φιλοτασίῳ διαίτᾳ. πρόδοτος δὲ μόνα σαλεύει
Electra. Sophocles. ed. Lewis Campbell. Oxford. 1879.
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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)) — 1060-1096 focus
Χορός
τί τοὺς ἄνωθεν φρονιμωτάτους οἰωνοὺς ἐσορώμενοι τροφᾶς
1060
κηδομένους ἀφʼ ὧν τε βλάστωσιν ἀφʼ ὧν τʼ ὄνασιν εὕρ-
ωσι, τάδʼ οὐκ ἐπʼ ἴσας τελοῦμεν;
ἀλλʼ οὐ τὰν Διὸς ἀστραπὰν
καὶ τὰν οὐρανίαν Θέμιν,
δαρὸν οὐκ ἀπόνητοι.
1065
ὦ χθονία βροτοῖσι φάμα, κατά μοι βόασον οἰκτρὰν
ὄπα τοῖς ἔνερθʼ Ἀτρείδαις, ἀχόρευτα φέρουσʼ
ὀνείδη·
τί τοὺς ἄνωθεν φρονιμωτάτους οἰωνοὺς ἐσορώμενοι τροφᾶς
1060
κηδομένους ἀφʼ ὧν τε βλάστωσιν ἀφʼ ὧν τʼ ὄνασιν εὕρ-
ωσι, τάδʼ οὐκ ἐπʼ ἴσας τελοῦμεν;
ἀλλʼ οὐ τὰν Διὸς ἀστραπὰν
καὶ τὰν οὐρανίαν Θέμιν,
δαρὸν οὐκ ἀπόνητοι.
1065
ὦ χθονία βροτοῖσι φάμα, κατά μοι βόασον οἰκτρὰν
ὄπα τοῖς ἔνερθʼ Ἀτρείδαις, ἀχόρευτα φέρουσʼ
ὀνείδη·
Χορός
ὅτι σφὶν ἤδη τὰ μὲν ἐκ δόμων νοσεῖ δή, τὰ δὲ πρὸς τέκνων διπλῆ
1070
φύλοπις οὐκέτʼ ἐξισοῦται φιλοτασίῳ διαί-
τᾳ· πρόδοτος δὲ μόνα σαλεύει
Ἠλέκτρα, τὸν ἀεὶ πατρὸς
1075
δειλαία στενάχουσʼ, ὅπως
ἁ πάνδυρτος ἀηδών,
οὔτε τι τοῦ θανεῖν προμηθὴς τό τε μὴ βλέπειν ἑτοίμα,
διδύμαν ἑλοῦσʼ Ἐρινύν· τίς ἂν εὔπατρις ὧδε βλάστοι;
1080
ὅτι σφὶν ἤδη τὰ μὲν ἐκ δόμων νοσεῖ δή, τὰ δὲ πρὸς τέκνων διπλῆ
1070
φύλοπις οὐκέτʼ ἐξισοῦται φιλοτασίῳ διαί-
τᾳ· πρόδοτος δὲ μόνα σαλεύει
Ἠλέκτρα, τὸν ἀεὶ πατρὸς
1075
δειλαία στενάχουσʼ, ὅπως
ἁ πάνδυρτος ἀηδών,
οὔτε τι τοῦ θανεῖν προμηθὴς τό τε μὴ βλέπειν ἑτοίμα,
διδύμαν ἑλοῦσʼ Ἐρινύν· τίς ἂν εὔπατρις ὧδε βλάστοι;
1080
Χορός
οὐδεὶς τῶν ἀγαθῶν γὰρ
ζῶν κακῶς εὔκλειαν αἰσχῦναι θέλει
νώνυμος, ὦ παῖ παῖ.
ὡς καὶ σὺ πάγκλαυτον αἰῶνα κοινὸν εἵλου,
1085
τὸ μὴ καλὸν καθοπλίσασα, δύο φέρειν ἐν ἑνὶ λόγῳ,
σοφά τʼ ἀρίστα τε παῖς κεκλῆσθαι.
οὐδεὶς τῶν ἀγαθῶν γὰρ
ζῶν κακῶς εὔκλειαν αἰσχῦναι θέλει
νώνυμος, ὦ παῖ παῖ.
ὡς καὶ σὺ πάγκλαυτον αἰῶνα κοινὸν εἵλου,
1085
τὸ μὴ καλὸν καθοπλίσασα, δύο φέρειν ἐν ἑνὶ λόγῳ,
σοφά τʼ ἀρίστα τε παῖς κεκλῆσθαι.
Χορός
ζῴης μοι καθύπερθεν
1090
χειρὶ καὶ πλούτῳ τεῶν ἐχθρῶν ὅσον
νῦν ὑπόχειρ ναίεις·
ἐπεί σʼ ἐφηύρηκα μοίρᾳ μὲν οὐκ ἐν ἐσθλᾷ
βεβῶσαν, ἃ δὲ μέγιστʼ ἔβλαστε νόμιμα, τῶνδε φερομέναν
1095
ἄριστα τᾷ Ζηνὸς εὐσεβείᾳ.
ζῴης μοι καθύπερθεν
1090
χειρὶ καὶ πλούτῳ τεῶν ἐχθρῶν ὅσον
νῦν ὑπόχειρ ναίεις·
ἐπεί σʼ ἐφηύρηκα μοίρᾳ μὲν οὐκ ἐν ἐσθλᾷ
βεβῶσαν, ἃ δὲ μέγιστʼ ἔβλαστε νόμιμα, τῶνδε φερομέναν
1095
ἄριστα τᾷ Ζηνὸς εὐσεβείᾳ.
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1070 focus
Daß dieses Haus immer in schwerem Leide noch
Krankt, und der beiden Kinder Streit
Nimmer sich noch zu trauter Huld
1050
(geht ab.)
Freundlichem Bund verglichen hat.
Aber Elektra, verlassen, einsam,
Wallt vom Schicksal umhergestürmt,
Gleich der klagenden. Nachtigall,
Stets den Vater bejammernd.
1055
Nicht vor dem Tode zittert sie,
Scheidet vom Lichte freudenvoll,
Wenn sie vertilgt den Bund des Fluchs.
Liebte so innig ein Kind den Vater?
Zweite Strophe.
Daß dieses Haus immer in schwerem Leide noch
Krankt, und der beiden Kinder Streit
Nimmer sich noch zu trauter Huld
1050
Freundlichem Bund verglichen hat.
Aber Elektra, verlassen, einsam,
Wallt vom Schicksal umhergestürmt,
Gleich der klagenden. Nachtigall,
Stets den Vater bejammernd.
1055
Nicht vor dem Tode zittert sie,
Scheidet vom Lichte freudenvoll,
Wenn sie vertilgt den Bund des Fluchs.
Liebte so innig ein Kind den Vater?
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 1058-1095 focus
Chorus
Why, though we see the birds above, most thoughtful creatures, taking care for the sustenance
of those from whom they derived life and enjoyment, why do we not pay these debts in like measure? No, by the lightning-flash of Zeus, by Themis throned in the sky,
1060
we are not long unpunished. O Voice of the underworld that reaches to mortals, shout for me a piteous cry to the sons of Atreus below. Carry the reproaches not appropriate to my dancing!
1065
Why, though we see the birds above, most thoughtful creatures, taking care for the sustenance
of those from whom they derived life and enjoyment, why do we not pay these debts in like measure? No, by the lightning-flash of Zeus, by Themis throned in the sky,
1060
we are not long unpunished. O Voice of the underworld that reaches to mortals, shout for me a piteous cry to the sons of Atreus below. Carry the reproaches not appropriate to my dancing!
1065
Chorus
Tell them the affairs of their house, how it is now diseased; how among his children, double-sided strife has overwhelmed their loving manner.
1070
Electra, betrayed, braves the storm alone. In misery she bewails her father’s fate without pause, like the all-grieving nightingale. She cares not at all about death, but is ready for that eternal blindness,
1075
could she but subdue the double Erinys of her house. Who could grow to be so noble a daughter of so noble a father?
1080
Tell them the affairs of their house, how it is now diseased; how among his children, double-sided strife has overwhelmed their loving manner.
1070
Electra, betrayed, braves the storm alone. In misery she bewails her father’s fate without pause, like the all-grieving nightingale. She cares not at all about death, but is ready for that eternal blindness,
1075
could she but subdue the double Erinys of her house. Who could grow to be so noble a daughter of so noble a father?
1080
Chorus
None of the good willingly clouds his fair repute and becomes nameless by leading a corrupt life, my child.
Similarly, you, too, have chosen a lifetime of shared mourning and have armed against dishonor, so that you might win in one breath a twofold praise as wise, and as the best of daughters.
1085
None of the good willingly clouds his fair repute and becomes nameless by leading a corrupt life, my child.
Similarly, you, too, have chosen a lifetime of shared mourning and have armed against dishonor, so that you might win in one breath a twofold praise as wise, and as the best of daughters.
1085
Chorus
May I yet see you live exalted in might and wealth above your enemies by as much as you now dwell beneath their hand! For I have found you enjoying no prosperous estate, yet
1090
for observance of nature’s highest laws you win the noblest prize by your reverence toward Zeus.
1095
May I yet see you live exalted in might and wealth above your enemies by as much as you now dwell beneath their hand! For I have found you enjoying no prosperous estate, yet
1090
for observance of nature’s highest laws you win the noblest prize by your reverence toward Zeus.
1095
Commentary
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
1058-1097. mvp-comment-504-1 The Chorus lament, for Agamemnon's sake, over the quarrel between his daughters, which is added to the other troubles of his house, including the supposed death of Orestes, and express their admiration of Electra's attitude. Addressing her in the second strophe, they encourage her with words of sympathy and commendation. While Orestes lived, they bade her hope and trust. Now that they believe him to be dead, they are carried away by the heroism of her despair. That Electra remains upon the stage appears from infr. 1105.
1071-1072. mvp-comment-516-1 τὰ δὲ πρὸς τέκνων . . διαίτᾳ] (1) Most editors agree in understanding this to mean, 'While between his two children a quarrel has arisen that puts an end to the harmony of loving intercourse.' But (a) would Sophocles put φύλοπις for a private quarrel? Or (b) can φ. οὐκέτ᾽ ἐξισοῦται be construed so as to mean νείκει διίστανται? Another interpretation seems possible, if we may suppose the Chorus to have been carried away by the visionary hopes of Electra. Then (2) διπλή φύλοπις might be taken to mean the 'two-fold war-cry,' i.e. the combination of the two sisters for hostile purposes, which had seemed possible, supr. 448-71 (note esp. ll. 453-6), and which Electra had depicted in such glowing colours in supr. 967-89. This combination 'is no longer evenly maintained in concord,' since Chrysothemis has renounced her part in it. Or (3) φύλοπις may have lost its hostile association and be used etymologically (Essay on L. $ 54. p. 100 d) for 'the combined voice of the family' as a symbol of fraternal concord. The two sisters no longer 'speak the same thing.' This explanation may be further modified by taking διπλῆ τo mean 'divided.' 'The voices of their children are disparted and no longer harmoniously sustained in a life of affection.'
1072. mvp-comment-517-1 σαλεύει] 'Endures the storm.' Essay on L. § 58. p. 105.