As the only ancient Greek comedian whose work has survived, Aristophanes' importance is impossible to exaggerate. He has not only immensely influenced comedy - and drama and literature generally - but is also practically the only source giving any idea what Greek comedy was like, making his work of immense historical value. Of course, as with all comedy that is truly universal, one need not know or even think about any of this. He is more than entertaining in his own right - indeed, still screamingly funny. Reading him, we get a profound sense of just how little comedy has changed. It is not just that what was funny nearly 2,500 years ago is still funny; techniques are basically unchanged, subject matter only being ephemeral. Aristophanes was above all a satirist, which inevitably means that many of the things he mocked and parodied are no longer intelligible without notes. We can still appreciate these with help, but what truly makes him worth reading is that the spirit of the satire - what really matters in contrast to passing fodder - continues to shine through distinctly. Human folly has changed little - has probably only increased if anything. His general observations are thus still funny - and, to those who look below the surface, still damning. Perhaps more immediately, it is striking to see that humor many think of as distinctly modern - religious blasphemy, bathroom humor, sexual humor - was as common and at least as good this long ago. Aristophanes also delights in more "serious" humor like puns and other wordplay; simply put, whether one prefers high- or low-brow, he has something for all. Humor aside, his sheer creativity still impresses; his plots and characters show near-boundless imagination and would be a significant accomplishment in even the most ostensibly serious artist. All this makes him almost unbelievably accessible - in translation of course; his tragedian contemporaries take a certain mindset and considerable dedication to appreciate, all but excluding casual readers. However, anyone can read Aristophanes with enjoyment, which is not the least of his virtues.
This collection includes three of his plays; one is his masterpiece (The Frogs), and the other two (The Wasps, The Poet and The Women) are more than worthy. The Wasps satirizes the Athenian legal system, particularly jurors, and many of its jeers are sadly still relevant.
The Poet tackles gender identity issues that, if anything, are more pertinent than ever. The question of what makes femininity and masculinity is variously dramatized, provoking much thought even with the comic handling. The play gives great insight into Greek culture, particularly how men and women were viewed. Current society likes to think of the Greeks as barbaric in these matters, yet it is astonishing to realize that we have not answered these questions; it is easy to dismiss the treatment as silly, but we can likely learn more from it than we are willing to admit. All this makes it sound serious, but it may even be Aristophanes' funniest work. The humor is more than usually slapstick, and sexual jokes abound; a phallus prop even figures prominently, which is probably all that need be said. The highfalutin may scoff, but The Poet probably has the most universal humor in any of his plays, rivaled only by Lysistrata as most likely to delight a current audience.
The Frogs is by far the best play here, and the book is worth reading for it alone. Aristophanes satirized tragedians frequently, but this is notable in focusing almost entirely on them; indeed, Aeschylus and Euripides are characters. It ostensibly does little more than roast the latter in the former's favor and would be entertaining enough if it did nothing else; whether or not we agree, it is hard to deny some of the mocking points - and impossible not to laugh. However, there is far more to the play; it essentially delineates the two main ways that Athenians looked at the world as epitomized by these dramatists. The pros and cons of both are shown, but Aristophanes clearly favors the Aeschylean mode, poking relentless fun at the Euripidean. This had great sociopolitical significance for many reasons - not least because of looming war - but was also broadly philosophical, which is why it is still very much pertinent. But again, one need not worry that humor is lacking; the play is downright hilarious and has Aristophanes' funniest and most memorable songs. It is quite simply one of the best comedies ever.
Anyone even remotely interested in comedy, drama, ancient Greece, and indeed literature itself must read Aristophanes; the real question is what translation. Though nearly fifty years old, this David Barrett one stands up remarkably well. Thoroughly readable, it flows masterfully and does a great job of conveying both humor and meaning. Anyone can jump right into it with full enjoyment, which is the main requirement with Aristophanes. Some may be troubled by his not being a purist; he prose dialogue, stage directions, and a character list. Those who want a purely verse translation can seek out Rogers' classic version, but only the truly dedicated will benefit. Verse translations of Greek dramas take Herculean skill, and Aristophanes is in many ways trickier than the tragedians. It seems obvious that, since the Greek is fully in verse, a verse translation would be ideal, but this is arguably fallacious. Ancient Greek is not only a very different language from current English; the poetry is also very different. Forcing dialogue into verse thus not only ends up being less literally accurate without conveying much of the poetry's real feel but, perhaps more importantly, also significantly undercuts comedy. However, putting the songs in verse is essential, and Barrett does an excellent job; his songs are sharp, memorable, and funny - worthy light verse in themselves. His edition is also notable in having extensive supplemental material: a long Introduction giving superb background on Aristophanes, the plays, Greek comedy, and Greek drama generally; several pages of introduction for each play giving a short summary, additional background, and some critical perspective; and extensive endnotes. Anyone who has not read these plays - or is yet to read them all - would thus do well to get this volume.
Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required.
Read instantly on your browser with Kindle for Web.
Using your mobile phone camera - scan the code below and download the Kindle app.
Book recommendations, author interviews, editors' picks, and more. Read it now.
