πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,
Antigone. Sophocles. Berlin. 1806.
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Table of Contents
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Current edition Experimental
Greek (F. H. Bothe, 1806) (OCR draft) (Greek) (Greek (F. H. Bothe, 1806))
Provisional text from uncorrected OCR; expect errors.
Editions (11)
Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1144 focus
σαῖς ἅμα περιπόλοις (Θυιάσιν),
Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1144 focus
λούσαντες ἁγνὸν λουτρόν, ἐν νεοσπάσιν
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1145 focus
ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1145 focus
ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1144.mvp-line-1126 focus
μολεῖν καθαρσίῳ ποδὶ Παρνασίαν
Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1145 focus
ὑπὲρ κλειτὺν ἢ στονόεντα πορθμόν.
1145
Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1144 focus
τὸν εὐτυχοῦντα, τόν τε δυστυχοῦντ᾽ ἀεί.
Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1145 focus
ἢ στονόεντα πορθμόν.
6
1145
Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1145.mvp-line-1130 focus
ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
Antigone (OCR draft) Experimental (Antigone) — 1145 focus
ἢ στονόεντα πορθμόν.
1145
Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1145 focus
ὑπὲρ κλιτὺν ἢ στονόεντα πορθμόν.
1145
Translations (2)
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1146 focus
English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1155-1260 focus
Enter Messenger, on the spectators’ left.
1183
Enter Eurydice.
1219
1244
1257
Messenger
Neighbors of the house of Cadmus and of Amphion, there is no station of human life that I would ever praise or blame as being settled. Fortune sets upright and Fortune sinks the lucky and unlucky from day to day,
1155
and no one can prophesy to men concerning the order that has just been established. For Creon, as I saw it, was once blest: he had saved this land of Cadmus from its enemies; and having won sole and total dominion in the land, he guided it on a straight course and flourished in his noble crop of children.
1160
And now all this has been lost. When a man has forfeited his pleasures, I do not reckon his existence as life, but consider him just a breathing corpse. Heap up riches in your house, if you wish! Live with a tyrant’s pomp! But if there is no joy
1165
along with all of that, I would not pay even the shadow of smoke for all the rest, compared with joy.
1170
Neighbors of the house of Cadmus and of Amphion, there is no station of human life that I would ever praise or blame as being settled. Fortune sets upright and Fortune sinks the lucky and unlucky from day to day,
1155
and no one can prophesy to men concerning the order that has just been established. For Creon, as I saw it, was once blest: he had saved this land of Cadmus from its enemies; and having won sole and total dominion in the land, he guided it on a straight course and flourished in his noble crop of children.
1160
And now all this has been lost. When a man has forfeited his pleasures, I do not reckon his existence as life, but consider him just a breathing corpse. Heap up riches in your house, if you wish! Live with a tyrant’s pomp! But if there is no joy
1165
along with all of that, I would not pay even the shadow of smoke for all the rest, compared with joy.
1170
Chorus
What is this new grief for our princes that you have come to report?
What is this new grief for our princes that you have come to report?
Messenger
They are dead, and the living are guilty of the deaths.
They are dead, and the living are guilty of the deaths.
Chorus
Who is the murderer? Who the murdered? Tell us.
Who is the murderer? Who the murdered? Tell us.
Messenger
Haemon is dead—his blood was shed by no strange hand.
1175
Haemon is dead—his blood was shed by no strange hand.
1175
Chorus
Was it his father’s, or his own ?
Was it his father’s, or his own ?
Messenger
He did it by his own, enraged with his father for the murder.
He did it by his own, enraged with his father for the murder.
Chorus
Ah, prophet, how true, then, you have proved your word!
Ah, prophet, how true, then, you have proved your word!
Messenger
Knowing that these things are so, you must consider the rest.
Knowing that these things are so, you must consider the rest.
Chorus
Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance.
1180
1183
Enter Eurydice.
Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance.
1180
Eurydice
People of
Thebes
, I heard your words as I was on my way to the gates to address divine Pallas with my prayers.
At one and the same time I was loosening the bolts of the gate to open it, and the sound of a blow to our house struck my ear. In terror I sank back into the arms of my handmaids, and my senses fled.
1185
But repeat what your news was, for I shall hear it with ears that are no strangers to sorrow.
1190
People of
Thebes
, I heard your words as I was on my way to the gates to address divine Pallas with my prayers.
At one and the same time I was loosening the bolts of the gate to open it, and the sound of a blow to our house struck my ear. In terror I sank back into the arms of my handmaids, and my senses fled.
1185
But repeat what your news was, for I shall hear it with ears that are no strangers to sorrow.
1190
Messenger
Dear mistress, I will tell what I witnessed and leave no word of the truth unspoken. For what good would it do that should I soothe you with words in which I must later be found false?
The truth is always best. I attended your husband as his guide to the furthest part of the plain, where unpitied the body of Polyneices, torn by dogs, still lay. After we had prayed to the goddess of the roads
1195
and to Pluto to restrain their anger in mercy, we washed him with pure washing, and with freshly-plucked boughs we burned what remains there were. Lastly we heaped a high-mounded tomb of his native earth. Afterwards we turned away to enter the maiden’s stoney-bedded
1200
bridal chamber, the caverned mansion of Hades’ bride. From a distance, one of us servants heard a voice of loud wailing near that bride’s unwept bed and came to tell our master Creon. And as the King moved closer and closer, obscure signs rising from a bitter cry surrounded him—
1205
he groaned and said in bitter lament,
Ah, misery, am I now the prophet of evil? Am I going on the path most lined with grief of all that I have walked before? My son’s voice greets me. Go, my servants,
1210
hurry closer, and when you have reached the tomb, enter the opening where the stones of the mound have been torn away, up to the cell’s very mouth. See if it is Haemon’s voice that I recognize, or if I am cheated by the gods.
1215
1219
Dear mistress, I will tell what I witnessed and leave no word of the truth unspoken. For what good would it do that should I soothe you with words in which I must later be found false?
The truth is always best. I attended your husband as his guide to the furthest part of the plain, where unpitied the body of Polyneices, torn by dogs, still lay. After we had prayed to the goddess of the roads
1195
and to Pluto to restrain their anger in mercy, we washed him with pure washing, and with freshly-plucked boughs we burned what remains there were. Lastly we heaped a high-mounded tomb of his native earth. Afterwards we turned away to enter the maiden’s stoney-bedded
1200
bridal chamber, the caverned mansion of Hades’ bride. From a distance, one of us servants heard a voice of loud wailing near that bride’s unwept bed and came to tell our master Creon. And as the King moved closer and closer, obscure signs rising from a bitter cry surrounded him—
1205
he groaned and said in bitter lament,
Ah, misery, am I now the prophet of evil? Am I going on the path most lined with grief of all that I have walked before? My son’s voice greets me. Go, my servants,
1210
hurry closer, and when you have reached the tomb, enter the opening where the stones of the mound have been torn away, up to the cell’s very mouth. See if it is Haemon’s voice that I recognize, or if I am cheated by the gods.
1215
This search, at our desperate master’s word,
we went to make, and in the furthest part of the tomb we saw her hanging by the neck, fastened by a halter of fine linen threads, while he was embracing her with arms thrown around her waist, bewailing the loss of his bride to the spirits below, as well as his father’s deeds, and his grief-filled marriage.
1220
But his father, when he saw him, cried aloud with a dreadful cry and went in and called to him with a voice of wailing:
Ah, unhappy boy, what have you done! What plan have you seized on? By what misfortune have you lost your reason?
1225
Come out, my son, I pray you, I beg you! But the boy glared at him with savage eyes, spat in his face, and without a word in response drew his twin-edged sword. As his father rushed out in flight, he missed his aim. Then the ill-fated boy was enraged with himself
1230
and straightway stretched himself over his sword and drove it, half its length, into his side. Still conscious, he clasped the maiden in his faint embrace, and, as he gasped, he shot onto her pale cheek a swift stream of oozing blood.
1235
Corpse enfolding corpse he lay, having won his marriage rites, poor boy, not here, but in Hades’ palace, and having shown to mankind by how much the failure to reason wisely is the most severe of all afflictions assigned to man.
Eurydice departs into the house.
1240
1244
This search, at our desperate master’s word,
we went to make, and in the furthest part of the tomb we saw her hanging by the neck, fastened by a halter of fine linen threads, while he was embracing her with arms thrown around her waist, bewailing the loss of his bride to the spirits below, as well as his father’s deeds, and his grief-filled marriage.
1220
But his father, when he saw him, cried aloud with a dreadful cry and went in and called to him with a voice of wailing:
Ah, unhappy boy, what have you done! What plan have you seized on? By what misfortune have you lost your reason?
1225
Come out, my son, I pray you, I beg you! But the boy glared at him with savage eyes, spat in his face, and without a word in response drew his twin-edged sword. As his father rushed out in flight, he missed his aim. Then the ill-fated boy was enraged with himself
1230
and straightway stretched himself over his sword and drove it, half its length, into his side. Still conscious, he clasped the maiden in his faint embrace, and, as he gasped, he shot onto her pale cheek a swift stream of oozing blood.
1235
Corpse enfolding corpse he lay, having won his marriage rites, poor boy, not here, but in Hades’ palace, and having shown to mankind by how much the failure to reason wisely is the most severe of all afflictions assigned to man.
Eurydice departs into the house.
1240
Chorus
What would you infer from this? The lady
has turned back and gone without a word, either for good or for evil.
1245
What would you infer from this? The lady
has turned back and gone without a word, either for good or for evil.
1245
Messenger
I, too, am startled. Still I am nourished by the hope that at the grave news of her son she thinks it unworthy to make her laments before the city, but in the shelter of her home will set her handmaids to mourn the house’s grief.
For she is not unhabituated to discretion, that she should err.
1250
I, too, am startled. Still I am nourished by the hope that at the grave news of her son she thinks it unworthy to make her laments before the city, but in the shelter of her home will set her handmaids to mourn the house’s grief.
For she is not unhabituated to discretion, that she should err.
1250
Chorus
I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.
I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.
Messenger
I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart.
I will go in, since you are right—in an excess of silence, too, there may be trouble.
Exit Messenger.
1255
1257
I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart.
I will go in, since you are right—in an excess of silence, too, there may be trouble.
Exit Messenger.
1255
Enter Creon, attended and carrying the shrouded body of Haemon, on the spectators’ left.
Chorus
Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s,
was the madness of this error.
1260
Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s,
was the madness of this error.
1260
Commentary
Commentary (R. C. Jebb) (OCR draft) (Commentary (R. C. Jebb))
Commentary (Lewis Campbell, 1879) (OCR draft) (Commentary (Lewis Campbell, 1879)) focus
607-608. mvp-comment-357-1 The reading adopted involves the simplest change which avoids a breach of metrical rules. Others suppose, the loss of a syllable after θεῶν, reading ἄκοποι for ἀκάματοι, with ἕρπει in the fourth line of the antistrophe. For θεῶν added as a sort of epithet = Divine, cp. supra 454, 369: Ο. Τ. 647 : Αj. 711, θεῶν.. πάνθυτα θέσμια : Phil. 198: also Tr. 1191, Ζηνός. The indefiniteness of this use obviates the objection of Schneidewin, that the months of the Gods are opposed to Zeus, who is generally the orderer of time, as in Hom. Il. 2. 134, Διὸς μεγάλου ἐνιαυτοί. There is possibly, however, in θεῶν some allusion to the heavenly bodies, who, as Plato says, are the ὄργανα χρόνου.
608. mvp-comment-358-1 ἀγήρῳ δὲ χρόνῳ δυνάστας With power whose duration is untouched by age. For the personification of χρόνος, see Essay on Language pp. 81, 82. The reading ἀγήρως seems to be of some antiquity, and is embodied in one of the Scholia.