70.
mvp-comment-45-1
ἐμοῦ.. μέτα
Would your acting with me be any pleasure to me. For the adverb ἡδέως, implying a predicate, see Essay on Language § 24. p. 40.
71.
mvp-comment-46-1
ἴσθ᾽ ὁποία This reading is acknowledged by the Scholiast equally with ἴσθ' ὁποῖα, the reading of LA. Be such as you choose to be' (i. e. base, cp. supr. 38) is more forcible than
Hold what principles you please, even if εἰδέναι can have this meaning. Cp Phil. 1049, τοιοῦτός εἰμ' ἐγώ: Eur. Or. 1680, κἀγὼ τοιοῦτος. ὁποία is nominative by attraction to the antecedent. Hermann thought the dative ὁποίᾳ was required.
72.
mvp-comment-47-1
Antigone knows clearly from the beginning, with the heightened consciousness of passion, the consequences of her act. There is no
irony of fortune, so far as she is concerned.
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.
