σωτῆρʼ ἀρεῖσθε, τοῖς δʼ ἐμοῖς ἐχθροῖς πόνους.
460
Oedipus at Colonus. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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Current edition Experimental
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)) — 510-548 focus
Χορός
δεινὸν μὲν τὸ πάλαι κείμενον ἤδη κακόν, ὦ ξεῖνʼ, ἐπεγείρειν·
510
ὅμως δʼ ἔραμαι πυθέσθαι
δεινὸν μὲν τὸ πάλαι κείμενον ἤδη κακόν, ὦ ξεῖνʼ, ἐπεγείρειν·
510
ὅμως δʼ ἔραμαι πυθέσθαι
Οἰδίπους
τί τοῦτο;
τί τοῦτο;
Χορός
τᾶς δειλαίας ἀπόρου φανείσας
ἀλγηδόνος, ᾇ ξυνέστας.
τᾶς δειλαίας ἀπόρου φανείσας
ἀλγηδόνος, ᾇ ξυνέστας.
Οἰδίπους
μὴ πρὸς ξενίας ἀνοίξῃς
515
τᾶς σᾶς ἃ πέπονθʼ ἀναιδῆ.
μὴ πρὸς ξενίας ἀνοίξῃς
515
τᾶς σᾶς ἃ πέπονθʼ ἀναιδῆ.
Χορός
τό τοι πολὺ καὶ μηδαμὰ λῆγον
χρῄζω, ξεῖνʼ, ὀρθὸν ἄκουσμʼ ἀκοῦσαι.
τό τοι πολὺ καὶ μηδαμὰ λῆγον
χρῄζω, ξεῖνʼ, ὀρθὸν ἄκουσμʼ ἀκοῦσαι.
Οἰδίπους
ὤμοι.
ὤμοι.
Χορός
στέρξον, ἱκετεύω.
στέρξον, ἱκετεύω.
Οἰδίπους
φεῦ φεῦ.
φεῦ φεῦ.
Χορός
πείθου· κἀγὼ γὰρ ὅσον σὺ προσχρῄζεις.
520
πείθου· κἀγὼ γὰρ ὅσον σὺ προσχρῄζεις.
520
Οἰδίπους
ἤνεγκʼ οὖν κακότατʼ, ὦ ξένοι, ἤνεγκʼ ἀέκων μέν,
θεὸς ἴστω,
τούτων δʼ αὐθαίρετον οὐδέν.
ἤνεγκʼ οὖν κακότατʼ, ὦ ξένοι, ἤνεγκʼ ἀέκων μέν,
θεὸς ἴστω,
τούτων δʼ αὐθαίρετον οὐδέν.
Χορός
ἀλλʼ ἐς τί;
ἀλλʼ ἐς τί;
Οἰδίπους
κακᾷ μʼ εὐνᾷ πόλις οὐδὲν ἴδριν
525
γάμων ἐνέδησεν ἄτᾳ.
κακᾷ μʼ εὐνᾷ πόλις οὐδὲν ἴδριν
525
γάμων ἐνέδησεν ἄτᾳ.
Χορός
ἦ ματρόθεν, ὡς ἀκούω,
δυσώνυμα λέκτρʼ ἐπλήσω;
ἦ ματρόθεν, ὡς ἀκούω,
δυσώνυμα λέκτρʼ ἐπλήσω;
Οἰδίπους
ὤμοι θάνατος μὲν τάδʼ ἀκούειν,
ὦ ξεῖνʼ· αὗται δὲ δύʼ ἐξ ἐμοῦ μὲν
530
ὤμοι θάνατος μὲν τάδʼ ἀκούειν,
ὦ ξεῖνʼ· αὗται δὲ δύʼ ἐξ ἐμοῦ μὲν
530
Χορός
πῶς φῄς;
πῶς φῄς;
Οἰδίπους
παῖδε, δύο δʼ ἄτα
παῖδε, δύο δʼ ἄτα
Χορός
ὦ Ζεῦ.
ὦ Ζεῦ.
Οἰδίπους
ματρὸς κοινᾶς ἀπέβλαστον ὠδῖνος.
ματρὸς κοινᾶς ἀπέβλαστον ὠδῖνος.
Χορός
σαί τʼ εἴσʼ ἄρʼ ἀπόγονοί τε καὶ
535
σαί τʼ εἴσʼ ἄρʼ ἀπόγονοί τε καὶ
535
Οἰδίπους
κοιναί γε πατρὸς ἀδελφεαί.
κοιναί γε πατρὸς ἀδελφεαί.
Χορός
ἰώ.
ἰώ.
Οἰδίπους
ἰὼ δῆτα μυρίων γʼ ἐπιστροφαὶ κακῶν.
ἰὼ δῆτα μυρίων γʼ ἐπιστροφαὶ κακῶν.
Χορός
ἔπαθες
ἔπαθες
Οἰδίπους
ἔπαθον ἄλαστʼ ἔχειν.
ἔπαθον ἄλαστʼ ἔχειν.
Χορός
ἔρεξας
ἔρεξας
Οἰδίπους
οὐκ ἔρεξα.
οὐκ ἔρεξα.
Χορός
τί γάρ;
τί γάρ;
Οἰδίπους
ἐδεξάμην
δῶρον, ὃ μήποτʼ ἐγὼ ταλακάρδιος
540
ἐπωφέλησας πόλεος ἐξελέσθαι.
ἐδεξάμην
δῶρον, ὃ μήποτʼ ἐγὼ ταλακάρδιος
540
ἐπωφέλησας πόλεος ἐξελέσθαι.
Χορός
δύστανε, τί γάρ; ἔθου φόνον
δύστανε, τί γάρ; ἔθου φόνον
Οἰδίπους
τί τοῦτο; τί δʼ ἐθέλεις μαθεῖν;
τί τοῦτο; τί δʼ ἐθέλεις μαθεῖν;
Χορός
πατρός;
πατρός;
Οἰδίπους
παπαῖ. δευτέραν ἔπαισας, ἐπὶ νόσῳ νόσον,
παπαῖ. δευτέραν ἔπαισας, ἐπὶ νόσῳ νόσον,
Χορός
ἔκανες
545
ἔκανες
545
Οἰδίπους
ἔκανον. ἔχει δέ μοι
ἔκανον. ἔχει δέ μοι
Χορός
τί τοῦτο;
τί τοῦτο;
Οἰδίπους
πρὸς δίκας τι.
πρὸς δίκας τι.
Χορός
τί γάρ;
τί γάρ;
Οἰδίπους
ἐγὼ φράσω.
καὶ γὰρ ἄν, οὓς ἐφόνευσʼ, ἔμʼ ἀπώλεσαν·
νόμῳ δὲ καθαρός, ἄϊδρις εἰς τόδʼ ἦλθον.
ἐγὼ φράσω.
καὶ γὰρ ἄν, οὓς ἐφόνευσʼ, ἔμʼ ἀπώλεσαν·
νόμῳ δὲ καθαρός, ἄϊδρις εἰς τόδʼ ἦλθον.
Translations (4)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 460 focus
OED
The Gods themselves
With herald voices are proclaiming it,
Nought failing of the fore-appointed signs.
The Gods themselves
With herald voices are proclaiming it,
Nought failing of the fore-appointed signs.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 461 focus
Wohl werth des Mitleids, Dedipus, erscheinst du selbst
Und deine Töchter! Aber da du meinem Land
Dich jezt zum Helfer selbst erbeutst mit diesem Wort:
So will ich treulich rathen, was dir frommen kann.
Wohl werth des Mitleids, Dedipus, erscheinst du selbst
Und deine Töchter! Aber da du meinem Land
Dich jezt zum Helfer selbst erbeutst mit diesem Wort:
So will ich treulich rathen, was dir frommen kann.
Oedipus.
Theurer, Alles will ich thun; du rathe nur.
460
Theurer, Alles will ich thun; du rathe nur.
460
Der Chor.
Versühne diese Götterfrau'n, zu welchen du
Zuerst gekommen, als du diesen Grund betratst.
Versühne diese Götterfrau'n, zu welchen du
Zuerst gekommen, als du diesen Grund betratst.
Oedipus.
In welcher Weise? Lehret mich's o Fremdlinge.
In welcher Weise? Lehret mich's o Fremdlinge.
Der Chor.
Aus unversiegtem Borne bring' heran zuerst
1
Weihwasser, das du schöpfen mußt mit reiner Hand.
465
Aus unversiegtem Borne bring' heran zuerst
1
Weihwasser, das du schöpfen mußt mit reiner Hand.
465
Oedipus.
Und wenn ich dieses lautre Naß herbeigeschafft -?
Und wenn ich dieses lautre Naß herbeigeschafft -?
Der Chor.
Sind Krüge hier, des kunsterfahr'nen Mannes Werk:
2
An beiden Henkeln und am Rand bekränze die
Sind Krüge hier, des kunsterfahr'nen Mannes Werk:
2
An beiden Henkeln und am Rand bekränze die
Oedipus.
Mit Zweigen oder Flocken oder sonst womit?
Mit neugeschornem Wollenvließ vom jungen Lamm.
470
Gut! Aber wie vollend' ich dann das Uebrige?
Mit Zweigen oder Flocken oder sonst womit?
Mit neugeschornem Wollenvließ vom jungen Lamm.
470
Gut! Aber wie vollend' ich dann das Uebrige?
Der Chor.
Trankopfer spende, nach des Ostens Licht gewandt.
3
Trankopfer spende, nach des Ostens Licht gewandt.
3
Oedipus.
Aus jenen Krügen, die du nanntest, spend' ich sie?
Aus jenen Krügen, die du nanntest, spend' ich sie?
Der Chor.
Dreifachen Quellguß; doch den ganzen lezten Krug -
Dreifachen Quellguß; doch den ganzen lezten Krug -
Oedipus.
Womit erfüll' ich diesen? Sag' auch dies mir an.
475
Womit erfüll' ich diesen? Sag' auch dies mir an.
475
Der Chor.
Mit Wasser, Honig; doch gesell' ihm keinen Wein.
4
Mit Wasser, Honig; doch gesell' ihm keinen Wein.
4
Oedipus.
Und wenn der schwarzbelaubte Grund die Spende trank -?
Und wenn der schwarzbelaubte Grund die Spende trank -?
Der Chor.
So leg' auf diesen dreimal neun Delsprossen hin
5
Mit beiden Händen, und zugleich sprich dies Gebet.
So leg' auf diesen dreimal neun Delsprossen hin
5
Mit beiden Händen, und zugleich sprich dies Gebet.
Oedipus.
Dies laß mich hören; ist es doch das Höchste mir.
480
Dies laß mich hören; ist es doch das Höchste mir.
480
Der Chor.
„So wie man euch die Holden nennt, so nehmet auch
Mit holdem Herzen auf den Flehenden!"
So bete selber, oder wer für dich es sei,
Mit leisem Flüstern, nicht mit laut erhob'nem Ruf.
Ohn' umzublicken, weiche dann. Und wenn du dies
485
Vollbrachtest, werd' ich dir getrost zur Seite steh'n;
Im andern Fall, o Fremdling, bangt mir deinethalb.
„So wie man euch die Holden nennt, so nehmet auch
Mit holdem Herzen auf den Flehenden!"
So bete selber, oder wer für dich es sei,
Mit leisem Flüstern, nicht mit laut erhob'nem Ruf.
Ohn' umzublicken, weiche dann. Und wenn du dies
485
Vollbrachtest, werd' ich dir getrost zur Seite steh'n;
Im andern Fall, o Fremdling, bangt mir deinethalb.
Oedipus.
Vernahmt ihr, Kinder, dieser Eingebornen Wort?
Vernahmt ihr, Kinder, dieser Eingebornen Wort?
Antigone.
Wir hörten Alles: ordne, was geschehen soll.
Wir hörten Alles: ordne, was geschehen soll.
Oedipus.
Ich kann den Weg nicht wandeln; denn zwiefaches Leid,
490
Die matten Glieder wehren's und des Auges Nacht.
Doch euer Eine gehe schnell und ordne dies.
Denn Eine Seele, denk ich, gnügt für tausend auch,
Das auszurichten, wenn sie naht mit lautrem Sinn.
An's Werk denn eilet ungesäumt; nur lasset mich
495
Hier nicht allein; denn meinem Leibe fehlt die Kraft,
Verlassen, ohne Führer, seinen Pfad zu geh'n.
Ich kann den Weg nicht wandeln; denn zwiefaches Leid,
490
Die matten Glieder wehren's und des Auges Nacht.
Doch euer Eine gehe schnell und ordne dies.
Denn Eine Seele, denk ich, gnügt für tausend auch,
Das auszurichten, wenn sie naht mit lautrem Sinn.
An's Werk denn eilet ungesäumt; nur lasset mich
495
Hier nicht allein; denn meinem Leibe fehlt die Kraft,
Verlassen, ohne Führer, seinen Pfad zu geh'n.
Ismene.
Ich geh' es auszurichten; doch die Stätte, wo
Ich Alles finden werde, laß mich wissen erst.
Ich geh' es auszurichten; doch die Stätte, wo
Ich Alles finden werde, laß mich wissen erst.
Der Chor.
Jenseits des Haines, Tochter; wenn dir Andres noch
500
Gebricht, so wohnt er nahe, der dir rathen wird.
Jenseits des Haines, Tochter; wenn dir Andres noch
500
Gebricht, so wohnt er nahe, der dir rathen wird.
Ismene.
Dort will ich hingeh'n: hüte du, Antigone,
Indessen hier den Vater; denn selbst harter Müh'n
Darf nicht gedenken, wer die Müh'n um Eltern trägt.
Dedipus. Antigone. Der Chor.
Dort will ich hingeh'n: hüte du, Antigone,
Indessen hier den Vater; denn selbst harter Müh'n
Darf nicht gedenken, wer die Müh'n um Eltern trägt.
Der Chor.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 460 focus
Chorus
Cease then, and raise the voice of grief no more;
For all these things are ratified by fate.
It has often been said on the authority of Tully, let it be said once more,
and in the words of his elegant Translator, that "Sophocles continued in
" extreme old age to write tragedies. As he seemed to neglect his family af-
"fairs whilst he was wholly intent on his dramatic compositions; his sons in-
"stituted a suit against him in a court of judicature, suggesting that his un-
"derstanding was impaired, and praying that he might be removed from the
" management of his estate: agreeably to a custom which prevails likewise
" in our own country, where if a father of a family by imprudent conduct is
" ruining his fortunes, the magistrate commonly interposes and takes the ad-
" ministration out of his hands. It is said that when the old bard appeared
" in court upon this occasion, he desired that he might be permitted to read
a play which he had lately finished, and which he then held in his hand:
"it was his Edipus in Colonis. His request being granted; after he had
" finished the recital he appealed to the judges, whether they could disco-
"ver in his performance any symptoms of an insane mind? and the result
was, that the court unanimously dismissed the complainants petition."....
Melmoth's translation of Tully's Essay on Old Age.
" Sophocles had almost attained his hundredth year when he composed
"this tragedy; in which the marks of decayed genius are so far from ap-
"pearing, that it was deemed by the ancients an unrivalled master-piece of
" dramatic poetry." Melmoth from Valerius Maximus.....There are some
modern critics who affect to speak of it with contempt. The translator gives
it the preference to any of the tragedies of Sophocles;
Cease then, and raise the voice of grief no more;
For all these things are ratified by fate.
It has often been said on the authority of Tully, let it be said once more,
and in the words of his elegant Translator, that "Sophocles continued in
" extreme old age to write tragedies. As he seemed to neglect his family af-
"fairs whilst he was wholly intent on his dramatic compositions; his sons in-
"stituted a suit against him in a court of judicature, suggesting that his un-
"derstanding was impaired, and praying that he might be removed from the
" management of his estate: agreeably to a custom which prevails likewise
" in our own country, where if a father of a family by imprudent conduct is
" ruining his fortunes, the magistrate commonly interposes and takes the ad-
" ministration out of his hands. It is said that when the old bard appeared
" in court upon this occasion, he desired that he might be permitted to read
a play which he had lately finished, and which he then held in his hand:
"it was his Edipus in Colonis. His request being granted; after he had
" finished the recital he appealed to the judges, whether they could disco-
"ver in his performance any symptoms of an insane mind? and the result
was, that the court unanimously dismissed the complainants petition."....
Melmoth's translation of Tully's Essay on Old Age.
" Sophocles had almost attained his hundredth year when he composed
"this tragedy; in which the marks of decayed genius are so far from ap-
"pearing, that it was deemed by the ancients an unrivalled master-piece of
" dramatic poetry." Melmoth from Valerius Maximus.....There are some
modern critics who affect to speak of it with contempt. The translator gives
it the preference to any of the tragedies of Sophocles;
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 510-546c focus
Chorus
Terrible it is, stranger, to arouse the old woe that has for so long been laid to rest: and yet I yearn to hear—
510
Terrible it is, stranger, to arouse the old woe that has for so long been laid to rest: and yet I yearn to hear—
510
Oedipus
What now?
What now?
Chorus
—Of that grief-filled anguish, cureless, with which you have wrestled.
—Of that grief-filled anguish, cureless, with which you have wrestled.
Oedipus
By your hospitality, do not uncover the shame that I have suffered!
515
By your hospitality, do not uncover the shame that I have suffered!
515
Chorus
Seeing that the tale is wide-spread and in no way weakens, I wish, friend, to hear it straight.
Seeing that the tale is wide-spread and in no way weakens, I wish, friend, to hear it straight.
Oedipus
Ah me!
Ah me!
Chorus
Grant the favor, I beg!
Grant the favor, I beg!
Oedipus
Alas, alas!
Alas, alas!
Chorus
Grant my wish, as I have granted yours to the full.
520
Grant my wish, as I have granted yours to the full.
520
Oedipus
I have suffered the greatest misery, strangers—suffered it through unintended deeds—may the god know it! No part was of my own choice.
I have suffered the greatest misery, strangers—suffered it through unintended deeds—may the god know it! No part was of my own choice.
Chorus
But in what way?
But in what way?
Oedipus
In an evil marriage, the city bound me, unknowing, to ruin.
525
In an evil marriage, the city bound me, unknowing, to ruin.
525
Chorus
Is it true, as I hear, that you made your mother the partner of your bed, to its infamy?
Is it true, as I hear, that you made your mother the partner of your bed, to its infamy?
Oedipus
Ah, me! These words, strangers, are like death to my ears. And those two maidens of mine—
Ah, me! These words, strangers, are like death to my ears. And those two maidens of mine—
Chorus
What will you say?
530
What will you say?
530
Oedipus
—Two daughters—two curses—
—Two daughters—two curses—
Chorus
O Zeus!
O Zeus!
Oedipus
—of mine, sprung from the travail of the womb that bore me too.
—of mine, sprung from the travail of the womb that bore me too.
Chorus
These, then, are at once your daughters, and—
These, then, are at once your daughters, and—
Oedipus
—Sisters, indeed, of their father.
535
—Sisters, indeed, of their father.
535
Chorus
Oh!
Oh!
Oedipus
Indeed, woes untold sweep back upon my soul!
Indeed, woes untold sweep back upon my soul!
Chorus
You have suffered—
You have suffered—
Oedipus
I have suffered woes grievous to bear.
I have suffered woes grievous to bear.
Chorus
You have performed—
You have performed—
Oedipus
I have not performed!
I have not performed!
Chorus
How?
How?
Oedipus
A gift was given to me—O, wretched that I am, if only I had never won from the city that gift for my services!
A gift was given to me—O, wretched that I am, if only I had never won from the city that gift for my services!
Chorus
Cursed man! What of this? Did you commit the murder—
Cursed man! What of this? Did you commit the murder—
Oedipus
What now? What would you learn?
What now? What would you learn?
Chorus
—Of your father?
—Of your father?
Oedipus
Oh! oh! a second stab—wound on wound!
Oh! oh! a second stab—wound on wound!
Chorus
You killed—
545
You killed—
545
Oedipus
I killed—yet I have a plea—
I killed—yet I have a plea—
Chorus
What can you plead?
What can you plead?
Oedipus
—A plea of justice.
—A plea of justice.
Chorus
What?
What?
Oedipus
I will tell you: I killed in ignorance and perished utterly. Pure before the law, without knowledge of my act, I have come to this!
I will tell you: I killed in ignorance and perished utterly. Pure before the law, without knowledge of my act, I have come to this!
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
mvp-comment-344-1 ἀρεῖσθε 1
mvp-comment-344-2
The
ἐμῆς in L (where
τῆσδ’ perh. preceded
τοῖσδ’ ) gives some colour to the conjecture
τῆς (or
τοῖς )
δὲ
γῆς: yet
τοῖς δ’ ἐμοῖς seems right. Oedipus is following the train of thought in which benefits to Attica are bound up with retribution for his own wrongs (
92
); and he thus gives the Chorus another pledge that their interest is one with his. With
ἐμοῖς, τῇδε
μὲνis best in
459
: with
γῆς, τῇδε
τῇwould have been fitter.
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
457-460. mvp-comment-245-1 ἐὰν γὰρ . . ἀρεῖσθε Cp. 72, ὡς ἄν, προσαρκῶν μικρά, κερδάνῃ μέγα: 647-648, ΘΗ. μέγ᾽ ἂν λέγοις δώρημα τῆς συνουσίας. ΟΙ. εἰ σοί γ᾽ ἅπερ φὴς ἐμμενεῖ τελοῦντί μοι: 815, τίς δ'᾽ ἄν με τῶνδε συμμάχων ἕλοι βίᾳ; 1206, ΟΙ. μόνον, ξέν', εἴπερ κεῖνος ὧδ᾽ ἐλεύσεται, μηδεὶς κρατείτω τῆς ἐμῆς ψυχῆς ποτέ: 1489, 90, ΟΙ. ἀνθ᾽ ὧν ἔπασχον εὖ, τελεσφόρον χάριν δοῦναί σφιν, ἥνπερ τυγχάνων ὑπεσχόμην. The extension of present aid is everywhere put forward as a condition of the permanent blessing. The task of defence which he here entreats them to undertake, is fulfilled by them in resisting Creon.
460. mvp-comment-249-1 τοῖς δ᾽ ἐμοῖς ἐχθροῖς Oedipus reverts to his own personal objects, as in 308-309 (εὐτυχὴς ἵκοιτο τῇ θ᾽ αὑτοῦ πόλει ἐμοί τε). although, as in that passage, the chief stress is laid on what is mentioned first. At the same time he leaves it to be implied that his enemies are the enemies of Athens. Cp. infra 646, ἐν ᾧ κρατήσω τῶν ἔμ᾽ ἐκβεβληκότων. The corruption in Lis due to itacism. 461 ff. The coming of Theseus is still delayed, and the scruples of the chorus cannot be set at rest without some formal expiation on the part of Oedipus. The presence of Ismene enables this to be made without Oedipus or Antigone leaving the stage. She goes to perform this service, and the chorus continue harping on the interminable theme (adding the confessional to the sacrifice), when Theseus at last enters bringing with him a very different spirit. His coming clears the air at once.