thou
chaste virgin, the protectress of Athens, I call thee in accordance with
the sacred rites, thee, whose evident protection we adore and who keepest
the keys of our city in thy hands.
chaste virgin, the protectress of Athens, I call thee in accordance with
the sacred rites, thee, whose evident protection we adore and who keepest
the keys of our city in thy hands.
Aristophanes
how I suffer!
Alas! alas! and through my own relatives too! [642] My misery would make
Tartarus dissolve into tears! Alas! in my terrible distress, I implore
the mortal who first shaved me and depilated me, then dressed me in this
long robe, and then sent me to this Temple into the midst of the women,
to save me. Oh, thou pitiless Fate! I am then accursed, great gods! Ah!
who would not be moved at the sight of the appalling tortures under which
I succumb? Would that the blazing shaft of the lightning would wither. . .
this barbarian for me! (_pointing to the Scythian archer_) for the
immortal light has no further charm for my eyes since I have been
descending the shortest path to the dead, tied up, strangled, and
maddened with pain.
EURIPIDES (as _Echo_). Hail! beloved girl. As for your father, Cepheus,
who has exposed you in this guise, may the gods annihilate him.
MNESILOCHUS (_as Andromeda_). And who are you whom my misfortunes have
moved to pity?
EURIPIDES. I am Echo, the nymph who repeats all she hears. 'Tis I, who
last year lent my help to Euripides in this very place. [643] But, my
child, give yourself up to the sad laments that belong to your pitiful
condition.
MNESILOCHUS. And you will repeat them?
EURIPIDES. I will not fail you. Begin.
MNESILOCHUS. "Oh! thou divine Night! how slowly thy chariot threads its
way through the starry vault, across the sacred realms of the Air and
mighty Olympus. "
EURIPIDES. Mighty Olympus.
MNESILOCHUS. "Why is it necessary that Andromeda should have all the woes
for her share? "
EURIPIDES. For her share.
MNESILOCHUS. "Sad death! "
EURIPIDES. Sad death!
MNESILOCHUS. You weary me, old babbler.
EURIPIDES. Old babbler.
MNESILOCHUS. Oh! you are too unbearable.
EURIPIDES. Unbearable.
MNESILOCHUS. Friend, let me talk by myself. Do please let me. Come,
that's enough.
EURIPIDES. That's enough.
MNESILOCHUS. Go and hang yourself!
EURIPIDES. Go and hang yourself!
MNESILOCHUS. What a plague!
EURIPIDES. What a plague!
MNESILOCHUS. Cursed brute!
EURIPIDES. Cursed brute!
MNESILOCHUS. Beware of blows!
EURIPIDES. Beware of blows!
SCYTHIAN. Hullo! what are you jabbering about?
EURIPIDES. What are you jabbering about?
SCYTHIAN. I go to call the Prytanes.
EURIPIDES. I go to call the Prytanes.
SCYTHIAN. This is odd!
EURIPIDES. This is odd!
SCYTHIAN. Whence comes this voice?
EURIPIDES. Whence comes this voice.
SCYTHIAN. Ah! beware!
EURIPIDES. Ah! beware!
SCYTHIAN (_to Mnesilochus_). Are you mocking me?
EURIPIDES. Are you mocking me?
MNESILOCHUS. No, 'tis this woman, who stands near you.
EURIPIDES. Who stands near you.
SCYTHIAN. Where is the hussy? Ah! she is escaping! Whither, whither are
you escaping?
EURIPIDES. Whither, whither are you escaping?
SCYTHIAN. You shall not get away.
EURIPIDES. You shall not get away.
SCYTHIAN. You are chattering still?
EURIPIDES. You are chattering still?
SCYTHIAN. Stop the hussy.
EURIPIDES. Stop the hussy.
SCYTHIAN. What a babbling, cursed woman!
EURIPIDES (_as Perseus_). "Oh! ye gods! to what barbarian land has my
swift flight taken me? I am Perseus, who cleaves the plains of the air
with my winged feet, and I am carrying the Gorgon's head to Argos. "
SCYTHIAN. What, are you talking about the head of Gorgos,[644] the
scribe?
EURIPIDES. No, I am speaking of the head of the Gorgon.
SCYTHIAN. Why, yes! of Gorgus!
EURIPIDES. "But what do I behold? A young maiden, beautiful as the
immortals, chained to this rock like a vessel in port? "
MNESILOCHUS. Take pity on me, oh, stranger! I am so unhappy and
distraught! Free me from these bonds.
SCYTHIAN. Don't you talk! a curse upon your impudence! you are going to
die, and yet you will be chattering!
EURIPIDES. "Oh! virgin! I take pity on your chains. "
SCYTHIAN. But this is no virgin; 'tis an old rogue, a cheat and a thief.
EURIPIDES. You have lost your wits, Scythian. This is Andromeda, the
daughter of Cepheus.
SCYTHIAN. But just look at this tool; is that like a woman?
EURIPIDES. Give me your hand, that I may descend near this young maiden.
Each man has his own particular weakness; as for me I am aflame with love
for this virgin.
SCYTHIAN. Oh! I'm not jealous; and as he has his back turned this way,
why, I make no objection to your pedicating him.
EURIPIDES. "Ah! let me release her, and hasten to join her on the bridal
couch. "
SCYTHIAN. If this old man instils you with such ardent concupiscence,
why, you can bore through the plank, and so get at his behind.
EURIPIDES. No, I will break his bonds.
SCYTHIAN. Beware of my lash!
EURIPIDES. No matter.
SCYTHIAN. This blade shall cut off your head.
EURIPIDES. "Ah! what can be done? what arguments can I use? This savage
will understand nothing! The newest and most cunning fancies are a dead
letter to the ignorant. Let us invent some artifice to fit in with his
coarse nature. "
SCYTHIAN. I can see the rascal is trying to outwit me.
MNESILOCHUS. Ah! Perseus! remember in what condition you are leaving me.
SCYTHIAN. Are you wanting to feel my lash again!
CHORUS.
Oh! Pallas, who art fond of dances, hasten hither at my call. Oh!
thou
chaste virgin, the protectress of Athens, I call thee in accordance with
the sacred rites, thee, whose evident protection we adore and who keepest
the keys of our city in thy hands. Do thou appear, thou whose just hatred
has overturned our tyrants. The womenfolk are calling thee; hasten hither
at their bidding along with Peace, who shall restore the festivals. And
ye, august goddesses,[645] display a smiling and propitious countenance
to our gaze; come into your sacred grove, the entry to which is forbidden
to men; 'tis there in the midst of sacred orgies that we contemplate your
divine features. Come, appear, we pray it of you, oh, venerable
Thesmophoriae! If you have ever answered our appeal, oh! come into our
midst.
EURIPIDES. Women, if you will be reconciled with me, I am willing, and I
undertake never to say anything ill of you in future. Those are my
proposals for peace.
CHORUS. And what impels you to make these overtures?
EURIPIDES. This unfortunate man, who is chained to the post, is my
father-in-law; if you will restore him to me, you will have no more cause
to complain of me; but if not, I shall reveal your pranks to your
husbands when they return from the war.
CHORUS. We accept peace, but there is this barbarian whom you must buy
over.
EURIPIDES. That's my business. (_He returns as an old woman and is
accompanied by a dancing-girl and a flute-girl. _) Come, my little wench,
bear in mind what I told you on the road and do it well. Come, go past
him and gird up your robe. And you, you little dear, play us the air of a
Persian dance.
SCYTHIAN. What is this music that makes me so blithe?
EURIPIDES (_as an old woman_). Scythian, this young girl is going to
practise some dances, which she has to perform at a feast presently.
SCYTHIAN. Very well! let her dance and practise; I won't hinder her. How
nimbly she bounds! one might think her a flea on a fleece.
EURIPIDES. Come, my dear, off with your robe and seat yourself on the
Scythian's knee; stretch forth your feet to me, that I may take off your
slippers.
SCYTHIAN. Ah! yes, seat yourself, my little girl, ah! yes, to be sure.
What a firm little bosom! 'tis just like a turnip.
EURIPIDES (_to the flute-girl_). An air on the flute, quick! (_To the
dancing-girl. _) Well! are you still afraid of the Scythian?
SCYTHIAN. What beautiful thighs!
EURIPIDES. Come! keep still, can't you?
SCYTHIAN. 'Tis altogether a very fine morsel to make a man's cock stand.
EURIPIDES. That's so! (_To the dancing-girl. _) Resume your dress, it is
time to be going.
SCYTHIAN. Give me a kiss.
EURIPIDES (_to the dancing-girl_). Come, give him a kiss.
SCYTHIAN. Oh! oh! oh! my goodness, what soft lips! 'tis like Attic honey.
But might she not stop with me?
EURIPIDES. Impossible, archer; good evening.
SCYTHIAN. Oh! oh! old woman, do me this pleasure.
EURIPIDES. Will you give a drachma?
SCYTHIAN. Aye, that I will.
EURIPIDES. Hand over the money.
SCYTHIAN. I have not got it, but take my quiver in pledge.
EURIPIDES. You will bring her back?
SCYTHIAN. Follow me, my beautiful child. And you, old woman, just keep
guard over this man. But what is your name?
EURIPIDES. Artemisia. Can you remember that name?
SCYTHIAN. Artemuxia. [646] Good!
EURIPIDES (_aside_). Hermes, god of cunning, receive my thanks!
everything is turning out for the best. (_To the Scythian. _) As for you,
friend, take away this girl, quick. (_Exit the Scythian with the
dancing-girl. _) Now let me loose his bonds. (_To Mnesilochus. _) And you,
directly I have released you, take to your legs and run off full tilt to
your home to find your wife and children.
MNESILOCHUS. I shall not fail in that as soon as I am free.
EURIPIDES (_releases Mnesilochus_). There! 'Tis done. Come, fly, before
the archer lays his hand on you again.
MNESILOCHUS. That's just what I am doing. [_Exit with Euripides. _
SCYTHIAN. Ah! old woman! what a charming little girl! Not at all the
prude, and so obliging! Eh! where is the old woman? Ah! I am undone! And
the old man, where is he? Hi! old woman! old woman! Ah! but this is a
dirty trick! Artemuxia! she has tricked me, that's what the little old
woman has done! Get clean out of my sight, you cursed quiver! (_Picks it
up and throws it across the stage. _) Ha! you are well named quiver, for
you have made me quiver indeed. [647] Oh! what's to be done? Where is the
old woman then? Artemuxia!
CHORUS. Are you asking for the old woman who carried the lyre?
SCYTHIAN. Yes, yes; have you seen her?
CHORUS. She has gone that way along with an old man.
SCYTHIAN. Dressed in a long robe?
CHORUS. Yes; run quick, and you will overtake them.
SCYTHIAN. Ah! rascally old woman! Which way has she fled? Artemuxia!
CHORUS. Straight on; follow your nose. But, hi! where are you running to
now? Come back, you are going exactly the wrong way.
SCYTHIAN. Ye gods! ye gods! and all this while Artemuxia is escaping.
[_Exit running. _
CHORUS. Go your way! and a pleasant journey to you! But our sports have
lasted long enough; it is time for each of us to be off home; and may the
two goddesses reward us for our labours!
* * * * *
FINIS OF "THE THESMOPHORIAZUSAE"
* * * * *
Footnotes:
[544] Aristophanes parodies Euripides' language, which is occasionally
sillily sententious.
[545] He flourished about 420 B. C. and composed many tragedies, such as
'Telephus,' 'Thyestes,' which are lost. Some fragments of his work are to
be found in Aristotle and in Athenaeus; he also distinguished himself as
a musician. The banquet, which gave his name to one of Plato's dialogues,
is supposed to have taken place at his house.
[546] The Thesmophoria were celebrated in the month of Pyanepsion, or
November.
[547] The Thesmophoria lasted five days; they were dedicated to Demeter
Thesmophoros, or Legislatress, in recognition of the wise laws she had
given mankind. For many days before the solemn event, the women of high
birth (who alone were entitled to celebrate it) had to abstain from all
pleasures that appealed to the senses, even the most legitimate, and to
live with the greatest sobriety. The presiding priest at the Thesmophoria
was always chosen from the sacerdotal family of the Eumolpidae, the
descendants of Eumolpus, the son of Posidon. At these feasts, the worship
of Persephone was associated with that of Demeter.
[548] Refers presumably to the [Greek: ekkukl_ema], a piece of machinery
by means of which interiors were represented on the Greek stage--room and
occupant being in some way wheeled out into view of the spectators
bodily.
[549] A celebrated 'lady of pleasure'; Agathon is like her by reason of
his effeminate, wanton looks and dissolute habits.
[550] Demeter is represented wandering, torch in hand, about the universe
looking for her lost child Proserpine (Persephone).
[551] Troy.
[552] Agathon, in accordance with his character, voluptuousness, is
represented as preferring the effeminate music and lascivious dances of
Asia.
[553] Goddesses who presided over generation; see also the 'Lysistrata. '
[554] A tetralogy, a series of four dramas connected by subject, of which
the principal character was Lycurgus, king of the Thracians. When Bacchus
returned to Thrace as conqueror of the Indies he dared to deride the god,
and was punished by him in consequence. All four plays are lost.
[555] That is, the attributes of a man and those of a woman combined.
[556] That is, you make love in the posture known as 'the horse,'
_equus_, in other words the woman atop of the man. There is a further
joke intended here, inasmuch as Euripides, in his 'Phaedra,' represents
the heroine as being passionately addicted to hunting and horses.
[557] Ibycus, a lyric poet of the sixth century, originally from Rhegium
in Magna Graecia. --Anacreon, a celebrated erotic poet of the beginning of
the fifth century. --Alcaeus, a lyric poet, born about 600 B. C. at
Mytilene, in the island of Lesbos, was driven out of his country by a
tyrant and sang of his loves, his services as a warrior, his travels and
the miseries of his exile. He was a contemporary of Sappho, and conceived
a passion for her, which she only rewarded with disdain.
[558] Phrynichus, a disciple of Thespis, improved the dramatic art, when
still no more than a child; it was he who first introduced female
characters upon the stage and made use of the iambic of six feet in
tragedies. He flourished about 500 B. C.
[559] Philocles, Xenocles, and Theognis were dramatic poets and
contemporaries of Aristophanes. The two first were sons of Carcinus, the
poet and dancer.
[560] Fragment of Euripides' 'Aeolus,' a lost drama.
[561] Fragment of Euripides' well-known play, the 'Alcestis. '
[562] An allusion to the secret practices of mutual love which the women
assembled for the Thesmophoria were credited by popular repute with
indulging in.
Alas! alas! and through my own relatives too! [642] My misery would make
Tartarus dissolve into tears! Alas! in my terrible distress, I implore
the mortal who first shaved me and depilated me, then dressed me in this
long robe, and then sent me to this Temple into the midst of the women,
to save me. Oh, thou pitiless Fate! I am then accursed, great gods! Ah!
who would not be moved at the sight of the appalling tortures under which
I succumb? Would that the blazing shaft of the lightning would wither. . .
this barbarian for me! (_pointing to the Scythian archer_) for the
immortal light has no further charm for my eyes since I have been
descending the shortest path to the dead, tied up, strangled, and
maddened with pain.
EURIPIDES (as _Echo_). Hail! beloved girl. As for your father, Cepheus,
who has exposed you in this guise, may the gods annihilate him.
MNESILOCHUS (_as Andromeda_). And who are you whom my misfortunes have
moved to pity?
EURIPIDES. I am Echo, the nymph who repeats all she hears. 'Tis I, who
last year lent my help to Euripides in this very place. [643] But, my
child, give yourself up to the sad laments that belong to your pitiful
condition.
MNESILOCHUS. And you will repeat them?
EURIPIDES. I will not fail you. Begin.
MNESILOCHUS. "Oh! thou divine Night! how slowly thy chariot threads its
way through the starry vault, across the sacred realms of the Air and
mighty Olympus. "
EURIPIDES. Mighty Olympus.
MNESILOCHUS. "Why is it necessary that Andromeda should have all the woes
for her share? "
EURIPIDES. For her share.
MNESILOCHUS. "Sad death! "
EURIPIDES. Sad death!
MNESILOCHUS. You weary me, old babbler.
EURIPIDES. Old babbler.
MNESILOCHUS. Oh! you are too unbearable.
EURIPIDES. Unbearable.
MNESILOCHUS. Friend, let me talk by myself. Do please let me. Come,
that's enough.
EURIPIDES. That's enough.
MNESILOCHUS. Go and hang yourself!
EURIPIDES. Go and hang yourself!
MNESILOCHUS. What a plague!
EURIPIDES. What a plague!
MNESILOCHUS. Cursed brute!
EURIPIDES. Cursed brute!
MNESILOCHUS. Beware of blows!
EURIPIDES. Beware of blows!
SCYTHIAN. Hullo! what are you jabbering about?
EURIPIDES. What are you jabbering about?
SCYTHIAN. I go to call the Prytanes.
EURIPIDES. I go to call the Prytanes.
SCYTHIAN. This is odd!
EURIPIDES. This is odd!
SCYTHIAN. Whence comes this voice?
EURIPIDES. Whence comes this voice.
SCYTHIAN. Ah! beware!
EURIPIDES. Ah! beware!
SCYTHIAN (_to Mnesilochus_). Are you mocking me?
EURIPIDES. Are you mocking me?
MNESILOCHUS. No, 'tis this woman, who stands near you.
EURIPIDES. Who stands near you.
SCYTHIAN. Where is the hussy? Ah! she is escaping! Whither, whither are
you escaping?
EURIPIDES. Whither, whither are you escaping?
SCYTHIAN. You shall not get away.
EURIPIDES. You shall not get away.
SCYTHIAN. You are chattering still?
EURIPIDES. You are chattering still?
SCYTHIAN. Stop the hussy.
EURIPIDES. Stop the hussy.
SCYTHIAN. What a babbling, cursed woman!
EURIPIDES (_as Perseus_). "Oh! ye gods! to what barbarian land has my
swift flight taken me? I am Perseus, who cleaves the plains of the air
with my winged feet, and I am carrying the Gorgon's head to Argos. "
SCYTHIAN. What, are you talking about the head of Gorgos,[644] the
scribe?
EURIPIDES. No, I am speaking of the head of the Gorgon.
SCYTHIAN. Why, yes! of Gorgus!
EURIPIDES. "But what do I behold? A young maiden, beautiful as the
immortals, chained to this rock like a vessel in port? "
MNESILOCHUS. Take pity on me, oh, stranger! I am so unhappy and
distraught! Free me from these bonds.
SCYTHIAN. Don't you talk! a curse upon your impudence! you are going to
die, and yet you will be chattering!
EURIPIDES. "Oh! virgin! I take pity on your chains. "
SCYTHIAN. But this is no virgin; 'tis an old rogue, a cheat and a thief.
EURIPIDES. You have lost your wits, Scythian. This is Andromeda, the
daughter of Cepheus.
SCYTHIAN. But just look at this tool; is that like a woman?
EURIPIDES. Give me your hand, that I may descend near this young maiden.
Each man has his own particular weakness; as for me I am aflame with love
for this virgin.
SCYTHIAN. Oh! I'm not jealous; and as he has his back turned this way,
why, I make no objection to your pedicating him.
EURIPIDES. "Ah! let me release her, and hasten to join her on the bridal
couch. "
SCYTHIAN. If this old man instils you with such ardent concupiscence,
why, you can bore through the plank, and so get at his behind.
EURIPIDES. No, I will break his bonds.
SCYTHIAN. Beware of my lash!
EURIPIDES. No matter.
SCYTHIAN. This blade shall cut off your head.
EURIPIDES. "Ah! what can be done? what arguments can I use? This savage
will understand nothing! The newest and most cunning fancies are a dead
letter to the ignorant. Let us invent some artifice to fit in with his
coarse nature. "
SCYTHIAN. I can see the rascal is trying to outwit me.
MNESILOCHUS. Ah! Perseus! remember in what condition you are leaving me.
SCYTHIAN. Are you wanting to feel my lash again!
CHORUS.
Oh! Pallas, who art fond of dances, hasten hither at my call. Oh!
thou
chaste virgin, the protectress of Athens, I call thee in accordance with
the sacred rites, thee, whose evident protection we adore and who keepest
the keys of our city in thy hands. Do thou appear, thou whose just hatred
has overturned our tyrants. The womenfolk are calling thee; hasten hither
at their bidding along with Peace, who shall restore the festivals. And
ye, august goddesses,[645] display a smiling and propitious countenance
to our gaze; come into your sacred grove, the entry to which is forbidden
to men; 'tis there in the midst of sacred orgies that we contemplate your
divine features. Come, appear, we pray it of you, oh, venerable
Thesmophoriae! If you have ever answered our appeal, oh! come into our
midst.
EURIPIDES. Women, if you will be reconciled with me, I am willing, and I
undertake never to say anything ill of you in future. Those are my
proposals for peace.
CHORUS. And what impels you to make these overtures?
EURIPIDES. This unfortunate man, who is chained to the post, is my
father-in-law; if you will restore him to me, you will have no more cause
to complain of me; but if not, I shall reveal your pranks to your
husbands when they return from the war.
CHORUS. We accept peace, but there is this barbarian whom you must buy
over.
EURIPIDES. That's my business. (_He returns as an old woman and is
accompanied by a dancing-girl and a flute-girl. _) Come, my little wench,
bear in mind what I told you on the road and do it well. Come, go past
him and gird up your robe. And you, you little dear, play us the air of a
Persian dance.
SCYTHIAN. What is this music that makes me so blithe?
EURIPIDES (_as an old woman_). Scythian, this young girl is going to
practise some dances, which she has to perform at a feast presently.
SCYTHIAN. Very well! let her dance and practise; I won't hinder her. How
nimbly she bounds! one might think her a flea on a fleece.
EURIPIDES. Come, my dear, off with your robe and seat yourself on the
Scythian's knee; stretch forth your feet to me, that I may take off your
slippers.
SCYTHIAN. Ah! yes, seat yourself, my little girl, ah! yes, to be sure.
What a firm little bosom! 'tis just like a turnip.
EURIPIDES (_to the flute-girl_). An air on the flute, quick! (_To the
dancing-girl. _) Well! are you still afraid of the Scythian?
SCYTHIAN. What beautiful thighs!
EURIPIDES. Come! keep still, can't you?
SCYTHIAN. 'Tis altogether a very fine morsel to make a man's cock stand.
EURIPIDES. That's so! (_To the dancing-girl. _) Resume your dress, it is
time to be going.
SCYTHIAN. Give me a kiss.
EURIPIDES (_to the dancing-girl_). Come, give him a kiss.
SCYTHIAN. Oh! oh! oh! my goodness, what soft lips! 'tis like Attic honey.
But might she not stop with me?
EURIPIDES. Impossible, archer; good evening.
SCYTHIAN. Oh! oh! old woman, do me this pleasure.
EURIPIDES. Will you give a drachma?
SCYTHIAN. Aye, that I will.
EURIPIDES. Hand over the money.
SCYTHIAN. I have not got it, but take my quiver in pledge.
EURIPIDES. You will bring her back?
SCYTHIAN. Follow me, my beautiful child. And you, old woman, just keep
guard over this man. But what is your name?
EURIPIDES. Artemisia. Can you remember that name?
SCYTHIAN. Artemuxia. [646] Good!
EURIPIDES (_aside_). Hermes, god of cunning, receive my thanks!
everything is turning out for the best. (_To the Scythian. _) As for you,
friend, take away this girl, quick. (_Exit the Scythian with the
dancing-girl. _) Now let me loose his bonds. (_To Mnesilochus. _) And you,
directly I have released you, take to your legs and run off full tilt to
your home to find your wife and children.
MNESILOCHUS. I shall not fail in that as soon as I am free.
EURIPIDES (_releases Mnesilochus_). There! 'Tis done. Come, fly, before
the archer lays his hand on you again.
MNESILOCHUS. That's just what I am doing. [_Exit with Euripides. _
SCYTHIAN. Ah! old woman! what a charming little girl! Not at all the
prude, and so obliging! Eh! where is the old woman? Ah! I am undone! And
the old man, where is he? Hi! old woman! old woman! Ah! but this is a
dirty trick! Artemuxia! she has tricked me, that's what the little old
woman has done! Get clean out of my sight, you cursed quiver! (_Picks it
up and throws it across the stage. _) Ha! you are well named quiver, for
you have made me quiver indeed. [647] Oh! what's to be done? Where is the
old woman then? Artemuxia!
CHORUS. Are you asking for the old woman who carried the lyre?
SCYTHIAN. Yes, yes; have you seen her?
CHORUS. She has gone that way along with an old man.
SCYTHIAN. Dressed in a long robe?
CHORUS. Yes; run quick, and you will overtake them.
SCYTHIAN. Ah! rascally old woman! Which way has she fled? Artemuxia!
CHORUS. Straight on; follow your nose. But, hi! where are you running to
now? Come back, you are going exactly the wrong way.
SCYTHIAN. Ye gods! ye gods! and all this while Artemuxia is escaping.
[_Exit running. _
CHORUS. Go your way! and a pleasant journey to you! But our sports have
lasted long enough; it is time for each of us to be off home; and may the
two goddesses reward us for our labours!
* * * * *
FINIS OF "THE THESMOPHORIAZUSAE"
* * * * *
Footnotes:
[544] Aristophanes parodies Euripides' language, which is occasionally
sillily sententious.
[545] He flourished about 420 B. C. and composed many tragedies, such as
'Telephus,' 'Thyestes,' which are lost. Some fragments of his work are to
be found in Aristotle and in Athenaeus; he also distinguished himself as
a musician. The banquet, which gave his name to one of Plato's dialogues,
is supposed to have taken place at his house.
[546] The Thesmophoria were celebrated in the month of Pyanepsion, or
November.
[547] The Thesmophoria lasted five days; they were dedicated to Demeter
Thesmophoros, or Legislatress, in recognition of the wise laws she had
given mankind. For many days before the solemn event, the women of high
birth (who alone were entitled to celebrate it) had to abstain from all
pleasures that appealed to the senses, even the most legitimate, and to
live with the greatest sobriety. The presiding priest at the Thesmophoria
was always chosen from the sacerdotal family of the Eumolpidae, the
descendants of Eumolpus, the son of Posidon. At these feasts, the worship
of Persephone was associated with that of Demeter.
[548] Refers presumably to the [Greek: ekkukl_ema], a piece of machinery
by means of which interiors were represented on the Greek stage--room and
occupant being in some way wheeled out into view of the spectators
bodily.
[549] A celebrated 'lady of pleasure'; Agathon is like her by reason of
his effeminate, wanton looks and dissolute habits.
[550] Demeter is represented wandering, torch in hand, about the universe
looking for her lost child Proserpine (Persephone).
[551] Troy.
[552] Agathon, in accordance with his character, voluptuousness, is
represented as preferring the effeminate music and lascivious dances of
Asia.
[553] Goddesses who presided over generation; see also the 'Lysistrata. '
[554] A tetralogy, a series of four dramas connected by subject, of which
the principal character was Lycurgus, king of the Thracians. When Bacchus
returned to Thrace as conqueror of the Indies he dared to deride the god,
and was punished by him in consequence. All four plays are lost.
[555] That is, the attributes of a man and those of a woman combined.
[556] That is, you make love in the posture known as 'the horse,'
_equus_, in other words the woman atop of the man. There is a further
joke intended here, inasmuch as Euripides, in his 'Phaedra,' represents
the heroine as being passionately addicted to hunting and horses.
[557] Ibycus, a lyric poet of the sixth century, originally from Rhegium
in Magna Graecia. --Anacreon, a celebrated erotic poet of the beginning of
the fifth century. --Alcaeus, a lyric poet, born about 600 B. C. at
Mytilene, in the island of Lesbos, was driven out of his country by a
tyrant and sang of his loves, his services as a warrior, his travels and
the miseries of his exile. He was a contemporary of Sappho, and conceived
a passion for her, which she only rewarded with disdain.
[558] Phrynichus, a disciple of Thespis, improved the dramatic art, when
still no more than a child; it was he who first introduced female
characters upon the stage and made use of the iambic of six feet in
tragedies. He flourished about 500 B. C.
[559] Philocles, Xenocles, and Theognis were dramatic poets and
contemporaries of Aristophanes. The two first were sons of Carcinus, the
poet and dancer.
[560] Fragment of Euripides' 'Aeolus,' a lost drama.
[561] Fragment of Euripides' well-known play, the 'Alcestis. '
[562] An allusion to the secret practices of mutual love which the women
assembled for the Thesmophoria were credited by popular repute with
indulging in.
