Aristophanes Acharnians 1069

ed. F. W. Hall, ed. William M. Geldart

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Acharnians. Aristophanes. ed. F. W. Hall, ed. William M. Geldart. Oxford. 1906.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Ἀχαρνῆς (Greek) (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.)

Translations (2)
Acharnians (OCR draft) Experimental (English (Anonymous; Liveright, 192?). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 1069 focus
English (Sanjaya, generated; selected passages) (OCR draft) Experimental (Source: pnadelofficial/aristophanes-sanjaya, commit c319590c139e5603e71f0699caa0663d823af8ad. Machine-generated source annotations retained; see Sanjaya import audit for coverage and limitations.) — 1069 focus

Commentary

Commentary (Sanjaya, generated; selected passages) (OCR draft) (Source: pnadelofficial/aristophanes-sanjaya, commit c319590c139e5603e71f0699caa0663d823af8ad. Machine-generated source annotations retained; see Sanjaya import audit for coverage and limitations.) focus

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Line 1076

ὑπὸ τοὺς Χοᾶς γὰρ καὶ Χύτρους αὐτοῖσί τις
The phrase ὑπὸ τοὺς Χοᾶς γὰρ καὶ Χύτρους refers to the names of two distinct festivals in the Attic calendar: the Choes ('Jugs'), celebrated on the 7th of Anthesterion, and the Chytroi ('Pots'), on the 9th of the same month. The preposition ὑπὸ here, governing the accusative, denotes a time 'under' or 'during' these specific days, a usage characteristic of the colloquial, calendar-precise style of Old Comedy. This specific temporal framing is crucial for understanding the plot's chronology in the Acharnians, as Dicaeopolis's private peace treaty and his subsequent market activities are situated within the chaotic days immediately following the Choes, when the city's official rituals were suspended or distorted by the plague and the war.

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βούλει μάχεσθαι Γηρυόνῃ τετραπτίλῳ;
The adjective τετραπτίλῳ (four-winged) modifies Γηρυόνῃ (Geryon) in the dative case, indicating the opponent in the wrestling match. This is a deliberate comic hyperbole: in Hesiod's Theogony and later mythological tradition, Geryon is a three-bodied giant (Triceps), but Aristophanes here invents a four-winged variant to heighten the absurdity of the protagonist Dicaeopolis's desire to fight a monstrous, mythological beast in the agora. The specific epithet 'four-winged' is not attested in standard mythography and serves the play's burlesque tone, transforming a terrifying chthonic figure into a ludicrous target for a farmer's combat.