Sophocles Electra 7

Thomas Francklin (Translator)

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Chorus
121
Thy tears can ne'er recall him
From the dark mansions of the common grave —
No, nor thy prayers ; they can but make thee wretched,
And sink thee deeper in calamity.
Why art thou then so fond of misery?

Electra. Sophocles. Thomas Francklin (Translator). London. 1758–1759.

Current edition Experimental

English (Thomas Francklin, 1758–1759) (OCR draft) (English) (English (Thomas Francklin, 1758–1759))

Provisional text from uncorrected OCR; expect errors.

Editions (2)
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 7 focus
ἀγορὰ Λύκειος· οὐξ δύξ ἀριστερᾶς δ᾽ ὅδε
Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 1-120 focus
Translations (4)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 7 focus
EL
Enter ELECTRA . MONODY .
O purest light!
And air by earth alone
Measured and limitable, how oft have ye
Heard many a piercing moan,
Many a blow full on my bleeding breast,
When gloomy night
Hath slackened pace and yielded to the day!
And through the hours of rest,
Ah! well ’tis known
To my sad pillow in yon house of woe,
What vigil of scant joyance keeping,
Whiles all within are sleeping,
For my dear father without stint I groan,
Whom not in bloody fray
The War-god in the stranger-land
Received with hospitable hand,
But she that is my mother, and her groom,
As woodmen fell the oak,
Cleft through the skull with murdering stroke.
And o’er this gloom
No ray of pity, save from only me,
Goes forth on thee,
85
My father, who didst die
85
A cruel death of piteous agony.
85
But ne’er will I
85
Cease from my crying and sad mourning lay,
85
While I behold the sky,
85
Glancing with myriad fires, or this fair day.
85
But, like some brood-bereavèd nightingale,
85
With far-heard wail,
85
Here at my father’s door my voice shall sound.
85
O home beneath the ground!
85
Hades unseen, and dread Persephonè,
And darkling Hermes, and the Curse revered,
And ye, Erinyës, of mortals feared,
Daughters of Heaven, that ever see
Who die unjustly, who are wronged i’ the bed
Of those they wed,
Avenge our father’s murder on his foe!
Aid us, and send my brother to my side;
Alone I cannot longer bide
The oppressive strain of strength-o’ermastering woe.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1 focus
O Sohn des Feldherrn, der in Troas einst gebot, 1
1
Des Agamemnon, endlich ist es dir vergönnt,
Zu schaun mit Augen, was zu schaun dich stets verlangt.
Dein graues Argos, deiner Sehnsucht Land, ist hier, 2
Der wuthgeschlagnen Inachid' uralter Hain;
5
Das dort, Orestes, ist der Markt des Lykiers,
Des wolferlegenden Gottes, und zur Liuken hier
Der Hera stolzer Tempel: wo wir hingelangt,
Schaust du Mykenä's Veste, reich an goldnem Schaz,
Und hier der Pelopsenkel unheilschwangres Haus,
10
Wo nach des Vaters grausem Tod ich ehedem
Von deiner Schwester dich empfing und weiter trug
Und rettet' und zu solcher Jugendblüte dich
Aufzog, dereinst zu rächen deines Vaters Mord.
Nun denn, Orestes, und o du, mein Pylades,
15
Der Freunde liebster, was zu thun, berathet schnell:
Denn schon erweckt der Sonne strahlenvoller Glanz
Der Vögel Morgenstimmen uns zu hellem Schall;
Die schwarze Nacht der Sterne schwand in's Dunkel hin.
Drum eh' ein Mann aus dieses Hauses Pforte tritt,
20
Beredet euch zusammen; denn wir stehen da,
Wo's nimmer gilt zu säumen, wo's der That bedarf.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 7 focus
Electra
86
Thou holy light, thou air around the earth
Extended wide, how often hast thou heard
My strains of woe, how often heard me beat
My bleeding breast, when night before the dawn
Withdraws her darkening veil! For in her shades
The hated couches of this mournful house
90
Are conscious to my grief, while I lament
90
My father's ruin: him the god of war
Sunk not with wounds in a barbaric land;
My mother, and the partner of her bed,
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 1-120 focus

Commentary

Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))

mvp-comment-71-1 δυστανοτάτας 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.

121-127. mvp-comment-76-1 Electra's monody, like the soliloquy of Deianeira. Trach. I fol., has indicated the loneliness of her sorrow. But she is not friendless. The women of Argos feel with her and would comfort her if they could. In this long 'commatic parodos,' which at once enlists the sympathies of the spectator, and prepares his mind by contrast for the rapidity of the action which is to follow, there are seven choric strains, to which Electra responds with μέλη ἀπὸ σκηνῆς. If, as seems most probable, a single voice is heard each time, the front row of choreutae would alone take part. Thus, supposing the five dots to represent the πρωτόσταται, i. e. the coryphaeus and those on either side of him, the parts might be assigned as follows:- ἀντ. β'. ἀντ.α΄. στρ.α΄. στρ.β. στρ. γ΄. ἀντ. γ'. ἐπ. The choreutae immediately to right and left of the coryphaeus would address Electra twice, and when the epode was finished, the coryphaeus would make a new beginning with the senarii in ll. 251-3, after which, each of the five would speak once again, ending with the coryphaeus. The metres are as follows:-

121. mvp-comment-77-1 παῖ is first the natural address of an elder person to a younger, and is then repeated in a different sense with the genitive in regimen. 'O child Electra! Child of a most wretched mother!' For the moral association in δυστανοτάτας, cp. Aj. 1290, δύστηνε, ποῖ βλέπων ποτ᾿ αὐτὰ καὶ θροεῖς;