74.Teiresias, as in Sophocles (Antig. v. 1005), sitting, though blind, and listening, as the birds flit by him, and the flames burn steadily or fitfully; a various reading gives “apart from sight.”

75.Enyo, the goddess of war, and companion of Ares.

76.Amphiaraos the seer had prophesied that Adrastos alone should return home in safety. On his car, therefore, the other chieftains hung the clasps, or locks of hair, or other memorials which in the event of their death were to be taken to their parents.

77.The Hellenic feeling, such as the PlatÆans appealed to in the Peloponnesian war (Thuc. iii. 58, 59), that it was noble and right for Hellenes to destroy a city of the barbarians, but that they should spare one belonging to a people of their own stock.

78.The characteristic feature of the Argive soldiers was, that they bore a shield painted white (comp. Sophocles, Antig. v. 114). The leaders alone appear to have embellished this with devices and mottoes.

79.In solemn supplications, the litanies of the ancient world, especially in those to Pallas, the suppliants carried with them in procession the shawl or peplos of the Goddess, and with it enwrapt her statue. To carry boughs of trees in the hands was one of the uniform, probably indispensable, accompaniments of such processions.

80.The words recall our thoughts to the original use of the trident, which became afterwards a symbol of Poseidon, as employed by the sailors of Hellas to spear or harpoon the larger fish of the Archipelago. Comp. Pers. v. 426, where the slaughter of a defeated army is compared to tunny-fishing.

81.Cadmos, probably “the man from the East,” the Phoenikian who had founded Thebes, and sown the dragon's seed, and taught men a Semitic alphabet for the non-Semitic speech of Hellas.

82.Worthy of his name as the Wolf-destroyer, mighty to destroy his foes.

83.Possibly “from battlements attacked.” In the primitive sieges of Greek warfare stones were used as missiles alike by besieged and besiegers.

84.The name of Onca belonged especially to the Theban worship of Pallas, and was said to have been of Phoenikian origin, introduced by Cadmos. There seems, however, to have been a town OnkÆ in Boeotia, with which the name was doubtless connected.

85.“Alien,” on account of the difference of dialect between the speech of Argos and that of Boeotia, though both were Hellenic.

86.The vehemence with which Eteocles reproves the wild frenzied wailing of the Chorus may be taken as an element of the higher culture showing itself in Athenian life, which led Solon to restrain such lamentations by special laws (Plutarch, Solon, c. 20). Here, too, we note in Æschylos an echo of the teaching of Epimenides.

87.As now the sailor of the Mediterranean turns to the image of his patron saint, so of old he ran in his distress to the figure of his God upon the prow of his ship (often, as in Acts xxviii. II, that of the Dioscuri), and called to it for deliverance (comp. Jonah i. 8).

88.Eteocles seems to wish for a short, plain prayer for deliverance, instead of the cries and supplications and vain repetitions of the Chorus.

89.The thought thus expressed was, that the Gods, yielding to the mightier law of destiny, or in their wrath at the guilt of men, left the city before its capture. The feeling was all but universal. Its two representative instances are found in Virgil, Æn. 351—

and the narrative given alike by Tacitus (Hist. v. 13), and Josephus (Bell. Jud. vi. 5, 3), that the cry “Let us depart hence,” was heard at midnight through the courts of the Temple, before the destruction of Jerusalem.

90.Sc. Blood must be shed in war. Ares would not be Ares without it. It is better to take it as it comes.

91.Sc., the company of Gods, Pallas, Hera and the others whom the Chorus had invoked.

92.Reference to this custom, which has passed from Pagan temples into Christian churches, is found in the Agamemnon, v. 562. It was connected, of course, with the general practice of offering as ex votos any personal ornaments or clothing as a token of thanksgiving for special mercies.

93.Rivers and streams as the children of Tethys and Okeanos.

94.Here, as in v. 571, Tydeus appears as the real leader of the expedition, who had persuaded Adrastos and the other chiefs to join in it, and Amphiaraos, the prophet, the son of Œcleus, as having all along foreseen its disastrous issue. The account of the expedition in the Œdipus at Colonos (1300-1330) may be compared with this.

95.The legend of the Medusa's head on the shield of Athena shows the practice of thus decorating shields to have been of remote date. In Homer it does not appear as common, and the account given of the shield of Achilles lays stress upon the work of the artist (HephÆstos) who wrought the shield in relief, not, as here, upon painted insignia. They were obviously common in the time of Æschylos.

96.The older families of Thebes boasted that they sprang from the survivors of the Sparti, who, sprung from the Dragon's teeth, waged deadly war against each other, till all but five were slain. The later settlers, who were said to have come with Cadmos, stood to these as the “greater” to the “lesser gentes” at Rome.

97.So in the Antigone of Sophocles (v. 134), Capaneus appears as the special representative of boastful, reckless impiety.

98.Artemis, as one of the special Deities to whom Thebes was consecrated.

99.Apparently an Asiatic invention, to increase the terror of an attack of war-chariots.

100.The phrase and thought were almost proverbial in Athens. Men, as citizens, were thought of as fed at a common table, bound to contribute their gifts to the common stock. When they offered up their lives in battle, they were giving, as Pericles says (Thucyd. ii. 43), their noblest “contribution,” paying in full their subscription to the society of which they were members.

101.Thyiad, another name for the MÆnads, the frenzied attendants on Dionysos.

102.Sc., in the legends of Typhon, not he, but Zeus, had proved the conqueror. The warrior, therefore, who chose Typhon for his badge was identifying himself with the losing, not the winning side.

103.The name, as we are told in v. 542, is ParthenopÆos, the maiden-faced.

104.The Sphinx, besides its general character as an emblem of terror, had, of course, a special meaning as directed to the Thebans. The warrior who bore it threatened to renew the old days when the monster whom Œdipus had overcome had laid waste their city.

105.Sc., the Sphinx on his shield will not be allowed to enter the city. It will only serve as a mark, attracting men to attack both it and the warrior who bears it.

106.The quarrel between Tydeus and the seer Amphiaraos had been already touched upon.

107.I have used the old English word to express a term of like technical use in Athenian law processes. As the “sumpnour” called witnesses or parties to a suit into court, so Tydeus had summoned the Erinnys to do her work of destruction.

108.Sc., so pronounced his name as to emphasise the significance of its two component parts, as indicating that he who bore it was a man of much contention.

109.The words are obscure, but seem to refer to the badge of Polyneikes, the figure of Justice described in v. 643 as on his shield. How shall that Justice, the seer asks, console Jocasta for her son's death? Another rendering gives,

the “mother” being the country against which Polyneikes wars.

110.The words had a twofold fulfilment (1) in the burial of Amphiaraos, in the Theban soil; and (2) in the honour which accrued to Thebes after his death, through the fame of the oracle at his shrine.

111.The passage cannot be passed over without noticing the old tradition (Plutarch, Aristeid. c. 3), that when the actor uttered these words, he and the whole audience looked to Aristeides, surnamed the Just, as recognising that the words were true of him as they were of no one else. “Best,” instead of “just,” is, however, a very old various reading.

112.If the former reference to Aristeides be admitted, we can scarcely avoid seeing in this passage an allusion to Themistocles, as one with whose reckless and democratic policy it was dangerous for the more conservative leader to associate himself.

113.The far-off city, not of Thebes, but of Hades. In the legend of Thebes, the earth opened and swallowed up Amphiaraos, as in 583.

114.The short spear was usually carried under the shelter of the shield; when brought into action it was, of course, laid bare.

115.Perhaps “since death is at nigh hand.”

116.The Chorus means that if Eteocles would allow himself to be overcome in this contest of his wishes with their prayers the Gods would honour that defeat as if it were indeed a victory. He makes answer that the very thought of being overcome implied in the word “defeat” in anything is one which the true warrior cannot bear.

117.The “Chalyb stranger” is the sword, thought of as taking its name from the Skythian tribe of the Chalybes, between Colchis and Armenia, and passing through the Thrakians into Greece.

118.The two brothers, i.e., are set at one again, but it is not in the bonds of friendship, but in those of death.

119.The image meets us again in Agam. 980. Here the thought is, that a man too prosperous is like a ship too heavily freighted. He must part with a portion of his possession in order to save the rest. Not to part with them leads, when the storm rages, to an enforced abandonment and utter loss.

120.Another reading gives—

121.This seems to have been one form of the legends as to the cause of the curse which Œdipus had launched upon his sons, An alternative rendering is—

122.Sc., when Eteocles fell, Apollo took his place at the seventh gate, and turned the tide of war in favour of the Thebans.

123.I follow in this dialogue the arrangement which Paley adopts from Hermann.

124.There seems an intentional ambiguity. They are “borne on,” but it is as the corpses of the dead are borne to the sepulchre.

125.Not here the curse uttered by Œdipus, but that which rested on him and all his kin. There is possibly an allusion to the curse which Pelops is said to have uttered against Laios when he stole his son Chrysippos. Comp. v. 837.

126.As in v. 763 we read of the brothers as made one in death, so now of the concord which is wrought out by conflict, the concord, i.e., of the grave.

127.The Chorus are called on to change their character, and to pass from the attitude of suppliants, with outstretched arms, to that of mourners at a funeral, beating on their breasts. But, perhaps, the call is addressed to the mourners who are seen approaching with Ismene and Antigone.

128.The thought is drawn from the theoris or pilgrim-ship, which went with snow-white sails, and accompanied by joyful pÆans, on a solemn mission from Athens to Delos. In contrast with this type of joy, Æschylos draws the picture of the boat of Charon, which passes over the gloomy pool accompanied by the sighs and gestures of bitter lamentation. So, in the old Attic legend, the ship that annually carried seven youths and maidens to the Minotaur of Crete was conspicuous for its black sails.

129.The “Chalyb,” or iron sword, which the Hellenes had imported from the Skythians. Comp. vv. 70. 86.

130.The lyrical, operative character of Greek tragedies has to be borne in mind as we read passages like that which follows. They were not meant to be read. Uttered in a passionate recitative, accompanied by expressive action, they probably formed a very effective element in the actual representation of the tragedy. We may look on it as the only extant specimen of the kind of wailing which was characteristic of Eastern burials, and which was slowly passing away in Greece under the influence of a higher culture. The early fondness of Æschylos for a finale of this nature is seen also in The Persians, and in a more solemn and subdued form, in the Eumenides. The feeling that there was something barbaric in these untoward displays of grief, showed itself alike in the legislation of Solon, and the eloquence of Pericles.

131.Here, and perhaps throughout, we must think of Antigone as addressing and looking on the corpse of Polyneikes, Ismene on that of Eteocles.

132.Perhaps

133.The speech of the Antigone becomes the starting-point, in the hands of Sophocles, of the noblest of his tragedies. The denial of burial, it will be remembered, was looked on as not merely an indignity and outrage against the feelings of the living, but as depriving the souls of the dead of all rest and peace. As such it was the punishment of parricides and traitors.

134.The words are obscure enough, the point lying, it may be, in their ambiguity. Antigone here, as in the tragedy of Sophocles, pleads that the Gods have pardoned; they still command and love the reverence for the dead, which she is about to show. The herald catches up her words and takes them in another sense, as though all the honour he had met with from the Gods had been defeat, and death, and shame, as the reward of his sacrilege. Another rendering, however, gives—

135.The words are probably a protest against the changeableness of the Athenian demos, as seen especially in their treatment of Aristeides.