Prologue
Διόνυσος
ἥκω Διὸς παῖς τήνδε Θηβαίων χθόνα
Διόνυσος, ὃν τίκτει ποθʼ Κάδμου κόρη
Σεμέλη λοχευθεῖσʼ ἀστραπηφόρῳ πυρί·
μορφὴν δʼ ἀμείψας ἐκ θεοῦ βροτησίαν
5 πάρειμι Δίρκης νάματʼ Ἰσμηνοῦ θʼ ὕδωρ.
ὁρῶ δὲ μητρὸς μνῆμα τῆς κεραυνίας
τόδʼ ἐγγὺς οἴκων καὶ δόμων ἐρείπια
τυφόμενα Δίου πυρὸς ἔτι ζῶσαν φλόγα,
ἀθάνατον Ἥρας μητέρʼ εἰς ἐμὴν ὕβριν.
10 αἰνῶ δὲ Κάδμον, ἄβατον ὃς πέδον τόδε
τίθησι, θυγατρὸς σηκόν· ἀμπέλου δέ νιν
πέριξ ἐγὼ ʼκάλυψα βοτρυώδει χλόῃ.
λιπὼν δὲ Λυδῶν τοὺς πολυχρύσους γύας
Φρυγῶν τε, Περσῶν θʼ ἡλιοβλήτους πλάκας
15 Βάκτριά τε τείχη τήν τε δύσχιμον χθόνα
Μήδων ἐπελθὼν Ἀραβίαν τʼ εὐδαίμονα
Ἀσίαν τε πᾶσαν, παρʼ ἁλμυρὰν ἅλα
κεῖται μιγάσιν Ἕλλησι βαρβάροις θʼ ὁμοῦ
πλήρεις ἔχουσα καλλιπυργώτους πόλεις,
20 ἐς τήνδε πρῶτον ἦλθον Ἑλλήνων πόλιν,
τἀκεῖ χορεύσας καὶ καταστήσας ἐμὰς
τελετάς, ἵνʼ εἴην ἐμφανὴς δαίμων βροτοῖς.
πρώτας δὲ Θήβας τῆσδε γῆς Ἑλληνίδος
ἀνωλόλυξα, νεβρίδʼ ἐξάψας χροὸς
25 θύρσον τε δοὺς ἐς χεῖρα, κίσσινον βέλος·
ἐπεί μʼ ἀδελφαὶ μητρός, ἃς ἥκιστα χρῆν,
Διόνυσον οὐκ ἔφασκον ἐκφῦναι Διός,
Σεμέλην δὲ νυμφευθεῖσαν ἐκ θνητοῦ τινος
ἐς Ζῆνʼ ἀναφέρειν τὴν ἁμαρτίαν λέχους,
30 Κάδμου σοφίσμαθʼ, ὧν νιν οὕνεκα κτανεῖν
Ζῆνʼ ἐξεκαυχῶνθʼ, ὅτι γάμους ἐψεύσατο.
τοιγάρ νιν αὐτὰς ἐκ δόμων ᾤστρησʼ ἐγὼ
μανίαις, ὄρος δʼ οἰκοῦσι παράκοποι φρενῶν·
σκευήν τʼ ἔχειν ἠνάγκασʼ ὀργίων ἐμῶν,
35 καὶ πᾶν τὸ θῆλυ σπέρμα Καδμείων, ὅσαι
γυναῖκες ἦσαν, ἐξέμηνα δωμάτων·
ὁμοῦ δὲ Κάδμου παισὶν ἀναμεμειγμέναι
χλωραῖς ὑπʼ ἐλάταις ἀνορόφοις ἧνται πέτραις.
δεῖ γὰρ πόλιν τήνδʼ ἐκμαθεῖν, κεἰ μὴ θέλει,
40 ἀτέλεστον οὖσαν τῶν ἐμῶν βακχευμάτων,
Σεμέλης τε μητρὸς ἀπολογήσασθαί μʼ ὕπερ
φανέντα θνητοῖς δαίμονʼ ὃν τίκτει Διί.
Κάδμος μὲν οὖν γέρας τε καὶ τυραννίδα
Πενθεῖ δίδωσι θυγατρὸς ἐκπεφυκότι,
45 ὃς θεομαχεῖ τὰ κατʼ ἐμὲ καὶ σπονδῶν ἄπο
ὠθεῖ μʼ, ἐν εὐχαῖς τʼ οὐδαμοῦ μνείαν ἔχει.
ὧν οὕνεκʼ αὐτῷ θεὸς γεγὼς ἐνδείξομαι
πᾶσίν τε Θηβαίοισιν. ἐς δʼ ἄλλην χθόνα,
τἀνθένδε θέμενος εὖ, μεταστήσω πόδα,
50 δεικνὺς ἐμαυτόν· ἢν δὲ Θηβαίων πόλις
ὀργῇ σὺν ὅπλοις ἐξ ὄρους βάκχας ἄγειν
ζητῇ, ξυνάψω μαινάσι στρατηλατῶν.
ὧν οὕνεκʼ εἶδος θνητὸν ἀλλάξας ἔχω
μορφήν τʼ ἐμὴν μετέβαλον εἰς ἀνδρὸς φύσιν.
55 ἀλλʼ, λιποῦσαι Τμῶλον ἔρυμα Λυδίας,
θίασος ἐμός, γυναῖκες, ἃς ἐκ βαρβάρων
ἐκόμισα παρέδρους καὶ ξυνεμπόρους ἐμοί,
αἴρεσθε τἀπιχώριʼ ἐν πόλει Φρυγῶν
τύμπανα, Ῥέας τε μητρὸς ἐμά θʼ εὑρήματα,
60 βασίλειά τʼ ἀμφὶ δώματʼ ἐλθοῦσαι τάδε
κτυπεῖτε Πενθέως, ὡς ὁρᾷ Κάδμου πόλις.
ἐγὼ δὲ βάκχαις, ἐς Κιθαιρῶνος πτυχὰς
ἐλθὼν ἵνʼ εἰσί, συμμετασχήσω χορῶν.
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Murray 1913
OCT
Murray, OCT, 1913 · 1913
The Editor

Gilbert Murray (1866–1957) was Regius Professor of Greek at the University of Oxford from 1908 to 1936. Born in Sydney, Australia, he became one of the most prominent Hellenists of his age — both as a scholar and as a public intellectual who used verse translations of Greek tragedy to bring ancient drama to modern audiences. His translations of Euripides were staged in London's West End to considerable popular success. Beyond classics, Murray was a committed internationalist who helped draft the League of Nations covenant and served as chairman of the League of Nations Union.

About This Edition

Murray's OCT of Euripides, published in three volumes (1902–1909, revised 1913), provided the first modern critical text of all surviving Euripidean plays based on systematic manuscript collation. Murray worked primarily from the two principal manuscript families — the "select" manuscripts (L and P, preserving ten plays with extensive scholia) and the "alphabetical" manuscripts (preserving an additional nine plays). His text is considered moderately interventionist: Murray was willing to accept conjectures from the great Dutch and German scholars of the 18th and 19th centuries where he judged the manuscript text corrupt. James Diggle's OCT (1981–1994) has now superseded Murray's for scholarly purposes, though Murray's remains widely cited.

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