[561] Thetis, to escape the
solicitations
of Peleus, assumed in turn the
form of a bird, of a tree, and finally of a tigress; but Peleus learnt of
Proteus the way of compelling Thetis to yield to his wishes.
form of a bird, of a tree, and finally of a tigress; but Peleus learnt of
Proteus the way of compelling Thetis to yield to his wishes.
Aristophanes
Oh!
oh!
STREPSIADES. Come, torch, do your duty! Burst into full flame!
DISCIPLE. What are you up to?
STREPSIADES. What am I up to? Why, I am entering upon a subtle argument
with the beams of the house.
SECOND DISCIPLE. Hullo! hullo! who is burning down our house?
STREPSIADES. The man whose cloak you have appropriated.
SECOND DISCIPLE. But we are dead men, dead men!
STREPSIADES. That is just exactly what I hope, unless my axe plays me
false, or I fall and break my neck.
SOCRATES. Hi! you fellow on the roof, what are you doing up there?
STREPSIADES. I traverse the air and contemplate the sun. [574]
SOCRATES. Ah! ah! woe is upon me! I am suffocating!
CHAEREPHON. Ah! you insulted the gods! Ah! you studied the face of the
moon! Chase them, strike and beat them down! Forward! they have richly
deserved their fate--above all, by reason of their blasphemies.
CHORUS. So let the Chorus file off the stage. Its part is played.
* * * * *
FINIS OF "THE CLOUDS"
* * * * *
Footnotes:
[470] He is in one bed and his son is in another; slaves are sleeping
near them. It is night-time.
[471] The punishment most frequently inflicted upon slaves in the towns
was to send them into the country to work in the fields, but at the
period when the 'Clouds' was presented, 424 B. C. , the invasions of the
Peloponnesians forbade the pursuit of agriculture. Moreover, there
existed the fear, that if the slaves were punished too harshly, they
might go over to the enemy.
[472] Among the Greeks, each month was divided into three decades. The
last of the month was called [Greek: en_e kai nea], the day of the old
and the new or the day of the new moon, and on that day interest, which
it was customary to pay monthly, became due.
[473] Literally, the horse marked with the [Greek: koppa] ([Symbol:
Letter 'koppa']), a letter of the older Greek alphabet, afterwards
disused, which distinguished the thoroughbreds.
[474] Phidippides dreams that he is driving in a chariot race, and that
an opponent is trying to cut into his track.
[475] There was a prize specially reserved for war-chariots in the games
of the Athenian hippodrome; being heavier than the chariots generally
used, they doubtless had to cover a lesser number of laps, which explains
Phidippides' question.
[476] The wife of Alcmaeon, a descendant of Nestor, who, driven from
Messenia by the Heraclidae, came to settle in Athens in the twelfth
century, and was the ancestor of the great family of the Alcmaeonidae,
Pericles and Alcibiades belonged to it.
[477] The Greek word for horse is [Greek: hippos].
[478] Derived from [Greek: pheidesthai], to save.
[479] The name Phidippides contains both words, [Greek: hippos], horse,
and [Greek: pheidesthai], to save, and was therefore a compromise arrived
at between the two parents.
[480] The heads of the family of the Alcmaeonidae bore the name of
Megacles from generation to generation.
[481] A mountain in Attica.
[482] Aristophanes represents everything belonging to Socrates as being
mean, even down to his dwelling.
[483] Crates ascribes the same doctrine in one of his plays to the
Pythagorean Hippo, of Samos.
[484] This is pure calumny. Socrates accepted no payment.
[485] Here the poet confounds Socrates' disciples with the Stoics.
Contrary to the text, Socrates held that a man should care for his bodily
health.
[486] One of Socrates' pupils.
[487] Female footwear. They were a sort of light slipper and white in
colour.
[488] He calls off their attention by pretending to show them a
geometrical problem and seizes the opportunity to steal something for
supper. The young men who gathered together in the palaestra, or
gymnastic school, were wont there to offer sacrifices to the gods before
beginning the exercises. The offerings consisted of smaller victims, such
as lambs, fowl, geese, etc. , and the flesh afterwards was used for their
meal (_vide_ Plato in the 'Lysias'). It is known that Socrates taught
wherever he might happen to be, in the palaestra as well as elsewhere.
[489] The first of the seven sages, born at Miletus.
[490] Because of their wretched appearance. The Laconians, blockaded in
Sphacteria, had suffered sorely from famine.
[491] In fact, this was one of the chief accusations brought against
Socrates by Miletus and Anytus; he was reproached for probing into the
mysteries of nature.
[492] When the Athenians captured a town, they divided its lands by lot
among the poorer Athenian citizens.
[493] An allusion to the Athenian love of law-suits and litigation.
[494] When originally conquered by Pericles, the island of Euboea, off
the coasts of Boeotia and Attica, had been treated with extreme
harshness.
[495] Is about to add, "you believe in them at all," but checks himself.
[496] This was the doctrine of Anaximenes.
[497] The scholiast explains that water-cress robs all plants that grow
in its vicinity of their moisture and that they consequently soon wither
and die.
[498] In the other Greek towns, the smaller coins were of copper.
[499] Athamas, King of Thebes. An allusion to a tragedy by Sophocles, in
which Athamas is dragged before the altar of Zeus with his head circled
with a chaplet, to be there sacrificed; he is, however, saved by
Heracles.
[500] No doubt Socrates sprinkled flour over the head of Strepsiades in
the same manner as was done with the sacrificial victims.
[501] The mysteries of Eleusis celebrated in the Temple of Demeter.
[502] A mountain of Attica, north of Athens.
[503] Sybaris, a town of Magna Graecia (Lucania), destroyed by the
Crotoniates in 709 B. C. , was rebuilt by the Athenians under the name of
Thurium in 444 B. C. Ten diviners had been sent with the Athenian
settlers.
[504] A parody of the dithyrambic style.
[505] Hieronymus, a dithyrambic poet and reputed an infamous pederast.
[506] When guests at the nuptials of Pirithous, King of the Lapithae, and
Hippodamia, they wanted to carry off and violate the bride. That,
according to legend, was the origin of their war against the Lapithae.
Hieronymus is likened to the Centaurs on account of his bestial passion.
[507] A general, incessantly scoffed at by Aristophanes because of his
cowardice.
[508] Aristophanes frequently mentions him as an effeminate and debauched
character.
[509] A celebrated sophist, born at Ceos, and a disciple of Protagoras.
When sent on an embassy by his compatriots to Athens, he there publicly
preached on eloquence, and had for his disciples Euripides, Isocrates and
even Socrates. His "fifty drachmae lecture" has been much spoken of; that
sum had to be paid to hear it.
[510] These three men have already been referred to.
[511] A promontory of Attica (the modern Cape Colonna) about fifty miles
from the Piraeus. Here stood a magnificent Temple, dedicated to Athene.
[512] The opening portion of the parabasis belongs to a second edition of
the 'Clouds. ' Aristophanes had been defeated by Cratinus and Amipsias,
whose pieces, called the 'Bottle' and 'Connus,' had been crowned in
preference to the 'Clouds,' which, it is said, was not received any
better at its second representation.
[513] Two characters introduced into the 'Daedalians' by Aristophanes in
strong contrast to each other. Some fragments only of this piece remain
to us.
[514] It was only at the age of thirty, according to some, of forty,
according to others, that a man could present a piece in his own name.
The 'Daedalians' had appeared under the auspices of Cleonides and
Chalistrates, whom we find again later as actors in Aristophanes' pieces.
[515] Allusion to the recognition of Orestes by Electra at her brother's
tomb. (_See_ the 'Choephorae' of Aeschylus. )
[516] An image of the penis, drooping in this case, instead of standing,
carried as a phallic emblem in the Dionysiac processions.
[517] A licentious dance.
[518] This coarse way of exciting laughter, says the scholiast, had been
used by Eupolis, the comic writer, a rival of Aristophanes.
[519] In the 'Knights. '
[520] Presented in 421 B. C. The 'Clouds' having been played a second time
in 419 B. C. , one may conclude that this piece had appeared a third time
on the Athenian stage.
[521] Doubtless a parody of the legend of Andromeda.
[522] A poet of the older comedy, who had written forty plays. It is said
that he dared to accuse Aspasia, the mistress of Pericles, of impiety and
the practice of prostitution.
[523] Cleon.
[524] This part of the parabasis belongs to the first edition of the
'Clouds,' since Aristophanes here speaks of Cleon as alive.
[525] A mountain in Delos, dedicated to Apollo and Diana.
[526] Artemis.
[527] An allusion to the reform, which the astronomer Meton had wanted to
introduce into the calendar. Cleostratus of Tenedos, at the beginning of
the fifth century, had devised the _octaeteris_, or cycle of eight years,
and this had been generally adopted. This is how this system arrived at
an agreement between the solar and the lunar periods: 8 solar years
containing 2922 days, while 8 lunar years only contain 2832 days, there
was a difference of 90 days, for which Cleostratus compensated by
intercalating 3 months of 30 days each, which were placed after the
third, fifth and eighth year of the cycle. Hence these years had an extra
month each. But in this system, the lunar months had been reckoned as 354
days, whereas they are really 354 days, 8 hours, 48 minutes. To rectify
this minor error Meton invented a cycle of 19 years, which bears his
name. This new system which he tried to introduce naturally caused some
disturbance in the order of the festivals, and for this or some other
reason his system was not adopted. The octaeteris continued to be used
for all public purposes, the only correction being, that three extra days
were added to every second octaeteris.
[528] Both sons of Zeus.
[529] Hyperbolus had supported Meton in his desire for reform. Having
been sent as the Athenian deputy to the council of the Amphictyons, he
should, like his colleagues, have returned to Athens with his head
wreathed with laurel. It is said the wind took this from him; the Clouds
boast of the achievement.
[530] These are poetical measures; Strepsiades thinks measures of
capacity are meant.
[531] Containing four _choenixes_.
[532] So called from its stirring, warlike character; it was composed of
two dactyls and a spondee, followed again by two dactyls and a spondee.
[533] Composed of dactyls and anapaests.
[534] [Greek: Daktylos] means, of course, both _dactyl_, name of a
metrical foot, and finger. Strepsiades presents his middle finger, with
the other fingers and thumb bent under in an indecent gesture meant to
suggest the penis and testicles. The Romans for this reason called the
middle finger 'digitus infamis,' the _unseemly finger_. The Emperor Nero
is said to have offered his hand to courtiers to kiss sometimes in this
indecent way.
[535] Meaning he was too poor, Aristophanes represents him as a glutton
and a parasite.
[536] A woman's name.
[537] He is classed as a woman because of his cowardice and effeminacy.
[538] In Greek, the vocative of Amynias is Amynia; thus it has a feminine
termination.
[539] The Corinthians, the allies of Sparta, ravaged Attica. [Greek:
Kor], the first portion of the Greek word, is the root of the word which
means a bug in the same language.
[540] Mirrors, or burning glasses, are meant, such as those used by
Archimedes two centuries later at the siege of Syracuse, when he set the
Roman fleet on fire from the walls of the city.
[541] That is, the family of the Alcmaeonidae; Coesyra was wife of
Alcmaeon.
[542] Socrates was an Athenian; but the atheist Diagoras, known as 'the
enemy of the gods' hailed from the island of Melos. Strepsiades,
crediting Socrates with the same incredulity, assigns him the same
birthplace.
[543] i. e. the enemies of the gods. An allusion to the giants, the sons
of Earth, who had endeavoured to scale heaven.
[544] Pericles had squandered all the wealth accumulated in the Acropolis
upon the War. When he handed in his accounts, he refused to explain the
use of a certain twenty talents and simply said, "_I spent them on what
was necessary_. " Upon hearing of this reply, the Lacedaemonians, who were
already discontented with their kings, Cleandrides and Plistoanax, whom
they accused of carrying on the war in Attica with laxness, exiled the
first-named and condemned the second to payment of a fine of fifteen
talents for treachery. In fact, the Spartans were convinced that Pericles
had kept silent as to what he had done with the twenty talents, because
he did not want to say openly, "_I gave this sum to the Kings of
Lacedaemon_. "
[545] The basket in which Aristophanes shows us Socrates suspended to
bring his mind nearer to the subtle regions of air.
[546] The scholiast tells us that Just Discourse and Unjust Discourse
were brought upon the stage in cages, like cocks that are going to fight.
Perhaps they were even dressed up as cocks, or at all events wore cocks'
heads as their masks.
[547] In the language of the schools of philosophy just reasoning was
called 'the stronger'--[Greek: ho kreitt_on logos], unjust reasoning,
'the weaker'--[Greek: ho h_ett_on logos].
[548] A character in one of the tragedies of Aeschylus, a beggar and a
clever, plausible speaker.
[549] A sycophant and a quibbler, renowned for his unparalleled bad faith
in the law-suits he was perpetually bringing forward.
[550] The opening words of two hymns, attributed to Lamprocles, an
ancient lyric poet, the son or the pupil of Medon.
[551] A poet and musician of Mitylene, who gained the prize of the lyre
at the Panathenaea in 457 B. C. He lived at the Court of Hiero, where,
Suidas says, he was at first a slave and the cook. He added two strings
to the lyre, which hitherto had had only seven. He composed effeminate
airs of a style unknown before his day.
[552] Zeus had a temple in the citadel of Athens under the name of
Polieus or protector of the city; bullocks were sacrificed to him
(Buphonia). In the days of Aristophanes, these feasts had become
neglected.
[553] One of the oldest of the dithyrambic poets.
[554] Used by the ancient Athenians to keep their hair in place. The
custom was said to have a threefold significance; by it the Athenians
wanted to show that they were musicians, autochthons (i. e. indigenous to
the country) and worshippers of Apollo. Indeed, grasshoppers were
considered to sing with harmony; they swarmed on Attic soil and were
sacred to Phoebus, the god of music.
[555] Telesippus, Demophon and Pericles by name; they were a byword at
Athens for their stupidity. Hippocrates was a general.
[556] The famous gardens of the Academia, just outside the walls of
Athens; they included gymnasia, lecture halls, libraries and picture
galleries. Near by was a wood of sacred olives.
[557] Apparently the historian of that name is meant; in any case it
cannot refer to the celebrated epic poet, author of the 'Theba? s. '
[558] Among the Greeks, hot springs bore the generic name of 'Baths of
Heracles. ' A legend existed that these had gushed forth spontaneously
beneath the tread of the hero, who would plunge into them and there
regain fresh strength to continue his labours.
[559] King of Pylos, according to Homer, the wisest of all the Greeks.
[560] Peleus, son of Aeacus, having resisted the appeals of Astydamia,
the wife of Acastus, King of Iolchos, was denounced to her husband by her
as having wished to seduce her, so that she might be avenged for his
disdain. Acastus in his anger took Peleus to hunt with him on Mount
Pelion, there deprived him of his weapons and left him a prey to wild
animals. He was about to die, when Hermes brought him a sword forged by
Hephaestus.
[561] Thetis, to escape the solicitations of Peleus, assumed in turn the
form of a bird, of a tree, and finally of a tigress; but Peleus learnt of
Proteus the way of compelling Thetis to yield to his wishes. The gods
were present at his nuptials and made the pair rich presents.
[562] According to the scholiast, an adulterer was punished in the
following manner: a radish was forced up his rectum, then every hair was
torn out round that region, and the portion so treated was then covered
with burning embers.
[563] Having said this, Just Discourse threw his cloak into the
amphitheatre and took a seat with the spectators.
[564] Because it never rains there; for all other reasons residence in
Egypt was looked upon as undesirable.
[565] That is, the last day of the month.
[566] By Athenian law, if anyone summoned another to appear before the
Courts, he was obliged to deposit a sum sufficient to cover the costs of
procedure.
[567] He points to an earthenware sphere, placed at the entrance of
Socrates' dwelling, and which was intended to represent the Whirlwind,
the deity of the philosophers. This sphere took the place of the column
which the Athenians generally dedicated to Apollo, and which stood in the
vestibule of their houses.
[568] An Athenian poet, who is said to have left one hundred and sixty
tragedies behind him; he only once carried off the prize. Doubtless he
had introduced gods or demi-gods bewailing themselves into one of his
tragedies.
[569] This exclamation, "Oh! Pallas, thou hast undone me! " and the reply
of Strepsiades are borrowed, says the scholiast, from a tragedy by
Xenocles, the son of Carcinus. Alcmena is groaning over the death of her
brother, Licymnius, who had been killed by Tlepolemus.
[570] A proverb, applied to foolish people.
[571] The ram of Phryxus, the golden fleece of which was hung up on a
beech tree in a field dedicated to Ares in Colchis.
[572] The subject of Euripides' 'Aeolus. ' Since among the Athenians it
was lawful to marry a half-sister, if not born of the same mother,
Strepsiades mentions here that it was his _uterine_ sister, whom Macareus
dishonoured, thus committing both rape and incest.
[573] A cleft in the rocks at the back of the Acropolis at Athens, into
which criminals were hurled.
[574] He repeats the words of Socrates at their first interview, in
mockery.
INDEX
A
Academia, gardens of
Acharnae, hostages of
--inhabitants of
--township of
Acharnians, date fixed
--date of
Adonis, festivals of
Adultery, punishment of
Aegaean, Islands of
Aegeus, a mythical king
Aeschylus, character from
--plays after death
Aesop, Fable of
Aetolian, meaning of
Age fixed for playwrights
Agoracritus, crime imputed
--meaning of
Alcibiades, his father
Amorgos silks
Amphitheus, play on word
Amyclae, town near Sparta
Anagyra, town, an obstacle
Anapaests, reference to
Anaximenes, doctrine of
Andromeda, legend parodied
Anthesteria. See Dionysia
Antimachus, the historian
Apaturia, a feast
--festival of
Aphrodite Colias, the goddess of sensual love
Archeptolemus, treatment of
Archers, as policemen
Archilochus, singer of his own shame
Archimedes, fires Roman fleet
Argives (the), their misfortune
Army, Athenian
Artemesia, the Queen
Artemis, the huntress
Artemisium, naval battle of
Artichokes, to make tender
Arignotus, a soothsayer
Ariphrades, obscene habits
--a flute-player
Aristogiton, a conspirator
Aristophanes, anonymity of
--bald
--defeated
--land-owner
Assemblies, forced attendance of citizens
Athamas, a condemned king
Athene, the goddess
--protection claimed
--seen in dream
Athenian women, fond of wine
B
"Babylonians," (The), a lost play
Bacchus, festivals of
Bacis, a soothsayer
Bagpipes, ancient
Barathrum, cleft of rock
--place of execution
Basket-bearers, the
Baths of Heracles
Beans, used for voting
Beetle, flying on a
Beetles, names of boats
Blackmail
Blankets, soiled with urine
Blood, unspilled in sacrifice
Boasting derided
Boeotians, the
Boulomachus, meaning of
Boy's name, dispute over
Brasidas, fell in Thrace
Brauron, its temple
"Brazen House," the
Bread, used for finger-wiping
Buckler, swearing over
Bucklers, as trophies
Bupalus, the sculptor
Byrsina, why hateful
C
Cabirian gods, mysteries of
Caesyra, an orator
Cage (a) for pigs
Calendar, reform of
Captives of Pylos
Captured towns
Carcinus, a fecund poet
Carcinus and sons, literary insufficiency of
Caria, situation of
Carystus, dissolute city
Catamite, faeces of
Cecrops, legend of
Cecydes, ancient poet
Centaur, legend of
Cephisodemus, an advocate
Ceramicus, burial-place
Ceremonies (sacred) personified
Ceres, sacrificed pigs
Chaerephon, disciple of Socrates
Chaeris, musician ridiculed
Chalcedon, situation of
--the town of
Chaonian, obscene allusion
Chargers, praise of their exploits
Charybdis, the whirlpool
Chastity, reward of
Cheese, as an emblem
Chersonese, towns of
Chians, obscene name of
Children, in procession
Chimney, obscene sense
Cholozyges, mad ox
Chorus (the) protects Agoracritus
Cicadas, use and significance
Cillicon, a traitor
Circus-races, terms of
Citizens (Athenian), four classes of
Clausimachus, meaning of
Cleaenetus, the law as to feeding
Cleomenes, King of Sparta
Cleon, allusion to treachery of
--dead
--disgorges tribute
--exhortation of
--foe of the aristocrats
--his former calling
--his retort
--ill results of reign
--leather-smelling
--mentioned
--the author of woe
--the role of
--the use of oracles
--unpaid sailors' wages
--vote of people
Cleonymus
--classed as a woman
--glutton and parasite
--ill-famed
--a general
Clepsydra, a spring
Clisthenes, a debauchee
--an effeminate
--an ill-famed orator
--a low personage
Clitagoras, song writer
Clopidian, meaning of
Cock-fighting, allusion to
Coesyra, wife of Alcmaeon
Collar (iron) for torturing
Connas, a poet
Copper-coins
Cordax (the), licentious dance
Corinth, nickname of
--mentioned
Corinthians, allies of Sparta
Corybantes, priests
Cottabos, a favourite game
Country-home, ousted from
Crab, nickname of Corinth
Cranaus, citadel of
--the King
Crates, a comic poet, character of
Cratinus, a bad living poet
--first lines of poems
--poet and lover of wine
--reference to
--rival to Aristophanes
'Clouds,' the first edition
Crows, go to the, explained
Ctesias, an informer
Cunnilingue, vice of
Cyclocorus, a torrent
Cynecephalus, species of ape
Cynna, a courtesan
--famous courtesan
Cynthia, a mountain
D
Dactyl, the double meaning of
'Daedalians,' a lost play
Dance, an obscene
--the kick
Dances, lascivious
Dawn, the, time for love
Dead (the), a custom
Demagogues, secret of power
Demos, double meaning of
Demosthenes, a reproach of
Demostratus, a statesman
Depilation, referred to
Diagoras, the atheist
Dicaeopolis, meaning of
Dionysia, feasts
--the basket-bearer
Dionysus, statue of, place of honour
Diopithes, a bribe-taker
Discourse, Just and Unjust
Dog, a skinned, proverb
"Dog-fox," a brothel-keeper
--meaning of
Dogs, lubricity of
Dolphins, where worshipped
Double meanings, obscene
Dream, a
Drunken habits, results of
E
Eagle and beetle, a fable
Earth, sons of the
Earthquakes, Sparta menaced
Ecbatana, King's residence
Ecclesia, the, or Parliament
Ecclesiasts, their salary
Echinus, town of
Eclipses, allusion to
Eels, certain, esteemed
--with beet
Egypt, residence in
Election, character of
Electra, reference to
Eleusis, mysteries of
Elymnium, a temple
Embassies, dismissed
Erectheus, identity of
Eucrates, Athenian general
--hiding-place of
--statesman
Euminides, temples of refuge
Eupolis, a comic writer
Euripides, a line from
--"Aeolus," subject of
--his mother
--his talent
--lost tragedy of
--parodied
--satirised
--verse from
Expedition, starting on
F
Fear, colour of
Feast of Cups
Fellation, alluded to
Festivals, three days
Fine, fixed by plaintiff
Finger, the, obscene allusion
Fleet (the), counsel concerning
Formula, a sacred
G
Gallop (the), in sexual intercourse
Games, war chariots in
"Garden of love," weeded
Garlic, an emblem
--for game-cocks
--the smell of
Genetyllides, minor deities
Genius, Good, explained
Glanis, invented name
"Goddesses (by the two)"
_Godemiche_, alluded to
Gods, the, belief in
Gorgon's head
Gorgons (the), name for gluttons
Grasshoppers
Greek stage, device of
Greenstuff, offered to gods
Gryttus, an orator
Gull, allusion to Cleon
H
Harmodius, assassin esteemed
--song in honour
Harpies (the), symbol of voracity
Heliasts, the, at Athens
--tribunal of
Hermippus, celebrated comic poet
Hephaestus, sword of
Heracles, as a glutton
_Hermae_, figures of the god
Hermes, conducts dead souls
--god of chance, and thieves
promised worship
Hieronymus, an obscure poet
--poet and pederast
Hippias, the Tyranny of
Hippocrates, sons of the general
Hipponax, satiric poet, ugliness of
Homeric verses, adapted
Hippo of Samos, doctrine
Honey, emblem of honey
Horse, marking of
Horses, good breed
Hyperbolus, a demagogue
--a general
I
Iliad, the, verses from
Incest with rape
Informers warned off
Initiated (the), after death
Invasion, result of
Iolas, a Theban hero
Ion (of Chios), a successful poet
Ionians, meaning
Isthmus, obscene pun
J
Jargon, meaningless
Jest, an obscene
_Judicatum solvi_ at Athens
Julius, a miser
K
Kneaded (to be), obscene
"Knockabouts," ancient
L
Lacratides, Archon
Lamachus, a brave general
Lame heroes, in plays
Lamprocles, a lyric poet
Language, used by orators
Laurel, the, carried off by wind
Law-costs, defendants'
Lawsuit against aliens
Lawsuits, Athenians' love of
--pretexts for
Leather, dominated by
--the market
Lemnos, ominous of misfortune
Lenaea. See Dionysia
Leonidas, hero of Thermopylae
"Let us drink," a song
Lipsydrion, fortified town
Loaves, Boeotian
"_Love and lewdness_"
Lyceum (the)
Lysicles, dealer in sheep
--husband of Aspasia
Lysimacha, derivation of
Lysistratus, a debauchee
--poverty of
M
Macareus rapes sister
_Mad Ox_, a nickname
Magnes, the comic poet
Male sexual organ, pun on
"_Many good men_"
"Maricas," play by Eupolis
Marpsias, an orator
Medimni, a measure
Megacles, family name
Megara, ally to Sparta
Megarians, boycotted
--(the), their sufferings
Melanion, chaste as
Melanthius, "Medea," tragedy by
--poet and gourmand
_Membrum virile_, punned upon
Micon, famous painter
Mice (the), a play
Mina, value of
Mines (silver), source of wealth
Mirrors, or burning glasses
Mitylene, city of
Modes of love, allusions to different
Month (the), how divided
Moon, the old and new
Mothon, an obscene dance
Morsimus, the poet
Morychus of Athens
Mountains, the golden
Mount Taygetus
Myronides, famous general
Mysian Telephus (the)
N
Names, fancy
Navarino, Battle of
Nero, Emperor, his finger
Nestor, the wise king
Nicarchus, an informer
Nicias, Greek general, satire on courage of
O
Oath, over a buckler
Obolus, "the honest penny"
Odomanti, a tribe
Offering, the priest's part
Old men, ridiculed
Olive branches, when carried
Olympus, a musician
Omens, their effect
Opora, the goddess
Opportunity, neglected
Opposite (the) to word expected
Oracles, belief in
--obscurity satirised
Orators, pederastic habits of
Orestes, symbol of rage
Oreus, a town
Orsilochus, brothel-keeper
Orthian mode, described
P
Pan, King of the Satyrs
Panathenaea, a festival
--(the), promised to Hermes
Pandeletus, renowned quibbler
Pandion, statue of
Paphlagonian tanner
--meaning of
Parabis, character of
Parliament (the), Athenian
Parnes, mountain of
Pauson, a painter
Peace, efforts for
Pederasty, school for oratory
Pegasus, in Euripides
--steed of Perseus
Peleus, accused of seduction
Pellene, a city, also name of courtesan
Penis, the drooping, as emblem
Penny royal, effect on fruit-eating
Peplus, the sacred, uses of
Pericles, maltreats conquered people
--squanders wealth
Periclides, chief of embassy
Persian buskins
Persians, alliance with Spartans
Perfumes, Rhodian
Pergasae
Phales, god of generation
Phallus (the), an emblem
Phallics. See Phallus
Phayllus, an athlete
Pheax, special pleader
Phelleus, a mountain
Pherecrates, playwright
Phidias, reward of work
Philocles, sons of
Philostratus, identity lost
Phormio, a great general
--a successful general
--famous admiral
Phrynis, poet and musician
Phryxus, ram of
Phylarch, cavalry captain
Phyle, a fortress of Attica
Pigs immolated
Pillar, used for treaties
Pimples, a swinish disease
Pindar, borrowed from
Piraeus, the
Pisander, a braggart captain
--revolutionary leader
Pittalus, a physician
Pleasures, wanton
Pnyx, purpose used for
Poetry, measures of
Poets, seduce young men
--supply theatrical gear
"_Poseidon and boat_"
Posidon, god of earthquakes
Potidaea, a tributary town
Pramnium, wine or
Prasiae, a town
Prepis, a vile pathic
Priapus, god of gardens
Prisoners, objects of sale
Prisoners, Spartan
Processions, barred to married women
Prodicus, celebrated sophist
Prytanes, duties of
--(the), their functions
Prytaneum, meals, why given
Pseudartabas, the King's Eye
Pun, far-fetched
--of ill omen
--on "father" and cowardice
--on word Pylos
Punishment (of slaves)
Pyanepsia, a festival
Pylos, history of
--barley, meaning
--the affair of
--towns of
Pyrrandrus, origin of name
Pythagorean doctrine
Q
Question before sacrificing
R
Radishes, used as punishment
Rape and incest
Reasoning, names for
S
Salabaccha, famous courtesan
Salamis, the island of
Samos, friend to Athens
Samothrace, the island of
Samphoras, mark of horses
"Scythian woman"
Semi-sextarius, the
Senate, admission to
--how composed
Seriphian, island of
Sesame-cake, emblem of fecundity
Shoes, taken off
Sibyrtius, the son of
Sicilian Expedition (the)
Sicily, towns of
Sicyonians, blood in sacrifice
Silphium, a plant
Simonides, a timeserver
--song-writer
Sisters, marriage of half-
Sisyphus, his cunning
Sitalces, a king
_Skytale_, used for despatches
Slaves, names of
Smicythes, the King
Socrates, basket used for meditation
--calumniated
--chief accusation against
--his birthplace
--his meanness
--taught everywhere
--teaching _re_ bodily health
--sprinkles flour
--words mocked at
Soldiers, inexpert at speaking
Soldier's nation
Sophocles, writing for gain
Sow, obscene pun on word
Spartans (the), prisoners
--malicious
Speeches, limited by clocks
Sphere, earthenware
Stage (the Greek), contrivance of
--(the), of theatre
State treasure
Stealing, under pretence of teaching
Steeds, exploits of
Stilbides, a diviner
Stone seats, where used
Strangers, at Athens
Strategi (the)
Strato, orator of ill-fame
Stupidity, in government
Suidas, referred to
Sunium, temple of
Sybaris, a town
Sybil (the), of Delphi
Syrmaea, a purgative
T
Tail, when burning
Tails, animals without
Tambourines, with lewd dancing
Telamon, war-song writer
--"Telephus," a lost play
--Tents at Olympic games
"Tereus," a lost play
Thales, mentioned
Thasian wine
Theagenes, an evil liver
--wife
Themistocles, work for Athens
--death, 33
Theognis, a poet sans life
Theophanes, identity of
Theoria, why in care of Senate
Thetis, solicited by Peleus
Thucydides, references to
Thumantis unhoused
Timocreon, song of
Timon, the misanthrope
Toad-eaters, orators
Treachery, reward of
Tributes, paid to Athens
Trierarch, duties of
Tricorysus, gnat-haunted
Truces, how personified
Tyndarus, sons of
V
Vegetables, at feast of Dionysia
Vessels (Grecian), allusion to crew
Vintages, result of peace
Violation of brides, origin of war
Vocative (the), in Ionic
W
Wages of rowers, how avoided
War-chariots, prize for
War, hardships
--results of, Peloponnesian
"Wasps (The)," verses from
Water-cress, depredations of
Wealth, given to traitors
Whirlwind, the, as deity
"_Who is here? _"
Wind, the, snatches off laurel
Wine, water in
Wines, symbolic
Women, Athenian, love of wine
--lascivious dancing
Women, loose, wear silk
Wrestling school, place of pederasty
X
_Xenocles_, a line from
Z
Zacynthus, an island
Zeus, appealed to
--sons of
Zeus Polieus
Zeuxis, the painter
*** END OF THE PROJECT GUTENBERG EBOOK, THE ELEVEN COMEDIES ***
This file should be named 8688-8. txt or 8688-8. zip
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the US
unless a copyright notice is included. Thus, we usually do not
keep eBooks in compliance with any particular paper edition.
We are now trying to release all our eBooks one year in advance
of the official release dates, leaving time for better editing.
Please be encouraged to tell us about any error or corrections,
even years after the official publication date.
Please note neither this listing nor its contents are final til
midnight of the last day of the month of any such announcement.
The official release date of all Project Gutenberg eBooks is at
Midnight, Central Time, of the last day of the stated month. A
preliminary version may often be posted for suggestion, comment
and editing by those who wish to do so.
Most people start at our Web sites at:
http://gutenberg. net or
http://promo. net/pg
These Web sites include award-winning information about Project
Gutenberg, including how to donate, how to help produce our new
eBooks, and how to subscribe to our email newsletter (free! ).
Those of you who want to download any eBook before announcement
can get to them as follows, and just download by date. This is
also a good way to get them instantly upon announcement, as the
indexes our cataloguers produce obviously take a while after an
announcement goes out in the Project Gutenberg Newsletter.
http://www. ibiblio. org/gutenberg/etext05 or
ftp://ftp. ibiblio. org/pub/docs/books/gutenberg/etext05
Or /etext04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92,
91 or 90
Just search by the first five letters of the filename you want,
as it appears in our Newsletters.
Information about Project Gutenberg (one page)
We produce about two million dollars for each hour we work. The
time it takes us, a rather conservative estimate, is fifty hours
to get any eBook selected, entered, proofread, edited, copyright
searched and analyzed, the copyright letters written, etc. Our
projected audience is one hundred million readers. If the value
per text is nominally estimated at one dollar then we produce $2
million dollars per hour in 2002 as we release over 100 new text
files per month: 1240 more eBooks in 2001 for a total of 4000+
We are already on our way to trying for 2000 more eBooks in 2002
If they reach just 1-2% of the world's population then the total
will reach over half a trillion eBooks given away by year's end.
The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
This is ten thousand titles each to one hundred million readers,
which is only about 4% of the present number of computer users.
Here is the briefest record of our progress (* means estimated):
eBooks Year Month
1 1971 July
10 1991 January
100 1994 January
1000 1997 August
1500 1998 October
2000 1999 December
2500 2000 December
3000 2001 November
4000 2001 October/November
6000 2002 December*
9000 2003 November*
10000 2004 January*
The Project Gutenberg Literary Archive Foundation has been created
to secure a future for Project Gutenberg into the next millennium.
We need your donations more than ever!
As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.
We have filed in all 50 states now, but these are the only ones
that have responded.
As the requirements for other states are met, additions to this list
will be made and fund raising will begin in the additional states.
Please feel free to ask to check the status of your state.
In answer to various questions we have received on this:
We are constantly working on finishing the paperwork to legally
request donations in all 50 states. If your state is not listed and
you would like to know if we have added it since the list you have,
just ask.
While we cannot solicit donations from people in states where we are
not yet registered, we know of no prohibition against accepting
donations from donors in these states who approach us with an offer to
donate.
International donations are accepted, but we don't know ANYTHING about
how to make them tax-deductible, or even if they CAN be made
deductible, and don't have the staff to handle it even if there are
ways.
Donations by check or money order may be sent to:
PROJECT GUTENBERG LITERARY ARCHIVE FOUNDATION
809 North 1500 West
Salt Lake City, UT 84116
Contact us if you want to arrange for a wire transfer or payment
method other than by check or money order.
The Project Gutenberg Literary Archive Foundation has been approved by
the US Internal Revenue Service as a 501(c)(3) organization with EIN
[Employee Identification Number] 64-622154. Donations are
tax-deductible to the maximum extent permitted by law. As fund-raising
requirements for other states are met, additions to this list will be
made and fund-raising will begin in the additional states.
We need your donations more than ever!
You can get up to date donation information online at:
http://www. gutenberg. net/donation. html
***
If you can't reach Project Gutenberg,
you can always email directly to:
Michael S. Hart <hart@pobox. com>
Prof. Hart will answer or forward your message.
We would prefer to send you information by email.
**The Legal Small Print**
(Three Pages)
***START**THE SMALL PRINT! **FOR PUBLIC DOMAIN EBOOKS**START***
Why is this "Small Print! " statement here? You know: lawyers.
They tell us you might sue us if there is something wrong with
your copy of this eBook, even if you got it for free from
someone other than us, and even if what's wrong is not our
fault. So, among other things, this "Small Print! " statement
disclaims most of our liability to you. It also tells you how
you may distribute copies of this eBook if you want to.
*BEFORE! * YOU USE OR READ THIS EBOOK
By using or reading any part of this PROJECT GUTENBERG-tm
eBook, you indicate that you understand, agree to and accept
this "Small Print! " statement. If you do not, you can receive
a refund of the money (if any) you paid for this eBook by
sending a request within 30 days of receiving it to the person
you got it from. If you received this eBook on a physical
medium (such as a disk), you must return it with your request.
ABOUT PROJECT GUTENBERG-TM EBOOKS
This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you! ) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this eBook
under the "PROJECT GUTENBERG" trademark.
Please do not use the "PROJECT GUTENBERG" trademark to market
any commercial products without permission.
To create these eBooks, the Project expends considerable
efforts to identify, transcribe and proofread public domain
works. Despite these efforts, the Project's eBooks and any
medium they may be on may contain "Defects". Among other
things, Defects may take the form of incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other eBook medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
LIMITED WARRANTY; DISCLAIMER OF DAMAGES
But for the "Right of Replacement or Refund" described below,
[1] Michael Hart and the Foundation (and any other party you may
receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
all liability to you for damages, costs and expenses, including
legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
POSSIBILITY OF SUCH DAMAGES.
If you discover a Defect in this eBook within 90 days of
receiving it, you can receive a refund of the money (if any)
you paid for it by sending an explanatory note within that
time to the person you received it from. If you received it
on a physical medium, you must return it with your note, and
such person may choose to alternatively give you a replacement
copy. If you received it electronically, such person may
choose to alternatively give you a second opportunity to
receive it electronically.
THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.
Some states do not allow disclaimers of implied warranties or
the exclusion or limitation of consequential damages, so the
above disclaimers and exclusions may not apply to you, and you
may have other legal rights.
INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause: [1] distribution of this eBook,
[2] alteration, modification, or addition to the eBook,
or [3] any Defect.
DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
You may distribute copies of this eBook electronically, or by
disk, book or any other medium if you either delete this
"Small Print! " and all other references to Project Gutenberg,
or:
[1] Only give exact copies of it. Among other things, this
requires that you do not remove, alter or modify the
eBook or this "small print! " statement. You may however,
if you wish, distribute this eBook in machine readable
binary, compressed, mark-up, or proprietary form,
including any form resulting from conversion by word
processing or hypertext software, but only so long as
*EITHER*:
[*] The eBook, when displayed, is clearly readable, and
does *not* contain characters other than those
intended by the author of the work, although tilde
(~), asterisk (*) and underline (_) characters may
be used to convey punctuation intended by the
author, and additional characters may be used to
indicate hypertext links; OR
[*] The eBook may be readily converted by the reader at
no expense into plain ASCII, EBCDIC or equivalent
form by the program that displays the eBook (as is
the case, for instance, with most word processors);
OR
[*] You provide, or agree to also provide on request at
no additional cost, fee or expense, a copy of the
eBook in its original plain ASCII form (or in EBCDIC
or other equivalent proprietary form).
[2] Honor the eBook refund and replacement provisions of this
"Small Print! " statement.
[3] Pay a trademark license fee to the Foundation of 20% of the
gross profits you derive calculated using the method you
already use to calculate your applicable taxes. If you
don't derive profits, no royalty is due. Royalties are
payable to "Project Gutenberg Literary Archive Foundation"
the 60 days following each date you prepare (or were
legally required to prepare) your annual (or equivalent
periodic) tax return. Please contact us beforehand to
let us know your plans and to work out the details.
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
Project Gutenberg is dedicated to increasing the number of
public domain and licensed works that can be freely distributed
in machine readable form.
The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation. "
If you are interested in contributing scanning equipment or
software or other items, please contact Michael Hart at:
hart@pobox. com
[Portions of this eBook's header and trailer may be reprinted only
when distributed free of all fees. Copyright (C) 2001, 2002 by
Michael S. Hart. Project Gutenberg is a TradeMark and may not be
used in any sales of Project Gutenberg eBooks or other materials be
they hardware or software or any other related product without
express permission. ]
*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver. 02/11/02*END*
? The Project Gutenberg EBook of The Eleven Comedies, by Aristophanes et al
Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.
Please read the "legal small print," and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers! *****
Title: The Eleven Comedies
Author: Aristophanes et al
Release Date: August, 2005 [EBook #8689]
[This file was first posted on August 1, 2003]
Edition: 10
Language: English
Character set encoding: ISO Latin-1
*** START OF THE PROJECT GUTENBERG EBOOK, THE ELEVEN COMEDIES ***
Produced by Jonathan Ingram, Thomas Berger, and the Online Distributed
Proofreading Team.
The Athenian Society
ARISTOPHANES
THE ELEVEN COMEDIES
Now For The First Time Literally And Completely Translated From The Greek
Tongue Into English
With Translator's Foreword An Introduction To Each Comedy And Elucidatory
Notes
The Second Of Two Volumes
* * * * *
CONTENTS OF THE SECOND VOLUME
THE WASPS
Introduction
Text And Notes
THE BIRDS
Introduction
Text And Notes
THE FROGS
Introduction
Text And Notes
THE THESMOPHORIAZUSAE
Introduction
Text And Notes
THE ECCLESIAZUSAE
Introduction
Text And Notes
PLUTUS
Introduction
Text And Notes
INDEX
THE WASPS
INTRODUCTION
"This Comedy, which was produced by its Author the year after the
performance of 'The Clouds,' may be taken as in some sort a companion
picture to that piece. Here the satire is directed against the passion of
the Athenians for the excitement of the law-courts, as in the former its
object was the new philosophy. And as the younger generation--the modern
school of thought--were there the subjects of the caricature, so here the
older citizens, who took their seats in court as jurymen day by day, to
the neglect of their private affairs and the encouragement of a litigious
disposition, appear in their turn in the mirror which the satirist holds
up. "
There are only two characters of any importance to the action--Philocleon
('friend of Cleon') and his son Bdelycleon ('enemy of Cleon'). The plot
is soon told. Philocleon is a bigoted devotee of the malady of
litigiousness so typical of his countrymen and an enthusiastic attendant
at the Courts in his capacity of 'dicast' or juryman. Bdelycleon
endeavours to persuade his father by every means in his power to change
this unsatisfactory manner of life for something nobler and more
profitable; but all in vain. As a last resource he keeps his father a
prisoner indoors, so that he cannot attend the tribunals.
The old man tries to escape, and these attempts are conceived in the
wildest vein of extravaganza. He endeavours to get out by the chimney,
pretending he is "only the smoke"; and all hands rush to clap a cover on
the chimney-top, and a big stone on that. He slips through a hole in the
tiles, and sits on the roof, pretending to be "only a sparrow"; and they
have to set a net to catch him. Then the Chorus of Wasps, representing
Philocleon''s fellow 'dicasts,' appear on the scene to rescue him. A
battle royal takes place on the stage; the Wasps, with their formidable
stings, trying to storm the house, while the son and his retainers defend
their position with desperate courage. Finally the assailants are
repulsed, and father and son agree upon a compromise. Bdelycleon
promises, on condition that his father gives up attending the public
trails, to set up a mock tribunal for him in his own house.
Presently the theft of a Sicilian cheese by the house-dog Labes gives the
old fellow an opportunity of exercising his judicial functions. Labes is
duly arraigned and witnesses examines. But alas! Philocleon inadvertently
casts his vote for the defendant's _acquittal_, the first time in his
life "such a thing has ever occurred," and the old man nearly dies of
vexation.
At this point follows the 'Parabasis,' or Author's personal address to
the audience, after which the concluding portion of the play has little
connection with the main theme. This is a fault, according to modern
ideas, common to many of these Comedies, but it is especially marked in
this particular instance. The final part might almost be a separate play,
under the title perhaps of 'The dicast turned gentleman,' and relates
various ridiculous mistakes and laughable blunders committed by
Philocleon, who, having given up his attendance on the law-courts, has
set up for playing a part in polite society.
The drama, as was very often the case, takes its title from the Chorus--a
band of old men dressed up as wasps, who acrimonious, stinging,
exasperated temper is meant to typify the character fostered among
Athenian citizens by excessive addiction to forensic business.
Racine, in the only comedy he attempted, 'Les Plaideurs,' borrows the
incident of the mock trial of the house-dog, amplifying and adding
further diverting features.
Perhaps 'The Wasps' is the least amusing of all our Author's pieces which
have come down to us--at any rate to a modern reader. The theme of its
satire, the litigious spirit of the Athenians, is after all purely local
and temporary, while the fun often strikes us as thin and forced.
Schlegel writes in his 'Dramatic Literature': "The subject is too
limited, the folly it ridicules appears a disease of too singular a
description, without a sufficient universality of application, and the
action is too much drawn out. "
* * * * *
THE WASPS
DRAMATIS PERSONAE
PHILOCLEON, a Dicast.
BDELYCLEON, his Son.
SOSIAS, House-servant of Philocleon.
XANTHIAS, House-servant of Philocleon.
BOYS.
A DOG.
A BAKER'S WIFE.
ACCUSER.
CHORUS OF ELDERS, costumed as Wasps.
SCENE: Philocleon's house at Athens.
* * * * *
THE WASPS
SOSIAS. Why, Xanthias! what are you doing, wretched man?
XANTHIAS. I am teaching myself how to rest; I have been awake and on
watch the whole night.
SOSIAS. So you want to earn trouble for your ribs,[1] eh? Don't you know
what sort of an animal we are guarding here?
XANTHIAS. Aye indeed! but I want to put my cares to sleep for a while.
SOSIAS. Beware what you do. I too feel soft sleep spreading over my eyes.
Resist it, for you must be as mad as a Corybant if you fall asleep. [2]
XANTHIAS. No! 'Tis Bacchus who lulls me off.
SOSIAS. Then you serve the same god as myself. Just now a heavy slumber
settled on my eyelids like a hostile Mede; A nodded and, faith! I had a
wondrous dream.
XANTHIAS. Indeed! and so had I. A dream such as I never had before. But
first tell me yours.
STREPSIADES. Come, torch, do your duty! Burst into full flame!
DISCIPLE. What are you up to?
STREPSIADES. What am I up to? Why, I am entering upon a subtle argument
with the beams of the house.
SECOND DISCIPLE. Hullo! hullo! who is burning down our house?
STREPSIADES. The man whose cloak you have appropriated.
SECOND DISCIPLE. But we are dead men, dead men!
STREPSIADES. That is just exactly what I hope, unless my axe plays me
false, or I fall and break my neck.
SOCRATES. Hi! you fellow on the roof, what are you doing up there?
STREPSIADES. I traverse the air and contemplate the sun. [574]
SOCRATES. Ah! ah! woe is upon me! I am suffocating!
CHAEREPHON. Ah! you insulted the gods! Ah! you studied the face of the
moon! Chase them, strike and beat them down! Forward! they have richly
deserved their fate--above all, by reason of their blasphemies.
CHORUS. So let the Chorus file off the stage. Its part is played.
* * * * *
FINIS OF "THE CLOUDS"
* * * * *
Footnotes:
[470] He is in one bed and his son is in another; slaves are sleeping
near them. It is night-time.
[471] The punishment most frequently inflicted upon slaves in the towns
was to send them into the country to work in the fields, but at the
period when the 'Clouds' was presented, 424 B. C. , the invasions of the
Peloponnesians forbade the pursuit of agriculture. Moreover, there
existed the fear, that if the slaves were punished too harshly, they
might go over to the enemy.
[472] Among the Greeks, each month was divided into three decades. The
last of the month was called [Greek: en_e kai nea], the day of the old
and the new or the day of the new moon, and on that day interest, which
it was customary to pay monthly, became due.
[473] Literally, the horse marked with the [Greek: koppa] ([Symbol:
Letter 'koppa']), a letter of the older Greek alphabet, afterwards
disused, which distinguished the thoroughbreds.
[474] Phidippides dreams that he is driving in a chariot race, and that
an opponent is trying to cut into his track.
[475] There was a prize specially reserved for war-chariots in the games
of the Athenian hippodrome; being heavier than the chariots generally
used, they doubtless had to cover a lesser number of laps, which explains
Phidippides' question.
[476] The wife of Alcmaeon, a descendant of Nestor, who, driven from
Messenia by the Heraclidae, came to settle in Athens in the twelfth
century, and was the ancestor of the great family of the Alcmaeonidae,
Pericles and Alcibiades belonged to it.
[477] The Greek word for horse is [Greek: hippos].
[478] Derived from [Greek: pheidesthai], to save.
[479] The name Phidippides contains both words, [Greek: hippos], horse,
and [Greek: pheidesthai], to save, and was therefore a compromise arrived
at between the two parents.
[480] The heads of the family of the Alcmaeonidae bore the name of
Megacles from generation to generation.
[481] A mountain in Attica.
[482] Aristophanes represents everything belonging to Socrates as being
mean, even down to his dwelling.
[483] Crates ascribes the same doctrine in one of his plays to the
Pythagorean Hippo, of Samos.
[484] This is pure calumny. Socrates accepted no payment.
[485] Here the poet confounds Socrates' disciples with the Stoics.
Contrary to the text, Socrates held that a man should care for his bodily
health.
[486] One of Socrates' pupils.
[487] Female footwear. They were a sort of light slipper and white in
colour.
[488] He calls off their attention by pretending to show them a
geometrical problem and seizes the opportunity to steal something for
supper. The young men who gathered together in the palaestra, or
gymnastic school, were wont there to offer sacrifices to the gods before
beginning the exercises. The offerings consisted of smaller victims, such
as lambs, fowl, geese, etc. , and the flesh afterwards was used for their
meal (_vide_ Plato in the 'Lysias'). It is known that Socrates taught
wherever he might happen to be, in the palaestra as well as elsewhere.
[489] The first of the seven sages, born at Miletus.
[490] Because of their wretched appearance. The Laconians, blockaded in
Sphacteria, had suffered sorely from famine.
[491] In fact, this was one of the chief accusations brought against
Socrates by Miletus and Anytus; he was reproached for probing into the
mysteries of nature.
[492] When the Athenians captured a town, they divided its lands by lot
among the poorer Athenian citizens.
[493] An allusion to the Athenian love of law-suits and litigation.
[494] When originally conquered by Pericles, the island of Euboea, off
the coasts of Boeotia and Attica, had been treated with extreme
harshness.
[495] Is about to add, "you believe in them at all," but checks himself.
[496] This was the doctrine of Anaximenes.
[497] The scholiast explains that water-cress robs all plants that grow
in its vicinity of their moisture and that they consequently soon wither
and die.
[498] In the other Greek towns, the smaller coins were of copper.
[499] Athamas, King of Thebes. An allusion to a tragedy by Sophocles, in
which Athamas is dragged before the altar of Zeus with his head circled
with a chaplet, to be there sacrificed; he is, however, saved by
Heracles.
[500] No doubt Socrates sprinkled flour over the head of Strepsiades in
the same manner as was done with the sacrificial victims.
[501] The mysteries of Eleusis celebrated in the Temple of Demeter.
[502] A mountain of Attica, north of Athens.
[503] Sybaris, a town of Magna Graecia (Lucania), destroyed by the
Crotoniates in 709 B. C. , was rebuilt by the Athenians under the name of
Thurium in 444 B. C. Ten diviners had been sent with the Athenian
settlers.
[504] A parody of the dithyrambic style.
[505] Hieronymus, a dithyrambic poet and reputed an infamous pederast.
[506] When guests at the nuptials of Pirithous, King of the Lapithae, and
Hippodamia, they wanted to carry off and violate the bride. That,
according to legend, was the origin of their war against the Lapithae.
Hieronymus is likened to the Centaurs on account of his bestial passion.
[507] A general, incessantly scoffed at by Aristophanes because of his
cowardice.
[508] Aristophanes frequently mentions him as an effeminate and debauched
character.
[509] A celebrated sophist, born at Ceos, and a disciple of Protagoras.
When sent on an embassy by his compatriots to Athens, he there publicly
preached on eloquence, and had for his disciples Euripides, Isocrates and
even Socrates. His "fifty drachmae lecture" has been much spoken of; that
sum had to be paid to hear it.
[510] These three men have already been referred to.
[511] A promontory of Attica (the modern Cape Colonna) about fifty miles
from the Piraeus. Here stood a magnificent Temple, dedicated to Athene.
[512] The opening portion of the parabasis belongs to a second edition of
the 'Clouds. ' Aristophanes had been defeated by Cratinus and Amipsias,
whose pieces, called the 'Bottle' and 'Connus,' had been crowned in
preference to the 'Clouds,' which, it is said, was not received any
better at its second representation.
[513] Two characters introduced into the 'Daedalians' by Aristophanes in
strong contrast to each other. Some fragments only of this piece remain
to us.
[514] It was only at the age of thirty, according to some, of forty,
according to others, that a man could present a piece in his own name.
The 'Daedalians' had appeared under the auspices of Cleonides and
Chalistrates, whom we find again later as actors in Aristophanes' pieces.
[515] Allusion to the recognition of Orestes by Electra at her brother's
tomb. (_See_ the 'Choephorae' of Aeschylus. )
[516] An image of the penis, drooping in this case, instead of standing,
carried as a phallic emblem in the Dionysiac processions.
[517] A licentious dance.
[518] This coarse way of exciting laughter, says the scholiast, had been
used by Eupolis, the comic writer, a rival of Aristophanes.
[519] In the 'Knights. '
[520] Presented in 421 B. C. The 'Clouds' having been played a second time
in 419 B. C. , one may conclude that this piece had appeared a third time
on the Athenian stage.
[521] Doubtless a parody of the legend of Andromeda.
[522] A poet of the older comedy, who had written forty plays. It is said
that he dared to accuse Aspasia, the mistress of Pericles, of impiety and
the practice of prostitution.
[523] Cleon.
[524] This part of the parabasis belongs to the first edition of the
'Clouds,' since Aristophanes here speaks of Cleon as alive.
[525] A mountain in Delos, dedicated to Apollo and Diana.
[526] Artemis.
[527] An allusion to the reform, which the astronomer Meton had wanted to
introduce into the calendar. Cleostratus of Tenedos, at the beginning of
the fifth century, had devised the _octaeteris_, or cycle of eight years,
and this had been generally adopted. This is how this system arrived at
an agreement between the solar and the lunar periods: 8 solar years
containing 2922 days, while 8 lunar years only contain 2832 days, there
was a difference of 90 days, for which Cleostratus compensated by
intercalating 3 months of 30 days each, which were placed after the
third, fifth and eighth year of the cycle. Hence these years had an extra
month each. But in this system, the lunar months had been reckoned as 354
days, whereas they are really 354 days, 8 hours, 48 minutes. To rectify
this minor error Meton invented a cycle of 19 years, which bears his
name. This new system which he tried to introduce naturally caused some
disturbance in the order of the festivals, and for this or some other
reason his system was not adopted. The octaeteris continued to be used
for all public purposes, the only correction being, that three extra days
were added to every second octaeteris.
[528] Both sons of Zeus.
[529] Hyperbolus had supported Meton in his desire for reform. Having
been sent as the Athenian deputy to the council of the Amphictyons, he
should, like his colleagues, have returned to Athens with his head
wreathed with laurel. It is said the wind took this from him; the Clouds
boast of the achievement.
[530] These are poetical measures; Strepsiades thinks measures of
capacity are meant.
[531] Containing four _choenixes_.
[532] So called from its stirring, warlike character; it was composed of
two dactyls and a spondee, followed again by two dactyls and a spondee.
[533] Composed of dactyls and anapaests.
[534] [Greek: Daktylos] means, of course, both _dactyl_, name of a
metrical foot, and finger. Strepsiades presents his middle finger, with
the other fingers and thumb bent under in an indecent gesture meant to
suggest the penis and testicles. The Romans for this reason called the
middle finger 'digitus infamis,' the _unseemly finger_. The Emperor Nero
is said to have offered his hand to courtiers to kiss sometimes in this
indecent way.
[535] Meaning he was too poor, Aristophanes represents him as a glutton
and a parasite.
[536] A woman's name.
[537] He is classed as a woman because of his cowardice and effeminacy.
[538] In Greek, the vocative of Amynias is Amynia; thus it has a feminine
termination.
[539] The Corinthians, the allies of Sparta, ravaged Attica. [Greek:
Kor], the first portion of the Greek word, is the root of the word which
means a bug in the same language.
[540] Mirrors, or burning glasses, are meant, such as those used by
Archimedes two centuries later at the siege of Syracuse, when he set the
Roman fleet on fire from the walls of the city.
[541] That is, the family of the Alcmaeonidae; Coesyra was wife of
Alcmaeon.
[542] Socrates was an Athenian; but the atheist Diagoras, known as 'the
enemy of the gods' hailed from the island of Melos. Strepsiades,
crediting Socrates with the same incredulity, assigns him the same
birthplace.
[543] i. e. the enemies of the gods. An allusion to the giants, the sons
of Earth, who had endeavoured to scale heaven.
[544] Pericles had squandered all the wealth accumulated in the Acropolis
upon the War. When he handed in his accounts, he refused to explain the
use of a certain twenty talents and simply said, "_I spent them on what
was necessary_. " Upon hearing of this reply, the Lacedaemonians, who were
already discontented with their kings, Cleandrides and Plistoanax, whom
they accused of carrying on the war in Attica with laxness, exiled the
first-named and condemned the second to payment of a fine of fifteen
talents for treachery. In fact, the Spartans were convinced that Pericles
had kept silent as to what he had done with the twenty talents, because
he did not want to say openly, "_I gave this sum to the Kings of
Lacedaemon_. "
[545] The basket in which Aristophanes shows us Socrates suspended to
bring his mind nearer to the subtle regions of air.
[546] The scholiast tells us that Just Discourse and Unjust Discourse
were brought upon the stage in cages, like cocks that are going to fight.
Perhaps they were even dressed up as cocks, or at all events wore cocks'
heads as their masks.
[547] In the language of the schools of philosophy just reasoning was
called 'the stronger'--[Greek: ho kreitt_on logos], unjust reasoning,
'the weaker'--[Greek: ho h_ett_on logos].
[548] A character in one of the tragedies of Aeschylus, a beggar and a
clever, plausible speaker.
[549] A sycophant and a quibbler, renowned for his unparalleled bad faith
in the law-suits he was perpetually bringing forward.
[550] The opening words of two hymns, attributed to Lamprocles, an
ancient lyric poet, the son or the pupil of Medon.
[551] A poet and musician of Mitylene, who gained the prize of the lyre
at the Panathenaea in 457 B. C. He lived at the Court of Hiero, where,
Suidas says, he was at first a slave and the cook. He added two strings
to the lyre, which hitherto had had only seven. He composed effeminate
airs of a style unknown before his day.
[552] Zeus had a temple in the citadel of Athens under the name of
Polieus or protector of the city; bullocks were sacrificed to him
(Buphonia). In the days of Aristophanes, these feasts had become
neglected.
[553] One of the oldest of the dithyrambic poets.
[554] Used by the ancient Athenians to keep their hair in place. The
custom was said to have a threefold significance; by it the Athenians
wanted to show that they were musicians, autochthons (i. e. indigenous to
the country) and worshippers of Apollo. Indeed, grasshoppers were
considered to sing with harmony; they swarmed on Attic soil and were
sacred to Phoebus, the god of music.
[555] Telesippus, Demophon and Pericles by name; they were a byword at
Athens for their stupidity. Hippocrates was a general.
[556] The famous gardens of the Academia, just outside the walls of
Athens; they included gymnasia, lecture halls, libraries and picture
galleries. Near by was a wood of sacred olives.
[557] Apparently the historian of that name is meant; in any case it
cannot refer to the celebrated epic poet, author of the 'Theba? s. '
[558] Among the Greeks, hot springs bore the generic name of 'Baths of
Heracles. ' A legend existed that these had gushed forth spontaneously
beneath the tread of the hero, who would plunge into them and there
regain fresh strength to continue his labours.
[559] King of Pylos, according to Homer, the wisest of all the Greeks.
[560] Peleus, son of Aeacus, having resisted the appeals of Astydamia,
the wife of Acastus, King of Iolchos, was denounced to her husband by her
as having wished to seduce her, so that she might be avenged for his
disdain. Acastus in his anger took Peleus to hunt with him on Mount
Pelion, there deprived him of his weapons and left him a prey to wild
animals. He was about to die, when Hermes brought him a sword forged by
Hephaestus.
[561] Thetis, to escape the solicitations of Peleus, assumed in turn the
form of a bird, of a tree, and finally of a tigress; but Peleus learnt of
Proteus the way of compelling Thetis to yield to his wishes. The gods
were present at his nuptials and made the pair rich presents.
[562] According to the scholiast, an adulterer was punished in the
following manner: a radish was forced up his rectum, then every hair was
torn out round that region, and the portion so treated was then covered
with burning embers.
[563] Having said this, Just Discourse threw his cloak into the
amphitheatre and took a seat with the spectators.
[564] Because it never rains there; for all other reasons residence in
Egypt was looked upon as undesirable.
[565] That is, the last day of the month.
[566] By Athenian law, if anyone summoned another to appear before the
Courts, he was obliged to deposit a sum sufficient to cover the costs of
procedure.
[567] He points to an earthenware sphere, placed at the entrance of
Socrates' dwelling, and which was intended to represent the Whirlwind,
the deity of the philosophers. This sphere took the place of the column
which the Athenians generally dedicated to Apollo, and which stood in the
vestibule of their houses.
[568] An Athenian poet, who is said to have left one hundred and sixty
tragedies behind him; he only once carried off the prize. Doubtless he
had introduced gods or demi-gods bewailing themselves into one of his
tragedies.
[569] This exclamation, "Oh! Pallas, thou hast undone me! " and the reply
of Strepsiades are borrowed, says the scholiast, from a tragedy by
Xenocles, the son of Carcinus. Alcmena is groaning over the death of her
brother, Licymnius, who had been killed by Tlepolemus.
[570] A proverb, applied to foolish people.
[571] The ram of Phryxus, the golden fleece of which was hung up on a
beech tree in a field dedicated to Ares in Colchis.
[572] The subject of Euripides' 'Aeolus. ' Since among the Athenians it
was lawful to marry a half-sister, if not born of the same mother,
Strepsiades mentions here that it was his _uterine_ sister, whom Macareus
dishonoured, thus committing both rape and incest.
[573] A cleft in the rocks at the back of the Acropolis at Athens, into
which criminals were hurled.
[574] He repeats the words of Socrates at their first interview, in
mockery.
INDEX
A
Academia, gardens of
Acharnae, hostages of
--inhabitants of
--township of
Acharnians, date fixed
--date of
Adonis, festivals of
Adultery, punishment of
Aegaean, Islands of
Aegeus, a mythical king
Aeschylus, character from
--plays after death
Aesop, Fable of
Aetolian, meaning of
Age fixed for playwrights
Agoracritus, crime imputed
--meaning of
Alcibiades, his father
Amorgos silks
Amphitheus, play on word
Amyclae, town near Sparta
Anagyra, town, an obstacle
Anapaests, reference to
Anaximenes, doctrine of
Andromeda, legend parodied
Anthesteria. See Dionysia
Antimachus, the historian
Apaturia, a feast
--festival of
Aphrodite Colias, the goddess of sensual love
Archeptolemus, treatment of
Archers, as policemen
Archilochus, singer of his own shame
Archimedes, fires Roman fleet
Argives (the), their misfortune
Army, Athenian
Artemesia, the Queen
Artemis, the huntress
Artemisium, naval battle of
Artichokes, to make tender
Arignotus, a soothsayer
Ariphrades, obscene habits
--a flute-player
Aristogiton, a conspirator
Aristophanes, anonymity of
--bald
--defeated
--land-owner
Assemblies, forced attendance of citizens
Athamas, a condemned king
Athene, the goddess
--protection claimed
--seen in dream
Athenian women, fond of wine
B
"Babylonians," (The), a lost play
Bacchus, festivals of
Bacis, a soothsayer
Bagpipes, ancient
Barathrum, cleft of rock
--place of execution
Basket-bearers, the
Baths of Heracles
Beans, used for voting
Beetle, flying on a
Beetles, names of boats
Blackmail
Blankets, soiled with urine
Blood, unspilled in sacrifice
Boasting derided
Boeotians, the
Boulomachus, meaning of
Boy's name, dispute over
Brasidas, fell in Thrace
Brauron, its temple
"Brazen House," the
Bread, used for finger-wiping
Buckler, swearing over
Bucklers, as trophies
Bupalus, the sculptor
Byrsina, why hateful
C
Cabirian gods, mysteries of
Caesyra, an orator
Cage (a) for pigs
Calendar, reform of
Captives of Pylos
Captured towns
Carcinus, a fecund poet
Carcinus and sons, literary insufficiency of
Caria, situation of
Carystus, dissolute city
Catamite, faeces of
Cecrops, legend of
Cecydes, ancient poet
Centaur, legend of
Cephisodemus, an advocate
Ceramicus, burial-place
Ceremonies (sacred) personified
Ceres, sacrificed pigs
Chaerephon, disciple of Socrates
Chaeris, musician ridiculed
Chalcedon, situation of
--the town of
Chaonian, obscene allusion
Chargers, praise of their exploits
Charybdis, the whirlpool
Chastity, reward of
Cheese, as an emblem
Chersonese, towns of
Chians, obscene name of
Children, in procession
Chimney, obscene sense
Cholozyges, mad ox
Chorus (the) protects Agoracritus
Cicadas, use and significance
Cillicon, a traitor
Circus-races, terms of
Citizens (Athenian), four classes of
Clausimachus, meaning of
Cleaenetus, the law as to feeding
Cleomenes, King of Sparta
Cleon, allusion to treachery of
--dead
--disgorges tribute
--exhortation of
--foe of the aristocrats
--his former calling
--his retort
--ill results of reign
--leather-smelling
--mentioned
--the author of woe
--the role of
--the use of oracles
--unpaid sailors' wages
--vote of people
Cleonymus
--classed as a woman
--glutton and parasite
--ill-famed
--a general
Clepsydra, a spring
Clisthenes, a debauchee
--an effeminate
--an ill-famed orator
--a low personage
Clitagoras, song writer
Clopidian, meaning of
Cock-fighting, allusion to
Coesyra, wife of Alcmaeon
Collar (iron) for torturing
Connas, a poet
Copper-coins
Cordax (the), licentious dance
Corinth, nickname of
--mentioned
Corinthians, allies of Sparta
Corybantes, priests
Cottabos, a favourite game
Country-home, ousted from
Crab, nickname of Corinth
Cranaus, citadel of
--the King
Crates, a comic poet, character of
Cratinus, a bad living poet
--first lines of poems
--poet and lover of wine
--reference to
--rival to Aristophanes
'Clouds,' the first edition
Crows, go to the, explained
Ctesias, an informer
Cunnilingue, vice of
Cyclocorus, a torrent
Cynecephalus, species of ape
Cynna, a courtesan
--famous courtesan
Cynthia, a mountain
D
Dactyl, the double meaning of
'Daedalians,' a lost play
Dance, an obscene
--the kick
Dances, lascivious
Dawn, the, time for love
Dead (the), a custom
Demagogues, secret of power
Demos, double meaning of
Demosthenes, a reproach of
Demostratus, a statesman
Depilation, referred to
Diagoras, the atheist
Dicaeopolis, meaning of
Dionysia, feasts
--the basket-bearer
Dionysus, statue of, place of honour
Diopithes, a bribe-taker
Discourse, Just and Unjust
Dog, a skinned, proverb
"Dog-fox," a brothel-keeper
--meaning of
Dogs, lubricity of
Dolphins, where worshipped
Double meanings, obscene
Dream, a
Drunken habits, results of
E
Eagle and beetle, a fable
Earth, sons of the
Earthquakes, Sparta menaced
Ecbatana, King's residence
Ecclesia, the, or Parliament
Ecclesiasts, their salary
Echinus, town of
Eclipses, allusion to
Eels, certain, esteemed
--with beet
Egypt, residence in
Election, character of
Electra, reference to
Eleusis, mysteries of
Elymnium, a temple
Embassies, dismissed
Erectheus, identity of
Eucrates, Athenian general
--hiding-place of
--statesman
Euminides, temples of refuge
Eupolis, a comic writer
Euripides, a line from
--"Aeolus," subject of
--his mother
--his talent
--lost tragedy of
--parodied
--satirised
--verse from
Expedition, starting on
F
Fear, colour of
Feast of Cups
Fellation, alluded to
Festivals, three days
Fine, fixed by plaintiff
Finger, the, obscene allusion
Fleet (the), counsel concerning
Formula, a sacred
G
Gallop (the), in sexual intercourse
Games, war chariots in
"Garden of love," weeded
Garlic, an emblem
--for game-cocks
--the smell of
Genetyllides, minor deities
Genius, Good, explained
Glanis, invented name
"Goddesses (by the two)"
_Godemiche_, alluded to
Gods, the, belief in
Gorgon's head
Gorgons (the), name for gluttons
Grasshoppers
Greek stage, device of
Greenstuff, offered to gods
Gryttus, an orator
Gull, allusion to Cleon
H
Harmodius, assassin esteemed
--song in honour
Harpies (the), symbol of voracity
Heliasts, the, at Athens
--tribunal of
Hermippus, celebrated comic poet
Hephaestus, sword of
Heracles, as a glutton
_Hermae_, figures of the god
Hermes, conducts dead souls
--god of chance, and thieves
promised worship
Hieronymus, an obscure poet
--poet and pederast
Hippias, the Tyranny of
Hippocrates, sons of the general
Hipponax, satiric poet, ugliness of
Homeric verses, adapted
Hippo of Samos, doctrine
Honey, emblem of honey
Horse, marking of
Horses, good breed
Hyperbolus, a demagogue
--a general
I
Iliad, the, verses from
Incest with rape
Informers warned off
Initiated (the), after death
Invasion, result of
Iolas, a Theban hero
Ion (of Chios), a successful poet
Ionians, meaning
Isthmus, obscene pun
J
Jargon, meaningless
Jest, an obscene
_Judicatum solvi_ at Athens
Julius, a miser
K
Kneaded (to be), obscene
"Knockabouts," ancient
L
Lacratides, Archon
Lamachus, a brave general
Lame heroes, in plays
Lamprocles, a lyric poet
Language, used by orators
Laurel, the, carried off by wind
Law-costs, defendants'
Lawsuit against aliens
Lawsuits, Athenians' love of
--pretexts for
Leather, dominated by
--the market
Lemnos, ominous of misfortune
Lenaea. See Dionysia
Leonidas, hero of Thermopylae
"Let us drink," a song
Lipsydrion, fortified town
Loaves, Boeotian
"_Love and lewdness_"
Lyceum (the)
Lysicles, dealer in sheep
--husband of Aspasia
Lysimacha, derivation of
Lysistratus, a debauchee
--poverty of
M
Macareus rapes sister
_Mad Ox_, a nickname
Magnes, the comic poet
Male sexual organ, pun on
"_Many good men_"
"Maricas," play by Eupolis
Marpsias, an orator
Medimni, a measure
Megacles, family name
Megara, ally to Sparta
Megarians, boycotted
--(the), their sufferings
Melanion, chaste as
Melanthius, "Medea," tragedy by
--poet and gourmand
_Membrum virile_, punned upon
Micon, famous painter
Mice (the), a play
Mina, value of
Mines (silver), source of wealth
Mirrors, or burning glasses
Mitylene, city of
Modes of love, allusions to different
Month (the), how divided
Moon, the old and new
Mothon, an obscene dance
Morsimus, the poet
Morychus of Athens
Mountains, the golden
Mount Taygetus
Myronides, famous general
Mysian Telephus (the)
N
Names, fancy
Navarino, Battle of
Nero, Emperor, his finger
Nestor, the wise king
Nicarchus, an informer
Nicias, Greek general, satire on courage of
O
Oath, over a buckler
Obolus, "the honest penny"
Odomanti, a tribe
Offering, the priest's part
Old men, ridiculed
Olive branches, when carried
Olympus, a musician
Omens, their effect
Opora, the goddess
Opportunity, neglected
Opposite (the) to word expected
Oracles, belief in
--obscurity satirised
Orators, pederastic habits of
Orestes, symbol of rage
Oreus, a town
Orsilochus, brothel-keeper
Orthian mode, described
P
Pan, King of the Satyrs
Panathenaea, a festival
--(the), promised to Hermes
Pandeletus, renowned quibbler
Pandion, statue of
Paphlagonian tanner
--meaning of
Parabis, character of
Parliament (the), Athenian
Parnes, mountain of
Pauson, a painter
Peace, efforts for
Pederasty, school for oratory
Pegasus, in Euripides
--steed of Perseus
Peleus, accused of seduction
Pellene, a city, also name of courtesan
Penis, the drooping, as emblem
Penny royal, effect on fruit-eating
Peplus, the sacred, uses of
Pericles, maltreats conquered people
--squanders wealth
Periclides, chief of embassy
Persian buskins
Persians, alliance with Spartans
Perfumes, Rhodian
Pergasae
Phales, god of generation
Phallus (the), an emblem
Phallics. See Phallus
Phayllus, an athlete
Pheax, special pleader
Phelleus, a mountain
Pherecrates, playwright
Phidias, reward of work
Philocles, sons of
Philostratus, identity lost
Phormio, a great general
--a successful general
--famous admiral
Phrynis, poet and musician
Phryxus, ram of
Phylarch, cavalry captain
Phyle, a fortress of Attica
Pigs immolated
Pillar, used for treaties
Pimples, a swinish disease
Pindar, borrowed from
Piraeus, the
Pisander, a braggart captain
--revolutionary leader
Pittalus, a physician
Pleasures, wanton
Pnyx, purpose used for
Poetry, measures of
Poets, seduce young men
--supply theatrical gear
"_Poseidon and boat_"
Posidon, god of earthquakes
Potidaea, a tributary town
Pramnium, wine or
Prasiae, a town
Prepis, a vile pathic
Priapus, god of gardens
Prisoners, objects of sale
Prisoners, Spartan
Processions, barred to married women
Prodicus, celebrated sophist
Prytanes, duties of
--(the), their functions
Prytaneum, meals, why given
Pseudartabas, the King's Eye
Pun, far-fetched
--of ill omen
--on "father" and cowardice
--on word Pylos
Punishment (of slaves)
Pyanepsia, a festival
Pylos, history of
--barley, meaning
--the affair of
--towns of
Pyrrandrus, origin of name
Pythagorean doctrine
Q
Question before sacrificing
R
Radishes, used as punishment
Rape and incest
Reasoning, names for
S
Salabaccha, famous courtesan
Salamis, the island of
Samos, friend to Athens
Samothrace, the island of
Samphoras, mark of horses
"Scythian woman"
Semi-sextarius, the
Senate, admission to
--how composed
Seriphian, island of
Sesame-cake, emblem of fecundity
Shoes, taken off
Sibyrtius, the son of
Sicilian Expedition (the)
Sicily, towns of
Sicyonians, blood in sacrifice
Silphium, a plant
Simonides, a timeserver
--song-writer
Sisters, marriage of half-
Sisyphus, his cunning
Sitalces, a king
_Skytale_, used for despatches
Slaves, names of
Smicythes, the King
Socrates, basket used for meditation
--calumniated
--chief accusation against
--his birthplace
--his meanness
--taught everywhere
--teaching _re_ bodily health
--sprinkles flour
--words mocked at
Soldiers, inexpert at speaking
Soldier's nation
Sophocles, writing for gain
Sow, obscene pun on word
Spartans (the), prisoners
--malicious
Speeches, limited by clocks
Sphere, earthenware
Stage (the Greek), contrivance of
--(the), of theatre
State treasure
Stealing, under pretence of teaching
Steeds, exploits of
Stilbides, a diviner
Stone seats, where used
Strangers, at Athens
Strategi (the)
Strato, orator of ill-fame
Stupidity, in government
Suidas, referred to
Sunium, temple of
Sybaris, a town
Sybil (the), of Delphi
Syrmaea, a purgative
T
Tail, when burning
Tails, animals without
Tambourines, with lewd dancing
Telamon, war-song writer
--"Telephus," a lost play
--Tents at Olympic games
"Tereus," a lost play
Thales, mentioned
Thasian wine
Theagenes, an evil liver
--wife
Themistocles, work for Athens
--death, 33
Theognis, a poet sans life
Theophanes, identity of
Theoria, why in care of Senate
Thetis, solicited by Peleus
Thucydides, references to
Thumantis unhoused
Timocreon, song of
Timon, the misanthrope
Toad-eaters, orators
Treachery, reward of
Tributes, paid to Athens
Trierarch, duties of
Tricorysus, gnat-haunted
Truces, how personified
Tyndarus, sons of
V
Vegetables, at feast of Dionysia
Vessels (Grecian), allusion to crew
Vintages, result of peace
Violation of brides, origin of war
Vocative (the), in Ionic
W
Wages of rowers, how avoided
War-chariots, prize for
War, hardships
--results of, Peloponnesian
"Wasps (The)," verses from
Water-cress, depredations of
Wealth, given to traitors
Whirlwind, the, as deity
"_Who is here? _"
Wind, the, snatches off laurel
Wine, water in
Wines, symbolic
Women, Athenian, love of wine
--lascivious dancing
Women, loose, wear silk
Wrestling school, place of pederasty
X
_Xenocles_, a line from
Z
Zacynthus, an island
Zeus, appealed to
--sons of
Zeus Polieus
Zeuxis, the painter
*** END OF THE PROJECT GUTENBERG EBOOK, THE ELEVEN COMEDIES ***
This file should be named 8688-8. txt or 8688-8. zip
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the US
unless a copyright notice is included. Thus, we usually do not
keep eBooks in compliance with any particular paper edition.
We are now trying to release all our eBooks one year in advance
of the official release dates, leaving time for better editing.
Please be encouraged to tell us about any error or corrections,
even years after the official publication date.
Please note neither this listing nor its contents are final til
midnight of the last day of the month of any such announcement.
The official release date of all Project Gutenberg eBooks is at
Midnight, Central Time, of the last day of the stated month. A
preliminary version may often be posted for suggestion, comment
and editing by those who wish to do so.
Most people start at our Web sites at:
http://gutenberg. net or
http://promo. net/pg
These Web sites include award-winning information about Project
Gutenberg, including how to donate, how to help produce our new
eBooks, and how to subscribe to our email newsletter (free! ).
Those of you who want to download any eBook before announcement
can get to them as follows, and just download by date. This is
also a good way to get them instantly upon announcement, as the
indexes our cataloguers produce obviously take a while after an
announcement goes out in the Project Gutenberg Newsletter.
http://www. ibiblio. org/gutenberg/etext05 or
ftp://ftp. ibiblio. org/pub/docs/books/gutenberg/etext05
Or /etext04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92,
91 or 90
Just search by the first five letters of the filename you want,
as it appears in our Newsletters.
Information about Project Gutenberg (one page)
We produce about two million dollars for each hour we work. The
time it takes us, a rather conservative estimate, is fifty hours
to get any eBook selected, entered, proofread, edited, copyright
searched and analyzed, the copyright letters written, etc. Our
projected audience is one hundred million readers. If the value
per text is nominally estimated at one dollar then we produce $2
million dollars per hour in 2002 as we release over 100 new text
files per month: 1240 more eBooks in 2001 for a total of 4000+
We are already on our way to trying for 2000 more eBooks in 2002
If they reach just 1-2% of the world's population then the total
will reach over half a trillion eBooks given away by year's end.
The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
This is ten thousand titles each to one hundred million readers,
which is only about 4% of the present number of computer users.
Here is the briefest record of our progress (* means estimated):
eBooks Year Month
1 1971 July
10 1991 January
100 1994 January
1000 1997 August
1500 1998 October
2000 1999 December
2500 2000 December
3000 2001 November
4000 2001 October/November
6000 2002 December*
9000 2003 November*
10000 2004 January*
The Project Gutenberg Literary Archive Foundation has been created
to secure a future for Project Gutenberg into the next millennium.
We need your donations more than ever!
As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.
We have filed in all 50 states now, but these are the only ones
that have responded.
As the requirements for other states are met, additions to this list
will be made and fund raising will begin in the additional states.
Please feel free to ask to check the status of your state.
In answer to various questions we have received on this:
We are constantly working on finishing the paperwork to legally
request donations in all 50 states. If your state is not listed and
you would like to know if we have added it since the list you have,
just ask.
While we cannot solicit donations from people in states where we are
not yet registered, we know of no prohibition against accepting
donations from donors in these states who approach us with an offer to
donate.
International donations are accepted, but we don't know ANYTHING about
how to make them tax-deductible, or even if they CAN be made
deductible, and don't have the staff to handle it even if there are
ways.
Donations by check or money order may be sent to:
PROJECT GUTENBERG LITERARY ARCHIVE FOUNDATION
809 North 1500 West
Salt Lake City, UT 84116
Contact us if you want to arrange for a wire transfer or payment
method other than by check or money order.
The Project Gutenberg Literary Archive Foundation has been approved by
the US Internal Revenue Service as a 501(c)(3) organization with EIN
[Employee Identification Number] 64-622154. Donations are
tax-deductible to the maximum extent permitted by law. As fund-raising
requirements for other states are met, additions to this list will be
made and fund-raising will begin in the additional states.
We need your donations more than ever!
You can get up to date donation information online at:
http://www. gutenberg. net/donation. html
***
If you can't reach Project Gutenberg,
you can always email directly to:
Michael S. Hart <hart@pobox. com>
Prof. Hart will answer or forward your message.
We would prefer to send you information by email.
**The Legal Small Print**
(Three Pages)
***START**THE SMALL PRINT! **FOR PUBLIC DOMAIN EBOOKS**START***
Why is this "Small Print! " statement here? You know: lawyers.
They tell us you might sue us if there is something wrong with
your copy of this eBook, even if you got it for free from
someone other than us, and even if what's wrong is not our
fault. So, among other things, this "Small Print! " statement
disclaims most of our liability to you. It also tells you how
you may distribute copies of this eBook if you want to.
*BEFORE! * YOU USE OR READ THIS EBOOK
By using or reading any part of this PROJECT GUTENBERG-tm
eBook, you indicate that you understand, agree to and accept
this "Small Print! " statement. If you do not, you can receive
a refund of the money (if any) you paid for this eBook by
sending a request within 30 days of receiving it to the person
you got it from. If you received this eBook on a physical
medium (such as a disk), you must return it with your request.
ABOUT PROJECT GUTENBERG-TM EBOOKS
This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you! ) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this eBook
under the "PROJECT GUTENBERG" trademark.
Please do not use the "PROJECT GUTENBERG" trademark to market
any commercial products without permission.
To create these eBooks, the Project expends considerable
efforts to identify, transcribe and proofread public domain
works. Despite these efforts, the Project's eBooks and any
medium they may be on may contain "Defects". Among other
things, Defects may take the form of incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other eBook medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
LIMITED WARRANTY; DISCLAIMER OF DAMAGES
But for the "Right of Replacement or Refund" described below,
[1] Michael Hart and the Foundation (and any other party you may
receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
all liability to you for damages, costs and expenses, including
legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
POSSIBILITY OF SUCH DAMAGES.
If you discover a Defect in this eBook within 90 days of
receiving it, you can receive a refund of the money (if any)
you paid for it by sending an explanatory note within that
time to the person you received it from. If you received it
on a physical medium, you must return it with your note, and
such person may choose to alternatively give you a replacement
copy. If you received it electronically, such person may
choose to alternatively give you a second opportunity to
receive it electronically.
THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.
Some states do not allow disclaimers of implied warranties or
the exclusion or limitation of consequential damages, so the
above disclaimers and exclusions may not apply to you, and you
may have other legal rights.
INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause: [1] distribution of this eBook,
[2] alteration, modification, or addition to the eBook,
or [3] any Defect.
DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
You may distribute copies of this eBook electronically, or by
disk, book or any other medium if you either delete this
"Small Print! " and all other references to Project Gutenberg,
or:
[1] Only give exact copies of it. Among other things, this
requires that you do not remove, alter or modify the
eBook or this "small print! " statement. You may however,
if you wish, distribute this eBook in machine readable
binary, compressed, mark-up, or proprietary form,
including any form resulting from conversion by word
processing or hypertext software, but only so long as
*EITHER*:
[*] The eBook, when displayed, is clearly readable, and
does *not* contain characters other than those
intended by the author of the work, although tilde
(~), asterisk (*) and underline (_) characters may
be used to convey punctuation intended by the
author, and additional characters may be used to
indicate hypertext links; OR
[*] The eBook may be readily converted by the reader at
no expense into plain ASCII, EBCDIC or equivalent
form by the program that displays the eBook (as is
the case, for instance, with most word processors);
OR
[*] You provide, or agree to also provide on request at
no additional cost, fee or expense, a copy of the
eBook in its original plain ASCII form (or in EBCDIC
or other equivalent proprietary form).
[2] Honor the eBook refund and replacement provisions of this
"Small Print! " statement.
[3] Pay a trademark license fee to the Foundation of 20% of the
gross profits you derive calculated using the method you
already use to calculate your applicable taxes. If you
don't derive profits, no royalty is due. Royalties are
payable to "Project Gutenberg Literary Archive Foundation"
the 60 days following each date you prepare (or were
legally required to prepare) your annual (or equivalent
periodic) tax return. Please contact us beforehand to
let us know your plans and to work out the details.
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
Project Gutenberg is dedicated to increasing the number of
public domain and licensed works that can be freely distributed
in machine readable form.
The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation. "
If you are interested in contributing scanning equipment or
software or other items, please contact Michael Hart at:
hart@pobox. com
[Portions of this eBook's header and trailer may be reprinted only
when distributed free of all fees. Copyright (C) 2001, 2002 by
Michael S. Hart. Project Gutenberg is a TradeMark and may not be
used in any sales of Project Gutenberg eBooks or other materials be
they hardware or software or any other related product without
express permission. ]
*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver. 02/11/02*END*
? The Project Gutenberg EBook of The Eleven Comedies, by Aristophanes et al
Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.
Please read the "legal small print," and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers! *****
Title: The Eleven Comedies
Author: Aristophanes et al
Release Date: August, 2005 [EBook #8689]
[This file was first posted on August 1, 2003]
Edition: 10
Language: English
Character set encoding: ISO Latin-1
*** START OF THE PROJECT GUTENBERG EBOOK, THE ELEVEN COMEDIES ***
Produced by Jonathan Ingram, Thomas Berger, and the Online Distributed
Proofreading Team.
The Athenian Society
ARISTOPHANES
THE ELEVEN COMEDIES
Now For The First Time Literally And Completely Translated From The Greek
Tongue Into English
With Translator's Foreword An Introduction To Each Comedy And Elucidatory
Notes
The Second Of Two Volumes
* * * * *
CONTENTS OF THE SECOND VOLUME
THE WASPS
Introduction
Text And Notes
THE BIRDS
Introduction
Text And Notes
THE FROGS
Introduction
Text And Notes
THE THESMOPHORIAZUSAE
Introduction
Text And Notes
THE ECCLESIAZUSAE
Introduction
Text And Notes
PLUTUS
Introduction
Text And Notes
INDEX
THE WASPS
INTRODUCTION
"This Comedy, which was produced by its Author the year after the
performance of 'The Clouds,' may be taken as in some sort a companion
picture to that piece. Here the satire is directed against the passion of
the Athenians for the excitement of the law-courts, as in the former its
object was the new philosophy. And as the younger generation--the modern
school of thought--were there the subjects of the caricature, so here the
older citizens, who took their seats in court as jurymen day by day, to
the neglect of their private affairs and the encouragement of a litigious
disposition, appear in their turn in the mirror which the satirist holds
up. "
There are only two characters of any importance to the action--Philocleon
('friend of Cleon') and his son Bdelycleon ('enemy of Cleon'). The plot
is soon told. Philocleon is a bigoted devotee of the malady of
litigiousness so typical of his countrymen and an enthusiastic attendant
at the Courts in his capacity of 'dicast' or juryman. Bdelycleon
endeavours to persuade his father by every means in his power to change
this unsatisfactory manner of life for something nobler and more
profitable; but all in vain. As a last resource he keeps his father a
prisoner indoors, so that he cannot attend the tribunals.
The old man tries to escape, and these attempts are conceived in the
wildest vein of extravaganza. He endeavours to get out by the chimney,
pretending he is "only the smoke"; and all hands rush to clap a cover on
the chimney-top, and a big stone on that. He slips through a hole in the
tiles, and sits on the roof, pretending to be "only a sparrow"; and they
have to set a net to catch him. Then the Chorus of Wasps, representing
Philocleon''s fellow 'dicasts,' appear on the scene to rescue him. A
battle royal takes place on the stage; the Wasps, with their formidable
stings, trying to storm the house, while the son and his retainers defend
their position with desperate courage. Finally the assailants are
repulsed, and father and son agree upon a compromise. Bdelycleon
promises, on condition that his father gives up attending the public
trails, to set up a mock tribunal for him in his own house.
Presently the theft of a Sicilian cheese by the house-dog Labes gives the
old fellow an opportunity of exercising his judicial functions. Labes is
duly arraigned and witnesses examines. But alas! Philocleon inadvertently
casts his vote for the defendant's _acquittal_, the first time in his
life "such a thing has ever occurred," and the old man nearly dies of
vexation.
At this point follows the 'Parabasis,' or Author's personal address to
the audience, after which the concluding portion of the play has little
connection with the main theme. This is a fault, according to modern
ideas, common to many of these Comedies, but it is especially marked in
this particular instance. The final part might almost be a separate play,
under the title perhaps of 'The dicast turned gentleman,' and relates
various ridiculous mistakes and laughable blunders committed by
Philocleon, who, having given up his attendance on the law-courts, has
set up for playing a part in polite society.
The drama, as was very often the case, takes its title from the Chorus--a
band of old men dressed up as wasps, who acrimonious, stinging,
exasperated temper is meant to typify the character fostered among
Athenian citizens by excessive addiction to forensic business.
Racine, in the only comedy he attempted, 'Les Plaideurs,' borrows the
incident of the mock trial of the house-dog, amplifying and adding
further diverting features.
Perhaps 'The Wasps' is the least amusing of all our Author's pieces which
have come down to us--at any rate to a modern reader. The theme of its
satire, the litigious spirit of the Athenians, is after all purely local
and temporary, while the fun often strikes us as thin and forced.
Schlegel writes in his 'Dramatic Literature': "The subject is too
limited, the folly it ridicules appears a disease of too singular a
description, without a sufficient universality of application, and the
action is too much drawn out. "
* * * * *
THE WASPS
DRAMATIS PERSONAE
PHILOCLEON, a Dicast.
BDELYCLEON, his Son.
SOSIAS, House-servant of Philocleon.
XANTHIAS, House-servant of Philocleon.
BOYS.
A DOG.
A BAKER'S WIFE.
ACCUSER.
CHORUS OF ELDERS, costumed as Wasps.
SCENE: Philocleon's house at Athens.
* * * * *
THE WASPS
SOSIAS. Why, Xanthias! what are you doing, wretched man?
XANTHIAS. I am teaching myself how to rest; I have been awake and on
watch the whole night.
SOSIAS. So you want to earn trouble for your ribs,[1] eh? Don't you know
what sort of an animal we are guarding here?
XANTHIAS. Aye indeed! but I want to put my cares to sleep for a while.
SOSIAS. Beware what you do. I too feel soft sleep spreading over my eyes.
Resist it, for you must be as mad as a Corybant if you fall asleep. [2]
XANTHIAS. No! 'Tis Bacchus who lulls me off.
SOSIAS. Then you serve the same god as myself. Just now a heavy slumber
settled on my eyelids like a hostile Mede; A nodded and, faith! I had a
wondrous dream.
XANTHIAS. Indeed! and so had I. A dream such as I never had before. But
first tell me yours.
