Aristophanes

“ Aristophanes is for us the representative of the Old Comedy. But his genius, while it includes, also transcends the genius of the Old Comedy. He can denounce the frauds of a Cleon, he can vindicate the duty of Athens to herself and to her allies, with a stinging scorn and a force of patriotic indignation which makes the poet almost forgotten in the citizen. ”

“ Such, then, was the threefold poison that was destroying Athenian morality—the triobolus, the noisy assemblies in the Agora, the doctrines of the Sophists; the antidote was the recollection of former virtue and past prosperity, which the Poet systematically revives in contrast with the turpitudes and trivialities of the present day. There is no turning back the course of history; but if Aristophanes' efforts have remained abortive, they are not therefore inglorious. Is the moralist to despair and throw away his pen, because in so many cases his voice finds no echo? ”

“ Aristophanes is one of the men for whom opinion is mainly a matter of feeling, not of reason. His imaginative susceptibility gave him a warm and loyal love for the traditional glories of Athens, however dim the past to which they belonged; a horror of what was ugly or ignoble in the present; a keen perception of what was offensive or absurd in pretension. The broad preferences and dislikes thus generated were enough not only to point the moral of comedy, but to make him, in many cases, a really useful censor for the city. ”

“ Aristophanes was a natural conservative. His ideal was the Athens of the Persian wars. He disapproved the policy which had made Athenian empire irksome to the allies and formidable to Greece; he detested the vulgarity and the violence of mob-rule; he clave to the old worship of the gods; he regarded the new ideas of education as a tissue of imposture and impiety. ”

“ Even the opening of the Peace, fantastic as it is in absurdity, does not touch the note of grossness peculiar to French Pantagruelism. Aristophanes is always Greek, while Rabelais inherits the mediæval spirit. In reading Aristophanes we seem to have the serene skies of Attica above our heads; the columns of the Propylæa and the Parthenon look down on us; noble shapes of youths and maidens are crowding sacred marble steps; below, upon the mirror of the sea, shine Salamis and Ægina; and far off, in hazy distance, rise Peloponnesian hills. With these pictures of the fancy his comedy harmonizes. ”

“ The speech of Dikaios Logos in the Clouds, the praises of country life in the Peace, the serenade in the Ecclesiazusae, the songs of the Spartan and Athenian maidens in the Lysistrata, above all, perhaps, the chorus in the Frogs, the beautiful chant of the Initiated,—these passages, and such as these, are the true glories of Aristophanes. They are the strains, not of an artist, but of one who warbles for pure gladness of heart in some place made bright by the presence of a god. Nothing else in Greek poetry has quite this wild sweetness of the woods. ”

“ To his poignant wit, and poisonous malignity, Aristophanes joined great intrepidity of spirit. By the indefatigable exercise of his talents he proceeded, unrestrained by fear, unchecked by conscience, inaccessible to shame or pity, and alike regardless of the anger of foes and the feelings of friends, giving to the middle comedy still more force and acumen than ever belonged to the old. He cajoled the multitude by a plausible affectation of a violent love for Athens, and an inveterate hatred to all on whom he chose to fix the odium of wishing to enslave her. ”

“ THE GREEK COMEDY IS REDUCED ONLY TO ARISTOPHANES. Not to go too far out of our way, let us return to Aristophanes, the only poet, in whom we can now find the Greek comedy. He is the single writer whom the violence of time has, in some degree, spared, after having buried in darkness, and almost in forgetfulness, so many great men, of whom we have nothing but the names and a few fragments, and such slight memorials, as are scarcely sufficient to defend them against the enemies of the honour of antiquity ”

“ Starting with what is always, prima facie, the prose of everyday life, its acrid controversies, its vulgar and tedious types, and even its particular individuals—for Aristophanes does not hesitate to introduce his contemporaries in person on the stage—he fits to this gross and heavy stuff the wings of imagination, scatters from it the clinging mists of banality and spite and speeds it forth through the lucid heaven of art amid peals of musical laughter and snatches of lyric song. ”

“ Aristophanes wrote to express his vision on life, his delight in life itself seen behind the warping screen of contemporary event; and for his purposes anything from Euripides to Cleon served as ground work. Not that he would think in those terms, naturally: but the rationalizing process that goes on in consciousness during the creation of a work of art, for all its appearance of directing matters, is the merest weathercock in the wind of the subconscious intention. ”

“ Even more remarkable than the tragedy of the Greeks, in its rendering of a didactic intention under the forms of a free and spontaneous art, is the older comedy known to us through the works of Aristophanes. As the former dealt with the general conceptions, religious and ethical, that underlay the Greek view of life, using as its medium of exposition the ancient national myths, so the latter dealt with the particular phases of contemporary life, employing the machinery of a free burlesque. The achievement of Aristophanes, in fact, is more astonishing, in a sense, than that of Aeschylus. ”

“ We may boldly affirm, that notwithstanding all the explanations which have come down to us—notwithstanding the accumulation of learning which has been spent upon it, one-half of the wit of Aristophanes is altogether lost to the moderns. Nothing but the incredible acuteness and vivacity of the Athenian intellect could make it conceivable that these comedies which, with all their farcical drolleries, do, nevertheless, all the while bear upon the most grave interests of human life, could ever have formed a source of popular amusement. ”

“ Your representation of him on the stage, O Aristophanes, was not wholly unlike his real self on this occasion, for he walked and darted his regards around with a majestic composure, looking tranquilly both on his friends and enemies; so that it was evident to every one, even from afar, that whoever should venture to attack him would encounter a desperate resistance. He and his companion thus departed in safety; for those who are scattered in flight are pursued and killed, whilst men hesitate to touch those who exhibit such a countenance as that of Socrates even in defeat. ”

“ First the great comic poet Aristophanes, in his comedy called the "Clouds," held him up to ridicule and reproach, and thus prepared the way for his arraignment and trial. He is made to utter a thousand impieties and impertinences. He is made to talk like a man of the greatest vanity and conceit, and to throw contempt and scorn on everybody else. ”

“ CLEON. I will tear out your eyelashes.
SAUSAGE-SELLER. I will slit your gullet.
DEMOSTHENES. We will set his mouth open with a wooden stick as the cooks do with pigs; we will tear out his tongue, and, looking down his gaping throat, will see whether his inside has any pimples. [46]
CHORUS. Thus then at Athens we have something more fiery than fire, more impudent than impudence itself! 'Tis a grave matter; come, we will push and jostle him without mercy. There, you grip him tightly under the arms; if he gives way at the onset, you will find him nothing but a craven; I know my man. ”

“ The secret of Aristophanes—by far the most astonishing figure in the whole crowd of Athenian poets and philosophers and orators, a man whose poetry, exquisite in spite of being perpetually draggled through the mire, is full of profound reflection in spite of its uproarious wit—the secret of this solemn jester, this conservative revolutionist, this religious atheist, this communistic defender of Attic aristocracy, is also the secret of Euripides. The time-spirit of individualism is in each ”

“ CLEON. Tremble, knave; I will convict you of having stolen thirty thousand drachmae.
SAUSAGE-SELLER. For a rascal of your kidney, you shout rarely! Well! I am ready to die if I do not prove that you have accepted more than forty minae from the Mitylenaeans. [94]
CHORUS. This indeed may be termed talking. Oh, benefactor of the human race, proceed and you will be the most illustrious of the Greeks. You alone shall have sway in Athens, the allies will obey you, and, trident in hand, you will go about shaking and overturning everything to enrich yourself. But, stick to your man, let him not go ”

“ To Aristophanes he gave the dramatic sympathy which one lover of life can extend to another, though that other unduly extol its lower forms. To Euripides he brought the palm of the higher truth, to his work the tribute of the more pathetic human emotion. Even these for a moment ministered to the greatness of Aristophanes, in the tear shed by him to the memory of his rival, in the hour of his own triumph; and we may be quite sure that when Mr. Browning depicted that scene, and again when he translated the great tragedian's words, his own eyes were dimmed. ”

“ The difficulty of treating Aristophanes in an essay is twofold. There are first of all those obstacles which every writer on so old a subject has to meet. Aristophanes, like all Greek poets, has been subjected to prolonged and most minute criticism. He has formed a part of classical education for centuries, and certain views about his poetry, substantially correct, have become a fixed element in our literary consciousness. Thus every fresh writer on the old comedy of Athens must take a good deal of knowledge for granted in his readers—but what, and how much, he hardly knows. ”

“ But the charm of Aristophanes does not lie in any of these things singly, but in the combination of ingenious and paradoxical fancy with an inexhaustible flow of apt language by which they are held up and borne out. His personages are ready to make believe anything. Nothing surprises them long. They enter into the spirit of each new conceit, and can always discover fresh analogies to bear it out. ”

“ How satisfy a public made up of so many and such diverse elements, so sharply contrasted by birth, fortune, education, opinion, interest? How hold sway over a body of spectators, who were at the same time judges? To succeed in the task he was bound to be master of all styles of diction—at one and the same time a dainty poet and a diverting buffoon. It is just this universality of genius, this combination of the most eminent and various qualities, that has won Aristophanes a place apart among satirists ”

“ They who take part with the poet against the philosopher exaggerate his merits: the admirers of Socrates, in revenge for the unjust death of that great man, generally undervalue them. Let us endeavour to be just. Aristophanes was a poet of vast genius, quick to perceive, and powerful to paint the imperfections, vices, follies, weaknesses, miseries of man in society. He was greedy, too, of reputation, in the acquisition of which he spared neither men nor institutions. ”

“ Do's not Aristophanes take great Liberties and make Women speak extraordinary Sentences? He do's so. But his Precedent signifies nothing in the case. For
1st. We have both the Reason of the Thing, and all the Advantage of Authority on the other side. We have the Practise and Opinion of Men of much greater Sence, and Learning then Himself. The best Philosophers and Poets, Criticks and Orators, both Greek and Latin, both Antient and Modern, give the Cause against him. But Aristophanes his own Plays are sufficient to ruin his Authority. For
1st, He discovers himself a downright Atheist. ”

“ DIONYSUS. Undoubtedly. 'Tis as though I said to my neighbour, "Lend me either your kneading-trough or your trough to knead in."
AESCHYLUS. No, you babbler, no, 'tis not the same thing, and the verse is excellent.
DIONYSUS. Indeed! then prove it.
AESCHYLUS. To come is the act of a citizen who has suffered no misfortune; but the exile both comes and returns.
DIONYSUS. Excellent! by Apollo! What do you say to that, Euripides?
EURIPIDES. I say that Orestes did not return to his country, for he came there secretly, without the consent of those in power.
DIONYSUS. Very good indeed! by Hermes! ”

“ With infinite cleverness and inexhaustible flow of wit, he has exposed the sophistical subtilty, the rhetorical and philosophical pretensions, the immoral and seductive effeminacy, and the excitations to undisguised sensuality of Euripides. As, however, modern critics have generally looked upon Aristophanes as no better than a writer of extravagant and libellous farces, and had no notion of eliciting the serious truths which he veiled beneath his merry disguises, it is no wonder if they have paid but little attention to his opinion. ”

“ Apparently Aristophanes preserved, in a burlesque form, the remnants of a genuine myth. Almost all savage religions have their bird-gods, and it is probable that Aristophanes p. 139did not invent, but only used a surviving myth of which there are scarcely any other traces in Greek literature. ”

“ Aristophanes was a believer in the value of conservative ideas, though not himself a slave to them. He was also a great poet, though often very false to his poetic self. Such a man might easily fancy that one like Euripides was untrue to the poetry, because untrue to the joyousness of existence ”

“ Indeed no comedy of Aristophanes illustrates so strongly what the character of this audience was, and how, with all their love for coarseness and buffoonery, the poet saw in the masses who filled that vast amphitheatre a literary “public” the like of which was never seen before or since.
How then is the prisoner to communicate his situation to Euripides? He will do what that poet makes his own “Palamedes” do in the tragedy—write a message containing his sad story upon the oars, and throw them out. But there are no oars likely to be found in the temple. ”