ὅρνι^ς, as Il. 24.219; El. 149; H. F. 72, fr. 637: Ar. Av. 168 (v.l. “τίς ὄρνις οὗτος”, a quotation from tragedy: v.l. “τίς οὗτος ὄρνις”;). But “ὄρνι_ς” (Eur. Bacch. 1364, Aristoph. Av. 833, etc.) is said to have been normal in Attic. —The ruggedness of the rhythm gives a certain impressive slowness, perhaps purposed. When an iambic verse has no caesura in the 3rd or in the 4th foot, it almost always has the ‘quasi-caesura’ (elision) after the 3rd foot (as if “εὐσήμους” were “εὐφημοῦσ᾽”). For other exceptions, cp. Ai. 1091 “Μενέλαε, μὴ γνώμας ὑποστήσας σοφάς”: Ph. 101, Ph. 1064, Ph. 1369: Aesch. Pers. 509 “Θρῄκην περάσαντες μόγις πολλῷ πόνῳ.” εὐσήμους: cp. on 1002. βεβρῶτες, as if “πάντες ὄρνιθες σιγῶσι” had preceded. Cp. Her. 1.87 “ὡς ὥρα πάντα μὲν ἄνδρα σβεννύντα τὸ πῦρ, δυναμένους δὲ οὐκέτι καταλαβεῖν.” ἀνδροφθόρου. “ἀνδρόφθορον αἷμα ῀ ἀνδρὸς ἐφθαρμένου αἷμα”: cp. Ph. 208“αὐδὰ τρυσάνωρ”: O. C. 711, n. on “αὔχημα εὔιππον”.
This text is part of:
Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone. Sir Richard C. Jebb. Cambridge. Cambridge University Press. 1900.
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