P. 72 | Dread goddesses: these beings, whose influence looms large throughout this play, are variously described. Their most common title of Eumenides (‘Kindly Ones’) is perhaps partly a euphemism, adopted in fearful veneration, but also signifies their power of protection for the innocent (or penitent), the converse of their vengeance on the guilty. Even their vengeance is of the nature of a purification of the guilty conscience, through suffering and self-knowledge, leading to a merciful resolution of conflict. Sophocles adopts a traditional association of these divinities with Colonus, using it to reinforce another central theme of the play – the Athenian tradition of justice tempered with mercy. |
P. 75 | Chorus: the chorus of this play take an unusually prominent part in the action and dialogue. Much of the latter must clearly be assigned to the leader, though occasional lines may conveniently be given to other individual members. |
P. 81 | Ismene: it seems likely that she is the elder of the two sisters, though I don’t know that this is anywhere specified. Both here and in Antigone she is the ‘Martha’ of the pair – the more practical but less sensitive. |
P. 92 | The olive: in historical times the most valuable commercial asset of Attica, it is here credited with fabulous origin and divine protection. As to its invulnerability, legend received the support of history, when the Spartan invaders of Attica during the years 431–421 B.C. spared the sacred olive-groves out of a common regard for the majesty of Athena. |
P. 93 | Poseidon, whose special patronage of Colonus and Athens is noticed at various points in this play, combines, rather curiously, the tutelage both of the sea and of horses, and to his guidance is attributed the Athenian skill with ship and horse. In point of fact, most thriving Greek communities seem to have liked to describe their lands as ‘rich in horses’, and those which also had access to the sea naturally looked on seamanship and horsemanship as twin and complementary factors in human achievement; hence, perhaps, their ascription to the same god. |
P. 96 | Or you and I must fight: if the Chorus seem unaccountably helpless in spite of their loud protests, we must remember (1) that Creon is heavily guarded, at least until Antigone is taken off, (2) even when alone, the sanctity of his kingship perhaps protects him from physical assault, (3) the convention and construction of the stage may have prohibited actual contact between chorus and actors. The scene is thus at a deadlock, Creon threatening but not actually invading the sanctuary which protects Oedipus, and the Chorus threatening attack on Creon – when Theseus enters to command the attention of all. Such conflicts were usually expressed in verbal duel, sharpened by symmetry of metre and phrase. |
P. 100 | Hill of Ares: the Areiopagus, from immemorial time the seat of the ancient council of Athens. |
P. 103 | Pythian shrine: a temple of Apollo on the road leading to the sea-coast. |
| hallowed sand: the same coast, in the neighbourhood of Eleusis, where the rites of Demeter were celebrated. |
P. 104 | White Oea: on the alternative hill-route which the fugitives may have taken. |
P. 113 | Father of Darkness: the Greek is ‘paternal darkness of Hades’; variously interpreted also as ‘the darkness in which Laius lies’, or ‘a darkness like that of your father’s eyes’. |
P. 117 | And no one else must know it: strictly speaking, it is the grave of Oedipus, not the place of his death, that is to be known to Theseus alone; the latter is indeed described almost precisely by the Messenger. Either the author is guilty of a slight inconsistency here, or we are to allow that Oedipus is not supposed to have a complete prevision of his final moments and the ultimate disposal of his remains. |
P. 123 | And where shall I be safe? From here to the entrance of Theseus, the principal MS authority leaves us in doubt as to the names of the speakers, and we are free to choose whether it is Antigone or Ismene who holds this dialogue with the Chorus. Dramatic fitness seems to require that Antigone should be left silently intent upon the thought of revisiting her father’s grave (the subject she immediately reintroduces on the arrival of Theseus), while Ismene, characteristically, is concerned about her own and her sister’s future. Most editors, however, have given the lines to Antigone, though Jebb admits the fitness of assigning them to Ismene. |