Sophocles Oedipus Tyrannus 1297

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.

mvp-comment-798-1 ὅσα … προσέκυρσα ¹

mvp-comment-799-1 ὁ πηδήσας … μοίρᾳ; ² μείζονα τῶν μακίστων ³ μακίστων ⁴

mvp-comment-800-1 πρὸς ⁵

mvp-comment-801-1 The Attic δύστην’ ⁶

mvp-comment-802-1 The fate of Oedipus is a dark and dreadful mystery into which they are fain to peer ( ἀνερέσθαι, πυθέσθαι ⁷ ἀθρῆσαι ⁸

mvp-comment-803-1 διαπέταται ⁹ διαπωτᾶται ¹⁰ πέτεται ¹¹ πέταται ¹²

mvp-comment-803-2 φοράδην ¹³ φοράδην ¹⁴

mvp-comment-804-1 ἐξήλου ¹⁵ ἐξήλου ¹⁶ ἐξήλω ¹⁷ ἐξάλω ¹⁸ ἐξήλλου ¹⁹ ἵν’ ἐξήλου ²⁰

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

1298. mvp-comment-734-1 ὅσ᾽ ἐγὼ προσέκυρσα For the accusative, see Essay on Language § 16. p. 23.

1301. mvp-comment-735-1 What deity hath leapt beyond all limit insulting thy wretched lot? Cp. 1311, ἰὼ δαῖμον, ἵν᾽ ἐξήλλου, and for the same metaphor in Aeschylus, Pers. 515-516, ὦ δυσπόνητε | δαῖμον, ὡς ἄγαν βαρὺς | ποδοῖν ἐνήλλου παντὶ Περσικῷ γένει. μήκιστος often in tragedy = μέγιστος.

1302. mvp-comment-736-1 πρὸς σῇ Cp. Αj. 97, ἢ καὶ πρὸς Ατρείδαισιν ἤχμασας χέρα;

1303. mvp-comment-737-1 φεῦ, δύστανος The short syllable of δύστανός, has been thought to indicate some fault in the text, and the words may have crept in from 1: 1307: Lut see the note on the metre on p. 241.

1308. mvp-comment-738-1 The words φεῦ φεῦ in the MS. reading interfere with the metre, and are probably a gloss on alaῖ.

1309-1310. mvp-comment-739-1 Which way is my voice dispersed abroad?' The words express the first bewilderment of one suddenly blind, hearing his own voice but seeing no one.

1310. mvp-comment-740-1 1310 is a paroemiac with a resolution of the second arsis. Fr. Bellermann conj.

1310. mvp-comment-740-2 διαπεπόταται. But if the line were acatalectic it must have caesura of some kind.

1311. mvp-comment-741-1 Ἡ μεταφορὰ ἀπὸ τῶν ἀγωνιζομένων πένταθλον καὶ ἁλλομένων, Schol.