ἄχος ἐφάνη βροτῶν,
Electra. Sophocles. ed. Lewis Campbell. Oxford. 1879.
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Greek (Lewis Campbell, 1879) (OCR draft) (Greek) (Greek (Lewis Campbell, 1879))
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Editions (1)
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 121-250 focus
Χορός
ὦ παῖ, παῖ δυστανοτάτας
Ἠλέκτρα ματρός, τίνʼ ἀεὶ
τάκεις ὧδʼ ἀκόρεστον οἰμωγὰν
τὸν πάλαι ἐκ δολερᾶς ἀθεώτατα
ματρὸς ἁλόντʼ ἀπάταις Ἀγαμέμνονα
125
κακᾷ τε χειρὶ πρόδοτον; ὡς ὁ τάδε πορὼν
ὄλοιτʼ, εἴ μοι θέμις τάδʼ αὐδᾶν.
ὦ παῖ, παῖ δυστανοτάτας
Ἠλέκτρα ματρός, τίνʼ ἀεὶ
τάκεις ὧδʼ ἀκόρεστον οἰμωγὰν
τὸν πάλαι ἐκ δολερᾶς ἀθεώτατα
ματρὸς ἁλόντʼ ἀπάταις Ἀγαμέμνονα
125
κακᾷ τε χειρὶ πρόδοτον; ὡς ὁ τάδε πορὼν
ὄλοιτʼ, εἴ μοι θέμις τάδʼ αὐδᾶν.
Ἠλέκτρα
ὦ γενέθλα γενναίων,
ἥκετʼ ἐμῶν καμάτων παραμύθιον.
130
οἶδά τε καὶ ξυνίημι τάδʼ, οὔ τί με
φυγγάνει, οὐδʼ ἐθέλω προλιπεῖν τόδε,
μὴ οὐ τὸν ἐμὸν στενάχειν πατέρʼ ἄθλιον.
ἀλλʼ ὦ παντοίας φιλότητος ἀμειβόμεναι χάριν,
ἐᾶτέ μʼ ὧδʼ ἀλύειν,
135
αἰαῖ, ἱκνοῦμαι.
ὦ γενέθλα γενναίων,
ἥκετʼ ἐμῶν καμάτων παραμύθιον.
130
οἶδά τε καὶ ξυνίημι τάδʼ, οὔ τί με
φυγγάνει, οὐδʼ ἐθέλω προλιπεῖν τόδε,
μὴ οὐ τὸν ἐμὸν στενάχειν πατέρʼ ἄθλιον.
ἀλλʼ ὦ παντοίας φιλότητος ἀμειβόμεναι χάριν,
ἐᾶτέ μʼ ὧδʼ ἀλύειν,
135
αἰαῖ, ἱκνοῦμαι.
Χορός
ἀλλʼ οὔτοι τόν γʼ ἐξ Ἀΐδα
παγκοίνου λίμνας πατέρʼ ἀν-
στάσεις οὔτε γόοισιν οὔτʼ εὐχαῖς.
ἀλλʼ ἀπὸ τῶν μετρίων ἐπʼ ἀμήχανον
140
ἄλγος ἀεὶ στενάχουσα διόλλυσαι,
ἐν οἷς ἀνάλυσίς ἐστιν οὐδεμία κακῶν.
τί μοι τῶν δυσφόρων ἐφίει;
ἀλλʼ οὔτοι τόν γʼ ἐξ Ἀΐδα
παγκοίνου λίμνας πατέρʼ ἀν-
στάσεις οὔτε γόοισιν οὔτʼ εὐχαῖς.
ἀλλʼ ἀπὸ τῶν μετρίων ἐπʼ ἀμήχανον
140
ἄλγος ἀεὶ στενάχουσα διόλλυσαι,
ἐν οἷς ἀνάλυσίς ἐστιν οὐδεμία κακῶν.
τί μοι τῶν δυσφόρων ἐφίει;
Ἠλέκτρα
νήπιος ὃς τῶν οἰκτρῶς
οἰχομένων γονέων ἐπιλάθεται.
145
ἀλλʼ ἐμέ γʼ ἁ στονόεσσʼ ἄραρεν φρένας,
ἃ Ἴτυν, αἰὲν Ἴτυν ὀλοφύρεται,
ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
ἰὼ παντλάμων Νιόβα, σὲ δʼ ἔγωγε νέμω θεόν,
150
ἅτʼ ἐν τάφῳ πετραίῳ
αἰεὶ δακρύεις.
νήπιος ὃς τῶν οἰκτρῶς
οἰχομένων γονέων ἐπιλάθεται.
145
ἀλλʼ ἐμέ γʼ ἁ στονόεσσʼ ἄραρεν φρένας,
ἃ Ἴτυν, αἰὲν Ἴτυν ὀλοφύρεται,
ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
ἰὼ παντλάμων Νιόβα, σὲ δʼ ἔγωγε νέμω θεόν,
150
ἅτʼ ἐν τάφῳ πετραίῳ
αἰεὶ δακρύεις.
Χορός
οὔτοι σοὶ μούνᾳ, τέκνον,
ἄχος ἐφάνη βροτῶν,
155
πρὸς ὅ τι σὺ τῶν ἔνδον εἶ περισσά,
οἷς ὁμόθεν εἶ καὶ γονᾷ ξύναιμος,
οἵα Χρυσόθεμις ζώει καὶ Ἰφιάνασσα,
κρυπτᾷ τʼ ἀχέων ἐν ἥβᾳ,
ὄλβιος, ὃν ἁ κλεινὰ
160
γᾶ ποτε Μυκηναίων
δέξεται εὐπατρίδαν, Διὸς εὔφρονι
βήματι μολόντα τάνδε γᾶν Ὀρέσταν.
οὔτοι σοὶ μούνᾳ, τέκνον,
ἄχος ἐφάνη βροτῶν,
155
πρὸς ὅ τι σὺ τῶν ἔνδον εἶ περισσά,
οἷς ὁμόθεν εἶ καὶ γονᾷ ξύναιμος,
οἵα Χρυσόθεμις ζώει καὶ Ἰφιάνασσα,
κρυπτᾷ τʼ ἀχέων ἐν ἥβᾳ,
ὄλβιος, ὃν ἁ κλεινὰ
160
γᾶ ποτε Μυκηναίων
δέξεται εὐπατρίδαν, Διὸς εὔφρονι
βήματι μολόντα τάνδε γᾶν Ὀρέσταν.
Ἠλέκτρα
ὅν γʼ ἐγὼ ἀκάματα προσμένουσʼ, ἄτεκνος,
τάλαινʼ, ἀνύμφευτος αἰὲν οἰχνῶ,
165
δάκρυσι μυδαλέα, τὸν ἀνήνυτον
οἶτον ἔχουσα κακῶν· ὁ δὲ λάθεται
ὧν τʼ ἔπαθʼ ὧν τʼ ἐδάη. τί γὰρ οὐκ ἐμοὶ
ἔρχεται ἀγγελίας ἀπατώμενον;
170
ἀεὶ μὲν γὰρ ποθεῖ,
ποθῶν δʼ οὐκ ἀξιοῖ φανῆναι.
ὅν γʼ ἐγὼ ἀκάματα προσμένουσʼ, ἄτεκνος,
τάλαινʼ, ἀνύμφευτος αἰὲν οἰχνῶ,
165
δάκρυσι μυδαλέα, τὸν ἀνήνυτον
οἶτον ἔχουσα κακῶν· ὁ δὲ λάθεται
ὧν τʼ ἔπαθʼ ὧν τʼ ἐδάη. τί γὰρ οὐκ ἐμοὶ
ἔρχεται ἀγγελίας ἀπατώμενον;
170
ἀεὶ μὲν γὰρ ποθεῖ,
ποθῶν δʼ οὐκ ἀξιοῖ φανῆναι.
Χορός
θάρσει μοι, θάρσει, τέκνον.
ἔτι μέγας οὐρανῷ
175
Ζεύς, ὃς ἐφορᾷ πάντα καὶ κρατύνει·
ᾧ τὸν ὑπεραλγῆ χόλον νέμουσα
μήθʼ οἷς ἐχθαίρεις ὑπεράχθεο μήτʼ ἐπιλάθου·
χρόνος γὰρ εὐμαρὴς θεός.
οὔτε γὰρ ὁ τὰν Κρῖσαν
180
βούνομον ἔχων ἀκτὰν
παῖς Ἀγαμεμνονίδας ἀπερίτροπος
οὔθʼ ὁ παρὰ τὸν Ἀχέροντα θεὸς ἀνάσσων.
θάρσει μοι, θάρσει, τέκνον.
ἔτι μέγας οὐρανῷ
175
Ζεύς, ὃς ἐφορᾷ πάντα καὶ κρατύνει·
ᾧ τὸν ὑπεραλγῆ χόλον νέμουσα
μήθʼ οἷς ἐχθαίρεις ὑπεράχθεο μήτʼ ἐπιλάθου·
χρόνος γὰρ εὐμαρὴς θεός.
οὔτε γὰρ ὁ τὰν Κρῖσαν
180
βούνομον ἔχων ἀκτὰν
παῖς Ἀγαμεμνονίδας ἀπερίτροπος
οὔθʼ ὁ παρὰ τὸν Ἀχέροντα θεὸς ἀνάσσων.
Ἠλέκτρα
ἀλλʼ ἐμὲ μὲν ὁ πολὺς ἀπολέλοιπεν ἤδη
185
βίοτος ἀνέλπιστος, οὐδʼ ἔτʼ ἀρκῶ·
ἅτις ἄνευ τεκέων κατατάκομαι,
ἇς φίλος οὔτις ἀνὴρ ὑπερίσταται,
ἀλλʼ ἁπερεί τις ἔποικος ἀναξία
οἰκονομῶ θαλάμους πατρός, ὧδε μὲν
190
ἀεικεῖ σὺν στολᾷ,
κεναῖς δʼ ἀμφίσταμαι τραπέζαις.
ἀλλʼ ἐμὲ μὲν ὁ πολὺς ἀπολέλοιπεν ἤδη
185
βίοτος ἀνέλπιστος, οὐδʼ ἔτʼ ἀρκῶ·
ἅτις ἄνευ τεκέων κατατάκομαι,
ἇς φίλος οὔτις ἀνὴρ ὑπερίσταται,
ἀλλʼ ἁπερεί τις ἔποικος ἀναξία
οἰκονομῶ θαλάμους πατρός, ὧδε μὲν
190
ἀεικεῖ σὺν στολᾷ,
κεναῖς δʼ ἀμφίσταμαι τραπέζαις.
Χορός
οἰκτρὰ μὲν νόστοις αὐδά,
οἰκτρὰ δʼ ἐν κοίταις πατρῴαις
ὅτε οἱ παγχάλκων ἀνταία
195
γενύων ὡρμάθη πλαγά.
δόλος ἦν ὁ φράσας, ἔρος ὁ κτείνας,
δεινὰν δεινῶς προφυτεύσαντες
μορφάν, εἴτʼ οὖν θεὸς εἴτε βροτῶν
ἦν ὁ ταῦτα πράσσων.
200
οἰκτρὰ μὲν νόστοις αὐδά,
οἰκτρὰ δʼ ἐν κοίταις πατρῴαις
ὅτε οἱ παγχάλκων ἀνταία
195
γενύων ὡρμάθη πλαγά.
δόλος ἦν ὁ φράσας, ἔρος ὁ κτείνας,
δεινὰν δεινῶς προφυτεύσαντες
μορφάν, εἴτʼ οὖν θεὸς εἴτε βροτῶν
ἦν ὁ ταῦτα πράσσων.
200
Ἠλέκτρα
ὦ πασᾶν κείνα πλέον ἁμέρα
ἐλθοῦσʼ ἐχθίστα δή μοι·
ὦ νύξ, ὦ δείπνων ἀρρήτων
ἔκπαγλʼ ἄχθη,
τοὺς ἐμὸς ἴδε πατὴρ
205
θανάτους αἰκεῖς διδύμαιν χειροῖν,
αἳ τὸν ἐμὸν εἷλον βίον πρόδοτον, αἵ μʼ ἀπώλεσαν·
οἷς θεὸς ὁ μέγας Ὀλύμπιος
ποίνιμα πάθεα παθεῖν πόροι,
210
μηδέ ποτʼ ἀγλαΐας ἀποναίατο
τοιάδʼ ἀνύσαντες ἔργα.
ὦ πασᾶν κείνα πλέον ἁμέρα
ἐλθοῦσʼ ἐχθίστα δή μοι·
ὦ νύξ, ὦ δείπνων ἀρρήτων
ἔκπαγλʼ ἄχθη,
τοὺς ἐμὸς ἴδε πατὴρ
205
θανάτους αἰκεῖς διδύμαιν χειροῖν,
αἳ τὸν ἐμὸν εἷλον βίον πρόδοτον, αἵ μʼ ἀπώλεσαν·
οἷς θεὸς ὁ μέγας Ὀλύμπιος
ποίνιμα πάθεα παθεῖν πόροι,
210
μηδέ ποτʼ ἀγλαΐας ἀποναίατο
τοιάδʼ ἀνύσαντες ἔργα.
Χορός
φράζου μὴ πόρσω φωνεῖν.
οὐ γνώμαν ἴσχεις ἐξ οἵων
τὰ παρόντʼ οἰκείας εἰς ἄτας
215
ἐμπίπτεις οὕτως αἰκῶς;
πολὺ γάρ τι κακῶν ὑπερεκτήσω,
σᾷ δυσθύμῳ τίκτουσʼ ἀεὶ
ψυχᾷ πολέμους· τὰ δὲ τοῖς δυνατοῖς
οὐκ ἐριστὰ πλάθειν.
220
φράζου μὴ πόρσω φωνεῖν.
οὐ γνώμαν ἴσχεις ἐξ οἵων
τὰ παρόντʼ οἰκείας εἰς ἄτας
215
ἐμπίπτεις οὕτως αἰκῶς;
πολὺ γάρ τι κακῶν ὑπερεκτήσω,
σᾷ δυσθύμῳ τίκτουσʼ ἀεὶ
ψυχᾷ πολέμους· τὰ δὲ τοῖς δυνατοῖς
οὐκ ἐριστὰ πλάθειν.
220
Ἠλέκτρα
δεινοῖς ἠναγκάσθην, δεινοῖς·
ἔξοιδʼ, οὐ λάθει μʼ ὀργά.
ἀλλʼ ἐν γὰρ δεινοῖς οὐ σχήσω
ταύτας ἄτας,
ὄφρα με βίος ἔχῃ.
225
τίνι γάρ ποτʼ ἄν, ὦ φιλία γενέθλα,
πρόσφορον ἀκούσαιμʼ ἔπος, τίνι φρονοῦντι καίρια;
ἄνετέ μʼ ἄνετε, παράγοροι·
τάδε γὰρ ἄλυτα κεκλήσεται,
οὐδέ ποτʼ ἐκ καμάτων ἀποπαύσομαι
230
ἀνάριθμος ὧδε θρήνων.
δεινοῖς ἠναγκάσθην, δεινοῖς·
ἔξοιδʼ, οὐ λάθει μʼ ὀργά.
ἀλλʼ ἐν γὰρ δεινοῖς οὐ σχήσω
ταύτας ἄτας,
ὄφρα με βίος ἔχῃ.
225
τίνι γάρ ποτʼ ἄν, ὦ φιλία γενέθλα,
πρόσφορον ἀκούσαιμʼ ἔπος, τίνι φρονοῦντι καίρια;
ἄνετέ μʼ ἄνετε, παράγοροι·
τάδε γὰρ ἄλυτα κεκλήσεται,
οὐδέ ποτʼ ἐκ καμάτων ἀποπαύσομαι
230
ἀνάριθμος ὧδε θρήνων.
Χορός
ἀλλʼ οὖν εὐνοίᾳ γʼ αὐδῶ,
μάτηρ ὡσεί τις πιστά,
μὴ τίκτειν σʼ ἄταν ἄταις.
235
ἀλλʼ οὖν εὐνοίᾳ γʼ αὐδῶ,
μάτηρ ὡσεί τις πιστά,
μὴ τίκτειν σʼ ἄταν ἄταις.
235
Ἠλέκτρα
καὶ τί μέτρον κακότατος ἔφυ; φέρε,
πῶς ἐπὶ τοῖς φθιμένοις ἀμελεῖν καλόν;
ἐν τίνι τοῦτʼ ἔβλαστʼ ἀνθρώπων;
μήτʼ εἴην ἔντιμος τούτοις
μήτʼ, εἴ τῳ πρόσκειμαι χρηστῷ,
240
ξυνναίοιμʼ εὔκηλος, γονέων
ἐκτίμους ἴσχουσα πτέρυγας
ὀξυτόνων γόων.
εἰ γὰρ ὁ μὲν θανὼν γᾶ τε καὶ οὐδὲν ὢν
245
κείσεται τάλας,
οἱ δὲ μὴ πάλιν
δώσουσʼ ἀντιφόνους δίκας,
ἔρροι τʼ ἂν αἰδὼς
ἁπάντων τʼ εὐσέβεια θνατῶν.
250
καὶ τί μέτρον κακότατος ἔφυ; φέρε,
πῶς ἐπὶ τοῖς φθιμένοις ἀμελεῖν καλόν;
ἐν τίνι τοῦτʼ ἔβλαστʼ ἀνθρώπων;
μήτʼ εἴην ἔντιμος τούτοις
μήτʼ, εἴ τῳ πρόσκειμαι χρηστῷ,
240
ξυνναίοιμʼ εὔκηλος, γονέων
ἐκτίμους ἴσχουσα πτέρυγας
ὀξυτόνων γόων.
εἰ γὰρ ὁ μὲν θανὼν γᾶ τε καὶ οὐδὲν ὢν
245
κείσεται τάλας,
οἱ δὲ μὴ πάλιν
δώσουσʼ ἀντιφόνους δίκας,
ἔρροι τʼ ἂν αἰδὼς
ἁπάντων τʼ εὐσέβεια θνατῶν.
250
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 154 focus
EL
He who stood by and saw his life destroyed.
He who stood by and saw his life destroyed.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 154 focus
Nicht dir, o Tochter, allein ward
150
Auf Erden Leid verhängt,
Um das du mehr klagst als jene drinnen,
Die dir verwandt sind durch Blut und Ursprung,
Wie Chrysothemis hier, wie hier lebt Iphianassa,
Und trauernd in stiller Jugend,
155
Doch glücklich, wann einst ihn
Das stolze Land Argos
Feiernd empfängt und mit Huld der Olympier
Zurück in diese Gauen führt, - Orestes.
Nicht dir, o Tochter, allein ward
150
Auf Erden Leid verhängt,
Um das du mehr klagst als jene drinnen,
Die dir verwandt sind durch Blut und Ursprung,
Wie Chrysothemis hier, wie hier lebt Iphianassa,
Und trauernd in stiller Jugend,
155
Doch glücklich, wann einst ihn
Das stolze Land Argos
Feiernd empfängt und mit Huld der Olympier
Zurück in diese Gauen führt, - Orestes.
Elektra.
Ich harre sein, ich Arme, nicht ermattend,
160
Und wandle hin, ohne Kind und Gatten,
Ewig in Thränen mich badend, dem ewigen
Jammer zum Raub; doch Alles vergaß er mir,
Unsere Lieb' und die Kunden von uns. Stets
Täuschend erscholl mir das Wort der Verkündigung;
165
Denn Sehnsucht treibt ihn stets;
Doch sehnsuchtvoll, erscheint er niemals.
Zweite Gegenstrophe.
Ich harre sein, ich Arme, nicht ermattend,
160
Und wandle hin, ohne Kind und Gatten,
Ewig in Thränen mich badend, dem ewigen
Jammer zum Raub; doch Alles vergaß er mir,
Unsere Lieb' und die Kunden von uns. Stets
Täuschend erscholl mir das Wort der Verkündigung;
165
Denn Sehnsucht treibt ihn stets;
Doch sehnsuchtvoll, erscheint er niemals.
Der Chor.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 154 focus
Chrysothemis
But there is,
Hadst thou a mind disposed for its acceptance.
But there is,
Hadst thou a mind disposed for its acceptance.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 154 focus
Electra
This is our state. But wou'dst thou be advised
By me, thou soon wilt free us from the ills
Which now oppress us.
Can I raise the dead
Again to life?
I mean not that; my mind
Hath not such frenzy.
This is our state. But wou'dst thou be advised
By me, thou soon wilt free us from the ills
Which now oppress us.
Can I raise the dead
Again to life?
I mean not that; my mind
Hath not such frenzy.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 121-250 focus
Chorus
Ah, Electra, child of a most wretched mother, why are you always wasting away in this unsated mourning for Agamemnon, who long ago was godlessly
ensnared in your false mother’s wiles and betrayed by her corrupt hand? May the one who did that perish, if I may speak such a curse without breaking the gods’ laws.
125
Ah, Electra, child of a most wretched mother, why are you always wasting away in this unsated mourning for Agamemnon, who long ago was godlessly
ensnared in your false mother’s wiles and betrayed by her corrupt hand? May the one who did that perish, if I may speak such a curse without breaking the gods’ laws.
125
Electra
Ah, noble-hearted girls,
you have come to relieve me in my troubles. I know and feel it: it does not escape me. Still I cannot leave this task undone, nor abandon this mourning for my poor father. Ah, friends whose love responds to mine in every mood,
130
allow me to rave as I am, oh, please, I beg you!
135
Ah, noble-hearted girls,
you have come to relieve me in my troubles. I know and feel it: it does not escape me. Still I cannot leave this task undone, nor abandon this mourning for my poor father. Ah, friends whose love responds to mine in every mood,
130
allow me to rave as I am, oh, please, I beg you!
135
Chorus
But never by weeping nor by prayer will you resurrect your father from the pool of Hades which receives all men.
No, by grieving without end and beyond due limits you will find cureless misery and your own ruin; in these actions there is no deliverance from evils. Tell us, why do you pursue such suffering?
140
But never by weeping nor by prayer will you resurrect your father from the pool of Hades which receives all men.
No, by grieving without end and beyond due limits you will find cureless misery and your own ruin; in these actions there is no deliverance from evils. Tell us, why do you pursue such suffering?
140
Electra
Foolish is the child who forgets a parent’s piteous death. No, closer to my heart is the mourner who eternally wails,
Itys, Itys, that bird mad with grief, the messenger of Zeus.
145
Ah, all-suffering Niobe, you I count divine, since you weep forever in your rocky tomb!
150
Foolish is the child who forgets a parent’s piteous death. No, closer to my heart is the mourner who eternally wails,
Itys, Itys, that bird mad with grief, the messenger of Zeus.
145
Ah, all-suffering Niobe, you I count divine, since you weep forever in your rocky tomb!
150
Chorus
Not to you alone of mortals, my daughter, has sorrow come,
though you face it with less restraint than those girls inside, Chrysothemis and Iphianassa, whose parents and blood you share. They still live, as he, too, lives, sorrowing in his secluded youth,
155
yet happy in that this famous realm of the Mycenaeans shall one day receive him as a noble lord, if with the blessing of Zeus’s escort he, Orestes, returns to this land.
160
Not to you alone of mortals, my daughter, has sorrow come,
though you face it with less restraint than those girls inside, Chrysothemis and Iphianassa, whose parents and blood you share. They still live, as he, too, lives, sorrowing in his secluded youth,
155
yet happy in that this famous realm of the Mycenaeans shall one day receive him as a noble lord, if with the blessing of Zeus’s escort he, Orestes, returns to this land.
160
Electra
Yes, I await him with unwearied longing,
as I walk my sad path from day to day childless and unwed, bathed in tears, bearing that endless doom of evils. But he forgets all that he has suffered and learned.
165
What message comes to me that is not proven false? He constantly desires to be with us, but though he desires it, he does not choose to appear.
170
Yes, I await him with unwearied longing,
as I walk my sad path from day to day childless and unwed, bathed in tears, bearing that endless doom of evils. But he forgets all that he has suffered and learned.
165
What message comes to me that is not proven false? He constantly desires to be with us, but though he desires it, he does not choose to appear.
170
Chorus
Courage, my daughter, courage; Zeus in the sky
is still mighty, and he sees and rules all. Leave your oversharp anger to him; be neither excessively hostile to those you hate, nor forgetful of them, since Time is a god who brings ease.
175
Courage, my daughter, courage; Zeus in the sky
is still mighty, and he sees and rules all. Leave your oversharp anger to him; be neither excessively hostile to those you hate, nor forgetful of them, since Time is a god who brings ease.
175
Electra
But the best part of life has passed away leaving me in hopelessness, and I have no strength left. I waste away without children and have no loving husband to champion me, but like some despised foreign slave,
185
I serve in the halls of my father, wrapped in shabby garments and standing to eat scanty meals.
190
But the best part of life has passed away leaving me in hopelessness, and I have no strength left. I waste away without children and have no loving husband to champion me, but like some despised foreign slave,
185
I serve in the halls of my father, wrapped in shabby garments and standing to eat scanty meals.
190
Chorus
Mournful was the voice heard at his return, and mournful the voice amidst your father’s reclining banquet
when the straight, swift blow of the bronze-jawed axe was sped against him. Deceit was the plotter, Lust the slayer, two dread parents of a dreadful
195
phantom, whether it was god or mortal that did this deed.
200
Mournful was the voice heard at his return, and mournful the voice amidst your father’s reclining banquet
when the straight, swift blow of the bronze-jawed axe was sped against him. Deceit was the plotter, Lust the slayer, two dread parents of a dreadful
195
phantom, whether it was god or mortal that did this deed.
200
Electra
O that hated day, hated beyond all that have come to me; O that night, the terrible grief of that unutterable feast, the shameless death-strokes
my father saw from their twin hands, hands which took my life captive by treachery, which cast me to ruin! May the great god of
Olympus
205
create for them sufferings in penalty, and may they never have enjoyment of their splendor since they have committed such crimes!
210
O that hated day, hated beyond all that have come to me; O that night, the terrible grief of that unutterable feast, the shameless death-strokes
my father saw from their twin hands, hands which took my life captive by treachery, which cast me to ruin! May the great god of
Olympus
205
create for them sufferings in penalty, and may they never have enjoyment of their splendor since they have committed such crimes!
210
Chorus
Be advised to say no more; do you not see by what actions
under the present circumstances you plunge so shamefully into self-made miseries? You have far excelled in achieving misfortune, ever breeding wars in your hardhearted soul. But such strife
215
should not be pushed into a conflict with the powerful.
220
Be advised to say no more; do you not see by what actions
under the present circumstances you plunge so shamefully into self-made miseries? You have far excelled in achieving misfortune, ever breeding wars in your hardhearted soul. But such strife
215
should not be pushed into a conflict with the powerful.
220
Electra
I have been forced to it, forced by a terrible compulsion. I know my own passion; it does not escape me; but, under such terrible compulsion, I will not restrain these disastrous cries of frenzy,
so long as life is in me. Who indeed, my noble friends, who that keeps what is appropriate in mind, would think any word of comfort right for my ears? Let me be, let me be, my comforters!
225
For these ills will be reckoned with those which have no cure; I will never know a respite from my pains, or the sum of this wailing.
230
I have been forced to it, forced by a terrible compulsion. I know my own passion; it does not escape me; but, under such terrible compulsion, I will not restrain these disastrous cries of frenzy,
so long as life is in me. Who indeed, my noble friends, who that keeps what is appropriate in mind, would think any word of comfort right for my ears? Let me be, let me be, my comforters!
225
For these ills will be reckoned with those which have no cure; I will never know a respite from my pains, or the sum of this wailing.
230
Chorus
It is nevertheless with goodwill, like a true-hearted mother,
that I dissuade you from begetting misery upon miseries.
235
It is nevertheless with goodwill, like a true-hearted mother,
that I dissuade you from begetting misery upon miseries.
235
Electra
But what limit has nature begot for my affliction? Tell me, how can it be right to neglect the dead? Has such a seed been sown in any mortal? May I never have such men’s esteem;
never, when I am close to prosperity, may I dwell in ease, hindering the wings of shrill lamentation so as to deprive my begetter of his honors!
For if the dead is to lie a wretch, merely dust and nothingness,
240
while his slayers do not pay back to him blood for blood in penalty,
245
then shame and reverence will vanish from all humanity.
250
But what limit has nature begot for my affliction? Tell me, how can it be right to neglect the dead? Has such a seed been sown in any mortal? May I never have such men’s esteem;
never, when I am close to prosperity, may I dwell in ease, hindering the wings of shrill lamentation so as to deprive my begetter of his honors!
For if the dead is to lie a wretch, merely dust and nothingness,
240
For if the dead is to lie a wretch, merely dust and nothingness,
while his slayers do not pay back to him blood for blood in penalty,
245
then shame and reverence will vanish from all humanity.
250
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
mvp-comment-90-1 οὔτοι σοὶ μούνᾳ 1
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
86-250. mvp-comment-59-1 In this long lament there are two principal movements, each of which admits of subdivision. First, the monody of Electra, consisting of two anapaestic systems, of which one (ll. 86-102) is retrospective, and the other (ll. 103-120) is prospective. Secondly, there is the commatic parodos :-the chorus on their entrance address Electra with lyric strains, to which she responds also in lyric measures. This movement consists of three strophes and antistrophes. In στρ. and ἀντ. α' (ll. 121-152), the chorus gently, but gloomily, expostulate with Electra, who is inconsolable. In στρ. and ἀντ. β΄ (ll. 153-192), they vainly try to cheer her. In στρ. and ἀντ. γ΄ (ll. 193- 232), they remind her of her past and present troubles, and exhort her not to add to them. All this is followed by a ῥῆσις of Electra (ll. 254-309) in reply to the coryphaeus, who, at l. 324, again speaks to call attention to Chrysothemis' approach.
86-250. mvp-comment-59-2 Metres. The anapaests in 86-120, although for the most part regular are in so far of the freer kind which belong to laments as to admit the spondaic paroemiacs near the commencement of each system in ll. 88, 9, 105, 6, which, with the opening half line, have a strange effect of heaviness and of struggle and pain. The two systems so nearly correspond, both in this respect and in the number of the lines, that one is tempted to believe that the half line that would complete the antistrophic effect has been lost somewhere between 113 and 117. But anapaestic systems are seldom exactly antistrophic, and the pause after the (dactylic) invocation in l. 115 may be intentional.
153-157. mvp-comment-94-1 Thou art not all alone unhappy that thou shouldest thus grieve more than those within, who are of the same lineage and of kindred blood with thee, and shouldst not live the same bright life which they, Chrysothemis and Iphianassa, live.' The indefinite pronoun ὅ, τι is occasioned by the negative preceding. In πρὸς ὅ τι, πρός corresponds to a long syllable, Ζεύς, in the antistrophe. Perhaps, πρός γ᾽ ὅ, τι? εἰ περισσά] Sc. ἐν τῷ λυπεῖσθαι. In distinguishing between Iphigeneia and Iphianassa, Sophocles is said to have followed the Cypria. 'Sophocles here seems to recognize the digamma in Fιφιάνασσα.' Paley.