μή, μή μ̓, ἄναξ. If μ̓ be sound, it can be only the acc.: an elision of “μοι” is impossible (see O. C. 1436, n. in Appendix). And “με” could be explained only as depending on the phrase κακὰν φάτιν ἄρῃ, as meaning, ‘win an evil repute, to my injury’ (“μή με διαβάλῃς, αὐτὸς διαβαλλόμενος”): cp. El. 123 ff. “τάκεις..οἰμωγὰν ..Ἀγαμέμνονα”. But this is certainly forced; and, though the Chorus afterwards speak of themselves as involved in their chief's peril (252 ff.), that thought is less fitting here. The simplest remedy is that which is proposed by Prof. v. Wilamowitz-Möllendorff (cr. n.), who, referring to the hiatus after “ἄνα” in 193, would here omit μ̓. The syllables “μή, μή μ̓” answer metrically to “μομφὰν” in 180, and we should thus have to suppose that μή, μή, ἄναξ represents --u-. Such an hiatus seems a very doubtful one for tragic lyrics: otherwise the suggestion would be welcome, as “μή, μή” is supported by O. C. 210“μή, μή μ᾽ ἀνέρῃ”. Morstadt's remedy, μὴ μηκέτ̓, ὦναξ, (instead of “μή, μή μ̓, ἄναξ, ἔθ̓”,) has found much favour, and is satisfactory in itself; but it does not account for the origin of the vulgate. κλισίαις ὄμμ᾽ ἔχων. The sense required is, ‘keeping thy face hidden in the tent’: so that “κλισίαις” is a locative dat. The adv. ὧδ̓ helps to suggest the idea of ‘hidden.’ The objections to the version, ‘keeping thine eyes fixed on the tents,’ are, (1) that “ἔχων” could not well stand for “ἐπέχων”, and (2) that the seclusion of Ajax within his tent is not then expressed.— ἄρῃ with α (=“λώβαν” in 181), from “ἠράμην”: cp. 129, and see Appendix on 75.
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