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καὶ μὴν ἐγὼ βουλήσομαι θρεττανελὸ τὸν Κύκλωπα
The compound verb θρεττανελὸ is a unique Aristophanic coinage (hapax legomenon) formed from θρέττω (to rear/nourish) and ἀνέλω (to take up/destroy), creating a semantic tension between nurturing and consuming. While the exact etymology of the first element remains debated—some suggesting a connection to θρέμω (to feed) while others propose a dialectal or onomatopoeic origin—the verb functions here as a grotesque hyperbole, depicting the Cyclops not merely as a predator, but as one who rears his victims before devouring them. This lexical innovation exemplifies the comic poet's tendency to forge new compounds to achieve a specific, visceral comic effect that standard vocabulary could not sustain.
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ἡμεῖς δέ γʼ αὖ ζητήσομεν θρεττανελὸ τὸν Κύκλωπα
The word θρεττανελὸ is a hapax legomenon in Aristophanic comedy, a compound noun formed from θρέττω (nurse) and ἀνελὼν (one who has lifted up), referring to a specific type of nurse who also acts as a midwife or caretaker of infants. In this context, the speaker uses it as a metaphorical epithet for the Cyclops, suggesting a grotesque inversion of the nurturing role, as the Cyclops is here being cast in the position of a 'nurse-lifter' who has been found and is now being sought. This neologism is a hallmark of Aristophanic comic invention, blending domestic vocabulary with mythological grotesquerie to create a unique and humorous image.
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μεμαγμένον σκῶρ ἐσθίειν, αὐτὴ δʼ ἔματτεν αὐτοῖς,
The phrase μεμαγμένον σκῶρ (memagmenon skōr) presents a striking collocation: σκῶρ (skōr) is a rare Attic term for 'dung' or 'excrement,' often used as a vulgar insult or in scatological comedy, while μεμαγμένον is the perfect passive participle of μίγνυμι, meaning 'mixed' or 'stirred.' The combination suggests 'mixed dung' or 'a mixture of filth,' a hyperbolic image typical of Aristophanic obscenity where the absurdity of the subject matter (eating excrement) is heightened by the grammatical form. This construction is not merely lexical but syntactically unusual in its use of the perfect participle to describe a state resulting from an action that is itself grotesque and unlikely, reinforcing the comedic inversion of normal diet.
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τὸν Λαρτίου μιμούμενοι τῶν ὄρχεων κρεμῶμεν,
The phrase 'τῶν ὄρχεων' is a rare genitive plural of ὄρχης (dancer), which appears elsewhere only in the context of ritual or theatrical performance; here it likely refers to the 'dancers of Lartius,' a figure possibly alluding to a specific Roman or Italic tradition known to Aristophanes or his audience, though the exact identity remains debated. The construction 'μιμούμενοι ... κρεμῶμεν' combines a present middle participle with a present subjunctive, suggesting a deliberate, ongoing imitation leading to a proposed action, which is unusual in its syntactic cohesion and may reflect a specific rhetorical or dramatic device.
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τὴν ῥῖνα· σὺ δʼ Ἀρίστυλλος ὑποχάσκων ἐρεῖς,
The vocative Ἀρίστυλλος (Aristyllus) is here used as a generic term for a glutton or someone who eats with their mouth open, derived from the character's reputation in comedy (or perhaps a specific, now obscure, historical figure known for this trait) rather than a specific individual present in the scene. The participle ὑποχάσκων (gaping/yawning) modifies the action of speaking, creating a vivid image of someone eating and talking simultaneously, which is a standard comic trope for the 'gluttonous slave' or 'fool', yet the specific lexical choice of ὑποχάσκων for 'eating while speaking' is a notable example of Aristophanic onomatopoeia and physical comedy that relies on the audience's recognition of the specific bodily function being mocked.
