Sophocles Oedipus Tyrannus 195

ed. Lewis Campbell

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)) — 195 focus
OED
Methought I heard thee say, King Laius
Was at a cross-road overpowered and slain?
730
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)) — 195 focus
Oedipus
What brought thee there ?
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 195 focus
Chorus
STRO. 1. ANTIS. 1. 863
Fair Fortune deign with me to dwell,
My soul if holy reverence awes,
By thinking, speaking, acting well,
To bow obedient to the Laws.
865
From heav'n they draw their lineage high,
And tread with stately step the sky:
Their father the Olympian king;
No mixture of man's mortal mould;
Nor shall Oblivion's sable wing
870
In shades their active virtues fold.
873
In them the god is great, nor fears
The withering waste of years.
The tyrant Pride engenders. Pride
875
With wealth o'er-fill'd, with greatness vain,
875
Mounting with Outrage at her side,
The splendid summit if she gain,
Falls headlong from the dangerous brow,
Down dash'd to ruin's gulf below.
Not so our monarch: for of old,
880
His contest glorious to the state,
884
In her own blood the Fury roll'd :
So may the god now guide his fate!
885
Still be the god's protection mine,
Strong in his power divine !
But should some wretch, contemptuous, bold,
Brave the just gods, his hands with slaughter stain,
The vengeful pow'rs of heav'n disdain,
Nor their pure seats in holy reverence hold,
890
Him may perdition sweep away,
And thus his wanton pride repay;
Him too, whom wild Ambition prompts to seize,
Though Justice cries aloud, forbear.
895
Can all his vaunts, who dares attempts like these,
897
Guard his proud heart from guilty fear?
Such deeds if glory waits, in vain
900
I lead this choral train.
No more at Delphi's central cell,
At Abæ, or Olympia's hallow'd shrine
Attendant pay I rites divine,
Till the god deigns this darkness to dispel.
O Jove, if thee we rightly call
905
The sovereign lord, the king of all,
Let not concealment this in shades enfold
From thee, and thy immortal reign!
The oracles, to Laius giv'n of old,
They spurn with insolent disdain,
910
911cont3
No more to Phœbus honours pay;
And things divine decay.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 216-460 focus

Commentary

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.

194. mvp-comment-134-1 ἔπουρον Carried by the breeze. The word occurs actively, Tr. 954, ἔπουρος ἑστιῶτις αὔρα, ἥτις μ' ἀποικίσειεν ἐκ τόπων. But the passive use is found in Clem. Alex. (130, ἔπουρος πνεύματι ἀληθείας), who probably had some earlier authority for this use of the word. Cp.

194. mvp-comment-134-2 ἐπουρίζω. The special meaning of oὗρος, a favouring wind, is not here used ironically, as in Tr. 815-816, οὗρος ὀφθαλμῶν ἐμῶν | αὐτῇ γένοιτ' ἄπωθεν ἑρπούσῃ καλός, but is lost in the compound. See Essay on Language p. 90, and cp. Tr. 467, 8, ταῦτα μὲν .. ῥείτω κατ' οὗρον. This reading (which is slightly confirmed by the gloss ταχύν in L³) is preferable to ἄπουρον, (1) because yielding a more natural rhythm, (2) because ἄπουρον, though an early reading, acknowledged by the Scholiast, is probably an emendation. It occurs nowhere else, and may have arisen from the apparent necessity of connecting the adj. with πάτρας, which was supposed to begin the new line (p. 145, note), and seemed to want a construction.

195. mvp-comment-135-1 θάλαμον Ἀμφιτρίτας Cp. infr. 1411; 2, θαλάσσιον | ἐκρίψατ᾽. The Atlantic rather than the Mediterranean is meant. The Atlantic and Euxine were known as the two farthest seas. Cp. Eur. Hipp. 3, ὅσοι τε πόντου, τερμόνων τ' Ἀτλαντικῶν ναίουσιν εἴσω.