No More Learning

[306] By this jest Aristophanes means to imply that tyranny is dead, and
that no one aspires to despotic power, though this silly accusation was
constantly being raised by the demagogues and always favourably received
by the populace.

[307] A poulterer. --Strouthian, used in joke to designate him, as if from
the name of his 'deme,' is derived from [Greek: strouthos], _a sparrow_.
The birds' foe is thus grotesquely furnished with an ornithological
surname.

[308] From Aphrodite (Venus), to whom he had awarded the apple, prize of
beauty, in the contest of the "goddesses three. "

[309] Laurium was an Athenian deme at the extremity of the Attic
peninsula containing valuable silver mines, the revenues of which were
largely employed in the maintenance of the fleet and payment of the
crews. The "owls of Laurium," of course, mean pieces of money; the
Athenian coinage was stamped with a representation of an owl, the bird of
Athene.

[310] A pun impossible to keep in English, on the two meanings of the
word [Greek: aetos], which signifies both an eagle and the gable of a
house or pediment of a temple.

[311] That is, birds' crops, into which they could stow away plenty of
good things.

[312] The Ancients appear to have placed metal discs over statues
standing in the open air, to save them from injury from the weather, etc.

[313] So as not to be carried away by the wind when crossing the sea,
cranes are popularly supposed to ballast themselves with stones, which
they carry in their beaks.

[314] Pisthetaerus modifies the Greek proverbial saying, "To what use
cannot hands be put? "

[315] A corps of Athenian cavalry was so named.

[316] Chaos, Night, Tartarus, and Erebus alone existed in the beginning;
Eros was born from Night and Erebus, and he wedded Chaos and begot Earth,
Air, and Heaven; so runs the fable.

[317] Iris appears from the top of the stage and arrests her flight in
mid-career.

[318] Ship, because of her wings, which resemble oars; cap, because she
no doubt wore the head-dress (as a messenger of the gods) with which
Hermes is generally depicted.

[319] The names of the two sacred galleys which carried Athenian
officials on State business.

[320] A buzzard is named in order to raise a laugh, the Greek name
[Greek: triorchos] also meaning, etymologically, provided with three
testicles, vigorous in love.

[321] Iris' reply is a parody of the tragic style. --'Lycimnius' is,
according to the Scholiast, the title of a tragedy by Euripides, which is
about a ship that is struck by lightning.

[322] i. e. for a poltroon, like the slaves, most of whom came to Athens
from these countries.

[323] A parody of a passage in the lost tragedy of 'Niobe' of Aeschylus.

[324] Because this bird has a spotted plumage. --Porphyrion is also the
name of one of the Titans who tried to storm heaven.

[325] All these surnames bore some relation to the character or the build
of the individual to whom the poet applies them. --Chaerephon, Socrates'
disciple, was of white and ashen hue. --Opontius was one-eyed. --Syracosius
was a braggart. --Midias had a passion for quail-fights, and, besides,
resembled that bird physically.

[326] Pisthetaerus' servant, already mentioned.

[327] From the inspection of which auguries were taken, e. g. the eagles,
the vultures, the crows.

[328] Or rather, a young man who contemplated parricide.

[329] A parody of verses in Sophocles' 'Oenomaus. '

[330] The Athenians were then besieging Amphipolis in the Thracian
Chalcidice.

[331] There was a real Cinesias--a dithyrambic poet, born at Thebes.

[332] The Scholiast thinks that Cinesias, who was tall and slight of
build, wore a kind of corset of lime-wood to support his waist--surely
rather a far-fetched interpretation!

[333] The Greek word used here was the word of command employed to stop
the rowers.

[334] Cinesias makes a bound each time that Pisthetaerus struck him.

[335] The tribes of Athens, or rather the rich citizens belonging to
them, were wont on feast-days to give representations of dithyrambic
choruses as well as of tragedies and comedies.

[336] Another dithyrambic poet, a man of extreme leanness.

[337] A parody of a hemistich from 'Alcaeus. '--The informer is
dissatisfied at only seeing birds of sombre plumage and poor appearance.
He would have preferred to denounce the rich.

[338] The informer, says the Scholiast, was clothed with a ragged cloak,
the tatters of which hung down like wings, in fact, a cloak that could
not protect him from the cold and must have made him long for the
swallows' return, i. e. the spring.

[339] A town in Achaia, where woollen cloaks were made.

[340] His trade was to accuse the rich citizens of the subject islands,
and drag them before the Athenian courts; he explains later the special
advantages of this branch of the informer's business.

[341] That is, whips--Corcyra being famous for these articles.

[342] Cleonymus is a standing butt of Aristophanes' wit, both as an
informer and a notorious poltroon.

[343] In allusion to the cave of the bandit Orestes; the poet terms him a
hero only because of his heroic name Orestes.

[344] Prometheus wants night to come and so reduce the risk of being seen
from Olympus.

[345] The clouds would prevent Zeus seeing what was happening below him.

[346] The third day of the festival of Demeter was a fast.

[347] A semi-savage people, addicted to violence and brigandage.

[348] Who, being reputed a stranger despite his pretension to the title
of a citizen, could only have a strange god for his patron or tutelary
deity.

[349] The Triballi were a Thracian people; it was a term commonly used in
Athens to describe coarse men, obscene debauchees and greedy parasites.

[350] There is a similar pun in the Greek.

[351] i. e. the _supremacy_ of Greece, the real object of the war.

[352] Prometheus had stolen the fire from the gods to gratify mankind.

[353] A celebrated misanthrope, contemporary to Aristophanes. Hating the
society of men, he had only a single friend, Apimantus, to whom he was
attached, because of their similarity of character; he also liked
Alcibiades, because he foresaw that this young man would be the ruin of
his country.

[354] The Canephori were young maidens, chosen from the first families of
the city, who carried baskets wreathed with myrtle at the feast of
Athene, while at those of Bacchus and Demeter they appeared with gilded
baskets. --The daughters of 'Metics,' or resident aliens, walked behind
them, carrying an umbrella and a stool.

[355] According to Ctesias, the Sciapodes were a people who dwelt on the
borders of the Atlantic. Their feet were larger than the rest of their
bodies, and to shield themselves from the sun's rays they held up one of
their feet as an umbrella. --By giving the Socratic philosophers the name
of Sciapodes here ([Greek: _podes_], feet, and [Greek: _skia_], shadow)
Aristophanes wishes to convey that they are walking in the dark and
busying themselves with the greatest nonsense.

[356] This Pisander was a notorious coward; for this reason the poet
jestingly supposes that he had lost his soul, the seat of courage.

[357] A [Greek: para prosdokian], considering the shape and height of the
camel, which can certainly not be included in the list of _small_
victims, e. g. the sheep and the goat.

[358] In the evocation of the dead, Book XI of the Odyssey.

[359] Chaerephon was given this same title by the Herald earlier in this
comedy. --Aristophanes supposes him to have come from hell because he is
lean and pallid.

[360] Posidon appears on the stage accompanied by Heracles and a
Triballian god.

[361] An Athenian general. --Neptune is trying to give Triballus some
notions of elegance and good behaviour.

[362] Aristophanes supposes that democracy is in the ascendant in Olympus
as it is in Athens.

[363] He is addressing his servant, Manes.

[364] Heracles softens at sight of the food. --Heracles is the glutton of
the comic poets.

[365] He pretends not to have seen them at first, being so much engaged
with his cookery.

[366] He pretends to forget the presence of the ambassadors.

[367] Posidon jestingly swears by himself.

[368] The barbarian god utters some gibberish which Pisthetaerus
interprets into consent.

[369] Heracles, the god of strength, was far from being remarkable in the
way of cleverness.

[370] This was Athenian law.

[371] The poet attributes to the gods the same customs as those which
governed Athens, and according to which no child was looked upon as
legitimate unless his father had entered him on the registers of his
phratria. The phratria was a division of the tribe and consisted of
thirty families.

[372] The chorus continues to tell what it has seen on its flights.

[373] The harbour of the island of Chios; but this name is here used in
the sense of being the land of informers ([Greek: phainein], to
denounce).

[374] i. e. near the orators' platform, or [Greek: B_ema], in the Public
Assembly, or [Greek: Ekkl_esia], because there stood the [Greek:
klepsudra], or water-clock, by which speeches were limited.

[375] A coined name, made up of [Greek: gl_otta], the tongue, and [Greek:
gast_er], the stomach, and meaning those who fill their stomach with what
they gain with their tongues, to wit, the orators.

[376] [Greek: Sukon] a fig, forms part of the word, [Greek:
sukophant_es], which in Greek means an informer.

[377] Both rhetoricians.

[378] Because they consecrated it specially to the god of eloquence.

[379] Basileia, whom he brings back from heaven.

[380] Terms used in regulating a dance.

[381] Where Pisthetaerus is henceforth to reign.




THE FROGS




INTRODUCTION

Like 'The Birds' this play rather avoids politics than otherwise, its
leading _motif_, over and above the pure fun and farce for their own sake
of the burlesque descent into the infernal regions, being a literary one,
an onslaught on Euripides the Tragedian and all his works and ways.

It was produced in the year 405 B. C. , the year after 'The Birds,' and
only one year before the Peloponnesian War ended disastrously for the
Athenian cause in the capture of the city by Lysander. First brought out
at the Lenaean festival in January, it was played a second time at the
Dionysia in March of the same year--a far from common honour. The drama
was not staged in the Author's own name, we do not know for what reasons,
but it won the first prize, Phrynichus' 'Muses' being second.

The plot is as follows. The God Dionysus, patron of the Drama, is
dissatisfied with the condition of the Art of Tragedy at Athens, and
resolves to descend to Hades in order to bring back again to earth one of
the old tragedians--Euripides, he thinks, for choice. Dressing himself
up, lion's skin and club complete, as Heracles, who has performed the
same perilous journey before, and accompanied by his slave Xanthias (a
sort of classical Sancho Panza) with the baggage, he starts on the
fearful expedition.

Coming to the shores of Acheron, he is ferried over in Charon's
boat--Xanthias has to walk round--the First Chorus of Marsh Frogs (from
which the play takes its title) greeting him with prolonged croakings.
Approaching Pluto's Palace in fear and trembling, he knocks timidly at
the gate. Being presently admitted, he finds a contest on the point of
being held before the King of Hades and the Initiates of the Eleusinian
Mysteries, who form the Second Chorus, between Aeschylus, the present
occupant of the throne of tragic excellence in hell, and the pushing,
self-satisfied, upstart Euripides, who is for ousting him from his pride
of place.

Each poet quotes in turn from his Dramas, and the indignant Aeschylus
makes fine fun of his rival's verses, and shows him up in the usual
Aristophanic style as a corrupter of morals, a contemptible casuist, and
a professor of the dangerous new learning of the Sophists, so justly held
in suspicion by true-blue Athenian Conservatives. Eventually a pair of
scales is brought in, and verses alternately spouted by the two
candidates are weighed against each other, the mighty lines of the Father
of Tragedy making his flippant, finickin little rival's scale kick the
beam every time.

Dionysus becomes a convert to the superior merits of the old school of
tragedy, and contemptuously dismisses Euripides, to take Aeschylus back
with him to the upper world instead, leaving Sophocles meantime in
occupation of the coveted throne of tragedy in the nether regions.

Needless to say, the various scenes of the journey to Hades, the crossing
of Acheron, the Frogs' choric songs, and the trial before Pluto, afford
opportunities for much excellent fooling in our Author's very finest vein
of drollery, and "seem to have supplied the original idea for those
modern burlesques upon the Olympian and Tartarian deities which were at
one time so popular. "

* * * * *

THE FROGS


DRAMATIS PERSONAE

DIONYSUS.
XANTHIAS, his Servant.
HERACLES.
A DEAD MAN.
CHARON.
AEACUS.
FEMALE ATTENDANT OF PERSEPHONE.
INKEEPERS' WIVES.
EURIPIDES.
AESCHYLUS.
PLUTO.
CHORUS OF FROGS.
CHORUS OF INITIATES.

SCENE: In front of the temple of Heracles, and on the banks of Acheron in
the Infernal Regions.

* * * * *

THE FROGS


XANTHIAS. Now am I to make one of those jokes that have the knack of
always making the spectators laugh?

DIONYSUS. Aye, certainly, any one you like, excepting "I am worn out. "
Take care you don't say that, for it gets on my nerves.

XANTHIAS. Do you want some other drollery?

DIONYSUS. Yes, only not, "I am quite broken up. "

XANTHIAS. Then what witty thing shall I say?

DIONYSUS. Come, take courage; only . . .

XANTHIAS. Only what?

DIONYSUS. . . . don't start saying as you shift your package from shoulder
to shoulder, "Ah! that's a relief! "

XANTHIAS. May I not at least say, that unless I am relieved of this
cursed load I shall let wind?

DIONYSUS. Oh! for pity's sake, no! you don't want to make me spew.

XANTHIAS. What need then had I to take this luggage, if I must not copy
the porters that Phrynichus, Lycis and Amipsias[382] never fail to put on
the stage?

DIONYSUS. Do nothing of the kind. Whenever I chance to see one of these
stage tricks, I always leave the theatre feeling a good year older.

XANTHIAS. Oh! my poor back! you are broken and I am not allowed to make a
single joke.

DIONYSUS. Just mark the insolence of this Sybarite! I, Dionysus, the son
of a . . . wine-jar,[383] I walk, I tire myself, and I set yonder rascal
upon an ass, that he may not have the burden of carrying his load.

XANTHIAS. But am I not carrying it?

DIONYSUS. No, since you are on your beast.

XANTHIAS. Nevertheless I am carrying this. . . .

DIONYSUS. What?

XANTHIAS. . . . and it is very heavy.

DIONYSUS. But this burden you carry is borne by the ass.

XANTHIAS.
What I have here, 'tis certainly I who bear it, and not the
ass, no, by all the gods, most certainly not!

DIONYSUS. How can you claim to be carrying it, when you are carried?

XANTHIAS. That I can't say; but this shoulder is broken, anyhow.

DIONYSUS. Well then, since you say that the ass is no good to you, pick
her up in your turn and carry her.

XANTHIAS. What a pity I did not fight at sea;[384] I would baste your
ribs for that joke.

DIONYSUS. Dismount, you clown! Here is a door,[385] at which I want to
make my first stop. Hi! slave! hi! hi! slave!

HERACLES (_from inside the Temple_). Do you want to beat in the door? He
knocks like a Centaur. [386] Why, what's the matter?

DIONYSUS. Xanthias!

XANTHIAS. Well?

DIONYSUS. Did you notice?

XANTHIAS. What?

DIONYSUS. How I frightened him?

XANTHIAS. Bah! you're mad!

HERACLES. Ho, by Demeter! I cannot help laughing; it's no use biting my
lips, I must laugh.

DIONYSUS. Come out, friend; I have need of you.

HERACLES. Oh! 'tis enough to make a fellow hold his sides to see this
lion's-skin over a saffron robe! [387] What does this mean? Buskins[388]
and a bludgeon! What connection have they? Where are you off to in this
rig?

DIONYSUS. When I went aboard Clisthenes[389]. . . .

HERACLES. Did you fight?

DIONYSUS. We sank twelve or thirteen ships of the enemy.

HERACLES. You?

DIONYSUS. Aye, by Apollo!

HERACLES. You have dreamt it. [390]

DIONYSUS. As I was reading the 'Andromeda'[391] on the ship, I suddenly
felt my heart afire with a wish so violent. . . .

HERACLES. A wish! of what nature?

DIONYSUS. Oh, quite small, like Molon. [392]

HERACLES. You wished for a woman?

DIONYSUS. No.

HERACLES. A young boy, then?

DIONYSUS. Nothing of the kind.

HERACLES. A man?

DIONYSUS. Faugh!

HERACLES. Might you then have had dealings with Clisthenes?

DIONYSUS. Have mercy, brother; no mockery! I am quite ill, so greatly
does my desire torment me!

HERACLES. And what desire is it, little brother?

DIONYSUS. I cannot disclose it, but I will convey it to you by hints.
Have you ever been suddenly seized with a desire for pea-soup?

HERACLES. For pea-soup! oh! oh! yes, a thousand times in my life. [393]

DIONYSUS. Do you take me or shall I explain myself in some other way?

HERACLES. Oh! as far as the pea-soup is concerned, I understand
marvellously well.

DIONYSUS. So great is the desire, which devours me, for Euripides.

HERACLES. But he is dead. [394]

DIONYSUS. There is no human power can prevent my going to him.

HERACLES. To the bottom of Hades?

DIONYSUS. Aye, and further than the bottom, an it need.

HERACLES. And what do you want with him?

DIONYSUS. I want a master poet; "some are dead and gone, and others are
good for nothing. "[395]

HERACLES. Is Iophon[396] dead then?

DIONYSUS. He is the only good one left me, and even of him I don't know
quite what to think.

HERACLES. Then there's Sophocles, who is greater than Euripides; if you
must absolutely bring someone back from Hades, why not make him live
again?

DIONYSUS. No, not until I have taken Iophon by himself and tested him for
what he is worth. Besides, Euripides is very artful and won't leave a
stone unturned to get away with me, whereas Sophocles is as easy-going
with Pluto as he was when on earth.

HERACLES. And Agathon? Where is he? [397]

DIONYSUS. He has left me; 'twas a good poet and his friends regret him.

HERACLES. And whither has the poor fellow gone?

DIONYSUS. To the banquet of the blest.

HERACLES. And Xenocles? [398]

DIONYSUS. May the plague seize him!

HERACLES. And Pythangelus? [399]

XANTHIAS. They don't say ever a word of poor me, whose shoulder is quite
shattered.

HERACLES. Is there not a crowd of other little lads, who produce
tragedies by the thousand and are a thousand times more loquacious than
Euripides?

DIONYSUS. They are little sapless twigs, chatterboxes, who twitter like
the swallows, destroyers of the art, whose aptitude is withered with a
single piece and who sputter forth all their talent to the tragic Muse at
their first attempt. But look where you will, you will not find a
creative poet who gives vent to a noble thought.

HERACLES. How creative?

DIONYSUS. Aye, creative, who dares to risk "the ethereal dwellings of
Zeus," or "the wing of Time," or "a heart that is above swearing by the
sacred emblems," and "a tongue that takes an oath, while yet the soul is
unpledged. "[400]

HERACLES. Is that the kind of thing that pleases you?

DIONYSUS. I'm more than madly fond of it.

HERACLES. But such things are simply idiotic, you feel it yourself.

DIONYSUS. "Don't come trespassing on my mind; you have a brain of your
own to keep thoughts in. "[401]

HERACLES. But nothing could be more detestable.

DIONYSUS. Where cookery is concerned, you can be my master. [402]

XANTHIAS. They don't say a thing about me!

DIONYSUS. If I have decked myself out according to your pattern, 'tis
that you may tell me, in case I should need them, all about the hosts who
received you, when you journeyed to Cerberus; tell me of them as well as
of the harbours, the bakeries, the brothels, the drinking-shops, the
fountains, the roads, the eating-houses and of the hostels where there
are the fewest bugs.

XANTHIAS. They never speak of me. [403]

HERACLES. Go down to hell? Will you be ready to dare that, you madman?

DIONYSUS. Enough of that; but tell me the shortest road, that is neither
too hot nor too cold, to get down to Pluto.

HERACLES. Let me see, what is the best road to show you? Aye, which? Ah!
there's the road of the gibbet and the rope. Go and hang yourself.

DIONYSUS. Be silent! your road is choking me.

HERACLES. There is another path, both very short and well-trodden; the
one that goes through the mortar. [404]

DIONYSUS. 'Tis hemlock you mean to say.

HERACLES. Precisely so.

DIONYSUS. That road is both cold and icy. Your legs get frozen at
once. [405]

HERACLES. Do you want me to tell you a very steep road, one that descends
very quickly?

DIONYSUS. Ah! with all my heart; I don't like long walks.

HERACLES. Go to the Ceramicus. [406]

DIONYSUS.