Aristophanes Acharnians 496

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

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

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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.) — 496 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.) — 496 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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κᾆθʼ οἱ Μεγαρῆς ὀδύναις πεφυσιγγωμένοι
The participle πεφυσιγγωμένοι (perfect middle/passive of πεφυσιγγώ) is a hapax legomenon in Aristophanes and a rare formation in the entire corpus, derived from the noun φῦσις (swelling) and the suffix -ιγ- (related to the root of ἴγμι, to swell). Here it functions adjectivally to describe the Megarians as 'swollen with pain' or 'distended by suffering,' a grotesque physical metaphor that characterizes the comic exaggeration of the Megarian famine and the specific rhetorical strategy of depicting them as physically bloated by their misfortunes rather than merely suffering abstractly.

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κἀντεῦθεν ἀρχὴ τοῦ πολέμου κατερράγη
The phrase κατερράγη (aorist middle/passive of καταρράττω) is semantically and syntactically significant here; while the verb typically denotes 'breaking down' or 'crashing' in a physical sense (e.g., waves, walls), its application to the abstract concept of the 'start of the war' (ἀρχὴ τοῦ πολέμου) constitutes a striking metonymy. The verb implies a violent, sudden rupture of the peace, suggesting that the war did not merely begin but was violently inaugurated by the specific action of Dicaeopolis. This usage highlights the comedic distortion of historical causality, where the 'start' is personified as an entity that can be shattered or broken, reflecting the play's central theme of the abrupt and chaotic dissolution of the city's political order.