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Tiresias: The Ancient Mediterranean Religions Source Database



10410
Sophocles, Electra, 885-919


nanI have it on my own knowledge, no one else’s; I have seen clear proofs. Electra


nanI have it on my own knowledge, no one else’s; I have seen clear proofs. Electra


nanWhat have you seen, poor girl, to warrant your belief? What did you see, that you are warmed by this unquenchable fire? Chrysothemi


nanWhat have you seen, poor girl, to warrant your belief? What did you see, that you are warmed by this unquenchable fire? Chrysothemi


nanNow, for the gods’ love, listen, so that you may know


nanthe rest from me before deciding whether I am sane or foolish. Electra


nanELECTRA: Speak on, then, if thou findest pleasure in speaking. CHRYSOTHEMIS: Well, thou shalt hear all that I have seen. When I came to our father's ancient tomb, I saw that streams of milk had lately flowed from the top of the mound, and that his sepulchre was encircled with garlands of all flowers that blow. I was astonished at the sight, and peered about, lest haply some one should be close to my side. But when I perceived that all the place was in stillness, I crept nearer to the tomb; and on the mound's edge I saw a lock of hair, freshly severed. And the moment that I saw it, ah me, a familiar image rushed upon my soul, telling me that there I beheld a token of him whom most I love, Orestes. Then I took it in my hands, and uttered no ill-omened word, but the tears of joy straightway filled mine eyes. And I know well, as knew then, that this fair tribute has come from none but him. Whose part else was that, save mine and thine? And I did it not, I know,- nor thou; how shouldst thou?- when thou canst not leave this house, even to worship the gods, but at thy peril. Nor, again, does our mother's heart incline to do such deeds, nor could she have so done without our knowledge. No, these offerings are from Orestes! Come, dear sister, courage! No mortal life is attended by a changeless fortune. Ours was once gloomy; but this day, perchance, will seal the promise of much good. ELECTRA: Alas for thy folly! How I have been pitying thee! CHRYSOTHEMIS: What, are not my tidings welcome? ELECTRA: Thou knowest not whither or into what dreams thou wanderest. CHRYSOTHEMIS: Should I not know what mine own eyes have seen? ELECTRA: He is dead, poor girl; and thy hopes in that deliverer are gone: look not to him. CHRYSOTHEMIS: Woe, woe is me! From whom hast thou heard this? ELECTRA: From the man who was present when he perished. CHRYSOTHEMIS: And where is he? Wonder steals over my mind.


nanSpeak on, then, if you find pleasure in speaking. Chrysothemi


nanWell, I will tell you all that I have seen. When I came to Father’s ancestral tomb, I saw that streams of milk had recently flowed from the top of the mound


nanWell, I will tell you all that I have seen. When I came to Father’s ancestral tomb, I saw that streams of milk had recently flowed from the top of the mound


nanWell, I will tell you all that I have seen. When I came to Father’s ancestral tomb, I saw that streams of milk had recently flowed from the top of the mound


nanand that his sepulchre was encircled with garlands of all flowers that grow. I was astonished at the sight, and peered about lest somehow someone should approach close to me. But when I perceived that all the place was in stillness


nanand that his sepulchre was encircled with garlands of all flowers that grow. I was astonished at the sight, and peered about lest somehow someone should approach close to me. But when I perceived that all the place was in stillness


nanand that his sepulchre was encircled with garlands of all flowers that grow. I was astonished at the sight, and peered about lest somehow someone should approach close to me. But when I perceived that all the place was in stillness


nanand that his sepulchre was encircled with garlands of all flowers that grow. I was astonished at the sight, and peered about lest somehow someone should approach close to me. But when I perceived that all the place was in stillness


nanand that his sepulchre was encircled with garlands of all flowers that grow. I was astonished at the sight, and peered about lest somehow someone should approach close to me. But when I perceived that all the place was in stillness


nanI crept nearer to the tomb, and on the mound’s edge I saw a lock of hair, freshly severed. And the very moment I see it—ah me!—a familiar image rushes into my mind, and I feel that I am looking at a token of him whom I most love, Orestes.


nanI crept nearer to the tomb, and on the mound’s edge I saw a lock of hair, freshly severed. And the very moment I see it—ah me!—a familiar image rushes into my mind, and I feel that I am looking at a token of him whom I most love, Orestes.


nanI crept nearer to the tomb, and on the mound’s edge I saw a lock of hair, freshly severed. And the very moment I see it—ah me!—a familiar image rushes into my mind, and I feel that I am looking at a token of him whom I most love, Orestes.


nanI crept nearer to the tomb, and on the mound’s edge I saw a lock of hair, freshly severed. And the very moment I see it—ah me!—a familiar image rushes into my mind, and I feel that I am looking at a token of him whom I most love, Orestes.


nanI crept nearer to the tomb, and on the mound’s edge I saw a lock of hair, freshly severed. And the very moment I see it—ah me!—a familiar image rushes into my mind, and I feel that I am looking at a token of him whom I most love, Orestes.


nanThen I lift it in my hands and make no sound of bad omen, but the tears of joy straightaway fill my eyes. Even now I know well, just as I knew then, that this fair tribute has come from no one but him. Whom else does that tomb concern, save me and you?


nanThen I lift it in my hands and make no sound of bad omen, but the tears of joy straightaway fill my eyes. Even now I know well, just as I knew then, that this fair tribute has come from no one but him. Whom else does that tomb concern, save me and you?


nanThen I lift it in my hands and make no sound of bad omen, but the tears of joy straightaway fill my eyes. Even now I know well, just as I knew then, that this fair tribute has come from no one but him. Whom else does that tomb concern, save me and you?


nanThen I lift it in my hands and make no sound of bad omen, but the tears of joy straightaway fill my eyes. Even now I know well, just as I knew then, that this fair tribute has come from no one but him. Whom else does that tomb concern, save me and you?


nanThen I lift it in my hands and make no sound of bad omen, but the tears of joy straightaway fill my eyes. Even now I know well, just as I knew then, that this fair tribute has come from no one but him. Whom else does that tomb concern, save me and you?


nanAnd I did not make those offerings, I know, nor did you. How could you, when you cannot leave this house even to worship the gods without later regretting it? Nor, again, does our mother’s heart incline to do such deeds, nor could she have done so without our knowledge.


nanAnd I did not make those offerings, I know, nor did you. How could you, when you cannot leave this house even to worship the gods without later regretting it? Nor, again, does our mother’s heart incline to do such deeds, nor could she have done so without our knowledge.


nanAnd I did not make those offerings, I know, nor did you. How could you, when you cannot leave this house even to worship the gods without later regretting it? Nor, again, does our mother’s heart incline to do such deeds, nor could she have done so without our knowledge.


nanAnd I did not make those offerings, I know, nor did you. How could you, when you cannot leave this house even to worship the gods without later regretting it? Nor, again, does our mother’s heart incline to do such deeds, nor could she have done so without our knowledge.


nanAnd I did not make those offerings, I know, nor did you. How could you, when you cannot leave this house even to worship the gods without later regretting it? Nor, again, does our mother’s heart incline to do such deeds, nor could she have done so without our knowledge.


nanNo, these offerings are from Orestes! Come, dear sister, have courage! Not always does the same fortune, it is true, attend the same individuals. Ours was once to be despised, but today, perhaps, will seal the promise of much good. Electra


nanNo, these offerings are from Orestes! Come, dear sister, have courage! Not always does the same fortune, it is true, attend the same individuals. Ours was once to be despised, but today, perhaps, will seal the promise of much good. Electra


nanNo, these offerings are from Orestes! Come, dear sister, have courage! Not always does the same fortune, it is true, attend the same individuals. Ours was once to be despised, but today, perhaps, will seal the promise of much good. Electra


nanNo, these offerings are from Orestes! Come, dear sister, have courage! Not always does the same fortune, it is true, attend the same individuals. Ours was once to be despised, but today, perhaps, will seal the promise of much good. Electra


nanNo, these offerings are from Orestes! Come, dear sister, have courage! Not always does the same fortune, it is true, attend the same individuals. Ours was once to be despised, but today, perhaps, will seal the promise of much good. Electra


Intertexts (texts cited often on the same page as the searched text):

4 results
1. Sophocles, Ajax, 186 (5th cent. BCE - 5th cent. BCE)

2. Sophocles, Antigone, 10, 1000-1022, 1068-1071, 11-19, 2, 20-29, 3, 30-39, 4, 40-49, 5, 50-53, 531-539, 54, 540-549, 55, 550-559, 56, 560-569, 57, 570-579, 58, 580-581, 59, 6, 60-69, 7, 70-79, 8, 80-89, 9, 90-94, 943, 95-99, 999, 1 (5th cent. BCE - 5th cent. BCE)

3. Sophocles, Electra, 1036, 1425, 1488-1490, 341-344, 349-350, 361, 365-371, 378-382, 39, 394-396, 40-41, 417-419, 42, 420-423, 43, 432-434, 439, 44, 440-449, 45, 450-459, 46, 460-463, 47-58, 660-661, 674, 680-689, 69, 690-699, 70, 700-765, 770-771, 773-776, 783-796, 881-882, 886-919, 939-941, 947-989, 1023 (5th cent. BCE - 5th cent. BCE)

4. Sophocles, Philoctetes, 127-131, 54-55, 554-556, 56, 561-569, 57, 570-579, 58, 580-589, 59, 590-599, 60, 600-602, 61, 610-619, 62, 622-627, 63-65, 126 (5th cent. BCE - 5th cent. BCE)



Subjects of this text:

subject book bibliographic info
aarons rod Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 160
aegisthus Markantonatos, Brill's Companion to Sophocles (2012) 417
ajax, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
ajax (sophocles), tragic irony in Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
athena, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
city-foundation, bugonia Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 160
claudian, and ovid Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159
claudian, poetics of novelty Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159
creon Markantonatos, Brill's Companion to Sophocles (2012) 417
deception, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
electra Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 498
electra (sophocles), and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
electra (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 498
episodes, of electra (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 498
hanna, r. Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159
irony, tragic Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
knowledge, of the spectators Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
lamentation Markantonatos, Brill's Companion to Sophocles (2012) 417
morality, and neoptolemus Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
mycene/mycenae Markantonatos, Brill's Companion to Sophocles (2012) 417
neoptolemus, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
new poets Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159, 160, 161
novelty, poetics of Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159, 160, 161
odysseus, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
oedipus, and polybus Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
oedipus the king (sophocles), and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
orestes, and clytemnestra Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
orestes Markantonatos, Brill's Companion to Sophocles (2012) 417
paulinus of nola, poetics of novelty Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 161
philoctetes, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
philoctetes (sophocles), and tragic discovery Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
piety, of antigone Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 735
polybus, death of Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
polyneices Markantonatos, Brill's Companion to Sophocles (2012) 417
prudentius, renouatio as subject and poetics Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159, 160, 161
prudentius, temple of wisdom Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159
pylades Markantonatos, Brill's Companion to Sophocles (2012) 417
renovation, pauline' Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159
ritual propriety Markantonatos, Brill's Companion to Sophocles (2012) 417
spectators, and tragic irony Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 413
stasima, of electra (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 498
structure, of electra (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 498
tiresias/teiresias Markantonatos, Brill's Companion to Sophocles (2012) 417
tutor, and orestes Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 735
ware, c. Hardie, Classicism and Christianity in Late Antique Latin Poetry (2019) 159