Aristophanes Clouds 518

William James Hickie (Translator)

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Clouds. Aristophanes. William James Hickie (Translator). London. 1853.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Clouds (English) (Aristophanes. The Comedies of Aristophanes, Vol. I. Hickie, William James, translator. Bohn: London, 1853.)

Editions (1)
Νεφέλαι Perseus (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.) — 510-626 focus
Translations (1)
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.) — 518 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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τἀληθῆ νὴ τὸν Διόνυσον τὸν ἐκθρέψαντά με.
The oath 'νὴ τὸν Διόνυσον' is a distinctive feature of this passage, as Dionysus is rarely invoked as a primary oath-god in Aristophanic comedy compared to Zeus or Heracles. More critically, the epithet 'τὸν ἐκθρέψαντά με' ('who reared me') identifies the speaker as a character who claims to have been raised by the god, a specific biographical detail relevant to the characterization of the 'Clouds' or the specific persona of the speaker (often debated as either Strepsiades' son Pheidippides or the personification of the Clouds themselves in the parabasis context). In the context of the parabasis, the Clouds speak as the chorus of the play, claiming a divine origin and upbringing by Dionysus, which serves to elevate their status and assert their authority over the audience's reception of the play's arguments.

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οὐδὲν ἦλθε ῥαψαμένη σκυτίον καθειμένον
The verb σκυτίον καθειμένον is a technical reference to the specific construction of the 'skyton' (a leather pouch or bottle), which was suspended by a strap (καθειμένον) and used by the wealthy to carry wine or oil. The phrase describes a leather skin that has been stitched up (ῥαψαμένη) and hung down, a detail that contrasts with the 'clouds' of the play who are depicted as doing mundane, domestic tasks like sewing, thereby satirizing the Socratic tendency to naturalize the mundane or to treat abstract concepts with the precision of material goods. The use of the perfect participle ῥαψαμένη emphasizes the completed state of the object, while καθειμένον highlights its suspended position, a specific visual detail relevant to the physical comedy of the scene where the clouds are described as performing household chores.

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ἐρυθρὸν ἐξ ἄκρου παχύ, τοῖς παιδίοις ἵνʼ ᾖ γέλως·
The phrase ἵνʼ ᾖ γέλως ('so that there may be laughter') utilizes the subjunctive ᾖ with ἵνα to express purpose, but the construction is elliptical and idiomatic in Aristophanic comedy. The noun γέλως functions predicatively here, a usage that requires the reader to supply the implied verbal force (e.g., 'to be a source of laughter' or 'to cause laughter'). This specific elliptical construction, where the purpose clause relies entirely on a substantive noun to convey the intended effect without an explicit verb of causing, is a distinctive feature of Aristophanes' comic syntax that distinguishes it from the more explicit purpose clauses found in high tragedy or prose.

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Εὔπολις μὲν τὸν Μαρικᾶν πρώτιστον παρείλκυσεν
The proper name Μαρικᾶν is a hapax legomenon in Aristophanic comedy, referring to the obscure or possibly fictional character associated with the poet Eupolis (or perhaps a specific victim of satire). The form is accusative singular, but the specific identification of 'Marikas' as a character or target of Eupolis is a matter of scholarly reconstruction, as he does not appear in surviving fragments of Eupolis with this name. This likely represents a specific, perhaps lost, play of Eupolis where Marikas was a central figure, or a punning allusion to a contemporary figure whose identity is now obscured. The commentary must address the uncertainty surrounding this figure and the specific play being referenced.

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Φρύνιχος πάλαι πεποίηχʼ, ἣν τὸ κῆτος ἤσθιεν.
The relative pronoun ἣν refers to Φρύνιχος, the male playwright, which is syntactically irregular as Attic Greek typically employs the masculine ὃν for male antecedents. This usage of the feminine form ἣν likely reflects either a dialectal feature of Phrynichus's own style (or the specific dialect of the fragment being quoted), a scribal error influenced by the following neuter noun κῆτος, or a deliberate rhetorical effect by Aristophanes to mock the perceived effeminacy or 'softness' of the playwright's tragic style, a common trope in Old Comedy against older tragedians.

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ἄλλοι τʼ ἤδη πάντες ἐρείδουσιν εἰς Ὑπέρβολον,
The verb ἐρείδουσιν, literally 'lean' or 'rely upon', here carries the specific political connotation of 'supporting' or 'aligning with' a political faction or leader, a usage frequent in Old Comedy but requiring attention to the metaphorical shift from physical support to political allegiance. The construction εἰς Ὑπέρβολον (accusative of direction with εἰς) emphasizes the active movement of these citizens toward Hyperbolus as a focal point, reflecting the volatile, personality-driven nature of Athenian demagogy in the late 5th century.