689.
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τοῖς αἰθερίοις τοῖσιν ἀγήρῳς τοῖς ἄφθιτα μηδομένοισιν,
The phrase employs a unique combination of the dative plural with the article τοῖσιν (a Doric or poetic form of τοῖς) followed by three distinct participial phrases in the dative plural: ἀγήρῳς (dative plural of ἀγήρως, 'ageless'), ἄφθιτα (neuter plural accusative? No, context requires dative plural of ἄφθιτος, 'imperishable') and μηδομένοισιν (dative plural of the present middle participle of μεδόμεναι, 'planning'). The construction is an appositional dative of respect or specification, where the birds are identified by these three attributes. The use of ἄφθιτα in the dative plural (ἄφθιτοις) is metrically required here but the spelling ἄφθιτα suggests a textual crux or a specific dialectal variant. The phrase μηδομένοισιν is particularly significant as it uses the middle voice, implying the birds are 'planning for themselves' or 'concerning themselves,' which is a deliberate rhetorical choice by Aristophanes to characterize the birds as self-directed agents of cosmic order, contrasting with the mortal humans who are often passive or manipulated.
692.
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εἰδότες ὀρθῶς, Προδίκῳ παρʼ ἐμοῦ κλάειν εἴπητε τὸ λοιπόν.
The phrase κλάειν εἴπητε is a striking syntactic hybrid where the future imperative εἴπητε (speak) governs an infinitive κλάειν (to weep), effectively meaning 'tell him to weep' or 'have him weep.' While the future imperative often introduces a command, its combination with an infinitive to convey a jussive sense ('go and tell him to weep') is a specific Aristophanic usage that blurs the line between direct speech and reported command, characteristic of the play's linguistic playfulness regarding the Sophists' technicalities.
695.
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τίκτει πρώτιστον ὑπηνέμιον Νὺξ ἡ μελανόπτερος ᾠόν,
The genitive construction 'ὑπηνέμιον Νὺξ' (Night of the opposing wind) is a striking example of Aristophanic personification where the noun is modified by an adjective that would more naturally describe a physical phenomenon rather than a deity. While 'νέμεσις' (opposing wind) is a known epithet for Zephyrus, applying it to Night here creates a paradoxical cosmogony that aligns with the play's theme of constructing a world 'above the clouds' where traditional divine genealogies are inverted. This phrasing likely alludes to Hesiod's Theogony (where Night lays an egg) but subverts it by adding the 'opposing wind' element to emphasize the chaotic, unnatural setting of the bird-kingdom.
696.
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Line 696
ἐξ οὖ περιτελλομέναις ὥραις ἔβλαστεν Ἔρως ὁ ποθεινός,
The phrase περιτελλομέναις ὥραις (cyclical seasons) functions as a dative of time or means in this Orphic cosmogony, evoking the Hesiodic and Orphic tradition where Eros emerges not merely as a force but as a primordial principle arising from the cyclical order of time itself, specifically the revolving seasons (cf. Orphic Fragment 143).
701.
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ξυμμιγνυμένων δʼ ἑτέρων ἑτέροις γένετʼ οὐρανὸς ὠκεανός τε
The genitive plural participle ξυμμιγνυμένων (from ξυμμίγνυμι) functions as a genitive absolute, yet the construction is semantically integrated with the main clause to describe a process of cosmic generation. The phrase οὐρανὸς ὠκεανός τε (Heaven and Ocean) alludes to the Hesiodic cosmogony of Theogony 116-118, where the primordial entities are Chaos, Gaia, and Tartarus, followed by Eros, Erebus, and Night, and then Heaven (Ouranos) and Earth (Gaia). Aristophanes' substitution of Oceanus for Earth in this specific context of bird-mixing creates a deliberate, humorous conflation of the birds' chaotic hybridization with the primordial chaos of creation, suggesting that the birds are not merely a new species but a re-creation of the cosmos itself.