Parabasis
Χορός
ἄλλʼ ἴθι χαίρων, καὶ πράξειας
κατὰ νοῦν τὸν ἐμόν, καί σε φυλάττοι
500 Ζεὺς ἀγοραῖος· καὶ νικήσας
αὖθις ἐκεῖθεν πάλιν ὡς ἡμᾶς
ἔλθοις στεφάνοις κατάπαστος.
ὑμεῖς δʼ ἡμῖν προσέχετε τὸν νοῦν
τοῖς ἀναπαίστοις,
505 παντοίας ἤδη Μούσης
πειραθέντες καθʼ ἑαυτούς.
εἰ μέν τις ἀνὴρ τῶν ἀρχαίων κωμῳδοδιδάσκαλος ἡμᾶς
ἠνάγκαζεν λέξοντας ἔπη πρὸς τὸ θέατρον παραβῆναι,
οὐκ ἂν φαύλως ἔτυχεν τούτου· νῦν δʼ ἄξιός ἐσθʼ ποιητής,
500–509

god of our public assembly, protect you, and may you come back to us in triumph, adorned with the garlands of victory.

[Demosthenes exits into the house. The Chorus Leader turns to address the audience.]

Now pay attention to our formal verses, you who have on your own already heard all the different offerings of the Muse. If one of the comic playwrights from long ago had tried to make us step out to this audience

and recite a speech, it would not have been easy for him to get his way. But today our poet is worth the effort, because he hates the same men we despise and dares to speak the truth, charging

510 ὅτι τοὺς αὐτοὺς ἡμῖν μισεῖ τολμᾷ τε λέγειν τὰ δίκαια,
καὶ γενναίως πρὸς τὸν τυφῶ χωρεῖ καὶ τὴν ἐριώλην.
δὲ θαυμάζειν ὑμῶν φησιν πολλοὺς αὐτῷ προσιόντας
καὶ βασανίζειν ὡς οὐχὶ πάλαι χορὸν αἰτοίη καθʼ ἑαυτόν,
ἡμᾶς ὑμῖν ἐκέλευε φράσαι περὶ τούτου. φησὶ γὰρ ἁνὴρ
515 οὐχ ὑπʼ ἀνοίας τοῦτο πεπονθὼς διατρίβειν, ἀλλὰ νομίζων
κωμῳδοδιδασκαλίαν εἶναι χαλεπώτατον ἔργον ἁπάντων·
πολλῶν γὰρ δὴ πειρασάντων αὐτὴν ὀλίγοις χαρίσασθαι·
ὑμᾶς τε πάλαι διαγιγνώσκων ἐπετείους τὴν φύσιν ὄντας
καὶ τοὺς προτέρους τῶν ποιητῶν ἅμα τῷ γήρᾳ προδιδόντας·
510–519

courageously against typhoon and hurricane. He says that many of you have come up to him astonished that he did not long ago request a chorus in his own name and questioning him about it. He has asked us to explain to you why this has happened. He asserts that it was not

foolishness that prompted his delay but rather that he considered producing comic drama the most difficult task of all. Many people try to court the Comic Muse, but she grants her favours only to a few. And he has long recognized that you have a fickle nature—for you betrayed earlier poets once they grew old. He knows well what Magnes went through as soon as his hair turned white.

520 τοῦτο μὲν εἰδὼς ἅπαθε Μάγνης ἅμα ταῖς πολιαῖς κατιούσαις,
ὃς πλεῖστα χορῶν τῶν ἀντιπάλων νίκης ἔστησε τροπαῖα·
πάσας δʼ ὑμῖν φωνὰς ἱεὶς καὶ ψάλλων καὶ πτερυγίζων
καὶ λυδίζων καὶ ψηνίζων καὶ βαπτόμενος βατραχείοις
οὐκ ἐξήρκεσεν, ἀλλὰ τελευτῶν ἐπὶ γήρως, οὐ γὰρ ἐφʼ ἥβης,
525 ἐξεβλήθη πρεσβύτης ὤν, ὅτι τοῦ σκώπτειν ἀπελείφθη·
εἶτα Κρατίνου μεμνημένος, ὃς πολλῷ ῥεύσας ποτʼ ἐπαίνῳ
διὰ τῶν ἀφελῶν πεδίων ἔρρει, καὶ τῆς στάσεως παρασύρων
ἐφόρει τὰς δρῦς καὶ τὰς πλατάνους καὶ τοὺς ἐχθροὺς προθελύμνους·
ᾆσαι δʼ οὐκ ἦν ἐν ξυμποσίῳ πλὴν Δωροῖ συκοπέδιλε,
520–529

He had hoisted many trophies of victory over his rivals, and though he had created

every kind of sound for your delight, by singing, flapping his wings, performing as a Lydian or a gnat, or smearing himself green as a frog, that was not enough. In his youth things turned out well, but at the end, in old age, you hissed him away, that old man, whose jokes had lost their satiric bite. After that, our poet brought to mind Cratinus, who once, flowing on torrents of your approval, raced through unencumbered plains and, as he sped on, uprooted oak and plane trees and his rivals, too,

and carried them away. And at drinking parties the only songs were “O Goddess of Bribery, with sandals made of figs,” and “O you composers of intricate hymns”—that’s how famous he was then.

530 καὶ τέκτονες εὐπαλάμων ὕμνων· οὕτως ἤνθησεν ἐκεῖνος.
νυνὶ δʼ ὑμεῖς αὐτὸν ὁρῶντες παραληροῦντʼ οὐκ ἐλεεῖτε,
ἐκπιπτουσῶν τῶν ἠλέκτρων καὶ τοῦ τόνου οὐκέτʼ ἐνόντος
τῶν θʼ ἁρμονιῶν διαχασκουσῶν· ἀλλὰ γέρων ὢν περιέρρει,
ὥσπερ Κοννᾶς, στέφανον μὲν ἔχων αὖον δίψῃ δʼ ἀπολωλώς,
535 ὃν χρῆν διὰ τὰς προτέρας νίκας πίνειν ἐν τῷ πρυτανείῳ,
καὶ μὴ ληρεῖν ἀλλὰ θεᾶσθαι λιπαρὸν παρὰ τῷ Διονύσῳ.
οἵας δὲ Κράτης ὀργὰς ὑμῶν ἠνέσχετο καὶ στυφελιγμούς,
ὃς ἀπὸ σμικρᾶς δαπάνης ὑμᾶς ἀριστίζων ἀπέπεμπεν,
ἀπὸ κραμβοτάτου στόματος μάττων ἀστειοτάτας ἐπινοίας·
530–539

But look at him now—he’s a decrepit old man. His tuning pegs are gone, his tone has disappeared, his joints have split apart, yet you don’t pity him. He wanders around in his dotage, like Connas, wearing a withered garland and dying of thirst. Given his previous triumphs, he should be drinking

in the Prytaneum, and instead of acting like an idiot, he should be sitting smartly groomed with the spectators alongside Dionysus. Look at how much Crates suffered from your abuse and anger, a man who used to provide you snacks for not much money and then send you home again, coming up with the most elegant conceptions from his decorous lips. But he kept persisting, on his own, sometimes with success, sometimes failing.

540 χοὖτος μέντοι μόνος ἀντήρκει, τοτὲ μὲν πίπτων τοτὲ δʼ οὐχί.
ταῦτʼ ὀρρωδῶν διέτριβεν ἀεί, καὶ πρὸς τούτοισιν ἔφασκεν
ἐρέτην χρῆναι πρῶτα γενέσθαι πρὶν πηδαλίοις ἐπιχειρεῖν,
κᾆτʼ ἐντεῦθεν πρῳρατεῦσαι καὶ τοὺς ἀνέμους διαθρῆσαι,
κᾆτα κυβερνᾶν αὐτὸν ἑαυτῷ. τούτων οὖν οὕνεκα πάντων,
545 ὅτι σωφρονικῶς κοὐκ ἀνοήτως ἐσπηδήσας ἐφλυάρει,
αἴρεσθʼ αὐτῷ πολὺ τὸ ῥόθιον, παραπέμψατʼ ἐφʼ ἕνδεκα κώπαις
θόρυβον χρηστὸν ληναΐτην,
ἵνʼ ποιητὴς ἀπίῃ χαίρων
κατὰ νοῦν πράξας,
540–549

Fearing such treatment, our poet kept on stalling.

What’s more, he would tell himself he should first of all work the oars before his hand could grip the tiller, and later he’d watch from the prow to check the winds— only after that would he be his own pilot. For all these reasons, he moved with great prudence, not rushing in like a fool and babbling nonsense. So raise a cheer for the man, a powerful surge with all of your fingers, a generous urge at our feast of Lenaea, so that our poet leaves here with joy and success and can know it—

his forehead all bright with glistening delight.

550 φαιδρὸς λάμποντι μετώπῳ.
ἵππιʼ ἄναξ Πόσειδον,
χαλκοκρότων ἵππων κτύπος
καὶ χρεμετισμὸς ἁνδάνει
καὶ κυανέμβολοι θοαὶ
555 μισθοφόροι τριήρεις,
μειρακίων θʼ ἅμιλλα λαμπρυνομένων ἐν ἅρμασιν
καὶ βαρυδαιμονούντων,
δεῦρʼ ἔλθʼ ἐς χορὸν χρυσοτρίαινʼ
550–559
CHORUS

O Poseidon, lord of horses who rejoices in horses’ neighs, in the clatter of bronze-shod hooves, in swift triremes with deep-blue prows transporting tribute on the sea, in contests where those youthful lads who seek fame by racing chariots can suffer catastrophic spills, come to us here, to your chorus,

O god of the golden trident, you who watches over dolphins,

560 δελφίνων μεδέων Σουνιάρατε,
Γεραίστιε παῖ Κρόνου,
Φαρμίωνί τε φίλτατʼ ἐκ
τῶν ἄλλων τε θεῶν Ἀθηναίοις
πρὸς τὸ παρεστός.
565 εὐλογῆσαι βουλόμεσθα τοὺς πατέρας ἡμῶν, ὅτι
ἄνδρες ἦσαν τῆσδε τῆς γῆς ἄξιοι καὶ τοῦ πέπλου,
οἵτινες πεζαῖς μάχαισιν ἔν τε ναυφάρκτῳ στρατῷ
πανταχοῦ νικῶντες ἀεὶ τήνδʼ ἐκόσμησαν πόλιν·
οὐ γὰρ οὐδεὶς πώποτʼ αὐτῶν τοῦς ἐναντίους ἰδὼν
560–569

who are worshipped at Sunium, lord of Geraestus, son of Cronos, dearest favourite of Phormio, and for Athenians the god more beloved than all the others, the one our present crisis needs.

CHORUS LEADER

We wish to sing the praises of our ancestors, men worthy of this land who deserved to carry the ceremonial robe. In battles fought on land or on the sea they were victorious all the time, wherever they went—they brought our city honour. And when they viewed their enemies, none of them ever counted up their number. Instead, their hearts at once were ready for the fray. If they fell down

570 ἠρίθμησεν, ἀλλʼ θυμὸς εὐθὺς ἦν Ἀμυνίας·
εἰ δέ που πέσοιεν ἐς τὸν ὦμον ἐν μάχῃ τινί,
τοῦτʼ ἀπεψήσαντʼ ἄν, εἶτʼ ἠρνοῦντο μὴ πεπτωκέναι,
ἀλλὰ διεπάλαιον αὖθις. καὶ στρατηγὸς οὐδʼ ἂν εἷς
τῶν πρὸ τοῦ σίτησιν ᾔτησʼ ἐρόμενος Κλεαίνετον·
575 νῦν δʼ ἐὰν μὴ προεδρίαν φέρωσι καὶ τὰ σιτία,
οὐ μαχεῖσθαί φασιν. ἡμεῖς δʼ ἀξιοῦμεν τῇ πόλει
προῖκα γενναίως ἀμύνειν καὶ θεοῖς ἐγχωρίοις.
καὶ πρὸς οὐκ αἰτοῦμεν οὐδὲν πλὴν τοσουτονὶ μόνον·
ἤν ποτʼ εἰρήνη γένηται καὶ πόνων παυσώμεθα,
570–579

on their shoulder in a fight, they wiped off the dust and denied they’d had a fall. Then they would resume and fight on once again. No earlier general would have asked Cleaenetus to serve him dinner at state expense. But now they say they will not fight unless they get the privilege of front-row seats and meals, as well. As for us, we believe we should nobly guard our city and our country’s gods without being paid. We ask for nothing beyond that, except this one condition: if peace ever comes and brings our hard work to an end, you will not mind if we wear long hair and keep our skin well scrubbed.

580 μὴ φθονεῖθʼ ἡμῖν κομῶσι μηδʼ ἀπεστλεγγισμένοις.
πολιοῦχε Παλλάς,
τῆς ἱερωτάτης ἁπασῶν
πολέμῳ τε καὶ ποιηταῖς
δυνάμει θʼ ὑπερφερούσης
585 μεδέουσα χώρας,
δεῦρʼ ἀφικοῦ λαβοῦσα τὴν
ἐν στρατιαῖς τε καὶ μάχαις
ἡμετέραν ξυνεργὸν
Νίκην, χορικῶν ἐστιν ἑταίρα
580–589
CHORUS

O Pallas, guardian of our city, shielding this most sacred place,

surpassing every land in war, in poetry, and in her might, come to us here and bring with you the one who in campaigns and fights stands there beside us, Victory, companion in our choral songs, who wars with us against our foes.

590 τοῖς τʼ ἐχθροῖσι μεθʼ ἡμῶν στασιάζει.
νῦν οὖν δεῦρο φάνηθι· δεῖ
γὰρ τοῖς ἀνδράσι τοῖσδε πάσῃ
τέχνῃ πορίσαι σε νίκην
εἴπερ ποτὲ καὶ νῦν.
595 ξύνισμεν τοῖσιν ἵπποις, βουλόμεσθʼ ἐπαινέσαι.
ἄξιοι δʼ εἴσʼ εὐλογεῖσθαι· πολλὰ γὰρ δὴ πάγματα
ξυνδιήνεγκαν μεθʼ ἡμῶν, ἐσβολάς τε καὶ μάχας.
ἀλλὰ τἀν τῇ μὲν αὐτῶν οὐκ ἄγαν θαυμάζομεν,
ὡς ὅτʼ ἐς τὰς ἱππαγωγοὺς εἰσεπήδων ἀνδρικῶς,
590–599

Now show yourself before us here. For if there ever was a time when you must give a victory by any means to these men here that moment has arrived.

CHORUS LEADER

We know our horses well and wish to praise them. They are worthy of our tributes, for along with us they have endured so many battles and attacks. But we admire them not so much for these events as for the time they bravely jumped on board the ships, once they had purchased drinking cups—and some of them

600 πριάμενοι κώθωνας, οἱ δὲ καὶ σκόροδα καὶ κρόμμυα·
εἶτα τὰς κώπας λαβόντες ὥσπερ ἡμεῖς οἱ βροτοὶ
ἐμβαλόντες ἀνεβρύαξαν, ἱππαπαῖ, τίς ἐμβαλεῖ;
ληπτέον μᾶλλον. τί δρῶμεν; οὐκ ἐλᾷς σαμφόρα;
ἐξεπήδων τʼ ἐς Κόρινθον· εἶτα δʼ οἱ νεώτεροι
605 ταῖς ὁπλαῖς ὤρυττον εὐνὰς καὶ μετῇσαν στρώματα·
ἤσθιον δὲ τοὺς παγούρους ἀντὶ ποίας Μηδικῆς,
εἴ τις ἐξέρποι θύραζε κἀκ βυθοῦ θηρώμενοι·
ὥστʼ ἔφη Θέωρος εἰπεῖν καρκίνον Κορίνθιον,
δεινά γʼ Πόσειδον εἰ μήτʼ ἐν βυθῷ δυνήσομαι
600–609

got garlic, too, and onions. Then they grabbed the oars, just as we humans do, pulled hard on them, shouting,

“Horses, heave! Who’s doing the rowing? Pull back harder! What are we doing? Hey you, you pedigree nag, why aren’t you rowing?” They disembarked at Corinth. The youngest then dug resting places with their hooves and went to bring back blankets. Instead of clover, they fed themselves on crabs if any scuttled up onshore, or else they caught them on the ocean floor, so that Theorus said a Corinthian crab would cry, “O Poseidon, what a cruel misfortune if I cannot evade those knights either by land,

610 μήτε γῇ μήτʼ ἐν θαλάττῃ διαφυγεῖν τοὺς ἱππέας.
610–619

or even in the ocean depths, or on the sea.”

[The Sausage Seller enters, returning from the city.]
CHORUS LEADER

O dearest and most vigorous of men, how worried I have been since you’ve been gone. Now you’re back again safe and sound, tell us how did you make out in the competition?

SAUSAGE SELLER

The result is this—I’ve crushed the Council.

CHORUS [chanting]

Then everyone now should shout with delight! You speak very well but your actions excite

much more than your words. So come on, lay out in very clear terms what you’ve been about. I really believe I’d go a long way

Translation by Ian Johnston, Vancouver Island University
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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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