Аристофан - The Eleven Comedies, Volume 2

"This Comedy, which was produced by its Author the year after the performance of 'The Clouds,' may be taken as in some sort a companion picture to that piece. Here the satire is directed against the passion of the Athenians for the excitement of the law-courts, as in the former its object was the new philosophy. And as the younger generation—the modern school of thought—were there the subjects of the caricature, so here the older citizens, who took their seats in court as jurymen day by day, to the neglect of their private affairs and the encouragement of a litigious disposition, appear in their turn in the mirror which the satirist holds up."

There are only two characters of any importance to the action—Philocleon ('friend of Cleon') and his son Bdelycleon ('enemy of Cleon'). The plot is soon told. Philocleon is a bigoted devotee of the malady of litigiousness so typical of his countrymen and an enthusiastic attendant at the Courts in his capacity of 'dicast' or juryman. Bdelycleon endeavours to persuade his father by every means in his power to change this unsatisfactory manner of life for something nobler and more profitable; but all in vain. As a last resource he keeps his father a prisoner indoors, so that he cannot attend the tribunals.

The old man tries to escape, and these attempts are conceived in the wildest vein of extravaganza. He endeavours to get out by the chimney, pretending he is "only the smoke"; and all hands rush to clap a cover on the chimney-top, and a big stone on that. He slips through a hole in the tiles, and sits on the roof, pretending to be "only a sparrow"; and they have to set a net to catch him. Then the Chorus of Wasps, representing Philocleon''s fellow 'dicasts,' appear on the scene to rescue him. A battle royal takes place on the stage; the Wasps, with their formidable stings, trying to storm the house, while the son and his retainers defend their position with desperate courage. Finally the assailants are repulsed, and father and son agree upon a compromise. Bdelycleon promises, on condition that his father gives up attending the public trails, to set up a mock tribunal for him in his own house.

Presently the theft of a Sicilian cheese by the house-dog Labes gives the old fellow an opportunity of exercising his judicial functions. Labes is duly arraigned and witnesses examines. But alas! Philocleon inadvertently casts his vote for the defendant's acquittal , the first time in his life "such a thing has ever occurred," and the old man nearly dies of vexation.

At this point follows the 'Parabasis,' or Author's personal address to the audience, after which the concluding portion of the play has little connection with the main theme. This is a fault, according to modern ideas, common to many of these Comedies, but it is especially marked in this particular instance. The final part might almost be a separate play, under the title perhaps of 'The dicast turned gentleman,' and relates various ridiculous mistakes and laughable blunders committed by Philocleon, who, having given up his attendance on the law-courts, has set up for playing a part in polite society.

The drama, as was very often the case, takes its title from the Chorus—a band of old men dressed up as wasps, who acrimonious, stinging, exasperated temper is meant to typify the character fostered among Athenian citizens by excessive addiction to forensic business.

Racine, in the only comedy he attempted, 'Les Plaideurs,' borrows the incident of the mock trial of the house-dog, amplifying and adding further diverting features.

Perhaps 'The Wasps' is the least amusing of all our Author's pieces which have come down to us—at any rate to a modern reader. The theme of its satire, the litigious spirit of the Athenians, is after all purely local and temporary, while the fun often strikes us as thin and forced. Schlegel writes in his 'Dramatic Literature': "The subject is too limited, the folly it ridicules appears a disease of too singular a description, without a sufficient universality of application, and the action is too much drawn out."

PHILOCLEON, a Dicast.

BDELYCLEON, his Son.

SOSIAS, House-servant of Philocleon.

XANTHIAS, House-servant of Philocleon.

BOYS.

A DOG.

A BAKER'S WIFE.

ACCUSER.

CHORUS OF ELDERS, costumed as Wasps.

SOSIAS. Why, Xanthias! what are you doing, wretched man?

XANTHIAS. I am teaching myself how to rest; I have been awake and on watch the whole night.

SOSIAS. So you want to earn trouble for your ribs, 1 1 Meaning, Bdelycleon will thrash you if you do not keep a good watch on his father. eh? Don't you know what sort of an animal we are guarding here?

XANTHIAS. Aye indeed! but I want to put my cares to sleep for a while.

SOSIAS. Beware what you do. I too feel soft sleep spreading over my eyes.

Resist it, for you must be as mad as a Corybant if you fall asleep. 2 2 The Corybantes, priests of Cybelé, comported themselves like madmen in the celebration of their mysteries and made the air resound with the the noise of their drums.

XANTHIAS. No! 'Tis Bacchus who lulls me off.

SOSIAS. Then you serve the same god as myself. Just now a heavy slumber settled on my eyelids like a hostile Mede; A nodded and, faith! I had a wondrous dream.

XANTHIAS. Indeed! and so had I. A dream such as I never had before. But first tell me yours.

SOSIAS. Methinks I saw an eagle, a gigantic bird, descend upon the market-place; it seized a brazen buckler with its talons and bore it away into the highest heavens; then I saw 'twas Cleonymus had thrown it away.

XANTHIAS. This Cleonymus is a riddle worth propounding among guests. How can one and the same animal have cast away his buckler both on land, in the sky and at sea? 3 3 Cleonymus had shown himself equally cowardly on all occasions; he is frequently referred to by Aristophanes, both in this and other comedies.

SOSIAS. Alas! what ill does such a dream portend for me?

XANTHIAS. Rest undisturbed! An it please the gods, no evil will befall you.

SOSIAS. Nevertheless, 'tis a fatal omen when a man throws away his weapons. But what was your dream? Let me hear.

XANTHIAS. Oh! it is a dream of high import. It has reference to the hull of the State; to nothing less.

SOSIAS. Tell it me quickly; show me its very keel.

XANTHIAS. In my first slumber I thought I saw sheep, wearing cloaks and carrying staves, 4 4 The cloak and the staff were the insignia of the dicasts; the poet describes them as sheep, because they were Cleon's servile tools. met in assembly on the Pnyx; a rapacious whale was haranguing them and screaming like a pig that is being grilled.

SOSIAS. Faugh! faugh!

XANTHIAS. What's the matter?

SOSIAS. Enough, enough, spare me. Your dream stinks vilely of old leather. 5 5 An allusion to Cleon, who was a tanner.

XANTHIAS. Then this scoundrelly whale seized a balance and set to weighing ox-fat. 6 6 In Greek, [Greek: d_emos] ([Greek: d_emós], fat ; [Greek: d_ęmos], people ) means both fat and people .

SOSIAS. Alas! 'tis our poor Athenian people, whom this accursed beast wished to cut up and despoil of their fat.

XANTHIAS. Seated on the ground close to it, I saw Theorus, 7 7 A tool of Cleon's; he had been sent on an embassy to Persia ( vide 'The Acharnians'). The crow is a thief and rapacious, just as Theorus was. who had the head of a crow. The Alcibiades said to me in his lisping way, "Do you thee? Theoruth hath a crow'th head." 8 8 In his life of Alcibiades, Plutarch mentions this defect in his speech; or it may have been a 'fine gentleman' affectation.