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STANDARD CLASSICAL WORKS. 
 
 Horace, The Works of. With English Isotes, for the use of 
 School? and Colleges. By J. L. Lincoln. Professor of Latin 
 Lan£uage and Literature in Brown University. 12mo. 575 pages. 
 
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 ty-first and twenty-second books entire. With a Plan of Rome, 
 and a Map of the Passage of Hannibal, and English Xotes for 
 the use of Schools. By J, L. Lincoln. Prof, of the Latin Lan- 
 guage and Literature in Brown University. 12mo. 3*29 pages. 
 
 QninttlS CurtitlS : Life and Exploits of Alexander the Great. 
 Edited and illustrated with English Xotes. by Weluam Henry 
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 lary. By Butler and Stuegas, 12mo. 397 pages. 
 
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 heretofore published in this country. 
 
 The Histories of Tacitus. With Notes for Colleges. By W. S. 
 Tyler. Professor of Latin and Greek in Amherst College. 
 l'2mo. 453 pages. 
 Tacitns's Germania and Agricola. With Notes for Colleges. 
 
 By W. S. Tyler. 12mo. 193 pages. 
 Virgil's iEneid,* With Explanatory Notes. By Henry Erieze. 
 Professor of Latin in the State University of Michigan. (Re- 
 cently published.) l-2mo. 59S pages. 
 
 The type is unusually large and distinct. The work contains 
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 be attained only by pictorial i; lustrations. 
 
 GREEK TEXT-BOOKS. 
 
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 With Notes and a Lexicon by John J. Owex. D.L.. LL. I), 
 With Map. 12mo. 
 
 Arnold's First Greek Book,* on the Plan of the First Latin 
 Book. 12mo. -29? pages. 
 
 Arnold's Practical Introduction to Greek Frose Composi- 
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 ■ Second Part to the above." 12mo. 248 pages. 
 
 '^§T = SEE EXE OF THIS VOLtEME. 
 
20$0KAE0T2 ANTITONH. 
 
 THE 
 
 ANTIGONE 
 
 OF 
 
 SOPHOCLES. 
 
 THE GREEK TEXT REVISED AXD CORRECTED, 
 
 INTRODUCTION AXD CRITICAL AXD EXPLAXATORY XOTES, 
 
 FOR THE USE OF ACADEMIES AXD COLLEGES. 
 
 BY 
 
 M. J. SMEAD, Ph. D., 
 
 PROFESSOR IN THE UNIVERSITY OF GEORGIA. 
 
 / 
 
 KE¥ YORK: 
 D. APPLETOX & COMPANY, 
 
 549 & 551 BROADWAY. 
 1871. 
 
<1, 
 
 \«1 * 
 
 Entered, according to Act of Congress, in the year 1870, 
 
 By M. J. SMEAD, Ph. D., 
 
 in the Office of the Librarian of Congress, at Washington. 
 
PEEFACE. 
 
 Ix my Notes to the First Philippic of Demosthe- 
 nes, p. 119, I wrote as follows concerning the ancient 
 religious festival of the Dionysia : 
 
 " It was here that the simple song, which was sung 
 in the festive processions, rose by degrees to the digni- 
 ty of dramatic poetry, and Thespis' introduction of a 
 special actor to fill up the pauses in the chorus led the 
 way to the grandest development known in the history 
 of the human mind." 
 
 Adopting this uncontroverted truth as a point of 
 departure, I have, in the following Introduction, 
 grouped together such notices as I could collect from 
 ancient writers and modern authorities, to show that 
 the Greek Theatre was essentiallv a religious institu- 
 tion, and besides, that there is good ground to conclude 
 that the national belief and worship constituted the 
 basis of all pure literary and art culture in Greece ; 
 consequently, that all sound criticism of a Greek tra- 
 gedy, which is the highest work of art, must proceed 
 
4 PREFACE. 
 
 from that stand-point, and that the distinctive excel- 
 lences and peculiarities of yEschylus or Sophocles can- 
 not be judged by any modern literary standard, nor 
 indeed by any standard outside of themselves. With 
 this conviction, and in this view, I have treated the 
 Antigone as mainly a religious poem. To the end 
 of bringing out the religious motive and tendency 
 more clearly, I have presented the fate-legend, of 
 which it is a part, both in its primitive epic and later 
 tragic form. Lastly, by a careful analysis of the drama 
 and its characters I have sought to show how consist- 
 ently and logically the idea is carried out by the artist, 
 and how, in this ancient life-picture of contending 
 forces, the political element is but secondary, and only 
 serves to heighten the splendor of the dominant reli- 
 gious one by placing the latter in a stronger light. 
 This ruling thought has been made duly prominent 
 also in the notes, in which, while aiming to explain all 
 the difficulties of syntax and poetical diction, I have 
 endeavored to supply that aid to the cognitio rerum, 
 which is requisite for the full appreciation of the argu- 
 ment, and which, as I conceive, deserves to be consid- 
 ered the true aim of classical study. 
 
 Athens, Ga., January, 1870. 
 
I^TKODUCTIOK 
 
 I.— THE CULTUS. 
 
 The Greek Drama, in its origin and growth, was a part 
 of the worship of Dionysos (Bacchus). Its germ lay in the 
 choral hymns and dances performed around the sacrifice 
 burning upon the altar of the god, who was always imagined 
 to be present in the mystic symbols and to take delight in 
 the honors thus offered to him. From this primitive incep- 
 tion, in which the rustic villagers of Bceotia sought to ex- 
 press their joy and thankfulness for the gifts of the vine- 
 god, to its fullest development in the great national theatres, 
 the drama was always deemed an essential requisite of the 
 public service of that divinity, and contributed largely to 
 the splendor of Ins festivals. 
 
 The drama attained its most perfect form in the hands of 
 Sophocles at Athens, which city had long since become the 
 chief seat of the Dionysian cultus. The national theatre 
 there — that in winch, at the three principal festivals of the 
 Dionysia, provided for at the expense of the state (see 
 Demos., ii. Phil., and my note, p. 119), all the masterpieces 
 of the great dramatists were first brought out — was built on 
 the grounds of the Temple of Bacchus on the southern de- 
 clivity of the Acropolis. That edifice, which was uncovered, 
 and large enough to seat thirty thousand persons, had for its 
 
6 INTRODUCTION. 
 
 central point the traditional square altar, ascended by steps, 
 on which libations were yet offered to the divinity (Plutarch, 
 Cim. 8) ; the circular space around it was called the orches- 
 tra (i. e., dancing-place, from dpxiofmi, dance), in which, as 
 of yore, the cyclic chorus sang their antiphonal dithyrambics 
 to rhythmical dances, accompanied by the ancient Phrygian 
 flute-music ; the customary Bacchus festal - costume was, 
 with a slight change, worn alike by actors and chorus (K. O. 
 Midler, iEsch. Eum., pp. 109, 110); the ceremonies were 
 presided over by a priest of Bacchus (Schol. Aristoph., Ran., 
 v. 297) ; all the externals of the Attic drama prove conclu- 
 sively its religious purpose and its identity with the ancient 
 Bacchus- worship. 
 
 While, now, it may be said that all the productions of 
 the Greek stage bear evident marks, particularly in the 
 lyric portions, of having been produced to serve this gen- 
 eral purpose — embodying and illustrating, as they do, the 
 religious views and moral sentiments of the nation — yet 
 in none of the preserved tragedies is the design so appar- 
 ent as in the Antigone of Sophocles. In the hope of aid- 
 ing the student in obtaining, to some extent, an inner view- 
 point whence he may observe more nearly the elements 
 employed, and Sophocles' masterly use of them in this play, 
 I offer here a brief notice (though necessarily an imperfect 
 one) of the cultus of the dramatic Bacchus. 
 
 This cultus was not an independent system of religion, 
 but, like that of Apollo, Minerva, Ceres, etc., a subordinate 
 one, forming part of the general system of Hellenic belief 
 and worship. The Hellenes acknowledged one self-exist- 
 ent, supreme divinity — Zeus (Z7/v), who is the beginning, 
 middle, and end of . all things ; who, conformably to his na- 
 ture, ever moves forward in his own straight course ; * who 
 
 * Compare the ancient doctrine (6 Tra?,acbg /loyoc), cited by Plato, de 
 Legg., p. 128, Tauch. " Plato," says Grou, "drew this sublime idea of 
 Deity from the verses of Orpheus, quoted by Theodoret in his second 
 discourse on Therapeutics. Orpheus," adds that learned bishop, " had 
 
THE CULTUS. 7 
 
 always sees all and governs all ; * who is constantly attend- 
 ed by Yen?], Highty his associate and minister, by whom he 
 has fixed the moral order of the world,! and through whom 
 he is the executor and vindicator of his own laws, which are 
 as unchangeable as himself. J 
 
 In the gradations of rank assigned by popular belief to 
 the older and superior gods upon the summit of Mount Olym- 
 pus, with Zeus at the apex, and the others ranked according 
 to their relation to the Father of gods, or the fancied im- 
 portance of their spheres of action, § while the inferior di- 
 vinities — sons or daughters of Jove — were, in a descending 
 scale, arranged on the sides and at the foot of the mountain, 
 we perceive the ideal of the pyramidal statuary group so 
 characteristic of religious art in Greece. For art, among 
 the ancients, was the handmaid of religion ; and not only 
 so, it was itself the highest expression of the divine in man, 
 and was employed to symbolize the highest truths. The 
 Olympian heaven itself was but a sublime symbol, signifi- 
 cant of the subordinate unity of all the known powers of 
 the world — those of physical nature being subservient to 
 the moral, these to the celestial, and all subject to, and em- 
 braced by one omnipotent father and god.jj Eminent an- 
 tiquaries have thought that the sacred group, which always 
 adorned the triangular pediment of a Grecian temple, was 
 intended to give the houses of the gods an impressive 
 gTandeur in contrast with the low, flat-roofed dwellings of 
 
 learned it from the Egyptians, and they had received it from the 
 Hebrews/' 
 
 * Soph. Antig., 184. f Antig., 451. Plat. Legg., 12S. 
 
 \ J^sch. Prom., 403. Compare the beautiful passage of Soph., R., 
 S65 ff. 
 
 § TVhen Homer represents the gods as partaking together of the ban- 
 quet, he doubtless had in mind a court-feast of an Oriental king, where, 
 in the assignment of places, careful attention was paid to the rank of the 
 guests. 
 
 | Aristot, Metaph., xi., S, Trepiexet rb de'iov ryv b/.r/v oiaiv. 
 
8 INTRODUCTION. 
 
 men (Herm., Relig. Antiq., p. 81). It seems probable that 
 it had a far greater significance : that, inasmuch as every 
 part of sacred architecture was highly symbolical (Herm., 
 ibid.), the delta-formed gable, with its figures of gods and 
 their retinue — technically called the eac/le, aerbg (Aristoph., 
 Av. 1109) — was typical of the subordinate god-unity of the 
 Greek Cosmos. 
 
 It is well known that the reverence of the powers of 
 Nature was the earliest form of Grecian religion ; and the 
 matured and enlightened minds of after-ages, so far from 
 discarding, as puerile superstitions, the crude notions of 
 their simple ancestors, ratified and established them as the 
 religion of the state, judging, as Plato says (Philebus, 16), 
 that " the primitive men were better than themselves, and 
 lived nearer to the gods," sharing with them a common 
 table (Aratus Phagnom., 91. Compare Wachsmuth, Gr. 
 Antiq., p. 40). 
 
 One of the many forms of religious worship that grew 
 out of the adoration of elemental Nature (Plat. Crat., 397, C.) 
 was this of the wine-god Bacchus. The ancients conceived 
 him, as well as their other divinities, anthropomorphically, 
 i. e., as being of human form, as having parentage, birth, 
 growth, and history; all these were carefully transmitted 
 in the so-called god-mythus, in connection with the worship. 
 The mythus of Bacchus was twofold, or rather the younger 
 mythus was an offshoot of the elder, showing that there had 
 been a schism in the sect. The older, beginning with the 
 mysterious birth of Zagreus,* commonly called Iacchus, 
 son of Zeus and Demeter, or her daughter Persephone 
 (Schol. Ar., Ran., 324), with whom he was associated in the 
 celebrated Eleusinian mysteries. The myth had its ori- 
 gin, probably, in India, at an incalculably remote period. 
 Stripped of its excessive mysticism and Asiatic verbiage, 
 
 * The chief seat of his worship was in the island of Crete, where, in 
 an annual festival, his acts, sufferings, and death, were enacted with ap- 
 propriate solemnities. — (Herm., p. 353.) 
 
THE CULTUS. 9 
 
 it meant, according to Welcker's interpretation, that Jupi- 
 ter had, in profound secrecy, breathed his own spirit * into 
 the noblest gift of earth, the child of lovely Autumn — -Wine, 
 who, then brave and daring, sprung up to his father's throne 
 and hurled the lightnings. The character of this sect was 
 priestly and mystical, and its whole ritual bore the symbol- 
 ical stamp of the early times (Herod., viii., 65). The mys- 
 tics held their worship of choral singing and dancing at 
 night by torchlight, in meadows, on account of the flowers 
 (Schol., Aristoph., Ran., 326). The worship of Bacchus was 
 brought into Greece by the Pelasgi (Wachsmuth, Antiq., i., 
 pp. 37-40). 
 
 On this old sect was grafted the younger and more 
 Grecian cultus of Dionysos, son of Zeus and Semele, the 
 daughter of the Tyrian Cadmus. His semi-human lineage 
 and the Phrygian music, always used in his worship, point 
 to Phoenice as the cradle of the new faith (comp. Eurip. 
 Bacch., 86). As "the high-priesthood was associated with 
 the princely office" (Wachsm., i., 118), we may presume 
 that Cadmus himself introduced it in planting and organiz- 
 ing his colony of Thebes, f The Greeks, says Herodotus 
 (2. 146), reckoned the birth of Dionysos from the time that 
 he became known as a god ; and the same author states 
 (2. 145) that, from that time to his own, it was 1060 years. 
 Putting the birth of the historian at 484 b. c. (Oxford Hist. 
 Tab., p. 32), it follows that this worship was first known in 
 Greece about 1544 b. c. There is reason to believe that 
 for a long time it made but little progress among the 
 surrounding Pelasgi, who were slow to recognize the new 
 divinity. Euripides, in his Bacchae, gives a picture of the 
 
 * We see in this primeval belief a vague notion of the union of spirit 
 with matter. 
 
 f Hence the chorus in Soph. (Ed., R. 210, invokes him as the special 
 divinity of Thebes : raad' ettuvv/lcov jag, oivtirca Banxov evcov. This pas- 
 sage proves that, at a very early period, Dionysos was known by the 
 name of the " Theban Bacchus." 
 
10 INTRODUCTION. 
 
 deadly opposition shown to him and his supporters ; i 
 which tragedy occurs the striking passage proclaiming his 
 godhood : TzaWa -&ebv deov Acovvaov (v. 84), cf. II. vi., 
 135. Meantime his worship spread into Egypt, where, 
 affiliating with that of Osiris, it soon became universal. 
 From that country it was brought back by Melampus 
 (Herod., 2, 49), who instructed the Greeks in its symbols 
 and ritual. 
 
 The Hellenes by whom the cultus was now received, 
 had become the dominant race in Greece (Wachsmuth, i., p. 
 53) ; they were an impulsive, energetic, chivalrous people, 
 gay and enthusiastic, fond of dress and show, and delight- 
 ing in splendid armor and military pageantry. These peo- 
 ple accorded to the wandering and persecuted Dionysos a 
 cordial welcome and congenial home. To them he appeared 
 a Joy to r}%e7i — x^?\ ia PporoZoLV (II., xiv., 325), the inspirer 
 of a noble enthusiasm, and the nourisher of genius. They 
 adopted his worship, however, not merely because it suited 
 their nature, but from patriotic vanity ; they considered 
 that, in glorifying the offspring of the ancient Theban Cad- 
 means, interwoven as these were with the genealogy of the 
 Hellenic heroes (Eur. Bacch., 336), they were exalting them- 
 selves as well (Wachs., i., 37). Here no such barriers ex- 
 isted to change and progress as were found in the foreign 
 sacerdotal organizations ; consequently, instead of being a 
 religion imposed from without, it required only to be de- 
 veloped from within, as the supposed inspiration dictated, 
 to modify it to the wants of their nature. It was under the 
 immediate teaching and guidance of the gods and muses, as 
 Plato claims (de Legg., ii., 40 and 41, Tauch.), that the system 
 of choral worship was perfected, which formed the basis of 
 Grecian education and culture. The religion of Dionysos 
 was an art religion ; in creed and ritual it was the full rec- 
 ognition and manifestation of the divine spirit in the human 
 being. It was, consequently, an important step above and 
 beyond the early materialism. 
 
THE CULTUS. H 
 
 Its religious and moral teachings did not essentially dif- 
 fer from those of other forms of worship. It may be said 
 that particular stress was laid upon right, founded upon the 
 moral sense and consecrated by custom ; truth in its high, 
 general sense ; religious and political wisdom / reverence of 
 the gods and obedience to the laws established by them ; 
 filial piety, and veneration of the dead. These last are 
 prominent motives of action in the Antigone; for which 
 reason it may be useful to state somewhat in full the doc- 
 trines held by the Greeks of the early ages touching the 
 dead. 
 
 According to the Homeric belief, says Yoelcker,* when 
 a person departs this life, the t-tv/) leaves the body, and it 
 is that whicn survives in the lower world. The word ^'I'X'rj 
 in Homer signifies merely breath and life; never, as in 
 later usage, the soul, or spirit. It is never said of &vpbg z the 
 heart, vooc, the understanding, and utroc, force of mind, 
 that they go into Hades ; they cease with the body. The 
 spirit is not recognized as a thing of independent existence, 
 which lives on separate from the body. It is conceived as 
 dependent on the life of the body, and so materially identi- 
 fied with it that the dead in Hades possess no mental pow- 
 ers, because they have no body ; yet, by chinking the blood 
 of the sacrifice poured into the trench, they receive the need- 
 ful bodily vigor. The belief in a future existence rested upon 
 sensible perception. When a man died a natural death, the 
 breath that left the body appeared to the observer to be the 
 cause of life and death ; by its departure the man expired. 
 That only had gone, and, being itself the source and ground 
 of life, it would continue to live. The state and manner of 
 that continuance is denoted by the word ddcoAor. signifying 
 apparition, image, or likeness — an airy, shadowy shape, in 
 feature and form just as the deceased had appeared in life. 
 The c'dco/.ov is then the reflex of the impression left on the 
 memory of survivors. The early Hellenes could not con- 
 
 * Cited by Nitzsch. Odvss.. rol. Hi., p. 188. 
 
12 INTRODUCTION. 
 
 ceive of a future life otherwise than as a continuance of all 
 the conditions of the present. The nether world is the 
 counterpart of the upper world, and the dead carry their 
 characters with them. This belief was based upon the ap- 
 pearance of the departed in dreams, as we find described in 
 Patroclos's appearance to Achilles (Iliad, xxiii., 65, seqq. 
 Comp. iEsch. Agam., 116). For as, in our dreams, others 
 act and speak merely as our imaginations conceive them as 
 doing, so the dead heroes in Homer's nether world have a 
 consistent but unreal existence — as if it were a shadowy 
 projection of their previous life. In this sense it is conceiv- 
 able that the ifjv%rj — sldcdhov in Hades — may have a tivfibg and 
 be of the same dispositions as before death : Ajax may hate 
 on, Orion can follow the chase, Hercules bend his bow, etc. 
 It is an apparent exception to the general principle of be- 
 lief when some are described as suffering punishments : 
 Sisyphos as rolling the stone, and Tantalos tortured with 
 hunger and thirst, while the fruit and water ever recede 
 before his opened mouth. * But the older myths, from 
 which Homer drew, mentioned a circumstance significant 
 for the proper understanding of the poet, viz., that those 
 personages had in their lifetime been signally chastised by 
 Zeus for their insolent behavior. Their peculiar punish- 
 ments, become notorious and incorporated into the marvel- 
 lous traditions, were still associated, in the popular mind, 
 with the sufferers in the abode of apparitions (comp. Nitzsch, 
 Odyss., iii., 320-3). As reflected forms, the ecdo)Xa are not 
 and cannot be tormented (ibid., p. 182). 
 
 These ethereal semblances, while bereft of all save a 
 negative being, were yet fondly imagined by the " too super- 
 stitious " Greeks as vaguely conscious, and pleased with trib- 
 utes of affection on the part of living friends. The libations 
 (Xoai) and other offerings poured or laid on the graves 
 of the departed, the funeral pyres overlaid with costjy 
 
 * Comp. Hor. Sat., i., 68. 
 
THE CULTUS. 13 
 
 things,* and even the institution of annual games in their 
 honor, can scarcely be regarded in any other sense than as 
 tokens of love that served to freshen the mutual attachment 
 that death had not quite severed. The pouring of blood, 
 with incantations expressing desire, was thought especially 
 effectual for bringing the loved one near. With time, the 
 idea of presence ripened to a belief, which led to invocation 
 and worship.! The rare instances of apotheosis, where a 
 mortal, for signal benefactions to his race, like Esculapius, 
 or Hercules, or Pan, was invested with godlike powers 
 (having in life possessed kindred endowments), was honored 
 with a regular priesthood, and worshipped with propitiatory 
 sacrifices, are of course exceptions to the general rule. 
 Another exception hardly less remarkable is celebrated by 
 Homer (Od., xi., 95) : it is the case of Teiresias, the blind 
 seer (comp. An tig., 942, seqq.), whom Persephone, as a 
 special favor, allowed to retain Iris divine gift of prophetic 
 vision ; by virtue of which, says Voss, he had been a god 
 among mortals, and therefore could not sink so low as the 
 other dead (Xitzsch, Od., hi., p. 151). Yet even his ui;;'/), 
 though in the possession of vooc and ppevec, cannot recover 
 the use of its powers until it has drunk of the blood of the 
 sacrifice. It appears that the breath and blood were be- 
 lieved to be the two essentials of vitality, and that, until 
 blood was supplied to the tyvftai in Hades, these were only 
 a phantasm, a nonentity. 
 
 Hence there was not, and could not be, in their belief, 
 any such thing as a place of punishment for sin in the 
 nether world. The Homeric poems, which give such ample 
 delineations of the heroic age, are silent on this point, thus 
 affording the clearest evidence that the Grecian mind had 
 not yet recognized a future reckoning — a point not reached 
 
 * Nitzsch, Od., iii,, pp. 163-4, 
 
 f Compare the words of Hesiod, quoted by Plato, Rep. v., p. 191, 
 Tauch. 
 
14 INTRODUCTION. 
 
 till long afterward.* Was there then no moral control 
 over human conduct, no divine sanctions ? Assuredly : the 
 moral restraints were neither less numerous nor less weighty 
 with the masses than those which curb men's passions 
 now ; for the Greek had literally the fear of the gods before 
 his eyes. His religion taught him to dread nothing beyond 
 the present life; to believe that the Olympian gods, who 
 alone bear rule over the living, punish offences committed 
 against them by misfortunes in life, or even by death, that 
 is, by annihilation. Zeus, the especial guardian of right, 
 took cognizance of all wrong done by man to his fellow- 
 man, while above and beyond all lay that gloomy, inscruta- 
 ble might called fate, or destiny, which even the gods could 
 not withstand, and before which ephemeral mortals were as 
 chaff. The duty which the gods first demanded of man 
 was submission to their will, acknowledgment of their supe- 
 rior power, and of his own proper limit, and refraining from 
 all acts and words of overbearing pride (Nitzsch, Od., p. 
 183). The fear of destiny, as a moral necessity, was a 
 dark cloud that saddened the otherwise gladsome Hellenic 
 nature. It hemmed in and shackled its daring spirit. It 
 was an ever-raised rod, admonishing to modesty and humil- 
 ity, and these were not Greek virtues. On the contrary, 
 vPpcg, arrogance, was the easily-besetting sin, the great 
 offence which most readily roused the divine wrath. " Pride, 
 and arrogancy, and the evil way, and the froward mouth," \ 
 were the hateful things which, in the Oriental belief, were 
 with fatal certainty followed by a fall. 
 
 The Hellenic doctrine of destiny was a long stride in 
 advance of the blind fatalism of Asia. Indeed, the Grecian 
 mind, at a very early period, emancipated itself from the 
 intellectual bondage of the East, and, by inaugurating free- 
 
 * The belief in a future judgment is distinctly stated by Plato, de 
 Legg., p. 460., Tauch., tyvxyv-duoovra loyov. 
 
 f Prov. viii. 13. SeeAntig., 126, 135. JEsch. Pers., 827. The doc- 
 trine is forcibly stated by Plato de Legg., p. 128, T. 
 
THE CULTUS. 15 
 
 dom of thought and will, not only laid the foundation of its 
 own greatness, but gave its character to Western civiliza- 
 tion. It has been said that the power of destiny on the 
 one hand, and the freedom of the human will on the other, 
 constitute the opposite poles of tragedy. It is because this 
 antagonism existed in the ancient belief, and, we may say, 
 in the ancient life, for that belief was the sum and result 
 of all previous human experience. The ancient Greeks, 
 with whom life was so largely outward and objective, 
 judged that the gods, from jealousy, had prescribed a limit 
 to human aspirations ; which limit was a sort of moral dead- 
 line, of the transgression of which they alone were the 
 guard, judges, and executioners. All great calamities and 
 reverses were ascribed to the workings of this law, which 
 appeared the more terrible because it was so variable. 
 (Xitzsch, Od., i., p. 11. Comp. Soph. Antig., 615—625.) The 
 national traditions contained numerous instances of flagrant 
 wrong committed by men in high positions, who, being be- 
 yond the reach of human justice, were overtaken by fearful 
 retributions, and whom vengeance suffered not to live. The 
 sin itself, pictured by conscience as a malicious demon, pur- 
 sued and bewildered the culprit until his own acts invited 
 his destruction. 
 
 In a worship whose professed aim was to produce spirit- 
 ual ecstasy and enthusiasm in the worshippers, it was to 
 be expected that all proper means should be employed. 
 The principal of these means (whatever may be insinuated 
 about the free use of wine) was the admission and develop- 
 ment of the principle of beauty. To say that a sense of 
 the oeautiful was a marked feature of the Grecian mind 
 would but faintly characterize its idolatrous devotion to 
 whatever was lovely to the eye, harmonious to the ear, 
 graceful in movement, symmetrical in form, noble in senti- 
 ment, and dignified in action. When that young, emotional 
 people conceived their darling divinity as a man in the 
 bloom of youth, of almost feminine beauty, with bright- 
 
16 INTRODUCTION. 
 
 blue eyes and blond hair falling to his shoulders (Boeckh, 
 Lect. Gr. Lit.), a nimble and vigorous dancer and powerful 
 singer (/3po/.uoc),* does it all signify nothing ? To my view 
 it signifies that the apotheosized Dionysos was the repre- 
 sentative ideal of Grecian manhood, with all its powers in 
 progressive, harmonious development — that his eldcjXov, 
 projected into the skies, had become the eltccjv, the express 
 image, of whatever was lovely in a handsome and gifted 
 race. His cultus in the early centuries w^as the consistent 
 expression of this youthful beauty (for the god was identi- 
 fied with his worship), and in later times it was the same 
 beauty, only more mature and perfect — the serener illus- 
 tration of religious wisdom and truth (Ath., 6 ca rovro)v 
 Tr\pr\rai rb aaXbv adl ao(ppovcfcbv fjjiGJv). 
 
 It was in Sicyon, a few miles from Corinth, that the 
 Dionysian festivals were first regularly celebrated ; and it 
 is noteworthy that the same city was the cradle of painting 
 and sculpture. f We shall notice in another place the prin- 
 ciples common to these arts and the drama, the rise and 
 history of which now claim our attention. 
 
 The better to form an idea of the Dionysian ritual, let 
 us imagine ourselves in attendance upon one of the three 
 annual festivals at Sicyon, previous to the time of Thespis. 
 It is a general holiday: the ordinary avocations are sus- 
 pended, so as to allow all classes to observe the feast. The 
 women are released from their accustomed seclusion ; the 
 maidens are even permitted to engage in the choral contest 
 [dycjv fiovat/cog). The children are dismissed from their 
 exercises ; and the slaves, while waiting on their masters, 
 take their full share in the general rejoicings (Herm. Rel. 
 Antiq., § 43). Early in the morning the whole community 
 from town and country assemble in the consecrated grove. 
 Upon the square altar in the middle a fire is burning. The 
 
 * Comp. Horn. Hymn to Bac. : el/il J'ey<y Aidvvaog epij3poiiog. 
 f Wachsmuth, Hist. Antiq., i., p. 102. 
 
THE CULTUS. 17 
 
 priest, standing before it, first proceeds to the ceremony of 
 purification. He does this by copiously sprinkling all present 
 with holy water, which he has consecrated by plunging into 
 it a burning brand from the altar. While his attendants 
 are leading up the victim, which is a fatted goat, decked 
 with garlands, the dithyrambic chorus of fifty take their 
 places on each side of the altar. One-half of these are 
 maidens (r]\ii%bpiov), but all are clad alike : all wear the 
 gay-colored Dionysian festal costume, which consists of a 
 long robe (crro/l?)) falling in broad folds to the feet, of bril- 
 liant colors upon a white or saffron ground (Herm., p. 137), 
 fastened by a broad girdle, setting high upon the breast, 
 and richly embroidered. All have likewise their heads 
 crowned with wreaths of ivy (Eurip. Bacch., 81. K. O. 
 Muller, ^Esch. Eum., p. 109). 
 
 The priest is ready to begin the sacrifice. Having first 
 admonished all present to preserve a reverential silence, 
 he sprinkles some parched barleycorns on the neck of the 
 animal, and cuts off from its forehead a tuft of hair, which 
 he throws into the fire. The victim is then felled to the 
 ground by a club, whereat the women utter aloud pious 
 ejaculations. The priest then bends upward the face of the 
 animal and cuts its throat with the sacrificial knife, holding 
 a bowl to receive the blood, with which he sprinkles the 
 altar. The animal is then skinned and its body cut in 
 pieces ; only the thigh-bones, wrapped around with fat and 
 some of the viscera, fall to the share of the god ; the re- 
 mainder is reserved for the banquet. The priest and his 
 acolytes now take their stand before the altar; the former, 
 pouring the (jrrovdal thrice upon the altar, raises his hands 
 to heaven and chants the hymn of praise and prayer, com- 
 posed in slow, spondaic metre, in which he is joined by his 
 assistants, and accompanied by one of them upon the lute 
 (cithara). This ended, the priest lays the sacrifice upon the 
 fire, and, while the flames rise from it, the chorus sings and 
 
18 INTRODUCTION. 
 
 dances the dithyrambic ode.* This is a glorification of Dio- 
 nysos, touching upon the circumstances of his birth, upon 
 his persecutions and sufferings, now upon the joys of his 
 worship, the blessedness of banishing cares and banqueting 
 at the table of the gods, f and anon interspersing reflections 
 of sober wisdom embodying the profoundest human experi- 
 ences, and finally celebrating the triumphs and extensive 
 sway of the god, when the ode rises to the wildest exulta- 
 tion, and ends with an air-rending shout, "Tacche ! " Mark 
 we now the manner of its execution. It is a contest— a 
 goat (rpdyog) the prize of victory. For many weeks the 
 choreutae, chosen for their choral proficiency, have been 
 under the training of the poet himself, who is the composer, 
 not only of the ode, but also of the music (Plat, de Legg., 
 p. 107) and appropriate dances. The hemichor of youths, 
 formed in three parallel lines of eight (or four of six) each, 
 with their leader at their head, perform the first strophe, 
 or turn round the altar. The singing is accompanied by 
 the inspiriting Phrygian flute. Observe now the exquisite 
 artistic fulness of the dance, which, no less than the lan- 
 guage, is made the vehicle of religious sentiment. Far from 
 being merely a rhythmical motion of the feet in marking 
 the measure, the choral dance calls every member of the 
 body into harmonious action, J so that, by means of an ex- 
 
 * Originally x°P°G ^as only a dance (Herm., p. 135). Plato (de Legg., 
 p. 41) derives it from X a P a iJ°y, but says it embraced both singing and 
 dancing. 
 
 f The festival rites, says Hermann (Rel. Antiq., p. 126), had essen- 
 tially the character of a banquet which man gave to the divinity, and at 
 the same time shared it with him. 
 
 \ Servius ad Yirg. Eel. : sane ut in religiombus saltaretur, haec ratio 
 est, quod nullam niajores nostri partem corporis esse voluerunt quae non sen- 
 tiret religionem. That dancing was often the expression of religious joy 
 in the East, not only among the Gentiles, but the Hebrews, compare 
 Exod. xv. 20, 2 Sam. vi. 14, 1 Chron. xv. 29, Judg. xi. 34, 1 Sam. xviii. 
 6, and xxi. 11, Ps. cxlix. 3, Jer. xxxi. 4-13, Lam. v. 15. The reason is 
 explained by Plato {de Legg., p. 263), concluding: 6ib /u,ifC7j(ng rcov Xeyo- 
 
THE CULTUS. 19 
 
 pressive, graceful pantomime, there is produced, so to speak, 
 a visible music reflecting the audible (see Plat, de Legg., 
 vii., p. 233, T.) — both constituting a faithful interpretation 
 of the inward ecstasy — that dancing of the heart which is 
 ascribed to the direct power of the god. In dancing, the 
 chorus makes a progressive circular movement around the 
 altar, while individuals move from the front outward tow- 
 ard the rear, and others pass from the rear to the front, 
 always describing the arc of a circle (see K. O. Mtiller, Eu- 
 men., diagrams), as if imitating the apjDarently progressive 
 and retrograde motion of the stars revolving harmoniously 
 about a common centre. The hemichor of maidens executes 
 the antistrophe in like manner, but in a contrary direction, 
 and so on, alternating with that of the youths to the end. 
 The dancing, like the poetry and music which it imitates, 
 has every variety of movement, sometimes becoming an 
 impetuous run, in keeping with the wild flight of thought 
 and fantasy, yet always beautiful both to the eye and the 
 ear (Boeckh, Lect. Gr. Lit.). 
 
 Next comes a contest of a different order. A rhapso- 
 dist, magnificently dressed (Plat. Ion., init.), with a crown of 
 gold on his head and a baton in his hand, mounts an ele- 
 vated platform, and, after an elegant preface of his own 
 (rrpooi(uov) , pronounces several episodes from Homer, or 
 some other epic legend, in a finely-modulated, declamatory 
 chant, in which he is accompanied by the lyre. With mi- 
 nutely-imitative gesticulation, he labors to render his story 
 with the utmost dramatic effect. He has scarcely ended, 
 when a second rhapsodist rises to compete for the favor of 
 the audience by a similar performance. The contest is, who 
 shall most effectually entrance the assembly by his recital, 
 most vividly depict the great passions and fatal errors of 
 
 fihuv Gx^/mct yevofievT} tt)v bpx^'tKrp) h^eipydaaro T£x vr l v a^a&av. Simi- 
 larly, Ath. 1, 27 : Kai egtlv tj toiclvtti bpxVGLS [ii{iT]GLg tqv v~b rf/g /Jgeog 
 epfiT/vevfievuv TTpayfidrov, 
 
20 INTRODUCTION. 
 
 the old heroic families, the descent from which is their high- 
 est glory. 
 
 The intermission which follows, allows the unbending 
 of all minds and loosening of all tongues. The sober sim- 
 plicity of Grecian life all at once gives way to frolic and 
 mirth. Humorous sparring, pungent raillery, followed by 
 the witty retort in prose or verse — the more ridiculous, the 
 better — and loud explosions of laughter, are not only proper 
 to the occasion, but are thought pleasing to the festive di- 
 vinity. The dignitaries of the city, and even the gods, are 
 taken off with burlesque mockery. Spontaneous as it all 
 seems, there is method in it, so that we may well suspect it 
 was concocted beforehand, particularly as the town wit is 
 not entirely concealed by the rustic drollery. A part of 
 this diversion is the phallic procession and song, a relic of 
 rude Pelasgian symbol-worship, retained by the Sicyonians 
 (Ath. xiv., 15. Compare also Aristot. Poet., iv., 14. Herm. 
 Eel. Ant., § 279). 
 
 Our attention is now called to the entrance of a second 
 chorus, a grotesque masquerade. Its members present fan- 
 ciful imitations of Sileni, satyrs, Bacchantes, naiads, nymphs, 
 fauns — in short, the whole fabled retinue of Bacchus, rough- 
 ly disguised in the hairy skins of animals and appropriate 
 masks, or with faces smeared with wine-lees. Their songs 
 and dances are coarse caricatures of the festival perform- 
 ances of untutored rustics, clumsily acting scenes from my- 
 thology. Last on the programme is the banquet, at which 
 all sit. The meal is preceded and followed by a song of 
 praise and thanksgiving to the gods, for all their gifts. 
 We will not follow the postprandial worshippers in their 
 mystic service by torchlight, but proceed to notice the de- 
 velopment of the drama out of the elements of the Diony- 
 sian festival. 
 
 It will be seen that the long interval between the sacri- 
 fice and banquet was divided into four parts, and as many 
 services or entertainments. From these sprang the three 
 
THE CULTUS. 21 
 
 principal kinds of dramatic composition,* tragedy, comedy, 
 and the satyr drama. Tragedy was formed by a gradual 
 mingling of the first two— the dithyrambic chorus and the 
 epic rhapsody ; f comedy, which treated the important con- 
 cerns of life as petty and ridiculous, J grew out of the third 
 part ; and the satyric drama, § which was a parody of trage- 
 dy, arose from the fourth, or the masquerade chorus. 
 
 In early times there existed imitative lyric plays^ which 
 were called tragedy and comedy ; these were not dramatic 
 (Boeckh), but they served as a basis for the drama. Epi- 
 genes of Sicyon, who introduced an action by way of inter- 
 lude, is mentioned as the originator of the drama. Herod- 
 otus has left on record || that the first important innovation 
 in the choral-worship was made by the Sicyonians, who, in 
 the tragic choruses, celebrated the sufferings of the hero 
 Adrastos, King of Argos, thus honoring him above Diony- 
 sus. About the same time he says that Clisthenes, the ty- 
 rant of Sicyon, retaining the Dionysian choruses, devoted 
 the remainder of the festival to Melanippus, a Theban 
 prince. Hence, it appears that the rhapsodist, or poet, 
 was required to select his episodes for the action from the 
 ancient Theban Epos, and that the earliest dramatic pieces, 
 formed by the union of the graceful lyric poetry with the 
 manly epic, had for their subject the thrilling fate-legends 
 
 * Boeckh, Lect. on Gr. Lit. : Das Drama diente dem Cultus ausschlies- 
 slich des Bacchus. Der Chor ist das erste gewesen cms dem es entstanden ist ; 
 der wurde spelter durch eine Handlung unterbrochen. {The drama served 
 exclusively for the worship of Bacchus. It first originated from the chorus , 
 which was afterward interrupted by an action.) — A. Witschel : Die attische 
 Tragodie, eine Festfeier des Dionysos. 
 
 f Boeckh, Lect. Gr. Lit. 
 
 % Aristot. Poet., iv., 14 : y 6e enrb rebv ra ^a/Uj/ca [ki;apx6v7uv\. 
 
 § Boeckh, ibid. : Eine dritte Mischgattung ist das Satyr-drama, wo das 
 Sinnliche in einer grossen tragischen Composition dargestellt wird, gleich- 
 sam eine Parodie der Tragodie. 
 
 fl Book v., 67. 
 
22 INTRODUCTION. 
 
 of the house of Cadmus, to which the story of CEdipus and 
 his heroic daughter belongs. 
 
 About the year 535 b. c, Thespis, an Attic poet of the 
 village of Icaria, made an improvement in the representa- 
 tion of such value as to cause him to be regarded as the 
 inventor of tragedy. We think we have shown that he 
 was not really so. His improvement consisted mainly in a 
 skilful arrangement of the choral and epic elements of the 
 cultus which lay ready to his hand. Instead of throwing in 
 his interludes, as foreign matter, at convenient parts of the 
 dithyrambic ode, he conceived the happy idea of interweav- 
 ing them so as to form a connected chain of incidents and 
 reflections. For this purpose he introduced one actor (that 
 was himself) upon the platform ; addressing himself to the 
 chorus, he announced the occurrence of events of deep inter- 
 est to them, the leader answering or questioning him so 
 as to carry forward the plot, and he retiring at intervals, 
 when the chorus resumed their song. By means of masks 
 changed during his absence from the scene, Thespis is said 
 to have personated several characters, and so to have great- 
 ly intensified the interest of the whole. For, in this reli- 
 gion of ecstasy,* intension of feeling in serious things was 
 ever the aim of the tragic poet, as joyous transport was of 
 the comic ; and herein, doubtless, is to be sought the chief 
 motive of all innovations in the festival worship. Still, for 
 a long period, the action was regarded as of minor consid- 
 eration, being intended for the cultivation of the people, 
 while the dithyrambic chorus, containing more the elements 
 of worship, maintained its ascendency, and occupied much the 
 larger part of every piece. Even in iEschylus, who greatly 
 
 * This predominant idea was embodied in the Greek verb /fa/c^efo^, 
 bacchari. Plato, speaking of the sublime truths taught in the mysteries 
 (Phcedo), says that but few are susceptible of that intense religious emo- 
 tion. Those truths had reference to the blessedness of the future life in 
 store for the good and pure. 
 
THE CULTUS. 23 
 
 enlarged the sphere of the action by adding a second actor, 
 we sometimes find more than half assigned to the chorus. 
 
 The idea of a contest (aycjv) was always a prominent 
 one in the drama. Hence an actor was called an agonistes ; 
 and when iEschylus employed two actors, the chief was 
 called the protagonistes, and the second the deuter agonistes. 
 The former personated the most tragic characters, while the 
 latter, offering a marked contrast with the other, was often 
 made to appear as the author of his antagonist's sufferings 
 and fate, and so excited less pity when retribution befell 
 himself.* Before the catastrophe, both firmly believe them- 
 selves in the right, and cling to their positions with an iron 
 tenacity that is daunted by no perils nor sufferings, and, 
 just for the want of calm consideration and insight, they 
 are hurried into the act which makes their punishment in- 
 evitable. In many instances the heroes themselves, being 
 obliged to bend before the higher power, at last come to 
 the conviction that their chastisement is but the needful 
 vindication of the divine law ; and it is just in this recogni- 
 tion that the moral purifying force of tragedy lies. For 
 while those heroes, impelled by a high motive, strive after 
 a noble aim, and, through our common frailty, fall into un- 
 looked-for calamities, they awaken the liveliest concern in 
 their fate, and, at the same time, awe and dread of the in- 
 visible righting power. 
 
 As, according to cosmical propriety, the scene of action 
 could not be changed, Sophocles, for the purpose of still 
 further enlarging its sphere, added a third actor (trit ago- 
 nistes), who, in the character of watchman, servant, or mes- 
 senger, narrated what had taken place elsewhere, and thus 
 furnished motives for further action. This improvement 
 was received with so much favor that it was adopted by 
 iEschylus himself, and thereafter remained the rule for all 
 
 * In the Antigone, for example, the protagonistes had the role of An- 
 tigone, the most pathetic character, while that of Creon fell to the deu~ 
 teragonistes. 
 
2J. INTRODUCTION. 
 
 the tragic writers. But, in enlarging the plot, Sophocles 
 found it necessary to reduce the lyric portions of the drama. 
 The result was that these songs became subordinate to the 
 action ; instead of preceding, they followed each successive 
 episode and generally embodied such feelings and reflec- 
 tions as the action upon the stage naturally suggested, at 
 the same time observing such happy measure and propor- 
 tion as to form a whole of surpassing harmony and beauty. 
 In respect to stage costume, there was, according to 
 ancient grammarians, a general uniform dress — the tragic 
 stola, which was the gay-colored festal robe before men- 
 tioned, somewhat amplified, yet very little changed for dif- 
 ferent roles. Over this, in the case of heroes and royal per- 
 sonages, was thrown a mantle of purple with a gold border 
 and other similar trimmings; add to this the character- 
 mask, the lofty head-dress of hair crowned with the festive 
 wreath, and the deep-soled cothurnus, and we have an idea 
 of the stately tragic king, whose mighty voice could be 
 heard and understood by thirty thousand spectators. This 
 general costume being borne in mind, it can be understood 
 how the performance of all the parts of a drama by a few 
 actors was practicable, more than three characters never 
 speaking in the same scene ; also, we shall feel less inclined 
 to wonder at the repugnance of the ancients to increase the 
 number of actors, rather permitting different and often very 
 unlike roles to be played by one. For this, two reasons 
 may be given : the histrionic art in Athens required both 
 uncommon natural endowments and incessant practice, and 
 even with these but few were able to satisfy the high de- 
 mands of an Athenian public. Great agonists were nearly 
 as rare as great poets ; and, as the success of a drama de- 
 pended very much upon its rendition, the author was most 
 careful not to risk it in any but the most approved hands. 
 The names of three, to whom Sophocles was largely indebt- 
 ed for the adequate representation of his characters, have 
 been handed down to us : Kleidemides, Tlepolemos, and 
 
THE CULTUS. 25 
 
 Kallipides.* Besides these, Timotheus of Zacynthos dis- 
 tinguished himself in the character of Ajax.f In the sec- 
 ond place, there was no need of the studied disguise and 
 complete change of costume which the principles and taste 
 of modern times would render necessary. We demand illu- 
 sion from the outset ; the ancients, requiring little more 
 than a change of character-mask, were always self-conscious, 
 and wished to remain self-conscious, that all was only a Di- 
 onysian festival (K. O. Miiller, iEsch. Eumen., p. 110). 
 
 Grecian art — including the dramatic as well as the sis- 
 ter arts of painting, sculpture, poetry, music, and architect- 
 ure — though generally called imitative, aimed at something 
 more than imitation. It was an effort to fix in concrete 
 form the noblest and purest, that is to say, the religious 
 ideas and emotions of highly-gifted men. These ideas 
 and emotions were ascribed to the immediate inspira- 
 tion of some divine being — more remotely to Zeus himself — 
 and, being communicated for the benefit of mortals through 
 human media, they were, of necessity, humanly expressed. 
 The Greek artist was not therefore the imitator of the out- 
 ward or actual in life ; he was no accurate copyist of any 
 thing that existed, or that ever had existed, except as an 
 imaginary perfection in sesthetical minds. Every form of 
 art was an outgrowth of religion — which is evident from 
 the fact that every higher gift, and all higher culture, were 
 piously referred to the favor of the Muses, the lovely daugh- 
 ters of Zeus, dwelling in celestial mansions (Horn. II., ii., 
 484-491). Also the vital importance attached to the prod- 
 ucts of art in all public worship, as aids to devotional feel- 
 ing, admits no doubt of their high religious significance. J 
 
 * Schneidewin, Allgemeine Einleit., p. 22. 
 
 f Idem., Einleit, zum Ajas, p. 19. 
 
 J Ramshorn : adhuc sola paene religio, artis Jingendi quasi mater el aU 
 trix. Compare Hermann, Relig. Antiq., § 6 : Wohl fehlten es nicht an Cul- 
 te% die zur Ausschnuckung ihrer Tempel und zur Yerherrlichung ihrer 
 Gotter die gesteigerten Mittel der Architectur und Plastik in Auspruch 
 nahmen, und vi ihren Hymnen und musicalischen Weisen wie in der ganzen 
 2 
 
26 INTRODUCTION. 
 
 Hence, so far as art was an imitation, it was an imitation 
 of exquisite conceptions, images of the mind, in which the 
 essentials of truth and beauty remain, while the accidentals, 
 seen in real life, are discarded. Now, while it is clear that 
 there can be no adequate expression of thought without 
 matter, it is equally clear that that is the highest effort of 
 art in which the largest proportion of spirit has been in- 
 fused into the material employed. The form of native 
 strength is simplicity, while imitation seeks adventitious 
 ornaments, which distract the attention and weaken the im- 
 pression. In the latter case, it is the cunning skill of the 
 artist that seeks admiration ; in the former, it is the poeti- 
 cal (creative) thought that fills the soul. Through this, the 
 work becomes ideal and symbolical. The brilliant image 
 expressed in the first line of the second book of Ovid's Met- 
 amorphoses — 
 
 11 Regia solis erat sublimibus alta columnis " — 
 
 was doubtless borrowed from a Grecian temple; but he 
 who first conceived the admirable proportions of such a 
 temple must have had his mind impregnated with reverent 
 and great thoughts of the sublime abodes of the gods. 
 What a contrast with the low, fiat-roofed dwellings of men, 
 then universal ; and how infinitely more did the poet-archi- 
 tect effect for the promotion of religious reverence among 
 an emotional people than thousands of didactic discourses 
 could have done ! 
 
 A less yet similar discrepancy was observed between 
 actual life and the art-groups of sculpture and painting. 
 The placing together of a number of figures does not make 
 a work of art, however beautiful and perfect each may be 
 It is only when they are subordinated, by posture and ex 
 pression, to one central figure, that is, when the individual 
 
 sonstigen Ausstattung ihres Gottesdienstes milder Entwickelung des Kunst- 
 geschmacJces gleichen Schritt zu halten suchten, der selbst an dieser Arbeit fur 
 
 I) A3 RELIGIOSE BEDTJRFNISS SEINE WESENTLICHSTE NAHRUNGSQUELLE FAND. 
 
THE CULTUS. 27 
 
 thoughts and emotions expressed by each converge to and 
 intensify the central thought, that they are replete with a 
 higher meaning, and, as if in concert, reveal the godlike idea 
 : of the artist. If the sculptor or painter had composed 
 merely for artistic effect, it is not probable that he would 
 have ranged his figures in a straight line, but he appears to 
 have been influenced by a feeling of religious decorum that 
 required a full delineation of each. Something of the prin- 
 ciple of antique representation is observable in Raphael's 
 celebrated vision of the Madonna del Sisto, at Dresden, 
 whose serene, celestial beauty no one, whatever be his faith, 
 can contemplate without having his religious sensibilities 
 profoundly moved. 
 
 The unity required of every work of art was kept in view 
 also in poetry — unity of action in the epic, of feeling in the 
 lyric poem and the music to which it was sung, the details 
 being subordinated to singleness of aim, which culminated 
 in a high general truth. But, strictly sjDeaking, the old 
 Epos could not, from its nature, be a work of art, being in- 
 deed merely a chronicle, in which truth and romance were 
 treated as of equal value. Formed by successive accretions 
 from age to age, it was the only treasury of historical and 
 religious knowledge possessed by the Greeks, until the time 
 of the Logographs, who preceded Herodotus The Epos, 
 with its episodes, may be likened to a long vine, whose 
 roots reached back even to the fabled union of Uranus and 
 Gaea, and whose countless branches, extending into every 
 province, continued to grow down to the age of written 
 history. Being the continuous production of the national 
 mind, though extremely rich and varied in the forms of its 
 development, it possessed great homogeneousness in belief, 
 sentiment, and language, and consequently a great degree 
 of unity. I take occasion to remark in this connection, that, 
 to the reverent Greek, the man of heart still unperverted by 
 the atheistical speculations of the sophists (and such we 
 must suppose the mass of the nation to have been), the old 
 
28 INTRODUCTION. 
 
 Epos was the sacred Word, containing the divine oracles, 
 and the mind of the gods revealed through inspired men. 
 It was composed in poetical form, as every thing was in the 
 early time, even to the physician's prescriptions ; but it 
 would be a great mistake to assume, as has been often done, 
 that the ancient religion was a figment of the poets, and had 
 no foundation in the popular heart. That the exact con- 
 trary was the case, is proved by the entire remains of an- 
 cient monuments and literature, and particularly by the 
 writings of Plato, whose pages abound with respectful ref- 
 erences to the time-sanctioned rites and doctrines of their 
 forefathers, though he thought that the republic would be 
 better off without the epic poets than with them (Rep., 11, 
 p. 72, seqq.), for he said they tampered with the traditions, 
 and misled the people by their corruptions of the faith. 
 
 The wonderful power exerted by the Attic drama over the 
 audience was, in a great measure, the effect of its concen- 
 tration. Its ideal character not only permitted but re- 
 quired its material form to be compressed, and its spirit and 
 feeling to be intensified. There was no change of scene to 
 break the connection (unity of place) ; the events of days, or 
 even of years, were contracted into a few hours (unity of 
 time) ; and the dramatic situations were successively the nat- 
 ural sequence of one motive (unity of action). Besides 
 these three, there was another unity, that of thought. In 
 order that the plot might be poetic, it was necessary that 
 the ground-thought should have a comprehensive, symboli- 
 cal meaning, for therein consisted its high general truth, 
 which is the soul of a work of art. The combined result 
 of these several unities was a compact oneness, in which its 
 simple grandeur consisted. Thus the clearly-defined char- 
 acters, presented in successive scenes, resembled a series of 
 tableaux vivants without their stiffness, and approximated 
 the unity of a plastic group, which, from the nature of its 
 material, is fixed to one moment of time.* 
 
 * " Tout est symbolique dans les arts, et la nature se montre sous mille 
 
THE CULTUS. 29 
 
 The plots (fabulae) of tragedy were all, with a single 
 exception (iEsch. Persae), taken from the old Epos above 
 mentioned — a vast storehouse of legendary poetry, which 
 was the common property of Greece, and from which, as 
 later researches have shown, the author (or authors) of 
 the Iliad and Odyssey drew like modern compilers (see 
 Welcker, Der Epische Cyclos, who is sustained by Boeckh, 
 Schneidewin and others). But a slight change was made 
 by the tragic poets in the metre : instead of the heroic hex- 
 ameter, they employed the iambic trimeter, which, says 
 Aristotle, is the metre best adapted to dialogue. 
 
 Tragedy sought to present action and feeling in union, 
 so that the latter should pervade the former, as the soul the 
 body, at each moment. The feeling, more properly ex- 
 pressed in the lyric parts, rises, in moments of anguish, to 
 pathos in the action, wiien they coalesce in impassioned 
 song. The story was enacted with life-like earnestness — 
 quasi agatur — as Cicero says ; hence the drama imitated 
 life far more perfectly than either epic or lyric poetry, since 
 it imitated not merely its outward appearance, but its inner 
 being (Boeckh). Tragedy represented man in the critical 
 moments of his existence, in his highest struggles for indi- 
 vidual freedom against the divine control. While he 
 eagerly pursues his object, all-important to him, he is wont 
 to over-estimate his own powers. Headstrong in purpose,, 
 nothing can turn him; remonstrances and warnings are 
 alike spurned : a deluding spirit makes the right appear 
 wrong, and the wrong right ; the man is doomed. With 
 impious daring he strides to his goal ; gains his point, but 
 loses all besides. He enjoys a brief success, but the sorrow 
 that follows guilt is not far off; the avenging Erinnyes are 
 upon his track ; calamities thicken, blow upon blow crushes 
 his proud heart. 
 
 apparences diverses dans ces statues, dans ces tableaux, dans ces poesies, 
 ou l'immobilite doit indiquer le mouvement, ou l'exterieur doit reveler le 
 fond de Tame, ou 1'existence d'un instant doit &tre eternise e."— Mad. de 
 Stael. 
 
30 INTRODUCTION. 
 
 11 So fond are mortal men, 
 Fallen into wrath divine, 
 As their own ruin on themselves to invite, 
 Insensate left, or to sense reprobate, 
 And with blindness internal struck." 
 
 — Miltox, Samson Agonistes. 
 
 Tragedy demonstrated the real littleness of man and the 
 vanity of his endeavors. It laid open his motives, frailties, 
 passions, and temptations, to the eye of the spectator. It 
 showed that man at his best estate is most liable to that 
 self- trust and self-exaltation which, in all ages, have been 
 thought to provoke God's anger and correction. It exhib- 
 ited the sobs of agony wrung from the rebellious heart, 
 gradually subsiding, under chastisement, to a sublime resig- 
 nation to the divine decrees. The end of the tragic hero is 
 not always sad. The design of punishment is the vindica- 
 tion of divine justice. When that end is answered, Prome- 
 theus is unchained from his rock,* Orestes is absolved from 
 his guilt of matricide, and QEdipus, though the evil he has 
 done may be entailed upon his children, is permitted to 
 descend to his grave in peace. 
 
 H.— THE MYTHUS. 
 
 The CEdipus-mythus is one of the oldest of the fate- 
 fables of Greece. It is one of the sacred legends, embalmed 
 in the ancient Epos, which illustrated the stern dealings of 
 
 * iEschylus composed three dramas upon the god-mythus of Prome- 
 theus, distinguished by the names of Prom. Ignifer, Vinctus, and Solutus. 
 In the last, according to Hyginus, ^Eschylus represented the culprit 
 divinity as released from his confinement on Mount Caucasus, where he 
 had been bound, standing upright, for thirty thousand years, no longer 
 proud and contemptuous, but meek and submissive, after his long 
 torture. 
 
THE MYTHUS. 31 
 
 the gods with presumptuous and self-willed men, and the 
 sad heritage of woes entailed upon families by the indul- 
 gence of lawless passions. The pathetic interest of the 
 story secured for it, from the earliest times, a large place in 
 the poetical traditions of the nation, and its eventful char- 
 acter peculiarly fitted it for dramatic representation. Prob- 
 bably no tale, or saga, ever struck such deep root in the 
 affections, or so long possessed the power to stir the sym- 
 pathies of a people. This alone is sufficient proof that the 
 legend was no fiction, but, like the language with which it 
 
 I was nearly coeval, a genuine, living outgrowth of the Gre- 
 cian spirit. No other mythus supplied the theme for so 
 many dramas, for, says Ahrens, all the tragic poets tried 
 their powers upon it. Yet, of nine * founded upon it by 
 
 , iEschylus, only one — the " Seven against Thebes " — remains 
 to us. Three of Sophocles, the three most prized by the 
 ancients of all his works, " CEdipus Rex," " CEdipus at Co- 
 lonos," and the "Antigone," are still extant. There were 
 also three by Euripides from the same legend, only one of 
 which, the " Phoenissae," has survived. 
 
 We find in the Homeric poems various allusions to the 
 Theban traditions of the house of Cadmus, furnishing evi- 
 dence that, previous to the Trojan war, the calamities of 
 GEdipus were widely known and celebrated in popular 
 song. The principal passage is contained in the Nekyia 
 (Odyss., xi., 271), in which Ulysses speaks of the heroic 
 women whom he saw in Hades : 
 
 " I saw there also CEdipus' mother, fair Epicaste, who, from blind- 
 ness of mind, committed a great deed by marrying her son, who had 
 slain and robbed his father. But the gods soon made it a common ru- 
 mor among men. He still reigned over the Cadmeans, in beloved 
 Thebes, suffering torments by the cruel counsels of the gods, while she 
 went down to Orcus, the mighty janitor below, tying the noose high up 
 i 
 
 * Divided, according to Welcker, into three trilogies : — 1. Laius, 
 Sphinx, (Edipus;* 2. Nemea, Septem ad Thebas, Eleusinii ; 3. Epigoni, 
 Argivi, Phoenissa3. 
 
32 INTRODUCTION. 
 
 to the lofty beam, seized with despair; but to him she left a legacy of 
 manifold woes, as many as a mother's curse-furies produce." 
 
 Though we cannot now trace the complete early mythus, 
 as it swept before the mind of the poet, yet we must sup- 
 pose the lines above rendered to contain, at least, its most 
 salient features. They show conclusively that the primitive 
 ballad narrative was quite different from the luxuriance and 
 artful complications of the tragedy of later ages. The poet 
 of the Odyssey knew nothing of any children sprung from 
 the incestuous marriage; at all events, the word a(pap, 
 forthwith, precludes the assumption that CEdipus and Jo- 
 caste remained a long time in error. On the contrary, we 
 must understand that the gods quickly intervened to sever 
 the shocking union by her suicide. Hence, all that relates 
 to their children, as well as to CEdipus' self-blinding, mal- 
 treatment by his sons, and flight or banishment from Thebes, 
 must be regarded as later accretions. These particulars 
 were unknown to Homer or his age. And so, according to 
 the tradition then current, CEdipus reigned on in adversity 
 and trouble, wrought by the spirit of evil conjured up by his 
 mother's curses, until his sudden death in Thebes, where 
 funeral-games were instituted in his memory. It is men- 
 tioned in the Iliad (xxiii., 679) that King Mecisteus 
 
 (5c) TTore By flags' fik&e deSovrrorog Oldnrddao 
 kg rd(f>ov ■ ev&a 6e navrag kvina Kadfceiuvag. 
 
 once travelled to Thebes to attend the funeral anniversary 
 {games) of fallen CEdipus, in which he overcame all the 
 Cadmeans (Thebans). In this passage dedovnorog is a sig- 
 nificant word, describing the manner of CEdipus' death. 
 In epic poetry, as was long ago observed by Aristarchus, 
 AovTTTjoe irec6v, fragorem edidit cadens, was used to de- 
 scribe the fall of a warrior in armor on the field ;* falling at 
 full length, he made a heavy sound as he struck the earth. 
 
 * Schol. to II., xvi., 822. Compare II., xiii., 426, dtibnrjoai, fragorem 
 edere. 
 
THE MYTHUS. 33 
 
 So CEdipus, the heroic king, fell dead; and the word 
 dsdovTcorog graphically paints him as at last, after a long 
 life of struggles, sinking under the blows of fate to the 
 earth.* Welcker connects thus : Sedovrrorog eg rdcpov, fallen 
 into the grave, which has been condemned as inadmissible 
 by Nitzsch and Schneidewin. Well, for the interpretation 
 of the whole sentence, his construction w T ould be manifestly 
 incongruous; but the words by themselves give a most 
 striking poetical image, which Sophocles has not failed to 
 take advantage of in describing the last moments of CEdi- 
 pus at the brazen steps. (Comp. (Ed. Col., 1590-1666.) And 
 not only this scene of thrilling tenderness — it may not be 
 too much to say that the whole sublime tragedy (having the 
 end of CEdipus for its culminating point) was the poetical 
 development of this seed-kernel of thought. 
 
 The above example may serve to illustrate the ideal ex- 
 pansion of the whole early mythus, of which we here trace 
 the probable general outline : 
 
 CEdipus' father (Laius), having begotten a son in diso- 
 bedience to the divine oracle, sought to evade his threatened 
 fate by exposing the infant to die. Being miraculously pre- 
 served, the son, when a man, met and killed his father on 
 the road, not knowing who he was. Arriving then at 
 Thebes, he solved the riddle of the Sphinx, and received 
 the kingdom, together with the hand of the widowed queen 
 Epicaste (Jocaste) ; who, soon after discovering that she 
 had married her own son, hung herself in despair, after 
 uttering fearful imprecations against him. CEdipus, how- 
 ever, continued to reign to old age, but the spirit of ven- 
 geance, evoked by his dying mother's curses, ever beset him 
 with plagues until, broken with years and griefs, he fell 
 and was buried in Thebes, where his memory was greatly 
 revered. 
 
 * Sophocles, in his last tragedy ((Ed. Col., 1656, ff.), says that he 
 died from no sickness, but that he passed, with a step, from life into the 
 grave. 
 
31 INTRODUCTION. 
 
 This conclusion touching the death-place of CEdipus, 
 drawn from the above passage of the Iliad, is confirmed by 
 a fragment of the Boeotian Hesiod (Goettling, Fr. 152) : 
 ev Q?]j3acg avrov airoftavovroq ktX., (Edipus having died in 
 Thebes, Argeia, the daughter of Adrastus, went to his 
 funeral services. Consequently, in the whole older Epos, 
 down to 850 b. c, there is no trace of an exiled or wander- 
 ing CEdipus ; his unintentional crimes do not appear to 
 have rendered him unworthy of his kingly office, or de- 
 tracted aught from his personal honor. The religious sen- 
 timent that shaped the legend, pictured him as the necessary 
 victim of a merciless fate, which his parents' sins had en- 
 tailed upon him ; so that his singular temptations, trans- 
 gressions, and sufferings, were alike misfortunes — a web 
 both to ensnare and punish. That he was, from his birth, 
 hated and persecuted by the gods, only gave him a stronger 
 claim to the sympathy and reverence of men. 
 
 In the following age appeared an epic poem known as 
 the cyclic " Thebais," which treated of the Theban tradi- 
 tions, and obtained great celebrity. It was composed so 
 near the times of Homer that it was, by many of the an- 
 cients, attributed to him. The Inscriptio Borgiana ascribes 
 it to Arctinus of Miletus. Of the 9,100 verses which it con- 
 tained, only a few fragments remain ; but these are suffi- 
 cient to show that the domestic woes of CEdipus were 
 handled at great length. From all that is known of it, 
 we may conjecture that it was a purely legendary poem, 
 the growth of time and product of many hands, and that 
 isolated episodes of it existed when the Odyssey was com- 
 posed. 
 
 The next poem of any note, which developed this myth- 
 us, was the cyclic Oidipodia, an epic of 5,600 verses. The 
 age of its composition is placed by Schneidewin as early as 
 the third Olympiad, 764 b. c, and by Nitzsch * not later than 
 the 10th Olymp., 736 b. c. The Inscriptio Borgiana, cited 
 
 * Zu Horn. Odyssee, 111, p. 238. 
 
THE MYTHUS. 35 
 
 above, gives Cingethon, of Sparta, as its author ; but the 
 Scholiast to Eurip. Phcenissge, 1760, recognizes it as the 
 work of several writers : Ol ~r\v Oldiriodiav ypdcpovreg.* 
 The precious little that remains of it gives no indication 
 of how the legend was told, except that it spoke of the 
 destruction of life caused by the Sphinx, which finally 
 devoured Creon's lovely son Haemon : 
 
 'A?JJ in koIj.wtqv re fcal laepoeGrarov a/./.ov, 
 Tzalda tpilwv Kpeiovrog ajivfiovog, Alfiova Slov. 
 
 This is believed to be the only genuine fragment of 
 the Oidipodia now in existence. But Pausanias cites with 
 approval the substance of a passage in it, stating that CEdi- 
 pus > four children icere not by Jocaste, but by his second 
 wife, Euryganeia ; which was the version handed down in 
 epic poetry. These two poems seem to have been the 
 principal channels through which the mythus was trans- 
 mitted to the hands of the dramatists. For the logographs, 
 Pherecydes and Apollodorus, who wrote in prose, selected 
 their stories (XoyoC) from the epic poems most in vogue ; 
 the work of the latter, still extant, is a meagre hand-book 
 of mythology. Its bare, fragmentary stories suggest the 
 idea that they were written from notes taken of episodes, 
 as these were recited at religious festivals by the rhapso- 
 dists, who, though allowing themselves an interpolation here 
 and there, in the main adhered to the text. So far, then, as 
 his dead and colorless narratives go, no doubt Apollodorus 
 gives the epic version of them. 
 
 * Mad. de Stael echoes the opinion of very many of the classical 
 scholars of Germany when she says (" De l'Allemagne," p. 163) : " Unpoeme 
 epique rfest presque jamais Vouvrage d'un homme, et les siecles memes, 
 pour ainsidire, y travaillent : le patriotisme, la religion, enfin la totalite 
 de 1' existence d'un peuple, ne pent etre mise en action que par quelques- 
 uns de ces e Tenements immenses que le poete ne cree pas, mais qui lui 
 paraissent agrandis par la nuit des temps : les personnages du poeme epi- 
 que doivent representer le caractere primitif de la nation. II faut trou- 
 ver en eux le moule indestructible dont est sortie l'histoire." 
 
36 INTRODUCTION. 
 
 Very different was the course pursued by the dramatic 
 poets. These, in elaborating the same episodes for scenic 
 representation, used the utmost liberty both in alteration 
 and embellishment, reverently preserving the spirit of the 
 ancient traditions while creating for it a fresh and beautiful 
 form. • 
 
 The following imperfect sketch may serve to give the 
 student some idea of the later development of the my thus ; 
 especially as it w T as handled by iEschylus and Sophocles : 
 
 Laius, son of Labdacus, King of Thebes about 1350 b. c, 
 the first link in the tragic chain, was a man of fierce charac- 
 ter and ungovernable passions, by which he was betrayed 
 into heinous crimes, and so brought guilt and woe upon his 
 house. He basely repaid the hospitality of Pelops by ab- 
 ducting and shamefully abusing his son Chrysippus, a youth 
 of rare beauty, w r ho, in consequence of the outrage, put 
 himself to death. Pelops, exasperated by the irreparable 
 injury done to his son, followed Laius with fearful execra- 
 tions, praying that he might be killed by his own son if he 
 ever had one. Laius married Jocaste, the daughter of 
 Menceceus and sister of Crepn, and being a long time with- 
 out children he became anxious for a son to be the heir of 
 his throne. His anxiety was shared by his wife and cour- 
 tiers, who persuaded him to consult the Delphic oracle on 
 the subject ; he received the following response : " Laius, 
 son of Labdacus, thou desirest the boon of children — a son 
 will I give thee ; yet it is decreed by fate that thou shalt 
 die by his hands. This hath Zeus confirmed, moved thereto 
 by Pelops' vengeful imprecations,* because thou hast rav- 
 
 * Among all the Eastern nations there existed a belief that curses, 
 for a sufficient cause (i. e., odious crimes, that only the divine judgments 
 could adequately punish), were the prayers most certain to be answered. 
 Many instances of such belief are recorded in the Old Testament : notice 
 particularly Gen. ix. 25., Numb. xxii. 6., Judg. ix. 20, 57 ; and, as to the 
 effects of curses, see Deut. xxvii. 15 ff., and xxviii. 16 ff. The ancient 
 Greeks stood in great awe of curses, which were solemn appeals to the 
 powers of evil to punish abuses of power. The injury provoked the ara, 
 
THE MYTHUS. 37 
 
 ished his son, he has brought all this upon thee." After the 
 lapse of years, however, the warning of the oracle was for- 
 gotten or disregarded until the birth of the fatal son, when 
 Laius, now seriously alarmed for his life, sought to nullify 
 the prediction by destroying the child. He durst not, how- 
 ever, commit the unnatural deed himself ; a servant must 
 do it. The babe was scarcely three days old when, with 
 his wife Jocaste's consent, he delivered it to the intended 
 murderer, with its ankle-joints pierced and bound together 
 with a thong, charging him to carry it up to the wild 
 recesses of Mount Cithseron and there expose it to die. 
 This man was one of the king's herdsmen, who kept his 
 master's flock on that mountain, and on returning there with 
 the child, whose sufferings moved his pity, instead of throw- 
 ing him into the woods as he had been charged, he gave 
 the boy to a neighboring herdsman, the servant of Polybus, 
 King of Corinth, concealing his parentage. The servant 
 carried him to Corinth and gave him to his master Polybus, 
 who, having no children, placed him in care of his wife 
 Merope, and raised him as his own son. The young CEdi- 
 pus (i. e., swell-foot,* a name given him from the cause 
 above mentioned) grew up to be a young man of rare 
 intelligence, beloved by his royal foster-parents, honored as 
 a prince by the citizens, and never doubting that he was 
 the rightful heir to the throne of Corinth, until one day at a 
 feast a drunken comrade taunted him with being a found- 
 ling. Though stung by the reproach, he suppressed his 
 resentmant for the time, but on the following day he ques- 
 tioned his supposed parents as to the truth of it. The king 
 
 the verbal curse, the spirit of which then became an independent demo- 
 niacal existence (Erinys), which dogged the steps of the guilty man and 
 spun around him a web of ill-luck. The imprecations of a father or 
 mother were thought particularly blasting ; comp. Odyss., ii., 135 ; xi., 279 ; 
 H, ix., 454 and 571. The epithets employed by Sophocles (Elect. 48Sf.) 
 are most graphic : koc rroAvTzovg ml iroAvxeip x a ^ K °~ 0V £ 'E/^vi'f, multipes, 
 multimanus, aeripes Erinys. 
 
 * Comp. Aristoph., Ran., 1192, oid&v to node. 
 
38 INTRODUCTION. 
 
 and queen were deeply incensed at the affront, yet their an* 
 swers failed to reassure the young prince in regard to his 
 birth. He resolved to end his suspense by consulting the 
 oracle of Apollo, and secretly leaving Corinth he set out 
 alone and on foot for Delphi. Arriving there, an unknown 
 wanderer, he inquired of the oracle who was his father. 
 The Pythia's response, so far from solving his doubts, filled 
 him with horror and alarm, predicting that he should be the 
 murderer of his own father, should be married to his 
 mother, and become the father of a race intolerable to 
 mankind. The heart of CEdipus revolted at the thought 
 of the crimes and disgraces with which necessity beset his 
 path, and he determined to escape them, if possible, by not 
 returning to Corinth and never again seeing his parents, 
 Polybus and Merope. Impelled by this feeling, he took 
 the opposite road, that leading from Delphi to the east 
 toward the city of Daulis.* A short distance from it the 
 road descended into a narrow ravine where three roads met 
 (pxiorri odog, Soph. (Ed., R. 733 ).f By fatal chance he 
 turned into the right-hand fork, which was the road to 
 Thebes. The dell here became so narrow as to allow but 
 one wagon-track, with a creek on one side and a precipi- 
 tous hill-side on the other. CEdipus was descending this 
 narrow defile when he was met by a two-horse chariot, in 
 which rode an elderly man and one attendant. In a per- 
 emptory tone the driver ordered the young man to yield 
 the road. The stalwart CEdipus, already smarting with 
 the feeling that he was now a homeless wanderer without 
 any fault of his, was not in a mood to brook the rude, and, 
 to him, quite unwonted command. He firmly stood his 
 ground. The driver attempted to drive on him and force 
 him from the way. CEdipus felled him to the ground with 
 a blow of his staff. In doing this he approached nearer the 
 carriage, observing which the old man thrust him twice in 
 
 * (Edip. Hex, 734. 
 
 f See Kiepert's Atlas von Hellas, map 12, ' 
 
THE MYTHUS. 39 
 
 the head with his pointed goad. Blinded with passion he 
 dealt the old man a blow from which the latter fell back- 
 ward dead out of his chariot. He also killed, as he sup- 
 posed, all his attendants, who ran up to the defence of their 
 master. One of them, however, as was afterward disclosed, 
 made his escape to the woods, and returning to Thebes he 
 reported to Queen Jocaste that his lord had been set upon 
 and murdered by robbers ; whereupon she and her nobles 
 went for his body and buried it in Thebes with kingly hon- 
 ors. Meanwhile CEdipus, justifying his deed on the ground 
 of self-defence, and far from suspecting that he had already 
 fulfilled one part of the oracle, pursued his journey east- 
 ward into Bceotia, travelling by night and guiding his 
 course by the stars, with the aim of getting the farthest 
 possible from Corinth and his (supposed) father Polybus. 
 
 King Laius, who had met his predicted fate, as above 
 described, was on his way to consult the oracle. Various 
 motives have been assigned for the journey. One version 
 w^as that, at the same time that CEdipus left Corinth for 
 Delphi to learn w^hose son he was, Laius had a frightful 
 dream about his abandoned child, and was going in great 
 distress to the same oracle to inquire whether his son were 
 dead or alive. But, whatever was the trouble that impelled 
 him to seek relief from the god of light, the destiny impre- 
 cated by Pelops awaited him in the narrow defile of Phocis. 
 Laius having, as was supposed, left no heir to the throne, 
 Creon, the brother of Jocaste, was invested with the power 
 of regent. But he was not permitted to possess the gov- 
 ernment long in tranquillity. Whether as a punishment to 
 the land for the sins of its late rulers, or to furnish occasion 
 for the accomplishment of the fates, it pleased the gods to 
 send a grievous scourge upon Thebes. This was the Sphinx, 
 a terrible monster, having the head and shoulders of a maid- 
 en, with the body and paws of a lioness. The creature 
 came from Ethiopia. She prowled about the gates of the 
 city seeking her prey, but, had her lair upon a steep hill close 
 
40 INTRODUCTION. 
 
 by, which thenceforward was called the Sphinx-mountain. 
 Her manner of proceeding was to place herself before the 
 selected victim and propound to him a riddle, and, when he 
 failed to solve it, to devour him. So, many citizens perished, 
 and finally a son of Creon himself. The consternation and 
 anguish caused by the inexorable singer who was continu- 
 ally exacting a tribute of human beings (QEd. R., 36) now 
 reached its height. Creon was forced to yield to the 
 ^pressure ; he issued a proclamation offering the hand of 
 Queen Jocaste and the crown of Thebes to whomsoever 
 should deliver the city from the fell destroyer. Attracted 
 by the brilliant reward, CEdipus left his seclusion and went 
 to Thebes. Without asking any questions about the Sphinx 
 or her riddle, and unterrified by the danger, he ascended to 
 her rocky retreat. He found her crouching on a ledge of 
 rock, and calmly presented himself before her. She then 
 in a singing voice propounded the following enigma: 
 " There is on the earth a being, two-footed, four-footed, 
 and three-footed, whose voice is one ; it alters its form only 
 as it moves its creeping limbs upon the ground, through 
 the air, and in the sea. But when it goes on the most feet, 
 it makes the slowest speed with its members." GEdipus 
 readily gave the following answer : 
 
 "Listen, albeit unwillingly, ill-omened Muse of the 
 dead ! Hear this word of mine involving thy perdition. 
 The being thou hast darkly portrayed is man; when he 
 creeps on the ground he is a babe on all fours, just from 
 the lap; and when old, for a third foot he leans on his 
 staff, with his neck bowed and burdened with years." 
 
 The Sphinx, upon hearing this true solution of her enig- 
 ma, plunged into the rocky abyss and perished.* CEdipus 
 
 * The obscure allegory of the Sphinx — the human brute, overcome 
 by the sagacity of CEdipus — conveyed, doubtless, to those who understood 
 it, a significant historical truth. At this day it needs another CEdipus to 
 furnish a rational interpretation. The fable seems to intimate how, with 
 shrewd cunning, rather than by force, the hero subdued the savage fero- 
 
THE MYTHUS. 41 
 
 was now revered by the people of Thebes as a man inspired 
 with divine wisdom to be their deliverer, and announcing 
 himself to be the son of Polybus, King of Corinth, he mar- 
 ried the queen and received the kingdom. He now ruled 
 for many years happily and prosperously over Thebes, hon- 
 ored by all as a brave and wise king, and the kind father of 
 his people ; living also in loving concord with his wife 
 Jocaste, who bore him four children ; in good understand- 
 ing with his brother-in-law Creon, and with the venerable 
 seer Teiresias. After a long interval of signal well-being, 
 during which CEdipus and his queen became old, and their 
 children, Polynices, Eteocles, Antigone, and Ismene, grew 
 up to be men and women, Thebes was visited with a famine, 
 accompanied by a fearful pestilence which carried off men 
 and animals. In the plagues that desolated the land, both 
 king and people did not fail to perceive the judgments of 
 the gods, but how either had incurred their displeasure 
 none could tell. Perplexed and hopeless of human aid, 
 CEdipus concluded to send his trusted counsellor Creon to 
 the Pythian oracle to sue for deliverance. As, meanwhile, 
 the distress increased, a solemn procession, composed of old 
 and young, with a priest of Jupiter at their head, came, 
 carrying olive-branches, and prostrated themselves before 
 the palace of the king, supplicating him to find a relief 
 from their sufferings. PTe received them with kindly sym- 
 pathy, and told them of Creon's mission to Delphi to ascer- 
 tain the cause and remedy of the prevailing plagues, and 
 that he was anxiously awaiting his return, at the same 
 time promising to fulfil Apollo's behests, whatever they 
 might be. Creon soon arrives, and, at CEdipus' desire, 
 announces the response of the god in the presence of the 
 
 city of the neighboring peoples and brought them within the pale of civil- 
 ization. For, those who in the remote periods are called heroes, and are 
 represented as vanquishing the monsters of the forest, made it their chief 
 task to civilize their countries, and to remove the perils which threat- 
 ened society in its infancy, by taming the lawless passions of men. 
 
42 INTRODUCTION. 
 
 assembled crowd ; saying it was Apollo's command to put 
 away the pollution that contaminated and now troubled the 
 country, by killing or banishing the murderer of Laius the 
 late king. The investigation of the crime, its shocking dis- 
 closures and fatal consequences, form the argument of So- 
 phocles' " GEdipus Rex." The king prosecutes the search 
 after the criminal with unfeigned zeal. He questions 
 Creon in relation to the circumstances of the murder ; he 
 learns from Queen Jocaste when and where it was com- 
 mitted, and what was the personal appearance of Laius, and 
 who accompanied him on that journey ; and, hearing at 
 last that one of his body-servants had escaped and was yet 
 living, he orders him to be sent for. Meantime an aged 
 envoy from Corinth arrives, who announces that King Poly- 
 bus was dead, and that the Corinthians had chosen CEdipus 
 to succeed him. From him CEdipus learns that Polybus 
 was not his real father. The old man relates how he him- 
 self had taken CEdipus when a babe from another herdsman 
 on Mount Cithasron, and had carried him to his childless 
 master, who had raised him as his own son. The servant 
 of Laius, previously sent for, now arrives, and, being identi- 
 fied as the man who gave him the infant with bored ankles, 
 he cannot deny the fact. The chain of evidence is unbroken, 
 the conclusion irresistible. Jocaste rushes to her chamber, 
 and, after the manner of heroic women, hangs herself. CEdi- 
 pus, hearing the screams of the servants, hastens into the 
 palace, and, as if impelled by a presentiment of calami- 
 ty, forces open the folding-doors of the queen's chamber, 
 where, seeing Jocaste suspended over the marriage-bed, he 
 loosens the rope and lays her down, already dead, while 
 loud groans burst from his heart. Then, seized witn a wild 
 despair, he snatches out the golden brooch-pins, with which 
 her mantle was fastened, and drives them repeatedly into 
 his eyeballs, exclaiming that they should never look upon 
 the evils he suffered and committed, nor again behold the 
 children they ought never to have seen. Then, with his 
 
THE MYTHUS. 43 
 
 cheeks streaming with blood, he goes forth to show himself 
 to his subjects as the confessed murderer of his father, and 
 husband of his mother ; bemoaning his acute physical and 
 mental sufferings, cursing the man who had preserved his 
 life, • and bitterly regretting the whole chain of causes 
 which had brought him to this unspeakable shame and mis- 
 ery, he entreats them to hide him from sight far away from 
 Thebes, or cast him into the sea. The elders of the city, 
 to whom the agonized king addresses this entreaty, decline 
 taking any responsibility, and refer him to Creon, who, by 
 CEdipus' self-disqualification, becomes sole guardian in his 
 stead. To him then he makes the same request, not only 
 on his account, but on Creon's, to send him out of the 
 country ; and, in order to remove Creon's scruples, he ap- 
 peals to the express words of the oracle, that the parricide 
 must be put out of the way. His particular desire is to be 
 carried to Mount Cithaeron, that he may perish where his 
 father and mother first sent him to die. In retiring from 
 the government, QEdipus is followed by the sorrowing love 
 and gratitude of his former almost idolizing subjects. 
 
 The banishment of GEdipus did not, however, directly 
 follow his deposition from the throne. After the violence 
 of his gTief and pain had spent itself, and calm reflection 
 had returned to rectify his judgment of the past, he no 
 more so bitterly accused himself, but felt that his punish- 
 ment was greater than his unintentional offences deserved. 
 He would now have preferred to remain in Thebes, but, 
 being regarded by Creon and his counsellors as a man ac- 
 cursed of the gods and pernicious to the country, he was at 
 length ignominiously driven from the city. His own sons 
 met his entreaties with scorn and ill-treatment, and not 
 only made no effort to save him, but helped to cast him out 
 to become a homeless beggar. Incensed by their cruelly 
 unfilial conduct, he poured out upon them the most solemn 
 curses, which were afterward fulfilled. 
 
 QEdipus was now a wandering exile, blind and indigent, 
 
44 INTRODUCTION. 
 
 and, after the luxurious gratifications of royalty, little fitted 
 to bear the wearisome journeys and bitter destitution 
 which he had yet for many .years to endure. His eldest 
 daughter, Antigone, clung to him no less resolutely than 
 tenderly when he was deserted by all others ; without re- 
 pining she shared his hardships and privations; her arm 
 supported him and guided his steps ; her hands alone min- 
 istered to his necessities.* Though in time their clothing 
 decayed to rags which scarcely afforded either decent or 
 comfortable protection ; though they had to walk barefooted 
 through wild forests and mountains, exposed to sun and 
 storm, they bore their lot alike bravely and without com- 
 plaint. At last, worn and exhausted, CEdipus arrived at 
 Colonos, a village in the vicinity of Athens. Unable to 
 proceed, he sits down to rest upon a rock by the side of a 
 wood ; but soon a citizen of the place, passing by, orders 
 him off, and warns him that the grove is the dread abode 
 of the Eumenides, the all-seeing daughters of Earth and 
 Erebus, whose precincts it is not lawful for man to tread. 
 Yet these demons of evil have no more terrors for him who 
 has drunk out the dregs of his cup of suffering ; he feels, 
 not without satisfaction, that his checkered career is draw- 
 ing to its close, for he knows, through a previous intima- 
 tion of Apollo, that his grief-worn life will end as soon 
 as he shall reach the seat of the aefival deal, the august 
 Erinyes. The stranger runs to inform his townsmen of 
 CEdipus' violation of their sanctuary. They come to eject 
 him from the country, and, especially after they have learned 
 that he is the curse-hunted CEdipus, they positively insist 
 upon his going. Antigone, however, joins her prayers to 
 those of her father, until at length the men of Colonos 
 consent to refer the matter to Theseus the king, residing 
 in Athens. Ismene, CEdipus' youngest daughter, comes, 
 bringing sad news from Thebes; stating that her two 
 brothers, Polynices and Eteocles, had at first agreed to 
 
 * Conip. (Ed. Col., 345 ff. 
 
THE MYTHUS. 45 
 
 leave the throne to Creon, that the city might not be 
 polluted by the old family taint, but that soon an insane 
 frenzy for reigning had seized them both ; that Eteocles 
 and his party had deposed Polynices from the throne and 
 expelled him from the country, and it was commonly re- 
 ported that the latter had gone to Argos to solicit aid to 
 conquer Thebes. Ismene also relates that, during these 
 civil convulsions, an envoy, sent to the Delphian oracle, had 
 brought back a response that they had to seek for CEdipus 
 dead or alive, for that in him lay their power ; and that 
 Creon will soon be there to carry him home, with the base 
 intention of holding him confined near the Theban frontier 
 till his death, in order to make sure of the ultimate domin- 
 ion promised by the oracle. CEdipus resolves that they 
 shall never have him in their power again, and the timely 
 arrival and gracious reception of King Theseus afford him 
 the desired opportunity of asking the latter's protection 
 against the designs of those who threatened to take him 
 from Attica by force. Theseus readily gives his word, and 
 tells him to have no fear; for which kindness CEdipus 
 prophetically promises him the future predominance of 
 Athens over Thebes, which had inhumanly thrust him out 
 to perish. 
 
 Theseus, having enjoined upon the villagers to stand by 
 their venerable guest in case of need, takes his departure. 
 Shortly afterward, as was expected, Creon arrives from 
 Thebes. With honeyed words he first tries to persuade 
 CEdipus to return with him ; but, failing in this, he resorts 
 to threats, and at last to violence. He orders his followers 
 to seize the two daughters, one after the other, and bear 
 them away, so as to leave the blind old man completely 
 helpless ; and, when the latter still firmly refuses, he lays 
 hands on him to drag him away. CEdipus cries out for help, 
 whereupon the people come to his rescue, and Theseus him- 
 self, attracted by the general outcry, comes and compels 
 Creon to restore the maidens, and quit the country. With a 
 
46 INTRODUCTION. 
 
 similar design of securing the possession of the banished king, 
 Polynices comes from Argos, to throw himself, with assumed 
 humility, at his father's feet ; he represents himself as living 
 in miserable exile, and implores him to relent in his anger 
 and revoke his curse, which is the cause of all his misfor- 
 tunes. He tries to entice CEdipus by the promise of a 
 triumphant restoration to all his former dignity, and tells 
 him of the powerful Argive captains who, with their troops, 
 are even now investing the plain of Thebes to restore him 
 to his rightful throne. They are waiting for his concur- 
 rence. The only reply which CEdipus vouchsafes his rec- 
 reant son is bitter reproaches for his base and 'unnatural 
 conduct in expelling his own father from home, to be a 
 houseless vagabond, and, in his helpless condition, but for 
 his devoted daughters, to die of hunger. These things he 
 cannot forgive ; on the contrary, denouncing Polynices as 
 the vilest of the vile, and treating his offers with withering 
 contempt, he adds to his former curses another yet more 
 awful, praying that he and his brother Eteocles may fall 
 by each other's hands. Antigone, with sisterly affection 
 and apprehension, attempts to dissuade Polynices from this 
 unholy war against his native land, but without avail. He 
 takes a last farewell of his sisters, adjuring them, in the 
 event of his falling, to perform the last offices for his dead 
 body. 
 
 CEdipus' presentiment of his approaching end is verified. 
 A terrific storm of hail and wind, lightning and thunder, 
 making the earth tremble and the people shriek and pray 
 in mortal terror, is the manifest token, as he has been fore- 
 warned by Apollo, that his hour has come. The last mo- 
 ments of this wonderful personage (whom, in the tragical 
 development of the legend, we must regard as the ideal 
 fate-man) are accompanied by prodigies. Theseus having 
 been hurriedly sent for, CEdipus, in return for his friendly 
 hospitality, earnestly prays that he, and his land and sub- 
 jects, may be blessed with perpetual success and prosperity. 
 
THE MYTHUS. 47 
 
 Then, no longer needing a guide, he walks alone before 
 them to the brazen steps — the threshold of Hades. There 
 he and his daughters embrace each other for the last time, 
 with many tears and loving farewells, when a loud peal 
 of thunder is heard, followed by a voice so terrible as to 
 make the hair stand with fear, calling to CEdipus and bid- 
 ding him hasten his tardy steps. Then, having obtained 
 from Theseus a pledge that he would befriend his daugh- 
 ters, and requested these to -withdraw, he suddenly sinks 
 from sight, as if the earth opened her dark bosom to give 
 him a safe refuge from the storms of his evil fortune. The 
 first violence of grief being over, Antigone's thoughts re- 
 vert to her brothers, and, hoping that she may yet prevent 
 a fatal meeting between them, she begs Theseus to send 
 her and her sister home to Thebes. 
 
 Antigone and Ismene are again in the palace of their 
 fathers. Eteocles is King of Thebes, and manfully defend- 
 ing its walls against Polynices and his Argive confederates. 
 The latter, in seven divisions, each commanded by a dis- 
 tinguished leader, are arrayed before the seven gates of the 
 city. Eteocles makes a similar division of his forces, select- 
 ing six of his bravest captains to oppose the six Argive 
 leaders, while, at the seventh gate, he determines to meet 
 his hated brother in person. The besiegers make a com- 
 bined, simultaneous attack upon the gates ; some have even 
 succeeded in scaling the wall with torches to fire the tow- 
 ers. The Thebans, fighting with the bravery of despera- 
 tion, at length beat off their assailants and pursue them 
 across the plain with great slaughter. Beyond the gate, 
 a short distance from the city, the hostile brothers meet 
 and engage hand to hand. Inflamed with unquenchable 
 hatred, each, less careful of himself, is intent upon destroy- 
 ing the other, and so they fall pierced by each other's 
 spears.* Their base cruelty to their father thus meets its 
 
 * Comp. ^Esch., "Seven against Thebes," 811, 961, ff. 
 
48 INTRODUCTION. 
 
 due reward, and the curses of the latter are literally ful- 
 filled (Sept, contra Thebas, 831, ff.). 
 
 Antigone and Ismene, not having been able to prevent 
 the fatal meeting of their brothers, go out to the field where 
 their lifeless bodies lie, to bewail their strange and untimely 
 death. It belongs to them, as the next of kin, to give 
 them the honors of burial ; but, while they are considering 
 how they shall perform this duty, a herald from the Theban 
 senate appears upon the field, to announce an order issued 
 in regard to the tw T o brothers : that Eteocles, on account 
 of his faithful love to his native land, his irreproachable 
 piety, and his glorious death in repulsing the enemy, shall 
 be honorably interred in the soil of his grateful country ; 
 but that his brother Polynices shall be thrown out unburied, 
 a prey for dogs, since, but for the timely interposition of 
 the gods, he would have devastated the Cad mean's land ; 
 that, for this impious treason to his paternal city and gods, 
 he shall have an ignominious burial in the maws of birds 
 and beasts as his reward, debarred from all funeral honors 
 and the lamentations of friends. Against this vindictive 
 order Antigone revolts ; she answers it with her solemn 
 declaration that, if no one will help her bury her dead 
 brother, she will do it herself, risking the danger, and not 
 fearing shame from such disobedience to the will of the 
 people. (See ^Esch., Sept. contra Thebas, 1005-1030.) 
 
 This admirable passage of iEschylus, displaying the 
 sublime heroism of love and duty in a feeble maiden, sug- 
 gested to Sophocles, beyond doubt, the prime motive for 
 his " Antigone." But, in this tragedy, which begins where 
 the " Seven against Thebes " ends, and may be regarded as 
 a sequel to it, the prohibition to bury the body of Polynices 
 is not the decree of the Theban senate ; Sophocles repre- 
 sents it as the arbitrary order of Creon, who has, in this 
 imminent peril, been suddenly raised to the supreme power, 
 and who thereby shocks the public sense of right, and need- 
 lessly provokes the ensuing tragic conflict. 
 
THE MYTHUS. 49 
 
 Our drama makes it necessary to assume that, after the 
 death of the brothers, the fight continued for a time, during 
 which Creon, their uncle, having been made commander-in- 
 chief, ordered Eteocles to be buried with the honors befit- 
 ting his rank, while the body of Polynices remained within 
 the enemy's lines. Only after the flight of the Argives, 
 which took place the night before the action of this play 
 begins, could Creon make any disposition of the dead they 
 had left behind. In the same night, then, that he returned 
 from their pursuit, elated with victory, and his thirst for 
 revenge still unsated, he issued the proclamation that the 
 corpse of Polynices should be cast out, unburied and un- 
 wept, to be devoured by beasts and birds of prey, and that 
 any person violating the order should be stoned to death. 
 Antigone has heard of the proclamation, and at once deter- 
 mined to fulfil her duty to her beloved brother — still sa- 
 credly hers — and abide the consequences. 
 
 Prologue. — In the twilight of the following morning 
 she leads her sister Ismene, the natural sharer of her griefs, 
 to the open square before the royal palace upon the Cad- 
 meia. First reminding her of the manifold evils they had 
 been called to endure, she communicates w T ith deep indig- 
 nation the revolting command of Creon, and demands to 
 know if she will aid her in the execution of her plan — that 
 of burying their brother. Ismene, however, is weak and 
 timid, and shrinks with terror from such a bold undertaking. 
 She in her turn reminds Antigone of the dreadful fate of 
 their father and mother, of their two brothers' mutual 
 slaughter, and of their own lonely situation, and warns 
 her of the awful death which such a braving of the king's 
 authority would inevitably bring upon them. They should 
 recollect, she says, that they are women, and as such bound 
 to submit to the rule of the stronger sex. For her own 
 part, since she is constrained by force, she will obey the 
 civil power, which it were folly to resist. 
 3 
 
50 INTRODUCTION. 
 
 None of these things, however, move the brave and 
 pious Antigone. She denies Creon's right to debar her 
 from her own ; she will not be found betraying her own 
 brother, but will bury him ; nor would she, now that she 
 knows her sister's want of proper feeling, accept her assist- 
 ance if it were offered. Death incurred in the performance 
 cf this holy duty will be glorious, and endear her to the 
 beloved brother with whom she is to lie ; and besides, the 
 interests of this brief life are of little moment in comparison 
 with those of that w T orld where she must abide forever. 
 Her sister's prudent timidity and respect for the civil power 
 she treats as a dissembled contempt of that which, in the 
 eyes of the gods, is esteemed worthy of honor. Ismene 
 avers that she does not dishonor divine things, but she is 
 incapable of acting contrary to the will of the state. Find- 
 ing that Antigone is not to be turned from her course, she 
 advises her to act in secrecy and silence ; but her affection- 
 ate solicitude is answered with rudeness and contempt. 
 Antigone disdains her sympathy as well as her advice, and 
 desires to be permitted to suffer the punishment she thinks 
 so terrible. "For," she adds, "I shall suffer nothing so 
 dreadful as not to die nobly." 
 
 Paeodos. — The sisters having left the stage, the chorus 
 of elders, representing the Theban senate, enters the orches- 
 tra, singing the entrance ode. They hail with joy the 
 rising sun, which now pours its gladdening beams upon the 
 city, delivered at last from the calamities of w^ar. They look 
 back exultingly upon the dangers they have escaped, the 
 burnings and slaughters vainly threatened by their insolent 
 and blood-thirsty enemy. " After prowling around our seven 
 gates with his murderous lances, he went off ere he had 
 gorged his cheeks with our blood, and ere the pitchy flame 
 had seized upon our coronal of towers." But the honor of 
 victory is given to the gods ; the greater the danger has 
 been, the more fervent is their gratitude to Zeus, who with 
 
THE MYTHUS. 51 
 
 liis fiery thunder-bolt struck the blustering Capaneus from 
 the wall, and to Ares, who, like a mighty war-horse, led on 
 the Theban war-chariot to victory. Touching lightly upon 
 the fate of the miserable brothers, the Chorus proposes, 
 now that Victory has smiled upon Thebes, to banish these 
 painful remembrances, and to visit the temples of their de- 
 liverers in joyful processions. But the approach of Creon, 
 their new king, from his palace, reminds them that they are 
 convened to meet him on some special affair of state. 
 
 First Episode. — Creon inaugurates his reign by an 
 address to the venerable councillors of the kingdom. Duly 
 acknowledging their fidelity to the preceding dynasty, to 
 whose power he, as the next male heir, rightfully succeeds, 
 he proceeds to lay down the principles of government by 
 which he will be guided ; he will adopt the counsels which 
 are most conducive to the general good of the country, un- 
 biassed by fear or favor, seeing that it is only by maintain- 
 ing the ship of state upright that public and private pros- 
 perity can be secured. With this aim in view, and in 
 accordance with these maxims, he has made a proclamation 
 concerning the sons of CEdipus : ordering all due honors to 
 be paid to the one who had fallen in the city's defence, and 
 inflicting the extreme of infamy upon the other, who, re- 
 turning from banishment, had wished to ravage his native 
 land with fire and sword, and involve both gods and people 
 in one common ruin. For this cause shall Polynices be 
 left unburied, and given up to be eaten by dogs and birds 
 of prey. 
 
 The Chorus meekly bows to the monarch's will, and 
 admits his right to make what disposition he pleases of 
 friends and enemies, of the dead as well as the living. 
 This ready submission on the part of the citizens is only a 
 trait of the exaggerated homage still customary in the East- 
 ern despotisms ; it is no evidence of their hearty approval 
 of the novel edict. Creon takes them at their word, how- 
 
52 INTRODUCTION. 
 
 ever, and requires their cooperation in securing the observ- 
 ance of his commands. Thinking that he wants them to 
 guard the body, they decline it on account of their age, and 
 request him to assign the task to younger men. Creon 
 corrects this impression by saying that watchmen have 
 already been appointed, and that he wishes the elders not 
 to countenance those w r ho may disobey. They do not 
 promise even this much, which they certainly would do if 
 they approved the king's measure ; they merely observe 
 that "no one was fool enough to court death." The Chorus 
 has not heard the prologue, and knows nothing of Anti- 
 gone's purpose ; it does not occur to them that one of those 
 weak orphan maidens may do it. Creon answers that " the 
 hope of gain has caused the ruin of many a man," intimat- 
 ing that some would run the risk for a bribe. He has evi- 
 dently not the remotest idea that there might be a higher 
 motive for it than those which govern w T orldly relations 
 and interests. But the same moral obliquity which had 
 made him overlook the wickedness of his edict, now makes 
 him suspect only sordid motives in others for the transgres- 
 sion of it. 
 
 The conversation is here interrupted by the entrance of 
 a watchman, who, with many circumlocutions, characteristic 
 of the general class of messengers in tragedy, informs his 
 master that somebody has buried the corpse of Polynices, 
 and gone without leaving a trace that could afford a clew 
 to his discovery. The man stands in mortal dread of the 
 king's anger, and narrates the most minute circumstances 
 of the affair, in order to exculpate himself and his fellow- 
 watchmen, who had offered to endure the most painful tor- 
 tures in proof of their innocence. 
 
 The Chorus, having heard that the body was covered by 
 some unknown hand, ventures to suggest that it was the 
 work of the gods. This produces an outburst of passion 
 from Creon, who is now fully convinced that the watchmen 
 have been bribed to do it by his secret enemies, and de- 
 
THE MYTHUS. 53 
 
 clares with an oath that they shall suffer, not only death, 
 but tortures, if they do not produce the author of this in- 
 sult to his authority. With this threat the enraged mon- 
 arch returns to his palace, while the watchman, rejoicing 
 that he has got off this time with a whole skin, contrary to 
 his expectation, promises himself never to come back again. 
 
 Second Stasimox. — The theme of this ode is suggested 
 by the preceding act — the wonderful audacity and cunning 
 of the unknown transgressor. The Chorus contemplates 
 with amazement the might and craft of man; the being 
 who subdues the sea and the land, who captures and tames 
 all animals for his use, who finds out all knowledge and all 
 arts, who, never failing in resources, devises a protection 
 against all physical ills but death, which alone he cannot 
 escape. But he uses his surprising ability, not only for 
 good, but also for evil, " subverting the laws of the land and 
 the sworn justice of the gods." For such daring contem- 
 ners of law, human and divine, the Chorus expresses its 
 abhorrence, and will have no fellowship with them. A part 
 of this severe blame is plainly intended for the king, who, 
 in forbidding the consecrated rites of burial to his dead rel- 
 ative, has violated the divine justice (see note on v. 451). 
 This song is scarcely ended before the Chorus is struck 
 with amazement and sorrow at seeing the same watchman 
 return, leading Antigone as a prisoner. 
 
 Secoxd Episode. — The watchman triumphantly leads 
 in the maiden as the perpetrator of the crime, and asks for 
 Creon. The king appears and inquires what is the matter. 
 The watchman says he has come to bring this maiden, whom 
 he has caught in the very act of burying the body of Poly- 
 nices. When questioned by Creon concerning the manner 
 of her arrest, the man describes how he and his comrades 
 had removed the dust from the body and taken their posi- 
 tion to watch it ; how in the heat of the day a violent wind 
 
54: INTRODUCTION. 
 
 had suddenly risen, filling the air with dust, and forcing them 
 to shut their eyes ; then, after the storm had subsided, they 
 had seen the maiden casting dust again upon the corpse 
 and pouring the customary libations for the dead, where- 
 upon they had seized her, and, as she had not attempted to 
 deny the facts, he had brought her to the king for trial. 
 
 Creon demands of Antigone if she has done it, and, 
 further, if she knew his proclamation forbidding it. She 
 acknowledges both. The king asks her how she has 
 dared, then, to transgress the law. Antigone justifies her 
 act by asserting the paramount force of those laws estab- 
 lished by the gods for the government of the world. She 
 did not consider his proclamations so mighty as to super- 
 sede the unwritten and unchangeable laws of the gods, 
 which were not of to-day or yesterday, but existed from 
 time immemorial. She would not, from fear of any man, 
 suffer the penalty of neglecting them in another world. 
 She knew she must die, even without his warning, and to 
 one who, like herself, lived in manifold afflictions, an early 
 death was gain. The pain of this lot was nothing in com- 
 parison to the grief of suffering her own mother's son to lie 
 unburied. " But," she proudly adds, " if I seem to you 
 to have acted foolishly, I am taxed with folly by one almost 
 a fool." 
 
 The Chorus observes that the obdurate temper of the 
 father is revealed in that of the child, who knows not how 
 to yield to misfortune. 
 
 Creon sees in her bearing and language nothing but im- 
 pudence and defiance. Swelling with rage, and confident 
 of his power to crush the helpless woman who has dared to 
 oppose his will, he declares that if her spirit is too hard to 
 bend it must break ; that she, not he, would be a man if 
 this double insult were to pass unpunished ; that were she 
 ever so nearly related to him, both she and her sister shall 
 not escape the worst death. For he charges Ismene also 
 with complicity in the burial ; the violent agitation he has 
 
THE MYTHUS. 55 
 
 lately observed in her is evidence of a guilty conscience ; 
 wherefore, he commands her to be brought before him. 
 What he loathes, however, is for a person to be caught in 
 a crime, and then to seek to make it glorious. 
 
 Antigone calmly asks if he wants any thing more than 
 her death. " No," says the tyrant ; " having that I have 
 all." She tells him to kill her at once, then, as their views 
 can never be reconciled; she can obtain no nobler fame 
 than by burying her own dear brother, and she believes 
 that all her fellow-citizens would approve it if fear did not 
 shut their mouths. " But tyranny," she says, " has this 
 advantage, among others, that it can say and do whatever 
 it pleases." 
 
 In the sharp altercation that follows, the antagonism 
 between Creon and Antigone is exhibited with increasing 
 force ; the latter appealing to the rights of the dead sanc- 
 tioned by Nature and religion, the former condemning her 
 for honoring the open enemy of the state. Antigone appears 
 as the affectionate sister, who sees in Polynices only the 
 fallen brother ; Creon, the callous politician, regards him 
 only as a traitor, and as such deserving to be pursued with 
 irreconcilable hatred even in death. Antigone will say 
 nothing of his political offences, but maintains that death 
 demands equal rights, and utters the truly feminine and 
 noble sentiment, that she is born, not to hate with those 
 that hate, but to love with those that love. " Go, then," 
 cries the enraged monarch, " and, if you must love, love the 
 dead below, for while I live a woman shall not rule." 
 
 Ismene is now led in, convulsed with weeping. Creon 
 addresses her in a brutal tone, calling her an adder that had 
 stealthily crept upon him in his house and sucked his blood, 
 and demanding to know whether she was an accomplice in 
 the burial. The young girl, who was before too timid to 
 join her sister in the performance of a sacred duty, has now 
 the courage and strength to wish to die with her. She de- 
 clares that she has done the deed and shares the guilt, if An- 
 
56 INTRODUCTION. 
 
 tigone consents. Antigone replies that justice will not per- 
 mit this, as she had not been willing to act with her. Is- 
 mene tenderly begs to be permitted to share her fate. Anti- 
 gone coldly refuses : she does not love a friend who is so 
 merely in professions ;^she shall not die with her, nor claim 
 the merits of an act not her own ; she had chosen to live, but 
 she herself to die. Be it so ; she does not envy her escape. 
 Ismene, finding her entreaties of no avail, at length turns to 
 Creon, who, wholly incapable of comprehending the sisters, 
 thinks them both deranged. She tries to touch a chord in 
 the king's heart by asking if he will put to death the 
 betrothed of his own son. As Antigone had scorned to 
 make any attempt to soften Creon, this family tie had 
 hitherto been disregarded. But her question provokes a 
 coarse retort from Creon, who adds that he wants no bad 
 women for his sons. Antigone cannot help exclaiming, 
 " O dearest Hsemon, how thy father disgraces thee ! " — 
 " You vex me too much," says the king, " you and your 
 marriage, which death shall break off." Creon then signifies 
 his determination that Antigone shall die, and orders both 
 the maidens to be led into the house, and guarded. 
 
 Second Stasimon. — In the unexpected arrest of Anti- 
 gone, her proud language, and final condemnation, the Cho- 
 rus sees a continuation of the family malediction, and breaks 
 forth into a mournful yet sublime song, in which it contem- 
 plates the origin and baneful workings of the ar7/, i. e., 
 guilt, that first produces delusion and is afterward expiated 
 by calamity. "When this demon of mischief has once seized 
 upon a family she never quits it, but springs up anew in 
 each suceeding generation, and ends only with the utter 
 extinction of the race. So the unfortunate legacy of blind- 
 ing passion, entailed by the son of Labclacus upon his pos- 
 terity, has lopped one scion after another, until now the last 
 of the children of GEdipus is cut down through unthinking 
 folly and infatuation of mind. Suddenly changing its tone, 
 
THE MYTHUS. 57 
 
 the Chorus celebrates the ever-enduring might of the ruler 
 of bright Olympus, whose eternal law is felt by the inevita- 
 ble retribution which overtakes the transgressor. The pro- 
 lific source of mischief is the indulgence of light-minded, 
 ambitious desires, which warp the judgment, making evil 
 appear good and enticing to guilty acts ; soon, then, follows 
 the arr\. As the first part of the song is suggested by the 
 downfall of Antigone, so the remaining portion refers to 
 the wicked presumption of Creon, whose approaching pun- 
 ishment is, in the mirror of the past, dimly foreseen. This 
 time the poet retains the king upon the stage, that his aged 
 councillors may utter a solemn warning in his ears. 
 
 Third Episode. — Hsemon, the king's only surviving 
 son, appears. Creon inquires whether he comes in anger at 
 hearing the final condemnation of his intended bride. Har- 
 mon's reply is couched in language of filial respect, inti- 
 mating that he values his father's wise guidance above any 
 marriage. Creon is pleased with such proper sentiments : 
 he says the obedience of children is the source of the 
 highest gratification to a father, while their insubordina- 
 tion is a plague to him, and a cause of laughter to his 
 enemies. He exhorts his son not to give up his reason 
 for the sake of a bad wife, who can only prove a grievous 
 ulcer to his happiness. He justifies his course in regard 
 to Antigone by narrow reasonings, laying it down as an 
 axiom that a man of justice must begin with keeping his 
 own household in order; otherwise, he cannot make his 
 authority respected in the state, the consequence of which 
 would be general anarchy and ruin. He paints insubor- 
 dination as the prolific mother of evils, contrasts with it the 
 blessings that spring from obedience, and concludes with 
 the necessity of supporting the legitimate authority, whether 
 right or wrong. In his closing remark, that it is most dis- 
 graceful to succumb to a woman, he betrays his secret bit- 
 terness, and shows us that his severity is dictated no less by 
 personal resentment than by his sense of justice. 
 
58 INTRODUCTION. 
 
 Harmon is not satisfied. With due respect for his fa- 
 ther's opinions, which he will not undertake to confute, he 
 suggests that a just view might also be taken on the other 
 side. He reminds Creon that his position as king prevents 
 him from learning the real sentiments of his subjects, who 
 are restrained by fear from telling unpleasant truths ; but 
 that he, by mingling with the people, has heard how they 
 complained in secret of Antigone's unmerited punishment, 
 lamenting that she, for the most pious and praiseworthy 
 action, must suffer a most cruel death. Hsemon hopes 
 more from representing to his father the state of public 
 opinion than from a direct defence of his beloved, which 
 would be attributed to a selfish motive. He assures him 
 that nothing is more precious to him than his father's pros- 
 perity ; for his interest, therefore, he implores him not to 
 hold fast to the one idea that he alone is in the right, and no 
 one but himself is wise, but to recede from his resolution 
 and relent, lest by too great a tenacity he may work his own 
 destruction. 
 
 The Chorus judges that both have well spoken, and that 
 each may properly learn of the other. This is sufficient to 
 explode the king's gathering wrath. What ! shall he at his 
 age be taught wisdom by such a stripling ? " Nothing that 
 is not just," Haemon replies ; " you should not look at my 
 age, but the business in hand." Creon asks indignantly 
 if it is his business to honor the transgressors of the laws. 
 Shall the city dictate to him what he must ordain ? The 
 state belongs to the ruler, he thinks, and he is entitled to 
 govern it for his own benefit, and according to his own 
 pleasure. Haemon answers in a tone of calm good sense, 
 till Creon's taunts and reproaches exhaust his forbearance ; 
 then he charges his father with injustice and impiety, and 
 at length plainly hints that he has lost his reason, where- 
 upon the king, losing all self-control, gives orders for Anti- 
 gone to be brought in and slain before her lover's eyes. 
 Hsemon exclaims : " No, never shall she die by my side, 
 
THE MYTHUS. 59 
 
 nor shall you ever behold me again," and rushes in despair 
 from his father's presence. Wrought up to frenzy by this 
 stormy colloquy, the tyrant devises an unheard-of cruelty : 
 he determines to bury Antigone alive in the vault of her 
 ancestors, with just food enough to ward off pollution from 
 the city. Finally, as if to stifle the murmurings of con- 
 science, he indulges in a bitter sneer at the unhappy maiden 
 and her vain veneration of the gods below. 
 
 Third Stasdiost. — Deeply impressed by the angry strife 
 between father and son, and particularly by the circum- 
 stance that their estrangement has been produced by Har- 
 mon's love to Antigone, the Chorus sings the all-conquering 
 power of Eros (love). Over all the world that power is felt ; 
 neither the immortal gods nor ephemeral men can escape 
 his infatuating influence. He warps the minds of the just 
 to wrong, and in a conflict of duties he maintains his place 
 among the great principles and laws of human action, In 
 seeing Antigone now led out on her way to her sepulchral 
 bride-chamber, the Chorus yields to undue emotion, and 
 sheds tears of pity over her sad fate. 
 
 Fourth Episode. — This act is composed chiefly in the 
 lyrical form, as best adapted for the expression of high- 
 wrought feelings. Antigone does not resign life with in- 
 difference; she casts a longing, lingering look upon the 
 bright world she is leaving, and laments in pathetic strains 
 the necessity of renouncing the felicities of an earthly mar- 
 riage for the cold embrace of the grave. The haughty 
 spirit that lately contemned and braved the civil power, 
 now quails before the horrors of a living burial. The 
 Chorus, recognizing the nobleness of her conduct, seeks to 
 console her with the unique fame she acquires by volun- 
 tarily descending alive into Hades. "When she, however, 
 compares her lot to that of Niobe, encased in stone, she is 
 rebuked for her presumption in likening herself to a god- 
 
60 INTRODUCTION. 
 
 dess ; still it is a great glory to share a godlike fate. This 
 seems an empty mockery to Antigone, who, in accents of 
 despair, calls the city and its inhabitants, the groves and 
 streams, to witness what an iniquitous sentence she is going 
 to suffer. The Chorus reminds her of the grave offence she 
 has committed : she has, with reckless audacity, assailed 
 the high throne of justice ; she is fighting out, however, the 
 ancestral combat with Fate. This last observation reminds 
 her of the sad calamities which had befallen her whole race, 
 and of that long chain of fatal circumstances which is the 
 occasion of her own destruction. The. Chorus, perceiving 
 that Antigone attributes too much to the evil destiny of her 
 house, plainly tells her that, though the honoring of the 
 dead is a pious action, yet that the violation of the rightful 
 authority is wholly unjustifiable. Not Fate, therefore, but 
 her own headstrong passion, has destroyed her. These 
 words are significant as expressing the judgment of the 
 people, and of the poet himself, concerning the merits and 
 tendency of Antigone's action. The heroine, feeling that 
 her magnanimity is not appreciated by the elders, does not 
 vouchsafe them another word, but complains that she is led 
 away unwept and forsaken by all her friends. 
 
 Creon becomes impatient at the delay, and sternly com- 
 mands the guards to carry her away at once and confine her 
 in the vaulted tomb. As she turns to go, she expresses the 
 confident hope that she will descend to the abode of the 
 dead, dear to her parents and her brother Eteocles, since 
 she has duly rendered them the last services of burial. But 
 now, for a like service to Polynices, she reaps this reward. 
 Yet she has honored him for the judgment of the wise and 
 just : in Creon's eyes she has committed an enormity. Her 
 dutiful action is distorted into a crime. If this judgment is 
 approved by the gods, she will after death see and confess 
 her error ; but if these her adversaries are in the wrong, 
 she wishes they may suffer no greater evils than they ini- 
 quitously inflict upon her. Finally, as she is dragged 
 
THE MYTHUS. 61 
 
 away to death, she solemnly calls men and gods to witness 
 that she suffers for conscience' sake. While she is leaving 
 the stage, the Chorus sings. 
 
 Fourth Stasimox. — Citing several examples from my- 
 thology of persons similarly confined, the poet's pervading 
 thought is, that all must succumb to the power of Fate, 
 whether innocent, as Danae, Cleopatra and her blinded 
 sons, or guilty, as Lycurgus, who, for his wanton insults to 
 Bacchus, was shut up by him in a rocky prison, and left to 
 vent his impotent rage. The example of his offence and 
 punishment may have been selected as a warning to Creon, 
 who has now filled up the measure of his wickedness. 
 
 Fifth Episode. — Teiresias, the venerable priest of the 
 gods, comes to try the power of religion upon Creon's 
 hardened heart. He describes the ill-boding signs which 
 he has observed in augury and sacrifice ; he announces that 
 all the altars are contaminated by the putrid food brought 
 by birds and dogs from the carcass of Polynices ; that the 
 gods no longer accept either prayers or offerings, and that 
 the city sickens in consequence of the king's edict. The 
 seer urges him to reflect upon these grave circumstances, 
 to give up his error, and cease persecuting the dead. 
 " What prowess," he exclaims, " to slay a dead man over 
 again ! " But these friendly admonitions and counsels 
 are lost upon the king. He looks upon all he has heard as 
 jugglery and priestcraft, whose tricks have been practised 
 upon him already. But he is no longer to be imposed 
 upon ; he charges Teiresias with mercenary motives, and 
 playing upon his credulity. He does not even shrink from 
 blasphemy, declaring that the body shall not be interred 
 even though Jove's eagles should bear it as their food into 
 their master's throne, and affecting to believe the gods too 
 elevated to be profaned by man. 
 
 Provoked by Creon's repeated insults and scoffs, Teire- 
 
G2 INTRODUCTION. 
 
 sias solemnly predicts the retribution that awaits him.* For 
 daring to thrust down to the grave a living soul, and to 
 retain above-ground an unsanctified corpse, he shall give up 
 his own child, the dead for the dead, and be involved in 
 like evils. Soon will his house be filled with lamentations, 
 and the surrounding towns, whose altars are polluted by 
 the impure stench brought by birds and beasts, be all stirred 
 up to hostility. After these denunciations he sharply re- 
 proves Creon for his disrespect to himself, and abruptly 
 leaves him, with the advice to keep a more respectful tongue 
 and a better temper. The king stands amazed. The pain- 
 ful silence is broken by the leader of the Chorus, who calls 
 Creon' s attention to the terrible prophecies of the seer, and 
 to the fact that he had never been heard to predict a false- 
 hood. Creon admits it, and confesses his apprehensions ; 
 it is painful, he says, to yield, but still more so to draw a 
 calamity upon himself by resisting. What is to be done ? 
 The Chorus advises him to go first and free Antigone from 
 the vault, and then to bury the exposed corpse. When 
 Creon still hesitates, the Chorus urges the utmost haste, 
 lest he may be overtaken by the swift-footed ministers of 
 divine vengeance. Creon at length yields, but against his 
 will, and only to necessity. In his confusion he orders his 
 servants to attend to the burial first ; he himself will re- 
 lease the maiden. His views are changed, and he fears it 
 may be best always to preserve the established laws. 
 
 The Fifth Stasimox is a hymn to Bacchus, the special 
 patron of Thebes. The Chorus, hoping it may not yet be 
 too late to avert the impending evils, magnifies tKe glory 
 of the god, and fervently implores him to appear and save 
 his beloved city. 
 
 Exodus. — A messenger, an attendant of Creon, appears 
 for the purpose of announcing the sudden and grievous 
 misfortune which has befallen his master. " Haemon has 
 
THE MYTHUS. 63 
 
 perished by his own hands, but the living are the cause of 
 his death." "While he is yet speaking, Eurydice, the wife 
 of Creon, is seen at the door of the palace, going forth to 
 the temple of Pallas to pray. She has caught some of the 
 messenger's words, and desires to know the whole truth. 
 The messenger narrates what he had witnessed : he had 
 accompanied her husband to the place where the body of 
 Polynices lay; his remains having been burned and buried 
 with customary rites, they had gone toward the vault 
 where the maiden had been immured, but on approaching 
 the spot their ears had been pierced by a cry of distress. 
 Creon recognized it as the voice of his son. When they 
 came to the tomb they saw Antigone hanging by the neck, 
 and Hgemon clasping her body, while he loudly lamented 
 his father's acts and her untimely fate. Creon now entered 
 and entreated him to come out ; but Hcemon, with a look 
 of anger and disgust, drew his sword upon his father, who 
 by a sudden retreat escaped the blow. Then the unfor- 
 tunate youth, angry at himself, plunged the weapon into 
 his side, and breathed out his life with his blood, still em- 
 bracing the maiden, to whom he is at length united in the 
 grave. 
 
 Eurydice returns to the palace without uttering a word. 
 This silence seems ominous of evil, and the messenger fol- 
 lows her, to see whether she is not meditating some dark 
 purpose. Meanwhile. Creon arrives with his attendants, 
 bearing the lifeless Hasmon. Bitterly does he now reproach 
 himself with his obstinate wrong-headedness, and lament 
 the early death of his son, caused by his folly. Some 
 demon, he thinks, has smitten him on the head and impelled 
 him into wild and cruel courses. While he thus bewails 
 his errors, a domestic comes to announce another calamity : 
 his wife, Eurydice, has put an end to her life. The king 
 is crushed to the earth by this second blow; he cannot 
 realize it until (by means of a stage-machine) the unhappy 
 mother is exposed to his view. The cup of affliction seems 
 
64 INTRODUCTION. 
 
 now drained to the bottom ; not yet ! the bitter dregs re- 
 main. The unsparing messenger tells him how, with her 
 expiring breath, she had lamented the fate of her two sons, 
 and finally uttered fearful maledictions upon him — the 
 murderer of her children. Remorse and terror drive him 
 to the verge of distraction ; he calls for some one to plunge 
 a sword through his heart ; he feels that the guilt is all his 
 own, and implores death to relieve him from his intolerable 
 anguish. Admonished by the Chorus that now is no time 
 for prayer, since it would bring no escape from fated calam- 
 ity, he piteously begs to be carried away from the sight of 
 those he had unwillingly slain. As he is led away, the poet 
 permits us to see that his mind wanders : the loss of reason 
 is the finishing stroke of woe. 
 
 In the pithy reflections which close the drama, the Cho- 
 rus enunciates the moral lessons that have been so strikingly 
 exemplified in the action : wisdom is the chief requisite for 
 happiness ; no one should impiously set at naught the divine 
 ordinances ; overweening pride draws upon itself a heavy 
 retribution, which teaches moderation when it is too late. 
 
 These are the conclusions to which the poet would lead 
 the intelligent and impartial spectator in witnessing the 
 action of the "Antigone." They express, in fact, the 
 fundamental thought, underlying every part of the drama ; 
 shaping each tragic character and situation, and binding 
 them together into an harmonious whole. This main idea 
 is exhibited in the collision of two leading characters, who 
 defend opposite interests with unyielding obstinacy. One 
 is the champion of man's moral and religious rights, 
 grounded in our common humanity and sanctioned by 
 universal usage ; the other is the assertor of the " principle 
 of authority," as it is understood in semi- Asiatic monarch- 
 ies. It is no part of the author's design to show that these 
 two principles are in themselves antagonistic ; but to show 
 that, when the religious and the civil rights are maintained 
 by short-sighted, fallible beings, and by them dragged down 
 
THE MYTHUS. 65^ 
 
 into the wild and stormy arena of human passion, they 
 tend to assume an attitude of irreconcilable hostility, and 
 lead to a fatal issue. 
 
 In the instance here chosen, an unlimited civil power 
 becomes suddenly and unexpectedly vested in a selfish, 
 narrow-minded, obstinate man, who sets out with the con- 
 viction that sovereignty confers complete wisdom and an 
 unerring judgment — with the belief, in short, that the 
 king can do no wrong, Elated by his new dignity, and 
 blinded by resentment toward a fallen foe, Creon tran- 
 scends the province of the civil authority, and, while 
 setting at naught the religious usages of his country, en- 
 croaches upon the private family rights of Antigone. She, 
 on the other hand, though inspired by the purest senti- 
 ments, and endowed with the most elevated virtues that 
 natural religion can produce, is yet the high-tempered child 
 of a high-tempered father ; her proud spirit revolts at 
 Creon's high-handed wrong, and she takes her redress into 
 her own hands. An uncompromising hatred is engendered 
 between the parties, and thus an apparent conflict of princi- 
 ples degenerates into a contest of passions. The action is, 
 therefore, justly calculated to inculcate that moderation 
 which becomes us men in all things, and to teach what piti- 
 able sufferings may fall to the lot of one who passionately 
 and obstinately follows his own path, regardless of the rights 
 and interests of those who stand in his way. Antigone 
 and Creon are both, though not alike, guilty. Antigone, 
 by setting her private rights above the supreme civil 
 authority, strikes at the existence of the government, and 
 her life must be the forfeit. But, according to Grecian 
 notions, the matter could not end here. Hence, Creon, 
 who at first has arrogantly contemned the divine laws, 
 and trampled upon the holiest family rights, who has after- 
 ward executed the victim of his injustice in an inhuman 
 manner, is reserved for woes from which death itself were 
 a welcome refuge. As he has sinned against the sacred 
 
66 INTRODUCTION. 
 
 family rights, in like manner now blow upon blow strikes 
 down his own family around him. Also in his late recogni- 
 tion of justice, his remorse and despair, the divine laws 
 receive an ample vindication. 
 
 " No drama of antiquity," says Bernhardy, " can be 
 compared with the Antigone in the harmony and perfect 
 balance of all its powers. Its excellences lie in the beauti- 
 ful symmetry of its plot, its characters, and its form, and 
 finally of the fundamental thought that runs through these 
 materials and organizes them to a faultless whole, which 
 at the present day may pass for the canon of antique 
 tragedy." The plot is constructed with admirable sim- 
 plicity : its course is developed directly from the opposition 
 announced at the outset, and advances steadily through a 
 series of struggles toward its goal with such undeviating 
 persistence, that the long chain of events and resolutions 
 appears as the natural and necessary effect of a single 
 cause. Each scene is closely linked with another, suc- 
 cessively bringing the controversy nearer to its decision ; 
 each scene rises to its own acme of pathos while serving 
 as a step to a higher, until the opposing forces are broken 
 by a final shock, and the fierce gusts of passion die away 
 in the moanings of despair. 
 
 If we now turn our attention more particularly to the 
 characters, we shall find them adapted, by their elevation 
 and their diversity, to sustain a part in such a plan. If the 
 plot is, as before observed, a free expansion of the ancient 
 mythos, and wholly due to the creative genius of Sophocles, 
 so the characters, especially those of the chief persons, An- 
 tigone and Creon, are modelled to be, at the same time, the 
 worthy representatives of the two great principles that con- 
 stitute the basis of human society — religion and govern- 
 ment — and of the faults and errors to w r hich an exaggerated 
 view of these naturally tends. 
 
 In the works of the greatest poets there breathes often 
 the spirit of another art. In the drama particularly we 
 
THE MYTHTJS. 67 
 
 perceive a striving to realize upon the scenic platform the 
 pictorial groupings of the painter or the sculptor. This is 
 perhaps nowhere more evident than in the "Antigone." 
 The characters rise by well-defined gradations from the 
 level of common men, animated by vulgar motives, to an 
 ideal standard of humanity, in which the earthly dross 
 appears refined by suffering, and the spiritual predominates 
 over the material. 
 
 As the highest expression of moral greatness, Sopho- 
 cles has chosen a poor, weak woman, a child of sorrow, 
 whom a cruel destiny has bereft of all her natural pro- 
 tectors, and of all the worldly advantages which, as the 
 daughter of a great king, she had once, in their fullest 
 extent, enjoyed. In her proud, unbending disposition 
 she is her father's child — rude and severe to all who are 
 not equally high-minded, and do not act with the same 
 decision as herself ; and she is the more sensitive and vul- 
 nerable, the more painful and humiliating had been the 
 trials through which she had been made to pass. Self- 
 abnegation, at first a necessity, has by years of suffering 
 become a habit and a principle. By her sad experience of 
 the vanity of this world, she has been led to rest her only 
 hopes of happiness upon the next ; hence her ardent and 
 inflexible devotion to what she conceives to be her holiest 
 duty, and her dread of proving recreant to it ; hence her 
 reverence for the claims of religion and eternal justice, 
 approved and sanctioned by the Hellenic race from imme- 
 morial time; hence also, when Creon's impious command 
 imposes on her the necessity of choosing between civil 
 punishment and the anger of the gods, and of a brother 
 shut out of Hades, she does • not hesitate to follow the 
 course dictated by her conscience, and approved, she doubts 
 not, by all just men (v. 904). In the presence of her 
 angry judge she fearlessly asserts the principle, long after- 
 ward proclaimed and acted upon by the Christian apostles, 
 that she " ought to obey God rather than men." Such is 
 
68 INTRODUCTION. 
 
 the spirit, if I mistake not, and such the motives that 
 animate Antigone in this decisive moment of her life ; 
 judged from her own point of view, she is the type of con- 
 science — in the ancient Grecian sense. 
 
 Antigone appears at first hard and stiff, with that 
 abstract fixedness which marks the ethical characters of 
 ancient tragedy. This arises from her peculiar exaltation 
 of soul, justified by Creon's proclamation, and demanded 
 for the performance of an action whose consequence is a 
 certain ard terrible death. Sophocles wished to represent 
 her as great and self-reliant, rather than as an ideal of 
 female loveliness. She even spurns the dependent spirit 
 of her sex in the person of her gentle sister, and renounces 
 both it and her. She is weaned from the world : to use 
 her own thought, she is already dead to the claims of this 
 life, so that she may serve her dead brother, by securing to 
 his shade a peaceful rest below. She is Haemon's be- 
 trothed ; yet so wrapped up is she in her duty and affection 
 to the unhappy dead, that all thought of love is banished 
 from her mind. But when that sacred obligation is fulfilled, 
 and she is bidding farewell to life, her pathetic regrets at 
 failing in her proper mission as a wife and mother reveal 
 the tenderness of her woman's nature. Under the stroke 
 of misfortune the exalted ideal becomes more concrete, 
 more human, and awakens, by the greatness of her anguish, 
 the deepest sympathy of the spectator. For a moment she 
 is assailed by doubts and apprehensions that even the gods 
 in whom she puts her trust have forsaken her ; but hope 
 finally prevails, and she goes to her fate in the firm belief 
 that the justice of her cause will be recognized in the next 
 world, if not in this. That the poet makes her end her life 
 by suicide, is to be judged of according to the Greek re- 
 ligion and the ancient manner of thinking, rather than our 
 own. Regarded from the Christian stand-point, Antigone 
 would have loaded herself with a far deeper guilt than that 
 of breaking a mere human statute; in the Grecian view, 
 
THE MYTHUS. 69 
 
 while she releases herself from protracted misery, she con- 
 verts what the tyrant intends as an ignominious punish- 
 ment into a triumph of that divine law which she has 
 served, by voluntarily dying for it. This was wanting to 
 complete her self-sacrifice, and perhaps it is not too much 
 to say that she dies a martyr to her faith. 
 
 The next most tragic person in the drama is Creon. 
 He is the type of worldly majesty and unlimited kingly 
 power, whose command requires unconditional obedience 
 from all the members of the state. He does not seem to 
 have been naturally tyrannical, or to have brought to his 
 high office any unusual share of human depravity, except 
 perhaps that deadening of the moral feelings which the 
 long habit of political strife tends to produce. He had 
 formerly supported the claims of Eteocles to the throne 
 of his father GEdipus, and from his position, as first adviser 
 of that prince, he had doubtless aided in procuring the 
 banishment of Polynices. Toward the latter, it may be 
 presumed, he had entertained a deep-seated animosity, 
 which was greatly enhanced by Polynices' recent treason 
 in heading a hostile invasion of his native land. Having 
 been suddenly raised by the death of the brothers to the 
 supreme power, he thinks only of establishing his authority 
 by at once crushing all disaffection. For this, an example 
 of extreme severity is needed. In the same night in which 
 the Argives had fled, with unseemly haste, and taking coun- 
 sel of none, he issues a proclamation, denouncing Polynices 
 as an enemy of the state, and forbidding to bury him. He 
 adopts this measure, as it appears, inconsiderately, and with 
 no intention to violate the family rights of Antigone and 
 Ismene ; he overlooks them entirely. In a question of 
 state policy, the opinions and feelings of women could 
 have no weight with him. His ostensible object is the 
 welfare of the state, which, he says, outweighs every other 
 consideration ; but as he conceives the state to be the prop- 
 erty of the ruler, who is to govern for his own benefit, it is 
 
70 INTRODUCTION. 
 
 not difficult to see that his real aim is to strengthen his 
 own power rather than to secure the happiness of his sub- 
 jects. Hence, when his law is violated, he deems the act 
 an insult to himself, and immediately suspects his political 
 opponents to have been at the bottom of it. He suspects 
 secret foes in all who approach him : Antigone and her 
 sister are the subverters of his throne ; his son is the ally 
 and slave of the woman who has dared to thwart his will ; 
 the aged priest, to whose aid he is indebted for his king- 
 dom, is the hired tool sent to scare him from his purposes. 
 The maxims of government, by which he seeks to justify 
 his acts, are in themselves right, and he carries them out 
 fearlessly and w r ith an iron logic. The error lies in using 
 them to defend a measure utterly at war with the religious 
 traditions of his country — a violation of a right w x hich lies 
 beyond the jurisdiction of an earthly king. Creon, though 
 not a professed atheist, is a practical unbeliever in divine 
 things ; and hence, when the divine laws stand in the way 
 of his will, he ignores or scoffs at them. Only the threat- 
 enings of impending wrath can trouble his fancied security; 
 and, even when he is convinced of his error, it is a painful 
 struggle for him to abandon it and do what is right. He 
 yields not to conviction, but to sheer necessity. 
 
 Creon is excessively proud, arrogant, choleric, suspi- 
 cious, cruel, impious ; not a trace of kindly feeling is there 
 to temper his sternness and engage our sympathy. If we 
 pity him in his unmitigated misery, it is with that pity 
 w r ith which we regard a criminal who suffers the just pen- 
 alty of his revolting crimes. 
 
 Two quite opposite estimates have been formed by 
 scholars of the character of Creon : one, that he is from the 
 outset an unqualified aud odious tyrant, by the exhibition 
 of whose arbitrary acts the poet intended to confirm the 
 prejudices of his countrymen against absolutism; the 
 other, that he is the type of heroism in a king, whose 
 highest and all-absorbing thought is the state, to which all 
 
THE MYTHUS. 71 
 
 other interests must succumb ; whose severity proceeds 
 from an honest conviction of right — a strict sense of justice 
 that spares not even the nearest kindred when these are 
 found violating the laws ; that his intentions are good, and 
 that his faults are only the consequence of a blinded under- 
 standing. This is to judge either from Antigone's point of 
 view or from Creon's. Both of them, however, are one-sid- 
 ed, special pleaders. The truth lies undoubtedly between, 
 but not midway between, the two : it lies nearer to Antig- 
 one, whose faults lean to the side of humanity and virtue. 
 That is the stand-point assumed by the poet himself, and 
 which he assigns to the Chorus, who reproves both, but 
 Creon more. The former is sustained and consoled by the 
 consciousness of having done her duty, while the latter is 
 left without a shadow of right or a ray of hope. On the 
 first day of his new power his whole domestic happiness 
 is crushed, and he is tortured by remorse until his reason 
 totters under his load of misery. 
 
 Lower in the tragic scale stand Ismene and Hsemon. 
 Ismene is gentle and affectionate, but weak and timid. 
 She, like her sister, feels and acknowledges the sacred 
 claims of piety to the dead and to the gods, but she cannot 
 summon the courage to step out of her womanly sphere 
 and brave the anger of the ruler. Still, she looks up with 
 admiration to her high-souled sister, and, when the latter is 
 overtaken by misfortune, she forgets her harshness, forgets 
 her own weakness, and lovingly begs to be the compan- 
 ion of her suffering. Her shrinking, yet in itself noble, 
 womanly character affords a standard for measuring the 
 sublime heroism of Antigone. This purpose being served, 
 she is dismissed by the poet without further notice. 
 
 Harmon's character is skilfully drawn for developing 
 the main thought of the drama, and, by the contrast of a 
 calm, reflecting, and well-balanced mind, placing his father's 
 passionateness in a stronger light. We see in him the 
 image of filial respect, in which devotion to his father's 
 
72 INTRODUCTION. 
 
 interests is tempered by a high sense of justice, and by 
 independent, liberal views of state policy. He is the per- 
 sonification of that good sense and moderation which he 
 pleads for, and which is wanting in Creon ; hence little or 
 no room is left for tragic feeling. With all his excellence, 
 he does not reach to the height of his betrothed. If he 
 perishes, he does so less in consequence of any guilt of his 
 own, or even of his love for Antigone, than as a victim and 
 at the same time a chastisement of Creon's guilt. 
 
 Teiresias, the venerable priest and seer, appears like a 
 being of another world. Old and blind, afflicted and help- 
 less, his intercourse is much less with mortals than with the 
 gods whom he serves. His vision is dimmed, that he may 
 the more clearly perceive the divine purposes. His body is 
 decrepit with age, but his mind is endued with supernatural 
 vigor and intelligence. He is cold and crabbed, and quick 
 to resent an insult to the religion which he represents. 
 All other means having failed to move the king from the 
 fiendish purpose w r hich he has finally accomplished by wall- 
 ing up Antigone alive, the prophet comes to announce to 
 him the anger of the gods, and to warn him to desist. Pro- 
 voked beyond endurance by Creon's scoffs and impiety, he 
 at length unwillingly yet sternly predicts the inevitable and 
 speedy ajDproach of the divine vengeance. 
 
 The watchman who reports the important part of the 
 action that lies beyond the scene is a long-winded, cap- 
 tious, saucy fellow of the lower class, and hence of common, 
 servile views. He is the base instrument of the monarch's 
 power ; he chuckles over his success in detecting Antigone 
 in the very act, since by that means he escapes the merci- 
 less tortures which his master had threatened. His single 
 expression of sorrow at bringing the maiden to punishment 
 is the only trait that redeems his character from utter 
 selfishness. Of still less dramatic significance are the 
 messenger and house-servant, whose apathy for the afflic- 
 tions of the royal house places them lowermost in the scale. 
 
THE MYTHUS. 73 
 
 They stand but little above the company of supernumera- 
 ries that compose the king's retinue. 
 
 In Euryclice we see an innocent victim of Greon's do- 
 mestic tyranny; her death serves merely to aggravate his 
 punishment. 
 
 The Chorus is an ideal company of spectators vrithin 
 the piece itself. Its office is to express the reflections 
 which the action is calculated to excite. It is com- 
 posed of hoary -headed men, representing the nobility of 
 Thebes. TTe see in them the subjects of an hereditary 
 despotism, who. through three reigns, have proved them- 
 selves faithful and obedient to their rulers, and quiet under 
 the yoke. They have no idea of acting otherwise toward 
 the new king ; on the contrary, when he communicates to 
 them his proclamation, they humbly acquiesce without 
 questioning his right to dispose of everybody, whether 
 living or dead. This they do from education and force of 
 habit, as the Orientals of the present day prostrate them- 
 selves before their sovereigns in token of submission. But 
 neither in this, nor in their replies afterward, is there a 
 word to show that they approve the law itself, or that they 
 are willing to take any part in its execution. From the 
 same principle of deference to the supreme power, they con- 
 demn the act of Antigone as an audacious crime, so far as it 
 is a transgression of the rightful authority of the state, 
 while they praise her self-sacrifice and commend her piety. 
 Whether the measure, which is the cause of the conflict 
 between her and Crecm. is morally right, or is demanded by 
 the interest of the state, they do not presume to decide. 
 This question lies not in their province, and they await the 
 judgment of a higher power. TThen, however, the divine 
 disapprobation has been emphatically uttered by the mouth 
 of the venerated priest, their indecision vanishes, and they 
 take a bold stand against Creon. The conduct of the 
 Chorus, regarded in this light, is by no means so servile 
 and vacillating as it is generally judged to be. A fair and 
 4 
 
74 INTRODUCTION. 
 
 intelligent judgment concerning this, as well as all the other 
 points of the drama, can only be obtained by transferring 
 ourselves into the midst of ancient Grecian life. The 
 choral songs, which contemplate each step of the action 
 from an elevated and general point of view, are rich in 
 grand thoughts and beautiful images, and brilliant by a 
 masterly harmony of language. The pure wisdom of the 
 poet himself speaks in them. Here he emancipates himself 
 from the trammels of prejudice ; with bold freedom he 
 glances over the summits of human affairs, measures life 
 and its concerns, looks before and after, and deduces those 
 universal truths and precepts which are most useful for 
 the instruction of his fellow-men. He sings the might, 
 the daring, and the delusions of mankind; he adores the 
 heavenly power that with severe chastisements intervenes 
 in human affairs ; and finally, in view of the manifold evils 
 produced by ungoverned passions, whose baneful influences 
 extend to succeeding generations, he presses home the 
 lesson that sober-mindedness, with reverence to the Deity, 
 is the surest safeguard of happiness. It is not improbable 
 that Milton had in mind this most perfect drama of an- 
 tiquity, when he wrote those striking lines in his " Paradise 
 Regained : " 
 
 " Thence what the lofty grave tragedians taught 
 In chorus or iambic, teachers best 
 Of moral prudence, with delight received 
 In brief sententious precepts, while they treat 
 Of fate, and chance, and change in human life, 
 High actions, and high passions best describing." 
 
30$0KAE0T2 
 
 ANTITONH. 
 
TA TOT APAMAT02 nPOZMIA. 
 
 ANTirONH. 
 
 I2MHNH. 
 
 XOP02 ©HBAIHN TEPONTHN. 
 
 KPE&N. 
 
 STAAH. 
 
 AIMHN. 
 
 TEIPE2IA5. 
 
 AITEA02. 
 
 EYPTAIKH. 
 
 EEAITEA02. 
 
 Protagonist : Antigone, Teiresias, Angelos, and Exangelos. 
 
 Deuteragonist : Creon. 
 
 Tritagonist : Ismene, Phylax, Hsemon, Eurydice. 
 
ANTIF NH. 
 
 ANTirONH. 
 
 '12 kolvov avrdSeXcfrov *Io-[ir)vri<z tcdpa, 
 
 dp oIcrr9- on Zevs twv air Olhlirov kclkoov 
 
 ottolov ov%l vSv ere ^coaacv reXel ; * 
 
 ovSev yap ovt aXyeivbv ovt arrjs arep, 
 
 ovt alayjpov ovt cltljjlov ecr3-\ ottolov ov 5 
 
 rcov acov re fca/jLoov ovk ottcdtt iyco /cafccov • 
 
 teal vvv rt rovr av §acri 7ravS?]fjLq) iroKet 
 
 KrjpvyjJia 9-etvaL top aTpaTTjybv apTLco? ; 
 
 e^e£9 ti fceLSij/covcras ; r\ ere Xav&aveu 
 
 7T/309 tou9 (f>l\ov<; GTeiyovTa tcov e^poiv fcatcd ; 10 
 
 HMHNH. 
 
 i/jLol [lev ovSeh {av$o$, 'Avtijovt], (frlXcov 
 
 ov& rjovs ovt aXyeivos iket , e£ otov 
 
 Svolv dBeXcjyoLV eGTeprfirjiJLev Svo, 
 
 uca QavovTcov v/^epa SlttXtj yepi* 
 
 iirel Be (f>pov86s €o~tlv 'Apyeicov crTpaTos 15 
 
 iv vv/ctI ttj vvv, ovSev olS* virepTepov, 
 
 ovt evTvyovcra [laXkov ovt aTcofievrj. 
 
 * reXeiu expresses the notion of acting, together with that of complet- 
 ing. — Wachsmuth, i., 468. 
 
78 20$0KAE0Y2 
 
 ANTirONH. 
 jjSr) fca\w<z, /ecu <f eKTQS avXeicov ttvXcov 
 tovS* ovvetc i^eirefjuirovy a>9 /lovrj kXvols. 
 
 I2MHNH. 
 
 20 tl 8* eart ; SrjXols yap tl KaXyalvovcr eVo?. 
 
 ANTirONH. 
 
 • 
 
 ov yap ratyov vcov tcov /cacnyvrjTCD Kpecov 
 tov fjuev irpoTia-as, tov 8' aTLfiaaas e%eL ; 
 *Ereoickea /juiv, a><? XiyovcrL, avv Sltcy 
 XprjaSeh SiKala fcal vojjlco Kara ^Sopo? 
 
 25 efcpvyfre, tols evepS-ev evTLfiov ve/cpols ■ 
 tov 8 aSXitos Qavovra HoXvveUovs vi/cvv 
 aarolcTL (fxicrtv i/c/ce/crjpv^SaL to fir) 
 Tacfxp /cdkvyjrisk firjSe KcoKvaai tlvcl, 
 edv 8 dfcXavTOv curafyov, olcovols yXvKvv 
 
 30 3-rjoavpbv ehopcoaL irpbs X&piv f3opa<;. 
 TOtavTa tyacri tov aya&bv KpeovTa ctol 
 /cdfiOL, Xeyco yap /cdfie, icrjpv^avT e^ecv, 
 KaX Bevpo velcr&ai TavTa toIctl fir) elhoauv 
 cracpr) 7rpo/cr]pv^ovTa, KaX to irpdyfi dyew 
 
 35 ou% a)? irap ov$ev, aXS? 0? av tovtcov tl Spa, 
 cpovov irpotceZa&aL SrjfioXevo-Tov iv iroXeL. 
 ovtcos e%eL ctol TavTa, koi Sel^ets Ta%a, 
 eiT evyevr)s Trecfrvtcas eiT eaSrXcov Katcrj. 
 
 HMHNH. 
 
 tl , co ToXaLcppov, €L Tad ev tovtols, eyco 
 40 Xvovcr av el& airTOvcra TrposQelfirjv irXeov ; 
 
 ANTirONH. 
 
 el %v/jL7rovr)<T€L<; koi %vvepydcr€L cncbireL. 
 
 I2MHNH. 
 
 7T0L0V tl /CLvSvvevfia ; irov yvcbfir)*; ttot el ; 
 
ANTITONH. -79 
 
 ANTirONH. 
 
 el tov veicpbv %vv TrjSe Kovcptet^ %epL 
 
 I2MHNH. 
 
 rj yap voecs 3-a,7TT€LV crcj), airdppr\TOV iroXeu ; 
 
 ANTirONH. 
 
 tov yovv e/ibv Ka\ tov o~bv, rjv av fir) SeXrjs, 45 
 
 d8e\<p6v • ov yap Sr) Trpohovcr aXoocrofxai. 
 
 I2MHNH. 
 
 3) o"X€TkLa, KpeovTOS avTeipr^KOTO^ ; 
 
 ANTirONH. 
 
 d\\ y ovSev avT<p tcov ificov /jl elpyeiv fieTa. 
 
 HMHNH. 
 
 oXjJLOL • cf)p6vrjcrov, 00 KacnyvrjTrj, TraTrjp 
 
 o>9 vojv dire^r)^ Sv^/cXe^s t dircoXeTO, 50 
 
 777309 avTOcfxopcov a{i7r\afcr]/jLaTC0V &7r\a9 
 
 0-^669 apd%a$ auT09 avTovpya> %epi % 
 
 eirevra fJbrjTrjp koX yvvr), harXovv e7T09, 
 
 TrXetcTalcnv apTavaicn XcojSaTat /3tov • 
 
 TpiTOV S' a8e\(f)cb 8vo [Jbiav icaSt r)/j,epav 55 
 
 aVTOKTOVOVVTS TOO Ta\aL7T(OpC0 fibpov 
 
 kolvov KaTetpydaavT eir dXkrfXoLV j(epolv. 
 
 vvv 8' au /ioi>a S?) i>a) XeXecfifieva omirei 
 
 ocrop kclkigt oXovfieS-', el vofjbov /3la 
 
 tyfjcfzov TVpdvvcov rj fcpaTrj irape^Lfiev. 60 
 
 dX)C evvoelv %prj tovto fiev, yvvairf oti 
 
 €(J}V/jl€v, a>9 7rpo9 avSpa? ov fiayovfLeva • 
 
 eirevra 8\ ovve/c dpj(6ixea^ i/c fcpeccrcrovcov, 
 
 teal TavT d/coveov kclti tcovS* dXylova. 
 
 iyco fA€V ovv avrovaa rou9 V7rb %&ovb<? 65 
 
 %vyyvoiav ccr^etv, a>9 ^id^ofiai TaSe, 
 
80 20$0KAE0Y2 
 
 tol$ ev Teket j3ef3o)cri TTelaofiat. to yap 
 irepiaad irpdaaetv ov/c e%et vovv ovBeva. 
 
 ANTirONH. 
 
 ovt av fceXevcrcufJL , ovr av, el Qekocs ere 
 TO irpdaaeiv, eyuov y av 7]B£cqs Bp&rjs /lira. 
 aXX caS- oirola aov ho reel, icelvov S' eyco 
 Qatyco. /caXov [jlol tovto iroiovarj S-aveiv. 
 <^iKrj jul€t avrov /celao/JLai, fytkov fiera, 
 oaia 7ravovpyrjaaa • eirel ifkeicov %/ooz^o?, 
 75 ov Bel fjb dpea/ceiv rots /cdrco tcjv ivS-dBe. 
 e/cel yap del /ceiao/iai • crol S' el Botcel y 
 ra rcov 9-eoov evrifi drtfjidaaa e^e. 
 
 HMHNH. 
 
 eyco fxev ov/c aTi\xa Troiovybai, to Be 
 /3lo, 7To\ltcov Bpav ecj)vv dp,r)yavo<$. 
 
 ANTirONH. 
 
 oO av fuev Tab av irpovyoi ■ eyco be or] racpov 
 Xcoaova* dBeXcfxp (jyikrarq) iropevaopiai* 
 
 HMHNH. 
 
 otfxoo TaXaivrjs, &>? virepBeBoi/cd aov. 
 
 ANTirONH. 
 
 fir) 'fjbov 7rpordp/3eL • rbv aov e%op&ov ttotjaov. 
 
 I2MHNH. 
 
 a\V ovv irpoiAr)vvar)$ ye tovto /xrjBevl 
 85 Tovpyov, Kpvfyy) Be xevQe, avv 8' avTcos iyco. 
 
 ANTirONH. 
 
 ot/JLoi • /caTavBa* ttoWov e^lcov eaei 
 aiyo)a\ idv /jltj iraai tcrjpv^rjs TaBe. 
 
ANTITONH. 81 
 
 I2MHNH. 
 
 3-ep/jLrjv €7rl ^v^polcrc /capScap e^a?. 
 
 ANTirONH. 
 
 aX)C oZS' dpicncovcr oh jidXicrT ahelv /jL€ XPV* 
 
 I2MHNH. 
 
 el teal Svprjcrec y • a\X a/jLTj^dvcov ep&9. 90 
 
 ANTirONH. 
 
 ov/covp, otclv Br] fjby crS-evco, ireTravcrofiaL. 
 
 HMHNH. 
 
 dpyj)p Se 3-rjpav ov irpkirei ra/Jifyava. 
 
 ANTirONH. 
 
 el ravra Xe^eis, e%Qapel /jl€P e£ ifiov, 
 
 eyftpa 8e tS 3-avovTL irposfceiaeL Sitcy. 
 
 a\V ea jie KaX rrjv i% i/iov $v$(3ov\iap 95 
 
 7ra3-ecv to heiphp tovto. irelcroiiai yap ov 
 
 toctovtop ovSep, cocrre pbrj ov fcaXcos 3-apelp. 
 
 I2MHNH. 
 
 a\V el So/cel croc, arel^e • tovto 8' tcr3-\ otl 
 apovs pbep epx ei > T °h cf)i\oc<; S' opS-co? (j>C\r]. 
 
 XOP03. 
 
 2 t pocp}) a'. 
 
 AktIs ae\lov, to tcdWccrTOp eirTairvKto (frapep 100 
 &rjj3a tcop irpoTepcop tydos, 
 ecj>dp9-r]<; ttot \ & yjpvcreas; a/JLepas /3\e(f>apop, 
 Acptcaicop virep pee9-pcop fjuoXovaa, 105 
 
 top Xev/cacrTTLp Apyeiop (pcoTa fidpTa irapcrayia, 
 (f>vydSa irpoBpofJbop o^VTepco Kipiqcracra j(aXiP(p • 
 
 2 u err 7] pa a'. 
 09 i(j> rj/xeTepa ya UoXvpeUovs 110 
 
 dp$el<? pecKecop if; dfjufaXoycop 
 
82 20$0KAE0T2 
 
 o^ea Kkd^cdv 
 aleros eh yav V7repe7rra, 
 Xev/crjs %lovo<; irrepvyi areyavos, 
 115 iroXkaiv fieS* ottXcov 
 
 %vv $' hnroicbiiois Kopv&ecraiv. 
 
 ' A v t i <r t p o <p % a. 
 
 crds S' virep fjueXaSpcov Sacfrotvalaiv dfi^L^avcbv kvkXw 
 
 \6y)(ai<; eirrdirvXov aro/JLa 
 120 e/3a, irplv ttoS* dfierepcov alfidrcov yevvaiv 
 
 ifKTja^rjvai re ical crrecpdvcofjua irvpycov 
 
 TrevicdevSr r/ Hcf)aicrTOV e\elv. T0Z09 dfxcfl vojt ird&r) 
 125 irdrayo^ "Apeos, dvTvnaku* hv^eipcoiia Bpcucovrt. 
 
 j Aj/t i<rv (Ttt) fia a'. 
 Zeiss yap fAeydXrjs yK(i>Gar)<$ ko/jlttovs 
 vTrepeyftalpeL, icai <r(j)a$ isiScov 
 7roW<p pevficcTL 7rpo$VLcrcro/jLevov$ 
 130 yjpvcrov Kavayr\ $' vTrepoirras, 
 TraXrcp parrel irvpl /3a\/3l8(ov 
 
 67T dfCpCDV 7)07] 
 
 VLK7]V OpfJLOOVT dXokd^CU, 
 
 2t p 0$}) 0. 
 
 dvTLTVTra S' eVl ya irecre TavTaXcoQel? 
 135 irvpcfroposy 09 t6t€ fiawo/jueva %vv opfia 
 
 f3afc%evcDv eireirvei 
 
 piirah ey&iGTo&v dvificov. 
 
 el)(e S' aXka ra [lev, 
 
 aXka S' eV aX\,ot<; eirevd^ia o-TV(f>e\l^cov [leya? "Apr]? 
 140 Begiocrecpos. 
 
 €7TTa \o%ayol yap eft eirra irvXais 
 rajflevres Icroi irpos laovs ekiirpv 
 ZtivX Tpoiratcp irdy^dkKa reXi], 
 7tKt)v tolv arvyepolv, to irarpos evo$ 
 145 /jLTjrpos re fiias fyvvre koS avrolv 
 
ANTITONH. 83 
 
 BiKparels Xoyxas crrrjcravT eyerov 
 koivov S-avdrov pbepos a/icpcD* 
 
 'Al/T l(TT pO(p)) 0. 
 
 dXXa yap a pbeyaXoovvpio^ rjXQs NUa 
 
 ra 7ro\vap/JLaT(p dvTiyapelcra Qrjfia, 
 
 ifc \xev Br) TroXe^oov 150 
 
 tcov vvv 9-eoSe XrjcrfAocrvvav, 
 
 S-ecov Be vaoi)$ %opo?9 
 
 iravvvyioi^ iravTds eireX&coiiev, 6 ©?y/3a? S' eXeXfyQcov 
 
 BdK%Lo$ apxoc. 
 
 aX)C oBe yap Br) (3acriXev$ %copa$ } 155 
 
 Kpicov 6 MevoL/cicDs, 
 
 veoyjiolcri Secov eVl avvTvyiai^ 
 
 ycopel, Tiva Br) jjltjtlv epecrcrcov, 
 
 qtl av<yK\r)TOV rrjvBe yepovTcov 
 
 TrpovS-ero Xecryr\v, 160 
 
 KOLVCp K7]pvy/juarL 7reyL6i/ra? ; 
 
 KPEHN. 
 
 "AvBpes, ra \iev Br) 7r6Xeo? dcrcfraXco? 3-eol, 
 
 7roW<p crdXq) aetcravTe^, copScoaav nrdXiv ■ 
 
 v/ias S' iyco Trofiirouriv itc irdvTcov Bi^a 
 
 eareOC t/cecrQac, tovto fiev ra Aatov 165 
 
 crefiovTas elBcos ev Spovcov del /cpdrrj, 
 
 TOVT aitS-lS, fjVLK OIBlttovs copS-ov itoXlv, 
 
 Kairel BccoXer, d/JLcfA tovs Keivcov ere 
 
 7ralBa$ /Aevovras epLTreBocs §povr\iia<Jiv. 
 
 OT OVV 6K6LV0L 7T/309 BlTtXtj^ [AOipaS fltaV 170 
 
 fcajy rj/iepav coXovto iraicravTes re fcal 
 
 irXrjyevTes avro^etpi crvv [Aider [laTi, 
 
 iyco fcpdrT} Br) irdvra tcai S-p6vov$ eyao 
 
 yevovs tear dyyiGTela tcov oXcoXotcov. 
 
 dpLTj^avov Be ttclvtos dvBpbs i/c/JLaS-ecv 175 
 
 "tyvxfjv re Kal cj^povrj/jua tcai yvcofArjv, irpXv av 
 
84 20$0KAE0T2 
 
 dpyal? re koi vo/xotaiv evTpifSrj^ cpavfj. 
 ifjidi yap, 09T69 Trdaav ev&vvcov ttoXiv 
 p,r) tcov dplaTcov aTTTerai fiovXevfJbdTcov, 
 
 ISO a\V etc cfiofiov rov yXcocrcrav ey/cXr/cras eyei, 
 /cd/acrTO$ eivau vvv re koX irdXat So/cel* 
 teal fiet^ov 09T69 dvrl rrjs avrov irdrpa^ 
 cptXov vo/jll%€L, tovtov ovSa/Jbov Xeyco. 
 eyco yap, lcttco Z<ev<z o Travis opcov aei y 
 
 185 ovt av (Tt(D7rrj<TaifJLL, rrjv drrjv opcov 
 areiypverav dcrrot^ dvrl t?)9 crcoTrjpLas, 
 ovt av cptXov ttot avBpa cjvs/jLevf] y&ovbs 
 Bel/jL7)v ifjLavTco, tovto ytyvcocr/ccov, ore 
 7]$* early 7] crco^ovcra, koX ravr7]$ ein 
 
 190 irXeovre? 6pS-r]<; tou9 (plXov? Troiovp,e&a. 
 TOiol$$ eyco voyLOicri ttjv$ av^co iroXiv ■ 
 /cal vvv dSeXcpd rcovhe Krjpv^as eyco 
 dcrrolcTL iraihcov tcov dir Olhiirov irepi* 
 'Ereo/cXea jxev, 09 iroXecos virepjiaycov 
 
 195 oXcoXe TrjsSs, irdvr dptarevcra^ Sopt, 
 
 rdcffO) re Kpv^rat koX rd irdvr eefiayvicrai,, 
 a TO69 dpicTTOis epyerai Karco ve/cpols • 
 rhv 8 av ^vvat/jiov rovSe, TloXweUri Xeyco, 
 09 yrjv irarpcoav fcal Qeovs tov$ eyyevels, 
 
 200 cpvya? tcareX&cov, rjMXrjcre fiev irvpl 
 irprjcrat Karate pas rj&eX7]cre S' aY/taro? 
 tcoivov rrdcrao-^at, rov$ Se SovXcocras dyeiv, 
 tovtov iroXev rf)8 eKKeterjpvterai rdcpco 
 /JL7]T€ KTepl^eiv fJbrjTe kco federal Tiva, 
 
 205 eav cf a&airrov, teal irpbs oleovcov hepa? 
 /cal 7rpo9 tevvcov iSecrrbv al/acr&evT IBecv. 
 tolovK e/jbbv cppovrj/ia, kovttot etc y ejxov 
 Ti/Jbrjv irpoe^ova ol tca/eol tcov evBltecov. 
 dXX' 097^9 evvovs rfjSe ry iroXet, Bavcov 
 
 210 /cal %cov 6/Wo>9 e% ifiov rifjurjcreTai. 
 
ANTITONH. 85 
 
 XOP03. 
 
 aol ravr dpecr/cec, iral Mevot/cecos Kpecov, 
 rbv rfjSe Svsvovv /ecu rbv evfjbevr) iroXei. 
 vo/jLG) Se xprjcrQcu ttclvti itov y evecrrl gol 
 ical rcov 9-avovrcov ycoirbcroi %5)fJbev irepi. 
 
 KPEHN. 
 O)? CtV CTKOTTol VVV TJT6 TCOV elpTj/JUeVCDV. 215 
 
 XOP02. 
 
 vecorepep rep tovto fiacrrd^eLv 7rp63-e$. 
 
 KPEGN. 
 
 aX)C eta erocjxoc rod ve/cpov y eirlaKoiroi, 
 
 XOP02. 
 tl oi]T av aXkcp tovt €7revT€\\oLs ere ; 
 
 KPEHN. 
 
 to /jlt] ^Tuyjtipelv tols amicnovcriv rdSe. 
 
 XOPOX 
 ovk earLV ovrco [JLcbpos o? S-avelv epa. 220 
 
 KPEHN, 
 
 KotX fjbrjv 6 [jucr&6$ y ovtos. a\V V7T eXiriScov 
 avSpas to fcepSos iroXkaKLs StcoXecrev. 
 
 *YAAH. 
 ava%, ipco /jtev ov% ottcd? rd^ovs vtto 
 8v<z7rvov$ Ifcdvco kovcj>ov e^dpas TroSa. 
 7ro\Xa9 yap eo")(pv (frpovrlScov eTTLardaeLS, 225 
 
 68ol$ kvkXcov i/xavrbv eh dvaCTTpO(f)7]V. 
 ^ V XV y^P V^ a ttoKKcl \jlol fivSov/jLevr] • 
 " raXa?, tl ^copels ol /idXcov ScbaeL? Slktjv ; 
 tXtJ/jlcov, [levels av ; teal rdS eiaeraL Kpecov 
 aXkov Trap dvSpos ; 7rco? av Brjr ovk akyvvel ; " 230 
 T0tav& eXlaacov t\vvtov a^oXfj Ta%u?, 
 
86 20$0KAE0T2 
 
 'XpvrcDS 6S09 ftpayeia yiyverat fxafcpd. 
 Te\o9 ye [xevTOL Bevp evUrjaev fxoXelv, 
 col, tcel to firjBev i^epco, (f>pd(rco 8' o/iW9. 
 235 rrjs €\7r/So? yap epyo/iai BeBpay/xevos, 
 to /jltj ira&elv av aXko ifKr)v to /jLopcrLfMOV. 
 
 KPEHN. 
 
 tl S' iaTLV, dvSt ov TrjvS* eyeis d^vfiiav ; 
 
 <f»TAAE. 
 (f>pdaai &i\(D cot irp&Ta Ta/JLavTov. to yap 
 irpayp, ovt eopaa , ovt euoov o$tl<; rjv opwv * 
 240 ov8* av hiicaicos e'9 fca/cov irkaoipjl tl, 
 
 KPEHN. 
 
 ev ye GToyaCpi /cdrro^pdyvvo'ac kvk\g> 
 
 to irpayixa. BrjXols $* g$9 tl arjixavcov veov. 
 
 $TAAE. 
 tcl BeLva yap tol irposTiSycr okvov tto\vv. 
 
 KPEHN. 
 
 ovkovv epeh htot, elT diraKKa^el^ aireL ; 
 
 «*»TAAE. 
 245 KaX Brj \eyco ctol. tov ve/cpov tl$ dpTLcos 
 &dy}ra<z fieftrj/ce, Kairi %/0<»tI BvtyLav 
 kovlv irdkvvas /cacfiayLcrTevcras a XPV* 
 
 KPEX2N. 
 
 tl $i)<; ; rfc dvBpcov rjv 6 To\jMr]aa^ TaBe ; 
 
 $TAAE. 
 ovk oIS' • i/cel yap ovTe tov yevfjBo? rjv 
 250 TfkrjyfjL, ov BLKeWr)? e/c/3o\rj » cttu<£\09 Be yr) 
 KaX %epcro<;, appcbtj ovB* e7rr)fia%evfiev7] 
 TpoyplaLV, dXk* aarj/Aos ovpyaTr)? tl<z rjv* 
 07TG)9 S' 7rpa)T0S rj/jLLV r)/jLepoafC07ro<; 
 
axtitonh. 87 
 
 BeUvvcn, iraa Sav/ia Bv^epe? iraprjv. 
 6 /J,ev yap rjcfxiviCTTO, TV\x^pr]^ fiev ov } 255 
 
 XeTTTY] B\ ayo? cf)£vyovTO$ cw?, eirrjv kovls. 
 crrjiiela B" ovre S-rjpos, ovre rov tcvvcov 
 iXS-ovTO?, ov cnrdcravTos i^ecfraLpero. 
 Xoyoi 8* iv dXXrjXoccnv eppod-ovv fecucoi, 
 (f>vXa% iXey^cov cfrvXa/ca, kolv eylyvero 260 
 
 7rXr]yrj reXevrcocr \ ovB' 6 kcoXiktcov iraprjv. 
 el? yap tl$ tjv efcaaro^ ov^eipyacr/jLevos, 
 feovBeU ivapyifc, aXX* efyevye fjbrj elBivac. 
 rj/jbev 8* eroL/iOL /cat fivSpov? acpecv %epolv, 
 teal irvp Biepmiv, koX 3-eov$ opfcco/jLorecp, 265 
 
 "To fii]T€ Bpacrac /jltjt€ rep ^vveiBkvai 
 to irpayiia fiovXevaavTi, /jlt]t elpyacr/jLevcp. 
 TeXos B\ ot ovBev r)v ipevvcocrcv irXeov, 
 Xeyet tl<z el?, o? irdvTas i<z ireBov redpa 
 vevcrat (£>6f3(p 7rpovTpey\rev. ov ydp efyo/JLev 270 
 
 OUT aVTL(f)COV6LVj OV& 07TG)? BpOJPT€$ KoXcOS 
 
 irpa^aLfAev. rjv 8' 6 /jlvS-os, oo$ avoicrTeov 
 
 crol Tovpyov eir) tovto, kov^I KpviTTeov. 
 
 teal TauT ivl/ca, /ca/JLe top Bv^BaifMova 
 
 TrdXos tcaS-cupel tovto TayaS-bv Xaftecv. 275 
 
 7rdp€L/JLL S' CUCCOV OV% ifCOVCTCV, oZS' OTl. 
 
 GTepyet yap ovBeU ayyeXov fcaxcov eircov. 
 
 XOP02. 
 
 aval;, i/JLol toi, fir; ti /cat 9-€7jXaTOV 
 Tovpyov t6B\ r) ^vvvoia fiovXevet irdXau 
 
 KPEHN. 
 
 iravcrai, irplv opyr\s teal /jl€ fiea-Tcoo-ac Xeycov, 280 
 
 fir) 'fevpeS-fjs avovs ts fcal yepcov dfia, 
 Xeyecs yap ov/c dve/CTa, Bal/iova? Xeycov 
 irpovoiav co"%€Lv TOvBe tov vetcpov irkpi, 
 
 7T0T€p0V V7repTL/Jic!)VT€^ 0>9 €V€pyeT7]V 
 
88 20$0KAE0T2 
 
 285 etcpvTTTOV avrov, ostls a/JL(f)LKiovas 
 vaovs irvpdocrcov rjXQe Kava^rj/xaTa, 
 KaX yfjv ifceivcDV fcal vo/jlovs BiacrKeBcov ; 
 rj tou9 kclkovs tl/jlcovtcls ehopas &eovs ; 
 ovk earcv. aXka ravra koI irdXau TroXeoos 
 
 290 avBpes jjloXls cfyepovres ippo&ovv €/jloI, 
 Kpvcfzf) Kapa aeiovres • ovb* vtto %vy<p 
 \6<j)ov BtKato)^ efyov, co? crrepyew ifxe. 
 etc T&vBe tovtovs e^eTriarajJuai fcaXoos 
 7rapr]yijLevov$ iiiaQolaiv elpyda&cu rdSe. 
 
 295 ovBev yap dv&panroLGLV, olov apyvpos, 
 
 fca/cbv vo/mct/jl e/SXaore. tovto ko\ irokeis 
 irop&el, toS* avBpa? i%avicrTr)cnv Bo/jlcov • 
 toS* eKBtBdo-Ket /cat TrapaXKacraei (f>pevas 
 yjpr\crTd<z 7rpo<; aldyjpa 7rpdy/uba& XaTaoSai fiporcov ■ 
 
 300 iravovpyias K eBet^ev dv&pcbrroLs e%eiv, 
 koi iravTos epyov Svsaefieiav elBevai. 
 octoi Be yuoSapvovvTes; rjvvaav TaBe, 
 Xpovco ttot e^eirpa^av &>9 Bovvai BtKrjv. 
 aKK eiirep icr^ei Z<ev<z er e£ e/iov oepas, 
 
 305 ev tovt iiTLCTTaa, op/aos Be croi \eyco, 
 el [jur] top avro^etpa TovBe rod rdcfiov 
 evpovres eicfyavelr e? 6(fr&a\jjLOv<; i/Jiovs, 
 ov% v/uv r/ AcBrj<; jjlovvos dpfceaei, irplv av 
 %covt€<; /cpefxacrrol TrjvBe BrjXcoa-r}^ vfipw, 
 
 310 r iv elBoTe? to tcepSos ev&ev oloriov, 
 
 to \onrov dp7rd%7)T€, koX fld3n]&, OTL 
 
 ovk if; diravTOS Bel to KepBalveiv (f>i\e2v. 
 
 iK tcov yap alo-yjp&v Xrj/jL/jidTcov tov<$ ifkeiovas 
 
 aTcojuLevovs lBols av rj aearpcrfjuevov^. 
 
 $TAAH. 
 315 elirelv Be BcocreLS ; rj aTpacfrels ovtcds lco ; 
 
 KPEHN. 
 
 ovk ola&a koi vvv o>9 dviapw \eyei$ ; 
 
ANTITONH. 89 
 
 *TAAH. 
 iv toIglv oocrlv tj VI rf) ^rvX0 Sd/cvec / 
 KPEHN. 
 
 ri Se ; pv9-fjLi£eL$ rrjv i/jb?]V \virr\v oirov : 
 
 $TAAE. 
 o opcov cr avia ras (ppevas, ra o cot eyco. 
 
 KPEHN. 
 
 oX}ju o>9 a\7]/jLa SijXov etcirefyv/cbs el. 320 
 
 <£>YAAE. 
 
 ov/covv to y epyov tovto iroLrjcras ttotL 
 
 KPEHN. 
 
 /cal ravr hr apyvpto ye ttjv ^v^v 7rpo8ovs. 
 
 $TAAE. 
 
 cpev* 
 
 rj heivov, & Soxel ye /cal tyevSrj Sofcecv. 
 
 KPEHN. 
 
 KOfi-^eve vvv ttjv 86%av ■ el Se ravr a fir) 
 
 cjxivelre jjlol tou9 Spoovras, e£epelS-\ ore 325 
 
 ra SecXa icephr) Trrjfjiova^ ipyd^erat. 
 
 «i>YAAS. 
 aX)C evpeQeLTj jjuev /jloXlctt ■ eaz^ Se to£ 
 XrjcpS^fj re /cal firj, tovto yap tv^tj icpivel, 
 ov/c ecrS* otto? o-^ret crv Sevp i\MvTa fie. 
 /cal vvv yap e/CTo<; ikircSo^ yvco/uL7]<; t ejjbi)^ 330 
 
 ccoQeh ocpelXco to?s Qeocs 7ro\Xrjv %cipiv. 
 
 XOP02. 
 
 2 t p <p7] a. 
 
 IloWa tcl Secva, /covSev avS-pcoirov SecvoTepov irekei • 
 tovto /cal tto\cov irepav ttovtov yeiiiepito votcq 335 
 X^pel, irepiftpvyLouTiv 
 
90 20$OKAEOT2 
 
 irepcov vir otS/jiacnv, 
 Secov re rav virepTaTav, Tav 
 atySiTov, d/ca/jbdrav dirorpverai, 
 340 eikofievcov dporpcov eVo? ek eVo?, hnrela yevei iro\ev(ov. 
 
 'Avt l(TT pO(j>^} a'. 
 343 KOVcflOVOCQV T€ (J)V\0V OpVL&COV dfJbfaftaXcbv dj€C 
 
 345 fcal Srjpcbv dyplcov e&vr), ttovtov r elvakiav (pvacv 
 
 airelpaiGi Bt/cTVOfcXooaTow, 
 
 7T6pi^>paSr]<; dvrjp • 
 
 Kparel he /Jbrj^avac^ dypavXov 
 
 350 &r}po<? opeaaL^dra, \a<nav%€vd & 
 
 353 L7T7nov a^erai dficjn Xocfrov %vybv ovpeibv r d/c/Mrjra 
 
 ravpov. 
 
 2 T po(p^ 0. 
 
 real (fr&iyfia /ecu rjve^ioev (j)p6v7]fjLa, koX daTWo/Mov^ 
 355 dpyds iSiSdgaro kcli BvsavXcov 
 
 7rdy(op virai&peia koX 
 
 Bvsofjiflpa (pevyetv (3i\7], 
 360 iravToiropos • airopos eir ovBev epyvrai 
 
 to [JueKKov ' r/ AiSa jjlovov 
 
 (f>ev!;cv ovfc eTrd^erat, • 
 
 vocrcov S' dfirj^dvcov cfrvyd? ^v/jL7ri(j)pa<7Tac. 
 
 'Apt t err p o <p }} 0. 
 365 cro<f)6v ti to firj-^avoev Tkyyas virep eKirlK e%<av 
 
 7T0T6 [lev /ca/cbv, oXXot eir io$\bv epiret, • 
 
 v6/jlov<? irapetpcov %#oz/o? 
 
 Qecov t evopicov BUav, 
 370 v-^riiroXt^ • airoXis, otw to fifj kclKov 
 
 %vveo-Ti, toX/jlcls %dpiv. 
 
 fjbrjT ifiol Trapeo-Tio? 
 375 yevoiTO firjT Icrov <f>povfi)V o? TaK epSet. 
 
 69 BaLfiovtov Tepas d^LVoS) 
 ToSe, 7tco? elBco? avTiXoyrjcrco 
 
ANTITONH. 91 
 
 rrjvS ov/c elvai iralK ^AvTLyovrjv. 
 
 (S BvO~T7]VO$ 
 
 zeal hvcrrrjvov Trarpos OlBiiroBa, 380 
 
 TL 7T0T ; OV Btf 7T0V <X€ 7' dincTTOvcTav 
 T0Z9 ftacnXelois dirdyovGi v6/jlol$ 
 /cal iv dcppocrvvrj icaQeXovTes ; 
 
 <*>TAAE. 
 'JETS' ear i/cecvrj rovpyov rj ^ecpyaor/Jbipr] • 
 ttjvcV eiXofiev Qairrovcrav. dXXd ttov Kpicov ; 385 
 
 XOP02. 
 
 oo etc oofJbcov a'yoppos a? oeov irepa. 
 
 KPEHN. 
 
 tl S' eo"T£ ; iroia ^vjifxeTpo^ irpovfiriv ti>XV ; 
 
 *TAAH. 
 ava%, f3pOTolcnv ovBev £<jt dTTcofiOTOV. 
 tyevBet yap rj ^irivoia ttjv yvcofirjv • eirel 
 c)(pXf) iroS rfeeiv Bevp* av i^rjv^ovv iyco, 390 
 
 tcu<z crais aTreiXals, ah i^ei/jidcrS^rjv tot€. 
 aX?C rj yap eVro9 teal Trap* iXirlBas %<zpa 
 eoi/cev aXXrj /jltj/cos ovBev rjBovf), 
 tffccD, Bt op/ccov /ca'nrep cop dircofiOTOS, 
 KopTjv aycov ttjvB\ tj /caQevpe&rj Tacfrov 395 
 
 tcocr/JLOvcra. /cXrjpos ivS-dB* ov/c eirdXXeTO, 
 aXX ecTT 6/jlov rS-ovp^aiov, ov/c aXXov } too€. 
 koi vvv, ava%, TrjvB* auro9, a>9 S-eXecs, Xaftcov 
 /cal icplve /cd^eXeyx ' eyco 8' iXevQepo? 
 Bi/cacos elpLL tcovB' dirrjXXd^av Ka/ccov. 400 
 
 KPEHN. 
 
 a76£9 Be TrjvBe tcq Tpoirco iro&ev Xaficbv ; 
 
 *YAAH. 
 
 avTrj tov avBp e$<Z7rre. irdvT eiricrTacrai. 
 
92 20<f>0KAE0Y2 
 
 KPEHN. 
 rj /cal %vvieL<; ical Xeyecs op&cos a fyrjs ; 
 
 *YAAH. 
 
 ravrrjv y IBcov QdirTovaav ov av tov ve/cpbv 
 405 direliras. dp evBrfka /cal aa^>r\ Xeyco ; 
 
 KPEHN. 
 
 /cal 7r<S? oparat /cdiriXrjirTO? ypiS-rj ; 
 
 STAAE. 
 TOIOVTOV TjV TO ITpdy/JL, 07TC09 jap 7]/CO/jL€V, 
 7Ty0O9 GOV TCL BeiV i/CecV iirrjireLXrjfjLeVOl, 
 
 iracrav kovlv crrjpavTes, rj icaTelye tov 
 
 410 ve/cvv, /ulvBwv re crco/ma yvfivcocravTes ev, 
 Ka^rjfjbe^ d/cpcov i/c irdycov virrjve/JLOL, 
 ocr/jLrjv air avTOV fir] fiakrj irefyevyoTes, 
 iyepTi klvcov dvBp dvrjp iirtppoSoL? 
 icaicolcnv, el tl$ tov8* d^eiBrjaoi irovov. 
 
 415 yjpbvov TaB J rjv toctovtov, e? t iv alS-ipc 
 fiecrcp KarkaTif] Xajiirpbs rfklov tcv/ckos, 
 /cal /cavfi e$a\ire • /cal tot i£al(f)vr]<; %&ovb<z 
 Tvcfrchs delpas a/crjirTov, ovpdviov ayos, 
 irlfiirXrjai ireBtov, iracrav al/ci^cov (fioftrjv 
 
 420 v\rj<; ireBidBos, iv S' ifieo-TW&r] fieyas 
 
 al&rjp • fjLvcravTes S' elyofiev Qelav voaov. 
 /cal tov8* diraXkayevTOS iv Xpbvw fia/cpa>, 
 r) irals bpcurai, /cava/cco/cvei iri/cpa<z 
 opvt&os 6%vv (fiQoyyov, &>? oTav /cevvjs 
 
 425 evvr)$ veocrcrcbv optpavbv /SXe^jry Xe^os • 
 ovtco Be yavTr), ^Ckbv o>9 opa ve/cvv y 
 yooccnv i^cpfico^ev, i/c S' dpas /ca/cd? 
 r)paTO Tolai Tovpyov i^etpyao-fievoi^, 
 /cal yepcrlv evSvs Bl^luv c^epet kovlv, 
 
 430 i/c t ev/cpoTr/TOV ^akicea^ dpBrjv irpb^pv 
 
antitonh. 93 
 
 yoalcri TpicrirovSoicn top vetcvv crease. 
 XV^S i>$ovT€s le/jbecrQa, crvv Si viv 
 
 S^TjpCO/jLeS-' 6v9-U$ OvSeV i/C7T€7r\7]yfX€V7]V ■ 
 
 Kal rds re 7rp6cr3-€p ra$ re vvv r]keyypiiev 
 
 7r payees ' airapvo^ S' ovSevos /ca^icrraro, 435 
 
 a/Jb rjSecos e/juoiye KakyeuvS)^ apa. 
 
 to [lev yap avrhv e/c fca/cobv Trefyevyevai 
 
 rjSccrTOp, €9 fea/ebv Se tou9 (j)l\ov^ ayeiv 
 
 akyetvov, dXka irdvra rav^t r/crcro) Xafteiv 
 
 iflOl 7T€(j)VfC€ TTjS eytf% CTCDT7}pLa$. 440 
 
 KPEHN. 
 
 ere Srj, ere ttjv vevoverav eh irehov /cdpa, 
 4*11$, rj tcarapvel /jltj SeSpa/cevao TaSe ; 
 
 ANTirONH. 
 
 fcal <$>r]jjLl Spaerai, kov fcarapvovfiaL to [Jbrj. 
 
 KPEHN. 
 
 o-u fiev ko/jll^ols av creavTov fj &e\ei$ 
 
 e£co fiapeia? clIticus eXevS-epov • 445 
 
 <rv S\ elire fiot, fir) jjltjicos, dXka ervvTo/Mos, 
 
 jjSr]? to, fC7]pvx$ivTa fir] irpderereiv TaSe ; 
 
 ANTirONH. 
 
 r}8r). tl S' ov/c efieWov ; ifitjxivf] yap rjv. * 
 
 KPEGN. 
 
 fcal Syjt eTo\/xa9 tov^S' virepftaiveiv vofiov? ; 
 
 ANTirONH. 
 
 ov yap tl fJLOt Zevs r\v 6 tcrjpv%a$ TaSe, 450 
 
 ovS* rj %vvouco$ tcov KaTco S-ecov AiKT], 
 
 6l tovsK ev dv&p&nroLerLV copiaav vofJbovs • 
 
 ovSe aS-evecv tocovtov (pofjayv tcl era 
 
 fCTjpvy/jLajy, co9 TaypaiTTa tcaerfyaXrj Qecov 
 
 vo/M/JLa Svvaer&aL QvrjTov 6v& vTrepSpafielv. 455 
 
94 20$0KAE0Y2 
 
 ov yap tl vvv ye /ca^Ses, aX)C del irore 
 %f) ravra, KovSeU olSev i£ orov 'fyavrj. 
 tovtcov iyco ovfc e/xeWov, avSpbs ovBevb? 
 (ppovrj/na Beicracr, iv 9-eolcrL ttjv SUrjv 
 
 460 Scocretv. Savov/xevT] yap if;y$r), tl 8' ov ; 
 Kel fir] av 7rpov/c/]pv£a<;. el Be rod yjpovov 
 7rpocr3-€V Qavov/MiL, tcepBos avr iyco Xeyco. 
 ostls yap ev ttoWolctlv, co? iyco, /caKoc? 
 Ly, 7rco? oo ovyi Kardavoov Kepoos (pepec ; 
 
 465 ovtcds efioiye rovSe rod /ibpov Tvyeiv 
 
 irap ovoev aXyos • aW av eu rov e§ e/jLrjs 
 fjL7]Tpbs S-avovr a&aTTTOV rjvo-%6fjLr)v vefcvv, 
 Kelvoi? av rjXyovv ' TolsBe S' obtc akyvvojiai. 
 crol 8' el Bokco vvv fioopa Bpcocra Tvyyavew, 
 
 470 cr%eB6v tl fJLcopco [icopiav 6<p\ccr/cdvco. 
 
 XOP02. 
 
 BrfXo? to yevvTj/jL oojjbbv %<~ oo/jlov iraTpbs 
 tt}9 7ratS6^ • eltceiv 8* ov/c enriGTaTai fcafcols. 
 
 KPEHN. 
 
 aXk' lctS-l tol tcl o-tckrjp ayav c\>povr\\iaTa 
 TriTTTeiv fidXcaTa, teal tov iyKpareGTarov 
 
 475 criB^pov otttov etc Trvpb? TrepLcr/ceXr} 
 
 3-pavcrQivTa teal payivTa ifXelcrT av ehiBoL?. 
 a/Mfcpo? yakivco 8' olBa tou? Qvpovfjuevovs 
 67T7rou? /caTapTvS-evTas. ov yap eicirekei 
 (ppovetv fiey, o$tl$ Bov\6$ Igti tcov 7r£Va?. 
 
 480 avTT) S' v/3pl£etv fiev tot e^rjirio-TaTO, 
 vofiov? v7repj3aLvovaa tov$ TrpofceLfievovs ■ 
 vfipi<Z B\ iirel BeBpa/cev, tfBe BevTepa, 
 tovtol? iirav^elv, koX BeBpaicvlav ye\av, 
 rj vvv iyco fiev ov/c avrjp, ovtt] 8' avrjp, 
 
 485 el tovt dvarX TjjBe Keio~eTai /cpaTTj. 
 aKK €lt aoe\(pr)$, ec*} o/jLatfioveo-Tepa 
 
antitonh. 95 
 
 tov Travrb? i)\uv Zr\vb^ epKeiov tcvpel, 
 air 7] re %}) £vvat[io$ ov/c aXv^eTov 
 
 flOpOV KCLKLGTOV ' fCdl yap OVV KeiVTjV Xcov 
 
 fhraiTub/uu TovBe fiovXevcaL tcl^ov. 490 
 
 Kai viv rcaXetT ■ ecco yap elBov apricot 
 
 Xva-crojcav avrrjv, oud* em] t 3o\ov cppevojv. 
 cfriXel B' 6 3-v[ib$ 7rp6oS-€v fjprjG^-aL Kkoirevs 
 
 toov [irjBev opS-co^ 6V CKOT(p Te^VCOfjieVOJV, 
 
 fiLQ-oj ye fievroc yoiTav iv KaKolai ti$ 495 
 
 akoi)$ } errecra tovto KaXXvveiv S-eXy. 
 
 AXTirONH. 
 
 3-eXei? tl fieigop, f] tcaTaKTelvai fi eXcov ; 
 
 KPEr.x. 
 iyco fiev ovBev ' tovt e)(oov, cirravT e)(co, 
 
 AXTirOXH. 
 
 tl Brjra /xeXXeL? ; &)? i/iol tojv crcov Xoycov 
 
 dpecTov ovBev, fJLTjfi apeaSeirj rrori ■ 500 
 
 ovrco Be Kai col Tcl/JL cupavBdvovT ecf>v^ 
 
 tcaiTOL TroS-ev fcXeo? y av evKXeecTepov 
 
 Kajec-yov, fj tov avTaBeXcfrov iv Tcicfxp 
 
 TiS-elca ; tovtols tovto ttclclv avBdveiv 
 
 XeyocT av, el fir) yXoiacav eyxXelcoL (fiofio?. 505 
 
 dXX' 7) tv pawl? TroWd r aXX' evBatfiovel, 
 
 tca^ecTLv ai)Tfj Bpav Xeyeiv SP a fiovXeTai. 
 
 KPEr.x, 
 av tovto fiovvq ToovBe KaBfielcov 6pa$. 
 
 AXTirOXH. 
 OpcOCL ^OVTOL ' Col K VTTetkoVCL CTOfia. 
 
 KPEr.X, 
 
 av S' ovtc eTratBel, TcovBe %wpi? e ' L fypwth ; 510 
 
96 20*0KAE0T2 
 
 ANTirONH. 
 ovSev yap alayjpbv tovs o/xoaTrXdy^vov^ aefieiv. 
 
 KPEHN. 
 
 ovkovv o/JLaifjLO$ yoo kcltclvtlov S-avcbv ; 
 
 ANTirONH. 
 
 ofxaLfJio^ itc fjua? re teal tclvtov irarpos* 
 
 KPEHN. 
 
 ttoo? Brjr ifceivp Sv<;ae^7] ti/jl3,s %dpw ; 
 
 ANTirONH. 
 
 515 oif [xaprvprjcreL ravS? 6 tcar&avcbv vifcv$. 
 
 KPEHN. 
 
 el rot afa Tifias i% tcrov r<p Svs&eftei. 
 
 ANTirONH. 
 
 ov yap tl SovXos, dXX* d8eX(j)b<z coiXero. 
 
 KPEHN. 
 
 rropQcov Se TijvSe yr/v, 6 S' avrccrra^ virep. 
 
 ANTirONH. 
 
 o/jLcds o y "AlSt)? tov<$ vofjiovs icrovs TroS-ec. 
 
 KPEHN. 
 
 520 dXX* ov^ o yjpy]GTo<$ tg3 icaic& Xa^ecv 1lcto$. 
 
 ANTirONH. 
 
 ti<$ olSev, el tcdrcoQev evayrj rdSe ; 
 
 KPEHN. 
 
 ovtol tto$ ov%$pbs, ouS' oTav Qavrj, (f>C\o<;. 
 
 ANTirONH. 
 
 ovtol avvky&eiv, dXXa crv^CXelv ecfyvv* 
 
antitonh. 97 
 
 KPEHN. 
 Karoo vvv eX&ovcr, el (fuXrjreov, (f>iXec 
 /ceivovs ■ ifiov Se ±covro<z ovk dp^ei yvvii. 525 
 
 XOP02. 
 /cat ixrjv irpo irvkoiv 7]$* 'Icr/jLrjvr], 
 <fii\d8e\cf)a Karoo Bd/cpv ei/3o/ievrj ■ 
 vecjoeXrj 8' ofypvoov virep al/iaroev 
 peS-os alcryyvei, 
 reyyova evooira irapetdv. 530 
 
 KPEHN. 
 
 ay S\ rj tear otfcovs, co? e^iBv, vfyeifievrj 
 
 Xrj&ovad p? e^eirtve?, ov8* ipidvS-avov 
 
 rpecj>o)v Sv dra Kairavaardcreis 9-povcov, 
 
 (f>ep\ elire Srj [ioi, /cat crv rovSe rod rdefrov 
 
 cf)rj(7ei<z pberacr^elv, i) '^opbel ro purj elhevat ; 535 
 
 I2MHNH. 
 
 BeSpafca rovpyov, eiirep r/8' opLOppoS-et, 
 zeal ^v/jl/jl€TL(t^co teal (fiepco rrj? atria?. 
 
 ANTirONH. 
 
 aW ovk eacret tovto y 11 bucr] a , eirei 
 ovr rjS-ikrjcras, ovr iyob '/coLvcoo-dpLrjv. 
 
 E2MHNH. 
 
 dXX! ev tea/cols rot? cfoIglv ovk ala^vvopbai 540 
 
 ^vpurfKovv i/iavrrjv rod rrd&ovs 7rocovpLevrj. 
 
 ANTirONH, 
 
 &v rovpyov "AlStjs yol Karoo ^vvicrrope? • 
 \6yois 8' eya> fyCkovaav ov arepyco (frtXrjv. 
 
 HMHNH. 
 
 pbTjroty KacnyvTJrr], /x' ari\idar\? rb pbr) ov 
 Qavelv re avv <rol, rbv 3-avovra 3-' dyvlcrac. 545 
 
 5 
 
98 20$OKAEOY2 
 
 ANTirONH. 
 
 firj fjbOL Bdvys gv KOiva, jult]8' a pLrj ',!kye9 
 iroiov GeavTrjs. dp/ceaco &vr)Gtcov<r iyco. 
 
 I2MHNH. 
 
 koX tis /3lo<$ jjuol gov XeXeipi/JLevr) <£/\o9 ; 
 
 ANTirONH. 
 
 Kpeovr ipcbra. rovBe yap gv /crjBefJLcov. 
 
 I2MHNH. 
 550 TL TCLVT OVia% Jjl\ OvBeV GD(j)6\0V/J,iv7) ; 
 
 ANTirONH. 
 
 dXyovaa /lev Brjr, el yekcor ev goI ye\(S. 
 
 HMHNH. 
 
 tl or]T av ahka vvv g er cocpeXoipb eyco ; 
 
 ANTirONH. 
 
 gcogov aeavrrjv. ov (jjS^ovco g viretcfyvyeZv. 
 
 HMHNH. 
 
 « 
 
 oX\ioi Takaiva, KapufKaKco rod gov puopov ; 
 
 ANTirONH. 
 
 555 gv piev yap eikov %f)v, iyco Be Kar&avelv. 
 
 HMHNH. 
 
 dX)C ovk eV dpprjTOLS ye tols i/ioc? Xoyocs, 
 
 ANTirONH. 
 
 KokG)? gv puev tois, tols S' iyco *B6kovv cppovecv. 
 
 I2MHNH. 
 
 /col pur]V lgt] vcov eGTiv rj 'tja/jLaprla. 
 
 
AXTITONH. 99 
 
 ANTirONH. 
 
 S-dpcet. av /xev £379, ?) §' ifirj ^rvx}l ^rdXai 
 reS-vrj/cev, W9T6 rok S-avovaiv axpeXecv. 560 
 
 EPEfiN. 
 
 rcb 7ral8i (f)7]/ju rcoBe ttjv [lev apricot 
 
 avow 7r€<fidv$aL, ri]V S' dcp ov ret irpoor e<f>v. 
 
 L2MHNH. 
 
 ov yap 7tot\ 8>va% 3 ovB' o? av (3\darr] /xivet 
 vovs to?9 /ca/ccbs irpdaaovacv, dX?C i^tararac. 
 
 KPEQN. 
 
 crol yovv, o& eiXov aijv Ka/coU rrpdaaeiv tcatcd. 565 
 
 HMHXH. 
 
 tl yap fiovT) floe T7JS& arep ^idxTtjiov ; 
 
 KPEQN. 
 
 aA/V " i)be /jbevrot [it] f^ey • of 7ap ear er^. 
 
 ESMHNH. 
 
 a\\i KTevel? vv/JLcfiela rod aavrov rexvov ; 
 
 KPESN. 
 
 dpcocn/jLOL yap ^arepcov elalv yvac. 
 
 I2MHNH. 
 
 ou;^ 009 7' i/celvcp njSe r rjv ^pfioafiha, 570 
 
 KPESN, 
 
 Kaicas iyco yvvaiicas vleac arvyco. 
 
 AXTirOXH. 
 
 3) (f)t\raS A'l/jLcdv, oj? cr ari^d^ei irajiqp ! 
 
 KPEr.N. 
 
 dyav ye \v7rei$ teal ai) tcai to gov ^e%o?. 
 
100 20<*>0KAE0T2 
 
 XOP02. 
 rj yap areprjcrei^ rfjsSe top cravrov yovov ; 
 
 KPEHN. 
 
 575 "Aihrjs 6 iravacov tov<;8s tovs ydfjuovs ecjzv. 
 
 XOP02. 
 
 SeSoy/jLev*, o>9 eoctce, rtfvSe /carQavelv, 
 
 KPEftN. 
 
 /cal col ye Ka[ioL fir] rpiftds er, aXXa viv 
 /co/jil^er etaco, SjJLcoes • efc he rovhe %pr) 
 yvval/cas elvat rdshe, fjurjh' dvet/jievas. 
 580 (frevy overt, yap tol ypl S-pacreL?, orav iriXa? 
 tjSt] top " Aihr\v ekopcoat rod filov. 
 
 XOP02. 
 
 • 2 t po(pr] a. 
 
 EvSal/jLove? dial /catcchv dyevcrro^ alcov. 
 
 oh yap av aeicr&f) QeoQev hofios, ara$ 
 585 ovhev e\\ei7re(, yeveas errl 7r\rjQo$ epirov ■ 
 
 ojxolov cocrre itovtiov 
 
 olh/jua, hvsirvoois orav 
 
 QprjcraaLcnv epeftos v(pa\ov eirthpajXTj Trvoals, 
 590 KvXivheu fivcrcro&ev icekaivav §lva koX Svsave/iov, 
 
 gtovm ftpeyLOvenv dvTiirXr\ye<$ d/craL 
 
 *Avr tcrr po (p)) a, 
 
 593 ap^ata ra Aafihaiahav ol/ccqv opcofiai 
 595 7T7]/jLara <\>&ltq)v eirl irrj^acn ttitttovt, 
 
 ov8* diraXkdcrcrec yeveav yevos, AV epetTrei 
 
 3-eayp tl<z, ovh' eyei Xvcrcv. 
 
 vvv yap eaydra^ virep 
 600 pl£a$ ereraro (f)do$ ev Olhlirov So/mols. 
 
 /car av viv <§>oivia &e&v rcov vepreprov dfia kovis, 
 
 \6yov r dvoia koX cfrpeveov iptvvs. 
 
ANTITONH. 101 
 
 ^rpo<p7] 0. 
 
 reap, Zed, hvvacriv rfc dvSpcov V7rep/3acna Karaaxpi, 
 
 tclv ovS? virvos alpel ttq& 6 7ravToyi]pco<z 
 
 ovt€ &ecov d/cfjiaroo 
 
 lirjves, aytfpco? Se %pov(£> hvvaaras 
 
 Kare^et^ 'OXvfJbirov 
 
 fiapfjbapoeaaav diykav • 610 
 
 to t eirecra teal to /liWov 
 
 koi to irplv eirapiceaeL 
 
 v6/jL0$ o$* • ovSev epirei 
 
 SvaTCOV (3 LOT (p Trd/JLTToXi^ € /£ T 9 a t a 9. 
 
 'Aj/t ktt po(pj] /3'. 
 
 a yap Srj iroXvifkayKTOS e\7rl? ttoWoU f^ev ovrjen? 
 avSpcov, 615 
 
 7roWols S' airaTa Kovcjyovocov ipcoTcov ' 
 
 5£ f £5 5<>\ r/ 
 
 etooTt o ovoev epiret, 
 
 Ttpiv irvpl S-epfiS iroha tl<z Trpo^avarj, 620 
 
 crocfria yap etc tov 
 
 fcXetvbv 67T09 irefyavTat, 
 
 "to fea/ebv So tcelv it ot iaS-Xbv 
 
 t c3 S' e fjifJLev ot o) <£> pevas 
 
 rC/eo9 ay 6 l it p o 9 aT av. 
 
 Trpdcraei K oXoyoaTov yjpbvov e/cro9 ara9. 625 
 
 oSe fxrjv AIl/acdv, iratBcov twv acop 
 vkaTov yivvrjfjb • ap dyyviievo^ 
 t% {JbeWoyd/jLov 
 toXlSos ij/cet fiopov 'AvTcy6vr]<; 9 
 diraTas Xe^ecov virepaXycov ; 
 
 KEEHN. 
 
 Td% elcro/jLGcrQa fidvTecDv virepTepov. 
 a> ttoi, TeXeiav ^rrje^ov apa juLi] k\vcov 
 
102 20$0KAE0T2 
 
 T/79 fieWovvfjL(f)ov ircLTpl Xvaaalvcov irdpet ; 
 r) aol fiev ?;/xeZ? iravra^rj Spcbvres (ptXot ; 
 
 AIMHN. 
 
 635 rrdrep, (709 elfit • kcl\ av jjloi yvco/Jias e^cov 
 Xprjaras, tnrop&ols, al? eycoy icfre-^rofiat. 
 ifjioi yap ovoels a^lcos ecrrac ydjJLO? 
 jjlei^cdv (j)€pecr$aL gov /caXoos rjyov/jbivov. 
 
 KPEHN. 
 
 ovrco yap, co iral, yjpr) ota arepvcov eyew, 
 640 yvcbfjL7i<z TrcLTpcpas *iravr oirLG&ev eardvai. 
 tovtov yap ovve/c avSpes evyovTai yovas 
 /carrj/CGOVs c^vaavre^ iv 86/jlols e^ecv, 
 C09 teal tov ejftpov avra/jajvcovrac /ca/cols, 
 /cat tov (f)lXov Tifioyatv it; Xcrov irarpL 
 645 09x^9 K av(D$e\rjTa (f)LTV6L ritcva, 
 
 rl rovS* av elirois aXXo irXrjv avrS irbvovs 
 cj)V(raL, iroXvv Se toIctlv i^polatv yiXcov ; 
 
 [Jirj VVV 7T0T, CO 7TOI, T&9 (f>p£vaS VCJ) TjSovfjS 
 
 yvvaiicbs ovverc ifcfidXys, elScbs on 
 650 tyvxpbv irapayKaKicryba tovto y ly verai, 
 yvvrj /ca/cr) %vvevvo<; iv S6/jLol$. tl yap 
 yevoir av eX/^09 pel^ov rj cf)lXo<z /ca/co<z ; 
 dXXa irrvcras co9e/ re Bv^/jievrj fieQes 
 rrjv iralK iv r/ AtSov rr)vhe vv/jufavetv TtvL 
 655 eVel yap aurrjv etXov i/jicfiavws iya> 
 
 7roXeco9 dnricrTrjaaaav itc irdcrrjs /jlovtjv, 
 tyevSr) y i[xavrov ov /caracmjcrco iroXei, 
 
 dXXd /CT6VCO. 7T/)09 TaVT €(J)V/jLV€LTCD A [a 
 
 ^vvaijJiov. el yap Srj rd y iyyevrj cj)va-ec 
 660 a/cocr/jia Qpetycd, tcdpra tovs e^co yevovs. 
 iv rots yap ol/celoLo-LV 09T£9 ear dvrjp 
 %p7]GT05, tyavelrai /cdv iroXei Si/cato? tov. 
 09^9 S' virepBds rj vojjlovs ft Lateral, 
 
ANTITONH. 103 
 
 r) TOviriTaaaeiv tol? Kparovcriv ivvoec, 
 
 ovrc ear eiraivov tovtov it; e/iov rvyetv. 665 
 
 aX)C bv 7ro?U? arrjcreie, rovSe %pr] Kkveiv, 
 
 icaX crfAiKpa teal Sifcaca, teal ravavrta, 
 
 koX tovtov av tov avSpa 3-apaoirjv iyeb 
 
 fcaXoos jxev apyeiv, ev S' av ap^ead-ac 3-eXetv, 
 
 Sopos t av ev %€l/jLcovl irposTeTayfJbevov 670 
 
 fieveiv Btfcacov /cdyaS-bv TrapaaT&Trjv. 
 
 avap^Las Be fiel^ov ovk eaTiv /caicov. 
 
 avTTj iroXeis t oXkvacv, ^o dvaaTaTOVS 
 
 ockovs TiS-rjatv ■ r)Se avv ftaxV S°j°o? 
 
 Tpoiras /caTapprjyvvac ■ tcov S' opS-ov/jbevcov 675 
 
 ccp^eu tcl TroXka aco/iaS* r) irei^apyjia, 
 
 ovtcos a/jLWTe eVrl toi<? /coa/jLov/jLevoLS, 
 
 kovtoi yvvai/ebs ovhafio)? r)aar]Tea. 
 
 tcpelcrcrov yap, eiwep Sec, 777309 av$pb$ etcireaelv, 
 
 kovk av yvvaofccbv ijaaoves tcaXoi/jbeS-' av. 680 
 
 XOP02. 
 
 r)\uv fiev, el fir] t& XP® V( 9 fC€K\efjLfieS-a } 
 Xeyecv cfrpovovvTcos &v Xeyecs Sofceis irepi. 
 
 AIMHN. 
 
 ir&Tep, &eol cfrvovacv av$pco7roLS (f>piva$ 
 
 iravTCDV 6a ecrrl xprj/iaTcov virepTaTOV. 
 
 eyeb S' 07T<u? av fir) Xeyeis opQcbs TaSe, 685 
 
 ovt av 8vvai/jL7)v, /jlt/T eiriaTaifLr\v \eyeiv ■ 
 
 yevoLTO fievTav yuTepcp /caXoos eypv. 
 
 av S' ov 7re(f)Vfca$ irdvTa irposKoirelv oaa 
 
 \eyec tc$, r) irpaaaei rt?, r) tyeyecv eyei>* 
 
 to yap abv ofifia Secvbv dvSpl Btj/jLott] 690 
 
 \6yoi$ tolovtols, oh av fir) Tepyjret kXvcov ■ 
 
 e/jiOL o a/covecv ea# viro atcoTOV Taoe, 
 
 Tr\v iralSa tovtov oV oSvpeTat ttoKls, 
 
104: 20$0KAE0r2 
 
 iraercov yvvaiKcov o>9 ava^tcordrTj 
 695 KCLfCiar air epycov ev/cXeeardrcov (privet ■ 
 
 " ^/ r t ? Toy avTrjs avr dSeXcpov ev cp ov al$ 
 
 TT eiTTCOT ClQaiTTOV fjLljS* V IT CO fJL 7) C7 T CO V KVVCOV 
 6LCLG 6\€ (7 Q a L, [JbTj & V IT I CO V CO V T IV 6 9 ' 
 
 0V X 7 7 ^ e XP va V^ d^ la r l {if}? Xa^et^;" 
 
 700 roiciS* epefjivrj erly eirepyerrai (parts. 
 
 ifjiol 8e erov irpdererovTos evTv^cos, irdrep, 
 ov/c earcv ovBev Krij/ia Ti/Mcbrepov. 
 rl yap irarpos QdXXovTOs ev/cXelas renvois 
 ayaXfia fiel^ov, r) rl 777309 iralhcov nrarpl ; 
 
 705 fJirj vvv ev r)Qo$ /jlovvov iv eravTco cfiopei,, 
 
 o>9 <£$9 erv, fcovBev aXXo, tovt opScos eyew. 
 09T^9 yap avTo<z r) cppovecv /jlovos 80/cel, 
 r) yXcocrerav, r)v ov/c aXXos, i) ->Sfvyj)v ej(eiv y 
 ovtol §La7TTV)(&evT€5 cocfiS-rjerav KevoL 
 
 710 dXX! avSpa, Kel tls y erocfibs, to [lav^dvetv 
 ttoXX' alayjpbv ovSev, koX to fir) Telveiv ayav. 
 opas irapd pel&poierL yeijidppois oaa 
 SevSpcov vireLKei, fcXcova? cos ifcercp^eTat ■ 
 tcl S* dvTLTeivovT avTOTrpejiv a7ToXXvTat. 
 
 715 avTcos Se vabs 097^9 iy/cpaTr) TroSa 
 Teivas vireltcei /ir/Sev, vtttlois tcaTco 
 cjTptyas to Xolttov aeXjiaacv vavTiXXeTat. 
 dXX' elice Sv/jlov /cal fieTaaTacnv BISov. 
 yvco/jLTj yap el tls Kair ifAov vecoTepov 
 
 720 irpo^eaTL, <prjp? eycoye irpeerfteveiv ttoXv 
 cpvvac tov avSpa rrdvT eiricTTr]fir\s irXecov • 
 el 8' ovv, cptXel yap tovto fjurj TavTrj peireiv, 
 Kal tcov XeyovTcov ev KaXov to iiav&dvew. 
 
 xopox 
 
 aval;, ere r elfcbs, el ti icalpiov Xeyec, 
 725 fia&elv, ere r av tovS* • ev yap elpr\Tai BtirXf). 
 
AXTITONH. 105 
 
 KPEGN. 
 
 ol TrjXitcoihe /cat SiSa^o/ieoS-a 8?) 
 fypovelv inr cipSpbs rrfKiKovhe ri]V cfrvcriv ; 
 
 AIMGN. 
 
 [xrjhev to fJL7] Sifcacov ■ el 8' iyca vio$, 
 
 ov top %popop %py) jiaXKov rj Tapya cncoTrelp. 
 
 KPEGN. 
 
 epyop yap ecrTC tovs a/cocr/jLovpTas ae,8ecp ; 730 
 
 AIMGN. 
 
 ovS* ap fceXeucrcu/jL evcreftelp eh tovs fcafcov?. 
 
 KPEGN. 
 
 °vX V^ € y^P T0L 4^ eireikrjTTTai poccp ; 
 
 AIMGN. 
 
 ov (fyrjac Orffir]? r?}?S 5 o/jlotttoXl? Xecos. 
 
 KPEGN. 
 
 ttoXis yap r) [up a fie *xpr\ Tacr creep epel ; 
 
 AIMGN. 
 
 6 pas toS* co? e'lprjtcas co? ayav peos ; 735 
 
 KPEGN. 
 
 aXXu* yap r) '/xol %pij fie rr}<>8 apx eLV X^ ov ^ > 
 
 AIMGN. 
 
 7T0/U? 7<zp ou/c ecv> ?;t£? apepos eo-$ epos* 
 
 KPEGN. 
 
 ou roi) tcpaTOVPTos ?] 7r6Xi$ po/ii^eTac ; 
 
 AIMGN. 
 fcaXoo? ip7]fjL7]<; y ap crij yrjs ap^ocs f^opos* 
 
 KPEGN. 
 
 6'S , co? ecu/ce, t?} yvvaud crv/ji/xa^et 7i0 
 
106 20$0KAE0Y2 
 
 AIMflN. 
 elirep yvvi] av ■ aov yap ovv 7rpo/c>]8ofjLcu. 
 
 KPEHN. 
 
 ft) 7ray/cd/a(TT€ 3 Sta Sl/ctjs Icov irarpi ; 
 
 AIMnN. 
 
 ou yap Sl/caid a i^a/iaprdvovS^ 6pS). 
 
 KPEHN. 
 
 a/jLaprdvcD yap ras i/ias dpya<$ aeftcov ; 
 
 AIMHN. 
 
 745 ov yap creftecs, rc/ids ye ra? $ecov Trarwv. 
 
 KPEHN. 
 
 c5 fuapbv 97^09 Am yvvai/cbs vcrrepov. 
 
 AIMnN. 
 
 owe aV S' eA,o£9 rjcrcrco ye tcov ala^pcov i/ie. 
 
 KPEHN. 
 
 6 70i5z> \0709 crot ?ra9 V7rep /celvrjs oSe. 
 
 AIMXiN. 
 *m crof) 76 /cdfjiov, Kal &e£)v rcov veprepcov. 
 
 KPEHN. 
 
 750 ravTTjv hot ov/c ea& a>9 ere ^coaav yafiel<$* 
 
 AIMHN. 
 
 r/S' ovv Savelrat, /cal Qavova o\el nvd. 
 
 KPEHN. 
 
 rj KairaTceCk&v coS' eire^ep^et Qpacrvs ; 
 
 AIMnN. 
 
 7-/9 S' ?(7T direCkr] 7rpo9 /cem9 yvcofxa^ Xeyetv ; 
 
 KPEnN. 
 
 tckalcov (ppevcoaeis, cov (frpevwv avrbs fcevos. 
 
ANTITONH. 107 
 
 AIMGN. 
 
 el (jlt) Trarrjp rjoS-\ elirov av a ov/c ev cfrpovecv, 755 
 
 KPEHNc 
 
 yvvacfcbs cov SovXevj^a, fxrj /ccoriXXe fie. 
 
 AIMHN. 
 
 fiovXet, Xeyetv re, teal Xeycov fjcrjSev /cXvetv ; 
 
 KPEHN. 
 
 a\7]&e$ ; cOOC ov, tovK "OXvjjlttov, lctS? ore, 
 %alpcov eiri tybyoiai Sevvdcreis €/jlL 
 ay ere to [Mao*;, C09 kclt o/Jb/xar avTi/ca 760 
 
 irapovrt Qvrjcncri rrS/qcria tg> vvjjL<fil(p. 
 
 AIMnN. 
 
 ov BrJT e/juocye, tovto firj So £779 irore, 
 
 ov$ t^S' oXelrai irXiqcria, av r ovSa/jia 
 
 tovjjlov Trpo^o^Jrec /cpar ev ocfrSaX/jLocs 6pS)v 9 
 
 a><? tols SeXovat rcov (piXcov fjiciivr} gvvebv. 765 
 
 X0P02. 
 
 avrjp, avag, /3e/37]/cev eg opyf)? raj(y^ • 
 vovs S' earl ttjXucovtos aXyrjaa? fiapvs. 
 
 KPEGN. 
 
 Spdrco, (j)poveira) fiel^ov fj /car avip loov • 
 ra S' ovv Kopa tclK ovk airaXkagei [Aopov. 
 
 XOP02. 
 
 a/JL(fxo yap avra koX fcara/crewac voels ; 770 
 
 KPEHN. 
 
 ov ttjv ye [ir] Qcyovaav. ev yap ovv \eyec$. 
 
 X0P02. 
 
 fibpeo Se Troup icai acfre fiovXevet fcravetv ; 
 
10S 20$0KAE0T2 
 
 KPEHN. 
 
 dycov epTjfjLOS evS* av fj fiporwv ariflos, 
 Kpvyjrco it er pooh et ^cocrav ev Karcopv^t, 
 
 775 <fiop/3r)s roaovrov, o>? a'70?, iiovov irpoSek, 
 oVa)? fjLLacrfjLa iracr vTreictyvyrj 7roXi<z. 
 /cdtcel top r/ Aihrjv, bv [xovov ae/3et Qetbv, 
 alrovfjuevri ttov rev^erat to fir) Qavelv, 
 rj ypclxreTCLL yovv ak\a TrfVLfcavS?, on 
 
 780 irovos irepLCFGos eart rdv "AiSov aefietv. 
 
 XOPOS. 
 
 ~2t p o (p'f) . 
 
 "Epcos avUare fidyav, 
 
 "Epoos, o? ev fcrrjiiacri, iriiTTei^, 
 
 o? t ev [MikcucaLs Trapeials vedviSo? evvvyeveis • 
 785 cfioiras S' vTrepirovTio? ev r dypovofiois av\cu$, 
 
 teal cr our dS-avdrcov (fiv^LfjLO? ovSels 
 790 ov& d/jueplcov eir dv&pcoircov, 6 8' e^cov fiefi7\vev. 
 
 3 Aur i cr r p o (fyfj . 
 
 av KaX hacalcov dSl/covs 
 
 (f>peva$ irapao-TTas eirl \coj3a, 
 
 av koX roSe velfcos dvSpcov ^vvaifiov e%ei<; rapd£a$ ' 
 795 vtfcci S' evapyr)$ fiXecfidpcov ifiepo? evkeicrpov 
 
 vvfitfxLS, tcov fieydXcov Trdpehpo? ev appals 
 800 S-ecr/jLcov • djuia^o^ yap efiiral^ei &sb<z ^AcppoSlra, 
 
 vvv b 7)07} yco icavTos r^eaiicov 
 e^co (pepofiai Tab opcov, icryeiv o 
 ov/cerc irrjyas Bvvaiiac Sa/cpucov, 
 tov TrayKolrav 83* 6p5) SdXafJbov 
 805 rr]vS > ^ AvTiybv7]v avvrovaav. 
 
ANTITONH. 109 
 
 ANTirONH. 
 
 2 r pocp)] a. 
 
 ( OpaT efju, 5) ya<; Trarpias iroXiraL, 
 rdv vedrav 68bv 
 
 aret^ovaav, vearov he cj)eyyo<z XevcrcTOVcrav aeklov, 
 KoinroT uvQl? • dXXd /ju 6 irayKolra^ r 'At8a$ ^cocrav 
 ayei 810 
 
 tclv * AykpovTos 
 d/crdv, ov& v/jievaicov 
 
 ey/ckripov, our hrwvjJufaiQS 7Tcq pi T6? v/avos 815 
 
 vfjLV7](T€v, aXX? 'AyepovTL vvfM^evcra), 
 
 XOPOS. 
 
 [ovkovv KXecvrj teal eircuvov e^ova 
 
 €9 toK airzpyei /cevQos ve/evcov,^ 
 
 ovre §&ivdcriv if\7]yelaa vbaoi^ 
 
 ovre %i(j)icDV eiru'xeipa \a%ova, 820 
 
 aXk' avrovofios, ^axra fJLOvrj Sr] 
 
 Qvcltcov 'AtSav fcarafajcreL. 
 
 ANTirONH. 
 "Apt ktt po<p)] a'. 
 rjKOVcra Srj Xvypordrav okecr&aL 
 
 tclv Qpvyiav %evav 824 
 
 TavrdXov 5Wu\w 7rpb<; aicpw, tclv kktgos cos arevr]? 
 irerpaia jSXdaTa Sd/jcao-ev, teal viv o/nftpoi, ra/cofievav, 
 co? <j)dTL$ dvSpcov, 
 
 yi&v r ovSajxd Xelirei, 830 
 
 riyyec S' vif 6cf>pv(TC TrayfcXavrois SecpdSa? ■ a jxe 
 Bal/icov 6/jLOiordrav Karevvd^ei. 
 
 XOP02. 
 
 dWa &eos rot ical S-eoyevvrjs, 
 
 rjfJbeis Se fiporol ical &vr]Toyev€t<;. 835 
 
HO 20$0KAE0T2 
 
 /caiTOL fySifJievu) tols lao&eois 
 ey/ckrjpa, Xa^ecv fiey a/covo-cu. 
 
 ANTirONH. 
 
 2 T p <p)] ft. 
 
 olfjioi yekcofJiciL. ri fie, irphs Seoov irarpcpoyv, 
 840 ovk oWv/JLevav vfiptfas, 
 
 aX)C eirlfyavTov ; 
 
 5) itoXl<$, co iroXeco? 
 
 7To\vkt7]/jLOV6<; avSpes ■ 
 
 Icb Aipicaiai Kpr\vai @rj(3a$ r 
 845 evapfjidrov aXaos, eybiras 
 
 ^v[ijJbdpTvpa^ vfijA im/crco/iai, 
 
 oca cfztkcov a/ckavTos, owls vo/jlols 
 
 7rpo9 ep/JLa rv/jL/So^coarov ep^o/xac rdcf>ov iroTaiviov * 
 850 loo hvaravos, 
 
 OVT iv j3pOTOL<$ OVT iv V6/CpOL(TCV 
 
 fieroiKos, ov ^6!)cnv, ov Qavovatv. 
 
 XOP02. 
 
 irpofiacf eir eayaTOV Qpdaovs 
 ir^rrjXbv e'9 Al/cas fid&pov 
 855 Trposeirecres, & t&kvov, tto\v 
 
 irarpcoov 8' ifcrivecs tlv a3\ov. 
 
 ANTirONH. 
 'Apt i<tt po(p % ft. 
 etyavcras dXyeLvordras i/xol fieplfivas 
 
 TTCLTpOS TpLTToXtCTTOV olfCTOV, 
 
 rod re irpoiravTOS 
 860 dfjLerepov ttot^ov 
 
 Kkeivols Aa/SSa/clSaLcnv. 
 100 fiarptocu Xe/crpcov cctcll 
 KOLfirjiiard r avroyevvrjr 
 
ANTITONH. HI 
 
 i/jL(p Trarpl Sv^/xopcp [larpo^, 865 
 
 oicov eyco 7TOr9-' a ra\ac(f)pcov ecpvv ' 
 
 7T/509 0&9 dpalos, aya/jios, at? iyco fizTOLKO? epypfiai. 
 
 la> Svsttot/jLcdv 
 
 KacruyvrjTe yd/icov KvprjGas, 870 
 
 S-avcbv er ovcrav fcarrjvaph fie. 
 
 X0P02. 
 
 crefietv fiev evcrkfieid T£9. 
 
 Kparos K orcp fcpdros fiekeu 
 
 7rapa/3arbv ovSa/jifj irekec • 
 
 ere S' avroyvcDTOs coKecr bpyd. 875 
 
 ANTirONH. 
 
 atcXavTOS, afyikos, dvv/jievaios 
 raXaccppcov ayoficu rdvK erotixav dSoz/. 
 ovtcen /jlol roSe Xa/jardSos lepbv o/jL/xa &£/jus opav 
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 ^(aXcocra, /cat fie (£#07709 ol/celov /catcov 
 fidWec St &TCDV • vTTTia Be KXivofiai 
 Beiaaaa irpos Bficoalcn KairoifKrjaaofiaL. 
 
 1190 dX)C 09T^9 rjv 6 fjivS-os avQis etTrare • 
 
 kcuccov jap ovk direLpos ova aKOvaofiai. 
 
 AITEA02. 
 iyob, (j)[\r) Becrirotva, koX irapcbv epw, 
 KohSev iraprjcrco rr)$ aXrjQeias e7ro9. 
 tl 7 'dp cre ficCk^daoroifi av &v €9 vcrrepov 
 1195 tyevarai, (pavovfieS* ; op&bv dXrj&ei deL 
 eycb Be era) 7roSaybs eairofjaqv iroaei 
 
antitonh. 123 
 
 irehlov eV a/cpov, ev& e/cetro vyXees 
 
 KwocnrdpcucTov crcbfia IloXvveUovs en ■ 
 
 /cat top jJiev, aiT7]cravTe$ evohiav 9-ebv 
 
 IIXovTcovd t opyds evpusvels Karacrye^-elv, 1200 
 
 Xovcravres ay pop Xovrpbv, iv veocnrdcrLV 
 
 3-aXXois b Srj XeXeiirro crvyKarrj^o/jbev, 
 
 /ecu rvfi/3ov 6p3-6f<pavov olfcelas %3-ovbs 
 
 ycocravre^ av3-is 77720? XiMarpcorov Koprjs 
 
 vv\i$elov r/ AtSov fcolXov el$e/3alvo/jLev. 1205 
 
 (ficDVrjS 8' dlTCoS-SV 6p9-LCOP KCDfCVfJLaTCDV 
 
 fcXvet T£? dtcrepicTTOv a/jLcjn iraardha^ 
 
 /cat SecnrGTr] Kpeovrt a-rj/xatvec fioXcov ■ 
 
 t<5 8' dSXlas dcrrjfjLa irepiftaiveb /3orj$ 
 
 epirovTL fjidWov acrcrov, olfico^as 8' eVo? 1210 
 
 t?7cr^ SvsS-prjvrjrov, " &> rdXas iyeb, 
 
 dp' elpX fjidvTLS ; dpa Sv^rvyecrrdr^v 
 
 tceXevQov epirco rcov 7rapeXS-ovcrcov oScov ; 
 
 7tcuS6s /jl€ craivei <f>3-6yyo$. aXXd, irpo^iroXoi, 
 
 Xt acrcrov oofcels, zeal irapacrravTe^ rdcfxp 1215 
 
 dS-pfoaS-' , ap/jbbp %GQ/jLaTO$ XtS-ocnracifj 
 
 8iWe? 7rpo? avro ctto/juov, el rbv AIl/jLovo? 
 
 (j)Q6yyov crvvirjfjL, rj 9-eolcn /cXe^TO/iac" 
 
 rdS > i£ dS-v/jiov Seenrorov tceXevcrfiacriv 
 
 r)3-pov/jL€v ■ iv Be XoicrS-lq) TV/jiffey/ian, 1220 
 
 rrjv fJiev /cpefiacrrrjv avykvos /careiBofiev, 
 
 /3p6^cp furdoSet crivBovos tcaS-rj/jLfAevrjv, 
 
 rbv 8' dfjb(j)l i^ecrarj ireptirerrj irposfceifjbevov, 
 
 euv?i$ d7roLfico^ovra t?]S fedrco cj)3-opdv 
 
 /cal irarpbs epya teal to Bvctttjvov Xe^o?. 1225 
 
 8' o>? opa crefze, crrvyvbv olfAco^as ecrco 
 
 %a>pel 7T/509 avrbv fcdvafccDfcvcras fcaXec, 
 
 " S) tXtj/aov, olov epyov elpyacrai ; rtva^ 
 
 vovv ecryes ; iv to3 ^v/Mfiopd? Bcecf)3-dpr]<z ; 
 
 egeX&e, reK.vov, Ifcicrios ere Xtcrcro/jLaL" 1230 
 
124 20$0KAE0T2 
 
 top h ay plots oacroiGi TraTrrrjvas 6 irals, 
 TTTvaras irposdoirw Kovhev avreLircbv, £/<£ou? 
 
 €\K€L hilfkoVS KVCtihoVTCLS • e/c 3' OpfJLCOjJbeVOV 
 
 irarpos (pvyalcrcv 7]/ji7r\aK ■ eZr9-' 6 hvs/Jbopos 
 1235 aura ^o\tt#a9, co^irep eZ^\ eTrevraQels 
 
 ' rjpeicre ifkevpals /bieacrov eyx°S> €9 8' vypbv 
 dy/ccov er e^pcov 7rap3-ivq) irposirTvaaerai ' 
 /cal (frvcncbv o^elav e/c/SdWet Trvorjv 
 Xev/cfj irapeia fyoiviov araXdyfiaro^. 
 1240 /cetrac he ve/cpb? irepl ve/cp£>, rd vv/JL(f>i/cd 
 reXrj \a%cov helXaio? elv r/ Athov 86/jlols, 
 hei^as ev dv&pdoTroicrL rrjv d(3ov\iav 
 ocrcp [leyicrTOV dvhpl irpb^KeiTai /ca/cov. 
 
 XOPOX 
 
 tl tovt dv elicacreias ; rj yvvrj iraKiv 
 1245 (j>povhr], Trplv elirelv icrS-Xbv rj icaicbv Xoyov. 
 
 aiteaos. 
 tcavrbs Te3-dfi/3r}/c • eXirtcriv he /36or/cofjLcu, 
 ayr) re/cvov ickvovcrav e? ttoXlv yoovs 
 ov/c afycocreLV, dW vtto areyrjs ecrco 
 h/jLoocus 7rpo3-ijaetv Trev&os oltcelov arevetv. 
 1250 yvd)fjLr)<; yap ov/c aireipos, toaSt d/jiaprdvecv. 
 
 XOP02. 
 
 ov/c olo • e/jLOL o ovv rj r ayav cnyrj papv 
 ho/cet irpo^elvai ^rj jjbdrr]v iroWr) /3orj. 
 
 AITEA03. 
 
 dX\? elcro/jLecrS-a, fjbrj tl /cal /carda^erov 
 /cpvcpr) /caXvirrei icaphiq S^v/iov/ievr), 
 1255 ho/jLov? irapacFTeiyovTes. ev yap ovv Xeyets. 
 /cal rrjs ayav ydp earl itov aiyrjs ftdpos. 
 
 XOPOS. 
 
 \ \ C/^3 »/ C* 3 \ 3 t / 
 
 Kai firjv oo aval; avros ecprj/cei 
 fjLvrjfj? eirlcr^iiov hid % el P^ ^X (OV ' 
 
antitonh. 125 
 
 el QejuLLs elirelv, ovk aXkorplav 
 
 drrjv, dXX? aires a/maprcov. 1260 
 
 KPEHN. 
 2 r p o (p 7] a. 
 
 'Icb (ppevcov hvsfypovoov d/iapT^/iaTa 
 
 are pea Qavaroevr . 
 
 ay KTavovras re fcal 
 
 Savovras /SXeTrovTes e/KpvXtovs. 
 
 co/io t i/icov dvo\/3a /SovXev/jtaToov. 1265 
 
 lob TToly veos vecp %vv fiopcp, 
 
 alal alal, 
 
 eQaves, aTreXv&rjs, 
 
 i fiats ovSe crater t 8vsf3ov\iats. 
 
 X0P02. 
 
 oi/JL &>? eottcas 6^6 ty\v Sttcrjv ISetv. 1270 
 
 KPEHN, 
 
 St p o (p 7] $ . 
 o'tflOt, 
 
 eyu> fiaQcov SetXatos ■ ev S' e/iw tedpq, 
 
 3-ebs tot dpa tgt€ fieya ftdpos [i €%ojv 
 
 eiratcrev, ev S' ecretcrev ay plats 68ots, 
 
 ocfJLOL \aKiraTr\TOv dvTpeiroJv yapdv, 1275 
 
 (j)€V (j)€V, 0) ITOVOt ftpOTCOV SvSTTOVOt. 
 
 eeaiteaois. 
 
 S) Sia7ro9-\ oos eycov re tca\ /cefCTiyutevos, 
 
 Ta /utev Trpo %etpa)v TaSe fyepoov, tcl 8* ev So/iots 
 
 eottcas rjfcetv real Ta% oyjrecrS^at tca/ed, 1280 
 
 , KPEHN. 
 
 tl S' eaTtv av tcd/ctov, 1) tea/cebv ert ; 
 
 EEAITEAOS. 
 
 jvvr] TeS-vrjfce, TOvSe irapbiJtrjToop ve/cpov, 
 Bvctttjvos, cipTt veoTo/Jbotcrt TrXrjy/jtao-tv. 
 
12G zosoKAEors 
 
 KPEHN. 
 'Ai'TJO'Tpo^'// a. 
 
 ceo lcb SvsfcdS-apros rf Aihov XLfArjp, 
 12S5 tl yu dpa tl /jl oXe/ceL? ; 
 
 8) KaKayyeXrd fiot 
 
 it poire /zi^a? dyj), riva S-poels Xoyop ; 
 
 alai, oXcoXot avhp eTretjeLpydacD. 
 
 tl cpys, S) iral, rlva XeyeL? \jlql peop, 
 1290 alai alai, 
 
 crcfrdyLOV eir oXeS-pco 
 
 yvvatKelov dpb^Liceicr&aL /xopop ; 
 
 XOP02. 
 
 6 pap irdpeariv, ov yap ep fiv^ol^ en. 
 
 KPEHN. 
 
 'A V T L <T T p <p 7) ft '. 
 
 ot/LLOL, 
 
 1295 fcafcbv toS* aXXo Sevrepov /3Xs7rco TaXas. 
 tk apa, rk /jls 7t6t/jlo^ eri irepLfiipeL ; 
 ej/co fiev ev yeipecrcnv dprlco^ re/cvov, 
 rdXas, top §' evavra Trpo^l3XeTT(D pe/cpop. 
 
 1300 <f)£v (j>ev fjLctrep dS-Xta, cj^ev re/cpop. 
 
 EHAITEAOS. 
 
 7] 8 6£vQ7]fCTO$ ySe ficojJLia irept^ 
 XveL iceXaipd /3Xe<fiapa, tccotcvaacra fjuep 
 rod irplp 3-apopros Meyapeco? tcXeivov Xd%os, 
 av9-L<; Se rovSe, XolctQlop Se crol /ca/cds 
 1305 irpd%eL$ iifivfjiprjo-acra rco 7raiSoKTOP(p. 
 
 KPEHN. 
 
 Sr p o (j)7] y. 
 
 aiai atat, 
 
 dpeirrav <f)6j3(p. tl jll cvfc dpralap 
 
 eiraicrev T£? dfjL<pL3-r}/cT(p ^Ifyeb ; 
 
ANTITOXH. 127 
 
 SeiXaio? eyto, cpev (f)ev, 1310 
 
 SeiXata Se crvyfcifcpa/JLCit Sva. 
 
 EEAITEA02. 
 
 co? alrlav ye rcovSe /cd/celvcop eyxov 
 
 7Tpo? ri}? Savovcrr]? 77798' eTTeerfojiTTOV fiopcov. 
 
 KPEGN. 
 
 iroicp he fcairekvaaT ev cpoval? rpoirco ; 
 
 EHAITEAOS. 
 
 iralaacr vcfS rjirap avroyeip avr)]V, ottcd? 1315 
 
 7ra^So? 7cS' fjoS-ST g^vkcoxvtov ttclS-os. 
 
 KPEnN. 
 2 r p o <pv 8'. 
 
 oj/jlol fioi, raS' ou/e iir aXkov fiporcov 
 
 i/ias dpfiocrec ttot i% alrlas. 
 
 eyco yap a eyco exavov, a> /xekeo^, 
 
 eyco, (pap? ervfjLOv. Ico rrposTroXoi, 1320 
 
 dirdyere /jl otl rdy^o^, dyeri yH e/crroBcov, 
 
 rbv ov/c ovtcl fiaXXov i) fjLrjSeva, 1325 
 
 XOP02. 
 
 /cepSi] 7rapacvsl$, el' tl KepSo? ev kclkoI? • 
 /3pd)£L(rTa yap /cpdncrTa rdv irocriv tca/cd. 
 
 KPEGN. 
 
 'APTlG'TpOCp'Jl y. 
 
 LTCD ITCd, 
 
 (j>av7]Tco fiopcov o fcdXktar e/icov 1330 
 
 ifiol Tepfxlav dycov dfiepav 
 
 vTraros ■ itco Xtco, 
 
 oVco? firj/cer d/iap a\V elslSco. 
 
 XOP02. 
 fiiXkovra ravra. tcov rrpoKeL\ievcov tl j(pr) 
 irpdaaeiv. fiekei yap tcovS* otolctl yjp)-] \iekeiv. 1335 
 
128 20$0KAE0T2 
 
 KPEHN. 
 dW cov ipcb/jicUj tclvtcl crv<y/caT7]v^d/jL7]v. 
 
 X0P02. 
 
 firj vvv irpo^ev^ov [irjhev • &>9 7re7rpco/jLevrj<; 
 ov/c ecrri &V7]tols crvfjufyopas diraWayr]. 
 
 KPEriN. 
 
 'A V T I & T p <p 7] 5'. 
 
 ayoLT av /Jbdraiov avhp ifC7ro8cbv, 
 1340 o?, S) iraly ere r ovy^ e/ccov Karetcavov, 
 
 ere t at> tclvo . co/zo£ //,e\eo9, ofo e^a) 
 
 oVa 7rpo9 irorepov lBco • irdvra yap 
 1345 Xe^pta rdv ^epolv, rd S' eVl /cparl \ioi 
 
 7TOT/X09 Sv$/c6fjLL(TTO<; eUrjXa/ro. 
 
 XOP02. 
 7T0\\(p TO (f)pOV6LP evBaifiovias 
 Trpcorov vTTdpye.i ■ ^p?) Se ra 7' 669 Qeov$ 
 1350 fjL7]Bev daeirrelv • fieyaXoc 8e \6yoL 
 fjueydXa? ifkrjya^ tcov virepav^cov 
 diroTicravTes 
 yrjpaL to <j)pov£LV i8i$a%av* 
 
METRES OF THE LYRICAL PARTS. 
 
 Parodo b. 
 
 ^Tpopi] a 100—109. 117—12o. 
 
 ■ V ^ v-x" ■ 
 
 ■ \_^ \^> \~s - 
 
 J X_ 
 
 x x 
 
 ^rpocpri /3' 134— 140. 140—154. 
 
 ' v_/ ^> \ 
 
 First Stasimon. 
 
 Srpo^T? a 332—342. 343—353. 
 
130 
 
 METRES. 
 
 ^Tpo(pr] £' 354—334. 365— 375. 
 
 — \_s v_> — v_v ^/ — ^>» "~~ — 
 
 v_> — v_^ — — v_/ — 
 
 <^_y \^ \_^ 
 
 / / / 
 
 V^> — v_/ — v_y — w w — — 
 
 Second Stasimon. 
 Srpo(/)?? a 582—592, 593—603. 
 
 v_/v_> — w w — -3 — \s 
 
 / v—/ _/_ 
 
 <^» v_y v^>- v_> v>^ V-y- 
 
 / / ^-/ 
 
 /_ _/_ 
 
 / / / V 
 
 v^« v_/ V_> v_y v_^ v^- 
 
 / _/_ V_/ 
 
 St/>o^ /8' 604—614. 615—625. 
 
 / 
 
 - — \_y v_y — — v^/ \>_y — \^/ — — 
 
 / 
 
 v_y V-/ W 
 
 / / 
 
 \^> <^S V^/ V_y — ^ — - — 
 
 v-^» \_^ — v_> 
 
 / 
 
 <^_/ V_/ — v_/ 
 
 / 
 
 v-/v->» — w — v_/ — ^3; 
 
 / \^> 
 
 V_y W V_> 
 
 .-^ _/_ ^_ 
 
 - -*- v_^ v_/ v_y v«/ — v_/ . 
 
 Third Stasimon. 
 5Tpo<^ 781— 790. 791—800. 
 
 _/__/_ 
 
 v_> — ^_y v_^v-/ 
 
METRES. 131 
 
 . \_y V_^ - 
 
 Fourth Epeisodion. 
 ^rpocp)] a' 806—816. 823—833. 
 
 Zrpo^ j3' 838—852. 857—871. 
 
 - v_/ • v_> <^> ■ 
 
 / ( 
 
 - v_^ v^> — v_>» 
 
 !->• 
 
 . -£. £. L. 
 
 , J- v 
 
 ■ v_/ \_>> - 
 
 Xop<fc 853—856. 872—875. 
 
 , — , - _ y — . y_, — ^^ — 
 
 
 / w 
 
 'EircpdSs 876—882. 
 
 ,-JL^^L 
 
132 
 
 METRES. 
 
 Fourth Stasimon. 
 ^rpocp'n a 944—954. 955—965. 
 
 \_S v_^ — — v_/ v_^ — — 
 
 / / 
 
 — — v_^ v^ — — v_y v_y — — — 
 
 / / / 
 
 — \^ v_v v_y v^» — \^/ v_y — 
 
 ■ v_>» — \_^ ■ 
 
 • v— / — v_-> ■ 
 
 2rpo^ &'. 966—976. 9YV — 987. 
 
 V» v^ ■ 
 
 _ / 
 
 ■ \s — ^> ■ 
 
 Fifth (Pseudo-) Stasimon. 
 ^rpo^rj a! 1115—1125. 1126—1136. 
 
 v_>> v_>» — V 
 / 
 
 \^ V->» - 
 
 JL ^ X . 
 
METRES. 
 ^Tpocpr] 1137—1145. 11^6 — 1154. 
 
 Exodos, 
 2T P o<ph a' 1261—1269. 1234 — 1292 
 
 ' ^s^> v_^ ■ 
 
 ^rpo&o ff 1271—1277. 1294—1300. 
 
 \~/ — v_^ ■ 
 
 133 
 
 •STpo-phV 1306—1311. 1323—1333. 
 
134 METRES. 
 
 ^rpo^ 8' 1317—1325. 1339—1347. 
 
 ■ V_> K^/ " 
 
 ■ v-> — w 
 
 -£. -£. v , ^ 
 
N TBS. 
 
IOTES, 
 
 The Argive besiegers had made their last assault upon Thebes. At 
 six gates the Theban heroes had been victorious ; at the seventh the 
 hostile brothers, Eteocles and Polynices, had met, and fallen by each 
 other's hand. Creon, their uncle, who had succeeded to the command of 
 the Theban troops, had chased his enemies from the country, and re- 
 turned flushed with victory to the city, where he had issued a proclama- 
 tion forbidding the burial of Polynices under pain of death. 
 
 Early on the morning succeeding the flight of the Argives, our drama 
 begins. In the open space before the royal palace Antigone meets her 
 sister Ismene; in language betraying strong excitement she communi- 
 cates to her the cruel decree, and asks her assistance in burying their un- 
 fortunate brother. Antigone sees in this disgrace a continuation of those 
 woes which had long pursued the doomed family of (Edipus. 
 
 1. ^D. Koivbv avrddeXcpov . . . Oh, my own dear sister Ismene. A 
 direct and tender appeal to the feeling of relationship, as if she could 
 confidently count upon her sisterly affection for sympathy and coopera- 
 tion in the present trial, as she had done in many before. — kqivov^ sprung 
 from the same parents, and hence inheriting the same legacy of sorrows. 
 Also in iEschylus, Sept. contra Thebas, 1031, Antigone is impelled by 
 the same powerful motive to bury Polynices, declaring : 
 
 Aeivbv to Koivov o-rXdyxvov, ov 7re$ vKau.ev, 
 [XT]Tpb<s Ta\aCvr]<; Kanb Sucrr^vov Trarpo?— 
 
 which Ahrens renders : Magnam habet vim communis sanguis unde pro- 
 gnati sumus, matris miser ae atque infelicis patris. Cf. also iEsch., Eumen., 
 89 : crv $' avToi^e\(pop cu/jlo, real koivov irarpos- — "Icfxriv^s Kapa = 'Ia^d}*/^, 
 an expression of endearment, like the Homeric cpixr] KecpaXrj. Cf. v. 899. 
 
138 NOTES. 
 
 2. ola-fr on. It is scarcely probable that on and brrotov were both 
 intended to be indirect interrogatives in this sentence. The particle on 
 is frequently used by the Attic writers with this verb (oT5 5 on, fcrfr' on, 
 ola& otl), so nearly pleonastic that it does not affect the construction. 
 Comp. 276, 758, and Demosth.,Phil., iii. : iravrwv eu ol& on (prjo-durcov 7' &v. 
 Aristoph., Aves, 1246 : ap olo~& on Zeus e* jj.€ Av7rf)crei iripa. — rcou air 3 
 Old. kclkccv. The gen. depends upon o-koIov. She means the calamities 
 of which (Edipus was, directly or indirectly, the author. Cf. v. 49 ff. It 
 may be rendered : Know' si thou what sort of evils Jupiter is not visiting 
 upon us tico during our lives ? intimating that scarcely any evil could be 
 thought of which they had not already experienced. — brrolov, any kind — 
 which. Cf. 1156. The verb TeAetV conveys the idea of bringing a work 
 to completion. 
 
 3. vyv in (wccllv may be either gen. or dat. ; the latter is perhaps to 
 be preferred, since it is evident from the connection that Antigone speaks 
 of the evils that had befallen the family, particularly as affecting herself 
 and her sister. 
 
 4. In a negative sentence ovre — ovre are commonly equivalent to r] — r\, 
 either — or. — arris arep. This is the ancient reading, authenticated by the 
 best MSS., but the words have been a stumbling-block to the critics from 
 Didymus to the present time. The art] is a baleful, seducing spirit of 
 mischief, engendered by guilt, luring to crime, and punishing with mis- 
 fortune. The connection requires this sense : for there is nothing either 
 distressing, or unfortunate (i. e., not unconnected with the family ill-for- 
 tune), or shameful, or dishonorable, that I have not seen in your and my 
 evils. Ullrich says ovdlv 'arris 'arep is equivalent to arrjpSu, which is ap- 
 proved by Hartung, who amends the line arr\p6v o>5\ Boeckh denies 
 that any emendation is necessary, and interprets a\r\s arep as a parenthe- 
 sis, des Unheils nicht zu gedenken, apart from the calamity, or family curse. 
 But why Antigone should exclude the &rr\, which, in the economy of the 
 play, is the source of all their miseries, it is not easy to understand, Be- 
 sides, the particle yap serves to specify the very evils entailed by (Edipus 
 upon his children. It is evident that Sophocles thinks there is such an 
 a\r\ in the family of (Edipus, by which one generation after another is in- 
 volved in misfortune. Compare 596, 622 ff. Of the two classes of ills 
 mentioned in this passage, the painful and the shameful, the former 
 alludes to her mother's suicide, her father's self-blinding, downfall, exile, 
 and sufferings from want until his wretched end ; the latter, to the incest- 
 uous union of her parents, the treason of Polynices, and the unnatural 
 feud of her brothers, which ended in their death. Comp. (Ed. Hex. 
 1284 : 
 
 aTevayiAos, arrj, Qavaros, ala-xvvr], kclkuv 
 oct ear! navTiov ovd/uar', ovdiv €0~t anov* 
 
NOTES. 139 
 
 6. naK&v is a partitive gen. depending on 6tto7ov. Matthiae, Gr., § 
 321. Comp. (Ed. Col., 694. — The negative ovk is not grammatically ne- 
 cessary, and must be taken as a ihetorical repetition. Such a strength- 
 ened negation is not unusual: comp. Elect., 1238, ^Esch., Agam., 1634. 
 Hartung rejects ov in v. 5, and substitutes oy, which he deems necessary 
 for the government of kokSov. 
 
 7. iravdrjuy -rroKei. The entire population of the city. The Scholiast : 
 iracrri tt\ ttoKel, including ourselves. 
 
 8. (TTparriybu. Creon, who, after the death of Eteocles, became com- 
 mander-in-chief of the army, but has not yet entered upon the kingly 
 office. - 
 
 9. e%6zy, cognitum hahes, nosti. Ita nonnunquam e%eiy usurpatur. 
 Wunder. 
 
 10. (piKo-Js. viz., Polynices. The pi. used poetically for the sing. The 
 words t&v lyPpSiv are usually applied to Creon, now regarded as an 
 enemy. But I prefer to interpret rcou in$p. kokol as signifying the evils 
 usually inflicted on enemies, i. e., that their corpses are left unburied. 
 So Erfurdt : mala quae hostis ab hoste perpeti solet (msepultuni feris 
 objici). 
 
 11. uvbos, tidings, as in (Ed. Col., 357, with gen. See Matth.,341. — 
 'XvTiyovri is an anapest, which the older tragedy permitted in the fifth 
 foot, but only in proper names. Cf. 198. 
 
 14. havovroiv. For the agreement of a pi. participle or verb with a 
 dual sub St., see Kiihner's Gr., 241. — 0L7r\f) x E p' l i ty a double stroke, by each 
 other's hand. Schol. : r?j utt' fctodiKav. Boeckh remarks that there is a 
 sort of wit in anguish in the idea of two sisters having lost two brothers 
 by one another's hand. 
 
 15. hrelj of time, since = ap' oj. — h vuktI rfi vvv, daring this last 
 night. This conversation is supposed to be held early in the morning. 
 Cf. 100. 
 
 17. evTvxovcra agrees with the subject of oT5 a. Jfihi\ inquit, amplius 
 novi, nee felicioreni [me factum esse], neque infeliciorem. Hermann. — 5irep- 
 repov used adverbially. 
 
 18. avXei&v iruXoov signifies the double door of the principal entrance. 
 
 19. e|e7r€U7r3y. The Scholiast says this verb is used for fxzr<zireLXTrdar}v, 
 I sent for yon. Boeckh supposes "she had herself brought her out for 
 greater secrecy." But that the former interpretation is correct is shown 
 by a similar passage in (Ed. Tyraunus, 951, where the king asks Jocaste, 
 who has sent a servant for him: 
 
 ri fL eg£~e/xi!/ci) Sevpo rto^Se Sco/xarcov ; 
 
 20. What is the matter? for you are evidently. flushed about some com- 
 munication ; you appear disturbed about something. — 5w\& intrans. with 
 
140 NOTES. 
 
 a part, is equivalent to the expressions S?i\6s, <pavep6s el/xi, and, like these, 
 may be rendered adverbially. — /caAxcuWjo-a, from /caA%7?, the purple mus- 
 cle-shell, contains in some degree the notion of its primitive, being used 
 to denote the heightened color produced by violent agitation. The con- 
 struction with the ace. is very unusual ; indeed, this is probably the only 
 instance. "Yidetur autem accusativus aptus esse ex notione agitandi 
 sive volvendi, quae in verbo KaXxaiveiv inclusa tenetur." Wunder. 
 
 21. yap assigns the reason of her indignation: for hits not Creon hon- 
 ored one of our brothers with burial and disgraced the other ? The gen. 
 rd(pov depends on both irpoTicras and aTifidcras, which are employed like 
 atidbcras and ovk ati&cras, though in a much stronger contrast. Seidler 
 says, rd(pov Trporiaas = rdtpov a^idocas irpb rov adeAcpov. But see Matth., 
 33 7. — rcb Kao-iyvTjTG). The poet at first had the notion of the brothers 
 together, and divides them in the' following line, rhu }Av, rbv 5e. Comp. a 
 similar construction, infra, 561 f. The accusatives Ka<riyv{]T<a and 7rcu5s 
 are used instead of the partitive genitive. Matth., 288, 8. 
 
 23. ws Azyovo-i. There is reason to believe that this passage has been 
 corrupted by the grammarians. Schneidewin has shown an inconsistency 
 between this and v. 900 ; here Antigone mentions the burial of Eteocles 
 upon hearsay, while there she is represented as saying that she had herself 
 performed for him the last offices, such as washing, decking, and pour- 
 ing tomb-libations. Some reject v. 24 altogether, partly on account of 
 the anomalous construction xp^^^s °^ ducaiq, 8t/c?7, and partly because 
 the sense is complete without it. Boeckh, who defends the common 
 reading, sees a peculiar beauty in the expression gvv ducala Uk\i, mit 
 rechte?n Rscht, in accordance with just right. "For," he remarks, "there 
 is also an unjust right, an unlawful right, as Euripides calls it." — 
 Xpyo-frels for the aor. mid. xpV^dy.sj/os, with avrcp understood. The 
 sense : treating him in accordance with righteous justice and established 
 custom, etc. 
 
 25. ZvTiixov vsKpois (so as to be), honored among the dead below. The 
 ancients believed that a person who was left unburied, or who did not re- 
 ceive the customary honors, was regarded with contempt among the 
 dead, being excluded from Hades, and compelled to wander a hundred 
 years. Hence in the Hiad, xxiii., 71, the shade of Patroclus entreats 
 Achilles : 3-a7rre fie otti Ta^tcra, irvXas 'A'/"5ao Treprjcrco. Yirg., iEn., xi., 
 23 : qui solus honos Acheronte sub imo est. Ibid., vi., 329. 
 
 26. IToA. v4kvv for TloXvvtiKv,. — Savovra, a pleonasm common in the 
 poets. Cf. Eurip.,Troades, 91 : iroA\'2v ^avoyroov cdo/ia^ efoixrtj/ veKpcov. 
 Iliad, xxiv., 180. 
 
 27. sKKeKr\pvx&<u> The composite verb conveys the notion of greater 
 publicity. — to refers to the whole contents of the edict. 
 
XOTES. 141 
 
 29. ol&vots, bird? of prey (from olos), such as fly alone. 
 
 30. eicropwai finely depicts the searching glance of snch birds watch- 
 ing for their booty. — -n-pos %dpip in the sense of «/e/ca, as inf., 908. 
 
 31. tov ayabhv Kpiovra, ironically, the excellent Creon. She and her 
 sister had doubtless often applied this term to their uncle in earnest, 
 When young they had been confided to his care by their father ((Ed. 
 Tyr., 1503 ff), had grown up under his guardianship, and still continued 
 to live in the royal palace under his protection, v. 531. — <rol koluol. An- 
 tigone considers the edict aimed especially at themselves, as the persons 
 most likely to murmur at and disobey it. 
 
 32. \eycD yap Kafie. I say even to me, implying that he little knew 
 her character. Kauai would have been more natural, but fxi is better 
 suited to the metre, yap strengthens the disdainful expression. Boeckh. 
 
 33. vetcr&ai. Schol. : TropeveoSai. The particle jut] should coalesce with 
 €i, so as to form one syllable. It conveys the idea of contingency : to 
 those ivho (may) not know it. 
 
 34. ayeiu the Scholiast properly explains by riyela^ai. The sense: 
 and that he does not regard the matter as a trifle. — ?rap 5 obZlv, of no impor- 
 tance, occurs again, 466, i:ap ovdev aXyos. Schol. : oux &s ovftev, d\Aa fxiya. 
 
 35. tovtccp refers to the words rd<pcp KaXv-d/ai \x. Kcottvcrai, v. 28. But 
 that whoever does any of these, death by public stoning in the city is laid upon 
 him as a penalty. The ace. cpovov with inf. depends upon <pao*i, v. 31, but 
 these words formed no doubt a part of the proclamation. After 7rpo/ce?- 
 cr&ai. understand tovtcv. — In the heroic age the usual manner of inflicting 
 death, either by the furious multitude or by the sentence of kings, was 
 the (pouos B7) l u6\sva'Tos i Schneidewin ad Ajac, 254. "VTe find the custom 
 prevailing, to some extent, as late as the Apostles' times, Acts vii. 58 ; 
 xiv. 19. — JEsehylus represents the decree regarding the two brothers as 
 emanating from the Theban senate, Sept. c. Theb., 1006-1025. 
 
 37. ovrcos exet. See Matth., 612. So stands the case for you, i. e., for 
 your decision as to what course you will take. 
 
 38. TrecpvKas, intrans., with the signification of the present. — ioSXcov is 
 the synonyme of tbyevuv. The sense : and you will quickly show whether 
 you are born noble-hearted, or are the degenerate offspring of noble parents. 
 — 7T€(pvKas to be repeated with icr&X&v. Cf. Eurip., Iphig. ad Taur., 4: 
 tov 5' ecpw kyx. Antigone hopes, by reminding Ismene of the heroic 
 virtues of their parents, to induce her to adopt a resolution worthy of her 
 birth. 
 
 39. Ismene's reply shows her utter want of decision. — el rad\ h tov- 
 tols in the same sense as ovtccs ex € h if matters are in thai condition. The 
 Schol. explains : el ravra Kpecau eKeXevcev. — Construct : ri irXeou -irpoo~Sei- 
 \x.r\v uv ; what advantage could I procure ? what good could I do ? 
 
M2 NOTES. 
 
 40. \vovcr' t) '(pairrovcra, loosing or binding, that is, by obeying or dis- 
 obeying. Boeckh has shown from several phrases, such as icd^afifxa 
 \veiv, oux a/x/xa Xvcrtis, Ka^airra \veis, hvaXvTa a^fxara, etc., that Ismene 
 here uses a proverbial expression, which is interpreted by the Scholiast : 
 \vovcra rhu vS^ov u) fiefiaiodcra abr6y. For whoever acts contrary to a 
 command weakens it, and he who follows it strengthens it. Hermann re- 
 jects the common text, which is supported by the best MSS., and substi- 
 tutes : a6ou(t' av 77 &&7rTou(Ta } quid proficerem si lavarem vel sepelirem? 
 which Ismene could hardly have said, as no proposition had yet been 
 made to bury Polynices, nor would she have expressed such amazement 
 afterward when Antigone announces her purpose, v. 43 f. 
 
 42. 7rov yvdofirjs ttot' el; num mentis tuae compos es ? Herm. Comp. 
 Ajax, 102 : irov rvxns. Instead of ttot el, Hartung reads (pzpei, as in 
 Elect., 922: oiroi yva>/jL7}s cpepei ; 
 
 43. el. The force of g-kSttbl continues. — tyv ryde %e/n, i. e., with me. — 
 Kovcpie7s, Attic fut. The expression kovQI&iv veKpbv is used by the poets 
 in the same sense as avaipeiG&ai by prose writers. Wunder. 
 
 44. cr<pe, poet, for clvtou. — airSpprjrov is neuter ace. abs., referring to 
 the preceding words : quum sit interdictum sive vetitum. See Matth., 564. 
 — yap, nam, used interrogatively. 
 
 45. rhv i/nbp k. top cr6v is spoken as if they had a separate though 
 equal share in their deceased brother. Antigone will at least do her 
 duty, and Ismene's too, if she declines. Wunder rejects the following 
 verse. Didymus says it was regarded as spurious by the ancient com- 
 mentators, merely, as Hermann thinks, because Antigone replies in two 
 lines instead of one, thereby interrupting the stichomythia. — Trpo$ov<f, rec- 
 reant. In the spirit of the ancient belief, Antigone speaks as if her dead 
 brother was a witness of her conduct, and she is unwilling to forfeit his 
 esteem by deserting his body to his foes. 
 
 48. But he has no right to debar me from what is mine. The dat. auTo) 
 depends on pera, which is used for fiireffn. Comp. Elect., 538 : aAA 1 ov 
 jxerriv avToi&L t)]v y £jj.t]u ktclvsiv. 
 
 50; cos airex&hs Svo-KXerjs re, how hated (by men) and infamous our 
 father perished. — Sos is understood after eireiTa and rpiTov. 
 
 51. irpbs, from, i. e., on account of. Comp. (Ed. Tyr., 1236: irpbs 
 rluos iroT y afoias ; — avTorpupoov, brought to light by his own investigations ; 
 self-detected. Dicuntur flagitia (Edipi ab ipso detecta fuisse, ut oculos 
 sibi effoderet. Wunder. He discovered that he had killed his father and 
 married his mother. 
 
 53. dnrXovv tiros — SlttXovv ouo/xa, a twofold title, i. e., mother and 
 wife in one person. In like manner in (Ed. T., 459, (Edipus is called vlbs 
 koI irScris of Jocaste. 
 
notes. 143 
 
 54. XoofiaTaL $iov, ignobly ended her life. — aprduaicn = ayx^ons. 
 
 56. fiopoj/ — in olWtjXolj/, wrought upon each other a common death. — 
 iiri denotes hostile intention. — xepo2V, lit. with their two hands, is used in 
 the same sense as dnrXfj x^P >l i Y - ^- For tns pl« Ka>T6ipyd<ravTQ, see the 
 same, note. 
 
 59. kolkio't 6\ou/jle^-\ ice shall suffer a most awful death, in the manner 
 mentioned in the proclamation, v. 36. — v6p.ov /3i'a, contrary to the law, in 
 defiance of it, Cf. 79, pia ttoXit&v. iEsch., Sept. c. Theb., 612 : cppeyoou 
 $ia, animo invito, contrary to his judgment, 
 
 60. Tvpduvow, a poet, pi., as frequently. — irapQifiev takes a future sig- 
 nification : if we shall transgress the khig^s ordinance, or authority. 
 
 61. tovto fjiev, in the first place ; followed in the second member by 
 iireira 5 s instead of tovto 5e. See Matth., 287, obs. 2, 
 
 62. ecpvfjLev, intrans., as a present, — &s, like &sre, denotes a conse- 
 quence; its force will appear in a literal translation: we are formed wom- 
 en, so as not to contend against men = we are women, and therefore not 
 made to contend with men. The fut. part, fiaxovniva, instead of the infin- 
 itive. Brunck: haud viris certare pares. Comp. Elect., 997: yvvr) /ieu 
 ovff hf\\p ecpvs, ^beveis §' eXaccrow ra>p iuavrtcou x € P'* Ismene, in marked 
 contrast with her heroic sister, meekly accepts the position which her 
 sex imposes upon her. 
 
 63. The full construction would be : iireira 8e (sc. evvoeiv %pi]), on, 
 ouveKa apxoyuecrd-a 4k KpeLcrcrovcov, XPV Vpas aKoveiv kcu ravra kcu en aXyio- 
 va raJj/56. The sense is : and then we must consider that, since we are ruled 
 by the stronger, we must obey both these commands, and what is yet more 
 grievous than these. Schneidewin would govern the inf. clkovelu by i(pvfxev, 
 but that seems to confuse the constructions of two distinct propositions, 
 which depend on ivvotiv, just as above (49 ff.), three are dependent on 
 (pp6vr)crov. 
 
 65. robs vno x^oybs. The manes of Polynices are particularly meant, 
 see at 46, though she may also include the x^ VL0L & eo ' L > wn0 are dis- 
 pleased at being so long deprived of his body. 1015 ff., 1070 ff. 
 
 66. jSia^o/xa: rads, lam constrained in this matter. Comp. 1073. The 
 expression implies that she yields unwillingly to necessity. 
 
 67. rots iv re\. fiefiaxn = fiacriXe?, i. e., Creon. — ol iv tw re\€i, qui 
 magistratu funguntur, principes. Yiger, p. 144. fisfiaxTi, the perf. (BefinKa, 
 was poetically used as a present, stay or continue in a situation. Cf. 996 ; 
 (Ed. C, 52 ; Bernh. Gr. Synt,, 378 : ol iv ri\eL, those in office. Wachs- 
 muth. 
 
 68. irepLcrcra ivpdcro'eiv . . . to commit extravagances has no seme, is 
 foolish. — TTEpLCcra, like ra^x^va, 92, impracticable. 
 
 69. I would not urge you further, nor, if you were now willing to act, 
 
144 NOTES. 
 
 should you help me, at least with my consent. — %ti to be joined also with 
 KeXsixraifjLi. With rj^ioos understand i/j.oi. Brunck : neque lubens te utar 
 adjutrice. Ismene's prudent counsels, and especially her determination 
 to obey Creon's order, have no other effect than to excite her sister's con- 
 tempt. Antigone regards her as taking part with her enemies, and coldly 
 casts her off. 
 
 71. ?(r&i, imperat. of elpl, be what you please ; that is, be a weak, sub- 
 missive woman; said in answer to Ismene's words, sup. 61 f. Schneide- 
 win and Wunder derive foSi from oZ5a, following the Scholiast in a sin- 
 gular interpretation : yiyvcacTKt birdla crb &e\eis, to iret&ecr&ai to?s Tvpdwois, 
 ?) ToiavTT) yevov, diroia kolI f}ov\ei. The latter is undoubtedly the true in- 
 terpretation ; and, besides, fofri never means the same as yiyvoocrKe. 
 
 72. franco. It is unusual to bring a word over to the beginning of a 
 verse, though here it lends to the expression a marked energy and deci- 
 sion. Similarly in iEsch., Sept. con. Theb., 1028, Antigone declares: 
 £yd> crepe &d\pca. 
 
 74. ocria iravovpyfjcracra, having perpetrated a pious act, that is, having 
 fulfilled a holy duty (ocria) in violation of human law. Camerarius : in 
 sancto facinore, uti honestum furtum et piam fraudem et hujusmodi alia 
 dicere consuevimus. 
 
 75. tcov iv&dfie. The strict construction requires the dative rots iv- 
 &a5e. Wunder paraphrases : eVel irXeiova xp^ov 5e? fi apicrKtiv rots Kara) 
 % tois eV&a5e. 
 
 77. arifidcracr' e^e. This form of expression properly denotes a per- 
 sistent continuance of the action signified by the participle. It may be 
 rendered: keep on dishonoring what is honored of the gods, i. e., by the 
 gods. The sacred duty of burying the dead, which Ismene does not 
 honor by observing, she is said to dishonor by neglecting. For the gen. 
 depending on ivTi^a, see Matth., Gr. § 344. 
 
 78. aTi[j.a iroLovfjiai = aTifidCco, Matth., 421, n. 2. — T~b Spav a/j.^x aj/ °^ is 
 a poetical construction in which the article to appears to be superfluous, 
 Matth., 543. But Bernhardy (Gr. Synt., 356) thinks that to with the ob- 
 ject infinitive was designed to render^ the object more specific, such or 
 this acting. For e<pvp cf. 62. — a/x^xayos, incapable, nicht stark genug. 
 Schneidewin. 
 
 80. irpovxoLo, a metaphor taken from a shield which a person presents 
 for the purpose of defence. Hesychius explains by irpo<pacri(oio, you may 
 offer this as a pretext. Boeckh : vorschutzen. Schol. : crv TavTa 7rpoj3d\\ov. 
 
 82. o'lfioi TdKaivr^, &s k. t. A., alas for thee wretched, how 1 fear for 
 thee ! — ofyoi, the ordinary exclamation of sorrow, is often followed by a 
 gen. Yiger, Gr. id., p. 427. Matth., § 370. 
 
 83. tt6t^ov. Some MSS., $iov, which Hartung adopts, and renders 
 
X T E s . 145 
 
 thus : dehien Zusiand bessere nur ; only amend your own condition. But 
 the usual interpretation is : care for your own lot, destiny, and leave me to 
 mine. Cf. infr., 95, 546. — i£opdrov, straighten, reform ; said, because Isme- 
 ne, from motives of expediency, had swerved from the course of rectitude 
 and duty. For the sacred obligations by which relatives were bound to 
 perform the last offices, see K. F. Hermann, Greek Domestic Antiquities, 
 p. 204. 
 
 85. <tvu 5 5 a-jTQjs iycc. In full : cuv crol 5 5 avrcas iycb Kevcra). I will do 
 so too. 
 
 86. Karavda, publish it. As in (Ed. Tyr., 93 : 5 Es tt&vtcls avoa. An- 
 tigone indignantly repels the idea of concealing her pious action as a 
 crime. For the ace. iroWbu, s. Matth., 425, 1. 
 
 87. £av fjiij. You would expect 7) iracn K-npixro-ovo-a rdde; but, instead 
 of completing the comparison, the poet proceeds as if crrycocra had not 
 been used, 
 
 88. d-e^aV — ex eiS "- ^ r ° u aave an ardent heart for chilling undertak- 
 ings ; i. e., for deeds that make others shudder. It is a sarcastic re- 
 proof of the ill-directed warmth of her sister. 
 
 89. apicntovcra agrees with the subject of olda. Matth., 548. In this 
 common idiom the part, in the nominative, though apparently equivalent 
 to the object of the verb, is, in reality, the predicate of a dependent 
 clause, and hence is often used for the infinitive. — ols relates to tovtols 
 understood, cf. 75 : whom it most behooves me to please. 
 
 90. el kcl\ 5. y intimates a doubt of her success : if you are only able 
 fto execute your purpose], but you are fond of impracticable things ; a 
 remark which applies to Antigone's temperament in general. Wex cites 
 Lucian, D., viii. : ttXtiv olda, otl a^vydrcay epS.s. Eurip., Here. Furens, 
 317: aSuvdrcav eoiic ep5.v. 
 
 91. ovkovv, then, proinde. Then if I am too weak I will give it up, 
 desist altogether. — ireiraiKrojAOLi differs from the simple fut. only in denot- 
 ing a future condition as permanent. Host, Scintigram., p. 363. Matth., 
 498. 
 
 92. apxV est siatim ab initio. Herm. With negative propositions, 
 not at all. Ismene means, she should not attempt what cannot be carried 
 out. Suidas mentions &rjp%s aSvvara as a proverb ; and Stobssus cites, as 
 one of the sayings of Chilo : ^77 im&vfiti afivvara. 
 
 94. TrposKELcreL is used to denote Ismene's relations to her brother after 
 death. A?id you will rest justly hated by the dead. — dixy as adv. diKaicas. 
 
 95. e| ifjLov, equivalent to e'^V, as 1265. ejmov fSovXevn&Tcav. Cf. 1269. 
 e/f and airb are often used by poets for no other reason than to fill the 
 measure. Cf. 193, 150. — i/iov is properly the genetic genitive (gen. auc- 
 toris), which is usually expressed without a preposition. The English 
 
14G NOTES. 
 
 expression of mine is sometimes employed in the same way. — dvs&ovXiav 
 ironically for jSouAev/xa. 
 
 9G. to Seivov toGto, that awful tiling, viz., as it seems to you; spoken 
 in answer to Ismene's words, 59 : kolkkx^ 6\ov/a€$\ 
 
 97. Toa-ovrou is equivalent to outo) 8eiv6v, or, as the Scholiast para- 
 phrases : ovdeu tt]Xlkovtou kclxov Treico/jLaL. I shall suffer nothing so dread- 
 ful as not to die nobly. — p}\ ov. When the antecedent of a relative sen- 
 tence is indefinite, the proper negative is /jltj, which then denotes a logical 
 consequence, or effect, ov seems to be added for the purpose of making 
 the negation more decided and complete. Thus (jltj ov become equivalent 
 to the French tie — point, and the inf. aor. fravelv acquires the certainty of 
 the future : I shall suffer nothing so dreadful that I shall not die honor- 
 ably. Cf. Ajax, 728. 
 
 98. ak\a with an imperative has the force of an exhortation, equiva 
 lent to dr). Yiger, Gr. Id., p. 477. The sense is : icdl, then, go on if you 
 tl unk proper. Cf. iEsch., Sept. cont. Theb., 1053. 
 
 99. avovs fi€v Zpyji . . . though you are going upon a foolhardy ad- 
 venture, yet you are truly devoted to your friends (kindred). The Schol, 
 renders 'avovs by the adverbs avo^rcas and (piXoxivfivvoos. — fjcev — 5e, quam- 
 vis — tamen. Yiger, 532. Cf. Soph., Trachin., 62 : 7/5e yap yvv)) SovXtj 
 fx\v, e'ip7]K€u & iAev&spov \6yov ; haec enim mulier, quamvis serva, iiberam 
 tamen sermonem locuta est. — cpix-q in the active sense of fpi\ia, loving, de- 
 voted. Cf. Eurip., Iph. Taur., 614. Ismene cannot help doing honor to 
 her motives, and admiring her self-sacrificing devotion. 
 
 As Antigone departs to execute her purpose, and Ismene retires into 
 the palace, the Chorus, consisting of aged citizens of Thebes, makes its 
 entrance into the orchestra on the western side (toward the city), sing- 
 ing to a measured step the following irdpoSos, or entrance-song. Sum- 
 moned to appear before the new sovereign, the elders arrive before his 
 court in time to hail the first beams of the morning sun, which, after the 
 gloomy and anxious period of the siege, seems to rise with unexampled 
 majesty. After the first expressions of joy, their minds naturally revert 
 to the events of the fearful struggle through which their city has just 
 passed. 
 
 100. 'AktIs azhlov rb kolWkttov ... All the MSS. agree in this 
 reading. Some editors, following the edition of Aldus and Laur. A., by 
 a second hand, prefer aeXtoio Ka\Xicrrov y thus throwing out the objection- 
 able article rb with the vocative. But the neuter article is some- 
 times joined with the vocative ; for ex., Ajax, 856 : ere §', <S cpaewris 
 7)imepas rb vvv creAas, and ibid., 861, 862. The Scholiast has the right in- 
 terpretation: rb is to be joined with (pavev = o itydvrj. The order is : 
 'A/crls a€\iov, (pdos rb (pduep kirrairvXc^ ®r]fia KaKhio'TOV twv irpOTepcav 
 
NOTES. 147 
 
 {(pavivTwv). — tcaWuTTov, far more beautiful. Concerning this poetical use 
 of the superlative, instead of the strengthened comparative, s. Matth., 
 464, Herm. Viger, Greek Id., p. 67. Cf. 1212 of this play. A some- 
 what remarkable imitation of it is found in Milton's Paradise Lost, book 
 iv., 233 : "Adam, the goodliest man of men since born his sons ; the fair- 
 est of her daughters, Eve." 
 
 102. i<pduxr7}s 7ror s , at length thou hast risen, (paipofj-ai is the word 
 usually employed to denote the rising of the heavenly bodies. — fi\£(papov 
 taken for the eye itself = o^&aA^os, as if the sun winked or peeped upon 
 the earth. Boeckh. So in Eurip., Phoeniss., 553, vvkt6s $\£<papov is the 
 moon. iEschylus has the same figure, Sept. c. Theb., 390 : vvttrbs 6(p&aA- 
 fxbs, noctis oculus. 
 
 105. AipKaicav vtt. pee&paiv. AipKt] is the name of a fountain and river 
 on the west of Thebes ; but, as the routed Argives fled toward the south- 
 west, and the action of the play is represented as taking place in mid- 
 summer, when the sun rises toward the northeast, it appeared to them 
 to come over the Dircean stream. Comp. 416 ff. 
 
 106. XevKacrinv. Sophocles follows iEschylus, who, in Sept. c. Theb., 
 90, describes the Argive host : 6 KevKaa-ins \a6s, exercitus albis scutis in- 
 structus. Cf. Eurip., Phoeniss., 1115 : \evKao"Kiv 'Apyeloov GTparbv. — 
 'Apye'Cov is Boeckh's emendation of 'Apycfoej/, which, though supported by 
 the MSS., is defective in metre. Dindorf follows Hermann's conjecture, 
 'hpy6bev Ik. 'A-mSbey, as proposed by Ahrens, is not sufficiently signifi- 
 cant. 
 
 107. (poora, sc. Adrastos, as the representative of the army under his 
 command. — iravcrayia = o~vv TravoirXia, Schol. — fSavra describes the slow 
 movement of the Argives to Thebes in contrast with the hurry of their 
 retreat. 
 
 109. Kiyrjcraaa agrees with olktIs. The approach of day impelled the 
 fugitives to a more rapid flight, because there was then greater danger 
 of being overtaken. — b^vripo) x a ^ LV $'> w ^h tighter rein. The Argives 
 fought upon war-chariots. Cf. iEsch., Sept. c. Theb., 50, 204. 
 
 110. cs — UoXvueiKovs. This reading, from the conjecture of Scaliger, 
 has been approved by several of the recent editors. The common text 
 has op — Uo\vp€iK7]s ; but, apart from the difficulty of supplying a suitable 
 word to govern the ace. ov, it should be observed that, in the following 
 simile of the eagle, the words \€VKr t s %'oVos mr. areyav6s necessarily apply 
 to the whole Argive army, and are by no means to be referred to Poly- 
 nices alone. The latter's quarrel for the throne is touched upon with re- 
 serve, and simply for the purpose of indicating the origin of the hostile 
 invasion. The principal theme of the Chorus is the conduct and move- 
 ments of the besieging army, which it likens first to an eagle, which, with 
 
148 NOTES. 
 
 the aim of seizing his booty, flies over into the land (els yay), and after- 
 ward to a dragon prowling around the walls. 
 
 111. ap&els, raised, excited. In veuduv there is an allusion to the sig- 
 nification of the name UoXvpeiKvs (iroXv j/eT/cos, multa rixa), noticed by 
 JEschylus, Sept. c. Theb., 577, 658, 830. Likewise Eurip., Phoen., 646, 
 calls this name peiKecov iircouvfiov. 
 
 112. o|ea KAafav, schrill screaming. Said in reference to the insult- 
 ing boasts and vociferations of the Argive leaders, for which comp. iEsch., 
 Sept. c. Theb., 381, 425. The same poet uses a similar figure in refer- 
 ence to the Atrides advancing against Troy, Agam., 48 : fxeyav e/c &v/jlov 
 K\d£oisT€s v Ap?7 rpowop alyviri&y. Comp. Horn., II., xii., 125 : o|ea kgkAv,- 
 yovres. 
 
 113. alerbs els yav virepiirra, flew like an eagle over into our land, i. e., 
 flew over and lit upon our city. — vTrepeirra, Dor. for xmepeirrr], aor. of 
 7/rTa,uaz. 
 
 114. XevKTJs x L ° V0S > g en> °f material, Matth., 373. Schol. : rovro a\- 
 \r\yopLKoos (p-qa-ij/, &s eirl aerov. The allusion is to the white shield which 
 covered the warrior, as wings the bird of prey. Cf. 106. 
 
 117. crras, standing, i. e., upon the wall, higher than the houses. The 
 subj. of this part, is os, referring to the Argive man, who had scaled the 
 walls, but was repulsed by the bravery of the Thebans. Instead of con- 
 tinuing the metaphor of the eagle, as the Scholiast thinks, the poet uses 
 terms appropriate to a beast of prey gorging himself with blood, until 
 finally in SjjcLkoptl he gives the image a clear and definite form. — dacpoi- 
 vqTmtiv, dripping or reeking tcith blood. The MSS. (poiyicucriy, emended by 
 Ritschl. Boeckh, (popdxraicriv. 
 
 119. eirrdirvKop (rrofxa = ras eirra irvXas. Cf. Eurip., Suppl., 403 : 
 'EreoxXeovs Stclpoptos a/x^ e-irTao'TOfjLOvs ttvXols ; and Phoen., 294 : eTzrd(TTO- 
 fxov 7rvpya)/j.a. 
 
 120. Construct : e@a -npip iro^ (avrbp) 7r\7)(T&r)vai afxerepeep at/ndTccp yepv- 
 crip re kcu irvK&evTa "Hcpaio'Toy eXelp (TTecpdpco/Lia irvpywv. The sense : he 
 went away, ere he was glutted with our blood within his cheeks, and the pine- 
 torch had caught the coronal of towers. — yepvcip is the dat. of place. — 
 erreepdp. Trvpycop, the circle of towers surrounding the city. Cf. Horn., II., 
 xix., 99 : iixTrecpdvci) ipl ®7i,Bw. 
 
 123. trevKdev^' °H<p. Cf. Virg., iEn., xi., 768, pineus ardor ; and infra, 
 1007. It means, properly, the pitch-pine flame. 
 
 124. rolos — ird&r), such a din of cattle was made about his back ; that 
 is, such a furious onset was made upon the besiegers that they were com- 
 pelled to turn their backs. — a/upl pwra is poetically used in anticipation 
 of the effect of the onset ; it implies that the enemy were already on their 
 flight. — irtifrri (reipco), lit., was strained, denoting the intensity of the charge. 
 
-VOTES. 149 
 
 126. An overmatch for the opposing dragon, viz., the enemy. — dvsx^- 
 pw/j-a, in appos. with irdrayos, is used in the sense of an adj., irresistible. 
 The ancient commentators will have it that dpdKoyri refers to the The- 
 bans, because, according to the fable, they were dpaKovToysvels* sprung 
 from the dragon's teeth sown by Cadmus. But we learn from Eurip., 
 Phcen., 1151 fl., that the dragon was the symbol of the Argives ( 5 Apye7- 
 ov avxnua.), and that the shield of Adrastus, their leader, had upon it, be- 
 sides adders and hydras, dragons represented dragging the children of the 
 Cadmeans from the walls. Cf. also JEsch., Sept. c. Theb., 495. 
 
 127. tityaXris yXucrcrns kou.ttovs, the boastings of a prowl tongue. The 
 poet here assigns the cause for which Zeus overthrew the Argive host, 
 and punished their insolence in the person of their most insolent captain. 
 The overweening pride of the Argive leaders, here slightly alluded to, was 
 generally known from JEschylus's Septem cont. Theb., 421 ff. ; the boast 
 of the giant Capaneus, whose fate is described in the following verses, is 
 particularly remarkable, v. 425 fl. : 
 
 6 k.6jl— o? 5' ov kixt o.vBp'j)—ov <£povei • 
 6eov re yap 8£\ovros Ik— epcreiv —okiv 
 Ktu /j.7] OeAovrog $-qcnv, ovdk rr\v Aib? 
 "Eptv -e'Soj crKTi^acrav Zk-oBuv ax^elv — 
 
 which Ahrens renders : "Superbia autem ejus ultra hommern sese extol- 
 lit. Deo enim volente urbem se eversurum et nolente praedicat, neque 
 Jovis aemulantem iram (fulmen) in terram demissam sibi impedimento 
 futuram." The sentiment prevailed generally among the ancient nations 
 that the Deity abhorred and punished human pride. Cf. Proverbs, vi., 
 17: ''The Lord hateth a proud look."' Herod., vii., 10: (pLKtei yap 6 
 &eos to, virepexovra irdyra kgXovelu. -JEsch., Pers., 827, and v. 1350 of this 
 play. 
 
 129. TrokX'2 pevixaTi. This dat., according to Schneidewin, Is depend- 
 ent on the adj. inrepowTas, used in the sense of viripcppovas : dated by the 
 mighty stream (of their army) and by the rattling of their gold, i. e., arms 
 ornamented with gold. So ^Esch. in Pers., 410 : psG/xa UepcrLKov o-Tparov, 
 and Eurip., Iph. Taur., 144S. — x.pv(rov Kavaxfi & • • • Wunder : Armorum 
 aureorum siridore superbientes. Boeckh retains the vulg. Kavaxr\s, but 
 gives a very obscure interpretation : im gewaltigen Strom des Ueber- 
 muths des Gold-gerausches {in the mighty stream of the pride of the rat- 
 tling of gold). — According to JEschylus the arms, as well as the language 
 of the Argives, were pompous and insolent. Sept. c. Th.. 391, 540. 
 
 131. pLTTTe?. Capaneus is meant, see above at 127. The words of 
 Euripides in Phoen., 1196, may serve as a commentary to this passage: 
 7?'c>?7 5' uTrep/BcuVoyra yelaa teixcmv fi&Wei Kepavucc Zevs viv. iKTV7r7]cr€ 5 s 
 X^v, tiers Belcrcu irivras. In this passage, he is just climbing upon the 
 
150 NOTES. 
 
 escarpment of the wall, when he is struck down from the ladder by the 
 fatal thunder-bolt ; in Sophocles, he is already on the lofty goal, PaXfiidtov 
 eV aKpcou ^'5?7, i. e., the battlements, starting to shout victory. — The man- 
 ner of Capaneus's death is the literal fulfilment of the hope of Eteocles, 
 JEsch., Sept. c. Th., 444 : Tleiro&a S 5 avrcf £uj> hinrj rbv irvp<p6pov r£eiv 
 Kepawhj/, "I trust that the fiery thunder will deservedly fall upon him,' 7 
 and of the Chorus, 629 : irvpycou 8' eKTobev fiakwv Zeus o<pe kolvoi Kepawcp, 
 " and that Jupiter, striking them off the towers, may destroy them with 
 his thunder." 
 
 133. bpix&vra. This participle means, here, one who is preparing, is on 
 the point of doing something. 
 
 134. avTLTvira is Porson's emendation of the usual adv. form avTirvira, 
 and has been adopted by Dindorf, Hartung, and Wunder. The idea is 
 that Capaneus fell with such force that he rebounded, as it were, by the 
 counter-blow of the earth. One of the Scholiasts explains it in the same 
 sense : &vw&ev Be rvirels inrb rod Kepavvov Karcc&ev 8e virb rrjs yyjs, " struck 
 from above by the thunder-bolt, and from below by the earth." Brunck 
 interprets : quassatus in terram a qua repercussus est, cecidit ignifer. — rav- 
 ra\oo&e\s, hurled, launched. The word expresses a quivering motion, as 
 when a spear is thrown. The Schol. explains by 8tc«rei<r&ets, shaken or 
 moved violently, not " shattered to pieces," as Woolsey understands it, 
 though that view suits Euripides' description of this event, Phceniss., 
 1199 ff. : e/c 8e KXifx&Kwv effcpevfiovaro %(apts a\\{]\<tiv fieXn, nSfjiai fiev els 
 "QAv/jlttov, alfjia 8 5 els x§r6va., X e ?P €5 ^ e K0 ^ K ^\ &s KvuXcofx J I|ioz>os elxiacrero. 
 
 135. irvp<p6pos, fire-bearer, so called because he carried a blazing 
 torch. JEschylus (Sept. c. Th., 432) describes him as bearing a shield 
 whereon was the device of a naked man holding in his hand a lighted 
 torch, and uttering, in words of golden letters, " Trpjo-w irSAiv" I will 
 burn the city. Cf. (Ed. Col., 1319. 
 
 137. eireTTvei, sc. eirl tV tt6\ip, who, storming with frantic rage, blew 
 upon the city with the blasts of fiercest winds ; a metaphor drawn from a 
 hurricane. Similarly the charge of Mars is described, iEsch., Sept. c. 
 Th., 343 : fiaivS/jLej/os 8' emvvei Xaoddfjias "Apws. Comp. infra., 929. 
 
 138. eT%e 8' &\\a ra fxep. So verhielt siclCs an einem Ort (Thus it 
 happened in one place), Boeckh. The idea is, that such a lot befell him, 
 while to the other leaders Mars assigned a different death, i. e., they were 
 slain in the fight, ^sch., Th., 340.— e?xe ra {xev, cf. 37.— ciAAa, Dor. for 
 
 140. SetiScreipos, mighty, victorious. An epithet borrowed from the 
 race with the quadriga, or four-horse chariot. The horse on the right, 
 being on the outside, in turning round the meta had to make the largest 
 turn in the same time, and hence was obliged to be the strongest and 
 
NOTES. 151 
 
 fleetest. As Mars, the ancient protector of the country, had now aided 
 in chasing away the enemy from his well-beloved city (iEseh., Sept., 107 ; 
 " Thebes abounding in chariots "), the Chorus, by a natural and beautiful 
 image, term him their de£i6<reipos, who had brought out the Theban war- 
 chariot victorious. The Schol. renders by yevvalos. 
 
 141. yap introduces the explanation of the words &AAa — eVe^^a, 
 showing what fates Mars allotted to the other captains. 
 
 142. Xcol irphs Xcrovs. iEschylus, in his " Seven against Thebes" rep- 
 resents King Eteocles appointing chosen warriors to oppose the Argive 
 leaders at each of the seven gates, reserving for himself the seventh, at 
 which his brother Polynices was posted. Hence Apollodorus says (lib. 
 iii.) : *ET€OK\ris Karacrricras Tjye/j.oi'as X&ovs foois era^e. Comp. Eurip., 
 Phcen., 761 : "htovs "icroicri iroXefiioLcri avri&eis. Herod., ix., 48. 
 
 143. Left to Tropaean Jupiter their brazen gifts. The armor stripped 
 from their bodies and built up in the form of a trophy is ironically called 
 offerings to Jupiter, the arbiter of battles ; Tpoiraicp, awarding defeat to 
 one and victory to the other. — The word rixos is sometimes used to de- 
 note gifts to the gods. 
 
 144. 7rAV roiv (TTvy., except the wretched pair, etc. " Though they also 
 fell," says Triclinius, " yet their arms were not offered to the gods be- 
 cause their victory was not decided. " In the following verses the Chorus 
 dwells with great emphasis upon the sameness of their origin and fate, 
 in order to exhibit their unnatural conduct in the strongest light. — 
 clutolv =3 a\Xy}\oiv. — SiKpareTs, doubly victorious, because causing death to 
 both. Aristophanes, in fragm. 471, says they were twins ($i7ttvx« K-opca), 
 and instituted the single combat. 
 
 148. aAAa yap. These particles have each a distinct office. aAAa 
 serves to mark an abrupt transition, and should be connected with the 
 imper. d-eV&e, while yap points to the reason of the exhortation. The gen- 
 eral sense is : But let us now forget these combats, for glorious Victory has 
 come smiling upon Thebes rich in chariots. Hence it will be seen that yap 
 is here placed before the clause of which it assigns the reason, and answers 
 to our since, as, inasmuch as, etc. Comp. a similar use in (Ed. Col., 624. 
 
 149. aj/Tixape'io'a conveys the notion of reciprocity. The Goddess of 
 Victory has graciously met the Thebans half-way, and rejoices in their 
 joy. The expression is similar to our congrcdulating. Hermann: mutu- 
 um ridens. The dat. Qrifia, depends upon 9j\^e. 
 
 150. e/c may be considered redundant, as iroXefxcov may equally be 
 governed by Xrjo'ixoo'tvav. Comp. supra, 95 and note. iEsch., Choeph., 
 422 : foavTos in parpSs icrrl &vfj.6s, matris ira est implacabilis. The 
 Chorus desires to banish all painful remembrances which can sadden their 
 triumph, and to offer to all the gods thanksgivings for deliverance. 
 
152 NOTES. 
 
 151. &eV&€ \7](rfxo(Tvj/av is nearly equivalent to Xc&iaSai. tojv vvv 
 must not be separated from iroXefxcov, the adv. vvv being used as in v. 16 : 
 iv vuktI rfj vvv, referring to something just ended. 
 
 153. Construct: 6 ®o&as Bixxios apxoi eAeAi'xSw, and let the Tlicban 
 Bacchus be our leader, shaking the ground. The god is called iXeAix^ccv, 
 because, in dancing, he causes the earth to tremble under his feet ; pede 
 terrain quaiit. It is a general cognomen of Bacchus, who was the par- 
 ticular patron of Thebes. The gen. &f]/3as is dependent on Bolkxlos. 
 Hartung remarks that, " with every Bacchic chorus, the god himself is 
 present and leads the dance. For it has ever been the case that, where 
 several persons were assembled in the name of a divinity, he was in their 
 midst." 
 
 155 ff. The Corypheus here gives notice of the approach of Creon, 
 who presents himself for the first time in the character of king. He has 
 ordered a special meeting of the senators (here composing the Chorus), 
 who question what object he can have in issuing this extraordinary sum- 
 mons. 
 
 155. The demonstrative pron. 6'5e is used in the sense of an adverb, 
 here, there (Matth., 471), and should be connected with x^P 6 ^ — J^P in- 
 mates a reason why the proposed visit to the temples of the gods cannot 
 now be carried out. The sense is : but hold, for here comes Creon, etc. 
 Kpeoov is pronounced as one syllable, and Mevoucioos as only three, by 
 synizesis. 
 
 157. v€oxp-o7(ji d-e<2y. This is Dindorf's emendation of the vulg. j/eo%- 
 ixbs veapcuo-i &ea>v. The passage is thus happily cleared of a word unne- 
 cessary to the sense, and which was probably introduced by an ancient 
 grammarian in order to make this anapestic system correspond exactly 
 with the preceding one. Many suppose that there is a gap in the text, 
 but Dindorf justly remarks that an exact correspondence is nowhere 
 found where the Corypheus announces the entrance of any one. The 
 sense is : here comes Creon, son of Menoeceus, now king of the land by the 
 recent ordinances of the gods. — cvvrvxioLis &ewv signify events brought 
 about by the will of the gods. Cf. (Ed. T., 34 : Scu/jlovcov £vva\Aaya7s. 
 Philoct., 1116: ttot/jlos dai t u6vccv. The event particularly alluded to, is 
 the fatal combat of Eteocles and Polynices, by whose death Creon suc- 
 ceeded to the throne. 
 
 158. rlva — £pe<T(TQov, ivhat purpose revolving, that, etc. The Schol. ex- 
 plains epecrcrtov : iv havrca kivwv Kal fxepi/uLvoov. — rlva. Dindorf reads riva, 
 but the interrogative is more animated and more suited to the circum- 
 stances, particularly as Creon's answer follows directly. 
 
 159. or i — xicrxWf ^ la ^ ? ie h as appointed this special meeting of the 
 council of the elders, or yepovcrla. — crvyKAyrov, the Attic expression for an 
 
NOTES. 153 
 
 extraordinary or called meeting of the people ; Trpov&ero, mid. voice, be- 
 cause the absolute ruler merely wishes to make known his will to his 
 subjects. Schneidewin. 
 
 161. Trends, simple for the compound perairefityas, having summoned, 
 or sent for. Schol. /xeracrreLXd/Jieyos. 
 
 162. Creon, in the opening of what may be termed his inaugural 
 speech, likens the Theban state to a ship which has been rocked and 
 tossed by a heavy sea, but which has now been safely righted again. 
 190. — iroWcp adXcp. The Scholiast : rpoiriKcos, ws e7rt viws. Similarly 
 (Ed. Tyr., 22. Brunck cites Plutarch's Yita Fab., 27 : tV riyefwvlav d>s 
 a\7]&ws ttoAA.63 (rdXta cejcd-eTcay ccp^rcacre irdXiv. 
 
 164. upas, with emphasis, you, as the representatives of the city. See 
 note to 155. — 4k 'k&vtw 8/xg, apart from all the citizens ; or, as the Schol. 
 understands it, you especially of all. — iroixirotcrLv, dat. instr. See Matth., 
 395. Schol. : 5m tto/jlttwp. 
 
 165. tovto fjt.€v, followed by tout' av&is instead of tovto $e. Cf. supra, 
 61. Render, in the first place — and then afterward. Creon praises their 
 faithful loyalty to Laius and his descendants, in order to conciliate their 
 good feelings toward himself, and thus secure their hearty support. The 
 passage intimates that the Chorus of Elders were of such advanced age 
 that they had been in the councils of Laius. 
 
 166. (rifiovras instead of <re/3etv, which would here have a preterit 
 signification. — eu to be joined with (TefiovTas in the sense of zealously, or 
 faithfully. — Spovuv, a poetical pi. for the sing. Cf. (Ed. Col., 375. 
 
 16/7. wp&ov iroXiv. Creon refers to (Edipus's liberation of the city 
 from the distress occasioned by the ravages of the Sphinx, and to his 
 prosperous reign up to the time of the pestilence. Comp. (Ed. Tyr., 36 ff. 
 
 168. a/jL(p\ tovs Ksivo)v . . . and that you have still stood firmly by their 
 offspring with steadfast loyalty. — afi<p\ 9 which denotes a close attachment, 
 is used by the tragic writers instead of irepi, which is preferred by good 
 prose authors. See Bernhardy, Gr. Synt., p. 245. — ircudas, Lat. prolem, 
 viz., Eteocles and Polynices — children of one, and grandchildren of the 
 other. — \x£vovt<xs, part, instead of the inf. [xeveiv. As frequently in poets, 
 the simple is used for the compound, efiixiveiv. Horn., II., xvii., 434 : were 
 ffT^Xt] jxevei efiireBoi/. 
 
 172. auT($xeipi avv fjudcr/xari, with fratricidal guilt. Wunder : mutual 
 ccedis nefario scelere. The epithet avr6x^p could be used in regard to 
 violence committed by the hand of a relative. Comp. 1175, note; also 
 (Ed. Col., 1387: crvyyevei x«?pl, 1374. Eurip., Phoen., 894. 
 
 173. Kpdrrj teal frpSvovs exec. An expression denoting the ruler's 
 absolute power. Comp. (Ed. Tyr., 237 : ys iyk Kpdrr) re /cat &p6vovs 
 Venice. 
 
154 NOTES. 
 
 174. Construct: tear* ayx L(TTe ^ a ywovs toov oAcoXStow. The sense: by 
 virtue of my near relationship to the deceased. The gen. oAwAStoov depends 
 upon ayx^Teta yevovs, which form one idea. It is evident that it was so 
 understood by the Scholiast, who interprets tear olKeiSrnTa, kolt <rvyy£- 
 vsiav. Comp. a similar instance of a double genitive, 1184 f., and exam- 
 ples collected by Bernhardy, Gr. Syntax, p. 162. 
 
 175. iKfiabeiv, to find out, to know thoroughly. — iravrhs avdpbs, as we 
 say, of any and every man. Lat. : cujusque, cujusvis, of any man what- 
 ever. ajj.7jx ay0J/ ^ subaud. icrri. 
 
 176. ^vxhv re Kal (pp6i/r]/j.a Kal yv&}x7)v. These words comprise the 
 whole spiritual man : -tyvxhv, the heart, or natural disposition ; yj/co/jarju, the 
 understanding, or intelligence (Ritschl.'s Rhein. Mus., JS"o. 2, p. 259) ; <pp6- 
 yn/xa, views, principles, as the results of thought. Comp. 354. 
 
 177. irplv av — cpavfj, before he has shown them by being practically tested 
 in the administration of government and in legislation. The poet appears 
 to have had in mind an apothegm of one of the ancient wise men : apxh 
 &j/Spa delxwo-i. See Harpocrat, under the word apx'h- In (Ed. Tyr., 
 614, the proverb is modified : xp^ os ^ixaioj/ audpa deba/vciy /xSvos. 
 
 178. ifxol yap, etc. From the general remark that a man can only be 
 fairly judged by his official acts, Creon makes a somewhat abrupt transi- 
 tion to himself, who is precisely in this situation. It is difficult to say 
 what is the exact force of yap here, but, as this particle serves to intro- 
 duce the speaker's convictions, it seems to imply some such connecting 
 thought as this : As to myself, though as yet untried, I intend to govern 
 for the benefit of the whole, without fear or partiality ; for it has long been 
 my conviction that he who, etc. Previous to the death of the two broth- 
 ers, who were both claimants of the throne, Thebes had been rent by 
 violent party feuds, and the evils arising from these dissensions were 
 doubtless the cause that Creon declares, at the outset, that he will rule 
 independent of party. 
 
 180. £k (j>6fiov rov (=: tiv6s), from fear of any. Boeckh : aus Men- 
 schenfurcht. — yXcocrcrav iyK. e%er, keeps his mouth closed. Cf. 505 : d jut) 
 y\&<T<rav iyKKyoi <bo$os. Concerning the force of e%w with a part., see 
 note to 77. Creon seems to refer to a particular instance, viz., the edict 
 forbidding the burial of Polynices, which he had fearlessly proclaimed. 
 He strives to justify the act on the principle of public expediency, but his 
 former antagonism to that prince might justify the suspicion that he had 
 been moved to it by personal hostility. 
 
 181. vvv Te Kal iraAai. Comp. Elect., 676. Concerning the present 
 tense doKe?, cf. Demosth., Phil., iii., § 12, and my note. 
 
 182. nel(oiS avrl. The preposition is redundant. See Matth., 450, 1. 
 
 183. ovdafMov \4yo>, sc. ehai, in nullo honoris loco esse dico. Erfurdt. 
 
NOTES. 155 
 
 It is an expression of contempt, like ovdevbs a^tov riyovu.au iu obdevl Troiod- 
 \xo.i Koycf. 
 
 184:. Xcrroi Zevs, be Jupiter my witness! a solemn oath. 
 
 186. (rreixovo-av, viz., by the act of friends or kindred, referring to 
 the traitorous conduct of Polynices in bringing a hostile army against 
 the country. Creon means that he would disregard the claims of rela- 
 tionship and act simply for the public weal. — noorriptas. "Wunder errone- 
 ously considers this to mean his personal welfare : ut ipse salmis sim. 
 
 187. (pi\ov . . . Krsiixriv epaurw. The sense is : Nor would I ever make 
 my personal friend a man who was my country's foe. — y(bovbs = -rrdrpas. 
 
 1S9. ?)5 3 referring to -x&ov6s. It is she who saves us ) etc. The idea is, 
 that the welfare of individuals is dependent on that of the state, just as 
 the safety of the mariner is identified with that of a ship ; that safety is 
 only to be found in keeping her upright — governing her rightly and main- 
 taining her laws — by doing which we shall make true friends. The same 
 figure is employed by Cicero, ad Fam., xii, 25 : una navis est jam bono- 
 rum omnium ; quam quidem nos damns operam ut rectam teneamus. 
 Comp. a similar sentiment of Pericles, in Thuc, 11, 60. Demosthenes, 
 Phil., iii., 69. 
 
 191. Upon such principles I will exalt this city; that is, by securing 
 good order, I shall promote the well-being of the state. The present 
 tense av£co is used, because, by his measures, he has already entered upon 
 the intended reform. The blessings flowing from obedience, and the per- 
 nicious consequences of insubordination, he develops more fully, 663- 
 680. 
 
 192. d5eAd>a ra^Se, things akin to these. Br. : affinia horum. The idea 
 is : (, T have made a proclamation in keeping, and on a par, with these 
 principles." Creon, as the representative of military absolutism, rests 
 the whole salvation of the state upon unconditional submission to legiti- 
 mate authority. The edict concerning the sons of (Edipus was framed 
 with the view of securing such submission, from the outset of his reign. 
 Its manifest design was to teach his subjects a salutary lesson by con- 
 ferring the highest honors upon the one who had fallen in defence of the 
 sovereign power (cf. 25), and inflicting upon the rebel the most dreaded 
 of all penalties. 
 
 195. rdvr apurrcva-as dopt, far the bravest with the spear. Comp. 
 Trachin., 488 ; Ajax, 435. - 
 
 196. ra vvarr tfyayvicrai, to pay all the honors ) in addition to interment, 
 ayvi&cu iw\ r$ rdcpw. The expression alludes to the ceremony of placing 
 around the dead a variety of instruments, utensils, and clay images ; the 
 burning of favorite animals, garments, ornaments, and food, and the pour- 
 ing of libations upon the grave. See K. F. Hermann's Domestic Antiq. 
 
15G NOTES. 
 
 of the Greeks, pp. 199, 205. As the ancients imagined that their de- 
 parted friends were still conscious of what was passing in the upper 
 world, they took care to surround them with affectionate remembrances 
 of their former life. 
 
 197. epx^rui K-iroj, descend to. Brunck : quae strenuorum virorum 
 Manibus demittuntur. It was an ancient belief that libations and other 
 honors reached the dead to whom they were offered. Woolsey cites 
 Musgrave : " Credebantur libamina sub terram et ad mortuorum usque 
 sedem penetrare." Cicero, de Amicit., iv., refers to this tenet of the an- 
 cients : " Qui mortuis tarn religiosa jura tribuerunt ; quod non fecissent 
 profecto, si nihil ad eos pertinere arbitrarentur." 
 
 198. Creon now states the reasons why he had adopted a different 
 course toward Polynices. Attributing to him all the blood-thirstiness 
 and savage purposes of the allies he had associated with him, the mon- 
 arch sternly judges that the rebel has forfeited the common rights of a 
 human being ; and so, breaking loose from the restraints of religion, he 
 falls back to the position of unenlightened, i. e., barbarous, justice. 
 
 199. 3-eoi/s r. iyyepeTs, deos indigenas ; that is, their images and tem- 
 ples. Cf. 285. JEsch., Sept. cont. Theb., 582 : iroXiv irarpcaav Kal &eovs 
 robs eyyevels Trop&eiy. 
 
 200. (pvyas KareA&cbj/, a returning exile. In (Ed. Col., 1292, we are 
 told that he had been banished from Thebes by his brother Eteocles, 
 with the concurrence of the citizens. 
 
 201. ai/xaros koivov irdaacr&ai, to taste a kindred (i. e., a brother's) 
 blood. — koivov) comp. v. 1. The Schol. : avrl rod £fx<pvAiov ? rj rod a5eA- 
 (pLKov aiixaros. He paints Polynices as a blood-thirsty savage, in order to 
 justify his own inhumanity toward him. — tovs 5e (sc. iroXiras) dov\. ayeiv, 
 and to carry the citizens away captive. Concerning the particle 5e repeated 
 after a single fxiu, see Herm., Yig., p. 535. 
 
 203. 6KK€K7)pvKTai. Most of the recent editors have adopted this con- 
 jecture of Musgrave, instead of iKKeKvpvx^ai, which is found in the MSS., 
 but which Boeckh admits to have no proper construction. The verb is 
 synonymous with Krjpv^as £%&>, 192, and appears to be inserted merely to 
 avoid the obscurity occasioned by dwelling so long upon Polynices' 
 crimes. 
 
 205. The order of construction : eay 8' a^airrov Kal alKicr&evr lde?u 
 tie/mas ideo'Tov irpbs oleoucou Kal -irphs kvpcop, but to leave him unburicd and 
 disfigured to behold, with his body mangled by dogs and birds of prey. — 
 Se^as, acc. of limitation. — ideiv, gov. by the part., is similar to the Lat. 
 supine aspectu. Comp. iEsch., Sept. c. Theb., 644 : revxncrry]v Idelv, bel- 
 latorem aspectu. A similar thought, Ajax, 830. 
 
 207. (f>p6j/r}fxa, determination. Cf. 176. 
 
NOTES. 157 
 
 208. irpoi^ovcri. A hyperbolical expression, as if the good were de- 
 prived of their due by receiving only equal honor with the bad. If 
 traitors are treated with like honor, it is equivalent to a reward offered 
 to treason. Hermann, from Cod. August., reads irposQow' : " Sensus 
 causa. Neque enim de praeferendo Eteocli Polynice, sed de aequando 
 sermo est." 
 
 211. The Chorus answers with reserve, implying that it is not con- 
 vinced by Creon's specious reasoning, but that it has its own opinion 
 about the matter, which it may not be prudent to express. With a mas- 
 ter possessing absolute power, it feels that remonstrance is useless. 
 
 212. hvsvow — eiffievij. Boeckh prefers to govern these accusatives 
 by Kara understood. Dindorf substitutes teas instead of teal, the prep- 
 osition is governing both, as in 1176. Others understand dpacrai or 
 
 TTOIZLP. 
 
 213. 7rov y evea-ri croi, certainly it is in your power, etc. The particle 
 y€ is somewhat sarcastic, intimating that, however he might abuse his 
 power, his subjects must needs submit. Their acquiescence is merely 
 formal and such as his position requires. There is no fawning servility ; 
 for, while they do not question his right to legislate, they do not profess 
 approbation of an act which their consciences condemn. — The Scholiast 
 explains the verse correctly : e|e<7Tt col hirers &e\€is vo/noSere?!/. 
 
 215. (It is my will) that you should now be observers of what has been 
 ordained. — wy, with av followed by the subjunctive, is so clearly an in- 
 timation of purpose, intention, that, to a Grecian ear, an appropriate 
 leading verb naturally presented itself. With military brevity the mon- 
 arch signifies his will by a particle. We may understand KeXevca or 3-eAw. 
 All the finer modifications of Greek particles are to be referred to ellipses, 
 which by long use in common life ceased to be noticed, and therefore did 
 not need to be supplied. See Bernhardy, Gr. Synt., pp. 352 £, 400. 
 
 216. The word (tkottoI, used by Creon in the sense of observers, or 
 rather of a vigilance committee of our day, is misunderstood by the 
 Chorus, who answers : Lay this charge upon a younger man to bear, i. e., 
 the duty of watching the corpse. 
 
 217. a\\a — ye are used to correct the misapprehension of the Chorus : 
 nay but there are already watchers of the corpse. See Herm., Tiger, 471. 
 
 218. ri drjra — rovr is similar to the common phrase ri ouv tovto ; 
 quid igitur hoc ? — $?ira, in questions, is often used for 5)? or ovv, then, 
 therefore. Cf. Aristoph., Wasps., 1177 : rlva d?)T 3 av \iyois ; " what would 
 you say, then ? " — a\X<2. Some MSS. have a\\o, which Schneidewin pre- 
 fers. But we cannot well dispense with aWti, since Creon does not rely 
 upon the watchmen alone to execute his commands, while en makes aWo 
 superfluous. The sense of the question is : what, then, is this which you 
 
158 NOTES. 
 
 would enjoin further upon another P that is, upon us. The additional 
 command is contained in Creon's answer ; not to countenance those wh 
 disobey this order. — am<rrsiv = c^reid-el*/. Cf. 381, 656. 
 
 220. outgi) — os. The relative with a finite verb after ovtoq has th 
 sense of &crre 9 as to, with the inf. Matth., 479, 1. With ianv supply 
 ris. The Chorus does not imagine it possible that any one will be will- 
 ing to incur certain death by violating the royal decree. 
 
 221. not jjl7]v — ye, at saltern, at vero, certainly. — vir eXiri^cav /cep5os, gain 
 by expectation, a poetical expression for the hope of gain, spes lucri. Creon 
 intimates that Polynices' partisans might bribe some person to bury the 
 corpse. The poet delicately reveals the low suspicion that is inseparable 
 from tyranny. 
 
 223. The watchman presents himself agitated and gasping for breath, 
 which is the effect of terror rather than of haste. — viro rdxovs Bvsiruovs 
 The Scholiast explains : fiera crirovdrjs acr^fxalvcov, panting with haste. 
 
 225. (ppovridow iirio'Tdo'eis, stoppages for deliberation, pauses of anxious 
 thought. 
 
 226. 6do7s, by the ivay, dat. of place. — els auaa-rpocp^y, for the purpose 
 of returning, zur Ruckkehr. Boeckh. 
 
 227. fAv&ovfjLivn, saying. Such participles are often added. Ajax, 757 : 
 e(p7] Xeycov. ^Esch., Agam., 205 : b\ml elire (powwv, dixit locutus. 
 
 228 f. raXas and tX^/jlcov are to be regarded as exclamations, and as such 
 are put in the nominative. Matth., 310. Adjectives so used have some- 
 what the nature of predicates : miserable man that you are I There is 
 therefore, no necessity to substitute, with Dindorf and others, the voc. 
 tXtj/jlov, contrary to the authority of the MSS. 
 
 228. 61, where, implies its antecedent eKelae. Woolsey. — dib*6vcu 
 hiivqv, a judicial phrase answering to the Lat. dare poenas, suffer pimish- 
 ment. 
 
 229. kcl\. Wunder has Kei , from Cod. Laur. A., placing only a comma 
 after avdpSs. But the short, broken sentences more naturally express the 
 indecision of the watchman, who is a man of the lower class. 
 
 230. drjr. See supra, at 218. How, then, will you not smart ? — aXyvvet 
 intimates that he fears a flogging, or some other corporal punishment for 
 neglect of duty. Schol. : ov TLfMooprj^ay. 
 
 231. ¥jvvtov, I made my way, I came. — (rxoXfj raxvs is the reading 
 preserved by the Scholiast, and generally adopted in place of fipafivs, 
 found in the MSS. The phrase, however, does not mean, as Woolsey h -is 
 
 .it, "leisurely fast," and Brunck: " cum tarditate celer ;" for (rxoXfj, in 
 the tragic writers, means hardly, or scarcely. Comp. inf., 388 ; (Ed. Tyr., 
 434. See Hermann's Tig., p. 57. It has the force of a negation, and 
 ffxoXfj ra%vs , in keeping with v. 223 f., means by no means swift, that is, 
 
notes. 159 
 
 §vs. This is evidently the view taken by Erfurdt cited by Hermann : 
 "Yulgo fipadvs, quo vocabulo verba <rxoXrj rax^s exposita fuisse vi- 
 dentur." 
 
 233. iviKria'ei/ i in the absolute sense of potius fuit, prevailed, takes 
 the words devp 3 fxo\elv (Toi for its subject. The verb denotes the decision 
 of the mental struggle. See Xitsch ad Odyss., x., 46. Comp. 274. 
 Demosth., Phil., i., § 51. The sense is : the counsel to come hither to thee 
 prevailed. 
 
 234. fjL7i$ev, nothing of consequence or value; not being able to say 
 who is the perpetrator. 
 
 235. deSpay/jLevos (5pacrcro/xai), clinging to. Dindorf prefers irecpapyfie- 
 vos, fortified, L. munitus, with which the gen. would not be admissible. 
 The vulg. is confirmed by the interpretation of the Scholiast : avrziXtiix- 
 fxivos rris iX7r(dos iXrjXv&a, laying hold of this trust, etc. 
 
 236. ira&eiv. This inf. depends on iXirlSos, as if it were written iXiri- 
 £iwj>. The art. rb is superfluous, as in v. IS. Matth., 543, 2. — tt.v lends 
 the verb a highly potential signification : that I cannot possibly suffer 
 any thing else than what is fated. See Tig., Gr. Id., p. 481. The simple 
 trust of the watchman, that nothing can befall him but what is allotted 
 by destiny, is a genuine trait of popular fatalism. Cf. iEsch., Sept. 
 c. Theb., 263 : irzi<roixa.i rb /j-opo-L^ov. It remains the same to this day among 
 Oriental peoples. 
 
 238. (ppdcrat — ru/navrov. I wish to tell you first what concerns myself 
 i. e., my own share in the matter. 
 
 240. diKaiws, deservedly. 
 
 241. ev ye (TTox^h V ou are ver y guarded certainly. The common 
 meaning of crToxa-C €cr & aL i t° a ' im i * s clearly unsuitable, there being no con- 
 ceivable object to aim at. The king uses sarcastically a verb which ex- 
 presses the watchman's anxiety to stave off a charge which has not yet 
 been made. 2Toxa£ec&at is related to <noixK*Wi a hunting term origi- 
 nally signifying to plant posts, with nets attached, around the haunts of 
 wild beasts ; and, in a military sense, to plant palisades for defence. It 
 thus acquires a meaning nearly akin to farcxpp&yvvcrai, as concinnity re- 
 quires. 
 
 242. rb 7rpayfjLa: a repetition of the watchman's words. Creon does 
 not yet know what has happened. — Bn\o7s = StjXos el. 
 
 243. yip refers to the first part of Creon's remark, that he was anx- 
 i! ious to clear himself. The sense is : I do, for danger inspires great ap. 
 
 prehension. 
 
 244. An interrogation having the force of a command. Speak, then 
 make haste and be off \ Matth., 511, 4. Comp. 885. — aira\\ax^(s in an 
 absolute sense, having done. 
 
1G0 NOTES. 
 
 215. The soldier is at length forced to speak : Fll tell you at once — 
 kcu drj, conlinuo, jamjam. Herm., Yig., 528. 
 
 247. i(payio-T€vcras a xpVi having performed the needful rites. 
 
 248. ris avdp&i'; who in the world? The expression shows that Creon 
 has as yet no suspicion of the real culprit. 
 
 249. The yevn'ts was an instrument like a pickaxe or grubbing-hoe, 
 Lat. ligo. SiKeAAw was an ordinary spade, and pressed into the ground by 
 the aid of the foot. 
 
 250. (TTvcpKos 5e yrj, but the ground was firm and dry, unbroken and 
 unmarked by wheels. — ou5' iirvfxa^evfjLeuTj rpoxolo'iv, nee plaustri sulcata 
 rotis. Brunck. The watchman verbosely brings in all imaginable 
 means of stirring the ground, in order to deny the appearance of every 
 trace". 
 
 252. tcs gives the substantive a vague and indefinite character. It 
 may be rendered : the doer, whoever he was, ivas without trace. See Witz- 
 schel ad (Ed. Tyr., 107. Bernhardy, Gr. S., 441. 
 
 253. The first day-watchman. Antigone had finished the act in the 
 early twilight. 
 
 254. iracri — iraprju, omnibus triste miraculum visum est. Brunck. — 
 dvsxzpes conveys the idea of embarrassing, painful, because the discovery 
 put the guard in fear for their own safety. 
 
 255. 6 fj.lv, sc. the corpse of Polynices. — Tvpfi-fipris pev ov, not indeed 
 buried in a grave. 
 
 256. A€7rr?7 — kovls, but a thin covering of sand lay over it, as if some 
 person shunned the curse. — (psvyovros is a gen. abs. with twos. Comp. 
 Ajax., 998 : &s &eov twos. " Whoever," says the Schol., " saw an un- 
 buried corpse, and did not cast some dust upon it, was deemed ac- 
 cursed- (evay-fis) until he made expiation." This article of ancient 
 belief is alluded to by Horace, Od., i., 28, 30 : Injecto ter pulvere 
 curras. 
 
 257. rov (sc. twos) kvvoov, of any sort of dog. — t\s with a substantive 
 often denotes a kind or class, for which see Bernhardy, Gr. Synt., 441. 
 Comp. 698 : olcav&v tiv6s. 
 
 258. o"ird<ravTos i usually interpreted gnawing or lacerating the corpse, 
 is perhaps better explained by the Scholiast, who finds in this word a 
 reference to the habit of wolves, bears, dogs, etc., which, when they have 
 partly eaten their prey, scratch the dust over it to keep it for another 
 visit. The possible supposition that the body was so covered was not 
 confirmed by any trace. 
 
 259. iv a\\y)\oi<Tiv, inter nos, is not used very strictly. The idea is, 
 that recriminations and abuse were mutually exchanged. Angry speeches 
 were uttered in regard to each other 
 
NOTES. 161 
 
 260. $>vAag iXeyxw &v\. is a constructio ad sensum : as if ippo^rovuev 
 had pi : In Bemhardy's Gr. Syntax ii is termed a syntactic appo- 
 sition, of which numerous exau : found in the poets. Of a par- 
 allel passage in JEsch., Prom., 200: o-ri-.s r h hW^Xoiaiv wpo&virero, 
 ol fihf dreXoyres . . . ol os o-ttzvjovtss, and in£ 1002. 
 
 261. reXevrcccr 1 as alv. fin :>' 7 y. Matth., 5 ■: » S . — owS" 6 KtaXvffav raprjv, 
 nor was any one by to prevent ii. The article 6 here has the nature of an 
 indefinite pronom tg some pei Lor authority or p 
 Comp. Aristoph., Pac., 614: obzir r : v ovdeh 6 wawrair, r> ; erat 
 quisquam, qui haec sedaret. Ben 118. Soph., Elect., 1197 : ov5 3 6 
 
 K0)\V<TUV TT&pZ. 
 
 262. els- tis eKzjTos. ? I The sense of the passage is : 
 each was suspected by the others of I ' oerpetrator^ and - 
 
 dent, that is. there was no evidence against any one. 
 
 2 6 3. a.vV eOevye u-/] el'Ssvzi, supply the subject eKaarrSs ris, 
 
 one shunned the knowledge of it, denied knowing any thing about it. — 
 (pevyeiv, like verbs of fearing v h i: is classed by K \\ 
 
 § 306 i, takes aif after it pleonastically. Alike a is : and in 
 
 Eurip., Heraclidae, 507: (pev£6ue<j$a uv; xtaveiv. The MSS. have a buj ;- 
 fluous art. to after e&evye. 
 
 264. Each one. in proof of his inn< rs to undergo the oi 
 
 by fire, and to take a solemn oath. Brnnck an - find in this pas- 
 
 sage a trace of the superstition which so long prevailed among the north- 
 ern nations, especially the Germanic peoples of the middle ages. The 
 devices by which the accus t to establisl onocence, though 
 
 varying in : omon nam:. a Dei; 
 
 Germ.. Gottes Gericht. Be a VaL ITaximus. S, 9. There is no 
 
 proof, however, that these tests were ever legally re among the 
 
 Greeks or Romans. 
 
 265. or ovdep l)v (f),u?v) ip. v\iov. The sense ; 
 J. by our in Matf .1. 
 
 , \eyei tis els. s makes a proposition^ viz., to report the 
 
 matter to you. Before stating what the proposition was (as hrourriop 
 crol rovpyov tchman describes its startling effect upon the com- 
 
 pany. 
 
 271. ov& (enrcZr) ovas dpavres, etc. The sense is : nor say by what 
 course of action we should L e., get out of the dirz. 
 
 Comp. Eurip.. Phcen., 926 : a Sp^yres av o't&o'aiTe KaSfieuav -6\iv. — ott&s 
 dpeevres. in the sense of orco t porta rpdrrovres, and koXcos —pij-aiusv = ei>- 
 Tvxho'aiuep. . Cf. Stallbaum ad Plat.. Crit., v. D. 
 
 274. teal ravr* hri fttz, and this ■: ti u : _ mailed. Comp. 233. 
 
 275. Kc&aipei, condemns, a judicial term. Pollux, viii., 15. Eurip., 
 
1C2 NOTES. 
 
 Orest., 853 : /ca^eTAov fifias, KaireKvpucrav Saveiv. — rovro Tayc&bv is said 
 ironically. 
 
 278. fir] Ti y nonne, whether — not, an indirect interrogation. Cf. 1253. 
 Herm. ad Vig., p. 808. 
 
 280. \4yuv agrees in case with <xv, the subject of irava-ai, and of the 
 infin. /j.ecrTu)(rai. Graeci enim, ubi participium vel adjectivum infinitivo 
 jungunt, casum, qui praecesserat, ad quemque illud pertinet, servare 
 solent. Erfurdt. See Matth., 536. — opyrjs Kai, with anger even, implying 
 that he already felt contempt for the superstitious weakness which could 
 imagine that such an act could be performed without human agency. 
 
 281. Zest you be found both old and silly at once, although age is com- 
 monly said to bring wisdom. Cf. (Ed. Col., 930 f. The Scholiast re- 
 marks : evavriov yap 7} &voia r£ yypa* 
 
 284. v7r€pTijj.o0VTes, unduly honoring, i. e., honoring him above his de- 
 serts, mistaking an enemy for a benefactor. 
 
 285. osris, in addition to its office as a relative, conveys some notion 
 of generality, a man who came to burn, etc. Comp. Ajax., 474. 
 
 286. Temples and offerings are regarded as things of like nature, be- 
 ing both dedicated to the gods. 
 
 287. yijv iiceivav. Cf. Thuc, 11, 74. In the ancient Grecian religion 
 those divinities were regarded as the rightful possessors of a country, in 
 whom the moral idea of the people was embodied, and whose worship, 
 therefore, being inseparably interwoven and blended with all their social 
 and political institutions, was an essential condition of national existence. 
 Thus the civil and religious institutions, standing upon the same basis 
 and united into one system, were equally invested with divine authority. 
 Consequently, when Polynices brought a hostile force to aid him in depos- 
 ing his brother Eteocles, he was denounced as the enemy of the gods. — yrju 
 is used in the sense of iro\iv. Plato frequently connects v6\is and v6{jloi, 
 ZiasK&wv poetically for airo\4(rcap. Notice that Creon artfully attributes 
 to the gods his own incensed feelings and unworthy motives. 
 
 288. The particle ^ in the second member of the question, for which 
 see Matth., § 619, is used for putting the same question in a stronger 
 and more general form, to which there can be but one answer. — ovk 
 ecrTLv, impossible. 
 
 289. ravra, the object of cpipovres, refers to the odious edict. — na\ 
 iraXai, jam pridem. Comp. Trachin., 87 ; Philoct., 966. — ir6\ecos &vdpes = 
 ttoXltcov rives, TVunder interprets : sed haec (i, e., edictum de Polynice 
 non sepeliendo) dudum cives nonnulli aegre ferentes obmurmurarunt mihi. 
 
 292. SiKalws, didy, i. e., submissively. Hermann cites Eustathius on 
 this passage : oi>5 5 virb (vyw v&tov cv\6cpcos e?xop. The metaphor, says 
 the Schol., is drawn from ill-broken oxen. — &s (Tripysiv e^e, so as to like 
 
XOTES. 163 
 
 me, i. e., to have a loyal attachment to my government. — us, like wsre, 
 denotes the result. Comp. infra, 303 : cos Sovvai 8(kt]v. 
 
 293. rovrovs, these watchmen. — Traprjjfiepovs. Schol. : fprarTifiivovs, 
 
 corrupted. 
 
 295. Construct : yap oudhu vo/jllct/jl e/3Aao"Te Kaxhv avhp&Ttoicnv olov 
 apyvpos. The sense : for no institution has existed as jxrnicious to man- 
 kind as money. — No7uo>ta est institutum. Herra. Compare Felton's 
 " Clouds," p. 126. 
 
 296. tovto, though assimilated in gender to vSpurpa, refers to apyv- 
 pos. — Ka\ 7r6\€Ls, even whole states. 
 
 298. In this sentence e/cSiSacr/cee is the chief verb, on which the inf. 
 'tcTTacr&ai depends. The order of construction : rooe irapaWd&crei xpV°" r ^s 
 <pp4vas fiporwv Kal e/c5i§acr/cei [auras] 'icrrao'^ai Trpbs a*cr%pa irpdyfiara. — 
 ftrracTrBaj 7rpbs, to incline toward. Thuc, vi., 34 : raV 5e av&puwcoi/ irpbs 
 ra Xeyoixeva at yvuixai 'iaravrai. Id., iv., 34. 
 
 300. e5ej|ez/. The Greeks often use the aorist ind. to express a gen- 
 eral truth derived from experience or observation. Grammarians dis- 
 tinguish it as the frequentative aorist, because it represents a fact as 
 occurring frequently, or habitually. It must be translated as a present. 
 SeeKiihner's Gr. Gr., § 256, 4 ; Bernhardy, Gr. Syntax, p. 382 ; and Felt on" s 
 learned exposition of this idiom in his notes to Aristoph., " Clouds," p. 
 157 ff. — %x* iv ma y be- taken in the sense of a<TX€?v, to practise. It shows 
 men how to practise knavish tricks. 
 
 301. Svscrefieiav etSeycu, to be versed in the wickedness, etc. "Das 
 Wissen aber," says Boeckh, " ist ein thatiges TVissen." It is a practical 
 knowledge. In the same way, Homer says of the Cyclops, Odyss., ix., 
 189: aSe/Mcma fjdri ; and Eurip., Helen.. 932: Si/cara fxyj eWevaL. Xotice 
 the gradation in vice : atV%pa, iravovpyias, SvscrefieLav. . 
 
 302. After these general reflections upon the evils caused by the lust 
 of gain, Creon reverts to the thought expressed in 294, that the perpe- 
 trators were hired by his secret enemies : but those who have done this 
 thing for pay have at last effected that they (the instigators) should suffer 
 punishment, that is, have rendered them amenable to justice. For, as 
 Wunder observes, the words XP^ VC 9 ^ot seems to refer to Kal irakai, v. 
 289. Schneidewin takes the same view : " Kreon legt in seine TTorte 
 den Sinn : die Thiiter haben bewirkt dass die Anstifter gestraft werden 
 konnen." For, if Creon thinks to punish only the actual doers, it is dim- 
 cult to see a reason for using the words XP^^V nor, postremo. 
 
 305. eu tout 5 eTTio-Tacro, be assured of this. Cf. Herod., 7, 39. 
 
 306. auT^%6ipa, the actual perpetrator. 
 
 307. euocWes itcfpave'LT, expressed in English by two verbs : find and 
 produce. 
 
164 NOTES. 
 
 308. ovxv^iv . . . apKecrei, mere death shall not be a sufficient punish- 
 ment for you. — irplu av. Before these words there is an ellipsis, which 
 may be supplied by ov irpSrepov &ave?cr&e, or some equivalent expres- 
 sion. 
 
 309. (wvres Kpe/jtacrrol, i. c., suspended or tied up with a rope to a 
 pillar or ladder, to be flayed alive, a species of torture often inflicted 
 upon slaves, either as a punishment, or for the purpose of extorting a 
 confession. Cf. Aristoph., " Frogs," 618 : iv KXi/xaKi d-qa-as Kpefid<ras vcrrpi- 
 Xidt fJLacTTiy&v, depcov, (rrpefiXoov. Horn., Od., 175 if. Ajax, 108. — vfipiv, 
 the offence is put for the person who committed the offence. 
 
 310. It is a bitter mockery in Creon to give warning to the guards 
 for the time when they will be no more. Comp. Ajax, 100 : Savovres 
 yjdr) rafJL acj)aip€L(r^cx)j/ oirXa. 
 
 311. a/?7ra^T6, supply e/ce?. The present tense is employed because 
 rb Xonrbv implies a continuation of their present evil practice. 
 
 313. robs irXeiovas. The article with iroXvs, or the compar. nXe'iovs. 
 has the signification of a superlative. Matth., 265. The sense: for you 
 tcill find far more people ruined than preserved by ill-gotten gains. 
 
 315. emetv 5e Sdoo-eis. This reading of MS. Laur. is adopted by 
 Boeckh and Schneidewin ; vulg. ri ddbtfeis. The Schol. correctly inter- 
 prets : iiriTptyeis Kal ifiol elirelv, 77 aireXfroo ; The sense : but will you per- 
 mit me to speak, or shall I go so ? that is, without further explanation. 
 Cf. Philoct., 1067: aXX* ourccs airei ; 
 
 3-16. Kal vvv refers to the preceding question, which appears disre- 
 spectful. Do you not see how offensively you talk even now ? The Schol. : 
 Kal vvv yap Xeycov aviapos fxoi e?. 
 
 317. Sdavei is taken as active by the Scholiast : Zawei <re rb irpax&zv. 
 But 6 Xoyos ifj.ovJ.s the subject, if any is to be supplied. Ajax, 1119: 
 ra crKXrjpa yap rol, kclv vTrepfiiit fj, daKvei. 
 
 318. pv&fjit^eis, do you sound, i. e., explore, where my pain is? The 
 verb signifies here an attempt to find out the real locality of the pain, 
 whether at the surface or internal. — ottov, sc. £<rri. 
 
 320. ofyi ws aXtj/na, ah, how evidently you are a thorough-bred knave ! — 
 'dX-rj/jLa in the sense of iravovpyos. Cf. Ajax, 381, 389. 
 
 321. oukovv, non igitur, non vero. Herm., Vig., 450. The sense is: 
 yet I have not done this deed at least.- — ovkow — ye seems to concede the 
 truth of Creon's charge, that he is a cunning scamp, while it is an em- 
 phatic denial of the present charge. — iroLTjaas, sc. el/A. Schneidewin ren- 
 ders : mag sein, diese That aber habe ich wenigstens nicht gethan. 
 
 322. This verse is a continuation of 320. Creon reaffirms his opin- 
 ion that he is the hired tool of others. 
 
 323. The watchman thinks that Creon wilfully persists in believing 
 
NOTES. 165 
 
 him guilty. The sense is : it is really dreadful, when a man is determined 
 at any rate to believe what is false. Such is, in substance, the interpreta- 
 tation of Boeckh : " wahrlich schlhnm, wemgut diinkt dass ihm Falsches 
 diinke, d. h., schlimm wenn Jemand beschlossen hat, Falsches zu glau- 
 ben." Brunck renders in nearly the same sense : Vahf malum est pro- 
 fecto, si quis apud se constituit falsa consiituere. — o> in the general sense 
 of or co. Cf. Eurip., Ion., 501. 
 
 324. ko/jl\\/€V6 vvv t)\v So£av is sarcastic : refine now upon this opinion/ 
 that is, bring out some pretty phrases about the danger of false impres- 
 sions. The Scholiast explains Ko^eve by creixvoXoyei, talk gravely. — 8o'£av 
 in the sense of the preceding SoKeiv. — ravra, obj. of Spcovras. 
 
 325. e|ep6?3- 5 — ipydCerai, you shall acknowledge that base gains work 
 out trouble. — " ra SeiAa KepSrj dicit, quia ignavi est lucri causa clam illi- 
 cita facere." Yv^under. After these words the king retires from the 
 stage. 
 
 327. evpe&drj, sc. 6 dp&v. For the opt. expressing a wish, see Matth., 
 513, 4. — jxaKicrra fiev, followed by el Se jj.7], signifies by all means — but if 
 not. Lat. : ante omnia — sin minus. Herm., Viger, p. 416. In this pas- 
 sage, instead of the simple alternative expressed by ei 5e /x?7 in the second 
 member, we have a larger combination of particles, denoting a double 
 condition, lav — re nai are put for lav re — lav -re, utrum an. Herm., 
 ad Yig., 832. The passage may be rendered : / wish, certainly, that he 
 may be detected by all means, but whether he is caught or not, etc. 
 
 328. rovro — Kpive? is parenthetical, for fortune will determine that; 
 i. e., his detection will depend upon chance, owing to the entire want of 
 evidence against any one. 
 
 329. ovk e<rd- 5 ottccs is an adv. phrase, in no wise. German : auf keine 
 Weise. Host, Parallelgram. der Gr. und Lat. Spr., p. 467. Herm., Yig., 
 235. Matth., 482, 2. 
 
 332. Creon and the watchman have left the stage. The astounding 
 fact announced by the latter, that some person had had the audacity to 
 brave the tyrant's authority, and the adroitness to avoid detection, sug- 
 gests the theme of the following ode. The Chorus, which remains 
 grouped upon and around the thymele, sings the incredible daring and 
 craftiness of man, as exhibited in his triumphs over the natural elements 
 and the brute creation, and in the cunning inventions by which he has 
 meliorated his own condition. But he is powerful for evil as well as for 
 good, and abuses his intelligence by perverting justice and the laws. The 
 man who is guilty of such acts, though the chief of the state, is a traitor ; 
 with such avoid all fellowship. 
 
 TloWa ra deiva. There are many mighty things, and none mightier than 
 man, i. e., man is the mightiest of all. The adj. deivSrepov is to be under- 
 
1(56 NOTES. 
 
 stood in its largest sense — mighty for good and also for mischief; for the 
 entire ode is taken up in developing this main thought. Comp. a similar 
 sentiment in iEsch., Choeph., 585 If: iroXXa fxkv ya rpe<p€i deiva deijj.&Tcov 
 &%77, . . . aXX 3 viripToXfxov avdpbs (ppSurjfia ris Xeyoi ; 
 
 334. rovro, viz., rb ylvos rwv ap^pco-rrcou. Schol. The pronoun is 
 assimilated in gender to ovfiev — deivSrepov, and more poetical than outos, 
 as it suggests a comparison between the human being and the inferior 
 orders of animals. It retains, however, a masculine signification, for 
 which reason the participles 7repoou and 7roAeiW are used in their natural 
 gender. — iroXiou iripav it6vto'j — x^P^y traverses the sea whitened (i. e., 
 lashed into foam) by the storm-wind, when navigation is most danger- 
 ous. — iroXiov alludes to the crests of the waves, commonly called white 
 caps. Comp. iEsch., Pers., 110. The expression dunhle Flut des Meeres, 
 employed by Boeckh and Hartung, is inappropriate. Compare the lan- 
 guage of Horace describing the daring of the first navigator, Odes, i., 
 3, 9: 
 
 Uli robur et aes triplex 
 
 Circa pectus erat, qui fragilem truci 
 Commisit pelago ratem 
 
 Primus ; nee timuit praecipitem Africum 
 Decertantem Aquilonibus, 
 
 Nee tristes Hyadas, nee rabiern Noti. 
 
 Upon this passage Cardinal Desprez remarks : " Sophocles in Antigone 
 ait multa quidem cerni stupenda, at nihil magis quam quod homo fluctus 
 tumidos navicula tamen subire non formidet." 
 
 336. irepccu viro -Ktpi$pvx}oicnv o^jaacnv, ploughiny under the surging 
 waves. These words mark the moments of greatest danger, when heavy 
 seas break over the ship, and threaten to engulf her. The Scholiast 
 says that a vessel entirely submerged is termed viro^p^xioy, and a wave 
 passing over it is irepiPpvxiov. 
 
 338. When Kai — re are used in coordinate sentences, the weaker par- 
 ticle T6 serves to connect something of less significance. It means here 
 that reducing the land to subjection is a less wonderful exhibition of 
 human power than the conquest of the sea. — virepTarau, supremam, an 
 epithet applied to Ta, Terra, because she is the mother and nourisher of 
 all creatures, and hence worthy to be held in the highest veneration. 
 Solon, 28, 3, cited by Schneidewin, calls her ixeyia-rr) SaifxSvow 'OXv/jlttiw, 
 and Virgil, iEn., vii., 136, primamque Deorum Tellurem. Cf. Hesiod, 
 Theog., 117. The Chorus in Philoct., 392, apostrophizes her as TrajjLpaJTi 
 Ta, fjLarep avrov Aibs, nutrix omnium Rhea, mater ipsius Jovis. 
 
 339. airoTpverai, vexes, harasses, viz., by the wounds inflicted in culti- 
 vation. Comp. Ov., Metam., ii., 286 : adunci vulnera aratri rastrorumque 
 
NOTES. 167 
 
 fero, totoque exerceor anno. The passage presents a graphic picture of 
 man's restless labors in making the ground subservient to his advan- 
 tage. 
 
 340. dXoixivcav aporpcav (others, Iwo^evuv), while the plough turns from 
 year to year. The part. el\oij.ei/coy is probably intended to signify the re- 
 volving motion of the plough around what is technically called the land. 
 Comp. Buttmann, Lexil., ii., p. 156. Some have considered it to mean 
 turning over the clods ; but the shape of the ancient ap6rpov (aratrum), 
 which was little else than a straight pointed piece of wood, was not 
 adapted to turning over the soil like the curved ploughshare of modem 
 times. Ploughing then must have consisted in simply tearing or scratch- 
 ing the surface, which is here denoted by TroAeiW. The neut. iroXevov is 
 retained by Hermann. — l-mreia) yhsi, with the equine race, including horses 
 and mules. Schol. : rais Ti/buovais. The latter were used for this service 
 in preference to oxen. Cf. Horn., II., x., 352. 
 
 343. Kov(pov6(t)V) light-minded. Comp. Theognis, 582 : cr/juKp?is opv&os 
 Kovcpov exovcra v6ov. — afAfpLfiaXcbv &yef, carries away captive by ensnaring ; 
 to be connected with cnrelpcuo-L Slkt. 
 
 345. dvakiav cpvcriv, marinum genus. So Virgil calls the fish aequore- 
 um genus. Cf. (Ed. Tyr., 869 : (pvcris avipcav, genus hominum. Lucretius, 
 i., 16 : natura anirnantium. The lordship which man is here said to ex- 
 ercise over the lower creation is beautifully illustrated in Ps. viii. 6 ff. 
 
 347. TT€pi(ppad7]s awfjp. These words placed at the end seem to express 
 the Chorus's admiration of man's superior intelligence : inventive man ! 
 Theocritus, xv., 83, says : ao(p6v roi XPVP ay^poj-iros. Hermann prefers 
 api<ppaZT)s. 
 
 349. Kpare?, reduces to subjection, tames and domesticates for his ser- 
 vice. The Schol. explains : ob yap ja6vov Kpar?](rai §vvqlt6s, aWa. koX ri&aiT- 
 
 (T€V<Tai, 
 
 350. opea-cTL^dra, Dor. gen. Sheep and goats are especially alluded 
 to. 
 
 351. 'lttkiov u^tcll a/j.<pi \6<pov. The MSS. have 'ittttou, which, as the 
 metre requires a dactyle, Boeckh changed into the adj. 'Uttlov — 'iitttov. 
 Woolsey adopts Brunck's emendation, %-rrirov &7ra£eTcu. The fut. denotes 
 customary action, and is used instead of a present. Matth., 503. The 
 sense is : and he brings (or binds) the yoke upon the shaggy-maned horse's 
 neck, and upon the untiring mountain bull. The Scholiast explains in a 
 similar sense : TrepifiaXcbv avrcp £vybv irepl top \6(pov, virdyzi. The passage 
 is manifestly corrupt, but, though it has come down to us sadly mended 
 and patched, yet enough remains of the original to show the poet's gen- 
 eral meaning. 
 
 Strophe 2. — Passing from man's conquests over inanimate and ani- 
 
168 NOTES. 
 
 mated Nature, the poet next considers the improvement and cultivation 
 of man himself. Having noticed navigation (including commerce) and 
 agriculture under the former head, he now contemplates the human being 
 in a more advanced stage of development. He has invented language, 
 science, civil government, house and clothing to protect him against cold 
 and storm, and remedies against diseases. He is prepared for every exi- 
 gency but death ; from this alone he is unable to escape. 
 
 352. cp&eyfxa, faculties dicendi, eloquentia. TVunder. It means lan- 
 guage in a refined and cultivated form, in which poetry, and perhaps 
 music, may be included. The Schol. : r)]v avSpwirivriv ZioK^lv. — rjpe/jiSev 
 (bpovYi/JLa. The definition of the Scholiast ; tt)v irtp\ ra>v ^ere^pcoy (piXocro- 
 <piav, is probably too limited ; cpp6u7}/j.a denotes here the results of thought, 
 and comprises all abstract science. For it is manifest that the terms here 
 employed to designate the acquisitions of the human mind are to be un- 
 derstood in a pregnant sense. The epithet ave/jiSev is thought to allude 
 to the air, that is, the breath, as the vehicle of expression. Boeckh ex- 
 plains it, " die hiftige Weisheit, wie sie im Hauch ausgesprochen wird." 
 It may also refer to the subtle nature of philosophical speculations. 
 From philosophy the poet comes naturally to civil government. — a(nvv6- 
 nous dpyas, political tastes and habits, considered by some the offspring of 
 philosophy. Cic, Tusc, v., 2 : vitae Philosophia dux, . . . tu urbes 
 peperisti, tu dissipatos homines in societatem vitae convocasti, tu eos 
 litterarum et vocum communione junxisti . . . tu invent rix legum, etc. 
 Brunck : civiles mores. 
 
 355. ididd£aro. Moschopulus, in Att, diet., explains by icpevpe, in- 
 vented. Coray : avrbs eavrhv eSi5a|e, the pronoun being taken collec- 
 tively. The mid. voice has here a strictly reciprocal meaning, mankind 
 have taught one another ; for language, science, and civil polity, are re- 
 garded as the united product of the human mind in the course of its 
 gradual development. Sophocles favors the doctrine of Pythagoras 
 and the Eleatic philosophers, that language was not innate, but conven- 
 tionally established. Comp. Cic, Tusc, L, 25. Hor., Sat,, i., 3, 102 : 
 
 Donee verba, quibus voces sensusque notarent, 
 Xominaque invenere. 
 
 3o*7. (bevyeiv, inf. obj. of ididd^aro. Construct : kcu tpevyeiv inrai&peia 
 (j8e'Ai7) dvsavAow irdyvv not Svsoixfipa ^e\rj. The sense : and to escape the 
 rigors of the night-frosts and the shafts of the storm. The MSS. have 
 cu&pia, which Boeckh, for the sake of the metre, emended to wrai&peia, 
 according to iEsch., Agam., 335 : vnai&plwv irdyuv. Helmke : iped- 
 &peia. 
 
 360. iravToirSpos, full of resources. Brunck: ad omnia ingeniosm ; 
 
NOTES. Ig9 
 
 consilii inops ad nihil quod est futurum, accedit. — iravTOTtopos, at the close 
 of the sentence, like -rr$pi(ppa.Vqs avrip (343), expresses the admiration of 
 the Chorus. Constr. : ipx^~^i eV obSeu rb fxeXXov arropos. The sense : 
 he ventures upon no contingency without resource, 
 
 361. "Ai5a, Dor. gen., dependent on cpev^ip, which takes the same con- 
 struction as (pvyr). Cf. JSsch., Choeph.. 254 : (fnryfyp dofuw. The Schol. : 
 &a.v&Tov ixsvqv ovx ^p^ tapot [remedy). The verb iird^srai is to be re- 
 garded as an ethical future, denoting ability. Bernh., Gr. Synt, 377. He 
 will not be able to find an escape from death, because it is impossible. 
 
 364. £v l u7ricppa(TTaL, p. pass, for mid. Afatth., Gr., § 493. The sense : 
 but he has devised remedies of desperate diseases, 
 
 Axtistrophe 2. — Man endowed with surprising powers sometimes 
 veutures upon wrong and injustice. Here we find a direct allusion to the 
 action of the play : to Creon's arbitrary edict in contravention of the 
 divine law, and to Antigone's violation of it in maintaining the divine 
 law. Both were in the wrong. Witschel justly remarks : " The Chorus 
 speaks of an improper application of human and divine laws, by which 
 the shrewd and clever man, especially when he is high in the state (fyi- 
 vroXis), will seek to justify himself and his acts. Creon, while fixing his 
 eye only upon human law, and intent upon securing its observance, was 
 guilty of passionately violating the divine right ; Antigone, on the other 
 hand, appealing to the divine law, transgressed the king's command, and 
 was guilty of disobedience to the sovereign power and the state." 
 
 365. (To<p6v ti . . . tx&Vi possessing a cunning craftiness of art beyond 
 his expectations. rix vas t Dor. for r?)s rex^ns. — birep iXirida. The powers 
 of the civilized man, developed and trained by education, exceed what he 
 could have even dreamed of in his ruder state. 
 
 366. vote fiep im kcucop . . . epirei, at one time pursues evil, etc. This 
 is here the chief thought, and therefore placed first. — eon-ci = Px5i(ei. 
 
 367. irapeipccp, found in the MSS., has been rejected by some editors, 
 as not suited to the context. Boeckh defends it. It signifies inserting 
 and incorporating something foreign and incongruous, and hence subvert- 
 ing. The whole scope of the passage requires the sense of crime to be 
 attached to the word ; otherwise there would be no force in the conclud- 
 ing words : " May he who does such things not be my fireside compan- 
 ion!" The correct interpretation is given by Brunck : leges evertens pa- 
 triae, deorumque sacrum fas (as Creon has done). 
 
 370. vrpliroXts. The Schol. explains : o £~riv ip t?j iroXu v^tjXSs, who 
 is high in the state. Some punctuate after BiKap. — clttoXls is here lawless, 
 a traitor to the state and deserving of banishment. — fir) simply gives to 
 koXop a negative signification, to /j.tj kxXov is equivalent to rb ko.k6p, 
 baseness, moral turpitude. Hence TVunder renders : indignus civitate si 
 
 8 
 
170 NOTES. 
 
 cui turpitudo adhaeret audaciac gratia, i. e., si quis turpiter facit audaciae 
 indulgens. Some MSS. have 5e after airoXis. 
 
 374 f. The Chorus concludes with the wish to have no fellowship 
 with such a bad citizen, either in public or private life. — napeo-nos, a 
 fireside companion, a personal friend. — 'icrov (ppovwv signifies one of the 
 same political sentiments or party. Cf. Dem., Phil., hi., 18, and infra, 
 510. 
 
 376. The Chorus now announces the entrance of Antigone, conducted 
 by the watchman. , The prep, es (els) may be rendered in respect to, quod 
 attinet ad. See Matth., Gr., 578. — repots. A princess of the blood royal 
 guarded like a common felon was a prodigy almost too wonderful to be 
 believed. 
 
 377. Construct: irws avriXoyi\(To) rrjvde ira?^ elvai ovk. 'AvTLySvrjv eldoos 
 (ehai). — ovk is here pleonastic. 
 
 381. ov $7} irov express incredulity. — ere ye is emphatic, surely not — 
 you. 
 
 382. airayovo-i. Altered by Boeckh from the vulg. fryovo-i. The 
 former being the Attic term to signify bringing directly before a judge 
 one taken in a criminal act. 
 
 383. /cad-eAcWes may be rendered as aAovaav, caught. 
 
 384. "HS'. The demonstrative pron., o'Se ?j5e r6$e, is often used in an 
 adv. sense, here, there, particularly in announcing the entrance of a char- 
 acter upon the stage. See Matth., 471. 
 
 386. e\'s §£ov, as an adverb of time, opportunely, seasonably. (Ed. T., 
 1416 : is deov irdpecr^ ode. In the same sense the adj. ^vfi/jLerpos. 
 
 388. aircbjULOTOj/ refers to his vow not to return, v. 329. Brunck : nihil 
 est abjurandum. — iiriuoia, reflection. Schol. : at Bevrepai eppovrides, like 
 our "sober second thought." 
 
 390. ifyvxovv (e|aux€co). Construct: eVel eyk e^nvxoov o~xoAfj notf 
 av rfeeiv devpo. For av with the fut. ^eiv, Matth., Gr., 598, a. 
 
 391. cbreiAcus, dat. of cause, Matth., 398. Kender: on account of 
 those threats of yours by which I was then assailed, alluding to 309. 
 
 392. e/crbs kolL irapd. Such a union of these prepositions is probably 
 unexampled in Grecian literature. With euros understand eAiridwv. Cf. 
 330. — yap, referred to ^kg), assigns the reason parenthetically. Matthiae 
 (Gr., 615) separates thus : aAA' — rj yap e/crbs . . . r)Bovfj — '/jkco, etc. 
 
 393. jjLrjKoSj und. Kara, in greatness. The Schol. explains by els to 
 fieye&os. 
 
 394. 8t' optcoov . . . aircb/jLOTos may be rendered : notwithstanding my 
 oath, with particular allusion to 338. Schol. : Kaiirep b^ixoKibs jj.t] eA- 
 &e?v. The expression is not more pleonastic than the Homeric opKov 
 wig® 
 
NOTES. 171 
 
 395. rd<pov Koo'/xova'a, while performing the burial-rites, which, in the 
 present case, consisted merely in covering the body with dust, and pour- 
 ing the triple libation. Cf. 429 seqq. — eVaAAero. The lots were usually 
 placed in a helmet and shaken till one of them fell out. Allusion is made 
 to 275. 
 
 397. Sovpixaiov (to epfxaiov). A treasure or prize found unexpectedly 
 was supposed to be thrown in the finder's way by the favor of Hermes^ 
 and was named after that god. The word was used synonymously with 
 evrvxniJ-oL, good fortune. They are found connected in Plato's Symposi- 
 um, p. 217: epfiaiov rjyTjcdfjLTjv elyai kclI evrvxv^ ifibv &avfAao~T6v, See 
 Stallbaum ad. Plat. Gorg., p. 195. 
 
 399. Kptve /ca£eAeyxe, convict and judge her, as in iEschylus, Eumen., 
 433 : 'AAA 1 ij-€\eyxe, Kp?pe 8' ev&elav dUrju. Comp. also Soph., Ajax., 
 587. — i\ev&€pos, acquitted of the charge, as inf., 445. 
 
 400. dixaiSs eifiL, I deserve ; or it may be rendered impersonally, as if it 
 were SIkcliSv ia-riv ifie a.7nj\\dx^cti rcovSe kclkwv, according to Matth., Gr 
 § 296. — kolkuv means the punishment threatened, supra, 309. 
 
 401. t£ (sc. tivC) rpoiro) ird^rev contains a double question, how and 
 where, as in Aristoph., Plut., 335 : ttS&ev kclI rivi rpoirco, unde et quomodo. 
 Hartung wrongly interperets rpSirw, purpose, for this was sufficiently ex- 
 plained in v. 395. — XajSdov, catching. 
 
 402. The imperf. e&airre, was burying, answers to the question how 
 and where, intimating that she was caught in the act. Cf. 404. 
 
 403. IwUis. Some MSS. ^vvItjs. 
 
 405. aTTZLTras. The order : rbv veitpbv ov <rv air€?Tras [frdirr eivj. 
 
 406. oparai, in the sense of an aorist. See Kiihner's Gr., § 255, 1. 
 A similar connection of the present and aorist is found in Ajax, 31 : <ppd- 
 £ei re Ka^Xwcreu, u retulit et indicavit." — iiriXrjirros = en- 5 avrocpatpcp 
 aXova-a, taken in the very act, is somewhat redundant. 
 
 407. riKOfiev. The king's threats (v. 309) included the whole company, 
 hence the plural. Concerning the ace, ra Seiv eweu/a, see Matthiae, Gr., 
 § 424, 2. Render : menaced by you with those dreadful punishments. 
 
 411. &Kpu>v in irdycou, upon the summit of the hill, from which they 
 could observe the body. Woolsey explains : " /caS-T^eft' e« is a construc- 
 ts pracgnans ; the sense is : sitting and watching from" Matth., 596, 3. 
 — vir-fivefioi does not necessarily mean to the leeward of the body, but aver si 
 vento, with our backs to the wind. Schol. : ovk evavrlov rod auefiov, dAA' 
 iarpaiifxevoi airb rod avifxov, oircos fity (peprj irpbs r^as tj\v ocrfi^v. 
 
 413 f. Man sharply inciting man with harsh reproaches if any should 
 neglect this task. — acpefi-ficroi = afjieX^croi. Comp. 259. ■ — i7rippv&ois. 
 Schol. : Aoi$6pois, v^picrriKols. — Kcucd as subst. convicia. 
 
 417. KCLvfi efraXire, the heat was scorching. — x&oj/bs is the gen. of that 
 
172 NOTES. 
 
 from which any thing proceeds, as in Philoct., 630 : veojs dyovra. Comp. 
 several examples collected by Bernhardy, Gr. Synt., p. 137. Construct: 
 TV(poos aelpas crKvirrbv (airb) x&ovbs — ovp. a%os, a whirlwind raising a storm 
 (sc, of dust) from the earth, a heavenly disorder, that is, one convulsing 
 the heavens, as disease does the body. Boeckh interprets oupduiou as re- 
 ferring to the vastness of the storm, ebi himmelhohes Weh. The view of 
 the Scholiast is more poetical : rb Xvitovu rbv albipa, kc&o rapaacrei avrbv, 
 and is confirmed by the words below, &eiav v6<rov. 
 
 420. iv 5e, and at the same time. For iv used adverbially, see Herm., 
 ad Yig., p. 851. 
 
 421. ij.v(raPT€s, shutting our eyes. The watchman mentions this as an 
 excuse why he and his companions did not observe Antigone's approach. 
 This description of a storm, so violent as to make the hardy watchmen 
 cower, exhibits the unshrinking devotion of the heroine in the strongest 
 light. 
 
 422. tov& ((Tkvtttov), and this storm having subsided after a long time. 
 — iu xpdvy fJ-ciKpw, post longum tempus. Br. as in Philoct., 235. 
 
 423. avoLKbiKvei . . . <f>&6yyov, utters the shrill cry of a bird in distress. 
 Musgr. : maestae volucris. Comp. (Ed. Col., 1610: aKovei <p&6yyov irutpov. 
 The expression KeuTjs evvys — Ae^os is overloaded. The sense : as when 
 she (the mother-bird) sees her empty nest-bed bereft of young ones. With 
 &s understand iriKpa upvis avaKcaitvei. Cf. Horn., Od., xvi., 215 f. In the 
 word Kevrjs the consequence of opcpavov veocrarcop is anticipated, as in Yirg., 
 JEn., iv., 588 : vacuos sensit sine remige portus. 
 
 427. 4k — rjpaTOj and uttered dire imprecations. A rare eximple of 
 tmesis in an Attic writer. 
 
 430. dpdrjv (akin to aipca), uplifted. Schneidewin's supposition, that 
 she carried the pitcher upon her head, is scarcely probable, when we con- 
 sider the violence of the storm which she had passed through. Cf. Elect., 
 54 : ppfxiuoi xepoiv- 
 
 431. x oc " <TL rpio"ir6vSoi(ri, A triple libation composed of wine, milk, 
 and honey (sometimes oil or water, Odyss., xi., 26), was poured three 
 times over the dead, either separately or mixed. Here Antigone brings 
 them probably already mixed in the pitcher. — o-Te^ei, honorat. Electra, 
 53. Schol. : Kocrfxe?, rrepippalvei. 
 
 432. le/jLev&a, we ran thither. Sch. : wpfx^coei/. — vbv is separated by 
 tmesis from its verb. Brunck : irruimus eamque comprehendimus ilico. — 
 ovdhv iKireTrXrjyiuLEvrjv is similar to our expression, nothing daunted. 
 
 434. irp6or&ep — re vvv, the former and the present, adv. used as adjec- 
 tives. Herm., Yig., p. 376. The personal ace. vw <to be supplied from 
 the preceding. Matth., 421, 1. 
 
 436. a/j? 7)d4a)s. So Dindorf and others, instead of oAA* tjSws, found 
 
NOTES. 173 
 
 in MSS. Render : to my joy, and, at the same time, to my sorrow. Comp. 
 Plat., Gorg., 496, 497. 
 
 438. rovs cplAovs, because the watchmen were formerly house-servants 
 of (Edipus. Schneidewin. 
 
 439. \a$e7v, simple for the comp. viroXafielv, to take into account, con- 
 sider. Thucyd., vi., 27 : rb irpay/jia fxei^oj/cas eXafifiavov. Brunck ren- 
 ders : Verum omnia istaprae mea salute minoris pendenda sunt. The inf. 
 is appended loosely, in the same way as in Elect., 1016 : Tlpovoias ouSev 
 av&pctiTTois e(pv icepdos Aafie?v &fAGLvoi> ovde vov crocpov. Comp. 520. Ka%^v. 
 632, 699.— 7re>u/c6. Comp. 38. 
 
 441. <re dr). Supply \4yca or /caAoD, Matth., § 427, or, perhaps better, 
 4pct>T&. Antigone drops her head, not from fear, but from indignation at 
 such rude treatment. Concerning /xrj redundant after verbs of denying, 
 see Matth., Gr., § 533, 3. 
 
 443. Ka\ strengthens the affirmation, certainly I acknowledge. — rb ^ 
 (sc. dpa<ra.i). Cf. Ajax, 96 : k6jx-kos irdpecrri kovk airapvovfiai rb pif\. 
 
 444. Spoken to the watchman. — Kop^ois c\v creavrbv, you can take 
 yourself off, you can go. — $ = ottol. 
 
 445. The gen. curias depends on txev&epou. Bernhardy, Gr. S., 174. 
 
 446. pi) ijltjkos, said imperiously, not at length, i. e., not in a long 
 speech. Concerning substantives used as adverbs, Matth., Gr., 425. — 
 (rvvrSfKas is found in Cod., Laur. A. ; other MSS. : crvvrofxa. 
 
 448. efieWou supply €*5eW, a frequent ellipsis. See Herm., Yig., 
 p. 261. Wunder : cur non noverim. 
 
 450. yap refers to a tacit affirmative, certainly, for, etc. — ri is to be 
 joined with ov = ovri, denoting an emphatic denial. — Ta5e refers to 
 Creon's command, which he dignifies by the term j/6/jlovs. Antigone 
 speaks of it with marked contempt, and intimates that it has no weight 
 with her, since it conflicts with those eternal principles of right which 
 supreme Wisdom and Justice have written in the human heart. In the 
 teachings of the ancient philosophers and poets, Zeus was represented, not 
 only as the "father, king, and master of all" (as in Plutarch., de Isid. : 
 irarepa Kai frcurikia Kai Kvpiov Trdvrw, and Pindar, Isthm., iv., 53 : Zeis 6 
 icavrcw ttvpios), but also as the fountain-head of Wisdom, by virtue of 
 which, in union with Justice, he governs all things. Cleanthes, Fragm. : 
 yj/d>fjL7)s, fj irltrwos <rv Aliens fxera iravra Kvfiepvas (see Rhein., Musaeum, 
 1853, p. 259). By these the moral government of the world was estab- 
 lished. Antigone fearlessly asserts, by word and deed, the paramount 
 authority of their laws, and is ready to sacrifice her life in defence of her 
 faith. Comp. (Ed. Tyr., 865 seqq. 
 
 451. Aiktj is here the associate of the powers below, because she pro- 
 tects the rights of the dead, and demands the fulfilment of those duties 
 
174 NOTES. 
 
 toward them which all men in their turn require. Cf. iEsch., Fragm., 
 47: Kal rod &av6vTos rj Sikt) irpacrcrei k6tou. Ajax, 1365. She is also 
 called the coadjutor of Jove. (Ed. Col., 1382 : A'ikt) ^vveSpos Znubs apxai- 
 ols v6/ulois. Cicero, Nat. Deo., i., 42 : est enim pietas justitia adversum 
 Deos. The funeral rites are hence termed Si/cam, justa. 
 
 452. j/SfAovs, with particular allusion to the laws or consecrated usages 
 concerning sepulture. Concerning the paramount sacredness of these 
 observances, see Potter's Gr. Antiq., vol. ii., p. 161. 
 
 453 ff. The sense : nor did I imagine that your ordinances were so 
 mighty, that you, a mortal, coidd overpower the unwritten and immutable 
 laws of the gods. — vwepd pajj.e7j/ (uirepTpex^), to outstrip, overrun, is a term 
 borrowed from the race-course. Observe the anacoluthon: instead of 
 continuing the simple contrast between 'the validity of the laws of the 
 gods and those of Creon, Antigone modifies the construction by intro- 
 ducing &vr)Tov uvtol, as if to exhibit his impotence still more forcibly. 
 Supply the pron. ce from the preceding to, <ra. The conflict of authority 
 expressed here, between the divine law and human enactments, is the 
 hinge upon which the whole tragedy turns. 
 
 456. ov — ti, same as above, 450. — ye heightens the force of the sar- 
 casm. The sense : for these are not just of to-day or yesterday (like 
 yours), but have existed from everlasting. The present tense £77 is em- 
 ployed because those laws are still in force. — vvv /cax^es. This phrase, 
 like x&* s Kal Trpdorjp, irp&nv Kal x&* s > was formed after the Homeric ex- 
 pression, x& L (<* re Kal irpcai^a ; Lat. : nudius iertius. Iliad, ii., 303. 
 
 457. e| orov (xp6vov), at what time, that is, how anciently, referring to 
 the date of their origin. — i<pdvr], were made known, i. e., were revealed, 
 (paivscr&ai was used to denote the manifestation of the divine will in sac- 
 rifices. Plutarch, Arist., p. 329 : tcpdvn ra Upd. 
 
 458. tovtuv refers to v6/xi/j,a; the gen. depends on Uktiv. The pen- 
 alty of laws is the punishment inflicted for their violation. The sense 
 is : / did not intend to pay to the gods the penalty of (violating) these, from 
 fearing the judgment of any man. — eV &eoi<ri. The preposition is unneces- 
 sary, the simple dative being used in such constructions. Comp. Elect., 
 538 : ovk efxeWe roVSe poi Scocetj/ 5i/n?z/. Bernhardy, Gr. Synt., p. 213. 
 
 461. rod xptvov Trp6(T^€i/ 9 before my time, i. e., prematurely. The ex- 
 planation of the Schol., rod .elfxap/neyov $7\\ov6ti, is inadmissible, for, ac- 
 cording to the ancient Grecian belief, to die before the time allotted by 
 Fate was simply impossible. Comp. 236, 1338. iEsch., Prom., 753. 
 
 462. avr\ that, referring to the untimely death. Schneidewin, from 
 Laur. A., and Par. A., edits : avr, on the contrary, which is unnatural. 
 
 463. eV iroK\. kolkois (fj, etc. So Io, in iEsch., Prom., 750, desires to 
 escape from the ills of life : icpeTcrcrov yap elcrdirai; frcwetV 2) ras airdaras fjfii- 
 
NOTES. 175 
 
 pas ira(rx€iv nanus. Pr. (754) : aurt] yap r t u av irrj/jLaTav airaWayf], — $epa, 
 for the mid. (peperai, receive. 
 
 466. Trap* ovdev a\yos (tcrri), is a grief of no moment. Schol. : ovdefxia 
 Xvirv. Coinp. at 85. 
 
 467. 7]V(Tx6p.7]v (avtxoixai), as in Par. A., is defended by Bo^eKh; 
 others have itrx^W- The sense : if I had suffered the Cvr^lv oj my own 
 mother's son (to remain) unburicd, I should be distressed at that. — bavSvr* 
 pekvu. Cf. 26. 
 
 468. ro^Be 8 s ovKa\y. is an emphatic repetition of the thought of 465. 
 
 469. Spuca Tvyxavew — hpav, stulte facer e. 
 
 470. crx^v ri, very nearly, or quite. — bcbXiCKOLvcc, I incur the charge 
 of am taxed with. The alliteration, fxccpa fid>py ficapiav, expresses bitter 
 contempt. 
 
 471. rb yhvr\\xa = y\ (pvcris, disposition, temper. The order: rb yiv- 
 vriixa rrjs 7raid6s dyXo? cDfxbu (ou). — drjho?, is manifest, intrans., as in v. 20. 
 The idea is, that Antigone has inherited her intractable temper from her 
 father. 
 
 473. Creon's reply is elicited by the last words of the Chorus, that 
 Ant. knows not how to yield : But know that over-stubborn tempers fall 
 soonest, i. e., break rather than bend, by which he is naturally led to the 
 following comparisons. Comp. Ajax, 649 seqq. 
 
 475. birrbv in irvp. TrsptaKeXTJ, baked to excessive hardness, so as to be 
 brittle. Wunder : ita coctum igne, ut sit durissimum. — SpavcSivra /c. 
 payivra irXe1(rr, the easiest shivered and snapped. The opt. with av, ex- 
 pressing a truth derived from experience, is a milder expression for the 
 indicative. Comp. 314. Post's Parallel-Gr., p. 367. 
 
 478. oif yap ifareAei. In the preceding examples, illustrating the pos- 
 sibility of breaking Antigone's proud spirit, Creon seems to have had in 
 mind also the necessity of doing it ; to this necessity yap refers. — itareXei. 
 Hesychius, extern. The sense : for it does not befit him to be insolent, who 
 is the slave of his neighbors. The expression is strongly indicative of the 
 passion which Antigone's contempt of his authority had aroused. The 
 term BovXos could not be employed concerning a princess of the blood, 
 except in spite ; but, if it was the design of the poet to hold up tyranny 
 in the most odious light to his countrymen, as appears probable, no lan- 
 guage could be more skilfully chosen. 
 
 480. avrri, that woman, not deigning even to address Antigone. — 
 vfiplfciv, understand kjxi, for Creon considers her offence a personal in- 
 sult. Comp. 309. — t6t€ is limited by virspfiaivovcra = ore virepefiaive. 
 
 483. dedpaftvTav yeXap, to exult at having done it, chuckle over it. Con- 
 cerning this use of the participle, see Matth., 555. Hartung renders: zu 
 hbhnen ob der TJiat. 
 
17G NOTES. 
 
 484. ^ vvv, Schol. : uurcas S77, really now. 
 
 485. ravr Kparn, that arrogated power, set up in opposition to, or 
 over, the legal authority. — avarl is explained by the Schol., ad Eurip., 
 
 •it/od., 1357: iivev arrjs kou fi\d fin s. The sense : if this presumption is to 
 remait< : l o her unpunished. 
 
 486. a56Aq)//SV^ c - irais. The reading SfxaLiuLovea-Tepa is approved by 
 Hermann, Dindorf, anu\Boeckh : others, bixaL^ovearipas. Creon speaks 
 with the extravagance of passion... but if she is my sister's child, or even 
 nearer than all my kindred. Hermann : " &ei)? sczgris meae Mia est sive 
 tota mihi domo mea propinquior ." — ttolvtos Zrjvbs 'EpKetov. The explana- 
 tion of the Schol., irdprcop twp ot/ceiW, the whole household, or family, is 
 admitted to be the true one. Also Eustathius : robs ip olay irdpras dr)\o7. 
 Zeus was especially adored as the protector of the family circle, and in 
 this relation was termed &ebs i<p£<TTios or hettrrtop and €pKe?os. His altar 
 stood in the open court. Comp. Eustath., ad Odyss., xxii., 335 : ficofxbs 
 5e epicdov Aibs 4'£o> irov irepl tif]v avAr]P a&pios eluai doKet . . . ip $ e&vop 
 Ail icpSpw rod epicovs. This court, av\-f}, was the usual place for family 
 gatherings. Comp. also Herod., vi., 68. 
 
 488. ovk aAvj-erop, etc, shall not escape the most terrible fate. For the 
 gen. with this verb, Matth., 352. Cf. Elect., 627: &pd<rovs rov& ova 
 a\v£€is. 
 
 489 f. Construct : icrop incur too /j.ai Kelpnp (rb) fiovAsvcrcu rovde rd(pov 9 
 for I charge equally upon her the planning of this burial. — fiovAevcrai, 
 verb, subst. is the ace. of the crime. Matth., 421. The article is often 
 omitted, id., § 542. The position of the infinitive forbids us to consider 
 it merely as epexegetical of rovde rdfyov, as Schneidewin and others ex- 
 plain it. 
 
 491. Spoken to his attendants. — yap eldop gives the reason why Creon 
 believes Ismene the accomplice of her sister. We must suppose that she 
 was aware of Antigone's detection, and was unable to conceal her anguish 
 and despair on her account. 
 
 492. ou&' iirrjfioAop (ppev&j/, nee compotem mentis. Comp. a similar 
 tautology, Herod., iii., 25 : ififxap-fjs re icbp kol\ ov (ppev-fjpns. JSsch., Prom., 
 444. 
 
 493. Constr. : 6 frvphs tcov rexPV^P^P pyficp op&as ip ckSto} <pi\e? 
 TTpSoftep rjpri(r&cu kAottsvs, the guilty conscience of persons secretly plotting 
 something wrong is accustomed to betray itself beforehand, i. e., before they 
 are accused and convicted of it. — fjindep bpfrcos = ri jj.t) opfroos. Schol. : 
 t: Kaicbp. — KAoirevs. Wunder explains: auctor facinoris occulti. 
 
 495. x& Tav (— K( & otolp), especially when any one detected in a crime 
 afterward wants to gloss it over, that is, justify it, as Antigone had done. 
 498. ovdep, understand &e\a> fisiCop. 
 
NOTES. 177 
 
 500. ^5' apeo-frein iroTe, and may none ever become agreeable. For 
 the neg. fi-f) with a wish, see Matth., § 608, 4. Comp. v., 686. It is here 
 equivalent to /xndtv. The verb apeo-iceiv, especially the aor. api<xai (comp. 
 the cognate dpcai), has sometimes a causative signification, to make pleas- 
 ant, Horn., II., ix., 120 ; hence the aor. pass, apea-^rjuai may be rendered, 
 to be made agreeable, or, simply, to please. Cf. Herod., vi., 128. Herm., 
 Yig., 195. 
 
 503. a\na§e\<pov. Comp. v. 1. 
 
 504. tovtols tovto, etc. The sense is : this act might be said to be ap- 
 proved by all these (viz., the old citizens composing the Chorus), if fear 
 did not shut their mouths, i. e., they would express their approbation if 
 they were not afraid. The MSS., ey/cA-eftroi ; Dindorf, iynXijoi. 
 
 506 f. These lines are thought by the Scholiast to be spoken ironi- 
 cally ; they rather intimate that it is useless to contend with a tyrant, 
 whose will settles every question. 
 
 508. Creon disregards the last reflection, and replies to Antigone's 
 assertion that the burial of her brother was secretly approved by the cit- 
 izens. He denies that the Thebans regard it as a praiseworthy act. — 
 bpo.s, look upon it in that light. 
 
 509. co\ 5 J inrziWovo-iv crSfxa (var. v-kiWovgiv). The sense : they com- 
 press tlie mouth, they truckle to you. It is a repetition of the thought 
 expressed above, 505, yX&crcrav ijKXeicroi <p6$os, though in more contempt- 
 uous terms. This verb is properly used of an animal that cringingly 
 drops its tail between its legs, as Euripides, in a fragment of his (Edipus, 
 says of the conquered Sphinx : Ovpav 8' inreiXAovo* vrcb Xsovtotzovv fid<riu 
 e/ca^-e^eTo. Here it is to be figuratively understood of the submissive 
 attitude of the citizens present, who crouch to their imperious master, 
 and suppress their real sentiments. See Buttmann's Lexilog., ii., p. 150. 
 Hence the Schol. correctly : yiyvdxTKovcn kou ovtoi • 5ia 8e ere to (rr6fxa 
 (Ti/OTeAAoven kcl\ (TKaircccriP, ir) arpecpovcri robs Sia rod arSfxaros \6yovs. 
 
 510. Creon, however, chooses to believe that their respect for his will 
 is sincere : but are you not ashamed of taking a stand different from 
 them? — (ppovets is probably to be understood in its political sense of 
 assuming a position, holding an opinion. Comp. v. 375. — et = on, that, 
 after verbs denoting an affection of the mind, Herm., Yig., p. 504. 
 
 511. yap refers to an implied JS r o. ovd. alcrx-i it is no shame. 
 
 512. 6 Karavriov fravevv, referring to Eteocles. Supply i<rr\. — x w * = 
 real 6. 
 
 514. ttws SrjTa . . . how is it, then, that you render him (Eteocles) an 
 impious respect ? — ri/xas (== riveis) governs x^P LV as an acc * °f kindred 
 signification. Matth., § 408, 3. Cf. Ajax, 687 : fioi rdBe Ti/xare, haec mihi 
 honoris causa tribuite. Wunder cites Pindar, Pvth., iv., 480. Creon's 
 
178 NOTES. 
 
 meaning is, that the respect shown to Polynices was a gross insult to 
 his brother. He judges of it from his own political stand-point, 207 
 seqq. 
 
 515. oh jjLapTvp7}(rei — v£kus. The sense: the dead (Eteocles) will not 
 confirm that, i. e., he will disavow that sentiment. 
 
 516. €? roi is elliptical. The full expression would be fxapTup^cei p.iv- 
 toi el, etc. Kender : certainly he will, if you honor him only equally with 
 the malefactor. — t$ 5i>s(re/36?. See note to 287. In Creon's eyes rebellion 
 was tantamount to the blackest impiety. 
 
 517. ob — ti is a decided negative, like the Fr. ne— point ; comp. 450. — 
 ydp implies a preceding a-cpe Tifxco ef tcrov. Polynices was equally entitled 
 to the royal dignity, and consequently to an honorable interment. His 
 rebellion was not that of a slave against his master, but the prosecution 
 of a rightful claim. Comp. (Ed. Col., 372 seqq. 
 
 518. irop&wp with wAero understood. 
 
 519. ojjlws, nevertheless. Antigone thinks that death settles all differ- 
 ences, and requires his laws to be equally observed under all circum- 
 stances. So Lucian (Dial. Mori, xxv., 2) : 'Iffon/mla yap iu "AiSov iced 
 tifxoioi anaures. — Iffovs. The MSS., except La. : tovtovs, which Hermann 
 retains. The Scholiast : ypd<perai "icrovs. Aeyei 5e rb frdirTew. 
 
 520. After \axeiv understand rovs vSfxovs. The inf. limits the adj. 
 ?cros> according to Matth., 534, b. — iVoy, instead of the impersonal iaov 
 hrrl. Several MSS. : Xafislv ivov. Hermann explains : Bonus, inquit, 
 non par est malo ad consequendum ea, quae-debita sibi poscunt mortui. 
 We invert the expression : it is not just that the bad should obtain them 
 equally with the good. 
 
 521. Who knows whether such principles are deemed pious in the world 
 below ? i. e., whether this invidious distinction is justified in the world of 
 spirits. KaTwdrev = Kara, as in v. 1070 : r&v Kdrabev frewi/. Philoct., 
 28 : '&vw&ev ?) Koirco^ep. — evayrj = eixrejSr). 
 
 522. Creon believes in a continuation of the brothers' hostility after 
 death, contrary to the popular belief, (Ed. Col., 954. 
 
 523. A master-stroke of truth and beauty, defining the proper sphere 
 of woman amid the angry contentions of the sterner sex. The sense : 
 it is not my nature to hate with those that hate, but to love with those who 
 love. Concerning the inf. with Zcpvv, see Matth., § 531. 
 
 526. Kai fir)v, atqui. — 5j5' (sc. ia-ri), Comp. 384. Ismene is brought in 
 at Creon's command, see v. 491. 
 
 527. elpofjievr), instead of \ei$oix£wr). Horn., Od., xvi., 214 : tidfcpva \ei- 
 fltov. Hartung adopts the emendation of Wex : ddxpv Xzifioixei/r]. The 
 sense : weeping tears of sisterly affection. 
 
 528. ve<}>e\r) 5' . . . al<rx^i y a cloud upon her brow disfigures her 
 
NOTES. 179 
 
 flushed countenance. Cf. Eurip., Hippol., 173 : Grvyvbv ocppvcav v(<pos. 
 Hor., Epist., i., 19, 94: derne supercilio nubem. — atpaTosy denotes the 
 effect of weeping, which causes the blood to rush into the face. — p4&os is 
 an iEolic word for irpovooirov, vultum. Eustath, 1090 : AtoAels 5e {x6voi 
 Kara robs TraXcuovs rb irpovomov pe&os KaKovcriv. 
 
 530. reyyovo* ev&wa irapeidv, bedewing her lovely cheek. As a cloud 
 upon the mountain-summit dims the landscape by the falling rain, so 
 sorrow darkens Ismene's face, and sprinkles tears down her usually fair 
 cheeks. — r4yyov<r > 9 frequently said of the dew. Eurip., Hippol., 127 : 
 dpocrcp reyyovcra. Ajax, 1207: Bp6crois reyyofxevos k6(jlcis. iEsch., Pers., 
 540: hattpvcri k6\ttovs reyyovo* ; of tears. iEsch., Prom., 402. 
 
 531. Creon turns to Ismene. — crb 5e distinguishes her from her sister. 
 But you, who, lurking in my house, like an adder, have unobserved been 
 sucking my blood. — v(p€ifieurj {ixpi-qfxi), in reference to her subdued and 
 gentle manners. The Scholiast remarks that the adder, stealthily creep- 
 ing up to the feet, sucks a person's blood. 
 
 532. ou5' i/jLavfravov, etc., is loosely appended to the relative sentence. 
 Boeckh remarks that the Greeks do not long continue the relative con- 
 struction, but change to the oratio recta. See also Matth., Gr., § 469. 
 Brunck renders : atque adeo inscius geminas pascebam furias, regnique 
 mei pestes. Concerning the nom. part, agreeing with the subject of ly^iv- 
 3-cwoy, see Hermann, ad Yig., p. 769. Boeckh retains Su* aras, found in 
 most MSS. Comp. (Ed. Col., 530 f. : dv e£ ifxov fieu ircude, dvo 5 s &ra. 
 The abstract for the concrete. 
 
 534. kolL crb — (f>-f)creis, will you also confess, as Ant. had done, 443. — 
 s |o/xe?. 2d sing. fut. of £%6fjLj/vfAai. The sense : or will you solemnly deny 
 any knowledge of it. — /jlt]. Comp. 263. 
 
 536. eftrep rjb^ dfioppo&e?, if she there agrees to it. Ismene cannot tell 
 a downright falsehood, and, not knowing whether Antigone has implicated 
 her, she qualifies her declaration in such a manner as to show her desire 
 to conciliate her sister, and to share her fate. 
 
 537. (pepca, the prefix £vjj. to be supplied. The gen. rys curias depends 
 on fv^ueTiVx&n 
 
 538. rovro, supply iroieiu. Allusion is made to w. 67, 69. 
 
 541. £v/jLir\ow, a nautical term, means here a sharer. Schol. : Koivca- 
 vbv. The language suggests the image of a sea of suffering (ireXayos 
 ird&ovs) which Antigone was about to traverse. We may compare the 
 Shakespearian expression, a sea of troubles. The figure is well known 
 among the tragic poets. (Ed. Col., 1746. JEsch., Prom., 746 : neXayos 
 arrjpas dvris. Eurip., Here. Eur., 1090: kcxkcou 5e ir£\ayos els r6§' tfyayss. 
 For the nom. part, with a!<rxvvo[jLai, see Herm., ad Yig., p. 769. 
 
 542. j-uvi<rropes (d<xi) = avviaavi. The sense is : Pluto and those in 
 
180 NOTES. 
 
 the nether world (including Polynices) are aware whose act it is. Antigone 
 implies that that companionship is no longer possible, because the divini- 
 ties of the other world, to whom the facts are known, would not accept 
 the sacrifice. — £y, pi. for sing., as frequently. 
 
 543. iyk is emphatic, I for my part, and intimates that the gods be- 
 low must also regard Ismene with aversion. 
 
 544. fitiTot aTL/j.d(rr)s, etc., is an earnest entreaty. The sense is : do 
 not deem me too unworthy to die with you, and to honor the dead with burial 
 rites. The art. to serves to specify the disgrace inflicted. Comp. Elect., 
 132 : ou5' e&eAo? irpoXiireTu r6$e, fir] ov top ijj.hv GTOvay£ v iraTtp* #&Aioj'.— 
 jjl)) ov is a strengthened negative, the force of which will appear in a 
 stricter translation : do not inflict upon me the disgrace of not dying with 
 you, etc. — ayvicrai has reference to the consecrated bath (ayvbv AovrpSv) 
 by which the dead were purified previous to interment. This office was 
 usually performed by the nearest female relatives. Comp. Eurip., Phoe- 
 niss., 1339, 1681, and inf., 901. Ajax, before committing suicide, says 
 (654) : etpi irpbs Xovrpa &s \fipa& ayviaas epa, etc. 
 
 546. Koiva = <rbv. — iroiov areavTrjs, make your own, i. e., assume as 
 your own act. — apKecca &ut]o'kovo' iyd>, my death will be sufficient. Comp. 
 (Ed. T., 1061. 
 
 549. Antigone means : as you preferred Creon to me (cf. 47), he will 
 tell you how to live without me. 
 
 550. ri tout aviys fi, cur sic me enecas nulla cum utilitate tua? Her- 
 mann. 
 
 551. ahyovffa fihu Srjr, I am just as much pained that I must laugh at 
 you, viz., for claiming now a share in this affair. The expression yeAw 
 yiXcara h coi = iyyehw (Tot, irrideo iibi. The prep. eV is redundant. 
 Cf. Ajax, 957 : yeAa 8e roTcrSe &x e(TlJ/ ^oKvv y4\ccra. JEschyl., Choeph., 
 222. 
 
 552. a\\a vvv, at least now. Cf. Elect., 411 : Dicit hoc Ismena : si 
 ante in sepeliendo fratre tibi adjutrix nonfui, at eerie nunc quomodo adju- 
 vare te possim, die guaeso. Wunder. See Herm., Yig., p 471. 
 
 554. a/jLirXaKO) signifies deprivation. Comp. 910. The sense: must I 
 even be excluded from sharing your death ? — nal belongs to the whole ques- 
 tion. Boeckh : audi theillos soil ich deines Todes seyn. 
 
 556. aAA* ovk (eixS/mriv (rju) eV appr}Tois, etc. But I did not choose it 
 in my unspoken thoughts, that is, in my heart I chose death with you. 
 Antigone alludes to the choice made by Ismene in the Prologue, 66 seqq. 
 Ismene in reply intimates that she had not acted in accordance with her 
 secret convictions. She had obeyed the king's decree from force, not 
 because she was really false to her duty. Comp. 78. 
 
 557. This iu a much-disputed passage. Some, with the Schol., read : 
 
NOTES. 131 
 
 ixkv (Toi = creain-f?. You seemed to yourself to judge rightly, but I to others. 
 Hermann and Boeckh retain the vulg. rots, and understand it as an abla- 
 tive, referring to Isniene's reasons for submitting to the civil authority, 
 making rots 8 s refer to Antigone's course in obeying the divine law. This 
 is probably the best interpretation. We may construct the sentence 
 thus : ab fiey idoKeis Ka\cos (ppoveTv rots cots, eycb Se iSoKOvv (ppoveTv rots 
 ifiois. You thought you took the right ground by your way of reason- 
 ing, and I by mine ; briefly, you thought you were in the right, and I 
 thought I was. See note to 510. 
 
 558. kol\ ^V? atqui, and yet. Matth., 621. Herm., ad Yig., 837. 
 Yet our error is equal, i. e., we are equally in the wrong, though in differ- 
 ent ways. 
 
 559. av fx\v Cfjs, etc. Antigone means that the consequences are very 
 different. You live, while my heart has long since been dead, so that I might 
 benefit the dead ; that is, I have long since renounced life so that I might 
 benefit my deceased brother. See 71 ff. Schneidewin wrongly refers 
 this to the time of her condemnation to death. 
 
 561. rob ircude. See note to 21. The ace. for the gen. dual, rolu iral- 
 doiu, as in (Ed. Col., 878. 
 
 562. aft ou to. TTpwT t(pv, from the day of her birth. Brunck : alteram 
 vero amenteiri natam esse. 
 
 564. vovs, sense, refers to &vovv. The sense that has grown up by na- 
 ture does not abide with those in trouble, but is unseated, deserts them. 
 Hoc ilia dicit, etiam qui ante recta mente usi sint, rebus adversis pertur- 
 batos prava consilia sequi. Hermann. Ismene makes this apology in 
 her own behalf, in reply to Greon's charge that she has just gone crazy, 
 and hopes thereby to appease his anger. 
 
 565. <ro\ yovv, sc. ovk epeve. — crvv kolkols, a poet, plural, meaning An- 
 tigone. For the thought, comp. Theogn., 35, cited by Xenophon (Mem., 
 i., 2, 20) : tju 5e KaKoicri a'vfx/ji.ia'^'vs, ctaroA-eTs Ka\ rbv iovra v6ov. 
 
 566. Tt yap — PidbcrifMov is similar to v. 548. What fa life worth to me 
 alone without her ? Ismene, in her agitation, involuntarily asks Creon 
 the question that Antigone had sarcastically advised her to. — yap has 
 not its ordinary meaning in a question. The Greeks used it as an inter- 
 rogatory particle, like the Lat. nam in quisnam, ubinam, etc. See my 
 note to Dem., Phil., i., 10. Herm., ad Yig., p. 826, says it answers to the 
 Germ, denn, then. Similarly the French use done. For ^iuxti/jlop, cf. 
 Herod., iii., 109. 
 
 567. TJSe is the object of \4y\ used materialiter, as it is termed, after 
 the preceding TrjsBe. This demonstrative could properly be used only of 
 present and living persons. Antigone is now regarded as already dead. 
 See Matth., 279. 
 
182 NOTES. 
 
 568. wjj.<pe7a = yv/x(pr)p, bride. Antigone was betrothed to Hsemon, 
 the only surviving son of Creon. 
 
 569. Creon's answer to this touching appeal is unfeeling and coarse. 
 The cold statesman makes no account of the tender ties that bind two 
 human hearts together, but regards marriage simply as the means of pre- 
 serving the race. It is another offence against humanity for which he is 
 made afterward to suffer. Comp. a similar metaphor, (Ed. Tyr., 1210. 
 
 570. 7)p/j.oa/x€ua, neut. pi. used impersonally. The sense : there was 
 no match so well-fitting to him and her. No two persons harmonized so 
 well in character and position. 
 
 572. & (piAratf A'i/jlwu ... I follow Dindorf and Boeckh in assigning 
 these words to Antigone. "A Greek maiden," says B., "could not say 
 <plAT<x& of one to whom she was not affianced." In the MSS. this verse 
 is generally attributed to Ismene. In tne Aldine ed. it is spoken by An- 
 tigone, to whom only the following verse could properly be addressed. 
 
 573. oiyau ye \vire7s, etc., nimis tu molesta mihi es cum nuptiis tuis. 
 Comp. Ajax., 589, 1147. 
 
 574. This question of the Chorus reminds Creon that he cannot wreak 
 his vengeance upon Antigone without at the same time blasting the hap- 
 piness of his own son. 
 
 575. Instead of e<pv, Cod. La. has e^ol. 
 
 576. dedoy/jiev for he^oyfxivov iarrl, it is resolved. Comp. 570. (Ed. 
 Col., 1431. — m eoiKe, sc. fxoi. 
 
 577. /cat cot ye koluol. It is usual to govern these datives by SeSoyue- 
 va, supplied from the preceding ^erse. This appears to be a forced inter- 
 pretation, inasmuch as the Chorus above (574) had decidedly intimated 
 its disapprobation of this measure, cot ye SeSoyaeV £(TtI would therefore 
 not be true in respect to the Chorus. I prefer, with Wunder, to regard 
 these words as spoken in answer to the half-query contained in ws eotAce, 
 the same verb being understood : it appears so to you, and to me too, i. e., 
 your impression is correct. — pdj rpifias en is a stern command : no more 
 delays. Supply iroietr^ or some similar verb. A frequent ellipsis : comp. 
 Aristoph., Acharn., 345 : fit] jjlol 7rp6<pa(Tiu. Wasps, 1179 : /jltj jnol ye /xv- 
 &ovs. Demos., Phil., L, 19: fi-ft fxoi /mvpiovs £evov$. — viv, pi. instead of 
 avrds. 
 
 578. e/c rovde, henceforward. 
 
 579. yvvouKas efocu, must be women, that is, must be kept in their 
 places, within-doors. — fiyd' aveifievas is added for greater clearness, and 
 not roaming at large, lit. let loose. Cf. Elect., 516. Musgrave justly re- 
 marks : " Sarcastica phrasis, qua significat eas indecore, nee pro honesta- 
 rum mulierum more, extra aedes vagari." In the glimpse here afforded 
 of the manners of the early Greeks, we perceive a trace of the Oriental 
 
NOTES. 183 
 
 notion that seclusion is the best safeguard of female propriety. The 
 proper sphere of woman was the house, and it was deemed unfeminine 
 to cross even the threshold, except in case of necessity. Stobaeus Serm., 
 74, 61 : ffiia 5e yvvaiKos to olKovpe?v koX £v§ov fidveip, a rule which was yet 
 more rigidly observed in the case of unmarried daughters. Cf. (Ed. Col., 
 343, and particularly Eurip., Oresi, 108 : els uxXou tpireiv irap$£voL<riv ob 
 kcl\6v. 
 
 580. Connect, irixas rod filov. See Matth., § 338. — The sisters are 
 led into the palace ; Creon remains on the stage during the singing of the 
 following stasimon. 
 
 582. Strophe 1. — Moved by the calamity which has befallen the daugh- 
 ter of (Edipus, the Chorus reflects upon the origin and relentless power of 
 the far] among men. When this has once entered a family it never leaves 
 it, but is renewed with each generation, until the whole race is extermi- 
 nated. It is compared to a wave of the sea which increases in depth and 
 extent till it stirs up the slimy bottom and breaks against the distant 
 shores. — zvdai/Aoi'es — alcau. Happy they whose life is devoid of misfortune I 
 For fryeucrros, with the gen., see Matth., 343. Wunder cites Plato de 
 Rep., p. 576 : iXev&eplas 8e KaX (piXias aXr\bovs rvpavviK.7] (pvcns ael cryeu- 
 
 GTOS. 
 
 584. Constr. : yap ovdev &ras iXXe'nrei (tovtois) oTs BSfios av ffeicdTJ 
 freeze*/, for no sort of calamity is wanting to those ichose house has been 
 shaken by divine power. The divinity here alluded to is the evil demon 
 of the family : wXectlolkos 3-eos, irarphs 'Epivvs, ircudoXeTcop 5' epis. -<£sch., 
 S. c. Th., 720-26. Comp. id., 324.— <re«r£f}. Comp. 163, note. 
 
 585. iirl irXrj&os yeveas epitov, stealing upon the whole of the race, suc- 
 cessively, equivalent to epirou e/c yeveas is yevedv. The part, ep-rrou assimi- 
 lates itself to ovfcv, not &tcls, as we should expect. Cf. 296. 
 
 586. Construct: ojaoiov &o~tg ttSvtiop olBfia KvXlvSei KeXawav kcl\ dvsd- 
 ve/jLov &?va fivcrcSfrev, orav dvsTrvSois ©prjcrcrcuo'iv irvoais (avrb) i7ri$pd/jLr) 
 vcpaXou epejSos. It may be rendered : like as a wave of the sea, when by 
 violent Thracian blasts it penetrates the submarine depths, rolls up the dark 
 and turbid sand from the bottom. I adopt Schneidewin's emendation, 
 ttSptiov, instead of the vulg. irovriais, to avoid the overloading epithets. — 
 ®pya-(rai(nv. Thrace was anciently called the home of storms. Horn., 
 II., xxiii., 230. The JEgean sea is here meant, upon which the north winds 
 were proverbially violent. For the expression KvXivSei KeXcuv. &?va, 
 comp. Isaiah, lvii. 20 : " The wicked are like the troubled sea, whose 
 waters cast up mire and dirt." Virg., Georg., iii., 240 : ima exaestuat 
 unda, Yorticibus nigramque alte subvectat arenam. — Svsdvetxov is explained 
 by the Schol. : r)]v \nrb avijxcav rapax^^av. . 
 
 591. avTiirKriyes, wave-beaten, as in (Ed. Col., 1240: Kv/xaroirXi]^ a/cra. 
 
184 NOTES. 
 
 Observe the transition from the calm and solemn measure in the begin- 
 ning to the more vehement one adapted to the sense. 
 
 Antistrophe 1. — The general truth enunciated in the preceding 
 strophe is now illustrated by the example of the house of Labdacus, in 
 which woe follows woe without hope of release to the race, since now the 
 last root of the stock is to perish by folly and infatuation. 
 
 593 f. I see the ancient icoes of the Labdacus family following after the 
 ivoes of those who have perished. Hermann : " Hoc ille dicit : antiqua 
 Labdacidarum gentis mala video defunctorum mails addita. Resuscitari 
 enim antiqua mala novis et primi sceleris poenas iterum iterumque reno- 
 vari." — ir-fifiara iirl iri\^a(n denotes a continued series (Matth., 402, n. 2), 
 expressed, however, in an inverted order. He says, I see the old evils 
 superadded to the present ones, instead of saying, I see the new succeed- 
 ing to the old. Cf. iEsch., Sept. cont. Theb., 740 : ^n ir6voi dSficai/ vioi 
 7ra\cuo7cri cri^/uyeTs /ca/cots. ccdamitates novae prist'mis gentis malis ad- 
 mixtae. — (p^trwv is Hermann's emendation, instead of the vulg. (pSifxevayy. 
 It is considered to refer directly to Eteocles and Polynices, and more re- 
 motely to (Edipus and Jocaste. 
 
 596. ov5 s aira\\d(T(rei yzveav yivos, generation does not free generation, 
 i. e., one generation does not redeem another from similar miseries. 
 Brunck correctly: "nee parentum aetas miserias exhaurit ut iis proge- 
 nies libera sit." — yeueav yevos, different forms with the same signification, 
 as in 1067 : vinvv vsupoov ; 1330 f. : a/xepau afiap ; Ajax 475 : irap ^/xap 7]{iepa, 
 — aAA* ipe'nrei 3ea)j/ ris, etc, but some demoniacal power overthrows it, and 
 grants no release. — %x*i is used in the sense of Sidaxri, as in the phrase 
 ix* lv avyyv&ixnv rm. Cf. Herod., 155, which, according to Yiger, Gr. Id. 
 252, is cdicui veniam dare = cvyyiyvclocrKeiu, The subject is ris &e£j>, 
 having reference to 584, freeze*/, where see note. Hermann without ne- 
 cessity supplies ra nana as the subj. of e^ef. — \v<riv is used for %k\v(Tiv, 
 
 SC. KCLKtoV. 
 
 599. vvv, but now, lately. Germ. : so eben, in the sense of apricas. 
 Herm., Tig., 425. — wrep co^aTa? plfas ; a Dor. genitive, over the last 
 root, meaning Antigone, by whose union with Hsemon it was hoped that 
 the Labdacus dynasty might be restored. She calls herself, infra, 941, 
 the last of the reigning family. Comp. 895. The Schol. : %$\a<TTev avco 
 Tijs piCf)s. 
 
 600. <paos is the light of hope, promising deliverance from the heredi- 
 tary evils. Similarly Eurip., Iphig. Taur., 855, speaks of Orestes as cpdos 
 dSfJLois. — ireraTo, had streamed, or spread. 
 
 601. av, now again, expresses surprise at the sudden and unexpected 
 blow. The particle has the force of a copula, — kcit — afia, separated by 
 tmesis, is interpreted by Hermann, obruit. The sense : now again this 
 
NOTES. 185 
 
 {hope) the fatal dust of the infernal gods has cut off, or extinguished. — 
 k6vls is the reading of the MSS., and defended by B. and Herm. Many 
 prefer ko-ttls, as being better suited to the figure. But if viv refers 
 to (pdos, as the construction seems to require, it might very properly be 
 said that this light was extinguished by the dust which Antigone had 
 thrown upon her brother's bloody corpse, and by the imprudent lan- 
 guage and fatuity of mind which had sealed her doom. Comp. 480 
 seqq. 
 
 Strophe 2. — Passing from the picture of hopeless ruin wrought by 
 the arrj in the family of (Edipus, the Chorus adverts in general terms to 
 the amazing audacity of the man who should aspire to grasp the power 
 of Zeus, the invincible and eternal ruler of bright Olympus. The impo- 
 tence of man is placed in strong contrast with the divine omnipotence, 
 which reveals itself in the inevitable punishment inflicted upon the inso- 
 lent transgressor. Such is the fixed law of all time. This portion of the 
 ode is obviously pointed at Creon, and expresses a vague presentiment of 
 the evils which his impiety is about to draw upon him. 
 
 605. reau for cr^v. The sense is: thy power, Jupiter, what mortal 
 would presumptuously aim to grasp ! In an interrogative form the Chorus 
 expresses its astonishment that any man could conceive such a wish. 
 For the omission of av, with the optative, see Matth., 514, note. The 
 meaning of naracrxoi may be judged of by a comparison with 455. Both 
 passages refer to Creon's endeavor to put down or set aside the divine law, 
 and to make his will supreme. Boeckh : hemmen, hinder, restrain. — 
 virepfiacria. is used adverbially, as the dative frequently. Matth., 399. 
 Herm., Vig., 57. 
 
 606. rap ov& virvos alpe?, etc., which sleep never overcomes, the all-con- 
 queror, i. e., which enervates every thing else. The Zeus of Sophocles is 
 the all and ever seeing god. Cf. 184. In (Ed. Col., 1086, he is addressed 
 vavr6vra Zed. Homer (11, xiv., 242) represents him as the only divinity 
 who can resist sleep whenever he will. — iravToyfjpas, Par. A., Travrayftpcos. 
 The word implies that sleep, like old age, enfeebles and relaxes. In 
 Horn., II., xxiv., 5, it is termed wavdafji&r&p, the all-tamer. 
 
 607. ovt aKa/xaroL &eap is the reading of Cod. La., and approved by 
 Hermann in his 3d ed. The unwearied (never-ending) months of the gods. 
 Said in reference to the unceasing course which they run according 
 to divinely-established order. So Addison says : " The unwearied sun 
 from day to day," etc. — pajves, used in the general notion of time, 
 which, like sleep, is said to subdue all things. Comp. (Ed. Col., 609 ; Aj. 
 714. 
 
 608. ayqpcos and ayripa> are both in good MSS. Homer uses ayripus as 
 a synonyme of a&dvaTos. A scholium cited by Hermann makes it an epi- 
 
186 NOTES. 
 
 thet of Jove : <rb fAv, 5 Zeu, ayfjptos re real dvvdffTas els airavra rbv x?^ vov 
 €?. — Buudaras, Dor. for dvyd(rrr)s. 
 
 611. rb r tTreiTa is usually understood to 'denote the immediate future, 
 taken as present time, and rb {xiwov as the distant future. But these 
 three expressions, which evidently embrace all time, seem to be placed 
 inversely ; the natural order is : rb re irplv koL rb }i£\\ov km rb eireira 
 o5e v6[aos €TrapK€<rei. — rb jjlsWov denotes something on the point of hap- 
 pening, impending, and may properly be regarded as a present. Thuc, 
 i., 134 : fx4\Xovros avrov airo^x^v. So St. John, iv. 47 : TJfxeAKe a7ro&- 
 i/7](TKeiv, at the point of death, on the point of breathing his last. It 
 answers to the Lat. instans tempus. Lucret., i., 459 : Tempus rebus ab 
 ipsis Consequitur sensus, transactum quid sit aevo, Turn quae res instet, 
 quid porro deinde sequatur. The fut. eirapKecrei is used because the pas- 
 sage is intended to be a prophetic warning to Creon. This law will stand 
 fast. 
 
 613. The close of the strophe is obscure and confessedly corrupt. 
 The conjectures and emendations are too numerous to be cited. None 
 of them have obtained any general approbation. The MSS. agree in the 
 reading: ovdev epirei Srvaroov fidrai ird[xiro\is iicrbs &ras. Par. A. has 
 ouSeV. From a consideration of the general tone of the ode, which is an 
 exposition of the leading doctrines of Grecian fatalism, and from the evi- 
 dent connection which exists between the close and the beginning of this 
 strophe, it may be inferred that the eternal and universal law here men- 
 tioned is the law of retributive justice. In the ancient national belief, 
 Jupiter was the supreme power who had established and still maintained 
 the moral and physical order of the world. Any violation of this order 
 was a crime, which, of necessity, drew after it the punishment of the .gods. 
 Then the &tt], the relentless daughter of Jove (II., xix., 91 : Upeo-/Ba 
 Aibs frvydrrip, "Arrj — $) irdvras aarai, ovXofjLevr]), was sent to vindicate the 
 divine law by the downfall, not only of the offender, but of his whole 
 family. There was no escape from the hereditary doom. This, then, is 
 the central thought in this most gloomy and solemn ode. In this second 
 strophe the poet looks up from human wretchedness, and adoringly con- 
 templates the Deity's all-might, which puny man audaciously tries to 
 usurp. Here the main idea is 8iW<ns, infinite power, and the expression, 
 rb t s eireira — vSjjlos 6'S', simply states a fact in regard to its operation 
 upon human life. The adj. TrdfiiroXis, all-pervading, agrees with the prin- 
 cipal word, dvvaais, supplied from the above. Thus it explains the eter- 
 nal law : Jove's power, while being over all, intervenes not in the life of 
 man without calamity, i. e., except for punishment. Tor the ancients rec- 
 ognized the power of God chiefly in His punitive judgments. 
 
 Antistrophe 2. — The Chorus then goes on to tell how men draw 
 
notes. 187 
 
 the divine chastisements on themselves. With many, extravagant hope 
 is the illusion that betrays into wickedness and blinds to danger. For, 
 whom the divinity aims to destroy, he first robs of sound reason and the 
 ability to discern good from evil. But the haughty spirit hastens to its 
 fall. 
 
 615. a (r)) yap 8)7 iroXvirX., for visionary hope is doubtless an advantage 
 to many men ; it sustains them in difficulties and incites to exertion for 
 the attainment of noble ends. 
 
 616. iroXXois obtains an increased force by repetition. Cf. 1096. 
 The sense is : to many more, however, it is the illusion of light and trivial 
 desires. It is an ignis fatuus, which misleads and beguiles a man to the 
 commission of wrong, and thus involves him in calamity. Comp. a simi- 
 lar thought in Eurip., Iph. Taur., 415 : <\>ixa yap iXirls i^dyova iirl 7rr}/jLa(ri 
 {SpoT&v . . . KevaX Bo£ai. Creon's own words, 221, vir iXiriScav . . . dico- 
 Xecrev, are about to be verified in himself. 
 
 619. The subject of epirei is eX-irls. Brunck interprets : nihil sentienti 
 obrepit (spes fallaciter ad mala perpetranda impellens). This false hope 
 is only another word for the &T77, which stealthily creeps upon its uncon- 
 scious victim and deludes him to the accomplishment of his own ruin. 
 Schneidewin cites a similar thought of Antiphon, 114, 27 : 01 iinfiovXevS- 
 fievoi ovfiev iffacri irplv eV avrcp fixri t§ KaitS>. 
 
 620. irvpl . . . irposav<rr), till he has scorched his foot in the hot embers, 
 a homely proverb, which, like iv irvpl jSe^/cay, is said of those who heed- 
 lessly fall into unforeseen dangers. Seidler's emendation, irposavprj, is un- 
 necessary. The vulg. irposavari is confirmed by Cod. La., and is appro- 
 priate to the sense. It is derived from the old root avca, kindle. Cf. Horn., 
 Od., v., 490. In prose, ivavca. The comp. with irpos = irposKav<rn. 
 
 621. <ro(j>ia, as adv., wisely, truly. — iretyavrai = airecpdv^r], has been ex- 
 pressed or uttered. Cf. Trachin., 1 : A6yos fieu io-r* apxouos av^pwircav (j>a- 
 veis. The celebrated saying here quoted is, by some, attributed to Simon- 
 ides, who abounds in such reflections. The Scholiast cites a similar one 
 from an unknown poet : 
 
 "Otolv 8* 6 SaC/xoiv avSpl rropavvri Kaica, 
 rbv vovv e/3A.ai//e npuTOv, a> /3ovAeueTai. 
 
 Lycurgus, Orat. adv. Leocr., § 92, quotes these words of Euripides : 
 
 otolv yap bpyrj Sou/jlovcov pXanTr) riva, 
 tout' avrb irpoiTov e£a$aipetTai <f>pevojv 
 tov vovv rbv ko~9kov, kt\. 
 
 To these may be added the popular Latin adage, which is ancient in 
 spirit, if not in form : Quern vult deus perdere prius dementat. 
 
 622. The Homeric heroes are often affected by such an hallucination 
 
188 NOTES 
 
 of mind, produced by some malevolent divinity, as Automedon, II., xvii. t 
 469: 
 
 Avro/xeSov, ti's roi vv Oeuiv vrjKepSea (ZovXrjV 
 
 Iv <TTr)9e<r(TLv eflrj/ce, /ecu e£eAero <f>pivas ecrflAas ; 
 
 And Agamemnon, apologizing to Achilles (II., xix., 87), says : 
 
 eyw 5' ovk atrtds ei/ui, 
 aAAa. Zeus Kal Motpa /cat ^epcx/xnTis 'Ept^us, 
 otTe /xot eiy ayopfj (frpealv ep.{iakov aypiov a.Tt\v. 
 
 625. Brunck includes this verse in the quoted aphorism, and substi- 
 tutes irpda-a-eiu for irpdcrcrei of the MSS. This criticism Hermann properly 
 condemns: "perversissimum judicium ; ipsius haec chori verba sunt." — 
 b\iyo<TTov xp^vov, a very short time. — -rrpda'crei, gets along, proceeds, in the 
 same sense as when coupled with an adverb, ev, evrvx&s, etc. Comp. 
 701. The place of the adv. is here supplied by curbs &ras. 
 
 627. viarov, poetical superlative of veos, last, or youngest, Cf. 807 f. 
 
 629. \x6pov, object of axvvpzvos. Verbs denoting strong feeling are 
 joined with the accusative, which is at the same time the cause of the 
 feeling. Matth., 414. Comp. Demos., de Fal. Leg., § 81, Phil., i., 45. — 
 rd\iBos. raKis is a poetical term for a grown-up, blooming maiden. 
 Boeckh : ein mannbares Madchen. Comp. Virgil's expression : puella 
 matura viro ; and Hor. : tempestiva viro. 
 
 630. awards, Dor. gen. The sense: distressed at the frustration of his 
 marriage. The Schol. correctly : vir\p rr\s rojv Aexewv airorvx^s d%^(^yue- 
 vos. The last words of the Chorus are addressed to Creon, who, it is 
 evident, has remained upon the stage. In announcing the entrance of 
 Haemon the Chorus forebodes the domestic troubles which are to result 
 from Creon's inhumanity, and through which he is destined to receive 
 his punishment. 
 
 631. /xdurecop vireprepov, better than seers, that is, we shall know it with 
 certainty. It was a proverbial expression. 
 
 632. re\dav rprjtyoi', the final sentence. Cf. 575. The interrogative 
 particles apa ^ are used when a negative answer is expected. Herm., 
 ad Viger, p. 821. It may be rendered: my son, you surely do not come 
 enraged at your father, upon learning his final condemnation of your in- 
 tended? — ndpei = rjKeis, expressing motion. Comp. 1182, 1172. The gen. 
 fi€\\ovvfjL(})ov depends on iprjtyou. See Matth., Gr., § 341. 
 
 634. iravraxv dpwvres, taking whatever course I please. Hermann ex- 
 plains : "iravraxy est quocunque modo. Hoc enim dicit Creon: an me 
 amas, quoquo modo de Antigona statuero V Comp. 271. — <rol fiev is em- 
 phatic, to thee at least. eV/xe*/ is understood. Matth., 306. 
 
 635. <r6s el/ii, lam thine, both as a dutiful son and subject. — ^x (av =z 
 
NOTES. 189 
 
 vapexbv = Sidovs. Herm., Vig., 251. Comp. 597, note. The order is: 
 Kal <rv 6%a>y XP 7 ? '™ 5 yv<j>\i.as /jloi airop&o?s 0*e), and you, by giving me good 
 counsels, guide me aright. Haemon's language expresses a mental reserva- 
 tion : he intimates his willingness to follow his father's counsels, provided 
 they are good. — kirop^oLS (indie.) = opfrws Ka&riyfj, mrev&tveis, Schol. Cf., 
 infra, koXws rjyovjjLevov. 
 
 637. a£icas 9 properly, i. e., justly considered. The sense : for no alli- 
 ance will justly be more important for me to obtain than your right guid- 
 ance. With gov kol\. Tiyovfxej/ov, comp. 701. — (pepeff&ai, consequi. Comp. 
 this inf. with 7?<rcrw Aa/3eiV, 439. Here, again, Hsemon makes his acqui- 
 escence in his father's wishes dependent on their rectitude. He after- 
 ward endeavors to show that Creon is taking the wrong course. 
 
 639. dia (TTepvoov exet*/, to feel, to be disposed in heart. This idiom is 
 illustrated by numerous examples in Herm., Tiger, Gr. Id., p. 585, Matth., 
 580. Hesych. : crrepyou, Bidvoia, (ppives. 
 
 640. Constr. : irdvr kcrrdvai oTricrfrev iraTpcias yv&fxTis, that every thing 
 may stand subordinate to a father's judgment. The perf. kcrrdvai is only 
 used intransitively. The infinitive depends upon Soa-re understood, as 
 correlative of the preceding ovrco. Rost, Parallel-Gr., p. 516. Comp. 
 97. The Schol. interprets : otov rrjs irarpcpas yvd)\it\s irdvra elvai Sevrepa. 
 
 643. avTa/jLvvowTai, requite, instead of the more usual avTajxei^cavrai^ 
 as in iEsch., Choeph., 123 : nrbv ix&pbp avTa^i^ecr^ai kouco7s. Cf. Thuc, 
 i., 42 : a^LovTO) tols bfxoiois 7][xas a/jLvvec&ai. 
 
 644. e£ Xffov varpi, as much as the father does. 
 
 646. it6povs, troubles, is the reading of the best MSS. Var. : TreSas. 
 Comp. (Ed. C., 460. 
 
 648. vvv, therefore, used in argument, like Lat. quare or igitur. 
 Herm., Yig., p. 425. — {>($> Tjdovijs, from lust. The prep, denotes the cause 
 or motive. Wunder : prae voluptate, sive propter voluptatem. 
 
 650. Hesiod ("Works and Days," 702) says, a man gets nothing 
 better than a good wife, and nothing colder than a bad one. 
 
 653. irrva-asy rejecting her with disgust. Comp. 1232. Schol. : tcara- 
 (ppovficras. Simplex pro composito airoTrrva-as quod praebet August, b. et 
 Rice. Erfurdt. 
 
 654. £p "AjSou, sc. d6/x(p. — vvfityeveiv, La., others vvfjupevaeiy, used in- 
 trans. of a woman, like the Lat. nubere. Comp., infra, 816. 
 
 657. \|/ev5/) 7', etc., I certainly am not going to belie myself. 
 
 658. irpbs ravra — £vvaifiov. The sense is : now let her appeal to Ju- 
 piter, the protector of relationship, that is, let her invoke his aid against 
 this disregard of my relation to her. Matthiae (Gr. 591) explains irpbs 
 ravra as a formula of resignation resulting from a previously-expressed 
 determination. 
 
190 NOTES. 
 
 G59. tcl e77ev/} (pvtrei, those of my own family. 
 
 660. ttKocrfia, disobedient, insubordinate. The idea is, if I shall not 
 keep in order the members of my own family, I certainly shall not those 
 out of it. Those persons are called kSc/jlioi, who observe top koctjaop, 
 i. e., who regulate their lives by the standard of the laws. See Stallbaum, 
 ad Plat, Crito, p. 53, C. Comp. 730: aKoo-fiovPTas = a7rei&ovPTas. Sehol. 
 
 662. xpV^rbs, here strict and upright in the government of his family. 
 In the primitive Grecian family the eldest or chief exercised complete 
 authority, not only over his children, but all his relations. Aristot., 
 Polit., i., 1, 7 : iracra yap oIk'iol fiaaXeveTai \mo rod irpecrfivTaTov, costs kcu 
 at cnrouc'iai 5*a tt]p trvyyipeiap. — iv 7r6\€i, in the state, that is, in civil gov- 
 ernment. Comp. 177. Creon pretends that to spare Antigone, on the 
 ground of her being a near relation, would be dangerous to his authority, 
 and an encouragement to general insubordination. He proceeds to de- 
 monstrate the necessity of her punishment by commonplace reasonings 
 based upon public expediency. 
 
 663. octtls 5' vwepfias, but whoever by insolent transgression, etc., said 
 in allusion to Antigone's contempt of the royal power. Comp. 481. 
 
 664. to iTriTdo-o-eiv, to dictate. See note to 485. Concerning the su- 
 perfluous article, see Matth., 543. 
 
 666. op ir6\is o-r-hcreie (sc. apxoPTa, fiaffiXTJa), whomsoever the state has 
 appointed as ruler. Comp. "(Ed. T., 940: rvpavuov o-t-^o-ovctlp. Herod., 
 iii., 84, v. 42. The optative with the relative denotes an assumed fact 
 which is at the same time one of general occurrence. — This expression, 
 which appears rather forced in one who succeeded to the throne by in- 
 heritance, and not by the public choice, betrays the democratic Athenian, 
 who intends it for the benefit of his countrymen. Similarly Demosthenes, 
 concerning military discipline, Phil, i., 19 : nap v/x€7s epa kolp irXeiovs, kolp 
 top SelVa kolp optipovp xzipOTQpi\o"f\T£ o~TpaTr}y6p, tovtco Trelo'eTcu kol\ clko- 
 \ov&r]o'eL. 
 
 667. kclI CjjLiKpa, . . . Tapapria, both in things that are small and just, 
 and their opposites. This passage seems to be a modification of the Attic 
 proverbial expression, ovt€ fxiya ovtc (TfiiKphp, illustrated in Herm., Yiger, 
 pp. 114, 724. Stallbaum, ad Plat., Apol. Soc, p. 19. Hence Brunck cor- 
 rectly : " TapaPTia notat kclI {xeyaXa Kai a§iKa. Seneca, Med., 195 : aequum 
 atque iniquum regis imperium feras." The idea is, that absolute obedi- 
 ence is needful, even in things which appear hard and unjust. 
 
 668. tovtop top &pdpa, etc. Some critics connect this with h.p\\p 
 dtfccuos cop, 662, and place the five intervening verses after Trapao~TaT7)p. 
 But Matthiae (quoted by Hermann) has conclusively shown that no trans- 
 position is necessary. The explanation given by the Scholiast, tovtop 
 top t£ Pao-iXe? irei&6iJ.€POP, is now generally admitted to be correct. Creon 
 
NOTES. 191 
 
 means that a man who is obedient to his chief in all things would him- 
 self make a good officer, and would acquit himself well in every position 
 assigned to him. This accords with the words of Solon, in Diog. Laert., 
 i., 2, 12 : apx € TTpwTov fia^roou ap%ecrd-cu. 
 
 669. Constr. : av 3-eA.eu/ eu apx^^ai. Brunch : et rede gubemet ao 
 bene gubernari velit, viz., by his superior in command. Comp. Plat., 
 Crito, ch. 12, B. 
 
 670. Schol. : dop6s, avrl tt)s fidx^s. — it posrer ay /asvov, posted in the 
 ranks. Husgrave : jussum, i. e., ubi jussus est It may be rendered : and 
 in the storm of battle would remain at his post a trice and brave coadju- 
 tor. — 7rapa(TrdrriP = cv/jLfjLaxou. This passage is thought to have been im- 
 itated by Plato, Apol. Soc, ch. 16, E. See Stallbaum ad loc. 
 
 672. With the advantages arising from good discipline Creon presents 
 in vivid contrast the evils of insubordination, avapx^-, which is the fruit- 
 ful mother of calamities both to states and armies. 
 
 673. Comp. 296 f. — §S*, in the sense of a conjunction, though more 
 forcible ; hence the propriety of retaining r' after irSAeis, which is found 
 in the best MSS. Compare the Epic : re — ?/5e. — avaa-rdrovs rib-qcriv = 
 e£az/io-T ?7(nz>, 297. The idea is, that it drives families into exile. The 
 ruin of states involves that of families, of which it is composed. 
 
 674. <rvv pax?' La. : (rvfxfxdxn^ whence Bothe conjectures crv/jL/maxov, 
 which is received by Hartung and Schneidewin. Bernhardy, Gr. Synt., 
 p. 214, recognizes avv /J.dxy as correct, and cites a similar construction in 
 iEsch., Pers., 470 : clkSct^ <jvv <pvyrj. Boeckh makes avv == eV: but gvu 
 fidxv $op6s is not the same as eV x €l P& vl $op6s. The idea conveyed by 
 dvv is, that insubordination, cooperating with the onset of the enemy, causes 
 our own ranks to break. With dopbs understand iroXt^iov. 
 
 675. rpoiras Karapp-qyuvcn, breaks into flight, i. e., causes flight by 
 breaking up the ranks. — t&v op&ov/j.euav, of those who are kept straight, 
 i. e., who keep the places assigned them in the line, and present a united 
 front. The salutary effects of good discipline are similarly set forth by 
 Menelaus in Ajax, 1079 seqq. 
 
 676. ire&apxia, discipline. Comp. JEseh., Sept. c. Theb., 224 : Trer- 
 bapxioL yap eori tt,s evirpa^ias fJ-rirrip, " discipline is the mother of suc- 
 cess." — <t&iao§\ figur. for lives. Herm, Yig., 144. Comp. Xen., Cyrop., 
 iii., 3, 45 : ol yikv vik&vtss acb^oi/rai, ot 5e (pevyovres aTo&vriCntovcri jiaXXov 
 
 677. ovrois afj-vvre, etc. The sense is: in the same manner we ought 
 to support the (civil) ordinances, what is ordered by the ruler for the public 
 good. The same subordination is required to preserve a state as an 
 army. In the verbals afivurea and rjo-crrjrea, the pi. for sing., as above, 
 576, SeSoytxwa. Matth., 443. 
 
192 NOTES. 
 
 678. And by no means micst we yield to a woman, since that would be 
 the subversion of order. No sort of feminine government was tolerated 
 in Greece, nor any interference in political matters, which devolved ex- 
 clusively upon the men. yEschylus, Sept. c. Th., 200 : 
 
 Me'Aei yap avSpl, /xrj yvvr\ /3ovAeveTW, 
 ra£co0ei/ • erSov 6' ovaa. p.v) ^Kdjirjv rLOei* 
 
 Comp. Horn., II., vi., 490 seqq. Unmarried women remained in a life-long 
 tutelage, and were obliged to have guardians. Hermann, Pol. Antiq., 
 § 122. Widows also, ibid., wherefore Telemachus commands his mother 
 (Odyss., i., 356) to attend to her household, and leave the direction of 
 affairs to men. See note 579. Concerning rjcra-Tjrea with the gen., see 
 Buttm., Lar. Gr., § 102. 3. Matth., 447. 
 
 680. 7)o-(rov<Es 9 subjects, used sarcastically in the sense of SovAoi. 
 Boeckh: Weiberhiechte. Comp. 525. 
 
 681. The Chorus expresses its assent to these doctrines timidly, as 
 if dreading another rebuke, see 280. — r$ XP^ UC P k*kA., unless we have been 
 robbed (of judgment) by time, i. e., old age. 
 
 683. Haemon waives the discussion of these abstract questions, which 
 could only increase his father's irritation, and seeks to conciliate him by 
 a " soft answer," equally remarkable for its moderation and respect. 
 Without any desire to question the justness of his opinions, he modestly 
 suggests that something might be said on the other side ; the fact that 
 public sentiment is against him, and the reflection that no man ought to 
 consider himself infallible, as well as the dangers attending a too strenu- 
 ous persistence in his resolution, are forcibly urged to induce him to re- 
 cede from his position. — <ppevas, reason. Comp. to (ppoveiv, 1348, a more 
 general term for evfiovAia, 1050. Comp. the cogn. subst. <pp6v7](ris 9 prac- 
 tical wisdom, which Plato calls the first and noblest of the divine bless- 
 ings, De Legg., L, 631. Symp. 209. 
 
 684. Constr. : xmiprarov irdurcou X9 7 l^ Tcav °°* carl. Comp. iEsch., 
 Agamem., 927 : rb /jltj kclk&s (ppoveiu 3-eou ^iyiffrov Bwpou. 
 
 686. ovt* hu dvvaifiriv, /jl^t £iri<rTodii7}v. These verbs are employed in 
 a similar sense ; only the latter, with fxTj, signifies a wish. The sense is : 
 / neither can nor would ivish to be able to assert, etc. See Matth., Gr., 
 608, 4. It is analogous to our expression : I could not if I would, and 
 would not if I could. Comp. 500. — \eyeiv, in a pregnant signification, to 
 show by argument, to prove. 
 
 687. This verse is obscure and probably corrupt. The connection 
 of thought seems to require the article rb to be supplied with koAws exov 9 
 which then becomes the subject of ylvoiTo. The sense : yet that which is 
 right and proper might occur to another also, that is, the correct view 
 
notes. 193 
 
 might possibly be taken by another as well as yourself. This interpreta- 
 tion is confirmed by 706. — tout 3 dp&ws %x* LV ' Haemon here merely hint3 
 at what he afterward develops more fully, that sound judgment — cppevss, 
 to (f>pove?y — is not confined to Creon, and that other people's opinions 
 concerning this grave case are worthy of attention. He then proceeds to 
 tell him what the citizens say about it. Hermann, from the Schol. : v«. 
 repots. 
 
 688. cv 5' ov ire<pvx.as. This reading is preferred by Hermann and 
 Boeckh to the common cod 5 J olv iretyvfta. The former is more in har- 
 mony with what follows. Haemon means : you are a king, and therefore 
 you are not in a condition to observe what the people say and do, for the 
 reason that, etc. 
 
 691. \6yois toiovtois . . . In regard to such words as you will not be 
 pleased in hearing. For the dat., see Matth., 386. Such relations are 
 commonly expressed by the limiting accusative. Matth., 424, note. 
 
 692. i/jLol 5* aKoveiv ic&\ the opposite of 688. — vwb ckotov, in private. 
 Schol. : \d&pa. 
 
 693. oV, wherein, or wherewith, is assimilated in case to rdSe, to which 
 it relates. 
 
 694. cos for on. The sense : because she, the most undeserving of all 
 women, must die the most horrible death in consequence of the noblest acts. 
 Notice the intense feeling expressed by the three superlatives. We may 
 see in this passage the poet's own view of the character of Antigone, 
 since Haemon reports the judgment of the people. 
 
 696. Haemon here skilfully cites a specimen of the speeches he had 
 heard in praise of Antigone's action. It is given to confirm his own brief 
 summary of the public sentiment contained in the preceding lines. — kv 
 <povais, in caede, on the battle-field. Comp. iEschylus, Agam., 446 : rbu 5' 
 iv (povais tt€c6j/t\ — 'qns, one who. 
 
 697. fir}^ — eW b\4c&ai, did not suffer to be consumed, etc. The neg. 
 fii) is employed in relative sentences. — oioov&v tlv6s. Cf. 257. 
 
 699. Is she not worthy to obtain a golden honor? Comp. a similar 
 construction, Ajax, 924 : &£los &py)vo)v rvx^u. CEd. Col., 450. By xp v ~ 
 cr)s Tigris is probably meant a golden statue or crown, which was pub- 
 licly decreed as a reward of virtuous actions. See Potter's Antiq., Gr. i., 
 p. 135. 
 
 700. ipejjLvr), Schol. : ckotcivt). An obscure rumor of this sort quietly 
 goes the rounds, i. e., circulates among the people. Comp. iEsch., Agam., 
 449 : Ta5e ctyd ris flaunt. 
 
 701. Haemon seeks to soothe his father by expressions of filial attach- 
 ment, and the assurance that he is solicitous for his real welfare. 
 
 703. Constr. : ri yap (eoTf) fxu^ov dyaXfxa t£kpois evKheias baWovros 
 
191 NOTES, 
 
 Trarp6s ; for ivhat is a greater jewel to children than the good name of a pros- 
 per ous father ? 
 
 704. -/) t'l -irpbs 7rat5a>i/ irarpi ; or what to the father, on his children's 
 part, sc. than their good name ? See Bernhardy, Gr. Synt., 264. AVool- 
 sey justly observes that this is a brief substitute for the converse of the 
 first clause. 
 
 705. Do not, then, entertain the single notion that that is right as you 
 think, and nothing else (is right). The phrase eV ?)&os — <p6pei contains the 
 idea of overweening conceit. Verse 706 is an explanation of tf&os and in 
 apposition with it, hence the ace. cum inf. : tout* dp. ^x €LU - Kiihner, 
 §266. 
 
 707. avrbs (ppovelv, nom. with inf., see Matth., 536. Hasmon tempers 
 his admonitions by citing general and well-known aphorisms, referring 
 here to a passage in Theognis, used as a school-book in Athens, v. 221 f. : 
 ostls roi doKeei rbv irX-qviov 'i5fi€j/cu ovShv, aAA' avrbs /jlovuos iroiKiXa SY^e' 
 e%eij>, k.€lv6s y cteppoov iari. Schneidewin. — ostis, referring to no partic- 
 ular person, is taken in a collective sense, and has its antecedent o%tol in 
 the plural. Matth., § 475. . 
 ' 709. axp&ycrav. For the aorist employed as a present, see note to v. 
 800. Comp. 1353. 
 
 710. Constr. : a\\' ovSev alcrxpbv rb avdpa (JLav&dveiv ir6\\a, Kei tls rj 
 <ro<pbs. As avdpa signifies no particular person, the indefinite tls is used 
 to refer to it, in the sense of avr6s. That el concessive (for idv) is used, 
 by iEschylus and Sophocles, with the subjunctive, is fully recognized by 
 Bernhardy, Gr. Synt., 399. The sense requires the emphasis to be laid 
 upon y. — kolL €*, est etiam si, Herm., ad Vig., 829. — The art. to is here 
 merely a metrical convenience, as in v. 78. Matth., 543. For the 
 thought Schneidewin quotes the words of Solon concerning himself: 
 TnpdcTKCi} alel iroWa ^L^acrKOfievos. 
 
 711. Kal to fj.r] ts'lvglv &yav, and not to strain too hard, that is, not to 
 be too self-willed and headstrong. The conj. Kal connects this clause 
 with alcrxpbv ovdev, as if this were Ka\6v. Comp., infra, 723. From this 
 hint at Creon's natural failing, Haemon is led to consider the unhappy 
 consequences of stubbornness, in painting which he employs images not 
 unlike those of Creon, above, 473 f. 
 
 712. The poet appears to have had in mind JEsop's fable of the Heed 
 and the Oak, and puts into the mouth of Haemon what must have been 
 familiar to a young Athenian of his time from school instruction. 
 Schneidewin. 
 
 714. Schol. : avT07rp€/j.v =. avr6ppi£a. 
 
 715. avrcos 5e vabs ostls, etc. So also the man (sc. boatman) who, hav- 
 ing drawn taut the foot-rope of the boat, does not yield, viz., by slackening 
 
NOTES. 195 
 
 it, etc. The author refers to the primitive ship, which had but one mast 
 and one sail. The irSBes were cords attached to the lower corners of the 
 sail, by which the latter was managed as occasion required. Potter's 
 Gr. Antiq., vol. ii., p. 135. 
 
 716. Kara) (TTpeipas . . . capsizing, lie sails henceforward with inverted 
 benches, which means that the ship will be bottom upward and the boat- 
 man will be drowned. With crrptyas supply tt\v vavv. The MSS. agree 
 in to Xoiirov, for which Hermann substitutes to ttXoiov. Boeckh defends 
 the vulg., and renders : hinfort schifft er mil urngekehrten Banken. to 
 Xonrbv means here, afterward, i. e., after the squall has struck the sail. 
 
 718. slice &vfxov. Var. : &vfjL$. The genitive gives the sense which 
 the connection requires : but recede from your will, i. e., your determina- 
 tion to execute Antigone. This reading is approved by Bernhardy, Gr. 
 Synt., 180. — bv/jLov does not here mean anger, for that would not be in 
 keeping with Hsemon's respectful tone, but mind, or purpose. Thus 
 Wunder interprets : sed cede voluntate, ejusque mutationem praebe. See 
 Matth., 352. 
 
 720. TrpecrfieveLp iroXv has the force of a superlative : I think it is far 
 the best that a man should abound in knowledge in all things, or, perhaps 
 better, be quite full of knowledge and wisdom. Cf. Trachin., 338 : Toi- 
 tcov e%o> yap ttolpt imo~T7i/jLr}v eycv. Hermann observes : irdvT 3 e7rio~T7] l u.7i i 
 pro uno vocabulo est, perfectam notans consummatamque scientiam. 
 iravTa is often used adverbially, comp. sup. 195, and Trachin., 498 : e/ce?- 
 vos iravT* apicrTevcav %epozV tov rf/crS' epcoTos els airav& rjcrcrow ecpv. 
 
 722. el 8 s ovu = el Se fx^j. This passage is explained by Hermann, ad 
 Vig., 831 : sin minus (non enim ita evenire solet) laudabile est certe, ex iis, 
 qui recte admonent, discere. And Matthiae, Gr., 617 : el 8e fir} t'is ea'Tiv 
 eirKrT^/jLTjs irXecas. Cf. Eurip., Hippol., 513. Haemon seeks to give weight 
 to his counsel by citing in substance the maxim of Hesiod, Opp. et d., 
 290: 
 
 Outos [xev navapujTOS, os avTO? navra vorjo-fl, 
 ecrOkbs 5' av Kaicelvos, os eu glttovtl niOriTai, 
 
 Comp. the imitation of this passage in Herod., vii., 16; Cicero, pro 
 Cluent., 31 ; Livy, xxii., 29. 
 
 723. Constr. : kol\6v (ecm) Kal t5 fxav^aveiv tuv ev \ey6vToov. Cf. 
 1031. 
 
 726. In the following colloquy, which is composed with consummate 
 art, observe the fine contrast in the temper of the speakers : Haemon, 
 calm and moderate, but manly ; Creon, supercilious, rough, and provok- 
 ing. The one is the mild voice of reason, the other that of blind and 
 reckless passion. — ol T7]\iKoi5e y etc. The sense, are we even at our age to 
 be taught prudence by so young a man ? implying that the contrary ought 
 
196 NOTES. 
 
 to be the case. — inr\ Schneidewin, from Laur. A., instead of the vulg. 
 irp6s. With the expression 5t5a£. cppoi/eTv comp. 1353. — tt\v <pv<riv, said 
 in reference to the time of his birth, hence age, years. See, below, rov 
 Xp6vov. 
 
 728. firjdep, supply the preceding verb. The Schol. correctly: /«;&«/ 
 diodcrKov o /jlt] diKcu6v icri (rot 5i5aa-/ceiv, learn nothing that is not right for 
 you to learn. 
 
 729. Tapya, actions; see, that is, whether they are those of a man 
 whose opinions and counsels merit attention. Below, 735, he tells Creon 
 that he speaks as a very young man, hastily and injudiciously. The con- 
 nection seems to require us to refer the word rapya to the prudent coun- 
 sels which Haamon had given in the preceding speech. It is manifestly 
 so understood by Creon, who sarcastically inquires if that is a just action, 
 to honor the disobedient, as advised by Haemon, 699. 
 
 730. aKocrjjLovj/Tas, legibus non pare7ites. Herm. Cf. 660, note. 
 
 731. ovtf av KeAevcrai/jL . . . I would not counsel you to do honor to 
 the wicked ; implying that Antigone is not so. — KeXevco is frequently used 
 by counsellors. 
 
 732. 7J8e, sc. Antigone. The sense : has not she been taken with that 
 disease ? — roia^ for rf)d\ 
 
 733. o^tttoXis means here united, entire. So Brunck : hoc negat uni- 
 versalis Tliebanus populus. The tragic writers often use Trdi/d^fMos and irdy- 
 koipos in a similar sense. Comp. 7. Haemon has before intimated, 689, 
 that the sentiments of the people ought not to be disregarded. But the 
 autocrat takes fire at the idea of popular interference. 
 
 736. &\Aa) yap -/) 'fiol, dat. of advantage. The sense: must I govern 
 this land for the benefit of any other than myself? Dobree's emendation, 
 fie, instead of the vulg. 76, is approved by many of the recent editors. 
 The sense thus obtained is more consistent with Creon's principles and 
 character than the old interpretation. The poet represents him as the 
 type of despotic sovereigns, claiming unlimited power (173, 306 ff.), 
 holding his people as slaves (479), and the whole state as his individual 
 property. He thinks, like Atreus, oderint, dum metuant ; and Louis 
 XIV., Vetat c'est moi. He will rule for himself, for his own benefit, and 
 according to his own fancy : car tel est notre plaisir. 
 
 738. vofjiiCerai, is held, said of something consecrated by usage. For 
 its construction with the gen., comp. (Ed. Col., 38: rod frecov vo/jd^ercu; 
 Aristoph., Eq., 714 : crv top drjfiou ceavrov v€p6fxiKas. 
 
 740. The king has no argument with which to meet Hsemon's reductio 
 ad absurdum, and so descends to a personal taunt. — 6T, this fellow ; the 
 3d person denotes contempt. So in (Ed. Tyr., 1160. — (rvfifiax^ is in the 
 best MSS., others a-vfifiax^u, which Boeckh prefers, thus making the 
 
NOTES. 197 
 
 infill, depend on zoiks, as in Trachin., 1233 : 'Avrip 0S 3 &s ioixzv oh vz\xziv 
 ijxol tp&ivovri uolpav. But see Host, Parallel-Gram., 528. 
 
 741. yap ovv, with emphasis, for I certainly consult your interest. 
 
 742. dta diKrjs ixv -rrarpi, contending with your father, i. e., judging 
 him. Sehol. : diKcurdfievos. — 5;a difcrjs Uvai is a circumlocution for the 
 cognate verb 5i/ca£e<rdai. See Matth., § 580. Comp. (Ed. Tyr., 773 : 5ia 
 rvxris levy. (Ed. Col., 905 : el uev 5t 5 opyrjs tjkov, and similar examples 
 collected by Zeunius in Herm., Tiger, p. 535 f. 
 
 743. For I see you committing gross injustice. — b^'waia is the cognate 
 ace, not an uncommon construction with the verb auaprdveLv. Philoct., 
 12-48 : rrjp auapriav alcyjpav aixapruv. Ajax, 1096. 
 
 745. You do not honor (your authority), at least when you trample 
 upon the honors of the gods, viz., by refusing burial to the dead. Comp. 
 77. This reminds Creon of the words of Antigone. 453 ff. 
 
 746. jjuaphv rf&os, etc., despicable character and slave of a woman. — 
 vffrepov = ricrcrco, as above, 680 : yvvaixxv r/crcroves. Comp. 756. 
 
 747. ovk av e\ois. Laur. A. and Dindorf. This reading has been 
 condemned by many critics on the ground that av cannot be lengthened 
 (see Hermanns Opusc, iv., p. 380 f., and 3d ed., ad loc), but there is 
 reason to believe that it is sometimes anceps. See Dindorf, ad Jiseh., 
 Sept. c. Th. 562. It seems to me, however, that this objection might be 
 obviated by inserting 5 5 after av, particularly as an adversative particle 
 is required by the sense, which is, out you will not catch me succumbing at 
 least to what is dishonorable. — 5e is frequently put in the third place by 
 tragic writers. Cf. .Esch., Eum., 64, 68: Soph., Philoct., 1362, 971: 
 Trachin., 595. 
 
 749. Ka\ (inrep) aov ye, etc. Hcernon means that the course he had 
 recommended was not less to Creon' 3 true interest than that of others. 
 Cf. 741. By &ewv veprepeev he will again warn him of the danger he in- 
 curred by sinning against the gods of the nether world. Eor this per- 
 sistence in impiety Teiresias afterward (1076 ff.) solemnly announces that 
 he is to be " punished in the shape he sinned." 
 
 750. Constr. : ovk eud-' &s yauels irore ravrrjp eri (xcrav. He rudely 
 cuts off all further discussion in respect to Antigone, by declaring his 
 fixed purpose to put her to death. Cf. 575 f. 
 
 751. teal Savova* 6\e? nvd, and in dying will destroy somebody (else). 
 Haenion intimates that he will not survive her, but Creon construes his 
 words into a threat against his own life. Eor the expression, comp. 
 Eurip., Iph. Taur., 551 : re^rvrix rX-fiucav, -npbs 5' a-xXeaev nva. 
 
 752. Understand iioi. The sense is : are you so audacious that you as- 
 sail me even with threats ? 
 
 753. ris, in the sense of ttoTos, what sort of — tcevas yvwuas, vain ) L e., 
 
198 NOTES. 
 
 unreasonable notions. The word yvw^as applies directly to Creon's futile 
 arguments, but indirectly also to his understanding, which, as Hsemon 
 hints, was not capable of just reasoning. Hence the Schol. : npbs fiwpbv 
 
 &V&pU3T70V. 
 
 754. K\aiooi> <j>pev<Jb(T€is, you shall enlighten me to your sorrow. Comp. 
 726 : dida^o/j.ea'^a (ppGiselv. 
 
 755. elwoy &v — (ppoveiv, I should say you were deranged. He wishes to 
 avoid as far as possible the appearance of disrespect. 
 
 756. fx)) k6ti\\4 pe, do not cajole me, that is, do not try to impose on 
 me by pretensions of filial respect. The verb means to speak in a plau- 
 sible manner for the purpose of deceiving. Creon refers, not merely to 
 Hsemon's last remark, but to his previous professions of devotion, 635 fF. 
 which all pass for nothing so long as he opposes him in defence of An- 
 tigone. 
 
 757. Hsemon alludes to the proverb : Whoever says what he likes, 
 must also hear what he does not like. Cf. Ajax, 1085. Plaut., Pseud., 
 1173. Contumeliam si dices, audies. Schneidewin. 
 
 758 f. &\ri%res; indeed? as adv. expressing astonishment and indigna- 
 tion. Comp. Aristoph., Aves, 1606. — ob is to be joined with Sevwco-eis, 
 the oath being put parenthetically. — x a h WJ/ 9 w ^ 1 impunity. For this ad- 
 verbial use, see Herm., ad Tig., p. 765. Comp. /cAcuW, 754.— fotf ofi, 
 cf. 276. — iirl tyoyoicri signifies manner : auf tadelnder Weise (in a reproach- 
 ful manner), Bernhardy, Gr. Synt., p. 250. — dewd&eis, scoff at Schol. : 
 vfipiveis. 
 
 760. to ixicros, the detestable creature, sc. Antigone : spoken to his at- 
 tendants. 
 
 762. ob &7}t j , a strengthened negative, by no means. — tovto ix\) SJ|. 
 7roT6 is said in answer to the king's oath, 758. 
 
 763. <rv t obdafxa = ovre av nbdafxa. Seidler. For several negatives 
 strengthening each other, see Matth., 609. 
 
 764. eV 6(p^a\ijLo7s, instead of the simple dat. of means. Matth., 
 395, n. The crowded terms indicate the intense feeling of the speaker, 
 as above, 760 f. 
 
 765. Liaivr), La. fialvrji. The Scholiast explains : &s iioivn irapa rois 
 (})(\ois ro7s biXovGiv inrofjielvai ttjp arjv fiaplav, ut insanias apud eos tuorum, 
 qui te insanientem ferre volent. Seidler. — trwAv, in company with, or sim- 
 ply with. By tols 3-e\. twv <p[\(av are probably meant the Theban elders 
 (sc. the Chorus), who had too tamely acquiesced in Creon's tyrannical 
 measures. 
 
 766. e| opyris ra%ys, hastened on by passion. (Ed. Tyr., 1073 : vif 
 ay pias a£acra Xvirrjs 7) yvvi}. 
 
 767. vovs . . . fiapvs, so young a spirit wrung with grief is fearful. — 
 
NOTES. 199 
 
 fiapvs expresses an apprehension that he may be driven to some desper- 
 ate act. Comp. 1251. Hermann explains : a quo grave quid metuendum. 
 Comp. jSapos, 1256. 
 
 768. The part. Idov is = imp. "itw. The sense is : let him go and do what 
 he pleases — let him be more presumptuous than becomes a man y let him ex- 
 alt himself above human measure. Concerning this form of comparison, 
 see Matth., Gr., 449. 
 
 770. teal is to be connected with afjL<pco avra. Do you then intend to 
 execute both of them even ? The question is intended to remind Creon that 
 only one was guilty. 
 
 771. Not the one of course who is innocent of the offence. The parti- 
 ciple being used instead of a relative sentence, jjl^j is only a presumptive 
 negative. Ismene's participation in the act not having been proved, she 
 is presumed to be innocent. Host, Paral.-Gr., § 177. — yap ovu f comp. 
 741. 
 
 772. kcli <r(pe, viz., Antigone. — /cot with a pronoun has generally the 
 effect of rendering the latter more emphatic, though it cannot always be 
 well expressed in English. Comp. 32, 280. Philoct., 319: 'Eycb 5e kclu- 
 rbs. Here it is an affirmative expression, and the opposite of the pre- 
 ceding tt)v ye /uly] &iyov<iav. As the particular kind of punishment — death 
 by stoning — was announced in the proclamation (see 36), it is difficult to 
 imagine a reason for this question of the Chorus. The poet probably de- 
 signs to delineate in Creon the character of a weak and resentful tyrant, 
 having no fixed principles of action, but easily yielding to the suggestions 
 of his own passions. In his present exasperation the " death alone " of 
 his victim will not satisfy him (comp. 308), but death in its most linger- 
 ing and horrible form. 
 
 774. The derivation of Karwpvxh an( i the different expressions used 
 for it in the sequel : kzv&os vskvoov, epfxa rvfi^Sx^crrov rd<pov, KarripG<pe? 
 rvfifia), Solvovtoov /caraer/ca^as, etc., make it probable that the place chosen 
 for Antigone's punishment was a subterraneous chamber artificially ex- 
 cavated and walled up, and used as the burial-vault of the Labdacus 
 family. 
 
 775. 5is &yos, sc. ehai. The sense : placing before her just so much 
 food as to be a purification or expiation of guilt. The Scholiast makes 
 &yos = Koi&apcris. Hesychius : ayviCfxa frvtrlas. Lat. piaculum. Hartung 
 contends that it should be taken in the same sense as in verse 256, and 
 changes \i6vov into (pevyeiv. The food was intended as a propitiation to 
 the divinity for the purpose of avoiding the curse attending an impious 
 deed. Benloew : tantillo cibi, quantum piaculo sit satis (quantum sufficiat 
 ad evitandum piaculum) apposito. Comp. 889. 
 
 776. oVws fxiacrjAa . . . in order that the whole state may escape pollu- 
 
200 NOTES. 
 
 Hon. As all the powers of the state were concentrated in the monarch, 
 his guilt would extend to the whole nation, and the divine judgments 
 would be visited upon all. Comp., inf., 1015, and the devastations of the 
 plague in Thebes, (Ed. Tyr., 22 seqq. For the doctrine in general, see 
 JEsch., Supplices, 370-5. Philoct., 386. 
 
 778. Teu£eTcu rb /jlt) &ave?v, she will perhaps obtain a release from 
 death - . This verb very rarely takes its object in the accusative. Her- 
 mann (ad Yiger, p. 760), while admitting this construction in iEsch., 
 Choeph., 711, rvyxwzw to, irp6(T<popa, endeavors to explain the ace. in 
 this passage by making it equivalent to Tev£ercu tovtov, uxrre fify baveiv. 
 Also Bernhardy, Gr. Syntax, p. 176, says that the ace. found with this 
 verb in a few poetical passages is only apparent, and that rvyxjbvtiv in 
 them is used absolutely. But see Matth., § 327. 
 
 779. yovv aAAa ryviKavfr, certainly then at least, viz., after failing in 
 that request. For aXAa, cf. 552. 
 
 780. rav "Aidov, in full, ra eV "AiSov 86 t uois, A scoffing repetition of 
 777: rbu "Ai*.— &e«y, Matth., Gr., § 379. 
 
 781. In the following ode, suggested by Hsemon's invincible affection 
 for Antigone, love is represented under the similitude of a warrior break- 
 ing forth from his ambush, and inevitably subduing his victims. None, 
 whether gods or men, can escape his power, and whoever is taken is be- 
 reft of reason. — aviicaTe fidxavy invincible in combat. Love is the might- 
 iest of all passions, and in a conflict with other passions it is sure to 
 obtain the mastery. 
 
 782. os £p KT-fj/naCL 7rt7TT6is, who fallest upon thy prey. As the assault 
 of love is followed by certain and immediate victory, so by the rule of 
 ancient warfare the conquered become the property, or slaves, of the con- 
 queror. Plato, in Phaedon, p. 140, says that men are properly called the 
 property (KT-fifxaTa) of the gods, and in Lucian's Dial., 6, 4, Juno taunts 
 Jupiter with being o\(as ktyj/jlo, rod "Epcaros. — eV — miTreis, by tmesis for 
 ijjLiriiTTeis, which is used by JEschylus, Agam., 341 : "Epcos firj i/xiriirTr) 
 <rTpa,T$. The common interpretation of KT-fjfjiaa-i, riches, fig. for the rich, 
 meaning that the wealthy are more subject to love than the poor, is 
 scarcely the correct one, for the poet directly afterward says that none 
 are able to escape him. Comp. the expression of Horace, Od., i., 19, 9 : 
 in me tola ruit Venus. Anacr., in Amor., viii., 16 : Metros 5e KapMas /jlcv 
 "Edvve, Kat }x %Xvcre. 
 
 783 f. os t' eV, etc. ; vulg., os eV. The sense is : and who lurkest in- 
 sidiously in the maiderts soft cheeks. The cheeks of the maiden are Love's 
 stronghold, from which he darts upon his unsuspecting victims. — evvv- 
 Xeuers conveys the idea of lying in wait, as Horace says, Od., iv., 13, 8 : 
 llle (Cupido) virentis Chia pulchrls excubat in genis. — In invocations, 
 
NOTES. 201 
 
 where a relative pronoun relates to a vocative, the relative is sometimes 
 used for the 2d personal pronoun. Thus a relative clause may be con- 
 nected with one having that pronoun for its subject. Comp. 1119 f. 
 See Matth., §§ 475, 477. 
 
 785. (poiras §', etc. This passage indicates the extent of Love's do- 
 minion : thou rangest over the sea and among the rural cottages — in casis 
 agrestibus. Some interpret aypovopois avXals as meaning the lairs of wild 
 beasts, but av\aX is used only to denote the abodes of man, — inrepirovrios 
 as an adverb, see Host, Parallel-Gr., p. 388. Matth., 446. 
 
 787. a&avdrwv ovdels. This seems to be in contradiction with Horn., 
 Hymn, in Ten., 7 ff, where Minerva, Diana, and Testa, are mentioned as 
 exceptions. — (pv^ifios has an active signification =. fivvarai (pevyeiv, potest 
 effugere. Matthiae, 422. 
 
 789. a/iepiccv eV avSpuiroov, among ephemeral men. Concerning hr\ in 
 this passage, see Bernhardy, Gr. Synt., p. 247. But o^ueptW en-' is prob- 
 ably an unusual tmesis for icpapepicov, as in ^Esch., Prom., 547 : rls i<pa- 
 fieplow ap-q^Ls ; Id., 253. — 6 §' %x (i3V i "*) sc - epcora, The sense: and who- 
 ever is possessed of thee is driven to madness, becomes infatuated. Comp. 
 Plat., Phaedr., p. 239: avrjp ix^v epoora, "an impassioned man." The 
 same author, p. 241, puts love and madness in the same category : vovv 
 kolI <ro)(ppo(rvvriv hvr ipcaros kolL fxavias. From this general observation the 
 Chorus passes to the sad effects it has had upon Haemon's mind. 
 
 Axtistrophe. — Love perverts the minds of the upright to injustice, 
 and it is that which has stirred up this strife between father and son ; 
 but the potent charms of the maiden win the victory over filial duty. 
 Love is a compeer of the great moral laws, and irresistibly turns the 
 scale. 
 
 791 f. ah kcu BiKaicou, etc. The sense is : thou pervertest the minds of 
 the just to injustice in reviling. The Schol. explains : wsre ras cppevas 
 avr&v adlxovs yivecr&ai. Haemon, blinded by this passion, has been be- 
 trayed into unjustifiable reprehensions of his father's acts. 
 
 794. veiKos avdpccv lvva.ip.ov, instead of veikos avdp&v £vvo.t}j.av, family 
 quarrel. Germ. : Verwandienzwist. Bernhardy, Gr. S., 427. 
 
 795. viko. is used absolutely, as in v. 233. — Xuepos is here put for epcos, 
 which is imagined as issuing from the eyes of the beloved maiden, and 
 taking possession of Hsemon. Comp., sup., 784. Stephanus Thesaur. : 
 "'ifjLepos est etiam id in oculis, quo intuentium amor conciliatur." Her- 
 mann explains : " potentior est pulcrae virginis oculorum desiderabilis 
 suavitas, nee cedit Haemon patri." But j'uepos is not an attribute of the 
 eyes, but rather the passion which is kindled by epos in the bosom of the 
 lover, and which then prevails over other passions. iEschylus, Again., 
 743 : [AaAScucbv bjiixoLTOiv /3eAos. 
 
202 NOTES 
 
 798. Twv fxeydk. irdpedpos, etc., associated with the great laws in council, 
 the peer of the great moral laws. The passage has reference to the con- 
 flict in Ilgemon's feelings. By the side of the heaven-born laws estab- 
 lished in man's breast to regulate his words and actions (Comp. (Ed. 
 Tyr., 865 ff.), Love takes his place, disturbing the reason, biassing the 
 judgment, and triumphing over all other duties and obligations. 
 
 800. a,uaxos . . . 'A^poSira, for the matchless goddess of love inter- 
 med'dles — spoils the council with her play. She was always the attendant 
 of "Epoos. Plat., Sympos., 180, E : ovk ecrriv avev "Epcaros 'A^poSn-Tj. 
 
 801-5. As usual the entrance of a character is announced in ana- 
 pests. — freer pup, in a sense similar to that above, for, as Haemon is impelled 
 by love to violate what is right and proper, so the Chorus, in giving way 
 to its emotion so far as to shed tears of sympathy for one condemned by 
 the king, is urged out of that manly and impartial composure which its 
 position and office require. See Hor., Ars Poet., 193 seqq. — e|co epepofxeu. 
 Comp. iEsch., Prom., 883 : e|o> ^p6fiov rpepo/jLcu. 
 
 804. rbv TrayKotrav — frdkainou, the all-composing chamber of death. Cf. 
 810. (Ed. Col., 1563 : rav TrayKev&ri /cara> veKp&v irXdita. The ace. is 
 gov. by avvTovcrav, which signifies motion. 
 
 806. Antigone is now led forth from the king's palace on her way to 
 the fatal vault, and, while lingering upon the stage, bemoans her lot in 
 lyric strophes, fraught with deep and noble feeling. Her words are ad- 
 dressed to the Chorus, composed of her fellow-citizens. 
 
 807. vedrav = varTdrrju. The following viarov is used adverbially, for 
 the last time. Comp. Ajax, 857 : "HKlou irpocrevveiro) iravvaraTov §r\ kovttot 
 av&is vcrrepov. 
 
 812. ov& vfxevaicav eyKXvpov, nuptiarum expertem. Brunck. It is a 
 subject of particular regret to Antigone that she is to be cut off before 
 attaining this principal purpose of woman's existence. She recurs to it 
 again, 869, 876, 917. Comp. Eurip., Iph. Taur., 230 : aya/jLos, 'dreKvos, 
 diroAis, acpiKos. 
 
 814. ovt* — vjAvricrev. The finite verb takes the place of the construc- 
 tion used in the first member. We should expect v/jlj/tjtjjp emvvixcpeiy 
 v/jLi/cp. This passage alludes to the marriage-customs which prevailed in 
 Athens. The nuptial ceremonies and feast took place at the house of the 
 bride's father : when, in the evening, the bridegroom carried his bride in 
 a carriage to his own house, they were attended by their friends on foot, 
 . carrying torches, singing the wedding-song (pfxevaiov), and playing on the 
 flute and other instruments. After the newly-married couple had been 
 thus conducted into their chamber (&aAa,uos), the friends remained before 
 the door for some time and sung the epithalamium, which is here called 
 the eVwu/x^eios vfxvos. K. F. Hermann's Dom. Antiq. of the Greeks, § 31. 
 
NOTES. 203 
 
 816. pvfM<p6v<rco. Comp. 654. 
 
 817. Some critics regard this and the following verse as spurious, 
 partly on account of their purport, and partly from the dissimilarity, in 
 the number of verses, to the other responses of the Chorus. — iiraivov 
 exova-% with praise; afterward, 853, 873, the Chorus speaks of her con- 
 duct with disapprobation. 
 
 819-22. The Chorus kindly seeks to derive some consolation for An- 
 tigone from the very thing of which she has just complained, that she 
 descends into Hades alive. The sense : neither smitten with wasting dis- 
 ease, nor meeting the recompense of the sword. — e7ri%ejpa means a reward 
 paid into the hand. Germ. : Handgeld. As decapitation by the sword 
 was not common among the ancient Greeks, Jacobs concludes that the 
 expression means mortal wounds received in battle. Hermann : " £f$eW 
 eirixeipa sunt prsemia ensium, i. e., id, quod ensibus congrediendo effici- 
 tur, quod est vi aliquem interfici. Latine dicas, munere belli." 
 
 821. avrovofjLos, of m your own will, because Antigone from the begin- 
 ning knew and accepted the consequences of her act. 
 
 823. Antigone is reminded of the similar fate of Xiobe, who was the 
 daughter of Tantalus, King of Lydia, and granddaughter of Jupiter. 
 She married Amphion, King of Thebes. When, by her boasting, she had 
 incurred the anger of Latona, and been suddenly bereft of her children, 
 she was compassionately changed by Jupiter into stone, and carried by a 
 whirlwind into her native land to Mount Syphilus, where she perpetually 
 weeps over her bereavement. Comp. Ovid, Metamor., vi., 176 seqq. 
 This tradition, which is commemorated by Homer, II., xxiv., 602 ff., was 
 probably occasioned by a mountain-crag, which resembles the form of a 
 woman in grief. Pausanias relates (i., 21, 3) that he had ascended Mount 
 Syphilus to see it ; that, when viewed near at hand, it bears no resem- 
 blance to the female figure, but, seen at a greater distance, it is the image 
 of a weeping and sorrowing woman. Our poet's version of the myth 
 represents her as enveloped with a stony incrustation, and thus, like An- 
 tigone, embedded in a rocky tomb. Hence Electra (Soph., EL, 150) thus 
 apostrophizes her : s Io> iravrXafioov N^jSa, aV eV rdcpcp 7rerpaia) ael 5a- 
 Kpveis. 
 
 826. rau KKTa-bs ws areu^s, etc., whom a rocky growth (or incrustation), 
 like close-drawn ivy, overpowered. Musgrave placed a comma after &s 
 without reason, since arei^s, strained, is a more proper epithet of ivy 
 than of rock. Erfurdt: hedera firmiter adhaerens. The Schol. says the 
 rock grew up around her, as ivy around a tree. 
 
 828. Kat viv ofifi. — \direi, and never, as the story goes, do the rain and 
 snow leave her melting (pining) with grief. Homer's expression is nydea 
 Trecrcrei, broods over her sorrows. The part. raKo^ivav (Dor. for TTjKQueunp) 
 
204 NOTES. 
 
 beautifully suggests the image of melting snow. Musgrave's emenda- 
 tion, u/jLppoi, instead of the vulg. o^pw, has been adopted by recent edi- 
 tors. 
 
 831. reyyei, sc. Niobe. AVunder renders: sed semper lacrimantibus 
 oculis cervicem humectat. The words dtypves and feipddes possess here a 
 forcible significance, being employed by the ancients to denote both the 
 parts of a mountain and those of the human body. Some MSS. have &' 
 after reyyei. — § == ravrr). 
 
 834. See note to 823. Comp. Ov., Met., vi., 172 ff. The Chorus re- 
 proves Antigone for presuming to compare herself with a person of divine 
 parentage ; admits, however, that it is a great fame to die in a godlike 
 manner. 
 
 836. Constr. : kolitoi (pfrifiipq) [earl] fxiya clkovccli Kax^v eyKXrjpa ro7s 
 Ico&eois. The sense is : although it is a great thing for a mortal to be said 
 to have obtained a like fate with demigods. The Scholiast explains : Zy- 
 K\rtpa. Koiw, ofjioia, rod avrov K\i\pov kolI tvxtis* It is here used in a pas- 
 sive signification, shared by. For a/coDcrat, in the passive sense to be said, 
 see Herm., Vig., p. 224. It is thus equivalent to the substantive /cAeos, 
 fame. Boeckh considers the passage highly sarcastic : " and yet for a 
 mortal to enjoy a lot equal to the godlike is a great fame." 
 
 838. yeXa/jLcu. Antigone is too much occupied with the real horrors 
 of her impending fate to think of the vain renown of dying like Niobe. 
 The offering of such a consolation sounds like a bitter mockery of her 
 distress. 
 
 840. ovk oWvfxivav. Dindorf adopted this reading from Cod. Dresd., 
 a., for the vulg. oXofxivav, Boeckh : ovXofievav. In this connection, oX- 
 Xvfxivav, taken as the opposite of tmtyavTov (lit. visible = enjoying the 
 light), may signify consigned to the tomb. Brunck : Quid me, per patrios 
 deos y nondum mortuam, sed luce fruentem adhuc, contumelia afficis ? 
 
 845. €jj.iras — siriKTWjxai, I take you all together as witnesses. The 
 Schol. explains this verb by i-m^occfxai, I appeal to you, etc., like iiri/xap- 
 rvp/xai vjj.as. 
 
 847. oia cpixaiv 'cutXavros, how unwept by friends. For the gen. see 
 Matth., 343. Bernhardy, Gr. Synt.. p. 172. 
 
 849. iroTaivlov, unheard of as only the dead are usually laid in the 
 grave. Hence Erfurdt : insoliti. 
 
 851. ovr Iv fiporois out* iy veKpoicriu. Dindorf rejects this verse as 
 spurious. 
 
 852. fiiroiKos, a resident. In Athens this term was applied to all for- 
 eigners who had taken up their abode in that city. Cf. Demosth., Phil., 
 L, § 36. For the sentiment, comp. Eurip., Suppl., 968 : ovr* eV tois <p&i- 
 pivots ovr* iv (wcrw api^ixov^ivt], x°°P iS ^ TlV0L T & v ^ *X ov(ra ^olpav. 
 
NOTES. 205 
 
 853 ff. As Antigone, in her appeal to the public sympathy, has pre- 
 sented herself in the attitude of an innocent sufferer, the Chorus reminds 
 her that she has brought this calamity upon herself. She has grossly 
 violated Justice, the guardian of law and order in the state. But, as if 
 to soften this severe rebuke, the Chorus admits that she is not entirely 
 responsible for the act — she has been urged on by that malign influence 
 which has involved each of her family in ruin. 
 
 853. irpofiac? iir ecrxarov, etc. The sense: proceeding to the extreme 
 of audacity, my child, you have grievously offended against the sublime seat 
 of Justice ; that is, in defying the highest civil authority, you have struck 
 at the foundation of justice. — ttoXv, vehementer. Some question the pro- 
 priety of this word. Cod., Laur. A. : ttoXvv. 
 
 856. ircLTpyov — adAov. The sense : but you are fighting out an ances- 
 tral struggle. A series of crimes on the one hand, and punishments in- 
 flicted by the arrj on the other, are here regarded as a contest, which is 
 only to end with the doomed family. As some extenuation of Antigone's 
 guilt, the Chorus suggests that she is bearing her share of the inevitable 
 fatality of her race. Comp. 584 seqq. That the word irarptcov applies 
 not only to (Edipus, but to the whole family, is sufficiently shown by 
 Antigone's reply. 
 
 857. nzpifAvas. This may be either a gen. sing, or ace. plural ; tyaveiv 
 admits either case. I prefer, with Boeckh, to consider it an ace, and 
 oTktov in apposition with it. The sense : you have touched upon sorrows 
 most painful to me — the oft-repeated grief for my father, and all our evil 
 destiny, in the history of the famous Labdacidce. So Bernhardy explains 
 the dat., kXsivoIs Aa/38 a/a§ clkt iv, Gr. Synt., p. 79. Others make it depend- 
 ent on irSr/xov : the destiny come upon the Labd. — rpiiroXia-rov seems to be 
 compounded of the intensive particle rpi-, rpts-, and iroXeca = noXifa ; cf. 
 avairoxifa, meaning, primarily, to plough or turn over the soil, and metaph. 
 to repeat. The Schol. correctly : iroXXaKis avaTreicoX'ny.evov. Thus un- 
 derstood, the term aptly expresses the numerous heart-rending sorrows 
 which she had been called on to endure. Comp. vv. 2-7, and note to v. 
 4, 463. Boeckh interprets : des Voters vielberufenes Leid (my father's 
 far-famed sorrow) ; but Antigone speaks of what she herself had ex- 
 perienced. 
 
 862. fxcLTpyai agrees in sense with XeKTpccu: alas, the fatal mischief s 
 of my mother's bed! That incestuous union she regards as the chief 
 source of her evils. Comp. a similar constructio ad sensum, 794. 
 
 864. In the same way abroyewnra may be joined with irarpl. The 
 sense : and the embraces of my mother with my unhappy father, born of 
 herself, since he was both her son and husband. Comp. 53. (Ed. Tyr., 
 1250. — dvstJ.6pcp, from Laur. A., instead of the vulg. Bus^Spov. The dat. 
 
206 NOTES. 
 
 TvarpL depends on Koi^jxara, following the construction of the cognate 
 verb (Koi/jLacrSai rivi), Matth., 389. 
 
 866. oLu3v (ko i /XT] parcels), etc., of which union I am the wretched off- 
 spring. Corop. 38. 
 
 868. apaios, accursed, viz., on account of their sins. Schol. — fieroiKos 
 epx- I am now emigrating. 
 
 869. Antigone then comes to another but more immediate cause of 
 misfortune, the marriage of Polynices with the daughter of Adrastus, 
 without which the expedition of the Argives against Thebes would not 
 have taken place. By thus tracing her downfall to antecedent circum- 
 stances she makes it appear that she is more unfortunate than guilty. 
 
 871. Savcov — Kar-fji/apes fie, by your death you have slain me yet living, 
 i. e., your death was the cause of mine. Comp. Trachin., 1163 : favrd {£ 
 iwreivev Savwv. Ajax, 1027. 
 
 872. crefieiv, understand Kacriyv-qrov. The idea is : the paying funeral 
 honors to your brother was (in itself) a commendable act of piety. Cf. 943. 
 The Chorus proceeds to place the matter in its proper light. 
 
 873. Kpdros 5', supply tovtov. The sense : but the power of him to 
 tvhom the power of right belongs, is on no account to be violated. 
 
 875. avrSyvcoros = avr6fiov\os. Your own self-willed temper has 
 destroyed you. Comp. JSsch., Sept. c. Theb., 1053. Erfurdt : " avr6- 
 yvecros est, qui ex sua tantum animi sententia (yuccprj) unumquidque 
 agit." 
 
 876. Epodos. — Antigone recurs to the same lamentations with which 
 she began, 806. — 'duAavros, &<pi\. ai/vju. See note 812. 
 
 879. rdvft eroifxav bhou. Antigone means the death specially pre- 
 pared for her. For the ace, see Matth., 408, 5. 
 
 880. Constr. : ovKeri frefiis (ecri) fioi raXaiva bpav rode lepbv ofifxa Xa/x- 
 7rddos, SC. rod rjXlov. 
 
 881. aoaKpvrov is used to denote the consequence of ovoeh tpix. cre- 
 vd£ei : no friend mourns my fate, so that it is tearless. We have noticed 
 a similar construction, 791 : aMicovs. 
 
 883. Creon, who had shortly before entered upon the stage, chides 
 the executioners for their delay. — ap 'la-re, do ye not know, etc. apa has 
 here the sense of nonne. The order is indicated by the Scholiast : ap* 
 tcrre, el XP 6 ' 7 ? Xeyeiv aoioas tcaX y6ovs irpo rod &aveiv 9 ovoeirore ris av irav- 
 ffairo ; del ovv e/c filas eXiteiv avri]v. 
 
 884. el xpeli}, Boeckh : wenn es frommte, " if it were of any use." 
 Schneidewin : si liceret. The former is more in accordance with Greek 
 usage. For the part, av repeated, see Matth., 600. 
 
 885. ovk &£e&' (avrrjv). These words have the force of a command, 
 and hence are connected with the imperative. Matth., 511, 4. Host, 
 
NOTES. 207 
 
 Paral.-Gr., p. 446. The interrogation is expressive of Creon's impatience, 
 as in (Ed. Col., 846. Comp. also (Ed. Tyr., 945. Herm., ad Yiger, 
 p. 740. — Kar-npecpe?, spherically vaulted. Cf. Elect., 381. 
 
 886. ws €%py]KCL. Comp. 7Y4. 
 
 887. XPV S^etV* chooses to die, — xpfj. This reading is preserved by 
 the Scholiast, who explains it by the words, xp^C €L ^al &e\ei. The MSS., 
 Xp7]> Boeckh maintains XPV to ^ e tne oldest and best reading. The 
 second person is found in Ajax, 1373, <rol 5e Spay e£e<r& a XPV S > wnere 
 Hesychins explains XPV S ^J 3-eAeis, XPVC €IS * See also Suidas, sub voc. 
 XP^ 
 
 888. TV(j.(3ev€ij/ is intransitive. Wunder renders this passage : sive 
 mori vult sive tali in thalamo sepulta vivere. Similarly, Boeckh : im Grabe 
 wohnen, to be entombed alive. 
 
 889. tovttI — KSprjp, as regards this maiden here. For the expression 
 rovirl, see Matth., 282, 586. Wunder: quod attinet ad. Germ.: was bc- 
 trifft. The verse intimates some misgivings in Creon's mind, but he tries 
 to persuade himself that he has cleared his skirts by ordering a morsel 
 of food to be placed in the tomb (comp. 775 f.), and thus leaving it to 
 her option to live or die. 
 
 890. 8 s ovu, at all events. The expression is similar to aAA' ovu, ye 
 ovv, yovv. See Herm., Yig., 471. — rrjs avca fieroucias the Schol. explains 
 by rb fjLt& riixoov clj/w olKelv. The sense is : of living above-ground. 
 
 891. i/vfKpeTov. Cf. 816. She is an affianced bride, and hence apos- 
 trophizes the burial-vault as her bridal-chamber. — Karacrica^s = Kare- 
 <TKafj.iJ.ep7], excavated. Cf. KaT&pvKos (TTey7]s, 1100. 
 
 892. aelcppovpos, lit. ever-guarding ', said of the grave as an eternal 
 prison-house. 
 
 893. irpbs tovs i/javTris, ad meos. Cf. 867. As before remarked, 774, 
 it was the family vault, where, as well as in the spiritual world, she is 
 going to rejoin her kindred. 
 
 894. oKwXorwv, perished by a violent death. 
 
 895. \oi<r&la. Antigone speaks of herself as the last of her family, 
 making no account of Ismene, whom she has disowned. — nxKio-Ta, adv. 
 of manner, as in 695. "Wunder explains : longe deterrimo, sive multo 
 maxime miserabili fato defuncta. 
 
 896. irpiv fJLoi . . . fiiov, ere my term of life has expired, viz., by a 
 premature death. Similarly, 461. 
 
 897. Kapr ev eXiricriv rpecpca, I fondly cherish the hope. In the con- 
 viction of having done her duty here, she looks forward with a simple 
 yet unwavering faith to a joyful meeting with the loved ones beyond the 
 grave. 
 
 899. KCKrlyvrjTov napa = Kaaiyv^re. Cf. 1. She means Eteocles, 
 
208 NOTES. 
 
 whom she had also buried, and whose love she trusts she has not for- 
 feited. Cf. 515 f. 
 
 902. cScaKa, sc. v/jav. See Matth., § 428. — x°" s > c ^- 431, note. 
 
 903. The part. irepia-reWovaa, as denoting the cause of the punish- 
 ment, may be rendered, for laying out, that is, burying. Matth., 565, 2. 
 — Tom5 5 apuv/xai, I reap such a reward. 
 
 904. rots (ppovovviv eu, for the right-minded. Herm. explains : " et 
 tamen te ego, ut sapientibus probarer, honoravi." See Matth., 387. 
 These words seem to be spoken in answer to the charge of the Chorus, 
 875. She means that she has not followed merely her own impulses 
 (avrSyvooTos), but has acted in accordance with the views of all men of 
 proper feelings. In their judgment she hopes to be justified. Comp. a 
 similar dative, (Ed. Col., 1446. 
 
 905-13. These verses have been declared by Jacob to be spurious — 
 an opinion which has been adopted by Wunder, Schneidewin, and others, 
 who agree in attributing them to some actor, who, in bringing out the 
 play after the death of the author, interpolated the passage in order to 
 gratify the well-known taste of the Athenians for such sophisms. This 
 judgment rests upon the manifest want of connection between it and the 
 context, and upon the flimsy reasonings so inconsistent with our heroine's 
 otherwise just and noble sentiments. Aristotle quotes it without objec- 
 tion, Rhet., iii., 16. A similar passage is found in Herod., iii., 119, where 
 the reasons given by the wife of Intaphernes for preferring her brother 
 to her husband and sons, are too identical with those here adduced to 
 admit of a doubt that they had a common origin. 
 
 906. iT7]K€To, lit., was wasting away. Lat, tabesceret, commonly used 
 concerning the living. Here it refers to children or husband, who might 
 be in the same condition as the exposed body of Polynices. We may 
 therefore understand it in the same sense as d\e<T^rai, v. 698 : fjL-f]& inr 
 cufjLTia'Tcov Kvvajy sXac? bxicr&ai (consumed). 
 
 907. fiia iroXirSov is inaptly borrowed from v. 79, for Antigone does 
 not recognize Creon's ordinance as the will of the people, comp. 504 ff., 
 914, — rjpSfirjv, Homeric aor. mid., for which Hermann puts the imperf. 
 ypofj.r]v. Vulg., avr)p6}xT]v. Schol., vtt£(TT7]v. The sense : I would not have 
 undertaken this task contrary to the ivill of the citizens. 
 
 908. v6\xov, rationis ut mox, 914. Musgr. — wphs x^P lv - Comp. 36 : 
 irphs x^P lv P°pus* 
 
 909. KaT&avovTos, supply rod irporipov. See Matth., 563. 
 
 910. ei rovd" tf/jL-rrXaKov, if I had lost that (child). 
 
 912. ovk %<tt aSeXcpbs. Sophocles would have written: ovk eo^' oir<as 
 adeX. av fiXacTToi irore. The thought is quite absurd, since Polynices was 
 no longer living, as was the brother in Herodotus. Schneidewin. 
 
NOTES. 209 
 
 913. &* iKTrpoTi/j.^(ra(r\ having honored you above all: another incon- 
 sistency, for she says, 519, that Hades requires equal rights. — tre can 
 only mean Polynices, but it is too far removed from 904 to form a part 
 of that apostrophe. 
 
 914. I/Spy, KpiovTi. Schneidewin believes that \xevroi or \x6vy Kpeovri 
 was the original reading, whereby Creon would have stood in marked op- 
 position tO €V (ppOVOVVTSS. 
 
 921. iroiav — diKrjv, for transgressing what law of the gods? Comp. 
 903. — daifj.. Slktjv, comp. &ea>i/ fiS/jLi/xa^ 4:54:. The question refers to the 
 reproach of the Chorus, 854. 
 
 922. ri xp'h — ert, how does it behoove me further, etc. Comp. 884. 
 Antigone's faith in the divine protection is somewhat staggered when she 
 finds herself abandoned by the gods to suffer for an act of duty which 
 they must approve. That they should permit her pious devotion to be 
 branded and punished as impiety, makes her doubt either their willingness 
 or their power to help her. This momentary bewilderment, however, is 
 succeeded by the consoling reflection that the truth will at length be 
 made manifest, and justice will be vindicated by the punishment of the 
 real offender. 
 
 924. The part, evcrefiovs* denotes the means : by pious conduct I have 
 earned the reproach of impiety. See Matth., 566, 5. 
 
 925. raS' means this judgment of Creon. — KoXa, acceptable. Comp. 
 521 : el K&Tia&ev evayr) ra5e. The Scholiast interprets correctly: el rav- 
 ra ro?s &eo?s apecrttei, iraSovres rrju Tifxcopiav, yvoiy\\i.ev rrju a/xapriau. The 
 thought is, if these acts of Creon are really approved by the gods — a 
 question which only the future will determine — then, that is, after suffer- 
 ing death, I shall be conscious of having sinned ; but, if he is guilty, I 
 wish he may suffer no worse calamity than he very unjustly inflicts upon 
 me. — irc&SvTes is a milder term for &av6vres. Yiger, Gr. Id., 278. Comp. 
 Dem., Phil., i., 11. The part, in the masc. plural, instead of the fern, sing., 
 according to Matth., 436, 3. — av Ivyyvolfxev (= avveiBeiriixev) in the sense 
 of the future, as frequently. Schneidewin interprets it : / must forgive 
 what I have suffered, as being guilty. But the ancient Greek religion did 
 not inculcate the virtue of forgiveness. 
 
 927. 1X7} irXeio) kolko.. Usually in the drama the sufferer wishes his 
 injurer like evils. Cf. Philoct., 775, 1114. Antigone, who regards her 
 punishment as excessively cruel, wishes Creon no greater evils, because 
 greater cannot be imagined. The particle /cat increases the force of the 
 following words, particularly of ekS'ikus, which expresses the firm convic- 
 tion that the gods will coincide with her in their decision. 
 
 929 f. aural. Herm. and Boeckh : avrai = at avral. TJie same soul- 
 blasts of the same winds still hold possession of this maiden, i. e., she is still 
 
210 NOTES. 
 
 agitated by the same violent passions as before. — avijicav pnral. Cf. 137: 
 pnrous €%^icrrcoi/ ave/jLwv. 
 
 931. roLjap rovrcou, so then for this ; supply evtKa. — tovtqw refers to 
 Antigone's lamentations and complaints, for which Creon is incensed at 
 the guards, who ought to have led her away. 
 
 935. Sapcrelv ovdkv, etc. This is assigned, by some critics, to Creon, 
 and understood as sarcastic. Boeckh properly attributes it to the 
 Chorus, whom it suits much better. The same view was taken by the 
 Schol. : 6 x°P° s heyth &$ T °v Kpeovros jjltj fier aire ia& euros. The sense is : 
 I counsel you to have no confidence that this command will not be so fulfilled. 
 I can give you no encouragement. — fify ov. Comp. 97, note. 
 
 938. 3-eol irpoyevels, dii aviti. Hermann says : Sunt illi antiqui dii 
 Mars et Yenus, Harmonise, Cadmi conjugis, parentes. In JEsch., Sept. 
 cont. Theb., 105, the former is invoked : iraXaix&uv v Ap?7s, antique soli 
 'possessor; and the latter, v. 140 : nai Kvirpis, yevovs irpofxarcop, generis avia, 
 with Jupiter, v. 117: Zed irdrep iravreXes, pater supreme. Comp. Ajax, 
 388 : ^H Zed irpoySuwu irpoiraTccp. 
 
 940. ol Koipavibai = Koipavoi. The Scholiast considers these words 
 addressed to the aged citizens composing the Chorus. This term, he 
 says, was applied, not only to kings, but also to distinguished citizens. 
 It is more probable that Antigone, after her ancestral gods, apostrophizes 
 the illustrious kings from whom she was descended, as she does her own 
 family, 898 ff. After the severe reproof of the Chorus, 872-5, she would 
 not naturally again appeal to their sympathy. For the nom., instead of 
 the vocative, see Matth., Ill, 1. Schneidewin prefers, with Emperius : 
 tV Koipavidav (the last of the royal family). 
 
 941. Dindorf strikes out this verse as an interpolation. It is sup- 
 ported, however, by the best authorities, and no change seems to be ne- 
 cessary. The Schol. : rV j8a<nAi8a • t))v &a<ri\eiav. Hermann : Est autem 
 fiacriXls pro adjectivo : earn quae sola de regia gente reliqua est. — Xonrrji/, 
 cf. 895, \oio-&la, and note. 
 
 942. ola — 7rriVxa>. This verse is properly the object of Xevcrcrere, the 
 preceding ace, ttjv j3ao'i\ida, easily coalescing with the subject of 7rdVx&>. 
 The general sense is : behold, ye princes of Thebes, what cruelties I, the 
 only surviving scion of the royal race, suffer, and from what men. As ex- 
 amples of a similar construction, comp. iEsch., Prom., 92 : VSecfre \j? ola 
 irpbs &ewv iracx® &eos, in which p is equivalent to iydo ; and Demosth., 
 Phil., iii., § 61 : rbv Evtppcuov, ola eiraxte, jULe/jiprjfjLepoi. 
 
 943. o-eplo-ao-a, comp. 903, 921. The sense : for piously fulfilling a 
 holy duty. In these closing lines the character of the heroine appears in 
 its full grandeur. She is the last of a race of kings who traced their lin- 
 eage to the gods ; and now for an act, sanctioned as a religious duty by 
 
XOTES. 211 
 
 the laws of the gods and universal custom, by the fiat of a tyrant of yes- 
 terday, she is led forth to an ignominious death. When first arraigned 
 before Creon, she had, with the boldness of the Christian Apostles, avowed 
 the position that she ought to obey the gods rather than men, and in 
 these her last solemn words she proclaims to the world that she perishes 
 for her devotion to her family and her religion. 
 
 944 ff. While Antigone is led away to the fatal vault, the Chorus 
 seeks to reconcile her to her lot by showing the irresistible power of des- 
 tiny, as exhibited in the sufferings of three illustrious persons of heroic 
 times : Danae, Lycurgus, and Cleopatra, who were likewise immured 
 alive in subterranean dungeons. — er\a teal Aavdas de/xas, even Danae 1 s 
 noble form endured (had) to resign the light of day, etc. For the circum- 
 locution Aavdas $efj.as, see Matth., 430. Cf. v. 1 of this play. — ir\a, cf. 
 II., v. 385 : r\r\ fxkv "Apris, pertulit. With the inf., Msch., Again., 1041 : 
 rXrivai kcu (vyoju &iyew fita. The fable alluded to relates that Acrisius, 
 King of the Argives, having been warned by an oracle that his daughter 
 Danae should give birth to a son by whom he would be killed, confined 
 her in a subterranean chamber of which the walls were fined with brazen 
 plates. Nevertheless, Jupiter, transformed into a shower of gold, gained 
 access to her through the ceiling. — xa^KoSerojs. The walls and ceiling 
 of the chamber were covered with brass plates fastened on with nails, as 
 has been found in the Thesauros of Mycenae. Pausanias (ii., 23, 7) re- 
 lates that he saw in Argos this " underground dwelling, over which was 
 the brass chamber which Acrisius once made to guard his daughter in." 
 See Apollod., ii., 4, 1. Hor., Od., hi., 16 : Inclusam Danaen turris 
 ahenea, etc. 
 
 946. iu rvfifi-hpei &a\dfvp, in a tomb-like bridal-chamber, thus marking 
 its similarity to the vault intended for Antigone. 
 
 949. yevez riixios (?)v), nobilis erat. She was also a king^ daughter. 
 
 950. ra^i6U€o-/ce, was treasure-keeper of; which the Scholiast explains 
 without figure : ip avrfi el^e ras yovds rod Aios • l b ecrriv • eyicvos r\v. — 
 Xpv&opvTovs, gold-showering. 
 
 951. a poipiSia 5uz/acns, etc., but the power of fate is a terrible one. — 
 fjLOLpiSia, inst. of the gen. Woipuv. Cf. 987. 
 
 952. 6\(3os, some erroneously read 6/j.^pos. — itccpvyoiev may be taken 
 in a causative sense : can enable to escape or avoid. 
 
 955. Axtistrophe 1. — Another example of a similar fate is furnished 
 by the story of Lycurgus, the Thracian king, who, for his contemptuous 
 treatment of Bacchus and his attendants, was immured in a rocky prison. 
 In the version of the fable, followed by Homer, II., vi., 130 ff., Jupiter 
 punished his impiety with blindness. Apollod., iii., 5, 1. 
 
 955. C^X^i similar to KaTe(ei>x^Vi 946 ; recalling the story of 
 
212 NOTES. 
 
 Danae. The only point of similarity consists in this, that they were con- 
 fined alive. — o|uxoAos, hot-tempered. Yirgil commemorates his passionate 
 disposition, iEn., iii., 13 : 
 
 Terra procul vastis colitur Mavortia campis 
 (Thraces arant), acri quondam regnata Lycurgo 
 
 Homer, in the passage above cited, calls him hv'5po<p6vos ; Ovid, sacri- 
 legus. 
 
 956. 'Hdwvajv. Populi Thracii, ad Edonem montem et Strymonem 
 fluvium incolentis. Vide Plin., Hist., N. iv., 11 ; et Gierig, ad Ovid., Met., 
 xi., 69. Wunder. — KepTOjxiois opycus, dat. of cause, by reason of his con- 
 temptuous anger. A specimen of Lycurgus's insulting language to Bac- 
 chus is given by Aristophanes, Thesmophor., 136. 
 
 957. e/c Aiop. KaTd(papKTos. This does not mean that he was bound 
 by Bacchus himself, but at his instigation. Apollodorus, 3, 5, 1, relates 
 that Lycurgus was carried by the attendants of the god to a rocky cave 
 of Mount Pangaeus, and chained there. — KardcpapKros, Cod. Laur. A., by 
 metathesis for KardcppaKros. 
 
 959. Constr. : ovtco Beivbv av&ripbv re jxivos ras fiavlas airoffrdfei, thus 
 (i. e., in this condition) the violent and fresh-foaming power of his madness 
 trickles (or oozes) away. — av&rjpbi/ seems to express a fancied resemblance 
 to a white blossom observed in the foam on the mouth of a raging maniac. 
 Boeckh understands it in this sense : wildaufschaumender Grimm. Comp. 
 a similar metaphor, Trachin., 1000 : tiavias &v&os. iEsch., Agamem., 
 744 : epcoros 'dvfros. The present farovrdfa implies that Lycurgus is still 
 writhing in his rocky prison, as Xiobe ever weeps, 831. 
 
 960. Kelvos ziriyvo), etc. The sense is : he became conscious (in his 
 lucid moments) that in his madness he provoked the god with his insulting 
 tongue. — iv Kepr. yXdxrcrais, instead of the simple dat. of the instrument, 
 Matthiae, 395, n., and sing, for pi., as frequently. Hermann and others 
 join iiriyvo) rbv &ebv, cognovit deum. 
 
 964. iv&eovs ywcuKas, the god-inspired women, i. e., the Bacchantes, 
 Thyiades, Maenades, who marched and danced in nocturnal processions, 
 swinging blazing torches and shouting, even, evoi ! evoe, evoe ! hence the 
 expression eviov nvp, the mystical fire, noticed more fully 1146. Por the 
 attendants of Bacchus, see K. F. Hermann's Kelig. Antiq. of the Greeks, 
 p. 136. Eurip., Bacchae, passim. 
 
 965. (piXavKovs — Movaas. The Muses, originally attendants of Apollo, 
 were afterward associated with the followers of Bacchus, while the an- 
 cient cithara was exchanged for the flute. Creuzer, Symbol, iii., p. 181. 
 
 966 ff. The two closing strophes are devoted to the story of Cleopatra 
 and her two sons, whose imprisonment furnishes the third example of 
 
NOTES. 213 
 
 this fate. The fable is variously told ; the version followed by our poet 
 is as follows : Cleopatra, the granddaughter of Erechtheus, King of 
 Athens, and daughter of Boreas, was the wife of Phineus, King of Sal- 
 mydessos, to whom she bore two sons, Plexippus and Pandion. Phineus, 
 having afterward repudiated her, shut her up in close confinement, and 
 married Idaea, the daughter of Dardanus, King of Scythia. The second 
 wife, becoming jealous of the ill-treated Cleopatra, accused the latter's 
 two sons of attempting to violate her person. Thereupon Phineus deliv- 
 ered them up to their enraged step-mother, who dug out their eyes with 
 a weaver's comb, and then imprisoned them in a vault. 
 
 966. Of this verse there are numerous emendations ; that of Schnei- 
 dewin affords the clearest sense : irapd §e Kvaveav TreAcryeW SiSi^uwz/ 7re- 
 rpau, near the Cyanean rocks of the double sea. The Kvdvzai irirpai, or 
 Kvdvsai 'SvfjLirXriydSes, are frequently mentioned in the story of the cele- 
 brated expedition of the Argonauts. They were two small, rocky islands, 
 marking the boundary of the Euxine and Bosporus, and were said some- 
 times to dash together and crush the vessels sailing between them. 
 They hence received the name (TvfX7r\riyddes, crvvdpondSes, <TvvopiJ.d8es 
 Trerpai. Eurip., Iph. Taur., 12-4 : Tlovrov Bljtcls crvyx^povcras irerpas 
 Ei>£eiVou; 393: Kvdveai ctvuoBol fraXdo-o-as ; also 423, 753. Comp. Pom., 
 Mela., ii., 7, 19: contra Tfiracium Bosporum duae parvae (insula e), par- 
 voque distantes spatio et aliquando creditae dictaeque concur r ere, et Cyaneae 
 vocantur et Symplegades. — irapd with gen., by or near ; Matth., 588. 
 
 967. oKTol Bocrirop., sc. elcriu. The Chorus, with the minuteness of 
 epic narrative, describes the locality which was the scene of the horrible 
 deed. 
 
 969. 'XaX/j.v^Tio-a-hs. There was a town, bay, and river of this name 
 at the mouth of the Euxine, on the Thracian side of the Bosporus. 
 Situated near was the town of Phinopolis. This coast was a dangerous 
 one for navigators, and was also infested by pirates (Xen., Anab., vii., 5, 
 12 f.), who frequently fought over their booty from the wrecked vessels, 
 and killed each other. It is doubtless in reference to this belligerent 
 character of the people that Mars is called ayx'nroXis, the neighboring, 
 that is, guardian divinity. Already Homer, II., xii., 3C1, calls Thrace 
 the home of Ares and his son Phobos (terror) ; and Virgil, Mavortia 
 regna. 
 
 971 f. aparhv. Schneidewin : apalov. — apax&ev, instead of the vulg. 
 Tv(p\co&4v, is adopted by Dindorf and "Wunder, and is the most appropri- 
 ate word. Cf., supra, 52 ; (Ed. Tyr., 1276. The passage may be ren- 
 dered : where the presiding Mars saw an accursed wound inflicted upon 
 Phineus 's two sons by his infuriated wife, (a wound) causing blindness to 
 their vengeance-crying eyeballs, etc. 
 
214: NOTES. 
 
 974. a\aaT6poi(Tiu is explained by the Scholiast : tols #AaoTa ireirov- 
 &6criv, y) ro7s Suo-Tvxzcri (luckless). But a\d(TTcop means avenger, comp. 
 (Ed. Col., 788 ; and the adj. aXdaropos, properly, avenging. Welcker in- 
 terprets it here by the word racheschreiend, vengeance -crying, the revolt- 
 ing deed committed upon the innocent boys being one of those unnatural 
 crimes which call for divine vengeance. The dative depends upon akabv, 
 used in the active signification of bringing blindness. 
 
 975. &Tep& ayxtW' This emendation of Hermann is adopted by 
 Dindorf, W under, and Schneidewin, instead of the absurd apax^v lyxe- 
 cov found in the MSS. — arep3-e = &v€v. The sense, according to the in- 
 terpretation of Triclinius : not with the spear, i. e., with a martial weapon, 
 but with blood-stained hands, and the points of the weaver's comb. 
 
 976. The Kepicls was an instrument used by women for striking up 
 the threads of the woof in weaving, answering the purpose of the modern 
 reed. Its earliest and simplest form was a thin blade of wood or metal ; 
 in later times it was shaped like a wedge or fan, and armed with iron 
 prongs, so as to strike between several threads at once. Triclin. : <n5?;- 
 pwv arpoLKTcau. Hence, in our author's time, the term Kepnis was applied 
 to the fan-shaped divisions of seats in the theatre. 
 
 980. fiarpbs is a genetic gen. (denoting origin), and may be rendered 
 either by of or from. — avv/uLcpevTov, ill-matched, i. e., married to a bad 
 man, agrees in sense with fxarpbs ; comp. 862. In regard to this mean- 
 ing of a privative, comp. (Ed. Tyr., 1214 : fr-yapou ydfxov. In a similar 
 sense §vcrvv}x<pov, Eurip., Iph. T., 216. The sense is: having birth from 
 (= being born of) an ill-wedded mother. So the passage was understood 
 by Hermann : deflebant miser am sortem suam, ex infausto matris connubio 
 nati. 
 
 981. (nrepfia, = yivos, is an ace. of limitation. The verb avrau, with 
 gen., is the same as sivai, belong to, or \tvpziv. Matth., 327. Bernhardy, 
 Synt., 176. Some prefer to govern the ace. a"ir€p/xa by &vras\ Comp. 
 Philoct., 239: iyca yivos \x.iv elfju rrjs irspippviov ^Kvpov. — a, viz., Cleo- 
 patra, their mother. She was the daughter of Orithyia, the daughter of 
 Erechtheus. 
 
 984. rpcLtyr), was raised (grew up) among her father's storms. Hartung 
 strangely supposes that this verse refers to her imprisonment, and pro- 
 poses to read rdeprj. — Bopeas is nom. the daughter of Boreas, the storm- 
 god of the North, by whom Orithyia had been carried off from the banks 
 of the Ilissus. The fable is mentioned by Plato, Phaedr., p. 229 : curb 
 rod y l\icr(rov \eyerai 6 Bopeas t)]v : 'Clpei&viav apird(rai. 
 
 985. a/miinros — irdyov. Woolsey renders : " fleet as a horse over a 
 steep hill = bounding over it as swiftly as a horse." Some verb of mo- 
 tion, as freieiv, is implied, as in the Homeric expression : &*Uip b.v4fxoi(Tip 
 
NOTES. 215 
 
 6ij.o7os. The Schol. : raxe'ta, Xcrov anrtp dvvauevri rp&x&v. The expres- 
 sion opSoTTodos irdyov is supposed to allude to the rocky precipices of 
 Mount Pangaeus, which rise abruptly from their base, and which served 
 as a play-ground for the Boreadae. 
 
 986. ,3-eoiz/ 7ra?s\ Her father, Boreas, and her grandfather. Ereehtheus, 
 were both regarded as divinities ; to the former an altar was dedicated 
 on the Ilissus. to the latter a temple — the Erechtheion — on the Acropolis 
 at Athens. Cicero, de Nat. Deo., hi., 19, says : Erechtheus Athenis fili- 
 aeque ejus in numero deorurn sunt. For the ftoubs Bopeov, see Plat., 
 Phaed., p. 229. — aAAa Kan iKeiva, yet even upon her. etc. The idea is, 
 that, notwithstanding her high parentage and wonderful fleetness, the 
 hoary Fates seized upon her ; this refers of course to her incarceration by 
 Phineus. 
 
 9S8. Teiresias, the old blind priest and seer, comes to announce to 
 Creon the wrath of the gods, and to warn him of the fearful consequences 
 of persisting in his wicked measures in regard to Polynices and Antig- 
 one. A boy leads him by the hand. — avaxres, nobles, or lords, spoken to 
 the chief men of the city, composing the Chorus. See 159 f. Similarly 
 in (Ed. Tyr., 911, Jocasta addresses the Chorus: x^P as avaKres. urlis 
 hujus prineipes. (Ed. Col., 831. 
 
 990. avrri KeAeud-os, this manner of walking, viz., by the aid of a 
 guide. 
 
 994. li ophr\s (doov) in the right way, i. e., prosperously. — vavK\7)peh 
 xoAii/, you guide the ship of state. Comp. 189, and inf. 1058. JEsch., 
 Sept. c. Th., 652 : yvubi vavKXripziv ttoXiv. Yalckenar's emendation, tt,v$ 
 ivavK\r)peis, is unnecessary, the present tense more fitly expressing what 
 has so recently begun and still continues. 
 
 995. Constr. : ix^ \xapTvpdv ttottovSus ovricriua. The sense : I can 
 bear witness thai I have experienced the benefits of your counsel. The part, 
 joined with uaprvpeiv, instead of the inf., see Matth., 548. Creon alludes 
 to the time when the city was besieged by the Argives, and he had saved 
 it by the sacrifice of his son Megareus (or Menoeceus), according to the 
 injunction of Teiresias. Comp. Eurip., Phoeniss, 927: acpd^ai. Mevoi/cea 
 ToV&e 5e? a ? \nr\p irdrpas crov 7rcu5\ 
 
 996. fiefiws iirl £vpov rvx^^i ^ l0 ^ V°~"- are HOW a C J ' : '^' 1 upon the razor s 
 edge of fortune. A proverbial expression, after Horn., II., x.. 173. signi- 
 fying to be in extreme peril. — fiefius = ay, cf. 6 7, or ecrrccs. Comp. 
 Herod., vi., 11. 
 
 997. as, in the sense of erei, or yap. — a-roaa = \6yov, Schol. The 
 sense is : for I dread your communication ; lit. , shu elder at your mouth. 
 Comp. Ajax, 1110. 
 
 998. Sophocles had himself been a priest, and therefore knows the 
 
216 NOTES. 
 
 craft. Boeckh. C. F. Hermann (Relig. Antiq. of the Greeks, § 33) has 
 shown that the office of the /xolptis was distinct from that of the priest 
 (lepevs) ; the latter offered prayers and sacrifices, while the former was 
 the inspired interpreter of the divine will. Xenophon, Mem. Soc, i., 1, 3, 
 mentions four principal sources from which the materials of divination 
 were drawn : birds, voices, portents, and sacrifices. Comp. iEsch., 
 Prom., 484 ff. 
 
 999. fraKov opviSo<TK6irov. This augur's observatory was still shown 
 in the time of Pausanias, lib. ix., 16. Cf. Eurip., Bacch., 347. 
 
 1000. \ifjL-f}i>, haven, in the sense of the ancient technical word tem- 
 plum, meaning a limited space selected by the augur as the field of obser- 
 vation. Cf. Liv., i., 7. 
 
 1002. K\d(ovTas, instead of the gen. K\a£6vT<av ; this constructio ad 
 sensum is explained in Matthiae's Gr., 434, 2, note. — PefiapfiapcDjjLej/q), con- 
 fused, and therefore impossible to be interpreted by the augur. 
 
 1003. kolL GirwvTas, etc., and I knew they were tearing one another with 
 their talons in deadly fight. — ip xo^vw* for the simple dat. of instru- 
 ment. Cf. 968. — cpovais, cf. 696. It may be rendered by the adv. phrase, 
 to death. 
 
 1004. yap gives a reason for this opinion, for the violent whirring of 
 wings vms not insignificant, that is, plainly showed that they were fighting 
 fiercely. Being blind, he judges by the sound alone. 
 
 1005. i/jLirvpcav £yev6fj.r)j/, I made trial of divination by fire, or the burnt- 
 sacrifice, viz., in order to ascertain whether the previous bad tokens 
 should be confirmed. Pliny calls this mode of divination ignispicia ; it 
 was one of the earliest known among the Greeks. iEschylus ascribes 
 the origin of it to Prometheus. Cf. Prom., 498 : <p\oycoira a"nfj.aTa i&jj.- 
 /jLaTcoffa signa ignea revelavi. Eurip., Iph. Taur., 16. In after-Homeric 
 times it was superseded by the extispicia, or examination of the viscera 
 of the victim. — iyev6/jL7)v = tireip&}x7)v. Brunck : " yeveoftai valet ex- 
 periri, periculum facere" 
 
 1006. fioofjLoicri -KajjjpxinTOKTLv, upon the full-blazing altar. A hot fire 
 was kindled with dry twigs (cppvyauov) arranged in a particular manner. 
 Aristoph., Pac, 1026. The sacrifice, however, which consisted of thigh- 
 bones wrapped around with fat, with gall and liver added (^Esch., Pr., 
 495 f.), did not in this instance burn with a clear flame. The diviner's 
 opinion was formed from the manner of the burning : it was a favorable 
 omen if the apex of the flame was high, bright, and clear ; and the con- 
 trary if it was darkened with smoke and soot. Seneca, (Ed., 309. 
 
 1007. Constr. : a\\' ktjkIs Mplcw juuS&ca iiri o"irod$ ir^Kero, etc., but 
 the fat of the thigh-joints, trickling down upon the embers, was consumed^ 
 and smoked, and sputtered. 
 
X T E s . 21Y 
 
 1009. fierdpcrioi, into the air, as adverb, Matth., 446, 6. 
 
 1010 f. Karappvels . . . TTL/j.e\rjs. The sense : the thigh-bones running 
 down (i. e., with fat) lay bare of the fat wrapped around them. — Notice the 
 difference between firjpoi and firipla, 1008 ; the latter signifies the thigh- 
 joints with some portion of flesh npon them, while \x.r\poi denotes the 
 same bones denuded of flesh. These are described as Kxrappvus, as, by 
 a common use of language, any thing upon which a liquid runs is said to 
 run or flow with it. Thus a knife is said to flow with blood ; the face 
 with perspiration. — /caAuTrr?)*, in a passive sense, adipis circumdati. 
 Boeckh : umgehulltes Fett. It refers to the slices of fat previously 
 wrapped around, which were now melted off, leaving the bones bare. 
 
 1012. Connect : roiavra (pMvovra fxa.vTtvijLa.Ta dcr/j/xcov hpy'icav, etc., 
 such failing presages of the meaningless sacrifice I learned, etc. — (pSrivovr 
 (alluding to 1008 : er^/cero, etc.), consuming, vanishing away, without 
 flame. The fia^TevfLara are the oracular elements supposed to indicate the 
 will of the gods ; here is meant the oracular flame, which was to guide 
 the diviner's judgment, but which failed to appear. — acr?7/xa?z/, unintelligi- 
 ble, hence unfavorable, infausta. — opyiwv. Musgrave : sacrificiorum, like 
 ifjLTrvpcayy 1005. Comp. Trachin., ^765 : (Tc/jluwu opyicou iSaiero <p\b£ alfxa- 
 rrjpd. JEsch., Sept. c. Theb., 180. 
 
 1015. ravra may be considered the object of voctcl, as an accusative 
 of kindred signification : the city suffers these ills, labors under this dis- 
 ease. Comp. Herod., iii., 33 : rov aru>/j.aTos vovcrov ixzyd\T)v vocrzovros. 
 
 1016. icrx^pai, sacrificial 'hearths, upon which burnt-sacrifices were 
 offered. — iravTeXtls = 7raj/r€s, or adv. 7ravT€\&5 9 entirely. Cf. 1163. 
 
 1017. vir ol&ve&v, etc., by means of birds and dogs. These animals 
 had mangled and eaten the corpse of Poiynices, and carried it to pol- 
 lute all the public and private altars. Comp. 205. — fiopas, the mangled 
 flesh. 
 
 1019. kzt\ and hence, viz., in consequence of this pollution. — ov — in, 
 similar to the Fr. ne — plus, no more. 
 
 1022. fiefipcoTes aljx. Kiiros y since they have eaten the fat of a slain 
 mail's blood. For the plural part, referring to the collective substantive 
 opvis, see Matth., 434. Teiresias thus accounts for the ill-boding shrieks 
 of the birds mentioned above, v. 1001 f. 
 
 1023. tekvov. Creon may be supposed to be fifty or sixty years old ; 
 yet but a child in comparison with Teiresias, who was a man of very ad- 
 vanced age. Boeckh. — ydp, referring to (ppSv-ncrov, introduces a general 
 reflection, like, to err is human. 
 
 1025. afxaprri, supply rh. — iird with the subjunctive, as in 710. 
 Bernhardy, Gr. Synt., 400. Comp. St. John, Ep. I., ii., 1 : idv rts 
 ajj.dpTT). 
 
 10 
 
218 NOTES. 
 
 1026. ostls is kclkIv, etc., who, falling into wrong, repairs it and does 
 not remain immovable. — avo\$os, infelix, miser. 
 
 1028. av&adia roi, etc., whereas obstinacy merits the reproach of stupid- 
 ity. — 6(p\i(TKdv€i. Comp. 4*70, and iny note to Demos., Phil., i., 42. 
 Teiresias urges Creon to relent with general reasonings, much like thoso 
 employed by Haemon, '705-23. 
 
 1029. €LK6 t$ fravovTi, yield to the dead. This verb takes the person 
 in the dat., and the thing in the gen. Comp. 718, note. Herod., ii., 80. 
 — b\w\6ra KevT€i, do not pierce a man already slain, that is, do not wreak 
 your vengeance upon a lifeless corpse, with which there can be no con- 
 test. 
 
 1030. ris a\/t'77, what valor, said in derision. — top &av6vT i iirucrave?!/, 
 to kill the dead over again, is a proverbial phrase like that in v. 1288: 
 6\co\6t 'drip' eVe|etp7 acrca ; and Philoct., 946 : ivaipcov v&Kp6p. For the 
 construction, comp. 753. 
 
 1031. eu (rot (ppourjcras, etc. The sense: consulting your best good, I 
 give you good advice. The 5 with an apostrophe may stand at? the end 
 of a verse, though not at the beginning. It is not found in iEschylus ; 
 Euripides has it in Iph. Taur., 968. For the thought, comp. 723. 
 Creon's reply shows that he remembers the previous admonition of 
 Hsemon. 
 
 1033 f. to£6tcii (sc. ro^vffovcn) CKoirov. For ro^eveij/ with the gen., 
 Bernhardy, Gr. Synt., p. 175. — avdpbs rovBe, instead of i/xov. Schol. — 
 KovBh fxavTiK?is — el/jLi, also not even in divination am I unwrought upon 
 (spared) by you, that is, you have even practised upon my credulity with 
 your art of divination. For the gen. fiavTiKrjs, consult Matth., 337. 
 
 1035. t&v 5' viral yivovs, i. e., viral toov yzvovs, by the members of my 
 family, my relations. Creon evidently suspects a collusion between 
 his family and Teiresias, to deter him from his purpose by working upon 
 his religious scruples. As before, the watchman, 294, 302 ff., so here he 
 imagines the seer, is bribed to thwart his measures. Comp., infra., 1047, 
 1055, 1061. — tgou inral. Cf. Elect., 1419 : facriv oi yas viral iceifieuoi, 
 
 1036. The sense: I have long been betrayed and sold. — KaKire<p6pTL(TfjLai. 
 The Scholiast explains : irpoSedofxai. <p6pTos y^yivy\\xai. £iroiri<ravT6 ;ue <p6p~ 
 top, quoting from Callimachus. 
 
 1037. irphs ^dpdecov, from Sardis. vrpbs is used to denote the place 
 from which a thing comes, or where it is produced. Bernhardy, Gr. S., 
 p. 264. — TiXsKTpov. The electrum, or silver-gold, was a whitish metal, com- 
 posed of four parts of gold and one of silver, not produced by art, but 
 found mixed in the ore. It was obtained from the mines of the Tmolus 
 mountains, and the sands of the river Pactolus, which ran by Sardis. He- 
 rod., v., 101. Ctesias, Frag., § 12. Pliny, Hist. Nat., 33, 23 : ubicunque 
 
NOTES. 219 
 
 quinta argenti portio est electrum vocatur. Herod., i., 50, calls it Xevxbs 
 Xpvcros. Coins of it are still sometimes found in Asia. The gold of India 
 was pure. 
 
 1040 f. This scoffing language is intended as a reply to the seer's 
 words, 1016 f., that all the altars were defiled by Polynices' corpse. To 
 prove that he is not intimidated by what he considers the tricks of priest- 
 craft, he utters a bold blasphemy against heaven, and insults the hitherto 
 venerated prophet. 
 
 1042. Repetition of the declaration of 1039. Connect ovtf with 
 Trapr}<T(d. — c5s — /ultj rpiffas expresses the reason, since I do not dread such a 
 pollution, believing it impossible. The subjective neg. fxi\ is rightly em- 
 ployed to denote the conviction of the speaker. 
 
 1045. The order : kcu ol iroWa deivol Pporwv TriirTovan cucxpa Trrdo^ara 
 (cognate ace). — iroWa, adv., like irdvv. The sense: but even very clever 
 men suffer a shameful fall, etc. Philoct., 254 : ir6xX iyeb [xox&ypos, valde 
 me calamitosum. Horn., II., xi., 55 7 : ttoAA' aeKcov, adrnodum invitus. 
 ttoWol, with an adj., has the force of a superlative, as here, the ablest of 
 men. 
 
 1047. KctX&s, plausibly. Comp. (Ed. Col., 774 : crKXwpa /jLaX&aK&s Ae- 
 ycau. — K€pdovs xupw, for gain, in sarcastic allusion to 1032. 
 
 1048 f. A reflection upon the incorrigible obstinacy of Creon, as if 
 he were absent. In the form of a question Teiresias enunciates the lead- 
 ing thought of the play. Comp. 683, 1347. But Creon interrupts him 
 in the middle by contemptuously asking : What commonplace is that you 
 are uttering ? — iraynoivov. Schol. : r£ fiicp koiv6v. iraci ftoivbv kol\ <pavep6v. 
 
 1051. occpirep, oT/jlcu, etc., as much, methinks, as foolishness is the great- 
 est affliction, or curse. — ^ (ppoveiu, desipere. Brunck. 
 
 1052. v6<rov, viz., rod ^ cppouely. — zQvs, as a present, cf. 62. Frail- 
 ties are often spoken of as diseases. 
 
 1053. top fiduriu, one who is a seer, with affected respect for his 
 official character, kclkoos, with foul language. 
 
 1054. Xeyeis, understand kokqos from the preceding : but you insult 
 me, etc. 
 
 1055. rb fiavTiKbv . . . yevos. This is supposed to be a fling at the 
 mercenary soothsayers of our author's time, many of whom drove a 
 thriving trade by playing upon the credulity of the people. They are 
 ridiculed by Aristophanes, Aves, 881 seqq ; Pac, 1045 seqq. Plato, 
 Rep., 364, describes them as vagabond jugglers, going about to the houses 
 of the rich, claiming supernatural powers, and practising the most bare- 
 faced impositions. 
 
 1056. rb 4k rvpavvcav (yevos). 4k is pleonastic. — alcrxpoKepdetav, sordid 
 gain. Hermann : " alcrxpoKepBys est homo avarus ac sordidus." Teire- 
 
220 NOTES. 
 
 sias means that tyrants are supremely selfish, being intent upon increasing 
 their power and wealth without regard to justice. Such a one, he im- 
 plies, is Creon, who, in contempt of all that is holy and right, is bent 
 upon carrying out his nefarious schemes. 
 
 1057. Said with excessive arrogance. — av = a av. For xlyeiv, used 
 to govern two accusatives, see Matth., 416, /3. Sense : Do you know that 
 you are talking to your master ? 
 
 1058. oT5 5 is briefly significant. The seer is fully aware of what im- 
 portance his counsels had been to the king in rescuing Thebes from its 
 recent perils, and establishing his authority. — ef ipod, by my aid and in- 
 fluence. — e%eis crdxras tt6\lv, tenes urbem, eamque salvam. Hermann. 
 
 1060. raKLvvra 8ia <ppevuv. The sense : thoughts hitherto kept secret 
 in my breast. Comp. (Ed. Col. : TaKivnT cirri, tacendas res. Brunck. 
 Schol. : tol apprjTa. — Slcl (ppev&v, cf. supra, 639, note. 
 
 1061. Kivet, out with them. Comp. (Ed. Tyr., 354 : i^eiclvrja-as t6$€ 
 prj/j.a. (Ed. Col., 1526: kivzltcli \6ycp. 
 
 1062. ovTca (sc. \4yeiv), referring to the words jut? M nipSeaiv. The 
 force of the negative continues, for the sense is : / think I speak so 
 now (viz., without hope of reward), as far as you are concerned. Teire- 
 sias says this sarcastically, because his well-meant communications are 
 received by the king with anger and scorn rather than gratitude. He 
 utters his warnings, therefore, from disinterested motives. For the Attic 
 idiom to (tov jxipos, quod ad te attinet, see Stallbaum, ad Plat., Crito., p. 
 45, D. Comp. (Ed. Col., 1366. (Ed. Tyr., 1509. So in Trachin., 1215, 
 we find rovfxbu fiepos, 
 
 1063. i/uL7ro\7)(T(0v, bribe. The Scholiast explains it by i^airaT^a-ov, 
 beguile. 
 
 1064. ev ye tol KaTicrdn, spoken with solemn emphasis in reply to 
 Creon's fo^t. But know thou of a surety, thou shalt not complete many 
 more racing wheels of the sun's chariot. — Tpoxovs, wheels, used by metony- 
 my for the revolutions of wheels, and thus conveying the idea of space. 
 As usual in prophetic speech, the expression Tpoxovs rjXiou is vague and 
 indefinite : it may mean days, or hours, or even a smaller space. 
 
 1066. iv oTcri, like iv <£, is used as an adverb of time, when, tvhile, etc. 
 Herm., Yiger, 606. "Woolsey correctly observes : " Followed by a future, 
 it is here used instead of irplp av {before) with the subjunctive." Similar- 
 ly (Ed. Col., 619 : iv aTs. It may be rendered : before you shall have 
 given up one of your own flesh and blood a corpse in exchange for the dead, 
 viz., Haemon, for Antigone and Polynices. In what follows, Teiresias 
 brings the dispute to its true issue ; the paramount rights of religion as 
 opposed to despotic civil power. 
 
 1068. av& wv because, said for clvtX tovtwv wv (otl), propterea quod. 
 
NOTES. 221 
 
 Herm., ad Vig., 710. Matth., 480. Here it conveys the idea of retribu- 
 tion for the double crime against Nature and humanity. — e^eis f3a\cbi/ = 
 e/3a\€s, of which the object is ^ivxhv, meaning Antigone. — roiv 'ducu, 
 partitive gen., depending on \J/v%V> or > as Erfurdt thinks, riva, which 
 amounts to the same. The idea is, thou hast thrust below a living being, 
 and ignominiously confined her in the tomb. 
 
 1069. KaroLKLO'as, vulg., KarcpKicras, both resting on good authority 
 
 1070. The order : e%ei? 5e au iv&dde (duca) vskvv d\xoipov tccu Karcofrev 
 3-ew*/, aKT€pL(TTOu, av6(Tiov 9 on the other hand, thou keepest here above-ground 
 a corpse, bereft of the gods below (to whom the dead of right belong), un- 
 buried, unhallowed. Hermann interprets djjLoipov t&v kolt. 3-ewz/: " com- 
 munione cum inferis prohibitum." Comp. Ajax, 1327: rov venphv T<x<pr)s 
 
 djJLOipOV. 
 
 1072 f. wv is a neuter pi., and, like the following ra5e, refers to the 
 preceding sentence, viz., withholding the dead from burial. The sense 
 is : the right of (doing) which belongs neither to you nor to the upper gods, 
 etc. — fxirecTTiv with gen. and dat., Matth., 324. Comp. 48. The Schol. : 
 i£ov(r(a didorcu. In a religious point of view, from which alone Teiresias 
 judges, Creon's jurisdiction was confined to the living ; the dead were no 
 longer of this world, and therefore, notwithstanding the timid admission 
 of the Chorus, 213 f., neither an earthly prince nor the gods of this world 
 had any authority over them. Hermann justly observes : " Neque Creonti 
 dicit mortuorum potestatem esse, neque diis superis, ut quorum in vivos 
 tantummodo regnum sit, sed coactos eos a Creonte perferre adspectum 
 inhumati Polynicis, qui in ditione sit inferorum." 
 
 1074. rovrwv, for these crimes, supply avrl from 1068, or eVe/ca, cf. 
 931. — Kcti^vrripes ixrrepocp&opoi, the retributive destroyers. 
 
 1075. &€&v (dvco) 'Epij/vzs in apposition with Aoof5r)Trjpes. Comp. a 
 similar apposition of masc. and fern, substantives, (Ed. Tyr., 80 : £v 'tv'x'O 
 t£ (rajrripi. The Euries are the avengers of both the upper and lower 
 divinities {inferorum et super orum deorum vindices. Herm.), because 
 Creon has outraged both. Electra invokes them as <r€fiva\ &ewv 7ra?Ses 
 'Epiz/ues. EL, 114. — "The duty of burying the dead," says Nitsch (ad 
 Odyss., xi., 73), "stands under the punitive supervision of the gods." 
 The neglect of it, even in the case of enemies, provoked the divine wrath, 
 which, as a curse {^vifxa &e&v), pursued him, his family, and his country, 
 until it was propitiated. The casting out a corpse to the dogs was an 
 act peculiarly revolting, which could not long go unpunished. Thus the 
 dying Hector warns Achilles, who threatens to give his body to the dogs 
 and birds, of the vengeance of the gods, which would soon inflict a like 
 fate upon him. Iliad, xxii., 357. — Aox <£<?'"'? aw tyi< n 9 in wait for you. 
 
 1076. itf roicriv — KaKo7s, ut iisdem in his comprehendaris malls. Brunck. 
 
222 NOTES. 
 
 The passive Xrjcp^Tjvai may be understood in a middle sense, according to 
 Matth., 493, e. The connection shows that the Erinnyes are not to be 
 the passive witnesses, but the agents of the divine vengeance. Comp. 
 Creon's confession, 1273 f. 
 
 1077. Karri py v pu }x£ vos, from mercenary motives, alluding to Creon's re- 
 proach, 1055, 1061. 
 
 1078. (pave? yap — rpifiii, for no long time's delay (or space) will render 
 clear the laments of men and women in your house. — xp°' vov Tptfi'h — XP^~ 
 vos ; as we say, time will show, in reference to a prediction. — yap refers to 
 the assurance implied in the preceding sentence, that he is speaking 
 honestly and truly. The idea is, that soon the death-lament will be 
 raised for some member of Creon's family. See 1066. 
 
 1080. Having predicted the ills which are about to befall the king's 
 family for his misdeeds, Teiresias then speaks of the troubles which 
 threaten the whole state. For, as above remarked, 1075, the sins of 
 princes are visited upon their countries. Thus in (Edipus Tyran., a pes- 
 tilence is sent upon Thebes for the parricide of its king. — By ir6xeis are 
 probably meant those towns which belonged to the Theban confederacy. 
 These, being situated in the neighborhood of the capital, .-were, by means 
 of beasts and birds, involved in the same pollution. Some have under- 
 stood this verse as predicting a future invasion, that of the Epigoni, but 
 the pres. o-vvrapdcro-ovTai and the connection signify what is actually tak- 
 ing place. The sense is : all the towns are in hostile commotion. The 
 cause is stated in the following verses. 
 
 1081. ocroov. The relative adj. oaos is often used for oti tocovtos, to 
 indicate the reason of something. Matth., Gr., 480, 3. Here, then, ocroov 
 is equivalent to on rocrovrcov avtycov. For, not only the body of Poly- 
 nices, but also those of the fallen Argives, as we learn from Eurip., Sup- 
 plices, had been left unburied. Erfurdt cites Hyginus, Fab., lxx. Ben- 
 der : because the dogs or beasts or winged birds of prey have entombed the 
 mangled corpses of so many men. Nitzsch, Od., i., p. 188. 
 
 Ibid. Ka^yia-av, have buried, i. e., by swallowing ; sarcastically said 
 of the desecration of the dead by dogs, etc., instead of the burial-rites 
 due from men. These animals are regarded as the living graves of those 
 whom they devoured. So Longinus, iii., 2, says of vultures : yvirts e/x- 
 if/vxoi rdcpoi. Also in JEschylus, Sept. cont. Theb., 1020, Polynices is 
 condemned to this ignominious burial : rdvff vi? ireTeiviav oloovuv ratyevr* 
 arlfjitos. Likewise iEgisthus in Soph., Elect., 1488. Instances of similar 
 barbarity are often met with in the Iliad. 
 
 1083. Carrying the noisome stench to the altar ed city, i. e., to the altars 
 of the several cities. His meaning is, that these animals were attracted 
 from the surrounding country to the putrefying bodies and thence re- 
 
NOTES. 223 
 
 turned to defile the altars, and spoil the auguries in the other towns, as 
 in Thebes itself. Comp., supra, 1016, £ 
 
 1084. Construct : acprjKa roiavra (Seficua ro^ev[xara, wsre ro^orvs, tcap- 
 Bias aov fru/z^, yap KvrreTs (ejne), such sure shafts I, as an archer, have dis- 
 charged at your heart in anger, for you wound my feelings. This seems 
 to have been the understanding of the Scholiast : roiavra Kara tt}s Kap- 
 Sias gov ro^evfxara a(f>rJKa /JLtra &v t uov. Keiirei 5e 7] Kara. — /ca/?5fay, gen. of 
 the mark aimed at. Comp. 1034. — &vp,<p;, dat. of motive. Matth., 396. 
 Brunck : ira contra te motus. 
 
 1086. twj/, Ion. for £>v, whose sting you shall not escape ; said in ex- 
 planation of fiefiaia. It is now too late to escape, by repentance, the ful- 
 filment of these prophecies. 
 
 1087. di 7tcu, to his guide. "When a speaker passes quickly from one 
 person to another, the vocative is usually placed first. Matth., 311, 3. 
 
 1089. Kal yv& rpecpetv, etc., and learn to keep his tongue stiller, i. e., to 
 be more respectful. 
 
 1090. rbv vovv . . . <pepei, and the spirit of his mind better than he 
 now evinces. The gen. cppevccv depends on vovv. Boeckh : den Sinn seines 
 Geisies. The fragment of Euripides quoted above, 621, has &ebs i^acpsi- 
 pzlrai <j)peva>v rbv vovv. Cf. (Ed. Tyr., 524 : yvdofxy (ppevcov. Brunck 
 likens the expression vovv cpepeiv to that of Plautus, Amphitr., v.. 1 : 
 sanarn mentem gestat. 
 
 1091. Similar to 766. — Seiva Seemo-as, after uttering fearful predic- 
 tions. — av)]p = 6 avTjp, said of the departing Teiresias. 
 
 1092. The Chorus heightens the force of Teiresias' prophecies by 
 bearing witness to his unvarying truthfulness. — The change of number 
 iiTLcrrdijieo'^a — afxtpifidWofiai, is to be attributed mainly to metrical con- 
 venience. It is here less surprising, as one member speaks for all. The 
 present tense of the latter verb, like our perfect, denotes the continuance 
 of the condition : ever since 1 have put on (or worn) this white hair instead 
 of black. — " e/c," says Woolsey, " denotes a previous state with the idea 
 of change = instead of become— from. Comp. (Ed. Bex., 454 : rvcpxbs 
 4k dedopK6ros." Demos., Phil., iii., 21 : fiiyas e/c /iiKpov koI raweivov <f>t- 
 \nriros Tiv-^nrai. 
 
 1094. fjL-f) ttu> ttot — \o.K£iv, that he has never yet uttered a false prophecy 
 to the state. Comp. a similar strong testimony to his character as a 
 prophet, (Ed. Tyr., 298 f. : rbv &e?ov fxdvriv dyovcriv, $ ra\7]b\s efxiricpvK^v 
 av&p&iruv jjiovca. — \aKe?v (\rjKe7v), often used concerning oracular re- 
 sponses, etc. Trachin., 824. Aristoph., Plut., 39 : $o7&os e\a.Kzv, in- 
 stead of the more usual exp7?(re. 
 
 1096 f. These words finely express Creon's perplexity. Re must 
 choose between two evils. Both horns of the dilemma are bad, but the 
 
224 NOTES. 
 
 latter is more dreadful than the former. The adversative particle 5e of 
 the second member, instead of the usuul kcl'i or re, indicates this prepon- 
 derance. The sense : for to yield is hard, but, by resisting (insisting), to 
 smite my heart with a (divine) judgment borders upon the terrible = is 
 worse. — £v deip$ is equivalent to heiv6v repeated. So Demos., de Chers., 
 30 : deipbp by ov SeipSp eVri (though bad, is not the worst) : id., Phil, hi., 
 55 : oj>%i irci) tovto Beipop, Kaiwep op SelpSp (not yet the worst, though bad 
 enough). Also irdpa (= Trdpea-ri) here conveys the notion of something 
 additional, besides, beyond, etc. See Herm., Vig., 651. Hence the phrase 
 £p deipw irdpea-Ti may mean, is yet more dreadful, which the sense evidently 
 requires. Cf. (Ed. Tyr., 1169 : irpbs avrcp y eljA r$ deipy Xeyeip. Her- 
 mann interprets Sv/jt.bp> iram. 
 
 1100. fjLEV, in the first place. — 5e, and then. 
 
 1102. Trapeuca&elv, and cIkg&€?j/, 1096, are aorists with present signifi- 
 cation = e?Keip, cf. 718, and, below, 1105. The sense: and do you think 
 I ought to give way ? 
 
 1103. crvvTefjLvovcri, with the ace. of a person, quickly overtake. The 
 Schol. : <tvvt6ixws fSXairrovcri. — (rvpTefipeiv means to despatch any thing 
 suddenly, as with a blow. 
 
 1 1 04. KcwScppopas = Svscppopas, the wicked, those who follow evil coun- 
 sels, cf. 1261, 1269. — &\dl3ai, poenae, viz., the 'Epipves frewp, 1075. 
 
 1105. jjl6\is fiep. Supply the ellipsis from the following itfcrrafxcu icap- 
 Bias or e'lKco. The Schol. explains : fxoyts /j.e^i(TTa l uaL tt)s irporepas ypdo/xris. 
 The passage may be rendered : Oh dear ! I am moved from my purpose 
 to do it, although with difficulty. Comp. Eurip., Phoeniss., 1436 : fx6\is 
 fxep, ei-ereipe 5' els rjirap £i(pos. Hermann and others explain the expres- 
 sion: e£icTTafxai napdlas rb dpap = ireiSoiiai rb dpap. It is perhaps more 
 simple to supply wsre with the inf. denoting the effect. The art. rb re- 
 dundant, as in v. 77. Comp. ^Esch., Eum., 900 : /xe^iaTa/xai kotqv, iram 
 abjicio. 
 
 1106. audyfcn 5* oby). SvspaX', one should not vainly contend against 
 necessity. Similarly, (Ed. Col., 191 : /jltj xpefa 7roAefj.a)/j.ep. 
 
 1107. Spa pvp, etc., go and do it now, immediately. The Chorus, as 
 above, 1103, advises haste, and, to insure promptness, adds : do not trust 
 to others. The MSS. pvp, some ed. pvp. 
 
 1108. a>5 5 cos exo) (rreixoifJ? &v, I will go at once. Comp. Herod., viii., 
 62. The opt. is often only a softened future. Matth., 514, 2. Cf. 314, 
 476. 
 
 1109. ovres == irapovres, both present and absent. — x e P ^ f° r pi- X € P~ 
 (Tip. — The sense : take axes in your hands and hurry to the elevated spot, 
 spoken with a gesture toward the eminence where the body of Poly- 
 nices lay. — eir6\piop, cf. 411 : &Kpcop £k irdycop', 1197: irediop e-ir* dupop. 
 
NOTES. 225 
 
 Some critics are of opinion that several lines have been lost here, which 
 described the place more particularly. Two reasons drawn from the 
 nature of the case seem to invalidate this assumption : First, it would be 
 unnatural for the imperious monarch, especially in his present confusion 
 and anxiety, to give a minute description of the ground ; second, the hill 
 was in the vicinity of Thebes, and doubtless well known to all, so that 
 such description would be superfluous. The whole passage indicates the 
 hurry of Creon, who is now seized with alarm, and issues his orders 
 briefly and abruptly. 
 
 1111. rfjS', used adverbially, this way. Cf. 722 : ravrr). 
 
 1112. avros t tdrjo-a, etc. Boeckh considers this as spoken only in 
 regard to Antigone : as I bound her myself] so I will in person unloose her. 
 But the first part of the verse can hardly be taken literally, as his com- 
 mands had been executed by his servants; comp. 931 f. It is perhaps 
 better to regard the expression as metaphorical (comp. v. 40): as I my- 
 self tied the knot, I will in person loose it. That is, I did the wrong, and 
 will in person undo it. Benloew : quod peccavi corrigam. So in Philoct., 
 1224 : Aixrcov bV i^fxaprov iv t£ 7rp\v xp6vw. — Creon means that he will 
 repair the injustice which he had done to both Polynices and Antigone. 
 
 1113 f. The reluctant admission of a general principle. — ado^ovra 
 agrees with riva> the indefinite subject of reXuu. The sense : / am 
 afraid it is best that one should spend his whole life in preserving the estab- 
 lished laws. — vSijlovs, comp. 452 seqq. It means the established re- 
 ligion. 
 
 1115. The Chorus, having learned from Teiresias that the whole state 
 was menaced with calamity in consequence of Creon's guilt, addresses a 
 hymn of fervent adoration and prayer to Bacchus, the tutelar divinity of 
 Thebes, beseeching him to come and rescue his favorite city from pollu- 
 tion. From the sentiment and metre of the ode, it is believed that the 
 singing was accompanied by an appropriate dance. A minute descrip- 
 tion of the choral dances performed in the worship of Bacchus is given 
 by C. 0. Muller in his edition of iEsch., Eumenides. 
 
 1115. TIoXv&wfMe, god of many names, said in reference to the 
 various titles by which he was invoked, and under which he was wor- 
 shipped in different cities. The Scholiast : do Aiovvcre • ol fiev yap Banxov, 
 ol 5e v Ia/cxoz/, ol Se Avaiov, ol Se Eviov, ol 8e Ai&vpafjL$ov kolXovo'iv. Hence 
 Wunder says : " iroXvcayvfios idem valet atque multum celebralus, cultus, 
 invocatus." — Ka^a. vvjxcpas ayaXpa, darling of the Cadmean ny?nph, i. e., 
 of Semele, daughter of Cadmus, and beloved of Jupiter. Comp. Horn., 
 Hymn., vi., 56 : . 
 
 elfxl 8' eyoi Ai6vv<ro<; ept/3pojU.o?, oj> re/cs ju-^ttjp 
 
226 NOTES. 
 
 1116. papyppepera, Dor. gen., altitonantis. 
 
 1120. The Chorus magnifies the god, by the mention of the most cel- 
 ebrated seats of his worship. — kKvtclv 'IraXiav. The southern part of 
 Italy, anciently called Magna Graecia. It was very early colonized by 
 the Greeks, by whom the culture of the grape, and the rites of Bacchus, 
 were introduced. It has always been renowned (k\vt(ij/) for the beauty 
 of its scenery and climate, the fertility of its soil, and the excellence of 
 its wines. A legend cited by Hermann from Etymol. Mag., p. 525, says 
 that Bacchus, at the close of his warlike expedition against the Tyrrhe- 
 nians, left some of his veteran followers in Italy ; that these applied them- 
 selves to the cultivation of the vine, and hence that country became dis- 
 tinguished for its wines. 
 
 Id. /xeSets cU — k6\itois. The relative construction is dropped, as 
 above, v. 785. Render : thou also art lord in the vales of Eleusinian 
 Ceres, common to all nations. In the Eleusinian mysteries, celebrated near 
 Eleusis, a small town northwest of Athens, Bacchus, under the name of 
 Iacchus, was honored conjointly with Deo (Demeter). For this name, 
 cf. Horn., Hymn., iv., 492. — k6\ttols, is used to designate the cove-shaped 
 valley, traversed by the Cephissus, and bordering on the Bay of Eleusis. 
 The great religious festivals held here were participated in by Greeks 
 and foreigners, hence the term irayKoivois. Cicero, de Nat. Deorum., i., 
 42 : Eleusis, ubi initiantur gentes orarum ultimae. 
 
 1122. Ba/cxeS, unusual form for Bct/cxe. — BaKx^u, Dor. gen. for Ba/c- 
 X&v, According to Triclinius, Thebes is called the metropolis of the 
 Bacchantes, because Bacchus was born there and originated them. 
 Comp. (Ed. Tyr., 210 ff. 
 
 1123. irap 3 vypwv Icr/x. pel&pccu, by the softly -gliding waters of Ismenus. 
 — iraph. with gen., instead of dat., denoting proximity, cf. 966. H., xv., 5. 
 Eurip., Phoeniss., 99 : irap 'la^vov poas. Thebes was built on both 
 sides of this river. 
 
 1125. 67ri o-iropx, etc., upon the seed-ground of the wild dragon, viz., 
 where Cadmus sowed the dragon's teeth, from which the Thebans were 
 said to have sprung. 
 
 1126. Axtistrophe 1. — Continuation of the invocation, ere 5', instead 
 of arv bv, thou whom the gleaming smoke beholds upon the double peak (of 
 Parnassus). On the summit of this mountain, flames were seen at night, 
 which many supposed to proceed from torches borne by Bacchus and his 
 retinue of nymphs, who inhabited the Corycian cave. This popular be- 
 lief is noticed by Euripides in Phoen., 233 ff. Ion, 728. The Scholiast 
 partakes of the same superstition : avTOfiaTov irvp e/ceTcre avadlSorcu. But 
 those lights are easily accounted for, by the fact that bacchanalian orgies 
 (sacrifices) were actually performed there. 
 
notes. 227 
 
 1128. (TtIxovctl = (TTelxo'J(Ti. Hesychius : fiafii&wTi, iropevovraL. 
 Here it means march or dance in rows. 
 
 1129. vafxa is generally considered the subject of tnru-ire. with Xiyvvs. 
 The fountain of Castalia was also on Mount Parnassus. 
 
 1130. Kai ere Nvcralcw opeW, etc., and the ivy-green heights of the Nys- 
 ian mountains send thee — referring to Mount Xysa in Eubcea, where grew 
 the wonderful vine "which every day blossomed in the morning, had 
 green clusters at mid-day, and ripe grapes at night." Schol. Comp. 
 Stephanus of Byzant. : ivha Sia ixias rjfjLepas tt\v 6./jLTre\6v (pacriv hft&eiv kolL 
 rbu fiorpvv ireiraivecrSai. Eustathius, ad Dionys., 224., also mentions it : 
 to rrjs auireXov repdcTTiov, fiorpvv eK<pepova"i]s Kc&rjftepiov. Also Soph., 
 fragm. Thyest, 490. A similar vine grew on Mount Parnassus. Schol., 
 ad. Phoen., 227. 
 
 1134. TrefAirei, viz., to Thebes, which the god was supposed to visit on 
 festal days. 
 
 1135. afj-ppSrcov iweccu eva^ovTuv, gen. abs., when the sacred words re- 
 sound, i. e., when the people, singing in procession, raise the consecrated 
 shout: euo?, evtuJ The verb €ud£eiv, usually said of persons, is here by 
 exception used in a neuter sense. Cf. Eurip., Bacch., 1035 : eua£o £ei/a 
 /xeAect fiapfidpois. 
 
 1136 f. QrifSaCas ayvids, the broad streets of TJiebes. Euripides also 
 makes mention of the broad, smooth streets of the seven-gated city, Here, 
 fur., 784 ; Bacch., 87. 
 
 1137. tolu {noXiv), relating to the subst. implied in Qr}$aias. Bern- 
 hardy, Gr. S., 294. TTunder and Schneidewin accept Dindorf 's emenda- 
 tion : eKirayXa Tifias inrep iraffav Tr6\ecov, for the vulg. 4k vaffav tljxo.s inrep- 
 rdrav ttoX^wv, The sense : which thou, with thy thunder struck mother 
 (Semele), honor est far above all cities. 
 
 1140. Kal vvv, now also, to be connected with fj.o\€?y. — &s — eVl v6crov, 
 when our whole state is seized with a violent disease. — d^ia, Dor. for ifia. 
 
 1142. noXeiv, infinitive for the imperative, as often in prayers. See 
 Matth., 546. Post, Parallel-Gram., p. 446. — Kc&ap<r(tp irodl, with purify- 
 ing (or expiatory) step, i. e., to cleanse the city from the fxiacixa under 
 which it labors. Bacchus is here appealed to in his mystic, mediatorial 
 character. See Eur., Bacch., 284 f. Comp. Herod., viii., 65. 
 
 1145. irop&/j.6v, the straits between Eubcea and Boeotia, anciently 
 called the Euripus, now Xegropont. 
 
 1146. irvp irveovTuv x°P^7' acrrpew, leader of the fire-breathing stars. 
 The mystic rites of Bacchus, at Eleusis, were performed at night in the 
 open air. The company of the initiated (<hWos) marched or danced and 
 sung in procession, bearing the thyrsus and blazing torches. At their 
 head were borne the Bacchic emblems, accompanied by a brilliant lamp 
 
228 NOTES. 
 
 burning with the mystical fire (cpuxrcpSpos ao-rrip, /xvcr-npiaKbp irvp, (pais 
 <T€/jlj/ov irvpos), which symbolized the god himself. Hence the Scholiast 
 to Aristoph., Ran., 343, says : rrjs reAzrrjs ov /jlSuou x°P* VT hs-> o.\\b. kcl\ 
 e^apxos i\v 6 Aiowcros (Bacchus was not only a dancer, but the leader of 
 the mystic rites). This representation was probably intended to signify 
 the honors enjoyed by Bacchus in the skies. As in the rites his mystic 
 fire led the flaming torches, so, to the lively fancy of his votaries, he, the 
 son of Jupiter, appeared as the leader of the nightly chorus of stars in 
 the celestial world. In Eurip., Bacch., 1078 seqq., his voice is heard in 
 the sky, speaking words of encouragement to his followers ; and in Ion, 
 1092, the starry heavens and the moon dance with joy at his appear- 
 ance. 
 
 1148. (pfreyndrcav, hymns and the accompanying sacred shouts, as 
 above noticed at 1134. The Schol. : rcav eV vvkt\ ev(p7]/jLiwj/ ical vfxvoov. 
 
 1149. 7ra?, said in allusion to his youthfulness. He was sometimes 
 called Kovpos by the poets. See Welcker, ad Aristoph., Ran., 394. 
 Comp. Eurip., Bacch., 581. 
 
 1150. Najmis. He was worshipped as principal divinity on the island 
 of Naxos. — (dviaicriv (Boeckh), instead of the vulg. (dvidciv. The retinue 
 of Bacchus were, according to Strabo, x. : ^eiXrjvoi, ^drvpoi, Ba/cxou, 
 A?]vai, ®v?cu — all creatures of the imagination, which his earthly followers 
 sought to imitate in their grotesque masquerades. 
 
 1152. x P e ^ ovcr h m an active signification, celebrate in dances. Eurip., 
 Iph., a., 1064 : irevT^Kovra tcSpai N^pryos yd/xovs ixopevffav. — rafxiap (=■ 8e- 
 (TiroTriv, dominum) lord lacchos. Comp., supra, 1120. The Iacchos of 
 the Eleusinian mysteries was by some held to be the son of Jupiter and 
 Persephone (Proserpine), and hence was honored by the initiated as the 
 associate of the infernal divinities. Schol., ad Aristoph., Ran., 324. He 
 is here, as frequently, identified with the Theban Bacchus. As in the 
 commencement of this ode, the Chorus invokes him as an earthly god, so 
 in the close it seems to appeal to him as the representative also of the 
 powers below, which were worshipped by night. In this ode, Sophocles 
 unites the creeds of the older and younger sect. See Introduction, 
 Part I. 
 
 1155. Construct: irdpoiKoi dSficov Kddfiov k. 'Kjupiovos. The Cadmeia, 
 or Acropolis of Thebes, was founded by Cadmus ; the city around it was 
 built and fortified by Amphion and Zethus, sons of Jupiter and Antiope. 
 Cf. Horn., Odyss., xi., 263, with Mtsch's note, vol. hi., p. 234. — irdpoiKoi, 
 etc., signifies the citizens of Thebes, as in (Ed. Tyr., 1 : ^n reKj/a, Ka5- 
 fxov rod iraXai via rpocprj. 
 
 1156 f. ovk ecrS 1 6tto7ov, etc. The sense is : it is not possible I can ever 
 either praise or condemn any life of man, whatsoever its condition^ that is, 
 
NOTES. 229 
 
 there is no state of life such as I can ever call happy or unhappy. — crrdvr 
 denotes the present position of the fiios. — ovk ecti has here the same ad- 
 verbial nature that it has in the common expression, ovk iariv onus, cf. 
 329. Matth., 483, n. 2. Host's Parallel-Gr., p. 467, n. 5. The nega- 
 tives, ovt, ovre, strengthen the preceding ovk. This messenger is a 
 a commonplace fellow, who has no idea of great actions in which one 
 may be unfortunate. Every thing is estimated by the pleasure it affords. 
 For the thought, conip. (Ed. Tyr., 1195 : fiporcci/ ovdlv fxaKapifa. 
 
 1158. For Fortune is always setting up the unfortunate, and putting 
 down the fortunate. — Karappeirei is here a causative, and equivalent to 
 avarpiirei, as the opposite of bphol. The objects of the two verbs are 
 placed in an inverted order. This vulgar apprehension of the power of 
 rvxv i n human affairs corresponds to Cebes' description of the blind 
 goddess standing upon a round stone, Ceb., Tab., §§ 30, 31 : roiavrriv 
 e%€i (pvcriv 7] Tux 7 ?? &<TT€, h deS&Kev, a<£eAecrdcu, KaX Ta%eo?s iraXiv dovvai 
 iroXXairXao-'ia, avSis Se a<peXeo~&a.L a SedooKev. Our drama teaches, how- 
 ever, that Creon s calamities are the consequences of his own guilt and 
 folly. 
 
 1160. t&v Ka^reardoTcoy, of whit is ordained to mortals, fixed by fate = 
 TreTTpoQ/jLevoov. Cf. 1337. 
 
 1161. &s ifiol, understand idoKei, meo quidem animo. Matin., 387, a. 
 Ajax, .395. In the following he gives the reasons why he had considered 
 Creon enviable. — crucras == eXevdepucras with the gen., see Bernhardy, Gr. 
 Syntax, p. 181. — ttotL This and some other passages remind us that 
 events embracing a considerable space of time are compressed in this 
 play. 
 
 1163. Xafic&v = TrapaXafi'xv. Creon had succeeded to the throne by 
 inheritance, supra, 173 f. The particle t€ does not properly answer to 
 the preceding fxkv, but is an anacoluthon. 
 
 1164. ei>'dwe, supply avri]v, cf. 178 : Travav ebSvucav itSXlp. — SraXXav — 
 o"rropa, Brunck : florcns generosa liberorum prole, referring to Haemon and 
 Megareus ; the latter had nobly sacrificed himself in the recent war. 
 Creon was fortunate in his children as well as in his public affairs. 
 
 1165. afyslrai iravra, a figure drawn from dice: and now all has been 
 lost at a throw. Boeckh. He means that it was the mere work of chance, 
 alluding to what he had said before, 1158. Comp. 328. 
 
 1166 f. 7rpo5&J(7iy, Schol. : airoXio-ojcriv. — ri^rrj/i, in the sense of fjyovfiai 
 or Xoyi(oijiai. — tovtov, such a man, as if hs c.v irpodcv had preceded. The 
 pronoun is used in a collective sense. 
 
 1167. irXovrei — /ueya, for, have vast riches, if you will, in your house , 
 be as rich as you please. — ko.t oIkov, where treasures are hoarded up. 
 
 1169. And live in princely style.-^ri, imper. for (rjdi. — cxwa denotes 
 
230 NOTES. 
 
 merely the external show, pompum, fastum. Erfurdt. For ix u3V ) m tne 
 sense of a preposition denoting manner, see Kuhner's Gr., 312, e. 
 
 1170. Constr. : iav 5e to xcupej*/ ^V tovtqqv, tamen si absit his gaudi- 
 um. Brunck. For the gen. dep. en ctan), see Host, Gr., p. 418. — to x«t- 
 otiv = at rjSoval, 1165. — entices, gen. of price. Fumi umbra nihil vilius 
 esse potest. Br. Comp. Philo.ct., 946 : veKpov t) kolttvov vkiolv, eXScoXov 
 aWoos, mortuum aut fumi umbram, vanam imaginem. In like manner 
 Homer (Odyss., xi., 208) likens the dead in Hades to a shadow : cr/crf) ei/ce- 
 \ov v) Kal bveipw. 
 
 11 71. ovk Uv irpiaip.y\v ai/dpl, I would not buy of a man. The poets 
 put the person from whom any thing is purchased in the dative, instead 
 of the gen. with irapd. Comp. Aristoph., Acharn., 812. The expression 
 Trpiacr&ai ri tlvl is analogous to 5exe(r3-cu rl tlvl. — irpos rrju rjdovfiv, in re- 
 spect of pleasure, for the satisfaction they can give. Matth., 591, y. irpSs 
 is generally understood as denoting a comparison in this passage ; it 
 denotes rather the intent or object of such a purchase. He means, when 
 the joy of life has departed, all the splendors of wealth are perfectly vain 
 and valueless — unable to confer any gratification. 
 
 1172. jSao-tXewj/, instead of the sing. $a<ri\£ws. Boeckh and Schnei- 
 dewin think it refers to the whole royal family, but the messenger has 
 spoken only of Creon's misfortunes. In the following verse, also, the 
 plural is put for the singular. — rpepcav, reporting, announcing. Similarly, 
 (Ed. Tyr., 86. It is here = ayyeWcaj/. The adv. au has the force of an 
 adjective : what new calamity of the king do you come to announce? 
 
 1174. r(s cpovevei, etc., who is the murderer, and who the murdered? 
 for, from the words cutiol (rod) &ave?v, causa mortis, the Chorus infers that 
 an act of violence has been committed. 
 
 1175 f. avr6x^p was applied, not only to the self-murderer, but also 
 to one who committed or suffered violence by the hand of a relative. 
 Brunck : suofum manu. Comp. 172. Xen., Hellen., vi., 4, 35. This 
 ambiguity occasions the inquiry of the Chorus. — wpbs belongs equally to 
 both members of the sentence. 
 
 1177. irarpl finvicras Qovov. These words assign the reason of Hse- 
 mon's act: being mad at his father for the murder (of Antigone). The 
 construction of verbs signifying to be angry, with a gen. denoting the 
 cause of the anger, is poetical. Host, Par.-Gr., p. 424. More general, 
 Matth., 367, 2. 
 
 1178. roviros — r\vv<ras, how true a prediction didst thou make, referring 
 to 1066. Sophocles elsewhere ((Ed. Tyr., 720 ; (Ed. Col., 524) uses this 
 verb to express the fulfilment of a prediction by a divinity. But Teire- 
 sias was regarded as more than a common mortal; by reason of his won- 
 derful prescience, he was venerated as a god among men. An oracle of 
 
NOTES. 231 
 
 him is known to have existed in Boeotia. See Nitsch, ad Odvss., x. 
 492-5. Hence Homer distinguishes his spirit (tyvxh) above all the other 
 dead in Hades. Our poet, therefore, may have used the word jji/vcas in 
 its ordinary signification of accomplish, in conformity with the ancient 
 popular belief in the blind seer's supernatural power. 
 
 1 179. cos £§' ixovrccu, supply tovtccv. Comp. Ajax, 904: &s wSe 
 rov& ix ovros aid^eiv irdpa. — -irdpa = irdpecm, it is expedient. 
 
 1180. The Chorus announces the entrance of Eurydice, who, con- 
 cealed by the partially-opened door, had heard the melancholy news. 
 The announcement is made in iambic measure, instead of the customary 
 anapests. — Hesiod (Scut. Here, 83) calls Creon's wife 'Hj/tcfx??, Henioche ; 
 instead of which name Sophocles has chosen one of like signification : 
 EvpvdtKT}, i. e., queen, as Kpecav (Kpeiav), king. Schneidewin. — dixov =■ 
 iyyvs. Schol. 
 
 1182. Kkvov&a Trdidbs, hearing of her son, i. e., of his death. Comp, 
 1247. (Ed. Col., 307 : kXvcm crov. — irdpa (7ra/?€(JTi) here implies motion, 
 as frequently, hence = irapr}K€i, cf. Ajax, 742. 
 
 1183. rwv, for tivoov. I caught some words in coming to the door. 
 Some understand the sentence as a question, but the indefinite, not the 
 interrogative, pronoun is required. The queen has but indistinctly heard 
 the tidings, for which reason she now desires to have them repeated. 
 
 1184. UaWados 3-eas. Matthiae, Gr., 366, 1, explains this as an ob- 
 jective gen. depending on evy^drcci/ : Gebet an die Pallas, But evy/mdrcay 
 Trposyyopos are so connected as to form one idea, a petitioner, and thus 
 together govern UaWdBos. In the court of the palace were several altars 
 where the royal family performed their devotions ((Ed. Tyr., 16), among 
 which was probably one of Pallas. There were also in the city two tem- 
 ples erected to this goddess (0. T., 20) for the use of the populace. On 
 the supposition that the queen meant one of these, we may govern the 
 gen. UaWddos by vaov understood. 
 
 1186. Kai rvyxdveo, etc., and I was just loosening the fastenings of the 
 outward opening door when a report, etc. — tc — Kai serve to connect two 
 simultaneous events, cf. Xen. Anab., i., 8, 1 ; iv., 6, 2. Rost, Par.-Gr., p. 
 452. — apacriracrov is descriptive of the movement of the door in conse- 
 quence of drawing the bolts. Among the ancient Greeks the doors of 
 houses opened outward ; hence avavirav, to open in going out, appears to 
 be the opposite of hrtffirav, to pull to in entering, as in Xen., Hellen., vi., 
 4, 36 : iTricnrdcra tijv &vpav. 
 
 1191. KaKoiv aireipos, referring to the death of her other son, Mega- 
 reus, 995, note. Eor this gen. see Matth., 343. 
 
 1192. irapcbv, as an eye-witness. Boeckh. 
 
 1194. ri ydp ere paA&dtrcr. The sense is : for why should I soothe you 
 
232 NOTES. 
 
 (allay your fears) by a smooth story wherein I shall afterward be found a 
 liar ? Comp. (Ed. Col., '774. — &v, in respect to what. See Matth., § 337. 
 The change of number as in 1092 f. 
 
 1199. kclI tov, masc. for neuter; it refers properly to cw/jLa. The re- 
 mains of Polynices are now buried with all due formality. Propitiatory 
 prayers are offered, the body is purified in a consecrated bath, and burnt, 
 and then deposited in the earth. — £i/ot>lav 3-ebv. The Scholiast : rrji/ 'Ekol- 
 ttju % tt)v Uep€re<p6ur)u. Hecate, the goddess who presided over atoning 
 and purifying rites, is called evodia (iu 655) because her statues w r ere 
 placed by the way-side. For a like reason this epithet is applied to Pros- 
 erpine (Eurip., Ion, 1062 : elvodla frvyarep Aa/maTpos), with whom, as well 
 as with Artemis (Eurip., Phoen., 108), Hecate is sometimes confounded 
 in the ancient legends. K. F. Hermann, Relig. Antiq. Gr., § 15, and in 
 general § 23. Est nempe Luna in coelo, Diana in terris, Proserpina in 
 inferis, Desprez, ad Hor., Sat., i., 8, 33. 
 
 1200. dpyas evfieueTs Karacrx&zlv, graciously to restrain their anger. 
 They seek to appease the infernal divinities, who are deeply incensed 
 because the body has so long been left unburied in the open field, and 
 withheld from them. 1070-4.— ev/xev€?s, pi., agreeing with &ebv UXovrcoud 
 r, and used adverbially. So Xen., Cyrop., ii., 1, 1 : tXews kql\ evpcveTs 
 7re/jLW€Lj/ a-cpas. Matth., 446, 6. 
 
 1201. ayvhv Kovrplv, cognate ace. Matth., 421, 2. Cf. 1046. Such 
 constructions were sometimes imitated by our Bible translators, e. g., 
 Ezek., xxix., 18 : serve a service. — iv veoffirdcrLV &a\Ao?s, with freshly- 
 plucked twigs. Olive-branches are believed to have been especially used 
 in the burning of dead bodies. — iu is redundant, cf. 459. 
 
 1202. h §7) AeAeiTTTo, what had been left, sc, by dogs and birds. 
 
 1203. olice'ias x^oybs, of native earth. 
 
 1204. X&SffTpwTov is usually said of pavement, here = irerpddei, 774. 
 Render : we then penetrated to the maiderfs rock-vaulted bride-chamber of 
 death, where Antigone was to be married to Hades. Comp. 654, 804, 
 816. — Such poetical expressions are frequently used of the young, es- 
 pecially of the betrothed prematurely cut off. The comp. verb elsefialvo- 
 /j.€v seems to describe the passage, through the thickets and other obstruc- 
 tions, to the unfrequented spot, cf. 773. 
 
 1207. afji(p\, in the vicinity of vaguely denotes the direction from 
 which the cry proceeded. — aKrepicrov iracrrd^a, the unconsecrated chamber, 
 because she who was there immured had not received the customary 
 burial honors (/crept'cr^aTa), cf. 1071. The Schol. : rhv jultj SsldjAtvov ena- 
 <pia. Hermann : irao-rdSa dixit, vvjji<p€?oy "Aidov respiciens, qui thalamus 
 quoniam sepulcri instar erat, aKTepKrrov vocat. 
 
 1209. a&xlas &<rr)fAa fiorjs = a<ryfj.os afrAia j8ot?. Matth., 442, 3. Comp. 
 
notes. 233 
 
 1265: &vo\fta {3ov\€v/j.dTcav. — irepifiaivei, reaches, meets] lit., comes round 
 him, since sound borne on the air envelops the hearer. Homer, Od., vi., 
 122, has afupepxercu of sound in the same way. The construction with 
 the dative comes under the principle illustrated by Matthiae, Gr., § 401, 
 c. d. 
 
 1210. ixaWov affcrov, rather nearer. p.a\Kov is frequently used to 
 strengthen another comparative, Matth., 458. Kiihner, 239, 1. In this 
 passage it does not materially modify the sense of a<r<ro;/. Doederlein 
 makes it qualify the verb wepiflalvei. 
 
 1212. dvsrvx^crdrriu = a strengthened comparative, as in 101 : am I 
 treading a path far more unfortunate than the roads travelled before? that 
 is, the most unfortunate that I have ever travelled. He means, if his ap- 
 prehensions concerning Hasmon are realized, it will be the greatest afflic- 
 tion of his whole life. Comp. Horn., H., i., 505 : ajKufiopd^raros &\\oov. 
 Compare this idiomatic superlative with v. 100, note. Concerning the 
 thought, Ajax, 994 : ofibs obuu ttcwoju ayidcracra Bt] ixaXiara tovjjlov o"ir\dy- 
 
 X vov - 
 
 1214. calve i, leniter tangit. Neu. 
 
 1215. A fine touch of nature. Creon is too much overcome by his 
 fears to hasten forward himself, but first sends his attendants to ascer- 
 tain the reality. 
 
 1216. apfibv x<* > / J - aT0S h&ooriradrj Svvres, on getting into the stone-drawn 
 cleft of the tomb. Creon has a suspicion that Haemon has affected an 
 entrance into the vault ; if, as was usual with Oriental tombs, the mouth 
 was closed by a large stone which it required the strength of several men 
 to remove (see Bloomfield on Matth., xxvii., 60), he could have entered 
 only by pulling out some stones from the wall adjoining it. Creon's 
 words authorize this assumption, and the ancient commentator so under- 
 stood them : M&ocnradrj • ws \i&ov aTro<nra<j&£vTos i ottccs elseAfrn 6 A r Lfiwv. 
 Hermann : Xam qui ad Antigonam pervenisset Hgemon, nisi evulsis lapi- 
 dibus, quibus obstructus erat speluncae aditus ? citing Erfurdt's explana- 
 tion : ap/xbs Xi&ocnradris, est rima evulsis saxis facta. 
 
 1218. KXeTTTOfxai, am deceived. Comp. 681. 
 
 1219. e£, redundant, as in 95 and 150. — K€\€vo-jj.aaiv, according to the 
 commands, the dative denoting the mediate cause, and at the same time 
 the measure of their proceedings. Bernhardt, Gr. Syni, p. 101. It con- 
 veys the idea of obedience in a twofold sense — because the master had 
 commanded, and as he had commanded. Comp. Pind., Isthm., vii., 22 : 
 kXov 5 s 'AfAVKAas — jiavrevixacn Tlv&iois. 
 
 1221. Kpefiao-rrju avx&os, smpended by the neck. For this gen. denot- 
 ing a part, see Matth., 330. Cf. Aristoph., Plut., 312 : twv opx^^v /cpeyUcD- 
 ixtv; and, for the thought, (Ed. T., 1263, where it is said of Antigone's 
 
234 NOTES. 
 
 mother, Jocaste : Kpefjcatrrriv tt]v yvvaiK io-eitiofAev, itXcktcus idpais efwre- 
 TrXey/j.svr}}'. 
 
 1222. $p6x& fjuradei, etc., attached with a thread cord of fine linen. 
 Hermann : quod est /SpAx? zk fiircav (riv^6vos (with a cord made of the 
 threads of linen). — Ka^i]fx[xivr]v (/ca&a7TTco). The Schol. : rbv rpdxv^ou 
 dede/j-fieyr]!/. The messenger leaves it to be inferred that Antigone had 
 hung herself with a cord which she had manufactured from her own 
 clothing. 
 
 1223. tov 5' afjLcpl [xiaan. The idea is : and Hamion leaning upon her 
 and clasping her waist. — irposKei^vov may merely mean pressing closely, 
 while he maintained a nearly upright position, not kneeling, as Hartung, 
 without reason, interprets. 4 
 
 1224 f. evvris airoifjidofyvTa, etc., loudly bewailing the destruction of his 
 beloved there below, and his father's misdeeds, and his unfortunate nuptiah. 
 Comp. 575 : "Ai57?s 6 iravcreap rovsde robs yd t uovs %(pv. — evi/j) and Ae%os are 
 both used by metonymy for the person by the poets, and it is difficult to 
 decide how they are to be distinguished in this passage, <pfropd is, how- 
 ever, more commonly said of persons than of things, and may serve as a 
 guide to the correct interpretation. For Ae^os, in its more literal sense, 
 compare, supra, 573. It seems here to refer to his union with Antigone 
 in the grave. Comp. 1240. 
 
 1226. 6 5', sc, Creon, who now enters the vault. — ccpe, Hgemon. 
 
 1229. iv ry> £vfj.(f)opas = iv tlvl ^vfupopa. The sense : by what misfor- 
 tune have you been ruined? i. e., deprived of reason. — t$ as neut. of rls, 
 Matth., 442, 2. 
 
 1232. TTTvcras irposc&ircp, expressing disgust in his looks, by means of dis- 
 torted features. Bernhardy, Gr. Synt., 101, renders : in der Miene seinen 
 Abscheu ausdruckend. The Scholiast : e/c rod irposwirov KaTaiie^d^vos. — 
 irposdoira), dat. means and manner. 
 
 1233. eXuei SnrA. Kv&hovras, etc., may be rendered : he draws his cross- 
 hilted sicord. — kv&Sovtss was the name given to the tooth-like projections 
 on each side of a straight sword {^i<pos) separating the handle from the 
 blade. Xenophon recommends that the kp&Soi/tcs of the hunting-spear 
 be placed midway of the metal socket in which the blade is inserted, De 
 Yenat., x., 3. The £(<pos was double-edged. Schol. — e/c is to be rejoined 
 to dpfx(ofx&ov, which is a gen. abs. with irarphs, patre autem fuga elabenle 
 aberravit ictu. Brunck. 
 
 1234. ? f\iMt\o.K! (avrou), cf. 554. He failed, missed him. This act of 
 Hsemon is intended to show to what a degree his father's conduct had 
 exasperated him. The Scholiast observes that " he did not draw the 
 sword against his father, though he appeared so to the messenger." 
 However that may be, he does not attempt a second blow, but turns the 
 
NOTES. 235 
 
 weapon against himself, to avoid being torn from the side of her whose 
 fate he was resolved to share. Comp. 751. 
 
 1235. &s7T€p e?xe. The sense is: just where he stood. Comp. 1108. — 
 i7T€VTa$els, sc. |i<pet, in ensem protentus. Erf. In the same manner Ajax 
 dies (Aj., 899), by falhng on the point of his sword. 
 
 1236. is 5' vypov ayKwy, etc. The prep, is implies motion, though 
 joined with a verb expressing rest, when it is apparently used for ev. 
 Matth., 596. Herin., Vig., p. 592. See examples of this pregnant usage 
 in Liddell and Scott's Lex. The sense: and within his languid arm, still 
 conscious, he e 7 e>sps the maiden ; that is. having taken her in his arms, he 
 clings to her. — vypbv, weak, yielding like water. Plants which twine 
 around objects are termed vypol. So in Plat.. Sympos., § IS. Eros is 
 vypbs to zTSos ' ov yap av olos r f\v rdjrrn Tcepi-TVG~o~eo~bai ; with this latter 
 verb TTposTTTvacreo'bai with the dat. may be aptly compared. Concerning 
 the whole passage, comp. Propertius, ii., S. 21 : Quid *? non Antigonae 
 tumulo Boeotius Haeinon corruit ipse suo saucius ense latus "? Et sua 
 cum miserae commiscuit ossa puellae, qua sine Thebanam noluit ire 
 domum. 
 
 1238 f. Constr. : koll tpvo'twy £jcj3aAA.€i 6^7au ttj/otjv (pou/iov araXdyuaros 
 XevKTJi irap€L$,, and breathing heavily, he spurts a bright stream of purple 
 blood upon Iter pallid cheek. Schol. : o eVr:, tufia i^ervevo'e. The last 
 moments of Agamemnon (JEsch.. Ag.. 1389) are similarly described : 
 
 fiaAAei ,a' ipetxi'fj -^(xk.6.Si (pou-Cas £po<70V. 
 
 12-40. Kelrai 5e vehcpos, etc., and now he lies a corpse embracing a corpse. 
 The body of Antigone is taken down, and the two laid out, Haemon with 
 his arm around his lifeless bride. This suggests the following : ra vvix- 
 (pLKa re\rj Xax^p, etc., the wretched man having obtained the solemn nuptial, 
 rites in the house of death ; since she has become his crvvewos, and the 
 marriage is thus consummated. — elv — iv. — wucpiKci re\r} means properly 
 the initiatory ceremonies of wedlock. Pollux : reXos 6 yduos €Ka\e7ro. 
 JEsch., Eumen.. 835 : yawnXiov reXous (pro nuptiis consummates i. 
 
 12-12 f. A general reflection intimating that this sad catastrophe is 
 the result of Creon's iniquitous and short-sighted policy. It is another 
 expression of the moral lesson which this drama is intended to illustrate. 
 Comp. 684, 1050 f., 1265, 1347. — t))v afiovXiav is only the apparent object 
 of deltas ; the real object is the whole thought conveyed in the sentence. 
 The idea is: showing an example to the world that foolish counsel is the 
 greatest evil to man. Such constructions are not uncommon, ef. (Ed. Col., 
 1197 : yv&HFti bvuov reXevr^u &s Kaxij vposyiyverai. Demos., Phil., iii.. 5 
 61 : tov Evtypaiov, oia eTrad-e, fj.euv7ju.evoi. — wposKeiTat = irpQseo~Ti, cf. 1252, 
 
236 NOTES. 
 
 While the last words are spoken, the queen hurriedly leaves the 
 stage. 
 
 1245. cppovBr], cf. v. 15, gone again. 
 
 1246. iXiricriu fiSo-KOfxai = iXirifa. Comp. 897: eV £Xtt'io~iv rpicpca. 
 
 1247. y6ovs, understand Uvai, as above, 1211 : 'itjo-l tiros hvsbp7]vr\rou. 
 The passage may be illustrated by Ajax, 850 f. : ri\v$ orav KXvy (pdriv 
 ijaei fxeyav koqkvtov eV irdcrri irSXei. Some supply, from the following, 
 (Trivtiv, which is not suited to this object. He hopes the queen will not 
 so far violate propriety as to make her lamentations heard through the 
 city. What propriety required under such circumstances is stated in the 
 second member. Comp. (Ed. Tyr., 1430 f. 
 
 1249. TTpo&r}(reiv, to lay upon, charge, with dat. and infin., as in verse 
 216, Comp. the prediction of Teiresias, 1079. 
 
 1250. yj/do/jLTjs air€ipos, destitute of understanding. — a/xaprdueiv, offend 
 against propriety. The Schol. explains correctly : ovk avSrjros, (p-naiv, 
 vTrdpXGi, &sre Srifxoo-ia bfivpecrfrai • afxaprdveiu 5e Xeyei vvv to i/jupavcas &pr)- 
 vClv. The particle yap plainly refers to the preceding wish. Triclinius 
 considers it to signify the doing some harm to herself, and this view is 
 indorsed by Wunder without assigning a reason. But, apart from its in- 
 timate connection with the preceding, which of the tragic writers, who, 
 however, were moral teachers, condemns self-destruction as a sinful act ? 
 
 1251. 5' ovv. Comp. 890. The sense : to me, at least, too great silence 
 seems to be as ominous as too much outcry. — re — kcu, not only — but also ; as 
 well — as ; Germ., eben so — wie (Kiihner, Gr., 321), particles which put two 
 things upon an equal footing. — irposzivai fiapv conveys an apprehension 
 of evil consequences. Cf. 767. In respect to the thought, comp. (Ed. 
 Tyr., 1074 f. : dedoix oircos fx)) */c tyjs (nonr/}s rrjsff avapprj^ei /ca/ca (metuo 
 ne ex hoc silentio eruptura sint mala). 
 
 1253, Connect €lcr6/j.ecr&a with Trapacrrelxovres do/j.ovs. — /jlt] implies 
 doubt and fear. See Herm. ad Tiger, 787. Woolsey: "more exactly it 
 answers to whether — not. 11 Kender: ice shall find out whether she is not 
 perhaps concealing some hidden purpose in her incensed heart, viz., incensed 
 against her husband, Creon. Cf. Horn., II., xxiv., 584: axw^vy Kpadin. 
 
 1256. fidpos, danger, used in a sense similar to fiapv above. 
 
 1258. iav?][x iirior^fjLov. meaning his son's corpse, which is a clear evi- 
 dence of what has occurred. — diet. x €L P°s ^X 0iV ^ manu tenens. Yig., 584. 
 Comp. 1279, 1297. The Schol. : fivrj/ua • rbv vtKpov. 
 
 1259 f. aXXorpiav arr\v, in apposition with /jLj/Tj/jLa. It might be ex- 
 pressed more simply : /jLvrj^a ovk aXXorptas arris, aXXa rrjs avrov ajxaprlas. 
 As it stands it means, not another 1 s retribution, but (his own) because he 
 has sinned, 
 
 1261. Here begin the so-called ko^oI (laments), consisting of re- 
 
notes. 237 
 
 sponses between the Chorus and the actors. The king and his attend- 
 ants, bearing the body of Harmon, advance to the middle of the stage, 
 where they lay it down. Creon remains by it in an attitude of dejec- 
 tion. 'Iw tppsvcov Bvstppovtov, etc., alas, the obstinate, fatal errors of a 
 senseless mind! For the expression eppives dvseppoves, cf. 508, 1276. 
 (Ed. Tyr., 1214: cxya\xov yduov. He calls his wickedness areped, because 
 proceeding from stubbornness of heart. — SavaroevT. Schol. : Savdrov 
 atria. 
 
 1263. di — fi\€7roi>Tes is addressed to the Chorus. — i t ucpv\iovs = iyye- 
 ve?s, of the same family. The expressions of grief are incoherent. 
 
 1265. ificcv &vo\fia, etc., as if it were written ifia ixvoXfia fiovXevfidra. 
 Comp. 1209. Brunck : heu infausta consilia, mea ! 
 
 1266. vios vice fpv fiSpcp, in youth by a premature death. The pleonasm 
 heightens the force, as above, 977. 
 
 1268. aire\v&r)s, you have been released. " The Greek writers, from 
 Homer down, 1 ' says Eustathius, "used \vbrivai for &a.ve?v, as Sophocles 
 evidently does in the passage e&aves, aireXvSris, and (v. 1314) iroico aTre\v- 
 craro rpSwtp" Also, Plutarch says, in a fragment : rbv bdvarov wk6Xwtiv 
 kclXovctl, thereby signifying the release of the soul from the body — dis- 
 solution. 
 
 1270. ofyi' for oijxoi. — cos, like the French que, qualifies the whole ex- 
 clamation, which is not intended as a reproach to the king, but as an ex- 
 pression of regret that he had not sooner seen his error. The sense : pity 
 that you seem to recognize justice too late ! Cf. a similar construction, Ajax, 
 354 : OXfx cos eoinas bp&a fiaprvpelu cxycxv. Supra, 320. — 6\pe, too late to 
 escape the divine judgments. So in Eurip., Bacch., 1345 : oif? e/md-ed-' 
 TjfjLus * ore 5' ixpv v i °v K fj^ere, 
 
 1271. Creon repeats oijioi because he admits that the Chorus is in the 
 right : alas ! I have learned it to my sorrow. 
 
 1273. He attributes his delusion and the consequent affliction to the 
 malign influence of some demon, who had struck him on the head and 
 bereft him of reason. — r6re, viz., when, deaf to all remonstrance, he de- 
 creed the execution of Antigone. — /xeya fidpos ex coy, with greed force, or 
 violence. 
 
 1274. ivetreitrev (fie) ay plais 6do7s, and 'impelled me into wild paths ; or, 
 as Musgrave interprets : imtigavit ad saeva consilia vel saevas actiones 
 There is much force in the figure of a divinity inflicting a blow which 
 biasses the judgment of a man and drives him from the path of rectitude 
 into one of injustice and cruelty. Thus, in Creon s case, is verified the 
 adage cited above, 622*fT. 
 
 1275. KaKirdrTjTov. Tar. lect. : \a^7rdrriTov, \€co7rdT7]rov. It signifies 
 wantonly stamped and crushed with the heel, and poetically anticipates 
 
238 NOTES. 
 
 the condition of xctpd a ^ ter tne moment denoted by avTpeircov. The idea 
 is : overturning and trampling under foot the joy of my life. A similar 
 use of the verbal has been noticed above, 1186 : avacnracrTov ttvXtjs. 
 
 1278. The i^dyyeXos, who comes from the palace where he has wit- 
 nessed the suicide of Eurydice, breaks the news to Creon. The order 
 is : & 8e(T7rora, (pepoov ra fxev (/ca/ca) rd$e irph %6£p£oy, us ^x (j0V T6 Kt & Ke ~ 
 KT-nfiEvos, toifcas %K€ip Kal rd^ u^ec^ai ra 5e Kaxa ip SSjjlois ; master, 
 while bringing this affliction here (Haemon's corpse) in your hands, as the 
 rightful holder and possessor of it, you appear to have come immediately to 
 see another in your house. — %x°* v Kc & x^KT7]}xipos can only refer to Heemon's 
 death, of which he was the cause (1268), and which Teiresias had pre- 
 dicted, 1066. Concerning the expression, comp. Plat., Kep., ii., p. 382 : 
 rfj tyvxy — %X €LJ/ T€ K °ti xeKrrja^ai to \pevdos. — Kal rdxa is very soon, like 
 the phrases Kal irdw, Kal fiaXa, etc. The inf. uxpeoftai is used instead of 
 the usual construction b^6}X€pos. 
 
 1281. rl §' i(TTiv au Kaxiop, -/) Kaxcop ere; So this verse reads in the 
 MSS., except the point after k&xiov, inserted by Boeckh, who interprets : 
 was gibfs noch Schlimmres, oder was noch vom Uebel ware (what is there 
 again worse, or what of evil more) ? If Sophocles really wrote Kaxiov, he 
 probably used it for the positive KaKop, or poetically for Kaxta, misfortune. 
 For, as the messenger has simply announced another affliction, Creon has 
 no reason to infer a worse one. Besides, the comp. adjective is logically 
 inconsistent with the particle av. We have noticed above, 100, 1212, the 
 superlative used for the comparative, and we may assume a similar free- 
 dom here. With Kax&p supply ri from the preceding. The sense : what 
 evil is there again, or what of evil more ? Wunder : aut quid malorum 
 reliquum est ? 
 
 1282 f. Eurydice is termed irajxyi^Toypy the all-devoted mother, because 
 her life was bound up in that of her sons, the last of whom she could not 
 survive. Haemon's death has made her cup of grief run over. Comp. 
 1303 f. — apri to be connected with Ted-j^/cc, is just dead. 
 
 1284, Icb dvsxd&apTos "Aid. Xi t wf)p, unappeasable gulf of Hades! 
 Creon is now made to feel the anger of that divinity which he before 
 scoffed at and provoked (780), and whose Erinnyes (1075) have over- 
 taken him. — f/ Ai5ou Xi/x^p, Orel portus. The grave is represented as a 
 harbor where the dead find rest when the voyage of life is ended. Comp. 
 Eurip., Here, furens, 772: Xifiem Xnr&p ye top 'Axep6priop; explained, 
 810: TLXovtupos 5o> ; ua Xiirkp peprepoy. In a like bold figure, Milton, Par. 
 L., x., says : 
 
 11 Till sin, and death, and yawning grave, at last, 
 Through chaos hurled, obstruct the mouth of hell 
 Forever, and seal up his ravenous jaws. 11 
 
NOTES. 239 
 
 1285. oXetceis, why, oh why, dost thou crush me ? 
 
 1286 f. Addressed to the i£dyye\os. — irpoiriix-tyas KaKayyeXra &X 7 !) 
 bringer of painful tidings. 
 
 1288. oAcoAor 5 eTre^eipydcro, the slain man you have slain over again. 
 Comp. 1029 f. : oAcoAora k£vt<zl — &olvovt' It:ikto.vCi.v. 
 
 1289 f. Constr. : riva viov crcpdyiov fiSpov, alai yvvaiKelov Aeyets fioi 
 a,fjL<piK6?(T&ai e7r' 6\€&pcp ; The sense : what new bloody death, alas / that of 
 my wife, do you tell me is superadded to the destruction (of my son) ? — The 
 Schol. : e7r* oAed-py rod AHijlovos. — x/j.cpiKs'icrxrai, accedere, afx(pt in comp. ex- 
 pressing addition or renewal. 
 
 1293. ob yap iv fivxdls en, for she is no longer within her chamber. 
 This means that the interior of the room, in which Eurydice killed her- 
 self, is laid open to view, and the body rolled forward npon "a movable 
 floor (iKKVKX-nfjLa) to the stage. " Thus there is presented before the 
 eyes of the spectators a plastic group, Creon appearing on the stage be- 
 tween the two corpses which he had sacrificed." Schneidewin. 
 
 1295 f. Kouibv toS* &\\o, etc. Comp. 1279. The particle apa, as 
 above, 1285, gives the question a pathetic force : what, oh what fate yet 
 awaits me? 
 
 1299. veKpSv, sc. rrjs yvvaiftSs. 
 
 1301. o^v&vktos. The Scholiast explains : b^eiav Xafiovca irX7]yi]v. 
 Likewise Boeckh : sharply pierced, viz., with a dagger. Hartung emends 
 b£vir\y)KTos. — fico/jita irepi^ describes Eurydice's position as she fell, at the 
 altar, with an arm thrown around it, and as she still appears before the 
 spectators. Wunder understands 7?§€ in the sense of w5e, so. The Scho- 
 liast likens her to a victim sunk down by the altar where it was sacri- 
 ficed. 
 
 1302. \v€i KeXawa fi\4<papa, she relaxes her dark eyelids, that is, en- 
 veloped in the darkness of death. Cf. (Ed. Col., 1684. — \vei means 
 operas,* the. eyes 'do not naturally close, but relax or open in death. 
 
 1303. Mtyapeccs. See note on 995. — Bothe's emendation, Xa%os, fate, 
 end, instead of the vulg. \exos, has been generally approved. The epi- 
 thet KXeivov expresses the sentiment of the speaker, not of the bereaved 
 mother. 
 
 1304 f. kclkcls irpd^is means here ill-luck, res adversas, analogous to 
 the expression kolk&s Trpdrreiv. Cf. Ajax, 759 : dusTrpa^ias. — etyvuvrjcratfa 
 is explained by the Schol. : Karapa^a^ivr]. Comp. (Ed. Tyr., 1275 : roi- 
 avr 3 ecpvjjivoov. iEsch., Eumen., 902. The sense is : imprecating ill-luck 
 upon you (whom she calls) the murderer of her children. Curses uttered 
 by persons in their last moments were believed to have prophetic power. 
 Schneidewin, ad Ajax, 842. The curse (apa), which was originally a 
 prayer, always conveyed the idea of an appeal to the powers of mischief 
 
240 NOTES. 
 
 or destruction, generally the infernal Erinnyes, who were regarded as the 
 executors of the wished-for evil. In fact, these daughters of Night bore 
 the name of apai, curses, imprecations, in the nether world. Comp. JEsch., 
 Eunien., 417 : 'Apal 5' ev oikois yr\s inral KeK\-fjy.e^a. See K. F. Hermann's 
 Relig. Antiq., § 22. Nitsch, ad Odyss., vol. iii., p. 183, seqq., and Id., 
 i., 205. 
 
 1307. aveirrav (avaTreTO/JLai), Dor. for aveirT7)v, 2d aor. as present. / 
 quake with dread. Similarly, (Ed. Col., 1466 : eirrrj^a ^v[x6u (expavesco 
 animo). With an opposite meaning, Ajax, 693 : irepix^p^ apeirrafMau 
 (exult). Apol., Rhod., iii., 724 : aueirraTo x^-P^ti 3-v/A<fe. (Ed. Tyr., 487. 
 
 1308. avraiav (irXTjynj/), ace. of kindred signfication, Matth., 421, n. 2. 
 It may be rendered : why does not somebody stab me through the breast with 
 a two-edged sword ? Comp. Elect., 1416: ircu&ov, el ofteveis, dnrXrjv. The 
 question is equivalent to an entreaty. For the present sense of the aorist, 
 Herm., Yig., 215. 
 
 1311. (TvyKcKpafjLcti, am involved in. Ajax, 895: o'ikto) <rvyK€Kpaix(vr)v. 
 
 1312 f. The words &s alriav ye explain in what sense Eurydice called 
 Creon the murderer of her sons, 1305. — eirecrK^irrov, Schol. : iireypdcpov. 
 Wunder interprets : accusabaris a mortua hacce hujus et illius mortis (sc. 
 of Hsemon and Megareus) culpam habere. 
 
 1314. Creon is not quite satisfied with the information given, 1301, 
 but desires further particulars of her death. — koI, supply 7}8e, she also. — 
 aireKva-aro, cf. 1268, note. The middle voice, in connection with the 
 qualifying expression ip <pova?s, signifies, did she kill herself? 
 
 1315. onus, as an adv. of time, = eirei^r], when, as soon as ; convey- 
 ing also the idea of cause. Besides giving a definite reply to the question, 
 the messenger significantly repeats that Eurydice was impelled to the act 
 by the news of Haemon's fate, in order that Creon may see that the whole 
 blame rests upon him. 
 
 1317 f. Constr. ; Tct5' ef e/xas curias ovk irore apfxocrei en &A\ov fipOT&v. 
 The sense : this consequence of my guilt will never suit another man, that 
 is, cannot be shifted from me to another and fit him. Concerning ef 
 denoting the source from which a physical or moral fact originates, see 
 Bernhardy, Gr. Synt., p. 227. 
 
 1320. (pd/ii ervfjiov, I speak the literal truth. — iyeb repeated has a pe- 
 culiar force : /, and I alone, have killed thee. 
 
 1321. on rdxos = rdx^Ta, as frequently in adv. phrases. 
 
 1325. top ovk — f) fjLrjSeva, who am not more than nobody. By this ex- 
 pression Creon signifies that he is as much annihilated as if he were 
 already dead. So Philoctetes, v. 1217, in his utter misery cries : er 
 ovdev elfiL, I am nothing more. 
 
 1326. Kepdrj irapaweh, you advise what is profitable ; like Kepdos \eyoi, 
 
NOTES. 241 
 
 1032. The Chorus means that it is best for Creon to be hurried away 
 from the sight of these bloody corpses, the last of his family, and vic- 
 tims of his wicked folly. 
 
 1327. tqlv (tcc eV) irocrlv. It means evils at the feet, and hence pres- 
 ent. Constr. : ra iv irocrl /ca/ca fipaxicrrd i<rri ttpdrKTra, present evils soon- 
 est dispatched are best. Buttmann, in Lexilog., L, p. 157, says iv Trocrt 
 means nothing more than in der Nahe, close by, at hand. Hermann : 
 Praesentia mala optimum est si quam brevissima sunt. 
 
 1328. trey, let it come, used in a sense similar to (pav-firca, with 6 v-ira- 
 tos (fJ.6pos) for its subject. Creon prays that his own fate or death may 
 come as quickly as possible. — KdWurr' may be rendered most welcome. 
 Constr. : (j>avf}rca vttoltos i/JLav \x.6pu>v 6 KaWtcrra (= KaWlcrras) <xycoi> rep- 
 fxiap afiepav i/jLo\, which is correctly rendered by Hermann : veniat caedium 
 per me factarum suprema, exoptatissime mihi ultimum diem adducens. 
 
 1333. fjir)K€Ti used poetically for the simple fxi], 
 
 1334. /neWovra t., that belongs to the future. — ti tccv irpoKeifxevccv, obj. 
 of irpd<r<Teiv. The sense is : something of present duties have to be at- 
 tended to. 
 
 1335. /jL€\€l — fieteiv, they whose care it is will care for that. The 
 Scholiast : ro7s 3-eots. Before oroicri supply toutois, to be connected 
 with jueAe*. — twj/S* refers, like ravra, to Creon's prayer for a speedy 
 death. 
 
 1336. wv ip&fjLcu, what I long for, as in Ajax, 686 : tov/jlov wv ipa Keap, 
 and id., 967. The compound (rvyKaTr]v^djuLr)v is poetically used for the 
 simple form. Schol : &p fiovAo/jLai rvx^u, ravra Tjvfa^j/, what I long for, 
 that have I prayed for. 
 
 1337. The Chorus intimates that prayer will now avail nothing, since 
 there is no escape from fated calamity. 
 
 1339. &yoiT hv, addressed imploringly to his attendants, as above, v. 
 1321. — /jidraioi/ is also a recurrence to the thought there expressed, that 
 he is now as good as dead, and therefore vain, like the spirits of the de- 
 parted. The optative here combines a wish with a command : Pray 
 carry a vain (or dead) man out of sight. 
 
 1341. ire — rdv^, addressed to the corpse of Eurydice. Comp. a sim- 
 ilar expression, v. 725. — ad, now. — raj/5* is demonstrative, like the adv. 
 here, for he is standing close by her body. 
 
 1342. This verse is confessedly corrupt. The words 7rf teal 3-a), 
 which, in the old books, stood after t5«, were probably a gloss. The 
 passage expresses Creon's bewilderment. The sense : I know not how 
 I can look either way, I know not which way to turn. — irSrepov does not, 
 I conceive, refer to the dead bodies, but is a neuter, and, with irpbs, forms 
 an adverbial phrase. Creon's mind is vacillating ; his reason is unsettled, 
 
 11 
 
242 NOTES. 
 
 a condition which yap is used to explain. For, he says, every thing be- 
 fore me is slanting and distorted. 
 
 1345. ra. $\ used absolutely as an adverb : as to the rest, besides. 
 Compare the adverbial expressions ravra Se = eirera 5e, and then, in the 
 apodosis, or second member. In this place no opposition is implied. 
 
 1346. irSrfios Svs. ets^Aaro. The thought is so nearly connected with 
 that in verse 1272, that one may be considered the sequence of the other. 
 There Creon says that the god has heavily struck him on the head and 
 impelled him into reckless ways ; and here, that a fate too heavy to be 
 borne has leaped upon his head. This is the Grecian doctrine of fatality 
 as exposed by our poet, v. 615-25 : the crime committed through the 
 tempting of the demon, and the punishment for its commission — fatality 
 and fate. The former, however, not being a necessity, can, by humility 
 and prudence, be shunned ; the latter inevitably overtakes the criminal. 
 Therefore the Chorus, in deducing the chief thought, says that — 
 
 1348. to <ppop€?v, prudence, wisdom (= €uj3ou\m, 1050) is the very first 
 condition of happiness, to <ppovstv here means religious wisdom, that 
 which restrains presumption, and teaches the observance of the eternal 
 laws. Comp. 1113 f. 
 
 1349. Constr. : xph ^ /«j5ei/ a<r€TTT€?t> to. y* ek beovs. The sense : 
 one ought never to commit impiety, at least in things pertaining to the gods, 
 otherwise the following must be the consequence. 
 
 1350. Constr. : jncydXoi Bh \6yoi tcov inrepavxow faroTiffavTss fitydXas 
 irXrjyas itildaj-w yhpai to (ppoveiv. Render : but the great words of the in- 
 solent, by repaying great {heavy) blows, teach at length to be wise. The 
 active force here attributed to the arrogant words finely point to an im- 
 portant article of the ancient belief, illustrated in this play, that the sin 
 itself finds out and punishes the guilty. Concerning the aorist cdlSatav, 
 used in the sense of a present, denoting something usual, see Felton's 
 Clouds, p. 159. 
 
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 adopted the work this year, in place of the Georgias, and anticipate much pleasure in 
 reading it in connection with the class." 
 
 From Jacob Coopee, Ph.D., Professor of the Greek Languarjk and Literature in 
 Centre College, Danville, Ky. 
 "I have examined Prof. Tyler's edition of the 'Apology and Crito,' and am highly 
 pleased with its execution. It bears the marks of the editor's well-known scholarship, 
 and is an acceptable addition to our college text-books, The typography is also accu- 
 rate and very beautiful. I purpose to introduce it into Centre College." 
 
 From Alphetts S. Packaed, Professor of the Greek Language, Bowdoin College, 
 "I received, a short time since, Plato's Apology and Crito, edited by Prof. Tyler. 
 
 I am much pleased with the edition, and shall introduce it into my classes as soon as I 
 have opportunity. I have no doubt it will prove a most acceptable addition to tht 
 classics read in our colleges," 
 
 From W. H. You>'G, Dept. And. Languages, Ohio University, Athens. 
 " It will meet a pressing want with us, and shall be introduced at once. The typa 
 Is beautiful indeed, and the earnest teacher of the classics needs no better recommend - 
 »Uon of a text-book than the name of Prof. Tyler." 
 
 From the Kew York Observer. 
 "A valuable service to classical learning and letters in general has been rendered 
 by Prof. Tyler, in giving to the American student this edition of Plato's Apology and 
 Crito. Hitherto, the scholars of our country have had no access to this work of Plato, 
 except in foreign editions, or as in fragmentary form they found it in the old and now 
 sfosolete Gra&ca Majora, It is now placed within their reach, in a form both convenient 
 tad beautiful, and accompanied by such notes and illustrations as to remove all seriow 
 il&enlties in ascertaining the meaning of the text One of the most valuable feature! 
 M this edition is the introduction, which occupies some forty pages, and contains a 
 •lear and scholarly analysis of the Defence of the great philosopher beftre his Judg&t 
 who had already determined on his death" 
 
JD. APPLET ON & CO.'S PUBLICATIONS. 
 
 Selections from Herodotus ; 
 
 Comprising mainly such portions as give a Connected History of tin 
 East to the Fall of Babylon and the Death of Cyrus the Great 
 By HERMAN M. JOHNSON, D.D., Professor of Philosophy ac J 
 English Literature in Dickinson College. 12mo, 185 pages. 
 
 The prjesent selection embraces such parts of Herodotus as give a connected his 
 fc*y of Asiatic nations. These portions are not only particularly interesting in them 
 •elves, but open to the student a new field, inasmuch as the other Greek and Roman 
 authors commonly put into his hands leave this period of history untouched. 
 
 Herodotus is peculiarly adapted to academical reading. It has charms for the 
 student which no other text-book possesses, on account of the simple elegance of the 
 style and the liveliness of the narrative. In preparing his notes, the editor has borne 
 In mind that they are intended for learners in the earlier part of their classical course ; 
 he has therefore made the explanations in the former part of the work quite full, with 
 frequent references to such grammars as are in the hands of most students. 
 
 The notes proper are purely explanatory and grammatical. Other remarks, in the 
 way of criticism or investigation, are appended to the several chapters, for the sake of 
 awakening reflection and inciting to further inquiry. 
 
 A condensed treatise on the Ionic Dialect, and the peculiar forms of declension and 
 conjugation used by Herodotus, removes one of the most serious difficulties that has 
 heretofore embarrassed the student in reading this author. If this chapter is learned 
 In advance, the dialectic forms, otherwise so troublesome, will be recognized without 
 the slightest difficulty. 
 
 The text is printed in Large, bold type, and accompanied with a Map of the regioni 
 described- 
 
 Sophocles' (Edipus Tyrannus. 
 
 With English Notes, for the use of Students in Schools and Colleges* 
 By HOWARD CROSBY, A.M., Professor of the Greek Language 
 and Literature in the New York University. 12mo, 138 pagss. 
 
 The object had in view in this publication is to furnish to college-student* t&o 
 masterpiece of the greatest of Greek tragic poets in a convenient form. No learned 
 criticism on text was needed or has been attempted. The Tauchnitz edition has be*8 
 ehiefly followed, and such aid is rendered, in the way of notes, as may absi&t, not 
 lender needless, the efforts of the student. Too much help begets indolence ; too little, 
 iMpaii the author has striven to present the happy mean. 
 
 The inviting appearance of the text and the merit of the commentary have I 
 tfeia volume a fa/orite wherever it has been used. 
 
STANDARD CLASSICAL WORKS. 
 
 Arnold's Greek Reading Book, containing the Substance of the 
 Practical Introduction to Greek Construing and a Treatise on 
 the Greek Particles ; ako, copious Selections from Greek Au- 
 thors, with Critical and Explanatory English Notes, and a Lexi- 
 con. 12mo. 618 pages. 
 
 Boise's Exercises in Greek Prose Composition. Adapted to 
 the First Book of Xenophon's Anabasis. By James R. Boise, 
 Prof, of Greek in University of Michigan. 12mo. 185 pages. 
 
 Champlin's Short and Comprehensive Greek Grammar. By 
 J. T. Champlin, Professor of Greek and Latin in YVaterville 
 College. 12mo. 208 pages. 
 
 First Lessons in Greek ; * or, the Beginner's Companion-Book 
 to Hartley's Grammar. By James Morris Whiton, Rector of 
 Hopkins's Grammar School, New Haven, Ct. 12mo. 
 
 Hadley's Greek Grammar,* for Schools and Colleges. By James 
 Hadley, Professor in Yale College. 12mo. £66 pages. 
 
 Elements of the Greek Grammar. l2mo. 
 
 Herodotus, Selections from ; comprising mainly such portions 
 as give a Connected History of the East, to the Fall of Babylon 
 and the Death of Cyrus the Great. By Herman M. Johnson, 
 T>. D., 12mo. 185 pages. 
 
 Homer's Iliad, according to the Text of Wolf, with Notes, by 
 John J. Owen, D. D.,LL. D., Professor of the Latin and Greek 
 Languages and Literature in the Free Academy of the City of 
 New York. 1 vol., 12mo. 740 pages. 
 
 — _ Odyssey, according to the Text of Wolf, with Notes by 
 
 John J. Owen. Sixteenth Edition. 12mo. 
 
 Xunner's Greek Grammar. Translated by Professors Edwards 
 and Taylor. Large 12mo 620 pages. 
 
 Kendrick'S Greek Ollendorff.* Being a Progressive Exhibition 
 of the Principles of the Greek Grammar. By Asahel C. Ken- 
 drick, Prof, of Greek Language in the University of Rochester. 
 12:no. 371 page?'. 
 
 Owen's Xenophon's Anabaiis. A new and enlarged edition, 
 with numerous references to Runner's, Crosby's, and Hadley's 
 Grammars. 12mo. 
 
 • Homer's Iliad. 12mo. 750 pages. 
 
 Greek R3aier 12mo. 
 
 Act3 of the Apostles, in Greek, with a Lexicon. 12mo. 
 
 Homer's Odyssey. Tenth Edition. 12mo. 
 
 Tinicydide3 With Map. 12mo. 700 pages. 
 
 Xenophon's Cyropsedia. Eighth Edition. 12mo. 
 
 Plato's Apology and Crito.* With Notes by W. S. Tyler, 
 Graves Professor of Greek in Amherst College. 12mo. 180 pp. 
 
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