Euripides, fr. 910: A Lost Ode on the Virtue of an Inquiring Mind

“Happy is he who has learned from inquiry
Not because he searches for pain for his countrymen
Nor some other unjust deeds
But because he seeks out the ageless order
of immortal nature—where
it came together, where it came from
And how.
Such men never harbor
A love of shameful deeds.”

 

ὄλβιος ὅστις τῆς ἱστορίας
ἔσχε μάθησιν,
μήτε πολιτῶν ἐπὶ πημοσύνην
μήτ’ εἰς ἀδίκους πράξεις ὁρμῶν,
ἀλλ’ ἀθανάτου καθορῶν φύσεως
κόσμον ἀγήρων, πῇ τε συνέστη
καὶ ὅπῃ καὶ ὅπως.
τοῖς δὲ τοιούτοις οὐδέποτ’ αἰσχρῶν.

 

This great fragment is quoted in Clement’s Miscellanies and has been attributed to the plan Antiope (also fragmentary).  If this were post-Herodotean, I would dare translate the first line as “Happy is he who has learned from history…”

“What’s this got to do with Helen?” Four Passages from Euripides Iphigenia at Aulis

346-348
“…It isn’t right that
A well-born man change his ways when attempting great deeds:
No, he should at that moment be steadfast, especially to his friends
Since a men is most able to help his friends when he does well.”

…ἄνδρα δ᾽ οὐ χρεὼν
τὸν ἀγαθὸν πράσσοντα μεγάλα τοὺς τρόπους μεθιστάναι,
ἀλλὰ καὶ βέβαιον εἶναι τότε μάλιστα τοῖς φίλοις,
ἡνίκ᾽ ὠφελεῖν μάλιστα δυνατός ἐστιν εὐτυχῶν.

This sounds nice and sententious. But remember that Menelaos is trying to convince Agamemnon to kill his daughter.

494: “What does your daughter have to do with Helen?”

…τί δ’ ῾Ελένης παρθένωι τῆι σῆι μέτα;

524-527
Agamemnon: “The offspring of Sisyphus knows everything.”
Menelaos: “There is no way that Odysseus will hurt you and me.”
Agamemnon: “He has always been clever with the mob.”
Menelaos: “He is a slave to public favor, a terrible evil.?

Αγ. τὸ Σισύφειον σπέρμα πάντ’ οἶδεν τάδε.
Με. οὐκ ἔστ’ ᾿Οδυσσεὺς ὅτι σὲ κἀμὲ πημανεῖ.
Αγ. ποικίλος ἀεὶ πέφυκε τοῦ τ’ ὄχλου μέτα.
Με. φιλοτιμίαι μὲν ἐνέχεται, δεινῶι κακῶι.

559-567

“Men have different natures;
They have different ways. But acting rightly
Always stands out.
The preparation of education
points the way to virtue.
For it is a mark of wisdom to feel shame
and it brings the transformative grace
of seeing through its judgment
what is right; it is reputation that grants
an ageless glory to your life.”

διάφοροι δὲ φύσεις βροτῶν,
διάφοροι δὲ τρόποι· τὸ δ’ ὀρ-
θῶς ἐσθλὸν σαφὲς αἰεί·
τροφαί θ’ αἱ παιδευόμεναι
μέγα φέρουσ’ ἐς τὰν ἀρετάν·
τό τε γὰρ αἰδεῖσθαι σοφία,
†τάν τ’ ἐξαλλάσσουσαν ἔχει
χάριν ὑπὸ γνώμας ἐσορᾶν†
τὸ δέον, ἔνθα δόξα φέρει
κλέος ἀγήρατον βιοτᾶι.

Naming Agamemnon’s Daughters and the Death of Iphigeneia

The sacrifice of Iphigenia is a pivotal moment in the tale of the House of Atreus—it motivates Agamemnon’s murder and in turn the matricide of Orestes—and the Trojan War, functioning as it does as a strange sacrifice of a virgin daughter of Klytemnestra in exchange for passage for a fleet to regain the adulteress Helen, Iphigeneia’s aunt by both her father and mother. The account is famous in Aeschylus’ Agamemnon and the plays Iphigenia at Aulis and Iphigenia among the Taurians by Euripides. Its earliest accounts, however, provide some interesting variations:

Hes. Fr. 23.13-30

“Agamemnon, lord of men, because of her beauty,
Married the dark-eyed daughter of Tyndareus, Klytemnestra.
She gave birth to fair-ankled Iphimede in her home
And Elektra who rivaled the goddesses in beauty.
But the well-greaved Achaeans butchered Iphimede
on the altar of thundering, golden-arrowed Artemis
on that day when they sailed with ships to Ilium
in order to exact payment for fair-ankled Argive woman—
they butchered a ghost. But the deer-shooting arrow-mistress
easily rescued her and anointed her head
with lovely ambrosia so that her flesh would be enduring—
She made her immortal and ageless for all days.
Now the races of men upon the earth call her
Artemis of the roads, the servant of the famous arrow-mistress.
Last in her home, dark-eyed Klytemnestra gave birth
after being impregnated by Agamemnon to Orestes,
who, once he reached maturity, paid back the murderer of his father
and killed his mother as well with pitiless bronze.”

γ̣ῆμ̣[ε δ’ ἑὸν διὰ κάλλος ἄναξ ἀνδρ]ῶν ᾿Αγαμέμνων
κού[ρην Τυνδαρέοιο Κλυταιμήσ]τρην κυανῶπ[ιν•
ἣ̣ τ̣[έκεν ᾿Ιφιμέδην καλλίσφυ]ρον ἐν μεγάρο[ισιν
᾿Ηλέκτρην θ’ ἣ εἶδος ἐρήριστ’ ἀ[θανά]τηισιν.
᾿Ιφιμέδην μὲν σφάξαν ἐυκνή[μ]ιδες ᾿Αχαιοὶ
βωμῶ[ι ἔπ’ ᾿Αρτέμιδος χρυσηλακ]ά̣τ[ου] κελαδεινῆς,
ἤματ[ι τῶι ὅτε νηυσὶν ἀνέπλ]εον̣ ῎Ιλιον ε̣[ἴσω
ποινὴ[ν τεισόμενοι καλλισ]φύρου ᾿Αργειώ̣[νη]ς̣,
εἴδω[λον• αὐτὴν δ’ ἐλαφηβό]λο̣ς ἰοχέαιρα
ῥεῖα μάλ’ ἐξεσά[ωσε, καὶ ἀμβροσ]ίην [ἐρ]ατ̣ε̣[ινὴν
στάξε κατὰ κρῆ[θεν, ἵνα οἱ χ]ρ̣ὼς̣ [ἔ]μ̣πε[δ]ο̣[ς] ε̣[ἴη,
θῆκεν δ’ ἀθάνατο[ν καὶ ἀγήρ]αον ἤμα[τα πάντα.
τὴν δὴ νῦν καλέο[υσιν ἐπὶ χ]θ̣ονὶ φῦλ’ ἀν̣[θρώπων
῎Αρτεμιν εἰνοδί[ην, πρόπολον κλυ]τοῦ ἰ[ο]χ[ε]αίρ[ης.
λοῖσθον δ’ ἐν μεγά[ροισι Κλυτ]αιμ̣ή̣στρη κυα[νῶπις
γείναθ’ ὑποδμηθ[εῖσ’ ᾿Αγαμέμν]ον[ι δῖ]ον ᾿Ορέ[στην,
ὅς ῥα καὶ ἡβήσας ἀπε̣[τείσατο π]ατροφο[ν]ῆα,
κτεῖνε δὲ μητέρα [ἣν ὑπερήν]ορα νηλέι [χαλκῶι.

This fragment presents what is possibly the earliest account of the tale of Iphigenia and contains the major elements: the sacrifice of Agamemnon’s daughter is tied to vengeance against Helen; the daughter is rescued by Artemis, made immortal and made her servant. [In some traditions she is either made immortal or made into a priestess of Artemis at Tauris]. Orestes kills the murderer of his father and his mother.
Continue reading “Naming Agamemnon’s Daughters and the Death of Iphigeneia”

To Live is to Feel Joy and Grief Alike: Euripides, Iphigenia at Aulis, 30-44.

At the beginning of Euripides’ Iphigenia at Aulis we find Agamemnon awake in turmoil, much the same way as he begins book 10 of the Iliad. An old attendant tries to calm him down. Then he asks for a story.

Agamemnon: “This is it, the noble risk,
And its ambition
It is sweet, but it causes pain when it is closer.
Sometimes divine decrees, incomplete, will
Upturn our life, and then the many implacable beliefs
Of human beings will shatter it.”

Old Man: “I do not like these thoughts from a leader
Atreus did not bear you for only life’s good,
But you must feel joy and grief: For you are a mortal.
Even if you do not want it, these things
Are still willed by the gods.
But you kindled the light of the lamp
And wrote on that tablet which you
Worry in your hand and you pour out
The same words again and then
You seal them only to wipe off the seal
And throw the pine frame to the ground
As you shed flowing tears. You seem at a loss-
You seem like someone who has gone mad.
What pains you? What’s new, king?
Come, share your tale with me.”

Αγ. τοῦτο δέ γ’ ἐστὶν τὸ καλὸν σφαλερόν,
καὶ τὸ πρότιμον
γλυκὺ μέν, λυπεῖ δὲ προσιστάμενον.
τοτὲ μὲν τὰ θεῶν οὐκ ὀρθωθέντ’
ἀνέτρεψε βίον, τοτὲ δ’ ἀνθρώπων
γνῶμαι πολλαὶ
καὶ δυσάρεστοι διέκναισαν.
Πρ. οὐκ ἄγαμαι ταῦτ’ ἀνδρὸς ἀριστέως.
οὐκ ἐπὶ πᾶσίν σ’ ἐφύτευσ’ ἀγαθοῖς,
᾿Αγάμεμνον, ᾿Ατρεύς. δεῖ δέ σε χαίρειν
καὶ λυπεῖσθαι· θνητὸς γὰρ ἔφυς.
κἂν μὴ σὺ θέληις, τὰ θεῶν οὕτω
βουλόμεν’ ἔσται. σὺ δὲ λαμπτῆρος
φάος ἀμπετάσας δέλτον τε γράφεις
τήνδ’ ἣν πρὸ χερῶν ἔτι βαστάζεις,
καὶ ταὐτὰ πάλιν γράμματα συγχεῖς
καὶ σφραγίζεις λύεις τ’ ὀπίσω
ῥίπτεις τε πέδωι πεύκην, θαλερὸν
κατὰ δάκρυ χέων, κἀκ τῶν ἀπόρων
οὐδενὸς ἐνδεῖς μὴ οὐ μαίνεσθαι.
τί πονεῖς; τί νέον παρὰ σοί, βασιλεῦ;
φέρε κοίνωσον μῦθον ἐς ἡμᾶς.

Genealogies and Scholia: Helen and Penelope Were Cousins!

In my recent obsession with the daughters of Tyndareus, I realized something that had escaped my notice for years.  Helen and Penelope, the two most important women of Homeric epic, appear to be cousins! How can this be the case? Their fathers, as one might imagine, were brothers (Apollodorus 3.126):

“There are some who say that Aphareus and Leukippos were sons of Periêrês the son of Aiolos and that Periêrês was the son of Kunortos, but that he himself was the father of Oibalos who fathered Tyndareus, Hippokoôn, and Ikarios.

Hippokoôn had for children Dorykleus, Skaios, Enarophoros, Euteikhes, Boukolos, Lukaithos, Tebros, Hippothoos, Eurytos, Hippokorustês, Alkinoos,and Alkôn. With these sons, Hippokoôn expelled his brothers Ikarios and Tyndareus from Lakedaimôn. The pair fled to Thestios and they allied with him in the war against his neighbors. So, Tyndareus wed Thestios’ daughter, Lêda. And then, when Herakles killed Hippokoôn and his sons, they returned, and Herakles handed over the kingdom of Tyndareus.”

εἰσὶ δὲ οἱ λέγοντες ᾿Αφαρέα μὲν καὶ Λεύκιππον ἐκ Περιήρους γενέσθαι τοῦ Αἰόλου, Κυνόρτου δὲ Περιήρην, τοῦ δὲ Οἴβαλον, Οἰβάλου δὲ καὶ νηίδος νύμφης
Βατείας Τυνδάρεων ῾Ιπποκόωντα ᾿Ικάριον.

῾Ιπποκόωντος μὲν οὖν ἐγένοντο παῖδες Δορυκλεὺς Σκαῖος ᾿Εναροφόρος Εὐτείχης Βουκόλος Λύκαιθος Τέβρος ῾Ιππόθοος Εὔρυτος ῾Ιπποκορυστὴς ᾿Αλκίνους ῎Αλκων. τούτους ῾Ιπποκόων ἔχων παῖδας ᾿Ικάριον καὶ Τυνδάρεων ἐξέβαλε Λακεδαίμονος. οἱ δὲ φεύγουσι πρὸς Θέστιον, καὶ συμμαχοῦσιν αὐτῷ πρὸς τοὺς ὁμόρους πόλεμον ἔχοντι· καὶ γαμεῖ Τυνδάρεως Θεστίου θυγατέρα Λήδαν. αὖθις δέ, ὅτε ῾Ηρακλῆς ῾Ιπποκόωντα καὶ τοὺς τούτου παῖδας ἀπέκτεινε, κατέρχονται, καὶ παραλαμβάνει Τυνδάρεως τὴν βασιλείαν.

The story according to a Homeric scholiast is presents even more family dysfunction (Schol. b in Il.2.581-6):

Continue reading “Genealogies and Scholia: Helen and Penelope Were Cousins!”

The Daughters’ Infidelity was Daddy’s Fault: Helen’s Sisters and Aphrodite Spurned

Ever wondered why Helen left Menelaos or why her sister cheated on Agamemnon (other than the obvious)? Ancient poetry traced it back to a sin of their father: Schol. Ad Euripides’ Orestes 249):

“Stesichorus says that when Tyndareus was sacrificing to the gods he overlooked Aphrodite. For this reason, the angry goddess made his daughters thrice and twice married abandoners of husbands. The segment reads like this:

“Because when Tyndareus was sacrificing to all the gods
He neglected only the gentle-giving Kyprian
She was enraged and she made the daughters of Tyndareus
Twice and thrice married deserters of husbands.”

A fragment of Hesiod agrees with this (fr. 176):

“Smile-loving Aphrodite
Was enraged when she saw them: then she hung bad fame upon them.
After that, Timandra abandoned Ekhemos and left;
She went to Phyleus who was dear to the holy gods.
And so Klytemnestra abandoned shining Agamemnon
To lie alongside Aigisthos as she chose a lesser husband;
In the same way, Helen shamed the marriage-bed of fair Menelaos…”

Στησίχορός φησιν ὡς θύων τοῖς θεοῖς Τυνδάρεως ᾿Αφροδίτης ἐπελάθετο• διὸ ὀργισθεῖσαν τὴν θεὸν διγάμους τε καὶ τριγάμους καὶ λειψάνδρους αὐτοῦ τὰς θυγατέρας ποιῆσαι. ἔχει δὲ ἡ χρῆσις οὕτως [frg. 26]•
‘οὕνεκά ποτε Τυνδάρεως
ῥέζων πᾶσι θεοῖς μόνης λάθετ’ ἠπιοδώρου
Κύπριδος, κείνα δὲ Τυνδάρεω κούραις
χολωσαμένη διγάμους τε καὶ τριγάμους τίθησι
καὶ λιπεσάνορας’.

καὶ ῾Ησίοδος δέ [frg. 117]•
τῆισιν δὲ φιλομμειδὴς ᾿Αφροδίτη
ἠγάσθη προσιδοῦσα, κακῆι δέ σφ’ ἔμβαλε φήμηι.
Τιμάνδρη μὲν ἔπειτ’ ῎Εχεμον προλιποῦσ’ ἐβεβήκει,
ἵκετο δ’ ἐς Φυλῆα φίλον μακάρεσσι θεοῖσιν•
ὣς δὲ Κλυταιμνήστρη <προ>λιποῦσ’ ᾿Αγαμέμνονα δῖον
Αἰγίσθῳ παρέλεκτο, καὶ εἵλετο χείρον’ ἀκοίτην.
ὣς δ’ ῾Ελένη ᾔσχυνε λέχος ξανθοῦ Μενελάου…

This passage provides an explanation for why the daughters of Tyndareus—Helen and Andromache—were unfaithful: it was Aphrodite’s game from the beginning because their father did not worship her correctly. A few interesting aspects here: first, Helen is “thrice-married” because after Paris dies, she marries Deiphobus (although some accounts associate her with Theseus too). Second, Hesiod’s fragmentary poems seems to be in the process of cataloging women who leave their husbands.

The first woman in the tale is Timandra, who, according to only this passage, was a third daughter of Tyndareus who left her husband Ekhemos, a king of Arcadia. They had a son together, named Leodocus before she eloped with Phyleus. In another fragment from Hesiod (fr. 23) we learn more about the family of Tyndareus and Leda:

“After climbing into the lush bed of Tyndareus
Well-tressed Leda, as fair as the rays of the moon,
Gave birth to Timandra, cow-eyed Klytemnestra,
And Phylonoe whose body was most like the immortal goddesses.
Her…the arrow bearing goddesss
Made immortal and ageless for all days.”

ἣ μὲν [Τυνδαρέου θαλερὸν λέχο]ς εἰσαναβᾶσα
Λήδη ἐ̣[υπλόκαμος ἰκέλη φαέεσσ]ι σελήνης
γείνατ[ο Τιμάνδρην τε Κλυταιμήστρ]ην τε βοῶπ[ιν
Φυλο̣[νόην θ’ ἣ εἶδος ἐρήριστ’ ἀθαν]άτηισι.
τ̣ὴ̣ν[ ἰο]χέαιρα,
θῆκ[εν δ’ ἀθάνατον καὶ ἀγήραον ἤ]ματα πάντ̣[α. (7-12)

Later on in the same fragment –after hearing about the marriage and children of Klytemnestra—we learn about Timandra:

“Ekhemos made Timandra his blooming wife,
The man who was the lord of all Tegea and Arcadia, wealthy in sheep,
A rich man who was dear to the gods.
She bore to him Laodakos, the horse-taming shepherd of the host,
After she was subdued by golden Aphrodite.”

Τιμάνδρην δ’ ῎Εχεμος θαλερὴν ποιήσατ’ ἄκοιτιν,
ὃς πάσης Τεγ[έης ἠδ’ ᾿Αρκαδίης] πολυμήλου
ἀφνειὸς ἤνασ[σε, φίλος μακάρεσσι θ]ε̣ο[ῖ]σ̣ιν•
ἥ οἱ Λαόδοκον̣ μ[εγαλήτορα ποιμέν]α̣ λαῶν
γ]είνα[θ]’ ὑποδμη[θεῖσα διὰ] χρυσῆν ᾿Αφ[ροδίτην (28-31)

This section of the Hesiodic Catalogue of Women seems to be mentioning only Leda’s children with Tyndareus and not those possibly fathered by Zeus (Helen, Kastor, Polydeukes). But we hear nothing of the future of Leda’s attractive daughter Phylonoe (also spelled Philonoe) other than that Artemis made her immortal. The ancient sources? Nothing at all to explain this.

The Wheel Of Fortune (Ruota della Fortuna) and Four Classical Authors in Siena

The Late Medieval Duomo of Siena (Cattedrale Metropolitana di Santa Maria Assunta) is a mixture of Gothic and Romanesque styles–it has an impressive façade and is full (inside and out) of impressive artwork including sculptures by Michelangelo, Donatello and Bernini.

1280px-Duomo_di_siena,_facciata_01

One of the floor mosaics that caught my attention as a classicist is the Ruota della Fortuna (“The Wheel of Fortune”) which communicates the mutability of fortune and is aimed at encouraging its viewers to turn to faith and work rather than relying on chance.

Wheel of Destiny

What is striking is that in the four corners of the mosaic are classical authors with short Latin quotations on the nature of fortune. The lines themselves are less interesting to me than the four authors who make the cut–none Christian, two Greek: Euripides, Seneca, Aristotle and Epictetus. Starting in the lower right-hand corner (if facing the altar), we find Euripides with a quote from the Elektra in Latin: Tibi dixi O Filii ut fortunam laboribus indages (“I have told you, son, to hunt fortune through labors”).

Euripides Duomo

Across from Euripides on the left, our old friend Seneca, Magna servitus est magna fortuna (“Great fortune is a great slavery”):

Seneca Duoma

On the top right, Aristotle is positioned above Euripides with a quote from the Politics (also in Latin) Fortuna prospera petulantes magis facit (“Good luck makes men more petulant”):

Aristotle Duomo

And facing Aristotle on the left is Epictetus whose quote is Non fortunae muneribus, sed animi bonis gloriandum (“We must glory not in the gifts of fortune but in the goods of the soul”):

Epictetus Duomo

The images and quotations themselves are interesting, but I am also intrigued by how these authors and their lines were selected to adorn this cathedral. Was there a collection of quotations about fortune? Were the artists educated in these classical authors? What would have Medieval viewers thought?

Leisure, Work and Child-Sacrifice: Two Fragments from Ennius’ Lost Iphigenia

Ennius’ Iphigenia was certainly modeled on Euripides’ Iphigenia on Aulis. But that in no way keeps the fragments from being their own creations….

232-234 Agamemnon

“Am I tortured because you mess up? You wander and I am on trial?
Let Helen return for her misdeed, but an innocent girl will perish?
That you and your wife be reconciled, my daughter should be served up?”

Ego projector quod tu peccas? Tu delinquis, ego arguor?
Pro malefactis Helena redeat, virgo pereat innocens?
Tua reconcilietur uxor, mea necetur filia?

241-248 Chorus

“Whoever doesn’t know who to use leisure when he has it,
Has more work in leisure than he has in work.
For the man who has a set task, does it without work:
He pays attention to it and in it entertains his mind and spirit.
In true leisure the sick mind does not know what it wants.
It is the same way here: look, we are neither at home nor soldiers;
We go here and there and when we have gone there, we go away again.
Our spirit wanders pointlessly; life is lived, more or less.”

Otio qui nescit uti <quom otium est, in otio>
Plus negoti habet quam quom est negotium in negotio;
Nam cui quod agat institutumst non ullo negotio
Id agit, id studet,ibi mentem atque animum delectat suum.
Otioso in otio animus nescit quid velit.
Hoc idem est; em neque domi nunc nos nec militiae sumus;
Imus huc, hin illuc;quom illuc ventum est, ire illic lubet.
Incerte errat animus, praeterpropter vitam vivitur.

The Sphinx’s Riddle in Epic Meter: Scholia and Athenaeus

An ancient scholar records an interesting fragment with the famous riddle of the Sphinx from the story of Oedipus (Scholia to Euripides Phoenician Women 46):

“It is two-footed, three-footed, and four-footed on land,
But has one voice. It alone changes its form of all the creatures
Who creep over the earth, through the sky and the sea.
But whenever it walks leaning on multiple feet,
Then its strength remains the weakest in its limbs.”

ἔστι δίπουν ἐπὶ γῆς καὶ τετράπον, οὗ μία φωνή,
καὶ τρίπον• ἀλλάσσει δὲ φυὴν μόνον ὅσσ’ ἐπὶ γαῖαν
ἑρπετὰ γίνονται ἀνά τ’ αἰθέρα καὶ κατὰ πόντον.
ἀλλ’ ὁπόταν πλεόνεσσιν ἐρειδόμενον ποσὶ βαίνῃ,
ἔνθα μένος γυίοισιν ἀφαυρότατον πέλει αὐτοῦ:

A version of this also appears in Athenaeus’ Deipnosophists (10.83) with some slight changes (he says that the fragment comes from the Greek historian Asclepiades.

ἔστι δίπουν ἐπὶ γῆς καὶ τετράπον, οὗ μία φωνή,
καὶ τρίπον, ἀλλάσσει δὲ φύσιν μόνον ὅσσ’ ἐπὶ γαῖαν
ἑρπετὰ γίνονται καὶ ἀν’ αἰθέρα καὶ κατὰ πόντον•
ἀλλ’ ὁπόταν πλείστοισιν ἐρειδόμενον ποσὶ βαίνῃ,
ἔνθα τάχος γυίοισιν ἀφαυρότατον πέλει αὑτοῦ.

Phusis for phuê is a typical post-classical rendering; the superlative πλείστοισιν (“most”) instead of the comparative πλεόνεσσιν (“more, many”) doesn’t make much sense to me; and without the noun μένος (“strength,energy, fury”) in the first version, I have trouble understanding the genitive αὐτοῦ (“his”), unless “speed” (τάχος) is the subject…

This may be the oldest version of the Sphinx’s riddle available. Since it is in dactylic hexameter, some have argued that it originally comes from an epic about Oedipus (e.g. Oedipodeia). The earliness of the fragment is dubious: not only does it seem to be lacking formulae and language clear from other extant epics, but some words are clearly later (e.g. ἀλλάσσει).  And, to my taste, these are particularly poor lines of hexameter. The only universally accepted fragment from the lost Oedipodeia, has better rhythm and more traditional language:

“and then [the Sphinx killed] the most beautiful and desire-inducing of all men,
the dear child of blameless Creon, shining Haemon.”

ἀλλ’ ἔτι κάλλιστόν τε καὶ ἱμεροέστατον ἄλλων
παῖδα φίλον Κρείοντος ἀμύμονος, Αἵμονα δῖον

 

Those of you who know Sophocles might be surprised to find Haemon dead here, but the tragedians need not agree with epic!

The riddle was also a popular motif, versions of it appeared in a lost play by Aeschylus, and plays by Sophocles and Euripides. The following is my favorite picture of Oedipus and the Sphinx, by Gustave Moreau (1864):

A Little Death?
A Little Death?

Some Fragments About Mothers from the Ancient World

Sophocles, Fr. 685 (Phaedra)

“Children are the anchors of a mother’s life”

ἀλλ’ εἰσὶ μητρὶ παῖδες ἄγκυραι βίου

Euripides’ Meleager Fr. 527

“The only things you can’t get with money
Are nobility and virtue. A noble child
Can be born from a poor woman’s body.”

μόνον δ’ ἂν ἀντὶ χρημάτων οὐκ ἂν λάβοις
γενναιότητα κἀρετήν• καλὸς δέ τις
κἂν ἐκ πενήτων σωμάτων γένοιτο παῖς.

Euripides, fr. 358 (Erechtheus)

“Children have nothing sweeter than their mother.
Love your mother children, there is no kind of love anywhere
Sweeter than this one to love.”

οὐκ ἔστι μητρὸς οὐδὲν ἥδιον τέκνοις•
ἐρᾶτε μητρός, παῖδες, ὡς οὐκ ἔστ’ ἔρως
τοιοῦτος ἄλλος ὅστις ἡδίων ἐρᾶν.

Florus, VI

“Wicked people were not wicked from their mother’s womb, but the false friendships of the wicked render them so.”

Qui mali sunt non fuere matris ex alvo mali,                                                                            
  sed malos faciunt malorum falsa contubernia.

Sophocles Electra 770-771

“Even if she suffers terribly, a mother cannot hate her child.”

οὐδὲ γὰρ κακῶς
πάσχοντι μῖσος ὧν τέκῃ προσγίγνεται.