Haec fabula proprie pertinet ad laudem principatus Atheniensium. Hos enim ostendit aborigines nec aliunde insitos esse, deinde habere praesidem Mineruam, sapientiae ac pulcherrimarum artium antistitem, praeterea a solertissimis ducibus qui genus a diis trahant gubernari, denique gentibus longe lateque tum in Asia tum in Europa, quae etiam num a primis domitoribus cognominantur, imperare. Verisimile siquidem est poetas Graecos sub involucro fabularum non raro inservire voluisse laudibus tum ceterarum Graeciae urbium tum Athenarum, ubi non solum omnes artes inventae florebant ac emporium omnis eruditionis et philosophiae in toto orbe celeberrimum erat, sed etiam belli studia vigebant: id enim Poeta noster in Supplicibus quoque et Heraclidis luculenter significat. Et Boeotia Homeri nihil aliud esse videtur quam encomium Graeciae et finitimarum insularum. Sunt praeterea non contemnendi morum typi observandi in praesenti Dramate. In quo primum Creusa sterilitate, stupri et expositi pueri conscientia, adulteri (talem putabat) mariti odio, necandi novi filii viri studio miserrima, sed quae mox commutatis rebus et filium et summas commoditates ac plane mare bonorum reperiat insperato. Ea inquam nos docet, ut in utraque fortuna simus animo pari: hoc est, firmo et imperturbato: ita ut neque secundis efferamur nec rursus adversis deiiciamur, sed cogitemus nihil in hac vita stabile fidum aut sincerum esse; recte autem agentes homines ac pietatis studiosos periclitari aliquando posse, sed nunquam destitui a numine. Ion inter sacerdotes et pios homines educatus, et ipse pius ac bonus evasit. Unde intelligere debemus quantum momenti ad bonam mentem recta et sana institutio et quotidianae vitae pia semperque ob oculos versantia exempla habeant. Chorus fidelis famulitii quod omnia ad salutem et commodum dominorum refert typum exhibet. Senex aperti quidem et sinceri, sed parum felicis consiliarii specimen praebet, qui commoto et infesto animo (quos affectus in seriis deliberationibus longe abesse convenit) instigat eram in necem filii novi et viri; cuius consilio si paruisset aut si successus conatui respondisset, et se et omnem Atheniensium ducum stirpem funditus evertisset. Ita saepe usu venit, ut aetate verendi et qui ex longo vitae usu prudentes videri possint hallucinentur pestiferaque consulant principibus. Quare hic in primis cautos et circumspectos esse eos oportet ne specie boni decepti noxia pro salutaribus consilia admittant.

This play properly pertains to the praise of the supremacy of the Athenians. For it shows them to be native-born, not grafted from elsewhere; next, to have as their guardian Minerva, the patroness of wisdom and the fairest arts; moreover, to be governed by most skillful leaders who trace their race from the gods; and finally, to rule over nations far and wide, both in Asia and in Europe, which are still named after their first conquerors. This is probable since the Greek poets, beneath the veil of their plays, often wished to serve the praises both of other Greek cities and of Athens, where not only all the arts that had been discovered were flourishing and its marketplace of all learning and of philosophy was most famous in the whole world, but also the pursuits of war were strong: for this our Poet shows very clearly also in Supplices and Heraclidae. And the Boeotia of Homer* seems to be nothing other than a praise of Greece and its neighboring islands. Moreover, in the present drama types of character that are not to be despised are worth observing. In this play, first, Creusa, most wretched because of her barrenness, her guilty knowledge of rape and of her exposed child, her hatred of her (as she thought) adulterous husband, and her eagerness to kill her husband’s new son, but one who, when things change, soon unexpectedly finds both her son and the greatest advantages and indeed a whole sea of blessings. She, I say, teaches us that in both kinds of fortune we should be of the same disposition: this is, firm and unshaken: so that we are neither carried away by successes nor, again, cast down by adversities, but let us think that nothing in this life is stable, trustworthy, or unmixed; however, the people acting correctly and zealous in their piety may sometimes be endangered, but are never abandoned by divine power. Ion, brought up among priests and devout men, also became pious and good himself. From this we ought to understand how much importance right and sound training, and the pious examples of daily life that are constantly before the eyes, have for a good mind. The Chorus presents the type of faithful service, since it refers everything to the safety and advantage of its masters. The old man gives the example of a counselor who is open and sincere, but of little success, who, with an agitated and hostile mind (feelings which ought to be far removed from serious deliberations), urges his mistress(Creusa) to the killing of the new son and her busband; and if she had obeyed his advice, or if the outcome had answered to the attempt, she would have overthrown both herself and the entire lineage of Athenian leaders from the roots. Thus it often happens in experience that men venerable in age and who from long experience of life could seem prudent, speak foolishly and give harmful advice to rulers. Therefore in this matter it is especially necessary that they be cautious and circumspect, lest deceived by the appearance of good they entertain harmful counsels as if beneficial plans.

*“The Boeotia of Homer” is a term for the Catalogues of Ships in Iliad Book 2.494ff., where the listing begins with Boeotians. Stiblinus learned this form of reference to the passage from Eustathius’s commentary on the epic.

Argumentum etiam breviter subiiciemus. Xuthus externus ob egregiam Atheniensibus in bello operam navatam et Creusae Erechthei filiae connubio et principatu donatus est. Hi cum aliquandiu consuevissent nec prolem procrearent, Delphos abierunt scitatum oracula Phoebi. Ibi Apollo, ut celaretur vitium quod obtulerat olim Creusae adhuc uirgini maneretque sua turpitudo sepulta, Ionem ex Creusae illo compressu natum ac a Mercurio iussu Phoebi Delphos delatum illicque educatum Xutho, tamquam ex ancilla furtivo concubitu genitum, filium dat. Qua re laetus Xuthus epulas publicas, na[594]taliumque celebrationem magnificam novo filio instituit. Creusa vero adulterum maritum rata conari spuriam prolem in regiam domum introducere venena parat Ioni; qua re deprehensa ad necem poscitur infelix mulier. Sed interveniente subito Pythia ac prolatis cum arca (in qua Ion expositus fuerat) symbolis, discutitur error,agnosciturque Ion Creusae filius, unde mutua gratulatio fit. Quin et Minerva ipsa, ne quid amplius haererent, Phoebi consilia quibus ista sic evenirent et futuram Erechthidarum felicitatem ac potentiam aperit. Mater ergo cum invento filio laeta Athenas revertitur.

We shall also briefly set forth the plot. Xuthus, a foreigner, on account of the outstanding work he performed for the Athenians in war, was rewarded both with marriage to Creusa, the daughter of Erechtheus, and with royal power. These two, when they had lived together for some time and were not producing offspring, went to Delphi to consult the oracles of Phoebus. There Apollo, so that the offense which he had once inflicted on Creusa when she was still a virgin, might be concealed and that his disgraceful act might remain buried, gives to Xuthus as a son, as if born from a slave woman through a secret intercourse. Ion, who was born from that assault on Creusa and carried to Delphi by Mercury at the command of Phoebus and there brought up. Joyful because of this, Xuthus arranges public feasts and a magnificent celebration of the birthday for his new son. But Creusa, thinking her adulterous husband was trying to bring a bastard child into the royal house, prepares poison for Ion; when this is discovered, the unfortunate woman is demanded for execution. But when the Pythian priestess has suddenly interveneds and the identifying proofs have been brought out along with the chest (in which Ion had been exposed), the error is dispelled, and Ion is recognized as Creusa’s son, from which there arises mutual rejoicing. Indeed, Minerva herself, so that they might no longer hesitate, reveals the plans of Phoebus by which those things thus came about and the future happiness and power of the Erechthidae. The mother therefore happily returns to Athens with her discovered son.

Argumentum Actus Primi

Prologus totius argumenti habet κατασκευήν: nimirum Creusae genus, consuetudinem cum Apolline, expositum Ionem, et eiusdem educationem; Xuthi item peregrini cum Creusa conubium et eiusdem successum. 2 Ion suum studium ac ministerium cui praesit iactat, Phoebum interim faustis precationibus et hymnis prosequens. 3 Mulieres famulae Creusae mirantur augustam structuram et elegantes picturas templi Apollinis apud Delphos, explicante eas ipsis Ione custode sacrarum aedium. 4 Colloquium Creusae et Ionis in quo illa occulte insinuat suum concubitum cum Apolline et expositum partum, non intelligente tamen id Ione. Unde et Deum a tanto probro defendit improbatque mulieris temeritatem, ut quae ausit Phoebum stupri insimulare. 5 Interea Xuthus a Trophonii specu reversus salutat uxorem et quid ibi egerit, quidque porro tum ipse tum Creusam facere velit exponit. Ion autem nondum intelligens quidnam Creusa obliquis suis sermonibus sibi velit, Apollinem, siquidem illa vera refert, acerbe reprehendit, ut qui nihil magis absurdum putet quam talia probra de diis dici. 6 Chorus primum numina deorum invocat pro faustis responsis et propagatione Erechthei generis, cuius spes in una fecunditate Creusae erat. Deinde commendat liberorum procreationem, quorum et voluptatem et commoda extollit. Denique Panem et nymphas Atticas non sine miseratione Creusae implorat.

Argument of the First Act.

The prologue has the preparation of the entire plot : namely, Creusa’s lineage, her affair with Apollo, the exposure of Ion, and his upbringing; likewise the marriage of the foreigner Xuthus with Creusa and its outcome. 2 Ion shows proudly his zeal and the service over which he presides, at the same time honoring Phoebus with favorable prayers and hymns. 3 The female attendants of Creusa marvel at the majestic structure and the elegant paintings of the temple of Apollo at Delphi, as Ion, the guardian of the sacred buildings, explains the paintings to them. 4 A conversation between Creusa and Ion in which she secretly hints at her union with Apollo and the child she exposed, though Ion does not understand this. Therefore he both defends the god from such a great disgrace and condemns the woman’s temerity, as one who dared to accuse Phoebus of sexual violation. 5 Meanwhile Xuthus, having returned from the cave of Trophonius, greets his wife and explains what he did there, and what he now wishes both himself and Creusa to do. But Ion, still not understanding what Creusa intended by her indirect speech, bitterly reproaches Apollo, if indeed she is telling the truth, as one who thinks nothing more absurd than for such reproaches to be spoken of the gods. 6 The chorus first invokes the divine powers of the gods to request favorable responses and for the continuation of the line of Erechtheus, the hope for which rested solely in the fertility of Creusa. Then it praises the creation of children, extolling both their delight and their advantages. Finally it implores Pan and the Attic nymphs, not without pity for Creusa.

[595] Argumentum Actus secundi.

Xuthus ex adytis oraculi rediens ex responso Ionem ut filium salutat. Hac re inopinata ac nova ac plane (ut videbatur) absurda commotus Ion non agnoscit illum patrem erroremque natum putat ex perperam intellecto oraculo. Tandem vero post multam contentionem et patrem agnoscit Xuthum et optata ei offert oscula. Error autem hic, quo scilicet Creusa Ionem suum esse ignorat, Xuthus ex se genitum putat, spargitur in sequentes usque Actus, epitasesque tandem ac motus atroces gignit. 2 Blande novum filium tractat Xuthus eumque Athenas ad regnum et amplissimas opes invitat. Recusat istuc ire Ion idque elegantissima oratione, qua se dicit longe praeferre vitam humilem sed quietam, otiosam, periculis et molestiis carentem principum et regum divitiis, quae raro aut tutae aut stabiles possideantur. 3. Xuthus Ionem ad celebrationem natalium et epulas publicas quas ipsius nomine instructurus erat deducit. 4. Chorus ex commiseratione dominae quam periclitaturum ex novo illo filio videbat primum de ipso eventu dubitat ac plane aliud portendi malum ista re coniicit. Deinde Xuthum execratur, siquidem infidelis et perfidus in Creusam indigenam ipse peregrinus existat. Ita hic Actus paulatim viam praemunit ad epitases et turbas.

Argument of the Second Act.

Xuthus, returning from the inner shrine of the oracle, in accordance with the response greets Ion as his son. Moved by this unexpected and novel and plainly (as it seemed) absurd event, Ion does not acknowledge him as his father and thinks that an error has arisen from a wrongly understood oracle. At last , however, after much dispute he both recognizes Xuthus as his father and offers him the desired kisses. Moreover, this error, by which, namely, Creusa is unaware that Ion is her son while Xuthus thinks him born of himself, spreads through the following Acts, and at last it begets intensified crises and violent disturbances. 2 Xuthus treats his new son affectionately and invites him to Athens to the rulership and extremely great wealth. Ion refuses to go there and does so with a most elegant speech, in which he says that he far prefers a humble but peaceful, untroubled life, free from dangers and hardships, to the riches of princes and kings, which are rarely possessed either safely or securely. 3 Xuthus leads Ion to the celebration of the birthday and to the public banquets which he was going to prepare in his name. 4 The Chorus, out of pity for its mistress, whom it saw would be endangered by that new son, first doubts the outcome itself and clearly infers that some other evil is portended by this matter. Then it curses Xuthus, since he, himself a foreigner, proves faithless and treacherous toward Creusa, a native woman. Thus this Act gradually prepares the way toward complications and disturbances.

Argumentum Actus Tertii.

Creusa adhuc ignorans quidnam spei procreandae subolis accepisset paedagogum veterem domus Erechthidarum alumnum excitat ut una secum cognosceret ex viro responsa Apollinis. At vero Chorus tristis intervenit nuntiatque dominae Xutho ab Apolline datum nothum filium. Quae res Creusam in luctus et lacrimas coniicit. Condolent afflictae dominae et senex et chorus famularum. 2. Paedagogus ex coniecturis quibusdam addivinat Xuthum furtivo concubitu suscepisse Ionem simulque in eum graviter invehitur, ut quem etiam dolo una cum puero interficiendum suadeat. 3 Creusa iam pro certo habens fidem a viro proditam et ipsa non sine accusatione Apollinis et querela stuprum suum ac puerum expositum fatetur. Quam totam rem, ut facta erat, mox senex exquirit deque interficiendo puero simul cum ea consilium capit atque adeo ipse sibi huius occi[596]dendi partes deposcit. Chorus primum precatur laetum successum consiliis Creusae. Deinde Xuthum peregrinum et adulterum contendit indignum esse Atheniensium principatu. Oblique etiam Phoebum perstringit, qui istam nequitiam suis quoque responsis et oraculis auctoritate muniat. Denique feminas, in quas poetae licentius adulterii probra dicant, defendit cum non minus hoc vitio, imo etiam magis perdite laborent viri, id quod vel Xuthi exemplum satis declaret.

Argument of the Third Act.

Creusa, still unaware of what hope for the reproduction of offspring she had received, urges the old pedagogue, an old member of the house of the Erechthidae, together with her learn from her husband the responses of Apollo. But the Chorus sadly intervenes and announces to its mistress that an illegitimate son has been given to Xuthus by Apollo. This matter casts Creusa into mourning and tears. Both the old man and the chorus of servants sympathize with their afflicted mistress. 2 The pedagogue, from certain conjectures, divines that Xuthus has begotten Ion through a secret intercourse, and at the same time attacks him violently, as one who he urges should be killed by treachery together with the boy. Creusa, now counting it as certain that her trust has been betrayed by her husband, herself too not without accusing Apollo and complaint, confesses about her violation and the child she exposed. The old man immediately inquires investigates how this whole matter had occurred, and he forms a plan together with her for murdering the boy , and indeed claims for himself the role of killing him. The Chorus first prays for a happy outcome to Creusa’s plans. Then it maintains that Xuthus, a foreigner and an adulterer, is unworthy of rule over the Athenians. Indirectly it also strikes at Phoebus, who supports that wickedness with the authority of his own responses and oracles. Finally it defends women, against whom poets speak reproaches of adultery too freely, since men suffer from this vice no less, indeed even more incorrigibly, which fact even the example of Xuthus sufficiently shows.

Argumentum Actus Quarti

Famulus quidam Choro patefectas insidias Creusae et eiusdem damnationem nuntiat: et longa elegantique narratione totum convivium adeoque rem omnem ut acta erat ordine persequitur. 2 Chorus ergo novo malo perculsus eventum infelicem consiliorum erae exponit.

Argument of the Fourth Act.

A certain servant announces to the Chorus that the plot of Creusa have been uncovered and reports her condemnation, and with a long and elegant narration he recounts in order the whole banquet, and also the how the entire affair had occurred. Therefore the Chorus, struck by this new misfortune, sets forth the unhappy outcome of its mistress’s plans.

Argumentum Actus quinti.

Iam nulla ratione periculum et vis a Creusa amplius prohiberi poterat cum subito Pythia Ionis nutrix intervenit, arculaque prolata in qua olim Ion expositus ac Delphis repertus fuerat, una cum symbolis quibusdam, moram praesenti rei* interiicit utque ex his signis matrem investiget monet. Hanc venerabundus accipit Ion. Creusa agnoscit ac evidentissimis argumentis planum facit se Ionis matrem esse. [597] Unde subito vota mutua oscula et complexus, insperatarum rerum comites, se invicem agnoscentium post periculosum errorem sequuntur. 2 Creusa exponit quomodo pepererit et ubi, sed haesitante nonnihil adhuc puero, subito Minerva dissolutura nodum adest omnemque rem providentia numinum sic gubernari et in posterum quoque successum Ionis et rerum Atheniensium diis curae fore dicit. Ion ergo et Creusa repente mutatis rebus ad agendum gratias numinis benignitati excitantur.

*The edition has praesenti regi, “the present king,” which makes no sense.

Argument of the Fifth Act.

Now by no means could danger and violence any longer have been averted from Creusa, when suddenly the Pythian priestess, the nurse of Ion, intervenes, and the little chest having been brought out in which Ion had once been exposed and found at Delphi, together with certain tokens, she interposes a delay in the present matter, and she advises him to search out his mother from these signs. Ion receives this (chest) reverently. Creusa recognizes him and by most evident proof makes it clear that she is Ion’s mother. From this there suddenly follow mutual vows, kisses, and embraces, the companions of unexpected events, of those recognizing one another after a dangerous error. 2 Creusa explains how and where she gave birth, but while the boy still hesitates somewhat, suddenly Minerva is present to dissolve the knot, and she says that the whole matter is guided thus by the providence of the gods and that in the future also the success of Ion and of Athenian affairs will be a concern to the gods. Therefore Ion and Creusa, with circumstances suddenly changed, are stirred to give thanks to the kindness of the divine power.

Translation by Alex Xuanrui Zhu