Aristophanes Wasps 1009-1121

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

View: By Card

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

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Σφῆκες (Greek) (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.)

Translations (2)
Wasps (OCR draft) Experimental (English (Anonymous; 1938 compilation). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 1009 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.) — 1009 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

1024. mvp-tlg0019-tlg004-sanjaya-com-eng1-50

Line 1024

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'.

1031. mvp-tlg0019-tlg004-sanjaya-com-eng1-51

Line 1031

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.

1032. mvp-tlg0019-tlg004-sanjaya-com-eng1-52

Line 1032

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.

1034. mvp-tlg0019-tlg004-sanjaya-com-eng1-53

Line 1034

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.

1043. mvp-tlg0019-tlg004-sanjaya-com-eng1-54

Line 1043

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.

1070. mvp-tlg0019-tlg004-sanjaya-com-eng1-55

Line 1070

σχῆμα κεὐρυπρωκτίαν.
The phrase σχῆμα κεὐρυπρωκτίαν presents a crux of textual transmission and comic morphology. The first word σχῆμα (form/appearance) is standard, but κεὐρυπρωκτίαν is a hapax legomenon (or near-hapax) in this specific orthography. The form is a compound of εὐρύς (wide) and πρῶκτος (rump/anus), a grotesque physical description typical of Aristophanic caricature. However, the prefix κε- is highly irregular; it likely represents a corruption of the particle καί (and) due to the following vowel, or a dialectal/colloquial intensifier, though some editors have conjectured the text should read simply εὐρυπρωκτίαν or a related form like εὐρυπρωκτῆς. The syntactic construction functions as an accusative of exclamation or description directed at a character (likely Philocleon), where the adjective is nominalized. The combination of the abstract noun σχῆμα with the obscene, compound adjective creates a jarring comic effect, highlighting the absurdity of the character's physical transformation or behavior.

1073. mvp-tlg0019-tlg004-sanjaya-com-eng1-56

Line 1073

ἥτις ἡμῶν ἐστὶν ἡ ʼπίνοια τῆς ἐγκεντρίδος,
The noun ἐγκεντρίς (genitive ἐγκεντρίδος) literally denotes a 'fly' or 'gnat' but functions here as a technical term for the 'wasp' in the context of the play's title (Σφῆκες) and its central metaphor. The phrase 'the wasp of the fly' (or 'the fly-wasp') creates a deliberate taxonomic confusion that underpins the play's satire: the chorus of old men, who identify as wasps, are being reduced to the status of mere pests (flies) by the protagonist's legal manipulations, or conversely, the 'wasp' (the aggressive juror) is being defined by the 'fly' (the prey or the trivial matter). This usage relies on the semantic overlap and confusion between the two insects in Attic colloquialism and legal metaphor, where the distinction between the predator (wasp) and the nuisance (fly) is blurred to highlight the absurdity of the litigation culture.

1082. mvp-tlg0019-tlg004-sanjaya-com-eng1-57

Line 1082

ἐμαχόμεσθʼ αὐτοῖσι, θυμὸν ὀξίνην πεπωκότες,
The adverb ὀξίνην (from ὀξύς, 'sharp' or 'bitter') is a rare poetic form here functioning as a predicate adjective or adverbial modifier with πεπωκότες ('having drunk'), describing the quality of the 'wine' or the resulting state of the drinkers. While ὀξύς is common, its use in this specific compound construction with the perfect participle of a drinking verb to denote a state of intense, 'sharp' anger (θυμός) is a distinctive Aristophanic usage, blending the sensory experience of wine with the psychological state of the jurors. The phrase effectively personifies the anger as a potent, fermented substance.

1087. mvp-tlg0019-tlg004-sanjaya-com-eng1-58

Line 1087

εἶτα δʼ εἱπόμεσθα θυννάζοντες ἐς τοὺς θυλάκους,
The participle θυννάζοντες is a hapax legomenon in Aristophanes, derived from θύννος (tuna). While literally meaning 'acting like a tuna,' the context of the passage (a parody of a legal trial where the chorus mimics bees) suggests a specific comedic connotation: either the 'stinging' behavior of the bees or the frenzied, chaotic movement of tuna schools. The verb is rare enough that its exact nuance—whether describing the physical motion of the 'bees' (the chorus) or their aggressive, swarming intent—requires specific attention to the comic imagery of the scene.

1108. mvp-tlg0019-tlg004-sanjaya-com-eng1-59

Line 1108

οἱ μὲν ἡμῶν οὗπερ ἅρχων, οἱ δὲ παρὰ τοὺς ἕνδεκα,
The phrase 'οἱ δὲ παρὰ τοὺς ἕνδεκα' is a metonymy referring to the Eleven (οἱ ἕνδεκα), the board of officials responsible for the execution of prisoners and the management of the state prison (the Demosion). In the context of the *Wasps*, where the chorus consists of old men obsessed with litigation and the courts, this reference specifically evokes the harsh, punitive aspect of Athenian justice, contrasting with the first clause which alludes to the general populace or the jurors ('those under whose command we are'). The use of the preposition 'παρά' here indicates subordination or service under their authority, a specific legal and administrative relationship distinct from the more general 'ἄρχων' (ruler/commander) in the first clause.