Aristophanes I: Clouds, Wasps, Birds

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Summary: Three early Greek comedies by Aristophanes
Review: "Aristophanes I" brings together three of the Greek comedians earliest extant comedies. The legend is that when Aristophanes' comedy "The Clouds" was first performed in Athens in 423 B.C., his target, Socrates, stood throughout the performance so that everyone in the audience was aware that he was there and hearing what was said of him. The portrait of Socrates clearly satirical and most critics consider it to be inaccurate. But Aristophanes is making fun of Athens' renowned "Think-tank" the "Phrontisterion," the school where the rich young men of Athens were taught the fine art of rhetoric. Instead of anything lofty the comic poet suggests the primary purpose of such an education is to be clever and out-reason greedy creditors. This is an especially good translation of the play, which includes insightful notes and essays on both Old Comedy and the Theater of Dionysus that helps readers understand the conventions of staged comedy at the time of Aristophanes.

In this comedy Socrates is consulted by an old rogue, Strepsiades (sometimes translated as "Twisterson"), who is upset with the mountain of debts his playboy son Phidippides, who loves fast horses and fast living. Phidippides agrees to go to Socrates' school of logic where he can learn to make a wrong argument sound right. After graduation is able to use the system of "unjust logic" to outwit his father and kick him out of the family home. The Chorus of Clouds comments on the proceedings and in the end the Phrontisterion is burned to the ground by Strepsiades. The flaw of the play is Aristophanes is trying to satirize the Sophists, who were popularizing a new philosophy that denied the possibility of ever reaching objective truth, he picked the wrong target. The Sophists were mostly teachers who were not native to Athens, such as Isocartes and Gorgias. "Sophist" basically meant teacher, so while Socrates was a "sophist" he was not a "Sophist." Twenty-four years later, when Socrates was condemned to death for "corrupting the youth of Athens," the only accuser he said he could name was a certain "comic poet" who renamed nameless.

The version of "The Clouds" that has passed down to us is not the original version, which was defeated by Cratinus' "Wine Flask" at a comedy competition during the Great Dionysia celebrations. We know this is a revised version because the Chorus complains about Aristophanes finishing third in that competition. However, critics assume it is essentially the same play, albeit a more polished version. Once you forgive Aristophanes for his unfair characterization of Socrates, "The Clouds" is a great comedy employing all of his standard tricks of the trade from fantasy and ribaldry to funny songs and obscene words.

"Wasps" ("Sphekes") appeals to contemporary audiences because it satirizes the litigiousness of the Athenians. Actually, the play, produced in 422 B.C., is more about the permanent tensions between conservative and liberal politics. Aristophanes is attacking the practice of the politician Cleon's exploitation of the large subsidized juries used in by the Athenian legal system. Bdelcylen ("Cleon-hater"), representing the position of the playwright, maintains that pay for public service is the device of demagogues to purchase loyalty. His father Philocleon("Cleon-lover"), a mean and waspish old man who has a passion for serving on juries, represents the Athenians.

Bdelcylen arranges for a court to be held at home to hear Philocleon's stupid little case of accusing the dog of the house of stealing cheese. The old man is cured of his passion for juries, becoming a drunkard instead. The best scenes in "Wasps" are Philocleon's attempts to escape when Bdelcyclen locks him up and the scene where the poor dog is tried. Certainly this play is representative of Aristophanes as a reformer, who wanted to persuade his audiences to change their foolish ways by ridiculing them on stage.

The problem with "The Birds" ("Ornithes") is that for once Aristophanes does not seem to be attacking some specific abuse in Athens. Still, we suspect that even this little fantasy is not simply escapist entertainment. Certainly there are those who see it as a political satire about the imperialistic dreams that resulted in the disastrous invasion of Sicily (which happened the year before his play was produced in 414 B.C.). Then again, this could just be Aristophanes bemoaning the decline of Athens.

Pisthetaerus ("Trusting") and Euelpides ("Hopeful") have grown tired of life in Athens and decide to build a utopia in the sky with the help of the birds, which they will name Necphelococcygia (which translates roughly as "Cloud Cuckoo Land"). Pisthetaerus and his feathered friends have to fight off those unworthy humans, malefactors and public nuisances all, who try and join their utopia. Then there are the gods, who come to make some sort of agreement with the new city because they have created a bottleneck for sacrifices coming from earth. Because it is a more general satire, "The Birds" tends to work better with younger audiences than most comedies by Aristophanes. Besides, the chorus of birds lends itself to fantastic costumes, which is always a plus with young theater goers.

In studying any of the Greek plays that remain it is important to I have always maintained that in studying Greek plays you want to know the dramatic conventions of these plays like the distinction between episodes and stasimons (scenes and songs), the "agon" (a formal debate on the crucial issue of the play), and the "parabasis" (in which the Chorus partially abandons its dramatic role and addresses the audience directly). Understanding these really enhances your enjoyment of the play.




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Summary: Three classic plays translated for performers and students
Review: Better known for translating the great Greek tragedies, Peter Meineck has now turned his pen on the comedies, with generally positive results. Like other translations published by Hackett, this one is aimed squarely at today's college students. It has plenty of historical background for those who want it, or can be read just for the plays.

Translating comedy is trickier than tragedy, because jokes are so fickle. What one society finds hilarious, another might find distasteful. Meineck does his best to render the old Greek jokes and still be funny. He doesn't always succeed. His skills at punning are not as great as Aristophanes', nor do the jokes about minor Athenian figures like Theorus and Cardopion add much to a performance text.

And these are performance texts. No matter how faithful to the original, no matter how many footnotes and endnotes the translator provides, a student should still be wary of changes made for modern performance. Today's theater operates under an entirely different set of conventions.

The plays themselves are three genuine classics, WASPS being less known than CLOUDS and BIRDS, but in this book, perhaps the best. Procleon's obsession with jury service and the headaches it causes his son translates very well, and Meineck is surprisingly adept at rendering the political understory that subliminally critizes the Athenian leader Cleon.

BIRDS is the story of two friends who come up with one of the great comic plans: a utopia named Cloudcuckooland where they, with the help of the birds, rule both the gods and men. And it works!

CLOUDS is read most often because it features a comic version of Socrates and his 'Pondertorium.' While Meineck and Introduction writer Ian C. Storey conclude the portrayal of Socrates is entirely innaccurate, it sure is funny. CLOUDS is really more of a father-son story, a father convincing his profligate son to get an education in order to argue the father's way out of the accumulating debts. What the father doesn't bank on is his son using new-learned rhetorical skills to argue that a son has the right to beat his father.

Meineck is British, so the slang in the plays is full of 'poofters' and 'arses.' I will say this much, only recently have translations of the Greek comic playwrights begun to reflect how genuinely bawdy they were. Some of Meineck's best footnotes let you in on the double-entendres.

It's all a lot of silly mischief, and in the final reckoning Aristophanes comes through loud and clear, despite such devices as rhymed doggerel passages (no rhymes in classical Greek) and confusing name translations like Makemedo. The title of this book is ARISTOPHANES I, and let us hope that professor Meineck is at work on an ARISTOPHANES II that will include some of Aristophanes lesser-known works as well as perennial favorite LYSISTRATA.

Rating:
Summary: Three classic plays translated for performers and students
Review: Better known for translating the great Greek tragedies, Peter Meineck has now turned his pen on the comedies, with generally positive results. Like other translations published by Hackett, this one is aimed squarely at today's college students. It has plenty of historical background for those who want it, or can be read just for the plays.

Translating comedy is trickier than tragedy, because jokes are so fickle. What one society finds hilarious, another might find distasteful. Meineck does his best to render the old Greek jokes and still be funny. He doesn't always succeed. His skills at punning are not as great as Aristophanes', nor do the jokes about minor Athenian figures like Theorus and Cardopion add much to a performance text.

And these are performance texts. No matter how faithful to the original, no matter how many footnotes and endnotes the translator provides, a student should still be wary of changes made for modern performance. Today's theater operates under an entirely different set of conventions.

The plays themselves are three genuine classics, WASPS being less known than CLOUDS and BIRDS, but in this book, perhaps the best. Procleon's obsession with jury service and the headaches it causes his son translates very well, and Meineck is surprisingly adept at rendering the political understory that subliminally critizes the Athenian leader Cleon.

BIRDS is the story of two friends who come up with one of the great comic plans: a utopia named Cloudcuckooland where they, with the help of the birds, rule both the gods and men. And it works!

CLOUDS is read most often because it features a comic version of Socrates and his 'Pondertorium.' While Meineck and Introduction writer Ian C. Storey conclude the portrayal of Socrates is entirely innaccurate, it sure is funny. CLOUDS is really more of a father-son story, a father convincing his profligate son to get an education in order to argue the father's way out of the accumulating debts. What the father doesn't bank on is his son using new-learned rhetorical skills to argue that a son has the right to beat his father.

Meineck is British, so the slang in the plays is full of 'poofters' and 'arses.' I will say this much, only recently have translations of the Greek comic playwrights begun to reflect how genuinely bawdy they were. Some of Meineck's best footnotes let you in on the double-entendres.

It's all a lot of silly mischief, and in the final reckoning Aristophanes comes through loud and clear, despite such devices as rhymed doggerel passages (no rhymes in classical Greek) and confusing name translations like Makemedo. The title of this book is ARISTOPHANES I, and let us hope that professor Meineck is at work on an ARISTOPHANES II that will include some of Aristophanes lesser-known works as well as perennial favorite LYSISTRATA.