860.
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Line 860
ἴττω Ἡρακλῆς ἔκαμόν γα τὰν τύλαν κακῶς·
The sentence exhibits Doric dialect features characteristic of the comic chorus or rustic characters, specifically the use of -ω (ἴττω for Attic ἴτω), -ω (ἔκαμόν for Attic ἔκαμον), and the contraction of the dative article τὰν (τῇ) with the preceding preposition or particle context, alongside the Doric form τύλαν (τὴν τύλην, 'the club'). This is not merely orthographic variation but a systematic morphological choice to signal the speaker's rustic or non-Attic identity within the play's dramatic context.
861.
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Line 861
κατάθου τὺ τὰν γλάχωνʼ ἀτρέμας Ἰσμηνία·
The vocative Ἰσμηνία is the distinctive Attic form of the name (cf. Homeric Ἰσμήν), here addressing the slave-girl Ismenias, a character known from the play's context for her role in the domestic comedy of the Acharnian's household. The use of the vocative with a specific slave's name highlights the social hierarchy and the intimate, often coarse, domestic setting of the scene.
866.
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Line 866
ἐπὶ τὴν θύραν μοι Χαιριδῆς βομβαύλιοι;
The word βομβαύλιοι (bombaulioi) is a rare, onomatopoeic neologism coined by Aristophanes, likely mimicking the sound of a drum or a heavy, clumsy noise, used here as a vocative address to a character named Chaerides. Its formation is a compound of βομβέω (to boom/thunder) and the suffix -αύλιος (possibly related to αὐλός or simply a rhythmic ending), creating a comic effect that underscores the absurdity or noise of the scene. This is not a standard Attic word but a clear example of Aristophanic wordplay, and its exact referent in the play's context (whether a specific type of noise, a character's gait, or a metaphorical state) is debated among commentators, making it a prime candidate for lexical and semantic clarification.
867.
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Line 867
νεὶ τὸν Ἰόλαον ἐπεχαρίττα γʼ ὦ ξένε·
The adverbial phrase ἐπεχαρίττα is a hapax legomenon in Aristophanes, formed with the intensive prefix ἐπι- attached to the feminine accusative of the adjective χαρίττα (itself a rare or coined formation related to χάρις). Its meaning here, roughly 'most graciously' or 'with the utmost favor,' is crucial for understanding the speaker's ironic tone: the speaker (likely Dicaeopolis) is mocking the pretensions of the Theban herald or a similar figure by using an inflated, pseudo-formal adverbialism to describe a request or action that is actually trivial or presumptuous. The construction relies on the colloquial yet hyperbolic register typical of Old Comedy, where such adverbial coinages serve to caricature the pompous speech of the antagonist.
868.
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Line 868
Θείβαθε γὰρ φυσᾶντες ἐξόπισθέ μου
The verb θείβω (théibō), appearing here in the imperative θείβαθε (théibathe), is a comic coinage (or at least a rare Attic usage in this form) derived from θείβειν, meaning 'to blow' or 'to puff'. While the standard Attic verb for 'to blow' (especially in the context of a flute-player or a trumpeter) is φυσᾶν (physân), Aristophanes employs θείβω here to evoke the specific, perhaps harsh or nasal, quality of the sound produced by the aulos-player, or to create a phonetic onomatopoeia fitting the comic context of the 'Boeotian' character or the specific musical interlude. The form θείβαθε is the aorist imperative active, 2nd person plural, contrasting with the present infinitive φυσᾶν in the same clause, suggesting a shift from the general action to a specific, urgent command within the dialogue's rhythm.
874.
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Line 874
ὀρίγανον γλαχὼ ψιάθως θρυαλλίδας
The phrase presents a notorious crux in the comic inventory of Dikaiopolis's supplies (line 115). The noun γλαχὼ (glachō) is hapax legomenon in Aristophanes and virtually unattested elsewhere in the corpus, appearing only in this list of cheap, dried provisions alongside ὀρίγανον (oregano), ψιάθως (rushes/mats), and θρυαλλίδας (tapers). While the surrounding items are concrete and mundane, γλαχὼ has generated significant scholarly debate regarding its precise identification. Traditional conjectures and glosses have proposed it refers to a type of dried vegetable, perhaps a specific variety of chard or sorrel, or a dried fish, but the lack of clear attestation outside this passage makes a definitive lexical identification impossible. The ambiguity is compounded by the possibility that Aristophanes may be employing a nonce-word or a highly localized dialect term for comic effect, emphasizing the meager and obscure nature of the rations.
879.
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Line 879
σκάλοπας ἐχίνως αἰελούρως πικτίδας
The three adjectives σκάλοπας (scallops), ἐχίνως (sea urchins), and αἰελούρως (hedgehogs) are all in the accusative plural, functioning as appositives or direct objects within a list of delicacies, yet the syntax relies on the omission of the verb 'to cook' or 'to serve' implied by the preceding context of the comic feast. More critically, the word αἰελούρως (hedgehogs) is a rare lexical choice in this context; while hedgehogs were indeed eaten in antiquity, Aristophanes uses it here not merely as a food item but as a deliberate hyperbolic element of the grotesque, contrasting the refined 'scallops' and 'sea urchins' with a creature typically associated with spines and dirt, thereby heightening the absurdity of the feast described. The form αἰελούρως is a dialectal or poetic variation of αἰελοῦρος (hedgehog), which appears in other comic contexts to evoke rustic or bizarre imagery, and its inclusion here serves to mark the speaker's exaggerated or corrupted taste.
880.
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Line 880
ἰκτῖδας ἐνύδρως ἐγχέλεις Κωπαΐδας.
The phrase is a striking example of Aristophanic zoological hyperbole and comic cataloging, listing three specific types of aquatic creatures (ictiads, eels, and Copaic eels) to represent the entirety of the food available to the poor in the city. The specific mention of 'Copaic eels' (Κωπαΐδας) is significant as it alludes to the eel-rich Lake Copais in Boeotia, a region famously associated with abundant fish but also with the difficult agricultural conditions that forced the poor into such meager diets. The genitive plural forms function as a collective noun phrase, emphasizing the overwhelming, almost grotesque, variety of slimy, water-dwelling creatures that constitute the diet of the 'ichthyophagi' (fish-eaters) in this scene, a satirical reference to the diet of the Spartans or the impoverished Athenians depending on the immediate context of the dialogue.
894.
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Line 894
σοῦ χωρὶς εἴην ἐντετευτλανωμένης.
The participle ἐντετευτλανωμένης is a perfect passive participle of the verb ἐντετυλάνω ('to be in a state of distress' or 'to be worn out'), derived from τυλάνω. While τυλάνω is attested in comedy, the perfect passive participle in this specific feminine form, agreeing with an implied subject (likely 'house' or 'city' in a broader context, or here functioning as a substantive), is a rare morphological construction in Aristophanes. The verb itself is onomatopoeic, imitating the sound of a creaking door or a groaning body, and its perfect tense here emphasizes a state of enduring affliction rather than a completed action. This usage is distinct from the more common τυφλός or τυφλός-related forms and highlights Aristophanes' tendency to coin or adapt verbs for comic effect, specifically targeting the physical sensation of weariness or distress in the character's voice.
