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1115-1154

This

ὑπόρχημα

, or ‘dance-song,’ takes the place of a fifth stasimon. The Chorus hopes that Creon may be in time to save Antigone, and that his sin against the dead may be expiated without disaster. Hence this strain, full of gladness, invoking the healing presence (1144) of the bright and joyous god who protects Thebes. The substitution of a

ὑπόρχημα

for a stasimon is used with a like dramatic purpose in other plays. (1) O. T. 1086 —1109: the Chorus hopes that Oedipus may prove to be of Theban birth. (2) Ai. 693 —717, a joyous invocation of Pan, the Chorus believing that Ajax has indeed repented. (3) Tr. 633 —662: the Chorus joyously anticipates the return of Heracles. In each of these cases the beginning of the end is near.

1st strophe 1115—1125=1st antistr. 1126—1136: 2nd str. 1137—1145=2nd antistr. 1146—1154. See Metrical Analysis.

πολυώνυμε , i.e., worshipped by various special titles in different places. The reference of the epithet to local rituals is well brought out by Theocr. 15. 109

¹ πολυώνυμε καὶ πολύναε

. Most of the greater deities are called

πολυώνυμοι

by the poets; but the word is peculiarly suitable to Dionysus, owing to the manner in which his cult was interwoven with other cults; thus in relation to Demeter he was

Ἴακχος

; to the Muses,

Μελπόμενος

; to Hades,

Ζαγρεύς

. Dionysus was distinctively

πολυειδὴς καὶ πολύμορφος

( Plut. Mor. 389 c). Upwards of sixty titles given to him can be enumerated (see Preller, Griech. Mythol.).

Καδμείας . We should not write

Καδμεΐας

, and

διλόφοιο

in 1126, with Dindorf. Nor is it necessary to place

νύμφας

after

ἄγαλμα

, with Nauck. See Metrical Analysis.

ἄγαλμα , glory: Aesch. Ag. 207

τέκνον...δόμων ἄγαλμα.

νύμφας , bride, young wife. Semele, daughter of Cadmus and Harmonia, was beloved by Zeus, and was ensnared by Hera into praying him that he would come to her in the same guise as to Hera. He came to her. therefore, armed with his thunderbolts, and amid lightning, which destroyed her. She was great with child, and Zeus saved her son, Dionysus. βαρυβρεμέτα (for the

υ—

, cp. 336 n.) alludes to this story. Ov. Met. 3. 298 (Jupiter, bound by his own oath, grants Semele's prayer):

ergo maestissimus altum | Aethera conscendit, nutuque sequentia traxit | Nubila; quis nimbos immixtaque fulgura ventis | Addidit, et tonitrus, et inevitabile fulmen.

The traditional reading, Ἰταλίαν , may be supported by these considerations. (1) Southern Italy, the seat of so many Greek colonies, was preeminently associated with the cultivation of the vine; and Sophocles has himself used the name which expresses that fact: Triptolemus fr. 538

Οἰνωτρία τε πᾶσα καὶ Τυρσηνικὸς | κόλπος Αιγυστική τε γῆ σε δέξεται

. (2) The opening words of the ode,

Καδμείας νύμφας ἄγαλμα

, claim Thebes as the birth-place of Dionysus. Though Italy, then, is mentioned before Eleusis, Parnassus and Euboea, that precedence has not the effect of representing Italy as the head-quarters of the Dionysiac worship. Rather the mention of Italy just after Thebes serves to exalt the Theban god by marking the wide range of his power. And this reference to a distant country well suits the immediately following

παγκοίνοις

, expressing that Eleusis receives votaries from every part of the Greek world. (3) Athenian colonists founded Thurii, on the site of Sybaris, in 444—3 B.C.,—only two or three years before the probable date of this play. Thus, just at this time, the Athenian mind had been turned towards Southern Italy, and the allusion would strike a chord of sympathy in the audience. It may be worth remembering that the poet himself would naturally have felt a more than common interest in the new home of his friend Herodotus.

The only worthy rival of

Ἰταλίαν

is the conjecture Ἰκαρίαν . This was the name of a deme in the N. E. of Attica, picturesquely situated in an upland valley bounded on the N. by the mountainchain (‘Aphorismo’) which shuts in the plain of Marathon, and on the s. by Pentelicus. The site—at a place called ‘Dionyso’—is proved by local inscriptions, found by members of the American School in 1888. The story was that, when Dionysus first entered Attica, he was received at Icaria by Icarius, whom he taught to make wine. Icaria was associated with the earliest celebrations of the rural Dionysia (thus the

ἀσκωλιασμός

, or dancing on greased wine-skins, was said to have been introduced by Icarius himself), and with the infancy of Attic drama in both kinds,—as it was also the birth-place of Thespis , and, at a later time, of the comic poet Magnes. Inscriptions and other remains show that, in the 5th century B.C., it was the seat of an active Dionysiac worship, with dramatic performances. These discoveries remind us that Sophocles might well have called Icaria

κλυτάν

. Prof. C. Merriam A. further points out that, in literature, the legend of Icaria is often associated with that of Eleusis ( American School at Athens: Seventh Annual Report, 1887—88, p. 96). To Statius, Theb. 12. 619 ( Icarii Celeique domus), may be added Apollod. 3. 14. 7 , Lucian De Salt. 39 f., Nonnus 27. 283 ff., etc. But these facts remain: (1) Ἰταλίαν is also suitable, and is in all the MSS.: (2) it widens the range ascribed to the god's power: (3) a corruption of

Ἰκαρίαν

into

Ἰταλίαν

is not one to which the letters would readily lend themselves, and would have been the less likely to occur because Icaria was familiarly associated with Dionysus.

παγκοίνοις , welcoming guests from every quarter to the Eleusinian Mysteries: schol.

ἐν οἶς πάντες συνάγονται διὰ τὰς πανηγύρεις

. Cp. El. 138

ἐξ Ἀΐδα παγκοίνου λίμνας

. Pind. O. 6. 63

πάγκοινον ἐς χώραν

(Olympia).

κόλποις , recesses, i.e., the sheltered Thriasian plain, enclosed by hills,—Aegaleos on the E. , Cithaeron on the N., and the Kerāta range on N. W. and W. Cp. Aristoph. Ran. 373

ἐς τοὺς εὐανθεῖς κόλπους λειμώνων

(where, though the scene is in Hades, the allusion is to the Initiated visiting Eleusis). So Pind. O. 9. 87

Νεμέας... κατὰ κόλπον

: ib. 14. 23

κόλποις παρ’ εὐδόξου Πίσας

. This is better than to refer

κόλποις

to the Bay of Eleusis, whose shores are the

λαμπάδες ἀκταί

of O. C. 1049 (where see nn.).

Ἐλευσι^νίας : on the ι^ , see n. on this v. in Analysis.

μετρ.Δηοῦς = Δήμητρος

: Hom. h. Dem. 47

πότνια Δηώ

. In this connection the proper name of the god was

Ἴακχος

(1152), a young deity who was represented as the son of Cora (or of Demeter); cp. O. C. 682 n. Indeed, Arrian expressly distinguishes the Eleusinian Iacchus from the Theban Dionysus, An. 2. 16 § 3:

Ἀθηναῖοι Διόνυσον τὸν Διὸς καὶ Κόρης σέβουσιν...καὶ ὁ Ἴακχος ὁ μυστικὸς

(the chant of the initiated)

τούτῳ τῷ Διονύσῳ, οὐχὶ τῷ Θηβαίῳ, ἐπᾴδεται

. But, as Welcker remarks ( Götterl. 2, p. 543), Dionysus was the general name, often substituted for the special title.

Βακχεῦ . The omission of ὦ before this word, and the addition of ὁ before ματρόπολιν , are conjectural (cr. n.). But they are certainly right; for the antistrophic words (1133) answering to

Βακχεῦ—Θήβαν

, are

χλωρά τ’ ἀκτὰ | πολυστάφυλος πέμπει

, which are unquestionably sound.

ματρόπολιν : cp. O. C. 707 n. Thebes is the ‘mother-city’ of the Bacchants, as being the city of Semele and the native place of Dionysus. It was the place at which the Dionysiac cult, coming from Asia Minor by way of Thrace, first established itself in Greece Proper. From Thebes the cult was propagated to Delphi, and associated with the worship of Apollo. See Eur. Bacch. 306 . Cp. O. T. 210 n., Tr. 510 .

L has ὑγρὸν … ῥέεθρον , not ὑγρῶν … ῥεέθρων , which was merely a conjecture of Triclinius. And the use of

παρά

with the genit. is not only unexampled (see n. on 966), but here, at least, wholly unintelligible. Metre requires, however, that a long syllable (answering to the first syll. of

Θηβαΐας

in 1135) should precede

ἀγρίου

. I obtain this by adding

τ’

after ῥεῖθρον . The second syll. of ὑγρόν , as the last of a verse, is common. παρά with acc. is correct in ref. to a river, the notion being that his abode extends along its banks: cp. El. 184

ὁ παρὰ τὸν Ἀχέροντα θεὸς ἀνάσσων

: Xen. An. 4. 3§ 1

τοῦ πεδίου τοῦ παρὰ τὸν Κεντρίτην ποταμόν

: ib. § 6

ἐστρατοπεδεύσαντο παρὰ τὸν ποταμόν

. For the position of

τ’

, cp. O. T. 258 n., O. C. 33 n. The sing. ῥεῖθρον is not less suitable than the plur.: cp. Aesch. Pers. 497 , P. V. 790. For the epithet ὑγρόν , cp. Od. 4.458 (Proteus)

γίγνετο δ’ ὑγρὸν ὕδωρ

, ‘running water.’

Ἰσμηνοῦ : see n. on 103 f.

ἐπὶ σπορᾷ δρ. , ‘over the seed of the dragon,’ i.e., on the ground where Cadmus sowed the dragon's teeth, from which the ancestors of the Cadmeans sprang. Hence the Thebans are called

σπαρτοὶ ἄνδρες

( O.C. 1534 n.). The place where Cadmus sowed the teeth was shown on the s. side of Thebes, near the

Ἤλεκτραι πύλαι

( Paus. 9.10.1 ).—Not, ‘(ruling) over the dragon's seed,’ as if

σπορᾷ

meant the Thebans.

The general sense is: ‘and on the heights of Parnassus thou holdest thy revels by night amid the Corycian Nymphs, who brandish torches.’

διλόφου πέτρας : i.e., two

πέτραι

, each with a

λόφος

( cp. 146

δικρατεῖς λόγχας

, n.): two peaks, one of which stands on each side of a great recess in the steep cliffs above Delphi,—the cliffs called

Φαιδριάδες

, ‘gleaming,’ from their splendour in the morning sunshine (cp. Eur. Ion 86 ff.). These cliffs are about 2000 ft. above sealevel. The easternmost of the two peaks was called

Ὑάμπεια

: the westernmost, perh.

Ναυπλία

, but this is doubtful. Neither of them is the summit of Parnassus. That summit, called

Αυκώρεια

, rises high above them (about 8000 ft. above the sea). Misunderstanding

δικόρυφος

, the Roman poets gave a wrong impression by their ‘biceps Parnassus,’ which Lucan brings out when he says ( 5. 72 ) ‘Parnassus gemino petit aethera colle.’

By ὑπὲρ διλόφου πέτρας Soph. means the high ground above these two lower péaks, but below the summit of Parnassus. This high ground is what Eur. calls the

δικόρυφος πλάξ

( Eur. Bacch. 307 ). It consists of uplands stretching about 16 miles westward from the summit, and affording pasturage, interspersed with firs, and with pieces of arable land: wheat, oats, and barley are now grown there. These uplands were the scene of a Dionysiac

τριετηρίς

, a torch-festival, held every second year, at the end of winter, by women from the surrounding districts; even Attic women went to it ( Paus. 10.4.3 ). Cp. Lucan 5. 73

Mons Phoebo Bromioque sacer, cui numine misto | Delphica Thebanae referunt trieteria Bacchae:

and Macrobius Sat. 1. 18. 3 . Here, however, the poet alludes, not to the human festival, but to supernatural revels.

λιγνύς is a smoky flame, such as a resinous pine-torch gives; στέροψ finely expresses the lurid and fitful glare flashing through the smoke.

ὄπωπε , gnomic perf., ‘hath (oft) seen thee’: i.e., when the Nymphs brandish their torches, Dionysus is in the midst of them. It was the popular belief that dancing fires could be seen by night on Parnassus, when the god was holding his revels. Eur. Ion 716 (Parnassus)

ἵνα Βάκχιος ἀμφιπύρους ἀνέχων πεύκας | λαιψηρὰ πηδᾷ νυκτιπόλοις ἅμα σὺν Βάκχαις

: cp. ib. 1125 : Bacch. 306 : Phoen. 226 : I. T. 1243.

Κωρύκιαι … Νύμφαι : Nymphs who haunt the

Κωρύκιον ἄντρον

and its neighbourhood. The name is from

κώρυκος

, ‘a wallet’ (and so, a hollow thing), and was given also to a cave on the Cilician coast. The Parnassian cave is near the top of a hill on the high table-land which lies at the base of the central cone,— about 7 miles N. E. of Delphi, and as many N.W. of Aráchova. E. Itis a large stalactite cavern, consisting of an outer chamber of some 200 ft. in length, and an inner one of about 100 ft.; the greatest breadth is about 200 ft., and the greatest height, E. It 40. In 480 B.C., when the Persians were coming, many of the Delphians took refuge in it ( Her. 8.36 ). An old place of sacrifice can still be seen in it; and an inscription found there shows that it was sacred

Πανὶ καὶ νύμφαις

( C. I. G. 1728). Aesch. Eum. 22

σέβω δὲ νύμφας, ἔνθα Κωρυκὶς πέτρα | κοίλη, φίλορνις, δαιμόνων ἀναστροφή

The simple transposition, στείχουσι νύμφαι for

νύμφαι στείχουσι

, satisfies the metre, and is far more probable than the change of

στείχουσι

into

στίχουσι

,—a form which, though noticed by Hesychius, is not known to have been used by any Attic writer of the classical age.

Κασταλίας τε νᾶμα , sc.

ὄπωπέ σε

. The

Κασταλία

is a stream which flows from a fissure in the high cliffs above Delphi. It issues near the easternmost of the two peaks (1126 ff., n.),—that which was called

Ὑάμπεια

: and bounds in cataracts, down a precipitous channel, to Delphi, where its water was used for all sacred purposes. Below Delphi it joins the Pleistus ( Aesch. Eum. 27 ). It is now called

Ἅγιος Ἰωάννης

. It is fitly mentioned here, since it rises on the edge of the highlands which form the scene of the revels.

καί σε Νυσαίων . And from Nysa in Euboea thou comest to visit Thebes, with thy followers who cry

εὐοῖ

. The Euboean Nysa was imagined near Aegae (famous for its temple of Poseidon), on the W. coast of the island, opposite Anthedon. Cp. Stephanus Byz. and Hesych. s.v.

Νῦσα

. That word prob. denoted a moist and fertile place: Welcker would refer it to a lost

νύω

from rt.

νυ

(

νέω

): Götterl. 1. 439. ‘Dionysos’ was ‘the Zeus of Nysa’ (Preller Myth. 1. 549). Legend placed a Nysa in Thrace ( Il. 6.133 ), Macedonia, Thessaly, Boeotia, Naxos, Caria, Lydia, Cilicia, Arabia, Aethiopia, Libya, India, and even at Parnassus. In a fragment of the Thyestes Sophocles beautifully describes a wondrous vine of Euboea, which puts forth leaves and bears fruit in the same day: fr. 235

ἔστι γάρ τις ἐναλία | Εὐβοιὶς αἷα· τῇδε βάκχειος βότρυς | ἐπ’ ἦμαρ ἕρπει, κ.τ.λ.

κισσήρεις ὄχθαι , ivy-clad hills. Usually

ὄχθη

=a river-bank,

ὄχθος

=a hill: so Ph. 726

Σπερχειοῦ...παρ’ ὄχθας

, and just afterwards (729)

Οἴτας ὑπὲρ ὄχθων

. But the distinction is not always observed; nor need we suspect our MSS.,

for the fact was noticed in antiquity (schol. on Aratus Phaenom. 33). Thus Pind. P. 1. 64

ὄχθαις ὕπο Ταϋγέτου

: Eur. Suppl. 655

Ἰσμήνιον πρὸς ὄχθον

.—The

κισσός

was to Dionysus what the

δάφνη

was to Apollo. The crowning with ivy (

κίσσωσις

) was a regular incident of his festivals: he was called

κισσεύς, κισσοκόμης, κισσοχαίτης

. Cp. Alciphron Epist. 2. 3 § 10

μὰ τὸν Διόνυσον καὶ τοὺς Βακχικοὺς αὐτοῦ κισσούς

. F. 3. 767

hedera est gratissima Baccho.

πολυστάφυλος : cp. Il. 2.537

Χαλκίδα τ’ Εἰρέτριάν τε πολυστάφυλόν θ’ Ἱστίαιαν

. As Histiaea, afterwards Oreus, was on the N. coast, we may suppose that the Homeric epithet—here borrowed by Soph. —would have been at least equally applicable to other parts of the island.

πέμπει , agreeing with nearest subject: 830 n.

The words ἀμβρότων ἐπέων answer metrically to

ναιετῶν παρ’ ὑγρόν

(1123). There is no metrical reason, then, for altering the MS.

ἀμβρότων

, with Turnebus, to

ἀβρότων

. Cp. O. T. 158

ἄμβροτε Φάμα

. There is no certain instance of

ἄβροτος

in Tragedy. Cp. Pind. P. 4. 299

ἀμβροσίων ἐπέων

, ‘divine strains.’ Here the epithet suggests the mystic power of the invocation.

εὐαζόντων : see on

εὔιον

, 964: ‘while divine chants resound with the cry evoe’; i.e., while the bacchants escort thee on thy way to Thebes with chants of praise. The conjecture

ἑπετᾶν

is neat, but needless.

τὰν ἐκ πασᾶν . There is no reason, metrical or other, for suspecting the MS. reading here. . τάν , Θήβαν, implied in

Θηβαΐας

: cp. 668 , 1072.—For ἐκ (‘chosen out of’) cp. 164 : ὑπερτάταν , proleptic; cp. Eur. I. A. 573

μείζω πόλιν αὔξει

: Plat. Rep. 565C

τοῦτον τρέφειν τε καὶ αὔξειν μέγαν

κεραυνίᾳ , destroyed by the lightning of Zeus: f. Works of art frequently associate Dionysus with his mother. Thus a fragmentary vase-painting shows him introducing her to Olympus (Welcker, Alte Denkm. III. pl. 13). On coins she is sometimes enthroned beside him. See Baumeister, Denkm. p. 443.

ἔχεται ἐπὶ βιαίας νόσου , is captive to a violent (=a most grievous) plague. The

νόσος

is the divine anger which Thebes has incurred (1015).

ἐπὶ νόσου

seems to be like

ἐπ’ εἰρήνης

(‘in time of peace’ Il. 2.797 ),

ἐπὶ σχολῆς

( Aeschin. or. 3 § 191): i.e., the prep. expresses the continuing presence of the

νόσος

, and the whole phrase strictly means, ‘the city is in distress, under the prevalence of a malady.’ (We could scarcely compare

ἐπὶ ξύλου

, and suppose a metaphor from a rack or cross; cp. n. on 308 f.) Musgrave's ὑπό (for

ἐπί

) is tame. For ἔχεται cp. Plat. Legg. 780B

ὑπὸ πολλῆς ἀπορίας ἐχομένοις

. There is only a verbal likeness to Her. 6.11

ἐπὶ ξυροῦ γὰρ ἀκμῆς ἔχεται

(are poised)

ἡμῖν τὰ πρήγματα

.—For βιαι^ας cp. n. on 1310

δείλαι^ος

. The text is sound, without Boeckh's conjectural insertion of ἀμὰ before πόλις : .

πάνδαμος : cp. on 7.

μολεῖν : infin. for imperat.: cp. n. on 150 ff.

καθαρσίῳ : Dionysus was often invested with the attributes of the Purifier and Healer, as

καθάρσιος, ἀλεξίκακος, ἀκέσιος

, etc. Cp. Athen. 22 E, and 36—37. This was one aspect of the Delphian cult which associated him with Apollo.

κλιτύν ¯˘, as Tr. 271 : but ¯¯, Od. 5.470

ἐς κλιτὺν ἀναβάς

. Here, the last syll. of the verse being common,

υ^ν

stands for

υ—ν.

πορθμόν , the Euripus, between Euboea and Boeotia. At Chalcis (Egripo) it is only 40 yards across.

στονόεντα refers to the noise of wind and water in the strait, with its constantly changing currents. Strabo 9. 403

περὶ δὲ τῆς παλιρροίας τοῦ Εὐρίπου τοσοῦτον μονον εἰπεῖν ἱκανόν, ὅτι ἑπτάκις μεταβάλλειν φασὶ καθ’ ἡμέραν ἑκάστην καὶ νύκτα

. Livy (28. 6) explains this by the squalls from the hills. Cp. Lucan's description of the Euripus, 5. 234, Arctatus rapido fervet qua gurgite pontus.

πνειόντων , Brunck's simple correction of

πνεόντων

, heals the metre. The MS. reading in 1137 f. is above all reasonable suspicion; and these verses now agree with them. It is a sin against all critical method to make violent changes in 1137 f.—as Dindorf (followed by Wecklein) does—in order to keep the short syllable of

πνεόντων

here. Hermann's argument against πνειόντων , which has deterred editors from admitting it, was strangely weal. He said that the first syllable of the epic

πνείω

never occurs with ictus (i.e., in arsis); and that, if the tragic poets had used that form, they would at least not have put an ictus on the

πνει

. But Homer repeatedly has

πνοιῇ

with ictus on the 1st syll. (as first word of the verse): and as

πνοιή

πνοή

, so is

πνείω

πνέω

. It is plain, therefore, that the Homeric absence of ictus from the

πνει

πνείω

was purely an accident of convenience in composition, —the phrases being

μένεα πνείοντες, ζεφυρίη πνείουσα, ἡδὺ μάλα πνείουσαν, πνείει τε καὶ ἕρπει

, etc. We need not dwell, then, on the fact which makes a second fallacy in the argument,—viz. that the ictus on

πνει

here is only equal to that which falls on

οντ

(see Anal.). Tragic lyrics teem with epic forms and phrases.

ζάω

was at least as familiar a word as

πνέω

. Yet twice in lyrics Soph. has ventured to use the epic

ζώω

: El. 157

οἵα Χρυσόθεμις ζώει

: O.C. 1213

ζώειν

. Is it, then, reasonable to suppose that the poet, requiring ¯¯¯ instead of ˘¯¯, would have hesitated to use the familiar epic form

πνειόντων

? Nor is this all. In Aesch. Cho. 621 the MSS. give

πνέονθ’ ἁ κυνόφρων ὕπνῳ

: where

πνέονθ’ ἁ = σύμμετρον

in the strophe (610), and the 1st syllable is (pace Hermanni) necessarily long, being that of a spondee (or trochee): Heath's correction,

πνείονθ’

, is therefore certain.

Other conjectures are: (1) ἰὼ πύρπνων ἄστρων χοραγὲ καὶ νυχίων (G. Wolff). The objection is that the contracted

πύρπνους

and

πύρπνουν

do not justify

πύρπνων

for

πυρπνόων

: cp. Eur. Med. 478

ταύρων πυρπνόων ἐπιστάτην

. (2)

ὢ

(for

ἰὼ

) πῦρ πνεόντων χοραγὲ καὶ νυχίων (Campbell). Here

πνεόντων

is a spondee. But such a synizesis seems very improbable. Remark, too, that L's χοραγὲ ἄστρων does not warrant us in supposing that

ἄστρων

originally preceded

χοραγέ

. Neglect of elision is frequent in L: thus, to take one play only, the O. C. supplies these examples: 266

τἀμά· ἐπεὶ

: 694

ἔστιν δὲ οἶον

: 883

τάδε. ὕβρις

: 915

κύρια ὦδε

: 1026

θηρῶντα ἡ τύχη

: 1210

ἴσθι, ἐάνπερ

. The deletion of καί before νυχίων is also varranted by instances in which

καί

has been thrust into L. Here, the

καί

would decidedly enfeeble the passage.

χοράγ’ ἄστρων . The sympathetic joy of the elemental powers—stars, moon, and sea—was especially associated with those night-festivals in which Dionysus bore his mystic character, as the young

Ἴακχος

of the Eleusinian ritual, the companion of Demeter and Cora (n. on O. C. 682 ff.). See Eur. Ion 1078 ff., where the reference is to the Dionysus of the Great Mysteries at Eleusis:

ὅτε καὶ Διὸς ἀστερωπὸς | ἀνεχόρευσεν αἰθήρ, | χορεύει δὲ Σελάνα | καὶ πεντήκοντα κόραι | Νηρέος

. Hence this crowning strain, which begins by greeting him as

χοραγὸς ἄστρων

, fitly closes with his Eleusinian name.

νυχίων φθεγμάτων , the songs, or wild cries, of his worshippers. Eur. Bacch. 485 (Pentheus)

τὰ δ’ ἱερὰ νύκτωρ ἣ μεθ’ ἡμέραν τελεῖς;— ΔΙ. νύκτωρ τὰ πολλά· σεμνότητ’ ἔχει σκότος

. Plut. Mor. 291 A mentions, as Boeotian festivals of Dionysus, the

Ἀγριώνια

and

Νυκτέλια,—ὧν τὰ πολλὰ διὰ σκότους δρᾶται

. Aristoph. Ran. 340 (the Chorus of the Initiated)

ἔγειρε φλογέας λαμπάδας ἐν χερσὶ τινάσσων, | Ἴακχ’, ὦ Ἴακχε, | νυκτέρου τελετῆς φωσφόρος ἀστήρ

παῖ Διὸς = καὶ νῦν ὡς (1140), but is sound, since the second syllable may be either long or short (see Anal.).

ὦναξ is a certain correction of L's

ναξίαις

. The latter, i.e.

Ναξίαις

, may be rejected for two reasons. (1) vv. 1140 f. (

καὶ νῦν—ἐπὶ νόσου

) are clearly sound, and the weak addition of

ἀμά

before

πόλις

is a pure guess, based on the supposed genuineness of

Ναξίαις

here. (2) Naxos was, indeed, peculiarly associated with Dionysus, through Ariadne's story, and in other ways ( Diod. 5. 50 ff., N. H. 4. 12. 22): but, here,

Ναξίαις

, as the epithet of his followers, would be inappropriate, since he is to visit Thebes either from Parnassus or from Euboea (1143 f.).

Θυίαισιν (

θύω

, to sacrifice), female votaries of Dionysus,—here, his attendant Nymphs ( O. C. 679 n.),—not human worshippers. The pediment of the temple at Delphi represented Dionysus with the Thyiads, and a setting sun (Stephani, Compt. rend., 1860, vol. 3 pp. 77 ff.). Similar names were

Βάκχαι, Αῆναι, Μαινάδες

(this properly a general epithet); and, in Macedonia,

Κλώδωνες, Μιμαλλόνες

( Plut. Alex. 2 ). Plut. Mor. 389 C quotes some words of a thyiad song,

εὔιον ὀρσιγύναικα μαινομέναις Διόνυσον ἀνθέοντα τιμαῖς

. In Elis a Dionysiac festival was called

τὰ Θυῖα

( Paus. 6.26.1 ). Cp. Catull. 64. 255 ff. : Verg. Aen. 4. 301 ff.

χορεύουσι with acc. of the god, as Pind. I. 1. 7

Φοῖβον χορεύων

. Cp.

κόπτομαι, τίλλομαι, τύπτομαι

with acc. of person mourned.

ταμίαν , dispenser (of their fortunes): cp. Plat. Rep. 379E

ὡς ‘ταμίασ’ ἡμῖν Ζεὺς ‘ἀγαθῶν τε κακῶν τε τέτυκται.’

Ἴακχον : see on

χοράγ’ ἄστρων

(1146).

Commentary on Sophocles: Antigone. Sir Richard C. Jebb. Cambridge. 1900.

Sponsored by Perseus Project, Tufts University.

Funding provided by National Endowment for the Humanities.

Current edition Experimental

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

Provisional text from uncorrected OCR; expect errors.

Editions (12)

Greek (L. Benloew, 1858) (OCR draft) Experimental (Greek (L. Benloew, 1858)) — 1115 focus

πολυώνυμε, Καδμείας

νύμφας ἄγαλμα, καὶ Διὸς

βαρυβρεμέτα γένος,
1110

κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν ¹, μέδεις δὲ ² παγ-

κοίνοις Ἐλευσινίας

Δηοῦς ἐν κόλποις,

Βακχεῦ, Βακχᾶν ὁ μητρόπολιν Θήβαν
1115

ναίων παρ᾽ ὑγρῶν Ἰσμηνοῦ

ῥεέθρων, ἀγρίου τ᾽

ἐπὶ σπορᾷ δράκοντος ³·

a

σε δ᾽ ὑπὲρ ⁴ διλόφου πέτρας

στέροψ ὄπωπε λιγνὺς, ἔν-
1120

θα ⁵ Κωρύκιαι Νύμφαι

στείχουσι Βακχίδες,

Κασταλίας τε νᾶμα· καὶ

σὲ Νυσαίων ὀρέων

κισσήρεις ὄχθαι,
1125

χλωρά τ᾽ ἀκτὰ πολυστάφυλος πέμπει,

ἀβρότων ἐπέων εὐαζόν-

των, Θηβαΐας

ἐπισκοποῦντ᾽ ἀγυιάς·

b

τὰν ἐκ πασᾶν
1130

τιμᾷς ὑπερτάταν πόλεων

ματρὶ σὺν κεραυνίᾳ·

καὶ νῦν, ὡς βιαίας

ἔχεται πάνδημος πόλις

ἐπὶ νόσου, ⁶ μολεῖν ποδὶ
1135

καθαρσίῳ Παρνασίαν

ὑπὲρ κλιτὺν, ἢ

στονόεντα πορθμόν.

b

ἰὼ πῦρ πνεόντων

χοράγ᾽ ἄστρων ⁷ καὶ νυχίων
1140

φθεγμάτων ἐπίσκοπε,

παῖ ⁸, Διὸς γένεθλον,

προφάνηθι Ναξίαις

σαῖς ἅμα περιπόλοις (Θυιάσιν),

αἵ σε μαινόμεναι πάννυχοι τι
1145

χορεύουσι, τὸν

ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,

οὐκ ἔσθ᾽ ὁποῖον ⁹ στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν, οὔτε μεμψαίμην ποτέ.
1150

τύχη γὰρ ὀρθοῖ καὶ τύχη καταῤῥέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί·

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.

Κρέων γὰρ ἦν ζηλωτὸς ¹⁰, ὡς ἐμοὶ, ποτὲ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα·
1155

λαβών τε χώρας παντελῆ μοναρχίαν,

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.
1160

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῇ, τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς

οὐχ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;
1165

Ἄγγελος

τεθνᾶσιν· οἵ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν, αὐτόχειρ ¹¹ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.
1170

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων,

ἤτοι ¹² κλύουσα παιδὸς, ἢ τύχῃ, πάρα.
1175

Εὐρυδίκη
¹³

Greek (A. Boeckh, 1884) (OCR draft) Experimental (Greek (A. Boeckh, 1884)) — 1115 focus

πολυώνυμε, Καδμεΐας νύμφας ἄγαλμα,
1070

καὶ Διὸς βαρυβρεμέτα γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας

Δηοῦς ἐν κόλποις,

ὦ Βακχεῦ, Βακχᾶν μητρόπολιν Θήβαν
1075

ναίων παρ᾽ ὑγρὸν Ἰσμηνοῦ ῥέεθρον

ἀγρίου τ᾽ ἐπὶ σπορᾷ δράκοντος.

1

σὲ δ᾽ ὑπὲρ διλόφοιο πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι νύμφαι στείχουσι Βακχίδες,

Κασταλίας τε νᾶμα·
1080

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι

χλωρά τ' ἀκτὰ πολυστάφυλος πέμπει,

ἀμβρότων ἐπέων εὐαζόντων,

Θηβαίας ἐπισκοποῦντ᾽ ἀγυιάς·
1085

2

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

ἰὼ πῦρ πνειόντων χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον,

προφάνηθι Ναξίαις σαῖς ἅμα περιπόλοις
1095

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

13. ΕΞΟΔΟΣ.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἄν, οὔτε μεμψαίμην ποτέ.
1100

τύχη γὰρ ὀρθοῖ καὶ τύχη καταῤῥέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί,

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,
1105

λαβών τε χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ.

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.
1110

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;
1115

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.
1120

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.
1125

Greek (F. H. Bothe, 1806) (OCR draft) Experimental (Greek (F. H. Bothe, 1806)) — 1115 focus

πολυώνυμε, Καδμείας

νύμφας ἄγαλμα, καὶ Διὸς βα-

ρυβρεμέτα γέννα,

κλυτὰν ὃς ἀμφέπεις
1100

Ἰταλίαν, μετεῖς δὲ

παγκοίνοις Ἐλευσινίας

Δηοῦς ἐν κόλποις, ὦ Βακχεῦ,

Βακχᾶν ματρόπολιν ναίων,

παρ’ ὑδρηλῶν Ἰσμηνοῦ ῥεέθρων,
1105

ἀρχαίου τ᾽ ἐπὶ σπορᾷ δράκοντος·

1

σὲ δ᾽ ὑπὲρ διλόφου πέτρας

στέροψ ὄπωπε λιγνὺς, ἔνθα

Κωρυκίαις Νύμφαις

στείχουσι Βακχίδες,
1110

Κασταλίας τε νᾶμα,

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι, χλωρά τ᾽ ἀ-

κτὰ πουλυστάφυλος πέμπει,

ἁβρότων ἐπέων εὐαζόντων,
1115

Θηβαίας ἐπισκοποῦντ᾽ ἀγυιάς·

2

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

ἰὼ πῦρ πνεόντων

οἴστρων τε καὶ νυχίων
1125

φθεγμάτων ἐπίσκοπε

παῖ, Ζηνὸς γένεθλον, προφάνηθι Να-

ξίαις Θυιάσι σαῖς ἅμα περιπόλοις,

μαινόμεναι χορεύουσ᾽ αἳ πάννυχοι

τὸν ταμίαν Ἴακχον.
1130

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν, οὔτε μεμψαίμην ποτέ·

τύχη γὰρ ὀρθοῖ καὶ Τύχη καταῤῥέπει

τὸν εὐτυχοῦντα, τόν τε δυστυχοῦντ᾽, ἀεί·
1135

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.

Κρέων γὰρ ἦν ζηλωτὸς, ὡς ἐμοὶ, ποτὲ,

σώσας μὲν ἔχθρῶν τήνδε Καδμείαν χθόνα,

λαβὼν δὲ χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·
1140

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῇν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν ·

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων, ἐὰν δ᾽ ἀπῇ
1145

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν · οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος ; λέγε.
1150

Ἄγγελος

Αἵμων ὄλωλεν, αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας!

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα.
1155

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,

δάμαρτα τὴν Κρέοντος · ἐκ δὲ δωμάτων,

ἤτοι κλύουσα παιδὸς, ἢ τύχῃ, περᾷ.

Εὐρυδίκη

Greek (Lewis Campbell, 1879) (OCR draft) Experimental (Greek (Lewis Campbell, 1879)) — 1115 focus

πολυώνυμε, Καδμείας νύμφας ἄγαλμα
1115

καὶ Διὸς βαρυβρεμέτα γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ελευσινίας
1120

Δῃοῦς ἐν κόλποις,

ὦ Βακχεῦ, Βακχᾶν ματρόπολιν Θήβαν

ναίων παρ᾽ ὑγρὸν Ἰσμηνοῦ ῥεῖθρον,

ἀγρίου τ᾽ ἐπὶ σπορᾷ δράκοντος·
1125
α

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι Νύμφαι στείχουσι Βακχίδες,

Κασταλίας τε νᾶμα.
1130
62r

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι

χλωρά τ᾿ ἀκτὰ πολυστάφυλος πέμπει

τῶν ἀμβρότων ἐπέων εὐαζόντων

Θηβαίας ἐπισκοποῦντ᾽ ἀγυιάς·
1135
β

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

ὦ πῦρ πνεόντων ἄστρων χοραγὲ* καὶ νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον,

προφάνηθι Ναξίαις σαῖς ἅμα περιπόλοις
1150

*Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλουτεῖ τε γὰρ κατ' οἶκον, εἰ βούλει, μέγα,

καὶ ζῇ τύραννον σχῆμ᾽ ἔχων, ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ' ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ' αἱμάσσεται.
1175

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

62v

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Greek (A. Colonna, 1978) (OCR draft) Experimental (Greek (A. Colonna, 1978)) — 1115 focus

πολυώνυμε, Καδμείας νύμφας ἄγαλμα
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας
1120

Δηοῦς ἐν κόλποις, ὦ Βακχεῦ,

Βακχᾶν ματρόπολιν Θήβαν

ναιετῶν παρ᾽ ὑγρόν τ᾽

Ἰσμηνοῦ ῥέεθρον, ἀγρίου τ᾽

ἐπὶ σπορᾷ δράκοντος·
1125
1

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

στείχουσι Νύμφαι Βακχίδες

Κασταλίας τε νᾶμα.
1130

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τ᾽ ἀκ-

τὰ πολυστάφυλος πέμπει,

ἀμβρότων ἐπέων

εὐαζόντων, Θηβαΐας
1135

ἐπισκοποῦντ᾽ ἀγυιάς·

2

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

ἰὼ πῦρ πνεόντων

χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ, Διὸς γένεθλον, προφάνηθ᾽,

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ·

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί,

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Greek (A. Dain, 1955) (OCR draft) Experimental (Greek (A. Dain, 1955)) — 1115 focus

πολυώνυμε, Καδμείας νύμφας ἄγαλμα
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας
1120

Δῃοῦς ἐν κόλποις, ὦ Βακχεῦ,

Βακχᾶν ματρόπολιν Θήβαν

ναιετῶν παρ’ ὑγρόν τ’

Ἰσμηνοῦ ῥέεθρον, ἀγρίου τ’

ἐπὶ σπορᾷ δράκοντος·
1125
1

σὲ δ’ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

νύμφαι στίχουσι Βακχίδες

Κασταλίας τε νᾶμα.
1130

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τ’ ἀκ-

τὰ πολυστάφυλος πέμπει,

ἀμβρότων ἐπέων

εὐαζόντων, Θηβαΐας
1135

ἐπισκοποῦντ’ ἀγυιάς·

2

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

ἰὼ πῦρ πνεόντων

χοράγ’ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ, Δῖον γένεθλον, προφάνηθ’,

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ’ ὁποῖον στάντ’ ἂν ἀνθρώπου βίον

οὔτ’ αἰνέσαιμ’ ἂν οὔτε μεμψαίμην ποτέ·

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ’ ἀεί,

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ’ ἐγὼ

ζῆν τοῦτον, ἀλλ’ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ’ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ’ ἔχων· ἐὰν δ’ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ’ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ’ αὖ τόδ’ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ’ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ’ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ’ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ’ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Greek (R. D. Dawe, 1979) (OCR draft) Experimental (Greek (R. D. Dawe, 1979)) — 1115 focus

πολυώνυμε, Καδμείας ἄγαλμα νύμφας
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Οἰχαλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας
1120

Δηοῦς ἐν κόλποις, ὦ Βακχεῦ,

Βακχᾶν ματρόπολιν Θήβαν

ναιετῶν παρ᾽ ὑγρὸν

†Ἰσμηνοῦ ῥέεθρον ἀγρίου † τ᾽

ἐπὶ σπορᾶι δράκοντος·
1125

1

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

στείχουσι νύμφαι Βακχίδες,

Κασταλίας τε νᾶμα
1130

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τ᾽ ἀ-

κτὰ πολυστάφυλος πέμπει,

ἀμβρότων ἑπετᾶν

εὐαζόντων Θηβαΐας
1135

ἐπισκοποῦντ᾽ ἀγυιάς·

2

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

ἰὼ πῦρ πνειόντων

χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Ζηνὸς γένεθλον, προφάνηθ',

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁπηιοῦν στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί,

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ·

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

ηὔθυνε θάλλων εὐγενεῖ τέκνων σπορᾶι·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὔτι φήμ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῆι

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν. οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει, τίς δ᾽ ὁ κείμενος ; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν.· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρώιας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὖπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχηι περᾶι.

Εὐρυδίκη

Greek (G. Hermann, 1830) (OCR draft) Experimental (Greek (G. Hermann, 1830)) — 1115 focus

πολυώνυμε, Καδμείας

νύμφας ἄγαλμα, καὶ Διὸς

βαρυβρεμέτα γένος,

κλυτὰν ὃς ἀμφέπεις
1105

Ἰταλίαν, μέδεις δὲ παγ-

κοίνοις Ἐλευσινίας

Δηοῦς ἐν κόλποις,

Βακχεῦ, Βακχᾶν ὁ ματρόπολιν Θήβαν

ἐνναίων παρ᾽ ὑγρῶν
1110

Ἰσμηνοῦ ῥείθρων, ἀγρίου τ᾽

ἐπὶ σπορᾷ δράκοντος·

1

σὲ δ᾽ ὑπὲρ διλόφου πέτρας

στέροψ ὄπωπε λιγνύς, ἔν-

θα Κωρύκιαι νύμφαι
1115

στείχουσι Βακχίδες,

Κασταλίας τε νᾶμα· καί

σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι,

χλωρά τ᾽ ἀκτὰ πολυστάφυλος πέμπει
1120

ἀμβρότων ἐπέων

εὐαζόντων, Θηβαΐας

ἐπισκοποῦντ᾽ ἀγυιάς·

2

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

ἰὼ τῶν πῦρ πνεόντων

χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον, προφάνηθι Ναξίαις
1135

ἅμα περιπόλοισν σαῖ-

σιν, αἵ σε μαινόμεναι παννύχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1140

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπων βίον

οὔτ᾽ αἰνέσαιμ᾽ ἄν, οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ, καὶ τύχη καταῤῥέπει

τὸν εὐτυχοῦντα, τόν τε δυστυχοῦντ᾽ ἀεί.

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1145

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα·

λαβών τε χώρας παντελῆ μοναρχίαν

εὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ.

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1150

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι, νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1155

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος ; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1160

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,
1165

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων,

ἤτοι κλύουσα παιδός, ἢ τύχῃ, πάρα.

Εὐρυδίκη

Greek (R. C. Jebb, 1906) (OCR draft) Experimental (Greek (R. C. Jebb, 1906)) — 1115 focus

πολυώνυμε, Καδμείας νύμφας ἄγαλμα 1
1115

καὶ Διὸς βαρυβρεμέτα 2

γένος, κλυτὰν ὃς ἀμφέπεις 3

Ἰταλίαν, μέδεις δὲ 4

παγκοίνοις Ἐλευσινίας 5
1120

Δηοῦς ἐν κόλποις, Βακχεῦ, Βακχᾶν 6

ὁ ματρόπολιν Θήβαν 7

ναιετῶν παρ᾽ ὑγρὸν 8

Ἰσμηνοῦ ῥεῖθρόν τ᾽ ἀγρίου τ᾽ ἐπὶ σπορᾷ δράκοντος· 9

1

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ· ὄπωπε 1
1125

λιγνύς, ἔνθα Κωρύκιαι 2

στείχουσι Νύμφαι Βακχίδες, 3

Κασταλίας τε νᾶμα. 4
1130

καί σε Νυσαίων ὀρέων 5

κισσήρεις ὄχθαι χλωρά τ᾽ ἀκτὰ 6

πολυστάφυλος πέμπει, 7

ἀμβρότων ἐπέων 8

εὐαζόντων, Θηβαΐας ἐπισκοποῦντ᾽ ἀγυιάς. 9
1135
2

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

ἰὼ πῦρ πνειόντων χοράγ᾽ ἄστρων, νυχίων 1

φθεγμάτων ἐπίσκοπε, 2

παῖ Διὸς γένεθλον, προφάνηθ᾽, 3

ὦναξ, σαῖς ἅμα περιπόλοις 4
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι χορεύουσι 5

τὸν ταμίαν Ἴακχον. 6

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί·

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

ηὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Greek (A. C. Pearson, 1924) (OCR draft) Experimental (Greek (A. C. Pearson, 1924)) — 1115 focus

πολυώνυμε, Καδμείας ἄγαλμα νύμφας
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας
1120

Δηοῦς ἐν κόλποις, ὦ Βακχεῦ,

Βακχᾶν ματρόπολιν Θήβαν

ναιετῶν παρ᾽ ὑγροῖς Ἰ-

σμηνοῦ ῥείθροις, ἀγρίου τ᾽

ἐπὶ σπορᾷ δράκοντος·
1125

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

στείχουσι Νύμφαι Βακχίδες,

Κασταλίας τε νᾶμα.
1130

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τ᾽ ἀ-

κτὰ πολυστάφυλος πέμπει

ἀβρότων ἑπετᾶν εὐ-

αζόντων Θηβαΐας
1135

ἐπισκοποῦντ᾽ ἀγυιάς·

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

ἰὼ πῦρ πνειόντων

χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον, προφάνηθ᾽,

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί·

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα,

λαβών τε χώρας παντελῆ μοναρχίαν

ηὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλῃ, μέγα

καὶ ζῆ τύραννον σχῆμ᾽ ἔχων, ἐὰν δ᾽ ἀπῇ

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ περᾷ.

Εὐρυδίκη

Antigone (OCR draft) Experimental (Antigone) — 1115 focus

Χορός

πολυώνυμε, Καδμείας νύμφας ἄγαλμα
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις, Ἐλευσινίας

Δῃοῦς ἐν κόλποις, Βακχεῦ Βακχᾶν
1120

ὁ ματρόπολιν Θήβαν

ναιετῶν παρʼ ὑγρῶν

Ἰσμηνοῦ ῥείθρων ἀγρίου τʼ ἐπὶ σπορᾷ δράκοντος.
1125

Χορός

σὲ δʼ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

στείχουσι νύμφαι Βακχίδες,

Κασταλίας τε νᾶμα.
1130

καί σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τʼ ἀκτὰ

πολυστάφυλος πέμπει,

ἀμβρότων ἐπέων

εὐαζόντων Θηβαΐας ἐπισκοποῦντʼ ἀγυιάς·
1135

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

Χορός

ἰὼ πῦρ πνειόντων χοράγʼ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον, προφάνηθʼ,

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι χορεύουσι

τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθʼ ὁποῖον στάντʼ ἂν ἀνθρώπου βίον

οὔτʼ αἰνέσαιμʼ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντʼ ἀεί·

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα

λαβών τε χώρας παντελῆ μοναρχίαν

ηὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾷ·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημʼ ἐγὼ

ζῆν τοῦτον, ἀλλʼ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατʼ οἶκον, εἰ βούλει, μέγα

καὶ ζῆ τύραννον σχῆμʼ ἔχων· ἐὰν δʼ ἀπῇ

τούτων τὸ χαίρειν, τἄλλʼ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δʼ αὖ τόδʼ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν. οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δʼ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δʼ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρʼ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδʼ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος. ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Greek (K. Reinhardt, 1949) (OCR draft) Experimental (Greek (K. Reinhardt, 1949)) — 1115 focus

πολυώνυμε, Καδμείας νύμφας ἄγαλμα
1115

καὶ Διὸς βαρυβρεμέτα

γένος, κλυτὰν ὃς ἀμφέπεις

Ἰταλίαν, μέδεις δὲ

παγκοίνοις Ἐλευσινίας
1120

Δηοῦς ἐν κόλποις, ὦ Βακχεῦ, Βακ-

χᾶν ματρόπολιν Θήβαν

ναιετῶν παρ᾽ ὑγρὸν

Ἰσμηνοῦ ῥεῖθρον τ᾽ ἀγρίου τ᾽

ἐπὶ σπορᾶι δράκοντος·
1125

σὲ δ᾽ ὑπὲρ διλόφου πέτρας στέροψ ὄπωπε

λιγνύς, ἔνθα Κωρύκιαι

στείχουσι Νύμφαι Βακχίδες,

Κασταλίας τε νᾶμα·
1130

καὶ σε Νυσαίων ὀρέων

κισσήρεις ὄχθαι χλωρά τ᾽ ἀκτὰ

πολυστάφυλος πέμπει,

ἀμβρότων ἑπετᾶν

εὐαζόντων Θηβαΐας
1135

ἐπισκοποῦντ᾽ ἀγυιάς·

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

ἰὼ πῦρ πνεόντων

χοράγ᾽ ἄστρων, νυχίων

φθεγμάτων ἐπίσκοπε,

παῖ Διὸς γένεθλον, προφάνηθ᾽,

ὦναξ, σαῖς ἅμα περιπόλοις
1150

Θυίαισιν, αἵ σε μαινόμεναι πάννυχοι

χορεύουσι τὸν ταμίαν Ἴακχον.

Ἄγγελος

Κάδμου πάροικοι καὶ δόμων Ἀμφίονος,
1155

οὐκ ἔσθ᾽ ὁποῖον στάντ᾽ ἂν ἀνθρώπου βίον

οὔτ᾽ αἰνέσαιμ᾽ ἂν οὔτε μεμψαίμην ποτέ.

τύχη γὰρ ὀρθοῖ καὶ τύχη καταρρέπει

τὸν εὐτυχοῦντα τόν τε δυστυχοῦντ᾽ ἀεί,

καὶ μάντις οὐδεὶς τῶν καθεστώτων βροτοῖς.
1160

Κρέων γὰρ ἦν ζηλωτός, ὡς ἐμοί, ποτέ,

σώσας μὲν ἐχθρῶν τήνδε Καδμείαν χθόνα

λαβών τε χώρας παντελῆ μοναρχίαν

ηὔθυνε, θάλλων εὐγενεῖ τέκνων σπορᾶι·

καὶ νῦν ἀφεῖται πάντα. τὰς γὰρ ἡδονὰς
1165

ὅταν προδῶσιν ἄνδρες, οὐ τίθημ᾽ ἐγὼ

ζῆν τοῦτον, ἀλλ᾽ ἔμψυχον ἡγοῦμαι νεκρόν.

πλούτει τε γὰρ κατ᾽ οἶκον, εἰ βούλει, μέγα,

καὶ ζῇ τύραννον σχῆμ᾽ ἔχων· ἐὰν δ᾽ ἀπῆι

τούτων τὸ χαίρειν, τἄλλ᾽ ἐγὼ καπνοῦ σκιᾶς
1170

οὐκ ἂν πριαίμην ἀνδρὶ πρὸς τὴν ἡδονήν.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρώιας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ' ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχηι περᾶι.

Εὐρυδίκη

Translations (11)

German (A. Boeckh, 1884) (OCR draft) Experimental (German (A. Boeckh, 1884)) — 1115 focus

Vielnam'ger, der Kadmischen Jungfrau wonnig Kleinod!
1070

Sprofs Sproß des hocherdonnernden Zeus, Italia's der herrlichen.

Schutz!

es beherrschet deine

Macht Eleusis' gastliche Flur

in Deo's Thalgrund!

O Baccheus, hier in Bacchischer Fraun Urland
1075

Theba, bei des Ismenos Stromflut

wohnend, wo des grimmen Drachen Saat sprofs!

Gegenstr. 1.

Dich schauet vom Doppelgeklipp' auflodernd helle

Dampfglut, wo Korykische Nymphen schreiten froh im Bacchoschor,

schauet der Born Kastalia's!
1080

Dich entsendet Nysa's Gebirg

und Epheuwaldhöh'n,

wo grünumlaubtem Ufer entlang Wein prangt!

Gottvoll schallet dann jauchzend Festlied,

weil du freundlich Thebens Gassen heimsuchst,
1085
Str. 2.

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.

Io du, glutaussprühn'der Sterne führend den Chor,

Herr des Jubelschalls der Nacht,

Zeusentsprofsner Knabe!

O erscheine sammt der Schaar Naxischer Mägdelein,
1095

der Thyien, die durchschwärmend die Nacht dich entzückt

im Tanzreigen, Spender Iakchos, feiern!

XIII. EXODOS.

CHOR, BOTE; später EURYDIKE, KREON und ein HAUSDIENER.

BOTE.
(tritt auf)

Die ihr des Kadmos und Amphions Haus umwohnt,

kein Menschenleben, wenn es wohl steht, würd' ich mir

¹

nicht loben, und nicht tadeln doch ein ander Mal.
1100

Das Glück ja hebet und das Glück stürzt jederzeit

den Hochbeglückten und den Unglückseligen;

und was bestimmt ist, kündet kein Wahrsager uns.

Denn Kreon war einst, denk' ich mir, beneidenswerth,

als er vom Feind errettet dies Kadmeierland;
1105

in sich vereinend dieses Staats gesammte Macht

regiert' er, blühend in der Kinder edler Saat.

Und jetzt — dahin ist Alles. Wenn die Freuden erst

der Mensch sich hingeopfert, nicht mehr denk' ich dann

er lebe, sondern acht' ihn für lebendig todt.
1110

Denn habe Reichthums Fülle, wenn du willst, im Haus,

und leb' in stolzem Fürstenscheine: mangelt dir

dabei die Freude, kauf' um Rauches Schatten nicht

dem Menschen ich das Andre, gegen Freud' und Lust.

CHOR.

Welch neues Leid der Herrscher bringst du wiederum?
1115

BOTE.
(Eurydike öffnet die Thür.)

Todst sind sie; Schuld am Tode sind die Lebenden!

CHOR.

Wer ist der Mörder? welcher liegt gefallen? sprich!

BOTE.

Hämon ist nicht mehr, blutend durch nicht fremde Hand.

CHOR.

Durch Vaters Hand, wie? oder durch die eigne Hand?

BOTE.

Selbst that er's, grollend seinem Vater ob des Mords.
1120

CHOR.

O Seher, welch ein richtig Wort doch sprachest du!

BOTE.

Da dieses also, fordert Rath das Übrige.

(Eurydike naht mit ihren Frauen.)

CHOR.

Dort seh' ich schon die Arme nahn, Eurydike,

Kreons Gemahlin: aus dem Hause trat sie vor,

sei's hörend von dem Sohne, sei's von Ohngefähr.
1125

EURYDIKE.

Spanish (J. A. Bolufer, 1921) (OCR draft) Experimental (Spanish (J. A. Bolufer, 1921)) — 1115 focus

¡Oh dios de muchos nombres, que de la ninfa Cadmea eres orgullo, y del altitonante Júpiter hijo; que te complaces de vivir en la inclita ínclita Italia y reinas en los valles, comunes a todos, de Ceres Eleusinia! ¡Oh Baco, que habitas en Tebas, metrópoli de las bacantes, junto a la liquida líquida corriente del Ismeno, donde fueron sembrados los dientes del feroz dragón!

Hacia ti se dirige la llama que brilla sobre este monte de dos cimas, por donde corren las Coricias ninfas bacantes y la fuente de Castalia. Y a ti, las escarpadas alturas de los montes de Nisa, cubiertos de hiedra, y la verde falda en que abunda la vid, envian envían, resonando los inmortales himnos evohé, evohé, a visitar las calles de Tebas, a la cual

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.

¡Oh jefe del coro de los astros que respiran fuego, inspector de las nocturnas músicas, niño hijo de Júpiter, hazte presente, ¡oh rey!, junto con tus compañeras las Tiadas, que enfurecidas celebran en coros todas las noches a Baco su señor!

UN MENSAJERO

¡Vecinos de Tebas y de la mansión de Anfión! Nunca más yo admiraré como feliz ni compadeceré como desgraciado a ningún hombre mientras le dure la vida; porque la suerte ensalza y la suerte abate sin cesar al hombre feliz y al hombre desgraciado. Y no hay quien adivine lo que le ha de suceder a ningún mortal. Porque Creonte era digno de envidia, a mi parecer, cuando después de haber libertado de enemigos a esta tierra cadmea y apoderarse del mando supremo de la región, la gobernaba y vivía lleno de alegría por la generosa indole índole de sus hijos. Mas ahora se ha desvanecido toda esa dicha; pues cuando el hombre llega a perder la alegria alegría y el placer, en mi concepto ya no vive, y lo considero como un cadáver animado. Amontona, pues, riquezas en tu casa, si te place, y vive fastuosamente con el aparato de un tirano; que si con todo eso te falta la alegria alegría, todo lo demás, comparado con el placer, no lo compraría yo para el hombre por la sombra del humo.

CORO

¿Qué nueva calamidad de los reyes vienes a anunciarnos?

EL MENSAJERO

Han muerto; y los que viven son, culpables de la muerte.

CORO

¿Y quién ha matado? ¿Quién yace muerto? Di.

EL MENSAJERO

Hemón ha muerto: con la propia mano se ha herido.

CORO

¿Cuál? ¿La del padre o la suya propia?

EL MENSAJERO

Él mismo se ha suicidado, rabioso contra su padre por la sentencia de muerte.

CORO

– ¡Oh adivino! ¡Cuán cumplidamente diste la profecia profecía!

EL MENSAJERO

Y siendo la cosa así, hay que pensar en lo demás.

CORO

Y en verdad que veo a la desdichada Eurídice, la esposa de Creonte, que sale de casa; ya sea por haber oido oído algo de su hijo, ya por casualidad.

EURÍDICE

Latin (F. H. Bothe, 1806) (OCR draft) Experimental (Latin (F. H. Bothe, 1806)) — 1115 focus

Multis inclyte nominibus, Cadmeae decus puellae, et Iovis altitonantis proles, celebrem qui colis Italiam, versarisque una Cereris in sinu omnibus communi Eleusiniae, o Bacche, Baccharum metropolin habitans, ad Ismeni liquida fluenta, inter antiqui segetem draconis :

Te super bicipitem collem coruscans conspicit flamma, ubi Coryciis una cum Nymphis ambulant Bacchides , Castaliaeque fons, te et Nysaeorum montium hedera densa iuga, viridisque ora vitibus consita te mittit, immortali bacchante cantu, Thebana invisere compita :

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.

O ignem spirantium furorum nocturnarumque vociferationum magister puer, Iovis proles, adpareas cum Naxii Thyiadibus, tuis comitibus, quae furentes pernoctibus lustrant choris praesidem Iacchum.

Nuntius

Cadmi Amphionisque aedium incolae, nulla est hominis vita superstes, quam vel laudare vel culpare velim:

Fortuna enim erigit, et Fortuna deprimit felicem et infelicem semper: meque de vita, quae agitur, mortalium licetaugurari. Quippe Creon, si quisquam alius, ne iudice, beatus erat, qui terram hanc quidem Cadmeam ab hostibus liberaverat, imperioque totius terrae potitus eam regebat, florens generosa liberorum prole: at nunc dilapsa sunt omnia. Voluptates autem siquis vir amiserit, haud equidem puto illum vivere, sed animatum esse mortuum. Opibus enim polleas quaniumvis domi, et vivas regio splendore; tamen si absit his gaudium, cetera ego fumi umbra haud emerim viro prae voluptate.

Chorus

Atquid novum hoc malum est, quod de regibus nuntiaturus venis?

Nuntius

Mortui sunt ; viventes autem fuere caussa mortis.

Chorus

Et quis peremit? quis veró peremtus est? ede.

Nuntius

Haemon interiit: violentae enim illatae illi manus fuere.

Chorus

Patrisne, an ipsius ?

Nuntius

Ipse se peremit, patri iratus ob necem.

Chorus

O vates, quam vera ergo praedixti nimis!

Nuntius

Nempe cum sic se res habeant, de ceteris consulere expedit.

Chorus

Atqui video miseram Eurydicen prope, uxorem Creontis: huc autem domo egressa se confert, vel audito filii casu, vel temere adest.

Euydice

English (Lewis Campbell, 1906) (OCR draft) Experimental (English (Lewis Campbell, 1906)) — 1115 focus

O God of many a name!
1115

Filling the heart of that Cadmeian bride
1115

With deep delicious pride,

Offspring of him who wields the withering flame!

Thou for Italia’s good
1120

Dost care, and ’midst the all-gathering bosom wide
1120

Of Dêo dost preside;

Thou, Bacchus, by Ismenus’ winding waters

’Mongst Thebè’s frenzied daughters,

Keep’st haunt, commanding the fierce dragon’s brood.
1125

Thee o’er the forkèd hill
1125

The pinewood flame beholds, where Bacchai rove,

Nymphs of Corycian grove,

Hard by the flowing of Castalia’s rill.
1130

To visit Theban ways,
1130

By bloomy wine-cliffs flushing tender bright

’Neath far Nyseian height

Thou movest o’er the ivy-mantled mound,

While myriad voices sound

Loud strains of ‘Evoe!’ to thy deathless praise.

For Thebè thou dost still uphold,
1135

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

Quick-panting with their breath of fire!

Lord of high voices of the night,

Child born to him who dwells in light,

Appear with those who, joying in their madness,

Honour the sole dispenser of their gladness,
1150

Thyiads of the Aegean main

Night-long trooping in thy train.

MESS
Enter Messenger .

Neighbours of Cadmus and Amphion’s halls,
1155

No life of mortal, howsoe’er it stand,

Shall once have praise or censure from my mouth;

Since human happiness and human woe

Come even as fickle Fortune smiles or lours;

And none can augur aught from what we see.
1160

Creon erewhile to me was enviable,

Who saved our Thebè from her enemies;

Then, vested with supreme authority,

Ruled her aright; and flourish’d in his home

With noblest progeny. What hath he now?
1165

Nothing. For when a man is lost to joy,

I count him not to live, but reckon him

A living corse. Riches belike are his,

Great riches and the appearance of a King;

But if no gladness come to him, all else
1170

Is shadow of a vapour, weighed with joy.

CH

What new affliction heaped on sovereignty

Com’st thou to tell?

MESS

They are dead; and they that live

Are guilty of the death.

CH

The slayer, who?

And who the slain? Declare.

MESS

Haemon is dead,
1175

And by a desperate hand.
1175

CH

His own, or Creon’s?

MESS

By his own hand, impelled with violent wrath

At Creon for the murder of the maid.

CH

Ah, Seer! how surely didst thou aim thy word!

MESS

So stands the matter. Make of it what ye list.

CH

See, from the palace cometh close to us
1180

Creon’s unhappy wife, Eurydicè.

Is it by chance, or heard she of her son?

EURYDICE
Enter EURYDICE .

German (J. J. C. Donner, 1875; OCR review) (OCR draft) Experimental (German (J. J. C. Donner, 1875; OCR review)) — 1115 focus

Vielnamiger, wonnige Zier der Kadmosjungfrau,¹²
1090

Und des hochherdonnernden Zeus Geschlecht!

Du, der Italia's³

Herrliche Gauen schirmt und

Ueber Deo's gastliche Flur⁴

In Eleusis waltet!
1095

O Baccheus, hier in bacchischer Frau'n Ursiz,

Thebä, wohnend am hellen Strom Ismenos,

Wo die Saat aussproß des wilden Drachen!⁵

Erste Gegenstrophe.

Dich sieht von dem doppelten Felshaupt hell erblizend⁶

Feuer, wo korykische Nymphen sich⁷
1100

In Jubelreih'n ergeh'n,

Dich der Kastalia Quellborn;

Dich geleiten nysischer Berg'⁸

Anhöh'n voll Epheu's;

Ihr grünes Ufer, traubenumkränzt, feiert,
1105

Und gottvolle Gesänge schallen festlich,

Wenn du Thebä's Gassen fröhlich heimsuchst,

Zweite Strophe.

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

Samt der Mutter, die des Zeus⁹

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.

Wohlauf, du, glutaussprüh'nder Sterne Führer, o Herr¹⁰

Nächtlich frohen Jubelschalls,
1115

Zeusentspross'ner Knabe!

O erscheine, rings vom Chor naxischer Frau'n umschwärmt,¹¹

Der Thyien, die dich Nächte hindurch wildentzückt¹²

Im Rheih'ntanze feiern, den Freudeſpender!

Ein Bote. Der Chor.

Der Bote.

Ihr, die ihr Kadmos' und Amphions Haus umwohnt!
1120

Kein Menschenleben gibt es, wie's auch stehen mag,

Das ich hinfort je preisen oder schelten will.

Erhöht das Glück doch, stürzt doch allezeit das Glück

Den Reichbegabten und den Unglückseligen,

Und was bevorsteht, kündet uns kein Seher an.
1125

Auch Kreon, dünkt mich, war beneidenswerth zuvor,

Er, der vom Feind befreite dies Kadmeiervolk,

Hierauf des Landes ungetheilte Macht empfing

Und herrschte, von der Kinder edler Saat umblüht.

Und nun dahin ist Alles. Wenn die Freude sich
1130

Treulos dem Menschen abgewandt, so glaub' ich nicht,

Er lebe, lebend acht' ich ihn des Todes Raub.

Denn hab' im Hause, wenn du willst, der Güter viel,

Und leb' in stolzem Herrscherglanz: wenn dir dabei

Die Freude mangelt, kauf' ich dir das Andere
1135

Nicht um des Rauches Schatten ab für frohen Muth.

Der Chor.

Welch neues Leid der Herrscher kommst du kundzuthun?

Der Bote.

Todt sind sie; Schuld am Tode sind die Lebenden.

Der Chor.

Wer ist der Mörder? Wer gefallen? Sage mir!

Der Bote.

Todt lieget Hämon, liegt entſeelt in seinem Blut.
1140

Der Chor.

Todt durch des Vaters oder durch die eigne Hand?

Der Bote.

Dem Vater grollend um den Mord, volführt' er's selbst.

Der Chor.

Seher, welch ein wahres Wort enthülltest du!

Der Bote.

In solchem Unheil fordert Rath das Uebrige.

Der Chor.

Dort seh' ich eben traurig nah'n Eurydike,
1145

Kreon's Gemahlin: aus dem Hause tritt sie, sei's,

Daß sie's gehört vom Sohne, sei's von ungefähr.

Eurydike. Die Vorigen.

Eurydike.

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)) — 1115 focus

Tú, á quien los hombres adoran bajo nombres diversos; tú, gloria de Cadmo, hijo del poderoso señor del trueno, dios protector de la famosa Italia, que presides con Ceres las fiestas solemnes de Eleusis ¡oh, Baco! tú habitas la ciudad querida de las Bacantes, Thebas, junto á las márgenes del Ismeno, donde fueron diseminados los dientes del fiero dragón.

Antistrofa 1.a

CORO

En tu honor se cleva la brillante llama de los sacrificios en la montaña de doble cumbre que recorren las Bacantes, ninfas Corycias, y á la que riegan las aguas de la fuente Castalia, Tú atraviesas las colinas de la montaña de Nysa cubiertas de espesa yedra y sus verdes faldas de numerosos viñedos, y cantos de alegría saludan ta presencia, cuando visitas los muros de Thebas...

Estrofa 2.a

CORO

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

¡Oh, tú, mancebo, que conduces el coro de los astros; tú que presides los cantos nocturnos, hijo de Júpiter, comparece ante nosotros acompañado de las hijas de Naxos, de las Thyadas que celebran en danzas delirantes 4 Baco su soberano.

Un Mensajero Criado or Siervo de Creonte, y el Coro

EL MENSAJERO

Habitantes del palacio de Cadmo y de Anfion, á ningún ser viviente se puede considerar como dichoso ni como desgraciado, mientras existe; porque sin cesar la voluble Fortuna nos levanta ó nos abate, nos envía la prosperidad ó nos sume en la desgracia, sin que haya adivino que pueda leexnos lo porvenir por lo presente. Creonte era, á mi juicio, digno ha poco de ser envidiado; él había librado de sus enemigos á esta tierra de Cadmo; él reinaba prósperamente como señor absoluto del pais; una prole generosa aumentaba su gloria... hoy todo ha desaparecido. Que el hombre cuando picrde la dicha, ante mis ojos ya no vive; para mi es un cadáver que respira. En vano posees en tu palacio inmensos tesoros; el regio fausto en vano te circunda. Si has perdido la alegría, todo lo demás, comparado con ella, es menos que humo, menos que vana sombra.

EL CORO

¿Qué nueva desgracia ocurrida á nuestros reyos vienes á anunciarnos?

EL MENSAJERO

¡Han muerto!... Y los que viven son la causa de su muerte.

EL CORO

¿Quién es el asesino? ¿Cuál es la victima? Habla.

EL MENSAJERO

Hemón ya no existe: con mano propia se ha desangrado.

EL CORO

¿Con la suya propia quieres decir, ó con la de su padre?

EL MENSAJERO

Él mismo se ha dado muerte, irritado con- tra su padre por el suplicio de su Antigona.

EL CORO

¡Oh, Tiresias, cuán verdaderas eran tus predicciones!

EL MENSAJERO

En tal estado estas cosas, me parece conveniente que se delibere sobre lo demás.—(Se ve salir de palacio á la Reina.)

EL CORO

Pero veo que se acerca la infortunada Eurydice, esposa de Creonte. Ella sale de palacio: ¿la trac la casualidad, ó se ha enterado de la desgracia de su hijo?

Los mismos y Eurydice

EURYDICE

German (F. Hölderlin, 1804) (OCR draft) Experimental (German (F. Hölderlin, 1804)) — 1115 focus

N ahmenschöpfer , der du von den Wassern, welche Kadmos

Geliebet, der Stolz bist, und defs, der im Echo donnert,

Ein Theil, des Vaters der Erd’,

Und Italia in Wachstum weit umschweifst,
1165

Die allbekannt ist. Allen gemein

Ist aber Undurchdringliches; denn auch waltest

Im Schoose du, zu Elevsis.

Hier aber, Freudengott,

In der Mutterstadt, der bacchantischen,
1170

In Thebe wohnest du, an Ismenos kaltem Bach,

Anden Zäunen, wo den Othem

Das Maul des Drachen haschet,

Der Opferrauch, der wohlgestalt ist über

Des Felses Schultern, hat dich gesehen; am
1175

Cocytus, wo die Wasser

Bacchantisch fallen, und

Kastalias Wald auch.

Und unter Nyssäischen Bergen regen

Fernhorchend Brunnen dich auf,
1180

Und grün Gestad,

Voll Trauben hängend,

Nach Thebes

Unsterblichen Worten zu gehn, |

In die Gassen, da sie frohlokten.
1185

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.

Jo! du! in Feuer wandelnd!
1195

Chorführer der Gestirn’ und geheimer

Reden Bewahrer!

Sohn , Zevs Geburt!

Werd’ offenbar! mit den Naxischen

Zugleich, den wachenden
1200

Thyaden, die wahnsinnig

Dir Chor singen, dem jauchzenden Merrn.

Erste Scene EIN BOTE. DER CHOR. Hernach EURYDICE.

DER BOTE

O ihr des Kadmos Nachbarn und Amphions,

Es steht nicht so, dass ich des Menschen Leben,

Wie’s auch verfalst sey, loben möcht’ und tadeln.
1205

Undenklichs hebt , undenklichs stürzet nemlich

Allzeit den Glüklichen und den Unglüklichen.

Kein Schergeist erreicht nicht das, was da ist.

So war sonst Kreon mir beneidenswerth ,

Da cr von Feinden rettete das Land
1210

Des Kadmos und allein Herrschaft gewann,

In dieser Gegend, und regiert und blüht

In wohlgeborner Saat von Kindern. Nun

Geht alles hin. Das Angenehme nemlich,

Das untreu wird, halt’ ich des Mannes unwerth.
1215

Reich, wenn du willst, ist er im Hause sehr,

Und lebet in tyrannischer Gestalt.

Doch wenn von dem weggeht die Freude, möcht’

Um eines Rauches Schatten ich das andre nicht

Als angenehm für einen Mann verkaufen.
1220

CHOR

Wie kommt dir denn vom Fürsten diese Klage?

DER BOTE

Gestorben sind sie. Schuldig sind, die leben.

CHOR

Und welcher tödtet? welcher liegt? sag’ an!

DER BOTE

Hämon ist hin, von eignen Händen blutend.

CHOR

Was? von des Vaters oder eigner Hand?
1225

DERBOTE

Er selbst. Dem Vater zürnt’ in seinem Mord’ er.

CHOR

Wie führtest du ein richtig Wort, o Seher!

DER BOTE

So stehtes. Anderes ist zu bedenken.

CHOR

Ich sch’, Eurydice, die unglükliche,

Die Frau des Kreon eben. Ob im Hause sie’s
1230

Gehört hat, oder da aus Zufall ist.

English (Sir Richard Jebb1, 1904) (OCR draft) Experimental (English (Sir Richard Jebb1, 1904)) — 1115 focus

O thou of many names, glory of the Cadmeian bride, offspring of loud-thundering Zeus! thou who watchest over famed Italia, and reignest, where all guests 1120 are welcomed, in the sheltered plain of Eleusinian Deé! O Bacchus, dweller in Thebè, mother-city of Bacchants, by the softly-gliding stream of Ismenus, on the soil where the fierce dragon’s teeth were sown! 1

Thou hast been seen where torch-flames glare through smoke, above the crests of the twin peaks, where move 1130 the Corycian nymphs, thy votaries, hard by Castalia’s stream. Thou comest from the ivy-mantled slopes of Nysa’s hills, and from the shore green with many-clustered vines, while thy name is lifted up on strains of more than mortal power, as thou visitest the ways of Thebè: 2

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

O thou with whom the stars rejoice as they move, the stars whose breath is fire; O master of the voices of the night; son begotten of Zeus; appear, O king, 1150 with thine attendant Thyiads, who in night-long frenzy dance before thee, the giver of good gifts, Iacchus! Enter MESSENGER, on the spectators left hand.

Messenger

Dwellers by the house of Cadmus and of Amphion, there is no estate of mortal life that I would ever praise or blame as settled. Fortune raises and Fortune humbles the lucky or unlucky from day to day, and 1160 no one can prophesy to men concerning those things which are established. For Creon was blest once, as I count bliss; he had saved this land of Cadmus from its foes; he was clothed with sole dominion in the land ; he reigned, the glorious sire of princely children. And now all hath been lost. For when a man hath forfeited his pleasures, I count him not as living—I hold him but a breathing corpse. Heap up riches in thy house, if thou wilt; live in kingly state; yet, if there be no 1170 gladness therewith, I would not give the shadow of a vapour for all the rest, compared with joy.

Chorus

And what is this new grief that thou hast to tell for our princes?

Messenger

Death; and the living are guilty for the dead.

Chorus

And who is the slayer? Who the stricken? Speak.

Messenger

Haemon hath perished; his blood hath been shed by no stranger.

Chorus

By his father’s hand, or by his own?

Messenger

By his own, in wrath with his sire for the murder.

Chorus

O prophet, how true, then, hast thou proved thy word!

Messenger

These things stand thus; ye must consider of the rest. 1180

Chorus

Lo, I see the hapless Eurydicé, Creon’s wife, approaching; she comes from the house by chance, haply,—or because she knows the tidings of her son.

Enter EURYDICE.

Eurydice

English (Robert Potter, 1788) (OCR draft) Experimental (English (Robert Potter, 1788)) — 1115 focus

Go thou, nor others with this charge entrust.
1115

Instant I go. You, my attendants, haste,
1115

With axes in your hands haste to the plain...

And I (since now my sentence is reversed)

Who bound her, will in person set her free....

I fear that to preserve the ancient laws

Through all his life is man's discreetest part.
1120

O thou by various names renown'd,
1120

The Theban Nymph's illustrious grace,

Sprung from enraptur'd Jove's embrace,

While all his awful thunders roll'd around;

Who joy'st thy richest gifts to pour

O'er blest Italia's favour'd shore,

And on the hallow'd Eleusinian plain

Where Ceres waves her ripen'd gold,
1125

With her thy mystic reign dost hold;
1125

God of the shouting Thyad train,

Pleased o'er the walls, which thy loved Thebes enclose,

A present guardian to preside,

Where deep Ismenus rolls his tide,

'Midst the fierce race that from the dragon rose !
1130

Thee saw the wild and rocky steep,
1130

Whose forked summits proudly rise,

And stretch their rude brows to the skies,

Where the Corycian Nymphs their orgies keep:

Thee, the flames blazing on the mount:

• Thee, pure Castalia's sacred fount:

Thee, the Nysæan mountain's craggy sides,

O'er which the mantling ivy twines:

The swelling hillocks green with vines,

Whose purple fruit their foliage hides;
1135

And waking harmony's enchanting pow'rs,
1135

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

And to thy Thebans peace restore!

Thou leader of the starry train

That flaming bursts upon the sight;

Director of th' harmonious strain

Whose sweet notes charm the ear of night,

Hear, son of Jove, O Bacchus, hear,

Bright in thy form divine appear
1150

Thy frentic Nymphs from Naxos lead,
1150

The frolic dance who lightly tread,

And, as around their god they stand,

Hail thee the leader of their band!

Messenger
STRO. 1. ANTIS. 1. STRO. 2. ANTIS. 2. MESSENGER, CHORUS.

Inhabitants of Thebes, the honour'd seat
1155

Of Cadmus and Amphion, such the life
1155

Of man, so unassured his fickle state,

I cannot prize it high, nor would dispraise:

For fortune ever raises or casts down..

The happy, and th' unhappy, at her will,

And no man can divine the fates to come.
1160

Such was the state of Creon, it from me

Excited admiration; from its foes

He saved this land, o'er all its realms obtain'd

The monarchy, reign'd sole with sovereign pow'r,

And flourish'd in a noble race of sons.

Now all is lost: for when the joys of life
1165

Man knows no more, may he be said to live?

He breathes, but hath not life. Nay, let his house

Be stored with riches, let a monarch's pomp

Attend him; yet 'midst these if heart-felt joy

Be absent, all the rest I would not prize,
1170

Nor purchase with the shadow e'en of smoke.

Chorus

What ills, that cause the royal house to mourn,

Comest thou to tell us?

Messenger

They are dead: those live

Who caused their death.

Chorus

Inform us whose this deed,

Who lies in death?

Messenger

Hæmon is dead; he lies
1175

Welt'ring in blood.
1175

Chorus

Slain by his father's hand,

Or by his own?

Messenger

By his own hand he died,

Against his father for the virgin's death

Enraged...!

Chorus

What truths, O Seer, thy voice announced !

Messenger

These are fulfill'd: yet others claim our thought.

Chorus

Bur see Eurydice, th' unhappy wife
1180

Of Creon: these sad tidings she hath heard,

Or chance hath brought her from the royal house.

Eurydice

English (Sir Richard Jebb2, 1904) (OCR draft) Experimental (English (Sir Richard Jebb2, 1904)) — 1115-1150 focus

Chorus

God of many names, glory of the Cadmeian bride and offspring of loud-thundering Zeus, you who watch over far-famed Italy and reign
1115

in the valleys of Eleusinian Deo where all find welcome! O Bacchus, denizen of Thebes , the mother-city of your Bacchants, dweller by the wet stream of Ismenus on the soil
1120

of the sowing of the savage dragon’s teeth!
1125

1126

Chorus

The smoky glare of torches sees you above the cliffs of the twin peaks, where the Corycian nymphs move inspired by your godhead,

and Castalia’s stream sees you, too. The ivy-mantled slopes of Nysa ’s hills and the shore green with many-clustered vines send you, when accompanied by the cries of your divine words,
1130

you visit the avenues of Thebes .
1135

1137

Chorus

Thebes of all cities you hold foremost in honor, together with your lightning-struck mother.

And now when the whole city is held subject to a violent plague, come, we ask, with purifying feet over steep Parnassus ,
1140

or over the groaning straits!
1145

1146

Chorus

O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus,

appear, my king, with your attendant Thyiads, who in night-long frenzy dance and sing you as Iacchus the Giver!
1150

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

Notes on the current edition

Antigone

1. (aphrodite)

Search the Perseus Catalog for:

Search the Perseus Catalog for:

1115-1154

Current edition Experimental

Ἄγγελος

Χορός τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων; 1165

Ἄγγελος τεθνᾶσιν· οἵ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος Αἵμων ὄλωλεν, αὐτόχειρ 11 δ᾽ αἱμάσσεται.

Χορός πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου. 1170

Χορός ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων, ἤτοι 12 κλύουσα παιδὸς, ἢ τύχῃ, πάρα. 1175

Εὐρυδίκη 13

13. ΕΞΟΔΟΣ.

Χορός τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων; 1115

Ἄγγελος τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου. 1120

Χορός ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα. 1125

Ἄγγελος

Χορός τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος τεθνᾶσιν · οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος ; λέγε. 1150

Ἄγγελος Αἵμων ὄλωλεν, αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας!

Ἄγγελος ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα. 1155

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ, δάμαρτα τὴν Κρέοντος · ἐκ δὲ δωμάτων, ἤτοι κλύουσα παιδὸς, ἢ τύχῃ, περᾷ.

Εὐρυδίκη

Ἄγγελος

Χορός τί δ᾽ αὖ τόδ' ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος Αἵμων ὄλωλεν· αὐτόχειρ δ' αἱμάσσεται. 1175

Χορός πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ 1180 δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Ἄγγελος

Χορός τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται. 1175

Χορός πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ 1180 δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Ἄγγελος

Χορός τί δ’ αὖ τόδ’ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει; τίς δ’ ὁ κείμενος; λέγε.

Ἄγγελος Αἵμων ὄλωλεν· αὐτόχειρ δ’ αἱμάσσεται. 1175

Χορός πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός ὦ μάντι, τοὔπος ὡς ἄρ’ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ’ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ 1180 δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Εὐρυδίκη

Ἄγγελος

Χορός τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος τεθνᾶσιν. οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός καὶ τίς φονεύει, τίς δ᾽ ὁ κείμενος ; λέγε.

Ἄγγελος Αἵμων ὄλωλεν.· αὐτόχειρ δ᾽ αἱμάσσεται. 1175

Χορός πότερα πατρώιας ἢ πρὸς οἰκείας χερός;

Ἄγγελος αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός ὦ μάντι, τοὖπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ, 1180 δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων ἤτοι κλύουσα παιδὸς ἢ τύχηι περᾶι.

Εὐρυδίκη

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;
1165

Ἄγγελος

τεθνᾶσιν· οἵ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν, αὐτόχειρ ¹¹ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.
1170

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων,

ἤτοι ¹² κλύουσα παιδὸς, ἢ τύχῃ, πάρα.
1175

Εὐρυδίκη
¹³

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;
1115

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.
1120

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.
1125

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν · οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος ; λέγε.
1150

Ἄγγελος

Αἵμων ὄλωλεν, αὐτόχειρ δ᾽ αἱμάσσεται.

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας!

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων, τἄλλα βουλεύειν πάρα.
1155

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,

δάμαρτα τὴν Κρέοντος · ἐκ δὲ δωμάτων,

ἤτοι κλύουσα παιδὸς, ἢ τύχῃ, περᾷ.

Χορός

τί δ᾽ αὖ τόδ' ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ' αἱμάσσεται.
1175

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Χορός

τί δ’ αὖ τόδ’ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ’ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ’ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ’ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ’ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχῃ πάρα.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν. οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει, τίς δ᾽ ὁ κείμενος ; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν.· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρώιας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὖπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,
1180

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων

ἤτοι κλύουσα παιδὸς ἢ τύχηι περᾶι.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος ; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1160

Χορός

πότερα πατρῴας, ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.

Ἄγγελος

ὡς ὧδ᾽ ἐχόντων τἄλλα βουλεύειν πάρα.

Χορός

καὶ μὴν ὁρῶ τάλαιναν Εὐρυδίκην ὁμοῦ,
1165

δάμαρτα τὴν Κρέοντος· ἐκ δὲ δωμάτων,

ἤτοι κλύουσα παιδός, ἢ τύχῃ, πάρα.

Χορός

τί δ᾽ αὖ τόδ᾽ ἄχθος βασιλέων ἥκεις φέρων;

Ἄγγελος

τεθνᾶσιν· οἱ δὲ ζῶντες αἴτιοι θανεῖν.

Χορός

καὶ τίς φονεύει; τίς δ᾽ ὁ κείμενος; λέγε.

Ἄγγελος

Αἵμων ὄλωλεν· αὐτόχειρ δ᾽ αἱμάσσεται.
1175

Χορός

πότερα πατρῴας ἢ πρὸς οἰκείας χερός;

Ἄγγελος

αὐτὸς πρὸς αὑτοῦ, πατρὶ μηνίσας φόνου.

Χορός

ὦ μάντι, τοὔπος ὡς ἄρ᾽ ὀρθὸν ἤνυσας.