Aristophanes Birds 1189

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

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Birds. 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

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

Translations (3)
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

Birds (OCR draft) Experimental (Anonymous translation, 1938 compilation; legacy Perseus source migration. Preserved separately from the revised canonical perseus-eng2 at the project owner's request.) — 1189 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.) — 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.