Aristophanes Ecclesiazusae 722

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.) — 711 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.) — 711 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.) — 711 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

722. mvp-tlg0019-tlg010-sanjaya-com-eng1-22

Line 722

τὴν τῶν ἐλευθέρων ὑφαρπάζειν Κύπριν,
The phrase τὴν τῶν ἐλευθέρων ὑφαρπάζειν Κύπριν presents a syntactic crux regarding the object of ὑφαρπάζειν. While the accusative Κύπριν (Cyprus) typically denotes a place, here it functions as the direct object of the verb 'to snatch' in the sense of 'to seize the Cyprian woman' (Aphrodite or a priestess), a usage attested in Old Comedy but potentially misleading without knowledge of the specific mythological allusion to the abduction of the Cyprian goddess or her cult statue. The genitive τῶν ἐλευθέρων modifies the implied agent or the scope of the action, suggesting a social distinction central to the play's satire of the 'female assembly' and the reordering of social hierarchies.