Campbell City (part 11 of 13)

When the play opens she has just heard of the proclamation, and her resolution is already taken. In tones of suppressed excitement she communicates her intention to Ismene, proposing that they should together lift the dead body and bury him. But when Ismene's gentle and affectionate, but weak and timid nature, shrinks from the attempt, Antigone's passion bursts forth in full blaze. Young as she is, she has no fear of death. She scorns the idea of concealment, and harshly rejects all counsel from the sister whom, in the opening line, she had addressed with all the confidence of unbroken affection. Supported by her passion, she is ready to act alone, and goes forth to her 'holy crime,' while Ismene, left in the palace, betrays by her manner the secret that is pressing on her mind (Il. 1-99).

The stage is left vacant, and the chorus enter with their song of triumph. They ascribe the victory to Zeus, who hates the vain glitter of human pride, and propose to visit the temples of the Gods, with Dionysus as their leader. The death of the two brothers is lightly put aside by them as an ill-omened incident of the war.

The chorus are the Theban elders, who have been summoned for special conference by Creon. He meets them, in full consciousness of his newly-acquired sovereignty, and of untried but incorruptible political virtue. His principles may be summed up in one word, 'fidelity to the state.' All private obligations must give way to public ones, and rebellion is the greatest of crimes. Only, as Creon happens to be sovereign, disobedience to the state means disobedience to him: and the self-will which taints his patriotism is allowed to appear in the concluding lines of the speech (Il. 222).

No sooner has he made known the edict, than a watchman enters to report that it has been disobeyed. The union of rusticity and wit in this man ('the toe of the peasant coming near the heel of the courtier') makes one of the few semi-comic touches in Greek tragedy - chiefly interesting to us as showing that Sophocles did not deem the sophistical spirit inappropriate to the common people. The however, is not merely a foil to the tragic earnestness of Antigone . and Creon, but, by the matter-of-fact simplicity of his description, even before the detection, unconsciously brings into prominence all the touching details of the action of the heroine: How her light footstep had left no trace on the hard earth; how, being unable by herself to lift the body, or to dig a grave, she had sprinkled handfuls of dust; how she had frayed away 'the beast of the field by night,' until the coming of the watchmen relieved her.

The chorus, who have hitherto preserved a respectful silence, now betray their opinion of the edict by suggesting that this deed of an undiscovered agent may be a providential interposition.

This at once raises Creon's passion to the height. He suspects the watchmen of being corrupted, and even the elders of harbouring disaffection: and threatens the watchmen with death and torture if they do not produce the malefactor (Il. 223-331).

The chorus, in their amazement at the mysterious act, descant on the wondrous nature of man: whose marvellous craft is turned sometimes to evil, sometimes to good. They praise the union of civic and religious virtue: but the spectator is left to reflect whether Creon may be thought of as combining both. 'Then Antigone is brought in by the watchman, who describes how after Creon's peremptory injunction they had again exposed the body; how, when a storm interrupted their watch, Antigone had ventured forth again to see what had been done; how, on finding the body bare, she had raised a piteous cry, and, after covering it with dust, had deliberately poured the triple libation, raising her hand aloft as she did so; lastly, how, when arrested, she had avowed the deed. The slight pity which the rustic feels for the maiden contrasts with the exuberance of his joy at his own escape. Then follows the great scene, in which Antigone, accused of violating the law, appeals from the human edict to the Divine ordinances, which are unwritten, but eternal and sure. Creon bursts forth in an utterance of rage in which his own action is unconsciously condemned. For in describing how the stubborn nature is broken, he is felt by the spectators to be pronouncing his own doom. He at first declares that both the sisters shall die: then, in answer to the chorus, admits that the law applies in strictness only to the actual malefactor. The punishment of death by stoning, which had been originally proclaimed, is to be commuted for one less bloody but more horrible, that of immurement in a subterranean cell (probably some primeval burying-place, like the 'treasury of Atreus' at Mycenae). In a spirited the two chief persons assert their conflicting principles, Antigone abating nothing of her scornful impetuosity and lofty tone, Creon insisting, with unrelenting harshness, on the vindication of his will, which he no longer cloaks under political sophisms. Ismene is summoned, and is led in weeping. Her irresolute though loving nature seeks too late and ineffectually to be identified with the act and fate of her sister, who repels the futile attempt with scorn. The extreme bitterness of the situation begins now to be felt, when Ismene and the chorus plead with Creon for his son's betrothed one. He is implacable; and, according to Béckh's notable conjecture, Antigone utters the one word of affection for Haemon which escapes her throughout the play (ll. 332-581).

The fate of the heroine is sealed. The light that was spreading on the last scion of the stock of Oedipus is extinguished, and the chorus take up their parable on the persistence of calamity, and the irresistible power of Zeus, that works through the vanity of human ee and the infatuation of a mind foredoomed to trouble (Il. 582- 625).

The catastrophe is, however, deferred by the entrance of Haemon, who, after receiving from his father a lecture on filial obedience and on the example of public spirit which the ruler is about to set in the punishment of his kinswoman, pleads indirectly for Antigone, by recounting the secret murmurs which he has heard in the city; and suggests the wisdom of yielding to the storm, and not standing too stiffly against opinion. An altercation follows. Haemon warns his father of the ruin which Antigone's death will bring upon him, and is understood by Creon to be threatening his father's life. Creon threatens to have Antigone slain at once before her lover's eyes; and on this Haemon goes out abruptly (ll. 626-805).

The chorus sing the power of love, that can so pervert the mind and overcome the force of law. Yet they admit that the stern legal principle relaxes somewhat in themselves, when they see Antigone led forth on her last journey (Il. 781-805).

She is somewhat changed in mood. Not that she repents for a moment of her action, or shrinks from abiding the consequences, but her heart melis at all that she is leaving, and she complains bitterly of the injustice of her fate. She is no longer carried forward by a passionate impulse, as when she was called upon to act, but she 'casts one longing lingering look behind,' and, neither forgiving nor cursing her enemies, she simply judges them. Fora moment she feels forsaken by the Gods, who do not save her for her piety. Her one comfort is, that she is going to join those whom she loved. Still she is resolute, and willing to appeal to the last ordeal. The chorus, who have tried to console her with the example of Niobe, chant after her, as she departs, the story of Danae, of Lycurgus, and of Cleopatra, who all suffered immurement, Danae by the will of Zeus, Lycurgus for his wild anger by Dionysus' command, and Cleopatra by the cruelty of others and the hand of fate (Il. 806-987).

All hitherto has gone one way. Now comes the turning-point The blind Teiresias enters, and solemnly describes the evil auguries which he has witnessed, and which he interprets as indicating the Divine anger for the impiety of leaving the corpses unburied. Creon answers with an outburst of rage against the prophet, whom he accuses of corruption, and (in the sceptical spirit of the time) asserts that the Gods are not affected by human actions. But he will persist, even if the eagles should carry the pollution to the throne of Zeus (ll. 988-1047).

The king is at last aware of what he has done. He goes with his servants, first to bury Polynices, and then to release Antigone. The chorus utter a wild song of supplication to Dionysus, to come and help them in the hour of need. But it is too late. A messenger recounts, in the presence of the gentle Eurydice, who enters just when the death of her son Haemon is announced, how they had buried all that remained of the mangled corpse of Polynices, when, as they approached the vault where Antigone had been immured, a loud voice of wailing greeted them; how, as they came nearer, it was the voice of Haemon; how, on looking in through the crevice from which the stones had been torn, they saw Antigone hanging by her girdle in the farthest recess (she had once more been resolute), and Haemon clinging to her; how, on seeing Creon, he had drawn his sword, and, after vainly aiming a blow at his father, who fled forth, had plunged it into his own side (Il. rog1 - 1243).

Eurydice then goes out without saying a word: and shortly afterwards Creon enters with the body of Haemon in his arms, bitterly lamenting his stubborn folly. He has not gone far in his lament, when another messenger announces the suicide of Eurydice, whose dead body is presently brought on the stage by an Creon's punishment is heavier than he can bear. The fierceness of disappointed affection is concentrated in one thunderbolt upon his head. The love of Antigone for Polynices, of Haemon for Antigone, of Eurydice for both her sons, of whom he has bereaved her ' for the public good,' all flash their curses on him. He is led away, and the chorus moralise in conclusion on the happiness of moderation and piety, and the fall that awaits the proud. The aged only, it would seem, can learn from experience to be wise (Il. 1244-1353).

As compared with the Iliad and Odyssey, this drama, like the Oedipus Coloneus, shows a marked change or progress in the manner of conceiving the state of the dead. Creon, who has a statesman-like abhorrence of the excesses of religious feeling, has no consistent notion on this subject, but alternates between scepticism and common-place. He is only resolved that Antigone shall not live on earth. She interferes with his policy, and must be removed. She may marry some one in Hades if she will; at all events she shall be taught that it is lost labour to show reverence to the dead. The chorus, in trying to console the heroine, have only the barest husks of tradition to offer. She will be hidden from the light of day, but her fate will be renowned hereafter. That is all the assurance they can give.

and is living for the other. Her dead kindred have more vivid reality of existence for her than the people whom she sees around her. To go to be with those who are gone is no cessation of life to her, but only the continuance of the life which she has been living. Her language throughout implies her firm belief in the permanence of personal existence, and it is observable that the source and nutriment of this strong and unforced conviction is natural affection.

It is true that her anticipation does not find consistent expression. Even in modern Europe the confusion between the grave and the spirit-world is deeply inherent in language. And it must also be admitted that her hopes do not gain strength as she comes nearer to the fatal moment. They are almost overpowered by indignation and regret, and the exaltation of feeling under which she acted when the consciousness of the eternal ordinances and of the eternal abodes had made her stronger than the whole city of Thebes, seems almost to have faded away. Yet the hope of rejoining her kindred is unimpaired. Death, that closes all other hopes and cares, cannot extinguish for her the light of filial and fraternal love.

2. The Antigone contests with the Ajax the first place in the order of composition amongst the seven extant plays. The alternation of anapaestic systems with the lyrical strophes in 11. 100-154, may be viewed as intermediate between the form of parodos in Aj. 134-200 and that in O. T. 151-215, and wonderful as the Ajax is in part, the composition of the Antigone presents a higher artistic unity. On the other hand, the anapaestic accompaniment to each successive entrance, and the entire absence of broken lines in the Antigone, are instances of a certain archaic formality, which, while admirably suited to the subject, may also raise the presumption of an earlier date.

3. But while this point must be left undetermined, it may be confidently affirmed, on grounds of internal evidence, that the Antigone is the earliest of the three plays of Sophocles that are connected with the tale of Thebes. Had the story of Oedipus been already worked out as it stands in the Tyrannus, Ismene could not have implied that Oedipus had perished before Jocasta, as she does in 1. 53, nor could Antigone have spoken of her mother with so much tenderness as she does in Il. 466, 7, 898, 9. 865 ; nor could Creon's position as the 'new ruler' have been quite so simply conceived (cp. O. C. 567, 851). Had the story of the end of Oedipus at Colonus been worked out, it could not have been said, 'he perished hated and dishonoured after putting out his eyes' (Il. 50, 1), nor could Antigone speak of having prepared him for burial, 1. goo, cp. O. C. sub. fin. There is no thought in the Antigone of a death of Oedipus elsewhere than at Thebes ; while, on the other hand, the Oedipus Coloneus contains a pointed allusion to the Antigone (O. C. 1405-1413).

When this priority is borne in mind, it beomes easier to realize the comparative simplicity of the legend as here presupposed, and while some of the separate allusions are more intelligible, we have the advantage of being able to compare the maturity of Sophocles in the. QO. T. with an earlier as well as with a later manner.

Antigone is in accordance with the tradition of antiquity, as implied in the statement contained in the old Greek argument, that Sophocles owed his command in the Samian War to the esteem which he won by the production of this drama. No such story could have gained currency if the Antigone had been known to be amongst the later tragedies, and had it really been a late tragedy it would probably have been known to be so. But modern critics have not been contented with such a general inference. The single, unsupported statement, repeated not without reservation' by the author of the has led to elaborate attempts to determine such questions as these, Was Sophocles general in the first or the second Samian campaign? and consequently, Was the performance of the Antigone prior to 440 or only to 441 B.c.? In like manner, the coincidence of Ant. go04 - 15 with Hdt. 3. 119, and of C. 337~341 with Hdt. 2. 35 (an obvious commonplace), together with an epigram, Sodo- Sy | of which both the authenticity and the text are questionable, have been made the ground of much speculation respecting the supposed intercourse of Sophocles with Herodotus: and as the latter was interested in Thurii, it has been even attempted? to connect the subject of the Antigone with a particular incident in the history of the foundation of that colony. This is surely to heap conjecture on conjecture. That the two writers have a large common element is a truth that is well worthy of recognition: but were the tradition of their intercourse more circumstantial than it is, it might be interpreted in another mood of criticism as a legend based on this very truth. There is no reason to doubt the fact of the generalship of Sophocles, and either on this occasion, or on one of the earlier embassies of which we read in the Anonymous Life (or why not at Athens ?), he may have conversed with Herodotus: but what is more important and more certain is that he must have conversed with those who were the informants of Herodotus, the Ionian Greeks of Asia Minor and of the adjacent islands. And to return to the question of the date of Antigone, the mere 'they say,' even of the most accurate of the Alexandrians, is too weak to bear the weight of inference that is based upon it.

5. Economy. There is no drama of Sophocles in which the main outlines are more carefully drawn, and none, excepting the first Oedipus, in which the adaptation of detail to the main effect is more complete than in the Antigone.

It has been shown elsewhere*® how many things are made to contribute to the noble isolation of the heroine, and to the final desolation of Creon, which the curse of Eurydice renders complete. The skilful gradation of the action is not less remarkable. First the firm resolution on either side, with the song of the Chorus, who think only of Thebé's triumph, coming between. Then the announcement of the

2 By Mr. Watkyss Lloyd in his 'Age of Pericles.' It may be worth observing that if the Antigone was prior to the Samian War, the supposed meeting of Sophocles with Herodotus must ex hypothesi have a still earlier date.

watchman, rousing astonishment in the elders and suspicion in Creon, but in the spectator only a hushed expectancy, which the ode, renders more profound. 'Then the entrance of Antigone, guarded, who attracts all eyes during the description of her action, whilst her own eyes are fixed upon the ground: then the sudden flash of her avowal, and her defiant words. Here tension has reached its height and the action remains comparatively stationary, so leaving room for the central ode, and for the parts of Ismene and of Haemon. Then follows the re-entrance of Antigone, the incomparable Commos, the more questionable Khesis, and her final exit in a short anapaestic speech: followed by a solemn lament, which rather represses than excites the feelings of the spectator. After this the unbidden coming of the prophet is a relief, and his altercation with the king calls off the mind, from following the maiden to her doom, until his brief thunderclap of denunciation brings Creon also to know what he has done. MHis going forth is followed by a moment of fond eagerness and anxious hope, to which the report of the messenger puts a sudden end: though we learn from him that the purpose ofthe maiden's death is not unfulniled. The brief but pathetic part of Eurydice, and her presence at the recital of the Exangelos, are admirably calculated to deepen the impression to be produced on the spectator by a narrative which is a sort of dramatic idyll. The catastrophe, however, is not yet complete. For in the midst of the final Commos, as Creon bends over the dead body of his son, confessing his error, the death of the mother and her curses on the slayer of her two children are reported to him. Creon's portion as he is led staggering away is felt to be far worse than death.

6. Many instances of minute care in the composition of the Antigone have been pointed out by Wecklein and others and will be mentioned in the notes. It may suffice here to observe that the impatient words of Creon in ll. 578, 9, 'Henceforth these must be women and not left at large,' have the effect of lessening the surprise which the Athenian spectator may have felt at the liberty which made the first scene possible and was necessary to the plot. Antigone's opportunity thus comes to be regarded as a result of the relaxation of female discipline naturally consequent on the absence of the men in time of war.

4. Lime in the Antigone. In one respect, however, such extreme accuracy was not yet necessary, the spectators being less exacting than they became afterwards; this is the so-called ' Unity of Time.'

Aristotle in the well-known passage on this subject, while affirming that the action is as far as possible confined to a single revolution of the sun, says also that the earliest tragedies retained something of the Epic mode of treatment. This remark is indisputably applicable to the Eumenides, and when the Antigone and Ajax are scrutinized in this respect as Othello has been, it will be found that the inconsistency which is so manifest in Shakspeare is present, in a minor degree, even in Sophocles. And if the Athenian spectator was not always too fastidious on this point, how much less so must the audience of the Iliad have been!

external to the action and may be the more naturally fore-shortened. But we may begin by observing that the events described by the Chorus cannot really be imagined as happening in a single day. The fall of Capaneus, the general engagement, the deaths of Polynices and Eteocles, the flight of the Argives, to all which must be added the death of Menaeceus or Megareus, probably filled many successive days in the original legend.

The death of Polynices was the cause which precipitated the retreat of the Argive host: and this happened in the night immediately preceding the opening scene, which takes place before the dawn. The flight occasioned the pursuit, and from this the army did not return till sunrise. Creon may not have followed far and may have been recalled by the cares of State, though he is only returning to the palace when the elders encounter him. But somehow between night and morning there has been time for the following events : - the burial of Eteocles with military honours; the proclamation which reaches the ears of Antigone; her act in sprinkling the dust and keeping the wild beasts and dogs from the dead; the setting of the watch by Creon; the summoning of the elders while it is still early morning, for the discovery of the act by the first day-watch is still recent when the comes.

c. But there is more than this; for when the sun has hardly touched the body of Polynices, - supposing him only to have been slain the previous night, - it is already in a state of decomposition (Il. 409 ff.).

d. Again, Creon's authority is not six hours old, and yet he speaks of certain mutterings of secret disaffection, which he has long since heard (ll. 289 ff.).

6. The word in Il. 391, 480, implies something more than the space between morning and mid-day*. And it may be observed in passing that the storm which filled the sky has not for a moment interrupted the action on the stage, which is in the open air. See also ll. 559, 855, 1273, for reference to what seems a distant past.

g. Another instance of 'foreshortening' occurs in the speech of the messenger, where the cutting down of Antigone's body, although a necessary link in the action, is not mentioned (Il. 1236 ff.).

When these points are considered, it will not seem strange that while for the most part such vague words of time as are employed, as elsewhere in Tragedy, Teiresias in denouncing the catastrophe which is imminent should use the phrase ' Not many days hence,' or that he should speak of the effect which Creon's impious action has produced on distant cities (Il. 1064 ff., 1080 ff.).

And the question may be suggested, whether there are not some traces in Greek tragedy of that sys/olé and dzastolé of the imaginary time, which Professor Wilson proved to exist in Shakspeare?

Language And Metre

There is somewhat more of Jonicism in the Antigone than elsewhere in Sophocles, and the style comes nearer to the Epic turns like [e] can hardly be

The chief characteristic both of the lyrical and other metres is the combination of extreme regularity with great freedom and variety of adaptation. There are no epodes except the one at the end of the long Commos, ll. 876-882: and amongst the senarii there are no broken lines', The number of trisyllabic feet is also comparatively small. Whilst the proportion of end-stopt lines and of couplets, in the dialogue, is high, light endings are already frequent. 'There is great variety of pauses, and often, too, the lines run on without any pause into long periods, ll. 304-12, 1006-11, 1064-71. 'This probably gave occasion to the foolish tale, mentioned in the Anonymous Life, that Sophocles died from losing his breath in reading the Antigone.

Fifteenth century MSS. of the Antigone are not very infrequent, but it is not often found in earlier copies, beyond the select number of those containing the seven plays. There are few important variations of the text, but in some instances the unanimous reading of the MSS. is certainly corrupt: and inl. 4 at least this was so already in the time of Didymus.

Two considerable interpolations have been suspected, and accounted for on the uncertain theory of a later adaptation of the drama in classical times. One of these passages, ll. 1080 - 3, has been already defended, so far as the objection against it rests on the limitation of time ; the other, 1]. go4 - 12, reflects an earlier rather than a later phase of thought, and in this respect is not more surprising in a play of Sophocles, than the primitive sophisms which appear side by side with the loftiest conceptions in the central scene of the Eumenides of Aeschylus.

Antitonh. Aimon

1-17. The opening speeches reveal the contrast between the sisters, while the affectionate address of Autigone in l. 1 gives greater emphasis to her violent outbreak in 1.69. Cp. O. T. 85, and note.

I. kowdv not only means 'Of common parentage,' but has the further significance of common interests and feelings. See Essay on L. p. 96, and for (where the compound merely adds a pathetic emphasis), ib. p. 91,6. 'Ismene, my own sister, who sharest all with me.' Antigone and Ismene were united by a common grief in an affection ' Dearer than the natural bond of sisters.'

2, 3. (1) 'Do you know, that of the ills derived from Oedipus there is not one which Zeus will not bring upon us two before we die?' ovyt is the indirect form of = 'all without exception." So Bockh: and this agrees better with what follows in ll. 7, g, 10, 11 ff. than (2) reading 6, 7: with the Schol. and rendering, ' Know'st thou which of the evils is such that Zeus will not accomplish it? or (3) a resumption of 6, 'Know'st thou what of all the evil Zeus will not accomplish ?' or (4) supposing pleonastic : 'Know'st thou what' etc.

Antigone is simply the author of misery to his race: infr. 49 ff., 864 ff., although the misery has an earlier source in the Doom of the Labdacidae. The action of the O. T. and O. must not be presupposed. See Introd. p. 452.

4. Neither the defence of these words by Bockh, who places them between commas, 'Calamity apart,' Le. 'no disgrace, not to speak of calamity,' (cp. Dem. de Cor. p. 255); nor that of Wecklein, who treats the privative as a redundant negative, i.e. nor Linwood's, who makes -- is satisfactory. Yet Didymus knew of no other reading, and interlinear glosses before the Christian era can hardly be assumed. Else there is much plausibility in Porson's conjecture that a gloss arnp, i.e. has taken the place of (sc. xov), or some other word. The corruption occurring at such an early period is more probably due to the confusion to which all negative expressions are liable (E on LL. § 29. 2, p. 49), but which in the present instance cannot be attributed to the poet; i.e. Vat. Vat. b. pov has become confused in the mind of some early interpreter with = Qy. The emphasis culminates on which pointedly refers to the dishonour she is now to speak of.

7, 8. .. The Thebans had gone forth under Creon's generalship, and he had made the proclamation as before assuming the civil power. Cp. Thuc. 5. 60, § 5, Tas évat 'The publicity of the edict makes it more painful. Antigone knows what she is doing. Infr. 44, 907.

10. 'When evils devised by enemies are threatening those we love.' In the vehemence of her resentment she already speaks of Creon as an enemy. Cp. infr. 62. Schol. According to others is abl. gen. 'passing from enemies,' i.e. no longer directed towards them, or descriptive, 'evils which belong to enemies,' i.e. which should be confined to them.

12. Sophocles has not been careful to mark the exact sequence of the events preceding the action of the Play. (See Introduction.) But the death of the brothers is supposed to have taken place some little time before the rout of the Argive host. Infr. 144-8.

forth.' Thus probable reason is given for the appearance of the two maidens before the gate. Their usual seclusion has been somewhat relaxed during the absence of Creon and Eteocles with the army. Infr. 578, 9. Cp. El. 517.

20. yap 'Tt is plain that your thoughts are darkening with some troublous--word. is formed ona fancied analogy 10 as this is used in Homer of the agitation of the sea, and, metaphorically, of the mind. According to others the first notion of is to stir from the depths, as in dredging for the murex

21. is genitive of respect with both participles, but chiefly privative genitive with See Essay on L. p. 66, 1, 68. She implies that both brothers had been dishonoured by the decree. Cp. infr. 515-17, ob 6 véxus.. yap dov- Aos, WAETO.

23. ws resumed in 1. 27, 31, points to the fact that the maidens in their seclusion could only know of the edict from hearsay.

| xpnodeis has been generally condemned, and only occurs elsewhere in Strictly passive sense. Yet, as Shilleto observes (Journ. of Phil. No. 13, p. 149), and the former in lyric verse, the latter in senarli, are found within a few lines does not occur in Sophocles. is not impossible in point of syntax. On the other hand neither nor nor can be approved. In 1871 I suggested 'After laying him out in state, with the righteous meed of honour and all customary observance, he has covered him in earth.' Cp. Hdt. I. 112, 5. : inf. 196, This part of the treatment of Eteocles would contrast with the prohibition even to mourn for Polynices. Cp. Thuc. 2. 34, where the words TH throw some light on the custom implied in For the emphatic cp. Aj. 1100, és Hdt. 8. 106, may have been changed to (which Donaldson conjectured), and to this may have been added an interlinear gloss Cp. 1. 243. xpy. Another guess is (sc.

20. Sc. The affirmative subject is supplied from the negative Cp. the language of the proclamation in O. T. 241, and see Essay on L. p. 59.

29, 30. .. (1) 'To the vultures a sweet treasure as they eye him with a view to the gratification of food." Cp. infr. réApas : 908, vos Or, perhaps, (2) 'To the vultures, eyeing him, a glad store of food to gratify their desire" For in the latter rendering, cp. Phil. 1156, and for the combination of adverbial phrase and noun, El. 1336, Bojs.

21, 2. | Antigone first says, 'There is Creon's proclamation for you! unemphatic as in l. 37:) then, going off upon the word, 'For you, did I say? ay, and for me too, for I count myself also amongst those forbidden.' This is said with bitter emphasis, showing that she has fully counted the cost of the act she meditates. 'The proclamation extends to me - I accept the consequences.' For in this sense, cp. Aesch. Prom. 973, Cho. 989, Others take as 'To me, I say? (whose spirit he little knows).

38. For in the ethical sense, cp. Eur. El. 363, And for the genitive cp. Aj. 763, adds

39, 40. 'Alas for thy rash spirit! What help, if things be at this pass, can I afford, either to undo what is done, or to confirm it?' points to the daring spirit of Antigone and to the tone of her last words.

The choice lies between and The implied negative is in favour of which comes near the first hand of L. Cp. O.T. 517, where, however, ei precedes. But is slightly too emphatic, and is an early reading. The expression is proverbial. Cp. Aj. 1317.

42. tor :] Although with the verb of motion is not unlikely (cp. El. 922, the future tense does not suit the passage. Hence the reading of Par. A. (with from is preferable. Cp. El. 390, ef ; but see Eurip. Iph. A. 480, for from with present meaning.

43. Antigone's first intention 15 to lift the body with Ismene's help and give it proper burial. Being unable to do this unaided, she sprinkles the dust. Cp. El. 938-1057.

44. 'A thing forbidden to the whole city.' is neuter accusative in apposition to the action of Essay on L. 17. p. 25.

ther and yours, though you do not choose to do your part.' The second of these lines has been needlessly suspected. The rejoinder of Ismene comes in more effectively when the is broken. cp. Phil. 52, .. KAUNS,

48. ' He has no right in what is mine, to part me from my own." is partitive genitive with pera: privative genitive with Essay on L. p. 61.

51. avrodwpwv] 'Self-detected ;' 1.6. Brought to light by his own act. = 'In consequence of, connects the phrase with the preceding rather than the following words. Although the action of O. T. is not presupposed, this part of the fable had been already developed by Aeschylus. See 8S. c. T. 778 ff. Others take to mean 'clearly proved,' 'manifest to all men?' cp. Od. 11. 247, But the emphatic repetition of in the next line agrees better with the more pregnant meaning, --

53. 1,. (". 5. 56. Vat. L7E. L. CAV.

53. 'A two-fold name,' suggesting the horror of the double relationship. Cp. O. T. 928, rnp

56. 'By mutual fratricidal slaughter.' in composition here is partly reciprocal and partly, as in suggestive of the murder of kindred: cp. 1.172. The same is true of : cp. 1.147.

57. 'Mutual.' The reading of L and Hermann is justified by the awkwardness of the double genitive dual and the doubtful use of in the other reading.

70. 'Would your acting with me be any pleasure to me.' For the adverb implying a predicate, see Essay on L. § 24. p. 40.

This reading is acknowledged by the Scholiast equally with the reading of LA. 'Be such as you choose to be' (i.e. base, cp. supr. 38) is more forcible than 'Hold what principles you please,' even if can have this meaning. Cp. Phil. 1049, Eur. Or. 1680, TotovTos, is nominative by attraction te the antecedent. Hermann thought the dative was required.

72. Antigone knows clearly from the beginning, with the heightened con- 'sciousness of passion, the consequences of her act. There is no 'irony of fortune,' so far as she is concerned.

9. 881 A, .. : Sim. Am. 3,

76. The emphasis really rests on the subject but is transferred to the dative, as in Phil. 1395, ws [ E. on L. § 41. pp. 78, 9. The change to (see v. rr.) is slight, but rather weakens the expression.

86, The Epic is curious, but need not be changed. Cp. Tr. 1196, | Other Epic forms in this play are infr. 653; imal, infr. 1035: 1241. A lukewarm spirit is above all hateful to Antigone. If Ismene disapproves her act, let her denounce it, édv ph, «.7.A., further explains Cp. O. T. 57,

'Chilling,' 1.6. Causing a cold thrill of horror. Cp. Aesch. Prom. 691-3, ... Also with an association from the meaning 'fruitless ;' ep. Hdt. 9. 49,

94. 'And our dead brother will justly hold you as an enemy:' cp. Eur. Tr. 185, 'Who has me for his slave.'

96. The reading ov, for which some critics would substitute is confirmed (1) by the tendency to a vehement accumulation of negatives in the speeches of Antigone in this scene: (2) by the similar emphatic inversions noticed in the Essay on L. § 41. p. 78.

Cp. Eur. Or. 424, és Antigone goes to perform the sepulture, and Ismene returns into the palace. The stage is left vacant. As in the Ajax, there is a distinct break after the prologue, which has laid the ground of the action so far as Antigone is concerned. The first episodion, ll. 163 ff., is in one sense a fresh beginning, as setting forth the motives of Creon, and still only preparing for the collision. The parados, ll. 100 introduces us to the public feeling of Thebes, and to the wider sphere of which the action forms the central point.

100 ff. Instead of a long series of anapaests, followed by lyrical strophes and antistrophes, as in the Ajax (with which cp. Aesch. Agamemnon), we have here two strophes and antistrophes alternating with anapaestic systems of about seven lines each: making a form of parodos intermediate between that of the Ajax and that of the O. T., in which there are no anapaests. The

The culmination of feeling is marked by the dactylic opening of The rhythms of a' 3, 4, 6, and 3, 4, show the correlation of the two movements. The adaptation of sound to sense is specially obvious in the resolved trochees of a' 7, while the concluding lines, a' 8, 7, serve to harmonize the logaoedic with the anapaestic measures. Cp.O.C. 135-7, 167-9.

chorus on its first appearance chants 11. 100-9, then advances while the coryphaeus recites 110-16, then the antistrophe is chanted, then another advance is made during the recitative of 11. 127- 133, then strophe 6' is chanted, the chorus by this time standing near the stage ; then they make a final advance, and, during the second antistrophe, are standing full in front of the stage. Lastly, as Creon is seen approaching, the coryphaeus chants ll. 155-62, which thus form at once the conclusion of the parodos and the 'introit' or prelude of the first episodium.

The total effect is that of a stately and solemn triumph, in which the bright influence of the glyconic opening is tempered with slow movements (4 - - as in ll. 106, 122, 137, 151, and interrupted rhythms, as in ll. 103, 120, 138, 152; the notes of triumph and solemnity being combined in the choriambi, which bring the lyrical part to a close. Thus we have - to waiting Thebé, O eye of golden day! For thy first beams, shooting over Dircé's rills, stirred into quicker flight the Argive warrior, who for Polynices' quarrel swooped upon our land on snow-white wing, with many a shield and many a plumed helm. 'Threatening our halls in towering pride he stood, and gaped with bristling spears around our gates, thirsting for our blood: but he is gone, or ever his desire was slaked, or ever the fire-god eaught our coronal of towers. Such fight displayed the serpent writhing in his gripe, not easily sabdued. Such din of war assailed him as he turned to flee. For Zeus abhors the boaster and contemns the clank of geld. And when he saw them moving in a full proud stream, he smote with lightning from on high the daring climber who had gained the pinnacle and was eagerly preparing to shout victory. And swung to earth he feli with a rebound, the firebearer, who with mad rush was breathing his blast of enmity against the wall.

'For at all our gates their captains, seven against seven, left their panoplies as trophies to our cause. All, save the horrid pair, who fell together with the guilt of mutual fratricide.

'But forget we the griefs of war. For victory came with smiles of joy to greet our smiling town. So visit we the temples of the gods with dances all night long: and let Theban Bacchus be the master of our revelry.'

106. The rivulet of Dircé was to the west of Thebes. The sun had risen just as the retreat of the Argives became a rout, and the army returning from pursuit would see the morning light reflected in the stream, which they would. cross on their way back to the city.

Cp. Eur. Phoen. 730. The ode is not chanted at sunrise, but celebrates the glorious morning which had seen the discomfiture of the enemy. The chorus of elders imagine themselves in the position of the victorious army.

The correspondence of dactyl in the antistrophe to the trochee in this line justly leads to suspicion of the text, and Hermann conjectured Qy. or

108. (1) 'Running before us in flight.' Said from the point of view of the pursuing host. Or (2), 'In the van of the flymg host.' The Schol. on Phoen. 409 says, .. Cp. Paus. 8. 25. 5.

tog. Either (1) literally 'Riding with hastier rein,' or (2) metaphorically, 'With thy hastening bridle in his lips." The first (1) is best. If (2) were adopted, the reading 'galling' (see v.rr.), might be preferred.

110. *és .. *ILoAvvetkous] The emendation of Scaliger improves the sense as well as the grammar. The imagery throughout represents not Polynices, but his Argive ally. The subject of the single fight between the two brothers is passed lightly over, as unsuited to a triumphal hymn.

ITI, 'Carried. forth in consequence of the doubtful quarrel (the quarrel and debate) of Polynices. is said with allusion to but also suggests the image of the bird mounting in air. Cp. Il. 13. 63, of the hawk, apOeis, Eur. Phoen. 626,7. For the play on the name of Polynices, see E, on L. § 44. 82.

113. The omission of in this line, which Herm. suggested, is hardly necessary, although it does not impair the sense. The correspondence of strophe and antistrophe does not extend strictly to the anapaests, although the anapaestic systems in this passage are nearly of the same length.

117. 'Staying his flight,' like the bird of prey preparing to stoop. At this point the image, which has hitherto grown in distinctness, becomes less definite, the figure of an eagle passing into that of a flying dragon, with spears for teeth. Cp. Shak. K. John, 2. 1, 'O, now doth Death Line his dead chaps with steel,' etc. Also the image in Milton's Samson Agonistes, 11. 1692-6.

Boeckh's emendation at ence cures the metre and supplies a poetical touch which corresponds to the explanation of the Scholiast, rats It is confirmed by the reading of L? pr. See v. rr.

120. 'He went his way.' For the use of the aorist of in this sense, cp. Od. 22. 249, of : Tr. 115, 7, 'Some gone, others coming on.' For the change of subject in these lines, cp. Aj. 458, And for cp. Pind. Ol. 8. 32, Hom. h. Dem, 151, .. | ...

124. .. (1) 'Such din of war was spread about his rear by the reluctant snake, no easy matter to subdue.' So the Scholiast, who wrote CH. 22. 55). Or (2) may be taken to mean the act rather than the object of victery (cp. O. T. 560, and the sense may be, 'Such din of war encompassed him, issuing in a hard-won victory for the serpent matching his foe.' In this case it will make little difference to read the genitive. Or, (3) if the genitive is read (Wecklein), the words may be taken in yet another way: 'Such din of war harassed him from behind, the hard-tobe-subdued might of the serpent, who was a match for his foe.' The genitive is given as an alternative reading by the 1st hand of L, 'and is supported by V (Ven. 468). But the dative is alone recognised by the Scholiast.

The is certainly the emblem of Thebes, and the eagle and snake are in conflict, as in Il. 12. 201, [0]]., where also the serpent struggles and escapes: 6 | phy | Hor. Carm. 4. 4, 'Nunc in reluctantes dracones | Egit amor dapis atque pugnae.'

130. 'Despiser of the clank of gold.' Cp. Aesch. Agam. 776, siy tive | | T. 481-8. The Seholiast, who wrote ras seems to have read which appears in the margin of some copies. 'Fhe of his interpretation may have given rise to as in conjunction with this it has suggested (Vauvillers, who compares Ii. 1. 205). Musgr. and Boéckh are contented with abstr. noun of gen. with 'In floods of supercilious pride.'

131. (1) ' Hurls down with brandished thunderbolt.' Or possibly (2) is a more emphatic substitute for BdA\ee='Smites from afar." The word suggests the zig-zag flicker of the lightning.

.. 'As, having reached the topmost goal, he was eager to raise the cry of victory.' are the end of the race-course, metaphorically applied here to the top of the wall to which Capaneus had climbed, and so receiving the epithet may be also taken as abl. gen. with and only resumed with But this is questionable.

134. This conj. of Porson has been generally received. 'He fell upon the earth, that smote him again} i.e. 'He fell witha shock.' The Scholia explain which is against metre.

'Swung.' As ifthe scale that had been the lightest had suddenly become the heaviest. Cp. Hom. 1]. 22. 212, 8 | et

138. 'This was in one direction: whilst on other men terrible fortune was dispensed by mighty Ares rushing on them like a steed harnessed upon our right hand.' For the use of with the locative adv., see L. and S. s.v. B. m1. The reading in the text is suggested by that of V (Ven. 468), a MS. of the 13th century, which, together with many obvious corruptions, has preserved some good readings. See on O. T. 1526. This MS. reading is curiously near the conj. of Musgrave, The epithet, as read in the text, may be suggested by a forefeeling of what is coming. Even the end of Capaneus is less awful than that of Eteocles and Polynices (144 ff.). Hermann's reading, GA | Aq makes good enough sense; Plat. Rep. 2. 369 B, dpa én' but the synaphea between the cretics and the choriambi is questionable. And the same objection applies to Wecklein's |

140. The War-god taking part with Thebes and bounding hither and thither over the plain is compared to the immos, whose free action was so important at critical moments in the chariot-race. Cp. El. 721, 22, | : Aesch. Agam, 841, 2, [ ceipapdpos. The reading is probably erroneous. It is acknowledged as a variant by the Scholiast.

141. Capaneus, who is one of the seven adversaries, is already disposed of. But the general description in 141~3, is only preparatory to the chief statement, 144-7, from which, however, the chorus pass quickly, as they approach it with aversion. What is of the best omen must be kept to the front. For cp. Hdt. 9. 49,

144-7. Neither could despoil the other, since both were slain. And the citizens could not dedicate to Zeus arms polluted with kindred blood.

146. 'Having pointed their two spears, of which either was victorious.' The spears are not hurled, as commonly in the Iliad, but held firmly as the combatants rush at each other. Cp. Hom. 1]. 4. 307 (quoted by Donaldson), | 7

147. 'Both have their portion in mutual death: i.e. Each strove for sole inheritance, but they share equally - in a death which each has given and each

as in Pindar, is the personification of for which it is used consistently throughout this play. Cp. Od. 7. 80,

150. .. vav| 'Turning from the present wars, appoint ye forgetfulness of them.' For the pleonastic use of see Essay on L. § 19. p. 27. The reading which has good MS. authority and preserves the metrical correspondence with 1.137, 1s retained bysome editors as an infinitive for imperative. Cp. infr. 1142, o- Ae. For the expression, cp. Eur. Phoen. 1584,5, wpa

156. The metre requires either the addition of one (or three) anapaests or the omission of veoxpés. Dindorf's supposition that veoxpos veapator has grown in some way out of is in itself probable enough, but the omission of some word like *dpywv after is equally so. 'The spectator is thus reminded that Creon is young in power.

157, 8. veapator.. 'In consequence of the recent god-sent fortune. These words are to be joined with the whole sentence, though chiefly with Creon's accession, his coming, and the counsel which he brings, all follow closely on the events of the war. The question is, what is that counsel

160. 'Specially convened.' The word is used, after the analogy of the at Athens, for an assembly specially sumveoxpos| 6 159. 1,K5, C?E Vat. 1,

162-210. Creon's first error is not mere self-will, but an excessive zeal for the honour of the state, to which all private feelings must give way (183, 4, 187-90). His spirit of self-assertion is however already felt, esp. in ll. 173, 101, 207-10. And the unconsciousness of one young in power is shown in the self-inculpating words in ll. 175-7. He characteristically dwells on the virtue of loyalty (165-9, 209, 10) and the crime of rebellion (199-202): and his passionate nature is betrayed by the exaggerated expression inl. 208. Cp. O. T. 276 ff. and note. The frequent occurrence of the Ist personal pronoun is a significant feature of both these speeches.

162. ' As for the state.' This form of expression suits the introduction of a subject before the form of sentence is determined. rather than is the object of and

165, 6. .. 'Knowing that you ever duly reverenced the enthroned authority of Laius.' is governed by taken as one word, being added to supplement oéBovras and infr. 166, are imperfects = Bere ..

167. 'Kept on a safe course :' i.e. 'Governed prosperously. The word recalls the happiness of the first period of Oedipus' rule. Cp. Plat. Men. 99 C, of Tas : Phaedr. 244 B.

168, 9. .. ' Ye still remained loyal to their issue with unshaken minds.' 'Surrounding,' as ready to defend. The apodosis is made to suit the latter protasis, and that of the former protasis, (viz. OF the like), is thus absorbed.

176. As observed in the Essay on L. pp. 91-3, the opposition between these words is chiefly formal. So far as there is any difference between them, is 'mind,' or 'nature,' 'spirit,' or 'way of thinking' (cp. infr. 207), and 'judgment ' or ' meaning.'

176, 7. dpxats .. 'Until he be seen in his true colours through being tried in office and administration.' According to the saying of Bias, (Arist. Eth. Nic. §. 1. 16). There is an allusion to the detection of spurious coin through wear. Cp. Aesch. Ag. 390-2, | Te kal | mayns | (where Herm. says, 'Vereor autem ne non de lapide Lydio loquatur poeta, sed aes adulterinum dicat, quod usu tritum amisso falso splendore cognoscitur'): Hdt. 7. 10, TOV

178. The connection is not strictly logical. explains not the difficulty of discerning the difference between rulers, but the essential point on which the difference turns. In setting forth this, Creon also declares the spirit of his own policy. He is feeling his way with the elders, of whose submission he is not perfectly sure, and ' beats about the bush' before coming to the point with them. Hence he repeats the same thought in different words.

178-83. The sentiment of these lines is closely parallel to Plat. Legg. 9. 856 B, ds

184 ff. Having shown what makes the good and bad ruler, Creon declares his own intentions, first generally, and then (192 ff.) with reference to Eteocles and Polynices. implies that his opinion will be proved by his acts. In both statements (178-83, 184-90) the stress is laid on the duty of renouncing friendship with the public enemy (182, 3, 187, 8), which is the ground of the present edict, Polynices being presumably Creon's private friend: supr. 174.

187. 'Who is my country's foe.' The genitive avoids the awkwardness of two datives, and coming close together.

carries us in the course of public safety ;' i.e. The friendship that is made against the interest of the state is hollow and insecure. Cp. Thuc. 2. 60: (Pericles log.) yap Zaleuc. ap. Stob. (Mullach, p. 543), : Shakespeare, King John, 3. 1, 'Pand. All form is formless, order orderless, | Save what is opposite to England's love. On the change of pronouns see Essay on L. § 22. p. 32. The article in points the reference to Il. 182, 3.

199. Eyyevets] 'The gods of his race;' i.e. Those honoured by the Cadmeans. The gods of the race also include the ancestors of the race. Infr. 938, mpoyeveis.

is probably right. The impersonal verb gives absoluteness to the expression. Wolff construes the inf. with Aéyw in 198 (deleting the comma after and Wecklein reads for The slight corruption is probably due to a reminiscence of supr. 27.

205. is accusative of limitation, and and are masculine. 'To leave him unburied, to have his flesh consumed by birds and dogs.'

206. <A spectacle of indignity.' Lit. 'Outraged to behold.' The infinitive is added after the participle, which is masculine.

211, 12. For the construction of the accusatives Tov .. after col as = or the like, cp. O. C. 1120, and see FE. on L. § 16. p. 22. No emendation

213. has been thought a useless insertion, and Dindorf reads But ye is not unsuitable to the connection, introducing the second premiss of an implied argument. The words of the chorus express the barest acquiescence in the will of the ruler. Cp. infr. 509, 'They hide their disapproval, and that is all. Cp. Richard III, 4. 2, 21, ' Buck. Your grace may do your pleasure.'

215. Sc. The subjunctive with follows the implied imperative. ' Act, then, so as to see my words obeyed.' Cp. O. T. 325, ws Plat. Phaedo 59 E, TH thon. The ellipse is idiomatic. It is not to be supposed either that Creon hesitates, or that the elders interrupt him.

another?" cogn. : suppl. predic. = 'With what meaning?' 'To what effect?' another than the appointed guards. gives a poorer sense, ' What then is this other thing which you enjoin besides?'

220. 'As to be in love with death.' For the irregular correlative .. 8s), see Essay on L. § 22. p. 36. There is a confusion of os and

222. The emphatic position of at the beginning of the line shows that the word is intended to mark Creon's unconsciousness of the real source of danger. So infr. 1. 248. Cp. Aesch. Ag. 1110: O. T. 928, al. So ta' shows how incapable he is of divining the motive of Antigone.

223-330. The half-comic or rustic character of the watchman in this play is an extension of the common character of the ' messenger,' whose natural rudeness of speech and thought brings into greater prominence the horror or pathos of the events he describes. The grotesqueness disappears when he speaks of the action of Antigone in 407-440. The employment of this artifice by Sophocles arises from the same motive to which Shakespeare gave a far wider range in such creations as the ' gravediggers" in Hamlet, and the 'rural fellow' in Antony and Cleopatra. The Messenger in the Trachiniae, the Co- 'rinthian in the Oedipus Tyrannus, Menelaus in the Ajax, the pretended Shipmaster in the Philoctetes, afford the same sort of contrast to the more tragic personages: and the superstition of the Coloniatae may be compared with the

The vulgarity of the common-place Athenian of the fifth century s.c. takes the form of misplaced subtlety of wit. Cp. Shak. Hamlet, 5.1,' We must speak by the card, or equivocation will undo us. The age is grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.'

223, 4. 'I am out of breath, but not with speed. It is not that Iran nimbly hither' Aristotle, Rhet. 3. 14, § 10, quotes 223 thus,"Avak, adding, as if from the reply of Creon, ri But it is as unsafe to follow his authority in this line, as it would be to substitute ri ppor- for ye inl. 241. Itis evident that he is quoting from memory: and, although it is curious that the Scholiast uses the same word in his explanation, yet this does not amount to a proof that this is the right reading, may be the word which would be more naturally used in prose, but it is less pointed than in this connection. pas is added in explanation of 'having set forth' from the point of departure, like

225. 'For I had many stoppages by reason of thoughts,' i.e. My thoughts cried halt to me pe) again and again. Cp. Aj. 869, *épioraTai pe The genitive is part causal, 'My thoughts checked me,' and part final, 'I stopped to think.' pap LAL? (c. gl. or 8. E. Vat.V* Aug. yp. Schol. Aug. b.:

231. 'Turning round and round such thoughts as these.' Cp. Plat. Phil. 19 (of the boyish dialectician), dopevos,

The reading of L, 'Slowly because I stopped,' is not pointed enough, and it seems probable that an oxymoron is intended in this as in the following line. The correction adopted by the Scholiast, Taxus, secures this in rather an awkward way. That of Seyffert, which is here adopted (for the collocation of words, cp. the proverb Bpadéws),

SeSpaypevos| This reading is implied in the second scholium on the passage, and appears in the text of E and V*. (whence Aldus had it), and as a marginal reading of Aug. and of V*. 'Clinging fast by the hope,' is a natural and forcible expression, well suited to the style of the : whereas or whether in the sense of 'Shut out from hope,' or ' Fortified by the hope,' is not really admissible.

238. E Vat. MSS. L? Vat. L?, A. , 246. L. Lpr. xP ?) Vat.

241, 2. (1) 'You aim carefully, and fence the business off from yourself all round.' Some editors read ; from Ar. Rhet. 3. 14, § 10, quoted above. But though the Scholiast of the Rhetoric says it is much more probable that the words are a separate quotation from Eur. I. T. 1162. See Cope's edition of Ar. Rhet. vol. 3, p. 175. Others explain the text (2), 'You lay the ground carefully and hedge your approaches closely round,' - as if in preparing a stance to watch for game. According to Pollux, 5, 36, and were terms used in describing the setting of a hunting-net :

243. .. The reply, as often elsewhere, refers to the first part of the previous speech. Cp. O. T. 361. The frigid tautology belongs to the character of the

244. 'And be off with you" The Scholiast acutely remarks that these impatient words are intended to hold out the hope of impunity, which is withdrawn again in

246. 'Some one has buried the corpse. and has disappeared, after not only sprinkling dry dust upon the flesh, but adding all due rites." This last refers to the libation. Cp. supr. 196, 7: infr. 430, 1. The surprise was increased by observing the completeness of the act. There is a stress on the participles. Essay on L. p. 75 B, 85, 4.

250. ' Hard and bare.' is untilled land, and so here, 'Undisturbed by implements of husbandry.' Cp. infr. 773, 1107.

253. ' Our first look-out-man for the day.' 7pepo- in Xen. Hell. 1. 1. 2, is a watchman who stands at his post at daybreak. Cp. ib. 7. 2. 6, 7. Antigone's act preceded the setting of this watch.

'And it was threatening to come to blows at last. The combination of the imperfect with here is peculiar, having a force intermediate between and éyévero dv; i.e. it was coming to this, that we should have come to blows.

262, 3. The subtlety of the deserts him in attempting to express his meaning. 'The perpetrator was every one and no one of us all: every one in vague suspicion, and no one evidently: - he escaped being known.' tts gives the indefiniteness required by the sense, = that we could not know him. Bockh and Donaldson read as in the text, interpreting (2) 'Every man' implied in the affirmative elicited from the negative) 'defended himself by pleading ignorance of the matter.' For 'to urge a defensive plea,' cp. Aesch. Suppl. 390, and for the plea, Plat. Legg. 11.936 E. But the plea of ignorance, although suitable in 1. 266, is too special for this place, where the non-appearance of the criminal alone is in question. The meaning given above (1) is the same as that required by Hermann (see below), but is more simply expressed by the epexegesis, and the imperfect tense expresses the frustration of continued search. This interpretation involves a rare use of which is, however, analogous to a meaning of éxpevyw that is not uncommon. Cp. O. T. 111, : Plat. Phil. 17, Otheremendations areépuyero (Porson), explained by Erfurdt to mean 'amoliens a se accusationem scire sese negaverat ;' (Herm. 1820), 'effugit, eo quod nesciebamus ;' Tas TO 'every man pled Not guilty.' (Dind.).

thing corresponding to the trial by ordeal in ancient times. Brunck quotes Virg. Aen. 11. 787, 'Et medium freti pietate per ignem | Cultores multa premimus vestigia prima.' It seems to have existed in different places as a popular belief, but nowhere to have received positive legal sanction. For a trace of 'trial by combat' (in Scythia), see Hdt. 4. 180. Cp. also Ar. Lys. 133.

k.7.A.] The sense is interrupted by the relative clause, but resumed in the words pvdos in 1, 272. For eis, cp. Thuc. 6. 61, k.T.A. 'The emphatic use of little words shows the common mind; cp. infr. 404, od Wolff and Weckl. join with what follows: but the antithesis of is too pointless here. Cp. Plat. Rep. 6. 496 D,

274, 5. 'And the lot devotes me, wretched man, to be the recipient of this piece of luck.' is used much as in not by an extension of the technical sense, but with the same general mean-

279. *4| This is Nauck's emendation for 7. It involves a very slight change, and is extremely probable. 'Reflection suggests the fear that' (not 'the question whether') 'this may be some visitation from the geds.' The conscience of the elders, which was stifled at first, begins to awaken in the presence of the mysterious fact. For the pause after the and iambus, here and supr. 269, cp. Aj. 340, 342, 719, 791, 803, 988, 1050, 1077, 1140, £332.

280. 'Cease, ere you have quite filled me with wrath.' which is combined with according to the common idiom is slightly displaced so as to emphasize the phrase pe- The language is made clearer by the emendation but the emphatic is more suitable in the mouth of Creon. Cp. Phil. 1042.

285, 6. 'Who came to burn their pillared shrines and offerings, and to break in pieces their land and laws.' It seems more likely that the are joined in one expression with than with and which are in a different category.

289, 90. .. 'But this explains the murmurs I have long been hearing from men in the city against me;' i.e. Those murmurs have become explicit in this act. On see Essay on L. 8 17. p. 253; and for the dative 'at me, ib. § 12. p. 18.

which some have connected with ' Bearing my edict ill'), seems to be used absolutely, sc. with an allusion to the metaphor in what follows. Cp. Thuc. 5. 80, SC.

as 'So as to accept my sway. To this it has been objected that implies ' affectionate allegiance. But this notion, although inherent in the etymology of the word, is dropped in use. Cp. Phil. 538, Aesch. Prom. 11, Alos | What hope was there that Prometheus would be made loyal by torments? The other interpretation, 'So that I should be content' (cp. Phil. 458, Tovrous would give but feeble expression to the self-will of Creon. The substitution for these words of from the citation of Eustathius, with the further change of for is rightly rejected by Dind., who points out that Eustathius, probably quoting from memory, has confused this passage with one of Lycophron.

(1) 'These guards.' Infr. ll. 304 ff., supr. 260 ffi: or (2) simply The whole of this picture of discontent is the creation of Creon's anger from the hesitation of the chorus when told to see to the exe-

296. usually =' Current coin,' is here used in the more general sense which includes this. 'No such pestilent usance aS money is, ever sprang up amongst mankind.'

299. .. 'To address themselves to shameful enterprizes.' Cp. Thue. 6. 34. § 7, al

300. The plural of the abstract noun gives the concrete notion. navoupyias like Aj. 564: Od. 368, etc.

303. He implies, 'This cannot be their first act of disloyalty.' The 'unity of time' is not to be pressed in the Antigone: see below, li. 1064 ff. Else this suspicion of inveterate disaffection, against one who has reigned only for a few hours, would be too extravagant. The elders were selected for their loyalty, supr. 165 ff.

308-11, 'Death shall not alone suffice for you, but first you shall be hung up alive to show the heinousness of this offence, that for the future, in your wrongful gettings, you may know better where to look for gain." See E.on L. § 37. p. 64. There is a confusion of two constructions: (1) "Aldns to which povvos is added for emphasis, 1. 6. ov : and (2) ov Cp. 1064 ff., and see Aj. ff., The is to take this message to his fellows.

313, 14. The sentence is redundant, either the article or being unnecessary. Weckl. reads ceowpévous. For the article, cp. Eur. Phoen. 606, TO

317. (1) Act.impersonal. 'Is the smart in your ears or in your mind?' Cp. Hdt. 7.16. Or (2) 2nd pers. pass. 'Are you stung?' (2) agrees better with in the following line.

318, Sat; though not found elsewhere in Sophocles or Aeschylus, may be admitted on the authority of the MS, where it is so obviously in keeping. Cp. in O.T.1145, Phil. 1387.

320. The reading is doubtful between 'A clever rogue,' and AdAnpa,' A prating fellow.' is better known, and was read by the Scholiast, but is sufficiently supported by Eur. Andromache 937, | And this word fits more closely to the context of the present passage. 'Fie, 'tis too clear you are a born chatterbox.' 'Then it is clear that I never did this deed.'

: an Kopweve .. 'Ay do, refine now on the word "opinion." ' 'This does not seem to be one of the cases where with the imperative mood should be changed to vuv,as there is a sufficient reason for the emphatic particle.

325. ékepetre] 'You shall tell the world.' Cp. Pind. Pyth. 2. 22, ayavais

222 ff. The chorus, in their first stasimon, express, in a veiled manner, their emotions at what has occurred. Not being able to say what they really think, that Creon's rash edict has already recoiled on his own family, they descant on the wonderful range of human enterprize, adding that where boldness and resource are combined with justice, they confer glory, but only bring ruin where they are subservient to wrong. The elders do not decide who in the present instance is the transgressor.! The ode consists of two strophes and antistrophes, in which glyconic rhythms are mixed with lyrical dactyls, iambi, and trochees, in different proportions, the scheme being as follows : -

The two long syllables at the beginning of 1, 8 of a' form the transition from the dactyls to the trochees. There is a sensible change to a lighter and less simple movement at the beginning of The resolved trochees in 5 mark a climax of feeling.

332-83. 'Most wonderful of wondrous things is man, Who traverses the surging brine, And wearies mighty earth with yearly furrow. His craft ensnares the finny produce of the seas And taketh captive beast and bird. He compasseth a way to master the monster of the wilds, And brings under his yoke the horse with flowing mane And the never-wearied mountain bull. 561 taught in speech and thought and civil ing with his wit the law of justice and piety He is exalted in the city, but outcast when he harbours wickedness for deeds of crime. May I never live with such an one, and may he never share my counsels.'

334. 'This creature,' man. The neuter continues the abstract notion from .. and is thus more impressive than the masculine would have been.

335, 6. ' Traversing half-buried in the seething surge.' For with the dative in this sense, cp. O. 673, xAwpais Baccus. Essay on L. § 19. p. 27.

336. is probably active = 'Surging round,' and contains an allusion to for which, cp. Aesch. Prom. 1082, ;

338. 'Supreme,' as eldest and motherofall. Solon, Fr. 36.3, | 1. Cp.O.T. 660, where the primacy for the occasion is similarly given to the sun. Schneidewin remarks that the assonance .. helps to express the persistent industry of man. This ode is full of assonance and alliteration, and of correspondences such

339. 'Wears out for his use (mid.) the still-unwearied Earth.' The present implies that the process is never-ending. Even in the common operations ofhusbandry the old religion finds a ground forawe. The dactyls suit the thought of the continuous round of human labour, as those of the antistrophe express the movement ofthe steed. 'The two long syllables, at once check the flow of rhythm (as with a renewed feeling of wonder), and by their weight give impetus to the concluding ploughs keep turning year after year.' The force of tAAw is 'limited motion.' Thus the shuttle might be said because when it reaches either end of the loom it is driven back again. Precisely in the same way the ploughs are said 'To keep moving to and fro within certain bounds.' = in Hes. Op. 460, ov 'The masc. is more probable than the neuter, both because is remote, and because follows in the antistrophe.

i.e. 'Prole equarum.' Schol. 'ai yap Hom. Il. 10. 352. Donaldson also compares Simon. Fr. 13 (Bergk.),

343. ' Light-thoughted.' This is Brunck's certain emendation, anticipated by the corrector of R. (Cp. v. rr. on 1. 617.) Donaldson well says that as wings express the light-mindedness of man, light-mindedness is here made an epithet ofthe winged birds. But the word may further suggest the unsuspicious nature ('Despising the earth where cares abound') which makes them an easy prey. Cp. Plat. Tim. D,

346. ' With meshy toils,' is to be joined with dye. Nets were used in hunting and fowling, as well as in fishing. For in the sense of 'making captive,' cp. Il. 9. 594, yuvaixas. suits well with the image of a captive enemy, which is kept up in the words and

848. 'By his excellent wit.' The ist strophe exhibits the boldness, the ist antistrophe the cunning, of primitive man. The 2nd strophe and antistrophe describe the higher functions of civilized life.

In correcting this line, the dactylic metre is to be retained, which is hardly done in the conjj. or (vyot. The words gov are sound both in meaning and rhythm. Brunck's conj. supplying the preposition required by the scholia, would be unexceptionable, if such a potential use of the future in an affirmative sentence could be defended. Blaydes' would be convincing if closer to the MSS. In favour of it may be urged that the repetition of the same word is in the manner of the ode, and that the figurative expression, 'he shall bring to his aid,' agrees with supr. 343. But besides the questionable future, the construction of the 2nd accus., sc. aud. is in this case dubious. dpéeAkerar. . 'compels to serve him in the yoke, may be suggested, although the verb is not used elsewhere precisely in the sense required. Else qy. subduing the crude forces of nature ; then the capture and domestication of animals. Now we come to the humanities and arts of life (the domestication of man himself), and lastly, in avr. 6', to moral or political good and evil.

354. ' Windswift thought ;' i.e. Thought which is viewless, free and nimble as the wind. Sophocles knew that the soul had been identified with the air. Cp. Plat. Phaedo, 96 B, Schneidewin well compares Hom. IL 15. 80, foll., ws 7° Any | " pevownnot | Ws pepavia Wieseler's conj. adopted by Wolff, is surely unnecessary. Why should not man teach himself to think as well as to count ? (See Plat. Rep. 7, p. 522.)

355, 6, | is well explained by Seyffert, 'Urbium incolendarum studia.' 'The disposition to inhabit cities. This seems more probable than 'The tempers of civic life.' is the social impulse which draws men together to become inhabitants of the same town. The comparison of Ar. Pol. 6. 8. 4, 1 Hat TouTOLs

350. ' He taught himself.' For the directly reflexive middle, see Essay on L. § 31. p. 52. The origin of the arts was a favourite problem of the Sophists. Cp. Plato, Prot. 320 D, foll. It is here assumed that they were selftaught without Prometheus or other superhuman aid.

357. Musgr. would read either d:ai- OY with for mapepov in 1, 367. G. Wolff reads and But the repetition of Gai yaee in 3 4 6 suits the composition of the strophe better than the introduction of the bacchius and cretic in 1. 3. 'serene,' while keeping up the alliteration, suits the context better than or évai- 'in the open air.'

360. wavromépos' This punctuation is justified by the corresponding line of the antistrophe, which cannot be pointed otherwise.

362. 'He shall not win. For a similar metaphorical use of where, however, the reading has also been questioned, cp. Thuc. 3.10, THY

364. | 'He hath gathered to him by his thought a remedy for many an unavoidable disease. marks that the healing art is a collective monument of human skill. recalls the notion of wepippadjs, supr. 347. For the oxymoron, cp. supr. 340,

365, 6. 'His power of artful contrivance is a miracle of unimaginable skill, wherewith he followeth one while an evil purpose, at other times a good one.' is added as genitive of respect to complete the notion of 'beyond what could have been hoped for, or expected before the event. ti marks the indefiniteness of as the predicate. Tt is in agreement with but has the effect of a particle or adverb (7ws).

267. 'When he knits therewith,' sc. 'the laws of his land and the oath-observing righteousness of heaven.' It is objected to that it elsewhere means ' Inserting incidentally, or by the way,' and that such a meaning is unsuitable here. But, as Seyffert has already shown, the word (which is a rare one) may quite well mean 'Weaving in,' like gold-leaf, for instance, into a chaplet of flowers. Cp. Plat. Legg. 605 eis Conjectural emendations are yap (see v.rr., and note on 357).

370. vWitoAts| For this compound, cp. The construction is elliptical, sc. wy or

dulgence of crime.' Cp. supr. 1. 30, Bopds: Plat. Phaedr. 241, This is better than joining with drodis =' He is an outcast for his boldness.'

376-8. .. "1 stand in doubt at this strange marvel, how to gainsay what I know, and say that this is not the maid Antigone. The resumption is suitable to the chorus' perturbed state of feeling. Seyffert's és referring to the previous scene (1. 278), is without the directness and simplicity of these short anapaestic passages, in which the chorus announce the entrance of a new person on the stage. Cp. 526 ff., 626 ff.

supported by infr. 404, 406, 423, and the reading of L, etc., may have been occasioned by in the nearer context. But see v. rr. on 655.

386. és Cp. O. T. 1416, which Seyffert has restored from L, although having the authority of the chief MS, is more like a MS. conjecture than The same may be said of as compared with mpotByv. Seyffert reads perp'

388. This first occurs in the fragment of Archilochus about the eclipse (76 Bergk), Cp. Pind. Ol. 13. 83,

391. 'When my soul was shaken with the tempest of your former threatenings.' is dative of the occasion or accompaniment, assisted by attraction. Essay on L. 12.

395. is not to be rejected because of the rarity of the compound. See Essay on L. p. go. But the conjecture of Nauck, is favoured by in 1. 383.

401. ' This maiden! where, and how, did you arrest her?' The emphatic order of words expresses the profound astonishment of Creon. E.on L.§ 41.p 77.

403. 'Do you say it with a clear mind ?' i.e. Have you your wits when you say this? Cp. O. T. 528, [

404. The collocation of antecedent and relative is peculiar, and perhaps characteristic of the rustic emphasis of the See notes on supr. 238, 269, and cp. infr. 409.

410. 'Dank:' referring rather to the state of the corpse (cp. 412) than to the remains of the libation, which would be soon dried by the sun.

Air. ' We sat just below the top of the rising ground, in the lee of the wind, so escaping the incidence of the odour from the dead.' Supposing the corpse to be exposed on a slope of the high ground, surrounded by hillocks, they would select a point of observation on the lee-side of one of these hillocks, and to the windward of the corpse, which they would have full in view. = 'On this side of and looking from.' Essay on L. § 19. p. 27. Infr. 1110, eis : 1197, én'

412. This line is not necessarily connected with the preceding: i.e. They may be supposed to select a spot, (1) out of the wind, (2) out of the way of the smell. But the explanation above given (411 note) is more probable. In either case the point is that in attending to their watch they were mightily careful of their own comfort.

413, 14. 'Rousing each his fellow with noisy altercation, reviling him who should take this labour easily.' «.t.A. depends on the verbal notion implied in -- "To be unsparing,' and so ' To

415-17. 'This lasted till the sun had reached his station in mid-sky with unclouded splendour, and the heat was glowing.' Cp. the Homeric

417, foll. 'When suddenly from the earth the Storm-god raised a squall, that saddened all the sky, and filled the plain, tearing the tresses of the orchard groves, and the wide heaven was choked withal.' The chief discomfort of such a visitation would be the cloud of dust, forcing men to close their eyes, and wrapping even near objects from sight. The watchman is explaining why they lost sight of the corpse. The poet also provides a motive for the act by which Antigone is betrayed. She fears that the corpse, lying in an exposed situation, may have been disturbed by the violence of the wind.

418. may mean either (1) 'A trouble from the sky,' or (2) 'A trouble reaching to the sky." The latter is best, as the word indicates that the whirlwind seemed to rise out of the ground.

423, foll. kavakwkver] 'And raises a shrill wailing cry, like the voice of the despairing bird.' For the descriptive genitive, see Essay on L. § 9. p. 12.

auxpas| ' Embittered,' ' Full of bitterness: the quality of the object is transferred to the subject: i.e. Also the bitterness of anger is joined to that of grief. Cp. the Latin dolor. For the genitive, cp. Trach. 768, And for the omission of which is supplied in the following clause, cp. supr. 114, Aev- KRS G. Wolff reads 6. ws, x. But this yields a less probable rhythm.

430. Gpdyv..oréper] Slightly condensed from get, 'She decorates,' 'Honours.' Metaphorical, as in Od. 8. 170, Cp.

436. is to be plained as pointing the antithesis after the negative. 'Her attitude was not that of denial, but one to me at least pleasant and painful as well" The adverb modifies a word which is to be supplied from i.e. Essay on L. 24. 40. There is a certain point in this which is lost in the emendation of Dindorf, in which, however, the repetition of may be defended from Plat. Gorg. 497 440 KP. Schneldewin quotes also Gorg. 406 C, which is not really parallel.

439, 40. .. cwrnptas] (1) ' But all these things are to me by nature less important to obtain than my own safety.' epexegetic, like in O. T. 592, Cp. inf. 638, El. 1015, 6, mpovoias | vov. Or, possibly, (2) 'It is in my nature to take less account of all this than of my own safety." For the meaning thus given to cp. El. 860, And for 'To weigh' or 'estimate,' cp. Thuc. 2. 42, § 5,

Creon misinterprets the action of Antigone. She fixes her eyes upon the ground, not from fear or shame, but because she is out of sympathy with all present, and her thoughts are in the other world. The hidden fire flashes out in ll. 450, foll., which are certainly not spoken with averted eyes. Cp. O. T. 1121.

442. The unusual compound, introduced, perhaps, partly for the sake of metre, has also a special sense of blame. Cp. fiw,

446, foll. «Tell us, no long tale, but briefly, knew you of the edict that forbade this deed? I knew; 'twas plain enough. How could J fail to know? And were you, then, so hardy as to transgress our law? That edict came not to me from the mouth of Zeus, nor from the Right, whose throne is with the Gods below. They also have appointed unto menalaw. Methought your edict could not so prevail, as that a mortal should overleap the silent irrefragable ordinances of heaven. 'Their life is not of to-day or yesterday. They are eternal. None knoweth of a time when they began. I feared not so the mind of any man, as to incur before the Gods the penalty of that law. I knew, forsooth, without your edict, that I was to die. And ifIam to die before the time, I count it gain. For he must surely gain by death who lives, as 1 do, midst abounding woes. And so for me to meet this doom is grief I reck not of. If I had borne to leave unburied the corpse, fallen in carnage, of my mother's son, that had been a grief to me, but this is no grief. And if I seem to you to be now doing foolishly, it comes to this; - I am condemned of folly by a fool?