Sophocles Ajax 194

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.) — 202-214 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)) — 194 focus
TEU
Yes; I discern him, now he moves more near.
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.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 194 focus
Teucer
If thou forbidst the burial of the dead
Thou dost ofi'end the gods.
INIen. He was my foe,
And therefore I forbid it.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 194 focus
Chorus
Be silent; for methinks I hear the voice
975
Of Teucer, mournful for this ill its notes.....
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.

194. mvp-comment-143-1 ἀλλ᾽ ἄνα ἐξ εδράνων] ‘But up from where thou sittest still.' The hiatus is excused by Hermann on the ground that ava is an interjectional abbreviation. ὅπου.. σχολᾷ] (1) 'Wheresoever thou art thus fixed in a dangerous lethargy of quarrelsome repose.' The Chorus are uncertain of Ajax' whereabouts, as Odysseus was, supr. 33. μακραίωνι implies that some time had passed since the judgment of the arms and Ajax' sullen withdrawal from the fight: cp. infr. 929 foll. ἀγωνίῳ is a difficult word. The inactivity of Ajax was his manner of contending with the chiefs: if the rumour was true, it was an inactivity in which he had been fatally active; and however his leisure was employed, it was becoming full of danger to him. The force of ἀγών, in the sense of a dangerous contest, is therefore suited to the place, and the expression is an oxymoron, 'a perilous quarrelsome rest' (for which, cp. Shak. Ant and Cleo. 1. 3, 'Tis sweating labour To bear such idleness so near the heart.") (2) Others suppose the words merely to mean 'rest from combat,' i.e. from the general combat with the Trojans.