Greek Homosexual Prostitution (Commentary on Against Timarchus)

Timarchus is accused of prostituting himself when he was younger; however, the severity of the crime does not necessarily lie within the act itself, but the corollary consequences that accompany the prostitution. Homosexual conduct between men was much more socially accepted than it is now, but there were specific rules about how one should conduct oneself in such a relationship. For the Athenians, there was a delineation between what is acceptable homosexual practice and what is not. According to Aeschines, Timarchus’ actions were a gross violation not only what is acceptable “prostitution,” but more importantly, what is acceptable behavior for an Athenian man, especially one who holds public office. To this effect Aeschines says, “Tell those who are guilty of crime against their own bodies not to inflict themselves upon you, but to cease addressing the assembly; for the law too investigates not those who live simply as private citizens but those who take part in political life.” (Aeschines 1958) Aeschines holds Timarchus’ accountable for his violations and prosecutes him so that men of wealth and privilege are not held above the law. Timarchus’ affront to his society, according to Aeschines, was not so much that he prostituted himself when he was younger, it was that he did so and then still took every advantage of his Athenian citizenship, like addressing the assembly as a public officer.
It seems like the speech is more a dialogue on what it means to be an Athenian and the privileges and responsibilities that accompany this status. Dover mentions prostitution as a somewhat acceptable means of income, but for foreigners. He says, “We have also seen good reason to believe that homosexual prostitution per se did not incur a penalty. We should expect in consequence that boys and men who made a living from homosexual prostitution would be predominantly non-Athenian.” (Dover 1978) So it is not the act of prostitution itself that illegal, but more so that an Athenian would disgrace his birthright to engage in such activities allotted for foreigners and slaves. In this way, the speech becomes a dialogue on birthright and social class and there is a double standard for Athenian prostitution. Freeborn men may take advantage of prostitution from slaves and foreigners, and Athenian men may engage in homosexual practices under certain conditions, but by no means can an Athenian hire another Athenian for prostitution nor may an Athenian hire himself out for prostitution to another Athenian. To this, Dover writes, “…so that any event which adversely affected the prosperity or character of a foreigner was less important than it would have been if it adversely affected a citizen in the same way and to the same extent.” (Dover 1978) These effronteries were considered a violation of hubris, which Dover speaks to in his essay, and which the Greeks held in such a high regard for themselves and for others. Acts of violence against women and even slaves were not tolerated and were punishable, and even more serious would be an act of violence toward oneself, which prostitution fell under this category.
To violate one’s body was a serious insult to one’s family. Aeschines mentions in his speech several times that Timarchus has “consumed his patrimony.” The fact that Timarchus had so wantonly disregarded the power of his citizenship to indulge in his greed and sexual lust was considered, according to Aeschines, to be one of the most severe criminal acts a citizen could do. The affront is twofold: first, Timarchus is risking himself being barred from the assembly and therefore potentially depriving the city from his advice. Second, he is earning an income that is not taxable by the state, and therefore, is not contributing to the welfare of the city. In this way, he is violating the public in two ways by engaging in unlawful activities in his private life. Aeschines alludes to this point of public versus private life. In the life of a rich Athenian, he is expected to be educated and then to use his education and privilege to make a positive contribution to his city. However, in Timarchus’ case, he squanders his birthright and makes no attempt at hiding his indiscretions. According to Aeschines, everyone knew that Timarchus was living with Megalos, and then took money from Hegesandrus among others. At least for professional prostitutes, as Aeschines says, “nevertheless make some attempt to cover their shame: they shut their doors.” (Aeschines 1958)
The problem is this: Timarchus engaged in homosexual practices that were not appropriate for a freeborn man. There was much room for homoerotic relationships in the Athenian culture, Aeschines himself even admits to engaging in an erastes/eromenos relationship from time to time, but this time of relationship differs greatly from the one in which Timarchus was involved. Regarding this delineation Aeschines writes, “The distinction is this: to be in love with those who are beautiful and chaste is the experience of a kind-hearted and generous soul; but to hire for money and to indulge in licentiousness is the act of a man who is wanton and ill-bred.” (Aeschines 1958) The speech against Timarchus gives us some insight into the culture of prostitution in Athens, but more insight into the power dynamic of relationships between Athenians and slaves, and between Athenians who are older and more powerful and those who are younger and more impressionable, and in what settings prostitution and homoerotic relationships are acceptable.
Aeschines (1958). The speeches of Aeschines, with an English translation by Charles Darwin Adams ... Against Timarchus, On the embassy, Against Ctesiphon. Cambridge, Mass.

Dover, K. J. (1978). Greek homosexuality. Cambridge, Mass., Harvard University Press.

My Oedipus at Colonus Translation (Lines 461-598)

ΧΟΡΟΣ
ἐπάξιος μέν, Οἰδίπους, κατοικτίσαι, αὐτός τε παῖδές θ᾽ αἵδ᾽ ἐπεὶ δὲ τῆςδε γῆς σωτῆρα σαυτὸν τῷδ᾽ἐπεμβάλλεις λόγῳ, παραινέσαι σοι βούλομαι τὰ σύμφορα.

Chorus
You are worthy of pity, Oedipus, for yourself and these children since you offer yourself as a guardian of this land by this speech, I wish to advise you accompanying things.

ΟΙΔΙΠΟΥΣ
ὦ φίλατθ᾽, ὡς νῦν πᾶν τελοῦντι προξένει.

Oedipus
O friend, speak as a host, as I will bring everything to completion.

ΧΟΡΟΣ
Θοῦ νῦν καθαρμὸν τῶνδε δαιμόνων, ἐφ᾽ ἅς τὸ πρῶτον ἵκου καὶ κατέστειψας πέδον.

Chorus
Perform now a purification for the gods for whom you first arrived and tread on their ground.

ΟΙΔΙΠΟΥΣ
Τρόποισι ποίοις; ὦ ξένοι, διδάσκετε.

Oedipus
In what manner, strangers, tell me!

ΧΟΡΟΣ
Πρὦτον μὲν ἱερὰς ἐξ ἀειρύτου χοὰς κρήνης ἐνεγκοῦ, δι᾽ ὁσίων χειρῶν θιγών.

Chorus
First bring the sacred libations from an ever-flowing stream, laying hold of it with holy hands.

ΟΙΔΙΠΟΥΣ
ὅταν δὲ τοῦτο χεῦμ᾽ ἀκήρατον λάβω;

Oedipus
When I have taken (this) casting (my hands) on this pure (liquid)?

ΧΟΡΟΣ
Κρατῆρές εἰσιν, ἀνδρὸς εὔχειρος τέχνη, ὧν κρᾶτ᾽ ἔρεψον καὶ λαβὰς ἀμφιστόμους.

Chorus
There are mixing bowls, the skill of talented man, with which cover the top and take both handles.


ΟΙΔΙΠΟΥΣ
Θαλλοῖσιν, ἤ κρόκαισιν, ἤ ποίῳ τρόπῳ;

Oedipus
With twigs or wools, or in what way?

ΧΟΡΟΣ
Οἰὸς νεώρους νεοπόκῳ μαλλῷ λαβών.

Chorus
Taking with the newly sheared wool of a sheep.

ΟΙΔΙΠΟΥΣ
Εἶἑν τὸ δ᾽ ἔνθεν ποῖ τελευτῆσαί με χρή;

Oedipus
So be it. How must I complete it here?

ΧΟΡΟΣ
Χοὰς χέασθαι στάντα πρὸς πρώτην ἕω.

Chorus
(You must) pour the libation, standing before first light.

ΟΙΔΙΠΟΥΣ
ἦ τοῖςδε κρωσσοῖς οἷς λέγεις χέω τάδε;

Oedipus
Shall I pour it with the buckets you speak of?

ΧΟΡΟΣ
Τρισσἀς γε πηγάς τὸν τελευταῖον δ᾽ ὅλον.

Chorus
Three streams, and the final one entirely.

ΟΙΔΙΠΟΥΣ
Τοῦ τόνδε πλήσας; προσδίδασκε καὶ τόδε.

Oedipus
Filled with what? Tell me!

ΧΟΡΟΣ
ὕδατος, μελίσσης μηδὲ προσφέρειν μέθυ.

Chorus
Water, honey, but don’t offer wine!

ΟΙΔΙΠΟΥΣ
ὅταν δὲ τούτων γῆ μελάμφυλλος τύχῃ;

Oedipus
And what happens when the land black with foliage (receives this)?

ΧΟΡΟΣ
Τρὶς ἐννέ᾽ αὐτῇ κλῶνας ἐξ ἀμφοῖν χεροῖν τιθεὶς ἐλαίας τάσδ᾽ ἐπεύχεσθαι λιτάς

Chorus
Place three times nine twigs of olive wood and utter these prayers

ΟΙΔΙΠΟΥΣ
Τούτων ἀκοῦσαι βούλομαι μέγιστα γάρ.

Oedipus
I wish to hear this, for it is of the greatest (importance)!

ΧΟΡΟΣ
ὥς σφας καλοῦμεν Εὐμενίδας, ἐξ εὐμενῶν στέρνων δέχεσθαι τὸν ἱκέτην σωτηρίους αἰτοῦ σύ τ᾽ αὐτὸς κεἴ τις ἄλλος ἀντὶ σοῦ, ἄπυστα φωνῶν μηδὲ μηκύνων βοήν. ἔπειτ᾽ ἀφέρπειν ἄστροφος. Καὶ ταῦτά σοι δράσαντι θαρσῶν ἄν παρασταίην ἐγώ, ἄλλως δὲ δειμαίνοιμ᾽ ἄν, ὦ ξέν᾽, ἀμφὶ σοί.

Chorus
We call them the Eumenides, that they receive the holy suppliant with kind hearts protecting (him) and do you ask yourself if there is any one else on behalf of you, speaking softly and not prolonging an outcry. Then retreat without turning around! For doing these things I would stand by you with courage, otherwise, stranger,
I would be afraid for you!

ΟΙΔΙΠΟΥΣ
ὦ παῖδε, κλύετον τῶνδε προσχώρων ξένων;

Oedipus
Oh children, do you hear the words of the neighboring strangers?

ΙΣΜΗΝΗ
ἠκούσαμέν τε χὤ τι δεῖ πρόστασσε δρᾶν.

Ismene
We have heard it; assign us something necessary to do!

ΟΙΔΙΠΟΥΣ
ἐμοὶ μὲν οὐχ ὁδωτά λείπομαι γὰρ ἐν τῷ μὴ δύνασθαι μηδ᾽ ὁρᾶν, δυοῖν κακοῖν σφῷν δ᾽ ἡτέρα μολοῦσα πραξάτω τάδε. ἀρκεῖν γὰρ οἶμαι κἀντὶ μυρίων μίαν ψυχὴν τάδ᾽ ἐκτίνουσαν, ἤν εὔνους παρῇ. ἀλλ᾽ ἐν τάχει τι πράσσετον μόνον δέ με μὴ λείπετ᾽. Οὐ γὰρ ἄν σθένοι τοὐμὸν δέμας ἐρῆμον ἕρπειν οὐδ᾽ ὑφηγητοῦ δίχα.

Oedipus
It is not practical for me for I lack strength and sight, two afflictions; but let one of the two of you perform these things going. For I think one soul can suffice to make a payment of countless (numbers), who is present with a good thoughts. But perform this thing quickly and do not forsake me alone for my body has no strength to crawl deserted or without a guide.

ΙΣΜΗΝΗ
ἀλλ᾽ εἶμ᾽ ἐγὼ τελοῦσα τὸν τόπον δ᾽ ἵνα χρἤσται μ᾽ ἐφευρεῖν, τοῦτο βούλομαι μαθεῖν.

Ismene
I will complete (the rite) and I wish to learn the place so that I can find where I must (perform).

ΧΟΡΟΣ
Τοὐκεῖθεν ἄλσους, ὦ ξένη, τοῦδ᾽ ἤν δέ του σπάνιν τιν᾽ ἴσχῃς, ἔστ᾽ ἔποικος, ὅς φράσει.

Chorus
On the other side of the grove, stranger, and if there is something you need, there is a settler there who instruct you.

ΙΣΜΗΝΗ
Χωροῖμ᾽ ἄν ἐς τόδ᾽ Ἀντιγόνη, σὺ δ᾽ ἐνθάδε φύλασσε πατέρα τόνδε τοῖς τεκοῦσι γὰρ οὐδ᾽ εἰ πονῇ τις, δεῖ πόνου μνήμην ἔχειν.

Ismene
I will withdraw to do it! Antigone, you (stay) here and guard our father for if someone bears a burden for them, they must not remember that they have a trouble.

ΧΟΡΟΣ
Δεινὸν μὲν τὸ πάλαι κείμενον ἤδη κακόν, ὦ ξεῖν᾽, ἐπεγείρειν ὄμως δ᾽ ἔραμαι πυθέσθαι

Chorus
It is terrible, stranger, to awaken an evil asleep for so long, nevertheless I wish to learn

ΟΙΔΙΠΟΥΣ
Τί τοῦτο;

Oedipus
What is this?

ΧΟΡΟΣ
Τᾶς δειλαίας ἀπόρου φανείσας ἀλγηδόνος, ᾇ ξυνέστας.

Chorus
Of the wretched things having appeared useless with which you arose.

ΟΙΔΙΠΟΥΣ
Μὴ πρὸς ξενίας ἀνοίξῃς τᾶς σᾶς ἇ πέπονθ᾽ ἀναιδῶς.

Oedipus
In the name of hospitality, do not reveal what I have suffered so shamefully!

ΧΟΡΟΣ
Τό τοι πολὺ καὶ μηδαμὰ λῆγον χρῄζω, ξεῖν᾽, ὀρθὸν ἄκουσμ᾽ ἀκοῦσι.

Chorus
(The story) is great and does not cease to exist and I want to hear it told correctly.

ΟΙΔΙΠΟΥΣ
ὤμοι.

Oedipus
Ah me!

ΧΟΡΟΣ
Στέρξον, ἱκετεύω.

Chorus
Be content with me, I beseech you!

ΟΙΔΙΠΟΥΣ
Φεῦ φεῦ

Oedipus
Woe, woe!

ΧΟΡΟΣ
Πείθου κἀγὼ γὰρ ὅσον σὺ προσχρήζεις.

Chorus
Be persuaded, for you are granted with whatever (you desire).

ΟΙΔΙΠΟΥΣ
ἤνεγκον κακότατ᾽, ὦ ξένοι, ἤνεγκον ἑκὼν μέν, θεὸς ἴστω τούτων δ᾽ αὐθαίρετον οὐδέν.

Oedipus
I endured the most evil things, stranger, I willingly endured it, let the gods stand by it, but it was not self-elected.

ΧΟΡΟΣ
ἀλλ᾽ ἐς τί;

Chorus
But why?

ΟΙΔΙΠΟΥΣ
Κακᾷ μ᾽ εὐνᾷ πόλις οὐδὲν ἴδριν γάμων ἐνέδησεν ἄτᾳ.

Oedipus
The city bound me, not knowingly, to an evil bed, to the ruin of marriage.

ΧΟΡΟΣ
ἦ μητρόθεν, ὡς ἀκούω, δυσώνυμα λέκτρ᾽ ἐπλήσω;

Chorus
Was it your mother, as I heard, who shared your evil-named bed?

ΟΙΔΙΠΟΥΣ
ὤμοι, θάνατος μὲν τάδ᾽ ἀκούειν, ὦ ξεῖν᾽ αὗται δὲ δύ᾽ ἐξ ἐμοῦ

Oedipus
Ah men, to hear this is death, stranger, and these two came from me.

ΧΟΡΟΣ
Πῶς φής;

Chorus
How do you say?

ΟΙΔΙΠΟΥΣ
Παῖδε, δύο δ᾽ ἄτα

Oedipus
The children, two curses.

ΧΟΡΟΣ
ὦ Ζεῦ.

Chorus
O Zeus!

ΟΙΔΙΠΟΥΣ
Ματρὸς κοινᾶς ἀπέβλαστον ὠδῖνος.

Oedipus
They were sprung from the mutual pains of my mother!

ΧΟΡΟΣ
Σοί γ᾽ ἆρ ἀπόγονοί τ᾽ εἰσὶ καὶ

Chorus
So they are your daughters and also -

ΟΙΔΙΠΟΥΣ
Κοιναί γε πατρὸς ἀδελφεαί.

Oedipus
Sisters to their father!

ΧΟΡΟΣ
ἰω.

Chorus
Ah!

ΟΙΔΙΠΟΥΣ
ἰὼ δῆτα μυρίων γ᾽ ἐπιστροφαὶ κακῶν.

Oedipus
Oh countless turnings of evil!

ΧΟΡΟΣ
ἔπαθες

Chorus
You suffered -

ΟΙΔΙΠΟΥΣ
ἔπαθον ἄλαστ᾽ ἔχειν.

Oedipus
I suffered unforgettable (woes)!

ΧΟΡΟΣ
ἔρεξας

Chorus
You did -

ΟΙΔΙΠΟΥΣ
Οὐκ ἔρεξα.

Oedipus
I never did -

ΧΟΡΟΣ
Τί γάρ;

Chorus
Why?

ΟΙΔΙΠΟΥΣ
ἐδεξάμην δῶρον, ὅ μήποτ᾽ ἐγὼ ταλακάρδιος ἐπωφελήσας ὄφελον ἐξελέσθαι.

Oedipus
I received a gift, being of good will, which I should have never taken having helped.

ΧΟΡΟΣ
Δύστανε, τί γάρ; ἔθου φόνον

Chorus
Miserable one, what then, you committed murder -

ΟΙΔΙΠΟΥΣ
Τί τοῦτο; τί δ᾽ ἐλθέλεις μαθεῖν;

Oedipus
What is this? What do you want to learn?

ΧΟΡΟΣ
Πατρός;

Chorus
Your father?

ΟΙΔΙΠΟΥΣ
Παπαῖ, δευτέραν ἔραισας, ἐπὶ νόσῳ νόσον.

Oedipus
Woe! You struck again, insult to injury!

ΧΟΡΟΣ (545)
ἔκανες

Chorus
You killed -

ΟΙΔΙΠΟΥΣ
ἔκανον. ἔκει δέ μοι

Oedipus
I killed. I have -

ΧΟΡΟΣ
Τί τοῦτο;

Chorus
What is this?

ΟΙΔΙΠΟΥΣ
Πρὸς δίκας τι.

Oedipus
A defense.

ΧΟΡΟΣ
Τί γάρ;

Chorus
What?

ΟΙΔΙΠΟΥΣ
ἐγὼ φράσω ἄτᾳ ἁλοὺς ἐφόνευσ᾽ ἀπό τ᾽ ὤλεσα, νόμῳ δὲ καθαρός ἄιδρις ἐς τόδ᾽ ἦλθον.

Oedipus
I will tell you. I murdered the ones who destroyed me but according to the law I am clean.

ΧΟΡΟΣ
Καὶ μὴν ἄναξ ὅδ᾽ ἡμὶν Αἰγέως γόνος Θησεὺς κατ᾽ ὀμφὴν σὴν ἀποσταλεὶς πάρα.

Chorus
And here is our leader, son of Aegeus, who was sent for according to your voice.

ΘΗΣΕΥΣ
Πολλῶν ἀκούων ἔν τε τῷ πάρος χρόνῳ τὰς αἱματηρὰς ὀμμάτων διαφθορὰς ἔγνωκά σ᾽, ὦ παῖ Λαΐου, τανῦν θ᾽ ὁδοῖς ἐν ταῖσδε λεύσσων μᾶλλον ἐξεπίσταμαι. Σκευή τε γάρ σε καὶ τὸ δύστηνον κάρα δηλοῦτον ἡμῖν ὄνθ᾽ ὅς εἶ, καί σ᾽ οἰκτίσας θέλω ᾽περέσθαι, δύσμορ᾽ Οἰδίπους, τίνα πόλεως ἐπέστης προστροπὴν ἐμοῦ τ᾽ ἔχων, αὐτός τε χἠ σὴ δύσμορος παραστάτις. Δίδασκε δεινὴν γάρ τιν᾽ ἄν πρᾶξιν τύχοις λέξας ὁποίας ἐξαφισταίμην ἐγώ ὅς οἶδά γ᾽ αὐτὸς ὡς ἐπαιδεύθην ξένος, ὥσπερ σύ, χὠς εἷς πλεῖστ᾽ ἀνὴρ ἐπὶ ξένης ἤθλησα κινδυνεύματ᾽ ἐν τὠμῷ κάρᾳ, ὥστε ξένον γ᾽ ἄν οὐδέν᾽ ὄνθ᾽, ὥσπερ σὺ νῦν, ὑπεκτραποίμην μὴ οὐ συνεκσῴζειν ἐπεὶ ἔξοιδ᾽ ἀνὴρ ὤν χὤτι τῆς εἰς αὔριον οὐδὲν πλέον μοι σοῦ μέτεστιν ἡμέρας.

Theseus
Hearing many things in the past about the bloodshed destruction of your eyes, I know you, son of Laius, and now that I see in this journey I know even better. For your attire and your miserable face make it clear to us that you are who you are and having pity for you I wish to ask you, o miserable Oedipus, what kind of turning (request) do you have for the city and for me standing there as you are with your miserable assistant. Tell me! For you would have to offer something terrible having spoken the sort that I may turn away which I know since I was taught in exile just like you, and in my exile I wrestled with many hardships in my life such that a stranger has never done, just as you now, I would not turn away to help you since I know that I am a man and that I have no greater share in tomorrow than you.

ΟΙΔΙΠΟΥΣ
Θησεῦ, τὸ σὸν γενναῖον ἐν σμικρῷ λόγῳ παρῆκεν ὥστε βραχέ᾽ ἐμοὶ δεῖσθαι φράσαι. Σὺ γάρ μ᾽ ὅς εἰμι κἀφ᾽ ὅτου πατρὸς γεγὼς καὶ γῆς ὁποίας ἦλθον, εἰρηκὼς κυρεῖς ὥστ᾽ ἐστί μοι τὸ λοιπὸν οὐδὲν ἄλλο πλὴν εἰπεῖν ἅ χρῄζω, χὠ λόγος διοίχεται.

Oedipus
Theseus, your nobility has been presented in a short speech such that I have little to say. For you have spoken of who I am and of my father and the sort of land I am coming from such that there is nothing remaining to say other than what I need, the speech has ended.

ΘΗΣΕΥΣ
Τοῦτ᾽ αὐτὸ νῦν δίδασχ᾽, ὅπως ἄν ἐκμάθω.

Theseus
Explain this, however I may learn it.

ΟΙΔΙΠΟΥΣ
Δώσων ἱκάνω τοὐμὸν ἄθλιον δέμας σοί, δῶρον οὐ σπουδαῖον εἰς ὄψιν τὰ δὲ κέρδη παρ᾽ αὐτοῦ κρείσσον᾽ ἤ μορφὴ καλή.

Oedipus
I come giving you my miserable body, a gift not worth attention to look at but the advantages will gain (you) more than a beautiful form.

ΘΗΣΕΥΣ
Ποῖον δὲ κέρδος ἀξιοῖς ἥκειν φέρων;

Theseus
What kind of advantage do you infer bringing here?

ΟΙΔΙΠΟΥΣ
Χρόνῳ μάθοις ἄν, οὐχὶ τῷ παρόντι που.

Oedipus
In time you will learn, but not right now.

ΘΗΣΕΥΣ
Ποίῳ γὰρ ἡ σὴ προσφορὰ δηλώσεται;

Theseus
At what time will your offering be made clear?

ΟΙΔΙΠΟΥΣ
ὅταν θάνω ᾽γὼ καὶ σύ μου ταφεὺς γένῃ.

Theseus
(Your advantage) demands the final things of life, but in the middle you forget or make it (worth) nothing.

ΟΙΔΙΠΟΥΣ
ἐνταῦθα γάρ μοι κεῖνα συγκομίζεται.

Oedipus
For I heap these things together.

ΘΗΣΕΥΣ
ἀλλ᾽ ἐν βραχεῖ δὴ τήνδε μ᾽ ἐξαιτῇ χάριν.

Theseus
But in brief you ask me this favor.

ΟΙΔΙΠΟΥΣ
ὅρα γε μήν οὐ σμικρός, οὔχ, ἁγὼν ὅδε.

Oedipus
Behold! It is no small contest.

ΘΗΣΕΥΣ
Πὸτερα τὰ τῶν σῶν ἐκγόνων ἤ τοῦ λέγεις;

Theseus
Do you speak of either of your sons or whom?

ΟΙΔΙΠΟΥΣ
Κεῖνοι βαδίζειν κεῖσ᾽ ἀναγκάσουσί με.

Oedipus
They will compel me to go there.

ΘΗΣΕΥΣ
ἀλλ᾽ εἰ θέλοντά γ᾽, οὐδὲ σοὶ φεύγειν καλόν.

Theseus
But if you are willing, it is not right for you to flee.

ΟΙΔΙΠΟΥΣ
ἀλλ᾽ οὐδ᾽, ὅτ᾽ αὐτὸς ἤθελον, παρίεσαν.

Oedipus
But they didn’t wish me to remain when I wished to do so!

ΘΗΣΕΥΣ
ὦ μῶρε, θυμὸς δ᾽ ἐν κακοῖς οὐ ξύμφορον.

Theseus
Fool! A soul in distress doesn’t accompany (advantage).

ΟΙΔΙΠΟΥΣ
ὅταν μάθῃς μου, νουθέτει, τανῦν δ᾽ ἔα.

Oedipus
When you learn about me, then admonish me, allow me this now.

ΘΗΣΕΥΣ
Δίδασκ᾽ ἄνευ γνώμης γὰρ οὔ με χρὴ ψέγειν.

Theseus
Tell me for without knowledge it isn’t necessary for me to rebuke you.

ΟΙΔΙΠΟΥΣ
Πέπονθα, Θησεῦ, δεινὰ πρὸς κακοῖς κακά.

Oedipus
I have suffered, Theseus, terrible evils upon evils!

ΘΗΣΕΥΣ
ἦ τὴν παλαιὰν ξυμφορὰν γένους ἐρεῖς;

Theseus
Will you now speak of the ancient misfortune of you family?

ΟΙΔΙΠΟΥΣ
Οὐ δῆτ ἐπεὶ πᾶς τοῦτό γ᾽ Ἑλλήνων θροεῖ.

Oedipus
No! since every Greek cries aloud about it.

ΘΗΣΕΥΣ
Τί γὰρ τὸ μεῖζον ἤ κατ᾽ ἄνθρωπον νοσεῖς;

Theseus
What then do you suffer that is greater than any other man’s?

My Oedipus at Colonus Translation (Lines 299-460)

ΟΙΔΙΠΟΥΣ
ἦ καὶ δοκεῖτε τοῦ τυφλοῦ τιν᾽ ἐντροπὴν ἤ φροντίδ᾽ ἕξειν, αὐτὸν ὥστ᾽ ἐλθεῖν πέλας;

Oedipus
Does it seem like he has any regard or thoughts for a blind man, such that he will come near?

ΧΟΡΟΣ
Καὶ κάρθ᾽, ὅταν περ τοὔνομ᾽ αἴσθηται τὸ σόν.

Chorus
Indeed, when he hears your name.

ΟΙΔΙΠΟΥΣ
Τίς δ᾽ ἔσθ᾽ ὁ κείνῳ τοῦτο τοὔπος ἀγγελῶν;

Oedipus
Who is the one bringing the message?

ΧΟΡΟΣ
Μακρὰ κέλευθος πολλὰ δ᾽ἐμπόρων ἔπη φιλεῖ πλανᾶσθαι, τῶν ἐκεῖνος ἀίων, θάρσει, παρέσται. Πολὺ γάρ, ὦ γέρον, τὸ σὸν ὄνομα διήκει πάντας, ὥστε κεἰ βραδὺς εὕδει, κλυών σου δεῦρ᾽ ἀφίξεται ταχύς.

Chorus
The distance is long; many epochs of travelers desire to wander, when hearing this, take courage, he will be here. For you name, old man, has extended greatly to many, so that if he sleeps slowly, hearing about you he will arrive quickly.

ΟΙΔΙΠΟΥΣ
ἀλλ εὐτυχὴς ἵκοιτο τῇ θ᾽αὑτοῦ πόλει ἐμοί τε τίς γὰρ ἐσθλὸς οὐχ αὑτῷ φίλος;

Oedipus
Let fortune come for the city and me; for what good man is not a friend to himself?

ΑΝΤΙΓΟΝΗ
ὦ Ζεῦ, τί λέξω; ποῖ φρενῶν ἔλθω, πάτερ;

Antigone
Oh Zeus, what will I say? Where will thoughts go, father?

ΟΙΔΙΠΟΥΣ
Τί δ᾽ ἔστι, τέκνον Ἀντιγόνη;

Oedipus
What is it, child?

ΑΝΤΙΓΟΝΗ
Γυναῖχ᾽ὁρῶ στείζουσαν ἡμῶν ἆσσον, Αἰτναίας ἐπὶ πώλου βεβῶσαν κρατὶ δ᾽ ἡλιοστερὴς κυνῆ πρόσωπα Ξεσσαλίς νιν ἀμπέχει. Τί φωνῶ; ἆρ᾽ ἔστιν; ἆρ᾽ οὐκ ἔστιν; ἦ γνώμη πλανᾷ; καὶ φημὶ κἀπόφημι κοὐκ ἔχω τί φῶ. Τἀλαινα, οὺκ ἔστιν ἄλλη. Φαιδρὰ γοῦν ἀπ᾽ ὀμμάτων σαίνει με προστείχουσα σημαίνει δ᾽ ὅτι μόνης τόδ᾽ ἐστί, δῆλον, Ἰσμήνης κάρα.

Antigone
I see a woman coming near us, riding an Etnean colt; and a Thessalian sunhat on her head hides her face; what will I say? Is it, or is it not? Do my thoughts wander? I say yes or no, and I don’t know what to say. Poor wretch, it is not the other. So approaching me she greets with her eyes and indicates that it is clear it is only one, Ismene!

ΟΙΔΙΠΟΥΣ
Πὼς εἶπας, ὦ παῖ;

Oedipus
What did you say child?

ΑΝΤΙΓΟΝΗ
Παὶδα σήν, ἐμὴν δ᾽ ὁρᾶν ὅμαιμον αὐδῇ δ᾽ αὐτίκ᾽ ἔξεστιν μαθεῖν.

Antigone
I see you daughter and my sister, and now we are able to know her by voice.

ΙΣΜΗΝΗ
ὦ δισσὰ πατρὸς καὶ κασιγνήτης ἐμοὶ ἥδιστα προσξωνήμαθ᾽, ὡς ὑμᾶς μόλις εὑροῦσα λύπῃ δεύτερον μόλις βλέπω.

Ismene
O father and sister, most delightful to address, it has been difficult to find you and difficult to look at you two, with pain of my body!

ΟΙΔΙΠΟΥΣ
ὦ τέκνον, ἥκεις;

Oedipus
Child, have you come?

ΙΣΜΗΝΗ
ὦ πάτερ δύσμορφ᾽ ὁρᾶν.

Ismene
Father you are a terrible sight!

ΟΙΔΙΠΟΥΣ
Τέκνον, πέφηνας;

Oedipus
Child, have you appeared?

ΙΣΜΗΝΗ
Οὐκ ἄνευ μόχθου γ᾽ἐμοῦ.

Ismene
Not without trouble for me.

ΟΙΔΙΠΟΥΣ
Πρόσψαυσον, ὦ παῖ.

Oedipus
Touch me, my child!

ΙΣΜΗΝΗ
Θιγγάνω δυοῖν ὁμοῦ.

Ismene
I will touch you both together!

ΟΙΔΙΠΟΥΣ
ὦ σπέρμ᾽ ὅμαιμον.

Oedipus
O children of my kin.

ΙΣΜΗΝΗ
ὦ δυσάθλιαι τροφαί.

Ismene
Oh unhappy state!

ΟΙΔΙΠΟΥΣ
ἦ τῆςδε κἀμοῦ;

Oedipus
Hers or mine?

ΙΣΜΗΝΗ
Δυσμόρου τ᾽ ἐμου τρίτης.

Ismene
All three, since I am miserable myself.

ΟΙΔΙΠΟΥΣ
Τέκνον, τί ἦλθες;

Oedipus
Child, why have you come?

ΙΣΜΗΝΗ
Σῇ, πάτερ, προμηθίᾳ.

Ismene
For you, father, with concern.

ΟΙΔΙΠΟΥΣ
Πότερα πόθοισι;

Oedipus
With longing?

ΙΣΜΗΝΗ
Καὶ λόγων γ᾽ αὐτάγγελος, ξὺν ᾧπερ εἶχον οἰκετῶν πιστῷ μόνῳ.

Ismene
Yes, and I have news to bring you, together with the only faithful servant I have.

ΟΙΔΙΠΟΥΣ
Οἱ δ᾽ αὐθόμαιμοι ποῦ νεανίαι πονεῖν;

Oedipus
But where are your relatives to share (the burden);

ΙΣΜΗΝΗ
Εἴσ᾽ οὗπέρ εἰσι δεινὰ τἀν κείνοις τανῦν.

Ismene
They are where they are. Things are terrible for them as well.

ΟΙΔΙΠΟΥΣ
ὤ πάντ᾽ ἐκείνω τοῖς ἐν Αἰγύπτῳ νόμοις φύσιν κατεικασθέντε καὶ βίου τροφάς ἐκεῖ γὰρ οἱ μὲν ἄρσενες κατὰ στέγας θακοῦσιν ἱστουργοῦντες, αἱ δὲ σύννομοι τἄξω βίου τροφεῖα πορσύνουσ᾽ ἀεί. Σφῷν δ᾽, ὦ τέκν᾽, οὕς μὲν εἰκὸς ἦν πονεῖν τάδε, κατ᾽ οἶκον οἰκουροῦσιν ὤστε παρθένοι, σφὼ δ᾽ ἀντ᾽ ἐκείνοιν τἀμὰ δυστήνου κακὰ ὑπερπονεῖτον. ἥ μὲν ἐξ ὅτου νεάς τροφῆς ἔληξε καὶ κατίσχυσεν δέμας, ἀεὶ μεθ᾽ ἡμῶν δύσμορος πλανωμένη, γερονταγωγεῖ. Πολλὰ μὲν κατ᾽ ἀγρίαν ὕλην ἅσιτος νηλίπους τ᾽ ἀλωμένη, πολλοῖσι δ᾽ ὄμβροις ἡλίου τε καύμασι μοχθοῦσα τλήμων δεύτερ᾽ ἡγεῖται τὰ τῆς οἴκοι διαίτης, εἰ πατὴρ τροφὴν ἔχοι. Σὺ δ᾽, ὦ τέκνον, πρόσθεν μὲν ἐξίκου πατρὶ μαντεῖ᾽ ἄγουσα πάντα, Καδμείων λάθρᾳ, ἅ τοῦδ᾽ ἐχρήσθη σώματος, φύλαξ δέ μοι πιστὴ κατέστης, γῆς ὅτ᾽ἐξηλαυνόμην νῦν δ᾽ αὖ τίν᾽ ἤκεις μῦθον, Ἰσμήνη, πατρὶ φέρουσα; τίς σ᾽ ἐξῆρεν οἵκοθεν στόλος; ἥκεις γὰρ οὐ κενή γε, τοῦτ᾽ ἐγὼ σαφῶς ἔξοιδα μή που δεῖμ᾽ ἐμοὶ φέουσά τι;

Oedipus
Those two conform to the laws prevailing in Egypt in their nature and the nurture of the lives! For there the men sit in their houses sitting and working at the loom, and their partners provide the necessities for life outside. For you my children, who ought to work, sit at home like maidens, while you two labor for the things or your miserable father, always wandering with me, guiding an old man; wandering through the wild forest unfed and barefooted, suffering under rain and scorching heat of the sun, the wretched one gives second place to the comforts of home, if she has nurture for her father. You, child, came before, unbeknown to the Cadmeans, bringing many oracles to your father, which had been said with respect to the body, and when I was driven out of the land, you were my faithful guardian, and now you come with what news, Ismene, to bring to your father? What mission sent you from home? For you come not empty-handed, this I know well; are you bringing to me some cause for fear?

ΙΣΜΗΝΗ
ἐγὼ τὰ μὲν παθήμαθ᾽ ἅπαθον, πάτερ, ζητοῦσα τὴν σὴν ποῦ κατοικοίκης τροφήν, παρεῖσ᾽ ἐάσω. Δὶς γὰρ οὐχὶ βούλομαι πονοῦσά τ᾽ ἀλγεῖν καὶ λέγουσ᾽ αὗθις πάλιν. ἅ δ᾽ ἀμφὶ τοῖν σοῖν δυσμόροιν παίδοιν κακὰ νῦν ἐστι, τἀυτα σημανοῦσ᾽ ἐλήλυθα. Πρὶν μὲν γὰρ αὐτοῖς ἤρεσεν Κρέοντί τε θρόνους ἐᾶσθαι μηδὲ χραίνεσθαι πόλιν, λόγῳ σκοποῦσι τὴν πάλαι γένους φθοράν, οἴα κατέσχε τὸν σὸν ἄθλιον δόμον νῦν δ᾽ ἐκ θεῶν του κἀξ ἀλειτηρου φρενὸς εἰσῆλθε τοῖν τρὶς ἀθλίον ἔρις κακή, ἀρχῆς λαβέσθαι καὶ κράτους τυραννικοῦ. Χὠ μὲν νεάζων καὶ χρόνῳ μείων γεγὼς τὸν πρόσθε γεννηθέντα Πολυνείκη θρόνων ἀποστερίσκει κἀξελήλακεν πάτρας. ὀ δ᾽, ὡς καθ᾽ ἡμας ἐσθ᾽ ὁ πληθύων λόγος, τὸ κοῖλον Ἄργος βὰς φυγάς, προσλαμβάνει κῆδός τε καινὸν καὶ ξυνασπιστὰς φίλους, ὡς αὐτίκ᾽ αὐτὸς ἤ πρὸς οὐρανὸν βιβῶν. Ταὐτ᾽ οὐκ ἀριθμός ἐστιν, ὦ πάτερ, λόγων, ἀλλ᾽ ἔργα δεινά τοὺς δὲ σοὺς ὅπῃ θεοὶ πόνους κατοικτιοῦσιν οὐκ ἔχω μαθεῖν.

Ismene
The sufferings I have endured, father, looking for the nourishment where you settled I will allow and let go. For I do not wish to suffer pains and speak them again. I have come to give to you the evils now which are on both of your sons now. First the agreed that the throne be left to Creon and the city to be spared, for they thought of the destruction of the race long ago, who oppressed your miserable house but now contention from the gods and of their sinning minds came to the three wretched ones to have taken rule and tyrannical power. The younger one has stripped the older one Polynices, of his throne, making him inferior having driven him out of the fatherland. And he, as the story is according to us, fled as an exile to hollow Argos, taking care and acquiring friendly friends, in order to hold down the land of Cadmea with honor, or to go to heaven. But this is not a number of words, father, but terrible deeds. When the gods take pity on your sorrows I don’t want to learn the consequences.

ΟΙΔΙΠΟΥΣ
ἤδη γὰρ ἔσχες ἐλπίδ᾽ ὡς ἐμοῦ θεοὺς ὤραν τιν᾽ ἕξειν, ὥστε σωθῆναί ποτε;

Oedipus
For do you now have hope that the gods have a care, with the result that I might be saved?

ΙΣΜΗΝΗ
ἔγωγε τοῖς νῦν, ὦ πάτερ, μαντεύμασιν.

Ismene
Now yes, father, from the prophecies.

ΟΙΔΙΠΟΥΣ
Ποίοισι τούτοις; τί δὲ τεθέσπισται, τέκνον;

Oedipus
What are these? What have they prophesized, child?

ΙΣΜΗΝΗ
Σὲ τοῖς ἐκεῖ ζητητὸν ἀνθρώποις ποτὲ θανόντ᾽ ἔσεσθαι ζῶντά τ᾽ εὐσοίας χάριν.

Ismene
That you will one day be sought by the people in death and in life or the sake of happiness.

ΟΙΔΙΠΟΥΣ
Τίς δ᾽ ἄν τοιοῦδ᾽ ὑπ᾽ ἀνδρὸς εὖ πράξειεν ἄν;

Oedipus
Who could obtain this as a man?

ΙΣΜΗΝΗ
ἐν σοὶ τὰ κείνων φασὶ γίγνεσθαι κράτη.

Ismene
They say the power will become onto you.

ΟΙΔΙΠΟΥΣ
ὅτ᾽ οὐκέτ᾽ εἰμί, τηνικαῦτ᾽ ἄρ᾽ εἴμ᾽ ἀνήρ;

Oedipus
When I no longer am here, then I will be a man?

ΙΣΜΗΝΗ
Νῦν γὰρ θεοί σ᾽ ὁρθοῦσι, πρόσθε δ᾽ ὤλλυσαν.

Ismene
Yes for the gods raise you up, just as the destroyed you earlier.

ΟΙΔΙΠΟΥΣ
Γέροντα δ᾽ ὀρθοῦν ὅς νεός πέσῃ.

Oedipus
But to raise an old man is trivial, who has suffered as a young man.

ΙΣΜΗΝΗ
Καὶ μὴν Κρέοντά γ᾽ ἴσθι σοι τούτων χάριν ἥξοντα βαιοῦ κοὐχὶ μυρίου χρόνου.

Ismene
Know that Creon will come to you for this sake not after a long time, but a short one.

ΟΙΔΙΠΟΥΣ
ὅπως τί δράσῃ, θύγατερ; ἑρμήνευέ μοι.

Oedipus
What should I do, daughter, tell me!

ΙΣΜΗΝΗ
ὥς σ᾽ ἄγχι γῆς στήσωσι Καδμείας, ὅπως κρατῶσι μὲν σοῦ, γῆς δὲ μὴ ᾽μβαίνῃς ὅρων.

Ismene
So that they can set you up near the Cadmean land, where they control you, so that you don’t cross the boundaries of the land.

ΟΙΔΙΠΟΥΣ
ἡ δ᾽ ὠφέλησις τίς θύρασι κειμένου;

Oedipus
What kind of help having been placed outside?

ΙΣΜΗΝΗ
Κείνοις ὁ τύμβος δυστυχῶν ὁ σὸς βαρύς.

Ismene
Your heavy tomb will be unlucky with these things.

ΟΙΔΙΠΟΥΣ
Κἄνευ θεοῦ τις τοῦτό γ᾽ ἄν γνώμῃ μάθοι.

Oedipus
Without a god, one might learn by guessing.

ΙΣΜΗΝΗ
Τούτου χάριν τοίνυν σε προσθέσθαι πέλας χώρασ θέλουσι, μηδ᾽ ἵν᾽ ἄν σαυτοῦ κρατοῖς.

Ismene
For the sake of this, they wish you to be placed near this land, lest you are master over yourself.

ΟΙΔΙΠΟΥΣ
ἦ καὶ κατασκιῶσι Θηβαίᾳ κόνει;

Oedipus
Will they shroud my body with Theban soil?

ΙΣΜΗΝΗ
ἀλλ᾽ οὐκ ἐᾷ τοὔμφυλον αἷμά γ᾽, ὦ πάτερ.

Ismene
But the blood of the same tribe does not allow it, father!

ΟΙΔΙΠΟΥΣ
Οὐκ ἆρ᾽ ἐμοῦ γε μὴ κρατήσωσίν ποτε.

Oedipus
They will never control me again!

ΙΣΜΗΝΗ
ἔσται ποτ᾽ ἆρα τοῦτο Καδμείοις βάρος.

Ismene
This will be heavy on the Cadmeans.

ΟΙΔΙΠΟΥΣ
Ποίας φανείσης, ὦ τέκνον, συναλλαγῆς;

Oedipus
What sort of interchange has appeared, child?

ΙΣΜΗΝΗ
Τῆς σῆς ὑπ᾽ ὀργῆς, σοῖς ὅτ᾽ ἀντῶσιν τάφοις.

Ismene
By your anger, they come up to your burial site.

ΟΙΔΙΠΟΥΣ
ἅ δ᾽ ἐννέπεις, κλυοῦσα τοῦ λέγεις, τέκνον;

Oedipus
What you are describing, child, hearing this from where?

ΙΣΜΗΝΗ
ἀνδρῶν θεωρῶν Δελφικῆς ἀφ᾽ ἑστίας.

Ismene
From the envoys of Delphi from the hearth.

ΟΙΔΙΠΟΥΣ
Καὶ ταῦτ᾽ ἐφ᾽ ἡμῖν Φοῖβος εἰρηκὼς κυρεῖ;

Oedipus
Did Phoebus have the strength having said these things about me?

ΙΣΜΗΝΗ
ὥς φασιν οἱ μολόντες ἐσ Θήβης πέδον.

Ismene
So say the ones coming from the land of Thebes.

ΟΙΔΙΠΟΥΣ
Παίδων τις οὖν ἤκουσε τῶν ἐμῶν τάδε;

Oedipus
So have my sons heard these things about me?

ΙΣΜΗΝΗ
ἄμφω γ᾽ ὁμοίως, κἀξεπίστασθον καλῶς.

Ismene
Both alike, and are well aware.

ΟΙΔΙΠΟΥΣ
Κᾆθ᾽ οἱ κάκιςτοι τῶνδ᾽ ἀκούσαντες πάρος τοὐμοῦ πόθου προὔθεντο τὴν τυραννίδα;

Oedipus
And after hearing these things these evil men put kingship before a desire for me?

ΙΣΜΗΝΗ
ἀλγῶ κλύουσα ταῦτ᾽ ἐγώ, φέρω δ᾽ ὅμως.

Ismene
I am pained hearing these things, but I must all the same endure.

ΟΙΔΙΠΟΥΣ
ἀλλ᾽ οἱ θεοί σφιν μήτε τὴν πεπρωμένην ἔριν κατασβέσειαν, ἐν δ᾽ ᾽μοί τέλος αὐτοῖν γένοιτο τῆσδε τῆς μάχης πέρι, ἧς νῦν ἔρχονται κἀπαναίονται δόρυ ὡς οὔτ᾽ ἄν ὅς νῦν σκῆπτρα καὶ θρόνους ἔχει μείνειεν, οὔτ᾽ ἄν οὑξεληλυθὼς πὰλιν ἔλθοι ποτ᾽αὖθις οἵ γε τὸν φύσαντ᾽ ἐμὲ οὕτως ἀτίμως πατρίδος ἐξωθούμενον οὐκ ἔσχον οὐδ᾽ ἤμυναν, ἀλλ᾽ ἀνάστατος αὐτοῖν ἐπέμφθην κἀξεκηρύχθην φυγάς. Εἴποις ἄν ὡς θέλοντι τοῦτ᾽ ἐμοὶ τότε πὸλις τὸ δῶρον εἰκότως κατῄνεσεν; οὐ δῆτ᾽, ἐπεί τον τὴν μὲν αὐτίχ᾽ ἡμέραν, ὁπηνίκ᾽ ἔζει θυμός, ἥδιστον δέ μοι τὸ κατθανεῖν ἦν καὶ τὸ λευσθῆναι πέτροις, οὐδεὶς ἔρωτ᾽ ἐς τόνδ᾽ ἐφαίνετ᾽ ὠφελῶν χρόνῳ δ᾽, ὅτ᾽ ἤδη πᾶς ὁ μόχθος ἦν πέπων, κἀμάνθανον τὸν θυμὸν ἐκδραμόντα μοι μείζω κολαστὴν τῶν πρὶν πόλις βίᾳ ἤλαυνέ μ᾽ ἐκ γῆς χρόνιον, οἱ δ᾽ ἐπωφελεῖν, οἱ τοῦ πατρός, ἀλλ᾽ ἔπους σμικροῦ χάριν φυγάς σφιν ἔξω πτωχὸς ἠλώμην ἀεί ἐκ ταῖνδε δ᾽, οὔσαιν παρθένοιν, ὅσον φύσις δίδωσιν αὐταῖν, καὶ τροφὰς ἔχω βίου καὶ γῆς ἄδειαν καὶ γένους ἐπάρκεσιν τὼ δ᾽ἀντὶ τοῦ φύσαντος εἱλέσθην θρόνους καὶ σκῆπτρα κραίνειν καὶ τυραννεύειν χθονός. ἀλλ᾽ οὔ τι μὴ λάχωσι τοῦδε συμμάχου, οὐδέ σφιν ἀρχῆς τῆςδε Καδμείας ποτὲ ὄνησις ἥξει τοῦτ᾽ ἐγᾦδα, τῆσδέ τε μαντεῖ᾽ ἀκούων, συννοῶν τε θέσφατα παλαίφαθ᾽ ἁμοὶ Φοῖβος ἤνυσέν ποτε.
Πρὸς ταῦτα καὶ Κρέοντα πεμπόντων ἐμοῦ μαστῆρα, κεἴ τις ἄλλος ἐν πόλει σθένει. ἐὰν γὰρ ὑμεῖς, ὦ ξένοι, θέλητ᾽ ἐμοὶ σύν ταῖσδε ταῖς σεμναῖσι δημούχοις θεαῖς ἀλκῆν ποεῖσθαι, τῇδε μὲν πόλει μέγαν σωτῆρ᾽ ἀρεῖσθε, τοῖς δ᾽ ἐμοῖς ἐχθροῖς πόνους.

Oedipus
But let not the gods extinguish the destined strife, concerning this battle on which they have made an end for me, which they now have, picking up their spears, so that now he who holds the scepter and the throne doesn’t stay, and (he who) went away may not come again, since their father was so shamefully thrown out of the fatherland they neither had him nor defended him, but having left I was sent away and was declared an exile. Would you say the city willingly granted me a gift, as I wished? No, since that day when my soul was burning, and to die was the sweetest thing to me and to be stoned with rocks, but no one came forward and it appeared no one (wanted) to help but after some time, when my pain became mild, I came to learn that my anger had gone too far with respect to punishing my former actions and on that day, when the city drove me out of the city for a long time by force, and (my sons) able to help their father, they wished to do nothing, but for their lack of a few words I was put outside as a beggar, wandering forever and from these two, who are maidens, however their nature allows for them, I have the nurture of life and freedom from fear of the land and help from my family; but these two chose to control the scepter and the throne and to rule the land over their heritage. But they will not obtain anthing from me as an ally, nor will they have an benefits from the Cadmean kingship, this I know, hearing the prophecies, and interpreting the meditations uttered long ago which Phoebus has finally accomplished.
For these things, let Creon send a messenger for me, if anyone else has strength in this city! For if you, strangers, wish to give me defence with these revered and people protecting gods, you will lift up a great protector for this city as well as troubles for my enemies.

My Oedipus at Colonus Translation (Lines 150-298)

ΧΟΡΟΣ
ἐή ἀλαῶν ὀμμάτων ἆρα καὶ ἦσθα φυτάλμιος; δυσαίων μακραίων θ´, ὅς᾽ ἐπεικάσαι. ἀλλ᾽ οὐ μὰν ἔν γ᾽ ἐμοὶ προσθήσεις τάσδ᾽ ἀράς. Περᾷς γάρ, περᾷς ἀλλ᾽ ἵνα τῷδ᾽ ἐν ἀφθέγκτῳ μὴ προπέσῃς νάπει ποιάεντι, κάθυδρος οὗ κρατήρ μειλιχίων ποτῶν ῥεύματι συντρέχει, τῶν, ξένε πάμμορ᾽ εὖ φύλαξαι μετάσταθ᾽, ἀπόβαθι. Πολλὰ κέλευθος ἐρατύοι κλύεις, ὦ πολύμοχθ᾽ ἀλᾶτα; λόγον εἴ τιν᾽ οἴσεις πρὸς ἐμὰν λέσχαν, ἀβάτων ἀποβάς, ἵνα πᾶσι νόμος φώνει πρόςθεν δ᾽ ἀπερύκου.

Chorus
Were you blind from birth? For it seems yours has been miserable and long. But you will not bring these curses on me. For you try, you try but so that you do not fall into this grassy valley in silence, where the bowl full of water runs with the flight of the current of honey, from there, hapless stranger - divide well - remove (yourself) and leave! Let a long path restrain you, do you hear, much-suffering beggar? If you will bring a word against my tavern, stand away from the unattainable, and speak (where) it is the law for everyone but until then, refrain!

ΟΙΔΙΠΟΥΣ
Θύγατερ, ποῖ τις φροντίδος ἔλθῃ;

Oedipus
Daughter, where are our thoughts going?

ΑΝΤΙΓΟΝΗ
ὦ πάτερ, ἀστοῖς ἴσα χρὴ μελετᾶν, εἴκοντας ἅ δεῖ κἀκούντας.

Antigone
O father, (we) must share our concerns with citizens, being willing (to do) what is necessary.

ΟΙΔΙΠΟΥΣ
Πρόσθιγέ νύν μου.

Oedipus
Hold me now.

ΑΝΤΙΓΟΝΗ
Ψαύω καὶ δή.

Antigone
I am touching you.

ΟΙΔΙΠΟΥΣ
ὦ ξεῖνοι, μὴ δῆτ᾽ ἀδικηθῶ, σοὶ πιστεύσας, μεταναστάς.

Oedipus
O stranger do not let me be wronged, moving, having trusted you.

ΧΟΡΟΣ
Οὔ τοι μήποτέ σ᾽ ἐκ τῶνδ᾽ ἑδράνων, ὦ γέρον, ἄκοντά τις ἄξει.

Chorus
Never shall someone lead you from your seat, old man, against your will.

ΟΙΔΙΠΟΥΣ
ἔτ᾽ οὖν;

Oedipus
So then?

ΧΟΡΟΣ
ἔτι βαῖνε πόρσω.

Chorus
Come further then.

ΟΙΔΙΠΟΥΣ
ἔτι;

Oedipus
Still?

ΧΟΡΟΣ
Προβίβαζε, κούρα, πόρσω σὐ γἀρ ἀίεις.

Chorus
Lead him, daughter, forward for you hear (us).

ΑΝΤΙΓΟΝΗ
ἕρεο μάν, ἔπε᾽ ὧδ᾽ ἀμαυρῷ κώλῳ, πάτερ, ᾆ σ᾽ ἄγω.

Antigone
Follow me, with your shadowy footsteps, father, where I shall lead you.

ΧΟΡΟΣ
Τόλμα ξεῖνος ἐπὶ ξένας, ὦ τλάμων, ὅ τι καὶ πόλις τέτροφεν ἄφιλον ἀποστυγεῖν καὶ τὸ φίλον σέβεσθαι.

Chorus
You dare to be a stranger in a strange land, o wretched one, he fosters what the city hates and is ashamed of what it (holds) dear.

ΟΙΔΙΠΟΥΣ
ἄγε νυν σύ με, παῖς, ἵν᾽ ἄν εὐσεβίας ἐπιβαίνοντες τὸ μὲν εἴποιμεν, τὸ δ᾽ ἀκούσαιμεν, καὶ μὴ χρείᾳ πολεμῶμεν.

Oedipus
Lead me now child, walking in piety, so that we may speak and listen, and not fight with necessity.

ΧΟΡΟΣ
Αὐτοῦ μηκέτι τοῦδ᾽ αὐτοπέτρου βήματος ἔξω πόδα κλίνῃς.

Chorus
Here! Don’t incline your steps over this ledge.

ΟΙΔΙΠΟΥΣ
Οὕτως;

Oedipus
In this way?

ΧΟΡΟΣ
ἅλις, ὡς ἀκούεις.

Chorus
Enough, you hear!

ΟΙΔΙΠΟΥΣ
ἦ ἑσθῶ;

Oedipus
Shall I be seated?

ΧΟΡΟΣ
Λέχριός γ᾽ ἐπ᾽ ἄκρου λάου βραχὺς ὀκλάσας.

Chorus
Incline yourself sideways having crouched down on the edge of the rock.

ΑΝΤΙΓΟΝΗ
Πάτερ, ἐμὸν τόδ᾽ ἐν ἡσυχαιᾳ βάσει βάσιν ἅρμοσαι

Antigone
Father this is for me, join step by step gently.

ΟΙΔΙΠΟΥΣ
ἰώ μοί μοι.

Oedipus
Ah me!

ΑΝΤΙΓΟΝΗ
Γεραὸν ἐσ χέρα σῶμα σὸν προκλίνας φιλίαν ἐμάν.

Antigone
Leaning your old body against my loving arm!

ΟΙΔΙΠΟΥΣ
ὤμοι δύσφρονος ἄτας.

Oedipus
Oh my wretched affliction!

ΧΟΡΟΣ
ὦ τλάμων, ὅτε νῦν χαλᾷς, αὔδασον, τίς ἔφυς βροτῶν; τίς ὁ πολύπονος ἄγῃ; τίν᾽ ἄν σοῦ πατρίδ᾽ ἐκπυτοίμαν;

Chorus
O wretched one, now that you have relaxed, tell us who among men have you produced? Who has endured pain? Can we learn your specific fatherland?

ΟΙΔΙΠΟΥΣ
ὤ ξένοι, ἀπόπολισ ἀλλὰ μή

Oedipus
O stranger, I am an exile, but don’t…

ΧΟΡΟΣ
Τί τόδ᾽ ἀπεννέπεις, γέρον;

Chorus
What are you forbidding us, old man?

ΟΙΔΙΠΟΥΣ
Μὴ μή μ᾽ ἀνέρῃ τίς εἰμι, μηδ᾽ ἐξετάσῃς πέρα ματεύνω.

Oedipus
Don’t ask me who I am, don’t examine me, enquiring any further!

ΧΟΡΟΣ
Τί δέ;

Chorus
Why?

ΟΙΔΙΠΟΥΣ
Δεινὰ φύσις.

Oedipus
My nature is terrible!

ΧΟΡΟΣ
Αὔδα.

Chorus
Tell us!

ΟΙΔΙΠΟΥΣ
Τέκνον, ὤμοι, τί γεγώνω;

Oedipus
My child, what shall I say?

ΧΟΡΟΣ
Τίνος εἶ σπέρματος, ὦ ξένε, φώνει, πατρόθεν;

Chorus
From what seed are you, stranger, coming from your father’s side?

ΟΙΔΙΠΟΥΣ
ὤμοι ἐγώ, τί πάθω, τέκνον ἐμόν;

Oedipus
Oh men, what will I endure, my child?

ΧΟΡΟΣ
Λέγ᾽, ἐπείπερ ἐπ᾽ ἔσχατα βαίνεις.

Chorus
Speak! Since you are driven to the extreme!

ΟΙΔΙΠΟΥΣ
ἀλλ᾽ ἐρῶ οὐ γὰρ ἔχω κατακρυφάν.

Oedipus
But I will speak for I do not have (any means of) concealment.

ΧΟΡΟΣ
Μακρὰ μέλλεται ἀλλὰ τάχυνε.

Chorus
You wait too long but (speak) quickly!

ΟΙΔΙΠΟΥΣ
Λαΐου ἴστε τιν᾽

Oedipus
Do you know the son of Laius?

ΧΟΡΟΣ
ὤ ἰοὺ ἰού.

Chorus
Ah yes!

ΟΙΔΙΠΟΥΣ
Τό τε Λαβδακιδᾶν γένος;

Oedipus
And the race of the Labdacids?

ΧΟΡΟΣ
ὦ Ζεῦ.

Chorus
O Zeus!

ΟΙΔΙΠΟΥΣ
ἄθλιον Οἰδιπόδαν;

Oedipus
And the wretched man Oedipus?

ΧΟΡΟΣ
Σὺ γὰρ ὅδ᾽ εἶ;

Chorus
Are you he?

ΟΙΔΙΠΟΥΣ
Δέος ἴσχετε μηδὲν ὅσ᾽ αὐδῶ.

Oedipus
Do not have fear for what I say!

ΧΟΡΟΣ
ἰὼ ὤ ὤ.

Chorus
Ah!

ΟΙΔΙΠΟΥΣ
Δύσμορος.

Oedipus
I am miserable!

ΧΟΡΟΣ
ὤ ὤ.

Chorus
Oh!

ΟΙΔΙΠΟΥΣ
Θύγατερ, τί ποτ᾽ αὐτίκα κύρσει;

Oedipus
Daughter, what is going to happen?

ΧΟΡΟΣ
ἔξω πόρσω βαίνετε χώρας.

Chorus
Leave far away from this land!

ΟΙΔΙΠΟΥΣ
ἅ δ᾽ ὑπέσχεο ποῖ καταθήσεις;

Oedipus
What you promised how will you redeem (it)?

ΧΟΡΟΣ
Οὐδενὶ μοιριδία τίσις ἔρχεται ὧν προπάθῃ τὸ τίνειν ἀπάτα δ᾽ ἀπάταις ἑτέραις ἐτέρα παραβαλλομένα πόνον, οὐ χάριν, ἀντιδίδωσιν ἔχειν. Σὺ δὲ τῶνδ᾽ ἑδράνων πάλιν ἔκτοπος αὗθις ἄφορμος ἐμᾶς χθονὸς ἔκθορε, μή τι πέρα χρέος ἐμᾷ πόλει προσάψῃς.

Chorus
Fate comes to punish no man who suffers first, having been deceived by other deceptions giving pain and not gratitude. Leave this seat now out of this place departing from my land, lest you attach some necessity to my city.

ΑΝΤΙΓΟΝΗ
ὦ ξένοι αἰδόφρονες, ἀλλ᾽ ἐπεὶ γεραὸν πατέρα τόνδ᾽ ἐμὸν οὐκ ἀνέτλατ᾽ ἔργων ἀκόντων ἀίοντες αὐδάν, ἀλλ᾽ ἐμὲ τὰν μελέαν, ἱκετεύομεν, ὦ ξένοι, οἰκτίραθ᾽, ἅ πατρὸς ὑπὲρ τοῦ τλάμονος ἄντομαι, ἄντομαι οὐκ ἀλαοῖς προσορωμένα ὄμμα σὸν ὄμμασιν, ὥς τις ἀφ᾽ αἵματος ὑμετέρου προφανεῖσα, τὸν ἀθλιον αἰδοῦς κῦρσαι ἐν ὑμῖν ὡς θεῷ κείμεθα τλάμονες ἀλλ᾽ ἴτε, νεύσατε τὰν ἀδόκητον χάριν, πρός σ᾽ ὅ τι σοι φίλον οἴκοθεν ἄντομαι, ἤ τέκνον, ἤ λέχος, ἤ χρέος, ἤ θεός. Οὐ γὰρ ἴδοις ἄν ἀθρῶν βροτὸν ὅστις ἄν, εἰ θεὸς ἄγοι, ἐκφυγεῖν δύναιτο.

Antigone
O strangers of respectful minds, since you have not been born with my old father hearing of works (committed) unwillingly, we beseech you, strangers, take pity on my miserable father which I appeal to you for the sake of my wretched father, I beseech you, looking on with eyes that are not blind, as having appeared from your blood, that the wretch may meet with reverence in your (hands) as a god we are placed being patient but come, grant the unexpected favor, for I beseech you with what you hold dear, either a child, or a bed (partner) or wealth or a god. For you don’t see gazing a mortal man however he is, if a god drives, is able to escape!

ΧΟΡΟΣ
ἀλλ᾽ ἴσθι, τέκνον Οἰδίπου, σέ τ᾽ ἐξ ἴσου οἰκτίρομεν καὶ τόνδε συμφορᾶς χἀριν τὰ δ᾽ ἐκ θεῶν τρέμοντες οὐ σθένοιμεν ἄν φωνεῖν πέρα τῶν πρὸς σὲ νῦν εἰρημένων.

Chorus
But come, child of Oedipus, we pity you and him equally for the sake of your misfortune fearing things from the gods we do not have strength to say more than what has already been said to you now.

ΟΙΔΙΠΟΥΣ
Τί δῆτα δόξης, ἤ τί κληδόνος καλῆς μάτην ῥεούσης ὠφέλημα γίγνεται, εἰ τάς γ᾽ Ἀθήνας φασὶ θεοσεβεστάτας εἶναι, μόνας δὲ τὸν κακούμενον ξένον σῴζειν οἴας τε καὶ μόνας ἀρκεῖν ἔχειν; κἄμοιγε ποῦ ταῦτ᾽ ἐστίν, οἴτινες βάθρων ἐκ τῶνδέ μ᾽ ἐξάραντες εἶτ᾽ ἐλαύνετε, ὄνομα μόνον δείσαντες; οὐ γὰρ δὴ τό γε σῶμ᾽ οὐδὲ τἄργα τἄμ᾽ ἐπεὶ τά γ᾽ ἔργα με πεπονθότ᾽ ἴσθι μᾶλλον ἤ δεδρακότα, εἴ σοι τὰ μητρὸς καὶ πατρὸς χρείη λέγειν, ὧν οὕνεκ᾽ ἐκφοβῇ με τοῦτ᾽ ἐγω καλῶς ἔξοιδα. Καίτο πῶς ἐγὼ κακὸς φύσιν, ὅςτις παθὼν μὲν ἀντέδρων, ὥστ᾽ εἰ φρονῶν ἔπρασσον, οὐδ᾽ ἄν ὧδ᾽ ἐγιγνόμην κακός; νῦν δ᾽ οὐδὲν εἰδὼς ἱκόμην ἵν᾽ ἱκόμην, ὑφ᾽ ὧν δ᾽ ἔπασχον, εἰδότων ἀπωλλύμην. ἀνθ᾽ ὧν ἱκνοῦμαι πρὸς θεῶν ὑμᾶς, ξένοι, ὥςπερ με κἀνεστήσαθ᾽ ὧδε σώσατε, καὶ μὴ θεοὺς τιμῶντες εἶτα τοὺς θεοὺς ποιεῖσθ᾽ ἀμαυροὺς μηδαμῶς ἡγεῖσθε δὲ βλέπειν μὲν αὐτοὺς πρὸς τὸν εὐσεβῆ βροτῶν, βλέπειν δὲ πρὸς τοὺς δυσεβεῖς, φυγὴν δέ του μήπω γενέσθαι φωτὸς ἀνοσίου ποτέ. Ξὺν οἶς σὺ μὴ κάλυπτε τὰς εὐδαίμονας ἔργοις Ἀθήνας ἀνοσίοις ὑπηρετῶν. ἀλλ᾽ ὥσπερ ἔλαβες τὸν ἱκέτην ἐχέγγυον, ῥύου με κἀκφύλασσε μηδέ μου κάρα τὸ δυσπρόσοπτον εἰσορῶν ἀτιμάσῃς. ἥκω γὰρ ἱερὸς εὐσεβής τε καὶ φέρων ὄνησιν ἀστοῖς τοῖδ᾽ ὅταν δ᾽ ὁ κύριος παρῇ τις, ὑμῶν ὅστις ἐστὶν ἡγεμών, τότ᾽εἰσακούων πάντ᾽ ἐπιστήσῃ τὰ δὲ μετξὺ τούτου μηδαμῶς γίγνου κακός.

Oedipus
What kind of expectation or beautiful omen comes from advantage,
flowing in vain if they say that Athens is most reverential, the only one able to protect the afflicted stranger and the only one to help? How are these things for me, being lifted up from the ledges and driven away because of my terrible name? For it is not my person nor my actions that you fear since my actions were of suffering rather than doing, if I must speak of my mother and father, which you are afraid of me, I know well. How is my nature evil, when I retaliated when suffering, just as if I had acted knowingly, would I still be considered evil? But knowing nothing I arrived where I am now, but of the things I suffered, I was destroyed with full intent.
Because of this I beseech you by the gods, strangers, just as you have raised me up to save me, not honoring the gods, and not making for them a portion, lead them to look at the mortals (showing) reverence, to look at the impious men, that no unlawful mortal man has ever escaped. Do not hide fortune of Athens by means of unlawful acts, but just as you take in the holy suppliant, you saved me and watched me and seeing my wretched face do not dishonor me! For I come as holy and reverent and bringing prosperity to the citizens here, whenever the one in power is present whoever is your leader, hearing this he shall know everything but in the midst of everything, do not be evil!

ΧΟΡΟΣ
Ταρβεῖν μέν, ὦ γεραιέ, τἀνθυμήματα πολλή ᾽στ᾽ ἀνάγκη τἀπὸ σοῦ λόγοισι γὰρ οὐκ ὠνόμασται βραχέσι. Τοὺς δὲ τῆςδε γῆς ἄνακτας ἀρκεῖ ταῦτά μοι διειδέναι.

Chorus
It is necessary to be afraid, old man, of the arguments from you, for they have been spoken with no short words. For it has been decided for me that the lords of the land shall rule.

ΟΙΔΙΠΟΥΣ
Καὶ ποῦ ᾽σθ᾽ ὁ κραίνων τῆςδε τῆς χώρας, ξένοι;

Oedipus
Where is the ruler of this land, strangers?

ΧΟΡΟΣ
Πατρῷν ἄστυ γῆς ἔχει σκοπὸς δέ νιν, ὅς κἀμὲ δεῦρ᾽ ἔπεμψεν, οἴχεται στελῶν.

Chorus
He is in the city of the fatherland, and now a messenger who sent me here, has departed to fetch (him).

My Oedipus at Colonus Translation (Lines 1-149)

ΟΙΔΙΠΟΥΣ
Τἐκνον τυφλοῦ γέροντος Ἀντιγόνη, τίνας χὠρους ἀφίγμεθ´ ἤ τίνων ἀνδρῶν πόλιν; τίς τὸν πλανήτην Οἰδίπουν καθ᾽ ἡμέραν τὴν νῦν σπανιστοῖς δέξεται δωρήμασιν, σμικρὸν μὲν ἐξαιτοῦντα, τοῦ σμικροῦ δ´ἔτι μεῖον φέροντα, καὶ τ´δ᾽ἐξαρκοῦν ἐμοί; στέργειν γὰρ αἱ πάθαι με χὠ χρὀνος ξυνὼν μακρὸς διδάσκει καὶ τὸ γενναῖον τρίτον. ἀλλ᾽, ὦ τέκνον, θάκησιν ἔι τινα βλέπεις ἤ πρὸς βεβήλοις ἤ πρὸς ἄλσεσιν θεῶν, στῆσόν με κἀξίδρυσον, ὡς πυθώμεθα ὅπου ποτ᾽ ἐσμέν μανθάνειν γὰρ ἥκομεν ξένοι πρὸς ἀστῶν, ἅν δ´ἀκούσωμεν τελεῖν.

Oedipus
Antigone, child of a blind man, to what lands have we arrived or what city of men? Who now will receive the wandering Oedipus today with scanty gifts, asking very little, and bringing even less, and yet is satisfying to me. For my sufferings, having been with me for a long time, teach me, as well as my nobility, thirdly, to be satisfied. But child, if you see some place to sit either near permittable (ground) or near the groves of the gods, stop me and sit me down, so that we may learn where we are. For we have come to this city as strangers, so we must listen and obey (the citizens).

ΑΝΤΙΓΟΝΗ
Πἀτερ ταλαίπωρ´ Οἰδίπους, πύργοι μὲν ὅι πόλιν στέφουσιν, ὡς ἀπ´ ὀμμάτων, πρόσω χῶρος δ´ ὅδ᾽ ἱερος, ὡς σάφ´ εἱκασαι, Βρύων δάφνης, ἐλαίας, ἀμπέλου´πυκνόπτεροι δ´εἴσω κατ´ αὐτὸν εὐστομοῦσ´ ἀηδόνες οὗ κῶλα κάμψον τοῦδ´έπ´ ἀξέστου πέτρου μακρὰν γὰρ ὡς γέροντι προὐτάλης ὁδόν.

Antigone
O miserable father Oedipus, the walls which are protecting this city, as seen with my eyes, are far off; for this place is sacred, as it seems, from which the bay, the olive, and the vine are growing; in which thick-feathered nightingales sing; come, bend your knees over this unwrought rock, since as an old man a long journey has been laid upon you.

ΟΙΔΙΠΟΥΣ
Κάθιζέ νύν με καὶ φύλασσε τὸν τυφλόν.

Oedipus
Then sit me down and watch over me, being blind.

ΑΝΤΙΓΟΝΗ
Χρόνου μὲν οὕνεκ´οὐ μαθεῖν με δεῖ τόδε.

Antigone
After a long time, it is not necessary to tell me that.

ΟΙΔΙΠΟΥΣ
ἔχεις διδάξαι δή μ´ ὅποι καθέσταμεν;

Oedipus
Are you able to tell me where we have arrived at?

ΑΝΤΙΓΟΝΗ
Τὰς γοῦν Ἀθήνας οἶδα, τὸν δὲ χῶρον οὔ.

Antigone
I know (we have come) to the land of Athens, but the specific place, (I am not familiar).

ΟΙΔΙΠΟΥΣ
Πᾶς γάρ τισ ηὔδα τοῦτό γ´ἡμὶν ἐμπόρων.

Oedipus
Yes, for someone of the travelers told us so.

ΑΝΤΙΓΟΝΗ
ἀλλ᾽ὅστις ὁ τόπος ἦ μάθω μολοῦσά ποί;

Antigone
Yes, but now having come here, shall I learn what kind of place this is?

ΟΙΔΙΠΟΥΣ
Ναί, τέκνον, εἴπερ ἐστί γ´ ἐξοικήσιμος.

Oedipus
Yes, child, if it is indeed inhabitable.

ΑΝΤΙΓΟΝΗ
ἀλλ᾽ ἐστὶ μὴν οἰκητός οἴμαι δὲ δεῖν οὐδέν πέλας γὰρ ἄνδρα τόνδε νῷν ὁρῶ.

Antigone
But is it inhabited! I think there isn’t a need (to go), for I see a man near us.

ΟΙΔΙΠΟΥΣ
ἦ δεῦρο προστείχοντα κἀξωρμημένον;

Oedipus
Is he heading this direction?

ΑΝΤΙΓΟΝΗ
Καἰ δἢ μὲν οὖν παρόντα χὤ τι σοι λέγειν εὔκαιρόν ἐστιν, ἔννεφ᾽, ὡς ἁνὴρ ὅδε.

Antigone
But he is present! Speak whatever is reasonable, since the man is here.

ΟΙΔΙΠΟΥΣ
ὦ ξεῖν´, ἀκούων τῆσδε τῆς ὑπέρ τ᾽ ἐμοῦ αὑτῆς θ᾽ ὁρώσης οὕνεχ᾽ ἡμὶν αἴσιος σκοπὸς προσήκεις ὧν ἀδηλοῦμεν φράσαι -

Oedipus
Stranger, hearing this girl, seeing for me and for herself, you have come at a good time to ask of us being confused.

ΞΕΝΟΣ
Πρὶν νῦν τὰ πλείον᾽ ἱστορεῖν, ἐκ τῆςδ᾽ ἕδρας ἔξελθ᾽ ἔχεις γὰρ χῶρον οὐχ ἁγνὸν πατεῖν.

Stranger
Before you ask me many things, leave this seating area; for you cannot walk on this holy ground!

ΟΙΔΙΠΟΥΣ
Τίς δ᾽ ἔσθ᾽ ὁχῶρος; τοῦ θεῶν νομίζεται;

Oedipus
But what is this place? It is considered (property) of which gods?

ΞΕΝΟΣ
ἄθικτος οὐδ᾽ οἰκητός. Αἱ γὰρ ἔμφοβοι θεαί σφ᾽ἕχουσι, Γῆς τε καὶ Σκότου κόραι.

Stranger
It is virgin (land) and not inhabited; for the terrible goddess own it, daughters of Earth and Darkness.

ΟΙΔΙΠΟΥΣ
Τίνων τὸ σεμνὸν ὅνομ᾽ ἄν εὐξαίμην κλυών;

Oedipus
Of whom shall I call revered when hearing (this) I pray?

ΞΕΝΟΣ
Τὰς πάνθ᾽ ὁρώσας Εὐμενίδας ὅ γ᾽ ἑνθάδ᾽ ἄν εἴποι λεώς νιν ἄλλα δ᾽ἀλλαχοῦ καλά.

Stranger
The people here now call them the all-seeing Eumenides, but other names (work as well).

ΟΙΔΙΠΟΥΣ
ἀλλ᾽ ἵλεῳ μὲν τὸν ἱκέτην δεξαίτο ὡς οὐκ ἕδρας γε τῆςδ᾽ἄν ἐξέλθοιμ᾽ ἔτι.

Oedipus
But they receive suppliants with grace; for I shall not leave this seat ever.

ΞΕΝΟΣ
Τί δ᾽ ἐστὶ τοῦτο;

Stranger
What is this?

ΟΙΔΙΠΟΥΣ
Ξυμφορᾶς ξύνθημ᾽ ἐμῆς.

Oedipus
It is a signal of my misfortune!

ΞΕΝΟΣ
ἀλλ᾽ οὐδ᾽ ἐμοί τοι τοὐξανιστάναι πόλεως δίχ᾽ ἐστι θάρος, πρίν γ᾽ ἄν ἐνδείξω τί δρᾷς.

Stranger
But there is no audacity from me to turn you away from the city before I report what you are doing.

ΟΙΔΙΠΟΥΣ
Πρός νυν θεῶν, ὦ ξεῖνε, μή μ᾽ ἀτιμάσῃς, τοιόνδ᾽ ἀλήτην, ὧν σε προστρέπω φράσαι.

Oedipus
Now for the gods, o stranger, do not refuse me, being a beggar, from which I turn to you to show.

ΞΕΝΟΣ
Σήμαινε, κοὐκ ἄτιμος ἔκ γ᾽ἐμοῦ φανῇ.

Stranger
Tell me, and you will not get a refusal from me.

ΟΙΔΙΠΟΥΣ
Τίς ἔσθ᾽ ὁ χῶρος δῆτ᾽ ἐν ᾧ βεβήκαμεν;

Oedipus
What is this land in which we have arrived?

ΞΕΝΟΣ
ὄσ᾽ οἶδα κἀγὼ πάντ᾽ ἐπιστήσῃ κλυών. Χῶρος μὲν ἱερὸς πᾶς ὅδ᾽ ἔστ᾽ ἔχει δέ νιν σεμνὸς Ποσειδῶν ἐν δ᾽ ὁ πυρφόρος θεὸς Τιτὰν Προμηθεύς ὅν δ᾽ ἐπιστείβεις τόπον χθονὸς καλεῖται τῆδε χαλκόπους ὀδός, ἔρισμ᾽Ἀθηνῶν οἱ πλησίοι γύαι τόνδ᾽ ἱππότην Κολωνὸν εὔχονται σφίσιν ἀρχηγὸν εἶναι, καὶ φέρουσι τοὔωομα τὸ τοῦδε κοινὸν πάντες ὠνομασμένοι. Τοιαῦτά σοι ταῦτ᾽ ἐστίν, ὦ ξέν᾽, οὐ λόγοις τιμώμεν᾽, ἀλλὰ τῇ ξυνουσίᾳ πλέον.

Stranger
You will know listening everything that I know. All of this land is sacred and belongs to the revered Poseidon in which the fire-bearing god Prometheus the Titan (resides) and the piece of land on which you walked is called the path of the brass hoofed, the bulwark of Athens; and the neighboring lands boast their founder to be the horseman Colonus, and the entire community bears his name calling themselves. That is that, stranger, of which in stories we do not honor it, but instead in our hearts.

ΟΙΔΙΠΟΥΣ
ἦ γάρ τινες ναίουσι τούσδε τοὺς τόπους;

Oedipus
So these people live in these places?

ΞΕΝΟΣ
Καὶ κάρτα, τοῦδε τοῦ θεοῦ γ᾽ ἐπώνυμοι.

Stranger
Of course, their names are from the god.

ΟΙΔΙΠΟΥΣ
ἄρχει τις αὐτῶν, ἤ᾽ πὶ τῷ πλήθει λόγος;

Oedipus
Who among them rules, or do the masses have a say?

ΞΕΝΟΣ
ἐκ τοῦ κατ᾽ ἄστυ βασιλέως τάδ᾽ ἄρχεται.

Stranger
The king in the city rules this place.

ΟΙΔΙΠΟΥΣ
Οὖτος δέ τὶς λόγῳ τε καὶ σθένει κρατεῖ;

Oedipus
And by what speech and strength does he have power?

ΞΕΝΟΣ
Θησεὺς καλεῖται, τοῦ πρὶν Αἰγέως τόκος.

Stranger
He is called Theseus, son of the (king) before, Aegeus.

ΟΙΔΙΠΟΥΣ
ἆρ᾽ ἄν τις αὐτῷ πομπὸς ἐξ ὑμῶν μόλοι;

Oedipus
Could some envoy go to him from you?

ΞΕΝΟΣ
ὡς πρὸς τί; λέξων ἤ καταρτύσων τί σοι;

Stranger
For what? (With the intention) of speaking or arranging something for you?

ΟΙΔΙΠΟΥΣ
ὡς ἅν προσαρκῶν σμικρὰ κερδάνῃ μέγα.

Oedipus
So that succoring something small he may gain something big.

ΞΕΝΟΣ
Καὶ τίς πρὸς ἀνδρὸς μὴ βλέποντος ἄρκεσις;

Stranger
And what kind of help (could be given) from a man not able to see?

ΟΙΔΙΠΟΥΣ
ὅσ᾽ ἄν λέγωμεν πάνθ᾽ ὁρῶντα λέξομεν.

Oedipus
Everything I say I will say seeing.

ΞΕΝΟΣ
Οἶσθ᾽, ὦ ξέν᾽, ὡς νῦν μὴ σφαλῇς; ἐπείπερ εἶ γενναῖος, ὡς ἰδόντι, πλὴν τοῦ δαίμονος, αὐτοῦ μέν᾽, οὗπερ κἁφάνης, ἕως ἐγὼ τοῖς ἐνθάδ᾽αὐτοῦ μὴ κατ᾽ἄστυ δημόταις λέξω τάδ᾽ ἑλθών. Οἵδε γὰρ κρινοῦσί σοι εἰ χρή μίμνειν, ἤ πορεύσθαι πάλιν.

Stranger
Do you know, stranger, that now you may not be harmed? Because you are noble, as it seems, regardless of your misfortune, but where you appeared (stay) until I go and speak these things to the men in here and not to the men of the city. For they will decide if it is necessary for you to stay, or be made to go away again.

ΟΙΔΙΠΟΥΣ
ὦ τέκνον, ἦ βέβηκεν ἡμὶν ὁ ξένος;

Oedipus
O child, has the stranger left us?

ΑΝΤΙΓΟΝΗ
Βέβηκεν, ὥστε πᾶν ἐν ἡσύκῳ, πάτερ, ἔξεστι φωνεῖν, ὡς ἐμοῦ μόνης πέλας.

Antigone
He left, so you are able to speak everything is at peace, father, since I am the only one near.

ΟΙΔΙΠΟΥΣ
ὦ πότνιαι δεινῶπες, εὖτε νῦν ἔδρας πρώτων ἐφ᾽ ὑμῶν τῆςδε γῆς ἔκαμψ᾽ ἐγω, Φοίβῳ τε κἀμοὶ μὴ γένησθ᾽ ἀγνώμονες, ὅς μοι, τὰ πόλλ᾽ ἐκεῖν᾽ ὅτ᾽ ἐξέχρη κακά, ταύτην ἔλεξε παῦλαν ἐν χρόνῳ μακρῷ, ἐλθόντι χώραν τερμίαν, ὅπου θεῶν σεμνῶν ἕδραν λάμβοιμι καὶ ξενόστασιν, ἐνταῦθα κάμψειν τὸν ταλαίπωρον βίον, κέρδη μὲν οἰκήσαντα τοὶς δεδεγμένοις, ἄτην δὲ τοῖς πέμψασιν, ὅι μ᾽ ἀπήλασαν σημεῖα δ᾽ ἥξειν τῶνδέ μοι παρηγγύα, ἤ σεισμόν, ἤ βροντήν τιν᾽, ἤ Διὸς σέλας. ἔγνωκα μέν νυν ὥς με τήνδε τὴν ὁδὸν οὐκ ἔσθ᾽ ὅπως οὐ πιστὸν ἐξ ὑμῶν πτερὸν ἐξήγαγ᾽ ἐς τόδ᾽ ἅλσος. Οὐ γὰρ ἄν ποτε πρὠταισιν ὑμῖν ἀντέκυρσ᾽ ὁδοιπορῶν, νήφων ἀοίνοις, κἀπὶ σεμνὸν ἐζόμην βάθρον τόδ᾽ ἀσκέπαρνον. ἀλλά μοι, θεαί, βίου κατ᾽ ὀμφὰς τὰς Ἀπόλλωνος δότε πέρασιν ἤδη καἰ καταστροφήν τινα, εἰ μὴ δοκῶ τι μειόνως ἔχειν, ἀεὶ μόχθοις λατρεύων τοῖς ὑπερτάτοις βροτῶν. ἵτ᾽, ὦ γλυκεῖαι Παλλάδος καλούμεναι πασῶν Ἀθῆναι τιμιωτάτη πόλις, οἰκτίρατ᾽ ἀνδρὸς Οἰδίπου τόδ᾽ ἄθλιον εἴδωλον οὐ γὰρ δὴ τό γ᾽ ἀρχαῖον δέμας.

Oedipus
O terrible ladies, since now I have drawn first near this seat of your land, do not become foolish for Phoebus and me, whom he predicted many evil things, and gave (me) this resting place in a long time, coming to this final place, where I might take a seat of the revered goddesses and shelter, to reach the end of my miserable life here, (bringing) profit to the ones inhabiting here for the ones receiving (me), and ruin for the ones sending me away who drove me away, he promised me signs would come, either an earthquake, or thunder, or the lightening of Zeus. For I know this place is a trustworthy omen sent from you leading me to this grove. For never would I have encountered you as the first walking, sober without wine, and I would not have sat myself on this holy pedestal unhewn. But, goddesses, in accordance with the voice of Apollo, give me the crossing and conclusion of my life now, if I don’t seem to have low esteem, always working by sufferings of men. Come sweet children of ancient Darkness, come o greatest Pallas being called the most honored city of all Athens, take pity on the shadow of this wretched man Oedipus for this form has not always been ancient!

ΑΝΤΙΓΟΝΗ
Σίγα. Πορεύνται γὰρ οἵδε δή τινες χρόνῳ παλαιοί, σῆς ἐπίσκοποι.

Antigone
Be silent. For there are some men advanced in age come, spying on your seat.

ΟΙΔΙΠΟΥΣ
Σιγήσομαί τε καὶ σύ μ᾽ ἐξὁδοῦ᾽ κποδὼν κρύψον κατ᾽ ἄλσος, τῶνδ᾽ ἕως ἄν ἐκμάθω τίνας λόγους ἐροῦσιν. ἐ γὰρ τῷ μαθεῖν ἔνεστιν ηὑλάβεια τῶν ποιουμένων.

Oedipus
I will be silent and hide me from the road in the grove until I understand
the words they are saying. For in learning this we are cautious of acting.

ΧΟΡΟΣ
ὅρα. Τίς ἄρ᾽ ἦν; ποῦ ναίει; ποῦ κυρεῖ ἐκτόπιος συθεὶς ὁ πάντων, ὁ πάντων ἀκορέστατος; προσδέρκου, προσφθέγγου, προσπεύθου πανταχᾷ. Πλανάτας, πλανάτας τις ὁ πρέςβυς, οὐδ᾽ ἐγχωρος προσέβα γὰρ οὐκ ἄν ποτ᾽ ἀστιβὲς ἄλσος ἐς τᾶνδ᾽ ἀμαιμακετᾶν κορᾶν, ἅς τρέμομεν λέγειν, καἰ παραμειβόμεσθ᾽ ἀδέρκτως, ἀφώνως, ἀλόγως τὸ τᾶς εὐφήμου στόμα φροντίδος ἱέντες τὰ δὲ νῦν τιν᾽ ἥκειν λόγος οὐδὲν ἅζονθ᾽ ὅν ἐγὼ λεύσσων περὶ πᾶν οὔπω δύναμαι τέμενος γνῶναι τοῦ μοί ποτε ναίει.

Chorus
Look! Who is that? Where is he? Where has he rushed out of place, the most insatiable man of all? Look, speak out, enquire everywhere. Wanderer, the old man is a wanderer, and not a native! Or else the old man would not have come to virgin grove of the unconquerable maidens, whom we are afraid to speak of, and whom we pass without looking, without sound, and without speaking, uttering only with our mouths out of reverence. But now someone comes with no reverence, whom I looking around the king’s estate am not able to know where he is.

ΟΙΔΙΠΟΥΣ
ὅδ᾽ ἐκεῖνος ἐγώ φωνῇ γὰρ ὁρῶ, τὸ φατιζόμενον.

Oedipus
I am this one for I see with my voice, as they say.

ΧΟΡΟΣ
ἰὼ ἰὼ δεινὸς μὲν ὁρᾶν, δεινὸς δὲ κλύειν.

Chorus
Seeing him is terrible, and listening is terrible!

ΟΙΔΙΠΟΥΣ
Μή μ᾽, ἱκετεύψ, προσίδητ᾽ ἄνομον.

Oedipus
Don’t look at me, I beg you, being lawless.

ΧΟΡΟΣ
Ζεῦ ἀλεξῆτορ, τίς ποθ᾽ ὁ πρεσβυς;

Chorus
Zeus our protector, who ever is this old man?

ΟΙΔΙΠΟΥΣ
οὐ πάνυ μοίρας εὐδαιμονίσαι πρώτης, ὦ τῆςδ᾽ ἔφοροι χώρας. Δηλῶ δ᾽ οὐ γὰρ ἄν ὧδ᾽ ἀλλοτρίοις ὄμμασιν εἶρπον κἀπὶ σμικροῖς μέγας ὥρμουν.

Oedipus
Not (someone) with lucky fortune you may envy, o guardians of the land for I will make clear not crawling with another’s eyes and being anchored by small things, great as I am.

Pausanias' Account of Identity

The propagation of Greek culture during the second century in Rome cannot be considered anti-Roman, any more so than a Roman himself speaking out in public against his king. Both are interpretations of self-identity and individualism, which was gaining popularity in the second sophistic movement. Pausanias was an agent of this change when he set out to detail Greek monuments and landscapes, despite being a Greek himself. According to John Elsner in his essay “Pausanias: a Greek Pilgrim in the Roman World” he notes that it was not very “Greek” of Pausanias to want to visit his own country because other Greek writers “preferred to turn their gaze upon the foreign than upon the self.” (7) However, Pausanias was more interested in native lands and the myths that surround them, giving us insight into a new trend for writers and historians of this time which concerning the identity of the self. Elsner notes this irregularity when he says, “The strangeness of Pausanias’ enterprise lies in recording the monuments and rituals of his own society rather than those of other peoples. He was self-consciously exploring Greek identity through looking at all things Greek rather than implicitly defining it by contrast with things Egyptian or Scythian.” (7)
One example that Elsner briefly mentions in his essay is the case of the Corinthians. Despite having been conquered in 146 and reestablished as a Roman colony in 44 B.C. by Caesar, Pausanias still considered the Corinthians to be “Greek” just by the nature of the land itself and the historical and mythical contexts associated with this topography. In this way, Pausanias attributes land and heritage with personal identity, and not that of any ruler or foreign conqueror.
We can see evidence from other texts where Romans are compelled to balance their sense of democracy with tact and awareness of the consequences of complete civil disobedience and it seems that Pausanias, although not perfectly, found a way to honor Greek heritage in a Roman world. During the second century, Greece did not hold the same power and influence as it had in the past and, as Elsner says, was at best considered “culturally influential, but otherwise not especially significant.” (17) However, knowledge of Greek language and philosophy was considered to be one of the cornerstones of a complete education of the upper echelon, which acknowledged that Greek culture did in fact hold a space in Roman elite culture.
The Greek virtue of personal identity and self-interest was evident in their mythologies and philosophies, but after the Roman conquest, this ideal was somewhat lost in a culture that thrived on the whole and not the individual. Pausanias, in his pilgrimages attempted to capture his Greek cultural heritage in his landscapes and myths while living in a new era under Roman rule. However, as Elsner points out again to us, “And yet it was precisely the conquest of Greece by Rome which constituted the possibility for the myth of a free Greece in the past.” (19) Therefore, Pausanias preoccupation with Greek culture while living during a Roman time should not be considered anti-Roman, but more like an appreciation for the ideals that Greece celebrated during its own reign.

The Furies on and off the Dramatic Stages in Aeschylus' Eumenides

Not only do the characters themselves play roles in Aeschylus’ Eumenides, but space as it relates to the stage, whether realistic or imaginative plays a role as well. The stage seen and unseen allows the actors to take on other aspects of their characters, and through this use of space, we are able to see exchanges of power, motives, and other roles that would not be so readily accessible without context. This response will focus on how different stages, whether real or imaginative act as a transformative experience on the Furies and consequently their adopting different roles.
The Furies belong to a more supernatural world and do not usually meddle in the affairs of mortals, as is evidenced by their reluctance to rise from sleep, even after the ghost of Clytemnestra pleads with them several times. The ghost of Clytemnestra says, “You moan, you still sleep, won’t you get up quickly? What activity has destiny allotted you, except doing harm?” (124-125) The first stage here is this imaginative place where the Furies are resting, and it is in this place that they are sleepy and seemingly apathetic, detached from the tragedies of the Greeks. However, the ghost of Clytemnestra is finally able to convince them to avenge her when the Furies realized that Orestes has escaped from their watch. In this way, they are called from an imaginative space and driven into a more real setting - the courtroom, where they find themselves more engaged in mortal affairs, having been thrown into “the real world.”
In the courtroom, the Furies are Orestes’ prosecutors and are determined to convict him of murdering his mother. We can see their conviction when the Chorus says, “But a mother’s blood is drawing me on: I shall pursue this man to punish him - I shall hunt him down!” (230-231) The Furies at this point are fully invested in these mortal affairs, in part out of redemption for having let Orestes escape, but also, as avenging heroes of wretched victims. They are very much part of the fabric of this tragedy, and it is clearly seen in the courtroom, on the real stage. The audience too is able to see the true wrath of the Furies, invoking an even more fearful presence than what they are already notoriously known for. This more tangible space allows them to take on an aggressive role. In this far off imaginative space, the Furies are sleepy and apathetic, unresponsive to Clytemnestra’s pleas for vengeance. But in the courtroom, the Furies are very much aware and ready to convict Orestes to the fullest extent of the law.
When the Furies lose their case and Orestes is acquitted, the Furies are outraged at the injustice and vow to take action against Athens. But Athena calms them down by offering them roles as protectors of the city when she says, “But if you prefer not to, it would be unjust for you to let fall on this city any wrath, or any anger, or any harm to its people; for you have the opportunity to be a landholder in the country, and be justly honored for it.” (889-891) And the Furies accept when they say, “I will accept a residence with Pallas.” (916) Again, in this scene, Athena offers a new space to them, outside of the courtroom, and there, they take on a new role, and now, a more benevolent role. Here again, the imaginative space outside of the courtroom offers the Furies a less aggressive outlet for their energy and their vengeful energy subsides.
So the Furies, in their resting state, if you will, range from apathetic and drowsy to good-hearted protectors when they are not on stage. However, when they are thrown into the carnage of the courtroom, they themselves are transformed into ruthless avengers with a moral cause to defend the transgressed. Their presence on the real stage of the courtroom exaggerates their inherently aggressive and vengeful nature, but the imaginative stage of their resting spot and the acropolis where they vow to protect the city of Athens deemphasizes the former nature and shows the audience a more neutral/good natured side.

Ideals of Senecan Progress

Seneca’s concept of progress is rooted in the stoic philosophy advocating for the pursuit of virtue and knowledge. He maintains that it is the study of philosophy that gives life its greater meaning, and that it is our duty to prepare ourselves for the reception of virtue through the liberal arts. In Seneca’s Epistles he writes, “Hence the idea that our debt to philosophy is greater than our debt to the gods, in proportion as a good life is more of a benefit than mere life… “(395). He continues to say that this knowledge of virtue is not given to us by the gods, but only the means to acquire it. His idea of progress, it seems, is more of an intellectual and spiritual pursuit that we are all capable of, and yet, not as many actually pursue.
Seneca lived almost 2000 years ago, indeed a time lacking in the modern pleasures we so eagerly enjoy today, but in his doctrine, he even denounces the simple pleasures that his era was able to afford. In fact, he scorns athletes, cooks, artisans, and other merchants for their corporeal pursuits, shaming them of their greed and vanity. He says, “If mankind were willing to listen to this sage, they would know that the cook is as superfluous to them as the soldier… The things that are indispensable require no elaborate pains for their acquisition; it is only the luxuries that call for labour.” (405) However, it seems as if Seneca is writing to an audience who is still living in the Golden Age, when everything was supplied for them. In this case, yes, it seems like the pursuit of knowledge and virtue would be a noble one, and in this surreal world, materialism would be superfluous. Concerning this ideal world, he writes, “Beneath such dwellings they lived, but they lived in peace. A thatched roof once covered free men; under marble and gold dwells slavery.” (403) However, we must take Seneca’s philosophy with a grain of salt considering that he has been widely accused as an adulterer and embezzler and overall hypocrite.
Instead, his philosophy seems more appropriate for our modern world today, where we are inundated with advertisements for the newest cut of denim, or the most advanced age defying moisture cream. Our world today would benefit much more from Seneca’s philosophy of the greater pursuit of virtue and knowledge since we are not responsible for tilling the land in order to eat. In this way, virtue, it seems, relies on the very technological advances it so quick to disparage in order to reach a wider audience. We as people need certain luxuries in order to study the liberal arts and “prepare ourselves for the reception of virtue.” But even today, the importance of the liberal arts is not widely recognized by the general public because most people rely on their skills and trade value to support themselves. Thus, Seneca’s stoic philosophy of virtue and knowledge is beautiful and idyllic, but lives in a vacuum, absent of poverty and the constant need to support oneself.
Seneca was, by some philosophers, namely Francis Bacon, considered to be the champion of progressive thinking. However, what he writes in the Epistles appears as if he is not exactly in touch with the real world, and instead, his teachings exist in a more idyllic setting. I also think too, that he is given to much credit as an advocate for progress since Plato, roughly 400 years before Seneca, advocated for the same ideals of the pursuit of truth, knowledge, and what it means to be a responsible citizen. In this way, it seems like Seneca is not really saying anything new.

Kronian Festivals and Cyclopes

Wine has always played a role in festivals and ceremonies and is usually associated with celebration. However, I believe it is working in a slightly different way in the Polyphemus episode and acts more like the catalyst for the change in power between the Cyclopes and Odysseus, creating a “topsy turvy” effect on the scene, as well as on the characters themselves. However, before I am able to prove this, I must first argue using H. S. Versnel’s essay Greek Myth and Ritual: The Case of Kronos that Polyphemus can be likened to Kronos, and Odysseus to Zeus, and through these hierarchical roles of father/son and master/slave, they participate in a kind of Kronian festival where in a time of chaos, the roles are reversed.
Since Kronos is part of the creation story for the Greeks, he plays a significant, and yet contradictory role in Greek culture. As Versnel says, “Kronos is, on one hand, the god of an inhumanely cruel era without ethical standards; on the other he is the king of a Golden Age of abundance, happiness and justice.” (126) Concerning the negative portrayal, it is easy to see how the Cyclopes is reminiscent of Kronos and projects a tyrant’s approach to the ruling of his island when he kills and eats several of Odysseus’ men. However, Polyphemus also shows a kinder side when we see how he treats his sheep, milking them every morning and allowing them to graze in the mountains. In this way, he is portrayed as the loving father to his children and tends to them regularly. So, we have the tyrant and the father, but for the sake of this short essay, and as it relates to the Odyssey, I will be examining the more ruthless side of Polyphemus.
Odysseus plays the role of the servant/son, since his only role before the Cyclopes drank the wine was to serve him his dinner by delivering his men to the cave. But after Odysseus serves the wine, the power dynamic changes. The wine acts as a catalyst for the role reversal, which was the foundation of the Kronian festivals where the king takes on the role of the slave and the slaves become free. Versnel says, “as in the case of carnival…social and hierarchical roles are reversed: the fool is king and rules at will.” (136) Odysseus was the fool who led his men into the cave unable to escape. But once the wine is consumed, his fate changes. It is at this time that Odysseus gains the advantage and plunges the rod into the Cyclopes eye. In this way, Odysseus emasculates the Cyclopes of his power, similar to when Zeus dethroned Kronos and claimed his seat at Olympus and freed the other gods who had been eaten. Odysseus has transcended his inferior role and is now master over his former king. As Versnel says, “reversal rituals are found predominately in the ceremonies accompanying a critical passage…or the accession of a new ruler.” (138) The physical wine makes the Cyclopes’ world topsy-turvy because of the alcohol, but it also holds a symbolic meaning of a transition from what is familiar to something new.
Wine was often used to commemorate a change, whether it was to celebrate the harvest, or marriage, or to honor a death. Specifically in the Kronian festival, the familiar roles that women, children and slaves played was reversed in order to celebrate a change in the status quo, to welcome a new ruler, or just to recognize the ending of one period and the beginning of the next. I believe this is what is happening in book 9 of the Odyssey. The time before the wine consumption is a time of chaos; Odysseus’ men and being eaten one by one, and there is no hope of escape. However, after the Cyclopes drinks the wine, a new master arises, and Odysseus is able to dethrone the master/father-like figure.

Why Study Ancient Greek?

Many people have asked me what the practicality of studying the classics is, so I would like to point out some of these advantages. First, the studying of the classics is really a training of the mind - the ability to put words and sentences together from a grammatical syntax not like ours takes a great amount of patience, endurance, and creativity. It hones an attention to detail, a skill that is useful in any field today. Also, Latin is the foundation of our English language, and many Latin words are connected to Greek words, which allows us to create compounds and prefixes in our language today, such as pre-, anti-, de-, sum-, and many others. So in other words, if you are looking to get those high scores on the SAT or GRE, Greek and Latin are of utmost importance. And finally, the ability to rattle off the first line of the Iliad at a cocktail party will really wow your guests. μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος.

Beginning Plato

If you are looking to delve into some beginning Plato, before you jump right on the Republic, I might suggest picking up some of his shorter dialogues like the Ion or the Phaedrus. Both dialogues are short and relatively accessible to the beginning reader and offer up some of Plato's philosophy, such as how rhetoric plays a role in the Athenian community, what it means to be a young citizen in Athens and what one must do, and not do, in order to establish a respectable character, among other ideologies.

Best Homer Translations

I read Homer's The Iliad last semester, and by far and away, I believe that Richmond Lattimore's translation is the best. He stays true to the Greek itself, and does not go off on tangents or makes up something that isn't there. Fagles is also a good translation, although I don't believe it is as good as Lattimore's. If you are looking for a challenging Old English read of the Iliad, try reading some Pope, it flows like poetry although I think it is very hard to understand and does not accurately show how the Greek is working.

Elementary Greek Grammar

In terms of the most comprehensive books for starting off with Ancient Greek grammar, I must first recommend Smyth's Greek Grammar. For many classicists, this text is the be all and end all of Greek grammar. It contains chapters on noun declensions, grammar structures, and, everyone's favorite, particles, among many other things. However, if you are looking for something slightly more accessible, I can also recommend Hansen and Quinn's Greek An Intensive Course. I studied with this book my first year of college level Greek and found it very useful and well organized.

What Is The Best Ancient Greek Dictionary

If you are at all interested in learning more about the Classics and are searching for some of the best tools for studying ancient Greek, allow me to shed some light. The Liddell Scott dictionary, which comes in several different sizes, is very well known in the field. It contains Greek words with English meanings and is incredibly comprehensive and relatively easy to use; however, if you are at all familiar with Greek, you know that sometimes the beginning of a Greek word is not necessarily what you need to know in order to look it up in the dictionary. In this case, if you are reading something specific, the Tufts Classics Department has finally finished Perseus 4.0 digital library, which literally has catalogued thousands of words in both Greek and Latin, as well as Arabic. This is a wonderful source of information because all you need to do to look up a word is click on it, since all of the words are hyperlinked. TLG, an acronym for Thesaurus Linguae Graecae, is also an online database for all Greek words. And of course, last but not least, the Oxford Classical Dictionary is a wonderful resource as well.