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Published online by Cambridge University Press: 11 July 2019
This song comes from Antigone's final moments on stage, ahead of being buried alive. Forcefully rejecting the chorus-leader's qualification of her attempt to compare her fate with Niobe's, she calls upon the chorus as the wealthy citizens of Thebes; ‘then, convinced that they have no word of comfort for her, she calls upon inanimate things’ – the streams and grove of the Theban landscape. The invocation of the city emphasizes her sense of rejection at its hands; her enemy is not simply Creon, but society as a whole, which has acquiesced in her punishment. Before calling on the city she appeals to her ancestral gods, which hints at a division fundamental to the play – between Antigone's birth family, for which she dies, and the city and its ordinances, which she defies.
1 Burton 1980: 120.
2 For this division see Holt 1999; Liapis 2013.
3 These lines come from a passage whose authenticity has been debated since the 1820s, but there is no good reason to reject it: see Murnaghan 1986; Sourvinou-Inwood 1987–8; Neuburg 1990; Rösler 1993; Cropp 1997; Mader 2005.
4 Griffith 1999 on Ant. 907.
5 Van Erp Taalman Kip 1996: 521–4.
6 Burton 1980: 120.
7 Finglass 2005.
8 Griffin 1999a.
9 Taplin 1971: 39–40.
10 Ajax 850–1; Finglass 2017i: 307–8; p. 56 above.
11 Finglass 2007d on El. 642.
12 Oedipus at Colonus 919–23; Finglass 2012b.
13 Goldhill 1987; Winkler and Zeitlin 1990; Griffith 1995; Easterling 1997; Griffin 1998; Seaford 2000; Rhodes 2003; Carter 2011b; Osborne 2012.
14 Goldhill 2009a: 29. For the tragic audience see Roselli 2011; Finglass 2017i: 311–17.
15 See Aristophanes, Peace 962–7 with Carter 2011a: 50–1.
16 Aristophanes, Acharnians 504–7.
17 Goldhill and Hall 2009b: 19.
18 Allan and Kelly 2013.
19 Allan and Kelly 2013: 92.
20 Kelly 2015: 86.