Aristophanes Lysistrata 396

Lysistrata. Aristophanes. . 2026-09-08.

Current edition Experimental

Commentary (Sanjaya, generated; selected passages) (OCR draft) (English) (Source: pnadelofficial/aristophanes-sanjaya, commit c319590c139e5603e71f0699caa0663d823af8ad. Machine-generated source annotations retained; see Sanjaya import audit for coverage and limitations.)

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Λυσιστράτη Perseus (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.) — 387 focus
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.) — 387 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.) — 387 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

396. mvp-tlg0019-tlg007-sanjaya-com-eng1-10

Line 396

κόπτεσθʼ Ἄδωνιν φησίν· ὁ δʼ ἐβιάζετο
The imperative κόπτεσθʼ (middle/passive of κόπτω) is a rare and striking usage here, meaning 'to strike oneself' or 'to beat one's breast' in a gesture of extreme grief, rather than the more common transitive 'to strike (something)'. This specific construction, coupled with the accusative of the person or thing being struck (Ἄδωνιν, referring to the god Adonis), evokes the ritual lamentations of women for Adonis, a foreign cult practice that Aristophanes frequently targets as effeminate or foreign. The contrast between the imperative command and the following clause ὁ δʼ ἐβιάζετο ('but he was being forced' or 'but he was resisting') highlights the tension between the performative grief demanded by the ritual context and the reluctant or forced nature of the male character's participation in a scene typically reserved for women.