Aristophanes Ecclesiazusae 685

Ecclesiazusae. 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)
Ἐκκλησιάζουσαι Perseus (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.) — 667 focus
Translations (2)
Ecclesiazusae (OCR draft) Experimental (English (Anonymous; 1938 compilation). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 667 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.) — 667 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

685. mvp-tlg0019-tlg010-sanjaya-com-eng1-20

Line 685

τὴν βασίλειον δειπνήσοντας· τὸ δὲ θῆτʼ ἐς τὴν παρὰ b ταύτην,
The particle 'δέ' following the genitive absolute construction (or here, the future participle phrase) introduces a sharp adversative turn that reorients the spatial logic of the sentence; while the first clause looks toward the 'basileion' (the King's house or the seat of power), the second clause abruptly shifts the action 'to the one on this side of her' (τὸ δὲ θῆτʼ ἐς τὴν παρὰ ταύτην), creating a syntactic tension between the formal destination and the immediate, perhaps illicit, proximity. This 'δέ' functions not merely as a connective but as a marker of the comic reversal where the grandiose expectation of the 'basileion' is undercut by the immediate, domestic, and spatially ambiguous 'parà taútēn'.