The Eleven Comedies Vol 1 Part 15

[130] After his success in the Sphacteria affair Cleon induced the people to vote him a chaplet of gold.

[131] That is, by means of the mechanical device of the Greek stage known as the [Greek: ekkukl_ema].

[132] Parody of a well-known verse from Euripides' 'Alcestis.'

[133] The name Agoracritus is compounded: cf. [Greek: agora], a market-place, and [Greek: krinein], to judge.

[134] This grandiloquent opening is borrowed from Pindar.

[135] Mentioned in the 'Acharnians.'

[136] A soothsayer.

[137] A flute-player.

[138] An allusion to the vice of the 'cunnilingue,' apparently a novel form of naughtiness at Athens in Aristophanes' day.

[139] As well known for his gluttony as for his cowardice.

[140] One of the most noisy demagogues of Cleon's party; he succeeded him, but was later condemned to ostracism.

[141] A town in Bithynia, situated at the entrance of the Bosphorus and nearly opposite Byzantium. It was one of the most important towns in Asia Minor. Doubtless Hyperbolus only demanded so large a fleet to terrorize the towns and oppress them at will.

[142] These temples were inviolable places of refuge, where even slaves were secure.

[143] A rocky cleft at the back of the Acropolis into which criminals were hurled.

[144] Young and effeminate orators of licentious habits.

[145] By adroit special pleading he had contrived to get his acquittal, when charged with a capital offence.

[146] They were personified on the stage as pretty little filles de joie.

THE ACHARNIANS

INTRODUCTION

This is the first of the series of three Comedies-'The Acharnians,' 'Peace' and 'Lysistrata'-produced at intervals of years, the sixth, tenth and twenty-first of the Peloponnesian War, and impressing on the Athenian people the miseries and disasters due to it and to the scoundrels who by their selfish and reckless policy had provoked it, the consequent ruin of industry and, above all, agriculture, and the urgency of asking Peace. In date it is the earliest play brought out by the author in his own name and his first work of serious importance. It was acted at the Lenaean Festival, in January, 426 B.C., and gained the first prize, Cratinus being second.

Its diatribes against the War and fierce criticism of the general policy of the War party so enraged Cleon that, as already mentioned, he endeavoured to ruin the author, who in 'The Knights' retorted by a direct and savage personal attack on the leader of the democracy. The plot is of the simplest. Dicaeopolis, an Athenian citizen, but a native of Acharnae, one of the agricultural demes and one which had especially suffered in the Lacedaemonian invasions, sick and tired of the ill-success and miseries of the War, makes up his mind, if he fails to induce the people to adopt his policy of "peace at any price," to conclude a private and particular peace of his own to cover himself, his family, and his estate. The Athenians, momentarily elated by victory and over-persuaded by the demagogues of the day-Cleon and his henchmen, refuse to hear of such a thing as coming to terms. Accordingly Dicaeopolis dispatches an envoy to Sparta on his own account, who comes back presently with a selection of specimen treaties in his pocket. The old man tastes and tries, special terms are arranged, and the play concludes with a riotous and uproarious rustic feast in honour of the blessings of Peace and Plenty. Incidentally excellent fun is poked at Euripides and his dramatic methods, which supply matter for so much witty badinage in several others of our author's pieces.

Other specially comic incidents are: the scene where the two young daughters of the famished Megarian are sold in the market at Athens as sucking-pigs-a scene in which the convenient similarity of the Greek words signifying a pig and the 'pudendum muliebre' respectively is utilized in a whole string of ingenious and suggestive 'double entendres' and ludicrous jokes; another where the Informer, or Market-Spy, is packed up in a crate as crockery and carried off home by the Boeotian buyer.

The drama takes its t.i.tle from the Chorus, composed of old men of Acharnae.

THE ACHARNIANS

DRAMATIS PERSONAE

DICAEOPOLIS.

HERALD.

AMPHITHEUS.

AMBa.s.sADORS.

PSEUDARTABAS.

THEORUS.

WIFE OF DICAEOPOLIS.

DAUGHTER OF DICAEOPOLIS.

EURIPIDES.

CEPHISOPHON, servant of Euripides.

LAMACHUS.

ATTENDANT OF LAMACHUS.

A MEGARIAN.

MAIDENS, daughters of the Megarian.

A BOEOTIAN.

NICARCHUS.

A HUSBANDMAN.

A BRIDESMAID.

AN INFORMER.

MESSENGERS.

CHORUS OF ACHARNIAN ELDERS.

SCENE: The Athenian Ecclesia on the Pnyx; afterwards Dicaeopolis' house in the country.

THE ACHARNIANS

DICAEOPOLIS[147] (alone). What cares have not gnawed at my heart and how few have been the pleasures in my life! Four, to be exact, while my troubles have been as countless as the grains of sand on the sh.o.r.e! Let me see of what value to me have been these few pleasures? Ah! I remember that I was delighted in soul when Cleon had to disgorge those five talents;[148] I was in ecstasy and I love the Knights for this deed; 'it is an honour to Greece.'[149] But the day when I was impatiently awaiting a piece by Aeschylus,[150] what tragic despair it caused me when the herald called, "Theognis,[151] introduce your Chorus!" Just imagine how this blow struck straight at my heart! On the other hand, what joy Dexitheus caused me at the musical compet.i.tion, when he played a Boeotian melody on the lyre! But this year by contrast! Oh! what deadly torture to hear Chaeris[152] perform the prelude in the Orthian mode![153]-Never, however, since I began to bathe, has the dust hurt my eyes as it does to-day. Still it is the day of a.s.sembly; all should be here at daybreak, and yet the Pnyx[154] is still deserted. They are gossiping in the market-place, slipping hither and thither to avoid the vermilioned rope.[155] The Prytanes[156] even do not come; they will be late, but when they come they will push and fight each other for a seat in the front row. They will never trouble themselves with the question of peace. Oh! Athens! Athens! As for myself, I do not fail to come here before all the rest, and now, finding myself alone, I groan, yawn, stretch, break wind, and know not what to do; I make sketches in the dust, pull out my loose hairs, muse, think of my fields, long for peace, curse town life and regret my dear country home,[157] which never told me to 'buy fuel, vinegar or oil'; there the word 'buy,' which cuts me in two, was unknown; I harvested everything at will. Therefore I have come to the a.s.sembly fully prepared to bawl, interrupt and abuse the speakers, if they talk of aught but peace. But here come the Prytanes, and high time too, for it is midday! As I foretold, hah! is it not so? They are pus.h.i.+ng and fighting for the front seats.

HERALD. Move on up, move on, move on, to get within the consecrated area.[158]

AMPHITHEUS. Has anyone spoken yet?

HERALD. Who asks to speak?

AMPHITHEUS. I do.

HERALD. Your name?

AMPHITHEUS. Amphitheus.

HERALD. You are no man.[159]

AMPHITHEUS. No! I am an immortal! Amphitheus was the son of Ceres and Triptolemus; of him was born Celeus. Celeus wedded Phaencrete, my grandmother, whose son was Lucinus, and, being born of him, I am an immortal; it is to me alone that the G.o.ds have entrusted the duty of treating with the Lacedaemonians. But, citizens, though I am immortal, I am dying of hunger; the Prytanes give me naught.[160]

A PRYTANIS. Guards!

AMPHITHEUS. Oh, Triptolemus and Ceres, do ye thus forsake your own blood?