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the master sleeping and partook of the experience. But since fortune did not permit him to lay his body supine on a bed, he makes a necessary bed, himself sleeping, himself also becoming a couch for himself, squatting on one foot and sitting upon it, while standing on the other, placing one hand upon the other and having cast his face almost prone upon them. And he carries some instrument as a defence against things that annoy. And so that it should not escape his notice by slipping away, having set this upright he reclined his body, holding it with his left forearm and for security resting his head on his hand. 14 And a certain companion of his, being provident and suspecting the danger to him from the master's waking, and especially, if some annoyance settling upon him should scatter his sleep due to his carelessness, is not entirely present before him, lest he also seem to provide the cause for the matter, making a sound with his feet and appearing all at once; but making one of the columns a sort of screen and dividing himself on either side of it, he hides the lower parts of his body, and appearing as someone incomplete and securing for himself an easy escape from the master's notice, he puts forward his head to see, and his hand to act. For so that he might not, calling by name, strike the master unawares with the sound of the word, he brings hand to hand, and taking hold of his arm he is perhaps vexed by and finds fault with the brevity of his sleep. 15 But the one at his feet, who perhaps annoyed him somewhat before, he has let sleep with his whole body. For he acts freely in his sleep, both reclining completely and imitating the master himself with an opposite posture. And he seems to have been entrusted with the care of the animals with him, having tied trinkets to their necks. And these, taking advantage of the master's quiet, came together in a fight with one another. And the dog seems, in her small body, to be a mother of puppies too, her teats hanging down and being filled with milk; so, having been defeated, she turned and went away, curling her tail under herself, and she flees the tracker who pursues her. And while she is afraid, he in his anger leaps upon the victor. But he, sensing nothing, having crossed his feet, has turned around on his right elbow. And with his left arm outstretched and falling from the top, he touches the master's couch, lying down with his feet. And it is adorned with ivory and gold and carvings of Victory, with wings spread apart, holding up the couch with the top of their heads; and fringes of a variegated curtain hang down by the feet. 16 Theseus is sleeping and the servants are forcing his fate. But sweet sleep did not hold that Phaedra. But instead of sleep, Eros was consuming her heart. But what are you suffering, O woman? You toil unprofitably, with Eros not being successful. For how indeed will you persuade one who knows how to be temperate? Why do you shame yourself by wishing to approach a lawless bed? Turn yourself a little and give your glance to your husband and do not find fault with what is present, having sought what is not present. And respect your husband even while he is sleeping; and transfer yourself from the image at which you gaze. For Hippolytus, as it seems, is temperate even in the colours. 17 But what is this that I have suffered? I have been deceived by the painter's art and have believed these things to be alive and to escape my notice, that they are by nature pictures. Therefore, concerning Phaedra, let us not speak to her. For her posture reveals her love. You see the moist glance and a mind unsettled by passion and a body in need of supports, a soul as if departing while the body is still living. One stool is set for her as a seat, while another, placed by the bed, as is likely, supports her back and sends it to the couch. And you see an arm both weakened by passion and barely touching her cheek with a fingertip. Both are parted, † after which another † has given up its position and is bent, having its shoulders tossing in the air. Hand helps hand and foot joins with weakened foot. For of each, one supports, and the other is bent over. And in a fine tunic she has revealed much of her secrets. The tunic on both sides is adorned with certain fine stripes from shoulders to feet; and she who supports her head, herself in need of support,

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ὑπνοῦντα τὸν δεσπότην καὶ τοῦ πάθους μετέλαβε. οὐ συγχωρούσης δὲ τῆς τύχης ὕπτιον ἐπὶ στρωμνῆς αὐτῷ καθεῖναι τὸ σῶμα, στρωμνὴν ἀναγκαίαν ἐργάζεται, αὐτὸς ὑπνῶν, αὐτὸς ἑαυτῷ καὶ κοίτη γινόμενος, ὀκλάζων μὲν τῷ ποδὶ καὶ τούτῳ ἐπικαθήμενος, ἑστηκότι δὲ θατέρῳ, ἑτέραν ἐφ' ἑτέρᾳ τὼ χεῖρε βαλὼν καὶ μικροῦ πρηνὲς ἐπιρρίψας τὸ πρόσωπον. ὄργανον δέ τι φέρει τῶν ἐνοχλούντων ἀλεξητήριον. ὅπως δὲ μὴ λάθῃ παραρρυέν, ὀρθὸν τοῦτο στήσας τὸ σῶμα ἀνέκλινε, λαιῷ συνέχων τῷ πήχει καὶ πρὸς ἀσφάλειαν τῇ χειρὶ τὴν κεφαλὴν ἐρειδόμενος. 14 Ἐταῖρος δέ τις αὐτοῦ προνοῶν καὶ τὸν ἐκ τοῦ διαστῆναι τὸν δεσπότην κίνδυνον αὐτῷ ὑφορώμενος καὶ μᾶλλον, εἴ τι δυσχερὲς ἐφιζάνον ἐκ τῆς τούτου ῥᾳθυμίας ἀποσκεδάσει τὸν ὕπνον, ὅλος μὲν οὐ πάρεστιν ἐπ' αὐτόν, μὴ καὶ δόξῃ τὴν αἰτίαν παρέχειν τῷ πράγματι, τοῖς ποσὶ ψοφῶν καὶ ὅλος ἅμα φαινόμενος· προκάλυμμα δέ τινα τῶν κιόνων ποιῶν καὶ πρὸς ἑκάτερα μερίσας αὐτόν, τὰ κάτω μὲν ἀποκρύπτει τοῦ σώματος, ἡμιτελὴς δέ τις φαινόμενος καὶ ῥᾳδίαν ἑαυτῷ τὴν φυγὴν ἐκ τῆς τοῦ δεσπότου προσλαγχάνων αἰσθήσεως, προβάλλει τὴν μὲν κεφαλὴν πρὸς θέαν, τὴν δὲ χεῖρα πρὸς κίνησιν. ἵνα γὰρ μὴ καλέσας ὀνόματι τῷ τοῦ ῥήματος ἤχῳ βάλῃ τὸν δεσπότην λαθών, χειρὶ προσάγει τὴν χεῖρα, καὶ τοῦ βραχίονος ἀντεχόμενος τὸ βραχὺ τοῦ ὕπνου τάχα δυσχεραίνει καὶ ἐπιμέμφεται. 15 τὸν δὲ πρὸς τοῖς ποσὶν ἴσως τι προλυπήσαντα ὅλῳ καθεύδειν ἀφῆκε τῷ σώματι. ἐλευθεριάζει γὰρ τῷ ὕπνῳ πᾶς τε κλιθεὶς καὶ τὸν δεσπότην αὐτὸν ἐναντίᾳ τῇ σχέσει μιμούμενος. ἔοικε δὲ τῶν ἐπ' αὐτῷ ζῴων πεπιστεῦσθαι τὴν ἐπιμέλειαν, τοῖς αὐτῶν τραχήλοις ἐναποδήσας ἀθύρματα. ταῦτα δὲ τῆς τοῦ κρατοῦντος ἠρεμίας λαβόμενα εἰς μάχην ἀλλήλοις συνήρχοντο. ἡ δὲ κύων ἔοικεν ἐν μικρῷ τῷ σώματι καὶ μήτηρ εἶναι σκυλάκων, καθειμένη τοῖς τιτθοῖς καὶ πληρουμένη τοῦ γάλακτος· ἡττηθεῖσα δ' οὖν μεταστραφεῖσα ἐχώρει, τὴν κέρκον ἐφ' ἑαυτὴν ἀνακλάσασα, καὶ τὸν ἰχνευτὴν ὑποφεύγει διώκοντα. καὶ δειλιᾷ μὲν αὕτη, θυμῷ δὲ ἐκεῖνος τοῦ κρατοῦντος ἐφάλλεται. ὁ δὲ μηδὲν αἰσθανόμενος, τὼ πόδε παραλλάξας, περὶ δεξιὸν ἀγκῶνα μετέστραπται. ἀριστερῷ δὲ διῃρημένῳ καὶ τῆς κορυφῆς καταπίπτοντι τῆς τοῦ δεσπότου κλίνης ἐφάπτεται, τοῖς ποσὶ κατακείμενος. ἡ δὲ ἐλέφαντι καὶ χρυσῷ καὶ Νίκης κεκόσμηται γλύμμασι, διῃρημέναις πτέρυξιν, ἄκρᾳ τῇ κεφαλῇ τὴν κλίνην ἀνέχουσι· ποικίλου δὲ κροσσοὶ παραπετάσματος τοῖς ποσὶ παρακρέμανται. 16 Θησεὺς μὲν καθεύδει καὶ τὴν τύχην οἰκέται βιάζονται. Φαίδραν δὲ ἐκείνην οὐ κατέσχε νήδυμος ὕπνος. ἀνθ' ὕπνου δὲ ταύτῃ τὴν καρδίαν Ἔρως ἐνέμετο. ἀλλὰ τί πάσχεις, ὦ γύναι; ἀνόνητον πονεῖς οὐκ εὐτυχοῦντος τοῦ Ἔρωτος. πῶς γὰρ δὴ καὶ πείσεις τὸν καὶ σωφρονεῖν ἐπιστάμενον; τί σαυτὴν αἰσχύνεις ἀνόμῳ κοίτῃ πλησιάζειν ἐθέλουσα; βραχύ τι μεταστρέφου καὶ δίδου τῷ συνοίκῳ τὸ βλέμμα καὶ μὴ τὸ παρὸν μέμφου, τὰ μὴ παρόντα ζητήσασα. αἰδοῦ δὲ τὸν σύνοικον καὶ καθεύδοντα· καὶ μεταφέρου τῆς εἰκόνος πρὸς ἣν ἀφορᾷς. Ἱππόλυτος γὰρ ὡς ἔοικε σωφρονεῖ κἀν τοῖς χρώμασιν. 17 Ἀλλὰ τί τοῦτο πέπονθα; τῇ τοῦ ζωγράφου τέχνῃ πεπλάνημαι καὶ ζῆν τ̣α̣υ῀̣τα νενόμικα καὶ λανθάνειν τὴν θέαν, ὅτι πέφυκε γράμματα. οὐκοῦν περὶ τῆς Φαίδρας, μὴ πρὸς ἐκείνην φθεγγώμεθα. τὸ γὰρ σχῆμα ταύτης ἐλέγχει τὸν ἔρωτα. ὁρᾷς ὑγρὸν τὸ βλέμμα καὶ νοῦν τῷ πάθει μετέωρον καὶ σῶμα στηριγμάτων ἐπιδεόμενον, ψυχὴν ὥσπερ ἀποδημοῦσαν καὶ ζῶντος ἔτι τοῦ σώματος. δίφρος ὁ μὲν αὐτῇ πρὸς ἕδραν ὑπέστρωται, ὁ δὲ πρὸς τῇ κλίνῃ, ὡς εἰκὸς, ὑποκείμενος ἀνέχει τὸν νῶτον καὶ πέμπει τῷ σκίμποδι. ὁρᾷς δὲ πῆχυν καὶ πάθει λυόμενον καὶ μόλις ἄκρῳ δακτύλῳ τῆς παρειᾶς ἐπιψαύοντα. ἄμφω διεστήκατον, † μεθ' οὓς ἕτερος † ἀπεῖπε τῇ στάσει καὶ κάμπτεται, τοὺς ὤμους ἔχων ἐν μετεώρῳ σαλεύοντας. χεὶρ χερὶ βοηθεῖ καὶ ποὺς ποδὶ λυομένῳ συνέρχεται. ἑκατέρου γὰρ τὸ μὲν ἀνέχει, τὸ δὲ ἐπικέκλιται. λεπτῷ δὲ χιτωνίσκῳ πολύ τι κα̣ι`̣ τῶν ἀπορρήτων ὑπέδειξεν. ὁ μὲν χιτὼν ἑκατέρωθεν λεπταῖς τισὶ καθόδοις ἐξ ὤμων εἰς πόδας ποικίλλεται· ἡ δὲ στηρίσασα τὴν κεφαλήν, αὐτὴ δεομένη στηρίγματος,