The Madness
Χορός
815 ἔα ἔα·
ἆρʼ ἐς τὸν αὐτὸν πίτυλον ἥκομεν φόβου,
γέροντες, οἷον φάσμʼ ὑπὲρ δόμων ὁρῶ;
φυγῇ φυγῇ
νωθὲς πέδαιρε κῶλον, ἐκποδὼν ἔλα.
820 ὦναξ Παιάν,
ἀπότροπος γένοιό μοι πημάτων.
Ἶρις
θαρσεῖτε Νυκτὸς τήνδʼ ὁρῶντες ἔκγονον
Λύσσαν, γέροντες, κἀμὲ τὴν θεῶν λάτριν
Ἶριν· πόλει γὰρ οὐδὲν ἥκομεν βλάβος,
825 ἑνὸς δʼ ἐπʼ ἀνδρὸς σῶμα συστρατεύομεν,
ὅν φασιν εἶναι Ζηνὸς Ἀλκμήνης τʼ ἄπο.
πρὶν μὲν γὰρ ἄθλους ἐκτελευτῆσαι πικρούς,
τὸ χρή νιν ἐξέσῳζεν, οὐδʼ εἴα πατὴρ
Ζεύς νιν κακῶς δρᾶν οὔτʼ ἔμʼ οὔθʼ Ἥραν ποτέ·
830 ἐπεὶ δὲ μόχθους διεπέρασʼ Εὐρυσθέως,
Ἥρα προσάψαι καινὸν αἷμʼ αὐτῷ θέλει
παῖδας κατακτείναντι, συνθέλω δʼ ἐγώ.
ἀλλʼ εἶʼ, ἄτεγκτον συλλαβοῦσα καρδίαν,
Νυκτὸς κελαινῆς ἀνυμέναιε παρθένε,
835 μανίας τʼ ἐπʼ ἀνδρὶ τῷδε καὶ παιδοκτόνους
φρενῶν ταραγμοὺς καὶ ποδῶν σκιρτήματα
ἔλαυνε, κίνει, φόνιον ἐξίει κάλων,
ὡς ἂν πορεύσας διʼ Ἀχερούσιον πόρον
τὸν καλλίπαιδα στέφανον αὐθέντῃ φόνῳ
840 γνῷ μὲν τὸν Ἥρας οἷός ἐστʼ αὐτῷ χόλος,
μάθῃ δὲ τὸν ἐμόν· θεοὶ μὲν οὐδαμοῦ,
τὰ θνητὰ δʼ ἔσται μεγάλα, μὴ δόντος δίκην.
Λύσσα
ἐξ εὐγενοῦς μὲν πατρὸς ἔκ τε μητέρος
πέφυκα, Νυκτὸς Οὐρανοῦ τʼ ἀφʼ αἵματος·
845 τιμάς τʼ ἔχω τάσδʼ οὐκ ἀγασθῆναι φίλοις
οὐδʼ ἥδομαι φοιτῶσʼ ἐπʼ ἀνθρώπων φίλους,
παραινέσαι δέ, πρὶν σφαλεῖσαν εἰσιδεῖν,
Ἥρᾳ θέλω σοί τʼ, ἢν πίθησθʼ ἐμοῖς λόγοις.
ἀνὴρ ὅδʼ οὐκ ἄσημος οὔτʼ ἐπὶ χθονὶ
850 οὔτʼ ἐν θεοῖσιν, οὗ σύ μʼ ἐσπέμπεις δόμους·
ἄβατον δὲ χώραν καὶ θάλασσαν ἀγρίαν
ἐξημερώσας, θεῶν ἀνέστησεν μόνος
τιμὰς πιτνούσας ἀνοσίων ἀνδρῶν ὕπο·
σοί τʼ οὐ παραινῶ μεγάλα βούλεσθαι κακά.
Ἶρις
855 μὴ σὺ νουθέτει τά θʼ Ἥρας κἀμὰ μηχανήματα.
Λύσσα
ἐς τὸ λῷον ἐμβιβάζω σʼ ἴχνος ἀντὶ τοῦ κακοῦ.
Ἶρις
οὐχὶ σωφρονεῖν γʼ ἔπεμψε δεῦρό σʼ Διὸς δάμαρ.
Λύσσα
Ἥλιον μαρτυρόμεσθα δρῶσʼ δρᾶν οὐ βούλομαι.
εἰ δὲ δή μʼ Ἥρᾳ θʼ ὑπουργεῖν σοί τʼ ἀναγκαίως ἔχει
860 τάχος ἐπιρροίβδην θʼ ὁμαρτεῖν ὡς κυνηγέτῃ κύνας,
εἶμί γʼ· οὔτε πόντος οὕτως κύμασιν στένων λάβρως
οὔτε γῆς σεισμὸς κεραυνοῦ τʼ οἶστρος ὠδῖνας πνέων,
οἷʼ ἐγὼ στάδια δραμοῦμαι στέρνον εἰς Ἡρακλέους·
καὶ καταρρήξω μέλαθρα καὶ δόμους ἐπεμβαλῶ,
865 τέκνʼ ἀποκτείνασα πρῶτον· δὲ κανὼν οὐκ εἴσεται
παῖδας οὓς ἔτικτʼ ἐναίρων, πρὶν ἂν ἐμὰς λύσσας ἀφῇ.
ἢν ἰδού· καὶ δὴ τινάσσει κρᾶτα βαλβίδων ἄπο
καὶ διαστρόφους ἑλίσσει σῖγα γοργωποὺς κόρας.
ἀμπνοὰς δʼ οὐ σωφρονίζει, ταῦρος ὣς ἐς ἐμβολὴν
870 δεινός· μυκᾶται δὲ Κῆρας ἀνακαλῶν τὰς Ταρτάρου.
τάχα σʼ ἐγὼ μᾶλλον χορεύσω καὶ καταυλήσω φόβῳ.
στεῖχʼ ἐς Οὔλυμπον πεδαίρουσʼ, Ἶρι, γενναῖον πόδα·
ἐς δόμους δʼ ἡμεῖς ἄφαντοι δυσόμεσθʼ Ἡρακλέους.
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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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