No More Learning

[70] The shell was fixed over the seal to protect it.

[71] A calumniator and a traitor (see 'The Acharnians').

[72] Cleonymus, whose name the poet modifies, so as to introduce the idea
of a flatterer ([Greek: kolax]).

[73] Another flatterer, a creature of Cleon's.

[74] Athenian poor, having no purse, would put small coins into mouth for
safety. We know that the triobolus was the daily of the judges. Its value
was about 4-1/2 d.

[75] A jar of wine, which he had bought with his pay.

[76] A jar with two long ears or handles, in this way resembling an ass.

[77] A well-known flute-player.

[78] We have already seen that when accepting his son's challenge he
swore to fall upon his sword if defeated in the debate.

[79] Pericles had first introduced the custom of sending poor citizens,
among whom the land was divided, into the conquered countries. The island
of Aegina had been mainly divided in this way among Athenian colonists.

[80] The choenix was a measure corresponding to our quart.

[81] A verse borrowed from Euripides' 'Bellerophon. '

[82] i. e. a legislator. The name given in Athens to the last six of the
nine Archons, because it was their special duty to see the laws
respected.

[83] Mentioned both in 'The Acharnians' and 'The Knights. '

[84] The drachma was worth six obols, or twice the pay of a heliast.

[85] We have already seen that the Athenians sometimes kept their small
money in their mouth.

[86] Which were placed in the courts; dogs were sacrificed on them.

[87] As already stated, the statue of Lycus stood close to the place
where the tribunals sat.

[88] The barrier in the Heliaea, which separated the heliasts from the
public.

[89] The whole of this comic trial of the dog Labes is an allusion to the
general Laches, already mentioned, who had failed in Sicily. He was
accused of taking bribes of money from the Sicilians.

[90] To serve for a bar.

[91] This was a customary formula, [Greek: aph' Estias archou], "begin
from Hestia," first adore Vesta, the god of the family hearth. In similar
fashion, the Romans said, _ab Jove principium_.

[92] For conviction and acquittal.

[93] On which the sentence was entered.

[94] No doubt the stew-pot and the wine-jar.

[95] The _article_ Bdelycleon had brought. --The clepsydra was a kind of
water-clock; the other vessel is compared to it, because of the liquid in
it.

[96] A title of Apollo, worshipped as the god of healing.

[97] A title of Apollo, because of the sacrifices, which the Athenians
offered him in the streets, from [Greek: aguia], a street.

[98] Bdelycleon.

[99] The formula used by the president before declaring the sitting of
the Court opened.

[100] That is, by way of fine.

[101] A reference to the peculations Laches was supposed to have
practised in keeping back part of the pay of the Athenian sailors engaged
in the Sicilian Expedition.

[102] The [Greek: Thesmothetai] at Athens were the six junior Archons,
who judged cases assigned to no special Court, presided at the allotment
of magistrates, etc.

[103] Thucydides, son of Milesias, when accused by Pericles, could not
say a word in his own defence. One would have said his tongue was
paralysed. He was banished. --He must not be confounded with Thucydides
the historian, whose exile took place after the production of 'The
Wasps. '

[104] When the judges were touched by the pleading of the orator and were
decided on acquittal, they said to the defending advocate, "_Cease
speaking, descend from the rostrum. _"

[105] There were two urns, one called that of Conviction, the other of
Acquittal.

[106] Meaning, that he had at first produced pieces under the name of
other poets, such as Callistrates and Phidonides.

[107] Eurycles, an Athenian diviner, surnamed the Engastromythes ([Greek:
muthos], speech, [Greek: en gastri], in the belly), because he was
believed to be inspired by a genius within him. --The same name was also
given to the priestesses of Apollo, who spoke their oracles without
moving their lips.

[108] Some poets misused their renown as a means of seduction among young
men.

[109] Cleon, whom he attacked in 'The Knights,' the first Comedy that
Aristophanes had produced in his own name.

[110] Cynna, like Salabaccha, was a shameless courtesan of the day.

[111] The lamiae were mysterious monsters, to whom the ancients ascribed
the most varied forms. They were depicted most frequently with the face
and bosom of a woman and the body of a serpent. Here Aristophanes endows
them with organs of virility. It was said that the blood of young men had
a special attraction for them. These lines, abusive of Cleon, occur again
in the 'Peace,' II. 738-42.

[112] Socrates and the sophists, with whom the poet confounds him in his
attacks.

[113] He likens them to vampires.

[114] The third Archon, whose duty was the protection of strangers. All
cases involving the rights of citizenship were tried before him. These
were a frequent cause of lawsuit at Athens.

[115] 'The Clouds' had not been well received.

[116] Aristophanes lets it be understood that the refusal to crown him
arose from the fact that he had been too bold in his attack.

[117] To perfume their caskets, etc. , the Ancients placed scented fruit,
especially oranges, in them.

[118] The pastimes of love.

[119] At Marathon, where the Athenians defeated the Persian invaders, 490
B. C. The battle-field is a plain on the north-east coast of Attica, about
twenty-seven miles from Athens.

[120] A favourable omen, of course. The owl was the bird of Athene.

[121] An allusion to Cimon's naval victories.

[122] The Cyclades islands and many towns on the coast of Asia Minor.

[123] The tribunals.

[124] The six last Archons presided over the civil courts and were styled
Thesmothetae (see above).

[125] Magistrates, who had charge of criminal cases.

[126] Built by Pericles. Musical contests were held there. Here also took
place distributions of flour, and the presence of the magistrates was no
doubt necessary to decide on the spot any disputes that might arise
regarding this.

[127] This, says the Scholiast, refers to magistrates appointed for the
upkeep of the walls. They were selected by ballot from amongst the
general body of Heliasts.

[128] The demagogues and their flatterers.

[129] The battle of Artemisium on the Euboean coast; a terrible storm
arose and almost destroyed the barbarian fleet, while sparing that of the
Athenians.

[130] A mantle trimmed with fur.

[131] A rural deme of Attica. Rough coats were made there, formed of
skins sewn together.

[132] An effeminate poet.

[133] He compares the thick, shaggy stuff of the pelisse to the
intestines of a bullock, which have a sort of crimped and curled look.

[134] An Attic talent was equal to about fifty-seven pounds avoirdupois.

[135] He grumbles over his own good fortune, as old men will.

[136] Lamia, the daughter of Belus and Libya, was loved by Zeus. Here
deprived her of her beauty and instilled her with a passion for blood;
she is said to have plucked babes from their mothers' breast to devour
them. Weary of her crimes, the gods turned her into a beast of prey.

[137] Theagenes, of the Acharnian deme, was afflicted with a weakness
which caused him to be constantly letting off loud, stinking farts, even
in public--the cause of many gibes on the part of the Comic poets and his
contemporaries.

[138] He had been sent on a mission as an armed ambassador, i. e. as a
common soldier, whose pay was two obols.

[139] The [Greek: pankration] was a combined exercise, including both
wrestling and boxing.

[140] All these names have been already mentioned.

[141] Each time Philocleon takes up the song with words that are a satire
on the guest who begins the strain.

[142] King Admetus (Euripides' 'Alcestis') had suffered his devoted wife
Alcestis to die to save his life when ill to death. Heracles, however, to
repay former benefits received, descended into Hades and rescued Alcestis
from Pluto's clutches.

[143] A famous epicure, the Lucullus of Athens (see 'The Acharnians').

[144] A parasite renowned for his gluttony.

[145] A town in Thessaly.

[146] Because of his poverty.

[147] Four lines in 'The Knights' describe the infamous habits of
Ariphrades in detail.

[148] That is, it ceases to support it; Aristophanes does the same to
Cleon.

[149] Referring to Lysistratus' leanness.

[150] A tragic actor, whose wardrobe had been sold up, so the story went,
by his creditors.

[151] He enters, followed closely by the persons he has ill-used, and
leading a flute-girl by the hand.

[152] Meaning his penis.

[153] Dardanus, a district of Asia Minor, north of the Troad, supplied
many flute-girls to the cities of Greece.

[154] Pointing to the flute-girl's _motte_.

[155] He tells his son the very story the latter had taught him.

[156] The name of the baker's wife.

[157] Or Agoranomi, who numbered ten at Athens.

[158] The disciple of Socrates.

[159] Lasus, a musician and dithyrambic poet, born about 500 B. C. in
Argolis, was the rival of Simonides and thought himself his superior.

[160] Ino, the daughter of Cadmus and Harmonia. Being pursued by her
husband, Athamas, whom the Fury Tisiphone had driven mad, she threw
herself into the sea with Melicerta, whereupon they were both changed
into sea-goddesses. --This is the subject of one of Euripides' tragedies.

[161] A famous town in Magna Graecia, south coast of Italy.

[162] A celebrated physician. --Philocleon means, "Instead of starting an
action, go and have yourself cared for; that is better worth your while. "

[163] The dances that Thespis, the originator of Tragedy, interspersed
with the speaking parts of his plays.

[164] A verse borrowed from an unknown Tragedy.

[165] As was done in the stadia when the races were to be started.

[166] The ancients considered it a specific against madness.

[167] Phrynichus, like all the ancient tragic writers, mingled many
dances with his pieces.

[168] Tragic poet. His three sons had also written tragedies and were
dancers into the bargain.

[169] Carcinus, by a mere transposition of the accent ([Greek:
karkivos]), means _crab_ in Greek; hence the pun.

[170] Carcinus' sons were small and thin.

[171] The third son of Carcinus.

[172] Meaning, the three sons of Carcinus, the dancers, because, as
mentioned before, Phrynichus often introduced a chorus of dancers into
his Tragedies.

[173] Carcinus himself.

[174] The Greek word is [Greek: triorchoi]--possessed of three testicles,
of three-testicle power, inordinately lecherous; with the change of a
letter ([Greek: triarchoi]) it means 'three rulers,' 'three kinglets. '




THE BIRDS




INTRODUCTION

The Birds' differs markedly from all the other Comedies of Aristophanes
which have come down to us in subject and general conception. It is just
an extravaganza pure and simple--a graceful, whimsical theme chosen
expressly for the sake of the opportunities it afforded of bright,
amusing dialogue, pleasing lyrical interludes, and charming displays of
brilliant stage effects and pretty dresses. Unlike other plays of the
same Author, there is here apparently no serious political _motif_
underlying the surface burlesque and buffoonery.

Some critics, it is true, profess to find in it a reference to the
unfortunate Sicilian Expedition, then in progress, and a prophecy of its
failure and the political downfall of Alcibiades. But as a matter of
fact, the whole thing seems rather an attempt on the dramatist's part to
relieve the overwrought minds of his fellow-citizens, anxious and
discouraged at the unsatisfactory reports from before Syracuse, by a work
conceived in a lighter vein than usual and mainly unconnected with
contemporary realities.

The play was produced in the year 414 B. C. , just when success or failure
in Sicily hung in the balance, though already the outlook was gloomy, and
many circumstances pointed to impending disaster. Moreover, the public
conscience was still shocked and perturbed over the mysterious affair of
the mutilation of the Hermae, which had occurred immediately before the
sailing of the fleet, and strongly suspicious of Alcibiades'
participation in the outrage. In spite of the inherent charm of the
subject, the splendid outbursts of lyrical poetry in some of the choruses
and the beauty of the scenery and costumes, 'The Birds' failed to win the
first prize. This was acclaimed to a play of Aristophanes' rival,
Amipsias, the title of which, 'The Comastae,' _or_ 'Revellers,' "seems
to imply that the chief interest was derived from direct allusions to the
outrage above mentioned and to the individuals suspected to have been
engaged in it. "

For this reason, which militated against its immediate success, viz. the
absence of direct allusion to contemporary politics--there are, of
course, incidental references here and there to topics and personages of
the day--the play appeals perhaps more than any other of our Author's
productions to the modern reader. Sparkling wit, whimsical fancy, poetic
charm, are of all ages, and can be appreciated as readily by ourselves as
by an Athenian audience of two thousand years ago, though, of course,
much is inevitably lost "without the important adjuncts of music,
scenery, dresses and what we may call 'spectacle' generally, which we
know in this instance to have been on the most magnificent scale. "

"The plot is this. Euelpides and Pisthetaerus, two old Athenians,
disgusted with the litigiousness, wrangling and sycophancy of their
countrymen, resolve upon quitting Attica. Having heard of the fame of
Epops (the hoopoe), sometime called Tereus, and now King of the Birds,
they determine, under the direction of a raven and a jackdaw, to seek
from him and his subject birds a city free from all care and strife. "
Arrived at the Palace of Epops, they knock, and Trochilus (the wren), in
a state of great flutter, as he mistakes them for fowlers, opens the door
and informs them that his Majesty is asleep. When he awakes, the
strangers appear before him, and after listening to a long and eloquent
harangue on the superior attractions of a residence among the birds, they
propose a notable scheme of their own to further enhance its advantages
and definitely secure the sovereignty of the universe now exercised by
the gods of Olympus.

The birds are summoned to meet in general council. They come flying up
from all quarters of the heavens, and after a brief misunderstanding,
during which they come near tearing the two human envoys to pieces, they
listen to the exposition of the latters' plan. This is nothing less than
the building of a new city, to be called Nephelococcygia, or
'Cloud-cuckoo-town,' between earth and heaven, to be garrisoned and
guarded by the birds in such a way as to intercept all communication of
the gods with their worshippers on earth. All steam of sacrifice will be
prevented from rising to Olympus, and the Immortals will very soon be
starved into an acceptance of any terms proposed.

The new Utopia is duly constructed, and the daring plan to secure the
sovereignty is in a fair way to succeed. Meantime various quacks and
charlatans, each with a special scheme for improving things, arrive from
earth, and are one after the other exposed and dismissed. Presently
arrives Prometheus, who informs Epops of the desperate straits to which
the gods are by this time reduced, and advises him to push his claims and
demand the hand of Basileia (Dominion), the handmaid of Zeus. Next an
embassy from the Olympians appears on the scene, consisting of Heracles,
Posidon and a god from the savage regions of the Triballians. After some
disputation, it is agreed that all reasonable demands of the birds are to
be granted, while Pisthetaerus is to have Basileia as his bride. The
comedy winds up with the epithalamium in honour of the nuptials.

* * * * *

THE BIRDS


DRAMATIS PERSONAE

EUELPIDES.
PISTHETAERUS.
EPOPS (the Hoopoe).
TROCHILUS, Servant to Epops.
PHOENICOPTERUS.
HERALDS.
A PRIEST.
A POET.
A PROPHET.
METON, a Geometrician.
A COMMISSIONER.
A DEALER IN DECREES.
IRIS.
A PARRICIDE.
CINESIAS, a Dithyrambic Bard.
AN INFORMER.
PROMETHEUS.
POSIDON.
TRIBALLUS.
HERACLES.
SERVANT of PISTHETAERUS.
MESSENGERS.
CHORUS OF BIRDS.

SCENE: A wild, desolate tract of open country; broken rocks and brushwood
occupy the centre of the stage.

* * * * *

THE BIRDS


EUELPIDES (_to his jay_). [175] Do you think I should walk straight for
yon tree?

PISTHETAERUS (_to his crow_).
Cursed beast, what are you croaking to
me? . . . to retrace my steps?

EUELPIDES. Why, you wretch, we are wandering at random, we are exerting
ourselves only to return to the same spot; 'tis labour lost.

PISTHETAERUS. To think that I should trust to this crow, which has made
me cover more than a thousand furlongs!

EUELPIDES. And I to this jay, who has torn every nail from my fingers!

PISTHETAERUS. If only I knew where we were. . . .

EUELPIDES. Could you find your country again from here?

PISTHETAERUS. No, I feel quite sure I could not, any more than could
Execestides[176] find his.

EUELPIDES. Oh dear! oh dear!

PISTHETAERUS. Aye, aye, my friend, 'tis indeed the road of "oh dears" we
are following.

EUELPIDES. That Philocrates, the bird-seller, played us a scurvy trick,
when he pretended these two guides could help us to find Tereus,[177] the
Epops, who is a bird, without being born of one. He has indeed sold us
this jay, a true son of Tharelides,[178] for an obolus, and this crow for
three, but what can they do? Why, nothing whatever but bite and
scratch! --What's the matter with you then, that you keep opening your
beak? Do you want us to fling ourselves headlong down these rocks? There
is no road that way.

PISTHETAERUS. Not even the vestige of a track in any direction.

EUELPIDES. And what does the crow say about the road to follow?

PISTHETAERUS. By Zeus, it no longer croaks the same thing it did.

EUELPIDES. And which way does it tell us to go now?

PISTHETAERUS. It says that, by dint of gnawing, it will devour my
fingers.

EUELPIDES. What misfortune is ours! we strain every nerve to get to the
birds,[179] do everything we can to that end, and we cannot find our way!
Yes, spectators, our madness is quite different to that of Sacas. He is
not a citizen, and would fain be one at any cost; we, on the contrary,
born of an honourable tribe and family and living in the midst of our
fellow-citizens, we have fled from our country as hard as ever we could
go. 'Tis not that we hate it; we recognize it to be great and rich,
likewise that everyone has the right to ruin himself; but the crickets
only chirrup among the fig-trees for a month or two, whereas the
Athenians spend their whole lives in chanting forth judgments from their
law courts. [180] That is why we started off with a basket, a stew-pot and
some myrtle boughs[181] and have come to seek a quiet country in which to
settle. We are going to Tereus, the Epops, to learn from him, whether, in
his aerial flights, he has noticed some town of this kind.

PISTHETAERUS. Here! look!

EUELPIDES. What's the matter?

PISTHETAERUS. Why, the crow has been pointing me to something up there
for some time now.

EUELPIDES. And the jay is also opening its beak and craning its neck to
show me I know not what. Clearly, there are some birds about here. We
shall soon know, if we kick up a noise to start them.

PISTHETAERUS. Do you know what to do? Knock your leg against this rock.

EUELPIDES. And you your head to double the noise.

PISTHETAERUS. Well then use a stone instead; take one and hammer with it.

EUELPIDES. Good idea! Ho there, within! Slave! slave!

PISTHETAERUS. What's that, friend! You say, "slave," to summon Epops!
'Twould be much better to shout, "Epops, Epops! "

EUELPIDES. Well then, Epops! Must I knock again? Epops!

TROCHILUS. Who's there? Who calls my master?

EUELPIDES. Apollo the Deliverer! what an enormous beak! [182]

TROCHILUS. Good god! they are bird-catchers.

EUELPIDES. The mere sight of him petrifies me with terror. What a
horrible monster!

TROCHILUS. Woe to you!

EUELPIDES. But we are not men.

TROCHILUS. What are you, then?

EUELPIDES. I am the Fearling, an African bird.

TROCHILUS. You talk nonsense.

EUELPIDES. Well, then, just ask it of my feet. [183]

TROCHILUS. And this other one, what bird is it?

PISTHETAERUS. I? I am a Cackling,[184] from the land of the pheasants.

EUELPIDES. But you yourself, in the name of the gods! what animal are
you?

TROCHILUS. Why, I am a slave-bird.

EUELPIDES. Why, have you been conquered by a cock?

TROCHILUS. No, but when my master was turned into a peewit, he begged me
to become a bird too, to follow and to serve him.

EUELPIDES. Does a bird need a servant, then?

TROCHILUS. 'Tis no doubt because he was a man. At times he wants to eat a
dish of loach from Phalerum; I seize my dish and fly to fetch him some.
Again he wants some pea-soup; I seize a ladle and a pot and run to get
it.

EUELPIDES. This is, then, truly a running-bird. [185] Come, Trochilus, do
us the kindness to call your master.

TROCHILUS. Why, he has just fallen asleep after a feed of myrtle-berries
and a few grubs.

EUELPIDES. Never mind; wake him up.

TROCHILUS. I am certain he will be angry. However, I will wake him to
please you.

PISTHETAERUS. You cursed brute! why, I am almost dead with terror!

EUELPIDES. Oh! my god! 'twas sheer fear that made me lose my jay.

PISTHETAERUS. Ah! you great coward! were you so frightened that you let
go your jay?

EUELPIDES. And did you not lose your crow, when you fell sprawling on the
ground? Pray tell me that.

PISTHETAERUS. No, no.

EUELPIDES. Where is it, then?

PISTHETAERUS. It has flown away.

EUELPIDES. Then you did not let it go! Oh! you brave fellow!

EPOPS. Open the forest,[186] that I may go out!

EUELPIDES. By Heracles! what a creature! what plumage! What means this
triple crest?

EPOPS. Who wants me?

EUELPIDES. The twelve great gods have used you ill, meseems.

EPOPS. Are you chaffing me about my feathers? I have been a man,
strangers.

EUELPIDES. 'Tis not you we are jeering at.

EPOPS. At what, then?

EUELPIDES. Why, 'tis your beak that looks so odd to us.

EPOPS. This is how Sophocles outrages me in his tragedies. Know, I once
was Tereus. [187]

EUELPIDES. You were Tereus, and what are you now? a bird or a
peacock? [188]

EPOPS. I am a bird.

EUELPIDES. Then where are your feathers? For I don't see them.

EPOPS. They have fallen off.

EUELPIDES. Through illness.

EPOPS. No. All birds moult their feathers, you know, every winter, and
others grow in their place. But tell me, who are you?

EUELPIDES. We? We are mortals.