ἤ ῥα κλυτῶν ἐνάρων
Ajax. Sophocles. ed. Lewis Campbell. Oxford. 1879.
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Editions (3)
Αἴας μαστιγοφόρος First1KGreek (Sophocles. Sophoclis Aiax. Lobeck Christian, editor. Berlin: Weidmann, 1866.) — 172-201 focus
str.
1
ΧΟΡΟΣ
1
ᾖ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις,
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς,
ὥρμασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσ’, ἀδώροις εἴτ’ ὲλαφηβολἐαις.
ἢ χαλκοθώραξ ἥντιν’ Ἐννυάλιος
μομφὰν ἔχων
180
ξυνοῦ δορὸς, ἐννυχίοις μαχαναῖς
ἐτίσατο λώβαν.
1
ᾖ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις,
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς,
ὥρμασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσ’, ἀδώροις εἴτ’ ὲλαφηβολἐαις.
ἢ χαλκοθώραξ ἥντιν’ Ἐννυάλιος
μομφὰν ἔχων
180
ξυνοῦ δορὸς, ἐννυχίοις μαχαναῖς
ἐτίσατο λώβαν.
ant.
1
ΧΟΡΟΣ
1
Οὐ, τοτε γὰρ φρενόθεν γ’ ἐπ’ ἀριστερὰ,
παῖ Τελαμῶνος, ἔβας
τόσσον ὲν ποίμναις πίτνων·
185
ἥκοι γὰρ ἂν θεία νόσος· ἀλλ’ ἀπερύκοι
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν ·
εἰ δ’ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
190
μὴ, μή μ’, ἄναξ,
ἔθ’ ὦδ’ ἐφάλοις κλισίαις ὄμμ’ ἔχων
κακὰν φάτιν ἄρῃ.
1
Οὐ, τοτε γὰρ φρενόθεν γ’ ἐπ’ ἀριστερὰ,
παῖ Τελαμῶνος, ἔβας
τόσσον ὲν ποίμναις πίτνων·
185
ἥκοι γὰρ ἂν θεία νόσος· ἀλλ’ ἀπερύκοι
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν ·
εἰ δ’ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
190
μὴ, μή μ’, ἄναξ,
ἔθ’ ὦδ’ ἐφάλοις κλισίαις ὄμμ’ ἔχων
κακὰν φάτιν ἄρῃ.
ep.
ΧΟΡΟΣ
1
Ἀλλ’ ἄνα ἐς ἐδράνων, ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδ’ ἀγωνίῳ σχολᾷ
195
ἄταν οὐρανίαν φλέγων
ἐχθρῶν δ’ ὕβρις ὧδ’ ἀτάρβηθ’
ὁρμᾶται ὲν εὐανέμοις βάσσαις,
πάντων καγχαζόντων
γλώσσαις βαρυάλγητα·
200
200
ἐμοὶ δ’ ἄχος ἕστακεν.
1
Ἀλλ’ ἄνα ἐς ἐδράνων, ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδ’ ἀγωνίῳ σχολᾷ
195
ἄταν οὐρανίαν φλέγων
ἐχθρῶν δ’ ὕβρις ὧδ’ ἀτάρβηθ’
ὁρμᾶται ὲν εὐανέμοις βάσσαις,
πάντων καγχαζόντων
γλώσσαις βαρυάλγητα·
200
200
ἐμοὶ δ’ ἄχος ἕστακεν.
Αἴας First1KGreek (Sophocles. Sophoclis Fabulae. Pearson, Alfred Chilton, editor. Oxford: Clarendon Press, 1924.) — 172-200 focus
str.
1
Χορός
1
ἦ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις,
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς, ὥρ-
μασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσʼ, ἀδώροις εἴτʼ ἐλαφαβολίαις;
ἢ χαλκοθώραξ εἴ τινʼ Ἐνυάλιος
μομφὰν ἔχων ξυνοῦ δορὸς ἐννυχίοις
180
μαχαναῖς ἐτείσατο λώβαν;
1
ἦ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις,
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς, ὥρ-
μασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσʼ, ἀδώροις εἴτʼ ἐλαφαβολίαις;
ἢ χαλκοθώραξ εἴ τινʼ Ἐνυάλιος
μομφὰν ἔχων ξυνοῦ δορὸς ἐννυχίοις
180
μαχαναῖς ἐτείσατο λώβαν;
ant.
1
Χορός
1
οὔποτε γὰρ φρενόθεν γʼ ἐπʼ ἀριστερά,
παῖ Τελαμῶνος, ἔβας
1
2
3
4
5
6
7
8
9
10
11
τόσσον ἐν ποίμναις πίτνων· ἥ-
κοι γὰρ ἂν θεία νόσος· ἀλλʼ ἀπερύκοι
185
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν.
εἰ δʼ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς,
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
μὴ μηκέτʼ, ὦναξ, ὧδʼ ἐφάλοις κλισίαις
190
ὄμμʼ ἔχων κακὰν φάτιν ἄρῃ.
1
οὔποτε γὰρ φρενόθεν γʼ ἐπʼ ἀριστερά,
παῖ Τελαμῶνος, ἔβας
τόσσον ἐν ποίμναις πίτνων· ἥ-
κοι γὰρ ἂν θεία νόσος· ἀλλʼ ἀπερύκοι
185
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν.
εἰ δʼ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς,
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
μὴ μηκέτʼ, ὦναξ, ὧδʼ ἐφάλοις κλισίαις
190
ὄμμʼ ἔχων κακὰν φάτιν ἄρῃ.
ep.
Χορός
ἀλλʼ ἄνα ἐξ ἑδράνων
ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδʼ ἀγωνίῳ σχολᾷ,
ἄταν οὐρανίαν φλέγων.
195
ἐχθρῶν δʼ ὕβρις ὧδʼ ἀτάρβητα
ὁρμᾶτʼ ἐν εὐανέμοις βάσσαις,
πάντων καχαζόντων
γλώσσαις βαρυάλγητα·
ἐμοὶ δʼ ἄχος ἕστακεν.
200
ἀλλʼ ἄνα ἐξ ἑδράνων
ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδʼ ἀγωνίῳ σχολᾷ,
ἄταν οὐρανίαν φλέγων.
195
ἐχθρῶν δʼ ὕβρις ὧδʼ ἀτάρβητα
ὁρμᾶτʼ ἐν εὐανέμοις βάσσαις,
πάντων καχαζόντων
γλώσσαις βαρυάλγητα·
ἐμοὶ δʼ ἄχος ἕστακεν.
200
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 172-200 focus
Χορός
ἦ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις—
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς—
ὥρμασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσʼ, ἀδώροις, εἴτʼ ἐλαφαβολίας;
ἢ χαλκοθώραξ μή τινʼ Ἐνυάλιος
μομφὰν ἔχων ξυνοῦ δορὸς ἐννυχίοις
180
μαχαναῖς ἐτίσατο λώβαν;
ἦ ῥά σε Ταυροπόλα Διὸς Ἄρτεμις—
ὦ μεγάλα φάτις, ὦ
μᾶτερ αἰσχύνας ἐμᾶς—
ὥρμασε πανδάμους ἐπὶ βοῦς ἀγελαίας,
175
ἦ πού τινος νίκας ἀκάρπωτον χάριν,
ἤ ῥα κλυτῶν ἐνάρων
ψευσθεῖσʼ, ἀδώροις, εἴτʼ ἐλαφαβολίας;
ἢ χαλκοθώραξ μή τινʼ Ἐνυάλιος
μομφὰν ἔχων ξυνοῦ δορὸς ἐννυχίοις
180
μαχαναῖς ἐτίσατο λώβαν;
Χορός
οὔ ποτε γὰρ φρενόθεν γʼ ἐπʼ ἀριστερά,
παῖ Τελαμῶνος, ἔβας
τόσσον, ἐν ποίμναις πίτνων·
185
ἥκοι γὰρ ἂν θεία νόσος· ἀλλʼ ἀπερύκοι
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν.
εἰ δʼ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
190
μὴ μή, ἄναξ, ἔθʼ ὧδʼ ἐφάλοις κλισίαις
ὄμμʼ ἔχων κακὰν φάτιν ἄρῃ.
οὔ ποτε γὰρ φρενόθεν γʼ ἐπʼ ἀριστερά,
παῖ Τελαμῶνος, ἔβας
τόσσον, ἐν ποίμναις πίτνων·
185
ἥκοι γὰρ ἂν θεία νόσος· ἀλλʼ ἀπερύκοι
καὶ Ζεὺς κακὰν καὶ Φοῖβος Ἀργείων φάτιν.
εἰ δʼ ὑποβαλλόμενοι
κλέπτουσι μύθους οἱ μεγάλοι βασιλῆς
ἢ τᾶς ἀσώτου Σισυφιδᾶν γενεᾶς,
190
μὴ μή, ἄναξ, ἔθʼ ὧδʼ ἐφάλοις κλισίαις
ὄμμʼ ἔχων κακὰν φάτιν ἄρῃ.
Χορός
ἀλλʼ ἄνα ἐξ ἑδράνων, ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδʼ ἀγωνίῳ σχολᾷ
ἄταν οὐρανίαν φλέγων.
195
ἐχθρῶν δʼ ὕβρις ὧδʼ ἀτάρβητα
ὁρμᾶται ἐν εὐανέμοις βάσσαις,
πάντων καγχαζόντων
γλώσσαις βαρυάλγητα·
ἐμοὶ δʼ ἄχος ἕστακεν.
200
ἀλλʼ ἄνα ἐξ ἑδράνων, ὅπου μακραίωνι
στηρίζει ποτὲ τᾷδʼ ἀγωνίῳ σχολᾷ
ἄταν οὐρανίαν φλέγων.
195
ἐχθρῶν δʼ ὕβρις ὧδʼ ἀτάρβητα
ὁρμᾶται ἐν εὐανέμοις βάσσαις,
πάντων καγχαζόντων
γλώσσαις βαρυάλγητα·
ἐμοὶ δʼ ἄχος ἕστακεν.
200
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 177 focus
TEC
Ay, let them laugh and revel o’er his fall!
975
Perchance, albeit in life they missed him not,
975
Dead, they will cry for him in straits of war.
975
For dullards know not goodness in their hand,
975
Nor prize the jewel till ’tis cast away.
975
To me more bitter than to them ’twas sweet,
975
His death to him was gladsome, for he found
975
The lot he longed for, his self-chosen doom.
What cause have they to laugh? Heaven, not their crew,
Hath glory by his death. Then let Odysseus
Insult with empty pride. To him and his
Aias is nothing; but to me, to me,
He leaves distress and sorrow in his room!
Ay, let them laugh and revel o’er his fall!
975
Perchance, albeit in life they missed him not,
975
Dead, they will cry for him in straits of war.
975
For dullards know not goodness in their hand,
975
Nor prize the jewel till ’tis cast away.
975
To me more bitter than to them ’twas sweet,
975
His death to him was gladsome, for he found
975
The lot he longed for, his self-chosen doom.
What cause have they to laugh? Heaven, not their crew,
Hath glory by his death. Then let Odysseus
Insult with empty pride. To him and his
Aias is nothing; but to me, to me,
He leaves distress and sorrow in his room!
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 172 focus
Trieb dich die Tochter des Zeus, die Vertilgerin,
Artemis, schweres Gerücht, Quelle bitt'rer Schande mir!
Auf unsres Volkes Gut, in die weidenden Rinder,
Wohl wegen eines ohne Dank erkämpften Siegs,
1
175
Sei es um Gaben getäuscht
Von stolzer Rüstung oder um Beuten der Sagd?
Wie? Oder zürnt dir Ares im ehernen Kleid,
Hat, weil mit Undank ihm du die Hülfe gelohnt,
Dich gestraft mit nächtlichem Blendwerk?
180
Gegenstrophe.
Trieb dich die Tochter des Zeus, die Vertilgerin,
Artemis, schweres Gerücht, Quelle bitt'rer Schande mir!
Auf unsres Volkes Gut, in die weidenden Rinder,
Wohl wegen eines ohne Dank erkämpften Siegs,
1
175
Sei es um Gaben getäuscht
Von stolzer Rüstung oder um Beuten der Sagd?
Wie? Oder zürnt dir Ares im ehernen Kleid,
Hat, weil mit Undank ihm du die Hülfe gelohnt,
Dich gestraft mit nächtlichem Blendwerk?
180
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 177 focus
Teucer
Why touch it not ?
Why touch it not ?
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 177 focus
Chorus
926
Thy loss to me is ruin. Thou in blood
925
Hast fall'n alone, and nigh thee not a friend
To guard thee. I was witless, void of sense,
Thus to neglect thee. Where lies Ajax, where
Lies the indignant, stern, ill-fated Chief?
Thy loss to me is ruin. Thou in blood
925
Hast fall'n alone, and nigh thee not a friend
To guard thee. I was witless, void of sense,
Thus to neglect thee. Where lies Ajax, where
Lies the indignant, stern, ill-fated Chief?
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 172-200 focus
Chorus
Was it Artemis ruler of bulls, Zeus’s daughter, that drove you, O powerful Rumor, O mother of my shame,
drove you against the herds of all our people? Was she exacting retribution, perhaps, for a victory that had paid her no tribute, whether it was because she had been cheated of the glory of captured arms, or because a stag had been slain without gifts for recompense? Or can the bronze-cuirassed Lord of War
175
have had some cause for anger arising out of an alliance of spears, and taken vengeance for the outrage by contrivance shrouded in night?
180
Was it Artemis ruler of bulls, Zeus’s daughter, that drove you, O powerful Rumor, O mother of my shame,
drove you against the herds of all our people? Was she exacting retribution, perhaps, for a victory that had paid her no tribute, whether it was because she had been cheated of the glory of captured arms, or because a stag had been slain without gifts for recompense? Or can the bronze-cuirassed Lord of War
175
have had some cause for anger arising out of an alliance of spears, and taken vengeance for the outrage by contrivance shrouded in night?
180
Chorus
For never of your own heart alone, son of Telamon, would you have gone so far down the sinister path
as to fall upon the flocks. When the gods send madness, it cannot but reach its target, but may Zeus and Phoebus avert the evil rumor of the Greeks!
And if it is the great kings who slander you with their furtive stories,
185
or if it is he born of the abject line of Sisyphus, do not, my king, do not win me an evil name by keeping your face still hidden in the tent by the sea.
190
For never of your own heart alone, son of Telamon, would you have gone so far down the sinister path
as to fall upon the flocks. When the gods send madness, it cannot but reach its target, but may Zeus and Phoebus avert the evil rumor of the Greeks!
And if it is the great kings who slander you with their furtive stories,
185
And if it is the great kings who slander you with their furtive stories,
or if it is he born of the abject line of Sisyphus, do not, my king, do not win me an evil name by keeping your face still hidden in the tent by the sea.
190
Chorus
Come now, up from your seat, wherever you are settled in this long-lived pause from battle
and are making the flame of disaster blaze up to the sky! The violent insolence of your enemies rushes fearlessly about in the breezy glens, while the tongues of all the army cackle out a load of grief.
195
For me, sorrow stands firmly planted.
200
Come now, up from your seat, wherever you are settled in this long-lived pause from battle
and are making the flame of disaster blaze up to the sky! The violent insolence of your enemies rushes fearlessly about in the breezy glens, while the tongues of all the army cackle out a load of grief.
195
For me, sorrow stands firmly planted.
200
Commentary
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
134-200. mvp-comment-100-1 The first part of the parodos consists of six anapaestic systems (ll. 134-171), during the recitation of which the Chorus pace to and fro in the orchestra, before the tent of Ajax. This long-continued movement, which betokens the restless anxiety of the mariners for their prince, also strikes a note in harmony with the feelings of the spectator, to whom the horror that is going on within has already been revealed. He knows that their dreadful apprehensions are only too true. It is followed by a strophe, antistrophe, and epode (ll. 172-200), which mark the climax of their agitation before the entrance of Tecmessa.
172-200. mvp-comment-126-1 Beginning from a dactylic movement, the ode (expressing the combination of deep sadness with eager hope) continues with trochaic, iambic, and dactylic rhythms, as follows:- ... The slow movement with frequent long syllables increases towards the close.
177. mvp-comment-131-1 ἤ ῥα .. εἴτε] 'Either, as I suspect,.. or whether it were.' Cp. Eur. Alc. 114, 5, ἢ Λυκίας | εἴτ᾽ ἐπὶ τὰς ᾿Αμμωνίδας ἕδρας.
177-178. mvp-comment-132-1 'Disappointed of glorious spoils, or (provoked) because the fall of the stag was followed by no gift.' The MS. reading ψευσθεῖσα δώροις, ‘deceived in the matter of gifts,' is hardly Greek. For the dative, ἀδώροις.. ἐλαφηβολίαις, see Essay on L. § 14. p. 21, and for the order of the words, ibid. § 41. p. 77.