Aristophanes Birds 1189

ed. Eugene O'Neill, Jr.

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

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Birds (OCR draft) (English) (Anonymous translation, 1938 compilation; legacy Perseus source migration. Preserved separately from the revised canonical perseus-eng2 at the project owner's request.)

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ὄρνιθες Perseus (Aristophanes. Aristophanis Comoediae, Vol. 1. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1906.) — 1189 focus
Translations (2)
Birds Perseus (Aristophanes. The Complete Greek Drama, Vol. 2. Anonymous, translator. O'Neill, Eugene; Oates, Whitney Jennings, editors. New York: Random House, 1938 (printing).)

No corresponding passage available

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.) — 1189 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

1191. mvp-tlg0019-tlg006-sanjaya-com-eng1-79

Line 1191

ἀέρα περινέφελον, ὃν ἔρεβος ἐτέκετο,
The relative clause ὃν ἔρεβος ἐτέκετο presents a striking metrical and syntactic anomaly: the verb ἐτέκετο is in the imperfect middle/passive, yet the subject ἔρεβος (Erebus) is the agent of generation. In standard Attic, the passive of γίγνομαι/τίκτω in this mythological context would typically be aorist passive (ἐτέχθη) or middle (ἐτέκετο with a reflexive nuance, which is rare). Here, the imperfect middle is used with an active sense ('Erebus was giving birth'), a construction attested in early poetic diction but irregular in Aristophanic comedy. This may reflect a deliberate archaizing gesture to evoke Hesiodic theogony (cf. Theogony 116–123), contrasting the sublime cosmogony with the absurdity of the birds' new regime. Alternatively, the form could be a scribal corruption for ἐτέχθη, though no manuscript variant supports this; the reading is consistent across the tradition.