Chapter 64
SCYTHIAN. Very well! let her dance and practise; I won't hinder her. How nimbly she bounds! one might think her a flea on a fleece.
EURIPIDES. Come, my dear, off with your robe and seat yourself on the Scythian's knee; stretch forth your feet to me, that I may take off your slippers.
SCYTHIAN. Ah! yes, seat yourself, my little girl, ah! yes, to be sure.
What a firm little bosom! 'tis just like a turnip.
EURIPIDES (_to the flute-girl_). An air on the flute, quick! (_To the dancing-girl._) Well! are you still afraid of the Scythian?
SCYTHIAN. What beautiful thighs!
EURIPIDES. Come! keep still, can't you?
SCYTHIAN. 'Tis altogether a very fine morsel to make a man's c.o.c.k stand.
EURIPIDES. That's so! (_To the dancing-girl._) Resume your dress, it is time to be going.
SCYTHIAN. Give me a kiss.
EURIPIDES (_to the dancing-girl_). Come, give him a kiss.
SCYTHIAN. Oh! oh! oh! my goodness, what soft lips! 'tis like Attic honey.
But might she not stop with me?
EURIPIDES. Impossible, archer; good evening.
SCYTHIAN. Oh! oh! old woman, do me this pleasure.
EURIPIDES. Will you give a drachma?
SCYTHIAN. Aye, that I will.
EURIPIDES. Hand over the money.
SCYTHIAN. I have not got it, but take my quiver in pledge.
EURIPIDES. You will bring her back?
SCYTHIAN. Follow me, my beautiful child. And you, old woman, just keep guard over this man. But what is your name?
EURIPIDES. Artemisia. Can you remember that name?
SCYTHIAN. Artemuxia.[646] Good!
EURIPIDES (_aside_). Hermes, G.o.d of cunning, receive my thanks!
everything is turning out for the best. (_To the Scythian._) As for you, friend, take away this girl, quick. (_Exit the Scythian with the dancing-girl._) Now let me loose his bonds. (_To Mnesilochus._) And you, directly I have released you, take to your legs and run off full tilt to your home to find your wife and children.
MNESILOCHUS. I shall not fail in that as soon as I am free.
EURIPIDES (_releases Mnesilochus_). There! 'Tis done. Come, fly, before the archer lays his hand on you again.
MNESILOCHUS. That's just what I am doing. [_Exit with
SCYTHIAN. Ah! old woman! what a charming little girl! Not at all the prude, and so obliging! Eh! where is the old woman? Ah! I am undone! And the old man, where is he? Hi! old woman! old woman! Ah! but this is a dirty trick! Artemuxia! she has tricked me, that's what the little old woman has done! Get clean out of my sight, you cursed quiver! (_Picks it up and throws it across the stage._) Ha! you are well named quiver, for you have made me quiver indeed.[647] Oh! what's to be done? Where is the old woman then? Artemuxia!
CHORUS. Are you asking for the old woman who carried the lyre?
SCYTHIAN. Yes, yes; have you seen her?
CHORUS. She has gone that way along with an old man.
SCYTHIAN. Dressed in a long robe?
CHORUS. Yes; run quick, and you will overtake them.
SCYTHIAN. Ah! rascally old woman! Which way has she fled? Artemuxia!
CHORUS. Straight on; follow your nose. But, hi! where are you running to now? Come back, you are going exactly the wrong way.
SCYTHIAN. Ye G.o.ds! ye G.o.ds! and all this while Artemuxia is escaping.
[_Exit running._
CHORUS. Go your way! and a pleasant journey to you! But our sports have lasted long enough; it is time for each of us to be off home; and may the two G.o.ddesses reward us for our labours!
FINIS OF "THE THESMOPHORIAZUSAE"
Footnotes:
[544] Aristophanes parodies Euripides' language, which is occasionally sillily sententious.
[545] He flourished about 420 B.C. and composed many tragedies, such as 'Telephus,' 'Thyestes,' which are lost. Some fragments of his work are to be found in Aristotle and in Athenaeus; he also distinguished himself as a musician. The banquet, which gave his name to one of Plato's dialogues, is supposed to have taken place at his house.
[546] The Thesmophoria were celebrated in the month of Pyanepsion, or November.
[547] The Thesmophoria lasted five days; they were dedicated to Demeter Thesmophoros, or Legislatress, in recognition of the wise laws she had given mankind. For many days before the solemn event, the women of high birth (who alone were ent.i.tled to celebrate it) had to abstain from all pleasures that appealed to the senses, even the most legitimate, and to live with the greatest sobriety. The presiding priest at the Thesmophoria was always chosen from the sacerdotal family of the Eumolpidae, the descendants of Eumolpus, the son of Posidon. At these feasts, the wors.h.i.+p of Persephone was a.s.sociated with that of Demeter.
[548] Refers presumably to the [Greek: ekkukl_ema], a piece of machinery by means of which interiors were represented on the Greek stage--room and occupant being in some way wheeled out into view of the spectators bodily.
[549] A celebrated 'lady of pleasure'; Agathon is like her by reason of his effeminate, wanton looks and dissolute habits.
[550] Demeter is represented wandering, torch in hand, about the universe looking for her lost child Proserpine (Persephone).
[551] Troy.
[552] Agathon, in accordance with his character, voluptuousness, is represented as preferring the effeminate music and lascivious dances of Asia.