ΟΔΥΣΣΕΥΣ. ̓Αλλ ̓ ἤθελον μέν· εἰ δὲ μή 'στί σοι φίλον ΤΕΥΚΡΟΣ. то Αλις· ἤδη γὰρ πολὺς ἐκτέταται σόν. Τρίποδ' αμφίπυρον λουτρῶν ὁσίων Θέσθ ̓ ἐπι επίκαιρον· Μία δ ̓ ἐκ κλισίας ἀνδρῶν ἴλη Τὸν ὑπασπίδιον κόσμον φερέτω. im σὺ δὲ πατρός γ ̓, ὅσον ἰσχύεις, 61 1340 1345 Φιλότητι θίγων πλευρὰς σὺν ἐμοὶ διγγάναρ Τάσδ ̓ ἐπικούφιζ'· ἔτι γὰρ θερμαί * Σύριγγες ἄνω φυσῶσι μέλαν Μένος. Αλλ ̓ ἄγε πᾶς, φίλος ὅστις ἀνὴρ Φησὶ παρεῖναι, σούσθω, βάτω, σε σαν βαίνει Κοὐδενί πω λῴονι θνητῶν, bally modals Αἴαντος, ὅτ ̓ ἦν, τότε φωνῶ. ΧΟΡΟΣ ΣΑΛΑΜΙΝΙΩΝ ΝΑΥΤΩΝ. *Η πολλὰ βροτοῖς ἔστιν ἰδοῦσιν Γνῶναι· πρὶν ἰδεῖν δ ̓ οὐδεὶς μάντις Τῶν μελλόντων ὅ τι πράξει. 1350 1355 ΤΕΛΟΣ ΑΙΑΝΤΟΣ ΜΑΣΤΙΓΟΦΟΡΟΥ. NOTE S. 1. THE scene of this play is laid in the midst of the tents occupied by the Salaminians in the Grecian camp before Troy, and more particularly in that of Aias, which we may suppose to have been situated somewhat in the background, and within sight of the sea. (Cf. Hom. Il. 8. 226.). Odysseus is beheld in the act of tracing some freshly-graven footmarks upon the beach, when he is suddenly arrested by the voice of Athene, to whose counsels and aid other poets besides Sophokles have described him as largely indebted. (Cf. Hom. I. 10. 503 seq.) The various characters introduced into our drama were represented by three actors, (see Schöll's 'Sophokles Leben und Wirken," § 58 ff.,) the first of whom personated Aias and Teukros, the second Athene, Tekmessa, and Agamemnon, the third Odysseus, the Messenger, and Menelaos. The corpse of Aias - around which Teukros, Tekmessa, and Eurysakes (xpov góσwov) bearing in his hands the ingov Onσaugóv (v. 1119), consisting of his own, his mother's, and Teukros's hair, are grouped - was represented by a κῶρον εἴδωλον, 50 made and draped as to exhibit a resemblance to the body of the deceased hero. 2. δέδορκά σε . ... • θηρώμενον. The Scholiasts differ greatly in opinion as to the correct mode of interpreting this verse; the point in dispute being, whether the poet means us to understand wiïga nar' ixtgwv, in an active, as ἐπίθεσις τῶν πολεμίων, Diod. XIV. c. 80, or πεῖρα παρ' ἐχθρῶν, in a passive signification; that is, whether Odysseus is represented as eagerly employed in preparing snares for the purpose of attacking his enemies, or in discomfiting some project which they have devised against himself. Both expressions may be applied with great propriety to a skilful general: τὸ ὀξυλαβῆσαι τὴν πρᾶξιν καὶ τὸ τῶν ἐναντίων τὴν γνώμην προαισθάνεσθαι, Galen de Parv. Pil. Exercc. III. 905. T. V. Lobeck pronounces in favor |