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 partyand 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 householdera 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 Knightsthe 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 prizethe 'Satyrs' of Cratinus being placed secondby 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, andCleon remained in as much favour as ever.4
* * * * *THE KNIGHTS
DRAMATIS PERSONAEDEMOSTHENES.
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 KNIGHTSDEMOSTHENES. Oh! alas! alas! Oh! woe! oh! woe! Miserable Paphlagonian!5 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-fiendhim 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
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
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 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!"
DEMOSTHENES. Let-us-bolt, let-us-bolt-at-top-speed!9
NICIAS. Hah! does that not please you?
DEMOSTHENES. I' faith, yes! yet I fear me your omen bodes no good to my hide.
NICIAS. How so?
DEMOSTHENES. Because hard rubbing abrades the skin when folk masturbate themselves.
NICIAS. The best thing we can do for the moment is to throw ourselves at the feet of the statue of some god.
DEMOSTHENES. Of which statue? Any statue? Do you then believe there are gods?
NICIAS. Certainly.
DEMOSTHENES. What proof have you?
NICIAS. The proof that they have taken a grudge against me. Is that not enough?
DEMOSTHENES. I'm convinced it is. But to pass on. Do you consent to my telling the spectators of our troubles?
NICIAS. 'Twould not be amiss, and we might ask them to show us by their manner, whether our facts and actions are to their liking.
DEMOSTHENES. I will begin then. We have a very brutal master, a perfect glutton for beans,10 and most bad-tempered; 'tis Demos of the Pnyx,11 an intolerable old man and half deaf. The beginning of last month he bought a slave, a Paphlagonian tanner, an arrant rogue, the incarnation of calumny. This man of leather knows his old master thoroughly; he plays the fawning cur, flatters, cajoles; wheedles, and dupes him at will with little scraps of leavings, which he allows him to get. "Dear Demos," he will say, "try a single case and you will have done enough; then take your bath, eat, swallow and devour; here are three obols."12 Then the Paphlagonian filches from one of us what we have prepared and makes a present of it to our old man. T'other day I had just kneaded a Spartan cake at Pylos;13 the cunning rogue came behind my back, sneaked it and offered the cake, which was my invention, in his own name. He keeps us at a distance and suffers none but himself to wait upon the master; when Demos is dining, he keeps close to his side with a thong in his hand and puts the orators to flight. He keeps singing oracles to him, so that the old man now thinks of nothing but the Sibyl. Then, when he sees him thoroughly obfuscated, he uses all his cunning and piles up lies and calumnies against the household; then we are scourged and the Paphlagonian runs about among the slaves to demand contributions with threats and gathers 'em in with both hands. He will say, "You see how I have had Hylas beaten! Either content me or die at once!" We are forced to give, for else the old man tramples on us and makes us spew forth all our body contains. There must be an end to it, friend. Let us see! what can be done? Who will get us out of this mess?