Chapter 14
[139] The [Greek: pankration] was a combined exercise, including both wrestling and boxing.
[140] All these names have been already mentioned.
[141] Each time Philocleon takes up the song with words that are a satire on the guest who begins the strain.
[142] King Admetus (Euripides' 'Alcestis') had suffered his devoted wife Alcestis to die to save his life when ill to death. Heracles, however, to repay former benefits received, descended into Hades and rescued Alcestis from Pluto's clutches.
[143] A famous epicure, the Lucullus of Athens (see 'The Acharnians').
[144] A parasite renowned for his gluttony.
[145] A town in Thessaly.
[146] Because of his poverty.
[147] Four lines in 'The Knights' describe the infamous habits of Ariphrades in detail.
[148] That is, it ceases to support it; Aristophanes does the same to Cleon.
[149] Referring to Lysistratus' leanness.
[150] A tragic actor, whose wardrobe had been sold up, so the story went, by his creditors.
[151] He enters, followed closely by the persons he has ill-used, and leading a flute-girl by the hand.
[152] Meaning his p.e.n.i.s.
[153] Darda.n.u.s, a district of Asia Minor, north of the Troad, supplied many flute-girls to the cities of Greece.
[154] Pointing to the flute-girl's _motte_.
[155] He tells his son the very story the latter had taught him.
[156] The name of the baker's wife.
[157] Or Agoranomi, who numbered ten at Athens.
[158] The disciple of Socrates.
[159] Lasus, a musician and dithyrambic poet, born about 500 B.C. in Argolis, was the rival of Simonides and thought himself his superior.
[160] Ino, the daughter of Cadmus and Harmonia. Being pursued by her husband, Athamas, whom the Fury Tisiphone had driven mad, she threw herself into the sea with Melicerta, whereupon they were both changed into sea-G.o.ddesses.--This is the subject of one of Euripides' tragedies.
[161] A famous town in Magna Graecia, south coast of Italy.
[162] A celebrated physician.--Philocleon means, "Instead of starting an action, go and have yourself cared for; that is better worth your while."
[163] The dances that Thespis, the originator of Tragedy, interspersed with the speaking parts of his plays.
[164] A verse borrowed from an unknown Tragedy.
[165] As was done in the stadia when the races were to be started.
[166] The ancients considered it a specific against madness.
[167] Phrynichus, like all the ancient tragic writers, mingled many dances with his pieces.
[168] Tragic poet. His three sons had also written tragedies and were dancers into the bargain.
[169] Carcinus, by a mere transposition of the accent ([Greek: karkivos]), means _crab_ in Greek; hence the pun.
[170] Carcinus' sons were small and thin.
[171] The third son of Carcinus.
[172] Meaning, the three sons of Carcinus, the dancers, because, as mentioned before, Phrynichus often introduced a chorus of dancers into his Tragedies.
[173] Carcinus himself.
[174] The Greek word is [Greek: triorchoi]--possessed of three t.e.s.t.i.c.l.es, of three-t.e.s.t.i.c.l.e power, inordinately lecherous; with the change of a letter ([Greek: triarchoi]) it means 'three rulers,' 'three kinglets.'
THE BIRDS
INTRODUCTION
The Birds' differs markedly from all the other Comedies of Aristophanes which have come down to us in subject
Some critics, it is true, profess to find in it a reference to the unfortunate Sicilian Expedition, then in progress, and a prophecy of its failure and the political downfall of Alcibiades. But as a matter of fact, the whole thing seems rather an attempt on the dramatist's part to relieve the overwrought minds of his fellow-citizens, anxious and discouraged at the unsatisfactory reports from before Syracuse, by a work conceived in a lighter vein than usual and mainly unconnected with contemporary realities.
The play was produced in the year 414 B.C., just when success or failure in Sicily hung in the balance, though already the outlook was gloomy, and many circ.u.mstances pointed to impending disaster. Moreover, the public conscience was still shocked and perturbed over the mysterious affair of the mutilation of the Hermae, which had occurred immediately before the sailing of the fleet, and strongly suspicious of Alcibiades'
partic.i.p.ation in the outrage. In spite of the inherent charm of the subject, the splendid outbursts of lyrical poetry in some of the choruses and the beauty of the scenery and costumes, 'The Birds' failed to win the first prize. This was acclaimed to a play of Aristophanes' rival, Amipsias, the t.i.tle of which, 'The Comastae,' _or_ 'Revellers,' "seems to imply that the chief interest was derived from direct allusions to the outrage above mentioned and to the individuals suspected to have been engaged in it."
For this reason, which militated against its immediate success, viz. the absence of direct allusion to contemporary politics--there are, of course, incidental references here and there to topics and personages of the day--the play appeals perhaps more than any other of our Author's productions to the modern reader. Sparkling wit, whimsical fancy, poetic charm, are of all ages, and can be appreciated as readily by ourselves as by an Athenian audience of two thousand years ago, though, of course, much is inevitably lost "without the important adjuncts of music, scenery, dresses and what we may call 'spectacle' generally, which we know in this instance to have been on the most magnificent scale."
"The plot is this. Euelpides and Pisthetaerus, two old Athenians, disgusted with the litigiousness, wrangling and sycophancy of their countrymen, resolve upon quitting Attica. Having heard of the fame of Epops (the hoopoe), sometime called Tereus, and now King of the Birds, they determine, under the direction of a raven and a jackdaw, to seek from him and his subject birds a city free from all care and strife."
Arrived at the Palace of Epops, they knock, and Trochilus (the wren), in a state of great flutter, as he mistakes them for fowlers, opens the door and informs them that his Majesty is asleep. When he awakes, the strangers appear before him, and after listening to a long and eloquent harangue on the superior attractions of a residence among the birds, they propose a notable scheme of their own to further enhance its advantages and definitely secure the sovereignty of the universe now exercised by the G.o.ds of Olympus.
The birds are summoned to meet in general council. They come flying up from all quarters of the heavens, and after a brief misunderstanding, during which they come near tearing the two human envoys to pieces, they listen to the exposition of the latters' plan. This is nothing less than the building of a new city, to be called Nephelococcygia, or 'Cloud-cuckoo-town,' between earth and heaven, to be garrisoned and guarded by the birds in such a way as to intercept all communication of the G.o.ds with their wors.h.i.+ppers on earth. All steam of sacrifice will be prevented from rising to Olympus, and the Immortals will very soon be starved into an acceptance of any terms proposed.
The new Utopia is duly constructed, and the daring plan to secure the sovereignty is in a fair way to succeed. Meantime various quacks and charlatans, each with a special scheme for improving things, arrive from earth, and are one after the other exposed and dismissed. Presently arrives Prometheus, who informs Epops of the desperate straits to which the G.o.ds are by this time reduced, and advises him to push his claims and demand the hand of Basileia (Dominion), the handmaid of Zeus. Next an emba.s.sy from the Olympians appears on the scene, consisting of Heracles, Posidon and a G.o.d from the savage regions of the Triballians. After some disputation, it is agreed that all reasonable demands of the birds are to be granted, while Pisthetaerus is to have Basileia as his bride. The comedy winds up with the epithalamium in honour of the nuptials.