Aristophanes Wealth 377

ed. Eugene O'Neill, Jr.

Wealth. Aristophanes. ed. Eugene O'Neill, Jr.. New York. 1938.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Wealth (OCR draft) (English) (English (Anonymous; 1938 compilation). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.)

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Πλοῦτος Perseus (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.) — 377 focus
Translations (1)
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.) — 377 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

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εἰ δʼ ἔστιν ἕτερός τις Ποσειδῶν, τὸν ἕτερον.
The phrase ἕτερός τις Ποσειδῶν relies on a specific semantic distinction in Attic comedy: ἕτερος here functions not merely as 'another' (a different individual of the same class) but as 'a different one' in the sense of a rival or alternative deity with a distinct sphere of influence, contrasting with the standard monotheistic tendency of the play's plot to treat 'Plutus' (Wealth) as the sole true god. The ellipsis of the verb (ἐστίν) and the immediate repetition of the article + adjective (τὸν ἕτερον) create a chiasmus that emphasizes the absurdity of positing a second Poseidon when the play's logic suggests a world reorganized around a single divine figure, a syntactic structure that mirrors the logical fallacy being mocked.

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ἐγώ, κατακλίνειν αὐτὸν εἰς Ἀσκληπιοῦ
The infinitive κατακλίνειν ('to lay down') takes a direct object αὐτὸν ('him') and is followed by a prepositional phrase εἰς Ἀσκληπιοῦ ('into [the temple] of Asclepius') without an explicit noun for the sanctuary (e.g., ἱερόν or ναόν). This construction relies on the elliptical use of the genitive of the deity's name to denote the sacred precinct, a common but syntactically distinct feature in Attic prose and comedy where the noun is omitted when contextually clear.