[246] A flute-player,
mentioned
above.
Aristophanes
Oh!
my gods!
what bosoms!
Hard as a quince! Come, my treasures, give me voluptuous kisses! Glue
your lips to mine. Haha! I was the first to empty my cup.
LAMACHUS. Oh! cruel fate! how I suffer! accursed wounds!
DICAEOPOLIS. Hah! hah! hail! Knight Lamachus! (_Embraces Lamachus. _)
LAMACHUS. By the hostile gods! _(Bites Dicaeopolis. )_
DICAEOPOLIS. Ah! great gods!
LAMACHUS. Why do you embrace me?
DICAEOPOLIS. And why do you bite me?
LAMACHUS. 'Twas a cruel score I was paying back!
DICAEOPOLIS. Scores are not evened at the feast of Cups!
LAMACHUS. Oh! Paean, Paean!
DICAEOPOLIS. But to-day is not the feast of Paean.
LAMACHUS. Oh! support my leg, do; ah! hold it tenderly, my friends!
DICAEOPOLIS. And you, my darlings, take hold of my tool both of you!
LAMACHUS. This blow with the stone makes me dizzy; my sight grows dim.
DICAEOPOLIS. For myself, I want to get to bed; I am bursting with
lustfulness, I want to be fucking in the dark.
LAMACHUS. Carry me to the surgeon Pittalus.
DICAEOPOLIS. Take me to the judges. Where is the king of the feast? The
wine-skin is mine!
LAMACHUS. That spear has pierced my bones; what torture I endure!
DICAEOPOLIS. You see this empty cup! I triumph! I triumph!
CHORUS. Old man, I come at your bidding! You triumph! you triumph!
DICAEOPOLIS. Again I have brimmed my cup with unmixed wine and drained it
at a draught!
CHORUS. You triumph then, brave champion; thine is the wine-skin!
DICAEOPOLIS. Follow me, singing "Triumph! Triumph! "
CHORUS. Aye! we will sing of thee, thee and thy sacred wine-skin, and we
all, as we follow thee, will repeat in thine honour, "Triumph, Triumph! "
* * * * *
FINIS OF "THE ACHARNIANS"
* * * * *
Footnotes:
[147] A name invented by Aristophanes and signifying 'a just citizen. '
[148] Cleon had received five talents from the islanders subject to
Athens, on condition that he should get the tribute payable by them
reduced; when informed of this transaction, the Knights compelled him to
return the money.
[149] A hemistich borrowed from Euripides' 'Telephus. '
[150] The tragedies of Aeschylus continued to be played even after the
poet's death, which occurred in 436 B. C. , ten years before the production
of the Acharnians.
[151] A tragic poet, whose pieces were so devoid of warmth and life that
he was nicknamed [Greek: chi_on], i. e. _snow_.
[152] A bad musician, frequently ridiculed by Aristophanes; he played
both the lyre and the flute.
[153] A lively and elevated method.
[154] A hill near the Acropolis, where the Assemblies were held.
[155] Several means were used to force citizens to attend the assemblies;
the shops were closed; circulation was only permitted in those streets
which led to the Pnyx; finally, a rope covered with vermilion was drawn
round those who dallied in the Agora (the marketplace), and the
late-comers, ear-marked by the imprint of the rope, were fined.
[156] Magistrates who, with the Archons and the Epistatae, shared the
care of holding and directing the assemblies of the people; they were
fifty in number.
[157] The Peloponnesian War had already, at the date of the
representation of the 'Acharnians,' lasted five years, 431-426 B. C. ;
driven from their lands by the successive Lacedaemonian invasions, the
people throughout the country had been compelled to seek shelter behind
the walls of Athens.
[158] Shortly before the meeting of the Assembly, a number of young pigs
were immolated and a few drops of their blood were sprinkled on the seats
of the Prytanes; this sacrifice was in honour of Ceres.
[159] The name, Amphitheus, contains the word, [Greek: Theos], _god_.
[160] Amongst other duties, it was the office of the Prytanes to look
after the wants of the poor.
[161] The summer residence of the Great King.
[162] Referring to the hardships he had endured garrisoning the walls of
Athens during the Lacedaemonian invasions early in the War.
[163] Cranaus, the second king of Athens, the successor of Cecrops.
[164] Lucian, in his 'Hermotimus,' speaks of these golden mountains as an
apocryphal land of wonders and prodigies.
[165] Cleonymus was an Athenian general of exceptionally tall stature;
Aristophanes incessantly rallies him for his cowardice; he had cast away
his buckler in a fight.
[166] A name borne by certain officials of the King of Persia. The actor
of this part wore a mask, fitted with a single eye of great size.
[167] Jargon, no doubt meaningless in all languages.
[168] The Persians styled all Greeks 'Ionians' without distinction; here
the Athenians are intended.
[169] A Greek measure, containing about six modii.
[170] Noted for his extreme ugliness and his obscenity. Aristophanes
frequently holds him to scorn in his comedies.
[171] Ambassadors were entertained there at the public expense.
[172] King of Thrace.
[173] The tragic poet.
[174] A feast lasting three days and celebrated during the month
Pyanepsion (November). The Greek word contains the suggestion of fraud
([Greek: apat_e]).
[175] A Thracian tribe from the right bank of the Strymon.
[176] The Boeotians were the allies of Sparta.
[177] Dicaeopolis had brought a clove of garlic with him to eat during
the Assembly.
[178] Garlic was given to game-cocks, before setting them at each other,
to give them pluck for the fight.
[179] At the least unfavourable omen, the sitting of the Assembly was
declared at an end.
[180] The deme of Acharnae was largely inhabited by charcoal-burners, who
supplied the city with fuel.
[181] He presents them in the form of wines contained in three separate
skins.
[182] Meaning, preparations for war.
[183] Meaning, securing allies for the continuance of the war.
[184] When Athens sent forth an army, the soldiers were usually ordered
to assemble at some particular spot with provisions for three days.
[185] These feasts were also called the Anthesteria or Lenaea; the
Lenaeum was a temple to Bacchus, erected outside the city. They took
place during the month Anthesterion (February).
[186] A celebrated athlete from Croton and a victor at Olympia; he was
equally good as a runner and at the 'five exercises' ([Greek:
pentathlon. ]).
[187] He had been Archon at the time of the battle of Marathon.
[188] A sacred formula, pronounced by the priest before offering the
sacrifice ([Greek: kan_ephoria]).
[189] The maiden who carried the basket filled with fruits at the
Dionysia in honour of Bacchus.
[190] The emblem of the fecundity of nature; it consisted of a
representation, generally grotesquely exaggerated, of the male genital
organs; the phallophori crowned with violets and ivy and their faces
shaded with green foliage, sang improvised airs, called 'Phallics,' full
of obscenity and suggestive 'double entendres. '
[191] The most propitious moment for Love's gambols, observes the
scholiast.
[192] Married women did not join in the processions.
[193] The god of generation, worshipped in the form of a phallus.
[194] A remark, which fixes the date of the production of the
'Acharnians,' viz. the sixth year of the Peloponnesian War, 426 B. C.
[195] Lamachus was an Athenian general, who figures later in this comedy.
[196] At the rural Dionysia a pot of kitchen vegetables was borne in the
procession along with other emblems.
[197] Cleon the Demagogue was a currier originally by trade. He was the
sworn foe and particular detestation of the Knights or aristocratic party
generally.
[198] That is, the baskets of charcoal.
[199] The stage of the Greek theatre was much broader, and at the same
time shallower, than in a modern playhouse.
[200] A mountain in Attica, in the neighbourhood of Acharnae.
[201] Orators in the pay of the enemy.
[202] Satire on the Athenians' addiction to lawsuits.
[203] 'The Babylonians. ' Cleon had denounced Aristophanes to the senate
for having scoffed at Athens before strangers, many of whom were present
at the performance. The play is now lost.
[204] A tragic poet; we know next to nothing of him or his works.
[205] Son of Aeolus, renowned in fable for his robberies, and for the
tortures to which he was put by Pluto. He was cunning enough to break
loose out of hell, but Hermes brought him back again.
[206] This whole scene is directed at Euripides; Aristophanes ridicules
the subtleties of his poetry and the trickeries of his staging, which,
according to him, he only used to attract the less refined among his
audience.
[207] "Wheeled out"--that is, by means of the [Greek: ekkukl_ema], a
mechanical contrivance of the Greek stage, by which an interior was
shown, the set scene with performers, etc. , all complete, being in some
way, which cannot be clearly made out from the descriptions, swung out or
wheeled out on to the main stage.
[208] Having been lamed, it is of course implied, by tumbling from the
lofty apparatus on which the Author sat perched to write his tragedies.
[209] Euripides delighted, or was supposed by his critic Aristophanes to
delight, in the representation of misery and wretchedness on the stage.
'Aeneus,' 'Phoenix,' 'Philoctetes,' 'Bellerophon,' 'Telephus,' 'Ino' are
titles of six tragedies of his in this _genre_ of which fragments are
extant.
[210] Line borrowed from Euripides. A great number of verses are
similarly parodied in this scene.
[211] Report said that Euripides' mother had sold vegetables on the
market.
[212] Aristophanes means, of course, to imply that the whole talent of
Euripides lay in these petty details of stage property.
[213] 'The Babylonians' had been produced at a time of year when Athens
was crowded with strangers; 'The Acharnians,' on the contrary, was played
in December.
[214] Sparta had been menaced with an earthquake in 427 B. C. Posidon was
'The Earthshaker,' god of earthquakes, as well as of the sea.
[215] A song by Timocreon the Rhodian, the words of which were
practically identical with Pericles' decree.
[216] A small and insignificant island, one of the Cyclades, allied with
the Athenians, like most of these islands previous to and during the
first part of the Peloponnesian War.
[217] A figure of Medusa's head, forming the centre of Lamachus' shield.
[218] Indicates the character of his election, which was arranged, so
Aristophanes implies, by his partisans.
[219] Towns in Sicily. There is a pun on the name Gela--[Greek: Gela] and
[Greek: Katagela] (ridiculous)--which it is impossible to keep in
English. Apparently the Athenians had sent embassies to all parts of the
Greek world to arrange treaties of alliance in view of the struggle with
the Lacedaemonians; but only young debauchees of aristocratic connections
had been chosen as envoys.
[220] A contemporary orator apparently, otherwise unknown.
[221] The _parabasis_ in the Old Comedy was a sort of address or topical
harangue addressed directly by the poet, speaking by the Chorus, to the
audience. It was nearly always political in bearing, and the subject of
the particular piece was for the time being set aside altogether.
[222] It will be remembered that Aristophanes owned land in Aegina.
[223] Everything was made the object of a law-suit at Athens. The old
soldiers, inexpert at speaking, often lost the day.
[224] A water-clock used to limit the length of speeches in the courts.
[225] A braggart speaker, fiery and pugnacious.
[226] Cephisodemus was an Athenian, but through his mother possessed
Scythian blood.
[227] The city of Athens was policed by Scythian archers.
[228] Alcibiades.
[229] The leather market was held at Lepros, outside the city.
[230] Meaning an informer ([Greek: phain_o], to denounce).
[231] According to the Athenian custom.
[232] Megara was allied to Sparta and suffered during the war more than
any other city, because of its proximity to Athens.
[233]: Throughout this whole scene there is an obscene play upon the word
[Greek: choiros], which means in Greek both 'sow' and 'a woman's organs
of generation. '
[234] Sacrificial victims were bound to be perfect in every part; an
animal, therefore, without a tail could not be offered.
[235] The Greek word, [Greek: erebinthos], also means the male sexual
organ. Observe the little pig-girl greets this question with _three_
affirmative squeaks!
[236] The Megarians used the Doric dialect.
[237] A play upon the word [Greek: phainein], which both means _to light_
and _to denounce_.
[238] An informer (sycophant), otherwise unknown.
[239] A debauchee of vile habits; a pathic.
[240] Mentioned above; he was as proud as he was cowardly.
[241] An Athenian general, quarrelsome and litigious, and an Informer
into the bargain.
[242] A comic poet of vile habits.
[243] A painter.
[244] A debauchee, a gambler, and always in extreme poverty.
[245] This kind of flute had a bellows, made of dog-skin, much like the
bagpipes of to-day.
[246] A flute-player, mentioned above.
[247] A hero, much honoured in Thebes; nephew of Heracles.
[248] A form of bread peculiar to Boeotia.
[249] A lake in Boeotia.
[250] He was the Lucullus of Athens.
[251] This again fixes the date of the presentation of the 'Acharnians'
to 426 B. C. , the sixth year of the War, since the beginning of which
Boeotia had been closed to the Athenians.
[252] An Informer.
[253] The second day of the Dionysia or feasts of Bacchus, kept in the
month Anthesterion (February), and called the Anthesteria. They lasted
three days; the second being the Feast of Cups, a description of which is
to be found at the end of this comedy, the third the Feast of Pans.
Vases, filled with grain of all kinds, were borne in procession and
dedicated to Hermes.
[254] A parody of some verses from a lost poet.
[255] A feasting song in honour of Harmodius, the assassin of Hipparchus
the Tyrant, son of Pisistratus.
[256] The celebrated painter, born at Heraclea, a contemporary of
Aristophanes.
[257] A deme and frontier fortress of Attica, near the Boeotian border.
[258] An Athenian physician of the day.
[259] An allusion to the paroxysms of rage, as represented in many
tragedies familiar to an Athenian audience, of Orestes, the son of
Agamemnon, after he had killed his mother.
[260] No doubt the comic poet, rival of Aristophanes.
[261] Unexpected wind-up of the story. Aristophanes intends to deride the
boasting of Lamachus, who was always ascribing to himself most unlikely
exploits.
PEACE
INTRODUCTION
The 'Peace' was brought out four years after 'The Acharnians' (422 B. C. ),
when the War had already lasted ten years. The leading motive is the same
as in the former play--the intense desire of the less excitable and more
moderate-minded citizens for relief from the miseries of war.
Trygaeus, a rustic patriot, finding no help in men, resolves to ascend to
heaven to expostulate personally with Zeus for allowing this wretched
state of things to continue. With this object he has fed and trained a
gigantic dung-beetle, which he mounts, and is carried, like Bellerophon
on Pegasus, on an aerial journey. Eventually he reaches Olympus, only to
find that the gods have gone elsewhere, and that the heavenly abode is
occupied solely by the demon of War, who is busy pounding up the Greek
States in a huge mortar. However, his benevolent purpose is not in vain;
for learning from Hermes that the goddess Peace has been cast into a pit,
where she is kept a fast prisoner, he calls upon the different peoples of
Hellas to make a united effort and rescue her, and with their help drags
her out and brings her back in triumph to earth. The play concludes with
the restoration of the goddess to her ancient honours, the festivities of
the rustic population and the nuptials of Trygaeus with Opora (Harvest),
handmaiden of Peace, represented as a pretty courtesan.
Such references as there are to Cleon in this play are noteworthy. The
great Demagogue was now dead, having fallen in the same action as the
rival Spartan general, the renowned Brasidas, before Amphipolis, and
whatever Aristophanes says here of his old enemy is conceived in the
spirit of 'de mortuis nil nisi bonum. ' In one scene Hermes is descanting
on the evils which had nearly ruined Athens and declares that 'The
Tanner' was the cause of them all. But Trygaeus interrupts him with the
words:
"Hold--say not so, good master Hermes;
Let the man rest in peace where now he lies.
He is no longer of our world, but yours. "
Here surely we have a trait of magnanimity on the author's part as
admirable in its way as the wit and boldness of his former attacks had
been in theirs.
* * * * *
PEACE
DRAMATIS PERSONAE
TRYGAEUS.
TWO SERVANTS of TRYGAEUS.
MAIDENS, Daughters of TRYGAEUS.
HERMES.
WAR.
TUMULT.
HIEROCLES, a Soothsayer.
A SICKLE-MAKER.
A CREST-MAKER.
A TRUMPET-MAKER.
A HELMET-MAKER.
A SPEAR-MAKER.
SON OF LAMACHUS.
SON OF CLEONYMUS.
CHORUS OF HUSBANDMEN.
SCENE: A farmyard, two slaves busy beside a dungheap; afterwards, in
Olympus.
* * * * *
PEACE
FIRST SERVANT. Quick, quick, bring the dung-beetle his cake.
SECOND SERVANT. Coming, coming.
FIRST SERVANT. Give it to him, and may it kill him!
SECOND SERVANT. May he never eat a better.
FIRST SERVANT. Now give him this other one kneaded up with ass's dung.
SECOND SERVANT. There! I've done that too.
FIRST SERVANT. And where's what you gave him just now; surely he can't
have devoured it yet!
SECOND SERVANT. Indeed he has; he snatched it, rolled it between his feet
and boiled it.
FIRST SERVANT. Come, hurry up, knead up a lot and knead them stiffly.
SECOND SERVANT. Oh, scavengers, help me in the name of the gods, if you
do not wish to see me fall down choked.
FIRST SERVANT. Come, come, another made of the stool of a young
scapegrace catamite. 'Twill be to the beetle's taste; he likes it well
ground. [262]
SECOND SERVANT. There! I am free at least from suspicion; none will
accuse me of tasting what I mix.
FIRST SERVANT. Faugh! come, now another! keep on mixing with all your
might.
SECOND SERVANT. I' faith, no. I can stand this awful cesspool stench no
longer, so I bring you the whole ill-smelling gear.
FIRST SERVANT. Pitch it down the sewer sooner, and yourself with it.
SECOND SERVANT. Maybe, one of you can tell me where I can buy a
stopped-up nose, for there is no work more disgusting than to mix food
for a beetle and to carry it to him. A pig or a dog will at least pounce
upon our excrement without more ado, but this foul wretch affects the
disdainful, the spoilt mistress, and won't eat unless I offer him a cake
that has been kneaded for an entire day. . . . But let us open the door a
bit ajar without his seeing it. Has he done eating? Come, pluck up
courage, cram yourself till you burst! The cursed creature! It wallows in
its food! It grips it between its claws like a wrestler clutching his
opponent, and with head and feet together rolls up its paste like a
ropemaker twisting a hawser. What an indecent, stinking, gluttonous
beast! I know not what angry god let this monster loose upon us, but of a
certainty it was neither Aphrodite nor the Graces.
FIRST SERVANT. Who was it then?
SECOND SERVANT. No doubt the Thunderer, Zeus.
FIRST SERVANT. But perhaps some spectator, some beardless youth, who
thinks himself a sage, will say, "What is this? What does the beetle
mean? " And then an Ionian,[263] sitting next him, will add, "I think 'tis
an allusion to Cleon, who so shamelessly feeds on filth all by
himself. "--But now I'm going indoors to fetch the beetle a drink.
SECOND SERVANT. As for me, I will explain the matter to you all,
children, youths, grown-ups and old men, aye, even to the decrepit
dotards. My master is mad, not as you are, but with another sort of
madness, quite a new kind. The livelong day he looks open-mouthed towards
heaven and never stops addressing Zeus. "Ah! Zeus," he cries, "what are
thy intentions? Lay aside thy besom; do not sweep Greece away! "
TRYGAEUS. Ah! ah! ah!
FIRST SERVANT. Hush, hush! Methinks I hear his voice!
TRYGAEUS. Oh! Zeus, what art thou going to do for our people? Dost thou
not see this, that our cities will soon be but empty husks?
FIRST SLAVE. As I told you, that is his form of madness. There you have a
sample of his follies. When his trouble first began to seize him, he said
to himself, "By what means could I go straight to Zeus? " Then he made
himself very slender little ladders and so clambered up towards heaven;
but he soon came hurtling down again and broke his head. Yesterday, to
our misfortune, he went out and brought us back this thoroughbred, but
from where I know not, this great beetle, whose groom he has forced me to
become. He himself caresses it as though it were a horse, saying, "Oh! my
little Pegasus,[264] my noble aerial steed, may your wings soon bear me
straight to Zeus! " But what is my master doing? I must stoop down to look
through this hole. Oh! great gods! Here! neighbours, run here quick! here
is my master flying off mounted on his beetle as if on horseback.
TRYGAEUS. Gently, gently, go easy, beetle; don't start off so proudly, or
trust at first too greatly to your powers; wait till you have sweated,
till the beating of your wings shall make your limb joints supple. Above
all things, don't let off some foul smell, I adjure you; else I would
rather have you stop in the stable altogether.
SECOND SERVANT. Poor master! Is he crazy?
TRYGAEUS. Silence! silence!
SECOND SERVANT (_to Trygaeus_). But why start up into the air on chance?
TRYGAEUS. 'Tis for the weal of all the Greeks; I am attempting a daring
and novel feat.
SECOND SERVANT. But what is your purpose? What useless folly!
TRYGAEUS. No words of ill omen! Give vent to joy and command all men to
keep silence, to close down their drains and privies with new tiles and
to stop their own vent-holes. [265]
FIRST SERVANT. No, I shall not be silent, unless you tell me where you
are going.
TRYGAEUS. Why, where am I likely to be going across the sky, if it be not
to visit Zeus?
FIRST SERVANT. For what purpose?
TRYGAEUS. I want to ask him what he reckons to do for all the Greeks.
SECOND SERVANT. And if he doesn't tell you?
TRYGAEUS. I shall pursue him at law as a traitor who sells Greece to the
Medes. [266]
SECOND SERVANT. Death seize me, if I let you go.
TRYGAEUS. It is absolutely necessary.
SECOND SERVANT. Alas! alas! dear little girls, your father is deserting
you secretly to go to heaven. Ah! poor orphans, entreat him, beseech him.
LITTLE DAUGHTER. Father! father! what is this I hear? Is it true? What!
you would leave me, you would vanish into the sky, you would go to the
crows? [267] 'Tis impossible! Answer, father, an you love me.
TRYGAEUS. Yes, I am going. You hurt me too sorely, my daughters, when you
ask me for bread, calling me your daddy, and there is not the ghost of an
obolus in the house; if I succeed and come back, you will have a barley
loaf every morning--and a punch in the eye for sauce!
LITTLE DAUGHTER. But how will you make the journey? 'Tis not a ship that
will carry you thither.
TRYGAEUS.
Hard as a quince! Come, my treasures, give me voluptuous kisses! Glue
your lips to mine. Haha! I was the first to empty my cup.
LAMACHUS. Oh! cruel fate! how I suffer! accursed wounds!
DICAEOPOLIS. Hah! hah! hail! Knight Lamachus! (_Embraces Lamachus. _)
LAMACHUS. By the hostile gods! _(Bites Dicaeopolis. )_
DICAEOPOLIS. Ah! great gods!
LAMACHUS. Why do you embrace me?
DICAEOPOLIS. And why do you bite me?
LAMACHUS. 'Twas a cruel score I was paying back!
DICAEOPOLIS. Scores are not evened at the feast of Cups!
LAMACHUS. Oh! Paean, Paean!
DICAEOPOLIS. But to-day is not the feast of Paean.
LAMACHUS. Oh! support my leg, do; ah! hold it tenderly, my friends!
DICAEOPOLIS. And you, my darlings, take hold of my tool both of you!
LAMACHUS. This blow with the stone makes me dizzy; my sight grows dim.
DICAEOPOLIS. For myself, I want to get to bed; I am bursting with
lustfulness, I want to be fucking in the dark.
LAMACHUS. Carry me to the surgeon Pittalus.
DICAEOPOLIS. Take me to the judges. Where is the king of the feast? The
wine-skin is mine!
LAMACHUS. That spear has pierced my bones; what torture I endure!
DICAEOPOLIS. You see this empty cup! I triumph! I triumph!
CHORUS. Old man, I come at your bidding! You triumph! you triumph!
DICAEOPOLIS. Again I have brimmed my cup with unmixed wine and drained it
at a draught!
CHORUS. You triumph then, brave champion; thine is the wine-skin!
DICAEOPOLIS. Follow me, singing "Triumph! Triumph! "
CHORUS. Aye! we will sing of thee, thee and thy sacred wine-skin, and we
all, as we follow thee, will repeat in thine honour, "Triumph, Triumph! "
* * * * *
FINIS OF "THE ACHARNIANS"
* * * * *
Footnotes:
[147] A name invented by Aristophanes and signifying 'a just citizen. '
[148] Cleon had received five talents from the islanders subject to
Athens, on condition that he should get the tribute payable by them
reduced; when informed of this transaction, the Knights compelled him to
return the money.
[149] A hemistich borrowed from Euripides' 'Telephus. '
[150] The tragedies of Aeschylus continued to be played even after the
poet's death, which occurred in 436 B. C. , ten years before the production
of the Acharnians.
[151] A tragic poet, whose pieces were so devoid of warmth and life that
he was nicknamed [Greek: chi_on], i. e. _snow_.
[152] A bad musician, frequently ridiculed by Aristophanes; he played
both the lyre and the flute.
[153] A lively and elevated method.
[154] A hill near the Acropolis, where the Assemblies were held.
[155] Several means were used to force citizens to attend the assemblies;
the shops were closed; circulation was only permitted in those streets
which led to the Pnyx; finally, a rope covered with vermilion was drawn
round those who dallied in the Agora (the marketplace), and the
late-comers, ear-marked by the imprint of the rope, were fined.
[156] Magistrates who, with the Archons and the Epistatae, shared the
care of holding and directing the assemblies of the people; they were
fifty in number.
[157] The Peloponnesian War had already, at the date of the
representation of the 'Acharnians,' lasted five years, 431-426 B. C. ;
driven from their lands by the successive Lacedaemonian invasions, the
people throughout the country had been compelled to seek shelter behind
the walls of Athens.
[158] Shortly before the meeting of the Assembly, a number of young pigs
were immolated and a few drops of their blood were sprinkled on the seats
of the Prytanes; this sacrifice was in honour of Ceres.
[159] The name, Amphitheus, contains the word, [Greek: Theos], _god_.
[160] Amongst other duties, it was the office of the Prytanes to look
after the wants of the poor.
[161] The summer residence of the Great King.
[162] Referring to the hardships he had endured garrisoning the walls of
Athens during the Lacedaemonian invasions early in the War.
[163] Cranaus, the second king of Athens, the successor of Cecrops.
[164] Lucian, in his 'Hermotimus,' speaks of these golden mountains as an
apocryphal land of wonders and prodigies.
[165] Cleonymus was an Athenian general of exceptionally tall stature;
Aristophanes incessantly rallies him for his cowardice; he had cast away
his buckler in a fight.
[166] A name borne by certain officials of the King of Persia. The actor
of this part wore a mask, fitted with a single eye of great size.
[167] Jargon, no doubt meaningless in all languages.
[168] The Persians styled all Greeks 'Ionians' without distinction; here
the Athenians are intended.
[169] A Greek measure, containing about six modii.
[170] Noted for his extreme ugliness and his obscenity. Aristophanes
frequently holds him to scorn in his comedies.
[171] Ambassadors were entertained there at the public expense.
[172] King of Thrace.
[173] The tragic poet.
[174] A feast lasting three days and celebrated during the month
Pyanepsion (November). The Greek word contains the suggestion of fraud
([Greek: apat_e]).
[175] A Thracian tribe from the right bank of the Strymon.
[176] The Boeotians were the allies of Sparta.
[177] Dicaeopolis had brought a clove of garlic with him to eat during
the Assembly.
[178] Garlic was given to game-cocks, before setting them at each other,
to give them pluck for the fight.
[179] At the least unfavourable omen, the sitting of the Assembly was
declared at an end.
[180] The deme of Acharnae was largely inhabited by charcoal-burners, who
supplied the city with fuel.
[181] He presents them in the form of wines contained in three separate
skins.
[182] Meaning, preparations for war.
[183] Meaning, securing allies for the continuance of the war.
[184] When Athens sent forth an army, the soldiers were usually ordered
to assemble at some particular spot with provisions for three days.
[185] These feasts were also called the Anthesteria or Lenaea; the
Lenaeum was a temple to Bacchus, erected outside the city. They took
place during the month Anthesterion (February).
[186] A celebrated athlete from Croton and a victor at Olympia; he was
equally good as a runner and at the 'five exercises' ([Greek:
pentathlon. ]).
[187] He had been Archon at the time of the battle of Marathon.
[188] A sacred formula, pronounced by the priest before offering the
sacrifice ([Greek: kan_ephoria]).
[189] The maiden who carried the basket filled with fruits at the
Dionysia in honour of Bacchus.
[190] The emblem of the fecundity of nature; it consisted of a
representation, generally grotesquely exaggerated, of the male genital
organs; the phallophori crowned with violets and ivy and their faces
shaded with green foliage, sang improvised airs, called 'Phallics,' full
of obscenity and suggestive 'double entendres. '
[191] The most propitious moment for Love's gambols, observes the
scholiast.
[192] Married women did not join in the processions.
[193] The god of generation, worshipped in the form of a phallus.
[194] A remark, which fixes the date of the production of the
'Acharnians,' viz. the sixth year of the Peloponnesian War, 426 B. C.
[195] Lamachus was an Athenian general, who figures later in this comedy.
[196] At the rural Dionysia a pot of kitchen vegetables was borne in the
procession along with other emblems.
[197] Cleon the Demagogue was a currier originally by trade. He was the
sworn foe and particular detestation of the Knights or aristocratic party
generally.
[198] That is, the baskets of charcoal.
[199] The stage of the Greek theatre was much broader, and at the same
time shallower, than in a modern playhouse.
[200] A mountain in Attica, in the neighbourhood of Acharnae.
[201] Orators in the pay of the enemy.
[202] Satire on the Athenians' addiction to lawsuits.
[203] 'The Babylonians. ' Cleon had denounced Aristophanes to the senate
for having scoffed at Athens before strangers, many of whom were present
at the performance. The play is now lost.
[204] A tragic poet; we know next to nothing of him or his works.
[205] Son of Aeolus, renowned in fable for his robberies, and for the
tortures to which he was put by Pluto. He was cunning enough to break
loose out of hell, but Hermes brought him back again.
[206] This whole scene is directed at Euripides; Aristophanes ridicules
the subtleties of his poetry and the trickeries of his staging, which,
according to him, he only used to attract the less refined among his
audience.
[207] "Wheeled out"--that is, by means of the [Greek: ekkukl_ema], a
mechanical contrivance of the Greek stage, by which an interior was
shown, the set scene with performers, etc. , all complete, being in some
way, which cannot be clearly made out from the descriptions, swung out or
wheeled out on to the main stage.
[208] Having been lamed, it is of course implied, by tumbling from the
lofty apparatus on which the Author sat perched to write his tragedies.
[209] Euripides delighted, or was supposed by his critic Aristophanes to
delight, in the representation of misery and wretchedness on the stage.
'Aeneus,' 'Phoenix,' 'Philoctetes,' 'Bellerophon,' 'Telephus,' 'Ino' are
titles of six tragedies of his in this _genre_ of which fragments are
extant.
[210] Line borrowed from Euripides. A great number of verses are
similarly parodied in this scene.
[211] Report said that Euripides' mother had sold vegetables on the
market.
[212] Aristophanes means, of course, to imply that the whole talent of
Euripides lay in these petty details of stage property.
[213] 'The Babylonians' had been produced at a time of year when Athens
was crowded with strangers; 'The Acharnians,' on the contrary, was played
in December.
[214] Sparta had been menaced with an earthquake in 427 B. C. Posidon was
'The Earthshaker,' god of earthquakes, as well as of the sea.
[215] A song by Timocreon the Rhodian, the words of which were
practically identical with Pericles' decree.
[216] A small and insignificant island, one of the Cyclades, allied with
the Athenians, like most of these islands previous to and during the
first part of the Peloponnesian War.
[217] A figure of Medusa's head, forming the centre of Lamachus' shield.
[218] Indicates the character of his election, which was arranged, so
Aristophanes implies, by his partisans.
[219] Towns in Sicily. There is a pun on the name Gela--[Greek: Gela] and
[Greek: Katagela] (ridiculous)--which it is impossible to keep in
English. Apparently the Athenians had sent embassies to all parts of the
Greek world to arrange treaties of alliance in view of the struggle with
the Lacedaemonians; but only young debauchees of aristocratic connections
had been chosen as envoys.
[220] A contemporary orator apparently, otherwise unknown.
[221] The _parabasis_ in the Old Comedy was a sort of address or topical
harangue addressed directly by the poet, speaking by the Chorus, to the
audience. It was nearly always political in bearing, and the subject of
the particular piece was for the time being set aside altogether.
[222] It will be remembered that Aristophanes owned land in Aegina.
[223] Everything was made the object of a law-suit at Athens. The old
soldiers, inexpert at speaking, often lost the day.
[224] A water-clock used to limit the length of speeches in the courts.
[225] A braggart speaker, fiery and pugnacious.
[226] Cephisodemus was an Athenian, but through his mother possessed
Scythian blood.
[227] The city of Athens was policed by Scythian archers.
[228] Alcibiades.
[229] The leather market was held at Lepros, outside the city.
[230] Meaning an informer ([Greek: phain_o], to denounce).
[231] According to the Athenian custom.
[232] Megara was allied to Sparta and suffered during the war more than
any other city, because of its proximity to Athens.
[233]: Throughout this whole scene there is an obscene play upon the word
[Greek: choiros], which means in Greek both 'sow' and 'a woman's organs
of generation. '
[234] Sacrificial victims were bound to be perfect in every part; an
animal, therefore, without a tail could not be offered.
[235] The Greek word, [Greek: erebinthos], also means the male sexual
organ. Observe the little pig-girl greets this question with _three_
affirmative squeaks!
[236] The Megarians used the Doric dialect.
[237] A play upon the word [Greek: phainein], which both means _to light_
and _to denounce_.
[238] An informer (sycophant), otherwise unknown.
[239] A debauchee of vile habits; a pathic.
[240] Mentioned above; he was as proud as he was cowardly.
[241] An Athenian general, quarrelsome and litigious, and an Informer
into the bargain.
[242] A comic poet of vile habits.
[243] A painter.
[244] A debauchee, a gambler, and always in extreme poverty.
[245] This kind of flute had a bellows, made of dog-skin, much like the
bagpipes of to-day.
[246] A flute-player, mentioned above.
[247] A hero, much honoured in Thebes; nephew of Heracles.
[248] A form of bread peculiar to Boeotia.
[249] A lake in Boeotia.
[250] He was the Lucullus of Athens.
[251] This again fixes the date of the presentation of the 'Acharnians'
to 426 B. C. , the sixth year of the War, since the beginning of which
Boeotia had been closed to the Athenians.
[252] An Informer.
[253] The second day of the Dionysia or feasts of Bacchus, kept in the
month Anthesterion (February), and called the Anthesteria. They lasted
three days; the second being the Feast of Cups, a description of which is
to be found at the end of this comedy, the third the Feast of Pans.
Vases, filled with grain of all kinds, were borne in procession and
dedicated to Hermes.
[254] A parody of some verses from a lost poet.
[255] A feasting song in honour of Harmodius, the assassin of Hipparchus
the Tyrant, son of Pisistratus.
[256] The celebrated painter, born at Heraclea, a contemporary of
Aristophanes.
[257] A deme and frontier fortress of Attica, near the Boeotian border.
[258] An Athenian physician of the day.
[259] An allusion to the paroxysms of rage, as represented in many
tragedies familiar to an Athenian audience, of Orestes, the son of
Agamemnon, after he had killed his mother.
[260] No doubt the comic poet, rival of Aristophanes.
[261] Unexpected wind-up of the story. Aristophanes intends to deride the
boasting of Lamachus, who was always ascribing to himself most unlikely
exploits.
PEACE
INTRODUCTION
The 'Peace' was brought out four years after 'The Acharnians' (422 B. C. ),
when the War had already lasted ten years. The leading motive is the same
as in the former play--the intense desire of the less excitable and more
moderate-minded citizens for relief from the miseries of war.
Trygaeus, a rustic patriot, finding no help in men, resolves to ascend to
heaven to expostulate personally with Zeus for allowing this wretched
state of things to continue. With this object he has fed and trained a
gigantic dung-beetle, which he mounts, and is carried, like Bellerophon
on Pegasus, on an aerial journey. Eventually he reaches Olympus, only to
find that the gods have gone elsewhere, and that the heavenly abode is
occupied solely by the demon of War, who is busy pounding up the Greek
States in a huge mortar. However, his benevolent purpose is not in vain;
for learning from Hermes that the goddess Peace has been cast into a pit,
where she is kept a fast prisoner, he calls upon the different peoples of
Hellas to make a united effort and rescue her, and with their help drags
her out and brings her back in triumph to earth. The play concludes with
the restoration of the goddess to her ancient honours, the festivities of
the rustic population and the nuptials of Trygaeus with Opora (Harvest),
handmaiden of Peace, represented as a pretty courtesan.
Such references as there are to Cleon in this play are noteworthy. The
great Demagogue was now dead, having fallen in the same action as the
rival Spartan general, the renowned Brasidas, before Amphipolis, and
whatever Aristophanes says here of his old enemy is conceived in the
spirit of 'de mortuis nil nisi bonum. ' In one scene Hermes is descanting
on the evils which had nearly ruined Athens and declares that 'The
Tanner' was the cause of them all. But Trygaeus interrupts him with the
words:
"Hold--say not so, good master Hermes;
Let the man rest in peace where now he lies.
He is no longer of our world, but yours. "
Here surely we have a trait of magnanimity on the author's part as
admirable in its way as the wit and boldness of his former attacks had
been in theirs.
* * * * *
PEACE
DRAMATIS PERSONAE
TRYGAEUS.
TWO SERVANTS of TRYGAEUS.
MAIDENS, Daughters of TRYGAEUS.
HERMES.
WAR.
TUMULT.
HIEROCLES, a Soothsayer.
A SICKLE-MAKER.
A CREST-MAKER.
A TRUMPET-MAKER.
A HELMET-MAKER.
A SPEAR-MAKER.
SON OF LAMACHUS.
SON OF CLEONYMUS.
CHORUS OF HUSBANDMEN.
SCENE: A farmyard, two slaves busy beside a dungheap; afterwards, in
Olympus.
* * * * *
PEACE
FIRST SERVANT. Quick, quick, bring the dung-beetle his cake.
SECOND SERVANT. Coming, coming.
FIRST SERVANT. Give it to him, and may it kill him!
SECOND SERVANT. May he never eat a better.
FIRST SERVANT. Now give him this other one kneaded up with ass's dung.
SECOND SERVANT. There! I've done that too.
FIRST SERVANT. And where's what you gave him just now; surely he can't
have devoured it yet!
SECOND SERVANT. Indeed he has; he snatched it, rolled it between his feet
and boiled it.
FIRST SERVANT. Come, hurry up, knead up a lot and knead them stiffly.
SECOND SERVANT. Oh, scavengers, help me in the name of the gods, if you
do not wish to see me fall down choked.
FIRST SERVANT. Come, come, another made of the stool of a young
scapegrace catamite. 'Twill be to the beetle's taste; he likes it well
ground. [262]
SECOND SERVANT. There! I am free at least from suspicion; none will
accuse me of tasting what I mix.
FIRST SERVANT. Faugh! come, now another! keep on mixing with all your
might.
SECOND SERVANT. I' faith, no. I can stand this awful cesspool stench no
longer, so I bring you the whole ill-smelling gear.
FIRST SERVANT. Pitch it down the sewer sooner, and yourself with it.
SECOND SERVANT. Maybe, one of you can tell me where I can buy a
stopped-up nose, for there is no work more disgusting than to mix food
for a beetle and to carry it to him. A pig or a dog will at least pounce
upon our excrement without more ado, but this foul wretch affects the
disdainful, the spoilt mistress, and won't eat unless I offer him a cake
that has been kneaded for an entire day. . . . But let us open the door a
bit ajar without his seeing it. Has he done eating? Come, pluck up
courage, cram yourself till you burst! The cursed creature! It wallows in
its food! It grips it between its claws like a wrestler clutching his
opponent, and with head and feet together rolls up its paste like a
ropemaker twisting a hawser. What an indecent, stinking, gluttonous
beast! I know not what angry god let this monster loose upon us, but of a
certainty it was neither Aphrodite nor the Graces.
FIRST SERVANT. Who was it then?
SECOND SERVANT. No doubt the Thunderer, Zeus.
FIRST SERVANT. But perhaps some spectator, some beardless youth, who
thinks himself a sage, will say, "What is this? What does the beetle
mean? " And then an Ionian,[263] sitting next him, will add, "I think 'tis
an allusion to Cleon, who so shamelessly feeds on filth all by
himself. "--But now I'm going indoors to fetch the beetle a drink.
SECOND SERVANT. As for me, I will explain the matter to you all,
children, youths, grown-ups and old men, aye, even to the decrepit
dotards. My master is mad, not as you are, but with another sort of
madness, quite a new kind. The livelong day he looks open-mouthed towards
heaven and never stops addressing Zeus. "Ah! Zeus," he cries, "what are
thy intentions? Lay aside thy besom; do not sweep Greece away! "
TRYGAEUS. Ah! ah! ah!
FIRST SERVANT. Hush, hush! Methinks I hear his voice!
TRYGAEUS. Oh! Zeus, what art thou going to do for our people? Dost thou
not see this, that our cities will soon be but empty husks?
FIRST SLAVE. As I told you, that is his form of madness. There you have a
sample of his follies. When his trouble first began to seize him, he said
to himself, "By what means could I go straight to Zeus? " Then he made
himself very slender little ladders and so clambered up towards heaven;
but he soon came hurtling down again and broke his head. Yesterday, to
our misfortune, he went out and brought us back this thoroughbred, but
from where I know not, this great beetle, whose groom he has forced me to
become. He himself caresses it as though it were a horse, saying, "Oh! my
little Pegasus,[264] my noble aerial steed, may your wings soon bear me
straight to Zeus! " But what is my master doing? I must stoop down to look
through this hole. Oh! great gods! Here! neighbours, run here quick! here
is my master flying off mounted on his beetle as if on horseback.
TRYGAEUS. Gently, gently, go easy, beetle; don't start off so proudly, or
trust at first too greatly to your powers; wait till you have sweated,
till the beating of your wings shall make your limb joints supple. Above
all things, don't let off some foul smell, I adjure you; else I would
rather have you stop in the stable altogether.
SECOND SERVANT. Poor master! Is he crazy?
TRYGAEUS. Silence! silence!
SECOND SERVANT (_to Trygaeus_). But why start up into the air on chance?
TRYGAEUS. 'Tis for the weal of all the Greeks; I am attempting a daring
and novel feat.
SECOND SERVANT. But what is your purpose? What useless folly!
TRYGAEUS. No words of ill omen! Give vent to joy and command all men to
keep silence, to close down their drains and privies with new tiles and
to stop their own vent-holes. [265]
FIRST SERVANT. No, I shall not be silent, unless you tell me where you
are going.
TRYGAEUS. Why, where am I likely to be going across the sky, if it be not
to visit Zeus?
FIRST SERVANT. For what purpose?
TRYGAEUS. I want to ask him what he reckons to do for all the Greeks.
SECOND SERVANT. And if he doesn't tell you?
TRYGAEUS. I shall pursue him at law as a traitor who sells Greece to the
Medes. [266]
SECOND SERVANT. Death seize me, if I let you go.
TRYGAEUS. It is absolutely necessary.
SECOND SERVANT. Alas! alas! dear little girls, your father is deserting
you secretly to go to heaven. Ah! poor orphans, entreat him, beseech him.
LITTLE DAUGHTER. Father! father! what is this I hear? Is it true? What!
you would leave me, you would vanish into the sky, you would go to the
crows? [267] 'Tis impossible! Answer, father, an you love me.
TRYGAEUS. Yes, I am going. You hurt me too sorely, my daughters, when you
ask me for bread, calling me your daddy, and there is not the ghost of an
obolus in the house; if I succeed and come back, you will have a barley
loaf every morning--and a punch in the eye for sauce!
LITTLE DAUGHTER. But how will you make the journey? 'Tis not a ship that
will carry you thither.
TRYGAEUS.
