Sophocles, Antigone, ed. August Boeckh, 1244

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CHOR.

Wie magst du das wol deuten? Fort schon ist die Frau,

noch eh' ein gutes oder böses Wort sie sprach.

BOTE.

Ich schaudre selbst auch; doch die Hoffnung nährt mich noch,

des Kindes Unglück hörend wolle nicht der Stadt
1190

sie zeigen ihre Klagen, sondern drin im Haus

mit ihren Frau'n beweinen dieses eigne Leid.

Nicht unverständig ist sie, daſs sie frevelte.

CHOR.

Nicht weiſs ich's: aber allzutiefes Schweigen scheint

gleich drohend mir als übermäfsig Klaggeschrei.
1195

BOTE.

Bald werden wir erfahren, ob nicht heimlich sie

verhaltnes Weh in tief empörtem Herzen birgt,

indem ans Haus ich trete: denn wahr sprachest du,

auch allzu tiefes Schweigen drohet Schweres oft.

(Kreon kommt mit der Leiche des Sohnes und mit Gefolge.)

Antigone. Sophocles. ed. August Boeckh. Leipzig. 1884.

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)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἢ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι,

ἄχη τέκνου κλύουσαν, ἐς πόλιν γόους
1240

οὐκ ¹ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.

Χορός

οὐκ οἶδ᾽· ἔμοι γ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χἡ μάτην πολλὴ βοή.
1245

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα μή τι καὶ κατάσχετον

κρυφῆ καλύπτει καρδίᾳ θυμουμένη,

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις.

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1244 focus

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Ἄγγελος

καὐτὸς τεθάμβηκ᾽, ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους
1190

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ' ἁμαρτάνειν.

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.
1195

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες. εὖ γὰρ οὖν λέγεις·

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν
1220

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι,

ἄχη τέκνου κλύουσαν, ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμώαις προθήσειν πένθος οἰκεῖον στένειν·
1225

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ' ἁμαρτάνειν.

Χορός

οὐκ οἶδ᾽· ἔμοιγ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χ᾽ ἡ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῆ καλύπτει καρδίᾳ θυμουμένῃ,
1230

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις·

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκʼ· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφή καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες. εὖ γὰρ οὖν λέγεις.
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ᾽. ἐμοὶ δ’ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις·
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1244 focus

τί τοῦτ’ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ’· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ’ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ’ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ’· ἐμοὶ δ’ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ’ εἰσόμεσθα μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις·
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλαι

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἐξαΰσειν, ἀλλ’ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα μή τι καὶ κατάσχετον

κρυφῆι καλύπτει καρδίαι θυμουμένηι,

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν.

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1230

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι,

ἄχη τέκνου κλύουσαν, ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος, οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1235

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες. εὖ γὰρ οὖν λέγεις.
1240

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις·
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόου

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ᾽. ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις.
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Antigone (OCR draft) Experimental (Antigone) — 1244 focus

Χορός

τί τοῦτʼ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκʼ· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλʼ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθʼ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδʼ· ἐμοὶ δʼ οὖν ἥ τʼ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλʼ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῇ καλύπτει καρδίᾳ θυμουμένῃ,

δόμους παραστείχοντες· εὖ γὰρ οὖν λέγεις.
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1244 focus

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Ἄγγελος

καὐτὸς τεθάμβηκ᾽· ἐλπίσιν δὲ βόσκομαι

ἄχη τέκνου κλύουσαν ἐς πόλιν γόους

οὐκ ἀξιώσειν, ἀλλ᾽ ὑπὸ στέγης ἔσω

δμωαῖς προθήσειν πένθος οἰκεῖον στένειν.

γνώμης γὰρ οὐκ ἄπειρος, ὥσθ᾽ ἁμαρτάνειν.
1250

Χορός

οὐκ οἶδ'· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Ἄγγελος

ἀλλ᾽ εἰσόμεσθα, μή τι καὶ κατάσχετον

κρυφῆι καλύπτει καρδίαι θυμουμένηι,

δόμους παραστείχοντες. εὖ γὰρ οὖν λέγεις·
1255

καὶ τῆς ἄγαν γάρ ἐστί που σιγῆς βάρος.

Χορός

Translations (10)

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 1244 focus

¿Qué conjeturas ahora? Esa mujer ha desaparecido sin proferir buena ni mala palabra.

EL MENSAJERO

Yo mismo estoy asombrado; pero abrigo la esperanza de que, enterada ella de la muerte del hijo, no creerá que deba llorarlo por las calles de la ciudad; sino que, yéndose a casa, anunciará a las esclavas la desgracia de la familia para que lo lloren; porque no está tan falta de juicio que cometa una atrocidad.

CORO

No sé; porque a mí, el demasiado silencio me parece compañero de algo grave, lo mismo que el inmoderado clamor.

EL MENSAJERO

Pues vamos a verlo yéndonos a palacio; no sea que algo reprimido oculte secretamente en su irritado corazón; porque bien dices que el demasiado silencio es cosa grave.

CORO

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1244 focus

Quidnam hoc esse coniicias?

Mulier rursus e conspectu evasit, priusquam locuta est boni vel mali quidquam.

Nuntius

Et ipse stupeo; attamen spe mulceor, illam, audita filii nece, urbem non incensuram questibus, sed interiorem domo famulis edicturam, ut privatim lessum lamentando faciant: consilii enim non ita expers est, ut quidquam hac in re peccet.

Chorus

Nescio: quanquam mihi et silens stupor grave quid portendere videtur, et temeraria eiulatio.

Nuntius

At mox domum ingressus comperiam, num quid etiam cohibendum clam tegat animo irato: quippe bene dicis; etenim haud sine periculo est nimium silentium.

Chorus

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1244 focus

What augur ye from this? The queen is gone

Without word spoken either good or bad.
1245

MESS

I, too, am struck with dread. But hope consoles me,

That having heard the affliction of her son,

Her pride forbids to publish her lament

Before the town, but to her maids within

She will prescribe to mourn the loss of the house.

She is too tried in judgement to do ill.
1250

CH

I cannot tell. The extreme of silence, too,

Is dangerous, no less than much vain noise.

MESS

Well, we may learn, if there be aught unseen

Suppressed within her grief-distempered soul,

By going within the palace. Ye say well:
1255

There is a danger, even in too much silence.

CH

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1244 focus

Wie willst du das dir deuten? Rasch von hinnen ging

Die Frau, bevor sie Gutes oder Böses sprach.
1210

Der Bote.

Ich staune selbst auch, doch ermannt mich dieser Trost:

Des Sohnes Unglück hörend, will sie nicht vor uns

Die Klag' erheben, nein, daheim in stillem Schmerz

Vor ihren Frau'n beweinen, was ihr Haus betraf.

Denn nicht so sinnlos ist sie, daß sie frevelte.
1215

Der Chor.

Wer weiß es? Mir dünkt allzutiefes Schweigen auch

Unheilbedeutend, wie der thöricht laute Schmerz.

Der Bote.

Ich will es bald erfahren, ob sie nicht geheim

Verhalt'nes Leid in wildempörter Brust verbirgt;

Ich geh' hinan zum Hause; denn wahr sagtest du:
1220

Wohl allzutiefes Schweigen auch droht schweres Leid.

(der Bote geht ab. Kreon erscheint, die Leiche des Sohnes tragend, mit Gefolge.)

Der Chor.

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1244 focus

What can this mean? She's gone, without a

word.
1245

Messenger

'Tis strange, and yet I trust she will not loud

Proclaim her griefs to all, but — for I know

She's ever prudent — with her virgin train

In secret weep her murdered Hsemon's fate.

ryS
1250

Chorus

Clamour indeed were vain ; but such deyp

silence

Doth ever threaten horrid consequence.

Messenger

Within we soon shall know if aught she hide

Of deadly purport in her angry soul ;

For well thou sayst her silence is most dreadful.

Chorus
\Exit Messengek.

Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 1244 focus

¿Pero qué debemos augurar de esto?... Esa mujer se ha marchado de nuevo sin contestar palabra mala ni buena.

EL MENSAJERO

Yo mismo me he quedado también estupe facto; abrigo, sin embargo, la esperanza de que ella, enterada ya de las desgracias de su hijo, no habrá querido ofrecer á los thebanos el espectáculo de su dolor, y se habrá ido á palacio á comunicar el triste caso á sus siervas para hacer el duclo. La juzgo demasiado prudente para cometer ningún atentado.

EL CORO

No sé... pero lo mismo el dolor mudo que el que estalla en gritos violentos, me parecen de funesto augurio.

EL MENSAJERO

Bien pronto lo sabremos.—Entremos en Palacio y veamos si en su desesperación me- dita algún siniestro designio... porque, con razón decís que lo que hay aquí de grave es su completo silencio.—(Váse el mensajero.—Aparece Creonte con su servidumbre, trayendo en hombros el cadáver de Hemón.)

EL CORO

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1244 focus

CHOR

Wie nimmst du diess? Die Frau gteng wieder weg,

Eh sie gut oder schlimm ein Wort gesagt.
1300

DER BOTE

Mich wunderts auch , doch nähr’ ich mich mit Hoffnung,

Dafs auf des Kindes Unglük sie das Jammern

Anständig nicht gehalten vor der Stadt,

Und in den Zimmern drinn den Mägden sage,

Dals sie des Hauses Klage klagen. Denn
1305

So ohne Rath ist sie nicht, dass sie fehlte.

CHOR

Ich weiss nicht. Doch das allzugrofse Schweigen

Scheint bei vergebnem Schreien mir bedeutend.

DER BOTE

Lafs sehen uns, ob nicht Verhaltenes

Geheim verberg' ihr schwellend Herz; hinein
1310

Ins Haus gehn. Denn du redest wohl, es ist

Bedeutend auch das ailzugrolse Schweigen.

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1244 focus

What wouldst thou augur from this? The lady hath turned back, and is gone, without a word, good or evil.

Messenger

I, too, am startled; yet I nourish the hope that, at these sore tidings of her son, she cannot deign to give her sorrow public vent, but in the privacy of the house will set her handmaids to mourn the household 1250 grief. For she is not untaught of discretion, that she should err.

Chorus

I know not; but to me, at least, a strained silence seems to portend peril, no less than vain abundance of lament.

Messenger

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1244 focus

Canst thou conjecture what this means? The queen

Is gone, and not a word burst from her lips...
1245

Messenger

I am astonish'd; but my hopes are warm

That dignity of mind from public view

Restrains her grief for her son's fate: retired

Amidst her female train she may indulge

Her sighs and streaming tears: from rash attempts

Her prudence oft experienced is her guard.
1250

Chorus

I know not: but a silence so reserved

Imports some dread event; such are my thoughts:

A clamorous sorrow wastes itself in sound.

Messenger

Let us draw near the house; we soon shall know

If fatal purpose in her troubled mind

Secret she harbours: wise is thy remark;
1255

Silence oppresses with too great a weight.

Chorus

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1261-1345 focus

Creon

Ah, the blunders of an unthinking mind, blunders of rigidity, yielding death! Oh, you witnesses of the killers and the killed, both of one family!

What misery arises from my reasonings! Haemon, you have died after a young life, youngest and last of my sons! O God! You have departed not by your foolishness, but by my own!
1265

1270

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

1278 Enter the Messenger from the house.

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

1281

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

1284

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

1293 The doors of the palace are opened, and the corpse of Eurydice is disclosed.

Chorus

The sight is at hand. It is no longer hidden inside.

1294

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Messenger

By the altar, with a sharp-whetted sword, she struck until her eyes went slack and dark. Before that she bewailed the noble fate of Megareus who died earlier, and then the fate of this boy, and also, with her last breath,

she called down evil fortune upon you, the slayer of her sons.
1305

1306

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

1317

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

1328

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

1334

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

1339

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345

Commentary

Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))

mvp-comment-718-1 δῑ ὤτων ¹

mvp-comment-718-2 πρὸς δμωαῖσι ²

mvp-comment-718-3 ἀποπλήσσομαι ³

mvp-comment-719-1 καὶ παρὼν ἐρῶ, κοὐδὲν παρήσω ⁴ παρὠν ⁵

mvp-comment-720-1 ὧν ⁶

mvp-comment-720-2 ὧν ⁷ ψεῦσται ⁸ φανούμεθ’ ⁹

mvp-comment-720-3 ὀρθόν ¹⁰

mvp-comment-721-1 ποδαγός ¹¹ ἑσπόμην ¹²

mvp-comment-722-1 πεδίον … ἄκρον ¹³

mvp-comment-722-2 νηλεές ¹⁴

mvp-comment-723-1 κυνοσπάρακτον ¹⁵

mvp-comment-724-1 τὸν μέν ¹⁶

mvp-comment-724-2 ἐνοδίαν θεόν ¹⁷

mvp-comment-724-3 θεόν ¹⁸

mvp-comment-724-4 εὐμενεῖς ¹⁹

mvp-comment-724-5 κατασχεθεῖν ²⁰

Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus

1191. mvp-comment-673-1 Here, and infr. 1203, 1312, as well as probably supr. 993, the death of Creon's son Megareus, elsewhere called Menoeceus, is alluded to.

1192. mvp-comment-674-1 παρών 'As an eye-witness of the fact. See Essay on Language § 32. P. 55.

1194. mvp-comment-675-1 ὧν Sc. τούτοις τοῖς ἔπεσι, περὶ ὧν. Essay on Language § 9. p. 13.

1195. mvp-comment-676-1 ὀρθὸν .. ἀεί Truth is always safe: i. e. never hurts him who tells it.

1197. mvp-comment-677-1 νηλεές Uncared for. О. Т. 180, νηλέα .. κεῖται ἀνοίκτως.

1199. mvp-comment-678-1 ἐνοδίαν θεόν Probably Hecate. Cp. Fr. 490. πῦρ ἱερόν, | τῆς εἰνοδίας Ἑκάτης ἔγχος.

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CHOR. Wie magst du das wol deuten? Fort schon ist die Frau, noch eh' ein gutes oder böses Wort sie sprach.

BOTE. Ich schaudre selbst auch; doch die Hoffnung nährt mich noch, des Kindes Unglück hörend wolle nicht der Stadt 1190 sie zeigen ihre Klagen, sondern drin im Haus mit ihren Frau'n beweinen dieses eigne Leid. Nicht unverständig ist sie, daſs sie frevelte.

CHOR. Nicht weiſs ich's: aber allzutiefes Schweigen scheint gleich drohend mir als übermäfsig Klaggeschrei. 1195

BOTE. Bald werden wir erfahren, ob nicht heimlich sie verhaltnes Weh in tief empörtem Herzen birgt, indem ans Haus ich trete: denn wahr sprachest du, auch allzu tiefes Schweigen drohet Schweres oft.

Current edition Experimental

τί τοῦτ᾽ ἂν εἰκάσειας; ἢ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός οὐκ οἶδ᾽· ἔμοι γ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι, χἡ μάτην πολλὴ βοή. 1245

Χορός

Χορός τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή. 1195

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν 1220 φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός οὐκ οἶδ᾽· ἔμοιγ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι, χ᾽ ἡ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ᾽. ἐμοὶ δ’ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Χορός

τί τοῦτ’ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ’· ἐμοὶ δ’ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλαι φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν. φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1230

Χορός οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι, χἠ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ᾽. ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

Χορός

Χορός τί τοῦτʼ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδʼ· ἐμοὶ δʼ οὖν ἥ τʼ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον. 1245

Χορός οὐκ οἶδ'· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

Χορός

CORO No sé; porque a mí, el demasiado silencio me parece compañero de algo grave, lo mismo que el inmoderado clamor.

EL MENSAJERO Pues vamos a verlo yéndonos a palacio; no sea que algo reprimido oculte secretamente en su irritado corazón; porque bien dices que el demasiado silencio es cosa grave.

CORO

Nuntius Et ipse stupeo; attamen spe mulceor, illam, audita filii nece, urbem non incensuram questibus, sed interiorem domo famulis edicturam, ut privatim lessum lamentando faciant: consilii enim non ita expers est, ut quidquam hac in re peccet.

Chorus Nescio: quanquam mihi et silens stupor grave quid portendere videtur, et temeraria eiulatio.

Nuntius At mox domum ingressus comperiam, num quid etiam cohibendum clam tegat animo irato: quippe bene dicis; etenim haud sine periculo est nimium silentium.

Chorus

What augur ye from this? The queen is gone Without word spoken either good or bad. 1245

MESS I, too, am struck with dread. But hope consoles me, That having heard the affliction of her son, Her pride forbids to publish her lament Before the town, but to her maids within She will prescribe to mourn the loss of the house. She is too tried in judgement to do ill. 1250

CH I cannot tell. The extreme of silence, too, Is dangerous, no less than much vain noise.

MESS Well, we may learn, if there be aught unseen Suppressed within her grief-distempered soul, By going within the palace. Ye say well: 1255 There is a danger, even in too much silence.

CH

Wie willst du das dir deuten? Rasch von hinnen ging Die Frau, bevor sie Gutes oder Böses sprach. 1210

Der Bote. Ich staune selbst auch, doch ermannt mich dieser Trost: Des Sohnes Unglück hörend, will sie nicht vor uns Die Klag' erheben, nein, daheim in stillem Schmerz Vor ihren Frau'n beweinen, was ihr Haus betraf. Denn nicht so sinnlos ist sie, daß sie frevelte. 1215

Der Chor. Wer weiß es? Mir dünkt allzutiefes Schweigen auch Unheilbedeutend, wie der thöricht laute Schmerz.

Der Bote. Ich will es bald erfahren, ob sie nicht geheim Verhalt'nes Leid in wildempörter Brust verbirgt; Ich geh' hinan zum Hause; denn wahr sagtest du: 1220 Wohl allzutiefes Schweigen auch droht schweres Leid. (der Bote geht ab. Kreon erscheint, die Leiche des Sohnes tragend, mit Gefolge.)

Der Chor.

What can this mean? She's gone, without a word. 1245

Messenger 'Tis strange, and yet I trust she will not loud Proclaim her griefs to all, but — for I know She's ever prudent — with her virgin train In secret weep her murdered Hsemon's fate. ryS 1250

Chorus Clamour indeed were vain ; but such deyp silence Doth ever threaten horrid consequence.

Messenger Within we soon shall know if aught she hide Of deadly purport in her angry soul ; For well thou sayst her silence is most dreadful.

Chorus \Exit Messengek.

EL CORO No sé... pero lo mismo el dolor mudo que el que estalla en gritos violentos, me parecen de funesto augurio.

EL CORO

CHOR Wie nimmst du diess? Die Frau gteng wieder weg, Eh sie gut oder schlimm ein Wort gesagt. 1300

DER BOTE Mich wunderts auch , doch nähr’ ich mich mit Hoffnung, Dafs auf des Kindes Unglük sie das Jammern Anständig nicht gehalten vor der Stadt, Und in den Zimmern drinn den Mägden sage, Dals sie des Hauses Klage klagen. Denn 1305 So ohne Rath ist sie nicht, dass sie fehlte.

CHOR Ich weiss nicht. Doch das allzugrofse Schweigen Scheint bei vergebnem Schreien mir bedeutend.

DER BOTE Lafs sehen uns, ob nicht Verhaltenes Geheim verberg' ihr schwellend Herz; hinein 1310 Ins Haus gehn. Denn du redest wohl, es ist Bedeutend auch das ailzugrolse Schweigen.

Messenger I, too, am startled; yet I nourish the hope that, at these sore tidings of her son, she cannot deign to give her sorrow public vent, but in the privacy of the house will set her handmaids to mourn the household 1250 grief. For she is not untaught of discretion, that she should err.

Chorus I know not; but to me, at least, a strained silence seems to portend peril, no less than vain abundance of lament.

Messenger

Canst thou conjecture what this means? The queen Is gone, and not a word burst from her lips... 1245

Messenger I am astonish'd; but my hopes are warm That dignity of mind from public view Restrains her grief for her son's fate: retired Amidst her female train she may indulge Her sighs and streaming tears: from rash attempts Her prudence oft experienced is her guard. 1250

Chorus I know not: but a silence so reserved Imports some dread event; such are my thoughts: A clamorous sorrow wastes itself in sound.

Messenger Let us draw near the house; we soon shall know If fatal purpose in her troubled mind Secret she harbours: wise is thy remark; 1255 Silence oppresses with too great a weight.

Chorus

Chorus Ah, how late you seem to see the right! 1270

Creon God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths, —ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through! 1275

Messenger My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms; second, you will soon look upon further sufferings inside your house. 1280

CHOR.

Wie magst du das wol deuten? Fort schon ist die Frau,

noch eh' ein gutes oder böses Wort sie sprach.

BOTE.

Ich schaudre selbst auch; doch die Hoffnung nährt mich noch,

des Kindes Unglück hörend wolle nicht der Stadt
1190

sie zeigen ihre Klagen, sondern drin im Haus

mit ihren Frau'n beweinen dieses eigne Leid.

Nicht unverständig ist sie, daſs sie frevelte.

CHOR.

Nicht weiſs ich's: aber allzutiefes Schweigen scheint

gleich drohend mir als übermäfsig Klaggeschrei.
1195

BOTE.

Bald werden wir erfahren, ob nicht heimlich sie

verhaltnes Weh in tief empörtem Herzen birgt,

indem ans Haus ich trete: denn wahr sprachest du,

auch allzu tiefes Schweigen drohet Schweres oft.

τί τοῦτ᾽ ἂν εἰκάσειας; ἢ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός

οὐκ οἶδ᾽· ἔμοι γ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χἡ μάτην πολλὴ βοή.
1245

Χορός

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.
1195

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν
1220

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.

Χορός

οὐκ οἶδ᾽· ἔμοιγ᾽ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χ᾽ ἡ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ᾽. ἐμοὶ δ’ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ’ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ’· ἐμοὶ δ’ οὖν ἥ τ’ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλαι

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν.

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1230

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι, χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ᾽· ἐμοὶ δ᾽ οὖν ἥ τ᾿ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ᾽. ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἡ μάτην πολλὴ βοή.

Χορός

τί τοῦτʼ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδʼ· ἐμοὶ δʼ οὖν ἥ τʼ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

τί τοῦτ᾽ ἂν εἰκάσειας; ἡ γυνὴ πάλιν

φρούδη, πρὶν εἰπεῖν ἐσθλὸν ἢ κακὸν λόγον.
1245

Χορός

οὐκ οἶδ'· ἐμοὶ δ᾽ οὖν ἥ τ᾽ ἄγαν σιγὴ βαρὺ

δοκεῖ προσεῖναι χἠ μάτην πολλὴ βοή.

CORO

No sé; porque a mí, el demasiado silencio me parece compañero de algo grave, lo mismo que el inmoderado clamor.

EL MENSAJERO

Pues vamos a verlo yéndonos a palacio; no sea que algo reprimido oculte secretamente en su irritado corazón; porque bien dices que el demasiado silencio es cosa grave.

Nuntius

Et ipse stupeo; attamen spe mulceor, illam, audita filii nece, urbem non incensuram questibus, sed interiorem domo famulis edicturam, ut privatim lessum lamentando faciant: consilii enim non ita expers est, ut quidquam hac in re peccet.

Chorus

Nescio: quanquam mihi et silens stupor grave quid portendere videtur, et temeraria eiulatio.

Nuntius

At mox domum ingressus comperiam, num quid etiam cohibendum clam tegat animo irato: quippe bene dicis; etenim haud sine periculo est nimium silentium.

What augur ye from this? The queen is gone

Without word spoken either good or bad.
1245

MESS

I, too, am struck with dread. But hope consoles me,

That having heard the affliction of her son,

Her pride forbids to publish her lament

Before the town, but to her maids within

She will prescribe to mourn the loss of the house.

She is too tried in judgement to do ill.
1250

CH

I cannot tell. The extreme of silence, too,

Is dangerous, no less than much vain noise.

MESS

Well, we may learn, if there be aught unseen

Suppressed within her grief-distempered soul,

By going within the palace. Ye say well:
1255

There is a danger, even in too much silence.

Wie willst du das dir deuten? Rasch von hinnen ging

Die Frau, bevor sie Gutes oder Böses sprach.
1210

Der Bote.

Ich staune selbst auch, doch ermannt mich dieser Trost:

Des Sohnes Unglück hörend, will sie nicht vor uns

Die Klag' erheben, nein, daheim in stillem Schmerz

Vor ihren Frau'n beweinen, was ihr Haus betraf.

Denn nicht so sinnlos ist sie, daß sie frevelte.
1215

Der Chor.

Wer weiß es? Mir dünkt allzutiefes Schweigen auch

Unheilbedeutend, wie der thöricht laute Schmerz.

Der Bote.

Ich will es bald erfahren, ob sie nicht geheim

Verhalt'nes Leid in wildempörter Brust verbirgt;

Ich geh' hinan zum Hause; denn wahr sagtest du:
1220

Wohl allzutiefes Schweigen auch droht schweres Leid.

(der Bote geht ab. Kreon erscheint, die Leiche des Sohnes tragend, mit Gefolge.)

What can this mean? She's gone, without a

word.
1245

Messenger

'Tis strange, and yet I trust she will not loud

Proclaim her griefs to all, but — for I know

She's ever prudent — with her virgin train

In secret weep her murdered Hsemon's fate.

ryS
1250

Chorus

Clamour indeed were vain ; but such deyp

silence

Doth ever threaten horrid consequence.

Messenger

Within we soon shall know if aught she hide

Of deadly purport in her angry soul ;

For well thou sayst her silence is most dreadful.

Chorus
\Exit Messengek.

EL CORO

No sé... pero lo mismo el dolor mudo que el que estalla en gritos violentos, me parecen de funesto augurio.

CHOR

Wie nimmst du diess? Die Frau gteng wieder weg,

Eh sie gut oder schlimm ein Wort gesagt.
1300

DER BOTE

Mich wunderts auch , doch nähr’ ich mich mit Hoffnung,

Dafs auf des Kindes Unglük sie das Jammern

Anständig nicht gehalten vor der Stadt,

Und in den Zimmern drinn den Mägden sage,

Dals sie des Hauses Klage klagen. Denn
1305

So ohne Rath ist sie nicht, dass sie fehlte.

CHOR

Ich weiss nicht. Doch das allzugrofse Schweigen

Scheint bei vergebnem Schreien mir bedeutend.

DER BOTE

Lafs sehen uns, ob nicht Verhaltenes

Geheim verberg' ihr schwellend Herz; hinein
1310

Ins Haus gehn. Denn du redest wohl, es ist

Bedeutend auch das ailzugrolse Schweigen.

Messenger

I, too, am startled; yet I nourish the hope that, at these sore tidings of her son, she cannot deign to give her sorrow public vent, but in the privacy of the house will set her handmaids to mourn the household 1250 grief. For she is not untaught of discretion, that she should err.

Chorus

I know not; but to me, at least, a strained silence seems to portend peril, no less than vain abundance of lament.

Canst thou conjecture what this means? The queen

Is gone, and not a word burst from her lips...
1245

Messenger

I am astonish'd; but my hopes are warm

That dignity of mind from public view

Restrains her grief for her son's fate: retired

Amidst her female train she may indulge

Her sighs and streaming tears: from rash attempts

Her prudence oft experienced is her guard.
1250

Chorus

I know not: but a silence so reserved

Imports some dread event; such are my thoughts:

A clamorous sorrow wastes itself in sound.

Messenger

Let us draw near the house; we soon shall know

If fatal purpose in her troubled mind

Secret she harbours: wise is thy remark;
1255

Silence oppresses with too great a weight.

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

Chorus

The sight is at hand. It is no longer hidden inside.

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345