Aeschylus Libation Bearers 20

Anna Swanwick (Translator)

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Chorus
How not requite an enemy with ill?

Libation Bearers. Aeschylus. Anna Swanwick (Translator). London. 1886.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

The Libation Bearers (OCR draft) (English) (The Libation Bearers. Anna Swanwick, 1886.)

Provisional text from uncorrected OCR; expect errors.

Editions (8)
Χοηφóρoι First1KGreek (Aeschyli Tragoediae. Sidgwick, Arthur, editor. Oxford: Clarendon Press, 1902.) — 22-83b focus
Χοηφóρoι Perseus (Aeschylus, Volume 2. Smyth, Herbert Weir, editor. London; New York: William Heinemann; G.P. Putnam's Sons, 1926.) — 22-83b focus
Χοηφόροι (OCR draft) Experimental (Χοηφόροι. Guilielmus Dindorfius, 1882.) — 22 focus
Χοηφόροι (OCR draft) Experimental (Χοηφόροι. Gottfried Hermann, 1852.) — 22 focus
ΧΟΗΦΟΡΟΙ (OCR draft) Experimental (ΧΟΗΦΟΡΟΙ. Paul Mazon, 1920-1925.) — 22 focus
Χοηφόροι (OCR draft) Experimental (Χοηφόροι. N. Wecklein, 1885.) — 22 focus
ἰαλτὸς ἐκ δόμων ἔβην
χοὰς προπομπὸς ὀξύχειρι σὺν κόπῳ.
πρέπει παρηὶς φοίνισσ᾽ ἀμυγμοῖς
ὄνυχος ἄλοκι νεοτόμῳ·
25
(δι' αἰῶνος δ' ἰυγμοῖσι βόσκεται κέαρ)·
λινοφθόροι δ' ὑφασμάτων
λακίδες ἔφλαδον ὑπ᾽ ἄλγεσιν
πρόστερνοι στολμοὶ
πέπλων ἀγελάστοις
30
ξυμφοραῖς πεπληγμένων.
1
Χοηφόροι (OCR draft) Experimental (Χοηφόροι. Martin L. West, 1990.) — 22 focus
Aeschyli Choephori (OCR draft) Experimental (Aeschyli Choephori. Ulrich von Wilamowitz-Moellendorff, 1914.) — 22 focus
Translations (9)
Libation Bearers Perseus (Aeschylus, Volume 2. Smyth, Herbert Weir, translator. London; New York: William Heinemann; G.P. Putnam's Sons, 1926. (Modernized by Perseus.)) — 22-82 focus
The Libation Bearers (OCR draft) Experimental (The Libation Bearers. Theodore Alois Buckley, 1849.) — 22 focus
I am come forth from the palace, sent as an escort to the drink-offering with the noise of sharp clapping of hands. Marked is my cheek with bloody gashes, the furrow newly cut by my nail: for ever is my heart fed on wailings; and the rendings of tissues ruining the vesture, make a noise through my sorrows, the breast-protecting robes being torn through smileless woes.
LES CHOÉPHORES (OCR draft) Experimental (LES CHOÉPHORES. Paul Mazon, 1920-1925.) — 22 focus
suppliante.
The Choephoræ (OCR draft) Experimental (The Choephoræ. Robert Potter, 1779.) — 22 focus
This ſadly-penſive train to lead,
With hallow'd rites to ſooth the dead,
30
To bear these off'rings to his shrine,
The melancholy taſk is mine.
And, as from yon' proud walls I take my way,
My cheeks, with many' a ſounding blow
Beat by these hands, in crimſon glow,
35
Whilſt my poor heart to anguiſh ſinks a prey:
And
Eschilo, Le Coefore: traduzione italiana di Ettore Romagnoli (OCR draft) Experimental (Eschilo, Le Coefore: traduzione italiana di Ettore Romagnoli. Ettore Romagnoli, 1922.) — 22 focus
Aeschylus, Choephori: versio Latina Ioannis Sanravii (OCR draft) Experimental (Aeschylus, Choephori: versio Latina Ioannis Sanravii. Ioannes Sanravius, 1555.) — 22 focus
Ex ædibus ascendi miſſus
Libamina deductor acuta manu fundo.
15
Congruit gena cruenta clamoribus
Nouæ ſectione unguis,
Per æuum uerò clamoribus pascitur cor.
Ex lino textæ corruptæ
Veſtes laceratæ ſunt pre doloribus
20
Ornamenta pectoris:
Peplorum triftibus
Calamitatibus inuolutorum.
Aeschylus, Die Totenspende: German translation (OCR draft) Experimental (Aeschylus, Die Totenspende: German translation. Ulrich von Wilamowitz-Moellendorff, 1919–1923.) — 22 focus
Vom Haus geschickt,
tragen wir zum Grabe
die Spenden; hurt'ger Hände Brüsteschlagen
giebt das Geleit.
Die Wange zeigt frische Purpurstreifen,
25 die Furchen, die der Nagel zog.
Das Herz ist, ach, längst gewohnt des Jammers.
In Fetzen und Streifen zerflattert der Bausch
des Busentuchs.
Bittrer Harm,
wilder Schmerz
30 rifs, zerschlifs den Mantel.
English (E. D. A. Morshead, 1889, second edition) (OCR draft) Experimental (Aeschylus, The Libation-Bearers — Morshead translation. Wikisource transcription; speech corresp and card milestones aligned to Smyth perseus-grc2.) — 22 focus
Forth from the royal halls by high command
I bear libations for the dead.
Rings on my smitten breast my smiting hand,
And all my cheek is rent and red,
Fresh-furrowed by my nails, and all my soul
35
This many a day doth feed on cries of dole.
And trailing tatters of my vest,
In looped and windowed raggedness forlorn,
Hang rent around my breast,
Even as I, by blows of Fate most stern
40
Saddened and torn.
German (J. J. C. Donner, 1854; OCR review) (OCR draft) Experimental (Aeschylos. Deutsch in den Versmaßen der Urschrift. Stuttgart: Hoffmann, 1854. Native Donner line citations, Smyth card correspondence, selected textual readings and metrical facsimiles. Remaining OCR differences and unattributed reading notes are documented in the linked review inventory.) — 22 focus
Gesandt vom Hause kommen wir 1
Mit Opferspenden unter wildem Händeschlag.
Die Wange glüht von blutigrothen Nissen,
35
Frischer Nägelfurchen voll;
Und unruhvoll an Wehklagen weidet sich das Herz.
Zu Fezen riß ich linnenes
Geweb' in wildem Schmerz entzwei;
Mein brusthüllender Flor hängt los am Gewande,
40
Rings zerschlikt von herbem Leid.
Erste Gegenstrophe.

Commentary

Critical apparatus to The Libation Bearers (OCR draft) (Latin and Greek critical apparatus to Gottfried Hermann's 1852 edition of The Libation Bearers.) focus

20. mvp-aeschylus-tlg0085-tlg006-hermann1852-appcrit-lat1-15

ἐκποδών
ἐκποδὼν
Stanleius.
ἐκποδῶν
M. Rob.
ἐκ ποδῶν
G. Ald. Turn.
20

Wecklein’s commentary on Choephoroi / Libation Bearers (1888; German; OCR draft) (Explanatory commentary, pp. 163–234; single HW42J8 OCR witness, conservatively retained. Unresolved OCR and provisional reference mappings are explicitly marked.) focus

1-21. mvp-aeschylus-tlg0085-tlg006-wecklein1888-com-ger1-1

1
Prolog Orestes und Pylades stehen am Grabe des Agamemnon, welches, wie es scheint, an der Grenze von Bühne und Orchestra seitwärts angebracht ist. Bei V. 10 kommt Elektra mit dem Chore aus dem Atridenpalaste, welchen die Hauptdekoration vorstellt. Orestes und Pylades treten zur Seite. Während der Chor in die Orchestra hinabsteigt und sich dort bei dem Grabe aufstellt, nähert sich Elektra dem Grabhügel auf der Bühne. - V. 18 f. wird das aufregende Moment der Handlung angegeben.