PA- CORNELL UNIVERSITY LIBRARY 3 1924 087 948 166 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924087948166 Clanitirott '$xk»n ^nuB SOPH OCLES CAMPBELL VOL. I. HonlJon MACMILLAN AND CO. PUBLISHERS TO THE UNIVERSITY OF <©xforlj Clarenlron ipresiss ^trieg SOPHOCLES EDITED WITH ENGLISH NOTES AND INTRODUCTIONS BY LEWIS ^AMPBELL, M.A., LL.D. PROFESSOR OF GREEK IN THE UNIVERSITY OF ST. ANDREWS IN TWO VOLUMES Vol. I OEDIPUS TYRANNUS. OEDIPUS COLONEUS. ANTIGONE. SECOND EDITION, REVISED AT THE CLARENDON PRESS MDCCCLXXIX \^All rights reserved '\ A' /06-yz, \ CORN UNIVERSITY LIBRARY <> ■?^-^ am 3 BElfJAMIIf JOWETT, MASTER OF BALLIOL COLLEGE, REGIUS PROFESSOR OF GREEK IN THE UNIVERSITY OF OXFORD, DOCTOR IN THEOLOGY OF THE UNIVERSITY OF LEYDEN, THIS WORK IS DEDICATED IN RECORD OF A FRIENDSHIP WHICH IS THE CHIEF HONOUR AS IT HAS BEEN A CHIEF SUPPORT OF MY LIFE. L. C, PREFACE. In bringing before the public a second edition of the first volume of this Sophocles, my thanks are in the first place due to the friends who have called my attention to some of the numerous defects and errors of the former edition ; espe- cially to the Master of Balliol, to whom I now venture to dedicate this work ; to Professor Lushington, to whom I owe more than I can estimate, and wish that I could owe still more ; to my friend and collaborateiir in the smaller edition, Mr. Evelyn Abbott; and to my former pupils, Mr. John Masson and Mr. W. G. Rutherford, whose interest in my labours has been of great assistance to me, and without whom this volume would have been less accurate than it is. Mr. Rutherford and Mr. A. J. Ashton have prepared the index. Another friend and former pupil, Mr. Hugh Campbell, has re-collated Par. E. To the criticisms which appeared in the Cambridge Philo- logical Journal \ in Hermathenaj and in the Revue Critique, I trust I shall be found to have given the attention which was merited by the position and reputation of their authors. They contained valuable suggestions on points of detail, and also raised some general questions on which it is necessary that a few words should here be said. I. Dr. Kennedy objects to the scant mention of previous interpreters in the explanatory notes. In doing so he is ' I must own to having derived benefit sometimes tempted the remark, S 7CI'- from Dr. Kennedy's 'Studia Sophoclea,' vmt, ■rrpa6Tep6i> fie^irpoSiSaafcf, i'va ^^ although his magisterial style may have iirocpoiT-fiaai dni aov. VIU PREFACE. consistent. It is now a quarter of a century since he made the same objection \ though certainly with less of acri- mony, against the edition of Schneidewin. And the quarrel is still older, for his criticism of the German editor in this respect may be viewed as a reply to Hermann's not un- gracious remark, that Elmsley would have done better to adopt a less discursive method of annotation ^. I am not aware that Schneidewin ever made rejoinder. But the grounds of his procedure are evident. He was writing not for editors but for students, whose attention ought not to be unnecessarily distracted from their author at every turn to judge between the commentator and his predecessors. The practice of minimizing such references has of course its limits. It is at once admitted that where a conjectural emendation is adopted, the name of its first author should be given. Even this, however, is not always quite a simple duty. AtKoXAouo-t for iKKoKovai in O. T. 597 was conjectured independently by Musgrave and L. Dindorf with more than half a century between them. The credit of the emendation was at one time claimed for the name of Dindorf. It is now modestly ascribed to Musgrave. His words are : ' Fuit etiam cum de alKdXkovai cogitarem : sed videbatur ea vox turpem potius assentationem, quam honestam petitionem significare.' A sentence which places the editor who adopts the conjecture in this dilemma : he must ascribe it to one who was not the first to think of it, or to one who has declined the honour. Again, Xpijcrrois has been proposed by more than one critic as a correction of xPW^ds in Ant. 34 ; but xRW^ols bUaia is under- stood by one to mean 'Just meed of virtue,' by another 'What good men approve.' Here are two emendations and not one only. Suppose the sense last thought of to be ' ^Dr. Kennedy's review of Schneide- scriptum est.non tam hi scriptoris causa wins Sophocles appears in the Cam- facti esse, quam scriptor, ut commen- bridge Journal of Classical and Sacred tarius scribi potuerit, editus videtur ' Philology for 1854. Herm. Opusc. vol. iii, p. 144, ed. Lips. 'Si de rebus alienis in commentariis 1838. PREFACE. ix right : — Does the credit rest with the inventor of the phrase or with its true interpreter ? It is hkewise admitted that where a fresh interpretation is so recent as to leave room for doubt as to priority of author- ship, it should not be adopted without acknowledgment. But more than this in a subject so long worn as Sophocles can hardly be demanded. Originality cannot be claimed with- out priority, and the proof of priority may be left to the critical reader. Beyond this point the method to be followed becomes a question of discretion. Prudence of a certain kind may suggest that contemporary opinions should have a prominence out of proportion to their merit, while the in- genuities of former generations are allowed to sleep. But a higher prudence demands that the interest of the student should be steadily kept in view. And this being so, it cannot be expected that an editor besides stating his own interpre- tation should distinguish it from others that are similar but not the same'. Neither ought it to be required of him that in stating a known interpretation he should always count authorities in its favour. And if not only previous editions but the chief reviews of them, and by parity of reasoning, articles in the Rheinische Museum, Philologus and the Neue JahrbiJcher, together with observations made by the historians of literature and the writers on metre, are to be laid under contribution, the central work will soon be buried under the irdpfpya. It is at least surely permissible to edit Sophocles without doing this, and one who happens to be more versed in the text than in the literature of his author may be allowed to give in his contribution without being made to stand and deliver what he knows about other men^s opinions. An edition of Sophocles is no doubt conceivable in which the plan of Elmsley's Oedipus Coloneus should be con- sistently carried out. It would be a work of great labour, but, in the present day, one of doubtful utility. The list of ' For examples of the difficulty to which this would lead, see Ant. 31 ; O. C. 308. X PREFACE. interpreters, which in Elmsley's preface occupies a dozen closely printed lines, would probably extend to as many pages, and the commentary (290 octavo pages on the single play) would have to be lengthened in proportion. It may be perhaps suggested to draw some line of pre- scription ; say, at the year 1854. But we should then only be leaving out what is less in bulk and often superior in value. Thus Dr. Kennedy has made no reference to Musgrave, who certainly does not deserve to be forgotten. Few critics have been more fruitful in suggestive hints ; and, in particular, by conjecturing fi;ja/3oAas fiovXevjxaTuiv as an emendation of O. T. 45, he put forth a view of the context of that difficult line, which has since his time been more than once maintained. II. My observations in the Essay on the Language of Sophocles appear to one critic paradoxical, to another common- place. These opposite objections may be left in equipoise. It would have been better worth while to show that what is there said was either {a) false, or {b) useless. a. Dr. Kennedy does not deny ' the unsettled and trans- itional condition of the Greek language in its most glorious age— that of Pericles '—but thinks that I have stated this ' with undue exaggeration.' It is possible that in handling what seemed a neglected truth, I may have here and there spoken with extreme em- phasis ; and there were certainly some crudenesses, which have been removed in revision. With much of what Dr. Kennedy says about the Common-Law of Language I agree in sub- stance ; and if the general subject had been in question, I should have enlarged upon the truth that the freedom of Greek syntax, as compared with Latin, and still more with that of any modern speech, is a pervading attribute, belonging in some degree to every stage of the language. It is not meant that Aeschylus or Sophocles broke away from existing modes of expression — there are few idioms of the tragic or any other dialect for which analogies may not be found in Homer— PREFACE. xi but that in a time when language was unusually plastic each writer had his characteristic ways of moulding it, and that the ways of Sophocles were original and very subtle. ' Common- Law,' however, is a less philosophical term than ' Sprach- bewusstsein' (speech-consciousness), for which Dr. Kennedy makes it an equivalent — 'Sprach-gefiihl' would come nearer to what we both mean — and for this very reason, that the former term conveys the notion of something fixed and outward in the place of something that is inward and free ; it puts that which forbids in the place of that which inspires. Adopting however, for the moment, Dr. Kennedy's figure of speech, let me remark that there are periods of history (i) in which the Common-Law is definite but unwritten, others (2) in which it is rendered uncertain by the introduction of new elements, and (3) that long before a digest of it has become possible, its principles and application in the usage of the courts have been growing more and more imperatively determinate. Now, what is meant by a fixed grammatical rule ? In one sense, as Dr. Kennedy truly says, there is no such thing in Greek Literature of the Classical Period. The 'Common-Law which is Greek syntax' remained uncodified 'for more than 200 years' after the time of Sophocles. This is part of what I meant to affirm. In proof of it I adverted to the recognized difference in point of regularity between a Ciceronian period, and a sentence of any classical Greek writer-'- Redundant nega- tives, the apposition of clauses, attraction in its various modes, the return from a dependent to an independent construction, the use of the primary conjunctive in past time, these and other irregularities can hardly be said to exist in Latin ^. But ' In the present edition I have sought 6. Such anomalies, although not ac- to obviate the effect of a too isolated knowledged,exist even in published writ- treatment, by occasionally inserting be- ings of the nineteenth century. Thus Dr, tween brackets examples of correspond- Kennedy can speak of ' undue exaggera- ing idioms from other Greek writers. tion,' and one of our chief contemporary On p. 62, in 11. II, 12, and n,i^, the two masters of English style has written examples from Pindar have been acci- or at least printed as follows : — ' No dentally transposed. Students are re- event is too extraordinary to be im- spectfully requested to correct this error. possible.' ' Cp. Herm. Opusc. vol. iii. pp. 145, xii PREFACE. I assert more than this, and more is admitted by Dr. Kennedy. He owns indeed that 'to a certain extent we acknowledge common principles.' If the rule of speech to which De- mosthenes or Xenophon conformed was free and elastic as compared with that of Ciceronian Latin, it was strict and regular when compared with that to which Aeschylus, Sopho- cles, and Thucydides were subject. These writers, and Pindar before them, coming at a time when the language was far less fixed than in the writings of Xenophon or De- mosthenes, brought in fresh elements, which had not affected either Homer or Herodotus ; and the free working of their original genius interrupted in various ways the regular growth of the language towards its final shape. The result was a * temporis partus,' which disturbed the equable flow of men's thoughts and ideas \ Dr. Kennedy draws a just distinction in this respect between poetry and prose. But his distinction is not wholly relevant ^. For granting that the tragic poet ' had a large treasure-house of epic, elegiac, iambic, and lyric poetry to draw on,' his task in producing a medium for his art was not the less a new creation, in which perfect articulation could not be reached at once. Such a result may have been even retarded by the very wealth of the material which lay at the poet's command. It is true that Aeschylus had preceded Sophocles by a few years, and had already blocked out the tragic speech ; but the creative effort in question was not exhausted in him and his predecessors, nor were the conditions under which it was continued very greatly altered. In point of fact the difference in the amount of 'idiotism' between Sophocles and the Hymn to Apollo may fairly be held analogous to that between The anomalies of the language of tragic dialect on the other than Aris- the tragic period had been observed totle has with any poet whatever, and by ancient critics. See esp. Longinus, it would be at least as unsafe for an fragm.Vni.ed Weiske, §9. interpreter of Sophocles to neglect Nor IS the distinction by any means either Herodotus or Thucydides as to so absolute as it became afterwards. omit the study of any poet, Homer and Herodotus has more in common with Aeschylus excepted. Epic Greek on the one hand and the PREFACE. xiii Thucydides and Herodotus. And besides the influence of earlier poetry there is also in the tragic dialect a vernacular element, which can be only very imperfectly verified — probably not the speech of the Athenian agora so much as that of other members of the Ionic race. Italian scholars are said by wandering in Tuscany to have met with living idioms that threw light upon expressions in Dante. To obtain corre- sponding light for Sophocles we must have had the power of wandering amongst the cities of the Delian confederacy. When we speak of the language of Sophocles then, we include the conversational parlance of his time. But to resume : — In the Epic dialect the ' Speech-consciousness ' appears as a universally acknowledged Themis which no one thinks of breaking ; in the age of Pericles, it is an unwritten institute, a vofxiixov, which, like other vofxiim, is found by experience to be more various and elastic than had been imagined, and to give scope for the exercise of subtlety and individual freedom. Then came the Sophists with their indispensable work, clear- ing the way before philosophy, and partially formulating language, before the Socratic school had formulated thought. If to the Sophists and the Socratic school combined Dr. Kennedy would ascribe the rhetorical fluency which marks the prose writers of the following century, it is not less true to say that these same teachers themselves were the ex- ponents of a 'grammatical consciousness becoming more precise.' It is perhaps not superfluous to remark that the object of my Essay was chiefly exegetical ; viz. to account for difficulties in Sophocles by calling attention to the medium in which he worked, and to protest against the repeated attempt to make him conform to canons and external rules which are of another age. If this object is not perceived, one of two wrong impressions is apt to be formed ; either that I am blaming Sophocles as a careless writer, or that I attribute to him a degree of subtlety passing into ec- centricity. To do either would be of course ridiculous. xiv PREFACE. No language was ever more harmonious, more finely- modulated, more exactly calculated to produce the right effect on the mind of a contemporary hearer. I was anxious to show, not that Sophocles is 'capable of saying anything ^,' but that a rational account can be given of his language where it seems irregular. If we can only treat it naturally, as we would interpret the idiom of some living tongue, his way of speaking is for the most part quite in- telligible even now. It is when we approach it with alien preconceptions and view it through the foreign medium of a grammar-laden consciousness, that this and much else in Greek appears crooked and obscure. We cannot doubt that the language of Shakespeare was understood perfectly by the pit at the Globe, but it was by no means an easy text for such ' correct ' critics as Pope or Johnson. For us, at this distance of time, an analytical exegesis is in both cases unfortunately necessary, and we have to pull the flower to pieces before we can ascertain how it grew. Only we must bear in mind that what we are attempting to analyse is not a piece of mechanism but a work of nature ^. b. The references to the Essay which occur in the notes will show that in the application of the method as well as in the statement of it in this edition, I have, with increased caution, to a great extent held the same ground. And here a word may 1 'Scio Tiagicis fere omnia licere.' jiovov Xo^oKKka rvyxavetv 'Ofiripov pia- C. Badham, Adhortatio ad discipulos e-qrriv koX aXKoi /liv iroXXol fie/iiiiijVTai Academiae Sydneiensis, 1869. tito tSc Trpb avrwv ij rwy Kaff avToi}S, 2 Some of the more general cha- n6vos Si SooK\rjs i(j>' ^xAarov rb \aii- ractenstics of the style of Sophocles are -^pbv diravei^ei. aae' b koI niXirra iki- well descnbed m the concluding pas- 7CT0. ^viyKt Si tcL /jukto, eixaipiav, sage of the Anonymous Life :— -yXvKiTriTa, rdXpiav, vouaXiav. To mv iiiv ovv 'O/^TjpLKus iiv6im(€. OlSe Si ical ftord Katpdv avu/ifTprjaai Tovs TC yhp imBovs cpepei kut' ixvos toS rd TrpdypuiTa, Hffr' ix /UKpov ijiuanxion iToiriTov Kcu Tiiv OSvaa^iav 8' iv voXXois ^ Xi^eais /uSls fc'A.ov ■fieowouiv ■np6' i^K^vvfios ^7]alv oZv'ApiOTOipivrjS Sri'Krjpbs iwf- /cattois- KaeiC^To**', dXXy Si ':Sod,oKX4ovsToS iroXXm ^ ydp wSvaavTO Sva/ievfis filXm t& arSiia KexpiCfiivov.' ,. „ f/ioi) ^ ^^„i g^ 'Apiard^evos lus ttoStos twi' Ti9oT0iH T€ mi. mnaXXd xal rms impol,- 'Ae^vriSev ■noi.riTwv rhv ipvyiav ueXo- ^affi T^x''iKws xpvrai, Olir,piK7,v kxixar- mdav As xd ?Sm &aixaTa TrapiXaBe ml t£ Toi^ffos xapiV. oSiv dwav 'laviKdv riva SiBvpaii^M^ rponw mrii^L^ev PREFACE. XV be said to those who think this whole apparatus unnecessary. For great scholars and for their pupils it may well be so. Few truths about the Greek language can be otherwise than familiar to them. But if they will be at the trouble to consider the following critical note, and the theory of So- phoclean language which it implies, they will be ready to admit that my observations, even if common-place, are not altogether needless or superfluous. I quote from Nauck's edition of the Philoctetes, dated 1876, p. 143 : — 50 fF. sind durch Interpolation entstellt. Die Worte 8fi n-' e0' oh (XrjXvBas — Ti Sijr' (ivioyas (50-54) sind vielleicht unecht, mindestens in ihrer jetzigen Fassung absurd. Wie kann jemand yemaios ra o-m/iaTi. heissen ? warum soil Neopt. gerade dann gehorchen, wenn ihm etwas S>v irplv ovK aKTiKoev aufgetragen wird ? in 'welchem logischen Zusam- menhange Stehen die Worte yewalov flvm ixtj jjiovov ra a-oifiart, aXA' inovp- ydv? Auch das verletzende imr^ptr-qs napu ist unpassend und durch 15 keineswegs gerechtfertigt. (Reiske woUte vTrrjpsTrjs rrdpa schreiben, andere werden vielleicht ^vvrjperrjs nipei vorziehen.) III. It has been urged as a serious objection to this edition that the Greek arguments are not reprinted here. On this subject I speak with some diffidence, knowing that the omis- sion is felt as a defect by eminent scholars. But the point had been carefully considered. The Greek arguments contain much valuable matter toge- ther with some things that are trivial. Precisely the same thing may be said of the ancient Schoha, and of the Anony- mous Life. An edition which aims at the completeness of Boeckh's Pindar should contain all these. For an English edition conceived on the present plan, whose aim is rather that professed by Hermann in his preface to the Ajax, ' quod instituerat Erfurdtius, ut haec editio et adolescentium studiis accommodata esset, neque exclusa ab usu doctorum homi- num,' it seemed more appropriate to give selections from all where they appeared most relevant, leaving the reader who wished to see any of them in their entirety to consult the xvi PREFACE. Oxford edition of the Scholia S which no earnest student of Sophocles should be without. IV. The contribution offered in this volume towards the further study of the text of Sophocles is far less complete than I could have wished. My visits to the towns of Italy have (except in the case of Florence) been unavoidably hurried, and the hours per diem which I could spend in the libraries have been unfortunately limited. But in the present state of Sophoclean criticism I expect rather to be accused of having given too much space to the MSS. than too little. And indeed when the matter has been more thoroughly sifted than has yet been thought necessary, a very moderate critical apparatus may prove sufificient. Meanwhile such references to the inferior MSS. as are here given may not be with- out their value, if only as supplying materials for a further examination of the question of an archetype, and affording a test of that Byzantine criticism which has been thought capable of some rather notable inventions. The classification which places the Laurentian MS. in one category and lumps together all the rest as apographa, how- ever convenient for its simplicity, and in all probability ap- proximately sound, at least rests on an insecure foundation so long as a considerable number of the existing MSS. remain, for any evidence that we have to the contrary, unexamined. The following is a list of the MSS, with their supposed ages, and the Press-marks by which they are known in the various libraries. I cannot hope that this enumeration is entirely free from errors, but some pains have been taken to make it as correct as possible. ' Vol. I, Oxon. 1825, contains the adds the Anonymous Life, the Greek Laurentian Scholia as copied by Elm- arguments, and many of the more recent sley; Vol. II, Oxon. 1852, ed. Dindorf, Schoha. PREFACE. xvu MSS. OF SOPHOCLES. FLORENCE. Laurentian Library. Quoted as Pluteus XXVIII. Cod. 25. 14th Cent. Aj., El., O. T.* L c. „ XXXI. Cod. I. 15th Cent? Aj., EL, O. T., Phil., Ant., Trach. Cod. 8. 14th Cent. Aj., El. Cod. 9. 15th Cent. Aj., EL, O. T. Cod. 10. Early 14th Cent. Aj., EL, O. T., Ant, Phil., O. C, Trach. „ XXXII. Cod. 2. 14th Cent Aj., EL, O. T., Phil., Ant., Trach. Cod. 9. iithCent.i Aj., EL, O.T., Ant, Trach., PhiL, O. C. Cod. 32. 15th Cent. Aj. Cod. 34. 1 6th Cent. Aj., EL, O. T. Cod. 40. 14th Cent Aj., EL, O. T. Cod. 49. 15th Cent Aj., El. Cod. 51. 15th Cent. EL, O. T. L^ A. Abbat 41. 14th Cent Aj., EL, O. T. K. Abbat. 66. 14th Cent *E1., O. T. 0. Abbat. 71. 14th Cent. Aj., EL, O. T. r. Abbat 152. Late 13th Cent (a. d. 1282). Aj., EL, O. T., PhiL Abbat. 172. 15th Cent Aj., EL, O. T. Formerly in the Badia. Riccardian Library. R. Rice. 34. 14th Cent Aj., Tr., PhiL, EL, Ant., O. C, O. T. Rice. 77. 15th Cent. Aj., EL, Ant, (Eur. Hec), Phil.,* O. C* Rice. 89. late 15th Cent. O. T.* BOLOGNA. University Library. 15th Century, Electra. • Under a blot at the end of the ApoUonius there is an old colophon which seems to bear the date ,r^'fl', 6509, i. e. a. d. iooo. VOL. I. b xviii PREFACE. MODENA. National or Royal Library. 15th Century, Antigone. ROME. Vatican Library. Quoted as Vat. c. Urb. 140. 14th Cent. Aj., El., O. T. Vat.b. Urb. 141. 14th Cent. Aj., El., O. T., Ant. Phil.* Vat. Pal. 287. 14th Cent. Ant., O. C, Trach., Phil. Pal. 335- O. T., Aj., El. Vat. a. Vat. 40. 13th Cent.^ Aj., El, O. T.* Vat. 1332. 14th or early 15th Cent. Aj., EL, O. T. Vat. 920. 15th mixed with 14th Cent. Aj., EL, O. T. Vat. 1363. 15th Cent. Aj., EL, O. T. Vat. 45. 15th Cent. Aj., EL, O. T. Vat. 16. 15th or 1 6th Cent. Aj. Vat. 46. 47. 48. 49. 50. 57. 911. Aj., EL Vat. 711. 962. Sentences from Sophocles. Vat. 104. (Demosthenes of) 12th Cent. Quotation from Antigone. Othobon. Sentences from Sophocles. Chig. Also the MS. formerly R VIII. 59 of the Chigi Library, now said to be in the Vatican. 1 5th Cent. Contains Epistles of Libanius and the 7 plays of Soph., all but f of Trach. Barherini Library. 15th Century, Aj., EL, O. T. Santa Maria Sopra Minerva. 15th Century, Aj., EL, O. T. Biblioteca Angelica. rSth Century, Aj. ' I am assured by Signor BoUig, Pre- 'undoubtedly of the twelfth century;' feet of the Vatican Library, that this but I have not ventured to place it so MS. is ' senza dubbio del Sec. XII,' high. It is a thin bombyx. PREFACE. xix NAPLES. _ . National Library. Quoted as -^ ram. II. F. 34. (191 in Catalogue) early 15th Century. Aj., EL, O. T., Ant., O. C, Trach., PhU.* II. F. 35. (192 in Catalogue) 15th Century. Aj., El., O. T. II. F. 36. (193 in Catalogue) late 15th Century. Aj., Ant. II. F. 9. (165 in Catalogue) 14th Century. Aj., EL, O. T. VENICE. Library of St. Mark's. v. Cod. 467. 14th Cent. Aj., EL, O.T., Ant., O.C, Trach., PhiL V. Cod. 468. i3tliCent. Aj., Ant., Phil., EL, O.T., Trach.,* O.C* Cod. 470. 15th Cent. 7 Plays with Eurip. and AeschyL V*. Cod. 472. 14th Cent. Aj., EL, O. T., AnL'^ Cod. 514. 14th Cent. ? Aj. Cod. 615. 15th Cent. Aj., El. V^. Cod. 616. 15th Cent. Aj., EL, O. T., Ant, O. C.,* PhiL,* Trach.* Cod. 617. 14th mixed with 15th Cent. Aj., EL, O. T., Ant, Trach., O. C, Phil. Cod, 507. 1 2th Cent Sentences from Aj., EL, O. T. PARIS. National Library. A. No. 2712. 13th Cent All seven Plays. B. No. 2787. 14th Cent. O. T., Track, PhiL, O. C. C. No. 2794. 15th Cent Aj., EL, O. T. D. No. 2820. 15th Cent Aj., EL, O. T. E. No. 2884. 14th Cent. Aj., EL, O. T., Ant. P. No. 2886. Late 15th Cent. Trach., Phil., O. T., O. C. T. No. 2711. 14th Cent All seven Plays. MILAN. Ambrosian Library. B. 65. Sup. Late I gth Cent Aj. E. 32. Sup. i6thCent Aj., EI. C. II. Sup. Late isth Cent (a. d. 1481). Aj., EL A. 105. Sup. 15th Cent. Aj., EL b 2 PREFACE. Quoted as G. 43. Sup. 14th Cent. Aj., EI., O. T. B. 97. Sup. 14th Cent. Aj., El., O. T. H. 105. Sup. 15th Cent. Aj., El., O. T. M^ E. 77. Sup. Late 15th Cent. Aj., El., O. T., Ant. M^ C. 24. Sup. 15th Cent. Aj., El., O. T., Ant. M. G. 56. Sup. 13th or early 14th Cent. Aj., El., O. T. M\ L. 39. Sup. Early 14th Cent. Aj., El., O. T. N. 166. Sup. Late 14th Cent. Aj., El., O. T. M^ E. 103. Sup. Early 14th Cent. Aj., El., O.T. HEIDELBERG. University Library. Pal. Pal. Gr. 40. Middle of 14th Cent. Aj., El., O. T. — — 356. 15th Cent. Sentences from Aj.,El., O.T., Ant., Trach., Phil. — — 140. 15th Cent. Sentences from Aj., El., O. T., O. C, Phil. DRESDEN. Dresd. a. D. 183. 14th Cent. Aj., EL, O.T., Ant. Dresd. b. D. 181. 15th Cent. Aj., El., O. T.* LEIPSIC. Raths-libliothek. Lips. a. Lips. Senat. I. 4. 44. a. 14th Cent. Aj., EL, O. T. Lips. b. Lips. Senat. I. 4. 44. b. Early 15th Cent. Aj., EL, O. T. AUGSBURG. Aug.b. 14th Cent. Aj., Ant., O. T., El. Aug. e. 15th Cent. Aj., EL VIENNA. Vindob. 14th or 1 5th Cent. El. (Collated by Hiller for Jahn's edition) JENA. Jen. B. 7. 14th Cent. Aj., El. MUNICH. Monae. Bibl. Monac. 313. Aj. PREFACE. xxi Quoted as Mosq. a. Mosq. b. MOSCOW. SS. Syn. 357. 14th Cent. Aj., El., O. T. 392. isth. Cent. Aj., El. UNCERTAIN WHERE. Iiiv. 1 and 2. Codices Livineii. See Herm. ed. 1839, p. x. Brunck's MS. (described by him as 'Bombycinus bonae notae.') Aj., El. BASEL. F. VI. 10. Aj., El. MADRID. {From the Escuriat). I. Q. 9. (No. 506, E. Miller, p. 460). i6th Cent. The seven Plays. IV. •*•. 15. (No. 485, E. Miller, p. 488) 15th Cent. Aj., El. III. Y. 15. 1 6th Cent. Aj., El., O. T. CAMBRIDGE. Trinity College Library. Trin. R. 3. 31. Mostly 14th Cent., partly 15th, Aj., El., O. T. OXFORD. Bodleian. Bodl. Cod. Barocc. 66. 15th Cent. Aj., El., O. T. Cod. Barocc. 61. 15th Cent. Aj., El. Cod. Barocc. 216. Late 14th Cent. Aj.* Cod. Barocc. 143. 12th Cent. Sentences from Sophocles. Laud. Cod. Laudianus, 54. Early 15th Cent. Aj , El., O. T. Misc. 99. Late 14th Cent. Aj., El., O. T. D'Or. X, i, 3, 13, 14- Early 15th Cent. Aj., El. Canon. 86, 171. 15th Cent. Aj. xxii PREFACE. LONDON. British Museum. HarUian Collection. Quoted as Harl. No. 5744, 15th Cent. Aj. No. 5743, IS* Cent. Phil CHELTENHAM. Middle-Hill Library. No. 1588 1 310. 15th Cent. Trach., Phil, O. T., O. C, Ant. 1604 I 339. Aj., El. GLASGOW. University Museum, Hunterian Collection. No. 7. 8. 179. 15th Cent. Aj., El. (No. 2. 9. 16 of the old numbering). Of these the following have been specially used for this edition : — L. Collated more than once throughout, and compared with Diibner's collation, as published by Dindorf in i860. L^ Partially collated. But I rely chiefly on Elmsley's collation, except for the Antigone. Abbat. 152. (Formerly 2725.) Examined and recoUated in part. Abbat. 66. Partially collated. Rice. 34. Partially collated. Bologna MS. Partially collated. Vat. Urb. 140. Partially collated, and several readings ascertained through the kindness of Prof. Ignazio Guidi. Vat. Urb. 141. Partially collated, chiefly on Antigone. Vat. Pal. 287. Partially collated. I rely chiefly on D'Orville's colla- tion, except for the Antigone. Vat. 40. Partially collated, and several readings ascertained through the kindness of Signor Guidi. Vat. 1332, 920, 1363, 104. Inspected. Barberini, Minerva, Angelica. Inspected (in 1867). Naples, II. F. 34. Inspected. Ven. 468. Partially collated. PREFACE. xxiii Ven. 467. Partially collated. Ven. 47 2. Partially collated, chiefly for the Antigone. Ven. 617. Inspected. Ven. 507. Collated, so far as the sentences from Sophocles are concerned. Par. 2712. Pretty fully collated, except on the Antigone, where the variants from L are given by Dindorf in ed. i860. Par. 2787. Inspected. Elmsley's collation used. Par. 2884. Collated for O. T., and for the Antigone by Mr. Hugh Campbell. The Paris MSS. have been recently collated afresh by Mr. Blaydes. MILAN. G. 56. Sup. Partially collated for O. T., and collation revised by the kindness of Signor Antonio Ceriani. L. 39. Sup. Collated for O. T., and collation revised by the kind- ness of Signor Antonio Ceriani. E. 77. Sup. Collation of Antigone kindly sent by Signor Antonio Ceriani. C. 24. Sup. Collation of Antigone kindly sent by Signor Antonio Ceriani, from whom I have also received, since this edition was printed, a collation of E. 103. Sup. It resembles Pal. 40. HEIDELBERG. Pal. 40. By the great liberality of Dr. Zangemeister and the other authorities I have been enabled to collate this MS. afresh in the St. Andrew's University Library ^ CAMBRIDGE. Trin. R. 3, 31. Collated for O. T. Cp. Burton's Pentalogia. OXFORD. Bodl. 143. The sentences were extracted by Mr. Mackintosh, of Exeter College. The other MSS. were inspected by me some years since. CHELTENHAM. No. 310. A partial collation of this MS. by Mr. Madan has been kindly shown to me. • Unfortunately this could not be references to this MS. are derived from done uq,til several sheets of the text and Bothe's collation (1826). notes had been struck off. In these the xxiv PREFACE. GLASGOW. Hunt. 7, 8, 179. Collated by Mr. John Masson. It bears a close affinity to Par. 2820. In what follows I shall attempt to show that the hypothesis of Cobet^ and Dindorf^, viz. that all our other MSS. of Sopho- cles are derived from Laur. 3 a, 9 (L), is not the most probable account of the matter. To Dindorf 's remark ^ that it matters little whether we think of L, or of a MS. closely resembling L, as being the archetype, it may be replied that we want to get as near the truth as possible, and that it does matter something whether of the few good readings which make their first appearance in the thirteenth, fourteenth, or even fifteenth century, a fair proportion may be reasonably supposed au- thentic. On the general question of the relation of the MSS. of Sophocles to one another, I maintain the following theses ,• — I. All the MSS. of Sophocles hitherto examined are proved, by corruptions common to them all, to be substantially derived 1 rom one archetype, this dating from a time when the choric metres had been to some extent forgotten. I say substantially derived from one, because a variant here and there may have been preserved in commonplace books and critical treatises, just as Ant. 1x67, which is absent from the MSS, has been preserved to us by Athenaeus. 3. This archetype is earlier than L : and it remains to be proved that any one of the MSS. is wholly derived from L. 3. The practice of correcting MSS. from one another makes it extremely difficult to classify the MSS. of Sophocles, and the word ' family ' can be used in reference to them only in a very modified sense. ' De arte interpretandi, Lugd. Bat. 1847, P- 105- ^ Ed. Oxon. i860, Philologus for 1862, vol. xviii. p. 55, * Praef. ed. Oxon. i86o, vol. i. p. xiii. PREFACE. XXV I. Universal Corruptions. According to some recent editors, these are very numerous indeed. On the other hand, such an editor as Mr. Palmer would be inclined to defend even some of the following, which however may be taken as examples of error common to all known MSS., about which there is a general agreement. It will be enough to adduce one or two from each of the plays. •'^J- 4°5> Tola-d' ofiov neXat. 6oi ff., 'iSata ixijxvav Xeifiavia Koiai firjXav. 1008, ^nov TfXa/icov (omitting lie). Ant. 4, arep. 5^7; i'<»T''as oKos. ^66, Trikayiaiv impSiv. 35 1, "mtov a^erm. 1 342, ffS Koi 6S> navra yap (na Koi 6S> is a corruption of Tra KXidco, a gloss on npbs TToTepov l'8v. 769, Koi pAvBavov Tov Bvpov k.t.\. repeated from I. 438. 1716, avBis &d' i'pripos otto/dos, anticipated from 1. 1735. Trach. 292, rav 8e nenvcrpevri. 379, 'fO' Ta \ap7rpd. IO05, eare pe 701/ bvcTTavov. 1096, iireipo^ov. Phil. 156, fJ-V M ^ddri irpoo-Treo-av. 187, Papeia 8'. 218, yap n. 2gl, ouS' Si/op ov8e. 266, r^crS'. 49I, SeipdSa Kai. 639, aTji. 862, opal ^"kenei. 933, pfj p.' d(p€Kris. IO94, ov yap er l(Txva>. 1 1 38, 'OSucro-evr. 1 25 1, lacuna. That some of these corruptions are of ancient date is certain. Sttjs SiTip in Ant. 4 was the only reading known to Didymus. The number of universal corruptions which it is found ne- cessary to assume has some bearing on the question of the remoteness of the archetype, which is brought nearer to L in proportion as they are believed to be more numerous, while the hypothesis of a text generally sound is more consistent with that of an earlier archetype. xxvi PREFACE. 2. The immediate derivation of any MS. from L is not in question. But as a warning against rash statements it may be mentioned that in U, besides O. T. 800, to be spoken of presently, there is a gloss in the text of Ant. 8a6, viz. arei/TJy 6 e^a77Xoi5/xez;os, of which even as a gloss there is no trace in L, where a.(TQivl\^, the reading of the first hand, could not suggest it. Similarly the close relationship between Par. A and Rice. 34 is modified by the misplacement in the latter of Ant. 477- 584, a passage not coinciding with a leaf of A. The same displacement occurs in the Middlehill MS. 310, which is shown by this and other peculiarities to be a descendant or cousin of Rice. 34. Another observation may be made in limine by way of caution, viz. that, as the above list shows, there is a con- siderable variation in the order of the plays in different MSS. And in L itself, whereas the other plays are written con- tinuously without a break, a blank is left before the Oedipus Coloneus, which begins on a separate sheet. The same occurs in \? with regard to the Trachiniae. The reflection occurs, that the practice of 'editing Sopho- cles in single plays ' may have begun early, and that the history of the text may be by no means the same for all the seven. The following are some of the main facts which make against L as being the actual archetype ■^- a. O. T. 800 is omitted in L and only inserted in the margin by C. The omission has not been quoted from any other MS, and the line is certainly present, for I have seen it, in the following, besides the MSS. ordinarily referred to : Vat. a b c, VV^V^V* (a' S), K, Vat. 1 363, Vat., M {lpG>) M? Trin. {uv pr.). Rice. 34 (epS pr.), Pal. 40. The assumption that L is the archetype therefore stands in need of this further complex assumption :— (1) That the 1 On this subject see Wecklein, Ars num. 1864; R. Schneider in Neue Sophoclis Emendandi, 1869; A. Seyf- Jahrbucher for 1877; I^i'anz Bucheler, fert, Quaestiones Criticae, Halis Saxo- Philologische Kritik, Bonn, 1878, p. 11. PREFACE. xxvii line was inserted between A. D. 1000-1350; (3) that it was inserted in a descendant of L ; and (3) that notwithstanding the continued existence of the archetype, this younger MS. became the sole channel of tradition. With regard to (i), the chance of a genuine line, not contain- ing a yvdixr), having been preserved in a commonplace book or learned treatise and finding its way back into the MSS., is too slender to be entertained, where the question is one of probability. And with regard to (3), although the remark can only be applied in strictness to the MSS. which are older than the insertion in L, yet in considering probabilities it may be allowed a wider scope. The genuineness of the line has been acknowledged by Wecklein, and more recently by Bucheler, and will hardly be disputed by any one who feels the situation. The difference between Shak. J. C. 5. 3. 1. 103, ' I shall find time, Cassius ; I shall find time,' and ' Off with his head ! So much for Buckingham,' is hardly a measure of the difference between this line and anything which a Tzetzes could have pro- duced ^- d. In O. T. 896, after the words tl 8eT /xe x°P^^^''^ comes this manifest interpolation in L, ■novtip ?) rots deoXs. The words are written as part of the text by the first hand. It has been attempted to account for them by supposing a gloss ^ Troveii' Tois Oeoils to have been altered by a slight transposition and to have crept into the text. But no such gloss is quoted, while TTovfiv rots 0eots is hardly a natural explanation of xop^'^uv, and it is more probable that in novtiv rj there is a corruption of some other verb. However this may be, it is somewhat strange, if L is the archetype, that while tto. kuI 65) has remained in every MS. of Ant. 1344, itoveiv ri tois deals is only found in five MSS., L Pal. M« M^ M^ (om. fj Tots fleots). Not only is it absent from the others hitherto examined. 1 The omission of single lines, which habit of writing in double column, the eye is a not infrequent error of the copyists returning mechanically to the same part of Sophocles, may have arisen from the of the page instead of crossmg over. xxviii PREFACE. but in several of these there is an interlinear gloss from which the corrupt irovdv rj rois eeois may not improbably have been derived, viz. : — tI, Trpewei ■navrjyvpCCei-v toIs deois, Ti Sei iJL€ ■^(opeveip ; Suppose for a moment that in the archetype of L Pal. M" M^ M5 this gloss had partly faded, might not Trw'tj [yvptCeiv] be read as vof rj ? The gloss, being longer than the words to be explained, may have been irregularly written and hence more illegible : — Ttav^'rj \yvp\ Tois Oedi's. But in this case the Trinity and other MSS. which retain the words in their original form must be inferred to have an origin anterior to the special archetype of L Pal. M^ M^. c. In Trach. 1306, Par. A gives avOribrii for avbrtdeLS, a slight corruption, no doubt, and one which might easily have arisen after the 10th century. But it certainly existed previously. For the scribe of L had written avdrib, but corrected himself in writing by erasing the letters Or) and completing the word thus, av . . br)6els. It is reasonable to suppose that he had the choice of two readings, and that the tradition which he re- jected is continued in Par. A. d. The explanation of the true reading is sometimes re- tained where the reading itself is lost. In such cases it was hardly within the scope of Byzantine criticism to draw the just inference and restore the lost word. Yet the interpretation avTei,Kr}ixfxevos in the Scholia on Ant. 335 exactly fits the reading hebpayixivos, which is only found in a very few MSS. of the 14th century. That bebpaytievos was known to the Scholiast is admitted by Dindorf. Does he suppose that it was revived by conjecture? Cp. Schol. on Ant. 681. e. The unmetrical reading rvpawCi for rvpawi in O.T. 380 is found in M M^ Pal. It has not been quoted from any other MS. of the O. T., and might have been regarded as an acci- dental inadvertence (though Pal. 40 is remarkably free from PREFACE. xxix such) but for the fact that it is also found in two yviaixoKoylai, Ven. 507 and Bodl. 143, which are both of the twelfth century. A presumption is thus raised that this variant is anterior to L, being derived from the text used by the original collector of the yv&iJLai. Cp. Ajax, 137-30. /. The theory that L is the archetype, and that all diver- gences from the ist hand of L are due to conjecture, has even been pushed so far as to be applied to the marginal readings in the hands of the diorthotes or of the Scholiast. Almost every false reading is in one sense a conjecture, i. e. it is a piece of more or less clumsy guess-work on the part of the scribe. The first who in Ant. 699 wrote xpfo'^'as • • o-t^Ajjs no doubt supposed himself to be correcting the error of a predecessor who had written perhaps ttj/i^o- with a bad jn. Being of a prosaic turn of mind, a ' golden pillar ' occurred to him more readily than a 'golden renown.' But there are some of these errors or conjectures that could never have been made by any one who had a sound and clearly written text before him. Who that saw the words rrivb' edtad' imaTpocpi^v (O. T. 134), as clearly written as they are in L, would have excogitated the variant xjjvSe ^eo-Trifet ypo^Tjy? Must not the MS. from which this reading was taken, have been derived from one in which the letters 6'e had been dropped because of their similarity to the preceding Oea? But there is a further question. Who that had his choice between these two readings would select the marginal one ? And yet it occurs in the text of a MS. of the 15th century, viz. Codex Laudianus, No. 54, in the Bodleian Library at Oxford. Similarly, as iXoLbopu, the marginal variant for cos ?A.ot bopl in Aj. 1056, is the textual reading of Par. F. g. Corruptions not found in L which from their nature may reasonably be supposed to have an origin prior to the 10th century. I assume that the following classes of errors more or less ^ answer this description : — ' I am aware that no precise line estimating the probabilities it falls to can be drawn, and that this test is one be considered, of very uncertain application. But in PREFACE. (i) Neglect of Elision. (2) Confusion of o and ov. (3) .. .. ' and n- (4) » „ 'f. "> •r. with cj>, X, 6. (5) '. >. "' '^' °' ^' ^• (6) „ „ 8, X, 1-, y, /*. (7) „ „ vy with 77, /x(^ with y<^, etc. EXAMPLES. (i) Neglect of Elision. O. T. 441. ora'Sir . . ovuhiCi Pal. O. T. 1224. aRovtreirff ,. a . . Tov Vat. O. C. 571- '"'<^' o''"!' •• Kan-0 Ton A. O. C. I58I. Oiff O .. OUTM A. O. C. I595' '■<''' OoplKlOV ., TOVT iplKlOV F. (5) Confusion of a, o-, u, e, 6. O. T. 78. (ri . . ,S Pal. Ant. 52. apa'^ay . . operas M'. Ant. 100. dcXi'ou . . ddXlov W. Ant. 208. irpoe^ovcF , . Trpoa-^ovar' U. Ant. 493. kXotteus . . (cXoTraTs Vat. V*. Ant. 617. KOv(j)oi>6a)V .. Kou0oveft>i/ E. Ant. 809. deXi'ou . . adXiov M.^. O. C. 181. o-i . . e5 B Vat. O. C. 419. irpnvdevTo . . npovQovTo Vat. O. C. 1 100. orav . . €T ap A. O. C. II42. ffdpos .. /SeXos Vat. O. C. 1605. dpyov . . fpyou Vat. (6) Confusion of 8, X, n, y, p.. O. T. 186. opavXos . . ofiavdos E. O. T. 464. ffjre . . dde T. O. T. 742. peyas .. /JfXay A V^ Pal. Ant. 385. e1\op€v . , f'ibopev L'*. Ant. 655. eiXoi/ . . e'ihov U. Ant. 815. VpVOS . . VTTVOS V, Ant. 985. opdoiroSos . . opdoirayos Vat. Ant. 1 1 19. pAbeis .. peXeis Vat. O. C. 158. KaQvbpos .. KaOvypos A. O. C. 1087. dapovxois .. SaSovxois A. O. C. 12 94. yepaiTcpa . . Tvepatrfpa Vat. O. C. 1 59 7- ^S^cf • • fXucre B. (7) Confusion of py with T/y, ;i<^ with vcj), etc. El. 1328. evyevrjs Pal. O. T. 96. ev(f>avS>s E. xxxii PREFACE. (8) This argument may be fairly extended to a class of errors which, though not necessarily earlier than L, must have been nearly contemporary with it, or with C^~*, such as the substitution of r or o- for i adscript, which could not take place when the t was either subscript or dropped. E. g. in Ant. 86a, M^, a late 15th century MS. (the same which gives aQXiov for aeXiov), has ixaTp&vai, obviously a corruption of ixarp&iai (i.e. fiorpuat), the true reading ; whereas L gives the false reading varpmai. (9) Amongst early errors might have been fairly included the wrong division of words, whether arising ex ore dictantis, or from the habit of writing the words consecutively. Good examples are — O. T. 493. ^aa-dvat L cett. . . /Satr ava T. Aj. 1056. eXoi Sopi L . . cXoiSopci C^ F. Aj. 1248. i^ai drjo-oiiev L (corr. ?) .. i^adjjaopev cett. h. Variations in later MSS. from the readings of L, or of C^~^, which may be inferred to have an earlier origin, either (1) because of their wide currency, or (3) because unlikely to have been introduced from conjecture, or (3) for both reasons. EXAMPLES. O. T. 800. See above, p. xxvi. 229. dp.m, i^oKv^ajiai. 782. airecrTrjpripeSa . . dnecTTcpripfda. 881. ay pas .. eSpat. 1008. "crms . . S/ia A. lOII. iXfmc .. ijSioj/ C^ etc. 1057. alaxlarm . . i)(6loiVLiKelu . . Tvxe'^" C^ etc. 809. pev6s o'Lxn • • o'ixn (ppcfos. 881. iPptv . . v^pei. 887. Kki-^aa-a . . Pke\jfapiva(T y Vat. 681. KeKKrjfieda .. KeK\ep.peda A, KeKKipeda 3,1. 757- ^^yf" •• kXvci!/ A. 760. ayaye , . ayere A. 837. ^axrav Ka\ eireira davovaav . . Om. A. 1 1 14. rov /3ioi/ o-fflfovra . . aa^ovra rov ^iov L^ etc. O. C." 47. oiS' e^iow roi . . oiiSe pevroi A. 138. CKelvoi opav eya , . cKeivos eya> A. 172. KovK UKOvovras . . kovk. aKovras B Vat. ^ In O. C, Trach., Phil, the traces of scarcity both of readers and of MSS. the later hands in L are comparatively may account for the paucity of late rare, and we are thus relieved from the corrections, vifhich, however, would be doubt as to the age of CC. This unaccountable if conjecture had been as partly compensates for the fewness of rife in the 14th and 15th centuries as the MSS. of these plays, which arose has been sometimes supposed, from the fewness of readers. The PREFACE. XXXV 229. fj.01 paibia . /uoi/DiSm A, Or /ioipaSi'a L". 320. a-i))iaiv(L . . cralvd B Vat. 390. eimias . . yp. eva-otas T mg. 421. tS>v irewpayfiivonv .. t!jv ireTTpcofJLf'vrjV A mg. 775. ToaavTH) .. TiV auTij L^B Vat. 1 130. x"-V- ■ fiflicx T . . x^P- ■ fif^i'ac A, etc. 1234. KaTtiwefiTrrov .. KaTap-tpirTov. 1529. (JTepyai voptM .. aripyav op^as K. 1597. eSucre .. eXucre B. 1640. fpepsLV .. (ppevt, 1641. pfj p a , . prj 8' a Be. 1748. peKapev .. poXapev A. Trach. 314. KeKpivois .. Ka'i Kptvois A. 336. ovoTivas . . ova-Tivdo- y. 431. rJKOtrev . . rJK0V(Tev A, etc. 561. \ai(f>ai.fnv . . Xat(f)((rtv A, etc. 700. iKPXe\j/eias . . av I3\e\j/etas A, etc. 747- ''1' • . "oil L'C. 1 09 1, vpus 6e Kelvoi . . ipels eKelvoi A. 1 159. 7rp6cr(j)aTOU .. 7rp6(f>avTOi> A, 12 73- 7ravTCi>v . . 6avaT0vs A. Phil. 7 I . aXXov T a\Xa L . . oAXor' aXAa A. 220. KQK nolas waTpas LL^ . . vavTiKa nXdrrj C^ A, etc. 329. i^mpS) . . i^apa A, etc. 385. CUT lap cKuvov . . ahmpm Kuvov A, etc. 444. fav . . iarj C^A. 1003. ^vKKd^iT .. ^vXKd^eTe y A. 1322. fiSvoidu crot. . . fvvota A. 141 6. KaTr)peTViTa>v .. KaTepTjTvcaiv A, An important distinction is indicated by some of the above examples, between those MSS. which have readings in com- mon with L p. m. and those which agree with one of the later correctors. It will also be observed that some MSS. such as EV*M^, while retaining some roughnesses which appear in the first hand of L, at the same time acknowledge c % xxxvi PREFACE. readings which were only introduced into L by C or C . And if it could be shown that when revised by C the Medicean MS. was already in Italy, and that the MSS. in question, or some of them, were written in the East, this whole argument would be considerably strengthened. j. It has been already seen that amongst the MSS. which are closest to L is Pal. Gr. 40. The interpolation at O. T. 896, which is common and peculiar to L Pal. M<= M^ W, is enough to show either that all these are derived from one MS. which was distinguished by this peculiarity from others, or that the MSS. Pal. M^ M^, are derived from L without modification in this particular, whereas all the remaining MSS. are derived from a single copy of L, from which the words Tiov^lv rj roi? 6eoh had been judiciously omitted. The latter hypothesis, however, is not very probable in itself, and is discredited by various circumstances, especially by the gloss iravriyvpL^eiv tois 6iots appearing in Trin., etc. See above, p. xxviii. In so far as the former of these two hypotheses as to the origin of Pal. can be confirmed, this MS. becomes a crucial instance against the theory that I^ is the archetype. For if a text so close to that of L is independent of it, how much more must this be true of MSS. like VAM, or of Par. AV^ R, and of Par. B Vat. V^ ? It is therefore worth while to adduce the following selection of readings, which have been obtained and verified directly from the two MSS. L and Pal. In Ajax, Pal. agrees with L in reading : — Line. Line. 28. rpiim. 44. /3oijX?;/i'. 58. ei/TTlTTT^lV {i^TTinTOJV L) 102. eaTrjKev, 2'jg. rJKOl. 283. ^vvaKyov(Tl Tv^as. SI^- i^i>jiO^(v pr. 345- X»"r" (x L pr.). 495- #"f- 499. SouXtoi/. 557- Sfi^'jo-. 679. ix^apTfOs. 741. aiTTjvda, Y49. iTvveSpnv, 778. Trjb iv ^pepa, 780. elnev. PREFACE. XXXVll Line. 812. nv8pa y 8f av (J-jreuSi;. 831. 6' aiia. 994. diracr&v. 1000. eWoScbi/ ficvcuv. 1 1 1 . iXfo)!/. 1070. \6y(iiv r. n6o. napfj. Line. 1205. fjOiiroJv' ipa>Ta>v 1 1230. eippQueis. 1329. ^VVqpfTHiiv. 1337' Kparrjira (sic). 1357- ^ apfi?. 1369. XPW'O"' '^I. 1 4 1 1 . eniKovcpi^f. In Ajax, Pal. differs from L in reading : — 30. TreSi'm. 45. e|e'7rpa|ei/. 74- o''^' f^o). 93. ' '■" appr/Tov i'nos. 877- oiS^ ^V"' ^'?- 931. (jiaiBopT i' (ayeii/ C), 1 1 4 1 ■ trii fi' di/TOK. 1 148. yxeya ? 1 1 5 1 . ot' ey pr. 1 2 14. eyKeiToi. 1222. irpoae'nToipi do. 1237. ^irep oiiK. 1253 n-Xf i/pd. 1259. OUK fS (^povrjKTeiiT, 1272. KavourjT , 1289. 80CX0S, eV. XXXVIU PREFACE. Line. 1 330. flV' rj y &v f'irjv. 1366. (ptXel yp. TTOvel, 1374* yvu)}n]v, 1376. ayyeXXojuat. Line. 1395- "'0^'" or TToi/M pr. tom corr. (In L 7ro(i?)m) 1404. raxwarf. In Electra, Pal. agrees with L in reading: J 98. 7rpo(pr]Tev(ravT€s. 275* ^"^* 590. pXaa-TmvTacr, 855. Tvapydyrja: 856. aiSao- Se ttoTo 1 1 48. TrpocrjvSofiriv. 1485. Tl'f. 1487. npoirdfcr. In Electra, Pal. dijfcrs from L in reading : — ■ 33- TTarpoo- (in mg.). 865. X^polv. 99. ^vvL(ra(Tiv. 882. vvv pr. 116. dpr]^ao-6e. 917. Trepto-raret. 133- (TTeva-}(€iv. 939- Xtjcfo).. 162. 8e^eT cviraTplhav. 940. irapovrao-. 175- earl. 941. Sy\ 180. Kpl(Tcra. 943- a cif. 192. ap(j)i(TTapai, 974- TrpOjSuXeicr. 226. yeveBXa. 999. cvTaxrjo: 230. Ke/cX^o-fTe. 1052. eitrto-^' pr. 241. ^vviotfxi. 1 104. KOlVOTrXoVV. 2 53- €yjrep.€(r6\ 1180. o-Beveio: 325- (^va-av. 1216. cr 6pk(TTr]v. 432. BfxKov. 1301. Kaa-tyiTjT o)b\ 487. ala-xto-Totcrtv. 1304. 8f^aLp.7)V. 533- €(nr€ipev. 1335- a TT aX X axBivres 546. yvojprja-. 1383- Suo"e/3ein(7. 676. TToKlV. 1396. eVayft. 736. iXeKfiixpsvoi/, 1451. TTpov^ivov. 751- Xa^nvd, 1469. Koi aw ipov. 783- aTrrjXKaypai. 1475- Xei'tjo). 834- eXTTiSd 'noicreiu-. 1485. Kn/c&j. PREFACE. XXXIX la O. T., Pal. agrees with L in reading :- Line. 21. 42. 43- 77- 93' 105. 112. 117. 130. 139- 166. 229. 246. 337- 349- 360. 516. 532- 598. 628. 635- 660. 707. 743- 732- \iavTf'ia(v erased in L). a(p(\s eavTov. dirocrrdrei. iv aiiToXtri 8'. Line. 763. By. 773- Xfloi/i". 775- ny^M". 896. TTOveXv fj Tois 6eois. 920. avyKaTevyfiacriv. 933- X ^s "'• 935. irapa rivos. 953- ? 1294. xXei^pd ye. 1306. TToiav. 1330. 6 Kaxa TfXSv TaS' e'/ia Tra^ea. 1335. 0™ 6' (oTO) ^' L). 1388. prf onroKKeicrai. 1454. a7roX\ijTi;c. 1477. 17 tr' c'xf- 1506. iiryeveicr. In O. T., Pal. differs from L in reading : — 17. (r6epovT€s. 18. oi 8e 8' rjWeav. 48. TtpoprjBeias. 72. pva-aiprjv. 78. e3 t' €inas. 86. jjKOtf. 117. OTOV. 1 45- 8pd(T0VT0S. 181. Oavaracfiopn. 184. frapa ^mpiov. xl PREFACE. Line. 310. (TV 8' OUf jirj (^(TV vvv L). 347. elpydaBal ff. 369. f'mep y ap iarl. 375. fiUfai. 437. noLOt (Tr]p.r)vuv (SO alsO M pr. 441. ovciSi^f. 542. ^. 604. TTvOoV K.a\ TO. XP- 605. toCt'- axV (so also M^). 636. I'Sia KlVoCvTES. 659. (^uy^v. 742. piiXaa- with AVo. 779. iii6r)iT. 800. Habet. 844. KTavov (sic). 891. pn.Taia^a>v, 897. TToXaia Aaiou. 937. ^Soto (I'Soto L). 953. 17K01. 957- (TripdvTap. The question here suggests itself : If L is the only source of subsequent tradition^ why should Pal. at the same time (i) retain so many of the peculiarities and roughnesses of L, and yet (a) agree with C in many readings, and, what is still more striking, (3) have roughnesses and seemingly early peculiarities of its own ? Is it not more likely, on the whole, that it is derived from an archetype not very remote indeed from L, but anterior to it? The same reasoning may be applied to the case of L^ M^. But if so, the archetype of A Vat. a, Vr Vat. A0KB Vat. c. is probably still earlier. Line. 1 03 1. Kaipols pe (L has icat/jois, omitting fie). I 102. (TiyfTlS. nil. irpeiia\os: — the first equable writer of the reflective age ; for Herodotus, as already noticed, is essentially of an earlier type. The incipient logical analysis, and ethical and political thought, and also the love of condensation, which have such strange effect in the intricate or knotted constructions of Thucydides, are present in Sophocles, and are often in him a cause of uncertainty, but never of harshness. He has neither the ruggedness of Aeschylus, nor the strained ingenuity of Pindar. Like all the greatest writers, he can only be partially studied by the light of his age : he has characteristics of his own, which are best seen by comparing him with other great masters of language in different ages. In the absolute subordination of every tone and emphasis to the dominant feeling, and the perfect adaptation of the language to the degree of tenderness or sternness, of passion or coldness, which is required by the situation, he resembles Virgil and Goethe, and those parts of Shakespeare in which his exuberant invention is most under control. This power of moderation adds greatly to the effect of pathos, in which Sophocles is unsurpassed. § 3. The peculiarities of structure in the lyric passages of Sophocles are not essentially different from those in the dialogue. The influence of the earlier lyric poetry is more perceptible in them, just as re- miniscences of Homer occur chiefly in the long speeches, and espe- cially in narrative. But both the Epic and Lyric elements, as well as that of common speech, are present everywhere, and are so blended by the poet's art that any broad line of distinction would be illusory. Even the Doric dialect, the traditional vehicle of lyric expression, is only partially assumed, and hardly interferes with the harmony of the general eflfect. In the following digest of idioms it has been thought sufficient to denote, by the letters ' lyr.' prefixed, examples taken either from the choral odes or from other lyrical passages. We may therefore here observe the chief particulars in which these differ from the senarii in point of syntax. They are mostly differences of degree. The spirit of fanciful association is more active, and more apt to usurp the place of conventional use. The concentrating effort is more intense, recalling in some passages the spirit of Hebrew poetry. There is more of rapid and abrupt transition, more of substitution 8 ON THE LANGUAGE and inversion, of redundance and deficiency. The article is often omitted ; prepositions are often added pleonastically. The stress of lyric feeling is combined with the elevation of poetic thought. And the language varies from great simplicity to great complexity, and from the most perfect serenity to the most highly-vs^rought excite- ment. § 4, Peculiarities of grammatical structure in Sophocles may be studied under the following heads : — A. Words and simple constructions : i. e. relations of words in a simple sentence. B. Compound constructions (relations of words in a compound sentence), including ; — ( 1 ) Correlation of clauses. (2) Subordination of clauses. C. Rhetorical artifices, or figures of speech. The uses included under each of these heads may be arranged as follows : — A. I. Cases of Nouns. 2. Prepositions. 3. Gender and Number. 4. Article and Pronoun. 5. Adjectives. 6. Adverbs. 7. Particles. 8. Voices and Tenses of Verbs. B. I. Apposition. 2. Epexegesis. 3. Asyndeton. 4. Attraction. 5. Moods of Verbs. 6. Anacoluthon. 7. Double and Feeble Constructions. 8. Parataxis, or Coordinate Structure. C. I. Oxymoron, or Verbal Contrast. 2. Prolepsis, or Anticipation. 3. Ellipse and Pleonasm. 4. Order of Words and Emphasis. 5. Indirect Expression. 6. Condensed Expression. 7. Tautology and Repetition. 8. Lyrical and Epic Forms. 9. Colloquialisms. OF SOPHOCLES. § 5- A. I. CASES OF NOUNS. Comparative philology has made familiar the law of decay and regeneration in language, by which inflexions gradually lose their meaning and are replaced by other elements. This process is ac- companied by the tendency to analytical expression, which makes the rneaning of terminations and prefixes more explicit by the use of auxiliary words. The history of the case-endings affords a striking exemplification of this law. In English, as in most modern lan- guages, there are at most two oblique cases, the possessive and objective, and of the latter the pronouns alone retain the inflexion. The possessive expresses only one relation, and the objective can hardly express more than one without leaning on a preposition. Sanskrit has the accusative, genitive, dative, instrumental, locative, and ablative. The Greek language retains traces, in the locative adverbs, of an almost equal number of cases, and each of the three remaining cases expresses a variety of relations, which in the earlier literature were more vividly conceived than in the more conventional usage of later times. It would be instructive to study the gradations of the change from Homer downwards, through the earlier and later Attic, the common dialect and the Byzantine period, to modern Greek. The dying vigour of the old forms would be seen to revive and grow again from time to time. 'Experiments' more or less conscious sprang up and withered, before the prevaUing habit was finally determined. Opposite tendencies are seen working together: the preposition being sometimes inserted as well as sometimes omitted unexpectedly. In I this process, as in every important modification of language, the \ poetic instinct plays an active part. More conscious than other men of implicit meanings and connections of words, the poet gives new life to the decaying forms. All poetry abounds with novel modes of speech, from which common language selects what is most in accordance with prevailing tendencies and most suitable for use. That the case-endings still retained much of their force in the old Attic is evident from the language of Thucydides. The poet seizes this instrument of condensed expression and strives to multiply it, '^ partly by reverting to earlier modes, but chiefly through analogical and metaphorical applications. The exact intention in each instance is not always easily determined. It was no doubt felt but could not have been explained by a contemporary Greek. Even in English, where the limits of the experiment are so narrow, there have been similar attempts to extend the use of the cases. Thus the remote object is often expressed without a preposition by a second objective case which thus performs the function of a dative, and there are many instances in the Elizabethan poets of a sort of daiivus ethicus. E.g. 'A' would manage you his piece thus,' 'A good sherris-sack . . ascends me into the brain,' etc. § 6. The question as to the origin of inflexions has little direct bearing on the present subject. Although the theory that derives the cases 10 ON THE LANGUAGE from relations of place is most in accordance with the analogy of language — which seems to proceed, like the other phenomena of thought, from without inwards,— and is probably true, yet this ac- count of the cases, in the later state of language which is alone known to us, affords hardly any help in determining the multifarious and anomalous relations which in the course of ages have grown up around them. And could it be shown that the function of each case, was in the beginning simple and definite, and not rather tentative and vague, yet they have not reached the position in which we first find them without many cross-influences which are hard to investigate. Reflections from other relations, the exigencies of growing expres- sion, and the re-action of different uses upon each other, have woven a sort of tangle, in which the eye can hardly follow any branch to its " origin. Hence, while the distinction between external and internal relations may afford a principle of classification, which accords in some degree with changes actually observed, this is not to be sup- posed equivalent to the distinction between earlier and later modes in the period under discussion. There are further differences which it may be useful to bear in mind. In attempting to analyse the uses which are actually found, it is important to recognize the difference between the metaphysical analogy which has suggested certain con- structions, and the rule of usage to which they tend to conform, and, thirdly, the generalization of them which is made by the grammarian. And it may be observed, in passing from this part of the subject, that many things are determined by use, quite regularly, of which no metaphysical explanation can be given, and which can hardly be re- duced to a general principle. § ?• The Genitive. The genitive has two main significations, which are clearly dis- tinguished, although in some instances they pass into each other, the ablative and the attributive. The former is gradually discarded, ex- cept with prepositions, and the case more and more assumes the character, to which it has been thought to owe the name yeviicri tttSxtis, denoting the kind to which a thiiig belongs, and thus tending always to express the wider of two conceptions. The connection between the governing noun, and the noun in the genitive by which it is included or determined, is sometimes so indefinite as to be extremely difficult to analyse. Common uses of the genitive are — a. Ablative, i. 'From.' 2. 'Away from.' /3. Attributive. 1. Possessive or descriptive. 2. Objective. 3. Expressing simple relation, meaning ' in respect of.' 4. Absolute. OF SOPHOCLES. ii y. Intermediate (explicable with reference to either of the two former uses). 1. Derivative. 2. Comparative. 3. Genitive of material or contents. 3 a. Partitive and Privative. 4. Expressing Perception. 5. Temporal. 6. Appositional. 7. Combined uses. It will be convenient to arrange under the above headings the characteristic or exceptional uses of the genitive in Sophocles. It may be observed that nearly all of them are retained in later Greek with the support of prepositions. §8. a. I. The use of the genitive to denote the origin of motion is retained by Sophocles (in common with the other tragedians) from the earlier poets. O. T. 151. lyr. T(is nokvxpvo'ov I IbjOSivos ayXaas e'^as \ Orj^as — 'That earnest from the golden shrine of Delphi to glorious Thebes.' O. C. 572. koI yiis onolai rjKBov — 'And from what land I came.' El. 78. Koi fir^v Bvpav cSo^a TfpocTTTokwv rivos \ iiroiTTevoiKTTjs i'l^Sov alaeia-Bai. — ' And from the doors I seem to perceive the cry of some hand-maid moaning within.' Here the genitive marks the place from which the sound is heard to come. The notion 'within' is added afterwards. lb. 324. as h6p.aiv Spa . . I Xpva-6d(fiiv . . evTa(pta \ . . cpepovcrav. lb. 1 1 39. ovre irafj.- (pXeKTOv TTvpos I aveCK6p,r]V, as (Iko'!, a6\iov jBdpos — ' Nor OUt of the blazing fire did I gather, as is meet, the sad burden.' Ant. 1008. - /ivdaaa KrjKis ixrjpiwv eV^Kfro — ' The dank humour wasted off the thigh-bones.' Aj. II48. CTfUKpov viipovs rax av T-ts ixTivivuas fi^yas I ;(Eijna)j'. Tr. 781. KofiTjs Se XevKov fivf\6v eKpalvei — 'Rains forth the white marrow from the hair.' ex, in composition here assists the construction. O. T. 808. oxov irapaa-TflxovTa Trjprja-as fiiaov | Kapa baikols Kev- rpottri /iov KaBUeTo — 'From his chariot watching me as I was passing by he smote me full upon the head with the double goad.' The genitive is to be connected equally with Trjprjiras and KadiKeTo, and in its relation to both is nearly = e^ ox°^- So the locative adverb Tr\ivp6dev=^iR nXtvpas, Tr. 938. 2. The notion 'from,' easily passes into that of separation from, which occurs in a few passages : e. g. in O. T. 1522. eX» iiov — 'Take away from me.' lb. 762. toSS' anonros aareas — ' Out of sight, away from this city.' _ The case is partly governed by dir6 in composition. There is probably an extension of the same analogy in El. 159. lyr. Kpvwra t axeav i„ rjpa I 6'X^ios— ' Happy, in that his youth is hidden out of the way of sorrow.' Cp. however infr. y. 3. e. 12 ON THE LANGUAGE § 9. /3. Attributive uses. r. The possessive genitive, 'of or 'belonging to,' describes or defines the word with which it is in regimen. It has sometimes the force of an adjective rather than of the case of a noun. a. O. C. 447. ye'i/ouf iwapKccriv — 'The help- of kindred,' i.e. the help which kindred gives. El. 162. lyr. ^ws evpovi I3ijfian — ' With auspicious movement prospered of Zeus.' Ant. 153. lyr. 6 Orjfias iXeXt^dai/ Baxxios — ' Bacchus who belongs to Thebes and shakes the ground,' or, 'Bacchus, the earth-shaking God of Thebes.' O. C. 945. yafjioi I . . avocnoi rUvav — ' The unholy union of a child (with a parent).' El. 19. ixiXmvd t aa-rpav ixKeXomev fvtppoi/T] — 'And Night with her stars is vanished,' {i. e.=ev(j)p6vri acTTepofcra-a.) O. C. I325. (iya Tov"Apyovs arpo^ov is Qrj^as (TTparov, (where, however, there seems to be a reflection from the ablative use) — ' I lead the dauntless army of Argos (or from Argos) to Thebes.' Phil. 43. (j)op^rjs voarov — ' A foraging expedition.' lb. 104. Icrxvos 6pdcros — 'Boldness relying upon strength.' Aj. 356. lyr. yevos vatas dpayov Texyas — 'Ye whose aid consists in. maritime skill.' b. This genitive of definition sometimes bears a strong emphasis, and is the predicate of a sentence. O. T. 411. &ITT ov KpeovTOS irpoa-Tarov y^ypai^opm — 'And SO I will not be enrolled the client of Creon.' O. C. 107. IV & peyi- a-rrjs liaWdSos KoXovpevai — ' Come, Athens, the city called by the name of mighdest Pallas.' Ant. 738. oi roO KparoiivTos 17 jroXis vopiCfTm — ' Is not the city held to be a possession of the ruler ? ' Phil. 73- '""^ TVpwTOV ITToKoV. c. The same use occurs in simile and metaphor. (1) With its; Ant. 256. XeiTTrj 8' ayos (peiyovTos i>s . . Kovis — 'But a few thin grains of dust, as from one who shuns the curse : ' or (BCTTe; lY. ']6'J. TvpoaTTTvcrcreTai | TrXfvpaia-iv apTtKoXXos Sxrre rix- rovos I x"""" — ' The robe clung fast, moulded to his form in every Hmb, as by the hand of a statuary.' (2) Without the adverb of comparison. Ant. 114. lyr. XevKrjs x")""? irTepvyi — 'With plumage white as snow. lb. 423. wtKpds I opvidos o^vu (pdoyyov — 'A sharp cry, like that of the bird in the bitterness of sorrow.' d. To this head may be referred what has been called the sub- jective use of the genitive, expressing 'felt by,' 'belonging to as a feeling.' Tr. 106. lyr. oiVor eivd^eiv dSaKpvTcov ^Xe(pdpmv wodov — ' Never allows the longing of her eyes to rest, or wipes away her tears ; ' /3X. 77. i. e. ' the longing that her eyes feel.' Cp. O. C. 729. 2. The objective use, ' towards,' ' regarding,' occurs (a) with nouns. Tr. 42. (iSIms aiiT-oO — ' Anxiedes regarding him.' lb. 250. ToC Xoyov . . (pedvov. O. C. 558. mXcas . . TrpoaTponrjv — 'A suppli- cation addressed to the city.' Tr. no. lyr. ^vpvacrov dvSpos Snpa OF SOPHOCLES. 13 . dSoC — ' Mindful fear for her husband regarding his journey.' Where dvSpos may be partly governed by eCfima-Tov, and 080O is added in explanation of dvSpus. In O. T. 1200. lyr. 6avaTa,v 6' f'/ia X'^pa irvpyos aviara, Bavarav is genitive of the object. O. C. 466. KaBapjiov tojvSe haipovaiv. Phil. 17. ^Xi'ou (vdaKrjcns 'A chance of sitting in the sun.' {d.) And once with a relative and verb. O. C. 355. & Tov8' ixpw^v p.aTQs — ' The oracles that were given regarding me.' 3. Expressing mere relation =' with respect to.' The genitive is sometimes made to indicate an indefinite connection, which no single word exactly supplies. This may be viewed as the most abstract meaning of the case, in which all specialty of meaning is lost. O. C. 436. oiScis eptoTof T-oOS' i^alver a(j)e\av — ' When I de- sired this, I found no helper.' Ant. 1 1 94. W ydp a-e frnKBitrdoip! av &v es va-Tfpov [ ^evurai (f)avoip.e6' — ' For why in addressing thee should I use soft words, wherein I shall hereafter be found to have spoken falsely?' O. C. 647. Sdypripa rrji ^vmva-las — 'A gift, in respect of (or, implied in) your dwelling with us.' Ant. 1265. lyr. a poi e'/iwv anoX/Sa ^ovkevpaToyv — ' Alas, misery in regard to my counsels ! ' or, ' Alas, me ! for the results of my counsels.' The expression seems to be a confusion between ap-oi i/iav Pov- XevfiaTav, as avok^a' and &p.oi, avoK^a to. tSiv ifiStv ^ovKivparaiv, In O. T. 728. TTOias fieplfivrjs rovff V'7roo-Tpa(j}e\s Xeyfir, the genitive seems to be in a double construction; (i) genitive of relation after Xe'yeis, and (2) genitive of cause with iwoa-Tpacjifis. (Cp. p. 15. y. I. d.) El. 1078. lyr. tov Save'iv Trpopr]6f]s. lb. 1096. lyr. TMi/Sc (j)epop,€i/au apicTTa. So with the apparent ellipse of trfpi. [Cp. Hdt. iv. 142.] El. 1154. ^s ipoL (TV -noWaKis | (prjixat \adpa TTpoTjirffiTTes COS cfiavovpevos | Tipcopos avTos — ' Of whom you often- times sent me secret messages, how that you would yourself appear as the punisher.' — Where the construction is aided by Tipapos. Phil. 439. dva^lov p.ev (fiMTOs e^cprjcrnpai. El. 317. ''°'' Ka(nyvr)Tov tI 4'jis, rj^ovros, rj peWovTos; O. C. 66 1. xeiVots 8' itrtor Kit Seiu ineppatcrOr) Xeyeiv | t^s (rrjs dycoyrjs—' And though they have been emboldened to speak high words of fetching you away.' lb. 513- ly- (fpa/i"' TTvdto-dai) — Tcis SeiKalas drropov (j>avfi(Tas | dXyij- Sovos — ' Respecting that unhappy sorrow that came without remedy.' Aj. 'J'JI. Aias'ABdpas. Ant. 1182. KkCova-a iratSos. 4. Genitive absolute. a. When the noun is verbal, there is sometimes an ellipse of the participle. O. T. 1260. as v(t>riyr]Tov nvos — 'As if following some guide.' O. C. 1558. v(t>riyriTrjpos oiStvos v, SC. oVtos — 'With nO One of his friends for guide.' 6. Conversely where the participle is used almost as a noun, the subject seems to be omitted. 14 ON THE LANGUAGE ~ O. T. 629. ovToi kokSis y apxovTos — 'Not when the ruler rules badly.' c. Sometimes the genitive absolute is mixed with other uses of the genitive. O. T. 1006. o-oO JT/Jos Sd/ioi)j ekOovTos ev Trpa^mul Ti — ' That I might get some advantage from you, when you come home.' aov genitive of cause: o-oO i\66vTos gen. abs. El. 1485. tI yap Pporav &.V vTov — ' Since ye were such sons of a blind father.' 5. 'Coming from,' as a source. (Cp. a. i. p. 11.) Tr. 765- owcos 8e (TefivSiv opyiav ebaUro | ^Xo^ aipaTTjpd — 'And when from the dread sacrifice blazed the flame mingled with blood. O. T. 10 1 2. ^ p-rj plaa-pa TOiV (^VTevaavTWV Xa^rjs — ' LeSt you should contract a pollution derived from your parents?' lb. 991. Ti 8' ear eKflmjs ipiv is (pSPov (j)ipov — 'And what is there coming from her that gives you cause to fear?' Tr. 203. 4* *^^ a^XTTTOv opp ipo\ (jiTjprjs dua(T)(6v rrjaBe vi)V KapTTOvpeSa — ' As we now enjoy a glad vision unhoped for by me to which this report gives rise.' Ant. IOI7. irXrjpeis im' olavwv re Kcu. Kvumv l3opds I Tov 8va-p6po>s TrenraTos OlSmov yovov — ' Infected through dogs and birds devouring of the unhappy fallen son of Oedipus.' Where the gen. ydi/ou is derivative after TrXrjpeis and also partitive with Popds. Under this head or some other must be included the genitive of that from which a change is made. El. 1262. peToPoKoir & &&e aiydf Xoymv. Aj. 2o8, 9. t'l 8' ivrjWaKTat -nJ! fjpeplas | vii^ ijfSe ^dpos ; c. Closely allied to the above is the genitive of the cause or agent, which occurs in Homer, and is also freely used by Euripides ; (e. g. Or. 497, TTXrjyds dvyarpbs T^t iprjs ijrip Kapa.) OF SOPHOCLES. 15 Tr. 267. avSpos o)r e\ev6epov | paioiTo — ' How he was mal- treated by a freeman.' lb. 112. lyr. mor' aKap-avTos fj NoVou r) Bopea Tis \ Kvpar . . iSoi (cp. (3. I. c.) — ' As One may see waves driven by the unwearied south-west or north-east wind.' El. 344. Kelvrjs SiSaKTO. Aj. 807. 0ibto9 rjTraTrjjjievr). d. This appears to be the place for the genitive of the reason = evexa, which occurs in Sophocles, and more frequently in Euripides. [Cp. Thuc. ii. 62. ;taXcn-«s (^Epftx avTav : vi. 38. £>/ bpa, K.r.X.] O. T. 1478. Koi o-e T^(r8f TrjS odov | 8alp.a>v apeivov ij 'p.e (j^povpfjcras Tvxoi — ' And in reward for bringing them may the deity guard thee better than he has guarded me.' El. 626. Opda-ovs toOS' ovk SiXv^eis — ' For this insolence you shall not escape.' Ant. 1074. Aj. 1 1 16. Tov 8c (Tov \l/6(pov I OVK &v (TTpa^flrjv. Fr. 630 (N.) 0(TIXrjS oTras . . p-f) fiapvvdfia-ea-Be p-ov. Also expressing purpose — Phil. 197. TOV pj] irpoTspov rovS' eVi Tpoi'a, k.t.X. 2. In the use of the genitive to express comparison two pecu- liarities deserve to be noticed. a. When similar actions are compared, instead of inserting ^ with the verb the subject or object of the action is put in the genitive. Comp. the Horatian instance, ' Sanguine viperino cautius vitat ' (=cautius quam vitat sanguinem viperinum). O. T. 467. lyr. d. tmrav a-devaparepov | v | 6 Trdvra \evav ^Xios. Aj. 541- i^poa-rroXaiv ay avTou ocrirep . . fiSvvcov Kvpeis. Tr. 1 56. m/evpaTav oidev. b. The genitive of nouns signifying a region or space has some- times an indefinitely partitive meaning (as in the common use with adverbs) — ' somewhere in,' ' anywhere in.' O. C. 694. lyr. olov . . yas 'Aa-ias ovk eVoKouo) — ' Such a thing as I do not hear reported of (as growing) anywhere in Asia.' Aj. 659. yaias opv^as evda pr) rts o^fTot — ' Having dug it in earth where none may see ' (where the order shows that yalas is only joined with evda by an after-thought). 1 6 ON THE LANGUAGE c. This is transferred to time. , O. C. 1 138, « ro'S' ^ix^pas—' To this point of time. (Eur. Ale. 9. alib.) d. And, metaphorically, to other relations. [Hdt. iii. 146. « toCto aTa.Ta>, the partitive form of expression which is similar to Uvai rov npoa-co, vTrdyciv t^j ■6S0V, &c., has been retained, but the meaning is lost. 'And strife having run to the furthest extreme.' But see below, 5 d. e. The notion of hitting, lighting upon, and aiming at, may also have arisen out of the partitive use. Hence the genitive after Tvyxavnv, Kvpeiv, "kayxavuv, &c. The same analogy affords an explanation of the genitive in such cases as the following : — El. 869. ovTc Tov Ti(j)ov avnaa-as — 'Neither having received any burial.' (Cp. the Homeric dpvZv ifvla-qs . . . dvnacras. II. i. 67.) El. 1 45 1. 0iXi;s yap npo^ivov Karr)vvv Urripia — 'Hapless suppliant beings.' lb. 1029. Toa-rjvS' ippw . . Tokp-ris rrjs ■KapefTTaa-rjs ravvv — ' The great insolence which is manifested in your present daring.' Phil. 81. KTfjp.a ttjs vUrjs — 'Victory as a possession.' 7. Two genitives are sometimes attached to the same word. Tr. 56, 7' Trarpoff . . apau toVj k.t.X. lb. I09. avtpog deipa (pepov a-av obov. Cp. infr. p. 37, § 23, A 5 a. 11. The Dative. The dative, whether arising out of an original locative case or not, has three main significations, which cannot be further analysed in the existing language. u. Locative, ' In ' or ' At.' /3. Case of the remote object, 'To.' This may be conveniently called the Dative of Reference, y. Instrumental, 'With.' a. I. The simply locative case, expressing 'in or at a place,' is no less frequent in the Tragedians than in Homer. Sophocles here as elsewhere condenses language by omitting the prepo- sition, and preserving the independent meaning of the inflexion. O.T. 20. ayopata-i daKei — 'Is seated in the agora.' lb. 1266. eVei 8e yfj | CKetTO T\r)p,aiV. El. 1 74- lyf- ""' P^yai ovpavm Zeis. lb. 313. vvv 8' aypo'uTL Tvyxavei — ' He, now chances to be in the fields.' Tr. TOO. lyr. biua-aiinv amipois Kkideis — 'Situate in either mainland.' (Cp. the Epic use of KeKktfiivos with the dative). 2. The locative meaning 'in' or 'at' is transferred to the expres- sion (a) of a point of time. 8 ON' THE LANGUAGE a. O; T. 156. 5 TreptreXXo/je'mir wpms ttoKiv — 'Or returning as the seasons come round.' lb. 198. reXet yap el' n vv^ a(f>fi — 'For if Night at her close leave aught ' (.?). El. 194. olia-pa p,iv v6(ttois au8d — ' Sad was thy voice at his return.' 6. Also of a limit of time, {xpovw=:ii' xpo>"j>). Phil. 715. SeK€T(i xpovca — 'In a period often years.' Phil. 721, n\rj6n TToXXmi' linjvmv — 'In the fulness (or multitude) of many months.' lb. 598. XP°^'? I ■rocrad'. Note that a^ and 6 are combined in — O. C 580. XP°'"f p^c^dois avj ovxi t& irapovn nov — 'In time you shall learn, not, I ween, at the present time.' Where xpo"? means a limit of time, and t& irapovTL xp""'?i ^ point of time. c. Hence, by a further transference, the dative expresses occasion or circumstance. O. T. 172 TOKoia-iv — 'In child-bearing.' O.C. 702. ns . . yfipa a-rjfialvav — ' One commanding in age,' i. e. an aged commander, lb. 880. Tols Toi fiotai'oit — ' In a just cause.' 3. The dative after words expressing motion has sometimes the force of the accusative with ds, and may he regarded as inter- mediate between the dative of place =' in' (a), and the dative of reference =' to' (/3). a. Tr. 789. x^oi/i pmrav iavTov — 'Flinging himself upon the ground.' Ant. 1236. fipetcrc nXevpaU . . eyxos (i. 6. eh irXfvpds) — ' He pressed the sword into his side.' Aj. 240. k'wvi Bijo-as (1 = els Kiova) — ' Having bound him ' to ' (or ' at ') a pillar.' O.C. 483 '■p'S ewe avrfj (cXSvar , . riBeii. lb. 1690. Kara, pe ^ovios 'AiSas eXot naTpt (?) — ' Let cruel Hades take me down to be with my father.' Cf the pregnant use of ev in O. T. 656, 7. iv alrla . , /SaXetf. 6. So, perhaps, in a metaphorical sense — Tr. 940. aiT-i'a /3aXoi KaKfj ( = eif alriav) — 'Cast her into an evil reproach.' (?) lb. 597. ouVor' alaxivv nea-el — ' You will never fall into disgrace.' (?) 12.. p. Dative of reference. The dative is used when something which is not the object of a verb is affected by the action either immediately or remotely, r. Dative of immediate reference. (The simplest form of this is the dative after verbs of giving, from which the name dormi daiivus, is derived.) Sophocles sometimes uses this dative in direct construction with a verb, where a preposition would be interposed by common usage. Ant. 971. lyr. Sia-a-oia-i. *im'Snty | elSev dparov IXkos | TU | a'^fyis iTekap repas | Tois Spacri koI (rvvSpaxnv — ' That we shall never see a portent coming without harm to the murderers and their accomplices.' d. This is sometimes so used as to be equivalent to n-po's with the genitive. El. 442. s auTIJ Soxei I yepa Tab' ovv rdipoKrt Se^airBat veKvs — ' Consider then whether the dead who is in his sepulchre is likely to receive this present kindly at her hand.' 7rpoo-<^tX£s avTrj Se^acrdai := Se^aadm npbs avr^i, atarc iTpo(TiKa>s ex^iv irpos avTTjv, In El. 226—8. lyr. rlvt yap wot av, & ^iKla yeviffka | 'irp6(rcf)opov aKovcraiii ejros ; | nvi (jjpovovvTt xalpia • the dative seems to have nearly the force of n-pos rtvoy. (See under/!) Cp. the Scotch idiom ' to ask at.' c. The dative is sometimes construed with an adjective or substan- tive. Tr. 1 40. lyr. tikvokti . . a^ov\ov — ' Without thought for his children.' El. 1066. lyr. & x^"''''" ^poroia-i (j)dp,a — ' Oh rumour that reachest mortals beneath the earth'.' d. Sometimes this case is only slightly different from the objective genitive. Ant. 859. lyr. tov t€ Trporravros [ ap,eTepov jrorftou /cXfii/ait Aa^SaKi- 8ai6vovs fioi Ka\ ■yd/ious Ka\ crvix(j)opas | rov o'ou SijjKas 6pa>v i(j)iei.; lb. 887. eU Ti pot I ^Ke-^aa-a BakiTei rah' dvr^KecTTa Ttvpl; In the second person, a-oi nearly=the particle rot. O. T. 708. oxiveK etrri croi I fiporeiov oiSeu, k.t.X, f. Dative of the person concerned. 'In relation to,' 'so far as concerns,' sometimes with the notion of direct or indirect agency. [Cp. esp. Thuc. v. 30. on ovre 'S.oWiov a-cplcnv dirf- Xa^oVy K.T.X. Hdt. iv. 142. Tavra p-ev S17 'S,Kv6rj(ri is "lavas dmp- pHTTOt.] O. C. 429. avd C 2 20 ON THE LANGUAGE made an outcast.' Phil. 1030. km rievrjx ^M'" ^°-^'"' — ' ^^^ ^") long dead, so far as you are concerned;' Aj. 1128. T&8e 8| o'ixoixm — 'I am dead already, as concerns him.' El. 1152. 7/^V eV<5> o-o/— 'I am dead in thee,' i.e. Death has destroyed^the life that I had in thee. lb. 226. rm . . vp6opov dKoia-mix en-or, i.e. TiVos emovTos. (But see above, p. 19, &■) f. Dative of opinion = ' in the sight of,' 'in the judgment of.' (Cp. esp. Eur. Phoen. 495, 6. xm. o-o^oly | /cal roiai. (j>ai\ots fySip^', o)s efiol fioKet.) O. T. 8. 6 naa-i KKnvbs olSmovs — ' Oedipus, whom all account renowned.' O. C. 1446. dvd^mi yap nda-tv eo-re Suo-rvx"" — 'For all may see that ye deserve no ill.' Tr. 1071. jroXKoimv oiKTpov. Ant. 904. Kairoi tf iya> 'Tifirjaa rois (ppoi/oiitriv eS — ' And yet those who consider well will say I did honour thee.' § 14. y. Instrumental dative. 1. The instrumental dative is extended to things which are only figuratively regarded as instruments. El. 1295. yekavTas ix6povs iravcronep ttj vvv oSm — 'We will Still the laughter of our enemies by this attempt.' O. T. 494. lyr. ^aa-am j eVi rav iirlhapov (pdriu elp' Oidnrofla — ' I shall assail with proof the popular fame of Oedipus.' O. C. 11 60. ri npotTxpvCo"™ ''"P ^""r nan — 'Urging what request by sitting there?' Aj. 946. lyr. dvdkyrjTcov BicaSiv idporjcras avavhov spyov 'Arp^tiSdv Tad' fixei — ' By this cry of grief, you have given voice to the silent work of the cruel Atreidae.' Phil. 494. TroXXd yap rois iyp,€vois \ eaTeWov avTov — ' Often through those who came hither I moved him to make the voyage.' And with a curious ellipse or inversion, lb. 1 191. lyr. ri pe^ovres dWoKorm yvwpa — ' To do what (do you bid us) by a change of mind (in you)?' 2. The dative of manner, and that of the cause or reason, although not to be deduced from the instrumental dative, may most naturally be placed under this heading. a. The dative of manner or condition is frequently used where a prose writer would have added a preposition, such as ii> or avu. El. I2I2. ov bUr) areva — 'Do I not justly moum?' Ant. 107. lyr. (^fflTo i3dvTa navcrayta — ' Him who came in panoply.' lb. 960. lyr. ■paviais I y^aiav tou Oedv — ' That he was mad to tempt the god.' lb. 1003. (TTToivTas . . dXKfjKovs (povaU — 'Tearing each other in bloody fray.' Phil. 758. ^k€i ydp avrrj Sm xpdvov TrXaroii— ' This wandering pain is come again after a pause.' Tr. 596. tncora ] K&v ala-xpd 7rpd(ra-ris — ' If you do under concealment even what will not bear the light.' O. C. 548. lyr. v6p.m 8i Kadapds. O. T. 1339. lyr. eV ear uKoisiv jJSoca, (f>lXoi. Aj. IO94. os prjSev &v yovalmv. In two instances this dative, by a somewhat forced construc- tion, takes the place of a predicate. O. T. 908. lyr. miSaiiov np-aU 'AttoXXcuj' ipP^ — ' Goes, borne by the Southern blast.' lb. 589. lyr. epTJcrcraicnv epe/Sos vCpdKov iiribpajiri ■n-voais — ' Courses o'er the dark depth, carried by the winds from Thrace.' lb. 1234. Trarpos (pvyaia-tv rj/nrXaK — ' Missed his father, who fled forth.' O. T. 517. Xoyoia-iv fir i'pyoia-iu els ^Xa^rjv epov — ' Tending to injury by words or deeds.' (2) Reason. O. C. 387. eya>ye Tois vvv y, St TTarep, navrevixacriv — 'Yes, surely, father, by reason of the late predictions.' Aj. 955- T-oio-Se nawop.€VOis axfcriv. El. 85 1, 2. jrapavpTa . . almvi? Tr. 755- o.(rp^vos TToda. O. C. 1265. Koi jjLaprvpa KaKiaros avdpai- ■nav Tpo(f)ais | rais aaiiriv fJKeiv — ' I testify that I am proved the vilest of men, by reason of thy misery.' Ant. 391. rals a-ais aneiKais als ixeifiacrQriv — ' Because of thy threats which stormed on me.' lb. 691. \6yois toiovtois oh dvr]T€ jioi — 'Calling first on thee — (I bid ye) — Appear.' Phil. 1385. ^, i"^!"^" iarl wdvTav ofd/iaT, oiSeV eVt aTrof — ' Lamentation, misery, death, disgrace ; -whatever evil has a name, not one is wanting here. •In G. T. 1234. 6 ixev TaxKTTos tSi/ \6yav dvelv re Kai \ /mdHV, rievriK, eriov 'io/ca(TT^9 Kapa—' To tell the briefest tale, Jocasta's royal head is sunk in death,' the apparent anacoluthon is accounted for by apposition. (See p. 57, B. i e) And in O. C. 1 1 30. Xdyos fi' OS inmivToiKev apnas ip-oi, . . (yvii^aXov yvajirfv — ' A word has just fallen in my way, to which give heed/ there is an attraction of the antecedent. (P. 59 B. 4 a) 2. A neuter word is often ambiguous between nom. and ace, or being primarily in one case, is to be resumed in the other. O. T. 819. Kai ToS' ov Tiy aXXot riv \ fi 'yu V e/iavTa Ta(r8' apas 6 irpoa-TiBds — ' And in all this it was I myself and no other that fixed these curses on myself.' lb. 377. « rdS iimpa^m pfKu. El. 74. TO crhv ptekecrdm ^avn (ppovprjcrat ;(pcof. lb. 466. ro yap SiKatov oiiK i'xei \6yov \ Svoh epi^eiv, a\X iiTKnrevheiv to hpav — 'For in a jUSt cause it is not reason that two should be contentious, but rather they should hasten to act.' Here the neuter may be the subject of iXei or the object of bpav. O. C. 1424. opas ra toOS' ovv m is opSov iKt^epei I navTiijuxTa — ' Do you See then how his prophecies go direct to their fulfilment.' to ixavTeipLora is accus. after opas, and nominative to io^ipei. Phil. 863. lyr. to 8' SKa(np.ov ipa ippovriti, jToi, I TTovos 6 p,rj (po^Zv KpaTia-Tos — ' For, to my apprehension, my son, the toil that alarms not is the best.' to Skaxnfwv may 'be regarded either as accusative of respect, or nominative in apposition with the sentence. (Cp. O. T. 1234 quoted above.) El. 1071. lyr. TCL Sc Trpbs T€Kva>v biTtkrj (pvXonts ovkit i^tcfovrai. Phil. 497- V '"" ™'' SiaKovav, I o)£ eiKOs, o'/iai, Toipbv iv arpiKpa pepos | ttoiou- pevoi, Tov o'UaS' rjneiyov (ttoXov — ' Or, as regards my messengers, as is most like, methinks, they little recked of me, but hastened on their homeward voyage.' to. tS>v StaKovmv is either accusative of respect, or rather the subject of a clause for which the words Tovpov . . (TToKov are substituted. 16. /3. Accusative. I. After verbs of motion. a. The accusative of motion to a place is used by Sophocles : — O. T. 152. aykaas e^as Bfj&as — ' Camest to glorious Thebes.' lb. 761. ay pais a-cjie mp^ai Kain Troipviav vopds — 'To send him to the fields, and to the pastures of the flocks.' Tr. 58. epaaKa S61XOVS — ' Comes rushing to the house.' &. This seems to be used metaphorically in the expression :— Aj . 1 3 1 6. Kaipov 'itrff e\rj\v6a>s ( = is Kaipov) — ' KnOW that thoU art cpme in happy time.' lb. 34. Kaip6v S' ippiierjp.iv, (i. e. is olov . . Tc'Xos)— 'Unto what a conclusion of our journey did we set forth OF SOPHOOLES. 23 from Argos !' The construction is here assisted by the sug- gestion of oSoK dcl>a>pfifi6i]fiev, in which oSoc would be cogn. accus. c. ' Ace. of the sphere of motion,' signifying motion ' through' or 'over,' e.g. Aj. 30. 7rj;SScTa TTfSi'a — 'Bounding over the plain' — and, with an apparent ellipse of the verb of motion, lb. 877. T^i/ alp' Tj\iov fioKmv | Kekfvdov avr)p oiSa/MOv SrjXoi (j)avfis — ' He has not been seen anywhere along the eastward path.' (i. e. t^v a(j> 17. p. K. . , epirovo-iv rjfjuv.) d. Analogous to this last is the common accusative of a period of time. In O. T. 1137, x"/'S''« • • ^^aw", x"/*^"" though after ij'Kavvov is still the accusative of duration of time. Sc. x^V^"'^ Sid^ovra. Cp. Hdt, vii. 50, 3. aprfv t( tov eVeos KaXKia-rrju iropevo- fieda. Note that a and c are combined in — O. C, 1685. riv amav yav rj | vovnov KKvbav oKiipcvai — 'Wander- ing to some far land, or over the ocean-billow.' 2. The use of the accusative of the object is extended n-por rh (TriijLaiv6p.evov : — i. e. many verbs or verbal expressions acquire a transitive force which is not usually conceded to them : or a transitive verb acquires a second accusative. a. Accusative following an intransitive verb. The simplest case is that of the accusative after Xax^'", Tup^eij), ala-6ia6ai, iretpav. [Cp. esp. Thuc. v. 17. vpoidvprjBrj TTjU ^vpPaaiv.j O. T. 31. deolcrt filv wv ovk tv exoipi Xnrapei npoiio-Trji/ x^P' — ' I who oft honoured thee from what I had, coming before thee with unsparing hand.' Ant. 211. s 8" ovk (iv ; dcrxaXXois 8 lirms — 'But, for the news which I shall quickly tell, you may well rejoice at it, yet perchance 'twill grieve you.' 6. Second accusative after a transitive verb. O. C. II 3. Kot (TV p i^ oSoO 7rd8a | Kpi^ov icaT a\(Tos. — i. e. ' Lead me out of the way and hide me in the grove.' noSa Kpi^ov= \ddpa vneiaye. Tr. I22I. too-ovtov 817 o-' ema-KrjWTa), tckvov — 'This I enjoin on thee, my son (unless i-oo-oOroy is an adverb).' El. 123. 24 ON THE LANGUAGE lyr. Tiva . . tAkus . . ol^^coyhv . . ' Ayay.i,xvova ;— ' Why pourest thou this lament for Agamemnon?' Phil, ii 88. lyr. na-'^r eV/3iepu ^amv — ' They bear him heavily with noise- less tread.' lb. 1004. lyr. davp av noppmdev tdolprjv — 'I would hail him with admiration from afar.' i. This easily passes into the merely adverbial (or adverbiascent) use. Ant. 1273. lyr. ^6os . . peya pdpos p ex®" | fTraia-cv — ' Took and smote me with mighty force.' (See note m loco.) Tr. 982. ^ipos &tt\(tov ippipovfv (pprjv — ' The thoughts of my keen heart become an infinite load.' Phil. 1 1 30. lyr. 7/ nov iXuvov dphs, k.t.X.— 'Piteous must be thy gaze as thou beholdest.' Aj. 687. rairi rfibi fioi TdSf I Tipdr€—' I would have you equal her in that obedience.' The adverbial use of navTa is especially frequent, e. g. O. T. 904. lyr. ZcC, ndvT dvda-a-av — 'All-ruling Zeus;' ib. 475. lyr.— and occurs in combination with a verbal noun {imariipr,). Tr. 338. rairav J'^ffl ydp navr' €7naTfjpr,v ^yd,—' For I have perfect knowledge of all this.' Ant. 721. ^C^m 7-5^ Svbpa ^dw' eV.o-riJ/i-js TrXsMj-— ' That a man should be full of universal knowledo-e.' OF SOPHOCLES. 25 To this head (adverbial accusative) is probably also to be referred — Ant. 340. lyr. IWo/ieviov apoTpwv I evof fit erof — ' As the ploughs are driven, year after year.' But cp. p. 23. c, d. c. Where a cogn. accusative would follow the active verb, the passive voice may have a subject of cognate signification, e. g. Tr. 169. TOiavT ccppa^e Trpbs deSiv ei/JLapfieva | T-mi/'HpaxXeiW exreXet)- Taadat novav — ' Such, he declared, was the consummation of the labours of Heracles appointed by the gods,' i. e. « rav 'Up. irovav ylyvfirBai ToiavTTjv Te\(VTrjV. [Cp. Thuc. V. l6. TrjV . . KadoBov Trapavo- prjSeifTavA Note also the cognate ver5 ; i. e. a verb making explicit a notion belonging to the noun — Tr. 620. 'Ep/iov TTjvhe TTOjUTreuo) reyiyrjv (woiiTripLOV t. €7r(T?)8fijov a\iJ,a TTOifiv). Ant. 972. lyr. eXfCoj | ruCJiXaSev (cXkos d. The accusative in apposition to the action, i. e. governed not by the particular verb, but by the general verbal notion, which it is intended further to define, is also common in Greek, espe- cially in poetry. [There are two chief cases of this idiom, corre- sponding severally to a participial clause (javra noiav) and to an infinitive with aa-re (more ravra vroieic).] In SophocleS this USe helps concentration, e. g. O. T. 603. Koi TrnvS" eXeyxov, tovto /lev, n. r. X. — ' And for prOof of this, first of all,' &c. : and is curiously applied in O. C. 1204. ^apetau tjSovtjv vikotc fie | '\eyovTes — ' You overcome me by your words with a sad pleasure.' Tr. 961. lyr. xojp"" ^po Sopav 'kiyovcnv, aa-irerov Ti Qavfia — ' They Say that he comes before the palace, causing boundless wonder.' The idiomatic ravra (as in Ar. Nub. 319. ravr ap aKoia-acr avTmv to (pdfyfi 17 ^xv F"" irenoTaTai, lb. 353) is an example of this use. Ant. 289. ak\a ravTa Koi naXai TroXfrns | avSpcs fto'Xij (pepovres eppo- 60VV ipoi I Kpvr) mpa adovTes — ' But this was the meaning of those murmurs of malcontents in the city against me, who secretly shook the head.' See also El. 591, 2, O. T. 605, Ant. 167. 4. The accusative of limitation. The chief peculiarity to be noticed here is the idiomatic use of ^vcTLv: e.g. El. 1125. fj npos alp.aTos (\)v KOKos (piaiv — ' How can I be proved a wicked man in my own character ? ' (whatever may have been my deeds). El. 1023. dXX' ^ c^va-iv ye, rov Si voip ^aa-av t6t(. h. By a curious inversion, the predicate, of which {j(ri,v marks the 26 ON THE LANGUAGE limitation, is attracted into the genitive after (j)v(nv. Such is the most natural explanation of — Tr. 1062. yvvrj Se, 6rj\vs ova-a, kovk dvSpos (f)vvcru' /3X., in which (piaiv would be the accusative of limitation. The case of cpiatv here may therefore be explained either as the accusative of limi- tation or as the cognate accusative. § 18. A. 2. PREPOSITIONS. The origin of the Preposition is later and less obscure than that of the cases; and was certainly connected with notions of place. In dvTi, for instance, the process can still be traced from the locative case of a noun (cp. the French en face) of which the accusative ap- pears in Homer, as in the phrase fis avTa, first to an adverb of place = avTi)v, and then to the prepositional use, which in the signification ' instead of,' passes out of the association of place. As life and thought grew more complex, the variety even of local relations became greater than could be clearly expressed by the case- endings. Hence the preposition became more and more essential as a part of speech : the analytical mode of expression takiiig the place of the organic, or synthetical, by a process similar to that observable in the introduction of other auxiliary words, as in the etc.) and the modern Greek substitute for the infinitive mood. a. Sophocles still retains the old adverbial use in a few expressions : — iv hi — ' And there.' O. C. 53, 6. eV 8' 6 Trvp(f)6pos 6e6s [ Tirav npofir]6evs — ' And there too is the God who brought the fire, Prometheus, Son of Earth.' Ant. 420. ev &' ifieo-Toidri fiiyas | aWrjp. EL 7 1 3. t" Sf Trds iii((TTi>6t] Spo'/ios — where eV suggests also ' within.' This passes from place to time. Cp. evTav6a=h tovtco. Tr. 206. iv 8e Koivos apa-evav | ira xXa-yyd — 'And at the Sanie time let the men's shout therewith arise.' fVi. O. T. 181. lyr. iv 8' nXo^oi noKmi t inl fiaripes — 'And wiveS there, and grey-haired mothers too.' Aj. 959. ^vv re 8(7rXot /3aa-iX^s — 'And, with him, the two kings.' lb. 1288. crvv 8' iya> iraprnv — 'And with him I being present to help.' El. 299. arvv 8' iwoTpvvn niXas \ 6 Kkeivos — 'And with her, standing by, her notorious husband instigates her.' dfKpi. Tr. 787- o/*^' 8' eKTinrovv neTpai. On the other hand npos, which appears as an adverb in OF SOPHOCLES. 27 Aeschylus and in later writers (Plato, Aristoph.), is not so used by Sophocles. p. The feeling of the original meaning of the preposition appears also in the analytical use of compound verbs. So in Phil. 320. (rvvrvxi)" KaKwv | avSpav 'ArpeidSiv. — 'Having in like manner found baseness in the Atridae:' a-iv seems to recover the adverbial force. In O. T. 175. lyr. SXKov 8' hv oXXm wpoo-i'Sois : Tr. 842. lyr. fifydXav TvpoaopSxra S6p,ois pxd^av : and possibly in Phil. 144- ^'^' '<''<*>i yc^P toVov fcxaTiais I npocriSeiv i6e- Xns — ' Methinks you would see the spot hard by the shore ; ' the dative is partly governed by npos. y. The same cause accounts for the occasional admission of tmesis. Ant. 432. (Tvv Se viv I 6r]pi>ii.eff — ' And we arrest her.' lb. 1 107. /i7)8' eV oKkoia-iv rpeire — ' And do not give the task to others.' El. 746. v'. viii. 74- "P" • • X'^PT liivovras iid)(fiTdm.) It appears : — I. In the expletive use of prepositions. As the case is used without the preposition quasi-elliptically, so the preposition is sometimes added contrary to use, where such fulness of expression happens to be effective. These opposite deviations arise from the same cause, viz. the com- parative liveliness and freedom of the elements of larjguage. iv. O. T. III2. EK Tf yap lioKpm | yrjpa ^vvdSet — 'For both by rea- son of his great age he answers the description.' Phil. 185, 6. lyr. iv T odvvais opiov | Xijjim t oiKTpos. ini. Ant. 1 141. lyr. ex^rai . . noKis eVi v6a-ov=.v6(7(f — 'The city is plague-stricken.' El. 237. lyr. -nai tVi rois (pdcpivois afieXslv koKov =Twv ipdtp.evav — 'Is it well to be forgetful of the dead?' lb. 108. lyr. inX Ka>KVTa = Ka>KVTa — 'With wailing.' Ant. 759. in\ yjroyoKjL. lb. 786. lyr. Kol t' out' adavdriov (pv^ipos ovSels, | ovd afiepiiov eir dvdpaTTav — 'And no one of the immortals can escape thee, no. 2 8 ON THE LANGUAGE nor any in the number of short-lived men.' Tr. 981. lyr. em ;ioi /ieXeo) I IBdpos SnXerov i,i,i.eiiovev fpljp—' But my hapless_ mmd is brooding with an intolerable weight of care.' (This might have been expressed, though less forcibly, by the 'ethical' dative.) ex. El. 780. ovre vvKTOS virvov ovT l| 17/iepaf | e/ie a-T^yaifiv fjdCv—' So that neither by night, nor out of the way of day, does sweet sleep cover me.' O. C. 250. « (reOev avrofim — 'I entreat it of thee.' Ant. 95. riiv eg c>0 hvu^ovViav, (cp. O. C. 453)— 'My folly.' O. C. 470. 81' 6(Tmv x^i-P^" ^i-y^^ — ' I"^ ^^oly hands.' Kara. O. T. 1087. lyr. Kara yv&fiav — ' In point of discernment,' Tr. 102. lyr. Ka-r oiifia — ' In respect of vision.' rrapd. O. T. 612. Tov Trap avrZ /Si'orov — ' His OWn life.' Trpos. Ant. 919. i'prjpLos Trpos (piKav — 'Deserted of my friends.' Tr. 1211. dXX' e'l (^o^ei npos tovto — 'But if you fear in this behalf.' TTepl. Phil. 621. Ke'l Tivos Krjbei nepi. O. T. 7°7- &v \€yeis irepi. 2. The same absence of fixity appears in the freer choice of pre- positions, and in the occasional extension by analogy of idiomatic uses. Thus €k, expressing the origin, is used of the agent or cause (cp. in-d). Ant. 12 19. raS' i^ d6ip.ov SecriroTov KfXcucr/aao-ti' | rjOpoviiev — 'We examined this as we were urged by our despairing lord, according to his bidding.' (Here the imperfect expression is supplemented by KcXewtr/iaaii'.) lb. IOI5' Kai ravra Trjs (r^s in. v rpefiovres — ' But fearing what the gods may do.' [Cp. Hdt. viii. 15. ro oto Sip^ia deLp,aivovT€s.] iv of the instrument (cp. 8td). Ant. 961. iv KepTOjiiois y\i>o-a\S> y iv croi ■nore. Cp. Aj. II36. vTTo with genitive, expressing manner. Tr. 419. rjv iiw dyvotas opas — ' On whom you look with affected ignorance.' ino where we should expect dno. O. T. 1131. f""?/^"?* ^o — 'At the suggestion of memory.' OF SOPHOCLES. 29 vTTo with dative of the instrument, as often in Homer. O. T. 202. viro (70) cfyBitTOV Kepavva. vTTo with the dative=eV /ito-M, ' amidst,' 'half buried in.' O. C. 67 3. x^M/Jo't vir6 pacra-ais — ■' In hoUows of green glades.' A-"t- 337- TfpS»' wt' oiSiMza-iv — 'Passing over, half-buried in the surge.' With similar picturesque force — e/c = 'nsmg out of. Tr. 780. dfitpUXvarov €K TTovTov iterpav. &id with the accusative has still in one instance the meaning of ' throughout.' Cp. Aesch. Suppl. 1 5. 8ia Kip.' akiov. O. T. 866. ovpavlav Si alBepa \ T(Kva6evTes — 'That have their birth throughout the ethereal sky.' fim with the genitive in the emphatic sense of 'breaking through' or 'transcending' occurs in Tr. II31. repas toi 8ia kqkSsv idecrma-as. [^Cp. Plat. Rep. VI. 494 -D- etca/coCo-at 8ia ToaroiiTtov KaKoivA Trpos with genitive of agent after active voice. O. T. 1488. olov ^wvai a-0(M wpos dvdpammv XP^^" — ' What a life you will have to live at the hands of men.' ini aIm0St=-a-w. O. C. 746. p,r)s. 4. A prepositional phrase sometimes takes the place of an ad- jective as supplementary predicate. El. 84. ravTa yap (jyepei [ vlktjv t iej)' rjplv Kal Kparos t5>v Spcopevav — ' This brings sure victory for us, and success in our enterprise.' lb. 899. i>s 8' ev yaXrjvr] waVT iSepKoprjv tottov — ' And when I Saw that all was quiet there.' O. T. 828. an apov . . Salpovos . . Kplvtav. 5. Peculiar uses of prepositions in composition will be noticed in the second part of this Essay, as belonging rather to the subject of diction. 20. A. 3. GENDER AND NUMBER OF NOUNS. u. Gender. I. The frequent use of collective neuter words, e.g. Xripa, (jidiypa, pleTJ)pa, TO cj)iKTaTa, for masculine and feminine, belongs properly 30 ON THE LANGUAGE to the substitution of abstract for concrete, which will be treated as a point of diction (see Part II). Such instances as — El. 1 178. ToS' eW iKuvo, Km fidX affKias exov — 'It is, and full of wretchedness you see it:' and O.T. 1 195- lyr. fipoT&v *ovd€i>* iiaxa- p/f(»(?) — 'I count nothing mortal happy;' are characteristic of this tendency. (Cp. however Horn. h. Ven. 1. 34.) 2. The Attic preference for masculine forms may, in Sophocles, generally be traced to some special motive. Either {a) the mascu- line gender is selected as the ' worthier,' as in — El. 977—983, iSfo-de TaSe to) Kaa-iyvfjTO) . . Ti/iav anavras ovvck avSpeias xpf"" — ' Behold these two of the same stock . . whom all must honour for their noble spirit,' where it occurs seven times, — or {b) the common form is more expressive; either (i) Kara avvecnv, where male persons are included, as in — O. C. IO16, 17. 01 ixip i^ripiTa(Tii.evoi ] (rnevBova-iv — 'The party of the captured ones is hastening off,' i. e. the maidens and their captors (cp. lb. 1055). Or (2) where the more general word agrees, better with the feeling of the passage (especially where a- woman speaks of women). O. T. 1472. roiv lioi (pJXoiv — ' My dear ones.' Tr. 151. Trjv avTov (TKonSiv | npa^iv — ' Considering one's own fortune.' lb. 206. 6 ^XXwu^ijbof. (Cp. infr. p. 31, 3.) lb. 336. ovo-Tivds t ayeis - eo-o) — ' Who they are, that you are leading within.' lb. 887. S *lJLdTaL€* Q) — 'Helpless one!' lb. 1062. d^Xvs ovaa. Cp. also El. 1026. ftKos yap iy^iipoivra Koi irpdiTtreiv KaK&s. So in allusive reference to a woman, Ant. 479. Scms SoCXos eVrt rSiV TreXas". Other masculine forms are used where a feminine would seem to be required: O. T. 80, 81. rixn a-arrjpi. Cp. Aesch. Ag. 664. 3. The Feminine and Neuter genders are combined in Ant. 100- 105. lyr. aKTis . . /3Xe0apoi' . . jjioXova-a, and Phil. 902. diravra 8vax^- peia — ' All is trouble.' ^.^ NuMBER.^ I. The use of the plural for the singular is a common feature of the tragic dialect. There is a tendency in poetry to the use of abstract words, which are expressive of feeling, as may" be often observed in the substitution of the abstract for the concrete. In like manner the vagueness of the plural is frequently the expression of poetical feeling, as in the following instances : — „ I4°3~8- ^ y^f"') ydp.ot . . KaiTfbu^aTe | narepas, dSe\(j)OVS, irmSas, alp.' efi.TroL(nv epya ylyufrai — ' O cursed marriage, that displayed -the father, brother, son, and parricide, the bride, wife, mother, — all the deepest shames that live amongst men.' EI. 1232-5. la yomt, | yoval a-apdrav c/io), (juXraTav, iixdkeT dpriios, \ iipfip^T , fjk6iT, Abfff oils hpK^'^^ — ' O thou dear issue of him most loved by me, thou art even now come; thou didst find) didst come, didst see- whom OF SOPHOCLES. 31 thou didst desire.' El. 1404, 5. io> ariyai l.^iXmi/ epriixoi, rmv &' diroXkivrav TrXe'ai — ' O halls, friendless and full of destroying hands.' Tr. 911. xm ras airaiSas h t6 Xoirrbv ovcrUs — ' And her childless existence for the future.' Other poetical usages are, TtiiaU, /loipali, rpdffoit, icrxanais. See the Lexicons. 2. The collective use of the singular (cp. 6 M^Soj, &c.) appears in Tr. 206. lyr. 6 fteXXwu/i^or. Cp. O. T. 124. 6 Xi/o-rijy, where see note. 3. Of a wholly different kind is the interchange of singular and plural, which arises sometimes from a mere variation in the mode of expression, the indefinite singular being equivalent to the indefinite plural. Ant. 102 1, 2. ovS' opns fvarjiiovs cmoppoi^hei /Soar, | av8po(ji66puv ^(^pSrres ai/ioTOf XiVoj — ' Nor does the bird clamour forth intel- ligible cries, since they have eaten the fatness of human carnage.' lb. Il65~7* ''^^ y^P rjbovas orav TrpoBaxjiv avhpes, ov TiSr]fi iya j ^^v TovTov, aW ejv^vxov fjyovpai veKpov — ' When men have given up their pleasures, I do not count that man to live, but esteem him for a living corpse.' Phil. 305-7. rdx (Pkot') ovv tis aKwv ecrx^ . . ovroi fi orav fioXaxri, lb. 446, 'J. oii&Vo) kokov y airaiXeTO | aXX' ev nepi- areXKovfriv avra Saip.oves — 'An ill thing never perished' yet, but they are well protected by the deities.' Sometimes from a limitation of the subject — Phil. 645. x'^P^'h^"! ^vBo6fv Xafiav — 'Let us depart, when you have taken from within.' And sometimes in passing from the particular to the general aspect of the same thing. Tr. 547~9' °P"' 7"P V^V '''h^ P'^" fp'n'oviTav Trpocrco | ttjv Sc (j)6ivov(Tav, S>v dcjiapna^eiv daKfi,6s avBos, tS>v 8' ufffXTpeVci 7r6Sa — ' For I see that the bloom on yonder cheek is advancing, while this is on the wane : — and from those the eye is wont to cull the flower, but from these he turns away.' [Cp. Thucyd. vi. 12, 13. veaTepcp , , ovs iyio opwv.j § 21. A. 4. ARTICLE AND PRONOUN. a. As the Article is sprung from the demonstrative pronoun, and the relative pronoun has the same origin, jt is right to consider them together, and the earliest grammarians understood this when they included them under one name as ap6pa. It has been sometimes imagined, in accordance with a tradition of Aristarchus, that the article is always pronominal in Homer, and always, with certain fixed exceptions, merely attributive in later Greek. But the change was gradual, and can partly be traced. There are beginnings of the weaker or simply defining use, even in Homer : — II. I. 167. o-oi TO yepas noki) piiC"'' — 'Far greater is that gift which falls to thee.' lb. 23. 325. aXX' i'xei ao-t^&nXemj Koi TOf Trpovxovra Soxeuet — ' But holds Securely, and watches him the foremost.' 32 ON THE LANGUAGE In these and other such instances, the use is no doubt more vivid than in later Greek; that is to say, an individual image is presented to the mind : but we perceive in them the transition to the usage which afterwards became fixed. On the other hand, there are remains of the pronominal use even in the later Attic (xai Of, § 8' OS, rj S' rj, 6 fiev, 6 hi, Trpo Tov, tov o eamv, raiv ov dSrfKovnev ^pda-ai (where the OF SOPHOCLES. 33 reading is questionable) — 'Thou art come as an informant of the things whereof we doubt, to tell us of them.' Phil. 707. lyr. cXpav tS>v vefiofieaff | avepes a\(j}r)(TTai — ' Taking up of the things whereof we toiling men partake ' (where the whole passage has an Epic colouring). 5. The transition to the common use appears in such expressions as — Phil. 37 '^^ ° ^ *'"'' '08v(Tcrcvs, jT\r)v Kvpei — 'And he said, — Odysseus said, for he chanced to be standing near ;' where the noun is in apposition to the article, which still retains its pronominal force. El. 601. 6 8' oXXos . . . 'OpeVrijs — ' He too .... Orestes.' O. T. 19. t6 8" aXXo v\ov — 'There is another company which,' etc. Compare the Homeric TO 8e iipya mrat aeSKov — ' And there a rich prize is set.' II. xxii. 163. 6. To pass now to the attributive or defining use of the article : — The defining article retains a greater liveliness, i. e. more vestiges of the earlier demonstrative use, than in later Greek, and even than in contemporary prose; and the limits of the usage are less fixed. Hence — a. It sometimes receives a strong emphasis. Especially remarkable in this connexion is Ant. 409, where the article is placed at the end of an Iambic line — iracrav koviv a-fipavres fj Karfix^ tov \ veKvv — ' Having wiped ofF all the dust which covered that corse.' Cp. lb. 404. ov ail TOV veKpov — ' That corpse that thou,' etc. Less marked but still emphatic are — O. T. 864. lyr. rav (vaeTTTOV ayvetav Xdyoji/ — ' The grace of pioUS purity in words,' etc. lb. 1050. 6 Kmpbs eipfja-Bai rdSe — ' It is full time that fhis discovery be made.' i. It is omitted — (i) With one of two co-ordinate words, though added to the other. El. 265. Xa^flv . . . Kol TO Trp-aa-6ai. lb. 99I. «ai ™ kKvovti Kal \eyovTi avujiaxos. (2.) With a neuter adjective — Phil. 742. Kov dwrjo-oiim KaKov \ Kpvyjfat. 7. The article sometimes calls attention strongly to an individual (Deictic use). O, T. 1 1 53. p) 8^™ 77/305 SeSiv TOV yepovTo. p.' alKicrrj — 'I pray yOU by the gods do not torment me, the old man I am.' O. C. 205. lyr. tIs 6 TroXinovos ayu (?) — ' Trouble-worn as we see you to be.' El. 166, 7. lyr. TOV avr]miov | otToj' '(i)(ov(Ta kokSiv — 'Having this lot of unprevailing misery.' VOL. I. D 34 ON THE LANGUAGE 8. Sophocles, like other writers, uses the article to express a geaieral notion, e. g. Tr. 144. TO . . vmCov — 'The young creature.' lb. 374. to . . epBov — 'What is right.' lb. 398. t6 marov t^s aX-qBcias — 'The faithful spirit of truth.' Aj. 1275. to fiij^fv — 'Mere nothing.' Ant. 721. T0V SvBpa. O. C. riz7. koI rovwifiKes Km to firj i/'ewfio- (TTOfiflv. Also with epexegetic infinitives : O. T. 1417, El. 1030. But in such expressions as — Aj. H07. Taa-etivewT) — 'Those high words of yours:' lb. 312. TO Beiv' . . tTTTi — 'Those terrible threats which haunt me :' lb. 650. Phil. 576. TO 7r\eiova; the article refers more or less pointedly to the particular case. 9. The forms tov, ra, toC, tm, and in Tr. 984. lyr. the dat. pLtoIo-i; for Tivos, rivl, rlvos, rivi, rial, have been treated by EUendt and others as inflections of 6, f), t6, but are now known to be anomalous cases (heteroclita) of n'r, as from a nom. reoi. In proof of this, it may be observed that Ionic Greek has rtv and rea-, tev and rea, in the interrogative and indefinite meaning, but never as cases of the article. § 22. P- Peculiar uses of the Pronoun in Sophocles. r. The demonstratives, especially 08s, are often so used that the antecedent or correlktive has to be gathered from the context. El. 963. KOI TrnvSe nivToi, where the antecedent to ravhi has to be inferred from the adverbs oKiKTpa . . awfitvaia re. Thus o8€ frequently refers not to something present but to some- thing which has just been mentioned or suggested. Tr. 1 7. TTfuv Trja-Se Koirrji eiJnreKaaStjvat — i. e. the marriage with Achelous. lb. 716-18. ToC8e oSf . . ToVSe — Nessus . . Hercules, neither of whom is present. Phil. 132. a-ol irapels TciSe. lb. 305, O. T. 242, 801, 948, 1 157, Tr. 933, 935. So the adverb TjjSe — O. C. 041. rfjSf yap ^vvotcropai. El. I302. Koi TOVfihv etrrai TJS'. On the other hand, o8e is used with pointed emphasis not only for the first personal pronoun (O. C. 450, &c.), but as an indirect ex- pression for the possessive pronoun of different persons. (Cp. ' These hands shall tear her,' Shak. Much Ado, iv. i). Ant. 449. Tovcrb' vTvep^aivuv vofiovs — ' To transgress our edict.' And with a certain pathos in — Phil. 822. Kapa yap viTTia(fTai robe — 'For, See, his head falls backwards.' Also oSf sometimes =&8e. Tr. 883. lyr. totS' alxpav jSeKeos kokov |umXe— .'Thus seized?' or=T,58f, Phil, 163. (rripov oypdei toVSe. OF SOPHOCLES. 35 ovTos occurs similarly without a distinct correlative. Ant. 990. nvTTj KsXevdog, referring to Kocvf/v 6b6y | 8v e| ivbs /3Xe'- wovTf, Phil. 288, TQs iiTOTTTepovs | fidWov TreXei'ar, 7rp6s fie to€5' o ^ot /3aXoi — 'Wounding the feathered doves, and up to this, whatever my shaft might wound.' Ant. 668. koI tovtou hv t6v SvSpa Bapcroirfv eyo) : i. e. Tov KKvovra tov aradevToi vno r^s ffoXeaw. Phil. 436. \6ya> Se a iv /3jDa;(ei | tovt cxStSd^o). In O. T. 1 1 80. ovToj . . ou 4>ri(Tiv ovTOi — ' If you are he, he says you are,' the first out-os is thus used, while the second is employed in the usual way. Cp. Shak. H. VIII. i. r. ' Must fetch him in he papers,' where there is a similar ambiguity in the two pronouns. So TOIOVTOS. Phil. 1049. ou yap TOiovTcov &!,, toiovtos elfi iya — 'Where SUch are needed, such am I.' And Kcii/o, Phil. 850, I. lyr. keibo .... on-ojs Trpa^as. The familiar distinction between o5e and oStos is not always, pre- served. They are sometimes used alternately with the same reference, for variety and to suit the verse. Ant. 189, 296, 297, 673, O. T. 947, 8, El. 4-10, Phil. 84I. 2. The relative also occurs without an expressed antecedent (cp. Thuc. iii. 45- """^X^s eiriddas Sons oifrai) ; e. g. Ant. 1 194- "' y^fj trc imK6a.tr(T0i,ii av, &v itTvarepov, ict.'K. — 'For why should I soothe thee (with words) wherein I shall presently be found a liar ? " El. ro6o. lyr. rpoipas Krj8opevovs itp' a>v re pXaaraKTiv. lb. II23. 86ff ^ns ea-ri. Aj. 760. Tr. I233. Ti'f yap noff , rj poi p^^Tpl jxkv davetv, k.tX, lb. 548. i>v d(papird^fiv ^tXfi, K. 1 . X. Especially in the utterance of strong feeling. O. C. 263. Ka/ioiye nov tovt iarlv, olnves fiddpav, K.r.X. — 'And wherein have I found this true, when after raising, me — ye,' etc. lb. 864-6. nfj yap atSe baipoves | Beiev p.' a KOKia-re, k.t-.X. — ' Nay, let not these deities, prevent my uttering this curse, since, wretch that thou art,' etc. Tr. 817. SyKov yap aXXms ovoparos tI del Tpe(j)eiv | prjTpaov, rjTis ... Aj. 457- Ti XPV Span J ooTtr ep(j)avS)s, k.t.X. Phil. 60. e^^or tp^^ijpas . . . 01 — . Sometimes, where there is an antecedent, the relative pronoun =:ei with the personal pronoun. Phil. 255. See below, § 28, i. p. 46. Sometimes, when there is an apparent antecedent, an indefinite antecedent is to be supplied; Tr. 250, r, Phil. 342. The relative is sometimes to be referred to the former of two nouns or pronouns in the antecedent clause. O. C. 86, 7- *0'^v. Aj. 9. evbov yap avrjp apri ruyxavci. lb. 78, Tr. 434. Cp. the idiomatic use of av^p ds, O. T. 1380, Aj. 1340. 6. The reflexive of the third person is used for the first in Aj. 1 132. Tour y aviT-oy avrov TroXffiiouy, with a glance at the general case, and this agrees better with oi yap ndKov. But in O. T. 138 the 3rd person is simply used for the ist. Cp. 08* av^p. § 23. A. 5. THE ADJECTIVE. With respect to the Adjective, as well as to the case-endings, the feeling of analogy was stronger in the age of Sophocles, and the force of convention weaker, than at a later time; and he is able to ex- tend adjectival uses, from the same instinctive consciousness of the meaning of inflexions to which the extension of the case-idioms is also due. And speaking generally, the adjective is used by him (as by earlier writers) with greater freedom than in ordinary Attic Greek. a. One obvious peculiarity which he shares with the other Tragic poets is the tendency to redouble epithets, often without any connecting particle ; e. g. El. 1085. lyr. TrdyKKavTov alSiva koivov eTXou — 'You chose to share with many the tearful life.' lb. 851. lyr. navcrvpTco nappfjvv T a^emv f alavi — 'A life Crowded in every month with fearful and hateful sorrows.' Ant. 891. & KaTaaKa(j>fis \ oixtjcni aei(f>povpos — ' O cavernous abode, where I must keep my endless watch.' lb. 1204. \i66arpa>Tov Koprjs | vufK^eioy 'AiSou KOiXoy — 'The maiden's hollow stone-built bridechamber of death.' /3. The rule that the article or other determinative word should immediately precede an adjective when used attributively is ap- parently broken, by an epithet being introduced after a noun to which (i) the article or (2) an interjection has been attached. The adjective in this case may be regarded as placed in apposition to the noun, and as conveying an implied predication. It will be observed that in several instances there is a possessive pronoun preceding the noun. 1. O. T. 671. TO yap (rov, oi to tovB', eTroiKTflpio aropa | ikeivov— ' I have compassion, not for his voice but thine, which is full of pity.' Ant. 881. lyr. rbv 8' epbv norpoi/ dSaKpvTov — ' My lot, unwept of all.' Phil. 1456, 7. lyr. Tolp.ov . . Kpar ivhopvxov — 'My head, in farthest nook.' Tr. 936. <5 ndis biarrivos — ' The hapless youth.' Aj. 572. d \vpewv ifios — 'My injurer.' 2. O. T. 58. S> iratSis olKTpol — 'O my poor children.' El. 1126. 38 ON THE LANGUAGE j & -^Xtutov fivrjiielov avSpdntraiv t/tioi | ■>/'VX^* 'Opea-rov \omov (J SOle I memorial left of the life of Orestes, dearest of men to me.' y. A similar freedom is shown in the omission, with adjectives placed in apposition, of the present participle of elu'i. O. T. 1506. itToixas avavBfiovs, eyyfvf'is, aKaphas — 'Being thy Ida, to wander poor and unhusbanded.' O. C. 1555. fi^fiviftrSe ixov davovTos, cvTvxfU aei — ' May ye ever be fortunate, and remem- ber me when dead.' El. 1246. lyr. av£- ovras) — ' To the Atridae as to friends.' lb. 11 53. lyr. avedrjv ode x«por fpi^Ke- Tai, I ovKiTi (pofiijTos vpiv — ' This spot hath careless guard, and is no long€r to be feared by you.' El. 1319. as fya ^on/, sc. o5v T^s /iijTj30i, Toii Xof^i'vBrjvai avrijs. I. e. ejra)- Wfios i>v Tov \o}(fv6rjvai fiijrpoc ^tis Tvpocrdcv xpova aSfirjTrj rjv, h. The adjective as part of a complex predicate. 1. Where the adjective expresses the chief part of the predicate, and is more emphatic than the verb. El. 1 500. ov irarpaav Trjv rex"^ fK6finarjpr]S I Kpvtpios fv ncTrXois.) O. T. 14 1 1, 12. rj doKatra-tov | eKptyjmTe — 'Or fling me away to the sea.' El. 419, 20. itptartov | Tnj^ai . . crKriiTTpov — 'Fixed his staff upon the hearth.' Ant. 255. TVfi^riprjs ph ov — ■' Not as in a grave.' O. T. 477. oiTa . . firerpalos Q) — 'Wanders among rocks.' And the singular expression in Ant. 1301. ^apia ntpi^ — 'On the altar round about.' Also O. T. 750. ixa>pei /3aiv (?) *a.vr)pi£pog . . rpvxopevos — 'Pining months numberless.' Tr. 573- pf^ayxoKovs \ i'^aijrfv loiis 6peppa Aepvalas vSpas — ' The Hydra nature steeped the arrows in dark poison.' lb. 165. Kaviaimos ^e^as. lb. 927. Spopaia pdo-a. lb. 957. lyr. Tap^dKea Savoipi. Phil. 600. fix°^ • • X/'owoy e'(c/3ej3Xi;KOTey. O. T. 4 1 2. TV^Xov p.' aveiSiaas (i.e. as elpi rvtj>\6s). O, C. 142. lyr. irpoiriSriT Avopov. f. In some very curious (pregnant) uses the exact meaning intended to be conveyed is only hinted by the formation of the adjective, and is left to be supplied by association. El. 857. IjT. eXn-i'Smi/ . . koivot6kv — ' Holding the wings of shrill lamentings from honouring my sire.' lb. 1066. lyr. x^o'ia PpoToia-i (papa — 'Rumourthat reachest mortals after death.' Tr. 840. lyr. %or (?) boMpvSa Kevrpa — ' The wounds inflicted by the Centaur through speech.' Aj. 935, 6. lyr, dptord- Xfi'p • • dydiv, (i. e. x^'pos dyav iv Tois dpiarois yiyyopfvos) — ' The contest of noblest strengths.' Phil. 693. lyr. KOKOyetropa (^:= yiirovoivTa aira iv rots Ka rdKaivav 'EipiSUriv 6)jiou — ' I see poor Eurydice at hand.' lb. 933, 4. Bavdrov rovT eyyuTdTu | tovttos dcJHKTai — ' This word is nearest death of all that have come.' 0. akts, O. T. 1 06 1. SXis VOITOV0-' iyd> — ' My trouble is enough.' lb. 1 515. aXis Iv e^rjKcis daKpiav — ' You have gone far enough in weeping.' C. Tavvv. Tr. 835. dikiov (repov § Tayuc — ' Another sun than now.' d. Also Phil. 26. Tovpyov oi (j.aKpai' Xe'yew — ' The task you set me ex- tends not tar. Tr. 486. ^ouXou XSyovs | obs elwas es rr/vd' cuir^us (lpr)Kivai—' Be willing that your word to her should be confirmed.' 3. Partly from the frequent retention of a verbal meaning in the noun, an adverb is sometimes found modifying not a verb or sentence, but a single substantive. In the case of SKKas this happens in various Greek writers, as well as in — OF SOPHOCLES. 41 Soph. Phil. 947. etSaXov SKKas — 'A vain shadow.' Tr. 817. oyKov . . aXKcos — ' The empty blazon.' The following instances are peculiar to Sophocles : — irdvTa, Ant. 'J 21. ndvT inicrrfiixris. Tr. 338. TrdvT {Vktt^/ujv — 'Uni- versal, complete knowledge.' TToXXa. O. C. 151 4. ai TToXXa jSpoiToi SiaTeXcii — ' The constant ceaseless thunderings.' JTOT€. O. T. 1043. Tov Tvpavvov T^irSe -fii irdXoi irOT^ — ' Him Once of old the despot of this land.' Tr. 555, 6. hS>pov dpxaiov ttote | 6r)p6s — ' A gift once given by the ancient Centaur.' TTjXdSev. Aj. 204. TOV TeXapavos Tr\K66tv o'ucov — ' The house of Telamon far away.' fid\i. O. T. 1365- lyr. TTpea-^vTfpov I eTi kokov kokoV — ' One evil still exceeding evil.' Aj. 183. lyr. ouTcoTe yap (jipevodev — 'Surely not of thy sane mind,' following the analogy of ri ttotc. no). El. 403. pi] 7ra> voO T0ovah rpoTrp ; Aj. I290. ttoi pXenav Tror' avra Koi 6poets', O. C. 276. aoTrep fif KavecrTrjuaff , SSe o-ao-oTf. Aj. 917. oiSeis av, o(ttls koI (piXos — ' No one who loved the man.' An enemy would gladly gaze on his wounds, an in- different person would not mind seeing them, bu{ a friend could not look at them.) lb. IIO3. oiS' ead' Snov o-ol to'»8c Kocrp/rjo-ai TrXtw i apx^js ineiTo Bedjios tj kcu T^Se i(riv', El. 385. 7 Taira drj pe Kai ^e^ovXtvvrai noieiv; And in other forms of expression, similarly calling attention to the .point of what is said. O. C. 1586. rovT ioTiv rj&T) KatroBavpatrat, Trpdnov — ' That (viz. the manner of his end) is the very point which deserves our wonder.' — Phil. ,79. ?|oi8a -koi (j)va-(i ' *' | '"■ ""' ^cjpfir, Kai marks the correspondence of xa'pfw and x^P^^>'' 2. Km as a conjunction. a. Temporal use, expressing simultaneity. O. T. 7 1 7- "■o'Sos be pXda-Tas oh bie(T\ov rjpepai I rpeis Kai viv apBpa Kf'ivos ep^ev^as nobolv, k.t.X. — ' And as to the child, three days had not elapsed from its birth when he,' etc. Ant 11 86, 7. Kai Tvyxdva re . . Kai pe (j)d6yyos oiKeiov kokov, k.t.X, h. Kai almost =KaiVoi. El. .597. Koi a-' tyojye bcinrorcv | ^ ptjrep' vvk eXaavov els f/pas vepa. OF SOPHOCLES. ,43 c. Double and triple Kal with adversative or cumulative force. O. T. 413. crv Koi ScSopKas, Kov ^Xeirfij 1v' el KaKov. Ant. 399. Koi KfHve Ka^e\cy)('. Aj. I396. Ta ^ oKKa Koi ^ifjmpaaa-e, k.tX. O.C. 629. Koi ravTa jcal Totair enrj — 'Not only these words, but Others like them.' O. T. 789. adXia | koI Suva Kal Svo-TTjva. Phil. 667, 8. rrapearai Taird croi Kal 0iyydvfiv | Koi Sdvrt dovvai, Ka^enii- ^acrSai, K.r.X. d. Kai almost = wherefore. Phil. 922. xato-w ^117 dv/ioO lO^iav. e. Kai is sometimes virtually disjunctive, as in Aj. 476. npoaBelaa xdva- 6ti (in a public docu- ment.) U. 3. 40, etc.] 3. Kal Sij, ' already,' is treated as a single word. O. C. 173. i^aia Kal 817. lb. 31. Km drj fih oSv Trapdvra, 4. Hyperbaton or transposition of xal. (Cp. ' but' in Elizabethan English. Abbott's ShaL Gr. §§ 129, 420, J. C. i. i, 48. 'When you saw his chariot but appear.' A. W. iv. 2^ 30.) Kai is sometimes separated from the emphatic word to which it chiefly belongs, although in these cases it may be regarded as belonging rather to the whole clause. (Cp. Thuc. v. 45. p.fi Kal rjv es TOP S^/iOv ravra XeyoKTiv^ K.T.\. lb. viH. 9 1 . ^v Se n Kal towvtov.) O. T. 305. (quoted above) ft koi /i^ KXieis tSiu dyyeXav : i, e. ei lifj Kkieis Spa koi tSiv dyye\pd(T TgSe iya. Phil. 352. eirena pivTOi x^ Xdyos KoXos TrpooTJv : L e. KalTrpooTJv KoKos i>v 6 \6yos. lb. 79- '^"iSa koi. El. 1 251. (Cp. Thuc. viii. gi. ^v Sc n «ai towvtov.) 0. oKkd. 1. Adverbial. It has a pleading force. Tr. 320. «7r', & ToKaiv, dXX' fjp-lv e'k crouT^r. Ant. 552- '"' S^'"' ^^ SK\d viv y^> "P") ^"i F'^'^^h TolmVj ^ijra, /*€v oSv, Sfj^ev. The USe 44 ON THE LANGUAGE of several of these is slightly extended by Sophocles, so as to convey a stronger and livelier emphasis than in ordinary use. liTjv, bespeaking attention. O. C. 28. axv f Kpdrri Sf) Travra Koi dpovovs ex" — 'It follows, that I, as you see,' etc. Jb. 726. 01 TijXi/coi'Se koi StSaJo- /leaffa S^ I poveh — ' Shall we, forsooth, at our age be schooled ?' ye, modifying or strengthening assent. O. C. 14 1 6. aTpe\jfai, aTpdrevfi.' is "Apyos ms Taxta-To. ye — 'Yea, turn thine army back to Argos with all speed.' El. 941. ovk tad' o y' ehov. Phil. 1003. |uXXdj3cre *y airdv — 'Ay, appre- hend him.' Tr. 602. Siras (piprjs ^oi rovSf y civ(f>ri niirXov — 'YeS, that you may take for me this beautiful robe.' hrjTa in emphatic confirmation of what has been said. Phil. 759. 1(0, im, 8vvav apa. Aj. g^Sj "■ '■J^' efifXXes, ToKas, t/xeXXes XP°''V I cTipedtppav op' i^avvaew, k.t.\. Cp. Tr. 1082. i6aXfjfev arrjs (nraa-pos dprias 0.8' ou. 27. '• 'Av— I. is omitted {a) in hypothetical and relative clauses with the subjunctive : partly because the verbal inflexion is made to supply the meaning of the particle, and partly because of the poetical tendency to greater generalization. See above p. 30, iS, i : and below, p. 90. a. (i) After «. O. T. 874. lyr. ei TToXkSiv V7rcp7r\ri(r6!j pArav — 'If SO be that she is idly surfeited with many things.' O. C. 1443. «i cov a-Teprjdm — ' If I be bereft of thee.' lb. 509. ov8' el novu m — ' Though one have labour.' Ant. 710. Ke'l tis n o-oi^dy. O. T. 198. lyr. TeXft yap ei ti vv^ a(^j. lb. 9 1 7. el (jto^ovs Xeyrj (?). OF SOPHOCLES. 45 (2) After the relatives, or, S n, iml, evBa, opa, irptv, eas, eoTf. O. C. 395. OS veos nea-T}. Tr. IO08. lyr. S n Koi iiicrri — ' Aught that may have for the moment slumbered.' O. C. 1225. lyr. xA 8", eVfi ^avn — 'But after seeing the light.' Ant. 1025. inA 8' ipaprrr] — ' But when one hath erred." Aj. 1074. tv6a ixfj KadeurqKTi 8eor — 'Where there is no settled fear.' El. 225. lyr. o(^pa lie |3i'o9 ^xn — ' So long as I am held in life.' Tr. 946. irpiv cv irdSi] tis t^v irapova-av Tjptpav — ' Till one have prospered through the present day.' Aj. 555. em? to xaipfiv Ka\ to Xvmitreai paBris. lb. 1 183, 4. iOT cya> p,6ka | rdcfiov iJteKrjdcls T(o8e. 5. Sv is also omitted in clauses implying inference. (i) With the past tenses of the indicative. (Cp. 'Had he not resembled my father as he slept, I had done ii,' etc. Thuc. viii. 86, § 4. iv ^ . . . etx°^-) O. T. 1368. KpeliTcrav yap rjtrBa prjKiT i>v ^ fajv TvtfAos. El. 914. OVTC bpmiT iXavdavev, lb. I022. ndvra yap KaT€ipyd. (2) With the optative in several places which have been thought questionable, but have not been emended with probability. O. C. 1 172. oil y' iya ■^i^aip.l Ti. (Cp. Thuc. iii. 84 OTroo-a . . Bpda-ciav.) Though inference is here implied, the form of ex- pression is rather hypothetical, analogous to el -^e^atpi. lb. 14 18. TTCos ydp avdis av TrdXtv trrpdrevp,^ ayoipi ravrov^ eladrra^ rpecras J Ant. 604, 5- '■f'"', ZeC, hivatnv tU dvhpaiv | imep^avla Kardcrxoi; Phil. 895. nawat' ri S^ra Spaip.' cya> rovvdevhe ye. In these three ex- amples the mood is rather potential than inferential. Aj. 921. ffoC TevKpos ; as dKp.atos, el fiairj, /idKoi — ' How Seasonable would his coming be, if he came.' El. 800. o{/t £fioO Kara^ms npd^eias. In these two instances the optative rests on a preceding optative. 2. av is used — a. With the imperfect indicative in Phil. 572, to express un- certainty as to the subject of an action which is assumed as a fact. Trpos iroiov &v tovS avTos ovhvaarevs eirKei — ' Who COUld this be, in quest of whom Ulysses himself set sail ?' Different from this is the picturesque use of av in description which occurs in Phil. 290 foil, as frequently in Hdt. and Xen. In Ant. 260, Kav eylyvero, we have a singular combination of the inceptive meaning of the imperfect with the use of av. 'It was coming to this, that blows would have been the end of it.' (5. With suppressed or implied protasis — O. T. 12. SvtrdXyrjTos yap &v eir/v. lb. 220. ov yap hv paKpav | "xvevov — ' For it could not be expected that if I had inquired I could have carried the inquiry far.' I. e. iras yap av, k.t.\. In both cases an epexegesis supplies the place of the protasis. The latter instance diifers from the ordinary ov yap ai'='Else had I not,' (e.g. O. T. 318), in that the inference is not one contrary to fact, but merely relates to past time. 46 ON THE LANGUAGE c. With the optative in relative clauses. In this case it adheres closely to the verb, to which it gives the same meaning of prob- able inference as in principal clauses. GiS & O. C. 425, 6. 0)9 oCV h> 6s vvv UK^TtTpa Kai 5pd»ous ex« | /ieimcy— ' And such an end, that neither the present holder of the throne might remain;' or, 'And then neither would the present holder of the throne remain.' MOfT* &V (?). O. C. 45. Sot' oix ?Spar T\^ '^W^' ^^ e^tKBotp.' (ti — ' On this condition, that I will not any more remove.' But is is probably to be read. cl . . av. Similarly Sv with the optative occurs even in a clause introduced by el. Aj. 405—8. lyr. el TO (lev (jjdlvei, (jjiKoi . . jrSr &e OTpards SiirdliTos av /iE I xf'P' <^owucw. But this is really an example of the return to the independent sentence, to be noticed under ' changes of con- struction.' See below, p. 64, i, 6. d. With suppression of the verb, generally through the ellipse of a word to be supplied from the context, but in PhiL 49,3, by an idiomatic abbreviation — 6,K hx] itoKaV &v i^ otov SeSoiK eya jiri /loi ^e^rjKrj : i. C. ov Sefiouc' eya> jir] fioi. ^e^Tjicjj' rraXaia &11 (f'lj) e^ otov (pelSr/Ke), e. av repeated in the same clause adds UveUness to the- expression. Phil. 116. drjpare' *&v yiyvoiT av.(J) O. T. 339. "V yap' Toiavr' hv ovK av opyl^oir' «nj r likvav. Phil. 29O ff. airos av roXar . . jrpos TOVT av. And in resuming after an intermediate clause. O. T. 503- foil. lyr. dXX' ovnor' eyaty' av, irphi "Botp' opSov eitos, pe/KJiopevaiv &v KaTacj)air)v. § 28. f. Hypothetical and Relative Particles. 1. El has a peculiar ethical force with the present or future indica- tive, and in oratio obliqua, with the future optative =' when I think that,' ' at the very idea of — .' (Cp. esp. Thuc. v. 30. ^ti&vto rrjv re ev an-oa-TaVTes ^u/i/iax"' ev aav ajra^erai |8ia — ' That he should forcibly drag me off from your precincts.' Ir. 606. aOvpa 6', el (pavrjcropai To^a | kokov pey eKTrpd^atr' cm iXmSos KaXrjs. Phil. 376. el rdpa Kelvos ot\' acfiaiprjCroiTo pe — 'At theverv idea of his robbing me of the arms that were mine.' Perhaps this analogy may give the explanation of the present in- dicative in — O. T. 691. e'l ae vo(T(fil(opai — 'I should be utterly senseless, — to desert you.' OF SOPHOCLES. 4.7 2. el is also used emphatic ally =««. Ant. 551. d yeXoxr' iv a-at yeX5. Phil. 52, 3- "^^' "y" " Kaivov . . KKvrjs, iirovpyelv. 3. €1 with a participle, through ellipse of the verb. Aj. 886. e" TTodi .. . Xewo-tBi/ (i. e. \evs — 'What time the sun unchanged shall rise on this, and set on yonder side.' And in Aj. 1117, although i>s &v jjr ol6s mp d may very pos- sibly be similarly interpreted, 'So long as you are the man you are,' the words may be explained to mean more pointedly, 'However you may be the man you are:' i.e. Were you ten times Menelaus. In Tr. 715. x<^<^^P "" ^tyn, &a-7rep has the natural meaning of ' just as ;' 'As sure as it strikes any creature it destroys them.' In O. C. 1361, uMrrrep &v fS probably means, not ' as long as I live,' but, ' whatever may be my life,' alluding to Polynices' remorseful mention of his father's misery, lb. 1265. koI fiaprvpa Kdma-ros dv- 6pi>irimi rpocpaii | rals (raicnv rJKetv. OedipuS replies, ' Whether I am in misery or comfort, I shall remember you equally as my murderer.' 6. 'Qs with the accusative absolute and participle differs from the more common use with the genitive absolute. Both express a cause or condition of an action in the mind of the agent ; but the accusative is used where the condition is a part of the fact or assertion : the genitive where it follows or is derived from it. This is the difference between — O. T. lor. as t68' alfia xfi/iafov ttoKiv — ' Since he tells us that this murder vexes the city ; ' where the fact of the murder being the cause of the plague is part of the revelation, and the accusa- tive depends on X/yft, implied in avayev, and lb. 241, 2. a>s pid- (TfiaTos I Tovb' TjpXvovTOi — 'Believing that this man is our pollution,' where the fact that had been already stated is merely adduced as a reason for the preceding command. So in O. C. 380, I. ms avr'iK "Apyos r/ to KaS/ielaiv neBov | Ttp.fj Ka- 6i^ov, r) ■n-pbs ovpavbv /Si.SSj'—' Proclaiming ' (as a motive for the expedition) ' that Argos should forthwith either honourably con- quer the plain of the Cadmeans, or exalt its fame to heaven,' — this reason of his expedition is also a principal part of the expressed resolution of Polynices. § 29. n- Negative Particles. There is no more delicate test of a language having attained grammatical precision than the requirement of perfect exact- ness in the expression of negation, and (it may be added) of 4S ON THE LANGUAGE comparison. Such Shakspearian slips as ' Who cannot want the thought?' (Macb. iii:«); 'No, nor a man that fears you less than he,' (Cor. i. 4); are familiar to the English scholar. By Sophocles and other writers of his age the negative and prohibitive particles are used with great subtilty, but with oc- casional idiomatic deflections from strict accuracy. 1. Reduplication of the negative, {a) in very strong emphasis. Ant. g, 6. offoiov ov I tSiv aav tc Ka/iav ovK oiram iyi> KaKav. Tr. 1 01 3. oh irvp, OVK eyxps Tir ovrjaifiov ovk. airoTpe^ei; Also pi), when strictly prohibitive, is reduplicated for emphasis. O. T. I165. ptij, jrpos 6e5>v, fiij, dcVT£{, eiTa roils Beovs [ fiolpais itoin- cr^e p.}]8ap,Sis — ' And do not, by way of honouring the gods, put them far from any sort of honour.' (Cp. Plato, Legg. xi. 913 B. fii/8' av Kivrjo-eie ftijSc TO ^paxyraTov, e/« p.rjSafifj fij;8a/ia)s nfidwv.) The words p.rjbaiiS>s (ev) fioipms (ehm) are to be taken together as forming a single phrase. See note m loco. 2. Uses oip.fl. fifi, originally the prohibitive particle, is adapted in Greek, through various uses, to express purpose, hypothesis,- general or ab- stract notions, and also negations that are viewed not merely as facts, but as determinations of volition, feeling, or thought. Extensions of the use of p-fj in Sophocles arise partly from his love of refining on language ; and partly from the tendency to more abstract modes of expression. A few points are deserving of special notice. €1. Where a fact is assigned as a reason, and is therefore regarded under the form of a general notion. O. T. 289. pfj irapaiv Bavpa^frm. : i. e. 8m to p,rj napeivai. Ant. S46. piqh', & pfj '^lyff, I TToioC o-mvTTJs. Phil. 583, (with a preceding fi^) O. C. 49^- ^'' I ''^ M 8vva(r6m pfjd' op'dv. El. 1014. a-Bipova-a p.riS(v To'ts Kparova-tv elKadelv. Chrysothemis dwells on the idea of the weakness, which she adduces as a reason for her counsel. 6. pfj in describing an individual under a general aspect. El. 1000. kottI prjUev ^pxfrat. Fr. 786 D. 1. 8. Phil. 79. avi(TTav pf, (f>i\wv. Tr. 412..7tS>s p.ri SUaios— •" How should I be unjust?' OF SOPHOCLES. 49 c. In a prophetic warning. Ant. 1064. afX el ye rot KantrBi fifj noKXoiis tn, k.t.X. d. ixri apparently pleonastic, making explicit the negative notion contained in the preceding words. O- T. 57. eprj/ios dv8p£>v fiij ^vvoiKovvrav ecra) — ' Without men dwelling within.' The tendency to make an implied negative explicit is a common feature of Greek syntax. Negative expressions are apt to be unduly emphasized in consequence of some latent consciousness that their significance is imperfectly realized. [Hdt. vii. 54. ovk fX'^ SiaKptvai, ovTC el . . ovre ei, k.t.X.I Another form of this phenomenon is — 3. The use of pri oi with infinitives and participles. The pleonastic oi in this and similar idioms {oi /laXXov rj oi,. Hdt. iv. 118, v. 94, vii. 16 § 3, Thuc. ii. 62: npiv 8' oiSev opdas etSe'mi, rl k.t.\. Eur. Hel. 322) is caused by the difficulty of holding two negatives at once (or a negative with an interrogative or comparative) distinctly before the mind. a. Where a negative or privative notion has been negatived, and is further explained, ^17 oi is used with an epexegetic infinitive or participle ; especially when the chief negation refers to circum- stances actually present. [Plat. Rep. i, p. 354 B. ovk ama-xofirju TO jxTj oi< eVi TOVTO iXBeivA Tr. 90. vvv S', cos ^vvlr^fi, oibev iKK€l\jfa> to jir) oi | iracrav ■7rv6es I e^oiSa, firjoixi 8elp,' ijjioi Ti oiScu, pfi oiK avTitjiiXovv : but in Plat. Rep. vi, 494 D. t6 8e oi KTTjTov pfj dovXfva-avTi, the conditional nature of the whole sen- tence, introduced by mu tis Xiyrj, has the eff'ect of excluding oi.] O. T. 220, I. oi yap av paKpav | "xvevov avTos, pfj ovk e'x''""'' ovp- /3oXov — ' For I could not have pursued the inquiry far unaided, not having the assistance of a clue.' I. e. eV m pfj dxov, k.t.X. VOL. I. E go ON THE LANGUAGE c. A special case of the last mentioned idiom (/uij oh giving a nega- tive condition of a negative statement) occurs, where a supposed course of action is deprecated, or marked as blameworthy. In this connexion the infinitive is more frequent, but the ^participle is also used. [Plato, Prot. 352 D. ala-xpiv ean km e/iol . . . /i^ oix} . . . KOKOi | imtj dpS)V av eirfv irdvff ocr av SijXoI 6e6s, they are prospec- tive and contingent, and oIk is excluded ; as also in O. T. 1457. fifj Vi TO) deiva kokw {a-adeU), where they are remote in time. [An imaginary example may help to illustrate /xj) oi KaroiKTeipav in O. T. 13, Suppose that to Aj. 1330. */ ydp e'lrjv ovK &v (V (ppovm a negative clause expressive of the ground or condition of this statement had been added, /tij ov would have -been in place. E. g. elV ■ § yap e'lr/v ovK av ev (fipovwv, (j>IXm | aoa ff oiioitos dvSpl ^ij oixl a'vp.(j>epmv.j 6. With respect to interrogative particles it is enough to mention that the long Spa is sometimes equivalent to ap ov, or rather expresses a stronger certainty. This may be explained by supposing an ironical or indignant suppression of the negative, as unnecessary in so clear a case. Cp. the English, 'Is it so, oris it not?' which implies a more vehement asseveration than ' Is it not so ? ' " O. T. 822. 2p' '4(^vv KaKos; I Sp' ovxi nds avayvos — 'Am I then a wretch ? Am I not altogether unholy ?' Here the negative is omitted, until the chief stress of the emphasis is past. A different tone of irony appears in — El. 790. S.p' e'x" KoXas; lb. 816. &pd /iot KaXSis ex" ! ipa p-fj expresses an ironical doubt. El. 446. Spa p.f) SoKeis; Ant. 632. Spa p.ri . , . Trarpi \va-a-aivav irdpei; &pa occurs also in strong assertions where there is no reason for supposing even an implied question. O. C. 409. Eorai noT ipa tovto Ka8/ifiois /Sapor — ' Then SUrely that will some day be a grief to the Cadmeans.' Compare the interrogative and categorical uses of ?. In exclamations. Spa is still more emphatic. O. T. 1395. oiov Spa p.e I KaKXos kokSv vnov'Kov i^edpeyjraTe, § 30. A. 8. VOICES AND TENSES *OF THE VERB. These are the only verbal inflexions that fall to be considered under the first general heading of ' words and simple constructions,' OF SOPHOCLES. 51 as the peculiarities of moods belong rather to compound constructions (B. 5. p. 60). u. Voices. The tendency to subtle and indirect forms of expres- sion leads to several exceptional uses of the active, middle, and passive voices. I. Active Voice. a. There is a peculiar use of the active participle neuter, which occurs in Sophocles and some contemporary writers, though not at all in earlier, and rarely in later Greek. A state of the person, generally mental, is expressed by the neuter participle with the article, which thus becomes a sort of subject ; e.g. Thuc. i. 36. to ^sV SfSios auToC : iii. 9. iv yap rm 8ia\- Xao-croiTi Trfs yvi>jir]s Koi a! Siatpopai rS>v epycov Kadlaravrm : V, 9. toO fievovTos ('the determination to stand firm') : vi. 24. rb ph imOv- povv Tov TrXoO : Vll. 68. aTrOTrX^trat Trjs yfatprjs rb dvpovpevoif. This idiom arises partly from the difliculty of finding expressions for mental phenomena, and partly from the tendency to express feelings as s/aies of emotion, and hence to employ the verb rather than the noun. The only continuance of this use in later Greek is in such philosophical terms as to ala-Bavopsvov, 7-0 opeyo- p.ePOV, TO voouVj TO ^yovpcvoVf to TrpoaipovpevoV) to o'vvetdos. The Sophoclean examples are — O. C. 1 2 19 lyr. orav Tis it irXeov ireoTj tov ffekovros — see note in loco, Phil. 674, 5- TO yap vocruvv noBei ae irvpnapao'TdTrjv Xa/3eij/ — ' For my diseased state longs to obtain thee as a supporter.' Tr. 196. TO yap nodovv eKaaTos €Kpa6elv BeXav — 'For each wishing to feed with information his particular craving ; ' to rrodovv, that which is 'beating in the mind.' (Shak. Temp. i. 2.) In this last example the feeling and its object are identified. In the following instances the action is similarly identified with the agent or subject, although a state is not described. O. C. 266, 7* ^'^^^ ™ y ^Py^ f^°^ ireirovBdT iffrX paXKov rj hehpoKOTa — ' Since for my actions, they have more in them of suffering than of doing.' . lb. 1604, 5- ^"'f' Sf navTos flx^ dpSivros fjhovrjv [ KovK rjv fT oidev apybv i>v i(f>UTo — ' And when he had satisfaction in seeing everything in act, and no part of his commands was any longer idle.' (Cp. Aesch. Prom. 57- °" I"*""? Toxipyov ToSe.) O. C. 74- o"'' "" ^^ytopev, ndvff opavTa \e^op(v — ' All that I utter shall be full of sight.' It is noticeable that five of the six instances (which are all that occur) belong to the latest period of Sophocles, which is most nearly contemporary with the work of Thucydides. 5. The absolute or otherwise intransitive use of active verbs will be considered as a point of diction (in Part II). But the following rare actives deserve notice here: — afoj/^ (O. C. 134), pnavav (Aj. 1037), 5/)i'f«(Tr. 754), bci>poaev (lb. 255), dpvo-ov (lb. 1033). See notes in II. In each of these cases the active voice, marking the absoluteness of the action, is more dignified than the middle would have been. E 2 52 ON THE LANGUAGE c. Sometimes by a vivid turn of construction the active mode of expression is introduced, where the passive would have been more natural. O.T. 296. a liTj'a-n Spavn rapffos, oiS' eiros (jjo^e'i — 'AwOrdhasno terror for him', who is not afraid to do.' Ant. 274. /ca/ie t6v Sva-- fiai'/iora I TraXos KaSaipe'i tovto rdyaBov Xa^eiv — ' And to be the re- cipient of this boon the lot seizes upon hapless me.' lb. 1078,^9. (j)avet yap . . avSpSiv yvvaiKav (Tois 86)1.01.1 KaKv/jiaTa — ' For the wailingS of men and women in thy halls shall declare it' Phil. 864. TTovos 6 p.rj 0oj3mi' KpaTioros — ' The toil that gives no alarm is best.' In each instance poetical liveliness is enhanced by an inanimate cause being made the subject of an active verb. d. In all Greek, especially in poetry, there is a tendency to express actively states and conditions which are really passive, as in the familiar ^i;«v rpixas, etc. Hence aLpeiv and other active verbs are used of passive states. El. 906. niiiTi-Xrjfji o/iiia. — ' My eye fills.' Aj. 674. iKoifua-e (suifers to rest) a-TCfOvra irovrnv. lb. 75- 8ei\iav apels, O. T. 9I4. v-^ov yap dlpei dvfioi/, k.t.\. § 31. 2. Middle Voice. a. The Middle Voice is pointedly reflexive in — Ant. 354. aa-Tvvonovs opyas (Sibd^aro — ' He taught himself the tempers of civic life.' Aj. 1376. Tarrb roCS' ayyeXXofiat . . ehai (plXos — ' Henceforth I proclaim myself to be friendly.' lb. 32. TO fieV a-rip.aivoixai. — Lit. ' In part I inform myself (though this might be regarded as passive). Tr. 21. iKKwral fie. lb. 339. Tov ixe Tjji'S' i^lnTaa-ai jSdcriv — ' Why do you check me in this my going to make me attend to you?' Aj. 869. KoiSek *i(\)ia-TaTai fie a-vfifiadf'LP T6nos — ' And no place cries halt ! to me that I may learn its secret.' Phil. 287. SiaKoi/eio-^ai. Perhaps also El. 1249. oiSe wore }.7]o-6fievov — ' That will not let itself be forgotten ' (from the causative Xr^ddva, though this may be fut. mid. for pass.). i. Remotely reflexive uses. [Cp. Thuc. iii. 40. SioXXvvrai, viii. 82. imiyop.euav.^ The middle forms of 6pda> and d8ov are retained by Sophocles, partly in continuation of Epic usage, but also with a degree of ' ethical ' or ' pathetic ' meaning. O. C. 244. lyr. ovK dXao'is Trpoa-opap.eva ofipxi (rbv ofifiaa-iv — 'Look- ing in thine eyes with eyes of mine that are not blind.' Cp. infr. d. Tr. 908, 9. ci tov (plXav l3Xe\jrftev olxeTav Sefjuis \ exXaiei' fj SvaTTjvos etaopmixevrj — ' If she might see the form of any one of her dear domestics, she wept, unhappy woman, as her eye beheld them.' Ant. 593. lyr. dpxala rd Aa/SSaKiSmv I oiK(Bi/ op&iiai, K.T.X. — 'From of old I see with pain the calamities of the house of the Labdacidae.' O. T. 12 17, i8. lyr. cMe cr' eWe *(re I ixrjTroT d86p,av — ' Would that I had never had the unhappiness of seeing thee !' Phil. 351. orras idoip.' adarrToV ov yap ei8d/ii/i/ — OF SOPHOCLES. 53 ' That I might see him ere he was buried, for my eyes had not seen him.' In the following examples the reflexive meaning of the voice is more distinct — Ant. 713. KK&vas i>s fWiiffTat — 'How they save their twigs.' Aj. 43- x"/"* XP"'"^"'^'" (fiova — 'That he imbrues his hand in blood. O. T. I48'7. vooifi^vos to. Xoma rov mKpov fiiov. Aj. 511. (ToC Biourerai fiovos, (SioiVet rov eauToC ^lov.) Tr. 103. nodovfieva . , (j)p(vl (unless this is passive, as from a causative use=' laden with regret.') Cp. Find. 01. 10, 76. aei'Sero nav Ti/iems.) Phil. 613. ayoivTQ. lb. 1325. ypd(f)ov (j)pcv&v eo-o). The effect is slightly different in — Aj. 647. (jivei T aSrjXa Kai (pavevra KpiiTTerai — ' Brings forth from the unknown, and when they are come forth, hides them in her own breast;' where Kpim-rerai. = Kpimrfi its eavTrjv, 'hides in her bosom.' In Ant. 1093. d/i0i/3aXXo/iai rpixa — ' I am crowned with these locks,' the verb is passive rather than middle. c. The Middle is used causatively in the following instances : — O. T. 434. ea-TfiKa/iriv (av) — 'I would have had thee ushered.' lb. 951. TL fi i^evifi^a — ' Why hast thou had me brought?' The causative use, however, is by no means peculiar to the middle voice, and belongs to it ovUy per accidens. See note on O. T. 434. d. The Subjective Middle. This use of the middle voice is of much wider extent in Greek from Homer to Plato than has been commonly supposed. It may be familiarly explained as equivalent to the active voice with the genitive of the reflexive pronoun. I. e. if the directly reflexive middle =5roif IK ti kavrov, and the indirectly reflexive=7roierv ti iavTa, then the subjective middle voice =7roifii' n eavrov, Ik tS>v iavTov, or dcj) iavrov. Common examples are dn-oSciKcuo-^at, ' To display one's own attributes,' napexea-dai, ' To provide from one's store,' d7ro(pattiea-6ai, ' To declare from oneself.' Cp. Hdt. iv. 172. 81S0I dtopov TO av fxu (pfpoiifvos e| o'Ikov. O. T. 148. &v 06' e^ayyeKXcTai — ' Of the things which he announces from himself.' Aj. 772. rjiddro. Phil. 852. 3. Passive Voice. Sophocles shows a singular fondness for the Passive Voice. a. As the active gives additional liveliness, the passive is convenient where there is reason to prefer an impersonal mode of expression. Tr. 632. Trplv dbevM rmeWev €i iroBovfieOa — 'Before knowing matters in that quarter, whether we are an object of affection there.' O. T. 289. nakm 8e prf Trapmv BavpA^^rai — ' His absence has long been a cause of wonder.' lb. 529. KaTryyoptho roim- KXtj/ia tovt6 p.ov — ' Was this crime charged against me ?' O. C. 1352. vvv S' a^uo6e\s et(Ti — 'But now, ere he goes, he shall bs vouchsafed this boon.' Ant. 11 65. d 8' a.Se\(prj cro4 TTpocrrjvSaprjv del — 'But I was ever addressed by thee as sister.' Phil. 140. lyr. A(6f a-KrjwTpov dvaa-- a-erm — ' The Staff of Zeus is swayed.' O. C. 759. fj 8' o'Uoi wXiov dUn o-f'/SotT civ — ' Your city at home would rightly receive more reverence.' O. T. 1449. ep,ov fie pfjiror d^uodrjTco rdSe I iraTpaov auTV . . TVXfiv. c. As the action is projected so as to form the cognate accusative (or ' internal object') of an active verb : so the subject of the passive voice is sometimes ' of cognate signification' to the verb. Tr. 738- '"' ^ ecTTLU, & Tvai, TTpus y epov crTvyovpevov, 1. e, n trruyos ylyverai a-oL irpos y ipoxi — ' But what is there, my son, on my part, that excites your hate?' lb. 169, 70. Totavr €(j)pa^e irpos 6eS>v tlpap- peva I Tav 'HpaKKeiaiv eKTeXevTacrOai novatv, i. C. roiavrr], S>s ^a(ri, ylyvcTaL rikevTrj (ck) tS>v 'UpaKXelav novav, ovtcos eipappivr] irpos rav 6cS>v — ' They say it is fated by the gods for the labours of Heracles to issue in such an end.' (See above, p. 25, c) Also O. T. 628. dpKTcov y opms. lb. 408. i^icra>T€ov (see note). Tr. 344. ovSev (ipyeTm (sc. rdhc Xf^^^vai) : [for which impersonal passives, cp. Thuc. viii. 54. more prjKirt biapeXXea-Saij. d. On Tr. 103. TroBovpeva . . (ppevt, see above, p. 53. § 32. ;8. Tenses. 1. The present (or imperf.) and aorist are sometimes combined to mark the relation of a momentary to a continuous action. O. T. 1457- 6vr)iTKa)v ia-mdriv — ' I was Saved when at' the point of death. Phil. 670. fiepyerav yap KaVTOs aijT eKTrjadprji/ — 'It waS in doing a kindness that I gained them.' 2. There is a tense in English which has no distinct equivalent in Greek, viz. ' I have been doing ' so and so. This is expressed commonly by the imperfect, or by the present, where the action still continues. Tr. 600. irpda-a-m . . eas oil rjyopa — ' I am doing this, and have been doing it, while you have been talking.' By a similar use the present (or imperfect) participle denotes past time. [Cp. Hdt. vii. 6. i^ffKao-i piv .. , npoTtpov xpefofieyoy. Thuc iii. 84. dpxopivot ( = £Vei wpoTepov fipxovTo).'] Tr. 281. VTTfpxXioVTei . . da-' olK^Topes ( = eWi Tore vrrepi-xKunv, vvV K.T.X.) OF SOPHOCLES. 53 3. The continuous tenses are used to express endeavour. A strong instance of this ' conative' use is in — O. C 99^- ^' '"'5 "'^ ''''"' ^tKmov ainK eii6d8e | KTe'ivoi irapauras ' If here and now one were to come near and attempt your life, just man as you are.' So O. T. 688. Toviibv napifh ral kut- aii^Xivav Keap — ' In Seeking to divert and blunt my vsrath.' 4. The present participle partly loses the association of time, and tends to be used simply as a noun of the agent. Phil. 1052. viKav yc /xivToi iravraxov xpHC'"'' ^4'"" — 'I WaS bom with a desire for victory on all occasions.' O. C. 436. ovdek epoTos Tov8' icfiaiveT oKJieXSyv — ' No helper of this desire appeared.' Aj. 934. lyr. fieyas ap' ^v eKeXvos apx(OV xpovos | nrjp,aT(OV — 'That time was then a great beginner of woes.' This happens especially with Tkrav and Trapav : the former coming to signify a parent, the latter an eye-witness. TlKTaV. El. 342. Tr]s 8e TiKTouo-Tjs jiikfiv — 'And to care for the mother.' O. T. 1247. TTiv be riierovaav Xi'iroj | Tois oicnv avrov hvimKvov TTaiSovpytav — ' And left the mother an unhappy source of offspring to her own son.' Hence in O. C. 982, 3. enxTtv . . . ovk Ei8ora=^w firjTTip oiiK fldoTos. (Cp. Eur. I. A. 1234. irph aibivova-' e/ie.) frapav. (Cp. Aesch. Eur., also the Epic napicre re, ia-TC re iravra, II. 2, 485, and Pind. Pyth. I, 26. Km napeovTwv aKova-m.) Ant. 1 192. KoiTTapwi/epa — 'I will not only speak of what I saw.' El. 424, O. C. 1587. 5. The aorist often denotes the beginning of a state : e. g. eaxov = ' I came to have,' Phil. 1420. addvarov dperriv (crxov. 6. The use of the aorist in tragic Greek to point emphatically to something in the immediate past, where the present would be used in most languages, is well known. The momentariness of the tense favours this mode of speaking. An extension of this use occurs where something present is made the subject of inquiry or reflection. Here the principle seems to be that what is thought of must have a previous existence ; the object must exist before it can be thought. (Compare the use of ^v in such philosophical expressions as to tI rjv uvai.) Ant. 1307. dveTTTav (pdpca — 'I am Startled with dread.' Aj. 693. e(ppi$' epa>Ti, jrepix^pn^ ^ dveirrdjiav — 'I thrill with desire, and flutter with joy.' Tr. 499. v | Trapi^av — 'And I pass by what relates to the gods.' Phil. 1289. dirapuoa-' dyvov Zrjvbs v\jfi(7Tov a-e^as — 'By Zeus, whose worship is above all, I swear. No!' lb. I314. ^a-Brjv iraripa Te tov efiov evkoyovurd cre — ' It pleases me, that you speak nobly of my sire.' This aorist has a pathetic force in — El. 1234, 5. ffioXer dpTias, | irprjipcT, rjkdeT , e"Beff ovs EXprjCere. The frequent use of the aorist 'd^vv for the present of the substan- tive verb follows the same analogy. 7. The reduplicated future has its proper intensive power in — 56 ON THE LANGUAGj: O. C. 86i. 6)s TovTo vvv neirpd^erai — 'Know that this shall cer- tainly be done forthwith.' 8. The substitution of the participle and auxiliary for the active verb, is altogether not infrequent in Attic Greek, and is frequent in tragedy. Thus Sophocles has — Phil. 1 2 19. tn-ei'xoj!' av rju troi — ' You would have Seen me going.' lb. 459. e^apKovo-a jxoi | eorai — ' Shall suffice me.' Aj. 588. jujj irpohovs fifias yivrj — 'Do not desert US.' Phil. 773. KTfivas yivrj — 'Be the slayer of.' Tr. 412. ti nore noiKiXas ex"' — 'What subtilty have you contrived?' Ant. 77- o-TipAirair eXf — ' Hold in disparagement.' lb. 469. fimpa Spaa-a rvyxavnv — ' To be acting foolishly.' El. 586. dLtixi-<^Ta. . . dpS)s. ,«. O. C. 472. KparJipes dtriv, avbpos evxfipos Texvr] — 'There are bowls, a sample of some good workman's skill' Phil. 35. avTo^vKov y eKnco/ia, (pXavpovpyov rivos \ TCxvrjpaT dvSpos — 'A rOUgh WOoden drinking cup, some bungler's workmanship.' El. 685. eiV^X5« ^apirpos, ttSo-i toIs eKel a-i^as — ' He entered, a distinguished form, the worship of all present' O.T. 1342. lyr. t6v * Sk^epov p^iyav— 'The universal pest.' El. 301. 17 vrao-a 0Xd(3)j— ' He who is utter mischief Phil. 622. O. T. 196, 7. lyr. tAv am^evov Sppov \ QprjUOV Kkvbava. b. Ant. 412-14. Trf^eu-yoVej, | iyepri Kivav avhp' avfjp impp66ois \ KaKoi- 0-ic- plural, followed by distribution— ' We, avoiding, etc., each stirring on the other with noisy altercation.' (Cp. Horn. II. 3. 211. a^0(B S' i^o/ieva, yipaparfpos ?fv 'oSvcrtrevs.) Phil. 645. c. Ant. 44. BaKTew (Tcj)', dwdpprjTov irSku — ' To bury him, a thing pub- hcly forbidden.' lb. 124-26. lyr. dpcj}\ vS>t hderi | ndTayos "Apeot OF SOPHOCLES. 57 dvTmoKm | Sva-xdpafia SpaKOVTi. Aj. 1 209. lyr. Teyyd/iei/os Kv \6ya>u elnetv re Ka\ 1 padelv, redvrjKe 6eiov 'loKaaTTjs Kapa — ' To shorten speech and hearing to the utmost, Jocasta's royal head is low.' Ant, 53. prp-^p Koi ywr}, SluXovv en-of — 'Mother and wife, doubly entitled.' Tr. 1136. Snav TO xpw\ w^pTf XPW^^ papivrj — ' This was the whole, she erred with good intent.' _/i Tr. II — 13. (^oiTav ivapyrfs Tavpos, SKKoT aloKos | SpaKtov iKiKTOs, aXkoT avSpelm kCtcl \ ^ovvpapos — ' Coming oft in proper taurine form ; at otherwhiles a coiling glistering snake, or else with manly form, but bovine face.' lb. 70. (jjaa-l viv Xdrpiv iroviiv — ' They say he toils, a servant.' Aj. 68, 9. pr^b^ a-vp(popav Sc^o^ | t6v av&pa — 'Nor receive him as your bane.' (See above, p. 38, i.) lb. 11 82. pr; yvvalKes dvT avhpav neXas \ TrapecrTaT — 'Be not WOmen instead of men, as ye stand by.' (Cp. Ant. 578. eK 6e rovSe xph \ yvaiKas etvat Taa-Se p.rjS' aveipivas — ' These must henceforth be (treated as) women, and not suffered to go loose.') B. 2. Epexegesis. Epexegesis is frequent in classical Greek, arising partly from a fusile condition of language, in which the thought still moves, while it is being expressed, and also from a tendency to redund- ance, by which symmetry is often sacrificed to fulness and clearness. The act of expression tends to suggest some new aspect or point of view, which makes a sort of excrescence on the original construction, in the shape of an explanatory clause. a. The most common form is the epexegetic infinitive. [Hdt. i. 176. {iTTrjyj/au rrjv aKpoTToXt-v iraaav ravTTjv KaUaOat.j El. 542. ^ tS>v ipS>v 'AiSijf Tiv tpfpou rcKvcov | f/ tS>v eKfivrjf eV;^e Sma-aa-Bat ivKfov — 'Or had death some greater longing for my children than for hers to glut him?' lb. 219. lyr. to. Se Tois 58 ON THE LANGUAGE Swaro'is 1 ovK ipuTTo. TrXaduv — 'But to contend with power is a hopeless strife to engage in.' O.T. 1204. to. mv S' oKoveiv — 'But now to hear of thee, who more forlorn?' El. 364. ip5> niujs Tvx^'i-v. Aj. 2. ipTrda-ai. Phil. 89 1, 2. oirjri vrji . . irouos . . (Tvvvamv. The article is sometimes prefixed to this infinitive. O.T. 1416, 7. is beov irapea-ff oSe | Kpetoi', to Trpaa-aeiv Km to ^ovkeveiv — ' Creon is here to meet thy need, to act and to advise.' El. 1030. pjiKpbs TO Kpivai TuvTa x^ \om6s xf"""^ — 'Long is the time for that decision, even all the coming time.' lb. loBo. I TO T£ /iij ^XiiTfiv irolpa. • b. Participial epexegesis. ^ Ant. 223. Taxovs vTTo I . . Kov(j)ov i^dpas ttoSo — 'That I come breathless with speed, having been fleet of foot.' lb. 16. / ovdev otS' v7T€pT€pov oi/T* evTvxovo'a p^aWov OVT aTa>p,iV7j — ' I know nothing further, either of more weal or woe.' For other instances, see B. g. p. 63. c. The following epexegeses are slightly different from the pre- ceding. O.T. 1425—7. Triv . . (j)\6ya | alSelcrff SvaKTOs rjkiov, Towvb' ayos I aKaKvTTTov oTJTco SuKvvmi — 'Let reverence for our lord the sun forbid your showing such an abomination unveiled.' (See p. 63, (4) c.) O. C. 362. ^rjTovaa Tr)v (Trjv, nov KaTOiKOtrjs, Tpoiprjv — ' Searching how or where you lived.' § 34. B. 3. Asyndeton. The absence of a conjunction is rare in the dialogue except where there is a parenthesis or an apposition of clauses. (P. 57, B. i. e.) El. 525- ''^c^Trip yap, oiSev aWo crol Trpoa-xrip^ au, | as e| epov TiBvrjKiv — 'For your father, this is always your excuse, died, as you say, by my hand.' Phil. 54-56. rijv ^CKok-tt^tov o-e bei \ fvxr]v OTVcos . . eKic\(\(reLS | . . orav tr ipcora . . | \eyeiv 'AxiXKeas TTois — ' YoU must inveigle the mind of Philoctetes, — You must say, when he asks you, etc. lb. 991. £ po-os, ola Ka^avivpla-Rets Xe'yeiJ'" | 6(0vs ■KpoTflvav, Tovs Seovs ^evSfh ridrjs — ' O hateful man, what impious things you find it in your heart to say ! You quote the gods, and in doing so make them liars.' Tr. 53, 4. Kdp.e xP'l <}>pai\ri, jreio-^i- (TvpTTovei mrpi, | (TvyKapv aSeXc^m, iravaov £< kokSiv ifie, k. t. X. (2) O.T. 1493. Tis oStos eo-Tm; tIs TTapappv^u, TeKva, k.t.X. — 'Who will be the man? Who will incur the ris'i,' etc.? lb. 815, 6. Ant. 921-23. noiav ■Kapf^ikBovo-a Smpovav biKrjV ; I W xph /*^ '^'l" bio-Trjvov els Oeois i'rt | fiXiireiv ; nv avSav ^vpp.dxa>v — ' And yet what ordinance of heaven have I transgressed ? — What cause have I, unhappy, still to look to heaven ? What aid can I invoke ?' OF SOPHOCLES. gg (3) O. T. 94S-7. S npofrnoX, oixi . . | . . Xe|cif ; S 5cSj/ frnvrevnara, iv (crrc toUtov k.t.X. Aj. 1 7 2. lyr. ^ /5a fieyoKa (jyaris, S> | ixarep ala-xvvas €fias, \ apiiatre, k.tX. — ' Was it, then, cruel Artemis, daughter of Zeus,— O dread report, parent of shame to me! — that urged thee,' etc. Phil. 859. lyr. aXe^t vnvos ecr^Xoff. (4) The following instances are less regular ; the abruptness in each of them expresses earnestness; — O.T. 873. lyr. vfipis (fivTevei ripavvov. | {I|3/Dtr, /o.r.X. Ant. 368—72. lyr. vofiovs irapeipa>v \6ovos | 6eav t fVopKOv bUav, I v\jfi7ro\is' aVoXif, I ora TO firj KoKov \ ^{ivea-Ti ToKp-as xap'" — 'While holding firmly by his country's laws and the oath-observing righteousness of Heaven, he is high in the city: Ae is nowhere in the city who harbours unright- eousness for ends of crime.' O. C. 1192. aXX' airoV elal x^^^poi-^ yoval KaKoi . . e(l)V(Tas avTOV, k.t.X. lb. 163. lyr. percuiTaff, ano^aOi' iroK I Xa KtXevdos ipaTvei. | xXveir, S iroKvpo^ff dXara ; | \6yov (1 tlv £X"r, K. T. X. — -'Long distance hinders — Hearest, O toilsome wanderer? If thou hast any word . . .' Phil. 631. oii- Baa-o-ov k.t.X. § 35. B. 4. Attraction. Attraction is the grammatical name for a very general tendency in Greek to draw words into apparent construction with the nearest word. In constructions irpos t6 o-qfiaLvopemv the meaning takes the place of grammatical analogy ; in Attraction the meaning and the grammatical analogy both give way to mere contiguity. A new analogy is thus created, and is sanctioned by use. a. The simplest mode of attraction is where the relative assumes the case of the antecedent. El. 1 7 7 • ^y^- M^ °'*' f X^'"'/'"^ I VTTf/jap^^eo. This happens even where the case of the relative without the attrac- tion would be other than the accusative, as in — Ant. 546- ^prj'Biycs Tfotov (TfavTfjs ; i.e. ravra, &v pf/'dlyes. So with the relative adverb. Tr. 701- « 8c T^y, odev | npovxeiT {^^ov npovKeiTo). Where the antecedent is omitted, the preposition is sometimes added to the case. O. C. 334. ivv mirep eixov=:^vv Tovra, otmcp flxov. lb. 625, ev oiaiv rjp^dprjv^iv tovtois, o'ls Tip^dfirjv, The converse is also frequent, where the antecedent is assimilated to the relative, or taken into the dependent clause. Tr. 283. T-do-Se 8' aarrep ela-opas. O. C. I ISO- ^oyos S' 6s ipirev- TtoKfv dpTias ipoX . . avp^oKov yvaprjv — ' But give US your thought on a matter that has just fallen in my way.' Tr. 225. oiSi i^' oppaTOS 1 ^ippovpdv iraprjXSej rovdc prj \cviTfT€iv aroKov — 'JNor hath It passed my eye's strict watch, that I should fail to see this band.' Sc. oSe 6 ToKaKtipSios 1 inoKpe- 'Kri(ra TroXeoj i^e'KfcrBai — ' A gift, which would that hapless I had not benefited the city so as to receive from her.' Here the place of the relative conjunction i>s or on-ms is supplied by the relative o, and the unusual construction is perhaps assisted by an echo or ' harmonic ' from eV(»^eXi)o-a suggesting mipekov. O. C. 1 7 13- ''i'j f"? y°s fVl fcVar Bavflv '^xPnC^^ — 'Ah! would that thou hadst not desired to die on foreign soil.' Here the interjection takes the place of an introductory particle ; and the harshness is again softened by the sound of fxpnC^s suggesting ixpv" o'E- In both places ^ij is very emphatic. (Cp. Aesch. Choeph. 363 foil. iirjS' virb Tpalas . . Teda\jfai.). ^. The subjunctive is used as a mild imperative, or to express a wish, not only in the ist person, but also in the 2nd and 3rd. Phil. 300. (f>epe, . . \j.a6rjs. lb. IO92. fW aldepos ava> | Tn-mxaSes . . Here the mood is changed from c"6e tKoiev to a sort of imperative. O. C. 174. lif) SiJT a8tKr]6S>. Tr. 802. prj^ avTov ddva. The deliberative subjunctive is also used in the 3rd person, but in a case where the ist person is implied — {, Aj. 403. TTOt Tif ovv av I €xoi Tc KOI BvvaiTo — 'With such means as he has within his power.' lb. 979. ottwe Svvmto tis — 'As best one may.' Ant. 666. ov ttoXls arrjcreie — 'Whomsoever the city at any time appoints.' Tr. 93. eirel irvdono — 'When one has heard the truth.' lb. 115. lyr. war .... i'Soi. [Cp. Hdt. i. 32. el fit) oi rvxT) imtmoiTo.j (2) Giving a slight expression of uncertainty. O. C. 799. " Ttpn-oi/if^a— 'Ifwe might but be content.' Phil. 529. oTToi t' evdevSe ^ovKoliJiea-6a nWiv — 'And to whatever may be our desired haven.' (3) Expressing a remote purpose, with as. (Cp. Hdt. ii. 93. 'va 81) /iTi dpApToiev.) ^ O. C. II. (o-T^o-oV p.e) . . as irvdoipeea — ' That we might learn. Here the preceding imperative hypothetically expressed {ddKricnv ii nva (3\CTetr, k.t.X.), is equivalent to a wish ; and the optative marks the uncertainty of the blind wanderer, who knows not if there be a place to sit, or whether, if seated, he will be able to learn where he is. 62 ON THE LANGUAGE El. 1226. a>s rh XoiV €xois aci — 'That you might hold me evermore.' Here the optative is occasioned by the strain of reflection to which the aorists fl&es and inwrpwav, infr. 1264, are also due. (See above, p. 55, § 32, 6.) Similarly with the relative tv av in O. C. 189, 90, the optative gives a turn of remoteness to the expression j Iv av eva-e^ias, k.t.\. — ' To where we might tread without impiety, and might speak and hear.' i. (i) The potential and inferential uses of the optative in main clauses without av are rare, but certainly exist. See above, p. 45 5. Potential. Ant. 604, 5. tIs avSpmv | virep^aa-ia Karda-xoi. (Cp. Find. 01. 3, 45.) Inferential. Aj. 921. as aKfialos, d ^alrj, /LtoXot. O. T. 937. ^8010 jiev, vSis 8' oiiK av; d(TxalO\.ois 8' l's So^eKv.) (4) The following special uses of the infinitive deserve notice, besides the general epexegetic use mentioned above (p. 53), in which the infinitive may be regarded as an accusative in appo- sition to part of the sentence. a. Expressing direct tendency or result. Tr. 855. e'7rep.oKc nctdos oIkt'ktoi — 'There came a calamity for our pity.' O. C. 12. p^vBdveiv yap rJKopev — 'For we are come to a point where we must learn.' Aj. 535. '^vka^a tovto y dpKicrai — 'I have kept watch so far as to secure that.' lb. 869. KovSels i(j)i(rTaTal p,f avp.pa6fiv tottos — 'And no spot bids me halt, that I may share its secret.' lb. 673. (i^icrTarai . .) tji \(vKcmaKa (peyyos rjp.epa (jAeyeiv — ' For Day's white horses to advance his fire.' O. C. 790- TOcrovTOV, ivBaveiv p.6vov. Phil. IO34. ^K (TOl 7rp6<{)acns fK^oKelv ip.€ — ' Was your pretext for casting me forth.' lb. 891. oinri vTjX . . ttovos , . . (rvvvaUtv. Ant. 523. o-v/i^iXfii/ e(j)vv — ' My nature is to take part in loving.' Phil. 88. f^w . . jrpaaaeiv. h. Hence expressing possibility, nature, quality, desert. Phil. 854. p£ka T0( anopa miKWois iviSeiv jrddr) (sc. ea-nv, aS in ^v ISc'iv, (c.T.A.) Tr. 694. a(ppaaTov, d^u/ij3Xi;Tov avOparra fui6(lv — Beyond human thought to guess of.' O. T. 1293. to yap vdo-ij/xo p-diov T) tpepfiv. El. 401. tovt iepovri fmlpa — ' While I hear,' i. e. So as continually to bear. lb. 1187. lyr. (axras, i.e. ias hv f^i-e. Ant. 1 156. a-ravraQ). O. C. 1 1 10. Trava&kios Savan ht e'lrjv, i. e. e'i Bavoiiii. El. 1079. lyr. (Homeric) to t€ p,r] /3XeV«ti/ iToip.a | 8i8vfiau tXoOtr' 'Epivvv, i. e. eneav eX??. Aj. 930. iravvvxa Kai (fiatdovra, i. e. fv (pdei^iJic8' rjiicpau, Tr. I 242. an' cvvaaBivros . . KaKov=zdir6 toO €vva(f6rjvai to kokov. Phil. ^go. iioiov Xiyav, i. e. eav (iovov XeyTjs. O. C. 1038. X'^P^" oiireiKei, i.e. iav fiovov x^PV'- O. T. 447. fliriiv ancifii, i.e. iireidav einco. c. In a few cases of ellipse the participle seems to take the place of the finite verb. See below, p. 71, § 39, a i. Aj. 886. el TTodi TrKa^ojievov \ev(T(Ta>v. O. C. 59°- el ■ 6e\ovTa Q), Tr. 12 14. S(Tov y &v avTos p.r) noTiyjfavoiiv x^P"^"- O. C. 654- opa /le Xe'mav — 'Beware in leaving me.' Phil. 912. Xctwc nh ovk eyaiye. These instances, however, are not enough to support the MS. read- ing in — O. T. 1526. oa-TK oi fijXm (or ev fijXft)*) ttoKitmv Kai Tvxais feVi- plkinaiv. (Qu. irpocrdev iv fijXiu noXiToiii Kai TvxaiS eirup^eyav ?) d. For the abstract use of the neuter participle, see above p. 51, § 30. «• 64 ON THE LANGUAGE B. 6. Anacolutha. a. The construction irpos to oTifiaivoiievov, where a word or clause is placed in agreement not with the form of expression, but with that which has been signified or implied, is not so much a mode of construction as an explanation of various modes, including several of those which have been described (A. i, 3, B. i, 2, 5). Instances not falling under any of the foregoing heads are — O. T. 267. TM Aa/38aKeii» iraiSi TloKviiipov re, as if AajSSaxou had preceded. Tr. 260. t^v Eipyrdav, roi/Se yap (sc. Tov EilpvTov) fifTainov. (Cp. Plat. Theaet. 168, A. B. avrl . . ipikoa-o^av fiurovvras ToiiTO TO irpayiia.) Fhll. lOI 1. oKyeivms (f>epa>v | ols . . e^rjjiapTfv. (The dative as after aKyvv6p.evos^ lb. II91. lyr. tI pi^ovres oKKokotio I yvaipq ra>v Trapos a>v 'rrpov(paives (^Tt KcXeuEts fjpas epSeiv dW. yv.) Tr, 1275' ^Ewrov f»;8e trv, irapdiv, cm' o'ikcov ; (enov off' o'tKav.) Ant. 1 00 1, dyvmT dKoia (jydoyyov opvidav, KaKa | KKa^ovras oicrrpto Koi ^e^ap^apwpeva. O. T. 1 1 55- Sutrnji'Of, airn tov; t'i 7rpo(TxpJlC<'>v Hade'iv; Aj. logo. M. 8okovi/t ipoi, doKovvra 8" 6y Kpalvei UTparov, T. ov6eiv 8' dn o'Uav (sc. ScI implied in pr) e^icrri). El. ']!, 2. Koi pi] p aTipov T^cr8' dTrov | oi;^ avirip i^eirepnov, curehe^dpifv — 'How differently from my hopes,' and, 'With what different hopes.' The change is assisted by a confusion of the two meanings of diro. b. The change (which occurs in all Greek writers) from a more dependent to a less dependent construction, from the infinitive or participle to the finite verb, from the participle to the infinitive, from the optative or subjunctive to the indicative, etc. (II. iii. 80. loio-iV Te TiTvtTKdpevoi, Xdeo-o-t r e(3aXXoi/," Hdt. i. 77. iv vdm ex"" • ■ evevwTO. lb. ii. 1 16. if aTrijufixdrj . . Ty re aXKri 817 irXa^opevos, Kai i>s . . dmKeTO. lb. iii. 74. avTol piv (jidpevoi , . Ke'ivov 8' t'/ctXtuov. lb. OF SOPHOCLES. 65 IV. 148. oKms ixryre - ftoTi, I dXX' . . imovpyelv. (Here the regular construction would be VTTOvpyav in subordination to yemaiov fivm.) The converse change (from a less to a more subordinate con- struction) appears in — Phil. 696—700. lyr. Scrris , , Karevvdo'euv . .(popfidSos ex te yas iXeiv — ' No one to soothe his bleeding wound with healing herbs or to take them from the nourishing earth.' c. From dative to accusative — El. 479- lyr. VTrecTTi p.01 dpdcTos, | dhvTrvSav KKvovcrav I aprias ovei- pdrwv. d. Change of subject. (Cp. Eur. Ion 131 4, 5. rovi phi yap dhUovs ^mp,6v oix iffU' ^XPV" I °^^' ^^eKavveip.) Ant. 120—2. lyr. irpXv . . nXrjcrdrjvai t€ ko). (TTe(j)dva>pa irvpyav | Trev- Kdev6"'iicj)ai(TT0v eXf'iv. Aj. 549. 8et Trah.oSap.velv Ka^opoiova-Oai tpva-iv. This happens even where the construction is subordinate; Aj. 1325. Ti ydp it' eSpa(T€V &(m Koi ^Xd^rjv ex^"*) A similar inversion of the point of view may account for — O. T. 1463, 4. atv oijTToff fjp.Ti X"'?'-' fO'™^') ^opds | Tpdire^ avev T0C8' dvSpos (SC. ^opau fx^ivj, e. From definite to indefinite. Tr. 250, i. toO Xoyov . . Stov. f. prjTe followed by 8/. O. C. 421-3. dXX' 01 6eol a-0i pfjTe T^v nenpa- liivqv I epiK KaraiT^irreuxv, ev 8' efioi TcXor | airoiv yevoiTO, (c.t.X. Tr. 143. firjT inpAOois naBovcra, vvv ^ ancipos ei. Te . . by ^, Tr. 445-7. rapM T avSpl , . . . fj i^Se tJ yvvaiKi. Ij. .by Ka\ (doubtful). O. T. 539. ^ . . i ''■'^•^- O' ^- 1^' g. Change from singular to plural. (See above, p. 31, 3' ) Ant. 707-9. oaris yap . . ovtoi bianrvxBevres &(l)6r]a-av nevoL Tr. 547-9. 6pS> yap tj^riv rrjv pev epnova-av 7rp6v 8' vneKTpimt jrdSa. 2. Zeugma, where the expressed predicate is adapted only to the nearer subject. VOL. I. ^ 66 ON THE LANGUAGE O. T. 1135-7. ° h^^ SarXola-i jroi/ic/otj eyo) S' ivl | iTrKrjcrta^oP T^de TavSpi rpeis oXovs | ei ?pos fls dpKTOvpov iKpfjVovs xpovovs. El. 435, 6. a\X' 5 npoalcriv rj Padv€(nv veas. El. 7 10. KKrjpots eiTrjKav Ka\ KareiTTijiTav 8i(j)povs, where KKrjpois enrjkav Ka\= KKrjpovs nfikavTcs. lb. 726. TeXoOires €ktov e^Sopov t' rjbri Spopov, i. e. and now running the seventh (Tpexovrcs). 3. The construction is disturbed by the intervention of a fresh thought. O. C. 1649, 50. TOP avhpa, top pep oiSapov irapopr ert, [ apaiera 8' avTov. (Cp. II. iii. 103, Od. V. 265, 6.) Phil. 390. ipol ff d/ioiW Kol Geois fir] l\os. El. 1 364. rois yap iv piaco \6yovi, | ttoXXoI KViCKovprai vvktcs fjiifpai t icrm | at ravrd troi Sei^ov(nv, 'HXeKTpa, (ra0^ — ' Since, for what comes between to tell of, many rolling days, and nights equal to them, shall clearly declare all this to thee.' So in Ant. 31. a-oi, | Kapol, Xe'yo) yap Kapi. See below, p. 78, t. 4. A pure anacoluthon, which can only be accounted for by an abrupt transition of agitated feeling, or an interruption by a different speaker, occurs in — Tr. 881-4. '"''* ^"/irfy, — r) Tipcs I vScroi; — rapS" alxfuiP | jSeXeoj lutKov ^vPiiKe ; B. 7. Double and Feeble Constructions. In the analysis of a Greek sentence, it is often difiicult to determine with which of two words or clauses some word or clause is to be joined, and the true solution sometimes is that it has a con- nection with both, being joined with one in a primary, and with the other in a secondary construction. This is a general pheno- menon,, the observation of which is especially important in. the more minute study of Sophocles. The poet or speaker has two constructions or rather analogies in his mind, and instead, of deciding upon one or other of them, as would be done by a writer of a grammatical age, he fuses both together or allows the expres- sion to shift from one to the other. The well-known olaff as mlrj- a-oipi. (2) of a.T\i]TOP. lb. II17, 18. Aatov yap rjv | e'lwep Tis aXXos TrtOTos i>s popetis dvfjp. Here Aatov is first put abso- lutely with the ellipse of fioCXos, but is also connected with rofjEis avrip, which supphes the place of SoCXor, though primarily joined to TTia-Tos by (BS. Ant. 995. e^a TrewopBas paprMpCiv 6pr)s TpliJi,r)vov rjvUa , . dweirj Knviavo-ios ffeSms. xP"""" (i) S'ftsr i"poTd|nf, but (2) to be resumed with direirj. The construction is then (3) changed to inavcrtos. Phil. 154. lyr. TO yap jioi p,a6elv ovK aTTOKaipiov. t6 is (l) Subj. of airoKaipiov (the inf. being epexegetic), or (2) object of paBuv ; i.e. the construction is ambiguous between rh yap ovk ia-riv awoKaipwv fioi iia6f1v, and oi'ic icmv avonalpwv fioi padeiv to. Aj. 2. ireipdv tiv ixdpSiv dpn-daai drjpafievov — ' Hunting for some adventure, to snatch some attempt upon thy foes.' ne7pav after (i) apw., and (2) drjp. dpnaaai (l) governed by 6r)papevov, (2) epexegetic of mXpav drjpa- fifvov. lb. 345- ''"x" "" '''"' O'SS '<'>''■' e/iol p\€\jfas \dpot, iir' ipol is strictly to be construed with albS> Xa/3ot, but also suggests us ijii in construction with fi\i-^as : i. e. (SXe'i/^as eh ip-e alSa Xd^oi in ip^ol, lb. 79^1 3. AiavTos 8' oti . . ou 6ap(Ta> nepi: i.e. at once orSo AiavTos {rrepi) and oi dapaS) A'lavros Ttipi : — the slight harshness of the ellipse in the first construction is softened by vepi, which was necessary to the second. Phil. 380. kcu ravr iiruhrj koI Xc'yfiy Opa(Tv(TTopS>p ov fj.7] TTOT etff TTjU ^Kvpov €K7r\evcn]s exo)i/. (ravTa probably in construction, in different senses, with Xfyeu and cx"" • i. e. raCTo is supplied as the object of Xeyeis by an echo from km raCT , . ex"""') O. C. ISB"; 2- ^P"''" ''O'' TEXCTTarov ^iov \ Kpi'^cov nap' "AiStjv: (i.e. epTTO) nap' "AiBrjV Kpv-^aiv nap' "AiSrj,) Aj. 659' yalas opv^as evBa pi) ris 'o'^erai. yalas is first a vague genitive of place ('in earth'), but is afterwards helped by 'dv6a, which supplies a partial construction. El. 1070. lyr. to yiv ix B6pa>v i/oo-el, | rd fie npos T€Kvav SittXi) (pvkoms oiiKtr i^iaovrai. rd fie n. r. is at first the subject of the sentence, but is thrown out of construction by the expansion. Aj. 805. 01 8' ianipovs dyxavas, 01 8' dvrrjXiovs \ CrjTeiT lovTes dvdpos i'ioSov KaKfjv. Here the construction is made more definite by the addition of lovres, which is not distinctly thought of at first. In many cases an unusual construction is softened or assisted by the suggestion of another construction. O. T. 175. lyr. oKXov 8' &v oXXm npoa-lSois. Phil. 144. lyr. eVxa- Tiats I npoa-iheiv. El. 1 1 54— 6. ^s ip.ol s ip-ov Beovs \ &pav nv e^uv — ' That the gods will take any care for me.' Tr. 1238. dvrjp oS, as i'oiKcv, ov vipuv ipoi I (pkvovTC iMoipav. Confusion of coikci/ ov vipeiv and as eoiKev, ov vepei. O. T. 543. ota-ff as noirjo-ov ; O. C. 75. olaff, & ^iv, as vvv pfj a-fpaXTJs ; El. 525. jroTijp yap, oiiSev aXXo o-oi npoaxw ^"> I "^ i$ ipov TedvriKev. Tr. 672. otov fiv ^ iiaXtar elKa(rr6v, &cm irpiovos \ (K^patfUtT av ff\ifeias (V Top,^ |uXou {opoiov, &s ^X. aV. eUaarop toTs cK^papamv). Ant. 520. dXX' oix 6 xP'JCtAs ra kokw Xaxeiv icros. (IVos Xax^iv =r fiiKoios Xax"!' IVov). lb. 21, 2. ou yap Td where x^P'" ^oes double duty=x''P«' dKapni>rov x°P't-os. In Phil. IO32, 3. Trar Bedis eil^ca-ff, ipov | irXevcravTos, a'i&eiv Ipd ; irSis a-irepSeiv en ; dedts is Connected both with ev^ea-df (' will profess ') and aWfiv, k.tJK. B. 8. Parataxis. While the subordination of sentences becomes more exact and complex, there remains, in Greek of all periods, a form of sentence, in which a notion essentially subordinate is coordinated with the main predication. A familiar example occurs in the New Testament, where the idiom is retained in the English Authorised Version: 'But God be thanked, that ye were the servants of sin, but ye have obeyed from the heart that form of doctrine which was delivered you.' Rom. vi. 17 ; cp. Matt. xi. 25. A parallel instance may also be quoted from Shak., Jul. Caes. i. 3: ' Let it be who it is, for Romans now | Have thews and sinews like their ancestors ; | But, woe the while, our fathers' minds are dead.' Cp. esp. II. I. 182 if. as e/i' d(l}mp€iTai XpvarjtSa *oi^os 'An-dX- \av, Tfjv pep . . Tripyjro), iya fie k aya> BpurrjtSa, k.t.X. Plat. Rep. II. p. 367 E, Kai eyo) aKovtras del pip 8q . . rjydprjp, drdp ovv Koi Tore ■ . fjaBrjP, k.tX. This is used by Sophocles to give additional point — O. T. 413. fi (O. T. l) : KOK^v KOKcos (lb. 248) : (TTvyepbv arvyepas (Phil. l66) : dv- TJjpa Kaiva Kmvov iv 7rf7rXa>/*ari (Tr. 6 1 3) : aarbs els dcrToiis reXSi (O. T. 222): vea veodev (O. C. I447): ve'os vea ^vv p.6pvya fi ovk er air avKlwi \ TreXSre — ' No longer will ye approach 'me with flight,' i. e. ye will approach me and not fly. El. 630. oiS' vtt ei^rjiiov ^oijs — 'Not even with your noise silent,' i. e. with silence from your noise. O. C. 1575. iv KaBapa I3rjvai . . ra |fVft) — ' To move in a clear space for the stranger,' i. e. to leave the way clear for him : (fj.fl i/jLTToSwi/ ^rjvat t. |.). Aj. 640. cktos o/iiXfl — ' Knows them from outside,' i. e. they are gone from him. (Cp. rroppmSev aa-nd^eardai in Eur. Hippol. 102 and Plato Rep. 6. 499 A.) O. T. 287. «'" apyois ovde tovt £7rpa^diir]V. O. C. 185. lyr. o n koI iroXis | TeTpo(f>£V aipiXov. O. T. 422. ov Sojiois avopfiov el(Te7T\ev(Tas eiirXoias Tvxa)". Phil. 1153. aveS-qv ipvKeTai. This kind of expression is peculiarly Sophoclean. Under this head may also be included such paradoxical threats as — O. T. 1273. aXX' iv a-Korm to Xolttov . . o-^olaro. Ant. 3 10. iv eiSoTCf TO Ke'pSos evdev olcrTeov J to Xoittov apjrd^rjTe. § 38. C. 2. Prolepsis. The concentrating effort of poetry, and especially of tragic poetry, leads to anticipatory forms of expression, called proleptic by the grammarians, in which things successive are treated as simultaneous, effects are viewed as concomitants, and results as attributes. Hence an adjective has sometimes in grammar the place of an epithet, which, in meaning, is really part of the predicate. Sophocles frequently has recourse to this means of presenting in a single moment what would seem more languid if expanded in the order of time. O. C. 1200. Tav tTav dSepKTav dp.p.dTaiv Ti/Tto/ievoy. Tr. I06. oi- ■KOT evvd^av dSaKpirav ^l^cjidpav nSeov. O. C. 1 089. lyr. t6v evaypov TeXaSffat Xd^ov— ' To achieve the ambush bringing the fair prize.' OF SOPHOCLES. 71 lb. Iggl, 2. TW TeXevraiov ^iov \ Kpvijfaiv 7rap"'Ai8))i/ — 'To hide the end of my life with HadesJ Aj. 543. epTropn (l>a>v(h ij XfX«/i;iie'^a) \6ya>v ; Such examples are to be carefully distinguished from the common supplementary predicate expressing result, as in — Phil. 394. lyr. TlaKTaXov eSxpvaov pe/jteis — 'Who makest Pactolus to be rich in gold/ (but see above, pp. 38, 9). Ant. 1009. fierdpaioi I )(o\a'i bieairelpovTo. Tr. 276. irparov vlv i^fTrepiiffiV, El. 1 420. TToKippvTov yap mp,' vire^atpovtri — ' Drain the blood in an abundant stream.' Tr. 573- pAayxoKovs \ €^w^ev iovs. Phil. 720. eidalixav dniaei. These expressions are already proleptic, but, in the previous instances the prolepsis is carried a step further by the adjective being made an epithet or attribute. In Aj. 647. (pvei T adt]\a, we have an instance of the contrary pro- cess of the antecedent being treated as a concomitant. i. The same explanation may be applied to what have been called ' pregnant' constructions, where an adverbial expression signi- fying the result of an action, and therefore naturally depending on an active verb, is either construed with a neuter verb or made to take the place of an attribute to a noun. Phil. 1 2 10. lyr. *. iraripa pareiav. | X. ttoI yas; *. is "AtSou. O. C. 383. OTTOt . . KaTOlKTLOVtTlV. El. 1 38. lyr. dXX' OVTOl TOP y e| *Ai8a I irayKoivQV Xipvas irarep di/trratretf. § 39. C. 3. Ellipse and Pleonasm. The remark which has been made with reference to the cases and prepositions (pp. 9, 27) may be applied more generally, viz. that the defect and redundancy in the language of this period arise from the same cause, the vivid realization of the elements of language com- bined with the incipient growth of reflection. The poetical impulse has also the two elements of condensation and fulness. Hence the figures of Ellipse and Pleonasm may be fairly combined under one' heading. u. The chief cases of Ellipse in Sophocles are — 1. Of substantive verbs and participles. (Cp. Shak., J. C. i. 3. ' Why bird and beast from quality and kind, | Why old men fools, and children calculate).' 2. Of the antecedent. 3. Of the indefinite subject. 4. Of the object after an active verb. 5. Of as in similes, and other words of comparison. 6. Of a word or words already used in one clause which are essential also to another. 7. Of a whole clause suppressed or understood. 8. Idiomatic abbreviations. 72 ON THE LANGUAGE 1. a. Of the indicative of «>/ the ist and and persons are omitted in certain idioms as well as the third. This happens chiefly with common words such as eTot/jor, a^vas, but occurs also in other cases. O.T. 92. cTot/xos («/«'). O. C. 208. lyr. an-dnroXis (etfti)- lb. 461. eVa|ior \d). lb. IO97. at -^ivUiuivTii (el/il). Aj. 399. lyr. er' S^ws (fip) (SXeVfti' TiV «s Si/flo-w dvBpwTrav. El. 621. as Bpacrfia {elfit). Note also the omission of fo-Ti with some common substantives, e.g. El. 75. Kaipos yap, Sa-nep dvSpda-iv, k.t.X. O. T. I050. i>s 6 Kaipos evprjuBm rdSe. Also with the emphatic Salp.av, tXaor. O. T. 696. lyr. ravvv t evTtOfUiTOs, ft *hvvaio. El. 1434- ^V^- ""''; ''" "'/'''' fS Befieyoi, Ta8' a)s iTd\iv, SC. 6u Brjirde. c. The frequent omission of the participle of eXyl has been already noticed (p. 35). Obvious instances are — O. T. 68. laaiv povr/v (sC. ovtrav). Aj. 259. lyr. Kol vvv (ppovtpos V€ov oKyos ?X^'* C). C. 1278. Tov 6eov yt irpoaTaTrjV, 2. The general tendency to omit or absorb the antecedent of a relative clause is extended by Sophocles to some exceptional cases, where the ellipse has the effect of throwing an emotional emphasis of some kind on the relative word. (See p. 33.) O. C. 263. Ka/ioiye 770V ravr eariv (dcf)' vpmv), olrives fidSpav | eV ToyvSf . . iXaivcTf. lb. 865-8. Trjade t^s [els ere) dpds . . os p, & KaKurre ■\jfi\6v &pp' aTroa-nda-as | irpos oppaa-iv Tois npoa-dev i^olxei ^la — ' Let not these goddesses close my lips to this one curse — thou wretch I who hast torn away the poor defenceless means of sight that was still left me after losing my eyes.' Compare with these instances the use of d without an exact corre- lative, noticed above (p. 46, § 28), and O.T. 796. ^ivyov, tv6a, k.tX. The indefinite antecedent of 61 aV is omitted (as in Thucydides, e. g. ii. 44. Xoti) oix &v Hv, K.T.X.; vii. 68. vopiparaTov flvaL . . oX i.v . . hiKaiOia'anji, K.r.X.). Ant. 35. hs &v Toirav n Sp^, [ (jjovov TrpoKfiuBai. So of os and oaris in Aj. 1050. boKovvTa S' Si Kpaivet (=Tm Kpaivovn), Ant. 873. Kpdros S', ora Kpdros peKei, K.r.X. 3. Ellipse of the indefinite subject. [Cp. Hdt. i. 216, i. intdv.. yipav yevrp-aiA OF SOPHOCLES. 73 Tr. 93. inei nvBoiTO. Ant. 1 1 68. irXouTei tc yhp Kar oIkov, el /SouXfi, fie'ya (where Others read nKoirei). O. T. 517. (jiepov. 4. EUipse of the object after an active verb. For the sake of condensation the object of a transitive verb is some- times omitted, when this is easily understood from the context. O. T. 35. OS T d^eXva-as (j]ixas), aarv 'K.abfieiov fidkiiv. lb. 34 1. K&v iya> a-iyfj ariyw (aurd). lb. 484, 5. Tapao-iret (/xe) oCre hoKovvr oxjT ajrocj>ds is avoided because of i>s immediately following. See above, p. 67, 11. 19-23.) i. liSXXov and the like words are sometimes omitted before ^', but only in cases where the notion of comparison is suggested, although not directly expressed. [Cp. Hdt. ix. 26. ovTO) &v fjfieas dUaiov exeiv to erepov Kepas, rjirep 'A6rjvmovsi\ Tr. 1020. epirXeov rj hi epov tra^eiv. (Here it may be ques- tioned whether there is not an echo or ' harmonic ' of nXeov from €p.irXeov. See above, pp. 61, u, 67,1. 21.) Aj. I357' viKayhp iperripe TTjs exSpas noXv. (In this instance also the suppressed notion of comparison maybe elicited from wxa.) Ph. iioo. roO Xaovos Salfiovos e"\ov to kukwv *alve'iv. (The notion of choice, containing that of preference, may be said to imply comparison. Perhaps also there is an echo from the comparative form kcikiov.) 6. Ellipse of one or more words which can be easily supplied from the context. O. T. 361. ovx ware y elirelv yvaarov {^v^Ka avrS), lb. 602. oUt &v p.eT aXXou SpavTos &!/ TXalr/v irore (Spdv), O. C. 1 134- oiic eyaye (re ((j)iXrj(ra>). lb. 1250. avSpSiv ye povvos (Uo\vveiia]s). lb. 1484. lyr. evma-lov 8e crvvrixoipi (dvSpds). Ant. 728. pTjdev to pf) dkaiou {Si&axdfjs). lb. 909. Kardavovros {tov irSa-tos). Tr. 344. o-ol Tota-Se T oi8ev etpyeTai {pr]d^vm). O. T, II70. Kayay aKoieiv {rrphs avTO) elpX TM beiv&). O. C. 1678. lyr. iss pdXuTT hv {^airjs) el itoda Xd^ois (to 'jS^j/at). lb. 1705. (e0') Sf expvC^ {Bavelv). El. 545. ileveXeto 8" evfiv {naibav n66os). lb. 1 434. lyr. toS' as irdXiv {eZ drjude). 74 ON THE LANGUAGE Tr. 53'6. ic6pr,v yip, olpm S" oWn {<6priv). Aj. 334- Tt/x' &>s '"«« jLiaXXDj- (S«m 4>av},T^Tm). Phil. 196. lyr. ovK ^o-e' i-s oi ^eS./ rou /i^fXeVn (Trao-X")- lb- 362. ra r a'XX' S (pi) ala-xpos v \ avTos KaB' avTOV {dpario ToSe). The ellipse of one of two correlative words is frequent (cp. Aesch. Ag. 532, Choeph. 294). Tr. 116. Tpe4>ei, to 8' av^ei. El. 1291. oi/tXeT, to S'eVxfi. O.T.517. \6yoia-iv e'lT epyotcrtu. Phil. 7 7 1 . eKoVra /iijT aKoyra pjjTs ra Tcx^V- O. C. 1 56 1. * imirova prjT em ^apvaxet. 7. Suppressed or implicit clauses. Some idiomatic phrases are best explained by the theory of a suppressed clause. O. T. 325. as ovv prj8' eya rairbv ndBco. lb. 329. Cp. oTras pr). There are other cases to which the same theory has been applied, in which, although the meaning is not.fuUy expressed, and may be aided by supplying some clause, the diflSculty is rather to be ex- plained by an abrupt transition, than by an ellipsis, properly so called. 8. Idiomatic abbreviations. Ant. 577./i^Tpii3i£?r'... Ib.722. €?S'o3v. O.C. 1584, 1701. El. 1075. TO!/ ael (SC. XPO"'"'). Tr. 80. is Tov vorepov {xpovov or ^lov). Phil. 493. waka" av e| OTOU. Tr. 1214. oVov y &v avTos p^ TTOTi'^avaiv x^po^v, O. T. 43'^- "^'^ ^'^ oKeBpov. § 40. /3. Pleonasm. Redundancy is natural to a language that is beginning to reflect upon itself. What was at first implicit seeks to become explicit, and finds reduplicated expression. The consciousness of imperfect utter- ance gives rise to supplementary words and phrases, not contemplated in the first formation of the sentence, which is expanded as it moves along (see above, pp. 27, i; 37, a; 46, e); and the same analytical tendency which occasions the use of the auxiliary verb (see above, p. 56, 8) gives rise to many other periphrases, such as Wea-ff imaTpo^fjv (O. T. 134), n-oSoi!' apBpa (ib. 1032, ■Kiariv (ptpeiv, etc.). Other forms of pleonasm are : — I. Redundancy of the negative. This has been already noticed (p. 48, i, 49). One or two instances ' may be again given : — O. T. 57. ep-qpos avSpav pr) ^vvoiKoivTav ea-a. — pr) brings OUt the negative implied in eprjpos. Phil. 31. Kevfjv omrjcriv dvdpmirav hixa. Ant. 377. lyr. duriXoy^a-a | t^j/S' ovk ehm naib" Kvriyovriv. Tr. IOI3. lyr. ov iTvp, OVK eyxos Tts ovfjcrtpov ovk dwOTpe\j/ei. Here the unusual repetition of ovk is purely emphatic. So again in — Ant. 5> 6. 6770I0V oil . , OVK oTTCDTra. El, 1062. lyr. ov Tav Alos darpawav , , dapov ovk aTTOvrjToi, OF SOPHOCLES. 75 2. Redundancy of the antecedent. The antecedent, though sufficiently indicated in the correlative clause, is sometimes further expressed by a pronoun, for the sake of clearness and point. (This is frequent in Plato, e. g. Iheaet. 162, E. & ol woXKol &v aTVohe^oivro aKoiovrcs, XfyfTf TavTa.\ O. C. 1 1 76. Ti croi toCt eVri \virr]p6v, kKvsiv ; Tr. 458. to fifj TTvdea-dm, Toiro fi aXyiveiev av. Phil. 935. d\X as ficdrja-av firjTrod', &8' opa nakiv. lb. 1 247. a y cXa^es . . | noKiv iifSelvac ravTa. Aj. 496. 61 . . Tavrij . . TJj Toff fijiipa. Ant. 706. ojs ^jys a-v, Koidiv aWoj TOVT opdas eX"*'* 3. Single words added pleonastically, such as ^porav, Xa^dv, ex^iv, SoKuv, \a^a>v, ex""') CtC. O. C. 233. lyr. ?X"''' Tr. 760. tx(>>v. O. C. 281. (paros avoa-lov PpOT&v. Aj. 1358. ipares epTrkriKTOi Pporav. Phil. 170. lyr. firj tov KrjBofievov ^poTav. lb. 387. oJ S' CLKOcrp-ovvTes fiporav. El. 499. lyr. fiapTelat ^porav, lb. 580. TiOeicra Tovhe tov vojiov ^poTols. Tr. 984. lyr. JTapa Toia-i ^p(nS>v\ El. I066. lyr. & xBovia fipoToicn cpafia — 'O rumour reaching to the dead (of mortals).' Ant. 299. ippSvas | XpT^O'Tas npos alaxpa irpayfiaO' i(TTaa-6ai jSportov. lb. 439- ^livra raiid' fjris iradelv — 'What is the nature of the wrong that you have suffered, as you say.' lb. 724, g. &v..xp^i-av ipewa — ' Whereof he requires the needful use.' 0. C. 1 500. tij . . kolvos rixeirai ktvttos — ' What noise sounds forth from all together?' Tr. 102 1 . lyr. XaB'movov S' oSuvaj'. El. S32, 3. oiiK 'la-ov Kajiav epol | Xvnris, St to-Treip', &(nrep 17 tiktovct eyat. Ant. 1 82. p-d^ov . . dvTi t^s . . wdrpas — 'In preference — in the room of his country." lb. 251, 2, eVij^a- 76 ON THE LANGUAGE ^cviievri I rpoxoia-iv — ' Carted overwith wheels.' (Seeabove, p. 25,c.) lb. 1042. ouS' &s jiiaiTjiaTOvTo fir] rpiaas cyi> ' Not even SO Will I) for fear of that pollution.' lb. 1090. tov vovv . '. t5>v v — 'Am I going the most disastrous journey of all that I have gone be- fore?' Tr. 896, 7. p.aK\ov 8" . . | . . Kapr hv aiertaas — ' Much more — you would most surely have pitied.' Phil. 537. aXXov . . jrXiji/ ifiov — ' Another — besides me.' lb. 30. xaff imvov . . KaTavXiaBeis. lb. 631. wXeXa-Tov ix^icTTqs. O. T. 408, 9. i^urariov to yo€j/ | 'tv pjiVTiiav atrayopevovTav, woKKa de rav <^(Xaii'.] O. C. 629. Kcu ravra (cai ToiavT eirij. Phil. I37O) I- S'lrX^v piv . . hnfknv hi. O. C. 610. (i>eivei. p,iv . . (j>eiv€i 8e. PhiL 663 ff. os . . r/ n rf OS . , OS . , OS, § 41. C. 4. Order of Words and Emphasis. In language not yet reduced to grammatical precision, the inter- preter should attend closely to the order of the words, (i) The arrangement of the sentence corresponds more nearly than afterwards to the order in which the thoughts are suggested to the mind of the writer. (2) There is more freedom used in the juxta-position of words for the sake of contrast or comparison or other association : because, the distinction of clauses being still incomplete, a parenthesis or subordinate clause (participial or otherwise) can be more easily interwoven with the principal clause, by the words of each being placed alternately. This has often the effect of producing a more equable or balanced rhythm; just as when in a single clause the words in agreement are separated. (O. T. 109. "x""* TtaXaids Sv<7TeKpapTov aiTtas. lb. 1 245. tov ^'Stj Ad'iov TrdXai veKp6v. Aj. 3 II- ""' Toi' p^v TjaTO TrXfioTov acjidoyyos xpo"""- El. T^O, vav- aylav Kpta-atou InTTiKav nebov. Tr. 436. Trpdr (re tov . , , Aids.) (3) The exigencies, or, to speak more accurately, the proprieties of metre must be considered. Thus, the most emphatic position in an iambic Une is in the first foot, which has the chief arsis : and, generally, the more emphatic word is placed first, although negatives and interrogatives, whose natural place is in the be- ginning of a sentence, are sometimes made more emphatic through being postponed. (4) In judging of constructions in Sophocles, and also in determin- ing the text, great weight must be given to the preservation of rhythm and also of a natural emphasis. That a reading has the effect of producing a strained or misplaced emphasis, or of weaken- ing the chief emphasis by the addition of a too emphatic -word, is an objection (whether to a reading or interpretation) of the most OF SOPHOCLES. >j>j fatal kind. The language of Sophocles is seldom quite regular, but is always harmonious. The following examples are intended to illustrate : — (a) The alterna- tion of clauses. (^) The prominence of the emphatic word, (y) The postponement of the interrogative or negative for the sake of emphasis. (S) Separation of an emphatic word, (e) Imperfect or borrowed emphasis. a. Alternation of clauses. \Cp. Eur. Or. 600. dW i>s fiev oix (V fifj \ey' eipyatrrm rdde. Shak. J. C. iii. I. 'He wished to-day our enterprise might thrive.') O. T. 295. rat eras aKovav ou fievei Toido-S" dpds. lb. 644, 5. dpaios, £1 (re Ti I SeSpaK, 6\olp.r]V, &v inama fie Span. lb. 1 244. TriXas 8' OTTas €la-^\ff ciTippa^aa-' e(T(o, lb, 1 25 1, x™"''"* M^" *'" ToivB' ovkct 04S' dirdXXvrat — ' And after this she perishes, I know not how.' lb. 1438- eSpao-' &v fd TOVT "o'ff av. (edpacra &v tovto, ev XirBi, eBpacra av.) O, C. I35~7* v^* °^ ^y^ \evtro-(ov Trept Tray oijna ] dvva^ai re- fievos I yvavai ttov fioi irorre vaiei. lb. 826. ifiiK hv fir) t^j/Sc Kaipos f^dyeiv, lb. 142Y, 8. tIs be Td\p,f](Tei KKiav | to. toOS' oretr^ai rdvhpos ', El. 1241. lyr. a^Bos evSov yvvaiK&v hv del. Ant. 682. Xeyfiv cftpovovvras Z>v Xeyets Boaels Ttipi, lb. 12^8, 9. a)ff . . to. fiev 7rp6 ^cLpav rdBe v, TO 8" eV So/iois I eoLKas fJKetv Koi Td)( o^caOai Kaxd ', i. e. i)S coiKas ^Keiv to jxfv (jjcpav rdSe npo ^eipSiv to 8e (eoiKas) Koi Tax oijfca-dai iv S6p,ois {Svra) — 'How you seem to have come hither, bringing with you one burden of evils in your arms, while there is another burden, which you seem likely to behold all too quickly within the palace.'(?) Phil. 971, 2. Trpos Kaicav 8' dvSpZv fiadav I ?oueas ^kciv alirxpd. lb. 6x8, 19. koi tovtoiv Kapa | repMnv etjjeiTO ra ^eXokti jifj rvx^v. Tr. 955—8. lyr. Siras | tov Z-qvbs aKKijiOv ■ydyov I pjj rap^oKla ddvoi/u I fiovvov flaihovd av I Kot ffiw ojuoiffij. lb. 281. avovs re Kal ye- pa>v apa. O. C. 936. to vm & opolas Kano Trjs yXaxrarjs Xey<». lb. 1536. 6eo\ yap ev pkv o'^e &' el(TopS>ar' , k.tX. lb. 308. dXX' tv- Tvxrjs '1.K01T0 rfi & avrov TroXet epoi tc, tIs yap i<7&kos ov)( avra (plXos — ' Ay, may he come, and so be blest to his own city as well as to me, etc' See note z'n loco. El. 251. kcHto a-ov oTreiSova-' apa | Kal Tovpov avTrjS rj'KBov, Tr. 929,. Kav a to Keitre Bevpo T i^oppap^da, Phil. 236, 7- '"'^ "'') ^ T€Kvov, 77po(T€a-xf, TIS TTpoa-Tjyayev j XP^^'h tls opprj; [ Hence the former of the two words becomes the antecedent of a relative which follows both. O. C. 86, 7. *oi)3a) re K&poi . . Ss poi. See above, p. 35, 2. y. Postponement of the interrogative, negative, and relative. a. O. T. 1027. a&onrSpfis 8e irpbs ri Toiude Toiis tSttovs ; lb. II26, X^pois paktaTa rpos rltn ^vuavXos aiv j El. 1 402. (tv d* sktos jj^as nposri; lb. 1430. cla-opare ttov | tov avBpa ; Ant. 401. ayeis Sc T^i'Se TO rpoTTco TTodcv \a^a>v ; O. T. 532- ovtos, (tv ttcos Bevp' rjXBes ; h. O. T. 137- VTtip yap oi^' to" aiTa)repa> (j)[Kav. lb. 255' °^^' '' 7°P V" TO npaypa pr) 6er]\aT0V. lb. 329? Ih. ^2*]. oiSa S' ov,yvo)prj rivi. O.C. 1365. fi 8' i^£(j)v(Ta TucrSe pfj 'pavra Tpo(j>ovs, lb. 1 52 2. tovtov 8e 0pafc prj TTOT avdpimiov tivL Aj. 589, 90. ^yo) deols | as ov8ev dp- Keiv e'ip d 8i < aya>.) O.T. 435. as /lei/ o-oi S0K61, I fiS>poi, Yoceucri 8' oi a-' fs is forgotten, else it would be as fie e86Kci yoveva-iv). Ant. 31, 2. Toiavrd 0aat tou dya66v Kpeovrd a-oi, I /cd/ioj, \iya yap Kafii, Kr/pi^avT ep^eiv — ' Such is the proclamation for you, — and for me too, I do not hold myself exempt, — which, as they say, the good Creon has set forth.' aoi, which is at first unem- phatic, as the dative of remote reference, receives an emphasis from the antithesis of ip.oi, which is opposed to it by an after- thought, lb. 76. (Tol 8' ei SoK€~i. I.e. (TV Sf, d SoKfl o-oi. Aj. 374. Ss x^P'' f^" P'^SrjKa Toiis d\d(TTopas, \ iv 8' {KiKetra-i ^ovai, k.t.X. Here the emphasis of tie6!jKa is reflected on x^P'- The full expression would be p-tBriKa p.h x^P°'i *" ^^ • • |3ot)o-i nca-wv x^P'- Phil. 1395) ^- "^f pav X6ycov Xrj^ai, (re 8e | ffv, &v | oiVe ^adeiav kvXIkoiv | velpev ipol T^p^iv opcXelv. Ant. 613. lyr. oiSev eptrav I BvaTav jSioTa TrdprroXis cktos Stos — 'Coming to the life of men in all their cities, never without calamity.' (?) Tr. 1083, 4. oiS' dyipvaa-TOV p idv I fOiKcj/ ij ToXaiva bm^opos vocros. Phil. 442—4. Bepairqs tis j/k, | 69 ol< &v etXcr' eiVd'Tral eiVeiv ottod | /iijSeis iarj — ' There was one Thersites, who would always speak more than once, where every one tried to stop him.' Aj. I184. Khv prjSels ta. El. 32I. Ka\ pr)v eycoy etroxr' cKeivov ovk SKua. Tr. I046. *kov Xoym naKa. O. C. 1397, 8. IIoXwetKer, otfrc raXs TrapeXdova-ais oSois \ iwrjbopal troi, vvv T Iff as Taxos irdXw. lb. 1 67 1, oi to piv, aXXo 8e ^ij. Ant. 207, 8. oUttot €k y ipov I Tiprjv npoi^ova' o( KaKoX rav (vBiKav. O. C. 1 23 1, lyr. ns irXdyx^n mXvpoxdos eia. El. 24 1, lyr. yoffoii/ ) cKTipovs "a-xova-a VTipvyas \ o^v^^vav yoav. Tr. 322. oi' Tapa ra ye rrpdcrdev ov8ej/ e| 'Icrov \ XP^>'V S«<"''^f' yXaaaav. Under this heading may also be included— 8o ON THE LANGUAGE O. T. 794, 5. njK KopwBlav \ aarpois rb Xoinov tKfieTpovnevos x6iva, and the instances described in p. 70, V(is, & Kaa-iyvfjTT], (pdriv ; lb. 122. tiV del raKfis SS' aKopecrrov olfiaydv; lb. 388. Tiv, & ToKatva, Tovb' fTrripda-a 'Koyov ; Ant. 548. tis /Si'or p.01.. . (f>iXos ; O. T. 2. Tivas TToff ebpas, k.tX. S. Further, the tendency to indirect expression leads to the substi- tution (i) of the cause for the effect; (2) the effect for the cause ; and (3) the part for the whole (synecdoche). 1. The cause for the effect. O. C. 481. fieXioratis (for lifkiTos). lb. 1601, 2. rdo-S' iiTKTTokas ■rrarpX J i-a^" irdpevirav trvu xpo"V- Tr. 836. vSpas TrpotrreTainas (pdo-fmri (the Hydra for the venom of the Hydra.) 2. The effect for the cause. •El. 1395. veaKovriTov alfia (cp. Tennyson, 'The bright death,' in one edition of the ' Dream of fair Women,' for ' The sharp knife,' = veaKovrj fxdxmpav, which has been conjectured here.) 3. The part for the whole. Aj. 140. TTTrjvrjs as ofifui TTeke'uK, § 43. C. 6. Condensed Expression. It has been already noticed (p. 39) that the attempt is sometimes made to condense a whole phrase into an adjective, and also (p. 74, 8) that Sophocles occasionally uses abbreviations, for which there may have been precedent in the idiom of conversation. It may now be stated more generally that the love of concentration often leads him to hint in a single phrase what could only be made explicit in a complicated sentence. This happens most frequendy in the choral odes, where the vivid play of association supersedes conventional uses. a. A signal instance occurs in Tr. 836. SetvordTa p.ep''Y&pas | npca-TeTaxais (j)d(Tp,aTi' fieknyxmra t ap.p.iyd viv aiKi^ei VTTO^ovia Bo)^6pv6a Kevrp imCea-avra — ' Steeped in the Hydra's dreadful forrri, which blends with the wounds of the monster's crafty speech, tormenting him and breaking forth upon him.' (Cp. in the same ode, 827, 831. ei yap tripi KeVTaipov (povta vepa(7T0v: i.e. 8. irpayfm arparov (^pa'feo-5ai. O. C. I05, 338. Tr. 322, 3. (Cp. ThuC. V. 36. ekecrdai yap AaKedaifioviovs rrpb rrjs '&.dr]vaiwv e^dpas . . 'Apyeiovs (Tiptai . , ^vjifiaxovs yeveadai). Phil. 57* "'^"5) i-e. irpoo'noirjaei 7r\etv, § 44. C. 7. Tautology and Repetition. The tendency which may be roughly thus described, is peculiarly significant of a transition phase of language : in which the mind has become conscious of many similarities and contrasts, which, however, are not yet clearly thought out and understood. On the other hand the same cause sometimes gives rise to apparently needless variations, such as apxets . . Kparels, O. T. 54 ; SeSoiKas . . Tap^els, Tr. 457- a. Mere assonances of letters and syllables may be first noticed. In O. T. 371. Tv(p\6s TO. T &Ta t6v re vovv to r op,ij,aT ei, ib. 425. a a e^iaacrei (Tol re Kal toIs troij TeKVOis, the alliterations of T and o- seem to be intentionally chosen to give the effect of harshness. Other alliterations are — El. 210. TTCiivtfia irddea TiaOeiv nopoi. Ant. 335~'7- iy"- "^0^'"'' nepav ttoptov xetpepito votco X^P^"^ nepij^pvxiOLa't 1 irepOtv vir oihixauiv, Tr. 680, I. novaiv I TtXevpav iriKpa y\a>xivi. O. T. 1262. tKkive Koika Kkijdpa. Phil. 199, 200. XPO""^ 4 ^fV™' Xf')'""- El. 1030, Syllabic assonances are — Ant. 974- lyr. oKaov dXaaTopoia-iv. Tr. 752. aicrfi . . aKpov. Ib. 554. XuTijpio!/ Ximripa. (?) Ib. IO35. aKOv 8' axos. O. T. 880. lyr. w6\et iraXaicrna. b. Slightly different from these last is the intentional play upon a syllable, such as not unfrequently occurs in Homer (especially in the Odyssey), e. g. Od. 19. 564. o! p.iv < e\eaav- Tos I Toi p eXe^alpovTUL, turning more upon the sound than upon the meaning. OF SOPHOCLES. 83 O. T. 70, I. E9 TO. nvBiKci . . i,s nv6oiff S Ti, k.tX. lb. 603, 4. nvdmb' lav I neidov. lb. 397. 6 /irjScv eiSus OiSiVovr. El. 6, 7. roC XwoCToVoi/ 5eo0 ayopa Ai5k«oe. Ant. 1 10, II. *noXuwi'Kour | ap^eis v«)C6coi' €^ aficjuUycov. lb. 1 1 26, 7. aT€>ov/^ Sname \ \iyms. O.C. II 13. in(f)vvTc ra (l){i(ravTi. Tr. 831-40. KevTaipov . . Kevrpa. c. There is a play on two meanings of the same word, in the 'semi- comic' scene with the ^vXa^: — Ant. 323. r) Setvov (p Sofcn ye Ka\ yjfCvSij SoKeh. d. In Aj. 430, 1. A dying man 'plays nicely with his name' (Shak. Rich. II. 2, i). r J 1 V ami" rij av ttot wed' 2>S' fnawiiov | Toip.6v ^vvola-fiv ovopLa rots ip-ois KaKols. Cp. Fragm. 87 7. opdZs b' '08vvopdv ^oj'oy povois. lb. 620. lyr. atptXa Trap' d(f>lXois, Phil. 663—5. Of . . OS . . OS. lb. 71O) II' ■TTavav iTTavoXs dmxreie yaarpX 0op- /3ai/.(?) lb. 827. "YTrj/' oSwas aSaj)s,''Y7n'e8'aXye' (j)iKa>v | x^'^P^" eK^ePiacrpevov. lb. 1370, I. StTrX^i' piv e^ epov KTrjO-ei X'^P'"; I bmXrjv be Ttarpos, O. T. 25, 6. (f)divov(Ta pev . . iir]s. lb. 825. lyr. KpvTTTOva-iv IkijXoj . . 838. epKe(Ti Kpv(p6ei>Ta yvvaiK&v. Tr. 833. lyr. TrpoaraKivTOS . . 837. irpocrreTaKas. lb. 832. lyr. boKoiroios . , 840. ho\6iiv6a K£VTpa . . 85.1. doXiav. Aj. 799, 8o2. 4>ipuv . . (pepet. O.T. 517-20. cpepov, ^ipovTi, (ftepci. lb. 524, 525, 527. yvapr) ippevav, yvi>iiais, oida 8' ov yvmjxr] tIvi, lb. 399— 402. 8ok£v, Socety, 'boKiis. O. C. 690, I. aXX' el 6c\ovt av y, ouSe (Tol (peiiyeiv KoXov, 01. dXX' ovS' or avTos rjdeXov, irapUa-av. (See note m loco.) El. 903, 6. op-pa . . oppa, in different senses. Aj. 1204. lyr. repyj/iv laveiv . . 1216. repilns eVeWai. Phil. 706. lyr. ov (f}op^av . . I'JII. yaaTpi (pop^dv. lb. 1 1 16, 20 lyr. TTorpos ere haipovcuv, K. r. X. . . bvciroTpov apav. lb. 1268, 9. cK \6ya>v KoXmj/ . . crois ireiirdeK \6yois. Ant. 582—623 (see notes). The above examples, however, do not all belong to one and the same class. In the lyrical measures, a phrase of the strophe is often echoed in the antistrophe, which, according to a probable theory, may have been chanted by a different part of the chorus. In these cases the repetition is intentional : but in others it is accidental. (2) A further instance of this inclination to repeat the sound, — ^ns aeibovTefTcri vetnTaTrj dp(jimeXr)Tai, — appears in the recurrence, at long intervals, and in quite different connections, of the same rare word, or of the same collocation of words, or of the same form of expression. Thus the Epic and lyric ricpap occurs three times in the Trachiniae, and nowhere else in Sophocles. So § pa, several times in the Ajax and in no other play. The hemistich Baprrei irapioTai occurs twice in the O. C. (305, 726), and ro nXeivov "EXXaSos twice in the Electra (681, 694). So oih' avUcrav O.T. 1277, and O. C. 1608; 8u ma, Ant. 533, O. C. 532; olaOa, Tr. 1191, 1219. Cp. lb. 418. OF SOPHOCLES. Sg (3) The Philoctetes, as already noticed (p. 27), is singular in having several instances (in the last commos) of tmesis of verbs com- pounded with ano : and also in the frequent repetition of mono- syllabic words in excited utterance. The following are examples of the latter tendency : — Phil. 664—6. OS x^""' Olralav Idelv, | 69 Trarepa irpicr^vv, 69 0i- Xous, OS rmy ipav | ^)(6pS>v, k.tX. lb. 482. is ain-\iai>, es irpvjivav, is irpapav. lb. 799. & TfKvov, & yevvaiov. lb. 260. & tckvov, & TToX. lb. 989, 90. Zeiis eo-5' tv flS^s, Zeis . , Zeis, m SeSoKrai Tavff . lb. 1109, lo. oi) (jyop^av en 7rpo(T(pepa>u, | ov ■nravaiv an ip.5>v OTrXoiu. lb. 1 128, 9. Si TO^ov (j)iXov, & (plXwv | x^^P^" ft/Se/St- a(rp,evou. lb. 1 1 23. & wokis, & irarpia. The reading in some of the above instances, as well as in others of this kind, has been doubted. But while it is freely admitted that the scribes may have sometimes repeated a word by mistake, it must be allowed, on the other hand, that the tendency in ques- tion is sufficiently evident to be taken into account. The context, with the analogy of other passages, must decide in each case whether the MS. reading is tenable. The repetition of the same word is of itself no objection to any reading, 45. C. 8. Epic and Lyric Forms. a. The article for the relative. See above, p. 32, 4. O. T. 1427. TO fxrjTe yrj | jxrjT o/x;3poc ipos prjTe S)s npoaSe^erai. An. 1086. ^e^ma, Tav a-ii Bakiros oux VTTfKSpaixe'i. Phil. 707. 0^ 'pop- ^av iepas yas (nt6pov, ovk aWcov | dipcov rav vep.6pea-6' dvepes a\ria>TS>i/ affkimv 'iKTrjpia. El. 2 20. oIk ipicrra irXaBeiv. lb. 230. akvTa. Aj. 887. a-xerXta yap, K.r.X. Tr. 1 26. dva\yr]Ta yap, K.T.X. c. Homeric epithets. Aj. 375. iv 6' eXiKeiro-i ^ovtri Kax kXutoTs ixeaav amokiois \ «pE|j,i'6;' aip! eSeva-a. Phil. 706. oi (popPav tepas yas cTTTopov, ovk aXXmu \ a'Lpav Tav veiiopeaS' dvepes dX<|>r)CTTai. El. 7 14. KpOT'()T(li' appdrav. lb. 747. TfJ.TiT0i9 ip^a-tv. O. C. 482. yrj (AeMfJ.(})uX\o9. PhiL 1 161. PioSojpos am. d. Tmesis. See p- 27. e. Phrases recalling expressions in Homer. O. T. 1095. eninpa (jjepovra. lb. 145, 6. rj yap eirvxeh \ ^v ra 6eS, (itavoipeff fj neTTTCoKdres. O. C 380. i>s air W'Apyos ij t6 Ka8peia,v nehov I Tipfi KuBi^ov J) 7rp6s oipaviv Pifi&v (II. xviii. 308. ^ k( ^f'rao-' peya Kpdro's ij Ke €poipr,v, fc.T.X.) O. T. 975. is 6vpt,v ^dXrjS. O. C. 216. a /ioi iyd>, Tc Tvdea, : Tr. 973 (II. xi. 404, Od. v. 465). O. C. 86 ON THE LANGUAGE 1477. dixl(rTaTai . . oto^os. El.- 1492. iyav : . . ave «; 74, 8.) They would have been seen to be more numerous if more were known of the verna- cular idiom of ancient Hellas. Concluding Remarks on Grammatical Construction in Sophocles. In the preceding sections many idioms have been included which can be paralleled from other Greek writers, especially the tragedians ; while, on the other hand, no collection of scattered instances can adequately represent the peculiarities of a writer whose strength lies in the ' callida junctura,' and the subordination of parts to the whole. It has been impossible adequately to distinguish (a) between the remains of earlier syntax, and the novelties of the transition age; (3) between the phenomena of earlier Attic generally and those of the Tragic dialect ; and (c) between the individual tendencies of Sophocles and those which he shares with Aeschylus or Euripides. But enough has probably been said to confirm the impression which many readers of Sophocles must have already formed, that the difficulties, inherent in the Greek of this period, which I attempted to characterize at the outset, are complicated in his case by a singular union of great sub- tilty with great simplicity. This part of the subject may be appropriately concluded with a few general remarks. 1. Sophocles has the keenest feeling for the analogies of language. 2. This subtle reflective tendency is perpetually causing slight modi- fications or extensions of idioms in ordinary use. 3. The overlogical spirit, or Kofiyj/orris, of his day shows itself in various inversions, substitutions, and other indirect modes of expression. 4. Also in minute verbal parallelisms, antitheses, and paradoxes, which, if somewhat strained in themselves, are made conducive to the principal effect. 5. This analytical spirit is accompanied by a continual effort in the opposite direction of concentration. OF SOPHOCLES. 87 6. From both the last mentioned causes there results a peculiar fulness and redundancy of expression, arising partly from the determination to be explicit, and partly from the combination and grouping of ideas. 7. The singularity of Sophocles consists not in any or all of these characteristics, which are in some degree common to his age, but in his subtle treatment of them, the harmony in which he binds them together, and above all the grace with which he adapts them to the dramatic expression of natural human feeling. 8. The relation of metre to language is not to be lost sight of. The word ' exigency' which is sometimes used in this connexion is inapplicable to a poet's work. But the correlation between speech and rhythm, as they react upon each other, is notwithstanding a reahty. The Senarius for example, as compared with the Hex- ameter, is obviously favourable to compression, to connected periods, to synaphea, to the elaboration of a symmetrical and carefully articulated whole. Even the increase of contracted forms in Attic Greek may have owed something to the theatre as well as to the agora. 9. The interpreter of Sophocles must think more of the sequence of ideas than of the apparent grammatical connexion of the words: and the critic of the text of Sophocles must ask, not. Is such and such a phrase exact in point of syntax? but, (i) Is it natural ? (2) Is it poetical and rhythmical ? (3) Is it dramatically suitable and expressive ? PART II.— PECULIARITIES OF DICTION. § 47- If the poet of a transition age in literature is less fettered than his predecessors or successors in the use of grammatical con- structions, he enjoys a still more acknowledged liberty in the choice of words. It would seem at first sight as if all the resources of the spoken and written language were at the disposal of his in- vention. There are, however, limits to this freedom. No one now supposes, with Aristotle, that a great author ever absolutely created a new word ; and if there are words in Shakespeare (e. g. ' blood- boltered,' 'scamels') to the origin of which we have no clue, this is set to the account of our ignorance, and not of his caprice. It is true that the existence of inflexions in Greek, or rather the fresher consciousness of the meaning of inflexions, gave scope for a degree of licence which has never been possible in any modern language. But this licence is very sparingly employed, and is more seen in the use of compounds than in the formation of new derivatives from single stems. And even in the selection and adaptation of existing words, the innovalioas 88 ON THE LANGUAGE of the poet are subject to the following conditions : — (r) They must be founded on the actual state of diction; (2) They must be more or less in accordance with prevailing tendencies ; (3) Words taken from the early literature, or from a foreign dialect, must not be too far removed from customary use, and must be such as are already known in some way by those for whom the composition is intended. Much also depends on the kind of composition. Thus, words which are suitable to the style of a lyric ode would be out of place in tragic dialogue, many others are forbidden by proprieties of metre, and many expressions are appropriate in tragedy which an historical writer would reject as too ornamental for his purpose ; although it is to be remembered that the distinction between poetry and prose was less absolute in the age of Sophocles than at a later time. Before entering on the consideration of the special peculiarities of any writer in point of diction, it would be well to have a clear and ■ adequate conception of the vocabulary that lay at his command. To give this in the case of Sophocles, however, would be to produce, not one lexilogus, but several. The diction of the Iliad and still more of the Odyssey, that of the Epic Cycle, whose special peculiarities are un- known to us, that of the lyric poets, including Pindar, of the gnomic poets, including Theognis, Solon, and Simonides, must be pre- supposed. But Herodotus, who reflects the cultured intelligence of the Ionic cities in the former half of th€ fifth century b. c, is of more immediate importance for the study of tragic diction than any of these. In comparing him with Sophocles we are led to think that the Attic dialect, on which the Athenian agora and theatre worked many potent changes, must at first have had much more in common with the earlier Ionic than has been commonly imagined ^ (Cp. e. g. the use of TO/ios in Hdt. vii. 891, Soph. Ant. 908, Thuc. v. 105.) The object of the following remarks, however, is not to treat the subject exhaustively, but to point out some of the respects in which the use of words in Sophocles is affected (i) by the stage of language in the age of Pericles, (2) by the poet's peculiar subtilty. The most general characteristic of the diction of Attic writers before Plato is an imperfect stage of abstraction. Many words are no longer found in the same simple concrete or metaphorical sense as in Homer : while, as contrasted with Xenophon or Demosthenes, * The following words, amongst others, KaravTiov, KaTqprfS, Haroi/cTifiw, KV/iaTias, are at once Herodotean and Tragic : — Xij/ia, fteraixi^'ov, lieravdis, /jTjTpdSci', /u- ayrjXaT^w, diMx^evofiat — eTTafj.a^evo/iatf ^oir6.p6evos, ptoxXsvco^ fivaapos, vavriKos^ d^7}ViTos, dv€KaOeVf dvOvnovpyioi, dtrSvi]- vcSyaf^os, ^ei/oKToveo), 65oiirop€0}, 6d6oj, Tos, dirdTLftoSf dTjojGT6s, ^t^jaifios ( = f^LOj- opLaLjxos, otxai^aiv, opifffia, ocppvrj, TraiSo- t6s), ffvaaivos, yeviraip, ■yvcoaifmxiai, iroi(5s, naviiKeffpos, TrapaiuiMvfiaicoiiat, ira- cSatcra, StaXv/xaivofiai, Spdi^rjfjia, bvff^iop- prjyopeoj^ irapOiveiiofiatj nfpWvfws^ Ylepffis ia — ivafiopipos, SvaTrereais, kSiiXia, en- adj., nerpivos, iri/jieXri, ■noXvTrX&vrjTos , irayXeoixm, eXtvvai, 'EXXds adj., (pupepjjs, itpoKXaleiv, trpSvoos, np6(f>avTos, TTvp6ai, ((avaa-Traw, f^avSp6oiJ.aj., e^evprjjMx, f^oj- a€ipai}fi,$XrjTos, (itppivq, fd- 7U0S, iTTCKTpcx'". ""■fP'^X^OA"". ""'Wi'"?'' irXovTos, iiix(p6aicoiTos, SerjXaros, Biama- virfpreXXw, vTr6TTepos, ^piviifrrjs, cfivXKds, fia. 'IXids adj.. lOTopuv, iaxvaivai, Ka9v- xf'/'*"'ofia, ipevSdiMVTis. Ppi^ai, KaSiWird^oiim, KaXXiOTfua, /tdpra, OF SOPHOCLES. 89 there is in these writers more of sensuous picturesqueness, and a richer colouring of association about single words, existing together with a certain vagueness and indefiniteness of meaning, especially in the use of words like yvafirj, 6vn6s, opyrj, yoOs, expressing mental states or faculties, and such as 6. Kmpos yap, ocrnep dvSpao-tv | piyiaTOS epyov TtavTos eo-7- €TTi. XP°''°^ ^uvav I papiira>v ^lov.] /3. Other words appear to be in an earlier stage of abstraction. v, [Cp. ^as diavoias Tov avBpamov in Thuc. i. 1 40.] y. But the incompleteness and indefiniteness of abstractions is chiefly seen in words denoting mental acts and states, such as Bvfios, p.rij opyt], irodos, eXTTir, fpas ; or mental powers, such as vovs, ■^rvxv, pda-as, epos 6 KTfivas, to such quasi-scientific discrimination of terms as in Ant. 176. 'v/'wx'?'' ■'"^ "'"■ p°'^H-" ""'' 7"^^"^ where however the sophistical parade of words is merely a piece of mannerism, and the attempt to distinguish accurately the connotation of the several terms is not only difficult but illusory. 49. It will be sufficient to adduce one or two examples of the use of such words in Sophocles. A glance at any lexicon to Sopho- cles will suggest many others. I. ^u/io'r occurs once only in the seven plays in the sense of 'mind' or ' memory,' and in this there is probably a reminiscence of Homer. El. 1347. ovdi y is dvfihv (jiepa — ' Nor can I bring him to my mind.' (Cp. Fr. 595- "'o^^' f" KaKoicn 6vp,os evvrj6i\s opo.) Nearly the same form is used by Jocasta in O. T. 975. p-ri mv er' avToiv iu)hev is Ovfiov fidXris. But here Bvfios is associated, as it is almost everywhere in Attic Greek, with the emotional nature. Not, ' Do not cast it in your mind,' (as in Hdt. i. 84, i(j)pda-6ri kuI is 6vjiov i^aXero : Acsch. P. V. 7c6, Toiis ifiovs \6yovs | 6vp.a /3dX',) but rather, ' Do not take it to heart.' Cp. ivdipiov, lb. 739 ; ifov yap a'ipei dvp.6v, lb. 9 1 4. In this last instauce 6vp.6s is not thought or feeling simply, but the mind agitated by feeling ; i. e. in the present case by ' doubts and fears.' ' Oedipus lets his mind be lifted into high suspense by all manner of griefs.' Here 6vp6s (cp. 4>p^v, Tr. 982, O. C. 1 182 ; /S/otoj, O. T. 612 ; aUv, Phil. 1348) is spoken of as a real thing or substance, as if separable from the person himself. 6vfi6s is elsewhere the seat or origin of particular emotions, as 'desire,' O. C. 778, El. 286; 'fear,' O. C. 1466, eTTTTj^a dvp.6v; 'anger,' El. 331, cp. Phil. 324; and 'courageous ardour' or 'confidence,' El. 26. dvfzov oIk airaiKeaev: Aj. 1 1 24. JJ yXSxTcrd irov tov Ovfiov as Seivov Tpi(p(i. This meaning of Svixos, as a principle, is not always easy to dis- tinguish from the more special, and in Attic Greek the more common meaning, of a state or condition of anger. Instances m which it has been supposed to mean anger, but where it more probably means an angry or agitated mind, are — Ant. 493. (jjikei 8 6 dv/ios npocrdev ]^piia-dat xXoTTcis | tS>v prjdiv opSas iv o-KoVo) rexvapivoiv — 'And when men are plotting wrong in secret, their distracted mind is oft convicted of concealment before the act' lb. 1097. arrj Trard^ai Ovpov — ' To bring down the blow of calamity on the passionate heart.' Aj. 954. rj pa KeXaw&irav Bvphv ifpv^piCei 7ro\vT\as avfjp. O. C. 434. Offjyi/iV i^u 6vp.6s. lb. 438. KapAvBavov tov 6vp6v ixSpapovra poi | pel^a KoXaarriv rStv irp\v rfpapTXf- p.iva>v, where t6v 6vp.6v may be rendered, ' My passionate mood.' OF SOPHOCLES. 93 In the more limited sense of a condition of anger, dv/ios becomes again ' hypostatized,' and is spoken of as a separate nature or idea. O. T. 673. oral/ I dvfioij irepdfrus. O. C. 954. ^uyuoO yap ovSeV yrjpas iuTiv aXXo ttXiji/ j Bavuv. (Cp. HeraclitUS, x°^^^^v 6vpa liaxccrSui..) 2. vovs, which is commonly, and in later Greek exclusively, an intellectual principle, in Ant. 767 is used for 6viJ.6s — vovs 8' cot! rrjKiKOVTOs oKyfjaas ^apvs. The danger suggested by the chorus, however, lies not only in the resentment of Haemon, but in the invention and contrivance which the resentment sets to work. Cp. also El. 913. iirjTpbs oijff 6 vovs (f)ikfl I TOiavTa Ttpatrcreiv, The meaning of this word, like that of dvpos, is intermediate between a principle or faculty and a condition or state. Ant. 1090. Tov vovv T afielva rav (ppevav. lb. 1228, 9. tlvo | vovv And is specialized, in a good sense, to mean an intelligent mind or wisdom: i.e. vovs=vovs tTo<\)6s, (El. 1016. Cp. cfipeves.) O. T. 549. "^^v avdadlav . . tov vov X'^pis. 3. yvmp.ri is the general word for 'thought' or 'judgment,' with the various special meanings of ' perception,' Aj. 52; 'mental pene- tration,' O. T. 398. yva>p.ri Kvp^aas; O. C. 403 ; 'opinion,' Ant. 753; 'maxim,' Aj. 1091; 'advice,' Phil. 1467; 'suggestion,' Tr. 844. aii oKhodpov I yvajias po\6vT oKedpiaiO'i (rvvaWayalsj 'inten- tion,' Aj. 448; 'the general intention or spirit of a line of con- duct,' O. T. 601 j 'right judgment,' Tr. 389; 'deliberate judg- ment,' O. T. 524. yvaifir; v; 'the ground of judgment,' O. T. 527. olSa 8' ov yvo>ij.j] tivl; or 'means of judgment,' Phil. 837. yv&fiav 'ia-xa>v. Not that in each of all these meanings the word is used with the distinctness of the English equivalent. But in the absence of such distinction, an attempt is made to give several special applications to one general word. 4. eXiri's has most frequently the definite meaning of 'hope,' but also ' sometimes that of ' expectation ' generally, O. T. 1432, Aj. 1382 ; and hence has the epithet KaXfj, Tr. 667 ; or kokt), Aj. 607, but with an allusion to the more usual meaning. Hence the plural iXmdis comes to be used for the state of ' expectancy ' or ' sus- pense' as such, O. T. 771. is roaoirov ekmhav | ip-ov /Sc^otos : lb. 487. TteToptm 8' i\Tn(nv, 5. 6py^ is first 'temper' generally, then the 'rage' of any passion (as of despair, O. T. 1241. dpyfi xp<'l^^'"l), and then specifically 'anger.' An extension of the first meaning occurs in Ant. 354. darvvSjlovs Spyds, ' a disposition towards ordered life in cities.' 6. (jtpovelv, meaning generally 'to think' or 'have intelligence,' has a 94 ON THE LANGUAGE variety of special meanihgs : ' to know ' or ' perceive facts ' (as in Hdt.), O. T. 316, Tr. 1 145; 'to be conscious of the situation;' see esp. Aj. 942. a-ol fiev SokeTv ravT ecTT, ifioX 8' ayav (ppovew; ' tO be in one's senses,' lb. 344 ; ' to be sensible ' or ' wise ;' ' to con- sider,' Ant. 49; 'to be minded' or 'disposed,' Tr. 490; 'to be affected,' El. 334; with ev added, 'to be wise' or 'clear-sighted;' and, with ^eya or a-fuKpov, ' to be proud ' or ' humble.' Some only of these meanings are found in later Greek, where they are used with less consciousness of the general meaning. 50. S. To the same stage of imperfect generalization belong the frequent use of the abstract for the concrete, and the preference for verbal, adjectival, and participial forms of expression. 1. El. 418. irarpos . . ofxiKlav. lb. 130. lyr. jjKcre irapajxiBiov. lb. 52. Kaparopois p^XiSats. O. T. 1 248. SiiiTTfKvov wmSovpyiav — ' To be the mother of a wretched offspring.' Phil. 35, 6. (jiXavpovpyoC TLvos I re^vrjpjiT avSpos. O. C. 4^2. avSpos eilx^tpos rfxurj. Aj. 1297. f'(p^Kev eXXois IxSvcriv hm6opav, Tr. y. w/Kpflcov OKVOV — 'A fearful bridal.' O. C. 1044. lyr. 8ata>v | dvdpS>v . . emai. lb. 1070. lyr. a/i^acTLi, ot Tav limiav | Tipmcnv 'A6oivav, El. 681, 2. 'EXXaSof I 7rp6ar)cjp' dymvos, O. T. I. KaSfiov tov ndXai via Tpo6eyfia, litarnjia, X^fia, XaKrjiia, 7rpoa>vriiia, are frequently used in addressing persons or speaking of them with strong feeling. Cp. the frequent use of Kapa. 2. Other instances of the use of verbal nouns are — Tr. 12 1 2. fo/iai. Phil. II 90. lyr. e\6eT ejrri\v8es avdis. El. 1414. lyr. Iiolpa KaBapepia (pdivfi. Phil. I449. lyr. prj mv ;^powo( fieWtTe Ttpaatreiv. Ant. 255. Tvp^rjprjs p,kv oH. El. 1260. lyr. ns ovv h> d^iav I yc irov 7re has the following : ' to hold fast,' ' to check,' ' to endure,' ' to direct' (as in fx^iv mirovs, cp. El. 720); 'to be engaged in' (as an employment or pursuit), Aj. 203. exo/iev a-rovaxas, lb. 320. ydous . , f'xeii' ; ' to receive,' ' to be possessed by' (anger, etc.), ' to possess,' O.C. 1725, 1744, 'to have done so and so,' as a mere auxiliary; 'to be able;' 'to know,' Phil. 789. ex^rc to irpaypa. Also, in the neuter sense, ' to drive,' El. 720 ; 'to put to land,' ' to check oneself,' O.C. 1 169 ; 'to have to do with,' O. T. 709. pavnKrjs i'xov T^xvrjs: and, perhaps, to continue in a place, Phil. 22. s npooSi^eTm. In Ant. 951, however, ovt &v fop,ppos, ovT"'Apr]S, . . ovx oKlKTviroi | KeKaiviii vacs eK(j)vyotev, the correction oXjSos for 'Aji^pos is required by the , sense. II. Interchange of Active, Neuter, and CAtrsAi, Meanings. I 53. a. The transitive use of intransitive verbs is rare, except in constructions npbs to aripaiv6p.evov, SUch aS El. 147. oKlC ipe y d a-Tovoecrar' apapev (j>pevas (see abovc, p. 23). For the cognate ac- cusative after neuter verbs, see above, p. 24. A clear instance of a neuter verb used actively is in — O. C. 1282. 17 dvax^pavavT — ' Or having moved dislike.' The adjectives didropos, opoaitopos, Ofioyevr)!, vopds, Bva-(j)opos, vrjKrjS, rjXioa-Tfpfjs, oKVTjpos, euTDx^r, and Others, are used sometimes in an active as well as in a neuter or passive sense. (In some cases, of course (Smrdpoy, etc.), the accentuation is changed.) The verbal pfp-nTos has an active meaning in — Tr. 445? ^* •Sjot' et TL Tojpa T dvhpi Tr^hc rrj j/dtra I \r)<^6evTL pepirroi ilpi, mpra paiuopm. Cp. vnepoiTTa, O. T. 883, dpipnrKriKTav, Phil. 687. Other verbal adjectives, and derivatives of verbal adjectives, are used with meanings not directly passive, e. g. pmTos, i. e. Sid pmiji yfuopevos, Tr. 357 ; Xco^Tjrdf, i.e. Xaj^^v ex""") It)- 53^! a/^^'TXeKTor, 1. e. VTT dp oXXo) Trpoo-i'Soir. Tr. 842. fieyaKaii irpocr- opma-a Sd/tots PKafiav. Phil. 3 20. (TVVTV\tt>v kokSiv | avdpav 'Arpetbwv, Tr. 662. in\ 7rpo(paiTfc 6r)p6s. a. Through this tendency, combined with that towards verbal ex- pressions (p. 93), nouns originally verbal, which have come simply to designate an object, regain their verbal force. } oiifia (from stem mrr-) is generally 'the eye :' but in Sophocles is also (1) ' a look,' Aj. 193, Tr. 914. Xadpatov opy! ineiTKiacrpivri. (2) ' Power of insight,' lb. IO18. o-oi tc yap o/i/io | efnrKeov ^ 8t' epov o-fflfeiJ'. (3) An object of vision, Aj. 1004. S Sva^dearov Sppa Koi ToKprjs TTiKpas. (4) The 'effluence' from the object (see Plato, Men. 76 D), El. 902. epnalet ri pot | i/'ux.5 "ivrjBes oppa. (g) 'Ap- pearance,' Tr. 379. rj Kapra Xapirpa Koi Kar oppa Ka\ (j)va-iv. (6) 'Light,' in a metaphorical sense, as giving joy, lb. 203. as mXtttov '6pp' ipo\ I ripris dvao-xov rijaSe viiv napirovpfBa. (7) With ethical or pathetic associations, Aj. 140. Ttmjvris as &ppa TreXems: Tr. 527, 8. TO S dp(j}ivcLKriTOV Sppa vvp(l)as | Ikeivov appevcil Aj .977- <" ^dvaipov ^ Spp' ipoi : cp. Phil. 171. pr]Si crvpTpoipov opp e^fflv. So Bpippa, generally, that ' which is nourished up,' ' a creature.' But from the association of Tpi(j)ca-6at, ' to clot together ' (whence Bpop^os), in Tr. 574. Bpippa Xepvatas vSpas is partly the venom nursed in the hydra, partly (cp. supr. 572, ap4>iept7rTov alpa) the poison clotted about the wound. papa, which commonly means 'food,' in Ant. 1017 means ' eating.' Cp. Hdt. i. 119. as 6e ra 'Apnaya iSoKse oKis exeiv t^s fioprjs. vavrqs, ' a sailor,' though not derived from a verb, has a verbal termination, and in Philoctetes 901 = TrXarrjp iv rn vrit. H 2 100 ON THE LANGUAGE b. Sometimes a word has more than one association. E. g. : — KoXXiorera is properly the prize for beauty or nobleness, but in Aj. 435, is rather the prize of the most beautiful, the most beautiful given as a prize. jrapavXoy, as derived from auXc!?, properly means ' out of tune,' but in Aj. 892 seems to mean ' neighbouring,' from vapa., avkfj, with the additional meaning (from avkos) of ' sounding near.' So in O. T. 186. ofiavKos means (i) 'in the same dwelling,' but also (2) ' sounding together, blending.' tor in Tr. 833 means 'poison' as in y^i, but with an allusion to the poisoned arrow, which is also I6s (lb. 574)- irpoTTeris in Tr. 701 is (i) ' fallen to the earth ;' (2) ' on the point of disappearing.' c. This kind of confusion is more apt to occur in the case of words not in familiar use, such as dfievrjvos, used in Epic poetry of the dead, from a, jievos, ' without strength : ' applied by Sophocles to Ajax (Aj. 890), with an association from a, pha, ' having no abiding place.' Ajax escapes their search as the shade of a dead man fleets from the embrace of his friend. (A similar process is observable in modern languages. Thus 'shamefast' has been transformed to ' shamefaced,' and words like ' aufheben,' 'beziehung,' receive their second intention in German phi- losophy.) apl iroXZv, ' moving in and out amongst.' SpamiT]!, 'fugitive;' but, in Aj. 1285, used metaphorically with a verbal allusion to 'Ca.^ falling of the lot into the urn. cxri/ioy, 'away from honour;' but in El. 241. yoyeW eKripovs, 'away from honouring my parents.' Xcxp'oy, 'slanting ;' connected by etymology with X(Kp60i's='obliquus,' but in tragedy (O. C. 195) as if from \4xos, ' half-recumbent.' TTapa&iUvm, 'to give over;' but in Phil. 399, with the additional meaning of ' wrongfully,' ' away from the rightful owner.' OF SOPHOCLES. loi TfTpaopos {reTpaopoi . .mnoi, Od. 1 3. 81), 'yoked four together.' But in Tr. 507, as if from ddpa>, ' raised on all fours :' i. e. qua- druped. Here, however, the latter part of the compound is un- emphatic. See below. TpoTTotos — Zeiiy TpoTraios, ' Zeus who tums the battle ;' but in Tr. 303. Tr]S, a/x/3oXiepyof, npaTrjpoTTjs, aKpoKvecpaios, opdpoyoos, fjiiepo- KoiTos, and words like airoyevris, Kpna-a-oTeKvos in Aeschylus.) 1. There is more freedom than appears afterwards in compounding stems with prepositions, especially ex and eV. Thus, avahoxf], cmo^\ap,ai, iKKojina^a, iKkr)ya}, ffcXco/Sao), «Xa)7ri^a), e/CTreXet ^ e^ecrrt, iKnpoTijxa^ €K\pda>j efiTroKis, eviSpos, evdaKea, iv6aXa>, i^^vrpeTrl^a, i^i(l)Upui, e^iKeTeia, i^oiK^cnfios, i^opCKos, i^vTrepBe, KaravSaa), are all new compounds. 2. A complex predicate or attribute is sometimes expressed by a rare compound; e.g. dvavSparos, dpia-Toxfip, dpTi El. 1069. 6. In compounds of nds and avros the prefix has an intensive or emphatic force without having an exactly defined significance : 102 ON THE LANGUAGE e. g. in navcrvpTos, 7ra/ajti?ji/os, ■ndfi'^vxos, iravafiepos, T!a)i.fiJ]Tp, mivSiKOS, ndvdvTos : avTapKr/s, avToa-roXos, avToevrrji, avToicKriTos, avrovpyos, avTO- TTpcfivos, avToyvaros, avTOKXovovvre (reciprocal), auToSaijr (' taught by thyself? Aj. 700; cp. avroKTiros, Aesch. Prom. 301). avTox^ip means 'himself perpetrating' or 'perpetrating on himself/ 'by his own hand' or ' by a kindred hand,' or simply ' by a violent hand.' 7. The relation between the parts of a compound is not constant; thus avToyevvrjTos in Ant. 864 means 'from which he himself was born:' 'nnroiJ.avfis, in Aj. 143, is 'madly bounded over by horses:' avTocficopos in Ant. 51, is not 'detected in the act,' but 'self- detected.' 8. New derivatives, following however the' analogy of other words in Ionic or Attic, are dSr^Xetv, arXajTelv (cp. aXaa-Tetv), apxqyeTeiv, dyxi-TTrip, 7rapa4>p6viiJ.os (lyr.), jrvXan's (lyr.), to which several others might be added. V. Sensuous and Suggestive Words. § 56. The diction of Sophocles is abstract and concentrated, but not colourless. A single word of his often calls up a picture, and his airiest and most refined conceptions have concrete expression. His language has the picturesqueness of Herodotus, subtly transfused with reflective thought. 1. Physical expression. It is difiicult to treat this subject without trenching on the cognate department of metaphorical language. (See below, p. 105.) But in the following cases the metaphor is suggested rather than expressed. (Cp. Hdt. vii. 13. Tj veoTTjs ine^icre, et passim: Thuc. v. 17, § 2. Trpoeir- aveadadr], etc.) Ajax ' tears up words from within him,' Xdyovs dvia-rra, Aj. 302 ; Myrtilus is hurled from his chariot ' root and branch,' jrpdppifor iKpKpdeis, El. 512; Oedipus 'conflicts' with sorrow, oKyrjSdvos, a ^vviaras, O. C. 514; rage 'distils' from madness, a7roo-rdf«, Ant. 959; the dust of death 'sweeps out of sight' the last ray that seemed to promise hope for the withered stem, vcpripav d/m kovis, lb. 602 (see below, p. 103, 4); the soul 'flies up' with sudden joy or fear, dverrTdfmv, dve-nrav, Aj. 693, Ant. 1307; the mind of Ulysses has a dark countenance, KcXaivimav Bvpiov, Aj. 954 ; Ajax in life was 'ablaze with insolence,' aieav vPpktttjs, lb. 1088; the flushed cheek of Ismene is blood-red, aliiaTocv ptBos, Ant. 528 ; Tecmessa is ' immersed in the lament we hear,' okra xmSe avy- KeKpap.kvr)v, Aj. 895 ; the Subservient tongue moves within bounds, o-ol 8' viriKKova-t o-Tofia, Ant. 509 j an intermittent, re- curring pain is a ' wandering trouble,' (poirdSa v6a-ov, Tr. 980, cp. Phil. 75^- ^''^' • • i"Xdvo(9, 2. The mention of an act is enlivened by the expression of some sensible accompaniment. The arrow not only pierces but ' whizzes through' the breast of the Centaur, oTipvav S^ppoiCrjaev, OF SOPHOCLES. 103 Tr. 568 ; the smoke clings tenaciously about Hercules, Trpoa-edpov \tyvios, lb. 794; the brain of Lichas is 'rained forth' from within the skull, iKpaivei, lb. 781. 3. Favourite words denoting colour and form, such as KiXmvos, xXwpor, KoiXos, are often made to suggest more than they express. The disparity between the impressions of colour and form, which were rich and deep, and the vagueness and inarticulateness of the lan- guage which described them, may have helped this tendency. 'The dark point of the champion spear,' KeXaiva Xoyxa, Tr. 856, suggests the stains of many combats ; the ' blue-grey vintage,' yXavKfi oirwpa, lb. 703, brings before us the bloom on the ripe grape ; the ' dark rain,' fteXas op.^pos, O. T. 1278, recals the Homeric ixikav alpa, as the ' grey sea,' or ' grey shore,' recal ffiv i akos noXirjs ; the 'dark-flushed ivy,' olvSma Kia-a-ov, O. C. 674, sacred to ruddy Bac- chus, olvana BaKxov, O. T. 2 1 1, reminds us of the dark-red wine. X^apos, 'grass-green,' is applied (i) to the dew of tears (Tr. 847); (2) to life-blood (lb. 1055); (3) to the sea-sand (Aj. 1064). The association in the first passage seems to be that of tenderness and softness {rcpfv, daXepov SaKpv) ; in the second that of freshness and young vigour ; the exact meaning of the word in the third case is doubtful. Perhaps the pale 'yellow' sand, perhaps the ' moist,' smooth and glistering sand. A favourite word denoting form is koiXo?. It is applied as an ornamental epithet to the couch which is to receive the pressure of Heracles, Tr. 901 ; to the vale of Argos, O. C. 378; to the bowl of Theseus and Pirithous, lb. 1593; to the grave to be prepared for Ajax, Aj. 1403 ; and to the casket of Deianira, Tr. 692. It is used more suggestively of the cave of Philoctetes, Phil. 1081; of the old pear-tree, O. C. 1596; of the stony receptacle of Antigone, Ant. 1205; and lastly of the doors, which yield and ' hollow in' before the impetuous rush of Oedipus in his fury, O. T. 1262. 4. Influence of association on the choice of words. In many passages of the choric songs, as in all lyric poetry, the connection of ideas is often guided rather by association than by any regular sequence either of thought or fact. A typical instance of this is supplied by the stasimon of the Trachiniae in which the long chain of causes which have led to the pain of Heracles are crushed together in a few words so that the links can hardly be separated (Tr. 836-40) : ' He is steeped in the dreadful apparition of the Hydra,' i. e. his veins are saturated with poison from the wound made by the arrow of Hercules, which he had steeped in the venom of the Hydra, that dreadful monster. 'And mingled therewith the murderous stings of crafty speech from the Centaur burst forth upon hini and torment him;' i.e. this poison, which breaks out in stinging sores, was applied in consequence of the guileful advice of thj Centaur, given with intent to cause his death, and this fact adds 104 ON THE LANGUAGE to the cruelty of the torment. The attentive consideration of this passage may prepare the way for an interpretation of Antigone 599-603, which might otherwise appear strained : — ' The Hght of hfe that still was spread above the last remaining fibre of the stock of Oedipus, is again swept down (see notes in loco) by the dust consecrated to the infernal gods, which is (i) bloodstained, (2) cruel (both expressed in ipoivia), and by madness of thought and infatuation of mind;' i.e. By sprinkling dust on Polynices, to which she is prompted by mad reasoning and heaven-sent fury, Antigone is herself overwhelmed by the dust of death, so quenching the last hope of the house of Oedipus. When thus read in the light of association, the words are seen to be more harmonious than if kovis be exchanged for koVis, which introduces a grotesque and commonplace image that has nothing to do with the story. VI. Epic and Lyric Words and Phrases. § 57. That a large element of Tragic Greek is derived from Epic and Lyric poetry is a patent fact. Whether words and phrases which Sophocles has in common with Homer were taken by him from the Iliad and Odyssey, or from some other source, cannot clearly be determined. The following are a few typical examples of Epic and Lyric diction. 1. Words and phrases seeming to be directly borrowed from the Epic diction are d/K^ijK^r, avdptrios, cKan, rjnos, dSiTijf, plyrjcrav, wpatpci, afX<^ixo-vi>v, SvoKkis, dweipyaffov, dri^a) ; drpvyeTOs, Fr. 423; avBi, Fr. 468 ; ^adippovs; TToXuT-Aas (of Odysseus) ; uap^prna (from VTjpepTTjs) ', KOiKr]V Kanerov ] Ht pot eya>, tl Trddco ; ivebrjfrev axa. 2. Sometimes an Epic word is used, but with some modification of meaning ; e. g. 6oav mptpdv, ' a bride swiftly borne ;' dpevrjvbv Svhpa, ' the lost hero ; ' tXaKev, • sounded forth,' of an oracle ; diSrjKos, kKvtos, dpicftpaBrji, iv (^iXaicn xepo-lv (El. 1 1 38). 3. Or an Attic phrase is so turned as to recal the Homeric idiom, as in iiriTTOVov dpepav like fiotJXtoi' ^pap, 'I^iVou (Siav like fiir) 'Kpa- kXijei;/, (ftiXraTov . . Kdpa like 0i'X?; K€(paXri, Si aWcpa T€Kva>6ivTes, cp. m6pr)yevf]s. With these may be classed such epithets, having an Epic colouring, as wdrpav dir^vep^v, Tr. 327 ; viji iroiKiXoiXToXa, Phil. 343- 4. Many words are used which are common to Epic and Lyric, but rare in Attic Greek ; e. g. acjiap, dtjjveos, op&pm (middle voice), araXXo), (apcvrjs, mdav, dpaipdKeros, dvTda>(^=Tvyxdvr), amis, ^ pa, inlrjpa (pepeui, alvos, xpicreos {v), ' glorious,' xa^Keof, ' indestructible.' 5. Others are Lyric but not Epic : — ^apvaxns, xaXKi^oas, noKimvos. 6. A few, such as tSXis, ' a damsel,' are of doubtful, and perhaps of foreign origin. OF SOPHOCLES. VII. Kinds and Degrees of Metaphor. 105 § 58. _ The language of Sophocles is for the most part not highly- figurative. But some images are so familiar in Attic poetry that they almost cease to be metaphors, and (see above, p. 92) are to be viewed merely as words. The tendency to abstraction, giving the power of fixing the attention on the leading notion of a word, apart from the particular associations, contributed to this. 1. The most familiar of all images to an ^Athenian audience were those connected with the sea. Such expressions as ' The haven of a cry,' ' Sailing into a harbourless marriage,' ' The long and rough voyage from Thebes to Athens,' are less figurative in Attic Greek than they would be in other languages. (Cp. Hdt. lii- 155) § 3- fi^'n^'oo-as tS>v v.) When we speak of a govern- ment being wrecked on a certain measure, our imagination seldom reverts to the figure of a shipwreck, or of a sunken rock, and something of the kind is true of the use of Xifx^v, SpiJ.os, a-aXfiiai, opdoa (tO right the vessel), ttKovs, ^vfirrXovs, ovpos, Korovpi^o), ipea-a-etv, and the like words in Sophocles. This nautical imagery is a vehicle of expression which is always at hand. Hence, while mixed metaphors are allowable, and the figurative language is often not to be pressed, an occasional hyperbolical boldness is easily accounted for. ' The whole Crissean plain was filled with equestrian shipwrecks.' ' He avoided the boiling surge of horses with their riders' (El. 729-733). The same remark applies in a less degree to other famihar aspects of life, such as war, the public games, wrestling, running, archery, health and disease, fair weather and storm, ploughing, sowing, reaping, etc. 2. Another kind of familiarity belonged to images that had been used in the earlier poetry. Such figures as the ' cloud of grief,' or 'the fire of destruction,' 'he grew up like a young plant,' which had been consecrated by Homer, could be handled with greater freedom than those which were of recent invention, such as ' The unbending oak borne down by the torrent.' (Ant. 714.) They could be extended and modified like grammatical idioms and the uses of words. This cause also gives rise to mixtures or transitions of metaphor, ' Guile-woven fate anoints him with the Centaur's gory cloud,' ' My cloud of darkness coming over me, like a ship wafted by too sure a gale,' ' The battle God is burning me with shouts of onset.' (Tr. 831, O. T. 1314, lb. 191.) 3. There is also a class of words originally metaphorical, which are not felt to be so, because the analogy on which their meaning rests is not sufficiently remote to give the impression of poetical imagery. These can hardly be distinguished from the generalized uses mentioned in p. 94. Such expressions as 'to merchandize advantage,' ' to feed on hopes,' ' to bind in a tomb-like chamber,' 'the oared vehicle of a ship,' 'to give the ship her head' {vat /ledelvm), although not literal, are hardly figurative. io6 ON THE LANGUAGE The Peculiarities of Language in Sophocles considered with reference to the settlement of the Text. § 59. Some such review of the language of Sophocles as that which has been imperfectly attempted in this Essay, appears to be necessary in order to interpret him with an approach to certainty. It may also furnish some criterion of the value of emendations of the text. The minute study of the MSS., the Scholia, and the notices of the gram- marians, is of course indispensable to this end. But the most perfect 'apparatus criticus' may be only illusory, and may encourage an opinio copiae, which is inter causas inopiae, if it is made the basis of conjectural alteration, without a right conception of the original woof and texture of the ' old garment,' which is thus patched. 1. Many places would never have been suspected of corruption, if the unfixed, growing, and transitional nature of the language had been fully recognized. Subde and cautious scholars like Hermann and Elmsley were more conscious of this than most of their successors. But their fine perceptions of certain nuances of style and idiom, for want of some systematic statement of them, have often passed unre- garded, and were not sufficiently carried into application even by themselves. Had they more fully expressed themselves on this sub- ject, they would have produced a critical instrument of finer temper and more effective although more delicate use, than without this can be forged from palaeographical materials, and the expedients which these suggest. 2. This subject has lately received an illustration from the disputes which have arisen about the text of Shelley. If that poet's subtle use of language has given rise to supposed emendations, sometimes on the part of those who had lived with him and knew his mind, and if rational criticism has been brought to set aside most of those changes within half a century of his death, how hazardous must such attempts be in the case of Sophocles, or, still more, in that of Aeschylus, of whose meaning Aristophanes could doubt (Ran. 920 foil.), although in the latter case the attempt is justified by frequent and manifest cor- ruptions. How many conjectural alterations of Shakspeare have been exploded through closer study of Elizabethan English ! How few, comparatively speaking, have been established 1 And yet they were mostly the inventions of ingenious Englishmen, sometimes of poets, whose mother tongue was that of Shakspeare, and who had known Shakspeare all their lives. How much ' farther off,' as Plato would say, the most accomplished foreigner must necessarily appear in such an endeavour, may be roughly measured by comparing two wrong readings, that of ' physician ' for ' precisian ' in M. W. W. 2, i, which Dyce adopted, and ' he smote his leaded pole-axe on the ice,' which a good German critic has suggested as an ' emendation ' of Ham. i, 12. Neither of these conjectures is true; but which of them is more like truth no Englishman can for a moment doubt. And there is a OF SOPHOCLES. 107 difference not less wide between such corrections as Boeckh's (j}ov6- a-atcriv for (jioivima-iv in Ant. 1 1 8, Or Arndt's evudrtipa for evydrrip in O. T. 1 1 12, and scores of other conjectures that have been made in either play. 3. There must still always be a degree of uncertainty in defending MS. readings of the tenth century, because our general conception of what is likely (the ' veri simile' of Lachmann) is based on the whole text which is the subject of dispute. But the close and analytical study of that text may, at least, enable us to reject proposed emen- dations, which, although not without plausibility on palaeographical, metrical, grammatical, and other technical grounds, may safely be pronounced alien to Sophocles, either as not poetical, or not idio- matic, or as interfering with the natural emphasis and rhythm, or as out of harmony with the context. Mistrust is not unreasonable, when such obvious rhetorical effects as the hesitation of Deianira, and the pleading iteration of Philoctetes, are found to be persistently ignored. We are often justified in saying, Sophocles may have written what we find: he cannot have written what is proposed instead. It has not the Sophoclean colouring ; it is like a raw touch on a picture iU-restored. One object of this Essay will have been served, if it should be found to have contributed anything towards supplying the desideratum which is here indicated. In the foregoing pages I have not taken account of differences in point of language between the several Plays. Sueh differences exist, but are scarcely marked enough to be exhibited in a tabular form. It may be well, however, to remind the student who desires to pursue this subject, that the order of the Plays, which is followed for convenience in this edition, is not that of their production. The Oedipus Coloneus, if not the last of the seven, is probably much later than either the Antigone or the Oedipus Rex, and has been thought to share with the Philoctetes, and in a measure also with the Trachiniae, some traces of an altered manner, in which the popular influences, which were so powerful with Euripides, were not without their effect. The language of the Oedipus Rex is the most highly wrought, while that of the Electra is the simplest. The Antigone, rivalling the Oedipus Rex in energy, has far more directness of expression. The Philoctetes is marked by studied ease and vernacular freedom, reminding the English reader of those poems of Shelley — such as Julian and Mad- dalo — in which, without losing poetical grace and finish, he reflects the tone of actual conversation. The Ajax approaches the most nearly to an Epic manner, and displays a peculiar fulness in the utterance of passionate feeling. The Trachiniae is pervaded by a singular tenderness and delicacy. The difference of style between the dialogue and the lyrical portions is most marked in the Oedipus Coloneus. OIAinOTS TTPANN02. INTRODUCTION. EoTi 8e Trepmheia (lev fj els to hiavrlov tS>v irpaTToixivatv fUTa^oXri, KaSancp eiprjTOi, Koi tovto 8c, mo-irep fiprjTai, ■ Kara to cIkos rj dvayKoioV mmrep iv Tffl Olh'mobi iXdiiv as eicf>pavS)V tov Oihiirovv koI djraXXd^mi/ tov irpbs ttjv p.rjTfpa (j)6^ov, 8i)X(io-as 6s rju, Toivavriov iwoirja-ev. Arist. Poet. 1452 a. KoXXtoTT; 8e avayvaptatSf oTav apxt jrepiTreVetat yivoiVTaiy olov ej^ct ^ iv to) OiSiVoSt. Ibid. 'O /i^re apcTfi 8ia(j)epav Koi SiKaioavvrj, prfre Sta KOKiav Km fioxBriplav fitra- ^oKXav els ttjv SvtrTvxiov, aXKa St' &ixapriav nvd, rav ev jieyoKrj 80^3 ovtibv Koi evTvx^t 0'°*' Oldlirovs kol Oveo'Trjs Kal oi eK rav TOiovTcov yevwv eTrttpavelg avSpes, K.r.X. lb. 1 45 3 a. Hepl o\iyas oUlas al KoKKia-Tai TpayaSlai avPTidevTai, otov irepX 'AXx/iaiiBva Ka\ OlSiirovu. Ibid. EtTTt pev ovv TO cj)o^ep6v Kal eKeeivdv « ttjs o^eas ylyvea-Bai, etrTi 8c Kal e^ avTTjs TTjs a^oTcuTea>s Totu wpaypaTaVj orrep earl nporrepov Koi TroirjTov apetvovos. 8et yap Kal avev rov opav ovroj avvetTTavac tov pvBov^ coo'Te tov aKOVOVTa to irpdypaTa yiv6peva Kai (ppirTeiv Kal iXee'iv eK tS>v avp^aivovrav' airep hv iraBoi tis aKoiav tov tov OlSiirov pv6ov. lb. 1453 ^' "Eoti Si Trpa^m pev, dyvoovvTas Be irpd^ai, to 8cii/dy, eiff varepov avayva>piv Trpayixarav). In no Greek drama is it so clearly evident that the treatment of the fable, the a-ia-Tacris Tav npayiiarav, is the first thing, and that the characters and sentiments are subordinate. The poet has directed all his resources to the one object of enhancing the interest of the plot ; or rather of so arranging the incidents as to make the action most impressive. This drama is not the representation of an ideal passion, like the ambition of Macbeth or the jealousy of Medea or Othello, nor of a type of character, as in Hamlet or Lear ; but of a life of impetuous action resulting in error and calamity. The whole is viewed as the work of fate and of an inscrutable Divine purpose and power ; but the predestined event is made to appear as the result of a series of minute incidents and of their eifect on the temper of the hero. The impression thus produced is the result of profoundly calculated arrangement ; but, in order to judge of this, the poet's intention must be borne in mind. And the chief aim of the tragic poet is not like that of the novel writer, to pique and prolong curiosity ; nor, as in a modern melodrama, to make complex preparation for an unexpected denouement ; but so to present the critical moments of a great life as to move spectators powerfully by making them feel the emotions of the ideal person on the stage. Hence, while simplicity rather than complexity is the virtue of a tragic plot, the kind of probability re- quired in tragedy is relative to this main purpose and to the conditions of representation. The spectator, as he is rapt onward from scene to scene, has small leisure for weighing external probabilities. But, if he is to be deeply moved, the connexion of the incidents immediately presented to him must be natural and credible, and, above all, the expression of feeling must be in perfect accord with the situation. Yet even this is not the main condition. The skill of the poet is chiefly shown in the choice and ordering of the moments to be INTRODUCTION. 113 represented, in the use of gradation and contrast, and in the nameless power of making the whole action live and move. Where this power exists, an essentially incredible story will be felt as credible. Sophocles is not wholly careless even of external inconsistencies. If a spectator were quick enough to anticipate the objection of Aris- totle and Voltaire, — that Oedipus could not remain so long in igno- rance of the circumstances of the death of Laius, — he is answered by Oedipus in person, who excuses himself to the people for having so long neglected a problem to the solution of which he had no clue. It is also hinted that the troubles which immediately followed the late king's departure had absorbed the attention of the state. Any momen- tary feeling of incredulity is thus sufficiently allayed. Still greater care is taken with the direct antecedents of the action. Thus the child, instead of being exposed and found, as in the old legend, is given by the hand of the Theban to the Corinthian herdsman. This circumstance appears to have been invented by Sophocles, who thus prepares the way for the two cardinal scenes, in the first of which the Corinthian at once inspires false hopes in Oedipus and reveals the whole truth to Jocasta ; while in the second the Theban, by a single word, — not that for which he was brought, — suddenly flashes the whole horror upon the mind of Oedipus. But it would be a serious error to dwell on the complexity of the plot, however ingenious, as the prime merit of any Sophoclean tra- gedy. The Oedipus can be more safely praised, as well as better understood, when it is viewed more simply as a representation of pathetic action and natural emotion. And it must be remembered throughout that this particular legend was exceptionally familiar in the time of Sophocles, and the name of Oedipus had long since become synonymous with tragic horror. However much the poet may have been interested in blinding Oedipus, he can have neither hoped nor cared to make any mystery for the spectator. His opportunities for exhibiting the pathetic blkidness of his hero are greatly increased by the fact that the outline of the fable was generally known. I. The apparent position of Oedipus and of the Thebans could not be more vividly displayed than through his intercourse with the sup- pliants and with the aged priest who speaks for them. His power and fame are seen to be established beyond question. He cares for the people of Cadmus as if they were indeed his own people, and they, in the day of their calamity, turn instinctively to their stranger prince, who saved them when they were threatened with destruction and whom they regard as only lower than the Gods. The generous, but impulsive and self-confident, character of Oedi- pus is also clearly marked from the first. He has no hesitation in taking on himself the whole burden of the people. He speaks not of helping merely, but of rescuing them. He has eagerly thought of many plans for their salvation. Nor has action lingered behind thought; for he has already despatched Creon to Delphi. The recital of previous circumstances, which a weaker dramatist would have put into the prologue, is reserved for the time when Oedipus, VOL. I. ' 114 OEDIPUS TYRANNUS. no longer secure of the present, is led to dwell with anxiety upon the past. Already in these few lines (1-150) the well-informed Spectator has had more than one hint to contrast the present state of Oedipus with his future. He is anxious, forsooth, not for himself, but for the Thebansl Well may the old priest warn him to take good heed! We know that he shall indeed save his people, but through what sacrifice ! Little knows he the meaning of his words, when he pro- mises to avenge the murder, as if he were the son of Laius, and so fulfil the purpose of the God 1 Preparation has been also made for much that follows. It is Creon who brings the message from Delphi, and on Creon the king's suspicion presently alights. The smoothness and harmony of their relations, indicated in 11. 70, 85, are soon to be disturbed. On receiving the message, which by his own choice is delivered publicly, Oedipus once for all undertakes the quest, which leads him to his doom. He then retires into the palace, the priests and sup- pliants withdraw, and the stage is left empty. The Chorus of Theban elders (11. 513, 911, mi, 1223) at their first entrance make no reference to the position of Oedipus, which has now been sufficiently put forward. They have been drawn to the palace gate, not by the king's promise to save Thebes, but by their anxiety to know the tenor of the oracle. They invoke, not Oedipus, but, as becomes their dignity, Apollo, Athene, Artemis, Dionysus, the divine protectors of Thebes (11. 151-215). But Oedipus is ready to answer for Apollo. His royal proclama- tion, although founded on the response which he has obtained from Phoebus, is given forth entirely in his own name. The character and apparent position of the chief person are again marked with stronger and broader lines. But the main intention here is to pre- pare for the catastrophe and to make the ultimate self-conviction of Oedipus appear more terrible, through the form of speech in which he at the outset denounces the offender. Each spectator must have felt, as the grandiloquent lines were slowly uttered, that the king was entangUng himself more inextricably at every word in the toils of his own elaborate curse ; and this so unconsciously, that with fatal maladroitness he lays a formal and complacent emphasis on the very points which, rightly understood, are the most horrible. He is no longer a foreigner, he says, but a Theban citizen : he has succeeded to the place of Laius in the kingdom, and in the royal bed ! Their offspring — had but Laius' offspring lived and prospered — ^^might have claimed one mother! (11. 216-275). 2. The ground-work has now been laid, and after a brief interval, during which Oedipus confers with the Coryphaeus (11. 276-296), the action is disturbed and complicated by the coming of Teiresias. He does not, as in the Antigone, arrive unbidden. Every step in the revelation, except the visit of the Corinthian shepherd, who comes for another purpose, proceeds from Oedipus' own impetuous action. He has sent for the seer at the suggestion of Creon, who has thus uncon- sciously planted another seed of suspicion in the mind of the king, INTRODUCTION. 115 and, on his not coming instantly, he has sent for him a second time. Nor is the prophet here, as elsewhere, the immediate harbinger of the catastrophe. That office is reserved for the Theban slave, whose twofold knowledge makes his rustic garb more dreadful than the pro- phetic mantle. But Teiresias' entrance greatly heightens the interest of the situation and assists the main impression. The hush that pre- cedes his coming ; the awe-struck mention of his name ; his evident reluctance to come ; the cloud that lowers on his countenance at the sight of Oedipus; his resolute silence, all point to the impending horror. As he comes unwillingly into the presence of Oedipus, he for the first time fully realizes the dreadful consequences of the truth which he knows, and while all look eagerly towards him, he refuses to speak. Then Oedipus, with passionate vehemence, but not ignobly, for he is still moved by public zeal, accuses the prophet of complicity in the crime. And Teiresias, who is prince as well as seer, is provoked in turn, and with proud words declares the king himself to be the poUutor of the land. To Oedipus the words seem nothing but an outburst of impotent rage. He dares Teiresias to repeat them, — and the accusation of in- cest is added to that of murder. But such , charges can have no meaning for Oedipus. He is simply amazed at the insolence of the blind prophet, whom he taunts with being blind inwardly no less, and with being the minion of Creon, against whom the suspicion of the ' tyrant ' now blazes forth. This raises the wrath of Teiresias to the height, and he utters a parting speech of solemn denunciation, which only enrages Oedipus, but leaves deep disquiet in the minds of the Theban elders and strikes the spectator with the contrast between the clear vision of the blind seer and the fatal blindness of the clear- sighted Oedipus (11. 297-462). The stage is again vacant, and the Chorus give utterance to their distracted thoughts, echoing two notes, which are hereafter to blend in one, the quest for the murderer, whom they imagine as flying far away, and the dreadful suggestions of Teiresias, which they are too loyal to believe (11. 463-512). 3. The action, after being thus far developed and complicated, is now held in suspense. To borrow a felicitous image, we have chmbed the chief ascent, and are led along a table-land towards the precipice. Or rather we see Oedipus, who has been shaken from his fixed place and Ufted from the solid earth by his passionate resent- ment, borne to and fro by opposite winds, and beating the air. Creon indignantly but not intemperately repels the charge of treachery, which the king reiterates. The contention is bedoming very sharp, and the elders are again distracted between their attachment to Oedipus and their care for Thebes, when Jocasta enters ' with timely coming to appease the strife' (11. 513-633). She endeavours to soothe Oedipus (11. 707 ff.) by showing him that no account is to be made of prophecy. To prove this she relates how Laius was slain, not, as the oracle had foretold, by the hand of his son the poor child lived not three days— but through a chance meeting I 2 ii6 OEDIPUS TYRANNUS. with some wayfarers at a cross-road. The mention of the cross-road," intended by Jocasta to mark the fortuitous nature of the occurrence, recalls vividly to the mind of Oedipus his own half-forgotten deed. All at once he fears, lest he may be the man whom the oracle and his own curses have proscribed, and lest the saying of Teiresias may prove true. He elicits from Jocasta that Laius was elderly, but tall ; she adds, ' in figure not unlike thyself; ' and that the place was where the roads to Thebes from Delphi and from Daulia meet. Con- vinced that he is the outlawed person, the murderer of the man whose kingdom and whose wife he holds (than which he can imagine no- thing more horrible), he still contains himself so far as to ask for the eye-witness of the deed ; who may confirm or remove the frail hope which Oedipus now finds in the report that this Theban slave, the same of whom he thought so lightly when the Coryphaeus mentioned him before (11. ii8, 9, 293), had spoken of the murderers of Laius in the plural number. He learns that the man had been Jocasta's confidential servant, and that, in requital for peculiar services, she had yielded to his urgent petition to be allowed to return on Oedipus, appearing as the successor of the murdered king. When she desires him further to tell his trouble, his whole past history rises to his lips. His recital (11. V7i~833) is not merely intended to inform the spec- tators, althoiigh at this point it is especially needful that they should realize the antecedents of the story. The narrative here has the combined effect of (i) unfolding the affectionate, impulsive, confiding nature of Oedipus when thoroughly moved ; (2) of showing his essential innocence through the horror he feels at what is only a small part of the truth; (3) of pathetically marking the unconscious- ness of mother and son — (imagine the effect ofl. 811, where Oedipus holds up his right hand) ; (4) of keeping the threads of the fable together for the spectator; and (5) of retarding the action when ap- proaching the critical point. The exit of the king and queen again leaves the stage vacant (1. 862). 4. The choral ode (3rd stasimon) which follows this long scene occupies the central place in the economy of the play, and may be compared in this respect with 11. 583-625- of the Antigone, and 11. 668-719 of the Oedipus Coloneus. It prepares for the sequel, by impressing on the spectator's mind the glory and sanctity of those eternal laws vi^hich Oedipus will be presently found to have . un- wittingly broken. This strain is immediately suggested by the impiety of Jocasta in- questioning the truth of prophecy (11. 863-910). After it is ended, there is a fresh meeting-point between the cur- rent of circumstance and that of agitated feeling. Jocasta again appears, not acknowledging her own misgivings, whatever they may be, but describing to the Chorus the troubled condition of the king. She invokes. Apollo (whom she worships while gainsaying his minis- ters) and prays for some release from the anxiety that is distracting Oedipus, and through him troubling Thebes. But before she has made her offering, a messenger from Corinth enters with news of the death of Polybus and the expected succession of Oedipus to the vacant throne. She is filled with exultation and thinks no longer of INTRODUCTION. 117 Apollo. The pracle is falsified. Oedipus' father is no more, and how can he again find room for fear ? Oedipus, who enters at her bidding, is greatly relieved, but though part of the prophecy is can- celled, he still finds a root of bitterness in the other part. The Corin- thian, thinking to complete the joy of Oedipus, the sight of whom as his destined sovereign revives the old man's fondness for his foster- son, discloses the secret which he had hitherto kept. The king may know that he is not the son of Polybus and Merope. But then of whom ? The answers of the Corinthian, who tells all he knows, reveal this all too clearly to Jocasta. The whole weight of the cala- mity suddenly falls upon her. And she must bear it alone. A horror of darkness passes between her and her son, while he, in total un- consciousness of the blow, is wholly absorbed in the passionate desire, which had possessed him formerly and is now suddenly renewed — to know his origin, however mean or high. She goes her way in dreadful silence and he remain? upon the stage (11. 911- 1085). The mental condition of Oedipus at this moment may be thus conceived: — The agitation into which he has been thrown by thinking that he is the -outlawed regicide makes him more than ever susceptible to new impressions. The news from Corinth finding him in this mood produce a powerful reaction. The thought of outlawry from Thebes, however dreadful in itself, was greatly aggra- vated by his having no other home to fly to : seeing that Corinth, to which his heart still clings, could not be approached by him while his parents Polybus and Mer-qpe still lived. The message of the Corinthian goes far to remove this obstacle. But for the lingering fear about his mother Merope, which r.eg.son tells him not to listen to, he might return to the land of his affections, and be her king. To his spirit, that has been so tossed and shaken with doubt and fear, this thought has an intoxicating charm. He has no longer any place in Thebes, for which he once cared so tenderly, but the pain of this separation is overborne by the new hopes and old remembrances that crowd upon him. To have once slain a man who happened to be king of Thebes would be no intolerable burden for the king of Corinth. And when the last scruple has been removed, and he is also on the point of solving the personal doubt, which has racked his spirit in youth and coloured his whole history, Oedipus is in- fatuated. He is possessed with a strange lightness, in which the troubles of his Theban kingdom, and his fear of outlawry, are eclipsed by the reawakened hopes of early days and the reckless impulse of dis- covery. He is willing to be the child of Fortune, who has made him great. For as the Corinthian monarchy was elective (11. 939, 40), the succession would not be aifected by the question of birth. — The mental exaltation of Oedipjis before the peripeteia is thus accounted for, and psychological truth keeps pace with tragic effect. The Chorus, whose persistent loyalty is a high tribute to the worth of Oedipus, are infected by his excitement, and suggest flattering solutions of the mystery (11. 1086-1 199). Then the spokesman oi destiny arrives. Like Teiresias he has ii8 OEDIPUS TYRANNUS. come unwillingly, and is unwilling to speak. For he knows that Oedipus is the murderer of the king. But when the Corinthian shep- herd reminds him of the child of whom they both knew and declares that Oedipus is he, the old man is horror-stricken, and only under threats of torture from Oedipus, who is carried onward irresistibly, can he be persuaded to confess the truth. For now he sees the whole, of which only the half was known to him before. Oedipus sees it at the same moment, and is overwhelmed with passionate de- spair. Few words are said on either side. The death of Laius is not once mentioned in this crowning scene (11. 1x10-1185). The Chorus now lament the utter fall of Oedipus, for whom they still retain a mournful affection, and moralize over the instability of human things (11. 1 186-1222). A messenger (11. 1 223-1 296) reports the suicide of Jocasta and the self-blinding of Oedipus, who presently reappears with eyes still bleeding. His passion at first breaks from him in lyrical outbursts, and afterwards in a connected speech. Both the ' commos ' and the ' rhesis ' are amongst the most highly wrought in Sophocles (11. 1297-1415). Before the final exit of Oedipus, the accumulated horror has been softened into pity, by the humbleness of the great broken heart before Creon, whom he had maligned so proudly, and by his yearning tenderness over his children, who are brought to receive his last farewell (11. 1416-1514). They are taken from him again; and, as the solitary man is led away to darkness, the Chorus, utter some lines of moral wisdom, which allow the overcharged feel- ings of the spectators to subside (11. 1515-1530). We should have been better able to judge of the extent to which the legend has been moulded by the art of Sophocles, if the Laius and Oedipus of Aeschylus, and his satyric drama called the Sphinx, had been preserved. The ' Septem contra Thebas ' sufficiently indicates (and the notices in Pindar,. 01. 2. 38, Pyth. 4. 263, point in the same direction), that the story had been already considerably modified from the simple form in which it appears in the eleventh Odyssey (271 S.) The disobedience of Laius had come to be regarded as the beginning of a curse which fell on all his descendants. The solution of the Sphinx' riddle, and the curse pronounced by OedipUs upon his sons, had become parts of the story : the locality of the parricide at the triple way, and the act of Oedipus in putting out his eyes, had been already added. Some of these additions, or all of them, may have been due to the Cyclic poets of the Tale of Thebes. But, if we may judge from the Phoenissae of Euripides, the common version of the legend followed the Odyssey in representing Oedipus as still reigning at Thebes after the death of his mother-queen. This was inconsistent with the tragic motive of Sophocles, who saw that the fall of Oedipus must be complete. He has also left out, or deferred, Oedipus' curse upon his sons, although a reminiscence of this part of the legend may perhaps be traced in the passing mention of them in 11. 1459-61, which heighten by contrast the tenderness with which he speaks of his daughters. Oedipus thus retains to the last the sympathy of INTRODUCTION. up the spectators, which a curse pronounced upon any of his children, occurring at this moment, as in the drama of Aeschylus (S. c. t'. 11. 778-790), would have alienated. One point of diflference between the two tragic writers is mentioned by the Scholiast on O. T. 1. 733. He quotes three lines from the Oedipus of Aeschylus, in which the ' triple way' is placed near Potniades, in the Theban territory, pro- bably a seat of the worship of the Eumenides, where the legend of Oedipus had been preserved. Sophocles, by selecting the spot on the way to Delphi, has given a probable and natural connection to the parts of the story. Again, in one version of the legend, as G. Wolflf has shown, the child of Laius was actually exposed, and found. But Sophocles, by inventing or adopting the incident of his transmission from hand to hand, has provided for the role of the Theban servant who is the pivot of the whole action as treated by him. The drunken word, which makes so deep an impression, but is not thought worth remembering, is an invention of Sophocles. And there is some reason for thinking that he is original in choos- ing Corinth, rather than Sicyon, or some small town in the neigh- bourhood of Thebes, as the place where the foundling was adopted and brought up. It is evident how much this contributes to the co- hesion of the plot. The visitation of the plague which occasions the discovery may also have been added by the poet, and may have been suggested to him by the opening of the Iliad, and possibly also by the plague at Athens. The general characteristics of his treatment of the legend may be stated with more confidence. He dwells less than Aeschylus on the transmission of the curse from generation to generation, although the idea was familiar to him in connection with the story of Oedipus, as we know from several expressions in the Antigone. The attention of the spectator is concentrated on the life of Oedipus himself, and what most deserves notice is the extraordinary power with which the high fortune of the hero, his supreme position in the state, and the reverence of his people for him, are impressed on the imagination, the verisimilitude with which his infatuation is sus- tained, and the subtle and yet simple means by which the very incidents which awaken hope, — the response of the oracle, the recital of Jocasta, the message from Corinth, — are made to be the precursors of ruin.^ The passionate temper of Oedipus, which is the cause of the discovery, as before of the murder, gives an air of inherent proba- bility to the whole action, and is also finely contrasted with his self- restraint at critical moments in the conduct of the inquiry. The fortunes of Thebes, which are made so prominent at the opening of the drama, are lost sight of, as the action continues, in the intense interest with which the fate of Oedipus as an individual is followed to its consummation. ' ' As whence the sun 'gins his reflection Shipwrecking storms and direful thunders break, So from that spring, whence comfort seemed to come, Discomfort swells.' — Macbeth, i. I. 120 OEDIPUS TYR ANNUS. 3. Style (Xe^w). The effectiveness of this treatment of the myth is heightened by the use of language, which, first of all, the poet, like Shakespeare in Macbeth, has wisely made beautiful in proportion to the horror of the subject; secondly, -the style of the first 11 50 lines has a serenity and smoothness, which contrasts forcibly with the agitation of the concluding passages. This tone of quiet self-possession is espe- cially marked in the commencement of the scenes in which the great discoveries are made (924 ff., iiioff.). Thirdly, in a great number of passages, the unconsciousness of the persons is shown by the calm utterance of words, in themselves quite natural at the time, which, if the speakers knew the truth, could not be used by them without a thrill of horror. Such expressions have the effect of reminding the spectator of the sad contrast between the appearance and the reality. The exact limits of this kind of double meaning in this play are a question of some difficulty for the interpreter. But the existence of such an element in the language of the Oedipus Tyrannus has been acknowledged by all commentators from the Alexandrian Scholiasts downwards. Long study of the play and familiarity with Sophocles may make it easier to distinguish between the true and false assumption of this kind of motive, and may commend some instances of it that appear doubtful at first sight. (See below, p. 130.) It is more important, however, to remember generally, that the lan- guage of the Oedipus Tyrannus is even more elaborate than that of other plays of Sophocles. , The metres also are elaborately varied in accordance with the range of feeling expressed. The Paean-notes of the first chorus, and the lonic-a-minore passages of the second, are without parallel in Sophocles. The dactylo-trochaics of the little ode which precedes the peripeteia, although common elsewhere in lyric poetry, have rarely been repeated by him. (But see Aj. 172 ff., Tr. 94 ff.) These measures all contrast with the smooth glyconic strain which follows the catastrophe, although this, too, presently changes to less ordinary rhythms. The dochmiacs of the commation and commos are more than usually intricate, and even in the senarii, the frequency of trisyllabic feet, of which the motive is in most cases perceptible, the prevalence in some parts of ' light endings ' and the exclusion of them in others, are indications of the fact that the metrical composition of the Tyrannus, as well as the language generally, has been worked up with more than usual care. 4. The Persons {to. rj6i]). The characters of the persons in the Oedipus Tyrannus are ex- tremely simple, but are well adapted to produce the kind of interest that is required. The generous and impulsive nature of Oedipus is one that never forfeits sympathy, but is manifestly born to trouble. The deep impression produced in him by a drunken word ; the wild INTRODUCTION, 121 flight into exile, on first hearing an oracle half understood; the sudden blow, ' out of his grief and his impatience ; ' the glorious, but tem- porary success; the undoubting self-confidence with which he takes the burden of the whole people upon himself; his bursts of anger against Teiresias and Creon, not brooking explanation; again, his haste in condemning himself on the first doubtful surmise, and the rash determination with which, dashing all else aside, he follows up the clue to the secret of his birth, are traits making up a consistent pictur-e of an essentially tragic character. Not less impetuous after- wards in his despair, he will believe that not death alone awaits him, but that he is reserved for some more dreadful fate. And after the bloody act against himself, he is bent on rushing forth immediately into utter solitude. His remorse at the approach of Creon and his tender love for his daughters, his affectionate devotion to his people in the earlier scenes, and his open-hearted confidence with Jocasta, are quite in harmony with his passionate nature, while they effectually engage the sympathy of the spectator. Jocasta's marble resoluteness contrasts with the impressionable excitability of Oedipus. While she believed the prophecy, she had given her young child with her own hand for destruction, after having seen her husband pierce its feet and tie them together. The pang with which she hears the messenger relate this fact, is the first and sole awakening of the maternal feeling so long suppressed. Yet by this violence to nature she had not saved her husband from being murdered. She now counsels Oedipus, to whom she is strongly attached, to disregard the powers which have so deceived her. The peremptory, imperious disposition of the queen, and the ascendency over her hus- band and brother, which her strength of will has obtained for her, are well indicated. While cold and reserved towards others, she has a deep affection for Oedipus, which is perhaps intended by the poet to have an instinctive source, and which appears most strongly and is most warmly reciprocated, when the crisis is approaching, and her impious confidence is at its height ^. Creon, in each of the two chief scenes in which he appears, is the impersonation of a cool reasonableness which serves as a minor con- trast to the excitement .of the king. Unlike Teiresias, he keeps his temper through the altercation, and in the concluding scene he will not assent to Oedipus' entreaty to be cast forth, without again inquiring of the oracle. He throughout remembers, what Oedipus everywhere forgets, that his position in the state is prior to the exaltation of Oedipus. His character, and the moralising aspect of the chorus, have the effect of throwing the more passionate elements of the drama into stronger relief. Teiresias makes a contrast of another kind. The 'celestial light shining inwardly,' where all without is dark, gives a touching pro- minence to the mental blindness of the cle9,r-sigh,ted Oedipus. The quick resentment of the prophet when recklessly accused, may ' I. 862. oASJj' 7^/) av irpilain' Sy Siv oxi aoi (piKov. 950. S i\raTov yvvaiKCls 'lo/caffTrji itdpa. Cp Shak. Macb. iii. 3. 122 OEDIPUS TYR ANNUS. appear strange, if we reflect that the real situation is completely known to him. But it causes him to break silence, and we are to remember that he is of the proud Cadmean line. The remaining persons are the aged priest who heads the proces- sion of suppliants, the messenger from Corinth, the herdsman of Laius, on whom the plot chiefly hinges, the second messenger, and the chorus of Theban elders. None of these are without character, and all contribute something to the general effect. The pious modesty with which the priest expresses his reverence for the king, ' not that we account you equal to the gods:' the heedless loquacity of the Corinthian, who, in ignorance of the consequence of his words, rejoices over Oedipus as a kind of foster son : the shrinking of the too-faithful servant from the murderer of his master, even when he knows less than half the truth, — all help to deepen the central im- pression. Even the prosaic sententiousness of the second messenger assists in heightening the interest of his recital, by showing how the scene had roused a common nature. The Chorus stands in a peculiar relation to the chief agent. Caring above all for Thebes, they are bound to Oedipus by gratitude for his past services, and their loyalty to him is not easily shaken. Their affection for the stranger-prince even makes them sympathise in his illusions, and they are deeply affected by the catastrophe. Their leader takes part in the action at three chief points, helping to in- troduce Teiresias, attempting to mediate between Oedipus and Creon, and preparing the spectators for the coming of the Theban slave. But their chief function is to give utterance to the feelings which the successive scenes are calculated to arouse in the spectator. In their first ode they express the grief and longing of the plague- stricken people. In the second, they echo the curse against the murderer, but, notwithstanding the dark saying of the prophet, remain true to Oedipus. The central episode is broken by a commaiion, (a minor lyrical dialogue in the midst of a scene,) in which they renew the expression of their firm affiance, while deprecating the king's anger against Creon. The Chorus here appear in the cha- racter, which they often have to sustain, of an ineffectual mediator. In the second stasimon the reaction from the impiety of the queen lifts them into a region of devout aspiration which is higher than their sympathy with Oedipus or their patriotic feeling. In the fourth ode, consisting of a few lines, they are again in unison with the mood of Oedipus, and in the concluding stasimon, as citizens of the city which he saved, they lament over his fall. Their constancy, as has been already said, is a continual tribute to his nobleness. When Oedipus re-enters, and the commas begins, the gnomic wisdom of the chorus forms a cold contrast to his passionate words, and in the final trochees they recal themselves and the spectators from weak lamentations to read the lesson of the catastrophe. INTRODUCTION, 123 S. The Ideas or Sentiments {SiAmia). If it is asked, what were the leading thoughts of Sophocles in com- posing this drama, it is not enough by way of answer to quote these concluding lines, which are chiefly intended to give a finish to the composition. And it may be well to ask in turn, In what sense is an ancient dramatist expected to have leading-thoughts or 'ground-ideas?' All tragedy aims at representing the sadness of life. The religious spirit of Greek tragedy saw in error and calamity a proof of the weakness of man and the power of the gods. And, in a reflective age, such representations could not but be accompanied with many thoughts on human destiny, which are necessarily coloured by the poet's individual genius, and by the mind and circumstances of his time. But the thoughts do not suggest the fable, and are not the first or principal motive of the composition. They arise in the progress of creation, as the tragic writer broods over the events and incidents to which he is giving shape. They are inseparable from the result, and contribute to the unity and impressiveness of the effect. The peculiar nature of this and every kind of poetry is greatly affected by the ideas which it expresses. But if by ' ground- idea' is meant a fixed thought which the poet brings with him to determine the choice and treatment of his subject, the term is founded on a misconception. The impiety of Jocasta, seen in the light of the approaching catastrophe, suggests a strain of reflection on the danger of impious pride and the eternal sovereignty of Justice and Truth. This helps to give a moral meaning to the ancient legend, althcmgh the fable was not chosen for the sake of the moral. So the fearful reverse of Oedipus reminds the chorus and the spectators of the proverbial uncertainty of human things and the mysterious purpose or envy of the gods. There are other turns of thought, belonging to the age, which the poet has adapted to the differences of situation and cha- racter. The considerations which Creon urges respecting the ad- vantages of influence without actual power, are the same with those which Histiaeus is represented by Herodotus as putting before Darius ; and the rationalism of Jocasta about the oracles, about fortune, and about Divine things, is not unlike what is often met with in Thucydides. Amongst these various paths of meditation, that which lies deepest is the conviction, which seems to have been gaining ground amongst thinking persons, that the most sacred laws are written only in the heart, ocrot aypacpoi. 6Ws ala-xiiviv onoKoyovjxivriv ^epovcriv (Thuc. ii. 37). But altogether apart from separate reflections, the whole situation, as treated by Sophocles, has a profound ethical significance. In dis- playing before us so vividly the horror of the loss of innocence even through an involuntary act, he has impressed anew on every feeling heart the infinite value of integrity and purity. And still more gene- rally, the utter ruin of a life, as represented by him, while it strikes us with awe, has also the eff'ect not of lowering but of greatly in- tensifying our interest in human things. 124 OEDIPUS TYR ANNUS. 6. Relation to other Plays. Other plays of Sophocles, of which the fable was taken from the Tale of Thebes, are the Antigone, the -Oedipus Coloneus, and the Eriphyle or Epigoni, two names supposed by Welcker to belong to the same play. Of this, however, only a few lines have been preserved. The Antigone is said, in the argument attributed to Aristophanes the grammarian, to be the thirty-second play of Sophocles in order of production, and the legend preserved by the same authority, which connects this drama with the command of Sophocles in the Samian war, assumes that it was written before 440 B.C. Whatever weight is to be attached to these data, they throw no direct light on the order of composition of the Oedipus Tyrannus and the Antigone. But there are several internal indications of the Antigone being the earlier of the two. (i) Notwithstanding the great strength and beauty of the Antigone, the Tyrannus gives a deeper impression of maturity and of concentrated artistic power. There is less mention of the -power of fate and fewer of the common-places of the earlier tragedy. Such general considerations have, indeed, but an uncertain value. There are, however, some observations of detail of which the force can be made more evident. The first of these is the difference of metre. The anapaestic measures of the parados, and those which accompany the entrances of Creon, Antigone, Ismene, and Haemon, have often been remarked as notes of an earlier style in the Antigone ; and the introduction of the commation in the middle of a long episode in O. T. 649 ff. (cp. O. C. 834 ff.), may be thought to betray the later composition of this drama. (2) There are certain topics which are common to the Oedipus Tyrannus and Antigone, the interview of the king and prophet, the suspicion of the tyrant, the sudden exit of one bent on suicide, simi- larly misunderstood by a person who is nearly interested. In both there is an appeal to the sanctity of the unwritten law. Let any one -compare closely the parallel passages in the two plays in which these topics are treated, making due allowance for the difference of situa- tions, and he will hardly resist the impression that what in the Antigone is a hint or first thought, has received more complete elabo- ration in the Oedipus Tyrannus. The noble lines in which Antigone sets the eternal principles against the edict of Creon, have all the fervour and some of the sharpness of a first utterance ; the opening ■of the second stasimon of the Tyrannus has more of depth and serenity. The part of Teiresias is much more highly wrought in the altercation with Oedipus than in the scene with Creon in the Antigone. (3) If we are to believe the tradition that Sophocles was made general in B.C. 440 because of the Antigone, and also assume that the plague at Athens and the disorders attendant on the Peloponnesian War have left their traces on the Oedipus Tyrannus, a large interval is set between the two plays. But this double assumption is too uncertain to build upon. INTRODUCTION. 123 The relation of the Oedipus Tyrannus to the Oedipus Coloneus may be reserved for the introduction to the latter play — which on many grounds may be assumed to be subsequent to the former in the order of composition. The interpretation of the earlier drama is little affected by considerations taken from the later one. They are not like the parts of a trilogy, or of an epic poem, in which every part throws light on every other and on the original design, but only pro- ductions of the same mind working in Jiindred subjects at different times. 7. State of the Text. The Oedipus Tyrannus, being one of the three plays most con- stantly read, was much more frequently copied than the Oedipus Coloneus or even the Antigone, and the pages of L (MS. Laur. 32, 9) which contain it have been much coiTected. The traditional text is, however, on the whole remarkably consistent, and presents few places where there is any obvious uncertainty. That it takes us further back than to the first hand of L. appears from 1. 800, omitted by L. p. m., which is found in several MSS. anterior to the hand which has inserted it in L. mg. ; and also from 1. 896, where the words TToveXv rj Tois Beols in the text of L. are a corruption of naprjyvpi^uv rois eeois which appears as part of a gloss in Trin. R. 3, 31, and some other MSS. Other readings, e.g. 1. 193, anovpov, 1. 229, a/3Xa^i)r, have such a wide currency in other MSS. including those of Sec. 13, that they are probably also derived from some earlier source. But the universal corruption of several lines, e.g. 281, 494, 876, 892, 1102, 1217, 1279, 1505, 1526; and the general agreement in a perverse division of the lyrical parts, point to a common source of all the remaining MSS. belonging to a time when the tragic dialect, and especially the tragic metres, had been to a great extent for- gotten. NOTE. On the so-called Irony of Sophocles. The interest of dramatic poetry is necessarily sustained by contrast. The tragic poet especially, whose whole aim is to impress" on the spectator, through sympathy, the effect of great vicissitudes upon a noble heart, must have continual recourse to this means of vivifying his work. And as the change which falls Qn men unlocked for has the most effect on them, he is often led to indicate the unconscious- ness with which his imaginary persons go to meet their doom. To this contrast between the apparent and the real situation, espe- cially where the unconsciousness of the chief persons is strongly marked, it has of late been customary to give the name of Irony. But in their treatment of this common motive dramatic poets differ according to the spirit in which they regard the sadness of life, and also according to the fineness of their work and the degree in which their art is artfully concealed. It was probably this latter ground that suggested the brilliant Essay written in youth by the late Bishop Thirlwall on the Irony of Sophocles. For it is certain that whatever may be the true name for the expedient in question, it is used by Sophocles like all else with singular grace and subtlety. But when Irony is put forward as distinctively characteristic of the dramatic art of Sophocles, or indeed as the leading feature of his method, it may be doubted whether suflScient account is taken of the tone of feeling with which the poet would have the spectator view the persons on the stage, or of the degree and kind of sympathy which he intends his different tragic persons to inspire. In the Antigone, for example, the fate of Creon and that of the heroine are very differently treated. Nor does anything in Sophocles so well deserve the name of Irony as Aeschylus' representation of the triumph of Clytemnestra over her husband; where the spectators have just been taught by Cas- sandra to contrast the queen's present exultation with her impending fall : — or as the treatment of Xerxes by Herodotus, or of Athens by Thucydides in his ' Melian Controversy.' For the word 'irony' in ordinary use and to the common apprehension implies the absence or suppression of sympathy, and it cannot therefore be applied indiscriminately to every kind of dramatic contrast. Indeed it is singularly inappropriate to the embodiment of the nobler types of humanity in the dramatic art of Sophocles. He may encourage the spectator to be ironical towards Aegisthus and occasionally INTRODUCTION. 127 towards Creon, but for Oediptls, for Philoctetes, for Electra, he makes us feel too deeply to leave any room for irony. The author of the great portrait statue of Sophocles (now in the Lateran Museum) had a truer conception of the poet. There is nothing ironical in the fulness of pure humanity that breathes from every hne of that noble figure. So much may serve by way of preface to the following remarks. They were originally suggested by Bishop Thirlwall's Essay, first printed in the Philological Museum (vol. ii. pp. 483-537) and lately republished amongst his Literary Remains. It has sometimes been attempted to embrace all the characteristics of an artist or of a school of art in a single word. Such terms as ' ideal,' ' realistic,' ' sentimental,' ' euphuism,' ' romantic,' ' classical,' have had an important influence on the criticism of art and literature, and in their application have been often pressed beyond their le- gitimate scope. Words properly applicable to painting or sculpture are extended to poetry, without sufficient perception of the point Avhere the analogy fails. Or a word is used which roughly ex- presses some general features of an artist's style, and is then made to include other qualities which appear on a closer examination. The new expression in such cases at first seems to teach something, but is afterwards found to limit observation, to confuse thought, and to strain the use of language. Something like this has happened in the use of the word 'irony' to characterize the dramatic art of Sophocles. Irony is not always humorous or malicious, but is always ac- companied with the consciousness of superiority. When one who knows pretends ignorance and so makes his knowledge felt, or a strong man assumes weakness and gives thereby a greater impression of strength, or a proud man feigns humility and by outwardly affect- ing to be lower places himself higher, or when a weak adversary is represented as strong, or an ignorant disputant as learned and wise, this kind of dissimulation, prompted by confidence, is called irony. We cannot speak of an irony of feeling, because irony consists in a certain relation of feeling to expression. And by a 'practical irony' we can only mean a course of action which, taken as an expression of feeling, is analogous to ironical language. The treatment of Ajax by Athena in the first scene of the Ajax of Sophocles may fairly enough be regarded as an instance of this. By a bold personification, we speak of the Irony of Fortune or the Irony of Fate. By which we mean little more than the striking con- trast of conditions in the life of the same person, and each man's ignorance of ' what a day may bring forth.' We do not speak of an Irony of Providence, because we do not attribute to the Supreme Being either the need of dissembling or the desire of making a display of, superior power. The ancient Greeks have nowhere used such an expression, although elprnveieTm 6 6e6s would seem at first sight to be no inapt rendering of their popular conception of the dealing of God with man, inflating his vain glory with the appearance of 128 OEDIPUS TYRANNUS. success in order to cast him down from his pinnacle into the depths of misery. And we feel on further reflection that it could hardly have been thus used in seriousness by the great Attic writers, not merely because the word always retains in Greek a slight association of blame, but because the thing is inconsistent with the higher Greek notion of the tenour of Divine action. If the Gods hid their pur- poses for a while and seemed to delay their judgments, this was not merely to prove their own wisdom, but to execute justice in the earth. The gods of Aristophanes, perhaps even the deity of He- rodotus, might be represented as indulging irony, but not the beings who were reverenced by Aeschylus and Sophocles. They might be regarded sometimes as cruel and deceptive, more often as righteously severe, but to speak of them as using irony would have seemed to lower them. For irony is not the natural language of absolute power, but of power which for the moment is withheld. Once more, we may remark that there are passages in other poets, to which the word may be more naturally applied than to anything in Sophocles, e.g. to the scene in the Bacchae, 11. 912-976, where the supposed Stranger leads Pentheus into the forest. But even here the spec- tator's sense of the omnipotence of Dionysus renders the word 'ironical' most inadequate, even if applicable, to characterize the treatment of the mortal by the God. The proper place for irony in literature is in argument. Either the case of an opponent is eloquently and persuasively stated just before it is reduced to absurdity, or some question, asked ' in all humility,' touches the weak place as with the point of a needle; or some ridiculous parallel is put with respectful gravity. The Platonic Socrates abounds with instances of all these forms, and his profes- sion of ignorance is an ironical mask. No one can miss the meaning of the term as applied tO' Plato's dialogues generally. But when the Irony of Sophocles is spoken of, we have a right to ask for a clearer explanation than the word in this application has received. We are told^ first, that there is an earnest irony, in which con- viction and feeling are repressed by their very strength. It is true that there are feelings too strong for words ; but it depends on the nature of the feeling whether the eloquence of silence can be justly termed ironical. Inexpressible contempt, for instance, may be shown by silence, and if the silence is accompanied by some gesture of feigned respect, this is ' practical irony.' But what of the dumbness of amazement, or the silent gaze of pity? Is anything gained for thought or language by terming these ironical, because the person knows or perceives what he will not express ? We are also told of ' the look which a superior intelligence, exempt from our passions, and foreseeing the consequences of all our actions, would cast upon the tumultuous workings of our blind ambition and our groundless apprehensions, upon the phantoms we raise to chase ' See the well-known Dissertation on the Irony of Sophocles in the Philological Museum, vol. ii. pp. 483-537. INTRODUCTION. 129 us or to be chased, while the substance of good and evil presents itself to our view and is utterly disregarded K' Now if such a being is supposed to withhold his warning voice that he may see out the spectacle of our folly and misery, and prove himself wiser than we are in the end, that may again by a stretch of language be called practical irony, though it would seem to be necessary that he should communicate his triumph to some one — for there is no irony in mere feeling. But this is not the temper in which superior intelligences have been supposed to regard the ' pranks which frail man plays before high heaven;' nor is it exactly the temper even of the Greek gods. They are not cold speculative beings, but strong, determined natures, whose envy is another word for justice, and who are not bent on making a show of power or wisdom, but simply on bringing to pass their righteous but mysterious will. Then we are reminded of the ' irony of fate or of fortune,' as exemplified in the high prosperity which, as in the case of Xerxes or of Athens, immediately precedes the most ruinous disaster. Of this irony the tragic poet is said to be the exponent. He is in the place of fate or of Providence to his mimic sphere. Considered in this aspect, the thesis deserves to be considered a little more closely. Is the Irony of Sophocles, then, an irony of the poet, or of an imaginary Fate or Providence, or, thirdly, of the spectator ? Is the poet in arranging his plot supposed to find a peculiar plea- sure in knowing the end from the beginning, and to be conscious of a certain superiority over the imaginary persons, who strut their hour upon his stage, and, in a less degree, over the audience whom he keeps waiting for the catastrophe ? Every writer of fiction has the same opportunity with the tragic poet of doing what he will with the persons of his fiction, and keeping the reader or hearer in suspense. But what artist ever thought in this way about his work? What Greek artist ever thought of anything but the work itself and the end of the work, which in the case of the dramatic poet is the impression to be produced upon the spectators ? The motive of the dramatist can no more be studied apart from his audience than the ideal of the sculptor or musician can be separated from the senses of sight and hearing. The intention of the poet is one with the feeling of the spectator. If irony was what the spectator enjoyed, then irony was what the poet meant, but not otherwise. We are brought, then, to look at the question from the point of view of the Greek spectator, who, be it remembered, is a very different person from the modern critical reader. We have already dismissed as unmeaning the phrase 'ironical feeling;' but it is still possible that the feeling of the spectator may have been analogous to the interest with which a bystander watches an exhibition of irony. I. It is not to be denied that the Greeks delighted in witnessing any clever deception — and this is a motive which in various forms re-appears in different parts of their literature, from the dream sent 1 Philological Museum, vol. ii. p. 487. VOL. I. K 130 OEDIPUS TYR ANNUS. by Zeus to deceive Agamemnon into deceiving the people, to the entrapping of Thrasymachus by Socrates. How far some feeling allied to this may have entered into the complex charm of tragedy, — whether in short in this also as in the pleasure of comedy there was an element of 4)d6vos ^, is a question of considerable subtlety, and one which the use of a word of doubtful intention rather helps to obscure. In some places it is manifestly present, as when Electra addresses words of double meaning to Clytemnestra and Aegisthus, who do not know that they are in the power of Orestes ^. The same feeling may exist in other places, where it is less obvious at first sight. But to draw forth this latent element and treat it as the prevailing cha- racteristic of Sophocles, is to superinduce over Greek tragedy a superficial form which it does not really wear, and greatly to injure its essential simplicity and depth. 2. The Greeks, like other people, delighted in contrast, especially in the contrast between apparent and real fortune. This is one amongst several reasons of what has been thought an anomaly in the Iliad — the long continued successes of the Achaeans before the fulfilment of the promise given to Thetis in B. i. The Greeks of the fifth century B. C. had become profoundly aware of the actual contrasts in life and history, and in reflecting upon these had formed the conception of a jealous and vindictive Deity, who in some inscrutable way was also just and good, who visited offences to the third generation, and led on the proud and presumptuous man in- sensibly to his fall. This thought, which throws a shadow over the narrative of Herodotus, was essential to the life of tragedy ; to the work of Aeschylus even more than of Sophocles. But is every con- trast between appearance and reality to have the name of irony ? Must not this depend on the spirit in which the contrast is regarded ? And what was the frame of mind with which the spectator saw the culmination and overthrow of the power of Agamemnon or Oedipus ? Did he mentally assume the position of a superior being, watching with tranquil interest the ignorance and vainglory of an ephemeral creature, or, like the refined critic of a later age, ' hold the balance even' between conflicting interests? Or was he swayed by the emotions of pity, awe, and fear; with pity for the human victim of fate and circumstance, with fear of the mysterious Power to which men seem to be as waifs in the stream, a fear, however, in which there predominates an awful sense of the righteousness of Divine retribution, not unaccompanied with occasional questionings of spirit; as if man were striving to pierce beyond the apparent darkness of his lot ? If the latter description is nearer to the truth, it is mere con- fusion to speak of such feelings as the enjoyment of irony. Still less can the word be made to include the inverse contrast which consti- tutes the interest of dramas of reconciliation, Uke the Philoctetes and • Plat. Phileb. 50. A subtlety that has ' Cp. Aesch. Ag. 911. The nature and escaped Plato may be considered ques- extent of irony in Sophocles would have tionable. The mixture which he finds been better understood, if the Electra in tragedy is evidently flp^i/os xal OKAEOYI iKTrjpiots KKaBoicriv e^ecrT€iJ./J.evot ; TToXis 8' ofiov fxep dv/xLa/idTccv y^f-ei, 6/iov 8e iraidvcov re kol a-TevayixaTtdV 5 dyo) BiKaimv firj nap dyyeXcou, TSKva, dXXcov UKoveip avros a>8' kXrjXvOa^ 6 nda-i KXeiubs OiSirrovs KaXovjxepo?. dXX', (5 yepaiij (f>pd^ , end vpiTTCov 'iS dkXovTO^ av 3. olicTrjp'wis Vat. a. A. 6. Trap' cffyiKoiv] ■iTapayyiK(\)av L. 7. airba . , L. 1 1. aT(p(avT(a LFME Pal. Vat. b. Trin. aT^^avTia Vat. ac. AV=M^E"C'. 3. Instead of saying simply 'equip- ped with suppliant boughs,' the more descriptive ki,f(my,\i,ivoi = ' enfilleted' (infr. 1. 19) is used, occasioning a pleon- asm like that in Find. Nem. 10. 43, dpyvpwO€VT€s avv oivrjpats (jiiaXais. €^€- o-T€p.[jL€voi,, i. e. (TTe^fiaffiv i^idTaXpiivoi, ' Well provided with woollen wreaths.' 4 TvoXis 8'] The form of interrogation is dropped. The pleonastic oKXaiv, i^'vtho are not myself,') in apposition to dyye- Kcov, makes the antithesis more explicit. Cp. Eur. Or. 532, rt fjiaprvpwv j aWoiv aKovHv Set /i, a y tlaopav irapa ; Hdt. 7. 50> ^^ M^ xp^'^t^^^oi yvojfj.yj(ji.oi(ri as a poetical plural, others suppose more than one altar. The latter is more probable. See opening note. 1 7. crtiv "yf|p(j papets] ' 'Weighed down with the burden of years.' Cp. O. C. 7, 6 XP^^°^ ^vvujv fuiKpos. See Essay on L. § 48. a. p. 91. 18. o'iSe t' ■g'fletov XeKToC] The priest points out the youths who are near him. This is the most probable reading. The Epic oi di re is without parallel in Sophocles, and probably in tragedy. (In Aesch. Cho. 490, S' 'i-n'. or S' ir', may be read.) 01 6' in', an early conjecture of Wunder's (cp. Suidas, AcKrrfs, ImAeaTos, ol Si t' Tjeiwi' XeicToi. Socf)OK><.rjs), and since extracted by Dubner from the 140 100KAE0YI — — u — Uj — - ■-' - _, - XeKTOi- to 8' a'Apio (pvXov e^earefi/iefou "ayopaicri OaKii, vpos re FlaWdSos SlttXols vaoLs, e7r' ' lajxrivov re fiavrda awoSm. voXis yap, mcTirep Kaiirbs elaopSs, dyav rjSrj craXevei KdvaKOV(pLaaL Kapa ^v6S)v er ovy^ o'la re (poiviov crdXov, ^Otvovaa jiku KaXv^iv eyKaprroLS )(6ov6^, ^Otvovaa S' dyeXais ^owofiois, TOKoiat re 20 25 21. irnvTcia] /MVTfiaff'LVal.PT. /mVTHaCAE. {{y)ic&piroia L. ij/cdpirota C'A. Cp. 1. 83. fxaVTeiq C 25. e-fKA/mois] 26. PovvS/iois T.] 0ovv6noi ar L. fiovvifioi — ar C. Powo/ioi t C oia in erasure M^. Laurentian MS, has not really the au- thority of this MS. (.for the letter is lost, and was more probably the form 6,6, i. e. CTC without elision), and is of doubtful meaning ; though it may slightly be confirmed by Ant. 790, ov6' afiepicuv in dvffpdnraiv. The erasure has most probably been occasioned by the form 6fi for ere (in 01 5e re), which the corrector altered for the sake of dividing the words. The word KeHrot at the beginning of the line (cp. Homer), although to be taken strictly with ^eiojv only, helps to point the more general antithesis between ^/ifis and t5 dWo tpvKov. For the meaning oifi'tBcos, 'unmarried youth,' cp. the Homeric vapBivos rjiBeos T6, and Eur. Phoen. 945, ou -^ap iariv pSeos. Also Plato, Legg. 8. 840 D, f'xP' /*'" ^aiSoyovlas f/Ueoi km atc^paroi ydfjicou T€ dyvol ^WGiv. 19. TO S' a\\o tfiBXov, K.T.X.] 'And there is another gathering which, etc' The article is appositional, as in the Homeric rh Si ixiya KtiTai aeSXov (II. 22. 163). And aXAos has an adverbial force. Cp. El. 601, 6 8' a\Kos cfoi .. 'OpiaTrjs. ' And besides ourselves there is a gathering in the Agora.' See Essay on L. § 21. p. 33. 20. dyopato-i] Two different market- places are mentioned by Xenophon (Hell. 5. 2, 29) and Pausanias. But the plural is more probably simply poetical, as in Od. 8. 16, KapTraKipiajs S' 'ifmKjjvTO PpoTuiv ayopai tc xal (Spai I a.ypop.(vav. The shrine of Artemis Eucleia (1. i6i) and probably others also, were in the Agora. Bi.ir\ois] Schol. t6 fih 'Oynaias, t& Si 'ifffiT^vias' oi 5^ rb /iey * AXoXnoiiiviaSj t6 be KaBf^eias. 21. Eir" 'I0KAE0r2 a-KXrjpds doiSov Saafiov bv Trapei^ojieV Kal Tavff y^' fjiiStv ovSev e^eiSws nXiof ovS' iKSiSaxdw, dXXa irpoaOriKri deov XeyeL yojxi^ei^&'. rj/itv opdwaai ^iov vvv r m KpariCTTOv ndcriv OlSinov Kapa, 40 LKiTevOfliV a€ TTcivTiS oiSe npocnpoTTOi dXKrjv TLv eiipeiu rj/J-iv, eire rov Qecau ^rjfirjv aKovaas etV utt' dvSpos oicrOd ttov o)? Tois ere fvy pikv ijSe yfj 40. t'] S' r. 42. evpfTy ■fjiitv C°A. ijiuv eipeiv 43. TTOu] Tou LA Pal. Trin. nov AM^V'K 46. t9' . . Tr6\tv'] In mg. A. 39. jJ/uV] ^liiv L. iJm"' a. ^ a LL^rA Pal. Trin. ■^ficv iiipttv M. TTOV Vat. ac. Tov C, 36. (TKXripds aoiSoO Sao-[i6v] 'The tribute levied by the inexorable song- stress;' i.e. the lives of those citizens who attempted to solve her riddle and failed. Cp. Eur. Phoen. 1027. 37. u(|>' -ijiiMV . . irXfov] 'Having no advantage of information from us.' 38. irp0CT9T|KT] BcoO] i.e. 0iov irpoaSe- lievov ffoi. ' By a god taking part with thee.' 'By a Divine aid.' Cp. O. C. ^332, oTs &v (TV TTpoaO^, roiaS' (fpaaic eivai KpaTos. 40. Join irda-Lv with KptiTioTov. Cp. 1. 8. 43. TTOu] rov appears only in L and three other MSS, and may be an error arising from tou in the previous line. Cp. infr. 117, Aj. 33. The repetition of TOV is not quite elegant, and tiov has a good meaning. ' Or whether you know, as you may, of help coming from man.' Cp. Od, 10. 486, ore TTOV oi -ye voatpL yivrjai. an' dvdpSs, sc. dAa^i/ yiyi/o- lievrjv. There is a covert reference to Apollo in the first instance, and to Tei- resias in the second. 44. us TOto-iv . . PouXevjidrmv] ' For I see that where men have experience the issues of their counsels live and prosper.' Oedipus had been tried in difficulty, and his advice, resting on ex- perience, was the more likely to succeed. The simplicity of such a maxim is no objection to this rendering. Cp. Hdt. 8. 60, otK($Ta /liv vvv Pov\evaiJ.lvoiai avOpiiiroLat ws to im-nav kO^Ket yiveffdat, jut) Se oiKSra ^ov\(vopLiVOi0i, ovk kOeKn ovSe $€ds irpoffxajpeeii/ trpos T^s dvOpo}- Trrjtas yviiixas. "The words are logically connected with the general meaning of the three preceding lines, and the point is, ' We come to you as to an expe- rienced man.' KaC expresses 'not only are the coun- sels good but their issues are also good.' rds |v(i<|)Opcls . . Tuv PovX«u|JIi1t(i)v] ' The results of their plans.' 45. futras] The metaphorical use of f^v is comparatively rare. Cp. Aesch. Ag. 8ig, ar-qs BuiWai fwiri : infr. 483, (Sivra irfpirroTaTai : Ant. 457- Eur. Fr. 35, afl rb fiiv fj, to 5i fuBiaraTai Kaic6v. The explanation of rds ^vfupopAs toiv IBovXevixdTwv as = • the conference of counsels,' (Aesch. Pars. 528, mBTolai mCTcl ^vfKpipeiv 0ov\fvpaTa), is ingeni- ous, but increases the difficulty of fuxras, which can never mean ' are habitual,' and it is not consistent with the lauda- tory tone of the address to advise Oedipus, who is the first of men, to take cotinsel with others. Cp. Thuc. I. I4O, TOLS ^VlKpopciS TOIV TTpaypaTOiV. 47. eiJXapT|eT)0'] The tone of warning in the latter part of the speech is the first presage of the misfortunes that are to follow. 01 A I no YI TYPANNOI. 143 01. a-WTTJpa kXxi^h rijs irdpos npodvfiias' dpxfjs Se TTjs (77jy firiSafim ixefivwfieda (TTauTes T €S 6p6ov Kal Treaovres varepov aXX a<7S ovSev eaTiv oiJTe irvpyos ovTe vavs eprjfios dvSpwy firj ^vvolkovvtoiv eVo). ci) walSes OLKTpoi, yvcoTa kovk dyvonTd p,oi TTpoarjXdeO l/ieipovTes' ev yap oIS' otl 50 55 potr 48. Traces] TTa(\ai) L. irdXai C^. TT6poff C^. trpoOvfiias'] TrpofxrjBeiaff Pal. yp. TTpoiiTjeias TA. 49. Si t^s] SeTija L. Se yijff C. Si TTja AC'. 50. OTOVTes t"\ ot L. s t AC. r om. Pal. 52. tot'] tcStc L. T(5t' AC. 54. dw ciTrtp] iuantp A. 55. KpariTv'] Kpareia A. 59. ■irpoari\0i0''\ 2nd $' made from r' L. 48. TTJs irdpos irpoGunias] ' For your former zeal.' irpoiJLijBias is a various reading. The two words are often con- fused in MSS, and irpofiriSias has been thought to agree better with 11. 47 and 5 1 . But TrpoBvpiias, implying no doubt of Oedipus' power to save the people if he will, is really preferable. 49. )ji,e|ji,va>)i.€6a] The subjunctive is more in harmony with the imperatives before and after than the optative, p.^- livcppLtBa, or rather fiepiv^pifSa, which some editors have preferred (in the spirit of Protagoras' objection to fi^viv dfiSe, 6(6., viz,, that commands should not be given to a supeiior.) Cp. O. C. 174, S ^ivoL, fiij Siyr' dSiKTjdai. The quasi-imperative expresses a stronger confidence than the optative, which im- plies some degree of uncertainty, ire- aovres has the chief emphasis. See E. on L. p. 78. The participles are in construction with piffivii/iiBa. 'Let not this be our memory of your reign, that we stood upright only to fall again.' For the metaphorical expression, cp. Find. Pyth. 3. 53, 96, Isthra, 6. 12. 51. dcr<(>a\£Ca] (i) Dative of the manner. The noun is used with a con- sciousness of the verb acpaXXtaBm, re- ferring to wi(i6vTis. ' Let your restora- tion of this city be without failure or falling.' Cp. Thuc. 3. 22, da.\uis . . wpOaiaav. The words opviSi . . alaicp support the former explanation. 64. ap^cis . . Kparels] ' If you will rule this land as you are now her lord.' Cp. Thuc. 5. 105, ov av upaTTj, apxdv. 57. p-T] ^vvoiKowTojv is epexegetic of iptip-os avSpaii', and, as often in such cases, the negative implied in ipri/xos is made explicit. ' Without men to dwell therein.' Cp. Hdt. 2. gi, (pfvyovai XpaaSai . . nrjSe, k.t \. Ib. 4. 76. See Essay on L. § 40, i. p. 74. Some edd. put a comma after eprjpos, which lessens the force of avSpwv. Cp. Thuc. 7. 77, dvSpis y&p noMs, xal ov nixo oiSe VTjiS dvSpSiv Kivai. 58 ff. Oedipus is full of anxiety, not for himself, but for his people, whose sorrows he bears. In his care for them he has sent Creon to consult the oracle, and now looks impatiently for his re- turn. In a sense of which he is igno- rant, his woe is indeed greater than the people's woe, and the plan which he has chosen as the only cure will bring the curse on him. S) iratScs oiKTpot] ' O my poor chil- dren.' The unusual position of the ad- jective gives a pathetic emphasis. See Essay on L. § 23. p. 37. 144 IOOKAEOYI voa-eTre irduTes, kol voa-ovfTes, Ss^Jy^- ^~^ ^° oiiK eariv v/ia>i/ ocrTtS e| icrov vocreT. TO nlv yap v/jicov dXyos els eV 'ipx^rai fiovov Kaff avTov, KovSev dWov, rj S" kfir) ylfvxv ttoXlv re /ca/xe Kal a-' ojxov arkveL. war ovx vTTvm y evSovrd /i i^eyeipere, 65 - aXX' iVre TToAXct fiiu fie SaKpiiaavTa 8i], TToXXds S' oSoiis eXQwra (ppovTiSos wXavois. rjp S' ev cTKOirZv evpiaKov laaiv jiovqv, ravT-qv enpa^a' iraiSa yap MevoiKems KpeovT , e/iavTov yafi^pov, es to, flvOiKa 70 eTTefL-dra 'Poifiov Sm/iaO', as nv6oi6' ti SpS>v rj Ti (pcoyaiv TrjvSe pva-aifirji/ ttoXiv. Kai fi rjfiap rjSr] ^vfifterpov/jLevou XP°^V XvTrei TL TTpdcrcrer rod yap eiKOTos wepa biv 60. voaovvTts] voaovvTicr C. 62. t^ . . epx^Tai] In mg. L. {iji aA° sic). 65. vTrv(ji y] virvaiy T. 67. nXavois] -nX&voia L Vat. a. Pal. irKivaa AC. vXivaiaoia M. itXavma M.^ Vat. c. Pal." Trin. 72. (pavtuv] povav VW. TrjvSf pvaal- ia]v\ TTjvS^ kpva6.iJ.rjv L. rrjvSe pvaaiii-qv C°A Pal. 74. ircpa] iripai L. 60. voo-ofivTcs is the real subject of in execution.' Cp. Ar. Nub. 76. the sentence, but the construction is 71. irviflotO'] Probably suggested by changed for the sake of the emphatic the sound of IIi/SiKa, but not an in- phrase ovk ianv - . oaris. See Essay on tentional play upon the word. Essay L. § 15. p. 21. In us iyi' and IJ lo-ov on L. § 44. p. 83. there is a confusion of oiircus tus l7tu and 72. fvsraly.t\v\ Cp. Ant. 271, 2, otifl' 6/ I'crou ejxoi: i.e. If iffov is substituted oTrojs SpSivTfs kqXws TTp6.(aiii(v. The for oiirois. ' And although you are sick short syllable (in thesi) before the initial at heart, the sickness of none of you is p is an Epic usage, but rare in tragedy, equal to mine.' Cp. Aesch. S. c. T. 91, tis apa pvaerai ; 65. ijiTVi\ai, rapPov- vagueness of the expression, which is aav: also (for the participle) ib. 11 63, supplemented in the two following lines. (SivtA p.' (KTfivev. E. on L. § 4, 5. p. 75. Each day is compared with an absolute 67. ' And have traversed many paths standard of time. See E. on L. p. 91. in the wanderings of thought.' Cp. For the intransitive sense of ti -npiaatt, Hdt. 3. 156, Tiaffas Tcis Sie^SSov? twv cp. Aj. 1418, 19, ouSfts p.6.VTis iSiv /xc\- Pov\€Vixa.T!ov. The gloss of the Schol., \6vtwv o ti irpi^ei, and for the construc- dtfrl Tov TrKavais &T]\vitSjSf confirms the tion, ib. 794, ujffTe /x' ajSivfiVf ri (j>ys. reading ttK&vois. 74, 75. The expression is redundant, 68. 'That which on careful con- so that airto-Ti is joined at once with sideration I found the only cure, I put roi; £i«i5tos uipa and with jrAetw ToS OlAinOYI TYPANN02. 145 awecTTL TrXet'o) tov KadrJKOVTas \p6vov. 75 OTav S iKrjTai, TrjviKavT eyca KaKos firj Spoil/ otv eirjv iravQ' 6v ; KPEDN. ka-OXrjv' Xeyco yap Kal rd SvaOKAEOYI Ka-r bp&ov e^eX66vTa, ndvT av evrvx^'iv. 01. idTiv Be TToiov TOVTTOS ; ovre yccp Opaaiis ovT ovv irpoSeiaras eljii tZ ye vvv Xoyw. 90 KP. el TcovSe Xpri(eL^ nXrjo-ia^oi'Tcoi' K\veiv, eroinos elweTv, e'lre Koi a-reixeiv earm. 01. es TTduTas avSa. TwvSe yap nXiov (pepco TO irevBos fj kol Trjs efirjs yjrvxvs irepi. [34 b. KP. Xeyoifi civ of iJKOvaa tov 6eo€ ndpa. 95 dvcoyeu rjixas 'Polios e/icpavms dva^ Hiaafia )(d>pas, a>? Te6pap.p.evov ^(Oovl ev TjjS'j kXavveiv, /J.rjS' dvrjKecrTOv rpecpeiv. 93. auSa] a^'Sa L Pal. avSa C'A. 9:^. oV ^KOVffa] oV tjk. L. oV tjic. AC 96. infpa.v(i]{] kiMl>avr]s yp. kjxtpavtiia V. kvtpavSis E, 98. hv T77S'] Iff T^ffS' V. change of construction from the genitive of the object to genitive with tripl is more in keeping with the style of Sophocles. Cp. Hdt. 4. 14 2, as SoiiKar '\6jvoiv rbv X6'yov ■jrotev/rn'Oi. Koi is not intensive ( = 'even") but simply points the comparison. Cp Aj. 1104, ^ koI tSSc certainly never saw him and never thought of in- quiring into the circumstances of his murder. (An excuse for this improbabi- lity is suggested afterwards in 11. 220, i, oti yctp av liaKpiv, k.t.\.) One witness of the deed remains, but he being overcome with fear could only give even at the time a confused account of an assault by a band of robbers. 9^. oto is emphatic not indefinite, and invites attention to the peculiar nature of the message. ' I will tell you what an oracle I heard from the god.' 96. 4|j.6i.vj (i) 'And not to cherish it till past cure,' or (2'! 'without applying a remedy.' (i) is best. words prepare the hearers' minds for the unwelcome intimation in 1. 97. The construction of iravra is difficult. Either (i) by an extension of the subject, iravra is substituted in the resumption for rd, SvaopS.s] a turned to f L. loi. Xiioi'Tas] \ from et S L. xf'/^ofo" L Pal."=. x^'^ofo'' AM^ Vat. ac. x^/^iiiff' M Trin. (c. gl. Kadd. Xdf^^ovTos). 102. T^iSc L. T^Se r. ToCSe E. rjji'Se AC 105. daeiSovl TTOJS fia-LSov LrM Pal. eiaeiSov AC. va>] ttou M. ttov Trin. 107. tiv6.] rivad LA. Tivda r Pal. V=K Trin. Vat. ac. E. Tivas MM'C. 108. ol 5] otd' L. ol'S' AC. 99. TTOltp KaOapfJLU ; TIS 6 TpoTTOS TTJs {u(i4iopas] ' How to purify ? Of what nature is the defilement?' ^vfi- tpopi, is a euphemism for 0705, as in Hdt. I. 35, av-^jp cupupopy kx^f^^^os /cat oii KaOapos x^tpas h6jv. 100. ctvSpTjXaTOiJVTas] Sc. iXavv^iVj answering tioiw KaBappu^ ; loi. us . . x^L^'-'^Ilov] See on 1. 97. The V. r. xfiM^f" would make the im- plied assertion explicit. The answer to TIS 6 Tp6Tro5, fc.r.\., is given here. ToSc, 'this, which has been implicitly mentioned,' sc. in the words (povw, k.t.X. For similar uses of the pronoun, see Essay on L. § 22 p. 34. 102. TToiou ydp dvSpos] 7dp aslcs for explanation. ' And who is the man to whom he shows us that this misfortune happened?' TijSt has been defended, but rqvSf is more idiomatic. riivSe Tvxijv, sc. T(iv (povov. \n\vvei] Sc. d SeSs. 105. ou -yo-P etcretSov y^ ttco] * By hearsay, for I certainly never saw him.' irov, which appears in several MSS, would imply uncertainty, and would ^erefore weakly express the security of Oedipus. The literal meaning of ovrrai is not to be pressed.' From 'not yet' it has passed into meaning simply ' never.' Cp. Hdt. 3. 127, ts uKpiXr/cre fiev koj Xlepaas ovSiv : 4. 81, lis Si p,^ dSe Kai roinov : 3- 160, tovtc^ ydp ovdels JJfp- Giwv -q^iaffi KOI eavT^v crvpi^aKSeiv. In all these places, though past time is spoken of, there is no opposition be- tween past and future. Or, as happens with ^5?;, TTOTe, hi, and other particles, the notion of time is altogether lost. Cp e.g. Hes Op. et D. 271, tiJ 7' ov ttco eoXwa T€Xiiv. The conjecture 7' t7w takes the emphasis from the verb. 106. TOVTOV 6av6vTos] This is most easily explained as genitive absolute, but is at the same time to be partly connected with Tot's avToevras. 107. Totis avTocvTas . ■ Tivds] 'The murderers, whosoever they are.' Cp. O C. 28S, 9, oTav 5' 6 Kvptos irapy tis : Hdt. I. 114, T^v Se Koi Tira..TttJ Se Tiw. This reading is preferable to Ttva. If the mark over the a in L. indicates doubt, as seems probable from the parallel reading of A, this would only prove that some early sciibe knew of or wished to suggest the other reading, perhaps because it seemed easier. Xeipl Ti(i(opetv] Like ToiaiiTri x^'P' Ttpaipeiv, 1. 140. For the rare active, denoting an absolute intention, see Essay on L. p. 98. — The vague use of the plural in Creon's report prepares the way for the more definite statement in 1. 123 without committing the oracle to en'or. 108. ot 8' €10-1 iro-u yf^s] The inver- sion gives additional emphasis. ToSc] This, which we are set to find. Cp. T(55' aliM, supr. loi. L 2, 148 IO0OKAEOYI ixvos iraXaids SvariKfiapTov ahtas ; KP. kv TfjS' es €(paa-Kev, kKSij/xmu, irdXLv Trpbs oiKov ovK.k& iKeff , m direa-TdXi]. ovS' dyyeXcs Tt? oi/Sk avfnrpdKTmp oSov KareiS', otov tis kKfiaOaiv k\prja-aT' dv ; 6vrj0K\eOVS. The inevitable unlikelihood is minim- ized, however. For Oedipus does not deny having heard of the violent death of Laius ; and gives a reason afterwards (220, i) why he could not inquire into the circumstances at the time. 114. fleupos] i e. to Delphi. O. C. 413, avSpaiv BfoipSiv AeKfj.rj KTavdv viv, dWh aiiv TrXrjOei xepS>v. TvSis ovv 6 XrjaTrjs, ei ti firj ^i)u dpyvpcp eirpda-a-eT kv6ev8' , es toS' av toX/itjs elSr] ; 125 SoKovvra tuvt ^v Aatov 8' oXcoXotos, ovSels dpcoyos kv KaKoTs eyiyvero. KaKov Sk noLov kjiTroSmv TvpavviSos ovTco irecrova-rjs eTpye tovt e^eiSevai • KP. T] iroiKLXatSos ^(jilyi to irpbs ttoo-i aKoneiv 130 fj-eOipTas rjuds rd^avfj irpoa-^yiTO. 01. dXX e| vvapyrjs avdis avT kycb (pavw. kna^icos yap 4>oiPos, d^ccos Se aii Trpos rov QavovTos rrji>8' edea-6' eiTia-Tpo^^V 12^. pilliTil pjitiirii h. fiiiiug A. o-iic]