'The Thesmophoriazusae': 412 B.C. Another literary satire; Euripides, summoned as a notorious defamer of women to defend himself before the dames of Athens assembled in solemn conclave at the Thesmophoria, or festival of Demeter and Persephone, induces his father-in-law, Mnesilochus, to dress up in women's clothes, penetrate thus disguised into the assemblage, and plead the poet's cause, but with scant success.
'The Ecclesiazusae': 392 B.C. Pokes fun at the ideal Utopias, such as Plato's 'Republic,' based on sweeping social and economic changes, greatly in vogue with the Sophists of the day. The women of the city disguise themselves as men, slip into the Public Assembly and secure a majority of votes. They then pass a series of decrees providing for community of goods and community of women, which produce, particularly the latter, a number of embarrassing and diverting consequences.
'Plutus': 408 and 388 B.C. A whimsical allegory more than a regular comedy. Plutus, the god of wealth, has been blinded by Zeus; discovered in the guise of a ragged beggarman and succoured by Chremylus, an old man who has ruined himself by generosity to his friends, he is restored to sight by Aesculapius. He duly rewards Chremylus, and henceforth apportions this world's goods among mankind on juster principles—enriching the just, but condemning the unjust to poverty.
List Of Editions, Commentaries, Etc., Used Or Consulted
Text: edit. Dindorf, Oxford
Text: edit. Blaydes. 1886.
Text, with Notes, etc.: edit. Immanuel Bekker. 5 vols. 1829.
Text, with Notes, etc.: Brunck.
Text, with (German) Notes, etc.: Separate Plays: edit. Kock.
Text, with Notes, etc.: Separate Plays: edit. Rev. W. W. Merry. 1887-1901.
Translation: English, by W. J. Hickie. (Bohn's Classical Library.)
Translation: English verse, 'Knights,' 'Acharnians,' 'Clouds,' 'Wasps,' by Mitchell. 1822.
Translation: English verse, 'Knights,' 'Acharnians,' 'Birds,' 'Frogs,' 'Peace,' by Hookham Frere. 1871.
Translation: English verse, Various Plays, by B. Bickley Rogers. 1867 onwards.
Translation: French, by C. Poyard. ("Chefs-d'oeuvre des Littératures Anciennes." Paris, Hachette. 1875.)
Translation: French, by Eugčne Talbot, with Preface by Sully Prudhomme. 2 vols. Paris, Lemerre. 1897.
Translation: German, by Droysen.
"Aristophanes" (Ancient Classics for English Readers): edit. W. Lucas Collins. 1897.
"Aristophane et l'ancienne Comédie attique," par Auguste Couat. Paris. 1889.
"Aristophane et les Partis ŕ Athens," par Maurice Croiset. Paris, Fontemoing. 1906.
"Beiträge zur inneren Geschichte Athens im Zeitalter des Pelopon. Krieges," G. Gilbert. Leipzig. 1877.
"Die attischen Politik seit Perikles," J. Beloch. Leipzig. 1884.
"Aristophanes und die historische Kritik," Müller-Strübing. Leipzig. 1873.
THE KNIGHTS
INTRODUCTION
This was the fourth play in order of time produced by Aristophanes on the Athenian stage; it was brought out at the Lenaean Festival, in January, 424 B.C. Of the author's previous efforts, two, 'The Revellers' and 'The Babylonians,' were apparently youthful essays, and are both lost. The other, 'The Acharnians,' forms the first of the three Comedies dealing directly with the War and its disastrous effects and urging the conclusion of Peace; for this reason it is better ranged along with its sequels, the 'Peace' and the 'Lysistrata,' and considered in conjunction with them.
In many respects 'The Knights' may be reckoned the great Comedian's masterpiece, the direct personal attack on the then all-powerful Cleon, with its scathing satire and tremendous invective, being one of the most vigorous and startling things in literature. Already in 'The Acharnians' he had threatened to "cut up Cleon the Tanner into shoe-leather for the Knights," and he now proceeds to carry his menace into execution, "concentrating the whole force of his wit in the most unscrupulous and merciless fashion against his personal enemy." In the first-mentioned play Aristophanes had attacked and satirized the whole general policy of the democratic party—and incidentally Cleon, its leading spirit and mouthpiece since the death of Pericles; he had painted the miseries of war and invasion arising from this mistaken and mischievous line of action, as he regarded it, and had dwelt on the urgent necessity of peace in the interests of an exhausted country and ruined agriculture. Now he turns upon Cleon personally, and pays him back a hundredfold for the attacks the demagogue had made in the Public Assembly on the daring critic, and the abortive charge which the same unscrupulous enemy had brought against him in the Courts of having "slandered the city in the presence of foreigners." "In this bitterness of spirit the play stands in strong contrast with the good-humoured burlesque of 'The Acharnians' and the 'Peace,' or, indeed, with any other of the author's productions which has reached us."
The characters are five only. First and foremost comes Demos, 'The People,' typifying the Athenian democracy, a rich householder—a self-indulgent, superstitious, weak creature. He has had several overseers or factors in succession, to look after his estate and manage his slaves. The present one is known as 'the Paphlagonian,' or sometimes as 'the Tanner,' an unprincipled, lying, cheating, pilfering scoundrel, fawning and obsequious to his master, insolent towards his subordinates. Two of these are Nicias and Demosthenes. Here we have real names. Nicias was High Admiral of the Athenian navy at the time, and Demosthenes one of his Vice-Admirals; both held still more important commands later in connection with the Sicilian Expedition of 415-413 B.C. Fear of consequences apparently prevented the poet from doing the same in the case of Cleon, who is, of course, intended under the names of 'the Paphlagonian' and 'the Tanner.' Indeed, so great was the terror inspired by the great man that no artist was found bold enough to risk his powerful vengeance by caricaturing his features, and no actor dared to represent him on the stage. Aristophanes is said to have played the part himself, with his face, in the absence of a mask, smeared with wine-lees, roughly mimicking the purple and bloated visage of the demagogue. The remaining character is 'the Sausage-seller,' who is egged on by Nicias and Demosthenes to oust 'the Paphlagonian' from Demos' favour by outvying him in his own arts of impudent flattery, noisy boasting and unscrupulous allurement. After a fierce and stubbornly contested trial of wits and interchange of 'Billingsgate,' 'the Sausage-seller' beats his rival at his own weapons and gains his object; he supplants the disgraced favourite, who is driven out of the house with ignominy.
The Comedy takes its title, as was often the case, from the Chorus, which is composed of Knights—the order of citizens next to the highest at Athens, and embodying many of the old aristocratic preferences and prejudices.
The drama was adjudged the first prize—the 'Satyrs' of Cratinus being placed second—by acclamation, as such a masterpiece of wit and intrepidity certainly deserved to be; but, as usual, the political result was nil. The piece was applauded in the most enthusiastic manner, the satire on the sovereign multitude was forgiven, and—Cleon remained in as much favour as ever.4
THE KNIGHTS
DEMOSTHENES.
NICIAS.
AGORACRITUS, a Sausage-seller.
CLEON.
DEMOS, an old man, typifying the Athenian people.
CHORUS OF KNIGHTS.
SCENE: In front of Demos' house at Athens.
DEMOSTHENES. Oh! alas! alas! Oh! woe! oh! woe! Miserable Paphlagonian!5 may the gods destroy both him and his cursed advice! Since that evil day