Prefatory material (argumenta/hypotheseis) for Orestes
Or. Arg. 1: Ancient epitome: ὑπόθεσις Ὀρέστου
1Ὀρέστης τὸν φόνον τοῦ πατρὸς μεταπορευόμενος ἀνεῖλεν Αἴγισθον καὶ Κλυταιμνήστραν· 2μητροκτονῆσαι δὲ τολμήσας παραχρῆμα τὴν δίκην ἔδωκεν ἐμμανὴς γενόμενος. 3Τυνδάρεω δὲ τοῦ πατρὸς τῆς ἀνῃρημένης κατηγορήσαντος κατ’ αὐτοῦ ἔμελλον κοινὴν Ἀργεῖοι ψῆφον ἐκφέρεσθαι περὶ τοῦ τί δεῖ παθεῖν τὸν ἀσεβήσαντα. 4κατὰ τύχην δὲ Μενέλαος ἐκ τῆς πλάνης ὑποστρέψας νυκτὸς μὲν Ἑλένην εἰς ἄστυ ἀπέστειλε, μεθ’ ἡμέραν δὲ αὐτὸς ἦλθεν. 5καὶ παρακαλούμενος ὑπ’ Ὀρέστου βοηθῆσαι αὐτῷ ἀντιλέγοντα Τυνδάρεων μᾶλλον ηὐλαβήθη. 6λεχθέντων δὲ λόγων ἐν τοῖς ὄχλοις ἐπηνέχθη τὸ πλῆθος ἀποκτείνειν Ὀρέστην. 7⟨ ⟩ ἐπαγγειλάμενος αὑτὸν τὸν βίον προΐεσθαι· 8συνὼν δὲ τούτοις ὁ Πυλάδης φίλος αὐτοῦ συνεβούλευσε πρῶτον Μενελάου τιμωρίαν λαβεῖν Ἑλένην ἀποκτείναντας. 9αὐτοὶ μὲν οὖν ἐπὶ τούτοις ἐλθόντες διεψεύσθησαν τῆς ἐλπίδος θεῶν τὴν Ἑλένην ἁρπασάντων· 10Ἠλέκτρα δὲ Ἑρμιόνην ἐπιφανεῖσαν ἔδωκεν εἰς χεῖρας αὐτοῖς, οἱ δὲ ταύτην φονεύειν ἔμελλον. 11ἐπιφανεὶς δὲ Μενέλαος καὶ βλέπων ἑαυτὸν ἅμα γυναικὸς καὶ τέκνου στερούμενον ὑπ’ αὐτῶν ἐπεβάλλετο τὰ βασίλεια πορθεῖν. 12οἱ δὲ φθάσαντες ὑφάψειν ἠπείλησαν. 13ἐπιφανεὶς δ’ Ἀπόλλων Ἑλένην μὲν αὐτὸς ἔφησεν εἰς θεοὺς διακομίζειν, Ὀρέστῃ δὲ ἐπέταξεν αὐτῷ μὲν Ἑρμιόνην λαβεῖν γυναῖκα, Πυλάδῃ δὲ Ἠλέκτραν συνοικίσαι, καθαρθέντι δὲ τὸν τῆς μητρὸς φόνον Ἄργους δυναστεύειν. —MBOVAAaAbCCrFGKMnPcPrRRfRwSSa, XXaXbYYfGrZaZbZcZuAdOx; 1–2 ορεστ[ης … τολμη[ and 10–13 α]υτοιϲ … δυναστευε[ιν] P. Oxy. 2455 = Π
TRANSLATION: Orestes, pursuing (vengeance for) the murder of his father, killed Aegisthus and Clytemnestra. Having dared to commit matricide he paid the penalty immediately, becoming mad. And after Tyndareus, the father of the murdered woman, brought an accusation, the Argives were about to issue a public vote about him, concerning what the man who had acted impiously should suffer. Menealus, by chance having returned from his wandering, sent Helen into the city at night, and himself arrived during the day. When he was called upon by Orestes to help him, he instead showed careful deference to Tyndareus, who was speaking for the opposite. And when the speeches had been made among the rabble, the multitude was aroused to put Orestes to death. ⟨lacuna: e.g., Orestes was allowed to return to the palace⟩ having promised that he himself would commit suicide. Being involved in these events, Pylades, his friend, advised him that they should first take vengeance on Menelaus by killing Helen. So then, they themselves, having gone on their way with this plan, were cheated of their expectation when the gods snatched Helen away, but when Hermione arrived (back at the palace) Electra gave her into their hands, and they were about to kill her. But Menelaus, upon arriving and seeing that he was being deprived of both his wife and his child by them, tried to break into the palace. But they anticipated him and threatened to set fire (to the palace). Apollo appeared and said that he himself was conveying Helen to the gods, and ordered Orestes to take Hermione as wife himself, to give Electra in marriage to Pylades, and to rule over Argos after he had received purification for the killing of his mother.
POSITION: In FG this is between Arg. 2c and Arg. 2b.
APP. CRIT.: heading: εὐριπίδου ὑπόθεσις ὀρέστου ARfXXbYf, ὑπόθεσις τῆς ἠλέκτρας δράματος Xa, εὐριπίδου ὀρέστης C, [ὑ]πόθεσις [ε]ὐριπίδου [τ]οῦ [δ]ευτέρου [δ]ράγματος Ox (rubricator failed to add initial letters), om. AbCrFGYGr; in addition to ὑπόθεσις ὀρέστου, Rw has in larger ornamental lettering ὑπόθεσις εὐριπίδου ἑκάβης | in marg. μαξ Y, an attribution to Maximus Planudes [placed so that the label could apply to arg. 1 or arg. 2a, but it may be assumed to apply to arg. 1] | 1 τὸν τοῦ πατρὸς φόνον K [Π] | μεταπορευόμενος] s.l. ἐκδικῶν B2, μεταπορευόμενος καὶ ἐκδικῶν CrFGPrOx, μετερχόμενος Zb, ἐκδικησάμενος AaAbMnPcRSSa (]πορευομ[ Π1, and space fits μεταπορευόμενος) | αἴγιστον AaCKMnPrZcZaZbZu, a.c. AdOx and perhaps B (ιγισθο in erasure by B3d), αἴγεισθον Rw a.c. [Π] | κλυταιμνή‑ all, as usual in mss (κλυταιμνῆ‑ Rf, κλυτεμν‑ Yf); κλυταιμή- eds. [Π] | after κλυτ. add. τὴν ἑαυτοῦ μητέρα Ad | 2 δὲ om. AbR | δέδωκε τὴν δίκην Za | καὶ add. before ἐμμανὴς F | 3 τυνδάρεως MAaPrRf | δὲ om. FPr(perhaps R a.c.), δὲ παρὰ Zb | τοῦ πατρὸς transp. after ἀνῃρ. Ad | ἐκδικήσαντος Rw (κατηγορή‑ Rw s.l.) | κατ’ αὐτοῦ om. in line, add. in marg. Pc | κατ’ om. CZb, κ’ M | punctuation before, not after, κατ’ αὐτοῦ XbYGr | ἀργεῖοι κοινὴν transp. VACrSaOx, κοινὴν om. Rf | ψῆφον] γνώμην F | ἐκφέρεσθαι om. Ad, ἐκφέρειν ZbZu | περὶ] παρὰ OF | τοῦ] app. τοῦτ before erasure O, τούτου MnPcRSSa | τί δεῖ] AaAbMnPcRSSa, add. s.l. G, om. others | αὐτὸν τὸν ἀσεβ. A, τοὺς ἀσεβήσαντας M | 4 ἐκ om. Ad | ὑποστρ. ἐκ τῆς πλάνης transp. F | ὑποστρέ‑ at end of page (fol. 37v) Za, rest omitted (38r begins with arg. 4) | μὲν om. Y a.c. (s.l. add. p.c.), Ad | εἰς ἄστυ ἀπέστειλε C, ἀπέστειλε V, εἰσαπέστειλε(ν) others, ἀπέστ. εἰς ἄστυ vel εἰς ἄργος ἀπέστ. conj. Diggle (removing hiatus) | αὐτὸς δὲ μεθ’ ἡμέραν transp. BFG | ἡμέρας Ox | αὐτὸς] αὐτῆς Xa, καὶ αὐτὸς AaCrOx | εἰσῆλθε BFGK, ἀνῆλθε V | 5 παρεκαλούμενος Ox | ὑπὸ τοῦ ὀρ. VR | τυνδάρεων τὸν αὐτοῦ πενθερὸν Sa | 6 δὲ] τῶν Pr, δὲ τῶν AaAbPc | ἐν om. Xa | ἐπηνέχθη … προιεῖσθαι] ἐψηφίσθη τοῖς δικασταῖς ἀποκτεῖναι λίθοις ὀρέστην καὶ τὴν ἀδελφὴν αὐτοῦ. καὶ ὃς ἐπηγγείλατο αὐτοχειρίᾳ ἑαυτὸν καὶ τὴν ἀδελφὴν ἀποσφάξαι Zb | ἀπηνέχθη X | ἀποκτεῖναι CrMnSZcZuOx | τὸν ὀρέστην Y | 7 lacuna posited by Porson | ἐπαγγειλάμενος … προιεῖσθαι om. RS | ἐπαγγειλάμενον BAbFPrRwZcZuSaXa, p.c. Gr, ‑μενοι GPr [RS] | ἑαυτὸν BFZc, p.c. Gr, αὐτῷ CrOx, αὐτὸν others [RS] | τὸν βίον Pc, βίον PrAd, ἐκ τοῦ βίου BVFGZc, p.c. G, εἰς τὸν βίον others (ἐπὶ τ. β. Sa) [RS] | 8 ἐπεὶ δὲ συνὼν τούτοις Sa | τούτοις om. CrOx | ὁ om. Zb (and Va, acc. to Diggle) | φίλος om. Y (add. Ya), transp. before ὁ Rf, transp. after αὐτοῦ Aa, ὁ φίλος V, καὶ φίλος Xa, φίλοις Zb | αὐτῶ VF, αὐτοῖς ὢν ἐν τοῖς μάλιστα Zb, ὢν add. s. l. G | συνεβούλευσαν F | τιμ. λαβ. μεν. ἑλ. Pr, τιμ. μεν. λαβ. ἑλ. RfSa, μεν. τιμ. ἑλ. λαβ. G, μεν. τιμ. ἑλ. A | μενέλαον FGMnSZc, Pc a.c. (‑ου p.c.), ου s.l. G | ἀποκτείναντα CrOx, ‑αντες Aa, perhaps ‑αντος Pr | 9 οὖν om. Rf | ἐπὶ τοῦτο εἰσελθόντες Wecklein, (ἐπὶ τούτοις om.) συνελθόντες Ad | ἐλθόντος Yf, om. CrOx | ἐλπίδος κτλ om. Zb (τῆς at end of fol. 32v; a page lost) | διελύθησαν CrOx | 10 ἠλέκτρα … ἐπιφανεῖσαν] τὴν δὲ ἑρμιόνην δείξας ὁ ἀπόλλων MnRS, corr. (with γρ.) R; τὴν δὲ ἑρμιόνην δείξας ὁ ἀπόλλων ἐπιφανεῖσαν Pc, with correct version in marg. γρ. καὶ οὕτως ἠλέκτρα … αὐτοῖς | ἠλέκτραν Y a.c. | ἑρμιόνης F | φανεῖσαν CrOx | ἀπέδωκεν Pr | αὐτοῖς] αὐτῶν V, ἀστοῖς Pc (αὐτοῖς Pcγρ), (]υτοις Π) | after ταύτην add. τὴν ἑρμιόνην MnS | φονεύειν ταύτην transp. O | 11 ἐπιφανεὶς] ἐπιστὰς CrOx | δὲ om. Aa | ὁ μενέλ. VSa, μενέλεως GXa [Π] | αὐτὸν OCrKOx, a.c. S, ἑαυτὸν changed to αὐτὸν Zu (ε[α]υτον app. Π1) | ἅμα καὶ OY [Π] | γυναικὶ MnS, γυναικῶν transp. before ἅμα Rw, γυναικὸς transp. before ἅμα Zu | τέκνου] τέκνων AaAbGKPcRfRw, τέκνω MnS, τέκνον Y, παιδὸς Zu [Π1] | ἐστερημένον AaAbPcR, ‑μένω MnS [Π] | ὑπ’ αὐτοῦ XXbYGr [Π] | ἐπεβάλλετο MCGKZc, ἐπεβάλετο BOAaAbCrPPcPrRSXXaXbYGrAd; ὑπεβάλετο A, ὑπεβάλλετο RwZu, ἐπέβαλε V, ἐπεβούλετο F, ἐπεβουλεύετο Sa [Π] | 12 between οἱ δὲ[ and ]είλησαν Π appears to have has several more letters than the known text; Meccariello suggests it was οἱ δὲ [φθάσαντες ταῦτα] ὑ̣φ̣[ά/ψειν ἠπ]είλησαν; Turner and Diggle suggested the papyrus read κατηπ]ε̣ίλησαν | φθάσαντας Xa, φθείραντες a.c. S | ὑφάπτειν Cr, ὑφάψειν τῶν ἀνακτόρων Sa, ὑφ’ ἕψος Rf | ἠπείλουν AaAbMnPcRS (ὑπεί‑ S) | 13 δ’ Π, δὲ all mss | μέν om. R | αὐτὸς Π, om. all mss | ἔφησεν om. S, ἔφη CrOx (corr. Ox2) | ὀρέστη(ι) BOAAbCrGPcZcOx (conj. Brunck), ὀρέστην others [Π1] | δὲ καὶ Zu | ἐπέτ. … ἑρμιόνην app. Π, ἑρμιόνην ἐπέταξε (αὐτῷ μὲν om.) mss (ἐπ. ἑρμ. transp. KSa, corr. K1c; ἑρ. ἐπέτασσε Rw, ἑρ. ὑπέταξε F) | [λαβεῖ]ν γυνα[ῖκα] ΠAd, γυναῖκα λαβεῖν Xa, λαβεῖν (γυν. om.) others | πυλάδην VGRfZcXa, app. Mn a.c., πυλάδης FZu | ἠλέκτρα(ι) MVAaAbCCrGRRfRwXXaXbYYfGrOx [Π] | συνοικίσαι RfSa (conj. Brunck), om. R, συνοικῆσαι others [Π1] | καὶ καθ‑ VSa [Π] | καθαρθέντα R, Pc p.c.(‑τι a.c.), ‑τας K, ‑τες CrFGOx (‑τι p.c. G), ‑τος S, ‑των XaZcZu, καθαρθέντ() Mn | δὲ (after καθαρθ.) om. Sa | τὸν [τῆς μητρὸς φόνον] or τὸν [φόνον τῆς μητρὸς] Π1, τὸν φόνον (τῆς μητρὸς om.) MOACKPrRfRwSaZaZbYs, τοῦ φόνου VAaAbCrFMnPcRSXZcZuPr1sXXaXbYYfGrAdOx, τῶν φόνων BGR1s, Pc s.l. | ἄργους om. Pc, add. in marg.; transp. after ἔχειν Sa | δυναστευε̣[ιν] Π, ἄρχειν mss (ἔχειν Zc, ἔχειν transp. before ἄργους Sa) | after ἁρχειν add. ἠξιώθη G, ἠξιώθησαν XaZcZu, add. ὁρέστη Ad |
APP. CRIT. 2: 1 initial ὀ of ὀρέστης om. ZaZu, perhaps Ad | ἀνῆλεν Ab | 2 μητροκτόνης app. Ad | παρὰ χρῆμα FPr | 3 ἀνῃρηρημένης a.c. G, ἀναιρημένης Aa | κατιγορ‑ Ad | κινεῖν a.c. Ad | ἀργείοι Mn | 4 εἰς ἀπέστειλεν Ab(‑λε)RfZcZu(‑λλ‑) | μεθημέραν FG | ἦλθε AAaAbCCrZbZuPcPrRRfRwSaZcXbYYfGr | 5 ὑπ’ XaZu, ὑπὸ others | βοηθῆσε Ad | τυνδάρεον Zu, τυνδάρεω Yf | εὐλαβήθη MFGKXXaXbYYfGrZcAd, perhaps Π; ἠβλαβήθη Pr | 6 λόγον Ad | ἀπὸκτεῖνον Ad | ὁρέστην Ad | 8 συνῶν MAd | -ευσεν Ad | μελανέου Rw | ἀπὸκτεῖνανταις Ad | 9 διεψεύστησαν Mn | θεὼν Aa | ἀρπασ‑ Ad | 10 ἡλέκτρα … ἐρμιόνην Ad | 11 ὑπ’ αὐτον Yf(with circumflex on omicron), ὑπ’ αὐτὸν Ad | πορθῆν Ad | 12 ὑφάψην Ad | ἠπίλησαν Xa, ὑπείλησαν Zu | 13 ὁρέστη Ad | ἐπέταξαι Ad | ἑρμηόνην RAd | πηλάδη Ab | ἡλέκτραν Ad | φώνου Ad
PREVIOUS EDITIONS: Meccariello 2014: 253–254; Diggle III.186,1–187,22; Schw. I.92,1–20; Dind. II.3,1–4,12
COMMENT: For Π see Diggle 1989 [= Diggle 1994: 327–340]; Rossum-Steenbeek 1988: 207–208; and Meccariello 214: 252–261. I have not seen the original or images. | For the phrase (7) τὸν βίον προΐεσθαι, see Meccariello, 259, who rightly notes that there are no parallels for ἐκ τοῦ βίου προΐεσθαι, whereas προΐεσθαι τὸν βίον/τὸ ζῆν often refers to voluntary death or suicide. Misunderstanding of ἑαυτὸν as object of the infinitive rather than subject will have led to the addition of εἰς to govern βίον, and ἐκ τοῦ βίου will be a deliberate adjustment of εἰς τὸν βίον intended to restore some kind of sense.
COLLATION NOTES: At 3 περὶ τούτου in S there is a smudge partly covering the superscript final του, but autopsy suggests that this in not a correction (to περὶ τοῦ) but accidental damage. |
Or. Arg. 2a: Hypothesis of Aristophanes of Byzantium: Ἀριστοφάνους γραμματικοῦ ὑπόθεσις
1Ὀρέστης διὰ τὴν τῆς μητρὸς σφαγὴν ἅμα καὶ ὑπὸ τῶν Ἐρινύων δειματούμενος καὶ ὑπὸ τῶν Ἀργείων κατακριθεὶς θανάτῳ, 2μέλλων φονεύειν Ἑλένην καὶ Ἑρμιόνην ἀνθ’ ὧν Μενέλαος παρὼν οὐκ ἐβοήθησε, διεκωλύθη ὑπὸ Ἀπόλλωνος. 3παρ’ οὐδενὶ κεῖται ἡ μυθοποιία. —MBVCAaAbFMnPPcRSSa, XaYYfGZcZu
TRANSLATION: Orestes, on account of the slaying of his mother, at the same time being terrified by the Erinyes and having been condemned to death by the Argives, being on the point of murdering Helen and Hermione because Menelaus, despite his presence, had not helped him, was prevented by Apollo. The plot is not found in anyone else.
POSITION: Arg. 2a is positioned first in FG; it is located in the marginal scholia block beside Arg. 1 (written in the text column) in B; it follows arg. 2b in V, it follows args. 2b–2d in AaAbPcXaZc; added in the marg. in Y (and label μαξ could belong to it rather than arg. 1, but arg. 1 is the more likely reference).
APP. CRIT.: heading: ἀρ. γρ. ὑπ. B, (καὶ prep. Aa) ἄλλως ἀρ. γρ. ὑπ. AaAbPc (in all three placed before Arg. 2b, since 2a is displaced after 2d), ὑπ. ὀρέστου ἀρ. γρ. F, ὀρέστου ὑπ. P, ἄλλως MMnRSSaZu; om. VAaCGPcXaYYfZc. | 1 δὴ διὰ Xa | προσφαγὴν R | ἅμα] ἐμμανὴς app. B3 | first καὶ om. XaZc | δειμαγωγούμενος Zu | καὶ …. θανάτῳ] ἔμελλε φονευθήσεσθαι· καὶ αὐτὸς δὲ P | κατακριθεὶς θανάτῳ om. BFG, καταδικασθεὶς θανάτῳ Y | 2 φονεύσειν P | ἑλ. καὶ ἑρμ.] ἑρμ. καὶ ἑλ. BFG, ἑρμιόνην P, ἑλένην Y | ἐκωλύθη AbPcR, ἐκολήθη MnS | ὑπὸ] ὑπὸ τοῦ BGPXaZc, περὶ τοῦ app. F | 3 παρ’ … μυθοποιία om. XaZcZu | οὐδενὶ] οὐδενὶ δὲ GMnPS, οὐδετέρῳ Dind. | μυθοποιία BFGP, μυθολογία others [XaZcZu] |
APP. CRIT. 2: 1 ἐρινύων MCRS, ἐριννύων others (ἐρ ννύων Ab. with blank space) | 2 ἑρμηόνην R | ἀνθὼν S | ἐβοήθησεν AaAbMnPPcRSY | μυλογία Ab
PREVIOUS EDITIONS: Diggle III.188,23–27; Schw. I.93,1–4; Dind. II.4,14–5,4
COLLATION NOTES: For the second ὑπὸ in 1 S is reported by Diggle to have ἀπὸ; but the breathing is certainly rough, and below the breathing is an upsilon to which the preceding καί compendium is ligatured, creating a somewhat misleading appearance. In 2 F has a very unusual compendium for περὶ, which Diggle doubtfully interpreted as περὶ τοῦ (producing περὶ τοῦ τοῦ), but Pr has an almost identical compendium for περὶ in arg. 1, so I believe F intended simply περὶ.
KEYWORDS: Aristophanes of Byzantium
Or. Arg. 2b: Anonymous comment
1Ἡ μὲν σκηνὴ τοῦ δράματος ὑπόκειται ἐν Ἄργει· 2ὁ δὲ χορὸς συνέστηκεν ἐκ γυναικῶν Ἀργείων, ἡλικιωτίδων Ἠλέκτρας, αἳ καὶ παραγίνονται ὑπὲρ τῆς τοῦ Ὀρέστου πυνθανόμεναι συμφορᾶς. 3προλογίζει δὲ Ἠλέκτρα. —MBVAAaAbCFKMnPcPrRRfRwSSa, XXaXbYYfGGrZcZuAdOx2, (partial) P, CrOx
TRANSLATION: The scene of the drama is set in Argos. The chorus consists of Argive women, age-mates of Electra, who in fact arrive asking about Orestes’ misfortune. Electra speaks the prologue.
POSITION: Arg. 2b follows arg. 1 in BAbFG (as well as in others that omit 2a), follows dram. pers. in CrYfOx, also in P after an interposed metrical note (arg. 7c below). Ox2 adds the full version in the bottom margin of 73v (Ox’s incomplete version is on 74r).
APP. CRIT.: heading: ἄλλως RS, in marg. Mn, ἄλλως ἀριστοφάνους γραμματικοῦ ὑπόθεσις AaAbPc(καὶ prep. Aa; ἀριστοφάνου Pc) | 1 ἡ om. X (ornamental letter not added) | 2 δὲ om. AaPc | ἀργείων] παρθένων CrOx, omitting ἡλικιωτίδων … συμφορᾶς | συνηλικιωτίδων F | ἠλέκτρας om. AaMnS, ἠλέκτρα F, ἠλέκτραν Pc, δι’ ἠλέκτρας ZcZu | 2–3 αἳ καὶ κτλ om. P (adding first sentence of arg. 2c) | 2 αἳ] ἣν F, ἃς Ad | καὶ om. KZcZu | περιγίνονται Aa, παραγίγνονται eds. | ὑπὲρ om. Ab, ὑπὸ RfSa | τῆς om. MnSSa | τοῦ om. MOx2 | 3 δὲ BVCrFGKXZcGr, om. others | ἡ ἠλ. VAbCrPrXXb | after ἠλέκτρα CrOx add ἐλεεινολογοῦσα διὰ τὸν τάνταλον (see arg. 8b); after ἠλέκτρα add. high stop, τέλος, and three-dot punctuation S |
APP. CRIT. 2: 1 δράγματος Ox | 2 χωρὸς Zc | 2–3 ἡλέκτρ‑ in both places Ad, in second place Aa (om. in first) | πυννόμεναι Ab |
PREVIOUS EDITIONS: Diggle III.188,28–31; Schw. I.93,5–8; Dind. II.5,4–7
COMMENT: It is usually assumed that a notice about the composition of the chorus and the prologue-speaker was a standard part of the brief information provided by Aristophanes of Byzantium for each play. I classify this version as anonymous because I judge that the Aristophanic core has been expanded by the later addition αἳ καὶ παραγίνονται κτλ.
KEYWORDS: Aristophanes of Byzantium
Or. Arg. 2c: Anonymous comment
1τὸ δρᾶμα κωμικωτέραν ἔχει τὴν καταστροφήν. 2ἡ δὲ διασκευὴ τοῦ δράματός ἐστι τοιαύτη· 3πρὸς τὰ τοῦ Ἀγαμέμνονος βασίλεια ὑπόκειται Ὀρέστης κάμνων ὑπὸ μανίας καὶ κείμενος ἐπὶ κλινιδίου, ᾧ προσκαθέζεται πρὸς τοῖς ποσὶν Ἠλέκτρα. 4διαπορεῖται δὲ τί δήποτε οὐ πρὸς τῇ κεφαλῇ καθέζεται· 5οὕτω γὰρ ἂν μᾶλλον ἐδόκει τὸν ἀδελφὸν τημελεῖν, πλησιαίτερον προσκαθεζομένη. 6ἔοικεν οὖν διὰ τὸν χορὸν ὁ ποιητὴς οὕτω διασκευάσαι. 7διηγέρθη γὰρ ἂν Ὀρέστης ἄρτι καὶ μόγις καταδραθεὶς, πλησιαίτερον αὐτῷ τῶν κατὰ τὸν χορὸν γυναικῶν παρισταμένων. 8ἔστι δὲ ὑπονοῆσαι τοῦτο ἐξ ὧν φησιν Ἠλέκτρα τῷ χορῷ · ‘σῖγα σῖγα, λεπτὸν ἴχνος ἀρβύλης’. 9πιθανὸν οὖν ταύτην εἶναι τὴν πρόφασιν τῆς τοιαύτης διαθέσεως. —MBVAAaAbCFKMnPcPrRRfRwSSa, XXaXbYYfGaGrZcZuAdOx2, (partial) GbP
TRANSLATION: The drama has its conclusion in a rather comic form. And the theatrical arrangement of the drama is as follows. Adjacent to the palace of Agamemnon Orestes is represented as being ill because of his madness and lying on a bed, and Electra sits beside him at his feet. The question is traditionally asked why indeed she does not sit by his head. For in that way she would seem to take greater care of her brother, by sitting closer to him. Now then, it appears that it is because of the chorus that the poet has arranged things in this way. For Orestes would have been awakened, after just recently and with difficulty having fallen asleep, if the women of the chorus positioned themselves closer to him. One can infer this from what Electra says to the chorus: ‘Quietly, quietly, subtle step of shoe…’. So it is persuasive that this is the reason for such an arrangement.
POSITION: Continued without break from 2b in AAaAbKPcRfYfAd (likewise, from shortened 2b in P); arg. 2c follows arg. 2a and precedes arg. 1 in FG; Ga is the full version after arg. 2a, Gb is a partial version (after arg. 2b) repeating the first lines in a more correct form; added in bottom margin 73r and 74r Ox2.
APP. CRIT.: 1–3 Gb has only τὸ δρᾶμα … κάμνων ὑπὸ μανίας, adding at end ὡς ανωθεν ἔφημεν, as correction of faulty version of Ga | 1 τὸ δὲ BAFGaGb, τέλος τὸ SSa | δὲ add. after δρᾶμα Ad | καταστροφήν] κατασκευήν FSa | 2–9 ἡ δὲ διασκευὴ κτλ om. P | 2 διασκευὴ] κατασκευὴ FSa, p.c. R, σκευὴ a.c. R, διαστροφὴ Rf | τοῦ δράματος] αὐτοῦ BF, αὐτῷ Ga | τοιαύτη] τοιαῦτα B, om. Ga | 3 πρὸς τὰ … βασίλεια] περὶ τοῦ ἀγαμ. βασιλέως Ga | ὑπὸ τῆς μανίας καὶ κείμενος K (conj. Nauck), καὶ κείμενος Sa, καὶ κείμενος ὑπὸ μανίας others (καὶ om. F; ὑπὸ τῆς μ. Zu) | ἐπὶ] ὑπὸ GaSaY | κλινιδίῳ FGa | προκαθέζεται MKRRwSSa (προσ‑ s.l. Sa), and after erasure Ga | 3–4 πρὸς τοῖς … καθέζεται om. S | 3 πρὸ τοῖς MK | ἡ add. before ἠλέκτρα Ox2 | 4 διαπορεῖται] διαπορεῖ GaZu | after δὲ add. τῆσδε Zu | τί] ὅτι Aa | οὐ add, before καθέζεται Rf | καθέζεται om. XXaXbYYfGrOx2 | 5 γὰρ ἂν Wecklein (after Nauck and Kirchhoff), γὰρ C, δ’ ἂν Ad, καὶ Aa, δὲ others | ἐδόκει transp. before μᾶλλον Pr, after ἀδελφὸν K | τοῦ ἀδελφοῦ Mn, s.l. RS | τημελεῖν] φροντίζειν s.l. R, τουμπελεῖν Pr, τὸ μελεῖν Ab | πλησ. προσκαθ. APrXXaXbYYfGrZuAdOx2, πλησ. οὕτω(ς) προ(σ)καθ. MBVCFGaKRfSaZc, οὕτω παρακαθ. πλ. MnRS; οὕτω προκαθ. πλησιαίτερον Rw, οὕτω καθημένη πλησ. AaAbPc) | πλησιέστερον BFMnRRfSZu, πλησιαίστερον SaAd, πλησιώτερον Pra | προσκαθ‑ BAFGaPrXXaXbYZu, προκαθ‑ MCKRfZc, παρακαθ‑ VMnSSa, καθ‑ R, προκαθημένη Rw, καθημένη AaAbPr | 6 οὖν om. F, οὖν ἡμῖν K | διὰ τὸν χορὸν transp. after ὁ ποιητὴς AaAbPcXa; διὰ τὸν χρόνον RfXXbYfGr(corr. s.l. Gu)Ox2, διττὸν χορὸν Zc | οὕτω Ad, conj. Wecklein; om. others | διασκευάσασθαι ZcZu, διασκευάσθαι Ga | 7 διηγέρθησαν SXbYGr(corr. s.l. Gu) | γὰρ ἂν] γὰρ AbFSOx2, ἂν AXbY, δὲ V | ἄρτι] ἄρτιος Ox2,τότε s.l. R, om. Zc | καὶ om. AaAbPc, s.l. add. Pc | μόγις MBVAK, μόλις others | καταδρασθεὶς AbCZc, καταδαρθεὶς FMnSaXXaXbYYfGrZuAdOx2, κοιμηθῆ· καταδραθεὶς S, κοιμηθεὶς add. s.l. AbR, κοιμηθῆ s.l. Mn | πλησιαίτερον] πλησιαίστερον SaXaZu, πλησιέστερον BF, ἐγγὺς VMnRS, om. Ga | αὐτοῦ Pc | τῶν] τῶι MSa, τὸν Zc | κατὰ τὸν χορὸν] τοῦ χοροῦ s.l. Gu, κατὰ χορὸν Ga, κατὰ τὸν χρόνον Pc, a.c. Ox2 | τῶν add. before γυναικῶν RwXbYGr | παρισταμένω Sa, ἱσταμένων K, a.c. Rw, παρ‑ s.l. Rw | 8–9 om. Ox2 | 8 ἡ ἠλέκτρα V, ἡλέκτρα Aa | τῷ χορῷ om. MVACRSa | σῖγα σῖγα GaXXaXbYGr, σίγα σίγα others (both accents A, σίγα σίγᾶ Vc) | λεπτὸν VAaMnRSZc, p.c. Ga, λεκτὸν M, λευκὸν s.l. R, a.c. Ga, others | ἀρβύλην R (ὑποδήματος s.l.), ἀρβύλ() MnSSa, ἀρβύλας Björck | after ἀρβ. add. τιθεῖσα F | 9 πιθανὴν VAbGaMnPcRSSaZu, πιθανὴν οὖν συμβαίνει s.l. Gu | οὖν] οὖν καὶ Zu, δὲ MnS, νοὖν Ad | ταύτῃ εἶναι Ga, εἶναι ταύτην transp. AbFKMnPc(εἶναι om, s.l. add.)PrRSSa, εἶναι φασὶ ταύτην V, εἶναι (ταύτην om.) Aa | ὑποθέσεως F, κατασκευῆς AbPc |
APP. CRIT. 2: 1 δράμα AaMnFKRRfSYZc | 2 κατασκεβὴ Mn | 3 ὁρέστης Ad (also in 7) | κινιδίου Ab | πρὸς καθέζεται Zc | ἡλέκτρα Ad (also in 8) | 4 διαπορεῖται δὲ written twice in A, second instance deleted later | τὴ κεφαλὴ Aa | 5 οὕτω AaRSXXaXbYGr, οὗτος K, οὕτως others | τῆμετεῖν Ad | 6 ἔοικε F, εἴοικεν K | διασκευᾶσαι MnKSSa | 9 πυθανὴν FSa, πιθανεῖν AbR, πυθανὴ S | τιαύτην Ad |
PREVIOUS EDITIONS: Diggle III.188,32–189,42; Schw. I.93,9–19; Dind. II.5,7–6,8
COMMENT: The term διασκευή is more commonly used of rhetorical arrangement or the arrangement or rearrangement (revision) of a text or of a dramatic plot (or the orchestration of non-theatrical events in the manner of a dramatic plot). For reference to theatrical arrangement, that is, staging, the closest parallel seems to be the use of διασκευή in reference to the presence or absence of a chorus in old vs. new comedy in the Prolegomena de comoedia (Sch. Arist. I:IA:13,3 and 10; 41,51 and 56 Koster).
KEYWORDS: comic ending | comedy | staging, setting or props | staging, position or gesture of actors
Or. Arg. 2d: Anonymous comment
τὸ δρᾶμα τῶν ἐπὶ σκηνῆς εὐδοκιμούντων, χείριστον δὲ τοῖς ἤθεσι. πλὴν γὰρ Πυλάδου πάντες φαῦλοι ἦσαν. —MBVAAbCFGKMnPcPrRRwSSa, XXaXbYYfGrZcZuAd
TRANSLATION: The drama is one of those that are (were) much admired on the stage, but it is very bad in its characters. For apart from Pylades they were all inferior (mean, ignoble).
POSITION: arg. 2d follows arg. 2a in B, follows 2b in F, follows repeated first part of 2b in G
APP. CRIT.: τὸ] τὸ δὲ FAd | after δρᾶμα add. κωμικωτέραν ἔχει τὴν καταστροφήν· F, s.l. B2B3 | σκηνῆς MVCRSSa, τῆς σκηνῆς others | εὐδοκιμ-] τῶν δοκιμ‑ Rw | δὲ om. Rw | πάντες] πάνυ Pr | φαῦλοι transp. before πάντες F, after ἦσαν G | φαῦλον ἦσαν Aa, φαῦλοί εἰσιν Nauck, φαῦλοι (ἦσαν del.) Weil |
APP. CRIT. 2: τὸ] ὸ XXa (ornamental initial not added) | δράμα MnRRfSZcAd | εὐδοκιμοῦντον Ad
PREVIOUS EDITIONS: Diggle III.189,43–44; Schw. I.93,20–21; Dind. II.6,9–10
KEYWORDS: popularity | performance | character, critique of
Or. Arg. 3: Anonymous comment
1ἡ κατάληξις τῆς τραγῳδίας ἢ εἰς θρῆνον ἢ εἰς πάθος καταλύει, ἡ δὲ τῆς κωμῳδίας εἰς σπονδὰς καὶ διαλλαγάς. 2ὅθεν ὁρᾶται τόδε τὸ δρᾶμα κωμικῇ καταλήξει χρησάμενον· 3διαλλαγαὶ γὰρ πρὸς Μενέλαον καὶ Ὀρέστην. 4ἀλλὰ καὶ ἐν τῇ Ἀλκήστιδι ἐκ συμφορῶν εἰς εὐφροσύνην καὶ ἀναβιοτήν. 5ὁμοίως καὶ ἐν Τυροῖ Σοφοκλέους ἀναγνωρισμὸς κατὰ τὸ τέλος γίνεται, καὶ ἁπλῶς εἰπεῖν πολλὰ τοιαῦτα ἐν τῇ τραγῳδίᾳ εὑρίσκεται. —MBVCAaCrMnNePrRRwSSaXaXfGuZc, also in PaPkLbXmXuZlZx2
TRANSLATION: The ending of tragedy resolves itself either in lamentation or in suffering, but that of comedy in truce and reconciliation. Therefore this drama is seen to have employed a comic ending. For there is reconciliation between Menelaus and Orestes. But also in Alcestis (the plot moves) from misfortunes to happiness and renewal of life. In the same way also in Sophocles’ Tyro a recognition takes place at the end, and, simply put, many such things are found in tragedy.
POSITION: arg. 3 follows arg. 2a in XaZcXm(all with subscription = sch. 1693.01 following it); in Xu in bottom margin below other arg. and dram. pers.; in MBCAaMnPrRRwZlZx2 it is located at end of play, after τέλος εὐρ. ὀρ. and again with subscription following (except in AaMnPrS); similarly in Cr it is first in a block of three notes after the end of the play (followed by subscription and genealogical note, from Io to sons of Oedipus); in VSGuNePkLb as last sch.; in Sa cont. without punct. from sch. 1691, which is second to last scholion (last is sch. 1680, out of order).
APP. CRIT.: 1 κατάλυσις Sa | τῆς τραγωδίας p.c. Pa, a.c. τοῦ δράματος | (first) ἢ om. Mn | θρήνους Sa | second εἰς om. R | καταλήγει RwNeXaXfXuCrGuZcZl, LbPkZx2 | τῆς κωμ. … διαλλαγάς] κωμωδία γέλωσι καὶ εὐφροσύναις ἐνύφανται GuZl, LbPkZx2 (cf. arg. 5) | (third) εἰς] εἰ M | 2 ὁρᾶτε M2 | τόδε om. CS, transp. after δρᾶμα Gu | κωμικὸν MC, κωμικὴ μὲν Sa, κωμωδικῆ Pr | 3 διαλλαγὰς BRw | γὰρ] δὲ S, om. Rw | ὀρέστην] ὀρέστης Sa, ὀρέστη· προλογίζει δὲ καὶ ἠλέκτρα ὀρέστην XaXf | 4 ἐν] ἐκ app. Lb | ἀλκήστιδι] ἀλκίδι δὲ Xa, app. Xf(ἀλκ and δὲ visible, rest concealed in binding on image) | ἐκ φορῶν Sa | καὶ add. before εἰς Ne | ἀφροσύνην Sa | καὶ ἀναβιοτήν om. AaPr, LbPk | ἀναβίωσιν SaGuZlZx2 | 5 ὁμοίως καὶ] ὁμ. τε καὶ Pa, om. LbPk | ἐν τύρ. ὁμοίως transp. (καὶ om.) MnS, ὅμως καὶ ἐν τῆ ῥήσει Sa | τυροῖ eds., τύροις all (except τοῖς Ne); perhaps read τυροῖ αʹ? | ἀναγνωρισμοῖς Ne, ἀναγνώρισμα Pk, Lb, ἀναγνωρισμὸν a.c. Aa | τέλος] γέλως LbPk | εἰπεῖν om. MnS | τῇ om. VCr | τραγωδίαις Cr |
APP. CRIT. 2: 1 ἡ om. Xa (ornamental letter not added) | 2 δράμα VAaCNeRXaXfZcZl, LbPk, δραμα Rw | καταλίξει Zx2 | 4 ἄλλα a.c. Pk | 4 ἀλκίστιδι VCMnNeSXu, ἀλκήστηδι Pr, a.c. Rw, ἀλκείστιδι Cr | ἀναβιωτήν M, ἀνὰ βιοτὴν Mn, ἀναβιότην S (a.c. ἀναβει‑) | 5 σοφοκλέος NeSa, σοφοκλοῦς R | ἀπλῶς Xf | γίγνεται Pa
PREVIOUS EDITIONS: (as sch. Or. 1691) Schw. I.241,8–14; Dind. II.347,5–11
COMMENT: Matthaie prints Τυροῖ as if in Gu; Dind. reports τύροι for Gu; but Gu has τύροις.
COLLATION NOTES: Yet to be checked: EsLv (reported by Schartau 1973: 81–82 n. 24 to have this item).
KEYWORDS: comic ending | comedy | tragedy | Euripides, Alcestis | Sophocles, Tyro
Or. Arg. 4: Synopsis of Thomas Magister: τοῦ αὐτοῦ σοφωτάτου Μαγίστρου σύνοψις τῆς ὑποθέσεως τοῦ ὑποκειμένου δράματος
1ὅτε κατὰ τῶν Τρώων ἡ Ἑλλὰς ὥρμησεν, Ἀγαμέμνων στρατηγὸς ᾑρέθη τοῦ στόλου παντός, ἅτε προέχειν τῶν ἄλλων δοκῶν ἀρχῆς τε μεγέθει καὶ πλήθει νεῶν. 2ἑκατὸν γὰρ ναῦς εἰς τὴν τοῦ στόλου συντέλειαν οὗτος εἰσέφερε. 3καὶ ὃς μέλλων ἀνάγεσθαι καταλείπει τῶν οἴκοι πραγμάτων αὐτοῦ ἐπιμελητὴν καὶ προστάτην Αἴγισθον. 4ἐπεὶ δὲ πολὺς ἠνύετο χρόνος καὶ Ἀγαμέμνων οὔκετ’ ἐπανῄει, οἷα δὴ πολλὰ γίνεται, συνῆλθεν ἀθέσμως Αἴγισθος Κλυταιμνήστρᾳ, τῇ τοῦ Ἀγαμέμνονος γυναικί. 5μαθόντες δὲ Κλυταιμνήστρα καὶ Αἴγισθος τήν τε Τροίαν ἁλοῦσαν καὶ Ἀγαμέμνονα μετὰ τῶν ἄλλων οἴκαδε πλέοντα, βουλεύονται τοῦτον τῆς οἰκίας ἐπειλημμένον ἀποκτενεῖν, ἵνα μὴ τούτῳ γνωσθέντος τοῦ σφῶν πονηρεύματος αὐτοὶ παραδοθεῖεν θανάτῳ. 6ὃ δὴ καὶ ἤνυσαν, καὶ ἐπανελθόντα τὸν Ἀγαμέμνονα ἀποκτείνουσι. 7χιτῶνα γὰρ μὴ διεξόδους κεφαλῆς καὶ χειρῶν ἔχοντα μετὰ τὸ λουτρὸν ἐνδιδύσκουσι καὶ οὕτω πελέκει τοῦτον φονεύουσι. 8μεταξὺ οὖν τοῦ Ἀγαμεμνονείου φόνου Ἠλέκτρα τὸν ἀδελφὸν Ὀρέστην, ἵνα μὴ καὶ οὗτος ἀναιρεθείη, κλέψασα καί τινι δοῦσα παιδαγωγῷ εἰς Φωκίδα παρὰ Στρόφιον πέμπει, φίλον καὶ συγγενῆ τοῦ πατρὸς αὐτῆς τυγχάνοντα. 9Ὀρέστης δὲ εἰς ἄνδρας ἥκων, παραλαβὼν Πυλάδην τὸν παῖδα Στροφίου, ἐφ’ ᾧ μετ’ αὐτοῦ Αἴγισθον καὶ Κλυταιμνήστραν τιμωρήσαιτο, καταλαμβάνει λάθρα τὸ Ἄργος. 10καὶ χρησμὸν παρὰ τοῦ Πυθίου δεξάμενος τοῦτο ποιεῖν, πρῶτον μὲν ἔρχεται πρὸς τὸν πατρὸς τάφον καὶ θύει, εἶτά τι μηχανᾶται τοιόνδε· 11τὸν γὰρ παιδαγωγὸν, ᾧ παρὰ τῆς Ἠλέκτρας πάλαι πιστευθεὶς ἧκεν, ὡς ἔφημεν, εἰς Φωκίδα, τοῦτον προπέμπει εἰς Αἴγισθον καὶ Κλυταιμνήστραν λέγοντα ὡς Ὀρέστης ἐν Πυθικοῖς ἄθλοις ἀνῃρέθη καὶ νῦν ἄνδρες τὰ τούτου ὀστᾶ ἐν κιβωτίῳ κομίζουσιν, ἵνα πατρῴων γοῦν τάφων τύχῃ. 12ὑπαχθέντες δὲ τῇ τοιαύτῃ ἀπάτῃ Κλυταιμνήστρα καὶ Αἴγισθος, ἵνα μὴ μακρολογῶ, ἀναιροῦνται ὑπὸ Ὀρέστου καὶ Πυλάδου, πρώτη μὲν Κλυταιμνήστρα, ὕστερος δὲ Αἴγισθος. 13μητροκτονήσας τοίνυν Ὀρέστης Ἐριννύσι παραχρῆμα τὴν δίκην ἔδωκε, μανείς. 14Μενέλαος δὲ ἐκ Τροίας ἐλθών, ὕστερος γὰρ Ἀγαμέμνονος ἐπανῆκε, καὶ τῷ Ναυπλίῳ λιμένι προσσχών, νυκτὸς μὲν Ἑλένην προπέμπει πρὸς Μυκήνας, μεθ’ ἡμέραν δὲ αὐτὸς εἰσῄει. 15καὶ τὸν Ὀρέστην μεμηνότα εὑρών, παρακαλεῖται μὲν ὑπὸ Ὀρέστου καὶ Ἠλέκτρας σῶσαι αὐτούς· 16ὁ γὰρ τῆς Κλυταιμνήστρας πατὴρ Τυνδάρεως πάντας Ἀργείους κατ’ αὐτῶν ἐκίνησεν, ἵνα τούτους ὡς μητροκτόνους ἀνέλοιεν· 17ὡς δὲ τὸν Τυνδάρεων ἀντιλέγοντα εὗρε καὶ ἅμα καὶ αὐτὸς ὑπολογιζόμενος ὡς εἰ Ὀρέστης ἀναιρεθείη βασιλεὺς αὐτὸς ἔσται τοῦ Ἄργους, οὐκ ἤθελεν Ὀρέστῃ καὶ τῇ ἀδελφῇ συμμαχεῖν, ἀλλὰ τὸ τῶν Ἀργείων πλῆθος ἔλεγεν εὐλαβεῖσθαι. 18πρῶτον μὲν οὖν Ὀρέστης καὶ Τυνδάρεως διηλέχθησαν πρὸς ἀλλήλους, ὁ μὲν ὡς οὐ δικαίως ἀνείλετο Κλυταιμνήστρα δεικνύς, Ὀρέστης δὲ ὡς καὶ μάλα δικαίως, εἰ καὶ μυριάκις αὐτὴν ἔδει τεθνάναι. 19ἔπειτα ἐκκλησίας ἐν ἀκροπόλει Μυκηνῶν γενομένης καὶ συνιόντων τῶν προυχόντων ἐν Ἄργει, Ὀρέστης ὑπὸ Πυλάδου φοράδην ἐκεῖσε κομίζεται. 20λόγων δὲ πολλῶν γινομένων, καὶ τῶν μὲν βοηθούντων Ὀρέστῃ, τῶν δὲ ἐναντιουμένων, τέλος ἐνίκησαν οἱ κακοί. 21καὶ κατακρίνεται Ὀρέστης αὐτός τε καὶ ἡ ἀδελφὴ λίθοις βληθέντες ἀποθανεῖν. 22Ὀρέστης δὲ ἐπηγγείλατο πρὸς τὸ πλῆθος αὐτοχειρίᾳ ἑαυτὸν καὶ τὴν ἀδελφὴν ἀποσφάξαι. 22καὶ ὁ φίλος Πυλάδης καὶ παρὰ τὴν συμφορὰν φίλος ἔμεινε καὶ κοινωνεῖν αὐτῷ τῆς τελευτῆς ἠξίωσε προθυμότατα. 24ἐπεὶ δὲ σφίσι τοῦτο παθεῖν προύκειτο, συμβουλεύει Πυλάδης Μενέλεω πρῶτον τιμωρίαν λαβεῖν, λέγων ὡς οὐ δεῖ τοῦτον τρυφᾶν ἡμῶν ἀπιόντων. 25ὅθεν εἰσελθόντες εἴσω τῶν βασιλείων, Ἑλένης δῆθεν δεησόμενοι ἵνα μὴ περιίδῃ σφᾶς ὀλλυμένους ἀλλὰ χεῖρα ὀρέξῃ καὶ Μενέλεων καὶ ἄκοντα πρὸς σωτηρίαν κινήσῃ, ἐπεὶ ταύτην φονεύειν ἔμελλον, ταύτης μὲν ἥμαρτον ὑπὸ Ἀπόλλωνος ἁρπασθείσης κελεύσει Διός, Ἑρμιόνην δὲ συλλαμβάνουσιν ἐκ τοῦ τῆς Κλυταιμνήστρας ἐπανηκούσαν τάφου. 26πρώην γὰρ αὐτὴν Ἑλένη πεπόμφει τῇ ἀδελφῇ θύσουσαν. 27λαβόντες δὲ Ἑρμιόνην καὶ ἔνδοθεν τὰς τῶν βασιλείων ἀσφαλίσαντες πύλας ἀνῆλθον ἐν μετεώρῳ τῶν βασιλείων ἔχοντές τε τὴν Ἑρμιόνην καὶ ξίφος πρὸς τῇ δέρῃ αὐτῆς, καὶ μέλλοντες μετὰ τὴν ταύτης διαχείρισιν, ἂν μὴ σφᾶς Μενέλεως σώσῃ, καὶ τοὺς δόμους ὑφάψειν πυρί. 28Μενέλεως μὲν οὖν ὑπὸ τούτων Ἑλένην τεθνάναι μαθών, ἵνα κἂν σώσῃ τὴν παῖδα, ἐλθὼν ἤρξατο πορθεῖν τὰ βασίλεια. 29ἐπιφανεὶς δὲ Ἀπόλλων διήλλαξε τούτους, Ἑλένην μὲν εἰς οὐρανοὺς φήσας διακομίσαι, Μενέλεων δὲ ἑτέραν λαβεῖν κελεύσας γυναῖκα, Ὀρέστῃ δὲ Ἑρμιόνην συνάψαι μετὰ τὴν τοῦ φόνου κάθαρσιν· 30ἧς Ἀθήνησιν ἔτυχε μετὰ Ἐριννύων εἰς Ἄρειον πάγον κριθείς· ὅτε καὶ καταδικασθῆναι μέλλοντα ὑπὸ πάντων θεῶν Ἀθηνᾶ ψῆφον βαλοῦσα νικῆσαι τοῦτον ἐποίησε. 31καὶ οὕτως Ὀρέστης ὕστερον Ἐρμιόνην γυναῖκα λαμβάνει κατὰ τὸ τοῦ Ἀπόλλωνος θέσπισμα, καὶ Ἄργους κρατεῖ, Πυλάδῃ δὲ Ἠλέκτραν δίδωσι, τὴν καὶ πρότερον ὑπ’ αὐτοῦ κατεγγυηθεῖσαν τούτῳ. —ZZaZmTGu
TRANSLATION: When Greece launched its attack against the Trojans, Agamemnon was selected as commander of the entire army, because he seemed to surpass the others in size of realm and number of ships. For he contributed one hundred ships to the complement of the expeditionary force. And being about to depart, he leaves Aegisthus as overseer and guardian of his affairs at home. Since a long time was passing and Agamemnon was still not returning, Aegisthus, as often happens in such cases, unlawfully had intercourse with Clytemnestra, Agamemnon’s wife. When Clytemnestra and Aegisthus learned that Troy had fallen and that Agamemnon was sailing homeward along with the others, they make a plan to kill him once he reaches home, so that they themselves not be put to death when their own sinful behavior became known to him. And this in fact they did accomplish, and they kill Agamemnon when he returned. For they enrobe him after his bath in a garment with no openings for head and arms, and in that condition they murder him with an axe. Now then, in the midst of the killing of Agamemnon Electra, secreting Orestes so that he not be killed too and giving him to a certain tutor, sends him to Phocis to Strophius, who was a friend and kinsman of her father. When he reached manhood, Orestes, taking Pylades the son of Strophius as his companion, returns secretly to Argos in order, with his help, to punish Aegisthus and Clytemnestra. And since he received an oracle from the Pythian god to do this, he first goes to the tomb of his father and makes sacrifice, and then he devises a plan of the following sort. For the tutor to whom he was entrusted long ago by Electra and thus arrived, as we said, in Phocis—this tutor he sends ahead to Aegisthus and Clytemnestra saying that Orestes has been killed in the Pythian Games and now some men are bringing his bones in a chest, so that he may receive at least burial in the tombs of his forefathers. Taken in by such a ruse, Clytemnestra and Aegisthus—not to make the story too long—are killed by Orestes and Pylades, first Clytemnestra and later Aegisthus. Having committed matricide, then, Orestes immediately paid the price to the Erinyes, by having gone mad. And Menelaus, arriving from Troy—for he voyaged homeward later than Agamemnon—, and having landed at the harbor Nauplion, he sends Helen ahead to Mycenae during the night, and he himself enters by day. Having found Orestes suffering from madness, he is entreated by Orestes and Electra so save them. For Tyndareus, the father of Clytemnestra, stirred up all the Argives against them so that they would put them to death as matricides. And when Menelaus found Tyndareus arguing in opposition, and at the same time himself calculating that if Orestes should be killed he himself would be king of Argos, he was unwilling to help Orestes and his sister in their struggle, but he said he was wary of the common people of the Argives. Now, first of all, Orestes and Tyndareus disputed with each other, the latter showing that Clytemnestra was not justly put to death, but Orestes that it was indeed very justly done, even if she were required to die countless times over. Later, an assembly took place on the acropolis of Mycenae and the men who were prominent in Argos came together, and Orestes is brought their with Pylades’ physical assistance. Many speeches being made, and some assisting Orestes and others opposing him, ultimately the wicked ones won out. The verdict is given that Orestes himself and his sister be stoned to death. But Orestes volunteered the promise to the people that he would kill himself and his sister by his own hand. And his friend Pylades remained his friend even during the misfortune and with great eagerness considered it right to share with him his death. Once the plan to suffer this was before them, Pylades advises that they first exact vengeance from Menelaus, saying this it is not proper for him to luxuriate while we are leaving life. Therefore, entering the palace—as if they were going to entreat Helen not to allow them to perish but to lend a helping hand and incite Menelaus, even against his will, to save them—, when they were on the point of killing her, they failed to strike her because she was snatched away by Apollo at the command of Zeus; but they seize Hermione as she was returning from the tomb of Clytemnestra. For earlier on Helen had sent her to make offerings to her sister. Having captured Hermione and secured the gates of the palace from inside, they went up to the roof of the palace with Hermione and with a sword at her neck, also intending after killing her, if Menelaus does not save them, even to set the house on fire. Now then, Menelaus, having learned that Helen had died at their hands, having come to save at least his child, began to demolish the palace. But Apollo suddenly appeared and reconciled them, saying that he had conveyed Helen to the skies and ordering Menelaus to take another wife and to join Hermione in marriage to Orestes after he is purified of the murder. Which purification he obtained in Athens after being put on trial at the Areopagus with the Erinyes, when, even as he was about to be condemned by all the gods, Athena cast a ballot and caused him to triumph. And thus Orestes later takes Hermione as wife in accordance with the utterance of Apollo and he rules Argos, and to Pylades he gives Electra, who had even earlier been betrothed by him to that man.
APP. CRIT.: heading thus in T (αὐτοῦ σοφωτάτου om. Ta); ἡ ὑπόθεσις τοῦ δράματος ἔστι τοιαύτη Zm; om. ZZaGu | 1 παντὸς τοῦ στόλου transp. Gu | 2 ἑκατὸν] ρ̅ ZZa | 5 ἀποκτανεῖν ZZa | 6 κτείνουσι, ἀπο add. s.l. Za | 7 κεφαλῆς καὶ χειρῶν] χειρῶν καὶ κεφαλῆς ZZa; om., s.l. add. Zm | καὶ οὕτω πελ. τ. φον.] TZmmargGu(ἐν τῷ in place of οὕτω); om. ZZaZm | 8 γοῦν Gu | ἵνα μὴ om., μὴ s.l. add. Za | 9 πυλάδην om., s.l. add. Zm | τιμωρήσασθαι Za | 10 τοῦ om. ZZa | 11 εἰς τὴν φωκίδα Gu | γοῦν om. Zm | 12 πρῶτον … ὕστερον ZZa also | (second) Αἴγισθον Z | 14 προσσχὼν Matt., προσχών all | προπέμπει ZZa | 15 ὑπὸ Ἠλέκτρας καὶ Ὀρέστου ZZa | 16 κλυταιμνήστρας] ἑλένης ZZa | 17 ὡς εἰ ] ὡς καὶ Z, ὡς καὶ εἰ Za | 18 διηλ‑ ZZaZmT, a.c. Gu, διειλ‑ p.c. Gu, Ta; διελέχθησαν Matt. | Κλυταιμνήστρα all, ‑αν Matt., Dind. (see Comment below) | (second) ὡς (before καὶ μάλα) om., s.l. add. Gu | 20 γενομένων ZZa | 22 αὐτὸν a.c. Z | 24 τοῦτο σφίσι transp. ZZa | παρὰ Μενέλεω Za | 25 εἰσελθόντων Gu | ὀρέξῃ s.l. Z, ὀρέξαι ZZa | κινῆσαι Za | τάφου ἐπανήκουσαν transp. Gu | 26 θύσουσα ZZa | 27 διαχείρησιν ZZaGu | 28 οὖν om. Gu | 29 τοῦ om. ZZa | 30 βαλοῦσα] λαβοῦσα ZZa, βαλοῦσα s.l. Za | 31 τὸ om. ZZa, s.l. add. Za |
APP. CRIT. 2: 1 ἠρέθη ZaGu | 8 ἀγαμεμνονίου Za | 11 ὀστὰ Z | 14 ναυπλοίῳ ZZa | ἑλλένην Z a.c., Gu | μεθημέραν Ta [not T] | 15 καὶ τὴν ὀρέστην Zm | 17 τυνδάρεω Gu | 19 ἐκκλισίας Z | 25 μενέλαον Za (only μενέλ() Z) | συλλαβάνουσιν Z, συλλαμβάνουσι, ν add. s.l. Za | 29 ἑλλένην Gu | 30 ἔτυχεν Zm | μετ’ ἐριν. Za | ἐρρινύων Zm | 31 ἠλέκτρα Z
PREVIOUS EDITIONS: Dind. II.7,13–9,23
COMMENT: In general I have printed the version in ZmTGu where ZZa differ; it is possible that ZZa present a careless version by Thomas himself that has been made more precise by Triclinius or someone else in the circle, but also possible that ZZa offer a corruption of the other version (note the many other slips in ZZa or in one of the two). | On 18 διηλέχθησαν: augment of this compound verb with ει or η (under the influence of the perfect διειλ‑) is not uncommon in postclassical and Byzantine texts, and one need not correct it here with Matthiae. | On 18 ἀνείλετο Κλυταιμνήστρα: on rare occasions Byzantine writers slip up and use the middle of the strong aorist in a passive sense. That is what Thomas should be assumed to do here (‘Clytemnestra was killed’). There is an exact parallel for the passive sense in a scholion on Or. 991 attested in Mn and R (τότε δὲ οὕτω νικηθεὶς δόλῳ καὶ ἀναιρούμενος κατηράσατο τῷ Μυρτίλῳ γνοὺς τὴν ἐπιβουλὴν, ἵνα ὑπὸ Πέλοπος ἀνέληται, ‘and then [Oenomaus], having thus been defeated by trickery, and being killed, having understood the plot against him, cursed Myrtilus, praying that he be killed by Pelops’). Matthiae and Dindorf emended to make Clytemnestra the accusative object, but the middle ἀνείλετο means ‘pick up’ not ‘kill’ and one would have to emend the verb to ἀνεῖλε. Similarly at Or. 991 Dindorf in his apparatus says ‘immo ἀναιρεθῇ’, taking offense at the Byzantine slip. | On 27: both διαχείρησις and διαχείρισις are found in Sch. Aesch. and Sch. Soph. with the sense ‘killing’; both forms also used in many periods in the more common sense ‘management’.
COLLATION NOTES: According to Turyn, 30, fol. 47r–v of Ang. 14 (T) were written entirely by Triclinius, and the beginning of the Thoman argument was added by him on 46v, a page with text written by the original scribe. The high-quality digital image confirms this (black ink, rounded breathings, that is Tt1 in Diggle’s terms or Tr1 in De Faveri’s). |
KEYWORDS: Thomas Magister |
Or. Arg. 5a: Thoman general note
1ἰστέον δὲ ὅτι πᾶσα τραγῳδία σύμφωνον ἔχει καὶ τὸ τέλος· 2ἐκ λύπης γὰρ ἄρχεται καὶ εἰς λύπην τελευτᾷ. 3τὸ παρὸν δὲ δρᾶμα ἔστιν ἐκ τραγικοῦ κωμικόν, λήγει γὰρ εἰς τὰς παρ’ Ἀπόλλωνος διαλλαγάς, ἐκ συμφορῶν εἰς εὐθυμίαν κατηντηκός. 4ἡ δὲ κωμῳδία γέλωσι καὶ εὐφροσύναις ἐνύφανται. —ZZaZmTGu
TRANSLATION: One should be aware that all tragedy has its ending also consonant (with its tragic nature). For it begins from grief (pain) and ends in grief (pain). But the present play is comic after being tragic, for it ends in the reconciliation brought about by Apollo, thus having arrived at happiness out of misfortunes. But comedy is woven in with laughter and good cheer.
APP. CRIT.: 1 ὅτι om. Za | 2 ἐκ] ἐὰν Z | ἔρχεται Z | 3 γὰρ] δὲ ZZa | συμφορᾶς Zm | 4 γέλωτι ZZa |
APP. CRIT. 2: 3 δράμα Zm
PREVIOUS EDITIONS: Dind. II.9,23–27
COMMENT: An adaptation of arg. 3 above. Cf. the interpolation of 4 γέλωσι καὶ εὐφροσύναις ἐνύφανται into sentence 1 of arg. 3 in Gu and a few others.
KEYWORDS: Thomas Magister | comic ending | comedy | tragedy |
Or. Arg. 5b: Thoman general note
1ἰστέον ὅτι πρὸ τούτου τοῦ δράματος ἔστιν ἁρμόδιον ἀκοῦσαι τινὰ τὸ δεύτερον τοῦ Σοφοκλέους, 2ἐπεὶ ἐκεῖνο μὲν τὴν ἐκδίκησιν Ἀγαμέμνονος ἱστορεῖ ὅπως Αἴγισθον καὶ Κλυταιμνήστραν ἐφόνευσαν, 3τοῦτο δὲ τὴν μετὰ τὸν φόνον ἐκείνων μανίαν Ὀρέστου καὶ τὰ μετ’ αὐτὴν συμβάντα. —ZZa
TRANSLATION: One should be aware that it is suitable that one study before this play the second play of Sophocles (Electra), since that one tells of the avenging of Agamemnon, how they killed Aegisthus and Clytemnestra, while this one tells of Orestes’ madness after killing them and what occurred after the madness.
POSITION: In Z beside lines 1288–1292 of Hecuba on 32v (after a few more lines, an ornament, and the τέλος phrase, arg. 4 begins in bottom half of 32v); in Za on fol. 37v beside the incomplete arg. 1 (of which Za has first 6 lines only, broken off in midword).
APP. CRIT.: ἐκδίκησιν] ἐκκίνησιν Z
COMMENT: The vague ‘they’ of 2 ἐφόνευσαν could suggest Orestes and Electra, Orestes and Pylades, or all three.
KEYWORDS: Thomas Magister | Sophocles, Electra |
Or. Arg. 6: Anonymous general note
σατυρικὸν τὸ δρᾶμα διὸ ἀρχόμενον ἀπὸ θλίψεως καὶ λήγον εἰς χαράν. —GPrYrAd
TRANSLATION: The drama is satyric because beginning from suffering and ending in joy.
POSITION: GPrAd have this after dram. pers. (arg. 8); Y above line 1.
APP. CRIT.: σατ. τὸ δρ.] τὸ δρᾶμα τοῦτο δὲ σατ. Pr, then δὲ app. deleted; τὸ δρᾶμα ἔστι σατ. G; φασὶ τινὲς τὸ δράμα τοῦτο κομικὸν λέγεσθαι Ad | διὸ Y, τὸ Pr, ὡς Ad, om. G | καὶ om. YAd
KEYWORDS: satyr-play | comic ending
Or. Arg. 7: Anonymous general note
εἰς τὴν σύστασιν τῆς τραγικῆς ὑποθέσεως εὐδόκιμόν ἐστι καὶ ἐπιτυχὲς τὸ δρᾶμα, εἰς δὲ τὰ ἤθη τῶν προσώπων ἀδόκιμον. δαιμονᾷ γὰρ Ὀρέστης καὶ ἡ ἀδελφὴ δαιμονῶντι διακονεῖται καὶ ὡς ἐπίπαν τὰ ἤθη τῶν προσώπων ηὐτελισμένα ἐστιν. —Gu2
TRANSLATION: The play is well regarded and successful with respect to the arrangement of the tragic plot, but with respect to the ethical traits of the characters it is disapproved. For Orestes suffers a divinely-inspired madness and his sister attends to him in his madness, and in general the ethical traits of the characters have been made disreputable.
POSITION: This appears in the margin of fol. 27v beside the dram. pers., and is added by a hand later than Gr or Gu.
COMMENT: A rephrasing of arg. 2d.
KEYWORDS: popularity | character, critique of | tragedy |
Or. Arg. 7a: Anonymous general note
1ἐνταῦθα ὁ Εὐριπίδης ἀπὸ τῆς μέσης ὑποθέσεως ἄρχεται. 2παρέλιπε γὰρ τὴν τοῦ Ὀρέστου ἀνατροφήν, ὅπως ἀνετρέφετο παρὰ τοῦ παιδαγωγοῦ εἰς τὸν Στροφίου οἶκον τοῦ πατρὸς τοῦ Πυλάδου· 3φίλος γὰρ ἦν τοῦ Ἀγαμέμνονος ὁ Στρόφιος· 4καὶ ὅπως μηχανήσαντες ἀπῆλθον εἰς τὴν Κλυταιμνήστραν ὅ τε Ὀρέστης ⟨καὶ⟩ ὁ Πυλάδης καὶ παιδαγωγὸς φέροντες ταύτῃ καὶ κιβώτιον πεπληρωμένον τῆς κόνεως τοῦ Ὀρέστου. 5μέμνηται δὲ τούτου ὀ Σοφοκλῆς, καὶ οὗτος ἐν ἑτέρῳ δράματι. —Yf
TRANSLATION: Here Euripides begins from the middle of the story. For he omitted the upbringing of Orestes, (namely) how he was brought up by the pedagogue at the house of Strophius, the father of Pylades. For Strophius was a friend of Agamemnon. And (he also omitted) how, by a contrivance, Orestes and Pylades and a tutor came back to Clytemnestra bringing to her as well a little chest filled with the ashes of Orestes. Sophocles mentions this story, and this poet (Euripides) does so in another play.
POSITION: This follows arg. 2a in Yf.
APP. CRIT.: 4 ⟨καὶ⟩ ὁ Matt. (misreported by Dind.) | ταύτῃ Dind., ταύτην Yf | κιβώτιον Matt., κιβωτίου Yf
PREVIOUS EDITIONS: Dind. II.6,12–7,7; Matt. VI.137
COMMENT: ἐν ἑτέρῳ δράματι must be a reference to Euripides’ Electra, indicating that this note comes from a milieu in which the alphabetic plays were known (mostly likely in the circle of Triclinius where L and P were produced).
KEYWORDS: prologue technique | Sophocles, Electra | Euripides, Electra
Or. Arg. 7b: Anonymous general note
1ἔθος τοῖς τραγικοῖς τὸ ἐν προοιμίῳ ὡς ἐν ὀλίγῳ παραδηλοῖν τοῦ ὅλου δράματος τὴν ἔννοιαν, ὡς καὶ ἐνταῦθα ποιεῖ ὁ Εὐριπίδης καὶ πανταχοῦ. 2τὸ δὲ δρᾶμα τῆς Ἑκάβης καὶ τοῦ παρόντος δράματος τὸ τέλος ἀπὸ πένθους ἄρχονται καὶ λήγουσιν εἰς χαράν. —Yf
TRANSLATION: It is the customary practice of the tragedians to suggest in the opening, as in a small compass, the basic idea of the entire play, as Euripides does both here and everywhere. The play Hecuba and the end of the present play begin from grief and end in joy.
APP. CRIT.: 1 παραδηλοῦν (silently) Matt., but in late Greek infinitives such as δηλοῖν, ζηλοῖν, κατορθοῖν, ἀναπληροῖν, βιοῖν, βεβαιοῖν, ἐκτυφλοῖν are attested. |
PREVIOUS EDITIONS: Dind. II.7,8–11; Matt. VI.137
COMMENT: From the generalization that follows, it seems that προοίμιον here may refer to the prologue as a whole rather than just the opening lines of Electra’s speech, as in sch. 1.02, 1.12. | The mention of Hecuba is odd (is it a corruption or a sign of an inferior teacher?); Alcestis is the play that is usually paired with Orestes in remarks about a happy or ‘comic’ ending.
COLLATION NOTES: Matthiae and Dindorf present arg. 7a and 7b as one text, neglecting Yf’s separation of them with three-dot punctuation and cross at end of 7a, while 7b begins on a new line with prefixed cross. |
Or. Arg. 7c: Anonymous metrical note
1ἔχει δὲ τὰ μέτρα οὕτω· 2τὸ [Phoen. 239] ‘νῦν δὲ μοι πρὸ τειχέων’ δίμετρον τροχαϊκόν· 3τὸ [Or. 1389, Phoen. 1530] ‘ὀττοτοί’ διποδία τροχαϊκή· 4καὶ μέχρι μὲν τῶν Πυλάδου λόγων [Or. 729] ἰαμβικόν· 5τοὐκεῖθεν δὲ τροχαϊκὸν τετράμετρον καταληκτικόν· 6καὶ ἔνθα Ὀρέστης καὶ Φρὺξ διαλέγονται [Or. 1506–1536], τὸ αὐτὸ τηρεῖται μέτρον. —P
POSITION: This follows arg. 2a and precedes arg. 2b in P.
APP. CRIT.: δίμετρον] τρίμετρον P
COMMENT: Phoen. 239 is generally a lecythion in the manuscripts, which is a dimeter, so P’s τρίμετρον is likely to be a careless scribal error. | Triclinius’ analysis of Or. 1389 in T treats ἐριννύν· ὀττοτοῖ as a brachycatalectic iambic dimeter; at Ph. 1530 in T he creates an anapaest by writing ὀτοτοῖ ὀτοτοῖ.
Or. Arg. 8a: Dramatis personae
τὰ τοῦ δράματος πρόσωπα· Ἠλέκτρα, Ἑλένη, χορός, Ὀρέστης, Μενέλαος, Τυνδάρεως, Πυλάδης, ἄγγελος, Ἑρμιόνη, Φρύξ, Ἀπόλλων. —MBOVAAaCCrFGKMnPPcPrRRwSSa, XXaXbYYfGrZcZuAdOx
APP. CRIT.: Correct order of names in OPZc and Xa(om. φρύξ, add. καὶ before ἀπ.); also correct in the Thoman version (arg. 9) in ZZmT. The order in the others (except CrOx) is essentially ἠλ. πυλ. ἑλ. ἄγ. χο. ἑρ. ὀρ. φρ. με. ἀπ. τυ., derived from reading across the successive rows of two columns of names rather than reading down the first column and then down the second column. Minor deviations from the second pattern: A omits ἠλ.; MnRRwS transp. ἑλ. πυ.; Zu transp. τυ. ἀπ.; Sa transp. πυ. after ἀπ.; καὶ add. before τυ. AaRwSa; G has ἠλ. ἑλ. πυλ.. ἄγ. χο. ὀρ. με. ἑρ. τυ. φρ. ἀπ.; XAd omit first letter of every name (decorated initials never added); Y2, repeating the list in the bottom margin, omits τὰ τοῦ δρ. πρ. and transp. με. τυ. to follow ἑλ. CrOx present a unique order, correct at beginning and end but scrambled in the middle: ἠλ. ἑλ. χορὸς ἐκ παρθένων γυναικῶν ὀρ. πυ. ἑρ. τυ. με. ἀγ. φρ. ἀπ. | Zc has ἀπὸ τοῦ διὸς τάνταλος between ἄγγελος and ἑρμιόνη in the penultimate line of the dram. pers.; the phrase probably belongs with the genealogical diagram that is written in the left margin. | Ab follows the dram. pers. (at bottom of recto, with line 1 of play at top of verso) with ἠλέκτρα λέγει ταῦτα.
APP. CRIT. 2: δράγματος Ox |
COLLATION NOTES: Mn has dram. pers. twice, once on 7v and again on 8v, with no differences between the two. |
Or. Arg. 8b: Prologue-speaker notation
προλογίζει Ἠλέκτρα ὡς ἀδελφὴ Ὀρέστου ἐλεεινολογοῦσα διὰ τὸν Τάνταλον. —AaAbMnPcRRfS, CrXaOxAd
POSITION: after 8a in MnRRfSXa (Mn has 8a twice, and 8b twice as well; Xa has it twice, after 8a and again at top of next page above line 1); in CrOx after the first sentence of 2b (which follows 8a in CrOx); in Aa at bottom of fol. 38r after a page of scholia, and preceding 8a at top of fol. 38v; in AbPc after 2a and before 8a; after play title and within ornamentation Ad.
APP. CRIT.: δὲ ἡ add. after προλογίζει CrOx, ἡ add. Mn(first location)RfXa(both places) | ὡς ἀδελφὴ ὀρέστου ἐλ. om. RfXaAd, ὡς ἀδ. ὀρέστου om. CrOx | ἐλεεινοῦσα AaAbPc |
APP. CRIT. 2: προγίζει R, s.l. ἤγουν προλέγει R; πολογίζει Ad | ἡλέκτρα AaAd |
Or. Arg. 9: Thoman Dramatis personae
1ἡ μὲν σκηνὴ τοῦ δράματος ὑπόκειται ἐν Ἄργει· 2ἔστι δὲ τὰ τούτου πρόσωπα· 3Ἠλέκτρα προλογίζουσα ἐν τοῖς τοῦ πατρὸς βασιλείοις τε οὖσα καὶ παρακαθημένη Ὀρέστῃ καθεύδοντι, Ἑλένη, χορὸς ἐξ ἐπιχωρίων γυναικῶν αἳ παραγίνονται πρὸς Ἠλέκτραν πυνθανόμεναι περὶ τῆς τοῦ Ὀρέστου συμφορᾶς, Ὀρέστης Μενέλαος Τυνδαρεως Πυλάδης ἄγγελος Ἑρμιόνη Φρὺξ Ἀπόλλων. —ZZaZmT
APP. CRIT.: 1 βασιλείοις] βασιλέως Za, βασιλ() Z | 3 παρεγένοντο Za, παραγίνονται intended by Za s.l.
COMMENT: Thomas mixes in small details from older arg.: cf. arg. 2b for sentence 1 and for the relative clause about the chorus in sentence 3; arg. 2c for the specific location and Electra’s posture in sentence 3.
COLLATION NOTES: Diggle’s OCT lists the dram. pers. in Ang. 14 as Tz, but this is an oversight. Fol. 47v is entirely by Triclinius. See remarks above on arg. 4. |