Aristophanes Acharnians 391

Acharnians. Aristophanes. . 2026-09-08.

Current edition Experimental

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

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἀχαρνῆς Perseus (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.) — 347-488 focus
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.) — 393 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.) — 393 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

391. mvp-tlg0019-tlg001-sanjaya-com-eng1-9

Line 391

ἀλλʼ ἐξάνοιγε μηχανὰς τὰς Σισύφου,
The imperative ἐξάνοιγε (aorist active, 2nd person singular) is formed with the augment and the -ε ending characteristic of the Attic aorist of verbs in -νυμι (cf. ἄνοιγε). However, the prefix ἐξ- here is not a simple spatial 'out' but implies the 'unveiling' or 'unearthing' of a scheme, a usage reinforced by the genitive object μηχανὰς. The construction relies on the specific semantic range of μηχανή, which here denotes not merely a 'device' but a 'plot' or 'stratagem' (specifically the Sisyphian trick of escaping death or deceiving the gods), a meaning that resonates with the play's broader themes of legal and rhetorical trickery. The reference to Sisyphus is particularly apt in a comedy where the protagonist Dicaeopolis seeks to outwit the state and the chorus through legal loopholes, as Sisyphus was proverbially the 'cleverest' of men, often associated with trickery and evasion of justice.