ἄτην δὲ τοῖς πέμψασιν, οἵ μʼ ἀπήλασαν·
Oedipus at Colonus. Sophocles. ed. Lewis Campbell. Oxford. 1879.
Table of Contents
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Greek (F. Storr, 1912) (OCR draft) Experimental (Greek (F. Storr, 1912)) — 117-253b focus
Χορός
ὅρα. τίς ἄρʼ ἦν; ποῦ ναίει;
ποῦ κυρεῖ ἐκτόπιος συθεὶς ὁ πάντων
ὁ πάντων ἀκορέστατος;
120
προσδέρκου λεῦσσέ νιν,
προσπεύθου πανταχῇ.
πλανάτας πλανάτας τις ὁ πρέσβυς οὐδʼ
ἔγχωρος· προσέβα γὰρ οὐκ
125
ἄν ποτʼ ἀστιβὲς ἄλσος ἐς
τᾶνδʼ ἀμαιμακετᾶν κορᾶν,
ἃς τρέμομεν λέγειν
καὶ παραμειβόμεσθʼ ἀδέρκτως,
130
ἀφώνως, ἀλόγως τὸ τᾶς.
εὐφάμου στόμα φροντίδος
ἱέντες, τὰ δὲ νῦν τινʼ ἥκειν
λόγος οὐδὲν ἅζονθʼ,
ὃν ἐγὼ λεύσσων περὶ πᾶν οὔπω
135
δύναμαι τέμενος
γνῶναι ποῦ μοί ποτε ναίει.
ὅρα. τίς ἄρʼ ἦν; ποῦ ναίει;
ποῦ κυρεῖ ἐκτόπιος συθεὶς ὁ πάντων
ὁ πάντων ἀκορέστατος;
120
προσδέρκου λεῦσσέ νιν,
προσπεύθου πανταχῇ.
πλανάτας πλανάτας τις ὁ πρέσβυς οὐδʼ
ἔγχωρος· προσέβα γὰρ οὐκ
125
ἄν ποτʼ ἀστιβὲς ἄλσος ἐς
τᾶνδʼ ἀμαιμακετᾶν κορᾶν,
ἃς τρέμομεν λέγειν
καὶ παραμειβόμεσθʼ ἀδέρκτως,
130
ἀφώνως, ἀλόγως τὸ τᾶς.
εὐφάμου στόμα φροντίδος
ἱέντες, τὰ δὲ νῦν τινʼ ἥκειν
λόγος οὐδὲν ἅζονθʼ,
ὃν ἐγὼ λεύσσων περὶ πᾶν οὔπω
135
δύναμαι τέμενος
γνῶναι ποῦ μοί ποτε ναίει.
Οἰδίπους
ὅδʼ ἐκεῖνος ἐγώ· φωνῇ γὰρ ὁρῶ,
τὸ φατιζόμενον.
ὅδʼ ἐκεῖνος ἐγώ· φωνῇ γὰρ ὁρῶ,
τὸ φατιζόμενον.
Χορός
ἰὼ ἰώ,
140
δεινὸς μὲν ὁρᾶν, δεινὸς δὲ κλύειν.
ἰὼ ἰώ,
140
δεινὸς μὲν ὁρᾶν, δεινὸς δὲ κλύειν.
Οἰδίπους
μή μʼ, ἱκετεύω, προσίδητʼ ἄνομον.
μή μʼ, ἱκετεύω, προσίδητʼ ἄνομον.
Χορός
Ζεῦ ἀλεξῆτορ, τίς ποθʼ ὁ πρέσβυς;
Ζεῦ ἀλεξῆτορ, τίς ποθʼ ὁ πρέσβυς;
Οἰδίπους
οὐ πάνυ μοίρας εὐδαιμονίσαι
πρώτης, ὦ τῆσδʼ ἔφοροι χώρας.
145
δηλῶ δʼ· οὐ γὰρ ἂν ὧδʼ ἀλλοτρίοις
ὄμμασιν εἷρπον
κἀπὶ σμικροῖς μέγας ὥρμουν.
οὐ πάνυ μοίρας εὐδαιμονίσαι
πρώτης, ὦ τῆσδʼ ἔφοροι χώρας.
145
δηλῶ δʼ· οὐ γὰρ ἂν ὧδʼ ἀλλοτρίοις
ὄμμασιν εἷρπον
κἀπὶ σμικροῖς μέγας ὥρμουν.
Χορός
ἐή, ἀλαῶν ὀμμάτων
ἆρα καὶ ἦσθα φυτάλμιος; δυσαίων
150
μακραίων γʼ, ὅσʼ ἐπεικάσαι.
ἀλλʼ οὐ μὰν ἔν γʼ ἐμοὶ
προσθήσει τάσδʼ ἀράς.
περᾷς γάρ, περᾷς· ἀλλʼ ἵνα τῷδʼ ἐν ἀ-
155
φθέγκτῳ μὴ προπέσῃς νάπει
ποιάεντι, κάθυδρος οὗ
κρατὴρ μειλιχίων ποτῶν
ῥεύματι συντρέχει,
160
τόν, ξένε πάμμορʼ, εὖ φύλαξαι;
μετάσταθʼ ἀπόβαθι. πολ-
λὰ κέλευθος ἐρατύει·
κλύεις, ὦ πολύμοχθʼ ἀλᾶτα;
165
λόγον εἴ τινʼ οἴσεις
πρὸς ἐμὰν λέσχαν, ἀβάτων ἀποβάς,
ἵνα πᾶσι νόμος,
φώνει· πρόσθεν δʼ ἀπερύκου.
ἐή, ἀλαῶν ὀμμάτων
ἆρα καὶ ἦσθα φυτάλμιος; δυσαίων
150
μακραίων γʼ, ὅσʼ ἐπεικάσαι.
ἀλλʼ οὐ μὰν ἔν γʼ ἐμοὶ
προσθήσει τάσδʼ ἀράς.
περᾷς γάρ, περᾷς· ἀλλʼ ἵνα τῷδʼ ἐν ἀ-
155
φθέγκτῳ μὴ προπέσῃς νάπει
ποιάεντι, κάθυδρος οὗ
κρατὴρ μειλιχίων ποτῶν
ῥεύματι συντρέχει,
160
τόν, ξένε πάμμορʼ, εὖ φύλαξαι;
μετάσταθʼ ἀπόβαθι. πολ-
λὰ κέλευθος ἐρατύει·
κλύεις, ὦ πολύμοχθʼ ἀλᾶτα;
165
λόγον εἴ τινʼ οἴσεις
πρὸς ἐμὰν λέσχαν, ἀβάτων ἀποβάς,
ἵνα πᾶσι νόμος,
φώνει· πρόσθεν δʼ ἀπερύκου.
Οἰδίπους
θύγατερ, ποῖ τις φροντίδος ἔλθῃ;
170
θύγατερ, ποῖ τις φροντίδος ἔλθῃ;
170
Ἀντιγόνη
ὦ πάτερ, ἀστοῖς ἴσα χρὴ μελετᾶν,
εἴκοντας ἃ δεῖ κἀκούοντας.
ὦ πάτερ, ἀστοῖς ἴσα χρὴ μελετᾶν,
εἴκοντας ἃ δεῖ κἀκούοντας.
Οἰδίπους
πρόσθιγέ νύν μου.
πρόσθιγέ νύν μου.
Ἀντιγόνη
ψαύω καὶ δή.
ψαύω καὶ δή.
Οἰδίπους
ὦ ξένε, μὴ δῆτʼ ἀδικηθῶ σοὶ
πιστεύσας καὶ μεταναστάς.
175
ὦ ξένε, μὴ δῆτʼ ἀδικηθῶ σοὶ
πιστεύσας καὶ μεταναστάς.
175
Χορός
οὔ τοι μήποτέ σʼ ἐκ τῶνδʼ ἑδράνων,
ὦ γέρον, ἄκοντά τις ἄξει.
οὔ τοι μήποτέ σʼ ἐκ τῶνδʼ ἑδράνων,
ὦ γέρον, ἄκοντά τις ἄξει.
Οἰδίπους
ἔτʼ οὖν;
ἔτʼ οὖν;
Χορός
ἔτι βαῖνε πόρσω.
ἔτι βαῖνε πόρσω.
Οἰδίπους
ἔτι;
ἔτι;
Χορός
προβίβαζε, κούρα,
180
πόρσω· σὺ γὰρ ἀΐεις.
προβίβαζε, κούρα,
180
πόρσω· σὺ γὰρ ἀΐεις.
Ἀντιγόνη
Οἰδίπους
Ἀντιγόνη
ἕπεο μάν, ἕπεʼ ὧδʼ ἀμαυρῷ κώλῳ, πάτερ, ᾇ σʼ ἄγω.
ἕπεο μάν, ἕπεʼ ὧδʼ ἀμαυρῷ κώλῳ, πάτερ, ᾇ σʼ ἄγω.
Οἰδίπους
Χορός
τόλμα ξεῖνος ἐπὶ ξένης,
ὦ τλάμων, ὅ τι καὶ πόλις
185
τέτροφεν ἄφιλον ἀποστυγεῖν
καὶ τὸ φίλον σέβεσθαι.
τόλμα ξεῖνος ἐπὶ ξένης,
ὦ τλάμων, ὅ τι καὶ πόλις
185
τέτροφεν ἄφιλον ἀποστυγεῖν
καὶ τὸ φίλον σέβεσθαι.
Οἰδίπους
ἄγε νυν σύ με, παῖ,
ἵνʼ ἂν εὐσεβίας ἐπιβαίνοντες
τὸ μὲν εἴποιμεν, τὸ δʼ ἀκούσαιμεν,
190
καὶ μὴ χρείᾳ πολεμῶμεν.
ἄγε νυν σύ με, παῖ,
ἵνʼ ἂν εὐσεβίας ἐπιβαίνοντες
τὸ μὲν εἴποιμεν, τὸ δʼ ἀκούσαιμεν,
190
καὶ μὴ χρείᾳ πολεμῶμεν.
Χορός
αὐτοῦ· μηκέτι τοῦδʼ αὐτοπέτρου βήματος ἔξω πόδα κλίνῃς.
αὐτοῦ· μηκέτι τοῦδʼ αὐτοπέτρου βήματος ἔξω πόδα κλίνῃς.
Οἰδίπους
οὕτως;
οὕτως;
Χορός
ἅλις, ὡς ἀκούεις.
ἅλις, ὡς ἀκούεις.
Οἰδίπους
ἦ ἑσθῶ;
195
ἦ ἑσθῶ;
195
Χορός
λέχριός γʼ ἐπʼ ἄκρου
λᾶος βραχὺς ὀκλάσας.
λέχριός γʼ ἐπʼ ἄκρου
λᾶος βραχὺς ὀκλάσας.
Ἀντιγόνη
πάτερ, ἐμὸν τόδʼ· ἐν ἁσυχαίᾳ
πάτερ, ἐμὸν τόδʼ· ἐν ἁσυχαίᾳ
Οἰδίπους
ἰώ μοί μοι.
ἰώ μοί μοι.
Ἀντιγόνη
βάσει βάσιν ἅρμοσαι,
γεραὸν ἐς χέρα σῶμα σὸν
200
προκλίνας φιλίαν ἐμάν.
βάσει βάσιν ἅρμοσαι,
γεραὸν ἐς χέρα σῶμα σὸν
200
προκλίνας φιλίαν ἐμάν.
Οἰδίπους
ὤμοι δύσφρονος ἄτας.
ὤμοι δύσφρονος ἄτας.
Χορός
ὦ τλάμων, ὅτε νῦν χαλᾷς,
αὔδασον, τίς ἔφυς βροτῶν;
τίς ὁ πολύπονος ἄγει; τίνʼ ἂν
205
σοῦ πατρίδʼ ἐκπυθοίμαν;
ὦ τλάμων, ὅτε νῦν χαλᾷς,
αὔδασον, τίς ἔφυς βροτῶν;
τίς ὁ πολύπονος ἄγει; τίνʼ ἂν
205
σοῦ πατρίδʼ ἐκπυθοίμαν;
Οἰδίπους
ὦ ξένοι,
ἀπόπτολις· ἀλλὰ μὴ
ὦ ξένοι,
ἀπόπτολις· ἀλλὰ μὴ
Χορός
τί τόδʼ ἀπεννέπεις, γέρον;
τί τόδʼ ἀπεννέπεις, γέρον;
Οἰδίπους
μὴ μὴ μή μʼ ἀνέρῃ τίς εἰμι,
210
μηδʼ ἐξετάσῃς πέρα ματεύων.
μὴ μὴ μή μʼ ἀνέρῃ τίς εἰμι,
210
μηδʼ ἐξετάσῃς πέρα ματεύων.
Χορός
τί τόδʼ;
τί τόδʼ;
Οἰδίπους
αἰνὰ φύσις.
αἰνὰ φύσις.
Χορός
αὔδα.
αὔδα.
Οἰδίπους
τέκνον, ὤμοι, τί γεγώνω;
τέκνον, ὤμοι, τί γεγώνω;
Χορός
τίνος εἶ σπέρματος, ὦ ξένε, φώνει, πατρόθεν.
τίνος εἶ σπέρματος, ὦ ξένε, φώνει, πατρόθεν.
Οἰδίπους
ὤμοι ἐγώ, τί πάθω, τέκνον ἐμόν;
215
ὤμοι ἐγώ, τί πάθω, τέκνον ἐμόν;
215
Ἀντιγόνη
λέγʼ, ἐπείπερ ἐπʼ ἔσχατα βαίνεις.
λέγʼ, ἐπείπερ ἐπʼ ἔσχατα βαίνεις.
Οἰδίπους
ἀλλʼ ἐρῶ· οὐ γὰρ ἔχω κατακρυφάν.
ἀλλʼ ἐρῶ· οὐ γὰρ ἔχω κατακρυφάν.
Χορός
μακρὰ μέλλετον, ἀλλὰ τάχυνε.
μακρὰ μέλλετον, ἀλλὰ τάχυνε.
Οἰδίπους
Λαΐου ἴστε τινʼ;
220
Λαΐου ἴστε τινʼ;
220
Χορός
ὢ ἰοὺ ἰού.
ὢ ἰοὺ ἰού.
Οἰδίπους
τό τε Λαβδακιδᾶν γένος;
τό τε Λαβδακιδᾶν γένος;
Χορός
ὦ Ζεῦ.
ὦ Ζεῦ.
Οἰδίπους
ἄθλιον Οἰδιπόδαν;
ἄθλιον Οἰδιπόδαν;
Χορός
σὺ γὰρ ὅδʼ εἶ;
σὺ γὰρ ὅδʼ εἶ;
Οἰδίπους
δέος ἴσχετε μηδὲν ὅσʼ αὐδῶ.
δέος ἴσχετε μηδὲν ὅσʼ αὐδῶ.
Χορός
ἰὼ ὢ ὤ.
ἰὼ ὢ ὤ.
Οἰδίπους
δύσμορος.
δύσμορος.
Χορός
ὢ ὤ.
ὢ ὤ.
Οἰδίπους
θύγατερ, τί ποτʼ αὐτίκα κύρσει;
225
θύγατερ, τί ποτʼ αὐτίκα κύρσει;
225
Χορός
ἔξω πόρσω βαίνετε χώρας.
ἔξω πόρσω βαίνετε χώρας.
Οἰδίπους
ἃ δʼ ὑπέσχεο ποῖ καταθήσεις,
ἃ δʼ ὑπέσχεο ποῖ καταθήσεις,
Χορός
οὐδενὶ μοιριδία τίσις ἔρχεται
ἃν προπάθῃ τὸ τίνειν· ἀπάτα δʼ ἀπά-
230
ταις ἑτέραις ἑτέρα παραβαλλομέ-
να πόνον, οὐ χάριν, ἀντιδίδωσιν ἔ-
χειν. σὺ δὲ τῶνδʼ ἑδράνων πάλιν ἔκτοπος
αὖθις ἄφορμος ἐμᾶς χθονὸς ἔκθορε,
μή τι πέρα χρέος
235
ἐμᾷ πόλει προσάψῃς.
οὐδενὶ μοιριδία τίσις ἔρχεται
ἃν προπάθῃ τὸ τίνειν· ἀπάτα δʼ ἀπά-
230
ταις ἑτέραις ἑτέρα παραβαλλομέ-
να πόνον, οὐ χάριν, ἀντιδίδωσιν ἔ-
χειν. σὺ δὲ τῶνδʼ ἑδράνων πάλιν ἔκτοπος
αὖθις ἄφορμος ἐμᾶς χθονὸς ἔκθορε,
μή τι πέρα χρέος
235
ἐμᾷ πόλει προσάψῃς.
Ἀντιγόνη
ὦ ξένοι
αἰδόφρονες, ἀλλʼ ἐπεὶ
γεραὸν πατέρα τόνδʼ ἐμὸν
οὐκ ἀνέτλατʼ, ἔργων
240
ἀκόντων ἀΐοντες αὐδάν,
ἀλλʼ ἐμὲ τὰν μελέαν, ἱκετεύομεν, ὦ ξένοι, οἰκτίραθʼ, ἃ
πατρὸς ὑπὲρ τοὐμοῦ μόνου
ἄντομαι οὐκ ἀλαοῖς προσορωμένα
ὄμμα σὸν ὄμμασιν, ὥς τις ἀφʼ αἵματος
245
ὑμετέρου προφανεῖσα, τὸν ἄθλιον
αἰδοῦς κῦρσαι· ἐν ὔμμι γὰρ ὡς θεῷ
κείμεθα τλάμονες. ἀλλʼ ἴτε, νεύσατε τὰν ἀδόκητον χάριν·
πρός σʼ ὅ τι σοι φίλον ἐκ σέθεν ἄντομαι,
250
ἢ τέκνον ἢ λέχος ἢ χρέος ἢ θεός·
οὐ γὰρ ἴδοις ἂν ἀθρῶν βροτὸν ὅστις ἄν,
εἰ θεὸς ἄγοι,
ἐκφυγεῖν δύναιτο.
ὦ ξένοι
αἰδόφρονες, ἀλλʼ ἐπεὶ
γεραὸν πατέρα τόνδʼ ἐμὸν
οὐκ ἀνέτλατʼ, ἔργων
240
ἀκόντων ἀΐοντες αὐδάν,
ἀλλʼ ἐμὲ τὰν μελέαν, ἱκετεύομεν, ὦ ξένοι, οἰκτίραθʼ, ἃ
πατρὸς ὑπὲρ τοὐμοῦ μόνου
ἄντομαι οὐκ ἀλαοῖς προσορωμένα
ὄμμα σὸν ὄμμασιν, ὥς τις ἀφʼ αἵματος
245
ὑμετέρου προφανεῖσα, τὸν ἄθλιον
αἰδοῦς κῦρσαι· ἐν ὔμμι γὰρ ὡς θεῷ
κείμεθα τλάμονες. ἀλλʼ ἴτε, νεύσατε τὰν ἀδόκητον χάριν·
πρός σʼ ὅ τι σοι φίλον ἐκ σέθεν ἄντομαι,
250
ἢ τέκνον ἢ λέχος ἢ χρέος ἢ θεός·
οὐ γὰρ ἴδοις ἂν ἀθρῶν βροτὸν ὅστις ἄν,
εἰ θεὸς ἄγοι,
ἐκφυγεῖν δύναιτο.
Translations (5)
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 93 focus
CH
Oh!
Oh!
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 75 focus
Um nicht zu irren, höre noch: (denn edel scheinst
75
Du mir von Anseh'n, außer daß dies Loos dich traf;)
Bleib' hier, o Fremdling, wo du mir zuerst erschienst,
Bis ich Kolonos' Bürgern, nicht dem Volk der Stadt,
1
Den Fall zu melden gehe; die entscheiden dann,
Ob hier du bleiben, ob du wieder ziehen sollst.
80
Oedipus. Antigone.
Um nicht zu irren, höre noch: (denn edel scheinst
75
Du mir von Anseh'n, außer daß dies Loos dich traf;)
Bleib' hier, o Fremdling, wo du mir zuerst erschienst,
Bis ich Kolonos' Bürgern, nicht dem Volk der Stadt,
1
Den Fall zu melden gehe; die entscheiden dann,
Ob hier du bleiben, ob du wieder ziehen sollst.
80
Oedipus.
Tochter, ging der Fremde schon hinweg von uns?
Tochter, ging der Fremde schon hinweg von uns?
Antigone.
Schon ging er; Alles kannst du denn in Ruhe nun,
Mein Vater, sagen; ich allein bin nahe dir.
Schon ging er; Alles kannst du denn in Ruhe nun,
Mein Vater, sagen; ich allein bin nahe dir.
Oedipus (betend).
Ihr hehren, furchtbar'n Wesen! Nun ich mich zuerst
Auf eurem Grund in diesem Lande niederließ,
85
Ogrollet mir nicht, hegt dem Phöbos keinen Groll,
Der, als er dieses viele Leid verkündigte,
Das Ziel des Jammers mir verhieß nach langer Frist,
Käm' ich zum lezten Lande, wo ich gastliche
Zuflucht, o strenge Mächte, fänd' in eurem Siz;
90
Hier ende meines Lebens gramgebeugter Lauf,
Und bringe denen, die mich aufgenommen, Heil,
Fluch denen, die mich in die Fern' hinausgebannt.
Als Zeichen dessen komme mir, verhieß der Gott,
Erdbeben oder Donner oder Bliz von Zeus.
95
Wahrhaft erkenn' ich heute, daß auf diesem Pfad
Nur ihr's gewesen, welche mich mit sichrer Hand
In diesen Hain geleitet; denn ich träfe sonst
Nicht euch zuerst auf meinem Weg, ich Nüchterner
(ab.)
Euch, die den Wein verschmähen, säß' an heiliger,
2
100
An dieser rauhen Stätte nicht. Ihr Göttinnen,
So gönnt, Apollons Ruf gemäß, nun endlich mir
Der Stunden lezte, die das Band des Lebens löst,
Dünkt euch noch nicht zu wenig, was ich duldete,
Allzeit in Drangsal ringend, wie kein Sterblicher!
105
Auf, holde Töchter aus des Skotos altem Blut!
3
Auf, die du dich der stolzen Pallas eigen nennst,
Vor allen andern hochverehrte Stadt Athen!
Mitleidig schaut hier Dedipus' unſeliges
Gebilde; nicht mehr ist ja dies mein alter Leib!
110
Ihr hehren, furchtbar'n Wesen! Nun ich mich zuerst
Auf eurem Grund in diesem Lande niederließ,
85
Ogrollet mir nicht, hegt dem Phöbos keinen Groll,
Der, als er dieses viele Leid verkündigte,
Das Ziel des Jammers mir verhieß nach langer Frist,
Käm' ich zum lezten Lande, wo ich gastliche
Zuflucht, o strenge Mächte, fänd' in eurem Siz;
90
Hier ende meines Lebens gramgebeugter Lauf,
Und bringe denen, die mich aufgenommen, Heil,
Fluch denen, die mich in die Fern' hinausgebannt.
Als Zeichen dessen komme mir, verhieß der Gott,
Erdbeben oder Donner oder Bliz von Zeus.
95
Wahrhaft erkenn' ich heute, daß auf diesem Pfad
Nur ihr's gewesen, welche mich mit sichrer Hand
In diesen Hain geleitet; denn ich träfe sonst
Nicht euch zuerst auf meinem Weg, ich Nüchterner
Euch, die den Wein verschmähen, säß' an heiliger,
2
100
An dieser rauhen Stätte nicht. Ihr Göttinnen,
So gönnt, Apollons Ruf gemäß, nun endlich mir
Der Stunden lezte, die das Band des Lebens löst,
Dünkt euch noch nicht zu wenig, was ich duldete,
Allzeit in Drangsal ringend, wie kein Sterblicher!
105
Auf, holde Töchter aus des Skotos altem Blut!
3
Auf, die du dich der stolzen Pallas eigen nennst,
Vor allen andern hochverehrte Stadt Athen!
Mitleidig schaut hier Dedipus' unſeliges
Gebilde; nicht mehr ist ja dies mein alter Leib!
110
Antigone.
Halt' ein, o Vater; denn es, nah'n dort Einige,
Schon alt an Jahren, die nach deinem Size späh'n.
Halt' ein, o Vater; denn es, nah'n dort Einige,
Schon alt an Jahren, die nach deinem Size späh'n.
Oedipus.
Ich werde schweigen; führe du vom Weg mich ab,
Und birg mich hier im Haine, bis ich ihren Sinn
Erforscht aus ihren Reden; denn durch Forschen nur
115
Gewinnt man Vorsicht und Bedacht in allem Thun.
(Sie ziehen sich in den Hain zurück. Der Chor tritt auf.)
Ich werde schweigen; führe du vom Weg mich ab,
Und birg mich hier im Haine, bis ich ihren Sinn
Erforscht aus ihren Reden; denn durch Forschen nur
115
Gewinnt man Vorsicht und Bedacht in allem Thun.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 93 focus
Ismene
(Edi. And art thou oome, my daughter 1
I have reached thee
With toil and labour.
I have reached thee
With toil and labour.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 93 focus
Chorus
Long the way
Which thou hast pass'd; and travellers spread quick
Their free reports; by these inform'd he soon,
Be confident, will come; for much thy name..
Hath 'mongst us all been sounded it will add
305
Speed to his steps, and he will soon be here.
305
adir. And happy be his coming to his states)
Happy to me! Why should not a good man
Be to himself a friend obs
Immortal Joveldid ata
Long the way
Which thou hast pass'd; and travellers spread quick
Their free reports; by these inform'd he soon,
Be confident, will come; for much thy name..
Hath 'mongst us all been sounded it will add
305
Speed to his steps, and he will soon be here.
305
adir. And happy be his coming to his states)
Happy to me! Why should not a good man
Be to himself a friend obs
Immortal Joveldid ata
English (Sir Richard Jebb, 1904) (OCR draft) Experimental (English (Sir Richard Jebb, 1904)) — 118-250 focus
The Chorus of elders of
Colonus
enters the orchestra.
148
Chorus
Look! Who was he, then? Where is he staying? Where has he rushed from this place,
man most insatiate of all who live? Scan the ground, look well, press the search everywhere. A wanderer that old man must have been,
120
a wanderer, not a dweller in the land; otherwise he never would have advanced into this untrodden grove of the maidens with whom none may strive.
125
Their name we tremble to speak; we pass them by with eyes turned away, moving our lips, without sound or word, in still devotion.
But now it is said that one has come who reveres them not at all;
130
and him I cannot yet discern, though I look round all the holy place, nor do I know where to find his lodging.
135
Oedipus steps forward with Antigone.
Look! Who was he, then? Where is he staying? Where has he rushed from this place,
man most insatiate of all who live? Scan the ground, look well, press the search everywhere. A wanderer that old man must have been,
120
a wanderer, not a dweller in the land; otherwise he never would have advanced into this untrodden grove of the maidens with whom none may strive.
125
Their name we tremble to speak; we pass them by with eyes turned away, moving our lips, without sound or word, in still devotion.
But now it is said that one has come who reveres them not at all;
130
But now it is said that one has come who reveres them not at all;
and him I cannot yet discern, though I look round all the holy place, nor do I know where to find his lodging.
135
Oedipus
Behold the man you seek! In sound is my sight, as the saying goes.
Behold the man you seek! In sound is my sight, as the saying goes.
Chorus
Oh! Oh! Fearful he is to see, and fearful to hear!
140
Oh! Oh! Fearful he is to see, and fearful to hear!
140
Oedipus
Do not regard me, I beg you, as a lawless man.
Do not regard me, I beg you, as a lawless man.
Chorus
Zeus defend us! Who may this old man be?
Zeus defend us! Who may this old man be?
Oedipus
Not so wholly of the best fate
that you would call him fortunate, guardians of this land! It is plain; otherwise I would not be creeping, as you see, by the eyes of others, and buoying my strength upon weakness.
145
Not so wholly of the best fate
that you would call him fortunate, guardians of this land! It is plain; otherwise I would not be creeping, as you see, by the eyes of others, and buoying my strength upon weakness.
145
Chorus
Alas! Were you sightless even from birth?
Evil have been your days, and many, it appears. But at least if I can help it, you shall not add this curse to your lot. You go too far—too far!
150
That your rash steps may intrude on the field of this voiceless, grassy glade, where the waters of the mixing bowl blend their stream with the flow of honied offerings, beware, unhappiest of strangers.
155
Retire! Withdraw! Let a wide space part us. Do you hear, toil-worn wanderer? If you have anything to say in converse with us,
160
leave forbidden ground, and speak where it is lawful for all; but, till then, refrain.
165
Alas! Were you sightless even from birth?
Evil have been your days, and many, it appears. But at least if I can help it, you shall not add this curse to your lot. You go too far—too far!
150
That your rash steps may intrude on the field of this voiceless, grassy glade, where the waters of the mixing bowl blend their stream with the flow of honied offerings, beware, unhappiest of strangers.
155
Retire! Withdraw! Let a wide space part us. Do you hear, toil-worn wanderer? If you have anything to say in converse with us,
160
leave forbidden ground, and speak where it is lawful for all; but, till then, refrain.
165
Oedipus
Daughter, to what counsel shall we incline?
170
Daughter, to what counsel shall we incline?
170
Antigone
My father, we must behave just as the townspeople do, listening and giving way where it is necessary.
My father, we must behave just as the townspeople do, listening and giving way where it is necessary.
Oedipus
Then give me your hand.
Then give me your hand.
Antigone
I lay it in yours.
I lay it in yours.
Oedipus
Strangers, let me not suffer wrong
when I have trusted in you, and have passed from my refuge!
175
Strangers, let me not suffer wrong
when I have trusted in you, and have passed from my refuge!
175
Chorus
Never, old man, never will anyone remove you from your resting-place here against your will.
Oedipus begins to move forward.
Never, old man, never will anyone remove you from your resting-place here against your will.
Oedipus
Further, then?
Further, then?
Chorus
Come still further.
Come still further.
Oedipus
Further?
180
Further?
180
Chorus
Lead him onward, maiden, for you hear us and obey.
Lead him onward, maiden, for you hear us and obey.
Antigone
Oedipus
Antigone
Come, follow this way with your dark steps, father, as I lead you.
Come, follow this way with your dark steps, father, as I lead you.
Oedipus
Chorus
Stranger in a foreign land,
poor man, have the courage to detest what the city steadfastly holds as not dear, and to reverence what it holds dear!
185
Stranger in a foreign land,
poor man, have the courage to detest what the city steadfastly holds as not dear, and to reverence what it holds dear!
185
Oedipus
Lead me, then, child, to a spot where I may speak and listen within piety’s domain,
and let us not wage war with necessity.
190
Lead me, then, child, to a spot where I may speak and listen within piety’s domain,
and let us not wage war with necessity.
190
Chorus
There! Do not incline your steps beyond that ledge of bedrock.
There! Do not incline your steps beyond that ledge of bedrock.
Oedipus
This far?
This far?
Chorus
Enough, I say
Enough, I say
Oedipus
Shall I sit down?
195
Shall I sit down?
195
Chorus
Yes, move sideways, and crouch low on the edge of the rock.
Yes, move sideways, and crouch low on the edge of the rock.
Antigone
Father, this is my task: calmly to—
Father, this is my task: calmly to—
Oedipus
Ah me! ah me!
Ah me! ah me!
Antigone
—fit step to step, and lean your aged frame upon my dear arm.
200
—fit step to step, and lean your aged frame upon my dear arm.
200
Oedipus
Alas for my sad destruction!
Antigone seats him on the rock.
Alas for my sad destruction!
Chorus
Ah, poor man, since now you are at ease, speak! What is your lineage among mortals? With what name are you led on your weary path?
What fatherland can you tell us of?
205
Ah, poor man, since now you are at ease, speak! What is your lineage among mortals? With what name are you led on your weary path?
What fatherland can you tell us of?
205
Oedipus
Strangers, I am without a city, but do not—
Strangers, I am without a city, but do not—
Chorus
What is this that you forbid, old man?
What is this that you forbid, old man?
Oedipus
do not, do not ask me who I am! Do not seek or probe further!
210
do not, do not ask me who I am! Do not seek or probe further!
210
Chorus
What does this mean?
What does this mean?
Oedipus
Horrid the birth—
Horrid the birth—
Chorus
Speak!
Speak!
Oedipus
My child—ah, me!—what shall I say?
My child—ah, me!—what shall I say?
Chorus
What is your lineage, stranger? Speak! And who is your father?
215
What is your lineage, stranger? Speak! And who is your father?
215
Oedipus
Woe is me! What will become of me, my child?
Woe is me! What will become of me, my child?
Antigone
Speak, for you are driven to the verge.
Speak, for you are driven to the verge.
Oedipus
Then speak I will. I have no way to hide it.
Then speak I will. I have no way to hide it.
Chorus
You two make a long delay. Come, hasten!
You two make a long delay. Come, hasten!
Oedipus
Do you know of a son of Laius?
220
Do you know of a son of Laius?
220
Chorus
Oh!
Oh!
Oedipus
—And the race of the Labdacidae?
—And the race of the Labdacidae?
Chorus
O Zeus!
O Zeus!
Oedipus
—and the pitiful Oedipus?
—and the pitiful Oedipus?
Chorus
You are he?
You are he?
Oedipus
Have no fear of any words that I speak—
Have no fear of any words that I speak—
Chorus
Ah, no, no!
Ah, no, no!
Oedipus
Unhappy that I am!
Unhappy that I am!
Chorus
Oh, oh!
Oh, oh!
Oedipus
Daughter, what is about to happen?
225
Daughter, what is about to happen?
225
Chorus
Out with you! Go forth from the land!
Out with you! Go forth from the land!
Oedipus
And your promise—to what fulfillment will you bring it?
And your promise—to what fulfillment will you bring it?
Chorus
No man is visited by the punishment of fate if he requites deeds which were first done to himself.
Deceit on the one part matches deceits on the other, and gives pain instead of pleasure for reward. And you—back with you! Out from your seat!
230
Away from my land with all speed, that you may not fasten some heavier burden on my city!
235
No man is visited by the punishment of fate if he requites deeds which were first done to himself.
Deceit on the one part matches deceits on the other, and gives pain instead of pleasure for reward. And you—back with you! Out from your seat!
230
Away from my land with all speed, that you may not fasten some heavier burden on my city!
235
Antigone
Reverent strangers, since you have not endured my aged father—knowing, as you do,
the rumor of his unintended deeds—pity at least my poor self, I implore you, who supplicate you for my father alone. I beg you with eyes that can still look
240
on your own, like one sprung from your own blood, that this sufferer may meet with reverent treatment.
On you, as on a god, we depend in our misery. But come, grant the favor for which we hardly dare hope!
245
I implore you by everything that you hold dear at home: by child, by wife, or treasure, or god! Look well and you will not find the mortal who, if a god should lead him on, could escape.
250
Reverent strangers, since you have not endured my aged father—knowing, as you do,
the rumor of his unintended deeds—pity at least my poor self, I implore you, who supplicate you for my father alone. I beg you with eyes that can still look
240
on your own, like one sprung from your own blood, that this sufferer may meet with reverent treatment.
On you, as on a god, we depend in our misery. But come, grant the favor for which we hardly dare hope!
245
On you, as on a god, we depend in our misery. But come, grant the favor for which we hardly dare hope!
I implore you by everything that you hold dear at home: by child, by wife, or treasure, or god! Look well and you will not find the mortal who, if a god should lead him on, could escape.
250
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
mvp-comment-81-1 τοῖς πέμψασιν 1
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
1-116. mvp-comment-1-1 The scene of the πρόλογος, ll. 1-116, is probably on the north side of Colonus, with Athens in the distance. See Introduction, p. 282. The spot so familiar to the audience (οὐ λόγοις τιμώμεν' ἀλλὰ τῇ συνουσίᾳ, infr. 63-64) would probably be recalled by the representation on the stage of some striking objects, especially those which marked the religio loci. Oedipus enters (right?), led by Antigone, and sits down in the middle of the proscenium, where he remains until Antigone descries the approach of the chorus.