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MEDEA
 :

By the same Editor.

AESCHYLUS
PRO ME THE US VI NC T US. ,

Crown 8vo, 2s. 6d.

LONGMANS, GREEN, AND CO.

LONDON, NEW YORK AND BOMBAY.
THE PLAYS OF EURIPIDES

MEDEA
WITH NOTES BY

M. G. GLAZEBROOK, M.A.
HEAD-MASTER OF CLIFTON COLLEGE

NEW EDITION

LONGMANS, GREEN, AND CO.

39 PATERNOSTER ROW, LONDON
NEW YORK AND BOMBAY
\104-
 P K

PREFACE
SOME apology may seem necessary for the arbitrary

division of a Greek play into Acts and Scenes. One of

teacher has to
the greatest difficulties with which the
is the want of intelligent interest
in the plot.
contend
The beginner, to whom eTretaoStov means nothing,
in what
requires some sign-posts to mark the stages

looks like one long dreary scene. So I have ventured

the Medea the system of division with

to apply to
and even to give a title to
which we are all familiar,

each Act.
The text is mainly that of Prinz (1878). I have

altogether omitted the lines which are confessedly

spurious, and a few which are unpleasant. For the

sake of convenience, I have renumbered the
lines,

-ing the ordinary numbering in brackets. In a few

waS klK
vhere Prinz's text cannot fairly be construed,
his wild au. „ , , ,. _
L r •
^1 *ed one or other of the emendations sug-
the fair Glauce,
A u *a
This seems to me the most
new marriage, aPlitors
li:orb *

accomplished. Wse : for a crux, like caviare, though

traught. Shelay^e cultivated tastes, is certainly not

\ R7S71
 PREFACE.

wholesome food for babes. 1 In some cases, however,

I have been more conservative than Prinz.

The Notes are mainly such as I have found it useful
to give when reading the play with my form at
Harrow. For the substance of them I am largely

indebted to previous editions, especially those of

Wecklein and Verrall. But with a view to the needs
of beginners, I have translated the really hard passages
instead of discussing them ; whereas I have given a
good deal of space to the explanation of some simple
general principles, which must be learned somehow,
and for which no place has yet been found in ele-

mentary grammars. For the same reason, the Notes

contain neither parallel passages (except from the play
itself) nor alternative renderings.
My best thanks are due to my friend and col-

league, Mr. J. C. Moss, who has kindly read through

the whole of the Notes, and suggested many im-
provements.

Harrow, July 29th, 1886.

1
The lines in which emendations have been admiltec
292, 325, 486, 670, 701, 702, 792, 798, 861, IOOI, I

1297. For only one of these emendations (forldoio for/

the present editor responsible. /

 INTRODUCTION. ix

dragon. But once more Medea furnished wondrous drugs,

that caused the dragon to sleep, so that Jason carried off the

fleece unscathed. Then fled all the band of Argonauts from

the wrath of Aeetes : and with them went Medea, whom
Jason had made his wife, as the reward of all her service.
Ere she went, she slew her brother Apsyrtus in the house,

that the mourning for him might delay her father from
pursuit.

§ 4. The Argonauts wandered over many seas, and many

were the lands they visited. At length came Jason with
Medea to Iolcos, but found not his father Aeson, for Pelias

had slain him and kept the kingdom. For this Medea
planned a strange revenge. Having cut in pieces an old
ram, and boiled him a while in a chauldron, with her drugs
and magic words she made him whole again, but young and
strong, instead of old. The daughters of Pelias saw the deed,
and marvelled. Then did she persuade them to do even so
to their father, promising by her arts to restore him likewise
to youth. But when, in obedience to her, they had cut the
old man limb from limb, she spake no word of power : and
he was consumed in the caldron. Then rose the sons of
Pelias against Jason and Medea, and drove them from the
land.

§ 5. Driven from Iolcos, they fled to Corinth, where Creon

was king, and dwelt there. Ere long Jason grew weary of
his wild and barbarous wife, and was minded to take instead

the fair Glauce, daughter of Creon. Secretly did he plan the

new marriage, and let no word of it reach his wife till it was
accomplished. At the news thereof Medea was like one dis-

traught. She lay groaning on the ground, and took no food.

 —
INTRODUCTION.

while still there grew in her heart the passion for revenge.
Creon feared her rage, and bade her depart from the land.
But she resolved to be avenged ere she went. At first she
thought to slay Jason and Glauce together, and fly with her
children to Athens, where Aegeus promised to grant her
asylum. Later she bethought her of a more exquisite revenge,
and the pride and taunts of Jason hardened her heart to

execute it. Pretending to submit and repent of her violence,

she sent her children to Glauce bearing a poisoned robe and
crown, wherein the unsuspecting princess arrayed herself, and
died in agony. Once assured of Glauce's death, she slew her
two sons with her own hand, and fled away with their bodies

in a magic chariot, leaving the hapless Jason a prey to

despair.

Medea left her dead children in the sanctuary of Hera

Acraea, where the Corinthians held an annual festival in their
honour, and spent the rest of her days in Attica.

B. The Character of Medea.

'
What a horrid story !' is your natural verdict after reading
the above abstract. And you would say the same after read-

ing a mere abstract of Shakespeare's Othello. In each of

these plays the art of the poet has invested a ghastly story
with enthralling interest. Had Othello been an Englishman,
had Medea been a Greek, we should have been disgusted
with such furious and deadly passion. But in a Moor or a
Colchian —a child of the Sun — it seems natural. Medea
has the hot blood of the East ; she was brought up in
barbarous ways, and in the practice of strange magic arts.
 —
INTRODUCTION.

We feel that we cannot expect of her the self-control

which civilisation requires. And then we are several times
reminded that if her revenge is unbounded, unbounded
too was her service to the now ungrateful Jason. There is

no crime that she now commits against him which she has not
erenow committed for his advantage and at his instigation.
And the contrast with his cold, calculating Pharisaism makes
her passionate nature look less repulsive. So that, strange as

it seems, we cannot refuse Medea at least a portion of our

sympathy. % — — '

C. Other Characters.

Jason is a canny Greek, who, having availed himself freely

of Medea's devotion, is very much annoyed that she won't go
away when he is
quietly tired of her. He is persuaded that
he deserves some credit for making a match which will give

his sons a good position, and still more for wishing to make
Medea's exile comfortable You must remember that all this

would not appear so mean to a Greek of Euripides' time as it

does to us. Think of the way in which '

pius Aeneas '
treated
Dido.
Creon is pompous and self-satisfied, but weak. Like many
weak people he blusters a good deal, but Medea easily gets
•rier own way.
The nurse is much like other nurses. She is fond of her
mistress, and wishes to serve her ; butcher fears and helpless-
ness prevent her from doing any good.
The tutor is also a colourless specimen of his class. He
always says the obvious thing, and has a terrible tendency
to moralise.

I
-*
 —
xii INTRODUCTION.

Aegeus is a -kindly, good-natured man, willing to help

Medea, but not to run any risks in so doing.

D. The Chorus.
The Corinthian ladies who form the Chorus have very little

to do with the action of the play. They occasionally enter a

mild protest against Medea's murderous schemes, but they do
nothing to stop them. The best of their songs have no con-
nection with the play, being in fact intended merely to fill up
the time between the acts as the orchestra does in our
theatres. Euripides was ridiculed by Aristophanes for the

irrelevance of his choral odes. For in earlier times the Chorus

took an important part in the play. Indeed the earliest form
of tragedy was a dialogue between the Chorus and a single
actor.

The numbers of the Chorus varied from nine to fifteen.

They hardly ever went on the stage, but stood or danced in
the semicircular space in front of it, which was called the
orchestra (dancing-place). Some of their odes were accom-
panied by a dance ; others they sang while grouped round the
altar (thymele) which stood near the middle of the orchestra.
But when they engaged in conversation with one of the
characters in the play, their part was spoken only by the leader
(choragus), not by the whole Chorus. Hence we sometimes
find Medea addressing the Chorus as <tv.

Against some stanzas in the choral odes you will see the
abbreviations *
str.' and *
antistr.' These stand for <npo<t>ri and
dvTLo-Tpo4>rj, which are the names given to a pair of corres-
ponding stanzas. While singing the o-t/ocx^t), the Chorus would
dance (let us suppose) from right to left ; while singing the
 — —
INTRODUCTION. xiii

avTM7T/oo<£r), it would dance exactly the same steps in the

contrary direction. Notice that the metre of arTpo4>rj and
dvTL(TTpocf>r] is always exactly the same.
The choruses in honour of Dionysus, out of which tragedy
was developed, were first practised by the Dorians. In
acknowledgment of this, the choral odes are always written
to some extent in the Dorian dialect. The chief peculiarities
which you will observe are these :

rj generally becomes a. Thus in lines 138 to 140, instead

of rjtes to Zev Kal yrj Kal cf>cos,
^X^" °^av V SwTtyvos /xeXweL
vvfA<f>r] •
we have ales a> Zev Kal yd Kal </>a>s, d^av oiav a
Svcrravos fieXTrei vvfufia \

Nouns of the first declension make their genitive plural in

-dv instead of -<3i>.

E. Tragic Irony.

You often hear of '

the irony of fate.' This phrase has
reference to the fact that a man's outward circumstances are
often in strange contrast to his real condition. When he
seems strongest he is in fact tottering for his fall : the action
which he thinks will complete his greatness serves to hasten
his ruin. The same thought is expressed in another way by
the proverb, 6
Pride goes before a fall/ The Greek tragedians
were very fond of choosing situations which exhibited the
irony of fate. And their audiences, who always knew the
plot of the play, could enjoy the contrast between the hero's
apparent and real condition. Thus in Act v. Scene 3 of
the Medea, Jason comes in to save his children from Glauce's
relations. But the audience know that he will find them
slain by Medea, of whom he had no suspicion. The best
 —
xiv INTRODUCTION.

examples of tragic irony are to be found in the Oedipus

Tyrannus of Sophocles.
The Greeks were not long in discovering that sentences

could be so constructed as to bear two meanings —one suited

to the supposed circumstances, and another to the real facts

of the case. This irony in words soon became very popular,

and Euripides supplies us with many examples of it. Per-
haps we may take an English illustration. Suppose, in the
Merchant of Venice, that Antonio had been quite ignorant of
the nature of the bond which he had signed. When he says,
'I'll pay it presently with allmy heart/ he and Bassanio
would understand '
with all my heart' to mean cheerfully
and easily : but the audience would have the grim satisfaction
of knowing that the words were to be fulfilled literally.

Similarly, when Medea (964 sqq.) speaks to her children of

1
the home in which they are to dwell for ever,' the children

suppose that she means Corinth, while the audience know

that it is Hades.
For illustrations of tragic irony, see the following passages :

(Real) 337-340, 859-864, 946-961, 1231-1243.

(Verbal) 878, 923, 959, 964, 982.

One passage (1101-1107) is a curious combination of the

irony of action and that of words. The how
herald describes
Glauce, in putting on the fatal presents, made a number of
movements which can be described in words which were
habitually applied to a funeral. The 'mirror/ the Straightened

heel/ etc., which figure in his account of her robing herself in

her pride, would have been mentioned no less had he been

describing the laying out of her corpse. The grim humour
 — :

INTRODUCTION, xv

of the situation was no doubt highly appreciated by an

Athenian audience.

F. yv&fjbai.

The pages of Mr. Punch, if not our own experience, have

made us all familiar with a phrase which is sure to be applauded
by the pit of an English theatre whenever it is introduced
1
The man that lays his hand upon a woman, save in the way
of kindness, deserves to be,' etc. 'Sentiments' of a simple
kind, however little they may have to do with the matter in

hand, are always well received by an uneducated audience.

The Athenians had a strong taste for sentiments —that is,

short sayings about life or morality, such as those which are

collected in the Book of Proverbs. In early times there was
a whole class of poets who wrote little besides yi/fi/xcu. In
the dramas of Aeschylus and Sophocles you will find a good
many yrG/xat, but they are strictly appropriate to the action
of the play. Euripides indulges the taste of his audience by
bringing in numbers of sentiments for their own sake. In
this play, for instance, the TrouSaywyos is constantly going off
into remarks about human life which are not to the point
but no doubt they were applauded. Hardly less inappro-
priate are Medea's remarks about the condition of women in

Greece.
For some of the principal yvS/xcu in this play see lines 13,

79, 114-122, 181-194, 209, 220, 286, 495, 517-519, 548-550,

555> 593, 8 6o, 881, 961, 1165.

Many of the most popular passages in Shakespeare are of
this character — for instance, the speeches which begin, '
All
the world's a stage/ 'The quality of mercy is not strained.'
 —
xvi INTRODUCTION.

But these arise naturally out of the action of the play ;

they
are not dragged in just to please the audience.
It is perhaps worth while to point out that some of the
later English novelists —notably George Eliot—have followed
Euripides in this respect. There is a book entitled Wise,
Witty, and Tender Sayings from the Works of George Eliot,

which is nothing but a collection of yi/tS/Aou.

G. Metaphors.
People generally derive their metaphors from the pursuits
which are familiar to them. We have all met the old sailor

who describes everything in terms of a ship. We have per-

haps been told that when riding with a lady we must keep on
the starboard side, and if her horse wants to run away we
must haul in the main brace.
Now, one of the difficulties of translating the Greek poets
is that the metaphors which they use most frequently are
unfamiliar to us. We can generally, though not always,
follow their nautical metaphors. But waves, lawsuits, wool-

carding, dicing, and wrestling, supply them with numberless

metaphors for which we have no exact equivalent. When
confronted with one of these, you must try to find some
similar expression which will be intelligible to ordinary
Englishmen. But that expression must be a metaphor.
Beware of the schoolboy's vice of turning everything into

commonplace. There are some who would turn

* Mislike me not for my complexion,
The shadowed livery of the burnished sun,*

into 1
1 hope you will not object to my dark complexion ; it is

only the effect of the heat of the sun.'

 — —
INTRODUCTION. xvii

When, therefore, Medea says, '

My foes are letting out the

sheet to its full extent,' do not translate

6
My foes are coming
as fast as they can/ but see what you can make of crowding '

on all sail/ or 'putting on full steam.' Or if you have a

metaphor taken from dice, remember that most Englishmen
are sufficiently acquainted with cards to understand such
expressions as '
trumps.'
You will find it useful to remember that whereas Greek and
Latin express their metaphors mainly by means of verbs, the
strength of English lies in its nouns. A difficulty will often

be removed, therefore, by substituting a noun for a verb, or

by inserting the noun which is implied by the Greek verb.

Thus, line 94 ov8e Trava-erat ^dAov . . irplv Karaa-Krjxf/ai tlvol,

—is weak if translated 'nor will she cease from her wrath
until it strike some one down/ because 'strike down' does
not suggest the lightning as the Greek Karacr/o^ou does. But
it becomes forcible if you translate ' nor will she cease till the
lightning of her wrath strike some one down.' We might
even express it a little more fully :
' Nor will the cloud of
her wrath break till its lightning strike some one down.'

H. Grammar.

1. The accusative of place after a verb of motion is very

freely used by the Greek poets. It is not confined, as in
Latin, to the names of towns and small islands. Thus in
Medea, line 6, we have lirXevae 7rvpyov<s= i
sailed to the towers.'
Similarly in lines 641, 649, 734, 1084.

2. The accusative in apposition to the sentence is another

important poetical construction. Some word or phrase which
h
 —
xviii INTRODUCTION.

is descriptive of the whole action is put at the end in the

accusative. Thus

c
Let us kill Helen (and so cause) sore grief to Menelaus.'

You will find instances in lines 489, 534, 842, 978, 1084,

1143, 1279.
3. The genitive of apposition is a favourite construction
with Euripides, and one with which we are familiar in

English. When we say 6

the city of London/ 'a brute of a
horse/ we mean that London is the city, and the horse is a
brute : that is, the two nouns in such phrases are really in
apposition. So in line 1 of this play 'Apyovs o-Ka^os means
*
the ship Argo.'
See lines 143, Qavdrov TeXevrd; 586, Trpoo-uxfctXrjfia xprj^id-

Tiov ; 871, r)j3rjs tcAos ; 926, Yjowrecov dvaSeo-fitov arav ; 1074,

T€KV(ov yovrj.

4. An adjective is said to be used proleptically when,

instead of expressing some quality of the noun, it expresses
the effect which is produced upon the noun by the action of
the verb. Thus, '
He beat Tom black and blue/ means that
the beating produced those colours in Tom, not that Tom
was black and blue first and then suffered a beating. So in

line 283, 7rouSas tK&LSdo-Kecr 6 at crotfrovs means '

to have his
1
children taught to be wise, not 'to have his wise children
taught/ See also line 858.
5. The explanatory (or epexegetic) infinitive is used many
times in the Medea, and is worth understanding. It is

attached to adjectives, substantives, and verbs.

With an adjective it means *

in respect of/ like the Latin
 —
INTRODUCTION. xix

supine in u. So Mowai fxaXOaKa — dula'a auditu—soft in the

hearing {i.e. soft to hear). For examples of this see lines 118,

25 2> 3° 2 > 3°6, 497> 5°5> 6 43> 1^37-

With a substantive it expresses the use to which the object
denoted by the noun is to be put. Thus p7xav*? avTmow&u
= '
means for punishing (to punish).
1
So in lines 247, 250,

419, 1 x 7Sj r 337.

With a verb it means '
in respect of/ In line 117 vlko.

ei7reu/ = 'is superior in the telling (to tell of)? Note that
this infinitive is not often found after verbs except in the
case of opdu) and aKovd) : aKovvai 7ray/<aA(os ?^€t = <
it is all
9
very fine to hear of.

As the words in italics show, it is generally possible to

render these explanatory infinitives by English infinitives of
the same kind.

J. Notes on Certain Words.

1. The Medea is so full of passion that we naturally find in

it a great many words which express the feelings. It will

perhaps be useful to collect them here, and distinguish their

meaning as far as possible. Like our words heart, spirit,

te?nper, etc., they cover a good deal of the same ground.

A. KapSlais the seat of feeling (235, 565, 1298) and pas-
sionate resolution (809, 985, 1180). We use *
heart
3
in both
senses ;
e.g. ' it goes to my heart
9
and 4
have you the heart
to do this?'

Ktap (381, 862) = /capita, but is only used twice by Euripides,

though it occurs often in Aeschylus and Sophocles.
a-irXdyxvov (bowels) again is the seat of feeling and of
XX INTRODUCTION.

character (210). In both senses it may be translated

6
heart.'

fjirap (liver) is the seat of feeling and also of life (362).

This word again must be translated 4
heart.'

foxv (breath, life) means soul in 236, and life in 916.

4 9
*
'

But in 216 and 449 it is the seat of the feelings, and must be
4
translated heart.'

B. Xrjfia (from an old verb Aaa)=I wish) means, in the first

place 4
will,' and then 4
temper ' (in the sense of disposition)
and *
spirit' This is its meaning in lines 111, 334. But in

166 it has the bad sense of 4 pride.'

4
o/oy?) (impulse) means, in the first instance temper' or
4
disposition.' In lines 113, 821 it may be translated by
4
temper ' or 4
mood.' But more often it has the bad sense of
4
anger ' or 4
passion.' In line n 13, Ilavos Spy as (the impulse
of Pan) means what we call
4
panic'
4
XoAos (gall or bile) is always used in the sense of wrath.'

C. <l>pY)v (midriff) and Ovpos (impulse) belong partly to

A. and partly to B.
cf>prjv in lines 96, 167, 254 is the seat of the feelings, and
must be translated 'heart.' But in 634 and 995 it means
*
mind.' The latter is the more usual sense of the word.
Ovfibs in lines 8, 296, 614 means 4
heart'; but in lines 100,

816, 830, 1093 it means *

wrath.' In lines 999, 1019 it can
hardly be translated by one word :
4
perhaps angry heart will '

render the meaning fairly.

2. The Greek poets had a variety of ways of expressing the

pronouns *
I ' and 4
thou,' and the word 4
self.'
4
Self ' is expressed by Se/zas, o-w/za, Kapa.
4
1
9
may be tov/jlov (to c/xoV), tovjxov 8e/xas, TOVfxbv Ka/oa,
 —
INTRODUCTION. xxi

tov/xov o-co/xa, dvrjp o8e. (With the last phrase compare the
1
negro '
dis chile,' dis nigger.')
'
Thou may be 1
to ow, to abv o-w/xa, to crbv Se/xas, to o-ov

Kapa.

3. The words ya/xos, AeKTpov, Ae^os, cw?) often present

difficulties, ya/xos may often be rendered '
match/ as in 388,

522,601, 861, 1173, 1304. Sometimes '

bride,' as in 17,

1294.
evvrj, XtKTpov, Ae^os all mean '
the marriage-bed '
; but it

often happens that a literal translation into English would be

either coarse or meaningless. Here are a few ways of
rendering these words :

bride — 566, 569, 1286.

love — 530, 664, 1229.
hand — 617.
marriage — 616, 466,
marriage rights — 254,
lust — 1276 (where two of these words are used for the

sake of emphasis).
wedlock — 645.
K.— yap.
We are apt to think that when we have said yap means
4
for ' we have explained all aboutit. Though in most cases
that explanation is sufficient, there are many exceptions.
In English, and generally in Greek, '
for ' introduces the
explanation of what has just been said. But yap very often
introduces the reason for something which is not expressed
but has to be understood.
xxii INTRODUCTION,

r. Sometimes the words omitted are 6

1 say so-and-so/
For instance, in line 635 we have '
Medea, hail ! (I say hail),

for there is no better form of address.' So in 442, 465, 1308.

2. More often what is to be supplied is 'Yes' or £

No.' So in

776, when asked, Will you have the '

heart to kill your own
children ? '
Medea answers '
(
Yes), for thus I shall/ etc. See
line 313, 332.

3. Sometimes there is a whole sentence or more left out.

For instance 49 we must supply And this is the case

i
in line

with me.' But we can often avoid the awkwardness of

supplying sentences. The English word Yes/ '
after a pause,

often marks that something has been left out. In line 49

.

'Yes' will represent the yap perfectly. So in lines 114,

3i5> 549, 75 6 86 7- >

4. There is a similar case in which yap is best represented

by '
but/ When a man says, '
But why are you so wasted ?'

he means 4
But there is something wrong, for why are you so
wasted ?' A Greek wishing to express the same thought
leaves out the but and not the for, and says, 'for why are you
1
so wasted ? ri yap crbv 6/x/xa xp^s T€ ctvvtct^x' o8c \
(line 656).

See line 1250.

5. Perhaps the most difficult case is that of aAAot yap. In
line 1008 we have
aW et/u yap Srj TXrjfjLOveo-rdrrjv 6Sdi',

iraidas irpoa^lireiv ftovXojiai :

'
But I wish to bid my children farewell,/^ I am going a
sad journey/ The regular Greek order of the words is that

which we have here: '

But—fori am going, etc. — I wish/ We
can keep the order by the familiar device of rendering yap by
and so in the other clause: 'But I am going, etc.; and so I wish/
 INTRODUCTION. xxiii

Now nothing is more common in all languages than to drop

the latter half of a sentence like this, leaving the conclusion
to be supplied. Take for instance
i
But it is no use trying to
shame you {and so I shall say no more).' The words in
brackets need not be expressed. We drop the and so but in
;

Greek the yap is attached to the first part of the sentence, and
there it stays, e.g.

a\X ov yap av ere fxvpiois dveioWi

SaKOlfM'

literally,
i
But, for I should not sting you with a thousand
reproaches (I shall say no more).'
You will find a sentence just like this in Macbeth, Act. i.

Sc. 2 :

'And fortune, on his damned quarrel smiling,

Showed like a rebel's whore : But all 's too weak '

(so I shall not try to do the subject justice).

In Greek '
But all 's too weak would be '

aAA/ ov yap av tolovtov a£tcos Xoyov

ci7T€iV Svvalprjv.

See lines 241, 1008, 1025, 1239, 1282.

6. When a sentence begins with ov yap av we may always
6 6
supply '
had it been so,' or otherwise/ or in that case/ So
in lines 6 and 1245.
7. There are many cases which do not come under a
general rule, where it is easy to see what has to be supplied.
Such are lines 424 (' and so it is with you'), 653 ('quite
right ').
 The back of the stage represents Medea's house, which
stands in a street in Corinth, The road to the right is supposed

to lead to the king's palace and the harbour; that to the left

is the way out of the city. The orchestra represents a7i open

space in front of the house.

The characters in the play are—

A Colchian Princess.

'Idacav, Prince of Iolcos.

Kpeov, King of Corinth.

Alyevs, King of Athens.

Tpo(j>6<;, Nurse to Medea.

iraiSayaryos, Tutor to the Children.

7ralSes MrjSeias, Medea's two Boys.

ayyekos A Messenger.

Xppbs yvvauccjv, Chorus of Corinthian women.

The Medea was brought out in the spring of the year 43 1 B.C.,

just before the Thebans made their treacherous attack upon

Plataea. Euripides obtained the third prize, Euphorion being

first and Sophocles second.

 ACT I.

DESOLATION.
SCENE I.

Enter Nurse from Medea's house.

A brief account of Medea's history.

TP. El'#' w<£eV 'Apyov? /jltj hiairracrQai cnedcfx)?

IZoX^cdv €9 alav icvavkas ^v/jLTrXyyaSa^,
1

/jbrjS iv vdiraicri UrjXtov ireaeiv irore

T/jbrjdeicra 7T6VKtj, fjL7]8' iper/jboocrai ykpas
avSpcov apMTTecov, ot to irdy^pvcrov 8epo$
UeXia fjL€Tr]\6ov. ov yap av hkairoiv i/jut]

MtfSeta irvpyovs yrjs eirXeva 'IeaX/aa?

epcorc Ov/jlov eicirXayeia Tacroz/09,
. ovS' av Kravelv ireiaacra HeXtdhas icopas
irarkpa tcarcpicei rrjvhe yrjv "KopLvOLav [10] IO
%vv dvSpl Kal TetcvoMTLV, dvSdvouaa fjuev

avTr) re irdvra ^Vfjicjykpova 'ldaovi

rjirep fjueyLcrrrj yiyverau aayrrjpia,
orav yvvrj Trpbs avSpa fir) Si^oaraTj).
vvv ixOpd irdvra, Kal vocrel ra (f>iXrara.
8'

irpoSovs yap avrov rk/cva heairoTLV r i/birjv

ydfAois 'Idacov /3acnXL/coLS evvd^erat,
yrjfxa? Kpeoz/ro9 7rat8\ 09 alavfjbva ^Oovov
A
2 MEDEA. [Act I.

Her present unhappy condition described.

M.rj8eia S' r) 8vctt)vo<; rjTLfxaapbevrj [20]

fioa fjbev opfcovs, dvatcaXel Se 8e%ca<; 20

itLgtlv /uueylo-Trjv, koX Oeovs /jLaprvpercu
oXas a/jLotfifj? i% 'Idcovos Kvpei.
vfaia dXyrjSoaL,
KelrcLL S' acriTOs, aco/ju
rbv irdvra crvvrrjicovaa Sa/cpvois ^povov,
iirel 7rpo9 av8pb<? rjcrOer r/Sc/cr/fjuevrj,

ovt ofjifJL eiraipovcr ovr diraXkdaaovaa 7779

TrpoccoTTOV C09 Se irerpos rj daXdcrcrLO^
kXvBcop ci/covec vovBerov/jLeprj cfriXcov

r)v /Jbrj 7roT€ arpey\raaa irdXXevicov Seprjv [30]

avrr) 7rpb<; avrrjv irarep aiToi/judo^y fyiXov 30

teal yalav olkovs 6\ 0L/9 Trpohova dc^L/cero
/JL6T dvSpbs 09 cr<£e vvv dTLfJudaas e^ei.
eyvco/ce S' r) rdXatva cv/jbcjiopas viro

olov Trarpcpas firj dTroXeLireaOaL %9ovo<;.

Fears that she will do some dreadful deed.

arvyet 8e nraihas ov$ opcoa evcfrpaiverai.
Be$oi/ca S' avrrjv jirj tl fiovXevcrrj veov
Secvrj ydp' ovtol paSicos ye <TVjubj3aXa)v

eyQpav tls avrfj /caXXivi/cov aaerat.

}
dXX otSe 7rai$e<; etc rpo^cov ireiravfjievoi,
J
GTelyovai, fjbrjTpbs ovSev evvooyjievot ~ *
40
/ca/cobv vea yap (jypovrl? oxjk dXyelv fyiXel.

SCENE II.

Fitter Tutor, leading Medea's two children. They have been

for a walk, and come in along the street.
HAL iraXaibv oi/cwv KTrjjia 8ecnroLvrj<; ifjbr)^ y

rl 7rpo9 irvkaiai rrji>8' dyova eprj^lav [50]

Scene 2.] DESOLA TION. 3

€(TT7}Ka$ } aVTTj 0p€OfJL6Vr) cravrrj icaica ;

7TO)9 aov fiovrj M.7]8eoa XetTreadat deXei ;

TP. T€KVG)v o7raoe Trpeaftv rcov 'Ydaovos,

Xprjaroicri SovXois %v/jL(f)opd rd SecrTrorcov
Kcuc&s TTLTVovra /cal (fipevwv avOdirrerai.
iycb yap e? tovt etcfiefirjic' dXyrjSovos,
wad' V7rr}\6e yf) re icovpavS
Lfiepos fi 50
Xe%ai /jboXovay oevpo heairoivrj^ rv^a^,
IIAI. ovttcd yap rj rdXaiva iraverac yocov ;

TP. ^rjXco cr '

ev apxfl 7rr]/j(,a Kovheirco fieaot. [60]
IIAI. & /jLwpos, el "fcpr} heairoras elirelv roSe'
a>9 ovSev otSe twp vecorepcov fca/cwv.
TP. Tt 8' ecrrcv, & yepaie ; /jltj (f)66vet fypdaat*
1

IIAI. ovhev' fiereyvcov koX rd irpoaO elpr\\xeva.

TP. fir}, 7rpo9 yeveiov, /cpvirre avvhovXov aedev*
criyrjv yap, zl 7!' T&vSe
XP 0V (7O /jLaL TC^pi*
IIAI. rjtcovaa rov Xeyovros ov So/ccov rcXvetv, 60
TrecTGOvs irpoaeXOoov, ev6a Srj iraXairaTOi
Odaaovat, ae\xvbv dfi^n YleLprjvrjs vScop,
ft>9 TOVcrSe iralhas 7^9 eXdv YLopivdlas [70]
avv firjTpl fjueXXot rrjoSe fcolpavos %#oz>09
JZpecov. 6 jxevTOL /jlvOos el o~acf)r}<; o8e
av ovk etvao r68e.
ovic ol8a* /3ovXol/jltjv 8*

TP. koX ravr 'Idacov 7ral8a<; e^ave^erai

irdcryovTas, el ical /u,r]Tpl Siacfropav eyei ;

IIAI. iraXaid Kaiv&v XeLirerai KTjSevfJbdrcov,

icovfc ear e/ceivos rotcrSe Scb/Jbaacv <jf>/\o9. 70
1
TP. aTrcoXo/meaO ap\ el Kaicov Trpoaoiaofxev
veov iraXaMp, irplv to 8' e^vrXij/cevat.
IIAI. drap av y, ov yap /caipbs elhevau r68e [80]

8eairoivav rjav^a^ei ical alya Xoyov.

TP. & reicv, dicoveO' 0I09 €69 v/jl&s Trarrip ;
4 MEDEA. [Act I

oXocro fiev jJbr)' Secnrorr]^ yap ear i/AOS*

arap Ka/c6<; y cov e? (j>lXov<; oXicncerat.

IIAI. Tt9 S' ov%l QvrjTWV ; dprv yiyvcocr/ceis ToSe,

a>9 7ra? t^9 avrbv tov TreXas /jlclXXov (fytXel,

el rovaSe y evvrjs elveic ov crrepyei Trarrjp. 80

TIT) J/ > ^ \ »/ £ / V /
IF. 6T , eu 7<xp earat, ocofjLarcov ecrco, re/cva.
av &)9 fiaXtara tov ah' eprj/jLcoaas e^e [90]

zeal ^ ireXa^e fjbrjrpl 8va0vfJbovfjLevrj.

7]8tj yap elhov ofjbjxa viv ravpov/jbevrjv

rotao', W9 Tt hpao-eLovaav ovSe Travaerac
%6Xov, cratf) olha> irplv KaTacr/cfjyjrai riva.
e")(dpov<Z ye /juevroL, firj (piXovs, Spdaete n.
Medea is heard speaking within the house,

MH. M>,
hvaravos eyco fjueXea re ttopcov,
Ico fjLOL /jbOLy 7rco9 av oXoi/juav ;

TP. (to the children) toS eicelvo, <piXoc 7ra£Se9* ^TTjp QO

KLvel /cpaStav, Kivel he %6Xov,
airevhere Oaaaov ScofAaros elaco
teal fjur] 7reXaarjT ofA/JLaros eyyvs [100]

firjhe TrpoaeXOrjT , dXXa (frvXdo-aead'

ayptov r)0o<; arvyepdv re fyvcriv

(f>pevbs avddhovs.
Ire vvv yutpelff a>9 7ayo<$ ecaco.

The Tutor and children go into the house. The Nurse

tur?is to the audience.

SrjXov S' 0/37779 e%aipop,evov

ve(f)o<; olfJLCoyals &>9 ra^' dvdyjrei
fieL^ovt Ovjxoy tL ttot ipydaerat IOO
pbeyaXoairXayxvos Svo-KardTravaTos
Scene 2.] DESOLA TION. 5

MH. {within) aiat,

eiraOov rXd/jucov eiraQov fieydXcov
CL%L 68vp/JL(OV
(catching sight of the children as they pass through
the house)
ft) KdTapCLTQL
iraZhes b'XoicrOe arvyepds fiarpo^
(tvv it cutpi, Kal 7ra? S6/X09 eppot.
TP. ld> jjlol fioL, la) rXrj/jLcov.

tL Se croc 7raZSe9 irarpos dyarXaicLa^

fJL€Te^OV(TL ; TL TOVG?) OL/jLOL,

re/cva, /jltj tl irdO^O' G09 virepaXyo). 1 10

(sententiously) 8eLvd Tvpdvvcov Xrjfxara kclI 7T&)9

oXly dp^o/juevoL, 7roXXa /cparovpres [120]

^aXe7rc!)9 opyds fjLeraftdXXovcrLv.

to yap eWccrOac ^rjv €7r' lctolctlv

Kpeicraov ifjiol yovv eirl fir] /jLeydXoL?

o^vpco^ €lt] KarayrjpdaiceLV.
to)v yap fierpicov Trp&ra fiev eiirelv
Tovvo/jua VL/ca, yjpr\crQaL re /jua/cpoj

Xcpcrra fiporolcrtv rd 8' virepftdXXovT

ovheva Kaipov Svvarat OvrjTol^ 120
/jl€l%ov<; 8' aTa?, orav 6pyca0y

8ai/jL(Dv, olkols aTreSoo/cev. [130]

SCENE III.

The chorus enter the orchestra from the side, with signs of agitation,
Their leader addresses the NURSE.

XO. efcXvov (fxovdv, €kXvov he /3oav

ra? Svardvov
KoX^lSos, ov8e TTco r/7T609* dXXd, yepacd,
6 MEDEA. [Act t

ke£ov .eir a/jL<j>i7rv\ov yap eo~co fiekdOpov ybov

e/ckvov
ovBe avvrjSofjLai,, 3) yvvat, Sky eat BcbfAare?,
eireL puoi fyLkov /ce/cpavrai.
TP. ovk elaX SofjbOL' cf)povBa rdB' rjBr).

tov fJLev yap eyei ke/CTpa rvpdvvcov, [140] 1 30

7) S' €V dakd/jLOL? TTJK6L filOTTJV
SecTTTOtva, (frikcov ovBevbs ovBev
7rapa0ak7ro/ju6vrj cfypeva fivOots.
MH. (within) alal,
Bed jjlov Kefyakds (frkbt; ovpavla
fiair}* tl Be fjbot %r)v en KepBos ;

<f>ei> <frev* Oavdrco /caTakvaal/jLav

ftiordv crrvyepav irpokiTrovaa.

The chorus turn to each other, and speak all together,

in horror-stricken tones.

XO. & Zev /caX yd /caX

cues, <£<W9, str.

dyav ocav d BvcrTavos

fjLek7T€L vvfJL<f>a ; 140
tl$ croL ttot€ Ta? dirkaTov
fcoiras epos, w /juaraia ;

cnrevcrei Oavdrov rekevrd*

/jLrjBev roBe klacrov.
el Be (709 ttoctls
tcaivd ke^r) ae/3l^ec,
KeLvcp roBe pbTj yapdacTOV'
Zevs aoi rdBe avvBacrjaei. fit) kiav
rdfcov Bvpo/jueva o~bv evvdrav.
MH. (within) 3) fieydke Zev ical %ep,L iroTvca, |_
1 00] 150
kevaaeO' d ird<jyu>, fieydkois optcois
evBrjcra/jLeva tov tcardparov
 ;

Scene 3.] DESOLATION. 7

it o(i iv ; ov ttot iyco vvfufiav r €ctl8oc/jl

auToZ? fiekaOpoLS hiaicvaLOfjievov^,

oiy i/ne irpoaOev ToXfioya d8i/ceiv.
3) 7ra,Tep, 3) 7r6\i<Zy Siv airevaaOrjV
alaypoys rbv ifjubv KTeLvaaa kclctlv.

TP. icXveO' oca Xeyec /cdirc^oaTac

®e/jLtv evKTacav Zfjvd 6\ 09 op/ccov

6v7)toI<; ra/jLLas vevofjbtaraL ; [170] 160

OVK 6CTTLV 07TCt)? €V TCVC /JLUCpS
hecnroiva yoXov icaTairavaei.

The chorus repeat iheir previous dance, speaking in eager tones.

XO. 7Tco? dv €9 oyfrcv tccv afierepav antistr.

eXdoc fjLv0cov t avSaOevTcov
Se^acT ofjbtyav,

ei 7ra)9 fiapvOvfiov 6 py civ

feat Xrj/jca (frpev&v fjceOecr)

fJCTjTOL TO y ifJLOV 7Tp66v/JLOV

(pcXocacv air ear ay.
{to Nurse) dXXd (Sacra viv [180] 170
Sevpo irbpevaov ockcov
e^co, cpcXa icac Tab avoa,
cirevaaad tl irp\v icaiccocrai tovs eccrco*
7

7T€v0o<; yap fjbeyaXcos t68 opfiaTac.

TP. Spdaco TaS'* aTap <j)6/3o? el irecaco

heairocvav ifjurjv

fioyOov 8e yap iv TijvS' eirchcocrco.

fcaiTou TO/cdSos Sepy/xa Xeacvrjs

diroTavpovTat Sfjccoacv, oTav tcs
fivdov irpocfiepcov 7reXas 6p/j,r]0f}. 180
{thoughtfully)
Gicaiovs he Xeycov fcovhev tl crocpovs [190]
8 MEDEA. [Act I.

tovs TrpocrOe fiporovs ov/c av afidpTots,

0LTLV6? VfJLVOVS 67TL /JL€V 6dkLai<;
€7TL T etkaiTLVaLS KCLL ITCLpCL heiTTVOlS

Tjvpovro /3/ou repTrvas aicoas*

CTTVJLOVS &€ fipOTOOV OvSels XvTTCLS
rjvpero i^ovarj ical TroXwxp phots
eoSafc Traveiv, e£ S)v Odvarou
Seivai re Tvyai afyaXXovai 86/jlovs.

kclvtoi rdSe [xev tcepSos dfcelcrOai, 190

fxoXiralai fiporovs* iva S' evheiirvoi [200]

hatred, tl /jbdrTjv reivovcrt ftorjv ;

to TTdpov yap eyei Tep^iv d$ avrov

Sairbs 7rXr}p(£>[ia ftpoTolatv.

Exit Nurse into the house.

XO. (excited) layav dlov iroXvarovov yooov,

Xiyvpd S' ayea /jLoyepd ftoa

rbv ev Xeyeu Trpohorav Kdfcovv/jLcfrov

OeofcXvrel 8' aSt/ca iraOovaa

rdv Zrjvbs opicLav ®e/juv,
a vw eftaaev 200
c
JLXXd8' e'9 dvTLiropov [210]

hC aXa i&vyiov dX/juvpav

7T0VTQV /cXfjS' aTrepavTOV*
 ACT II.

RESOLUTIONS.
SCENE L
Enter Medea from the house. She comes forward and addresses
the chorus.

Medea's reasons for presenting herself.

MH. Kopiv0iai, ryvvaifces, i%r}\0ov 86/jlq)v,

fXTj /jLOL TL fl€/ji(j)7JO'0

>t
olSa yap 7ToWoL>9 ftpOTO)V
<r€fivoi><; yeycoras, tou9 fiev oybjiaTtov ctiro,

tou9 S' iv QvpaLois* ol S' a$> rjcrv^ov 7roSo9

Svo-fckecav iiCTrjaavTo /cat paOvfxLav.
8l/C7) jap ovk eveanv ofyOaXjjLols fiporcov,
octtls irplv avSpbs aifkaiyxyov eKfiaOeiv cracjfcw? 2IO
arvyel SeSopfccos, ov8ev r)8iKrjfjuevo^. [221]

Xprj $e %€VOV fjL€v Kapra irpocr^copeLP TroXer

ov8' acrrbv rjvea oari? av0d8rj<; 767009
7TLicpb<; iroXLrai? early afiaOia^ vtto.

Her despair.

i/JLol S' aeXirrov irpayfjba irpoaiTecrbv roSe

yjrvxv v 8ie<j)0apK' oL^piiai Se fcal ftiov
%apiv ixe0etaa Kar0avelv ^prj^(o y <f)tXat.
ev oS yap rjv /jlol iravra, ytyvooaKQ) fcakcos,
10 MEDEA. [Act It-

She describes the wretched condition of women

in Greece.

irdvrwv 8' Oct ear efiyjrv^a fcal yv(bp>r)v e%€6 220

yvvaltces ecr/juev dOXccorarov cfrvrov [231]

a? Trpoyra puev 8el ^prjfidrcov virepfioXf)

itoctlv TTplaaOai Beairorrjv re (tco/jlcitos

Xaftelv Xafielv yap ov, t68' aXyiov /ca/cov

Kav tg3S' dycov fieyLaros, rj tccuchv Xafielv

V %pv)GTOV. ov ydp ev/cXeels diraXXayal

yvvau^Lv, ouS' oXov r dvrjvaa0ac ttoglv.
€9 KdLva S' rjO rj fcal vo/jlovs d^>Ly/jLevr)v

8el fjbdvriv etvai, fir) pba0ovaav OL/co0ev,

07ro)9 pbaXtara yjpr)aeTai ^vvevverrj. 2 30
1

kclv fjbev rah tj/jllv eKirovovpLevaiviv ev [241]

7r6(7A9 %vvoifcfj fir) $La cpepcov £vyov,

£77X0)7-09 aldov el 8e /jurj, 0avelv yjpei>v.

dvrjp S', orav T0Z9 evhov ay07) rai ^vvcov, r

egco fjLo\<bv eiravae tcapZlav dar)^

7)/mv 8' dvdyicr) 7rpo9 fxiav yjrv)(r)v fSXeirew
Xeyovac S' r)fjLas ft>9 diclvhvvov filov
%wfjL€v Kar oticovs, ol 8e fiapvavrau Sopt'
1

ica/ccos cfrpovovvres' a>9 rpls av Trap dairLha [250]

arrjvac 0eXoi/ju av puaXXov rj retcelv a7rag. 240

Her desire for revenge.

dXX' ov yap avrbs 7rpb$ ere nap! rjfcec Xoyos*

croi p,ev ttoXis v r)d ean Kai 7rarpo<; oo/jlol

filov r ovrjercs teal fyiXwv avvovcrta,

iyw S' eprjfjuos airoXts ova v/3pL%op,ai
7rpo9 dvhpos, etc 7779 ftapfiapov XeXyafievr),
ov fxr)Tep\ ovk dheXtyov, ov^l avyyevr)
p,e0opp,Lo~aa0at rrjerc)' eypvera avfJL(f)opa<>.
 1

Scene I.] RESOLUTIONS.

roaovrov ovv crov Tvyydveiv (3ovXr]crofjLai,

7]V jJLOL TTOpOS T£9 /JLTJ^aVT] T i%€Vp€0fj [260]

irbtriv SUtjv TWINS' avTCTLaaaOcu kclkcov, 250

criyav. yvvrj yap raXXa fxev cf>6/3ov irXea
Katcrj r €9 dXicrjv teal aLhrjpov elcropav
otclv S' €9 evvrjv r)hucr)jjL€V7) rcvpy,
ovfc ecrriv aXXr) (pprjv fitaLcf)OPO)Tepa,

XO. Spdcrco TaS ,# ivSifccos yap eKTicrei irocrw,

MrjSeca. irevQelv S' ov ere Oavfid^co Tvyas.
6pS) Se teal JZpeovra, TrjcrS' avaKTa 77)9,
aTei^ovra, /caovcov ayyeXov ftovkevfAaTcov [270]

SCENE II.

Enter Creon from the right. He addresses Medea in a

peremptory tone.

KP. ere TTjv (TKvdpc07r6v /cal Troaet 0v/ju)v/jL6V7]v,

M.r}Secav, elirov rrjcrSe yr)<; egco irepav 260

fyvyaha XajBovaav Stcrcra crvv cravrfj reicva,
fcal fir] ti fieXXetv' a>9 eyco fipafievs Xoyov
TOvS' 6L/JLL KOVtC CLTreijAL 7T/309 86/JLOVS TTaXlV,
irplv civ ere yatas repfioveov e%(o fidXco.
MH. (in despair) alal* iravcoXr]^ r) rdXaiv diroXXvfiaL.
i^Opol yap e^taert iravra 8?) tcdXcov,
/covfc ecTTLV cirrus evirpocroiGTOs etcftaeriS.

iprjaofjLai 8e ical tca/ccos irdoyovcr o/4a>? a

[
28 °]
tLvo<$ p eicaTL 77)9 ciiroerreXXei^, IZpeov ;

KP. (harshly) SeSot/cd a, ovhev Set irapapnreyetv \070u9,

1

pr) fjLol rt Spderr/s Tract) dvrj/ceerTOv fcaxov. 27

ervfjLpdXXerat Se TroXXd rovSe Sety/Jtara'
- crocpr] Trecpvfcas ical Kaictov ttoXX&v tSpts,
12 MEDEA. [Act II.

Xvirei 8e Xeterpwv dv8pbs iarepijfjLevT).

teXvco 8' diretXeiv a, o>9 dirayyeKXovai /jloi,

rbv 86vra teal yqjjbavra teal ya/jiov/JLevrjv

8pdaeuv rt. ravr ovv irpXv iraBeiv <j>vXdi;o/jLaL.
tepeiaaov 8e /xol vvv 7rp6? a dire^OkaOai, yvvat y
[290]
rj fjLaXOcuciaOevO' varepov fjueraarevecv.
MH. {bitterly) <f>ev fev.
ov vvv fie irpSirov, dXXa iroXkdteLs, JZpeov, 280
eftXayfre 86 %a jxeydXa t etpyaarat icaicd.
8' oviroO' octtls dpricfrpcov irefyvie dvrjp
Xprj
iral8a^ irepiaaws e/e8i8dateea0aL cro(£ou9*
%g>/(H9 jap oXXt)? 979 eyovaiv dpyias
(f)06vOV 7T/309 d(TT(OV dX<pdvovaL 8va/Jbevrj,

ateacoiat fjbev yap teatvd nrpoa^epcov aocfra

86%eL$ a^peZo9 teov cro<£o9 ireipvteevar
twv 8' av 8okovvtcov el8evau rt itoikiXov [300]

fcpeLcracov vo/juaOels Xvirpbs iv 7roXei <pavel.

eya) 8e teavrrj rrja8e kolvcdvg) ti^?;9. 290
aocf>r)yap ovaa, TO69 aev el/ji eirLfyOovos,
aol 8' av nrpoaavrr]^, firj n ttXt) /jb/jueXes irdOrjs.
{persuasively)
ovy^ &>S' eyei floe, /jur) rpearj^ rjuas, Kpeov,
&ar €9 Tvpdvvovs av8pas i^a/juaprdveiv,
tl yap av r/8iter}tea<; ; ij;e8ov teopr/v
/jl

oto) ere dvubs rjyev. dXX' e/ibv iroaiv [310]

/xtaoy av 8\ ol/iai, aaxppovcbv e8pa<; rd8e.

teal vvv to /lev abv ov (f>0ovco /eaXws eyew
vva^ever , ev 7rpdaaoLT€- Tr)v8e 8e yQova
iare /jl oiteelv. teal yap r)8iter//xevoi 3 00
aLyrjaofjueaOa, tcpeiaaovcov vLtedo/ievoi.
KP. {suspicious)

Xeyew dteovaac /j,aX0dte\ dXX' eaco <f>pevcov

Scene 2.] RESOLUTIONS. 13

oppcoSla fjboi fir] ri ftovXevrjs KaKov,

roaaiSe S' rjacrov rj irdpos irerrroiQd cror
yvvrj yap o^vOvlios, a>9 8' avrcos dvrjp,
pacov (pvXdaaetv r) a iayirrjXbs o-o<p6s, [320]

{harshly) dXX' ef;td' co? rd^cara, fir) Xoyovs Xeye*

o>9 ravr apape, kovk eyeis re^vrjv o7rcos

[levels Trap r)filv over a Svo-fievrjs ifioL

MH . [clasping his knees)

LLrj y irpos ere yovdrcov rrjs re veoydfiov KGprjs* 310
KP. Xoyovs dvaXols' ov yap av ireiaats irore.
MH. dXX e^eXas fie KOvSev alheoreu Xcrds ;
}

KP. (j)i\co yap ov ere fiaXXov rj Sofiovs ifiovs.

MH. (rising- and turning away)

& irarpis, &s gov /cdpra vvv five Lav e%co.
KP. 7rXr)v yap re/evcov kcl/jlo tye (piXrarov ttoXv.
MH. $ev cf)ev, fiporols epcores 0)9 /ca/cbv fieya. [330]

KP. 07rct)9 civ, 01 fiat, Kal TrapaarSyatv Tv%at.

MH. Zev, XdOoi ae t&vS 09 amo? KaK<ov.
fir)
1

KP. epir 3) fiaraLa, tcaL p! dirdXXa^ov irovcov.

>

MH. Trovovfiev r) fie is kov ttovcov Keyjpr\fieQa. 3 20

KP. e£ biraScov ^ecpbs a)G0rjaei /8/a.

MH. (seizing his hand)

fir) Srjra tovto y , dXKd a alrovLiai, Kpeoz/.
KP. o^Xov irape^e is, G09 eoucas, & yvvai.
MH. favZovfieO'- ov tov0' iKerevcra gov Tvyelv.
KP. tl S' av /3id£ec kovk diraXXdcraei %epo9 ;
MH. (entreatingly) fiLav fie fielvau ttjvo' eaaov rjfiepav [340]

Kal ^vfiirepavau cfrpovTio' f (f>ev%ovfxe6a>

iracaiv r d(f)opfir)v rots eLiois, eirel irarrjp
ovhev irpOTifia fir]^avr]aacr6aL reicvoLs.
ocKreipe &' avrovs* Kal av tol Traihcov 7rarrjp 33°
7recf)VKas' eiKos S' £gtIv evvoidv cr eyeiv.
14 MEDEA. [Act IL

Tovfjbov yap ov fjuot (ppovrk, el cpev^ov/ieOa,

K€ivov$ Se kKclicd crvfMpopa /ceyprjjjLevovs.

KP. {yielding) ffKiara tov/jLov Xrjfju ecfiv TvpavviKov,
alSovfjuevo? he 7roWa Srj hiecfiOopa*
teal vvv opco fiev e^ajjuaprdvoyv, yvvai, [350]

OfJLCDS 06 T€V^€C T0V06'

Medea kisses his hand gratefully : he checks himself

and speaks sternly again.
irpovvveirco Se <tol,

el <t r) 'iruovcra Xa/jLTras oyjreTai deov

teal iralhas evrbs rrjaBe repfjuovcov yQovos,
0aver \e\etcrat /jlvOos a-yjrevSrjs oSe e
340
Exit CREON to the right.

XOc hvaTave yvvat,

<pev (j)ev, fjbeXea rebv ctcov dyetov.

iroi Trore rpe^eu* rtva 7rpo9 %evLav

rj 86/jlov rj yd ova crcorrjpa teatewv ; [360]

CO? 6^9 CilTOpOV 0~6 fc\v8o)Va #609,

MtfSeia, tcatc&v eiropevae*

SCENE III.

Medea turns exultantly to the chorus.

Creon's weakness has given me a chance.

MH. /caKtoS ireirpatcrai Travrayf- 7-/9 dvrepel

a\X ovtl ravrrj ravra, fjur) 8otceiTe y ttco.

er e La dy cove? T049 vecoarl vvfi(f)Lois

icai toIgi KrjSevaaatv ov cr/JLLKpol irovoi. 35°
8o/ceZ9 yap dv /jlc rovSe GanrevaaL 7rore,
Scene 3.] RESOLUTIONS. 15

el fir/ tl /cepSatvovcrav i) Teyy<tip,evr)v ;

01)8' av irpoaelirov ov8' av rjyJrdpLrjv yepoiv* [370]

8' e'9 roaovrov pioopia? d(f>LKero,

&<tt e%bv avrqj Tap! eXetv fiovXevpLara

7779 etcfiaXovri, TijvS' e<\>r)icev rjpiepav
puelvaL p?, ev rj rpets rcov epicov e^Optov ve/cpov$
0r)(T(0, irarepa re feat fcoprjv itocfiv r epiov.

I will poison Jason and Glauce.

(confidently)
ttoXXcls 8' eyovcja davacripbovs clvtois 0801)9,

OVK o2S' OTTola ITp&TOV eyyeipth, (j)iXai,, 36O

Trorepov v<pdyjrco Scopua vvpi(pLKOv irvpi,
i) Ot/ktov cocrco (frdayavov St rjiraTOs,
cnyfj 80/ZOU9 ea^da Xv earpcorai Xe^09. [380]

aXV ev tl puoL TrpocravTes* el Xrj^OrjcropLai

86/jlovs vTrepfiaivovcra /ecu re^vcopuevrj,

Oavovcra Orjcrco rots ipbOL? e^Opols yeXcov.

fcpdriGTa rr)v evOelav, fj
ire^vKapuev
aocf)ol pbdXiaTCLy (frappbd/cois avrovs eXeiv.

I hope to do it with impunity, but in any case

they shall suffer.

{thoughtfully) elev
/cat 8r) reBvacrr T19 pte Several 7roXt<; ;

Tt9 yr)v acrvXov /cat Soptovs e^eyyvovs 370

^ez^09 irapaa^cov pvaerat rovptbv Sepias ;

ov/c ecrrt. (resolved) ptetvaa ovv en aptt/cpov yjpovov>

r)v ptev rts rjpttv irvpyos aafyaXr)*; cfravr}, [390]
8o\&> pteretpit rbvSe /cat o~tyf) cfrovov

r)v 8' e^eXavvrj %vpt(j)opd pi dptfyavo?,

avrrj ^tcj)0<; Xaftovcra, tcel pteXXco Oavetv,
/crevco G<\>e, roXptrj^ 8' etut irpos to tcaprepbv.
16 MEDEA [Act II.

{passionately)
ov yap fia rrjv heairoivav rjv iya) creftco
fiaXtara irdvTWV kcl\ ^vvepyov eiXo/jirjv,
Cl
EifcdT7)v f jJLvyols vatovaav earia^ ifirj<;, 380
yaipoav tls clvtwv tov/jlov dXyvvel tceap.
iracpovs 8' eyd> crfyiv teal Xvypovs drjCTCO jd/JLOVS,

iriKpov Se /cfjBos real (frvyds ifids ^#01/69. [400]

She braces herself up for the resolve.

{resolutely) aXh! ela* <£e/8ou /irjSev wv liriaTacrai,

yirjheia, fiovXevovaa teal re^vcofjuevr]'

epir €9 to hetvov vvv dyebv ev-^rw%La<$*

opas a Trdcr'xew ov yeXcora 8el a 6<\>Xelv

T0Z9 *2iiav<\)€ioi$ Tolah' 'Idaovos yahoos,

yey&aav icrdXov irarpo^ 'HXlov t diro.
eirLaraaai 8e irpbs 8e ical 7T€<pv/cafjL€v 390
yvvalices, e? fxev eo~6X' d/Mrj^avcoraraL,
fca/cwv 8e irdvrcov t€/ctov€$ ao^coraraL.

Medea remains on the stage in deep thought,

ENTR'ACTE,

The chorus take their stand round the 6vfi€\r),

XO. avoy 7rora/Jbcov lepa>v ^(opovcri irayai, str. [410]

zeal hLica koI irdvra ttoXlv arpe^erau.

dvSpdai, fiev SoXicll ftovXaL, Oe&v 8'

OVKCTL ITLCTTIS dpape*

rdv 8' i/Jbdv evtcXeuav e^euv /3lotclv
aTpeyfrovat (fidfjuar

epyerai tl/jlcl yvvai/ceira yever

ovfcert 8fcr/ceXa8o9 (j)d/jba yvvaiicas e%ei. 400
Scene 3.] RESOLUTIONS. IT

fiovacu 8e iraXaiyevefov Xrj^ova dot8av antistr. [421]

TCLV iflCLV VjJLVeVGCLL airMTTQcrvvav.

ov yap iv dfierepq yvoo/jt,q Xvpa?

coir acre Qkcnriv doi8dv
<f>olj3o<;, dytfrcop fjueXecov eVel dvr-
dyr\o? av
i
vfjuvov

apaevcov yevvq. fjuatcpbs 8' alcov e^et

iroXkd jubev d/juerepav dvSpcov re fiolpav eiirelv. [430]

crv 8' ifc fxev olkcov irarpicov eirXevaas str.

fjuaivofjueva, Kpa8iq, 8l8v/jlov<; opLcraaa itovtov 410

Trerpav eiri be %evq
vaiet<z yQovl, tS? dvdv8pov
koLtcls oXecraaa Xe/crpov,
rdXaiva, (frvyd? 8e yjiypas
an/AO? iXavvei.
f

fteftafce 8' op/ccov %dpt<;, ov8 er alBoos antistr.

*JLXXa8i, rq fieydXq y^kvei, aldepLa 8' dveirra. [440]

dot 8' ovt€ Trarpbs 86/jlol,

Bvarave, jjbeOopfjbicraaOai
jno^Ocov irdpa, crcov re Xe/crpajjf
dXXa fiacriXeta Kpetacrcov 420
SofJLoiaiv iirecTTa.

B
 ACT III.

EXASPERATION.
Enter Jason from the right. He stops short at some distance from
Medea, whom he addresses in a tone of harsh reproof

You have behaved very badly.

IA. ov vvv KarelBov irpoyrov aXXa iroXXaicL*;

rpa^eiav opyrjv a)? afirj^avov kclkov.
col yap irapov yrjv rrjvBe /cat Bojjlovs eyeiv
Kov(f)CD<; tyepovcrrj fcpetacrovcov fiovXev/JLara,
Xoycov fjiaraicov elveic eKireael yQovb<$. [450]

/cafjLol fiev ovSev irpayfia* fir) iravarj irore

Xeyovcr 'ldaayv o>9 kclkigtos icrr avrjp*
a 8' 6? rvpdvvovs iari croc XeXeypeva, 430
irav /cepSos rjyov ^rjfjiLOv/Jbevrj <f>vyf).

fcayoo fjuev alel fiaaiXecDv dv/juov/jLevcov

opyas atyypovv icaL a iffovXofjLrjv fieveiv
av S' ovk avieis fxwpia^, Xeyova del
/ccl/ccos Tvpdvvov$ %
TOiyap eKireaet %0ov6<;.
{pharisaically) — But I will still befriend you.

o/jlcos Be kclk tcoz^S' ovk dire 1 prj 609 (filXoLS

t^kco, to gov Be irpoaKoirovfievo^, yvvai, [460]

o>9 /jl?'}T (i^prjfKov arvv reKvotaiv iKirearj^

y

fjirjT eV8er;9 rov 7roXX icfreXtceTCU (f>vyrj

Act III.] EXASPERA TION. 19

kclkcl %vv avrfj, real yap el av fie arvyels, 440

ov/c av Svvai/Jirjv aol tca/cay? (ppovelv 7rore.

MH. (bitterly) — Basest of men, I scorn you !

<y iray/caviare, rovro yap a elirelv eyw,

rjXQes 7rp6? rjXOes e^Ouaros 767009 ;

ovtol dpdaos t6& early ovK evroX/ula,

<f)L\ovs fca/c&s Spdaavr evavrlov ftXeireiv, [470]

dXX' rj fieyiarr] tcov ev dv0p(O7TOL<; voacov

iraacov, dvalheC' ev S' eiroLrjaa^ /jloXcov
eyco re yap Xe^aaa Kov<fiia0rjaofjLai,

yfrvj(T)V fca/cws ae fcal av Xvirrjaeu /cXvcov.

[collecting herself and trying to be calm)

You owe all to me.

e/c rebv Se irpcorcov irpcorov dp^ofjuai Xeyetv. 450

eaooad a\ 009 laaatv ^XXrjvcov oaoi
ravrbv avveiae$r\aav 'ApySov afcd<po<z,

7re/j,(f)6evTa ravpeov irvpirvowv eTnaTdrrjv

^evyXatai teal airepovvra Oavdatfiov yvrjv
opd/covrd 8\ 09 irdyyjyvaov d/jLTre^cov Sepas [480]

aireLpaLs eaco^e ttoXvttXoicols avirvos cbv,

KTeivaa* dveayov aol <£ao9 acorrjpiov.

avTrj 8e irarepa fcal 86/novs irpohova* ifjuov?
rrjv HrjXicoTLV els 'lwXicov i/cofjbrjv

avv aol, irp66vfjio<; fiaXXov rj aocfrcorepa, 460

TLeXlav r dire/crew , cbairep dXyiarov Oavelv,
J
iralh(ov vtt avrov, iravra S e^elXov <f)6j3ov.

{reproachfully) — Your treachery is without excuse.

teal Tav& vcf> rj/jL&v, & tcd/ciar dvSpwv, iradoov

TrpovSco/cas rj/JLcis, Kaivd €KTrja(o Xe%7/,
TralScov yeycbrcov el yap rja0' dirais ert, [490]
avyyvcoar av rjv aoi tov8' ipaadrjvai Xe%oi/9.
20 MEDEA. [Act III.

op/ccov Se (j>povSrj ttlg-tl^, ovh' eyo* fiaOelv

Tj 06OVS VOfJLL^eiS TOU9 TOT OVK apyeiV €Tt,

rj Kaiva K€Lcr0at Qecrybi dv6p(O7T0L$ tcl vvv,
eirel o~vvoLo~0d y eh e\x ovk evopKos obv. 470
<f>€v Se^td yelp, rjs crv iroXX' eXa/jufidvov,
/ecu TcovBe jovcltcov, o>9 fidTrjv Keypcocr/jLe0a

kclkov 7rpo9 dvSpos, eXirLhwv 8 rjfjbdpTOfjuev.

(more calmly) —What is to become of me ?

dy %
Co? (f)t\(p yap ovtl gov KoevdoorofjuaL,

hoKOvcra /juev tL irpo^ rye crov irpd^eiv KaXG)<; ; [500]

0/40)9 S'
#
epwT7]6ei<$ yap alcr^icov (pave?,
vvv ttoI Tpdiray/iai ; iroTepa 7rpb<; TraTpb? 86/ulovs,

ou9 crol irpoSovaa ical iraTpav dcjuKo/jLrjv ;

rj 7rpo9 TaXaivas TleXidSas ; KaXcos y av ovv

SegaivTo oikol? &v iraTepa fcaTe/cTavov.
fju 480
eyeiyap ovtco* TO69 pev otKoOev (friXois
eyOpd KaOeo-Trj^ 01)9 Se fi ovk eyprjv Kaxw?
hpav, aol ydpiv <f>epovcra iroXepLovs eyw.
(bitterly)

to uy dp fie TroXXals fxaicapLav dv 'EXXdSa

€07} teas dvTi ToovSe' Oav/juacTTov Se ere \P^\
eyw 7r6criv KairicrTOV r) rdXaiv eyco,

el (f)ev^o/jbaL ye yalav ifcftefiXrj/jLevr),

(piXcov eprj/juos, avv Teicvois fjuovrj flavor,

koXov y ovethos tw vecoaTt vv/jL<j)L(p,
7TT(oyov^ dXda6at iralhas rj t eawad ae. 490
(passionately) — There is no art to find the mind's construction
in the face.

w Zeu, tl 8rj yj)vo~ov p>ev 09 fci/38r)Xo<> rj

reic/jur/pi dvQp^iroiaiv coTraaas cracpr},

dvopwv K oVft) xpr) rbv Katcbv ScetSevai,

ovBels yapaKTr\p e\xire§VKe aco/xaTL ;
Act III.] EX A SPERA TION. 21

XO. heivr) r^9 bpyr) kol hvcrLaros TreXet, [520]

orav ())l\ol (/)l\oc<tc avfi^aXoya epiv.

IA. {with a sneer) — I see I must make a speech.

&€i ft, cos eoL/ce, fxrj kclkov cfrvvai Xeyetv,
dW (bare vabs iceSvbv olaKoarpotyov
d/cpoicn \al<j)ov$ fcpaaireSocs vTre/cSpa/jLetv
T7]v (ttjv crTO/jLctpyov, & yvvac, yXayaaakyLav. 500
{coldly) — You do not deserve much credit for helping me,
and you have been more than repaid.

iycb 8', iTrecBr) tcai Xiav irvpyols ydpiv,

JZvTrpcv vo/jll^o) t^9 e/jurjs vav/cXrjpias
crcoretpav elvau 6eo)v re Kavdpcoircov /jlovtjv.

aol S €(TTC
1

fJb€V VOV$ \€7Tt6<; } aXX i7TL(j)0OVO^

v
\0709 SieXOecv, &>9 Ep&)9 a r]vdyica<T6 [530]

robots acfrv/cTOLS rovfibv €kgwgcll Sefias.

1

dXX ov/c dtcpiftcos avrb Orjaofiai Xiav*

oirrj yap ovv &vr\cra<$) ov tca/cws e^ei.
/jl€i£co ye fievrot rfjs e/jbfjs aasTriplas
etXrjcfyas rj SeSco/cas, o>9 iyoo (frpdcrco. 5 10
c
Trpcorov fxev E\\aS' dvrl fiapfidpov y6ovb<$
yalav KaroiKel^ koX SUrjv eiricrTacTai

vofJiOL^ t€ yjpr\<jQai fir) 7rpo9 layyos ydpw

r,
iravres Se a fcrOovr ovaav T&Kkrives aotyrjv
/cat Sogav ecr^69* el Be 7979 eir ecr^dro^ [540]

opoHJLV qi/ceis, ovk dv r)v X0709 aedev.

eir) S' e/JLOiye /Jbrjre ^pvabs ev Sofiots
firjT 'Op<£e&)9 icdXkiov v/jLvrjcrat //,e\o9,

el fir) 'irLcrrj/jLOS r) rv^rf yevoiTQ fiot.

My second marriage is for the benefit of you and your children.

TOcravTa fiev croc rcov ifi&v irbva^v irepi 520
eXe£' aucXXav yap av 7rpov07)/ca<; Xoycop,
22 MEDEA. [Act III

a S' 69 ydfjbov? jjlol (3a<riXiKov<; GdveiSiaas,

iv TcSSe Seijjco Trpwra fiev ao(j>bs 7670)9,
eireira crctxfrpcov, elra aol /jbeyas (f>iXo<;
Kal iraicrl to?9 e^iotaiv'
Medea turns indignantly away.
aXX
{pharisaically)

€7r€L fi€T€(TTr)v Sevp' 'IcoXkicls %0OZ/O9

7roXXa$ icfreXfccov avfjL(f)opa<; d^yavov^y
tl tovS' av evprjfM rjvpov evrvyearepov
rjmath a yrj/juaL fiacrtXecos <pvyds 767069 ;
ou%, f av kvl&l, gov pkv i%0aip(ov Xeyos, 53°
KaLvfjs 8e vvfJbfyrjs IfJbepcp TreirXriyixevo^,

ov& 669 afiiXXav iroXvreKvov (TirovSrjv eywv'

aXt9 yap ol yeywres ovhe fie/JLtfio/jLaL'

dXX' C09 to fjuev fieytarov o licol/juev KaXws

Kal fir) <j7ravL%OLfiecr6a f yLyvcoaKcov ore [560]

Trevrjra fyevyeL iras tl<; €K7ro8oov <£/\o9,

iralhas Se OpeyfraLfi a%Lco<; ho/icov ifi&v
aireipas t dSeXcpovs tolctlv i/c aWev renvois
e'9 rairb Oeirjv Kal ^vvaprrjaas yevo?
€v8aLfjLovol/jL€V. ctol re yap iraihwv tl Sei ; 54°
€/jlol re XveL tolctl fjueXXovcrLV t€Kvol$
ra ^covr ovfjaat. /jl&v fiefiovXevfiai KaKcos ;

ouS' av av (f)aL7j<;, el ae fMrj kvl^ol Xeyos.

{contemptuously) —Women are base creatures.

aXX' is roaovrov rjK€0' coar 6p9ovfxevrj^
6vvr)<; yvvaiKes irdvr eyeiv vo/jll%€T€, [570]

rjv S' av yevrjrat, %vfJL(})opd tls 69 XeypSy

rd Xwara Kal KaXXtara TroXefiicoTara
rlOeade. XP^ V V^P dXXoOev iroQev (3porov<;
iralhas reKvovadaL, OrfXv & oxjk elvai yevov
Act III.] EXASPERATION. 28

Xovtcd? av ovk rjv ovSev av0pdo7roi<; kclkov. 55°

XO. 'lacrov, ev fiev rovcrS eKoafirjcras Xoyovs*
ofiws S' efiotye, Kel irapd yvcofirjv epw,
SoKeis 7rpoSou9 crjv aXo^ov ov hiKaia Spav.
MH. rj iroXXd ttoXXols elfit 8cd(j)opo<; fiporcov.

{contemptuously)

ifiol yap oaris ahiKO<z o)v crofybs Xeyeiv [580]

7re(f)VK€, 7r\€L<TT7]v ^rjfiiav dcfxktcTfcdvec

yXcoacry yap avy&v rahiK ev ireptaTeXelv,

roXfia iravovpyelv' earc 8* ovk dyav ao(j)6<z.

ft>9 fcal av fir] vvv eh efi evayrffitav yevrj

Xeyetv re Se^09. ev yap eicrevel a erro<; 9 $6o
XP1 V & > elirep f)a6a firj icaicos, iretaavrd fie

yafielv ydfiov t6v8\ dXXa firj aiyfj (friXcov.

IA. KaXG)<; y av, olfiat, tc5S' vTrrfpereis Xoyco,
et aoi ydfjuov Karelirov, rjTis ovSe vvv
ToX/Jbas fieOelvau /capSias fieyav ypXov. [590]

MH. ov tovto a efyev, dXXa fidpftapov Xeyps

7rpo9 yrjpas ovk eiiBo^ov e^eftaive aoi.
VVV ToS' LG01, fir) ywaCKOS €LV€Ka

yrjfial fie XeKTpa /SaacXecov a vvv eyoy,

aXX\ &cnrep elirov Kal irdpo^, ocoaat OeXcov 57°
ae Kal reKvoLcn T0Z9 e/z(H9 ofioairopov?

fyvaai Tvpdvvovs Traloas, epvfia Sco/iacn.

MH. firj fioc yevoiro XvTrpb? evhaifiwv /3u>9
fir}$ 6X/3o<$ o<7T^9 TTjv ifiyv kvl^ol (frpeva.

I A. {with a sneer)
olaO* C09 fierev^at ; Kal ao<pcorepa fyavel* [600]

rd yjprfGTa fir] aoi Xvirpd (fiaiveaOco irore,

/ir)8' evrvyovaa hvarv^rj^ elvai SoKei.

MH. v$pi%\ eTreiSr) aoi fiev ear diroaTpofyr],

eyco 0' eprjfios Tf]vhe cbevgovfiat yQova.
24 MEDEA. [Act III.

I A. avrrj raS' elkov* purjiev dXkov alriS).

MH. tl hpwaa ; pucbv yapuovaa real irpoSovcrd o~e ;

IA. apa<? TVpavvois avoaiovs apcofjuevr).

MH. /cat cro dpaia y ovaa rvy^dvco 86/jloi<z,
IA. a>9 ov fcptvov/jLat T&vhe <tol rd Trketova.
{with a patronising air)
aXX', et tl fiovket iraio\v rj aavrrj^ (j>vyf) [610]

7Tpoo-co(f>eX7}fjua yjpt] pudrcov €/jlcov Xafieiv,

key* a>9 eroipbos dcjyOovw Sovvcu
%€vol<; re nrepbireiv crvpufiok', ot SpdaovaL a ev,

KaX ravra purj Oekovaa pbcopaveis, yvvar

krj^aaa 8' dpyrjs icephaveis dpbelvova. 59°
MH. {indignant) ovr av %evoicn tolctl crols yjpK)Q~aip,eff dv,
ovr av tl 06^aL/Jb€crua, firjo rjpbiv oioow
kclkov yap dvBpbs Scop' ovrjaiv ov/c eyei.

I A. {pharisaically) aXk \ovv eyeb puev haipbovas puaprvpo-

fJbat,

co9 TrdvB' VTrovpyetv aoL re teal reicvois 0ekco' [620]

col S' ov/c dpea/cec raydd\ dk\' avOaSla,

(frukovs dircodel' roiyap dXyvvei irkeov.
MH. {bitterly) yoapei* iroOco yap t?)? veohpbrjTOv /cop/79

alpel ^povi^cov Scopbdrcov i!;cb7ri,os.

vv/jb(p€V' taws ydp (avv 9e<Z> S' elprjaerat) 6oO

yapuels: tolovtov coare a dpvelaOai yapuov.
Exit Jason. Medea remains on the stage in thought.

ENTR'ACTE.
The Chorus take their stand round the SvfjieXr).

XO. epG)T€<; virep puev dyav str.

ikOovres ov/c evOo^Lav

ov$ dperdv Trape&co/cav
dvhpdaiv el akes ekOot [630]
Act III.] EXASPERATION. 25

Ku7i7H9, ovk aXka 6ebs evyapa ovtods.

fXTjiror 3) Secnroiv , eV i/juol

Xpvcricov roljcov i<p€L7)<;

Ifiepco yjpLaaa cl$vktov oiarov.

crreyoc Be fie acofypoavva, antistr. 610

Bcoprjfia kclKKlgtov Oe&v
/nrjBe iroT dfifyCkoyovs 6p-

7«9 aKopeard re veifcrj

dvfiov eKifXrjgaa erepoL? enrl XeKTpois

irpoajSakoL Beivd Kv7rpt^ y a- [640]

TTToXe/jbov^ S' evvas ae/3i^ova

6%vcj)pcov tcplvoi Xeyrj yvvaiKtov.

to iraTpLS, & Bdofiara, fir) str.

Bt)t airdkis yevoifiav

rbv afi^yavLas eypvaa 620

Bvaireparov aicov,
ol/CTporarov ayetov.
davaTto QavaTto irdpos Bafietrjp
1

dfiepav rdvB egavvcracra* fio-

yOcov ovk aXXo9 virepQev
8' i) [650]

yas irarpLas arepeaOai.

ecSofiev, ovk eg erepcov antistr.

fivdov eyto (ppdaaaOat*
ere yap ov ttoXls, ov <\>i\cov tl$
toKTtaev iradovaav 630
Betvorara TraOecov.
ayapicrros 8\oi0\ otco Trdpeanv
fir) <£/\ou9 Tifiav KaOapdv dvoL- [660]

gavra KXfjSa (fipevtov ifiol

/iev cbikos ovttot ear at.
 ACT IV.
PREPARATION.
SCENE I.
i

Medea on the stage. Enter Aegeus {left) who greets her

like a friend.

AL ^Jlrjheia, yaipe* rovSe yap irpootfitov

rcdWtov ovSels ol$€ Trpoacpcovelv (ptXovs.
MH. e5 ycuipe teal <rv, iral acxfiov HavSlovos,
Alyev. tt60€v 77)9 rrjo-8' i7rccrrpa)(j)a nrehov ;

AL Qoiftov ira\awv efcXnrcbv yjpr)(TTr\piov. 640

MH. ri 8* 6fi(f)a\6v 7*79 6eG7TL(phov icrTaXr)? ;

AL iraihozv ipevvwv airepp! oircos yevotro fioi.

MH. irpbs 6e&v, airais yap Sevp' del recveis fttov ; [670]

AL cLTraihes ecr/juev haifiovos tlvos tv^tj.

MH. hafiapTOs ovcrrjs, rj Xe^ov^ aireipos &v ;

AL ovk iaftev a^vyes yafirfkLov.

evvr)<;

MH. tl Sfjra Qolfios elire aot 7rat8cov nrepi ;

AL aofydorep rj tear dvSpa avjJb^aXelv eirr).

MH. (tv 8* ft>9 rl xprj^cov Trjvhe vav(jTo\ei<; ^6 ova ;

AL Ult0€v^ T69 eari, 7779 aval; TpoLfyvias. 650

MH. 7T6U9, ft)9 \eyovo~i, neXo7T09 evaefieo-TaTos.
AL toutco #eo0 fjuavrevfia KOivwaai 6e\co.
MH. <ro</>o9 7«p tti/^p /cal rpt/3cov ra rotd8e.
A J . teapot ye irdvrwv (piXraros 8opv%ev(ov.
Scene i.] PRE PARA TION. 27

{sadly) aXV evTvyoLt)^; koll TvyoL<$ ocrcov ipas*

Aegeus pauses and looks earnestly at Medea.
3
tl yap crbv ofifia %pco9 re avvrerT]^ o8e ;

(passionately)
Alyedy KCLKUTTOS io~TL /JLOL ITCUVTtoV TTOCTLS. [690]

tl </>r 9 ; <t<X(^>g)9 /J<o i crd<z (fypdaov 8vcr0v/jLLa<;.

aSiKet fju 'Idaoov ov8ev e£ ifiov iraOddv.
tl yjpr)i*<(i Bpdcras ; (f>pd%€ jjlol crafyecrTepov, 660
1

yvvcLLK icj) rjfjLLV SecnroTLv So/jlcov eyeL.

ov irov t€t6\/jlt]k epyov alcryLGTOV TO&€ ;

1

adcf> ia-6 '

cLTijjLOL 8' iafiev oi irpb tov (frtkoL.

TTOTepov ipao-del? rj aov eyOaipcov Xe^o? ;

(bitterly) jxeyav y epcoTa — ttlo-tos ovk ecf)V <f>£\oL<;

—
(interrupting) ctco vvv, elirep, 009 Xeye^9, &gt\v kclkos,—
(interrupting)
dvSpcbv Tvpdvvcov /a)So9 rjpdo-07] Xaftelv. [700]
hLh<£>GL 8' CLVT& T69 / 7T6paLV6 \JbOL \oyOV*
Kpecoi/, 09 CLpyeL Trjahe yr)s KopLV0Las.
avyyvobaT ayav ap rjv ere XvrreicrOaL, yvvaL. 6jO
(despairingly) 6\co\a* teal irpos y igekavvofiaL
%0ovo<;.
7rpo9 tov ; t68' aWo kcllvov av XeyeLS kclicov.

Kpecov e\avv€L ^>vyd8a 7^9 Y^opLvQia^.

fi

(indignantly) ia 'Idacov ; ovSe tclvt €7rrjpeaa.

(bitterly) \6yco /juev ovyl, KapTepelv Be ftovXeTCLL.
(piteously) dW avTOfxai ere TrjcrSe Trpbs yeveLahos
yovaTcov T€ tcov ctcov Ik€glcl T6 yiyvofMiL, [710]

OlfCT€LpOV OLKT€LpOV /jL€ TTJV 8vO~8aifJLOV(L

kcll fir) fju eprifiov eKireo-ovaav eiaihrj^,
8e£aL 8e %u>pa Kai ^o/xot9 icjyeaTLOv. 680
ovtco? ep&)9 crol 7rpo9 6eoyv Tekeo-tyopos
yevoLTO irai8(ov, kclvtos 6'X/3t09 OdvoL?.
28 MEDEA. [Act IV.

evprjfia S' ovk ola6' olov rjvprjKas roSe*

iravaoy ye a ovt amaiha teal iraihwv yovas
airelpai ae Orjaay roidh' olSa cf)dpfiaKa,
AI. (with sympathy) iroXXdv %/eari rfjvSe aov

yvvai, irp66vfio<; elfit,, irpcora fiev decov,

errreiTCb TratScov &v eTrayyeXXec yovd?*
69 tovto yap Sr) <£poz)So9 elfii 7ra9 eyco.
ovtq) S' e^ei fior aov fiev iX0ovarj<; yObva, <

ireipdaofial aov irpo^evelv hlicaios cov.

i/c rrjahe 8' avrr) 7779 diraXXdaaov iroha*

dvalrios yap real %evots elvai 0eXco. ['

MH. earat rd8'' dXXd irians el yevoiro fioi

tovtcqv, eypifi av irdvra irpbs aedev KaXw.
AI. fi&v oi) ireiroiQa^ ; r) rl o~oi to hvayepes ;

MH. {persuasively)
7re7rot0a' THeXlov 8' ej(6p6^ earl fiot 86fio$
JZpecov Te. TOVTOLS 8' bpKioiai fiev %vyel<;
ayovaiv ov fieOeV av ifc yaLas ifie-
Xoyots &e avjifids /cat Oe&v dvoofioros \

yjri\6<; yevou av KairLKrjpvKev^iaTa

ovk dvTiOoiO' Tafia fiev yap daffevfj,
T0Z9 8' o\y8o9 earl Kal So/409 TvpavviKos. [•

AI. {convinced) 7roXXrjv eSeitjas ev Xoyois irpofirjOiav

dXX\ el SoKel aoi, Spav rdo' ovk dcfrlarafiaL.
ifiol yap rdo' earlv dafyaXearara,
re
aKrjyJrlv tlv e^dpols crofc eyovTa hetKvvvai,
to aov r dpape fiaXXov e^rjyov Oeovs.
,r/
MH. ofivv irehov Trjs irarepa HXtov Trarpbs
tov/jlov deoyv re avvriOels dirav yevos. )

AI. tl xprjfia Spdaetv rj tl fir) Spdaeiv ; Xeye.

MH. firjr avrbs eK 77)9 ar)s efi eKfiaXelv irore,
Scene 2.] PREPARATION. 29

fjbr)T aWo? i]v tis tcov i/icov i^dpcov ayeiv [750]

XPV%y> pG0r}O'eiv ^cov kicov(TL(p Tpoircp.

c
o/jlvv/m Taia<z hdirehov H\toi/ re </>(W9

deovs re irdvras ijUL/juevetv a gov k\vco.

dptcer tl 8' opK(p rSBe fjurj ^[Mevcov ttclOois
;

a toZgl 8vaa€f3ov(Ti ytyverat ftporcov.

yalpwv 7rop€vov irdvra yap fcaXcos eyei,
Kay to iroKiv <jr\v G09 TayiGT dcj)L%Ofiai,, J20
irpd^aa a fjueWco Ka\ Tvyovd a f3ov\o/j,at,.
Exit Aegeus to the left.

dXKd <r 6 Maias rrofjiiralos ava%

irekdaete Sopot?, S)v t iirivoiav [760]

cnrevSet^ fcare^cov irpd^eia^y eirel

yevvalos dvrjp,
Alyev, Trap' i/JLol SeSo/crjaai.

SCENE II.

Medea comes forward and addresses the Chorus in

a tone of triumph.

Fortune smiles on me.

MEL & Zev Aikt) re Zrjvbs 'JiXlov re <jf>a>9,

vvv KaWivtfcot, rcov ifiwv i^Op&v, c^tXai,

yevrjaojieaOa /eels 6S6v ^e^rjKafJuev
vvv S' eX7T69 e^Ppovs tou9 efioi)^ rLoretv Si/crjv. 73°
ovtos yap dvrjp fj
jxaXiar e/cdjivofiev
Xcfirjv iretyavrai rcov ijjucov fiovXevfidrcov
itc tov$' dvayfro/jueaOa TTpvfivrjrrjv /cdXcov, [770]

fjuoXovres acrrv tca\ iroKiGjxa IIaWaSo9.

30 MEDEA. [Act IV.

I will make a false submission to Jason,

and poison Glauce.

77877 Se irdvra rdfid <roi (BovXevpbara

Xejjay Se^ov Se /uur) 7rpb<; rjSovrjv Xoyovs.
irefx^aa €/jlwv tlv ol/cercov 'Ydaova
oyjrtv eXdelv rrjv ifjirjv alrrja o/jlcu*
fjioXoPTL S' avro) pbaXOaicovs Xe^co Xoyovs,
&>9 fcal 80/cel fJLOi ravra /ecu icaXws e^ec, 74°
7ral8a<; Be fielvai rou9 e/uboix; alrrjcrofiat, [780]

ov% C09 Xarova av iroXepbia^ enrl y6ov6$y

aXX' C09 SoXoLaL nralha ftao-iXeoos fcrdvo).

iren^o) yap avrovs Scop* eypvTas ev yepolv

Xeirrov re ireirXov fcal ttXokov yjpvarjXcurov*
icdvirep Xafiovcra koct/jlov dpL<f)L0f) xpot,
/ca/cw9 oXelrai ira<z 09 av 6Lyr] Kopr}^

Totolahe ^plcrco cfrap/Jbd/cois hwprjjjLara.

(with emotion) —And then I will kill my children.

evravOa /juevroc tovS' ciTraXXdcraQ) Xoyov [790]

(pfjbco^a S' olov epyov ear epyaareov 7 50

rovvrevOev tj/jlcv re/cva yap KaratcrevS)
rap!* ovtis eanv oarts e^atprjaeraL*
86/jlov re irdvra crvyyeaa 'Idaovo?
e^eipu yalaSy ^tXraTcov iraLhwv cfrovov
(pevyovaa teal rXda epyov dvoo-ieorarov.
ov yap yeXdaOat tXtjtov i£ eyQpSdv, cj>iXai.

(fiercely) — I exult in the thought of such complete revenge.

ira> $ Tt /JLOL %rjv fcepSos ; ovre /jlol warpls

ovt 0Z/C09 eariv ovr d7roarpO(j)rj /ca/ccov.

rj/judpravov to6' rjVL/c' e^eXip/rravov [800]

r/
So/jlovs irarpMOvSy dv8pb<; EXXrjvos Xoyocs y6o
ireLaOela , 09 fj/Jilv crvv 6ea> riaet Bl/ctjv.
 ;

Scene 2.] PREPARATION. 31

ovt e£ ifiov yap iralha^ oyfreral irore

%a)vra<; to Xolttov ovre rrjs veo^vyov
vv/JL(f)7]<; retcvcoaet Tral8\ iwel fca/crjv /catca)?
Oavelv acfj avdy/cr) rols i/jbolcri (frappd/coLS.

fjirjSefc fie (fravXrjv Kaadevrj vo/jbt^erco

1X7)8 7](Tvyaiav dWa Oarepov rpoirov,

ftapelav i%0poL<; /cal (piXoicriv evfievr)'

rcov yap tocovtcov evfcKeeGTaros j3Lo$. [810]

eireiirep rjfjuiv tovS' ifcoivcoo-a? Xoyov, 77°

ae T cocfteXecv Oekovaa /cal vo/jlols j3por(ov

^vWafJbfidvovaa Spav cr direvveirco rdSe.

ov/c ecrrtv aX\&)?' crol Se crvyyvcofjirj Xeyetv
raS' iari, /jlt) 7rd<T%ovcrav, ft>9 eyco, icaicco*;.

dXkd tcraveiv gov o-irepfMa roXfirjaeLS, yvvai

ovrco yap av fjudkcara 87)^6 etr] iroat^.
av S' av yevoio y dOXccordrr] yvvrj.
tree* irepuacrol iravre^ ovv fiecra) Xoyoc.
(to the Nurse)

aW ela x™P eL Kai k o/jll^ 'Idcrova' [820]

€? Trdvra yap Sr) col rd iriGTa xpeo/jueda. 780

Xe^?79 8e /jurjSev rcov efiol SeSoy/juevcov,
eiirep fypoveis ev heairorai^ yvvr] r e<£u9.

Nurse goes off along the street to the right. Medea goes into
the house to prepare the poisoned robe,

XO. 'Epe^OetSac to iraXatov o\/3loc str.

Kai 0€cov TralSes fia/cdpcov lepas

%dopa<; diropdrjTOv r airo, (pep/36/jL€vot
fcXeivordrav ao<j)Lav, alei Bid \afX7rpordrov
f3aivovT€<; dftp&s aWepos, ev6a nvod' dyvds [830
ivvea Tiiepihas Movaas Xeyovat
f
£av0av Ap/jboviav cj>VT€vaar
32 MEDEA. [Act IV.

rov KaWivdov r anrb JZrj(f)i(Tov poa?, antistr. 790

rav YsJVTTpw /cky^ovaiv d(f)v<rcra/j,evav
Xcopav fcardpSeiv r/Se 7rvoa<z Karairvev-
ccu /jLerpoas avefiayv alel S' €7n/3aWo/j,evav [840]

yaLTdiGiv evcoSrj poSecov ttKokov dvOecov

ra o-ocfria irapeSpovs irkp/wew epcora^,
irainoLa*; apera? %vv€pyov<;.

Re-enter Medea. The Chorus address her in tones of reproach.

She pays 710 attention to them.
t

7ro)9 ovv iepcov TTOTdficov str.

Tj TToXtS Tj (pVTCOV
TTOfJUTTLflOS <7€

rav 7rai8o\eT€Lpav €%ei — 800

—
rav ov% oatav fjuer aXXcov ; [850]

aKe^rat T€K6Q)v TrXaydv,

aick'fyai <povov olov aipei.
pr), 7T/309 yovdrcov ere irdvTt]

irdvTw*; l/cerevofjiev,
rifcva (frovevcrvs*

iroOev 6pdcro<$ rj fypevb? tj antistr.

X^pl /^ei/o? aeOev

KapSta re
heivav irpocrdyovaa roXfiav ; 8 10
7rw9 S' ofju/juara irpoafiaXovaa [860]

T6fcvoi<; dSa/cpvv /jLolpav

<ryr)<jei<; <f)6vov ; ov Bwdcreo,
Traihwv LKerav ttltvovtwv,
rey^av ykpa tyotvLav
rXdfxovL OvjJLO).
Scene 3. ] PREPARATION. 83

SCENE III.

Medea on the stage. Enter Jason.

I A. {pharisaically)

i]K(o tceXevaOeLS' tcaX yap ovcra Svcrfievrjs

ov rav afidpTOL? rovSe y, aXX* aKovaofiai

tl yjpr\iia fiovXeL kclivov i% €/jlov, yvvat.
MH. {humbly) — I beg your pardon.
'lacrov, alrov/JLau ere rcov elprj/jLevcov 820
crvyyvcofiov elvau* ra? 8' e/x-a? dpyas (fiepeiv [870]

elic6<z a , eirel vcov 7r6W vireipyaaraL <j)i\a.

I have been unreasonable.

iyco S' i/jLavrf) 8ta Xoycov dcpL/co/jLrjv

KaXoihoprjcra* a^erXia, tl fiaivo/jbav

teal SvcfievaivcD tolctl ftovXevovcrLv ev,

iX@P a yaia? Koipavois KaOicrra/jiat

iroaei 0\ 09 rj/nlv Spa ra cTV/jLcpopcorara,

ytf/jLa? rvpavvov ical KacrLyvrjrovs teicvols

i/jLois <f>vT€vcov ; ovfc d7raXXa%0rjcrofjLaL

Ov/jlov (tl Trdcryco ;) 0ecov iropL^ovrcov tcaXcos ; 8 30

ov/c elal flip /jlol TralSes, olSa 8e %06va [880]

favyovTas rjfjLas zeal cnravL^ovras cpiXcov ;

You have been wise and I ought to have helped you.

1

ravr ivvorjaaa rjaOofxrjv dftovXiav

rroXXrjv eyovcra teal fJLarrjv Ovfiovjievrj.
vvv ovv iiraLvco, crcocfrpoveLV re jiOL 8o/c€l$
Kr)8o$ to 8' rj/jLLV 7rpo<rXa/3cbv, iyco 8* deppcov,

V XPV V p<€T€LvaL rcovSe rcov ftovXevfjLdrcov

fcal ^VfiirepaiveLV real TrapecrrdvaL Xe^ol

vvfxcprjv re Krjhevovaav 7]8ea6at creOev.

C
34 MEDEA. [Act IV.

aXX* olov iarfiev, ovk ip£> Ka/c6v

etffiev y 840
yvvai/ces- ovkovv ^pr) ^ofioLovcrOat /ca/cois [890]

ovo' avriTeiveiv vtjitl avrl vrjiricov.

Let us all be reconciled.

irapieiieaOa, icai (fra/juev /ea/e<&9 (j^povelv

tot, aXX dfieivov vvv fieftovXevfiai, tooV
fiy Teicva Te/cva, SeOre, XeiireTe crTeyas,

The children appear at the door, and come out to Medea.

i%eX6eT , aG-Trdaacrde kol irpoaeLiraTe
i
TraTepa fieO* rjficov, teal SiaXXd)^07]0 d/ia
/

T779 Trpoadev e^Opas €9 </>/Xoi>9 firjTpb? fieTa*

airovoal yap rjfilv zeal /i€0ecrTr]tc€V ^0X09.

Xdj3ea0e X €LP°$ Septals'

The children cling to their father.

{aside) otfioi, /caiccov 850

a>9 ivvoovfiat Brf tl twv tcefcpvfi/iivcDV. [900]

(aloud) ap\ & t€kv\ ovtco teal iroXvv %covt€<; ypbvov

<f>iXr)v bpe%6T ooXevrjv ;

She turns away weeping : then addresses J ASON.

TcCkaiv iyco,
a>9 dpTL$a/cpv$ ei/nc icai cj)6/3ov irXea,
yjpovto Se veZtcos TraTpbs i^atpovfievr)
oyjriv Tepeivav ttjvo' eTrXrjcra oa/epvoov.

XO. tcdfJbOl KCLT OGCTtoV ^XoypOV O)pjir)01] Sd/CpV

teal fir) 7rpo/3air] fiei^ov rj to vvv teatcov.

IA. (self-complacently) I forgive you.

alvw, yvvai, Tao\ ovo' iteelva fie fi<po fiat"

et/co9 yap 6pyd% 0r)Xv iroieiaOai yevos 860

ydfiovs irapepmoXwvTi oevTepovs iroaei. [910]

aXX' €9 to X(pov gov fjLeOeaTrjtcev tceap,

Scene 3.] PREPARATION. 35

eyvcos Se ttjv vacwcrav dWd to5 %pov<p

f3ov\rjv yvvcufcbs epya ravra aaxppovos.
I am doing my best for my children and hope
to see them prosperous.
v/jllv Se, TralSes, ov/c dcfrpovrlaTcos irarrjp
7ro\\r)v eOrj/ce avv Oeols acorrjplav
oI/jlcu yap 7% KopivOlas
vfids rfjaSe
tcl irpwr eaeaQai avv /cacriyvrjTois en.
aW avtjdveaOe' raXka S' e^epyd^erat
iraTrjp re ical Oecov oaris early evfJLevrjS* 870
tSoifiL 8* ifias evrpacfreis rjfirjs reXo? [920]

fjiokovTas, iyQp&v Tcbv ificov vireprepovs.

Turning to Medea, who is sobbing.

avrrjy tl ^\copol<; haicpvoLS reyyeis fcopas,

arpeyfraaa Xevxrjv efjuiraXiv TraprjtSa ;

OvSeV T€KV(OV TOiVO* eVVOOVfieVT) ITEpL

tl St], rdXaiva, Tola S' eTTLareveLS retcvots ;

6TUCT0V CLVTOVV tfjV S' OT €^7]V^0V T€KVO,,

earfKOe fju oIictos el yevrjaerai raSe.
Odpaec vvv ev rd T&vSe OrjaeraL irarrjp*
Spdaco rah'* ovtol aols dirLaTrjaco \6yots. 880
yvvi) 8e drfkv Karri Sa/cpvois ecfrv. [930]

(entreatingly)

aXV covirep elveic eh i/iovs rjiceis \6yovs,

rd fjuev XeXeKrat, r&v S' eya* /jLvrjaOrjaofiai.
e7rel rvpdvvoLS yr\<$ /jl aTroarelXat So/cet,

Ka/jLol TaS' earl \a>ara yiyvcoa/cco /caXw?,

}

fjLrjT ifnroBcbv aol (Jbrjre Koipdvois yQovbs

vaieiv Bokco yap 8vafievr)<; eXvai 86/jlow
rj/jLeis fJLev e/c 7779 rrjao' dnralpofiev (f>vyfj,
TralBes 07ra>9 dv e/crpacfrcoaL arj xepl,
alrov Kpiovra rrfvSe fjurj tyevyeiv %66va. 890
36 MEDEA. [Act IV.

IA. ovk oW' av el TreiaaLjJbL, iretpdcrOai he yjpv). [941]

MH. av 8* aWa arjv tceXevaov alreiaffat Trarpbs —

I A. fiaXiara, zeal irelaeiv ye 8oj~d%(o <7<jf>' iyd).

MH. {in a flattering tone)

€L7T€p ryVVCLLfCWV €0~TL TWV CtXkwV flld.

avWrjyjro/jiaL he rovhe aoc feayeb irovov*

Trifi^o) yap avrfj Scop a KaXkiareveraL
TCOV VVV €V avOpObTTOLCTLV, 0L& ijQ), 7ToXu
iralhas (j>epovra<$.
Turning to her attendants.
aW ocrov rdyos ^pecov [950]

/coa/JLOV KOfjLi%€iv hevpo TrpoairoXcov Tiva.

One tf/* Medea's attendants goes out and returns
with a box.
evhaLjAOvrjaei h' ovy^ ev, aWa fivpia, 900
dvhpo? r apLarov aov Tvyovcf ofjuevverov
K€KTr}fl€Vrj T€ /COCT/JLOV OV 7TO0' "HXfcO?
ircLTpbs irarrjp hihayaiv i/cyovoicrcv oh.
Going tip to the children, and holding out the box, which
contains her fatal presents.

\d£vo-0€ (frepvas rdahe, 7raihe<z, %e/oa9

Kal rfj rvpavvep jJbaicapLq vv/jL(pr) hore
(fcepovres* ovtol hcopa /jue/jLTrra he^erai.
I A. {pompously)
ri h\ & fjuaTCLLa, rcovhe era? Kevoh %6/oa9 ;
hoKeh enravi^euv hco/jua fiaaLXeiov ireifktov, [960]

hoKeh he xpvaov ; <xco£e, /jltj hihov rdhe.

elirep yap rjfjuas d%iol \6yov twos 9 10
yvvrjy irpoOrjaeL ^prj/judrayv, <rd<j) oZS' eyd).

MH .
(
persuasively)
fir) fjboi <rv* TT6.ide.Lv hcopa Kal Oeovs X070?'
Xpvaos he fcpticro o)v /xvpicov Xuycop fiporoh.
 1

scene 3.] PREPARATION. 37

k€lvtj<; 6 hatficoVy tceiva vvv av%ei 0e6$,

vea rvpavvel* tmv S' ifi&v iraiBcov <f>vya$
yfrv^T]^ av aXXa%aCfi€0\ ov yjpvvov /jlovov.

(to the children)

dXX' w re/cv\ elaeX06vre ttX^ctlov^ 86/jlov 9

Trarpbs veav yvvai/ca, Secnrorcv 8' ifirjv, [970]

IK6T6V6T, e^aurelaOe firj fyevyeiv %06va,

Koafiov 8i86vt€<;' rovSe yap /judXtara Set, 920
e? X € V ZMwyv
y
8copa 8e%aa0ai robe.
i0 a>9 TayiGTa* fjLrjrpl S' &v ipa rvyelv
evdyyeXoi yevoi<r06 irpd^avres KaXcos.

Exeunt Jason and the children, Medea remains on the stage,

sometimes still, sometimes walking excitedly about

ENTR'ACTE,

We despair of the children's lives, and of Glauce's too.

XO. vvv iX/iriSe? ovfcert fxot iraLhcov £oa9, str.

ov/cirr <neiyov<ji yap 69 <f)6vov tfSrj.

Several vv/JL(f)a ^pvaecov avaSecr/juobv

Several hvcrravos arav

r/
!jav0a S' dfi(f>l icofxa 0rjaev rbv AiSa [980]

Kocr/jLov avra yepolv.

ireiaet ydpis afi/3p6(ri6<; r avya nrerrXov antistr.

XpvaorevtCTOv re crrecfravov ir€pc0ea0ar r
93
veprepGus S' rjhrj nrdpa vv/jicjio/cofjL'ijcrec.

tolov €69 epico? ireaelrab

Kal fjuolpav 0avdrov hvaravo^ arav S*

OV% V7T€p(f)eV^€Tai t
3S MEDEA. [Act IV.

How we pity their infatuated parents !

ay S', w Takav,5) fcafcovvfufie K'qhefiaiv rvpdvvcov, [990]

iraiolv ov fcareiScQS
6\e6pov /3iora irpoadyei^, aXo^ft)
T€ aa arvyepbv Odvarov.
Bvcrrave, fioipas oaov irapoL^ei. .
940

fieraarevofiai Se gov aXyos, & rdXacva iraLhcov

fiarep, a <\)ov€vg€l<;

T6KVCL VVfJL(j)iSi(OV €V€K€V Xe^eCOV,

a gol 7rpo\i7T(bv dvofx^ [1000]

aXXr] ^vvoacel ttogls GW€vv<p.

 ACT V.

EXECUTION.
SCENE I.

Medea restlessly walking about the stage, and watching the door
of the house. Enter the Tutor with the children triumphantly.

IIAL 8eo"7roiv, a^elvrat jralSe? oiSe o~ol (frvyrjs,

/ecu Scopa vvfjb(f)7] /3a(ri\l$ do-fievrj ^epolv

iSegaT* elpr)vr) he rd/celQev re/cvoLS.
Medea sobs bitterly,

ea. {surprised and alarmed at her look)

tl avy^yOela earrjicas tjvlk evrv^et^,

fcov/c ao-fjiivr) t6v8' ef ipuov Se^et \6yov ; 950
MH. alal.
IIAL rah* ov %vvu>ha toicflv e %r\yy eXfjuevoi?.

MH. alal fjuaX' av6is. IIAL /jlcov tlv ayyeWwv rv^rjv

ov/c olSa, 86^779 8' icrcfraXrjv evayyeXov ; [1010]

MH. riyyeiKas oV rjyyetXas' ov ere fjue/ncpo/jiaL.

HAL tl Sal /caTrjfals o/JLfia /ecu Sa/cpvppoels ;

MH. 7ToWt] p! avdy/cr], irpecrftw ravra yap 6eol

/cdyco /ca/ews typovovcr i/jbrj^avrjcrd/jLTjv.

nA I. (soothingly)

Odpaer /cdrei tol /cat av irpbs re/evcov €TL.

MH. aWou? Kard^co irpocrOev 77 rdXauv eydt.
39
40 MEDEA. [Act V.

IIAI. OVTOt flVPT) (TV (T03V CUTe^VyTj^ T€KVG)V 96O

tcov(f)(Ds (frepetv xprj Ovrjrbv ovra av/jL(f)opd<;.

MH. Sp daco rdS** dXXd ft awe Bcofjudrcov eaco

icai ttcugI irbpavv ola ^PV Ka & ypepav. [1020]

Exit Tutor. Medea turns to the children, kneels down and

puts her arms round them. She proceeds passionately.
I am to leave you and see you no more.
& re/cva re/cva, acjxpv fiev ecrri Srj 7roXi<;

/cat Scofju, ev a> Xirrovres dQXLav e/jue

ol/crjaer aiet fjLTjrpbs ecreprj/jbevor

eyoo S' eV dXXrjvyalav el/M Srj <fivyd<;,
ovaaOai /cdrrcSelv evSacfiova*;,
irp\v crcjxpv
irpXv Xovrpa /cat yvval/ca /cal yapbrjXiovs
evvds dyrfKai Xa/jLTrdSas r dvaayedelv. 97°
All my hopes in you are blighted.
3) SvcrrdXaiva rr)? i/jur/? avdaSias.
dXXcos dp* v/jlcis, & re/cv, e^eOpey^rdfir^v,
aXXco? S' efxoj(6ovv /cal /care^dvOrjv ttovols [1030]

arepphs evey/cova ev tokol? dXyrjSovas.

rj /jltjv Trod' r) 8varr]vo<; elyov eXrriBa^
rroXXds ev bfiiv yrjpoftocr/crjcreiv r ifie

/cal /car0avovcrav yepalv ev rrepLareXelv,

^rjXcorbv dv6p(O7T0tai' vvv S' oXcoXe Srj

yXv/cela (frpovris. <T<j)(pv yap icrreprjpevi]

Xvirpbv Stdgco ftLorov aXyewbv r ejjLoL 980
vfjuels Be fjajrep* ovicer ojipbaaiv <\>lXoi<;

oyjrecrd\ 69 dXXo o-^tj/jl dnroaravre^ ftlov.

(melting) Pity moves me from my purpose.

(f>ev fyev- tl irpoahepicecrOe p! 6p,pbacnv, re/cva ;

rl rrpoayeXdre rbv wavvararov yeXcov ;

[1041]

alal' rl Bpdaco ; icaphta yap olyerai,

Scene i.] EXECUTION. 41

ryvvalfces, o/jl/jlcl <$>cu8pbv eo? €t8ov re/cvcov.

ovk av SvvaL/jLTjv yaipeTW fiovXevfJLara
ra irpoaOev a£oo yaias e/juovs.
7ral8a<; iic

rwvSe to£? tovtcov /ccl/cow

tl Sec fie irarepa
\v7rovaav avrrjv 81$ rocra KTacdat icafca ; 990
ov 8r]T eycoye. ^acperco fiovXev/jLara.

{changing her tone to one offierce resolve)

Nay, I am resolved.

kclvtoi ri iraayu) ; (3ovXop,aL yiXcor ocfiXelv

i'XPpovs fieOelaa tovs ifjuovs aQt] /jllovs ; [1050]

ToX/jLr)T€Ov rd8\ dXXd r9j$ ifJLrjs Katcr]$ f

to zeal irpoaeaOaL fJbaX0aicov$ Xoyovs (ppevL

^copetre, 7ra£Se9, e? 86/jlovs.

The children begin to move towards the house, but soon, struck by
their mother's strange tones and looks, turn and look at her
in astonishment.
OTG) 06 JJL7)

06/ms irapelvai toi<$ i/JLolaL dvfiacriv,

avr<p /jueXrjcrer y/ipa, S' ov 8ta(f>0epco.

a a.

(piteously) And it is too late to change.

\xr] 8rjra } 0v/jue y firj av y ipydarrj TaoV

eaaov avrov$ y
& rdXav, (pelaat, reKvcov IOOO
Kel fjLTf fi€0' rjficov fwz/Te? ev^pavovai ere.

(fiercely)
r/
jxa rou9 Trap Ai8rj veprepovs dXdaropas,
OVTOL 7T0T eGTCLL TOV0' 6Vct)9 i^0pOL$ €JO) [1060]

iral8a$ irapijcrco tovs €/jlov<; Ka0v{5pl<jai.

irdvTcos ireirpaKTat ravra /cov/c i/c^ev^erav
real 8rj VI Kparl <TT€<fiavo<;, iv irkirXoiai 8e
vvfji(f)r] rvpavvos oXXvrac, <rd<\> 618' iyco.

Her eye falls on the children, and her voice trembles-

42 MEDEA. [Act V.

{passionately) Once more, farewell.

dXX' elpi yap Srj tXtj fjbovecrTdrrjv ohov,

7rai8a<; irpocreiivelv fiovXo/iai. S6r\ <5 retcva,
Sot aairdo-aaOai fxr)rpl Se^tdv %epa. IOIO
The children come and cling to her.

cl) (/)i\tclti] %elp, cpiXrarov Se \xoi icdpa [1071]

teal (T^ij/jba /cat irpoacoirov evyeves re/cvcov,

evBac/jbovolrov dU' i/cer ra 8' evOdSe
Trarrjp dcpetXer. co yXvicela irpoaftoXr},
& iiakOcucb*; %/0ft>9 irvevfJbd 6* rfhtcnov re/cvcov.
^wpelre ^copelr* »

The children go into the house. Medea turns her back

on them with an effort.

Hate is stronger than Love.

ovfcer eifxl irpocrfiXeTretv

oia re iralhas, dXXa vuccoyiai kcucois.
teal fjuavOdvcD fiev ola roX/jbr/crco icaicd,

0v/jl6<; Se /cpetcrcrcov r&v ifjutav ^ovXevfJbdrcov y

oairep fxeyLo-rcov clltios kclioov ftporols, 1020

Medea moves to the back of the stage, and stands looking
eagerly up the street to the right

ENTR'ACTE.
We have been philosophising.
XO. iroXXdw fjSrj [1081]

8 id Xeirrorepcov jjlvOcov e/moXov

fcal 7T/0O9 d/jLtXXa<; rjXOov fiei^ovs

V XP^ Vcvcttv OrjXvv ipevvav

dXXd yap eanv fjiovcra teal rjfjLtv,

rj irpoo-ofjiLXel ao<f)La$ eve/cev-

irdaaiat fxev oir iravpov Be yevos —

 —
Scene I.] EXECUTION. 43

fiiav iv iroXXais evpois dv taw

kovk airo/jLOVcrov to yvvacfccov.

We think it better to be children.

ical (£>7]/m fiporcov oiTLves elaiv IO30

irdfiirav aireipoi jit^K ifyvrevaav [1091]

iraihas, irpofyepeiv eh evTvylav

rcov yetva/juevcov.
01 fiev areicvoL oY direipo<jvvit)v

€LU TJOV ppOTOLS €LT dVldpOV

7rathe<; reXeOova } ov^l TvyovTes,
7roXXcov /jlo^Ocov dire^ovrar

For the lives of parents are full of toil and disappointment.

olcrt he re/cvcov earuv iv olkoi?

yXvtcepbv ftXaarrjiA, iaopS) fjueXerrj

KaTaTpv%o/jL€vov<; rbv airavra yjpovov, 1040

lTpS)TOV fJL€V 07TCO? Qpk^OVGl KcCkS)? C 1101 ]

filorov 0' oiroOev Xelyjrovac Tetcvow

€TL h' ilC TOVTCOV €LT 67rl ifiXavpOlS

€LT 67T6 %pr}<TTOl<S

lxoj(9ov<TL, too° iarlv dhrjXov.
ev he to irdvrcov XolaOiov rjhrj

itclgiv fcarepco OvrjTOia-i fca/cov

ical hrj yap aXt? filorov 0' rjvpov
cco/jud t €9 7]f8r}v rjXvOe re/cvcov
yfi^GToL t iyevovr' el he KvprjcreL IO50
halficov 0X06$, <f)povho<; e'9 "Achrjv [I 110]

Odvaros irpofyepcov crcojjbara reicvcov.

7n&9 ovv Xvet irpbs Tofc dXXot,?
rtfvh* ere Xvirrjv dvtapordrrjv
iralhcov eve/cev
OvrjToiat 0eovs eTTtffdXXeiv ;
44 MEDEA. [Act V.

SCENE II

Medea, having seen the Messenger coming along the street^

comes forward and addresses the Chorus.

MH. <f>iXai, iraXau rot irpocrfjievovo'a rrjv Tv^rjv

/capaSo/cw ra/ceWev ol TrpofBrjaerai.
/cat Srj SiSop/ca rovhe tcjv '\dcrovo<z
GTZtyovT oirahSyv irvevfjua S' rjpeBtafievov 1060
het/cvvo-tv go? tl kclivov dyyeXel /ca/cov. [H20]

Enter Messenger, breathless and excited.

AIT. <5 Seivbv epyov Trapavo/jbcos elpyao-fjtevrj,

yirjheta, <f>evye favye, pbrjre vatav

Xtirova oypv irehoaTL^rj.
airrjV7]v /jlt]t

MH. tl S' d^tov fJLOL rrjaSe Tvyydvei §vyr\% ;

AIT. b'XwXev rj rvpavvos dpTtcos Koprj
JZpecov 6' 6 (ftvcras (frapfjud/ccDv tcov acov v7ro.
MH. (exultantly) icdXXtaTOV elwa^ jjlvOov, iv 8' evepyercus
to Xolttov rjhrj /cal (frtXoLS i/jtots eaet.

AIT. (horrified)

tl <f>y<; ;
<j>pov€L<; /Jtev 6p6a kov /JtatveL, yvvac, IO70
rjTis TVpdvvcov ecrTiav rjfcio-fievTjv [1130]

'Xaipeis ickvovara kov cf)o/3el tc\ TOidSe ;

MH. (coldly) eya tl /cay go TolaSe croZ? ivavTiov

Xoyotatv €ltt€lv dXXd /jutj Girkpyov, </u\o?,
Xe^ov 8' O7TG0? goXovto* SI? toctov yap av
Teptyeias r)fJba<>> et TeOvaat iray/ca/ctos.

How the Messenger followed Jason to Glauce's

apartments.

AIT. iirel T€/cvcDv o~wv rjX0e Bltttv^os yovrj

avv iraTp\ /cat 7rapi)X6e vvjAcfzLKovs $6/jlov<>,
 ;

Scene 2.] EXECUTION. 45

r}<rdr)fjL6v oXirep crocs i/cdfivo/juev kclicols

}

B/jL&es* Bl oi/cwv B evOvs rjv ttoXvs X0709 1080

<T6 teal ttoglv gov vel/cos eaTTelaOau to irpLv. [1140]
>
Kvvet B' 6 /Jbiv Tt? %eZ/o , 6 Be %av6bv /cdpa
iraLBtov iyco Be kclvtos rjBovrjs viro
<rre<ya<; yvvac/cwv gvv Tetcvots dp! eGTropbrjv.

How Glauce received the children and the presents.

BeGirowa S' i)v vvv dvrl gov davpud^op^ev,

TTplv puev T6kvq)v gcjv eiGcBelv ^vvcopiBa,
irpoOvfJiov el% otyOaXpubv eh 'Id&ova 9

eireira puevroL irpovicaXv'tyaT SpLpLara

\evKrjv r direarpe'^r epbiraXiv 7rap7jtBa y
nraiBwv p,vGayQeiG eiGoBovs' ttogis Be <709 1090
6pyd$ r d(j>ypet kol %6\ov vedviBos [H50]
Xeycov raft* ov /.trj BvGpuevr]<z eGei <f)i\oi<;,

iravGet Be Ovpiov koX ttoXlv GrpetyeLS fedpa,

>

<f)i\ov<; vofiL^ovG ovGirep dv ttogis GeOev,

Be%et Be Bcopa fcal irapatrrjGei Trarpbs
4>vyas dfyelvai 7ratGL tolgB* epirjv ydpiv

How she wore them with childish pride and delight.

7] B' co? eGelBe kog/jlov, ov/c 7]veGyeT0,

dW rjveG dvBpl irdvTCLy teal irplv eic Bopicov

fia/cpdv direlvai irarepa /cai TralBas GeOev,

\a/3oVGCl 7T€7rX0U9 TTOUCLKoVS 7]fJLiriG )(eT0 i
f
I IOO
yjpVGOvvTe OeiGa GTefyavov dpufyl /3oGTpv^ot<; [H60]
Xa/jLirpai KaroTrrpa) GXVfJbaT ^€Tai fcopurjv,

atyvyov eltca) vrpoGyeXcoGa gco/jlcltos.

KcareiT dvcLGTCLG eK dpovcov Bcep^erai

GTeyas, dfipbv fiaivovGa TraWevKw ttoBl,
Bcopocs vTrepyalpovGd, ttqKXxl iroWdia,*;
TeVOVT €9 6p0OV OpLpLdGL GKOlTOVfJievrj,
46 MEDEA. [Act V.

How the poison began to work and she fainted.

TOvv6evSe fievroi Seivov rjv dea/ju ISelv

yjioiav yap dXXdf*acra Xe^pta nrdXiv
Xcopei rpe/juovcra K&Xa /cat puoXts cf>6dv€c 1 1 IO
OpovoiGiv ifjoreaovaa purj yap^al irecreiv. [1170]

teat Tt? yepaia irpoairoXwv So^aad ttov

rj IIa^o9 dpyds rj tlvos 6eS)v jxoXeiv
dvcoXoXvge, nrpiv y opa 8cd crrofia
yapovvra XevKov dcj)p6v, opLpbdrcov r avco
tcopas GTpefyovaav, al/jud r ov/c evov %por
elr dvTip^oXirov fjicev oXoXvyrjs pueyav
kcokvtov. ev6v<; & r) fjuev €9 irarpo^; Sofjuov?
wpiirjaev, r) Be 7rpb$ rbv dprlcos ttoglv,
(frpdo-ovaa vvfi(j)r)$ avfjLcjiopds' air aa a he 1 1 20
cTeyrj ttvkvoIctlv eKTVirei Spofirj/jLaacv. [H80]

How she came to herself, only to die in agony.

rj$7) S' av eXfccov kcoXov eKirXeO pov Spo/xov

Ta^u? /3a8i<TTr}<; reppiovcov av rjirrero'

r) S' e£ dvavhov koX puvaavros ofipbaro^

heivbv arevd^aa r) rdXatv rjyeipero.
SittXovv yap avrfj irrfp! iirearpaTevero'
Xpvcrovs /lev dfju(f)l Kparl Keipuevo^ ttXoko^
Oavpbacrrbv let vapua nrapbtydyov Trvpo?,
ireirXoi 8e Xeirrol, acov re/evcov ScoprjpLara,
Xev/crjv eSairrov adpica 7-779 hvahalpbovos. 1
1 30
<f>evyei S' dvaaraaOpovwv irvpovpLevr/,
i/c [H90]
aeiovaa yaiTr\v tcpard r aXXor aXXoae,
pl-^rai OeXovaa arecfravov dXX' dpaporcos

avvheapua ^pvaovv el>X e irvpl h\ eirel KOfxrjv

>

kaeiae, puaXXov 6I9 roaoos iXaparero.

ttLtvqi &' 69 ovoas avpb<popa vi/ccopuevr),
 !

Scene 2.] EXECUTION. 47

7r\r)v tc5 reKovri Kapra 8va/jLa6r)<; ISelv

ovr 6/JLfidrcov yap £77X09 rjv /carder acre?
ovr ev<f>ve<; irpoaayirov, alfia S' a/cpov
ecrra^e Kparbs crvpnrefyvppjevov Try pi, 1 140
o-dp/ees S' dir oorrecov (bare rrevKivov Sd/cpv [1200]

yvad/jLois dSrjXois fyapfJidiccDv drreppeov,

Secvbv dia/jua' rraau 8 rjv <j>6/3o<; Qiyelv
veKpov %
rv^rjv yap elyop,ev SiSdcrKaXov.

How her father threw himself upon her, and shared

her dreadful death.

rrarrjp 8' rXrjficov crv/jL(f)opa<; dyvwcrla

acfrvG) irpoaeXdoov crSijia rrpocrrrLrvei ve/cpov*

wfjbw^e £T ev0vs, Kal rrepiirrvl^a^ %ep<z?

Kvvel irpoaavScov rotdh'* 3) Svarrjve rral,
Tt9 <t coS' drifico^ Satfiovcov aTrcoXeae ;

Tt9 rov yepovra rvfiftov bpfyavbv aedev 1*5°

ridrjaiv ; ol/jlol, avvOdvoLfii <tol, reKvov. [1210]

errel Se Oprjvcov Kal ybwv irravaaro,

^prj^cov yepaibv e^avaarrjaac Sepias
rrpoaeiyeQ' Scrre kictctos epveaiv $d(f>V7j<;

Xeirrolcn TreirXous, Becva S' rjv rraXaLajxara*

1

6 jxevyap rjOeX e^avaarrjaac yovv,

r) & dvreXd^vr. el 8e 7rpo9 /3iav ayoc,

adpicas yepaca? earrdpaaa drr ocrrecov.

J

yj)QV<£> S drrea^rj /cat jieOr)^ 6 Bvafiopos

\frv^rjv
t
Ka/cov yap ov/cer rjv v7reprepo$. Il6o
Kelviat 8e veicpol irals re Kal yepcov rrarrjp [1220]
7reXa9, rroQewrj Srj kXvovgi av/jLcfropd.

Man's life is a shadow

Kal fiot, to fiev gov eKirohcov eorrco Xoyov

yvdocret yap avrrj tprjjxLas dirocrrpo^rjv.
48 MEDEA. [Act V.

ra dvqTa S' ov vvv irpayrov rjyovfiaL ericiav,

Ovtjt&v yap ov8ei<; eariv evhaifxayv dvrjp*
oXfiov S' eTTLppvevros evTV)(ecrT€po<;
aXXov yevotr av aXXos, evBatfjucov S' av ov. [1230]

Exit Messenger.

XO. 6 SatficDv rroXXd rf)8' ev f]p>epa

Katca ^vvdirreiv evSiKOOS 'Idcrovi. 1 1 70
& rXrjfjboVy W9 crov <rv/jL(j)opa<z oiKTetpofiev,
f>
KOpTj KpeoVTOS, fjTLS 669 AlSoV 86jAOV$
olyei yd/icov eKan rwv 'Idaovos.
MH. (j)tkaL, SebofCTCLL rovpyov a>9 TayiGTa fioi

iralha*; Kravovarj rrjcrS' d(f>op/JLao~6ai yflovos

Kal fir) ayoXrjv ayovaav itch'ovvau reicva
aXXrj (frovevacu Svcr/jbevearepa %epL.
ttclvtcds aft dvdyKrj KarOavelv eirel 8e \prj, [1240]

r}/jL€i<; fCT€vov/JL€V, olirep e^ecf>vaafiev.

dXX' eT ottXl^ov, icaphLa. ri /jbiXXofiev Il8o

rd hetva KavayKala firj ov irpdacreLv Kaicd ;

ay, & rdXatva X €i P cf^V* ^afie g /(£o9>

Xa/3', epire irph? fiaXfttSa Xvirrjpav ftiov,
y
Kal /jltj KaKLo~6f)<$ jjbrj8 dva/JLvrjcrdys tckvcov
a>9 <^LXra6\ ft>9 ere/ere?' dXXa TTjvhe ye
XaOov ^paye^cw rj/juepav ira&wv aedev,
KaireiTa Oprfver Kal yap el Krevets acf>\ o/xa)9

<f)iXoi r e<pvcrav, — Svarv^V^ eyo) yvvrj. [1250]

Medea goes into the house. The Chorus march slowly and in
looking frequently towards the house as they sing.
dejection,

XO. la* Yd re Kal 7ra/jL(j)ar)<;

aKrl<; 'KeXlov, Kariher there rav II90

ovXo/juevav yvvatKa, irplv tyotvlav
TeKvois irpoafiaXelv yep avroKTOvov
Scene 2.] EXECUTION, 49

era? yap airo ^pucrea? yovas

efiXacrrev, 6eov S' alfia irLrvetv

<f>6/3o<; vtt dvepcov.

dXXd viv, 3) 0ao? hioyeves, fedretp-
ye tcardiravaov, efeV ockcov (f>ovtav

rdXaivdv T 'Rpivvv vtt dXaaropcov, [1260]

fidrav fJuo'xBos eppet reicvwv, antistr.

apa fidrav yevo$ fyiXtov ereices, & I2CO

Kvaveav XtTrovaa ^VfjLTrXrjydSayv
irerpav d^evwrdrav iafioXdv ;

SeiXata, ri cot, cfrpevwv /3<zpu9

^0X09 irpoaiTiTve.1 /cat Svcrfievrj^

<f>6vo<; d/jLeLfieraL ;

^aXeird yap fipoTOL? ofioyevfj pbid-

(T/JLaT 6TL r avTO<f)6vTai(riv 61-
',

8a 6e66ev itltvovt iiri 86/jloi<; d^rj, [1270]

Screams are heard from within. The Chorus listen for a moment,
and then cry out excitedly. Then the Children^ voices are
heardfrom within,
XO. d/covets fiodv aicoveis re/evcov ; str.

led rXa/jLOPy & tca/corv^es yvvai. 1 2 10

ITAIS. A. OLfioL, rt Spdarco ; irol (frvyco p,r)Tpbs %epa9 ;

IIAlS, B. ovk ol8\ d8e\<f)e tyLXrar' oXXv/juecrda ydp,

XO. irapeXOw 86/nov<; ; dprj^ac fyovov
8o/C€C jJLOL T€KVOl<$.
TIAIS. A. vat, irpos Oecbv, dprfgar* iv heovrt ydp*
IIAI2. B. ft>9 eyyvs rj8r)
y ia/juev dp/evcov ^Lcfrovs,

XO. {turning towards the house)

TaXatv, C09 dp rjaOa Trerpos rj aiSa-
p09, <XT£9 T€tCV(0V OV €T€/e69 [1280]
dporov avToyeipi fioipq Krevels.
D
50 MEDEA. [Act V.

{turning away in despair)

[iLav Srj kXvcd fjbiav tojv irdpos antistr. 1220
yvvalic ev (f)Ckois yepa ftaXelv reicvoi<; 9

'Ivoo fjbavelaav i/c decov, 80' r/ Aib<?

Sdfjuap vlv i^eirei^e Soo/jlcltodv d\rj.

nrirvei S' a rdXaiv 69 aX/uuav <p6v(p

retcvcov Svcrcrefiei,

clktyi$ virepreLvaaa irovrias iroha,

Svoiv re iraLhoLV gvvOavova diroXXvraL.
tl Srjr ovv ykvoir dv en heivov ; & [1290]

yvvaitcwv \e^09 iroXvirovov,

oaa ftpOTols epeljas r/Sr] tca/cd. 1
2 30

SCENE III.

Enter Jason hastily from the right, with a train of servants.

He comes forward to address the Chorus.

IA. yvvaltces, at ttJctS' iyyvs earare areyr}^;,

dp iv hofJLOiGiv rj rd Beiv eipyaa/juevr)

IsJlrjheia TolaR eV, rj fxeOear^Kev 4>vyfj ;

Set yap vlv rjroL 7779 crcj)6 KpvfyOrjvai Kara),

7) iTTTjvov apai acofi 69 alOepo? /3<z#09,

el fjurj Tvpdvvcov Sdo/juacrtv Scocrei St/crjv

ireTTOiO' aTTOfcreivaaa KOLpdvovs yBovos

d8(po<; avrrj rcovSe (£>6vt;€cr0ai Bo/jlcov ; [1300]

dXX! ov yap avrrj^ cppovnS' 009 re/cvcov e^co,

fcecvrjv fiev 01)9 eSpaaev ep^ovaiv fca/cws, 1240

i/iwv Se iratScov rjXOov i/cacoacov ftLov,
firj /AOL ti Spdacoa oi irpocr^Kovre^ yevei,
fjbrjTpwov ifC7rpdcraovT€<; dvoatov (frovov.

XO. {pitifully)

o) tXtj/jlov, ovtc olad' ol /ca/cwv iXrfXvOas,

\daov ov yap rovaS' dv ecf)dey^oo Xoyovs.
Scene 3.] EXECUTION. 51

IA. tl 8' €<7Tiv ; rj ttov fcctfi cL7rofCT€LVCLL OeXeL ;

XO. TralSes reOvacn x eL P L f

JL
V TP (P a cefev.
IA. {horror-struck)

oLfjLoc tl \efet9 ; a>9 fju aTrtoXecra*;, yvvai. [1310]

XO. a>9 ovKer ovtcov acov re/cvcov cf)p6vTL^e 8rj.

I A. ttov yap viv emeLV ; evTOS rj e%co9ev 86/jlcov ; 1250

XO. irvXas avotf;a<; crcov re/cvcov oyfrec cfiovov.

IA. {to the servants within)

yaXcure /cXfjSas a>9 TayjLGTa, irpocnroXoL,

iickveO' apfiovs, a>? i'Sco SlttXovv /ca/cov,

tou9 fjiev OavovraSj rrjv Se TLacofiaL cf)6vcp.

While the servants are trying to unbar the door, and JASON is
hammering on the outside, Medea is seen rising from the
roof of the house in a chariot drawn by winged dragons.
At her feet are the dead bodies of the children. The chariot
stops in mid-air, and she speaks from it. The Chorus, with
gestures of horror andfear, steal away one by one,

MH. tl Taahe KLveZs fcavafjucrxXeveLs TrvXas,

ve/cpov<; epevvcov Kctfxe rrjv elpyacrfxevrfv
{scornfully)

iravaaL irovov rov8\ el S' e/juov %pelav

Xey\ el tl ftovXeL, x et P L ^ °^ tyavcreLS iroTe. [1320]
f/
TOLOvK OXTJ/jLCL 7TaTp09 H\fc09 TTCLTTJp
SlScdctlv tj/jllv, epvfia TroXefjLLas %epo9. 1260
IA. {furiously) You wretch !

3) /jll<to<;, & fieyLcrTov eydLaTT] jvvcll

0eol<; re Kclfjuol ttclvtl t civOpcoircov yevet,
tjtls Te/cvoLCTL ctolcflv ififtaXelv ^L(j)o<;

eTXrj<; Te/covcrcL kci/jl airaL?> dircoXeaa^

{reproachfully)

teal tclvtcl Spdaaa tjXlov t€ irpoaQXeireis

teal jalap, epyov TXacra SvcraefiecrTaTOv.
52 MEDEA. [Act V.

I deserve punishment for ever allying myself with you.

oXoi %
eyoo 8e vvv (fipovco, tot ov (frpovcbv,

or etc Sofjbcov ere ffapfidpov T dtrb jflovbs [1330]

"EiWrjV €9 OLKOV rjJO/JLTJV, kclkov /jueya,

TTCLTpOS T€ KOL yrjS 7TpoSoTlV Tj <T eOpetydTO. I2?0
top crov aXaGTop eh €/jl eafcrjyfrav 6eoL*
S'

KTavovaa yap Srj gov kclgiv TrapeaTiov,

to KaXXlirpqtpov elaefirj? 'Apyovs crtcdcfros.

7]p^co fj,ev e/c TOicovSe, vvfi^evdelaa he

irap avSpl TeoSe ical Teicovcrd /jlol Te/cva,
evvrjs e/caTL /col A,e^ot>9 0"<£' dircoXeaa^,

{bitterly) You —a barbarian — a monster.

OVK eGTlV TjTLS TOVT CUV 'EXA/^ZW yWT}
ctXtj 7TO0\ S)v ye irpocrOev r/^tovv eyo) [1340]

yrjiiai ere, Kr/Sos i%0pbv oXeOpuov t efioL,

Xeaivav, ov yvvalfca, T779 TvpcnjvLSos 1280

XtcvXXrjs e^ovaav dyptcoTepav (f>vo~Lv.

(his voice breaking with rage and grief)

dXX' ov yap av ere fjuvpLois oveiheort

Bd/coL/jLc Toiovh' e/jL7re(f)Vfce aoi 0pdao<;*

epp\ alcryjpoiroie Kal Te/cvcov /bLtaicfrove.

e/jLol 8e tov efjubv haLfiov ald^ecv irdpa,

09 ovTe Xe/cTpcov veoyd/jbcov ovrjaoixai,
ov iralhas 01)9 ecfyvaa /cd^ed peyfrd/jirjv
e^ay irpocreLirelv l^cbvTas, dXX' dirdoXecra. [1350]

MH. {triumphantly) I exult in my just revenge.

fjLa/cpdv av i^eTetva roZcrS' evavTtov

Xoyoicrtv, ei fir] Zeu9 iraTrjp r)irlo~TaTO 1290
oT 0; €/jlov 7T67rcrv0a<; old t elpydo~co-
av 8' ovk e/neXXes Ta/jb aTt/judaa^ Xeyr}
Scene 3.] EXECUTION. 53

repirvbv Sid^ecv fiiorov iyyeXwv ifjuoi,

ov& rj Tvpavvos, ov& 6 aol irpoaOels ydfiovs

IZpecov avarl rrjaSe /ju i/cfiaXeiv y0ovb<$.
irpbs ravra teal Xeacvav, el fiovXec, /cdXec

teal XfcvXXav rj Tvparjvbv aifcrjaev irerpav*

rrjs err}? yap a>9 ^prj /capSlas dv07) ^rdp r}v.

f
J [1360]

IA. tcavrrj ye Xvirel /cal /ca/cwv /coivcovbs el.

MH, adtfj ca0r Xvec S' aXyo<z, r)v av fjbrj 'yyeXas. 1300
IA. & re/cva y /jLTjrpbs o>9 /ca/cr)<$ e/cvpaare.
MH. & TralSes, ft>9 coXea0e irarpwa voatp.
I A. ovtol vvv rj/xr) Se^td a<$> air^Xeaev.
MH. dXX* vfipLS 01 T€ aol V€o8fJL7)T€<; ydfJLOL,
IA. Xe^ou9 o~<j)€ tcr)%L<Do~a<$ elve/ca /cravelv ;
MH. (T/jLLfcpbv yvvai/cl TrrjjjLa tovt elvai, 8oK€i<; ;

IA. rjTLS ye aaxfypcov aol Se irdvr iarlv /ca/cd.

MH. {pointing to the dead children)

01& ov/cer elar tovto yap ae Srj^erai. [1370]

IA. olo' elalv a>fiol a<£ /cdpa fjudaropes.

MH. laaaiv 6arcs rjp^e irrj jjLovrjs deoL 131°

IA. laaau Srjra ar)v y diroTrrvarov <j>peva.

MH. arvyer irucpdv Se /3d%LV e^0atpco ae0ev.

IA. /cal yJr)v eyoo arjv paBcot S' diraXkayai.
MH. 7TW9 ovv ; tl Spdaco ; /cdpra yap /cayob 0eXco.
IA. 0dyjrai ve/cpovs /jlol rovaSe /cal icXavaai irdpes.
MH. ov 8t)t eVel afyas rfjo' eyco 0dyjr(o yzpl,
cfrepova' €9
f/
Hpa9 relievos 'A/cpata? 0eov,
009 yd) t^9 avrovs TToXejJLLWv Ka0vf3plar) f [1380]

rvfifiovs dvaair&v
yfj Se rfjhe ^iav<fiov
ae/ivrjv eoprrjv ical reXrj irpoad-^rofiev 1320
to Xolttov dvrl rovSe Svaaefiovs cf)6vov*

avTT) be yaiav ei/jut ttjv hpe^t/eco?,

Alyel avvoi/crjaovaa ro5 UavSiovos.
54 MEDEA. [Act V.

<jv 8\ (oairep el/cos, tcardavel icaicbs Ka/cws,

iriicpas reXevra^ r&v e/jucbv ydfxcov IBcov.
IA. dXXd a 'HLpivvs oXeaete reicvwv
(j)ovta re Aitcr). [1390]

MH. Tt9 8e icXvei aov Oebs t) Satfioyv,

tov 'yjrevSop/cov icai ^eivairdrov ;

I A. </>e0 cf)€v, fjbvaapa /cat TratSoXerop. !33°

MH. aTelye Trpbs ot/covs /cat Qdirr akoyov*
IA. arec^coy Bcaacbv y apropos re/cvcov.
MH. ov7rco dprjvecs* pueve /cal yrjpas.
I A. 3) retcva (piXrara. MH. pLrjrpL ye, aol o' ov.

IA. icaireiT etcaves ; MH. ae ye 7rrjpLaivova\

I A. COfJLOL, (f>iXtOV %pf)^(D crTOfJLCLTOS
irauhcov 6 ra\a9 irpoairrv^aaOai. [1400]

MH. vvv acj>e irpoaavhas, vvv daird^ei,

tot dTroocrd/jLevos. IA. §69 fioi 7rpbs 06 (bp
fjiaXa/cov ^pcaro? -^ravaai re/cvcov. 1340
MH. ov/c earr fidrrfv eVo? eppLirrcu.
IA. Zed, raS' dicoveis fc>9 direXavvbpbeQ\
old re irda^ofxev etc rrjs puvaapas
koX iraihofyovov rijaSe Xeaiv7)s ;

dXX' birbaov yovv irdpa tcai Svvcl/jlcu

TaSe teal dprjvw KaTTtded^co,

pLaprvpofJLevos Sau/jiovas 609 p>oi [_1410]

reicv aTTOfCTeivaa d7rofCGoXveL<?

^ravaat re yepoiv Odyjrat re ve/cpovs,
ou? fArjiroT eyo) cpvaas ocpeXov !350
Trpbs aov (pBi/jLevovs eirtheadaL.
NOTES
 NOTE.

1. There are two kinds of translations in these Notes. Some

are only meant to explain the construction, not as a real English
version. Others are for use in construing, and they are printed in
black type. But these translations are not intended to save you
the trouble of looking out the words. Many of them will prove
traps to the unwary.

2. If you will take the trouble to look out the references to the
Introduction you will get real help from them, and sometimes a
translation of the passage in question.

3.
6
L. & S.
5
means '
look out the word in your dictionary.' I

assume that you have the small Liddell and Scott and where the ;

article is a long one, I have given the reference to the right part

of it.

4. '
Thompson means Thompson's Ele?neniary Greek Syntax.
5
 ACT I.

DESOLATION.
SCENE L
Act L introduces most of the characters to us, and explains the
state of affairs. The introduction of Medea is skilfully contrived so
as to enlist our sympathy on her side. First the Nurse, her old

servant, sets forth her wrongs. Then we learn through the Tutor
that further mischief is brewing, while at the same time her cries from
within show how much she is already suffering. And then we find

that even the chorus, who are not her friends, and who think her a
strange wild creature, are yet full of interest and compassion for her.

So that, in spite of fears for the children, we look for her entrance
with friendly interest.

1. 'Apyovs is genitive of apposition. See Introduction, H. 3.

biairrao-Sai is used as the second aorist of biaireTOfiai. But
inTdfjLrjv is really the 2d aor. mid. of an obsolete verb iat^/xi,

of which only a few parts are used. These are 2 aor. act.
€7TTT]vy mid. pres. i7rra/i<u, fut. 7TT^(ro/xat, 2. aor. enTdfxrjv,

L7TTr)fja is of course closely connected with veronal, which

has a future irerrjo-opat, and 2d aor. inTOfx-qv. The root from

which they are both formed is IIET (by metathesis IITE-IITA)
which we find in Q)Kv-7reTr)s 9 irre-pov, Latin pet-o y ftrae-pes,
fie?ina (for fles-na), German fed-er, English feath-er.
2. were two rocks near the mouth of the Bosporus.
^vfxirXrjydbes
They are thus described by the old geographer Eratosthenes—
4
Sailing up the Bosporus,whenever you wind to the right,
it seems as if the rocks dashed together when you come ;

back you see them parting again and again when you wind
;

to the left you see them meeting. As this happens repeatedly

(owing to the windings of the Bosporus) they have got the
57
58 MEDEA.
name of the Symplegades (dashers together), because of the
apparent meeting and parting.' According to the old legend
they were rocks that actually moved and crushed ships.
Kvaveas expresses the misty blue look which any dark rocks
or present from the sea.
cliffs

4. TrevKr). She goes backward in her wishes. Would that the '

Argo had never flitted through the crashing rocks ay, that —
the pine had never been felled. 5

€p€TjjLO)(rai, 'furnish with oars.' The pine of which the oars

are made is poetically said to put oars in the hands of the
rowers.
5. dpHTTeow. The € is to be pronounced as a y, making one
syllable with -cov. We often find e so pronounced in Homer,
especially in nouns of the first declension. Thus 7to\lt€(op
is the intermediate stage between ttoKltolcov and the Attic
ttoKltoov.

6. liikia is dative of advantage, 'at Pelias' behest.' Introd.

A. § 1.

ov yap av. See Introd. K. 6.

7. 7rvpyovs, accusative of the place whither. See Introd. H. r.

'Towers of the land' strikes us as an odd phrase. But
Greece was made up of small states, each centering round its
city, so that yrj and irokts were much the same thing.

11. fxev corresponds to But the construction is not

Se in line 15.
quite regular, there being a participle with /xeV and a finite

verb with 6V. In translating we must begin a fresh sentence

with avddvovaa, and make it a finite verb. Then she pleased, '

etc. . . . tout now . .

.'

12. 'hearing with,' i.e. 'complying.' It is odd that we

avpi(fiepovo-a,
have the same expression as the Greeks, and in neither lan-
guage does it seem certain from what the metaphor is taken.
ttuvtcl is accusative of respect.

13. ijirep for oVep, attracted in the usual way to the gender of
croaTTjpLCL — i
and that is the surest happiness.' See note on
line 21.
Observe how Euripides goes offfrom his remark about
Medea into a general sentiment. See Introd. F. This par-
ticular sentiment is first found in Homer, Odyssey vi. 182.
Scene I.] NOTES. 59

15, vocrcl ra fyikraTa, '

dearest ties are broken.' Literally the dearest
things {i.e. those things which tend to make one dear) are
weak, vocreiv is often used metaphorically for to be weak or
neglected.
19. ydfiois — €vvd(eTai.
4
Jason is matched with a royal bride.' See
Introd. J. § 3.
4 5 4
20. /3oa, invokes. dvaKoXel, appeals to.'

21. irlo-Tiv iieylo-rrjv,

6
most solemn pledge. 5
fieyas, like magnus in
Virgil, is used more freely than great 4 5
in English. It serves
instead of some more appropriate adjective. We can say
*a great friend conversation; but in poetry we should
5
in
4
say a dear friend. And for magnum concilium (Aen. xi.)
5

we cannot say 4 great council, but high or solemn council. 5 4 5 4 5

So 1 3 above, we can hardly translate

in line tieylo-rrj o-corrjpia

by 'greatest safeguard. See line 524. 5

What is the difference between fiaprvpopai and fxaprvpea ?

4 5
23. o-co/xa is almost self. See Introd. J. § 2.

24. (TWTTjKovcrci. Supply (T&pa, for o-wttjkco is always transitive.

Since however,
<ra>p.a = self, o-vvrrjicovo-a acj^ais almost the

same thing as the middle o-vvrrjKopevr], which is what we

should expect.
top Tvdvra xpovov €7T6i = 4
all the while since. 5

25. rjbLKrjfievrj. Verbs of perception take the participle, not the

infinitive. And if the participle refers to the subject of the
verb it is put in the nominative. Cf. Thompson, § 120.
4
27. a;?, no more than. For a similar use of as
5 4 5
in English, see
Macbeth, Act 1. Sc. 2—
Duncan. — Dismayed not this
Our
captains, Macbeth and Banquo ?
Sergeant. — Yes,
As sparrows eagles, or the hare the lion.
29. rjv prj 7tot€ is a very strange construction. Translate 4
but that
now and then.
5

31. ovs npohova d(pLK€To. It often happens that the important

word in a Greek sentence is not the finite verb, but some
participle or adjective agreeing with the subject. In trans-
lating we have to turn any such word into the main verb.
60 MEDEA, [Act L

Here for instance irpobovcra is the leading idea, ';Whom she

;
betrayed and came, etc. Other cases of this are lines 255,
297, 438, 682, 1 175.

32. drifxaa-as e^ei. The aorist participle with e^o) is used instead
of the perfect when the consequences of the act still remain.
This might be translated, 'holds her in dishonour.'
It is interesting to compare this construction with Latin
phrases like habeo compertum I have ascertained (lit. I =
have it which grew the regular perfects
ascertained), out of
in French, Italian, Spanish, etc. Je Vai aime, for instance,
is Ego ilium habeo amatum. The perfect in English and
German is formed on the same model. In the phrase, I,
1
have loved him, loved' is properly a participle in the
accusative agreeing with him' The Greek phrase is con-
1

structed on the same principle as all these but the Greeks :

having the choice (which other languages had not) between

an active and a passive past participle, chose the active.
34. ohv,
1
how good a thing it is not to be left without a fatherland.'

36. veov, almost = kcikov. So we use strange in a bad sense.

38. o-vpftaXcbv ixPpav is an imitation of the common phrase

o-vfifidXkeiv naxrjv — to engage in battle. So in line 496 we
have o-vpfiakclv %piv.
koXXlvlkos is properly an adjective. But it was so com-
monly connected with certain nouns (vpvos, cobrj, fxfkos),
that it came to be used alone, the noun being understood.
ao-erai is future middle of deidco.

39. otde 7Tal$es (ttclxovo-l, 'here are her children coming.' Notice
this common use of 06V, so different from the English idiom.
See 943, d(j)€lvraL jraldcs otSf.
rpoxos is a race, rpo^oy is a hoop or circle.

Join 7T€7ravfievoL e/c rpox <*>v.

40. ovbev is adverbial, 'taking no thought of their mother's woes.'

We have the same construction in line 850.
 —
Scene 2.] NOTES. 61

SCENE IE

42. o'Ik(dp KTrjfia forms a sort of compound word, which governs

the genitive dco-noLvrjs. Household treasure of my mistress.'
'

It is easy to translate Krrjpa so as to make it ridiculous,

'house-chattel.' And the comic poets did in fact laugh at
Euripides for this phrase, and parody it.

43. rrjpde, )
this which I see.'
literally,
4
We should say 'thus.'
For another instance of this use of o$e, see line 656, ri yap
crov ofifxa XP^ S T€ o-WTerrjx' ode.

45. (tov is genitive after Xelneo-daL, just as x^oi/oy is gen. after

cnrokc'nrto-Oai in line 34.
Xei'7rojLtat with the genitive has not often this sense left without,' '

but it is here joined with povrj, which sometimes governs a

genitive itself. For the usual sense of \tlirto-6ai. with the

genitive, see line 69.

47. gvpcpopa is the noun, not the neuter adj., which would be
£vfji(popa, and would not scan.
48. tt'itvovtcl is ametaphor from dice, avdairrerai from wrestling.
See Introd. G. We have no card-metaphor for kclk&s TrlrvovTa,
so we must be content with turn out ill,' a metaphor taken i

from pottery. A good slave is touched when his master's

'

fortunes turn out ill — ay, it goes to his heart.'

49. yap. See Introd. K. 3.

5 J c
is roCr €K^€l3r]K. dXyrjdovos. es tovto, or is toiovto i\6eiv= tO
come a very common phrase.
to such a pitch,' is You have
it again in line 354. Do not miss the force of e/c-. It is best
4
rendered by an adjective such a strange pitch.'

50. Ifxepos virrjkOe fie is practically the same as c&oge /xot, so it is

not surprising to have po\6varj instead of pLokova-av. In the

case of common phrases such mixtures of construction are
frequent.
yfj tc Kovpavcp. Earth and Sky perhaps seem to you strange con-
fidants. But this is what an old Greek commentator says of
this passage :
4
Euripides has well represented those who are
62 MEDEA. | Act I.

in great trouble, and unwilling to tell it to any man. For such

people, being unable to keep silence, and afraid to speak to
men, are wont to tell their trouble to the sky or sun or
earth or some other divinity.' The Greeks lived much in
the open air, and their religion had not lost all trace of the
nature-worship out of which it grew. So in moments of
excitement they found it natural enough to appeal to the
forces of nature, or to the features of their country. Thus
Aeschylus makes Prometheus, when chained to the rock,
first break silence with an address to Air and Winds and

other forces of Nature. Ajax in Sophocles's play, when

« about to slay himself in despair, calls upon Salamis his
home, and the plains of Troy, as well as upon the Sun.
But such soliloquies, which were natural and effective as
they were first employed, were used much too freely by
later poets as a convenient means of conveying information
to the audience. They thus became very artificial and
absurd, and were ridiculed by the comic poets. Plautus, for
instance, makes one of his characters say I don't behave :
'

as some lovers I have seen on the stage, telling their troubles

to Night or Day or Sun or Moon but I '11 tell it to you ;

(the audience).'

52. yap best rendered by 'Why !

' See Introd. K.

53. £7X0) o-€, a polite way of saying '

What a foolish notion !' So
an Englishman might say *
I like that,' or that 's a pretty
'

notion !
' iv apxfj, the metaphor is from a fever, which must
grow worse before it can grow better.

54. pojpos is Euripides is fond of using adjectives of

feminine.
three terminations as if they had only two. In this play we
have SrjXvs (1024), drj\os (1 138), and padios (13 13) used as
feminines.
fao-noras. The plural is used to make the sentiment general.
That is also the reason why the masculine form is used.
For when speaking of themselves in the plural, women use
the masculine. See line 300.
57. p.€Ttyi>a>v. 'I repent.' It is the momentary aorist.
 '

Scene 2.] NOTES. 63

58. npbs ycvelov. So in 3l0 7rp6? yovdrcov, and in 675 irpbs yepciddos.
In most languages it is usual to appeal to some person of
whom the remembrance ought to have influence : e.g.
1
In heaven's name ' (npos Oecbv), '
in the name of your
or even in the name of all that is honourable.'
5
children, '

It is going a step further to invoke a man's own knees or

chin. The origin of this custom was the fact that suppliants
used to touch the knees or beard or chin of the person
whose protection they asked.
i 1
60. ov doKcov pretending not so ov (j)r}fi\ is to say no.' ' :

The backbone of this sentence is nccro-ovs irpoo-ikBav rjKova-d tov

\eyovros Kpeoov p,e\\oi eXai> Tovo~be 7raidas.
61. neo-aovs is literally The dnmghts.' It is evidently the name
i

of some place near the fountain of Peirene, which was

so called from the game having once been played there. So
we might say Pall Mall, where elderly men lounge in their
1

club windows.' Nobody plays ball in Pall Mall now, and

many do not know that there ever was such a game as
pele-mele : but the name remains.
62. Peirene was a spring which came out of the side of the
Acrocorinthus, and was conveyed by an underground
conduit into the city, which it supplied with water. The
fountain through which it came out was the pride of the
4
Corinthians. Pindar calls Corinth the city of Peirene/
62. a€fiv6v —hallowed, ayvos, iepos, were common epithets of rivers.
So in line 393, Upcov irorayLOiv. Or Euripides may be think-
ing of the legend of Pegasus.
65. <ra(f)r}s from 4
clear' comes to mean *
true.' to a-a(j)es is always
'
the truth.'
66. ovk thai, is practically one word = to be otherwise.' That is f

why ov is not changed to fxrj. So in lines 80, 468, 549, 797.

67. Kal often begins an indignant question. It almost = 6
what ?

We sometimes use and' in the same way. '

68. el Kal = even though, although. But koI d=even if. The
difference is that kcu d only puts a case, while et kol assumes
that fact.
it is In line 440 you will find a good instance
a
of Kal Jason says even if you hate me,' but he clearly
et. '

does think that she does hate him

 "

64 MEDEA.
69. AeiVerai Krj^evfxdrcov. ^cineo-Oai here (as generally) means '
to
1
be behind by,' to be inferior to/ and takes the genitive
left

like other words which imply comparison. Cf. Thompson,

§ 59. New ties prove stronger than the old.'

*

70. ovk ia-ri As in lines 129 and 1287, we must supply en with
OVK.

72. 7rp\v ro8' i^rjvrXrjKevai literally we have baled out this.' '
before
The comparison waves was so familiar
of troubles to
to the Athenians that they would have no difficulty in
following the change from trouble to baling.' But we 6
'
'

cannot talk of baling out troubles, so we must put the wave

in the first part of the sentence. '
If we are to take in a fresh
wave of trouble, ere we have haled out the first.'

73. ov . . . bzwiroivav gives the reason for the command i^o-v^afe.

We should put these words either at the beginning or at the
end of the sentence. For the order of the words, see
Introd. K. 4.

78. oKoiro pev fxr). oXolto alone would mean *

Curse him !
1
The prj
put in afterwards withdraws the curse in pretence, but not
really. Curse him I must not or I won't say " Curse him
1 9
*
* !

78. TiS & O^X 1' Supply KCLKOS i(TTL.

80. ei . . . yc = seeing that.

ov aTepy€L is practically one word = That is why
neglec ts.
the ov does not become \ir) after el. So in line 549 ovk ehai
=to be destroyed, and in 468 ovk apx^v en = to have been
dethroned.
81. ev yap eVrai. For the order of the words in this line see
Introd. K. 4. '
All shall be well.' The nurse says this to
reassure the children, who have naturally been frightened
by gloomy dialogue.
this

82. €prjp<aaas e^f Keep them out of the way/ lit. having separated
,
'
i

them, keep them so.' In Latin it would be secretos habe.' '

We have had the same construction in line 33, dripdo-as e'x et *

84. op.pa Tavpovcr 6 ai = to make your eye like a bull's = to glare.

Cf. 179. roio-^e is dative of disadvantage.
86. The subject of KenwK^ai is xo^o^, which must be supplied from
XoXov. KQTao~KT}7rTQ) is generally applied to lightning and
 —
Scene 2.] NOTES. 65

storm. It is used metaphorically of plague, anger, etc.

For the translation see Introd. G.

Notice that KaTaaK-qnTco usually governs the dative, but here
takes the accusative rivd.
irplv with the infinitive is rarely used in a negative sentence

by the tragedians. See Thompson, § 147.

81-12 1 are anapaestic lines. The feet admissible in this metre
ww
are anapaests ( "), dactyls and spondees. An ordinary
line consists of four feet : but a paragraph often ends with a
line of two feet, and a speech with one of three and a half
feet (dimeter catalectic).

88. dvaravos, oXolfiav are Doric forms for dva"njvos 9

oKolhtjv, It is
not usual to find Doric forms in anapaestic odes. See In-
trod. D.
7r6vcov is genitive of cause with /zeAea. Cf. Thompson, § 57.
See lines 342, 971.

f 89. av. Look it out in L. & S.

90. toS' e/ceii/o.

1
There it is '
— lit.
6
This (which you hear now) is

that (which I told you) '

i.e. '
that is what I said.'

95. crrvyepav here = hateful, but in line 105 Medea applies it to

herself in the sense of wretched.

96. avSddrjs. Notice the derivation avtos, fjdofiai. From self-

p leasing it naturally comes to mean self-willed, stubborn,

relentless.

98. Here we have nearly the same metaphor as in 86. 1

And 'tis

clear that the cloud of her wrath stirred by her groanings will
blaze forth in greater fury.' dvdyjrei, the future active, is used

in a middle sense.

101. n€yaX6(T7r\ayxvos. See Introd. J. § 1.

102. drjx^elo-a — 6
stung ' is the nearest metaphor used in English.
103. eiraOov is repeated for the sake of pathos. So 8e|erat in 927,
and aKoveis in 1209.

rXdfjLcov is Doric for tXtjimdv. Medea uses the word in the

sense of '
wretched :' but in 107 it is used by the chorus in
a bad sense. It may there be translated by Shakespeare's
word '
wretchless.'
 —
06 MEDEA.
108. o-oi= in your eyes. So in line 555 e/xoi=me judice. See
also lines 484, 693, for the same use of the dative.
dfiTT^aKLas is made up of a (not the negative, but euphonic) and
7rXaK-, the root of 7rXa£a>,
4
1 wander.' The \l is put in for
euphony, and the word is sometimes spelt without it. So
the word exactly = error (from erro, { I wander').
no. The order is g>? V7r€pa\ya) p.r) tl irddrjTe.
6
How I grieve for you
(for fear) that you may come to some harm. 7
As grieving
for them implies fear we have pi) just as if cfrofiovpepos had
been expressed. See line 292.
iraSeiv tl is a common euphemism for trouble or even death.
So we say '
if anything should happen to me.'
1 1 1- 1 13. 'Strange is the spirit of kings and, I suppose, since they
have few restraints and wide authority they suffer violent
changes of mood.' For \r)pa and 00777 see Introd. J § 1.
Xakcncos here (as Hippolytus 204) means 'violently,' not
'
with difficulty.'
114. yap. Yes. See Introd. K. 3.

eV ta-oio-i = on terms of equality.

115. inl fir) jjieyakois, lit. '
in a condition of no great fortune.' The
sense of eVt is not quite the same as in eV 'lo-olo-l.

4
yovv is often used like our at any rate' to introduce
an example of a general remark that has been made.
So that it means nearly the same as 'for instance' e.g.

'All boys are idle : at any rate Jones does nothing' — 6 yovv
J
l<avrjs ovdev 7rpdo-(rei. See line 479.

1 1 7- 1
1
9. There are several small difficulties about this sentence.
TrpwTa followed by re instead of the regular eWira 6V.
flip is
In the second clause there is no subject expressed corre-
sponding to rovvofxa in the first. must supply rd /ze'rpia, We
with which Xaora agrees. We must also supply earl. The
order of the words is irpu>Ta pev Tovvopa tcjv perpicov vlko.

ciireiVj (rd) re (/xerpia) paKpco Xwcrrd (Jari) fipoToio~L ^prjo-^at.

In translating it is best to render tcov perplav by a nomina-

4
tive, so as to preserve the order of the words. For modera-
—
tion its very name hears the palm on our lips, and in practice
it is far the most profitable for men.' The contrast between
 —
Scene 3.] NOTES. 67

eiTYelv and xp^°"^ at i s merely our old friend \6yos versus

epyov in a new dress.
The infinitives dnelv and xprjaOai are explanatory of vlko.

and \(oa-ra respectively. See Introd. H. 5.

120. Kaipbv here = 4

profit/
4
a dvantage.'
hvvarai = We use mean way,
4 4 4
means,' implies.' ' in this e.g.^
4
Submission means slavery.'

122. ri7reSa)i<ei/ is the gnomic aorist. See Introd. H. 6., and

Thompson, § 97.
4
Notice the force of ano in dnobibcDpL to give what is due.'
That sense is quite as common as to give back.' The 4

Latin reddo'and the English render' have both these

4 4

senses. But when the god is wroth with a house (for its
4

excess), he pays it with the greater ruin.'

SCENE III
123. For the Doric forms in this choral ode, see Introd. D.
125. ?77rio9 = tame. The chorus naturally think of Medea as a
kind of wild animal.
126. dfi(pnTv\ov seems to be a noun here. Wemust supply ovo-a.
4
For as I stood at the double gate I heard a groan within the
chamber.' This implies that the chorus pass the house as
they come to the orchestra.

127. (rvvrjSofiai with the dative means to rejoice with a person, or

to rejoice at a thing.
128. KtKpavrai is perfect passive of Kpaivco — 4
since it has grown
(has been made) dear to me.' She says has grown,' mean-
4

ing 4
in spite of my natural prejudice against a foreigner.'
129-137 are anapaestic lines. See note on line 81.

129. ovk ela-i. As

70 and 1285, we must supply ert.
in lines
rdde = what belongs to the house all that is at an end.'
4

130. rbv ph = Jason, f) Se — Medea.

XeKTpa Tvpawtov, a royal bride. See Introd. J. § 3.
131. Beware of trying to make f) the article to bio-iroiva. It is a
demonstrative pronoun, and decrnoLva is in apposition to it.
4
While she, my lady, wastes away her life within her chamber.'
68 MEDEA. [Act I

132. The order of the words is ovdev irapaOaKiroixevr) <f)peva fxvOois

ov$€vds (fiiXoov. cfipeva is accusative of respect.

136. fiioTav serves as object to both KaroXvaalpLav and Trpo\nrova-a y

'with death let me end my hated life and leave it.'

138-149. This stanza which is marked strophe corresponds exactly

in metre to lines 163-174 which are marked antistrophe.
For the Doric forms see Introd. D.
138. aies is addressed by each member of the chorus to her
neighbour. a> Zevan exclamation which has
. . k 0a)s is

nothing to do with the verb. So if an Englishwoman said,

4
My goodness, did you hear that ?' you would not suppose
that she was asking whether Goodness had heard, ates is
Doric for rjiesj imperfect of dig.
140. vvp(j)a (vvfjL(j)r)) is properly ' bride': but it is used for any
married woman, just as in Latin poetry '
puella ' may be
applied to any woman who is under forty.

141. TasdirXdrov koitcis, the couch from which all shrink, i.e. the grave.
142. epos is often used for epos by the poets. In Homer it is

used exclusively.
143. Bavarov Tek€vrd = death that ends all. Oavdrov is the genitive
of apposition. See Introd. H. 3.

144. fir)dev is adverbial, as ovdev so often is. So in line 384.

146. Kciivd,
4
devotes himself to a new bride.' Cf. Introd. J. § 3.

147. KCLvco seems to have been put in this emphatic position in

order to contrast with Zeus which begins the next line.
But there is no antithesis required in fact the sense is :

spoiled. For what Euripides means is, '

do not you be
an^ry with him for this what he says 9
: is don't you be
'

angry with him for this.' Some people think it impossible

that Euripides can have allowed his love of antithesis to
lead him into such a blunder, and mark the line as corrupt.
148.
1
Zeus will he your advocate in this.'

150-162 are anapaestic lines. See note on line 81.

154. avroU peXdOpois, '

bridal chamber and all.' This use of the
dative of avr6s is not uncommon. The ablative of 4
ipse' is

used in the same way.

 — —
Scene 3.] NOTES. 69

155. 7rp6a6€v. The Greeks attached great importance to the

question who began it ?
4
They were apt to think that a
'

small injury justified a great revenge. The same plea is

urged by Medea in line 13 10.
156. a77€vd(T6r]v is 1st aor. pass, of dnovala),
4
whom I left/

157. Krelvaa-a kcktiv. For the story see Introd. A. § 3 .

159. Qtfiiv evKTalav— Themis who is invoked in vows (and so claims

their performance). In line 199 she is called opKia 0e'/xts.
16 r. tv tlvi ixiKpco = for any slight cause '
li^tly/

163-174. This choral ode corresponds to 138-149.

163. ncDs av, look out 7rci)s. See 89.

165. 6Y|aiTo,
4
and that she might hearken to the sound of my speech.

166. cl ncos haply she might put away/

ia€0€ltj,
4
if

(3apv6vp.ov opydv. Euripides is rather fond of using epithets

which are compounded with a word of similar meaning, e.g.
evbturvoi daires in line 191. Translate her mood of dread 4

wrath/ For all these words, Ovfiosi, opyrj etc., see Introd. J. 1.
168. to y' ipov irpoQvpov
4
my
good will, if nothing more ye is a 7
—
little out of place. we were to translate it as it stands it
If
would be my good will if nobody else's/
4

to npoSvpov for 7rpodvpla. Such phrases are common in the

fj

Tragedians and in Thucydides.

4
<J)l\olo-iv is dative after dn^'or© desit amicis/ This is not a
very common construction.
172. <j)i\a icai rdd' avda. rd§' = things here, i.e. us. So in line
911 Kelva = things there, i.e. her. And in 129 rdSe = things
Tell her that we too are her friends/
4
here, i.e. this house.
4
174. rode is perhaps best translated lo!' 'For lo! her grief is
astir for violence/

175-203 are anapaestic lines. See note on line 81.

There is something left out. 1 am afraid

4
175. (f)6fios el 7rdo-<o.
4
(from the doubt) whether I shall persuade,' i.e. 1 fear I shall
not persuade/ So in line 878, olktos d y€vr}o-€Tai=pity
(arising from the doubt) whether it will come to pass.

177- p6x&ov 1S *h e genitive of apposition. See Introd. H. 3,

e7ri$o>cra> = give freely.
 —
70 MEDEA.
179. depyfia is the cognate accusative, not the object of dnoTavpovTai,
'glares with the look of a lioness/

181. Here begins a long ^yvcop,^ which seems to have been

famous, for it is twice quoted by Plutarch. See Introd. F.
181. ovbev ri is adverbial with crocjiovs.

184. 8a\[ais = religious festivals elkaivLvais — banquets.

185. fiiov Tepnvas aitoas. aKods = ' things heard 7 — ' found how to
gladden life with music.'
187. Join 7]vpero Traveiv — 1
found how to quell.'

188. The antecedent to <*v is Xvirds. SdvaroL, violent deaths.

Literally 6
(arising) from which violent deaths ruin families.'
We should say, '
whence come violent deaths and dread strokes
of fate that are the ruin of families.'

190. Kepbos, supply e'lrj av.

191. evdeiTrvoi daires. Instead of a simple epithet like ko\6s, 7to\vs,

etc.,Euripides often uses an epithet compounded with some
word of similar meaning to the noun which it qualifies. In
these cases the second part of the epithet is only ornamental,
while the meaning is conveyed by the first. Hence evbenrvoi
dalres — fair feasts, and in line 195 lax<dv Tr6kvo-Tovoi> = 7roXkr)v
laxdv. See also line 166.

jxdTTjv = needlessly. '

But where the feast is fair, why do they
strain their needless choirs ?'

193. Join to ivapbv nX^pcopa daiTos.

196. clx^a Xtyvpd ftoa is a sort of verb, which governs compound

the accusative rrpoborav. 326 for a similar case.See line
So we say cry shame on him !' Translate 'vents her shrill
'

grief upon her evil mate, the traitor to her bed.'

200. a vlv eftaaev. Themis heard the oaths which Jason swore,
and so became responsible for Medea's coming. So she is
said lo have brought her.' '
What is the difference between
t'Prjaa and k'firjv ?

201. dvTLivopov here means *

across the sea' — usually it = across a
strait.

202. aka \ivx lov <tne landlocked sea,'

->
is the Propontis.
Act II.] NOTES. 71

203. novTov Kkfjba, 'the key of the Euxine,

5
is the Hellespont. It
is difficult to see why it is called airepavTos. But it was an
old epithetas Homer speaks
for it, of ^W^ctttovtos
dnelpcov. poetry = the main, the
ttovtos in open sea.
Translate who brought her to Hellas across
'
the gulf, passing
through the landlocked sea to the briny key of the main, that
has no hounds.'

ACT 11.

RESOLUTIONS.
SCENE I.

Act II. is a study of Medea's character. The first scene is dis-

figured by a description of the condition of women in Euripides'

time which is quite out of place : but the latter part of it shows her
as something of the tigress. Her subtlety in argument and power of
flattering are brought out in the scene with Creon. At the same
time his harshness and stupidity prevent us from taking his part, even
when Medea reveals to the chorus her savage desire for revenge.

204. It was a breach of propriety for women to appear in public,

as Medea herself tells us in line 247. But Medea has
come out in spite of propriety, lest the chorus should accuse
her of pride for shutting herself up from their sympathy.
i^rjkBov. The aorist is used in a perfect sense, as often : hence
it is followed by the subjunctive fxefi^rjo-Se.

205-208 are difficult lines, and have been translated in many ways.
Let us take the points one by one.
7roXXovs ppoTcov are contrasted with ol 6' in 207. tovs fiev and
tovs 8e are two divisions of the <rroXkovs.

yeycoras, like TtzfyvKOTas, means first '

having been born/ and
so '
being by nature.' It is contracted for yeyaoras accus. of
yeyacos,
ofifxcLTcov ano = from sight that ; is, ' from having seen them.'
ev Ovpaiois = among strangers.
rjavxos irovs means quiet behaviour, as we say *
walk.'
72 MEDEA. fAct n.

pa.6vp.ia is properly slowness or indifference. Among the

Greeks slowness of movement was a recognised sign of self-

importance. So that paOvfila easily comes to mean the

same as o-epvoTtjs. With us in the same way languid' is
'

frequently an epithet to '

insolence.'
Svo-Kkeia Ka\ pqdvfjLia= an ill name fof pride, just as in line
603 ovk €vdo£[a ot>8' apera = no good name for virtue.
We may then translate this passage 1 have come forth for :
'

fear you may he hlaming me for though I know of many who ;

are really proud, some whom I have seen, others strangers

to me yet other folk from a mere quiet walk have gained an
;

ill name for insolence.'

fiefMprjo-Oe. The subjunctive is used because i^rjkOov has
really the meaning of a perfect tense.
210. octtls, like *
si quis,' '
quisquis,' gives the idea of more than one
person ; and that is how
comes to be used as relative to
it

the plural antecedent Pporoav. There is a similar use of it

in line 1277.
(nfkayxvov. See Appendix J. § 1.
The meaning of this sentence is that we must be careful in
our behaviour, since men are ever ready to think ill of
us, if they see anything that looks amiss.

212. irpoo-xtopelv. We have a very similar metaphor, 'make

advances to.' Perhaps 'try to meet the wishes of the
city would be better here.
'

213. Tjvco-a, momentary aorist.

214. dfiadia here is not 'ignorance,' but its consequence, '

boorish -
ness.'

2 j 6. oLxpp-ai. See Introd. G. yfrvxrjv 8ie$0ap/c' = has broken my

heart.
218. Notice how much the Greek gains in force by putting the
relative first and keeping the antecedent (noais) till the end.
221. cjjvTov = creatures. The singular is used collectively. Aes-
chylus in the Supplices makes the king of Argos say of the
women of the chorus, 'the Nile might produce such
creatures,' kcu NelXos av Sptyfsetc towvtov c))vt6i/. In prose
the word generally means plant as contrasted with animal
((a>ui>)
 —
Scene i.] NOTES. 73

These words, and the whole paragraph, are quite out of

keeping with Medea's character, and the time in which she
is supposed to live. It is an attack upon the customs of

Athens in Euripides' own time.

'
by outbidding others.' This refers to the
222. xp r7fta r <al' vnepfioXfj ,
'

dowries which were given in Euripides' time. In the heroic

ages the husband made a payment to the father.

225. kclv raff, etc., 'and herein is the great crisis whether (we are)
to take abad one or a good one.' We cannot reproduce
the metaphor of dywv exactly. Translate, Ay, there 's the '

rub for we may get a bad one or a good.'

!

229. §ei fxdvTLv €ivai . She must be a prophetess (to tell)

. . onus.
how, etc. a regular term for managing horses
XPW^ - 1 1S

'manage' is so common a word with us, that we have

forgotten that it is a metaphor from riding. See Richard
II. Act III. Sc. 3, wanting the manage of unruly jades.'
'

fir) fxadovaav oUoOev. We

But as the should say 'at home.'
idea is knowledge from home, the Greek
that she brings her
idiom requires a word that expresses motion. So in 1058,
rcLKeWev = things there. See also 481.

231. ev belongs to iKTrovovyiivaKTiv, 'when we carry this out with

4
skill.' Notice the force of £k-, thoroughly.' So in line 283,
€Kbi8d(TKe(r6ai.

232. /3ta (j)€pcov (vyov, bearing the yoke impatiently.'

'
The com-
parison of a husband to a horse is kept up.

233. £77X0)7-0?= desirable, as in line 978, not 'enviable.'

234. rols tvdov depends both on axOrjrai and ijvvwv. We have had
a similar double construction in line 136, KaraXvaalixav
fiioTav Trpo\i7Tovaa.

235. €7rava€ is gnomic aorist.

236. fxiav yj/vxw, '

to one heart,' i.e. that of our husband.

237. Xtyovcn 6* r}fias <w? . . . for Xeyovcrw as rjfJLels. With verbs of

knowing and fearing the former is the regular construction.
A Greek, for instance, says oldd o-e, rls et, not olda rls vv cl
See lines 270, 424, 1058.
 —
74 MEDEA. [Act XL

239. kcikojs <f)povovvT€s = fools that they are !

Trap ao~iriba vTr)vai is a pregnant construction. So in Iliad

xi. 314, Trap* ijx tVraa-o = come to my side and stand there.
Euripides speaks as if the shield were in line already, and
the warrior had to take his stand by it.
i
Take my stand
in the ranks.'

241. aXV ov yap, etc. But (I can't expect much sympathy, for)
'

our cases are different.' For the ellipse, see Introd. K. 5.

The sense is really completed in 249 sq. toctovtov ovv etc. :

TTpbs ce. Why ore ? See Introd. D.

245. \€\jja-p,€vrj. Do not lose the metaphor — 'carried off like booty
247. lAzOopjilcrao-Bai means first to change moorings, then to fly for
refuge. here the explanatory infinitive (Introd. H. 5.)
It is
4
with p,rjT€pa, etc., no mother, nor brother to fly to from this
trouble.' We
have the same construction in line 419.
avfx(f>opas genitive of separation. Thompson, § 61.
c
248. toctovtov ovv. These words take up line 241 (Since I can't
expect much from you), this much at least I do wish to
obtain from you.' To obtain something is rvyxaveiv tivos,
but to obtain something from somebody is Tvyxdveiv rC
tlvos. See line 324.
(3ov\r)o-op,ai ought grammatically to be present. But her
thoughts are so much in the future that she even puts her
wish there. So we say 1 shall hope to see you,' instead of
'

hope I shall see you.'

' I

This wrong tense has a curious parallel in a blunder which

is sadlycommon in English letter-writing Dear Mr. X., :
{

I shall have much pleasure in accepting your kind invita-

tion.'

250. avTiTio-ao-Qai, explanatory infinitive with p.r)yavr). Cf. Introd.

H. 5. KaKuv is genitive after hiKr)v, '
retribution for these ills.'

avTLTlo-ao-Qai sometimes takes a double accusative (like

Tiaao-Oai and airoTLo-ao-Bai :) but diKrjv here is cognate ac-

cusative.
*
Punish my husband in retribution for these ills.'

251. aiyav, explanatory of tovovtov — (

even your silence.' Notice
the very emphatic position of the word anyav.
 -

Scene 2.] NOTES.

252. The construction is KaKrj es dXicrjv Kai kclkt) elcropdv o-iftrjpov —

do-opav being explanatory infinitive to Kant}— Introd. H. 5.

253. cs €vvr)v :
4
when she is wronged in (with respect to) her bed.'
255. evSiKcos is the important word, and must be rendered by a
finite verb. '
You will do justly in punishing/ For similar
cases see lines 31, 297, 438, 682, 1 175.

SCENE II

260. dnov, '

1 tell you.' This is rather an unusual case of
momentary aorist. See Introd. K. Tell,' in Greek as '
in
English, means first narrate/ then command/ ' '

262. Ppafievs is properly the umpire at the games, and so comes to

mean a person with arbitrary power. Translate '
1 am
absolute in this command.'

264, Why do you have nph av /3dAo> instead of irplv fiakeiv here ?

See Thompson, § 147.

266. i^Laa-L koXcov. The ordinary Greek ship had a lug-sail so :

that themore the sheet was loosened the more the ship
would go before the wind. Hence to let out the sheet
means to increase the speed. See Introd. G.
267. eKpao-is art)?, lit.
1
a landing place from destruction/ Greek
ships used to run ashore when they wanted to avoid fighting,
just as modern ships run under the guns of a friendly
battery.
urr]s is the objective genitive. Thompson, § 54.
evjTpoo-oLCTTos isan appropriate epithet because 7rpo<T(j)epeo-6ai

is a regular term for a ship putting to land.

I
* 58. koL kcikcos iraaxova opuos. Her pride would forbid her to hold
discourse with her oppressors, but, injured though she is,

she will still (opcos) ask why etc.

270. irapapirex^-v \6yovs 'to use a cloak of words literally, 'to

7
—
spread words as a covering.' In the Ion 11 59 we have
Toixoiaiv S' eVt rjpTna^v aXha fiapfidpcov v(f>d(rpaTa, on the 4

walls he spread a covering of foreign tapestry.'

btboiKa ore. See note on 237.
76 MEDEA. [Act XL

271. dpdco takes a double accusative, bpdv tlvcl tl = to do some-

thing to some one. So in line 277.

fio\ is a sort of dative of disadvantage. Me was frequently ;

'

used like this in old English saddle me the ass :

i
'
;

knock me at the door'; lent him my mare and he

4
*
1

broke me both her knees/

272. (TVfiPdWcTai, •
and many proofs of this concur.'

277. dpdveiv ti = that you will do something to etc.

278. irpos o-' dwxOtcrBai = to incur your hatred. direxOdvoixai
generally takes the dative.
279. ixcrao-Teveiv. fierd in composition often means change.' So '

in line 57 /xeraytyj/axr/cai/ = to change one's mind so as to

think. So, peravTeveiv —
to change one's mind so as to
lament —that is '
See 575.
repent/
283. €K$L$dcrK€(T0cLij do not miss the force of eV, thoroughly.' See '

note on 231.
<ro(fiovs is proleptic. See Introd. H. 4.

284. aWrjs like ode is often best translated by an adverb. For

instance, avOpconoL kcu raXka bevdpa does not mean 1
men
and all other trees '
but ' men and trees as well? See also
line 713.
rjs €\ova-iv dpylas for dpyias rjv cxpvtri. dpylav 'iysiv = dpyos
tlvai. So in line 834, dfiovklav ex eLV ~ «/3ovXos- uvai. By
* idleness' is meant, not doing nothing' but '
'
vain pursuits/
285. (f>66vov aXtfidvovai, 'reap a reward of jealous ill will/

288. eldevai tl ttolkL\ov — to have superior knowledge.

'
Whereas if you be thought to surpass those who have the reputa-
tion of superior knowledge you will be considered (by them)
nuisance in the city.'

Medea means that clever well-educated people are in dangc

both from the suspicion of the ignorant and from th
who fancy themselves superior.
jealousy of those
292. o-ol 8' av Trpoo-dpTrjs :
'
(I am suspected by the dull) while on th;

other hand I am vexatious to you.' She mentions Creon as

specimen of the 1
superior person.' Look out irpoa-dvTi^s. (

fir) ti TrdOys = (from the fear) that you may suffer something
For the omission of </>d/3o> see line no.
Scene 2.] NOTES. 77

296. tvoctlv is emphatic. ' It is my husband (not you) that I hate.'

297. olfxai is slightly ironical. So in 562.

o-GxfipovcDv, the important word, must be rendered by a verb in

English. See lines 31, 255, 438, 682, 1175.

299. What is the difference between eu irpdo-aeiv and ev noielv

(line 447) ?

300. TjbiKrjpevoi. In Greek tragedy when women speak of them-

selves in the plural they use the masculine gender. So in
368, 1 179.

301. Kpeiaaovcov. Verbs implying comparison take a genitive. So

in line 69 XetVerat K^devfiaTcov. Cf. Thompson, § 59.

302. Bring out the contrast between Xeyety and eVo <£pei/d>z/. ' Soft
words are on your tongue, but in your heart etc'
aKova-ai. See Introd. H. 5.

305. dvrjp SC. o^vdvjios.

<fiv\d(T(T€iv =
to guard against. The middle is usual in this
sense. For the construction see Introd. H. 5.

306. rj a-L(07TT]\6s than one that is silent and shrewd.

o-o(f)6s, '

form a sort of compound adjective.

o-ia>7rr)\6s cro(p6s

For the sentiment compare the proverb still waters run 4

deep, and Julius Caesar, Act. I. Sc. 2

5
:

Yon Cassius has a lean and hungry look :

He thinks too much ; such men are dangerous.

308. q)s ravr apap€ = since this is my fixed decree. You will find
clpape again in lines 396, 708.
apape is the regular perfect of the stem dp-, fjpapov is the
reduplicated second aorist from the same. Instead of apco
there is in use a reduplicated present dp-ap-Lo-Kco.

The root 'AP is an interesting one. Its original sense is to fit

or join. From it we get ap-Bpov, joint, ap-piofa, to fit, dp-iBfjLos,

number, apn, just now, dp-€Trj, virtue, dpeiav, ap-iaros, and

ap-€(TK(o f to please.In Latin the same root gives us ar-ma9
ar-s, ar-tus, etc. It is worth while to ask yourselves how
all these notions are got out of the simple one of fitting.
78 MEDEA. [Act II

310. irpos or yovdrcov. The full construction is alrovpai irpbs,

yovdrcov. But in this and similar phrases the verb is often

left out, and the crc put between npos and its case. So in
Latin we find per te deos oro. In line 58 we have npos
y€V€Lov, and in 676 irpos ytveidbos. In most languages it is
usual to appeal to some person of whom the remembrance
ought to have influence e.g. in heaven's name (jrpos
:
i
'

Qe&v), in the name of\our children,' or even in the name ot

(
'

all that is honourable.' It is going a step further to invoke

a man's own knees
The origin of this custom
or chin.
was the used to touch the knees or
fact that suppliants
beard or chin of the person whose protection they sought.
312. ovhtv is adverbial.
ovdep aldeaeu = show no reverence for my prayers.
aldas was a strong influence in Greek life. It is the feeling
with which the strong man of noble mind regards the gods,
the suppliant, the young or the weak. We have no word
that entirely expresses it, but chivalry will often do. ' It '

is a knightly feeling, which the base man does not share

(see Iph. Aul. 380, dvrjp yap xprjo-Tos albelo-dai 0iAd). As
to the reverence due to a suppliant's prayers, you will
remember the famous passage in the ninth Iliad, addressed
to Achilles when he refused to regard the suppliant Greeks :

Prayers are Jove's daughters of celestial race,

Lame are their feet, and wrinkled is their face ;

With humble mien, and with dejected eyes,

Constant they follow, where injustice flies.

Who hears these daughters of almighty Jove,

For him they mediate to the throne above ;

When man rejects the humble suit they make,

The sire revenges for the daughters' sake.

313. For yap, see Introd. K. 2.

'
Yes, for I do not love you better than my own house.' He
means that the only way to secure the safety of his own
family is to get rid of Medea.
4 3

315. yap,
4
(I quite agree with you) for.' Translate Yes. See
Introd. K. 3.
Scene 2.] NOTES. 70

316. €pa>T€s. The plural from the singular.

is a little different
epcos means But
love, epcores the different instances of love.
we cannot make the distinction in English. Again the
English word Move covers both <fii\ia (affection) and epcos
5

(passion). Here we may translate spares 'passion.'

317. '(That is) according as fortune (good or bad) stands by them.

He means to say, however unfortunate Medea has been
in her love he hopes it will be different with his daughters.
318. Do not translate bs as if it were tis. There is no indirect
question here. 'Let not him who is the cause escape your
notice,' not '
Don't forget who is the cause.'

320. Translate 'I have troubles of my own,

and ask for none of yours.
Creon, with the selfishness of a tyrant, has said relieve me '

of trouble/ regardless of the misery he was causing her.

She answers a quibbling way as if to relieve him of
in
trouble were the same thing as to take it on herself. The
retort is of the same class as the English A. Lend me :
l

your ears ! B. Your own are long enough.' Its point

consists in pretending to misunderstand the first speaker's
words. There is another such quibble in line 576. And
in Richard 111., Act i. Scene 2, you will find a whole series
of such quibbles, and that in a very tragic situation.
K€xpr]fxai with the genitive = need,' with the dative, 'experi-
'

ence '
(line 333).

321. Creon finds a practical retort. '(If you won't go quietly)

you '11 soon, etc' e#e x €L P° s i
'
the hand.' cjc is often used
in poetry for the instrument or agent. So was 'of in old
English, e.g. Isaiah liii., ' smitten of God.' See 659, 756, 1222.
322. tovtu ye. The ye can only be translated by an emphasis
— 'No, no, not that? By ' that ' Medea means being expelled
by force, but Creon thinks she refuses to go at all, and
answers accordingly.
aXXa is often used in entreaties, something like our 'Nay.'
324. tovto aov rvxei-v. To obtain something is rvyx^-veiv tivos, but
to obtain something from somebody is TvyxavtivrL twos. See
line 248. tvx^Iv depends on iKerevo-a begged to obtain.' — '

tqv& is of course '

remission of exile.'
so MEDEA. [Act II.

325. av is literally
4
on the other hand.' The full meaning is
£
But
if that is not what you want, why is it that you
5
etc. ? The
words in black type alone give the sense.

326. t-vpTrepavai typovTiha — bring my thoughts to a conclusion,

resolve,
4
devise.' The two words form one verb, like ax^a
fioa in line 196, and govern the accusative dcfiopp.rjv as well
as the clause fj
cpev£ovp,e6a.

329. The sentence would be ovbev irpoTipa tckvcov prjxavvo-ao-Bai

full

avTois. renvois is a compromise between tckvcov and avrols.

7rpoTLjjidco with the genitive means care for.' *

/jLTjxavrjcracrBaL is an explanatory infin. attached to irponpa.

See Introd. H. 5.
4
332. rovpiov of myself.' See Introd. J.
(ppovris (icTTi) el. Words
expressing wonder, delight, indigna-
tion, etc., often take el instead of on. So we may say 1 don't
4

wonder if you are angry,' instead of 4 that you are angry.'

4

333. K€xprjp.evovs, experiencing,' so 'suffering,' a different sense of

the word from that in line 320.
335. albovp.evos = through chivalry. See note on line 312.
4
diecpdopa. 1 have spoiled.' Cf. line 998.
336. igafxapTdvcDv. See line 470, and Thompson, § 120. Verbs of
perception take the participle instead of the infinitive.
Notice the force of iic. See lines 231, 283.

338. 17 'movcra is for f) eir-iovcra not rj int-ovcra.

340. d\frev8r)s is part of the predicate. 'This word that I have

spoken is sure.'

342. axevv is genitive of cause. See lines 88 and 971, and

Thompson, § 57.
4
345. anopov Kkvftava, a trackless wave of trouble,' is rather a mix-
ture of metaphors. But the use of anopos and of kKvBcov was
so common was almost forgotten that they were
that it

metaphors So in English, few people even notice

at all.

the mixture of metaphors in, Or to take arms against a,

4

sea of troubles, and by opposing end them.'

Scene 3.] NOTES. 81

SCENE III
348. ravrj] = thus, i.e. '
so bad.' So we say things are 6
in a bad
way.'
firj doKelre. In phrases of this kind the Greek and Latin idiom
is to use the second person ; but English uses the first. A
Greek says *
Do not think so '
; we say '
1 tell you, no !
' A
Roman says '
receive (accipe)
'
an Englishman let me tell
;
'

you/ See line 575. So we should translate this line 'The case :

is not at all so bad, I tell you — at least not yet.' Do not spoil
the sentence by taking nco out of its emphatic position.
rols wfxcj)loLs. The plural is used instead of the singular.
350. rovbe —pointing to the place where Creon stood, ode cannot
properly be used of an absent person.
354. es too-ovtov or is tovto eXOeiv is a very common phrase for
6
to come to such a pitch ' of so and so. We have it also
in line 49.

355. i%6v is accusative absolute. The other impersonals, irapov,

beov, 7rpoo-rjKov, etc., are also used in this construction. See
Thompson, § 114, and line 4215.
eXelv is a metaphor from hunting, for which we have no exact
equivalent. See Introd. G. Translate '
foil.'

358. veKpovs Srjo-co. For this common use of ridrjfjn, see L. & S.
viii. You will find instances in lines 366, 382, 485, 685, 866,
1151.

359. avTots, dative of disadvantage.

360. eyxetpw, v<j)dyfra), wcro), are deliberative subjunctives. The
first is in the present tense because the setting to work is
a matter of time : the two aorists represent single actions.
362. rjnaTos. See Introd. J. § 1.

365. vnepfialvovaa = entering : literally, stepping over (the thresh-

old).

366. 6r]o-(o yeXoov = make sport. See note on 358.

367. tj]v evOelav {ohbv). The straight course is the shortest : so it

= easiest. The construction

cognate accusative with is
4
Best to slay them in the easiest way ... by poison.
1

ekelv.
82 MEDEA. [Act II.

368. <ro(j)ol. Women speaking of themselves in the plural use the

masculine gender. See lines 300 and 11 76.
369. Kal dr] = 'and suppose that/ like the Latin 'fac' So in 1048.

371. rovjxbv Se/Lta?. See Introd. J. § 2.

373. nvpyos da(j)a\7]s. If I can sight some tower of safety/

'
Don't
say appear/ for that would imply that the tower
'
moved.
The metaphor of a tower is common. We all know the
first line of one of Luther's hymns :
'
Ein' feste Burg ist

unser Gott.'
375. djjLT]x avos generally means either (a) 'without resource' or
4
against which there is no resource.' But i-vfji<fiopa d^r]x avos
seems to mean 'a disaster which robs me of resource.'/
*
Desperate ' comes pretty near the right sense.

377. to Kaprepbv roXfxrjs is a sort of superlative, 'the utmost verge of

daring.'
380. Hecate was the patroness of witches. What were her other
names ?

381. Join ov x ctt'p a>1 — not ' w^ n impunity. The words fxa . . . ejirjs

form a parenthesis.
382. 6r)<T(o. For this common use of rlOrjfjLi see L. & S. viii. You
will find other instances in lines 358, 366, 485, 685, 866,

384. The construction is fi-qbev (fre&ov tovtqov a iiritrTcurcu. prjbev is

adverbial as in line 144, and (fieibov governs the genitive

TOVTCOV.

386. dycbv is metaphorical here. Look it out.

4
March to the danger : now is the time for courage.'
388. rot? 2i(rv(p€LOLs . . . ydfjiois is the same dative of the person
interested as we have in lines
108, 184, 555, 693, meaning
*
in the sight of, '
(
to incur laughter in the sight of ' = 'to be
a laughing stock for.'
ydfiois is best translated bride. See Introd. J. 3.
^LcrvcljeLOLshas a double meaning. Sisyphus was the founder
of Corinth and also famous for his treachery. So that
'Sisyphean' means both Corinthian' and 'treacherous.' '

It is used by Medea as a term of contempt. Ovid, speaking

of Ulysses, refers to this double sense 'Sanguine cretus :

Sisyphio, furtisque et fraude simillimus illi' {Met xiii. 31).

Scene 3.] NOTES. 83

389. yey cocrav is a curious word. Homer uses the forms yeyaco?,
yeyavia, which are quite regular. But the Tragedians use
yeyco?, ycyaxra, as if the uncontracted feminine had been
yeyaovaa.
e<r6\ov narpos. For Medea's genealogy see Introd. A.

390. iirio-Taaai,
1
thou hast the skill.' As usual, English prefers to
express the main thought by a noun.
7rp6s is adverbial here.

391. es fiiv, etc. comma after ywaiKcs and do not

Notice the :

spoil the sense by translating and besides we women are *

very helpless for good.' It is And besides, I am a woman,:

*

(and women are) very helpless, etc'

393-422. The chorus are much distressed by the scenes they have
witnessed. They say that the world is turned upside down,
and the course of nature reversed.
For the Doric forms. See Introd. D.

393. '
Rivers flowing upward '
was a proverb for the impossible.
UpZov : rivers, sea, air, etc., were often called dios or Upos. So
in line 62, crefivbv UzLprjvrjs vdcop.

394. Si'kt;, like vopos, first meant custom or order and here it keeps :

the old sense, 1

and the old order of the world is reversed.'

395. fiev corresponds to Se in line 397, for men are contrasted, not
with the gods, but with women.
6ecov ttlcttls = the pledge (given through invocation) of the
gods. So = the pledge (given by a
in line 20, deltas ttlcttlv
grasp) of the right hand, dvdpdai is of course emphatic,
and earl must be supplied.
1
'Tis men whose counsels are crafty, their plighted faith no
longer firm.'

apape is the perfect of an obsolete present apco. rjpapov is the

reduplicated 2nd aorist from the same root. Instead of apco
there is in use a reduplicated present, dp-ap-lo-KG).

397. The order is (£ajncu Se o-Tpfyovcri rav i^xav $lotclv (coo-re) e^ei*
evKktiav.
'
But my lot will rumour reverse, to give me good repute.'
84 MEDEA. [Act n.

400. e£et cannot be translated by a verb — ' no longer shall women

be the victims of ugly rumour.'
Line 400 means exactly the same as 399. But it is quite in
Euripides' manner to say the same thing twice, first
positively and then negatively. So in lines 12, 14.
402. vfjLvcvo-ai, is an Ionic form for vfivovo-m, the participle of vp-veoo.
1
And the Muses of ancient song will cease to harp upon my faith-
lessness.*
That is, the old songs about the faults of women will go out of
fashion. Both Homer (Od. xi. 456) and Hesiod (Theog. 591)
have passages about the faithlessness of women, and doubt-
less there were many such passages in Epic poems which
are now lost. As Euripides is speaking of the Ionic poets
he naturally uses some of their words and forms. aincrTovvvav
is an Ionic word, and (oiracre 6eamv dotSav is a quotation from

Homer (Od. viii. 498).

403. Translate :
'
for 'twas not in our hearts that Phoebus, lord of
melody, implanted (the gift of) inspired lyric song for (then) :

had I answered the race of men with a strain of my own and :

the length of ages offers much to be said of the lot of men as

well as ours/
eV a/xerepa yvcopa . . . conacrev is not quite grammatical for ;

O7ra£oo takes the simple dative. Probably Euripides began

the sentence with the intention of writing €<fivT€vo-e, which
would require the ev.

avraxqa : avTr)x*<>> = to sound in answer.

7roXXa pev dperepav polpav — noWa $e rrjv tcov dvbpwv polpav
would be the full construction. You have had re for de in
line 118.

410. dMpovs oplo-ao-a nerpas : 'parting the twin rocks,' i.e. the
Symplegades. For these rocks see note on line 2. She
had to part them to pass between them.
ttovtov : the Euxine.
412. tus avdvbpov koltcls is genitive of apposition after XcKrpov.
See Introd. H. 3, 'being robbed of thy bed thy deserted —
couch.' It means, of course, having lost your husband.' '

414. xcopaf genitive of separation after eXavvtt. See Thompson,

§ 61.
Scene 3.] NOTES. 85

416. opKav x«P t? = tne biding grace of oaths.

aidvs is the feeling with which the strong man of noble mind
regards the gods, the suppliant, the young, and the weak.
Wehave no word that entirely expresses it, but chivalry' '

will often do. It isa knightly feeling, which the base man
does not share. See Iph. Aul. 380, dvrjp yap aldelo~6' alo^xpos
ov (pikel.
dvrjp yap xpyvros aldelo-Oai. Here translate 'reverence.'

417. alBepla with dverrra — 'has flown skyward.'

dv€7TTa,3d sing. 2d aor. act. from dviTrrripLi. It is practically
used as a part of dva-Tviroixai. See note on line 1.

419. paSopfMicracrSai means first '

to change moorings,' then 'to fly

for refuge.' It is here the explanatory infinitive (Introd.

H. 5.) with 86fioi, '
no father's house to fly to from your
troubles. 5 It is used in the same way in line 247.

p.6x0cov is genitive of separation (Thompson, § 61) not after

ndpa, as you might think (if you did not observe the accent).
irdpa stands for napeta-i, and is the verb to bopoi.
4
420. o-cov \eKTpcov is genitive after Kpeiaacou, preferred to thee.' See
Introd. J. § 3.

re answers to ovtc in line 418. So in Latin we sometimes

find neque et. But we cannot say neither
. . . and . . .

in English.

^22. eVeVra. Look out efpLarrjfii B. 3, 'has been set over.'

86 MEDEA. [Act in.

ACT III.

EXASPERATION.
Act III. is perhaps the least attractive to an English reader.
There is little character in it. Medea loses his sympathy by em-
ploying so much rhetoric : while he does not get a clear idea of
Jason, except that he is trying to hide his selfishness and ingratitude
with a cloud of sophistry. But no doubt an Athenian audience,
with its love of law-suits, would delight in the two long speeches
which occupy the greater part of They are such as might this Act.

be heard daily in the law courts. Observe how Jason's answer

corresponds to Medea's speech in each of its parts. The plot is not
much advanced : but Medea is still further exasperated.

424. rpayfiov opyrjv. In such sentences the Greek idiom differs

from the English. We
say 1 know who you are,' but the
4

Greek is olbd o-e, tis el. So in line 237 we had Xeyovai 8'
f)nas, cos for
4
they say that we are/ and in 270 dedouKa ere,

fir) dpdarjs
4
I fear that you will do.' See also 1058. We
must translate as if we had Kareldov cos rpaxela opyrj dji^avov
KCLKOV (J.(JTl).

dfxr)x avov >

6
incurable.' Notice how often this word occurs in
the Medea.

425. irapbv impersonal accusative absolute,

is efoV, deov, and
npoo-rjKov are alsoused in this construction. See Thomp-
son, § 114, and line 355. For when you might enjoy 4
. . .

by submitting with a good grace.' It seems that Medea had

been offered some better terms, but had refused them.
428. irpay\ia. See L. & S.

430. The order is uav hi Kepdos rjyov (fivyfj (rjp.tovjJievTj (tov7q>v) a es

Tvpuvvovs, etc.
'Think it pure gain that it is (only) with exile that you are
punished for what you have said, etc'
1

433. dcfrrjpovv : do not miss the force of the imperfect, tried to

remove '
; so in line 1088.
Act III.] NOTES. 87

434. fuopias is partitive genitive like rrjs yrjs erepov (Thompson,

§ 52),
'
bated naught of your folly.'

436. kclk ro)i>c e

>
= even after this (behaviour of yours).
direip^Kcos, Look out dizelTrov, IV.
5

437. to o-bv= your interests, '

you. See Introd. J. § 3.

438. The important words are dxpwcQv and evberjs. eWeo-^? must
be thrown into the background. 'That you may not lack
money or aught else in your exile.' For similar cases see
lines 31, 255, 297, 478, 561, 682, 944, 1 175.

440. Kalyap el. For this use of yap see Introd.

'Yes, even if.'

H. 6. Notice the difference between kol el and el kclL kcu

el only puts a possible case, while el kol (' even though ')

assumes that it is a fact. See lines 68 and 1187.

442. tovto yap <r' elirelv e'x<»> = for this I may call you. She refers
bitterly to the permission Jason gave her in line 428.
444-447. cj)i\ovs . . . pXeireiv is a parenthesis explaining rode, f/

fxeyiarrj . . . Tracrtov explains dvaideia.

The order of the chief words is rode ov Spdaos earw old 7

evroXfjLta . . . aXX' dvatbeia.

i
It is not courage, not hardihood, to look your injured friends
in the face, but shamelessness.'
What is the difference between ev irpdvveiv and ev iroieiv ?

See line 299.

449. \v7rr)(T€i. Many future middles are used in a passive sense.

450-462. For the stories referred to in this paragraph see

Introd. A.

451. The comedians ridiculed this line for the hissing sound of
so many o-'s.

454. £evy\aio*i is the instrumental dative put with eTna-Tdrr^v just

as if it were a verb sent to be a ruler of the fire-breathing:
'

bulls with the yoke,' i.e. to rule them with the yoke.
BavdcripLov yvrjv. '
The deadly field ' is so called because the
heroes who sprang from it slew each other.

454. yvT]s = a.cre :'The deadly acre' (i.e. field.

in the plural, fields.
So churchyard is God's acre) is so called
in old English the
because the heroes who sprang from it slew each other.
45 5- J om dfinexcov (nrelpais.
88 MEDEA. [Act III.

457. dvearx ov °" ot ^>aos. We have the same metaphor in English :

* Lord, lift thou up the light of thy countenance upon us. 5

460. 7rpodvfjLOT€pa rj crcxfiodTepa would be more regular. We do not

use the double comparative, but say 6
more zealously than
wisely,' i.e.
1
a love-sick fool.
5

462. e^cikov (fioftov : supply aov.

466. avyyvaxTT' av rjv. The plural neuter is often used impersonally
with the verb et/xt.

467. Xexovs. See Introd. J. § 3.

6
468. rj . . . rj, whether . . . or,' is the regular Homeric construc-
tion for 7TOT€pOV . . . f).

ovk apxew is practically one word = dethroned. That is

why the ov does not become p.r) after the question. So in

line 80 ov crrepyeL, and in 549 ovk chat.
470. avvoLo-Sa . . . a>v. The regular construction of verbs of
perception. See Thompson § 120 and line 336.

472. T&vde yovarcov should have been nominative like x €l P> but has
been attracted to the case of r)s.

o)s fxarrju Kexp^o-fieOa :

1
for no good was it that I have suffered
the defiling touch of a recreant.'
Look out xp<*>C°>-

475. doicovaa fxev answers to o/xa>? 6V.

i
tl is interrogative. Thinking to be well entreated by you in
what?* This is what is called a rhetorical question that :

is, it assumes the answer, and is used as an emphatic way

of making a statement. We use such questions in conver-

sation, e.g. What do I care?' for 'I don't care.'
' But
here we cannot conveniently put in a question. In line 540
you will find another example of the rhetorical question.
ye gives a contemptuous emphasis to aov.
'
Not that I think in aught to be well entreated at your hands,
—
hut still (I will speak to you).' With o/xoos, as with the
English still,' the verb is often left to be supplied.
'

477. Tpa7r(op,aL, deliberative subjunctive . . . like eyx^ip^ in 360.

478. a-ol dative of advantage :

*
for your sake.'
ovs . . . -narpav are both accusatives after tvpohovo-a.
Act III.] NOTES. SO

Notice that 7rpo8ovcra, not d(\>iK6pr)v is the important word,

and must be translated by the principal verb in English.
See lines 31, 255, 297, 438, 682, 1175.
479. IleXiddes, the daughters of Pelias. See Introd. A. § 4.
y ovv, means * at any rate,' for instance.' Here it is of course
'

ironical. The French use par exemple * '

in the same way.
We must be content with rendering it '
ay or '
1
ay indeed.'
See line 115.
481. oiKodev, from my own resources, 'the friends that nature gave
me.'
482. ovs Se, etc. She means the house of Pelias.

484. 7roAAcus,
4
in the eyes of many.' So in line 108 ao\ = in your
eyes. See also 555, 693.
485. WrjKas. For this common use of rt&j/zi, see L. & S. viii. You
will find instances in lines 358, 366, 382, 685, 864, 1149.

486. Kamo-rov, a sort of pun on the the two senses of amo-ros.,

incredible a good sense) and faithless.
(in We may
perhaps render it beyond belief.' 1 have in you a marvel
4 6

of a husband —
ay, beyond belief.'
Notice the way of translating the two accusatives. Liter
ally, 1 have you as a wondrous husband.'
*

487. cl ... ye = seeing that.

489. koXov oveidos. For the construction, see Introd. H. 2.
What the oveidos is, is further explained by the next line.
491-494. There are several small difficulties in these lines :

/xeV . . . de must be translated 'though . . . yet.' If you neglect

this you make nonsense of the sentence.
6? rj for the more usual bs av fj.

Xpvaov and dvdpcov correspond, but their constructions are

different.
Xpvaov is objective genitive after reKp-qpia, whereas dvdpav is
both partitive after rbv kclkov ( the base among men ') and 4

possessive after acofxan (' men's faces ').

'Why is it that thou hast given us sure tests of coin that is
alloyed, yet on men's faces nature has set (ipLivefyvKi) no stamp
by which one may distinguish the base ?
Compare Macbeth, Act I. Sc. 4 There :
'
's no art to find the
mind's construction in the face,'
 —
90 MEDEA. [Act m.

495. Do not neglect the tls. '

It is a dread (kind of) passion.'

496. avfiffakaxr
3
%piv is an imitation of the common phrase
o-vfipdWeiv paxrjv, 'to engage in battle.' So in line 38 we
have avfifiaXav i^Qpav.

497. <pvvai, here = prove myself.

Xeyeiv, see Introd H. 5.

498. &<tt€ here has its first meaning, *

as/ '
like.'

vaos is a Doric form. The Tragedians decline vavs thus :

Gen. vecbs or vaos, Dat. vai, Acc. vavv : Plural vaes, vawv
vecov, vavai, vavs.

499. Kpao-jredois, ' with the outermost skirts of the

cLKpoio-L sail,' i.e.

with sails close reefed.

Metaphors taken from ships are so common in Greek that
they require no explanation. But we must put in some
word to make it clear to scud away from (the storm of) thy
:
'

wearisome chatter.'

501. Trvpyois x^P LV : 'you make a tower of the favour you did me.'
The nearest phrase we have to this is exaggerate (make a 6
'

heap of) and we have almost forgotten that it is a meta-

;

phor. Trvpyois sounded strange even to Greek ears and ;

Aristophanes has a hit at it when he is parodying Euripides

in the Frogs. He says that Euripides was the first to
make a tower of fine words 6 7rp6i>Tos roov'EXXrjvcov 7rvpya>o~as
:
6

pr)p.ara aepvd.

502. vavKk-qplas. A metaphor from the owning of a ship which

6
was a risky business. In old English a venture was a '

share in a trading-ship. So we might translate here by

*
venture.'

504. cot 8* €(ttl pev vovs Xctttos. ph

has nothing to answer to
it,because Jason breaks off.Clever as you are, you
'

are a slave to passion ' is what he was going to say ;

but he softens it down : Clever as you are— but 'tis an

4

invidious plea for me to work out, how that it was Love,

;

etc.

506. rovpbv fie pas, see Introd. J. § 1.

Act III.] NOTES. 91

;o7. drja-ofiai, a metaphor from keeping accounts put it down/ :

6

*
reckon it.' It is more natural to us to say I will not '

weigh it too nicely.' The same metaphor recurs in 548.

508. Join 67T7]ovv. ovv is attached to relative pronouns and adverbs

just like our word 'ever,' e.g. 6o-ti<jovv= whosoever. And,
like '
can be separated from the relative by one or
ever/ it

two words whatever way = in what soever way.

;
6irrjovv= in
Remember that 07177 is properly an adjective agreeing with
odco understood. We can express the force of 6da> by
translating However you came to "benefit me/
:
'

509. <ra>TT]pLas is genitive of price.

6
You have received as the price
of my safety more than you gave.*

512. €7Ti(TTa<Tai governs both the accus. diKtjv and the infin. xpW^af"
513. 7rp6s larxvos x^P LV seems to be a mixture of two phrases.
7Tp6? x a P LV means for the sake of pleasing.'
4
We must supply
some participle with /177 'not (acting) at the dictation of —
Force.'

517. €irj has two subjects, first xP V(T °s an<3 then vfivrjcrai.

518. 'Op^eoo? . a strain fairer than Orpheus.' We should

. . pr'Xo?, '

say fairer than the strains of Orpheus.' But this is the

'

idiom of both Greek and Latin.

519. iirt(rr)fjLos = known to fame. Every artist requires '
a public'
to appreciate him.

$22. The order of the words is d fxot uveldiaas is ydfxovs. 6

(As to)
the reproaches you have cast on me with reference to my
marriage.'

523. eV ra)Se = in this matter.

oVtfo) yeyas. deUvvfii takes the construction of verbs of
perception, since to shew is to cause another person to
perceive. Thompson, § 120.
524. fieyas <fiL\os = a true friend. In English 'a great friend'
means rather one who is intimate than one who is useful.

526. d\X ex fjo-vxos. 'Nay, start not so.' Medea makes a move-
ment, as if about to protest indignantly.
We have exactly the same phrase, keep quiet '
' : but it is
rather slangy.
92 MEDEA. [Act III.

528. roCSe is not necessary with it is not un- 77 following. But

natural to repeat the comparison. Heracleidae 298 So in
we have ovk ecrri roOSe iraio\ koXXlov yepas, r\ Trarpos ia6\ov
KayaOov 7T€(fivKevai Sons can have no higher honour than
;
'

this, than to claim descent from a father who is brave and

good.'

530. xi
<tv kvI&l, lit.
4
where you are scraped.' We say that is the i

sore point with you.' We have kvi£cd again in 543, 574.

532. afjLiXkav irokvTtKvov, ' a race for numerous offspring.' So
(/ph. Tanr. 411) auAXka (j)i\o7r\ovTos is '
the race for wealth.'

534. to fiev fieyio-Tov, accusative in apposition to the sentence.

See Introd. H. 2. Translate '
and that is the chief point.'

539. cs ravrb Seirjv, ' put them in the same position,' z>. on an
equality with their brothers.
gvvaprricras, hanging from the same hook'
i
;
so,
1
uniting.' We
might say knitting together.'
'

540. evbaipLovolfiev. The change to the plural is natural, because

though the actions are Jason's (cnrelpas, etc.,) the object is
the happiness of both of them, as he goes on to explain.
trol re yap iraiftcov tL Set ; ifioi re \v€i. Like the question in
line 475, tl Set is only a rhetorical question, and means just
the same as ov Set. Hence the two re's join the two halves
of the sentence just as if ov del had been written.
1
For you have no need of more children, and 'tis gain to me '
etc.
\veiv (reXr)) used by the Tragedians for Xvo-ircXelv. See lines
is

1053, 1300. It is a curious metaphor, ifxol \vei re'Xq is

literally it pays my taxes.'
6

543. old' av av cpalrjs. Notice that this sentence is expressed as

a mere supposition. But Jason's real meaning would be
expressed by ot>8' av av ecprjs, et ae fit) eKiafe Xe^oj.
el' ae fir] kvl^ol, '
if you were not sore about your bed.' See line

530-

544. es Toa-ovTov f)K€6

y
= you have come to such a pitch (of de-
moralisation). We can translate without supplying the
genitive
1
you have gone such lengths.'

opdovfievrjs cvvrjs
— 'if your bed is not deserted.'
Act III.] NOTES. n
548. tl0€o-6€, 'ye account,' We have the same metaphor from
book-keeping in line 507.
yap. See Introd. K. 3.
c
549. ovk chat is treated as one word destroyed,' so that ov does
not change to /xr) though the verb is dependent. So in line
80 ov orepyet and 468 ovk apx^Lv.
ovk. . ovdev.
. In Latin two negatives cancel each other
. :

e.g. non nihil = something.' In English double negatives

'

4
are only used by uneducated people e.g. 1 never said :

nothin' to nobody.' But in Greek a double negative is often

forcible and elegant.
552. The chorus is supposed to represent common sense, and is
apt to make rather flat remarks. Their apology (kcI napa
yvafjLrjv ipo), '
even if it is strange 5
(contrary to the general
opinion) reminds one of the comic line in Sheridan's
Critic (Act ii. Sc. 2) —
where one of the characters introduces
a perfectly obvious remark with forgive, my friend, if the *

conjecture 's rash.'

Sir Christopher (to Raleigh).

Alas my noble friend, when
! I behold
Yon tented plains in martial symmetry
Arrayed when I count o'er yon glittering lines,
:

When, briefly, all I hear or see bears stamp

Of martial vigilance and stern defence,
I cannot but surmise — forgive, my friend,
If the conjecture's rash — cannot but
I

Surmise the state some danger apprehends.

554. Medea takes up the remark of the chorus :

'At any rate you are not so peculiar as I am ; for I am

constantly differing from the general opinion.'
didobopos takes both genitive and dative.

555. e/xol = in my judgment. For this dative see lines 108, 484,
693 '

,
556. dtyXio-Kcivei, 'incurs,' i.e. 'deserves.'

557. y\ ojo-ctt/ with Trepio-TtkeLv : that he will deck out wrong so as to

look with his words (yXo> 0-077).
fair (cv)
6
that he will trick out wrong in seemly words.'
558. ovk ayav, 'not so very.'
 '

94 MEDEA. [Act in.

559. as Kai crv, literally : as (is the case with) you too (so) do not, etc.
7
(
So don't you, either, try your plausibility on me.

560. iierevel, '

will floor you, ' a metaphor from wrestling.

561. 7T€L(ravTa is the important word, and must be translated by the

principal verb in English. For similar cases see lines 31,
255, 297, 438, 478, 682, 1 175.

562. 4>[\<dv is objective genitive after (nyfj.

563. olpai is ironical,

£
forsooth.' So credo
£
'
is used in Latin.

rcohe \6yco = this plan, my scheme.

564. rjns = seeing that you. Latin : quippe quae. See line 183.

565. To\fid(0 has four meanings (1) to dare, (2) to endure, (3) to :

have the heart to, (4) to bring oneself to. This last sense,
which is rare, is required here>

566. ov tovto (/ elxev. Medea feels that she can't answer Jason's
lastremark, so (as in several other places when she gets the
worst of the argument) she goes back to a point where she
1
thinks she can score.'
tovto — the reason Jason has given for his second marriage
in lines 534 = 542. It was not this thought that possessed you.'
'

Xexos, 'wife.' See Introd. J. § 3.

567. 7rp6s yrjpasy 'in view of old age.'

itjepaive. Note the force of the imperfect '
was turning out,
i.e. '
was likely to prove.'

569. XeKTpa (3aarik€Gyv. Introd. J. § 3.

570. 6i\cdv. Strict grammar requires OeXovra. He is really chang-

ing the sentence and going on as if he had begun with ov
yvvaiKos ovveKa eyrjfia.

571. TtKvoio-L is dative after 6fjLoo~7r6povs.

573. This sentence is ambiguous. Medea means let me not have 4

a life of prosperity that

is bitter to me (taking Xvirpos and
'

(vbalpwv together). But Jason pretends to misunderstand

it, and answers as if she had said
f
let not a life of happiness
seem bitter to me '
( joining \v7rp6s yevoiro).

574. kvl(ol (ppeva, 'make my heart sore.' Sec line 530.

 :

Act III.] NOTES. 95

575. ola-ff coy /uteVev^at. Here a question is combined with an

imperative. So 6 dpao-ov = do you know what you
olorO"

must do ? It is more natural to us to use the first person

and say : 'I will tell you how you must change your prayer.'
See note on line 348.
Since a rhetorical question (that is, a question which
it is

assumes the answer and is only meant as a pointed way of

making a statement see lines 475, 540) the sentence goes
:

on Kai aocjycDTtpa (fiavel as if the first part had actually been

a plain statement.
Notice the force of pcra in composition :
'
change.' So /zer-

eyvcov in line 57, pLtO-opfiLo-acrdai in 247, fxeTa-crTepeiv in 279.

576. \v7rpa (f)aiv€o-6co. Jason pretends to misunderstand line 573.

It is a quibble of the same kind as Medea's answer to Creon
in line 320.
580. clItiZo contracted from alridov.
581. ri dpcocra, supply elXofirjv. '
How was it my choice ? Did I wed
you and then betray you ? ' The active yafieco refers to the
man, and Medea uses it purposely because she is putting
herself in Jason's place. Notice how we can get rid of the
participles in translating.

583. kcu ... . ye, 'yes, and.' So in line 654.

dpala has an active sense, '
the cause of a curse.'
vols is emphatic.
rvyxavco ovaa has an ironical sense. So we say '
it happens
that,' to introduce some important statement.
* Yes, and it happens that your house has a curse to fear on my
account.'
Jason has tried to pretend that his fears were all for the king.
584. Before a>s supply IvQi. So, when we wish to emphasise what
we say, we begin '
I can tell you that . .
.'

Kpivovfjiai look out the senses of the middle,

:

6
ra 7r\€Lova. irke'iova without the article would be further '

but ra 7r\. ' Your further points,' the points which you still
wish to urge.
586. xP r)ll(* TC0V : genitive of apposition. Introd. H. 3.

587. erot/xo?, supply elfii. The third person (eWi) is very frequently
omitted ; the first and second rarely.
96 MEDEA. [Act in

588. avfifioka. An old Greek commentator says of this :

'
It was
the custom for one who received hospitality in foreign places
to divide a knuckle bone, keeping one half himself and
giving the other to his entertainer, in order that if either
party (or a friend of either) had occasion to ask for hospi-
tality again, he might present his half of the bone as a
token, and renew their friendship.'
You may compare with this the old English custom of
breaking a sixpence between two lovers.
589. fxr) Sekovaa. Do not translate it as if were ov BeXovo-a.

591. av is repeated for the sake of emphasis. But do not try to

translate it twice.
592. bldov. Note the force of the present tense :
'
try to give/ so
'
offer.'

593. There was a proverb that the gifts of foes are no gifts and '

bring no profit.' e^Bpcop adcopa dwpa kovk ovrjcrtpLa (Soph.

Aj. 665).
594. What is the difference between papTvpea and paprvpopat ?

596. avBabla, dative of cause, *

from self-will.' The word is derived
from avrbs and dS — the root of avbdvco.
598. veobpr]Tov. In line 1302 we have another form of the word
veobprjs. The root is AAM, from which come dapdfa, I tame,
bdpap, a tame creature (i.e. a wife) the Latin domare, :

dominus the German zahm and the English tame. AAM

; ;

is changed to 67x77 Compare i-rap-ov, rc-rprj-Ka.

:

7r66(o must be taken with aipel .

599. e^TTLos means out of sight.'

'
But here it is used as a mere
variety for e£a>.
600. crvv Seed $ eipTio-ercu,
1
and Heaven will hear my words {i.e. and
'

4
bring them to pass). Literally and it shall be spoken with
the approval of heaven.' For this use of <jvv Beep see lines
761, 866.
602-635. You may find Potter's translation of this chorus helpful,
though it is not quite correct :

When with a wild impetuous sway

The Loves come rushing on the breast,
Each virtuous thought is rent away,
Each breath of fame supprest,
 — ;

Act III.] NOTES. 07

But when, confessed her gentle reign,

Enchanting Venus deigns to appear,
Of all the powers of heaven most dear,
She leads the Graces in her train.
Ne'er from thy golden bow, queen of soft joy,
Steeped in desire thy shafts 'gainst me employ.

The noblest present of the skies,

Be modest temperance mine,
May no unruly passions rise
Nor pride and hate combine
Their baleful venom wide to spread,
And, kindling rage and jealous strife,

Embitter all the joys of life,

In vengeance for the injured bed
O Venus, prompt connubial bliss to approve,
And quick to mark the faults of wandering love.

O my loved country, never let me roam

An outcast from my native home,
Outcast from thee and from my friends,
Whilst Poverty my flight attends !

Sorrow, and soul-consuming Pain,

And all Misfortune's cruel train :

No ere I see that day,

!

To death — let me to death be made a prey.

Exiled from all my soul holds dear !

Life hath no torture so severe.

This not from others, not from fame, we know,

Our eyes behold the present woe.
To thee, with heaviest griefs opprest,
Thy house, thy country, yields not rest
No friends their lenient aid impart
To heal the anguish of thy heart.
Unpitied may he die
Who to a friend assistance can deny :

Nor, to afflicted virtue kind,

Unlocks the treasures of his mind !

G
 '

98 MEDEA. [Act IV.

602. epa)T€s= passion, as in line 316.

vnkp ayav one word = overmuch.
is

iXOovres, when it enters into a man.'

'

604. 7rape8(OKav, gnomic aorist. See Thompson, § 97.

dp€Tav = reputation for virtue.
605. aXis=in due degree.
608. xpvvtnv t6(-g>v is the genitive of separation, ' launch from thy
golden bow.' (Thompson, § 61).
609. ifji6p(o xpt'owa = anointing it with desire; as savages (and
some Greeks) used to dip their arrows in poison :
4
poisoned
with lust.'
5
610. areyoi :
'
shield me.
612. The order of the words is prj&e nore deiva Kvnpts irpoafiakoi
(e/xoi) dfMpiXoyovs opyas aKopea-rd re ve'ita], dvpbv €K7r\r)£-acra

im irepoLs Xeicrpois. And never may dread Cypris inspire

'

me with wrangling wrath and insatiate strife, by making my

heart mad for a love that is not mine/ See Introd. J. § 3.

617. 6£v(f>p(Dv Kpivoi \)e wise to allot. =

Xex/7 =
the hands. Cp. Introd. J. § 3.

620. The order is e^ouo-a rbv hva-iriparov al&va dprj^avias.

With words which express a state of mind or body e^o) often
means endure.' So in Homer you find nevOos %x* lv
'
-

bvo-ireparov is literally *
hard to cross.' It refers us once
more to the comparison of life to a sea.
623. irdpos means Sooner.' Like 'sooner' it is used in the sense
of 'rather.' 'Sooner let me die.' Notice that 'rather' is
really the comparative of rathe,' which means early.' So ' '

in many languages the word for earlier comes to express '

'

preference.
624. dpepav rdvbe = my life.

628. pvOov is part of the predicate. '

;
Tis no tale from others that
I ponder.'
633. KaOapav dvoi^avra KXfjba (fipevvp, lit.
'
opening clear the key of
his heart.' 'To open the key' is a loose expression for
opening the shrine which the key locks.
KaOapdv does not here mean pure,' but clear,' ' open.' ' '

*
Perish the thankless wight, whose way it is not to honour his
!
friends by opening wide the shrine of his heart
Scene i.] NOTES. 99

634. avoii-avra should in strict grammar be dvotgavTi, to agree with

oro). But where the dative participle is closely connected
with an infinitive it is very frequently changed into the
accusative by a kind of attraction. So in lines 707, 11 75.
635. /lev. There no de answering to it but we can easily supply
is :

the contrast though others may do what they like.' We

'

can only translate fxev by laying a stress on me.

ACT IV.

PREPARATION.
SCENE I.

Act IV. is more interesting but less artistic than Act III. The
appearance of Aegeus has justly been criticised as a clumsy device,
and he is not an interesting person. When Medea is assured of a
refuge, she develops her plans in the hearing of the Chorus. It is

certainly a great defect in the play that the Chorus should listen with
so little protest to Medea's horrible plots. They actually leave her
for some time out of their thoughts, and sing the praises of Athens !

The third scene shows the success of the first part of Medea's plan.
She deceives Jason by her pretended submission, and secures his

assistance in conveying the fatal presents to Glauce.

636. yap. See Introd. K. 2.

637. Trpoo-fytovclv. Introd. H. 5.

639. yrjs rrjcrde 7T€dov = yrjv rx]vbe. Note that nedov generally means
7
* ground or '
soil ' (as here) :but it sometimes means plain,' 1

like iribiov.

641. 6p(f)ak6v. See Introd. H. 1.

The 1
navel of the earth ' was a sacred stone at Delphi, which
was said to mark the centre of the world.
642. o-nepfMa is accusative after Zpew&v. According to the English
idiom it would be the nominative to ycvoiro, See lines 237,
424, 1058.
100 MEDEA. [Act IV.

643. anais yap. Medea finishes Aegeus's sentence for him, but
turns it into a question by her tone of voice :
1
for you have
lived childless up till now ? We often do this in
*
conversation.
bevpo : look it out.

646. evvrjs : genitive of separation with a{vyes. Thompson, § 61.

This genitive is very common after adjectives compounded
with the privative a. So Seayv oVoS/xotos in 700.
6
648. o-vpfiaXelv is explanatory of <ro<po>T€pa rj /car avhpa. Language
too subtle for man would 9
not be clear by itself ; so he adds
4
to construe/ Note that %ttj] is not quite = words.

649. o>9 rt not tne same as cos xPV& v

xP7lC(0V 1S The participle -

alone expresses the opinion of the speaker or writer with ;

a)? it expresses what is supposed to be the feeling or thought

of the subject of the sentence, who is usually not the
writer. So while ri XPVC® V would mean what do you (in 1

fact) want ? ' o*s tL xpyC<° v means what want do you feel? '

Note that the person whose feelings are so expressed is

always the subject of the sentence, no matter what case
the participle eW/z^ey avrovs o>? dyyeXovvras tovto
is in.
= he sent them hope
(his hope, not theirs) that they
in the
would announce this. The difference between the simple
participle and the participle with £>s is often just like that
between qui with the indicative and quimth the subjunctive
in Latin.
rjx@ aL P € T0V KctiVapa rbv airoKravovra tovs iavrov (piXovs.
oderat Caesarem qui occiderat amicos suos.
he hated Caesar, who had killed his friends.
rjx^aipc rbv Kaicrapa cos airoKTavovra tovs iavrov (plXovs.
oderat Caesarem qui occidisset amicos suos.
he hated Caesar, on the ground that he had killed his friends.
Tt)vftc x#oi>a. See Introd. H. 1.

651. a>s Xiyovo-i refers to cvo-eftiarTaTosy not to irals UiXonos.

653. yap. See Introd. K. 7.

Tplfiwv is neither a substantive nor a participle. What is it ?

654. teal . . . ye = yes, and. So in line 583.

656. ydp. See Introd. K. 4.

ode literally
1
this which I see.' We should say 1
thus.'
 — ;!

Scene i.] NOTES. 101

So in line 43 rrjvft ayovo-' cprj^iav = thus in solitude.

It refers of course to opjxa as well as xpvs-
657. Medea cannot restrain herself any longer. She now breaks
out into passionate complaints.
659. e£ e/LtoO. €< is often used in poetry for the instrument or
agent. So in English smitten of God/ See lines 321, 756,
4

1222.
661. rjfxlv, '
That by itself was not so strange in
besides me.'
early Greek times.
But she goes on (and made her) — *

mistress of his house.' She pauses after tj/juv, and then jerks
out beo-TToTiv 86fxcov, which is the real point
662. ov nov — surely not ?

4
663. be assured (that he has).' American slang furnishes
<ra(£' Xadi,

an exact parallel to this omission of the principal words.

*
You bet 3
means You may bet 4
that it is so.'

npo rov lit. before that

:
*
' ;
so, formerly, rot) has its old
demonstrative sense, like rois in line 703.

665. fLeyav y epiora is cognate accusative with ipavBeis. Medea

does not notice the latter part of Aegeus's sentence, but takes
4
up the first part Ay, a great love.'
4
fieyav has a double sense a deep love,' and a love for one :
4

who is great (a princess).' She goes on with this in her next

line, disregarding Aegeus's interruption Love ? ay, a great : '

love —
a love to wed him with princes.'
For a pun in a similar passage, see Shakespeare's King John,
Act 11. Scene i. :

Elizabeth — Thou unadvised scold, I can produce

A will that bars the title of thy son.
Constance —Ay, who doubts that ? a will a wicked ! will
A woman's will ; a cankered grandam's will

666. iro) vw. '

Come now ' or
4
Go to,' an expression of impatience
or indignation. It occurs again in lines 755, 777.
lt(o literally means 4
let that pass.'

668. is used to resume his sentence after the interruption, like

in English. This use of 8e is common in Thucydides.
4
1 say '

670. avyyvcoa-rd. The plural is often used impersonally with the

verb dpii See line 466.
 ' — — '

102 MEDEA. [Act IV.

671. npos is adverbial.

674. cTTrjveo-a. Momentary See Thompson, § 94.

aorist.
ovk €7rrjv€(ra — I blame. This mild way of putting a statement
is so common in Greek that it has gained a special name
meiosis or litotes.

675. Xoyo) \ilv ovxt : supply ia. 'So far as words go, no —but he
tries to bear it.' These last words are She means
ironical.
*
although he protests against my banishment, he is really
glad to get rid of me.'
676. npos y€V€iddos. So in 56 7rpbs yci/eiov, and in 310 irpbs yovdrcov.
In most languages it is usual to appeal to some person of
whom the remembrance ought
have influence e.g. in to :
'

heaven's name (wpos 6cS)v) in the name of your children

' ;
' ;

or even 'in the name of all that is honourable.' It is going

a step further to invoke a man's own knees or beard. The
explanation of this custom is the fact that suppliants used
to touch the knees or beard or chin of the person whose
succour they sought. So that those parts came to be
thought of as having a sort of influence of their own.
681. ovt<ds is used like the Latin sic. 'So may your love prove'
or ' as you would have your love prove.' Compare our phrase
c
So help me God !

iralb&v is objective genitive after rcXetrc^opos.

682. o\@ios is the important word, not Odvois : so you must not
translate Sdvois by the principal verb :
'
may you be happy in
your death V For similar cases see lines 31, 255, 297, 478,
561, 1175.
685. Srja-cd, make, r/dij/u is used for make ' ' in another sense in
lines 358, 366, 382, 485.

689. es tovto . . . cfrpovbos = powerless in respect of this (i.e. to

7rai$07roi€iv).

691. SUaios note the force of the participle, when I have the
cov :
'

right to do so.' According to Greek custom, he would

have no right to treat her as a suppliant until she set foot
in his country.

692. d7raX\do-<Tov noda — remove with your foot noda is a sort of

loose cognate accusative ; not the object, for dnaWdaaeadai
 :

Scene i.] NOTES. 103

never governs the accusative, In other plays Euripides

uses the phrase ftaipeip noda, '
to go with the foot.'

693. £evois = in the eyes of strangers. For similar uses of the

dative see lines 108, 484, 555, 913.

699. The construction is ov /ie#e? av (ifjcov) tovtoC ayovcriv e/xe :

i
you will not give me up to them when they try to drag me/ etc.
For this force of the present dyovari, see line 592.

The aorist optative with av is often used for the future.

700.
1
But if you make an agreement with (mere) words, without an
oath to Heaven, you will he ill-armed and have no pleas to set
7
against theirs.
Befov dva>iioTos, genitive of separation. So cvprjs afyyes in line
646.
avTiQoio is a later form for dpTudelo, the 2d aor. opt. mid. of
dvTiTi6rjfxi. Such forms are used by Thucydides and
Demosthenes. Atr .

Medea means Creon is not bound by oath he will feel

that if

himself open to argument about giving her up and the :

arguments of the rich and powerful are apt to prevail over

the claims of the weak (ao-Scvrj).

702. rdfxd. See Introd. J. § 3.

703. rols = them. The old use of 6 r; to as a demonstrative

pronoun is sometimes found in the poets. Cf. line 663.

705. dcftlo-Ta^ai is used for dpaivofxai, and so takes its construction,

governing the infinitive dpdv.

joy. The order of the words ^k^iV two. deucvvvai (avrrjp)

is *4x 0VTa

vols ix^pols. Strictly speaking, we should have %x 0VTl DUt

in thiskind of sentence a change of case is very common.
See lines 50, 634, 774, 11 75.

708. to (tov. See Introd. J. § 3.

apape fxdWop == is more secure.
cgrjyov deovs — dictate the gods, that is, name the gods by
whom I am to swear.

7 10. The order is 0ea>i> rc dnap yeVos, o-vpndels (avro).

104 MEDEA. [Act IV.

713. firjr aXkos ixOpcov: not /another of my enemies,' for that

. . .

would imply that Aegeus was an enemy but nor if another :

*

—even one of my foes, wish,' etc. For a similar difficulty in

translating aXXos see line 284.
716. The construction is e/z/xez/eu/ (tovtols) a a-ov kXvcd. The prose
construction would be oh crov kXvco.

717. tl 7rd6ois ; — what do you wish you may suffer? He would

say, ' If I don't keep my oath, may I suffer (irdSoLfii) so and
so !
' Medea half-quotes his supposed words.
722. 6 Malas, Hermes.
723. The construction is 7rpd£-€ia$ (eKelva) fov inlvoiav Karexcov

Karexcov (mevdeis = Karex^s o-irevbuv — eagerly entertainest.

SCENE II.

727. AUr) Zrjvos = Justice, daughter of Zeus.

728. kx^pfov. The genitive is due to the sense of comparison
implied by jcaWtWot. So in line 69 we have XclneTai
KTjdevficiTcov. See Thompson, § 59.

731. rj /xaXio-r' iicdfjLvofjLev. We come back to the metaphor of a ship

at sea
— 'just where I was most distressed.'

732. Xipirjv ftovXevfidTcov, a harbour of refuge for my designs.

We should more naturally express it, '
has saved my plans
from shipwreck.'
733. €K rovbe. We say 'fasten' one thing
4
to' another: the
Greeks '
fasten from.' Medea compares Aegeus to one of
the posts to which the Greeks used to fasten their ships
when ashore, to prevent the waves carrying them off again.
Remember that they were drawn up stern first, so as to be
readily launched. That is why she says 7rpvfjLvi)Tr)v.

The nearest equivalent we have to these posts is a buoy. See

Introd. G.

734. ao~Tv. See Introd. H. 1.

735. (rot. Why singular? See Introd. D,

Scene 2.] NOTES. 105

736. npos r)§ovr}v qualifies \6yovs just as if it were \eyop.€va

— * words
spoken to please ; expect no flattering tale.'
' '

de^ov = expect, as sometimes in Homer. It more often

means 1
listen to,' like the Latin accipe. You will find an
example of that use in line 165.

740. TavTa. We are expected to understand from the context

what this means.
*
' It is Jason's marriage and the changes
wrought by it.
742. ox>x cos AittoCo-' av.

Just as the aorist optative with av is often used for a future

indicative (see 649,) so the aorist participle with av is used
for a future participle.
Note the force of 1
with intent to leave,' or 'with the
cos,

thought of leaving.' The participle with cos expresses the

thought or feeling of the subject of the sentence. That
is usually a different person from the speaker or writer :

but here Medea speaks of her own feelings. See note on

line 649.

748. xP l(J(a ' It was usual to anoint festal garments with oil, to
give them gloss. So Medea's poisoned oil would rouse no
suspicion.

749. airaWacrcTco = dismiss.

750. a>/za)£a, momentary aorist. See Thompson, § 94.

752 ra/xd is put last for the sake of emphasis.
754. cpovov 4>evyov(ra : flying from the consequences of the murder.
757. trco, an exclamation of impatience or defiance : 'Go to P So in
lines 666, 778.

756. yap. See Introd. K. 3.

e£ ixOp&v. €K is used in poetry to express the agent, like the

of '— smitten of God.'
4
old English 4

759- ^eXlfiiravov. Notice that \iixirava> is formed from the root

Xi7r-, just as \ap.^dvco from Xa/3-, /x being put in before
the consonant, and the syllable av added to the stem. The
ordinary present formed from the root Xi7r- is XeiVo) — like
neldo) from m6-, etc. \

761. a-vv dew, with heaven's help — if heaven will. See lines ©00,
866.
106 MEDEA. [Act IV.

765. <r(f)€ in Attic poetry is used for the accusative singular or

plural, masculine or feminine.

767. Oaripov Tpo7rov = rov €T€pov Tponov = of the other sort, that is
'
active ' or '
vigorous.' Look out erepo? iv.

768. papelav ixQpois. This was the regular Greek notion of duty
to one's neighbour. It corresponds to the Jewish proverb,
'
Thou shalt love thy neighbour and hate thine enemy.'
4
771. vofiois £vAA., taking part with the laws/

773. ovk €<ttlv oXAws, '

it cannot be otherwise.' eVri (and rjv) often
mean '
it is (or was) possible/

774. TTao-xovvav in strict grammar should be Travxovcrri but where :

the dative participle is closely connected with an infinitive,

it is very frequently changed into the accusative by a kind
of attraction. So in lines 634, 707, 1 175.

776. yap. See Introd. K. 2.

778. lt(o expresses impatience, 6

Go to.
5
See lines 666, 757.
ovv for oi iv.

oi iv fxiar(o Xoyoi = words between the resolve and the deed.

780. is navra ra 7rioTa=for all services of trust.

782. ywrj t' tyvs. Euripides says in another play that women
ought always to help women yvvaim yap Brj o-vp.iroveiv :

yvvaiKi xph'

783-793. Happy in old time were the sons of Erechtheus, children

too of the blessed gods, sprung as they were from the sacred
land that ne'er on noblest wisdom,
is ravaged —they fed
pacing delicately through the bright air the land where —
once, men say, golden-haired Harmonia gave life to the sacred
nine, the Muses of Pieria.

(Sprung) too (were they) from the stream of pure-flowing

Cephisus, that Cypris drew forth (as they tell), and watered
the land, and breathed o'er it mild balmy breezes. And ever
garlanded with sweet wreath of roses she has by her side
[///. there escort her] the Loves that are wisdom's fellows, and

her helpers in all works of excellence.

783-816. For the Doric forms in this chorus see Introd. D.

 — ;

Scene 2.] NOTES. 107

783. The Athenians boasted of their descent from Erechtheus, a

mythical king of Athens, whom some identify with Poseidon.
The temple of Erechtheus was one of the chief glories of
the Acropolis.

785. The order of the words is diro re Upas dirop6r)Tov xa>pas. The
airo tccorresponds to dno re in line 790, The Athenians
are spoken of as the offspring equally of the land and the
river. diropOr^Tov is not literally true. But though Attica
was often invaded, it was, as Thucydides tells us, the only
part of Greece which had never been conquered. The
Athenians claimed to be the original inhabitants, and
sprung from the soil, dvrox^oves.

787. aftpos generally has a bad sense, '

effeminate,' '
luxurious '

but Thucydides applies Athenians. There was

it to the
another curious epithet of which they were fond Xtirapos,
which means '
greasy.'

789. The only Harmonia known to Greek legend was the wife of
Cadmus king of Thebes and the Muses were usually
:

called the daughters of Mnemosyne (Memory) and Zeus.

It is possible that Euripides may have heard some story
which made the Muses daughters of Cadmus's wife. But
most likely Harmony is only a personification of harmony
with a small h.' By saying that harmony gives birth to
'

the Muses, Euripides means that it was the temperate

climate and happy conditions of Attica which made it
possible for the arts to flourish.

791. rav is the relative to pods, not the article to Kvirpiv : it is

governed by drf)vcro-ap,£vav.

X&pav is the accusative after Kardpdeiv.

There seems to have been some legend about Aphrodite
watering Attica. It is a poetical way of saying that the
canals from the Cephisus produced the flowers. Aphrodite
was the goddess of flowers, so it was natural to connect
her with the irrigation.

795. €p(QT€s = ihe Loves, attendants on Aphrodite; not 'passion'

as elsewhere in this play.
 !

108 MEDEA. [Act IV.

That love akin to wisdom was a favourite thought with

is

Euripides and Plato, in a famous passage, says that the

;

arts and sciences are only a development of the instinct of

love. (Sy?nfiosium, 201-212.)
epcoras is the subject of 7re'^7my, which governs the accusative
€7TllSaXXofJL€VaV.

797 -Si 6. How then shall the city of sacred rivers, how shall the land
that puts forth sacred trees contain thee, the slayer of thine off-

spring—thee, the unholy —with others that dwell there?

Think how canst thou strike thy children ? think what a
! !

deed of blood thou takest upon thee At thy knees we pray thee !

— —
with all entreaty slay not thy offspring Whence wilt !

thou gain the hardness of soul, or might for thy hand and
heart, when thou aimest at them (a deed of) such dread daring?
When thine eye falls on thy children, how wilt thou play a
tearless part in their murder ? When thy sons fall suppliant
to thee, thou wilt not hear to stain thy hand with blood, for all
thy wretchless wrath
ovx oa-lav = dvoo-lav, the ovx forming practically one word
with it. Otherwise we should require p.r). See lines 66,
80, 468, 549.

798. The order of the words is 7tg>s ovv r) tt6\is Upwv Trorafxav

X^P a Up(i)V (fivTCOV €^€L (T€ TCLV TTCLldoXeTeipaV TCLV OV)(

oa-lav — fier aXkav; The first 77 is a little out of place, like

that in line 807.
7r6ix7nfjLoshere has the unusual sense of productive ' 7re/x7ra>
4
is used by Sophocles in the sense of produce.'
The sacred
1
tree ' is of course the olive.

807. The order of the words is noOcv r) dpdaos (ppcvbs ff jievos

Xetpl Kapbia t€ atScv ; The first rj is a little out of place, like

that in 798.
Notice that the genitive qzpevbs and the datives x €l P L < a P^^

Tf are used in practically the same sense.

Scene 3.] NOTES. 109

SCENE III.

817. k€\€vo-6€ls. Medea had sent a messenger to fetch Jason,

line 779.

818. rovde : that is 'my coming.'

TOLV = TOl av.

820. Notice how differently Medea begins :

*
Jason !
' instead of £
7rayKaKt(TT€ (442).

821. dpyas = moods.

822. i/aii/ is dative of the agent.
vnelpyao-Tai is here used instead of the passive of vnovpyeoi.
6
Many services of love have we done each other/
823. 8lcl Xoyo)i/ dcfriKOfirjv — ' 1 have come through reasoning 9 — i.e. *l
have reasoned with myself/ Notice this phrase, for it is
common to go through with some noun is used instead
:
'
'

of the corresponding verb e.g. hi cx^pas livai = ixOalpeiv, :

and bid fidxrjs Uvai = fxdx^o-dai. You will find an instance

in 1022, did \€7TTOT€p(0V nvQoav epdkov.

825. fiovXevovo-iv, *
advise/ — a rare use of the active.
826. KaBia-rapaL is never quite the same as yiyvofxai. It means
'
settle down into a lasting condition/ * I am making
myself a foe for ever?
828. Medea flatters Jason by repeating the arguments which he
used in their previous interview, see lines 538 sqq.

830. tl ndarxo ;
'
what is the matter with me?' or 'what possesses
me? 5

This is a common phrase : e.g. tl ttciOcqvtovto iiroi^aas = what

possessed you to do so ? See line 992.

834. exovcra. Why nominative ? (Thompson, § 120.)

dftovklav e'xovaa = aftovXos ovva '.
SO in line 284 dpylav €X €IV =
dpyos civcu.

836. Don't neglect the irpos. You may translate it by

7rpo(r\afiQ)i/.

an adjective agreeing with Krjdos (e.g. this new connection).

110 MEDEA. [Act IV.

837. v looks as if it were governed by xpw but xPV always takes •

the accusative, and fj is really the dative after perelpai.

PovXcvfiaTw, partitive genitive after pereipai.
838. The construction is kol (rjp XP1 V ) £vfL7r€paiveiv 9 etc.

839. Krjbevovaav agrees with rjp which we have supplied in the

previous line and governs pvftfprjp. Medea rather over-acts
her part when she talks of standing by her rival in childbed
and nursing her. But Jason's suspicions are not aroused.
He is too full of his own importance.
841. KaKols, i.e. to women : for she had practically said that woman
are Kaicai. The subject of i^opowvaOai is rwd.

843. TrapupeoSa. See 7rapirjpi V.

846. aa-ndcraa-dc kol Trpocre'nraTe kiss your father and give him :

greeting. dand^opaL (and perhaps irpoa-eiirop) means both to

greet, and to bid farewell ; so it is possible that Medea
uses the words in a double sense, one for Jason and the
other for the children, who were unconscious of their
banishment.
6
847. Join ZxOpas is (j)i\ovs, quarrel with your kin/
€x&pa$ is genitive after diaXkdxBrjTe, which does not properly
govern a case, but borrows the construction of dnaWdo-aopai,
which we have in 829. So we might say be reconciled *

from your quarrel/

848. pryrpos pkra : literally, in company with your mother, i.e.
6
as your mother is.'

850. oipoL . . . K€Kpvppep(op isspoken aside, while Jason is engaged

with the children. She cannot repress a cry of pain at
seeing them thus, when she knows what is in store for
them. '
Alas ! I cannot but (§77) think of my dread secret/
ti is adverbial, not the accusative after ippoclaOai. We have
the same construction in line 40.

852. ttoKvp (q)pt€s xP® V0V As is often the case, the main thought is
'

expressed by the participle. must render it by the prin- We

4
cipal verb in English, Will ye live long to stretch out/ etc.
These words mean nothing more to Jason than a mother's
natural anxiety for her children. But the audience know
the real meaning of the question. See Introd. E.
 '

Scene 3.] NOTES. Ill

855. xP® v<? ^ e XP^a) = at last^

irarpos is objective genitive after p€~ikos.

856. €7rXT/(ra,and a>pp.r]6rj in 857, are momentary aorists. See

Thompson, § 94.
oyjtiv= eyes.

857. x^wpoi/ Sd/cpv (pale tears) seems to mean tears through which
objects look pale, that is, '
blinding tears.' So Sophocles
5
speaks of the pale mist of tears.
*
{Track. 848.)

858. pci&v is See Introd. H. 4.

proleptic.
There is a slight mixture of metaphors in talking of mischief
advancing so as to be greater.'
'

859. rddc = your present behaviour,

e Keiva = your past behaviour.

860. The order of the words is ei/cos- yap (eWi) 6rj\v yivos opyas
7roi€icr6ai 7r6(T€i, 7rap€p,7ro\S)VTL ydfiovs.

opyas 7roi€l.<T6ai = 6pyi(€0-dai. iroielcrBaL is often used SO with

substantives, e.g. p>d)(r]v 7roi€io~6ai= ndxeaflai.

863. cyvcosy you have discerned.

dXXa : literally (though not before) yet in course of time,
'
5

that is '
in course of time at any rate. This is a common 5

use of dXAd. So in line 892 (if you won't do anything else)

'

at least ask
5
; and 1013, dXX' e/cet '(if not elsewhere) there at
any rate/
5 5
866. '
Has provided ample security with heaven s help, i.e. security
which will be ample, if the gods so will it. Jason's piety
is in bad taste for all that he has done for his children is
:

to save their lives.

868. en = after all.

869. dvgdvccrOc that ye grow. = see

e£epyd£erai=is to work out. Note the force of the present.
So in line 888, diraipofxev.

871. fjPrjs, genitive of apposition. See Introd. H. 3.

873. avTT) = you there, a common use of ovros, but hardly polite
in English. We might say Why Medea
1
!
!

6
xXojpoty, blinding.
5
See note on line 857.
874. e/x7raXti/ = back, i.e. away trom Jason.
 —
112 MEDEA. [Act IV.

875. ivvoovjiivr) has a different construction in lines 40 and 850.

6
ovdev : supply eort, it is nothing. 1

878. olktos e2=pity (arising from a doubt) whether.

So in line if 5, (}>6(3o$ el Tre'io-a* = fear (arising from the doubt)
whether I shall persuade.
88 1 . OrjXv =a tender thing.
em daKpvoLs €<pv y naturally prone to tears. For this use of
im, see L. & 5., B. iv.

883. lAvrjarOrjo-onai. Notice the difference between the two futures

passive of this verb : p.vrja-6r](ropLai = will make mention of
Ixefivrja-ofiaL = will remember.
fivrjaoiiai, the future middle, is used in both these senses.
884-890. This sentence is rather complicated. The words 67re!

. . . 86fxois give the reasons,

x@° va the conclusion. fjpels . . .

6
But there are two reasons, the rulers wish it, and it is best
for me and the conclusion is double, I will depart, and
' :
'

you must ask leave for the children to stay/

Notice that yiyvcocrKco icakcos and §oko> yap . . . Sdftoty are
parenthetical : and /i^r' . . . vaUiv explains what is meant
by Tdde.

887. Sow, '

I am thought.' ' I seem would not make sense.
'

888. a7rcupo/xez/,
6
1 am about to depart.' For this use of the present
compare e£epyaferat in line 867.

890. firj (pevyeiv, infinitive of purpose.

891. av belongs to el weio-co would be more usual, but

irelo-aifxi.

Trelo-aifii a sort of doubtful future. So we might say,

av is

don't know whether I should? instead of shall.

i
I

For et= whether, see lines 175, 878.

892. dXXd. As in line 863, we must supply something in thought.

'
(If you will not try yourself) at any rate bid your'
She naturally hesitates to say wife, 6 1
and while she pauses,
Jason interrupts with 'Quite so.'
N.B. In translating, take care to make your the last word '
'

of Medea's line. In order to do so, you must change the

construction of alrtlo-Qai varp6f.
 —
Scene 3.] NOTES. 113

893. ar<p€ is the object of nclo-civ, not the subject.

ye with dogd{co, *
I think.
5
Jason says it in a tone of mock
modesty. Medea flatters him by answering, Oh, no woman
'

could refuse you.'

894. rcdv aXk(ov : fita literally, '
(Yes) if she is one of the rest of
women '
i.e.
1
a woman like the rest.' The expression is of
course not accurate. It is like Milton's phrase, '
the fairest
of her daughters Eve.' Similarly, Thucydides calls the
Peloponnesian war the greatest of those that preceded it
(d^iokoyaJTarov tS>v Trpoyey€vqp.€V(ov). What is wrong in these
phrases ?

896. Ka\\i<rT€V€Tai — KaXXtoreuei. The middle is so rare that it is

not mentioned in your dictionary.

The order of the words is ire^cD yap 7raidas (pepovras avrfj,

$£>pa ce KaXkuTTeveTai.

898. oa-ov rdxos. See L. & S. oo-os, II. 6.

901. Be careful about these genitives, rvxovcra governs o-ov.

dvdpos dp[(TTov is in apposition to <rov. 6/jl€vv€tov is part of

c
the predicate. Gaining (in) you a hero for a husband.'
902. "HXios. See Introd. A.
903. ols is the old possessive pronoun which is common in Homer,

but rare in Attic poetry, and not used in prose. The

nominative is os or toy, which stands for aF6s = suus.
904. cj)€pvds here is not *
dower but wedding
7 4
gift'

Xafv/xat is only used in the present and imperfect middle.

You will find dvTcXdfyro in line 1 157.
Xaf- another form of the root Xa/3-. The Arcadians used
is

regularly to put £ for /3 in some words e.g. they turned :

/3aXXco into £VXXg).

905. fxaKapia is a word applicable both to a bride and to a dead

person. See Introd. E.
906. ov iicimTa, again, has a double meaning, just as our phrase
' not to be despised' may mean either 'valuable' or
'dangerous.'
907. KevoU a verb.
is

fMaraia, like 'fond fool' in Shakespeare, is a half playful

reproach. It has a different sense in line 319.

H
I
114 MEDEA. [Act IV.

4
911. xpypuToav, not 'wealth' but valuables.'
7rpo6rj(r€L (fads) :
*
she will prefer me to rich gifts, ' i.e. she will
care more for my persuasion than for your presents.

912. ^77 fioi (tv supply ravra Xe^?.

: Pray do not say so.' *

Xdyos supply cart 6 There is a saw that

: Aj ax in the ninth . .
.
'

book of the Iliad says to Achilles :

'
And gifts can soften every heart but thine.'

913. PpoTols, 'in the eyes of men.' You will find instances of this
dative in lines 108, 484, 555, 693.

914. Keivrjs is put first for the sake of emphasis :

1
'tis on her side that
fortune is.'

Keiva is for ra cKeivrjs = her. So raSe = facts in line 172.

916. Construed literally, the words (j>vyas ^vx^s av dWa^aifieda give

a sense exactly opposite to what Medea obviously means—
' would exchange their exile for my life
I i.e. 'I would give ' :

my life to have them exiled.' But of course by buying their 4

exile' she means preventing it. We shall give the right

sense if we say,
6
1 would buy off their exile with my life.'

919. fir) <j)€vyeiv. Infinitive of purpose. See 890.

920. Notice that rovde, as usual in prose, refers to what follows,
not to what precedes. In this play robe is several times
used to refer to what precedes.

922. iff is not for Wi. What is it ?

pr}Tpl, etc. The order of the words is irpd^avres koKws yivoivQe

p>r}Tp\ evdyycXoL (tovtcov) <dv rv^e/V ipa.
1
May you do your errand well, and bring to your mother glad
tidings of the accomplishment of her desire.'
irpd£avT€s KaXco? and hv ri^eli/ ipa are purposely ambiguous.
They have one meaning for the audience, another for Jason.
See Introd. E.
924-945. For the dialect of this chorus and other points see
Introd. D.

926. xpvo-cW dvabeo-pcov is the genitive of apposition after arav

'the golden circlet thatis her fate.' Introd. H. 3. 6V£erai
Euripides often repeats a word for the sake of pathos. So
in lines 103, 1210.
Scene 3.] NOTES. 115

r,

928. rov "AiSo Koapop, the robe of death, i.e. deadly. Ai8a is the
Doric form of the genitive of "Aifys.
930. avya = sheen. The poisonous oil would make the robe
glisten.

932. ndpa with vcprepois, as is shown by the accent being thrown

back.
6
fjdr) with the future means '
presently,' forthwith, 5
' from this
moment.' We sometimes use now ' '
in the same way.
6
'Tis among the dead now that she will don her bridal gear.'
wfi(j)0K0firj(r€i must have an object (iavrrjv) supplied.
i
934. <ai iioipav Bavdrov is added to explain epicos. Into such a
net, ay, a very fate.'
epKos means the poisoned
robe. In a similar way Aga-
memnon Aeschylus speaks of the robe that encumbers
in
him when Clytemnestra stabs him, as SIktvov "Ai8ov, a net
of death.

935. vnepfavgeTai. Note the force of the preposition. hunted A

animal escapes the net by leaping over it. (For epKos is a
hunting net, not a fish net). And aTav=fxoipap Oavdrov,
which has been compared to a net.
936. 'And thou, poor wretch, whose ill-starred marriage allies thee
to the throne, unwittingly thou art bringing destruction on
thy children's life, and to thy bride a hideous death.'
iraicnv is the proper indirect object of 7rpoordyeis, then $lot<i
is put in as if we had had rraldcov. We must translate as
if it were waldcav.

940. octov napoixei = how far art thou from (understanding) thy
fate ! The metaphor dog missing the scent.
is that of a
'You're quite off the scent' is rather too colloquial, but
expresses the meaning, wapa in composition often means
*
beside the mark.'
941. p€Ta(TT€vofjL(u. The Chorus now turn their thoughts to Medea :

1
And after him (/xera) do I bewail thy grief, hapless mother,
who art to slay thy children to avenge (eveiccv) thy bridal
bed, which thy spouse to thy grief (0-01) has lawlessly deserted,
to dwell with another mate.'

Q42. a is Doric for 77 : but in 944 a is neuter pluraL

 x —
116 MEDEA. [Act V.

944. 7rpoWa>i> is the important word, and must be translated by

a principal verb. See lines 31, 255, 297, 458, 561, 682,
1 1 73-
(toi is dativus incommodi.

act v.
EXECUTION.
SCENE I.

Act V. begins with a scene which is justly famous. The struggle

between natural affection and a dreadful resolve is painted in vivid
colours. You should compare with it Othello, Act V. Scene 2, and
King John, Act IV. Scene 1, where there is a similar conflict of

feeling. The second scene, though less striking, contains a very

powerful bit of description. But the cowardly inactivity of the
Chorus at the end of it offends our taste. The third scene brings the
play to a close that is hardly worthy of it. The snarling tone of the
dialogue between Jason and Medea makes an unpleasing impression.
And the conclusion concludes nothing. No principle is vindicated ;

and the personal triumph of Medea is one with which we can feel

no sympathy. Our feelings have been stirred and harrowed, but not
purified.

946. 010V : not '

these children '
but '
here are your children,' see 39.

947. x € P 0LV - Medea had particularly insisted (921) that Glauce

must take them in her own hands.
1
948. ra eKtWcp is accusative of respect : as regards (danger) from
that quarter
5
— i.e.
1
on that side.'

949. (rvyxvOelo-a. We use exactly the same metaphor, which we

crw = con c&) = fundo
have borrowed from Latin. —
vvyxvOe laa = confounded.
951. raSe means Medea's exhibition of grief.
952. alal fiuX' av6is = ay, alas and alas.
ji&v, etc. Can it be that I am the unconscious messenger of fate ?
dyyfkXwv. Why nominative, and why participle ? See
Thompson, § 120.
 ! —
Scene i.] NOTES. 117

953- &°£ a cvdyyeXos for 86ga cvayyeXiov = the thought (that I was
the bearer) of good news. The poets often use an
adjective instead of a genitive. So in line 995 fiaXOaKovs.

\6yovs = thoughts of softness.

956. The construction is noWr) (io-riv) dvdyKY) fie baKpvppotlv.

957. 0€o\ Kayib . . . cfirjxcivrja-dfirjp. Notice how Medea changes her

sentence as she goes along. She begins to say this is the '

doing of Heaven' (6eo\) then she takes part of the blame :

on herself (fcdyw) then she leaves the gods out altogether,

:

using the singular verb.

ravra to the tutor means Medea's exile, but to herself and
the audience it means the murder of her children.
'This is Heaven's contriving —nay mine too, mine, fool that
I was 3

958. The tutor answers her with the idea that she is grieving over
her exile.

Karet/ii, being used instead of the passive of Kardya), takes

the construction (npos with gen.) of a passive verb. Simi-
larly the passive of eK/3a\Xa> is e/c7rt7rro), €K7tl7tt€lp vtto twos is
4
to be driven out by somebody.' See line 1194.

959. Karate*. Another double meaning ! /carayco means not only

restore from exile (in
'
' which sense its passive is Kdreifii),

but also 1
send down ' (to Hades).
We may try to render the ambiguity thus Take heart you : :

too will yet be brought home by your sons. Ere that I shall
send others to their home —alas for me! This version
repeats the play upon the word i
home which we have
' in
line 965.

960. The tutor is quite puzzled by Medea's behaviour, so he takes

refuge in commonplaces.
961. Optjtov qvtcl \ the masculine is used because it is a general
sentiment.
964. Ka& r)p.€pav = daily.

964-1015. In of her excitement Medea is careful to use

spite
phrases of double meaning, which may apply equally to the
children's death and to their remaining in Corinth.
118 MEDEA. [Act V.

965. dcjfia iv w oIktjct€t

>
del has a double sense :

Corinth, where you are to live all your lives.

Hades, your eternal dwelling-place.
So we speak of a man being gone to his long home.' *

968. ovao-Qai, eViSeli/, dyrjXai, dvaaxeQelv, all have e/ze for their
subject.
iinheiv. Do not neglect the preposition :
' live to see.'

970. \ap.ird§as. It was the custom at a wedding for the mother of

the bride to light a torch as the party left her house, and
the mother of the bridegroom to light one on their arrival
at his house.

971. avOahlas: genitive of cause. Thompson, § 57. See lines 88,

342.
972. aXXcos = in vain.
apa = so after all.

973. KaregdvBrjv from Karai-alvco.

976. The subject of yrjpoftocrKTjcreiv and TrepMTTikeiv is vp.ds.

977. Among the Greeks it was the duty and privilege of children
to lay out and anoint the parent's corpse with their own
hands.
978. {rfkoorov, as in line 233, means 1
desirable/ not c
enviable/
The construction is accusative in apposition to the sentence.
Introd. H. 2.

982. aXXo (rxrj^a fiiov has a double sense.

985. dpda(o is aorist subjunctive (deliberative). Thompson, § 30.

ol^erat = has failed me.
988. ifiovs coming last is emphatic :
'
are they not mine ?
'

989. rots kcikoU is the instrumental dative, '

by harming them.'
992. ri irdax^ ; what is the matter with me ? or what possesses me ?
It is a common phrase. So rl naBiov tovto eiroirjo-as ; = what
possessed you to do so? See line 830.

994. dXXa tt)s ifjLrjs KaKrjs. *

Nay, shame on my poor spirit!' The
genitive of cause is often used in exclamation, e.g. o'ipm
to)v *aKa>v = alas for my misfortunes.
kukt) is not exactly cowardice, but the character of the poor '

in spirit,' which the Greeks did not account a virtue.

Scene i.] NOTES. 119

995. to kcu npocrtaOaiy

i
to think of my even admitting.' Notice
that 717)69= ad, lr}pi = mitto. The infinitive with to isused
in exclamations of surprise or indignation. Compare
Vergil, Aeneid I. 37, Mene incepto desistere victam ?'
4

fiaXOaKovs : the adjective for the genitive, as in line 953. See

the note there.
996. otg) Se ^,77 0€fii£. It seems to have been the custom for the
priest before sacrificing orcommencing any mysteries to
warn off the impure or the uninitiated. So in Aeneid IV.
258, the uninitiated are warned off with the words 'procul
este profani.' Medea speaks as if the murder of her
children were a sacrifice, and warns the Chorus not to
meddle, unless they sympathise with her. Whoever has '

no right to be present at my sacrifice, his blood be on his own

head (if he interferes).'
ay™ ii€\r}(T€i means literally
6
it shall be his affair,' i.e. he
must take the consequences.
998. x €L P a & °v 6\a(£0epG). * I will not let my hand fail.' In line
335) Suxfrfeipa) is used in a similar sense.
999. 6vp6s= angry heart. Medea addresses her heart again in
line 1 179. See Introd. J. § 1.

1001. kcI /tx77 jied' fjfjL&v, supply dal : that is, 'even if I leave them
at Corinth.'

1003. tov6' is explained by 6Va>? . . . irap^doi.

1004. KaOvfiplvai is infinitive of purpose.

6
1005. TrdvTcos 7re7rpaKTai, at any rate the deed is done.' That is,
4
even were I willing to relent, it would be useless, for the
murder of Glauce compels me to go on with the rest.'
€K(p€vi;€Tai : SC. X] vvfMpr).

1006. kol 577 = and in line 1059. For another sense of

now, as
thisphrase see 369, 1048.
1008. yap. See Introd. K. 5.
Tkr)p.ov<E(TTaTr)v ohbv has a double sense, corresponding to

the two senses of tX^coi/ which we had in lines 103, 107,

4
wretched,' and '
wretchless.' The wretched path is the
road to exile, the wretchless path is that to the murder of
her children.
 w ;

120 MEDEA. [Act V.

ioio. d(T7rd(racr6ai, infinitive of the purpose.

4
Give me your hand
7
to kiss.

1013. aXX' €Ket=(if not here) at least in your new home. You
have had this use of dXKd in lines 863, 892.
€K€l is ambiguous. The children are to understand it of
Corinth, the audience of Hades. See Introd. KX J

10 1 4. 7rpoarfio\r) (lit. application) means putting lip to lip and

breast to breast. We might say embrace, or touch.

1014-1015. Medea speaks these lines with her arms round the
children, and kissing them at each pause.
irvevfia fjdiaTov. Compare Othello^ Act V. Sc. 2 :

When I have plucked thy rose

I cannot give it vital growth again

It needs must wither. I '11 smell it on the tree.

{Kissing her)
O balmy breathy that dost almost persuade
Justice to break her sword One more, one more. !

1017. 01a re : look out olos III. Distinguish olos, oioy, 016s re.

10 19. Ovfios as in line 999 = angry heart, passion.

povXevfiaTcov, reasonable desires.

102 -105 6 are anapaestic lines.

1 The feet admissible in the metre
w
are anapaests (
"
), dactyls, and spondees. An ordinary
line consists of four feet but a paragraph often ends :

with a line of two feet, and a speech with one of three and
a half (dimeter catalectic). See lines 88, 121.
1022. did fxvOcov have gone through reasonings,' t.e.
e'fjLoXov.
i
I

I have reasoned with myself. Notice this phrase, for it is

common. To go through with some noun, is used instead
' '

of the corresponding verb, e.g., 81 e'xBpas Uvai = ixOalp€iv

did pd)(T]s t€vai = [idxcaSai.
In line 823 we have another instance, did Xoycov d(j)iKOfir)i/.

1024. Orjkw is here used as an adjective of two terminations. For

other cases of this, see lines 54, 1 138, 13 13.

1025. dWhydp. See Introd. K. 5.

puv(ra. A Muse means and imagination.

intellect But we f

too have a Muse that holds converse with us for wisdom's

 . —
I

scene i.] NOTES. 121

sake : —not all of us indeed, but few they are (one such
perchance in many you will find) and women are not all

strangers to the muses.'

to yvvauc(tiV = yvvaiK€s just as to ipov = iya>.

1 03 1, aireipoi : SC. tov (fivTcvaai 7raidas.

1032. 7rpo(j)€p€Lv when intransitive = excel.

eh = in respect of —
T(ov ycivapevav genitive after a word {irpo^epeiv) which implies
comparison. Thompson, § 59.

1034- 1 037. The principal sentence is oi pev arcitvoi ovxt tv^ovtcs

(7rald(ov) cmkyovrai 7roWS>v fxoxSwv.
6V a7r€ipo(Tvvr)v gives the reason for ov tvxovtcs.
€16' rjbv . . . reXeBovo^ explains 6Y aireipovvvqv — through not
'

knowing whether children are a blessing or a bane to men.'

1038. t€kv(ov is genitive of apposition after ftXdo-Trjpa. See Introd.
H. 3.

1040. Kararpvxop.€vovs agrees with tovtovs, which is the antecedent

to olai.

104 1. 7rp£>Tov t€kvols explains pekerfj

. 'anxiety, first as to how
. .
—
they shall bring them up well, and then how they shall get
substance to leave them 5
(lit. whence they shall leave
substance).
1043. €K tovtcov = after this, i.e. besides, moreover.
M (fAavpoLs (tcicvols) with a view to (or, to gain) bad children,
i.e. *
whether the children for whom they toil will be bad or
5
good.

1048. kcu drj = suppose, as in line 369. For another sense of

kcu drj see line 1006,

1049. croapa T€KV(ov = reKva. So (raypara T€kv(op in 1052.

1050. el de Kvpr](T€i. 'Yet if fortune prove cruel, death will fly away
with my children to Hades.'

1053. \veiv (riXrj) is used by tragedians for Xvo-ireXetv.

See lines 540, 1300. It is a curious metaphor 4

pays my
taxes '
= 1
profits me. 5

5
npos rols akXoLs (kcikoIs) :
*
in addition to their other woes.
122 MEDEA. [Act V.

1056. empdWciv is a word used of imposing a tax.

•
to impose this further grief on mortals on account of their
children ' : that is, grief is a tax upon people who indulge in
the luxury of children.

SCENE II

1057. wdXai KapaboKw = '

1 have long been watching.' In Latin
jamdudum and jampridem are used with the present in
the same way.
1058. ra €Kei6cv is the accusative after KapadoKa>. This is the
regular construction, which we have also in lines 237, 270,
424. A Greek says oldd o-e, tls d more often than olda,
TLS crv €t.

ra €K€l would seem more natural to us but as the news was :

to come from thence, the phrase comes under the rule by

which we say oi £k tj]s noXeas zf-rjhQov for the men in the c

city came o ut?

1059. Ka\ by :
(
and now, as J
in line 1006. For a different sense of
kol drj see lines 369, 1048.

1 06 1. Compare Macbeth, Act I. Sc. 2 :

What
a haste looks through his eyes !

So should he look that seems to speaks things strange.

1064. Xurovcra must mean 'neglecting/ i.e. not availing yourself of.

vatau a.7TTjvT)v = a shiplike wagon— a 'sea-chariot,' to coin a

word. The phrase has justly been attacked by critics. It
is as an English poet, being familiar with the expression
if

'the camel is the ship of the desert,' were to substitute

*
mount your ocean-camel for set sail.' Bombast like this, '
'

especially in the mouths of inferior characters, got

Euripides into discredit.
But although these opening lines of the messenger are very
bad, and his moralising at the end of the scene is almost
worse, we must not let that blind us to the fact that the
bulk of his long speech is a really powerful piece of descrip-
tion.
 —
Scene 2.] NOTES. 123

1069. 77877 with the future means 4

after this, '
*
henceforth.' So in
line 932.
eoret iv :
1
you shall rank among.' There may be a reference to
the custom of the Persian kings to keep a record of those
who had served them well. Herodotus (viii. 85) tells us
that a certain $v\cikos was entered in the list of the king's
benefactors cvepycTtjs. fiaaikeos dveypafprf. And you will
remember how Ahasuerus read Mordecai's name in the
1
book of records.' (Esther vi. 1.)

1070. flip isused to mark that the question is only a preliminary

to another. The full sense is 1 should like before going '

further to satisfy myself that you are in your right senses.'

But in English we can only render it by a tone of the voice.
1 07 1. t)tis = seeing that she. See lines 183, 564.

1074. fir) o-nepxov : 'do not excite yourself.' There is something

ghastly in Medea's coolness.

1077. t€kvo)v is the genitive of apposition. See Introd. H. 3.

8l7ttvxos and rpiirTvxos are often used by Euripides instead

of dvo and rpeis.
1078. iraprjKBt. See L. & S., 7rap€pxofJLai iv.

1081. (nrtvbeo-Bai usually means to

6
make a treaty' sometimes it :

takes an accusative of some word like eiprjvr). But

(nrepdeoSai vcIkos — make up a quarrel.
How do you get eo-Treio-pai from o-irhbai ? It looks irregular,
but it is really formed in the regular way.
The stem being anevd, the addition of the reduplication and
termination give i-a-Trepd-jiai.

Now 8 before p. becomes <r, and -ev before o- becomes -€*,

according to the ordinary rules. So we get eWej/oTxat and

then €(mei(TpaL.

1083. rj&ovrjs viro. In the time of Euripides men might not enter
the women's apartments (ywaiica)v'iTis.) The messenger
has therefore to explain how he so far forgot the proprieties
as to go into the chamber of his mistress.

1084. o-Teyas. Introd. H. 1.

124 MEDEA. [Act V.

1085. Notice how skilfully the poet prejudices us against Glauce

by describing her lust (irp66vp,ov ofifia) and her cruelty to
the children, only overcome by her greed for presents. It
is only the dislike we feel for her on this account which
prevents the story of her punishment from being intoler-
ably hideous.
1091. dcj)rip€i. Notice the force of the imperfect, as in line 433,
1
tried to abate.'
1092. ov used both with the future indicative and the aorist
fir] is

a very strong negative.

subjunctive as But with the
second person singular of the future it generally expresses
a strong prohibition you shall not.' — '

As to the origin of the use of the double negative gram-

marians are not agreed, nor does it greatly matter.
1093. Travarei. The negative does not extend to iravaei, but the
imperative sense does but you must cease. :
*
5
So with
orp^eis, beget and 7rapaLTrjcr€i.
1094. ovairep av supply vojxlfy]. :

1096. ifirjv xdpiv. See Z,. & S. 9 x^P LS v * *•

1097. ovk rjveo-xcro, *

could not resist/ — Look it out.

1099. narepa kcu Trcudas aeOev means 'your children and their father/
The order of the words is awkward.
It seems from this line that Jason and the children left
Glauce at once, to take the news of their reprieve.
1 107. Mr. Verrall points out that several of the phrases in these
lines are regularly used in connection with funerals. If
Glauce were being decked out for burial she would have a
aT€(f)avos on her head, and a KaToirrpov beside her, which
would reflect an eiKav—tfyvxos in a different sense and her —
feet would be pointed (revovres 6p6ol) and the mourners •

—
would walk aftpcos. An Athenian audience would get much
pleasure out of this ingenious arrangement of double
meanings. See Appendix E.
Tevcov is what we call the tendon Achilles, which ends in
the heel : so that revav 6pS6s means the heel straightened
out, as it is when the toes of the rear foot are just touching
the ground. She looks back over her shoulder to see how
the drapery fallb over her heel.
I

Scene 2.] NOTES. 125

1108. rjv. See L. & 5., d/ii 11.

1 109. \€xp'ia is properly 'slanting.' Here it means leaning

forward, as people do when on the point of falling
— ' staggering. 5

mi. (f>6dv€i :
1
scarce throws herself upon the seat in time.'
fir) ireareiv explains <fi6dv€i.

1 1 12. yepaid, old and therefore superstitious.

7rov, '
1 suppose.'
1 1 1 3. Uavos opyas. Sudden
fits or alarms were generally attributed

to Pan —whence
our word panic' In another play 4

(Hipfiolytus, 142) written shortly after this, Euripides

classes Pan, Cybele, and Hecate together as the authors of
strange possession.
1 1 14. dvcoXoXvge, dXoXvfa and 0X0X vyrj, like ululo, are invariably
used of women's cries. Sometimes it is a cry of alarm, but
usually of praise to the gods. Had the old woman been
a Roman Catholic she would have crossed herself.
irpiv y Spa. It is rare to find irpXv with the indicative except
after a negative. When, as here, it occurs in an affir-

mative clause, itp\v means '

until,' not '
before.'

1 1 1 5. ava> Kopas o-Tpeifiovo-av. We use the less correct expression

burning up the whites of the eyes.' It is a sign of fainting.

11 17. avTipioKiTov 6\oXvyrjs, 'discordant with her cry of joy.'

1 1 1 8. fj ficv . . . rj Sc, refer to two of the attendants.
1 121. CKTV7TCL is the imperfect of Krvneo).

1 1 22. Euripides wishes to express that Glauce remained in a

fainting condition for about a minute but having no such ;

measure of time he has to do it indirectly. A ifkiOpov is

100 feet, and six ir\e6pa make a ordbiov, which was the
length of the usual course.
€\k<ov k<d\ov seems to mean {
dragging the leg.' It is an
awkward phrase, but not unsuitable to the extremely
ungraceful movement of the legs in a walking race.
bpdfxov is genitive after repfiovcov.
Pabio-Trjs is a walker, not a runner.
4
Tcpp.6v<ov av r)irr^To, would have been touching the goal ' (if he
had started at the moment when Glauce fainted).
126 MEDEA [Act V

1 124. rj be answers to and now etc.

fjbr) when she,' etc.
6*, '
. . .

dvavdov. ' A and closed eye' is a confused

speechless
expression but the meaning is plain
; from sitting speech- :
'

less with closed eyes she woke with a dreadful cry.'

1 1 25. yap introduces the reason for her waking.

1 1 34. a-vvbea-jxa is not the plural of crvvbeo-pos, but a singular
neuter noun which has the same meaning.
4
dpapoToas a^e, held fast.' This use of e^ca with an adverb is
very common.
Notice the pathetic change from o-rtyavos to vvvhevpa :

4
the crown is a golden bond.'
6
1 135. fiaXkov, the rather/ instead of going out.
1 137. Idelv. Introd. H. 5.

tg) t€k6vti. tiktciv usually applies to the mother ; here the

masculine is used because the expression is quite general.
We should say 4 a parent.'
1 138. dijXos is feminine here. Euripides is fond of using adjectives
of three terminations as if they had only two. See lines
54, 1024, 1313,
Karda-Tao-is here means '
position,' *
the sockets.'
1
1 39. o#r' €v(f)V€s, '
nor was her face comely.'
1 141. 7T€vklvov bdicpv, *
the tear of the pine,' is the gum which oozes
from the bark.
1 142. yvaSpoh is dative of cause.
1 143. bcivov Seapa. Introd. H. 2.

1 146. o-w/xa 7rpo(T7TLTV€i. Observe that n po aw Itvco with the accusa-

i
tive is to kneel by,' with the dative '
to embrace.'

1 147. 7T€pL7TTv^as x e P at; > ' enfolding her with his arms.'
1
1 50. rvpftos is a man who, as we say, has one foot in the grave.
TiOrjo-iv dpcfravov,
1
has bereaved.' For TLQrjpi in the sense of
4
make,' see lines 358, 485.
1 153. depas. See Introd. J. § 2.

1
1 54. The order of the words is 7rpo(T€lx €TO ^fwrolo-i 7re7rAoi? wore
kht(t6s (7rpo(T€X€Tai) cpvecriv ddcj)vr)s.
But what he really means is to compare the ircnkoi
to the ivy and Creon to the laurel. We have had a similar
confusion of expression in line 916.
 — '

Scene 2.] NOTES. 127

1 156. egavao-Trjo-ai yovv. He had knelt by the corpse (1146), so

that to raise his knee was the first step towards getting
up. The English idiom requires rise from his knees.' *

1 1 57. 17 be. The body is spoken of as if it were still alive.

dvT€\d£vr\ held him fast (literally, held him in opposition to
his efforts).
i
€i . . . ayot whenever he pulled ... he tore/
. . . fo-Trdpacro-e,

Indefinite frequency expressed by the optative with some is

relative or conditional word, followed by the imperfect.

See Thompson, § 133, 2.
1 1 59. direo-fir) is the second aorist of diroo-fitvvvni.
(
1 162. (rviA<t>opd, a misfortune to be desired forsooth by the hearers/
means a pretty tale to gladden the ears withal/ He refers
'

to Medea's eagerness for the news. See line 1075.

1 163. to 0-6V. Cf. Introd. J. § 2.
tKnodav Xdyou, out of account.
1
1 164. a7TO(TTpo<pr] here has its literal sense turning aside, evasion. '
'

In line 578 it means 'refuge' Crjptas is the objective

genitive
—
how to evade the penalty.'
'

1 167. imppvevTos is the 2 aorist part. pass, of iiripp4a> used in the

same sense as the active.
You must translate this verb by a noun :
c
when the tide of
luck flows in.'

cvTvxco-Tcpos evdalfxcav. He is making a distinction

. . .

between two words which in ordinary use mean the same,

like fortunate
*
and happy one man may be more '
*
' :
'

fortunate than another, but happy, no !

1 175. d(j)opixd(T0aL is explanatory of rovpyov. See Introd. H. § 5.

But the really important word is Kravovo-rj, which we must
make the chief verb in translating : 'to slay my children and
go, ' not *
to go when I have slain.' For similar cases see
lines 438, 682, etc.
is rdyiara qualifies the whole action KTavovvr) dcfropfiao-dcu.

1 176. ayovaav should in But where the strict grammar be dyovo-rj.

dative participle an infinitive it is closely connected with
is very frequently changed into the accusative by a kind

of attraction. So in lines 634, 707, 774.

128 MEDEA. [Act V

1 177. <f>ov€vcrcu explanatory of reKva. See Introd. H. § 5.

1 1 78. 7rdvT<os, in any case.

1 1 79. 0L7T€p. When women

speak of themselves in the plural, they
use the masculine. See lines 300, 368.
1 181. pr) ov 7Tpdo-(reiv. Verbs of preventing, hesitating, etc. (which
are classed together as verbs implying a negative), are
followed by fif) ov with the infinitive when they have a
negative or a question attached to them. See Thompson,
§ 2QI -

1 1 83. PaXpida filov must be taken together as one noun to which

the adjective \v7rrjpav is attached — gainful life's-start.'

We should use a slightly different metaphor and join the

adjective to '
life.' The threshold of a life of pain/
*

1 187. kcu €t is 'even if,' el kol is even though.' The first merely
6

puts a possible case, the second assumes that it is a fact.

You will find examples in lines 68 and 440.
1 1 88. Medea was going to end kcu (j)i\ovcr ov 7ravo~op,ai : 'they are
dear to me, and never cease to love them.' But she
I shall
is overcome by her feelings and suddenly breaks down, so

that she can only sob out 'but I am a miserable woman.'

That is why there is no re or kol to answer to the re.
1 1 89. Ta is Doric for yrj. For the use of the Doric forms in the
Chorus and the division into strophe and antistrophe, see
Introd. D. Like the Nurse in line 50, the Chorus address
themselves to Earth and the Sun.
1 192. avToicrovos and some other words compounded with avros
(avTox^Lpi line 1 2 19) avTo^ovrrjs line 1 207) are applied to
the murder of any near relation. The only word of the
kind which we have is '
parricidal,' which we do not use
freely.
1 194. €@\ao-T€v. The subject is she, i.e. Medea.
Ocov etc. The construction is <f)6fios (cori) Oeov alpa itltv€iv

t/7r' dvepcov.

A number of intransitive verbs are used instead of passives

and take the construction of the passive. Here tt'itvciv

serves as the passive of eV^'o). In prose iKirnvreiv is

the regular passive of eV/3aXXa>. See line 958.

avfpvv, like ov\op.€pav above, is an Epic form.
I

Scene 2.] NOTES. 129

1 197. (frovlav rakaivdv r' '~Epivvv vir* dXatrropayv. 'This Fury whom
the avenging fiends have made a blood-stained wretch. 7
raXaivav is followed by were a passive verb.
vivo, as if it

rakaivav seems to have the sense in which tXtjuow is used

several times in this play. So our word 'wretch' has

two senses. dXaa-rcop was the avenging demon or curse
which pursued the criminal and dragged him down to
ruin. In line 1 271, it is explained that Medea's curse was
due to the murder of her brother.
1 20 1. Kvaveav is genitive plural feminine, a Doric form
— 'thou that
didst leave the inhospitable gate of the dark rocks that dash
together?'

1204. 7rpoo-7TLTV€iv with the dative usually means '

to embrace ' : but
here it has the literal sense of fall upon.' '

'Ah wretch! why does dread wrath of heart fall upon thee,
and deadly murder in its turn ?
1206. The correction of these lines is due to Mr. Verrall, who
translates :
'
For dangerous to man is the pollution of kindred
blood, and ever, I wot, fresh woes from heaven fall upon the
house of the murderer.'
For avTo<fi6vTai<ri, see note on line 1192.
121 1. dpdaco and (fivyco are deliberative subjunctives.

1213. irapeXOa is deliberative subjunctive. See L. & S. iv.

1216. dpKvcov gtyovs, 'the toils of the sword,' is a curious mixture

of metaphors. But metaphors taken from nets were so
familiar that they were hardly regarded as metaphors at
all.

1 217. TaXcuva, as in line 1198, is used for rXtj^ov.

1 2 19. aporov means fruit. We should say 'seed,' as was more

usual with the Greeks.
1 22 1. iv <f>i\ois . . . iSaXeii/, 'laid hands on her own children.'
1222. fiavela-av eic 0e<oz/, 'struck with madness from heaven.' For £k
used of the agent in poetry, see lines 321, 756, 1291, 1343.
According to the common version of the story Ino was
driven mad by Hera because she reared Dionysus, who
was the son of her sister Semele. She leaped into the
130 MEDEA. [Act V.

sea from the isthmus of Corinth with her son Melicertes

in her arms. But the words used by the Chorus here
seem to refer to some tale that she slew her children first

and then leaped into the sea.

1223. aXrj like <fivyrj in line 1233 is a dative of manner :
'
in distrac-
tion/ 'distraught.'
1224. (fiovco is the dative of cause: 'by reason of her unnatural
murder of her offspring.'
4
1226. overstepping the sea's verge,' literally 'stretching foot
beyond.'
1228. 'What can be accounted dreadful after this? love of woman!
cause of many a plague ! How many ills hast thou brought
ere now upon mortals !

Notice the difference between

kukcl Pporols €p€^a?=hast wrought ill for mortals

and KaKa fiporovs epe£a?=hast done ill to mortals.

For Xe'xos, see Introd. J. § 3.

SCENE III.

1232. What is the difference between apa and apa?

1233. <j>vyjj, dative of manner like aXrj in line 1223.

1234. rjroi . not quite the same as if . . rj. The rot marks
. . rj is .

one alternative as more likely than the other. Notice the

tragic irony. The alternative which is marked as unlikely
(taking wings) is the one which Medea actually adopts.
She must hide . . . unless she, etc., will render the distinction
between rj rot and rj.

<r(f)€ is a mere repetition of vw, just as we often have two

ai/'s for the same verb. But the repetition is unusual with
the pronoun.

1235. ttttivov is part of the predicate : 'raise herself on wings.'

For o-oj/xa, see Introd. J. § 2.

1 236. et fxr) ficoo-fi, not '

unless she will,' but '
if she is not to.'

1239. fiXXa ydp. See Introd. K. § 5.

tos tUvu>v = so much as for the children.
 a —— ' —
;

Scene 3.] NOTES. 131

1240. The order of the words is (eKelvoi), ov9 micas cdpcurev, Kcivrjv
€p£oV(TlV KdKG)S.

1242. fiol is dative of the person interested. This dative was not
uncommon in old English. Cf. '
saddle me the ass '

'
Knock me at the door.'
Jason's complete unconsciousness of the possibility of harm
coming from any other source is a good
to his children
instance of tragic irony. See Introd. E.
1243. M
TP<? 0V 4>° vov might mean either murder done to a mother'
4
i

or murder done by a mother for the adjective is used

' :

both for the subjective and for the objective genitive.

Here of course it is the murder done by their mother.
€K7rpd<rcrovT€s. See L. & «S\, i K7T pda a) III.
1244. 61 kcikcqv 'to what a depth of woe.'
: kclkcqv is the partitive

genitive. Such phrases are common. So irol yrjs dcplypai

is where in the world have I come to
6
!
*

1245. °^ y«p. See Introd. K. 6.

1248. TiXegeis; This future is often used by people who are so
surprised that they cannot take in what has been said.
We have a similar phrase, ' What, do you mean to say ?
1249. cb? with the participle expresses the feeling or thought of the
person who is the subject of the principal verb. See line
649. So that a)s ovkcV ovtcov crcov T€Kvcov means believing *

that thy children are no more.'

<\)p6vTi£e must be rendered by a noun 4
betake thee to
meditation.'
1250. yap. See Introd. K. § 4.
1254. As in line 1188, excitement causes the speaker to
break the
construction of the sentence. It would naturally have
run tovs pev davovras Trjv Se TLaovaav (fiovov.
:

'The children dead, the mistress soon to die.' But he wants

to express that he is to take vengeance, so the personal
verb TLo-wpaL comes in.

<fi6v<p is dative of manner.

1259. irarpbs naTr)p. See Introd. A.
1260. x € P° s ls an objective genitive.
1 261. peyta-Tov ixOia-rr}. The double superlative occurs several times
in the Tragedians, and in Shakespeare e.g.
6
most basest.'
132 MEDEA. [Act V

1264. anaid' tOrjicas would be the natural phrase. But Jason is too
much excited for natural phrases ; so he substitutes a
stronger word which adds to the meaning :
4
hast made me
a childless wreck.'
1267. $pov5>.
4
1 have my senses now, which erst I had not, when/ etc.
4
1271. rbv <rbv aXda-Topa, the avenging fiend that should dog your
steps' — translate 'your curse.'
1272. irapeo-TLov is predicate.
This a peculiar version of the story. It was generally
is

said thatMedea cut Apsyrtus in pieces, and threw the

several limbs into the sea, that the pursuers might be de- ,

laved by staying to pick them up. See Introd. A.

Kravovaa is the important word, and should be rendered by
the chief verb in English. See lines 438, etc.
1274. vvfifavOelcra,
4
when you were made a wife by my side.'

1275. dvrjp ode = iya>. See Introd. J. § 3.

1276. evprjs mi \cx.ovs. The repetition is for the sake of emphasis,

which we should get by means of an epithet 4
for mere
lust's sake.' See Introd. J. § 3.
1278. hv is genitive after -rrpoo-Oev. It is plural because fjris, though
singular in form, implies a number (like quisque and siquis).
In line 210 we have oans as the relative to a plural noun
(l3poTG>v).

1279. icrjdos — a hateful match.'

4
For the construction see Introd.
H. 2. This is a parenthesis.
1280. Xeaivav,
4
tigress.' We do not use the lion's name as a term of
reproach, \eaivav is of course in apposition to ae.
Tvpo-rjvldos. Scylla in the straits of Messene, not in the
Tyrrhenian sea. But Euripides only wanted an epithet
for Scylla that would express something distant and bar-
barous.
1282. aXX' ov yap. See Introd. K. § 5.

1284. This line strikes one as rather weak. Jason is exhausted

with his rage, and can only utter mere abuse.
1285. TTupa for irapeo-Ti : €fio\ ndpa — 'tis my part. Cf. 1345.

1286.
4
for I shall have no joy of my bride — no, nor,' etc.

Notice that ovre . . . ov is not quite the same as ovre . . . ovrc.

Scene 3.] NOTES. 133

1288. e£o) irpoa-enrflv (wvtcis.

4
1 shall be able to greet my children
while they yet live.'

In line 1338 Medea taunts him with having refused to greet

his children while they lived.

1289. e£eretvo. The object, if expressed, would be tovs \6yovs.

fxaKpav . . . ivavriov are both adverbs.
1 291. e| ifiov 7re7rov6as. In poetry ck is often used of the agent
instead of virb. See lines 321, 756, 1222, 1343. And irdcrxo)
being used as the passive of dpd<o takes the construction of
a passive verb. So in lines 958, 1194.
'
How you have been entreated at my hands.'
1292. e/xeXXej. See L. & S., /xeXXco 2.
o aol 7rpo(r6e\s ydp.ovs,
4
who gave you a new wife.' Do not
miss the force of irpos.
1296. kcu \eaivav . . . kol 2kv\\civ refers to lines 1280, 1281.
We should say 4
or,
1
not 4
and.'

1298. a metaphor from wrestling which we have had

dv6t]yjrdfi7]v is
4
already in line 48. 1 have gripped your heart properly.'

Translate 1 have wrung your heart.' See Introd. G.

1

1299. kol ... ye = yes, and. He means that her being grieved
is some consolation to him.
1300. craty !<j6i as in 663.
\v€t as in 541, 1053, is for Xvo-treXei. It is a curious
metaphor :
4
pays my taxes, ' so '
profits me.'

1 30 1. €<vp(TaT€ is from Kvpco. There are two verbs, Kvp<o and Kvpeco,
which have the same meanings. Kvpoa is the older form,
and is used in prose icvpeco is only found in poetry. ;

1302. i/do-o), 'madness '

— dative of cause.
1304.
4
But it was your outrage and your newfangled match (that
killed them).'
v€odpriT€s. We have had veohp.r)Tov in line 598, a slightly
different form of the word.
4
1305. \exovs etveKa, for the sake of thy marriage rights.'
4
1307, rjris ye. Yes, to one that is chaste.'
(tol di ... is the exact opposite of the saying 4
To the pure all
things are pure.'
134 MEDEA, [Act V.

1308. Medea she has got the worst of the argument, so

feels that
she another tack.
tries
yap. See Introd. K. § 1. We should omit it in translating.
1309. <r<5 Kapq. = <roL See Introd. J. § 2.

old' d<rL The elo-l is emphatic, —a mocking repetition of

Medea's words. Med, They are no more.' £
Ja. 'They
—
are ruthless avengers upon you.'

1 3 10. The Greeks attached great importance to the question :

' Who began it ? 'Revenge for an unprovoked attack might

be justified, however cruel. Medea has used this plea
before in line 155.

13 1 2. arvyei (imperative) is meant as a repetition of anoTtrvvTov :

for loathing and hate are near akin.

Mr. Verrall has given good reasons for thinking that /3a£o> as
well as /3aufa> means 4 to bark so that j3a£is may mean
' :

4
snarling.' Hate on and I detest thy grating snarls.'
' !

1313. pabios is here used as an adjective of two terminations.

Euripides used many adjectives of three terminations in this
way. So pcopos in line 54, SrjXvs in 1024, and drj\os in 1138.

13 17. 'AKpalas. Gods who had their temples on an acropolis were

called aKpaioL 6eol.
In the time of the traveller Pausanias there was shown the
tomb of Medea's children, and the spring of Glauce,
both apparently on the lower slopes of the acropolis
(Pausanias, II. 3). It was impious to rifle tombs that were
within the Tep.€vos of a temple.

1 319. 2L(Tv(j)os was the founder of Corinth.

1320. ioprrjv. Until the destruction of Corinth by the Romans
(146 B.C.) an annual service of a somewhat sombre kind
was held in honour of Medea's children. But it would
seem that the tradition current at Corinth attributed the
death of the children to the citizens, not to Medea. Seven
youths and seven maidens were devoted to the goddess, and
remained for a year in the service of her temple.
1 32 1. dvao-fjBova. An unnatural murder was *
impious,' and there-
fore required some special atonement.
Scene 3.] NOTES, 135

1322. 'Ep€x0ei>s was a mythical king of Athens. After him the

Athenians were called 'Epex6ei8ai, as in line 783.
yaiav. See Introd. H. § 1.
1323. Afyevs was king of Athens. See Act iv. Scene 1.
According to one legend Medea married Aegeus, and had
a son Medus.
1326. 'Epivus t€kv(dv. Murderers, and some other criminals, were
supposed to be pursued and harassed by a sort of embodied
curse called 'Epivvs, until the crime was expiated. The
most familiar example of this is Orestes, who was pursued
by his mother's 'Epiwe? until he was acquitted after a
trial at Athens.
1327. (povla AUr), 'Justice that avenges blood.' For this use of the
adjective compare Oe^is evKraia in line 1 59.

1328. Beos rj dalfjLcov. some daifioves are

All Ocol are dalfioves, but
not 0€oL not being a person, but the personification
Alkt],

of a principle, is daipcov, but not Beds,

1329. ^ivairorov. As in line 760, Medea reproaches Jason with
having broken the laws of hospitality, by deceiving her
who was a stranger to Greece.
1330. fav, like the English Oh, may express anger, grief, astonish-
ment or indignation, according to the tone in which it is
pronounced.
But here we can translate it by '
fie,' which is the same word.
1333- own Qprjveis.
1
You do not feel your grief yet.' She means
that it is in old age that Jason will miss his children most.
1335. leaves is 2 aor. of kcuVg).

1 337- irpoowrvgaadai is explanatory infinitive. See Introd. H. 5.

Notice the force of the middle. ' I long for their dear lips
... to press to mine.'
1338. npoa-avbas. The present often expresses an attempt or
desire. '
Now thou wouldst greet them, now thou wouldst
kiss them.'

means at the time of which I am thinking,' and has

4
1 339. Tore
to be translated in various ways in English. Here we
6
might say before.'
1 341. ovk con, 4
it may not he.'
136 MEDEA.

1343. €/c, 'at the hands of.' See lines 321, 659, 756, 1222, 129

1344. Xealvrjs, 'tigress.' See lines 1280, 1296.

1345. irapa is for 7rapeo-n, as in lines 1285, 1 296.

1350. ofaXov is 2 aor. of ofaikco without the augment (Epic fori.

nqwoTc cj)va-as iwibea-Oai. As in so many cases in this pi'

(438, 682, 1 1 75? etc.), the participle expresses the ma

thought, and must be translated by the principal verb 1

English. '
And would that I had never begotten them, onl
to see them slain by thee.'

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