Sophocles Antigone 221

καὶ μὴν ὁ μισθός γ᾽ οὗτος· ἀλλ᾽ ὑπ᾽ ἐλπίδων

Antigone. Sophocles. Cambridge, UK. 1906.

Sponsored by Perseus Project, Tufts University.

Funding provided by Tufts University.

Current edition Experimental

Greek (R. C. Jebb, 1906) (OCR draft) (Greek) (Greek (R. C. Jebb, 1906))

Provisional text from uncorrected OCR; expect errors.

Editions (11)
Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 221 focus
ἄνδρας τὸ κέρδος πολλάκις διώλεσεν.
Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 221 focus
πολλὰς γὰρ ἔσχον φροντίδων ἐπιστάσεις
Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 221 focus
ἄναξ, ἐρῶ μὲν οὐχ ὅπως τάχους ὕπο
Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 221 focus
καὶ μὴν ὁ μισθός γ' οὗτος. ἀλλ᾽ ὑπ᾿ ἐλπίδων
Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 221 focus
καὶ μὴν ὁ μισθός γ᾽ οὗτος· ἀλλ᾽ ὑπ᾽ ἐλπίδων
Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 221.mvp-line-221 focus
καὶ μὴν ὁ μισθός γ’ οὗτος· ἀλλ’ ὑπ’ ἐλπίδων
Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 221 focus
καὶ μὴν ὁ μισθός γ᾽ οὗτος ἀλλ᾽ ὑπ᾽ ἐλπίδων
Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 221 focus
καὶ μὴν ὁ μισθός γ᾽ οὗτος. ἀλλ᾽ ὑπ᾽ ἐλπίδων
Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 221.mvp-line-221 focus
καὶ μὴν ὁ μισθός γ᾽ οὗτος. ἀλλ᾽ ὑπ᾽ ἐλπίδων
Antigone (OCR draft) Experimental (Antigone) — 221 focus
καὶ μὴν ὁ μισθός γʼ, οὗτος· ἀλλʼ ὑπʼ ἐλπίδων
Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 221 focus
καὶ μὴν ὁ μισθός γ᾽ οὗτος. ἀλλ᾽ ὑπ᾽ ἐλπίδων
Translations (10)
German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 221 focus
TEIRESIAS.
Und dieser Krankheit bis du wahrlich doch erfüllt.
Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 221 focus
TIRESIAS
Me incitarás a revelar lo que debía quedar oculto en mi corazón.
Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 221 focus
Creon
Move, modo ne lucri gratia dicas...
English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 221 focus
TI
1064
Not many courses of the racing sun
Shalt thou fulfil, ere of thine own true blood
Thou shalt have given a corpse in recompense
1065
For one on earth whom thou hast cast beneath,
Entombing shamefully a living soul,
And one whom thou hast kept above the ground
And disappointed of all obsequies,
Unsanctified and godlessly forlorn.
1070
Such violence the powers beneath will bear
Not even from the Olympian gods. For thee
The avengers wait. Hidden but near at hand,
Lagging but sure, the Furies of the grave
Are watching for thee to thy ruinous harm,
With thine own evil to entangle thee.
1075
Look well to it now whether I speak for gold!
A little while, and thine own palace-halls
Shall flash the truth upon thee with loud noise
Of men and women, shrieking o’er the dead.
And all the cities whose unburied sons,
1080
Mangled and torn, have found a sepulchre
In dogs or jackals or some ravenous bird
That stains their incense with polluted breath,
Are forming leagues in troublous enmity.
Such shafts, since thou hast stung me to the quick,
I like an archer at thee in my wrath
1085
Have loosed unerringly—carrying their pang,
Inevitable, to thy very heart.
Now, sirrah! lead me home, that his hot mood
Be spent on younger objects, till he learn
To keep a safer mind and calmer tongue.
1090
German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 211 focus
Dir, Sohn Menökeus', Kreon, ist es so genehm
Mit dieses Landes Gegner und mit seinem Freund.
Denn jede Sazung anzuordnen steht dir frei,
So für die Todten, wie für uns, die Lebenden.
English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 221 focus
Tiresias
Thus may it seem to thee.
Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 221 focus
TÍRESIAS
¡Ay! Cualquiera puede conocer 6 imaginar...
German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 221 focus
TIRESIAS
Wifs aber du, nicht lange Zeit mehr brütest
In eifersücht’ger Sonne du, von nun an;
Denn bald aus deinem Eingewaide zahlst
Du selber einen Todten für die Todten,
Für die, die du von oben warfst hinunter,
1110
Und deren Seele schmählich du im Grabe
Zu wohnen hast gesandt. Von unten hast
Auch oben einen du, den schiksaallosen ,
Den unbegrabenen, unheiligen Todtien
Des Todtes Todesgotts, der weder dich, noch obıe Götter
1115
Angehet, aber du brauchst so Gewalt.
Und darum lauern wunderlich verderblich
Im Jenseits dir die Spötter und die Richterinnen
Der Götter, also, dass da in denselben Uebeln
Du troffen werdest, und betrachte das,
1120
Ob ich das dunı von Silber spreche. Denn es kommt,
Nicht lange Zeit mehrists, von Männern, Weibern
In deinen Häufsern eine Weheklage.
In Misverstand muls aber jede Stadt
Vergehen, deren Leichname zur Ruhe
1125
Die Hund’ und wilden Thiere bringen, oder wenn
Mit Fittigen ein Vogel mit unheiligem
Geruche zum gesezten Heerd der Stadt kommt.
So stehts mit dir. Verdrossen bist du freilich;
Als wie ein Schüze sandt’ ich aus dem Muthe
1130
Des Herzens Pfeile vest. Und ihrer Wärme
Entgehst du nicht! O Kind! Du aber führ’ uns
Hinweg ins Haus, dass dieser seinen Muth
Auslasse gegen Jüngere. Und lernen
Mag er, die Zunge stiller zu gewöhnen,
1135
Und besser sein Gemüth gesinnt, denn’s jezt ist.
(Tiresias geht ab.) Dritter Scene DER CHOR. KREON.
English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 221 focus
Teiresias
Indeed, methinks, I shall not,—as touching thee.
English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 162-330 focus

Commentary

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

mvp-comment-66-1 τοῖς φίλοις δ’ ὀρθῶς φίλη 1 ἴσθι 2

mvp-comment-68-1 ἀελίου 3

mvp-comment-68-2 τὸ κάλλιστον ...φάος 4

mvp-comment-68-3 ἑπταπύλῳ 5

mvp-comment-68-4 τῶν προτέρων 6

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

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.