Antigone (review)

Mark Griffith's edition of Sophocles' Antigone is a welcome addition to the Cambridge Greek and Latin Classics. The best volumes in the series, inaugurated by T. B. L. Webster's Philoctetes (1970), enrich the traditional commentary format with the editor's distinctive scholarly concerns: general editor P. E. Easterling's Trachiniae (1982) displays a sensitive literary taste; R. D. Dawe's Oedipus Rex (1982) provides a lively example of a first-rate mind reading a great text, as does Alan Sommerstein's Eumenides (1989); Sommerstein doubts that his play was originally called "Eumenides," while Griffith's Prometheus (1983) gives reasons to question the Aeschylean authorship of Prometheus Vinctus. Griffith's Antigone is less controversial, but it lives up to the series' high standards.

The introduction has almost thirty pages of background information on Sophocles and Athens, the myth, dramatic structure, technique, and style, the production of Greek drama, and the transmission of the text. The forty pages on "The Meaning of the Play" contain short essays with bibliography on aesthetics, lessons, characters, ethics, contradictions (human/divine, polis/oikos, male/female), politics, and fantasies. The section on character is especially clear and forceful, but I found the pages on fantasies less focused and their discussion of Freudian criticism, with the rambling footnote on page 60, distracting. Colleagues will learn much from these pages, but students might well skip them and start reading the play.

The text is temperately conservative, with good taste displayed when conjectures and variant readings are chosen. The commentary is careful, scholarly, and yet accessible to students. Difficult passages are translated with close attention to particles. The many notes devoted to explicating the nuances of the word reminded me of the story that Denniston was supposedly overheard telling a student, " can sometimes mean 'and.'"

Each chorus is accompanied by a metrical description based on a colometry which is often that of R. D. Dawe's Teubner (1985). Griffith's short essays explaining the metrical patterns are usually successful. An exception is his note on 1115-16/1126-27, which he prints as one long colon, which "could be classified as a kind of 'dragged enoplian'. . . or as 'acephalous dactylo-epitrite.'. . . In either case the affiliation to aeolics remains clear" (316). This is the kind of explanation which convinces people that metrics is mumbo-jumbo. Griffith refers to A. M. Dale, Lyric Metres of Greek Drama (Cambridge 1968, 191 n. 3), but Dale's note does not explain why she prefers this colometry over others. The colometry of Lloyd-Jones and Wilson's Oxford Classical Text (1990) is better than Dale's and Griffith's because it is easier to understand (telesillean with resolved first element/ iambic penthemimer) and fits the meter of the rest of the ode. This is also true of the colometry of manuscript L, Laurentianus 32.9 (telesillean/iambic dimeter/telesillean), which I prefer.

Griffith usually ignores L's colometry, although for the third stasimon (781-800), the Eros Ode, he agrees with it, including word break at the end of 789/799, and gives a good discussion of the metrical and verbal traits that make the poem a satisfying unity. In other choruses the colometry of manuscript L is superior to that concocted by modern scholars, for example, the second stasimon (582-625), the Ate Ode. At 604-5/615-16, the beginning of the second strophe and antistrophe, Griffith prints glyconic () followed by hipponactean (). L presents these lines as hipponactean and hagesichorean (), an acephalous hipponactean. With modern editors' colometry, the hipponactean is a pendent clausula to the preceding glyconic. Two points noted by Griffith favor the manuscripts. The modern colometry entails word break in both strophe and antistrophe, so that, as Griffith notes (223) "'dovetailing' makes the distinction between 'glyconic' and 'hipponactean' arbitrary." The modern colometry is clearer on paper than in performance. The ancient colometry begins a pattern of increasingly acephalous verses, as noted by Bruno Snell, in Griechische Metrik (Göttingen 1984, 62).

More important, as Griffith notes sagaciously: "The basic motif...