Unlike other plays of the
same Author, there is here apparently no serious political _motif_
underlying the surface burlesque and buffoonery.
same Author, there is here apparently no serious political _motif_
underlying the surface burlesque and buffoonery.
Aristophanes
"
[163] The dances that Thespis, the originator of Tragedy, interspersed
with the speaking parts of his plays.
[164] A verse borrowed from an unknown Tragedy.
[165] As was done in the stadia when the races were to be started.
[166] The ancients considered it a specific against madness.
[167] Phrynichus, like all the ancient tragic writers, mingled many
dances with his pieces.
[168] Tragic poet. His three sons had also written tragedies and were
dancers into the bargain.
[169] Carcinus, by a mere transposition of the accent ([Greek:
karkivos]), means _crab_ in Greek; hence the pun.
[170] Carcinus' sons were small and thin.
[171] The third son of Carcinus.
[172] Meaning, the three sons of Carcinus, the dancers, because, as
mentioned before, Phrynichus often introduced a chorus of dancers into
his Tragedies.
[173] Carcinus himself.
[174] The Greek word is [Greek: triorchoi]--possessed of three testicles,
of three-testicle power, inordinately lecherous; with the change of a
letter ([Greek: triarchoi]) it means 'three rulers,' 'three kinglets. '
THE BIRDS
INTRODUCTION
The Birds' differs markedly from all the other Comedies of Aristophanes
which have come down to us in subject and general conception. It is just
an extravaganza pure and simple--a graceful, whimsical theme chosen
expressly for the sake of the opportunities it afforded of bright,
amusing dialogue, pleasing lyrical interludes, and charming displays of
brilliant stage effects and pretty dresses.
Unlike other plays of the
same Author, there is here apparently no serious political _motif_
underlying the surface burlesque and buffoonery.
Some critics, it is true, profess to find in it a reference to the
unfortunate Sicilian Expedition, then in progress, and a prophecy of its
failure and the political downfall of Alcibiades. But as a matter of
fact, the whole thing seems rather an attempt on the dramatist's part to
relieve the overwrought minds of his fellow-citizens, anxious and
discouraged at the unsatisfactory reports from before Syracuse, by a work
conceived in a lighter vein than usual and mainly unconnected with
contemporary realities.
The play was produced in the year 414 B. C. , just when success or failure
in Sicily hung in the balance, though already the outlook was gloomy, and
many circumstances pointed to impending disaster. Moreover, the public
conscience was still shocked and perturbed over the mysterious affair of
the mutilation of the Hermae, which had occurred immediately before the
sailing of the fleet, and strongly suspicious of Alcibiades'
participation in the outrage. In spite of the inherent charm of the
subject, the splendid outbursts of lyrical poetry in some of the choruses
and the beauty of the scenery and costumes, 'The Birds' failed to win the
first prize. This was acclaimed to a play of Aristophanes' rival,
Amipsias, the title of which, 'The Comastae,' _or_ 'Revellers,' "seems
to imply that the chief interest was derived from direct allusions to the
outrage above mentioned and to the individuals suspected to have been
engaged in it. "
For this reason, which militated against its immediate success, viz. the
absence of direct allusion to contemporary politics--there are, of
course, incidental references here and there to topics and personages of
the day--the play appeals perhaps more than any other of our Author's
productions to the modern reader. Sparkling wit, whimsical fancy, poetic
charm, are of all ages, and can be appreciated as readily by ourselves as
by an Athenian audience of two thousand years ago, though, of course,
much is inevitably lost "without the important adjuncts of music,
scenery, dresses and what we may call 'spectacle' generally, which we
know in this instance to have been on the most magnificent scale. "
"The plot is this. Euelpides and Pisthetaerus, two old Athenians,
disgusted with the litigiousness, wrangling and sycophancy of their
countrymen, resolve upon quitting Attica. Having heard of the fame of
Epops (the hoopoe), sometime called Tereus, and now King of the Birds,
they determine, under the direction of a raven and a jackdaw, to seek
from him and his subject birds a city free from all care and strife. "
Arrived at the Palace of Epops, they knock, and Trochilus (the wren), in
a state of great flutter, as he mistakes them for fowlers, opens the door
and informs them that his Majesty is asleep.
[163] The dances that Thespis, the originator of Tragedy, interspersed
with the speaking parts of his plays.
[164] A verse borrowed from an unknown Tragedy.
[165] As was done in the stadia when the races were to be started.
[166] The ancients considered it a specific against madness.
[167] Phrynichus, like all the ancient tragic writers, mingled many
dances with his pieces.
[168] Tragic poet. His three sons had also written tragedies and were
dancers into the bargain.
[169] Carcinus, by a mere transposition of the accent ([Greek:
karkivos]), means _crab_ in Greek; hence the pun.
[170] Carcinus' sons were small and thin.
[171] The third son of Carcinus.
[172] Meaning, the three sons of Carcinus, the dancers, because, as
mentioned before, Phrynichus often introduced a chorus of dancers into
his Tragedies.
[173] Carcinus himself.
[174] The Greek word is [Greek: triorchoi]--possessed of three testicles,
of three-testicle power, inordinately lecherous; with the change of a
letter ([Greek: triarchoi]) it means 'three rulers,' 'three kinglets. '
THE BIRDS
INTRODUCTION
The Birds' differs markedly from all the other Comedies of Aristophanes
which have come down to us in subject and general conception. It is just
an extravaganza pure and simple--a graceful, whimsical theme chosen
expressly for the sake of the opportunities it afforded of bright,
amusing dialogue, pleasing lyrical interludes, and charming displays of
brilliant stage effects and pretty dresses.
Unlike other plays of the
same Author, there is here apparently no serious political _motif_
underlying the surface burlesque and buffoonery.
Some critics, it is true, profess to find in it a reference to the
unfortunate Sicilian Expedition, then in progress, and a prophecy of its
failure and the political downfall of Alcibiades. But as a matter of
fact, the whole thing seems rather an attempt on the dramatist's part to
relieve the overwrought minds of his fellow-citizens, anxious and
discouraged at the unsatisfactory reports from before Syracuse, by a work
conceived in a lighter vein than usual and mainly unconnected with
contemporary realities.
The play was produced in the year 414 B. C. , just when success or failure
in Sicily hung in the balance, though already the outlook was gloomy, and
many circumstances pointed to impending disaster. Moreover, the public
conscience was still shocked and perturbed over the mysterious affair of
the mutilation of the Hermae, which had occurred immediately before the
sailing of the fleet, and strongly suspicious of Alcibiades'
participation in the outrage. In spite of the inherent charm of the
subject, the splendid outbursts of lyrical poetry in some of the choruses
and the beauty of the scenery and costumes, 'The Birds' failed to win the
first prize. This was acclaimed to a play of Aristophanes' rival,
Amipsias, the title of which, 'The Comastae,' _or_ 'Revellers,' "seems
to imply that the chief interest was derived from direct allusions to the
outrage above mentioned and to the individuals suspected to have been
engaged in it. "
For this reason, which militated against its immediate success, viz. the
absence of direct allusion to contemporary politics--there are, of
course, incidental references here and there to topics and personages of
the day--the play appeals perhaps more than any other of our Author's
productions to the modern reader. Sparkling wit, whimsical fancy, poetic
charm, are of all ages, and can be appreciated as readily by ourselves as
by an Athenian audience of two thousand years ago, though, of course,
much is inevitably lost "without the important adjuncts of music,
scenery, dresses and what we may call 'spectacle' generally, which we
know in this instance to have been on the most magnificent scale. "
"The plot is this. Euelpides and Pisthetaerus, two old Athenians,
disgusted with the litigiousness, wrangling and sycophancy of their
countrymen, resolve upon quitting Attica. Having heard of the fame of
Epops (the hoopoe), sometime called Tereus, and now King of the Birds,
they determine, under the direction of a raven and a jackdaw, to seek
from him and his subject birds a city free from all care and strife. "
Arrived at the Palace of Epops, they knock, and Trochilus (the wren), in
a state of great flutter, as he mistakes them for fowlers, opens the door
and informs them that his Majesty is asleep.
