To return for a moment to the coarseness of language so often pointed to as a blot in Aristophanes. "The great comedian has been censured and apologized for on this ground, over and over again. His personal exculpation must always rest upon the fact, that the wildest licence in which he indulged was not only recognized as permissible, but actually enjoined as part of the ceremonial at these festivals of Bacchus; that it was not only in accordance with public taste, but was consecrated as a part of the national religion…. But the coarseness of Aristophanes is not corrupting. There is nothing immoral in his plots, nothing really dangerous in his broadest humour. Compared with some of our old English dramatists, he is morality itself. And when we remember the plots of some French and English plays which now attract fashionable audiences, and the character of some modern French and English novels not unfrequently found (at any rate in England) upon drawing-room tables, the least that can be said is, that we had better not cast stones at Aristophanes."3 Moreover, it should be borne in mind that Athenian custom did not sanction the presence of women—at least women of reputable character—at these performances.
The particular plays, though none are free from it, which most abound in this ribald fun—for fun it always is, never mere pruriency for its own sake, Aristophanes has a deal of the old 'esprit gaulois' about him—are the 'Peace' and, as might be expected from its theme, lending itself so readily to suggestive allusions and situations, above all the 'Lysistrata.' The 'Thesmophoriazusae' and 'Ecclesiazusae' also take ample toll in this sort of the 'risqué' situations incidental to their plots, the dressing up of men as women in the former, and of women as men in the latter. Needless to say, no faithful translator will emasculate his author by expurgation, and the reader will here find Aristophanes' Comedies as Aristophanes wrote them, not as Mrs. Grundy might wish him to have written them.
These performances took place at the Festivals of Dionysus (Bacchus), either the Great Dionysia or the minor celebration of the Lenaea, and were in a sense religious ceremonials—at any rate under distinct religious sanction. The representations were held in the Great Theatre of Dionysus, under the slope of the Acropolis, extensive remains of which still exist; several plays were brought out at each festival in competition, and prizes, first and second, were awarded to the most successful productions—rewards which were the object of the most intense ambition.
Next to nothing is known of the private life of Aristophanes, and that little, beyond the two or three main facts given below, is highly dubious, not to say apocryphal. He was born about 444 B.C., probably at Athens. His father held property in Aegina, and the family may very likely have come originally from that island. At any rate, this much is certain, that the author's arch-enemy Cleon made more than one judicial attempt to prove him of alien birth and therefore not properly entitled to the rights of Athenian citizenship; but in this he entirely failed. The great Comedian had three sons, but of these and their career history says nothing whatever. Such incidents and anecdotes of our author's literary life as have come down to us are all connected with one or other of the several plays, and will be found alluded to in the special Introductions prefixed to these. He died about 380 B.C.—the best and central years of his life and work thus coinciding with the great national period of stress and struggle, the Peloponnesian War, 431-404 B.C. He continued to produce plays for the Athenian stage for the long period of thirty-seven years; though only eleven Comedies, out of a reputed total of forty, have survived.
A word or two as to existing translations of Aristophanes. These, the English ones at any rate, leave much to be desired; indeed it is not too much to say that there is no version of our Author in the language which gives the general reader anything like an adequate notion of these Plays. We speak of prose renderings. Aristophanes has been far more fortunate in his verse translators—Mitchell, who published four Comedies in this form in 1822, old-fashioned, but still helpful, Hookham Frere, five plays (1871), both scholarly and spirited, and last but not least, Mr. Bickley Rogers, whose excellent versions have appeared at intervals since 1867. But from their very nature these cannot afford anything like an exact idea of the 'ipsissima verba' of the Comedies, while all slur over or omit altogether passages in any way 'risqué.' There remains only our old friend 'Bohn' ("The Comedies of Aristophanes; a literal Translation by W. J. Hickie"), and what stuff 'Bohn' is! By very dint of downright literalness—though not, by-the-bye, always downright accuracy—any true notion of the Author's meaning is quite obscured. The letter kills the spirit.
The French prose versions are very good. That by C. Poyard (in the series of "Chefs-d'oeuvre des Littératures Anciennes") combines scholarly precision with an easy, racy, vernacular style in a way that seems impossible to any but a French scholar.
The order here adopted for the successive plays differs slightly from that observed in most editions; but as these latter do not agree amongst themselves, this small assumption of licence appears not unwarrantable. Chronologically 'The Acharnians' (426 B.C.) should come first; but it seems more convenient to group it with the two other "Comedies of the War," the whole trilogy dealing with the hardships involved by the struggle with the Lacedaemonians and the longings of the Athenian people for the blessings of peace. This leaves 'The Knights' to open the whole series—the most important politically of all Aristophanes' productions, embodying as it does his trenchant attack on the great demagogue Cleon and striking the keynote of the author's general attitude as advocate of old-fashioned conservatism against the new democracy, its reckless 'Imperialism' and the unscrupulous and self-seeking policy, so the aristocratic party deemed it, of its accredited leaders.
Order, as thus rearranged, approximate date, and motif (in brief) of each of the eleven Comedies are given below:
'The Knights': 424 B.C.—eighth year of the War. Attacks Cleon, the Progressives, and the War policy generally.
Comedies of the War:—
'The Acharnians': 426 B.C.—sixth year of the War. Insists on the miseries consequent on the War, especially affecting the rural population, as represented by the Acharnian Dicaeopolis and his fellow demesmen. Incidentally makes fun of the tragedian Euripides.
'Peace': 422 B.C.—tenth year of the War. Further insists on the same theme, and enlarges on the blessings of Peace. The hero Trygaeus flies to Olympus, mounted on a beetle, to bring back the goddess Peace to earth.
'Lysistrata': 411 B.C.—twenty-first year of the War. A burlesque conspiracy entered into by the confederated women of Hellas, led by Lysistrata the Athenian, to compel the men to conclude peace.
'The Clouds': 423 B.C.—satirizes Socrates, the 'Sophists,' and the 'New Education.'
'The Wasps': 422 B.C. Makes fun of the Athenian passion for litigation, and the unsatisfactory organization of the Courts. Contains the incident of the mock trial of the thievish house-dog.
'The Birds': 414 B.C. Euelpides and Pisthetaerus, disgusted with the state of things at Athens, build a new and improved city, Cloud-cuckoo-town, in the kingdom of the birds. Some see an allusion to the Sicilian expedition, and Alcibiades'