Chapter 4

PHILOCLEON. Better than any born mountaineer of Attica.

BDELYCLEON. That we shall see. Suppose me to be Cleon. I am the first to begin the song of Harmodius, and you take it up: "There never was yet seen in Athens ...

PHILOCLEON. ... such a rogue or such a thief."[141]

BDELYCLEON. Why, you wretched man, 'twill be the end of you if you sing that. He will vow your ruin, your destruction, to chase you out of the country.

PHILOCLEON. Well! then I shall answer his threats with another song: "With your madness for supreme power, you will end by overthrowing the city, which even now totters towards ruin."

BDELYCLEON. And when Theorus, prone at Cleon's feet, takes his hand and sings, "Like Admetus, love those who are brave,"[142] what reply will you make him?

PHILOCLEON. I shall sing, "I know not how to play the fox, nor call myself the friend of both parties."

BDELYCLEON. Then comes the turn of Aeschines, the son of Sellus, and a well-trained and clever musician, who will sing, "Good things and riches for Clitagoras and me and eke for the Thessalians!"

PHILOCLEON. "The two of us have squandered a deal between us."

BDELYCLEON. At this game you seem at home. But come, we will go and dine with Philoctemon.--Slave! slave! place our dinner in a basket, and let us go for a good long drinking bout.

PHILOCLEON. By no means, it is too dangerous; for after drinking, one breaks in doors, one comes to blows, one batters everything. Anon, when the wine is slept off, one is forced to pay.

BDELYCLEON. Not if you are with decent people. Either they undertake to appease the offended person or, better still, you say something witty, you tell some comic story, perhaps one of those you have yourself heard at table, either in Aesop's style or in that of Sybaris; all laugh and the trouble is ended.

PHILOCLEON. Faith! 'tis worth while learning many stories then, if you are thus not punished for the ill you do. But come, no more delay!

CHORUS. More than once have I given proof of cunning and never of stupidity, but how much more clever is Amynias, the son of Sellus and of the race of forelock-wearers; him we saw one day coming to dine with Leogaras,[143] bringing as his share one apple and a pomegranate, and bear in mind he was as hungry as Antiphon.[144] He went on an embassy to Pharsalus,[145] and there he lived solely among the Thessalian mercenaries;[146] indeed, is he not the vilest of mercenaries himself?

Oh! blessed, oh! fortunate Automenes, how enviable is your fortune! You have three sons, the most industrious in the world; one is the friend of all, a very able man, the first among the lyre-players, the favourite of the Graces. The second is an actor, and his talent is beyond all praise. As for Ariphrades, he is by far the most gifted; his father would swear to me, that without any master whatever and solely through the spontaneous effort of his happy nature, he taught himself the use of his tongue in the lewd places[147] where he spends the whole of his time.

Some have said that I and Cleon were reconciled. This is the truth of the matter: Cleon was harassing me, persecuting and belabouring me in every way; and, when I was being fleeced, the public laughed at seeing me uttering such loud cries; not that they cared about me, but simply curious to know whether, when trodden down by my enemy, I would not hurl at him some taunt. Noticing this, I have played the wheedler a bit; but now, look! the prop is deceiving the vine![148]

XANTHIAS. Oh! tortoises! happy to have so hard a skin, thrice happy to carry this roof that protects your backs! Oh! creatures full of sense! what a happy thought to cover your bodies with this shell, which shields it from blows! As for me, I can no longer move; the stick has so belaboured my body.

CHORUS. Eh, what's the matter, child? for, old as he may be, one has the right to call anyone a child who has let himself be beaten.

XANTHIAS. Alas! my master is really the worst of all plagues. He was the most drunk of all the guests, and yet among them were Hippyllus, Antiphon, Lycon, Lysistratus, Theophrastus and Phrynichus. But he was a hundred times more insolent than any. As soon as he had stuffed himself with a host of good dishes, he began to leap and spring, to laugh and to let wind like a little ass well blown out with barley. Then he set to a-beating me with all his heart, shouting, "Slave! slave!" Lysistratus, as soon as he saw him, let fly this comparison at him. "Old fellow," said he, "you resemble one of the scum assuming the airs of a rich man or a stupid ass that has broken loose from its stable." "As for you," bawled the other at the top of his voice, "you are like a grasshopper,[149] whose cloak is worn to the thread, or like Sthenelus[150] after his clothes had been sold." All applauded excepting Theophrastus, who made a grimace as behoved a well-bred man like him. The old man called to him, "Hi! tell me then what you have to be proud of? Not so much mouthing, you, who so well know how to play the buffoon and to lick-spittle the rich!" 'Twas thus he insulted each in turn with the grossest of jests, and he reeled off a thousand of the most absurd and ridiculous speeches. At last, when he was thoroughly drunk, he started towards here, striking everyone he met. Hold, here he comes reeling along. I will be off for fear of his blows.

PHILOCLEON.[151] Halt! and let everyone begone, or I shall do an evil turn to some of those who insist on following me. Clear off, rascals, or I shall roast you with this torch!

BDELYCLEON. We shall all make you smart to-morrow for your youthful pranks. We shall come in a body to summon you to justice.

PHILOCLEON. Ho! ho! summon me! what old women's babble! Know that I can no longer bear to hear even the name of suits. Ha! ha! ha! this is what pleases _me_, "Down with the urns!" Won't you begone? Down with the dicasts! away with them, away with them! (_To the flute-girl._) Mount up there, my little gilded cock-chafer; seize hold of this rope's end in your hand.[152] Hold it tight, but have a care; the rope's a bit old and worn, but it loves a nice rubbing still. Do you see how opportunely I got you away from the solicitations of those fellows, who wanted to make you work their tools in your mouth? You therefore owe me this return to gratify mine by masturbating it. But will you pay the debt? Oh! I know well you will not even try; you will play with me, you will laugh heartily at my poor old weapon as you have done at many another man's. And yet, if you would not be a naughty girl, I would redeem you, when my son is dead, and you should be my concubine, my little cuntling. At present I am not my own master; I am very young and am watched very closely. My dear son never lets me out of his sight; 'tis an unbearable creature, who would quarter a thread and skin a flint; he is afraid I should get lost, for I am his only father. But here he comes running towards us. But be quick, don't stir, hold these torches. I am going to play him a young man's trick, the same as he played me before I was initiated into the mysteries.

BDELYCLEON. Oh! oh! you debauched old dotard! you desire and, meseems, you love pretty baggages; but, by Apollo, it shall not be with impunity!

PHILOCLEON. Ah! you would be very glad to eat a lawsuit in vinegar, you would.

BDELYCLEON. 'Tis a rascally trick to steal the flute-girl away from the other guests.

PHILOCLEON. What flute-girl? Are you distraught, as if you had just returned from Pluto?

BDELYCLEON. By Zeus! But here is the Dardanian wench in person.[153]

PHILOCLEON. Nonsense. This is a torch that I have lit in the public square in honour of the gods.

BDELYCLEON. Is this a torch?

PHILOCLEON. A torch? Certainly. Do you not see it is of several different colours?

BDELYCLEON. And what is that black part in the middle?[154]

PHILOCLEON. 'Tis the pitch running out while it burns.

BDELYCLEON. And there, on the other side, surely that is a girl's bottom?

PHILOCLEON. No. 'Tis a small bit of the torch, that projects.

BDELYCLEON. What do you mean? what bit? Hi! you woman! come here!

PHILOCLEON. Ah! ah! What do you want to do?

BDELYCLEON. To take her from you and lead her away. You are too much worn out and can do nothing.

PHILOCLEON. Hear me! One day, at Olympia, I saw Euphudion boxing bravely against Ascondas;[155] he was already aged, and yet with a blow from his fist he knocked down his young opponent. So beware lest I blacken _your_ eyes.

BDELYCLEON. By Zeus! you have Olympia at your finger-ends!

A BAKER'S WIFE (_to Bdelycleon_). Come to my help, I beg you, in the name of the gods! This cursed man, when striking out right and left with his torch, knocked over ten loaves worth an obolus apiece, and then, to cap the deal, four others.

BDELYCLEON. Do you see what lawsuits you are drawing upon yourself with your drunkenness? You will have to plead.

PHILOCLEON. Oh, no, no! a little pretty talk and pleasant tales will soon settle the matter and reconcile her with me.

BAKER'S WIFE. Not so, by the goddesses twain! It shall not be said that you have with impunity spoilt the wares of Myrtia,[156] the daughter of Ancylion and Sostraté.

PHILOCLEON. Listen, woman, I wish to tell you a lovely anecdote.

BAKER'S WIFE. Oh! friend, no anecdotes for me, thank you.

PHILOCLEON. One night Aesop was going out to supper. A drunken bitch had the impudence to bark near him. Aesop said to her, "Oh, bitch, bitch! you would do well to sell your wicked tongue and buy some wheat."

BAKER'S WIFE. You make a mock of me! Very well! Be you who you like, I shall summons you before the market inspectors[157] for damage done to my business. Chaerephon[158] here shall be my witness.

PHILOCLEON. But just listen, here's another will perhaps please you better. Lasus and Simonides[159] were contesting against each other for the singing prize. Lasus said, "Damn me if I care."

BAKER'S WIFE. Ah! really, did he now!

PHILOCLEON. As for you, Chaerephon, _can_ you be witness to this woman, who looks as pale and tragic as Ino when she throws herself from her rock[160] ... at the feet of Euripides?

BDELYCLEON. Here, methinks, comes another to summons you; _he_ has his witness too. Ah! unhappy indeed we are!

ACCUSER. I summons you, old man, for outrage.

BDELYCLEON. For outrage? Oh! in the name of the gods, do not summons him! I will be answerable for him; name the penalty and I will be more grateful still.

PHILOCLEON. I ask for nothing better than to be reconciled with him; for I admit I struck him and threw stones at him. So, first come here. Will you leave it in my hands to name the indemnity I must pay, if I promise you my friendship as well, or will you fix it yourself?

ACCUSER. Fix it; I like neither lawsuits nor disputes.

PHILOCLEON. A man of Sybaris[161] fell from his chariot and wounded his head most severely; he was a very poor driver. One of his friends came up to him and said, "Every man to his trade." Well then, go you to Pittalus[162] to get mended.

BDELYCLEON. You are incorrigible.

ACCUSER (_to his witness_). At all events, make a note of his reply.

PHILOCLEON. Listen, instead of going off so abruptly. A woman at Sybaris broke a box.

ACCUSER (_to his witness_). I again ask you to witness this.

PHILOCLEON. The box therefore had the fact attested, but the woman said, "Never worry about witnessing the matter, but hurry off to buy a cord to tie it together with; 'twill be the more sensible course."

ACCUSER. Oh! go on with your ribaldry until the Archon calls the case.

BDELYCLEON (_to Philocleon_). No, by Demeter! you stay here no longer! I take you and carry you off.

PHILOCLEON. And what for?

BDELYCLEON. What for? I shall carry you to the house; else there would not be enough witnesses for the accusers.

PHILOCLEON. One day at Delphi, Aesop ...

BDELYCLEON. I don't care a fig for that.

PHILOCLEON. ... was accused of having stolen a sacred vase. But he replied, that the horn beetle ... (_Philocleon goes on with his fable while Bdelycleon is carrying him off the scene by main force._)

BDELYCLEON. Oh, dear, dear! You drive me crazy with your horn-beetle.

CHORUS. I envy you your happiness, old man. What a contrast to his former frugal habits and his very hard life! Taught now in quite another school, he will know nothing but the pleasures of ease. Perhaps he will jib at it, for indeed 'tis difficult to renounce what has become one's second nature. However, many have done it, and adopting the ideas of others, have changed their use and wont. As for Philocleon's son, I, like all wise and judicious men, cannot sufficiently praise his filial tenderness and his tact. Never have I met a more amiable nature, and I have conceived the greatest fondness for him. How he triumphed on every point in his discussion with his father, when he wanted to bring him back to more worthy and honourable tastes!

XANTHIAS. By Bacchus! 'Tis some Evil Genius has brought this unbearable disorder into our house. The old man, full up with wine and excited by the sound of the flute, is so delighted, so enraptured, that he spends the night executing the old dances that Thespis first produced on the stage,[163] and just now he offered to prove to the modern tragedians, by disputing with them for the dancing prize, that they are nothing but a lot of old dotards.

PHILOCLEON. "Who loiters at the door of the vestibule?"[164]

XANTHIAS. Here comes our pest, our plague!

PHILOCLEON. Let down the barriers.[165] The dance is now to begin.

XANTHIAS. Or rather the madness.

PHILOCLEON. Impetuous movement already twists and racks my sides. How my nostrils wheeze! how my back cracks!

XANTHIAS. Go and fill yourself with hellebore.[166]

PHILOCLEON. Phrynichus is as bold as a cock and terrifies his rivals.

XANTHIAS. Oh! oh! have a care he does not kick you.

PHILOCLEON. His leg kicks out sky-high, and his arse gapes open.[167]

XANTHIAS. Do have a care.

PHILOCLEON. Look how easily my leg-joints move.

BDELYCLEON. Great gods! What does all this mean? Is it actual, downright madness?

PHILOCLEON. And now I summon and challenge my rivals. If there be a tragic poet who pretends to be a skilful dancer, let him come and contest the matter with me. Is there one? Is there _not_ one?

BDELYCLEON. Here comes one, and one only.

PHILOCLEON. Who is the wretch?

BDELYCLEON. 'Tis the younger son of Carcinus.[168]

PHILOCLEON. I will crush him to nothing; in point of keeping time, I will knock him out, for he knows nothing of rhythm.

BDELYCLEON. Ah! ah! here comes his brother too, another tragedian, and another son of Carcinus.

PHILOCLEON. Him I will devour for my dinner.

BDELYCLEON. Oh! ye gods! I see nothing but crabs.[169] Here is yet another son of Carcinus.

PHILOCLEON. What is't comes here? A shrimp or a spider?[170]

BDELYCLEON. 'Tis a crab,[171]--a crabkin, the smallest of its kind; he writes tragedies.

PHILOCLEON. Oh! Carcinus, how proud you should be of your brood! What a crowd of kinglets have come swooping down here!

BDELYCLEON. Come, come, my poor father, you will have to measure yourself against them.

PHILOCLEON. Have pickle prepared for seasoning them, if I am bound to prove the victor.

CHORUS. Let us stand out of the way a little, so that they may twirl at their ease. Come, illustrious children of this inhabitant of the briny, brothers of the shrimps, skip on the sand and the shore of the barren sea; show us the lightning whirls and twirls of your nimble limbs. Glorious offspring of Phrynichus,[172] let fly your kicks, so that the spectators may be overjoyed at seeing your legs so high in air. Twist, twirl, tap your bellies, kick your legs to the sky. Here comes your famous father, the ruler of the sea,[173] delighted to see his three lecherous kinglets.[174] Go on with your dancing, if it pleases you, but as for us, we shall not join you. Lead us promptly off the stage, for never a Comedy yet was seen where the Chorus finished off with a dance.

* * * * *

FINIS OF "THE WASPS"

* * * * *

Footnotes:

[1] Meaning, Bdelycleon will thrash you if you do not keep a good watch on his father.

[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.

[3] Cleonymus had shown himself equally cowardly on all occasions; he is frequently referred to by Aristophanes, both in this and other comedies.

[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.

[5] An allusion to Cleon, who was a tanner.

[6] In Greek, [Greek: d_emos] ([Greek: d_emós], _fat_; [Greek: d_êmos], _people_) means both _fat_ and _people_.

[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.

[8] In his life of Alcibiades, Plutarch mentions this defect in his speech; or it may have been a 'fine gentleman' affectation.

[9] Among the Greeks, _going to the crows_ was equivalent to our _going to the devil_.

[10] No doubt the fee generally given to the street diviners who were wont to interpret dreams.

[11] Coarse buffoonery was welcomed at Megara, where, by the by, it is said that Comedy had its birth.

[12] To gain the favour of the audience, the Comic poets often caused fruit and cakes to be thrown to them.

[13] The gluttony of Heracles was a constant subject of jest with the Comic poets.

[14] The incident of Pylos (see 'The Knights').

[15] The Greek word for _friend of strangers_ is [Greek: philoxenos], which happened also to be the name of one of the vilest debauchees in Athens.

[16] The tribunal of the Heliasts came next in dignity only to the Areopagus. The dicasts, or jurymen, generally numbered 500; at times it would call in the assistance of one or two other tribunals, and the number of judges would then rise to 1000 or even 1500.

[17] A water-clock, used in the courts for limiting the time of the pleaders.

[18] The pebble was held between the thumb and two fingers, in the same way as one would hold a pinch of incense.

[19] A young Athenian of great beauty, also mentioned by Plato in his 'Gorgias.' Lovers were font of writing the name of the object of their adoration on the walls (see 'The Acharnians').

[20] [Greek: K_emos], the Greek term for the funnel-shaped top of the voting urn, into which the judges dropped their voting pebbles.

[21] Racine has introduced this incident with some modification into his 'Plaideurs.'

[22] Although called _Heliasts_ ([Greek: H_elios], the sun), the judges sat under cover. One of the columns that supported the roof is here referred to.

[23] The juryman gave his vote for condemnation by tracing a line horizontally across a waxed tablet. This was one method in use; another was by means of pebbles placed in one or other of two voting urns.

[24] Used for the purpose of voting. There were two urns, one for each of the two opinions, and each heliast placed a pebble in one of them.

[25] The Heliast's badge of office.

[26] To prepare him for initiation into the mysteries of the Corybantes.

[27] Who pretended to cure madness; they were priests of Cybelé.

[28] The sacred instrument of the Corybantes.

[29] _Friend of Cleon,_ who had raised the daily salary of the Heliasts to three obols.

[30] _Enemy of Cleon._

[31] The smoke of fig-wood is very acrid, like the character of the Heliasts.

[32] Used for closing the chimney, when needed.

[33] Which had been stretched all round the courtyard to prevent his escape.

[34] Market-day.

[35] He enters the courtyard, returning with the ass, under whose belly Philocleon is clinging.

[36] In the Odyssey (Bk. IX) Homer makes his hero, 'the wily' Odysseus, escape from the Cyclops' cave by clinging on under a ram's belly, which slips past its blinded master without noticing the trick played on him. Odysseus, when asked his name by the Cyclops, replies, _Outis_, Nobody.

[37] A name formed out of two Greek words, meaning, _running away on a horse_.

[38] The story goes that a traveller who had hired an ass, having placed himself in its shadow to escape the heat of the sun, was sued by the driver, who had pretended that he had let the ass, not but its shadow; hence the Greek proverb, _to quarrel about the shade of an ass_, i.e. about nothing at all.

[39] When you inherit from me.

[40] There is a similar incident in the 'Plaideurs.'

[41] A Macedonian town in the peninsula of Pallené; it had shaken off the Athenian yoke and was not retaken for two years.

[42] A disciple of Thespis, who even in his infancy devoted himself to the dramatic art. He was the first to introduce female characters on the stage. He flourished about 500 B.C., having won his first prize for Tragedy in 511 B.C., twelve years before Aeschylus.

[43] Originally subjected to Sparta by Pausanias in 478 B.C., it was retaken by Cimon in 471, or forty-eight years previous to the production of 'The Wasps.' The old Heliasts refer to this latter event.

[44] An Athenian general, who had been defeated when sent to Sicily with a fleet to the succour of Leontini; no doubt Cleon had charged him with treachery.

[45] The Samians were in league with the Persians, but a certain Carystion betrayed the plot, and thanks to this the Athenians were able to retake Samos before the island had obtained help from Asia.

[46] The towns of Thrace, up to that time the faithful allies of Athens, were beginning to throw off her yoke.

[47] Who fulfilled the office of president.

[48] Meaning, "Will it only remain for us to throw ourselves into the water?" Hellé, taken by a ram across the narrow strait, called the Hellespont after her name, fell into the waves and was drowned.

[49] He is a prisoner inside, and speaks through the closed doors.

[50] This boiling, acid pickle reminds him of the fiery, acrid temper of the heliasts.

[51] A name invented for the occasion; it really means, _Cleon who holds the people in his snares_.

[52] When he entered Troy as a spy.

[53] The island of Naxos was taken by Cimon, in consequence of sedition in the town of Naxos, about fifty years before the production of 'The Wasps.'

[54] One of the titles under which Artemis, the goddess of the chase, was worshipped.

[55] Demeter and Persephone. This was an accusation frequently brought against people in Athens.

[56] An orator of great violence of speech and gesture.

[57] For Philocleon, the titulary god was Lycus, the son of Pandion, the King of Athens, because a statue stood erected to him close to the spot where the tribunals sat, and because he recognized no other fatherland but the tribunals.

[58] A debauchee and an embezzler of public funds, already mentioned a little above.

[59] Aristophanes speaks of him in 'The Birds' as a traitor and as an alien who usurped the rights of the city.

[60] A Greek proverb signifying "Much ado about nothing."

[61] A Spartan general, who perished in the same battle as Cleon, before Amphipolis, in 422 B.C.

[62] Meaning, the mere beginnings of any matter.

[63] This 'figure of love'--woman atop of the man--is known in Greek as [Greek: hippos] (Latin _equus_, 'the horse'); note the play upon words with the name Hippias.

[64] A tragic poet, who was a great lover of good cheer, it appears.

[65] Old men, who carried olive branches in the processions of the Panathenaea. Those whose great age or infirmity forbade their being used for any other purpose were thus employed.

[66] An obscene pun. [Greek: Choiros] means both _a sow_ and the female organ.

[67] A celebrated actor.

[68] There were two tragedies named 'Niobé,' one by Aeschylus and the other by Sophocles, both now lost.

[69] A double strap, which flute-players applied to their lips and was said to give softness to the tones.

[70] The shell was fixed over the seal to protect it.