Aristophanes Birds 499

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.) — 499 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.) — 499 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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ἐκυλινδούμην ἰκτῖνον ἰδών· κᾆθʼ ὕπτιος ὢν ἀναχάσκων
The participle ἰκτῖνον is a hapax legomenon in Aristophanes, derived from ἰκτῖνος (a kite or hawk), functioning as an adverbial accusative of manner ('like a kite' or 'in a kite-like manner'). While the verb κυλινδούμην implies rolling or tumbling, the specific comparison to a bird of prey suggests a violent, spiraling fall or a chaotic tumbling motion distinct from the simple rolling of a stone or log, highlighting the comic exaggeration of the character's physical distress.

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χὠπόθʼ ὁ κόκκυξ εἴποι κόκκυ, τότʼ ἂν οἱ Φοίνικες ἅπαντες
The phrase 'ὁ κόκκυξ εἴποι κόκκυ' is a deliberate self-referential pun on the bird's name (κόκκυξ) and its cry (κόκκυ). This is not merely a descriptive onomatopoeia but a metalinguistic joke characteristic of Aristophanic comedy, where the bird's identity is defined by its sound. The conditional structure 'χὠπόθ' ... εἴποι ... τότ' ἂν' sets up a hypothetical scenario of impossible certainty, which in the context of the play serves to satirize the absurdity of the Birds' utopian project or the characters' gullibility, suggesting that the Phoenicians will only come (or that a specific condition will be met) at the moment the cuckoo speaks its own name—a tautology that implies the condition is either trivial or never to be fulfilled.

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ἡ δʼ αὖ θυγάτηρ γλαῦχʼ, ὁ δʼ Ἀπόλλων ὥσπερ θεράπων ἱέρακα.
The juxtaposition of the owl (Glaux) as the daughter of the owl-goddess Athena and the hawk as Apollo's attendant reflects the specific comic inversion of religious iconography found in the parabasis of this play. While Athena is traditionally associated with the owl and Apollo with the hawk (or sometimes the swan or raven), Aristophanes compresses the mythological genealogy into a single, absurd household scene to satirize the birds' attempt to usurp the divine order. The hawk as a 'therapon' (attendant) for Apollo is a rare metonymic shift; typically, the hawk is Apollo's sacred bird (as seen in the Homeric Hymn to Apollo), but here it is demoted to a servant role, mirroring the play's broader theme of the birds replacing the gods in the cosmic hierarchy.

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νῦν δʼ ἀνδράποδʼ ἠλιθίους Μανᾶς·
The phrase ἠλιθίους Μανᾶς presents a syntactic and lexical crux. While ἠλιθίους is a standard accusative plural adjective meaning 'foolish' or 'simple', Μανᾶς is not a standard nominative or accusative plural form of a known noun in this context. It is likely a corruption or a specific dialectal form of Μανῶν (the plural of Μᾶνας, a type of bird or a proper name) or perhaps a reference to the 'Manes' (spirits of the dead) in a comedic context, though the latter is less attested in Aristophanes. The accusative plural ἠλιθίους Μανᾶς suggests 'foolish Manes' or 'foolish birds,' but the exact identification of Μανᾶς is debated among scholars, with some proposing it as a variant of Μανῶν or a reference to a specific bird species. The textual variant here may stem from the difficulty of the form, with some manuscripts reading Μανᾶς while others may have different readings or emendations.