Aristophanes Frogs 1264

Frogs. 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)
Βάτραχοι Perseus (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.) — 1251 focus
Translations (2)
Frogs (OCR draft) Experimental (English (Matthew Dillon). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 1251 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.) — 1251 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

1264. mvp-tlg0019-tlg009-sanjaya-com-eng1-65

Line 1264

Φθιῶτʼ Ἀχιλλεῦ, τί ποτʼ ἀνδροδάικτον ἀκούων
The vocative 'Φθιῶτ' Ἀχιλλεῦ' addresses Achilles not by his personal name alone but by his patronymic or territorial epithet ('son of the Phthian'), referring to his origin in Phthia (Thessaly). This specific form of address, combining the ethnonym in the vocative with the personal name, functions as a solemn, epic-style invocation typical of the tragic tradition Aristophanes is parodying here. In the context of the play, it is a deliberate mimicry of the opening lines of Euripides' lost tragedy *Bellerophon* (fr. 227 TrGF), where a similar vocative construction is used to summon a hero from the underworld, highlighting the metatheatrical nature of the scene where Dionysus and Xanthias have arrived in Hades.