Antonio G. Garbin, Antigone, 1293

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Puedes verla... y no allá en lo reservado de tu palacio¹.

CREONTE

Antistrofa 2.2 Comtemplando el cadáver de Eurydice, y todavía con el de Hemón en sus brazos).—¡Desgraciado de mi!

Antigone. Antonio G. Garbin. Madrid. 1889.

Current edition Experimental

Spanish (A. G. Garbin, 1889) (OCR draft) (Spanish) (Spanish (A. G. Garbin, 1889))

Provisional text from uncorrected OCR; expect errors.

Editions (12)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1293 focus

ὁρᾷν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

b

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1293 focus

Χορός

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1293 focus

ὁρᾷν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
1265

Κρέων

2

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι,

Κρέων

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1293 focus

ὁρᾶν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

2

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων
2

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Antigone (OCR draft) Experimental (Antigone) — 1293 focus

Χορός

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1293 focus

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Translations (10)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1293 focus

CHOR.

Du kannst es sehen; nicht im Innern ist sie mehr.

(die Leiche der Eurydike wird sichtbar.)

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 1293 focus

Puedes verla, pues no está en el interior de palacio.

CREONTE

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1293 focus

Intueri licet:

non enim in penetrali amplius retinetur.

Creon

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1293 focus

No longer hidden in the house. Behold!

CR

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1293 focus

Du kannst es sehen; nicht im Hause birgt sich's mehr.

(Im Hintergrunde der Scene wird die Leiche der Königin sichtbar.)

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1293 focus

A wretch, already dead

With grief, thy horrid tale once more hath slain.

Creon

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1293 focus

BOTE

Du kannst es selın. Noch ist sie im Gemach nicht.

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1293 focus

Thou canst behold: ’tis no longer hidden within. The doors of the palace are opened, and the corpse of EURYDICE is disclosed. 2

Creon

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1294 focus

In youth's fresh prime: yet thou wast blameless; all

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1261-1345 focus

Creon

Ah, the blunders of an unthinking mind, blunders of rigidity, yielding death! Oh, you witnesses of the killers and the killed, both of one family!

What misery arises from my reasonings! Haemon, you have died after a young life, youngest and last of my sons! O God! You have departed not by your foolishness, but by my own!
1265

1270

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

1278 Enter the Messenger from the house.

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

1281

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

1284

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

1293 The doors of the palace are opened, and the corpse of Eurydice is disclosed.

Chorus

The sight is at hand. It is no longer hidden inside.

1294

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Messenger

By the altar, with a sharp-whetted sword, she struck until her eyes went slack and dark. Before that she bewailed the noble fate of Megareus who died earlier, and then the fate of this boy, and also, with her last breath,

she called down evil fortune upon you, the slayer of her sons.
1305

1306

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

1317

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

1328

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

1334

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

1339

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345

Notes on the current edition

Antigone

1. Abiertas las puertas de palacio, se presentaba el cadáver de la reina, por medio de ekcyclema, máquina ó tramoya que empleaban en tales casos.

Commentary

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

223-330. mvp-comment-136-1 The half-comic or rustic character of the watchman in this play is an extension of the common character of the messenger, whose natural rudeness of speech and thought brings into greater prominence the horror or pathos of the events he describes. The grotesqueness disappears when he speaks of the action of Antigone in 407-440. The employment of this artifice by Sophocles arises from the same motive to which Shakespeare gave a far wider range in such creations as the gravediggers in Hamlet, and the rural fellow in Antony and Cleopatra. The Messenger in the Trachiniae, the Corinthian in the Oedipus Tyrannus, Menelaus in the Ajax, the pretended Shipmaster in the Philoctetes, afford the same sort of contrast to the more tragic personages: and the superstition of the Coloniatae may be compared with the cowardice of the Phrygian slave in the Orestes of Euripides.

223-330. mvp-comment-136-2 The vulgarity of the common-place Athenian of the fifth century в.с. takes the form of misplaced subtlety of wit. Cp. Shak. Hamlet, 5. 1 ,

We must speak by the card, or equivocation will undo us. The age is grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.

Search the Perseus Catalog for:

Search the Perseus Catalog for:

CREONTE Antistrofa 2.2 Comtemplando el cadáver de Eurydice, y todavía con el de Hemón en sus brazos).—¡Desgraciado de mi!

Current edition Experimental

ὁρᾷν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων b

Χορός ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

ὁρᾷν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι. 1265

Κρέων 2

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι,

Κρέων

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

ὁρᾶν πάρεστιν. οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων 2

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων 2

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

Χορός ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

Κρέων

CHOR. Du kannst es sehen; nicht im Innern ist sie mehr.

CREONTE

Creon

No longer hidden in the house. Behold!

CR

Du kannst es sehen; nicht im Hause birgt sich's mehr. (Im Hintergrunde der Scene wird die Leiche der Königin sichtbar.)

A wretch, already dead With grief, thy horrid tale once more hath slain.

Creon

BOTE Du kannst es selın. Noch ist sie im Gemach nicht.

Creon

In youth's fresh prime: yet thou wast blameless; all

Chorus Ah, how late you seem to see the right! 1270

Creon God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths, —ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through! 1275

Messenger My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms; second, you will soon look upon further sufferings inside your house. 1280

Creon What worse suffering is still to follow upon these sufferings?

Messenger Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

Creon O harbor of Hades, hard to purify! Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me 1285 God no!—what new slaughter, my wife’s doom, is heaped upon this ruin? 1290

Chorus The sight is at hand. It is no longer hidden inside.

Creon Ah, misery! There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me! 1295 Oh, tormented mother! Oh, my son! 1300

Messenger By the altar, with a sharp-whetted sword, she struck until her eyes went slack and dark. Before that she bewailed the noble fate of Megareus who died earlier, and then the fate of this boy, and also, with her last breath, she called down evil fortune upon you, the slayer of her sons. 1305

Creon Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword? I am miserable—ah—and bathed in miserable anguish! 1310

Messenger Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon What was the manner of the violent deed by which she departed?

Messenger Her own hand struck her to the heart upon learning her son’s sharply-lamented fate. 1315

Creon Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch. I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man! 1320

Chorus The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet. 1325

Creon Let it come, let it appear, that fairest of fates for me, that brings my final day, the fate supreme! Oh, let it come, so that I may never see tomorrow’s light! 1330

Chorus These things are in the future. We must see to present affairs. Fulfillment of these things rests in the hands where it should rest. 1335

Creon All that I crave was summed in that prayer.

Chorus Then pray no more; for mortals have no release from destined misfortune.

Creon Lead me away, I beg you, a rash, useless man. I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is 1340 amiss that is in my hands, and, again, a crushing fate has leapt upon my head. 1345

Notes on the current edition

Commentary

Stable identifiers

CREONTE

Antistrofa 2.2 Comtemplando el cadáver de Eurydice, y todavía con el de Hemón en sus brazos).—¡Desgraciado de mi!

Κρέων

b

Χορός

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

ὁρᾷν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.
1265

Κρέων

2

Κρέων

2

Κρέων
2

Χορός

ὁρᾶν πάρεστιν· οὐ γὰρ ἐν μυχοῖς ἔτι.

CHOR.

Du kannst es sehen; nicht im Innern ist sie mehr.

Du kannst es sehen; nicht im Hause birgt sich's mehr.

(Im Hintergrunde der Scene wird die Leiche der Königin sichtbar.)

A wretch, already dead

With grief, thy horrid tale once more hath slain.

BOTE

Du kannst es selın. Noch ist sie im Gemach nicht.

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

Chorus

The sight is at hand. It is no longer hidden inside.

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345