cwconrad wrote:I do think Greek writers tend to avoid constructions such as have both a subjective and an objective genitive dependent on the same noun; any usage that involves two distinct nouns in the same case is awkward, as for example, the text cited in the A.T. Robertson citation recently under discussion, Lk. 2:27, ἐν τῷ εἰσαγαγεῖν τοὺς γονεῖς τὸ παιδίον. Here we assume that τοὺς γονεῖς is the subject, τὸ παιδίον the object of εἰσαγαγεῖν, but it's only the context that makes that clear. Sometimes one suspects that the author deliberately phrases the text ambiguously -- there's a celebrated passage in Sophocles' Oedipus Tyrannus in which it's unclear whether a σε or a με is the subject or object of a verb -- and we suspect that the ambiguity is intentional (if I can find that, I'll edit it into this later).
The passage to which I was referring is Sophocles,
OT 376-7. Oedipus and Teiresias have been exchanging angry taunts and threats at each other. Here Teiresias responds to Oedipus:
οὐ γάρ σε μοῖρα πρός γ ̓ ἐμοῦ πεσεῖν, ἐπεὶ
ἱκανὸς Ἀπόλλων, ᾧ τάδ ̓ ἐκπρᾶξαι μέλει.
Roughly: "It's not
your fate to fall at
my hands, since Apollo is enough,
his task it is to bring that about."
But there's a textual variant that reverses the relationship and that makes every bit as much sense in the context, inasmuch as the destinies of both Oedipus and Teiresias are enmeshed in Apollo's devious machinations:
οὐ γάρ με μοῖρα πρός γἐ σοῦ πεσεῖν, ἐπεὶ
ἱκανὸς Ἀπόλλων, ᾧ τάδ ̓ ἐκπρᾶξαι μέλει.
"It's not
my fate to fall at
your hands, since Apollo is enough;
his task it is to bring that about."
Opinions differ over which reading is original; the alternative could be an "actor's interpolation" -- actors often substituted alternative elements into the texts of plays they performed, just as did the rhapsodes performing the Homeric epics.