944-987.
mvp-comment-537-1
The chorus, in the manner of Pindar, moralise on the fate of Antigone through examples drawn from the circle of mythology and legend; and thus suggest the same cold comfort as in their mention of Niobe. The effect of this ode is to repress the excitement and solemnize the thoughts of the spectator. 'Danaë, though of royal lineage, and entrusted with the golden shower, was bound by all-constraining destiny in her brazen cell. 'Bound, too, in a prison of rock, was Lycurgus, who provoked the God. He knew his madness when it was too late.
And on the Thracian promontory Phineus sons, blinded by their father's wife (Idothea), bewailed their rejected mother Cleopatra's hapless lot, who, descended from an ancient line, and endowed with swiftness by her divine sire, was notwithstanding overtaken by the long-lived fates.' Danae and Cleopatra were, like Antigone, of royal birth, and, like Antigone, were bound in a living tomb. So also was the son of Dryas, himself a king: and this, in his case, was the penalty of an impetuous and defiant spirit. Sophocles seems to have followed one version of the obscure and variable legend of Phineus, according to which Cleopatra did not die, but was rejected by Phineus for Idothea, and imprisoned in a cave, from which she was afterwards released by Heracles. The sons were blinded by their step-mother. The first strophe and antistrophe are choriambic with an iambic close; the second, logaoedic. The choriambi here were probably chanted slowly, so as to have a weighty, solemn effect. The scheme is as follows: a'. First strophe and antistrophe. IILUCI LUCILー LUCILIITUCICートに IICClluclトー IIICCILUCIトに ICICICI KLCICICI CトートUICIK β'. Second strophe and antistrophe. UCCTCCICCI IICCICCII!یں ILU TUCI くいくいトCICIK Cトートしーーー ―トビトCICIK CÚCCICICICC
980.
mvp-comment-564-1
κλαῖον ματρός, | ἔχοντες ἀνύμφευτον γονάν This punctuation is preferred to κλαῖον, ματρὸς ἔχοντες ἀνύμφευτον γονάν, simply because the fate of Cleopatra, and not that of the Phineidae, is the chief point of the illustration.
980.
mvp-comment-564-2
ἔχοντες ἀνύμφευτον γονάν
Having a birth not honoured by wedlock: because their mother's marriage was repudiated, and their legitimacy was therefore not acknowledged. Note the repetition of γονά γονάν in a different sense after yovás in 950.
981.
mvp-comment-565-1
And she in lineage reached even unto the ancient race of the Erechtheidae.' Because her mother Orithyia, whom Boreas rapt from the Ilissus (Plat. Phaedr. 229 B), was a daughter of Erechtheus. Qy. ἀρχαιογενήτων?
983.
mvp-comment-566-1
τηλεπόροις δ᾽ ἐν ἄντροις The exact meaning of the compound epithet is doubtful. Either (1) Far-piercing,' i. e. Extending far into the mountainside: or (2)
Distant, the second part of the epithet being redundant, or merely repeating the notion of a hollow passage implied in ἄντροις, i.e. δι' ὧν τηλόσε πορευόμεθα.
985.
mvp-comment-567-1
Βορεὰς ἅμιππος Cp. Ο. Τ. 466, and note. And for ἅμα, Hom. Il. 19.415.
Keeping pace with the steed over the steep path of the hill. On the compounds of πούς, see Essay on Language $55. p. 101. ὀρθόπους is literally
Raising the foot upright. The second part of the compound is subordinated, but in this connection must have reference to the foot of the climber, and not to the foot of the hill. The words ὀρθόποδος ὑπὲρ πάγου are in construction with the verbal notion in ἅμιππος, sc.
985.
mvp-comment-567-2
ἅμα ταῖς ἵπποις τρέχειν δυναμένη.
986-987.
mvp-comment-568-1
ἀλλὰ κἀπ᾿ ἐκείνᾳ .. ἔσχον
But even on her the long-lived fates laid hold. Cp. Hom. Il. 21. 110, ἀλλ᾿ ἔπι τοι καὶ ἐμοὶ θάνατος καὶ μοῖρα κραταιή. ἐπέχειν is
To extend to, and the tmesis gives the preposition a fresh construction with the dative.
The Fates are ever-living, and therefore can afford to bide their time.
987.
mvp-comment-569-1
ὦ παῖ Antigone is apostrophized after her departure, like Oedipus in Ο. C. 1567, πάλιν σε δαίμων δίκαιος αὔξοι. 988, foll. The coming of Teiresias is the beginning of the περιπέτεια,
The change in the spirit of Creon's
dream. The external marks of the prophet are noticed more prominently than in the Oedipus Tyrannus. Cp. especially 998-990, with O. T. 371, τυφλὸς τὰ τ᾽ ὦτα, κ.τ.λ., and 444, καὶ σύ, παῖ, κόμιζέ με: 992-995, with Ο. Τ. 436, γονεῦσι δ', οἵ σ᾽ ἔφυσαν, ἔμφρονες. The figure of the blind prophet is more ideal in the Oedipus Tyrannus, and the peculiarity of his position is brought out, in a higher mode of art, with one or two light touches. On the other hand, his sudden and unlooked-for coming suits exactly with the purpose of this drama and the person of Creon.
