938.
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Line 938
ἃν τοῖσι παραπετάσμασιν τοῖς Μηδικοῖς γράφουσιν·
The adjective Μηδικοῖς ('Median') here describes the παραπέτασμα ('curtain' or 'backdrop'). In the context of Old Comedy staging, this refers to the painted backdrop depicting a Persian setting, a specific theatrical convention that Aristophanes satirizes. The phrase alludes to the practice of using a single, reusable scenic element to denote 'the East' or 'Persia' in plays, a detail that clarifies the specific visual gag regarding the inscription being read.
943.
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Line 943
χυλὸν διδοὺς στωμυλμάτων ἀπὸ βιβλίων ἀπηθῶν·
The phrase στωμυλμάτων ἀπὸ βιβλίων ἀπηθῶν ('of grumblings from tiresome books') targets a specific cultural phenomenon of the late 5th century: the rise of written collections of 'wise sayings' or gnomic poetry (often attributed to figures like Theognis or Solon) that had become objects of pedantic, repetitive recitation in symposia and schools. Aristophanes satirizes the practice of extracting trivial moralizing from such texts (βιβλίων) to produce empty, grumbling speech (σωμυλμάτων), contrasting the living, spontaneous wit of the stage with the dead, tiresome authority of the written word. The adjective ἀπηθῶν ('tiresome', 'cloying') is particularly sharp here, suggesting that the content is not merely old, but actively repulsive due to overuse, a critique of the intellectual climate that valued rote memorization of written texts over genuine dialectical engagement.
956.
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Line 956
λεπτῶν τε κανόνων ἐσβολὰς ἐπῶν τε γωνιασμούς,
The phrase γωνιασμούς (goniasmous) is a rare hapax legomenon (or near-hapax) in Aristophanes, derived from γωνία (corner). Here it is used metaphorically to denote the 'turning points' or 'complex turns' of a poetic line, specifically alluding to the intricate, angular metrical structures or the sharp rhetorical turns of iambic or dactylic verse. The juxtaposition with κανόνων (rules/straight lines) creates a deliberate antithesis between linear regularity and angular complexity, reflecting the contemporary debate between strict metrical regulation and the more flexible, 'crooked' artistry favored by poets like Euripides or the comic poet's own satire of overly technical criticism.
963.
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Line 963
Κύκνους ποιῶν καὶ Μέμνονας κωδωνοφαλαροπώλους.
The phrase 'κωδωνοφαλαροπώλους' is a hapax legomenon (a word occurring only once) in extant Greek literature, coined here by Aristophanes to describe a specific type of charioteer or herald. The compound combines 'κώδων' (bell) and 'φαλαροπώλης' (seller of patches or, more broadly, a peddler of trinkets), creating a grotesque image of a noisy, huckster-like figure. This neologism serves the play's central theme of poetic competition by satirizing the pretensions of contemporary poets (specifically Aeschylus) who are accused of filling their works with bombastic, meaningless, or overly ornate language, reducing their grand figures like Memnon to mere bell-ringing peddlers.
970.
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Line 970
πέπτωκεν ἔξω τῶν κακῶν, οὐ Χῖος ἀλλὰ Κεῖος.
The phrase 'οὐ Χῖος ἀλλὰ Κεῖος' relies on a specific pun regarding the reputation of wines from the two islands. In the context of the play, where Dionysus is comparing the quality of wine, the 'Chian' wine was proverbial for being strong and potentially adulterated (mixed with seawater or other substances to increase volume), whereas 'Keian' wine was often associated with being sweeter but perhaps less robust or simply distinct in character. The syntax here functions as a contrastive identification of the wine's origin, implying a qualitative judgment based on these regional stereotypes. The humor derives from the expectation that Dionysus, having 'fallen out of the evils' (presumably the 'evil' of thirst or poor wine), has now encountered a specific type of wine, and the distinction between the two islands is the punchline of the scene's satire on wine quality.
990.
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Line 990
The phrase 'κεχηνότες Μαμμάκυθοι' presents a significant textual crux. While the transmitted text in some manuscripts reads 'Μαμμάκυθοι' (Mammakythoi), a recognized conjecture by scholars such as Bergk and later supported by modern editors like Kassel and Austin is 'Μαμμάκυνθος' (Mammakynthus) or a similar correction, suggesting the text may refer to a specific location or a corrupted proper noun rather than a generic term for 'squash'. The participle 'κεχηνότες' (gaping/open-mouthed) is typically used for people or animals, making its application to a noun ending in '-υθοι' (if taken as a plural of 'squash') a deliberate, jarring comic hyperbole, or, if 'Μαμμάκυθοι' is a corruption of a place name, it implies a specific geographical or topographical joke regarding the 'gaping' nature of that place. The lack of a clear antecedent for 'Μαμμάκυθοι' in the immediate context forces the reader to weigh the likelihood of a manuscript corruption against a highly obscure, dialectal, or coined term.
1004.
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Line 1004
ἀλλʼ ὦ πρῶτος τῶν Ἑλλήνων πυργώσας ῥήματα σεμνὰ
The phrase 'πρῶτος τῶν Ἑλλήνων' (first of the Greeks) is a deliberate hyperbolic honorific applied to Aeschylus, contrasting sharply with the subsequent description of him as 'pyrgōsas rhēmata semna' (building up lofty words). While Aeschylus was widely revered in the 5th century, the specific metaphor of 'building towers' (pyrgōsas) of language is a satirical exaggeration of the comic tradition's view of his style as heavy, bombastic, and architecturally massive, a critique that Aristophanes revisits elsewhere (e.g., *Frogs* 1000–1014). The genitive 'τῶν Ἑλλήνων' here functions as a superlative marker of pre-eminence, but the combination of 'first' and 'builder' creates a specific ironic tension: it elevates Aeschylus to a foundational status while simultaneously reducing his poetic achievement to a crude structural feat, a key element of the play's judgment of the dead poets.
1018.
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Line 1018
καὶ δὴ χωρεῖ τουτὶ τὸ κακόν· κρανοποιῶν αὖ μʼ ἐπιτρίψει.
The compound κρανοποιῶν (cranopoion) is a hapax legomenon in Aristophanes, literally 'cup-maker' or 'cup-seller'. While the agent noun is transparent, its specific application here relies on the immediate context of the scene: the character (Xanthias) is being threatened with the rough, laborious task of making wine-jars (kranoi) for the chorus or a specific patron, a detail that underscores the comic degradation of the character from a 'wise' slave to a mere artisan. The term's rarity and its specific connotation of menial labor in the context of Dionysian festival preparations warrant noting, as it is not a generic term for a potter but a specific occupational designation within the play's internal logic.
1028.
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Line 1028
ἐχάρην γοῦν, †ἡνίκʼ ἤκουσα περὶ Δαρείου τεθνεῶτος,†
The phrase περὶ Δαρείου τεθνεῶτος presents a syntactic crux: the preposition περὶ + genitive with a perfect passive participle (τεθνεῶτος) functions as a causal clause ('because Darius had died') rather than the more common temporal or topical sense. This construction, where περὶ introduces a cause with a participle that implies a completed state affecting the present emotion, is rare in Aristophanes and requires careful parsing to distinguish it from a simple report of news ('about Darius'). The genitive τεθνεῶτος here is not merely attributive but carries a causal force that is syntactically compressed.
1040.
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Line 1040
ὅθεν ἡμὴ φρὴν ἀπομαξαμένη πολλὰς ἀρετὰς ἐποίησεν,
The verb ἀπομαξαμένη is a hapax legomenon in Aristophanes, derived from ἀπό (away) and μάσσω (to rub, wipe, or scrape), literally 'having scraped off' or 'having wiped away'. In this context, it creates a strikingly physical metaphor for the mind (φρήν) cleansing itself of impurities or ignorance to produce virtue, a usage that contrasts with the more common abstract verbs for moral improvement. The participle is in the aorist middle, implying a completed action by the subject itself, emphasizing the mind's agency in this purification process.
1047.
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Line 1047
ὥστε γε καὐτόν σε κατʼ οὖν ἔβαλεν.
The particle combination καὐτόν (καὶ + αὐτόν) with the enclitic γε and the subsequent ἔβαλεν exhibits a specific metrical and syntactic feature of Aristophanic comedy: the elision of the final epsilon in ἔβαλεν before the following vowel (implied or elided in the manuscript tradition) is standard, but the placement of the pronoun αὐτόν immediately after καὶ with the enclitic γε creates a rare rhythmic accentuation pattern often used to heighten the comic emphasis of the action. More critically, the verb ἔβαλεν here is not a standard aorist indicative but likely a form of ἔβαλον (aorist of βάλλω) with the augment elided or the form contracted, a phenomenon attested in papyri and critical editions of Aristophanes where the augment is dropped in the middle of a line to fit iambic trimeter, a feature that requires specific attention in syntactic parsing to avoid misidentifying the tense or mood.
1051.
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Line 1051
κώνεια πιεῖν αἰσχυνθείσας διὰ τοὺς σοὺς Βελλεροφόντας.
The participle αἰσχυνθείσας (aorist passive participle of αἰσχύνομαι) is used with the infinitive πιεῖν in a construction where the subject of the participle (the women, implied by the context of the play's satire on Spartan women) is also the logical subject of the infinitive. This is a standard construction of the genitive absolute or, more precisely here, a genitive participle agreeing with an implied subject in the accusative (the women) that governs the infinitive, a structure common in Aristophanic comedy to denote cause or attendant circumstance. However, the specific phrase 'κώνεια πιεῖν' (to drink water) followed by the participle 'having been ashamed' creates a syntactic ambiguity: does the shame precede the drinking as a cause, or is the shame the result of the drinking? The context of the play (lines 1025-1026) clarifies that the women are ashamed to drink water because of the 'Bellerophons' (a pun on the Spartan soldiers who were supposedly defeated by the 'Bellerophons' of Athens, or a reference to the Spartan practice of drinking wine from water-skins, which is being mocked). The phrase 'διὰ τοὺς σοὺς Βελλεροφόντας' (because of your Bellerophons) is a pointed political allusion: the Spartans, known for their austerity and military prowess, are being mocked by the Athenians for their supposed defeat by the 'Bellerophons' (a reference to the Spartan king Pausanias, who was accused of treason and was associated with the myth of Bellerophon, a hero who was also associated with the city of Argos, a Spartan ally). The commentary must address the syntactic complexity of the participle and the historical allusion to the 'Bellerophons' as a political insult.
The term 'Βελλεροφόντας' (Bellerophons) is a deliberate pun and allusion. In the context of Aristophanes' Frogs, it refers to the Spartan soldiers, but the name 'Bellerophon' is also associated with the myth of the hero who was accused of treason by the Spartans (specifically, the Spartan king Pausanias, who was accused of treason and was associated with the myth of Bellerophon). The pun is that the Spartans are being mocked for their supposed defeat by the 'Bellerophons' (a reference to the Spartan king Pausanias, who was accused of treason and was associated with the myth of Bellerophon, a hero who was also associated with the city of Argos, a Spartan ally). The commentary must address the historical allusion to the 'Bellerophons' as a political insult.
1059.
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Line 1059
μεγάλων γνωμῶν καὶ διανοιῶν ἴσα καὶ τὰ ῥήματα τίκτειν.
The participle τίκτειν ('to bring forth') functions as a complementary infinitive dependent on the implied verb of 'producing' or 'generating' understood from the context of the preceding clause (likely referring to the tragic poet's style). This construction, where a transitive verb of 'bringing forth' takes a direct object (μεγάλων γνωμῶν καὶ διανοιῶν) and a complementary infinitive expressing the action of the object, is a distinctive Aristophanic usage that personifies abstract concepts ('great thoughts and plans') as the offspring of the poet's rhetoric. The phrase ἴσα καὶ τὰ ῥήματα ('equal even to the words') creates a syntactic tension: is ἴσα modifying the thoughts/plans themselves as being 'equal' to the words, or is it a predicate adjective with the infinitive, suggesting the 'birth' of thoughts is equal to the 'birth' of words? The genitive absolute construction is absent here, relying instead on a compressed comparative structure typical of the play's satirical tone regarding the 'greatness' of Euripides' new-fangled vocabulary versus traditional tragic diction.
1071.
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Line 1071
τῶν μειρακίων στωμυλλομένων, καὶ τοὺς Παράλους ἀνέπεισεν
The phrase τῶν μειρακίων στωμυλλομένων utilizes the genitive absolute construction with the present active participle of στωμυλλέω. This verb is a hapax legomenon in this specific form within Aristophanes and carries a specialized, pejorative nuance of 'mumbling' or 'speaking in an unintelligible, muttering fashion,' distinct from the more common ὀμυλλέω or generic terms for talking. The construction effectively isolates the behavior of the youths as the causal or circumstantial backdrop for the main verb, highlighting the specific, disruptive nature of their speech which Xanthias or Dionysus (depending on the immediate context) overcomes by convincing the Paraloí (a specific corps of rowers) to intervene.
1084.
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Line 1084
The verb ἀνεμεστώθη (aorist passive indicative of ἀνεμιοῦν, attested only here in the extant corpus of Aristophanes) is a hapax legomenon constructed from ἀνήμι ('to empty') and the intensive or causative prefix ἀνέ-. In this context, it functions as a vivid, comic neologism describing the scribes' stomachs as having been 'emptied out' or 'hollowed' by hunger, playing on the physical sensation of the 'scribes' (ὑπογραμματέων) being so impoverished they are literally air-filled or empty. The form is a rare instance of Aristophanic morphological invention where a compound verb is formed on the spot to suit the metrical and comic necessity of describing a state of extreme destitution.
