Aristophanes came along in my reading following extensive other readings of ancient Athenian history, heroes and gods throughout many works by Homer, Aristophanes came along in my reading following extensive other readings of ancient Athenian history, heroes and gods throughout many works by Homer, Hesiod, Plutarch, Arrian, Xenophon, Plato, Aristotle, Aeschylus, Sophocles, Euripides, Apollonius of Rhodes, and Ovid. Arriving to Aristophanes with such a knowledge of literary, political and mythical references, it is apparent Aristophanes can be paired well with Cervantes’ Don Quixote mirroring an exhaustion of heroic romances, or even a Greek version of a Dantean escatological interplay between life, an afterlife, and the divine. Aristophanes’ Old Comedy might be a useful source even to compare with Finnegans Wake for their burlesque bawdiness and polyvocal metrical complexity.
Structurally, I am still coming to terms with the complexities of Aristophanic comedy: parodos, agon, strophic pairs of choruses, parabasis, songs, iambic dialogue. I am not sure how well these can be translated but it seems Stephen Halliwell has done an excellent job in his 2015 translation of these works, and I am looking forward to reading his translations of the remaining eight comedies in two by additional volumes. These plays were grouped as the cultural plays (Clouds, Women of Thesmophoria, Frogs). The 1997 first volume included Birds, Lysistrata, The Assembly Women, Wealth, and the 2024 final volume the political plays: Acharnians, Knights, Wasps, Peace.
Clouds was where I had hoped to start coming off reading Plato’s early Socratic dialogues and Xenophon’s four Socratic dialogues. In fact, the order of reading was rather helpful, in particular Xenophon’s dialogue on estate management between Socrates and Ischomachus in Oeconomicus alongside Hesiod’s advice to farmers in his Works and Days.
STREPSIADES. What I mentioned before: that immoral way of debating. SOKRATES. But you need to learn other things first. Now here's an example: Which animals rightly belong to the masculine gender?* STREPSIADES. I know all the masculine ones. Any fool knows that! The ram, the goat, the bull, the dog, and the cock-fowl. SOKRATES. You see what you're doing? The word for cock you've used Is the same one you always use for hens as well. STREPSIADES. Is that really so? SOKRATES. But of course: you say 'cock' for both.* STREPSIADES. By Poseidon, that's right! Well, what should I say then instead?
In Clouds, the father and son incarnations of traditional and modern, Strepsiades and Pheidippides, intimate social tensions of political rhetoric of orators and sycophants (lawyers) in conflict with wealth as represented in land, money lending, aristocratic prestige, new models of education, and generational change. However, Aristophanes depiction of Socrates is so far off Aristotle’s, Plato’s and Xenophon’s likening that it becomes a helpful frame to understand other character adaptations. Herein, Socrates is an incontinent farting machine with oafish sophist teachings. There are only minor hints of the Platonic version, while Xenophon’s more common men of the city, like the estate owner Strepsiades, are heavily featured. The classic Agon I of Clouds is between Moral and Immoral, followed later in Agon II with between father and son, Strepsiades and Pheidippides.
MORAL. Come over here then! Show yourself To the audience there. What an impudent thing! IMMORAL. Go wherever you want! The bigger the crowd The more I'll argue you into the ground. MORAL. What you? IMMORAL. With my words. MORAL. But you're weaker than me. IMMORAL. All the same I'll defeat One who makes the claim that he's stronger than me. MORAL. What's your clever trick then? IMMORAL. I have new ideas I've discovered myself. MORAL. Well such things only flourish (gesturing at audience) On account of these idiots sitting in front of us here. IMMORAL. But these people are clever.
The Women of Thesmophoria is by far the funniest of the three comedies. The Kinsman of Euripides is pure comic relief, and the conceit of the play is masterful. The premise of false gender identities, the maligning of engendered behaviors and practices, and of the infiltration of a women’s only Dionysian festival posits Agathon (one of the unique attendees in Plato’s Symposium and also a tragic playwright) and Euripides as equals in poetic promise yet polarized in appearance, age, and sexuality. The simple inclusion of Agathon here is an interesting selection.
AGATHON. There's no escaping the link. I've recognized this And have pampered myself accordingly. KINSMAN. But why? EURIPIDES [to KINSMAN]. Stop yapping away. I used to be just the same When I was the age he is and was starting to write. KINSMAN. By Zeus I'm glad I wasn't brought up like you! EURIPIDES. But let me explain the reason I've come. KINSMAN. Yes, tell him. EURIPIDES. Agathon, 'it's the mark of a skilful man to know how To compress a long speech with a fine concision of words?* I've been struck down by a blow of fresh misfortune And have come to you in supplication. AGATHON. What for? EURIPIDES. The women have plans to destroy my life today At the Thesmophoria, because I slander them. AGATHON. What kind of help do you think that I can give? EURIPIDES. Every kind that I need! If you infiltrate the meeting That the women are holding and look like a woman yourself, You can speak in defence of me and save my life! Only you can speak in a style that's worthy of me. AGATHON. Why can't you go and present your own defence? EURIPIDES. I'll tell you. For one thing, my face is known to all. For another, my hair is grey and I'm bearded as well. But your face is pretty, as pale as a woman's and shaved, You've a woman's voice, you're soft-skinned, and lovely to look at. AGATHON [hesitating]. Euripides—
Frogs is a play I first encountered through a performance on the Greek island of Spetses circa 1995. The wild choruses and phalli hanging from the protagonist shaped the ecstatic, cacophonous atmosphere of the outdoor amphitheater on a temperate summer night. At 11 or 12 years old, I hardly knew what tragedy was, and Frogs intellectual narratives and humor hardly touched me.
Now, I can appreciate these retellings of Heraclean (and even Ophic) labors with Dionysiac focus. The central Agon between Aeschlus (spelled Aischylos by Halliwell) and Euripides is a contest of who is to be the greatest poet to sit alongside Plato (spelled Plouton by Halliwell) after death in Hades. I actually found Euripides critic of Aeschylus’ repetition humorous, as well as Aeschylus’ attack of Euripides ubiquitous application of conveniently constructed devices (like his application of deus ex machina to conclude his plays) in any scene. A wholly worthy literary reflection on tragedy and poetic value to a society facing political collapse and destruction.
EURIPIDES. What nonsense you're talking. My prologues are beautifully written. AISCHYLOS. I can't bear to continue this word-by-word dissection Of every verse. With the help of the gods on my side I'll use a miniature oil-jar to rubbish your prologues.* EURIPIDES. A miniature oil-jar to deal with my prologues? AISCHYLOS. Just one. Your style of writing means any old object will fit— A fleecelet, a miniature oil-jar, a little old sack— The iambic lines you compose. I'll show you at once. EURIPIDES. Oh you will, will you? AISCHYLOS. Yes. EURIPIDES. All right then, listen to this. 'Aigyptos, so prevailing tradition relates, With fifty sons traversed the sea by oar, Put in to Argos and—* AISCHYLOS. …lost his miniature oil-jar! DIONYSOS. What's the point of the miniature oil-jar? It's damned annoying. Recite him a further prologue let's see what it means. EURIPIDES. ‘Dionysos, equipped with thyrso and wearing fawnskins, Among the pine-trees down Parnassos's slopes Went leaping in dance and—›* AISCHYLOS. …lost his miniature oil-jar! DIONYSOS. Oh no, he's struck us again with this miniature oil-jar! EURIPIDES. I'm not concerned by that. Now here's a prologue To which he won't be able to tag on an oil-jar. ‘No man exists who's happy in all respects. Perhaps born noble he falls in penury's way. Or low by birth—** AISCHYLOS. …he loses his miniature oil-jar! DIONYSOS [confidentially]. Euripides— EURIPIDES. What's wrong?
The fragments are the first I have read of any from the Greek Theater and they emphasize both the great loss of ancient genius as well as the astonishing luck to have any complete plays of Athenian tragedy and comedy remaining. The extensive titles and knowedge of their characters, themes and motifs greatly enhances an understanding of the pervasive 5th and 4th century literary contests in the late winter and spring festivals. Our fragmentary, incomplete awareness of the past sheds light on the fickleness of time and continuity, of our own time in light of an ancient renaissance, and the potential for humanity to transmit excellence across millennia....more
This was a tandem reading with some of Plato’s early Socratic dialogues (Ion, Protagorus, Phaedrus, Symposium, Apology) to which I have to think much This was a tandem reading with some of Plato’s early Socratic dialogues (Ion, Protagorus, Phaedrus, Symposium, Apology) to which I have to think much of Xenophon’s better writing is a derivative from access to Plato’s style and representation of an idealized Socrates. If Xenophon offers anything, it is being the secondary, lesser pair to any number of writings: Xenophon’s Anabasis vs Arrian’s Anabasis of Alexander, Thucydides The Peloponnesian War vs Xenophon’s Hellenica, and here, Plato’s Socratic dialogues versus Xenophon’s. Still, without Xenophon there would be no alternative or in the case of Arrian, no original, to let shine the other great, supreme works. Xenophon is a significant author, and like his Oeconomicus is a Hesiod to other great Homers. The Oeconomicus was painful to get through but only in the same way that Hesiod’s Works and Days presents a mundane, non-heroic quality to ancient ways of being, maintaining a home and family, and of agriculture. The advice (or herein knowledge) that is presented in Socratic dialogues lacks the brilliance of Plato’s exemplars.
Alas, I can now say I have read two works by Xenophon, and after Thucydides I am uncertain if the time is worthwhile to press through another book of secondary style, intellect and emulation of another. Xenophon’s The Persian Expedition (Anabasis) was exceptional, and thus nudged me to read this. As Rex Warner translated both it and Xenophon’s The History of My Times (Hellenica), perhaps I will take another shot at Xenophon again. Within this collection, his Symposium is adequate and an interesting pairing with Plato’s; however it lacks originality. The Apology and Memorabilia were underwhelming....more
This kind of work is why I love the minor classics, the filler between the hits that just do something to teach you more about the breadth and scope oThis kind of work is why I love the minor classics, the filler between the hits that just do something to teach you more about the breadth and scope of an artist. Virgil is a master of structure and progression. The political story is less prominent than the introduction might suggest, and yet the pastoral is capable of emoting the loss of land, or its gain to those rewarded for war victory.
The sixth eclogue sung by Damon is lyrically stunning and includes one of my favorite, least known gods, Pan.
DAMON "Arise, O star That greets the brightening day, while I lament Because my sworn love Nysa has deceived me; Although no help has come for me from them, I call on the gods to witness as I die.
My flute, begin to play Maenalus' song. There's music in the groves that grow upon The sides of Mount Maenalus, music of Pan, Who first called music forth from silent reeds, The songs of shepherds telling of their loves.
My flute, begin to play Maenalus' song. Nysa given to Mopsus! What is it that Lovers can hope for? Griffins and mares will mate, And in the next age the timid doe will come Down to the stream to drink along with dogs.
This translation by David Ferry was very readable. Though when I began I read the Latin as well until I found the translation was loose and hard to trace parallels between the two languages. It certainly makes me want to learn Latin, and overall the lyrical quality, humor, and great storytelling come powerfully through. ...more
An incredibly dense read, I will have to redouble my efforts to do justice to Schiller’s model, explicated in detail over 27 “letters” to his patron—aAn incredibly dense read, I will have to redouble my efforts to do justice to Schiller’s model, explicated in detail over 27 “letters” to his patron—an altogether clever and interesting dramatization of the philosopher divulging his philosophy. He articulates a mode human impulses (sensuous, reason, play) and refined taste in a complex means to moderate society and individuals morally. Aesthetic taste like religion has the “merit of being a surrogate for true virtue.”...more
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