Sophocles, Antigone, 242

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Chorus

O prophet, how true, then, hast thou proved thy word!

Antigone. Sophocles. Cambridge, UK. 1904.

Sponsored by Perseus Project, Tufts University.

Funding provided by Tufts University.

Current edition Experimental

English (Sir Richard Jebb1, 1904) (OCR draft) (English) (English (Sir Richard Jebb1, 1904))

Provisional text from uncorrected OCR; expect errors.

Editions (12)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 242 focus

τὰ δεινὰ γάρ τοι προστίθησ᾽ ὄκνον πολύν.

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 242 focus

θάψας βέβηκε, κἀπὶ χρωτὶ διψίαν

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 242 focus

οὔκουν ἐρεῖς ποτ᾽, εἶτ᾽ ἀπαλλαχθεὶς ἄπει;

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 242 focus

τὸ πρᾶγμα. δηλοῖς δ᾽ ὡς τι σημανῶν νέον.

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 242 focus

τὸ πρᾶγμα· δηλοῖς δ᾽ ὥς τι σημαίνων νέον.

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 242.mvp-line-242 focus

τὸ πρᾶγμα· δηλοῖς δ’ ὥς τι σημαίνων νέον.

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 242 focus

τὸ πρᾶγμα· δηλοῖς δ᾽ ὥς τι σημανῶν νέον.

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 242 focus

τὸ πρᾶγμα. δηλοῖς δ᾽ ὥς τι σημανῶν νέον.

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 242 focus

τὸ πρᾶγμα· δηλοῖς δ᾽ ὥς τι σημανῶν νέον.

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 242.mvp-line-242 focus

τὸ πρᾶγμα. δηλοῖς δ᾽ ὥς τι σημανῶν νέον.

Antigone (OCR draft) Experimental (Antigone) — 242 focus

τὸ πρᾶγμα· δηλοῖς δʼ ὥς τι σημανῶν νέον.

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 242 focus

τὸ πρᾶγμα· δηλοῖς δ᾽ ὥς τι σημανῶν νέον.

Translations (9)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 242 focus

CHOR.

So geh' geh’ und thu' thu’ es: überlaſs überlaß es andern nicht.

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 242 focus

CORO

¿Cuál? ¿La del padre o la suya propia?

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 242 focus

Nuntius

Ipse se peremit, patri iratus ob necem.

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 242 focus

CH

See, from the palace cometh close to us
1180

Creon’s unhappy wife, Eurydicè.

Is it by chance, or heard she of her son?

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 237 focus

Was ist's, warum befiel dich solche Bangigkeit?

Der Wächter.

Erst laß dir sagen, was mich selbst betrifft: die That

Verübt' ich nicht, noch sah ich, wer der Thäter war;

Und nur mit Unrecht widerführe mir ein Leid.
240

Kreon.

Du zielst behutsam und verschanzest dich geschickt

Ringsher; du bringst uns, seh' ich wohl, ein schweres Wort.

Der Wächter.

Das Arge freilich regt die Furcht gewaltig auf.

Kreon.

Nun, wirst du reden endlich und dann weiter geh'n?

Der Wächter.

Wohlan, so sag' ich's: Einer, der sofort verschwand,
245

Begrub den Todten eben, hat mit trocknem Staub

Bestreut den Leichnam, und geweiht, was üblich ist.

Kreon.

Was sagst du? Wer auf Erden hat sich deß erkühnt?

Der Wächter.

Ich weiß es nicht; denn weder eines Beiles Hieb

War dort, noch einer Hacke Wurf, der Boden dicht
250

Und fest und bruchlos, auch mit Wagenrädern nicht

Befahren; spurlos blieb es, wer der Thäter war.

Und wie es uns der erste Tageswächter zeigt,¹

Erschien es Allen unerklärlich wunderbar.

Die Leiche war verschwunden, nicht begraben zwar;
255

Dünn, wie den Fluch zu meiden, lag der Staub darauf.²

Von einem Raubthier oder Hund war keine Spur,

Die hergekommen und an ihr herumgezerrt.

Nun schollen böse Reden auf einander los,

Der Wächter zich den Wächter; wohl auch endet' es
260

Zulezt mit Schlägen; Keiner war zu wehren da.

Denn Einer wie der Andre war der Thäter hier,

Und Keiner überführbar; Jeder stritt es ab.

Mit Händen fassen wollten wir ein glühend Erz,³

Durch Feuer gehen, schwören bei den Göttern selbst,
265

Daß wir es nicht verübten noch im Bunde sei'n

Mit Einem, der's ersonnen oder ausgeführt.

Am Ende, da kein Forschen mehr uns weiter half,

Sprach Einer, der uns alle zwang, vor Furcht das Haupt

Zur Erd' hinabzusenken denn wir wußten nicht
270

Zu widersprechen, noch wiefern wir, thäten wir's,

Uns helfen könnten dieser rieth, man müsse dir

Die Sache hinterbringen, nicht verheimlichen.

Und seine Meinung siegte: mich Unseligen

Verdammt zu diesem schönen Glück des Looses Wurf.
275

Nun steh' ich hier, nicht willig vor Unwilligen:

Niemand ja liebt den Boten unwillkommner Mähr.

Der Chor.

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 242 focus

Eurydice
Scene II. 1183

Messenger, Chorus.

EuB. O citizens ! as to Minerva's fane

E'en now I went to pay my vows, the doors
1185

I burst, and heard imperfectly the sound

Of most disastrous news which touched me near.

Breathless I fell amidst the virgin throng ;

And now I come to know the dreadful truth :

Whate'er it be, I'll hear it now ; for, oh !
1190

I am no stranger to calamity.

Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 242 focus

EL CORO

Marcha, pues, y saca á esa joven de su prisión subterránea: y después eleva una tumba al que tienes privado de ella.

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 242 focus

DER BOTE

Ich, liebe Frau, sag’ es, als Augenzeuge,

Kein Wort der Wahrheit lafs ich ungesagt,

Was sollt’ ich nemlich dich besänftigen,,

Wenn ich nachher als Lügner dir erschiene?
1245

Gerad ist immerhin die Wahrheit. Ich

Bin als Gefährte deinem Herrn gefolst,

Zum hohen Felde, wo, vom Hund zerfleischt,

Der arme Leichnam lag des Polynikes.

Enodia, die Göttin, bitten wir,
1250

Und Pluto, wohlgesinnten Zorn zu halten,

Bereiten heilig Bad, und legen ihn

In frische Zweige, so viel übrig war,

Und einen Hügel mit geradem Haupt

Erbauten wir von heimatlicher Erde.
1255

Und giengen dann zum hohlen, steinerbauten,

Nach Todter Art, vermählten Bett der Jungfrau.

Es höret aber einer eine Stimme,

Und laute Klage rufen in der Kammer,

Und nahet sich und deutet Kreon sie
1260

Dem Herren an. Und wie der gieng, umgab

Ihn merkbarer die dunkle, müheseel’ge Stimme,

Dann schrie er auf, nah.dran, und übel klagend

Sprach er das Wort, das ärmlich klagende:

Bin ich Wahrsager mir? geh’ich den unglüklichsten
1265

Wirklich der Wege, welche kommen können?

Mich rührt des Kindes Stimme. Doch ihr Diener

Geht schnell hinzu, zum Grab’ und seht genau

Den Riegel an, der aus der Mauer ist gerissen,

Geht in die Thüre selbst hinein, und sehet
1270

Ob ich des Hämons Stimme höre, oder

Göttlich getäuscht bin. Des geängsteten

Herrn Wort nach forschen wir. Darauf

1219

Zu hinterst in den Gräbern sehen wir

Am Naken hängend, sie, am Gürtelbande
1275

Des Leinenkleids herab; und ihn, rundum

Um sie bestrikt, dahingestrekt, und jammernd

Ums Brautbett, und den Abgrund drunten, und

Des Vaters Werk und unglükliche Lager.

Er, wie er dieses sieht, schreit greulich auf,
1280

Und geht hinein, zu ihm, und wehcklagt und rufet:

O Armer, was hast du gethan? was hattest

Im Sinne du? Durch welch Verhängnifs starbst du?

O komm heraus, mein Kind, fufsfällig bitt’ ich.

Schnöd blikend, nichts entgegensagend, starrt
1285

Mit wilden Augen gegen ihn der Sohn;

Und zieht das Schwert, zweischneidig, gegen ihn erst,

Und da der Vater, aufgeschrökt, zur Flucht

Sich wandte, fehlt‘ er. Grimmig dann im Geiste,

Der Unglükliche sties, so wie er ausgestrekt stand,
1290

Die Spize mitten sich in seine Seite.

Den feuchten Arm, bei Sinnen noch, külst er

Der Jungfrau. Schnaubend stöfst auf weisser Wange

Er scharfen Hauch von blut’gen Tropfen aus.

Das Todte liegt beim Todten, bräutliche
1295

Erfüllung trifft es schüchtern in den Häufsern

Der Todtenwelt, und zeigt der Menschen rathlos Wesen,

Und wie als gröstes Uebel diess der Mann hat.

(Eurydice geht ab. )

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

Commentary

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

mvp-comment-134-1 δηλοῖς δ’ ὥς τι ς. ¹

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.

241-242. mvp-comment-148-1 (1) You aim carefully, and fence the business off from yourself all round. Some editors read τί φροιμιάζει; from Ar. Rhet. 3. 14, § 10, quoted above. But though the Scholiast of the Rhetoric says τὸ δὲ τί φροιμιάζῃ τοῦ Κρέοντός ἐστι λέγοντος, it is much more probable that the words are a separate quotation from Eur. I. T. 1162. See Cope's edition of Ar. Rhet. vol. 3. p. 175. Others explain the text (2), You lay the ground carefully and hedge your approaches closely round, as if in preparing a stance to watch for game. According to Pollux, 5, 36, στοχασμός, στοχάς, and στόχος, were terms used in describing the setting of a hunting-net: καλεῖται δ᾽ αὐτῶν (τῶν ἀρκύων) ἡ στάσις, στοιχισμός, στοίχος, στόχος, στοχὰς καὶ στοχασμός· στοχὰς δὲ καλεῖται καὶ χειροποιητά τινα οἰκοδομήματα ἐκ λίθων, ἢ ὕλης ὑπὲρ τὴν γῆν ἀναστήματα, κατὰ χρείαν τῆς τῶν δικτύων ἐξ ἴσου στάσεως, εἴ τι κοῖλον εἴη περὶ τὸ ἀρκύστατον.

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Chorus O prophet, how true, then, hast thou proved thy word!

Current edition Experimental

CHOR. So geh' geh’ und thu' thu’ es: überlaſs überlaß es andern nicht.

CORO ¿Cuál? ¿La del padre o la suya propia?

Nuntius Ipse se peremit, patri iratus ob necem.

CH See, from the palace cometh close to us 1180 Creon’s unhappy wife, Eurydicè. Is it by chance, or heard she of her son?

Was ist's, warum befiel dich solche Bangigkeit?

Der Wächter. Erst laß dir sagen, was mich selbst betrifft: die That Verübt' ich nicht, noch sah ich, wer der Thäter war; Und nur mit Unrecht widerführe mir ein Leid. 240

Kreon. Du zielst behutsam und verschanzest dich geschickt Ringsher; du bringst uns, seh' ich wohl, ein schweres Wort.

Der Wächter. Das Arge freilich regt die Furcht gewaltig auf.

Kreon. Nun, wirst du reden endlich und dann weiter geh'n?

Der Wächter. Wohlan, so sag' ich's: Einer, der sofort verschwand, 245 Begrub den Todten eben, hat mit trocknem Staub Bestreut den Leichnam, und geweiht, was üblich ist.

Kreon. Was sagst du? Wer auf Erden hat sich deß erkühnt?

Der Chor.

EL CORO Marcha, pues, y saca á esa joven de su prisión subterránea: y después eleva una tumba al que tienes privado de ella.

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

Commentary

Stable identifiers

Chorus

O prophet, how true, then, hast thou proved thy word!

CHOR.

So geh' geh’ und thu' thu’ es: überlaſs überlaß es andern nicht.

CORO

¿Cuál? ¿La del padre o la suya propia?

Nuntius

Ipse se peremit, patri iratus ob necem.

CH

See, from the palace cometh close to us
1180

Creon’s unhappy wife, Eurydicè.

Is it by chance, or heard she of her son?

Der Wächter.

Erst laß dir sagen, was mich selbst betrifft: die That

Verübt' ich nicht, noch sah ich, wer der Thäter war;

Und nur mit Unrecht widerführe mir ein Leid.
240

Kreon.

Du zielst behutsam und verschanzest dich geschickt

Ringsher; du bringst uns, seh' ich wohl, ein schweres Wort.

Der Wächter.

Das Arge freilich regt die Furcht gewaltig auf.

Kreon.

Nun, wirst du reden endlich und dann weiter geh'n?

Der Wächter.

Wohlan, so sag' ich's: Einer, der sofort verschwand,
245

Begrub den Todten eben, hat mit trocknem Staub

Bestreut den Leichnam, und geweiht, was üblich ist.

Kreon.

Was sagst du? Wer auf Erden hat sich deß erkühnt?

EL CORO

Marcha, pues, y saca á esa joven de su prisión subterránea: y después eleva una tumba al que tienes privado de ella.

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