Sophocles, Antigone, Johann Jakob Christian Donner (Translator), 148

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Aber die namenverleihende Nike kam ja,¹

Gnädig vergeltend der wagenumrauschten Thebe;

Darum werde des Kriegs
150

Heute nimmer gedacht von euch;²

Laßt in Nachtreigen uns

Tanzend umher zieh'n zu der Stadt Tempeln, voran hebe sich Bacchos,

Theben erschütternd!³

Antigone. Sophocles. Johann Jakob Christian Donner (Translator). . .

Current edition Experimental

German (J. J. C. Donner, 1875; OCR review) (OCR draft) (German) (German (J. J. C. Donner, 1875; OCR review))

Provisional text from uncorrected OCR; expect errors.

Editions (12)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ.

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθε λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν· ὁ Θήβας δ᾽

ἐλελίχθων¹ Βάκχιος ἄρχοι.

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα
145

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ.

ἐκ μὲν δὴ πολέμων τῶν νῦν θέσθε λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν· ὁ Θήβας δ᾽ ἐλελίχθων

Βάκχιος ἄρχοι.
150

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐν μὲν δὴ πολέμων

τῶν νῦν θέσθαι λησμοσύναν,
150

θεῶν δὲ ναοὺς χοροῖς

νυχίοις πάντας ἐπέλθωμεν· ὁ Θήβας

δ’ ἐλελίζων Βάκχιος ἄρχοι.

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθε λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θήβας δ᾽ ἐλελίχθων

Βάκχιος ἄρχοι.

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθαι λησμοσύναν·

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θή-

βας δ᾽ ἐλελίχθων Βάκχιος ἄρχοι.

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθαι λησμοσύναν·

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θή-

βας δ’ ἐλελίχθων Βάκχιος ἄρχοι.

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾶι πολυαρμάτωι ἀντιχαρεῖσα Θήβαι,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθαι λησμοσύναν·

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλ-

θωμεν, ὁ Θήβας δ᾽ ἐλελίχθων βάκχιος ἄρχοι.

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθε λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν· ὁ Θήβας δ᾽ ἐλελίχθων

Βάκχιος ἄρχοι.

2

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα 1

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ, 2

ἐκ μὲν δὴ πολέμων 3
150

τῶν νῦν θέσθαι λησμοσύναν, 4

θεῶν δὲ ναοὺς χοροῖς 5

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θήβας δ᾽ ἐλελίχθων 6

Βάκχιος ἄρχοι. 7

4

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθαι λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλ-

θωμεν, ὁ Θήβας δ᾽ ἐλελίχθων Βάκχιος ἄρχοι.

Antigone (OCR draft) Experimental (Antigone) — 148 focus

Χορός

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾷ πολυαρμάτῳ ἀντιχαρεῖσα Θήβᾳ,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθαι λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θήβας δʼ ἐλελίχθων

Βάκχιος ἄρχοι.

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 148 focus

ἀλλὰ γὰρ ἁ μεγαλώνυμος ἦλθε Νίκα

τᾶι πολυαρμάτωι ἀντιχαρεῖσα Θήβαι,

ἐκ μὲν δὴ πολέμων
150

τῶν νῦν θέσθε λησμοσύναν,

θεῶν δὲ ναοὺς χοροῖς

παννυχίοις πάντας ἐπέλθωμεν, ὁ Θήβας δ᾽ ἐλελίχθων

Βάκχιος ἄρχοι.

Translations (10)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 148 focus

Aber es kam die gepriesene Siegesgöttin,
145

freudig entgegnend der wagenberühmten Thebe:

deſshalb denket des Kampfs jetztnicht mehr; in nächtlichem Chor

lasset Tanzreigen uns

führend der Stadt Tempeln umher nahen, voran hebe sich

Thebe's
Bacchios jauchzend!
150

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 148 focus

Pero, puesto que la gloriosa victoria llegó felicitando a Tebas la de muchos carros, olvidémonos de la reciente guerra y vayamos a los templos de los dioses con nocturnos coros guiados por Baco, que a Tebas pone en conmoción.

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 148 focus

At enim, quoniam praeclaro nomine gaudens Victoria venit, curruum agitatrice Theba invicem delectata, iam confectorum modo bellorum oblivia inducite, deorumque templa omnia adeamus nocturnis choris, duce quidem Baccho, ululante, Thebis oriundo.

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 148 focus

But with blithe greeting to glad Thebe came

She of the glorious name,

Victory,—smiling on our chariot throng

With eyes that waken song
150

Then let those battle memories cease,

Silenced by thoughts of peace.

With holy dances of delight

Lasting through the livelong night

Visit we every shrine, in solemn round,

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 162 focus

Chorus

Creon

Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 148 focus

Puesto que la victoria ha venido á proporcionar á la belicosa Thebas el júbilo y la alegría, aparte de nuestra mente el recuerdo de los combates; durante toda la noche formemos coros en los templos de los dioses, y que Baco, dios de Thebas, presida nuestros regocijos.

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 148 focus

Der grofsnahmige Sieg ist aber gekommen,

Der wagenreichen günstig, der Thebe,

Und nach dem Kriege hier,
155

Macht die Vergessenheit aus!

Zu allen Göttertempeln,

Mit Chören, die Nacht durch,

Kommt her! und, Thebe

Erschütternd, herrsche der Bacchusreigen!
160

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 148 focus

But since Victory of glorious name hath come to us, with joy responsive to the joy of Thebè whose 150 chariots are many, let us enjoy forgetfulness after the late wars, and visit all the temples of the gods with night-long dance and song; and may Bacchus be our leader, whose dancing shakes the land of Thebè. 4

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 148 focus

And Mars triumphant on his car

Directed all the storm of war.

At the seven gates seven Argive warriors raged,
150

But, Chief with daring Chief engaged,

Left to Tropæan Jove their glittering spoils.

Not such th' unhappy Brothers' toils;

With ruthless spears and ruthless hate

They rush'd victorious both, both shared one common fate.

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 162-330 focus

Enter Creon, with two attendants.

Creon

My fellow citizens! First, the gods, after tossing the fate of our city on wild waves, have once more righted it. Second, I have ordered you through my messengers to come here

apart from all the rest, because I knew, first of all, how constant was your reverence for the power of the throne of Laius; how, again, you were reverent, when Oedipus was guiding our city; and lastly, how, when he was dead, you still maintained loyal thoughts towards his children.
165

Since, then, these latter have fallen in one day by a twofold doom—each striking, each struck, both with the stain of a brother’s murder—I now possess all the power and the throne according to my kinship with the dead.
170

Now, it is impossible to know fully any man’s character, will, or judgment, until he has been proved by the test of rule and law-giving. For if anyone who directs the entire city does not cling to the best and wisest plans,
175

but because of some fear keeps his lips locked, then, in my judgment, he is and has long been the most cowardly traitor. And if any man thinks a friend more important than his fatherland, that man, I say, is of no account. Zeus, god who sees all things always, be my witness—
180

I would not be silent if I saw ruin, instead of safety, marching upon the citizens. Nor would I ever make a man who is hostile to my country a friend to myself, because I know this, that our country is the ship that bears us safe, and that only when
185

we sail her on a straight course can we make true friends. Such are the rules by which I strengthen this city. Akin to these is the edict which I have now published to the citizenry concerning the sons of Oedipus: Eteocles, who fell fighting
190

in behalf of our city and who excelled all in battle, they shall entomb and heap up every sacred offering that descends to the noblest of the dead below. But as for his brother, Polyneices, I mean, who on his return from exile wanted to burn to the ground
195

the city of his fathers and his race’s gods, and wanted to feed on kindred blood and lead the remnant into slavery—it has been proclaimed to the city that no one shall give him funeral honors or lamentation,
200

but all must leave him unburied and a sight of shame, with his body there for birds and dogs to eat. This is my will, and never will I allow the traitor to stand in honor before the just. But whoever has good will to Thebes ,
205

he shall be honored by me in death as in life.
210

211

Chorus

That is your will, Creon, towards this city’s enemy and its friend. And the power is yours, I believe, to make use of every law whatsoever, both concerning the dead and all us who live.

Creon

See, then, that you be guardians of my commands.
215

Chorus

Lay the weight of this task on some younger man.

Creon

That is not what I meant—the guards for the corpse are already in place.

Chorus

Then what is this other command that you would give?

Creon

That you not give way to the breakers of my commands.

Chorus

There is no one so foolish as to crave death.
220

Creon

I assure you, that is the wage for disobedience. Yet by just the hope of it, money has many times corrupted men.

Enter Guard.

Guard

My king, I will not say that I arrive breathless because of speed, or from the action of a swift foot.

For often I brought myself to a stop because of my thoughts, and wheeled round in my path to return. My mind was telling me many things: Fool, why do you go to where your arrival will mean your punishment? Idiot, are you dallying again? If Creon learns it from another, must you not suffer for it?
225

So debating, I made my way unhurriedly, slow, and thus a short road was made long. At last, however, the view prevailed that I should come here—to you. Even if my report brings no good, still will I tell you,
230

since I come with a good grip on one hope, that I can suffer nothing except what is my fate.
235

237

Creon

And what is it that so disheartens you?

Guard

I want to tell you first about myself—I did not do the deed, nor did I see the doer,

so it would be wrong that I should come to any harm.
240

Creon

Like a bowman you aim well at your target from a distance, and all around you hedge yourself off well from the deed. It is clear that you have some unheard-of thing to tell.

Guard

That I do, for terrible news imposes great hesitation.

Creon

Then tell it, will you, and so unburdened go away?

Guard

Well, here it is. The corpse—some one has just given it burial and disappeared after sprinkling thirsty dust on the flesh and performing the other rites that piety demands.
245

Creon

What are you saying? What man dared do this?

Guard

I do not know. For there was no scar of a pickax to be seen there,

no earth thrown up by a mattock. The ground was hard and dry, unbroken, not rolled over by wheels. The doer was someone who left no trace. When the first day-watchman showed it to us, a discomforting amazement fell on us all.
250

The dead man was veiled from us—not shut within a tomb, but a light cover of dust was on him, as if put there by the hand of one who shunned a curse. And no sign was visible that any beast of prey or any dog had approached or torn him. Then evil words flew thick and loud among us,
255

guard accusing guard. It would even have come to blows in the end, nor was there anyone there to prevent it: every man was the culprit, and no one was plainly guilty, while all disclaimed knowledge of the act. We were ready to take red-hot iron in our hands,
260

to walk through fire and to swear oaths by the gods that we had neither done the deed, nor shared knowledge of the planning or the doing. At last, when our investigating got us nowhere, someone spoke up and made us all bend our faces
265

in fear towards the earth. For we did not know how we could argue with him, nor yet prosper, if we did what he said. His argument was that the deed must be reported to you and not hidden. This view prevailed, and so it was that
270

the lot doomed miserable me to win this prize. So here I stand, as unwelcome to you as I am unwilling, I well know. For no man delights in the bearer of bad news.
275

278

Chorus

My king, my thoughts have long been deliberating whether this deed is somehow the work of gods?

Creon

Quiet, before your words truly fill me with rage, so that you not be found at the same time foolish as well as old. You say what is intolerable when you claim that the gods have concern for that corpse. Was it in high esteem for his benefactions
280

that they sought to hide him, when he had come to burn their columned shrines, their sacred treasures and their land, and scatter its laws to the winds? Or do you see the gods honoring the wicked? It cannot be. No! From the very first
285

certain men of the city were chafing at this edict and muttering against me, tossing their heads in secret, and they did not keep their necks duly under the yoke in submission to me. By those men, I am certain, they were led astray and bribed to do this deed.
290

Nothing so evil as money ever grew to be current among men. This destroys cities, this drives men from their homes, this trains and warps honest minds to set themselves to works of shame,
295

this teaches people to practise villainies, and to know every act of unholiness. But all the men who did this job for hire have made sure that, sooner or later, they shall suffer the punishment. Now, as Zeus still has my reverence, know this well—
300

I tell you on my oath. If you do not find the very hand that made this burial, and reveal him before my eyes, mere death shall not suffice for you, not before, hung up alive, you have made this outrage plain,
305

so that hereafter you may thieve with better knowledge of where your money should be received from, and learn that it is best not to be fond of money-making from any and every source. For you will find that ill-gotten gains bring more men to ruin than to safety.
310

315

Guard

Will you allow me to speak? Or shall I just turn and go?
315

Creon

Do you not know even now how much your voice sickens me?

Guard

Is the pain in your ears, or in your soul?

Creon

And why would you define the seat of my pain?

Guard

He who did it hurts your heart, but I, your ears.

Creon

God! How plain it is that you are a born babbler.
320

Guard

Perhaps, but never the author of this action.

Creon

Yes, and what is more, you sold your life for silver.

Guard

Ah! It is truly sad when the judge judges wrong .

Creon

Expound on judgment as you will. But, if you fail to

show me the perpetrators of these crimes, you will avow that money basely earned wreaks sorrows. Exit Creon.
325

Guard

Well, may the man be found! That would be best. But, whether he be caught or not—for fortune must decide that—I assure you that you will not see me come here again.

Saved just now beyond hope and belief, I owe the gods great thanks. Exit the Guard.
330

Notes on the current edition

Antigone

1. [OCR transcription; compare the scan.] Nike, die Siegesgöttin, die Namen und Ruhm verleiht.

2. [OCR transcription; compare the scan.] Ε. τὰ νῦν.

3. [OCR transcription; compare the scan.] Ueber den thebischen Bacchios oder Bacchos f. zu König Oedipus V. 212.

Commentary

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

mvp-comment-1-1 Prologue. At daybreak ( v. 100 ) on the morning after the fall of the two brothers and the flight of the Argives, Antigone calls Ismene forth from the house, in order to speak with her apart. She tells her that Creon has forbidden the burial of Polyneices, and declares her resolve to perform it herself. Ismene declines to assist, and endeavours to dissuade her. Antigone then goes alone to the task.

mvp-comment-2-1 The words κοινὸν ¹ αὐτάδελφον ²

mvp-comment-2-2 κάρα ³

mvp-comment-3-1 ἆρ’ οἶσθ’ … τελεῖ ⁴ ὅ τι ⁵ ὅτι ⁶ ὅ τι ⁷ ὅτι ⁸

mvp-comment-3-2 τῶν ἀπ’ Οἰδ. κακῶν ⁹ ἔτι ζώσαιν ¹⁰ ἔτι ¹¹

mvp-comment-4-1 Paley ( Journ. Ph. 10. 16) regards these three verses as interpolated, because (1) Antigone, like Ismene, should have only seven verses: (2) the words only repeat vv. 2, 3: (3) the double negative offends. But we have no warrant for requiring such a correspondence; and this is not repetition, but development. On (3), see below.

mvp-comment-5-1 οὔτ’ ἄτης ἄτερ ¹² ἄτης ἄτερ ¹³ οὐδ’ ¹⁴ οὔτ’ ¹⁵

mvp-comment-6-1 αἰσχρόν ¹⁶ ἄτιμον ¹⁷

mvp-comment-6-2 ὁποῖον οὐ … οὐκ ὄπωπα ¹⁸

mvp-comment-6-3 τῶν … κακῶν ¹⁹ ὄπωπα ²⁰

mvp-comment-7-1 αὖ ²¹

mvp-comment-7-2 πανδήμῳ πόλει ²²

mvp-comment-8-1 θεῖναι ²³

mvp-comment-8-2 τὸν στρατηγόν ²⁴

mvp-comment-9-1 ἔχεις ²⁵

mvp-comment-9-2 κεἰσήκουσας ²⁶

mvp-comment-10-1 τῶν ἐχθρῶν κακά ²⁷

mvp-comment-11-1 μέν ²⁸ ἐμοί ²⁹

mvp-comment-11-2 Ἀντιγόνη ³⁰

mvp-comment-11-3 φίλων ³¹ μῦθος ³²

mvp-comment-11-4 ἐξ ὅτου ³³

mvp-comment-12-1 δυοῖν … δύο ³⁴ δύο ³⁵

mvp-comment-13-1 θανόντοιν ³⁶

mvp-comment-13-2 διπλῇ χερί ³⁷

mvp-comment-14-1 ἐπεί ³⁸

mvp-comment-14-2 ἐν νυκτὶ τῇ νῦν ³⁹

mvp-comment-14-3 ὑπέρτερον ⁴⁰

mvp-comment-14-4 As

οἶδ’ εὐτυχοῦσα = οἶδ’ ὅτι εὐτυχῶ

, so the participles εὐτυχοῦσα ⁴¹ ἀτωμένη ⁴²

mvp-comment-15-1 ᾔδη ⁴³ καλῶς ⁴⁴

mvp-comment-15-2 αὐλείων πυλῶν ⁴⁵

mvp-comment-15-3 ἐξέπεμπον ⁴⁶

mvp-comment-16-1 τί δ’ ἔστι ⁴⁷ δηλοῖς ⁴⁸

mvp-comment-16-2 καλχαίνουσ’ ἔπος τι ⁴⁹

mvp-comment-16-3 is figuratively used like the Homeric

πορφύρω

. In

πορφύρω

the idea of trouble precedes that of colour: in

καλχαίνω

, vice versa.

mvp-comment-17-1 οὐ γάρ ⁵⁰

mvp-comment-17-2 τὼ κασιγνήτω … τὸν μὲν … τὸν δέ ⁵¹

mvp-comment-17-3 The place of τάφου ⁵² προτίσας ⁵³ τάφου ⁵⁴ ἀτιμάσας ⁵⁵

mvp-comment-17-4 ἀτιμάσας ἔχει ⁵⁶

mvp-comment-18-1 σὺν δίκῃ | χρησθεὶς δικαίᾳ καὶ νόμῳ ⁵⁷ χρησθεὶς ⁵⁸ σὺν δίκης | χρήσει δικαίᾳ καὶ νόμου ⁶⁰ δίκης ⁶¹ σύν ⁶² δίκῃ ⁶³ χρήσει ⁶⁴ χρησθείς ⁶⁵ χρῆσθαι δικαιῶν ⁶⁶

mvp-comment-18-2 νόμου ⁶⁷

mvp-comment-19-1 τοῖς ἔνερθεν ἔντιμον νεκροῖς ⁶⁸ πᾶσι κλεινός ⁶⁹

mvp-comment-20-1 θανόντα … Πολυνείκους νέκυν ⁷⁰

mvp-comment-21-1 ἐκκεκηρῦχθαι ⁷¹

mvp-comment-21-2 τὸ μὴ … καλύψαι ⁷²

mvp-comment-22-1 ἐᾶν δ’ ⁷³ ἄταφον ἄκλαυτον ⁷⁴

mvp-comment-23-1 θησαυρόν ⁷⁵

mvp-comment-23-2 εἰσορῶσι ⁷⁶ εἰσορμῶσι ⁷⁷

mvp-comment-23-3 Take πρὸς χάριν βορᾶς ⁷⁸

mvp-comment-23-4 πρὸς χάριν ⁷⁹

mvp-comment-24-1 σοί ⁸⁰ κἀμοί ⁸¹ κηρύξαντ’ ἔχειν ⁸²

mvp-comment-24-2 τὸν ἀγαθόν ⁸³

mvp-comment-24-3 λέγω γὰρ κἀμέ ⁸⁴

mvp-comment-24-4 Two other explanations may be noticed. Both make σοι ⁸⁵ σοι ⁸⁶ τοιαῦτα ⁸⁷ κἀμοί ⁸⁸ σοι ⁸⁹ σοι ⁹⁰ ἀγαθόν ⁹¹

mvp-comment-25-1 νεῖσθαι ⁹²

mvp-comment-25-2 τοῖσι μὴ εἰδόσιν ⁹³

mvp-comment-26-1 παρ’ οὐδέν ⁹⁴ ὡς ⁹⁵

mvp-comment-26-2 ὃς ἂν … δρᾷ ⁹⁶

mvp-comment-27-1 προκεῖσθαι ⁹⁷

mvp-comment-27-2 δημόλευστον ⁹⁸

mvp-comment-28-1 σοι ⁹⁹

mvp-comment-28-2 ἐσθλῶν ¹⁰⁰

mvp-comment-29-1 ὦ ταλαῖφρον ¹⁰¹

mvp-comment-29-2 εἰ τάδ’ ἐν τούτοις ¹⁰² ἐν τούτοις ¹⁰³

mvp-comment-30-1 λύουσ’ … ἢ ’φάπτουσα ¹⁰⁴ εἵθ’ ἅπτουσα ¹⁰⁵

mvp-comment-30-2 προσθείμην ¹⁰⁶

mvp-comment-30-3 πλέον ¹⁰⁷

mvp-comment-31-1 ξυμπονήσεις ¹⁰⁸ ξυνεργάσει ¹⁰⁹

mvp-comment-31-2 ποῖόν τι κινδύνευμα ¹¹⁰

mvp-comment-31-3 Read

ποῦ γνώμης...εἶ

(from

εἶναι

): cp. El. 390

ποῦ ποτ’ εἶ φρενῶν

. The question between ποῦ ¹¹¹ ποῖ ¹¹²

mvp-comment-32-1 εἰ ¹¹³ ξὺν τῇδε χερί ¹¹⁴

mvp-comment-32-2 κουφιεῖς ¹¹⁵

mvp-comment-32-3 ἦ γὰρ ¹¹⁶

mvp-comment-32-4 σφε ¹¹⁷

mvp-comment-32-5 ἀπόρρητον ¹¹⁸

mvp-comment-32-6 πόλει ¹¹⁹

mvp-comment-33-1 τὸν γοῦν ἐμὸν ¹²⁰ ἐμόν ¹²¹ καὶ τὸν σόν, ἢν σὺ μὴ θέλῃς ¹²² τὸν ἐμόν ¹²³ τὸν σόν ¹²⁴ ἀδελφόν ¹²⁵ γοῦν ¹²⁶ τὸν … ἐμὸν καὶ τὸν σόν ¹²⁷ καὶ ¹²⁸ ἤν ¹²⁹

mvp-comment-34-1 ἀδελφὸν … ἁλώσομαι ¹³⁰ ἀδελφόν ¹³¹ οὐ γὰρ δή ¹³²

mvp-comment-35-1 ὦ σχετλία ¹³³

mvp-comment-35-2

σχετλία τόλμης

. ( b) ‘Suffering,’=

τλήμων

, as Aesch. PV 644 (of Io), Eur. Hec. 783 . Neither Homer nor Soph. has this use. (2) Of things, ‘cruel,’ ‘wretched,’—a use common to all the poets: so Ai. 887

σχέτλια γάρ

(‘'tis cruel’), Tr. 879 .

mvp-comment-36-1 οὐδέν ¹³⁴ μέτα ¹³⁵ τῶν ἐμῶν ¹³⁶ εἴργειν ¹³⁷

mvp-comment-37-1 νῷν ¹³⁸ ἀπώλετο ¹³⁹ ἀπεχθής ¹⁴⁰ ἀπώλετο ¹⁴¹ ἔπειτα ¹⁴²

mvp-comment-38-1 πρὸς … ἀμπλακημάτων … ἀράξας ¹⁴³

mvp-comment-38-2 αὐτοφώρων ¹⁴⁴

mvp-comment-38-3 ἀράξας ¹⁴⁵

mvp-comment-38-4 αὐτὸς αὐτουργῷ χερί ¹⁴⁶ αὐτός ¹⁴⁷ αὐτ. χερί ¹⁴⁸

mvp-comment-39-1 διπλοῦν ἔπος ¹⁴⁹ πάθος ¹⁵⁰

mvp-comment-39-2 ἀρτάναισι ¹⁵¹

mvp-comment-40-1 δύο … μίαν ¹⁵²

mvp-comment-40-2 αὐτοκτονοῦντε ¹⁵³

mvp-comment-41-1 κατειργάσαντ’ ¹⁵⁴

mvp-comment-41-2 ἐπαλλήλοιν χεροῖν ¹⁵⁵ ἐπ’ ἀλλήλοιν ¹⁵⁶ χεροῖν ¹⁵⁷ οιν ¹⁵⁸ ἐπαλλήλοιν ¹⁵⁹ χεροῖν ¹⁶⁰

mvp-comment-42-1 νῦν δ’ αὖ ¹⁶¹ δ’ ¹⁶² νῦν αὖ ¹⁶³ αὖ ¹⁶⁴

mvp-comment-42-2 μόνα δή ¹⁶⁵

mvp-comment-43-1 ψῆφον ¹⁶⁶

mvp-comment-43-2 τυράννων ¹⁶⁷

mvp-comment-43-3 κράτη ¹⁶⁸ ἢ ¹⁶⁹ καὶ ¹⁷⁰

mvp-comment-44-1 τοῦτο μὲν ¹⁷¹ ἐννοεῖν ¹⁷² ἔπειτα δ’ ¹⁷³

mvp-comment-44-2 ὡς ¹⁷⁴ οὐ μαχουμένα ¹⁷⁵

mvp-comment-45-1 οὕνεκ’ ¹⁷⁶

mvp-comment-45-2 ἐκ ¹⁷⁷

mvp-comment-45-3 ἀκούειν ¹⁷⁸ ταῦτα ¹⁷⁹ ἀλγίονα ¹⁸⁰

mvp-comment-46-1 ἐγὼ μὲν οὖν ¹⁸¹

mvp-comment-46-2 τοὺς ὑπὸ χθονός ¹⁸²

mvp-comment-46-3 βιάζομαι τάδε ¹⁸³

mvp-comment-47-1 τοῖς ἐν τέλει βεβῶσι ¹⁸⁴ βεβῶσι ¹⁸⁵

mvp-comment-47-2 τὸ γὰρ | ...πράσσειν ¹⁸⁶

mvp-comment-47-3 περισσὰ πρ ¹⁸⁷

mvp-comment-47-4 οὐκ ἔχει νοῦν οὐδ. ¹⁸⁸

mvp-comment-48-1 ἔτι ¹⁸⁹

mvp-comment-48-2 πράσσειν … δρῴης ¹⁹⁰ δρῴης ¹⁹¹ ἄν ¹⁹² ἡδέως ¹⁹³ γε ¹⁹⁴ ἡδέως γε ἂν ἐμοῦ ¹⁹⁵ <)μοῦ ¹⁹⁶ γε ¹⁹⁷ ἐμοί γ’ ¹⁹⁸ μέτα ¹⁹⁹ ἀσμένης ²⁰⁰ ἡδέως ²⁰¹ ἐμοῦ γε ²⁰²

mvp-comment-49-1 ἴσθ’ ²⁰³

mvp-comment-49-2 όποία σοι δοκεῖ ²⁰⁴ ἴσθ’ ²⁰⁵ ὁποῖά σοι δοκεῖ ²⁰⁶

mvp-comment-50-1 θάψω ²⁰⁷

mvp-comment-50-2 φίλη … φίλου ²⁰⁸

mvp-comment-50-3 μετ’ αὐτοῦ κείσομαι ²⁰⁹ μετά ²¹⁰

mvp-comment-51-1 ὅσια πανουργήσασ’ ²¹¹ ὅσια ²¹²

mvp-comment-51-2 ἐπεὶ κ.τ.λ. ²¹³

mvp-comment-51-3 τῶν ἐνθάδε ²¹⁴

mvp-comment-52-1 κείσομαι ²¹⁵

mvp-comment-52-2 σοὶ δ’ ²¹⁶ σὺ δ’ ²¹⁷ εἰ δοκεῖ ²¹⁸

mvp-comment-52-3 τὰ τῶν θεῶν ἔντιμα ²¹⁹

mvp-comment-52-4 ἀτιμάσασ’ ἔχε ²²⁰

mvp-comment-53-1 ἐγὼ ²²¹ μέν ²²² δέ ²²³

mvp-comment-53-2 ἄτιμα ποιοῦμαι ²²⁴

mvp-comment-53-3 τὸ δὲ | ...δρᾶν ²²⁵

mvp-comment-54-1 τάδ’ ἂν προὔχοιο ²²⁶

mvp-comment-54-2 δὴ ²²⁷

mvp-comment-54-3 τάφον χώσουσ’ ²²⁸

mvp-comment-55-1 Join οἴμοι ταλαίνης ²²⁹

mvp-comment-55-2 μὴ ’μοῦ προτάρβει ²³⁰ τὸν σόν ²³¹ μὴ ’μοῦ ²³² προτάρβει ²³³

mvp-comment-55-3 ἐξόρθου ²³⁴

mvp-comment-56-1 ἀλλ’ οὖν … γε ²³⁵ ἀλλά ²³⁶ οὖν ²³⁷

mvp-comment-56-2 κρυφῆ δέ ²³⁸

mvp-comment-56-3 σὺν δ’ ²³⁹

mvp-comment-56-4 αὔτως ²⁴⁰

mvp-comment-57-1 καταύδα ²⁴¹

mvp-comment-57-2 πολλόν ²⁴² πολλὸν ²⁴³

mvp-comment-57-3 σιγῶσ’ ²⁴⁴ ἐὰν … τάδε ²⁴⁵ πᾶσι ²⁴⁶

mvp-comment-58-1 θερμὴν ἐπὶ ψυχροῖσι ²⁴⁷ ἐπί ²⁴⁸ θερμήν ²⁴⁹

mvp-comment-59-1 ἁδεῖν ²⁵⁰

mvp-comment-60-1 εἰ καὶ δυνήσει γ’ ²⁵¹ καὶ ²⁵² δυνήσει ²⁵³ εἰ καί ²⁵⁴

mvp-comment-61-1 Since οὐκοῦν ²⁵⁵ δὴ ²⁵⁶ ὅταν ²⁵⁷

mvp-comment-61-2 πεπαύσομαι ²⁵⁸

mvp-comment-62-1 ἀρχήν ²⁵⁹

mvp-comment-63-1 ἐχθαρεῖ ²⁶⁰

mvp-comment-63-2 ἐξ ἐμοῦ ²⁶¹

mvp-comment-64-1 ἐχθρὰ...τῷ θανόντι προσκείσει δίκῃ ²⁶² προσκείσει ²⁶³ ἐχθρά ²⁶⁴

mvp-comment-64-2 Lehrs proposed

Δίκῃ

, i.e. ‘you will fall under the chastisement of justice.’ Donaldson, following Emper, reads

ἐχθρᾷ... δίκῃ

, as iure inimicorum apud mortuum eris: i.e. on the part of the dead you will be deemed to have only the rights of a foe. This is impossible. The ordinary reading is sound.

mvp-comment-65-1 ἔα ²⁶⁵

mvp-comment-65-2 τὴν ἐξ ἐμοῦ δυσββουλίαν ²⁶⁶

mvp-comment-65-3 τὸ δεινὸν τοῦτο ²⁶⁷

mvp-comment-65-4 πείσομαι γὰρ οὐ ²⁶⁹

mvp-comment-65-5 μὴ οὐ ²⁷⁰

mvp-comment-66-1 τοῖς φίλοις δ’ ὀρθῶς φίλη ²⁷¹ ἴσθι ²⁷²

mvp-comment-67-1 Parodos. For the metres see Metrical Analysis. The framework is as follows. (1) 1 st strophe, 100

ἀκτίς

to 109

χαλινῷ

=1 st antistrophe, 117

στὰς

to 133

ἀλαλάξαι

. (2) 2 nd strophe, 134

ἀντιτύπᾳ

to 140

δεξιόσειρος

=2 nd antistrophe, 148

ἀλλὰ γὰρ

to 154

ἄρχοι

. Each strophe and each antistrophe is followed by an anapaestic system (

σύστημα

) of seven verses, recited by the Coryphaeus alone, in the pauses of the choral dance. The fourth and last of these systems, following the second antistrophe, announces the approach of Creon.

mvp-comment-67-2 The Ajax is the only play of Sophocles which has a Parodos beginning, in the older style, with a regular anapaestic march. But something of the same character is given to this ode by the regularity of the anapaestic systems. In the Parodos of the O. C. , on the other hand, though anapaests similarly divide each strophe from each antistrophe, the systems are of unequal lengths, and the general character is wholly different, being rather that of a

κομμός

: see n. on O. C. 117 .

mvp-comment-67-3 The fifteen Theban elders who form the Chorus have been summoned to the palace by Creon,—they know not, as yet, for what purpose (158). They greet the newly-risen sun, and exult in the flight of the Argives.

mvp-comment-67-4 The ode vividly portrays the enormous sin of Polyneices against his country, and the appalling nature of the peril which Thebes has just escaped. We already know Antigone's motive. This is a dramatic prelude to the announcement of Creon's.

mvp-comment-68-1 ἀελίου ²⁷³

mvp-comment-68-2 τὸ κάλλιστον ...φάος ²⁷⁴

mvp-comment-68-3 ἑπταπύλῳ ²⁷⁵

mvp-comment-68-4 τῶν προτέρων ²⁷⁶

mvp-comment-69-1 ἐφάνθης ²⁷⁷

mvp-comment-69-2 χρυσέας ²⁷⁸

mvp-comment-69-3 βλέφαρον ²⁷⁹

mvp-comment-69-4 Διρκαίων ²⁸⁰

mvp-comment-70-1 τὸν λεύκασπιν...φῶτα ²⁸¹

mvp-comment-70-2 The words

τὸν λεύκασπιν Ἀργόθεν

answer metrically to 123

πευκάενθ’ Ἥφαιστον ἑλεῖν

. Instead of

Ἀργόθεν

(¯˘¯) we therefore require ¯˘˘¯. The short final of

λεύκασπιν

is legitimate, the metre being Glyconic (see Analysis Metr.). In the antistrophic verse, the H of

Ἥφαιστον

is ‘irrational,’ i.e. is a long syllable doing duty for a short: and Nauck is incorrect in saying that the metre ‘requires’ (though it admits) a choriambus beginning with a consonant. The simplest remedy is to read Ἀργόθεν ἐκ | βάντα φῶτα ²⁸² Ἰναχόθεν ²⁸³

mvp-comment-71-1 πανσαγίᾳ ²⁸⁴

mvp-comment-71-2 φυγάδα πρ. ²⁸⁵ κινήσασα ²⁸⁶

mvp-comment-71-3 πρόδρομον ²⁸⁷

mvp-comment-71-4 ὀξυτέρῳ...χαλινῷ ²⁸⁸

mvp-comment-71-5 ὀξυτέρῳ ²⁸⁹

mvp-comment-72-1 The MSS. have ὃν...Πολυνείκης ²⁹⁰ ὃς ...Πολυνείκους ²⁹¹

mvp-comment-72-2 Πολυνείκους … νεικέων ²⁹²

mvp-comment-72-3 ἀρθείς ²⁹³

mvp-comment-72-4 νεικ. ἐξ ἀμφιλόγων ²⁹⁴

mvp-comment-73-1 ὀξέα κλάζων ²⁹⁵

mvp-comment-73-2 αἰετὸς εἰς γᾶν ὣς ὑπερέπτα ²⁹⁶ ὥς ²⁹⁷

mvp-comment-73-3 ὑπερέπτα ²⁹⁸

mvp-comment-74-1 λευκῆς χιόνος πτ. ²⁹⁹

mvp-comment-74-2 στεγανός ³⁰⁰

mvp-comment-74-3 ὅπλων … κορύθεσσι ³⁰¹ ξύν ³⁰² μετά ³⁰³ ξύν ³⁰⁴

mvp-comment-75-1 In στὰς δ’ ὑπὲρ μελάθρων ³⁰⁵ πτάς ³⁰⁶

mvp-comment-75-2 The words φονώσαισιν ἀμφιχανὼν... λόγχαις ³⁰⁷

mvp-comment-75-3 φονώσαισιν ³⁰⁸

mvp-comment-75-4 ἑπτάπυλον στόμα ³⁰⁹

mvp-comment-76-1 ἔβα ³¹⁰

mvp-comment-76-2 πρίν ποθ’ ³¹¹ αἱμάτων ³¹²

mvp-comment-76-3 γἑνυσιν ³¹³ πλησθῆναι ³¹⁴ τε ³¹⁵ τε ³¹⁶

mvp-comment-76-4 στεφάνωμα ³¹⁷

mvp-comment-76-5 πευκάενθ’ Ἥφαιστον ³¹⁸

mvp-comment-77-1 τοῖος ³¹⁹

mvp-comment-77-2 ἐτάθη ³²⁰

mvp-comment-77-3 πάταγος ³²¹

mvp-comment-77-4 ἀντιπάλῳ δυσχείρωμα δράκοντος ³²² ἀντιπάλῳ ... δράκοντι ³²³ ἀντιπάλου … δράκοντος ³²⁴ ἀντιπάλῳ … δράκοντος ³²⁵

mvp-comment-77-5 The interpretation of the passage turns primarily on two points.

mvp-comment-77-6 (1) The δράκων ³²⁶

mvp-comment-77-7 (2) The δυς ³²⁷ δυσχείρωμα ³²⁸

mvp-comment-77-8 Those who read ἀντιπάλῳ … δράκοντι ³²⁹ ὲτάθη ³³⁰

mvp-comment-77-9 Those who read ἀντιπάλου … δράκοντος ³³¹

mvp-comment-78-1 μεγάλης ³³²

mvp-comment-78-2 ῥεύματι ³³³ ῥεύματι πολλῷ ³³⁴

mvp-comment-79-1 χρυσοῦ καναχῆς ὑπεροπλίαις ³³⁵

mvp-comment-79-2

μέγας

. In post-Homeric poetry

ὑπέροπλος

is a freq. epith. of overweening strength (

ἠνορέη, βίη, ἥβη

, etc.).—Other readings are:—(1)

χρυσοῦ καναχῇ θ’ ὑπερόπτας

, ‘and haughty in the clang of gold.’ This involves an improbable change; the subst.

ὑπερόπτης

, too, is unsuitable here, and cannot be defended by Theocr. 22. 58

πρὸς πάντα παλίγκοτος ἠδ’ ὑπερόπτης

. Wecklein, reading

ὑπερόπτας

, keeps

καναχῆς

in the sense, hoffärtig auf: but a genit. after

ὑπερόπτης

could not denote that in which one takes pride. (2)

χρυσοῦ καναχῆς ὑπερόπτης

, or

‐όπτα

, i.e., ‘Zeus, a despiser of the clang of gold.’ (3)

χρυσοῦ καναχῆς ὑπέροπτα

, adv. neut. plur. (as O. T. 883 ), ‘advancing haughtily in a great stream of clanging gold.’ But the adv. comes weakly at the end, and

χρυσοῦ κ

. is harshly joined with

π. ῥεύματι

.—Aesch. , too, gives prominence to gold in picturing the Argive chiefs: Capaneus has golden letters on his shield ( Aesch. Th. 434 ), Polyneices has the image of a warrior in golden armour, with a golden legend (644, Aesch. Th. 660 ).

mvp-comment-79-3 καναχῆς ³³⁶

mvp-comment-80-1 παλτῷ πυρί ³³⁷

mvp-comment-80-2 βαλβίδων ἐπ’ ἄκρων ³³⁸

mvp-comment-80-3 ὁρμῶντα ³³⁹

mvp-comment-80-4 νίκην ³⁴⁰ ἀλαλάξαι ³⁴¹

mvp-comment-81-1 ἀντιτύπᾳ ³⁴²

mvp-comment-81-2 As regards the sense,

ἀντίτυπος

was regularly used of hard surfaces, which, as it were, repel that which strikes them (for the accent

ἀντίτυπος

, not

ἀντιτύπος

, though the sense is act., see on O. T. 460 ). Probl. 5. 40

οἱ...ἐν ἀντιτύποις περίπατοι

. Lucian Amor. 13

τὴν ἀντίτυπον οὕτω καὶ καρτερὰν τοῦ λίθου φύσιν

. So, fig., Plat. Crat. 420D

τὸ...ἀναγκαῖον καὶ ἀντίτυπον

, what is necessary, and what resists us.

mvp-comment-81-3 τανταλωθείς ³⁴³

mvp-comment-82-1 πυρφόρος ³⁴⁴

mvp-comment-82-2 βακχεύων ³⁴⁵

mvp-comment-82-3 ῥιπαῖς...ἀνέμων ³⁴⁶

mvp-comment-83-1 εἶχε δ’ ἄλλᾳ τὰ μέν ³⁴⁷ εἶχε δ’ ἄλλαι τὰ μὲν ἄλλαι τὰ δ’ ἐπ’ ἄλλοις ³⁴⁸ τὰ μέν ³⁴⁹ ἄλλα δέ ³⁵⁰ τὰ μέν ³⁵¹ ἄλλᾳ ³⁵²

mvp-comment-83-2 ἐπενώμα ³⁵³ στυφελίζων ³⁵⁴

mvp-comment-83-3 δεξιόσειρος ³⁵⁵

mvp-comment-83-4 The old v.l. δεξιόχειρος ³⁵⁶

mvp-comment-84-1 ἑπτὰ λοχαγοί ³⁵⁷

mvp-comment-84-2 ἴσοι πρὸς ἴσους ³⁵⁸

mvp-comment-84-3 Ζηνὶ τροπαίῳ ³⁵⁹

mvp-comment-84-4 πάγχαλκα τέλη ³⁶⁰

mvp-comment-84-5 It was the ordinary practice to set up a

τρόπαιον

(old

αττ.τροπαῖον

) after a victory, on the spot where it had been won, or, in the case of a sea-fight, on the nearest land ( Thuc. 2.92 ). Such a trophy ordinarily consisted of shields, helmets, and weapons, conspicuously displayed on wooden supports, and dedicated, with an inscription, to a deity. Cp. Eur. Phoen. 1473 (of the Thebans after the victory)

οἱ μὲν Διὸς τροπαῖον ἵστασαν βρέτας

(i.e. a wooden image of

Ζεὺς Τροπαῖος

), |

οἱ δ’ ἀσπίδας συλῶντες Ἀργείων νεκρῶν | σκυλεύματ’ εἴσω τειχέων ἐπέμπομεν

. Part of the armour would be affixed to the walls of Theban temples (cp. Aesch. Ag. 577 , Th. 276 ).

mvp-comment-85-1 πλὴν τ. στυγεροῖν ³⁶¹ πατρός ³⁶²

mvp-comment-85-2 καθ’ αὑτοῖν ³⁶³

mvp-comment-85-3 δικρατεῖς λόγχας ³⁶⁴

mvp-comment-85-4 στήσαντε ³⁶⁵

mvp-comment-86-1 ἀλλὰ γάρ ³⁶⁶ γάρ ³⁶⁷ γάρ ³⁶⁸

mvp-comment-86-2 μεγαλώνυμος ³⁶⁹

mvp-comment-86-3 πολυαρμάτῳ ³⁷⁰

mvp-comment-86-4 ἀντιχαρεῖσα ³⁷¹

mvp-comment-87-1 ἐκ...πολέμων τῶν νῦν ³⁷² ἐκ ³⁷³ νῦν ³⁷⁴

mvp-comment-87-2 θέσθαι ³⁷⁵ θέσθε ³⁷⁶ παννυχίοις ³⁷⁷

mvp-comment-87-3 ὁ Θήβας ³⁷⁸ ἐλελίχθων ³⁷⁹

mvp-comment-87-4 Βάκχιος ³⁸⁰

mvp-comment-87-5 ἄρχοι ³⁸¹

mvp-comment-90-1 First

ἐπεισόδιον

. Creon, the new king, enters from the central door of the palace. Recognising the loyalty which the elders had shown to his predecessors, he expresses his own conception of the duty which a king owes to the State. He then announces the edict which, in accordance with that conception, he has published concerning the two brothers. The Chorus submissively acknowledge his right to do so, but express no approval. A guard now arrives (223), and announces that the king's edict has already been violated by an unknown hand, which has strewn dust upon the corpse of Polyneices. Creon dismisses him with threats of a dreadful death for him and for his fellows, if they fail to discover and produce the offender.

mvp-comment-172-1 First

στάσιμον

. 1st strophe (332—342)=1st antistrophe (343—353): 2nd strophe (354—364)=2nd antistr. (365 —375). For the metres see Metrical Analysis.

mvp-comment-172-2 The Chorus had not thought it possible that any one should brave death to bury the corpse (220). But the deed has been done, and without leaving a trace (252). And Creon has silenced the suggestion that gods did it (278). The train of thought is continued in this ode. Its theme is man's daring,—his inventiveness, and the result to his happiness.

mvp-comment-172-3 Man is master of sea and land; he subdues all other creatures; he has equipped his life with all resources, except a remedy against death. His skill brings him to prosperity, when he observes divine and human laws, but to ruin when he breaks them.—At that moment Antigone is led in, and the coryphaeus speaks the closing anapaests (376—383).

mvp-comment-342-1 Second

στάσιμον

. 1st strophe, 582—592,=1st antistr., 593— 603. 2nd strophe, 604—614,=2nd antistr., 615—625. See Metrical Analysis.

mvp-comment-342-2 The sentence of death just passed on Antigone leads the Chorus to reflect on the destiny of her house, and on the power of fate generally.—When a divine curse has once fallen upon a family, thenceforth there is no release for it. Wave after wave of trouble vexes it. Generation after generation suffers. These sisters were the last hope of the race; and now an infatuated act has doomed them also. —What mortal can restrain the power of Zeus? Human self-will and ambition may seem to defy him, but he is drawing them on to their ruin.—Anapaests (626— 630) then announce the approach of Haemon.

mvp-comment-369-1 Third

ἐπεισόδιον

. Haemon vainly intercedes with his father. They quarrel, and the son abruptly leaves the scene (765). Creon then commands that Antigone shall at once be immured in a rocky vault.

mvp-comment-469-1 Third stasimon. Strophe 781—790=antistr. 791—800.

mvp-comment-469-2 After Creon's and Haemon's speeches, the comment of the Chorus was in a neutral tone (724). When Haemon departed in anger, they spoke words implying that allowance must be made for the heat of youth (767). This beautiful ode is in a kindred strain. If Haemon has sinned against great

θεσμοί

—loyalty to country and to father—at least he is under the influence of a god whom none can withstand.

mvp-comment-469-3 The pathos of the maiden's fate is heightened by this plea for her lover. When she is led in by the guards, on her way to death, the Chorus avow that pity works with them even as love with Haemon (801—805). A perfect preparation is thus made for the lyric dialogue between the Chorus and Antigone (806—882).

mvp-comment-484-1 Fourth

ἐπεισόδιον

. Antigone has now been brought out of the house by two of Creon's servants (

οἱ ἄγοντες

, 931) who are about to conduct her to her doom. She speaks of her fate to the Chorus, and they seek to comfort her,—while they intimate that she alone is to blame (853, 875). Creon enters (883); and, in obedience to his peremptory command, Antigone is presently led forth to death (943).

mvp-comment-484-2 The structure of the

κομμός

(806—882) is as follows. 1st strophe (806—816)=1st ant. (823—833). A system of choral anapaests (817—822) comes after the strophe, and a similar system (834—838) after the antistrophe.—2nd strophe (839—852) = 2nd ant. (857—871).—3rd str. (853—856) =3rd ant. (872—875).—An epode forms the close (876—882). See Metrical Analysis.

mvp-comment-560-1 Fourth stasimon. 1st strophe 944—954=1st antistrophe 955— 965. 2nd str. 966—976=2nd antistr. 977—987. See Metrical Analysis.

mvp-comment-560-2 As Antigone spoke the verses ending at 943, the guards were in the act of leading her forth. The choral ode may have begun before she had vanished; but she is not to be conceived as still present when she is apostrophised (949, 987).

mvp-comment-560-3 A princess is about to be immured in a rocky cell. The Chorus remember three other royal persons who have suffered a like fate—Danaë, Lycurgus and Cleopatra. The only points which these cases have in common with Antigone's are the facts of noble birth and cruel imprisonment.

mvp-comment-560-4 All four cases illustrate the same general truth—no mortal can resist fate. Danaë and Cleopatra were innocent; Lycurgus was guilty. But the Chorus do not mean to suggest Antigone's guilt or innocence; still less, to foreshadow the punishment of Creon. On this side, the ode is neutral, purely a free lyric treatment of the examples. Such neutrality suits the moment before the beginning of the

περιπέτεια

. Teiresias is soon to come.

mvp-comment-587-1 Fifth

ἐπεισόδιον

. Teiresias denounces the divine wrath. Creon, terror-stricken, hastens to bury Polyneices and to release Antigone.

mvp-comment-674-1 This

ὑπόρχημα

, or ‘dance-song,’ takes the place of a fifth stasimon. The Chorus hopes that Creon may be in time to save Antigone, and that his sin against the dead may be expiated without disaster. Hence this strain, full of gladness, invoking the healing presence (1144) of the bright and joyous god who protects Thebes. The substitution of a

ὑπόρχημα

for a stasimon is used with a like dramatic purpose in other plays. (1) O. T. 1086 —1109: the Chorus hopes that Oedipus may prove to be of Theban birth. (2) Ai. 693 —717, a joyous invocation of Pan, the Chorus believing that Ajax has indeed repented. (3) Tr. 633 —662: the Chorus joyously anticipates the return of Heracles. In each of these cases the beginning of the end is near.

mvp-comment-674-2 1st strophe 1115—1125=1st antistr. 1126—1136: 2nd str. 1137—1145=2nd antistr. 1146—1154. See Metrical Analysis.

mvp-comment-696-1 Exodos. The threefold catastrophe. Creon's remorse.

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

1-17. mvp-comment-1-1 The opening speeches reveal the contrast between the sisters, while the affectionate address of Antigone in l. 1 gives greater emphasis to her violent outbreak in l. 69. Cp. О. Т. 85, and note.

1. mvp-comment-2-1 κοινόν not only means Of common parentage, but has the further significance of common interests and feelings. See Essay on Language p. 96, and for αὐτάδελφον (where the compound merely adds a pathetic emphasis), Essay on Language p. 91, 6. Ismene, my own sister, who sharest all with me. Antigone and Ismene were united by a common grief in an affection Dearer than the natural bond of sisters.

2-3. mvp-comment-3-1 (1) Do you know, that of the ills derived from Oedipus there is not one which Zeus will not bring upon us two before we die? ὁποῖον οὐχί is the indirect form of ποῖον οὐχί ; = all without exception. So Böckh: and this agrees better with what follows in ll. 7, 9, 10, 11 ff. than (2) reading ὅ, τι with the Schol. and rendering, 'Know'st thou which of the evils is such that Zeus will not accomplish it?' or (3) (ὁποῖον α resumption of ὅ, τι), 'Know'st thou what of all the evil Zeus will not accomplish?' or (4) supposing ὅτι pleonastic: 'Know'st thou what' etc.

2-3. mvp-comment-3-2 τῶν ἀπ᾿ Οἰδίπου Oedipus in the Antigone is simply the author of misery to his race: infr. 49 ff., 864 ff., although the misery has an earlier source in the Doom of the Labdacidae. The action of the O. T. and O. C. must not be presupposed. See Introd. p. 452.

3. mvp-comment-4-1 vῷv is dative. (Essay on Language § 12. p. 18). For ἔτι ζώσαιν, cp. Hom. Il. 18. 10, Μυρμιδόνων τὸν ἄριστον ἔτι ζώοντος ἐμεῖο | χερσὶν ὑπὸ Τρώων λείψειν φάος ἠελίοιο.

4. mvp-comment-5-1 ἄτης †ἄτερ Neither the defence of these words by Böckh, who places them between commas, Calamity apart, i.e. no disgrace, not to speak of calamity, (cp. Dem. de Cor. p. 255); nor that of Wecklein, who treats the privative as a redundant negative, i. e.

4. mvp-comment-5-2 ἄτερ = οὐ πλέων, nor Linwood's, who makes ἀλγεινὸν οὔτ᾽ ἄτης ἄτερ = άλγεινὸν ἀτηρόν τε, is satisfactory. Yet Didymus knew of no other reading, and interlinear glosses before the Christian era can hardly be assumed. Else there is much plausibility in Porson's conjecture that a gloss ἀτηρ', i. e. ἀτηρόν, has taken the place of ἔχον (sc. μετέχον), or some other word. The corruption occurring at such an early period is more probably due to the confusion to which all negative expressions are liable (Essay on Language § 29. 2, p. 49), but which in the present instance cannot be attributed to the poet; i. e. οὐδὲν ἀτηρόν ἐσθ᾽ ὁποῖον οὐκ ὄπωπα, has become confused in the mind of some early interpreter with οὐδέν ἐσθ᾽ ὁποῖον οὐκ ἀτηρόν = οὐδέν ἐστ᾽ ἄτης ἄτερ. Qy. ἄτης πλέων? The emphasis culminates on ἄτιμον, which pointedly refers to the dishonour she is now to speak of.

6. mvp-comment-6-1 τῶν.. κακῶν, partitive genitive, as supplementary predicate. See Essay on Language § 10. p. 15.

7-8. mvp-comment-7-1 πανδήμῳ.. στρατηγόν The Thebans had gone forth πανδημεί under Creon's generalship, and he had made the proclamation as στρατηγός, before assuming the civil power. Cp. Thuc. 5. 60, § 5, τὰς ἀπὸ στρατείας δίκας πρὶν ἐσιέναι κρίνουσιν. The publicity of the edict makes it more painful. Antigone knows what she is doing. Infr. 44, 907.

9. mvp-comment-8-1 τι is adverbial.

10. mvp-comment-9-1 τῶν ἐχθρῶν When evils devised by enemies are threatening those we love. In the vehemence of her resentment she already speaks of Creon as an enemy. Cp. infr. 62. τὰ ἀπὸ τῶν ἐχθρῶν κακά, Schol. According to others τῶν ἐχθρῶν is abl. gen. passing from enemies, i.e. no longer directed towards them, or descriptive, evils which belong to enemies, i. e. which should be confined to them.

11. mvp-comment-10-1 οὐδεὶς μῦθος.. φίλων Νo word concerning any of our friends. Essay on Language § 9. p. 13.

12. mvp-comment-11-1 ἐξ ὅτου Sophocles has not been careful to mark the exact sequence of the events preceding the action of the Play. (See Introduction.) But the death of the brothers is supposed to have taken place some little time before the rout of the Argive host. Infr. 144-148.

14. mvp-comment-12-1 μιᾷ.. διπλῇ Essay on Language p. 69.

17. mvp-comment-13-1 μᾶλλον is redundant, the whole expression being epexegetic of οὐδὲν ὑπέρτερον, and in construction with οἶδα.

18-19. mvp-comment-14-1 καί σ'.. ἐξέπεμπον And it is for this that I have been leading thee forth. Thus a probable reason is given for the appearance of the two maidens before the gate. Their usual seclusion has been somewhat relaxed during the absence of Creon and Eteocles with the army. Infr. 578-579. Cp. El. 517.

20. mvp-comment-15-1 δηλοῖς γάρ τι καλχαίνουσ᾽ ἔπος It is plain that your thoughts are darkening with some troublous word.

20. mvp-comment-15-2 καλχαίνω is formed on a fancied analogy to πορφύρω, as this is used in Homer of the agitation of the sea, and, metaphorically, of the mind. According to others the first notion of καλχαίνω is to stir from the depths, as in dredging for the murex (κάλχη).

21. mvp-comment-16-1 τάφου is genitive of respect with both participles, but chiefly privative genitive ve ἀτιμάσας. See Essay on Language p. 66, 1, 68. She implies that both brothers had been dishonoured by the decree. Cp. infr. 515-517, οὐ μαρτυρήσει ταῦθ᾽ ὁ κατθανὼν νέκυς.. οὐ γάρ τι δοῦλος, ἀλλ᾽ ἀδελφὸς ὤλετο.

23. mvp-comment-17-1 ὡς λέγουσι, resumed in φασιν l. 27, φασι l. 31, points to the fact that the maidens in their seclusion could only know of the edict from hearsay.

23. mvp-comment-17-2 σὺν δίκῃ | †χρησθεὶς δικαίᾳ καὶ νόμῳ χρησθείς has been generally condemned, and ἐχρήσθην only occurs elsewhere in a strictly passive sense. Yet, as Shilleto observes (Journ. of Phil. No. 13, p. 149), ᾐδεσάμην and ᾐδέσθην, the former in lyric verse, the latter in senarii, are found within a few lines of each other in O. T. 647, 651; and χρησάμενος does not occur in Sophocles.

23. mvp-comment-17-3 Ἐτεοκλέα ἔκρυψε, χρησθεὶς (αὐτῷ) σὺν δίκῃ, is not impossible in point of syntax. On the other hand neither χρησθεὶς δίκαια, nor χρηστοῖς δικαίᾳ, nor προσθεὶς δίκαια, can be approved. In 1871 I suggested προθείς. After laying him out in state, with the righteous meed of honour and all customary observance, he has covered him in earth. Cp. Hdt. 1.112-115. 8, τρεῖς μὲν ἡμέρας προτιθέασι τὸν νεκρόν: inf. 196, καὶ τὰ πάντ᾽ ἐφαγνίσαι. This part of the treatment of Eteocles would contrast with the prohibition even to mourn for Polynices. Cp. Thuc. 2. 34, where the words καὶ ἐπιφέρει τῷ αὑτοῦ ἕκαστος ἤν τι βούληται throw some light on the custom implied in σὺν δίκῃ δικαίᾳ καὶ νόμῳ. For the emphatic δικαίᾳ, cp. Αj. 1100, ἐς ταφὰς ἐγὼ θήσω δικαίως: Hdt. 8. 106, νόμῳ δικαίῳ χρεώμενοι. προθείς may have been changed to προσθείς (which Donaldson conjectured), and to this may have been added an interlinear gloss ἃ χρή. Cp. 1. 243. κάφαγιστεύσας ἃ χρή. Another guess is χρῆσθαι δικαιῶν (sc. αὐτῷ). For similar fullness of expression on a solemn occasion, cp. O. T. 219, 259.

25. mvp-comment-18-1 τοῖς .. νεκροῖς Holding his honours amongst the dead; i.e. not ἄτιμος, or deprived of common rights.

26. mvp-comment-19-1 θανόντα .. νέκυν Cp. infr. 515, ὁ κατθανὼν νέκυς.

27. mvp-comment-20-1 ἐκκεκηρύχθαι Passive. That proclamation has been made. Cp. προκεῖσθαι, l. 36 .

29. mvp-comment-21-1 ἐἂν. Sc. πάντας. The affirmative subject is supplied from the negative Cp. the language of the proclamation in O. T. 241, and see Essay on Language p. 59.

29. mvp-comment-21-2 ἄκλαυτον, ἄταφον Cp. Od. 11. 72; Il. 22. 386; Eur. Hec. 30.

29-30. mvp-comment-22-1 οἰωνοῖς .. βορᾶς (1) To the vultures a sweet treasure as they eye him with a view to the gratification of food. Cp. infr. 371 τόλμας χάριν : 908, τίνος νόμου δὴ ταῦτα πρὸς χάριν λέγω; Or, perhaps. (2) To the vultures, eyeing him, a glad store of food to gratify their desire. For πρὸς χάριν in the latter rendering, cp. Phil. 1156, ἀντίφονον κορέσαι στόμα πρὸς χάριν, and for the combination of adverbial phrase and noun, El. 1336, σὺν χαρᾷ βοῆς.

31. mvp-comment-23-1 τὸν ἀγαθὸν Κρέοντα Cp. Phil. 873, ἁγαθοὶ στρατηλάται.

31-32. mvp-comment-24-1 σοι | κάμοί, λέγω γὰρ κἀμέ] Antigone first says, There is Creon's proclamation for you! (σοι unemphatic as in l. 37:) then, going off upon the word, For you, did I say? ay, and for me too, for I count myself also amongst those forbidden. This is said with bitter emphasis, showing that she has fully counted the cost of the act she meditates. The proclamation extends to me-I accept the consequences. For λέγω in this sense, cp. Aesch. Prom. 973, καὶ σὲ δ᾽ ἐν τούτοις λέγω: Cho. 989, Αἰγίσθου γὰρ οὐ λέγω μόρον. Others take κἀμέ as κάμοί, Το me, I say! (whose spirit he little knows).

35. mvp-comment-25-1 ὃς ἄν Essay on Language § 22. p. 35, 2. §39. p. 72.

35. mvp-comment-25-2 τούτων τι For this idiomatic use of τι, cp. Thuc. 5. 13, δρᾶν τι ὧν ἐκεῖνος ἐπενόει.

36. mvp-comment-26-1 δημόλευστον By stoning of the people. Essay on Language p. 98, a, line 15.

38. mvp-comment-27-1 For εὐγενής in the ethical sense, cp. Eur. El. 363, οὔτοι τό γ' ἦθος δυσγενές παρέξομαι. And for the genitive ἐσθλῶν, cp. Αj. 763, ἄνους καλῶς λέγοντος εὑρέθη πατρός.

39-40. mvp-comment-28-1 Alas for thy rash spirit! What help, if things be at this pass, can I afford, either to undo what is done, or to confirm it?' ταλαῖφρον points to the daring spirit of Antigone and to the tone of her last words. For λύουσα, cp. Aesch. S. c. Т. 270, λύουσα πολεμίων φόβον. The choice lies between ἢ 'φάπτουσα and εἴθ' ἅπτουσα. The implied negative is in favour of εἴθ' ἅπτουσα, which comes near the first hand of L. Cp. О. Т. 517, λόγοισιν εἴτ᾿ ἔργοισιν, where, however, ei precedes. But εἴτε is slightly too emphatic, and ἢ ᾿φάπτουσα is an early reading. The expression is proverbial. Cp. Aj. 1317.

42. mvp-comment-29-1 ποῦ γνώμης ποτ' εἶ; Although ποῖ with the verb of motion is not unlikely (cp. El. 922, ὅποι γνώμης φέρει), the future tense does not suit the passage. Hence the reading of Par. A. (with εἶ from εἰμί) is preferable. Cp. Ε1. 390, ποῦ ποτ' εἶ φρενῶν; but see Eurip. Iph. A. 480, for el from εἶμι with present meaning.

43. mvp-comment-30-1 Antigone's first intention is to lift the body with Ismene's help and give it proper burial. Being unable to do this unaided, she sprinkles the dust. Cp. El. 938-1057.

43. mvp-comment-30-2 ξὺν τῇδε .. χερί Aiding this hand, i. e. taking part in my labour. Cp. Ο. Τ. 811 ἐκ τῆσδε χειρός. Essay on Language § 22. p. 34.

44. mvp-comment-31-1 ἀπόρρητον πόλει A thing forbidden to the whole city. ἀπόρρητον is neuter accusative in apposition to the action of θάπτειν. Essay on Language § 17. p. 25.

45-46. mvp-comment-32-1 I will certainly bury my brother and yours, though you do not choose to do your part. The second of these lines has been needlessly suspected. The rejoinder of Ismene comes in more effectively when the στιχομυθία is broken. ἣν = κἄν, cp. Phil. 52, ἄλλ' ἤν τι καινὸν .. κλύῃς, ὑπουργεῖν.

48. mvp-comment-33-1 He has no right in what is mine, to part me from my own. τῶν ἐμῶν is partitive genitive with οὐδὲν μέτα: privative genitive with εἴργειν. Essay on Language p. 61.

50. mvp-comment-34-1 vῷν Ethical dative.

51. mvp-comment-35-1 αὐτοφώρων Self-detected; i. e. Brought to light by his own act. πρός = In consequence of,' connects the phrase with the preceding rather than the following words. Although the action of O. T. is not presupposed, this part of the fable had been already developed by Aeschylus. See S. c. T. 778 ff. Others take αὐτοφώρων to mean clearly proved, manifest to all men: cp. Od. 11.247, ἄφαρ δ᾽ ἀνάπυστα θεοὶ θέσαν ἀνθρώποισιν. But the emphatic repetition of αὐτὸς αὐτουργῷ in the next line agrees better with the more pregnant meaning. αὐτουργῷ = εἰς ἑαυτὸν ταῦτα ἐρξάσῃ.

53. mvp-comment-36-1 διπλοῦν ἔπος A two-fold name, suggesting the horror of the double relationship. Cp. Ο. Τ. 928, γυνὴ δὲ μήτηρ ἥδε τῶν κείνου τέκνων.

54. mvp-comment-37-1 λωβᾶται βίον Destroys her own life. Cp. Tr. 887, τάνδ᾽ ὕβριν.

56. mvp-comment-38-1 αὐτοκτονούντε By mutual fratricidal slaughter. αὐτός in composition here is partly reciprocal and partly, as in αὐτόχειρ, suggestive of the murder of kindred: cp. 1. 172. The same is true of κοινόν: cp. 1. 147.

57. mvp-comment-39-1 ἐπαλλήλοιν Mutual. The read. ing of L and Hermann is justified by the awkwardness of the double genitive dual and the doubtful use of ἐπί in the other reading.

58. mvp-comment-40-1 δή emphasizes μόνα with reference to what precedes. Thus left alone.

60. mvp-comment-41-1 ψῆφον τυράννων ἢ κράτη The will or authority of the ruler. 64. For the epexegesis, see Essay on Language § 33. p. 57. And for the accusative, to obey in this, cp. infr. 666-667.

66. mvp-comment-42-1 βιάζομαι τάδε This passive use of βιάζομαι occurs again in l. 1073, ἀλλ᾿ ἐκ σοῦ βιάζονται τάδε.

67. mvp-comment-43-1 τοῖς .. βεβῶσι Those whose position is supreme; i.e. the present ruling power.

68. mvp-comment-44-1 περισσὰ πράσσειν ‘Το act beyond one's sphere.' Cp. Tr. 617, τὸ μὴ πιθυμεῖν πομπὸς ὢν περισσὰ δρᾶν.

70. mvp-comment-45-1 ἐμοῦ.. μέτα Would your acting with me be any pleasure to me. For the adverb ἡδέως, implying a predicate, see Essay on Language § 24. p. 40.

71. mvp-comment-46-1 ἴσθ᾽ ὁποία This reading is acknowledged by the Scholiast equally with ἴσθ' ὁποῖα, the reading of LA. Be such as you choose to be' (i. e. base, cp. supr. 38) is more forcible than Hold what principles you please, even if εἰδέναι can have this meaning. Cp Phil. 1049, τοιοῦτός εἰμ' ἐγώ: Eur. Or. 1680, κἀγὼ τοιοῦτος. ὁποία is nominative by attraction to the antecedent. Hermann thought the dative ὁποίᾳ was required.

72. mvp-comment-47-1 Antigone knows clearly from the beginning, with the heightened consciousness of passion, the consequences of her act. There is no irony of fortune, so far as she is concerned.

74. mvp-comment-48-1 ὅσια πανουργ. Cp. infr. 924.

75. mvp-comment-49-1 τῶν ἐνθάδε See Essay on Language § 10. p.15. The form of expression resembles Hdt. 3. 124, βούλεσθαι οὖν παρθενεύεσθαι πλείω χρόνον ἢ τοῦ πατρὸς ἐστερῆσθαι. For the thought, cp. Plat. Legg. 9.881 Α, θάνατος μὲν οὐκ ἔστιν ἔσχατον, οἱ δὲ ἐν ῞Αιδου . πόνοι .. εἰσὶ μᾶλλον ἐν ἐσχάτοις : Sim. Am. 3, πολλὸς γὰρ ἡμῖν ἐστι τεθνάναι χρόνος, κ.τ.λ.

76. mvp-comment-50-1 σοὶ δ᾽ εἰ δοκεῖ The emphasis really rests on the subject (σύ), but is transferred to the dative, as in Phil. 1395, ὡς ῥᾷστ᾽ ἐμοὶ μὲν τῶν λόγων λῆξαι, σὲ δὲ | κ.τ.λ. Essay on Language § 41. pp. 78-79. The change to σύ (see v. rr.) is slight, but rather weakens the expression.

77. mvp-comment-51-1 τὰ τῶν θεῶν ἔντιμα What is held honourable amongst the Gods. Cp. θεῶν νόμιμα, infr. 454-455: 1.ε. τὰ τῶν θεῶν ὄντα καὶ ὑπὸ τῶν θεῶν ἀγόμενα ἐν τιμῇ. Hh ἀτιμάσασ᾽ ἔχε] Persist in slighting. 78. ἐγὼ ποιοῦμαι I do not mean to show disrespect. She shrinks from saying distinctly τὰ τῶν θεῶν.

79. mvp-comment-52-1 ἔφυν By nature and position.

82. mvp-comment-53-1 ταλαίνης after οἴμοι: σου after ὑπερδέδοικα. But this distinction is hardly felt in the Greek.

83. mvp-comment-54-1 ἐξόρθου Continue to direct safely, as if steering a vessel.

85. mvp-comment-55-1 σὺν δ' See Essay on Language § 18. p. 26.

86. mvp-comment-56-1 The Epic πολλόν is curious, but need not be changed. Cp. Tr. 1196, πολλὸν δ᾽ ἄρσεν᾽ ἐκτεμόνθ᾽ ὁμοῦ | ἄγριον ἔλαιον. Other Epic forms in this play are ὡσεί τε, infr. 653; ὑπαί, infr. 1035: εἰν ῞Αιδου δόμοις, 1241. A lukewarm spirit is above all hateful to Antigone. If Ismene disapproves her act, let her denounce it. ἐὰν μή, κ.τ.λ., further explains σιγῶσ'. Cp. Ο. Τ. 57, ἔρημος ἀνδρῶν μὴ ξυνοικούντων ἔσω.

88. mvp-comment-57-1 θερμὴν .. ἔχεις Your courage is hot upon a cold enterprize.

88. mvp-comment-57-2 ψυχροῖσι] Chilling, i.e. Causing a cold thrill of horror. Cp. Aesch. Prom. 691-693, οὐδ᾽ ὧδε δυσθέατα καὶ δυσοιστὰ ... ψύχειν ψυχὰν ἐμάν. Also with an association from the meaning fruitless; cp. Hdt. 9. 49, ἐπαρθεὶς ψυχρῇ νίκῃ.

91. mvp-comment-58-1 Cp. 1. 926, παθόντες ἂν ξυγγνοῖμεν ἡμαρτηκότες.

94. mvp-comment-59-1 ἐχθρὰ .. δίκῃ And our dead brother will justly hold you as an enemy: ἐχθράν σε προσθήσεται: ср. Eur. Τr. 185, τῷ πρόσκειμαι δούλα; Who has me for his slave.

95. mvp-comment-60-1 τὴν ἐξ ἐμοῦ That proceeds from me; i. e. For which I alone am responsible. See Essay on Language § 19. p. 28.¹

96. mvp-comment-61-1 πείσομαι γὰρ οὐ The reading οὐ, for which some critics would substitute οὖν, is confirmed (1) by the tendency to a vehement accumulation of negatives in the speeches of Antigone in this scene: (2) by the similar emphatic inversions noticed in the Essay on Language § 41. p. 78.

99. mvp-comment-62-1 τοῖς φίλοις δ᾽ ὀρθῶς φίλη But unfailing in kindness to thy friends; i. e. A faithful sister to thine own brother. Cp. Eur. Or. 424, ἀληθὴς δ᾽ ἐς φίλους ἔφυν φίλος. Antigone goes to perform the sepulture, and Ismene returns into the palace. The stage is left vacant. As in the Ajax, there is a distinct break after the prologue, which has laid the ground of the action so far as Antigone is concerned. The first episodion, ll. 163 ff., is in one sense a fresh beginning, as setting forth the motives of Creon, and still only preparing for the collision. The parados, ll. 100 ff., introduces us to the public feeling of Thebes, and to the wider sphere of which the action forms the central point. 100 ff. Instead of a long series of anapaests, followed by lyrical strophes and antistrophes, as in the Ajax (with which cp. Aesch. Agamemnon), we have here two strophes and antistrophes alternating with anapaestic systems of about seven lines each: making a form of parodos intermediate between that of the Ajax and that of the O. T., in which there are no anapaests. The α' (100-109=117-133). chorus on its first appearance chants ll. 100-109, then advances while the coryphaeus recites 110-116, then the antistrophe is chanted, then another advance is made during the recitative of 11. 127-133, then strophe B' is chanted, the chorus by this time standing near the stage; then they make a final advance, and, during the second antistrophe, are standing full in front of the stage. Lastly, as Creon is seen approaching, the coryphaeus chants ll. 155-162, which thus form at once the conclusion of the parodos and the introit or prelude of the first episodium.

99. mvp-comment-62-2 The total effect is that of a stately and solemn triumph, in which the bright influence of the glyconic opening is tempered with slow movements (---), as in ll. 106, 122, 137, 151, and interrupted rhythms, as in ll. 103, 120, 138, 152; the notes of triumph and solemnity being combined in the choriambi, which bring the lyrical part to a close. Thus we have- β΄ (134-140=148-154). CI IICCーしー CLトくトCCI 51--10CICIC ト 1001010110010||| ――トしてトー luclcclcULCII) C- 「SƆIDII7 5トレトしし LCCLLCCLLCCLLCCLI トリトー The culmination of feeling is marked by the dactylic opening of β'. The rhythms of a' 3. 4, 6, and β' 3, 4, show the correlation of the two movements. The adaptation of sound to sense is specially obvious in the resolved trochees of a' 7, while the concluding lines, a' 8, β' 7, serve to harmonize the logaoedic with the anapaestic measures. Cp. O. C. 135-137, 167-169.

99. mvp-comment-62-3 'Never did morning rise so fair as this which thou didst bring at length to waiting Thebè, O eye of golden day! For thy first beams, shooting over Dircè's rills, stirred into quicker flight the Argive warrior, who for Polynices' quarrel swooped upon our land on snow-white wing, with many a shield and many a plumèd helm.

99. mvp-comment-62-4 Threatening our halls in towering pride he stood, and gaped with bristling spears around our gates, thirsting for our blood: but he is gone, or ever his desire was slaked, or ever the fire-god caught our coronal of towers. Such fight displayed the serpent writhing in his gripe, not easily subdued. Such din of war assailed him as he turned to flee. For Zeus abhors the boaster and contemns the clank of gold. And when he saw them moving in a full proud stream, he smote with lightning from on high the daring climber who had gained the pinnacle and was eagerly preparing to shout victory. And swung to earth he fell with a rebound, the firebearer, who with mad rush was breathing his blast of enmity against the wall. And various was the fortune of the day. But terrible was the War-god as he plunged amidst our enemies, a mighty helper for us.

99. mvp-comment-62-5 'For at all our gates their captains, seven against seven, left their panoplies as trophies to our cause. All, save the horrid pair, who fell together with the guilt of mutual fratricide.

99. mvp-comment-62-6 But forget we the griefs of war. For victory came with smiles of joy to greet our smiling town. So visit we the temples of the gods with dances all night long: and let Theban Bacchus be the master of our revelry.

103. mvp-comment-63-1 χρυσέας χρυσέας, as in O. T. 158-187.

106. mvp-comment-64-1 The rivulet of Dircè was to the west of Thebes. The sun had risen just as the retreat of the Argives became a rout, and the army returning from pursuit would see the morning light reflected in the stream, which they would cross on their way back to the city. Cp. Eur. Phoen. 730. The ode is not chanted at sunrise, but celebrates the glorious morning which had seen the discomfiture of the enemy. The chorus of elders imagine themselves in the position of the victorious army.

106. mvp-comment-64-2 λεύκασπιν Cp. Aesch. S. c. Т. 96, λευκοπρεπή λέων: Eur. Phoen. 1099, λεύκασπιν εἰσορῶμεν Ἀργείων στράτον.

106. mvp-comment-64-3 Αργόθεν The correspondence of a dactyl in the antistrophe to the trochee Αργό- in this line justly leads to suspicion of the text, and Hermann conjectured Ἀργόθεν ἐκ. Qy. Ἀργόλεων ? or Ἀργογενή ?

108. mvp-comment-65-1 φυγάδα πρόδρομον (1) Running before us in flight. Said from the point of view of the pursuing host. Or (2), In the van of the flying host. The Schol. on Phoen. 409 says, φασὶ .. τὸν Ἀδραστον .. μόνον φυγάδα σωθῆναι ὑπὸ τοῦ ἰδίου ἵππου Ἀρείονος. Cp. Paus. 8.25. § 5.

109. mvp-comment-66-1 χαλινῷ Either (1) literally Riding with hastier rein, or (2) metaphorically, With thy hastening bridle in his lips. The first (1) is best. If (2) were adopted, the reading ὀξυτόρῳ, galling (see v. rr.), might be preferred.

110. mvp-comment-67-1 *ὃς .. *Πολυνείκους The emendation of Scaliger improves the sense as well as the grammar. The imagery throughout represents not Polynices, but his Argive ally. The subject of the single fight between the two brothers is passed lightly over, as unsuited to a triumphal hymn.

111. mvp-comment-68-1 ἀρθεὶς.. ἐξ ἀμφιλόγων Carried forth in consequence of the doubtful quarrel (the quarrel and debate) of Polynices. ἀρθείς is said with allusion to αἴρειν στόλον, but also suggests the image of the bird mounting in air. Cp. Il. 13. 63, of the hawk, ἀπ' αἰγίλιπος πέτρης περιμήκεος ἀρθείς, Eur. Phoen. 636-637. For the play on the name of Polynices, see Essay on Language § 44. p. 82.

113. mvp-comment-69-1 The omission of ὡs in this line, which Herm. suggested, is hardly necessary, although it does not impair the sense. The correspondence of strophe and antistrophe does not extend strictly to the anapaests, although the anapaestic systems in this passage are nearly of the same length.

114. mvp-comment-70-1 λευκῆς χιόνος πτέρυγι See Essay on Language § 9. p. 11, and cp. l. 106.

114. mvp-comment-70-2 στεγανός Covered all over; i. e. There were no gaps in their array.

115-116. mvp-comment-71-1 πολλῶν μεθ᾽ ὅπλων | ξύν θ᾽ ἱπποκόμοις κορύθεσσι Accompanied with many a shield and armed with many a helm.

117. mvp-comment-72-1 στάς Staying his flight, like the bird of prey preparing to stoop. At this point the image, which has hitherto grown in distinctness, becomes less definite, the figure of an eagle passing into that of a flying dragon, with spears for teeth. Cp. Shak. K. John, 2. 1, O, now doth Death Line his dead chaps with steel, etc. Also the image in Milton's Samson Agonistes, 11. 1692-1696.

117. mvp-comment-72-2 φονώσαισιν Boeckh's emendation at once cures the metre and supplies a poetical touch which corresponds to the explanation of the Scholiast, ταῖς τῶν φονῶν ἐρώσαις λόγχαις. It is confirmed by the reading of L² pr. See v. rr.

118. mvp-comment-73-1 ἀμφιχανὼν.. στόμα Yawning round our seven-mouthed gates.

120. mvp-comment-74-1 ἔβα He went his way. For the use of the aorist of βαίνω in this sense, cp. Od. 22. 249, καὶ δή οἱ Μέντωρ μὲν ἔβη, κενὰ εὔγματα εἰπών: Τr. 115, βάντ᾽ ἐπιόντα τ', Some gone, others coming on.

121. mvp-comment-75-1 γένυσιν With his jaws. Instrumental dative.

121. mvp-comment-75-2 πλησθῆναί τε καὶ ἑλεῖν For the change of subject in these lines, cp. Aj. 458, ἐχθαίρομαι, μισεῖ δέ, κ.τ.λ. And for στεφάνωμα πύργων, cp. Pind. Ol. 8. 32, Ἰλίῳ μέλλοντες ἐπὶ στέφανον τεύξαι : Hom. h. Dem. 151, .. κρήδεμνα πόληος | εἰρύαται ...

124. mvp-comment-76-1 τοῖος .. δράκοντι (1) Such din of war was spread about his rear by the reluctant snake, no easy matter to subdue. So the Scholiast, who wrote τὸ δὲ ἀντιπάλῳ δράκοντι ἀντὶ τοῦ ὑπὸ τοῦ ἀντιπάλου δράκοντος, ὡς Ἀχιλῆϊ δαμασθείς (Il. 22. 55). Or (2) δυσχείρωμα may be taken to mean the act rather than the object of victory (cp. O. Τ. 560, θανασίμῳ χειρώματι), and the sense may be, Such din of war encompassed him, issuing in a hard-won victory for the serpent matching his foe. In this case it will make little difference to read the genitive. Or, (3) if the genitive is read (Wecklein), the words may be taken in yet another way: Such din of war harassed him from behind, the hard-to-be-subdued might of the serpent, who was a match for his foe. The genitive is given as an alternative reading by the 1st hand of L, and is supported by V (Ven. 468). But the dative is alone recognised by the Scholiast.

124. mvp-comment-76-2 The δράκων is certainly the emblem of Thebes, and the eagle and snake are in conflict, as in Il. 12. 201, foll., where also the serpent struggles and escapes : ὁ δ᾽ οὔπω λήθετο χάρμης, | κόψε γὰρ αὐτὸν ἔχοντα κατὰ στήθος παρὰ δειρὴν | ἰδνωθεὶς ὀπίσω· ὁ δ᾽ ἀπὸ ἕθεν ἧκε χαμάζε, κ.τ.λ. Hor. Carm. 4. 4, 11, Nunc in reluctantes dracones | Egit amor dapis atque pugnae.

129. mvp-comment-77-1 πολλῷ ῥεύματι προσνισσομένους Coming on in full proud stream. Like a great river filling its banks.

130. mvp-comment-78-1 χρυσοῦ καναχῆς ὑπερόπτης] Despiser of the clank of gold. Cp. Aesch. Agam. 776, τὰ χρυσόπαστα δ᾽ ἐσθλὰ σὺν πίνῳ χερῶν | παλιντρόποις ὄμμασιν | λιπούσ', ὅσια προσέβα: S. c. T. 481-485. The Scholiast, who wrote καὶ τὴν τοῦ χρυσοῦ φαντασίαν ὑπερβεβηκότας τῇ ἰδίᾳ ὑπεροψίᾳ, seems to have read ὑπερόπτας, which appears in the margin of some copies. The ὑπεροψία of his interpretation may have given rise to ὑπεροπτίας, as in conjunction with this it has suggested ὑπεροπλίαις, (Vauvillers, who compares II. 1. 205). Musgr. and Böckh are contented with ὑπεροπτείας, abstr. noun of ὑπερόπτης, gen. with ῥεύματι, In floods of supercilious pride.

131. mvp-comment-79-1 παλτῷ ῥιπτεῖ πυρί (1) Hurls down with brandished thunderbolt. Or possibly (2) ῥιπτεῖ is a more emphatic substitute for βάλλει = Smites from afar. The word παλτῷ suggests the zig-zag flicker of the lightning.

131. mvp-comment-79-2 βαλβίδων .. ἀλαλάζαι As, having reached the topmost goal, he was eager to raise the cry of victory. βαλβίδες are the end of the race-course, metaphorically applied here to the top of the wall to which Capaneus had climbed, and so receiving the epithet ἄκρων.

131. mvp-comment-79-3 βαλβίδων may be also taken as abl. gen, with ῥιπτεῖ, and only resumed with ἄκρων. But this is questionable.

133. mvp-comment-80-1 The subject of ὁρμῶντα (Capaneus) is anticipated from the following lines, viz. ὅς, κ.τ.λ.

134. mvp-comment-81-1 ἀντιτύπᾳ This conj. of Porson has been generally received. He fell upon the earth, that smote him again; i.e. He fell with a shock. The Scholia explain ἀντίτυπα, which is against metre.

134. mvp-comment-81-2 τανταλωθείς Swung. As if the scale that had been the lightest had suddenly become the heaviest. Cp. Hom. Il. 22. 212, ῥέπε δ᾽ Ἕκτορος αἴσιμον ἦμαρ, | ᾤχετο δ᾽ εἰς Ἀἰδαο.

135. mvp-comment-82-1 πυρφόρος With the fire in his hand, with which he had threatened the town. O. C. 1318: Aesch. S. c. T. 422, ff.

135. mvp-comment-82-2 ὁρμᾷ Observe the tautology after ὁρμῶντ', supra.

136-137. mvp-comment-83-1 Had breathed against us in frenzy with blasts of malignant winds. Cp. infra 929-930: O. C. 612 and note: Aesch. S. c. T. 115, πνοαῖς Ἄρεος.

138. mvp-comment-84-1 εἶχε δ᾽ ἄλλᾳ τὰ μέν· κτ.λ.] This was in one direction: whilst on other men terrible fortune was dispensed by mighty Ares rushing on them like a steed harnessed upon our right hand. For the use of ἔχω with the locative adv., see L. and S. s. v. ἔχω, Β. 11. Ι. The reading in the text is suggested by that of V (Ven. 468), a MS. of the 13th century, which, together with many obvious corruptions, has preserved some good readings. See on O. T. 1526. This MS. reading is curiously near the conj. of Musgrave, εἶχε δ᾽ ἄλλᾳ τὰ δείν᾽. The epithet, as read in the text, may be suggested by a forefeeling of what is coming. Even the end of Capaneus is less awful than that of Eteocles and Polynices (144 ff.). Hermann's reading, εἶχε δ᾽ ἄλλᾳ μὲν ἄλ | λᾳ· τὰ δ᾽ ἐπ᾿ ἄλλοις, makes good enough sense; Plat. Rep. 2. 369 Β, οὕτω δὴ ἄρα παραλαμβάνων ἄλλος ἄλλον ἐπ᾿ ἄλλου, τὸν δ᾽ ἐπ᾿ ἄλλου χρείᾳ : but the synaphea between the cretics and the choriambi is questionable. And the same objection applies to Wecklein's εἶχε δ' ἄλλᾳ τὰ τοῦδ᾽· | ἄλλα δ᾽ ἐπ᾿ ἄλλοις.

140. mvp-comment-85-1 δεξιόσειρος The War-god taking part with Thebes and bounding hither and thither over the plain is compared to the σειραῖος ἵππος, whose free action was so important at critical moments in the chariot-race. Cp. El. 721-722, δεξιὸν δ᾽ ἀνεὶς | σειραῖον ἵππον εἶργε τὸν προσκείμενον: Aesch. Agam. 841-842, μόνος δ' Οδυσσεύς, ὅσπερ οὐχ ἑκὼν ἔπλει | ζευχθείς ἕτοιμος ἦν ἐμοὶ σειραφόρος. The reading δεξιόχειρος is probably erroneous. It is acknowledged as a variant by the Scholiast.

141. mvp-comment-86-1 Capaneus, who is one of the seven adversaries, is already disposed of. But the general description in 141-143, is only preparatory to the chief statement, 144-147, from which, however, the chorus pass quickly, as they approach it with aversion. What is of the best omen must be kept to the front. For ἴσοι πρὸς ἴσους, cp. Hdt. 9. 49, ἴσοι πρὸς ἴσους ἄριθμον μαχεσόμεθα.

142-143. mvp-comment-87-1 'Left the tribute of their brazen panoplies to Zeus, who turns the battle.'

144-147. mvp-comment-88-1 Neither could despoil the other, since both were slain. And the citizens could not dedicate to Zeus arms polluted with kindred blood.

145. mvp-comment-89-1 αὑτοῖν i. e. ἀλλήλοιν: ἑαυτούς, ἀλλήλους. Hesych.

146. mvp-comment-90-1 δικρατεῖς λόγχας στήσαντε Having pointed their two spears, of which either was victorious. The spears are not hurled, as commonly in the Iliad, but held firmly as the combatants rush at each other. Cp. Hom. Il. 4. 307 (quoted by Donaldson), ὃς δέ κ᾿ ἀνὴρ ἀπὸ ὧν ὀχέων ἕτερ᾽ ἅρμαθ' ἵκηται | ἔγχει ὀρεξάσθω, ἐπεὶ ἢ πολὺ φέρτερον οὕτως.

147. mvp-comment-91-1 'Both have their portion in mutual death: i.e. Each strove for sole inheritance, but they share equally-in a death;' which each has given and each has received. See on l. 57. The spirit of the words is the same as those of Aesch. S. c. T. 726 ff.: O. C. 790.

149. mvp-comment-92-1 ἀντιχαρεῖσα Exchanging looks of joy. Cp. χαίρειν γέλωτι, Χen. Cyr. 8.1.33.

149. mvp-comment-92-2 Θήβη, as in Pindar, is the personification of Θήβαι, for which it is used consistently throughout this play. Cp. Od. 7. 80, εὐρυάγυιαν Ἀθήνην.

150. mvp-comment-93-1 ἐκ μὲν δὴ πολέμων .. λησμοσύvav Turning from the present wars, appoint ye forgetfulness of them. For the pleonastic use of ἐκ, see Essay on Language § 19. p. 27. The reading θέσθαι, which has good MS. authority and preserves the metrical correspondence with l. 137, is retained by some editors as an infinitive for imperative. Cp. infr. 1142, μολεῖν. For the expression, cp. Eur. Phoen. 1584,5, ὡς ὥρα τάφου | μνήμην τίθεσθαι.

153. mvp-comment-94-1 παννυχίοις Cp. Ο. Τ. 1090: Aesch. Ag. 23, 24. καὶ χορῶν κατάστασιν | πολλῶν ἐν Ἄργει τῆσδε συμφορᾶς χάριν.

153. mvp-comment-94-2 ὁ Θήβας δ'. . ἄρχοι And let Bacchus, Thebe's God. who shakes the earth (with revelry), lead on the dance. Schol. ὁ Θήβας Βακχεῖος, ὁ Θηβαγενὴς Διόνυσος, ὁ τῆς Θήβης πολίτης, ὁ ἐλελίχθων, ἄρχοι τῆς χορείας. See Essay on Language § 9. p. 11.

Sophocles Antigone 148

Johann Jakob Christian Donner (Translator)

Search the Perseus Catalog for:

Aber die namenverleihende Nike kam ja,¹

Gnädig vergeltend der wagenumrauschten Thebe;

Darum werde des Kriegs
150

Heute nimmer gedacht von euch;²

Laßt in Nachtreigen uns

Tanzend umher zieh'n zu der Stadt Tempeln, voran hebe sich Bacchos,

Theben erschütternd!³

Current edition Experimental

Aber es kam die gepriesene Siegesgöttin,
145

freudig entgegnend der wagenberühmten Thebe:

deſshalb denket des Kampfs jetztnicht mehr; in nächtlichem Chor

lasset Tanzreigen uns

führend der Stadt Tempeln umher nahen, voran hebe sich

Thebe's
Bacchios jauchzend!
150

Chorus

Creon

Der grofsnahmige Sieg ist aber gekommen,

Der wagenreichen günstig, der Thebe,

Und nach dem Kriege hier,
155

Macht die Vergessenheit aus!

Zu allen Göttertempeln,

Mit Chören, die Nacht durch,

Kommt her! und, Thebe

Erschütternd, herrsche der Bacchusreigen!
160

Chorus

That is your will, Creon, towards this city’s enemy and its friend. And the power is yours, I believe, to make use of every law whatsoever, both concerning the dead and all us who live.

Creon

See, then, that you be guardians of my commands.
215

Chorus

Lay the weight of this task on some younger man.

Creon

That is not what I meant—the guards for the corpse are already in place.

Chorus

Then what is this other command that you would give?

Creon

That you not give way to the breakers of my commands.

Chorus

There is no one so foolish as to crave death.
220

Creon

I assure you, that is the wage for disobedience. Yet by just the hope of it, money has many times corrupted men.

Creon

And what is it that so disheartens you?

Guard

I want to tell you first about myself—I did not do the deed, nor did I see the doer,

so it would be wrong that I should come to any harm.
240

Creon

Like a bowman you aim well at your target from a distance, and all around you hedge yourself off well from the deed. It is clear that you have some unheard-of thing to tell.

Guard

That I do, for terrible news imposes great hesitation.

Creon

Then tell it, will you, and so unburdened go away?

Guard

Well, here it is. The corpse—some one has just given it burial and disappeared after sprinkling thirsty dust on the flesh and performing the other rites that piety demands.
245

Creon

What are you saying? What man dared do this?

Chorus

My king, my thoughts have long been deliberating whether this deed is somehow the work of gods?

Guard

Will you allow me to speak? Or shall I just turn and go?
315

Creon

Do you not know even now how much your voice sickens me?

Guard

Is the pain in your ears, or in your soul?

Creon

And why would you define the seat of my pain?

Guard

He who did it hurts your heart, but I, your ears.

Creon

God! How plain it is that you are a born babbler.
320

Guard

Perhaps, but never the author of this action.

Creon

Yes, and what is more, you sold your life for silver.

Guard

Ah! It is truly sad when the judge judges wrong .

Creon

Expound on judgment as you will. But, if you fail to

show me the perpetrators of these crimes, you will avow that money basely earned wreaks sorrows. Exit Creon.
325

Guard

Well, may the man be found! That would be best. But, whether he be caught or not—for fortune must decide that—I assure you that you will not see me come here again.

Saved just now beyond hope and belief, I owe the gods great thanks. Exit the Guard.
330

Notes on the current edition

Commentary

Stable identifiers

Search the Perseus Catalog for:

Search the Perseus Catalog for:

Aber die namenverleihende Nike kam ja, 1 Gnädig vergeltend der wagenumrauschten Thebe; Darum werde des Kriegs 150 Heute nimmer gedacht von euch; 2 Laßt in Nachtreigen uns Tanzend umher zieh'n zu der Stadt Tempeln, voran hebe sich Bacchos, Theben erschütternd! 3

Current edition Experimental

Aber es kam die gepriesene Siegesgöttin, 145 freudig entgegnend der wagenberühmten Thebe: deſshalb denket des Kampfs jetztnicht mehr; in nächtlichem Chor lasset Tanzreigen uns führend der Stadt Tempeln umher nahen, voran hebe sich Thebe's Bacchios jauchzend! 150

Chorus

Creon

Der grofsnahmige Sieg ist aber gekommen, Der wagenreichen günstig, der Thebe, Und nach dem Kriege hier, 155 Macht die Vergessenheit aus! Zu allen Göttertempeln, Mit Chören, die Nacht durch, Kommt her! und, Thebe Erschütternd, herrsche der Bacchusreigen! 160

Chorus That is your will, Creon, towards this city’s enemy and its friend. And the power is yours, I believe, to make use of every law whatsoever, both concerning the dead and all us who live.

Creon See, then, that you be guardians of my commands. 215

Chorus Lay the weight of this task on some younger man.

Creon That is not what I meant—the guards for the corpse are already in place.

Chorus Then what is this other command that you would give?

Creon That you not give way to the breakers of my commands.

Chorus There is no one so foolish as to crave death. 220

Creon I assure you, that is the wage for disobedience. Yet by just the hope of it, money has many times corrupted men.

Creon And what is it that so disheartens you?

Guard I want to tell you first about myself—I did not do the deed, nor did I see the doer, so it would be wrong that I should come to any harm. 240

Creon Like a bowman you aim well at your target from a distance, and all around you hedge yourself off well from the deed. It is clear that you have some unheard-of thing to tell.

Guard That I do, for terrible news imposes great hesitation.

Creon Then tell it, will you, and so unburdened go away?

Guard Well, here it is. The corpse—some one has just given it burial and disappeared after sprinkling thirsty dust on the flesh and performing the other rites that piety demands. 245

Creon What are you saying? What man dared do this?

Chorus My king, my thoughts have long been deliberating whether this deed is somehow the work of gods?

Guard Will you allow me to speak? Or shall I just turn and go? 315

Creon Do you not know even now how much your voice sickens me?

Guard Is the pain in your ears, or in your soul?

Creon And why would you define the seat of my pain?

Guard He who did it hurts your heart, but I, your ears.

Creon God! How plain it is that you are a born babbler. 320

Guard Perhaps, but never the author of this action.

Creon Yes, and what is more, you sold your life for silver.

Guard Ah! It is truly sad when the judge judges wrong .

Creon Expound on judgment as you will. But, if you fail to show me the perpetrators of these crimes, you will avow that money basely earned wreaks sorrows. Exit Creon. 325

Guard Well, may the man be found! That would be best. But, whether he be caught or not—for fortune must decide that—I assure you that you will not see me come here again. Saved just now beyond hope and belief, I owe the gods great thanks. Exit the Guard. 330

Notes on the current edition

Commentary

Stable identifiers

Aber die namenverleihende Nike kam ja,¹

Gnädig vergeltend der wagenumrauschten Thebe;

Darum werde des Kriegs
150

Heute nimmer gedacht von euch;²

Laßt in Nachtreigen uns

Tanzend umher zieh'n zu der Stadt Tempeln, voran hebe sich Bacchos,

Theben erschütternd!³

Aber es kam die gepriesene Siegesgöttin,
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freudig entgegnend der wagenberühmten Thebe:

deſshalb denket des Kampfs jetztnicht mehr; in nächtlichem Chor

lasset Tanzreigen uns

führend der Stadt Tempeln umher nahen, voran hebe sich

Thebe's
Bacchios jauchzend!
150

Der grofsnahmige Sieg ist aber gekommen,

Der wagenreichen günstig, der Thebe,

Und nach dem Kriege hier,
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Macht die Vergessenheit aus!

Zu allen Göttertempeln,

Mit Chören, die Nacht durch,

Kommt her! und, Thebe

Erschütternd, herrsche der Bacchusreigen!
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Chorus

That is your will, Creon, towards this city’s enemy and its friend. And the power is yours, I believe, to make use of every law whatsoever, both concerning the dead and all us who live.

Creon

See, then, that you be guardians of my commands.
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Chorus

Lay the weight of this task on some younger man.

Creon

That is not what I meant—the guards for the corpse are already in place.

Chorus

Then what is this other command that you would give?

Creon

That you not give way to the breakers of my commands.

Chorus

There is no one so foolish as to crave death.
220

Creon

I assure you, that is the wage for disobedience. Yet by just the hope of it, money has many times corrupted men.

Creon

And what is it that so disheartens you?

Guard

I want to tell you first about myself—I did not do the deed, nor did I see the doer,

so it would be wrong that I should come to any harm.
240

Creon

Like a bowman you aim well at your target from a distance, and all around you hedge yourself off well from the deed. It is clear that you have some unheard-of thing to tell.

Guard

That I do, for terrible news imposes great hesitation.

Creon

Then tell it, will you, and so unburdened go away?

Guard

Well, here it is. The corpse—some one has just given it burial and disappeared after sprinkling thirsty dust on the flesh and performing the other rites that piety demands.
245

Creon

What are you saying? What man dared do this?

Chorus

My king, my thoughts have long been deliberating whether this deed is somehow the work of gods?

Guard

Will you allow me to speak? Or shall I just turn and go?
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Creon

Do you not know even now how much your voice sickens me?

Guard

Is the pain in your ears, or in your soul?

Creon

And why would you define the seat of my pain?

Guard

He who did it hurts your heart, but I, your ears.

Creon

God! How plain it is that you are a born babbler.
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Guard

Perhaps, but never the author of this action.

Creon

Yes, and what is more, you sold your life for silver.

Guard

Ah! It is truly sad when the judge judges wrong .

Creon

Expound on judgment as you will. But, if you fail to

show me the perpetrators of these crimes, you will avow that money basely earned wreaks sorrows. Exit Creon.
325

Guard

Well, may the man be found! That would be best. But, whether he be caught or not—for fortune must decide that—I assure you that you will not see me come here again.

Saved just now beyond hope and belief, I owe the gods great thanks. Exit the Guard.
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