Search the Perseus Catalog for:

View: By Card By Line

← Previous Next →

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων

Antigone. Sophocles. Godesberg. 1949.

Sponsored by Perseus Project, Tufts University.

Funding provided by Tufts University.

Current edition Experimental

Greek (K. Reinhardt, 1949) (OCR draft) (Greek) (Greek (K. Reinhardt, 1949))

Provisional text from uncorrected OCR; expect errors.

Editions (11)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει
1250

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων

a

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1257 focus

Χορός

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει
1200

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει,

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν
1235

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων

1

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
α

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
1

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1257 focus

καὶ μὴν ὅδ’ ἄναξ αὐτὸς ἐφήκει

μνῆμ’ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ’ αὐτὸς ἁμαρτών.
1260

Κρέων
1

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

1

Κρέων

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1245

Κρέων

1

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
1

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1257 focus

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων

Antigone (OCR draft) Experimental (Antigone) — 1257 focus

Χορός

καὶ μὴν ὅδʼ ἄναξ αὐτὸς ἐφήκει

μνῆμʼ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλʼ αὐτὸς ἁμαρτών.
1260

Translations (11)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1257 focus

CHOR.

Hier nahet er selbst, der Gebieter, heran;
1200

mit den Händen erfafst er ein deutliches Mal,

wenn solches ich darf aussprechen, der Schuld

nicht Anderer, sondern der eignen.

KREON.
Str. 1.

O weh!

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 1257 focus

Pues he ahi ahí al mismo rey, que viene llevando en sus manos la señal evidente, no de ajena culpa, si me es permitido hablar así, sino de su propio pecado.

CREONTE

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1257 focus

Atqui eccum advenit rex ipse, monumentum insigne manibus gestans, haud alienae, si fas est dicere, crimen, sed suae ipsius noxae.

Creon

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1257 focus

Ah! look where sadly comes our lord the King,

Bearing upon his arm a monument—

If we may speak it—of no foreign woe,

But of his own infirmity the fruit.
1260

CR
Enter CREON with the body of HAEMON .

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1257 focus

Hier kommt er ja selbst, der Gebieter, heran,

In den Armen das lautredende Denkmal

Nicht fremden Vergeh'ns, nein, eigener Schuld,

Wenn mir es zu sagen vergönnt ist.
1225
Kreon. Der Chor. Erste Strophe.

Kreon.

English (Thomas Francklin, 1758–1759) (OCR draft) Experimental (English (Thomas Francklin, 1758–1759)) — 1257 focus

But lo ! the king himself : and in his arms

See his dead son, the monument accursed

Of his sad fate, which, may we say unblamed,

Sprang not from others' guilt, but from his own.
1260

Creon
Scene IV.

Messenger, Chorus.

Creun enters, hearing the body of HiEMON.

Creon

Spanish (A. G. Garbin, 1889) (OCR draft) Experimental (Spanish (A. G. Garbin, 1889)) — 1257 focus

El rey Creonte se presenta... Trae en brazos un momumemto, que habla muy alto... Tan tremenda desgracia ¡ay! justo es reconocerlo, no ha sido obra de extraños, no; él solo ha sido el culpable.

Creonte y el Coro.-Otra Vez el Mensajero

Estrofa 1.a

CREONTE

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1257 focus

CHOR

Allein der König kommet selbst.

Ein grofses Angedenken in Händen trägt er.

Wenn’s Recht ist, es zu sagen, aus fremdem
1315

Irsaal nicht, sondern selber hat er gefehlt.

Zweite Scene

D Eılız Cr DO;:B, KREON.

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1257 focus

Well, I will enter the house, and learn whether indeed she is not hiding some repressed purpose in the depths of a passionate heart. Yea, thou sayest well: excess of silence, too, may have a perilous meaning. Exit MESSENGER. Enter CREON, on the spectators’ left, with attendants, carrying the shrouded body of HAEMON on a bier.

Chorus

Lo, yonder the king himself draws near, bearing that which tells too clear a tale,—the work of no 1260 stranger’s madness,—if we may say it,—-but of his own misdecds. 1

Creon

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1257 focus

But see, the king advances, in his hands

Bearing the signal token of his woes.

Not from another, might I freely speak,

But from himself arose this fatal ill.
1260

Creon
CREON, CHORUS.

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1261-1345 focus

Creon

Ah, the blunders of an unthinking mind, blunders of rigidity, yielding death! Oh, you witnesses of the killers and the killed, both of one family!

What misery arises from my reasonings! Haemon, you have died after a young life, youngest and last of my sons! O God! You have departed not by your foolishness, but by my own!
1265

1270

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

1278 Enter the Messenger from the house.

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

1281

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

1284

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

1293 The doors of the palace are opened, and the corpse of Eurydice is disclosed.

Chorus

The sight is at hand. It is no longer hidden inside.

1294

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Messenger

By the altar, with a sharp-whetted sword, she struck until her eyes went slack and dark. Before that she bewailed the noble fate of Megareus who died earlier, and then the fate of this boy, and also, with her last breath,

she called down evil fortune upon you, the slayer of her sons.
1305

1306

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

1317

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

1328

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

1334

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

1339

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345

Commentary

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

mvp-comment-760-1 καὶ μήν ¹

mvp-comment-760-2 ἐφήκει ²

mvp-comment-761-1 μνῆμ ³ ἐπίσημον ⁴

mvp-comment-761-2 διὰ χειρός ⁵

mvp-comment-762-1 εἰ θέμις εἰπεῖν ⁶ ἄτην ⁷ ἀλλοτρίαν ⁸

mvp-comment-762-2 ἁμαρτών ⁹

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

1258. mvp-comment-708-1 μνῆμ᾽ ἐπίσημον A monument with evident tokens. The blood-stained corpse of Haemon was, as it were, a monument, on which was inscribed the record of the calamitous error of Creon. The metres of the concluding κομμός are as follows. The dochmiac rhythm prevails. a'. First strophe and antistrophe. 1261-1277=1184-1300. ںトトトㄈIトトー Five Iambic trimeters. 5-トリート! トトしに Cトトートトー 10010 レム DI 15 トトーchclcl ―トトートトーつつ 1500 「トトートトートトートトー「トトートca Cトトートトに tu a'. I, may be scanned either as diiambus, cretic, and dochmiac, or as an iambus and 2 dochmiacs; 3, two cretics; 15, dochmiac and iambic tri pody. The first strophe and antistrophe are followed by five iambic trimeters. β'. Second strophe and antistrophe. 1306-1325-1328-1346. トートトートトー (トトートトー 5 トトートトートート The intervention of the Exangelus at 1278, and the ἐκκύκλημα at 1293, are special features, which must have made this commos extraordinarily impressive. The coryphaeus chants 1257 ff., 1347 ff. The four other members of the front row interpose their remarks at intervals.

Search the Perseus Catalog for:

Search the Perseus Catalog for:

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260

Κρέων

Current edition Experimental

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει 1250 μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων a

Χορός καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει 1200 μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει, μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν 1235 ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων 1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260

Κρέων α

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260

Κρέων 1

καὶ μὴν ὅδ’ ἄναξ αὐτὸς ἐφήκει μνῆμ’ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ’ αὐτὸς ἁμαρτών. 1260

Κρέων 1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260 1

Κρέων

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1245

Κρέων 1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260

Κρέων 1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών. 1260

Κρέων

Χορός καὶ μὴν ὅδʼ ἄναξ αὐτὸς ἐφήκει μνῆμʼ ἐπίσημον διὰ χειρὸς ἔχων, εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν ἄτην, ἀλλʼ αὐτὸς ἁμαρτών. 1260

CHOR. Hier nahet er selbst, der Gebieter, heran; 1200 mit den Händen erfafst er ein deutliches Mal, wenn solches ich darf aussprechen, der Schuld nicht Anderer, sondern der eignen.

KREON. Str. 1. O weh!

CREONTE

Creon

Ah! look where sadly comes our lord the King, Bearing upon his arm a monument— If we may speak it—of no foreign woe, But of his own infirmity the fruit. 1260

CR Enter CREON with the body of HAEMON .

Hier kommt er ja selbst, der Gebieter, heran, In den Armen das lautredende Denkmal Nicht fremden Vergeh'ns, nein, eigener Schuld, Wenn mir es zu sagen vergönnt ist. 1225 Kreon. Der Chor. Erste Strophe.

Kreon.

But lo ! the king himself : and in his arms See his dead son, the monument accursed Of his sad fate, which, may we say unblamed, Sprang not from others' guilt, but from his own. 1260

Creon Scene IV. Messenger, Chorus. Creun enters, hearing the body of HiEMON.

Creon

Creonte y el Coro.-Otra Vez el Mensajero

Estrofa 1.a

CREONTE

CHOR Allein der König kommet selbst. Ein grofses Angedenken in Händen trägt er. Wenn’s Recht ist, es zu sagen, aus fremdem 1315 Irsaal nicht, sondern selber hat er gefehlt. Zweite Scene D Eılız Cr DO;:B, KREON.

Chorus Lo, yonder the king himself draws near, bearing that which tells too clear a tale,—the work of no 1260 stranger’s madness,—if we may say it,—-but of his own misdecds. 1

Creon

But see, the king advances, in his hands Bearing the signal token of his woes. Not from another, might I freely speak, But from himself arose this fatal ill. 1260

Creon CREON, CHORUS.

Chorus Ah, how late you seem to see the right! 1270

Creon God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths, —ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through! 1275

Messenger My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms; second, you will soon look upon further sufferings inside your house. 1280

Creon What worse suffering is still to follow upon these sufferings?

Messenger Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

Creon O harbor of Hades, hard to purify! Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me 1285 God no!—what new slaughter, my wife’s doom, is heaped upon this ruin? 1290

Chorus The sight is at hand. It is no longer hidden inside.

Creon Ah, misery! There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me! 1295 Oh, tormented mother! Oh, my son! 1300

Messenger By the altar, with a sharp-whetted sword, she struck until her eyes went slack and dark. Before that she bewailed the noble fate of Megareus who died earlier, and then the fate of this boy, and also, with her last breath, she called down evil fortune upon you, the slayer of her sons. 1305

Creon Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword? I am miserable—ah—and bathed in miserable anguish! 1310

Messenger Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon What was the manner of the violent deed by which she departed?

Messenger Her own hand struck her to the heart upon learning her son’s sharply-lamented fate. 1315

Creon Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch. I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man! 1320

Chorus The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet. 1325

Creon Let it come, let it appear, that fairest of fates for me, that brings my final day, the fate supreme! Oh, let it come, so that I may never see tomorrow’s light! 1330

Chorus These things are in the future. We must see to present affairs. Fulfillment of these things rests in the hands where it should rest. 1335

Creon All that I crave was summed in that prayer.

Chorus Then pray no more; for mortals have no release from destined misfortune.

Creon Lead me away, I beg you, a rash, useless man. I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is 1340 amiss that is in my hands, and, again, a crushing fate has leapt upon my head. 1345

Commentary

Stable identifiers

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει
1250

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων

a

Χορός

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει
1200

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει,

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν
1235

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.

Κρέων

1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
α

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
1

καὶ μὴν ὅδ’ ἄναξ αὐτὸς ἐφήκει

μνῆμ’ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ’ αὐτὸς ἁμαρτών.
1260

Κρέων
1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1245

Κρέων

1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Κρέων
1

καὶ μὴν ὅδ᾽ ἄναξ αὐτὸς ἐφήκει

μνῆμ᾽ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλ᾽ αὐτὸς ἁμαρτών.
1260

Χορός

καὶ μὴν ὅδʼ ἄναξ αὐτὸς ἐφήκει

μνῆμʼ ἐπίσημον διὰ χειρὸς ἔχων,

εἰ θέμις εἰπεῖν, οὐκ ἀλλοτρίαν

ἄτην, ἀλλʼ αὐτὸς ἁμαρτών.
1260

CHOR.

Hier nahet er selbst, der Gebieter, heran;
1200

mit den Händen erfafst er ein deutliches Mal,

wenn solches ich darf aussprechen, der Schuld

nicht Anderer, sondern der eignen.

KREON.
Str. 1.

O weh!

Ah! look where sadly comes our lord the King,

Bearing upon his arm a monument—

If we may speak it—of no foreign woe,

But of his own infirmity the fruit.
1260

CR
Enter CREON with the body of HAEMON .

Hier kommt er ja selbst, der Gebieter, heran,

In den Armen das lautredende Denkmal

Nicht fremden Vergeh'ns, nein, eigener Schuld,

Wenn mir es zu sagen vergönnt ist.
1225
Kreon. Der Chor. Erste Strophe.

But lo ! the king himself : and in his arms

See his dead son, the monument accursed

Of his sad fate, which, may we say unblamed,

Sprang not from others' guilt, but from his own.
1260

Creon
Scene IV.

Messenger, Chorus.

Creun enters, hearing the body of HiEMON.

CHOR

Allein der König kommet selbst.

Ein grofses Angedenken in Händen trägt er.

Wenn’s Recht ist, es zu sagen, aus fremdem
1315

Irsaal nicht, sondern selber hat er gefehlt.

Zweite Scene

D Eılız Cr DO;:B, KREON.

Chorus

Lo, yonder the king himself draws near, bearing that which tells too clear a tale,—the work of no 1260 stranger’s madness,—if we may say it,—-but of his own misdecds. 1

But see, the king advances, in his hands

Bearing the signal token of his woes.

Not from another, might I freely speak,

But from himself arose this fatal ill.
1260

Creon
CREON, CHORUS.

Chorus

Ah, how late you seem to see the right!
1270

Creon

God, I have mastered the bitter lesson! But then, then, I think, some god struck me on my head with a crushing weight, and drove me into savage paths,

—ah!—and overthrew my joy to be trampled on! Ah, the labors men must toil through!
1275

Messenger

My master, you have come, I think, like one whose hands are not empty, but who has a ready store: first, you carry that burden visible in your arms;

second, you will soon look upon further sufferings inside your house.
1280

Creon

What worse suffering is still to follow upon these sufferings?

Messenger

Your wife is dead, true mother of that corpse, poor lady, by wounds newly cut.

Creon

O harbor of Hades, hard to purify!

Why, why do you ruin me? Herald of evil, of grief, what word do you say? Ah, you have done in a dead man anew! What are you saying, boy? What is this you report to me
1285

God no!—what new slaughter, my wife’s doom, is heaped upon this ruin?
1290

Chorus

The sight is at hand. It is no longer hidden inside.

Creon

Ah, misery!

There I see a new, a second evil! What destiny, ah, what, can still await me? I have just now taken my son in my arms, and now I see another corpse before me!
1295

Oh, tormented mother! Oh, my son!
1300

Creon

Ah, no! I tremble with fear. Why does no one strike me full on my chest with a two-edged sword?

I am miserable—ah—and bathed in miserable anguish!
1310

Messenger

Yes, because you were accused of responsibility for both this son’s death, and the other’s, by her whose corpse you see.

Creon

What was the manner of the violent deed by which she departed?

Messenger

Her own hand struck her to the heart upon learning her son’s sharply-lamented fate.
1315

Creon

Ah this guilt can never be fastened onto any other mortal so as to remove my own! It was I, yes, I, who killed you, I the wretch.

I admit the truth. Lead me away, my servants, lead me from here with all haste, who am no more than a dead man!
1320

Chorus

The course you recommend is to your gain, if there can be gain amidst evil. What is briefest is best, when trouble lies at your feet.
1325

Creon

Let it come, let it appear, that fairest of fates for me, that brings my final day,

the fate supreme! Oh, let it come, so that I may never see tomorrow’s light!
1330

Chorus

These things are in the future. We must see to present affairs.

Fulfillment of these things rests in the hands where it should rest.
1335

Creon

All that I crave was summed in that prayer.

Chorus

Then pray no more; for mortals have no release from destined misfortune.

Creon

Lead me away, I beg you, a rash, useless man.

I have murdered you, son, unwittingly, and you, too, my wife—the misery! I do not know which way I should look, or where I should seek support. All is
1340

amiss that is in my hands, and, again, a crushing fate has leapt upon my head.
1345