χρείας ἱσταμένῳ. πῶς ποτε πῶς δύσμορος ἀντέχει;
175
Philoctetes. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 135-217 focus
Χορός
τί χρὴ τί χρή με, δέσποτʼ, ἐν ξένᾳ ξένον
135
στέγειν ἢ τί λέγειν πρὸς ἄνδρʼ ὑπόπταν;
φράζε μοι. τέχνα γὰρ
τέχνας ἑτέρας προύχει
καὶ γνώμα παρʼ ὅτῳ τὸ θεῖον
Διὸς σκῆπτρον ἀνάσσεται.
140
σὲ δʼ, ὦ τέκνον, τόδʼ ἐλήλυθεν
πᾶν κράτος ὠγύγιον· τό μοι ἔννεπε
τί σοι χρεὼν ὑπουργεῖν.
τί χρὴ τί χρή με, δέσποτʼ, ἐν ξένᾳ ξένον
135
στέγειν ἢ τί λέγειν πρὸς ἄνδρʼ ὑπόπταν;
φράζε μοι. τέχνα γὰρ
τέχνας ἑτέρας προύχει
καὶ γνώμα παρʼ ὅτῳ τὸ θεῖον
Διὸς σκῆπτρον ἀνάσσεται.
140
σὲ δʼ, ὦ τέκνον, τόδʼ ἐλήλυθεν
πᾶν κράτος ὠγύγιον· τό μοι ἔννεπε
τί σοι χρεὼν ὑπουργεῖν.
Νεοπτόλεμος
νῦν μέν, ἴσως γὰρ τόπον ἐσχατιαῖς
προσιδεῖν ἐθέλεις ὅντινα κεῖται,
145
δέρκου θαρσῶν· ὁπόταν δὲ μόλῃ
δεινὸς ὁδίτης, τῶνδʼ οὑκ μελάθρων
πρὸς ἐμὴν αἰεὶ χεῖρα προχωρῶν
πειρῶ τὸ παρὸν θεραπεύειν.
νῦν μέν, ἴσως γὰρ τόπον ἐσχατιαῖς
προσιδεῖν ἐθέλεις ὅντινα κεῖται,
145
δέρκου θαρσῶν· ὁπόταν δὲ μόλῃ
δεινὸς ὁδίτης, τῶνδʼ οὑκ μελάθρων
πρὸς ἐμὴν αἰεὶ χεῖρα προχωρῶν
πειρῶ τὸ παρὸν θεραπεύειν.
Χορός
μέλον πάλαι μέλημά μοι λέγεις, ἄναξ,
150
φρουρεῖν ὄμμʼ ἐπὶ σῷ μάλιστα καιρῷ·
νῦν δέ μοι λέγʼ, αὐλὰς
ποίας ἔνεδρος ναίει
καὶ χῶρον τίνʼ ἔχει. τὸ γάρ μοι
μαθεῖν οὐκ ἀποκαίριον,
155
μὴ προσπεσών με λάθῃ ποθέν·
τίς τόπος ἢ τίς ἕδρα; τίνʼ ἔχει στίβον,
ἔναυλον ἢ θυραῖον;
μέλον πάλαι μέλημά μοι λέγεις, ἄναξ,
150
φρουρεῖν ὄμμʼ ἐπὶ σῷ μάλιστα καιρῷ·
νῦν δέ μοι λέγʼ, αὐλὰς
ποίας ἔνεδρος ναίει
καὶ χῶρον τίνʼ ἔχει. τὸ γάρ μοι
μαθεῖν οὐκ ἀποκαίριον,
155
μὴ προσπεσών με λάθῃ ποθέν·
τίς τόπος ἢ τίς ἕδρα; τίνʼ ἔχει στίβον,
ἔναυλον ἢ θυραῖον;
Νεοπτόλεμος
οἶκον μὲν ὁρᾷς τόνδʼ ἀμφίθυρον
πετρίνης κοίτης.
160
οἶκον μὲν ὁρᾷς τόνδʼ ἀμφίθυρον
πετρίνης κοίτης.
160
Χορός
ποῦ γὰρ ὁ τλήμων αὐτὸς ἄπεστιν;
ποῦ γὰρ ὁ τλήμων αὐτὸς ἄπεστιν;
Νεοπτόλεμος
δῆλον ἔμοιγʼ ὡς φορβῆς χρείᾳ
στίβον ὀγμεύει τῇδε πέλας που.
ταύτην γὰρ ἔχειν βιοτῆς αὐτὸν
λόγος ἐστὶ φύσιν, θηροβολοῦντα
165
πτηνοῖς ἰοῖς στυγερὸν στυγερῶς,
οὐδέ τινʼ αὐτῷ
παιῶνα κακῶν ἐπινωμᾶν.
δῆλον ἔμοιγʼ ὡς φορβῆς χρείᾳ
στίβον ὀγμεύει τῇδε πέλας που.
ταύτην γὰρ ἔχειν βιοτῆς αὐτὸν
λόγος ἐστὶ φύσιν, θηροβολοῦντα
165
πτηνοῖς ἰοῖς στυγερὸν στυγερῶς,
οὐδέ τινʼ αὐτῷ
παιῶνα κακῶν ἐπινωμᾶν.
Χορός
οἰκτίρω νιν ἔγωγʼ, ὅπως,
μή του κηδομένου βροτῶν
170
μηδὲ ξύντροφον ὄμμʼ ἔχων,
δύστανος, μόνος ἀεί,
νοσεῖ μὲν νόσον ἀγρίαν,
ἀλύει δʼ ἐπὶ παντί τῳ
χρείας ἱσταμένῳ. πῶς ποτε πῶς δύσμορος ἀντέχει;
175
ὦ παλάμαι θεῶν,
ὦ δύστανα γένη βροτῶν,
οἷς μὴ μέτριος αἰών.
οἰκτίρω νιν ἔγωγʼ, ὅπως,
μή του κηδομένου βροτῶν
170
μηδὲ ξύντροφον ὄμμʼ ἔχων,
δύστανος, μόνος ἀεί,
νοσεῖ μὲν νόσον ἀγρίαν,
ἀλύει δʼ ἐπὶ παντί τῳ
χρείας ἱσταμένῳ. πῶς ποτε πῶς δύσμορος ἀντέχει;
175
ὦ παλάμαι θεῶν,
ὦ δύστανα γένη βροτῶν,
οἷς μὴ μέτριος αἰών.
Χορός
οὗτος πρωτογόνων ἴσως
180
οἴκων οὐδενὸς ὕστερος,
πάντων ἄμμορος ἐν βίῳ
κεῖται μοῦνος ἀπʼ ἄλλων,
στικτῶν ἢ λασίων μετὰ
θηρῶν, ἔν τʼ ὀδύναις ὁμοῦ
185
λιμῷ τʼ οἰκτρός, ἀνήκεστα μεριμνήματʼ ἔχων· ὀρεί-
α δʼ ἀθυρόστομος
Ἀχὼ τηλεφανὴς πικραῖς
οἰμωγαῖς ὑπακούει.
190
οὗτος πρωτογόνων ἴσως
180
οἴκων οὐδενὸς ὕστερος,
πάντων ἄμμορος ἐν βίῳ
κεῖται μοῦνος ἀπʼ ἄλλων,
στικτῶν ἢ λασίων μετὰ
θηρῶν, ἔν τʼ ὀδύναις ὁμοῦ
185
λιμῷ τʼ οἰκτρός, ἀνήκεστα μεριμνήματʼ ἔχων· ὀρεί-
α δʼ ἀθυρόστομος
Ἀχὼ τηλεφανὴς πικραῖς
οἰμωγαῖς ὑπακούει.
190
Νεοπτόλεμος
οὐδὲν τούτων θαυμαστὸν ἐμοί·
θεῖα γάρ, εἴπερ κἀγώ τι φρονῶ,
καὶ τὰ παθήματα κεῖνα πρὸς αὐτὸν
τῆς ὠμόφρονος Χρύσης ἐπέβη,
καὶ νῦν ἃ πονεῖ δίχα κηδεμόνων,
195
οὐκ ἔσθʼ ὡς οὐ θεῶν του μελέτῃ
τοῦ μὴ πρότερον τόνδʼ ἐπὶ Τροίᾳ
τεῖναι τὰ θεῶν ἀμάχητα βέλη,
πρὶν ὅδʼ ἐξήκοι χρόνος, ᾧ λέγεται
χρῆναί σφʼ ὑπὸ τῶνδε δαμῆναι.
200
οὐδὲν τούτων θαυμαστὸν ἐμοί·
θεῖα γάρ, εἴπερ κἀγώ τι φρονῶ,
καὶ τὰ παθήματα κεῖνα πρὸς αὐτὸν
τῆς ὠμόφρονος Χρύσης ἐπέβη,
καὶ νῦν ἃ πονεῖ δίχα κηδεμόνων,
195
οὐκ ἔσθʼ ὡς οὐ θεῶν του μελέτῃ
τοῦ μὴ πρότερον τόνδʼ ἐπὶ Τροίᾳ
τεῖναι τὰ θεῶν ἀμάχητα βέλη,
πρὶν ὅδʼ ἐξήκοι χρόνος, ᾧ λέγεται
χρῆναί σφʼ ὑπὸ τῶνδε δαμῆναι.
200
Χορός
εὔστομʼ ἔχε, παῖ.
εὔστομʼ ἔχε, παῖ.
Νεοπτόλεμος
τί τόδε;
τί τόδε;
Χορός
προυφάνη κτύπος,
φωτὸς σύντροφος ὡς τειρομένου του,
ἤ που τῇδʼ ἢ τῇδε τόπων.
βάλλει βάλλει μʼ ἐτύμα
205
φθογγά του στίβον κατʼ ἀνάγκαν
ἕρποντος, οὐδέ με λάθει
βαρεῖα τηλόθεν αὐδὰ τρυσάνωρ· διάσημα γὰρ θρηνεῖ.
προυφάνη κτύπος,
φωτὸς σύντροφος ὡς τειρομένου του,
ἤ που τῇδʼ ἢ τῇδε τόπων.
βάλλει βάλλει μʼ ἐτύμα
205
φθογγά του στίβον κατʼ ἀνάγκαν
ἕρποντος, οὐδέ με λάθει
βαρεῖα τηλόθεν αὐδὰ τρυσάνωρ· διάσημα γὰρ θρηνεῖ.
Χορός
ἀλλʼ ἔχε, τέκνον,
210
ἀλλʼ ἔχε, τέκνον,
210
Νεοπτόλεμος
λέγʼ ὅ τι.
λέγʼ ὅ τι.
Χορός
φροντίδας νέας.
ὡς οὐκ ἔξεδρος, ἀλλʼ ἔντοπος ἁνήρ,
οὐ μολπὰν σύριγγος ἔχων,
ὡς ποιμὴν ἀγροβότας, ἀλλʼ ἤ που πταίων ὑπʼ ἀνάγκας
215
βοᾷ τηλωπὸν ἰωάν,
ἢ ναὸς ἄξενον αὐγάζων ὅρμον· προβοᾷ τι γὰρ δεινόν.
φροντίδας νέας.
ὡς οὐκ ἔξεδρος, ἀλλʼ ἔντοπος ἁνήρ,
οὐ μολπὰν σύριγγος ἔχων,
ὡς ποιμὴν ἀγροβότας, ἀλλʼ ἤ που πταίων ὑπʼ ἀνάγκας
215
βοᾷ τηλωπὸν ἰωάν,
ἢ ναὸς ἄξενον αὐγάζων ὅρμον· προβοᾷ τι γὰρ δεινόν.
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 175 focus
NEO
Fear not my care. No hand shall hold these arms
But thine and mine. Give, and Heaven bless the deed!
765
Fear not my care. No hand shall hold these arms
But thine and mine. Give, and Heaven bless the deed!
765
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 180 focus
Er, der sicherlich keinem Sohn
Altberühmter Geschlechter weicht,
Er liegt, alles Bedarfs entblößt,
Einsam, ohne Genossen,
180
Wo nur buntes und zottiges
Wild haust, liegt, sich verzehrend in
Schmerz und Hunger, von unheilbaren Grams Sorgen ge=
Von dem geschwäzigen,
Fernhindröhnenden Widerhall quält, und rings
185
Bittern Jammers umlagert.
Er, der sicherlich keinem Sohn
Altberühmter Geschlechter weicht,
Er liegt, alles Bedarfs entblößt,
Einsam, ohne Genossen,
180
Wo nur buntes und zottiges
Wild haust, liegt, sich verzehrend in
Schmerz und Hunger, von unheilbaren Grams Sorgen ge=
Von dem geschwäzigen,
Fernhindröhnenden Widerhall quält, und rings
185
Bittern Jammers umlagert.
Neoptolemos.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 175 focus
Neoptolemus
What, lost again ? Why lookst thou thus
815
On that bright circle 1
815
What, lost again ? Why lookst thou thus
815
On that bright circle 1
815
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 175 focus
Philoctetes
FAIT
These vows, my son, I fear thou hast address'd
Without effect; for the black blood again
Spouts from the bottom of my wound; I dread
Anguish unknown before. Unhappy me,
What torture this! It thrills, it darts along,
It is not to be borne. You see my state;
But fly not; leave me not abandon'd here. I
Thou Cephallenian savage, might this pain
Pierce through thy breast, quite through! Ye brother kings,
Leaders of Greece, for such a length of time,
For me such anguish how had you sustain'd?
O death, O death, each day so oft invoked,
Canst thou ne'er come? My son, thou generous youth,
Oh take me, burn me in these whirling flames
Of Lemnos; which sad office for the son
Of Jove these hands refused not to perform,
These arms receiving as my meed. My son,
Why art thou silent? What employs thy thoughts?
These vows, my son, I fear thou hast address'd
Without effect; for the black blood again
Spouts from the bottom of my wound; I dread
Anguish unknown before. Unhappy me,
What torture this! It thrills, it darts along,
It is not to be borne. You see my state;
But fly not; leave me not abandon'd here. I
Thou Cephallenian savage, might this pain
Pierce through thy breast, quite through! Ye brother kings,
Leaders of Greece, for such a length of time,
For me such anguish how had you sustain'd?
O death, O death, each day so oft invoked,
Canst thou ne'er come? My son, thou generous youth,
Oh take me, burn me in these whirling flames
Of Lemnos; which sad office for the son
Of Jove these hands refused not to perform,
These arms receiving as my meed. My son,
Why art thou silent? What employs thy thoughts?
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 135-215 focus
Chorus
I am a stranger in a strange land, Master. What must I hide, what must I reveal to a man who will be swift to suspicion? Show me the way! His skill excels all other skill, his wisdom has no equal, whose hands govern the godlike
135
scepter given by Zeus. To you, my son, that sovereign power has descended from the dawn of time. Therefore tell me how I must serve you.
140
I am a stranger in a strange land, Master. What must I hide, what must I reveal to a man who will be swift to suspicion? Show me the way! His skill excels all other skill, his wisdom has no equal, whose hands govern the godlike
135
scepter given by Zeus. To you, my son, that sovereign power has descended from the dawn of time. Therefore tell me how I must serve you.
140
Neoptolemus
For the present—since perhaps you wish to see the place
on the island’s edge where he resides—survey it without fear. But when the dread traveler, who has left this dwelling, returns, step forward at my signal from time to time, and try to help as the moment may require.
145
For the present—since perhaps you wish to see the place
on the island’s edge where he resides—survey it without fear. But when the dread traveler, who has left this dwelling, returns, step forward at my signal from time to time, and try to help as the moment may require.
145
Chorus
Long have I been careful of this care, my prince: that my eyes should be watchful for your good above all else. And now tell me, in what manner of shelter does he keep his dwelling? In what region is he now? It is not inopportune for
150
me to learn so that he may not come upon me unawares from somewhere. In what place does he wander, or rest? Does he plant his steps within his shelter, or abroad?
155
Long have I been careful of this care, my prince: that my eyes should be watchful for your good above all else. And now tell me, in what manner of shelter does he keep his dwelling? In what region is he now? It is not inopportune for
150
me to learn so that he may not come upon me unawares from somewhere. In what place does he wander, or rest? Does he plant his steps within his shelter, or abroad?
155
Neoptolemus
Well, here you see his home with its two portals,
his rocky cell.
160
Well, here you see his home with its two portals,
his rocky cell.
160
Chorus
And its wretched occupant, where is he gone to?
And its wretched occupant, where is he gone to?
Neoptolemus
It seems clear to me, anyway, that he is plowing his way along somewhere near here in search of food. For I know of a report that
this is his means of sustenance—a wretch wretchedly shooting prey with his feathered shafts—and that no one comes near to him to heal his misery.
165
It seems clear to me, anyway, that he is plowing his way along somewhere near here in search of food. For I know of a report that
this is his means of sustenance—a wretch wretchedly shooting prey with his feathered shafts—and that no one comes near to him to heal his misery.
165
Chorus
For my part, I pity him when I think how,
with no one to care for him, and seeing no companion’s face, but suffering eternally alone, he is plagued by fierce disease and bewildered by each need as it arises.
170
How, how does he endure his bitter fate? Ah, contrivances of the gods! Ah, unhappy tribes of mortals, whose life-portion exceeds due measure!
175
For my part, I pity him when I think how,
with no one to care for him, and seeing no companion’s face, but suffering eternally alone, he is plagued by fierce disease and bewildered by each need as it arises.
170
How, how does he endure his bitter fate? Ah, contrivances of the gods! Ah, unhappy tribes of mortals, whose life-portion exceeds due measure!
175
Chorus
That man—inferior in no way, probably, to any man belonging to the oldest families—lies alone without companions and stripped of all life’s gifts
180
among the dappled or shaggy beasts. He is a man to be pitied for his torments and his hunger alike, enduring anguish that has no cure. But to his bitter cries the mountain nymph, babbling Echo, coming from afar,
185
gives answer.
190
That man—inferior in no way, probably, to any man belonging to the oldest families—lies alone without companions and stripped of all life’s gifts
180
among the dappled or shaggy beasts. He is a man to be pitied for his torments and his hunger alike, enduring anguish that has no cure. But to his bitter cries the mountain nymph, babbling Echo, coming from afar,
185
gives answer.
190
Neoptolemus
No part of this is a marvel to me. God-sent—if a man such as I may judge—are both those sufferings which attacked him from savage
Chryse
,
and those with which he now toils untended. Surely he toils by the plan of some god so that he may not bend against
Troy
the invincible arrows divine, until the time be fulfilled at which, men say,
195
by those arrows
Troy
is fated to fall.
200
No part of this is a marvel to me. God-sent—if a man such as I may judge—are both those sufferings which attacked him from savage
Chryse
,
and those with which he now toils untended. Surely he toils by the plan of some god so that he may not bend against
Troy
the invincible arrows divine, until the time be fulfilled at which, men say,
195
by those arrows
Troy
is fated to fall.
200
Chorus
Hush,boy!
Hush,boy!
Neoptolemus
What is it?
What is it?
Chorus
I heard a sudden thud, one that might naturally come from a man worn by pain. From there it came, I think—or there.
It strikes, strikes hard on my ear, the sure sound of someone creeping along his way as if tortured. I cannot miss that grievous cry of a man hard-pressed, even from afar—its tone is too clear.
205
I heard a sudden thud, one that might naturally come from a man worn by pain. From there it came, I think—or there.
It strikes, strikes hard on my ear, the sure sound of someone creeping along his way as if tortured. I cannot miss that grievous cry of a man hard-pressed, even from afar—its tone is too clear.
205
Chorus
But listen, son—
210
But listen, son—
210
Neoptolemus
To what? Tell me.
To what? Tell me.
Chorus
To my latest thoughts. For he is not far from his home, but nearby. And not with music of the flute, like a shepherd pasturing his flocks, does he come,—
no—but crying out a far-sounding howl as he stumbles, perhaps, from tortuous pain, or as he scans the haven unvisited by any ship. His cries are loud, and terrible.
215
To my latest thoughts. For he is not far from his home, but nearby. And not with music of the flute, like a shepherd pasturing his flocks, does he come,—
no—but crying out a far-sounding howl as he stumbles, perhaps, from tortuous pain, or as he scans the haven unvisited by any ship. His cries are loud, and terrible.
215
Commentary
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
135-218. mvp-comment-91-1 We have here a commatic parados (cp. El., O. C.), in which Neoptolemus responds in anapaests to lyric measures chanted apparently by single members of the Chorus, as they take their places in the orchestra. Their entrance must be subsequent to l. 134, for the conversation in ll. 50 foll. would lose its effect if Odysseus and Philoctetes were not alone. The anapaests of Neoptolemus and l. 161, chanted by the coryphaeus, accompany movements of the Chorus, who at l. 169 have already taken up their position. The metres of the lyric part are as follows:- α΄. Glyc. β'. Glyc. γ. Glyc. It is evident that the lyric strains were accompanied with gesticulation, especially in στρ. and ἀντ. γ'. The fact that the Chorus at entering have some knowledge of that which has just been made known upon the stage, is not a sufficient reason for supposing them to have been present during any part of the previous scene. Similarly, in the O. T. the Chorus have been gathered by the news of the arrival of Creon from Delphi, which happens in the midst of the prologos, l. 87; and in the Ajax, the mariners speak of the slanders of Ulysses, which could only be disseminated after his exit. It is best, therefore, to suppose, as above, that the Chorus enter as usual after the prologos, and that the first strophe is begun as soon as they are well within hearing of the stage. The whole passage is meant to interest the spectator in Philoctetes, and to prepare for the effect to be produced by his entrance, infr. 219. Cp. Aj. 201-332.