Sophocles – Ajax

Speaker: Ἀθήνα

Original: ἀεὶ μέν , ὦ παῖ Λαρτίου , δέδορκά σε πεῖράν τιν’ ἐχθρῶν ἁρπάσαι θηρώμενον ·

Translation: I have indeed seen you , son of Laertes , attempting to snatch a certain wound from your enemies while you are hunting .

Note

The sentence employs the perfect active indicative δεδόρκα (from δέρομαι, though here functioning as a perfect of seeing, often with a nuance of 'having seen' or 'witnessing') to express a completed action with present relevance. The particle μέν is used here in a non-contrastive sense, often found in direct address to add emphasis or solemnity ('indeed' or 'truly'). The vocative construction 'ὦ παῖ Λαρτίου' highlights the addressee's lineage. The syntax features an accusative and infinitive construction (σε ... ἁρπάσαι) functioning as the object of the verb of seeing, where the subject of the infinitive (σε) is in the accusative case. The participle θηρωμένον (hunting) is a present middle/passive participle agreeing with σε, indicating the manner or time of the action. The phrase 'πειρὰν τιν' ἐχθρῶν' uses the noun πειρά (meaning 'trial', 'attempt', or 'wound' in a martial context, here likely 'wound' or 'blow') with the adjective τιν' (some/certain) to specify the nature of the target. The genitive plural ἐχθρῶν (of enemies) modifies πειρὰν. The use of the aorist infinitive ἁρπάσαι (to snatch) alongside the present participle θηρωμένον creates a dynamic image of the subject in the act of hunting, attempting to seize an opportunity or deliver a blow. The sentence captures a moment of martial valor and observation.

Speaker: Ἀθήνα

Original: καὶ νῦν ἐπὶ σκηναῖς σε ναυτικαῖς ὁρῶ Αἴαντος , ἔνθα τάξιν ἐσχάτην ἔχει , πάλαι κυνηγετοῦντα καὶ μετρούμενον ἴχνη τὰ κείνου νεοχάραχθ’ , ὅπως ἴδῃς εἴ -τ’ ἔνδον εἴ -τ’ οὐκ ἔνδον .

Translation: And now , I see you at the ships of Ajax , where you hold the last post , having long hunted and measured the tracks of that man freshly cut , so that you may see whether he is inside or not .

Note

The sentence employs a vivid present participle construction (παλαι κυνηγοντα kai metroumenon) to depict the speaker's (Teucer's) observation of Ajax's prolonged, futile search for his brother. The phrase νεοχαράχθ' (neocharachth') is a striking poetic compound meaning 'freshly cut' or 'newly traced,' emphasizing the immediacy of the tracks Ajax is following. The syntax features a final clause introduced by ὅπως (hopōs) with the aorist subjunctive ἴδης (idēs), indicating the purpose of the search. The sentence concludes with a classic chiasmus in the alternatives εἴτ' ἔνδον εἴτ' οὐκ ἔνδον (whether inside or not), where the negative particle οὐκ is juxtaposed with the affirmative adverb ἔνδον to create a balanced, binary opposition typical of Greek tragic rhetoric. The use of ναυτικαῖς (nautikais) as an adjective for σκηναῖς (skēnais) refers to the ships, a metonymic usage common in tragedy where the ship itself is treated as a dwelling or tent-like structure.

Speaker: Ἀθήνα

Original: εὖ δέ σ’ ἐκφέρει κυνὸς Λακαίνης ὥς τις εὔρινος βάσις .

Translation: And yet you are being carried away like the firm foundation of a Spartan bitch .

Note

This sentence features a striking and ironic simile comparing a person (Ajax) to the 'foundation' (basis) of a 'Spartan bitch' (a dog). The term 'foundation' (basis) is used metaphorically to suggest stability or an unshakeable base, yet the comparison to a 'bitch' (kuōn) introduces a vulgar and degrading element, likely highlighting the speaker's scorn or the absurdity of the situation. The use of 'Spartan' (Lakainēs) evokes the reputation of Spartan dogs, known for their ferocity and loyalty, but here it serves to intensify the insult. The sentence employs asyndeton (the omission of conjunctions) to create a rapid, forceful rhythm, emphasizing the contrast between the stability implied by 'foundation' and the lowly nature of the 'bitch.' The word 'and yet' (eu̓̓ de) introduces a转折 (turn) in the discourse, suggesting a contrast with a previous statement or expectation. The phrase 'like the firm foundation' (hōs tis eurinos basis) uses a comparative structure that is both vivid and paradoxical, as a foundation is typically associated with strength and permanence, while a bitch is a common, lowly animal. This juxtaposition creates a powerful literary effect, blending imagery of stability with vulgarity to convey a complex emotional tone.

Speaker: Ἀθήνα

Original: ἔνδον γὰρ ἁνὴρ ἄρτι τυγχάνει , κάρα στάζων ἱδρῶτι καὶ χέρας ξιφοκτόνους .

Translation: For inside the house a man is just now present , his head dripping with sweat and his hands , killers of men .

Note

The sentence employs a present participle (σταζων) in an adverbial function to describe the physical state of the subject simultaneously with the main verb (τυγχανει), creating a vivid, immediate picture of the man's agitation. The adjective ξιφοκτόνους (sword-slaying) is a compound epithet placed in apposition to χεράς; this specific compound is a hallmark of tragic diction, emphasizing the martial and bloody nature of the figure. The syntax creates a striking contrast between the mundane action of sweating and the violent imagery of 'sword-slaying' hands. The sentence structure relies on the conjunction καί to link the two physical descriptors (head and hands) without repeating the participle, a form of asyndeton within the coordinate phrase that accelerates the rhythm of the description.

Speaker: Ἀθήνα

Original: καί σ’ οὐδὲν εἴσω τῆσδε παπταίνειν πύλης ἔτ’ ἔργον ἐστίν , ἐννέπειν δ’ ὅτου χάριν σπουδὴν ἔθου τήνδ’ , ὡς παρ’ εἰδυίας μάθῃς .

Translation: And now there is no longer any business for you to look within this gate ; but speak , for the sake of which haste you have undertaken this , as one who learns from a knower .

Note

The sentence employs a clear asyndeton between the two main clauses, separated only by a comma, creating a sharp shift from prohibition to command. The phrase 'οὐδὲν... ἔργον' (no business/work) functions idiomatically to denote a lack of purpose or necessity. The genitive construction 'ὅτου χάριν' (for the sake of which) with the relative pronoun 'ὅτου' (from 'ὅστις') introduces a causal clause explaining the motivation behind the 'σπουδήν' (haste/effort). The final clause 'ὡς παρ’ εἰδυίας μάθῃς' uses a participle 'μάθῃς' (having learned) with 'παρ’' (from) to create a simile or manner adverbial meaning 'as one learning from a knower.' The genitive 'εἰδυίας' (from 'ὀ̓δα', to know) is a perfect active participle functioning as a noun, meaning 'the knower' or 'one who knows,' which is a common construction in Greek where the perfect participle of 'ὀ̓δα' acts as a substantive for 'knowledge' or 'the knowledgeable person.' The use of 'ἔτ’' (still/any longer) in the negative context emphasizes the finality of the prohibition.

Speaker: Ὀδυσσεύς

Original: ὦ φθέγμ’ Ἀθάνας , φιλτάτης ἐμοὶ θεῶν , ὡς εὐμαθές σου , κα- κἂν ἄποπτος ᾖς ὅμως , φώνημ’ ἀκούω καὶ ξυναρπάζω φρενὶ χαλκοστόμου κώδωνος ὡς Τυρσηνικῆς .

Translation: O voice of Athena , most dear to me of all the goddesses , how easily I hear your sound and snatch it up with the mind of the bronze-tongued bell , just as it is of the Tyrrhenians .

Note

The sentence opens with an apostrophe to Athena (φθεγμ’ Αθανας), addressing the 'voice' or 'utterance' rather than the goddess directly, a poetic metonymy. The phrase 'most dear to me of all the goddesses' (φιλατάτης εμοι θεων) uses a superlative adjective in the feminine genitive to agree with Athena, emphasizing the speaker's intense devotion. The syntax shifts to a statement of perception: 'how easily I hear' (ως ευμαθες σου ακουω), where 'easily' (ευμαθες) functions adverbially. The verb συναρπάζω (snatch up/seize) conveys a violent or urgent mental action, suggesting the speaker is mentally grasping the divine voice with great intensity. The final simile compares the speaker's mind (φρενί) to the bell of a bronze-tongued Tyrrhenian (χαλκοστόμου κώδωνος ως Τυρσηνικής). This is a striking metaphor: the 'mind' is likened to a bell that resonates with the sound of the voice, and the 'bronze-tongued' (χαλκοστόμου) attribute of the bell suggests a loud, metallic, and perhaps harsh or piercing quality, contrasting with the usual softness associated with divine voices. The use of 'Tyrrhenian' (Τυρσηνικής) refers to the Etruscans, known for their bronze bells and metalwork, adding a specific cultural and auditory texture to the image. The sentence employs asyndeton in the list of attributes and a complex chiasmus-like structure in the comparison, linking the internal mind to the external bell. The overall tone is one of ecstatic or desperate reception of a divine message.

Speaker: Ὀδυσσεύς

Original: καὶ νῦν ἐπέγνως εὖ μ’ ἐπ’ ἀνδρὶ δυσμενεῖ βάσιν κυκλοῦντ’ , Αἴαντι τῷ σακεσφόρῳ ·

Translation: And now you have perceived that I am well placed upon the enemy 's foundation , circling — Ajax , the shield-bearer .

Note

The verb ἐπέγνως (aorist of ἐπιγιγνώσκω) carries the specific nuance of 'coming to know' or 'perceiving' a situation, often implying a realization of a fact that was previously hidden or misunderstood. The phrase ἐπ' ἀνδρι δυσμενἐ βἀσιν κυκλοῦντ' employs a vivid military metaphor: the speaker describes himself as encircling (κυκλοῦντ') an enemy 'foundation' (βἀσιν), which in a military context refers to the enemy's position, camp, or stronghold, suggesting a tactical advantage or a siege. The use of the present participle κυκλοῦντ' with the accusative object βἀσιν creates a dynamic image of movement and containment. The sentence concludes with an appositive phrase, Αἴαντι τὠ σακεσφὀρὠ, identifying the speaker. The epithet σακεσφὀρος ('shield-bearer') is a significant cultural marker for Ajax, referencing his primary martial attribute and his role as a defensive bulwark in battle. The vocative case Αἴαντι directly addresses the listener (likely Athena or a chorus member), creating an immediate rhetorical connection.

Speaker: Ὀδυσσεύς

Original: κεῖνον γάρ , οὐδέν’ ἄλλον , ἰχνεύω πάλαι .

Translation: For I am tracking him only , no one else , for a long time .

Note

The sentence features the causal particle γάρ (for), which provides an explanation or justification for a preceding statement, typical of Sophoclean dramatic dialogue where characters clarify their motives. The verb ιχνεύω (to track, pursue) is in the first person singular present indicative active, indicating an ongoing action. The object is emphasized by the anaphoric structure κείνον (that one) and αλλὀν (another), separated by the negation οὐδείς (no one) in the accusative, creating a strong contrast: 'him only, no one else.' The adverb πἀλαι (for a long time, long ago) modifies the verb, highlighting the duration of the pursuit. The use of parentheses or commas around the negative phrase underscores the exclusivity of the pursuit. This construction reflects the intensity of Ajax's determination and the singular focus of his action.

Speaker: Ὀδυσσεύς

Original: νυκτὸς γὰρ ἡμᾶς τῆσδε πρᾶγος ἄσκοπον ἔχει περάνας , εἴπερ εἴργασται τάδε ·

Translation: For night holds us now with no limit to the task at hand , if indeed these things have been accomplished .

Note

The sentence features the adverbial accusative of time (νυκτός, 'of the night') functioning adverbially to denote the time of the action, a common construction in poetic Greek. The verb ἔχει ('holds') is used with the accusative object ἡμᾶς ('us') and the adverbial participle περαινῶν ('bringing to an end/limiting'), creating a semantic contrast between the confinement of the night and the potential completion of the task. The demonstrative οὗτος (τῆσδε, ταῦδε) points to specific, immediate actions, likely referring to the murder of the livestock that Ajax has just committed. The conditional clause introduced by εἴπερ ('if indeed') adds a tone of grim certainty or rhetorical emphasis, suggesting that the completion of the deed is so apparent that the night's limit is now the only remaining constraint. The syntax reflects the dramatic tension of the scene, where the natural limit of the night is juxtaposed with the moral and practical limits of the character's actions.

Speaker: Ὀδυσσεύς

Original: ἴσμεν γὰρ οὐδὲν τρανές , ἀλλ’ ἀλώμεθα ·

Translation: For we know nothing clearly , but we perish .

Note

This sentence exhibits a striking antithesis between intellectual clarity ('knowing clearly') and physical destruction ('perishing'). The adverb 'τρανεῖς' (clearly, openly) modifies the verb 'ἴσμεν' (we know), functioning as a predicative adverbial. The conjunction 'γὰρ' (for) indicates that this statement provides a reason or justification for a preceding assertion. The sentence employs asyndeton in the second clause, omitting a conjunction before 'ἀλλ᾽' (but) to create a sharp, abrupt contrast between the limitation of human knowledge and the certainty of fate or death. The use of the perfect active 'ἴσμεν' contrasts with the present middle 'ἀλώμεθα' (we are being overcome/perish), highlighting a state of being versus an ongoing process of destruction.