The Eleven Comedies Vol 1 Part 41

[357] That is the vocative of [Greek: os], [Greek: oos], the Ionic form of the word; in Attic Greek it is contracted throughout-[Greek: ois], [Greek: oios], etc.

[358] An obscene jest. The Greek word, says the Scholiast, means both barley and the male organ.

[359] Before sacrificing, the officiating person asked, "Who is here?" and those present answered, "Many good men."

[360] The actors forming the chorus are meant here.

[361] Lysimacha is derived from [Greek: luein], to put an end to, and [Greek: mach_e], fight.

[362] A tragic poet, reputed a great gourmand.

[363] A tragedy by Melanthius.

[364] Eels were cooked with beet.-A parody on some verses in the 'Medea' of Melanthius.

[365] As a matter of fact, the Sicyonians, who celebrated the festival of Peace on the sixteenth day of the month of hecatombeon (July), spilled no blood upon her altar.

[366] A celebrated diviner, who had accompanied the Athenians on their expedition to Sicily. Thus the War was necessary to make his calling pay and the smoke of the sacrifice offered to Peace must therefore be unpleasant to him.

[367] A town in Euboea on the channel which separated that island from Thessaly.

[368] When sacrificing, the tail was cut off the victim and thrown into the fire. From the way in which it burnt the inference was drawn as to whether or not the sacrifice was agreeable to the deity.

[369] This was the part that belonged to the priests and diviners. As one of the latter cla.s.s, Hierocles is in haste to see this piece cut off.

[370] The Spartans.

[371] Emphatic pathos, incomprehensible even to the diviner himself; this is a satire on the obscure style of the oracles. Bacis was a famous Boeotian diviner.

[372] Of course this is not a bona fide quotation, but a whimsical adaptation of various Homeric verses; the last is a coinage of his own, and means, that he is to have no part, either in the flesh of the victim or in the wine of the libations.

[373] Probably the Sibyl of Delphi is meant.

[374] The skin of the victim, that is to say.

[375] A temple of Euboea, close to Oreus. The servant means, "Return where you came from."

[376] This was the soldier's usual ration when on duty.

[377] Slaves often bore the name of the country of their birth.

[378] Because of the new colour which fear had lent his chlamys.

[379] Meaning, that he deserts his men in mid-campaign, leaving them to look after the enemy.

[380] Ancient King of Athens. This was one of the twelve statues, on the pedestals of which the names of the soldiers chosen for departure on service were written. The decrees were also placarded on them.

[381] The trierarchs stopped up some of the holes made for the oars, in order to reduce the number of rowers they had to supply for the galleys; they thus saved the wages of the rowers they dispensed with.

[382] The mina was equivalent to about 3 10s.

[383] Which is the same thing, since a mina was worth a hundred drachmae.

[384] For cottabos see note above, p. 177. [Footnote 287. Transcriber.]

[385] Syrmaea, a kind of purgative syrup much used by the Egyptians, made of antis...o...b..tic herbs, such as mustard, horse-radish, etc.

[386] As wine-pots or similar vessels.

[387] These verses and those which both Trygaeus and the son of Lamachus quote afterwards are borrowed from the 'Iliad.'

[388] Boulomachus is derived from [Greek: boulesthai] and [Greek: mach_e] to wish for battle; Clausimachus from [Greek: klaein] and [Greek: mach_e], the tears that battles cost. The same root, [Greek: mach_e], battle, is also contained in the name Lamachus.

[389] A distich borrowed from Archilochus, a celebrated poet of the seventh century B.C., born at Paros, and the author of odes, satires, epigrams and elegies. He sang his own shame. 'Twas in an expedition against Sas, not the town in Egypt as the similarity in name might lead one to believe, but in Thrace, that he had cast away his buckler. "A mighty calamity truly!" he says without shame. "I shall buy another."

LYSISTRATA

INTRODUCTION

The 'Lysistrata,' the third and concluding play of the War and Peace series, was not produced till ten years later than its predecessor, the 'Peace,' viz. in 411 B.C. It is now the twenty-first year of the War, and there seems as little prospect of peace as ever. A desperate state of things demands a desperate remedy, and the Poet proceeds to suggest a burlesque solution of the difficulty.

The women of Athens, led by Lysistrata and supported by female delegates from the other states of h.e.l.las, determine to take matters into their own hands and force the men to stop the War. They meet in solemn conclave, and Lysistrata expounds her scheme, the rigorous application to husbands and lovers of a self-denying ordinance-"we must refrain from the male organ altogether." Every wife and mistress is to refuse all s.e.xual favours whatsoever, till the men have come to terms of peace. In cases where the women must yield 'par force majeure,' then it is to be with an ill grace and in such a way as to afford the minimum of gratification to their partner; they are to lie pa.s.sive and take no more part in the amorous game than they are absolutely obliged to. By these means Lysistrata a.s.sures them they will very soon gain their end. "If we sit indoors prettily dressed out in our best transparent silks and prettiest gewgaws, and with our 'mottes' all nicely depilated, their tools will stand up so stiff that they will be able to deny us nothing." Such is the burden of her advice.

After no little demur, this plan of campaign is adopted, and the a.s.sembled women take a solemn oath to observe the compact faithfully. Meantime as a precautionary measure they seize the Acropolis, where the State treasure is kept; the old men of the city a.s.sault the doors, but are repulsed by "the terrible regiment" of women. Before long the device of the bold Lysistrata proves entirely effective, Peace is concluded, and the play ends with the hilarious festivities of the Athenian and Spartan plenipotentiaries in celebration of the event.

This drama has a double Chorus-of women and of old men, and much excellent fooling is got out of the fight for possession of the citadel between the two hostile bands; while the broad jokes and decidedly suggestive situations arising out of the general idea of the plot outlined above may be "better imagined than described."

LYSISTRATA

DRAMATIS PERSONAE

LYSISTRATA. CALONICe. MYRRHINe. LAMPITO. STRATYLLIS. A MAGISTRATE. CINESIAS. A CHILD. HERALD OF THE LACEDAEMONIANS. ENVOYS OF THE LACEDAEMONIANS. POLYCHARIDES. MARKET LOUNGERS. A SERVANT. AN ATHENIAN CITIZEN. CHORUS OF OLD MEN. CHORUS OF WOMEN.

SCENE: In a public square at Athens; afterwards before the gates of the Acropolis, and finally within the precincts of the citadel.

LYSISTRATA

LYSISTRATA (alone). Ah! if only they had been invited to a Bacchic revelling, or a feast of Pan or Aphrodite or Genetyllis,[390] why! the streets would have been impa.s.sable for the thronging tambourines! Now there's never a woman here-ah! except my neighbour Calonice, whom I see approaching yonder.... Good day, Calonice.

CALONICe. Good day, Lysistrata; but pray, why this dark, forbidding face, my dear? Believe me, you don't look a bit pretty with those black lowering brows.

LYSISTRATA. Oh! Calonice, my heart is on fire; I blush for our s.e.x. Men will have it we are tricky and sly....

CALONICe. And they are quite right, upon my word!