No other play that has come down to us shows this sort of feeling, though we may be reminded of Horace's feeling for his Sabine farm. What hath been uttered, child? The sounds you make serve me instead of sight, as people say of men who cannot see. May the gods grant to you my wish,  both to you yourself and to this land; for among you, above all mankind, I have found piety, the spirit of decency, and lips that tell no lie. The conceptions, which seem to us utterly different, are equally combined in such words as the Roman sacer, or the Polynesian taboo. So you, my children--those whom I behooved To bear the burden, stay at home like girls, While in their stead my daughters moil and drudge, Lightening their father's misery.
Or, on the contrary, is Antigone the young passionate and impulsive girl, Ismene the elder and more prudent? Now, if I should die, I would not be wholly wretched, since you have come to me. With Sophocles we have much more often to make the effort of putting ourselves imaginatively in an ancient, or what used to be called a "pagan," position. Sophocles can use the philosophic ideas when it suits him, though he never obtrudes them. No other play that has come down to us shows this sort of feeling, though we may be reminded of Horace's feeling for his Sabine farm. So pray thyself or whoso pray for thee, In whispered accents, not with lifted voice; Then go and look back. He makes no attempt to moralize his gods or to pass any moral judgement upon them. The name "Creon" means merely "ruler," and that is what the Creon of legend always is; an official rather than a person; but the poets can give that colourless figure such character as it pleases them. Antigone Here is our savior: If she is sometimes fierce she is fierce through love. Hear me, city named for mighty Pallas, O Athens, most honoured of all cities, pity the poor ghost of that man Oedipus, for now his old living body is no more. The ancient critics, however, seem to have singled out the "oeconomia"—the construction or management—of the play for particular admiration. But now some god and an infatuate soul Have stirred betwixt them a mad rivalry To grasp at sovereignty and kingly power. Aegisthus and Salmoneus, famous for their sins, were "heroes. It is, as Aristotle would say, "episodic," and each episode involves some dissipation of interest. It is really the permanent human feeling which rises above the temporary conventions of a particular age. And now what mission summons thee from home, What news, Ismene, hast thou for thy father? Do as I bid, And I shall then be bold to stand thy friend; Else, stranger, I should have my fears for thee. Of course we must remember that he is an artist, not a philosopher. May the gods grant to you my wish,  both to you yourself and to this land; for among you, above all mankind, I have found piety, the spirit of decency, and lips that tell no lie. They never raised a hand, When I their sire was thrust from hearth and home, When I was banned and banished, what recked they? It is not only that both plays have for their central figure an old, dethroned and banished king, driven mad or half-mad by his awful experiences, and breathing a strange atmosphere of kingly pride alternating with helplessness, of towering passion with profound peace. Wretched as I have become, how could I wish you to touch a man in whom every stain of evils has made its dwelling? Creon is not brought into any particular relation to the falsely accused Creon of the Oedipus Rex nor yet to the rigid conscientious tyrant of the Antigone. Who was that man, that most presumptuous of mortals? By remaining in that land I would bring advantages to those who welcomed me and ruin to the ones who drove me out, who exiled me from Thebes.
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