[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 _f.e.l.l.a.t.i.on_, that is the vile trick of taking a man's p.e.n.i.s 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 pa.s.sions.

[518] Here the criticism only concerns the rhythm and not either the meaning or the style. This pa.s.sage 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.'

[522] Fragment from Aeschylus 'Philoctetes.' The Sperchius is a river in Thessaly, which has its source in the Pindus range and its mouth in the Maliac gulf.

[523] A verse from Euripides' 'Antigone.' Its meaning is, that it is better to speak well than to speak the truth, if you want to persuade.

[524] From the 'Niobe,' a lost play, of Aeschylus.

[525] From the 'Telephus' of Euripides, in which he introduces Achilles playing at dice. This line was also ridiculed by Eupolis.

[526] From Euripides' 'Meleager.' All these plays, with the one exception of the 'Medea,' are lost.

[527] From the 'Glaucus Potniensis,' a lost play of Aeschylus.

[528] i.e. one hundred porters, either because many of the Athenian porters were Egyptians, or as an allusion to the Pyramids and other great works, which had habituated them to carrying heavy burdens.

[529] Euripides' friend and collaborator.

[530] The invention of weights and measures, of dice, and of the game of chess are attributed to him, also that of four additional letters of the alphabet.

[531] i.e. that cannot decide for either party.

[532] i.e. that a country can always be invaded and that the fleet alone is a safe refuge. This is the same advice as that given by Pericles, and which Thucydides expresses thus, "Let your country be devastated, or even devastate it yourself, and set sail for Laconia with your fleet."

[533] An allusion to the fees of the dicasts, or jurymen; we have already seen that at this period it was two obols, and later three.

[534] A half-line from Euripides' 'Hippolytus.' The full line is: [Greek: h_e gl_ott' om_omok', h_e de phr_en an_omotos,] "my tongue has taken an oath, but my mind is unsworn," a bit of casuistry which the critics were never tired of bringing up against the author.

[535] A verse from the 'Aeolus' of Euripides, but slightly altered.

Euripides said, "Why is is shameful, if the spectators, who enjoy it, do not think so?"

[536] A verse from the 'Phrixus' of Euripides; what follows is a parody.

[537] We have already seen Aeschylus pretending that it was possible to adapt any foolish expression one liked to the verses of Euripides: "a little bottle, a little bag, a little fleece."

[538] Pluto speaks as though he were an Athenian himself.

[539] That they should hang themselves. Cleophon is said to have been an influential alien resident who was opposed to concluding peace; Myrmex and Nicomachus were two officials guilty of peculation of public funds; Archenomus is unknown.

[540] He would brand them as fugitive slaves, if, despite his orders, they refused to come down.

[541] An Athenian admiral.

[542] The real name of the father of Adimantus was Leucolophides, which Aristophanes jestingly turns into Leucolophus, i.e. _White Crest_.

[543] i.e. in a foreign country; Cleophon, as we have just seen, was not an Athenian.

THE THESMOPHORIAZUSAE

or

The Women's Festival

INTRODUCTION

Like the 'Lysistrata,' the 'Thesmophoriazusae, or Women's Festival,' and the next following play, the 'Ecclesiazusae, or Women in Council' are comedies in which the fair s.e.x play a great part, and also resemble that extremely _scabreux_ production in the plentiful crop of doubtful 'double entendres' and highly suggestive situations they contain.

The play has more of a proper intrigue and formal denouement than is general with our Author's pieces, which, like modern extravaganzas and musical comedies, are often strung on a very slender thread of plot. The idea of the 'Thesmophoriazusae' is as follows.

Euripides is summoned as a notorious woman-hater and detractor of the female s.e.x to appear for trial and judgment before the women of Athens a.s.sembled to celebrate the Thesmophoria, a festival held in honour of the G.o.ddesses Demeter and Persephone, from which men were rigidly excluded.

The poet is terror-stricken, and endeavours to persuade his confrere, the tragedian Agathon, to attend the meeting in the guise of a woman to plead his cause, Agathon's notorious effeminacy of costume and way of life lending itself to the deception; but the latter refuses point-blank. He then prevails on his father-in-law, Mnesilochus, to do him this favour, and shaves, depilates, and dresses him up accordingly. But so far from throwing oil on the troubled waters, Mnesilochus indulges in a long harangue full of violent abuse of the whole s.e.x, and relates some scandalous stories of the naughty ways of peccant wives. The a.s.sembly suspects at once there is a man amongst them, and on examination of the old fellow's person, this is proved to be the case. He flies for sanctuary to the altar, s.n.a.t.c.hing a child from the arms of one of the women as a hostage, vowing to kill it if they molest him further. On investigation, however, the infant turns out to be a wine-skin dressed in baby's clothes.

In despair Mnesilochus sends urgent messages to Euripides to come and rescue him from his perilous predicament. The latter then appears, and in successive characters selected from his different Tragedies--now Menelaus meeting Helen again in Egypt, now Echo sympathising with the chained Andromeda, presently Perseus about to release the heroine from her rock--pleads for his unhappy father-in-law. At length he succeeds in getting him away in the temporary absence of the guard, a Scythian archer, whom he entices from his post by the charms of a dancing-girl.

As may be supposed, the appearance of Mnesilochus among the women dressed in women's clothes, the examination of his person to discover his true s.e.x and his final detection, afford fine opportunities for a display of the broadest Aristophanic humour. The latter part of the play also, where various pieces of Euripides are burlesqued, is extremely funny; and must have been still more so when represented before an audience familiar with every piece and almost every line parodied, and played by actors trained and got up to imitate every trick and mannerism of appearance and delivery of the tragic actors who originally took the parts.

The 'Thesmophoriazusae' was produced in the year 412 B.C., six years before the death of Euripides, who is held up to ridicule in it, as he is in 'The Wasps' and several other of our Author's comedies.

THE THESMOPHORIAZUSAE

or

The Women's Festival

DRAMATIS PERSONAE

EURIPIDES.

MNESILOCHUS, Father-in-law of Euripides.

AGATHON.