Parabasis
Χορός
ἁνὴρ νικᾷ τοῖσι λόγοισιν, καὶ τὸν δῆμον μεταπείθει
περὶ τῶν σπονδῶν. ἀλλʼ ἀποδύντες τοῖς ἀναπαίστοις ἐπίωμεν.
ἐξ οὗ γε χοροῖσιν ἐφέστηκεν τρυγικοῖς διδάσκαλος ἡμῶν,
οὔπω παρέβη πρὸς τὸ θέατρον λέξων ὡς δεξιός ἐστιν·
630 διαβαλλόμενος δʼ ὑπὸ τῶν ἐχθρῶν ἐν Ἀθηναίοις ταχυβούλοις,
ὡς κωμῳδεῖ τὴν πόλιν ἡμῶν καὶ τὸν δῆμον καθυβρίζει,
ἀποκρίνασθαι δεῖται νυνὶ πρὸς Ἀθηναίους μεταβούλους.
φησὶν δʼ εἶναι πολλῶν ἀγαθῶν ἄξιος ὑμῖν ποιητής,
παύσας ὑμᾶς ξενικοῖσι λόγοις μὴ λίαν ἐξαπατᾶσθαι,
635 μήθʼ ἥδεσθαι θωπευομένους, μήτʼ εἶναι χαυνοπολίτας.
πρότερον δʼ ὑμᾶς ἀπὸ τῶν πόλεων οἱ πρέσβεις ἐξαπατῶντες
πρῶτον μὲν ἰοστεφάνους ἐκάλουν· κἀπειδὴ τοῦτό τις εἴποι,
εὐθὺς διὰ τοὺς στεφάνους ἐπʼ ἄκρων τῶν πυγιδίων ἐκάθησθε.
εἰ δέ τις ὑμᾶς ὑποθωπεύσας λιπαρὰς καλέσειεν Ἀθήνας,
630–639

and demeaning its citizens, he now wishes

to defend himself before those Athenians

who can be persuaded to change their minds.

Our worthy poet claims that he has done

many admirable things on your behalf:

he has stopped you being so easily deceived

by foreigner swindlers or finding joy

in flattery and becoming gaping fools.

Earlier, if a foreign ambassador

wanted to mislead you, first he would call you

”a people crowned with violets.” Right away,

as soon as he said that, you all sat up

on the tips of your buttocks. If someone,

appealing to your vanity, said the words

”sleek and shining Athens,” with those words

”sleek” and “shining” he would get what he desired,

640 ηὕρετο πᾶν ἂν διὰ τὰς λιπαράς, ἀφύων τιμὴν περιάψας.
ταῦτα ποιήσας πολλῶν ἀγαθῶν αἴτιος ὑμῖν γεγένηται,
καὶ τοὺς δήμους ἐν ταῖς πόλεσιν δείξας ὡς δημοκρατοῦνται.
τοιγάρτοι νῦν ἐκ τῶν πόλεων τὸν φόρον ὑμῖν ἀπάγοντες
ἥξουσιν ἰδεῖν ἐπιθυμοῦντες τὸν ποιητὴν τὸν ἄριστον,
645 ὅστις παρεκινδύνευσʼ εἰπεῖν ἐν Ἀθηναίοις τὰ δίκαια.
οὕτω δʼ αὐτοῦ περὶ τῆς τόλμης ἤδη πόρρω κλέος ἥκει,
ὅτε καὶ βασιλεὺς Λακεδαιμονίων τὴν πρεσβείαν βασανίζων
ἠρώτησεν πρῶτα μὲν αὐτοὺς πότεροι ταῖς ναυσὶ κρατοῦσιν,
εἶτα δὲ τοῦτον τὸν ποιητὴν ποτέρους εἴποι κακὰ πολλά·
640–649

because he’d described you as he would sardines.

In doing this, our poet has conferred

many benefits on Athens, like showing

our allied city states how government

in a democracy ought to function.

That is why nowadays, when people come

bringing you tribute from those allied cities,

they are eager to see that great poet

who dared to speak to the Athenians

of truth and justice. Stories of his courage

have spread far and wide. The Great King himself,

when questioning the Spartan embassy,

first asked them which of the two rivals

was the greater force at sea. Then he asked

which of the two cities was the target

of our comic poet’s frequent satire.

”If they have this man as their counsellor,”

he said, “these men will become much better

650 τούτους γὰρ ἔφη τοὺς ἀνθρώπους πολὺ βελτίους γεγενῆσθαι
καὶ τῷ πολέμῳ πολὺ νικήσειν τοῦτον ξύμβουλον ἔχοντας.
διὰ ταῦθʼ ὑμᾶς Λακεδαιμόνιοι τὴν εἰρήνην προκαλοῦνται
καὶ τὴν Αἴγιναν ἀπαιτοῦσιν· καὶ τῆς νήσου μὲν ἐκείνης
οὐ φροντίζουσʼ, ἀλλʼ ἵνα τοῦτον τὸν ποιητὴν ἀφέλωνται.
655 ἀλλʼ ὑμεῖς τοι μή ποτʼ ἀφῆσθʼ· ὡς κωμῳδήσει τὰ δίκαια·
φησὶν δʼ ὑμᾶς πολλὰ διδάξειν ἀγάθʼ, ὥστʼ εὐδαίμονας εἶναι,
οὐ θωπεύων οὐδʼ ὑποτείνων μισθοὺς οὐδʼ ἐξαπατύλλων,
οὐδὲ πανουργῶν οὐδὲ κατάρδων, ἀλλὰ τὰ βέλτιστα διδάσκων.
πρὸς ταῦτα Κλέων καὶ παλαμάσθω
650–659

and will win a triumphant victory.”

That’s the reason the Lacedaemonians

are offering you peace and demanding

you return Aegina—not that they care

about the island, but they wish to steal

your poet. You must never let him leave,

for in his plays he writes of what is just.

He says the many things he teaches you

will make you happy, though he will not use

flattery, bribes, or devious deceit.

He will not be a rogue or sprinkle you

with hyperbolic praise. Instead of that,

he will teach you what is just and right.

CHORUS

So let Cleon scheme and hatch his plots

660 καὶ πᾶν ἐπʼ ἐμοὶ τεκταινέσθω.
τὸ γὰρ εὖ μετʼ ἐμοῦ καὶ τὸ δίκαιον
ξύμμαχον ἔσται, κοὐ μή ποθʼ ἁλῶ
περὶ τὴν πόλιν ὢν ὥσπερ ἐκεῖνος
δειλὸς καὶ λακαταπύγων.
665 δεῦρο Μοῦσʼ ἐλθὲ φλεγυρὰ πυρὸς ἔχουσα μένος ἔντονος Ἀχαρνική.
οἷον ἐξ ἀνθράκων πρινίνων φέψαλος ἀνήλατʼ ἐρεθιζόμενος οὐρίᾳ ῥιπίδι,
660–669

against me, for my allies—right and justice—

will fight my cause, and in our politics

you will never see me behave like him—

a poltroon and a sexual deviant.

Come, my glowing Acharnian Muse,

with ardent force of all-powerful fire

like a spark spit from an oak wood coal

stirred by the bellow’s encouraging wind.

Sprats lie there to be broiled on embers,

670 ἡνίκʼ ἂν ἐπανθρακίδες ὦσι παρακείμεναι,
οἱ δὲ Θασίαν ἀνακυκῶσι λιπαράμπυκα,
οἱ δὲ μάττωσιν, οὕτω σοβαρὸν ἐλθὲ μέλος ἔντονον ἀγροικότερον
675 ὡς ἐμὲ λαβοῦσα τὸν δημότην.
οἱ γέροντες οἱ παλαιοὶ μεμφόμεσθα τῇ πόλει·
οὐ γὰρ ἀξίως ἐκείνων ὧν ἐναυμαχήσαμεν
γηροβοσκούμεσθʼ ὑφʼ ὑμῶν, ἀλλὰ δεινὰ πάσχομεν,
οἵτινες γέροντας ἄνδρας ἐμβαλόντες ἐς γραφὰς
670–679

slaves shake olive oil and Thasian pickles

and knead the dough for the barley cakes.

O Muse, inspire a fellow country man

with a lusty, tuneful, and rustic song.

CHORUS

We old men, now well advanced in years,

have a complaint to lodge against the city.

We gained so many victories at sea,

we well deserve your care in our old age,

we are treated in a shameful way,

old men hurled into lawsuits, forced to deal

with stripling orators who laugh at us—

680 ὑπὸ νεανίσκων ἐᾶτε καταγελᾶσθαι ῥητόρων,
οὐδὲν ὄντας, ἀλλὰ κωφοὺς καὶ παρεξηυλημένους,
οἷς Ποσειδῶν ἀσφάλειός ἐστιν βακτηρία·
τονθορύζοντες δὲ γήρᾳ τῷ λίθῳ προσέσταμεν,
οὐχ ὁρῶντες οὐδὲν εἰ μὴ τῆς δίκης τὴν ἠλύγην.
685 δέ, νεανίας ἑαυτῷ σπουδάσας ξυνηγορεῖν,
ἐς τάχος παίει ξυνάπτων στρογγύλοις τοῖς ῥήμασιν·
κᾆτʼ ἀνελκύσας ἐρωτᾷ σκανδάληθρʼ ἱστὰς ἐπῶν
ἄνδρα Τιθωνὸν σπαράττων καὶ ταράττων καὶ κυκῶν.
δʼ ὑπὸ γήρως μασταρύζει, κᾆτʼ ὀφλὼν ἀπέρχεται,
680–689

mere nothings, dim-witted, worn out husks.

Poseidon should look after us, but now

our only succour is this staff I hold.

When we stand at the dock, thanks to our age

we mutter indistinctly, seeing nothing

in the fog but a faint outline of justice.

The accuser, once he has taken care

to have the younger men support his side,

quickly launches an attack, pleading his case

with glib, well rounded, ready rhetoric.

He hauls us before the judge, questions us,

and sets verbal traps for us, tormenting,

confusing, and agitating the defendant,

a man as ancient as Tithonus, so crushed

with years that he can only mumble.

Convicted and sentenced to pay a fine,

he totters away, sobs, and through his tears

690 εἶτα λύζει καὶ δακρύει καὶ λέγει πρὸς τοὺς φίλους,
οὗ μʼ ἐχρῆν σορὸν πρίασθαι τοῦτʼ ὀφλὼν ἀπέρχομαι.
ταῦτα πῶς εἰκότα, γέροντʼ ἀπολέσαι πολιὸν ἄνδρα περὶ κλεψύδραν,
695 πολλὰ δὴ ξυμπονήσαντα καὶ θερμὸν ἀπο-
μορξάμενον ἀνδρικὸν ἱδρῶτα δὴ καὶ πολύν,
ἄνδρʼ ἀγαθὸν ὄντα Μαραθῶνι περὶ τὴν πόλιν;
εἶτα Μαραθῶνι μὲν ὅτʼ ἦμεν ἐδιώκομεν,
690–699

tells his friends “I leave the court condemned

to spend the cash I need to buy my coffin.”

[The Megarian and Dicaeopolis depart, leaving the Chorus on stage.]
CHORUS

How can this be reasonable? To destroy

an old white-haired man in court proceedings

beside the water clock--a man who often

shared our labour and wiped off rivulets

of manly sweat, a man whose excellence

at Marathon saved our city. Back then,

we were the ones who chased our enemies,

and now we are the ones being pursued

700 νῦν δʼ ὑπʼ ἀνδρῶν πονηρῶν σφόδρα διωκόμεθα, κᾆτα προσαλισκόμεθα.
πρὸς τάδε τίς ἀντερεῖ Μαρψίας;
τῷ γὰρ εἰκὸς ἄνδρα κυφὸν ἡλίκον Θουκυδίδην
ἐξολέσθαι συμπλακέντα τῇ Σκυθῶν ἐρημίᾳ,
705 τῷδε τῷ Κηφισοδήμῳ τῷ λάλῳ ξυνηγόρῳ;
ὥστʼ ἐγὼ μὲν ἠλέησα κἀπεμορξάμην ἰδὼν
ἄνδρα πρεσβύτην ὑπʼ ἀνδρὸς τοξότου κυκώμενον,
ὃς μὰ τὴν Δήμητρʼ, ἐκεῖνος ἡνίκʼ ἦν Θουκυδίδης,
οὐδʼ ἂν αὐτὴν τὴν Ἀχαίαν ῥᾳδίως ἠνέσχετο,
700–709

and conquered. What would a young advocate

like Marpsias declaim to counter this?

Is it fair that a man bowed down with age,

like Thucydides, should be overwhelmed

by having to grapple with Cephisodemus,

the prattling public advocate and lout

from the desert wilderness of Scythia.

I shed tears of pity when I beheld

this old man mistreated by an Archer.

By Demeter, back when Thucydides

was young, he would not have taken lightly

any abuse, even from the goddess Ceres.

No, he would have thrown down ten advocates,

710 ἀλλὰ κατεπάλαισε μέντἂν πρῶτον Εὐάθλους δέκα,
κατεβόησε δʼ ἂν κεκραγὼς τοξότας τρισχιλίους,
περιετόξευσεν δʼ ἂν αὐτοῦ τοῦ πατρὸς τοὺς ξυγγενεῖς.
ἀλλʼ ἐπειδὴ τοὺς γέροντας οὐκ ἐᾶθʼ ὕπνου τυχεῖν,
ψηφίσασθε χωρὶς εἶναι τὰς γραφάς, ὅπως ἂν
715 τῷ γέροντι μὲν γέρων καὶ νωδὸς ξυνήγορος,
τοῖς νέοισι δʼ εὐρύπρωκτος καὶ λάλος χὠ Κλεινίου.
κἀξελαύνειν χρὴ τὸ λοιπόν, κἂν φύγῃ τις ζημιοῦν,
τὸν γέροντα τῷ γέροντι, τὸν νέον δὲ τῷ νέῳ.
710–719

terrified three thousand archers with his shouts.

and with his arrows killed the relatives

of the prosecutor’s father. However,

if you cannot let the old sleep in peace,

at least make it a rule that their cases

be treated separately. Let the old man

face a prosecutor who is like himself—

old and toothless. Let the younger men

confront that advocate with a loose arse

and a glib tongue, the son of Clinias.

So in future, if there’s a case of banishment

or penalties, let the old defendants

be dealt with by old public advocates,

and younger orators charge younger men.

[Dicaeopolis enters bringing on some stones which he sets in place to demarcate the market place he is setting up. He also brings on a stand to display the merchandise and three leather straps.]
DICAEOPOLIS [setting up the stones]

This spot here is my market place. These stones

define its limits. All Megarians,

all Peloponnesians and Boeotians

Translation by Ian Johnston, Vancouver Island University
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An open-access project
Hall 1906
OCT
Hall & Geldart, OCT, 1906 · 1906
The Editor

Frederick William Hall (1865–1948) was a classical scholar and Fellow of St John's College, Oxford. Together with William Martin Geldart, he produced the Oxford Classical Text of several authors. Hall was a careful editor known for his thorough collation of manuscripts and his conservative approach to textual criticism.

About This Edition

The Hall–Geldart editions in the Oxford Classical Texts series provide reliable critical texts with selective apparatus criticus. The OCT series, established in 1894 as the Scriptorum Classicorum Bibliotheca Oxoniensis, aims to present the best available Greek and Latin texts in a format suitable for both scholarly use and teaching. Each volume provides a clean text with the most significant manuscript variants recorded at the foot of each page.

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