§ 10. Phoinissai.
The Phoinissai in common with the Septem of Aischylos deals with the well-known story of the attack of Polyneikes and his supporters on Thebes. The events connected with this war can be traced all through Greek and Roman literature and art[[315]]. We have here to do with a relief cup, which illustrates Euripides’ version of the combat. It possesses, like the other ‘Megarian Bowls’ discussed in the present work, a value so unique for the study of our poet that it may stand beside any vase painting in assisting us in the study of the drama’s influence upon art.
Fig. 26 (vid. p. [170] f.).
The cup shown in fig. 27 is of red, unglazed ware, and is said to have been found in Thebes[[316]]. The following figures may be discerned. On the left Teiresias, ΤΕΙΡΕΣΙΑΣ, carrying a bough and led by his daughter Manto, ΜΑΝΤΩ, approaches Kreon, ΚΡΕΩΝ, who kneels before the aged seer. They are both bearded, and the latter wears a long chiton. Next follows Polyneikes, ΠΟΛΥΝΕΙΚΗΣ, and Eteokles, ΕΤΕΟΚΛΗΣ, in full armour, engaged in their fatal fight. Thebe, ΘΗΒΗ, holding in her hand a sceptre, sits upon a rock watching the sight. The messenger, ΑΓΓΕΛΟΣ, wearing a short chiton and chlamys, stands by Iokaste, ΙΟΚ ... ΣΤΗ, before the palace from which Antigone, ΑΝΤΙΓΟΝΗ, has come. The latter raises her hand in astonishment. The women both wear long chitons. Lastly, on the right, Antigone appears before Kreon, inscriptions in each case, in a supplicating attitude.
That Kreon might know definitely how matters were to terminate, he had sent for Teiresias. The latter makes his appearance in v. 834—
ἡγοῦ πάροιθε, θύγατερ, ὡς τυφλῷ ποδὶ
ὀφθαλμὸς εἶ σύ, ναυτίλοισιν ἄστρον ὤς·
Fig. 27 (vid. p. [173] ff.).
and so one sees him here before Kreon. His daughter has brought him as he wished, and now stands behind him, while the seer discloses the terrible misfortune which must visit Kreon before success can crown the Theban arms. The son Menoikeus, who is present in Euripides, has been left out of the group. The messenger soon appears and calls for Iokaste.
ἔξελθ’, ἄκουσον, Οἰδίπου κλεινὴ δάμαρ. v. 1070.
She does hear, and comes from the palace and learns everything about the attack thus far, and how the different heroes on each side were armed. To her special inquiry regarding her two sons the messenger replies in detail (vs. 1217 ff.).
ἤδη δ’ ἔκρυπτον σῶμα παγχάλκοις ὅπλοις
δισσοὶ γέροντος Οἰδίπου νεανίαι. vs. 1242 f.
στήτην δὲ λαμπρώ, χρῶμά τ’ οὐκ ἠλλαξάτην,
μαργῶντ’ ἐπ’ ἀλλήλοισιν ἱέναι δόρυ. vs. 1246 f.
But this is before the battle. They were waiting for the word from the priests who examined the entrails of the victims. The second messenger brings the account of the engagement proper, and this is what the artist seized upon[[317]].
ᾖξαν δρόμημα δεινὸν ἀλλήλοις ἔπι·
κάπροι δ’ ὅπως θήγοντες ἀγρίαν γένυν
ξυνῆψαν, ἀφρῷ διάβροχοι γενειάδας·
ᾖσσον δὲ λόγχαις· ἀλλ’ ὑφίζανον κύκλοις,
ὅπως σίδηρος ἐξολισθάνοι μάτην. vs. 1379 ff.
This is the moment which the relief represents. Their spears have clashed, and each is still safe behind the good circumference of his shield.
Iokaste, much disturbed at the critical situation described by the messenger, determines to call Antigone and rush to the battle-field to reconcile the brothers,—
ὦ τέκνον, ἔξελθ’, Ἀντιγόνη, δόμων πάρος. v. 1264.
she cries, and Antigone at once appears and asks—
τίν’, ὦ τεκοῦσα μῆτερ, ἔκπληξιν νέαν
φίλοις ἀϋτεῖς τῶνδε δωμάτων πάρος; vs. 1270 f.
The situation is dramatically told on the vase. The palace doors are still open, and Antigone stands astonished before her mother.
No sooner has Kreon learned the result of the battle than he passes an edict banishing the blind Oedipus from the land. The faithful daughter comes to intercede for her father and the scene is described in vs. 1539–1682. The artist has seized upon this situation, but has omitted Oedipus. Antigone bows before the new king, who stands with his arms folded listening placidly to the supplications.
ἀτὰρ ς’ ἐρωτῶ τὸν νεωστὶ κοίρανον·
τί θεσμοποιεῖς ἐπὶ ταλαιπώρῳ νεκρῷ; vs. 1644 f.
This is the moment which the last group represents.
The personification of Thebes occupying the central field and presiding, as it were, over the destinies of the capital, extends the setting of the poet and adds not a little to the interest of the picture.
Fig. 28
There exists, remarkable enough, a small fragment of another cup, which must have been much like the one just discussed. It is shown in fig. 28, and joins on well to the last scene in fig. 27, filling out the gap made by the omission of Oedipus[[318]]. We see the stooping and aged figure of the former king, in long chiton, feeling his way along or being led by some one. The inscription renders everything plain. Οἰδίπ]ους κελεύει [ἄγειν πρὸς τὸ π]τῶμα τῆς αὑτοῦ μητρ[ός τε καὶ] γυναικὸς καὶ τῶν υίῶ[ν. The unfortunate Oedipus’ doom is sealed, and he enters with Antigone upon his permanent banishment, but he will be led to Iokaste that he may embrace her once more, even though she is now a corpse;
προσάγαγέ νύν με, μητρὸς ὡς ψαύσω σέθεν. v. 1693.
At this moment the artist conceived his figure, and that one might not mistake its meaning he wrote above it who the person was and what the scene meant. Here, then, in this bit of potsherd, one can see and study the workings of that awful curse which blasted the house of Labdakos and sent the miserable Oedipus to wander ‘blind amidst the blaze of noon.’