Aristophanes Peace 734

ed. Eugene O'Neill, Jr.

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

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Peace (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)
Εἰρήνη Perseus (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.) — 729-816 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.) — 734 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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διαβὰς βυρσῶν ὀσμὰς δεινὰς κἀπειλὰς βορβοροθύμους,
The compound adjective δεινὰς κἀπειλὰς is a rare hendiadys (or close variant) where 'terrible' and 'threatening' are conjoined to intensify the sensory assault of the tanning vats. The epithet βορβοροθύμους (mud-hearted or mud-breathing) is a strikingly vivid, almost comic, synecdoche for the smell of the tannery itself, attributing a physical substance (mud) to the abstract concept of breath or spirit, thereby personifying the noxious fumes as a living, choking entity. This usage reflects Aristophanes' tendency to transform mundane industrial processes into grotesque mythological monsters, a technique seen elsewhere in his comedies when depicting the underworld or the lower classes.

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οὗ δεινόταται μὲν ἀπʼ ὀφθαλμῶν Κύννης ἀκτῖνες ἔλαμπον,
The noun Κύννης is the genitive singular of Κύννα, a proper name referring to the Egyptian city of Canopus (Greek: Κάνωβος). In this passage, Aristophanes uses the local toponym in the genitive to denote 'rays from the eyes of Canopus,' a metonymy where the city stands for its patron goddess Isis (often associated with the star Sirius or the moon in comic exaggeration). The choice of the rare form Κύννης rather than the more common Κάνωπος reflects the poet's preference for archaic or poetic variants to fit the meter and his specific allusion to the 'Canopic' light, which the scholiasts explain as a reference to the brightness of the eyes of the goddess Isis, whose cult was centered at Canopus. This usage is a deliberate comic hyperbole, equating the brightness of the eyes of the character Hermes (or the goddess in the context of the play) with the celestial radiance of the Canopic star.