Parodos
Ἔποψ
ἄγε σύννομέ μοι παῦσαι μὲν ὕπνου,
210 λῦσον δὲ νόμους ἱερῶν ὕμνων,
οὓς διὰ θείου στόματος θρηνεῖς
τὸν ἐμὸν καὶ σὸν πολύδακρυν Ἴτυν·
ἐλελιζομένης δʼ ἱεροῖς μέλεσιν
γένυος ξουθῆς
215 καθαρὰ χωρεῖ διὰ φυλλοκόμου
μίλακος ἠχὼ πρὸς Διὸς ἕδρας,
ἵνʼ χρυσοκόμας Φοῖβος ἀκούων
τοῖς σοῖς ἐλέγοις ἀντιψάλλων
ἐλεφαντόδετον φόρμιγγα θεῶν
210–219

lament once more through lips divine for Itys, your dead child and mine, the one we’ve cried for all this time.

Sing out your music’s liquid trill in that vibrato voice—the thrill which echoes in those purest tones through leafy haunts of yew trees roams and rises up to Zeus’s throne.

Apollo with the golden hair sits listening to your music there— and in response he plucks his string— his lyre of ivory then brings the gods themselves to dance and sing.

Then from gods’ mouths in harmony

220 ἵστησι χορούς· διὰ δʼ ἀθανάτων
στομάτων χωρεῖ ξύμφωνος ὁμοῦ
θεία μακάρων ὀλολυγή.
Πισθέταιρος
Ζεῦ βασιλεῦ τοῦ φθέγματος τοὐρνιθίου·
οἶον κατεμελίτωσε τὴν λόχμην ὃλην.
Ἐυελπίδης
225 οὗτος.
225 τί ἔστιν;
225 οὐ σιωπήσει;
225 τί δαί;
Πισθέταιρος
οὕποψ μελῳδεῖν αὖ παρασκευάζεται.
Ἔποψ
ἐποποῖ ποποποποποποποῖ,
ἰὼ ἰὼ ἰτὼ ἰτὼ ἰτὼ ἰτὼ,
ἴτω τις ὧδε τῶν ἐμῶν ὁμοπτέρων·
220–229

come sounds of sacred melody.

[A flute starts playing within, in imitation of the nightingale’s song. The melody continues for a few moments]
EUELPIDES

By lord Zeus, that little birdie’s got a voice! She pours her honey all through that thicket!

PISTHETAIROS

Hey!

EUELPIDES

What?

PISTHETAIROS

Shut up.

EUELPIDES

Why?

PISTHETAIROS

That hoopoe bird—

he’s all set to sing another song.

TEREUS [issuing a bird call to all the birds. His song or chant is accompanied by the flute indicating the nightingale’s song]

Epo-popo-popo-popo-popoi,

Io, io, ito, ito, ito, ito.

Come here to me, all you with feathers just like mine,

230 ὅσοι τʼ εὐσπόρους ἀγροίκων γύας
νέμεσθε, φῦλα μυρία κριθοτράγων
σπερμολόγων τε γένη
ταχὺ πετόμενα, μαλθακὴν ἱέντα γῆρυν·
ὅσα τʼ ἐν ἄλοκι θαμὰ
235 βῶλον ἀμφιτιττυβίζεθʼ ὧδε λεπτὸν
ἡδομένᾳ φωνᾷ·
τιὸ τιὸ τιὸ τιὸ τιὸ τιὸ τιὸ τιό.
ὅσα θʼ ὑμῶν κατὰ κήπους ἐπὶ κισσοῦ
κλάδεσι νομὸν ἔχει,
230–239

all you who live in country fields fresh-ploughed, still full of seed, and all you thousand tribes who munch on barley corn who gather up the grain,

and fly at such a speed and utter your sweet cries, all you who in the furrows there twitter on the turned-up earth, and sweetly sing tio tio tio tio tio tio tio tio.

All those of you who like to scavenge food from garden ivy shoots,

240 τά τε κατʼ ὄρεα τά τε κοτινοτράγα τά τε κομαροφάγα,
ἀνύσατε πετόμενα πρὸς ἐμὰν αὐδάν·
τριοτὸ τριοτὸ τοτοβρίξ·
οἵ θʼ ἑλείας παρʼ αὐλῶνας ὀξυστόμους
245 ἐμπίδας κάπτεθʼ, ὅσα τʼ εὐδρόσους γῆς τόπους
ἔχετε λειμῶνά τʼ ἐρόεντα Μαραθῶνος, ὄρνις
πτερυγοποίκιλός τʼ ἀτταγᾶς ἀτταγᾶς.
240–249

all you in the hills up there

who eat from olive and arbutus trees. come here as quickly as you can, fly here in answer to this call— trio-to trio-to toto-brix!

And every one of you in low-lying marshy ground who snap sharp-biting gnats, by regions of well-watered land, and lovely fields of Marathon, all you variously coloured birds,

godwits and francolins— I’m calling you.

You flocks who fly across the seas

250 ὧν τʼ ἐπὶ πόντιον οἶδμα θαλάσσης
φῦλα μετʼ ἀλκυόνεσσι ποτῆται,
δεῦρʼ ἴτε πευσόμενοι τὰ νεώτερα,
πάντα γὰρ ἐνθάδε φῦλʼ ἀθροΐζομεν
οἰωνῶν ταναοδείρων.
255 ἥκει γὰρ τις δριμὺς πρέσβυς
καινὸς γνώμην
καινῶν τʼ ἔργων ἐγχειρητής.
ἀλλʼ ἴτʼ ἐς λόγους ἅπαντα,
δεῦρο δεῦρο δεῦρο δεῦρο.
250–259

across the waves with halcyons come here to learn the news. We’re all assembling here, all tribes of long-neck birds. A shrewd old man’s arrived— he’s here with a new plan, a man of enterprise,

all set to improvise. So gather all of you to hear his words.

[The final words gradually change from coherent speech into a bird call.]

Come here, come here, come here, come here. Toro-toro toro-toro-tix Kik-kabau, kik-kabau.

Χορὸς
260 τοροτοροτοροτοροτίξ.
κικκαβαῦ κικκαβαῦ.
τοροτοροτοροτορολιλιλίξ.
Πισθέταιρος
ὁρᾷς τινʼ ὄρνιν;
μὰ τὸν Ἀπόλλω ʼγὼ μὲν οὔ·
Ἐυελπίδης
καίτοι κέχηνά γʼ ἐς τὸν οὐρανὸν βλέπων.
Πισθέταιρος
265 ἄλλως ἄρʼ οὕποψ, ὡς ἔοικʼ, ἐς τὴν λόχμην
ἐσβὰς ἐπῷζε χαραδριὸν μιμούμενος.
Ὄρνις Τις
τοροτὶξ τοροτίξ.
Πισθέταιρος
ὦγάθʼ ἀλλʼ εἶς οὑτοσὶ καὶ δή τις ὄρνις ἔρχεται.
Ἐυελπίδης
νὴ Δίʼ ὄρνις δῆτα. τίς ποτʼ ἐστίν; οὐ δήπου ταὧς;
260–269

Toro-toro toro-toro li-li-lix.

[Euelpides and Pisthetairos start looking up into the sky for birds.]
PISTHETAIROS

Seen any birds lately?

EUELPIDES

No, by Apollo, I haven’t— even though I’m staring up into the sky,

not even blinking.

PISTHETAIROS

It seems to me that hoopoe bird was just wasting time hiding, like a curlew, in that thicket, and screaming out his bird calls—

[imitating Tereus] Po-poi po-poi. . . .

[There is an instant response to Pisthetairos’ call from off stage, a loud bird call which really scares Pisthetairos and Euelpides.]
BIRD [offstage]

Toro-tix, toro-tix.

PISTHETAIROS

Hey, my good man, here comes a bird.

[Enter a flamingo, very tall and flaming red, something Pisthetairos and Euelpides have never seen.]
EUELPIDES

By Zeus, that’s a bird? What kind would you call that? It couldn’t be a peacock, could it?

[Tereus re-enters from the thicket.]
PISTHETAIROS

Tereus here will tell us. Hey, my friend,

what’s that bird there?

TEREUS

Not your everyday fowl— the kind you always see. She’s a marsh bird.

Πισθέταιρος
270 οὗτος αὐτὸς νῷν φράσει· τίς ἐστιν ὄρνις οὑτοσί;
Ἔποψ
οὗτος οὐ τῶν ἠθάδων τῶνδʼ ὧν ὁρᾶθʼ ὑμεῖς ἀεί,
ἀλλὰ λιμναῖος.
βαβαὶ καλός γε καὶ φοινικιοῦς.
εἰκότως γε· καὶ γὰρ ὄνομʼ αὐτῷ ʼστὶ φοινικόπτερος.
Ἐυελπίδης
οὗτος σέ τοι.
τί βωστρεῖς;
ἕτερος ὄρνις οὑτοσί.
Πισθέταιρος
275 νὴ Δίʼ ἕτερος δῆτα χοὖτος ἔξεδρον χρόαν ἔχων.
τίς ποτʼ ἔσθʼ μουσόμαντις ἄτοπος ὄρνις ὀρειβάτης;
Ἔποψ
ὄνομα τούτῳ Μῆδός ἐστο.
Μῆδος; ὦναξ Ἡράκλεις·
Πισθέταιρος
εἶτα πῶς ἄνευ καμήλου Μῆδος ὤν εἰσέπτετο;
Ἐυελπίδης
ἕτερος αὖ λόφον κατειληφώς τις ὄρνις οὑτοσί.
270–279
EUELPIDES

My goodness, she’s gorgeous—flaming red!

TEREUS

Naturally, that’s why she’s called Flamingo.

[A second bird enters, a Peacock.]
EUELPIDES [to Pisthetairos]

Hey . . .

PISTHETAIROS

What is it?

EUELPIDES

Another bird’s arrived.

PISTHETAIROS

You’re right. By god, this one looks really odd.

Who’s this bizarre bird-prophet of the Muse, this strutter from the hills?

TEREUS

He’s called the Mede.

PISTHETAIROS

He’s a Mede? By lord Hercules, how come a Mede flew here without his camel?

EUELPIDES

Here’s another one . . .

[The next bird enters, another Hoopoe.]

. . . what a crest of feathers!

PISTHETAIROS [To Tereus]

What’s this marvel? You’re not the only hoopoe?

Πισθέταιρος
280 τί τὸ τέρας τουτί ποτʼ ἐστίν; οὐ σὺ μόνος ἄρʼ ἦσθʼ ἔποψ,
ἀλλὰ χοὖτος ἕτερος;
οὑτοσὶ μέν ἐστι Φιλοκλέους
Ἔποψ
ἐξ ἔποπος, ἐγὼ δὲ τούτου πάππος, ὥσπερ εἰ λέγοις
Ἱππόνικος Καλλίου κἀξ Ἱππονίκου Καλλίας.
Πισθέταιρος
Καλλίας ἄρʼ οὗτος οὕρνις ἐστίν· ὡς πτερορρυεῖ.
Ἐυελπίδης
285 ἅτε γὰρ ὢν γενναῖος ὑπό τε συκοφαντῶν τίλλεται,
αἵ τε θήλειαι προσεκτίλλουσιν αὐτοῦ τὰ πτερά.
Πισθέταιρος
Πόσειδον ἕτερος αὖ τις βαπτὸς ὄρνις οὑτοσί.
τίς ὀνομάξεταί ποθʼ οὗτος;
οὑτοσὶ κατωφαγᾶς.
ἔστι γὰρ κατωφαγᾶς τις ἄλλος Κλεώνυμος;
280–289

This here’s another one?

TEREUS

He’s my grandson—

son of Philocles the Hoopoe—it’s like those names you pass along, when you call Hipponicus the son of Callias, and Callias son of Hipponicus.

PISTHETAIROS

So this bird is Callias. His feathers— he seems to have lost quite a few.

TEREUS

Yes, that’s true— being a well-off bird he’s plucked by parasites,

and female creatures flock around him, too, to yank his plumage out.

[Enter the Glutton-bird, an invented species, very fat and brightly coloured.]
PISTHETAIROS

By Poseidon, here’s another bright young bird. What’s it called?

TEREUS

This one’s the Glutton-bird.

PISTHETAIROS

Another glutton? Cleonymus is not the only one?

EUELPIDES

If this bird were like our Cleonymus,

Ἐυελπίδης
290 πῶς ἂν οὖν Κλεώνυμός γʼ ὢν οὐκ ἀπέβαλε τὸν λόφον;
Πισθέταιρος
ἀλλὰ μέντοι τίς ποθʼ λόφωσις τῶν ὀρνέων;
ʼπὶ τὸν δίαυλον ἦλθον;
ὥσπερ οἱ Κᾶρες μὲν οὖν
Ἔποψ
ἐπὶ λόφων οἰκοῦσιν ὦγάθʼ ἀσφαλείας οὔνεκα.
Πισθέταιρος
Πόσειδον οὐχ ὁρᾷς ὅσον συνείλεκται κακὸν
295 ὀρνέων;
295 ὦναξ Ἄπολλον τοῦ νέφους. ἰοὺ ἰού,
Ἐυελπίδης
οὐδʼ ἰδεῖν ἔτʼ ἔσθʼ ὑπʼ αὐτῶν πετομένων τὴν εἴσοδον.
Ἔποψ
οὑτοσὶ πέρδιξ, ἐκεινοσί γε νὴ Δίʼ ἀτταγᾶς,
οὑτοσὶ δὲ πηνέλοψ, ἐκεινηὶ δέ γʼ ἀλκυών.
Πισθέταιρος
τίς γάρ ἐσθʼ οὕπισθεν αὐτῆς;
290–299

wouldn’t he have thrown away his crest?

PISTHETAIROS

Why do all the birds display such head crests? Are they going to run a race in armour?

TEREUS

No, my dear fellow, they live up on the crests,

because it’s safer, like the Carians.

PISTHETAIROS [looking offstage]

Holy Poseidon, do you see those birds! What a fowl bunch of them—all flocking here!

EUELPIDES [looking in the same direction]

Lord Apollo, there’s a huge bird cloud! Wow! So many feathered wings in there I can’t see a way through all those feathers to the wings.

[Enter the Chorus of Birds in a dense mass. Pisthetairos and Euelpides clamber up the rock to get a better look at them.]
PISTHETAIROS

Hey, look—a partridge, and that one over there, by Zeus, a francolin—there’s a widgeon— and that’s a halcyon!

EUELPIDES

What’s the one behind her?

PISTHETAIROS

What is it? It’s a spotted shaver.

EUELPIDES

Shaver?

You mean there’s a bird that cuts our hair?

PISTHETAIROS

Why not? After all, there’s that barber in the city— the one we all call Sparrow Sporgilos.

ὅστις ἐστί; κειρύλος.
300 κειρύλος γάρ ἐστιν ὄρνις;
300–309

Here comes an owl.

EUELPIDE

Well, what about that? Who brings owls to Athens?

PISTHETAIROS [identifying birds in the crowd]

. . . a turtle dove, a jay, lark, sedge bird . . .

EUELPIDES

. . . finch, pigeon . . .

PISTHETAIROS

. . . falcon, hawk, ring dove . . .

EUELPIDES

. . . cuckoo, red shank . . .

PISTHETAIROS

. . . fire-crest . . .

EUELPIDES

. . . porphyrion, kestrel, dabchick, bunting, vulture, and that one’s there’s a . . . [He’s stumped]

PISTHETAIROS

. . woodpecker!!

EUELPIDES

What a crowd of birds! A major flock of fowls!

All that twitter as they prance around, those rival cries! . . . Oh, oh, what’s going on? Are they a threat? They’re looking straight at us— their beaks are open!

PISTHETAIROS

It looks that way to me.

CHORUS LEADER [starting with a bird call]

To-toto-to to-toto-to to-to.

300 οὐ γάρ ἐστι Σποργίλος;
Ἔποψ
χαὐτηί γε γλαῦξ.
τί φῄς; τίς γλαῦκʼ Ἀθήναζʼ ἤγαγεν;
κίττα τρυγὼν κορυδὸς ἐλεᾶς ὑποθυμὶς περιστερὰ
νέρτος ἱέραξ φάττα κόκκυξ ἐρυθρόπους κεβλήπυρις
πορφυρὶς κερχνῂς κολυμβὶς ἀμπελὶς φήνη δρύοψ.
Πισθέταιρος
305 ἰοὺ ἰοὺ τῶν ὀρνέων, ἰοὺ ἰοὺ τῶν κοψίχων·
οἶα πιππίζουσι καὶ τρέχουσι διακεκραγότες.
ἆρʼ ἀπειλοῦσίν γε νῷν; οἴμοι, κεχήνασίν γέ τοι
καὶ βλέπουσιν ἐς σὲ κἀμέ.
τοῦτο μὲν κἀμοὶ δοκεῖ.
300–309

Here comes an owl.

EUELPIDE

Well, what about that? Who brings owls to Athens?

PISTHETAIROS [identifying birds in the crowd]

. . . a turtle dove, a jay, lark, sedge bird . . .

EUELPIDES

. . . finch, pigeon . . .

PISTHETAIROS

. . . falcon, hawk, ring dove . . .

EUELPIDES

. . . cuckoo, red shank . . .

PISTHETAIROS

. . . fire-crest . . .

EUELPIDES

. . . porphyrion, kestrel, dabchick, bunting, vulture, and that one’s there’s a . . . [He’s stumped]

PISTHETAIROS

. . woodpecker!!

EUELPIDES

What a crowd of birds! A major flock of fowls!

All that twitter as they prance around, those rival cries! . . . Oh, oh, what’s going on? Are they a threat? They’re looking straight at us— their beaks are open!

PISTHETAIROS

It looks that way to me.

CHORUS LEADER [starting with a bird call]

To-toto-to to-toto-to to-to.

Χορός
310 ποποποποποποποποποποῖ ποῦ μʼ ἄρʼ ὃς
ἐκάλεσε; τίνα τόπον ἄρα ποτὲ νέμεται;
Ἔποψ
οὑτοσὶ πάλαι πάρειμι κοὐκ ἀποστατῶ φίλων.
Χορός
τί τί τί τί τί τί τί τί· τίνα λόγον ἄρα ποτὲ
315 πρὸς ἐμὲ φίλον ἔχων;
Ἔποψ
κοινὸν ἀσφαλῆ δίκαιον ἡδὺν ὠφελήσιμον.
ἄνδρε γὰρ λεπτὼ λογιστὰ δεῦρʼ ἀφῖχθον ὡς ἐμέ.
Χορός
ποῦ; πᾷ; πῶς φῄς;
310–319

Who’s been calling me? Where’s he keep his nest?

TEREUS

I’m the one. I’ve been waiting here a while. I’ve not left my bird friends in the lurch.

CHORUS LEADER

Ti-tit-ti ti-tit-ti ti-ti-ti-ti

tell me as a friend what you have to say.

TEREUS

I have news for all of us—something safe, judicious, sweet, and profitable. Two men have just come here to visit me, two subtle thinkers . . .

CHORUS LEADER [interrupting]

What? What are you saying?

TEREUS

I’m telling you two old men have arrived—

Ἔποψ
320 φήμʼ ἀπʼ ἀνθρώπων ἀφῖχθαι δεῦρο πρεσβύτα δύο·
ἥκετον δʼ ἔχοντε πρέμνον πράγματος πελωρίου.
Χορός
μέγιστον ἐξαμαρτὼν ἐξ ὅτου ʼτράφην ἐγώ,
πῶς λέγεις;
μήπω φοβηθῇς τὸν λόγον.
τί μʼ ἠργάσω;
Ἔποψ
ἄνδρʼ ἐδεξάμην ἐραστὰ τῆσδε τῆς ξυνουσίας.
Χορός
325 καὶ δέδρακας τοῦτο τοὔργον;
325 καὶ δεδρακώς γʼ ἥδομαι.
κἀστὸν ἤδη που παρʼ ἡμῖν;
εἰ παρʼ ὑμῖν εἴμʼ ἐγώ.
320–329

they’ve come from lands where human beings live and bring the stalk of a stupendous plan.

CHORUS LEADER

You fool! This is the most disastrous thing since I was hatched. What are you telling us?

TEREUS

Don’t be afraid of what I have to say.

CHORUS LEADER

What have you done to us?

TEREUS

I’ve welcomed here two men in love with our society.

CHORUS LEADER

You dared to do that?

TEREUS

Yes, indeed, I did. And I’m very pleased I did so.

CHORUS LEADER

These two men of yours, are they among us now?

TEREUS

Yes, as surely as I am.

CHORUS [breaking into a song of indignation]

Aaaiiii! Aaaiii! He’s cheated us, he’s done us wrong. That friend of ours,

who all along has fed with us in fields we share,

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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