Sophocles Ajax 187

ed. Lewis Campbell

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Greek (Lewis Campbell, 1879) (OCR draft) (Greek) (Greek (Lewis Campbell, 1879))

Provisional text from uncorrected OCR; expect errors.

Editions (3)
Αἴας μαστιγοφόρος First1KGreek (Sophocles. Sophoclis Aiax. Lobeck Christian, editor. Berlin: Weidmann, 1866.) — 172-201 focus
Αἴας First1KGreek (Sophocles. Sophoclis Fabulae. Pearson, Alfred Chilton, editor. Oxford: Clarendon Press, 1924.) — 201-213 focus
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 201-213 focus
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 187 focus
CH
Beside the huts, untended.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 182 focus
Nie doch in früherer Zeit, Telamonier,
Hast du dich also verirrt, wider Heerden loszugeh'n;
Dir schlugen wohl die Götter den Geist: doch es halte
Das üble Volksgerede Zeus und Phöbos fern!
Wenn im Geheimen indeß
185
Die Lüg' ersann der mächtigen Könige Groll 1
Und jener arge Sprosse von Sisyphos' Blut:
Nicht länger birg dich, Herr, in den Zelten am Meer,
Nicht den Ruf, den schmähenden, wecke!
Schlußgesang.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 187 focus
Menelaus
Thy tongue but speaks thy pride.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 187 focus
Chorus
'Midst these thy sorrows the unfeeling hearts
Of the Atridæ, and their ruthless deeds
Thou wailest: but the gods avert such ills
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 201-210 focus

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.

186. mvp-comment-139-1 ἥκοι γὰρ ἂν θεία νόσος] 'An affliction from the gods, indeed, may have come.' For this use of av with the optative, cp. Aesch. Pers. 706, ἀνθρώπεια δ' ἄν τοι πήματ᾿ ἂν τύχοι βροτοῖς: Ag. 1507, πατρόθεν δὲ συλλήπτωρ γένοιτ᾽ ἂν ἀλάστωρ. These words develop the suggestion conveyed in φρενόθεν γε, το which they are attached with γάρ. Ajax cannot have done this; at least not of his own impulse. It may be, indeed, that a divine visitation is upon him. This possibility is a further reason for rejecting the notion that Ajax is really guilty. ὀλλά] (1) 'It may have come, but Zeus grant that the report may be untrue!' Zeus and Phoebus, as the deities of divination, are implored to grant that the truth may be less terrible than it is according to the report set in motion by the Argives. Or (2) 'It may have come, but even then let not the evil be increased with false rumours spread by Argives.'