No More Learning

[159] Lasus, a musician and dithyrambic poet, born about 500 B. C. in
Argolis, was the rival of Simonides and thought himself his superior.

[160] Ino, the daughter of Cadmus and Harmonia. Being pursued by her
husband, Athamas, whom the Fury Tisiphone had driven mad, she threw
herself into the sea with Melicerta, whereupon they were both changed
into sea-goddesses. --This is the subject of one of Euripides' tragedies.

[161] A famous town in Magna Graecia, south coast of Italy.

[162] A celebrated physician. --Philocleon means, "Instead of starting an
action, go and have yourself cared for; that is better worth your while. "

[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.