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Sir Richard C. Jebb, Commentary on Sophocles: Oedipus at Colonus 3 3 Browse Search
A Dictionary of Greek and Roman biography and mythology (ed. William Smith) 2 2 Browse Search
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Sir Richard C. Jebb, Commentary on Sophocles: Oedipus at Colonus, commLine 195 (search)
le/xrio/s g' … o)kla/sas, "yes, moving sideways," — the rocky seat being near his side — "(sit down), crouching low on the top of the rock." o)-kla/zw (cp. o)-da/c, from √dak), from kla/-w, to bend the hams in crouching down; Xen. Anab. 6.1.10 to\ *persiko\n w)rxei=to,...kai\ w)/klaze kai\ e)cani/stato, "he danced the Persian dance, sinking down and rising again by turns" (there was a dance called o)/klasma): so o)kladi/as=a folding campstool. braxu\s, "low," (as me/gas="tall,") because the seat is near the ground. a)/krou, on the outer edge of the rocky platform (bh=ma 192). la=os, gen. of la=as, as Od. 8.192 la=os u(po\ r(iph=s. No part of la=as occurs in trag., except here and Eur. Phoen. 1157 acc. la=an. The MSS. have la/ou, and the schol. in L quotes Herodian (160 A.D.), e)n tw=| e_ th=s kaqo/lou (=bk 5 of his lost work h( kaqo/lou prosw|di/a), as taking it from a nom. la/os: but Herodian had perhaps no warrant besides this passage, and no other trace of such a form
Sir Richard C. Jebb, Commentary on Sophocles: Oedipus at Colonus, commLine 683 (search)
ing forth her hand when Pluto seizes her,—Earth having put forth a wondrous narcissus, with a hundred flowers, on purpose to tempt her: Hom. Hymn. 5.15 h( d' a)/ra qambh/sas' w)re/cato xersi\n a(/m' a)/mfw kalo\n a)/qurma labei=n: xa/ne de\ xqw\n eu)rua/guia. Paus. 9.31.9 (quoting an ancient hymn by the legendary poet Pamphos) says that Cora was seized ou)k i)/ois a)pathqei=san a)lla\ narki/ssois. So Euphorion (220 B.C.) fr. 52 *eu)meni/des narki/ssou e)pistefe/es plokami=das. Artemidorus (160 A.D.), interpreting dreams of crowning the head, says, ste/fanoi narki/sswn pepoihme/noi pa=si kakoi/ (Oneirocr. I. 77). Narcissus is the fair youth cold to love, whose face seen by himself in the water was the prelude of death (cp. Artemid. 2. 7). mega/lain qeai=n: Paus. 8.31.1 (at Megalopolis) qew=n i(ero\n tw=n mega/lwn: ai( de/ ei)sin ai( mega/lai qeai\ *dhmh/thr kai\ *ko/rh. In Attic usu. tw\ qew/, and so Andoc. or. 1 § 32 (of these goddesses) pro\s toi=n qeoi=n is now read (v.l. tai=n qea
Sir Richard C. Jebb, Commentary on Sophocles: Oedipus at Colonus, commLine 698 (search)
fu/teum). fi/teum), which Blaydes prefers, occurs only once in trag. (Aesch. Ag. 1281, of Orestes); it seems more appropriate to a "scion" (child) than to a plant. a)xei/rwton was read here by Pollux (2. 154), and is thus carried back to about 160 A.D.; it is also in A and a majority of our other MSS.; while L's a)xei/rhton is clearly a corruption. The question is whether a)xei/rwton means (1) "unvanquished," the only sense in which it occurs elsewhere, as Thuc. 6.10 oi( *xalkidh=s...a)xei/rwtoi/ ei)si: or (2) a)xeirou/rghton, as Pollux takes it, "not cultivated by human hands." xei/rwma usu. meant "a conquest," or "a violent deed"; yet Aesch. could say tumboxo/a xeirw/mata (work of the hand in mound-making) Theb. 1022. A bold artist in language might similarly, perhaps, have ventured on a)xei/rwtos as ="not hand-wrought." My reason for preferring "unvanquished" is the context. While blasto/n (697) refers to the miraculous creation of the olive by Athena, au)topoio/n refers (I think