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.
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.
197-200.
mvp-comment-145-1
The arrangement of these lines is difficult. The elision of the last syllable of
ὁρμᾶται and the hiatus after
ἀτάρβητα and
βαρυάλγητα are doubtful points. It can hardly be questioned that the
a of
εὐανέμοις (for
εὐηνέμοις) is long.
καχαζόντων is rightly restored for
καγχαζόντων. Brambach, (Sophokl. Gesänge) suggesting
εὐανέμοις, gives the following scheme... But the difficulties are not thus removed. Perhaps we may venture...
197.
mvp-comment-146-1
ὧδ'] 'Thus,' as in
supr. 141-53.
198.
mvp-comment-147-1
εὐανέμοις] 'With favouring breezes.' As applied to a harbour,
εὐήνεμος is 'sheltered from rough winds;' but the image here is rather that of a forest glade, where, when a little fire is kindled, the wind that is not strong enough to extinguish it only fans it to strength.
Cp. I1. 20. 490, 1,
ὡς δ᾽ ἀναμαιμάει βαθέ᾽ ἄγκεα θεσπιδαὲς πῦρ | οὔρεος ἀζαλέοιο, βαθεῖα δὲ καίεται ὕλη.
200.
mvp-comment-148-1
ἐμοὶ .. ἕστακεν] 'I have a grief that will not be removed.'
