Aristophanes Wealth 696

ed. F. W. Hall, ed. William M. Geldart

Table of Contents

Search the Perseus Catalog for:

View: By Card
← Previous Next →

Wealth. Aristophanes. ed. F. W. Hall, ed. William M. Geldart. Oxford. 1907.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Πλοῦτος (Greek) (Aristophanes. Aristophanis Comoediae, Vol. 2. Hall, F. W. and Geldart, William M., editors. Oxford: Clarendon Press, 1907.)

Translations (2)
Wealth (OCR draft) Experimental (English (Anonymous; 1938 compilation). Migrated from Perseus legacy XML; source wording and notes retained. See TEI header and migration inventory.) — 696 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.) — 696 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

702. mvp-tlg0019-tlg011-sanjaya-com-eng1-17

Line 702

ὑπηρυθρίασε χἠ Πανάκειʼ ἀπεστράφη
The verb ὑπηρυθρίασε (from ὑπερυθριάζω) is a hapax legomenon in Aristophanes and extremely rare in extant literature, denoting a sudden blushing or flushing of the face, often with connotations of shame or embarrassment. Here, the personification of Panakeia (the goddess of universal healing) as blushing creates a moment of dramatic irony: the very deity who heals all ailments is shown to be susceptible to the social shame of being exposed as ineffective or complicit in the play's central deception. This lexical rarity and the specific personification device highlight the comic inversion of divine authority.

710. mvp-tlg0019-tlg011-sanjaya-com-eng1-18

Line 710

ἔπειτα παῖς αὐτῷ λίθινον θυείδιον
The phrase λίθινον θυείδιον presents a rare and specific lexical collocation. While λίθινος (stone) is common, θυείδιον (a small altar of thyme or thyme-covered) is extremely scarce in extant literature, appearing almost exclusively in this passage of Aristophanes. The adjective θυείδιος, derived from θυέλη (a thyme bush) or θυμός (thyme), denotes an altar specifically associated with the scent of thyme, a detail likely functioning as a comic hyperbole or a precise reference to a rustic, perhaps even shabby, domestic cult object, contrasting with the grander altars of the polis. The construction λίθινον θυείδιον (adjective-adjective) modifying an implied ἔρμα or similar noun for 'statue' or 'object' is syntactically compressed, relying on the audience to supply the omitted noun, a feature typical of Aristophanic elision for metrical or comic effect.

719. mvp-tlg0019-tlg011-sanjaya-com-eng1-19

Line 719

ἐν τῇ θυείᾳ συμπαραμιγνύων ὀπὸν
The verb συμπαραμιγνύων (present participle of συμπιμνύμι/συμμιγνύμι) denotes the physical act of mixing or blending, here specifically the adulteration of wine. In the context of Aristophanic comedy and the social history of symposia, this construction is significant as it alludes to the common practice of adding substances like opium (ὀπὸν) or henbane to wine to induce intoxication or stupefaction, a detail that underscores the play's thematic focus on the corruption of social rituals and the literal 'blindness' of wealth (Χρυσός/Plutus) to moral distinctions. The use of the present participle here suggests a habitual or ongoing action characteristic of the character's role as a mixer of drinks, rather than a singular event.