Euripides, Alcestis, Johann Jakob Christian Donner (Translator), 132

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Haben doch schon Alles versucht unsere Fürsten;

Rings dampfen die Götteraltare,

Vom Blut der geopferten Thier' umstromt,

Und nirgend ist Hülf' in dem Leide.
130

Alcestis. Euripides. Johann Jakob Christian Donner (Translator). . .

Current edition Experimental

German (J. J. C. Donner, 1841; OCR review) (OCR draft) (German) (Euripides. Deutsch in den Versmaßen der Urschrift. Volume 1, Heidelberg: C. F. Winter, 1841. Harvard OCR compared with an independent BSB copy. Native Donner verse citations, Murray reference cards, explicitly located notes and page facsimiles. Unresolved OCR, verse divisions, unlocated notes and printed errata are documented in the source review.)

Provisional text from uncorrected OCR; expect errors.

Editions (1)

Ἄλκηστις Perseus (Euripides. Euripidis Fabulae, Vol. I. Murray, Gilbert, editor. Oxford: Clarendon Press, 1902.) — 136-212 focus

Χορός

ἀλλ’ ἥδ’ ὀπαδῶν ἐκ δόμων τις ἔρχεται

δακρυρροοῦσα, τίνα τύχην ἀκούσομαι;

πενθεῖν μέν, εἴ τι δεσπόταισι τυγχάνει,

συγγνωστόν· εἰ δ’ ἔτ’ ἐστὶν ἔμψυχος γυνὴ

εἴτ’ οὖν ὄλωλεν εἰδέναι βουλοίμεθ’ ἄν.
140

Θεράπαινα

καὶ ζῶσαν εἰπεῖν καὶ θανοῦσαν ἔστι σοι.

Χορός

καὶ πῶς ἂν αὑτὸς κατθάνοι τε καὶ βλέποι;

Θεράπαινα

ἤδη προνωπής ἐστι καὶ ψυχορραγεῖ.

Χορός

ὦ τλῆμον, οἵας οἷος ὢν ἁμαρτάνεις.

Θεράπαινα

οὔπω τόδ’ οἶδε δεσπότης, πρὶν ἂν πάθῃ.
145

Χορός

ἐλπὶς μὲν οὐκέτ’ ἐστὶ σῴζεσθαι βίον;

Θεράπαινα

πεπρωμένη γὰρ ἡμέρα βιάζεται.

Χορός

οὔκουν ἐπ’ αὐτῇ πράσσεται τὰ πρόσφορα;

Θεράπαινα

κόσμος γ’ ἕτοιμος, ᾧ σφε συνθάψει πόσις.

Χορός

ἴστω νυν εὐκλεής γε κατθανουμένη
150

γυνή τ’ ἀρίστη τῶν ὑφ’ ἡλίῳ, μακρῷ.

Θεράπαινα

πῶς δ’ οὐκ ἀρίστη; τίς δ’ ἐναντιώσεται;

τί χρὴ γενέσθαι τὴν ὑπερβεβλημένην

γυναῖκα; πῶς δ’ ἂν μᾶλλον ἐνδείξαιτό τις

πόσιν προτιμῶσ’ ἢ θέλουσ’ ὑπερθανεῖν;
155

καὶ ταῦτα μὲν δὴ πᾶσ’ ἐπίσταται πόλις·

ἃ δ’ ἐν δόμοις ἔδρασε θαυμάσῃ κλύων.

ἐπεὶ γὰρ ᾔσθεθ’ ἡμέραν τὴν κυρίαν

ἥκουσαν, ὕδασι ποταμίοις λευκὸν χρόα

ἐλούσατʼ, ἐκ δ’ ἑλοῦσα κεδρίνων δόμων
160

ἐσθῆτα κόσμον τ’ εὐπρεπῶς ἠσκήσατο,

καὶ στᾶσα πρόσθεν Ἑστίας κατηύξατο·

Δέσποινʼ, ἐγὼ γὰρ ἔρχομαι κατὰ χθονός,

πανύστατόν σε προσπίτνουσ’ αἰτήσομαι,

τέκν’ ὀρφανεῦσαι τἀμά· καὶ τῷ μὲν φίλην
165

σύζευξον ἄλοχον, τῇ δὲ γενναῖον πόσιν.

μηδ’ ὥσπερ αὐτῶν ἡ τεκοῦσ’ ἀπόλλυμαι

θανεῖν ἀώρους παῖδας, ἀλλ’ εὐδαίμονας

ἐν γῇ πατρῴᾳ τερπνὸν ἐκπλῆσαι βίον.

πάντας δὲ βωμούς, οἳ κατ’ Ἀδμήτου δόμους,
170

προσῆλθε κἀξέστεψε καὶ προσηύξατο,

πτόρθων ἀποσχίζουσα μυρσίνης φόβην,

ἄκλαυτος ἀστένακτος, οὐδὲ τοὐπιὸν

κακὸν μεθίστη χρωτὸς εὐειδῆ φύσιν.

κἄπειτα θάλαμον ἐσπεσοῦσα καὶ λέχος,
175

ἐνταῦθα δὴ ʼδάκρυσε καὶ λέγει τάδε·

Ὦ λέκτρον, ἔνθα παρθένει’ ἔλυσ’ ἐγὼ

κορεύματ’ ἐκ τοῦδ’ ἀνδρός, οὗ θνῄσκω πέρι,

χαῖρʼ· οὐ γὰρ ἐχθαίρω σʼ· ἀπώλεσας δ’ ἐμὲ

μόνην· προδοῦναι γάρ σ’ ὀκνοῦσα καὶ πόσιν
180

θνῄσκω. σὲ δ’ ἄλλη τις γυνὴ κεκτήσεται,

σώφρων μὲν οὐκ ἂν μᾶλλον, εὐτυχὴς δ’ ἴσως.

κυνεῖ δὲ προσπίτνουσα, πᾶν δὲ δέμνιον

ὀφθαλμοτέγκτῳ δεύεται πλημμυρίδι.

ἐπεὶ δὲ πολλῶν δακρύων εἶχεν κόρον,
185

στείχει προνωπὴς ἐκπεσοῦσα δεμνίων,

καὶ πολλὰ θαλάμων ἐξιοῦσ’ ἐπεστράφη

κἄρριψεν αὑτὴν αὖθις ἐς κοίτην πάλιν.

παῖδες δὲ πέπλων μητρὸς ἐξηρτημένοι

ἔκλαιον· ἣ δὲ λαμβάνουσ’ ἐς ἀγκάλας
190

ἠσπάζετ’ ἄλλοτ’ ἄλλον, ὡς θανουμένη.

πάντες δ’ ἔκλαιον οἰκέται κατὰ στέγας

δέσποιναν οἰκτίροντες. ἣ δὲ δεξιὰν

προύτειν’ ἑκάστῳ, κοὔτις ἦν οὕτω κακὸς

ὃν οὐ προσεῖπε καὶ προσερρήθη πάλιν.
195

τοιαῦτ’ ἐν οἴκοις ἐστὶν Ἀδμήτου κακά.

καὶ κατθανών τἂν ὤλετʼ, ἐκφυγών δ’ ἔχει

τοσοῦτον ἄλγος, οὗ ποτ’—οὐ λελήσεται.

Χορός

ἦ που στενάζει τοισίδ’ Ἄδμητος κακοῖς,

ἐσθλῆς γυναικὸς εἰ στερηθῆναί σφε χρή;
200

Θεράπαινα

κλαίει γ’ ἄκοιτιν ἐν χεροῖν φίλην ἔχων,

καὶ μὴ προδοῦναι λίσσεται, τἀμήχανα

ζητῶν· φθίνει γὰρ καὶ μαραίνεται νόσῳ.

παρειμένη δέ, χειρὸς ἄθλιον βάρος

ὅμως δὲ καίπερ σμικρὸν ἐμπνέουσ’ ἔτι
205

βλέψαι πρὸς αὐγὰς βούλεται τὰς ἡλίου

ὡς οὔποτ’ αὖθις, ἀλλὰ νῦν πανύστατον.

ἀκτῖνα κύκλον θ’ ἡλίου προσόψεται.

ἀλλ’ εἶμι καὶ σὴν ἀγγελῶ παρουσίαν·

οὐ γάρ τι πάντες εὖ φρονοῦσι κοιράνοις,
210

ὥστ’ ἐν κακοῖσιν εὐμενεῖς παρεστάναι·

σὺ δ’ εἶ παλαιὸς δεσπόταις ἐμοῖς φίλος.

Translations (2)

Alcestis Perseus (Euripides. The Plays of Euripides, Vol. I. Coleridge, Edward P., translator. London: George Bell and Sons, 1906.) — 136-210 focus

Chorus

Lo! from the house cometh a handmaid weeping; what shall I be told hath chanced? Grief may well be pardoned, if aught happeneth to one’s master; yet I fain would learn whether our lady

still is living or haply is no more.
140

Maid

Alive, yet dead thou may’st call her.

Chorus

Why, how can the same person be alive, yet dead?

Maid

She is sinking even now, and at her last gasp.

Chorus

My poor master! how sad thy lot to lose so good a wife!

Maid

He did not know his loss, until the blow fell on him.
145

Chorus

Is there then no more a hope of saving her?

Maid

None; the fated day comes on so fast.

Chorus

Are then the fitting rites already taking place o’er her body?

Maid

Death’s garniture is ready, wherewith her lord will bury her.

Chorus

Well let her know, though die she must, her fame ranks far above any other wife’s beneath the sun.
150

Maid

Far above! of course it does; who will gainsay it? What must the woman be who hath surpassed her? For how could any wife have shown a clearer regard

for her lord than by offering in his stead to die? Thus much the whole city knows right well; but thou shalt hear with wonder what she did within the house. For when she knew the fatal day was come, she washed her fair white skin with water from the stream,
155

then from her cedar chests drew forth vesture and ornaments and robed herself becomingly; next, standing before the altar-hearth, she prayed, Mistress mine, behold! I pass beneath the earth; to thee in suppliant wise will I my latest prayer address;
160

be mother to my orphans, and to my boy unite a loving bride, to my daughter a noble husband. Let them not die, as I, their mother, perish now, untimely in their youth, but let them live their glad lives out, happy in their native land.
165

To every altar in Admetus’ halls she went and crowned them and prayed, plucking from myrtle boughs their foliage, with never a tear or groan, nor did her coming trouble change the colour of her comely face.
170

Anon into her bridal bower she burst, and then her tears brake forth and thus she cried, O couch, whereon I loosed my maiden state for the man in whose cause I die, farewell! no hate I feel for thee; for me alone hast thou undone,
175

dying as I die from fear of betraying thee and my lord. Some other wife will make thee hers, more blest maybe than me, but not more chaste. And she fell upon her knees and kissed it, till with her gushing tears the whole bed was wet.
180

At last, when she had had her fill of weeping, she tore herself from the bed and hurried headlong forth, and oft as she was leaving the chamber turned she back and cast herself once more upon the couch; while her children were weeping as they clung to their mother’s robes;
185

but she took them each in turn in her arms and kissed them fondly, as a dying mother might. And all the servants in the house fell a-crying in sorrow for their mistress; but she held out her hand to each, nor was there one so mean
190

but she gave him a word and took his answer back. Such are the sorrows in the halls of Admetus. Dying he had died once for all, but by avoiding death he hath a legacy of grief that he will ne’er forget.
195

Chorus

Doubtless Admetus sorrows in this calamity,

if he must lose so good a wife.
200

Maid

Ah yes! he weeps, holding in his arms his darling wife, and prays her not to leave him, impossible request! for she is worn and wasted with illness, and lies¹ exhausted, a sad burden in his arms.

Still, though her breath comes short and scant, she yearns to gaze yet on the sunshine, for nevermore, but now the last and latest time her eye shall see his radiant orb.² But I will go, thy presence to announce,
205

for ’tis not all who have the goodwill to stand by their masters with kindly hearts in adversity. But thou of old hast been my master’s friend.
210

Alcestis (OCR draft) Experimental (Alcestis. Robert Potter's English verse translation, first published in 1781–1783; text from the 1808 Oxford printing.)

No corresponding passage available

Euripides Alcestis 132

Johann Jakob Christian Donner (Translator)

Search the Perseus Catalog for:

Haben doch schon Alles versucht unsere Fürsten;

Rings dampfen die Götteraltare,

Vom Blut der geopferten Thier' umstromt,

Und nirgend ist Hülf' in dem Leide.
130

Current edition Experimental

Θεράπαινα

καὶ ζῶσαν εἰπεῖν καὶ θανοῦσαν ἔστι σοι.

Χορός

καὶ πῶς ἂν αὑτὸς κατθάνοι τε καὶ βλέποι;

Θεράπαινα

ἤδη προνωπής ἐστι καὶ ψυχορραγεῖ.

Χορός

ὦ τλῆμον, οἵας οἷος ὢν ἁμαρτάνεις.

Θεράπαινα

οὔπω τόδ’ οἶδε δεσπότης, πρὶν ἂν πάθῃ.
145

Χορός

ἐλπὶς μὲν οὐκέτ’ ἐστὶ σῴζεσθαι βίον;

Θεράπαινα

πεπρωμένη γὰρ ἡμέρα βιάζεται.

Χορός

οὔκουν ἐπ’ αὐτῇ πράσσεται τὰ πρόσφορα;

Θεράπαινα

κόσμος γ’ ἕτοιμος, ᾧ σφε συνθάψει πόσις.

Χορός

ἴστω νυν εὐκλεής γε κατθανουμένη
150

γυνή τ’ ἀρίστη τῶν ὑφ’ ἡλίῳ, μακρῷ.

Χορός

ἦ που στενάζει τοισίδ’ Ἄδμητος κακοῖς,

ἐσθλῆς γυναικὸς εἰ στερηθῆναί σφε χρή;
200

Chorus

Lo! from the house cometh a handmaid weeping; what shall I be told hath chanced? Grief may well be pardoned, if aught happeneth to one’s master; yet I fain would learn whether our lady

still is living or haply is no more.
140

Maid

Alive, yet dead thou may’st call her.

Chorus

Why, how can the same person be alive, yet dead?

Maid

She is sinking even now, and at her last gasp.

Chorus

My poor master! how sad thy lot to lose so good a wife!

Maid

He did not know his loss, until the blow fell on him.
145

Chorus

Is there then no more a hope of saving her?

Maid

None; the fated day comes on so fast.

Chorus

Are then the fitting rites already taking place o’er her body?

Maid

Death’s garniture is ready, wherewith her lord will bury her.

Chorus

Well let her know, though die she must, her fame ranks far above any other wife’s beneath the sun.
150

Chorus

Doubtless Admetus sorrows in this calamity,

if he must lose so good a wife.
200

Stable identifiers

Search the Perseus Catalog for:

Search the Perseus Catalog for:

Haben doch schon Alles versucht unsere Fürsten; Rings dampfen die Götteraltare, Vom Blut der geopferten Thier' umstromt, Und nirgend ist Hülf' in dem Leide. 130

Current edition Experimental

Θεράπαινα καὶ ζῶσαν εἰπεῖν καὶ θανοῦσαν ἔστι σοι.

Χορός καὶ πῶς ἂν αὑτὸς κατθάνοι τε καὶ βλέποι;

Θεράπαινα ἤδη προνωπής ἐστι καὶ ψυχορραγεῖ.

Χορός ὦ τλῆμον, οἵας οἷος ὢν ἁμαρτάνεις.

Θεράπαινα οὔπω τόδ’ οἶδε δεσπότης, πρὶν ἂν πάθῃ. 145

Χορός ἐλπὶς μὲν οὐκέτ’ ἐστὶ σῴζεσθαι βίον;

Θεράπαινα πεπρωμένη γὰρ ἡμέρα βιάζεται.

Χορός οὔκουν ἐπ’ αὐτῇ πράσσεται τὰ πρόσφορα;

Θεράπαινα κόσμος γ’ ἕτοιμος, ᾧ σφε συνθάψει πόσις.

Χορός ἴστω νυν εὐκλεής γε κατθανουμένη 150 γυνή τ’ ἀρίστη τῶν ὑφ’ ἡλίῳ, μακρῷ.

Χορός ἦ που στενάζει τοισίδ’ Ἄδμητος κακοῖς, ἐσθλῆς γυναικὸς εἰ στερηθῆναί σφε χρή; 200

Chorus Lo! from the house cometh a handmaid weeping; what shall I be told hath chanced? Grief may well be pardoned, if aught happeneth to one’s master; yet I fain would learn whether our lady still is living or haply is no more. 140

Maid Alive, yet dead thou may’st call her.

Chorus Why, how can the same person be alive, yet dead?

Maid She is sinking even now, and at her last gasp.

Chorus My poor master! how sad thy lot to lose so good a wife!

Maid He did not know his loss, until the blow fell on him. 145

Chorus Is there then no more a hope of saving her?

Maid None; the fated day comes on so fast.

Chorus Are then the fitting rites already taking place o’er her body?

Maid Death’s garniture is ready, wherewith her lord will bury her.

Chorus Well let her know, though die she must, her fame ranks far above any other wife’s beneath the sun. 150

Chorus Doubtless Admetus sorrows in this calamity, if he must lose so good a wife. 200

Stable identifiers

Haben doch schon Alles versucht unsere Fürsten;

Rings dampfen die Götteraltare,

Vom Blut der geopferten Thier' umstromt,

Und nirgend ist Hülf' in dem Leide.
130

Θεράπαινα

καὶ ζῶσαν εἰπεῖν καὶ θανοῦσαν ἔστι σοι.

Χορός

καὶ πῶς ἂν αὑτὸς κατθάνοι τε καὶ βλέποι;

Θεράπαινα

ἤδη προνωπής ἐστι καὶ ψυχορραγεῖ.

Χορός

ὦ τλῆμον, οἵας οἷος ὢν ἁμαρτάνεις.

Θεράπαινα

οὔπω τόδ’ οἶδε δεσπότης, πρὶν ἂν πάθῃ.
145

Χορός

ἐλπὶς μὲν οὐκέτ’ ἐστὶ σῴζεσθαι βίον;

Θεράπαινα

πεπρωμένη γὰρ ἡμέρα βιάζεται.

Χορός

οὔκουν ἐπ’ αὐτῇ πράσσεται τὰ πρόσφορα;

Θεράπαινα

κόσμος γ’ ἕτοιμος, ᾧ σφε συνθάψει πόσις.

Χορός

ἴστω νυν εὐκλεής γε κατθανουμένη
150

γυνή τ’ ἀρίστη τῶν ὑφ’ ἡλίῳ, μακρῷ.

Χορός

ἦ που στενάζει τοισίδ’ Ἄδμητος κακοῖς,

ἐσθλῆς γυναικὸς εἰ στερηθῆναί σφε χρή;
200

Chorus

Lo! from the house cometh a handmaid weeping; what shall I be told hath chanced? Grief may well be pardoned, if aught happeneth to one’s master; yet I fain would learn whether our lady

still is living or haply is no more.
140

Maid

Alive, yet dead thou may’st call her.

Chorus

Why, how can the same person be alive, yet dead?

Maid

She is sinking even now, and at her last gasp.

Chorus

My poor master! how sad thy lot to lose so good a wife!

Maid

He did not know his loss, until the blow fell on him.
145

Chorus

Is there then no more a hope of saving her?

Maid

None; the fated day comes on so fast.

Chorus

Are then the fitting rites already taking place o’er her body?

Maid

Death’s garniture is ready, wherewith her lord will bury her.

Chorus

Well let her know, though die she must, her fame ranks far above any other wife’s beneath the sun.
150

Chorus

Doubtless Admetus sorrows in this calamity,

if he must lose so good a wife.
200