Antigone. Sophocles. Friedrich Hölderlin (Translator). Frankfurt am Main. 1804.
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German (F. Hölderlin, 1804) (OCR draft) (German) (German (F. Hölderlin, 1804))
Provisional text from uncorrected OCR; expect errors.
mvp-comment-334-1
It is not of much moment that L, like the later MSS., gives this verse to Ismene. Errors as to the persons occur not seldom in L (see, e.g., cr. n. to
O. C. 837
, and cp.
ib. 1737
); and here a mistake would have been peculiarly easy, as the dialogue from v. 561 onwards has been between Creon and Ismene. To me it seems certain that the verse is Antigone's, and that one of the finest touches in the play is effaced by giving it to Ismene. The taunt,
κακὰς γυναῖκας υἱέσι, moves Antigone to break the silence which she has kept since v. 560: in all this scene she has not spoken to Creon, nor does she now address him: she is thinking of Haemon,—of the dishonour to
him implied in the charge of having made such a choice, —
ὡς αἰεὶ τὸν ὁμοῖον ἄγει θεὸς ὡς τὸν ὁμοῖον. How little does his father know the heart which was in sympathy with her own. This solitary reference to her love heightens in a wonderful degree our sense of her unselfish devotion to a sacred duty. If Ismene speaks this verse, then
τὸ σὸν λέχος in 573 must be, ‘the marriage of which you talk’ (like
El. 1110
οὐκ οἶδα τὴν σὴν κλῄδον'), which certainly is not its natural sense.
mvp-comment-334-2 Αἷμον 1
572. mvp-comment-339-1 *AN. The MSS. have ΙΣ. But Böckh has given strong reasons for following Aldus in assigning the line to Antigone. The last speech of Creon might well move her to break silence, which she does naturally by resenting the words not for herself, but for Haemon. There is also greater bitterness in this line than in any speech of Ismene. Then, granting that τὸ σὸν λέχος, addressed to Ismene, might mean The marriage you prate of, the words express a much deeper feeling as addressed to Antigone. Outwardly a mere expression of impatience, they convey the only touch of natural feeling which Creon betrays. 574 and 576 are then most naturally given to the chorus. The act of Creon in sacrificing his son's happiness is more solemnly marked when his words are addressed to the coryphaeus. While adhering to this view I am bound to add that some of the best critics prefer the other arrangement of the persons.