Aristophanes Wasps 1015

ed. Eugene O'Neill, Jr.

Wasps. Aristophanes. ed. Eugene O'Neill, Jr.. New York. 1938.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Wasps (OCR draft) (English) (English (Anonymous; 1938 compilation). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.)

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Σφῆκες Perseus (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.) — 1009-1121 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.) — 1015 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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οὐκ † ἐκτελέσαι † φησὶν ἐπαρθεὶς οὐδʼ ὀγκῶσαι τὸ φρόνημα,
The verb ἐπαρθεὶς (aorist passive participle of ἐπαιρέω) is used here with a force distinct from its common meaning 'to lift up' or 'to raise'. In this context, describing the behavior of the chorus (the Wasps), it carries the specific connotation of 'to puff up', 'to swell with pride', or 'to become arrogant'. This semantic nuance is critical for understanding the psychological state of the characters who are being criticized for failing to act on their inflated self-importance. The construction relies on the understanding that the participle modifies the subject of the main verb (Pherecrates, though unnamed here, or the general 'he' implied in the context of the play's satire on the old men's delusions), linking the failure to 'complete' (ἐκτελέσαι) or 'swell' (ὀγκῶσαι) their spirit directly to the state of having been 'puffed up'.

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θρασέως ξυστὰς εὐθὺς ἀπʼ ἀρχῆς αὐτῷ τῷ καρχαρόδοντι,
The participle ξυστὰς (from ξύω, 'to scrape' or 'to shave') is used metaphorically here with the adverb θρασέως ('boldly' or 'brazenly') to describe the aggressive, tooth-baring posture of the dog (the 'jagged-toothed one', καρχαρόδοντι). This is a rare and vivid metaphorical application of a verb typically associated with grooming or scraping surfaces, creating a specific image of a dog preparing to bite by baring its teeth with brazen aggression. The construction relies on the reader understanding the physical action of a dog scraping its lips back to reveal teeth, which Aristophanes renders with a verb that is otherwise unattested in this specific zoological context in comedy.

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οὗ δεινόταται μὲν ἀπʼ ὀφθαλμῶν Κύννης ἀκτῖνες ἔλαμπον,
The genitive absolute construction 'ἀπʼ ὀφθαλμῶν Κύννης ἀκτῖνες ἔλαμπον' is syntactically elliptical, with the preposition 'ἀπʼ' governing 'ὀφθαλμῶν' while the subject 'ἀκτῖνες' stands in apposition to the implied source of the light, a usage that requires the reader to supply the implicit verb of emanation ('ἐξέπεμπον') to fully grasp the causal link to the preceding clause describing the judge's terrifying gaze. This construction is a marked example of Aristophanic compression where the physical description of the 'rays' (ἀκτῖνες) serves as the grammatical pivot for the hyperbolic characterization of Kynna's (or the judge's) stare, functioning not merely as a descriptive detail but as the syntactic engine for the comic exaggeration of the 'terrible' (δεινόταται) nature of the look.

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περὶ τὴν κεφαλήν, φωνὴν δʼ εἶχεν χαράδρας ὄλεθρον τετοκυίας,
The phrase 'φωνὴν δʼ εἶχεν χαράδρας ὄλεθρον τετοκυίας' employs a striking personification where the 'voice' is described as having given birth to 'destruction' (ὄλεθρον). This is not merely a metaphor for a loud noise, but a specific hyperbolic image where the voice itself is the mother of annihilation. The participle τετοκυίας (perfect active, from τίκτω) modifies 'voice' in a way that suggests the voice is the source from which destruction has already been born and now exists, intensifying the comedic effect of the chorus's terrifying sound. This construction is a rare and deliberate rhetorical device characteristic of Aristophanic hyperbole, elevating a mundane complaint about noise into an apocalyptic event.

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τοιόνδʼ εὑρόντες ἀλεξίκακον τῆς χώρας τῆσδε καθαρτήν,
The phrase 'καθαρτήν' (purifier/cleanser) functions as a substantive appositive to 'ἀλεξίκακον' (one who wards off evils), both in the accusative case governed by 'εὑρόντες'. While 'ἀλεξίκακον' is a standard epithet, 'καθαρτήν' in this specific context is a pointed political metaphor. In the play, the chorus of Wasps (old, hyper-zealous jurors) are praising the 'old man' Philocleon's ability to purge the city of 'evils' (which, in their view, are the younger generation and democratic reforms). However, the term 'καθαρός' and its derivatives often carry strong connotations of ritual purification, and here Aristophanes ironically suggests that the jury's verdicts are not just legal but a form of sacrificial cleansing of the polis, a concept that aligns with the play's broader satire of the legal system as a mechanism for social and political 'purification' through exclusion. The construction itself is syntactically straightforward, but the semantic weight of 'καθαρτήν' here is deeply ironic and specific to the play's political argument.