legant and satisfactory.
[176] Pauw remarks that Polynices is the chief subject of
Antigone's mourning, while Ismene bewails Eteocles. This
may illustrate much of the following dialogue, as well as
explain whence Sophocles derived his master-piece of
character, the Theban martyr-heroine, Antigone.
[177] Throughout this scene I have followed Dindorf's
text, although many improvements have been made in the
disposition of the dramatis personae. Every one will
confess that the length of [Greek: io io] commonplaces in
this scene would be much against the play, but for the
animated conclusion, a conclusion, however, that must lose
all its finest interest to the reader who is unacquainted
with the Antigone of Sophocles!
[178] Wellauer (not Scholfield, as Griffiths says) defends
the common reading from Herodot. V. 49.
[179] [Greek: trachyne] But T. Burgess' emendation [Greek:
trachys ge] seems better, and is approved by Blomfield.
[180] Soph. Ant. 44. [Greek: e gar noeis thaptein sph'
aporreton polei].
[181] I have taken Griffiths' translation of what Dindorf
rightly calls "lectio vitiosa," and of stuff that no sane
person can believe came from the hand of AEschylus. Paley,
who has often seen the truth where all others have failed,
ingeniously supposes that [Greek: ou] is a mistaken
insertion, and, omitting it, takes [Greek: diatetimetai]
in this sense: "_jam hic non amplius a diis honoratur;
ergo ego eum honorabo._" See his highly satisfactory note,
to which I will only add that the reasoning of the
Antigone of Sophocles, vss. 515, sqq. gives ample
confirmation to his view of this passage.
[182] Blomfield would either omit this verse, or assign it
to the chorus.
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