Aristophanes Lysistrata 749

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

View: By Card

Lysistrata. Aristophanes. ed. F. W. Hall, ed. William M. Geldart. Oxford. 1907.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Λυσιστράτη (Greek) (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.)

Translations (2)
Lysistrata (OCR draft) Experimental (English (Jack Lindsay). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 749 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.) — 749 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

754. mvp-tlg0019-tlg007-sanjaya-com-eng1-31

Line 754

ὁ τόκος ἔτʼ ἐν πόλει, τέκοιμʼ ἐς τὴν κυνῆν
The line relies on a pun between the noun τόκος (interest on money, birth) and the verb τέκοιμι (I might give birth). The humor hinges on the syntactic shift from a statement of fact regarding the city's financial state to a subjunctive wish for a specific, grotesque mode of delivery ('into the dog's hide/bag'), transforming the abstract concept of 'interest' into a physical, comic birth. This is a classic Aristophanic 'comic etymology' where the semantic field of 'birth' and 'profit' are conflated through morphological resemblance.

757. mvp-tlg0019-tlg007-sanjaya-com-eng1-32

Line 757

οὐ τἀμφιδρόμια τῆς κυνῆς αὐτοῦ μενεῖς;
The phrase τἀμφιδρόμια τῆς κυνῆς is a specific reference to the 'double-running' or 'crossing' of a dog's harness (the straps that go around the neck and chest), a metaphor for the entanglements or constraints of domestic life. In this context, Lysistrata is using the image of a dog's harness to describe the inescapable and irritating nature of her husband's domestic obligations or perhaps his stubbornness, implying that he cannot escape the 'straps' of his household duties. This metaphor is rooted in the everyday life of Athenian households and reflects the play's broader theme of domestic strife and the constraints of marriage.

759. mvp-tlg0019-tlg007-sanjaya-com-eng1-33

Line 759

ἐξ οὗ τὸν ὄφιν εἶδον τὸν οἰκουρόν ποτε.
The adjective οἰκουρόν (oikouron) is a hapax legomenon in Aristophanes, formed from οἶκος (house) and ἔρρω (I run), meaning 'house-running' or 'household-running'. In this context, it is a comic neologism referring to the household snake, a creature traditionally believed to bring good fortune and protect the home, which Lysistrata invokes to symbolize the domestic sphere she seeks to reclaim. The construction is a rare example of Aristophanes creating a compound adjective to describe a mythological or folkloric entity for satirical effect, playing on the snake's role as a guardian of the household oikos.

771. mvp-tlg0019-tlg007-sanjaya-com-eng1-34

Line 771

τοὺς ἔποπας φεύγουσαι, ἀπόσχωνταί τε φαλήτων,
The verb ἀπόσχωνταί is a future middle indicative of ἀπέχω, used here with the genitive φαλήτων ('penises') to mean 'refrain from' or 'abstain from'. While ἀπέχω with the genitive is standard for physical holding or separation, the specific construction of the future middle with a genitive of the object being avoided in this imperative context (implied by the participle φεύγουσαι) reflects the comic tone of a threat or command. The form φαλήτων is the genitive plural of φαλλός, a term for the phallus, which in the context of the chorus of women (Lysistrata) alludes to the specific sexual abstinence they are enforcing upon the men, contrasting with the 'penises' (φαλλοί) worn by the male chorus in the preceding scenes of the play. This usage highlights the central theme of the play: the strategic withholding of sexual access as a political tool.