Ταῖς μεγάλαισιν ἐν Θήβαις ἀνάσσων
Τανῦν δ' ακέειν, τίς αθλιώτερα ;
Τίς ἐν πόνοις, τίς ἄταις ἀδρίαις
Ξύνοικος αλλαγᾶ βίδ ;

Ω κλεινὸν Οιδίπε κάρα,

Ωἱ μέγας λιμὴν αὐτὸς ἤρκεσε

Παιδί καὶ πατρὶ θαλαμηπόλῳ πεσεῖν.

1215

ACTUS QUINTI SCENA PRIMA.

ΕΞΑΓΓΕΛΟΣ, ΧΟΡΟΣ.

IAMBOI.

Εξ. Ω Γῆς μέγιςα τῆσδ ̓ ἀεὶ τιμώμενοι, Οἷ ̓ ἔργ ̓ ἀκέσεσθ', οἷα δ ̓ εἰσόψεσθ, ὅσον

1232. The Eayfλos is referable to the same prototype as Fame in Hudibras, drawn in figure 26, ante. He is here, in fact, filling the character of Fame herself, for he is introduced to report the death of Jocasta, and the manner in which it happened. His name of Egaylos may be referable to the angel-like form of his prototype, as with wings, such as Fame is drawn with, from the same prototype, in fig. 25, ante; but he is here drawn without wings, in Fig. 139.

VOL, IV.

او

Δ ̓ ἀρεῖσθε πένθος, εἴπερ ἐγΓενῶς ἔτι
Τῶν Λαβδακείων ἐντρέπεσθε δωμάτων.
Οἶμαι γὰρ ἔτ ̓ αν Ιςρον ἔτε Φᾶσιν ἂν
Νίψαι καθαρμῷ τήνδε τὴν ςέγην, ὅσα
Κεύθει· τάδ ̓ αὐτίκ ̓ εἰς τὸ φῶς φανεῖ κακὰ
Εκόντα, κἐκ ἄκοντα· τῶν δε πημονῶν

ادام

1235

Μάλιςα λυπδσ', αἳ ἂν φανῶσ ̓ αὐθαίρετοι. 1240 Χο. Λείπει μὲν ἐδ ̓ ἃ πρόσθεν ᾔδειμεν τὸ μὴ δ Βαρύςον εἶναι πρὸς δ ̓ ἐκείνοισιν, τί φής

α

Εξ. Ο μὲν τάχιςος των λόγων εἰπεῖν τε καὶ Μαθεῖν, τέθνηκε θεῖον Ιοκάςης κάρα.

Χο. Ω δυςάλαινα" ωρὶς τίνος πότ ̓ αἰτίας;
Εξ. Αὐτὴ πρὸς αὐτῆς· τῶν δε πραχθέντων

τὰ μὲν

Αλις ̓ ἄπεςιν· ἡ γὰρ ὄψις 8 πάρα
Ομως δ ̓ ὅσον Γε καν ἐμοὶ μνήμης ἔνι,
Πεύσῃ τὰ κείνης ἀθλίας παθήματα.
Οπως γὰρ ὀργῇ χρωμένη παρῆλθ ̓ ἔσω
Θυρῶνος, ἵκετ ̓ εὐθὺ πρὸς τὰ νυμφικὰ

1246

1250

1238. Note this line.

Λέχη, κόμην στῶσ ̓ ἁμφιδεξίοις ἀκμαῖς.
Πύλας δ ̓ ὅπως εἰσῆλθ ̓ ἐπιῤῥήξασ ̓ ἔσω,
Καλει τον ἤδη Λάϊον πάλαι νεκρὸν,

Μνήμην παλαιῶν σπερμάτων ἔχεσ ̓, ὑφ ̓ ὧν 1255
Θάνοι μὲν αὐτὸς, τὴν δὲ τίκλεσαν λίποι
Τοῖς οἶσιν αὐτε δύςεκνον παιδεργίαν.

Γοᾶτο δ' εὐνὰς, ἔνθα δύςηνος διπλᾶς

Εξ ἀνδρὸς ἄνδρας, καὶ τέκν ̓ ἐκ τέκνων τέκοι. Χῷπως μὲν ἐκ τῶνδ ̓ ἐκέτ ̓ οἶδ ̓ ἀπόλλυται. 1260 Βοῶν γὰρ εἰσέπαισεν Οἰδίπος, ὑφ'

Οὐκ ἦν τὸ κείνης ἐκθεάσασθαι κακόν·

1952. Note the apparent action of the prototype of Jocasta, as with reference to the resemblance of a hand, which has been so often before pointed

out.

1253. The light between the opposite masses of shadow in the moon, of which light the person of Jocasta is constituted, is now to be taken as the πυλαι, which she bursts open : and as she is situate just between the prototypes of Laïus and of Edipus, she may be aptly considered as the wife of either or of both, (1258,) according to the plot of the play.

Αλλ' εἰς ἐκεῖνον περιπολοῦντ ̓ ἐλεύσσομεν.
Φοιτᾷ γὰρ ἡμᾶς ἔγχος ἐξαιτῶν πορεῖν·
Γυναῖκά τ' 8 γυναῖκα, μητρώαν δ' ὅπε
Κίχοι διπλῆν ἄρεραν, ἔ τε καὶ τέκνων.
Λυσσῶντι δ ̓ αὐτῷ δαιμόνων δείκνυσι τις
Οὐδεὶς γὰρ ἀνδρῶν, οἱ παρῆμεν ἐγγύθεν.
Δεινὸν δ ̓ ἀΰσας ὡς ὑφ ̓ ἡδητᾶ τινὸς,

1265

Πύλαις διπλαῖς ἐνήλατ ̓ ἐκ δὲ πυθμένων 1270
Εκλινε κοίλα κλείθρα, καμπίπτει ςέγη,
Οὗ δη κρεμαςὴν τὴν Γυναῖκ εἰσείδομεν,
Πλεκταῖς ἐώραις ἐμπεπλεΓμένην· ὁ δὲ,
Οπως ὁρᾷ νιν, δεινὰ βρυχηθεὶς τάλας,
Χαλᾷ κρεμαςὴν ἀρτάνην· ἐπεί δε γῇ
Εκειτο τλήμων, δεινὰ δ ̓ ἦν τανθένδ ̓ ὁρᾷν.
Αποσπάσας γὰρ εἱμάτων χρυσηλάτες

1275

1272. If the figure of Jocasta, as drawn in No. 133, ante, be compared with her prototype, that which in the former is introduced as an ornament of her head dress, may be easily conceived to be a rope extending up the side of her head from her neck.