WÄCHTER
Der Thäter kränket dir das Herz, die Ohren ich.
315
Der Thäter kränket dir das Herz, die Ohren ich.
315
Antigone. Sophocles. ed. August Boeckh. Leipzig. 1884.
Table of Contents
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Current edition Experimental
German (A. Boeckh, 1884) (OCR draft) (German) (German (A. Boeckh, 1884))
Provisional text from uncorrected OCR; expect errors.
Editions (12)
Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα, σκόπει
Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα, σκόπει,
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 58 focus
νῦν αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 58.mvp-line-58 focus
νῦν δ’ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 58.mvp-line-58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Antigone (OCR draft) Experimental (Antigone) — 58 focus
νῦν δʼ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 58 focus
νῦν δ᾽ αὖ μόνα δὴ νὼ λελειμμένα σκόπει
Translations (10)
Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 58 focus
El Centinela
¡Huy! Difícil es que a quien haya formado una opinión se le convenza de su falsedad.
¡Huy! Difícil es que a quien haya formado una opinión se le convenza de su falsedad.
Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 58 focus
Custos
Vah, malum est, si cui opiniones et mendacia placent!
Vah, malum est, si cui opiniones et mendacia placent!
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 58 focus
WATCH
Pity so clear a mind should clearly err!
Pity so clear a mind should clearly err!
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 69 focus
Nicht mehr verlang' ich's, möchte dich zur Helferin
Nicht mehr, erklärtest du dich auch bereit dazu.
70
Nein, wähle deinem Sinne nach: ihn werd' ich selbst
Bestatten; ruhmvoll ist der Tod für diese That.
Bei ihm, dem Lieben, werd' ich ruh'n, die Liebende,
Die frommen Frevel übte; muß ich länger doch
Den Todten dort gefallen, als den Lebenden.
75
Denn dort ja ruh' ich ewig; du, wenn dir's gefällt,
Entehre, was in Ehre selbst bei Göttern steht.
Ich acht' es auch der Ehre werth; indeß der Stadt
Zum Troz zu handeln, fühl ich mich nicht stark genug.
Nicht mehr verlang' ich's, möchte dich zur Helferin
Nicht mehr, erklärtest du dich auch bereit dazu.
70
Nein, wähle deinem Sinne nach: ihn werd' ich selbst
Bestatten; ruhmvoll ist der Tod für diese That.
Bei ihm, dem Lieben, werd' ich ruh'n, die Liebende,
Die frommen Frevel übte; muß ich länger doch
Den Todten dort gefallen, als den Lebenden.
75
Denn dort ja ruh' ich ewig; du, wenn dir's gefällt,
Entehre, was in Ehre selbst bei Göttern steht.
Ich acht' es auch der Ehre werth; indeß der Stadt
Zum Troz zu handeln, fühl ich mich nicht stark genug.
Antigone.
So wende du das vor; doch ich geh' unverweilt,
80
Und schütt' ein Grab dem heißgeliebten Bruder auf.
So wende du das vor; doch ich geh' unverweilt,
80
Und schütt' ein Grab dem heißgeliebten Bruder auf.
Ismene.
Tollkühne, weh mir! Ha, wie fürcht' ich deinethalb!
Tollkühne, weh mir! Ha, wie fürcht' ich deinethalb!
Antigone.
Sei nicht um mich bang; sich're du nur dein Geschick!
Sei nicht um mich bang; sich're du nur dein Geschick!
Ismene.
Doch offenbare ja zuvor Niemand die That;
Im Dunkel birg' sie; gerne schweig' auch ich davon.
85
Doch offenbare ja zuvor Niemand die That;
Im Dunkel birg' sie; gerne schweig' auch ich davon.
85
Antigone.
Ha, laut verkünd' es! Viel verhaßter wirst du mir
Durch Schweigen, offenbarst du's nicht vor aller Welt.
Ha, laut verkünd' es! Viel verhaßter wirst du mir
Durch Schweigen, offenbarst du's nicht vor aller Welt.
Ismene.
Dir wallt der Busen glühend, wo mich Schauder faßt.
Dir wallt der Busen glühend, wo mich Schauder faßt.
Antigone.
Doch weiß ich hold mir, deren Huld mein Höchstes iſt.
Doch weiß ich hold mir, deren Huld mein Höchstes iſt.
Ismene.
Wenn du's vermöchtest; doch du willst Unmögliches.
90
Nun freilich, wenn ich's nicht vermag, so lass' ich ab.
Auch nicht von Anfang jage nach Unmöglichem.
Wenn du's vermöchtest; doch du willst Unmögliches.
90
Nun freilich, wenn ich's nicht vermag, so lass' ich ab.
Auch nicht von Anfang jage nach Unmöglichem.
Antigone.
Durch solche Reden wirst du billig mir verhaßt,
Und billig hassen wird dich auch der Todte dort.
Nein, laß du mich und meines Sinnes Unverstand
95
Dies Grauenvolle dulden. Was ich Schweres auch
1
Erleiden möge, bleibt mir doch ein schöner Tod.
Durch solche Reden wirst du billig mir verhaßt,
Und billig hassen wird dich auch der Todte dort.
Nein, laß du mich und meines Sinnes Unverstand
95
Dies Grauenvolle dulden. Was ich Schweres auch
1
Erleiden möge, bleibt mir doch ein schöner Tod.
Ismene.
Nun, wenn dir's gut dünkt, ziehe hin: ächt schwesterlich
Als Schwester fühlend gehst du, wenn als Thörin auch.
(Sie gehen nach verschiedenen Seiten ab. Der Chor tritt auf.)
Erste Strophe.
Nun, wenn dir's gut dünkt, ziehe hin: ächt schwesterlich
Als Schwester fühlend gehst du, wenn als Thörin auch.
Der Chor.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 58 focus
Messenger
Would he were found. That we must leave to
fate ;
Be it as it may, I never will return :
Thus safe beyond my hopes, 'tis fit I pay
My thanks to the kind gods who have preserved me.
Since first this active world began.
Nature is busy all in every part ;
But passing all in wisdom and in art,
Superior shines inventive man :
Fearless oibvintry winds and circling waves,
le ocean and the tempest braves ;
'him unwearied earth with lavish hand,
Immortal goddess, all her'bounty pours.
Patient beneath the rigid plough's command,
Year after year she yields her plenteous stores.
AiitistrojyJie i.
To drive the natives of the wood
From their rude haunts, or in the cruel snare,
To catch the winged inhabitants of air,
Or trap the scaly brood ;
To tame the fiery courser yet unbroke
With the hard rein, or to the untried yoke
To bend the mountain bull, who wildly free
O'er the steep rocks had wandered unconfined —
These are the arts of mortal industry,
And such the subtle power of humankind.
By learning, and fair science crowned.
Behold him now full-fraught with wisdom's lore,
The laws of nature anxious to explore.
330
With depth of thought profound.
330
But naught, alas ! can human wisdom see
330
In the dark bosom of futurity.
330
The power of wisdom may awhile prevail,
330
Awhile suspend a mortal's fleeting breath,
330
But never can her fruitless arts avail
330
To conquer fate, or stop the hand of death.
330
Man's ever-active changeful will
330
Sometimes to good shall bend his virtuous mind,
Sometimes behold him to foul deeds inclined.
And prone to every ill.
Who guiltless keeps the laws is still approved
By every tongue, and by his country loved ;
But he who doth not, from his native land
A wretched exile, far, oh ! far from me
May he be driven, by angry Heaven's command,-
And live devote to shame and infamy !
Would he were found. That we must leave to
fate ;
Be it as it may, I never will return :
Thus safe beyond my hopes, 'tis fit I pay
My thanks to the kind gods who have preserved me.
Since first this active world began.
Nature is busy all in every part ;
But passing all in wisdom and in art,
Superior shines inventive man :
Fearless oibvintry winds and circling waves,
le ocean and the tempest braves ;
'him unwearied earth with lavish hand,
Immortal goddess, all her'bounty pours.
Patient beneath the rigid plough's command,
Year after year she yields her plenteous stores.
AiitistrojyJie i.
To drive the natives of the wood
From their rude haunts, or in the cruel snare,
To catch the winged inhabitants of air,
Or trap the scaly brood ;
To tame the fiery courser yet unbroke
With the hard rein, or to the untried yoke
To bend the mountain bull, who wildly free
O'er the steep rocks had wandered unconfined —
These are the arts of mortal industry,
And such the subtle power of humankind.
By learning, and fair science crowned.
Behold him now full-fraught with wisdom's lore,
The laws of nature anxious to explore.
330
With depth of thought profound.
330
But naught, alas ! can human wisdom see
330
In the dark bosom of futurity.
330
The power of wisdom may awhile prevail,
330
Awhile suspend a mortal's fleeting breath,
330
But never can her fruitless arts avail
330
To conquer fate, or stop the hand of death.
330
Man's ever-active changeful will
330
Sometimes to good shall bend his virtuous mind,
Sometimes behold him to foul deeds inclined.
And prone to every ill.
Who guiltless keeps the laws is still approved
By every tongue, and by his country loved ;
But he who doth not, from his native land
A wretched exile, far, oh ! far from me
May he be driven, by angry Heaven's command,-
And live devote to shame and infamy !
Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 58 focus
CREONTE
¡Por el Cielo! Que has nacido de verdad hablador.
¡Por el Cielo! Que has nacido de verdad hablador.
German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 58 focus
DER BOTE
Ach! furchtbar ist Gewissen ohne Wahrheit!
Ach! furchtbar ist Gewissen ohne Wahrheit!
English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 58 focus
Guard
Alas! ’Tis sad, truly, that he who judges should misjudge.
Alas! ’Tis sad, truly, that he who judges should misjudge.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 58 focus
Creon
How to the Youth, who for his country died,
Wilt thou show honour
How to the Youth, who for his country died,
Wilt thou show honour
English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 100-160 focus
Enter the Chorus on the right.
110
Chorus
Shaft of the sun, fairest light of all that have dawned on
Thebes
of the seven gates, you have shone forth at last, eye of golden day, advancing over Dirce’s streams!
100
You have goaded with a sharper bit the warrior of the white shield, who came from
Argos
in full armor, driving him to headlong retreat.
105
Shaft of the sun, fairest light of all that have dawned on
Thebes
of the seven gates, you have shone forth at last, eye of golden day, advancing over Dirce’s streams!
100
You have goaded with a sharper bit the warrior of the white shield, who came from
Argos
in full armor, driving him to headlong retreat.
105
Chorus
He set out against our land because of the strife-filled claims of Polyneices, and like a screaming eagle he flew over into our land, covered by his snow-white wing,
110
with a mass of weapons and crested helmets.
115
He set out against our land because of the strife-filled claims of Polyneices, and like a screaming eagle he flew over into our land, covered by his snow-white wing,
110
with a mass of weapons and crested helmets.
115
Chorus
He paused above our dwellings; he gaped around our sevenfold portals with spears thirsting for blood; but he left
before his jaws were ever glutted with our gore, or before the Fire-god’s pine-fed flame had seized our crown of towers.
120
So fierce was the crash of battle swelling about his back, a match too hard to win for the rival of the dragon.
125
He paused above our dwellings; he gaped around our sevenfold portals with spears thirsting for blood; but he left
before his jaws were ever glutted with our gore, or before the Fire-god’s pine-fed flame had seized our crown of towers.
120
So fierce was the crash of battle swelling about his back, a match too hard to win for the rival of the dragon.
125
Chorus
For Zeus detests above all the boasts of a proud tongue. And when he saw them advancing in a swollen flood,
arrogant their clanging gold, he dashed with brandished fire one who was already starting to shout victory when he had reached our ramparts.
130
For Zeus detests above all the boasts of a proud tongue. And when he saw them advancing in a swollen flood,
arrogant their clanging gold, he dashed with brandished fire one who was already starting to shout victory when he had reached our ramparts.
130
Chorus
Staggered, he fell to the earth with a crash,
torch in hand, a man possessed by the frenzy of the mad attack, who just now was raging against us with the blasts of his tempestuous hate. But his threats did not fare as he had hoped, and to the other enemies mighty Ares dispensed each their own dooms with hard blows,
135
Ares, our mighty ally at the turning-point.
140
Staggered, he fell to the earth with a crash,
torch in hand, a man possessed by the frenzy of the mad attack, who just now was raging against us with the blasts of his tempestuous hate. But his threats did not fare as he had hoped, and to the other enemies mighty Ares dispensed each their own dooms with hard blows,
135
Ares, our mighty ally at the turning-point.
140
Chorus
For the seven captains, stationed against an equal number at the seven gates, left behind their brazen arms in tribute to Zeus the turner of battle—all but the accursed pair who, born of one father and one
mother, set against each other their spears, both victorious, and who now share in a common death.
145
For the seven captains, stationed against an equal number at the seven gates, left behind their brazen arms in tribute to Zeus the turner of battle—all but the accursed pair who, born of one father and one
mother, set against each other their spears, both victorious, and who now share in a common death.
145
Chorus
But since Victory whose name is glory has come to us, smiling in joy equal to the joy of chariot-rich
Thebes
,
let us make for ourselves forgetfulness after the recent wars, and visit all the temples of the gods with night-long dance and song. And may Bacchus, who shakes the earth of
Thebes
, rule our dancing!
150
But since Victory whose name is glory has come to us, smiling in joy equal to the joy of chariot-rich
Thebes
,
let us make for ourselves forgetfulness after the recent wars, and visit all the temples of the gods with night-long dance and song. And may Bacchus, who shakes the earth of
Thebes
, rule our dancing!
150
Chorus
But look, the king of the land is coming here, Creon, the son of Menoeceus, our new ruler in accordance with the new circumstances fated by the gods. What policy is he setting in motion,
155
that he has proposed this special conference of elders, and summoned it by a general mandate?
160
But look, the king of the land is coming here, Creon, the son of Menoeceus, our new ruler in accordance with the new circumstances fated by the gods. What policy is he setting in motion,
155
that he has proposed this special conference of elders, and summoned it by a general mandate?
160
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
223-330. mvp-comment-136-1 The half-comic or rustic character of the watchman in this play is an extension of the common character of the messenger, whose natural rudeness of speech and thought brings into greater prominence the horror or pathos of the events he describes. The grotesqueness disappears when he speaks of the action of Antigone in 407-440. The employment of this artifice by Sophocles arises from the same motive to which Shakespeare gave a far wider range in such creations as the gravediggers in Hamlet, and the rural fellow in Antony and Cleopatra. The Messenger in the Trachiniae, the Corinthian in the Oedipus Tyrannus, Menelaus in the Ajax, the pretended Shipmaster in the Philoctetes, afford the same sort of contrast to the more tragic personages: and the superstition of the Coloniatae may be compared with the cowardice of the Phrygian slave in the Orestes of Euripides.
223-330.
mvp-comment-136-2
The vulgarity of the common-place Athenian of the fifth century в.с. takes the form of misplaced subtlety of wit. Cp.
Shak. Hamlet, 5. 1
,
We must speak by the card, or equivocation will undo us. The age is grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.
315. mvp-comment-183-1 εἰπεῖν τι δέ (v. rr.) is unmeaning. τι as in θέλεις τι μεῖζον, infr. 497.