ὦ δεινὸν ἰδεῖν πάθος ἀνθρώποις,
Oedipus Tyrannus. Sophocles. ed. Lewis Campbell. Oxford. 1879.
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Greek (Lewis Campbell, 1879) (OCR draft) (Greek) (Greek (Lewis Campbell, 1879))
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Editions (1)
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 1313-1366 focus
Οἰδίπους
ἰὼ σκότου
νέφος ἐμὸν ἀπότροπον, ἐπιπλόμενον ἄφατον,
ἀδάματόν τε καὶ δυσούριστον ὄν.
1315
οἴμοι,
οἴμοι μάλʼ αὖθις· οἷον εἰσέδυ μʼ ἅμα
κέντρων τε τῶνδʼ οἴστρημα καὶ μνήμη κακῶν.
ἰὼ σκότου
νέφος ἐμὸν ἀπότροπον, ἐπιπλόμενον ἄφατον,
ἀδάματόν τε καὶ δυσούριστον ὄν.
1315
οἴμοι,
οἴμοι μάλʼ αὖθις· οἷον εἰσέδυ μʼ ἅμα
κέντρων τε τῶνδʼ οἴστρημα καὶ μνήμη κακῶν.
Χορός
καὶ θαῦμά γʼ οὐδὲν ἐν τοσοῖσδε πήμασιν
διπλᾶ σε πενθεῖν καὶ διπλᾶ φορεῖν κακά.
1320
καὶ θαῦμά γʼ οὐδὲν ἐν τοσοῖσδε πήμασιν
διπλᾶ σε πενθεῖν καὶ διπλᾶ φορεῖν κακά.
1320
Οἰδίπους
ἰὼ φίλος,
σὺ μὲν ἐμὸς ἐπίπολος ἔτι μόνιμος· ἔτι γὰρ
ὑπομένεις με τὸν τυφλὸν κηδεύων.
φεῦ φεῦ.
οὐ γάρ με λήθεις, ἀλλὰ γιγνώσκω σαφῶς,
1325
καίπερ σκοτεινός, τήν γε σὴν αὐδὴν ὅμως.
ἰὼ φίλος,
σὺ μὲν ἐμὸς ἐπίπολος ἔτι μόνιμος· ἔτι γὰρ
ὑπομένεις με τὸν τυφλὸν κηδεύων.
φεῦ φεῦ.
οὐ γάρ με λήθεις, ἀλλὰ γιγνώσκω σαφῶς,
1325
καίπερ σκοτεινός, τήν γε σὴν αὐδὴν ὅμως.
Χορός
ὦ δεινὰ δράσας, πῶς ἔτλης τοιαῦτα σὰς
ὄψεις μαρᾶναι; τίς σʼ ἐπῆρε δαιμόνων;
ὦ δεινὰ δράσας, πῶς ἔτλης τοιαῦτα σὰς
ὄψεις μαρᾶναι; τίς σʼ ἐπῆρε δαιμόνων;
Οἰδίπους
Ἀπόλλων τάδʼ ἦν, Ἀπόλλων, φίλοι,
ὁ κακὰ κακὰ τελῶν ἐμὰ τάδʼ ἐμὰ πάθεα.
1330
ἔπαισε δʼ αὐτόχειρ νιν οὔτις, ἀλλʼ ἐγὼ τλάμων.
τί γὰρ ἔδει μʼ ὁρᾶν,
ὅτῳ γʼ ὁρῶντι μηδὲν ἦν ἰδεῖν γλυκύ;
1335
Ἀπόλλων τάδʼ ἦν, Ἀπόλλων, φίλοι,
ὁ κακὰ κακὰ τελῶν ἐμὰ τάδʼ ἐμὰ πάθεα.
1330
ἔπαισε δʼ αὐτόχειρ νιν οὔτις, ἀλλʼ ἐγὼ τλάμων.
τί γὰρ ἔδει μʼ ὁρᾶν,
ὅτῳ γʼ ὁρῶντι μηδὲν ἦν ἰδεῖν γλυκύ;
1335
Χορός
ἦν τᾷδʼ ὅπωσπερ καὶ σύ φῄς.
ἦν τᾷδʼ ὅπωσπερ καὶ σύ φῄς.
Οἰδίπους
τί δῆτʼ ἐμοὶ βλεπτὸν ἢ
στερκτὸν ἢ προσήγορον
ἔτʼ ἔστʼ ἀκούειν ἡδονᾷ φίλοι;
ἀπάγετʼ ἐκτόπιον ὅ τι τάχιστά με,
1340
ἀπάγετʼ, ὦ φίλοι, τὸν μέγʼ ὀλέθριον
τὸν καταρατότατον, ἔτι δὲ καὶ θεοῖς
ἐχθρότατον βροτῶν.
1345
τί δῆτʼ ἐμοὶ βλεπτὸν ἢ
στερκτὸν ἢ προσήγορον
ἔτʼ ἔστʼ ἀκούειν ἡδονᾷ φίλοι;
ἀπάγετʼ ἐκτόπιον ὅ τι τάχιστά με,
1340
ἀπάγετʼ, ὦ φίλοι, τὸν μέγʼ ὀλέθριον
τὸν καταρατότατον, ἔτι δὲ καὶ θεοῖς
ἐχθρότατον βροτῶν.
1345
Χορός
δείλαιε τοῦ νοῦ τῆς τε συμφορᾶς ἴσον,
ὡς σʼ ἠθέλησα μηδέ γʼ ἂν γνῶναί ποτε.
δείλαιε τοῦ νοῦ τῆς τε συμφορᾶς ἴσον,
ὡς σʼ ἠθέλησα μηδέ γʼ ἂν γνῶναί ποτε.
Οἰδίπους
ὄλοιθʼ ὅστις ἦν, ὃς ἀγρίας πέδας
μονάδʼ ἐπιποδίας ἔλυσʼ μʼ ἀπό τε φόνου
1350
ἔρυτο κἀνέσωσεν, οὐδὲν εἰς χάριν πράσσων.
τότε γὰρ ἂν θανὼν
οὐκ ἦ φίλοισιν οὐδʼ ἐμοὶ τοσόνδʼ ἄχος.
1355
ὄλοιθʼ ὅστις ἦν, ὃς ἀγρίας πέδας
μονάδʼ ἐπιποδίας ἔλυσʼ μʼ ἀπό τε φόνου
1350
ἔρυτο κἀνέσωσεν, οὐδὲν εἰς χάριν πράσσων.
τότε γὰρ ἂν θανὼν
οὐκ ἦ φίλοισιν οὐδʼ ἐμοὶ τοσόνδʼ ἄχος.
1355
Χορός
θέλοντι κἀμοὶ τοῦτʼ ἂν ἦν.
θέλοντι κἀμοὶ τοῦτʼ ἂν ἦν.
Οἰδίπους
οὔκουν πατρός γʼ ἂν φονεὺς
ἦλθον οὐδὲ νυμφίος
βροτοῖς ἐκλήθην ὧν ἔφυν ἄπο.
νῦν δʼ ἄθεος μέν εἰμʼ, ἀνοσίων δὲ παῖς,
1360
ὁμολεχὴς δʼ ἀφʼ ὧν αὐτὸς ἔφυν τάλας.
εἰ δέ τι πρεσβύτερον ἔτι κακοῦ κακόν,
1365
τοῦτʼ ἔλαχʼ Οἰδίπους.
οὔκουν πατρός γʼ ἂν φονεὺς
ἦλθον οὐδὲ νυμφίος
βροτοῖς ἐκλήθην ὧν ἔφυν ἄπο.
νῦν δʼ ἄθεος μέν εἰμʼ, ἀνοσίων δὲ παῖς,
1360
ὁμολεχὴς δʼ ἀφʼ ὧν αὐτὸς ἔφυν τάλας.
εἰ δέ τι πρεσβύτερον ἔτι κακοῦ κακόν,
1365
τοῦτʼ ἔλαχʼ Οἰδίπους.
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1297 focus
Ogräßliches Leid für Menschen zu schau'n!
Ogräßlichstes, das von allen bis jezt
Mein Auge geseh'n! Welch Rasen ergriff,
Unglücklicher, dich? Welch zürnender Gott
Stürmt' heftiger noch, denn der wildeste Sturm,
1275
Auf dein unseliges Schicksal?
Weh, Unglückssohn! Ich kann dich ja nicht
Anschau'n, und möchte dich fragen so viel,
Mich erkundigen viel und erwägen so viel!
So weckst du mir Schauder und Grauen.
1280
Weh, weh, weh, weh!
Ogräßliches Leid für Menschen zu schau'n!
Ogräßlichstes, das von allen bis jezt
Mein Auge geseh'n! Welch Rasen ergriff,
Unglücklicher, dich? Welch zürnender Gott
Stürmt' heftiger noch, denn der wildeste Sturm,
1275
Auf dein unseliges Schicksal?
Weh, Unglückssohn! Ich kann dich ja nicht
Anschau'n, und möchte dich fragen so viel,
Mich erkundigen viel und erwägen so viel!
So weckst du mir Schauder und Grauen.
1280
Weh, weh, weh, weh!
Oedipus.
Ich Unglückssohn! Auf Erden wohin,
Ach, werd' ich entrückt? Wo fliegt mein Wort
In die Weite hinaus?
Wohin, ach, stürmtest du, Schicksal?
1285
Ich Unglückssohn! Auf Erden wohin,
Ach, werd' ich entrückt? Wo fliegt mein Wort
In die Weite hinaus?
Wohin, ach, stürmtest du, Schicksal?
1285
Der Chor.
In Gräuel, nicht zu hören und nicht anzuseh'n.
In Gräuel, nicht zu hören und nicht anzuseh'n.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 1313-1365 focus
Oedipus
Oh horror of darkness that enfolds me, unspeakable visitant,
resistless, sped by a wind too favorable! Oh, me! and once again, Oh, me! How my soul is pierced by the stab of these goads and by the memory of sorrows!
1315
Oh horror of darkness that enfolds me, unspeakable visitant,
resistless, sped by a wind too favorable! Oh, me! and once again, Oh, me! How my soul is pierced by the stab of these goads and by the memory of sorrows!
1315
Chorus
No wonder that amidst these woes
you mourn and bear a double pain.
1320
No wonder that amidst these woes
you mourn and bear a double pain.
1320
Oedipus
Ah, friend, you still are steadfast in your care for me, and still have patience to tend to the blind man! Ah, me!
Your presence is not hidden from me—no, blind though I am, nevertheless I know your voice full well.
1325
Ah, friend, you still are steadfast in your care for me, and still have patience to tend to the blind man! Ah, me!
Your presence is not hidden from me—no, blind though I am, nevertheless I know your voice full well.
1325
Chorus
Man of dread deeds, how could you quench your vision in this way? What divinity urged you on?
Man of dread deeds, how could you quench your vision in this way? What divinity urged you on?
Oedipus
It was Apollo, friends, Apollo who brought these troubles
to pass, these terrible, terrible troubles. But the hand that struck my eyes was none other than my own, wretched that I am!
1330
Why should I see, when sight showed me nothing sweet?
1335
It was Apollo, friends, Apollo who brought these troubles
to pass, these terrible, terrible troubles. But the hand that struck my eyes was none other than my own, wretched that I am!
1330
Why should I see, when sight showed me nothing sweet?
1335
Chorus
These things were just as you say.
These things were just as you say.
Oedipus
What, my friends, can I behold anymore, what can I love, what greeting can touch my ear with joy? Hurry, friends,
lead me from the land, lead me from here, the utterly lost,
1340
the thrice-accursed, the mortal most hateful to the gods!
1345
What, my friends, can I behold anymore, what can I love, what greeting can touch my ear with joy? Hurry, friends,
lead me from the land, lead me from here, the utterly lost,
1340
the thrice-accursed, the mortal most hateful to the gods!
1345
Chorus
Wretched alike for your fortune and for your understanding of it, would that I had never known you!
Wretched alike for your fortune and for your understanding of it, would that I had never known you!
Oedipus
Perish the man, whoever he was, who freed me in the past years from the cruel shackle on my feet—a thankless deed! Had I died then,
I would not have been so sore a grief to my friends and to my own soul.
1355
Perish the man, whoever he was, who freed me in the past years from the cruel shackle on my feet—a thankless deed! Had I died then,
I would not have been so sore a grief to my friends and to my own soul.
1355
Chorus
I too would have had it thus.
I too would have had it thus.
Oedipus
In this way I would not have come to shed my father’s blood, or been known among men as the husband of the woman from whom I was born.
Now I am forsaken by the gods, son of a defiled mother, successor to the bed of the man who gave me my own wretched being:
1360
if there is a woe surpassing all woes, it has become Oedipus’ lot.
1365
In this way I would not have come to shed my father’s blood, or been known among men as the husband of the woman from whom I was born.
Now I am forsaken by the gods, son of a defiled mother, successor to the bed of the man who gave me my own wretched being:
1360
if there is a woe surpassing all woes, it has become Oedipus’ lot.
1365
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
mvp-comment-797-1 A κομμός (see p. 9). The Chorus begin with anapaests (1297 -1306). The first words uttered by Oedipus are in the same measure (1307 -1311). Then, after a single iambic trimeter spoken by the Chorus (1312), (1) 1st strophe 1313-1320 = (2) 1st antistrophe 1321-1328; (3) 2nd strophe 1329 -1348 = (4) 2nd antistrophe 1349-1368. Oedipus here speaks in dochmiac measures blended with iambic; the Chorus, in iambic trimeters or dimeters only. The effect of his passionate despair is thus heightened by metrical contrast with a more level and subdued strain of sorrow. Compare Soph. Aj. 348-429 , where the κομμός has in this sense a like character. Some regard the κομμός as beginning only at 1313; less correctly, I think. Its essence is the antiphonal lament rather than the antistrophic framework.
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
1297-1311. mvp-comment-733-1 The form of the paroemiac 1311 shows that these anapaests are of the freer kind, which are admitted in laments, and are thought to have been sung to Lydian music (Aesch. Persae, 938). Compare lines 983 ff. of the Trachiniae, where Heracles awakes in agony, on being brought in. In both places the rhythm suits a faltering, interrupted movement. This tends to justify the scansion of 1303, φευ δυστᾶvõs, where a pause may be supposed; and the resolution of the arsis in διαπέταται in 1310, which is suited to express the agitation of the moment. (Cp. Aesch. Pers. 930, αἰνῶς, αἰνῶς ἐπὶ γόνυ κέκλιται.) Also the two successive catalectic verses 1310-1311; cp. El. 86-89. The commos which follows is arranged in two strophes and antistrophes, presenting a highly wrought example of that alternation of dochmiacs and senarii, which is often employed in the μέλη ἀπὸ σκήνης. The dochmiacs express agitation, to which the senarius adds a cadence of regret. The Chorus speak in senarii, except in 1336=1356, which is iambic dimeter. The long syllables of the dochmiacs are frequently resolved. See esp. 11. 1314, 1322, 1340, 1345, 1365. In 1332, 1352, a spondee is added at the end of the senarius, giving the effect of a prolonged wailing note. Cp. 1316, 1324. D つ β΄. 1329-1348 =1349-1368. トト トー トー 1CICICC しかし 10 ・トー 스 기 D つ 1