781-800.
mvp-comment-455-1
Haemon's disobedience to his father, against his own interest, is due to the might of love.
781-800.
mvp-comment-455-2
'Never-vanquished love, that layest riches waste, keeping nightly watch in the fair, soft, youthful cheek: love that roamest over seas and findest out the wildest nook! No god, nor any mortal man, escapes thy maddening power.
By love the upright mind is drawn to wrong unto its hurt. By love this present strife is kindled between kinsmen. And clearly triumphant is the influence of desire that cometh from the looks of the fair bride - desire that divides empire with the majestic law: so resistlessly doth goddess Aphrodite mock mankind.
781-800.
mvp-comment-455-3
This little ode consists of a strophe and antistrophe, of which the scansion is as follows:- CCLトしてし CICCICII CCCICII IICIICCIト(CLトー 5-0-0-ICCICI-
781-800.
mvp-comment-455-4
A glyconic quatrain is followed by two choriambic lines, and the strophe ends with a return to the glyconic rhythm. L. 7 admits of being otherwise divided, viz.: CCLCー.
781.
mvp-comment-456-1
ἀνίκατε μάχαν Cp. the similar personification of θυμός by Heraclitus, χαλεπὸν θυμῷ μάχεσθαι, ψυχῆς γὰρ ὠνέεται.
782.
mvp-comment-457-1
ὃς ἐν κτήμασι πίπτεις (i. e.
782.
mvp-comment-457-2
ἐμπίπτεις κτήμασι.) These words have been variously interpreted and emended. They probably mean,
Who fallest upon wealth, i. e. art the destroyer of possessions, ruining worldly fortunes in various ways, as the love of Helen wasted Troy, etc. Cp. Eur. Hipp. 538, foll., Ἔρωτα δὲ τὸν τύραννον ἀνδρῶν |.. πέρθοντα καὶ διὰ πάσας | ἰόντα συμφορὰς | θνατοῖς, ὅταν ἔλθῃ. So, in this instance, Haemon is losing all for love. Others interpret,
Desire who makest wealth thy object (Schol. rec.),
Love, who by attacking enslavest, or
Who makest victims of the wealthy.
783-784.
mvp-comment-458-1
ὃς .. ἐννυχεύεις Cp. Milton, L'Allegro, 29, 30, 'Such as hang on Hebe's cheek, | And love to live in dimple sleek.' Love is still figured as an enemy, who keeps nightly watch where he is ready to spring forth armed on the unwary. Pind. Nem. 8. 2, ὥρα .. παρθενηΐοις .. ἐφίζοισι γλεφάροις.
785.
mvp-comment-459-1
The poet is thinking of legendary examples, such as Paris, Leander, Anchises, etc.
786.
mvp-comment-460-1
σε .. φύξιμος i.e. δύναταί σε φεύγειν. Cp. Hom. h. Ven. 34. 5, τῶν δ' ἄλλων οὐ πέρ τι πεφυγμένον ἔστ᾽ Ἀφροδίτην, | οὔτε θεῶν μακάρων, οὔτε θνητῶν ἀνθρώπων. But see on 796 ff.
790.
mvp-comment-461-1
ἁμερίων ἐπ᾿ ἀνθρώπων The insertion of the preposition, although omitted with θεῶν, is no objection to this reading. See Essay on Language § 19. p. 27: and for ἐπί, with the genitive, meaning
In the case of,
So far as extends to, cp. Plato, Rep. 3. 406 C, 8.. ἐπὶ .. τῶν δημιουργῶν αἰσθανόμεθα, alib. The force of the preposition and case here is nearer to the original locative sense, =
Extending over, 'Quantum hominum genus propagatum extenditur. (Ellendt.)
790.
mvp-comment-461-2
ὁ ἔχων Sc. τὸ νόσημα. Wecklein compares ἔχει,
he is wounded, with reference to the arrow of love. But this is fanciful.
791-792.
mvp-comment-462-1
ἀδίκους.. παρασπᾷς i. e. εἰς ἀδικίαν παρασπᾷς.
Drawest awry to wrong. For this
proleptic use of the adjective, see Essay on Language § 23. P. 39; § 38. p. 71.
792.
mvp-comment-463-1
ἐπὶ λώβᾳ ‘Το their hurt or disgrace.'
794.
mvp-comment-464-1
ξύναιμον is an emphatic epithet added by an afterthought (Essay on Language § 23. p. 38) and by hypallage made to agree with the principal word, although more properly belonging to ἀνδρῶν. (Ibid. § 42. p. 80).
795.
mvp-comment-465-1
νικᾷ δ᾽ ἐναργής i. e. ἐναργής ἐστι νικῶσα.
795.
mvp-comment-465-2
βλεφάρων ἵμερος The modern poet speaks of love as
engendered in the eyes, with gazing fed: the ancients rather spoke of an influence passing from the eye of the beloved (τὸ ἐρωτικὸν ὄμμα, Plat. Phaedr. 253 E) to the soul of the lover. Desire was viewed as an emanation from the object. Hence Plato's account of ἵμερος, Phaedr. 251 Β, C, δεξάμενος γὰρ τοῦ κάλλους τὴν ἀπορροὴν διὰ τῶν ὀμμάτων, ἐθερμάνθη ἢ ἡ τοῦ πτεροῦ φύσις ἄρδεται .. ὅταν μὲν οὖν βλέπουσα πρὸς τὸ κάλλος, ἐκεῖθεν μέρη ἐπιόντα καὶ ῥέοντα, ἃ δὴ διὰ τοῦτο ἵμερος καλεῖται, δεχομένη ἄρδηταί τε καὶ θερμαίνηται, λωφᾷ τε τῆς ὀδύνης καὶ γέγηθεν. This ancient conception, which had a root in language as well as in philosophy, is reflected even in Milton, L'Allegro, 1. 121,
With store of ladies, whose bright eyes | Rain influence, though in this case probably with a further allusion to astrology.
796-799.
mvp-comment-466-1
τῶν .. θεσμῶν
In the counsels of princes holding an equal place with the majesty of law. This seems the best way of taking these words, which have been variously interpreted; e.g.
Equal to the laws in power. 'Assessor in the authority of the laws, etc. There is an allusion to Haemon, who, though a prince, has been led to disobey his father, and to disregard the edict of the king. Cp. Hdt. 4. 165, ἐν βουλῇ παρίζουσα. The resolution of the arsis in πάρεδρος is extremely unusual; see Christ's Metrik, § 178; and Arndt suggested ξύνθρονος ἀρχαῖς, 'Assessor with the rule of majesticlaw. But qy. πάρεδρος *ἀρχαῖς, with "πέφευγεν οὐδείς in 786 ff.? (IILUCCICII).
800.
mvp-comment-467-1
Wecklein finds here an oxymoron, turning on the opposition of μάχη and παιδιά.
She is resistless, though sport is her only weapon. But this is doubtful.
804.
mvp-comment-468-1
παγκοίταν.. θάλαμον
The chamber where all must lie. The implied contrast between the fate of Antigone and her intended bridal recurs repeatedly throughout the latter part of the play. Supr. 575, Ἅιδης ὁ παύσων τούσδε τοὺς γάμους γάμ ἔφυ: infr. 891, νυμφεῖον : 1205, νυμφεῖον" Αιδου κοίλον.
806-802.
mvp-comment-469-1
Antigone bewails her untimely death, and the chorus attempt to console her by pointing to the singularity of her end. She quotes the example of Niobe, who was encrusted with rock.
But Niobe, rejoin the chorus,
was a Divine Being. Then the maiden bursts into a cry against such vain comfort, and appeals to the forms of nature around Thebes to bear witness to the strangeness of her fate. The tone of the chorus changes to admonition.
Thou hast offended against the majesty of law. Some curse, inherited from thy sire, must have led thee on. At last they have touched her, but it is only to aggravate her sorrow. Dire indeed had been the curse upon her parents; and now she is going to be with them, having never tasted any joy. Her brother's seeming success in marriage had been death to him and to her. The chorus reiterate that piety towards her brother should have yielded to authority.
Selfwill has been thy ruin. Antigone: 'Friendless, unmourned, uncomforted, I leave the holy light of day. I die unmarried, and no one weeps for me.'
806-802.
mvp-comment-469-2
The metres in this commos, ll. 806-833, chiefly logaoedic. and for the most part glyconic, are as follows:- α΄. 806-816, 823-833. 805 luclu IIC1CCI II1CCIC ―トしかしCICLL Anapaests of cho. 817-822, 834-837- β'. Second strophe and antistrophe. 51IC (トートートートー ICCICII にかくCIトトに CICLC- トトロー CCLCICIC 15010し! 이기 5- ἐπ. } Iambic. ひトしレトCCICI- 51110CIRKIICCI CICCー トリート ―トしーしトー
806-802.
mvp-comment-469-3
The effect produced by the epitrite rhythm in a' 9. β΄ 8, ἐπ. 5, and of the spondees in ß' 6, is especially noticeable.
