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Euripides · Iphigenia in Tauris §83-193

Orestes' Plot to Steal the Statue and Iphigenia's Lament

Passage 2 of 17 · Greek

Summary

Orestes and Pylades discuss how to fulfill the oracle in Tauris, planning to steal the wooden statue from the temple under the cover of night. Subsequently, the chorus of handmaids and Iphigenia appear, chanting a lament over her ominous dream that forebodes her brother Orestes' death.

§83μανίας ἂν ἔλθοιμʼ ἐς τέλος πόνων τʼ ἐμῶν, §84οὓς ἐξεμόχθουν περιπολῶν καθʼ Ἑλλάδα — §85σὺ δʼ εἶπας ἐλθεῖν Ταυρικῆς μʼ ὅρους χθονός, §86ἔνθʼ Ἄρτεμίς σοι σύγγονος βωμοὺς ἔχοι, §87λαβεῖν τʼ ἄγαλμα θεᾶς, ὅ φασιν ἐνθάδε §88ἐς τούσδε ναοὺς οὐρανοῦ πεσεῖν ἄπο· §89λαβόντα δʼ ἢ τέχναισιν ἢ τύχῃ τινί, §90κίνδυνον ἐκπλήσαντʼ, Ἀθηναίων χθονὶ §91δοῦναι — τὸ δʼ ἐνθένδʼ οὐδὲν ἐρρήθη πέρα — §92καὶ ταῦτα δράσαντʼ ἀμπνοὰς ἕξειν πόνων.
When shall I reach the end of my madness and my labors, which I have endured, wandering throughout Greece? — But you told me to go to the borders of the Tauric land, where your sister Artemis has her altars, and to take the image of the goddess, which they say fell here into these temples from heaven; and having taken it either by wiles or by some fortune, and having fulfilled the danger, to give it to the land of the Athenians —and nothing further was said of what comes next— and that having done these things, I would have respite from my labors.
§93ἥκω δὲ πεισθεὶς σοῖς λόγοισιν ἐνθάδε §94ἄγνωστον ἐς γῆν, ἄξενον.
And I have come, obeying your words, here to an unknown, inhospitable land.
σὲ δʼ ἱστορῶ, §95Πυλάδη — σὺ γάρ μοι τοῦδε συλλήπτωρ πόνου — §96τί δρῶμεν;
But I ask you, Pylades —for you are my helper in this labor— what are we to do?
ἀμφίβληστρα γὰρ τοίχων ὁρᾷς §97ὑψηλά· πότερα δωμάτων προσαμβάσεις
For you see the high barriers of the walls; shall we mount the steps of the temple?
§98ἐκβησόμεσθα; πῶς ἂν οὖν λάθοιμεν ἄν;
How then could we escape notice?
§99ἢ χαλκότευκτα κλῇθρα λύσαντες μοχλοῖς — §100ὧν οὐδὲν ἴσμεν;
Or shall we loosen the bronze-wrought locks with crowbars, of which we know nothing?
ἢν δʼ ἀνοίγοντες πύλας §101ληφθῶμεν ἐσβάσεις τε μηχανώμενοι, §102θανούμεθʼ.
If we are caught opening the gates and planning our entrance, we shall die.
ἀλλὰ πρὶν θανεῖν, νεὼς ἔπι §103φεύγωμεν, ᾗπερ δεῦρʼ ἐναυστολήσαμεν.
But before we die, let us flee on the ship by which we sailed here.
§104φεύγειν μὲν οὐκ ἀνεκτὸν οὐδʼ εἰώθαμεν, §105τὸν τοῦ θεοῦ δὲ χρησμὸν οὐ κακιστέον·
To flee is not tolerable, nor are we accustomed to it, and the oracle of the god is not to be slighted.
§106ναοῦ δʼ ἀπαλλαχθέντε κρύψωμεν δέμας §107κατʼ ἄντρʼ ἃ πόντος νοτίδι διακλύζει μέλας — §108νεὼς ἄπωθεν, μή τις εἰσιδὼν σκάφος §109βασιλεῦσιν εἴπῃ κᾆτα ληφθῶμεν βίᾳ.
Departing from the temple, let us hide ourselves in the caves which the dark sea washes with its spray— far from the ship, lest someone seeing the vessel tell the rulers and then we be taken by force.
§110ὅταν δὲ νυκτὸς ὄμμα λυγαίας μόλῃ, §111τολμητέον τοι ξεστὸν ἐκ ναοῦ λαβεῖν §112ἄγαλμα πάσας προσφέροντε μηχανάς.
But when the eye of dark night comes, we must dare to take the polished image from the temple, employing every device.
§113ὅρα δέ γʼ εἴσω τριγλύφων ὅποι κενὸν §114δέμας καθεῖναι· τοὺς πόνους γὰρ ἁγαθοὶ §115τολμῶσι, δειλοὶ δʼ εἰσὶν οὐδὲν οὐδαμοῦ.
Look inside the triglyphs where there is an empty space to let down our bodies; for brave men dare to face labors, but cowards are nothing anywhere.
§116οὔ τοι μακρὸν μὲν ἤλθομεν κώπῃ πόρον, §117ἐκ τερμάτων δὲ νόστον ἀροῦμεν πάλιν.
Surely we did not come a long journey by oar only to turn back again from the goal.
§118ἀλλʼ εὖ γὰρ εἶπας, πειστέον· χωρεῖν χρεὼν §119ὅποι χθονὸς κρύψαντε λήσομεν δέμας.
But you have spoken well, we must obey; we must go where we can hide ourselves in the land and escape notice.
§120οὐ γὰρ τὸ τοῦ θεοῦ γʼ αἴτιον γενήσεται §121πεσεῖν ἄχρηστον θέσφατον· τολμητέον· §122μόχθος γὰρ οὐδεὶς τοῖς νέοις σκῆψιν φέρει.
For the god's part will not be the cause of his oracle falling useless; we must dare; for no labor brings an excuse to the young.
§123εὐφαμεῖτʼ, ὦ §124πόντου δισσὰς συγχωρούσας §125πέτρας Ἀξείνου ναίοντες.
Keep holy silence, O you who dwell near the twin clashing rocks of the inhospitable sea.
§126ὦ παῖ τᾶς Λατοῦς, §127Δίκτυννʼ οὐρεία, §128πρὸς σὰν αὐλάν, εὐστύλων §129ναῶν χρυσήρεις θριγκούς, §130πόδα παρθένιον ὅσιον ὁσίας §131κλῃδούχου δούλα πέμπω, §132Ἑλλάδος εὐίππου πύργους §134καὶ τείχη χόρτων τʼ εὐδένδρων §135ἐξαλλάξασʼ Εὐρώπαν, §136πατρῴων οἴκων ἕδρας.
O child of Leto, mountain Dictynna, to your court, to the golden cornices of the beautiful-columned temple, I guide my holy, maidenly foot, as a servant to the holy keyholder, having left the towers of Greece famed for horses, and Europe with its walls and well-wooded pastures, the seats of my ancestral home.
§137ἔμολον·
I have come; what is new?
τί νέον; τίνα φροντίδʼ ἔχεις;
What care do you have?
§138τί με πρὸς ναοὺς ἄγαγες ἄγαγες, §139ὦ παῖ τοῦ τᾶς Τροίας πύργους §140ἐλθόντος κλεινᾷ σὺν κώπᾳ §141χιλιοναύτα §142μυριοτευχοῦς Ἀτρείδα;
Why have you summoned me to the temple, O child of him who went to the towers of Troy with the famous fleet of a thousand ships, the son of Atreus with his myriad weapons?
§143ἰὼ δμωαί, §144δυσθρηνήτοις ὡς θρήνοις §145ἔγκειμαι, τᾶς οὐκ εὐμούσου §146μολπᾶς ἀλύροις ἐλέγοις, αἰαῖ, §147αἰαῖ, κηδείοις οἴκτοισιν· §148αἵ μοι συμβαίνουσʼ ἆται, §149σύγγονον ἁμὸν κατακλαιομένα §150ζωᾶς, οἵαν οἵαν ἰδόμαν §151ὄψιν ὀνείρων §152νυκτός, τᾶς ἐξῆλθʼ ὄρφνα.
O attendants, in what mournful lamentations am I engaged, with the unmusical song of lyreless elegies, alas, alas, with funeral laments; the ruin that has befallen me, as I bewail my brother who has lost his life—such, such was the vision of dreams I saw in the night whose darkness has departed.
§152aὀλόμαν ὀλόμαν· §153οὐκ εἴσʼ οἶκοι πατρῷοι· §154οἴμοι μοι φροῦδος γέννα.
I am undone, undone; my ancestral house is no more; alas, my family is gone.
§155φεῦ φεῦ τῶν Ἄργει μόχθων.
Ah, the troubles of Argos!
§156ἰὼ δαῖμον, §157μόνον ὅς με κασίγνητον συλᾷς §159Ἀίδᾳ πέμψας, ᾧ τάσδε χοὰς §160μέλλω κρατῆρά τε τὸν φθιμένων §161ὑδραίνειν γαίας ἐν νώτοις §162πηγάς τʼ οὐρείων ἐκ μόσχων §164Βάκχου τʼ οἰνηρὰς λοιβὰς §165ξουθᾶν τε πόνημα μελισσᾶν, §166ἃ νεκροῖς θελκτήρια κεῖται.
O fate, who rob me of my only brother, sending him to Hades, for whom I am about to pour these libations and the bowl of the dead on the back of the earth, the streams from mountain heifers, and the wine libations of Bacchus, and the labor of the swift bees, which lie as soothing offerings for the dead.
§168ἀλλʼ ἔνδος μοι πάγχρυσον §169τεῦχος καὶ λοιβὰν Ἅιδα.
But hand me the all-golden vessel and the libation of Hades.
§170ὦ κατὰ γαίας Ἀγαμεμνόνιον §171θάλος, ὡς φθιμένῳ τάδε σοι πέμπω· §172δέξαι δʼ· οὐ γὰρ πρὸς τύμβον σοι §173ξανθὰν χαίταν, οὐ δάκρυʼ οἴσω.
O Agamemnonian shoot beneath the earth, to you as dead I send these; receive them; for I shall not bring to your tomb my golden hair, nor my tears.
§175τηλόσε γὰρ δὴ σᾶς ἀπενάσθην §176πατρίδος καὶ ἐμᾶς, ἔνθα δοκήμασι §177κεῖμαι σφαχθεῖσʼ ἁ τλάμων.
For indeed I was banished far from your country and mine, where in appearance I lie sacrificed, wretched one.
§178ἀντιψάλμους ᾠδὰς ὕμνων τʼ §180Ἀσιητᾶν σοι βάρβαρον ἀχὰν §181δεσποίνᾳ γʼ ἐξαυδάσω, §183τὰν ἐν θρήνοισιν μοῦσαν §184νέκυσι μελομέναν, τὰν ἐν μολπαῖς §185Ἅιδας ὑμνεῖ δίχα παιάνων.
And I will sing in response the songs and hymns of the Asians, a barbarian cry, to my mistress, the music which is concerned with the dead in lamentations, which Hades hymns in songs apart from paeans.
§186οἴμοι, τῶν Ἀτρειδᾶν οἴκων·
Alas, the house of the Atridae!
§187ἔρρει φῶς σκήπτρων, οἴμοι, §188πατρῴων οἴκων.
Gone is the light of the scepter, alas, of my ancestral home.
§189ἦν ἐκ τῶν εὐόλβων Ἄργει §190βασιλέων ἀρχά, §191μόχθος δʼ ἐκ μόχθων ᾄσσει· §192δινευούσαις ἵπποισι ῥιφαὶ §193Πέλοπος πταναῖς· ἀλλάξας δʼ ἐξ
Once from the prosperous kings of Argos was the rule, but labor rushes upon labor; with his whirling horses Pelops sped on swift wings; but changing from...

Notes

  1. §83μανίας ἂν ἔλθοιμʼ ἐς τέλος — Though standing at the beginning of a clause without a conjunction, it continues the context of the previous lines and is interpreted as a question using the potential optative (ἄν + optative ἔλθοιμι). The genitive πόνων τʼ ἐμῶν also depends on ἐς τέλος, meaning 'when shall I reach the end of my madness and my labors?'
  2. §85σὺ δʼ εἶπας ἐλθεῖν — Here, εἶπας is used in the sense of commanding or instructing, governing an accusative with infinitive construction (με ἐλθεῖν). The contents of Apollo's oracle are reported in indirect discourse via infinitives down to §92.
  3. §91τὸ δʼ ἐνθένδʼ — An adverbial expression meaning 'what lies beyond that' or 'what comes next.' It indicates that while the oracle specified delivering the statue to Athens, it remained silent on the exact procedure or the return journey.
  4. §98πῶς ἂν οὖν λάθοιμεν ἄν; — A potential optative with double ἄν (πῶς ἄν... λάθοιμεν ἄν), expressing a strong question regarding an impossibility, or a rhetorical question: 'How could we possibly escape notice? (We cannot.)'
  5. §101μηχανώμενοι — A present participle indicating simultaneous action or attempt in the protasis of a conditional sentence (ἢν... ληφθῶμεν), meaning 'while planning or trying to effect an entrance.'
  6. §113ὅρα δέ γʼ εἴσω τριγλύφων ὅποι κενὸν — The preposition εἴσω governs the genitive τριγλύφων (triglyphs, part of the temple's frieze), and the indirect question introduced by ὅποι (whither) serves as the object of the imperative ὅρα (look). This refers to searching for an empty space (κενόν) through which they can slip inside the temple.
  7. §130ὁσίας κλῃδούχου — Genitive referring to 'the holy keyholder,' i.e., Iphigenia the priestess. The noun δούλα (female slave/servant) depends on this genitive, representing the Chorus's submissive relationship to her as her attendants.
  8. §145τᾶς οὐκ εὐμούσου μολπᾶς — A genitive meaning 'of the unmusical song.' It functions either in apposition to or as specifying the origin/character of the following dative phrase ἀλύроις ἐλέγοις ('in lyreless elegies').
  9. §150οἵαν οἵαν ἰδόμαν ὄψιν ὀνείρων — The relative pronoun οἵαν is repeated due to high emotional tension, modifying the cognate accusative ὄψιν ('what a vision of dreams I saw!'). This exclamation highlights her deep agitation over the ominous dream.
  10. §175τηλόσε γὰρ δὴ σᾶς ἀπενάσθην πατρίδος — The verb ἀπενάσθην (passive aorist of ἀπονέω or related, meaning 'I was removed' or 'banished') governs the genitive of separation σᾶς πατρίδος ('from your country'), where σᾶς refers to Orestes, followed by καὶ ἐμᾶς ('and mine').

Cite this passage

Euripides, Iphigenia in Tauris §83-193. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:greekLit:tlg0006.tlg013.humanitext-grc2:83-193

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