Sophocles Oedipus Tyrannus 203

ed. Lewis Campbell

Λύκειʼ ἄναξ, τά τε σὰ χρυσοστρόφων ἀπ᾿ ἀγκυλᾶν

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)) — 203 focus
OED
Nay, ask me not! But tell me first what height
740
Had Laius, and what grace of manly prime?
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 203 focus
Dir fleh' ich, Lykerfürst! 1
Laß deine nie bezwungenen
205
Geschosse fliegen von der gold'nen Sehne,
Als Retter ausgesendet: flammt, ihr Fackeln, auch,
Womit die Höh'n Lykia's 2
Artemis hindurchſtürmt!
Auch dir mit dem goldenen Stirnband
210
Ruf' ich, unsers Landes
Sohn, Bacchos, dir mit dem trunk'nen Blick, 3
Dir, von Bacchen rings umschwärmt,
Ostürm' hellstrahlend an
Mit dem lichten Brand
215
Auf diesen Gott, den alle Götter hassen!
Dedipus (der während des Gesanges wiederum auf der Bithne erschienen ist). Der Chor.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 203 focus
Shepherd
He who gave thee to mo
Must tell thee that.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 203 focus
Jocasta
From Corinth is he come, to tell thee this,
955
That Polybus thy father is no more.
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-145-1 Λύκειε 1

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.

203. mvp-comment-139-1 Λύκει᾿ ἄναξ His altar is before their eyes. Cp. 1. 919. Either (1) τε is correlative to re in l. 205, and a new beginning is made with the strophe: or (2) τε is a conjunction ('And') as in supr. 190, and is postponed, like δέ, after the vocative. The former (1) is more probable. For the twofold invocation, cp. Aesch. S. c. Τ. 145-150. ἀγκυλᾶν is poetical plural.