No More Learning

[368] The barbarian god utters some gibberish which Pisthetaerus
interprets into consent.

[369] Heracles, the god of strength, was far from being remarkable in the
way of cleverness.

[370] This was Athenian law.

[371] The poet attributes to the gods the same customs as those which
governed Athens, and according to which no child was looked upon as
legitimate unless his father had entered him on the registers of his
phratria. The phratria was a division of the tribe and consisted of
thirty families.

[372] The chorus continues to tell what it has seen on its flights.

[373] The harbour of the island of Chios; but this name is here used in
the sense of being the land of informers ([Greek: phainein], to
denounce).

[374] i. e. near the orators' platform, or [Greek: B_ema], in the Public
Assembly, or [Greek: Ekkl_esia], because there stood the [Greek:
klepsudra], or water-clock, by which speeches were limited.

[375] A coined name, made up of [Greek: gl_otta], the tongue, and [Greek:
gast_er], the stomach, and meaning those who fill their stomach with what
they gain with their tongues, to wit, the orators.

[376] [Greek: Sukon] a fig, forms part of the word, [Greek:
sukophant_es], which in Greek means an informer.

[377] Both rhetoricians.

[378] Because they consecrated it specially to the god of eloquence.

[379] Basileia, whom he brings back from heaven.
[380] Terms used in regulating a dance.

[381] Where Pisthetaerus is henceforth to reign.




THE FROGS




INTRODUCTION

Like 'The Birds' this play rather avoids politics than otherwise, its
leading _motif_, over and above the pure fun and farce for their own sake
of the burlesque descent into the infernal regions, being a literary one,
an onslaught on Euripides the Tragedian and all his works and ways.

It was produced in the year 405 B. C. , the year after 'The Birds,' and
only one year before the Peloponnesian War ended disastrously for the
Athenian cause in the capture of the city by Lysander. First brought out
at the Lenaean festival in January, it was played a second time at the
Dionysia in March of the same year--a far from common honour. The drama
was not staged in the Author's own name, we do not know for what reasons,
but it won the first prize, Phrynichus' 'Muses' being second.

The plot is as follows. The God Dionysus, patron of the Drama, is
dissatisfied with the condition of the Art of Tragedy at Athens, and
resolves to descend to Hades in order to bring back again to earth one of
the old tragedians--Euripides, he thinks, for choice. Dressing himself
up, lion's skin and club complete, as Heracles, who has performed the
same perilous journey before, and accompanied by his slave Xanthias (a
sort of classical Sancho Panza) with the baggage, he starts on the
fearful expedition.

Coming to the shores of Acheron, he is ferried over in Charon's
boat--Xanthias has to walk round--the First Chorus of Marsh Frogs (from
which the play takes its title) greeting him with prolonged croakings.
Approaching Pluto's Palace in fear and trembling, he knocks timidly at
the gate. Being presently admitted, he finds a contest on the point of
being held before the King of Hades and the Initiates of the Eleusinian
Mysteries, who form the Second Chorus, between Aeschylus, the present
occupant of the throne of tragic excellence in hell, and the pushing,
self-satisfied, upstart Euripides, who is for ousting him from his pride
of place.

Each poet quotes in turn from his Dramas, and the indignant Aeschylus
makes fine fun of his rival's verses, and shows him up in the usual
Aristophanic style as a corrupter of morals, a contemptible casuist, and
a professor of the dangerous new learning of the Sophists, so justly held
in suspicion by true-blue Athenian Conservatives. Eventually a pair of
scales is brought in, and verses alternately spouted by the two
candidates are weighed against each other, the mighty lines of the Father
of Tragedy making his flippant, finickin little rival's scale kick the
beam every time.