παγκοίτην. The question between Doric and Attic forms in tragic anapaests cannot be decided by a rigid rule. It depends on the presence or absence of a lyric character. Thus in 110 f. the Doricisms are justified by the purely lyric stamp of the anapaests. Here, Attic forms are preferable. The lyric strains of Antigone are brought into finer relief by the different tone of the choral anapaests. Cp. 822, and see Appendix on 110.—Cp. O. C. 1578 (Death) “τὸν αἰένυπνον”. The word θάλαμον here has ref. to its special sense, ‘bridal-chamber’: cp. 891 “νυμφεῖον”, 1207 “παστάδα”. So oft. in epitaphs on the unmarried; Anthol. P. 7. 489 (by Sappho) “Τιμάδος ἅδε κόνις, τὰν δὴ πρὸ γάμοιο θανοῦσαν ι δέξατο Περσεφόνας κυάνεος θάλαμος”. Kaibel Epigrammata 241 (on two young brothers) “οἱ δισσοὶ συνόμαιμοι, ἰὼ ξένε, τῷδ᾽ ὑπὸ τύμβῳ ι ἄψαυστοι τέκνων κείμεθα κουριδίων: ι Ἱκέσιος κἀγὼ νεαρὰν πληρούμενος ἥβαν ι Ἕρμιππος κρυερὸν τόνδ᾽ ἔχομεν θάλαμον.” ἀνύτουσαν with acc. of place, as Ai. 607 (“ἀνύσειν”), O. C. 1562 (“ἐξανύσαι”): cp. 231.
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Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone. Sir Richard C. Jebb. Cambridge. Cambridge University Press. 1900.
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