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TV, audio e video 1. Arte e antiquariato 4. Bellezza e salute Fotografia e video Commercio, ufficio e industria 2. Sport e viaggi 2. Giardino e arredamento esterni Auto, moto e altri veicoli Videogiochi e console Nautica e imbarcazioni Musica, CD e vinili Vini, caffè e gastronomia 9.

Infanzia e premaman Abbigliamento e accessori 7. Casa, arredamento e bricolage Formato vedi tutti Formato. Anno di pubblicazione vedi tutti Anno di pubblicazione. Dopo il 1. Marca vedi tutti Marca. Genere vedi tutti Genere. Azione e avventura 1. Condizione vedi tutti Condizione. Provenienza vedi tutti Provenienza. Mostra solo vedi tutti Mostra solo. For Antigone, one such word is kakos, used as a noun and adjective and translated usually as "evils" or "evil.

Another word is the noun taphos and its related verb thaptein, respectively, "burial, funeral feast, wake, funeral rites, grave, tomb" and "to perform funeral rites, bury, inter, entomb. Although taphos may be translated "mound" each time and thaptein "to bury," we have had to choose which English phrase best describes what we believe has happened. In one case, however, the Greek is so fraught with nuances for an English reader that we have chosen to naturalize rather than translate this series of words by defining and using them as if English words.

Since the meanings of "friend" and "loved one" are simultaneously present, translation of these key words unavoidably introduces a dichotomy in the English that is not in the Greek. More significantly, translation obfuscates the semantic substratum that joins these words as expressions of obligation in a relationship. Philotês, as Emile Benveniste has shown, belongs to a vocabulary of moral terms that is "strongly permeated by values which are not personal but relational. In Benveniste's words, "the behaviour expressed by phileîn [verbal form] always has an obligatory character and always implies reciprocity; it is the accomplishment of positive actions which are implied in the pact of mutual hospitality.

Such relationships readily extend beyond their institutional basis in hospitality or marriage to bonds of friendship, affection, and love, but these emotions are not essential to the bonds of philotês. Consequently, philotês need not indicate friendship, only an agreement concerning an action binding on its partners. When Hector and Ajax break off their duel in Iliad 7, they agree to exchange weapons and gifts. Their action constitutes a philotês between them.

They separate still enemies but now philoi, men obligated by an agreement. Ideally, a translation should not be annotated. Sophocles' words spoke for themselves to his audience, most of whom knew what was needed to understand his play.

But Sophocles' audience has passed away, and readers of his words in translation may need help with proper nouns and mythological allusions. The notes provide such information as the play itself does not make clear and are intended not only to clarify, but to provoke responses to, the text. Ambiguity, double meanings, and the clash of connotations are all features of tragedy's destabilizing of language as a means of communication.

A second type of note offers alternative translations when Sophocles' language opens a significant gap between what one character says and another hears. The Watchman may be saying that Antigone sees Polyneices' "body laid bare" or "his bare body," that is, once covered and now uncovered Are the altars and braziers of Thebes filled "by the birds and dogs with food" or "with the food of birds and dogs" ?

Haemon greets his father with the answer the latter expects, "Father, I am yours," but with a condition Creon misses: The Greek optative verb, translated conditionally as "you would guide," is the same form as the indicative "you are guiding. But Creon responds as if he hears the word as indicative and the participle as stating the cause: The audience is open to both meanings.

We print Haemon's meaning because this is what we think he says and append what Creon seems to hear in a note. Another kind of note indicates Sophocles' allusions to what is said and done on stage. Sophocles' audience heard the words in harmony with the voices of the actors and choristers and within the context of all the phenomenon of theater and society. More happened than what was said.

Much has been lost but not all, since the script holds clues, "stage directions," so to speak, to what transpired before the audience. When Creon's slaves bring Antigone from the house , for example, she calls for the elders to see her. The elders would be looking at her in any case. Her lament over her lost marriage, sung before the house where, in real life, wedding processions were organized, suggests that she wants them to notice that she is wearing a wedding dress, traditionally violet in color.

The Greek bride's moment of consent, her giving to her groom of her virginity and woman's' life, came when she lifted her veil. Soon afterwards, the bride replaced her veil and left her natal home, never to return as her father's virgin daughter. Antigone's "see me," spoken by a woman in a wedding dress, suggest that she lifts her veil and, in the street for all to see, performs her own ceremony of the unveiling. Later , when Antigone calls for the elders to look at her, she lowers her veil for her procession to the house of her groom, Hades.

Antigone was first performed in the spring of B. There, he had them bound to boards and exposed them until they were nearly dead. He then had them clubbed to death and their bodies thrown away without benefit of funeral rites. Plutarch, who names the Samian historian and sensationalist Duris as his source, does not believe the story because other authorities do not mention it.

Yet, the punishment resembles apotympanismos, crucifixion on a plank, which Athenians inflicted upon citizens guilty of heinous crimes. By all appearances, Pericles treated the Samians as disloyal citizens, and, in that light, their revolt is equivalent to stasis, factional discord among citizens, and analogous to the quarrel between Oedipus' sons, Eteocles and Polyneices, both of whom claimed the kingship of Thebes for himself.

Sophocles surely knew about these events--as would his original audience-- and perhaps was inspired by them. In the months before the festival of Dionysus, Sophocles entered the contest for the prize in tragedy. In effect, Sophocles was applying to the demos of Attica to grant him one of the three choruses available for the festival. As soon as the new magistrate entered office, he chose Sophocles and assigned a wealthy man to foot the expenses of costuming the choristers and paying their salaries and those of their trainer and the flute player.

This same man, called a chorêgos, was likely also responsible for paying the doryphorêmata or "spear-carriers" silent players. Sophocles' prestige and the chorêgos' own desire to win honor for performing an important public office and a religious duty would ensure that he would be generous.

Afterwards, Sophocles, perhaps with an assistant, trained the chorus of young men, but he was not involved officially, at least in selecting the actors.

The demos provided the protagonist or main actor, and the latter picked the second deuteragonist and third tritagonist actors, for every tragedian used no more than three. Although success depended upon the vocal skills of all, the protagonist alone was eligible for the prize in acting. The festival had long been anticipated, and finally the day arrived. The time was early in the morning of either the eleventh, twelfth, or thirteenth of Elaphebolion. Spring had come, and the seas were open for Athenians to leave on business and war and for others to come to Athens to see its crowning jewel, the contest for the prize in tragedy and comedy.

Athenians, both young and mature men as well as women, along with foreign tax-paying residents, sat on the southern slope of the Acropolis. The audience was on holiday. They were a lively and noisy lot, some 14, to 17, strong, interested in the dramas and keen to shout approval and hoot disapproval.

The area before the royal house of Thebes at the break of day Antigone 10 O common one of the same womb, head of Ismene, 11 do you know of any suffering of those from Oedipus that Zeus is yet to fulfill for us two yet living?

And now, what is this proclamation they say the general 13 just laid down for the whole city? Do you know, have you heard, or are you unaware that evils worthy of enemies are marching down on philoi? Since the Argive army left15 last night, 14 I know nothing further whether I am fortunate or ruined more. Antigone I thought as much. That is why I kept calling 15 you outside the courtyard gates so you would be alone when you heard. Ismene What is it? Clearly, you are deeply blue over some word.

A tomb--has not Creon honored one of our two brothers with one and dishonored the other without one? He is coming here to proclaim this clearly to whoever does not know, and he considers it no small matter.

For anyone who does any of these things, 35 murder by public stoning 19 in the city is ordained. Now, this is the way it is for you, and you will show quickly whether you are of noble birth or base born from good stock. Ismene What dangerous enterprise? What ever are you thinking? Antigone Whether you will lift the corpse with this hand? Do you intend to perform rites for it, a thing forbidden the city? Antigone For my brother, certainly, and yours, if you will not.

When Creon has forbidden it? Then his mother and wife--a twofold name-mistreated her life with twisted nooses. And thirdly, two brothers in one day, 55 the wretched pair, worked a common fate by killing themselves with hands turned upon one another.

Now in turn, we two left all alone, consider how badly we will perish, if in violence of the law we transgress the decree and power of absolute rulers. As for me, begging those below 65 for pardon, since I am being forced in this, I will yield to those in authority, for acting in excess has no sense.

Antigone And I would not ask you, and if you wish in the future, you would not gladly do anything with me. That one I shall give rites. It is noble for me to die doing this. I shall lie with him, philê with philos, after I have done anything and everything holy, 25 since far longer is the time I must please those below than those here. You, if you think it best, hold in dishonor the honored things of the gods.

Ismene I am doing them no dishonor, but I am incapable by my nature of acting in violence of the citizens. Antigone Do not be afraid for me. Set straight the course of your own fate.

Keep it secret, and I will do the same. You will be more hostile if you keep silent and do not proclaim this to everyone. Ismene You have a hot heart for cold things. Antigone No, I know I am pleasing those I should most please. Ismene If you can, but no, you lust for what is beyond your means.

No, let me and the foolish counsel I offer 95 suffer something dreadful, but I shall not suffer anything that will keep me from dying nobly. Ismene calls after her. Without significant delay, the sounds of a musical instrument were heard. Stirringly familiar, they must have sent chills traversing the spines of men in the audience. Similar sounds kept the beat for hoplites in full armor on their way across no man's land to engage the enemy in battle. They came from an aulos, a clarinet- or oboe-like instrument consisting of a reed inserted into a cylindrical pipe pierced with holes.

The number of holes determined its range. The aulos was usually played in pairs, both instruments held to the lips by a strap around the chin and over the head of the player. The latter was a splendidly garbed professional whose sounds kept time for the choristers. The choristers, representing Theban elders, as the gray hair of their masks would indicate , were probably young men between the ages of eighteen and twenty. They danced in rectangular or circular formations, three abreast and five deep, that stylized those of the hoplites they were in training to become.

Learning Sophocles' choreography and lyrics replaced for these select youths the usual activities of ephebes during these final days of their youth. Sophocles put his best people on the left flank and his poorest in the middle line known as the "alley. He addressed the actors in dialogue on behalf of the others and joined the others in singing the songs. Over Dirce's 30 streams you came, and the man shielded in white, come from Argos in full armor, you propelled into headlong flight with your bridle gleaming brightly.

Chorus of Theban Elders [singing] Arresting flight above our houses, threatening with blood thirsting spears in a circle the mouth of our seven gates, he 34 departed before he sated his jaws with our blood, before Hephaestus' pinewood blaze 35 seized our corona of towers. Such was the din of Ares 36 that strove against his back, a din hard for the dragon's foe to subdue. For Zeus exceedingly hates the boasts of a big mouth, and seeing them coming on with a mighty flow, in haughtiness of ringing gold, he hurls the brandished fire at him 37 who was already rushing to scream victory at his finish line 38 high on our battlements.

But things went another way. Smiting heavily, he apportioned one doom for this one, another for that one, mighty Ares, our trace-horse on the right. But since Victory has come, Victory who brings renown, who reflects back to chariot-rich Thebes its own joy, distanced from the recent wars, now clothe yourself in forgetfulness. Let us go to all the gods' temples in all-night dancing. May earth-shaking Bacchus of Thebes be our leader. What cleverness is he rowing that, by common proclamation, he has set forth 43 this special assembly of old men for discussion.

You I have summoned by messengers apart from the rest because I know well that you always revered the power of Laius' throne, and again when Oedipus righted the city Since they perished in a twofold fate in one day, striking and being struck with murderous pollution among kinsmen, I hold all the power and throne according to nearness of kin to the dead. For, in my opinion, whoever, in guiding a whole city, does not adhere to the best counsels, but from fear of something keeps his tongue locked, that man seems to me now and before this to be most evil.

Whoever deems a philos more important than his fatherland, this man I say is nowhere. I for one--may Zeus who always sees all know this-never would I keep silent on seeing ruin approaching the citizens instead of safety, neither would I ever regard as my philos an enemy of the land, since I am aware that this land is the one who carries us safely and, while sailing upon her upright, we make our philoi.

Now, I have issued proclamations, brothers to these laws for the citizens concerning the children of Oedipus. Eteocles, who perished fighting for this city, fully proving his bravery in the spear battle, let them conceal him with a tomb and perform all the rites that go to the bravest dead below. The kindred blood of this man, Polyneices I mean, the exile who, on returning home, wanted to burn his fatherland and the temples of his family's gods from top to bottom with flames, and wanted to taste common blood, and lead the rest into slavery, this person, it has been proclaimed to the city file: Such is my thought.

Never by me, at any rate, will evil men have precedence of honor over just men. But whoever is well-disposed to this city, dead and alive, equally will be honored by me at any rate. To use every law, 47 I suppose, is within your power regarding the dead and us who are living.

Creon Take care that you be watchers of my orders. Creon No, men to watch over the corpse are ready. Creon Do not yield to those disobeying these things. Coryphaeus There is no one so foolish that he lusts to die. But profit with its hopes often destroys men. Since Sophocles had only three actors at his disposal, the actor playing his role must be the same as the one who plays Ismene. He cannot be the actor who plays Creon or Antigone, since he appears on stage with them.

My spirit kept talking to me and saying: Wretch, are you dawdling along again? If Creon learns about this from someone else, how then will you not feel pain? At last, coming here to you won out. Even if I am saying nothing, I will say this anyway. I come here, clinging to the hope that I will suffer nothing except what is fated. Creon What has robbed you of your spirit? Watchman First, I want to tell you this about me. I did not do the deed, and I do not know who was the doer, and it would not be right for me to get into any evil.

Clearly you are going to mark 51 something new and unheard of. Watchman Yes, terrible things impose much hesitation. Creon Will you say it, and then be off with you? Watchman Well, then, I'm telling you. The corpse--someone has performed funeral rites for it and is gone, having scattered thirsty dust upon its flesh 52 and completed the necessary purifications.

Creon What are you saying? What man was it who dared this? Watchman I do not know, since there was no blow from a pickaxe, no dirt was dug up by a hoe. The ground file: The doer left no marks. When the first watchman of the day showed us, a wonder hard to grasp came over all of us. You see, he had disappeared. He was not covered with a tomb, but a light dust was upon him as if from someone avoiding pollution. No marks appeared of a beast or dog that had come and torn him. Bad words started howling at one another as guard reproached guard, and it would have ended in blows.

No one was there to stop it. Each man was the one who did the deed, and none beyond doubt, and each was pleading, "I do not know. At last, when nothing was left for us to look for, someone spoke out, and he turned every head to the ground in fear, for we could not answer him or see how, in doing so, we could prosper.

His word was that this deed had to be reported to you and must not be hidden. This plan prevailed, and the lot condemned me, unlucky me, to take this good thing to you.

Those here do not want me, I know. Nobody loves the messenger of bad news. Coryphaeus Lord, deep and anxious thoughts have long been counseling, might not this deed be one driven by the gods. Creon Stop, 53 before your words fill me with rage, so you will not be discovered both senseless and old.

You are saying what is intolerable when you say divinities have forethought for this corpse. While they were hiding him, were they honoring him as a benefactor, someone who came to fire their temples ringed with columns and offerings and to scatter their land and laws hither and yon?

Or, do you see gods honoring evil men? No, from the first men of the city, file: Because of those men, I know well these men have done these things under the seduction of bribes.

No base custom 54 ever grew among men like silver. It teaches and perverts the useful minds of men so that they take up disgraceful endeavors. It showed men how to practice wickedness and to know impiety in every deed. Men who execute these actions in the pay of another, sooner or later bring about their own punishment. This way you can go on stealing in the future with the knowledge of where profits must be made, having learned that you must not be philos to profits from everywhere.

From disgraceful gains, more men you could see ruined than rescued. Watchman Will you allow me to speak, or do I just turn around and go? Watchman Are you stung in your ears or to your very essence? Creon Why do you score where I hurt? Watchman The doer offends your mind, but I your ears. Creon That too, while also forfeiting your very essence for silver. It is terrible for one who supposes to suppose falsely. Creon Go ahead, play around with suppositions, but if you do not show me what men did this, you are going to admit that terrible are those profits that bring pain.

This thing goes across the gray sea on the blasts of winter storms, passing beneath waters towering 'round him. The Earth, eldest of the gods, unwithering and untiring, this thing wears down as his plows go back and forth year after year furrowing her with the issue of horses. He has power through his ways over the beast who traverses the mountains and haunts the open sky. Both language and thought swift as wind and impulses that govern cities, he has taught himself, as well as how to escape the shafts of rain while encamped beneath open skies.

All resourceful, he approaches no future thing to come without resource. From Hades alone he will not contrive escape. Refuge from baffling diseases he has devised.

Possessing a means of invention, a skillfulness beyond expectation, now toward evil he moves, now toward good. By integrating the laws of the earth and justice under oath sworn to the gods, he is lofty of city.

Citiless is the man with whom ignobility because of his daring dwells. May he never reside at my hearth file: How, when I know her, will I deny that this is the girl Antigone? O unhappy one, child of unhappy father, Oedipus, what does this mean? Surely they are not bringing you who are in disobedience of royal laws after they caught you in folly?

Watchman Here she is, that one who did the deed. We caught her performing rites. But where is Creon? Creon What is it? What am I in time for? Watchman Lord, mortals should never swear oaths against doing anything, for second thoughts belie their intention.

I could have sworn I would be slow coming here after the tempest of your threats I weathered last time. But the joy one prays for and receives beyond his hopes seems to reach out like no other pleasure. I swore an oath not to come here, but here I am, leading this girl who was apprehended paying due rites.

We did not cast lots this time. This is my windfall and nobody else's. And now, lord, take her yourself, question and examine her as you wish. I am free and justly released from these evils. Creon Do you really understand? Do you mean to say what you are saying? Watchman Yes, I do, because I saw her performing rites for the corpse that you forbade. Is it not clear and plain what I am saying?

How was she caught and seized? Watchman What happened was like this. When we got back, still threatened by those terrible threats from you, we swept all the dust away that concealed the corpse, stripping the oozing body completely bare.

Man was egging on man constantly with abusive taunts in case anyone might neglect this burden. So it went for some time, until the dazzling orb of the sun stood in the middle of the sky, and the heat was becoming intense. Then, suddenly, from the earth a whirlwind raised a column of dust, a pain from heaven. The great ether was full of dust. We closed our eyes and endured the divine sickness. When it let off after a long time, the girl is seen. She wails a bitter bird's shrill sound as when it sees an empty bedding's bed orphaned of nestlings.

Immediately she brings thirsty dust in her hands and from a well-wrought bronze pitcher held up high, she encircles the corpse with three poured offerings. We saw her and rushed at her, and immediately we caught our quarry who was without fear or fright. We examined her about the previous and the present file: She did not try to deny anything, happily for me and at the same time sadly. That I have escaped these evils is very pleasant, but bringing philoi into evil is painful.

But everything else matters less for me to get--it is only natural--than my own salvation. Antigone I say I acted. I do not deny acting. Why would I not? Creon And you dared anyway to transgress these laws. Antigone Yes, Zeus was not the one who issued these proclamations for me, nor did Justice, who dwells with the gods below, define such laws among mankind. I did not think your proclamations so strong that you, a mortal, could overstep gods' unwritten and unshakable traditions.

I was not about to pay the penalty before gods for neglecting them out of fear for a man's thought. I knew very well that I would die why not? But if I shall die before my time, I declare it a profit, file: Thus for me, at least, to meet with this destiny is no pain at all.

But had I let the one from my mother, who was dead, go without rites, over that I would feel pain. Over this, I feel no pain. If I seem now to be acting foolishly to you, it may be that I am being accused of foolishness by a fool. She does not know how to yield to evils. Creon Even so, know that thoughts that are too rigid are most prone to fall. The strongest iron, baked very hard by the fire, you could often see shivered and shattered into bits and pieces. I know that spirited horses are brought to order by a tiny iron bit, since it is not allowed for someone who is the slave of those nearby to think big.

This person knew how to commit outrage at that time by transgressing the laws that have been set forth. After she acted, this second outrage: In this case, I am not a man, but she is a man, if this victory will be hers without consequences.

I charge that other one of equally planning this rite. I saw her inside just now, possessed by frenzy and not in possession of her senses. The spirit of those devising crooked schemes in the dark usually convicts itself in advance of being a thief. I hate it when someone, caught in ugliness, afterwards wants to make it look pretty.

Creon For myself, nothing. With this, I have everything. Antigone Then, why are you waiting? As nothing in your words pleases me or could ever please me, so my words naturally displease you, too. And yet, where would I obtain a more renowned renown than by placing in a tomb one from the same womb? All these men here would agree with this, I would say, if fear were not locking up their tongues.

Creon You alone of these Cadmeians 66 see it this way. Antigone These men of yours see it this way, but their lips cower before you. Creon Was not the one who died opposing him of the same blood? Antigone Of the same blood from one mother and the same father. Creon How, when it is impious in his judgment, do you grant this kindness? Antigone The dead corpse will not bear witness to that. Creon Yes, while ravaging this land but the other while defending it.

Antigone Nevertheless, Hades longs for these traditional values. Creon Never is an enemy, not even when dead, a philos. Antigone It is not my nature to side with an enemy but with a philos.

While I am alive, no woman will rule me. A cloud above her brows mars her flushed face, moistening her comely cheeks. I did not realize I was feeding two ruins and subversions of my throne. Come, tell me, will you admit you shared in this rite, or will you swear you knew nothing about it? I both share in the charge and endure it with her. Ismene But I am not ashamed amid your evils to make myself a fellow voyager in suffering. Antigone To those whose deed this is, Hades and those below are witnesses.

I do not cherish a philê who is philê only in words. Ismene Do not deprive me, sister, of dying with you and rendering the dead his due rites. What you did not touch, do try to make your own. I will be enough by dying--I myself. Ismene And what life is philos for me bereft of you? Antigone Go, ask Creon. It is he you care for. Ismene What help even now could I give you--I myself? I do not begrudge your escaping out from under this.

Ismene O poor me, am I to fail in sharing your fate? Antigone Yes, you chose to live, I to die. Antigone Nobly you seemed to some, and I to others, to think. Ismene And yet the error is the same for the both of us. You are living, while my life perished long ago so as that I could help the dead. Ismene The sense that grows within, lord, does not remain with those who are doing badly, but it departs.

Creon In your case, at any rate, when you chose to do bad things with bad people. What life is there for me, alone without this one? Creon This one--do not speak of her, for she is no longer. Ismene But in that case you will kill your own son's nuptial rites? Ismene No, not in the way they have been fit together, 74 this one to him. Creon You and your marriage bed cause too much grief. Ismene Will you really deprive your own son of this one?

Creon Hades will be the one to stop this marriage for me. Creon Yes, for you and for me. Take them inside, slave women. From now on they must be women and not let loose. Even bold men flee when they see Hades already near their lives. Creon remains on stage, standing alone against the backdrop of the house of Labdacus. For those whose house is shaken by the god, nothing of ruin is left out as it creeps over most of their lineage. Ancient the pains of the house of Labdacus' sons I see piling onto the pains of the perished.

Now, above the last root a light had been stretched on Oedipus' house. Far wandering hope, though a good fortune for many men, is for many others a deception of their flighty lusts.

Wisely from someone a word of renown has been revealed. Evil seemeth 80 at some time a good file: He acts for the briefest time outside ruin. Does he come tormented over the fate of his betrothed Antigone, with whom he intended to marry, anguishing over the deception of his marriage bed? My boy, you are not here, are you, after hearing my fixed decree about your intended bride, in a rage at your father, or as far as you are concerned are we, whatever we do, philoi? Haemon Father, I am yours.

You would guide me aright, if you have good judgments that I will follow. Creon Yes, you should always be disposed this way in your breast, boy, to assume your post behind your father's judgments in all things. For this reason, men pray to beget and have sons in their households who listen, that they may both repay an enemy with evils and honor the philos equally with the father.

Whoever produces useless children, what could you say about him except that he begets hardship for himself and great mockery for his enemies. Do not ever throw out good sense, boy, over pleasure for a woman's sake, knowing that this proves to be a cold thing to embrace in your arms, a evil woman in your bed and in your house.

What wound greater could there be than an evil philos. No, spit the girl out like an enemy, and let someone in Hades' house marry her. Since I caught her openly, alone out of the whole city, in disobedience, file: Therefore, let her keep invoking Zeus of Kin Blood. But whoever transgresses the laws and does them violence or intends to issue orders to those in power, this man cannot possibly receive praise from me.

For my part, I would encourage this man to rule nobly and to consent to be ruled well, and when assigned a post amid the spear storm, to remain there, a just and brave comrade beside his comrades.

This destroys cities, this renders houses desolate, this in the spear battle causes routs to break out. But among men who are prosperous, obedience to command saves many lives. Thus a defense must be mounted for the regulations. Defeat by a woman must never happen. It is better, if it is bound to happen, to be expelled by a man.

We could not be called "defeated by women"--could not. Haemon Father, the gods implant good sense in men which is the foremost of all their possessions. Yet, things may come out right in another way. It is possible for me to hear things in the shadows, how the city mourns for this girl, that the most undeserving of all women is perishing in the foulest way for deeds most glorious. Is she not worthy of receiving a golden meed of honor?

Such dark talk is spreading secretly about. What greater pride and joy is there for children than a father flourishing in fame, or what for a father in children.

Do not wear one and only one frame of mind in yourself, that what you say, and nothing else, is right. Whoever imagines that he and he alone has sense or has a tongue or an essence that no other has, these men, when unfolded, 87 are seen to be empty. But for a man, even if he is wise, to go on learning many things and not to be drawn too taut is no shame. You see how along streams swollen from winter floods some trees yield and save their twigs, but others resist and perish, root and branch.

Likewise, the man in command of a ship who draws the foot sheet 88 taut and leaves no slack, capsizes and sails what is left with his decks upside down. Let go your anger, and grant a change, for if an opinion comes up from me, a younger person, I say it is by far best 89 that a man be born filled with wisdom.

If he is not, for the scale does not usually so incline, to learn from those speaking competently is a noble thing. Coryphaeus Lord, it is fair, if he says something to the point, for you to learn, and in turn for you from him. It has been well said well twice. Haemon Yes, in nothing that is not just. Even if I am young, you should not see my years more than my deeds.

Creon What deed is this--reverencing the disorderly? Creon Has she not been stricken by such a disease? Haemon The people, all Thebes together, deny it. Creon The city will tell me what orders I should give? Haemon Do you see how young you sounded saying that? Haemon There is no city that is one man's. Creon Is not the city considered to belong to the ruling man? Haemon Nobly you could rule an empty land, alone.

Creon This one, it seems, battles as an ally 90 of the woman. For it is you I care for. Creon You most evil thing, by bringing your father to justice? Haemon Yes, when I see you making an error that is not just. Creon Do I err by revering my own prerogatives? Haemon You would not catch me defeated by what is shameful. Creon And yet, your every word now is for her. Haemon And for you, and me, and the gods below.

Creon This woman, it is not possible for you to marry her while she lives. Creon Are you so bold as to threaten me? Haemon What threat is it to tell you my opinions? Haemon If you were not my father, I would say you were not making sense. Creon You slave to a woman, do not wheedle me.

Haemon Do you wish to speak, and after speaking, not hear anything? But, by Olympus, know this: Do not ever suppose that. She will not die next to me, and you will never look upon my face again with your eyes. Rage on at any of your philoi who are willing to let you. The mind in pain takes things hard at his age. Creon Let him go. Let him act and think greater than what befits a man.

But these two girls, he will not save them from death. Coryphaeus Do you truly intend to kill them both? Coryphaeus By what death are you planning to kill the other? Creon By leading her where the path is deserted of people. I will hide her alive in a rocky cave, setting forth 92 enough food to escape pollution so that the whole city may escape miasma. There begging Hades, whom alone of the gods she reveres, perchance she will not die, or she will come to realize, late but at last, that revering what is in Hades is excessive labor.

You have incited this quarrel among blood kin. Desire radiant from the eyelids of a well-bedded bride prevails, companion in rule with the gods' great ordinances. She against whom none may battle, the goddess Aphrodite, plays her games.

I am no longer able to stanch the streams of tears, when I see Antigone here approaching the bridal-chambers that give rest to all. But Hades, the all-provider of rest, leads me living to Acheron's 94 shore, without a share of wedding hymns. No song at my wedding sang out for me, file: Coryphaeus Therefore, without renown and praise, 95 you are departing for the recesses of the dead, neither struck by wasting diseases nor obtaining the wages of the sword.

Antigone I heard that she perished most sorrowfully, the Phrygian guest, daughter of Tantalus, on the peak of Mt. Sipylus, whom a rocky growth like tenacious ivy subdued.

Coryphaeus No, she is a god begotten of god, and we are mortals born to die. Antigone O me, I am mocked. Why, by the gods of our fathers, why do you abuse 98 me, when I have not gone but am in plain sight before you? O city and its men of many possessions, iô, Dircaean springs and precinct of Thebes rich in chariots, at least I possess thee 99 as witnesses to how unwept by philoi and by what laws am I going to the rock-entombed vault of my unprecedented mound.

Coryphaeus Advancing to the limit of daring, you struck the high throne of Justice, child, hard. Oh, maternal ruinous delusions of beds and the incestuous sleepings of my ill-fated mother with my father, from such people wretched me was born.

To them, accursed and unmarried, here I am going, a metic. Iô, brother, by attaining illfated marriages, dead though you be, you slew me still alive. Coryphaeus There is some piety in being pious, but power, for him who cares for power, proves nowhere to be transgressed. Your self-knowing temper destroyed you. No longer for miserable me is it right to see the eye of this holy torch. Creon [To the slaves. Will you not lead her off as quickly as you can enfold her in a roofed tomb, as I have ordered.

Leave her alone and deserted, whether she may die or be entombed in such an enclosure alive. The fact is that we are pure in the matter of this maiden. In any case, she will be deprived of her metic status up here. Last of them, I, and by far in the most evil way, I am going down before my life's measure has expired. In arriving there, I nourish the hope, of course, that I will come philê to father and especially philê to you, mother, and philê to you, brother-head, since all of you in death with my own hand I washed and dressed, and gave liquid offerings at your tomb.

Now, Polyneices, for laying out your body, I win such things as these. And yet, I honored you for those thinking rightly. For the sake of what law do I say this? A husband dead, there would be another for me, and a child from another man, if I lost this one, but with mother and father both hidden in the house of Hades, there is no brother who would be produced, ever. I honored you before all by such a law, and to Creon this seems to be doing wrong and to be daring terrible things, O brother-head.

I am going alive into the hollowed abodes of the dead. Why should I in such misery look further to the gods? What ally of those who are allies should I look to, seeing file: If this should be good and beautiful before the gods, then I would realize my mistake after suffering my doom. But if these men are doing wrong, may they suffer no more evils than they themselves do unjustly to me. Coryphaeus Still, the same blasts of the same winds of her essence are holding her fast Creon For this reason, those who are leading her will be sorry for their slowness.

Antigone O me, this word has come very close to death. Creon I offer no consolation at all to take heart that these arrangements will not be executed as proposed. Antigone O paternal city of the land of Thebes and ancestral gods, I am being led away. I delay no longer.

Look, magnates of Thebes, at the sole and last one of the royal line, at what I suffer from what sort of men, having piously rendered piety. Creon remains on stage. And yet, honored in birth, O child, child, she became keeper for the gold-streaming seed of Zeus. Neither wealth nor Ares, no tower, no dark ships beaten by the sea can escape it.

Yoked was Dryas' hot-headed son, King of Edonians, for his heart-stinging rage. Thus his madness' flowering might, terrible and wonderful, trickles away. That one in madness touched the god with heart-stinging tongues and came to know him.

He would stop the women taken by god and the fire of the god's holy Eu-oi-oi-oi-oi and anger the Muses who love the flute. But even over that one the long-lived Fates wielded power, child.

For the blind, this way by a guide is usual. Tiresias I shall inform you, and, for your part, obey the prophet. Creon I did not differ before from your purpose, did I? Tiresias No, and you steered the city on a straight course. Creon From experience I can bear witness to your aid. How I shudder at your voice. Tiresias You shall know when you have heard the marks of my craft. Sitting at the ancient seat for watching birds, where lies my sanctuary for every bird, I hear an unknown sound of birds shrieking with a gadfly sinister and barbarous.

And that they were tearing one another apart with murderous claws, I came to realize, for the whirling of wings was not without its own mark. Frightened, I immediately tested the burnt offerings on altars set fully ablaze, but from the sacrifices Hephaestus did not shine forth, but onto the ashes the juices oozing from the thigh pieces were melting file: Such things I learned from this boy, prophecies withering away from rites bearing no marks, for he is my guide as I am for others.

As for this situation, the city is sick from your thinking. No longer do the gods accept prayers from us at sacrifices or the flames from our thigh pieces, nor do the birds scream cries that mark meaning clearly since they are glutted on the fat of a slain man's blood.

Therefore, think about this, child.

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Creon You are a skilled prophet but one who is philos to wrongdoing. Tiresias You will goad me to say in my breast that ought not be moved.

Only do not do so by speaking for profit. Creon Know that you are not going to sell my purpose. Tiresias Know this well: In those things, neither you nor the gods above have a share, but for this they are being violated by you. For this reason, mutilators whose destruction comes afterwards, lie in ambush for you, the Erinyes of Hades and the gods, so that you may be caught in these same evils.

Consider whether I am saying this, silvered in bribes, for the wearing away of not a long time will reveal the laments for men, for women in your house. Such bolts, for you rile me, like an archer I let loose in rage at your heart, sure bolts whose heat you will not run out from under.

Boy, lead us home, so this one may vent his rage on younger men and learn to nourish a tongue calmer and a mind in his breast better than he now bears.

We know, from the time I put on white hair from black, that he never cried out falsehood to a city. Coryphaeus There is need, son of Menoeceus, to take good counsel.

Creon What ought I to do, then? Coryphaeus Go, release the maiden from the cavernous room, and build a tomb for the one lying forth. Creon You advise this?

It is best for me to yield? Coryphaeus As quickly as possible, lord, the gods' swift-footed Harms cut short those who think badly. Coryphaeus Go, and do these things. Do not entrust them to others. Creon I should go just as I am. Come, come, servants, both those present and those not present.

Take up axes, and rush to the place in plain sight. For I fear that it is best for one to end his life preserving the established customs. Thee, the stream of Castalia has seen. Now, when the city and its people are held fast under violent sickness, come with cleansing foot across the slopes of Parnassus' or moaning straits. Chance sets upright, and chance dashes down the lucky and the unlucky, always. Mortals have no prophet at all for what is established.

He saved this land of Cadmus from its enemies. He received sole rule omnipotent over the land and guided it straight, flourishing in the seed of children born. And now everything is lost. Be very wealthy in your household, if you wish, and live the style of absolute rulers, but should the enjoyment of these depart, what is left, compared to pleasure, I would not buy from a man for a shadow of smoke.

Coryphaeus What misery this for the kings do you come bringing? Messenger They are dead. The living are responsible for them dying. Coryphaeus Who is the murderer? Who is laid forth? Messenger Haemon is dead, his blood drawn by a hand of his own.

Messenger He himself by his own hand in anger at his father for the murder. Coryphaeus O prophet, how truly you fulfilled your word. Messenger Since this is the situation, it remains to plan for the rest. Eurydice All my townsmen, I heard your words as I was approaching the door to go and address the goddess Pallas with my prayers. I fell backward in fear into my servants' arms and fainted.

But say again what the report was, for I will listen as one not inexperienced in evils. Messenger I will tell you, philê mistress. I will not omit any word of the truth. Why would I comfort you with words for which later I will be revealed a liar? The truth is always the right thing. We asked the Goddess of the Road and Plouton to maintain a kindly disposition.

A lofty crowned mound of his own earth, we heaped upon him, and, afterwards, we left for the maiden's hollow bridal chamber of Hades with its bedding of stone. From afar someone hears high-pitched laments of a voice near the bride's chamber unhallowed by funeral rites. He came and reported to his master. Senseless marks of a cry of suffering came over Creon as he drew nearer. My son's voice touches me.

But, servants, go quickly closer, and stand near the tomb, and look, entering at the gap torn in the rocks of the mound as far as the mouth itself, and see if I am hearing Haemon's voice, or I am deceived by the gods. What were you thinking? By what disaster were you destroyed? Come out, my child, I beg you on my knees. Then, doomed and furious with himself, just as he was, he stretched out and drove his sword half-way into his side. Still conscious, he enfolds the girl in his faint embrace.

He was panting and streaming a swift flow of blood upon her white cheek. He lies, corpse around corpse. Coryphaeus What do you suppose about that? The woman is gone again, before she said a word, good or bad. She is not inexperienced in discretion so as to make a mistake.

To me too much silence seems as heavy as much vain shouting. Messenger Well, we will know if, as we fear, she is concealing something, repressed secretly in her distraught heart, after I have entered the house. During his last lines, Creon enters silently, holding onto the body of his son Haemon which is carried by his servants.

I have learned in misery. Upon my head a god, at that time holding a heavy weight, struck me and hurled me in savage ways, Ah me! Some you carry in your hands. Others inside the house you are about to come and see over there.

Messenger The woman is dead, the all-mother of the corpse, the wretched one, just now by newly cut blows. Creon Iô, iô, haven of Hades hard to atone, why me, why are you destroying me? Aiai, you have done away with a dead man. What are you saying, boy? Aiai, aiai, slaughter on top of destruction-a woman's death besetting me on both sides?

Messenger You may see, for she is no longer in the inner recesses of the house. The ekkyklêma, a low, wooden platform mounted on wheels, is pushed outward. On it is displayed the corpse of Eurydice lying next to an altar A sword is visible piercing her side. I hold my child just now in my hands, wretched me, and I look further at the corpse before me. Pheu, pheu, woeful mother, pheu, child.

Why has someone not struck me straight in the chest with a two-edged sword? I am miserable, aiai, and I am soaked in miserable woe. Messenger Yes, you were denounced by the dead woman with responsibility for the deaths, that one and this one both. Creon In what way did she release herself in bloodshed? Messenger By striking herself with her own hand down to the liver when she heard of the boy's sharply lamented suffering.

Yes, I killed, I killed you, O pitiable me, I, the report is true. Creon Let it come. Let the fairest of destines appear, the one that brings to me my final day, the supreme destiny. Coryphaeus These things lie in the future. It is necessary to do some of what lies before.

What lies in the future is the care of those who ought to care. Coryphaeus Then, do not pray for anything. There is no escape for mortals from misfortune that is fated. Creon Please, lead a useless man out from under foot, who killed you, boy, not willingly, and you, too, this woman. O me, wretched me, I do not know toward which to look or where to lean for support. Everything in my hands is awry, while upon my head fate unbearable leaped. The ekkyklêma is drawn inside, and the messenger and the slaves carrying Haemon's body enter the house.

One must not act impiously toward what pertains to gods. Big words of boasting men, paid for by big blows, teach having sense in old age. Before the festival, the Council had compiled a list of names from each of the ten tribes of citizens.

These names were placed in ten urns, sealed and stored on the Acropolis. At the beginning of the festival, the urns were set up in the theater, and the magistrate drew the name of one man from each urn.

These ten men, now designated as judges of the contest, were required by law to select a winning poet. With the close of the final satyr play, it was time for them to vote. The judges, weathering the advice shouted down from the slope of the Acropolis and mindful of their oath of impartiality, marked their tablets and deposited them in a jar.

The magistrate solemnly drew five and, after reading the names, whispered to the herald. The latter, whose voice speaks for the community, proclaimed the victor. Studies in Sophoclean Tragedy Berkeley ; R. Cambridge ; Charles Segal, Tragedy and Civilization: The following translations have been consulted: Richard Emil Braun, Sophocles: Antigone Oxford ; Andrew Brown, Sophocles: Warminster ; Robert Fagles, Antigone.

An English Version New York c. In The Complete Greek Tragedies: The Plays and Fragments. The Antigone, 3d ed. Cambridge ; Elizabeth Wyckoff, Antigone. All quotations are found on page The approach that attempts to draw stage-directions and clues from the script as a means of imaging the play's performance was first elaborated by Oliver Taplin, Greek Tragedy in Action Berkeley For the rites of marriage, see John H.

Oakley and Rebecca H. For the date of the first performance of the Antigone, we have followed the argument of R. Lewis places the date of the first performance in Elaphebolion roughly March of B. Problems of Interpretation, " in The Structuralist Controversy: The Languages of Criticism and the Sciences of Man, ed. For a discussion of the audience for the tragedies and comedies, see Jeffrey Henderson, "Women and file: The actors were dressed in ankle-length robes brightly colored with patterns, soft boots of leather reaching to the calf, and a mask.

The mask, constructed by a craftsman from linen, portrayed with realistic features the face and head of a young woman. The audience may have surmised that one of them is Antigone, since they knew the title of the play. Antigone's name means "Against the Family. She addresses her sister with a hyperbole whose overstatement of filial closeness is further enhanced by her use of the dual number.

Beside the singular and plural, Greek has a set of inflections for expressing pairs, most often, common pairs like two oxen or two eyes. Antigone encloses Ismene with language that makes them such a natural pair, and Ismene acknowledges this with dual forms of her own. The daggers indicate that Greek text is corrupt and cannot be reconstructed. Translation of daggered words is approximate. Antigone introduces military imagery with her first words. The generalship was an elected office among the Athenians and had both military and political importance.

At the time of the Antigone, it was the office held by, among others, Pericles. For the imagery of Antigone, see Robert F.

Goheen, The Imagery of Sophocles' Antigone: A Study of Poetic Language Princeton The Greek has also been translated as "in the present night. Dramatic action depends upon two pieces of information. Secondly, unlike Ismene who has been in the house 89 , Antigone knows what has happened in the city. Although how she learned of Creon's decree is left unsaid, the difference is not incidental. The theater of Dionysus had no curtain to open and show Antigone before the house.

Antigone and Ismene either enter together from the house or Antigone comes in silently by one of the gangways, that is, the path to and from city, calls out to the house, and Ismene enters from the house. In the first instance, Antigone's roaming in the city is left to dialogue; in the second, it is represented visually before the audience.

Taphos tomb also designates "funeral rites," "funeral feast," and "the act of performing funeral rites. After Oedipus' death, Eteocles and Polyneices agree that they will each rule Thebes as its king in file: During his time in exile, Polyneices marries Argeia, daughter of Adrastus, king of Argos. When after a year Eteocles refused to abdicate, Adrastus and Polyneices lead an army of Argives against Thebes.

The brothers meet at the seventh of Thebes' seven gates, Polyneices on the outside and Eteocles on the inside of the city; they slay one another. The Library of Apollodorus Amherst Public stoning, carried out by all the people, was an execution reserved for transgressions that injured the whole community. As such, it could not be murder. Ismene replies with an image from women's art of weaving, for which, see Eva C.

Moon Madison, WI Ismene's question initiates the first stichomythia of the play. Stichomythia is an exchange between two actors of swiftly spoken, emotionally charged single lines that in tragedy often constitutes a contest for supremacy. Antigone's military image uses the common words for being captured and for handing a city or allies over to the enemy. At this point, Antigone and Ismene no longer speak to one another in the dual.

The military image evokes the land warfare of the day, essentially a pitched battle fought by men, called hoplites after their shield hoplon at close quarters on level ground in a single melee.

Infantry Battle in Classical Greece Oxford The usual translation her words, "having criminally done holy things," implies criticism of Antigone's decision to perform rites for Polyneices. Antigone's language allows two meanings: Antigone must the mean the first, since she cannot be criticizing her own action, but Sophocles allows the audience to hear both meanings simultaneously.

Antigone proposes to conduct a cremation burial of the sort provided Elpenor: Then, I sent my companions to Circe's house to bring back Elpenor's dead body.

We quickly cut wood, and where the shore jutted out furthest, we performed his burial rites, grieving and shedding tears profusely. But after the body and its armor file: A pit is dug as deep as six feet, and its bottom furrowed with channels for ventilation. Combustible material is placed into the pit, and bier is laid on top upon which rest the corpse. After the fire reduced the body to dust, a large mound of earth is heaped over the pit and the offering ditches.

The image intimates that the sisters are now navigating the ship of their fortunes on different voyages. Antigone implies that she will be dead. For the choristers as young men, see John J. Winkler, "The Ephebes' Song: Tragôidia and Polis" in Nothing to Do with Dionysus? Winkler and Froma I. Zeitlin Princeton The river Dirce was on the west side of Thebes. Helios is imagined as the driver of his four-horse sun chariot in pursuit of the fleeing Argives.

The image of light shining off the horses' bridles is uncertain. The "eagle" with "snow white wings" represents the Argives as the "dragon," the Thebans. Warriors are commonly compared to animals in Homer, while similes of birds embellish the attacks of his warriors. One Argive used by synecdoche for all the Argives, the "them" of line Hephaestus, god of fire, is synonymous with his element, but other associations may be present.

Polyneices obtains the necklace and, with it, bribes Amphiareus' wife Eriphyle to persuade her husband to join the expedition against Thebes. Amphiareus refused Adrastus since, being a seer, he foresaw that all except Adrastus would perish. Ares, divine embodiment of the berserker spirit of war, is the father of the dragon that Cadmus slew in the foundation myth of Thebes.

Cadmus sowed the beast's teeth in the ground, and there sprung up armed men. These fell to slaying one another, and the five remaining Spartoi Sown Men became the ancestors of the Theban nobility. Cadmus atoned for the dragon's slaughter by serving Ares for eight years Apollodorus, The Library 3. Sophocles uses dragon metaphorically for Thebans.

The man is usually identified as Capaneus, one of the seven leaders of the Argive king Adrastos' army, who had sworn an oath to lay waste Thebes with or without the consent of the gods Aeschylus, Seven Against Thebes ; Euripides, Phoenician Women and Suppliant Women The finishing lines referred to here are ropes or groves in a stone slab that mark the line where the runners line up evenly at the beginning of a race and to which they return. The elders describe the man as a reveler enthused by the god Bacchus, that is, Dionysus.

Sophocles may be using the stem bakch- to denote madness but a secondary reference to Dionysus seems unavoidable. Bacchus is a name, perhaps Lydian in origin, for Dionysus, and so his female worshipers who were aroused by the god to an ecstatic state, were called Bacchae female Bacchuses and Maenads woman maddened with Dionysus.

In a four-horse racing team, the outer horses drew by ropes traces , while the inner ones were harnessed to the yoke or collar. The chariot went down the right side of the course, turned around a post, and came back on the left.

In the turn, the driver spurred the outer or right horse, at the same time slackening its reins. He then left it to the horse to resist centrifugal forces and pull the chariot around through the turn. See Homer, Iliad The horse became a byword for a trusty helper in a time of need. A word meaning "ruler" is commonly inserted in the lacuna.

The Coryphaeus' verb derives from the same verb as the prothesis, the "laying forth" or wake, thus alluding to the Creon's denial of this ritual for Polyneices. That is, the grandsons of Laius and sons of Oedipus, Eteocles and Polyneices.

By the fourth century, nearness of kin anchisteia had been defined by law to children of first cousins. Lacey The Family in Classical Greece [London ] describes this kinship group as "the group which was entitled, in due order, to succeed to vacant estates, and had legal duties and responsibilities in case of death within the group, especially if it was death by violence; the anchisteia was obliged to bury its own dead, and to seek vengeance, or at least purification, for the violent death of any of its members.

The Greek denotes a living body, not a corpse. The Greek also denotes "custom. The Greek implies a "protector" or "guardian" for the corpse as well as watchmen to be "lookouts" for file: The reader must await the Watchman's words, but the spectator can see that the man stops often and turns around as if to leave, only to resume his progress toward the house. The manuscripts have a verb that means "you take aim," a military image like that of the following verb. We have adopted an emendation that maintains the imagery but leads more smoothly into the second verb.

The Watchman, as it were, returns to ranks and surrounds himself with defenders. With the participle sêmanôn to announce , Sophocles keeps the sound of the absence sêma marker by with a grave, a mound upon the ears of those in the audience. We have tried to indicate the presence of a word with the root sêm- by the English "mark.

The Greek pausai combines the explosive sound of the first syllable, "pow! The Greek denotes both an established usage or custom and the current coin, that is, money. Hades is used for both the god and the place. Creon threatens the watchmen with being hung from a pole and left to die. The Watchman's beeline for the gangway and the refuge in the countryside away from Creon visualizes his resolve.

Thus the scene begins and ends on the spectacle of a single figure traversing the cavea of the audience. That is, mules "who are better than oxen for dragging the jointed plow through the deep fallow Homer, Iliad Namely, the wild goat. In a mirroring effect, Sophocles has this scene reflect or draw the audience back to the earlier one involving the watchman.

In this way, he could use the similarities, both visually and verbally, to highlight the differences between the scenes. For mirroring scenes, see Taplin above, note 5 Also possible is "a pain reaching to heaven. Certainty is thwarted by syntactical ambiguity that allows at least a second reading: The clause may also be translated: The former indicates that the body is bare, while the latter implies that it was covered and has been laid bare.

We have changed our usual translation of the Greek verb from "do" to "act" in order to be able to mimic the absence of a direct object and so maintain the ambiguity of the original.

Also in line Zeus Herkeios Zeus of the Fence protected the boundary of every Greek household and the possessions enclosed within. His altar stood in the courtyard where the master of the house kyrios conducted sacrifice and the "rite of sprinkling" of family, slaves and guests with water, a ritual binding those present to one another.

Creon may be imagined as having conducted this rite with Antigone and Ismene many times. Cadmus is the founder of Thebes, and so Thebans are also called Cadmeians. The image is that of a dog putting its tail between its legs in fear.

Antigone's word is nomos. See above, note A common but mistaken translation is: Ismene is surrounded by female slaves, companions of the women's quarters. They are not mentioned in the script, but when Creon orders Antigone and Ismene to be led inside the house, he addresses female slaves , so they must have escorted her outside. Ismene is an advocate for the living Creon and a mourner for the dead Creon.

In each case she gives Creon her voice in aid. Ismene returns for the last time to the dual number, implying that Antigone and she are once again an inseparable pair. That is, Antigone, bride of Haemon whose name is formed from the root haim- blood.

The verb translated "fit" denotes both "joining together" and "arranging a marriage. When Creon asserts his mastery over the house of Labdacus, he assumes its history, and the house itself becomes a silent player in the drama. Storms blowing from Thrace were in the northern Aegean.

Athenians perhaps associated the stroms with the primitive and warlike peoples that inhabited Thrace. Labdacus' sons are Laius and his son Oedipus. The assonance of p and n substitutes for that of the Greek in pi and mu. Many editors accept the emendation of "knife" for "dust" of the manuscripts.

An Erinys is a divine being who avenges serious wrongs, including murder and perjury. She enforces the order of nature, may embody a curse, and brings mental blindness and ruin upon the perpetrator of wrongdoing or a descendant.

The archaism imitates Sophocles' use of a word from epic that is does not occur elsewhere in extant tragedy. The actor playing Haemon must also be playing either Antigone or Ismene. If Antigone, the similarity of voice marks the harmony Ismene claimed for her and Haemon, while the voice of the Ismene actor would bring back the voice that defended Haemon to appeal to Creon in the person of Haemon himself.

The actor wears the unbearded mask of a youth of some eighteen years. By contrast, Creon wears the bearded mask of the mature man. Sophocles' language allows Creon to receive what Haemon says differently as a declaration of his loyalty to his father: Zeus of the Fence above, note 65 oversees the sacredness of kin-blood and so may be referred to in this capacity as Zeus of Kin Blood.

Creon alludes to the oath of allegiance that every citizen ephebe took, which affirmed in part: The straps on the hoplite's shield were so arranged that half of the shield extended beyond the man's left side, leaving his right side exposed. The man on his left used this part to defend his right side, while the man himself looked to the shield of the man on his right to protect his right side. Each man had to stand beside his fellow.

Some editors have challenged the authenticity of this line. The military image of the scout is appropriate to Haemon's youth ; and to his status as an ephebe, someone who fought in ways opposite to those of a hoplite.

The latter fought in the daylight in close quarters with the enemy. The epebe fought by ruse and at night along the borders of the domain. The image seems to be taken from a writing tablet.

The "foot sheet" was one of the two ropes attached to the lower corners of the sail. Literally, "it is by far older," and so, with the wisdom afforded the elders, "best," a compliment to Creon for being older and therefore "wiser.

Since the allies in the alliance led by Athenians, for the most, paid tribute to the Athenians, they were not considered as equals. The translation derives from an emendation; that of manuscript is: Creon's language evokes the prothesis that he has denied Polyneices. Translators of Antigone have removed Creon after line , finding his presence intolerable while Antigone is mourning for herself.

Those very emotions argue for keeping Creon on stage so that the audience may experience the same feelings of violation. The name of one of the rivers in the underworld. This line, depending on the pronunciation of the first word, may also be translated as a question: She boasted of having more children than the goddess Leto.

The latter took affront, and her children Apollo and Artemis slew all or all but two of Niobe's. Niobe returned to her father Tantalus at Sipylus in Lydia where, after praying to Zeus, she transformed into a stone. From the stone, tears flow night and day Apollodorus, Library 3. Niobe, usually considered a mortal woman, is treated by Sophocles as not merely of divine lineage but a goddess herself.

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