Exodos
Ἀθηναῖος Α
ἄνοιγε τὴν θύραν· παραχωρεῖν οὐ θέλεις;
ὑμεῖς τί κάθησθε; μῶν ἐγὼ τῇ λαμπάδι
ὑμᾶς κατακαύσω; φορτικὸν τὸ χωρίον.
οὐκ ἂν ποιήσαιμʼ. εἰ δὲ πάνυ δεῖ τοῦτο δρᾶν,
1220 ὑμῖν χαρίσασθαι, προσταλαιπωρήσομεν.
Ἀθηναῖος Β
χἠμεῖς γε μετὰ σοῦ ξυνταλαιπωρήσομεν.
Ἀθηναῖος Α
οὐκ ἄπιτε; κωκύσεσθε τὰς τρίχας μακρά.
οὐκ ἄπιθʼ, ὅπως ἂν οἱ Λάκωνες ἔνδοθεν
καθʼ ἡσυχίαν ἀπίωσιν εὐωχημένοι;
Ἀθηναῖος Β
1225 οὔπω τοιοῦτον συμπόσιον ὄπωπʼ ἐγώ.
καὶ χαρίεντες ἦσαν οἱ Λακωνικοί·
ἡμεῖς δʼ ἐν οἴνῳ συμπόται σοφώτατοι.
Ἀθηναῖος Α
ὀρθῶς γʼ, ὁτιὴ νήφοντες οὐχ ὑγιαίνομεν·
ἢν τοὺς Ἀθηναίους ἐγὼ πείσω λέγων,
1220–1229
[Athenian Delegate A chases an onlooker away with his torch.]
ATHENIAN DELEGATE B [waving a torch]

We’ll be here with you to help you do it. Why not just leave? You may soon be screaming for that hair of yours.

ATHENIAN DELEGATE A

Go on, piss off! So the Spartans inside there can come on out and go away in peace.

[The two Athenian delegates force the Spartan slaves away from the door.]
ATHENIAN DELEGATE B

Well now, I never seen a banquet quite like this. The Spartans were delightful. As for us, we had too much wine, but as companions we said lots of really clever things.

ATHENIAN DELEGATE A

That’s right. When we’re sober, we lose our minds. I’ll speak up and persuade Athenians what when our embassies go anywhere

1230 μεθύοντες ἀεὶ πανταχοῖ πρεσβεύσομεν.
νῦν μὲν γὰρ ὅταν ἔλθωμεν ἐς Λακεδαίμονα
νήφοντες, εὐθὺς βλέπομεν τι ταράξομεν·
ὥσθʼ τι μὲν ἂν λέγωσιν οὐκ ἀκούομεν,
δʼ οὐ λέγουσι, ταῦθʼ ὑπονενοήκαμεν,
1235 ἀγγέλλομεν δʼ οὐ ταὐτὰ τῶν αὐτῶν πέρι.
νυνὶ δʼ ἅπαντʼ ἤρεσκεν· ὥστʼ εἰ μέν γέ τις
ᾄδοι Τελαμῶνος, Κλειταγόρας ᾄδειν δέον,
ἐπῃνέσαμεν ἂν καὶ προσεπιωρκήσαμεν.
ἀλλʼ οὑτοιὶ γὰρ αὖθις ἔρχονται πάλιν
1230–1239

they stay permanently drunk. As it is, whenever we go sober off to Sparta, right away we look to stir up trouble. So we just don’t hear what they have to say and get suspicious of what they don’t state. Then we bring back quite different reports about the same events. But now these things have all been sorted out. So if someone there sang “Telamon” when he should have sung “Cleitagora,” we’d applaud the man and even swear quite falsely that . . .

[The Spartan slaves they forced away from the door are gradually coming back.]

Hey, those slaves are coming here again. You whipping posts,

1240 ἐς ταὐτόν. οὐκ ἐρρήσετʼ μαστιγίαι;
Ἀθηναῖος Β
νὴ τὸν Δίʼ ὡς ἤδη γε χωροῦσʼ ἔνδοθεν.
Λάκων
Πολυχαρείδα λαβὲ τὰ φυσατήρια,
ἵνʼ ἐγὼ διποδιάξω τε κἀείσω καλὸν
ἐς τὼς Ἀσαναίως τεκαὶ ἐς ἡμᾶς ἅμα †.
Ἀθηναῖος
1245 λαβὲ δῆτα τὰς φυσαλλίδας πρὸς τῶν θεῶν,
ὡς ἥδομαί γʼ ὑμᾶς ὁρῶν ὀρχουμένους.
Χορὸς Λακεδαιμονίων
ὅρμαον
τὼς κυρσανίως Μναμοΰνα
τάν τʼ ἐμὰν Μῶαν, ἅτις
1240–1249

why can’t you go away?

ATHENIAN DELEGATE B

By Zeus, the ones in there are coming out again.

[The Spartan delegates come out of the citadel. The Spartan ambassador is carrying a musical instrument.]
SPARTAN AMBASSADOR

Here, my dear sir, take this wind instrument, so I can dance and sing a lovely song to honour both Athenians and ourselves.

ATHENIAN AMBASSADOR [turning to one of the slaves]

Yes, by the gods, take the pipes. I love to see you Spartans dance and sing.

[The music starts. The Spartan Ambassador sings and dances.]
SPARTAN AMBASSADOR

O Memory, to this young man send down your child the Muse who knows the Spartans and Athenians.

1250 οἶδεν ἁμὲ τώς τʼ Ἀσαναίως,
ὅκα τοὶ μὲν ἐπʼ Ἀρταμιτίῳ
πρὤκροον σιοείκελοι
ποττὰ κᾶλα τὼς Μήδως τʼ ἐνίκων,
ἁμὲ δʼ αὖ Λεωνίδας
1255 ἆγεν ᾇπερ τὼς κάπρως
θάγοντας οἰῶ τὸν ὀδόντα·
πολὺς δʼ ἀμφὶ τὰς γένυας ἀφρὸςἤνσει †,
πολὺς δʼ ἁμᾷ καττῶν σκελῶν ἀφρὸς ἵετο.
1250–1259

Back then at Artemesium they fought the ships like gods of war and overpowered the Medes, while we, I know, led by Leonidas

whetted our teeth like boars with foaming mouths, which dripped down on our legs. The Persian force possessed more fighting men than grains of sea shore sand.

1260 ἦν γὰρ τὤνδρες οὐκ ἐλάσσως
τᾶς ψάμμας τοὶ Πέρσαι.
ἀγροτέρα σηροκτόνε
μόλε δεῦρο παρσένε σιὰ
ποττὰς σπονδάς,
1265 ὡς συνέχῃς πολὺν ἁμὲ χρόνον.
νῦν δʼ αὖ φιλία τʼ αἰὲς εὔπορος εἴη
ταῖς συνθήκαις,
καὶ τᾶν αἱμυλᾶν ἀλωπέκων παυσαίμεθα.
δεῦρʼ ἴθι δεῦρʼ
1260–1269

O Artemis, queen of the wild, slayer of beasts, chaste goddess, come here to bless our treaty, to make us long united. May our peace be always blessed with friendship and prosperity, and may we put an end to all manipulating foxes.

1270 κυναγὲ παρσένε.
Ἀθηναῖος
ἄγε νυν ἐπειδὴ τἄλλα πεποίηται καλῶς,
ἀπάγεσθε ταύτας Λάκωνες, τάσδε τε
1275 ὑμεῖς· ἀνὴρ δὲ παρὰ γυναῖκα καὶ γυνὴ
στήτω παρʼ ἄνδρα, κᾆτʼ ἐπʼ ἀγαθαῖς συμφοραῖς
ὀρχησάμενοι θεοῖσιν εὐλαβώμεθα
τὸ λοιπὸν αὖθις μὴ ʼξαμαρτάνειν ἔτι.
Χορὸς Ἀθηναίων
πρόσαγε χορόν, ἔπαγε δὲ Χάριτας,
1270–1279

Come here, O come here, Virgin Goddess of the Hunt.

[Lysistrata emerges from the citadel bringing all the wives with her.]
LYSISTRATA

Come now, since everything has turned out well, take these women back with you, you Spartans. And, you Athenians, these ones are yours. Let each man stand beside his wife, each wife beside her man, and then to celebrate good times let’s dance in honour of the gods. And for all future time, let’s never make the same mistake again.

[The Chorus now sings to the assembled group, as the wives and husbands are rejoined.]
CHORUS

Lead on the dance, bring on the Graces, and summon Artemis and her twin,

1280 ἐπὶ δὲ κάλεσον Ἄρτεμιν,
ἐπὶ δὲ δίδυμον ἀγέχορον
Ἰήιον
εὔφρονʼ, ἐπὶ δὲ Νύσιον,
ὃς μετὰ μαινάσι Βάκχιος ὄμμασι δαίεται,
1285 Δία τε πυρὶ φλεγόμενον, ἐπί τε
πότνιαν ἄλοχον ὀλβίαν·
εἶτα δὲ δαίμονας, οἷς ἐπιμάρτυσι
χρησόμεθʼ οὐκ ἐπιλήσμοσιν
Ἡσυχίας πέρι τῆς ἀγανόφρονος,
1280–1289

Apollo, the god who heals us all, call on Bacchus, Nysa’s god, whose eyes blaze forth amid his Maenads’ ecstasy, and Zeus alight with flaming fire, and Hera, Zeus’s blessed wife, and other gods whom we will use as witnesses who won’t forget the meaning of the gentle Peace made here by goddess Aphrodite.

1290 ἣν ἐποίησε θεὰ Κύπρις.
ἀλαλαὶ ἰὴ παιήων·
αἴρεσθʼ ἄνω ἰαί,
ὡς ἐπὶ νίκῃ ἰαί.
εὐοῖ εὐοῖ, εὐαί εὐαί.
Ἀθηναῖος
1295 πρόφαινε δὴ σὺ Μοῦσαν ἐπὶ νέᾳ νέαν.
Χορὸς Λακεδαιμονίων
Ταΰγετον αὖτʼ ἐραννὸν ἐκλιπῶα
Μῶα μόλε Λάκαινα πρεπτὸν ἁμὶν
κλέωα τὸν Ἀμύκλαις σιὸν
1290–1299

Alalai! Raise the cry of joy, raise it high, iai! the cry of victory, iai! Evoi, evoi, evoi, evoi!

LYSISTRATA

Spartan, now offer us another song, match our new song with something new.

SPARTAN AMBASSADOR

Leave lovely Taygetus once again and, Spartan Muse, in some way that is appropriate for us pay tribute to Amyclae’s god, and to bronze-housed Athena, to Tyndareus’s splendid sons,

1300 καὶ χαλκίοικον Ἀσάναν,
Τυνδαρίδας τʼ ἀγασώς,
τοὶ δὴ πὰρ Εὐρώταν ψιάδδοντι.
εἶα μάλʼ ἔμβη
εἶα κοῦφα πάλλων,
1305 ὡς Σπάρταν ὑμνίωμες,
τᾷ σιῶν χοροὶ μέλοντι
καὶ ποδῶν κτύπος,
τε πῶλοι ταὶ κόραι
πὰρ τὸν Εὐρωταν
1300–1309

who play beside the Eurotas. Step now, with many a nimble turn, so we may sing a hymn to Sparta, dancing in honour of the gods, with stamping feet in that place where by the river Eurotas young maidens dance, like fillies raising dust,

1310 ἀμπάλλοντι πυκνὰ ποδοῖν
ἀγκονίωαι,
ταὶ δὲ κόμαι σείονθʼ ᾇπερ Βακχᾶν
θυρσαδδωᾶν καὶ παιδδωᾶν.
ἁγεῖται δʼ Λήδας παῖς
1315 ἁγνὰ χοραγὸς εὐπρεπής.
ἀλλʼ ἄγε κόμαν παραμπύκιδδε χερί, ποδοῖν τε πάδη
τις ἔλαφος· κρότον δʼ ἁμᾷ ποίει χορωφελήταν.
1310–1319

tossing their manes, like bacchants who play and wave their thyrsus stalks, brought on by Leda’s lovely child, their holy leader in the choral dance.

But come let your hands bind up your hair. Let your feet leap up like deer, sound out the beat to help our dance. Sing out a song of praise for our most powerful bronze-house goddess, all-conquering Athena!

[They all exit singing and dancing]
ENDNOTES
1320 καὶ τὰν σιὰν δʼ αὖ τὰν κρατίσταν Χαλκίοικον ὕμνει τὰν πάμμαχον.
Translation by Ian Johnston, Vancouver Island University
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Hall 1907
OCT
Hall & Geldart, OCT, 1907 · 1907
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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