[513] Prologue of 'The
Menalippe
Sapiens,' by Euripides, lost.
Aristophanes
' Aeschylus puts the words
in the mouth of Orestes, who is returning to his native land and visiting
his father's tomb.
[503] i. e. your jokes are very coarse.
[504] He was one of the Athenian generals in command at Arginusae; he and
his colleagues were condemned to death for not having given burial to the
men who fell in that naval fight.
[505] As Euripides had done to those of Aeschylus; that sort of criticism
was too low for him.
[506] [Greek: D_ekuthion ap_olesa], _oleum perdidi,_ I have lost my
labour, was a proverbial expression, which was also possibly the refrain
of some song. Aeschylus means to say that all Euripides' phrases are cast
in the same mould, and that his style is so poor and insipid that one can
adapt to it any foolery one wishes; as for the phrase he adds to every
one of the phrases his rival recites, he chooses it to insinuate that the
work of Euripides is _labour lost_, and that he would have done just as
well not to meddle with tragedy. The joke is mediocre at its best and is
kept up far too long.
[507] Prologue of the 'Archelaus' of Euripides, a tragedy now lost.
[508] From prologue of the 'Hypsipile' of Euripides, a play now lost.
[509] From prologue of the 'Sthenoboea' of Euripides, a play now lost.
[510] From prologue of the 'Phryxus' of Euripides, a play now lost.
[511] From prologue of the 'Iphigeneia in Tauris' of Euripides.
[512] Prologue of 'The Meleager' by Euripides, lost.
[513] Prologue of 'The Menalippe Sapiens,' by Euripides, lost.
[514] The whole of these fragments are quoted at random and have no
meaning. Euripides, no doubt, wants to show that the choruses of
Aeschylus are void of interest or coherence. As to the refrain, "haste to
sustain the assault," Euripides possibly wants to insinuate that
Aeschylus incessantly repeats himself and that a wearying monotony
pervades his choruses. However, all these criticisms are in the main
devoid of foundation.
[515] This ridiculous couplet pretends to imitate the redundancy and
nonsensicality of Aeschylus' language; it can be seen how superficial and
unfair the criticism of Euripides is; probably this is just what
Aristophanes wanted to convey by this long and wearisome scene.
[516] The Scholiast conjectures this Melitus to be the same individual
who later accused Socrates.
[517] The most infamous practices were attributed to the Lesbian women,
amongst others, that of _fellation_, that is the vile trick of taking a
man's penis in the mouth, to give him gratification by sucking and
licking it with the tongue. Dionysus means to say that Euripides takes
pleasure in describing shameful passions.
[518] Here the criticism only concerns the rhythm and not either the
meaning or the style. This passage was sung to one of the airs that
Euripides had adopted for his choruses and which have not come down to
us; we are therefore absolutely without any data that would enable us to
understand and judge a criticism of this kind.
[519] A celebrated courtesan, who was skilled in twelve different
postures of Venus. Aeschylus returns to his idea, which he has so often
indicated, that Euripides' poetry is low and impure; he at the same time
scoffs at the artifices to which Euripides had recourse when inspiration
and animation failed him.
[520] No monologue of Euripides that has been preserved bears the
faintest resemblance to this specimen which. Aeschylus pretends to be
giving here.
[521] Beginning of Euripides' 'Medea.
in the mouth of Orestes, who is returning to his native land and visiting
his father's tomb.
[503] i. e. your jokes are very coarse.
[504] He was one of the Athenian generals in command at Arginusae; he and
his colleagues were condemned to death for not having given burial to the
men who fell in that naval fight.
[505] As Euripides had done to those of Aeschylus; that sort of criticism
was too low for him.
[506] [Greek: D_ekuthion ap_olesa], _oleum perdidi,_ I have lost my
labour, was a proverbial expression, which was also possibly the refrain
of some song. Aeschylus means to say that all Euripides' phrases are cast
in the same mould, and that his style is so poor and insipid that one can
adapt to it any foolery one wishes; as for the phrase he adds to every
one of the phrases his rival recites, he chooses it to insinuate that the
work of Euripides is _labour lost_, and that he would have done just as
well not to meddle with tragedy. The joke is mediocre at its best and is
kept up far too long.
[507] Prologue of the 'Archelaus' of Euripides, a tragedy now lost.
[508] From prologue of the 'Hypsipile' of Euripides, a play now lost.
[509] From prologue of the 'Sthenoboea' of Euripides, a play now lost.
[510] From prologue of the 'Phryxus' of Euripides, a play now lost.
[511] From prologue of the 'Iphigeneia in Tauris' of Euripides.
[512] Prologue of 'The Meleager' by Euripides, lost.
[513] Prologue of 'The Menalippe Sapiens,' by Euripides, lost.
[514] The whole of these fragments are quoted at random and have no
meaning. Euripides, no doubt, wants to show that the choruses of
Aeschylus are void of interest or coherence. As to the refrain, "haste to
sustain the assault," Euripides possibly wants to insinuate that
Aeschylus incessantly repeats himself and that a wearying monotony
pervades his choruses. However, all these criticisms are in the main
devoid of foundation.
[515] This ridiculous couplet pretends to imitate the redundancy and
nonsensicality of Aeschylus' language; it can be seen how superficial and
unfair the criticism of Euripides is; probably this is just what
Aristophanes wanted to convey by this long and wearisome scene.
[516] The Scholiast conjectures this Melitus to be the same individual
who later accused Socrates.
[517] The most infamous practices were attributed to the Lesbian women,
amongst others, that of _fellation_, that is the vile trick of taking a
man's penis in the mouth, to give him gratification by sucking and
licking it with the tongue. Dionysus means to say that Euripides takes
pleasure in describing shameful passions.
[518] Here the criticism only concerns the rhythm and not either the
meaning or the style. This passage was sung to one of the airs that
Euripides had adopted for his choruses and which have not come down to
us; we are therefore absolutely without any data that would enable us to
understand and judge a criticism of this kind.
[519] A celebrated courtesan, who was skilled in twelve different
postures of Venus. Aeschylus returns to his idea, which he has so often
indicated, that Euripides' poetry is low and impure; he at the same time
scoffs at the artifices to which Euripides had recourse when inspiration
and animation failed him.
[520] No monologue of Euripides that has been preserved bears the
faintest resemblance to this specimen which. Aeschylus pretends to be
giving here.
[521] Beginning of Euripides' 'Medea.
