MASTER 
 NEGATIVE 
 
 NO 
 
 92-80468-1 
 
MICROFILMED 1992 
 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK 
 
 as part of the . ^ 
 
 "Foundations of Western Civilization Preservation Project 
 
 Funded by the 
 NATIONAL ENDOWMENT FOR THE HUMANITIES 
 
 Reproductions may not be made without permission from 
 
 Columbia University Library 
 
COPYRIGHT STATEMENT 
 
 The copyright law of the United States - Title 17, United 
 States Code - concerns the making of photocopies or other 
 reproductions of copyrighted material... 
 
 niversity Library reserves the right to refuse to 
 accept a copy order if, in its judgement, fulfillment of the order 
 would involve violation of the copyright law. 
 
 I? 
 
AUTHOR: 
 
 PEPPLER, CHARLES 
 WILLIAM 
 
 TITLE: 
 
 COMIC TERMINATIONS 
 
 IN ARISTOPHANES... 
 
 PLACE: 
 
 BALTIMORE 
 
 DA TE : 
 
 1902 
 
Restrictions on Use: 
 
 COLUMBIA UNIVERSITY LIBRARIES 
 PRESERVATION DEPARTMENT 
 
 BIBLIOGRAPHIC MICROFORM TARGET 
 
 Original Material as Filmed - Existing Bibliographic Record 
 
 ^ 88Ar5 
 DP2 
 
 Peppier, Charles William, 1S72- 
 
 Comic terminations in Aristophanes and the Comic 
 fragments. Pt. i: Diminutives, character names, patro- 
 nymics. Baltimore, J. Murphy company, 1902. 
 
 53 p., I L 23'-. 
 
 Thesis (ph. D.)--Johns Hopkins university. 
 Life. 
 
 10-147^ 
 
 Library of Congress 
 
 Master Negative # 
 
 32r3Qi.(^-J 
 
 TECHNICAL MICROFORM DATA 
 
 ^S^9n^ 
 
 REDUCTION RATIO: J^^ 
 
 FILM SIZE: 
 
 IMAGE PLACEMENT: lA (jl^ IB IIB 
 
 DATE FILMED: ^/jLC/9_^ INITIALS 
 
 HLMEDBY: RESEARCHTUBLICATIONS. INC VVOODBRIDGE. CT 
 
n 
 
 Association for Information and Image Management 
 
 1100 Wayne Avenue, Suite 1100 
 Silver Spring, Maryland 20910 
 
 301/587-8202 
 
 Centimeter 
 
 1 2 3 
 
 II 
 
 iiiiliiiiiiiiiliiiiiiiiiliiiiliiiili 
 
 Ml 
 
 T 
 
 j^ 
 
 7 8 
 
 liuuluuluij 
 
 9 
 
 iilin 
 
 TTT 
 
 10 11 
 
 iiiiliiiiliiiiliiii 
 
 12 13 14 15 mm 
 
 TTT 
 
 IL 
 
 iillllllllllllllllllll 
 
 Inches 
 
 .0 
 
 I.I 
 
 1.25 
 
 !■ 2.8 
 
 2.5 
 
 1^ - 
 
 3.2 
 
 ■ 63 
 
 2.2 
 
 136 "" 
 
 »ii |40 
 
 2.0 
 
 b. 
 
 
 »- 1. 
 
 I_Il;.i^ 
 
 
 1.8 
 
 1.4 
 
 1.6 
 
 MfiNUFPCTURED TO RUM STflNDflRDS 
 BY fiPPLIED IMRGEp INC. 
 
 ^ 
 
vJomic Terminations in Aristophanes 
 and tlie Comic Fragments. 
 
 Parti: Diminutives^ CharacLer Names, Patronymics* 
 
 A DISSERTATION 
 
 PRESENTED TO THE BOARD C F UNIVERSITY STUDIES 
 
 OF THT^. JOHNS HOPKINS UNIVERSITY FOR THE 
 
 DEG ES OF DOCTOR OF PHILOSOPHY, 
 
 BY 
 
 CHAPJ.ES WILLIAM l^EPPLEE, 
 
 Professor of Greek in Emory Cvt'i-jt. 
 
 
 B^BI 
 
 
 ^^^ asp^i 
 
 
 BALTIMORE: 
 
 JOHN MURPHY co:^pa::y. 
 
 1902. 
 
 
'i^i^A,, 
 
 Columbia ©nibersiitp 
 
 in tfte €itp of ifjetu |9orb 
 
 LIBRARY 
 
 ^ 
 ^^^ 
 
 1^ ^ - '" * 
 
 'if??**' 
 
 5 '_ 
 
 
 •1^ 
 
 
 ■•» 
 
 
 iK.'s'^dMrM t-M-^i.. k^:. 
 
7 
 
 Comic Terminations in Aristophanes 
 and the Comic Fragments. 
 
 Parti: Diminutives, Character Names, Patronymics. 
 
 A DISSERTATION 
 
 PRESENTED TO THE BOARD OF UNIVERSITY STUDIES 
 OF THE JOHNS HOPKINS UNIVERSITY FOR THE 
 DEGREE OF DOCTOR OF PHILOSOPHY, 
 
 BY 
 
 CHARLES WILLIAM I'EPl'LEK, 
 
 I'rufessor uf Greek in Eiiwiy CoUaje. 
 
 BALTIMORE; 
 
 JOHN MURPHY COMPANY. 
 
 igoz. 
 
A 
 
 < 
 
 T)TX 
 
 ♦ ; 
 
 CONTENTS. 
 
 PAGE. 
 
 Introductory 5 
 
 Diminutives 
 
 Meiotic Diminutives 9 
 
 The liniiKxlerate Use of Diminutives : 
 
 (I. Multiplication of Diminutive Suffixes U 
 
 h. Accumulation of Diminutive Words ];; 
 
 Diminutives of Endearment 17 
 
 Diminutives of Contemj)t 23 
 
 ^it'tre 28 
 
 Character Names 30 
 
 In -wv QQ 
 
 " -''»"' 35 
 
 '' - 37 
 
 '' - 37 
 
 " -'«^ 38 
 
 '' -- 41 
 
 " '-i 42 
 
 Patron^'mics 44 
 
 \ 
 
• 
 
 COMIC TERMINATIONS IN ARISTOPHANES 
 AND THE COMIC FRAGMENTS. 
 
 4 « 
 
 INTRODUCTORY. 
 
 The language of Aristophanes is full of comic surprises. These 
 appear in a variety of forms, but the particular kind to be con- 
 sidered here is that which arises from changing the termination 
 of a word by substituting for the usual ending one that is new 
 and unexpected, in order to give a comic turn to the expression. 
 Examples are i^KaXvfifi6<; in place of e^KaXvfjLfia (cf. KaXv/jifia, 
 €7riKd\vfi/xa, k. t. \.), 'Ax^pvLKoq and l3ahLaTiKo<^ for 'Ap^api^ei;? 
 and /3a8iaT7](;, i^airarvWco for e^airarda) in a diminutive sense, 
 and hvcLKi^ and rpLdicL^ for 8t9 and rpi^. In the same way 
 diminutives and patronymics are employed for the comic effect, 
 instead of the primary forms, the former often debasing and ridi- 
 culing things high and exalted, the latter giving a loftier tone and 
 more imposing air to common names. Kipling has many illus- 
 trations of these comic shifts of termination : cosmopolouse for cos- 
 mopolitany procrastitutes for procrastinatois, Arabites for Arabians, 
 gleesome for gleeful, fear somely for fearfully, recruity for recruit, etc. 
 
 In deciding whether a given word is comic or not, the difficulty 
 of dealing with a foreign and a dead language is enhanced by the 
 imperfect tradition. The rarity of a form is not a sure test, for 
 it may happen either that a word, which was in common use in 
 ancient times, through some accident occurs only once in the extant 
 literature, or on the other hand that a comic formation was admired, 
 appropriated and freely employed by the author's successors, so 
 that its common occurrence keeps it from appearing in any way 
 remarkable or unusual. Furthermore, the sermo familiaris, which 
 is the proper sphere of these forms and which alone could present 
 
6 Comic Terminations in Aristophanes and the Comic Fragments, 
 
 them to us in their true setting, has largely disappeared, much 
 less of it than of the literary language being handed down to us. 
 Speaking of the impossibility of feeling the force of the words of 
 daily life exactly as the Greeks felt them, Professor Jebb in the 
 introduction to his Characters of Theophrastus, pp. 1 sq., says : 
 " The w^ords of a dead language are like panes of stained glass seen 
 on a bleak morning. The genius of the design which they make 
 up can be felt ; and, if the separate colors seem hard in the gray 
 light, it is possible to imagine them deepened ; but no imagination 
 can see them as they looked when the eyening sunshine was 
 streaming through the window." Consequently, there will be 
 more or less uncertainty at times as to the comic effect of a ter- 
 mination, and neither the context nor any other source of help will 
 suffice to lead us to a sure conclusion. Naturally, then, opinions 
 will differ, for it cannot be expected, in a matter so subjectiye, that 
 all will agree in regarding the same words as comic. 
 
 DIMINUTIVES.^ 
 
 There is no class of terminations that Aristophanes used so freely 
 to produce a comic effect as the diminutive suffixes. Originally 
 they indicated smallness. Small objects give rise to various emo- 
 tions : when beautiful and attractive, they arouse love and affection ; 
 if weak and in distress, they move us to pity and compassion ; when 
 they are insignificant and mean, they call forth ridicule and con- 
 tempt. Thus diminutives get the derived significations of endear- 
 ment, pity and aversion. Since the same thing may excite emo- 
 tion in one person and not in another, it is just as necessary that 
 the speaker be capable of having and expressing these feelings as 
 that the object be suited to produce them. Much then depends 
 upon his nature and frame of mind ; coldness and reserve on his 
 part operate as strongly against the use of dim. as do magnitude 
 and grandeur in the object. The language must be free and 
 unrestrained, as in daily conversation, so that the speaker may 
 
 ^Cf. L. Schwabe, De deminutivis Graecis et Latinis, Gissae 1859; L. Janson, 
 De Graeci sermonis nominum demiuutione et amplificatione flexorum forma 
 atque usu, Jahrb. f. Phil. u. Piid. Suppl. 5, 185 sqq. ; G. Miiller, De linguae 
 Latinae deminutivis, Lipsiae 1865. 
 
 i 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 7 
 
 give vent to the feelings that are aroused by the contemplation of 
 the object ; otherwise there is no room for dim. in their secondary 
 use. They show familiarity, and often lightness of heart and a 
 playful spirit. Hence they find their proper sphere in the speech 
 of the common people. *'Das Volk," says Weise, Char. d. lat. 
 Spr., § 120, ''hat das Herz immer auf der Zunge; es kann und 
 will sich nicht verstellen, triigt vielmehr offen zur Schau, was es 
 denkt und wie es f iihlt, nicht nur in seinen Mienen und Gebiirden, 
 sondern auch in seinen Worten. Hier kommt oft ungesucht und 
 unbewuszt seine Teilnahme und seine Abneigung zur Geltuug. So 
 ist die Starke Vorliebe flir Deminutiva als Zeichen der Kordialitat 
 und der regen Beteiliguug des Gemiits an der Rede aufzufassen." 
 
 viroKopicrfio^. 
 
 The original meaning of viroKopL^ea-Oai is ^ to play the child 
 {Kopo^, Kopr])/ 'to talk like a child,' 'to imitate the language of 
 children in speaking to them.' Phrynichus, Anecdota Graeca Bek- 
 keri (abbrev. A. G. B.) 47, 31 says : o-Tj^aLvei to Trpo^ ra KOficB^ 
 iraLOLa vrjiria yjreWL^Ofieiwv rfj ^(ovfj Trai^etv ic6po<^ yap 6 iral^, 
 Cf. 857, 20 and Lex. Tim. s. v. Since baby-talk naturally con- 
 tains many dim., the Greeks employed vTroKopia/jLo^ to designate 
 dim. in general (ovofjia /jLLKporrjTOf; €/ji(f)avTLKov koI K6paL<; ioLKo^ 
 A. G. B. 855, 29), but the notion of endearment is always the 
 most prominent one in this word, because baby-names are tender, 
 caressing names. One kind of vTroKopccr/jLo^ consists in calling a 
 thing by a fair name in order to lessen or conceal the evil in it, 
 e. g. \^<f)i\La KOi] ^evia koI eraipla for BovXeta Dem. 19, 259, j9e?'€- 
 grinntio for mise7rima fuga Cic. Att. 9, 10, 4. After discussing 
 in Rhet. 1, 9, 28 the substitution in general of one quality for 
 another closely related to it, whether the end in view is praise or 
 blame, Aristotle turns his attention in § 29 to a special variety of 
 this misuse of names, viz. viroKopiafjio^, in which a man's charac- 
 ter is looked at always from the most favorable point of view, and 
 o 6pyLXo<; Kal 6 /xaviKo^; is called aTrXou?, while o avOdhrj^; is 
 described as peya\o7rp€7rrj<^ Kal aefivo^. This is an extension of 
 the original bland use of u7roKopcafj.6<;. For other exx. see 
 Cope-Sandys on Aristot. 1. c. While this form of hypocorismos 
 
8 Comic Teniiinations in Aristophanes and the Comic Fragments. 
 
 involves the change of the whole word and diminishes the force of 
 bad words only, that kind which is expressed by dim. endings 
 affects both the good and the bad. It is to the latter only that 
 Aristotle Rhet. 3, 2, 15 refers in his definition of the term : earLv 
 6 vTroKopicr/jLOf; o? eXarrov iroLel koI to kukov kuI to dyaOov, coairep 
 . . . . xP^^^^<^^P^ov K.T.X. A dim. of a good thing usually gives 
 rise to a term of endearment, a dim. of a bad thing, to one of con- 
 tempt; but it is also possible to apply a dim. of endearment to 
 something bad, and a dim. of contempt to something good, for all 
 depends upon the point of view of the speaker and the feelings 
 which he has in tlie matter. In the first instance his feelings are 
 in accord with, in the second they are at variance with, the accepted 
 opinion. Just as one epithet applied to an act, says Aristotle in 
 § 14, may result from contemplating the evil side of it, and 
 another, used of the same act, may come from a higher and better 
 view of it, so dim. express endearment or contempt according to 
 the way in which the speaker regards the object, whether in a 
 favorable or an unfavorable light. Hence it appears that the 
 term vTroKopiaTi/cd, signifying originally caressing words, came to 
 be applied to expressions of contempt also. This was in the 
 nature of things because the fundamental meaning of such words, 
 viz. smallness, readily gave rise to both contempt and endearment 
 as derived significations. It was the original force of dim. that 
 Dionysius Thrax had in mind (Uhlig, p. 28, A. G. B. 635, 15): 
 VTTOKopLaTLKov iaTL TO jxeiwatv Tov TTpcoTOTvirov SrjXoijv dcrvyKpL- 
 TQ)9, olov dv6pco7rlaK0<i, XLBa^j /jbeipaKvXXcov, and this definition 
 was adopted by the Latin grammarians Diomedes (1, 325, 25 K., 
 cf. 1, 535, 19 and 7, 395, 10), Charisius (1, 155, 10 K.) and Pris- 
 cian (2, 101, 3 K.). The Romans used the term diminutio (=/xet- 
 a)(7t9, iXdTTO)(TC(;)y but the Greeks with their livelier nature preferred 
 to give prominence, in the name vTroKopLa/io^, to the playful and 
 sportive use that is so frequently made of dim. 
 
 It is mainly dim. of contempt that are comic. A threefold 
 division of comic dim. is only a matter of convenience at best. In 
 the classification that follows, when the meiotic or hypocoristic 
 force is prominent, even though it results ultimately in ridicule 
 and contempt, the word will be placed in the one or the other of 
 the first two classes. 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 9 
 
 Meiotic Diminutives. 
 
 These are sometimes employed in making a request in order 
 that the thing asked for may seem as small as possible, and that 
 the favor may therefore be more readily granted. This begging, 
 pleading tone is noted by the grammarians, cf. A. G. B. 855, 29 : 
 6 viroKoptafio'^ .... Xa/i/SdveTai .... eveKa tov ;)^p€ia)8oi/9- 
 iTTTrdpiov /JLOL ;)^apto-ar fM€Lco yap to l^rjTOvfjbevov, ha eTotfioTepov 
 7r/309 TO Bovvac iron^aa) tov e^ovTa, and An. Ox. Cram. 4, 273, 9 : 
 yiveTai tcl vTroKoplcrfiaTa , . . . Bl dvayKaioTrjTa, w? idv b ahy 
 T69 (TfjLtKpvvT}, ha fir] fMeydXrjv Tronjarj ti)v %rt/3^i^' w KexPl^Tai ol 
 KWfxiKot &)<? e^€t TO irapd ^levdv^pw XeffrjTiov. Cf. Ar. Plut. 
 984-5. In Mnesim. 3 an avaricious man gives his nephew the 
 ridiculous command to use the diminutive rather than the primary 
 form of the things for which he asks, e. g. IxOvhiov and oyjrdptov 
 in place of Ix^v^ and oyjrovj in order that the young spendthrift 
 may in this way deceive him and make the expense seem 
 easier to bear. Ephippus 15 in a similar passage — both from 
 Ath. 8, 359 — represents a penurious youth as giving directions 
 for the purchase of provisions, and all of them are expressed by 
 diminutives. The galling burden (ra cT/cevr], Ran. 12) about which 
 Xanthias complained so bitterly, he calls aKevdpia, vs. 172, ^a 
 small package,' ' a little bundle,' when he comes to bargain with 
 the dead man for carrying it to Hades. Finally, in the scene with 
 Euripides in the Acharnians the demands that Dicaeopolis makes on 
 the tragic poet are all ibr dim., viz. pdKiov 415, inXihtov 439, 
 ^aKTi]piov 448, aKevdpLov 451, airvpihiov 453, kotvXl(tkiov 459, 
 XvrplhLov 463, aiToyylov 463. These together with his other dim. 
 (404, 412, 444, 447, 469, 475) present a contrast to the tragic tone 
 of Euripides' utterances (cf 410, 419, 445, 449, 454, 456, 460, 
 479); Dicaeopolis calls the rags of Telephus pdmov 415, but 
 Euripides, assuming a grand and stately air, refers to them with 
 such highly poetical words as Tpvxv 418, XaKiBe^; TreirXcov 423, 
 BvaTTLvP) ireTrXcofiaTa 426, paKco/jiaTa 432, cf. pdKr] 433. The 
 comic effect of the dim. here is cumulative, and is increased by the 
 contrast not only with the words of Euripides, but also with the 
 tragic expressions and parodies that Dicaeopolis himself mingles 
 with his colloquial speech each time that he receives an article from 
 
10 Comtc Terminatims in Aristophanes and the Comic Fragments. 
 
 the wardrobe of the beggar Telephus. Cf. vs. 484, and Bakhnyzen 
 
 on Ran. 52 sq. . . 
 
 Meiotic dim. are comic when the dim. termination comes as a 
 surprise at the end of words with whose meaning the idea of small- 
 i.es9 does not harmonize, as in the case of the names of gods and 
 heroes, and their possessions. In a parody on Eur. tr. 487 i>. , 
 Aristophanes calls the abode of the great king of the gods Jove s 
 8hack'-A.o, h^o^dr^ov Ran. 100, 311, cf. II 1, 18, etc. A udi- 
 crous imitation of the monodies of Euripides in Ran. 1331-bi 
 represents a woman as invoking Artemis, the huntress-queen, to 
 come not with her hounds, but with her puppies («ui^iV«a? 1360) 
 in order to help her recover the cock that she dreamed her neigh- 
 bor had stolen. The kitchen-utensils of the gods, called aKevdpm, 
 Pac 201, are given in detail as xvrptSia koX cravihia KaiJ.4>opeiSia. 
 The tone of familiarity in these dim. often carries with it con- 
 
 tempt. , 
 
 In Plaut. M. G. 1265 Pyrgopolinices had boasted that he was 
 
 the grandson of Venus ; in 1413 and 1421 he is ridiculed as the 
 Goddess's diminutive grandson, Venerius nepotulus. The same 
 comic inconsistency and linking together of unlike and opposing 
 notions, so far as the element of meiosis is concerned, is seen in 
 fraterculus gigantis Juv. 4, 98, and in magna estjoniacula 10, 8i, 
 said in mockery of Tiberius. By means of diminutives Cicero 
 describes Aris' murder of his wife as if it were a small matter 
 (Scaur. 6, 10) ; the irony is apparent : Arinem . . . .negotium 
 dedisse liberto, ut illi animlae (cf. anus §§ 8, 12) non tile qmdem 
 vim adferret—neque enim erat rectum patronae—, sed collum digitulis 
 duohus obUderet, resticula cingeret, etc. = ' that he should not harm 
 the dear old lady, but just choke her a little bit with two fingers, 
 and tie a little chord around her neck.' The dim. dieeulae Plaut. 
 Pseud 503, tantae turbellae Bacch. 1057, quantae turbetlae Pseud. 
 no, plm-atitlus (conj.) and va-beretUlm Poen. 377-8, m«nusc«/im 
 Cic'off. 3, 18, 73 are comic, because while the words here m reality 
 stand for 'something large, the dim. ending suggests the very 
 opposite. The same contradiction is found in the dim. adjj. vaten- 
 tula Plaut. Cas. 852 and ferocxdus Turp. ap. Non. 75, 30, Auct. 
 B. Afr. 16, 1. 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 11 
 
 If on the other hand the dim. suffix is attached to a word that 
 is contrasted with something large, it makes the contrast all the 
 greater. The addition of the dim. ending in ^oyfii^iov Nub. 389 
 and ya(TTpiSiov 392 increases the contrast between them and the 
 loudness of the sound thev cause, and the same is true of ' the 
 little cheese of Xenocrates ' (a8eo-7r. 292) in comparison with the 
 time taken to consume it. One may compare ratiuiiGulanij quan- 
 tillum in Plaut. Capt. 192-3, where the extraordinary appetite of 
 Ergasilus makes Hegio solicitous about his * little bank account/ 
 lest it should prove insufficient to provide a dinner for the parasite. 
 
 The Immoderate Use of Diminutives. 
 
 a. The Multiplication of Diminutive Suffixes, 
 
 A comic effect may be produced by an immoderate use of diminu- 
 tives. Aristotle cautions against the addition of too many dim. 
 suffixes to the same word in Rhet. 3, 2j 15 : eanv 6 vTroKopio-fMo^ 
 09 eKarrov iroLel koL to kukov Kat to a^aOov, ioairep koI o 
 ^ApLaT0(f)dv7j^ (TK(07rT€L iv Toh ^a^vXwvioL^, clvtX /jLev ^pvaiov 
 ypvai^dpiov, clvtI 8* l/jbaTLOV i/jLaTt8dpcov, dvTi Be XoiBopia*; 
 \oL8opr)fidTLOV KOI voarjiidTLOV (yorj/judTiov conj. Fritzsch.). evXa- 
 ^eiaOaL he hel koI irapaTTjpetv kv dfxc^olv to fjueTpiov. In Bergk's 
 opinion (Mein. 2, 982) the object of Aristophanes' sarcasm 
 here was to ridicule the style of Gorgias and his followers. To 
 the Babylonians also belongs /SocBdpLov fr. 82, and Fritzsche and 
 Bergk would assign Aristophanes' coinage ^t^ihdpiov fr. 756 to 
 the same play, because of its likeness to ^j^pi^cr^Saptoi/ and i/jLaTcBd- 
 piov. ^(pBdpcov Alex. 140 and fwaBdptov Diph. 21, being similar 
 formations, were no doubt used with comic intent. 
 
 Even words with the shorter dim. suffix -dptov are rare in 
 classic times. With the exception of TracBdptov, I'mrdpLov, Kvvd- 
 pcov, XoydpLOV, ocKapiov, olvdpcov, TrXotdptov, TrcoXapotv, aKevapLov 
 and ylri^dptov, they occur only in the comic poets and late writers. 
 Of the 140 dim. in -dpiov that have come under my notice 
 (Schwabe has counted 180), all but 30 make their first appearance 
 in the literature after Aristophanes' time, and 21 of the 30 are 
 found in Aristophanes. Hence Bergk Comm. 410 is justified in 
 
 u^ 
 
12 Comic Tmninations in Aridophanes and the Comic Fragments. 
 
 saying that they belong, not to the conversation of the cultured, 
 but to the more vulgar language and especially to late comedy. 
 Aristophanes uses them generally for a comic purpose; Ucker- 
 mann, De Ar. com. vocab. format, et composit., p. 22, claims that 
 he brought 14 new dim. in -dpLOP into the language. Though 
 somewhrt uncertain, the Atticists were inclined to reject these 
 forms, cf. Phryn. p. 180 Lob., Thom. Mag. p. 201, A. G. B. 
 43, 32 ; 49, 14 ; 104, 28 and 30. Since -dpcov was rare at this 
 time and restricted for the most part to the lowest sphere of the 
 lancruacre, it is evident that the words in -tSdpiov with which 
 Ari'stophanes ridiculed the excessive use of the dim. suffix, vere 
 all the more striking and unusual. And the same is true of 
 TraiBiaKupLov in Menand. 338, 402, though there is greater free- 
 
 dom in later times. 
 
 This extravagance with dim. suffixes is seen again in x^ai^-icr/c- 
 IB-ior, Upiafi-LW-v^p-iov and Xi^^-nK-ih-Lov, 
 
 xXanaKlStov, with fMiKp6v added, Pac. 1002, ^' wee little coats" 
 (Kog.). Cf. Stephariiscidium Plant. Stich. 740 for the ending. 
 The double dim. suffix -[aK-Lov is not common. Masculines in 
 -tV/co? occur fairly often, there are a few feminines in 4aKr], the 
 neuters are represented only by o-apL^aXiana (cf. aavhaXiaico^ 
 Ran. 405) and aaKeplaKa in Hipponax 18 B.*, and airXy^viaKOv 
 and a<i>e\l<jKov in Sam. Inscr. 220 (Becht.).^ -iaKiov takes the 
 place of -iaKov when a neuter is needed.' Besides prjfiaTlaKcov 
 Plato, ixeXiaKiov Alcman Antiph., x^cti^i^'^'o^ Aeschin. Ar., and 
 four other examples in the comic poets, viz. KorvkiaKLov, KaviaKLov, 
 KahidKLov and irLvaKiaKLov,^ all the forms in -iaKiov in ray collec- 
 tion belong to late Greek. The rarity of -iaKiov in classic times 
 emphasizes the unusualness of -LdKihiov, 
 
 YlptapLLWvhpiov Epicharm. ahniX. 114 Lor., Kock aZeair. 1373, 
 was used ha yeXolov (An. Ox. Cram. 4, 254), as was also Upta- 
 ^vWlov (A. G. B. 856, 1). Lobeck Proleg. 401, 9 : UpiafiiWv- 
 Spiov ex hypermiosi pro np^a^t'XX^oi^, ypsilo propter epalleliam in 
 iota mutato. The separate dim. suffixes -6\\iov and -v^piov are 
 
 ^Bergk, Lyr. Gr.* 2, 469. 
 
 2 Cf. Schwabe, p. 64. In the same way -vWov is not found, but -vWiou, cf. pp. 
 
 35, 62. 
 
 3 See also conjj. in Ar. fr. 481, Anaxandr. 9, and Alex. 189. 
 
 t 
 
 ») 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 13 
 
 both rare; Schwabe has found 12 examples of the former and 16 
 of the latter (add iroXyhpiov) in the whole literature, nearly all 
 being late words. 
 
 A7]fxaKLSiov Eq. 823, dim. of A ?;/!«?' ^ vtilgar form of AT^/xo?, 
 cf. p. 44, is used fawningly by the low-bred sausage-seller. 
 
 One may compare peditastellus^ Plant. M. G. 54. The suffix 
 -astro- indicating a similarity to the primitive word and often 
 expressing contempt (cf Antoniaster, parasitaster), is common in 
 the sermo vulgaris. The addition of the dim. suffix brings added 
 contempt, and the whole serves to show the utter disdain of Pyr- 
 gopolinices for the insignificant foot-soldiers. The same exagger- 
 ation is seen in the similarly formed gravastellus {^gravaster, 
 gravus), Epid. 620. But classical Latin did not attach a number 
 of dim. suffixes to the same word as often nor as successfully as 
 the Greek. The same effect was produced l)y using the dim. of 
 the modifying adjective as well as that of the noun, in which case 
 the dim. affects, not the adj. btit the noun, or rather the combi- 
 nation of adj. and noun, as Schwabe, p. 5, expresses it. Thus, 
 parvulum palliolum is equivalent to a double dim. of pallium, and 
 aureola oratiuncida, Cic. N. D. 3, 17, 43, to a double dim. of oratio, 
 the hypocorismos passing over from the adj. to the noun, for Cicero 
 surely would not have detracted from his praise of Laelius' master- 
 piece by calling it 'somewhat beautiful.' * Somewhat' may serve 
 as a translation of the dim. adj. at times, as when the feelings of 
 the speaker do not come into })lay, and especially in case of adjj. 
 of color and material. The Greeks on the other hand formed dim. 
 adjj. in but few instances. The Dorian Moschus has two examples, 
 8pi/xu\o9 2, 8, Ahr., cf. A. G. B. 857, 5, and /jlck/cvXo^ 2, 13, cf. 
 Etym. M. s. v. ; and the adv. Tra^^Xw? occurs in Aristotle Eth. 
 N. 1, 3, 4. In the comic poets the only dim. adj. is KaOapvXXo^y 
 Plat. Com. 86, Cratin. 27, 'cleanly,' 'fairly clean,' not a "comic 
 dim." as Liddell and Scott think. The notion of diminution in 
 adjj., i. e. 'somewhat,' 'tolerably,' 'rather,' is frequently given 
 in Greek by the prefix viro- (= Lat. sub-), 
 
 h. Accumulation of Diminutive Words. 
 
 Another way in which the use of dim. is sometimes carried to 
 excess is in heaping together, within a small compass, a number of 
 
14 Comic Teiminations in Aristophanes aiid the Comic Fragments, 
 
 dim. words. Assonance has much to do with this, just as it also 
 partly explains the fondness of the Romans for dim. adj^j. added to 
 dim. nouns. Of rupo? X'^wpo?, Tvpo<; ^rjpo^, k. t. e. (Antiph. 133), 
 Eustathius 1524, 13 says ofMOioKaraXyi^la TracyvLcoSr]^, and the 
 same is true of the accumulation of many diminutives. In Anax- 
 
 andr. 27 : 
 
 Kal avfjLTrai^eL KapiBapioi^ 
 fxera TrepSiKLOV kuI OparTiSlcoVf 
 Kal yfrriTTapLOi<; fiera KwOapicDV^ 
 Kal afCCpSapLOL^ jiera fcco/BcBLoyv, 
 
 it is the massing of dim. that produces the comic effect. All but 
 the last one are a-rra^ eip., yet all are names of fish and the 
 dim. of such words are common. Dalechamps thinks that the 
 purpose of this fra^^ment, like Ar. fr. 90, was to ridicule some one 
 who was in the habit of using dim. of this kind. The repetition 
 of the same dim. ending makes more striking the repetition of 
 thought in Eubul. 38 : 
 
 Tpv^Xia Se Ka\ jSaTavca Kal KaK/cajSLa Kal 
 XoTrd^La Kal TraTchua ttvklvcl Tap(f)ea 
 *KOvB' av Xi^wv Xi^ai/ic, 
 
 According to Casaubon these are the words of a man in a pet whom 
 the poet represents as stammering. Other instances in the comic 
 fragments are Ar. fr. 247, Ephipp. 15, Amph. 35, Philem. 26. 
 In the complete plays of Aristophanes note the crowding of dim. 
 in Pac. 201-2 (quoted p. 10) ; in Ran. 1203 : 
 
 KUi KcoBdpLov Kal XriKvOiov Kal OvXclklov, 
 
 a line that ridicules the trivialities and the colloquial elements in 
 Euripides* style; and in Eq. 100: 
 
 fjv 'yap fxedvaOo), irdura ravrl Karairacro) 
 ^ovXev/jLaTLCou Kai yuw^iSlayi' Kac vol8l(ov, 
 
 which is aimed at the sophistical subtleties of the same poet. 
 Plautus has many examples : Pseud. 67*-68 (comic effect height- 
 ened by the similar word-endings and by the verse-rhyme) ; Cas. 
 
 i^ 
 
 %> 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 15 
 
 108, 837 sq. (cf. infra p. 20); Asin. 666-8, 693-4 (cf. p. 19); 
 Rud. 894, 1169-70; etc. See also Cic. Tusc. 2, 18, 42; Catull. 
 25 and 57 ; Spart. Hadr. 25 ; and many others. 
 
 This fondness for o/AotoreXeuTa is seen in all ])arts of speech, 
 and produces a comic effect when the repetition of the same end- 
 ing is carried to excess, or when at the end of two words several 
 syllables are identical or nearly so. Commenting on yepovra^; 
 6vTa<; in Xenarch. 4, 14, Meineke 3, 618 sq. says: ^' non ^sine 
 comico quodam lepore eadem parechesi usus est Aristoi)hanes Yesp. 
 277, Ach. 222," and compares Phryn. 3, Antiph. 230, Menand. 
 509, etc. Modern rhyme being unknown, there is little difference 
 in effect whether the ofMOLoreXevra are in the same line or come at 
 the end of successive lines, except in so far as the latter position 
 gives them greater prominence and emphasis. Antiphanes, it 
 seems, was fond of long lists containing ofioioreXevra, cf. frr. 106, 
 132, 133, 142, 148. Cf. Pherecr. 183, Ar. fr. 271 (cf. Plant. Cist. 
 206-9), Nicoph. 19 (cf. Plant. Aul. 508 sqq.), Anaxandr. 65, Arar. 
 9, Mnesim. 4,' and see Earle on Eur. Ale. 782-5. Examples of 
 ofjioi. in the eleven plays of Aristophanes are Ach. 199, 269-70, 
 546-54, 595-7 (cf. Plant. Pers. 702-5), 688, 1003-6, 1008-10, 
 1015-6, 1208-9; Eq. 115, 166-7, 1057; Nub. 241, 335, 484-5, 
 494-6, 711-5, 1456-7, 1504-5; Vesp. 65-6, 973-4, 999-1000; 
 Pac. 152-3, 291, 320, 380-1, 540-2; Av. 1271-2; Lys. 457-61 ; 
 Ran. 463, 740, 841-2, 1001-2, 1478; Eccl. 838-40; Pint. 288, 
 513-4. In Plautus note the comic use of o/jlol. especially in 
 Pseud. 67^-8 {-iunculae); in acmhdntis, potdntis, amdntis (1270); 
 and in procdx, rapdx, trahdx (Pers. 410), answered by Dordalus 
 with eddxjurdx/fugdx (421), in all of which the repeated syllable 
 gets the verse-accent. See other exx. in Lorenz, Einl. z. Pseud. 
 
 S. 39 sq. 
 
 New and unusual words sometimes result from this desire for 
 
 o/jLOioreXevTov. Some dim. of this sort follow. 
 
 KtaTL^ Ach. 1137 is formed like a dim. from KLO-TTjy so that 
 the gen. may correspond with ao-7rt8o9 (1136). Previously (1098, 
 of. 1086) Dicaeopolis had called the chest klo-tt], and elsewhere 
 (Eq. 1211, 1216, Vesp. 529, Pac. eQQ, Lys. 1184, Th. 284) the 
 primary form only is used. Cf. Mart. 4, 20, 4 : 
 
 1 Lobeck, Paralip. 54, calls special attention to 1. 59. 
 
16 Comic Tenninailons in Aristophanes and (he Comic Fragments. 
 
 Altera ridlciila est, altera puticlM^a. 
 
 With iSoLScipLov Av. 585 Euelpides imitates ^ev^apiov of Peithe- 
 taerus (582), both words having the same position in the line. 
 Cf. fr. 82, sii})ra, p. 11. 
 
 rpiyXl^ Antiph. QS, vss. 8 and 15. The frequency of rplyXr] 
 and /iaivL<; (cf. fr. 132) and the rarity of Tpiy\L<; and fialvr] in the 
 comic frr. (v. Jacohi's Index) show that the dim. rptyXl^ here is 
 due to a desire to make its ending like that of fiatvl^;. 
 
 aavvaKiov Philem. 87. The Persian word aavvdicpa was changed 
 to aavvuKLov so as to make its ending like that of PariaKLov, dim. 
 of^ariaK/j. Cf. Ath. 497 f In Plat. Com. 206 the rare word 
 TraWaKia, found also in Alcman 92 B.' (but cf 90 H.), seems to 
 have been chosen on account of fMeipciKLa. 
 
 Note also kuI XopiaKov kuc 'EpyicrKrjv Kal yivpTLa/crjv in Aeschin. 
 3, 82, where MvpriaKr] is substituted for MupT7;i^09 (Dem. 18, 27) 
 for the sake of the jingle and to cast contempt on Demosthenes. 
 
 Outside of the realm of dim. the influence of ofioioreXevrov in 
 making new and comic formations is seen in 'XttlkwvlkoI Pac, 
 215, cf XaniovLKOL 212; in aKOTo/BLvcco Ach. 1221 which is due 
 to aKOToBtvLCj 1219, cf. /Scvtjtloj Lys. 715 ; and in the three mid- 
 dle verbs which, if correctly used, would be active, viz. peyKerai 
 Eq. 115, mid. used because of TripSerat, cf 104 ; x^^P^f^^^ ^^^ 
 7]SofjLai Kal x^ipoixaL K€v(f)paLVOfiai Pac. 291 (cf. Pint. 288), a 
 mistake attributed to the Mede Datis; and x^^^^^^ ^^' 1^)57, 
 mid. on account of ^ax^o-airo. 
 
 Plautus has the plurals pacibus Pers. 753, ynollitiis Pseud. 173, 
 and vomstates Pseud. 1257 in place of the singular forms because 
 the surrounding words are plural. Instead of molossi, odiosi and 
 incomraodi, Plautus wrote the more unusual form molossici (Capt. 
 86) and coined odiosici and incommodestici (87), in order that the 
 endings of these words and of venatici (85) might all be the same. 
 Martial 12, 58 formed lecticariola after the pattern of ancillariohts, 
 both words having the same position in the line. 
 
 Such coinages and comic shifts of termination are familiar in 
 our own humorous literature : 
 
 *' So Irish, so modish, so viixtish, so mild " (Leigh Hunt) ; 
 Polly -glotti^h, to rhyme with Scottish (Hood) ; vextasies to rhyme 
 
 Comic Term,inations in Aristophanes and the Comic Fragments. 17 
 
 with extasiea (Pennell) ; and the following from Kipling, who 
 frequently indulges in these inventions : haronite rhyming with 
 fight, barbarious with various, cavalree wuth Quay, epnlept with 
 ivept, kissage with visage, Secretarry with marry, etc. 
 
 Diminutives of Endearment.^ 
 
 It is to the familiar conversation of the home-circle, and espe- 
 cially to the baby-talk of nurses and mothers to children, that dim. 
 of love and affection primarily belong. Here they flourish and 
 from here they spread to other spheres. See Theophr. Char. 20 : 
 Kal rh iraihiov tt)? tltOt]^ d(j)6\6/jL6vo^ ^xaawfjLevo^ (Tiri^eLV avro^ 
 Kal viroKopi^eaOat TTOTrirv^cov Kal iravovpyiov rod irdTTirov KaXoiV. 
 Among relatives and friends dim. are less stiff and formal, warmer 
 and more cordial, than their primitives. 
 
 TTaTTirihiov Vesp. 655. Philocleon's comparison of his sway 
 in the court with the rule of Zeus (6UJ-25, cf esp. 621) causes 
 Bdelycleon to address him (652) in high heroic style w irdrep 
 7)fiiTep€ KpoviSv (II. 8, 31 ; Od. 1, 45, 81 ; 24, 473). Philocleon 
 stops this with fir] Traript^e, and then his son at once goes to the 
 other extreme, calling him familiarly w iraTririhiov, ^ my dear 
 little daddy ' — a comic contrast to the epic grandeur of his former 
 mode of address. 
 
 Liddell and Scott call iraTpihiov a comic dim. In Yesp. 986, 
 although the whole situation is farcical and ridiculous, Bdelycleon 
 is as much in earnest as he is capable of being, when he begs his 
 father, now brought to tears by the whining of the puppies, to 
 make a change for the better. The dim. expresses real filial affec- 
 tion. In Theophil. 4 and Xenarch. 4 also, TraTpihiov seems to be 
 simply a dim. of endearment. Hence '^ comic" in L. and S. can 
 be construed only in its widest sense, i. e. belonging to comedy, 
 which however includes all dim. 
 
 mhiov Vesp. 1356. Father and son have exchanged their rela- 
 tive positions, cf. schol. on 1351 and 1359. Since Bdelycleon has 
 
 1 Herodian 2, 858 L. (cf. A. G. B. 857, 20) : vevSr^rai rh vnoKopiffriKhu ^ Sia 
 trai^iau ^ Sia KoKaK^iav ^ 5ia rh irpfirov us trap' 'AXKfxavi eupo^ev ras irapdfvovs 
 v-noKopidriKols xp^l^^^°-^' 'TptTroi' yap rovro irapQivois. itpTjrai Se {moKopicrriKhv napa 
 rovs K6povs ijyovv rovs /xiKpovs veovs ^ ras KSpas. rovrovs yap virodufrevourfs 
 TOLOvrois KiXp'r]fxiQa ovSfxacri ws -napa M^vduSpcf vqrrdpiou, k. r. k. 
 

 18 Comic Terminations in Aristophanes and the Comic Fragments, 
 
 instructed him iu the fashions of the day, Philocleon speaks of his 
 son as the governor in the house, and of himself as the rebellious 
 youngster restrained by strict discii)line. Hence, in an ironical 
 way, he calls Bdelycleon ' my dear son,' just as one might refer 
 to a rigorous parent as ' my dear father,' cf. schol. 
 
 d^€\4>l^tov Ran. 60, cf. 164. When Heracles, the hero of 
 gigantic strength, learns that the effeminate little wine-god is 
 sufferintr from such a consuming passion, he asks in a half- 
 coaxing, half-pitying way, like a fond mother to a sick child, 
 ^my little one, what kind of a longing?' Dionysus had dared 
 to call him familiarly ' brother,' and so, in his reply, he adopts 
 and carries further this tone of familiarity. Moreover, his effort 
 to soften his big voice for the caressing dim. is plainly comic. 
 
 reKvihiov Lys. 889. Since tribrachs in the third foot of the 
 iambic trimeter are not common, the best scansion of the line 
 makes the first syllable of reKvihtov long, and this, if correct, 
 stamps it as a parody (cf. Hermann Opusc. 5, 290, Meiu. 2, 478, 
 Kock Nub. 320), perhaps of the verse 
 
 ixOpov TTarpo^ /xot tovto (^IXraTOv reKvov 
 
 in the Prom. Unbound of Aesch. Such a dim. of tenderness is 
 appropriate from a mother to a child, but the familiar dim. has no 
 right to a place in a tragic line (cf. infra p. 24), and furthermore 
 the dim. suffix is here attached to the poetical word reKvov. These 
 inconsistencies give additional comic force to the parody. 
 
 4>L\oTTdpiov Eccl. 891. To the abstract and poetic word c^aoTr;? 
 
 poetic for cj^lXlu — is added the vulgar dim. suffix -dpoiv (cf. p. 
 
 11), and hence there is a union of the highest and lowest spheres 
 in this unusual dim. that the old woman uses. One occurrence of 
 (t>L\6Tv^ for (f>L\€, ' my love,' is found in Plat. Phaedr. 228 D. 
 Cf. epcorvXo^, ' sweetheart,' in Theocr. 3, 7. 
 
 XapKihiop Ach. 340, cf. 333. Dicaeopolis threatens with death 
 < the dearest of the friends ' of the charcoal-burners (1. 326), and 
 they in turn say that they will never forsake their ^' beloved dar- 
 ling" (Frere). This paternal affection lavished on an inanimate 
 object is ridiculous ; the coal-basket, however, takes the place of 
 the child Orestes in the scene in the Telephus of Euripides (Hygin. 
 fab. 101), that is here parodied. Cf. Th. 689 sq. 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 19 
 
 The pet-names of the nursery are often adopted by lovers. 
 Diminutives are the natural language of love, and readily pass 
 from domestic love to the love of the sexes. Here they are freely 
 employed. The deserted old woman in the Plutus says (11. 1010-1) : 
 
 Koi VT) A^' el XvTTOVfjLevrjv aiaOocro fie 
 vrjrrdpcov av /cal cj^drTCOv vireKopi^ero. 
 
 as she recalls the tender words of her former lover. Comp. Plant. 
 Asin. 693-4, 666-7. The inappropriateness of applying such 
 terms as ^ ducky' and 'dovey' to the aged and lustful old 
 creature in PI. 1011 is apparent. When in 963 the Chorus called 
 her ^€ipaKL(TKT]j * little lassie,' because of her girlish appearance 
 (v. wpf/cw?), this display of affection was ironical, the dim. increas- 
 ing the mockery and ridicule oi fxelpa^j v. 1071, 1079. 
 
 Whenever a man's passions are aroused at the sight of, or by 
 contact with the beloved object, diminutives occupy a prominent 
 place in his vocabulary. Dicaeopolis and Philocleon both come 
 home from dinner-parties drunk ; in this gay and festive mood 
 (cf. Syrisce Ter. Ad. 763) Dicaeopolis addresses the two dancing- 
 girls who are holding him up, as xP'^^^^y ^^^^' 1200, ^ my jewels,' 
 cf. also TLTei(Dv 1199, and Philocleon, equally happy over the 
 flute-girl Dardanis, whom he has stolen away from his fellow- 
 banqueters, calls her xP^dopLrjXoXovOiov Vesp. 1342, and x^^-P^^^ 
 1353 (cf. mamillae Plant. Pseud. 180). The Chorus of Mvarai 
 in the Frogs makes mention of the bosom {titOlov 412) of the 
 pretty little maid {jieipaKio-fCT] 409) so as to incite the lustful god 
 to join the procession. Peithetaerus and the speaker in Cratin. 
 302 are agitated by the presence of the loved one, cf. opviOiov Av. 
 667 and xp^'^^'^^ov in Cratinus, and the amorous policeman (Th. 
 1184, 1185, 1188) is under still greater excitement when he utters 
 the dim. rvydrptov, tlttlo and iroaTiov with Elaphium sitting on 
 his knee. Finally, the suffering Cinesias gives partial expression 
 to his burning desire by the use of some fervid dim. MyppivlBvov 
 Lys. 872, 906 (cf. Dobr.), and xP^^^^ov 930. Compare tltOIop in 
 Ach. 1199, Pac. 863, Th. 1185 and Kan. 412 in the mouth of 
 men, with the passionless t6t^09 Th. 640, spoken by a woman. 
 This dim. is usually hypocoristic, not meiotic, and the words of 
 Pollux 2, 163 : Tirdla tidXiara eVl yvvacKcov are true because of 
 
k 
 
 20 Comic TtTmiiiatlons hi Aristophanes and the Comic Fragments, 
 
 the passion that generally accompanies it. Cf. also Crates 40, 
 Canthar. 6. 
 
 There is no more ridiculous outburst of passion anywhere than 
 that of the old Lysidamus in the scene (Plant. Cas. 4, 4) in which 
 he takes Chalinus, who is disguised as the bride of his bailiff 
 Olympio, to l^e the bella et tenella Casina^ and lavishes all his 
 loving words upon him. Note his comic meum corculum, melculumy 
 verculum 837 (cf. Poen. 367, Baccli. 22-3), o coi'pusculum malacum 
 (mellioilum) 843, papillam belhdam 848, and belle belliatxda 854. 
 In Stich. 740, where the two slaves summon their common mis- 
 tress to join the carousal, Sagarinus' extravagance with dim. suffixes 
 in Stephaniscidium (cf. supra p. 12) corresponds to Stichus' ex- 
 travagance in the use of epithets, mea suavis amabilis aiaoena 
 Stephanium (737), both serving the same purpose. Another strik- 
 ing illust^'ation is found in the love letter of Phoenicium, Pseud. 
 67^-8, with its three unusual dim. in -unculae at the end of suc- 
 cessive lines : 
 
 Teneris labellis modes morsiuncidaey 
 Nostrorum orgionim .... iuiicidae, 
 FapHlarum horridularum oppressiunculae. 
 
 See also Asin. 223, Cas. 134-5, Rud. 416, 422, 424, 426, etc. 
 
 The tender caressing dim., found so frequently in the language 
 of love and the praise of beauty, is naturally applied with more 
 appropriateness to women, and hence is more striking when it 
 occurs in men's names. The scholiast says of EvplttlSiov in Ach. 
 404 : ipcoTLKa<; /jLtfielTai c^coi^a?. ol yap epcovre^ elxodaaL tov<; 
 ipco^evovi; 6pa)TiKM<^ St' vTroKopLariKcbv KoXelv, and the author of 
 a treatise irepl KWfxwhia^ (Duebn., p. xvi) makes it an example of 
 the fifth kind of comic diction : Tri^irTov Kara vTroKopLa/iov, co? 
 TO ^wKpajihioVy ^vpiTTiSiov. Siucc dim. were first used by parents 
 to children {k6po<;), and hence by superiors to inferiors, the tone 
 of familiarity becomes comic when this relationship is reversed 
 and those of higher rank are thus addressed by their inferiors, as 
 in EvpiTriSiov Ach. 404, 475, IcoKparlScov Nub. 222, 237, 746, 
 ArjfXiSLov Eq. 726, 1199, 'Ep/ilScov Pac. 382, KvkXcottiop Eur. 
 Cycl. 266, heaTTOTL(TKo<^ Cycl. 267, k. t. \. 
 
 > 
 
 Comic Temiinations in Aristophanes and the Comic Fragments. 21 
 
 Dicaeopolis, the plain farmer of Cripple Creek, uses the familiar 
 EvpcTTiSLov Ach. 404 in summoning the great poet Euripides, one 
 of the princes (/coLpavot 472) of earth to reveal himself to sight. 
 Later on, as his demands on Euripides multiply and his enthu- 
 siasm increases, his mode of address becomes more pleading (cf. 
 437, 452, 462, 467) until finally (475) he breaks forth passionately 
 with the fervent cry EvpurthLov w yXvKvrarov Kal (j^iXraTov, 
 Equally inappropriate is ^wKparihcov Nub. 222, 237 from a 'crea- 
 ture of a day ' to the high and mighty philosopher suspended in 
 the air like a god in tragedy. See also vs. 746. The limit is 
 reached when this tone of familiarity is adopted in speaking to a 
 god, as in the coaxing 'EpfMihtov ' darling, dearest Mercury,' Pac. 
 382, cf. 377, 388, 416. In the same way Silenus in Euripides' 
 satyr-drama tries to turn away the wrath of Polyphemus by 
 addressing the monster in such wheedling terms as w KvK\(i)7riov, 
 Cycl. 266, cf. 262, and c5 heairoriaKe, 1. 267, cf 250, 'my dear- 
 est little Cyclops, oh ! dear little master.' The Chorus in this 
 play calls the heroic son of Atreus 'the good little man {avOpco- 
 iTLov, 1. 185) Menelaus.' In general, the effect of these dim. is to 
 drag down from their high estate the persons addressed and to 
 detract from their dignity by reducing them to the level of chil- 
 dren {Kopos:). On the other hand, in ^eLhiTnrihLov Nub. 80 and 
 'B.avOihiov Kan. 582 the dim. are altogether suited to the character 
 of the son and the slave ; whatever comic element there is here lies 
 in the fact that father and master have an ulterior motive in using 
 these terms of endearment. With the coaxing "EavOihiov^ cf. 
 3Iilphidisce Plant. Poen. 421, Olympisce Cas. 739. 
 
 Trygaeus " shows his folly and madness " (schol. Pac. 76) in 
 bestowing his affection on the huge dung-beetle which, like Belle- 
 rophon's winged steed Pegasus, is to carry him to heaven. He 
 pets and caresses his 'little colt,' calling it fondly Uyydo-tov. 
 This line is a parody on the words of Bellerophon : 
 
 dy\ oi (plXov fJLOi Ylriydaov irrepov (Eur. fr. 306 N.^). 
 
 Cf. reKvihiov for the use of diminutives in a parody. 
 
 It is the part of the Sausage-seller in the Knights to outdo the 
 Paphlagonian in fawning and flattery (cf 788, 890, 903) as well 
 2 
 
22 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 as in irar'idence and knavish tricks. This adulation is often 
 shown in his diminutives (cf. Prise. 2, 101, 22 K.) ; see his <« 
 AvaiBwv S^ 4>i\Tarov 726 (Kock^), his vulgar S,^,xa>cjBiov S26 
 « niv dear little Peopev " (Walsh), and his exultant cry o, S,,t.iBiov 
 11 qq when he i-resents the stolen hare's flesh to Dennis; finally, 
 when a decision between the two is to be rendered, he tells his 
 'dear little daddv' {TraTnrlBtov 1215) that his chest is empty, he 
 has given him all. Other dim. that show his fawning nature are 
 Kvxlyvio:. 90.], i\>c6Bp^a 907 'a nice little pot of ointment for 
 your dear little sores,' and o-^f^aX^'^'" 909 ' y*^"'' ^^^'^i" 1'"'" 
 eyes.' Note that these come immediately after 903 : 
 
 'yap ^eo? fi" exeXevae viKi}(xai a aXal^oveiai'i. 
 
 The following dim. are more or less comic : 
 
 -rrvyihiov Eq. 1308. The dim. expresses pity. Interest in such 
 matters is characteristic of the Sausage-seller, cf. 785, 796. 
 
 hvihov Vesp. 1305 a^a^ elp. The picture presented is comical 
 enough, and the sportive dim. adds to the fun. 
 
 Ba^iBiov Hipparch. 1. So much affection lavished upon the 
 mat is absurd. The dim. suffix as well as dya7rvr6v contributes 
 
 to the comic effect. 
 
 BcKaarvplBiov Vesp. 804 (" Courtlet ", Rog.) is hypocoristic as 
 ^vell as meiotic, for Philocleon loves the Court and all that per- 
 tain'^ to it, cf. BckIBiov. It must have been unusual for the solemn, 
 awe-inspiring Court of Justice, which is said to thunder just as 
 Zeus does (624), to appear in a dim. form. 
 
 BikIBiov Vesp. 511. Compare these words of Philocleon (o08- 
 11), while suffering from the mania for the law-courts, with vs. 
 
 spoken after he has been cared of his infatuation, and when, hav- 
 ing gone to the other extreme, he looks back upon his son as occu- 
 pying his own former position, cf. vthcov supra p. 17. Objects of 
 every-day life in which one finds pleasure and especially delicacies 
 of the table are often expressed by dim., and like these ^ the little 
 suitlet' that Philocleon prefers to ray-fish and eels, has the dim. 
 ending as if it were itself a kind of fish, cf. ^ciyot^i' hv iv XoirdSi 
 
 
 Cojnic Terminations in Aristophanes and the Comic Fragments. 23 
 
 ireTrviy^evov. See also prjfjLdrLa in Eq. 216 and Vesp. 668. This 
 mixture of unlike things, concrete and abstract, material and im- 
 material, is frequent in Aristophanes, the less material being intro- 
 duced as a surprise and often in the dim. form, cf. Ach. 398, 447 
 (cf. Theognet. 1), Eq. 99-100, Nub. 321, Vesp. 878, Ran. 939- 
 44, etc. 
 
 Kp6L(TKo<; Alex. 189 w^as perhaps meant to be comic, do-relov 
 Trdvv. The usual dim. of Kpia^; is Kpedhiov^ which Alexis uses 
 five times. Kpe'io-Ko^ is found nowliere else. The great mass of 
 dim. in Greek are neuter, and the common practice was to make 
 neuter dim. from masc. and fem. nouns, but KpetaKOi;, cravhaXiaKo^ 
 Ran. 405 and o-neXlaKo^ Eccl. 1167, all aira^ elp., are striking 
 exceptions since they reverse this rule, being masc. dim. derived 
 from neuters. 
 
 Diminutives of Contempt. 
 
 When the speaker's feelings are hostile, diminutives of ''the 
 good " and of ^* the bad '' both express contempt. If a dim., 
 apparently hypocoristic, is used ironically, the result is contempt, 
 cf. the ironical use of ^dear,' * fine,' etc. in English; never- 
 theless, it seemed best to discuss instances of this ironical dim. 
 under the head of dim. of endearment. 
 
 In this chapter a prominent place must be given to Aristopha- 
 nes' criticism of the style of Euripides, which he often ridicules 
 by the use of a contemptuous dim. Euripides turned aside from 
 the high and lofty diction of his predecessors, and, in contrast to 
 the bombastic grandeur and the solemn, stately movement of the 
 plays of Aeschylus, deliberately adopted a less exalted and more 
 homely style, which in the dialogue parts approached nearer the 
 speech of the law-courts (Quintil. Inst. 10, 1, 6S) and the lan- 
 guage of every-day life. The amount of labor that he expended 
 in the construction of his sentences does not reveal itself under the 
 smoothness, fluency and somewhat colloquial character of his style; 
 he was the first, says Aristotle in Rhet. 3, 2, 5, to conceal his art 
 by choosing words and expressions from the ordinary language. 
 For this facile writer Aristophanes had an intense hatred, and 
 made fierce attacks upon him as the evil genius of the Athenian 
 stage, as an innovator who degraded tragedy and introduced into 
 
24 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 it vuli^ar and commonplace thouglits and expre.-^sions. When 
 accused of imitating liim Aristophanes admitted (fr. 471) tluit he 
 used his terseness of speech, but heaped contempt on him hy add- 
 ing that his own thoughts were less vulgar and savored less of the 
 market-place, v. schol. Plat. Apol. 19 C. Since diminutives hear 
 the stamp of the sermo lamiliaris, Aristophanes used tiiem to ridi- 
 cule the colloquialisms of Euripides. This he did by introducing 
 them unexpectedly into quotations or j)arodies of the tragic poet, 
 and the effect of bringing together words irom totally ditlerent and 
 diametrically opposed spheres of the language, tragedy and comedy, 
 was necessarily comic." The feelmg that the dim. is out of place 
 in a tragic line increases the fun of the XijkvOlov airwXecrev scene 
 in the Frogs, as the ' little oil-tiask ' is tacked on again and again 
 to a passage taken from the beginning of one of Euripides' pro- 
 logues. Xi^Kvdiov, with its hit at Euripides' references to lowly 
 matters of domestic life (cf. 971 S(i. and Porson h. 1.), not only 
 ridicules this blending of poetic and prosaic language in his plays, 
 but presents a striking contrast to the imposing stature of Aeschy- 
 lus' compounds ; and so also do the three dim. in 1203 : 
 
 Kai KCoBdpiov ; fcal XijkvOlov \ Kal 6y\dKiov, 
 
 a line remarkable for the monotony of word and rhythm (- - j u u - 
 occurs three times), and for the unusual anapaest in the sixth foot. 
 A similar attack on Euripides' ^' mixed style"' is made in Ran. 
 1477-8 : 
 
 Tt9 olSev el TO ^rjv fiev iart KarOavelv, 
 
 TO irvelv Be Beiirvelv, to Be KaOevBetv kojBlov ; 
 
 by introducing the dim. kcoBiov into a parody on Eur. fr. Q'-IS N.^ 
 (of 833). alOipa Ai09 Bay^c'iTiov Ran. 100, 311 parodies aWip" 
 oXkt)(tlv Ato9 in Eur. fr. 487 X.-,and KwiaKi) Ran. 1360 occurs in 
 a ridiculous imitation of Euripides' monodies. Finally, in the 
 burles(pie (jf the pi](TeL^ of messengers in tragedy (Ach. 1174-85) 
 the familiar dim. x^'^P^^^^^ ^^ found in a poetic environment, 
 notablv the Euripiduan repetition vBojp vBoip and the poetic S/xwe?. 
 
 ^See Dionysius of Halicarnassus, De Vett. Scriptt. Cens. 2, 11: K(Kpaix(v7) ttis 
 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 25 
 
 His intermixture of colloquial style was distasteful, btit far more 
 dangerous and detestable to Aristophanes, the conservative aristo- 
 crat, was his advocacy of the new doctrines of the sophists. His 
 love of rhetorical display, his subtle words and dainty phrases 
 elicited nothing but contempt from the comic })oet. While the 
 words of Aeschylus are called pr^fxara Ran. 821, 824, 854, 881, 
 924, 940, 1004, those of Euripides (except in Ran. 828) and of the 
 new learning are called pr^^dTua Pac. 534, Ach. 444, 447, Nub. 
 943. With the pyj/iaTa of Aeschylus in Ran. 881 compare the 
 poetic saw-dust of Euripides (v. schol.), with the pi'^fxaTa of 
 Aeschylus again in 940 compare the eirvWia of Euripides in 
 942, and with the lyrics {/JieXr}) of Sophocles compare the iirvWia 
 and pi^fidTia of Euripides in Pac. 531-4. In still another pass- 
 age, Ach. 398, Aristophanes ridicules the poetry of Euripides with 
 this word iirvWia. Cf. elegidia Pers. 1, 51, versicuhis Hor. Sat. 
 1, 10, 32 and 58, Mart. 6, 44, 23, etc. 
 
 Abstract words do not properly take the dim. suffix.^ They 
 belong to a higher sphere than the sermo farailiaris, w4nch is the 
 peculiar province of the dim. The common people give free ex- 
 pression to their feelings, and often, the more ignorant and vulgar 
 the speaker, the greater the number of dim. used by him," but in 
 the intellectual world of abstract terms and philosophical reason- 
 ing the mind rather than the heart is dominant. When therefore 
 the dim. suffix is attached to abstract words, it is no longer warm 
 and passionate, but generally denotes over-refinement and subtlety 
 of thought, and in this sense is employed by the comic poets for 
 the purpose of ridicule. That Aristotle had these dim. in mind 
 when he uttered his warning against the excessive use of the dim. 
 ending (Rhet. 3, 2, 15), is shown by two of the examples cited, 
 XoiBopi-jfjidTiov and voarifjLdTiov (better vorffxaTLov). Bergk's view 
 that Aristophanes' attack here was directed against Gorgias and 
 his school seems probable from the fact that elsewhere he coined 
 
 » Cf. Wolfllin, Philol. 34, 156 ; Lorenz, Einl. z. Pseud. S. 58. 
 
 - Carlo has 20 out of the 43 dim. in the Plutus and the Sausage-seller uses 15 
 of the 27 in the Knights. The two slaves have rather more than their due pro- 
 portion in the Wasps, the Megarian has the majority of the dim. in the Megarian 
 scene (Ach. 729-835), and the Policeman in Th. 1176 sq. uses 7pa5to(i/) 7 times, 
 while in all of Aristophanes it is found only 14 times. 
 
26 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 abstract dim. forms to ridicule the sophists and Euripides. Eq. 
 100, for example, with its three abstract dim. ^ovXevfidnov, 
 yvJfMl^cov and volSiov, is a comic thrust at the hair-splitting and 
 supersubtle tendencies of the age, and the same is true of yvayfii- 
 Siov again in Xul). 321 : ypcDfitSlay yvwfirjv vv^aaa, a part of the 
 description of the etfect produced on Strepsiades' soul by the 
 api^arance of the Clouds, the goddesses who nourish the airy 
 dreamings and windy bombast of the sophists. Compare Cic. De 
 Fin. 4, 3, 7 pungunt enim, quasi aculeis, interrogatiunculis angustis, 
 and Parad. praef. 2 minutis inter rogatinnculis, quasi punct is, quod 
 proposuit eMcit. See also Tusc. 2, 18, 42 contort ulae et minutae 
 concluminculae. For yvco^lSiov elsewhere see Kock d^eair, 838 
 {cwaaTTdv yi'cofiiSiov) and 1464 (yvcofiiBia Kat Trpo/SovXevfi/iTLa), 
 and Philologus 47, 26 sq. {yva^^iSic^yKTi]^^ Cratin. 307). With 
 dvaaTrdv yvw^ihiov cf. pi^^ariaKLu dvaairdv in Theaet. 180 A, 
 where Plato mocks at the unstable Heracliteans (roh^ peovra^) 
 and their shifting methods of argumentation, calling their enig- 
 matical sayings ' little wordlets ' : aXV av rtvd re eprj, Mairep U 
 (f)ap€Tpa^ pi^pLariaK'.a alvtyfiardj^y] dvaaTT^vre^ dTTOTO^evovai, 
 K, T. €. In Nub. 943-4 : 
 
 > V 
 
 prj/iaTLOicTLi Kaivoi^ avrov 
 Kat hiavoiai^ Kararo^evaw. 
 
 pvpdrcov is similarly used of the new-fashioned words of the 
 sophists. Finally, the purpose of aKaXaOvpfidrLov Nub. 630 and 
 Xoycipcov Theognet. 1 (cf. Ar. fr. 810 and Bentley on Menand. 
 755) is likewise to make fun of the subtle speeches and minute 
 investigations of the philosophers. 
 
 ct>o)vdpiov Ar. fr. 644 ' a dainty little voice,' is preserved by PolL 
 4, 64 in the form (t)a)vdptov mBlkov ical KapiTTiKov which was 
 probably written in derision of 'some fashionable, foppish advocate 
 of the new order of things, cf. Eq. 1378 sq. 
 
 ^evvhpiov Menand. 462 is a comic dim. and shows a dislike for 
 foreigners on the part of this over-careful and up-to-date cook, 
 whose fondness for adjj. in -lk^^:; is noteworthy. 
 
 Turn now to a more general use of dim. of contempt : 
 
 dvOpo^iTdpLov PL 416, spoken by Poverty to those who would 
 restore to Plutus his sight, expresses contempt mixed with pity. 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 27 
 
 It is found again in Arrian but nowhere else, while dvOpwiriov and 
 dvOpcoTrLaKd are common in the contemptuous sense (eV^ Kara- 
 <^pov}]a€03^ A. G. B. 14, 14). Cf. homunculus Plant. Capt. 51, 
 Rud. 155, etc. Both here and in dvSpdpiov Ach. 517 the dim. 
 suffix -dpiov is used, which, as shown above, p. 11, was compara- 
 tively rare in classic times and entered into the speech of the lower 
 classes rather than that of the more cultured circles of society. 
 
 dvhpdpiov Ach. 517 repeats dvhpe^ of 515 and shows by its dim. 
 ending the aversion Dicaeopolis feels for the informers, whom he 
 holds partly responsible for the outbreak of the war. Barring 
 Meineke's conj. dvhpapioL^; for dvOpcoiroi^ in Vesp. 1029, cf. Pac. 
 751, this word does not occur in the literature again until the time 
 of Synesius. yvvaiKaptov is found without context in Diocl. 11, 
 cf. 2 Tim. 3, 6 ; yvvatov with a contemptuous force is common. 
 
 /jL€tpaKv\\cov in Ran. 89 (cf. Eupol. 100) ridicules the tragic 
 poets of the day. Cf. Naev. ap. Cic. Cat. Mai. 7, 20 : 
 
 Proveniebant oraiores novi^ stulti adulescentuli. 
 
 There is contempt also in dyevecov fieipanvWiov Epicrat. 5 (cf. 
 Cic. Dom. 14, 37) and in Tpt/3aWo7ro7rav60p€7rTa fieipaKyWia 
 Eubul. 75. 
 
 Upia/jLvWiov and UpiapcWvSpiov Kock dSeair. 1373, Lorenz 
 Epicharm. dSrjX. 114, S. 289, are cited as examples of comic dim- 
 inutives by the schol. Dionys. Thrac. A. G. B. 856, 1 : 6 vttoko- 
 pi(T/jio<; Xap^dverai rov yeXoiov ^dptv, &)? to Hpia/ivXXLOV 6 
 TlpiaiMo^, and in Cram. Anecd. Oxon. 4, 254 : yiverat Se rd 
 viroKopiaTLKa Bed yeXoloVj w? re irapd 'ETTti^ap/xco YlpLap^iXXv- 
 Bptov, 
 
 BolotlScov Ach. 872. In a jovial, sportive way Dicaeopolis 
 thus addresses his ^ little bread-eating Boeotian.' 
 
 Aa/u-axiTTTrLov Ach. 1207. The poor man Lamachus is raised 
 to the nobility by the addition of the aristocratic name-element 
 -tTTTTo? (cf. Nub. 63-4), only to be degraded at the next moment 
 by the familiar dim. suffix -covj and so made ridiculous. ; 
 
 A few scattered instances of dim. of contempt in Latin : 
 
 PraedonuluSy coined byCato ap. Fest, 242 M. for the comic 
 effect. 
 
28 Comic Terminations in Aristophanes and the Comic Fragments, 
 
 Lacrimula, Laterensis ap. Cic. Plauc. 31, 76, ^ your little tear/ 
 'your crocodile tear,' is ironical and depreciatory. 
 
 Fulchelhis, Cic. Att. 1, 16, 10; 2, 1, 4; 2, 18, 3; 2, 22, 1. 
 Clodiu< Piilcher with his girlish face had no claims to beauty, cf. 
 Cic. In Clod, et Cur. fr. 5, 4 K. The irony in the dim. is bitter. 
 Nor is Se r (J iol us ' darVm^ little Sergius,' Juv. 6, 105, likely to wiu 
 
 one's love. 
 
 Acriculus Cic. Tusc. 3, 17, 38, is a comic dim. adj. applied to 
 the excitable and etlervescent old Zeno, the Epicurean philosopher. 
 
 In Catull. 25 the dim. niedullula, iniuluSy moUicellus (all ciira^ 
 elp.\ and oriclUa and latusculicm ridicule the effeminacy of Thal- 
 lus; and the comic dim. ernditulus, aira^ elp,, refers to the same 
 womanish qualities of the two shameless creatures ("a dainty pair 
 pedantic,'' Ellis) in Catull. 57. 
 
 Beatulus Pers. 3, 103 ''our sainted friend" (Gildersleeve). 
 Hypocorismos derisum significat, says the scholiast. 
 
 Metre. 
 
 How^ far the metre has caused the use of the diminutive rather 
 than the primary form of a word or vice versa, will always be 
 difficult to determine. As one examines and attempts to explain 
 the diminutives in Aristophanes, he feels more and more inclined 
 to the belief that in passages where no good reason for their use 
 can be assigned, the metre is to some extent responsible. This is 
 especially true of those words whose dim. force was gradually worn 
 away by their frequent occurrence in the daily speech, and so they 
 became practically equal to their primary forms, except in so far 
 as dim. always retained their familiar character. To say that in 
 such cases Aristophanes was influenced by the metre in his choice 
 of word<, is not to say that he was a slave to metre, as he certainly 
 was not. Two forms, not essentially different, were at his disposal, 
 the dim. and the primary form ; both were in good use among 
 the people, one was characteristic of the popular speech. It was 
 natural that he should choose the one best suited to the require- 
 ments of the verse. This was sometimes the one and sometimes 
 the other. No poetical genius, however great, could contrive to 
 use a form that it was impossible to fit into the verse. Still, in 
 
 V 
 
 Comic Terminations in Aristopjhanes and the ( bmic Fragments. 29 
 
 every ir stance in which metrical influence is suspected, we must 
 not fail to consider the possibility that the poet originally intended 
 to use the very form that was employed ; we cannot enter into the 
 poet's brain, nor can we always say positively what was his frame 
 of mind and what his feelings were when he wrote the one form in 
 preference to the other. In general, however, it may be said that 
 dim. were more suitable to the rapid metres of comedy, because 
 their short syllables furnished resolutions of the metrical feet. 
 
 It is to the end of the line, more than to any other place, that 
 one looks for metrical influence. Nearly one third of the dim. of 
 Aristophanes are to be found here. This is largely due to the 
 fact that the dim. in most cases furnished a good verse-close, and 
 hence, where convenient, it was reserved for that place. Thus 
 TraiSlop is found altogether 42 times in Aristophanes, and in 31 of 
 these instances it comes at the end of the line ; 5 out of the 6 cases 
 of KcoSiov in Aristophanes, and 5 out of 7 examples of dpyvplSiov 
 in Aristophanes and the comic fragments have this position. But 
 it is also possible that the suitableness of the dim. to this part of 
 ' the verse and its frequent occurrence in this position induced the 
 poet to use it at the end of the line at times when he w^ould proba- 
 bly have employed the primary form if the word was to be used 
 in any other part of the verse. This at any rate seems to be the 
 most natural explanation of Charon's kcottlo) in Ran. 269, when 
 compared with his kcotttjv in 197, cf. 199. So 6vptov in PI. 1098 
 may be compared with 6vpa in 1097 and 1101. It is true that 
 KOTTTetv rr)v Ovpav was the common expression for knocking at the 
 door, and some may hold that KaOlteiv iirt kcotttjv also was proba- 
 bly a well-known formula. Be this as it may, when the primary 
 word has just been used, it is most natural to expect that a refer- 
 ence to it would be made by means of the same word and not 
 the dim. 
 
 On the other hand, when the dim. is not suited to the end of 
 the verse, while the primary form has the proper combination of 
 longs and shorts for the verse-close, the latter is, of course^ the 
 form employed. Thus \i]kv6o<^ occurs 15 times in Aristophanes, 
 and in 13 of these instances (Av. 1589, Ran. 1214, 1216, 1224, 
 1227, 1231, 1234, Eccl. 538, 744, 996, 1032, 1111, PI. 810) it 
 comes at the end of an iambic trimeter. The dim. XtjkvOiov is not 
 
30 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 found outside of the Xt^kvOlov a'wwXeaev scene in the Frogs. Here 
 we expect the dim. in 1216, 1224, 1227, 1231 and 1234, since the 
 question is about Aeschylus' inevitable XrjK^eiov airc^Xedev, but in 
 each case we have XiJKveo^ at the end of the line (iamb. trim.). 
 This seems to indicate that in these two words little difference was 
 felt between the force of tlie dim. and that of the primary word ; 
 and further, the use of the primary form at the end of the verse on 
 account of its suitableness to the metre, when the dim. is expected, 
 gives us an additional reason for believing that in other places the 
 opposite is true, viz. that the use of the dim. at the end of the line 
 is sometimes due simply to the requirements of the metre. 
 
 OdXriKlov is as little used in Aristophanes as Xi^icvOXov and for 
 the same reason. It occurs only twice : once in Ionic rhythm, 
 Yesp. 314, and in Ran. 1203 it is purposely used at the end of an 
 iambic trimeter, in order to make the unusual anapaest in the sixth 
 foot. OvXaKo^, found 7 times in Aristophanes, is better adapted to 
 iambic and trochaic metres, and comes at the end of the line in 
 Yesp. 1088 (catal. troch.), Eccl. 382, 820, PI. 763. Similarly 
 e^l^cihiov occnrs but 3 times in Aristophanes, while e>/3a9 is very 
 common (16 exx.). In most of the instances of the latter the 
 metre would not allow efx^dhiov to be substituted, and in the few 
 remaining passages it favors 6>/3a9 decidedly. In Eq. 870 and 
 872 the dim., if used instead of the primary form, would give an 
 anapaest in the second and fourth feet of the iambic tetrameter. 
 These resolutions are exceedingly rare ; there is no example of the 
 latter in the Knights,^ and the only instance of an anapaest in the 
 second foot of an iamb, tetram. in the same play is in the word 
 aTTo^avSaXm? Eq. 415, 416. In iambic systems in the Knights 
 there are two examples, viz. 374, 445. Of these 374 falls away 
 if we accept Bentley's emendation. 
 
 The dim. of Xi^kvOo^, OvXaKo^ and e>/9a9 are excluded from the 
 end of the verse, and are rare in Aristophanes in comparison with 
 the primarv forms, because the latter are better adapted to iambic 
 and trochaic rhythms. On the contrary, rpi^^ov in its oblique 
 
 1 This and similar statements are based upon a scansion of the verses of the 
 Knights made by Dr. C. W. E. Miller, to whom I am much indebted for the 
 loan of his manuscript. 
 
 Comic Terminations in Aristophanes and the (omic Fragments. 31 
 
 cases is not suited to the end of an iambic line, while rpt/BcovLov 
 gives a very good verse-close. With one exception, PI. 842, the 
 dim. of this word always comes at the end (cf. Yesp. 33, 117, PL 
 714, 882, 897, 935), and the primary form always in the middle 
 (Ach. 184, 343, Yesp. 1131, 1312, Eccl. 850), of iambic trimeter. 
 If we compare irac irathiov at the end of the line in Nub. 132 with 
 the regular formula as shown at the beginning of the verse in Ach. 
 395, 1097, 1098, 1118, 1119, A v. 57, Ran. 464, and in Yesp. 1307, 
 and also with iral, tj/jll, ttol irac in Nub. 1145, it becomes evident 
 that the position of iraLhiov was the catise of the use of the dim. 
 form, when we recall the fitness and frequency of iraihiov in this 
 place. Editors wrongly compare Nub. 80 and Ach. 404 where the 
 speakers are full of eagerness, but in Nub. 132 Strepsiades hesi- 
 tates. The dim. TratSiov is used purposely in Ran. 37 (cf. Nub. 
 1145) to make a contrast to the large size of Heracles, who, to 
 Dionysus' surprise, is acting as his own Ovpcopo^. If again we 
 examine the following passages in which dim. at the end of the 
 line are coupled with primary forms in the middle, and compare 
 OpavLOv Ran. 121 with kclXw^ and Oveia 124, Oveihtov PI. 710 with 
 Oveia 719, kl^cotcov PI. 711 with SolBv^, and rpt/Scopiov Yesp. 33 
 with /SaKTrjpla^ it is a fair inference that their place at the end of 
 the line is to some extent responsible for the diminutives. 
 
 Consider, in conclusion, a few examples of the influence of the 
 metre on the choice of words in other parts of the verse. TrepiKo/jL- 
 /liiTLov fits well into the anapaestic metre of Eq. 770, just as 
 TrepLKo/i/ia suits the iambic system in Eq. 372. Both are used by 
 the Satisage-seller. If they exchanged places, Trepcfco/jL/jLaatv would 
 give an impossible iamb in the fourth foot of 770, and Tre pi/co/jLfidrt' 
 would put an anapaest in the second foot in a system of iambic 
 dimeters, of which 1. 445 is the only example in the Knights. In 
 iambic trimeter, however, this is readily allowed, cf. irepiKOfi/jLaTLcp 
 in Athenio fr. 1, vs. 31. Though it is possible that the dim. 
 lo-^f^hLa PI. 798 was intended to convey contempt, yet it undoubt- 
 edly fits the metre better than la')(aha^ would (cf. laxd^(j^v ^^^)i 
 and furthermore makes a jingle with TpcoydXta. In Av. 615 
 TrptvLSiotf; is coupled with OdfjivoL^ ; irpivoL^ would correspond with 
 it better but does not suit the anapaestic verse nearly so well as 
 the dim. does. After ^evydptov A v. 582 one might expect to find 
 
 i 
 
32 ( omic Terminations in Aristophanes and the Comic Frar/ments. 
 
 m-po^drtovy but TMv Trpo/BaTLcov could not be gotten into the verse ; 
 on the other hand ^evyaplcoi' and /BoiSaplo) 585 are very well 
 adapted to the anapaestic metre. In the same way dfiTreXia and 
 KrvKihia suit the paeouic rhythm of Pac. 5U7-8 (of, 557, 575) 
 admirably. A rope rather than a cord {KoXcphiov Vesp. 379) is 
 needed to support the body of our friend Philocleon (cf. Ran. 121), 
 and yet rov kciXcov does not fit into the verse. 
 
 These examples indicate that the reason for the use of the dim. 
 is often to be found in the metre, and that, especially in the case 
 of familiar objects of daily life, the choice between the dim. and 
 the primary form was frequently determined by the kind of verse, 
 that iorm being selected which best suited the metre, provided it 
 did not do violence to the meaning intended. 
 
 CHARACTER NA:MES. 
 
 The Greeks' love of nicknames is remarkable. Physical pecu- 
 liarities and deformities, daily occupations, traits of mind and 
 character are all the sources of the names which they applied to 
 one another. Their bright, quick intellects at once seized upon 
 anything faulty or ridiculous, or any striking characteristic of a 
 man, and derived from it a nickname with which to banter him, 
 cf. Auaxandr. 34 and Ar. Av. 1291 sqq. (v. Kock). There was 
 much fun in this and the comic poets indulged in it freely, so that 
 an ancient treatise on comedy (Tzetzes, Proem, in Ar., Philol. 46, 
 10) speaks of the addition of a nickname to a proper name as the 
 fourth kind of comic diction. In order to give these epithets the 
 appearance of real names, the comic poets and others who invented 
 them emploved the usual name-forming suffixes that were added 
 to the shortened forms of proper names, chiefly -cov, -Uov, -co, /a?, 
 -a? and -af— endings that were felt to be material set aside spe- 
 cificallv for use in name- formation. Similar character names in 
 English, e. g. Shorty, Fatty, Reddy, show a preference for the 
 termination -y. Since these names point out and hold up to view 
 a man's defects and shortcomings as well as the qualities that he 
 has in excess, the eifect they ])roduce is ridicule, and consequently 
 the suffixes acquired a derisory or contemi)tuous force. Now, 
 diminutives likewise have this force at times, and so the two 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 33 
 
 classes of words were confused, especially since both were, in a 
 sense, pet-names (Kosenamen) and belonged to the familiar inter- 
 course of daily life. Scholiasts and grammarians frequently show 
 by their remarks that they regarded character names as diminu- 
 tives. See in particular A. G. B. 856, 30 sqq. While the gulf 
 between the two is not impassable, yet it must be noted that the 
 fundamental idea in all dim. viz. that of smallness, is absent in 
 character names, that the sets of suffixes used in the two cases are 
 in the main different, and, most striking of all, that while dim. 
 have about the same meaning as their primitives, the great majority 
 of character names differ in signification from the words from 
 which they are derived, cf. yda-rpwv from yaaryjp. 
 
 'Ci)V 
 
 By the side of adjectives in -o- stand substantives in -wv- 
 (nomina agentis) denoting a person who possesses the quality in 
 question in an unusual degree, e. g. arpafSoi; {crrpecj^ci)) ' squint- 
 ing,' aTpdjBcov ' squinter.' The adj. is of general application, the 
 subst. has a special use in that it is limited to those individuals 
 who have this particular characteristic (Osthoff, I. G. Forsch. 2, 
 36 sqq.). Hence words in -cav- with their substantive nature and 
 individualizing force are well adapted for use as nicknames, and 
 nicknames belong chiefly to the sermo vulgaris. The termination 
 became very productive later, especially in Latin, being added to 
 both nominal and verbal stems. As a name-forming suffix, attached 
 to the shortened forms of proper names, it is extremely common, 
 cf. Pape, Worterbuch d. griech. Eigennamen, S. xx, and Fick, 
 Griech. Personennam. S. xxiii sq. 
 
 yXvKcov Eccl. 985 * my sweet.' For the irony cf. jXvkv^ in 
 Plat. Hipp. Mai. 288 B, and Ruhnken, Lex. Tim. s. v. rjBv^ on 
 p. 111. 
 
 y\i(jXP(*yv Pac. 193 'greedy-gut,' cf. yXiaxpo^ 1. 482. 
 
 (TTpd/3(ov aSeo-TT. 334, quotcd by Poll. 2, 51 from New Comedy as 
 opposed to the common form arpajSof;. 
 
 Kvprcop ' hunchback,' from Kvpro^ ^ curved,' is a name that 
 the witty old Cynic philosopher Crates applied to himself in an 
 epigr. ap. Diog. L. 6, 92. Menand. 117 refers to him. 
 
34 (omic Terminations in Aristophanes and the Comic Fragments. 
 
 ry\dfx(ov Ran. 588 (cf. Lysias 14, 25), Eccl. 254, 398, Eupol. 9, 
 by the side of yXafx-vpo^ ^blear-eyed,' from yXafxdo), cf. \7]/jidco, 
 Xyj/uLJ], 
 
 KavOcov Vesp. 179 is the individualizing substantiv^e as com- 
 pared with the adj. KavO-i]\io<;.^ KcivO-apo^ ^beetle' is also de- 
 rived from the same root kandh 'bend,' 'curve,' cf. Prelhvitz. 
 This makes the word-play easier when in Pac. 82 Aristo])hanes 
 substitutes kcivOcov for KcivOape^ as if it were a nickname for the 
 beetle. But kcwOwv is pro})erly used o^" a pack-ass, cf. Eust. 1625, 
 40 and schol. Pac. 82, and no instance is found in which it is 
 applied to a beetle. The similarity of KcivOapo^ and kuvBwv^ Try- 
 gaeus' use of the beetle as a beast of burden, and the popular notion 
 that the dung-beetle sprung ex asinino stercore, must have connected 
 the two words closely in the minds of Aristophanes' hearers. 
 
 afcircov (= daOevT^^;' d^Lo^ ovhevo^ Phot.) Pherecr. 232, a word 
 of uncertain origin, probably belongs here. Cf. ^Kir-aXoi Eq. 634. 
 
 ydaTp(i)i> Ran. 200 ' pot-belly,' less dignified than yaarpcoSyj^; 
 Pint. 560. From yaa-r/jp, as <f)vaKOiv from (j>vaKrj. Diog. L. 1, 81 
 reports that Alcaeus called Pittacus (^vaKoyva Ka\ ydarpayva, on 
 iraxv^ ^V- Ptolemy VII also was named ^^vaKwv (Polyb. 34. 14 ; 
 Pint. Coriol. 11). Tdarpwv is the name of a play of Autiphanes, 
 and occurs as a character name in Herondas 5. Similar nicknames 
 are kotvXoov (fr. fcorvXri) 'tippler,' and yvddcov {ovBep dXXo o)v 
 T) yvddo^, cf. yvdOov hovXo^ Eur. fr. 282, 5 N.) a common name 
 for a parasite in New Comedy, cf. Ter. Eun. 
 
 TToaOwv Pac. 1300, ^fenand. 480. The name is due to the large 
 size of the ttoo-Otj, v. Nub. 1014 with schol. Lucian borrowed it 
 from comedy in Lex. 12 TredjBrj Kal iroaOwva, In like manner 
 from adOr) comes adOajv Teleclid. 65 (= vTroKopca/jua TraiSliov 
 dppevcDv Phot.), a name given to Plato by Antistheues, according 
 to Ath. 220 e. dvhpoadOm' aSfo-T. 932 is explained as fieydXa 
 evwi' alhola and dvSpos' alSola exwv in A. G. B. 394, 5 cf. 1. 27, 
 Hesych. and Suid. Ky]Xoiv Cratin. 321, from kyjXov,^ is used of 
 the lustful god Pan. KrjXcov Xeyerai 6 Oep/xoi; et? avvovaiav Etym. 
 
 1 Vid. Schol. Plat. Symp. 221 E. 
 
 2 Prellwitz sugjjests a derivation that separates Ki]\wv 'swing-beam' from 
 Ki)\o:v 'stallion,' connecting the latter with O. H. G. skelo, M. H. G. schellec, 
 schtrl, Lettic schktlis. 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 35 
 
 M. 510, 51. Of the same kind are yfrcoXcov (from yjrcoXr], cf. yjr(oX6<;)y 
 fivprcov (fivpTov), adpcov (aalpco), crpiophwv {afiophovv = coire, cf. 
 Hesych.), ypdacov [ypdao^), irophcov {irophi]), k. t. X. 
 
 ariycov Ar. fr. 97 (irom ariXw, cf. arcyfiarla^), iriScov Id. fr. 837 
 (from TTeSr], cf. TreS/jTrj^), TpiTreSwp (v. Mein. 2, 974), oylrcTreScov 
 Menand. 1049, and Kevrpojv' Ar. Nub. 450 (Kevrpov) atflagrio, 
 restioj verbero, are all names of slaves, derived from punishments 
 inflicted on them. 
 
 The following nicknames were coined to serve as proper names : 
 
 Kavacov Cratin. 349 was coined by Cratinus (Hesych.), perhaps 
 in the proverb y:a6aa)p NavKpdrT] 'tit for tat' (Suid.). It is 
 borrowed in Eq. 1309 (Mein.). 
 
 'Jx^^^^ Teleclid. 8. " Nomen a poeta fictum, fortasse ut tempus 
 fabulae significaret paullo post diluviem Deucalioneam cogitandum 
 esse." Kock. 
 
 "Oylrcov Alex. 97. The name shows the character of its possessor, 
 who is one of rcov exovrwv ovoixara oyjrwv Kal cnriwv, 
 
 iS.ovXoiv dSeo-TT. 74. The musician Philoxenos of Cythera was 
 so named after he became a slave. 
 
 Kep^iov, Lucrio, in the expression KepBcou ya/xet (dSeaTr. 761). 
 V. Herond. 6 and 7. 
 
 UXovTcov Pint. 727. If the text is sound (v. conjj. Mein. Vels. 
 Hold.), the god of riches, elsewhere Plutus, is here called 'Sir 
 Croesus.' ^ This manner of speaking suits Cario's character and 
 previous conversation. The scholiast supports this passage with 
 two fragments (251, 261 N.) from Sophocles' satyr (?)-drama 
 Inachus, in which UXovrcov is used for nXoOro?. 
 
 For character names in -o -onis in Latin, see Osthoff 1. c. S. 
 58 sqq. and the literature given by Stolz, Histor. Gram. d. lat. 
 Spr. I^, 491 sq. including Fisch, Die lat. nora. pers. auf. -o -onis. 
 
 •LdV 
 
 Words in -Icov- bear the same relation to stems in -co- that sub- 
 stantives in -COP- bear to adjj. in -o-. Just as in the epos the indi- 
 
 ^ Found also in Soph. fr. 306 N.^: fxaa-nylai, Kcvrpccvcs, aWorpiocpdyoL. 
 
 ^ For the contrary change of U\ovrwv to IWovtos, cf. Fritzsche on Thesm. 299. 
 " Quod si tamen aliquando hi dei temere inter se misceri videntur, jocandi con- 
 silium satis manifestum est." Fr. 
 
' f**^ 
 
 36 Comic Teiminations in Aristophanes and the Comic Fragments, 
 
 vidualizing -cov at first united with adjj. in -to? Ui^ed patronymically 
 (cf. TeXa^coi'to? Ai'a?) to make the patronymic ending -icov (Ost- 
 hotf, 1. c. S. 49 sq.), and then -ccop afterward became an independent 
 patr. suffix, so in the language of daily life and of comedy words 
 in -c(s)v arose for the most part from diminutives in -lov and the 
 personal suffix -cov (Fick u. Becht., Gr. Pers. S. 319). Later it 
 was added as an independent suffix, mostly deribive, and so it must 
 be regarded in the case of the following three names that are 
 derived from adjectives. 
 
 'ArrcKicov Pac. 214 *' master Attic " (Rogers). axcoTrrei to 
 v7r€pr](f>avov roiv WOrjvaiwv (schol.). Lucian Lex. 3 calls a slave 
 WrriKtcova in order to ridicule his affected Atticism. 
 
 jjLaXaKtoiv Eccl. 1058 has a caressing effect ; the stem ^aXaicQ^ 
 means ' faint-heart,' cf Xen. Hell. 4, 5, IG ; Thuc. 6, 13, 1. 
 
 heCKaicpiwv Pac. 193, Av. 143, cf. SeiXuKpa Pint. 973. SecXa- 
 Kpicov =^ ctKpa)^ 8€i\6<;, SetXoTarof;, KaKoSaL/jLOveaTaro^ (schol., 
 Suid.). 
 
 The following coined names show the character or occupation 
 of those who bear them : 
 
 ^Epyaaicov Vesp. 1201, from epyovy name of a farmer; KopaKicov 
 Archipp. 27 (Kopa^ and KopaKlvo^ = kind of fish) a fisherman ; 
 UaTavicov Philet. 15 (Trara^r; = dish) a cook; Kco^twv {k(o/3i6^ 
 = gudgeon) and Kvprj^icov (Kvprj^ia = ra airoKaOdpfxaia rov 
 aiTov Ulpian, cf. Etym. M. s. v.) Alex. 168, and Aayvvtcov Ath. 
 584 f. {Xdyvvo<; = flask), parasites. 
 
 Callias the comic poet was called ^^ocviwv {axotPo<; = rush- 
 rope) on account of the trade of his father, who was a a-^^ocvo- 
 irXoKOf; (Suid.). Cf. restio. From Cratin. 324c, Bergk Comm. 
 115-6 (cf. Mein. 1, 213) supposed that he received the name from 
 Cratinus. 
 
 'E/x/3a8/a)t' Eccl. 633, conj. of Heinsius for efx^aK e^ft^v of K, 
 indicates one who wears efi^aSa^ (v. Isae. 5. 11 ; Ar. Plut. 759, 
 Vesp. 447), or one who makes them (Hotib.). Cf. 'E/x/3a8a9, 
 schol. Plat. Apol. 18 B. 
 
 'A\?;^fW Lucian Piscat. 19 'Sir Truthful.' Lucian names him- 
 self Ilapp7)aLdBT)^ \W7}6:q)vo^ tov ^^iXey^cKXeovf;, 
 
 For Latin see Osthoff, Stolz and others, as above. 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 37 
 
 .. 
 
 ii 
 
 ■CO 
 
 The Greeks were very fond of -w as a feminine suffix added to 
 the shortened form of proper names. See exx. in Pape, S. xx, and 
 Fick, S. xxii sq. On the analogy of such names of goddesses as 
 'lao-w, Aufw, Bpt/Aw, Aofw, Tiepil^aa^, k, t. \. the new goddesses 
 Awpw/ Aefw,^ and 'Efi(3Xd) were coined by the comic poet, per- 
 haps Cratinus in every case. 
 
 Acopoi aufcoiriSiXe Cratin. 69, quoted in Ar. Eq. 529, is the 
 beginning of a song in the EvvelSac of Cratinus (schol.), and a 
 parody on an old poem (Hesych.), which may have begun with 
 the invocation "Hpa xpi^^oT^eSae (Kock), cf Hes. Th. 454, 952 ; 
 Odys. 11, 604. In calling on Awpw ("the fair Araphibribe," 
 Frere) avKoiriStXe {' fig-sandalled one ') Cratinus' purpose was to 
 attack the evils of ScopoBoKia and avK0(l}avTia. 
 
 Aefw Cratin. 401, also a goddess of bribery. 6 KpaTcvo^; 
 a)vofjiaT07roL7]a€v diro rov Sex^adat S(bpa Hesych. See Bergk 
 Comm. 255. Awpw (active) = Bonona, Aefw (passive) == Accipitra 
 
 (Mein.). 
 
 'E/zyS\w, a name similar to Aa)/3w and Aefw, is preserved by 
 Hesych. : ^Efi/SXo)' ireTrXaarat irapd to i/jL/SXeTrecv, ox? y) Acopd) 
 Kal Aefw. On account of this derivation Bergk Comm. 69 con- 
 jectured 'E/x/3\e7rw, while Lobeck Proleg. 36 n. 36 on the contrary 
 preferred to keep 'Ep^/SXay and correct the explanation of Hesych. 
 by changing ip.^XeireLv to i/jL^Xrivat, because the word used by 
 those taking bribes was €fi/3aXe, cf efi^aXe KvXXfj Ar. Eq. 1083 
 and schol. The latter view makes 'E/i^w similar in meaning- 
 it was already similar in form — to Acopco and Aefw with which 
 Hesych. compares it. Bergk assigns it to Cratinus. 
 
 Masculines in -t? do not as a class belong to comedy. It is true 
 that -69 is a name-forming suffix,^ that there are many proper 
 
 ^ Found also in C. I. G. 7460 and C. I. G. Graec. Septentr. 1, no. 1581. 
 ''C. I. A. 2, no. 984, col. 1, line 11. 
 
 3 For its possible derivation from -los, see Fick u. Becht. S. 24, and comp. 
 Fick^ S. xxvii, Pape S. xviii. 
 
 3 
 
38 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 names in -69, and that appellatives ' arc formed on this analogy, 
 but they are by no means confined to comedy. Aeschylus alone 
 has ry{jvvL^, aivL^, <TT6fjLc,, Tp^x^^, aud Soph, and Eur. use about 
 the same number. Others are found in Find, and Theogn. II 
 Poll. 6, 130 says that ^Tp6(/)f9 (Nub. 450) is avnupv^; Kcofiifcov, 
 and in 3, 136 that Trra/c^? {dSea-rr. 1127) is a4>6Spa K(0fiiK6v, this, 
 as Lobeck points out, is on account of the bad signification of the 
 words themselves and not because of any comic force in the termi- 
 nation. He might have said the same of ydarpL^; and ovoydarpi^. 
 
 The suffix -ta? is common from classic times on as a formative 
 element in proper names and character names. It seems to have 
 grown out of the old suffix -to9, largely upon Greek soil,- ^the 
 change to the longer a being accompanied by a si^ecialization ^ of 
 meaning (cf. -tov, -Icov), which limited its application to persons 
 who had some quality in excess. This fitted it for use in proper 
 names and terms of reproach. The frequency of -la? attests the 
 readiness with which the Greeks turned to this ending in preference 
 to others in making character names. Since they gave names to 
 various objects around them as well as to persons, the personal 
 suffix -ia9 by an extension of use was added to the names of 
 animals, winds, wines,^ etc. also ; and so it came to have a free 
 and wide use, but it always retained to a greater or less degree its 
 function as a name-forming suffix. This preference for it brought 
 it into new spheres of literature, e. g. eKTo^iia^, eri\vhpia<=: Hdt., 
 rrravaavia. Soph., rpavp^aria. Find., but for the most part these 
 forms belong to comedy^ because of their mockmg character. 
 Note the common words fiaanyta^ and (TTLyfiarla^ with their 
 cpds. SfjLOfMaariyias Ran. 756 and y}revBocTTLyfMaTLa,. The examples 
 cited occur chiefly in Aristophanes, Cratinus and late writers. 
 
 j3ahc<7fiaT[a^, coined by Cratinus (fr. 392), cf. ^aScarv^, is pre- 
 served by Foil. 3, 92 who quotes it by the side of Aristophanes' 
 
 1 Curt. Stud. 9, 176 sq. ' Fick u. Becht. S. 25. 
 
 3 Curtius, Grundz. d. gr. Etym.* S. 628, Osthofi" 2, 63 sqq. 
 * Curt. Stud. 9, 183 sq. ' ^ei"- 4, 639. 
 
 ( bmic Terminations in Aristophanes and the Comic Fragments. 39 
 
 fiaSLarcKo^ ' walkist.' Cf. (TO(f)L(TfiaTia<; ' sophist ' and others 
 similarly formed from abstracts in -yLta, in Curt. Stud. 9, 183. 
 
 7rtcr(roKcovia<;''Aprj^ Cratin. 364, a conj. of Bergk Comm. 255 
 for TTLo-o-oKovia^ {gen.?)" Apr]v, is war that results in the torture 
 of being pitched and burned alive. If the reading is correct, 
 Kock thinks that this coinage of Cratinus is aimed at Trtao-oKO). 
 vrjTo^ TTvp of Aeschylus fr. 118 Nl 
 
 TTcoyaivia^ Cratin. 439 = Trcoycovo^ v'7ro7rtfi7r\dfi€vo<; Foil. 2, 10, 
 or evTTwycov, SaavTrcoyov Foil. 2, 88. Cf. Trcoyoovialo^. 
 
 o-xt^la^ Cratin. 447 = ' thin as a lath (<T;3^tfa),' ' lathy,' 6 
 reravo^ kuI Igxvo^ Fhot. axi'C,o-uhy]<^ would be parallel in 
 meaning. 
 
 e>ia9 Eupol. 412 (= o ifieTLKo^ 77 evefxr)^ Eust. 996, 39) is used 
 iirl TOV Kaico(f)(ovov which Nauck ap. Mein. ed. min., p. x, explains 
 as one '^qui non pronuntiet verba sed eructet et vomat." 
 
 airoyyia^ Ar. fr. 856, cf. Mein. 4, 647, ' one who uses sponges 
 to excess.' 
 
 Animals, winds, wines, etc. personified : 
 
 6po(f>[a^ is a kind of snake that lived under the roofs {6po(f)7]) 
 of houses, cf. Eust. 1448, 63, Hesych. s. v.. Poll. 7, 120. In 
 Vesp. 206 the name is transferred to the rafter-haunting heliast 
 Fhilocleon. Merry translates '' roofster." Cf. v7ra)p6(j)to<;, opo- 
 <j)tatoii, 6po(f)iK6(;. 
 
 KOTTTraTLa^ Nub. 23, 438, fr. 42 {= K07nra4)6po<^ Luc. Indoct. 
 5), a horse branded with Koirira. 
 
 (JvKo<^avTia<^ Eq. 437. For names of winds in .id^ see Blom- 
 field Aesch. Cho. p. 201. In the nautical language of Eq. 430- 
 41 Aristophanes introduces after the wind KaiKia^ (ENE) a new 
 one of his own invention GvKocf)avTLa<;, thereby alluding irpo^ ttjv 
 avKoc^avriav Kal KaKiav of Cleon. opvcdla^ is not a coined name 
 in Ach. 877 (v. Dind. et al.). opviOlai dve/iot are spring-winds 
 that brought the birds of passage (Arist. Meteor. 2, 5, 10; Mund. 
 4, 15 ; Hipp. 1236 B) ; x^^/^^^ opinOia^ in Ach. 877 is more, it is 
 a veritable tempest of birds, " fowl-weather " (Walsh). 
 
 craTTpia? Hermipp. 82. Elsewhere mellow wine is always (Jairpo^. 
 Here the suffix -la?, so common in names of wines, is added. 
 
 (TTTjfiovLa^ Cratin. 353, in place of (TTr]fi6vto<;^ is applied to thin, 
 stringy curls. Cf. (tttj^jlcov i^eafievo^ Ar. fr. 728. 
 
40 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 Proper names : 
 
 K«^.m. Vesp. 151, Cratin. 334. Philocleou tries to escape 
 throu.^h the chimney like smoke (Vesp. 144, 140) and hence is 
 called" 'Old Smokv.' The hearer may have thought secondarily 
 of .aTTVo, as a symbol of unsnbstantiality and idle vapor, ngs, and 
 of the ^vine Ka^via, because it was the festival of Diouysi^s. The 
 same name was given to the comic poet Ecphantides by Crat.nus 
 perhaps (Ber^k, p. C7), either on account of his old-iash.oned and 
 obsolete methods {6 ^aXaih, olvo, = Kairvia, schol.), or because 
 of his obscuritv {Bia rh M^kv Xa/xTrphv ypa4>en' Hesych.)- _ 
 
 'Aavvia, Eq. 570 is a proper name used with its etymological 
 
 signification in place of a^.vv7CK6<,. Ar. is iond of playmg on the 
 
 mtaniug of proper names, cf. infra p. 49. See also A'.ea-.a. to. 
 
 TTpco/cTO. Idcraro Ar. fr. 905 C-Uema, avTi rov iarpo, A. U. B. 
 
 371 19), and Beivorepa Seiviov in uSea-n: 559. 
 
 Mvia, Nub. 1162, the well known name, has the meaning 
 
 (= X6C0V ra, ToO Trarpo. avla, schol.) and case-relat.ons (toll. 
 
 by c^en.) of an ordinary appellative, and hence it is so written. 
 
 Teuffel regards it as a parody on a similar use of Xvaaina, in 
 
 tragic poetry, like Sophocles' ^avaav^a, fr. 801 N.^ cf. Bakhuyzen 
 
 ^" The uBia^ora in Kock's Fragmenta contain the following forms 
 
 in -!"? : 
 
 Trpajfiarla^ 894 = o Trpayixara irapex^v. 
 AiXovpayfiaria^ 841 for <}>cXoTrpdy,xw,'. 
 
 yepavia, 970 'Crane Neck.' St^^Oepia, 985, cf. Poll. 4, 1-57, 
 ' Leather Breeches (!).' XeoK.Traria, 1072, Lobeck compares 
 " pigeon-livered." arpovd^a, 592 (^rpou^o^) ' homo libuhnosus 
 Alein. cf. passer in Juvenal. 
 
 irparia^ W^'^ for Trpar^jp or Trparr;? (v. Curt. Stud. 9,^181) is 
 cited by Poll. 7, 8 alongside of ttwXt?*? for ircoXrn/]^ in xVr. Eq. 131, 
 133 140, as belonging to comedy. roX/xvrla^ 1166 (= roXfirjpo^ 
 Pho't.) for ToXMTri^' civacj^aXavrla, 1440 for avact>aXavTO,. 
 
 Kepavvia, 1359 (=6 KeKepavvo^^evo, Hesych.) for KepavvLO, 
 cf Mein. 4, 639, Lobeck Proleg. 498. Kock thinks it possible 
 that Hesych. was explaining Kepawla in Soph. Ant. 1139, and 
 hence doubts the form in -U'l^. 
 
 Note in addition ^vvaiKia^, KOirpla^, rrKorla^, rapa^ia^, reparian. 
 
 4 ^ ^ 
 
 C 
 
 Comic lerminations in Aristophanes and the Comic Fragments, 41 
 
 - 1 
 
 Tlie old suffix -to9, added to the stems of i)roper names ending 
 in e, gives rise to -eto? ; from this comes -e/a?, as -/a? from -lo^ 
 (Fick). -eia^ changes to -ea?,^ and -ea? is finally contracted to 
 -a? which is the form that ap])ellatives take. Most of these words 
 in -«9 are either vulgar, post-clas.sic or of foreign origin. 
 
 Ap])ellatives are chiefly low and scurrilous nicknames,^ found 
 in the conversation of only the meaner sort of people, cf. ^^cr^?. 
 
 (baya^ Cratin. 451 'hog,' cf. ci>ay6^, cf^dycop. Hdn. 1, 51, 8 L. : 
 eiTL aK(OfMfiaT0<; raaaofjieva (jiayd<; Kal tcaTac^aya^. 
 
 Karacf^aya^ Myrtil. 4, Menand. 424. (f^aya^ means one who eats to 
 excess. This meaning does not admit of being strengthened further, 
 and it is useless to try to add to its force by strengthening with 
 Kard the verb (^ayelv from which it is derived. Consequently, 
 Pnrynichus, p. 433, condemns Karacfiayd^, while he allows cj^ayd^. 
 See Lobeck's oft-quoted explanation (p. 437) in which he com- 
 pares Latin edax and vorax, as over against coinedax and devorax, 
 which do not occur. Poll. 6, 40 says that KaTa(f)ayd<; is altogether 
 bad {irafxiTovTqpov), even though it is found in Aeschylus (fr. 428 N.^). 
 
 KaTM(f)aya<i Av. 288, 289 is not open to the same objection 
 (Kdrco = down), and one should not confuse it with Kara(t>ayd<;, 
 as Kock does. It seems to be the invented name of a bird (cf. 
 aTTayfi^, eXea?, TrtXe/ca?, iXaad^, ^aaKd^), to which Cleouymus 
 (cf. E(j. 1290-9) is compared on Kdrco vevoov erpayye. 
 
 Kopv^ds Menand. 1003 = o la^ypM^ fcopv^wv Suid. 
 
 aapvd<; ' Cratiu, 337 (from aalvw) = 6 /xwpd? Eust., Phot. Cf. 
 aavviwv, sannio. 
 
 rpeads (= o rpeaa^) in comedy corresponds to epic (J^v^tjXk;, says 
 Eust. 772, 12. Cf. Eust. 1000, 11 : 60ev Kal tk; iv WO^jvatoc^; 
 €7rl SetXla Ka)fi(pSov/j,€vo<; rperrd^; eKaXelro, KaOci Kai ri^ erepo^ 
 Scdppoiav TrdfTxcov yaarpo^, X^^-a? eXiyero. Other words are 
 7reXXd<; {-TTepiaTTdraL iirl aKwp/xaro^ 6v Arcad. 22, cf. 7reXX6<;), 
 
 ^See Theodosiiis ap. A. G. B. 1186, Lobeck Phryn. 433 sqq., Chandler, Greek 
 Accentuation- p. 7 sqq. 
 
 See exx. in Fick^ S. xxxvii sqq. 
 Plebeji sermonis propria blandimenta " Lobeck. " Verba quae in -as termi- 
 nantur hominibus humilibus, abieclis, sordidis conveniunt." Bergk Comm. p. 72. 
 *So Fritzsche and Fick. Mein. and Kock keep adwas. 
 
 2 
 
 3 « 
 
 4 m ^ 
 
42 Comic Terminations in Aristophanes and the Comic Fragments. 
 
 SaKvd^ (ef. 8aKvr]p6^), Xapvyya^ (cf. \apu7709), c^a/c^? (Sia rov^ 
 iirl Tr}<; oyjrecos; (^aKOv^ Suid.), Keparci^ (from /cepa?). 
 
 Shortened forms of proper names with this ending, e. g. Zr)va<^ 
 = 6 Zi)v6ho)po^, ^hjrpch = 6 yi7]Tp6S(Dpo^ (v. A. G. B. 857, 1), 
 were restricted, according to Lobeek Phryn. 434, to the vernacu- 
 lar and i)lebeian speech. BaKxa^ Soph. fr. 613 N." (= BaKX€VTd<; ' 
 schol. Soph. Philoct. 1199) tlien is an exception. From this one 
 may conclude, says Lobeek ^' significationem rerum sordidarum 
 et humilium tunc temporis et loci huic inclinameuto nondum ita 
 inolevisse, ut poetis non aliquando hue descendere liceret." 
 
 Kovpd^ Cratin. 317, Eq. 534. In a parody on Hes. Op. •299 
 Cratinus called Koi'z^o?, the famous harpist and teacher of Socrates, 
 by the contemptuous name Kovva^. This mockery Aristophanes 
 hurls back at Cratinus by comparing him in his old age, not to 
 Kovvoi;, but to Kovvd<;. 
 
 'EyLi/SaSa? Theopomp. Com. 57, a character name of Auytus, the 
 accuser^of Socrates, formed Trapn rcn; e/jilSaSa^. Cf. supra p. 36. 
 
 MT/rpa?, the short form of MrjTpoSrDpo^, is used in Antiph. 220 
 because of its close similarity to fjLijrpav. 
 
 Similar to short names in -a9 are those in -D9 : 
 
 Siovv^ Phryn. Com. 10 is ''a late shortening for ^tovvao^'^ 
 (Fick). Dionysus himself or some efleminate person is here 
 addressed (Mein.), cf Etym. M. 277, 3 : liovd<;' 6 yvvacKla^ kuI 
 irdvOi^Xv^. and Hdn. 2, 859, 29 L. : eari 8e Kal rh Xlovv^ irapa 
 Tot9 KcofMLKoU cttI tov eKXvTOV jaaaofievop. 
 
 Words in -af with long a, like those in -d^, are terms of reproach 
 and vulgar nicknames, and belong to the lowest sphere of the 
 popular language. As compared with forms in -af with short a, 
 e. g. f3M/^a(, \[6a^, Lobeek Proleg. 448 says that the freedom of 
 comic and plebeian speech coined such words as irXovrd^ OaXdfxd^ 
 with a marked difference of vowel-length, cf. Budenz, Das SuiHx 
 -/CO? in Griech. S. 72. There are very few short forms of proper 
 names in -a| (Fick). 
 
 ^ Bergk Comm. 72 says that EaKx^s is for Ba^xo^ as Kovvas for k6vvos, cf. Atoj/Cy 
 for Ak^vuctos. 
 
 *.. 
 
 i 
 
 ^\k 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 43 
 
 irXovra^ {= irXovaio^), from ttXoDto?, was perhaps coined by 
 Eupolis 159 and borrowed from him by Menander 462 (Mein.). 
 o ^' EtrTToXi^o? irXovra^ ireiraiKTai Poll. 3, 109. 
 
 OaXd^a^ Ran. 1074, derived from OdXafio^, is the vulgar form 
 of OaXafilTTj,- or OaXafit6^^ and suits well the tone of the passage 
 (v. Trpoairaphelv). 
 
 ^vpct>d^ Vesp. 673 (from avpcj^o^) "the scum of the populace'^ 
 (Rog.), in place of the usual word avp^iero^. It is the name of a 
 play of Plato Coraicus and occurs also in Luc. Lex 4 Jun 
 Trag. 53. ' ^ ' 
 
 (7To/.0r7f Xub. 1367, conj. Gaisf in fr. 624, from ctt6^<j,o, 'a 
 full mouth,^ is one who uses mouth-filling words, cf. aroficfyaaryj^. 
 When this coarse name is applied to the lofty Aeschylus, Strepsiades 
 grows indignant. 
 
 ^ <TTu7r7r«-f Ar. fr. 696 (arvTTTrv ' hemp '), nickname of the Athe- 
 nian demagogue Eucrates, because he was by trade a arvTrTreco. 
 TrdyXij^, cf Schol. Eq. 129. A low form of name is chosen in 
 order to make his calling seem more humble. Meineke and Kock 
 refer ozyoo-Ti^TTTra^ {aS,a7r. 94) also to Eucrates. 
 
 ^IrlXd^ Ar. fr. 891 = yfrcXh^ Kal Xelo^; (Moer., Hesych.), == yjriXo. 
 K6ppr^^ (Fick). Vulgar name of one who has a bald head or a 
 beardless flice. Cf Xeia^. 
 
 vid^ Nicophon 10 = P€apta^, but is "more comic," Poll. 2, II. 
 
 /iw/zaf KaXodfiai McSa^ (isean. 27) is given as an illustration 
 of the fourth kind of comic diction (v. supra, p. 32). fiwfia^, 
 from fiM/xo^, seems to be equivalent to ^ficDfir^r/]^. 
 ^^ dTTOTTdpSd^ ^B.an. 82. Hesych. has dTroirapSaKa (sic)- tovto 
 el'pr^rat irapd to diroiraphelv. Cf x^'iaKa^ (x«o-^a>), 0Xz^af {(i>Xvoy), 
 trahax (traho). Kock alone keeps diroTrap^aKa, 
 
 (}>6pTd^ ^n.an. 102, derived from (l)6pTo^^ is used in place of 
 0opT7;7O9. Poll. 7, 132: cp6pTaKa^ tJ iraXacd Kw^cp^ia tov^ 
 dx07](j)opoduTa^ e/c toD efiTToplov KaXel. 
 
 i0d)fia^ {i5e<Tn. 966) = ^cofMo-Xdxo^ is to be distinguished from 
 
 (fidad^ (dSe^TTT. 1186) = r7i;/co(/)azyT779 Hesych. Cf (/)aV^?. See 
 Ar. Ach. 726, A v. m, 1694. 
 
 X^^yo.^ (is^o-T. 1195), from x^^^V^ is more suited to comedy 
 {fcwfxcphKdiTepov) than ;^\6i;ao-T7?'9, Poll. 9, 149. Cf. (j>Xva^. 
 
a Comic Ta-minations in Aristophanes and the Comic Fragments. 
 
 foti- Both liters probably derived it fro. son. co,.,c 
 Irce in Greek. Ber,l<, Opnse. 1, 5, com,mes ^op.^-XXaf. Cf. 
 
 ^^Tr;:^::;::^""-St^i:.i:;u^^^^^^^^ 
 
 M^Zau cnve utterance to two words in -a?, n. wuch -.| s 
 
 a ded : ;.>: .e. ...nply to .nal.e a more vulgar w.r : a,,.a .n 
 
 - '^ T-. 89'^ from STmo?, and Trado-^? Acli. <o^ nuui 
 
 .,,„.8-o. ^q- 8^ f- ^'^ ,'3,,^ 64, ,„a see Abrens, Dial. 
 
 o .m for other vubrar forms used by the Megarian. 
 
 p^.? (P^.), ..v.| (.0,). ^..-? i^ f-^-i -'y '" F-i^'-- '' ^^" 
 
 where always 0vvvo<;, v. Eust. 1 720, bU. 
 
 The din,, suffixes also serve as endings of short names of. Fick ', 
 , ' ; On the basis of such na„,es as ^Apl.rvXXa, Kp.rvXXa 
 t "- !"*• „ , , X Aristophanes coined the comic appellative 
 
 4>eivvXXa m Eccl. 935. 1 he yj 11 ^^^ ^^ 
 
 the old woman in answer to oXeOpe {J6i, ti. <puop 1 
 
 '^' '''"'-■ ;. ,„ed o-- a raven in Eq. 1053 only, elsewhere it 
 
 .w:;:Ts:g;:atr: :2Z. .... l. Lobeek Pro,eg 2u 
 
 hoU. that -i-phanes changed .^^^^^^ -/r-rirtolot 
 oracle to KopaKwov, for the comic etiecr 1 
 
 o- n phiracter-nanie (cf. Fick , b. xxxMj iioiu 
 upon KopaKivo'i a^ a cuardnei v 
 
 Kopa^. 
 
 PATRONYMICS. 
 
 lu the tenth book of the Iliad, when Agamemnon in his 
 anxiet or the safety of the Greeks sends Menelaus to summon 
 ;^^^x nd Idomeneus'to the council, he tells hhu to name each 
 Jan by his lineage and his father's name, giving all then dues 
 of honor ' (Lang) : 
 
 ^arpoOev Ik yeve^,, 6vOfi<it<ov Sv^pn eKaarov, 
 
 Comic Terminations in Aristophanes and the Comic Fragments. 45 
 
 The addition of the father's name or that of an ancestor, or, in 
 the case of the better-known characters, the use of the father's 
 name witliout the name of the son, as TuSeo? vie (vs. 159) and 
 TuBelSr] (244) in place of Diomed, brought special honor to a 
 hero in that it called attention to the fame of his house.^ The 
 patronymics, then, that are found in such abundance in the Iliad 
 and Odyssey,^ confer distinction at the same time that they give 
 a more exact designation of the individual. They belong to 
 poetry, and to epic ])oetry ^ in particular, this relation of son to 
 father being expressed in prose by the genitive of the father's 
 name. 
 
 The common patronymic suffix is -8?;9. This is believed to 
 have had originally a very general signification such as belonging 
 to J pertaining to; compare the patronymic adjectives in -lo<; among 
 the Aeolians, Boeotians and Thessalians.'' Whatever the deriva- 
 tion of the suffix,'' in u.«e these patronymics were applied to sons, 
 to grandsons and to descendants in general ; they became the names 
 of families,^ demes and races, and sometimes of the followers of a 
 great political or religious leader. Finally, patronymics were easily 
 chan<:ed to andronymics when a man was led, through pride in the 
 achievements of his father or some ancestor, to adopt a patronymic 
 in preference to his own name ; then the force of the patronymic 
 termination w^as to a great extent lost, and other men might appro- 
 priate this as they would any other proper name. 
 
 Outside of epic poetry and its imitations the chief use of 
 patronymics is that by which families are named after their real 
 
 ^ a. also Hdt. 6, 14 ; Thuc. 7, 69, 2 ; Aelian Var. Hist. 6, 2 ; and Wachsmuth, 
 Hellen. Altertlmm. 1, 809. 
 
 ^Angermann, De Patronymicoriim Graecorum Formatione, Curt. Stud. 1, 1, 
 p. 61, has counted 856 of them in Homer. 
 
 ^For patr. in parodies of the Epos see Ar. Eq. 1015, 1030, 1055, 1067, 1081. 
 Bistrom, Das russische Volksepos, Zeitsclir. f. Volkerpsy. u. Sprachw. 5, 192, says 
 "Bei jedem Helden linden wir dasselbe (das Patronymicon) und es giebt nur 
 zwei raerkAviirdijie Ausnahmen." 
 
 *Meister, Dial. 1, 196 sq.; Hoffmann, Dial. 2, 588. 
 
 'See Arigermann 1. c, p. 6, for reff., including Curtius, Grund?. d. griech. Etym.*, 
 S. 568 sq. Add Leo Meyer, Bezz. Beitr. 4, 7 sq. 
 
 ^Compare family names in -son (English), -sen (Danish), -ing (Saxon), -witz 
 and -itch (Russian), -ski (Polish); also names with the prefixes Mac (Scotch and 
 Irish), O' (Irish), Ap (Welsh), Fitz (Old Norman). 
 
46 Comic TeDiiinatlons in Aristophanes and the Comic Fragments, 
 
 ( 'omic Terminations in Aristophanes and the ( omic Fragments. 47 
 
 or supposed founder.^ This gentilic use belongs to prose as well 
 as to poetry.- In tlie list of the yem] in xVttioa given by T(">pffer 
 in his Attische Genealogie, tliree-fourths have the patronymic 
 termination -Sai. Just as the priestly family of the ^vfjioXirlhai, 
 which derived its name in all probability from the excellent 
 quality of its singing [ev fiiXireaOai), nevertheless claimed descent 
 from the mythical Eumolpus ; and just as the members of any 
 order or those engaged in any business or religious worship 
 properly looked upon the originator of the movement as their 
 progenitor in a metaphorical sense; so the mutilators of the Hermae 
 were called 'Ep/jLOKOTrlSai — by the comic poets, no doubt — as if 
 they were the descendants or followers of some great 'Ep/xo/coTro*?. 
 The word occurs in Ar. Lys. 1094. In the same way the name 
 \p€(OK07rL8ai was given to the three noble friends of Solon 
 (Pint. Sol. 15, cf. Reij). Gerend. Praecep. 13) who ])rofited at 
 the Seisachtheia through ti previous knowledge of his projected 
 reforms which he had imparted to them in confidence. The names 
 Hermokopids and Chreokopids were all the more appropriate 
 because the men to whom they were applied belonged to the 
 aristocratic families of the state, the W\Kjj.6(oinSai, the <t>i\aLBac, 
 K. T. X. A similar comic formation is jBoyXoKOTTihai which is 
 explained as ol rrjv i3ov\7]i' KOTrrovre^, rnairep elai fcal Stj/xokottoi 
 01 TOP Sr)iioi> KOTTTOvre^; in A. G. B. 221, 3. Cf. Kock a^^earr. 
 9G3 and the Thesaurus s. v. Note also (^OeLpoKoirihrj^y a conj. 
 of Kock for (hOeipoKop-lhriq in aheair. 1188. 
 
 Closely allied to the names of families are the names of demes, 
 for many of the demes took the name of a prominent family living 
 in them.^ This is especially true of those whose names end in 
 -hai, of which there were 32 at least* in Attica. These traced 
 their orij^in back to the heroic ancestor from whom their name 
 was derived and whom they worshipped, liesides -Sr;? the suffixes 
 -ef? and -<09 were used to designate the individual members of 
 a deme, and the adverbial -6ev was also common ; but of all the 
 
 ^ Cf. Wilamowitz-Mullendorff on Eur. Heracl. 39. 
 ^ Cf. Angerinann 1. c, p. 5. 
 
 ^ For the origin of other names see Etym. Mag. s. v. 'EA-ters. 
 *The number is based on those enumerated by IlaussouUier in Daremberg et 
 Saglio, Diet. d. Antiq. Grecq. et Kom. 
 
 * 
 
 <* 
 
 « 
 
 most common was -ev^ ^ and Wxapvev^ was the proper form for 
 an Acharnian. Among the various forms of address (Ach. 286, 
 298, 305, 322, 324) that Dicaeopolis tries in his effort to get a 
 hearing before the Acharnian charcoal-burners, ' Xj(^apv'r)thar shows 
 a shift of termination from the regular ending -ei;? to -^t;?, and 
 the men of ' Xxapvai are addressed very grandly as ^ Sons of 
 Acharneus,' as if an ancestor Acharneus was the hero eponymous 
 of their deme. Cf. TnscoHdae for TnscuJani Lucil. Incert. 6 M., 
 and Apulidas for Apidus Lucil. iii fr. 23 M. used of a horse. 
 
 Long names were considered more noble and honorable, while 
 the shorter ones were given rather to the ])oor and to slaves.^ 
 Demosthenes makes the charge in De Corona^ § 130, that Aeschines 
 alter his recent rise to the rank of citizen and orator had tried to 
 dignify his parents by changing his father's name from Tromes to 
 Atrometus and his mother's from Glaucis (as given by Apollonius) 
 to Glaucothea. Diodes lengthened his name to Diocletian when he 
 was made Emperor (Aurel. Vict. Epit. 39, 1), the parvenu Sosias 
 becomes Sosistratus and Sosidemus (Tbeophr. Charact. 28), Plautus 
 gives his pompous Miles the bombastic title Bumbomachides 
 Clutomestoridysarchides (M. G. 14, cf. Lorenz Einleit., S. 4), and 
 the poor boy ^rec^avo^ dilates into the rich man ^Ckoarec^avoi; with 
 the possibility of still greater expansion into 'iTrTroKpaTLTrTrLdSrj^; 
 OY Xiovvaioirrjyavohwpo^ in the near future (Anth. Pal. 11, 17). 
 When therefore both the primitive and the patronymic form of 
 the same name are used to designate a man, as in the case of 
 '^LKOfia^o^ and 'SiKOfiaxi^'n^ ^^ Lysias 30 and the many instances 
 collected by Hemsterhuys and others,^ due weight must be given 
 to the greater length of the patronymic. In so far as -hrj^ came 
 to be a mere name-forming suffix, and inasmuch as the body of 
 a name rather than its termination was the really important part 
 — as may be seen in the interchange of diminutives and their primi- 
 
 ^ So common that Aristophanes could coin KOji-Kaa^vSy A v. 1126, from the imagi- 
 nary deme KOjuiraaai {KSfxiros), like 'Axapuevs from the village 'Axapvai. 
 
 *'Axa-pvqi57]5 in place of 'Axapff'STjs recalls epic forms like n7]\T]id5ris by the 
 side of HrjAei'STjs ,• as the dactylic hexameter required the extended nrjArjiaSrjs at 
 times, so the trochaic tetrameter catalectic here calls for 'Axapi'rjiSTjs. 
 
 ^ Cf. Long, Personal and P'amily Isames, p. 276. 
 
 *Hemst. Lucian Tim. c. 22, p. 157, and Ar. Plut., p. 325; Maas, Hermes 23, 
 613 sq.; Crusius, Neue Jahrb. 143, 385 sq. 
 
48 Comic Teiniinations in Aridophanes and the Comic Fragments, 
 
 tives and in the variety of endings which the sliortened form of a 
 man's fuU name sometimes has ^ — there was little difference between 
 the primitive and patronymic forms, so that in many cases the 
 metre decided which was to be nsed ; but, on the other hand, since 
 epic poetry and the names ot* families in -Bai were ever at hand 
 to keep alive the feeling for the patronymic ending, and since, in 
 the case of two forms, the patronymic, e. g. ^iKOfxaxi^v^^ ^^^^7 
 be supposed to carry one's lineage back to an ancestor with the 
 primitive name, i. e. yiKo/iaxo^,^ the difference between the two 
 forms was that the patronymic w^ith its greater length was more 
 aristocratic and fashionable.^ This appears also from the fact that 
 many of the long and pretentious names have tlie termination -3?;?. 
 Hence (PetSiTrTrLBrji;, tiiat combination of economy and luxury, of 
 a plebeian and a ])atrician * name in Nub. 67, gets a somewhat 
 loftier tone by the addition of the patronymic ending; and just 
 as the cobbler '^ifxwv in Lucian Dream, ch. 14, lengthened his 
 name to ^i/j^coinSrji; when he suddenly l>ecame rich, so it may be 
 assumed that Strapsiades was influenced by the aristocratic notions 
 of his wife to the extent of adding the fashionable termination 
 -8779 to his father's name <^€LSct)v (Nub. 134) when he tried to give 
 it to his son (v. G5), thus making the sonorous (J>ef 80)1^18779.^ In 
 like manner ^riXiScovL^rji; Av. 139 and Fz'a ^0)1^18779 Lucian Timon 
 45-8 (Kock ciSeaTT. 1438, 1439, 1441) have a more imposing 
 effect than the commoner names ^tl\^o)v and VvdOwi^, and this 
 suits the context. 
 
 But the metre too must be considered. Aristophanes has 61 
 passages in his eleven plays in which patronymics in -48779 (-618779) 
 occur at the end of an iambic trimeter,*^ where they are most 
 suitable, and 5 passages in which they come at the end of a troch. 
 
 ^Cf. Meister, Bezz. Beitr. 16, 174; Maas 1. c; Crusiiis 1. c. 
 
 Hn Lysias 30, 11, NiKo/xaxi'Srjs is used sarcastically to heap contempt on the 
 freedman NikS/xuxos. 
 
 ^ Cf. Foe's change uf name to De Foe, and see Lower, Diet, of Family Names 
 8. V. De and O'. 
 
 *Cf. Gildersleeve, Essays and Studies, p. 217. 
 
 'The post-Homeric Greeks were fond of the rhythmical -uvlSr]^ (-wviSas). I 
 have counted 44 names with this ending, besides 24 additional names with the 
 dialectic suffix -ai/Sas, familiar in Boeotia. 
 
 «See, in particular, Ach. 595-7, 603; Ran. 841-2; Eccl. 825, 826, 829. 
 
 4 1^ 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 49 
 
 tetram. catal., as over against 53 patronymics in -18779 (-a8779) in 
 all other parts of the verse and in all metres. Here, then, where 
 metrical influence is most potent, we may find a partial explanation 
 of the patronymic ^€L8covi8r}p, especially when we see KaWcTTTrlSrju 
 (vs. 64) and ^eiSLTrTrlSTjv (vs. 67) at the end of the line in the 
 near neighborhood. "ErtXlScovlSr]^ also is found at the end of a 
 trimeter. 'E^r]Ke(TTi87]^ occurs 4 times in comedy (Ar. Av. 11, 
 764, 1527; Phrynich. 20) and always at the end of the verse 
 where 'Ef ?;Ace(7T09, whom Bergk, Comm. 374, regards as the same 
 person, plainly could not stand. That AevfcoXocj^lSi]^ was the 
 father of Adeimantus is shown by Plato Protag. 315 E and Xen. 
 Hell. 1, 4, 21, but since the patronymic form does not fit into 
 the anapaestic verse in Ran. 1513, A€VK6\o(f)o^ is substituted. 
 Finally, tlie ])atronymic form of SpaTrerlSa^; in Mosch. 1, 3 is 
 due entirely to the metre, since hpuirerrj^ could not be gotten 
 into the dactvlic verse. 
 
 Comedy chooses or invents for its characters names which 
 describe their nature or express some peculiarity. Aristophanes 
 constantly plays upon proper names by bringing out their etv- 
 mological signification in addition to applying them as names 
 to individuals. We are compelled to think of the real meaning 
 of ^LKolBovXo^ Eq. 615, \Vwta9 570, EvxapLSrj^ Vesp. 680, 
 Avaifidxv Pac. 992, Lys. 554, 'A/5^(7TOyLta;!^77 Th. 806, Irparcoplfcr} 
 807, Ev/SovXr] 808, and such names approach ordinary appella- 
 tives in proportion as this meaning is the more prominent. When 
 there is no name in existence that conveys the thought intended, 
 Aristophanes does not hesitate to coin one. This he does either, 
 as in Xfivo-KMv, Eq. 264, by using in the compound one member, 
 e. g. -KMv {-Kocov), that is already familiar from some name-group,^ 
 cf. Aao-Kocop, 'Itttto-kocop, KaXXi-KMr, k. t. X., or by the use of 
 name-forming suffixes, or by both means combined. One of these 
 name-lorming suffixes is -Sr]^, Its distinctive characteristic is that 
 it forms proper names of men, and to this use it is restricted. 
 Consequently, it carries with it more formality and stateliness than 
 the other name-forming suffixes. In this way he coins MapLXdSrj^; 
 (fMaplXr} = the dust of charcoal) and UpLVL87]<; {irplvo^ = the holm- 
 
 ^See Fick u. Becht., Gr. Personennamen, S. 5; Fick, Curt. Stud. 9, 168. 
 
 I 
 
50 Comic Terminations in Ai^isfophnnes and the Comic Frac/ments, 
 
 oak, cf. 180, QGS) which, together with Ev(l)opiSi]^ (ev ami (i>opelv), 
 'Mr. Coalcarrier,' 'Mr. Coalbacker/ are very appropriate to the 
 charcoal-hurnei-s in Ach. 609 and 612. 
 
 ^Tpey\ndhris; ^ (cf. arpeyp-ai) dram. pers. iu Nub., also in vss. 134, 
 1145. The name alhules to his character as ^rpeyjro-Sifcoi;, cf. 434, 
 
 1455. 
 
 'Epaapovlhr] XapiXae Archil. 79 K* reminds us of \\rpei'Sr)<^ 
 Wya/xifjLvcov and similar epic coml)inations, as if 'Epaa/xoviSrif; 
 were the patronymic of ^Epciaficov, but it has here the force of 
 an appellative (ipdcr/iio^, epaaro^) and is used ironically (venus- 
 tulus). It is imitated in the same spirit by Cratinus fr. 10 
 'Epaa/j-oi'lSr] BaOiTTTre, cf. Bergk Comm. 7 sq. In the same way 
 Cecrops who resembled a dragon in his lower parts is called with 
 epic formality KeKpo^fr Apa/voi^rtS?;? (Vesp. 438) instead oi' BpciKwv 
 or SpaKoi'ToeiSy]^; {SpaKovrco^yj^). 'OpTvyLSy]i:"AvTiK\o^ Tryphiod. 
 178 is in some respects similar. 'OpruYtS?;? (opruf) is believed " 
 to refer to Anticlus' desire to talk, when Helen approached the 
 Wooden Horse in Troy and called the iVchaean chiefs by name, 
 imitating the voices of their waives, cf. Od. 4, 285 sq. 
 
 'ATroSpao-fTTTTiS?;? Vesp. 185 is a ])retentious name {Fugacides), 
 coined diro rov dirohpaaai together with the aristocratic name- 
 element -17717-, and like ^\HiSi7T77lS7js; the compound is made up of 
 members more or less inconsistent. The reading of Venetus G 
 d77o8paai7777[hrj^,^ if corrected to \\770Bp., gives a real patronymic 
 that is more in keeping with the epic surroundings, and should on 
 this account be preferred. Our Odysseus then becomes ' Utis, 
 Apodrasippus' son, the Ithacan.' 
 
 KpovL^ap {— 77o\v€Tr]<;, Hesych.), the Laconian form of KpoviS-rj^;, 
 is the name of an old man in comedy, perhaps from the KwpaX/cr/co? 
 of Epilycus (Bergk). For Kpovo^; in this sense cf. Nub. 929,Vesp. 
 1480, Plat. Euthyd. 287 B. 
 
 TTjpvrdhrji; (yrjpvew) name of play of Ar. ; Ylapprjatdhrji; (77ap- 
 prjaia) Lucian Piscat. 19 sq.; 'T77epT0VLBr]i; {v77epTovo<^) Poll. 4. 65. 
 
 Compare in Plautus tlie ironical names Theopropides and Misar- 
 gyrides in the Mo^t. for the stupid old man and the money-lender 
 
 ^Also the name of the victor in Pindar's seventh Isthmian. 
 
 2 Curt. Stud. 1, 1, 18. 
 
 ^ airb Apaa-nT-rriSov RVBC vulg., 'A7ro5pa(Ti7r7ri5oi> conj. Elmsl. 
 
 \ 1^ 
 
 >1 
 
 Comic Terminations in Aristophanes and the Comic Fragments, 51 
 
 respectively, and the bombastic titles Polymachaeroplagides Pseud. 
 988 sq. and ThensaurochrysonicochryMes Capt. 285, besides those 
 already mentioned. Note in addition the seven lengthy and formi- 
 dable hybrid names in -ides that Sagaristio gives himself in Pers. 
 702-5, cf. epigr. ap. Ath. 162 a. 
 
 ^ Tlie grammarian says (Etym. M. 554, 40) lareov on oh -notovaiv 
 ai7o 77poair/opiKov 77aTpwvvfitKd. And when the name-forming 
 suffix -^779 is added to an appellative, it immediately raises it to 
 the dignity of a proper name, since -8779 is rightly used in proper 
 names only, and always suggests membership in a noble family 
 descended from some great ancestor. Such words belong to the 
 sermo vulgaris and were used to good effect by the comic poet. 
 Sometuues, when they desired to characterize a man or express some 
 thought about him in a short sentence, they would put it in the 
 form of a compound, and by adding -8rj, give it all the semblance 
 of a proper name. 
 
 Lyric poetry furnishes two examples: 
 
 o-VKorpayiSTj^^ (=adKa rpd^ycov) Archil. 194 B.^ Hippon. 134 
 B.'', used Sid TO €VT€\€<; rov 0p(o/j,aTo^ (Eust. 1828, 11). Cf 
 avKorpdyo^ Aelian N. A. 17, 31, pultifagus Plant. Most' 828* 
 Pultiphagonides Poen. 54. ' 
 
 ^o(poSop77l8a^ {=\a0po(t)dyo^, c7kot6S€L77po^, cf. Hesych.) Alcae 
 37 B, cf. Pint. Quaest. Conviv. 8, 6, 1. This epithet and others 
 like ct)v(Tfccop and ydarpcop were hurled at the tyrant Pittacus by 
 Alcaeus. 
 
 The rest are from a comic source : 
 
 yevpdSa^ {yevva) Kan. 179, 640, 738, 739, 997, Eccl. 304, Eq. 
 240, Ach. 1230.^ Compare yewalo^, but since yewdha^ is 'used 
 of persons only and in only the uom. and voc. cases, we can com- 
 pare with it but 3 of the 21 occurrences of yevvalo, in Aristophanes 
 viz. Av. 285, Th. 220, Ran. 1031. In the Frogs Dionysus (179)' 
 the servant of Pluto (640, 738) and Xanthias (739) employ yJv- 
 vaSa^, Aeschylus (1031) on the other hand uses yevvalo^^ cf. also 
 1011, 1014, 1050. Compare xPV<^t6<; el Kal yevvdha^, spoken by 
 Dionysus in Ran. 179, with yevvalo<; el of Euripides in Th. 220. 
 It appears therefore that yewdha^ is preferred by the lower char- 
 
 1 Also in Plato Charm. 155 D, Phaedr. 243 C, Aristot. Eth. X. 1 10 1^ t urian 
 Caliimn. 20. See Thesaur. for later Greek. ' ' ''' 
 
52 ( omic Terminatiom in Aristophanes and the Comic Fragments. 
 
 actei- it. oonu.lv, tlu.t it belongs to the lan£;uago of the cotniuou 
 people just as the other appolkitives in -8,,s^ though it is somewhat 
 more common than the rest. _ 
 
 KXiTTTihr,^ Fherecr. 219, of. KXcomSai for Kpa>-Kihai U^. i'i, 
 aTa6v\o-K\oTTLSa<;, rnpacidae. _ 
 
 ^oi8>?9 Menaud. 1002. Derived from 0od<, it is used ot one 
 who is avaladvTo,, irpao,, ev,',Ov^. Kaff o^owrnra roO A,.voko>v 
 
 (Eu.<t. 9<)2, 18). J, T, 
 
 ^e\,TT.Sa< Ran. 9U1 "sweet simpletons." See the edd. Ihe 
 :MSS. have MeXiriBat but the metre re(iuires the second syllable 
 to be lona. The scholiast and Eust. 1735, 50 derive it from fieXc, 
 of. l3\tTo°fidix,xa, Nub. 1001. Found also in uBecr-rr. 657. 
 
 ^,<Tf^apY/8^9 (=apXa.<' eV; ,ii^e,o) 597. and <7TpaTa,..8^9 (- <rTpa- 
 revoaevo, schol.) 59i5 are bombastic terms that occur in the descrip- 
 tion of the honest citizen. Bergk, Comn,. 9, thinks that they serve 
 also as a mocking criticism of the iullatc.l style of Gorgias. \\ .th 
 airovBapxl^r,, cf. apxcyXvirrdSn^ (= y^vcfxov ra, <lpx«? ^'''^■ 
 911 iuit.) a8e<77r. 84. and with the whole passage compare baga- 
 ristio-s description of himself in Plant. Pers. 702-5, and his cxtra- 
 
 ordinarv jiatrouymics. , „ , i 
 
 ■n-avovpynr-rrapxi^n, {= fravovpyoi "vTrapxoi) Ach. 603 the 
 
 noble race of rascallv hipparchs.' 
 
 Aeschvlus characterizes Euripides in Ran. 841-2 with high- 
 sounding names arco^ivXioavWeKTaBvi {= (TroifivXfiara avWeyoyu) 
 and paKioavppa-KTdSv^ {= puKia avppciirTwv) but the thought 
 contained in them is rather lowly. Euripides in turn calls the 
 elder poet's pupils ' the noble race of trumpets, lances and long 
 beards' craXiriyyoXoyxv-rrnvdhat. (to yho-^ twv miX-myya^ Kal 
 X6yxa^ 'cal v^']va, ix6vr<ou) '" true Aeschylean style. Ct. 
 ^^evvCLorrvWeKTahai Ath. 157 a. 
 
 TToXvxaplha, ' Lys. 1098, 1242. ^oXvx'>PV^ occurs both as au 
 adjective ' causing much joy,' and as a proper name. For the 
 latter use see Pape-Benseler. TroXvxaplBa as used by the Lace- 
 daemonian in the Lysistrata has the force of an appellative, ' my 
 joy,' ' my delight,' but the appearance of a proper name. 
 
 ' The metre demands ttovKuxv'^S" <" irtuAKxap'Sas. 
 
 ;. 
 
 «^ 
 
 Comic Trmiinations in Aristophanes and the Comic Fragments. 53 
 
 Loheck on Soph. Aiax 880 has collected many words of this 
 sort from various sources in later Greek, and in these much of the 
 original force of -8?;9 must have been lost. 
 
 (i)0eipoKOfiihi-i<^, dSerrn. 1188, glosscd by Hesychius with (pOeipMv 
 yeficov. Cf. evfcofio^, /SaOvKOfio^, TrvpaoKo/xo^, XevKOfcofio^, k. t. X. 
 
 cl)i\oyaaToplSai {= yaarepa (f)t\odvTe<^) Anth. Pal. 8, 169, cf. 
 oXffioyaarcop Amph. 10. 
 
 (TTa(t)v\oK\o'7r[8a^ {= aTa(f)v\a^ KXeTrrwv) Anth. Pal. 9, 348. 
 
 Among the dozen huge compounds hurled at the Cynic philoso- 
 phers in the ridiculous epigram of Hegesander quoted in Ath. ] 62 a 
 are the three that follow : ocfipvavaaTraaihai {= 6cf>pd^ uPaairMvre^, 
 cf. Ar. Ach. 1069, Alex. fr. 16, Philem. 174, Menand. 556, Dem. 
 19, 314), Xoira^apirayihaL {= Xo7rd8a<^ ap7rd^ovT6<;), and ^ijrape- 
 TTjaidSac {=cipeTi]v i^i^rovvre^ v. Philem. 71). Add yeveioavWe- 
 KTciSac (= ykveia avXXiyoine^;) Ath. 1 57 a. 
 
 ypafxfioScSao-KaXiSrj^ {= ypafi/jLchcov SiS/iaKaXo^, cf. ypa/jip^aro- 
 SiSdaKaXoi;) Timon ap. Ath. 558 b. 
 
 irpoaaycoyihai {= irpoaaywyeU) Pint. Dion. 28. 
 
 In Plautus : 
 
 rapacidae (rapaces) Aul. 370, ' race of thieves.' 
 
 plagipatidae {qm plagas patlmitur) Capt. 472, Most. 356, 
 "children of the lash'' (Ramsay). 
 
 oculicrepidae, cruricrepidae [quibus oculi et crura crepani) Trin. 
 1021, 'tribe of battered eyes and battered legs.' 
 
 glandionida, pernonida Men. 210. High-sounding names in 
 -covLSr)<; from glandiuni and perna to indicate pieces of pork and 
 ham. 
 
 The suffix -h€v<^ which denotes the young of animals is closely 
 related to the patronymic ending -hm} On the analoo^v of 
 yaXiSev^, XeovriSev'i, deriSev^, k, t. \., Hipponax 16 B.* addresses 
 Hermes (Ma/?;? iralha) as Mam^eO, and in the same way young 
 Cu])ids are called in jest 'EpwriheU 'nestlings of Eros' in 
 Anacreont. 25 B." Aristophanes has this comic shift of termi- 
 nation in Xaipih9)^ ' kids of Chaeris ' Ach. ^C)Cu Cobet. N. L. 
 151 conjectured KXeirrthev^ [z= KXeirrov irarpo'^ veorjiov) for 
 /cX€7rTiSr](; in Pherecr. 219. 
 
 »See Curtius, Grundz. d. gr. Etym.*, S. 629; Leo Meyer, Vergl. Gram. 2, 557. 
 
LIFE. 
 
 The author was born in Baltimore, Md. on January 16th, 1872, 
 attended the public schools of his native city, and was graduated at 
 the Baltimore City College in 1889. He received from the Johns 
 Hopkins University the degree of Bachelor of Arts in 1892, that of 
 Doctor of Philosophy in 1898, his graduate studies being Greek, Latin 
 and Sanskrit. At the University the following honors were conferred 
 upon him: Hopkins Scholar 1889-90, Honorary Hopkins Scholar 
 1890-92, University Scholar 1892-94, Fellow 1895-96. He followed 
 the lectures of Professors Gildersleeve, Warren, Bloomfield, Miller, 
 Spieker, and K. F. Smith, to all of whom he acknowledges his indebt- 
 edness, but to Professor Gildersleeve especially he would express his 
 gratitude for the inspiration of his words, his kindly interest and gen- 
 erous assistance. 
 
•5» - <.-jtv~' jii; ' 
 
 COLUMBIA UNIVERSITY LIBRARIES 
 
 0021915385 
 
 B- 
 
 DUE DATE 
 
 ,.,, /^9 tQQ* 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 201-6503 
 
 
 Printed 
 in USA 
 
 
 
 
 
 
 C3L 
 
 !X\ 
 
 
 LU 
 
 q: 
 
 
 -J 
 
 t 
 
 
 Q. 
 
 < 
 
 fNJ 
 
 a. 
 
 00 
 
 CL 
 
 OJ 
 
 CO 
 
 c 
 
 a 
 
 >'-'-'-;^-vV-KV^' 
 
 
 •^■.. ....,, ,;^,^/ 
 

 
 I 
 
 
 
 
 
 » 
 
 
 % »