(i) vv. 88-201, the scene of Antigone and her attendant upon the roof-terrace. To this it has been objected[679] that the entrance of Polynices should occur as the first event of the play after the closing words of the prologue which mention his expected arrival. This passage contains, moreover, a number of words otherwise unknown which is enormous considering the length of the scene, and several awkward or strained expressions. (ii) vv. 1104-40, the description of the seven chieftains as they advance upon the gates. It is “full of obscurities and difficulties,”[680] particularly two elaborate yet frivolous descriptions of shields. Moreover, it practically repeats the terrace-scene; both passages can hardly be genuine. (iii) 1223-58 (or 1282), the messenger’s account of preparations for the single combat, followed by the dialogue in which Jocasta calls Antigone to accompany her to the field. Not only are there marked faults of style;[681] it is impossible, considering the urgency[682] of the news, that the queen should stay for this tedious narrative. Jocasta’s conversation with Antigone is by no means so objectionable. It is very short, and the style is not unworthy[683] of Euripides. Nevertheless, it is strange that the queen should wait for her daughter at so urgent a time. (iv) the end of the drama, though at what point the addition begins is not agreed. The last address of Œdipus which opens thus[684]: ὦ πάτρας κλεινῆς πολῖται, λεύσσετ’, Οἰδίπους ὅδε, ὃς τὰ κλείν’ αἰνίγματ’ ἔγνω καὶ μέγιστος ἦν ἀνήρ, unmistakably recalls part of the finale in _Œdipus Tyrannus_:[685] ὦ πάτρας Θήβης ἔνοικοι, λεύσσετ’, Οἰδίπους ὅδε, ὃς τὰ κλείν’ αἰνίγματ’ ᾔδει καὶ κράτιστος ἦν ἀνήρ. If we accept the customary date of Sophocles’ play (405 B.C.), it was produced after Euripides’ death. Further, the whole scene of Œdipus, Antigone, and Creon has evidently been expanded and distorted. According to one version, that followed by Sophocles in the _Antigone_, the maiden remained in Thebes after the battle and buried Polynices; according to the _Œdipus Coloneus_ she accompanied her father into exile. Here the two versions are combined. Moreover, from the entrance of Œdipus onwards the play abounds once more in unnatural or unusual turns of speech. And it may be thought a serious mistake to bring the aged sufferer forth at all,[686] thus creating a new interest at the last moment of a play crowded with incident. But though this portion contains much unauthentic work, it appears to be intermingled with the genuine.