[355] When he threatens to shoot Odysseus (vv. 1299 _sqq._). [356] v. 670: εὐεργετῶν γὰρ καὐτὸς αὔτ’ ἐκτησάμην. [357] See Jebb’s 2nd edition (p. xxvii with footnote). [358] _Or._ 52. [359] vv. 936 _sqq._, 987 _sq._, etc. [360] vv. 187-90 (Jebb’s reading and translation). [361] v. 1455. [362] vv. 282-4. Notice also the phrase ξὺν ᾗ (v. 268) used of his malady. [363] Jebb (_Introd._ pp. xl, xli, 2nd ed.) seems unwilling to allow any direct allusions. But see vv. 385 _sqq._, 456 _sqq._, and particularly 1035 _sqq._; all three passages show a peculiar emphasis; vv. 1047-51 are quite in the tone of Thucydides’ “Melian dialogue”. [364] The _arrangement_ of the parts is not certain. But the important fact seems clear that a fourth actor was here used not tentatively (as in other cases) but in a very remarkable degree. Jebb gives: protagonist, Œdipus; deuteragonist, Antigone; tritagonist, Ismene and Creon; fourth actor, “Stranger,” Theseus, Polynices, messenger. Croiset: protagonist, Œdipus; deuteragonist, Antigone; fourth actor, Theseus; all the other parts to the tritagonist. [365] Creon, vv. 854 _sq._; Antigone, v. 1195. [366] v. 106. [367] vv. 1563 _sq._ The same word recurs in Antigone’s lament (v. 1682): ἄσκοποι δὲ πλάκες ἔμαρψαν. [368] Note specially the word τοὐπιεικές (v. 1127) though the idea is of course expressed by the whole play. [369] vv. 670-80 (Jebb’s version). [370] See below, p. 185. [371] σμικρὸς λόγος four times (vv. 569, 620, 1116, 1152), σμικρὸν ἔπος once (v. 443), and ἓν μόνον ἔπος once (v. 1615 _sqq._). Dr. Mackail (_Lectures on Greek Poetry_, p. 150) has indicated this point. See also _Electra_, 415. [372] vv. 670 _sqq._: The parallel I owe to Jebb’s note. [373] vv. 1503 _sq._ [374] _King Lear_, III, iv. [375] vv. 1627 _sq._ Cp. 1 Sam. iii. 10. [376] Deut. xxxiv. 6. [377] Heb. xi. 22. [378] vv. 62 _sq._: “Such ... are these haunts, not honoured in story, but rather in the life that loves them” (Jebb). [379] v. 472. [380] v. 506. [381] vv. 964 _sq._ [382] vv. 1422-5. [383] See Jebb, _Introduction_, pp. xxi _sq._ [384] See his splendid exculpatory speeches to the chorus (vv. 258-91) and to Creon (vv. 960-1013). [385] See pp. 10, 12 _sq._ [386] _Ad Quintum Fratrem_, II, xv. 3. [387] Fr. 344: πόνου μεταλλαχθέντος οἱ πόνοι γλυκεῖς, and fr. 345: μόχθου γὰρ οὐδεὶς τοῦ παρελθόντος λόγος; recall _Æneid_, I, 203: _forsan et haec olim meminisse iuuabit_. [388] _De Subl._ XV, 7: ἄκρως πεφάντασται. [389] For the Recognition-scene of this play, cp. Aristotle, _Poetic_, 1454_b_. [390] _Birds_, vv. 100 _sqq._ [391] These have been published and annotated by Dr. A. S. Hunt (who, with Dr. B. P. Grenfell, discovered these and so many other precious remains) in Vol. IX of the _Oxyrhynchus Papyri_. [392] Welcker thought that the wanderings of Europa formed the subject. [393] The word ῥοῖβδος is inserted as a stage-direction (παρεπιγραφή). It no doubt means that the babe Hermes is playing his lyre “within”.