Sophocles Oedipus at Colonus 117

mvp-comment-101-1 ὅρα ¹

mvp-comment-101-2 τίς ἄρ’ ἦν; ²

mvp-comment-101-3 ναίει ⁴

117. mvp-comment-79-1 It is doubtful whether ἦν here is literally past, or, as infra 150, 1696, equivalent to an emphatic ἔστι = ' Who can it be?' according to the use noticed in the Essay on Language § 32, 6. p. 55. Schol. ὁ χορὸς ἐκ τῶν ἐπιχωρίων ἀνδρῶν πεπυσμένος, ὅτι προσκαθέζεταί τις ἐν τῷ ἱερῷ τόπῳ τούτῳ, πρῶτα ὑποχαλεπαίνοντες φασί, τίς ἄρα ἐστὶν ἢ ποῦ διατρίβει;

117. mvp-comment-79-2 ποῦ ναίει] The same idiom recurs in Τr. 99, πόθι.. ναίει, of a temporary abode. For 11. 117-254, cp. Phil. 135-219, Eur. Or. 140-207, Ion 184-236, Heracl. 73-83, where there is a similar interchange of lyrical measures between the chief actor on the stage and the chorus on their first entrance. The commatic parodos' of the Electra, 11. 121-250, is more regular in structure, and is rather to be compared with Aj. 201-262, Aesch. Prom. 114-192, Eur. Med. 131-212, etc. As in other places where the part assigned to the chorus is much broken, it has been attempted to distribute it amongst the fifteen choreutae, who are supposed to speak one at a time. But although some such arrangement is probable in itself and confirmed by the comparison of other passages, such as Aj. 866-960. El. 823-870, Trach. 871-895, it is impossible to determine the details of it with any approach to certainty. For instance whether ll. 117-137, 149-169, were chanted by ἡμιχόρια, (the asyndeta giving the effect of doubt amidst eager search), or divided amongst several persons, or in what order the individual members of the chorus took part, are questions which may be asked but not answered. Ll. 176-177, 203-206, 229-236, may be assigned with some probability to the Coryphaeus. See Hermann's notes. It is also uncertain how far an antistrophic arrangement of the metres is to be maintained. Thus 11. 117-137 clearly correspond to 11. 149-169. But the anapaestic movement, 11. 138-148, is not exactly answered by 11. 170-177: cp. Eur. Ion 227-229: and, while 11. 178-181, 184-187, severally correspond (though in the MSS. not perfectly) to 194-198, 203-206, there is again a want of correspondence between ll. 182-183, and 199-202. Although these are not anapaestic measures, it may be observed that they accompany movements of Oedipus, which, if they were to be represented at all naturally, were necessarily interrupted and irregular, and while it is of course possible that some lines have been lost after 183, it is also conceivable that there may have been an interval of silence, or that a pause in the dialogue may have been filled up with instrumental music. Cp. infr. 1692 ff. and note, Phil. 1170 1217. However this may have been, the correction ἡσυχαίᾳ, which brings l. 197 into accordance with 182, is probably right. The long passage 207-254, which may be regarded as a double epode, is even less regular, the rhythm changing several times with the situation. But the similarity of 207 ff. to 237 ff., which led Hermann to arrange this passage also antistrophically, suggests the idea of a strain which after being interrupted is again renewed. And the dactylic measures of the chorus (229 ff.) are resumed, though with a difference, in the supplication of Antigone (241 ff.). The prevailing metre is logaoedic, with free anapaestic systems coming between. But ll. 212-215, where a fresh cause of agitation arises, are Ionic a minore; and the passage which follows presents a curious alternation of single paroemiacs with The concluding lines, 229 ff., contain a series of rapid dactylic measures modified with an occasional glyconic or iambic rhythm. The following lines have been objected to for metrical reasons as they are found in the MS. text, 117, 121, 2, 3, 134 or 166, 152, 156, 175, 178, 182, 3, (or 197-202), 205, 212, 220, 226, 247, 252. The difficulties will be dealt with as they occur. But it may be remarked at the outset that the divergences from an antistrophic structure which have been noticed above cannot justify what is in itself unmetrical. At the same time the variation between CIK and cc, c c − (134-166) or between Icchci and Aclcclc- (182-197), the shortening of the diphthong in ναίει (cp. γεραιός), or admission of an irrational thesis (117), and the resolution of the long syllable of an anapaest or dactyl as in 220, although they may be rejected on special grounds in particular places, are not to be absolutely condemned. Lastly, in dealing with metrical irregularities in the lyrical part of plays which like the O. C. and Phil. belong to the latest period of Greek tragedy, we are haunted by the doubt whether the changes in music which began about this time were not already accompanied with metrical innovations. In the presence of manifest corruptions, like that in l. 152, we cannot firmly maintain that it was so; yet the fact remains that the metrical anomalies in the text of these two plays greatly exceed the average of corruptions in Sophocles. The metrical scheme of 11. 117-254 is the following :- λεύσσετ' Β Vat. a'. 117-137 =149-169. 15 10 5 つ 1つ ートート​CI トートー உ ここ luctu ID D β'. Free anapaests. 178 ff.=194 ff. トト ἐπ. α'. 207-236. 5 5 トー ヒト​し​て​トー [トー IICCICIC [- L つ 3 T ID ト 10 T CCC かいし اد C ἐπ. β΄. 1 I 237-253. 101007- トリトー 15 10 5 1001100 10110) T つつ luc וכוכ しかし トレトー luc ト​し​て​レトー CCLLCI つつ つ כו CCCCCC いと じんく 20 CCC つつ CCC 00 } Look out! Who was it then? Where is he? Whither is he sped away, the most reckless of men? Inquire for him; keenly look; look for him in every direction. The old man is some wanderer, and a stranger to the place: else never had he gone within the pathless grove of these invincible maidens, whom we tremble to name, and pass with downcast eyes, with voices hushed, without words, breathing the language of pious thought. But now we hear that one is come, having no reverence, of whom I, looking over all the grove, cannot yet tell where he is to be found.