χειρῶν ἐκβεβιασμένον,
Philoctetes. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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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)) — 1081-1216 focus
Φιλοκτήτης
ὦ κοίλας πέτρας γύαλον
θερμὸν καὶ παγετῶδες, ὥς σʼ οὐκ ἔμελλον ἄρʼ, ὦ τάλας,
λείψειν οὐδέποτʼ, ἀλλά μοι καὶ θνῄσκοντι συνείσει.
ὤμοι μοί μοι.
ὦ πληρέστατον αὔλιον
λύπας τᾶς ἀπʼ ἐμοῦ τάλαν,
τίπτʼ αὖ μοι τὸ κατʼ ἆμαρ
ἔσται; τοῦ ποτε τεύξομαι
1090
σιτονόμου μέλεος πόθεν ἐλπίδος;
πέλειαι δʼ ἄνω
πτωκάδες ὀξυτόνου διὰ πνεύματος
ἐλῶσιν· οὐκέτʼ ἴσχω.
ὦ κοίλας πέτρας γύαλον
θερμὸν καὶ παγετῶδες, ὥς σʼ οὐκ ἔμελλον ἄρʼ, ὦ τάλας,
λείψειν οὐδέποτʼ, ἀλλά μοι καὶ θνῄσκοντι συνείσει.
ὤμοι μοί μοι.
ὦ πληρέστατον αὔλιον
λύπας τᾶς ἀπʼ ἐμοῦ τάλαν,
τίπτʼ αὖ μοι τὸ κατʼ ἆμαρ
ἔσται; τοῦ ποτε τεύξομαι
1090
σιτονόμου μέλεος πόθεν ἐλπίδος;
πέλειαι δʼ ἄνω
πτωκάδες ὀξυτόνου διὰ πνεύματος
ἐλῶσιν· οὐκέτʼ ἴσχω.
Χορός
σύ τοι σύ τοι κατηξίωσας,
1095
ὦ βαρύποτμε, κοὐκ
ἄλλοθεν ἔχει τύχᾳ τᾷδʼ ἀπὸ μείζονος,
εὖτέ γε παρὸν φρονῆσαι
τοῦ λῴονος δαίμονος εἵλου τὸ κάκιον αἰνεῖν.
1100
σύ τοι σύ τοι κατηξίωσας,
1095
ὦ βαρύποτμε, κοὐκ
ἄλλοθεν ἔχει τύχᾳ τᾷδʼ ἀπὸ μείζονος,
εὖτέ γε παρὸν φρονῆσαι
τοῦ λῴονος δαίμονος εἵλου τὸ κάκιον αἰνεῖν.
1100
Φιλοκτήτης
ὦ τλάμων τλάμων ἄρʼ ἐγὼ
καὶ μόχθῳ λωβατός, ὃς ἤδη μετʼ οὐδενὸς ὕστερον
ἀνδρῶν εἰσοπίσω τάλας ναίων ἐνθάδʼ ὀλοῦμαι,
αἰαῖ αἰαῖ,
οὐ φορβὰν ἔτι προσφέρων,
οὐ πτανῶν ἀπʼ ἐμῶν ὅπλων
κραταιαῖς μετὰ χερσὶν
1110
ἴσχων· ἀλλά μοι ἄσκοπα
κρυπτά τʼ ἔπη δολερᾶς ὑπέδυ φρενός·
ἰδοίμαν δέ νιν,
τὸν τάδε μησάμενον, τὸν ἴσον χρόνον
ἐμὰς λαχόντʼ ἀνίας.
1115
ὦ τλάμων τλάμων ἄρʼ ἐγὼ
καὶ μόχθῳ λωβατός, ὃς ἤδη μετʼ οὐδενὸς ὕστερον
ἀνδρῶν εἰσοπίσω τάλας ναίων ἐνθάδʼ ὀλοῦμαι,
αἰαῖ αἰαῖ,
οὐ φορβὰν ἔτι προσφέρων,
οὐ πτανῶν ἀπʼ ἐμῶν ὅπλων
κραταιαῖς μετὰ χερσὶν
1110
ἴσχων· ἀλλά μοι ἄσκοπα
κρυπτά τʼ ἔπη δολερᾶς ὑπέδυ φρενός·
ἰδοίμαν δέ νιν,
τὸν τάδε μησάμενον, τὸν ἴσον χρόνον
ἐμὰς λαχόντʼ ἀνίας.
1115
Χορός
πότμος, πότμος σε δαιμόνων τάδʼ,
οὐδὲ σέ γε δόλος,
ἔσχεν ὑπὸ χειρὸς ἀμᾶς. στυγερὰν ἔχε
δύσποτμον ἀρὰν ἐπʼ ἄλλοις.
1120
καὶ γὰρ ἐμοὶ τοῦτο μέλει, μὴ φιλότητʼ ἀπώσῃ.
πότμος, πότμος σε δαιμόνων τάδʼ,
οὐδὲ σέ γε δόλος,
ἔσχεν ὑπὸ χειρὸς ἀμᾶς. στυγερὰν ἔχε
δύσποτμον ἀρὰν ἐπʼ ἄλλοις.
1120
καὶ γὰρ ἐμοὶ τοῦτο μέλει, μὴ φιλότητʼ ἀπώσῃ.
Φιλοκτήτης
οἴμοι μοι, καί που πολιᾶς
πόντου θινὸς ἐφήμενος
ἐγγελᾷ, χερὶ πάλλων
1125
τὰν ἐμὰν μελέου τροφάν,
τὰν οὐδείς ποτʼ ἐβάστασεν.
ὦ τόξον φίλον, ὦ φίλων
χειρῶν ἐκβεβιασμένον,
ἦ που ἐλεινὸν ὁρᾷς, φρένας εἴ τινας
1130
ἔχεις, τὸν Ἡράκλειον
ἄρθμιον ὧδέ σοι
οὐκέτι χρησόμενον τὸ μεθύστερον,
ἄλλου δʼ ἐν μεταλλαγᾷ
πολυμηχάνου ἀνδρὸς ἐρέσσει,
1135
ὁρῶν μὲν αἰσχρὰς ἀπάτας, στυγνὸν δὲ φῶτʼ ἐχθοδοπόν,
μυρίʼ, ἀπʼ αἰσχρῶν ἀνατέλλονθʼ, ὃς ἐφʼ ἡμῖν κάκʼ ἐμήσατʼ, ὦ Ζεῦ.
οἴμοι μοι, καί που πολιᾶς
πόντου θινὸς ἐφήμενος
ἐγγελᾷ, χερὶ πάλλων
1125
τὰν ἐμὰν μελέου τροφάν,
τὰν οὐδείς ποτʼ ἐβάστασεν.
ὦ τόξον φίλον, ὦ φίλων
χειρῶν ἐκβεβιασμένον,
ἦ που ἐλεινὸν ὁρᾷς, φρένας εἴ τινας
1130
ἔχεις, τὸν Ἡράκλειον
ἄρθμιον ὧδέ σοι
οὐκέτι χρησόμενον τὸ μεθύστερον,
ἄλλου δʼ ἐν μεταλλαγᾷ
πολυμηχάνου ἀνδρὸς ἐρέσσει,
1135
ὁρῶν μὲν αἰσχρὰς ἀπάτας, στυγνὸν δὲ φῶτʼ ἐχθοδοπόν,
μυρίʼ, ἀπʼ αἰσχρῶν ἀνατέλλονθʼ, ὃς ἐφʼ ἡμῖν κάκʼ ἐμήσατʼ, ὦ Ζεῦ.
Χορός
ἀνδρός τοι τὰ μὲν ἔνδικʼ αἰὲν εἰπεῖν,
1140
εἰπόντος δὲ μὴ φθονερὰν
ἐξῶσαι γλώσσας ὀδύναν.
κεῖνος δʼ εἷς ἀπὸ πολλῶν
ταχθεὶς τῶνδʼ ἐφημοσύνᾳ
κοινὰν ἤνυσεν ἐς φίλους ἀρωγάν.
1145
ἀνδρός τοι τὰ μὲν ἔνδικʼ αἰὲν εἰπεῖν,
1140
εἰπόντος δὲ μὴ φθονερὰν
ἐξῶσαι γλώσσας ὀδύναν.
κεῖνος δʼ εἷς ἀπὸ πολλῶν
ταχθεὶς τῶνδʼ ἐφημοσύνᾳ
κοινὰν ἤνυσεν ἐς φίλους ἀρωγάν.
1145
Φιλοκτήτης
ὦ πταναὶ θῆραι χαροπῶν τʼ
ἔθνη θηρῶν, οὓς ὅδʼ ἔχει
χῶρος οὐρεσιβώτας,
μηκέτʼ ἀπʼ αὐλίων φυγᾷ
πηδᾶτʼ· οὐ γὰρ ἔχω χεροῖν
1150
τὰν πρόσθεν βελέων ἀλκάν,
ὦ δύστανος ἐγὼ τανῦν,
ἀλλʼ ἀνέδην, ὁ δὲ χῶρος ἄρʼ οὐκέτι
φοβητὸς οὐκέθʼ ὑμῖν,
ἕρπετε· νῦν καλὸν
1155
ἀντίφονον κορέσαι στόμα πρὸς χάριν
ἐμᾶς σαρκὸς αἰόλας·
ἀπὸ γὰρ βίον αὐτίκα λείψω.
πόθεν γὰρ ἔσται βιοτά; τίς ὧδʼ ἐν αὔραις τρέφεται,
1160
μηκέτι μηδενὸς κρατύνων ὅσα πέμπει βιόδωρος αἶα;
ὦ πταναὶ θῆραι χαροπῶν τʼ
ἔθνη θηρῶν, οὓς ὅδʼ ἔχει
χῶρος οὐρεσιβώτας,
μηκέτʼ ἀπʼ αὐλίων φυγᾷ
πηδᾶτʼ· οὐ γὰρ ἔχω χεροῖν
1150
τὰν πρόσθεν βελέων ἀλκάν,
ὦ δύστανος ἐγὼ τανῦν,
ἀλλʼ ἀνέδην, ὁ δὲ χῶρος ἄρʼ οὐκέτι
φοβητὸς οὐκέθʼ ὑμῖν,
ἕρπετε· νῦν καλὸν
1155
ἀντίφονον κορέσαι στόμα πρὸς χάριν
ἐμᾶς σαρκὸς αἰόλας·
ἀπὸ γὰρ βίον αὐτίκα λείψω.
πόθεν γὰρ ἔσται βιοτά; τίς ὧδʼ ἐν αὔραις τρέφεται,
1160
μηκέτι μηδενὸς κρατύνων ὅσα πέμπει βιόδωρος αἶα;
Χορός
πρὸς θεῶν, εἴ τι σέβει ξένον, πέλασσον,
εὐνοίᾳ πάσᾳ πελάταν·
ἀλλὰ γνῶθʼ, εὖ γνῶθʼ ἐπὶ σοὶ
1165
κῆρα τάνδʼ ἀποφεύγειν.
οἰκτρὰ γὰρ βόσκειν, ἀδαὴς δʼ
ἔχειν μυρίον ἄχθος, ὃ ξυνοικεῖ.
πρὸς θεῶν, εἴ τι σέβει ξένον, πέλασσον,
εὐνοίᾳ πάσᾳ πελάταν·
ἀλλὰ γνῶθʼ, εὖ γνῶθʼ ἐπὶ σοὶ
1165
κῆρα τάνδʼ ἀποφεύγειν.
οἰκτρὰ γὰρ βόσκειν, ἀδαὴς δʼ
ἔχειν μυρίον ἄχθος, ὃ ξυνοικεῖ.
Φιλοκτήτης
πάλιν πάλιν παλαιὸν ἄλγημʼ ὑπέμνασας, ὦ
1170
λῷστε τῶν πρὶν ἐντόπων.
τί μʼ ὤλεσας; τί μʼ εἴργασαι;
πάλιν πάλιν παλαιὸν ἄλγημʼ ὑπέμνασας, ὦ
1170
λῷστε τῶν πρὶν ἐντόπων.
τί μʼ ὤλεσας; τί μʼ εἴργασαι;
Χορός
τί τοῦτʼ ἔλεξας;
τί τοῦτʼ ἔλεξας;
Φιλοκτήτης
εἰ σὺ τὰν ἐμοὶ στυγερὰν
Τρῳάδα γᾶν μʼ ἤλπισας ἄξειν.
1175
εἰ σὺ τὰν ἐμοὶ στυγερὰν
Τρῳάδα γᾶν μʼ ἤλπισας ἄξειν.
1175
Χορός
τόδε γὰρ νοῶ κράτιστον.
τόδε γὰρ νοῶ κράτιστον.
Φιλοκτήτης
ἀπό νύν με λείπετʼ ἤδη.
ἀπό νύν με λείπετʼ ἤδη.
Χορός
φίλα μοι, φίλα ταῦτα παρήγγειλας ἑκόντι τε πράσσειν.
ἴωμεν ἴωμεν
ναὸς ἵνʼ ἡμῖν τέτακται.
1180
φίλα μοι, φίλα ταῦτα παρήγγειλας ἑκόντι τε πράσσειν.
ἴωμεν ἴωμεν
ναὸς ἵνʼ ἡμῖν τέτακται.
1180
Φιλοκτήτης
μή, πρὸς ἀραίου Διός, ἔλθῃς, ἱκετεύω.
μή, πρὸς ἀραίου Διός, ἔλθῃς, ἱκετεύω.
Χορός
μετρίαζʼ.
μετρίαζʼ.
Φιλοκτήτης
ὦ ξένοι, μείνατε, πρὸς θεῶν.
ὦ ξένοι, μείνατε, πρὸς θεῶν.
Χορός
τί θροεῖς;
τί θροεῖς;
Φιλοκτήτης
αἰαῖ αἰαῖ, δαίμων δαίμων·
1185
ἀπόλωλʼ ὁ τάλας·
ὦ ποὺς πούς, τί σʼ ἔτʼ ἐν βίῳ
τεύξω τῷ μετόπιν τάλας;
ὦ ξένοι, ἔλθετʼ ἐπήλυδες αὖθις.
1190
αἰαῖ αἰαῖ, δαίμων δαίμων·
1185
ἀπόλωλʼ ὁ τάλας·
ὦ ποὺς πούς, τί σʼ ἔτʼ ἐν βίῳ
τεύξω τῷ μετόπιν τάλας;
ὦ ξένοι, ἔλθετʼ ἐπήλυδες αὖθις.
1190
Χορός
τί ῥέξοντες ἀλλοκότῳ
γνώμᾳ τῶν πάρος, ὧν προύφαινες;
τί ῥέξοντες ἀλλοκότῳ
γνώμᾳ τῶν πάρος, ὧν προύφαινες;
Φιλοκτήτης
οὔτοι νεμεσητόν,
ἀλύοντα χειμερίῳ
λύπᾳ καὶ παρὰ νοῦν θροεῖν.
1195
οὔτοι νεμεσητόν,
ἀλύοντα χειμερίῳ
λύπᾳ καὶ παρὰ νοῦν θροεῖν.
1195
Χορός
βᾶθί νυν, ὦ τάλαν, ὥς σε κελεύομεν.
βᾶθί νυν, ὦ τάλαν, ὥς σε κελεύομεν.
Φιλοκτήτης
οὐδέποτʼ οὐδέποτʼ, ἴσθι τόδʼ ἔμπεδον,
οὐδʼ εἰ πυρφόρος ἀστεροπητὴς
βροντᾶς αὐγαῖς μʼ εἶσι φλογίζων.
ἐρρέτω Ἴλιον οἵ θʼ ὑπʼ ἐκείνῳ
1200
πάντες ὅσοι τόδʼ ἔτλασαν ἐμοῦ ποδὸς ἄρθρον ἀπῶσαι.
ἀλλʼ, ὦ ξένοι, ἕν γέ μοι εὖχος ὀρέξατε.
οὐδέποτʼ οὐδέποτʼ, ἴσθι τόδʼ ἔμπεδον,
οὐδʼ εἰ πυρφόρος ἀστεροπητὴς
βροντᾶς αὐγαῖς μʼ εἶσι φλογίζων.
ἐρρέτω Ἴλιον οἵ θʼ ὑπʼ ἐκείνῳ
1200
πάντες ὅσοι τόδʼ ἔτλασαν ἐμοῦ ποδὸς ἄρθρον ἀπῶσαι.
ἀλλʼ, ὦ ξένοι, ἕν γέ μοι εὖχος ὀρέξατε.
Χορός
ποῖον ἐρεῖς τόδʼ ἔπος;
ποῖον ἐρεῖς τόδʼ ἔπος;
Φιλοκτήτης
ξίφος, εἴ ποθεν,
ἢ γένυν ἢ βελέων τι προπέμψατε.
ξίφος, εἴ ποθεν,
ἢ γένυν ἢ βελέων τι προπέμψατε.
Χορός
ὡς τίνα δὴ ῥέξῃς παλάμαν ποτέ;
1205
ὡς τίνα δὴ ῥέξῃς παλάμαν ποτέ;
1205
Φιλοκτήτης
χρῶτʼ ἀπὸ πάντα καὶ ἄρθρα τέμω χερί·
φονᾷ φονᾷ νόος ἤδη.
χρῶτʼ ἀπὸ πάντα καὶ ἄρθρα τέμω χερί·
φονᾷ φονᾷ νόος ἤδη.
Χορός
τί ποτε;
τί ποτε;
Φιλοκτήτης
πατέρα ματεύων.
πατέρα ματεύων.
Χορός
ποῖ γᾶς;
1210
ποῖ γᾶς;
1210
Φιλοκτήτης
ἐς Ἅιδου·
οὐ γάρ ἐστʼ ἐν φάει γʼ ἔτι.
ὦ πόλις, ὦ πατρία,
πῶς ἂν εἰσίδοιμʼ ἄθλιός σʼ ἀνήρ,
ὅς γε σὰν λιπὼν ἱερὰν
λιβάδʼ ἐχθροῖς ἔβαν Δαναοῖς
1215
ἀρωγός· ἔτʼ οὐδέν εἰμι.
ἐς Ἅιδου·
οὐ γάρ ἐστʼ ἐν φάει γʼ ἔτι.
ὦ πόλις, ὦ πατρία,
πῶς ἂν εἰσίδοιμʼ ἄθλιός σʼ ἀνήρ,
ὅς γε σὰν λιπὼν ἱερὰν
λιβάδʼ ἐχθροῖς ἔβαν Δαναοῖς
1215
ἀρωγός· ἔτʼ οὐδέν εἰμι.
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1123 focus
Weh mir, weh! An der grauen See
Strande sizt er und spottet wohl
1090
Mein und schwingt in den Händen
Meine lebenerhaltende
Wehr, die noch kein Sterblicher trug.
Trauter Bogen, der trauten Hand
Durch schamlose Gewalt entrückt!
1095
Wurde Gefühl dir verlichen, so siehest du
Mitleidig auf mich armen
Diener des Herakles,
Welcher hinfort dich nimmer bedienen wird!
Den Herrn wechselnd, wirst du jezt
1100
Von dem listigen Frevler gehandhabt;
Du siehst den schmachvollen Betrug,
Siehst ihn, den haßwürdigen Feind,
Der zu dem Leid, das er zuvor schon mir ersann, zahllose Schmach hinzufügt.
Vierte Strophe.
Weh mir, weh! An der grauen See
Strande sizt er und spottet wohl
1090
Mein und schwingt in den Händen
Meine lebenerhaltende
Wehr, die noch kein Sterblicher trug.
Trauter Bogen, der trauten Hand
Durch schamlose Gewalt entrückt!
1095
Wurde Gefühl dir verlichen, so siehest du
Mitleidig auf mich armen
Diener des Herakles,
Welcher hinfort dich nimmer bedienen wird!
Den Herrn wechselnd, wirst du jezt
1100
Von dem listigen Frevler gehandhabt;
Du siehst den schmachvollen Betrug,
Siehst ihn, den haßwürdigen Feind,
Der zu dem Leid, das er zuvor schon mir ersann, zahllose Schmach hinzufügt.
Der Chor.
Männern ziemt es, das Gute recht zu nennen;
1105
Thust du dies, dann stoße den Groll
Nicht in Worten des Hasses aus.
Er bringt, Einer von Vielen
Ausgesandt, auf ihren Befehl
Seinen Freunden die langersehnte Hülse.
1110
Dritte Gegenstrophe.
Männern ziemt es, das Gute recht zu nennen;
1105
Thust du dies, dann stoße den Groll
Nicht in Worten des Hasses aus.
Er bringt, Einer von Vielen
Ausgesandt, auf ihren Befehl
Seinen Freunden die langersehnte Hülse.
1110
Philoktetes.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 1081-1215 focus
Philoctetes
Hollow in the caverned rock, now hot, now frosty, how true it seems, then, that I was sadly fated never to leave you!
No, you will witness my death, too. Ah, ah, me! Sad dwelling, so long filled with the pain welling from my flesh, what will be my daily portion hereafter?
1085
Where, from what provision, shall I, unhappy, find any hope of sustenance? Above my head the tremulous doves will go on their way through the whistling wind. I can stop their flight no more.
1090
Hollow in the caverned rock, now hot, now frosty, how true it seems, then, that I was sadly fated never to leave you!
No, you will witness my death, too. Ah, ah, me! Sad dwelling, so long filled with the pain welling from my flesh, what will be my daily portion hereafter?
1085
Where, from what provision, shall I, unhappy, find any hope of sustenance? Above my head the tremulous doves will go on their way through the whistling wind. I can stop their flight no more.
1090
Chorus
It was you, you, I say, doomed one, that chose this fate; and this fortune to which you are captive comes from no other source, nor from a stronger man’s compulsion. For when in fact it was in your power to show sense,
1095
you chose to reject the better fate, and to accept the worse.
1100
It was you, you, I say, doomed one, that chose this fate; and this fortune to which you are captive comes from no other source, nor from a stronger man’s compulsion. For when in fact it was in your power to show sense,
1095
you chose to reject the better fate, and to accept the worse.
1100
Philoctetes
Ah, miserable, miserable, then, am I, and shamed by hardship, who next must hereafter dwell in my misery here,
with no man for companion in the days to come, and waste away. I can no longer bring food to my home, no
1105
longer gain it by the winged weapons held in my strong hands. But the unsuspected and stealthy fictions of a treacherous mind deceived me. If only I could watch him, the contriver of this plot, doomed to endure my anguish for as long a time!
1110
Ah, miserable, miserable, then, am I, and shamed by hardship, who next must hereafter dwell in my misery here,
with no man for companion in the days to come, and waste away. I can no longer bring food to my home, no
1105
longer gain it by the winged weapons held in my strong hands. But the unsuspected and stealthy fictions of a treacherous mind deceived me. If only I could watch him, the contriver of this plot, doomed to endure my anguish for as long a time!
1110
Chorus
Doom, god-sent doom constrained you to suffer this, not, I tell you, any treachery to which my hand was lent.
1115
Aim your hate-filled, baneful curse elsewhere, since I prefer that you not reject my friendship.
1120
Doom, god-sent doom constrained you to suffer this, not, I tell you, any treachery to which my hand was lent.
1115
Aim your hate-filled, baneful curse elsewhere, since I prefer that you not reject my friendship.
1120
Philoctetes
Alas! No doubt sitting on the white ocean shore
he mocks me, brandishing the weapon that nourished my unhappy life, the weapon which no one else had carried! Cherished bow, ah, friend forced from my loving hands,
1125
if you have the power to feel, surely you see with pity that the comrade of Heracles will now no longer use you anymore!
1130
Now you are handled by another, a man of craftiness; you see the shameless deceptions and the face of that hated enemy by whom countless wrongs, springing from shameless designs, have been contrived against me. O Zeus!
1135
Alas! No doubt sitting on the white ocean shore
he mocks me, brandishing the weapon that nourished my unhappy life, the weapon which no one else had carried! Cherished bow, ah, friend forced from my loving hands,
1125
if you have the power to feel, surely you see with pity that the comrade of Heracles will now no longer use you anymore!
1130
Now you are handled by another, a man of craftiness; you see the shameless deceptions and the face of that hated enemy by whom countless wrongs, springing from shameless designs, have been contrived against me. O Zeus!
1135
Chorus
A man must always assert what is right. But, when he has done so, he must not let loose malignant, stinging taunts. The man was the sole representative of the whole army, and at their mandate
1140
he achieved a universal benefit for his friends.
1145
A man must always assert what is right. But, when he has done so, he must not let loose malignant, stinging taunts. The man was the sole representative of the whole army, and at their mandate
1140
he achieved a universal benefit for his friends.
1145
Philoctetes
Ah, my winged prey, and you tribes of bright-eyed creatures held by this place in its upland pastures, leap no more
in flight from your lairs, for I do not grasp in my hands those shafts which were once my strength—but now, gone, are my undoing! Roam at will now; the place has no more terrors—for you!
1150
The time is ripe for you to take blood for blood, to sate yourselves to your heart’s desire on my discolored flesh! Soon I will leave life, for from what source can I find the means to live? Who can feed, as I will have to,
1155
on the winds, when he no longer owns any of the bounty that the life-giving earth supplies?
1160
Ah, my winged prey, and you tribes of bright-eyed creatures held by this place in its upland pastures, leap no more
in flight from your lairs, for I do not grasp in my hands those shafts which were once my strength—but now, gone, are my undoing! Roam at will now; the place has no more terrors—for you!
1150
The time is ripe for you to take blood for blood, to sate yourselves to your heart’s desire on my discolored flesh! Soon I will leave life, for from what source can I find the means to live? Who can feed, as I will have to,
1155
on the winds, when he no longer owns any of the bounty that the life-giving earth supplies?
1160
Chorus
In the name of the gods, if you have any reverence for a friend who approaches you in all kindness, approach him!
But know this, and know it well: it is in your power to escape this plague. Cruel is it that you feed it with your own flesh, and that there is no way for you to learn to endure the countless torments that dwell with it.
1165
In the name of the gods, if you have any reverence for a friend who approaches you in all kindness, approach him!
But know this, and know it well: it is in your power to escape this plague. Cruel is it that you feed it with your own flesh, and that there is no way for you to learn to endure the countless torments that dwell with it.
1165
Philoctetes
Again, again, you have recalled the old agony to my thoughts—kindest though you are of all who have visited before! Why have you ruined me? What have you done to me?
1170
Again, again, you have recalled the old agony to my thoughts—kindest though you are of all who have visited before! Why have you ruined me? What have you done to me?
1170
Chorus
What do you mean?
What do you mean?
Philoctetes
That it was your hope to take
me to that Trojan land I abhor.
1175
That it was your hope to take
me to that Trojan land I abhor.
1175
Chorus
Yes, I believe that to be the best course.
Yes, I believe that to be the best course.
Philoctetes
Leave me, then—immediately!
Leave me, then—immediately!
Chorus
Pleasant, pleasant, indeed, is the task you set me, and I am ready to obey.
Come, let us be going, each to his station in the ship!
1180
Pleasant, pleasant, indeed, is the task you set me, and I am ready to obey.
Come, let us be going, each to his station in the ship!
1180
Philoctetes
By Zeus who hears men’s curses, do not go, I implore you!
By Zeus who hears men’s curses, do not go, I implore you!
Chorus
Be moderate.
Be moderate.
Philoctetes
Friends, in the name of the gods, stay!
Friends, in the name of the gods, stay!
Chorus
Why do you call?
1185
Why do you call?
1185
Philoctetes
Ayee, ayee! Doom, Doom! My suffering kills me! Foot, my foot, what shall I do with you in the days to come?
O friends, return, come back to me!
1190
Ayee, ayee! Doom, Doom! My suffering kills me! Foot, my foot, what shall I do with you in the days to come?
O friends, return, come back to me!
1190
Chorus
To do what that has a different spirit from that of your former commands?
To do what that has a different spirit from that of your former commands?
Philoctetes
There is no reason for indignation when the words of one crazed
by a storm of pain are senseless.
1195
There is no reason for indignation when the words of one crazed
by a storm of pain are senseless.
1195
Chorus
Come with us, then, poor man, as we bid you.
Come with us, then, poor man, as we bid you.
Philoctetes
Never, never—of that be certain! Not even if the lord of the fiery lightning comes to wrap me in the blaze of his thunderbolts!
Ilium
be damned, and as many of the men before its walls as dared reject this foot of mine! But oh, friends, grant me one wish!
1200
Never, never—of that be certain! Not even if the lord of the fiery lightning comes to wrap me in the blaze of his thunderbolts!
Ilium
be damned, and as many of the men before its walls as dared reject this foot of mine! But oh, friends, grant me one wish!
1200
Chorus
What would you ask?
What would you ask?
Philoctetes
A sword, if you can find one, or an axe, or any weapon—
please, pass it to me!
1205
A sword, if you can find one, or an axe, or any weapon—
please, pass it to me!
1205
Chorus
That you may execute what scheme?
That you may execute what scheme?
Philoctetes
Mangle all this body, and sever limb from limb with my own hand! Death, death is my thought now!
Mangle all this body, and sever limb from limb with my own hand! Death, death is my thought now!
Chorus
Why, why ever would you—
Why, why ever would you—
Philoctetes
I am seeking my father—
1210
I am seeking my father—
1210
Chorus
In what land?
In what land?
Philoctetes
In Hades; he dwells in the sunlight no more. Ah, my city, city of my fathers! I crave to see you, unhappy man that I truly am
for leaving your sacred stream and going to help the Danaans, my enemies! I am nothing now, nothing anymore!
Exit Philoctetes into the cave.
1215
In Hades; he dwells in the sunlight no more. Ah, my city, city of my fathers! I crave to see you, unhappy man that I truly am
for leaving your sacred stream and going to help the Danaans, my enemies! I am nothing now, nothing anymore!
Exit Philoctetes into the cave.
1215
Commentary
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
1081-1217.
mvp-comment-740-1
Philoctetes now feels that he is left completely alone and helpless. For the shipmates of Neoptolemus are only to remain for a little while, in the vain hope that he will change his mind. The following commos may be divided into two chief portions. The first, 1081-1160, is in effect one long monody of Philoctetes from the stage, of which the pauses are filled with short recitatives addressed to him by single chorcutae. Without noticing these, he continues the strain of his lament. In the second part, 1161-1217, there is a real interchange of lyric numbers between the Chorus and the chief actor. Still chanting singly, the mariners renew their efforts to win his attention. When they succeed in this, he bids them depart. They make as if to go. Then he calls them back again and begs for means of self-destruction. The commos ends on the re-appearance of Neoptolemus followed by Odysseus. It is evident that the second part of it especially must have been accompanied with various gestures and movements to and fro in the orchestra. The 'melodramatic' character of this portion of the Philoctetes (ll. 730-1217) may be compared with the opening of the Oedipus Coloneus. The metrical scheme (in which again there are several doubtful points) is as follows :-
α'.
(1.)
_ _ _ _ _UU_
__UU_U_ _
_ _
_ _ _ _
_ _ _ _ _
_UU_UU_UU_UU_
(?)_U_U_U_
(2.)
_UU_UU_UU_U_ _
1
2
_ Iambic.
_UU_U_ Glyconic.
Glyconic _UU_U_
Dactylic { _UU_UU_
Iambic _U_U_ _ _
β'.
(1.)
_ _ _ _
__UU_U_ _
__UU_U_ _
_UU_UU_U_
_ _
10 _UU_UU_
(2) _U_U_ _
_U_UU_U_UU__
_U__UU_U_U_U_UU_
15 _UU_U_U_UU_UU_UU_U__
3
(2.)
__UU_U_U__
_ _ _ _ _UU_
_ _ _ _ _UU_
_U_UU__
U_ _U_UU_U_U__
4
5
6
ἐπ. (ἀπολελυμένα).
For the substitution of − ᴗ – for ᴗ ᴗ in Ionic verse, which is allowed by some writers on metre, see Christ's Metrik, § 521.
(1.)
_U_U_
_ _U_U_U_U_U_U_U_
_U_U_U_
_ _ _ _
_U_UU__UU__UU__
_ _
_ _UU_UUUUUU
7
_U_U_ _U_U_
_ _ _ _ _ _ _
_ _UU_U_
__UU_U_U_
20 U_U_U_
U_UU_UU_
_U_U_U_U_U_U_U_U_
_UU_U_
(2.)
_UU_UU_U_
_ _ _U_UU__
_ _ _ _ _U__
_UU_U_U_UUUUU__
_ _ _
30 U_U_U_U_
_UU_U_
_ _U_U_U_U_
_U_U__U_U_
35 U_U_U_
If the irregularities of the above scheme are compared with those noticed in the note on O. C. 117-254, in vol. 1. p. 298, it will be found that they cannot be adequately accounted for by supposing extensive corruptions of the text. For (a) they are similar in kind to those in O. C., (b) they do not as a rule in either case violate the general laws of metre. While admitting some corruptions, it is reasonable also to suppose that in these later plays of Sophocles the severity of rhythm is relaxed in the lyric dialogue as well as in the senarii. This may be partly accounted for by the 'melodramatic' element encroaching on tragedy, and partly by contemporary innovations in the art of music.
1081-1217. mvp-comment-740-2 In antistrophe _ _ _ _ _ _ _
1081-1217. mvp-comment-740-3 2 Or, _ _ _ _ _ _ _ _. Cp. β' (2), ll. 2, 3.
1081-1217. mvp-comment-740-4 3
1081-1217. mvp-comment-740-5 In antistrophe U_ _ _
1081-1217. mvp-comment-740-6 2 In antistrophe U_UU_U__
1081-1217. mvp-comment-740-7 3 In antistrophe _ _UU_U_UU_UU_U_U_
1081-1217. mvp-comment-740-8 10