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Χορός

τὰν ἐκ πᾶσαι τιμᾷς ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνασίαν ὑπὲρ κλιτὺν

ἢ στονόεντα πορθμόν.
1145

Antigone. Sophocles. ed. Francis Storr. London. 1912.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Experimental

Ἀντιγόνη (Greek) (Sophocles, Volume 1. Storr, Francis, editor. London; New York: William Heinemann Ltd.; The Macmillan Company, 1912.)

Provisional text from uncorrected OCR; expect errors.

Editions (11)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1137 focus

τὰν ἐκ πασᾶν
1130

τιμᾷς ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας

ἔχεται πάνδημος πόλις

ἐπὶ νόσου, ¹ μολεῖν ποδὶ
1135

καθαρσίῳ Παρνασίαν

ὑπὲρ κλιτὺν, ἢ

στονόεντα πορθμόν.

b

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καί νυν, ὡς βιαίας

ἔχεται πάνδημος ἀμὰ πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνησσίαν
1090

ὑπὲρ κλιτὺν ἢ στονόεντα πορθμόν.

2

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1137 focus

τὰν ἔμπας σὺ τιμᾷς

ὑπερτάταν πόλεων,

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας ἔχεται πόλις
1120

πάνδημος νόσου, ποδὶ καθαρσίω,

μολεῖν κλιτὺν ὑπὲρ Παρνασίαν,

ἢ στονόεντα πορθμόν!

2

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νύν, ὡς βιαίας
1140

ἔχεται πάνδαμος *ἀμὰ πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνασίαν

ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
β

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς

ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνασίαν

ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
2

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς

ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνασίαν

ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145
2

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾶις

ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίαι·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίωι ποδὶ Παρνασίαν

ὑπὲρ κλειτὺν ἢ στονόεντα πορθμόν.
1145

2

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς

ὑπερτάταν πόλεων
1125

ματρὶ σὺν κεραυνίᾳ·

καὶ νύν, ὡς βιαίας ἔχεται πανδήμιος

πόλις ἐπὶ νόσου, μολεῖν

καθαρσίῳ ποδὶ Παρνησσίαν
1130

ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.

2

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς ὑπερτάταν πόλεων 1

ματρὶ σὺν κεραυνίᾳ· 2

καὶ νῦν, ὡς βιαίας ἔχεται 3
1140

πάνδαμος πόλις ἐπὶ νόσου, 4

μολεῖν καθαρσίῳ ποδὶ Παρνασίαν ὑπὲρ κλιτὺν 5

ἢ στονόεντα πορθμόν. 6
1145
2

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾷς

ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίῳ ποδὶ Παρνασσίαν

ὑπὲρ κλιτύν, ἢ στονόεντα πορθμόν.
1145

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1137 focus

τὰν ἐκ πασᾶν τιμᾶις

ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίαι·

καὶ νῦν, ὡς βιαίας ἔχεται
1140

πάνδαμος πόλις ἐπὶ νόσου,

μολεῖν καθαρσίωι ποδὶ Παρνασίαν

ὑπὲρ κλιτὺν ἢ στονόεντα πορθμόν.
1145

Translations (11)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1137 focus

die weit du, weit vorziehst an Ehren jeglicher Stadt,

mit der Donnermutter du!

Komme jetzt, da graunvoll

das gesammte Land des Weh's herbe Gewalt erfafst,

sühnvollen Fufses über der Parnassoshöh'n
1090

Geklüft steigend oder die wilde Meerfurt!

Gegenstr. 2.

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 1137 focus

extraordinariamente honras sobre todas las ciudades, con tu madre, la herida del rayo. Y ahora que toda nuestra ciudad está infestada de violenta pestilencia, ven con saludable pie por encima del monte Parnaso y el resonante estrecho.

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1137 focus

Quam tu tantopere colis, maximam urbium, unacum matre, fulminis ventis adfata.

Quin et nunc, quando universa civitas fero colluctatur morbo, adveni salutifero pede, Parnasium superans iugum, aut resonans maris fretum.

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1137 focus

First of cities manifold,

Thou and the nymph whom lightning made

Mother of thy radiant head.

Come then with healing for the violent woe
1140

That o’er our peopled land doth largely flow,

Passing the high Parnassian steep

Or moaning narrows of the deep!
1145

Come, leader of the starry quire
1145

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1137 focus

Der Stadt, die du weit höher ehrst als jegliche Stadt,

Samt der Mutter, die des Zeus¹

Donner traf! Auch nun komm,
1110

Da gewaltig schwere Noth über das ganze Land

Einstürmte, rettend über des Parnassos Höh'n

Daher, oder über die wilde Meerfurt!

Zweite Gegenstrophe.

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1155 focus

Chorus.

Messenger

Ye race of Cadmus, sons of ancient

Thebes,

Henceforth no state of human life by me

Shall be or valued or despised : for all

Depends on fortune ; she exalts the low.

And casts the mighty down. The fate of men

Can never be foretold. There was a time

When Creon lived in envied happiness,

Ruled o'er renowned Thebes, which from her foes

He had delivered, with successful power;

Blest in his kingdom, in his children blest,

He stretched o'er all his universal sway.

Now all is gone : when pleasure is no more,

Man is but an animated corse,

Nor can be said to live ; he may be rich.

Or decked with regal honours, but if joy

Be absent from him, if he tastes them not, I

'Tis useless grandeur all, and empty shade. \

Chorus

Touching our royal master, bringst thou news

Of sorrow to us?

Messenger

They are dead ; and those
1175

Who live the dreadful cause.
1175

Choe. Quick, tell us who —
1175

The slayer and the slain !
1175

Messenger

Hsemon is dead.

Cttor. Dead ! by what hand, his father's or his own ?

Mets. Enraged and grieving for liis murdered love,

He slew himself.

Chorus

O proijhet ! thy predictions

Were bnt too true !

Messenger

Since thus it be, 'tis fit

We should consult ; our present state demands it,

Chorus

But see ! Eurydice, the wretched wife
1180

Of Creon, comes this way ; or chance hath brought her.

Or Haemon's hapless fate hath reached her ear.

Eurydice
Scene II.

Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 1137 focus

La ciudad honrada con su predilección entre todas, del propio modo que lo fué por tu madre herida por el rayo. ln estos momentos en que una plaga terrible amenaza á todos estos ciudadanos, ven á nosotros, salva con rápido pie la cumbre del Parnaso ó las olas mugidoras del Estrecho.

Antistrofa 2.a

CORO

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1137 focus

Denn die ehrst du vor allen

Als höchste der Städte

Mit der blizgetroffenen Mutter.

Jezt aber, da von gewaltiger

Krankheit die ganze Stadt |
1190

Ist befangen, müssen wir

Der Bufse Schritte gehen über

Den Parnassischen Hügel oder

Die seufzende Furth.

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1137 focus

Thebè, of all cities, thou holdest first in honour, thou, and thy mother whom the lightning smote; and 1140 now, when all our people is captive to a violent plague, come thou with healing feet over the Parnassian height, or over the moaning strait! 2

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1137 focus

On thee attends thy raptur'd train,

Raises the high immortal strain,

And hails thee guardian of the Theban tow'rs.

The Theban tow'rs their rampires rear,

Thy guardian care their boast, their pride;
1140

They to thy mother too were dear,
1140

Who in the flaming thunder died.

Now, while her banners Discord waves,

While through our streets Confusion raves,

Prompt to avert our threaten'd woe

Haste from the steep Parnassian brow,
1145

Or from Euboea's groaning shore,
1145

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1155-1260 focus

Enter Messenger, on the spectators’ left.

Messenger

Neighbors of the house of Cadmus and of Amphion, there is no station of human life that I would ever praise or blame as being settled. Fortune sets upright and Fortune sinks the lucky and unlucky from day to day,
1155

and no one can prophesy to men concerning the order that has just been established. For Creon, as I saw it, was once blest: he had saved this land of Cadmus from its enemies; and having won sole and total dominion in the land, he guided it on a straight course and flourished in his noble crop of children.
1160

And now all this has been lost. When a man has forfeited his pleasures, I do not reckon his existence as life, but consider him just a breathing corpse. Heap up riches in your house, if you wish! Live with a tyrant’s pomp! But if there is no joy
1165

along with all of that, I would not pay even the shadow of smoke for all the rest, compared with joy.
1170

Chorus

What is this new grief for our princes that you have come to report?

Messenger

They are dead, and the living are guilty of the deaths.

Chorus

Who is the murderer? Who the murdered? Tell us.

Messenger

Haemon is dead—his blood was shed by no strange hand.
1175

Chorus

Was it his father’s, or his own ?

Messenger

He did it by his own, enraged with his father for the murder.

Chorus

Ah, prophet, how true, then, you have proved your word!

Messenger

Knowing that these things are so, you must consider the rest.

Chorus

Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance.
1180

1183 Enter Eurydice.

Eurydice

People of Thebes , I heard your words as I was on my way to the gates to address divine Pallas with my prayers.

At one and the same time I was loosening the bolts of the gate to open it, and the sound of a blow to our house struck my ear. In terror I sank back into the arms of my handmaids, and my senses fled.
1185

But repeat what your news was, for I shall hear it with ears that are no strangers to sorrow.
1190

Messenger

Dear mistress, I will tell what I witnessed and leave no word of the truth unspoken. For what good would it do that should I soothe you with words in which I must later be found false?

The truth is always best. I attended your husband as his guide to the furthest part of the plain, where unpitied the body of Polyneices, torn by dogs, still lay. After we had prayed to the goddess of the roads
1195

and to Pluto to restrain their anger in mercy, we washed him with pure washing, and with freshly-plucked boughs we burned what remains there were. Lastly we heaped a high-mounded tomb of his native earth. Afterwards we turned away to enter the maiden’s stoney-bedded
1200

bridal chamber, the caverned mansion of Hades’ bride. From a distance, one of us servants heard a voice of loud wailing near that bride’s unwept bed and came to tell our master Creon. And as the King moved closer and closer, obscure signs rising from a bitter cry surrounded him—
1205

he groaned and said in bitter lament, Ah, misery, am I now the prophet of evil? Am I going on the path most lined with grief of all that I have walked before? My son’s voice greets me. Go, my servants,
1210

hurry closer, and when you have reached the tomb, enter the opening where the stones of the mound have been torn away, up to the cell’s very mouth. See if it is Haemon’s voice that I recognize, or if I am cheated by the gods.
1215

1219

This search, at our desperate master’s word,

we went to make, and in the furthest part of the tomb we saw her hanging by the neck, fastened by a halter of fine linen threads, while he was embracing her with arms thrown around her waist, bewailing the loss of his bride to the spirits below, as well as his father’s deeds, and his grief-filled marriage.
1220

But his father, when he saw him, cried aloud with a dreadful cry and went in and called to him with a voice of wailing: Ah, unhappy boy, what have you done! What plan have you seized on? By what misfortune have you lost your reason?
1225

Come out, my son, I pray you, I beg you! But the boy glared at him with savage eyes, spat in his face, and without a word in response drew his twin-edged sword. As his father rushed out in flight, he missed his aim. Then the ill-fated boy was enraged with himself
1230

and straightway stretched himself over his sword and drove it, half its length, into his side. Still conscious, he clasped the maiden in his faint embrace, and, as he gasped, he shot onto her pale cheek a swift stream of oozing blood.
1235

Corpse enfolding corpse he lay, having won his marriage rites, poor boy, not here, but in Hades’ palace, and having shown to mankind by how much the failure to reason wisely is the most severe of all afflictions assigned to man. Eurydice departs into the house.
1240

1244

Chorus

What would you infer from this? The lady

has turned back and gone without a word, either for good or for evil.
1245

Messenger

I, too, am startled. Still I am nourished by the hope that at the grave news of her son she thinks it unworthy to make her laments before the city, but in the shelter of her home will set her handmaids to mourn the house’s grief.

For she is not unhabituated to discretion, that she should err.
1250

Chorus

I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.

Messenger

I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart.

I will go in, since you are right—in an excess of silence, too, there may be trouble. Exit Messenger.
1255

1257

Enter Creon, attended and carrying the shrouded body of Haemon, on the spectators’ left.

Chorus

Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s,

was the madness of this error.
1260

Commentary

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

mvp-comment-687-1 τὰν ἐκ πασᾶν ¹ τάν ² ἐκ ³ ὑπερτάταν ⁴

mvp-comment-688-1 κεραυνίᾳ ⁵

mvp-comment-689-1 ἔχεται ἐπὶ βιαίας νόσου ⁶ ὑπό ⁷ ἔχεται ⁸ βιαι^ας ⁹ ἀμὰ ¹⁰ πόλις ¹¹

mvp-comment-689-2 πάνδαμος ¹²

mvp-comment-690-1 μολεῖν ¹³

mvp-comment-690-2 καθαρσίῳ ¹⁴

mvp-comment-690-3 κλιτύν ¹⁵

mvp-comment-690-4 πορθμόν ¹⁶

mvp-comment-690-5 στονόεντα ¹⁷

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

1140. mvp-comment-655-1 νύν, νῦν, as in Pindar.

1141. mvp-comment-656-1 έχεται Cp. Plat. Legg. 10. 887 Ε, ἐν συμφοραῖς παντοίαις ἐχομένων.

1141. mvp-comment-656-2 ἐπὶ νόσου] See Essay on Language § 19. p. 27.

1143. mvp-comment-657-1 μολεῖν

Der Inf. giebt etwas kindlich frommes.

Wecklein.

Sophocles Antigone 1137

ed. Francis Storr

Search the Perseus Catalog for:

Current edition Experimental

die weit du, weit vorziehst an Ehren jeglicher Stadt,

mit der Donnermutter du!

Komme jetzt, da graunvoll

das gesammte Land des Weh's herbe Gewalt erfafst,

sühnvollen Fufses über der Parnassoshöh'n
1090

Geklüft steigend oder die wilde Meerfurt!

Gegenstr. 2.

Der Stadt, die du weit höher ehrst als jegliche Stadt,

Samt der Mutter, die des Zeus¹

Donner traf! Auch nun komm,
1110

Da gewaltig schwere Noth über das ganze Land

Einstürmte, rettend über des Parnassos Höh'n

Daher, oder über die wilde Meerfurt!

Zweite Gegenstrophe.

Chorus.

Chorus

Touching our royal master, bringst thou news

Of sorrow to us?

Messenger

They are dead ; and those
1175

Who live the dreadful cause.
1175

Choe. Quick, tell us who —
1175

The slayer and the slain !
1175

Messenger

Hsemon is dead.

Cttor. Dead ! by what hand, his father's or his own ?

Mets. Enraged and grieving for liis murdered love,

He slew himself.

Chorus

O proijhet ! thy predictions

Were bnt too true !

Messenger

Since thus it be, 'tis fit

We should consult ; our present state demands it,

Chorus

But see ! Eurydice, the wretched wife
1180

Of Creon, comes this way ; or chance hath brought her.

Or Haemon's hapless fate hath reached her ear.

Eurydice
Scene II.

Antistrofa 2.a

CORO

Denn die ehrst du vor allen

Als höchste der Städte

Mit der blizgetroffenen Mutter.

Jezt aber, da von gewaltiger

Krankheit die ganze Stadt |
1190

Ist befangen, müssen wir

Der Bufse Schritte gehen über

Den Parnassischen Hügel oder

Die seufzende Furth.

Chorus

What is this new grief for our princes that you have come to report?

Messenger

They are dead, and the living are guilty of the deaths.

Chorus

Who is the murderer? Who the murdered? Tell us.

Messenger

Haemon is dead—his blood was shed by no strange hand.
1175

Chorus

Was it his father’s, or his own ?

Messenger

He did it by his own, enraged with his father for the murder.

Chorus

Ah, prophet, how true, then, you have proved your word!

Messenger

Knowing that these things are so, you must consider the rest.

Chorus

Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance.
1180

Chorus

What would you infer from this? The lady

has turned back and gone without a word, either for good or for evil.
1245

Chorus

I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.

Messenger

I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart.

I will go in, since you are right—in an excess of silence, too, there may be trouble. Exit Messenger.
1255

Chorus

Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s,

was the madness of this error.
1260

Commentary

Stable identifiers

Search the Perseus Catalog for:

Search the Perseus Catalog for:

Current edition Experimental

die weit du, weit vorziehst an Ehren jeglicher Stadt, mit der Donnermutter du! Komme jetzt, da graunvoll das gesammte Land des Weh's herbe Gewalt erfafst, sühnvollen Fufses über der Parnassoshöh'n 1090 Geklüft steigend oder die wilde Meerfurt! Gegenstr. 2.

First of cities manifold, Thou and the nymph whom lightning made Mother of thy radiant head. Come then with healing for the violent woe 1140 That o’er our peopled land doth largely flow, Passing the high Parnassian steep Or moaning narrows of the deep! 1145 Come, leader of the starry quire 1145

Der Stadt, die du weit höher ehrst als jegliche Stadt, Samt der Mutter, die des Zeus 1 Donner traf! Auch nun komm, 1110 Da gewaltig schwere Noth über das ganze Land Einstürmte, rettend über des Parnassos Höh'n Daher, oder über die wilde Meerfurt! Zweite Gegenstrophe.

Chorus.

Chorus Touching our royal master, bringst thou news Of sorrow to us?

Messenger They are dead ; and those 1175 Who live the dreadful cause. 1175 Choe. Quick, tell us who — 1175 The slayer and the slain ! 1175

Messenger Hsemon is dead. Cttor. Dead ! by what hand, his father's or his own ? Mets. Enraged and grieving for liis murdered love, He slew himself.

Chorus O proijhet ! thy predictions Were bnt too true !

Messenger Since thus it be, 'tis fit We should consult ; our present state demands it,

Chorus But see ! Eurydice, the wretched wife 1180 Of Creon, comes this way ; or chance hath brought her. Or Haemon's hapless fate hath reached her ear.

Eurydice Scene II.

Antistrofa 2.a

CORO

Denn die ehrst du vor allen Als höchste der Städte Mit der blizgetroffenen Mutter. Jezt aber, da von gewaltiger Krankheit die ganze Stadt | 1190 Ist befangen, müssen wir Der Bufse Schritte gehen über Den Parnassischen Hügel oder Die seufzende Furth.

Chorus What is this new grief for our princes that you have come to report?

Messenger They are dead, and the living are guilty of the deaths.

Chorus Who is the murderer? Who the murdered? Tell us.

Messenger Haemon is dead—his blood was shed by no strange hand. 1175

Chorus Was it his father’s, or his own ?

Messenger He did it by his own, enraged with his father for the murder.

Chorus Ah, prophet, how true, then, you have proved your word!

Messenger Knowing that these things are so, you must consider the rest.

Chorus Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance. 1180

Chorus What would you infer from this? The lady has turned back and gone without a word, either for good or for evil. 1245

Chorus I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.

Messenger I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart. I will go in, since you are right—in an excess of silence, too, there may be trouble. Exit Messenger. 1255

Chorus Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s, was the madness of this error. 1260

Commentary

Stable identifiers

die weit du, weit vorziehst an Ehren jeglicher Stadt,

mit der Donnermutter du!

Komme jetzt, da graunvoll

das gesammte Land des Weh's herbe Gewalt erfafst,

sühnvollen Fufses über der Parnassoshöh'n
1090

Geklüft steigend oder die wilde Meerfurt!

Gegenstr. 2.

Der Stadt, die du weit höher ehrst als jegliche Stadt,

Samt der Mutter, die des Zeus¹

Donner traf! Auch nun komm,
1110

Da gewaltig schwere Noth über das ganze Land

Einstürmte, rettend über des Parnassos Höh'n

Daher, oder über die wilde Meerfurt!

Zweite Gegenstrophe.

Chorus

Touching our royal master, bringst thou news

Of sorrow to us?

Messenger

They are dead ; and those
1175

Who live the dreadful cause.
1175

Choe. Quick, tell us who —
1175

The slayer and the slain !
1175

Messenger

Hsemon is dead.

Cttor. Dead ! by what hand, his father's or his own ?

Mets. Enraged and grieving for liis murdered love,

He slew himself.

Chorus

O proijhet ! thy predictions

Were bnt too true !

Messenger

Since thus it be, 'tis fit

We should consult ; our present state demands it,

Chorus

But see ! Eurydice, the wretched wife
1180

Of Creon, comes this way ; or chance hath brought her.

Or Haemon's hapless fate hath reached her ear.

Eurydice
Scene II.

Denn die ehrst du vor allen

Als höchste der Städte

Mit der blizgetroffenen Mutter.

Jezt aber, da von gewaltiger

Krankheit die ganze Stadt |
1190

Ist befangen, müssen wir

Der Bufse Schritte gehen über

Den Parnassischen Hügel oder

Die seufzende Furth.

Chorus

What is this new grief for our princes that you have come to report?

Messenger

They are dead, and the living are guilty of the deaths.

Chorus

Who is the murderer? Who the murdered? Tell us.

Messenger

Haemon is dead—his blood was shed by no strange hand.
1175

Chorus

Was it his father’s, or his own ?

Messenger

He did it by his own, enraged with his father for the murder.

Chorus

Ah, prophet, how true, then, you have proved your word!

Messenger

Knowing that these things are so, you must consider the rest.

Chorus

Wait, I see the unhappy Eurydice, Creon’s wife, nearby. She comes from the house either knowing of her son, or merely by chance.
1180

Chorus

What would you infer from this? The lady

has turned back and gone without a word, either for good or for evil.
1245

Chorus

I do not know. But to me, in any case, a silence too strict seems to promise trouble just as much as a fruitless abundance of weeping.

Messenger

I will find out whether she is not, in fact, hiding some repressed plan in the darkness of her passionate heart.

I will go in, since you are right—in an excess of silence, too, there may be trouble. Exit Messenger.
1255

Chorus

Look, here is the King himself approaching, his hands grasping a monument plainly signing that his—if we may say it—and no one else’s,

was the madness of this error.
1260