Aristophanes (c.445-385 B.C.) was the greatest writer of Athenian Old Comedy (richly topical, satyrical, bawdy), and the only one whose works survive. We have eleven plays, and fragments or titles of thirty-two others. In a typical Aristophanic plot, the hero - often an ordinary Athenian - conceives an ingenious idea and is enabled by often fantastic and surreal means to carry it to fruition. In "The Frogs", unusually, the hero is a god. The Dionysus we meet here (cowardly, mocking and mocked) is very different from the chilling figure in Euripides' "Bacchus". "The Frogs" won first prize at the festival of the Lenaea in 405 B.C. Aristophanes is writing against the backdrop of the final stages of the Peloponnesian War, and in the following year Athens was forced to surrender when its corn supplies were cut off.
The following extract is taken from "A Greek Anthology", JACT, Cambridge University Press, 2002.
Lines 164-241.
Prologue. As god of the theatre, Dionysus, accompanied by his slave Xanthias, is making a journey to the underworld - whose marshes the frogs of the chorus inhabit - to bring back the recently dead dramatist Euripides, because Athens no longer has any good poets. Tragic poets had an especial role in influencing the ideas and attitudes of the Athenian people, and at a time of such difficulties the need for good advice was evident. Dionysus is (not very well) disguised as the hero Heracles, a famous and successful previous visitor to the underworld, and he has just been to call on the real Heracles, who is amused by his quest and his appearance, to get advice for his expedition.
[Dionysus replies to Heracles, who has just offered advice for their journey.]
Dionysus: By Zeus, fare you well! [Heracles goes inside, and Dionysus turns to Xanthias.] But you, take the luggage up again.
Xanthias: Even before I have laid it down?
Di: Yes, and very quickly!
Xa: Certainly not, I beg you, but hire someone from those being carried out (for burial), who is coming for this (purpose).
Di: And if I can't find anyone?
Xa: Then, make me (do it).
Di: You speak sensibly. (A funeral cortege is seen approaching, consisting of a corpse on a stretcher carried by bearers). For actually they are bringing out some corpse right here. (He approaches and addresses the corpse.) Hey, you! Yes, I mean you! You, the dead man! (The corpse sits up.) My good fellow, will you carry these bits of luggage to (the house) of Hades?
Nekros (Corpse): How many are there?
Di: These (bits) here.
Ne: Will you pay (me) two drachmas (as) a wage?
Di: By Zeus, no, but less (than that).
Ne: (Addressing his bearers) You lot, proceed along the way!
Di: Wait, my good fellow, (to see) if I can agree something with you.
Ne: Unless you put down two drachmas, do not talk (with me).
Di: Take nine obols.
Ne: Then I'd rather return to life again. (The corpse lies down again and is carried off.)
Di: How haughty this accursed fellow is!
Xa: Will he not lament (his decision)? I shall go.
Di: You are good and true. Let us go to the boat.
( A wheeled boat is seen approaching, manned by the ferryman Charon.)
Charon: Aww-up! Bring (her) alongside!
Di: What is this?
Xa: This? By Zeus, it is the same lake which he mentioned, and indeed I see the boat.
Di: By Poseidon it (is), and this fellow here is Charon. Hello, Charon!
Xa: Hello, Charon!
Cha: Who (is) for the retreat from woes and troubles? Who (wants to go)) to the plain of the Lethe, or to a donkey-shearing, or to the Cerberians, or to the crows or to Taenarus?
Di: I (do).
Cha: Quickly, get in!
Di: Where do you expect to put in?
Cha: At the crows.
Di: Really?
Cha: Yes, by Zeus, because of you! Get in then!
Di: (Come) here, boy!
Cha: I am not taking the slave unless he fought at sea in the (battle) of life and death (lit. concerning his flesh).
Xa: No, indeed, by Zeus, but I happened to have sore eyes.
Cha: Then, will you not have to run round the lake?
Xa: So where shall I wait up?
Cha: By the Withering Stone at the retreat.
Di: Do you understand?
Xa: I understand entirely. Alas, (I am) unlucky. With what did I meet (when) setting out?
Cha: Sit down at the oar. If anyone else is sailing still, hurry up! Hey, you, what are you doing?
Di: What am I doing? What (else) other than I am sitting at the oar where you commanded me?
Cha: Then will you not sit here, fat-guts?
Di: See!
Cha: Will you not put out your hands and stretch (them) out?
Di: See!
Cha: Do not keep on playing the fool, but, leaning forward, row energetically!
Di: And then how can I row, being then inexperienced, unseafaring and not having been at Salamis?
Cha: Very easily, for you will hear the most beautiful songs, when once you have pulled hard.
Di: Whose?
Cha: The marvellous (songs) of the frog swans.
Di: Then order away!
Cha: Aww-up! up! Aww-up! up!
(The frogs of the chorus begin to leap into view).
Chorus: Brekekekex koax koax.
Brekekekex koax koax.
Marshy children of the streams,
let us utter the harmonious cry of hymns,
my sweet-sounding singing,
koax koax,
which in honour of Nysian
Dionysus, the (son) of Zeus,
we sang in the lakes, when the revelling
crowd of people at the holy feast of Pots
marches to my sanctuary.
Brekekekex koax koax.
Di: I am starting to feel pain in my backside, o koax koax.
Cho: Brekekekex koax koax.
Di: Perhaps it is of no concern to you.
Cho: Brekekekex koax koax.
Di: May you perish with the (cry of) koax itself;
for there is nothing (else) other than koax.
Cho: Rightly so, O (you) busy body (lit. doing many things)!
For both the beautiful lyre-playing Muses
and the horny-hoofed Pan playing his reed-pipe love us,
and the lyre-player Apollo enjoys (us) too,
for the sake of his reed which for lyre-making
I nourish living in these lakes.
Brekekekex koax koax.
Di: But I have blisters and my arse is sweating continuously,
and any minute now, peeping out, it will say -
Cho: Brekekekex koax koax.
Di: But o (you) song-loving brood,
stop!
Epilogue. The subsequent journey is eventful, but Dionysus and Xanthias finally reach the part of the underworld where Euripides is disputing the claim of the more traditional Aeschylus to the throne of tragedy. After witnessing their contest, Dionysus decides to take Aeschylus rather than Euripides back to Athens.
Di: I am starting to feel pain in my backside, o koax koax.
Cho: Brekekekex koax koax.
Di: Perhaps it is of no concern to you.
Cho: Brekekekex koax koax.
Di: May you perish with the (cry of) koax itself;
for there is nothing (else) other than koax.
Cho: Rightly so, O (you) busy body (lit. doing many things)!
For both the beautiful lyre-playing Muses
and the horny-hoofed Pan playing his reed-pipe love us,
and the lyre-player Apollo enjoys (us) too,
for the sake of his reed which for lyre-making
I nourish living in these lakes.
Brekekekex koax koax.
Di: But I have blisters and my arse is sweating continuously,
and any minute now, peeping out, it will say -
Cho: Brekekekex koax koax.
Di: But o (you) song-loving brood,
stop!
Epilogue. The subsequent journey is eventful, but Dionysus and Xanthias finally reach the part of the underworld where Euripides is disputing the claim of the more traditional Aeschylus to the throne of tragedy. After witnessing their contest, Dionysus decides to take Aeschylus rather than Euripides back to Athens.
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