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.
