Ajax. Sophocles. ed. Lewis Campbell. Oxford. 1879.
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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 (3)
Αἴας μαστιγοφόρος First1KGreek (Sophocles. Sophoclis Aiax. Lobeck Christian, editor. Berlin: Weidmann, 1866.) — 202-214 focus
ΤΕΚΜΗΣΣΑ
Ναὸς ἀρωγοὶ τῆς Αἴαντος,
γενεᾶς χθονίων ἀπ’ Ἐρεχθειδᾶν,
ἔχομεν στοναχὰς οἱ κηδόμενοι
τοῦ Τελαμῶνος τηλόθεν οἴκου.
205
205
νῦν γὰρ ὁ δεινὸς, μέγας, ὠμοκρατὴς
Αἴας θολερός
κεῖται χειμῶνι νοσήσας.
ΧΟΡΟΣ
τί δ’ ἐνήλλακται τῆς ἀμερίας
νὺξ ἥδε βάρος;
210
210
παῖ τοῦ Φρυγίου Τελεύταντος,
λέγ’, ἐπεὶ σὲ, λέχος δουριάλωτον,
στέρξας ἀνέχει θούριος Αἴας,
ὥστ’ οὐκ ἂν ἄιδρις ὑπείποις.
Αἴας First1KGreek (Sophocles. Sophoclis Fabulae. Pearson, Alfred Chilton, editor. Oxford: Clarendon Press, 1924.) — 201-213 focus
Τέκμησσα
ναὸς ἀρωγοὶ τῆς Αἴαντος,
γενεᾶς χθονίων ἀπʼ Ἐρεχθειδᾶν,
ἔχομεν στοναχὰς οἱ κηδόμενοι
τοῦ Τελαμῶνος τηλόθεν οἴκου.
νῦν γὰρ ὁ δεινὸς μέγας ὠμοκρατὴς
205
Αἴας θολερῷ
κεῖται χειμῶνι νοσήσας.
Χορός
τί δʼ ἐνήλλακται τῆς ἠρεμίας
1
2
3
4
5
6
7
8
9
10
11
12
13
νὺξ ἥδε βάρος;
παῖ τοῦ Φρυγίου
σὺ Τελεύταντος,
210
λέγʼ, ἐπεί σε λέχος δουριάλωτον
στέρξας ἀνέχει θούριος Αἴας·
ὥστʼ οὐκ ἂν ἄϊδρις ὑπείποις.
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 201-213 focus
Τέκμησσα
ναὸς ἀρωγοὶ τῆς Αἴαντος,
γενεᾶς χθονίων ἀπʼ Ἐρεχθειδῶν,
ἔχομεν στοναχὰς οἱ κηδόμενοι
τοῦ Τελαμῶνος τηλόθεν οἴκου.
νῦν γὰρ ὁ δεινὸς μέγας ὠμοκρατὴς
205
Αἴας θολερῷ
κεῖται χειμῶνι νοσήσας.
Χορός
τί δʼ ἐνήλλακται τῆς ἡμερίας
νὺξ ἥδε βάρος;
παῖ τοῦ Φρυγίου Τελεύταντος,
210
λέγʼ, ἐπεὶ σὲ λέχος δουριάλωτον
στέρξας ἀνέχει θούριος Αἴας·
ὥστʼ οὐκ ἂν ἄϊδρις ὑπείποις.
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 192 focus
TEU
What man of all the host hath caught thine eye?
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 193 focus
Raffe dich auf von dem Size, wo du schon so lang
190
Meidend Werke des Krieges, hingefesselt ruhst,
Daß dein Jammer zum Himmel flammt!
Hier toben die Feinde keck, ohne Zittern,
In säuselnden Thalbuchten,
Und ringsher zischen um dich
195
Hohnlachende Zungen;
Doch zehrender Gram quält uns.
Tekmessa (tritt aus dem Zelte). Der Chor.
Tekmessa.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 192 focus
Teucer
Do not dishonour then the powers divine
That saved thee.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 192 focus
Tecmessa
961
And let them mock, in his calamities
Let them exult: the time perchance may come,
Though whilst he lived they lightly prized his worth,
They may lament him dead with many a groan,
And want him in the dreadful shock of war.
The impotent of mind, whilst in their hands
965
They hold a treasure, know not how to prize
965
Its worth, till from them it be snatch'd away.
To me his death brings sorrow, joy to them;
To him it was most pleasing so to die,
It was the consummation of his wish.
Have they then cause to triumph in his death?
No: by the gods he died, and not by them.
970
Then let Ulysses swell with pride, none now
Opposing. Ajax lives for them no more,
But in his death to me leaves woes and groans.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 201-210 focus
Tecmessa
Mates of the ship of Ajax, offspring of the race that springs from the Erechtheids, the soil’s sons, cries of grief are the portion of us who care from afar for the house of Telamon.
Ajax, our terrible, mighty lord of untamed power, now lies plagued by a turbid storm of disease.
205
Chorus
And what is the heavy change from the fortune of yesterday which this night has produced?
Daughter of Teleutas the Phrygian, speak, since for you his spear-won mate bold Ajax maintains his love, so that with some knowledge you could suggest an explanation.
210
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.