THE 
 
 ION OF EURIPIDES 
 
Εοηίιοη: C. J. CLAY & SONS, 
 
 CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, 
 
 Ave Maria Lane. 
 
 tffambritJflc: DEIGHTON, BELL AND CQ. 
 Icipjifl: F, A. BROCKHAUS. 
 
ΕΥΡίπίΔΟΥ ΙΩΝ 
 
 THE ^^^/^lJι^Qι: 
 
 ΙΟΝ• OF EURIPIDES 
 
 WITH A TRANSLATION INTO 
 ENGLISH VERSE 
 
 AND 
 
 AN INTRODUCTION AND NOTES 
 
 BY 
 
 A. W. VERRALL Litt. D. 
 
 OF Lincoln's inn barrister-at-la\v 
 
 FELLOW AND TUTOR OF TRINITY COLLEGE CAMBRIDGE 
 
 CAMBRIDGE 
 
 AT THE UNIVERSITY PRESS 
 
 1890 
 
 [Αϊ/ Rights reserved'\ 
 
®amt)rilige : 
 
 PRINTED BY C. J. CLAY, M.A. AND SONS, 
 AT THE UNIVERSITY PRESS. 
 

 TO 
 
 WALTER LEAF Lttt. D. 
 
 My dear Leaf, 
 
 If you will permit, it will be a great pleasure 
 to me that this book- should testify, as long as it 
 may, to our twenty years of intimate association in 
 life and in study. 
 
 Yours affectionately, 
 
 A. W. VERRALL 
 
PREFACE. 
 
 Trinity College, Cambridge, 
 September lo, 1890. 
 
 It is expected that in the approaching term the Ion will be 
 acted in Cambridge. The Syndicate of the Pitt Press have 
 honoured me with the proposal that I should take this occasion 
 of writing upon the play ; and the present book is the result. 
 
 The final stages of the preparation have necessarily been 
 compressed into a very short time. This would not be any 
 excuse for crude or hasty opinions, nor is it so pleaded. But 
 I may perhaps ask indulgence on this ground, if the details 
 are not as perfect as they should be. That they are not much 
 more imperfect is due to the staff of the Press, to whom I owe 
 my cordial thanks. 
 
 The books which I have chiefly used are the commentaries of 
 my friend Mr M. A. Bayfield (Head Master of Christ's College, 
 Brecon) and of Paley, the article on Delphi by Dr W. Smith, 
 and that on Oracuhmi by L. Schmitz {Diet. Geog. and Diet. Aitt. 
 respectively). In the notes a quotation from Mr Bayfield is 
 marked with a Β : but his book has been before me throughout 
 and I have used it as unscrupulously as he could desire. I am 
 also indebted to a curious book on the play (a translation with 
 preface etc.) by H. B. L. (Williams and Norgate, 1889) for most 
 important aid, the nature of which will appear in the proper 
 place. The legends connected with the plot have been recently 
 discussed in a work with which I am not unacquainted, and to 
 which I have gone upon occasion {^Mythology and Monuments 
 
viii PREFACE. 
 
 of Ancient Athens ^ by Jane E. Harrison and Margaret De G. 
 Verrall, Macmillan, 1890). For personal assistance I have to 
 thank Miss Harrison and, as often before, Dr Jackson of Trinity 
 College and Mr R. A. Neil of Pembroke College. 
 
 The chief interest of this volume will be found in the 
 Introduction and Translation. The notes are for the most part 
 traditional and as brief as I could make them. The places 
 in which any noticeable interpretations have been proposed are 
 so few, that I may as well collect them, for the convenience 
 of the student, here instead of in an Index : — vv. 103 — 04, 
 323—29, 379, 404, 476 fif., 500, 517, 527, 554, 579—81, 602—06, 
 649, 702, 721, 755, 828, 916, 922, 929—30, 1095, 1 106, 1 1 17— 18, 
 1 130, 1 171, 121 1, 1235 — 36, 1246, 1251, 1264, 1266—81, 1295 — 
 1305, 1355, 1396, 1410, 1427, 1493, 1562. 
 
 With regard to the text it is traditional throughout. The 
 MSS. are irregularly written, but most of the errors are trivial 
 and have been corrected with certainty. It has been my 
 intention to notice the MSS., wherever there appeared to be 
 any actual or probable disagreement as to the proper reading, 
 but otherwise not. There is scarcely a place in which the doubt 
 is important. I have so far as possible excluded all critical 
 marks from the text itself. In a book intended to serve as 
 a basis for criticism it is better (as a reviewer of my Agamenmon 
 observed) to mark all doubts in this way. But as the purpose 
 of this book is purely literary, and it cannot be supposed that 
 any editor would take it for his sole apparatus critictis^ I have 
 preferred to avoid a disfigurement, which, unless it is carried 
 out more thoroughly than ever it has been yet, is really mis- 
 leading. Conjectures of mine there are almost none. I have 
 put άκμάν for αΚκάν in v. 484, ά\\α...νόσω for άΧ\Λ...νοσώ in 
 V. 755, κάΧως for καλώς in v. 1410, and have made suggestions 
 upon znj. 1235 and 1424. 
 
 A. W. V. 
 
CONTENTS. 
 
 Introduction. 
 
 I. Gods and Machines 
 
 II. The Figures of the Omphalos . 
 
 III. 'The Unity of Time' 
 
 IV. The Parodos or Entrance of the Chorus 
 
 XI 
 
 xlvi 
 
 xlviii 
 
 Hx 
 
 Text, Translation, and Notes 
 
INTRODUCTION. 
 
 I. Gods and Machines. 
 
 A Woman. But now this fellow, this Euripides, 
 By representing deities in his plays, 
 Has brought the men to think they don't exist'. 
 
 Aristophanes. 
 
 He prayeth best, who loveth best 
 All things both great and small. 
 
 Coleridge. 
 
 At the end of the prologue to the play before us, the god 
 Hermes, by whom it is spoken, retires among the bay-trees in 
 the precinct of Delphi, declaring his intention to 'see out' the 
 events which Apollo has determined to accomplish in the course 
 of the day. It is much to be wished, that we had been permitted 
 to hear in an epilogue, instead of the vacuous revelations of the 
 goddess Athena, the remarks of the divine Interpreter upon the 
 events which he actually saw, and that we might have had 
 the help of his critical sagacity in forming our own opinion. He 
 went away doubtless a wiser and, one must suppose, a sadder 
 god ; and he must have carried impartiality almost to a fault if, 
 with Paley, he could 'safely pronounce the lofi one of the most 
 perfect of the Greek Tragedies'. 
 
 Indeed he would have been generally supported in a more 
 strictly qualified judgment. Accident has given me lately the 
 opportunity of hearing many remarks upon the Ion, more free 
 
 ^ Thesni. 450. νυν δ' ouros, iv ταΰσιν rpay^diais ποιών, 
 Tovs &νδρα$ avaweweiKev ουκ etvai ^eoi/s. 
 
A 
 
 xii INTRODUCTION. 
 
 than those which we are accustomed to print; and I find that, 
 whether in print or in talk, the admiration, which the play must 
 always excite, is almost always accompanied by emphatic re- 
 serves. *A fine play, — but the story is disgusting.' Ά fine 
 play, — but most of the characters are detestable' — 'but without 
 much serious interest' — 'but much better in the earlier scenes' — 
 *but weak at the end' — 'but why wind up with a dens ex 
 machina}' — 'but Athena is really absurd!' Such is, I think, in 
 brief the state of opinion. 
 
 Now it appears on consideration that of these objections, in 
 all of which there is much apparent justice, the first three, to the 
 incidents, the characters, and the tone of the poet, may be traced 
 to a common source. The facts are revolting (strangely so, in 
 the crudity of statement, for the artistic reserve of Athenian 
 tragedy); and the characters, even that of Ion, are not by any 
 means perfect or purely agreeable to contemplate. But the 
 highest tragedy is composed of such facts and such characters. 
 Why is it that in this case we do feel a certain resentment 
 against the use of the common material.^ Is it not because, in 
 the penetrating words of the third objection, the play is wanting, 
 or supposed to be wanting, in 'serious interest'.•* No objection is 
 made to the matter of the Oedipus Tyranmis, not, that is, by any 
 one who has studied it, for it is constantly made in anticipation 
 by those who have not. In the solemn and profound interest, 
 which Sophocles feels and excites, all sense of disgust is merged. 
 We feel that if the poet has taken a horrible subject, it is because 
 he had an awful message to deliver ; and we not only pardon 
 but thank him. In the Ion we, speaking generally, feel nothing 
 of the kind. We do not and cannot believe that Euripides 
 really cared about his message, or had any message in particular. 
 And why do we disbelieve in the sincerity of his interest.^ Be- 
 cause^ — I have heard and read this again and again — because, if 
 he really cared about his story, if he regarded it as anything 
 more than the pastime of an hour, to be forgotten when we leave 
 the theatre, he never could have dismissed us with the miserable 
 explanations of his goddess in the machine. 
 
 It is the truth. The close of the play is indeed so futile and 
 disappointing as to cast back a shadow upon the whole. If the 
 speech of Athena is really the Poet's last word, if we are to go 
 
INTRODUCTION. xiii 
 
 away content, taking her view of the facts for our own, then 
 Euripides cannot be acquitted of trifling and paltering with 
 everything that deserves respect, with love and hate, with God 
 and man, with life and death: then indeed, for such a purpose 
 and to such an end, he had no right to drag us through the 
 windings of such a labyrinth : then indeed we must wonder how 
 a writer capable of such unmeaning insults can ever have had 
 any power upon the creed and convictions of his contemporaries 
 and of the world. 
 
 Let us place the story before us : 
 
 The scene shows the court and altar before the temple of 
 Apollo at Delphi. Hermes, as prologue, informs us that in 
 Athens, many years before, Creusa, a daughter of the house of 
 Erechtheus, the noblest house in Athens, was ravished by Apollo, 
 gave birth in secret to a son {Ion), and left him in a cradle, with 
 tokens upon him, at a certain cave. Thence, by Apollo's com- 
 mand, Hermes conveyed the cradle and child to the temple at * 
 Delphi and left it upon the steps. The prophetess of Apollo, -^ 
 the Pythia, found him and brought him up. He is now adult, 4 
 and is still in the service of the temple. Creusa, the mother, has 
 since married Xuthus. They have no children, and are coming 
 to-day to consult Apollo on this matter. It is the intention of 
 Apollo upon this opportunity to procure the restoration of Ion 
 to Athens. As he does not wish to make public the true facts, 
 he will, through the oracle, declare to Xuthus that Ion is Xuthus' 
 son. In this belief Xuthus will take him to Athens, where the 
 truth will be disclosed to Ion and Creusa only ; and thus all 
 objects will be attained. 
 
 Ion appears; and after a preliminary scene, which exhibits 
 his simple piety and content, Creusa arrives, a little in advance 
 of her husband. She lays before Ion, as the case of a pre- 
 tended friend, the story of herself and Apollo. 'Her friend' 
 wishes to ascertain whether the child is living or dead. Ion, 
 shocked and incredulous, declares it impossible that the god 
 should be consulted on such a matter at all. 
 
 Xuthus arrives and enters the temple to enquire of the oracle 
 respecting the childlessness of himself and his wife. On coming 
 out again he meets Ion at the door, and greets him as a son, 
 
xiv INTRODUCTION. 
 
 the oracle having 'given him, as the son of his body, the first 
 person whom he should meet on departing'. Ion's astonishment 
 is quickly overborne by the oracle's authority; and on enquiry, 
 conducted between the father and son, it is found that there 
 has been a passage in the life of Xuthus, which removes all 
 ground for surprise. Ion, though wounded and mortified to 
 know himself base-born, acquiesces; and Xuthus proposes to 
 celebrate the occasion with a public feast to the Delphians, 
 at which, to spare Creusa, Ion shall appear as his friend and 
 intending visitor. Ion shall conduct the feast; while Xuthus 
 himself repairs to Parnassus, where, from the probable circum- 
 stances of the birth, it is proper that a sacrifice should now 
 be offered. Some female slaves of Creusa, who are present, 
 are forbidden on pain of death to inform their mistress. 
 
 Up to this point, it will be seen, the action follows the 
 anticipation of Hermes, and seems to have attained the 'divine' 
 ends, when it is disconcerted very simply by the action of the 
 slaves. Creusa arrives with an old man-slave, in whose charge 
 she had been as a child. The others at once betray the secret 
 of Xuthus. Creusa, in a scene of extraordinary power, flings 
 away shame, for the sake of such revenge as she can have 
 against the god, and shrieks the whole story of her wrong 
 ' in the ears of Apollo', cursing and reviling him to his face. 
 Her ancient guardian, who has already declared the 'discovery' 
 of Ion to be a fraud pre-arranged by Xuthus, proposes to 
 punish it by the murder of Ion. Creusa produces a precious 
 and mysterious poison, an heir-loom in her family, which she 
 carries on her person. The slave undertakes to put it in Ion's 
 cup at the feast. 
 
 In the next scene the failure of the plot is announced and 
 described. An ominous word, happening to fall at the right 
 moment, warned Ion to spill, instead of drinking, the poisoned 
 cup. Before a second cup could be presented, the poison was 
 detected by the death of a dove which drank of it, the emissary 
 put to the torture, and Creusa's guilt discovered. She has been 
 condemned to death. 
 
 Creusa, closely pursued by Ion and the crowd, flies to the 
 altar» of Apollo before the temple, from which they hesitate to 
 drag her away. Her fate however seems certain; but suddenly 
 
INTRODUCTION, xv 
 
 the prophetess brings from the temple the cradle, in which Ion 
 was found at the door, wath the tokens in it, and bids him use 
 them to find his mother. Creusa declares the cradle to be that 
 of her child, and undergoes with success the test of describing, 
 without seeing them, the tokens within. Ion flings himself into 
 her arms, and a scene of rapture ensues. 
 
 This however is soon brought to an end, when Ion, who 
 naturally supposes himself, as before, to be the son of Xuthus, 
 is told by Creusa that his father was not Xuthus, and then that 
 his real father was Apollo. From this point {τκ 1485) we must 
 look more closely. At the first moment Ion, relieved from the 
 shock of finding himself, for the second time in the same day, 
 stamped as a vulgar bastard, receives the astounding disclosure 
 as Svelcome, if true'. But he never again refers to it as accept- 
 able either to his faith or his feelings; and almost immediately 
 {iK 1 5 16) in a whispered dialogue of painful interest, urges 
 Creusa to retract it and to admit that his father was a man. 
 It is indeed manifest, that he could not, without contradiction to 
 nature and his character, be made to accept the disclosures 
 of Creusa, at all events under the circumstances, as either 
 grateful to him or even credible. It is the least part of the 
 evil that, accepting Creusa's story, he, with his delicate and 
 religious mind, must see in himself the fruit of an outrage, 
 which he had denounced with indignation, when he supposed 
 himself unconnected with it. ' That might be met by rejecting 
 the fatherhood of Apollo, of which no proof has been offered. 
 But — and here is the thorn which cannot be escaped — part 
 of Creusa's story, her own motherhood, has been proved, upon 
 evidence furnished with Apollo's.sanction;'and the fact so proved 
 seems utterly irreconcileable with what Apollo by the oracle 
 had stated respecting Xuthus. Then — then — the oracle, the 
 oracle of Delphi, is false ! And if so, what is truth, what is 
 proveable, what or who is believable or worth believing any 
 longer at all } That is the appalling question which forces itself 
 upon Ion, and which Euripides thus brings home to his audience 
 by a story, which they knew to be only too probable. Ό θβος 
 αληθής; ή μάτην μαντβνβταί; — this, and not any question purely 
 personal, is the doubt, says Ion, which 'confounds my soul, as 
 well it may'. 
 
 V. I. ό 
 
xvi INTRODUCTION. 
 
 In the time of Euripides, and at Athens in particular, no 
 question was more pressing. The Oracle of Delphi was the 
 very corner-stone of the Olympian religion. Sophocles in the 
 Oedipus Tyrannus {v. 892 ff.) puts the case clearly and truly. 
 There, as in the Ion, grave doubts have been thrown on the 
 truth of this all-important witness to revelation. "If this is 
 to pass," say the Thebans frankly, "there will be an end of 
 religion {eppei τά θεία) altogether. No more pilgrimages for us ! 
 Why worship at all .•* " But in that play Sophocles, whose 
 attitude is orthodox, like that of Aeschylus, though with a 
 difference, signally justifies the suspected oracle; and religion 
 stands firmer than ever. Let us see what Euripides does 
 for it. 
 
 That Euripides, and those for whom he spoke, hated and 
 despised the Olympian religion is written all over his work. 
 Their hate was chiefly moral, their contempt chiefly intel- 
 lectual. They detested the doctrin^-olLthe^^ods for its im- 
 morality; they scorned it as resting ultimately upon the im- 
 posture of prophecy and other fraud. Delphi was to them the 
 main position of the enemy. To Apollo in particular Euripides 
 seldom shows any mercy ; to assail Apollo and the authority of 
 Delphi is a motive constantly present with him, very strong in 
 such works as the Orestes and the Andromache, dominant and 
 absorbing in the Ion. The selection of this antagonist, partly 
 due to his singular importance, is also explained by the special 
 circumstances of the time. We have it on record*, that the 
 partiality of Delphi to Sparta in the Peloponnesian war greatly 
 assisted the anti-religious movement in Athens, and destroyed 
 among the Athenian party the credit of the oracle itself To 
 an Athenian free-thinker therefore Delphi was at once the 
 mightiest and the most assailable of his enemies ; and the point 
 of the problem presented to Ion is that it raises, with all the 
 poignancy of pathetic circumstance, an intellectual and moral 
 question profoundly agitating then, and marking for us a critical 
 point in the history of human thought. 
 
 Now let us consider for a moment what sort of answer, from 
 the orthodox point of view, could be made. What would have 
 been said at Delphi by the Delphian 'princes'.? They certainly 
 
 ^ Plutarch, Detnosth. 10. 
 
fe 
 
 INTRODUCTION. xvii 
 
 could not have produced Athena, at least not before Athenians 
 and in the end of the fifth century, though a century or so 
 earlier they might perhaps have done so with success in Athens 
 itself \ What answer then could they themselves have made ? 
 One only ; the false declaration must be explained away. This 
 art, with the auxiliary art of ambiguity, are necessary branches 
 of the oracular profession, and were well understood at Delphi. 
 The classic example is that of Croesus, who having ruined 
 himself on the faith of an assurance, that, if he made a certain 
 expedition, he would 'destroy a mighty army', was informed 
 that the army, to which the prediction pointed, was that of 
 Croesus himself. In the case of Ion escape was more difficult, 
 since the god had certainly used, in speaking to Xuthus, the 
 unlucky expression ' son by birth '. On the other hand, he had 
 also said ' son given ' ; and nothing remained but to fix upon 
 that and make the most of it. This is precisely what Creusa 
 does {iK 1534). But the simple honesty of Ion rejects the quibble 
 with scorn. With no more success does Creusa try to make 
 out for the lie a motive, which though not respectable, is not 
 altogether selfish {v. 1539). Ion is too sincere not to see that, 
 since the problem is purely logical, the motive of the false 
 statement is irrelevant. * My question ', he says, ' is too deep for 
 such reply '. In utter perplexity he is about to give the oracle, 
 by a direct enquiry from himself, a chance as it were of re- 
 tracting, when — Athena appears above the roof. 
 
 Such being the knot to be solved, let us now consider the 
 solution. To say that Athena cuts it, without untying, is to pay 
 her an unmerited compliment. She does not touch the nodus at 
 all. Whatever she said, how could she } This goddess, or this 
 part of a goddess (for we seem not to be shown the whole of 
 her, though we doubtless see all that there is), this divine 
 ττρόσωιτον, heaved up by the machine, is herself a walking 
 or rather a swinging fallacy, a personified igiioratio clenchi\ 
 A goddess of Olympus, and a goddess ' rising above ' the 
 Delphian temple, is to give bail for the Oracle of Delphi ! 
 And where then is the security for herself.^ As is the speaker, 
 so is her speech. It ignores the question, and Ion bluntly 
 tells her so. More than half of it is spurious legend, compli- 
 
 1 Herod, i. 60. 
 
 b2 
 
xviii INTRODUCTION, 
 
 mentary to Athens but nothing to the matter. In the other 
 half she repeats, point for point and almost without change, 
 the explanations which Creusa has already offered in vain, 
 and which now fall the flatter after exposure. Her apology 
 comes to this : * Yes, the facts are precisely as you can hardly 
 believe. You, Ion, are the son of Creusa and Phoebus, who is 
 indeed the selfish, brutal being that, on that hypothesis, he has 
 been freely called. (In fact it is because he is ashamed to 
 show himself, that I am here). He did tell, and through his 
 oracle, the lie in question ; his motive, if that mattered, was 
 no better, but a trifle worse, than Creusa has said ; and he does 
 propose to save his credit by the quirk which has been treated 
 with such contempt. As to the question asked, whether then 
 the Delphian oracle is worthy of credence or not, I do not 
 choose to answer directly; but I leave you to suppose, if you 
 please, that it is not. I have only to add, that (since Ion will 
 grow up into an excellent father and hero of the Ionian race) 
 all this is of no importance, and you may all go happily home, 
 convinced that revelation is a fraud and faith a delusion. And 
 of this there is no shadow of doubt, no possible, probable shadow 
 of doubt, — for I am Pallas Athena!' 
 
 No wonder that she produces no effect ! For she produces 
 none. Creusa indeed is ready, as she was ready before, to 
 recant everything, to forget everything, except that she has 
 recovered her child. Her servants are still, as ever, the servile 
 echo of her sentiments. But Ion } It was to re-assure Ion 
 that Athena came. " Daughter of Zeus, not with disbelief shall 
 we receive thy words. I believe that I am the son of Apollo 
 and Creusa. That was not incredible before^ Such is his 
 reply, his first and only word ; neither Creusa nor the goddess 
 can bring him to speak again. His silence is indeed so strange, 
 so incomprehensible, if we suppose that the story is really 
 coming to a triumphant conclusion upon the faith of Athena's 
 me.ssage, that in modern editions two speeches are actually 
 taken from Creusa to put in his mouth\ Better proof we could 
 not have, how impossible it is to reconcile his attitude with the 
 supposition that his difficulties have been cleared away. 
 
 And we, the readers, what do wc think.!* xhe more atten- 
 ^ w. 1617 — 18. 
 
INTRODUCTION. xix 
 
 lively the close of the play is read, the more clearly we shall see 
 that, after the epilogue as before, we are left with a question 
 which, unless it is answered in the play, is not answered at all ; 
 that the goddess is no more, and is not offered for anything 
 more, than a convenient piece of machinery, from behind which 
 the author says to the audience, " I have shown you a story 
 sad and obscure, composed of incidents which, whether or not 
 they happened long ago, might certainly happen to-day. Upon 
 the facts of the case, and upon the grave questions which arise 
 out of it, you have no doubt formed an opinion ; many of you, 
 I doubt not, have read my tale or heard it recited already ; or 
 you will form an opinion after reading and reflexion. And — 
 I congratulate you on all the glories of Athens." 
 
 There is another indication that the epilogue is not given 
 us by Euripides for his real exposition. The epilogue (and the 
 prologue) are full of miracle and miraculous antiquity. The 
 drama proper contains nothing plainly miraculous at all, and is 
 'modern', not in details indeed but in its whole spirit and 
 colour. Certainly the Athenian dramatists were not careful of 
 anachronism ; but there are limits to license. The Eunienides 
 of Aeschylus, for example, is of course full of matter not strictly 
 consistent with the age supposed; but nevertheless the general 
 tone is suitable enough to a time when Athena and Apollo 
 walked among men and pleaded before the judges of Athens. 
 The tone of the Ion is that of the age after Pericles. Nor was 
 Euripides indifferent to the 'modern' character of his play; as 
 we may see by this. The miraculous elements in the story are 
 grouped with the name of Erichthonius. In the most prevalent 
 genealogy Creusa was but three generations from Erichthonius 
 himself But Euripides at starting, and everywhere, implies a 
 long pedigree between them\ In one respect (we may observe 
 in passing) the commentaries have put into the story a character- 
 istic rather too modern. The prophetess of the play is some- 
 times described as old and venerable. There is no internal 
 evidence for this, and the external evidence is against it. The 
 PytJiia of early times was always young^ For the avoiding of 
 scandals, the practice grew up of appointing an old woman, who 
 
 ^ w. 20, 722, 1000, etc. 
 
 ^ See the article on Oracidicm mentioned in the preface. 
 
XX INTRODUCTION. 
 
 played the part of a girl and was so dressed, the γραΟ? αντίτται^ 
 of the prologue to the Einnenides. Aeschylus by an ' anachron- 
 ism ' sanctions this practice. But it was not fully established 
 even in his time or till long after; for the final adoption of it is 
 attributed to a scandal two centuries later than Euripides. In 
 times when there was a royal house of Erechtheidae in Athens, 
 there was also a young not an old Pythia in Delphi. In the 
 absence therefore of any intimation to the contrary, we should 
 assume that the facts are in keeping. 
 
 Since then Euripides has left us with a question, and a self- 
 refuted answer to it, which in effect refers us to the play and to our- 
 selves ; let us proceed as we are directed, and construct from the 
 play that authentic epilogue which Euripides holds in his hand. 
 Let us suppose that the jubilant Creusa and the unsatisfied 
 Ion have departed with their attendants, the crowd is dispersed, 
 and Athena risen above or withdrawn below, as we prefer to 
 think. The sun is behind the mountains; and the conclave of 
 Delphi, the priests, sacrificers, judges, the proxeni or entertainers 
 of pilgrims, and the rest\ are gathered round the great altar in 
 the evening light, eagerly conversing over the events of the day. 
 The prophetess with some women is sitting apart. 
 
 Suddenly from the portico behind them proceeds a solemn 
 voice, which says, It was not well done! ; and a man advances 
 towards the startled assembly, followed by a large party from 
 the colonnades and gardens around. 'May we ask, friend ' says 
 one of the principal ministers, a proxenus^ 'the reason of this 
 intrusion.-^' 
 
 'Respected Delphian', answers the spokesman, 'we are Athe- 
 nians in attendance upon Xuthus. He has returned from Par- 
 nassus, where most of us were with him; but I and one or two 
 more have been here throughout. Our companions found us in 
 your precinct, in converse, as you will not be surprised to learn, 
 with Hermes. The Son of Maia, I grieve to say, was in no good 
 humour. It seems that the day has gone not quite as Apollo 
 had led him to expect. He betrayed his expectations this 
 morning in a soliloquy which may, he fears, have been overheard ; 
 "and then", said he, "I shall be ridiculous. I shall complain at 
 the temple. Or rather", and here I thought he looked malicious, 
 
 ' w. 94, 414, 1 219, etc. 
 
INTRODUCTION. xxi 
 
 'you shall carry my complaint. Go to the fore-court; you will 
 ind them all there; and tell them from me, that it was not 
 kindly done'\ I hope that, having obeyed the god, we have 
 Our pardon'. 
 
 The Proxenus {after a pause). Well, Athenian, you have 
 lelivered the message,... two messages. We will offer to the Son 
 >f Maia such explanations and sheep as may content him. It 
 mly remains that we bid you good-bye, and congratulate you 
 m the excellent effect, which must be produced in Athens by 
 le relation of to-day's proceedings. Our heart yearns for the 
 :ity of Athena, so distracted in these latter days by the deceits 
 )f the unbeliever. But after this story — 
 
 Athenian. Indeed I hope so, I think so. Yes .•*... 'House of 
 Erechtheus, sons of Earth, long-lost heir. Daughter of Zeus, aegis, 
 Gorgon, eternal olive, Ionian stock, imperial race, Geleontes, 
 Hopletes, Argades'...Yes.? The story must be most advantage- 
 ous to religion and to Delphi,... entirely satisfactory... to a certain 
 portion of the audience. 
 Prox. And the rest } 
 
 Ath. Ah, noble Delphian, the rest! They are the men who 
 read, who read, a dangerous thing for some of us ! The Epsilon, 
 of which your temple preserves a specimen, is now, you know, a 
 drug in the market; and even ΓΝωθι οεΛγτοΝ and μηΔεν λγλν, 
 excellent as mottoes, are, as literature, insufficient for the de- 
 mand. {Several Delphians put their hands to tJieir swords) 
 Prox. Sir, if this affront — 
 
 Ath. Most respected, you mistake the matter. Violence to 
 us (we are many and citizens of Athens) is as needless as unde- 
 served. You have but to dismiss us and we go. Only for your 
 own sakes do not assume that this story, from which you hope 
 so much, will pass in Athens uncriticized, or that every one 
 there, women and men, will be of Creusa's opinion, rather than 
 of Ion's. {A pause.) Shall we go then, shall we relate the affair 
 as it stands, and add only this, that we asked you, as we most 
 humbly ask, for a little enlightenment, and that you sent us 
 away 'i {Murmurs. The chief personages confer aside) 
 TJte P7Ophetess. Let him go. 
 Prox. I think not. 
 The Proph. Let him go ! 
 
xxii INTRODUCTION. 1 
 
 TJte Priest of Zeus. Surely not. [To the Athenians^ My 
 sons, you also mistake. Delphi is open; let us hear your 
 difficulty. 
 
 Ath. Then, reverend father, it is this. For us, young men 
 of Athens, who are accustomed to our stiff jurisprudence and 
 patient courts of law, the methods of inspiration (with all respect 
 to your white hair) are a little quick. We know that Apollo, 
 acquired the oracle from Themis, but the institutions of the 
 foundress seem to be fallen into contempt. In Athens for 
 instance, an instance merely, we could not hunt a woman to 
 death, for a crime attempted only, without placing her before her 
 judges. {TJie Priest makes a depi^ecating gesture) The spirit of 
 litigation, you will confess and deplore it, has penetrated our 
 whole minds. 
 
 When therefore this story, or rather (and here is the point) 
 these two stories respecting the birth of Ion come to be repeated 
 among us, there will be, I assure you, advocates for both ; 
 our party here present is not unanimous; and it will be 
 thought proper to hear both sides. Will you kindly hear now 
 through me the defenders of your first, your discredited story, 
 and graciously remember, if I should offend, that I arh but 
 giving you a faithful representation of my sceptical clients } 
 Priest. Continue. 
 
 Ath. We say then, prophetess and ministers, that within a 
 few hours you have put forth three statements concerning the 
 parentage of this boy. You have declared, by your oracle, that 
 he is the son of Xuthus. You have since affirmed him, through 
 the Pythia though not by the oracle, to be the son of Creusa, 
 and through One whom we would rather not name (but Her 
 evidence is at any rate yours), to be the son of Apollo. One of 
 these statements at least is untrue. You say that it is the 
 statement made *by inspiration'. We note the admission for 
 what it may be worth. And ive say, more tender of your god 
 than you, that the first statement, the inspired statement, is 
 true ; that you know it to be true, and could prove it, prophetess 
 and ministers, if you chose ; that you made it, to be just to 
 you, partly because it was true, and partly for other motives, 
 not right, but not unkind. We say — {Murmurs and exclamations?) 
 Priest. But, Athenian, — 
 
INTRODUCTION, xxiii 
 
 Ath, One moment ! 
 Another Athenian. Go on, Cephisophon ! 
 Several Athenians. Yes, yes ! 
 Proxenns. Cephisophon ? The actor ? 
 Priest. And poet. 
 Ceph. And friend of the poet. 
 Prox. Go on. 
 
 Ceph, Between two contradictory statements, made by 
 the same deponent, probabilities must decide. — Which is the 
 likeher .^ Which is confirmed by other testimony t Which (sup- 
 posing it untrue) had the witness the less temptation to make 1 
 Let us put together all we know from you, from Xuthus, and 
 otherwise, of your original story; and let us see how it looks\ 
 
 Some fifteen or sixteen years ago, there was held in Delphi, 
 and on yonder mountain, one of those nocturnal rites, which 
 to the profit of your city and the edification of the world, 
 are celebrated, one year out of two, in honour of your Bacchus 
 or Bromius. To this feast, among the pious and the... adven- 
 turous, came an ardent young man from Phthia. He was enter- 
 tained, as we know, by one of yourselves, one of your official 
 proxeni. I think, Sir {to the Proxe7ms), but it is no matter, that 
 you were the man. 
 
 Prox. Go on, sir infidel ! I know your name. 
 Ceph. I shall find one for you ! {continning) This official 
 then received young Xuthus, feasted him liberally, and intro- 
 duced to him some women — Or {to the Proxenus) shall I say 
 procured... ? 
 
 Prox. Cephisophon ! 
 Ceph. Pandarus ! (Outcries.) 
 
 Priest. Peace, peace ! (Si/ence) Athenian, is it part of your 
 stiff jurisprudence to butt at the patient court.? 
 
 Ceph. Pardon ! I will be careful, {continuing) This intoxi- 
 cated... no, I mean, this initiated youth was duly introduced to 
 some of your Delphian women, who were to spend a religious 
 night upon Parnassus. {He looks doubtfully at the Priest?) 
 Priest. Proceed, Sir. 
 
 Ceph. In due time took place another ceremony, also held, 
 I fear, with less pomp and edification but perhaps not less 
 
 ^ vv, 5J7 if., 714 if., prologue, etc. 
 
xxiv INTRODUCTION. 
 
 regularity, in the alternate years. {A patise.) Whatever may 
 have been the position of the mother at the time of the initiation 
 — we find her first, remember, in an official house, — at the time 
 of the birth she was connected very closely with the intimate 
 service of your temple. {A laugh.) 
 
 Priest. Hush ! 
 
 Ceph. You laugh ! Who found the child ^ {A silence.) 
 
 The Prophetess. I did. 
 
 Ceph. Where? 
 
 Proph. On the temple-steps. 
 
 CepJi, When } {A silence^ At what hour } I understood 
 from Hermes*, or at any rate I have heard, that — 
 
 Proph. At sunrise ; when I entered the temple. 
 
 Ceph. Ah ! Now at Athens, men of Delphi, it will certainly 
 be asked, how often such a thing has occurred, and how many 
 women of your town can or could possibly obtain access, during 
 the night, to this walled precinct, this fortress as in fact it is, 
 full of jealously guarded treasure; and how — 
 
 Cries. Hermes ! Athena ! Pallas ! Hermes ! 
 
 Ceph. Oh yes! We know that Jiere you can bring all Olympus 
 to say that it was not by the mother that the child was laid 
 at the temple; that it was brought from Athens through the 
 air^! But for the moment, remember, you are supposed to be 
 arguing before judges of Athens. Did you note what the lady 
 Creusa said about the difficulty of proving in such a court 
 the alleged fatherhood of Apollo' 1 At any rate I can tell you 
 that Pallas Athena knows Athens and her own dignity far too 
 well to appear for examination in an Athenian dicastery. If it 
 were the Areopagus even ! But happily there is no murder 
 in the case, and this modern procedure is so scrupulous ! As 
 for Hermes, why, he 'knows Athens' too, as Apollo remarked 
 to him^; and besides he is vexed, as I said before, and vowed he 
 would have no more to do with the matter. So that unless you 
 can find some other and... different witness, I fear there will be a 
 suspicion, that it must have been the mother who did it after all. 
 The prophetess thought so, I am sure, when she found the 
 child ^ Did you not } 
 
 * See the prologue. * v. 36, v. 1599 ; but see w. 1453 — 56. 
 
 ^ V. 1541. ^ V. 30. • V. 44. 
 
• INTRODUCTION. xxv 
 
 Proph. Yes. 
 
 Ceph. That it was a woman of Delphi ? 
 
 PropJi. That it was a woman of Delphi. 
 
 CepJi. And never doubted it till to-day .-* 
 
 Proph. And never doubted it... 
 
 Ceph. {continuing hastily). Then what happens } No 
 questions asked ; no search for the parents ; the child is 
 accepted and brought up in the temple. Is that... usual .-* Well, 
 the time goes by. Xuthus, the father of the boy, whose relation- 
 ship to him (we shall say and, until the re-appearance of 
 Hermes, Athens as a jury will believe) was necessarily known 
 to one person among you, a person not far from the tripod, 
 — Xuthus, I say, went to the wars, won fame and fortune there, 
 and married a lady of princely rank in Athens\ All this, being 
 notorious, you knew — it is your business to know all that you 
 can, — and one in particular knew. Time went on, and they had 
 no child. At last you learnt, some of you learnt, and one in 
 particular learnt with a strange mixture of joy and misery, 
 that they were about to consult you on their distress. I say 
 you learnt this before their arrival, for they knew it at the 
 oracle of Trophonius, where Xuthus first enquired, and Tro- 
 phonius gave to him a hint of what Apollo's answer would 
 be'^ Now we cannot suppose that Apollo would be more com- 
 municative to Trophonius and his people than to you. Xuthus 
 and Creusa then were coming. The infant of Xuthus was grown 
 to man, reared in comfort, in splendour even, and advanced 
 to a place of trust ^ — by the same interest which preserved 
 him at first. He had been reared — Ah, men and women, let 
 us be friends ! — in those good lessons, which you can truly 
 teach, and could teach (we think, but let us not quarrel) as 
 well or better if you were of one mind with us. He was fit 
 for the high fortune of his father ; he had a right to it even, 
 in a certain sense; and it was resolved that he should have 
 it. The oracle declared to Xuthus — and that time, if ever, it 
 was something divine which spoke in the prophetess — the oracle 
 declared, with absolute truth in letter and spirit, that his own 
 son should be given him, and the person designed by the oracle 
 was Ion. 
 
 1 See the prologue, etc. ^ w. 300, 407. ^ v. 54, 326. 
 
xxvi INTRODUCTION. 
 
 How can you, or how can we, go back from this story now, 
 consistent, probable, confirmed to common sense by circum- 
 stance and testimony, and in rehgion by the highest sanction 
 known ? Or if it is to be a question not of truth but expediency, 
 then surely it is better that you should acknowledge an error 
 in yourselves, than that you should have to defend the oracle by 
 the subterfuges we have heard. And consider this, for you are 
 not without hearts : you have laid it down\ as a condition of the 
 happiness which, upon the strength of your second story, you 
 have promised to this unhappy family, that Xuthus should 
 be kept in ignorance. Cannot you learn better from the almost 
 fatal failure of Xuthus himself.-* You know that your dishonest 
 condition is also impossible; that shortly, tomorrow, perhaps to- 
 night, love or malice will carry the matter, no secret even now, 
 and husband and wife will know that you have paltered with 
 one, if not with both, and they under your guidance have tried 
 to deceive each other. Have mercy upon them ! Take back 
 your retractation quickly, or there may well be murder yet! 
 Truly, if you do, the lady Creusa is likely to break her heart. 
 But neither can she be spared, if you do not. She also will see 
 after the first rapture, or will be made to see, that her supposed 
 possession has no warranty worth trust. Such are the goods of 
 deceit ! Give us then, give us the best bad chance, and your 
 own truth again to begin with ! {A pause) 
 
 Prophetess. If indeed it were best for — 
 
 Priest. Athenian, this is all impious folly ! In the first 
 place, the young man has been proved the son of your lady, 
 * proved ' after the fashion of your own human courts, as you 
 very well know : and your * judges ' would laugh at us for our 
 pains, if for our own or any interest we could be tempted to 
 deny it. But further, your tender argument for the truth of the 
 god, as you please to call it, comes to this — that we, who 
 dictate the answers of the prophetess, did on this occasion 
 dictate a truth. A noble defence ! We know that such things 
 are said of us by you and your like, and we scorn them. You 
 have professed to meet us frankly and friendly. Take then 
 a frank and friendly answer. As the god is true, that which 
 the prophetess said to Xuthus, not one of us put in her mouth. 
 
 ^ V. 1601. 
 
INTRODUCTION. xxvii 
 
 CepJi. {lookiiig at the prophetess). Quite possible. She may 
 have known the father herself, {starting and then controlling 
 himself) I could believe you ! 
 
 Proxcnns. But you do not believe us ; for you sneer. 
 Explain then, pray, if the oracular answer was a plot in favour 
 of Ion, why did we not say simply that Ion was the son } 
 Why did we risk everything by directing Xuthus to ' the first 
 he should meet on leaving the temple'.-* How could we know 
 who this would be, or bring Ion at the right moment to 
 the door.? The words of the oracle were not only true, sub- 
 stantially true, as the blessed Athena showed, but bear on 
 the face of them the stamp of a miraculous revelation ! 
 
 Ceph. Ha ! A miracle, a revelation ! {approaching the 
 Proxemis) The next man you hit will be Cephisophon ! {He 
 strikes him a light blow, and parries that which the Delphian 
 returns) A prophecy ! 
 
 Several Delphians. Sacrilege ! 
 
 Ceph. A prophecy ! {A langh here and there?) How could 
 I know whom you would next hit } Because I knew who would 
 next hit you. How could your conclave, sitting in the mid 
 sanctuary, know that Ion would be at the door } Because you 
 could detain the enquirer, and did, till Ion was at the door. 
 He was your own door-keeper^; his business on a day of 
 consultation was to be about the entrance. He was not obliged 
 to be there always, it is true ; and it chanced that his duty took 
 him away just after Xuthus had entered". What followed.? 
 That as long as Ion was absent, Xuthus remained with you ; 
 and that at the first moment when Ion came back, and his 
 voice was heard in conversation outside, Xuthus * was sped ' 
 (quoth the handmaidens) from the interview to meet his son. 
 You must have been glad when it was over, for the accidental 
 absence was awkward, and the interview had to be made as 
 long as it well could be'. {Muttering.) 
 
 Besides you took another precaution. The youth's name 
 was, had always been, Ion. How do I know that .? From 
 Hermes^ that is, from my mother-wit, as the slave did'l You 
 
 1 VV. 219, 414. 2 ^^ ^24. 3 W. 510—516, V. 787. 
 
 ^ iv. 81, where the addition of BeC^v implies that mortals had used the name before. 
 5 V. 830. 
 
xxviii INTRODUCTION, 
 
 had put in your oracle one of your favourite mystic puns, con- 
 necting the person designated with this name\ So that if by 
 extraordinary ill-luck you had not pitched Xuthus straight upon 
 his son, you would have fallen back on the ' substantial truth ', 
 that no one but Ion was called Ion ! (Laughter and indigna- 
 tion}) 
 
 In this way you also secured a minor but not undesirable 
 object, that his name should not be changed. You knew that 
 Xuthus — even if you gave no hint ; we do not know all that 
 passed— would look in the oracle for a name. We all consult 
 the seer on these occasions ; the women will have it. And look- 
 ing he could not miss. The reason why the child was called Ion, 
 you need not ask ; for though I can guess, I shall not tell you. 
 {Exclamations. ) 
 
 And do not, I advise you, ask me for proof that voices 
 at the temple-door are audible within ^ You know they are; 
 and you may get more proof than you want. A miracle ! Such 
 miracles are the whole of your trump — I mean, your mystery. 
 It is thus that you play with the hearts of men. You find out 
 (it is not hard) what is the thing for which your petitioner 
 sighs; and you offer it to him with just some such simple 
 hocus-pocus as, aided by his own eagerness, will make him 
 take the boon for divine. You impose on no man, except (but 
 the exception is sufficient) in his own case. Xuthus would have 
 kissed your hands for joy. But the slaves of Creusa } Their 
 wishes were against you, and they suspected fraud on the spot^ 
 Would any one of them have been so scrupulous, if you had 
 offered to reveal that she was a born Athenian } A miracle ! 
 Gods in heaven ί {Angiy outcries on all sides.) 
 
 Proxenus. Enough, Cephisophon of Athens ! You can now 
 have no insult left. Go, go all of you ; and lay your case before 
 any dicastery from Alpha to Iota. See how the lady Creusa 
 will answer you, and what will be said when her proofs are 
 produced! {Tliey prepare to go?) She has the tokens, and it is 
 where they are that this * suit ' must be heard. 
 
 1 r/. 831 : iiTTtj σνναντ-ηση σοι Ιων {'Των) Iovtl were the terms in full. Plainly this 
 may be rendered, if convenient, 'whoever, being Ion, shall meet' etc. 
 
 2 From the door to the Adytum seems to have been about 100 ft. 
 ' V. 685, V. 692. 
 
INTRODUCTION. xxix 
 
 CepJi. {going). Oh, the tokens ! We shall see. There is 
 nothing in that. {Laughter) 
 
 Priest {laiighing). Man alive ! You are a miracle yourself, 
 a miracle of presumption! {Many of the Athenians applaud) 
 If it were not so late in the day, it would be amusing to know — 
 
 Prophetess {to him aside). Ah, let him go ! 
 
 Ceph. To see my case ! No, thank you ! 
 
 Priest. You need not fear, Sir. No advocate will appear 
 for us. 
 
 Ceph. I have no fear, no care, except for the truth. There 
 is nothing in the tokens. What we shall say is this : — 
 
 When Ion was given to Xuthus, you supposed and expected 
 that the husband would keep his secret. If he could not 
 (as it proved), then you trusted that the wife would accept 
 the fact and submit. Unluckily for your game, one of your 
 human draughts-men would not be played. The unhappy 
 lady came here charged to breaking with a passionate sorrow 
 and hope, which then you did not know. In her agony she 
 betrayed herself to others and to you, actually shrieking into 
 the shrine (where some of you sit*) the story of her wrong ^ 
 (I said you should hear again from the door.) Evil advisers 
 seized the moment, and hurried her into a crime, which accident 
 detected before the accomplishment. Your full-fed fanatical 
 rabble, led by the young man, whose honest head had been 
 a little turned by the superstitious extravagance which you 
 teach for law^ and whose anger on his own account was natural 
 enough, rushed in a body to your magistrates. What you, the 
 judges, would have done, if free, I do not know. A minority 
 actually voted for mercy*. But in fact you merely registered 
 the sentence of your sacred and rascally populace. {The Priest 
 smiles in spite of himself) 
 
 What could you do } You bethought yourselves of the 
 secret you had discovered, of the outrage and the lost child. 
 Could anything be made of that } 
 
 Creusa fled — here, to your own altar, pursued by Ion and the 
 mob. They hesitated ; but it was plain that they would not 
 hesitate long. Ion was haranguing (not without force) against 
 
 ^ 7Λ 414. "^ V. <)\\. 
 
 3 Tjv. 1220 — 25. * V. 1223, V. 1251. 
 
XXX INTRODUCTION. 
 
 the abuses of the sanctuary. You were in a fearful extremity. 
 You saw your altar about to be defiled with an act which 
 no one out of Delphi would distinguish from murder\ Such 
 ^ things have happened before ; I need not tell you the story of 
 Neoptolemus^ You foresaw the horror, perhaps the vengeance 
 of Athens and Hellas. You saw — I really beg your pardon ; 
 you are not fiends ! — you saw a woman about to suffer a fate 
 too horrible for any desert, and hideously disproportionate with 
 hers; and you saw an innocent lad, your pupil and favourite, 
 about to load himself with a life-long danger, a life-long 
 remorse'. 
 
 What could you do } What spell could you cast over your 
 wolves broke loose, or what fence put round the victim } What, 
 but the inviolable sanctity of a mother} That even fanaticism 
 might respect. But how were you to deceive.? You had fore- 
 stalled your credit by telling the truth. Your fiction could only 
 pass, if it seemed to be proved against you. There was nothing 
 for it but the basket- trick, — the cradle, an old device, not cer- 
 tain by any means, but worth trying in such a strait. You made 
 up your bundle according to the disclosures of Creusa, and the 
 prophetess brought it out. 
 
 There is nothing whatever in the tokens. 
 
 Proxenus. A very pretty story, and I hope your men of law 
 will like it! You are out of your senses! {General applause^ 
 How, in the whole time between the detection of the assassin 
 and the production of 'our' evidence, could we possibly make 
 these preparations } Where should we find an old cradle, fifteen 
 years old, — 
 
 Ceph. {looking at the prophetess?) Ah, where indeed.? 
 
 Proxejtns. Silence ! It is my turn. Where should we find 
 the cradle, which Creusa was to recognize as that in which her 
 infant had been exposed, on the Acropolis of Athens, fifteen 
 years before? 'The disclosures of Creusa'! Supposing that we 
 knew them, what where they.? I have heard, we have all heard 
 by this time, of her behaviour, and the reproaches, retracted 
 since and outrageous then, which she dared to fling in the face 
 of the paternal and provident god. She said, I believe, that she 
 
 ' w. 1259 — 60, w, 1310 — II. "^ Eur. Androm. 1085. 
 
 3 w. 1327—35. 
 
INTRODUCTION. xxxi 
 
 had exposed Apollo's child, with tokens upon it, in the hope 
 that it might be saved and that she might find it again. But 
 she did not, I feel sure, give the least hint what the tokens were\ 
 as we could easily prove by the evidence of her slaves. Even if 
 (I take the words out of your mouth) somebody from within was 
 attracted by her outcry, and picked up, at this useful door, while 
 she and her villainous old guardian remained near it, some frag- 
 ments of their talk about the exposure of the child, even then, I 
 say, it is certain, and they would tell us, that they did not go 
 into details^ 
 
 I will grant you — I wish for every one's sake that this folly 
 should go no further, and I beg you to follow me and see where 
 you are — I will grant you the utmost that reason will allow. 
 We knew in the temple, we could not help it, that Creusa had 
 exposed a babe, with its baby-things upon it. We could assume, 
 as of course, that one of these things would be the baby-necklace : 
 all children wear one, and many a child has been recognized by 
 it before now — the common story. It would be wrapped, for 
 recognition, in some ornamented wrapping; I give you that; 
 and (here I go rather far) we might guess, knowing that the 
 mother was very young^, that she could use such wrapping as 
 she had*, and one which she would be sure of knowing again, a 
 shawl of her own work. We might possibly guess (and here I 
 go very far indeed) that, foreseeing the too probable chance of 
 the poor child's death, she could put... a wreath on it^ We 
 have all., seen such. And I think these admissions are ample. 
 {Murmurs of assent.) 
 
 Now then, my legal brother, for an experiment ! Go to one 
 of your forensic friends, and ask him, upon these data, to procure 
 the evidence; the necklace, of the exact pattern, out of the thou- 
 sand oddities which mothers invent for the express purpose of 
 distinction; the shawl, with the very device which the girl had 
 woven upon it; the wreath, of the particular leaf. Give him a 
 year, and see what you get! {Applause, and then a silence^ 
 Answer, Cephisophon, how could we know these things } 
 
 Ceph. How could you know them } By divination. 
 
 Proxenus. By....^* 
 
 1 V. 918. 2 ^. 955. 
 
 3 vv. 887 fif. 4 V. 26, V. 1489. ^ V. 18, V. 27. 
 
 V. I. ' C 
 
xxxii INTRODUCTION. 
 
 Ceph, By divination; from the oracle! {Amazement). 
 
 Priest. Athenian, be serious! This is no jest! 
 
 Ceph. 'Be serious!' You tax my patience; — 
 
 Priest. A poor revenue! 
 
 Ceph. 'No jest!' Are you serious yourself? You have for- 
 gotten, it seems, that it is you, and not I, whose case presumes 
 that the god. lied, or quibbled, and may be supposed an impostor. 
 I am for the god against you! I can still assume, what you, 
 his ministers, apparently cannot imagine, that the god might 
 have some little knowledge above the common. What do you 
 mean? You profess to be in communication with an all-seeing 
 deity; you offer to reveal from Him (for a consideration) the 
 secrets of every man's business and bosom, of the unknown 
 future, of the unseen world. And then, when I humbly suppose, 
 that in a crisis of your own affairs, and His, you might seek or 
 be called to the tripod, and might learn there, about a fact 
 which none should know better than He, a little more than (as 
 you have said) we could all guess, and just enough to save His 
 altar from pollution — when I suppose this, you tell me to be 
 serious ! No, no ; you must choose between your oracle and 
 your proofs! (A pause. One or two Atkeftians laugh gently) 
 
 Priest. Well, Athenian, we do not seem likely to under- 
 stand one another ; and the evening wears. Farewell, and do 
 as you please. 
 
 Ceph. Farewell then 1 — One thing more. The cradle, I see, 
 lies still by the altar. May I look at the tokens ? {He goes to 
 the cradle and looks in). 
 
 Priest, They are gone, as we told you. The mother has 
 them. Do you think she would leave behind the proofs of her 
 son's identity ? You had best take the cradle too. 
 
 Ceph. Thanks. And the wreath of olive ? For I see that 
 is still inside. 
 
 Priest. Then take it certainly. 
 
 Ceph. {with the wreath in his hand). She cannot care for it 
 much; and I am not surprised. For between ourselves, I do 
 not think she expected to find it. 
 
 Proxenus. How can you say so ? She was asked what 
 was in the cradle, and said at once, * Three things, a necklace, 
 a shawl, and a wreath.' 
 
INTROD UCTION. xxxiii 
 
 Ceph. Did she ? Then I was mistaken. 
 
 Prox. Did she not ? 
 
 Ceph, Well, no. She described the shawl, and that was 
 produced ; she described the necklace, and that was produced. 
 Then Ion said, * There is 07ie thing more '. And she said, there 
 might be a wreath*. 
 
 Prox. Well, it is the same thing. 
 
 Ceph. Perhaps. Well, I will take it. Though it cannot last 
 long, I fear, having been plucked fifteen years ago, laid in a 
 cavern, carried fifty miles through the air in a few hours, 
 and left ever since in some dark corner known only to the 
 prophetess^ — Why, Apollo save us ! // is perfectly green ! 
 (^Sensation.) 
 
 Priest. Let me look. The light is not good. {Cephisophon 
 hands it.) 
 
 Proxenus. Of course it is green; It is sacred olive, gathered 
 by Creusa at her home on your Acropolis, close to the cave. 
 
 Ceph. Of course. I, or any one, might have known that. 
 But why should it be green t 
 
 Prox. Really this is not decent! You, an Athenian, do 
 not know, and did not hear Creusa say^ that ' it must be 
 green ' — 
 
 Ceph. ' If it still existed '— 
 
 Prox. Precisely ; ' having once grown on that sacred tree.' 
 
 Anot/ier Athenian. Why, Cephisophon, every one knows 
 that! 
 
 Ceph. An old wives' fable, Anytus, learnt by the poor 
 girl from the servants (such as her tutor, whom they have 
 tortured to death) and revived with the other memories. {Angry 
 murmurs amojig the Atheniaiis.) 
 
 Anytits. Come, come, Cephisophon; this is going too far ! 
 Remember that there is such a thing as an impeachment for 
 impiety. 
 
 Ceph. You shall impeach me, Anytus, and with my own 
 assistance, {to the Priest) Well, as it is miraculous, I will 
 certainly take it. 
 
 Priest {giving it). Here it is. 
 
 Ceph. Indeed it is not. The miraculous wreath was taken 
 
 ^ V. 1432. - z'. 1361. ^v. 1435. 
 
 c 2 
 
xxxiv INTRODUCTION, 
 
 away with the rest by Creusa ; I picked these two twigs of olive 
 myself in the precinct just before we came, and tied them 
 together as you see. Several of my friends here can witness to 
 the fact, — and so will Hermes, if you can find him. I have had 
 the thing on my arm all the time, and slipped it from under the 
 robe (a convenient place), when I put my hand into the cradle. 
 However ' it is the same thing'. Take it, Anytus {throwing it) ; 
 you may want it for the impeachment. {Silence) Well.^* {Silence). 
 
 The Prophetess {aside to the Priest). Oh, send him away ! 
 (Cephisophon looks at her with compassion and shntgs his shoulders) 
 
 Priest {to her). Why 1 Absurd ! Not at this moment 
 certainly, {to hint) Well, Sir wizard, your trick has come off. 
 We will, if you please, dismiss the wreath. But — {Cephisophon 
 goes towards the cradle). 
 
 Several voices. No, no, no ! 
 
 Priest {turning upon them). Fools ! 
 
 Ceph. Quite so. {to the others) Why, if I had the shawl and 
 the necklace about me, what could I make of that.? I was 
 only going to pick up one of those woollen bands, in which the 
 cradle was wrapped \ {to the Priest) I will ask you to give it me. 
 ( The Priest takes one and looks at it a moment. He offers it to 
 Cephisophon. As they hold it between them, their eyes meet.) 
 
 Priest {low and gravely). This is... quite fresh. ..too^ {He 
 lets the ba7idfall.) 
 
 Ceph. {dropping it). Yes. {Sensation. The Priest stoops 
 down and examAnes the cradle closely. He takes it up, passes his 
 hand over it, and sets it down again. He looks at Cephisophon. 
 Dead silence^ 
 
 Ceph. And there is not on the osier-work of this cradle, 
 which has been laid away fifteen years in these woollen bands, 
 the slightest stain of mould to show where the bands went, 
 nor any mark of contact on the bands '. 
 
 Priest. No. (Silence). I do not understand it. {pauses ; 
 then suddenly puts his right hand on the altar) Athenian, I swear 
 to you by this altar and my right hand, that if there is any 
 trick in this, I know nothing of it. 
 
 Ceph. {grasping the hand). It will be the better for us ! 
 {The Priest goes back and sits watching tmder the portico.) 
 
 1 V. 1338. 2 ^. 1389—94. « V. 1393. 
 
INTRODUCTION, xxxv 
 
 Proxemis. It is quite simple : — 
 
 Ceph. Will you swear ? 
 
 Proxemis. CQYt2an\y...{Cephisophon grasps his left hand^ 
 which he is extending to the altar)... not] when you demand it! 
 The matter is quite simple. It was noticed and explained by 
 Ion at the time. In the ordinary course no doubt there would 
 have been stains. But that only shows the care of the god for 
 this precious deposit. It is marvellous, another proof! 
 
 Voices {in various tones). Convincing. . .wonderful. . .strange. . . 
 ... absurd... miraculous ! 
 
 Ceph. Oh miraculous ! 
 
 Prox. But I see no use in going on with this any longer ; — 
 
 Ceph. Nor I. The utter want of any reasonable explanation, 
 why these proofs of the boy's birth were concealed all these 
 years and produced at that particular moment, why they were 
 concealed this very morning, when you were revealing him to 
 his father — a difficulty which staggered even Ion in his ex- 
 citement^ — would alone prove that there is fraud somewhere, 
 even if we cannot explain all. ' The will of the god ' will not be 
 answer enough for us ! 
 
 Voices. Blasphemer ! Atheist ! Dog ! 
 
 CepJi. Why, the very creature you put up to speak for 
 Pallas — (Cries of rage : several swords are drawn.) 
 
 Priest {from the portico, rising). Silence ! — The precinct and 
 treasuries are full of extra-guards to-night, because of the day's 
 uproar^ If any one offers violence to our friends from Athens, 
 he shall be arrested for sacrilege. {He sits again. The tunmlt 
 siibsides in murmtirs.) 
 
 Ceph. {contimdng). The voice in your puppet, I say, itself 
 declared, what the facts cry louder, that the motive of the trick 
 was not to prove the parentage of the boy, who is truly Xuthus' 
 son ; but simply to prevent the murder of Creusa. Apollo 
 saved yon by — machinations, shall I say.'* Ox machinery^} Oh, 
 you are cunning, you Delphians, in words ! So are some of us 
 at Athens. 
 
 Proxenus {furious). Ah ! You, who hear everything so 
 exactly, did you hear this } Did you hear the prophetess say — 
 
 ^ vv. 1340 — 1349- ^ Eur. Androm. 1098. 
 
xxxvi INTRODUCTION. 
 
 you, who pretend to believe that she arranged and brought out 
 the tokens as forged proof that Ion was son to Creusa — did you 
 hear her say to Ion at the last moment before she went, that he 
 should seek his mother 'first among the women of Delphi ' ^ ? 
 Did you see her come back to say that ? And will you tell us 
 why, if she meant him to find his mother then and there in 
 Creusa, she did her best to put him on another track ? Why ? 
 Why ? 
 
 Ceph. {ftiriotis). Ah ! I will tell you why ! — ( The prophetess, 
 who has come close to him in tlie dim light, toticJies his arm. He 
 turns towards Iter. She is almost fainting, and moves her haiids. 
 TJie rest do not see what passes. She sinks on the ground behind 
 him.) 
 
 Ceph. {turning again, with a feigned laugh). No, I cannot 
 tell you why. {Mocking laughter.) Or yes, I will: {speaking 
 slowly, without looking round) it was for love of Ion ! She had 
 been ever a mother to him in name, and in love, and her 
 parting kiss was even as a mother s kiss^. He was brought up 
 at her knee; she nursed him from infancy, though he never 
 
 knew the breast^ How could she be pleased to give him 
 
 away, to a new mother, although, for his own sake and to keep 
 his hands from blood, it had to be, although it was the zvill of 
 heaven ? Could she gladly see him go from this place, which he 
 knew and loved•, to a jealous city, where (for this story of his 
 birth will never, never pass) he will have all the miseries which 
 he foresaw*, and many others, more bitter than she can imagine ? 
 {A pause) Men, women, why should he not come back ? His 
 mother is, she must be, among you in Delphi. Find her ; cry 
 for her ; tell her to forget herself and her shame, and speak, for 
 the sake of Ion ! {He moves aside. TJie propJietess has risen to 
 Jier feet. She raises Jier liand, points to tlie cradle, and faints. 
 The women bear them atvay.) 
 
 Ceph. {aside) The gods forgive me ! 
 
 Proxe7ius. What is the meaning of this ... mummery ? 
 Would you drive us all mad with your stage-tricks ? This will 
 not serve, Sir actor, and you shall twist and shirk no longer. 
 Answer me plainly. Will you dare to dispute, before us and 
 
 1 V. 1364. - w. 308—321, 1275—78, 1310— 1368 and /ΛΓΛ/«. 
 
 =* V. 319. * V. 585 ff. 
 
INTRODUCTION. xxxvii 
 
 elsewhere, that the necklace and woven work of Creusa were 
 found in the cradle exactly as she described them, and that for 
 any one not an idiot that proof is decisive ? How could we 
 know that the pattern of her shawl was a Gorgon and a fringe of 
 snakes ? 
 
 Ceph. The aegis pattern ! The commonest thing in Athens! 
 That was your one bit of luck. Ion said as much ^ 
 
 Prox. Nonsense ! Face me. How could we know that 
 Creusa had worked on her shawl a Gorgon and a fringe of 
 snakes } Leave off wriggling and answer that. 
 
 Ceph. She never said that she had. 
 
 Prox. Man ! How dare you — 
 
 Ceph. She said, she was very careful to say (evidently 
 because it crossed her mind that 'the pattern' might not be 
 easily recognized), that the thing was *a sampler '^ a bit of 
 blundering prentice-work^ {Angry laughter)) that it was 'not 
 finished ' {More laughter)^ but that the centre-piece, if her skill 
 had been equal to her intention, had the outline of a Gorgon, 
 and the loose ends of the stuff were like a fringe of snakes. 
 ( Wild laughter.) Ion saw her hesitation, and thought she was 
 trying to cheat him*. {^ OhT) I will tell you another thing, if 
 you like. The pattern was not Athenian, but Delphian ; and the 
 person who put, or rather left^ that shawl in the cradle (it was 
 the baby-shawl of Ion right enough, and the work of his true 
 mother) did so hoping against hope that Creusa, who as a fact 
 did not recognize it^ would have actually disowned it. {Stupor.) 
 
 Proxenus. Hermes help us ! I wish it was lighter. There 
 is a figure on the wall there, of Pallas with her aegis^. I 
 should have liked to hear you maintain, in the presence of your 
 countrymen, that we do not know a Gorgon when we see it. 
 
 Ceph. You are all against me ! You would see nothing, 
 any more than Ion and Creusa did then. Every one was crazed 
 with excitement. Why it passed for a proof, that she recognized 
 the cradle ! ' 
 
 A voice. So she did ! ( Torches are brought in.) 
 
 Ceph. Of course she did. What did you expect } You 
 knew that the woman had nursed for years the faith that 
 
 ^ V. 1426. ^ V. 1419. ^ V. 1491. 
 
 •* V. 1420. 5 2;. 1425. 6 V. 210. ^ V. 1398. 
 
xxxviii INTRODUCTION. 
 
 Apollo — so, to deceive her shame \ she called the brute who 
 wronged her and, like many other villains, has escaped the 
 justice of man — that Apollo would, must give back her child, 
 her baby, which some one found in the cave and stole, perhaps 
 killed, for the bit of gold that was upon it. You knew that she 
 had come to Delphi with this express purpose^ and in a 
 desperate hope that this might be the long-expected day^ You 
 knew that she coveted that lad, when she saw him, and noted 
 that by his age he might be her own *. You knew all this long 
 before, you that were about here when she first arrived ; for you 
 will not tell me that you, experienced confessors as you are, 
 were deceived by the poor, stale trick of the pretended * friend ', 
 which roused suspicions even in the artless Ion°. You knew 
 that Ion was longing 'more than ever' for evidence of his 
 mother^ You saw Creusa with death before her, close to her, 
 inevitable. Then from the temple of Apollo, by the hands of 
 Apollo's prophetess, you bring, swathed in Apollo's emblems — 
 an old cradle ; and you say to these two beating hearts, ' In 
 this, before Apollo's portal, Ion was found. In this are the 
 proofs of his mother.' You throw your basket within the grasp 
 of this heart-broken mother, just sinking into a sea of blood, 
 — and she recognizes it ! What did you expect but that she 
 would recognize it, that every one would be staggered, and that 
 this beginning would save from detection, from proper ex- 
 amination even, the rest of your imposture } 
 
 Pi'oxenus [fiolding a torch to him). Pray keep your elo- 
 quence to the point. What about the pattern of the shawl } 
 
 Cries. Yes, yes, the pattern ! 
 
 Ceph. The pattern.? Why the thing is as plain as that... 
 this temple is at the centre of the earth ! 
 
 A voice. Quite as plain. 
 
 Ceph. How do you know that it is } {Angry laughter.) 
 
 Anytiis. Cephisophon, you disgrace us! Who here, or 
 any where else, does not know that the holy stone of Delphi 
 marks the place where the two birds met, and that on either side 
 of it stand the venerable figures of the eagles themselves } 
 
 Ceph. Of the Gorgons themselves. 
 
 1 V. 341. 2 ^, 330—368. * V. 425. ^ vv. 308, 354. 
 
 ^ v. 431. « V. 564. 
 
i 
 
 INTRODUCTION. xxxix 
 
 Voices. No, the Fates ! 
 
 Other voices. No 1 Gorgons ! 
 
 Many voices together, drowning the rest. Eagles, eagles, 
 eagles 1 
 
 Ceph. Then why did Ion call them Gorgons?^ {A pause.) 
 He did, for I heard him. A servant of the temple ! {A pause. 
 To the Proxenus) Do you see now, that, unless snakes are 
 exclusively Athenian, the pattern might be Delphian ? Or do 
 you now think it strange, that Ion and others should take for a 
 Gorgon a bit of rude work, which did in fact resemble a Gorgon 
 as much as it resembled anything ? {A pause, followed by rising 
 murmurs^ 
 
 Proxenus {beside himself). An end of this ! Sir ' friend 
 from Athens ', we have heard you out. We have listened 
 patiently to your tissue of sophistical explanations, singly 
 improbable, collectively absurd. We know, and you know, 
 that you have not touched the question ; that there is another 
 proof, certain and sole-sufficient, — the necklace. You have been 
 pleased to assume all this while that it was merely a necklace, 
 a common necklace. The folly of your case, on that supposition, 
 was pointed out to you before by our kindness. But you would 
 not be warned, and now you must take your punishment. 
 
 It was no ordinary necklace. It was a family-jewel, peculiar, 
 unique. The house of Erechtheus, as all Hellas knows (with a 
 reverence to the Athenian's), use for this purpose, for the necklaces 
 of their infants, a private pattern, of great antiquity, a gold 
 chain of which the links are snakes, curiously fashioned, re- 
 sembling and commemorating the snakes of the Gorgon slain by 
 Athena. The model was given by Athena herself to their 
 ancestor. 
 
 Now tell me. Sir, — or rather, for I have done with you, 
 I will ask any fair-minded man among your countrymen here 
 {Salutes) — is it sanity to suppose, that any of us would attempt 
 a fraud requiring, as the first necessity, that we should find, 
 at a moment's notice, such a jewel as that .^ You saw the 
 necklace, and know that it was genuine ; of course in the time 
 it could not possibly have been forged. As honourable men, 
 you will not suggest — one man only would be equal to such 
 
 ^ V. 5, V. 224, and see Essay 11. On the figures of the Omphalos. 
 
xl INTRO D UCTION. 
 
 impudent malice — that we keep in our treasures specimens of 
 all the remarkable heir-looms in Hellas, for the purpose of 
 putting them upon spurious heirs, and can find each one in the 
 instant that it is wanted. {The Delphians gather round Cephi- 
 sopJioii threateningly. Some of tJie A thenians go to his side, T/te 
 Priest comes slowly down from the portico, passing the gronp.) 
 
 Priest {aside to Cephisophon). I see it now. Go on. The 
 gates shall be kept clear for you. [He passes out.) 
 
 Proxenus {fioticing the by-play, frantically). Conspirator, 
 suborner, corrupter ! {seizing Cephisophon) How did we get the 
 necklace } There cannot at this moment be such another in 
 Delphi ! If you would not die on the spot, retract your 
 slanders, or tell me how we got that necklace ! 
 
 Ceph. Tell you ! Ah, I will tell you indeed ! 
 
 Of course, as you say, all turned and turns on the necklace. 
 Of course without a necklace, a genuine necklace, the fraud 
 could never have been projected. Of course it was apparently 
 impossible and not to be thought of, that you (whoever of you 
 committed the fraud) should have got such a necklace at the 
 moment. And therefore, as without the necklace the fraud 
 must have utterly failed, so with the necklace it was almost 
 certain to succeed. Whatever blunders you had made, the 
 ' sole-sufficient proof of the necklace would have passed off 
 anything. The wreath was a blunder, an over-finesse. It was 
 that which put me on the track. The shawl — well, if you do 
 not see what that was, I shall not tell you ; though it would not 
 matter. She will soon be... out of your reach. But the necklace 
 was enough. And for this very reason, if you had not been 
 blind, blinded, you might have known long ago (and I have 
 given you hints), that we had solved this part of the enigma ; 
 or we should have been as mad as you think us to begin 
 the accusation. It is impossible — yes, praise be to the gods 
 (for I believe in a Providence as well as you, a detecting 
 Providence), it is impossible that there should be another such 
 necklace in Delphi at this moment. And therefore it is, that 
 I ask you with confidence — Where is tJie necklace of Erich- 
 thonius ? 
 
 {A shriek. Several of the DelpJdans run out into the darkness. 
 Tlte rest fall back andy while Cephisophon is speaking, slip away^ 
 
ρ INTRODUCTION. xli 
 
 some into the precinct, the last, with the Proxenus, into the 
 temple) 
 
 Cephisophon. Where is tJie necklace of Erichthonins ? I will 
 tell you where it is now. In the possession of its rightful 
 owner, the lady Creusa. And I will tell you where it was, 
 when she was recognized for the mother of Ion. It was in 
 the cradle. Let me trace it for you. When Creusa and her 
 servant plotted the murder of Ion, the poison (also an heir-loom 
 in her family, and deadly enough, though not the blood of 
 the Gorgon) was in a little pyx, hung upon her wrist by the 
 chain upon the model of which these baby-necklaces, used 
 by the house of Erechtheus, are all made, the original baby- 
 necklace (as they suppose it) of Erichthonius, put round his 
 neck by Athena herself. This chain, with the poison-pyx and 
 another pyx attached to it, Creusa put on the arm of the 
 slave who was to poison the cup, where he was to keep it 
 under his robe (remember my wreath) and ready to his hand. 
 When the attempt was detected, there on his arm the necklace 
 was found. Your officers, who tortured him to incriminate 
 Creusa, of course took from him this damning evidence, and 
 carried their proof to those of you who sit as judges/. To 
 remove the pyxes was the work of a moment. Nothing has 
 been heard of it since. 
 
 It was this which suggested to you your pious fraud. It 
 was because by an extraordinary and providential accident, 
 miraculous and yet quite natural, as are all His ways, you 
 were just then put into possession of this jewel, that you were 
 able (you were naturally willing and anxious) to prevent a 
 horrid act of cruelty and sacrilege. I do not say that you 
 acted wrongly. It was a fearful situation. If, instead of putting 
 up your puppet-goddess, you had acknowledged the deception, 
 as you might, when it had done its work, we could perhaps 
 have praised you. We could have pitied you, if even since, at 
 our urgent entreaty, you had made reparation to truth. But 
 deception was too much ingrained in you ; and now it is too 
 late. The lady Creusa has the necklace that was found in the 
 cradle. Either she has, or you have, the necklace of Erich- 
 thonius. {TJie Delphians are all gone, and tlte temple door is 
 
 1 vv. 20 — 26, 267 — 270, 985 — 1038, 1208 — 1222, 1426 — 1431. 
 
xlii INTRODUCTION. 
 
 closed. CepJiisopJion goes tip to it and strikes it violently zuith 
 the knocker^). Where then, where is the necklace of Erich- 
 thonius ? 
 
 A voice from within. The necklace of Erichthonius...is lost ! 
 
 Night and silence. The Athenians look round in bewilder- 
 ment. Cephisophon from the portico leads forward Euripides by 
 the hand. 
 
 An Athenian. Let us go home. 
 
 Euripides. My friend, we are at home. The play is over, 
 the story told, and the scene is our theatre again. Good-night. 
 
 An Athenian {sadly). And is there then no god, Ο 
 Euripides .-* 
 
 Euripides. Neither that do I say, or have said, Ο Chaerephon. 
 Whence, or from whom, came to that feast the detecting dove ? 
 Who sent that dumb creature to save, at the cost of her own 
 ' incomprehensible agony ' the life of the kind-hearted lad, who 
 was sorry to kill the birds ϊ^ Apollo, Chance, Providence } We 
 know not. Only, for the gods' sake, do not think that it was 
 the ravisher of Creusa. 
 
 Which is more likely 1 That this frame of the heavens, this 
 truly divine machine, is governed by beings upon whom our 
 poor nature cries shame ; or that a knot of men, backed by 
 prejudice and tempted by enormous wealth, should try by 
 cunning to keep up a once beneficent or harmless delusion for a 
 little while longer t 
 
 For a little while ! Χρόνια μεν τά των Θεών ττως, εΙς τέλος δ' 
 ουκ ασθενή. Good-night. Let us go to our chambers and pray, 
 to Pallas, if you must, to Zeus if you will, but let us pray at 
 least to the Father of men and women and beasts and birds 
 of the air, and give the verdict according to our hearts. 
 
 * V. 1612. ^ V. 179, V. 1205. 
 
INTRODUCTION, xliii 
 
 In the foregoing exposition of the Ion, those who are 
 acquainted with the recent version of the play by H. B. L/ will 
 see that I have taken from his preface several most important 
 hints. He was the first, so far as I am aware, who pointed out 
 distinctly, that since the play, by its whole tone, is manifestly 
 hostile to the Apolline religion, we are bound to look for such 
 an explanation of the unexplained story, as may be consistent 
 with this view, that in short it is an attack upon Delphi and 
 must be interpreted accordingly. He observes that in the 
 story proper, as distinct from the prologue and epilogue, there 
 are no supernatural elements (he extends the theory of machina- 
 tion even to the doves, which I think is a mistake) ; and he 
 shows that the method by which the oracle is conveyed to 
 Xuthus is a very simple piece of conjuring indeed. He also 
 points out that the intentions of Apollo, as announced by 
 Hermes in the prologue, are not carried out in the play, but 
 signally defeated : and he draws the correct inference, that there 
 is 'a change of tactics' on the part of the possessors of the 
 oracle, and that the attribution of Ion to Apollo and Creusa is 
 'an after-thought'. He further remarks that the confession of 
 Creusa furnishes for this after-thought the necessary basis of 
 knowledge. In fact he was, if I may say so, on the road to 
 the solution. But he did not draw the inference, to which his 
 premisses properly lead, that, if the second story of Ion's 
 parentage is an after-thought, the first story is probably true, 
 and the alleged proofs of the second story are almost certainly a 
 fraud, and further, if the whole is to be intelligible, a fraud, the 
 motive and means of which can be detected with certainty from 
 evidence furnished by the play itself The moment that, from 
 this point of view, we read the scene of the recognition between 
 
 ^ London, AVilliams and Norgate, 1889. 
 
xliv INTRODUCTION. 
 
 Ion and Creusa, we see that at every point the absurdity or 
 weakness of the evidence, and the blinding prepossessions of the 
 deceived persons, are carefully exhibited, — at every point except 
 one, the necklace. This looks at first sight like solid proof. 
 Ergo, it is the key to the fraud ; and the rest is simple. 
 
 In order to leave the facts of the story exactly as they are 
 left by the author (which of course we are bound to do), I have 
 not absolutely determined in my epilogue whether or not the 
 Delphian woman, who was the mother of Ion, was the Pythia. 
 That we are meant to suspect this is manifest. The play 
 (and particularly the scene in which the Pythia appears, with 
 the following speech of Ion) is full of ambiguities and of ' irony ' 
 pointing us in this direction. I have noted some of them, but 
 there are many more. Still I do not think that Euripides has 
 made the evidence decisive, as that against the fraudulent tokens 
 is decisive. The points are these; shQ foimd the infant, according 
 to herself, at such a place and time, that it is very difficult to say 
 who else could possibly have left it; she kept his cradle and 
 baby-shawl for years, and could not say why ; she behaved as 
 his mother in every respect; she knew his father, and 'gave 
 him ' to his father of her own accord ; on the other hand, she 
 could scarcely bring herself, under the most terrible pressure, 
 to give him another woman for his mother. This is, if I am 
 not mistaken, strong evidence, but not conclusive : and that, I 
 believe, was the intention of the poet. That the thing was 
 possible and not unlikely is manifest from nature and historic 
 evidence. But of all the fine strokes in the drawing of Euri- 
 pides, it is perhaps the finest, that on this point absolute proof 
 is withheld. The probability is quite enough to make the scene 
 in which she signs away her 'child by love though not by nature' 
 one of the most tragic in ' the most tragic of the poets'. 
 
 It is an interesting question, but unfortunately not answer- 
 able, how much of the solution of the plot was exhibited on the 
 stage. It depends entirely on the way in which the final scene 
 was set and acted. It would be easy, taking the spoken parts 
 as they stand, to arrange the accessories and action so as to 
 give the audience anything, from a hint to a complete exposure. 
 I think however, if it is worth while to give a mere opinion, 
 that the exposure was not complete and did not go beyond 
 
I 
 
 INTRODUCTION. xlv 
 
 such a very slight hint as I have put into the stage-directions. 
 An explicit and public attack on the prevalent religion, not 
 safe-guarded by the orthodox license of comedy, would pro- 
 bably have been scandalous to the majority and dangerous to 
 the author, even though directed mainly against the unpopular 
 oracle. If the time was very near, when Plato would propose 
 to proscribe Homer, nearer still was the prosecution and death 
 of Socrates. To the ultimate purpose the stage-exhibition at 
 the Dionysia was indifferent. In the condition of literature 
 at Athens, among a society in close intercourse, the circle 
 chiefly interested must have known the play and the aim of 
 it before they went to the theatre. Those who did not could 
 not fail to see on the stage, what modern students have gene- 
 rally seen in the bare text and through all the difficulties of 
 language, that the plot is unsolved and the play in fact un- 
 finished. Within a few days all who cared to know more would 
 know everything, and the rest could shut their eyes. Thus 
 appearances were saved ; and the work of the free-thinker 
 was better done, as Aristophanes shows us, than the broadest 
 satire could have done it. 
 
 Whether the Oracle of Delphi was always a fraud and no- 
 thing more, is a question beyond our limits. Euripides has not 
 said so, neither need we. Personally I do not believe it. That 
 in the fifth century it was deeply stained with fraud, and had 
 ceased to do any service equal to its mischief, is certain : and 
 that is enough. 
 
II. The Figures of the Omphalos. 
 
 On the two figures which stood on either side of the holy 
 stone of Delphi see Professor Middleton's article on the temple 
 in The Jourjtal of Hellenic Studies (Vol. IX. p. 295). They 
 were commonly called eagles, and are so represented un- 
 mistakeably in a few late works of art, such as coins. The 
 representations do not agree with one another and have no pre- 
 tensions to fidelity. But that the figures were also supposed 
 to be Gorgons, is rightly inferred by Hermann from v. 224 of 
 this play and Aesch. Euin. 49 (where note the whole context). 
 
 I have implied in the * epilogue ' that there was even a third 
 hypothesis, that some called them Fates. My reason is this. 
 Pausanias in his description of the temple of Delphi, which 
 is even worse arranged than is usual with him, does not appear 
 to mention the omphalos among the objects contained in the 
 building. He describes it, briefly and without mention of the 
 figures (x. 16. 2), but quite apart from the contents of the 
 temple itself And as we know not only that the omphalos was 
 in the building, but that it was one of its most famous and 
 characteristic treasures, this extraordinary omission requires to 
 be accounted for. Now in the naos or cella of the temple, 
 the second chamber, between the pronaos and the adytum, 
 Pausanias says that there was *an altar of Poseidon, because 
 in the most ancient times the oracle was the property of 
 Poseidon also ; and there are also there images of two Fates. 
 Beside them instead of the third Fate stands a Zeus Moiragetes, 
 also (called }) an Apollo Moiragetes '. The ' altar of Poseidon ' 
 seems to be mentioned by Pausanias alone, (x. 24. 4.) 
 
 Is it then possible (I put it forward merely as a suggestion 
 to meet the difficulty) that these mysterious two Fates of Delphi 
 were in fact identical with the two Gorgon-eagles, or at least 
 derived from them ; and that the explanation of Pausanias' 
 omission is simply that his * altar of Poseidon ' was the 
 omphalos itself.•* It is quite likely that it was said to have been 
 
INTRODUCTION. xlvii 
 
 the altar of Poseidon in those ' very ancient times ' when 
 Poseidon owned the oracle. Pausanias, who certainly ' mixed 
 up his notes', as Prof. Middleton says, will then simply have 
 forgotten to tack the name omphalos in the right place. That 
 the ompJialos was in the naos^ where the 'altar' was, is I think 
 clear, if anything is, from Pausanias' own account taken with 
 the other evidence\ 
 
 This supposition would add point to two places in tragedy. 
 In the prologue to the Eumenides, the prophetess, with these 
 omphalos-figures in her mind, debates with herself whether the 
 Furies are more like feuiales {^υναΐκα^) or Gorgons. If the 
 question was doubtful in the case of the figures themselves, the 
 allusion is the more to the purpose. 
 
 In the play before us {v. 1422), Ion, when Creusa mentions 
 the Gorgon of the pattern, exclaims ώ ZeO, rt? ημα^ €κκυνη^€τ€Ϊ 
 Ίτότμο^ ; ' Zeus, what fate is this which is tracking us like a 
 JioiindV I have shown that the point of the situation turns 
 on the fact that the pattern is really meant for one of the 
 omphalos-figures, and therefore might be a Gorgon, because 
 it might be almost anything. Now Ion's exclamation certainly 
 contains a hint at eagles, the hounds of Zens {jcvve^ Αως), as 
 they were called (Aesch. Prom. 1022, Agam. 136). If the 
 figures were also thought to ho: fates, then 7ΓΟτμο<ς is allusive too, 
 and the point is complete. 
 
 The truth no doubt is that the works, the originals (for they 
 were changed), were extremely archaic and rude, and that little 
 could really be decided, but that they were meant for creatures 
 of some kind and seemed to have wings. The ultimate pre- 
 valence of the eagles is due to the merits of the corresponding 
 legend. The advocates of the Fates were embarrassed by the 
 number ; and Gorgons were ovhlv ττρος τον Άττόλλω. But for 
 this very reason we may be sure that this tradition is the older 
 and more genuine, and that the figures were more like Gorgons 
 than anything else. Pindar is for eagles {Pyth. IV. 6) ; which in 
 him means only that this was the version which the Delphians 
 wished to circulate. Aeschylus puts the Gorgon-theory in 
 front and the Fates next. Euripides uses .the whole dispute 
 for his own purpose. 
 
 ^ See Mr Bayfield's Introduction to the Ion, p. xvi. 
 
 V. I. d 
 
III. ' The U7iity of Time'. 
 
 Although this subject has an important bearing on the 
 exposition, or at least upon the representation, of the Ion, we 
 might and should have passed it over, but for its intrinsic and 
 present interest apart from this particular play. In truth I 
 hesitate to begin, for of * The Unity of Time * it may almost be 
 said that it would offer no difficulties, if only it had never been 
 explained. The practice of the Greek dramatists was necessary 
 and rational. The remark of Aristotle upon it, tantortim catissa 
 malortim, is true and accurate. But a series of accidents, 
 curiously illustrating the growth of opinion, has led from 
 simplicity into complication, and from complication into en- 
 tanglement ; until at last the enquirer, who may unluckily try to 
 go to the bottom of the matter, will find himself involved in 
 paradoxes, which would pose a college of metaphysicians. 
 
 As a general rule, a drama must be divided into scenes. If 
 the story is at all complicated or extensive, it cannot be set 
 forth, with any truth to nature, in one single uninterrupted 
 dialogue. In representation therefore there must be some means 
 of marking the breaks, of showing where the audience are to go 
 forward in imagination from the supposed time of one dialogue 
 to the supposed time of the next. The simplest, which has been 
 used in all times when better could not be done, is to clear the 
 boards for a short interval and then send on the actors again. 
 But this is not satisfactory. If the interval is very short, the 
 interruption is not well expressed to the eye. Unless it is very 
 short, the expectant house will become impatient. In modern 
 theatres the problem is solved completely by the curtain. 
 
 But to the theatre of the Athenians a curtain was not well 
 adapted, and the occasions of performance were such as to 
 require that no time should be wasted. We do not know (and 
 for the age of the great tragedians it is very improbable) that 
 
INTRODUCTION, xlix 
 
 they used a curtain at all. Instead of it they employed a device 
 peculiar to the growth of drama among themselves, the choric 
 ode. With Aeschylus, with whom our full knowledge begins, 
 the practice was perfectly settled. For every play there was a 
 particular body of performers called specially the chorus, related 
 to the plot sometimes as principals, more often as subordinates. 
 In the dialogues they took part with the rest. But when the 
 play was to be interrupted, in the gaps between scene and 
 scene, these performers executed sets of symmetrical dance- 
 movements, which were in themselves an exhibition highly 
 pleasing to the Greek taste; and in order to connect these 
 
 * dances ' with the play, they accompanied their movements 
 with symmetrical songs, the topics of which were more or less 
 adapted to the dramatic situation. Every means was taken, 
 which might make these performances more efficient as a break 
 in the play. The mere change, from the more or less natural 
 action of the stage-play to the wholly unnatural action of the 
 dances, was much. But much more was done. Not only the 
 metres but the language and vocabulary of the songs were made 
 as unlike those of the play as they could be. Such was the 
 
 * curtain ' of Aeschylus. 
 
 We are not now concerned to show with what skill the 
 tragedians of Athens got out of this device all the possible 
 advantages, how beautiful, appropriate, and helpful to the 
 audience these interval-songs were made. We are concerned 
 only with their mechanical function as a break, with the effect 
 which the use of them had in limiting the means of the dramatist, 
 and specially in limiting the extent of supposed time which the 
 action of the play from first to last could conveniently cover. 
 
 In the nature of things, as every one now agrees, and with one 
 brief modern exception always has agreed, there is not any limit 
 at all to the length of this supposed time, or to the length of the 
 lapse which the audience are to suppose at a break. The 
 descent and rise of the curtain may signify an hour, a day, week, 
 year, years, or whole generation, if necessary. The dramatist 
 has only to let us know with sufficient accuracy, by the dialogue 
 before and after (or by ' Τιιηε, as Chorus \ or the programme, or 
 how else he pleases), how much time and what events are to 
 pass ; and we suppose accordingly. 
 
 d 2 
 
1 INTRODUCTION, 
 
 Nor was it ever imagined by the Greek playwrights or the 
 Greek critics that any such limit was desirable, or required by 
 the nature of plays any more than of narratives. They began, 
 as Aristotle tells us, by treating the one very much as the other. 
 '•' Tragedy ", he says, " endeavours as far as possible to confine 
 its action within the limits of a single revolution of the sun, or 
 nearly so; but the time of narrative (epic) is unlimited. This 
 however at first was more the case with Tragedy itself "\ But 
 they very soon found that, as practised by them, drama in this 
 respect, as in many others, was not free but bound. They 
 struggled against restriction; not even Euripides submits to it 
 completely. But restriction was necessary ; and the reason is 
 apparent; most clearly perhaps, if we consider the rare cases in 
 which they disregarded it. 
 
 The breaks were to be marked with songs, sung on the scene 
 by performers in the play. The presence of these performers at 
 all the scenes could seldom be quite natural. But the shorter 
 the supposed action of the piece, and the shorter the supposed 
 intervals, the less would be the discrepancy between the facts 
 presented and the natural facts. By the indulgence of the 
 audience, and in view of the necessity, a moderate discrepancy 
 might be tolerated. It was found, and the nature of things 
 shows why, that the point at which the discrepancy began to 
 be flagrant and intolerable, was when the audience were told 
 to pass in imagination from day to day. Night is the great 
 natural interrupter of actions and changer of situations. That 
 the same body of persons should be found standing about, 
 at the same place, at various intervals during the day, is 
 conceivable though it does not often happen. That they should 
 be found there day after day, not to say week after week, is 
 inconceivable and ridiculous. For this simple common-sense 
 reason Greek tragedy "endeavoured, as far as possible" to 
 confine the action within the limit of a day. 
 
 There are two, perhaps only two, extant plays, whose action 
 clearly exceeds the usual limit, the Sttppliants of Euripides and 
 the Eiimenides of Aeschylus. In the Suppliants'^ there is an 
 interval comprising the preparation and march of an Athenian 
 army to Thebes, a battle there, and the return : the interval is 
 
 * Ar. Poet. cap. 5. • v. 598. > 
 
INTRODUCTION. li 
 
 represented by a peculiar lyric dialogue among the chorus, 
 mothers of the dead Argives whose recovery from the enemy 
 is the object of the expedition. With a curtain, nothing would 
 be more simple. But conceive the performance without ! And 
 this example brings out another point. If very long intervals 
 were allowed, offences must arise out of the personal identity 
 of the chorus and the identity of the place, desirable in Greek 
 theatres from the simplicity of their scenery. The place of the 
 action is the altar at Eleusis, to which the Argive mothers have 
 come to implore aid. In the earlier scenes this works very well. 
 But why should the mothers be assembled at the same altar, all 
 of them and no one else, some weeks afterwards, ready to 
 receive there the news of the victory 1 
 
 Equally instructive is the other case, the only case in which 
 the restriction is infringed with success. In the £.unienides 
 the chorus are a troop of gods. They can appear therefore 
 with perfect propriety, the same troop and the same gods, 
 at intervals as long as the poet chooses : they could even, if 
 they pleased, be elsewhere in the intervals and yet apparent on 
 the scene all the time. Accordingly the tiresome restriction 
 is at once cast off with the reason of it, and the action leaps a 
 year or so without the slightest embarrassment \ The Ion 
 conforms to the limitation, and with unusual success. The best 
 example is the Seven against Thebes^ which is perhaps that 
 almost impossible thing, a choric drama formally unimpeach- 
 able. 
 
 The limitation of time imposed by the use of the chorus had 
 many indirect effects, one of which we will mention, as it applies 
 to our play. In order to get as much time for the action as 
 the case would allow, it was common to start it in the morning, 
 and even with sunrise or before. In a single case this is no 
 disadvantage ; the Ion is proof to the contrary. But it must 
 have become monotonous, when we have it in the Persians^ 
 Seven, Agamemnon, CJioephori, the Ajax, Electra, Antigone, the 
 Ion, Helena, Electra, Medea, in all these plays expressly, and in 
 many others, in fact in most, by implication. Another result 
 
 ^ The scene is also changed ; but if it were not, there would be no difficulty. The 
 chorus of the Prometheus are also gods, but that play has no time at all. The divine 
 colloquy may occupy hours or centuries, as we prefer to think. 
 
lii INTRODUCTION. 
 
 of the practice, also applying to our play, is that since with the 
 best intentions it was often difficult to get the action into a 
 day, the relations of the incidents to one another in time 
 are apt to be left rather vague. Necessity grew into habit, 
 and a Greek play will seldom bear minute examination from 
 this point of view. Professor Lewis Campbell has recently 
 illustrated this in the Classical Review^. In the Ion itself the 
 incidents will not work out quite satisfactorily. It is a little 
 odd, for instance, if we come to think of it, that Xuthus, who 
 thought he might be back from Parnassus for the beginning 
 of Ion's feast, has not got back after all that occurs before the 
 end of the play. But we do not come to think of it ; and in a 
 general way the events look fairly like those of a day, which, 
 as Aristotle says, is the result desired. 
 
 Such was with the Greeks 'the unity of time', for which 
 pompous and disastrous term there is of course no authority in 
 Aristotle. Before coming to modern developments, let us make 
 some remarks, (i) The statement of Aristotle is not a precept 
 at all*''. Aristotle knows how to express an opinion, when he 
 wishes to do so, and in this case he expresses none ; probably 
 because he saw that it was but a choice of evils. (2) The 
 limit has nothing whatever to do with any supposed continuity 
 in the action. The action of every Greek play is discontinuous, 
 that of the Seven, which occupies a few hours, just as much 
 as that of the Suppliafits of Euripides, which occupies weeks. 
 Both plays, and all the plays, consist of scenes, in which the story 
 
 ^ Vol. IV. p. 299. He exaggerates somewhat, even making difficulties where 
 there are none. For example, in Uit Sttpplices of Aeschylus, **when the ship that 
 brings Aegyptus' sons is seen, Danaus consoles his daughters by telling them that the 
 landing cannot be effected till late in the evening {v. 769). Within 100 lines after- 
 wards {v. 842) the Herald comes, and no contradiction is hinted as arising between 
 this and that." There is no contradiction. The landing which cannot be effected, 
 and is not, is that of a force sufficient to overpower the protecting Argives. The 
 landing effected is that of a herald and small party to claim the fugitives and of 
 course, if no one opposes, to take them. This landing might be made with ease in 
 an hour. But Professor Campbell's general position is quite sound. Of his attempt 
 to apply it to the case of the Agamemnotty I can only say, with all respect, that it is 
 as if one were to argue thus : * Since this piece of elastic, six inches long, will easily 
 stretch to nine, and to twelve without breaking, why should it not stretch to twelve 
 yards?' 
 
 ^ Professor Campbell properly calls it *a rough generalization'. 
 
INTRODUCTION, liii 
 
 proceeds according to the imitative representation on the stage, 
 and intervals, in which the story jumps an imaginary gap, and the 
 interlude before the audience does not imitate the action of the 
 story or any natural action at all. (3) The limit has nothing 
 to do with the real time occupied in performing the play, which 
 indeed, as Aristotle says, is *no matter of art'. The time taken 
 by the performance has no more necessary bearing on the story 
 of a drama than the time spent in reading has upon the story 
 of a novel. (4) There was no conventional presumption among 
 Greek dramatists and audiences about the length of the action 
 supposed. It was the business of the author then, as it is 
 now, to explain, so far as was necessary, how long his story took 
 and how long were the intervals. No doubt after a course 
 of choric dramas audiences began to expect the sunrise and all 
 the rest, — one of the reasons perhaps why choric drarna had 
 not a long life. The later forms do not concern us. 
 
 And now we ourselves have to pass (with an appropriate 
 dance and ode) from Aristotle to the Renaissance. When 
 Du Bellay, Jodelle, and their successors set about renovating 
 French literature by the study of antiquity, they took the 
 ancient tragedy along with the rest, and in the first instance 
 they took it entire, chorus and all. For precepts they went 
 very properly to Aristotle, and in their enthusiasm made a 
 precept out of his guarded statement about the tragic day. 
 This slight error would have mattered little, if playwrights 
 had held to the chorus ; for then * the unity of time ' would 
 have protected itself by arms stronger than any authority. But 
 the dramatic chorus, rooted originally in habits peculiarly Greek, 
 and not a thriving plant on its own soil, would not bear the 
 transplantation and the nipping influence of the curtain. It fell 
 away. Then came the blunder, the extraordinary blunder, we 
 might call it, if the mistakes of one generation were not so often 
 strange to another. Missing the reasons of the Greek practice, 
 the critics insisted that 'Aristotle's rule' was universally valid 
 and applicable to all drama as such. The next thing was 
 to find reasons for it ; and here they are : — 
 
 With respect to the comparison drawn by Aristotle between the length 
 of the action in narrative and in drama, we will remark, that uninterrupted 
 continuity is much more necessary in an action which we witness as spectators 
 
Uv INTRODUCTION. 
 
 present at the place, than in an action of which we merely read or hear a recital. 
 It is not natural that we should suppose ourselves passing days and nights, 
 without sleep, drink, or food, in the contemplation of what goes on, or should 
 suppose that, being all the time in the same building, we are carried to 
 different places. This is the reason of the unity of time (day)^ and place, 
 which is a necessity of the theatre ^, 
 
 It is a salutary lesson to read such a passage as this, and to 
 remember that the author was a man not without sense, who in 
 the days of Addison had a considerable reputation both in 
 France and elsewhere. The absurdity of Bossu's rule in itself, 
 and the equal absurdity of the theory on which it is based, are 
 now apparent. But the strangest thing of all is that he should 
 have believed his reasoning to lead to his rule. Manifestly, 
 if the time of the supposed action in a drama is to be limited by 
 the physical needs of the spectator, supposed to be really 
 present throughout, then a ' revolution of the sun ' is far too 
 long. Four or five hours will be the extreme limit, and two 
 hours the limit desirable. Of course this could not altogether 
 escape notice ; and the next stage was the strangest of all. 
 If the rule of notre Aristote did not fit the French justification, 
 taut pis pour la regie: it must be changed till it did, and it was 
 changed. 
 
 For the sake of symmetry with ' the unity of action ' (a not 
 bad term for the proper connexion of every part in a drama 
 with the whole), the identity of scene, which drama was supposed 
 to require, had been inaccurately called 'the unity of place' 
 and the limitation to a day had been foolishly called ' the unity 
 of time'. Now for eager and not very clear-headed disputants, 
 from unity to continuity is an easy glide. And the French 
 reasons did undoubtedly point to the doctrine (also absurd, 
 but that is a trifle), that the total action performed on the stage 
 ought to cover one continuous space of supposed time. Accord- 
 ingly by unity of time ' Aristotle ' was taken, whenever it was 
 convenient, to have meant continuity of time. All this had 
 been done long before Bossu, whose paragraph presents in 
 miniature a conspectus of the embroglio. By way of climax 
 we may note that all this while the critics were fighting with 
 
 ' jour', the slight ambiguity of this word in French did something to confuse the 
 confusion. 
 
 ^ Bossu, Tniitc dti Poeine Epiqm. Liv. Π. chap. 1 8 (beginning). 
 
INTRODUCTION. Iv 
 
 equal zeal for 'the five acts'; though the only possible inference 
 from their theory was that every drama should consist of one 
 single scene. 
 
 However for this wonderful doctrine, in the middle of the 
 17th century, a pertinacious host was in arms. If not formidable, 
 they were annoying. Corneille, in the preface to The Cid and 
 elsewhere, condescended to say in his imperial manner that 
 he had complied, so far as might be, not only with those 
 veritable rules of dramatic art which Aristotle had laid down for 
 all time, but also with those 'inconvenient' restrictions, which 
 had been fathered upon Aristotle by the French critics. The 
 Cid kindled all France and blazed over Europe. Post hoc, 
 propter hoc. Louis the Fourteenth humbled Holland, devastated 
 the Palatinate, threatened the Empire, — and * Aristotle's rule ' 
 was proved. 
 
 In practical application nothing could permanently maintain 
 such a structure against the shocks of experiment; and in the 
 theatre ' the rule ' has long been dead. But the errors of specu- 
 lation die more slowly than those of practice, because they can 
 be so carefully kept from the wind. When it had been seen that 
 the ' classic ' theory of the drama was worthless in its aesthetic 
 and practical aspect, it continued to exercise an influence in its 
 historic aspect, though in truth this was rather the worse part 
 of the two: and to this day 'the unity of time' continues to 
 haunt the discussion of Greek drama, in which it has not much 
 more right than the Cartesian vortices. The subsequent story 
 is also curious; but I have been too long already and must 
 now be brief. 
 
 The rule, we have said, emerged from controversy in the 
 form that the action of a drama should be continuous and 
 limited to (at most) one day ; and with a Nota bene, that such 
 was the established practice of the Greeks. Now of course in 
 one sense 'the action' of Greek tragedies was continuous, that is 
 to say, there were performers before the audience throughout. 
 This continuity of performance was not at all the continuity of 
 the French rule, which referred not to the performance, but to 
 the supposed time of the story presented. This supposed time, 
 as already observed, was in Greek plays not always continuous, 
 but always discontinuous and broken by the choric odes. Here 
 
Ivi INTRODUCTION. 
 
 however again was a distinction easily missed ; and by some it 
 was missed ; so that the notion went on and goes on, here and 
 there, that * continuity of action ' was a requirement of the 
 Greeks'. With this was joined the notion, also derived from the 
 French controversy, that the limit to a day was with the Greeks 
 a fixed conventional presumption. 
 
 Now comes the last and not least remarkable episode. It 
 might have been expected that, when the tragedians came to be 
 more carefully studied, these notions would have been quickly 
 exploded by producing the examples of the Suppliants (of Euri- 
 pides) and the Eumenidcs (not to mention others less clear '^X in 
 which it is palpable that the supposed action is extended be- 
 yond a day, beyond many days, and is interrupted by long 
 breaks. And so these notions would have been exploded ; but 
 for the accident, that one single play, one of the greatest and 
 most familiar works of Greek art, presented, with regard to the 
 time of the action, a puzzling problem ; and that by refining the 
 residuum of the French controversy it seemed possible to extract 
 out of it an answer to this problem. I need not say that I refer 
 to the Agamemnon. 
 
 That the action of the Agamemnon falls within a day (and 
 much less) is shown not by any presumption, but by manifest 
 internal evidence. It was supposed to be equally clear, that 
 the events comprised in it were such as would in reality occupy 
 weeks. A notion, a German notion this time ! What if in Greek 
 drama the supposed time was ' ideal ', and had no relation to the 
 real time which the events would occupy ? This would account 
 for the contradiction attributed to the Agamemnon^ because one 
 sufficient assumption will account for any thing, however enor- 
 mous. It would also bring in the relics of the French rule, since 
 an ideal time, which has no relation to events, can of course be 
 continuous and discontinuous at once, just as an interval in such 
 an ideal time can have simultaneously or successively as many 
 different measures as we please. It would also give (at last) an 
 excellent and truly philosophic account of * the unity ' and ' the 
 day', since in limiting their plots to an ideal day the Greeks 
 
 * In the Introduction to the Agamemnon I have myself used in one or two places 
 phraseology derived from this confusion, though my argument is clear of it. 
 ' e.g. the Andromache^ which 1 hoped to discuss here, but must jxistpone. 
 
INTRODUCTION. Ivii 
 
 would not really have limited them at all; and of course ideal 
 time has unity, and multitude too, and contains in itself all other 
 true properties of a metaphysical entity. Thus or somewhat 
 thus was evolved the terminology of the following passages \ 
 seldom heard except in connexion with the Agamemnon, but in 
 that connexion often : 
 
 Now if in the Eumenidcs months or years might elapse between the 
 exordium and what follows it, why may not the action of several days be 
 silently assumed elsewhere between one episodium and the next ? 
 
 Why indeed ? Who ever has said or thought otherwise ? 
 
 1 say ' silently,' because the interval is of course not thought of 
 
 Why is it not 'thought of just as much as any other necessary 
 part of the story ? 
 
 In the continuity of the idealized action the interruption of darkness and 
 repose is eliminated, together with many other irrelevancies of actual life, 
 by a tacit agreement between the poet and his audience... There are two 
 places in the Agamemnon^ which may be adduced to illustrate the systole 
 
 and diastole which belong to the ideal management of time in tragedy ^ 
 
 etc. 
 
 This language and the underlying theory, the last remains of 
 a fruitless controversy, I do not propose to criticise. I doubt if 
 I understand them ; I doubt if any one does ; I cannot think 
 them likely to make any thing clear ; and I am sure they have 
 not elucidated Greek drama. Nor of course can I now defend 
 the different answer, an English answer, which I have offered for 
 the problem of the Agamemnon. As I have stated it, I shall 
 leave it to defend itself; as Professor Campbell understands it, it 
 is quite indefensible ^ But it is much more pleasant to argue 
 against dead and disreputable Delphians than against oracular 
 but friendly Professors. I have only to say that in my humble 
 opinion there have been episodes enough in this drama of ' the 
 
 ^ Classical Review, Vol. IV. pp. 304, 305. 
 
 2 Prof. Campbell, to my amazement, supposes me to say that the audience learnt 
 the story of the Agamemnon from the play itself. No one ever could think this as to 
 the Agamemnon^ or any other play of Aeschylus, or, we may add, of Sophocles^ 
 Most of the story is always taken as known. My own language on the point is 
 explicit and repeated : see pp. xiii, xiv, xxxiv, xlvii, Ix. Nor is this the only point on 
 which I must refer my critic to what I have actually written. 
 
Iviii INTRODUCTION. 
 
 unities', which has already had its day of three centuries; the ^ 
 audience will be pleased with the exodus ; and it is high time j 
 that 'the unity of time' and 'the ideal time', ideally united, 
 should march out of time altogether. 
 
IV. The Parodos, ar Entrance of the Chorus. 
 
 In the preceding- essay we have discussed one of the effects 
 produced upon Greek drama by the peculiar device of the 
 chorus. To work out this subject in full would be matter for a 
 book ; but there is one branch which I should like to follow here, 
 because we have a remarkable clue to it in the Io7t, 
 
 The main function of the chorus was to mark the breaks 
 between the scenes by their odes and dances. Thus the dramatist 
 was provided with a more or less efficient ' curtain ', when he had 
 got his chorus into the orchestra. But first he had to get them 
 there. The practical result was, that either the play must begin 
 with a scene admitting the presence of secondary personages to 
 a large number, or else before the end of the first scene some 
 excuse must be provided for bringing such a body of persons on. 
 
 Between these alternatives much was to be said for the first, 
 and so far as we have evidence to judge, it was first preferred. 
 Aeschylus, who re-created and practically created tragedy, had 
 the advantage of first choice. In three of his seven remaining 
 plays,^ the chorus are 'on' at the opening, and in a fourth^ 
 though not 'on', they are approaching the place of action 
 when the play opens, and no special reason has to be found for 
 their entrance. But this could not continue. By their difficulty, 
 above discussed, with regard to the time of action, the drama- 
 tists were already condemned to a certain monotony in their 
 opening, always a difficult matter to manage. It would have 
 been intolerable to add to this monotony of time the monotony 
 of always starting with a full scene; and besides, the chorus, 
 troublesome enough in any case, would often have seriously 
 interfered with the necessary freedom of the first exposition. 
 Moreover to start with the chorus was much more convenient 
 
 1 Persians^ SiippUanis, Eumenides. ^ Choephori. 
 
Ix INTRODUCTION, 
 
 or less inconvenient when they were principal persons, as in 
 the Suppliants and Ettmenides of Aeschylus. But the topics 
 admitting this treatment were soon exhausted, and experiment 
 showed also that the true development of the drama was in 
 another direction. Accordingly the poets fell back on the 
 alternative, in Sophocles and Euripides almost universal, of 
 bringing on the chorus in or after the first scene; and then they 
 had to find a * motive for the Parodos'. 
 
 In great straits they were. Three times in the extant plays 
 of Euripides the hero or heroine utters in the first scene cries 
 which resound in the neighbourhood^; we have eight sets of 
 friendly and inquiring visitors ^ generally brought to the place 
 by ' rumours ' ; and neither in Sophocles nor in Euripides, as a 
 general rule, have these persons anything much to do, when 
 they come, except to sing the choric odes. In the Medea their 
 presence is a gross absurdity, and the poet, in order to get his 
 magnificent play through at all, is forced to ignore them. After 
 going through some years of Dionysia, it must have been hard 
 not to smile, when the 'shrieks' were raised or the 'proclamation' 
 issued. The inevitable outcome is seen in the Phoenissae and 
 the Iphig-enia atAtdis, where the chorus, when wanted, just march 
 in, without pretending to have any dramatic account to give of 
 themselves. But before this could happen, choric drama must 
 have been in a perilous state. In all the extant plays there are 
 but two parodi, which seem quite natural and dramatically good, 
 those of the Seven against Thebes, and the Oedipus at Colonus, 
 
 But even when a ' motive ' had been provided, the difficulty 
 was by no means at an end. Until the chorus were there, the 
 dramatist had no means of breaking his action. Now suppose 
 that the general course of the play required the chorus to be 
 composed of persons who could not arrive till long after the time 
 when the action started. The case arises, for example, in the Aga- 
 meinno7t and in the Io7t. The Agamemnon begins in the night ; 
 the chorus have not only to be ' summoned ' but roused. The 
 Ion begins in the precinct of Delphi at day-break, and with 
 
 ^ The Stippliants ( Eur. ) is an exception. 
 2 Medea, Helena, Ileraclidae. 
 
 ' Medea, Uippolytus, Andromache, Alcestis, Helena, Orestes^ Electro, Here. 
 Ftirens. 
 
TNTR OD UCTTON. Ixi 
 
 the earliest preparations of the sacred ministers. The chorus 
 are visitors at Delphi. From the circumstances and the course 
 of the play it is plain that some considerable time must be 
 supposed to elapse between the opening and their appearance, 
 more time than it is convenient to represent by a spoken scene 
 on the stage. 
 
 In the case of the Agamemnon I suggested, as a mere 
 guess without proof, that between the prologue and the entrance 
 of the chorus, there was some pageant or purely mimic perform- 
 ance with music but without words, which might help to explain 
 the intention. In the Ion we have all the proof, which from the 
 nature of the case we could have, that this was so. 
 
 When Ion appears, he is accompanied by certain ministers 
 {iK 94), whom he immediately dismisses to fit themselves by 
 ablution for the office of the day and then return to the temple 
 and perform certain services on behalf of persons coming for 
 consultation. On the stage those who are directed to return 
 are generally seen to do so. What the services were, we know 
 from τ/. 418. A general sacrifice had to be offered, to ascertain 
 from the omens that the day was proper for consultation ; and 
 when Xuthus arrives, he hears that this has been done. Now in 
 what place was it done } On the great altar in front of the 
 •temple. This is not merely probable, but proved, both by the 
 words Ίτρο ναοΰ^ in v. 420, and by the description of the death 
 of Neoptolemus in the Andromache^. There Neoptolemus offers 
 for himself the sacrifice of consultation within the steps, that is, 
 on the raised platform before the temple, upon which the great 
 altar stood. He is afterwards slain on the altar. That the 
 whole scene (according to Euripides' version) passes outside of 
 the temple is evident^ 
 
 Now in the Ion the stage (a stage probably very much like 
 that lately discovered at Megalopolis, only of wood, some six 
 
 ^ That vabs here and here only should mean the cella, or second chamber, of the 
 temple, and ττρό ναοϋ in the pronaos, cannot, I think, be reconciled with the language 
 of the play generally : vab% is several times used for the whole building, and no notice 
 is ever taken of the divisions. (See vv. 314, 316, ναοίσι 5' οίκβΐ$...άφίκον ραόν). 
 Besides, it does not appear that there was any altar of sacrifice in the />rofiaos. 
 
 ^ w. 1 1 Γ I fF. 
 
 ^ Note ζ'Γ'. II 15, ii2o — 23. 
 
Ixii INTRODUCTION. 
 
 feet high and approached by a steep* flight of steps) represents 
 this very platform, and on it stands the altar, where Creusa 
 takes refuge. To what purpose then should the playwright 
 first direct the audience to expect a performance at this place, 
 and afterwards by reference assume that it has been done, if 
 he did not mean them to see it done ? The point in' the play 
 where it should be done and must be, if done at all, is between 
 the first scene and t/ie entrance of the chorus ; where something 
 of the kind would be of great dramatic use. Surely then we 
 may safely assume that the performance did take place at that 
 point, and that the playwright took this opportunity of amusing 
 the lovers of spectacle, and of exhibiting, as his general purpose 
 required, the pomp and splendour of the oracular establishment. 
 Apart from this, the chorus of the Ion is not specially in- 
 teresting, though it is in its dramatic relation about as good as 
 any after Aeschylus. The odes are exquisite. But the most 
 interesting feature connected with it is this of the preliminary 
 pageant, which I notice in the expectation that, notwithstanding 
 the natural difficulty of the enquiry, other demonstrable instances 
 may be found. 
 
 ^ V. 739. Note that here Creusa and her tutor plainly enter not on the stage plat- 
 form, but below. So no doubt does Xuthus at v. \o\. The plot of the slave and 
 Creusa {v. 970 ff.) is probably debated at or near the foot of the steps, not on the plat- 
 form above. 
 
ΕΥΡίπίΔΟΥ ΙΩΝ 
 
 ν. Ι, 
 
ΤΠΟΘΕΧΙΧ*. 
 
 Κρβονσαν την ^Έρβ'χθβως ^ΑττόΧλων φθβίρα^: ejKvov βττοίησβν 
 iv * Αθήναις' ή δε το ^βννηθβν ύττο την άκρόττόλιν Ιξίθηκβ, τον 
 αντον τότΓον καΙ του άΒίκηματος καΐ της Χοχείας μάρτυρα λα- 
 βοΰσα. το μεν οΰν βρέφος 'Έρμης άνελό μένος εΙς ΑεΧφούς 
 ηνε^γκεν' εύρουσα δ' η ττροφήτις ανέθρεψε' την Κρεουσαν δε 
 Ηοΰθος ε^ημε' συμμαγ^σας yap ^ Αθηναίοις την βασιΧείαν καΐ 
 τον της ττροειρημενης ^γάμον εΧαβε Βώρον. τούτω μεν ονν αλΧος 
 τταΐς ουκ ε^ενετο' τον δ' εκτραφεντα ύττο της ττροφητώος οΐ 
 ΑεΧφοΙ νεωκόρον εττοίησαν. 6 δε α^νοών εΒούΧευσε τω ττατρί. 
 
 Ή σκηνή του Βράματος υττόκειται εν ΑεΧφοΐς. 
 ^ This is a mere summary of the prologue. 
 
^, 5 ', 5 D 
 
 ΤΑ TOT ΔΡΑΜΑΤΟΣ ΠΡΟΣΩΠΑ. 
 
 ΕΡΜΗ2. 
 
 ΙΩΝ. 
 
 Χ0Ρ02 ΘΕΡΑΠΑΙΝΙΔΩΝ ΚΡΕ0Υ^Η2. 
 
 ΚΡΕΟΥΣΑ. 
 
 Η0ΥΘ02. 
 
 ΠΡΕ2ΒΥΤΗ5 η ΠΑΙΔΑΓΩΓΟΙ. 
 
 ΘΕΡΑΠΩΝ ΚΡΕΟΥ^ΗΧ 
 
 ΠΥΘΙΑ -iJTOL ΠΡΟΦΗΤΙ^. 
 
 ΑΘΗΝΑ. 
 
 ί— 2 
 
ΕΥΡίπίΔΟΥ ΙΩΝ 
 
 Scene : before the temple of Apollo at Delphi, Time : just before 
 sunrise. Enter HERMES. 
 
 EPMHX. 
 
 *Ατλα9, γ^αλκεοίσι νωτοίς ουρανον 
 θέων παλαιοί^ οίκον ίκτρίβων, θέων 
 μυας εφυσε ΜαΓαι^, η μ iyeivaro 
 ^Ερμην μεγίστω ΖηνΙ, δαιμόνων λάτριν. 
 ηκω Se Αελφων την8ε γην, ϊν ομφαλον 5 
 
 μέσον καθίζων Φοΐβος νμνωΒεΙ βροτοίς 
 τά τ οντά καΧ μέλλοντα θεσπίζων αεί. 
 εστίν γαρ ουκ άσημος Ελλήνων πόλις 
 της γρνσολόγγου Παλλάδος κεκλημενη, 
 ον παιδ' *Έ>ρε^Θεως Φοίβος εζενξεν γάμους ΙΟ 
 
 βία Κρεονσαν, ένθα προσβόρρονς πέτρας 
 Παλλάδος υπ ογθω της ^Αθηναίων )(θονος 
 Μακράς καλονσυ γης άνακτες *Ατθί8ος. 
 άγνώς Βε πατρί, τω θεω γαρ ην φίλον, 
 γαστρος Βυηνεγκ ογκον ως δ' ηλθεν γβονος^ 15 
 
 1. The long syllable preceding ουρανόν violates the law of the final cretic. 
 Cf. Phoeii. 747 άμφότερον' άπολίΐφθ€ν yap ovdev θάτίρον. There are a few 
 
 other more or less clear examples of the irregularity. 3. |j.ias : ' of one 
 
 goddess ', Pleione. Some connexion seems to be intended between θίων and 
 θ(ων μιας. One of the host of heaven (perhaps it is meant) bestowed a 
 tender reward for his pains. But we want more knowledge of the story. 
 
 eeov άλίας Shilleto. 5. ό(ΐψαλόν. In the temple 'close by the earia stood 
 
 the famous omphalos. It was a rounded conical white stone, similar in shape 
 to half an G:^<g^ and of such height that the suppliant could sit upon it. The 
 story is that Zeus, wishing to discover the centre of the earth, despatched 
 
ION 
 
 Scene : before the temple of Apollo at Delphi. Time : just before 
 simrise. Enter Hermes. 
 
 Hermes. To Atlas, him whose brazen shoulders wear 
 The sky, the ancient dwelling-place of gods, 
 A goddess brought forth Maia ; she to Zeus 
 Me, Hermes, errant messenger of heaven. 
 This place is Delphi, from whose centre-stone 
 Enthroned Phoebus prophesies to the world 
 The thing that shall be as the thing that is. 
 I have an errand here. There is a burgh, 
 In Hellas something famed, whose style proclaims 
 Her patron Pallas of the golden spear. 
 There, at the northward rocks 'neath Pallas' hill 
 In Athens, which the lords of Attic land 
 Call the Long Cliffs, Phoebus embraced perforce 
 Erechtheus' child Creusa. Unobserved 
 (For so was Phoebus' pleasure) by her sire, 
 She bore her burden till the time was come. 
 
 two eagles, one from the east and one from the west, and that the omphalos 
 
 marked the point at which the birds met'. B. 7. τά... μέλλοντα: that 
 
 which both is and is to be : the point is that to the god the future is but an- 
 other present. So in Het. 923 a prophetess knows τα τ υντα και μή, the future, 
 which ' both is and is not '. For the position of re see Kiihner, Gree/: Gram- 
 mar^ § 520, note 5 b. 9. ' The gilded point of the spear of the colossal 
 
 bronze statue of Athene Promachos on the Acropolis was a conspicuous ob- 
 ject at a distance of several miles'. B. 11. The cave (see v. 17) is at the 
 
 base of the cliffs at the N. W. corner of the Acropolis ; it was dedicated to 
 Apollo and Pan. 13. ανακτε? : owners, ix. inhabitants. 15. διήνεγκδ : 
 
6 ΕΥΡίπίΔΟΥ 
 
 Τ€κουσ ip οίκους παιδ' άπηνεγκεν βρέφος 
 
 €19 rauTOl•' αντρον ovnep ηννάσθη θβω 
 
 Κρέουσα, κακτίθησυν ως θανονμβνον 
 
 κοίλης iv άντίττηγος βντρόχω κύκλω, 
 
 προγόνων νομον σώζουσα του Τ€ γτ^γει/ους 2 ο 
 
 ^Έ,ρυχθονίου' κείνω γαρ η Αιος κόρη 
 
 φρουρώ παραζβύζασα φύλακβ σώματος 
 
 Βισσώ SpaKovre, παρθένους ^Κγλαυρίσιν 
 
 διδωσι σωζευν όθεν ^Ερεχ^θεί^αις έκέι 
 
 νόμος τις έστυν οφεσυν iv γρυσηλάτοις 25 
 
 τρέφευν τέκν ' αλλ' ην είχε παρθένος χλυΒην 
 
 τέκνω προσοίφασ ελυπεν, ώς θανουμένω. 
 
 καί μ ων αδελφός Φοίβος αΐτεΐταυ τάδε* 
 
 ω συγγον, ελθών λαον εΙς αυτόχθονα 
 
 κλεινών Αθηνών, οΧσθα γαρ θέας πόλιν, 3^ 
 
 λαβών βρέφος νεογνόν εκ κοίλης πέτρας, 
 
 αύτω συν αγγει σπαργάνοισί θ* οΧς έχει, 
 
 ένεγκε Αελφών τάμα προς χρηστηρια, 
 
 καΐ θες προς αύται? εΙσόΒοις Βόμων εμών. 
 
 τά δ' αλλ', εμος γάρ εστίν, ώς ειδι^ς, ο παις, 35 
 
 ημΐν μελησει, Αοζία δ' εγώ χάριν 
 
 πράσσων άΖελφω, πλεκτον εζάρας κύτος 
 
 ηνεγκα, καΐ τον τταιδα κρηπ&ων έπι 
 
 τίθημι ναού του^^ y άναπτύζας κύτος 
 
 ελικτόν άντίπηγος, ώς όρωθ' ο παΙς. ^Ο 
 
 κνρεί δ' αμ ιππεύοντος ηλίου κύκλω 
 
 προφητις εισβαίνουσα μαντεΐον θεού' 
 
 oxjjiv 8ε προσβαλουσα παιδί νηπίω 
 
 ε'^αύ/χασ-' ει τις ΑελφιΒων τλαίη κόρη 
 
 λαθραΐον ώ81ν εις θεού /όιψαι Βόμον, 45 
 
 6are to the end. 19. άντίπηγοβ : a cradle, made of a curved top or lid (see 
 
 V. 39) and a curved bottom, on which it could rock, the two parts more or less 
 symmetrical, whence the name ; cf. αντίστροφος etc. The second part of the 
 word (see πη-γρυμι) suggests that they were originally made of wood or bark, 
 but this was of basket-work. €ύτρ6χω κύκλ*^ points to the curved under- 
 side. 23. *Αγραυλί<Γΐν : daughters of Agraulos (Cecrops). See a full 
 
 discussion of the genealogy and the story by Miss Harrison, Mythology etc. 
 
 of Ancient Athens, Intr. p. xxii. 24. 4κ€ί, in Athens. 25: see v, 
 
 1431. 26. χλιδήν: her girlish weaving; see v. 1417; hence παρθένος here. 
 
 27. ώ$ θανουμίνφ. It was customary to place ornaments on those about 
 
ΙΩΝ 
 
 Delivered then in secret of a babe 
 
 She did convey it to that very cave, 
 
 Wherein the god embraced her, and exposed, 
 
 As unto death, within a cradle round, 
 
 Neglecting not the custom of her race 
 
 From earth-born Erichthonius down. (To him, 
 
 What time she gave him to the Agraulid maids, 
 
 Athena bound for watch two guardian snakes ; 
 
 In memory whereof Erechtheus' sons 
 
 In Athens still upon their nursing babes 
 
 Put serpents wrought of gold.) What maiden gawds 
 
 She had, she fastened, ere she left her babe, 
 
 Upon it, as for death. Then brotherly 
 
 My brother Phoebus made request of me: 
 
 " Go now, I pray thee, to that glorious land 
 
 Which from all time is Athens; well thou know'st 
 
 The sacred town ; and in a cavern find 
 
 A new-born child, which with the cradle bear 
 
 And tokens in it to mine oracle 
 
 Of Delphi. At the entrance of my house 
 
 Lay it, and leave the rest (for thou must know 
 
 The boy is mine) to me." Then I, to please 
 
 My prophet-brother, took my burden up. 
 
 The osier cradle, and I set the child 
 
 Here, on the temple-steps, and turned the lid 
 
 Full open, that the infant might be seen. 
 
 It chanced that as the sun rode forth in heaven, 
 
 The interpretress went in unto the fane. 
 
 Casting a glance upon the tender babe 
 
 She marvelled if perchance some Delphian maid 
 
 Dared with exposure of a secret birth 
 
 to be buried. 29. αυτόχθονα : grown actually upon the soil, as boasting 
 
 to have held it from times beyond memory and to have been the first 
 inhabitants. For the same reason their heroes (see v. 20) are sons of 
 
 earth. 32. άγγ€ΐ (and κντος, v. 2)7) '• general words for a vessel of any 
 
 form. 40. Ιλικτόν : turiiable upon hinges, see on v. 19. 41. αμ,α κύκλω : 
 
 with the wheel. κυρ£ί. , .άσβαίνουσ-α : was by coincidence entering, it being so 
 
 ordered that the infant should be placed there at sunrise, the hour of her 
 
ΕΥΡίπίΔΟΥ 
 
 vwep δε θνμίλας hiopiaai πρόθυμος ην, 
 
 οΐκτω δ' άφηκβν ωμότητα, καΙ ^eos 
 
 συνβργος ην τω παιδί μη 'κπβσβϊν Βόμων. 
 
 τρέφει δε νυν λαβονσα• τον σπείραντα δε 
 
 ουκ οίδε Φοΐβον, ούδε μητέρα ης εφυ' ζΟ 
 
 ό παις τε τους τεκόντας ουκ εττίσταται. 
 
 νέος μεν ουν ων, άμφΐ βωμίους τροφας 
 
 ηλατ άθύρων ως δ' άπηνΒρωθη δε/χας, 
 
 Αελφοί σφ' εθεντο χρυσοφύλακα του θεού 
 
 ταμίαν τε πάντων πιστον, εν δ' άνακτόροις 55 
 
 θεού καταζη δευρ' άεΐ σεμνον βίον. 
 
 Κρέουσα δ' η τεκουσα τον ι^εαι^ιαζ/ 
 
 αούθω γαμεΐται συμφοράς τοιασδ* ϋπο. 
 
 ην τάίς Άθηναυς τοϊς τε ΧαλκωΒοντίΒαυς, 
 
 οΐ γην εγρυσ Εΰ)8οΓδα, πολέμιος κλύΒων 6θ 
 
 ον συμπονησας και ξυνεζελών 8ο ρΐ 
 
 γάμων Κρεούσης άξίωμ εδε^ατο, 
 
 ουκ εγγενής ων, Αιόλου δε του Δ to 9 
 
 γεγως Αραιός* -χρόνια δε σπείρας λεχη 
 
 άτεκνός εστί, και Κρεουσ' ων ουνεκα 65 
 
 ηκουσι προς μαντεΤ Απόλλωνος τάδε 
 
 ερωτι παίδων. Κοξίας δε την τύχην 
 
 εις τουτ ελαΰ^ει, κού λεληθεν ως 8οκεΖ 
 
 δώσει γαρ εισελθόντι μαντεΐον τό8ε 
 
 αούθω τον αύτοΰ παιδα, και πεφυκεναι JO 
 
 κείνου σφε φησει, μητρός ως ελθών δόμους 
 
 γνωσθη Κρεούση, και γάμοι τε Αοζίου 
 
 κρυπτοί γενωνται, παις τ εχτ) τα πρόσφορα. 
 
 entrance. 46. νΐΓ^ρ...θυμΛα8: beyond the place of sacrifice, i.e. more 
 
 properly the platform in front of the temple {v. 114), with the great altar 
 etc. But the plural marks that the word is here used in a wide sense, for the 
 
 whole sanctuary. 47. because of pity she dismissed her cruelty. 48. μή 
 
 iKircactv: not to be cast out; consecutive. 52. τροφάε: place of rearing. 
 
 Ρωμ£ου5: consecrated by altars, from which {v. 323) he was actually fed, 
 
 though this is not here directly in view. 53. άττηνδρώθη. Cf. σποπ-λ?;- 
 
 ρόω. 56. KttTtttf : live through, live on, down to the present, as we also 
 
 say. 59. Χαλκ. : the Chalcidians, from their hero Chalcodon. 60. 
 
 κλΰ8ων: a happy metaphor, suggesting at once a natural comparison of the 
 war between the peoples to the flowing Euripus actually parting them, and 
 
ΙΩΝ 
 
 Affront the sacred place. Her will was quick 
 
 To put it o'er the pale ; but pity took 
 
 Her cruel purpose from her, and the god 
 
 Aided to keep his child within his house. 
 
 She took the babe and reared it, knowing not 
 
 The mother still, nor Phoebus for the sire, 
 
 More than the infant knows from whom he came. 
 
 So round the altars of this holy home 
 
 His playful childhood strayed ; and when he came 
 
 To man, the Delphians made him treasure-ward 
 
 And keeper to the god in general trust. 
 
 Thus in the precinct to this day he leads 
 
 A sacred life. Meanwhile Creusa, she 
 
 Whose son he is, hath wedded Xuthus, won 
 
 Upon occasion of a war which ran 
 
 High between Athens and Euboean folk, 
 
 Sons of Chalcodon. Xuthus, lending aid 
 
 To close the trouble, for his good desert 
 
 Received her hand, though not Athenian born, 
 
 But tracing an Achaean pedigree 
 
 Through Aeolus to Zeus. But, wedded long, 
 
 He and his wife are childless still ; and this. 
 
 Their longing for a child, hath brought them here 
 
 To seek Apollo. He with subtle hand, 
 
 Not blind as he may seem, guides the event. 
 
 And means that Xuthus, entering at his door, 
 
 Shall from Apollo take Apollo's son 
 
 And be declared the father: thus the lad 
 
 Shall reach his mother's house, be known to her. 
 
 And thus obtain, without discovery 
 
 Of what Apollo did, his proper rights. 
 
 the effect of it in carrying Xuthus to greatness. 61. ov : πόλίμον, rather 
 
 than κλν8ωνα,Ϊ5 the substantive to which the phrases are adapted. |υν€|€λών : 
 
 az'ded to finish it, do it away. 64. Άχαιόδ, i.e. of the northern branch, 
 
 Phthiaii (Paley). The home of Xuthus was laid, like that of the Achaean 
 
 Achilles, in Phthia. The pedigree was given, as usual, variously. 68. ού 
 
 λ€ληθίν : it has not escaped his observation^ as it seems to have done. 71. 
 
 ώ5 : with the intention that. 72. τ€...τ€: that the two desirable results may 
 
ΙΟ ΕΥΡίπίΔΟΥ 
 
 'Ίωνα δ' αντορ κτίστορ Άσιάδος χθονος 
 όνομα ΚζκΚησθαι θησεταυ καθ* Έλλαδα. 75 
 
 αλλ' €19, 8αφρώ8η γΰαλα βησομαι τάδε, 
 το κρανθίν ώς αν βκμάθω παιδος ττφι. 
 ορω γαρ Ικβαίνοντα Αοζίον yovov 
 τ6ν8\ ως προ ναοΰ λαμπρά Θύ) πνλώματα 
 Βάφνης κΚά^οισιν. όνομα δ' ου μελλευ τνγύν 8θ 
 Ιων €γώ σφε πρώτος ονομάζω θεών. 
 
 Exit. 
 
 Enter ^ from the temple, I ON and certain Delphians employed in 
 the service of Apollo, 
 
 ION. 
 
 '^Αρματα μεν τά8ε λαμπρά τεθρίππων 
 ηλίος 7)Sr) λάμπει κατά γην 
 άστρα δε φεύγει πυρί τώδ' αιθέρος 
 εις ννγθ* ίεράν. 85 
 
 ΊΙαριτησιά^ες δ' άβατοι κορυφαι 
 καταλαμπόμεναι την ημερίαν 
 άψΓδα βροτοίσι Βεχονται. 
 σμνρνης δ' avvSpov καπνός εις ορόφους 
 Φοίβου πετεται, qO 
 
 θάσσει δε γυνή τρίποδα ζάθεον 
 ΑελφΙς, άειδουσ' '^Ελλησι βοάς^ 
 άς αν Απόλλων κελαΒηση. 
 
 Άλλ', ω Φοίβου ΑελφοΙ θεραπες, 
 τάς Κασταλίας άργυροεώείς 95 
 
 be combined. 74. 'Ion is to be the eponymous hero of the Ionian 
 
 settlement in Asia Minor: see 7/. 1584'. B. 75. Θησ6ται: will cause. 
 
 76. γύαλα : the sanctuary of Delphi as a whole. See on v. 220. Here the 
 particular reference is to the enclosure, planted with laurels, by which the 
 
 whole collection of shrines, treasure-houses, etc. was surrounded. 77. τλ 
 
 κρανθ^ν : what is desiined to happen, the ensuing story. ^κμάθω. He knows 
 
 the general intention of Apollo, but is interested in ' seeing it out '. 79. 
 
 λαμττρά θή : make bright {clean) by sweeping. 82. τ€θρί'ΐηΓων. The stop 
 
 here is necessary if λά/Λπ?* be retained in v. 83. * Musgrave proposed 
 ica^Trret {turns home to the west) for λάμπΐΐ. This would be a great im- 
 provement and it is unfortunate that it lacks MSS. authority'. B. 84. oe/ore 
 
 yonder fire the stars flee into the great dark of space. The poetical conception 
 
ΙΩΝ η 
 
 Ion the god will name him and renown 
 Through Hellas for the cities of his name 
 Which he shall plant in Asia. Now, to learn 
 The fuller working of his destiny, 
 I go aside into these laurel-groves. 
 For even now I see Apollo's son 
 Come forth, to cleanse the approaches of the fane 
 With branch of laurel. Be his destined name. 
 Ion, from Hermes first of gods received. 
 
 Exit. 
 
 Enter, from the temple, lON and certain Delphians employed in 
 the service of Apollo. 
 
 Io7i. See, the sun ! His chariot-light 
 O'er the earth already speeds, 
 While before his fiery steeds 
 Fly the stars into the vasty night. 
 See Parnassus' summits bright, 
 Pathless peaks, by day-break lit, 
 Which to the wide world welcome it ! 
 Smoke of the unshowered frankincense 
 Soars to Phoebus' roof divine ; 
 The priestess waits Apollo's sign, 
 On the tripod waits Apollo, 
 There to hear his voice and follow 
 Forth in public chant his secret sense. 
 
 Go, his Delphian servants, ye 
 To the silver eddies of Castaly, 
 
 is that of a dark region outside of day, into which the stars retire. irvpl. 
 
 The dative, freely used in poetry, may here be regarded either as causal or, 
 
 perhaps rather, modelled on such phrases as ei/ceii/ nvl, χωρ^ΐν tlvL etc. 85. 
 
 ί€ράν: sacred, a vague term of reverence. It is applied to all the great 
 elements of nature (fire, water, light, darkness, earth, rain, rivers etc.) 
 
 as such. 86. άβατοι : not inaccessible, but haunted by Apollo, Bacchus, 
 
 and other deities, and feared accordingly. 89. άνύ8ρου, because grown in 
 
 the desert. 90. θάσσ -ci τρίττοδα : i.e. it is a day on which the oracle is 
 
 open. 92. ά€ίδου<Γα. The answers of the Pythia were delivered in a 
 
 musical tone and cadence, and were frequently in metre. 95. Kao-raXCas: 
 
 the sacred spring which flowed down from the cliffs (Phaedriades) on the 
 
12 ΕΥΡίπίΔΟΥ 
 
 βαίρ€Τ€ διζ^α?, καθαραΐς 8e Βρόσους 
 
 άφυ8ρανοίμ€ΐΌί στβίχετε ναούς, 
 
 στόμα τ ενφημον φρονρζΐτ αγαθοί, 
 
 φημας τ άγαμοι? τοΐς ίθέΧουσιν 
 
 μαντβύβσθαί ΙΟΟ 
 
 γλώσσης ISias άποφαίνειν. 
 
 ημζίς δε, πορονς ους €κ παιδος 
 
 μογθονμ€ν aet, τττόρθοισι δάφνης 
 
 στεφβσίν ff Ιβροΐς εσόΒονς Φοίβου 
 
 καθαρας θησομεν, νγραϊς re neSov 1 05 
 
 ρανίσιν vorepov πτηνών τ άγέΧας, 
 
 αΐ βλάπτονσιν 
 
 σ4μν αναθήματα, τοζοισιν έμοίς 
 
 φνγάΒας θησομεν ώς γαρ άμητωρ 
 
 άπάτωρ τε γεγώς τους θρε\\ίαντας Ι ΙΟ 
 
 Φοίβου ναούς θεραπεύω. 
 
 Exeunt all, except Ion, He takes his broom of bay 
 and begins to sweep. 
 
 *Ay', ώ νεηθαλες, ώ στ ρ. 
 
 north side of Delphi. 96. δρόσοι?. Sprinkling would be ritually suf- 
 ficient, and the use of 8ρόσυι is perhaps intended to suggest this, although it 
 
 is sometimes used in poetry with no meaning more special than water. 
 
 98 — 101. According to the ancient belief a religious function would be 
 hindered of its efficiency, and not merely disturbed, by unfavourable words 
 used during the performance of it. Abstinence from such words {(ύφημία) 
 was therefore the duty of all present, and more particularly of those 
 
 ministering. The construction is obscure and there is probably some 
 
 small error in the reading. For αγαθόν (mss.), which is not satisfactory, 
 Mr Bayfield gives αγαθοί, guard your lips religiously, noble as ye are (see the 
 Lexicon, s.v. oya^os), i.e. as your gentle birth and duty as Delphians {v. 94) 
 requires you. In the second clause άΐΓοφαίν€ΐν {utter) may be taken either 
 (l) with άγαθας τοΙς eSeX. μαντΐχχσθαι, keep {φρονρύτΐ supplied again) speech 
 proper, for the advantage of the intending inquirers, to utter from the tongue, 
 or (2) as an infinitive used in an imperative sense, such as is common in 
 legal forms, ritual directions, and the like : for such an infinitive following a 
 true imperative Mr Bayfield cites Herod. 6. 86 σν δι; μοι και τα χρήματα δίξαι 
 κα\ radf τα σύμβολα σώζ€ Χαβων' ος δ' αν (χων ταντα άπαιτίτ], τοντω airobovvai, 
 where however the change of construction is more natural, as the time 
 regarded changes from the present to recurring occasions in the future. On 
 the whole I incline to accept αγαθοί and to take άποφαίναν in the first way.-^ — 
 
f 
 
 ΙΩΝ 13 
 
 And bathe yourselves, and come again, 
 Clean and made holy, to the fane. 
 Guard your speech, that never word 
 On your noble lips be heard 
 To mar their purpose, who resort 
 For question to this sacred court. 
 
 I the while the task fulfil 
 Which is mine from childhood still, 
 With laurel-bough in mystic tie 
 The portal here to purify, 
 
 To sprinkle o'er 
 
 The holy floor, 
 And banish far the feathered race, 
 That do our beauteous gifts disgrace, 
 With arrows. Father had I none. 
 Mother none, and thus alone 
 Love and service all I give 
 To Phoebus' house, whereby I live. 
 
 Exeunt all, except Ion. He takes his broom of bay 
 and begins to sweep. 
 
 Ion. Come, servant mine. 
 
 ISias, if correct, must be meant to suggest something of the same idea as the 
 ' not speaking thine own words ' of the Prophet. On this solemn occasion 
 the individual tongue is to be restrained for the good of the public (ro 
 κοινόν). I have elsewhere suggested iXeay, feminine of ίλβω?, on the analogy 
 of ττλίως, nXia, which Mr Bayfield adopts. The form IXea is not actually 
 found, the adjective being generally of two terminations. This fact is not 
 conclusive against it by any means, and I still think it probable ; but as 
 
 ίδια? is perhaps not indefensible, I retain it under reserve. 102. -njicts : the 
 
 plural is constantly used, when (among other cases) a person speaks of him- 
 self in an official capacity. irovovs : in apposition to the notion of service 
 
 implied in θησομ€ν καθαράς etc. 104. σ-τ€'φ€σ-ίν θ* Upots: usually referred to 
 
 the putting of wreaths on the temple. But since in the following scene the 
 tasks here mentioned are exactly followed and in the same order, the 
 sweeping (vv. 112 — 141), the sprinkling {vv. 142 — 152), and the scaring of 
 the birds (vv. 153 — 183), a reference here to something else does not seem 
 probable. I think therefore that the whole phrase πτόρθοισι...ί€ροΐς should 
 be taken as describing the brush, which is made of branches of bay and 
 flocks of wool, tied together with a sacred tie of wool resembling the fillets 
 {στίφη, στέμματα) used in ritual. 108. άναθήμ.ατα: tripods, statues, etc.. 
 
14 ΕΥΡίπίΔΟΥ 
 
 καΧλίστας προπόλευμα δάφνας, ά τάν Φοίβου θνμβλαν 
 
 σαίρεις νπο ναοίς 115 
 
 κήπων ef αθανάτων, 
 
 ίνα δρόσοι τβγγονσ lepaly ρχπάν άέναον irayav 
 
 €κπροΪ€Ϊσαι 
 
 μνρσίνας, lepav φόβαν α σαίρω SdneSov Oeov 121 
 
 παναμβρως αμ άλίον τττέρνγι θοα λατρενων το κατ 
 
 ημαρ. 
 ί1 Tlaiavy ω ΤΙαιάν, 
 €ναίων, βναίων 1 25 
 
 €ίης, ω Αατονς παΓ. 
 
 καλόν γβ τον πόνον, ω άντ. 
 
 Φοίβε, σοΙ προ Βόμων λατρεύω, τιμών την μαντείον 
 
 ε8ραν. 
 κλεινός δ' ο πόνος μοι ΐβΟ 
 
 θεοΐσιν 8ονλαν ^ερ εχειν, 
 
 ου θνατοϊς, αλλ' αθάνατο ις' ενφάμοις δε πόνοις μο)(θεΐν 
 ουκ άποκάμνω' 
 Φοίβος μοι γενετωρ πατηρ' τον βόσκοντα yap 
 
 ευλογώ, 136 
 
 το δ' ώφελιμον εμοί πατέρος όνομα λέγω, Φοίβου του 
 
 κατά ναον. 
 
 ω ΤΙαιαν, ω TlaiaVy 
 
 ευαίων, ευαίων 140 
 
 είης, ω Αατους παΓ. 
 
 Άλλ' εκπαύσω γαρ μόγθους 
 8άφνας ολκοΐς' γρυσεων δ' εκ 
 
 τευχεων ρίχ^βω γαίας παγάν, 145 
 
 αν άπογεύονται Κασταλίας SivaL, 
 νοτερον υ8ωρ βάλλων, 
 όσιος απ' ευνάς ων. 
 
 in the precinct. 113. irpoiroXevjta : instrument of service. 114. κήττων 
 
 Ιξ άθ. is in syntax an adjective qualifying a, * laurel from the garden '. 
 
 116 : where the sacred stream, sending forth fro7n among the myrtle a free and 
 never failing spring, waters the sacred foliage etc. The expression is re- 
 dundant but sufficiently clear. 122. αμα άλίου πτ^ρυγι. Cf. v. 41. 
 
 128. γ€. If I am a slave, it is in a noble service. 134. €ύφά(ΐοι$, because 
 
ΙΩΝ 15 
 
 Born of the tender bay, who sweepest fair 
 
 This holy place 
 Before the fane of Phoebus. Come, thou growth 
 
 Of groves eterne, 
 Whose springs, that from the myrtle-boskage pour 
 
 A never-failing stream, 
 Feed me the sacred leaves, wherewith I brush 
 The consecrated ground, and every dawn 
 Time by the flying sun the daily task. 
 
 Ο strong to save, Ο strong to save, 
 To thee, ΑΜβΚβ son, to thee, 
 Blessing, eternal blessing be ! 
 
 A glorious task, 
 Phoebus, to labour at thy gate, and grace 
 
 Thy prophet-seat ! 
 A glorious task, hand-service to a god, 
 
 No less a lord 
 Than an immortal god ! Of such a task 
 
 How should I ever tire ? 
 Phoebus my father is, my father. Who 
 Doth feed me else? I thank him by the name. 
 Apt for his love, the temple's lord, my sire ! 
 
 Ο strong to save, Ο strong to save, 
 To the^^^eeeSS^eon, to thee 
 Blessing, eternal blessing, be ! 
 
 Next, my part of sweeping o'er. 
 With a golden urn I pour 
 Rock-born water, issuing 
 From the bright Castalian spring, 
 I who cast it, clean myself and pure. 
 
 religious {v. 98), but here with second reference to the sense of good repute, 
 
 honourable', contrast δνσφημος scandalous. 139. Constr. το ωφίΚ. (μοί 
 
 Φοίβου λβγω πατέρος όνομα, the goodness (or service) to me of Phoebus I describe 
 by the name ^father \ For όνομα λίγω cf. v. 80. 145. όλκοι$ (that which 
 
1 6ο 
 
 i6 ΕΥΡίπίΔΟΥ 
 
 €ΪΘ^ οΰτως alel Φοιβω 150 
 
 λατρενων μη παυσαι/Λαι^, 
 17 ττανσαίμαν aya^a μοίρα. 
 
 ^Εα, εα• 
 φοιτωσ ηιδτ^, λείπονσίν Τ€ 
 
 πται^οι Παρι^ασου κοιτάς. 155 
 
 αΰδώ /ιτ) γρίμτττειν θρυγκοΐς, 
 μη^ΐ* εΙς χρνσηρεις οίκους, 
 μάρχ^ω σ αν τόζοις, ω Ζηνος 
 κηρνζ, ορνίθων γαμφηλαΐς 
 Ισχυν νικών. 
 oSe προς Θυμ4\ας άλλος ίρέσσει 
 κύκνος' ουκ άλλα 
 φουνικοφαη πόδα κινήσεις ; 
 ovSev σ ά φόρμιγζ α Φοίβου 
 
 σύμμολτΓος τόξων ρύσαιτ αν. 1 65 
 
 παράγε πτέρυγας, 
 λίμνας επίβα τας Δτ^λιάδος* 
 αί/ιά^€ΐ9, el μη πείσει, 
 τάς καΧΚιφθόγγους ω8άς. 
 
 εα, εα• IJO 
 
 τις οδ' ορνίθων καινός προσίβα ; 
 /xcul•' υπο θριγκούς ευζ/αιας 
 καρφηράς θησων τέκνοις ; 
 χραλμοί σ είρξουσιν τόξων, 
 ου πείσει ; χωρών διι^αις 
 
 ταΓς Αλφειού παιΒουργει, Ι 75 
 
 -ι^ νάπος '^Ισθμιον, 
 ώς αναθήματα μη βλάπτηται 
 ναοί θ* οι Φοίβου. 
 
 ikKerai, the broom of laurel) depends as instrumental on μόχθους. 153. He 
 
 is thinking, with religious hope, of death, but unconsciously anticipates his 
 
 future greatness. 158. αυ. He had killed eagles on Hke occasions 
 
 before. 164. ά...σύ|ΐμιολ'ΤΓθ5 {ονσα): the fact that Phoebus^ lyre makes 
 
 music with thee. See the beautiful description of Apollo and the chorus of 
 
 swans in Aristophanes, Birds 769. 167. Xi^vas: a circular piece of water 
 
 {Κίμνη τροχοίώήί Herodotus) at the oracular sanctuary of Apollo in Delos. 
 
 168. at^(jl£cis...<pSas: ^ thou shalt raise, and in blood, if thou wilt not heed, 
 that sweet dirge of thine, ras, demonstrative. οΧμάσσαν ^day is an expression 
 
ΙΩΝ jg 
 
 May the task unending so endure 
 Without a close, 
 Or ending find a blest repose ! 
 
 There, see ! The birds are up : they fly 
 Their nests upon Parnassus high, 
 And hither tend. I warn you all, 
 To golden house and marble wall 
 Approach not. Once again my bow, 
 Zeus' herald-bird, will lay thee low, 
 Of all that fly the mightiest thou 
 In talon ! Lo, another now 
 Sails hitherward, a swan ! Away, 
 Away, thou red-foot ! Not the lay. 
 Which ye to Phoebus' music sing. 
 Should save thee from the fatal string. 
 
 Come, turn thy flight. 
 
 On Delos' mere alight ; 
 Or thou shalt shed thy sweetest note 
 And death-song from thy bleeding throat. 
 There, see again ! What stranger wing 
 Approaches ? Dost thou think indeed 
 Beneath our eaves to build and breed ? 
 Thou also, shun the sounding string. 
 Dost hear me } Choose, to nurse thy brood, 
 Alpheus or the Isthmian wood, 
 That so my patron's sacred fane 
 And votive treasure take no stain. 
 
 similar to μηκνναν βοήν to raise a loud cry, τήκ€ΐν οίμωγήι^ to utter a lajiguish- 
 ing lament, κΚίττηιν μύθους to speak deceitfully etc. The swan is not a 
 musical bird, but was fabled to sing at its death. Ion threatens that he will 
 
 give the bird cause to sing and to sing in a bloody death '. B. 172. «ύναία?, 
 
 i.e. (ννάς. For the form cf. τρόπαια (τροπή) change of wind (Aesch. Ag. '2.'2<^\ 
 
 θνραία lb. 1039: it occurs also in Aesch. Sept. 1007, where see note. 
 
 175. τταιδούργ^. ' We should probably read παώονργίΐν (inf. for imperative) '. 
 
 B. But the lines are not here continuous. ^"Αλφειού... "Ισ-θμιον : the 
 
 sanctuaries of Zeus at Olympia by the Alpheus, and of Poseidon on the 
 
 Isthmus of Corinth, the places of the athletic festivals. 183. On the 
 
 arrangements here see the section of the Introduction on the Parodos. 
 
 V. I. 2 
 
i6 ΕΥΡίπίΔΟΥ 
 
 KTeiveiv δ* νμα^ α&ονμαι 
 
 τους θβων άγγελΧοντας φημας ΐ8θ 
 
 θνατοΐς• οίς δ* ey/cei /χαι μ6γθοι<; 
 
 Φοίβω Βουλβνσω, κον ληζω 
 
 τους βόσκοντας θεραπβνων. 
 
 Exit. 
 
 Here probably was performed in pageant, by the ministers men- 
 tio7ied in v. 94, on the altar in front of the temple, the sacrifice 
 mentioned in v. 419. After the pageant^ the stage being clear, 
 enter the Chorus, ha^tdmaidens of Creusa, probably fifteen in 
 number according to usage. They converse with each other 
 as they pass up and down, admiring the buildings. 
 
 XOPOS. 
 
 QvK iv ταΐ9 ζα^εαις ^Αθά- στρ. 
 
 ναις €v κίονες ήσαν αύ- 185 
 
 λαι θέων μόνον, οΰδ* ayvi- 
 άτιδες θβραπβΐαί' 
 άλλα καΐ παρά Αοζία 
 τω Αατονς 8ί8νμων προσώ- 
 πων καλλιβλβφαρον φως. — 
 
 184 — 189. ονικ...η<Γαν..,μόνον: i.e. ^Ι find that there are such here also'. The 
 imperf. (with apa if surprise is to be expressed) is so used, when a 
 
 previous behef is corrected ; * it was not so, as I thought '. αύλαΐ θ€ών 
 
 sacred fore-courts or vestibules is the natural meaning. άγυιάτιδί? ecpairctai 
 
 * worship of the ayuifws', the protector of the ayvtat streets, symbolised by 
 conical pillars erected at the doors of the houses. In the anthropomorphic 
 
 hierology the name ayvuv^ was attached as a title to Apollo. άλλα καΐ ...: 
 
 at Loxias* house also is the fair-browed brightness of the double front. In 
 the arrangement of the approach to the temple of Delphi there was some 
 feature which an Athenian visitor would notice as specially reminding him of 
 his own town. What this was does not appear to be ascertainable. The 
 phrase δίδυμα πρόσωπα is commonly referred to the east and west faces of 
 the temple ; but attention could scarcely be attracted by a feature common 
 to almost every temple in Greece, and moreover the description should 
 naturally refer to what the visitors can now see or be supposed to see. The 
 use of avXat suggests a coiirt before the temple, enclosed by two colonnades^ 
 
ΙΩΝ 19 
 
 And yet to kill you, birds, who sign 
 To mortal men the will divine, 
 It pities me. But I must do, 
 
 As servant true, 
 My master's task, nor cease to give 
 Worship to him by whom I live. 
 
 Exit. 
 
 Here probably was performed in pageant^ by the ministers mentioned 
 in V. 94, on the altar ifi front of the tem,ple^ the sacrifice 
 mentioned in v. 419. After the pageant y the stage being clear, 
 enter the Chorus, handmaidens of Cretisa, probably fifteen in 
 number according to ttsage. Tliey converse with each ot/ier 
 as they pass 7ip and down, admiring the buildings. 
 
 Chorus. 
 
 Lo, as in our religious home 
 Are sacred fore-courts set with pillars fair 
 
 And symbols of the gate. 
 So likewise here the house of Loxias 
 
 Showeth symmetric front. 
 
 Bright as twin eyes beneath the brows. 
 
 resembling more or less those of St Peter's at Rome. There was an 
 enclosure, though not apparently a pillared enclosure, in front of the 
 Parthenon ; but it seems likely that the reference is to some custom or some 
 monument now unknown. Whether the epithet καλλιβλ4φαρον merely 
 emphasizes poetically the comparison between the symmetry of the 
 architectural face and that of a human face, or whether the orow points to 
 
 some special feature, must be left uncertain. καλλιβλέψαρον Brodaeus. 
 
 καλλίφαρον MSS. 190. The decorations described were probably in 
 
 painted sculpture. They refer to the destruction of earth-born monsters by 
 gods and heroes and were ' evidently chosen from their relation to the victory 
 of Apollo over the earth-born Python ' (Prof. Middleton ; article on the 
 temple of Delphi, Hellenic Journal Vol. 9). The description does not show 
 in what part of the architecture they were, but they are evidently supposed 
 to be easily visible by persons at some distance from the temple. They 
 may have belonged to the colonnades of the avkr\, if such there were. In 
 the want of exact knowledge of the place, as it was known to Euripides and • 
 
 2 — 2 
 
20 ΕΥΡίπίΔΟΥ 
 
 Ιδού, τάι^δ' αθρησον 190 
 
 Kepvalov vhpav ivaipei 
 XpvaeaLS αρπαυζ ο Δ to? τταΓς. 
 φίλα, πρόσιδ' ocrcrot?. — 
 
 Ό ρω' και πίλας άλλος αύ- άντ, 
 
 τον ττανον πνρίφλβκτον αϊ- 195 
 
 pet τις ; άρ ος e/xatcrt /χυ- 
 OeijeTaL παρά ττήναίζ 
 άσπιστάς 'Ιόλαος, ο ς 
 κοινούς αΐρόμβνοζ πόνους 
 Αίω παίδι σνι^αζ^τλεΓ; — 2θθ 
 
 Και μάν τόν8' αθρησον 
 πτβρονντος ^φ^^ρον ϊππον • 
 ταν πνρπνέονσαν evaipei 
 τρισώματον αΚκάν. — 
 
 Πα^τα το ι βλβφαρον διώκω. 205 
 
 (TKexjjaL κλόνον έν τει^βσι λαίνουσυ Τιγάντων. — 
 
 ^Ώδε δβρκό/Λβ^', ω φίλαι. — 
 
 Λευσσεις ούι^ επ Έγ/ίελάδω γοργωπον πάλλονσαν 
 ΐτυν; — 2 ΙΟ 
 
 Αενσσω Παλλάδ' βμάν θεον. — 
 
 Τι γαρ; κβραννον άμφίπνρον 
 ομβριμον εζ' Διός 
 έκηβόλοισί γβρσίν, — 
 
 'Ορώ- τόζ^ δάϊοι/ Μι/ιαι^τα ττυρί καταιθαΧοΖ — 215 
 
 Και Βρό/χιος αλλοι^ άπολε/χοισι κισσίνοισι βάκτροις 
 ivaipei Γας τ4κνων 6 'Άακγευς. — 
 
 Ι ON, with others, appears at the teviple. 
 
 his audience, nothing can be precisely determined. We can only presume 
 
 that the representation is fairly correct so far as it goes. 196. * Can it be 
 
 he whose story is being told at my weaving?^ i.e. to beguile their labours. 
 They were now in the middle of the story of Heracles. — 200. Δίφ: possessive 
 adjective in the sense of the genitive Lio^-, cf. Ύΐ\αμ<ύνιο% παί^ (Aias), Ίvvhapda 
 
 θχτγατηρ (Helen) etc. 201. tovSc: Bellerophon. 203. tcLv: the Chim- 
 
 aera. 206. τύκαιοην carved work (Hermann), *does not occur, but is 
 
 formed from τυκ- as ταφή from ταφ- (cf. τυ /cof, τύκισμα) '. The word gives a 
 better rhythm than Iv τ6ίχ€<Γΐ on the walls (mss.), but it is not metrically 
 necessary, as there are here no strophae\ and as to the sense, it must be 
 remembered that we do not know the true facts. 208. We see it here. 
 
ΙΩΝ 21 
 
 Behold yon beast! 
 It is the snake of Lerna, perishing 
 Beneath the golden scythe of Heracles. 
 
 Look at it, look ! 
 
 Aye, and behold his comrade near 
 Who raises high a fiery-flaming torch. 
 
 Say who ? Say is it he, 
 Whose tale I hear beside the running loom, 
 
 Brave lolaus, true 
 
 Partner in Heracles' emprise. 
 
 And oh, yon knight ! 
 See how he rides his winged steed and slays 
 That monster belching fire, which hath the strength 
 
 And form of three 1 
 
 Fain would mine eye 
 Run every way. See there ! The marble wall 
 Showeth the giant rout. 
 
 We see it here. 
 
 And dost thou note 
 Her, who is shaking o'er Enceladus 
 Her Gorgon shield ? 
 
 Pallas, my Pallas ! 
 
 And the bolt of Zeus 
 Twy-pointed, see'st thou, in his hurling hands ? 
 
 Aye. That is Mimas fighting him and smirched 
 Black with his fire. 
 
 And Bromius too, not armed, but laying low 
 With a mere ivy-wand his Titan foe ! 
 
 Ion, zvit/i ot/iers, appears at the temple. 
 
 This speaker and the last are surveying the large subject (the battle of the 
 
 giants) from different places. 212. τί γάρ ; calls attention, like the Latin 
 
 qidd?^ to a fresh point. άμφίττυρον flaming at each end. 217. Bpojiios : 
 
22 ΕΥΡίπίΔΟΥ 
 
 07ie of tJie Chorus. 
 
 Xe TOL τον πάρα ναον av- 
 
 δώ • Θ4μι<ζ γνάΚων νπ^ρβηναι λ^υκω πόδι — ; 
 ΙΩ. ου θβμις, ω f eWt. 2 2 I 
 
 ΧΟ. ovS" αν €κ aeOev αν πνθοίμαν — ; 
 Ιίΐ. αΰδα τι θβλευς, 
 ΧΟ. άρ όντως μ4σον ομφαλον 
 
 γοίς Φοίβου κατβχευ Βόμος; 
 ΙΩ. στέμμασί y ivSvTOV άμφΐ δβ Γοργόνες. 
 ΧΟ. οντω καΐ φατυς αυδα. 225 
 
 ΙΩ. €1 μ€ν έθνσατε πβλανον προ 86μων 
 
 και TL• ττνθέσθαι χργιζετε Φοίβου, 
 
 παριτ εις συμεΚας. ewL ο ασφακτοις 
 
 μ-ηΚοισι 8όμων μη παριτ €19 μυγον. 
 ΧΟ. εχω μαθουσα. θεού δε νόμον 230 
 
 ου παραβαινομεν 
 
 α ο eKTOS, όμμα Tepxpeu. 
 ΙΩ. πάντα θ€ασθ\ δ τι /cat Θέμις, ομμασι. 
 ΧΟ. μεθείσαν Ββσπόται με θεού 
 
 γυάλα ταδ' είσι^εΐν. 
 ΙΩ. δ/χωαΐ δε τίνων κληζεσθε 86μων ; 
 
 ΧΟ. Παλλάδος ενοικα τρόφιμα μελαθρα των εμων τυράν- 
 νων. 2 35 
 
 Dionysus. κισ-σ•. βάκτροι$ : the thyrsus. 218. τον τταρά ναόν : you who 
 
 are at the way to the temple. 220. γυάλων : here the temple. The word 
 
 is apphed to the sanctuary of Delphi in various connexions, the special sense 
 in each place being determined by the context. It seems to have meant 
 properly a cup-like hollow {Iph. Aul. 1052 eV κρατήρων γνάλοα). Mr Bayfield, 
 observing that 'it is used of no other temple than that of Delphi', finds the 
 explanation *in an almost unique characteristic of the Delphian sanctuary'. 
 The άδυτοι/, the place of inspiration and the nucleus of the whole establishment 
 and worship, 'was actually a pit or cavern in the earth, and nothing could be 
 more natural than that a name originally describing the primitive sanctuary 
 should afterwards be extended to the temple built over, and even to the 
 sacred precincts. Indeed αδντα is used in precisely the same manner, 
 
 V. 1 309'. ΊΓοδΙ. Hermann adds βηλόν {threshold) which completes the sense. 
 
 But possibly Ion interrupts this question, like the next, v. 222. The metre 
 would not be consecutive, but in such a case this would be no disadvantage. 
 
 223. So Hermann, ττνθοίμαν avdau; ΙΩ. τίνα 8e θίΚίΐς ; MSS., against 
 
 rhythm and sense. 225. Ves, clothed in wreaths, and there are Gorgons 
 
 on both sides of it, the temporary and the permanent decorations of the om- 
 
ΙΩΝ 23 
 
 One of the Chonis. 
 Say, Sir, — thou hast the doorway — is it free 
 To enter, bare-footed, the sanctuary ? 
 
 Ion. Nay, ladies. Cho. Might I not then ask thee — ? 
 Ion, Aye : 
 Say what thou wilt. Cho. This temple, doth it lie 
 At earth's mid-centre truly, as we hear.!* 
 
 Ion, The stone, the wreaths, the Gorgons twain are here. 
 
 Cho. So it is e'en reported. Ion. If ye have 
 Burnt sacred oil before the fane, and crave 
 To enquire of Phoebus, this, the outer space, 
 Is open ; richer gifts win further grace. 
 
 Cho. I am answered, and obey the god's decree. 
 What may be seen without, well-pleased to see. 
 
 Ion. So far as lawful is, your eyes content. 
 
 Cho. By favour of our lady we are sent 
 To view this holy precinct. Ion. Ye are thralls .'' 
 In whose obedience, pray } Cho. In Pallas' halls 
 
 phalos, which the geographer Strabo describes as having on it 'the two 
 figures of the legend', i.e. the two eagles which met there (see on v. 5). Her- 
 mann is probably right in supposing that Euripides here refers to the same 
 figures, by the name of Gorgons. Such very ancient and rude sculptures, as 
 these are likely to have been, may well have been variously identified and 
 
 explained. 226 — 229. els θυμΛα9, i.e. as far as where Ion himself is, the 
 
 top of the steps, representing the raised platform of the temple. els μυχόν 
 
 into the interior. ' It would appear from this passage that poorer worship- 
 pers received their response on the steps or platform of the temple. To 
 pass inside the temple was a privilege accorded only to those who could 
 
 offer a sheep'. B. ireXavov fragrant oil, thickened with meal, honey, etc. 
 
 ΙθύσάτΙ ΊΓδλάνον : a rhythm very rare even in Euripidean anapaests and 
 
 in the older dramatists almost unknown. kit άσ•φάκτοΐ5 μήλοισ-ι, 07i con- 
 dition of the non-slaughtering of sheep. 230. 2χω ρ,αθοΰσ-α : / have got 
 
 and hold viy information, i. e. / stand i?iformed ; so -^η\ια^ €χ(ΐ has to wife 
 Soph. O. T. $7y, τοιαύτα... κηρύξας €χ€ΐ such is his proclamatiofi. The form is 
 equivalent to the Greek perfect of condition. (Mr Bayfield here refers the 
 origin to the intransitive use οίϊγ^ιν {^χω μαθυΰσα = €ΐμΙ μαθονσα) but I agree 
 
 rather with Mr Whitelaw Classical Review, IV. 251. 232. ού τταραβαί- 
 
 νομι,ίν: we are not for transgressing. 233. δ€σ'7ΓΟται. Both here and in 
 
 V. 235 {τνράνι>ων) Creusa only is in thought, but the plural is used, as often, 
 when the character (the mistress as such) rather than the individual is meant. 
 μ€ θ€οΰ Hermann, θίον μί MSS. γύαλα. See on v. 220. 235. The 
 
24 ΕΥΡίπίΔΟΥ 
 
 παρούσας δ' άμφΐ τάσδ' έρωτας. 
 
 Enter Creusa, attended. 
 Ιίΐ. VevvaiOTy]^ σοι, και τρόπων τεκμιηριον 
 το (τχτιρ^ h(.^^^ τόδ', τιτις el ποτ , ω yvvai. 
 yvoiT] δ' αν ώς τα πολλά y ανθρώπου πέρι 
 το (τχημ' Ι8ών τις, el πέφνκβν €vyevης. 240 
 
 εα. 
 
 αλλ' έζεπΧηζάς /χ', όμμα avyKXi^aaaa σον, 
 8ακρνοίς θ* -ιτγράνασ evyevrj παρηίΒα, 
 ώς είδες ayva Αοξίον χρηστηρυα. 
 τί ποτέ μερίμνης εΙς toS" ηλθβς, ω yvvai ; 
 ου πάντες άλλοι γυάλα λενσσοντες θεον 245 
 
 -χαίρονσυν, εντανθ^ ο/χ/χα σοζ/ 8ακρνρροεΙ. 
 
 ΚΡΕ0Τ2Α. 
 ί1 ^ει^ε, το μεν σον ουκ άπαιΒεύτως εχευ 
 
 εΙς θανματ εΚθείν δακρύων εμων περί. 
 
 εyω ο ιοονσα τουσο Απόλλωνος οομους, 
 
 μνήμην παλαιάΐ' άνεμετρησάμην τινά. 250 
 
 εAcε6 οε τοζ^ νουν εσγρν ενυαο ονσα περ. 
 
 ώ τΧημονες yvva'Lκες' ω τολμήματα 
 
 θεών τί 8ητα ; ποί 8ίκην άνοίσομεν, 
 
 εΐ των κρατούντων άΒίκίαυς ολούμεθα ; 
 Ιίΐ. τί -χρήμα δ' άνερεύνητα 8υσθνμεΙ, yύvaι ; 255 
 
 ΚΡ. ovhiv μεθηκα τοζα' τάπΧ τωδε δε 
 
 ετγώ τε σιγώ, κα\ συ μη φρόντίζ" ετι. 
 Ιίΐ. τίς δ' εΤ ; πόθεν γης ήλθες ; εκ ποίας πάτρας 
 
 πεφνκας ; όνομα τί σε καλεΐν ημάς γρεών ; 
 ΚΡ. Κρέουσα μεν μοι τουνομ , εκ δ' Έρεγ^θεως 200 
 
 πεφυκα, πατρίς yrj δ' ^Αθηναίων πόλις. 
 Ιίΐ. ω κλεινόν οίκούσ άστυ, γενναίων τ απο 
 
 τραφείσα πατέρων, ώς σε θαυμάζω^ γυζ^αι. 
 
 subject of the sentence is Παλλ. ΐνοικα μίλαθρα, the predicate τρόφιμα μίΚαθρα 
 
 κ.τ.λ. 236. τταρούσ-αβ : the predicate of the sentence. 237. γίνναιότη? 
 
 σοι (coTi). γ€νραι6τητος των Boissonade, Badham. 244. μ(ρ£μ.νη$ TOBe : t/u's 
 
 state or point of dubious thought. 247. Thy behaviour {rh <r6v) is not 
 
 uncourteous, na^nely, thy feeling of surprise, etc. She excuses graciously 
 the innocent naivetd of Ion's curiosity, perceiving that it does not proceed 
 from impertinence or want of breeding (άπαιδίυσ-ία), but is meant as a 
 courtesy. 249. ίγώ. Special circumstances accounted for her unusual be- 
 
ΙΩΝ 25 
 
 They who command me have their royal home ; 
 But see and know; the queen herself is come. 
 Enter C REUS A, attended. 
 
 Ion. That thou art nobly charactered, thou bearest, 
 Ο dame unknown, proof in thine outward look. 
 In most of human kind it may be seen, 
 If they have gentle breeding, by the look. 
 But what surprise is this ! Thine eyes are closed, 
 The tears run down upon thy noble face, 
 To see the pure fane of the prophet-god ! 
 Here, at the glad sight of the sanctuary. 
 Men always do rejoice, but thou dost weep. 
 
 Crensa. It showeth, Sir, but courtesy in thee 
 To marvel at my tears. But so it is. 
 That when I saw Apollo's temple here, 
 I went in memory to a certain past 
 Far off, and was in mind not here at all. 
 Alas ! what women may endure and gods 
 May dare ! But whither carry our appeal, 
 When the offender is the sovereign } 
 
 Ion. And what, Ο lady, means this plaint obscure } 
 
 Cre. Nothing ; my bolt is shot ; I would not say 
 More, and do thou dismiss it from thy thoughts. 
 
 Ion. Who art thou, and whence comest thou, and what 
 Thy family .'' Teach us how to call thy name. 
 
 Cre. Creusa I am called, Erechtheus was 
 My father, and my country Athens is. 
 
 Ion. A glorious city and an ancestry 
 Sublime ! And I revere them both in thee. 
 
 haviour. 250. άν€μ€τρησ•άμην 'retraced the path of.' 251. Ικ€ΐ...'ΤΓ€ρ : / 
 
 was thinking of something else than the place where I was. Cf. Phoen. 141 8 
 rov vovv προς αυτόν ουκ €χων eKelae be, his attention being thus distracted from 
 
 himself €Κ€ΐ Burgess, οίκοι MSS., i.e. at Athens ; the correction is perhaps 
 
 not necessary, but the vaguer expression is a great improvement. 253. 
 
 δίκην άνοίσ-ομδν : refer the suit or action. 254. όλοΰμίθα ' we are to suffer, 
 
 must suffer'. 255. άν€ρ€ύνητα imsearchably^ inexplicably. 257. τβ.,.καΐ 
 
 'dismiss it as I do'. 258. iroias irarpas ; Of what clan? Creusa answers 
 
 the question by naming the father from whom her family ('Epe;^^ei§ai) are 
 called ; but it seems needless for this reason to substitute ποίου πατρός; 
 
26 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. τοσαντα κβντνχουμβν, ώ ζέν , ον πέρα. 
 
 1Ω. 77/309 θέων, αληθώς, ως μεμ^ύθενται βροτοίς, — 265 
 
 ΚΡ. τι χρημ' έρωτας, ώ ξέν ; έκμαθείν θέλω, 
 
 ΙΩ. €κ γης πατρός σου πρόγονος έβλαστεν πατήρ ; 
 
 ΚΡ. Έρι^^οζ^ί,ός ye* το δε γένος μ ουκ ώφεΚεΐ. 
 
 ΙΩ. η και σή> Ά^οίι/α γηθβν έζανβίλβτο ; 
 
 ΚΡ. €19 παρθένους γβ -χ^είρας, ου τεκουσά νιν, 270 
 
 ΙΩ. διδωσ-ί, δ', ωσπερ έν γραφή νομίζεται ; 
 
 ΚΡ. Κέκροπός γε σωζειν παυσίν οΰ^ όρώμενον. 
 
 ΙΩ. ηκουσα λυσαυ παρθένους τευ-χ^ος θέας. 
 
 ΚΡ. τοιγαρ θανουσαι σκόπελον τ^/χα^αζ^ πέτρας. 
 
 ΙΩ. εΐεν 
 
 TL Sal tOS' ; αρ αληθές, η μάτην λόγο 9 ; 275 
 
 ΚΡ. τι χρημ έρωτας ; και γαρ ου κάμνω σχολή. 
 Ι Ω. πατήρ ^Έρεχθεύς σας έθυσε συγγόνους ; 
 ΚΡ. ετλη προ yata9 σφάγια παρθένους κτανεΐν. 
 ΙΩ. συ δ' έξεσωθης πως κασιγνητων μόνη ; 
 ΚΡ. βρέφος νεογνον μητρός ην έν άγκάλαις. 28ο 
 
 ΙΩ. πατέρα δ' αληθώς χάσμα σον κρύπτει χθονός ; 
 ΚΡ. πληγοΧ τριαίνης ποντίου σφ^ απώλεσαν. 
 ΙΩ. Μ,ακραΙ δε χώρος έστ έκεΐ κεκλημένος ; 
 ΚΡ. τι Ο ιστορείς τοο ; ως μ ανεμνησας τίνος. 
 ΙΩ. τίμα σφε Ώύθιος άστραπαί τε Τίύθιαι ; 285 
 
 (L. Dindorf). 264. ' Thus far I ai7i happy' ; και gives the emphasis. 
 
 265. He pauses between curiosity and respect. Creusa encourages him to 
 
 proceed. 267. For a full discussion of these legends see the reference on 
 
 V. 23. •ΐΓρόγονο5 ττατηρ. The common genealogy was Erichthonius — 
 
 Pandion — Erechtheus. 270. Creusa thinks of her own story, which is in 
 
 her mind from the first. 272. σώζίΐν.-.ούχ όρώμ€νον to keep (in the basket 
 
 or cradle in which he was delivered to them) but not to see. 273—275 : an 
 
 exquisite turn of dialogue. However the myth of the daughters of Cecrops 
 may have originated (there is reason to connect it with the mysteries of the 
 Hersephoria ; see reference above) the obvious moral of it, as a story, is that 
 children must not be too curious; for which use, unless the young Athenians 
 were very different from their elders, the nurses of Athens must often have 
 wanted it. Now Ion is just displaying this characteristic of his age and 
 temperament in the strongest light, and Creusa (see v. 276) is beginning to 
 be a little impatient. The gentle malice of her τοιγαρ θανονσαί dashes the 
 
 questioner for a moment ; but he is too eager to be stopped. o-koitcXov 
 
 «ir^Tpas. According to the story which Euripides seems to follow, they flung 
 themselves from the cliffs of the Acropolis in horror at the sight of the snakes 
 
ΙΩΝ 27 
 
 Cre. These are my happiness, and these are all. 
 
 Ion. Oh tell me, is it true ? — it is averred — 
 
 Cre. Sir, I await the question. Ion. That thy sire 
 Had for his forefather a son of Earth ? 
 
 Cre. Yes, Erichthonius ; little good of it 
 Have I ! Ion. And did Athena truly take 
 The babe from Earth ? Cre. In virgin arms, and not 
 As mother might, she did. Ion. And trusted him, 
 As painters use to show us, to be kept. 
 Not seen, by Cecrops' daughters t Cre. Even so. 
 
 Ion. And they, like maidens, opened, I have heard, 
 The goddess' gift. Cre. And dying for it spilt 
 Their blood upon the precipice. Ion. Ah ! (A pause.) But 
 
 now 
 Another story, is it true or false "i 
 
 Cre. What, pray? My time does not hang heavy. Ion, Did 
 Thy sire Erechtheus slay in sacrifice 
 Thy sisters.? Cre. Aye, for Athens' sake he bore 
 To shed their virgin blood. Ion. And thou wast saved. 
 Thou only, how .-* Cre. Being a new-born babe 
 Then in my mother's arms. Ion. And was thy sire 
 Whelmed in the yawning earth 1 Is't true "i Cre. He sank 
 Where the sea-trident smote. loti. And have you there 
 A place called the Long Cliffs.? Cre. What !... Wherefore 
 this.?... 
 
 O, thou hast touched a memory! Ion. 'Tis a place 
 
 Dear to our god, graced by his lightning-fire ! 
 
 by which the infant was guarded. 278. irpo yaias : being at war with 
 
 Eumolpus, king of Eleusis and son of Poseidon. Poseidon afterwards (see 
 
 vv. 280 — 82) slew Erechtheus by an earthquake. 283. Μακραί : see 
 
 V. 13. 285. Πΰθιο8 : Apollo. I cannot think it necessary or desirable 
 
 to alter this, in spite of the irregular metre. Even if we cannot (with 
 Paley) assume the pronunciation Πϋ^ -yoy, the frequent admission of 
 anapaests, where necessary, in connexion with proper names, could easily 
 serve, as I think, to make one pass, though the form of the name did 
 not require it. And after all the observance of metrical rules is seldom 
 or never quite perfect. As to the repetition Ώ.νΘιος...ΙΙνθίαι, it seems 
 proper to the sense. Ion, amazed at Creusa's change of manner, observes 
 with emphasis that nothing could be more natural than his interest in a 
 
28 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. Τίμα- τί fxaUi] μη ποτ ωφβλόν σή> Iheiv. 
 
 ΙΩ. τί he] arvyw συ τον θεοΰ τά φίλτατα; 
 
 ΚΡ. ovSev ^vvolS* αντροισιν αίσγννην τινά. 
 
 Ιίΐ. ποσι? δε rts σ ^γημ Αθηναίων, γύναυ; 
 
 ΚΡ. ουκ άστος, αλλ* έπακτος 4ζ αλλτ^ς ^Θονόζ» 2 90 
 
 Ιίΐ. τΐ9 ; evyevrj νυν δει πζφυκεναυ τινά. 
 
 ΚΡ. αονθος, π€φυκως Αίολου Διός τ απο. 
 
 Ifi. /cal πώς feVos cr' cSi^ εσχεν ovcrav έγγενη ; 
 
 ΚΡ. Έυβου ^Α.θηναι<ζ ecrrt τις γείτων πολις* 
 
 Ιίΐ. opOLS υγροίσυν, ώς Χεγονσ, ωρισμενη. 295 
 
 ΚΡ. ταύτην επερσε ΚεκροπίΒαυς κουνώ Sopi. 
 
 Ιίΐ. επίκουρος εΚθών, κατά σον γαμεΐ λεχος; 
 
 ΚΡ. φερνάς γε πολέμου καΐ 8ορ6ς λαβών γέρας. 
 
 Ιίΐ. συν dvSpl δ' ηκευς η μόνη χρηστηρυα ; 
 
 ΚΡ. σι>ν avSpi' σηκοΐς δ' υστερεί Ύροφωνίου. 300 
 
 ΙΩ. πότερα θεατής, η γαρυν μαντευμάτων ; 
 
 ΚΡ. κείνου τε Φοίβου θ^ εν θελων μαθεΐν έπος. 
 
 ΙΩ. καρπού δ' υττερ γης ηκετ, η παίδων περυ ; 
 
 ΚΡ. ατταιδες έσμεν χρόνυ εχοντ ευνήματα. 
 
 ΙΩ. οΰδ' ετεκες ου^εν πώποτ , αλλ' ατεκνος el ; 305 
 
 ΚΡ. ό Φοίβος οΐ8ε την εμην άπαιδιαι^. 
 
 ΙΩ. ώ τλημον, ώς τάλλ' ευτυ^^ουσ-* ουκ εύτυ-χεΐς. 
 
 ΚΡ. σύ δ' €1 τίς; ώς σου την τεκουσαν ώλ/βισα. 
 
 ΙΩ. του θεού καλοϋμαυ 8οΰλος ειμί τ', ώ yvi/ac. 
 
 place connected with his patron-god. Near the Long Rocks stood an 
 
 altar oi Zeus Astrapaios. From this altar on three days and nights of three 
 months in the year lightnings were watched for in the direction of a place 
 called Harma. When these lightnings were seen, a sacred embassy was sent 
 to Delphi. Apollo * honoured ' the place by causing the lightnings to be seen 
 
 from it. Strabo ix. p. 404 (Musgrave, Hermann, and others). 286. τ£ 
 
 }iaUi, ; Why this eager questioning? (Bayfield) seems to me the best correc- 
 tion suggested for the MSS. τ'ψα τίμα ώς μήποτ. Creusa has not recovered from 
 the shock of painful surprise, and still suspects Ion of some motive for his 
 questions. Ά scribe might perhaps be excused for blundering over such a 
 
 sequence of letters as TIMAITIMAIEIMH'. 288. ξύνοιδα Tyrwhitt, |eV 
 
 olba MSS. 295. The desire of Ion for extending and correcting his infor- 
 mation is irrepressible. 297. elra, upon that, betrays a little surprise. 
 
 Ion finds the explanation not very satisfactory, and Creusa is not far from 
 
 agreeing with him. 298. λαβών : supply το \4χος. 299. σ-ύν άνδρΐ 8' 
 
 ήκ6ΐ5 : He is beginning to wonder (and no wonder) what is the history of the 
 
ΙΩΝ 29 
 
 Cre. Dear to.., But urge me not! Ah, would that I 
 Had never seen it ! Ion. Phoebus loves it well ; 
 Thou lik'st it not ! Ah, why } Cre. 'Tis nought. I know 
 A certain shameful secret of the rocks. {A patcse.) 
 
 Ion. Hast thou a husband, an Athenian .? 
 
 Cre. No, I was wedded to a foreigner. 
 
 Ion. Who was he .'* Noble sure he must have been. 
 
 Cre. Xuthus, of Aeolus' race, the race of Zeus. 
 
 Ion. How could an alien win so proud a wife } 
 
 Cre. Euboea — 'tis a neighbouring land — Ion. Beyond 
 A parting sea, they say. Cre. To conquer it 
 The spear of Xuthus helped the Athenian arms. . 
 
 Ion. And for his meed the good soldado took y oV^ cxo^ ) 
 Thy hand .'' Cre. His prize and guerdon. {A pause.) Ion. Is 
 
 thy spouse 
 Companion of thy pilgrimage or no } 
 
 Cre. He is ; I left him at Trophonius' cave. 
 
 Ion. To see or to enquire .-* Cre. In hope to win 
 One answer there and here. Ion. And what imports 
 The quest "ί Your lands } Or children } Cre. Children we 
 Have none in all these years. Ion. And thou hast borne 
 No babe, wast ne'er a mother .!* Cre. Phoebus knows 
 My childless state. Ion. Ο miserable state, 
 Ο fortune all for one misfortune crossed ! {A pattse.) 
 
 Cre. And who art thou "i Happy the woman is 
 Who bare thee ! Ion. Slave to Phoebus am I called, 
 
 family, and how far the husband and wife are in harmony. His questions 
 now are not those of mere curiosity, but connected with his position as an 
 
 officer of the temple. 300. σ-ηκοίβ δ* ■ϋστ€ρ6ΐ. He remains behind at the 
 
 precinct^ or rather he is detained by the precinct^ i.e. by the purpose of con- 
 sulting there. I follow Mr Bayfield in taking provisionally the correction 
 of Badham : σηκος (or σηκυνς) ev στρεφα MSS. : €νστ€φ€ται τω τον Τροφωνίου 
 σήκω schol., pointing to a traditional or conjectural reading ^νστρίφ^ι {quasi 
 
 eWrpe0erat), which however is inadmissible. σηκός (poet, σηκοί) is any 
 
 sacred enclosure, here the oracular cave and sanctuary of Trophonius at 
 
 Lebadea in Boeotia. 305. cltckvos sterile, as distinct from childless. 
 
 306. She turns the question by a form which, to those who know, conveys 
 
 the answer. 308. ότου : gen. of respect, / think or call her happy in 
 
 thee. ώλβιοτα : the tense is common in Greek with reference to sensations 
 
30 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. άζ/α^τ^/Λα πόλεως, η τίνος πραθείς νπο; 3^0 
 
 ΙΩ. ουκ οΤδα, πλην ev' Αοζίον κεκλημεθα. 
 
 Kr. 7)μ€υς σ α ρ avt/LS, ω gev , αντοικτειρομεν. 
 
 ΙΩ. ως ^ατ) ειδό^ tJti? /χ' ετεκεν, εζ ότου τ εφνν, 
 
 ΚΡ. ι^αοισι δ' οΙκεΐς τουσί8\ η κατά στεγας; 
 
 ΙΩ. απαι/ ^eov /MOt 8ωμ\ Ιν αν λάβτ) μ ύπνος, 3^5 
 
 ΚΡ. παις δ' ών άφίκον ναον, r\ ι^εαι^ιας ; 
 
 ΙΩ. βρέφος λεγονσιν οΐ Βοκουντες εΙΒεναί' 
 
 ΚΡ. και τις γάλακτί σ εξεθρεφε ΑελφίΒων; 
 
 ΙΩ. ονπωποτ εγνων μαστόν η δ' εθρεχΙ^ε με, — 
 
 ΚΡ. τίς, ω ταλαίπωρ ) ως νοσονσ ηνρον νόσους. 3^0 
 
 ΙΩ. Φοίβου προφητις, μητερ ως νομίζομεν. 
 
 ΚΡ. εις δ' avhp άφίκου τίνα τροφην κεκτημένος; 
 
 ΙΩ. βωμοί μ* εφερβον, ουπιών τ αεί ζενος. 
 
 ΚΡ. τάλαιν αρ η τεκοΰσά σ, ήτις ην ποτέ, 
 
 ΙΩ. άΒίκημά του γυναικός εγενόμην ίσως. 3^5 
 
 ΚΡ. εχ^εις δβ βίοτον; ευ γαρ ησκησαι πέπλους. 
 
 ΙΩ. τοις του θεού κοσμούμεθ* ^ ω 8ουλεύομεν. 
 
 ΚΡ. οι5δ' ηζας εΙς ερευναν εξευρείν γονάς; 
 
 ΙΩ. €^ω γαρ ού8εν, ω γύναι, τεκμηριον. 
 
 ΚΡ. φευ- 
 
 πεπονθε τις ση μητρί ταυτ άλλη γυνή. 33^ 
 
 ΙΩ. τίς ; ει πόνου μοι ξυλλάβοι, γαίροιμεν αν. 
 ΚΡ. ης ουνεκ ηλθον Βευρο πρΙν πόσιν μολεΐν. 
 ΙΩ. ποών τι γ^ρηζουσ, ως υπουργήσω^ ywat; 
 ΚΡ. μάντευμα κρυπτον Βεομενη Φοίβου μαθεϊν. 
 ΙΩ. λεγοις αν' ημεΐς ταλλα προζενήσομεν. 335 
 
 just felt : we should use the present. 310. Dedicated by a city ? As a 
 
 captive, for example, taken in war, and as part of the god's votive share in the 
 
 spoil. 318. The accentuation τις some one seems better for the sense than 
 
 Tiff, which? 320. How^ being in misery, have I fowid {other like) miseries! 
 
 νόσος is a common word in the poet, and used with a wide meaning. 
 
 323. ο ΙΐΓΐών άβί : succeeding from time to time. 324 — 5. This exclamation 
 
 and reply, with the subsequent return to the previous subject, break the 
 course of the dialogue, and various re-arrangements are accordingly pro- 
 posed. Mr Bayfield, for example, places these two lines after v. 329, where 
 they fit very well. Perhaps however the irregularity is in truth an advantage. 
 The subject of the unknown mother is associated with Creusa's secret 
 thoughts, and is really introduced by her to lead, as it eventually does 
 {,ν. 33o), to the case of her pretended friend. It belongs therefore to her 
 
ΙΩΝ 31 
 
 Lady, and his I am. Cre. By purchase or 
 By public dedication ? Ion. That I bear 
 His name is all I know. Cre. Alas, 'tis now 
 Our turn to pity thee ! Ion, Who do not know 
 My mother, nor my father. Ah ! Cre. The fane, 
 Is it thy only home ? Ion. 'Tis all my home, 
 And where I fall asleep my chamber is. 
 
 Cre. Camest thou here a child ? Io7i. A babe, they say 
 Who claim to know. Cre. Some woman of the place 
 Gave thee to suck? Ion. I never knew the breast; 
 A woman reared me ; her — Cre. What woman ? {aside) Ah ! 
 How do these sorrows match with mine ! Ion. And her 
 I hold for mother, Phoebus' prophetess. 
 
 Cre. From babe to man Avho hath supported thee ? 
 
 loit. The altar and succeeding visitants. 
 These gave me food. {A pause?) Cre. Thy wretched mother! 
 
 Ah! 
 Who might she be? Ion. A woman's wrong belike 
 Gave me my birth. {A pause?) Cre. And hast thou wealth? 
 
 Thy robe 
 Is rich. Ion. We wear the garniture of him 
 We serve. {A patcse.) Cre. And didst thou never try to seek 
 Thy parentage ? Ion. I have no clue. Cre. How sad ! {A 
 long pause.) 
 
 Cre. Thy mother's case... There was another such. 
 
 Ion. How glad were I if she would share my grief! 
 Who was it? Cre. She whose business brought me here ^ 
 Before my husband. Ion. Let me know the need, 
 That I may help. Cre. The counsel of the god 
 Upon a secret matter. Ion. Speak, and we 
 
 natural hesitation and difficulty in bringing this on {v. 336), that she should 
 thus approach and suddenly retreat from the topic. With action, the 
 
 passage would not, I think, offer any difficulty. 324. rakaiva σ ή rcKova 
 
 ήτις ποτ rjv apa MSS. corr. by Dobree. 325. That he iyevcTo {was 
 
 produced), and that his mother ήδικηθη, were aspects of one fact ; this is 
 expressed in Greek by β-γβνόμψ αδίκημα, I was begot a violence, Anglice, my 
 
 begetting was a violeiice. 326. βίοτον : wealth, substance, as opposed to 
 
 mere τροφή. 335. •π•ρο|€νιισ-ομ€ν will manage your case, but with some 
 
 reference to the Delphic use of the word for the service rendered to visitors 
 
32 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. oLKOve Srj τον μνθον' αλλ' αΐ^ονμεθα. 
 
 Ιί2. ου τάρα πράξβυς ovhev' άργος η θεός. 
 
 ΚΡ. Φοιβω μυγηναί φησί τις φίλων ίμων — 
 
 ΙΩ. Φοίβω γννη γεγωσα; μτ) \iy , ώ ζενη. 
 
 ΚΡ. καί παΓδα γ ετεκβ τω θβω λάθρα πατρός. 34^ 
 
 Ιίΐ. ουκ εστίν άνΒρος ά8ίκίαν αίοτχννεταυ, 
 
 ΚΡ. ο φησυν αντη, καΐ πέπονθεν άθλυα. 
 
 ΙΩ. τί γρημα Spdaacr, εΐ θεω σννεζνγη ; 
 
 ΚΡ. τον τταΓδ' ον ετεκεν εζεθηκε Βωμάτων. 
 
 ΙΩ. ο δ' εκτεθείς τταΐς ττον ^στιν; είσορα φάος; 345 
 
 ΚΡ. ουκ 6ΐ8εν οΰδβις* ταύτα καΐ μαντενομαυ. 
 
 ΙΩ.. €1 δ' ονκετ εστί, τίνι τρόπω Βίεφθάρη \ 
 
 ΚΡ. θηράς σφε τον 8νστηνον ελπίζει κτανεΐν. 
 
 ΙΩ. ποίω τόδ* εγνω -χρω μένη τεκμηρίω ; 
 
 ΚΡ. ελθονσ Ιν αντον εξεθηκ ονχ ην ρ ετι. 35^ 
 
 ΙΩ. ην δε σταλαγμός εν στίβω τις αίματος; 
 
 ΚΡ. ον φησί' καίτοι πολλ' επεστράφη πεΒον. 
 
 ΙΩ. -χ^ρόνος δε τις τω παίδι Βιαπεπραγμενω; 
 
 ΚΡ. σοι ταντον ήβης, ειπερ ην, ει^ αν μετρον. 
 
 ΙΩ. ονκονν ετ άλλον νστερον τίκτει γόνον ; 35^ 
 
 in introducing them (npo^eueh) to the god. Cf. Androrn. 1103, where a 
 
 consulter presents himself σνν πμοξ4νοισι μάντζσίν re ΊΙυθίκοίς. 337. αργό? 
 
 unproductive^ earning nothing. The word in this sense was connected with 
 commerce (see on Med. 296), and probably άργόί r\ ^eos is or imitates a 
 
 proverb of business. ή θίό? : Αιδώ?. 338. Note that the words, which, 
 
 we must suppose, are spoken slowly and with great difficulty, are carefully 
 so constructed, that their meaning does not appear, till they are followed by a 
 pause sufficient to show that there is no more to come. The subject of 
 μιγηναι is in suspense ; the words may be the beginning of a long story, and 
 may relate merely to some legend with which it is connected. A moment 
 therefore must intervene before Ion can grasp the astounding purport, which 
 
 in the situation is a good dramatic point. 342. ο φησ-ιν αυτή. 'The relative 
 
 clause is anticipatory. Cf Lysias, Eratosth. § 43 oBiv τής στάσεως ηρξαρ, πίρπ 
 avdpes (φόροι κατέστησαν : the appointment of the ephors was the first step 
 
 in the revolution'. B. καΐ: atso. Creusa passes in silence the foregoing 
 
 suggestion. 343. τ£ χρήμα δράσ-ασ-α ; On what occasion f The circum- 
 stances of the fact conveyed in ττίπονθ^ν άθλια would have been naturally 
 given, if the story had been continued, by some participle, e.g. τον τταίδ' 
 €κθ€7σα, when she exposed her child. But, as Creusa pauses again, Ion asks 
 for the participle (if it may be so expressed) using a form of question which 
 simply implies that such is the grammatical form of the expected answer. 
 
ΙΩΝ 33 
 
 Will forward it. Cre. This is her story then — 
 If shame will let me tell it. Ion. Otherwise 
 Thou failest. Never business sped with shame L 
 
 Cre. Phoebus... and she... she tells it of herself... 
 
 Ion. Phoebus ! A mortal woman ! Say it not ! 
 
 Cre. Yes, and unknown she bare the god a child. 
 
 Ion. False, false ! It was a man, and she is loth / 
 To own the rape. Cre. She hath had wrong beside 
 By her account. Ion. Her tale supposed, wherein ? 
 
 Cre. The babe she bore she cast away. Ion. And where 
 Now is this castaway ? Alive ? Cre. None knows : 
 'Tis that I come to ask. Ion. If not alive. 
 How did he perish? Cre. Slain, as she believes. 
 By beasts. Ion. What reason had she so to think? 
 
 Cre. She came where he was cast, and found him not. 
 
 Ion. Was any trace of blood upon the ground ? 
 
 Cre. Nothing, she says, although she searched the place 
 Over and over. Ion. Since the boy was lost 
 How long is it? Cre. His age, were he alive, 
 Would equal thine. Ion. Then hath she never since 
 
 Creusa's reply takes a slightly different shape. €l θβώ (τυνβζύγη. Ion, who 
 
 is still incredulous, wishes to mark that in asking for further details he does 
 not accept the main allegation. To be clear, the sentence requires the help 
 
 of pronunciation. 1 prefer this to the received interpretation, For what 
 
 offence did she suffer^ if the god was her lover? (' Ion means that if she had 
 won a god's favour, any subsequent suffering must have been caused by her 
 own fault ') as more consistent with Ion's view of the case (see v. 437). But 
 
 the verse is (for Euripides) unusually obscure. 346. καΐ : expressed in 
 
 English by an emphasis, 'That is what I come to ask^ 348. Ιλπίζει: 
 
 supposes : cf. the English uses of expect. 352. καίτοι and^ you must know. 
 
 353. Cf. Thuc. 3. 29 ήμ€ραι μάλιστα ήσαν ttj Μντίλήντ} βαλωκυία €πτά. 
 
 354. This verse and Mr Bayfield's note on it have been the subject 
 
 of a controversy, whether in this form of hypothesis the non-reality of 
 the supposition is necessarily conveyed by the words. See Classical 
 Review^ Vol. IV. pp. 200, 251, 297. It is impossible to discuss the 
 question here, as the decision, one way or the other, does not materially 
 affect the sense. My feeling is that here Creusa does, for the purpose of 
 this particular observation, suppose the death of the child, and would be 
 
 so understood in Greek as in the English translation. είχ' αν. The 
 
 elision is irregular, βιχβζ/ αν being the regular form. ηβη?• The full sense is 
 
 V. I. 3 
 
34 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. ά8υκ€Ϊ νιν 6 θβος, ου τεκονσα δ' άθ\ία. 355 
 
 Ιίΐ. τί δ' €1 λάθρα νιν Φοΐβος έκτρεφευ λαβών; 357 
 
 ΚΡ. τα κοινά -χαίρων ου δίκαια Spa μόνος. 
 
 Ιίΐ. ώμοί' ττροσωδος τ) τΰ^τ^ τω 'μω πάθει, — 
 
 ΚΡ. και σ, ω ζεν, οΧμαι μητερ άθλίαν ποθείν. 2>^0 
 
 ΙΩ. καΧ μη y in οΧκτον μ εξαγ\ ου ^λελησμεθα. 
 
 ΚΡ. <τιγώ• πέραινε δ' ων σ ανιστορώ περί. 
 
 ΙΩ. οίσθ* ονν δ κάμνει τον λόγου μάλιστα σοι ; 
 
 ΚΡ. τί δ' ουκ εκείντ) τύ) ταλαιπωρώ νοσεί; 
 
 Ιίΐ. πώς 6 θεός δ λαθείν βούλεται μαντεύσεται ; 3^5 
 
 ΚΡ. εΐπερ καθίζει τρίποδα κοινόν 'Ελλάδος. 
 
 Ιίΐ. αισχυνεται το πράγμα' μη ^ζελεγχε νιν. 
 
 ΚΡ. άλγύνεται δε γ' η παθουσα τη τύ-χτ). 
 
 ΙΩ. ουκ εστίν όστις σοι προφητεύσει τάδε. 
 
 iv τοις γαρ αντου δω/χασιζ^ κακός φανείς ^yo 
 
 Φοίβος Βικαίως τον θεμιστεύοντά σοι 
 
 8ράσειεν αν τι πημ ' άπαλλάσσου, γυναν 
 
 τω γαρ θεώ τάναντΓ ου μαντευτεον. 
 
 εις γαρ τοσούτον ά/χα^ιας ελθοιμεν avy 
 
 ει τους θεούς άκοντας εκπονησομεν 375 
 
 φράζειν α μη θελουσιν η προβωμίοις 
 
 σφαγαίσι μήλων η Si οιωνών πτεροΐς. 
 
 αν γαρ βία σπεύ8ωμεν ακόντων θεών^ 
 
 άκοντα κεκτημεσθα τάγάθ\ ώ y^j^at, 
 
 ά δ' αν διδώσ' έκόντες, ώφελούμεθα. 3^0 
 
 ΧΟ. πολλαί γε πολλοίς εισΐ συμφοραΐ βροτών. 
 
 He would have been of your adult age. 355. ού τίκοΰσ-α. η τ€κουσα MSS. 
 
 The correction and transference of the line to follow v. 356 (Hermann) seem 
 
 necessary, though it is not easy to account for the error. 358. I/e acts 
 
 unfairly itt enjoying alone what belongs to both (the pleasure of the 
 
 child), /ioi/of, joined in sense with χαίρων, is displaced for emphasis. 
 
 359. The story harmonizes with what I have experienced (δ η^πονθα), i.e. not 
 merely is like it, but by the likeness awakes my self-pity, as a string or a 
 
 glass will respond to its own note when sounded near. 361. καΐ μη γβ. 
 
 Yes, and do not force me, or Yes, and you must not force me. The και {and 
 
 so) connects this with v. 359; the ye recognizes Creusa's comment a* μη 
 
 μ en οίκτον t^ay Nauck. 363. του \6yov plea, cause : Creusa represents her 
 
 absent 'friend', as an advocate, in which connexion λόγος was technical. 
 
 373. ' We must not enquire against deiiy\ a condensed, epigrammatic turn of 
 
ΙΩΝ 35 
 
 Borne child ? Cre. Alas, the god is cruel ! None. 
 
 Io7i. But what if Phoebus took him and has reared 
 
 In secret? Cre. Then his solitary joy 
 
 Defrauds his lawful partner! (A pause?) Ion. Ah, this tale 
 
 Echoes my inner woe ! Cre. For thee too, thee 
 
 Doubtless a mother sighs. Ion. Compel me not 
 
 To sorrows which I had forgot to feel. 
 
 Cre. Pardon!... My question, let us speak of that. 
 
 Ion. I mark a point wherein thy cause is weak: 
 
 Dost thou ? Cre. Alas, I plead for one whose cause 
 
 Is nought but weakness. Ion. May the god be asked 
 
 What he would have a secret .-* Cre. That he may ! 
 
 His oracle is open ! Ion. Would'st thou bare 
 
 His tender honour? Cre. Truly, when I see 
 
 His tender victim suffer worse than he ! 
 
 Io7t. No man alive will put thy question ! No ! 
 How justly would the god, dishonoured so 
 Here in his proper temple, wreak his ire 
 On him who did thine office ! Nay, retire ; 
 And seek no divination which offends 
 Divinity. (To this the error tends. 
 If we would urge the gods against their will. 
 To give us answer by the priestly skill 
 Of sacrifices slain or birds in air.) 
 It profits nought to win reluctant prayer 
 In their despite, whose blessings only bless 
 When freely they consent to our success. 
 
 Chorus. Wide is the world and diversely designed, 
 
 expression, expanded in the following parenthesis. 374. Our indecency 
 
 would be no less (than τω ^«ώ τάναρτία μαντ^νίσθαι). For άμαθία, which 
 signifies want of moral rather than of intellectual perception, see on Med. 
 
 223. 375. €κτΓονή<Γομ€ν : see on 7/. 1355• 377. <Γφαγαισι...'ΐΓΤ€ροΐ5: join 
 
 with φράζβιν. δι* οΙωνών irTcpois Omens (given) through birds'; see on 
 
 7/. 143. Mr Bayfield marks the parenthesis as probably spurious, and 
 
 it perhaps wants the terseness and clearness of Euripides. I do not how- 
 ever see any likely motive for the insertion. 379. άκοντα... τάγαθά: l/ie 
 
 blessings, when we get them, are reluctant blessings, i.e. blessings which 
 
 do not mean to be such, and therefore in the end do not prove such. 
 
 ουκ οντά Wakefield (for άκοντα), άνόνητα Η. Stephens; but surely άκοντα is 
 
 3—2 
 
36 ΕΥΡίπίΔΟΥ 
 
 μορφαΐ δε ^ιαφέρονσιν tv δ' αν ευτυχές 
 /χολις ποτ έζενροι ης ανθρώπων βί(ο. 
 ΚΡ. ω ΦοΙββ, κάκ€υ κάνθάΒ' ον δίκαιος ει 
 
 εις την άπονσαν, ηζ πάρεισιν οΐ λόγοι. 3^5 
 
 συ δ' ονκ εσωσας τον σον ον σωσαί σ ^Xpy)Vi 
 
 ονθ^ Ιστορονστι μητρί μάντυς ων ερεΓς* 
 
 ως, ει μεν ονκετ ίστιν, ογκωθη τάφω, 
 
 el δ' βστυν, ίλθτ) μητρός εις oxpLv ποτέ. 
 
 αλλ' -f iav Ί* \ρη τάδ', el προς τον Oeov 39^ 
 
 κωλνόμεσθα μη μαθείν α βονλομαι. 
 
 αλλ', ω ζεν, είσορω γαρ evyevrj πόσιν 
 
 Έονθον πίΚας δτ} Tovhe τας Τροφωνίου 
 
 Χυπόντα ^αλοί/ιας, τους ΧεΧεγμενονς λόγους 
 
 σίγα προς avSpa, μη τιν αίσχυνην λάβω 395 
 
 διαΑίοΐΌυσα κρυπτά, καΐ προβη λόγος 
 
 οΰχ ηττερ ημεϊς αυτόν ίζειλίσσομεν. 
 
 τά γάρ γυναικών Βυσχερη προς άρσενας, 
 
 καν ταΐς κακαίσιν αγαθοί μεμιγμεναυ 
 
 μισονμεθ^' ούτω δυστυχείς πεφύκαμεν. / 400 
 
 Enter XUTHUS, attended by servants and Delphians. 
 
 ΗΟΤΘΟΣ. 
 
 Πρώτοι^ μεν ο θεός των εμών προσφθεγμάτων 
 λαβών άπαργάς γαιρετω, συ τ, ω γυι/αι. 
 μών -χ^ρόνως ελθών σ εξέπληξα ορρωΒία ; 
 ΚΡ. ούΒεν γ'• άφίκου δ' εις μεριμναν αλλά μοι 
 
 λεζον τί θέσπισμ εκ Τροφωνίου φέρεις, 4^5 
 
 παίδων όπως νων σπέρμα συγκραθησεται. 
 
 both more poetical and more epigrammatic. 385. oi λύγοι: see on 
 
 V. 363. 388. όγκωθη τάψω : that a grave-7noimd may be made him. 
 
 This would be done, for the repose and honour of the spirit, when he was 
 known to be dead, but could not, for fear of the omen and of ritual 
 
 impropriety, be done before. 390. Ιάν χρη τάδ* 'probably gives the 
 
 correct sense, but affords no sufficient data for emendation'. B. 398. "τίι 
 
 γαρ γυναικών : ' the Condition of women is hard as compared with men ' 
 (that of men) ; z.e. a woman is more likely to be misjudged than a man in 
 the matter of acquaintances. This is better than to take προς apatvas 
 * with regard to men ', meaning that men judge women harshly, since women 
 
ΙΩΝ 37 
 
 And fortunes manifold, but shall you find 
 One single happiness in all mankind ? 
 
 Creiisa. Ο Phoebus, tyrant still, now and before, 
 To her, who here presents her absent plea, 
 A father careless then to save his child, 
 A prophet now deaf to the mother's prayer, 
 To know it dead, and heap a grave for it, 
 Or know it lives, and hope to see it yet ! 
 Enough ! Apollo crosses us, and bars 
 My question: let it fall. And I request 
 You (for I see. Sir, from Trophonius' cave 
 My noble spouse arrived and now at hand) 
 That nothing of this converse may be told ^ 
 
 To Xuthus; lest I suffer some reproach 
 For such a delicate office, and the cause 
 Wind to some issue other than we meant. 
 The matters of our sex will hardly bear 
 Men's judging; since the good and bad of us 
 Unhappily are joined in one dislike. 
 
 Enter XUTHUS, attended by servants and Delphians. 
 
 Xtithiis. My happy salutation, and my first. 
 To Phoebus, and the next, my wife, to thee ! 
 
 He notices her distress. 
 What ! Did my stay too long disquiet thee .•* 
 
 Cre. Scarcely before thy coming met the thought. 
 But say, what oracle from Trophonius .-* 
 Is there a means to make our union blest.!* 
 
 are judged quite as harshly by their own sex". B. I prefer however the 
 other view ; as to the truth of Creusa's plea, it seems either way to have as 
 
 much truth, and no more, as serves for an excuse. 401. μ4ν...τ€ differs 
 
 slightly from μΙν.,Μ in throwing more emphasis on the second branch, so 
 
 that often the nearest EngHsh is not only... but also. 404. // was but 
 
 little {a mere nothing) at any rate; you met my anxiety, άφίκου els μί'ριμναν 
 is modelled on such phrases as eXOeTp els xpeiav or βλθίϊν els καιρόν to come 
 when one is wanted, at the right moment. Only the context explains the 
 sense ; the words might and commonly would mean you became anxious. Se 
 bict is opposed to the negative ouSeV, My anxiety was not serious, but (we 
 
38 ΕΥΡίπίΔΟΥ 
 
 So. ουκ ηζίωσ€ του Oeov προΧαμβάΐ'βίν 
 
 μαντβνμαθ* ' e^» δ* ούν βίπερ, ουκ ατταιδά /χ€ 
 
 προς οίκον ηζ^ιν ovhe σ έκ χρηστηρίωρ. 
 ΚΡ. ώ πότνία Φοίβου μητβρ, el γαρ αΙσίως 4^0 
 
 €λθοίμ€ν. α τ€ νων συμβόλαια ττροσθεν ην 
 
 is τταΓδα τον σον, μεταπέσοι βελτίονα. 
 SO. εσται τάδ'• άλλα τις προφητεύει θεού', 
 ΙΩ. ημείς τά y εζω' των εσω δ' άλλοΐ9 μέλει, 
 
 οι πλησίον θάσσουσι τρίπο^ος^ ω ζενε, 4^5 
 
 Αελφών άριστης ους εκληρωσεν πάλος. 
 SO. καλώς' έχων 8η πάνθ^ όσων εχρηζομεν 
 
 στείχοιμ! αν εΐσω' καΐ γοίρ, ώς εγώ κλύω, 
 
 χρηστηριον πεπτωκε τοις επηλυσιν 
 
 κοινον προ ναού' βούλομαι δ' εν ήμερα 4^0 
 
 τ^δ', αίσια yap, θεού λαβείν μαντεύματα. 
 
 συ δ' άμφΐ βωμούς, ώ yuz^at, Βαφνηφόρους . 
 
 λαβοΰσα κλώνας, εύτεκνους ευγου θεοΐς 
 
 χρησμούς μ ενεγκεΐν εζ ^Κπόλλωνος 8όμων. 
 
 Xuthus enters tlie temple. 
 
 ΚΡ. eicrrai τάδ', ecrrat. Κοζίας δ' εάν θελη 4^5 
 
 νυν αλλά τάς πριν άναλαβείν αμαρτίας, 
 άπας μεν ου yivoiT αν εις ημάς φίλος, 
 όσον δε χρήζει^ θεός yap εστί, Χέζομαι. 
 
 Exit, to the outer precinct. 
 
 lil. τι ποτέ λόγοισιν η ζενη προς τον θεον 
 
 κρυπτοΊσιν άεΐ λοι8οροΰσ αΐνίσσεται, 43^ 
 
 ήτοι φιλούσα γ ης ύπερ jULai^Teuerat, 
 η και τι σιγώσ ών σιωπάσ^αι χρεών; 
 άτάρ θυγατρος της ^Ερεχθέως τι μοι 
 
 should say /or) you came to prevent it. 411. σ-υμβόλαια relations, a 
 
 metaphor originally taken from commerce. 413. ιτροφ. θβοΰ : * Who serves 
 
 as intermediary to the god?' 417. 2χων Badham, ίχ<ύ MSS. 419. rots 
 
 ίΐΓτ|λυ<Γΐν κοινόν : OH behalf of the visitors in general, to ascertain from the 
 omens exhibited by the victim, whether the day was favourable (αΙσία) for 
 
 consultation. 421. αίσ-ία γάρ : as the omens had declared. As to the 
 
 place of the sacrifice and its relation to the play, see Introd., on The 
 
 Parodos. 422. άμφΐ βωμ,ούβ €δχου: go praying roumi the altars. 
 
 δαφνηφόρουδ κλώνας branches of laurel carried, to lay on the altars in sign of 
 
ΙΩΝ 39 
 
 XiUh. His modesty refused to anticipate ^ 
 Apollo's answer ; only this he said, 
 Neither should I, nor thou, go childless home. 
 
 Cre. Oh blessed Lady, Phoebus' Mother, bless 
 Our pilgrimage, that past displeasure end 
 Between thy Son and us in happy change ! 
 
 Xuth. So shall it be ! But which is he who doth 
 The sacred office? Ion. That is ours, at least 
 Without the temple; others serve within. 
 Whose seat is nearer to the tripod, Sir, 
 Princes of Delphi, chosen by the lot. ^ 
 
 Xuth. My thanks ! I know enough, and would at once 
 Enter. I hear, that sacrifice for all, 
 Offered before the fane, hath marked the day 
 Proper for foreign comers to consult : 
 And I would use the occasion. Thou the while 
 Take laurel-boughs, my wife, and go the round 
 Of the altars, praying heaven that I may bring 
 Promise of children from Apollo's house. 
 
 Cre. Aye, and Amen ! 
 
 Xuthus enters the temple. 
 
 Cre. This day if Loxias will 
 
 Make some amends at least for wrong before ; 
 Though perfect love he cannot show, whate'er 
 He grants, as from a god, I will accept! 
 
 Exit^ to the outer precinct. 
 
 Ion. What means the lady, that in covert speech 
 Still at the god she points a dark reproach } 
 Is it pure love for the unknown her, whose quest 
 She doth attorney t Is it that she hides ^" 
 Something not wordable t But what care I 
 For daughter of Erechtheus, nought to me } 
 
 supplication : in δαφνηφόρονς the• two parts of the compound Imcrel-carried 
 
 apply to κΚωνας separately. 425. ίσ-ται τάδ', ^σ-ται : expressing obedience 
 
 to his command and also (see v, 413) confidence in his prayer. 426. άλλα 
 
 at least. άναλαβ€ΐν retrieve. 428. o<rov χρήζει: 'so much love as he is 
 
 willing to show'. 431. ήτοι...γ€. ' The particles mark this alternative as 
 
 the more probable of the two. The καί marks the other suggestion as just 
 
/ 
 
 40 ΕΥΡίπίΔΟΥ 
 
 /xeAei; προσήκει δ' ovSev αλλά γ^ρνσίαι^ 
 
 πρόγρνσιν ίΚθών et9 άπορραντηρια 435 
 
 8ρόσον καθησω. νονθετητεος δε /λοι 
 
 Φοίβος, TL πά(τγ€ί. παρθένους βία γάμων 
 
 7Γ/)οδίδωσι• τταιδας εκτεκνονμενος λάθρα 
 
 θντ^σκοντας αμελεί, μη συ γ'• αλλ' επεί κρατείς^ 
 
 άρετάς 8ίωκε./ καΐ γαρ όσης αν βροτων 44^ 
 
 κακός πεφύκΎ) ζημιουσιν οΐ θεοί• 
 
 πως ουν δίκαιον τους νόμους υμάς βροτοίς 
 
 γρωΙίαντας αυτούς άνομίαν 6φλισκάνειν\ 
 
 εΐ δ', — ου γαρ εσταν, τω λόγω 8ε χρησομαι, — 
 
 8ίκας βιαίων 8ώσετ ανθρώπους γάμων, 445 
 
 συ καΐ ΙΙοσευ8ων Ζευς θ\ ος ουρανού κρατεΐ, 
 
 ναοΐίς τίνοντες άΒίκίας κενώσετε. 
 
 τάς η8ονάς γαρ της προμηθίας πάρος 
 
 σπεύ8οντες ά8ίκεΐτ' ούκετ ανθρώπους κακώς 
 
 λέγειν 8ίκαιον, ει τα των θέων καλά 45^ 
 
 μιμούμεθ", άλλα τους 8ι8άσκοντας τά8ε. 
 
 Exit. 
 ΧΟ. Se τάν ώ8ίνων λοχιάν άί'ειλβι^υιαζ^ εμάν στρ. 
 
 Ά^άι^αι^ ικετεύω, 
 
 ΐΐρομηθεΐ Ύιτάνι λογευθεΐσαν κατ άκροτάτας 
 κορυφάς Διός, ω μάκαιρα Νίκα, 457 
 
 ^όλ€ Τΐύθιον οίκον, 
 ^Ολύμπου χρυσεων θαλάμων 
 
 πταμενα προς αγυιάς, 4^0 
 
 Φοιβηϊος ένθα γάς 
 μεσόμφαλος εστία 
 παρά -χορευομενω τρίπο8ι 
 μαντεύματα κ ραίνει* 
 
 possible'. Β. 434. ττροσ-ήκ^ δ* ούδ^ν Bayfield, προσπηκον ούδ^ν (accus. 
 
 absolute) Wakefield, προσήκα τ ονδας MSS. 435. ^πρόχουσιν is given by 
 
 the MSS. both here and in Ar. Nu6. 272 for the more regular 7Γρόχοισιν\ 
 
 437. τί Ίτάσχίΐ: (τυϋ/ί the question) what has come to him. 448. τήβ 
 
 προ(ΐηθ(α$ irapos before prevision, i.e. without staying to consider the 
 
 consequences. 450. τά των θίών καλά: what the gods admire. 452. 
 
 ώδ£νων λοχιάν άν€ΐλ6£θυιαν : not delivered from the womb with pangs of child- 
 birth. ΥΧκάβνια : the personification of birth. For the dependence of the 
 genitive ωΒίρων on the privative dv-, cf. the construction of 3ι^υ. 455. 
 
ΙΩΝ 41 
 
 Rather with golden ewer will I go 
 Put lustral water in each holy vase. 
 
 But there is need, methinks, to expostulate 
 With Phoebus. What is this ? To force a maid 
 And then abandon ! Leave the helpless fruit 
 Of stolen joys to perish ! Nay, Ο Lord, 
 Seek rather to be good as thou art strong. 
 For wickedness in man the gods chastise : 
 What justice then that ye, who set the law 
 To mortal man, should sin against the law .'* 
 If, if (to feign a thing impossible) 
 For such-like thefts upon humanity 
 Thou, or Poseidon, or the King of Heaven, 
 Should be amerced ; to quit the fines would leave 
 Your temples empty. Ye, to have your will, 
 Do thoughtless wrong : then just it is to blame 
 Not imitative man, but them whose taste 
 Instructs our admiration what to ape. 
 
 Exit. 
 
 Chorus. 
 
 Goddess Athena, mine own, born not of the travailing womb. 
 Born by Promethean aid from the crown of the Father and 
 King, 
 
 Hear me and come ! 
 Angel of Victory, come out of heaven. 
 Forth from the palaces golden, and wing 
 Thy way to the house of Apollo, the Pythian fane, 
 Where from the centre of earth, from the tripod of worship 
 is given 
 
 Prophecy never in vain ! 
 
 Προμ.ηθ€ί;: instrumental. 457. ^Ί<!ίκα...πταμ€να: cp. v. iS^g, Soph. F/iz7. 
 
 134 NiKj; τ Άθάνα Πολιάς, ή σωζα μ del• Athene... as a Wingless Victory 
 (Nik^ Apteros) had a temple on the Acropolis, just at the top of the 
 
 Propylaea. This temple was adorned with winged victories'. B. 461. 
 
 γαδ μ€σό[ΐ.φαλο5 together. 463. χορ€υομ€νω : round which are performed 
 
 religious rites {of dancing and singing), i.e. object of worship. Cf. Soph. 
 
 O. T. 896 τί δεί /Α€ χορ^ϋ^ιν ; Why should I worship ? 464. * μ,αντεύματα 
 
 Kpaiv€t : a brachylogy for δι'δωσι μαντίύματα a Kpaiverai. See on v. 168'. B. 
 
42 ΕΥΡίπίΔΟΥ 
 
 σν re και παις ά Αατογει^τ)?, 4^5 
 
 δυο θεαΐ, δυο παρθένου 
 
 κασίγιτηταυ σεμναΧ Φοίβου. 
 
 ίκ€Τ€νσατ€ δ', ω κοραι, 
 
 το TraXatol•' ^Ερεχθβως 
 
 γένος εντεκνίας γ^ρονιου καθαροΐς 47^ 
 
 μαντενμασι κνρσαι. 
 
 υπερβάλλουσας γαρ έχει θνατοΖς ευδαιμονίας άντ. 
 
 ακινητον αφορμαν, 
 
 τέκνων οΐς αν καρποτρόφοι λάμπωσιν εν θαλάμους /\.j6 
 
 πατρίοισι νεανίδες ^ySat, 
 
 ΒυαΒεκτορα πλουτον 
 
 ως εζοντες εκ πάτερων 
 
 έτερους επυ τέκνοις. 4^θ 
 
 άλκά τε γαρ εν κακοίς, 
 
 συν τ ευτυ^ίαις φίλον, 
 
 8ορί τε γα πατρία φερευ 
 
 σωτηρυον άκμάν. 
 
 εμοί μεν πλούτου τε πάρος 4^5 
 
 βασιλικών τ ειεν θαλάμων 
 
 τροφοί κηΒειοι κεΒνών τέκνων. 
 
 τον ατταιδα δ' άποστυγω 
 
 βίον' ω τε δο /cet, ψεγω* 
 
 μετά δε κτεάνων μετρίων βυοτάς 49^ 
 
 ευπαι^ος εχοίμαν. 
 
 465. Artemis, daughter of Lato, is invoked as patron of birth and of all 
 
 things young. 468. ώ κόραι: being, as pure maidens, powerful in 
 
 supplication. 469 — 471. T/iai by means of a clear response the ancient 
 
 race of Erechtheus may obtai7i the long-delayed blessing of a child. 
 
 472. ' 6^61 means involves^ carries with it^ and the word should have had 
 for its subject το λαμπών ηβας, but this is changed by a common idiom into 
 the personal form ols av Χάμπωσι [quasi όταν αύτοίς λάμπωσι]. Cp. Here. 
 Fur. 162 dvdpos δ' ΤΚ^γχος ονχι τό^ (ΰψνχίας, αλλ os μ^νων β\€π(ΐ...δορος 
 
 αλοκα\ β. 474. Kivelv άφορμήν is to spend a fund or capital : ακίνητος 
 
 αφορμή is a capital which, producing infinitely, need never be touched, 
 inexhaustible. 475. καρττοτρόφοι productive, because they reproduce them- 
 selves. καρΐΓοτρ6φοΐ9 (Badham) would be preferable, from the position of the 
 
 word in the sentence. 476. λάμιτωσιν: throughout this passage the 
 
 children are compared and contrasted, as a preferable treasure, with the 
 
ΙΩΝ 43 
 
 Come then, Athena, come Artemis, glorious pair. 
 Sisters of Phoebus alike, both virgin, goddesses both : 
 
 Come, and put up your innocent prayer ; 
 
 Long hath Erechtheus pined for an heir ; 
 Pray that the promise of life may come to the barren growth. 
 
 Hoard of delight have they, more deep than the utmost 
 
 deeps, 
 Fathomless fund of bliss, whose populous dwelling-place 
 Covers and keeps 
 Shining treasure, increasing treasure, 
 Self-inheriting, seed of the race, 
 Children, promise of children's children to be, 
 Children to help their sorrow, to make more sweet their pleasure, 
 
 To speak with their enemy ! 
 Rather, I say, than gold, than a palace of pride 
 Give me children at home, right heritors of my blood. 
 Let the miser plead for the childless side : 
 I will none of it ! Wealth denied. 
 Children given, I bless them, and cleave to the better good. 
 
 gold of the childless miser. See the same comparison treated, somewhat 
 from the other point of view, in frag. 287, 8, where the rich childless man, 
 whose wealth stands to him for wife and family, is said o\^ov dioiyeiv θάλαμορ 
 
 ήδιστον χ€ρί. 478 — 480. ώζ ^|ovt€s : because they will afford, e^ovres follows 
 
 in gender the meaning of ήβαι, i.e. naldes. διαδίκτορα ιτλοΰτον Ικ ττατ^ρων a 
 
 wealth that can inherit from (or succeed to) the fathers. διαδ6κτορα has its 
 proper transitive sense, which contains the point; children are a living 
 
 wealth which inherits itself Ιτφοις lirl tckvois upon {i.e. by) the production 
 
 of other children. 481. Supply «Vrl τα τίκνα. 484. 6.κ^6.ν force (see L. 
 
 and Sc. s.v.) here specially appropriate in connexion with hop'i'. αΚκάν MSS. 
 which following αΚκά can hardly be right : ακ/χάί/, which I suggest, is closely 
 
 similar, alykav Herwerden. 487. τροφαΐ τ€κνων = τρεφό/χβνα τίκνα. 
 
 κήδ6ΐοι of my bloody born from the /c^Sos {wedlock) : true-begotten is, I think, 
 near the meaning, but suggests an antithesis to νόβος which the Greek does 
 
 not. The epithet merely emphasizes the parental relation. 489. ω δοκ€ί: 
 
 him who approves it., preferring to hoard; see the sequel. 490. μ,€τά... 
 
 μ.6τρίων though therewith my wealth be small. 491. έχοίμαν: 'let me cleave 
 
 to'. 492 — 508. The form of this piece, a bare apostrophe, without sequel, 
 
 is in Greek very common. The point of the whole is to contrast the two 
 pictures beginning similarly with the words Iva χορούς and ΐνα re καν σα. The 
 translation endeavours to put this in an English shape. 492, For the 
 
44 ΕΥΡίπίΔΟΥ 
 
 "^ίΐ ΐΐανος θακηματα καΐ incoS. 
 
 παραυλίζονσα πέτρα 
 μυχωΒεσυ Μακραίς, 
 
 ϊνα γορον<ζ στείβονσι πο^οίν 495 
 
 Άγλανρον κόραί τρίγονοι στάδί,α γλοερα προ Παλ- 
 λάδος 
 ναών συριγγών 
 υπ' αιολας Ιαχας 
 
 ύμνων, δταν αύλίοις 500 
 
 σνρίζΎ)ς, ω ΤΙαν, 
 τοίσι σοΐζ iv αντρους' 
 ίνα τ€κονσά ης 
 παρθένος, ω μεΧεα, βρέφος 
 Φοίβω πτανοίς εζώρισε θοίναν 
 
 θηρσί τε φοινίαν δαΓτα, πίκρων γάμων 5^5 
 
 υβριν. οντ επΙ κερκίσιν ούτε λόγους 
 φάτίν αϊον, ευτυχίας μετεχειν 
 θεόθεν τέκνα θνατοίς, y/^ 508 
 
 Enter ΙΟΝ, from the precinct. 
 
 \ΐί. Προσ-πολοι γνναχκες, at των^ άμφΐ κρηπΐΒας 86μων 
 θυο8όκων φρονρημ εχονσαι Βεσπότην φυλάσσετε, 
 εκλέλοίπ' ηοη τον ίερον τρίποΒα καΐ γ^ρηστηριον 
 αουθος, η μίμνει κατ οίκον Ιστορων άπαιδιαΐ' ; 
 
 ΧΟ. εν Βόμους έστ , ώ ξεν ' ουπω 8ώμ υπερβαίνει τ68ε. 
 ως δ' επ' εξόΒοισιν οντος, tcovS" άκούομεν πυλών 
 ^ουπον' εζίοντα τ τδη 8εσπ6την οραν πάρα. 5^^ 
 
 Enter XUTHUS, from the temple. Seeing lON he rushes to 
 him and tries to embrace him. 
 
 topography and mythology see the prologue and notes there. 495. 'χορούς 
 
 is cognate ace, and στάδια direct object of χορούς στ^ίβονσι taken together '. 
 
 B. 496: haunting the place of their death. — -499. wo: to the 
 
 accompaniment of . 500. αύλίοιε: on the pipes^ from avkiov, diminutive of 
 
 αυλό?. This synonym of σνριγγβρ should, I think, be included in the 
 Lexicon on the evidence of this passage. The frequency of av\iov (from 
 avkr\) is no objection, where the sense is clear. Thus beside the common 
 •n^hiov (from neSov), there was also nediov (from πίδη), of which also one only 
 
 example remains. The epithet ανλιος gives no sense, nor should any 
 
 epithet of avrpois be so placed in the sentence. or' avdkiots Herwerden. 
 
ΙΩΝ 45 
 
 Ο Athens^ what thy cliff hath seen ! 
 The northward scar, Pan's cavern-seat, 
 With rocks before and grassy floor, 
 Where dancing tread the Aglaurids' feet 
 Their triple measure on the green 
 
 Neath Pallas' fane. 
 Whene'er the god in his retreat 
 Times on the reed a quavering strain : 
 
 Ο Athens, what thy cliff hath seen ! 
 It saw the ravished maiden's pang, 
 The babe she bare to Phoebus there 
 Cast to the talon and the fang, 
 There, on the same insulting scene ! 
 
 Of any born 
 'Twixt god and man none ever sang. 
 None ever told but tales forlorn. 
 
 Ο Athens, what thy cliff hath seen ! 
 
 Enter lON, from the precinct. 
 
 Ion. Tell me, ye maids, who, posted at the stair 
 Before this house of sacrifice, await 
 Your lord with faithful watch, say, hath he passed 
 Forth from the tripod yet, or is he still 
 Within, consulting of his childless state ? 
 
 Cho. Sir, he is yet within ; he hath not passed. 
 But even now a footfall near the door 
 Announces some approach ; and see, he comes. 
 
 Enter Xuthus, from the temple. Seeing lON he rushes to 
 him and tries to embrace him. 
 
 505. ΊΓίκρών γάμων υβριν : in mockery of her cruel ravish7nent, this stands in 
 apposition to the whole preceding description of the exposure of the child, 
 which had in it the special cruelty, that she was brought to do it in the very 
 
 place of the first outrage. γάμων is gen. of that to which the νβρις 
 
 related. 506. at the shuttles^ i.e. where tales were told to beguile the 
 
 loom-work. See v. 196. λόγοΐ5: 'in literature', recitations, plays etc. 
 
 508. Both θ€0θ6ν and θνατοί? depend upon τίκνα (γιγνόμ^να). See v. 143. 
 
 510. I have continued here the ordinary metre, though the Greek has the 
 trochaic rhythm sometimes used for exciting scenes. The corresponding 
 English metre has a different effect, and is not tolerable for any length with- 
 
46 ΕΥΡίπίΔΟΥ 
 
 Ho. ^Ω Τ€κνον, χαΓρ'• η yap οίρ-χη τον λόγου πρέπουσα 
 μοι. 
 . γαιρομεν συ ο ευ φρονεί ye, και ου opt ευ πρα- 
 ζομεν. 
 ΒΟ. δος χ^ρο? φίλημα μοι σης σώματος τ άμφυπτυχάς. 
 ΙΩ. ευ φρονείς μεν, η σ εμηνε θεού τις, ω ζενε, βλάβη ; 
 ΗΟ. σωφρονω, τα φίλταθ^ εύρων εΐ φιλείν εφίεμαι. ^21 
 ΙΩ. τταυε* μη ψαυσας τά του θεού στέμματα ρηζης χφΐ. 
 ΒΟ. α\\ίομαΐ' κού ρυσυάζω, τάμα δ' ευρίσκω φίλα. 
 ΙΩ. ουκ απαλλάζευ πρΙν εϊσω τόζα πνευμόνων λαβείν; 
 ΒΟ. ως τί Srj φεύγεις με, σαυτού γνωρίσας τα φίλτατα; 525 
 ΙΩ. ου φιλώ φρενοΰν άμούσους κα\ μεμηνότας ξένους. 
 ΒΟ. κτεΐνε, καΐ πίμπρη. πατρός yap, ην κτάνης, εσει φονεύς. 
 ΙΩ. πού δε μοι πατήρ συ; ταύτ ούν ού γελως κλύειν εμοί; 
 ΒΟ. ού' τρέχων ο μύθος αν σοι τάμα σημηνειεν αν. 
 ΙΩ. καΐ τί μοι λέξεις ; 
 
 ΒΟ. πατήρ σός εΙμι, και συ παΙς εμός. 53^ 
 
 ΙΩ. τις λέγει τάδ' ; 
 
 ΒΟ. ός σ εθρε\\}εν όντα Αοξίας εμόν. 
 
 Ι Ω. μαρτυρείς σαυτω. 
 
 Β Ο. τά του θεού γ εκ μαθών γρηστηρια. 
 
 Ι Ω. εσφάλης αιζ^ιγ/^ι' άκουσας. 
 αΟ. ουκ αρ ορσ ακουομεν. 
 
 ΙΩ. ό δε λόγος τις εστί Φοίβου; 
 Β Ο. τον συναντησαντά μοι — 
 
 ΙΩ. τίνα συνάντησιν; 
 
 ΒΟ. Βόμων τώζ/δ' εξιόντι του θεού — 535 
 
 ΙΩ. συμφοράς τίνος κυρησαι; 
 Βθ. παιδ' εμόν πεφυκεναι. 
 
 ΙΩ. σον γεγώτ', 17 δωροζ^ άλλως; 
 ΒΟ. ScopoVy οντά δ' ε^ εμού. 
 
 ΙΩ. πρώτα ^ητ εμοι ξυνάπτεις πόδα σον; 
 
 out rhyme, which would not be suitable at all. 517. for the beginjiing of 
 
 7Jiy speaking is suitable {for saying so), i.e. ' my impatience to bless my child 
 
 will not wait for explanations '. The Greeks used the appellation τ€κνον^ 
 
 from elder to younger, much more freely than we that of son or child, so that 
 
 Xuthus' full meaning is not yet apparent. 518. He accepts the blessing 
 
 (χαίρομ€ν), but replies to it with €v φρόνα instead of xaipe. 520. μίν with 
 
 a question makes a doubtful assumption, preliminary to further question. 
 Stt on Med. 11 29. 525. τί stands for a future participle to be supplied 
 
ΙΩΝ 47 
 
 XuthtLS. My child!... Oh take at once (what hour so fit.?) 
 My blessing ! Ion. Sir, I wish you in return, 
 For both our sakes, recovery of your wits ! 
 
 Xuth, Let me embrace thee, let me kiss thy hand. 
 
 Ion. Must I suppose you sane, or reft of sense 
 By supernatural stroke ! Xuth. Nay, sane enough, 
 Finding my heart's desire, to crave a kiss! 
 
 Ion. Off, off! Your violent arms are like to rend 
 These holy bands, Xtith. Nay, I will cleave to thee I 
 It is no robbery to find mine own. 
 
 Ion. Away, before an arrow find your heart ! 
 
 Xuth. Oh fly me not ! Thou see'st revealed in me 
 The nearest to thy love. Ion. I do not love 
 To teach his duty to a senseless boor. 
 
 Xuth. Slay then, and bury too ; for thou wilt slay 
 Thy father ! Ion. Father ! Thou ? 'Tis mockery ! 
 
 Xuth. 'Tis none ! The simple current of my tale 
 Is one plain word. Ion. The word ? Xuth. I am thy sire ; 
 Thou art my son. Io7t. Who saith it? Xuth. Loxias, 
 Who reared thee, being mine. Ion. Thine own report 
 Attests it ! Xuth. And I vouch the inspiring god ! 
 
 Ion. His rede was dark, and thou hast missed the sense. 
 
 Xuth. Not if mine ears hear truly. Ion. Give me then 
 The wording. Xuth. 'He that should encounter me'. 
 
 Io7i. Encounter ! How encounter } Xuth. ' As I came 
 Forth from the temple'. Ion. What should come to him 
 Of this encounter? Xuth. 'He should be my son'. 
 
 Ion. Son of thy loins, or given thee ? Xuth. ' Given indeed, 
 Yet of my flesh'. Ion. And I was then the first 
 
 by the answer, ώ? with such a participle expressing purpose : with what 
 
 purpose? 527. ktcivc καΐ ττίμιτρη : i.e. slay me if thou wilt, and then {since 
 
 thai will be then thy duty) light my funeral pyre. To perform the funeral 
 rites of the parent was the special duty of the child, and this was held a 
 chief reason for having children (see Ale. 662). In the Philoctetes (1199) 
 Heracles compels his son Hyllus to perform this duty (πρησαι) to his yet 
 living body. The expression here, or something like it, was probably pro- 
 verbial. 528. ουν: is it then really ?neantf 529. τρέχων 6 μ,ΰθο? : The 
 
 speech, which will convey my meaning, is a ' running speech ', probably a 
 colloquial phrase for words which go directly and plainly to their point. 
 
48 ΕΥΡίπίΔΟΥ 
 
 BO. ουκ αλλω, τέκνον, 
 
 Ιίΐ. Yj τύγΎ] πόθεν ττοθ" η κει ; 
 
 SO. δυο μίαν θανμάζομεν. 
 
 Ιίΐ. e/c τίνος δε σου πβφνκα μητρός ; 
 
 So. ουκ εχω φράσαι. 54^ 
 
 ΙΩ. οτ?δ€ Φοίβος είπε; 
 
 So. τερφθείς τοντο κείν ονκ ηρόμην, 
 
 Ιίΐ. y:^^ ^ρ' εκπεφνκα μητρός. 
 
 SO. ου Trehov τίκτει τβκνα. 
 
 Ιίΐ. 7Γω9 αι^ οΰΐ' ειτ^ζ^ σ"09; 
 
 SO. ονκ οΓδ', άναφζρω δ' et? roi/ ^εόϊ'. 
 
 Ιίΐ. φέρε, \όγων άφωμεθ^ οίλΧων. 
 
 SO. ταντ άμεινον, ώ τεκνον. 
 
 ΙΩ. ήλθες εΙς νόθον τι λεκτρον; 
 
 SO. μωρία γε τον νέον, 545 
 
 ΙΩ. π/οιι^ κόρην λαβεΐν ^Ερεχ^θεως; 
 
 So. ου γα/) νστερόν yi πω. 
 
 ΙΩ. α/)α δ-ϊ^τ' εκεΐ μ' εφνσας; 
 
 SO. τω χρόνω γε σνντρέχει. 
 
 ΙΩ. /cara πώς άφικόμεσθα Βενρο — 
 
 SO. τοντ άμη-χανω, 
 
 ΙΩ. δί,ά μακράς ελθων κελενθον ; 
 
 SO. τοντο καμ άπαιο\α. 
 
 ΙΩ. ΤΙνθίαν δ' ήλθες πετραν πρίν ; 
 
 So. €19 φανάς γε Βακ^ίον. 55^ 
 
 ΙΩ. προζενων δ' ei^ του κατεσ^ες; 
 
 SO. 09 /xe Αελφίσυν κόραις — 
 
 ΙΩ. εθίάσενσ\ η πως τάδ' αυδα9; 
 
 SO. MaLvdauv γε Βακχίον, 
 
 ΙΩ. εμφρον, η κάτοινον οντά; 
 
 SO. Βακχ^ίον προς η8οναΐς, 
 
 ΙΩ. τοντ εκεΐν, ϊν εσπάρημεν. 
 
 So. 6 πότμος εζηνρεν^ τεκνον. 
 
 536. ^must meet with what inishap? Ion is still incredulous and speaks 
 sarcastically'. D. Note also that the meeting could itself be called, as 
 
 such, a συμφορά, from σνμφ€ρ(ΐν to meet. 537. &λλω$ 7nerely. 540. 
 
 Ik τίνος Hermann, ta' τίρος MSS. 544. Ion, seeing that the god must 
 
 be right, changes his tone, and proposes to enquire seriously. 545. 
 
 TO v€ov youth. 550. φανάς : /ofch-mysierieSy celebrated by bacchanal 
 
ΙΩΝ 49 
 
 To cross the path ! Xuth. Thou , and none else, my son. 
 
 Ion. But how explain the chance? Xuth. The strange- 
 ness of it 
 Perplexes me no less. Ion. Of whom was I, 
 Thy son, begot ? Xnth. I know not. Ion. Nor the god 
 Declared? Xtith. I failed to ask it for delight 
 In what was told. Ion. Then we must think the earth 
 My mother ! Xnth. Children grow not on the ground ! 
 
 Ion. How can I then be thine? Xnth. My ignorance 
 Can but appeal the god. {A pause.) Ion. Come, let us try 
 Rather to reason. Xuth. Better said, my son. 
 
 Io7i. Hadst thou to do with woman otherwise 
 Than in the way of marriage ? Xuth. Yes, in youth 
 And wildness. Ion. Ere thou tookest to thy wife 
 Thy princely dame. Xuth. Not since I wedded ever. 
 
 Io7i. Might I be offspring of that careless love ? 
 
 Xiith. The time agrees. Ion. But how brought hither? 
 Xuth. How? 
 I cannot see. Ion. So long a way ! Xuth. The doubt 
 Confounds me also. Ion. Wast thou e'er before 
 In Delphi? Xuth. Once, to be initiate 
 On Bacchus' night. Ion. Thine entertainer then 
 Was of the Hostel Office? Xuth. By his aid 
 Some women of the city made me free — 
 
 Io7t. Of the ritual, say'st thou ? Xtith. And their company, 
 The god possessing them. Ion. And thee? Xuth. My heart 
 Was full of wine and ready to be won. 
 
 Ion. And I was got ! Xuth. Fate found the hour, my son. 
 
 women and others in honour of Bacchus upon Parnassus, which he was 
 supposed to haunt; one of the performers represented the god; see v. 714. 
 
 551, Ίτροξίνων : persons appointed to receive and direct the visitors. 
 
 hf του in the house of. Δ€λφί<Γΐν, and therefore entitled to perform the 
 
 ceremonies ; of course of free birth. 552. Ιθιάσ-ίυσ-6. Xuthus pauses at 
 
 the crisis of the scandalous story. Ion, forced to understand, supplies the 
 ritual term for introduction to a θίασος or company of Bacchanal worship- 
 pers. It is not perhaps needless to observe that the disorders of the worship 
 
 were no part of the professed religious intention {Bacch. 686). 554. Here 
 
 is the matter in question., the occasion of viy begetting (the when I was begot). 
 ίκίίν* ϊν Elmsley, Uu vvv mss. ό ττότμο? €ξηυρ€ν {αντο) '. fate itivented it 
 
 V. I. 4 
 
50 ΕΥΡίπίΔΟΥ 
 
 Ιίΐ. ττώς δ* άφικ6μ€σθα ναούς ; 
 
 Ηθ. €κβολον κόρης ίσως. 555 
 
 ΙΩ. ζκπζφεύγαμεν το SovXov. 
 
 So. ττατφα iwu Se^ov, τ4κνον. 
 
 I Ω. τω θ^ω yovv ουκ άπιστείν et/cos. 
 
 HO. ev φρονείς αρα. 
 
 ΙΩ. καΙ τί βονλόμεσθά γ* άλλο — 
 
 Ηθ. νυν οράς, α γ^ρη σ οραν, 
 
 ΙΩ. 1^ Διός τταιδός γενέσθαι παΙς; 
 
 Ηθ. όπερ σοΙ γίγνεται. 
 
 Ι Ω. η θίγω Βηθ* οΐ μ εφνσαν ; 
 
 ΞΟ. ττίθομενος ye τω ^€ω. 5^0 
 
 ΙΩ. χοίρε μοι, πάτερ, 
 
 Ηθ. φίλον το φθεγμ εΒεζάμην τ68ε. 
 
 ΙΩ. ήμερα θ* η νυν παρούσα. 
 
 Ηθ. μακάρυόν y εθηκε με. 
 
 ΙΩ. ώ φίλτ; μητερ, ποτ άρα καΐ σον όψο/χαι 8εμας; 
 νυν ποθώ σε μάλλον η πρΙν, ήτις εΐ ποτ\ είσυ^εΐν. 
 αλλ' ϊσως τεθνηκας, ημείς δ' ovSkv αν 8νναίμεθα. 
 
 ΧΟ. KOLval μεν ημίν δωμάτων ενπραζίαι' ^66 
 
 όμως 8ε καΐ 8εσπουναν εΙς τεκν εΰτνχείν 
 εβονλόμην αν, τονς τ ^Έιρετχθεως Βόμονς. 
 
 Ξ Ο. ώ τεκνον, εΙς μεν σην άνενρεσιν θεός 
 
 ορθώς εκρανε, καΐ σννηχΙ/ εμοί τε σε, 57^ 
 
 συ τ αν τα ψιΚταυ ηύρες ουκ ευοως παρος. 
 
 Ο Ο ηςας ορυως τούτο καμ έχει πόσος, 
 
 όπως συ τ, ώ παΐ, μητερ* ευρησεις σεθεν, 
 
 εγω θ* όποιας μου γυναικός εζεφυς ' 
 
 γβόνω hk Κόντες ταυτ Ισως ευροιμεν αν. 575 
 
 αλλ' εκλιπών θεού δάπ€δ' άλητείαν τε σην 
 
 (the occasion, τό Χν €σπάρης). Xuthus is too joyous to acknowledge any 
 drawback ; but Ion, whose delicate and religious mind naturally finds such 
 a certainty but doubtfully preferable to his former state of happy ignorance 
 and fond imaginations, simply goes on to raise a last remaining doubt. 6 
 
 πότμος σ MSS., due to mistake of the sense, corr. by Heath. 556 — 561. 
 
 Ion stifles his disappointment and reasons himself into a more cheerful view. 
 
 556. I α?η now clear of slave-qtiality ! Both his parents seem to have 
 
 been free. This is the best point in the discovery. Note that he does not 
 refer to his office as a servant of the temple, which he never regards other- 
 wise than with affection and reverence. 558. γ€ after• all. Note this as 
 
ΙΩΝ 51 
 
 Ion. How came I to the fane? XutJi. Belike the girl 
 Exposed her child. {A pause?) Ion {to himself). There is no 
 slave in me ! 
 
 Xnth. Take now thy father to thee, Ο my son. 
 
 Ion (as before). I may not doubt the god. Xuth. In 
 reason, no ! 
 
 Ion {as before). And then what would I better? Xuth. Ah, 
 thine eyes 
 Begin to open ! Ion {as before). Than be proved the son 
 To a son of Zeus ? Xttth. And thou art proved no less ! 
 
 Ion. And may I touch indeed the flesh whereof 
 My own was made? Xtith. If thou believe the god! 
 
 Ion. My father ! Xuth. Sweet and welcome name ! . Ion. 
 Ο let 
 This day be blest ! Xuth. As it hath blessed me ! 
 
 {They embrace.) 
 
 Ion. Ah, mother dear, and shall I ever see 
 Thee also? More than ever now mine eyes 
 Desire thee, whosoe'er thou be. But oh, 
 Thou art dead perchance, and we might seek in vain ! 
 
 Cho. {aside). We are of the house, and partners of its weal : 
 Yet if the child had been our lady's too, 
 Erechtheus' heir, the boon had pleased me more. 
 
 Xuth. My son, so far the god hath proved his word, 
 By this discovery giving thee to me, 
 And showing thee thy sire, unknown before. 
 And though, as by a natural impulse thou, 
 So also I desire that thou may'st find 
 Thy mother, I the mother of my boy ; 
 Trust but to time, and that perchance may be. 
 Now, quit thy cloistered refuge for a home, 
 
 marking the tone. 560. θίγω deliberative, am I to take hold of? 562. 
 
 ή[ΐ4ρα : supply χαφ^τω. 564. νυν μάλλον, because only through her could 
 
 anything be discovered which might better the present aspect of his parent- 
 age. 572. -nlas : intransitive : both ο and rovro are accusatives marking 
 
 the matter and extent of the verbal action. 575. χρόνω 8ovt£s zf we yield 
 
 (prose eVSoires) to time^ i.e. 'are not impatient'. Cf. Phoen. 2i ό δ' τ^δον^ δοιίί. 
 
 576. άλητίίαν: condition of homelessness, of a 'waif and stray'. See τ/. 
 
 1089. SaireSa λητίίαν Reiske and Prof. Ridgeway; λτ^τβι'α (cf. X^reipa), the 
 
 4—2 
 
52 ΕΥΡίπίΔΟΥ 
 
 €ΐς τας ^ Κθηνα^ζ στείχβ κουνόφρων πατρί, 
 ου σ ολβίον μίν σκηπτρον άναμενβυ πατρός 
 πολνς δε πλούτος' ovBe, θάτερον νόσων 
 hvolv, Κ€κ\ησ€ί Βνσγενης πένης θ" α/χα, 5^0 
 
 αλλ' ευγενής τε καΙ πολυκτήμων βίου. 
 συγας ; τι προς γην όμμα σον βαΧων έχεις 
 εΙς φροντίδας τ απήλθες, εκ δε χαρμονης / 
 πάλιν μεταστάς δεΓ/ια προσβάλλεις πατρί;/ 
 ΙΩ. ου ταυτον εΐδος φαίνεται των πραγμάτων 5^5 
 
 προσωθεν όντων εγγυθεν θ* ορωμενων. 
 εγώ Βε την μεν συμφοράν ασπάζομαι 
 πάτερα σ άνευρων' ων δε γιγνώσκω περί 
 άκουσον, εΐναί φασι τάς αύτόχθονας 
 κλεινάς ^ΚΘηνας ουκ επείσακτον γένος ^ 59^ 
 
 Ιν εισπεσουμαι δυο νοσώ κεκτημένος, 
 πατρός τ επακτου καυτός ων νοθ αγενής. 
 κα\ τουτ έχων τουνει8ος, ασθενής μεν ων 
 f μηΒεν καΐ ού8εν ων f κεκλτησομαι. 
 ην δ' εις το πρώτον πόλεος ορμηθείς ζυγον 595 
 
 ζητώ τις εΤι^αι, τών μεν άΒυνάτων υπο 
 μισησόμεσθα' λυπρά γαρ τα κρείσσονα' 
 όσοι δε, χρηστοί Βυνάμενοί τ εΤ^αι, σοφοί 
 σιγώσι κοΰ σπεύΒουσιν εις τα πράγματα, 
 γελωτ εν αυτοίς μωρίαν τε ληχ^ομαι, 6θΟ 
 
 ονχ ησυχάζων εν πόλει ψόγου πλεα. 
 
 position of a temple-officer or religious minister. The MSS. tradition is 
 equally good for both readings, but the depreciatory better suits the speaker's 
 
 purpose. 579. θάτ€ρον νοσ-ών δυοιν, namely dvayeveiav, his bastardy and 
 
 disreputable origin. Xuthus, seeing what is in Ion's mind, makes a kindly 
 meant but blundering attempt to console him, by saying that his wealth will 
 protect him from insult and secure him respect. If he had been poor, as 
 well as a bastard, it would have been another thing ; as it is, he will be 
 allowed to pass not only for rich, which he is, but also (r< και) for well- 
 bom. Ion, who sees only that even his father cannot forget his reproach 
 or deny that it exists, relapses instantly into gloom. — The meaning here 
 seems to have been missed, through the error of taking βάτ^ρον νόσων hvoiv 
 as falling under the negative ου. 581. ιτολυκτιΐμ,ων βίου: 'The gen. de- 
 pends on the sense of fullness contained in -ηοΧνκτημων \ cp. Soph. O. T. 83, 
 ηολνστίφηί 8άφνης\ Β. 587. σ-υμφοράν: here neutral; he withdraws by 
 
ΙΩΝ S3 
 
 Adopt thy father's purposes, and come 
 
 To Athens. There a father's royalty, 
 
 A father's wealth awaits thee. If thou hast 
 
 The one defect, they shall not call thee poor, 
 
 And base withal, but rich, and noble too. 
 
 What, dumb ? Why downcast ? Why so lost in thought, 
 
 Dashing with sad relapse thy father's joy ? 
 
 Ion. Things wear a different aspect in the view 
 As they are far away or near to sight. 
 And though I greet the happy chance that finds 
 My father, yet I ponder certain doubts. 
 Which I would let thee know. Athens, they boast. 
 Grew ever where it grows, a nation proud. 
 On native soil. And I must carry there 
 My tivo defects, my sire an alien, 
 Myself a bastard ! This my shame, so long 
 As I lack power, leaves me the name of nought. 
 And should I enter in the ambitious race, 
 So to be some one ; then unable men 
 Will hate me for superiority; 
 Men capable enough, who, wisely mute, 
 Avoid to rush upon the public stage. 
 Will scorn the restless fool, that in a place 
 So full of censure could not keep his seat ; 
 
 change of tone the injurious expression of v. 536. 588. ών. ..-n-epi : i.e. άκουσον 
 
 Trept €Κ€ίρων a -γιγνωσκω [am judging). — Trarep for Tre'pt, Dobree. 589. €lvai 
 
 ...γ€νο5 exists (note the emphasis) as a race\ it was not brought there, but 
 
 simply has existed there (see v. 49). 591. δύο νόσω : see v. 579. Ion's 
 
 controlled vexation finds vent in this touch of repartee. He reminds 
 Xuthus that his own birth would not everywhere be thought unexcep- 
 tionable. 594. The exact reading uncertain. 595. ΐΓρώτον...ζυγόν : 'the 
 
 high-raised thwart, on which the κίΚ^νστη^ sat at the stern of the ship, 
 
 steering and giving time to the rowers'. B. 596. αδυνάτων {τινα^ elvat). 
 
 598. χρησ-τοί sei'viceable^ capable. δυνάμίνοί τ* «ϊναί (rii'es, supplied by anti- 
 thesis to Ti% ehai and ά8ννάτων preceding), those who could attain public 
 
 position, if they would. σ-οφοί σ-ιγώσ-ι: are in their ''wisdom'' silent ., σοφία 
 
 (culture) being the watch-word and mark of that educated class, averse from 
 politics and devoted to self-improvement, which was just beginning to be 
 important. — The connexion of the passage demands, I think, this construe- 
 
54 ΕΥΡίπίΔΟΥ 
 
 των δ' αν λόγω τ€ γ^ρωμενων τ€ rrj πολει 
 
 €19 ολ^ιω/χα ^άς ττ\έον φρονρησομαυ 
 
 φηφουσίν οντω γαρ ταδ', ώ πάτβρ, φίλεΐ' 
 
 ot τάς πολβίς βχονσί κάξυωματα, 605 
 
 rois άνθαμίλλοί^ elal πολβμιωτατοί. 
 
 ίΚθων δ* €9 oT/coz/ άλλότρων, βττηλυς ων, 
 
 γυναίκα θ* ως άτβκνον, η κυινονμενη 
 
 τάς συμφοράς σοι πρόσθεν, άπο\αγουσα νυν 
 
 αύτη καθ" αύτην την τύχην otcret πυκρως, 6 ΙΟ 
 
 πώς δ' ούχ υπ αύτης εΐκότως μισησομαι, 
 
 όταν παραστώ σοΙ μεν εγγύθεν ποδός, 
 
 η δ' ουσ ατεκνος τά σα φιλ^ είσορα πικρως, 
 
 κατ η προΒούς συ μ ες ^αμαρτα σήν βλεπΎ)ς, 
 
 η τάμα τιμών δώ/χα συγχεας εχτις ; 615 
 
 όσας σφαγάς δτ) φαρμάκων τε θανάσιμων 
 
 γυναίκες ηϋρον άν8ράσιν διαφθοράς. 
 
 άλλως τε την σήν αλο^ον οίκτείρω, πάτερ, 
 
 απαιδα γηράσκουσαν ου γαρ ά^ια, 
 
 πάτερων άπ εσθλων ούσ , άπαιδια νοσεΐν. 620 
 
 τυραννικός 8ε της μάτην αΐνουμενης 
 
 το μεν πρόσωπον ήΒύ, τάν Βόμοισι δέ 
 
 λυπηρά' τις γαρ μακάριος, τις ευτυχής, 
 
 όστις 8ε8οικώς και παραβλεπων βίαν 
 
 tion, and not 8υνάμ€νοί τ tlvai σοφοί together. 602. λ6γω...ττ6λ€ΐ i.e. χρω- 
 
 μίνωρ λόγω re ττόλει re. λόγος, thought, learning in the widest sense, in- 
 cluding literature, science, philosophy etc., in fact, another word for σοφία. 
 This third class, men of trained intellect who do enter politics, will naturally 
 
 be the actual holders of office. λόγω : λογίων, MSS. Badham's σοφών gives 
 
 the required sense, but I offer λόγω as nearer, λογίων learned, a word later 
 than Euripides, derived from the above sense of λόγος, was originally written 
 
 as a correct explanation of λόγω {χρωμίνων). τών δ* iy λόγω (Matthiae) gives 
 
 the same sense, but with more change. 603. €ΐ5...'π•λ^ον : if I invade their 
 
 occupied privilege, i.e. official administration, which is already full or filled 
 
 up. ττλ^ον: the common 'Attic' form is τνλίων (from ιτλίως), which, if it 
 
 were necessary, we might replace, as our MSS. scarcely enable us to distin- 
 guish between the two. But in Euripides' time and in poetry the older 
 (so-called 'Ionic') forms πλίος and tiKiov may well have been still ad- 
 missible : cf πόλίοί in v. 595. τίλίον more, however construed, gives no 
 
 good sense. ψρουρήσομαι ψηφοισιν : / shall be guarded off by their (com- 
 bined) votes (or pieces). The point of this passage, which has not been 
 explained, turns on a comparison between politics, as a game between the 
 
ΙΩΝ 55 
 
 And men of mind, who yet are public men, 
 Will play against the invader of the board 
 The placeman's game of check. 'Tis ever so ! 
 They most, who hold the place of privilege, 
 Wage ever war with those who covet it. 
 
 Then, I must enter on a house not mine, 
 A stranger, where the childless wife, who shared 
 Her grief before with thee, will now rebel 
 Against the load assigned to her alone, 
 And hate me (ah, with cause enough to hate !) 
 The childless queen, seeing with bitter eye 
 Thy throne attended by thy proper son; 
 While I am slighted if thou look on her. 
 Or I preferred and household peace destroyed. 
 How many a wife with poison or with steel 
 Hath sought her husband's life ! Nay, that apart. 
 She hath my pity, father, for herself. 
 Aging, and heirless still, though shame it is 
 Her glorious blood should lack a heritor. 
 
 As for the idle praise of royalty, 
 The outward face is fair, the life within 
 Torment. What bliss, what happiness hath he. 
 Who watching for a dagger must prolong 
 
 *ins' and the 'outs', and the game of draughts. The comparison, which is 
 very apt, was suggested by the accident that the same word {ψήφοι calculi) 
 meant both pieces (in the game) and suffrages. The particular form of the 
 game here referred to is that in which the player's object is to get his 
 enemy's pieces out of the square or part of the board where they are first 
 placed, and to replace them by his own. " It may be said to represent a 
 party of soldiers engaged in the attack and defence of a fortified position " 
 (Rich; Diet, of A?tt. s. v. latro)\ hence the Latin name oi latrones {soldiers), 
 and hence the miHtary terms of this passage, φρονρησομαι, ras nokeis {the 
 places or forts), and πολίμιωτατοι. There is a play, not only on the senses 
 of ψήφος, but also on πάλας €χ€ΐν, hold the forts and fill administrations (in 
 prose πολιτ€ΐα$•). I have made use in the translation of check, an old name 
 
 for chess. 606. άνθαμίλλοΐδ in the full sense, those who strive to become 
 
 their substitutes. 608. «is : παρά. 609. άττολαχοΰσα : χωρ\ς \αχονσα. 
 
 611. hi : resumptive after the parenthesis. 612. €γγύθ€ν iroSos : i.e. at thy 
 
 footstool. 616. T6 added by Heath. Perhaps vv. 6i6 — 617 are spurious 
 
56 ΕΥΡίπίΔΟΥ 
 
 αΙωνα τείι/βυ; Βημότης δ' αν €ντνχτις 625 
 
 ζην αν θίΚοιμι μάλλον η τύραννος ων, 
 
 ω τους πονηρούς njSovrj φίλους ^χβίν, 
 
 έσθλούς δβ μισεί, κατθανείν φοβούμενος, 
 
 είποις αν ως ό -χρυσός εκνικα τάδε, 
 
 πλουτείν τε τερπνόν, ου φυλώ φόγους κλύειν 630 
 
 εν γερσι σώζων ολβον, ουδ* εχευν πόνους' 
 
 είη ο εμοιγε μέτρια μη λυπουμενω. 
 
 α ο ενσαο ειγον ayau άκουσον μου, πάτερ ' 
 
 την φιλτατην μεν πρώτον άνθρώποις σχολην, 
 
 οχλον τε μέτρων, ού8ε μ* εξέπληξα ο^ού 635 
 
 πονηρός ούόείς* — κείνο δ' ουκ άνασγετόν, 
 
 είκειν ohox) χαλωντα τοίς κακίοσιν — 
 
 θέων δ* εν εύγαίς η λόγοισιν ην βροτων 
 
 υπηρετών γαίρουσιν, ου γοωμενοις. 
 
 καΐ τους μεν εζέπεμπον, οΐ δ' ηκον ξένοι' 640 
 
 ωσθ* η^ύς άεΐ καινός ων καινοίσιν ην. 
 
 ο δ' εύκτόν άνθρώποισι, καν ακουσιν η, 
 
 Βίκαιον είναί μ" ό νόμος η φύσις θ^ α/χα 
 
 παρείχε τω θεω. ταύτα συννοού μένος 
 
 κρείσσω νομίζω τάνθάΒ^ ή τάκεί, πάτερ. 645 
 
 εα δ' εμαυτω ζην μ'' ίση γαρ τη χάρις, 
 
 μεγαλοισι χαίρειν σμικρά θ* τβεως έγειν.^ 
 
 ΧΟ. καλώ? έλεζας, εΐπερ ους εγώ φιλώ f 
 
 εν τοίσι σοίσιν εύτυχησουσιν φίλοις. 
 
 Εθ. τταίίσαι λόγων τώι^δ'* εύτυχείν δ' επίστασο' 650 
 
 θέλω γαρ ούπέρ σ ηύρον άρζασθαι, τεκνον, 
 κοινής τραπέζης δαΓτα προς κοινην πεσών, 
 θύσαί ff α σου πριν γενέθλι ούκ εθύσαμεν. 
 καϊ νυν μεν ως 8η ζενον άγων σ εφεστιον 
 
 (W. Dindorf). 632. Λη y c'/xot MSS. corr. Lenting. 634. (τχολην : the 
 
 * day-long blessed idleness' (Browning) of the cloister. 635. ohovfro?n the 
 
 way. 639. ΰττηρίτών : this is, according to English expression, the principal 
 
 clause. 646. μ* : added by Dindorf and, I think, requisite. 648. καλώς 
 
 2Xc|as 6l'ir€p. The ex parte plea for unambitious indolence, which Ion has pro- 
 nounced, receives from the Athenians a strictly qualified approval. Indeed 
 it is, in Ion's mouth, only half sincere. His primary motives are such as, in 
 
 addressing his father, he must put in the background. oOs indefinite; 
 
 Creusa. 649. kv toIs σ-οΓς φίλοιβ : l>y means of thy liking or of what thou 
 
ΙΩΝ 57 
 
 His fearful hours ? Give me, I say, for life 
 The plain man's happiness and not the king's, 
 Who loves to have base creatures for his friends 
 But shuns the noble sort for dread of death ! 
 Say'st thou, the gold outweighs it all, the wealth ? 
 Methinks the pleasure of a hoard to gripe 
 Would ill repay the scandal and the pains. 
 Nay, modest means for me, and ease withal ! 
 
 And I have had, my father, blessings here. 
 As I would show; sweet idlesse (is there aught 
 Men love more dearly ?), troubles little, none 
 To jostle me (oh shame, to give the wall 
 To baser folk !) from his discourteous path. 
 Whether I prayed to god or talked with man, 
 I saw not grief but always joy, and still 
 So changed the parting for the coming guest 
 That I was ever pleasing, ever new. 
 And innocent, as man must pray to be, 
 Though 'twere without his will, my nature was 
 And custom made me for Apollo's sake. 
 
 All this together weighed, I put this life 
 Above that other. Oh father, let my life 
 Be still, be only mine ! The joys of pride 
 Are worth no more than lowness, if it please. 
 
 Cho. {aside). Well hast thou pleaded, if the happiness 
 Of her I love may profit by thy tastes ! 
 
 Xiith. Reason the case no more, but learn thy part 
 Of greatness, which shall here begin, my son. 
 E'en where I found thee, with a public feast 
 And sacrifice, neglected at thy birth. 
 Here I will banquet thee as one I wish 
 
 likesty dative of τα σα φίλα. Cf. τα των θ^ων καλά the admiration of the gods, 
 or what the gods admii'e {v. 450). The Athenian women do not approve 
 'his taste', but in the circumstances gladly wish that he may have it.-^ 
 The correction \oyots for φίλοις, suggested in one of the MSB., spoils the 
 
 play between ovs eyt» φιλώ and τά σά φίλα. 651. θέλω αρξασ-θαι : ' Ι mean 
 
 to make a (religious) beginning of the new life'. See 7'. 653. 654. ώζ... 
 
 «φ^στιον : on the ground that I have made friends with you and am taking 
 you home ; the feast at Delphi was to be represented as the beginning of a 
 
58 ΕΥΡίπίΔΟΥ 
 
 SeinpoLaL τερχρω- της δ' ^ΚΘηναίων γθονος 655 
 
 αζω θεατην Βηθβν, ώς ουκ οντ Ιμόν. 
 
 καΐ yap γυναίκα την έμην ου βούλομαι 
 
 Χυπβίν ατ€κνον ούσαν αυτός €υτυγων. 
 
 ^ρόνω δε καιρόν λαμβάνων ττροσάζομαι 
 
 Βάμαρτ idv σε σκήπτρα ταμ ^χειν γθονος. 66θ 
 
 Ιωζ^α δ' ονομάζω σ€ τη τύχτ) πρέπον, 
 
 οθούνεκ άδυτων Ιξιοντι μοί θεοΰ 
 
 ίχνος συνη\\ίας πρώτος' ^ άλλα των φίλων 
 
 πληρωμή άθροίσας βουθύτω συν ήδονη 
 
 πρόσβίπβ, μέλλων Δελφιδ' έκλιπεΐν πόλυν. 665 
 
 ύμΐν Se συγάν, δ/χωίδες, λέγω τάδε, . 
 
 η θάνατον είπούσαισι προς Βάμαρτ Ιμην. J 
 ΙΩ. στείχοιμ αν' %.ν δε της τύχης άπεστί μοι' 
 
 ει μη γαρ ήτις μ* ετεκβν εύρησω, πάτερ, 
 
 άβίωτον ημΖν' ει δ' επεύξασθαι χρεών y 670 
 
 εκ των * Αθηνών μ* η τεκουσ εΐη γυνή, 
 
 ώς μοι γενηται μητροθεν παρρησία. 
 
 καθαράν γαρ ην τις εις πόλί,ι/ ττεση ζενος, 
 
 καν τοις λόγοισιν άστος η, το γε στόμα 
 
 8ουλον πεπαται κούκ έχει παρρησίαν. Exettnt. 
 
 ΧΟ. *Ορώ 8άκρυα καΐ πενθίμους στρ. 6y6 
 
 άλαΧαγάς στεναγμών τ εισβολάς, 
 
 όταν εμά τύραννος εΰτταιδιαζ/ 
 
 πόσιν εχοντ ΐ8η, 
 
 αύτη δ' άπαις η καΐ λελειμμενη τέκνων. 68θ 
 
 τίν, ω παΐ πρόμαντι Αατούς, εχρησας ύμνωΒίαν ; 
 
 πόθεν 6 παις οδ* άμφΐ ναούς σεθεν 
 
 τρόφιμος εζεβα, γυναικών τίνος', 
 
 proposed acquaintance. 655. rfjs δ*...χθον08: 'and the alleged reason 
 
 for taking you there shall be that you may see the town '. 665. irpoo-ei-ire 
 
 say farewell to. 666. λέγω νμίν aiyav τάδζ η (λβγω) θάνατον : / fit'd you 
 
 hush this matter, or {threate?i) death.— — 670. ΙΐΓ-€ύξα<Γθαι : to be particular 
 in prayer, to choose a boon, literally to pray something over and aboT.>e («Vi) 
 the general prayer that he may find his mother, which he has made or 
 
 implied already. 674. iv rois λόγοισιν on the lists or list. The technical 
 
 name for the burgess-roll at Athens was καταΚο-^ο^, for which Xoyoi {account, 
 
 reckoning, number) is here used as a more poetical synonym. 675. ir^ira- 
 
 Tcu: κ(κτηται: see πάομαι. 676. 'π'6νθίμου9...€ΐσβολά5 : the substantives and 
 
 epithets are contrasted: άλαλαγαί and (Ισβολαί together mean entry amid 
 
ΙΩΝ 59 
 
 To visit me in Athens, thither brought 
 Not as mine own, but to admire the town. 
 I would not that my single happiness 
 Should give a heart-ache to my childless wife. 
 In some good hour hereafter will I win 
 Her leave that thou shalt have my royalty. 
 Thy name, to fit the chance which led thy foot 
 First to meet mine forth coming from the fane, 
 Thy name is Ion. Now be all thy friends 
 Convoked, and mid the pleasures of the feast 
 Bid them farewell upon thy parting hence. 
 Ye women, keep the secret, under pain, 
 If ye reveal it to my wife, of death ! 
 
 Ion. Father, I go; but ah, for happiness 
 One thing I lack, my mother known; till then 
 There is no life for me ! And, might I choose, 
 I pray that she may prove Athenian born 
 And give her child the freeman's right of speech. 
 An alien in a folk of pure descent 
 By law may be a burgess, but his lips 
 Are slave; he cannot speak the thing he will. Exeunt. 
 
 Chorus, 
 What tearful triumph will there be 
 At Athens' gate, what cheer and groan. 
 When that unhappy queen shall see 
 Her lord a father proud, and she 
 Is lone and childless, childless and alone ! 
 
 Oh prophet-god, 3s3l0fik^s Son, 
 
 What strange reply thy chant hath made ! 
 
 A cloister-child, whose mother none 
 
 cheers^ such as would naturally welcome the return of Xuthus and Creuso, 
 bringing Ion Avith them ; in this case, for Creusa and those who loved her, 
 
 there would be cheers of jnoiirning aiid a?i entrattce of grief. άλαλαγάβ 
 
 (Hermann excellently, for MSS. αΚΚα^ ye) cheers^ cries of triumph. It will 
 be found on investigation very doubtful whether this word ever had any 
 
 other than this its regular sense. €ΐσβολά5 : see v. 721 and L. and 
 
 Sc. S. VV. ίίσβολή, εισβάλλω. 682. άμφι ναού5...τρόφιμθ5 together. 
 
6ο ΕΥΡίπίΔΟΥ 
 
 ου yap με cratVei θέσφατα, 685 
 
 μη τιν εχτ) Βόλοι^. 
 
 Βευμαίνω συμφοραν 
 
 εφ' ο ποτέ βάσεται, 
 
 άτοπος άτοπα γαρ παραΒίΒωσί μοι. 69Ο 
 
 εγει h6\ov τνγαν θ* 6 ποίς 
 
 αΧΚων τραφείς εζ αιμάτων. 
 
 τις ου τά8ε ξννοίσεται ; 
 
 φίλαι, πότερ εμα δέσποινα αντ, 695 
 
 τάδε τορώς ες ους γεγωι/ησομερ 
 
 πόσιν, εν ω τα πάντ εχουσ ελπίΒων 
 
 μέτοχος ην τλάμων; 
 
 νυν δ' η μεν ερρει συμφοραΐς, 6 δ' εύτυχεΐ, 
 
 πολίον είσπεσουσα γήρας, πόσις δ' άτίετος φίλων. 
 
 μελεος, ος θυραίος εΚθών 8όμους yoi 
 
 μεγαν ες ολβον ουκ εσωσεν τύχας. 
 
 ολουτ', ολοιθ' ο πότνιαν 
 
 εζαπαφων έμάν, 
 
 καΐ θεοίσιν μη τύχοι 705 
 
 καλλίφλογα πελανον επΙ 
 
 πυρί καθαγνίσας. το δ' εμον είσεται 
 
 τυραννικός φίλα. f 7 ΙΟ 
 
 η8η πελας 8είπνων κυρεί 
 
 παις καΐ πατήρ νέος νέων. 
 
 Ίώ 8είρά8ες ΐίαρνασου πέτρας επω8. 
 
 687. σ-υμφοράν ; the encounter, hap, of Ion and Xuthus, in which they suspect 
 
 fraud, not perhaps disallowed by the god himself. 690. for it (the event) 
 
 dubiously brings a dubious message, ιταραδίδωσ-ι : the metaphor is taken 
 from the delivery of a letter or credential, such as a messenger might bring 
 
 with him to attest his mission. See L. and Sc. s. v. παρα8ί8ωμι. After 
 
 μοι the MSS. have t68c τ εύφημα or TO di ποτ (νφημα, whence Nauck ra5« 
 θ€ον φήμα. In the uncertainty of the antistrophe {v. 710) it is impossible to 
 
 say whether there is only corruption here or interpolation too. 700. 
 
 aricTos ψίλων negligent of his nearest love. 702. ουκ Ισ-ωσ -cv τύχας : diffi- 
 cult: "has not acted consistently with his fortune, i.e. has proved base, 
 though he received the honour of a foreign alliance as a reward for virtue or 
 valour, v. 62: compare Η el. 613. το μόρσιμον σώσασα [obsennng or keeping 
 to my destinyW Paley: "has not preserved its fortunes, i.e. those of the 
 house ", Bayfield. The first is nearer what the context suggests, but is more 
 like a rendering of «σωσίν τρόιτουί or, as Badham would read, φμίνα^. 1 
 
ΙΩΝ 6ι 
 
 Can tell, nor how his life begun ! 
 A doubtful oracle ! Oh, are we betrayed ? 
 
 I fear this opportune event, 
 With such unclear credential sent, 
 To what intent, to what intent ? 
 
 Not chance alone, but treason too 
 Befriends the waif, the casual brew 
 Of alien bloods. Who doubts it, w^ho ? 
 
 Ο women, shall we, shall we rend 
 Our lady's ear with such report 
 Of him on whom did all depend 
 Her freight of common hopes ? The port 
 Divides them, his alive, and her's amort ! 
 
 Now to the grey her aging brows 
 Decline ; her lord neglects to love ; 
 The stranger, whom her wealth endows, 
 Neglects in her distress to prove 
 His wretched faith ! Ο curse him, powers above ! 
 
 Ο do not hear the traitor pray, 
 Though incense to the fire he lay ! 
 Ah, he shall know whom I obey. 
 
 Whom I adore ! — The minutes run ; 
 By this the new-found sire and son 
 Their welcome-feast have nigh begun. — 
 
 Ο cliffs of bare Parnassus, who embrace 
 
 think however Paley so far right, that the phrase is modelled on σωζ€ΐν νόμους, 
 €φ(τμάς etc. fo observe customs^ injunctions, etc. : hath not observed its for- 
 tunes is a brachylogy for hath not observed the restrictions, which its fortjmes 
 impose ιφοη him : this, having accepted them, he was in honesty bound to 
 
 do. 705. μή τύχοι: mayhefail,ncA. obtain his prayer. 710: beyond 
 
 restoration ; see on v. 690. The translation gives the probable sense. 
 
 711. κυρ€ΐ: must be, is probably. The uses of Kvpfiv are all derived from the 
 
 original meaning of coincidence. See on Med. i(i^. 713. Ιώ Badham. 
 
 Xva MSS. The protest against the intrusion of the stranger lad into the 
 
62 ΕΥΡίπίΔΟΥ 
 
 εχ^ονσαί σκόπεΚον ο-υράνιον θ* eSpav, 7^5 
 
 LPa Βάκ^ιος άμφιπύρονς άνέγων πενκας 
 
 \aLxjn)pa πη8α νυκτυπόλοίς α/χα συν Βάκχ^οας. 
 
 μη TL ποτ εΙς €μαν πόλιν Ικοιθ" 6 παΐς, 
 
 νέαν δ' άμ4ραν άποΚιπων Θάνοι. 7^0 
 
 στενομενα γαρ αν πόλις βχ^οί σκηχΐιυν ζενικον είσβο- 
 
 λαν. . 
 
 άλίσας 6 πάρος άρχαγος ωρ Έρεχθενς ai^af. f Ι 
 
 Enter Creusa from the precincty accompanied by an 
 aged slave. 
 
 KP. Ω Ίτρεσβν, παιδαγωγ' Έρβ^^εως ττατρο^ 7^5 
 
 τονμον ποτ οντος, ηνίκ ην ετ εν φάει, 
 επαιρε σαυτον προς θεού γ^ρηστηρια^ 
 ως μοι σννησθης, ει τι Αοξίας ai/af 
 θεσπίσμα παίδων εΙ<; γονα^ζ εφθεγξατο. 
 συν τοϊς φιλοις γαρ η8ν μεν πράσσειν καλώς' yT^O 
 
 city of Erechtheus is introduced with an apostrophe to the place of his 
 
 origin: see v. 550. 720. v^av... Θάνοι: may he dying qtdt his new day, i.e. 
 
 quit day {die) on this his new day. The day is called new to Ion, not merely 
 because Ion is young, but because his finding by his father is in a sense, as 
 Xuthus has put it, his birth-day, and is about to be so celebrated. See v. 
 712 beiiTva via the feast of discovery. So in Med. 648 άμάραν ravb' (ξανύσασα 
 
 means in full ending viy day {life) to-day. 721. For it would be a hard 
 
 constraint upon our town to receive this descent of foreigners into her gates. 
 (Γτίνομ^να: probably from the primitive sense of στήνομαι, or στήνομαι, be 
 pressed^ narrowed (Matthiae), not from the derived sense groan. However, 
 
 the two are substantially the same for the present purpose. σ-κήψιν descent 
 
 from σκήπτ€ΐν descend, applied to such things as a missile, a plague, a punish- 
 ment ; see L. and Sc. s. v. σκήτττω. It is a very natural word to apply to an 
 irruption, as it might be rhetorically called, of bacchanals from their moun- 
 tain. It is admitted (see Mr Bayfield's note) that no satisfactory interpre- 
 tation of this has been suggested upon the assumption that σκή\Ιης has its 
 common meaning of excuse. The context shows, I think, that it has not, 
 and explains the exceptional, but equally legitimate, meaning clearly enough. 
 
 cl<rpo\av: gen. plural. If we retain ^Ισβολάν (mss.), $€pikov ίίσβολάν 
 
 stands in apposition to σκ^ψιι/, the descent, the intrusion of foreigners. But 
 the other accentuation is better. 723 is again defective. The transla- 
 tion assumes the reading Skis άλίσας 6 πόρος i.e., akis 6 πάρος {πάλιν) άλίσας, 
 αρχαγος ων, sufficietit is he who of old brought her folk together and founded 
 her (see αΚΊζω). The poet has vaguely before his mind the συνοικισμός 
 
ρ 
 
 ΙΩΝ 63 
 
 Yon sky-enthroned height and trysting-place, 
 Where, each high holding a two-fold fire, 
 Bacchus and all the bacchanal rout 
 Dance in the darkness lightly about : 
 Let Ion ne'er see Athens ! Let the lad 
 This very day, his day of birth, expire 1 
 She hath not room enough for such descent 
 Of foreigners within her gates, content 
 With them she ever had 
 Since she begun, 
 Since old Erechtheus made her people into one ! 
 
 Enter Creusa from tJie precinct^ accompanied by an 
 aged slave. 
 
 Creusa. What cheer, mine aged servant, to whose care 
 Erechtheus, our dead father, trusted us. 
 What cheer? Look up, toward the oracle, 
 To share my gladness, if Apollo's word 
 Announces us the prospect of a child. 
 How sweet in bliss to share with those we love, 
 
 of Athens, more commonly attributed to the democratic hero and founder 
 Theseus. — oKi^ αλι? 6 napos Scaliger, but the rare and significant άλίσας can 
 hardly be a mere error.— The sense is that the Athenians (Erechtheidae) 
 
 want no foreign addition. 725. irpcVpv does not mean merely o/d ?nan, 
 
 but reverend^ and also suggests that he was the father's repi'esentative. It 
 was the highest post of trust which a slave could hold. Here, as in the 
 Hippolytiis^ the former guardian proves tempter. Probably the σοφοί, who 
 were deeply interested in education, looked with no favourable eye upon the 
 careless confidence reposed by parents in those who could not be in all 
 
 respects fit for the charge. At any rate that is the moral. τταιδαγωγ^ 
 
 irarpos : child-ward or child-keeper to my father, i.e. tutor of his children. 
 
 ττατρό? τούμοΰ ττοτ* ovtos my late father. 726. ήνίκα.,.φάίΐ : with 
 
 παιδαγωγοί (ώΐ'). Affection is due from the daughter of Erechtheus to 
 one, to whom, while he could, Erechtheus himself gave such proof of 
 
 esteem. 727. iiraipe σ-αυτόν: cheer thyself and (literally) raise thyself-. 
 
 the phrase covers both. 729. τταίδων els ^ovas: {poiitting) towards 
 
 birth of children. 730. ή8ύ... γλυκύ pleasajit... honey-sweet. ykvKX) is 
 
 much the stronger and less common epithet. 732. έμβλίψαι : carefully 
 
 distinguish from ζίσβλ^^αι. The full sense is ' to look in the eyes and see 
 in them what is there'. The Mss. have άσ^ί^αι, but several ancient 
 citations (see Dindorf) support e/M/SXe^at, and the other is an obvious 
 
64 ΕΥΡίπίΔΟΥ 
 
 ο μη yivoiTo δ', €ΐ τι τνγγάνοί κακόν, 
 et9 ομματ. evvov φωτο<; ^/Λ^λεψαι γΧνκν. 
 €γω δε cr', ωσπ^ρ και συ πάτερ" Ιμόν ποτέ, 
 SeanoLV όμως ονσ άντίκη^ευω πατρός. 
 
 ΠΑΙΔΑΓΩΓΟΣ, 
 '^ίΐ θνγατβρ, αζι άξιων γεννητόρων 735 
 
 ηθη φυλάσσεις, κου καταισχύνασ έχεις 
 
 τους σους παλαιούς, εκγόνονς αντόγθονας. 
 
 ελχ, έλκε προς μελαθρα και κόμιζε με. 
 
 αιπειι^α τοι μαντεία' τον γηρως δε μοι 
 
 σννεκπονονσα κωλον ιατρός γενον. 74^ 
 
 ΚΡ. επον νυν ίχνος δ* εκφνλασσ όπου τίθης. 
 ΠΑ. ιδού * 
 
 το τον ποΒός μεν βρα8ν, το τον δε νον ταχύ. 
 ΚΡ. βάκτρω δ' ερειΒον περιφερή στίβον χρονός. 
 ΠΑ. και τοντο τνφλόν, όταν εγώ βλέπω βραχύ. 
 ΚΡ. ορθώς ελεξας. άλλα μη παρης κόπω. 745 
 
 ΠΑ. ονκονν εκών γε' Toif δ' απόντος ον κρατώ. 
 ΚΡ. γυναίκες. Ιστών τών εμών καΐ κερκιΒος 
 
 Βούλενμα πιστόν, τίνα τύχην λαβών πόσις 
 
 βεβηκε παίδων, ώνπερ οννεχ' ηκομεν ; 
 
 σημηνατ ' ει γαρ αγαθά μοι μηνύσετε, y^O 
 
 ονκ εις απίστους δέσποτας βαλεΐς χαράν. 
 ΧΟ. ιώ δαΐμον. 
 
 ΠΑ. το φροίμιον μεν τών λόγων ουκ ευτυχές. 
 Χ Ο. ιώ τλάμον. 
 
 ΠΑ. άλλα τι θεσφάτοισι δεσποτών νόσω. 755 
 
 ΧΟ. εΐεν' τί δρώμεν, θάνατος ων κείται περί; 
 
 error.— — 737. τούδ-,,-τταλαιού?: οί παλαιοί {rnaiores, ancestors) is treated as a 
 
 substantive. 739. alifciva τοι μχιντίία : a metaphorical proverb (roi as we 
 
 know), meaning that oracles are difficult to understand ; here proved, as it 
 
 were, literally by the steepness of the ascent. 740. (τννίκτΓονοΰσα κώλον : 
 
 * serving as a completing (eV) limb together with mine': κώλοι/ is a limiting 
 
 accusative, defining the nature of the •αόνας or task performed. 741. ίττου 
 
 keep with me (not follow). 742. i.e. ' I think I am going to step further 
 
 than I do'. 743. 'Try the ground with the stick before you step*. 
 
 π(ριφ(ρ(ϊ Badham ; but π€ριφ(ρή is passive, στίβον π(ρ\ ou φίρ^ται το 
 
 fiUKTpov. 746. / am not master of what I lack. 749. ΐΓα£8ων. . .ήκομ€ν : 
 
 what for tune... as to the cause of our coviing, children. 751. ' In giving 
 
ΙΩΝ 65 
 
 How exquisite, if sorrow needs must fall, 
 To look at sorrow then in loyal eyes ! 
 Thou wast a son unto my sire, and I 
 ■As tender, though thy mistress, unto thee. 
 
 Slave. Faithful thou art, my daughter, to the way 
 Thy virtuous fathers walked, nor sham'st in thee 
 Thy line of nobles, native sons of Earth. 
 Ο help toward the fane my lagging steps ! 
 Steep is the pilgrim's path : and thou must lend 
 Thy limbs to mend the weakness of mine age. 
 
 Cre. So, step by step with me; {Jie stumbles) but heedfully! 
 
 Slave. My foot is still too slow for my intent. 
 
 Cre. Thrust with thy staff upon the path around. 
 
 Slave. Ah, when the sight is short, the staff is blind ! 
 
 Cre. Too true ! {he totters) Oh, strive against thy weariness ! 
 
 Slave. Aye, while I may, I will ; I can no more. 
 
 He seats himself upon the steps. 
 
 Cre. Now, maidens mine, my trusty servitors 
 At loom and shuttle, tell me what response 
 Touching a child, the matter of our quest. 
 My lord hath carried hence. Announce me good. 
 And count upon my faithful gratitude. 
 
 Cho. Alas, alas ! 
 
 Slave. This is an ill beginning to the tale ! 
 
 Cho. Ο miserable ! 
 
 Slave. Again ! Some evil hath been told my lord } 
 
 Cho. {one to another). Lo now, what shall we do "i The threat 
 
 of death ! 
 
 your mistress joy, you will have invested in good security \ This is the 
 metaphor implied in άπιστους, χάριν Elmsley ('your kindness will be 
 invested '). But the text (' you will have invested joy ', i.e. the giving of joy) 
 
 is an intentional variation upon the common phrase. 755. αλλά τι...νοσω\ 
 
 MSB. αλλ' η τι...νοσω\ Musgrave, αλλ' η τι...νοσά\ Bayfield. Clearly 
 Musgrave's correction requires Mr Bayfield's too; but I think the MSB. are 
 substantially right. αλλα...νόσ-ω literally 'Two more things bad, one may 
 say, for the oracle!', ie. showing that the oracle is bad. The νόσω are the 
 two words Ζώ τλάμον, following the similar two Ιω 8αΊμον. For the adverbial 
 ri {in a way, i?i a 7nan7ier), which here softens the strong metaphor, cf. 
 Herod. 3. 12 at των Αιγυπτίων κίφαλαί ούτω 8ή τι Ισχυραί' μόγις αν \ίθω πα'ισας 
 
 V. Ι. 5 
 
66 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. τίς TjSe μονσα^ χω φόβος τίνων irepL; 
 
 ΧΟ. εϊπωμβν η σιγωμ^ν rj τι S ράσο μεν ; 
 
 ΚΡ. €?φ*• ώς €χ€ίζ ye συμφοράν τιν et9 e/ie. 
 
 ΧΟ. είρησβταί tol, κεΙ θανβΐν μέλλω Βίπλτ)' y6o 
 
 ουκ εστυ σοι, ^εσττοιν , επ άγκάλαυς λαβείν 
 
 τεκν ονΒε μαστω σω προσαρμόσαι τάδβ. 
 ΚΡ. ωμοί θάνοιμι. 
 ΠΑ. θνγατερ, — ΚΡ. ω τάλαυν εγώ συμφοράς, 
 
 ελαβον ετταθον αχός αβων, ω φίλαυ. 
 ΠΑ. Βίουχόμεσθα, τεκνον, 7^5 
 
 ΚΡ. αίαΐ, αίαΐ' 
 
 Βιανταΐος ετνπεν oSvva με πνευμόνων tojvS' εσω. 
 ΠΑ. μηπω στέναζες) — ΚΡ. αλλά πάρεισι yoot. 
 ΠΑ. ττρίν αν μάθωμεν, — ΚΡ. άγγελίαν τίνα μοι; J JO 
 
 ΠΑ. εΐ ταύτα πράσσων Βεσπότης της συμφοράς 
 
 κοίνωνός εστίν, rj μόνη σίί 8υστυχεΐς. 
 ΧΟ. κείνω μεν, ω γεραυε, τταιδα Αοξίας 
 
 εΒωκεν' ίδια δ' ευτυχεί ταύτης ^ίχα, 775 
 
 ΚΡ. τ68* εττΐ τωοε κακόν άκρον ελακες ελακες 
 
 αχός εμοί στενειν. 
 ΠΑ. πότερα 8ε φύναι δει γυναικός εκ τίνος 
 
 τον τταΓδ' ον εΐπας, η γεγωτ εθεσπισεν ; 
 ΧΟ. η^η πεφυκότ εκτελη i^eai^iW 7^0 
 
 ϊ&ωσιν αύτω Αοζίας' παρην δ' εγω. 
 ΚΡ. πώς φης ; αφατον αφατον άναύ8ητον 
 
 λόγον εμοΙ θροείς. 
 ΠΑ. καμοίγε. ΚΡ. πως δ* ό χρησμός εκπεραίνεται ; 
 
 σαφεστερόν μοι φράζε^ χωστυς εσθ' 6 παΐς. yS6 
 
 Χ Ο. ότω ζυναντησευεν εκ θεού συθείς 
 
 πρωτω πόσυς σος, παΓδ' ε8ωκ αύτω θεός. 
 ΚΡ. OTOTOTOL ΤΟ ο εμον 
 
 άτεκνον άτεκνον ελαβεν αρα βίοτον, ερημιά δ' ορφα- 
 νούς ygo 
 
 Βόμους οικήσω. 
 
 8ιαρρήξ€ΐ<ις. The strength of the Egyptians^ heads one may express by saying, 
 
 you could scarcely beat them iti with a stone. 759. γ€ : * thou hast ill 
 
 news'. 762. ιτροσ-αρμιόσ-αι raBe lay them here \ they touch her breast as 
 
 they speak. ποτ( Wakefield. 764. άβιον Hermann ; ' woe that makes life 
 
ΙΩΝ 6; 
 
 Cre. What tune is this ? Where lie your fears ? 
 
 Cho. {as before). To speak, 
 Or not to speak ? What shall we do ! Cre. Oh speak ! 
 Thy thought is charged with ill and points to me. 
 
 Cho. It shall be spoken then, though I should die 
 Twice over! Lady, never shalt thou take 
 Child in thine arms, or lay it to thy breast. 
 
 Creusa sinks down beside the slave. 
 
 Cre. Oh let me die ! Slave. My darling ! Cre. Oh ! 
 The pain, the agony ! Let me part, 
 
 Dear maids. Slave. We die for sorrow. Cre. For the blow 
 Hath stricken through this miserable heart. 
 
 Slave. Oh, patience yet! Cre. Not patient is my grief! 
 
 Slave. Nay, let us hear! Cre. Why listen.? What relief.? 
 
 Slave. It should be told us, if my lord must share 
 The burden, or thou only. Cho. Sir, on him 
 Apollo hath bestowed a son, the queen 
 Participating not his happiness. 
 
 Cre. Stricken again, one misery more, 
 Now and before, now and before! 
 
 Slave. And is he to be born of woman yet, 
 This son, according to the oracle. 
 Or born already.? Cho. Grown to man and given, 
 As witness I, by Loxias to my lord. 
 
 Cre. Ο strange, Ο wonderful, Ο incredible ! 
 
 Slave. Miraculous indeed ! Cre. But oh explain. 
 How led the oracle to the destined son.? 
 
 Cho. The man that first thy husband met, being sped 
 Forth from the god, was given him for his child. 
 
 Cre. Alas, ah me ! And I must bear /^^^ LIBR^^ 
 A childless fate, /!?^.τ^?^ϊ.' 
 
 A weary life to wear, 
 In solitary halls and chambers desolate. 
 
 UNIVERSITY 
 
 impossible', βίοτοι/ MSS. 769. πάρίίσι : ' they are here' ; there is nothing 
 
 to wait for. 782. άρρητον (for the second αφατον) Badham, for metrical 
 
 correspondence ; but it may be doubted whether any exact correspondence 
 
 is meant. 785. «κιτφαίνίται : is carried out. 787. \κ ^w\) from the house 
 
 of the god, as πάρα θ^ω in his house. 789. το Ιμόν : strictly ' my part, my 
 
 5—2 
 
68 ΕΥΡίπίΔΟΥ / 
 
 ΠΑ. τις ονν έχρησθη ; τω σννη\\ί^ ίχνος πο^ος 
 πόσις ταΧαίνης ; πως Be που νιν ζίσιοών ; 
 
 ΧΟ. οΐσθ*^ ω φίλη Βέσποινα, τον i^eai^tai^ 
 
 09 τοι^δ' εσαιρε ναόν ; οντός ίσθ* 6 παις. 795 
 
 ΚΡ. αν νγρον αμπταίην 
 
 αΙθερα πόρσω γαίας Έλλαΐ'ίας 
 
 αστέρας έσπερους. 
 
 οίον, οίον άλγος επαθον, φίλαι. 
 
 ΠΑ. ovofxa δε ποίον αντον ονομάζει πατήρ \ 8θΟ 
 
 οΐσθ\ η σίωπτ) τοντ άκύρωτον μένει; 
 
 ΧΟ. Ιων, επείπερ πρώτος ηντησεν πατρί. 
 
 ΠΑ. μητρός 8ε ποίας εστίν; 
 
 ΧΟ. ουκ εχω φράσαι. 
 
 φρονΒος δ*, ΐν ειΒης πάντα τάπ' εμού, γερον, 
 παί,δος προΘνσων ^eVta καΧ yei/e^Xta 805 
 
 σκηνάς ες ιεράς τησΒε λαθραίως πόσις, 
 κοινή ξννά\Ι)ων δαΓτα παίδι τω νεω. 
 
 ΠΑ. Βεσποινα, προΒεΒόμεσθα, συν yap σοι νοσώ, 
 του σου προς άνΒρος καΐ μεμηγανημενως 
 ύβριζόμεσθα, Βωμάτων τ ^Ερεχθέως 8 ΙΟ 
 
 εκβαλλομεσθα' καΐ σον ου στυγων ποσιν 
 λέγω, σε μεντοι μάλλον ην κείνον φίλων 
 όστις σε γημας ζενος επεισελθών πόλιν, 
 καΐ 8ώμα καΐ σην παραλαβών παγκληρίαν, 
 άλλης γυναικός παΐ8ας εκκαρπούμενος 815 
 
 λάθρα πεφηνεν' ως λάθρα ο, εγώ φράσω. 
 επεί σ άτεκνον ησθετ\ ουκ εστεργε σοι 
 όμοιος eti^at της τύχης τ ίσον φερειν' 
 λαβών 8ε δούλα λεκτρα, νυμφεύσας λάθρα, 
 τον παΓδ* εφυσεν' εζενωμενον hi τω 820 
 
 Αελφών 8ί8ωσιν εκτρεφειν. 6 δ* εν θεού 
 Βόμοισιν άφετος, ως λάθοι, παιδεύεται. 
 ι/βαΐ'ίαι/ δ' ως ησθετ εκτεθραμμενον. 
 
 side'. 796. The interest which Ion had excited in Creusa makes this 
 
 a fresh blow. άμίΓταίην : * Would 1 could fly to Paradise !\ to which the 
 
 'gardens of the Hesperides' in the mythical west present the nearest ancient 
 
 analogy. See Hipp. 732. 803. They ignore the story of the Bacchanalia 
 
 as not yet proved and in any case not fixing the person. 805. ξ^νια 
 
 as pretended καΐ 'ycWOXia in reality. irai86s depends on ττρη- (vnfp) in 
 
ΙΩΝ 69 
 
 Slave. And who was thus designed ? Whom did he meet, 
 My lady's lord (Alas !), how, where behold ? 
 
 Cho. He whom we saw, dear lady, if thou mindest, 
 Sweeping the temple here — he is the son. 
 
 Cre. Oh, to fly, to fly away 
 From earth and Hellas, to the melting sky 
 And stars of dying day ! 
 Oh misery, oh misery ! 
 
 Slave. And pray, what name bestowed he on his son, 
 If that is known and not uncertain yet ? 
 
 Cho. ' Ion ', because he first encountered him. 
 
 Slave. And pray, who is the mother } Clio. I cannot say : 
 But, to complete the tale, my lord is gone 
 To cheat my lady with a sacrifice. 
 Given for his friend or son, and pledge the youth 
 'Neath tented tapestries in public feast. 
 
 Slave. We are betrayed, dear lady, by thy spouse. 
 We, for thy griefs are mine. He hath contrived 
 To do us outrage, from Erechtheus' house 
 To expel us outcast ! Not in hate of him 
 I say it, but in better love to thee. 
 He took thee, he, a denizen, to wife, 
 Thy palace and thine heritage to his own, 
 And lo, he hath been raising him by stealth 
 Seed of another ! Let me show the plot. 
 He saw thee childless, and he did not brook 
 Childless alike to bear his equal part ; 
 But privily embracing with a slave 
 Begat this boy, and sent him to be reared 
 Abroad : a Delphian took him and consigned. 
 For more concealment, to be cloister-bred. 
 The father, when he knew him grown to man. 
 
 προθύσων. 806. σκηνά? • . . Upas : a tent consecrated for the purpose. 
 
 This is not specified either by Xuthus or by Ion, but the liberal intentions 
 of Xuthus (see v. 663) could not possibly be carried out otherwise; and 
 we may suppose also that such entertainments under canvas were frequently 
 given by visitors at the great religious centres in return for hospitality re- 
 ceived, so that the ' tent ' would be inferred as of course. 822. άφατος : 
 
70 ΕΥΡίπίΔΟΥ 
 
 iXdeiv σ Ιπεκτε hevp άπαιδιας γαριν. 
 
 καθ" 6 θβος ουκ έφεύσαθ^ o8e δ' εψεΰσατο 825 
 
 ττάλαι τρέφων τον παΐδα καπλβκεν πλοκάς 
 
 το Laos' ' άλονς μίν άνέφερ eU τον Βαιμονα' 
 
 έλθών δε καΙ τον γρονον άμννεσθαι θ€λων, 
 
 TvpavviS* αύτω περίβαλζίν e/ieXXe γτ,ς. 
 
 καινον δε τοννομ ανά γ^ρονον π€πλασμ€νον^ 830 
 
 '^Ιων, Ιοντί hrjOev οτι συνηντετο, 
 
 ΧΟ. οΐμοι, κακούργους άνΒρας ώς del στνγω, 
 οΐ σνντίθεντες τα8ίκ είτα μη)(αναΐς 
 κοσμονσι' φανΧον γρηστόν άν λαβείν φίλον 
 θ4\οιμί μάλλον rj κακόν σοφώτερον. 835 
 
 ΠΑ. καΐ TcovS* απάντων ξ,σγατον ττεισει κακόν, 
 άμτιτορ άναρίθμητον €Κ 8ονλης τυνος 
 γνναυκος els orov 8ωμα δεσττότην άγειν. 
 άπλονν άν ήν γαρ το κακόν, el παρ* ευγενούς 
 μητρός, πίθων σε, σην λέγων άπαυΒίαν, 840 
 
 εσωκισ οίκους' εΐ δε σου toS* ήν πικρον, — 
 των Αιόλου νιν χρην ορεγθηναι γάμων, 
 εκ των^ε δει σε δτ} γυναικεΖόν τι hpav' 
 rj γάρ ζίφος λαβουσαν η δόλω tlvI 
 η φαρμάκουσί σον κατακτεΐναι πόσιν 845 
 
 καΧ παιδα, πριν σοι θάνατον εκ κείνων μολείν. 
 ει γάρ γ' ύφησεις τουΒ\ απαλλάξει βίου' 
 8υοΙν γάρ εχθροΐν εΙς εν ελθόντοιν στεγος 
 η θάτερον δει Βυστυχεΐν η θάτερον. 
 
 consecrated, primarily of sacred animals, at large, — ^-827. άν^ψ€ρ' els: he 
 
 was mijtded to throw the blame on. 828. The general sense here 
 
 is clear, the exact wording and interpretation, after much discussion, 
 extremely uncertain. I do not think it impossible that the MSS. reading is 
 right, though certainly far from elegant. — Translate literally, a7id, if he 
 attained his wish of protecting himself even against {Uit. detection of) time, 
 in that case he intended etc. Here θ(\ων is subordinate to (λθωρ. Upon 
 the analogy of ίΚΟ^ν €is rtXos to attain an end, θί\(ύν τυν χρόνον άμννίσθαι 
 ηλθ€ν {els τούτο) might certainly be written for ' wishing to escape time, he 
 attained that end'. Make this whole phrase participial, which is gram- 
 matically legitimate, and we have the text. "Καθων Musgrave (for eXSoiv) is 
 
 simple in itself, but leaves the rest harder than ever. καΐ τ6ν χρ6νον : e7>eH 
 
 time, as the great revealer of all secrets; sec v. 575 and Hipp. 105 1. 
 
 That τον χρόνοι/ άμννΐσθαι should mean ' to compensate_/i?r the time ' of Ion's 
 
ΙΩΝ 71 
 
 Persuaded thee, because you had no child, 
 
 To come to Delphi. So was Phoebus' truth 
 
 Thy husband's lie, who reared the lad throughout 
 
 With double plan ; detected, to avouch 
 
 Apollo ; not detected after lapse 
 
 Of time, to clothe the lad with princely power. 
 
 And Ion, this belated name to suit 
 
 The alleged encounter, is pretended new. 
 
 Cho. Oh ! how I loathe the artists of deceit 
 Who with machinery of imposture cloke 
 A villain plot! An honest man for me 
 Rather, and plain withal, than subtle-false! 
 
 Slave. And this thou must endure, the worst of all, 
 To bring for lord into thy house the son 
 Of a slave, a motherless man, a no man's child ! 
 Less ill it had been to recruit his race 
 Out of a lady born, with thy consent. 
 Pleading thy barrenness. And if refused — 
 Who bade him wed above his proper kin } 
 
 Now therefore thou must play a woman's part ! 
 That is, with dagger, or by some surprise, 
 Or poison thou must take thy husband's life, 
 His and his son's, ere they can reach at thine. 
 Flinch, and thou diest ! For if hate and hate 
 Are brought together in one dwelling-place. 
 One must be broken, or the other must. 
 
 exile seems impossible : αμννΐσβαι has no such construction. 830. 'And 
 
 the name is anachronistically pretended new '. Note carefully that καινόν is 
 part of the predicate. The slave supposes that the name Ion had long ago been 
 chosen, given, and probably borne by the son ; but that to colour the present 
 deceit, it was pretended 'out of date' to be a new name, specially arising out 
 
 of the circumstances. 836. τών8* ^σχατον : worse than these. 837. not 
 
 coiuited in law for a person at all. 841. Ισ-ώκισ-β colonised. And if 
 
 you were not pleased to consent to this (he ought to have submitted, or 
 else) he ought to have contented his ambition with a wife from among 
 the Aeolidae. He chose to aspire to a daughter of Erechtheus, and taking 
 her was bound to take her fortunes 'for better for worse'. The inter- 
 mediate step is rhetorically suppressed. 844. Supply δβί.— — 847. el... 
 
 τοΰδί: 'for you must know (ye) that if you slack from this' i.e. 'do not 
 brace yourself to do it'. See L, and Sc. s. v. νφίημι. — el yap oii φβ/σ^ι 
 
72 ΕΥΡίπίΔΟΥ 
 
 €γω μβρ ονν σοι καί σννεκπονβΐρ θέλω 850 
 
 κοΧ σνμφονβνειρ παιδ', Ιπζ,ισεΚθων 86μοις 
 ου 8αΐθ* οπλίζει, καί τροφεία δεσπόταυς 
 άποΒούς θανείν τε ζων τε φέγγος είσοραν. 
 h' γαρ TL τοις Βούλοισυν αίσχυνην φέρει, 
 τοννομα' τα δ' άλλα πάντα των ελευθέρων 855 
 
 ovSeis κακίων δούλος, όστις εσθλος rj, 
 ΧΟ. κάγω, φίλη δέσποινα, συμφοράν θέλω 
 κοινουμενη TijvS' η θανείν η ζην καλώς. 
 
 ** After α pause Creusa rises, and coming to the front 
 begins to speak as if with Iter self 
 
 KP. ω φυχα, πως σιγάσω ; 
 
 πώς Se σκοτίας άναφηνω 86θ 
 
 εύνάς, αιΒοΰς δ' άπολειφθώ ; 
 
 τι γαρ εμποΒιον κώλυμα ετι μοι; 
 
 προς τίν άγώι /as τιθεμεσθ* αρετής ; 
 
 ου πόσις ημών προΒότης γεγονεν ; 
 
 στερο μαι δ' οίκων, στερο μαι παίδων, 865 
 
 φρουΒαι δ* ελπί8ες, ας δί,α^εοτ^αι 
 
 χρηζουσα καλώς ουκ εΒυνάθην 
 
 σιγώσα γάμους, 
 
 σιγώοτα τόκους πολυκλαύτους. 
 
 αλλ' ου το Αιος πολύαστρον ε8ος 870 
 
 και την hr εμοίς σκοπέλοισι θ εάν 
 
 λίμνης τ ένυδρου ΎριτωνιάΒος 
 
 πότνιαν άκτάν, 
 
 ουκετι κρύφω λεχος, ως στέρνων 
 
 άπονησαμενη ράων εσομαι. 875 
 
 {She turns to her servants^ 
 
 Badham. 863. With whom am I to enter the lists of virtue, when my 
 
 husbatid etc. άγώνα$ τιθ^μ€<Γθα impose on myself a contest, metaphor from 
 
 athletic games. 866. &s κ.τ.λ. : which I desired, though I could not, to 
 
 compass with honour, by concealing etc. 8ιαθ^(Γθαι to arrange or manage for 
 myself. She had hoped to be made happy by receiving news of her child 
 from Apollo, and in this hope had guarded her reputation. Now, in her 
 despair, that motive for concealment is gone; and she will have the one 
 remaining satisfaction of exposing the god. 872. λίμνη?: near which 
 
ΙΩΝ 73 
 
 For me, I will assist thee to the end, 
 
 And first to slay the lad; thither I go 
 
 Where he prepares the feast. For them, whose bread 
 
 I have eaten, I will die or I will live ! 
 
 Save for the something shameful in the name, 
 
 The slave hath no disgrace, and but for that 
 
 May stand by virtue equal with the free. 
 
 Cho. And I, dear lady, too will share the fact, 
 Ready to live with honour, or to die. 
 
 After a pause Creusa rises ^ and comMg- to the front 
 begins to speak as if with herself. 
 
 Creusa. Tell me, my heart. 
 How can I hold my peace } Yet how disclose 
 My hidden shame, and strip 
 My modesty away } 
 
 Nay, what remains 
 To hinder now "i Whose virtue need I fear 
 To fall below.? My lord, 
 Is he not false to me "i 
 
 I am cut off from home and child ; 
 The hopes are gone, the unavailing hopes, 
 
 For which I kept mine honour safe, 
 Keeping the secret of my ravishment, 
 
 The woeful secret of my babe. 
 
 Now, by the starry throne of Zeus I swear. 
 By her who dwells on Athens' height 
 And lake Tritonis' holy shore. 
 My bosom shall not bear 
 That burden more. 
 If, telling, I may go more light ! 
 
 {She turns to her servants^ 
 
 Athena was born, commonly identified with a lake in Libya (Aesch. Eunu 
 293)• 874. ώ5 since. 875. άπονησ-αμ.€νη : (supply το κρνπτόν the secret) 
 
74 ΕΥΡίπίΔΟΥ 
 
 στάζονσί κόραυ Βακρύουσυν €μαί, 
 φνχα δ' άλγβΐ κακοβουλβνθβΐσ 
 €κ τ ανυρωπων e/c τ ασανατων, 
 ους αποΒβίζω 
 
 \4κτρων προΒότας άγαρίστον<ζ, 88θ 
 
 {She turns to the temple^ 
 Ώ τα? ίπταφθόγγον μέΧπων 
 κιθάρας ivonavy ατ dypavkoLS 
 κέρασίν ev άψυ^οις αχεΓ 
 Μουοται/ ύμνους €ναχτ]τονς^ 
 
 σοΙ μομφάν, ω Αατονς παΐ, - 885 
 
 προς Toivh' ανγάν αιθέρος αυδάσω. 
 ήλθες μοι γρνσω -χαίταν 
 μαρμαίρων, evr βίς κόλπους 
 κρόκεα πέταλα φαρεσιν ε^ρεπον 
 
 άνθίζειν χρυσανταυγη, 890 
 
 -^ λευκοΐς S* εμφύς καρποίσιν 
 γειρων εις άντρου κοιτάς 
 κραυγάν, ώ ματερ, μ" αυδώσαΐ' 
 θεός ομευνετας άγες άι^αιδβια 
 
 ΚύπριΒί χάριν πράσσων, 895 
 
 τίκτω δ* α Βύστηνος σοι 
 κουρον, τον φρίκα ματρος 
 εις εύνάν βάλλω τ αν σαν. 
 ίνα με λεχεσι μελεαν μελεοις 
 εζεύζω τάν 8ύστανον. 900 
 
 having unloaded'. Valcknaer. αττονίσα/χει/?; MSS. — —877. κακοβουλ6υθ£ΐσα : an 
 irregular form. According to the laws of composition the verb should be 
 formed only through the noun-form κακόβουλος^ whence κακοβονλ^ω and 
 κακοβουΚηθύσα. But neither κακοβουΚηθϋσ nor κακά βουΚ(νθ(Ισ is satis- 
 factory. ' In favour of the MSS. it may be urged that the irregular forms 
 δυσθι^σκω, δυσοίζω are found, and that the poet may have intentionally 
 though incorrectly formed κακοβονΚίνω on the analogy of eVi^ouXf υω, wanting 
 a stronger word, and wishing at the same time to avoid the confusion of 
 sound with the pass. aor. of βονλομαι, which κακοβονληθύσα would cause'. B. 
 
 882. a-ypavXois to dwellers in lo7tely places^ in the country, shepherds 
 
 and the like, from whose report and superstition such beliefs spring up 
 
 (not epithet to κ(ρασιν). 883. κίρούτιν (the 'epic' quantity of old poetry): 
 
 'stands probably not for the two horn-like points of the lyre but for the 
 horn sounding-board. To express the maierial the plural was necessary. 
 Similarly Cicero Nat. Deor. 2. 59 (quoted by Musgrave) uses the plural : 
 
ΙΩΝ 75 
 
 Mine eyes with tears run o'er, 
 My heart is aching, wroth 
 With god and man, maimed with their malice both, 
 Traitors to love and thankless both : 
 And they shall 'scape no more ! 
 
 {S/ie turns to the temple.) 
 
 Ο thou, that from the seven-toned strings, 
 Greatest melody, whose music rings 
 Across the champaign from the voiceful horn, 
 I cry thee scorn, 
 
 Against the open sky, 
 
 I, Son of Lato, I ! 
 
 Thou camest to me, thy hair 
 A blaze of gold. 
 When I was gathering flowers to wear. 
 Flowers as golden mirrors fair, 
 
 Into my bosom's fold ; 
 
 With clenched grasp 
 Upon my wrists, in the instant of my shriek, 
 ' Help, mother, help ! ', didst hale me to the grot 
 To thine enforced clasp. 
 Thou... god, and sparedst not 
 Thy lust to wreak. 
 
 And then, Ο misery ! 
 
 I bare to thee a son, 
 And shuddering from my mother's eye 
 I left him there, where thou didst lie, 
 
 Thou and the helpless I, 
 
 There, where the deed was done. 
 
 cornibus its quae ad iiervos resonant in cafitibtisJ B. άψύχοις. The horn 
 
 has been alive, is now dead^ and receives a new voice and life from the 
 
 music. 890. άνθίζ€ΐν: explanatory infinitive to πίταλα eSpenov, I was 
 
 gathering flowers to decorate {make a wreath) with: see L. and Sc. s. v. 
 
 χρνσ-ανταυγή : golden-reflecting^ a metaphor from mirrors of the metal. Cf. 
 Hec. 936 χρνσ^ωρ (νόπτρων λ^υσσουσ' eh ανγάς. The epithet points to that 
 brightness which, as in the buttercup, gives such delight to children : 
 probably some such flower is meant. 891. XcvKois: white, i.e. bloodless 
 
ye ΕΥΡίπίΔΟΥ 
 
 ν 
 
 Όΐμοι μοί, και νυν eppei 
 
 πτανοϊς άρπασθβΐς θοίνα 
 
 παις μοι καΧ <to9, τλάμων' 
 
 συ δε κιθάρα κλάζζΐς παιάι^ας μίΚπων. 9^^ 
 
 Ώτ), τον Λατους αυδώ, 
 OS γ' ομφάν κληροΐς, 
 προς χρνσβους θάκονς 
 
 καΐ γαίας μεσσηρ^ις ζΒρας gio 
 
 €is ους αύδάζ^ καρνξω' 
 Ιώ, κακός ευνάτωρ, 
 ος τω μίν έμω ρνμφβύτα 
 ■χάριν ου προλαβών 
 
 παιδ* €ίς οίκους οΐκίζβις* 9^5 
 
 ο δ' έμος . . .γβνβτας . , , καΐ σός y ...άμαθης,,, 
 οίωνοΐς eppeu συλαθβΐς, 
 σπάργανα ματβρος έζαλλάζας. 
 μισ^ί σ α Δαλο? κα\ 8άφνας 
 
 ipvea φοίνικα παρ* άβροκόμαν, / 9^0 
 
 ίνθα Χογεύματα σβμν έλοχεύσατο 
 Λατώ Αίοισί σε κάρποις. 
 
 She flmgs hersdf down upon the steps, 
 her servmits gathering round Jier. 
 
 XO. ωμοί, μέγας θησαυρός ως άνοίγνυται 
 
 κακών, εφ" οϊσι πάς αν εκβάλοι 8άκρυ. 
 
 ΠΑ. ω θύγατε ρ, οίκτου σον βλέπων ε/χπιπλα/χαι 9^5 
 
 πρόσωπον, εζω δ' εγενόμην γνώμης εμης. 
 
 under the grip (not merely ornamental, fair). 908. os γ* όμφάν κληροί5 : 
 
 since (note ye) t/ioti allottest speech, i.e. adinittest any to speak with thee in 
 his allotted turn. The order of consultation among the applicants at Delphi 
 was determined by ballot. The point is the same as in v. 366, that Apollo, 
 
 by the tenure of his profitable office, is bound to hear. γ* is omitted by 
 
 one (P) of the two MSS., but is wanted. 914. χάριν ού ιτρολαβών: not for 
 
 favour before received. 916. Ycv^ras όμαθή$ father unfeeling. The frag- 
 ments of the appellation, which is attached in grammar to οΐκίζας, are inter- 
 jected in this sentence like sobs. For αμαθής see v. 374, //. Fur. 347 αμαθής 
 τις (I θ(ός, and my note on Med. 223. In Euripides the word almost always 
 
 denotes want of moral feeling. ό i^h^ καΐ σό? γ* he who was mine and, 
 
 after all, thine. — There is here at least no ground for giving to γ(ν(τας the 
 sense of son. σό$ γ' C, συς P. 919. d demonstrative, yon. δάψνα$ 
 
r 
 
 ΙΩΝ yj 
 
 And then, ah me, ah well-a-day ! 
 The hungry birds pounced on the prey. 
 And he is gone, my baby, mine, 
 Thou wretch, and thine, 
 Thou to the harp the while chanting triumphant lay ! 
 
 Ho, Son of Lato, hear ! 
 
 To thee alone, ^ 
 
 Not called to consult I, but fronting here 
 Thy centre-seat on earth and golden throne, 
 I say, and I will cry it in thine ear, 
 A false, false ravisher thou art ! 
 To him who is my husband, though 
 No debt of kindness thou dost owe, 
 Thou giv'st a heritor of his hearth. And mine... 
 Father without a heart!... 
 My babe and thine... and thine!... 
 Torn from the tokens of a mother's care. 
 Glutted the ravagers of the air ! 
 
 Abhorred thou art of Delos, of the bay 
 
 And delicate palm, that shot from earth 
 Where, fruitful unto Zeus,^^S2TTa lay 
 In state and gave thee birth ! 
 
 She flings herself down upon the stepSy 
 her servants gathering round her. 
 
 One of the Chonis, Oh, is there any man that would not weep, 
 To see the hoard of sorrows opened here t 
 
 The Slave. The sight, my daughter, of thy face infects 
 Mine eyes with ruth, and would not let me think. 
 
 κ.τ.λ. When Latona gave birth in Delos to Apollo and Artemis a palm and 
 
 a bay-tree sprang up to make a canopy over her. 920. 2pv€a: young 
 
 tree. 922. KapTrots by the seed {i.e. the fructification) of Zeus ; a dative 
 
 instrumental. For the metaphor καρπό? applied to children see vv. 476, 
 815, and for the reverse metaphor from child-birth to corn-seed Aesch. 
 
 Ag. ly^i (Dind.) σπορητος καλνκος iv \οχ€νμασιν. κάποις {in the garden) 
 
 Badham, Kirchhofif and others, but without reason. 926. Ί was too 
 
78 ΕΥΡίπίΔΟΥ 
 
 κακών γαρ άρτι κυμ νπβξαντλων φρβρί, 
 
 ττρνμιτηθβν αίρει μ άλλο σων \6γων νπο' 
 
 OVS έκβαλονσα των τταρεστώτων κακών 
 
 μετήλθες αλΧων πημάτων καινας 68ονς. 93^ 
 
 τί φχις] τίνα \6yov Αοξίον κατηγορείς] 
 
 ποίον τεκεΐν φτ/ς παΓδα; πον θεΐναυ πόλεως 
 
 θηρσίν φίλον τύμβενμ ; ανελθε μοι πάλιν. 
 
 ΚΡ. αισχυνομαι μεν σ , ω γερον, λεζω δ' όμως. 
 
 ΠΑ. ως σνστενάζειν γ' olSa γενναίως φίλοις. 935 
 
 ΚΡ. ακονε τοίννν οΧσθα Κεκροπίας πέτρας 
 
 προσβορρον αντρον^ ας Μακράς κικλησκομεν ; 
 
 ΠΑ. οΙο\ ένθα ΐΐανος άδυτα καΐ βωμοί πελας. 
 
 ΚΡ. ενταυθ" άγωνα ^εινον ηγωνίσμεθα. 
 
 ΠΑ. τίν ; ως άπαικτα Βάκρνά μοι τοΐς σοΐς λόγοις, 94^ 
 
 ΚΡ. Φοίβω ξυνη-^ιακονσα Βΰστηνον γάμον. 
 
 ΠΑ. ω σνγατερ,κα^ ην τανσ α γ ησυομην εγω\ — 
 
 ΚΡ. ονκ οΤδ'• αληθή δ' ει λέγεις, φαίημεν αν. 
 
 ΠΑ. νόσον κρνφαίαν ηνίκ εστενες λάθρα ; 
 
 ΚΡ. τοτ ην α νυν σοι φανερά σημαίνω κακά. 945 
 
 ΠΑ. κατ εζεκλεχ^ας πως Απόλλωνος γάμους,; 
 
 ΚΡ. ετεκον άνάσγον ταντ εμον κλνων, γερον. 
 
 ΠΑ. πον ; τίς λθ)(ενει σ ; η μόνη μογθείς τάδβ ; 
 
 ΚΡ. μόνη κατ άντρον, ονπερ εζεν^θην γάμοις. 
 
 ΠΑ. ο παΙς δβ πον 'στιν, ίνα σν μηκετ ης απαις ; 95^ 
 
 ΚΡ. τεθνηκεν, ω γεραιε, θηρσιν εκτεθείς. 
 
 ΠΑ. τεθνηκ ; Άπόλλωΐ' δ* ο κακός ovhlv ηρκεσεν ; 
 
 ΚΡ. ονκ ηρκεσ ' "Άιδου δ' εν Βόμοις παιδεύεται. 
 
 ΠΑ. τις γάρ νιν εζεθηκεν; ον γάρ δτ) σν γε, 
 
 ΚΡ. ημείς, εν όρφνη σπαργανώσαντες πεπλοις. 955 
 
 much distressed to comprehend the story'. 927. ύτΓ€|αντλών,...αΙ'ρ€ΐ μ.(: 
 
 a colloquial irregularity ; the form of the sentence is changed ; cf. v. 
 
 1 1 30. 929. Both oCs (Koyovs) and όδού« are constructed as limiting or 
 
 defining accusatives with μ€τηλθ€5: the siory is the ?iew track which, 
 
 diverging from the distress of the present, Creusa has taken. 4κβαλοΰ<Γα, 
 
 intransitive, departing', cf. Eur. El. 96 Iv ίκβάλώ πόδι αλληρ «V αΐαρ (wrongly 
 altered to (κβαλώ πόδα), and for the application of the intransitive βάλλω to 
 roads, rivers etc., see L. and Sc. s. in/, βάλλω, (Ισβάλλω, €φάλλω and other 
 
 compounds. 931. λόγον : accusation : λΐ-^^ιν to argue a case. 932. irov 
 
 ΐΓ6λ€ω$ together. 933. φίλον : welcome. — ' To bury ' by devouring ; see 
 
 Aesch. Theb. 1020. 935. γ€. If his age art^ iong knowledge of her 
 
ΙΩΝ 79 
 
 I was in act to bale my griefs, and lo, 
 
 Comes me this wave astern and floods again, 
 
 Thy story, branching wide from present grief 
 
 Into a novel track of sorrows past. 
 
 What is't, this accusation of the god ? 
 
 A babe of thine, somewhere in Athens left 
 
 For beasts to bury ? Tell it me again. 
 
 Creusa. Thou sham'st me ; yet I will. Slave. Mine age at least 
 Hath taught my heart to sympathize. Cre. Then list ! 
 Thou knowest, northward of our citadel, 
 The cave and clifls, The Long we call them — Slave. Aye, 
 The grot of Pan with altars by it. Cre. There 
 I underwent a fearful thing. Slave. What thing.? 
 Say, for my tears are ready ere thou speak. 
 
 Cre. Phoebus. ..by force... Ο misery .'...made me his. 
 
 {A pause.) 
 
 Slave. Daughter, I knew... I saw. O, was it that.-* 
 
 Cre. Say what. If it be true, I will confess. 
 
 Slave. That time when something ailed thee, something tired. 
 
 Cre. That hidden woe was this which now I tell. 
 
 Slave. And how did'st thou conceal Apollo's love } 
 
 Cre. I bare a child... It is a dreadful tale. 
 Yet hear me. Slave. Where 1 Who aided thee .? Alone .? 
 
 Ci-e. Alone in that same cave. Slave. Where is the babe.? 
 Find him ; be thou not childless ! Cre. He is dead, 
 Given to the beasts of prey. Slave. Dead ! And the false 
 Apollo gave no help } Cre. No help, but left 
 The charge to Death. Slave. Who put the babe away "i 
 Not thou } Cre. I did it : in the dark I wrapped 
 
 makes exposure before him specially painful {v. 934), ai least he has learnt 
 
 to sympathize with her. 936. ircTpas (the Athenian Acropolis) genitive, 
 
 depending on the following substantives (cf. χθονός m v. 12 and πόλ^ω^ in 
 V. 932), the cave on {of) the Acropolis^ the place we call the * Long Cliffs' ; 
 not that the cave itself was so called, but the general description of the 
 place {what we call etc.) is substituted for the specific αντρον. — The fact 
 that this line breaks the alternation is suspicious, and many omit it. But 
 it seems indispensable : Κβκροπια? πίτμας (accus. plur.) is not a sufficient indi- 
 cation of the meaning. 939. αγώνα t7'ial, stiiiggle. 953. τΓαιδ€ύ€ται : 
 
 he was reared (nursed;, i.ie father's duty. 955. σπαργ. ir^irXois : Anglic^, 
 
8ο ΕΥΡίπίΔΟΥ 
 
 ΠΑ. ovSe ^vurjSeL σοι tls ^.κθεσιν τ4κνον ; 
 ΚΡ. at ζνμφοραί ye καΧ το XavOaveiv μόνον. 
 ΠΑ. καΧ πως iv αντρω παΓδα σον λυπείν ετλης; 
 ΚΡ. πώς δ'; οικτρά πολλά στόματος έκβαλουσ^ ίπη. 
 ΠΑ. φεν. 
 
 τλημων συ τόλμης' 6 8e θεός μάλλον σέθεν. 9^^ 
 
 ΚΡ. €1 παί8ά y' βίΒβς -νεφας ίκτείνοντά μου. 
 ΠΑ. μαστον Βιωκοντ^, η προς άγκάλαυς πεσεΐν; 
 ΚΡ. εντανυ^ ιν ουκ ων αοικ επασχεν ες εμού. 
 ΠΑ. σο\ δ' €5 τί δό^' είσηλθεν εκβαλεΐν τεκνον; 
 ΚΡ. ως τον θεόν σωσοντα τόν y' αύτον γόνον. 9^5 
 
 ΠΑ. οΐμοί' 8όμων σων όλβος ως )(^είμάζεταυ. 
 ΚΡ. τί κράτα κ-ρΰψας, ώ γερον, 8ακρνρροεΐς; 
 ΠΑ. σε καΐ πάτερα σον Βνστνχονντας είσορω. 
 ΚΡ. τα θνητά τουαντ' ον8εν εν ταντω μένει. 
 
 ( T/ie slave remaiiis for a time with his face covered, as if 
 ponderhtg, thefi suddenly draws Creusa down to tJie front 
 of the scency where he beghis again in a lower tone.) 
 
 Π A. μη νυν ετ οίκτων, θνγατερ, άντεγωμεθα. gyo 
 
 ΚΡ. τί γαρ με γρη Spav ; απορία το Βνστνχεϊν. 
 
 ΠΑ. τον πρώτον ά^ικησαντά σ άποτίνον θεόν. 
 
 ΚΡ. καΙ πώς τά κρείσσω θνητός ονσ νπερΒράμω ; 
 
 ΠΑ. πίμπρη τά σεμνά Αοζίου χρηστηρυα. 
 
 ΚΡ. δβδοι/ία, καΐ νυν πημάτων άΒην εχω. 975 
 
 ΠΑ. τά Βννατά ννν τόλμη σον, avSpa σον κτανεΐν. 
 
 ΚΡ. αΙΒονμεθ^ εύνάς τάς τόθ\ ηνίκ εσθλός ην, 
 
 ΠΑ. νυν δ' άλλα παιδα τόν επΙ σοΙ πεφηνότα, 
 
 ΚΡ. πώς; εΐ yap εΐη Βννατόν ως θελοιμί y αν, 
 
 ΠΑ. ξιφηφόρονς σους όπλίσασ όπάονας. 9^0 
 
 ΚΡ. στείχοιμ αν' αλλά που γενησεται τόδε; 
 
 ΠΑ. Ιεραΐσιν εν σκηναΤ,σιν ου θοινα φίλους, 
 
 ΚΡ. επίσημον ό φόνος καΐ το 8ουλον ασθενές, 
 
 dressing him in tokens. 962. ircaetv to be laid. 963. Ινταΰθα : supply 
 
 maiiv. ϊνα κ.τ.λ. ' where not being, he was wronged by me '. 964. is 
 
 t£; expecting what? 965. ώ5...σ•ώσοντα: ace. absolute, upon the belief 
 
 that etc. 967. κρύψαβ is in sense the principal verb. She asks, not why 
 
 he weeps, but why his attitude expresses humiliation. 968. πάτραν σην 
 
 δυστυχούσαν Badham, greatly improving both rhythm and sense. With the 
 text, is father put for family, or does τταΗρα σον (see v. 734) mean the slave 
 
ΙΩΝ 8ι 
 
 Α token-cloth upon it... Slave. And no one knew? ^ 
 
 Cre. My sorrows and my secrecy, none else. 
 
 Slave. ΗοΛν couldst thou bring thyself to leave him there ? 
 
 Cre. With many a broken word of sad farewell. 
 
 ( They burst into tears ; a pause?) 
 
 Slave. Ah, cruel thou, but crueller the god ! 
 
 Cre. If thou hadst seen the baby stretch to me 
 His hands ! Slave. To find thy heart, to feel thine arms ! 
 
 Cre. To have his rightful place, by me refused ! {A pause?} 
 
 Slave. Upon what hope didst thou resolve the deed ? 
 
 Cre. The god, I thought, would save his child. Slave. Alas, 
 The fortune of thy house, how clouded o'er! 
 
 Cre. Old man, why cloke thy weeping face ? Slave. Because 
 Thou and thy race are fallen. Cre. It is the doom 
 Of mortals ; nought is constant nor abides. 
 
 ( The slave remains for a time with his face covered^ as if 
 pondering, then suddenly draivs Creusa down to the front 
 of the scene, where he begins again in a lower tone.) 
 
 Slave. But now, my daughter, let us dwell no more 
 On thoughts of pity. Cre. What then should I do? 
 Misery is helpless. Slave. Vengeance on the god 
 Who wronged thee ! Cre. How may weak mortality 
 Conquer his might? Slave. Lay fire to the holy fane! 
 
 Cre. I dare not risk the penalty ; my pains 
 Are now enough. Slave. Thy husband then ! His life 
 Lies in thy danger. Cre. Nay, we have been one flesh 
 When he was true ! Slave. Slay then the son declared 
 In fraud of thee. Cre. Oh, how? Were 't possible! 
 Right gladly would I. Slave. Arm thy train with swords. 
 
 Cre. I go about it. Where shall it be done? 
 
 Slave. There at his solemn banquet in the tent. 
 
 Cre. To draw men's eyes upon us ; and our strength 
 
 himself i* 970. «χώμεθα: cleave to, continue: άντ- instead of what we 
 
 ought to do. 972. ιτρώτον, and therefore unprovoked. 975. καΐ vw : 
 
 eve7t now. 977. / respect our former union. 978. viv δέ, antithetic 
 
 to the foregoing τότ^. 'Attack one between whom and you there is no 
 
 past, but only a present', συ Hermann. άλλα at all events. eirl σοί: 
 
 'against (to injure) thee'. eVt with dat. expresses the object of an action. 
 
 V. I. 6 
 
82 ΕΥΡίπίΔΟΥ 
 
 ΠΑ. ωμοί' κακίζβί, φ€ρ€, συ νυν βονΚευέ τι. 
 
 {Α pause, Creusa looks fearfully round, and then 
 speaks as in a whisper.) 
 
 KP. καΧ μην εχω ye δόλια καΐ Βραστή pLa, 9^5 
 
 ΠΑ. άμφοίν αν €Ϊην τοΐν8* νττηρβτης €γώ. 
 
 ΚΡ. ακονε τοίννν. οισθα γηγενή μάγην ; 
 
 ΠΑ. οΤδ', ην Φλεγρα Τιγαντες έστησαν θεοΐς, 
 
 ΚΡ. εντανθα Τοργόν ετεκε Τη^ Βεινον τέρας. 
 
 ΠΑ. η παυσίν αντης σύμμαχον, θέων πόνον ; 99^ 
 
 ΚΡ. ναί' και νιν εκτειν η Διός Παλλάς θεά. 
 
 ΠΑ. τΓοίόν TL μορφής σχημ ίχονσαν αγρίας ; 
 
 Κ Ρ. θωρακ εχίΒνης περίβολο ις ώπλισμενον. 
 
 ΠΑ. άρ' ούτος εσθ* 6 μύθος ον κ\νω τταΚαι ; 
 
 ΚΡ. ταντης ^Κθάναν Βέρος επΙ στέρνους εχευν. 995 
 
 ΠΑ. ην αιγιδ' ονομάζονσι, Παλλάδος στολην ; 
 
 ΚΡ. τόδ' εσχεν όνομα θέων οτ ηζεν εΙς Βόρν.^ 
 
 ΠΑ. τι Βήτα, θνγατερ, τοντο σοΓς εχθροΐς βλάβος; 
 
 ΚΡ. ^Έιριγθονιον οίσθ" η ον ; τ^δ' ον μελλευς, γερον ; 
 
 ΠΑ. ον πρώτον νμών πρόγονον εζανηκε γη ; ΙΟΟΟ 
 
 ΚΡ. τοντω ΒίΒωσι Παλλάς οντυ νεογόνω — 
 
 ΠΑ. TL χρήμα ; μέλλον γαρ τι προσφέρεις έπος. 
 
 ΚΡ. Βισσονς σταλαγμούς αίματος Τοργονς απο. 
 
 ΠΑ. Ισχνν εχοί y' αν τίνα προς άνθρωπον φνσυν ; 
 
 ΚΡ. τον μεν θανάσυμον, τον δ' άκεσφόρον νόσων. 1005 
 
 ΠΑ. εν τω καθάφασ άμφΐ παίδι σώματος; 
 
 ΚΡ. χρυσοίσι ΒεσμοΙς' 6 Βε ΒίΒωσ εμω πατρί. 
 
 988 — 997. The old man, perplexed by this far-away beginning upon an 
 ancient story, falls instinctively into a sort of catechizing, as if he and his 
 
 pupil were again Moing their lesson '. 993. Ιχίδνηβ : of snake, snaky. The 
 
 snakes {v. 1015) grew on the Gorgon and were wrapped as a defence about 
 
 her body. 997. ^ξίν. So Paley, on the suggestion of an anonymous 
 
 friend. The meaning clearly is that alyU was derived from άίσσ^ιν. This 
 could hardly be understood from ^\θ(ν, which is probably an interpretation. 
 In the legend Euripides varies considerably from the afterwards established 
 
 version, but the legend in itself is here of no importance. 998. τί δήτα ; 
 
 with sudden impatience. 999. οΪ<γΘ' ή οΰ; τί δ* Badham. οίσθ' η τί δ' 
 
 MSS. μΛλ€ΐ$ {tlhtvai). 1002. μάλλον. . .ϊ-ιτο? thoti Wilt add {art for adding) 
 
 a word that seems to hesitate. 1004. Ιχοι γ* άν τίνα κ.τ.λ. ; should not be 
 
ΙΩΝ 83 
 
 Is only slaves! Slave. A coward thought! But thou, 
 Advise thyself. 
 
 [A pause, Creusa looks fearfully rounds and tlien 
 speaks as in a whisper^ 
 
 Cre. Look you, I have a way 
 Secret and sure. Slave. And sure and secret I 
 Will aid ! Cre. Then list ! The Giant brood of Earth 
 Rebelled, thou know'st, in Phlegra 'gainst the gods. 
 
 {The slave assents) 
 
 Cre. Then the Earth-Mother teemed a monster-form. 
 
 Slave. To daunt the gods and aid her children. Cre. Aye, 
 The Gorgon, slain by Pallas child of Zeus. 
 
 Slave. A creature weirdly fashioned, was it not? 
 
 Cre. Armed with a girth of snake about the trunk. 
 
 Slave. Whose serpent slough, as I was ever told — 
 
 Cre. Athena wears upon her breast. Slave. Her aegis, 
 Is it not so they call it? Cre. Aye: it won 
 That title when it charged the warring gods. 
 
 Slave. And what is this, my daughter, what is this, 
 To wound thy enemies? Cre. Erichthonius, 
 Thou know'st — but ah, why ask? Slave. Thy ancestor. 
 First of thy house, the son of Earth! Cre. To him, 
 Being then an infant, Pallas gave — Slave. What gift ? 
 Thy legend pauses yet. What gift? 
 
 Cre. {slowly). Two drops 
 Of the Gorgon's blood. Slave. Which have some strong effect 
 On man ? Cre. Two operations, cure and death. 
 
 Slave. How was the vessel fastened to the babe? 
 
 Cre. With chain of gold. Inherited by my sire, 
 
 changed. The full force is '// (the blood) ifiust anyhow have some effect o?i 
 man; what is that effect?'' That it must have {βχοι αν) such an effect he 
 naturally now concludes, since otherwise the story would have no bearing on 
 
 the matter in hand, έχοντας Dobree. 1005. She continues her sentence 
 
 from 7'. 1003. 1006 : questions combined in the Greek manner: ' Did she 
 
 put the poison in a vessel? Did she fasten it on? In what, and how?' 
 
 1007. Note carefully that δίδωσ-ι does not imply direct gift from person to 
 person. An heir-loom could be said, according to Greek usage, to be given 
 to all or any of the descendants. See Med. 954 κήσ-μον, ov iroff "HXtos πατρός 
 
 6—2 
 
84 ΕΥΡίπίΔΟΥ 
 
 ΠΑ. K€Lvov Se κατθανόντος eU σ άφικβτο ; 
 
 ΚΡ. ι^αι. κάπΐ καρπω γ* αντ εγώ χερος φβρω. 
 
 ΠΑ. πώς ονν κέκρανται Ζίπτνγον hwpov 0€a<; ; I Ο I Ο 
 
 ΚΡ. κοίλης μ^ν όσης φλεβός άπέσταξεν φονω, — 
 
 ΠΑ. τί τώδε γ^ρησθαι ; hvvaaiv Ικφ4ρ€ΐ τίνα ; 
 
 ΚΡ. νοσονς άττείργβί καΐ τροφάς εχβι βίου. 
 
 ΠΑ. ο Βεντβρος δ' αριθμός ον λεγβις τί 8ρα ; 
 
 ΚΡ. KTeivet, δρακόντων Ιος ων των Τοργόνος. ΙΟΙ 5 
 
 ΠΑ. €19 ei^ δε κραθέντ αντον η χωρίς φορείς ; 
 
 ΚΡ. χωρίς' κακω γαρ εσθλον ον συμμίγνυται. 
 
 ΠΑ. ω φιλτάτη παι, ττάντ έχεις όσων σε δει. 
 
 ΚΡ. τούτω θανείται παϊς' συ δ' ο κτείνων εσει. 
 
 ΠΑ. που, καΐ τί Βράσας ; σον λέγειν^ τολμαν δ' εμόν. 
 
 ΚΡ. εν ταΐς ^ Αθήναις ^ ^ωμ όταν τονμον μόλτ). Ι02Ι 
 
 ΠΑ. ουκ εν τόδ' εΐπας' καΐ συ γαρ τούμον ψεγει?. 
 
 ΚΡ. πώς; αρ υττεί?>ον . . .τουθ* ο καμ εισέρχεται; 
 
 ΠΑ. συ παΓδα δόσεις Βιολεσαι, κει μη κτενεΐς. 
 
 ΚΡ. ορθώς' φθονεΐν γαρ φασι μητρυιας τέκνοις. 1025 
 
 ΠΑ. ατ^Γου ιτνν αυτόν κτεΐν , ιν αρνησει φόνους. 
 
 ΚΡ. προλάζυμαι γουν τω χρόνω της τβονης. 
 
 ΠΑ. κοΧ σον γε λησεις πόσιν α σε σπεύδει λαθεΐν.β 
 
 ΚΡ. οίσθ" ουν ο Βρασον ; χειρός εξ εμης λαβών 
 
 χρύσωμα ^Κθάνας τόδε, παλαιοί^ όργανον, 1030 
 
 ελθών Ιν ημίν βουθυτεί λάθρα ττόσις, 
 
 Βείπνων όταν ληγωσι καΧ σπον8άς θεοίς 
 
 μελλωσι λείβειν, εν πεπλοις έχων τό8ε 
 
 κάθες βαλών εις ττωμα τω ι^εαί'ΐα, 
 
 πατήρ δίδωσιν {bequeathed) iicyovoiaLv oh. The genealogy most in vogue 
 made Erichthonius grandfather of Erechtheus, but Euripides in this play, 
 
 for reasons explained in the hitroductioji^ avoids this view (see v. 20). 
 
 1011. The vena cava^ by which the blood returns to the heart. ocnris 
 
 (not os) implies that the source of the drop was the cause of its effect. 
 
 ψόνφ φλίβοί by the bleeding of. 1012. χρήσ-θαι (imperatival infinitive, 
 
 with a question, what must one do with this?) L. Dindorf for χρησθ€. 
 
 1014. " So we say 'number 2 ', meaning the second thing". B. 1016. η 
 
 χωρΙ« φοράς Snape : ϊχωρ (Ισφορ^ϊς MSS. 1021. όταν : whenever for as soon 
 
 as, as formerly in English. 1022. γάρ. ' I may criticize,/i?r you did'. 
 
 1023. Her view changes as she speaks. She was about to say λρ vnflBov 
 Tt; €lWpx«Tai: is suggesting itse// to. 1027. τφ χρόνψ by the intefvnt, 
 
ΙΩΝ 85 
 
 The jewel came upon his death — Slave, To thee? 
 
 Cre. It did; and see {pointing to Jier bracelet), I wear it on 
 my wrist. 
 
 Slave. And what determines then the gouts of blood 
 To their two-fold effect? Cre. That which distilled 
 From the hollow vein — Slave. The use and power of that? 
 
 Cre. It feedeth life and fends disease. Slave. And what 
 The working of the second drop ? Cre. It slays ! 
 It is the poison of the Gorgon snakes. 
 
 Slave. Thou hast not mingled it with the other ? Cre. No : 
 We mix not good and ill. It is apart. 
 
 Slave. Complete, complete ! My blessed child ! Cre. By this 
 The boy shall die; and thine shall be the hand. 
 
 Slave. Say only when and how : the risk is mine. 
 
 Cre. At home, in Athens, whensoe'er he comes. 
 
 Slave. I like not thy proposal more than thou 
 Approvedst mine. Cre. But why? Thou spiest then 
 A danger ?... Ah ! Slave. The deed will be believed 
 Thine, though it be not. Cre. Aye, ' the stepmother ' ! 
 We are a proverb. Slave. Slay him therefore here. 
 Thou canst disown it here. Cre. I taste the joy 
 The sooner ! Slave. Aye, and wilt deceive thy spouse 
 Even in his own deceit. Cre. Now therefore take 
 My orders. With this jewel from my hand 
 Wrought of old time in gold, Athena's gift, 
 
 {putting the bracelet upon his ivrist) 
 Go to the treacherous feast my husband holds ; 
 And after meat, when they prepare to make 
 Libation, have it in thy robe, and put 
 
 This... (pointing to the pyx ivJiicJi contains t/ie poison) in the 
 young man's drink, in his, not all, 
 
 dative of measure, joined with προ- {earlier) as commonly with a com- 
 parative. 1028. i.e. in the feast, ά : ace. of the sphere of action. 
 
 1029. Βρασ-ον. Know'st thou then what thou must do? The imperative in 
 such expressions was 'felt as an equivalent to you are to do' (J ebb on Soph. 
 
 O. T, 543). My note on Med. 6oo is wrong. 1030. όργανον : cpyoi/, 
 
 work. 1031. βουθυτ€ΐ λάθρα : holds deceptive feast; see 7/. 1027. 1034. 
 
 κάθ€5 βαλών : drop it, as distinct from pour it (κάθ^ς) : βολών marks the act as 
 
S6 ΕΥΡίπίΔΟΥ 
 
 ίδια δβ, μη τι πασι, γωρίσα^ ποτον, Ι035 
 
 τω των Ιμων μ^ΧΚοντι δεσπόζουν Βομων. 
 
 κανπερ ^ίελθτ) λαιμον, ουποθ* Ιζεται 
 
 κλβίνάς Άθηνας, κατθανων δ' αντου μενεΐ, 
 ΠΑ. συ μεν νυν εϊσω προξένων μεθες πόδα* 
 
 ημείς δ' εφ' ω τετάγμεθ' εκπονήσομεν. 1040 
 
 αγ\ ώ γεραιε πους, ι^βαι^ιας γενον 
 
 εργουσυ, κεί μη τω γρονω πάρεση σου 
 
 έχθρον δ' €π oivSpa στεΐχε 8εσποτων μετά, 
 
 και σνμφόνευε^ καΐ σννεξαίρει Βόμων. 
 
 την δ* εΰσεβειαν εύτνγρυσι μεν καλόν i045 
 
 τιμαν όταν hk πολεμίους Spdaau κακώς 
 
 θελη τις, ού8εΙς εμπο8ών κεϊταυ νόμος. Exeunt, 
 
 ΧΟ. Eti /οδια θύγατερ Αάματρος, α των στρ. α . 
 
 νυκτιπόλων εφ68ων άνάσσεις, 
 
 καΐ μεθαμερίων ο8ωσον 8νσθανατων 105^ 
 
 κρατήρων πληρώ ματ εφ οίσυ πέμπει 
 
 πότνια, πότνι εμα χθόνιας 
 
 Τοργους λαιμοτομων από σταλαγμών, Ι055 
 
 τω τών Έρεχθεϊ^αν 
 
 8όμων εφαπτομενω. 
 
 μη8ε ποτ άλλος άλλων απ' 
 
 οίκων πόλεως άνάσσοι 
 
 πλην τών εύγενεταν^Έρεχ^θείδαν. ΐοόο 
 
 el δ' ατελής θάνατος, σπον^αί τε Βεσποί- άντ. α . 
 
 νας, δ τε καιρός απ€ί,σι τόλμας, 
 
 α τε νυν φερετ ελπίς, ή θηκτόν ζιφος η 
 
 λαι/χώι/ εξά\\ιει βρόχον άμφΐ Βειρην, 1065 
 
 πάθεσι πάθεα δ' εζανύτουσ 
 
 instantaneous. 1035. τι : lost in MSS. before ττ, added by Wakefield. The 
 
 line should certainly not be omitted. There is no fault in the language, and 
 
 the sense is wanted. 1038. αύτου |ji€v«i: she points to the ground of 
 
 Delphi, in which he will lie. 1039. €Ϊ<Γω προξένων ζηίο the house of our 
 
 entertainers; so παρά τφ, tv τον, etc. 1046. A terrible irony. It is 
 
 precisely on this ruthless principle that Creusa is put to the ban, and 
 
 hunted, unheard, almost to a fearful death: see v. 1254. 1048. ΕΙνοδία. 
 
 Hekate, identified with Kord, daughter of Demeter (7/. 1085), invoked here 
 (i) as the patron of black arts generally and poisons particularly (see Med. 
 396), and (2) as patron of the Eleusinian feast (see below), which Ion would 
 
ΙΩΝ 8; 
 
 Only in his, who would usurp my home ! 
 If this should pass his lips, he will not reach 
 Proud Athens ; he will stay in Delphi — dead ! 
 
 Slave. Retire then thou to the Hostelry : and I 
 Will execute mine office. Oh my limbs, 
 Be for this errand young as ye are old, 
 Young in despite of time. On ! To the foe ! 
 In the cause of the queen! Kill him and cast him forth ! 
 Scruples of right look well, and prosperous folk 
 May prize them : but at war, and when you need 
 To wound a foe, there is no rule against! 
 
 Exeunt. 
 
 Chorus. 
 
 Queen of the Way, whose power controls 
 The assaulting visitations of the night, 
 Come now at noon ; and when they fill the bowls, 
 
 Guide thou the deadly potion right. 
 
 Which our beloved lady sends, 
 Wrought from the Gorgon throat, the gory drip, 
 
 To him, who lays his lawless grip 
 Upon Erechtheus' throne : Ο guide us to our ends, 
 
 Demeter's daughter ! Never any hold 
 Erechtheus' throne but they, who heir it from of old ! 
 
 For should our lady's purpose fail, 
 The murder miss, the tidal hour of hope 
 Flow by and leave her, quick she will assail 
 Herself; the dagger or the rope 
 Will cleave or close her living breath ; 
 Finding sad end to sorrow she will pass 
 
 outrage by his presence. Her image stood at cross-roads (EiVoSia, η iv 
 
 obois). 1049. Ιφόδων : including ghosts^ which belonged to her as queen of 
 
 the dead, and all 'assaults of darkness'. 1050. και μ.€θαμΐ€ρίων diurnal 
 
 also, as the present enterprise is (better than ννκτιποΚων και μ^θαμ^ρίων 
 
 Dindorf). Sed qu. μ€σαμ€ρίων? It is now noon or thereabouts (see 
 
 V. 1 135) and it is natural to contrast 'the midnight hour'. 1052. χθονία?: 
 
 earth-born. 1055. άττό : derived from. 1064. φ6'ρ6τ(αι) she is borne, 
 
 carried along, as by a stream. η ξίφο? η 6|άψ€ΐ {fasten) βρόχον : a 
 
88 ΕΥΡίπίΔΟΥ 
 
 €ts αλλάς βιότον μορφάς κάτ^ισιν. 
 
 ου γαρ 8όμων y' irepovs 
 
 άρχοντας αλλοδαπούς 1070 
 
 ζώσα ποτ ομμάτων iv φα- 
 
 «Ί^αις άν4γριτ αν αιτγαΐς 
 
 α των €νπατρώαν γζγώσ οίκων. 
 
 αίσχννομαυ τον πολννμνον στρ. β\ 
 
 θεϋν, el παρά καλλυχόροίσι παγαΐς 1075 
 
 λα/χπάδα θ€ωρ6ν βΙκάΒων 
 οψ€ται Ιννν-χ^ίος άϋπνος ων, 
 οτ€ και Διός άστβρωπός 
 άν€)(όρ€νσ€ν αίθηρ, 
 
 -^opeveL Be σe\άva, 1080 
 
 καΐ πevτη κοντά κόραι 
 ^-ηρέος αΐ κατά πόντον 
 άevάωv Τ€ ποταμών 
 Βίνας κopeυόμevaL, 
 
 τάν ')(pυσoστeφavov κόραν 1085 
 
 και ματέρα σeμvάv' 
 Ιν ekπίζeL• βaσLλeύσeLv 
 άλλων πόνον elσπeσώp 
 ό ΦoίβeLoς άλάτας. / 
 
 όράθ*, δσου hvσκeλάSoL•σLv άντ, β\ 1090 
 
 κατά μονσαν lovTe^ aeiheO* νμνοις 
 άμeτepa λeχea καΐ γάμους 
 Κύπρώος άθ4μιτας ανόσιους. 
 
 'zeugma'. Α proper verb to ξίφος is to be supplied. 1067. €ΐ8...μιορφά8: 
 
 i.e. to life in the lower world (κατά). 1074. A fine and delicate satire on 
 
 the prejudices of caste and of local religion. The most truly offensive point 
 in the origin of Ion, regarded religiously, would be the profanation of a 
 religious mystery, that of the Theban Bacchus. The Eleusinian rite, which 
 his presence is supposed to outrage, Avas also a torch-festival, and was 
 celebrated to lacchus, held commonly to be //le same god undei' another 
 name (note ττοΚννμνον). Though less orgiastic than that of Bromius, it was 
 by no means decent (Aristoph. Frogs 410) and probably not much less 
 
 dangerous. αίσ-χύνομαι: / am ashamed before the god. πολύνμνον: 
 
 because of his many titles. (So ττοΚνώννμο^ Soph. Ant. 11 15.) 1075. 
 
 Ίταγαΐβ: the spring Καλλ/χοροί at Eleusis. 1076. λαμ.ΐΓά8α...€ΐκάδων: the 
 
 torch-light procession to witness the feast of the Twentieth^ i.e. the 20th 
 day of the month Boedromion, the most sacred in the festival. 1077. 
 
ΙΩΝ 89 
 
 To life in other form, to death ! 
 One thing she will not brook, proud heiress, that the glass 
 
 Of those translucent eyes should witness there 
 Lords of another line and changelings in the chair! 
 
 Could we approach our god with prayer, 
 With hymn and torch on Hallow-Night, 
 
 If foreign eyes had leave to share 
 The vigil and the blessed sight ? 
 When the very stars in the solemn skies 
 Go round with the moon to the dancing hour, 
 And the fifty maidens of Nereus rise 
 From sea and river, their maiden-bower. 
 All together, one worship paid 
 To the golden crowns of the Mother and Maid ! 
 
 And he would there be sacred king, 
 
 On others' labour entering. 
 
 That cloister-waif, that outcast thing ! 
 
 Ye scandal-masters of the lyre, 
 That harping still upon the lust 
 
 Of losel woman never tire, 
 Her lewdness ever, now be just.. 
 
 δψδται, i.e. Ion. 1078. καΐ. The very elements join in the Avorship. 
 
 1082 — 83. There is probably some error, as the metre shows, either here, 
 
 or in 7/7'. 1098 — 99, or in both. Here there is no difficulty of sense. 
 
 1084. κορ€υόμ6ναι, spend their 7fiaiden/wod, Musgrave. χορ^υόμίναι MSS. 
 Such a phrase as χορ^νουσι χορ€υόμ€Ραι (for χορ^νονσαή can scarcely be right. 
 To Musgrave's correction it has been objected that all the Nereids were not 
 
 always maidens. But surely κόραι Kopevovrai. 1085. τάν...σ•€μ.νάν: see on 
 
 V. 1048. The accus. depends on xopevei. 1087. βασ-ιλίύσ-ίΐν. The βασι- 
 λεύς of Athens, represented in Euripides' time by the second magistrate or 
 άρχων βασιλεύς, was chiefly Concerned with the state religion and had special 
 
 functions at the Mystery (see Smith, Did. Ant. s. v. Eleusinia). 1088. 
 
 See Ion's answer to this vv. 1296 — 98. 1090. o<roi: the reference is to 
 
 the tone of literature generally, not to any particular place. See a closely 
 
 similar passage in Med. 410. 1091. κατά...1όντ65 : 'going over, descanting'. 
 
 1093. γάμου?... άνοσίου5. If this is correct, Eur. here uses the name 
 
 Κυττρίί as importing in itself unlawful love, άθίμιτος (gen. sing.) Bayfield. 
 
90 . ΕΥΡίπίΔΟΥ 
 
 οσοΊ/ βνσββία κρατουμεν 
 
 οί8ικον αροτον άντρων, Ι095 
 
 παλίμφαμος άοιδά 
 
 καΐ Mover' εις avSpas ϊτω 
 
 8νσκ€\α8ος άμφΐ \4κτρων. 
 
 SeLKVvaL γαρ ό Διός e/ci* 
 
 παίδων άμνημοσύναν, Ι ΙΟΟ 
 
 ον KOLvav τβκβων τυχαν 
 
 οΐκοισι φυτεύσας 
 
 SeanoLva' προς δ' ^Αφρο8ίταν 
 
 άΧλαν θ4μ€.νος γαριν, 
 
 νόθου τταιδός eKvpcrev. Ι105 
 
 Enter a man, one of Creusa's servants, gasping and wildly agitated, 
 
 ΘΕ. KXeii^at yvi^aiAce?, ττον κόρην ^Έιρεγθβως 
 
 BeanoLvav βνρω ; πανταχτ) γαρ αστβως 
 
 ζητών νιν βζεπλησα κονκ ίχω λαββίν. 
 ΧΟ. TL δ' ίστιν, ώ ^vvSovXe; τις προθυμία 
 
 πο8ων €χ€ί ere καΐ λόγους τίνας φέρεις ; 1 1 1 
 
 ΘΕ. θηρωμβθ'' αρ^αΐ δ' άπιχωριοι φθόνος 
 
 ζητουσυν αυτήν, ως θάιητ) πβτρουμενη. 
 ΧΟ. οΐμοι, τί \.€.ζεις ; ου τι που λελημμεθα 
 
 κρυφαΐον εΙς παιδ' ίκπορίζουσαι φόνον; 
 ΘΕ. €γνως; μεθέξεις ουκ εν υστάτοις κάκου. ΙΙΙ5 
 
 ΧΟ. ωφθη δε πως τα κρυπτά μηχανήματα ; 
 ΘΕ. το μη Βίκαιον της Βίκης ησσώμενον ; 
 
 1095. αδικον αροτον άνΒρων : unlawful crop οχ field, i.e. unlawful plough- 
 ing and reaping. See Soph. O. T. 1485, 1497. 1098. See on 1082. 
 
 Perhaps δυσκλβαί (poet, for SuaicXeeay), a predicate to άνδρας: the rarity of 
 
 the form, and v. 1090, would explain the error. 1099. See on 1083. ό Ai6s 
 
 (K παίδων ('he that comes of the children of Zeus', i.e. Xuthus) is not only 
 unmetrical and clumsy, but does not fit the sense, which requires a description 
 not of Xuthus personally, but a man. I suggested {Journ. Hell. Soc. Vol. i.) 
 •€« (eic) for eV (εκ) : ΔιΟγ fis τταίδων one at least of the children of Zeus, i.e. of 
 men as opposed to women ; see Hesiod Theog. 47, and contrast Hesiod 
 Theog. 570 ff. This I still think probably right ; but as even so further 
 
 change is required, 1 leave the text as uncertain. 1101 — 03. Not sharing 
 
 my lady s fortune in the begetting of children. The negat. falls on κοινάν. 
 
 τύχαν : see on v. 702. 1103 — 04. With respect to love giving himself 
 
ΙΩΝ • 91 
 
 How doth her faith superior show 
 
 Beside the lust of losel man ! 
 
 See it, and change your music. Go 
 
 Another way than once ye ran, 
 
 Ye lyric libels, go, and vex 
 
 The faithless-found, the elder sex. 
 
 The 'son of Zeus' with her he wed 
 
 Disdains to suffer, comforted 
 
 Elsewhere and in a fruitful bed ! 
 
 Enter a man,i7;/^ of Creiisd s servants, gasping and wildly agitated, 
 
 Man. Ladies, oh tell me, where shall I find the queen, 
 My mistress ? Everywhere throughout the town 
 I have made search for her, and no success. 
 
 Cho. What is it, fellow-servant } Why so pressed 
 Thy pace, and what the tidings t Man. We are chased ! 
 The officers of Delphi seek to seize 
 My lady, that she die by stoning. CJio. Ah ! 
 Horror ! Detected } Oh, it cannot be ! 
 The secret death we planned against the lad t 
 
 Man. Thou knewest ! None is nearer to the peril 
 Than thou. Cho. But oh, how was the plot disclosed ? 
 
 Man. The enterprise of justice } 'Twas the god, 
 
 other pleasure. 1106. Noble ladies. If this is right, it implies that the 
 
 man, in his frantic haste, does not see at the first moment to whom he is 
 speaking but takes them for women of Delphi. In the mouth of a slave 
 icXfii/oy, illustrious, noble, would apply to any free person whom he wished 
 to propitiate. Perhaps this is the intention. If he recognizes them, κλςιναί 
 is absurd, and Greek usage would require a Avord meaning servant or slave. 
 
 But no satisfactory correction has been suggested. 1108. Ιξ^πλησ-α : / 
 
 liave completed. ττανταχ•? acrrews {all ways in the city) is treated as a 
 
 substantive. 1111. i.^\oS.\ officers. 1112. o.yyn\v'. herself, i.Q. our lady. 
 
 1115. ίγνω?; Thou wast aware of it? i.e. wast in the plot, ^γ^ω?• 
 
 μ(θ(ξ€ΐί δ' {thou art right, and wilt share) Hermann. The recovery of this 
 verse from the xMSS. Ι^νάσμ^β" €ξ ΐσον kcv νστάτοις kokoIs was the work of 
 Porson. Perhaps κακοϊς should be retained, and κακών supplied from it. 
 κακόν is here punishment, as often ; so malum in the slave-language of Latin 
 
 comedy. 1117. The attempt of right to defeat wrong? This whole phrase, 
 
 which describes the plot from the point of view of the speakers, stands 
 
 <\ 
 
92 ΕΥΡίπίΔΟΥ 
 
 €ζηυρ€Ί/ 6 θεός ου μυανΘηναυ θίΚων. 
 
 ΧΟ. πώς; άντιάζω σ Ικεης ίξειπείν rdSe' 
 
 πεπνσμεναι yap, el θανεΐν ημάς χρεωρ, Ι Τ 20 
 
 ηδίον αν θάνοιμεν^ εΐθ* οραν φάο<ζ. 
 
 ΘΕ. inel θεον μαντείον φχετ εκΚιπών 
 
 πόσις Κρεονσης, παΓδα τον καινον λαβών 
 
 προς δείπνα θυσίας θ" ας θεοίς ώπλίζετο, 
 
 'Βοΰθος μεν φχετ ένθα πυρ πήδα θεού 1125 
 
 βακχείον, ώς σφαγαΐσυ Alovvctov πέτρας 
 
 δενσευε δυασάς παώος άντ οπτηρίων, 
 
 λεζας' συ μεν νυν, τεκνον, άμφηρευς μένων 
 
 σκηνας άνίστη τεκτονων μοχθημασυν 
 
 θύσας δβ γενέταις θεοίσιν, ην μακρόν χρονον 1 1 30 
 
 μένω, παρουσι δαίτες εστωσαν φίλους. 
 
 λαβών δε μόσχους ψχεθ*' 6 δε ζ^εαζ^ιας 
 
 σεμνώς άτοίχους περιβολας σκηνωμάτων 
 
 ορθοστάταις 18ρύεθ\ ηλίου βολάς 
 
 καλώς φυλάζας, ούτε προς μεσας φλογός ΙΙ35 
 
 ακτίνας, ουτ αΰ προς τελευτώσας βίον, 
 
 πλεθρου σταθμησας μήκος εΙς εύγώνων, ^^37 
 
 ως πάντα Α,ελφών λαόι^ εΙς θοίνην καλών. 1 1 40 
 
 in apposition to μηχανήματα. 'How could the plot be detected, when 
 that detection means that iniquity triumphs over justice?' The full per- 
 suasion of the slaves, that their horrible attempt is * righteous ', is one of 
 the most interesting points in the situation. It is they who tempt and 
 draw in Creusa. It is to them a shock of surprise, almost incredible, 
 that the detection should have been 'permitted'.— Commonly τ/, my is 
 joined to v. 11 18. 'The attempt of right to defeat wrong the god ex- 
 posed '. But ίξηυρίν is not quite exposed. 1118. «ξηϋρβν (οττω? ωφθύη) : 
 
 devised a means of detection (the doves; see the following story). Cf. v. 554, 
 ό ΈΟΓμος βξηνρίν. Not t/ie god discovered the plot, which ex hypothesi he 
 always knew. 1119. Their eagerness to be informed is not mere curi- 
 osity, which in the situation would be rather absurd. Their feeling is still 
 that (Λ V. 1 1 17, and their meaning is that the prospect of immediate death 
 makes them the more anxious to know all that can be known of an event, 
 
 which seems to shatter their moral and religious faith. 1121. €Ϊθ* όράν 
 
 ψάο« merely expresses the natural clinging to hope. 1125. ϊνθα : the place 
 
 on Parnassus where the Bacchic rite of Dionysus was celebrated ; see on v. 
 
 550. 1126. 8i<r<ras π^τρα5 : Parnassus, because the cliffs as seen from 
 
 Delphi showed two peaks. 1127. παιδ05 άντ' όπτηρίων : in place of the 
 
ΙΩΝ 93 
 
 Who would not be polluted by the deed. 
 
 Cho. But how ? In mercy tell us ! Better die, 
 If die we must, not in this ignorance ! 
 
 Man. Forth from the sacred oracle they went 
 Unto the purposed feast and offering, 
 Our lady's husband and his new-found son, 
 And parted, Xuthus to ascend the place 
 Of Bacchus' fiery dance, and there anoint 
 The Holy Tors with sacrificial blood 
 For this discovery, saying, ere he went, 
 ' Son, stay thou here, and set mechanic hands 
 
 * To frame a spacious tent. When rite is done 
 ' Unto the gods of birth, if I delay, 
 
 * Banquet the guests assembled.' So he took 
 Victims and went. The youth in solemn form 
 Set up a tabernacle, tapestry 
 
 On planted poles, so fronting as to 'scape 
 The blaze of noon and the descending sun, 
 Four-square and (as to hold the total folk 
 Of Delphi) every way one hundred feet. 
 
 offerings which he should have made for the sight of his son at his birth. 
 
 1130. v€V€Tais: of birth. θύσ -as..., Saircs ίσ-τωσ-αν. 'When you have 
 
 sacrificed, let the banquet be served '. The feast would begin as a matter of 
 course with an offering to the proper gods. After this, if Xuthus had not 
 returned, they were to proceed without waiting. For the loose construction 
 see vv. 927 — 28. — To join βνσας with μ^νω is contrary to the tense of the 
 participle, which should then be present {θνων)'. moreover the preceding 
 context tells us that θνσα^ refers to Ion ; and if it does not, there is a disloca- 
 tion of thought. 1133. άτοίχου?, i.e. ' serving as rei^i;, though not what are 
 
 commonly so called'. 1134 — 35. βολά5...φλογ05. I follow A. Schmidt, 
 
 with Mr Bayfield, in transposing these Avords : ηΚίον φλογός... μ^σας βολάς MSS., 
 which gives a sentence so unsatisfactory that we may accept provisionally any 
 •^vay of escape. 1137. After this verse the MSS. have these, μίτρημ ΐχουσαν 
 
 τονν μίσω ye μυρίων ττοδών αριθμόν, ccs Xeyovatv οι σοφοί, i.e. ' containing ΙΟΟΟΟ 
 square feet, as the scientific say '. Paley proposed the omission. I cannot 
 find any point in them, nor see, on the other hand, the interpolator's object. 
 We might decide better, if we knew why the tent should be a square of 
 100 ft. : that there was some known reason of ritual or custom I have little 
 doubt. What the number of the Delphians was or was thought to be in the 
 time of Euripides (for it is of this that the audience would think) cannot, I 
 
94 ΕΥΡίπίΔΟΥ 
 
 λαβών ο' νφάσμαθ^ lepa θησαυρών πάρα, 
 
 κατεσκιαζε, θανματ άνθρωποι^ οράν. 
 
 πρώτον μεν ορόφω πτέρυγα πβρίβαΚλβί πέπλων, 
 
 άι^ά^τ^/Αα Δίον τταιδός, ους 'ϊίρακλέης 
 
 * Αμαζόνων σκυλβύματ ηνβγκεν θεώ. 1 145 
 
 ivTJv δ' ύφανταΐ γράμμασιν τοιαίδ' υφαΐ, 
 
 Ουρανός άθροίζων αστρ iv αίθβρος κύκλω' 
 
 ίππους μεν ηλαυν βίς τελβυταίαν φλόγα 
 
 Ηλιος, ίφίλκων λαμπρον Έσπερου φάος. 
 μελοίμπεπλος 8ε Nuf άσείρωτον ζυγοίς 1 1 5^ 
 
 ο^μ επαλλεν άστρα δ' ώμάρτει θεα. 
 Πλειάς μεν ηει μεσοπόρου δι' αΙθερος, 
 δ τε ζίφηρης ^Πρίων' υπερθε δε 
 
 Αρκτος στρεφουσ ουραία χρυσηρη πολω• 
 κύκλος δε πανσέληνος ηκόντίζ άνω 1^55 
 
 μηνός διχηρης, 'Τάδες τε, ναυτίλοις 
 σαφεστατον σημεΐον, η τε φωσφόρος 
 "Εως διω/ίουσ•' άστρα' τοίγοισιν δ' επι 
 ημπίσχεν άλλα βαρβάρων υφάσματα, 
 εύηρετμους ναυς άντίας Έλληνίσιν, 1 1 6θ 
 
 και μιζόθηρας φώτας, Ιππείας τ άγρας 
 ελάφων, λεόντων τ άγριων θηράματα. 
 ^ κατ εισόδους δε Κεκροπα θυγατέρων πελας 
 σπείρας συνειλίσσοντ , ^Αθηναίων τίνος 
 ανάθημα, γρυσεους τ εν μέσω συσσιτίω 1 1 ^5 
 
 κρατήρας εστησ. εν δ' άκροισι βάς ποσίν 
 κηρυζ άνείπε τον θελοντ εγχωρίων 
 ες δαιτα γωρείν ως δ' επληρώθη στέγη, 
 στεφάνοισι κοσμηθεντες ευόχθου βοράς 
 φυ\ην επληρουν' ως δ* άνεΐσαν η8ονην 1 1 70 
 
 suppose, be ascertained. 1141 — 1166. This description of Delphian pomp 
 
 and luxury is not without an invidious purpose. 1146 : woven in it was 
 
 a weaving in design. As the whole tapestry of the roof had one connected 
 
 subject {ovpavoi), the collective v<^ai is treated as singular. 1150. ά(Γ€£ρω- 
 
 Tov: having no traces (and therefore no trace-horses, σ(ΐραφόρονς) to the yoke, 
 
 i.e. having two (yoked) horses only, as a minor luminary. {υγοϊβ: the yoke, 
 
 the pair, constructed loosely with ασ€φωτοι/ as a sort of dative of respect or 
 reference. The position of the word, I think, requires this. 1154. ουραία 
 
ΙΩΝ 95 
 
 For covering, from the sacred store he took 
 
 Works of the loom, the wonder of the world. 
 
 Outspread as wings about the roof there went 
 
 A curtain taken from the Amazons 
 
 And dedicate as spoil by Heracles ; 
 
 Where in the warp was woven for design 
 
 The host of Heaven assembled in his sphere. 
 
 There coursing to his fiery close the Sun 
 
 Behind his chariot drew the shining Moon ; 
 
 There Night in vest of sable wheeled a car 
 
 With two unto the yoke, and in her train 
 
 The stars ; mid in the dome the Pleiads went, 
 
 Sworded Orion with them ; overhead 
 
 Arctus revolving turned his golden tail. 
 
 There was the perfect-rounded orb, that parts 
 
 The month, up-shooting, there the Hyads, sign 
 
 Surest to seamen, there the sign of Dawn 
 
 With stars that fled before him. Round the sides 
 
 Were tapestries of oriental work, 
 
 Greek ships and ships of Asia, prow to prow, 
 
 Monsters half-beast half-human, chase of deer 
 
 With steeds, and lions hunted in the wild. 
 
 At the entrance Cecrops with his daughters, gift 
 
 Of some Athenian, rolled a serpent coil; 
 
 And bowls of gold were set in the middle space. 
 
 Then went a herald, straining all his height. 
 
 And cried, that of the Delphians whoso would 
 
 Should come to banquet. When the room was filled, 
 
 They put on wreaths and of the bounteous cheer 
 
 Took to content. And now, when meat would please 
 
 (originally an adj.) χρυσ-ήρη : cf τρόπαια χρονιά Aesch. TAei>. 763 (Dind.) and 
 
 sup. V. 172. — ττόλω: 171 or with the revolving heaven. 1156. 'YaScs: 
 
 whose first rising in September marked the beginning of the stormy season. 
 
 1159. βαρβάρων: of orientals, Asiatics. 1160. This allusion to the 
 
 contest of Hellas and Persia (perhaps suggested by known works of Persian 
 art) is scarcely to be called an anachronism. The Ion is in all essentials a 
 
 story of the fifth century. 1163. KcKpoira: a bronze group probably, 
 
 placed opposite the entrance in allusion to the approaching removal of Ion 
 
96 ΕΥΡίπίΔΟΥ 
 
 δαιτο9, παρελθών πρεσβνς εΙς μέσον niSov 
 
 ίστη, γίΚων δ' εθηκε σννΒείπνους πολύν 
 
 πρόθυμα πρασσων./ εκ τε γαρ κρωσσών ν8ωρ 
 
 γεροΐν έπεμπε νίπτρα, κάζεθνμία 
 
 σμύρνης ίδρωτα, γ^ρνσέων τ εκπωμάτων 1 1 75 
 
 ηρχ) αυτός αυτω τόνΒε προστάζας πόνον. 
 
 επεί δ' es αυλούς ηκον ες κρατήρα τε 
 
 KOLVOV, γέρων έλεξ*' άφαρπάζειν γύρεων 
 
 οίνηρα τεύ-χτ) σμικρά μεγάλα δ' είσφέρευν, 
 
 ως θάσσον έλθωσ οΓδ* ες ιη^ονάς φρένων. ΐΐ8θ 
 
 rjv δτ) φερόντων μογθος άργνρηλάτονς 
 
 χρυσέας τε φυάλας* 6 δε λαβών εζαίρετον, 
 
 ως τω νέω Srj Βεσπόττ) χάριν φέρων, 
 
 έΒωκε πλήρες τεύχος, εΙς οίνον βαλών 
 
 ο φασι hovvai φάρμακον Βραστή ριον 11^5 
 
 οέσποιναν, ώς παις 6 νέος έκλίποι φάος. 
 
 κονΖεΧς ταδ* τιΖενν^ εν χεροΐν έχοντι δβ 
 
 σποι^δάς μετ άλλων τταιδι τω πεφηνότι 
 
 βλασφημίαν τις οίκετών εφθέγζατο. 
 
 6 8\ ώς εν Ιερω μάντεσίν τ εσθλοΐς τραφείς, 1 1 QO 
 
 οίωνον εθετο κάκελενσ άλλον νέον 
 
 κρατήρα πληρούν, τάς 8ε πρΙν σπονΒάς θεού 
 
 διδωσι γαία πάσί τ έκσπένΒειν λέγει. 
 
 σιγή ό ύττηλθεν εκ δ' έπίμπλαμεν 8ρ6σου 
 
 κρατήρας ίερονς Βνβλίνον τε πώματος. ΙΙ95 
 
 κάν τωδε μοχθώ πτηνος εισπίπτει Βόμοις 
 
 κώμος πελειών — Αοζίον γάρ εν Βόμοις 
 
 άτ ρέστα ναίονσ' — ώς δ' άπέσπεισαν μέθν, 
 
 ες αντο χείλη πώματος κεχρημέναι 
 
 καθηκαν έΐλκον δ' ευπτέρονς ες au^eVas. ΐ 200 
 
 καΐ ταις μεν αλλαις άνοσος ην λοιβη θεον' 
 
 to Athens. 1171. irpiafvs: not simply γ€ρων, but as the emissary or 
 
 person cominissiotied hy Creusa; see on vv. i2io, 1214. 1174. iirc^irc: he 
 
 went conveyitig. His interference in the earlier stages was intended to 
 
 disarm suspicion when he should present the poisoned cup. vim-pa : as 
 
 nuashing. 1177. Is αύλούβ : to the {stage of the) flute-playing. κρατήρα 
 
 κοινόν: the bowl from which all the guests were to receive a cup for the 
 purpose of making a common libation. In making a libation part of the 
 cup was drunk and part spilled upon the ground. 1178. His purpose 
 
ΙΩΝ 97 
 
 No longer, came the emissary in the midst, 
 
 And made much merriment among the guests • 
 
 With his officious zeal, brought ewers, poured 
 
 Water to wash the hands, with scented gums 
 
 Made perfume, set the goblets on the round, 
 
 Not bidden so by any but himself. 
 
 Anon, when came the music, and the bowl 
 
 Was to be served to all, 'Away,' said he, 
 
 * With little cups ! Bring large, that these who drink 
 
 ' May come the quicker to a joyous mood.' 
 
 Then, while they took the silver and the gold 
 
 With turmoil to and fro, one special cup. 
 
 Chosen as if to grace his new-made lord, 
 
 He filled and gave him, putting in the wine 
 
 Quick poison, given him, say they, by the queen 
 
 To slay therewith the new-discovered son. 
 
 This none had seen ; but just as all were served, 
 A slave let fall some inauspicious word. 
 Bred in a fane by doctors of the craft, 
 He took it for a sign, and bade them fill 
 The bowls again. What was already served 
 He poured to earth, directing all to make 
 Libation likewise. Then a silence fell, 
 The while we duly charged the bowls with wine 
 Of Byblus and with water. Ere 'twas done, 
 A flight of doves, which in Apollo's house 
 Dwell fearless, came for orts into the tent. 
 With eager thirst they dipped their beaks, and drank 
 The freshly-poured libation, where it fell, 
 Into their pretty throats ; and, saving one. 
 Drank safely all : one lighted where the lord 
 
 was to cause the confusion described in v. 1181, which gave him a con- 
 venient opportunity. — 1181. The silver and large cups they took away, and 
 
 the small of gold they brought. 1187. tjSciv : 3rd pers. sing., jjdet with 
 
 V €φ€λκνστικόν. Ιν-,-ΊΤίφηνότι: i.e. when all had received their wine and 
 
 were ready. 1195 κρατήρα?: three libations were usually made, and a 
 
 separate bowl mixed for each. Byblus^ a wine-district in Thrace. 
 
 1197. κώμοξ : they were attracted by the chance of being fed with the τρα- 
 -γήματα etc., and therefore are called a κώμος, properly a troop of revellers 
 
 V.I. . 7 
 
98 ΕΥΡίπίΔΟΥ 
 
 η ο €4€τ evu ο καινοί €σπ€υσ€τ/ γόνος, 
 
 ποτον τ iyevaar, evOvs ευπτερον 8e/xas 
 
 eaeiae κάβάκχευσεν, βκ δ' εκλαγζ^ οττα 
 
 άζννετον αΐάζονσα. θάμβησεν he πας 1 205 
 
 θοινατορων ομιΚ,ος όρνιθος πόνους' 
 
 θνησκευ δ' άπασπαίρονσα, φοίνυκοσκζλβΐς 
 
 χηλάς παρβίσα. y γυμνά δ' €Κ πέπλων μέλη 
 
 υπέρ τραπέζης ηχ 6 μαντευτος γόνος, 
 
 βοα 8ε' τις μ εμελλεν ανθρώπων κτανείν ; 1 2 1 
 
 cn^/Aati^e, πρεσβυ' ση γαρ η προθυμία, 
 
 κα\ πώμα χειρός σης εΒεζάμην πάρα. 
 
 εύθυς δ' έρευνα γραίαν ωΚενην λαβών, 
 
 επ αυτοφώρω πρεσβυν ως εχονθ* ελοι. 
 
 ωφθη δε καΐ κατεϊπ* αναγκασθείς μόγις Ι 2 1 5 
 
 τολμάς Κρεούσης πώματος τε μηχανάς. 
 
 θεΐ δ' ευθύς εζω συλλαβών θοινάτορας 
 
 6 πυθόχρηστος Αοξίου ι^εαι^ια?, 
 
 καν κοιράνοισι ΎΙυθικο7.ς σταθείς λέγει' 
 
 ώ γαία σεμνή, της 'Έιρεχθεως ϋπο Ι2 20 
 
 ζενης γυναικός φαρμάκοισι θνησκομεν. 
 
 Αελφών δ' άνακτες ώρισαν πετρορριφη 
 
 θανεΐν εμην 8εσποιναν ου φηφω /Αία, 
 
 τον ιερόν ως κτείνουσαν εν τ άνακτοροις 
 
 φόνον τιθεΐσαν, πάσα δε ζητεί πόλις 1225 
 
 την άθλίως σπεύσασαν άθλίαν ohov. 
 
 παίδων γαρ ελθουσ εις ερον Φοιβον πάρα 
 
 το σώμα κοινή rois τέκνοις άπώλεσεν. 
 
 Noise without. 
 
 who join a feast for the after merriment, the coinissatio. 1208. μΛη: 
 
 arms. He reached across and clutched the old man opposite to him. 
 
 1211 (and 1214). πρ^σ-βυ deputy, the word implies that, as Ion rightly 
 
 guesses, the old man had acted by the cotninisnon of another. 1214. 
 
 ϊχοντα: i7i possession, i.e. before he could get rid of whatever evidence of his 
 
 employer he might have about him. 1215. ώφθη (ίχων): the proof was 
 
 seen upon him, i.e. Creusa's bracelet under his dress, with the pyxes attached 
 
 to it, one of them partly discharged : see v. 1033. άναγκασ-θ^δ μόγιβ. What 
 
 horrors these words might cover, especially in the case of a slave, the 
 
 audience knew only too well. 1216. Κρβούση? depends on κατύ-ηΐ, he 
 
 ΰΠαν^ίζεά the attejnpt and devising upon Creusa. 1220. ώ γαία <Γ€μνη : an 
 
 appeal to the sacred city, as represented by her magistrates. 1222. ire- 
 
ΙΩΝ 
 
 99 
 
 Of the birth-day festival had poured his cup : 
 
 She sipped ; that instant all her feathers shook, 
 
 She struggled, screaming as in agony 
 
 Incomprehensible. In amazement all 
 
 Gazed on the bird's convulsion, till she gasped 
 
 The death-gasp, and the rosy feet fell slack. 
 
 Then, reaching out across the table arms 
 
 Bare of the vesture, cried the destined heir 
 
 'What creature meant my death? Whose instrument 
 
 'Art thou? Confess! Thine was the zealous hand 
 
 ' That put the cup in mine.' With that he clutched 
 
 His skinny wrists and searched him instantly 
 
 For proof of his employment; which they found, 
 
 And plied him till perforce he did disclose 
 
 Creusa for projector of the attempt. 
 
 Straight from the feast with all the company 
 Ran forth Apollo's prince, and laid his charge 
 Before the sacred bench of Pytho thus : 
 ' Court of the god, the queen, the stranger queen, 
 'Erechtheus' daughter, hath assailed my life 
 'With poison!' And the Delphian judges doomed 
 By many votes my lady to be stoned 
 For bloody sacrilege, essayed upon 
 A person sacrosanct and holy ground. 
 All Delphi joins the hue. Thus hath she run 
 To ruin, and her hapless pilgrimage 
 To Phoebus, for the child she yearned to have. 
 Hath brought destruction of herself and seed. 
 
 Noise without. 
 
 τρορριφή. Here (and in v. 1266 more distinctly) the language points to 
 flinging from the cliff as the mode of death : while in v. 1236 Χ^νσιμοι distinctly 
 suggests stoning. There seems to be no proof or likelihood that this word 
 could be used of the other method. Perhaps the solution is that stoning 
 was used as a torture, and the body, dead or alive, flung afterwards over the 
 cliff. (Mr Bayfield's note suggests this.) It is indeed not likely that an 
 Inquisition and a fanatical populace would be content with an instantaneous 
 
 execution. 1223. ού ψήφω μια : 7iot by a single vote, i.e. 'by a large majority'. 
 
 This shows that the judgment was not unanimous. 1227 : having been 
 
 brought to Phoebus' honse by her desire of children, literally ' having come with 
 
 7—2 
 
100 ΕΥΡίπίΔΟΥ 
 
 ΧΟ. ουκ €στ\ ουκ εστίν θανάτου παρατροπα /x,eXea μοι. 
 
 φανερά φανερά yap τάδ' rjhy) 123 1 
 
 στΓον^άζ εκ Διονύσου βοτρύων θοάς εγ^ίΒνας 
 στ ay όσ IV μLyvυμεvaς φόνω. 
 
 φανερά ^υ/ιατα νερτερων, σύμφορο! μεν εμω βίω, 
 λεύσίμοί δε καταφθοραΐ 8εσποίνα. 1236 
 
 τίνα φυyάv πτερόεσσαν η γ^θονος υπο σκότιων μυγών 
 πορευθώ θανάτου \εύσιμον άταν 
 
 άπoφεύyoυσa, τεθρίππων 1 240 
 
 ωκίσταν γαΧάν επιβάσ η πρυμνας επΙ ναών ; 
 ουκ εστί \αθείν οτε μη -χρτιζων 
 θεοζ εκκ\επτει. 
 
 τι ποτ, ω μεΚεα Ζεσποινα, μένει 1245 
 
 Ψ^Χ?7 ^^ παθεΐν; άρα θελουσαι 
 8ράσαί τι κακόν τους πελας αύταΙ 
 πεισόμεθ*, ωσπερ το 8ίκαιον; 1249 
 
 Creusa rusJies in. 
 
 ΚΡ. ΠρόστΓολοι, Ζιωκόμεσθα θανάσιμους επι σφayάς 
 
 ΐΐυθίω ψήφω κρατιηθείσ ' εκΒοτος δε yίyvoμaι. 
 ΧΟ. ΐσμεν, ω τά\αινα, τάς σας συμφοράς, Ιν el τύχης. 
 ΚΡ. ποί φύγω 8ητ ; εκ yap οίκων προύλαβον μόγις ττοδα 
 
 a view to her desire'. Φοίβου Matthiae. 1231 (and 1234). φανίρά. A point 
 
 is made upon the senses of φανερός plain. In v. 1231 it means discovered, in 
 
 V. 1234, as the context shows, certain, already seen (cf. προνπτος). τάδ€... 
 
 <Γ'ΐΓονδά5...μ.ιγνυμι^να5: this matter of the libation. 1232. Ik βοτρύων: 7nade 
 
 from grapes., i.e. of wine. ^ Goas refers to the rapidity of the poison's 
 
 working'. B. If so, Boai^ (Dobree) would be better. But is not βοα %γώνα 
 simply the Gorgon-snake, which ri^iv els deav δόρυ, rushed upon the warring 
 
 gods, and thence gave to its skin the name of alyis {vv. 993 — 997)? 
 
 1233. φόνφ: murderously, dat. modal. 1234. θύματα ν€ρτ^ρων...λ£ύ<Γΐ|ΐοι 
 
 καταψθοραί: sacrifice to the gods below,.. .a death by stoning. I have little 
 doubt that this language is to be explained in the same way, whatever it is, 
 as that of Aesch. Ag. 1107 (11 18) θύματος λ^υσίμου, which is shown by the 
 context there to mean 'an offering to Death' (see note there). But the 
 matter is obscure. That executions, such as the speakers here expect to be 
 done upon them, should be called θύματα is natural enough, since the alleged 
 object of them was to appease the outraged god (see v. 1224 and the note 
 above cited). As to vcpτ^pωv, it perhaps means no more than that the 
 human 'victims' would be sent to the lower world.— Paley refers θύματα to 
 the attempt on Ion, but (i) the description is inapplicable, and (2) the words 
 
ΙΩΝ ΙΟΙ 
 
 Chorus. Ο, Ι must die, must die, and no escape ! 
 
 Found, proven, found, the viper's gall 
 Mixed with the blood of Dionysus' grape 
 
 In fell libation, certain all 1 
 Nor certain less that with the perishing queen ' »., • ^o^ . 
 We perish, victims too. The stone! Betweeri>'' ' '' ' ''' ^ 
 Us and the death is nought! To soar, to;dip>O > ο Γ'; 
 Deep in the darksome earth, to run from Ueath', ' " ' ' 
 
 The stony death. 
 At speed of wheel and hoof or sailing ship ? 
 
 Nay, escape is only given 
 
 To secrets by the will of Heaven. 
 
 Oh, what hereafter, lady, waits 
 
 Thy hapless ghost t What horrid fates 
 
 May we, who sought our neighbour's hurt 
 
 Not look for, as our own desert ! 
 
 Creiisa rushes in. 
 Creusa. Women, I am pursued ! The major vote 
 Hath doomed me to the god, and Pythian law 
 Yields me to death ! Cho. Alas, we know thy fate 
 And present pass ! Cre. Oh, whither shall I fly } 
 I left our lodging not a step too soon 
 
 in apposition show that θύματα means the expected punishment. 
 
 1235. οτυμ,φοραί: a word strangely weak. The translation assumes 
 σ-υμφθοραί, perishing together with. (See Aesch. Ag. 1186 σύμφογγος for 
 
 σΰμφθογγοί.) 1243 — 44. A pregnant sentence, both in its connexion here 
 
 and in reference to the whole play. I retain χρ^ζων, desiring {to conceal) 
 does conceal^ but I believe that χρ^ήζων (see L. and Sc. s. vv. χρήζω, χρησμός) 
 is right: There is no secrecy, except the secrecy of God'^s revelations, lit. 
 ' except when God in revealing conceals a part (ex-) '. The MSS. are equally 
 
 good for either. 1245. The mention of 'the secrets of God' naturally 
 
 suggests to them in their present position the thought of that unknown life 
 to which they are going. Now, detected and about to suffer, they feel 
 
 horrible doubts as to the true character of their act. 1246. ψυχτ), as 
 
 opposed to σώματι. What awaits her and them here they know ; but what 
 
 after? 1251. Πυθίω (so mss. ex coll. MoUendorf) : to the Pythian god 
 
 {v. 285), constructed with σφαγάς, to die as a sacrifice to the anger of 
 
 Apollo; see on θύματα, v. 1234. Others Τίνθίων or Πυθία. Ψηφω 
 
 κρατηθβΐσα : passive from ή ψήφος βκράτησε, 'the vote prevailed' : see 
 
102 ΕΥΡίπίΔΟΥ 
 
 μη Oaveip, κΧοπτ) δ' άφίγμαί 8ίαφυγουσα πολβμίονζ. 
 
 ΧΟ. ποΐ δ' άρ άλλοσ* η 'ττΐ βωμόν ; 
 
 ΚΡ. καΧ τι μοι πλέον τ6^€\ 1255 
 
 ΧΟ. Ικέτιν ου θέμις φονενευν. 
 
 ΚΡ. ....,: '^,Φ νομω δε y οΚΚνμαι. 
 
 'ΧΟ. χίι/οίο; ί/ .ίχλουσα. 
 
 cJCP^ ..' ; : - ;κυΧ,μΎΐν οΓδ' άτγωνισταΧ πικροί 
 ' ' ' hevfy Ιπ'είγορται ζιφ-ηρεις. 
 
 ΧΟ. Γ{€ νυν πνρας επι. 
 
 KOLU θάνΎ)ς γαρ ενθοίΒ* ούσα, τοΓ? άποκτείνασί σε 
 προστροπαιον οίμα θησεις, οίστεον δε την τύχην. 
 
 Creusa seats herself at the place of sacrifice. At this moniejit 
 Ion enters with armed men and a crowd of the Delphian 
 populace. He strides up to Creusa afid accosts her with fury. 
 
 ΙΩ. ^il τανρόμορφον όμμα Κηφισού πατρός, 1201 
 
 οΐαν εχώναν TrjvS' εφνσας η πνρος 
 SpaKovT άναβλεποντα φοινίαν φλόγα, 
 η τόλμα πασ ενεστιν, οΰδ* ησσων εφυ 
 Γοργούς σταλαγμών οΐς έμελλε με κτανεΐν. 1265 
 
 λάζνσθ*, ϊν αυτής τους ακήρατους πλοκούς 
 κόμης καταζηνωσι ΐίαρνασοΰ πλάκες, 
 όθεν πετραΐον άλμα 8ισκευθησεται. 
 εσθλου δ' εκυρσα δαίμονος πριν ες πόλιν 
 μολεΐν Άθηνων χυπό μητρυιάν πεσε'ίν. l2yo 
 
 εν συμμάχοις γαρ άνεμετρησάμην φρενας 
 τάς σας, όσον μοι πημα 8υσμενης τ εφυς* 
 εΐσω γαρ άν με περιβαλοΰσα 8ωμάτων 
 άρ8ην άν εζεπεμφας εις Άιδου Βόμους. 
 
 He becomes aware tltat she is upon the altar, and pauses. 
 
 αλλ' ούτε βωμός ουτ ^Απόλλωνος 8όμος 1275 
 
 σώσει σ. ο δ' οίκτος ο σος εμοί κρείσσων πάρα 
 και μητρί τ^ 'μη. και γαρ ει το σώμα μοι 
 
 ν. 1223• 1261. τανρόμορφον όμμα: ^ hull-shaped for m\ So rivers were 
 
 commonly represented. Soph. Track. 508; Hor. Carm. 4. 14. 25; Verg. 
 
 Georg. 4. 371. Cephisus'. river of Athens, and in mythology ancestor 
 
 of Creusa. 1262. ίχιΒναν : opp. to τανρόμορφον. 1264. ήσσων : pro- 
 
ΩΝ 
 
 Ι03 
 
 To save my life, and slipping through the foe 
 
 Got here by stealth. Clio. Fly to the altar, fly! 
 
 Where else ? Cre. What use ? Cho. Religion suffers not 
 
 To slay in sanctuary. Cre. But I am dead 
 
 By form of law. Cho. But they must take thee first ! 
 
 Cre. See, see, my rivals in the desperate race 
 Rush hither, sword in hand ! CJio. Quick ! Seat thyself 
 Among the ashes. If they kill thee there, 
 No help for it ; thy blood is on their heads. /^\ 
 
 CreiLsa seats herself at the place of sacrifice. At this moment 
 Ion enters with armed me7i and a crowd of the Delphian 
 poptdace. He strides up to Creusa and accosts her with fury. 
 
 Ion. What viper, dragon glaring fiery death, 
 Is this, Cephisus, born of thee, who showest 
 Nought more malign than bull in form and eye .-* 
 Cruel she is as death itself, as even 
 The Gorgon drops wherewith she sought my life. 
 Seize her; and let Parnassus' cliff, wherefrom 
 She shall be hurled to bound from rock to rock. 
 Drag out the tresses of her delicate hair. 
 Happy that this befell before I reached 
 Athens, at mercy of my stepmother ! 
 I have proved thy danger and thy bitterness 
 Here, where I have defenders, happily. 
 Hadst thou entrapped me in thy house, thou hadst 
 Dismissed me sheer into the house of Death. 
 
 He becomes aware that she is upon the altar, and pauses. 
 
 Nay, not the altar, not Apollo's house, 
 Shall save thee ! Thy appeal for mercy yields 
 To mine, and to my mother's ; if I have 
 
 bably archaic compar. from rjbvs kind : cf. βράσσων, βραΒίων : less is weak. 
 
 1266—1281. The irregular order of this speech, in which the command 
 
 to seize Creusa is not followed by the execution, has suggested various 
 re-arrangements of the lines. I have tried by the stage-directions to 
 
 show how the changes of attitude are explained by the action. 1273. 
 
 •ΐΓ€ριβαλοΰ(Γα : as in a net. — —1275. Sojjios : a climax ; ' the very temple, if 
 
I04 ΕΥΡίπίΔΟΥ 
 
 ν 
 
 airecTTLV αντΎ)*;, τουνομ ουκ απβστι πω. 
 
 He Uirns to his followers. 
 tSeade την ττανονργον, έκ τέχνης τέγνην 
 οίαν Ιπλ€^'• ου βωμον επτηξβν θεον ΐ28θ 
 
 ώς ου Βίκην δώσουσα των βίργασμενων; 
 
 They Jiesitate. 
 
 ΚΡ. άπβννβπω σβ μη κατακτείνευν εμε, 
 
 υπέρ τ εμαυτης του θεού ff Ιν εσταμεν. 
 
 ΙΩ. τί δ' εστ\ Φοιβω σοι τε κοινον εν μέσω ; 
 
 ΚΡ. ιερόν το σώμα τω θεω διδω/χ' εχειν. 1285 
 
 Ιίΐ. καπειτ εκαυνες φαρμάκοίς τον του θεού ; 
 
 ΚΡ. αλλ' ουκετ ησθα Αοξωυ^ πατρός δε σου. 
 
 ΙΩ. αλλ' εγενόμεσθα- πατρός ουσίαν λέγω. 
 
 ΚΡ. ουκ ουν τοτ ησσα, νυν ο εγω, συ ο ουκετ ευ ; 
 
 ΙΩ. ουκ ευσεβείς γε, τάμα δ' ευσεβή τότ ην. 12 90 
 
 ΚΡ. εκτεινα δ' οντά πολεμιον Βόμους εμοΐς. 
 
 ΙΩ. ούτοι συν δπλοις ηλθον εις την σην γθόνα. 
 
 ΚΡ. μαΚιστα' καπιμπρας y Έρεχ^θεως 86μους. 
 
 ΙΩ. ποίοισι πανοΐς η πυρός ποία φλογί; 
 
 ΚΡ. έμελλες οίκε'ίν ταμ εμού βία λαβών, 1 295 
 
 ΙΩ. πατρός yε γην 8ι86ντος ην εκτησατο. 
 
 ΚΡ. rots Αιόλου 8ε πως μετην της Παλλάδος ; 
 
 ΙΩ. δπλοισιν αυτήν ου λόγοις ερρυσατο. 
 
 ΚΡ. επίκουρος οίκητωρ γ' αν ουκ εΐη γθονος. 
 
 you were there '. 1278. τό όνομα (μητρός) : the tiatne of my rnother is lefty 
 
 i.e. I have yet a mother in name. See v. 321. So in v. 1543 όνομα πατρός a 
 father so-called. He refers to the Pythia, who if the murder had been done, 
 would have suffered (he means) both in her maternal affection and for the 
 
 sake of the god. The allusion prepares us for her appearance presently. 
 
 1288. €γ€νό|ΐ€σ-θα...ού<Γίαν: he uses the words, as the philosophers, e.g. 
 Flsito passim, to distinguish between the temporary and the eternal: iyivtTo 
 Ξούθου πατρός, he was temporary son to Xuthus, both as being born to him 
 for this life, and given to him for a time by Apollo ; but in eternal reality 
 (ουσίαν) his Father is the god. The language is borrowed from the 
 metaphysics of Euripides' own time ; but was probably religious before it 
 
 was philosophical. The mysticism is natural to a son of the cloister. 
 
 πατρός δ* ουσίαν MSS. (om. δ' Canter), πατρός άπουσίαν λβ'γω Seidler and 
 others, explaining thus, ' in the absence of Xuthus I became the property 
 
 of Phoebus'. But see the sequel. 1289. I read this line as a question. 
 
 The negative ούκ embraces the whole. *Then, I say, did not this real 
 
ΙΩΝ 105 
 
 None in the flesh, I have the name of one. 
 
 He turns to his followers. 
 
 See how the wretch hath seconded her craft, 
 Would make the god's own altar, nothing else, 
 Her refuge from the penalty of her crime ! 
 
 They hesitate. 
 
 Cre. Touch not my life ! I charge thee for myself 
 And for the god upon whose ground we are ! 
 
 Ion. Phoebus and thee ! What link is there between ? 
 
 Cre. I have given up my body to the god, 
 In trust to keep. Ion. And would'st have poisoned me. 
 Though his ! Cre. Not his ; he had resigned thee first 
 Unto thy father ! Ion. Father but in time : 
 I mean my real, eternal Father ! Cre. Then 
 That Fatherhood hath passed from thee to me ! 
 
 Ion. Nay, thou art guilty, I was innocent ! 
 
 Cre. Foe to my house ; therefore I sought thy life ! 
 
 Ion. Nay, if I thought to enter on thy land 
 I came not armed. Cre.f Yes, armed with fire, to waste 
 Our peaceful home ! Ion. What fancy wild is this } 
 
 Cre. Thy purpose was to rob me of my state 
 By rapine ! Ion. By my conquering father's gift ! 
 
 Cre. What right in Athens had an Aeolid } 
 
 Ion. He saved her, not by arguments but arms ! 
 
 Cre. A man may serve a city with his sword 
 
 fatherhood {ονσία πατρόή belong to you formerly, and has it not passed to 
 me?' If to belong to the temple is to be Phoebus' child (in this sense, 
 partly right, she understands him), then Creusa now {v. 1285) has that 
 
 claim, and Ion, for the time at least, has not. 1290. The fatherhood of 
 
 Phoebus is only for the innocent, such as Ion, when he belonged to the 
 temple, was, and Creusa (though, as she argues, she belongs to the temple) 
 is not. 1294. ποίοισι iravoLs ; merely rejects, with contempt and astonish- 
 ment, Creusa's language. 1299—1301. The brevity of the original here 
 
 is quite too much for my English ; but I do not think there is any error in 
 the text. Ion's argument, a dilemma, is this. The fulfilment of ambitious 
 hopes either is a certainty, which may lawfully be counted upon, or it is not. 
 If it is, what becomes of Creusa's contention, that Xuthus has no rights in 
 Athens, and can give none to his son ? He certainly hoped and intended 
 (e/xeXXe) to obtain citizenship and something more for his services. If it is 
 
io6 ΕΥΡίπίΔΟΥ 
 
 ΙΩ. καπ€ίτα του μ^λλειΐ' μ άπ^κτευρ^ς φοβω ; 1 300 
 
 ΚΡ. ώ? μη Θάνοιμί y y ει συ μη μελλωρ τύχουν. 
 
 ΙΩ. φθονείς ατταις ουσ εΐ πατήρ εζηυρε με. 
 
 ΚΡ. συ των άτεκνων 8ητ άναρπάσεις 86μου<; ; 
 
 1Ω. ημϊν 8ε γ' άλλα πατρικής ουκ ην μέρος ; 
 
 ΚΡ. OCT* ασπίς εγχος θ*' η8ε σοι παμπησία. ^3^5 
 
 ΙΩ. εκλειπε βωμον καΐ θεηλάτους εΒρας. 
 
 ΚΡ. την σην οπού σοι μητέρ εστί νουθετεί. 
 
 ΙΩ. συ δ' ούχ υφεξεις ζημίαν κτείνουσ εμε ; 
 
 ΚΡ. ην γ* εντός άΒύτων τωνΒε με σφάξαι θελης. 
 
 ΙΩ. τις η8ονη σοι θεού θανεΐν εν στεμμασι; 13^^ 
 
 ΚΡ. λυπησομεν τιν ών λελυπημεσθ^ ϋπο. 
 
 ΙΩ. φευ. 
 
 8εινόν γε θνητοίς τους νόμους ώς ου κάΚως 
 
 εθηκεν 6 θεός ουδ' άπο γνώμης σοφής• 
 
 τους μεν γαρ άΒικους βωμον ου^ ϊζειν εχρην, 
 
 αλλ' εζελαύνειν ούΒε γαρ \jJaύειv καλόν ^3^5 
 
 θεών πονηράν χ^ίρα' τοίσι δ' ενΒίκοις 
 
 ιερά καθιζειν όστις ηΒικεΙτ εχβην, 
 
 και μη 'πι ταύτο τουτ Ιόντ εγειν ίσον 
 
 τόν τ εσθλόν όντα τον τε μη θεών πάρα. 
 
 The crowd advances. The Pythia enters from the 
 temple. She bears in Jier arms a cradle, bound with 
 filkts of wool resembling those on tJie altar. 
 
 ΠΤΘΙΑ. 
 Έπί(Γχ€9, ω παι• τρίποδα γαρ χρηστηριον 1 3^0 
 
 not a certainty, if ambition is often disappointed, then what becomes of 
 Creusa's contention, that she was justified in attempting the murder of Ion 
 by the mere dread of ambitious designs, which she supposed him to 
 entertain.? Yes, answers Creusa, she was; she could not be expected to 
 
 risk her life upon the chance of his patience. 1300 : And yei (though you 
 
 use this argument) you tried to kill me for fear of an intention f 1301. 
 
 Yes, that I might not die, (as I should) in case you proved to be ijnpatient. 
 
 θάνοιμι el. . .τύχοιβ : literally die in the case of your proving. μ.^ μέλλων : here 
 
 /χ€λλω passes from the sense of intending to that of intejiding merely (and 
 
 not executing), i.e. waiting. If Creusa waited. Ion might not. 1302. 
 
 <|>6ovcis. These are the mere suspicions of jealousy. 1303. avapirao-cis ; 
 
 'Must/i??/ snatch up.•*' 1304. άλλα ττατρικήβ (γη?): in the land, which 
 
 was at all events my father's. The argument begins to revolve, each dis- 
 
ΙΩΝ 10/ 
 
 Yet be no citizen ! Ion. Yet, though projects fail. 
 Thou, for the fear of a supposed intent, 
 Soughtest my life ! Cre, I did, lest, not content 
 With expectation, thou should'st murder me. 
 
 Ion. Thy childless heart grudges my sire a child ! 
 
 Cre. Must heirless wealth escheat perforce to thee ? 
 
 Ion. Had I no portion in my father's land ? 
 
 Cre. A shield and spear ; that is thy heritage ! 
 
 Ion. Ah ! Victim, quit the altar ! Cre. Find thy mother, 
 And lesson her ! Ion. Thou didst attempt my life, 
 And shalt not pay for't ! Cre. If thou choose to spill 
 My blood on holy ground. Ion. What pleasure is't 
 To die on Phoebus' hearth } Cre. The sacrileg-e 
 
 ο 
 
 Will punish One who did offence to me. 
 
 Ion. Ah ! 'Tis a wonder that the law divine 
 Should be so ill, so indiscreetly made ! 
 Guilt should have been denied the sanctuary, 
 Chased from the altar (for his very touch 
 Is profanation), and the place reserved 
 For injured innocence. Now good and bad 
 Come for a common boon, and both receive ! 
 
 TJie crowd advances. The Pythia enters from the 
 temple. She bears iti her arms a cradle^ bonnd with 
 fillets of wool resembli7ig those on the altar. 
 
 Pythia. Pause, Ο my son ! From yon prophetic stool 
 
 putant repeating his own plea; Creusa's taunt {v. 1305) brings it to an 
 
 abrupt end. 1306. καΙ θίηλάτου? '^δρα§ : the place (seat) to which the god 
 
 has chased thee. The point of this expression lies in the use of β^ηΚατο^ for 
 a victim which came quietly to the altar, a sign that the god intended it for 
 sacrifice (see Aesch. Ag. 1297), and the common use of ekavvciv for the 
 hunting of an animal. That Apollo has driven Creusa to his altar is a sign 
 that he intends her to be sacrificed to his vengeance (see on v. 1251), from 
 which indeed, as it now seems, she cannot in the end escape. The point is 
 forced and false ; but it well expresses the embarrassment of the pursuers' 
 
 position. 1307. Creusa treats the quibble with contempt. ' Tell that to 
 
 your mother, when you can find her'. διτου <γοι...Ι<γτΙ together. 1311. 
 
 τινά : Apollo. φίΰ : fe ! 1316 : and {the gods) ought to have fou7ided 
 
 sa7icttca?'ics for the benefit of the righteous {only). 1317. ήδικ€ίτο : the 
 
 tense places the injury at the same time with ^χρψ : οστι^ ήδικβίτο is ό άδικου- 
 
io8 ΕΥΡίπίΔΟΥ 
 
 λυπούσα θριγκου Tovh^ νπ€ρβάλλω ποδΙ 
 Φοίβου προφητίς, τρίποδος άργαίίον νόμορ 
 σώζουσα πασών ΑελφιΒων εξαίρζτος. 
 
 Ιίΐ. χαψ\ ω φίλη μοι μητβρ, ου τεκουσά πβρ. 
 
 ΠΤ. αλλ' ουν λεγόμεθα γ'• η φάτις δ' ου μοι πικρά. 1 325 
 
 ΙΩ. ηκουσας ώ? μ^ εκτεινεν rjhe μη-χαναΐς ; 
 
 ΠΤ. ηκουσα' καΐ συ y' ω /xos ων αμαρτάνεις. 
 
 ΙΩ. ου γβη με τούζ κτείνοντας άνταπολλύναι\ 
 
 ΠΤ. προγόνοις Βάμαρτες ^υσμενε'ίς αεί ποτέ. 
 
 ΙΩ. ημείς 8ε μητρυυαϊς γε πάσχοντες κακώς. 133^ 
 
 ΠΤ. μη ταύτα' λείπων Ιερά καΐ στείγων πάτραν — 
 
 ΙΩ. τί Ζη με Βράσαυ νουθετούμενον γρεών ; 
 
 ΠΤ. καθαρός ^ΚΘηνας ελθ* υπ" οιωνών κάλων. 
 
 ΙΩ. καθαρός άπας τοι πολεμίους δς αν κτάνη. 
 
 ΠΤ. μη συ γε' παρ' ημών δ' εκλαβ" ους εχω λόγους. 1335 
 . Κεγοις αν ευνους ο ουσ ερεις οσ αν λεγης. 
 
 ΠΤ. οράς τόδ' άγγος χ^ρος υπαγκάλισμ εμης ; 
 
 Ι Ω. ό^οώ παλαιάζ/ άντίπηγ" εν στεμμασιν. 
 
 ΠΤ. εν τη8ε σ ελαβον νεογονον βρέφος ποτέ. 
 
 ΙΩ. τί φης ; ο μύθος εισενηνεκται νέος. 1 340 
 
 ΠΤ. σιγή γαρ εΐχον αυτά' νυν 8ε Βείκνυμεν. 
 
 ΙΩ. πώς ούν έκρυπτες τότε λαβουσ ημάς πάλαι ; 
 
 ΠΤ. ό θεός σ εβούλετ εν 8όμοις εχειν λάτριν. 
 
 ΙΩ. νυν δ' ούχι χρήζει ; τω τοδε γνωναί με χρη ; 
 
 ΠΤ. πάτερα κατειπών τησΒε σ εκπέμπει χθονός. ^345 
 
 ΙΩ. συ δ' εκ κελευσμων η πόθεν σώζεις τάδε ; 
 
 ΠΤ. ενθύμιόν μοι τότε τίθησι Αοζίας — 
 
 ΙΩ. τί χρημοι^ Βράσαι ; λέγε, πέραινε σους λόγους. 
 
 ΠΤ. σώσαι tOS* ευρημ εις τον όντα νυν χρόνον. 
 
 ΙΩ. έχει δε μοι τί κέρδος η τίνα βλάβην ; 135^ 
 
 ΠΤ. ενθάΒε κέκρυπται σπάργαν οΐς ένησθα συ. 
 
 μ€νοί (an injured person) as a conception viewed at a past time. 1321. 
 
 The θριγκός over which the prophetess stepped was a low wall running 
 
 round the άδυτοι/ and serving to preserve it from intrusion. ττοδί : see on 
 
 V. 929. 1325. λβγόμίθά γ Elmsley ; λ(γόμ(σθ" MSS. 1332. The tone 
 
 of this is impatient rather than submissive : * if I am going out of guardian- 
 ship into the world, why must I take a lesson in conduct?' literally, 'what 
 
 then must I do under instruction?' 1333. vn οΙωνών: accompanied by 
 
 omens. 1340. The story is introduced in a new shape^ i. e. with the detail 
 
ΙΩΝ 109 
 
 I have set foot beyond the close, and come 
 
 Phoebus' interpretess, elect of all 
 
 In Delphi to maintain our ancient seat. 
 
 Ion. My mother, not by geniture, but love. 
 
 Pyth. So am I called, nor loth to bear the name. 
 
 Ion. Hath it been told thee how this woman sought 
 My life by craft ? Pyth. It hath ; and I condemn 
 Thy cruelty no less. Ion. A life for a life ! 
 
 Pyth. The wedded wife to children earlier-born 
 Was never kind. Ion. Nor we to stepmothers 
 Who use us ill. Pyth. This fits not. Thou art quitting 
 The cloister for thy home: — Ion. Then what imports 
 This lesson ? Pyth. Keep thine innocence, to bless 
 Thy coming unto Athens. Ion. Innocence 
 May slay his foe. Pyth. Nay, that is not for thee ! 
 But hear my message. Ion. Speak ; whate'er thou say, 
 The purpose must be loving. Pyth. See'st thou this, 
 Borne in my arms } Ion. A cradle, old, and bound 
 With sacred bands. PytJi. Thou, being then new-born, 
 Cam'st to my hands in this. Ion. What! This is new 
 In the story ! PytJi. Yes ; it was a secret kept. 
 Till now disclosed. Ion. Why hidden then this while 
 Since I was found ? Pyth. It was Apollo's will, 
 To keep thee servant here. Ion. But now his will 
 Is changed? How know I that? Pyth. By showing thee 
 Thy father he doth give thee leave to go. 
 
 Ion. Why was this kept by thee ? Was't bidden ? 
 
 Pyth. The god , 
 
 Whispered me, when 'twas found, — 
 
 I 071. What, what ? Say on, 
 Say all. PytJi. To keep it for the present hour. 
 
 Ion. And what hath it for me ? What help or hurt ? 
 
 Pyth. The tokens that were on thee are within. 
 
 of the cradle (see 7/. 317). 1341. αυτά: the exact facts. 1342. How was 
 
 it that y oil concealed it from me (ήμας) all this while since you received me in 
 
 it? 1345. κ^τ^ιτΐών {σον) '. by attributing to you. See 7/. 12 15. 1347. A 
 
 significant pause. Why does she find it difificult to say that the keeping of the 
 
no ΕΥΡίπίΔΟΥ 
 
 lii. μητρός τάδ* ημίν έκφβρβυς ζητήματα. 
 
 ΠΤ. inei y' ό δαίμων βουλεταΐ' πάροίθβ δ' ου. 
 
 ΙΩ. ω μακαρίων μοι φασμάτων τ^δ' ημέρα. 
 
 She offers him tJie cradle. 
 
 ΠΤ. \αβών vvv αντα την τβκονσαν εκπόνευ. 1355 
 
 ΙΩ. ττασαν δ' επεΧθων Άσιάδ' Ευρώπης θ* ορονς ; 
 ΠΤ. yi'iuo-et τάδ' αΰτος. του ^εου δ' €χατί ere 
 εσρεψα τ , ω τται, /cat ταο αποοιοωμι σοι, 
 α /cetiO? άκελενστόν μ εβονληθη λαβεΐν 
 σωσαί &' οτον δ' εβονΚεθ* οννεκ\ ουκ εχω. ΐβ^Ο 
 
 ^δβι δε θνητών οντυς ανθρώπων τάδε 
 έχοντας ημάς, οΰδ' Γι^' τ^ι^ κεκρνμμένα. 
 καΐ χαΐρ ' ίσον yap σ ως τεκονσ ασπάζομαι. 
 
 She turns from him to go, but suddenly turns back again. 
 
 αρξαι δ' όθεν σην μητέρα ζητεΐν σε χρη, 
 
 πρώτον μεν, ει τυς Αε\φί8ων τεκονσά σε 13^5 
 
 εΙς τονσ^ε ναονς εζεθηκε παρθένος' 
 
 έπειτα δ', ει τις Ελλάς* εζ ημών δ' ε^ει? 
 
 άπαντα Φοίβου θ* ος μετέσχε της τύχης. 
 
 She retires, but remaifis watching at the door of the temple. 
 
 lil. φευ, φευ' κατ οσσων ως ύγρον βάλλω Βάκρυ 
 
 έκείσε τον νουν 8ούς, οθ* η τεκουσά με 137^ 
 
 κρυφαΐα νυμφευθείσ άπημπόλα λάθρα 
 καΐ μαστον ουκ επέσχεν, αλλ' ανώνυμος 
 έν θεού μελάθροις έΐχον οΐκέτην βίον. 
 
 cradle was prompted by Loxias ? 1352. ζητήματα : as means of seeking. 
 
 1353. lircC γ* : yes, since it is the will of heaven. Note that the phrase 
 
 properly expresses resignation. 1355. την τ€κοΰσαν ίκττόνβι : ινΐ7ΐ thy 
 
 mother by labour, or travel, i.e. find her. Cf. Tro. 873 'EXtw/i/ (ξβμόχΰησαρ 
 dopi they won Helen as prize of war. So Ion is meant to understand. But 
 note the strange expression. To apply Uiroviiv in this sense to a person is 
 extremely harsh, where there is nothing, like hopl in Tro. I. c., to help out the 
 verb. Elsewhere ίκπονύν, with personal object, has two senses, (i) to educate 
 {finish), here so plainly excluded that it could not be thought of ; (2) to force, 
 compel, bring by force to, which we have in this play, v. 375. Now this latter 
 sense is here strongly supported by the form of the sentence, which would 
 then mean 'take them by compulsion from tj^j/ ηκονσαν\ Why is it that 
 she parts from the cradle unwillingly, and what are we to understand by ιην 
 
ΙΩΝ III 
 
 Ion. Thou bring'st me aid to find my mother! Pyth. Now 
 And not before.. ..It is the will of Heaven! 
 
 Ion. Blest be to-day for what it hath revealed ! 
 
 SJie offers him the cradle. 
 
 Pyth. Take it... from her who bare thee... wrest herewith 
 Her secret. Ion. {taking it out of her hands) Must I travel 
 
 in the search 
 All Asia, and to Europe's utmost bound ? 
 
 Pyth. Do as thou wilt for that. By will divine 
 I reared thee, son, and now deliver these, 
 Which by His will, unbidden, I received 
 And kept, not knowing why he willed it so. 
 That I possessed them not a mortal knew, 
 Nor where they were concealed. I part from thee... 
 Even as a mother, with a kiss. Farewell ! 
 
 She turns from him to go, but stcddenly turns back again. 
 
 As to the order of thy quest, begin 
 With Delphi, if perchance a Delphian 
 Left thee, her maiden offspring, at the fane. 
 Then seek in Hellas. We have done our part 
 In full, with Phoebus, who had part herein. 
 
 She retires, but remains watching at tL• door of the temple. 
 
 Ion. Alas, alas ! How flow mine eyes with tears 
 To think of that sad hour, when she, who bare, 
 Put me, the fruit of her disgrace, away 
 Unsuckled from her breast, a nameless waif, 
 To live upon a temple's charity ; 
 
 τ^κονσανί I have tried to preserve the ambiguity. 1364 — 68. Dindorf 
 
 and others propose to omit these lines, which would be absurd, if the situation 
 
 were as commonly understood. See the Introdtiction. 1364. άρξαι...χρή : 
 
 As to the point from which you ought to begin your enquiry, [enquire) first, 
 etc. For the relative sentence anticipating what follows cf. v. 342 ο φί^σίΐ/ κ.τ.λ., 
 
 and note there. άρξαι may be taken either as inf act. (so here) or imper. 
 
 middle (with v. 1365). The first is better; the position of the word is due to 
 
 the emphasis. 1365. Supply χρη ζψύν from the relative clause. 1369 — 
 
 79. Note here the ' irony' of contrast between the imaginary woe and the 
 real. 1371. άίΓημιτόλα : lit. ^ smuggled away'. See on Med. 910. 1380. 
 
112 ΕΥΡίπίΔΟΥ 
 
 τα τον θεον μίν γ^ρηστά, τον δε δαίμονος 
 
 βαρέα' γβονον yap, ον μ! €χρην iv άγκάλαυς 1375 
 
 μητρός τρνφησαι και τι τβρφθηναί βίον, 
 
 άπβστβρηθην φυλτάτης μητρός τροφής. 
 
 τλημων δε -χτη τβκονσά μ, ώς ταντον πάθος 
 
 ττεπονθβ τταιδός άπολεσασα γαρμονάς. 
 
 καΐ ννν λαβών TijvS' άντίττηγ οϊσω θεω 1 3^0 
 
 α^'α(77;/Λ , LV βνρω μηοβν ων ον ρονλομαι 
 
 €1 yap μβ Βονλη Tvy^avei τεκονσά τις, 
 
 evpelv κάκιον μήτε ρ η aiycuVT Ιαν. 
 
 ώ Φοϊβε, ναοΐς άνατίθημι τήνΖε σοίς — 
 
 καίτοι τι πάσχω ; τον θεον προθνμία 1 385 
 
 πολεμώ, τα μητρός σνμβολ^ ώς έσωσε μοι. 
 
 άνοικτεον τάδ' εστί καΐ τολμητεον' 
 
 τά yap πεπρωμεν ουδ' νπερβαίην ποτ αν. 
 
 He unties the fillets. All this time Creusa is gazing eagerly. 
 
 ω στεμμαθ" Ιερά, τί ποτέ μου κεκενθατε, 
 καΐ σνν8εθ*, οΐσί ταμ εφρονρηθη φίλα ; 1 390 
 
 He takes them off and gazes at tJiem. 
 
 ιδού, πεpίπτvyμ! άvτίπηyoς ενκνκλον 
 ώς ον yεyηpaκ εκ τίνος Θεηλάτον, 
 ενρώς τ άπεστι πλεyμάτωv• 6 S* εν μέσω 
 ■χρόνος πολνς δτ) τοισδε θησανρίσμασιν. 
 ΚΡ. τί 8ητα φάσμα των άνελπίστων ορώ; 1395 
 
 All gaze at her with astonishment and cxpecta- 
 tio7i, but for some time she is unable to speak. 
 
 ΙΩ. σιyάv σν πολλά καΐ πάροιθεν οΧσθά μοι. 
 ΚΡ. ονκ εν σιωπή τάμα' μη με νονθετει. 
 ορω yap ayyoς ον ςεσηκ εyω ποτέ 
 
 (She starts from the ground with a scream of joy ^ 
 
 Those within the temple must have been truly pleased by this proposal! 
 
 1386. ώ5 Paley, os MSS. : since he preserved and so proved his intention. 
 
 1391. 'ΤΓ6ρ£ΐΓτυγμα includes both enfolding (the στίμματα) and enfolded 
 
 (the cradle). 1393. •ΐΓλ€γμάτων : see v. 37. 1395. φά<Γμα...άν6λ'π•ί<Γτων: 
 
 showing of the incredible. 1396. I have seen more than once already that 
 
 you can be secret {οίσθα σιγαρ τα πράγματα)^ viz. in the case of the pretended 
 'friend' {v. 395) and of the assassination-plot. μοι: 'ethic' dative, 'to my 
 
ΙΩΝ 113 
 
 Blest in my sacred Patron, yet in fate 
 Not happy, cheated of a mother's love, 
 My rightful hours of comfort in her arms, 
 My proper part of infant luxury ; 
 While she, my hapless mother, was aggrieved 
 No less, to lose the sweetness of her child ! 
 
 And now, this cradle given me I will make 
 A votive offering; so I may not find 
 What I were loth. My mother, if a slave, 
 To find were worse than let the secret sleep. 
 Lo, to thy fane, Phoebus, I dedicate — 
 But stay, what mean I ? This is clean against 
 The god's own purpose, who preserved to me 
 The tokens of my birth. I must be bold 
 And open it. My fate I cannot fly. 
 
 He unties the fillets. All this time Creusa is gazing eagerly. 
 
 Ye sacred bands, ye knots that kept for me 
 A trust of love, what have ye here within t 
 
 He takes them off and gazes at them. 
 See how the wrapping of the cradle still 
 By miracle is fresh, nor touch of mould 
 Is on the basket-work, for all the lapse 
 Of years and years since they were laid away ! 
 
 Creusa. What do I see } Ο wonder ! Ο surprise ! 
 
 A II gaze at her with astonishment and expecta- 
 tion, but for some time she is unable to speak. 
 
 Ion. A secret ! I have cause to know that thou 
 Canst keep them ! Cre. {recovering) Ah ! No secret ! Chide 
 
 me not. 
 I see... the cradle. ..in which I laid and left... 
 
 {She starts from the grotmd with a scream of joy.) 
 
 knowledge, as I have found'. οίσθα: have learnt, know how to. For in- 
 stances see L. and Sc. s. v. 1 do not think there is any mistake in this 
 
 verse. It expresses the anger and impatience of Ton, when Creusa's excla- 
 mation is followed by a long silence. He supposes her to be pretending 
 some secret knowledge of the cradle, to excite his interest and save her life, 
 
 V. I. 8 
 
114 ΕΥΡίπίΔΟΥ 
 
 σ4 γ', ω τ4κνον, μοι βρέφος €Τ οντά νηπιον 1399 
 λείψω δε βωμον τόι^δε, Kel θαν^ίν /xe χρη. 1401 
 
 She rushes from the altar and flings 
 her arms round his neck. 
 
 ΙΩ. λάζνσθβ TTJvSe' θβομαιτης γαρ ηλατο 
 
 βωμού λυπούσα ζοανα' δεΓτε δ' ώ\4να<;. 
 ΚΡ. σφάζοντβς ου ληγουτ αν, ως άνθέξομαι 
 
 καΐ TTjahe καΧ σου των τ ίσω κ^κρνμμίνων. 14^5 
 ΙΩ. τάδ' ον^ι Seuva ; ρνσιάζομαι λόγω. 
 ΚΡ. ουκ* άλλα σοΓς φίΚοισιν €υρίσκ€ΐ φίλος. 
 ΙΩ. εγώ φίλος σος ; κατά μ Ικτ^ιν^ς λάθρα ; 
 ΚΡ. παΙς γ', ει τόδ' εστί τοΙς τεκουσι φίλτατον, 
 ΙΩ. τταυσαι πλβκουσα ληφομαυ δ' εγώ κάλως. 1410 
 
 ΚΡ. εΐ9 του^* Ικοίμην TodSe τοζβύω, τέκνον. 
 ΙΩ. κει^οι^ τόδ' άγγο9, Τ7 σ"τεγει ττληρωμά τι ; 
 ΚΡ. σα γ' εν8υθ\ οίσί σ έξέθηκ εγώ ποτέ. 
 ΙΩ. /cat τουνομϋ αυτών έζερβις πρΙν εισιδειζ^ ; 
 ΚΡ. καν μη φράσω γε, κατθανβίν ύφίσταμαυ. ^4^5 
 
 ΙΩ. λεγ'• ως ε)(ει τι δειι^οζ^ τ^ 7^ τόλμα σου. 
 _ 77/^ cradle is opened. 
 
 \^ ΚΡ. σκεψασ^ ο τταις ττοτ' ουσ' υφασμ υφην εγώ. 
 ^ ΙΩ. ποιόν TL ; πολλά παρθένων υφάσματα. 
 
 ΚΡ. ου τίλβον, οίον δ' €κΒί8αγμα κ€ρκί8ος. 
 
 ΙΩ. μορφην έχον τίν, ως μβ μη ταύτη λάβης ; 142Ο 
 
 ΚΡ. Γοργω μεν iv μέσοισιν ητρίοις πέπλων. 
 
 ΙΩ. ώ Ζευ, tis τ^/χάς εκκυνηγετεί πότμος ; 
 
 — σίγα' ποΚίμία κα\ πάροιθ€ν ησθα Paley, and aliter alit. 1399. <r^ γ* : yes, 
 
 thee, or why, thee. The inference breaks upon her. 1400. KeVptwroy es 
 
 άντρα /cat Μακράς π€τρηρ(φΰς, a gloss, omitted by Paley. 1403. ξόανα: 
 
 carved images, with which the altar was decorated. 1405—6. Probably 
 
 τα Kf κρυμμένα was the term used for property, which a debtor was said to be 
 concealing, upon a representation (Xoyoy) of which fact the creditor would 
 
 obtain leave to seize them as a ρνσων. των τ€ (or ye) σων κ^κρυμμίνων MSS. 
 
 perhaps right ; text Tyrwhitt. 1406. λόγω : / atn being seised upon a claim 
 
 ox pretext, like a distress levied by a creditor: the terms are legal. 1410: 
 
 invent no inore, but let me detect your inveniio?ts', literally 'stop twisting 
 the rope and / will take it', κάλως (plural) is object both to ηλίκονσα (see 
 L. and Sc. s. v. πλέκω) and to ληψομαι. The point depends on the fact that 
 the metaphor of twisting was common in Greek for fraud, and on the two 
 
ΩΝ 
 
 115 
 
 Thee, thee, my child, my little baby then; 
 And I will quit this altar, though I die! 
 
 She rashes from the altar and flings 
 her arms round his neck. 
 
 Ion. Seize her ! The god hath crazed her : she hath leaped 
 Away from her protection. Bind her arms ! 
 
 Cre. Ah, ye may hack me, for I will not quit 
 My hold of thee, and this, and that within. 
 
 Ion. Ο monstrous fraud ! She makes me hers by force ! 
 
 Cre. Nay, mine by true discovery and by love. 
 
 Ion. Thine, thine by love, my crafty murderess ! 
 
 Cre. Mine and, if mother love her child, by love ! 
 
 Ion. Invent no more, but let me test the trick. 
 
 Cre. The test, the test, my child, I crave the test ! 
 
 Ion. Say, is this empty, or is aught within } 
 
 Cre. What thou hadst on when I abandoned thee. 
 
 Ion. And wilt thou name the tokens, ere thou see } 
 
 Cre. Aye, and consent to perish, if I fail ! 
 
 Ion. Speak. It is strange that thou shouldst dare the 
 attempt. 
 
 The cradle is ope^ted. 
 
 Cre. Look at some child-work of my maiden loom. 
 
 Ion. Maid's work is manifold. What like was thine.? 
 
 Cre. The unfinished sampler of a prentice hand. 
 
 Io7i. That may be cheating. Let me know the form. 
 
 Cre. The canvas bears a Gorgon in the midst — 
 
 Ion {aside). Ο Zeus ! Can this be fate upon our track } 
 
 senses of λάμβαναν, receive and catch. The image is taken from two persons 
 employed at rope-making, one twisting and the other taking off the walk 
 the successive lengths as they are finished. — καλώ? mss., λήψομαι σ eyoi 
 καλώς Tyrwhitt and modern editions. But the adverb (and ^γω) are without 
 
 point. 1411. Let me come to the detection; that is my aim. 1416. γ€ 
 
 τόλμα: Jodrell; τοΚμα -ye MSS. 1417. <Γκ4ψασ-θ€ : to Ion and those who 
 
 gather eagerly round him. Creusa is probably on the ground clinging to 
 
 Ion's feet, and the cradle in his arms. 1420. He suspects her of wishing 
 
 to deceive him in this way (by the pretext of the preceding verse), to 
 
 escape giving any particular description. μορφην : its shape^ general 
 
 outli7ie\ this she can give, even if the design was not completely worked 
 in. 1421. ήτριοιε: Musgrave, ήτρίων MSS. See L. and Sc. s. v. 
 
 8—2 
 
ii6 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. κβκρασπε^ωταί τ οφεσυν αιγίδος τρόπον. 
 ΙΠ. ιδοΰ. 
 
 τόδ' ή'εσθ' ύφασμα θεσφαθ" t ως ενρίσκομεν. 
 ΚΡ. ω γ^ρόνιον Ιστων τταρθένενμα των ίμων. 14^5 
 
 The Prophetess goes into the temple. 
 
 lil. εστίν TL προς τω8\ η μονω τωδ' εντνγεις ; 
 
 ΚΡ. 8ροίκοντ€ς, άρχαΐόν τι παγχρνσω yevei. 
 
 ΙΩ. ?>ώρημ ^Κθάνας, y τεκν εντρεφευν λέγει ; 
 
 ΚΡ. ^Ειρΐ)(θονίον ye τον πάλαι μιμιηματα. 
 
 Ιίΐ. τι δραζ^, τι χ^ρησθαυ, φράζε μοι, -χβυσωματι; 143^ 
 
 ΚΡ. δφαια παίδι ι^εογόζ^ω φερειν, τεκνον. 
 
 ΙΩ. ενείσυν οΓδβ* 
 
 το δε τρίτον ποθώ μαθείν. 
 ΚΡ. στεφανον ελαιας άμφεθηκά σοι τότε, 
 
 ην πρωτ ^Κθάνα σκόπεΧον είσηνεγκατο' 
 
 ος, εϊπερ εστίν, ουποτ εκλείπει -χλόην, 1435 
 
 θάλλει δ', ελαιας ef ακήρατου γεγως. 
 ΙΩ. ω φιλτάτη μοι μητερ, ασμενός σ ι8ων 
 
 προς άσμενας πεπτωκα σας παρηι8ας. 
 ΚΡ. ω τεκνον. ω φως μητρί κρείσσον ηλίου, — 
 
 συγγνώσεται γαρ ό θεός — εν χ^ερο'ίν σ εγω 144^ 
 
 αελπτον ευρημ, ον κατά γας ενερων 
 
 γθόνιον μετά Ιίερσεφόνας τ εΒόκουν z^aieii^. 
 ΙΩ. αλλ', ώ φίλ7] μοι μητερ, εν γεροΐν σεθεν 
 
 6 κατθανών τε κου θανών φαντάζομαι. 
 ΚΡ. ιώ ιώ λαμπράς αιθέρος άμπτυγαί, 1445 
 
 τιι^' αυδάι^ άυ'σω, βοάσω ; πόθεν μοι 
 
 1424. Corrupt. The translation assumes τόδ' (or τάδ') (φθασας συ φάσμα& 
 ως (ύρίσκομίρ: in this case you have anticipated the showing, as we find the 
 thing, i.e. 'described it rightly before it was shown': see vv. 1395, 1414. 
 
 1425. Note that Creusa does not pretend to recognize her work with certainty. 
 On the contrary she accounts to herself very naturally for the fact that she 
 does not, by the lapse of time between. The emphasis is on χρόνιον. 
 
 1426. €ντυχ€ΐβ : one success might be an accident. 1427. άρχαιον...γ^ν€ΐ: 
 
 an ancient custom of our golden race. Golden, i.e. glorious by antiquity and 
 
 wealth : see L. and Sc. s. v. χρύσίος. γ^ν€ΐ : possessive dative, to or in the 
 
 family : v. 24. The άρχάίόν τι is not so much this particular jewel, as the 
 
 practice of always putting such a airapyavou upon infants of the family. 
 
 1429. Έριχθονίου : i.e. of his necklace (the usual brachylogy) ; see V7'. 999 flf. 
 
ΙΩΝ 117 
 
 Cre. Framed, like an aeg-is, with a snaky fringe. 
 
 Ion {showing it). Behold ! Thou hast foretold it as we find. 
 
 Cre. Ah, what an age since that was wrought by me ! 
 
 The Prophetess goes into the temple. 
 
 Ion. Is there aught else, — or canst thou guess but once t 
 
 Cre. Serpents in gold, the custom of my race. 
 
 Io7i. Athena's gift, and used by her command t 
 
 Cre. Copied from those of Erichthonius old. 
 
 Ion. How is the trinket used and worn } Explain. 
 
 Cre. For necklace to a new-born babe, my child. 
 
 Ion {showing it). 'Tis here ; and one thing more. Ο tell 
 me that ! 
 
 Cre. {after a pause). A wreath I put on thee from the 
 olive-tree 
 Athena first brought to her citadel. 
 If it exist, it cannot lose the green, 
 But keeps the freshness of the inviolate stem. 
 
 Ion {throwing himself into her arms). 
 My mother, Ο my mother!... Ο blessed joy 
 To kiss thee, happy face to happy face!... 
 
 Cre. My child, my light, my day (the blessed sun 
 Forgives me 1) found I Here in my very arms ! 
 Found I 
 
 And I thought thee dead, I thought thee dead. 
 Gone to the Queen of the Dead, to her dark realm under 
 the ground ! 
 
 Ion. Yes, in thine arms, dear mother, in thine arms ! 
 'Tis I thou see'st, who died and am not dead. 
 
 Cre. See, see, the illumined heavens ope 1 
 What words, what music will express 
 
 1430. τί δράν; he continues as from his last words {v. 1428). τί 8ράν 
 
 λ4γ€ΐ•, what is the prescribed use of the ornament? He wishes to ascertain 
 
 that she knows the form of it, a necklace. 1432. ττοθώ. He now longs 
 
 that she may succeed. He prompts her and when she pauses probably 
 
 gives her a glimpse. 1440 (and 1443). Note that this embracing gives 
 
 an excellent stage-opportunity for displaying the main fact, that Creusa's 
 rtr;/i is without the bracelet. 1445. Ό^ψκτΜγ^^: expa7ise. 1450. ττάντα: 
 
ii8 ΕΥΡίπίΔΟΥ 
 
 συνεκυρσ aSoiajros ά8ονά ; πόθεν 
 
 ελάβομεν χαράν ; 
 ΙΩ. ifjLol γενέσθαι πάντα μάλλον αν ποτέ, ^45^ 
 
 μητερ, παρέστη των8\ οπω? σός είμ εγώ. 
 ΚΡ. ετι φόβω τρέμω — 
 ΙΩ. μων ουκ εχευν μ' εχονσα ; ΚΡ. τάς γαρ ελπίδας 
 
 άπεβαλον πρόσω. 
 
 Ιω yvz/at, πόθεν, 
 
 πόθεν έλαβες εμον βρέφος ες άγκάλας ; 
 
 τίν ανά χέρα 8όμονς εβα Αοζίον ; 1455 
 
 ΙΩ. θείον tOS*' αλλά τάπίλοιπα της τύχης 
 
 εν^αιμονοΐμεν ως τά πρόσθε 8νστυχη. 
 ΚΡ. τεκνον, ουκ άΒάκρντος εκλοχεύει, 
 
 γόοις hk ματρος εκ χερών ορίζει. 
 
 νυν δβ γενειάσιν παρά σεθεν πνέω 1 460 
 
 μακαριωτάτας τνχονσ ά8ονάς. 
 ΙΩ. τονμον λέγουσα καΐ το σον κοινώς λέγεις. 
 ΚΡ. άπαιδ€9 ουκέτ έσμεν ουδ' άτεκνοι. 
 
 8ωμ εστιουται, γα δ' έχει τυράννους' 
 
 άνηβα δ' Έρεχθευς, 1465 
 
 δ τε γηγενέτας 8όμος ούκέτι νύκτα δφ /cerat, 
 
 άελίου δ' άναβλέπει λαμπάσιν. 
 ΙΩ. μητερ, παρών μοι καΐ πατήρ μετασχέτω 
 
 της ή8ονης ττ^σδ' ης ε8ωχ ύμΐν εγώ. 14^9 
 
 ΚΡ. ώ τέκνον, τέκνον,, τί φης ; οίον, οίον άνελέγχομαι. 
 ΙΩ. πώς έίπας ; ΚΡ. άλλοθεν γέγονας^ άλλοθεν. 
 ΙΩ. ώμοι' νόθον με παρθένευμ έτικτε σόν ; 
 ΚΡ. ούχ ύπο λαμπάδων ού8ε χορευμάτων 
 
 ύμέναιος εμος, 1475 
 
 τέκνον, έτικτε σον κάρα, 
 ΙΩ. αίαΐ' πέφυκα Βυσγενης, μητερ, πόθεν ; 
 ΚΡ. ΐστω Τοργοφόνα, — 
 ΙΩ. τί τουτ έλεζας ; 
 ΚΡ. α σκόπελο ις έπ^ έμοΐς 
 
 τον ελαιοφυη πάγον θάσσεν . 1480 
 
 anything. 1456. 06tov τ68«. Just so. 1464. «στιοΰται. ^T/ie house 
 
 becomes a ho)ne\ lit. receives a hearth, the symbol of family life.' B. 
 
ΙΩΝ 119 
 
 The coming of this ne'er imagined hope, 
 This inconceivable happiness ? 
 Ion. For me, no thought was further from my mind 
 Than this, Ο mother, that I am thy son. 
 
 Cre. I tremble yet for doubt. Ion. How canst thou doubt 
 Thy very touch .-* Cre. Ah, I had cast away 
 
 All hope. {SJie turns to the temple^ Ο woman, say, 
 From whom thine arms received my babe. Explain ! 
 What hand conveyed him to Apollo's fane } 
 
 Ion. A miracle ! But let our fortune found 
 Pay us for all the misery of the past. 
 
 Cre. Ah, my child, with tears I bare thee, 
 Loosed thee wailing from my breast ; 
 Now to breath thee, to be near thee. 
 This is rapture, heaven, and rest ! 
 Io7i. Thou speakest, and my heart repeats the words. 
 Cre. Childless, heirless now no more, 
 Our hearth is kindled and our royal line : 
 
 Erechtheus, cold before, 
 Quickens to youth : the sun begins to shine 
 Upon the seed of Earth, who lift their sight 
 
 From darkness unto light ! {Λ paiise.) 
 Ion. Mother, my father should be here, that he 
 Might share the pleasure that ye have in me. 
 
 Cre. Ah child, child, child ! My secret, Ο my secret ! 
 Ion. Ο what .^ Cre. It is not so;... for thou wast born... 
 Io7i. Ah me ! A bastard of thy maiden bed ! 
 Cre. No holy rite, 
 No torches' light 
 Lighted me thither, my child, where thou wast bred. 
 lojL Base-born ! A son base-born ! Ο mother, whose .'' 
 Cre. Pallas is witness — Ion. Pallas ! What is this } 
 ^c. The Gorgon-slayer is my witness, she, 
 
 {holding up tJie woven ' aegis ' and the serpent-necklace) 
 She whose rocky throne is stablished still 
 And ever upon mine olive-planted hill ; — 
 
 {Jiolding tip the wreath) 
 
 1467. λαμ,ττάσιν: by the shining., dat. instr. 1482. άηδόνιον: the whole 
 
I20 ΕΥΡίπίΔΟΥ 
 
 Ιίΐ. Xeyei? Xeyet? μου δόλια κού σαφή τάδε. 
 
 ΚΡ. παρ* άη^όνυοΐ' π€τραν Φουβω — 
 
 ΙΩ. TL Φοίβον αυδας ; 
 
 ΚΡ. κρυπτόμβνον λ^χοζ ηννάσθην. 
 
 Ιίΐ. Xey'• ώζ ipeL<; tl Ke8v6v €ύτυχ€<ζ re μοι, 14^5 
 
 ΚΡ. δε/ίάτω δε σε μηνός iv κύκλω 
 
 κρνφίορ ώΒΐτ/ creKov Φοίβω. 
 Ιίΐ. ώ φίλτατ elnova, el λέγεις έτητυμα. 
 ΚΡ. παρθενία δ' ε/χάς"!' ματερος 
 
 σπάργαν αμφίβολα σοΙ τάδ', άι^- ^49^ 
 
 τ^ψα KepKiSos εμάς πλάνους. 
 
 γάλακτι δ' ov/c €π€σχον ονδε μαστω 
 
 τροφεία ματρος οΰδε λουτρά γειροΐν, 
 
 άνά δ* άντρον ίρημον οιωνών 1494 
 
 γαμφηλαϊς φόνευμα Θοίναμά τ εις "Άιδαι^ εκβάλλει. 
 Ι Ω. ώ δειζ^ά δειζ^ά τλάσα μητερ. 
 ΚΡ. ει/ ψό/3ω καταδε^εισα σάι^ 
 
 χ^υχάν άπεβαλον, τεκνον 
 
 εκτεινά σ άκουσ, 15^0 
 
 Ιίΐ. ε'^ ε/χου τ' ου;( οσι εθνΎ)σκες. 
 ΚΡ. ιώ ιω. δειι^αι μεν αι τότε τύ^^αι, 
 
 δείλαια δε καΐ τάδ'• ελισσόμεσθ" εκείθεν 
 
 ενθάΒε Βυστυχίαυσιν 15^5 
 
 ευτυ^ίαις τε πάλιν, 
 
 μεθίσταται δε πνεύματα. 
 
 μενετω' τα πάροιθεν αλις κακά, 
 
 νυν δ' εγενετό τις ουρος εκ κακών, ώ παι. 
 ΧΟ. μη8εΙς 8οκείτω μη8εν ανθρώπων ποτέ 15^^ 
 
 άελπτον εΤι^αι προς τα τυγχάνοντα νυν. 
 Ιίΐ. ώ μεταβαλουσα μύριους ηΒη βροτών 
 
 και Βυστυχτσαι καυθις ευ πράξαι καλώς, 
 
 Τύχη, παρ οίαν ηλθομεν στάθμην βίου 
 
 neighbourhood of Athens was famous for nightingales, -π^τραν here is the 
 
 Acropolis. 1488. φίλτατα: mosi welcome. 1489. 'π-αρθ^νια...σ -oi: these 
 
 are such tokens as, being a girl, J had to W7'ap about thee', see v. 26. In 
 
 e /χαί there is some error, but none of the corrections hk σας, δ' €μοΰ, be μου 
 
 etc., appear satisfactory. Perhaps δβ vtas. 1490. άνήψα : Dindorf, άνη-^α 
 
 MSS. 1491. irXavovs : the wandering (careless efforts) of my shuttle. 
 
 1493. τροφίία μ,ατρός : a mother's reward', τμοφΰα signifies what is paid for 
 
ΙΩΝ 121 
 
 Ion. Ah, thou deceiv'st me with this mystery ! 
 
 Cre. There sing the nightingales, there Phoebus met — 
 Ion. Phoebus ! 
 
 Cre. And took me to his secret arms. Ion. Ο yet 
 Say more, and make me happier 1 Cre. And my womb 
 Bare thee to Phoebus when the time was come. 
 
 Io7i. Ο can thy tale be true as it is blest ? 
 
 Cre. And girl-like, being but a girl, I dressed 
 My babe in this, my careless-woven play, 
 And put thee from my yearning breast away, 
 Suckless, unwashen, starved, to die, to bleed. 
 In that lone cave the ravening fowls to feed ! 
 
 Ion. Cruel, cruel ! Cre. Mastering fear 
 Forced me to do it, though I held thee dear. 
 I never willed thy death. Io7i. And when I sought 
 Thine, what a crime was that ! Cre. Ο fearful thought ! 
 How nigh to misery then, how near to-day! 
 How roll our fortunes on a stormy way, 
 Blown between joy and grief! Enough the gale 
 Hath veered, hath vexed enough the shifting sail, 
 Ο may it set, my son, to fair, and so prevail ! 
 
 Chorus. Whoso hath witnessed this, to him should be 
 No thing so strange but he may look to see. 
 
 A patLse. 
 
 Ion {as in meditation). Ο Fortune, that hast sunken in 
 distress 
 Thousands and thousands, and hast raised again. 
 By what a narrow chance our guiltless hands 
 
 maintenance and feeding {v. 852) : here it stands in apposition to the notion 
 eVe^eti/ μαστω, to put the child to the breast. The mother's delight in 
 suckhng her child repays her for her pains. (There is no proof that τροφ^ϊα 
 
 could mean τροφαί feeding.) ov8e λουτρά χδίροίν : nor did I wash thee with 
 
 my hands', a suitable verb is to be supplied by 'zeugma'; see v. 1064. 
 
 1502. αί TOT6 : the abandonment of the child. 1503• τά8€ : the attempted 
 
 assassination. 1514. βίου. 'The difficulties felt about this passage 
 
 vanish, if we regard ί^ίου as no more than a poetical addition, serving to 
 mark that στάθμην is used figuratively. It... has the force of a descriptive adj. 
 Instead of παρ" οίαν στάθμψ Sjinthin what a measure^ how near\ the poet 
 writes tvap o'lav βίου-στάθμην ηλθυμ€Ρ, ' Within what a narrow line (in my life) 
 
122 ΕΥΡίπίΔΟΥ 
 
 μητ€ρα φον^νσαι και παθείν άνάζια. 15^5 
 
 φζν' 
 
 αρ iv φαενναίζ ηλίου πβρίπτνχαίς 
 
 ίνεστι πάντα τάδε καθ* ημίραν μαθείν ; 
 
 φίλον μζ.ν ούν σ εύρημα, μητβρ, ηυρομεν, 
 
 και 70 γένος ού8εν μεμπτον, ως ημΐν, τό8ε' 
 
 τά δ* άλλα προς σε βονλομαι μόνην φράσαι. 1 5^0 
 
 h^p ελθ^, ες ους γαρ τους λόγους εΙπεΙν θέλω 
 
 και περίκαλυ\\ίαι τοίσι πράγμασι σκοτον. 
 
 ορα συ, μητερ, μη σφαλεΐσ α παρθένους 
 
 εγγίγνεται νοσηματ εχς κρυπτούς γάμους, 
 
 βπευτα τω θεω προστίθης την αΐτίαν, 15^5 
 
 καΐ τουμον αίσχ^ρον άποφυγείν πειρωμενη 
 
 Φοίβω τεκεΖν με φης τεκουσ ουκ εκ θεού. 
 
 ΚΡ. μά την παρασπίζουσαν άρμασίν ποτέ 
 ^ίκην ^Α,θάναν ΖηνΙ γηγενείς επυ, 
 
 ουκ εστίν όστις σοι πατήρ θνητών, τεκνον, 153^ 
 
 αλλ' οσπερ εζεθpε\|Jε Αοζιας άναζ. 
 
 Ιίΐ. πώς ούν τον αυτού τταΓδ' eδωfc' άλλω πατρι, 
 Βιούθου τε φησι παΓδά μ εκπεφυκεναι ; 
 
 ΚΡ. πεφυκεναι μεν ούχΐ^ ΒωρεΙται δε σε 
 
 αυτού γεγώτα' καΐ γαρ αν φίλος φίλω ■." ■ 1535 
 
 ^οίη τον αυτού παιδα 8εσπότην 86μων. 
 
 ΙΩ. ό ^€09 αληθής η μάτην /xai^reverai, 
 εμού ταράσσει, μητερ, εικότως φρένα. 
 
 ΚΡ. άκουε 8η νύν, άμ εσηλθεν, ω τεκνον, 
 
 ευεργετών σε Αοζίας εις ευγενή 154^ 
 
 Βόμον καθίζει' τού θεού δε λεγόμενος 
 
 ουκ εσχες αν ποτ ούτε παγκληρους Βόμους 
 
 ουτ όνομα πατρός, πως γαρ, ου γ εγω γάμους 
 
 εκρυπτον αύτη καί σ άπεκτεινον λάθρα ; 
 
 ό δ* ώφελών σε προστίθησ άλλω πατρί. ^545 
 
 Ι came of slaying' etc. There is a precisely similar addition of βίου in 
 
 Afed. 1245.' ^' 1515. ira0€iv stands for the passive {παθΐΊν opp. to δραν) of 
 
 φοι/€ΰσαΐ) and ανάξια qualifies both verbs. Each had, in ignorance of the 
 
 facts, and so far innocently^ come near to slaying the other. 1519. ώ$ 
 
 ή|λϊν: 'regarded as for me, considering what I was'. 1534. But see the 
 
 words, 7/T/. 534 — 37. 1538. 4μοΰ: note the emphasis: k^imv. 1539 replies 
 
 to it. 1543. δνομα irarpos : afaiJier so styled and allowed. ιτώ? γάρ κ.τ.λ. 
 
ΙΩΝ 123 
 
 Escaped the shedding of our dearest blood ! 
 
 A pause. 
 Oh, to know all the matter, see it all 
 In the broad sunlight, open to the day ! 
 Sweet mother, dearly found, this parentage 
 Doth overpass indeed my modest rate. 
 
 He draws her aside. 
 Oh let my words be whispered in thine ear, 
 And darkness veil the answer !..., May it be... 
 Mother,... that thou, betrayed, as passion oft 
 Will tempt a maiden to a secret love, 
 Bethinkest thee to lay it on the god ; 
 And giv'st me, only to escape my shame, 
 Him for a father who begat me not } 
 
 Cre. Now by our Queen of Victory, her who marched 
 Beside Zeus' chariot 'gainst the Giant brood, 
 
 {^She points to the picture on tJu wall?) 
 Ο son, thy father was no mortal man. 
 But Loxias, who reared thee, he begat ! 
 
 Ion. Why did he give his own-begotten then 
 To another t Why declare me Xuthus' child .-* 
 
 Cre. He meant not so, but gave thee as a gift, 
 Born truly of himself, as friend to friend 
 May give his son begotten for an heir! 
 
 Ion. I, mother, ask — and well it may confound 
 My soul ! — Are his revelations true, or false } 
 
 Cre. Then hear what I am thinking, Ο my son ! 
 Apollo, of his kindness, destined thee 
 To find a noble home. Declared for his, 
 Thou couidst not win thine heritage, nor show 
 A father. Never! Had not I concealed 
 His love, and doomed thee to a secret death.'* 
 He feigned thee then another's for thy good. 
 
 Plainly not^ wheii I myself concealed the fact of etc. Creusa, though she 
 believed her lover to have been the god, had never dared to tell her story, 
 for the obvious reason that no one would credit her. From this it might 
 be judged, she says, what chance there would be of establishing the fact 
 now, to the satisfaction of the law. 1544. άπ6κτ€ΐνον : stronger evidence 
 
124 ΕΥΡίπίΔΟΥ 
 
 ΙΩ. ονχ^ cS8e ψαυλως αυτ έγώ μετέρχομαι. 
 
 He stands in perplexity. 
 αλλ' Ιστορήσω Φοίβον εΙσεΚθων Βόμονς, 
 εΐτ βΐμΐ θνητού πατρός, είτε Αοξίον. 
 
 The goddess AtJteyia appears above tJw temple. 
 la* Tts οίκων θνοΒόκων υπερτεΧής 
 
 άνπ-ήλίον πρόσωπον εκφαίνευ θέων; ^55^ 
 
 φεύγωμεν, ώ τεκονσα, μή τα 8αυμ6νων 
 όρωμεν, εΐ μή καιρός εσθ" ή μας οραν. 
 
 All draw back from the temple. 
 
 ΑΘΗΝΑ. 
 
 Mt) φεύγετ, ου γαρ πολεμίαν με φεύγετε, 
 αλλ' εν τ Ά^τ^ι^αις κάνθά8* ονσαν ευμενή, 
 επώνυμος δε σης άφικόμην -χ^θονος, 1555 
 
 Παλλάς, Βρόμω σπεύσασ Απόλλωνος πάρα, 
 ος εΙς μεν oxjjiv σφων μολεΐν ουκ ήζίου, 
 μή των πάροιθε μεμφις εις μέσον μόλτ), 
 ήμας 8ε πέμπει τους λόγους ύμίν φράσαι, 
 ως ή8ε τίκτει σ εξ ^Απόλλωνος πατρός, 15^^ 
 
 διδωσι δ' οίς εΒωκεν ου φύσασί σε, 
 αλλ' ως νομίζιτ) 'ς οίκον εύγενεστατον. 
 επεί δ' άνεωγθη πράγμα μηνυθεν τόδε, 
 θανείν σε ^είσας μητρός εκ βουλευμάτων 
 καΐ τήνΒε προς σου, /Λτ^ναι^αις ερρύσατο. 
 εμεΚΚε ο αυτά οιασιωπησας αζ^ας" 
 εν ταΐς Αθήναις γνωριείν ταύτην τε σήν, 
 
 still, created by Creusa against herself. 1550. άντηλιον: eastward, since 
 
 that was the direction of the temple. The expression recalls the feeling 
 which suggested this common arrangement, that in this way the front and the 
 gods which adorned it saluted and were saluted by the dawn. See Aesch. 
 Ag. 519. It is of course not here meant or said that Athena is now looking 
 
 at an actual dawn. ιτρόσωττον Ικφα£ν€ΐ. Probably on the stage only a head 
 
 or bust, of superhuman size, appeared above the temple, as if through the 
 opening by which it was lighted, the suggestion being that the goddess stood 
 within, her stature towering above the building. Obviously this arrangement 
 could be much more easily worked — at Delphi, if not on the stage — than an 
 apparition in the air. The actor would then speak from behind the head. 
 
ΙΩΝ 125 
 
 Ion. My question is too deep for such reply. 
 
 He stands in perplexity. 
 I will go ask of Phoebus in his house 
 Whether a man begat me, or the god. 
 
 The goddess Athena appears above the temple. 
 Ha ! Who is this, that o'er the sacred fane 
 Rises divine, her face toward the East } 
 Ο let us fly, my mother, lest our eyes 
 Inopportune should look on sanctities. 
 
 All draw back from the temple. 
 
 Athena. 
 
 Fly not ! I am no enemy whom ye fly. 
 
 But here in Delphi as in Athens kind. 
 
 Your native Athens, whence my title is, 
 
 Pallas Athena ! From Apollo sped 
 
 My swiftness hither, who advised himself 
 
 Not to appear before you, lest reproach 
 
 For matter of the past should intervene, 
 
 But sendeth us, charged with his words to you. 
 
 Apollo was the father unto whom 
 This lady bare thee ; and he gave thee not 
 As to a parent, when he gave, but so 
 To win thee place in an illustrious house. 
 But when discovery had betrayed the fact, 
 Lest thou shouldst perish by thy mother's plot. 
 Or she by thee, he saved by artifice. 
 His royal purpose was to keep awhile 
 The secret, and in Athens to reveal 
 
 1557. * The god's timidity is somewhat droll, as are also the rather lame 
 
 explanations put into the mouth of counsel.' B. 1562. νομίξη 's οίκον 
 
 {νομίζ€ΐς or ρομίζτ)ς MSS.) to give you a recognized place in etc.; lit. to 
 recognize you into: νομιζόμ^νοι νί€Ϊς was the common Attic phrase for sons by 
 law (by adoption, recognition etc.), see Demosth. 1022. 16 oX νομιζόμ^νοι fieV 
 vififf μτ^ ovres be yevfi (ξ (κείνων: on the model of this the poet coins a peculiar 
 phrase to describe (not without irony) the highly peculiar proceeding of 
 Apollo, who ' recognized his son ' or * admitted him by recognition ' not into 
 
 his own house but another's. κομίζτ^ς Lenting. 1563. μηνυθ€ν : by the 
 
 servants to Creusa. 1566. 8ιασ-ιω'ΤΓησ•α5 : after concealing for an interval-. 
 
126 ΕΥΡίπίΔΟΥ 
 
 (J€ ff ώς πεφυκας τησΒε καί Φοίβου πατρός. 
 
 αλλ' ώς περαίνω πράγμα καΐ γβ-ησμονς θεω, 
 
 εφ" οΐσίν εζενξ" αρματ\ είσακονσατον. 157^ 
 
 λαβονσα τόνΒε παΓδα Κεκροπίαν γθονα 
 
 χωρεί, Κρέουσα, κείς θρόνους τυραννικούς 
 
 Ιορυσον εκ γαρ των * Ερεχθέως γεγως 
 
 8ίκαίος αρχευν της εμης οδε χθονός. 
 
 εσται δ' αν Έλλάδ' ευκΧεης' οΐ του^ε γαρ 1575 
 
 παίδες γενόμενοι, τέσσαρες ρίζης μίας, 
 
 επωνύμου γης καπιφυλίουχθονος 
 
 \αων έσονται σκοπελον οι ναίουσ εμον, 
 
 Τελεων μεν εσται πρώτος' είτα 8εύτερον 
 
 '^Οπλητες, ^ΑργαΒης τ, εμης τ απ* αιγίδος 15^^ 
 
 εν φυλον εζουσ Αιγικορης. οΐ τώνΒε δ' αΰ 
 
 παίδες γενόμενοι συν χρόνω πεπρωμενω 
 
 Κν/ίλάδας εποικησουσι ι^σαιας πόλεις 
 
 χέρσους τε παραλούς, ο σθένος ττ) ^μτ) χθονί 
 
 8ίοωσιν' άντίπορθμα δ' ηπείροιν Βυοΐν 15^5 
 
 πεδία κατοικησουσιν, Άσιάδος τε γης 
 
 Εύρωπίας τε' τουΒε δ' ονόματος χάριν 
 
 ^Ιωνες ονομασθεντες εζουσιν κλέος. 
 
 Έούθω δε κοΧ σο\ γίγνεται κοινον γένος, 
 
 Αωρος μεν, ένθεν Αωρϊς ύμνηθησεται 159^ 
 
 πόλις* κατ (uav Ιίελοπίαν δ' ο δεύτερος 
 
 Άχαιος, ος γης παράλιας Ρίου πελας 
 
 τύραννος εσται, κάπισημανθησεται 
 
 κείνου κεκλησθαι λαός όνομ! επώνυμος. 
 
 διά between. 1569. ιτράγμα : business. 1576. On the theories respecting 
 
 these four ancient Attic tribes see Grote, Hist, of Greece, Vol. ii. p. 427. 
 The insoluble questions connected with them are of no interest for this play. 
 Euripides merely uses the names, with romantic additions of his own fancy, 
 to convey in mythical form a suggestion of the imperial maritime greatness 
 of Athens in his own time. The four tribes were abolished by the revolution 
 
 of Cleisthenes (bc. 509). On the facts about Ion see Miss Harrison, 
 
 Monuments, etc., p. Ixxx. He was the local hero of a clan and had a 
 tomb at their village. 1577 : shall be eponyms of the land and tribe- 
 inhabited soil of the people etc., i.e. * shall give their names to the land and 
 people'. Euripides here treats the tribes as corresponding to local divisions 
 
 of Attica ; at least so it seems ; and perhaps they did. ίπιφυλ. χθον6ς : 
 
 soil with tribes on it. There is no difficulty, I think, in this expression. 
 
ΙΩΝ 127 
 
 Thy mother, thee Apollo's child and hers. 
 
 Now, to complete my chariot's errand here, 
 Hearken to his command and prophecy. 
 Creusa, take this lad to Cecrops' land 
 With thee, and set him in the royal seat. 
 Descended of Erechtheus as he is, 
 To rule my city is his lawful right. 
 Famous through Hellas shall he be; his sons 
 Four scions of one root, shall give their names 
 Unto the quarters four and tribal shires 
 Of them who dwell upon my sacred hill. 
 Geleon the eldest name, the second tribe 
 Hopletes, Argades the third, and one 
 After mine aegis called Aegicores. 
 The children of these children, in the time 
 Of destiny, shall plant themselves in towns, 
 Over the coasts and islands of the main, 
 To give their strength to Athens. They shall hold 
 Broad lands in Europe and in Asia both. 
 Spread from the strait sea hitherward and beyond, 
 And style themselves, with Ion's glorious name, 
 Ionian. Xuthus too and thou shalt have 
 Offspring between you ; Dorus, name and praise 
 Of Dorians, then Achaeus, habiting 
 The land of Pelops, who shall lord the coast 
 By Rhium and seal a people with his name. 
 
 1579. VuJkviv: whence the Geleontes. 1582. <rx»v χρόνω: after the in- 
 
 tej'val. 1584. δ...δί8ω(Γΐν which gives, i.e. is fitted to give. There is little 
 
 or no historic truth in this, if referred to the actual foundation of the Ionic 
 towns in Asia and the islands. But the reference is really to the Athenian 
 empire of the fifth century, to which the poet, by way of compliment to the 
 audience, attributes an antique origin and indefinite claims over the Greek 
 
 world in general. 1585. άντίπορθμα : fronting each other on each side of 
 
 the Hellespont. 1590. Do7'us and 1592. Achaeus. The direct reference 
 
 is to the Dorians and Achaeans of northern Greece, but the purpose is to 
 
 suggest that the Athenians are the true heads of Hellas in all branches. 
 
 1591. IleXowiav : originally in Phthia, whence the name was carried by the 
 
 Dorian conquerors to the Peloponnese. 1592. 'Ρίου: a cape on the 
 
 Corinthian gulf, where the Athenians under Phormio won a naval victory in 
 B.C. 429. 1593 : and a people called after him shall be stamped to be 
 
128 ΕΥΡίπίΔΟΥ 
 
 καλώς δ' ^Απόλλων ττάντ ewpa^e' ττρωτα μ^ν 1595 
 ανοσον Χογεύ^ι σ , ώστε μη γζ^ωι^αι φίλους' 
 €π€ί Ο €Τίκτ€ς Tovoe τταιοα καπεσον 
 iv awapyavoiaiVj αρπάσαντ 4ς αγκαΧας 
 Έρμην KeXeveu Sevpo πορθμευσαι βρέφος, 
 έθρεφε τ οΰδ' εΐασεν εκπνενσαι βίον. ΐ6θΟ 
 
 νυν ονν σιωττα τταΓς οδ' ως πεφνκε cros, 
 ιΐ' 7^ Οοκτησις αονσον ηοεως εχτ) 
 συ τ αν τά σαντης άγάθ* εχονσ εΐΒ^ς, γνναί. 
 καΐ -)(αίρετ, εκ γαρ τησΒ^ άναχΡνχΎ)ς πόνων 
 ενΒαίμον νμΐν πότμον εξαγγέλλομαι. 1605 
 
 ΙΩ. ω Διός Παλλάς μεγίστου θύγατερ, ουκ απιστία 
 
 σους λογούς εν8εζόμεσθα' πείθομαι δ' eli^ai πατρός 
 Αοζίου καΐ τησΒε. καΐ πρΙν τούτο δ' ουκ απιστον ην. 
 
 {From this point to the end Ion stands^ facing the audience y 
 as if in deep and gloomy meditation.) 
 
 KP. τάμα νυν άκουσον αΙνω ΦοΙβον ουκ αΐνουσα πρΧν, 
 οϋνε^, ου ποτ ημελησε, παιδος άποδίδωσι μοι. 1 6 ΙΟ 
 αιδβ δ' εύωποί πύλαυ μου καΐ θεού -^ρηστηρυα, 
 8υσμενη πάροιθεν όντα. νυν δε /cat ρόπτρων χέρας 
 η^εως εκκρημνάμεσθα καΧ προσεννεπω πύλας. 
 
 ΑΘ. ηνεσ, ουνεκ ευλογείς θεόν μεταβαλουσ • αεί ποτέ 
 χρόνια μεν τά των θέων πως, εΙς τέλος δ' ουκ άσθενη. 
 
 ΚΡ. ώ τεκνον, στείχωμεν οίκους. 
 
 ΑΘ. στείχεθ", ε\^ομαι δ' €γώ. ι6ι6 
 
 Α pause. 
 
 named by his name. 1602. ή8^ω8 ^χη : may possess him agreeably. 
 
 1603. T€: and at the same time thoti etc. More usually re... re {v. 72). 
 
 etS^s : H. Macnaghten, ΐΧψ MSS. 1608. * But even before (thy coming) 
 
 that was not incredible'. Note the emphasis thrown upon τούτο by its 
 displacement in the sentence. But for this, which is necessary to the 
 meaning, it must of course come after hi. The real question of Ion (7/. 1537) 
 
 Athena has not touched. (See the hitroduction.) 1610. ου: i.e. τον τον 
 
 ηαι8α άποδιδόναι. According to Athena's story, he could not be quite said 
 to have neglected the child. But he had hitherto neglected the duty of 
 
 giving him to his mother. 1612. ρόπτρων (depending on ίκκρημνάμίσ-θα) is 
 
 properly the ring-knocker of the door, to which she clings. But I have 
 ventured to modify this in translation. Whether such a thing shall be 
 
ΙΩΝ 129 
 
 Well hath Apollo done in all : 'twas he 
 Who made thy travail easy, to prevent 
 Discovery by thy parents : when the child 
 Was born and with his tokens put away, 
 Hermes he sent to take the infant up 
 And bear him thence to Delphi in his arms : 
 And here Apollo reared nor let him die. 
 Now therefore be it a secret, that by blood 
 Ion is son to thee. Let fancy still 
 Keep Xuthus pleased, and thou in conscious joy. 
 Woman, possess thine own. And so farewell. 
 Be happy. From this hour of glad relief 
 Begin, as I foretell you, prosperous days. 
 
 Ion. Daughter of Zeus Supreme, Ο Pallas, not as un- 
 believers we 
 Shall accept thy words and message. I believe myself to be 
 Son of Loxias and Creusa. That was credible before. 
 
 {From this point to the end Ion stands^ facing the audience, 
 as if in deep and gloomy meditation^ 
 
 Cre. Hear now me\ Reproach on Phoebus, if I threw, 
 I throw no more ; 
 Bless him, negligent no longer, that he gives me back my son. 
 Now this temple smiles upon me, now the evil days are done, 
 Now I love Apollo's portal : I could wreath his pillars now 
 Close in grateful arms, and clinging fix me there, a living 
 vow ! 
 
 Ath. Well it is to spell thy curses back and bless him. 
 Ever long 
 Are the ways of gods, the ending ever this, that They are 
 strong. 
 Cre. Come, my child, and let us homewards. 
 
 Ath. Go, and I with you along. 
 
 A pause. 
 
 poetical or not, in a particular language, is matter of accident. 1614. 
 
 ην€σα: it is well', see on Med. 707 in my school-edition. The word, as used 
 
 here, implies a slight indirect reproach for the former curses. 1616. 
 
 ^ψομαι : will acco7npany (not follow) you, i.e. in the air above. She never 
 
 V. I. 9 
 
I30 ΕΥΡίπίΔΟΥ 
 
 ΚΡ. οίζία y ημών ό8ονρ6<;, και φιΚουσά ye πτ6\ιν. 
 ΑΘ. €1? θρόνους δ* ϊζου παλαυονς. 
 ΚΡ. αζιον το κτημά μοι, 
 
 Α bug pause, after which Ion slowly leaves the stage. 
 {The necklace is brought to Creusa, who places it 
 tipon her wrist.) The goddess sinks again into the 
 temple. Creusa stands as hi perplexity and then 
 slowly follows Ion. 
 
 XO. ω Διός Α,-ητονς τ "Απολλον, χοΐρ ' δτω δ' iXavverai 
 συμφοραίς οίκος, σεβοντα δαίμονας θαρσβΐν γβ€.ών. 
 CIS τίΚος γαρ οΐ μεν έσθλοί τυγχάνονσιν αξίων, 102 ι 
 οι κακοί δ', ώσπβρ πεφνκασ, ουποτ ev πράξειαν αν. 
 
 descends to the stage. It would have been a troublesome feat. 1617 and 
 
 1618. KP., so in the MSS. rightly. Hermann (and recent editions) transfer 
 άξία...ό8ουρ6$ and άξιον... μοι to Ion. Plainly Ion is expected to say some- 
 thing of the kind, but that he will not is the very point of the situation. 
 
 Creusa is compelled to supply his defect. 1617. γ6...γ€. The particles 
 
 mark her surprise and dissatisfaction at Ion's silence. In fact she tries to 
 prompt him. 1618. τό κτήμα : i.e. her son and heir. But the speech is in 
 
ΙΩΝ 131 
 
 Cre. {lookmg at Ion) Certes worthy to protect us ! 
 
 (^A pause ; she continues with rising emphasis) 
 Loving us for Athens' sake ! 
 Ath. Seat thee in thine ancient honour. 
 Cre. {after a long pause) Worthy boon for me to take ! 
 
 A long pause, after which Ion slowly leaves the stage. 
 {The necklace is bronght to Creusa, who places 
 it iipon her zurist.) The goddess sinks again into 
 the temple. Crensa stands as in perplexity and then 
 slowly follows Io7i. 
 
 Chorns. Ο Apollo, Son of Lato, Son of Zeus, to thee farewell ! 
 
 {To the audience) 
 They, whose house is vexed with troubles, let them worship 
 
 heaven and dwell 
 Comforted. For still to virtue comes the blessing ; still attend 
 Evils evil, as is nature ; Justice cometh in the end. Exeunt. 
 
 reality made as if for Ion. On this, and the concluding 'moral' and the 
 final scene generally, see the Introductioti. 
 
 CAMBRIDGE : PRINTED BY C. J. CLAY, M.A. AND SONS, AT THE UNIVERSITY PRESS. 
 
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