Sophocles Oedipus Tyrannus 186

ed. Lewis Campbell

παιὰν δὲ λάμπει στονόεσσά τε γῆρυς ὅμαυλος·

Oedipus Tyrannus. Sophocles. ed. Lewis Campbell. Oxford. 1879.

Current edition Experimental

Greek (Lewis Campbell, 1879) (OCR draft) (Greek) (Greek (Lewis Campbell, 1879))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 216-462 focus
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 186 focus
JO
Let not thy queen be left in ignorance
What cause thou hadst to lift thy wrath so high.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 190 focus
Den Zermalmer Ares auch, 1
Der jezt, vom Schilde nicht gedeckt,
Von Lärm umtönt, mit Fieberglut mich anfällt,
Ihn treib' in rückgewandtem Lauf zur Vaterstadt
Hinaus, in's weitoffene 2
195
Lager Amphitrite's
Dort, oder in Thrakia's öde
Bucht, die meerumbrauste.
Denn er vollbringt es; was die Nacht 3
Uebrig läßt, verschlingt der Tag.
200
Zeus, Allvater, du,
Rother Blize Kraft
Beherrschend, unter deinem Donner tilg' ihn!
Dritte Gegenstrophe.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 186 focus
Shepherd
(Edi. Wlierefore thinkst thou so ?
If thou didst fly from Corinth for this cause
1020
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 186 focus
Chorus
834
These things, O king, our consternation raise:
Yet see this herdsman, hear him; meanwhile hope:
835
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 216-460 focus

Commentary

Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))

mvp-comment-135-1 λάμπει 1 ὅμαυλος 2

Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus

151-215. mvp-comment-104-1 Outstretched in fear we listen awfully for thy propitious voice, oh sweet-tongued utterance of Heaven. Paean, be our speed! What thing new or old in season due dost thou disclose? Tell us, thou voice, child of bright Hope divine. Athena, Goddess, daughter of the Highest, first hear our cry; thou, Artemis, on thine encircled throne, and archer Phoebus, come in threefold might to save! if ever heretofore ye banished sorrow from our state, now too appear! For, oh! I am overwhelmed; all my host is in disarray; and there is no thought to save; Earth's buds are nipped, and human births prevented by the pains of death: soul after soul takes flight with fearful speed, and poor uncared-for corpses choke with pestilence our unpeopled clime. Wives, mothers, sadly suppliant, at various altars groan; the voice of lamentation mingles with the thrilling hymn. Athena, send us help. and cause yon flaming author of destruction, who with dire noise advances, quickly to reverse his speed and fly our land, whether to Ocean or the restless Pontic sea. Day ruins what night spares. O Father, blast the plague-god with thy lightning. Let thine arrows, O Apollo, be showered to protect us, and Artemis' bright torches from the Lycian hills; and thou, O ruddy crowned Bacchus of the joyous rout, with trooping Maenads, patron of Thebes, draw near. and flash thy brand against the god whom gods disown.' The opening of this parodos is of the nature of a paean (1. 186), or hymn to Apollo as the god of victory or salvation. The stately dactylic measures, corresponding in strophe and antistrophe even to the division of the words (cp. 153, 162, 158, 166), are only once interrupted, as the chorus march towards the altar, by the more meditative iambic rhythm (11. 152, 160), and by the anacrusis in ll. 154, 163. The increasing excitement of the chorus is shown in the second strophe and antistrophe, by iambic and trochaic rhythms with resolution of the arsis, by the union of dactyls and trochees in logaoedic lines, and by the more frequent anacruses. The bright Paean notes give way to tones of sadness, echoing the στονόεσσα γήρυς (11. 186-187). The scheme of στρ. and ἀντ. β'. is the following (ll. 167-178=11. 179-189) :- LÚC CCC CICI lúc Ca CICICCICCICCIK ICC ICC ICC ICC 기 ​100 100 100 CUCCICCIC CICCICCIC LUCCICCICC ICICII In the concluding strophe and antistrophe (γ'.) there is only one dactylic line, just as there was one iambic in the first. The other rhythms are iambic and trochaic, with occasional syncope of the thesis (or change to the cretic rhythm). The movement, though still full of excitement, becomes more energetic and determined towards the close. The scansion is as follows:- C CCICICICIC- 기 つ つ 기 00 ト KCICICI トー 1くらい​CICICII The rhythm of the whole ode, which is unusually wild and full of transitions, shows a progress from flowing dactylic numbers to iambics and trochaics, which are interrupted here and there by syncope of the thesis, or in other words, by an antispastic effect, corresponding to the distraction of the thought.

186. mvp-comment-128-1 λάμπει The intentional boldness of this is somewhat softened by the analogous use of λαμπρός as an attribute of sound. The word suggests the ringing of the bright paean in the clear air. The predicate of γῆρυs is to be borrowed from λάμπει.

186. mvp-comment-128-2 ὅμαυλος This properly signifies 'neighbouring, dwelling with, but is probably here fancifully referred to αὐλός, so as to mean accompanying, as the flute accompanies song. The difficulty of this word has perhaps suggested the various reading ὅμανδος, which is found in Par. E.