Pearson 182
182
στίβος ὅδε νέος, Rossbach.
Ichneutae. Alfred Chilton Pearson. ed. Alfred Chilton Pearson. . 2026-09-15.
Table of Contents
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Current edition Experimental
Commentary (A. C. Pearson, 1917; OCR review) (OCR draft) (English) (Commentary (A. C. Pearson, 1917; OCR review))
Provisional text from uncorrected OCR; expect errors.
Editions (1)
Greek (A. S. Hunt, 1912; Perseus reference) (OCR draft) Experimental (Greek (A. S. Hunt, 1912; Perseus reference)) — 176 focus
Χορός
ὗ ὗ ὗ, ψ ψ, ἆ ἆ. λέγʼ ὅ τι πονεῖς.
τί μάτην ὑπέκλαγες, ὑπέκριγες
ὑπό μʼ ἴδες; ἔχεται
ἐν πρώτῳ τίς ὅδε τροπ[ῳ;
ἔχει. ἐλήλυθεν, ἐλήλ[υθεν.
180
ἐμὸς εἶ, ἀνάγου.
δεῦτʼ ὤ, τίς ὅδε [
]της
ὁ δράκις, ὁ γράπις, [
1
]
[Ο]ὐρίας Οὐρίας, αδ[
]κεις
παρέβης· μεθυ[
2
]
185
ὅ τι ποτε φερε[
]ι[
]ν
ἔποχον ἔχει τι[
3
]
στίβος ὁδενες[
4
]
στράτιος, στράτ[ιος
]υ[
]
δεῦρʼ ἕπου· τ[
]δρ[
]
8
190
ἔνι β[ο]ῦς ἔνι πονο[
μὴ μεθῇ κρ[ο]κι [
σὺ τί καλ[ὸ]ν ἐπιδ[
ὅδε γʼ ἀγαθὸς ὁ τρε[
κατὰ νόμον ἕπετα[ι
195
ἐφέπου, ἐφέπου μ[
ὀπποποῖ· ἆ μιαρέ, γε[
ἦ τάχʼ ὁπόταν ἀπίη[ις
ἀπελεύθερος ὢν ολ [
ἀλλὰ μὴ παραπλακ[
200
ἔπ[ι]θʼ [ἔ]πεχʼ εἴσιθʼ ἴθι[
τ[ὸ] δὲ πλάγιον ἔχομ[εν
ὗ ὗ ὗ, ψ ψ, ἆ ἆ. λέγʼ ὅ τι πονεῖς.
τί μάτην ὑπέκλαγες, ὑπέκριγες
ὑπό μʼ ἴδες; ἔχεται
ἐν πρώτῳ τίς ὅδε τροπ[ῳ;
ἔχει. ἐλήλυθεν, ἐλήλ[υθεν.
180
ἐμὸς εἶ, ἀνάγου.
δεῦτʼ ὤ, τίς ὅδε [
]της
ὁ δράκις, ὁ γράπις, [
1
]
[Ο]ὐρίας Οὐρίας, αδ[
]κεις
παρέβης· μεθυ[
2
]
185
ὅ τι ποτε φερε[
]ι[
]ν
ἔποχον ἔχει τι[
3
]
στίβος ὁδενες[
4
]
στράτιος, στράτ[ιος
]υ[
]
δεῦρʼ ἕπου· τ[
]δρ[
]
8
190
ἔνι β[ο]ῦς ἔνι πονο[
μὴ μεθῇ κρ[ο]κι [
σὺ τί καλ[ὸ]ν ἐπιδ[
ὅδε γʼ ἀγαθὸς ὁ τρε[
κατὰ νόμον ἕπετα[ι
195
ἐφέπου, ἐφέπου μ[
ὀπποποῖ· ἆ μιαρέ, γε[
ἦ τάχʼ ὁπόταν ἀπίη[ις
ἀπελεύθερος ὢν ολ [
ἀλλὰ μὴ παραπλακ[
200
ἔπ[ι]θʼ [ἔ]πεχʼ εἴσιθʼ ἴθι[
τ[ὸ] δὲ πλάγιον ἔχομ[εν
Translations (1)
English (Anne Mahoney, adapted from Walker) (OCR draft) Experimental (English (Anne Mahoney, adapted from Walker)) — 176 focus
Chorus
Perhaps separate satyrs sing the various lines of this song. With Silenus, they approach the cave, upstage, jostling, confused, and squabbling. The lyre-noises resume. Ooh, ooh, ooh, ssh, ssh, aah, aah! Say what you’re working on.
Why did you shout and scream? It’s pointless. And why were you suspicious of me? Who’s holding back in our first task?
You are. He came, he came.
You are mine; lead the way.
This way, ho! Who is the
?
The dragon, the wrinkled one
Goddess of fair winds,
you were beside me, drunk
Whatever bring
set on top of it
the way which
warlike
180
Follow me, this way!
8
To the cows, to the task
so he doesn’t drop the saffron
You see something beautiful
and the good
lawful
Follow me
Oppopopoy! Hey, filthy polluted one!
As soon as you get away from here, you’ll be set free and
190
But don’t get lost
Come on, straight ahead, this way. Now we’ve got the crook.
200
Perhaps separate satyrs sing the various lines of this song. With Silenus, they approach the cave, upstage, jostling, confused, and squabbling. The lyre-noises resume. Ooh, ooh, ooh, ssh, ssh, aah, aah! Say what you’re working on.
Why did you shout and scream? It’s pointless. And why were you suspicious of me? Who’s holding back in our first task?
Why did you shout and scream? It’s pointless. And why were you suspicious of me? Who’s holding back in our first task?
You are. He came, he came.
You are mine; lead the way.
This way, ho! Who is the ?
The dragon, the wrinkled one
Goddess of fair winds, you were beside me, drunk
Whatever bring set on top of it
the way which warlike
180
You are mine; lead the way.
This way, ho! Who is the ?
The dragon, the wrinkled one
Goddess of fair winds, you were beside me, drunk
Whatever bring set on top of it
the way which warlike
Follow me, this way!
8
To the cows, to the task
so he doesn’t drop the saffron
You see something beautiful and the good lawful
Follow me
Oppopopoy! Hey, filthy polluted one! As soon as you get away from here, you’ll be set free and
190
so he doesn’t drop the saffron
You see something beautiful and the good lawful
Follow me
Oppopopoy! Hey, filthy polluted one! As soon as you get away from here, you’ll be set free and
But don’t get lost
Come on, straight ahead, this way. Now we’ve got the crook.
200
Commentary
Apparatus (A. C. Pearson, 1917; OCR review) (OCR draft) (Apparatus (A. C. Pearson, 1917; OCR review)) focus
mvp-comment-90-1 in textu omissum, in marg. superiore add. pap.2
Commentary (A. C. Pearson, 1917; OCR review) (OCR draft) (Commentary (A. C. Pearson, 1917; OCR review)) focus
mvp-comment-132-1 244 θέσπιν αὐδάν sounds like a travesty of Homer's θέσπιν ἀοιδήν ( θ 498), which, by a curious coincidence, is applied by Euripides to the music of the lyre ( Med. 425 ).