καὶ μὴν introducing the new person: O. C. 549 n. At Creon's command (491), two “πρόσπολοι” had gone to bring Ismene. The door from which she now enters is that by which she had left the stage (99). It is supposed to lead to the “γυναικωνῖτις” (cp. 578). εἰβομένη, the correction of Triclinius for the MS. “λειβομένη”, enables us to keep “δάκρυα”, instead of changing it to “δάκρυ”, when “φιλάδελφα” must be taken as adv. (cp. O. T. 883 n.). The Schol. so took it (he paraphrases by “φιλαδέλφως”), and it would seem, therefore, that he read “δάκρυ λειβομένη”. But, though this constr. is quite admissible, it would be far more natural that “φιλάδελφα” should agree with “δάκρυα”. In O. C. 1251 we have “λείβων δάκρυον”: neither “λείβω” nor “εἴβω” occurs elsewhere in Soph. ; and the only other place in Tragedy where “εἴβω” has good support is Aesch. PV 400, where Hermann, by reading “δακρυσίστακτον ἀπ᾽ ὄσσων π̔αδινῶν δ᾽ εἰβομένα π̔έος”, for the MS. “δακρυσίστακτον δ᾽...λειβομένα”, restores the metre. But “κατὰ δάκρυον εἴβειν” and “δάκρυα λείβειν” were equally familiar as Homeric phrases; and if an Attic poet could use the latter, there was certainly no reason why he should not use the former. I may remark, too, that κάτω points to a reminiscence of the phrase with “εἴβειν”, for Homer never says “κατὰ δάκρυα λείβειν”. Nothing is more natural than that “εἰβομένη” should have become “λειβομένη” in the MSS., the latter word being much the commoner. κάτω, adv., ‘downwards’: cp. 716, fr. 620 “ὦτα κυλλαίνων κάτω”. Nauck's objection, that “κάτω εἰβομένη” could not stand for “κατειβομένη”, would have force only if “κάτω” were necessarily a prep., substituted for “κατά”. He proposes “καταὶ” (cp. “καταιβάτης”).
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