Aeschylus – Eumenides

Speaker: Πυθιάς

Original: πρῶτον μὲν εὐχῇ τῇδε πρεσβεύω θεῶν τὴν πρωτόμαντιν Γαῖαν ·

Translation: First of all , I offer this prayer to the gods , to the first prophetess , Gaia .

Note

The sentence employs the adverbial phrase 'πρῶτον μὲν' (first, on the one hand), a common syntactic marker in Ancient Greek that often anticipates a subsequent clause introduced by 'δέ' (but/and then) or another adversative/conjunctive particle, establishing a structured rhetorical progression. The verb 'πρεσβεύω' is used here in its literal sense of 'to send as an ambassador' or 'to act as an envoy,' but in a religious context, it functions as a formal offering or embassy of a prayer ('εὐχήν'). The syntax places the direct object of the prayer ('εὐχήν') before the indirect objects, emphasizing the act of supplication itself. The invocation of Gaia ('Γαῖαν') with the epithet 'πρωτομάντιν' (first prophetess) highlights her unique status in Greek religious thought as the original source of oracular power, predating the Olympian gods, particularly in the context of the Delphic oracle's pre-Hellenic origins. The use of the demonstrative 'τη̂δε' (this) points to a specific, perhaps ritualized, prayer being uttered at the moment of the scene's opening, grounding the abstract act of prayer in the immediate dramatic action.

Speaker: Πυθιάς

Original: ἐκ δὲ τῆς Θέμιν , ἣ δὴ τὸ μητρὸς δευτέρα τόδ’ ἕζετο μαντεῖον , ὡς λόγος τις ·

Translation: From Themis , who is second to her mother , this oracle was established , as the story goes .

Note

The sentence employs the verb ἔζετο (middle/passive of ἔζομαι), which in this context implies 'took up a seat' or 'was established' at a specific location, often used for oracles or divine seats of judgment. The relative clause ἥ δὲ τοῦ μητρὸς δευτέρα (who is second to her mother) functions as a descriptive apposition to Themis, highlighting her genealogical hierarchy within the chthonic divine order (as the daughter of Gaia and Uranus, or in some traditions, a successor to Gaia herself). The phrase 'as the story goes' (ὡς λόγος τις) is a common rhetorical device in Greek tragedy to introduce a traditional or mythic explanation while maintaining a slight distance or acknowledging the legendary nature of the account. The use of the demonstrative τοῦτο (rendered as τοῦδε in the text) emphasizes the immediacy and specificity of the oracle being discussed. The syntax reflects a typical tragic narrative style where divine lineage and the establishment of sacred sites are intertwined.

Speaker: Πυθιάς

Original: ἐν δὲ τῷ τρίτῳ λάχει , θελούσης , οὐ -δὲ πρὸς βίαν τινός , Τιτανὶς ἄλλη παῖς Χθονὸς καθέζετο , Φοίβη ·

Translation: And in the third lot , with her willing consent , not against anyone 's violence , another daughter of Earth sat down : Phoibe .

Note

The sentence describes a mythological scene of lot-drawing (κλήρος) to determine seating or roles, a common ritual mechanism in Greek tragedy to signify divine order and fate. The phrase 'in the third lot' (ἐν δὲ τῷ τρίτῳ λᾳχει) uses the dative of sphere or respect, indicating the specific context of the action. The participial phrase 'with her willing consent' (θελούσης) is an ablative of attendant circumstance (Greek genitive absolute or similar construction depending on analysis, here functioning adverbially) that emphasizes the voluntary nature of the deity's action, contrasting with the immediately following negation 'not against any violence' (οὐδὲ πρός βίαν τινός). This juxtaposition highlights the absence of coercion. The noun 'daughter' (παῖς) is modified by the adjective 'another' (ἄλλη), the genitive 'of Earth' (Χθονὸς), and the appositive proper name 'Phoibe' (Φοίβη), creating a descriptive cluster that identifies the subject. The sentence structure flows from the circumstantial setting to the main action and concludes with the specific identification of the deity, a common stylistic pattern in choral odes or narrative passages of tragedy to build suspense or clarity.

Speaker: Πυθιάς

Original: δίδωσι δ’ ἣ γενέθλιον δόσιν Φοίβῳ ·

Translation: And she gives a birth-gift to Phoebus .

Note

The sentence features the dative of the recipient (Φοίβῳ, 'to Phoebus') following the verb δίδωσι ('gives'), a standard construction for verbs of giving. The adjective γενέθλιον ('birth-gift' or 'natal') modifies δόσιν ('gift'), creating a compound sense where the gift is specifically associated with birth or origin. The relative pronoun ἣ ('she/who') serves as the subject, likely referring to a female deity or personification mentioned in the preceding context. The particle δ' (from δέ) indicates a connective or adversative transition, often used to advance the narrative or introduce a new element in the sequence. The syntax is straightforward, with the verb governing both the direct object (δόσιν) and the indirect object (Φοίβῳ). The use of γενέθλιον as an adjective for a gift highlights the cultural significance of gifts given at birth or related to lineage in ancient Greek society.

Speaker: Πυθιάς

Original: τὸ Φοίβης δ’ ὄνομ’ ἔχει παρώνυμον .

Translation: She bears the name of Phoebus , a name that sounds like hers .

Note

This sentence employs a sophisticated play on words (paronomasia) central to the etymology of the goddess's new identity. The adjective 'παρώνυμον' (parōnymon) literally means 'having a name beside' or 'having a similar name,' derived from 'παρά' (beside) and 'ὄνομα' (name). The phrase creates a self-referential pun: the name 'Phoebus' (associated with Apollo) is being applied to the Furies (who are now being renamed the Eumenides), suggesting a shift in identity that is both linguistically and theologically significant. The enclitic particle 'δέ' (de) serves a connective function, likely bridging this statement with previous context regarding the naming process or the nature of the deity. The syntax relies on the verb 'ἔχει' (has/bears) taking a direct object ('ὄνομα') modified by an adjective ('παρώνυμον') that itself takes a genitive object ('Φοίβης'), indicating the name being compared. The structure highlights the thematic tension between the old, fearful identities of the Furies and their new, propitious identity linked to Apollo.

Speaker: Πυθιάς

Original: λιπὼν δὲ λίμνην Δηλίαν τε χοιράδα , κέλσας ἐπ’ ἀκτὰς ναυπόρους τὰς Παλλάδος , ἐς τήνδε γαῖαν ἦλθε Παρνησοῦ θ’ ἕδρας .

Translation: Having left the lake of Delos and the rocky isle , having sailed to the ship-passing shores of Pallas , he came to this land and the seat of Parnassus .

Note

The sentence employs a series of aorist participles (λιπών, κέλσας) to denote actions completed prior to the main verb (ἦλθε), creating a narrative sequence of departure and arrival. The text utilizes asyndeton (the omission of conjunctions) between the final two coordinate elements ('this land' and 'the seat of Parnassus'), linked only by the enclitic -θ' (from τε), which adds a rhythmic, breathless quality to the listing of destinations. The phrase ναυπόρους αἰκτάς ('ship-passing shores') is a characteristic poetic epithet found in tragedy, emphasizing the navigability of the coast for the divine figure's journey. The juxtaposition of the Delian lake (a sacred site of Apollo) with the seat of Parnassus (another sacred center of Apollo) highlights the thematic connection between these locations in the mythological geography of the play.

Speaker: Πυθιάς

Original: πέμπουσι δ’ αὐτὸν καὶ σεβίζουσιν μέγα κελευθοποιοὶ παῖδες Ἡφαίστου , χθόνα ἀνήμερον τιθέντες ἡμερωμένην .

Translation: They send him and honor him greatly , the road-making sons of Hephaestus , laying down the untamed earth as tamed .

Note

The sentence employs a striking juxtaposition of verbs (πεμπουσι 'send' and σεβιζουσιν 'honor') to describe the treatment of the protagonist (likely Orestes) by the divine smiths. The epithet 'road-making' (κελευθοποιοι) for the sons of Hephaestus is a rare and specific designation, highlighting their role as guides or pathfinders, likely in a metaphorical sense of guiding the soul or the legal process. The syntax features a participle (τιθεντες 'laying down') that functions as an adverbial modifier, explaining the manner in which the honor is conferred. The contrast between 'untamed' (ανημερον) and 'tamed' (ημερωμενην) creates a vivid antithesis, emphasizing the transformation of the natural world into a civilized space through human or divine intervention. The use of the dative of respect (μεγα 'greatly') with the verb of honoring adds emphasis to the reverence shown.

Speaker: Πυθιάς

Original: μολόντα δ’ αὐτὸν κάρτα τιμαλφεῖ λεώς , Δελφός τε χώρας τῆσδε πρυμνήτης ἄναξ .

Translation: But when he has come , the people shall highly honor him , and Delos , the lord of this land , the steerer of the stern .

Note

The verb τιμαλφεῖ (from τιμαλφέω) is a hapax legomenon in this specific form, meaning 'to honor greatly' or 'to esteem highly,' combining the roots for 'honor' (τιμή) and 'much' (ἀλφ-). The sentence employs a chiasmic structure in the second clause: 'Delos' (proper noun) is linked with 'lord' (αἰχ) and 'steerer' (πρυμνήτης), creating a rhythmic emphasis on the deity's dual role as ruler and guide. The term πρυμνήτης literally means 'steersman' or 'helmsman,' referring to the rear oarsman or helmsman of a ship, metaphorically casting Delos as the guiding authority of the land. The use of τε...τε is implied through the coordination of λαός and Δελφός as subjects sharing the same verb, though only one τε is explicitly placed after Δελφός, functioning as a connective particle that binds the two subjects. The adverb κάρτα intensifies the action of honoring, emphasizing the magnitude of the respect owed to the arriving figure.

Speaker: Πυθιάς

Original: τέχνης δέ νιν Ζεὺς ἔνθεον κτίσας φρένα ἵζει τέταρτον τοῖσδε μάντιν ἐν θρόνοις ·

Translation: But Zeus , having created a divine mind through art , now seats this prophet as the fourth upon these thrones .

Note

The verb κτίσας (having created/fashioned) is a temporal participle modifying the main verb ἵζει (seats), indicating the prior action that enables the current seating. The phrase φρένα ἔνθεον (divine mind/heart) is a significant collocation in Greek thought, where the 'heart' (phren) is the seat of intellect and emotion; here it is qualified as 'inspired' or 'divinely filled' by the god. The term τέχνης (of art/craft) in the genitive suggests the skill or method employed by Zeus in this divine fabrication. The number τέταρτον (fourth) is crucial, likely referring to the succession of oracles or the specific position of the prophet in a ritual sequence. The use of τοῖσδε (these) with θρόνοις (thrones) grounds the action in the immediate context of the scene, creating a sense of presence. The sentence structure employs a participle clause followed by the main verb, a common feature in narrative Greek to pack causal or temporal information efficiently.

Speaker: Πυθιάς

Original: Διὸς προφήτης δ’ ἐστὶ Λοξίας πατρός .

Translation: But the prophet of Zeus , father , is Loixias .

Note

The sentence features the particle δέ (transliterated as δ'), which serves as a connective, often indicating a transition or contrast with the preceding context. The name Λοξίας (Loixias) is an epithet for Apollo, derived from 'loxos' meaning 'oblique' or 'slanting,' likely referring to the oblique path of the sun or the ambiguous nature of oracular speech. The genitive forms Διὸς and πατρός create a possessive relationship, identifying Apollo as the prophet of Zeus, who is also referred to as 'father.' This reflects the familial hierarchy within the Greek pantheon. The sentence structure is straightforward, with the subject Λοξίας and the predicate nominative προφήτης linked by the copula ἐστὶ.