†ἐχθρῶν δ᾽ ὕβρις
ὧδ᾽ ἀτάρβητα
ὧδ᾽ ἀταρβῆτα
ὧδ᾽ ἀτάρβῆτα
Ajax. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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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.
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.
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.
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.
τί δʼ ἐνήλλακται τῆς ἠρεμίας
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.
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.
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)) — 196 focus
TEU
Thy potent cause for spending so much breath?
Thy potent cause for spending so much breath?
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.
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.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 196 focus
Menelaus
I am ;
Our hate was mutual, and thou knowst the cause,
I am ;
Our hate was mutual, and thou knowst the cause,
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 196 focus
Chorus
O Teucer, thou must know it; he is dead.
O Teucer, thou must know it; he is dead.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 201-210 focus
Enter Tecmessa.
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
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
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 (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
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.
196. mvp-comment-144-1 ἄταν οὐρανίαν φλέγων] 'Letting mischief blaze up to the sky.' Cp. Eur. Phoen. 240, 1, αΐμα δάϊον φλέγει. The image of a fire is continued in the following lines.