The Eleven Comedies, Volume 1

Translation: English, by W. J. Hickie. (Bohn's Classical Library.)

Translation: English verse, 'Knights,' 'Acharnians,' 'Clouds,' 'Wasps,' by Mitchell. 1822.

Translation: English verse, 'Knights,' 'Acharnians,' 'Birds,' 'Frogs,' 'Peace,' by Hookham Frere. 1871.

Translation: English verse, Various Plays, by B. Bickley Rogers. 1867 onwards.

Translation: French, by C. Poyard. ("Chefs-d'oeuvre des Littératures Anciennes." Paris, Hachette. 1875.)

Translation: French, by Eugčne Talbot, with Preface by Sully Prudhomme. 2 vols. Paris, Lemerre. 1897.

Translation: German, by Droysen.

"Aristophanes" (Ancient Classics for English Readers): edit. W. Lucas Collins. 1897.

"Aristophane et l'ancienne Comédie attique," par Auguste Couat. Paris. 1889.

"Aristophane et les Partis ŕ Athens," par Maurice Croiset. Paris, Fontemoing. 1906.

"Beiträge zur inneren Geschichte Athens im Zeitalter des Pelopon. Krieges," G. Gilbert. Leipzig. 1877.

"Die attischen Politik seit Perikles," J. Beloch. Leipzig. 1884.

"Aristophanes und die historische Kritik," Müller-Strübing. Leipzig. 1873.

THE KNIGHTS

INTRODUCTION

This was the fourth play in order of time produced by Aristophanes on the Athenian stage; it was brought out at the Lenaean Festival, in January, 424 B.C. Of the author's previous efforts, two, 'The Revellers' and 'The Babylonians,' were apparently youthful essays, and are both lost. The other, 'The Acharnians,' forms the first of the three Comedies dealing directly with the War and its disastrous effects and urging the conclusion of Peace; for this reason it is better ranged along with its sequels, the 'Peace' and the 'Lysistrata,' and considered in conjunction with them.

In many respects 'The Knights' may be reckoned the great Comedian's masterpiece, the direct personal attack on the then all-powerful Cleon, with its scathing satire and tremendous invective, being one of the most vigorous and startling things in literature. Already in 'The Acharnians' he had threatened to "cut up Cleon the Tanner into shoe-leather for the Knights," and he now proceeds to carry his menace into execution, "concentrating the whole force of his wit in the most unscrupulous and merciless fashion against his personal enemy." In the first-mentioned play Aristophanes had attacked and satirized the whole general policy of the democratic party—and incidentally Cleon, its leading spirit and mouthpiece since the death of Pericles; he had painted the miseries of war and invasion arising from this mistaken and mischievous line of action, as he regarded it, and had dwelt on the urgent necessity of peace in the interests of an exhausted country and ruined agriculture. Now he turns upon Cleon personally, and pays him back a hundredfold for the attacks the demagogue had made in the Public Assembly on the daring critic, and the abortive charge which the same unscrupulous enemy had brought against him in the Courts of having "slandered the city in the presence of foreigners." "In this bitterness of spirit the play stands in strong contrast with the good-humoured burlesque of 'The Acharnians' and the 'Peace,' or, indeed, with any other of the author's productions which has reached us."

The characters are five only. First and foremost comes Demos, 'The People,' typifying the Athenian democracy, a rich householder—a self-indulgent, superstitious, weak creature. He has had several overseers or factors in succession, to look after his estate and manage his slaves. The present one is known as 'the Paphlagonian,' or sometimes as 'the Tanner,' an unprincipled, lying, cheating, pilfering scoundrel, fawning and obsequious to his master, insolent towards his subordinates. Two of these are Nicias and Demosthenes. Here we have real names. Nicias was High Admiral of the Athenian navy at the time, and Demosthenes one of his Vice-Admirals; both held still more important commands later in connection with the Sicilian Expedition of 415-413 B.C. Fear of consequences apparently prevented the poet from doing the same in the case of Cleon, who is, of course, intended under the names of 'the Paphlagonian' and 'the Tanner.' Indeed, so great was the terror inspired by the great man that no artist was found bold enough to risk his powerful vengeance by caricaturing his features, and no actor dared to represent him on the stage. Aristophanes is said to have played the part himself, with his face, in the absence of a mask, smeared with wine-lees, roughly mimicking the purple and bloated visage of the demagogue. The remaining character is 'the Sausage-seller,' who is egged on by Nicias and Demosthenes to oust 'the Paphlagonian' from Demos' favour by outvying him in his own arts of impudent flattery, noisy boasting and unscrupulous allurement. After a fierce and stubbornly contested trial of wits and interchange of 'Billingsgate,' 'the Sausage-seller' beats his rival at his own weapons and gains his object; he supplants the disgraced favourite, who is driven out of the house with ignominy.

The Comedy takes its title, as was often the case, from the Chorus, which is composed of Knights—the order of citizens next to the highest at Athens, and embodying many of the old aristocratic preferences and prejudices.

The drama was adjudged the first prize—the 'Satyrs' of Cratinus being placed second—by acclamation, as such a masterpiece of wit and intrepidity certainly deserved to be; but, as usual, the political result was nil. The piece was applauded in the most enthusiastic manner, the satire on the sovereign multitude was forgiven, and—Cleon remained in as much favour as ever.[4 - Mitchell's "Aristophanes." Preface to "The Knights."]

* * * * *

THE KNIGHTS

DRAMATIS PERSONAE

DEMOSTHENES.

NICIAS.

AGORACRITUS, a Sausage-seller.

CLEON.

DEMOS, an old man, typifying the Athenian people.

CHORUS OF KNIGHTS.

SCENE: In front of Demos' house at Athens.

* * * * *

THE KNIGHTS

DEMOSTHENES. Oh! alas! alas! Oh! woe! oh! woe! Miserable Paphlagonian![5 - A generic name, used to denote a slave, because great numbers came from Paphlagonia, a country in Asia Minor. Aristophanes also plays upon the word, [Greek: Paphlag_on], Paphlagonian, and the verb, [Greek: pathlazein], to boil noisily, thus alluding to Cleon's violence and bluster when speaking.] may the gods destroy both him and his cursed advice! Since that evil day when this new slave entered the house he has never ceased belabouring us with blows.

NICIAS. May the plague seize him, the arch-fiend—him and his lying tales!

DEMOSTHENES. Hah! my poor fellow, what is your condition?

NICIAS. Very wretched, just like your own.

DEMOSTHENES. Then come, let us sing a duet of groans in the style of Olympus.[6 - A musician, belonging to Phrygia, who had composed melodies intended to describe pain.]

DEMOSTHENES AND NICIAS. Boo, hoo! boo, hoo! boo, hoo! boo, hoo! boo, hoo! boo, hoo!!

DEMOSTHENES. Bah! 'tis lost labour to weep! Enough of groaning! Let us consider how to save our pelts.

NICIAS. But how to do it! Can you suggest anything?

DEMOSTHENES. Nay! you begin. I cede you the honour.

NICIAS. By Apollo! no, not I. Come, have courage! Speak, and then I will say what I think.

DEMOSTHENES. "Ah! would you but tell me what I should tell you!"[7 - Line 323 of the 'Hyppolytus,' by Euripides.]

NICIAS. I dare not. How could I express my thoughts with the pomp of Euripides?

DEMOSTHENES. Oh! prithee, spare me! Do not pelt me with those vegetables,[8 - Euripides' mother was said to have sold vegetables on the market.] but find some way of leaving our master.

NICIAS. Well, then! Say "Let-us-bolt," like this, in one breath.

DEMOSTHENES. I follow you—"Let-us-bolt."

NICIAS. Now after "Let-us-bolt" say "at-top-speed!"

DEMOSTHENES. "At-top-speed!"

NICIAS. Splendid! Just as if you were masturbating yourself; first slowly, "Let-us-bolt"; then quick and firmly, "at-top-speed!"