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
1112.
mvp-comment-758-1
δολερᾶς.. φρενός] ‘From a guileful heart.'
ὑπέδυ]
Cp. supr. 1007, O. T. 386, 7.
1114.
mvp-comment-759-1
τὸν ἴσον χρόνον]
Cp. supr. 794, 5,
πῶς ἂν ἀντ᾿ ἐμοῦ | τὸν ἴσον χρόνον τρέφοιτε τήνδε τὴν νόσον;
1116.
mvp-comment-760-1
Considering the repetition of
σύ τοὶ in l. 1096, the repetition of
πότμος here (see v. rr.) is the most probable emendation of the defective line. The Chorus feel that the curse against Odysseus involves themselves also, who have been his instruments, and with apparent, but not real inconsistency, declare that the theft of the bow was a divinely appointed act.
τάδε is accusative in apposition with the sentence. For
ἔσχε,
cp. supr. 331, and for
ἔχε, see
Essay on L. § 51. p. 96.
1122.
mvp-comment-761-1
μὴ = ὅπως μή.
1123.
mvp-comment-762-1
The sense is continued from l. 1115, again without any notice being taken of the intervening lines.
