216 95 26MB
English Pages 384 [344] Year 2004
Digitized by the Internet Archive in
2011 with funding from University of Toronto
http://www.archive.org/details/ajaxsophOOsoph
. cM>m:^^
^.
llfyMJ
:)c
A^
Sr^nfo, Ontario.
SOPHOCLES THE PLAYS AND FRAGMENTS.
PART
VII.
THE AJAX.
CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, C.
CLAY, Manager.
F. :
FETTER LANE,
©lasgoto: 50,
WELLINGTON STREET.
Eeipjtg: l^ein
3Sombag
anti
lork:
E.G.
F. A.
G. P.
Calcutta:
BROCKHAUS.
PUTNAM'S SONS.
MACMILLAN AND
[A// Rights
reserved.']
CO., Ltd.
SOPHOCLES THE PLAYS AND FRAGMENTS WITH CRITICAL NOTES, COMMENTARY, AND TRANSLATION IN ENGLISH PROSE,
BY
Sir
RICHARD
C.
JEBB,
Litt. D.
FORMERLY REGIUS PROFESSOR OF GREEK AND FELLOW OF TRINITY COLLEGE, CAMBRIDGE.
See^
PART VII. THE AJAX.
CAMBRIDGE: AT THE UNIVERSITY 1907
.AS
PRESS.
First Edition 1896
Reprinted 1907
^.^^t
Mc.^T^ vi
p?-^.
W
22933
.^
PREFATORY NOTE. The commentary not an
is
contained in
enlargement of that which
to the Catena Classicorum, but a
In
sending forth
this
edition
this I
of the
Ajax
contributed in 1868
new one throughout.
volume, which
finishes,
so
far
as
the extant plays of Sophocles are concerned, the task which I
began
the
in
1883,
I
desire to repeat
Syndics and to the
Press,
who have enabled
my
staff of the
the
work
acknowledgments to
Cambridge University
to be carried
on under the
most favourable conditions which publishers or printers could provide.
A
volume containing the Fragments of Sophocles
is
preparation.
R. C. Cambridge, September^ 1896.
JEBB.
in
TO MY WIFE I
DEDICATE THIS EDITION OF SOPHOCLES,
WHICH HAS OWED MORE TO HER SYMPATHY
THAN TO ANY OTHER
AID.
CONTENTS. Introduction
The Ajax
I.
§
page
Aethiopis.
The
3.
§
of the Iliad.
Legend
Aeacidae.
^.
that
The Ajax
§ 8.
(i)
of Sophocles.
unity of the play.
The
".
Ajax and the § 4. Ajax was invulnerable. The § 5.
The
10.
§
issue thus raised.
Analysis.
The
12.
§
His speech in verses 646
— 692.
cation
upon the Greeks.
14.
§
§
The
The Teucer
story of
(ii)
Dramatic
moods
of
His impre-
13.
§
The
divine judgment.
His scenes
Teucer.
16.
§
successive
11.
§
this part
of the
His Eurysaces.
§ 19.
Tecmessa.
17•
§ 18.
§ 9.
Modern criticism on The Chorus.
with the Atreidae. play.
§
Odysseus.
15.
6.
veto on the burial.
Ajax.
Athena.
§
SaXa/xtVtai.
(iii)
J.
The
Cyclic epics.
2.
Little Iliad.
Ajax-trilogy of Aeschylus, §
§
ix
Ajax
o{ Sophocles.
§ 20.
in later literature.
Illustrations
from ancient Art. §
Evidence
21.
for the date of the play.
The
§ 22.
title.
Manuscripts, Editions, etc §§ I,
§
Mss.
2.
3.
§
Scholia.
The
§ 4.
Proposed transpositions.
Lacunae.
text.
Iv
state of the
Interpolations.
Editions.
5.
Metrical Analysis
Ix
.........
Ancient Argument to the Play Structure
;
Dramatis Personae
;
Text
10
Appendix. Indices
3
-213
........... .
.
.
.
.
.
.
.
.
241
INTRODUCTION.
I.
§
Among
the plays of Sophocles there were many, as
and fragments show, of which the scene was laid at Troy, and of which the action was founded on the epics of the Trojan cycle. This series ranged over the whole course of the ten years' war, from its earliest incidents, as told in the Cypria, down to the
titles
of the city, as told in the Ilmpersis.
fall
nected with this
series,
but the Ajax
which actually belongs to
it.
The
Philoctetes
con-
is
the only remaining piece
story
is
taken from sources
than the Iliad, but the conception of the hero, though
later
modified by that later legend,
fundamentally Homeric.
is
the Iliad, Ajax, the son
In
from
is
The
of Telamon, comes to
and
Troy The
Ajax
on the //^^^ extreme left of the army, at the east end of the camp, as Achilles holds the corresponding post of honour on the rights He is an independent chief, subject only to the allegiance which all the chiefs owe to the Captain General, Agamemnon. There is no reference to his descent from Aeacus nor is there anything that connects him especially with Athens^. He has Salamis with twelve
ships,
stationed
is
—
—
;
—
^
//. II. 7
^
In the Catalogue only two verses are given to Ajax,
9.
Aias
'
\$
[€ ' '^
//. 2.
ayev
557
f.
:
vrjas
077^5•]
tV
The second verse is absent from our best mss. as it was from some of the editions known to Quintilian (5. 11 § 40). Aristotle {Rhet. i. 15 § 13) alludes to it as having ,
been quoted by the Athenians in support of their claim to Salamis, and the
inter-
polation must be at least as old as the date of their controversy with the Megarians {circ.
600
— 595
B.C.),
whether the author was Solon or not.
rejected the verse, pointing out that Ajax, on the extreme
left,
The Alexandrian
critics
had the Thessalians
for
INTRODUCTION, a well-recognised rank as being, next to Achilles, the greatest
army\
the Greek
warrior in
Gigantic
and shoulders than
a head
frame, he
emphatically the
is
In comeliness, too, he
fellows
his '
bulwark
stature
in
— and
'
—
of
of the
by
taller
massive
a
Greek
host^.
second only to the son of Peleus^ but huge Ares is the god to whom he is compared and when he is described with a smile on his grim face,' it is in is
'
'
;
'
the joy of
The Homeric
battle•*.
poet illustrates the qualities
— both
—
impetuous and obstinate by likening him, and then, when he is forced back first, by superior numbers, to a stubborn ass, whom boys, with of his valour
to a lion in his onset,
feeble but incessant blows, laboriously cudgel out of a corn-
Staunch and steadfast, he never fails his friends at need whether it be some individual comrade, such as his halfbrother Teucer, whom he protects^, or whether he comes to the In the absence of rescue of the whole army at some crisis^ Achilles, it is only Ajax who is a match for Hectorl The fields
—
Ajax
sevenfold shield^ of
not only his characteristic attribute,
is
but the symbol of his service, signal
defence
in
was next
to the
Athenians
is
compared
681), while Odysseus, at the middle of the
(//. 13.
329)
{//. 4.
but especially
in attack,
and as the mighty shield
:
on the right
his neighbours
—great
:
Strabo
in
camp,
9. p. 394.
Verse 557 may have been interpolated along with v. 558. If, however, it belonged it must originally have been followed by more than one verse
? . $
to the genuine text,
relating to Ajax, ^
) II. 2.
He
'
1340)
;
and
^. //.
3.
.
II. 17.
^ //.
7•
5
//. II.
^
As
fight ^
^
apiaro's
;
with Pindar (^.
Aias
Dictys
;
227
'^,^
2 79•
4. 5, etc.).
''€
''
28
^-
o0/)'
^
re
^
weXopios
olos
548—562.
The Greek
€,
|
with Alcaeus
(fr.
48 rov
with Sophocles
;
in later literature (Hor. S. 2. 3. 193 /leros ab Achille secundus
6
in the battle at the ships,
(//. 7.
Made
;
drep)
27
7•
chiefs rejoice
//. 8.
"^:
when
it
:
229
;
{.
Philostratus
TreXopios,
epKOs
22
266, etc.
when he wounds Hector
over the body of Patroclus (17. 281
combat ^
'
768
.
^
too important to be dismissed so curtly.
holds the same rank in the Odyssey (11. 468)
Heroic. 719 f 2
who was
(//. 14.
409
if.)
;
or in the
ff.).
falls to
the lot of Ajax to meet Hector in single
182).
of seven layers of bull's hide, with a layer of metal nailed on the top,
—as described
in //. 7.
219
— 223.
AJAX IN THE
ILIAD.
owner himself the Achaeans\
the Iliad to a tower, so
its
xi
elsewhere called 'a
is
tower of strength' to The Athena of Sophocles speaks of Ajax as pre-eminent not only for bravery but
This
prudence'-.
for
is
true to the
him in the Iliad. Once, indeed, after he has uttered a defiant and menacing challenge, Hector calls him 'a blunderer, a clumsy braggart^'; as, in Shakespeare, Thersites calls him a In another 'beef-witted lord,' and Ulysses, 'the lubber AjaxV place, however, when he agrees, at the herald's suggestion, to break off his combat with Hector, though he was having the his chivalrous opponent recognises Ajax as one to best of it, whom the gods have given, not only stature and might,' but *understanding^' His good sense is conspicuous in the embassy to Achilles, where he is the colleague of Odysseus and Phoenix. picture of
—
—
'
It
moment
he who perceives when the
is
has
come
for ceasing
Let us go hence for I do not think that the end of our message can be gained by this inexorable hero.
the
press
to
He
'
;
companions that it seems hopeless to move Achilles at present and then, turning to Achilles himself, he addresses him in words of frank reproach, but also of friendly appeal and of cordial good-will^ One trait, however, marks an important difference between the Homeric and the later conception. In the play of Sophocles Ajax appears as one who has offended Athena by the presumptuous self-confidence with which he has rejected divine aid in war. There is no trace of this in the Iliad. While he is arming for the combat with Hector, he exhorts the Greeks to pray that Zeus m.ay help him''. In the mission.'
out
points
his
to
:
battle at the ships, after splendid deeds of valour, he retreats
when he
perceives, with a thrill of awe, that, for the time, the
gods are against him^.
. ^
^
V.
^
II.
^
caKos
219
//. 7.
119
TLS
3• 824 Troilus and
^
//. 7•
288
^
II. 9-
624
^
//.
— 642.
6. 119
J. S.
tTrei
VII.
7'''^ ^'
Od. 11. 556 (of Ajax) tolos 'yap
^^
.
1
TrpovouffTepos,
2, 3• 3•
|
^39•
re
debs
^
Afas
body of
; . € ^^ - . ' . :
$7) €€$,
Cressida, 1.
',
battle over the
During the
//. 7•
re
193
|
ff•
re
|
^pya
d
INTR OD UCTION.
xii
when
Patroclus,
a thick mist has fallen on the
field, his
prayer
Zeus\ Such is the Ajax of the Iliad', a mighty champion of the Greeks in their sorest need a man of good sense and good feeling, sparing of words, but able to speak wisely in season loyal to his friends straightforward and unselfish frankly conscious of his strength, but placing his reliance on the help of the gods, and yielding, even in the fiercest struggle, to revelafor light breathes reverent
submission to the
will of
;
;
;
;
tions of their mind.
A
Ajax and Odysseus for the arms of the defeat and suicide of Ajax, is first
contest between
Achilles, resulting in
where the sullen shade of the injured hero refuses to hold converse with the victor. It was the goddess Thetis who set her son's arms for a prize 'the judges were the children of the Trojans and Pallas Athena.' mentioned
in the Odyssey^,
;
epics.
The whole passage
§ 2.
Cyclic
some
evidently presupposes
well-
The l^nown
Aethiopts.
work or works in which the contest for the arms had been related more at length. The scholiast says that 'the story comes from the Cyclic poets^' There are two poems, and two only^
which are known to have contained that 1
//. 17.
2
Od.
II.
645ff.
,' ^^^^
543—547: ' AiWros o'lt)
€€ iraides
On
-
''
'
the last verse (547) the schol. (H) says,
what grounds he rejected or because
it
it;
conflicted with
having better authority
;
or for both reasons.
()
is
One
is
the
^
,. ^€ ?.
It is
not
known on
whether because the verse was absent from some copies; some other version of the matter which he regarded as
suspecting this particular verse
proposed the prize
story.
;
The
context itself affords no reason for
on the contrary, the mention of the person who
most naturally followed by a mention of the persons who
would be maimed by the omission. W. Christ holds that Aristarchus was mistaken in condemning verse 547, and that it represents an early version of the story, probably that given by Arctinus in the Aethiopis {jfahr. f. Philol. 1881 p. 444): see also Kirchhoff {Ho??i. Odyss. p. 231); and K. F. Ameis ad loc. The whole passage relating to the contest of the arms may, no doubt, be later
made
the award; and the passage
than other parts of the ^
Schol.
on Od.
Ne/ci/ia.
11.
547
.
— THE AETHIOPIS.
CYCLIC EPICS. AetJiiopis,
— xiii
by Arctinus of Miletus, which may be placed about The other is the Little Iliad, which in later antiquity
^^6 B.C. was commonly (though not universally) ascribed to Lesches*, of Pyrrha, near Mitylene, and of which the approximate date is 700
B.C.
In the AetJiiopis, which contained the death of Achilles,
Ajax
played a foremost part in rescuing the corpse from the Trojans an episode imitated from the fight over the body of Patroclus
As
manner
which Arctinus conceived the the arms, only two details are known, (i) After the
in the Iliad.
contest for
to the
award, Podaleirius
in
— the physician, skilled
ailments, as his brother
Machaon was
diagnosis of obscure
in
—per-
the great surgeon
,,^
ceived a fierce light in the eyes of Ajax, and a weight upon his spirit,
which were the precursors of the end pa
.
:
re vory/na^.
^
222
As Carl Robert has pointed ff.),
the claim of Lesches
is
zmd Lied ('Arktinos und Lesches,' pp. much doubt. Hellanicus, himself a Lesbian,
out in Bild
subject to
Lacedaemon, according to the scholiast on Eur. Tro. 82 1 where Thestorides of Phocis and Diodorus of Erythrae are mentioned as other writers to whom the poem had been attributed while Lesches is not even named. The scholiast probably derived this statement from the Alexandrian Lysiattributed the Little Lliad to Cinaethon of ;
—
'
machus, a learned mythographer, whose work entitled ^
Schol.
'ApKrlwos
' II.
//.
515 (referring to the
Arctinus, on the skill of
Machaon and
skill of
is
Machaon
oh
often quoted.
in surgery)
'aoiKe
:
,'
[here he quotes eight verses from
Podaleirius respectively, ending with the two
which (i) the ended with the contest between Ajax and Odysseus for the arms: (2) the -rrepais, which (like the Lttt/e Lliad) probably included the healing of Philoctetes. The verses given above].
scholiast
Arctinus was the author of two poems:
. .
quotes these verses as being
^
It
has been supposed
that they occurred in connection with the contest for the arms,
the scholiast scholiast
is
ought to have said iv
right
— that the verses
healing of Philoctetes. vol. V. p. 29), If,
'
But
it
is
also
and
that therefore
possible that the
came from the Iliupersis, and had to do with the Mr Monro has remarked {yourn. LLellen. Stud.
Certainly, as
the two lines about Ajax have rather the appearance of a parenthesis.'
however, the
insight
skill of Podaleirius was thus illustrated by a glance backward at the which he had formerly shown with regard to Ajax, we can scarcely avoid sup-
posing that in the Aethiopis,
when
the contest for the arms was being related, this
observation by Podaleirius had already been mentioned.
clumsy and out of place,
if
the fact
was being noticed
an allusion might well suggest the inference that
The
parenthesis would be
for the first time.
Indeed, such
in the Aethiopis the contest for the
arms, and the effect of his defeat upon Ajax, were described with some fulness.
b2
——a INTRODUCTION,
xiv
Arctinus described Ajax as killing himself 'about davvn^' doubtless on the morning after the award. There is no reason
(2)
mentioned that delusion of Ajax by
to think that Arctinus
Athena which caused
The scanty
his slaughter of the cattle.
evidence rather suggests that the rage in the hero's soul was not
any deed of
he passed in seclusion, perhaps within his tent, the few hours of darkness between his It is highly probable that the older and defeat and his death^. simpler form of the Ajax-myth knew nothing of his insane onslaught on the cattle, by which Athena averted his vengeance from the Greek chiefs. The motive of his suicide, in this older version, seems to have been simply resentment at the award not that feeling combined with a sense of disgrace incurred by expressed
own
his
in
passage in the says,
'
Such
action.
violence, but that
Odyssey'^.
given also by Pindar,
It is
The Danaoi paid
by the
certainly the impression given
is
when he
court to Odysseus by secret votes, and
Ajax, robbed of the golden arms, wrestled with deaths' Pindar agrees with Arctinus in saying that Ajax died about dawn coincidence which can hardly be accidental ^
—
^
6
7\
Schol. Find. Isthm. 4. (3.) 58 avekelv.
^
We
leirius
have just seen that, according to Arctinus,
who
'
first'
symptoms
detected the
it
was the acute physician Poda-
of anger and deep mental trouble in Ajax.
This clearly implies that Ajax, though with rage in his soul, retained his self-com-
mand. the
What
tragic
the physician
event
— the
was
'
the
first
understand the force of irpQTos
.
'
to see, others
saw only
which so quickly ensued.
hero's suicide,
The
antithesis
might
in the light of
So,
at
I
least,
be, of course, with
the later perception caused in others by an outbreak of fury on the part of Ajax: but, in connection with the fact
that he
immediately after the award,
seems
^
this
was here represented
as
dying almost
less probable.
Od. II. 543 ff. not merely because it is silent respecting madness and outrage, it implies (556 f.) that Ajax had died, like Achilles, in unclouded renown :
but because
—without having done anything (v.
to offend the Greeks,
726) threaten to stone Teucer, as
'
the
who
in the play of
kinsman of the maniac, the
Sophocles
plotter against
the host.' ^
Ne??i. 8.
26
f.
Precisely the
^
award
diate consequence of the
KapTepbs A'ias
$
—
is
same impression conveyed
$.
\
— that
€$
the suicide was the
in Ne7n. 7. 25, ov
imme\
6
Eustathius (p. 1698. 51), in commenting on Od. 11. 543 ff., thus closes his paraphrase of the account given by some Others' (who probably include Arctinus)
Isthm.
3•
above, note
i).
^
53
^ , , \
[?]
At'as i.e.
'at the
.
end of the night, '=:7rept
(see
—
THE A There
PIS.
another point, however,
is
;
xv
which
seems probable According to Pindar, the Greek chiefs
that they diverged.
in
it
were the judges in the contest for the arms. This account, which Sophocles follows, is fitted to win sympathy for Ajax, who appears as a victim of jealousy and of ingratitude on
men who had
the part of
the best reason to
know
that he
was
second only to Achilles. But the Odyssey testifies to that other version according to which the judges were the children of the '
The words
Trojans and Pallas Athena.'
— The
of the scholiast* there
from the Cyclic poets. Agamemnon, on his guard against seeming to favour either of the competitors for the arms of Achilles, brought some Trojan prisoners, and asked them by which of the two heroes they had been more injured,' etc. There is no reason to doubt that
deserve attention
the scholiast
:
story
'
knew
is
of this account as given in some
poems) of the Epic Cycle.
poem
(or
assuming that he invented this statement to explain the verse on which he was commenting. But the AetJiiopis and the Little Iliad are, so far as we know, the only Cyclic poems to which his allusion could refer. And in the Little Iliad the award of the arms was decided, not by Trojan prisoners in the Greek camp, but (as will be seen presently) by Trojan opinion reported from Troy itself. Presumably, then, it was in the AetJiiopis that the Trojan Since that poem dated from the prisoners acted as judges. 1
on Od.
Schol.
There
no warrant
is
for
,€ ^$ ^ , \$ ^»', Eustathius
ii. 547.
(p.
1698) cannot,
I
think, be regarded as
a witness of independent authority on this point, though that has sometimes been
.$ 6\ ^,
assumed.
...
Commenting on
.
Here he
is
he says:
7rat5es 5e
KoiVros [Quint. Smyrn.
{2)
€€
5•
128
€
repeating, partly veroalim, Schol.
simply 'Mi- Trojans,' with Athena
with this version
— as
— and
tols
ff.]
^
adds nothing new. Thus he distinguishes two versions, in connection
ore (i) ol
^
in the
Odyssey.
for a reason
on
Oct. 11.
which can,
I
Quintus makes Nestor say, 157)•
Eustathius noticed or remembered
Quintus meant the Trojan prisoners (2)
The
version given
was manifestly known reproduces.
in the
— but not that, by
camp
— in
(as
which he
,
think, be perceived
...
(5.
the Nestor of
he presently explains,
v. 160).
—
which ^Ae Trojan prisoners judged Eustathius only from the scholium on the Odyssey, which he
by Others' to
this,
547, to
That in which the judges are He names Quintus Smyrnaeus
(i)
(^repoi)
INTRODUCTION.
xvi
earlier part of the eighth century {circ.
776
B.C.),
the verse in
the Nekyia of the Odyssey^
^,
may have been founded upon
great part, older, probably, than 800 received
some additions
centuries.
It
is
in the
it.
B.C.,
The Nekyia
is,
in
but unquestionably
course of the eighth and seventh
not necessary, however, to suppose that the
Nekyia was here indebted to the Aethiopis. Both may have used some older source now unknown. When the Homeric poet associates Pallas Athena with the Trojan judges, he need '
'
not be understood as conceiving that she actually presided over the award,
— as
in the
of the Areiopagus,
Etnnenides she presides at the
—but
first
session
merely that she influenced the minds
of the arbiters. The
% 3-
Little
Iliad.
The author
spirit quite different
of the Little Iliad seems to have worked in a
The
from that of Arctinus.
Aethiopis was
more in the temper of the Iliad while the other poem had more affinity to the Odyssey, more of the lighter Ionian vein, and a larger element of romance. The contest for the arms was managed in a way which indicates the desire to avoid imitation of some earlier poet who had referred the award a grave epic,
\
By
to the Trojan captives.
Nestor's advice, the Greeks send
hope that they may overhear some Trojan comments on the rival Greek heroes. The spies are fortunate. At that very moment two Trojan maidens are discussing Ajax and Odysseus. One of them deems Ajax the braver, since he carried the corpse of Achilles out of the fray. even a woman The other, inspired by Athena, reproves her can bear a burden, when it is laid on her, but she cannot fight'; and added, doubtless, that it was Odysseus who had proThe Greek chiefs, on hearing the report tected the retreat. Ajax, of their messengers, adjudged the arms to Odysseus \ spies to the walls of Troy, in the
;
—
'
—
—
^
' ' , {^ ? , '
Schol. on Ar. Eq. 1056. At'as
The
^7
The second answered
first
.
irpovoia)
TTcDs
maiden
said,
cteipe
8ios
^Odvaaeus'
iirei
Kev
:
'Genre's;
;
€
'
— THE LITTLE stricken with frenzy,
of the Greeks
made
ILIAD.
xvii
the onslaught on the flocks and herds
Agamemnon,
and afterwards slew himself \
:
probably by the counsel of the seer Calchas, decreed that the body of Ajax should not receive the customary form of funeral should not be burned, but should be placed
i.e.,
in a coffin,
and
Here, then, we have two traits which are distinctive
interred".
by Sophocles, the onslaught of the mad Ajax on the cattle, and the idea that, after his death, his body was liable to be treated with some degree of penal dishonour. Both these traits, so far as can now be judged, were peculiar to of the story as handled
the Little Iliad.
In
the other version
— that
indicated in the
Odyssey and by Pindar, and probably given by Arctinus
— Ajax
died guiltless of offence against the Greeks, and received, like
and uncontested
Achilles, the spontaneous
tribute
of public
mourning. Before the age of
§ 4.
Attic
the
dramatists,
the
Ajax
legend received some further developments which were probably
unknown to the of Ajax among
One of these was the enrolment The Iliad bestows the name of
Cyclic poets. the Aeacidae.
^)7
^
he inadvertently wrote
this
in
object
with
mind an
in
The scholiast may have derived Didymus on Sophocles, mentioned
of
viov.
above them being merely
construction of
illustrate the
to
itself (326),
'.
a remarkable
The
veov.
to the scholium on E/. 28.
1225 by quoting
the
place.
its
is
a superscript
V.
...
'I'ricHnius for insert-
^' iaTw
:
compounded from Ai. 326, ' tl and Ant. 242, fixed to it, probably denote Didymus (the a mark cahing attention to the note); they This verse
)
is,
As the metre shows, there The schoHum runs thus: means that an irrational long syllable is subordinary time- value of a long syllable,
() ,
—
v.y
'
'
stituted for a short.
At the end of a
The
equal to -. regular metre)
The end
marks a pause equal
verse,
by three dots placed
off
period
'
(a
'
closes
if it
it,
it
, , called a
is
||.
marked by
is
or prelude
epode, or postlude.
/€09,
(marked as
Strophe. dactylic
Parodos, vv. 172
Metric^
— Dactylic,
sentences,
— ^1
|( p.
Cp.
W.
'
Doric
— ^ ^ — ^ ^
— ^1
41.)
in the
Such
.
:
or,
may
then called
is
verses
Christ,
Metrik
,
?
§
are
— 200.
form, which combines purely
'
with
H. Heinrich
(J.
consisting of dactyls with the
them.
.)
mesode, or interlude.
I.
I
|.
Similarly a period
be grouped round an isolated rhythmical sentence, which the
\
introduces a rhythmical period without
If a rhythmical sentence
an
vertically,
'
sentences, corresponding with each other)
it,
7\ a pause
v^,
sentence,' is marked by The combination of two or more such
of a rhythmical unit, or
end of a rhythmical
belonging to
to
anacrusis of a verse (the part preliminary to the
marked
is
:
also
the
liveHer
Schmidt,
called h^.vr(.po%
measure,
Rhythmic
'dactylo-epitritic,'
(—
v^
)
aiid as
prefixed to
662 ('Der daktylo-epitritische Strophen-
METRICAL ANALYSIS. first
strophe (vv. 94
— I.
I.
\€
The same measure occurs
bau').
—
v^
vy
pa ae
y)
ov TTore
—
—
v^ -/
\^
3. I
ev
\
I.
\
2.
\
/cat
— ^ 3.
|
_
|9
/\
]
77
ctti
:
\
\
—
\^
—
—
vy ./
—
— |9
\y \^
\^
^~~
—^ 3•
^a^avjats
/ ;/ .
\
€| \
^ —
_/
||
^
€|€
ica/c|ai'
|
|
^^ \y
•
|
6 —
\
v>y
\ —
7€| /]9 ||9 /3] €\ \\os
II
—
\.\ \ >
—
-/
\ \
||
\
dochmiac
Choreic, with a logaoedic tripody
III.
IV.
Ixv
\
f\
]]
J]
f\
logaoedic
Ixvi
V.
|
—
> I.
—
\^
j
\^
^-
—
«w»
||79
|
\$
raWuvv
\os
•
2.
METRICAL ANALYSIS.
€
\€ [
]]
[At the end of the third strophe Tecmessa has two iambic trimeters, 410 answering to those of the Chorus at the end of the third antistrophe, 428
dochm. = 7r/3.
I.
(.,
f.]
III.
II.
jdochm.^ [dochm.
jdochm. I
dochm. >'
IV.
5
-
.
V. 2 2
2
First Strophe.
— Logaoedic
\\
in IV., with free resolution of
I.
I.
\j
—
—
?
—^
>
|€
as
>
—s^
.
ey
/ 2.
:
ev
|
—*'
\j
— \y |
act
]|
\av\os
7|09
\
\€^3
j/w
\
\
«
lav
cww/xjat |at
\
\\
vy
|
ots jueya
\
|
,\ €\ — € — |et
j
evSac-
vy
\€\
e^e
v--.
— >
^
|/|
•
6 -»
—
\(.
\q,
.
\^
IL, and III.
at-
\
7| 7€\
3.
into
I.,
v^ v^
j
\^
e0|e5pos
lecrrtJ/
—
—
\^
Periods
in
— v^
—
\^
[wevros
2.
€7.
First Stasimon, vv. 596—645.
IV.
>
=
]]
:
choreic
;
METRICAL ANALYSIS. III.
I.
'\
I
/€|5 epya
irpLV
Ixvii
||
\otv
I
2.
€\
av
\
I
|as
;
IV.
TTor
€Tt /xe I
a0tXa
Trap I
I.
aper
[as
v^v^
—
f\
0
e
jois
II.
Verses
each
while
i,
of the
1.
7}
|
|
|e
/xeXe |ots ar/)|et5
III.
;
3
=
and
€7.
v.
4,
3,
forms the epode.
9,
|
\
,
;
|
:
'
_/
—
| —
-^
|as
||
^
-y^
otKTp|as
\
[
\
^-
||^
^ \^ | |
/€
os
yeve
1|
^^
irarep
7.
\\
\
\ \
^I'l'Tpo^lois
> o/ryats
vlv
a/xep
./
\
\
(\\
|
€\
\^
€v aT€pv\oLaL
\
9.
—
\\\
—\J
v^
7|9 /|/
|
\
I
Strophe.
j
[epde
Hyporcheme
V.
|
\ep€\pev
rts e
J
|5e
\
(serving as Second Stasimon), vv. 693 718.
— Logaoedic,
—
measures of four or
in
six
variously
feet,
combined.
I.
-$ €|'' $
€
Trepi^apl^ys
;
—
«^
\^ \^ \y
||
\
\\
\
I
|
|
v^
\€7\
|
| \
|
|
\
\
|7€ || |7| \\€\ 7| |?
2.
'€
7€
at
— 07
\
|
[
|
\
> | |
\
\^
yap
'^
—
e/x|ot /AeAjet yu.e7|cts
—
\\ \
ve
xpov\os
/\
\os
€|5
/ 5.
eu
\\
—
> |
^^'
;j(opo|7rot
atas
los
|^
TraXkv
/ |^ \\ ^ €\ |
\
^
e|
«w/
/|€
\€
^/|
|
]|
Ht/wct
|
\q.
.|^
|^5
€\\.
— METRICAL ANALYSIS. II.
— \{
I.
' // ?/
\y
7€|€/
V7r|€p
\
.\
Kovhiv
Ixix
7||/
/|^
au
\\
evre
y
€ -^^
\
||
||
L-
€|/"|
as
^
/ieTai'je7i'|
\
>
-
ۥ
2.
|€t
\€
?;
| |
\ais
ey\\w
re
|
€
|/
^/
]]
.
.
4 4
4/ 6 =€7.
4 =
Lyrics of the Third
VI.
Verses 879
— 914
Kommos,
The correspondence
Verses 925
— 960
(c)
lyrics
and
form the Antistrophe. is
:
ANTISTROPHE.
879
— 890 lyrics
— 899 trimeters 900 — 903 904 — 907 trimeters 891
(d)
— 960.
of the consecutive parts, lyric and iambic,
STROPHE. (a)
vv. 879
form a Strophe, composed partly of
partly of iambic trimeters.
as follows
.
— 936. — 945. = 946 — 949. =950 — 953. =954 — 960.
=925 (broken by exclamation) = 937
lyrics
908
— 914 lyrics
The Strophe trimeters for
is
separated
Tecmessa
(vv.
iambic
— 924). At the close of the Antistrophe 961 — 973), which form a kind of epilogue
915
she has thirteen trimeters (vv.
Kommos. The lyric metres
from the Antistrophe by ten
to the
rhythmical
periods
of
are
dochmiac
which
the
and
Strophe
The
logaoedic. is
below, have these metres in the following order.
composed, Period
I.
several
shown Dochmiac. as
'
METRICAL ANALYSIS,
Ixx 11.
VI.
Logaoedic.
Dochmiac.
I,
rts
ojv
:
2.
•
2.
€€
—
\^
/
'^''
\
,
€
|
—
>
arpeib
—^
|ats
—
_/
/\
|
:
:
y€ ''"
^
^
as
|
|et
]]
/| /| ||/ ||' ? el/ceiiOS
-$ |
—\^
—
\y
,€|
TreXaajat
—
\^
/
•
[
'
|
/
|/
\€
^
vy ||
/;
|?;9
—
^^
—
- €\
—
ottJov ]]
() 900—903 =946—949• ||
\
6|7€€ |^ e^po
>
€|€/
€\k€lt
— — / '^ €\ |/ ' -^ ^
/|
\
ryi/ov
—
—^ ^
2.
17
rota
|
\
\
.
J
76
et
|
^ | | /^
/
2.
\\
\
€|
^ —
7^/€|
^"-
•
f\
(«) 879—890 —9^5 93
\
— ^—
III.
Logaoedic.
^7|^ 7/|
--'
5.
\
|
70']'
66^€5 4.
V.
—
\^
€\\€
\
xpov
| \
—
|/,7| €\
''"'^
'
3•
—
v^
\ ||7
c;(
I
'
H^ceXXes
e
\
V.
av
||
TaX|as
—
v^ —
I
/) eiSav
|
\J
^ [6
|
—
I—
^y
—
\j
yvv\aL
/\
|
aTr\€ipy\oL
]]
|os
|/ |1 € | \ ^ €\\ \\ ^ , «| ^^_>_ >^^_>
> VI.
—
.\. ]9
\^
e^7
—
—
1|
_
—
vy
.
€
ye\
Se
\g.
\
.\-
:
:
W '€\\
Kurai
Iw
— «^
-»
'^
vy
7||5
>>-'
(r)
]]
908—914
""954
\
—
•
2.
3•
—
^
__ ^-
^
at/>ta;^^|>79 |€t
VII.
Ixxi
re
|
|
\
|ots
\
;7€|9
7| |
^'
||
|
|
\
[tv
\qs
\
/,? \\€$
^^'
fdochm.\
]]
|
dochm.
h=Trp.
dochi
(^dochm.
^rdochm. (^dochm.
IV.
•
=
.
V.
4
3 \ '
/I
VII. First Strophe.
VI.
•
4 >i
\
^
/
,
;
dochm. dochm.
dochm.
Third Stasimon, vv. 1185
— Logaoedic.
VII.
.
I.
Two
— 1222.
verses,
each composed of
two logaoedic tetrapodies (Glyconics), separated by a dipody. Glyconic verses.
II.
Two
9
•
>
METRICAL ANALYSIS.
Ixxii
\^
1.
KJ \^
vcaros
Tt9
eg ttotc
j
2.
/ |7
\
^^ |||7 ^
aiei/ e/>i|ot
[
;/77
/cetiOS
7|7||/
/\\
\
\
I
\\€
|
I
e
|os
—
>
11.
.
/ i
€|€
/
:
2.
;
/ceii'
:
|/
|
/\
\\
'^
— >
—
eWav
/\
1]
\
.
Second Strophe.
— Logaoedic.
versus Adonius) as epode.
II.
two tripodies (Pherecratics)
Verses
|6 (€/|
\
KetlOg I
/cat
2.
Trpt;/
$
€ \€
\
kvXlk
\
'—
~-^
e|/xot
|
repi^tv
\
4•
€
8 ;
yXvKvv
d'lOVTos
5•
\
|
tls \
6.
^ —
|€ 5\ -^
|
\
|
]]
|
\\
\
^
A
\
,\\ ^ —^
3•
\
|i
— >
^y
op.|tXeiv ||
| \
|
ci/w;(t
$
aias
/5|/
'^\ | \
i
and
3 are
composed each of
and 4 are Glyconic.
vv. 2
:
Glyconics, with a dipody (the
I.
> €
]]
j/cotiOi'
|]
.
I.
|4
7|'
|ot
/ /|€9 OS
/>;(^[
[*
|I
—^ —
> —^ ^
;
\\ \ | €\ \
||/
07r\|
|
\\
— \^ €€]/ apjt^/>t|o9 v-»
METRICAL ANALYSIS. II.
€p
7f
2.
•
' 4•
»'
J
:
Ketyu.
3-
| [ ^— —
\j
I.
€]|| *
ot/xjai'
at
\
—vy
\^
|
\
:
|
j
^
as
.
||
||
|
|
\\
ras
rpotjas
j
:
''
|
|
"| \
\^
/xot
/| |9 €/€ '
7rvKLi\aL ,
. ^ , "^ ? . €), ^, ^, / . ^. • . ^ ' , -, . '* ^ /,, , , , ^. , yoLf)
iv rfj
/
TT/Xeoj/
5 ooKeti/
,
, ' €
apiarivCLV Trept tt^f
Tt
€7'
re
o^ev
/co/xtSr/v
irepX
T17S
di/eiAc
yaci/
'
^^, 6
tis
^
oV
Clival
'
^
6
6
Trje
Avith
18
.
with partic.
the act observed, as Xen. Cj/r. 8.
'
€
.
For
'/'/,
uses of Remark 1296.
€
95,
cp.
( ',
word
1.
of 33 .
,
different
£L
960, of 3rd before it cp.
2nd
as
foot, referring to the
.
slightly
syll.
:
AfiL 166, 723.
19 moving round and round, going backwards and forwards in the attempt to make out the footprints, like a hound questing about
. $ .
—
for the scent.
Cp.
eis
7'
yudev
it (//.
masc
Lucian.
Homer
similes, as
is
Diodorus and
Strabo, Plutarch,
$ (€'(> $;
likened to
%
' {') ^$ . € ''
Thuc,
which Herodotus is the earliest witness (i. 94), were of Lydian origin and the bronze trumpet may have been a Lydian invention (see DicL Ant. 'Tuba'). mentions the trumpet only in
comm.
Sens. 6 p. 446 U,«»«'^iv«-
—
24
.
..
' ^ . [ . 6.< , . . 4^ . . . € ^. . , ^, (€
Ihrj
ye
einep
;
SeSopKora.
,
yivoLTO
TL
SevTepov
, ^ ' ^ . . ' ^, & ;
9°
;
2.
2 ^,, . . .
85
95
. ;
-
has
^
ibetv instead
,
of
[Campb., by an oversight due doubtless like the other MSS. 89 Kvpetv ,
it
.
has
^.^
At'as]
.
In
L
7;/"
and the same
'u.
I.
. ] in the
is
to v. 82, attributes 'okvijil to xeXas] Nauck conj.
,
83
the ist
hand wrote
which a
L in
marg. of Pal. v. 81, where,
88
later has altered to
brunt of this 88 § 2 ('to face any numbers'). takes a dai. when it means But to 'make place for' (672), or 'give way to' {PA. ^105^). refers to in 82 83 'even as it is {i.e. though he is insane) thou hast no i-eason to fear him, since he will not
assent ('well, certainly'), as so often in Plato {e.g.f Soph. p. 245 XeyeLs). not ^eas, the gene-
see thee.'
shades of meaning,
'
('to
. .
elude
the
Cp. Thuc.
argument').
2.
:
Tois avTots, i.e. with 84 Odysseus foreyesight as good as ever. gets, or ignores, the promise of Athena that she would ave}•^ from him the eyes She now renews the of Ajax (69 f.). assurance in a stronger form. Ajax shall, in respect to him, be blind. properly implies keen^ 85 bright vision Aesch. Siippl. 409 dedopKos (with Tucker's note). Chrysippus Gellius 14. 4 bebopKos a/>. (said of Justice), which Gellius renders, hiviinibus ocidoriim acribits. .
.
'
:
' €, 86
voiTo
(Dem. etc.).
'
,
...
h.v
kv
:
cp. Her.
. 5.
9 7^-
—
a crasis frequent in Attic prose i § 26, Plat. AV/>. p. 375 d, Here expresses reflective or.
—
ralising masc.
,
—
Aesch.
:
Athena), eXdoi' k\U€l
So
debs.
A7it.
463
Emu.
297
(ref.
to
be /cat
{ {),
(oVrts),
Tr.
151
{-
1026 ), EL 145 771 {iyXeipouvTo), 1105 -). 88 €.' . Among many (5s),
its
'
the opt. with av sometimes expresses, as here, M^iat the
€
speaker feels that he /mist do; cp. Ani. 1 108 See (.). ' below, 186. as Ph. 1278, and ib. 1239 . so with ib. 427» 13481 and 7'r. 734• For without see 1400. CKTos to be clear of the peril cp. Ph. 504 ib. 1260
'
,
?
, —
:
:
:
. .
€, $
$
$
8 fr.
,
.
657• 3 ^ktos eiVt
—
,
.^ :
Al'as. When a proper 7 of the 3rd declension comes from a stem ending in (as the Attic vocative ends in as: so Ooas, Eur. /. T. 1436. The Homeric vocative of At'as is always Aiai' (a), formed on the analogy of the voc.
89
name
, —
:
'
•
),
—
.
—
!
!
—
—
25
Nay, even now, he
though thou
shall not see thee,
art
near.
How
he still sees with the same eyes ? darken them, though they are open. Od. Well, all is possible when a god contrives. Ath. Stand silent, then, and stay where thou art. Od. I must stay. Would that I were far from here Ath. What ho, Ajax, once again I call thee is this thy
Od.
so, if
will
I
I.
—
!
scanty regard for thine ally
A J AX,
Enter
?
Jiolding a blood-stained scourge in his hand.
Hail, Zeus-born maid How well hast Hail, Athena Aj. Yea, I will crown thy shrine with trophies thou stood by me of pure gold for this prize Ath. 'Tis fairly spoken. But tell me this hast thou dyed thy sword well in the Greek camp } That vaunt is mine I disclaim it not. Aj. Ath. And perchance turned thine armed hand on the !
!
!
—
;
Atreidae
?
oXav, but the accent remains, and the is still clear. The form A^as is also supported and Mosq. b; also by Eustath. p. 1469. 59, Greg. Cor. De Dialect. Ait. here by But A, p. 53, and Choeroboscus p. 105. 13 (ed. Gaisf.) = Bekker Anecd. p. 1183. with the great majority of the later MSS., has Mav, and so the Aldine. 96 MSS., and Aid. Wecklein writes as proposed, after Herm., by Nauck (who
,
:
in his text,
however, leaves to
).
97
,
in as Kpeov (stem KpeovT). vocatives (//. i2. 231), {Od. 8. 14 [) are exceptions, due perhaps to a sense that here the ending -av might suggest an accusative. there is a terrible irony in this, since he had angered her by rejecting her aid in battle (774). 91 Ajax enters from the tent, carrying the heavy, blood-stained thong, with which he has been scourging the cattle Hence the title (241 f.). (see Argument to the Play).
from stems
The