus, who have only seen Deianira as a careworn matron, delight in imagining her tender beauty as a girl.
524.
mvp-comment-394-1
τηλαυγεῖ] 'Far-glancing.' Explained by τηλεσκόπῳ; ἱ.ε. τῆλε πέμπουσα τὰς αὐγὰς τῶν ὀμμάτων. Where a rising-ground gave a distinct view of the fight.' Paley.
526.
mvp-comment-395-1
ἐγὼ δὲ μάτηρ μὲν οἷα φράζω] The interpretation of one Scholiast, ἐγὼ παρεῖσα τὰ πολλά, τὰ τέλη λέγω τῶν πραγμάτων, seems to point to a lost various reading, in which τὰ τερμόνια, or something of the kind, was written for μάτηρ μὲν οἷa. It is another question whether the conjecture founded upon this, τὰ τέρματ᾽ οἷα, gives better sense than the reading in the text, which is explained in the first scholion: ἐγώ, φησὶν ἐνδιαθέτως, ὡσεὶ μήτηρ λέγω. The Chorus had not been present at that distant scene, but in imagining it they feel a mother's tenderness for her, who 'with much, much more dismay Beheld the fight than those who made the fray.' (Shak. Merchant of Venice, 3. 2. 61, 2.)
527.
mvp-comment-396-1
τὸ δ᾽.. ἀμμένει] 'And she for whom they fought, with anxious looks awaits her lord.' δé, as in prose δ' οὖν, here resumes the clause τὸν ὂν. ἀκοίταν after the parenthesis. This makes easier the omission of the object after ἀμμένει, which has been felt as a difficulty:-i.e. ἡ νύμφη, περιμάχητος οὖσα ἀμφοῖν, ἐλεινῶς θεωμένη ἀναμένει τὸν νικῶντα. Her eye' or 'gaze' (
Essay on L. § 54. p. 99
) is made the subject because she is intently looking on, and not merely, as the Scholiast says, because the most beautiful part is put for the whole. Cp. Aj. 140, πτηνῆς ὡς ὄμμα πελείας.
528.
mvp-comment-397-1
ἐλεινόν] 'Deserving pity,' because distracted with doubt and fear. Cp. O. C. 317, 8, καὶ φημὶ κἀπύφημι, κοὐκ ἔχω τί φῶ, | τάλαινα.
529.
mvp-comment-398-1
κἀπὸ ματρός, κ.τ.λ.] 'And all at once she leaves her mother's side.' In the manner of this brief and rapid lyric strain, the Chorus pass from the midst of the contest to its final issue.
