Sophocles Philoctetes 1158

ed. Lewis Campbell

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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)) — 1217-1471 focus
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1146 focus
Ihr hochschwebenden Vögel, ihr
Thiergeschlechter mit wildem Blick,
Weidend hier in den Bergen,
Niemals naht ihr aus Höhlen mir
Mehr, um wieder zu flieh'n; dem Arm
1115
Fehlt des alten Geschosses Kraft:
Weh mir! Iammer umringt mich nun!
Kommet (ihr dürft euch nicht vor dem Lahmen mehr,
Der hier zurückbleibt, fürchten,)
Kommet herbei, nach Lust
1120
Euch mit dem Morde der Rache zu sättigen
Am bleich abgezehrten Fleisch;
Bald werd' ich ja scheiden vom Leben:
Denn wo gelangt Speise zu mir?
Wen kann die Luft sättigen, wenn
1125
Aller Genuß stets ihm gebricht, welchen der Erd' heiliger Schooß heraufschickt?
Vierte Gegenstrophe.
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 1218-1470 focus

Commentary

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

mvp-comment-613-1 ἀπὸ … λείψω 1

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

For the substitution of − ᴗ – for ᴗ ᴗ in Ionic verse, which is allowed by some writers on metre, see Christ's Metrik, § 521.
ἐπ. (ἀπολελυμένα).
(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

1149-1150. mvp-comment-779-1 φυγᾷ.. πελᾶτ'] 'No longer flying me from my cell, ye shall approach me there,' i. e. οὐκέτι με φεύγοντες ἀπ᾿ αὐλίων, πελᾶτέ μοι εἰς αὔλια. So the words are to be explained, with Bernhardy, if the text is sound. φυγᾷ = φεύγοντes, as supr. 1144, ὑφημοσύνᾳ = ὑφείς. με is governed, in the first instance, by the verb for which πελᾶτε is substituted; i. e. instead of saying οὐκέτι με φεύξεσθε ἀπ᾿ αὐλίων, or πελᾶτέ μοι εἰς αὐλία, the two expressions, the negative and the affirmative, are fused into one. (But cp. infr. 1163, 4.) For a somewhat similar confusion, cp. Εl. 1127, ὥς σ᾽ ἀπ᾿ ἐλπίδων οὐχ ὧνπερ ἐξέπεμπον εἰσεδεξάμην, and note. Herm. explained, 'Ye shall not draw me after you as you fly me.' Aur. conj. μηκέτι.