I cite manuscripts from my own collations. Information about most of these manuscripts, and explanation of the symbols by which I designate them, may be found in A. Turyn, The Byzantine Manuscript Tradition of the Tragedies of Euripides , K. Matthiessen, Studien zur Textüberlieferung der Euripideischen Hekabe , and D. J. Mastronarde and J. M. Bremer, The Textual Tradition of Euripides' Phoinissai . I shall discuss the affiliations and the relative value of these manuscripts on a later occasion. For the (...) present no knowledge of these matters is needed. I refer to modern editions by the names of their editors: Wecklein = N. Wecklein , Wecklein = N. Wecklein , Di Benedetto = V. Di Benedetto , Biehl = W. Biehl , Willink = C. W. Willink , West = M. L. West . Studies refers to my Studies on the Text of Euripides. (shrink)

I cite manuscripts from my own collations. Information about most of these manuscripts, and explanation of the symbols by which I designate them, may be found in A. Turyn,The Byzantine Manuscript Tradition of the Tragedies of Euripides(Urbana, 1953), K. Matthiessen,Studien zur Textüberlieferung der Euripideischen Hekabe(Heidelberg, 1974), and D. J. Mastronarde and J. M. Bremer,The Textual Tradition of Euripides' Phoinissai(Berkeley, 1982). I shall discuss the affiliations and the relative value of these manuscripts on a later occasion. For the present no knowledge (...) of these matters is needed. I refer to modern editions by the names of their editors: Wecklein = N. Wecklein (Leipzig, 1890), Wecklein (1906) = N. Wecklein (Leipzig and Berlin, 1906), Di Benedetto = V. Di Benedetto (Florence, 1965), Biehl = W. Biehl (Leipzig, Teubner, 1975), Willink = C. W. Willink (Oxford, 1986, 1989 [with Addendis Addenda]), West = M. L. West (Warminster, Aris and Phillips, 1987).Studiesrefers to myStudies on the Text of Euripides(Oxford, 1981). (shrink)

The first choral ode of Euripides' Supplices, or the Parodos if that term can be used for an ode which is not an ‘entry’, ends with two stanzas of lyric-iambic threnody, following four stanzas of supplication in ionic metre As Collard comments, this structure is broadly similar to, and very possibly modelled upon, A. Pers. 65–114, 115–39. But there is an important difference here: prima facie, the ‘further∕different concerted lament’ in 71ff. is sung and performed by the πρсπολοι mentioned in (...) 72, ‘taking over’ in a kind of antiphon to the Seven Mothers'lamenting κεсα. (shrink)

So Pearson. The strange series of hypodochmiacs here and atO.T.1207 ff., with brevis in longo without pause atAj.421 andO.T.1208, seems metrically self-contained, despite their syntactical interdependence (esp.Aj.421–2οὐκέτ' ἄνδρα μὴ | τόνδ' ἴδητ', so that the word-overlap ofοἷονinto iambics in Pearson's text is unlikely.ἑξερῶ μέγαshould therefore be writtenplena scriptura. Thenοἷον οὔτιν' ἁ Τροί|α στρατοῦ…is possible, but the ithyphallic with word-overlap, sometimes found in the syncopated iambics of Aeschylus, is foreign to Sophocles. Divideἐξερῶ μέγα, | οἷον οὔτινα | Τροία…Thenϕίλοι τοῖσδ' ὁμοῦ = (...) οἷον οὔτινα, i.e.δ= hyp., which is not certainly found, and the antistrophe has two syllables extra. (shrink)

The first choral ode of Euripides' Supplices, or the Parodos if that term can be used for an ode which is not an ‘entry’, ends with two stanzas of lyric-iambic threnody, following four stanzas of supplication in ionic metre As Collard comments, this structure is broadly similar to, and very possibly modelled upon, A. Pers. 65–114, 115–39. But there is an important difference here: prima facie, the ‘further∕different concerted lament’ in 71ff. is sung and performed by the πρсπολοι mentioned in (...) 72, ‘taking over’ in a kind of antiphon to the Seven Mothers'lamenting κεсα. (shrink)

Murray's edition ofMedea(1902) made use of five manuscripts: BAVLP. Page (1938) added a sixth, the Jerusalem palimpsest, H. ButMedeais preserved in six more manuscripts (I do not count apographs), which Murray and Page cite rarely or never. I investigate here the value and affiliations of these six and of a fragmentary seventh (F), which they do cite. The seven manuscripts are:O (Florence, Bibl. Laurenziana, 31. 10), late twelfth century2C (Vatican, Vaticano greco 910), fourteenth century; lacks 880–4, 1050 to the end3D (...) (Florence, Bibl. Laurenziana, 31. 15), fourteenth century4E (Athos, Μον⋯ 'Ιβ⋯ρων 209, formerly 161), early fourteenth century; lacks 731–825, 1029–1133, 1339 to the end5F (Venice, Bibl. Nazionale Marciana, gr. 468), c. 1300? Only thehypothesisand lines 1–426. (shrink)

29–33. Phaedra's ἒρως must at first have been without betraying symptoms, by contrast with the change at Trozen to symptoms of νόσος as described in 34–40. We need to be told that explicitly, in preparation for 34ff. and in conjunction with the potentially revealing foundation of a temple to Aphrodite. We therefore need not only Jortin's ὀνομάσουσιν for ὠνόμαζєν in 33, but also my δηλον for ἒκδηλον in 32. The nearby ἒκδηλον in 37 will have played a part in the (...) corruption. (shrink)

Murray's edition of Medea made use of five manuscripts: BAVLP. Page added a sixth, the Jerusalem palimpsest, H. But Medea is preserved in six more manuscripts , which Murray and Page cite rarely or never. I investigate here the value and affiliations of these six and of a fragmentary seventh , which they do cite. The seven manuscripts are: O , late twelfth century2 C , fourteenth century; lacks 880–4, 1050 to the end3 D , fourteenth century4 E , early (...) fourteenth century; lacks 731–825, 1029–1133, 1339 to the end5 F , c. 1300? Only the hypothesis and lines 1–426. (shrink)