Puedes verla, pues no está en el interior de palacio.
CREONTE
Antigone. Sófocles. Madrid. 1921.
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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)) — 1293 focus
ὁρᾷν πάρεστιν.
οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾷν πάρεστιν.
οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
b
b
Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1293 focus
Χορός
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1293 focus
ὁρᾷν πάρεστιν·
οὐ γὰρ ἐν μυχοῖς ἔτι.
1265
ὁρᾷν πάρεστιν·
οὐ γὰρ ἐν μυχοῖς ἔτι.
1265
Κρέων
2
2
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι,
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι,
Κρέων
Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
2
Κρέων
Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1293 focus
ὁρᾶν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
2
2
Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1293 focus
ὁρᾶν πάρεστιν·
οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν·
οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
2
Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
Antigone (OCR draft) Experimental (Antigone) — 1293 focus
Χορός
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1293 focus
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
Κρέων
Translations (10)
German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1293 focus
CHOR.
Du kannst es sehen; nicht im Innern ist sie mehr.
(die Leiche der Eurydike wird sichtbar.)Du kannst es sehen; nicht im Innern ist sie mehr.
Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1293 focus
Intueri licet:
non enim in penetrali amplius retinetur.
Creon
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1293 focus
No longer hidden in the house. Behold!
No longer hidden in the house. Behold!
CR
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1293 focus
Du kannst es sehen; nicht im Hause birgt sich's mehr.
(Im Hintergrunde der Scene wird die Leiche der Königin sichtbar.)
Du kannst es sehen; nicht im Hause birgt sich's mehr.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1293 focus
A wretch, already dead
With grief, thy horrid tale once more hath slain.
A wretch, already dead
With grief, thy horrid tale once more hath slain.
Creon
Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 1293 focus
Puedes verla... y no allá en lo reservado de tu palacio
1
.
CREONTE
Antistrofa 2.2
Comtemplando el cadáver de Eurydice, y todavía con el de Hemón en sus brazos).—¡Desgraciado de mi!
Antistrofa 2.2
Comtemplando el cadáver de Eurydice, y todavía con el de Hemón en sus brazos).—¡Desgraciado de mi!
German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1293 focus
BOTE
Du kannst es selın. Noch ist sie im Gemach nicht.
Du kannst es selın. Noch ist sie im Gemach nicht.
English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1293 focus
Thou canst behold: ’tis no longer hidden within.
The doors of the palace are opened, and the corpse of EURYDICE is disclosed.
2
Creon
English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1294 focus
In youth's fresh prime: yet thou wast blameless; all
In youth's fresh prime: yet thou wast blameless; all
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
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
Chorus
Ah, how late you seem to see the right!
1270
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.
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
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?
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.
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
1293
The doors of the palace are opened, and the corpse of Eurydice is disclosed.
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.
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
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
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
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
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.
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?
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
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
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
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
1334
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
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.
All that I crave was summed in that prayer.
Chorus
Then pray no more; for mortals have no release from destined misfortune.
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
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))
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.
262-263. mvp-comment-163-1 The subtlety of the Φύλαξ deserts him in attempting to express his meaning. The perpetrator was every one and no one of us all every one in vague suspicion, and no one evidently: he escaped being known.' τις gives the indefiniteness required by the sense, = πως.