Sófocles Antigone 1146

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¡Oh jefe del coro de los astros que respiran fuego, inspector de las nocturnas músicas, niño hijo de Júpiter, hazte presente, ¡oh rey!, junto con tus compañeras las Tiadas, que enfurecidas celebran en coros todas las noches a Baco su señor!

Antigone. Sófocles. Madrid. 1921.

Sponsored by Perseus Digital Library.

Current edition Experimental

Spanish (J. A. Bolufer, 1921) (OCR draft) (Spanish) (Spanish (J. A. Bolufer, 1921))

Provisional text from uncorrected OCR; expect errors.

Editions (12)
Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1146 focus
ἰὼ πῦρ πνεόντων
χοράγ᾽ ἄστρων 1 καὶ νυχίων
1140
φθεγμάτων ἐπίσκοπε,
παῖ 2 , Διὸς γένεθλον,
προφάνηθι Ναξίαις
σαῖς ἅμα περιπόλοις (Θυιάσιν),
αἵ σε μαινόμεναι πάννυχοι τι
1145
χορεύουσι, τὸν
ταμίαν Ἴακχον.
Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1146 focus
ἰὼ πῦρ πνειόντων χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Διὸς γένεθλον,
προφάνηθι Ναξίαις σαῖς ἅμα περιπόλοις
1095
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1146 focus
ἰὼ πῦρ πνεόντων
οἴστρων τε καὶ νυχίων
1125
φθεγμάτων ἐπίσκοπε
παῖ, Ζηνὸς γένεθλον, προφάνηθι Να-
ξίαις Θυιάσι σαῖς ἅμα περιπόλοις,
μαινόμεναι χορεύουσ᾽ αἳ πάννυχοι
τὸν ταμίαν Ἴακχον.
1130
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1146 focus
*ὦ πῦρ πνεόντων *ἄστρων χοραγὲ* καὶ νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Διὸς γένεθλον,
προφάνηθι Ναξίαις σαῖς ἅμα περιπόλοις
1150
*Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1146 focus
ἰὼ πῦρ πνεόντων
χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ, Διὸς γένεθλον, προφάνηθ᾽,
ὦναξ, σαῖς ἅμα περιπόλοις
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1146 focus
ἰὼ πῦρ πνεόντων
χοράγ’ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ, Δῖον γένεθλον, προφάνηθ’,
ὦναξ, σαῖς ἅμα περιπόλοις
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1146 focus
ἰὼ πῦρ πνειόντων
χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Ζηνὸς γένεθλον, προφάνηθ',
ὦναξ, σαῖς ἅμα περιπόλοις
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1146 focus
ἰὼ τῶν πῦρ πνεόντων
χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Διὸς γένεθλον, προφάνηθι Ναξίαις
1135
ἅμα περιπόλοισν σαῖ-
σιν, αἵ σε μαινόμεναι παννύχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1146 focus
ἰὼ πῦρ πνειόντων χοράγ᾽ ἄστρων, νυχίων 1
φθεγμάτων ἐπίσκοπε, 2
παῖ Διὸς γένεθλον, προφάνηθ᾽, 3
ὦναξ, σαῖς ἅμα περιπόλοις 4
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι χορεύουσι 5
τὸν ταμίαν Ἴακχον. 6
Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1146 focus
ἰὼ πῦρ πνειόντων
χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Διὸς γένεθλον, προφάνηθ᾽,
ὦναξ, σαῖς ἅμα περιπόλοις
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Antigone (OCR draft) Experimental (Antigone) — 1146 focus
Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1146 focus
ἰὼ πῦρ πνεόντων
χοράγ᾽ ἄστρων, νυχίων
φθεγμάτων ἐπίσκοπε,
παῖ Διὸς γένεθλον, προφάνηθ᾽,
ὦναξ, σαῖς ἅμα περιπόλοις
1150
Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι
χορεύουσι τὸν ταμίαν Ἴακχον.
Translations (10)
German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1146 focus
Io du, glutaussprühn'der Sterne führend den Chor,
Herr des Jubelschalls der Nacht,
Zeusentsprofsner Knabe!
O erscheine sammt der Schaar Naxischer Mägdelein,
1095
der Thyien, die durchschwärmend die Nacht dich entzückt
im Tanzreigen, Spender Iakchos, feiern!
Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1146 focus
O ignem spirantium furorum nocturnarumque vociferationum magister puer, Iovis proles, adpareas cum Naxii Thyiadibus, tuis comitibus, quae furentes pernoctibus lustrant choris praesidem Iacchum.
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1146 focus
Quick-panting with their breath of fire!
Lord of high voices of the night,
Child born to him who dwells in light,
Appear with those who, joying in their madness,
Honour the sole dispenser of their gladness,
1150
Thyiads of the Aegean main
Night-long trooping in thy train.
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1146 focus
Wohlauf, du, glutaussprüh'nder Sterne Führer, o Herr 1
Nächtlich frohen Jubelschalls,
1115
Zeusentspross'ner Knabe!
O erscheine, rings vom Chor naxischer Frau'n umschwärmt, 2
Der Thyien, die dich Nächte hindurch wildentzückt 3
Im Rheih'ntanze feiern, den Freudeſpender!
Ein Bote. Der Chor.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1155 focus
Chorus.
Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 1146 focus
¡Oh, tú, mancebo, que conduces el coro de los astros; tú que presides los cantos nocturnos, hijo de Júpiter, comparece ante nosotros acompañado de las hijas de Naxos, de las Thyadas que celebran en danzas delirantes 4 Baco su soberano.
German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1146 focus
Jo! du! in Feuer wandelnd!
1195
Chorführer der Gestirn’ und geheimer
Reden Bewahrer!
Sohn , Zevs Geburt!
Werd’ offenbar! mit den Naxischen
Zugleich, den wachenden
1200
Thyaden, die wahnsinnig
Dir Chor singen, dem jauchzenden Merrn.
Erste Scene EIN BOTE. DER CHOR. Hernach EURYDICE.
English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1146 focus
O thou with whom the stars rejoice as they move, the stars whose breath is fire; O master of the voices of the night; son begotten of Zeus; appear, O king, 1150 with thine attendant Thyiads, who in night-long frenzy dance before thee, the giver of good gifts, Iacchus! Enter MESSENGER, on the spectators left hand.
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1146 focus
And to thy Thebans peace restore!
Thou leader of the starry train
That flaming bursts upon the sight;
Director of th' harmonious strain
Whose sweet notes charm the ear of night,
Hear, son of Jove, O Bacchus, hear,
Bright in thy form divine appear
1150
Thy frentic Nymphs from Naxos lead,
1150
The frolic dance who lightly tread,
And, as around their god they stand,
Hail thee the leader of their band!
English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1146 focus

Commentary

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

mvp-comment-132-1 ἀνθ’ οὗ 1

mvp-comment-132-2 τὸ γὰρ | πρᾶγμ’ 2 γάρ 3

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.