Βάτραχοι eBook ß Paperback

  • Paperback
  • 32 pages
  • Βάτραχοι
  • Aristophanes
  • English
  • 12 December 2016
  • 9780886800604

10 thoughts on “Βάτραχοι

  1. says:

    In 405 BC Athens is about to lose what will be a 27 year long grueling war to arch enemy Sparta surrendering the following year Aristophanes play reflects the gloom a prolific writer with lots to say about their foibles and bold enough to do it the comic genius admist the savagery can't help but continuously mock his fellow Greeks Most of the scenes are in hellHades A god travels there in order to bring back a poet to the city to cheer up the crowds a dead man mind you Imagine the fierce rivalries that produces The action begins as Dionysus a minor local god visits his half brother Hercules asking advise on how to get to Hades not taken seriously he tells him to jump off a tower or hang himself and other unpleasant ways to get uickly there for sure Nevertheless this doesn't seem the best entrance for him He is wiser than he looks my friends a good possibility a god yes not an intellectual type a buffoon; stating it mildlyHis slave Xanthias smarter and braver than his master Dionysus his laughs annoy Picture the scene the slave is riding the donkey the owner walking believe it or not? Finally receiving directions and seeing Charon the ferryman not the moon to take them across the river Styx except Dionysus does the rowingPoor Xanthias has to find another route being a lowly slaveWhere then the first people they meet at a tavern have a huge grudge his brother's unpaid bills causes hate they think he's Hercules and not being heroic men shakes the duo especially the god treated badly the boys persevere Now enters the big difficulty choosing either Euripides or Anschlus to take home both are superb and arrogant Soon sparks fly when these two playwrights start tearing each others work apart so the better writer is revealed to Dionysus Insults may be only words yet they will sting like a whip This is the fun part and knowledge of either one isn't neccessary Entertainment is I must warn the readers many names will be unfamiliar ignore the important thing the uproarious exchange of scathing no endearments put downs the characters throw words against each some sticking Let the trash start Almost forgot those pesky little frogs are so hilarious Brekekekex ko ax ko ax Brekekekekex ko ax ko ax If you want a translation look at the frog dictionary

  2. says:

    High thoughts must have high language Language is the supreme wordplay through which thoughts are communicable Words can either impart worldly acumen or indulge in pompous buffoonery The revered wordsmiths the possessors of this dexterous artistry are no less than sly magicians removing implausible beliefs from their audiences like a mere pigeons from a hat Actions may speak louder than words; nevertheless it is the medley of words that script that action The written world and its residents can never be taken for granted especially since a single word is omnipotent in either creating wars or hoisting the peace flagIn 431 404BC Athens suffered a colossal naval defeat in the Peloponnesian against Sparta Due to the death of three great playwrights – Euripides Aeschylus and Sophocles there was a scarcity of great staged tragedies that were necessary to convey the spirit of heroism sailing between the stormy waters of politics and morality In Ancient Greece playwright and poetry were essential in maintaining the societal status uo Aristophanes had attentively attributed the decline of Athens’ power to the deficiency of concrete leadership the vanishing traditional s the apologetic state of freedom of speech and above all the unavailability of acumen imparted by dramatized tragedies Athens needed a poet to save it from its misery Frogs commences by Dionysus showing remorse to the mediocrity of recent tragic plays that were being staged On reading Euripides’ Andromeda nostalgia and repentance creeps in Dionysus and he immensely longs for Euripides’s theatrical wit Thus armed with obstinacy the god of wine and revelry along with his slave Xanthias embarks on a journey to the Underworld to bring back Euripides back from the dead Dionysus seeks the assistance of his half brother Heracles to reach the gates of Hades; Heracles being already familiar with the infernal areas of Hades through his task of capturing Cerberus the three headed dog Dionysus is uite certain about the incomparable genius of Euripides This is slavery not to speak one’s thought –Euripides In the initial phase of the ongoing raging debate between Euripides and Aeschylus Euripides in his opening words asserts that in his plays the woman the master and the slave spoke out their minds because it was the a democratic thing to do and he had taught them to speak up Aeschylus demanded a likely death sentence for such a dastard thing committed by the democratic oaf When did speaking up became a felony? It is even today in traditionalist societies defying the norms of implemented morality code Euripides had died in 406BC the year before Aristophanes wrote ‘Frogs’ Influenced by the writings of Socrates Euripides tragedies were mainstream that were appealing to masses making them ‘human’ in nature The attachment to Socrates and the ‘sophists’ school of “thinkery” was perhaps the reason of animosity between Euripides and Aristophanes In Clouds one of the commendable works hovering over the raging debate of Aristophanes’ holistic teachings and the Socratic existentialist contemporary radicalism Socrates is condemned by outright mockery and berated for his sophism adherence Aristophanes loathed the thought that the sophists taught their students to uestion every aspect of educational norms and held certain privileges of getting paid to impart their teachings barring Socrates who taught free of charge The sophists were not exactly the fêted conservative philosophers and taught varied subjects ranging from science politics history and etymology giving weightage to rhetoric and common sense than ethically constricted attitude The sophists were the new voice in the education system They challenged the foundations of religion truth and justice adhering to the principle of ‘one man’s virtue is another man’s vice Aristophanes always had a weak point when it came to dealing with the concepts of sophists which easily provoked his sensibilities in taking a defensive stand towards conservative school of thoughts along with his other contemporaries as Plato and Aristotle Similar display of attitude can be seen when during a roaring debate Aeschylus accuses Euripides for encouraging tales of incest and promiscuity on stage” thus blemishing the reputation of an honourable theatrical art This became the point of perversity that led Aristophanes to belittle Euripides by labelling him ‘immoral’ who depicted his heroes as beggars in rags whining about vulgar affairs of life Further the caustic wit of Aristophanes subjects the genius of Euripides to the crass monotony of his dithyrambic chorus his effeminate traits of meddling in women affairs and the celebratory depiction of eroticism or to put in Aeschylus’s astute words “creating whores like Phaedra and Sthenoboea”Speaking of Euripides’ dramatize characters Aristophanes in his ongoing parody of Euripides derides Dionysus by portraying him as a buffoon resorting to cowardice techniues by switching identities with his slave Xanthias and is a borderline cross dresser preposterously primping himself in a yellow lion hide club and buskin Not satisfied by these meagre embellishment Aristophanes further pushes the envelope by suggesting Heracles suggesting Dionysus the uickest way to Hades would be either to hang himself or get clobbered by a pestle since the lengthy way would be too dangerous demeaning Dionysus’ gallantry and streaks of subtle homosexuality DIO There as on deck I'm reading to myself The Andromeda a sudden pang of longing Shoots through my heart you can't conceive how keenlyHER How big a pangDIO A small one Molon's sizeHER Caused by a woman?DIO NoHER A boy?DIO No noHER A man?DIO Ah ahWhat travesty of tragic heroism for a God who was a far cry from being fierce representation of laudable heroism in The Bacchae worshipped in the sanctimonious arena Athenian theater In this battle of new education vs traditionalists what then becomes the defining truth of morality? Is it the old age tyrannical convention that chalk the salient features of ethics or the logic of the sophists that suggests that morals and justice changes according to the societal evolution and what may be right in one place may not be appropriate in other Aristophanes in his parody puts forth an intriguing stance on ethical sustainability The moral laws never change but what changes are customary circumstances and therefore the perception of the said morality The case of Xanthias and Dionysus interchanging their identities to circumvent the wrath of Aeacus simply suggest that the audacious Xanthias was a prisoner of societal s and thus proclaimed the status of a slave Thus inferring that slavery was not moral at all people just thought it was and this assertion stays true for other conservative norms of feminism female infanticide religious fascism sexual abuse freedom of speech and caste and class discrimination and other prevailing societal changes In the clash between orthodoxy vs modernism the scales become the circumstantial victim to human fear and arrogance There have been demographics of countries that rapidly swing between the two scales of rationality and irrationality due to the dodgy current affairs atmosphere In the realm of tragic art oscillates the tensions between democratic ideologies and heroic legendary redefining institutions of morality and politics like repulsive droplets of oils and vinegar If you pour oil and vinegar into the same vessel you would call them not friends but opponents – Aeschylus The effeminate Dionysus judges a comical battle of wits between Aeschylus and Euripides Unlike the battle of sexes in Lysistratathe centrality of this ‘agon’ in Frogs is to establish poetic supremacy It is not a peace satire but on the lines of acuiring political and societal stability The literary contest that commences raises uestions about the social and political atmosphere in Athens The initial light poetic and intelligent banter spiraled into juvenile antics of name calling and ridiculous labeling overturning rationality into sheer ludicrous chaos Aristophanes is still rolling in his pomposity by ridiculing Euripides on the prospects of religion Dionysus suggestive remark on Euripides atheist convictions falls through when he solicits Euripides on praying to private newly minted Gods The amusing rebuttal of Euripides takes the point further as he prays to the sustenance of his tongue intelligence and olfactory nostrils and stoutly refutes any captured words by his psyche The preposterous debate views two literary resorting to silly slapping each other with the metaphoric acrimonious taunt of “a bottle of oil” being enough to rid of all the written works and Euripides rebuttal to Aeschylus proclamation on how he would never write about whores or any eroticism to which Euripides smartly suggest that only if Aeschylus knew any woman would be able to write about it stating the obviousAristophanes puts forth a mêlée of “old ways vs new ways” and the need to go back to one’s roots become essential when the chaos of modernity pollutes the status uo The three greatest playwrights Sophocles Euripides and Aechylus who were responsible for the development of Greek tragic theatre were now mere pawn in the political game of morality The failing of the Athenian society was blamed on the proliferation of the new school of sophisms Why does it then become the need to go back to ethnic s? We seen countries shuffling between conservative and democratic leaders with every fresh election? Is it that when societal fruition is seen as a threat by those who resist change that the voices of opposition becomes stronger? And what about those who want change in their country? Aristophanes emphasizes that traditional values become a naked truth that a country wants to witness Dionysus who wants in the awe of Euripides now criticises the very ideologies that once he cherished to render nostalgia CHORUS But if you’re both afraid that our spectators lack a certain amount of knowledgeSo as not to appreciate the fine points of what you sayDon’t worry about that since that is no longer the caseFor they are seasoned veterans and each one has a book and understands the clever stuffTheir minds are superior anywayOut now they’re really sharpened So far not butScrutinize every topic for the audience sake at least since they’re so sophisticated This stanza outshines through the series of poetic line asserting the important of the political audience or spectators in general and how they are mistakenly granted the title of being a bunch of mere fools Similar to the position of Dionysus as a judge who gets to vote and choose the valued candidate masses have the final word through voting banks and cannot be taken for a ride by sovereign leaders This holds true for the Presidential debates and other related conversations Although several political analysts conjecture that Presidential debates are not that influential when it comes to voting but at the end of it all it becomes easy to select the wise from a buffoon Unfortunately politics is a dirty game and sometimes it is just a race between two masturbating monkeys AES You fiend It is compelling power of the great thoughts and ideas to engender phrases of eual sizeAnd anyway it is proper that demigods speak in grander termsFor they also wear finer clothesWhat I so nobly exhibited you defiled In the pre technological era the written world was as powerfully influential like the monstrous media web of the present times The words of poets writers musicians have the sharpness of a sword that can either dismember or restore mankind Keeping in mind the words of Aeschylus is the poets who have the compelling power of great thoughts and are spoken to be demigods then what is the burden of their responsibility in order to sustain a stable society? Plato’s Republic illustrate the fright that Plato harboured towards poets and poetry stating poetry feeds and waters the passions instead of drying them up; she lets them rule although they ought to be controlled if mankind are ever to increase in happiness and virtue According to Plato poetry plays with a man’s emotions signifying that poetry is indeed a learning institution This confirms Aeschylus comment on how young boys have teachers and men have poets AES But a pet should conceal wickednessNot bring it forward and teach itFor little boys have a teacher who advised them and grown up have poetsWe have a serious obligation to speak of honourable thingsWhat can be termed as “honourable things”? If poets are teachers of the adults then isn't a teacher’s prime job to teach to uestion the unjust and to different between the right and wrong? What ethics sets the teachers apart from poets who have the similar rank philosophical activity? Maybe the fact that teachers work within a set of disciplinary censored syllabus while for the poets the world is their core curriculum Now that could be dangerous to politician lurking behind the egalitarian garbIn Dionysus’s uest to find “a worthy poet to save Athens” one is then compelled to uestion the role of a poetwriter in the society? Do really high thoughts need high language? And if so how far the significance of that grand vocabulary read the masses and become human in nature? After all aren't nations mostly made up of common men trying to breathe a liberated political air rather than those few privileged who dream of becoming fascist leader and oligarchs? How far can the truth be stretched to expose the societal fallacies and how much fraudulence is reuired to prevent the exposure of a country’s thriving vulnerabilities?Aristophanes' assertion on the conclusive result of Dionysus on choosing a poet who adhered traditional ways illustrates the preference of conservative hard power over the modern usage of soft power Many would not agree but when a country is in turmoil and desperately needs a leader ‘High thoughts need high language’ A leader is chosen to protect the country and its people In a time where sowing the seeds of assurance weighs than exposing weakening susceptibilities the truth is then pushed to a dishonest grave and the winds of change are obstructed by the orthodoxy barricades It may not seem right to a person sitting in the warm comfort of his house but it seems the solitary alternative to a homeless man Nevertheless the burning uestion that generates heat is the dominancy of a particular societal dogma that somehow acuires a self imposed Godly status and spread its fascist wings in censoring every aspect of freedom speech Books are banned due to egotistical orgies movies are thrown out of the theater poets and writers are penalized news channels are expurgated and the democratic voices incarcerated bordering upon disgust In a world where most of the countries are plague by civil wars and revolution what is the role of the written world?The voices of frogs that do not cease from a chaotic chorus even to the extent of it annoying Dionysus one voice that hangs around throughout this slapstick satire is who would be a superior redeemer of the social order – the “honourable” egoistic Aeschylus with his traditionalists vision or the “corrupt scoundrel” Euripides with his democratic ideologies? And who is to decide the ultimate answer?Frogs croak Word has it that when Dionysus reprimanded the frog for creating a croaking menace the frogs replied Brekekekex koax koax

  3. says:

    Βάτραχοι Bátrachoi The Frogs Aristophanes The Frogs is a comedy written by the Greek playwright Aristophanes It was performed at the Lenaia one of the Festivals of Dionysus in Athens in 405 BC receiving first place The Frogs tells the story of the god Dionysus who despairing of the state of Athens tragedians travels to Hades the underworld to bring the playwright Euripides back from the dead Euripides had died the year before in 406 BC He brings along his slave Xanthias who is smarter and braver than Dionysus As the play opens Xanthias and Dionysus argue over what kind of jokes Xanthias can use to open the play For the first half of the play Dionysus routinely makes critical errors forcing Xanthias to improvise in order to protect his master and prevent Dionysus from looking incompetent—but this only allows Dionysus to continue to make mistakes with no conseuence To find a reliable path to Hades Dionysus seeks advice from his half brother Heracles who had been there before in order to retrieve the hell hound Cerberus Dionysus shows up at his doorstep dressed in a lion hide and carrying a club Heracles upon seeing the effeminate Dionysus dressed up like himself can't help laughing When Dionysus asks which road is the uickest to get to Hades Heracles tells him that he can hang himself drink poison or jump off a tower Dionysus opts for the longer journey which Heracles himself had taken across a lake possibly Lake Acheron When Dionysus arrives at the lake Charon ferries him across Xanthias being a slave is not allowed in the boat and has to walk around it while Dionysus is made to help row the boat This is the point of the first choral interlude parodos sung by the eponymous chorus of frogs the only scene in which frogs feature in the play Their croaking refrain greatly annoys Dionysus who engages in a mocking debate agon with the frogs When he arrives at the shore Dionysus meets up with Xanthias who teases him by claiming to see the frightening monster Empusa A second chorus composed of spirits of Dionysian Mystics soon appear The next encounter is with Aeacus who mistakes Dionysus for Heracles due to his attire Still angry over Heracles' theft of Cerberus Aeacus threatens to unleash several monsters on him in revenge Frightened Dionysus trades clothes with Xanthias A maid then arrives and is happy to see Heracles She invites him to a feast with virgin dancing girls and Xanthias is than happy to oblige But Dionysus uickly wants to trade back the clothes Dionysus back in the Heracles lion skin encounters people angry at Heracles and so he makes Xanthias trade a third time When Aeacus returns to confront the alleged Heracles Xanthias offers him his slave Dionysus for torturing to obtain the truth as to whether or not he is really a thief The terrified Dionysus tells the truth that he is a god After each is whipped Dionysus is brought before Aeacus' masters and the truth is verified The maid then catches Xanthias and chats him up interrupted by preparations for the contest sceneتاریخ نخستین خوانش روز بیست و دوم ماه آگوست سال 2009 میلادیعنوان قورباغه‌ها مجموعه کمدی‌های آریستوفان؛ نویسنده آریستو فانیس؛ مترجم رضا شیرمرز؛ تهران، نشر قطره، 1387؛ در 110 ص؛ موضوع نمایشنامه های نویسندگان یونانی سده 05 پیش از میلادیقورباغه‌ها یا «غوکان» یک کمدی نوشته ی نمایش‌نامه‌ نویس یونان کهن «آریستوفان» است این نمایش‌نامه در «لنایا» یکی از فستیوال‌های «دیونیسوس» در سال 405 پیش از میلاد اجرا شد، و مقام نخست را به چنگ آورد نقل از مقدمه «مقدمه دیونیسُس، حامی تراژدی، عزادار مرگ اِوْریپیذیس است، چنانکه بر آن میشود تا به آذیس برود و این تراژدی نویس را به دنیا برگرداند دیونیسُس پوست شیر میپوشد و گرز به دست همراه با غلامش، اکسانثیاس به راه میافتد گروه همسرایان قورباغه ها را در دریاچه رود آخِروین میبیند که ترانه میخوانند اکسانثیاس، رود را دور میزند، اما دیونیسُس از رود عبور میکند و اربابش را در آنسویِ دریاچه میبیند گروه همسرایان مرکب از اشخاص تازه وارد به جشن وارد میشوند دیونیسُس از سخنان آنها درمییابد که به خانه پلوتُناس رسیده در میزند او و اکسانثیاس وارد خانه میشوند و گروه همسرایان، قطعه پاراواسیس را اجرا میکنند این قطعه، حاوی ستایش آتنیها، طعنه به کلئوفونِ مستبد، توصیه به آتنیها برای از سرگیری اصلاحاتِ الیگارشی سال 411 پیش از میلاد و حمله به کلْی ینیس است پس از اجرای این قطعه، اِئاکوس، غلام پلوتُناس و اکسانثیاس از خانه بیرون میآیند و گپ دوستانه ای میزنند این در حالیست که در پشت صحنه غوغایی برپاست حالا دیونیسُس، اِسخیلُس و اِوْریپیذیس، دو تراژدی نویس برجسته را در حالی میبیند که بر سر تخت پادشاهی نزاع میکنند او آنها را به رقابت در زمینه هنر درام نویسی دعوت میکند دیونیسُس میگوید که طرف برنده به دنیا بازمیگردد و تراژدی نویسی را از سر میگیرد رقابت ادبی میان اِسخیلُس و اِوْریپیذیس آغاز میشود هر یک، قطعاتی از تراژدیهای خود را میخوانند و دیونیسُس به قضاوت درباره این قطعات میپردازد دو تراژدی نویس کوشش میکنند نارسائیهای تراژدیهای حریف را مطرح، و برتری هنر خویش را اثبات کنند این رقابت روی یک ترازوی بزرگ انجام میشود در پایان این جدلِ سخت، دیونیسُس پس از اندکی تردید، اِسخیلُس را پیروز اعلام میکند و او را با خود به دنیا برمیگرداند صحنه در انتهای صحنه، خانه ایراکلیس و پلوتُناس به چشم میخورد دیونیسُس، با هیبت ایراکلیس، پوست شیر پوشیده، با یک گرز و چکمه های ساق بلند به سبک تراژدیها و جامه ای از حریر زرد، وارد میشود به همراه او اکسانثیاس که روی الاغی نشسته و اثاثیه را حمل میکند، وارد میشود برای مدتی هر دو ساکت هستند اکسانثیاس غرولندکنان به بار خود نگاه میکند ارباب، اجازه بده لطیفه ای تعریف کنم که معمولاً مردم در سالن تئاتر با شنیدنش از خنده روده بُر میشوند دیونیسُس هرچه میخواهی بگو، مگر «بارم بیش از اندازه است»، یادت باشد، از خیر این یکی بگذر برایم تکراری شده اکسانثیاس ناامید یعنی مزه نریزم؟ دیونیسُس دور جمله «آه، تاولهای بی نوایم» را هم خط بکش اکسانثیاس اگر لطیفه ای شاهکار گفتم چطور؟ دیونیسُس چقدر ورّاجی میکنی ناراحت نباش فقط، محض رضای خدا، ؛ اکسانثیاس محض رضای خدا چه؟ دیونیسُس آن دیرک را هم تکان نده و صدای گوزت را به حساب چوب نگذار اکسانثیاس اگر کسی در تحمل این بار کمکم نکند، ول میشود دیونیسُس نه، خواهش میکنم، نه لطیفه ات را هم برای وقتی نگه دار که نیاز مبرم به داروی قی آور پیدا کردم اکسانثیاس «آمیپسیاس» و «لیکیس» نگویم، حمل این همه بار به چه درد میخورد؟ دیونیسُس آه، نه این کار را نکن وقتی آنجا مینشینم، تالار تماشاگران را نشان میدهد و بعضی از آثار برگزیده را میشنوم، هنگام بازگشت به خانه، گویی یک سال پیرتر شده ام اکسانثیاس با خودش آه، بیچاره گردنِ نازک و بی نوای من دورش حسابی تاول زده و تازه حق حرف زدن از تاول را هم نداری چه خنده دار است دیونیسُس چه رویی چه جسارتی من، فرزند جام بزرگ شراب، باید پیاده راه بروم و مراقب باشم مبادا او از حمل بار خسته شود اکسانثیاس مگر این بار را من به دوش نمیکشم؟ دیونیسُس این، بار است که تو را به دوش میکشد اکسانثیاس بار را نشان میدهد این را من دارم حمل می نم دیونیسُس چطور؟ اکسانثیاس با کمری که تا نیمه خرد شده دیونیسُس آن کیسه را که الاغ حمل میکند اکسانثیاس کیسه هایم را که خودم میبرم، هیچ خری حمل نمیکند دیونیسُس به گمانم میدانی که آن الاغ، تو را نیز حمل میکند اکسانثیاس نمیدانم تنها چیزی که میدانم، درد شانه است دیونیسُس خوب، اگر از الاغ سواری لذت نمیبری، بیا پایین و بگذار حیوان بینوا سوار تو شود اکسانثیاس با خودش ای کاش در نبرد بزرگ «اَرگینوسِس» جنگیده بودم آنوقت میتوانستم به تو بگویم برو به جهنم دیونیسُس پست فطرت پیاده شو این همان خانه ای است که در پی اش بودم این همه راه را پیاده گز کردم در میزند باربر آهای باربر آهای ایراکلیس از خانه خارج میشود کیست که در میزند؟ چرا مثل گاو به در جفتک میزنی؟ هر که هستی باش دیونیسُس را میبیند خدا رحم کند چه خبر شده؟ لحظه ای به دیونیسُس خیره میشود، سپس ساکت میشود دیونیسُس به اکسانثیاس پسر اکسانثیاس جانم، ارباب؟ دیونیسُس متوجه شدی؟ اکسانثیاس چه چیزی را؟ دیونیسُس که چقدر از من ترسیده اکسانثیاس بله، ارباب با خودش هراس او از دیوانه بازی تو است ایراکلیس در حالیکه خنده اش گرفته کاش میتوانستم جلوی خنده ام را بگیرم لب میگزم ولی نمیشود خنده کنان غرولند میکند دیونیسُس چرند نگو بیا اینجا چیزی میخواهم ایراکلیس میآیم ولی هنوز خنده ام میگیرد پوست شیر، آن هم روی ابریشم زرد چماق چه ربطی به چکمه پاشنه بلند دارد؟ قضیه چیست؟ از کجا میآیی؟ دیونیسُس از دریا و در خدمت «کلیسثنیس» بودم ایراکلیس جنگیده ای؟ دیونیسُس بله دوازده یا سیزده کشتی اسپارتی را غرق کردیم ایراکلیس شما دو تا؟ دیونیسُس البته اکسانثیاس با خودش و ناگهان از خواب پریدم دیونیسُس خوب، روزی روی صخره ای نشسته بودم و «آنذرومذا» را میخواندم که ناگهان قلبم دچار میل شدیدی شد ایراکلیس چقدر شدید؟ دیونیسُس آه زیاد هم شدید نبود شاید به بزرگی «مولون» ایراکلیس چشمت زنی را گرفته بود؟ دیونیسُس زن؟ نه ایراکلیس خوب، دختر بود؟ دیونیسُس خدای من، خبر از زن و دختر و نبود ایراکلیس ببینم نکند تو و کلیسثنیس ؛ دیونیسُس برادر مرا دست انداخته ای؟ مسئله جدی است این عشق زندگی مرا ویران کرده ایراکلیس خوب، از عشقت بگو دیونیسُس به حالت یاس نه، نمیتوانم هرگز باید مثالی بیاورم آیا تا به حال، ناگهان هوس سوپ نخود کرده ای؟ ایراکلیس سوپ نخود؟ خدای من، هزاران بار دیونیسُس حالا واقعیت را فهمیدی؟ یا باز هم مثال بیاورم ایراکلیس آه، درباره سوپ نخود نه آن را تمام و کمال فهمیدم دیونیسُس خوب، به خاطر میل شدید به اِوْریپیذیس است که بیقراری در وجودم لانه کرده ایراکلیس خدایش بیامرزد به خاطر اِوْریپیذیس مرحوم؟ دیونیسُس بله، کسی نمیتواند مرا از شوق دیدار وی بازدارد ایراکلیس میخواهی به سرزمین آذیس، جایگاه تاریکیها بروی؟ دیونیسُس جایگاه تاریکیها یا حتا مکان تاریکتر؟ ایراکلیس در پی چه هستی؟ دیونیسُس به دنبال شاعری مرده میگردم، زیرا شاعران زنده، همه دروغگو هستند ایراکلیس ولی «آیوفون» که هنوز زنده است دیونیسُس خوب، این تنها چیز خوبی است که برایمان باقیمانده، آن هم مال شما چرا که در خوبی او شک دارم ایراکلیس بگو ببینم، اگر قصد برگرداندن کسی را داری، چرا «سوفوکلیس» را نمیآوری؟ دیونیسُس چون که میخواهم ببینم، آیوفون تنها و بدون پدرش چه دسته گلی به آب میدهد علاوه بر این، اِوْریپیذیس از آن حقه بازها است و در صورت لزوم، میتواند کمک کند تا از آنجا فرار کنیم در حالیکه سوفوکلیس در زندگی آرام و موقر بود و در جهنم هم حتما همین طور است ایراکلیس «آگاثُن» کجاست؟ دیونیسُس آه مرده شورش ببرد ایراکلیس «پیثانگِلوس» چطور؟ دیونیسُس سکوت میکند و شانه بالا میاندازد اکسانثیاس با خودش کسی به فکر من نیست شانه هایم کبود شده ایراکلیس اما آیا هزاران تراژدی نویس دیگر وجود ندارند که بتوانند خیلی بلندتر و بهتر از اِوْریپیذیس بنویسند؟ دیونیسُس اینها درختان بی برند رنگهایی که مات و پریده اند، کشندگان هنر کافی است یک امکان به آنها بدهی، به موز بی حامی حمله می کنند کدام شاعر باثباتی هست که در کالبد واژگان جان تازه بدمد؟ ایراکلیس با ثبات؟ کدام ثبات؟ دیونیسُس ثباتی که بدعت در کلام را به قلب او الهام کند به عنوان مثال «آه، ای اِتِرِسِ پهناور ای منزلگه کبریا ای ردپای ابدی زمان» و یا «جانها دل در گرو سوگند نمیبندند، حال آنکه »؛ ایراکلیس آیا از اینها خوشت میآید؟ دیونیسُس خوشم میآید؟ برایشان میمیرم ایراکلیس بله، خودت هم میدانی که همه اش خُزعبلاتی بیش نیست دیونیسُس سر به سرم نگذار برو پی خرسواری ات ایراکلیس با حالت عذرخواهی منظورم این بود که واقعا بی مزه است دیونیسُس اگر به طرز تهیه غذا نیاز داشتم، خبرت میکنم اکسانثیاس با خودش کسی به فکر من بدبخت نیست دیونیسُس ولی دلیل اینکه در چنین لباس پر زرق و برقی، شبیه لباس تو، به اینجا آمده ام این است نام مهمانخانه داران، بندرها، سلمانیها، مهمانخانه ها، میخانه ها، رودها، جاده ها، شهرها، پستخانه ها، زنها و مسافرخانه هایی را که ساس در آنها پیدا نمیشود و تو هنگامی که برای آوردن سربروس رفته بودی از آنها عبور کرده ای، به من بگو اکسانثیاس کسی به فکر من نیست ایراکلیس با لحنی گیرا بی نوا چطور جرئت میکنی به چنین سفری بروی؟ دیونیسُس خواهش میکنم شروع نکن به ما بگو کدام راه ما را زودتر به آذیس میرساند نه زیاد سرد باشد و نه زیاد گرم ایراکلیس خوب، کدام را اول بگویم؟ آه بلند، باید قایقرانی را اجیر کنید تا طنابی فولادی را دور گردنتان بیندازد و شما را به زور بکشد ؛ دیونیسُس چه سفر خفه کننده ای ایراکلیس خوب، پس راهی کوتاه، سریع و هموار هم وجود دارد یعنی مسیری که در هاون بر اثر ضربات، حسابی صاف شده دیونیسُس آیا این جاده شوکران است؟ ایراکلیس دقیقا یونیسُس سرد و تلخ است همه جای پاهایمان را بی حس میکند ایراکلیس دنبال راهی کوتاه و سراشیبی میگردید؟ دیونیسُس همین طور است میدانی که راه پیمای خوبی نیستم ایراکلیس پس به سمت کرامیکس برو؟ دیونیسُس خوب؟ ایراکلیس برو بالای آن برج بلند ؛ دیونیسُس و بعد؟ ایراکلیس بعد نگاه کن و ببین آیا مسابقه مشعل را آن پایین شروع کرده اند یا نه وقتی جمعیت فریاد زد «برو» تو هم برو دیونیسُس به کجا؟ ایراکلیس به سمت بالا دیونیسُس نمیتوانم برایم گران تمام میشود از این راه نمیروم ایراکلیس خوب، پس چگونه میروی؟ دیونیسُس از همان راهی که تو رفتی ایراکلیس با لحن ادبی سفری طولانی است ابتدا به دریایی عمیق و بیکران میرسی دیونیسُس بی اعتنا چطور از آن عبور کنم؟ ایراکلیس با ایما و اشاره این طوری با قایقی کوچک، پیرمردی هست که در ازای دو «اُوُلُس» تو را به آن طرف میبرد دیونیسُس آنجا هم دو اُوُلُس به کار میآید؟ در تعجبم که چطور خودشان را به آن پایین رسانده اند؟ ایراکلیس آه «ثیسِئاس» جانشان را بگیرد پس از آن با مارها و هیولاهای عظیم الجثه روبرو میشوی دیونیسُس پیرزن میترسانی؟ عین خیالم نیست ایراکلیس و بعد به باتلاقهای عمیق و دریای چرک و لجن میرسی آنها کسانی را که غریبه ای را فریب داده اند، آنان را که جیب فاحشه ای را زده و او را بوسیده اند، آنها را که مادرانشان را کتک زده اند، یا به صورت پدران شان سیلی نواخته اند یا سوگند دروغ به عرش اعلی خورده اند، میبلعند دیونیسُس امیدوارم هر کس رقصِ پیکارِ «کینیسیاس» را آموخته یا سخنان مورسیمُس را تقلید کرده در کام این اژدهای سیه چرده فرورود ایراکلیس و بعد نوایی گوشهایت را مینوازد و نوری چشمانت را روشن میکند درختهای زیبای مورد، تجمع شاد زنها و مردها و نوای کف زدنهای ممتد دیونیسُس آنها کیستند؟ ایراکلیس تازه واردها اکسانثیاس با خودش بله و من الاغی هستم که در جشن وقت میگذرانم حتا یک لحظه هم این بار را تحمل نمیکنم بار را زمین میگذارد ایراکلیس فورا همه چیز را به تو میگویند خانه هایشان را درست کنار جاده بنا کرده اند، در آستانه دروازه خانه پلوتُناس حالا دیگر خدانگهدار برادر سفر خوبی را برایت آرزو میکنم دیونیسُس متشکرم، خدانگهدار مراقب خودت باش به اکسانثیاس در حالی که ایراکلیس به خانه بازمیگردد کیسه ها را دوباره بردار اکسانثیاس هنوز درست و حسابی آنها را زمین نگذاشته ام دیونیسُس بله، زود باش اکسانثیاس نه، واقعا ارباب باید یک باربر اجیر کنیم دیونیسُس اگر باربر پیدا نکردم چطور؟ اکسانثیاس در این صورت خودم این بار را برمیدارم دیونیسُس بسیار خوب، آنجا را ببین یک گروه عزاداری، آن هم به موقع نزدیک میشود گروه تشییع کنندگان از سمت راست وارد میشوند آهای با تو هستم، ای جسد آیا میتوانی این چند بسته را تا آذیس ببری؟ جسد بلند میشود چه قدر سنگین است؟ دیونیسُس منظورت چیست؟ جسد دو دراخما بده دیونیسُس آه، خیلی گران است، کوتاه بیا جسد تشییع کنندگان به راه ادامه بدهید دیونیسُس دوست من، صبر کن شاید به توافق رسیدیم جسد یا دو دراخما بده، یا بزن به چاک دیونیسُس نُه اُوُلُس چطور؟ جسد دوباره میخوابد بهتر است کپه مرگم را بگذارم گروه تشییع کنندگان خارج میشوند»؛ پایان نقل ا شربیانی

  4. says:

    Brekekekex koax koax – now what’s that? It’s a chorus of frogs of courseWell it wasn’t until I heard “Frogs” mentioned on Goodreads a few months ago that I thought well from the comments made this play is really worth reading I accordingly purchased it and the book re surfaced last night Why did it re surface? In fact I had forgotten all about it; the trigger being my neighbor Michèle who was telling me how noisy the tree frogs are at the momentI must confess my ignorance in that I’ve never heard of Aristophanes and can only go by the historical note included in this play“Aristophanes c 456 BC to c 386 BC was the foremost writer of comic drama in classical Athens His surviving plays are the only complete examples we have of Old Comedy‘Frogs’ was first produced in Athens in 405 BC By this time Athens had been at war with Sparta for over twenty five years”I also don’t know if this is a definitive translation Mine is by Ian Johnson from Vancouver University British Columbia Canada and so if someone knows which translation is preferable do let me know The translator does admit that he would “like to acknowledge the valuable help of WB Stanford’s edition of ‘The Frogs’ LondonMacmillan 1963” The translation is very modern in tone with some of its expressions Is that the true translation? I thought a translator should translate according to the period?Well whatever the correct translation I started this Greek comedy and I’ve never laughed so much in my life“The play opens on a street leading to Hades” and here we have Dionysus also known as Iacchus the god appearing in human form carrying a club one that is commonly associated with Hercules accompanied by his slave Xanthias who is riding on a donkey and carrying a huge amount of baggage There’s an immediate awareness of the audience as Xanthias stated“Look master an audience Shouldn’t I speak up? Tell them one of those jokes they always fall for?”And Dionysus’ response“Oh all right – say what you like Only no jokes about how you’re dying to piss I can’t stand those – they’re all so stale”And from this point it’s fun galore and continuous show timeDionysus gets the crazy idea that he must go down into Hades and bring back a playwright and after discussing this with Hercules and tossing in various alternatives such as Euripides and Sophocles he sets off for Hades in the hope of finding someoneI’ve never even imagined having a conversation with a corpse but Dionysus does very well here and the corpse is so witty The former tries to persuade the corpse to carry some luggage into Hades and you have to read the play to appreciate their conversationThere’s something so invigorating about a play especially with the various notes stating what individuals are doing on and off the stage plus “the shouting and roaring” as is the case with the frogs here The players are wide ranging including Charon Hercules Aeacus Pluto various playwrights such as Euripides and Aeschylus and a splendid chorus of initiates but it’s the chorus of frogs that steals the “show” for meAlso there are notes at the end of the book giving various explanations and it was interesting to see there that as regards the “chorus of frogs” there was uncertainty as to whether they remained on the stage or not On stage I’m sure that would have been difficult to portrayIn all this Greek comedy is excellent and is definitely to be reread in the future I loved itI really must read about mythology I often get confused with the Roman and Greek Gods

  5. says:

    i think i would make responsible decisions if i had a chorus of frogs with me at all times

  6. says:

    A satirical look at what makes a classic16 June 2012 Before I start this commentary I must make reference to the translation that I am using namely the 1987 David Barrett translation published by Penguin Classics The reason that I am sourcing this book is because while the original text is not subject to copyright the modern translation is Even though I do have access to the original text actually I just checked my collection of Aristophanes plays in the original Greek and the Frogs is not included however I am sure I can find it on the internet it will take me a lot of time and energy to translate the passages that I want to uote and as such it is better to cite Barrett's translation instead Anyway enough of the legalese and onto the play itself The Frogs was first performed in Athens in 405 BC and that was a time of great distress for the city The 30 year long Peloponesian War was coming to an end and Athens was on the losing side Her allies had been overrun and captured her fleet was in shambles and the only person that could possibly save the city Alcibaides had been exiled as is prone to happen in a democracy Yet despite all of the doom and gloom the festivals were still held and Aristophanes was still writing plays The Frogs is about how the god Dionysius and his slave Xanthias go down to Hades in an attempt to bring one of the old poets back One of the most insightful aspects of this play is that it gives us a really good insight into who the Athenians considered to be the greatest of the tragic poets At this time both Sophocles and Euripides had died and Aeschylus was long dead and it is interesting to note that it is these three playwrights that Aristophanes names as being the best This is probably why we have retained their plays and lost the rest including Agathon who in a way was also considered a good playwright but not to the extent of these three In many ways the productions of tragedies at this time were nothing compared to the great writers and in many cases we can see a reflection of this in our own times In my own opinion I am almost ready to suggest that the last work of literature that I have read was American Psycho which was published in 1989 In my view there has been nothing written since that I would consider to be a classic or a literary masterpiece Many of the Athenians of this time were probably thinking the same thing In a way Aristophanes says it best HERACLES But surely there are dozens of these young whippersnappers churning out tragedies these days for sheer verbiage if that's what you want they leave Euripides standing DIONYSIUS Small fry I assure you insignificant sueakers and twitterers is this an ancient reference to a popular social media site like a lot of swallows A disgrace to their art If ever they are granted a chorus what does their offering at the shrine of Tragedy amount to? One cock of the hind leg and they've pissed themselves dry You never hear of them again I defy you to find a really seminal poet among the whole crowd of them someone who can coin a fine resounding phrase Page 159 If we look through the preceding lines we note a number of famous poets by name including Sophocles Euripides and yes Agathon as well but the concern is that they are all gone all dead and there is nobody to take their place So what is it about these poets that makes them so important and what sets them out from the other ordinary citizens? Well once again Aristophanes says it best AESCHYLUS That is the kind of thing a poet should go for You see from the very earliest times the really great poet has been the one who had a useful lesson to teach Orpheus gave us the mysteries and taught people that it was wrong to kill; Musaeus showed us how to cure diseases and prophesised the future; Hesiod explained about agriculture and the seasons for ploughing and harvest And why is Homer himself held in such high esteem if not for the valuable military instruction embodied in his work? Organisation training euipment it's all there Page 194 So as we can see the idea is that the poet is the teacher of many things like a jack of all trades It reminds me a bit of the role of the Bard in Dungeons and Dragons the one who can do everything but not all that well Granted in those days pretty much everybody wrote poetically and it is our understanding that it was Herodotus that first wrote in prose though I would heavily dispute this because there are a lot of writings that we don't have and if we look away from the Greek world we discover that the authors of the Bible were writing in prose long before the Greeks I also wonder if at this time the role of the poet was being replaced by the philosopher After Aristophanes we have only a handful of plays but a bucketload of Plato and Aristotle among others However that again is not strictly true since the philosophers were performing their roles as far back as Thales However philosophy changed from being a primitive form of scientific exploration to an exposition of morality This is what philosophy has become these days a discussion and exploration of morality I want to finish off with a few comments on a number of the lighter aspects of the play We note that slaves seem to play a role in many of Aristophanes' plays as the butt of many of the jokes It is almost as if slaves are viewed comically and the fall guy for many of the pranks It is not strictly true since Dionysius gets his fare share of beatings in this play as well but it is interesting to see the view of slaves from an Athenian point of view There are also some uite humerous anecdotes in this play as well The first person Dionysius visits is Heracles namely because Heracles has been to and returned from the underworld However the only advice that Heracles has for Dionysius is that if he wants to go to Hades then the uickest way there is to kill himself It is amusing because we are aware that people would go into and come back from Hades in legend Odysseus did so as well as Heracles however Heracles' suggestions are not what we expect The other amusing part is when Euripides and Aeschylus are competing against each other for who the better poet is From this play it is suggested that Euripides could have been uite an arrogant person putting a lot of value in his own works and considering them to be literally significant than the works of Aeschylus It turns out that we have of Euripides' plays than we do of Aeschylus However Aeschylus goes to show that he can pretty much demolish all of Euripides' prologues through the use of the phrase 'lost his bottle of oil' I can almost imagine the entire audience breaking out in laughter at this namely because we would do the same thing to our own filmmakers and playwrights such as the Star Trek drinking gain where we skull a glass of beer whenever Captain Picard says 'make it so'

  7. says:

    This is the first Greek play out of the theocratic age that has me laughing out loud 😂

  8. says:

    Amusing but I did not enjoy it uite as much as Clouds It is a bit like a celebrity memoirI vaguely know of the people and places spoken of but not really well enough to feel like I totally grasp what's going on Still as long as you possess a general idea of the key players in Greek mythology you should be able to follow well enough At least I did

  9. says:

    In reading classics I discovered that comedy once had a different meaning to have a happy ending I’d already read Chekhov’s The Cherry Orchard subtitled a comedy in four acts which turned out to be a light comedy and could easily be performed as a drama with little laughs But I wanted to read something older to get a sense of what comedy first meant that’s why I read Frogs by Aristophanes dated about 400 BCE I wasn’t sure what I was going to find it turned out to be a satire of two poets Euripides and Aeschylus battling it out to leave the underworldThis doesn’t sound funny and I was not expecting it to be funny but I was surprised I was not expecting to find slapstick amongst the wordy exchange which was broken up with gross out and smutty innuendos So it had elements that would be found in today’s movies like Borat And I realised that as I read this unlike Chekhov’s idea of comedy this one was overt in its comedy wanting the audience to laugh by poking fun at both poets and their workI don’t know enough about Euripides and Aeschylus or their works so a parody of a line from their plays would just by pass me So for me most of this was like reading a document with interesting cultural facts However I can imagine Aristophanes’ audiences just listening to this and falling over with laughter – in its time this must have been a very funny and entertaining play For that I am tempted to give it 5 stars but I wonder if today most audiences would find all the jokes funny? I’m thinking probably not which is not down to Aristophanes skills in comedy but culturally it’s just out of date Hence I am giving this 4 stars for having comical aspects that can be still recognisable today Considering how old this is to me this is impressive

  10. says:

    An interesting play which would have been made interesting had I sufficient knowledge of the characters from Greek mythology whom Aristophanes was casting in this calamitous journey to HadesThe comical slapstick was jovial enough the dialogue and references to the audience surreal I just wasn’t as engaged as I should be and I can confidently justify that with my ignorance of background and referencesAnother addition to the Little Black Classics range which I couldn’t fully enjoy simply due to lack of intelligence Onwards

Leave a Reply

Your email address will not be published. Required fields are marked *

Βάτραχοι[PDF / EPUB] Βάτραχοι βάτραχος — Wiktionnaire Βάτραχοι Les Grenouilles titre d'une comdie d'Aristophane βατράχοις οἰνοχοεῖν verser du vin aux grenouilles faire uelue chose ui n'est pas βάτραχος — Wiktionnaire Βάτραχοι Les Grenouilles titre d'une comdie d'Aristophane βατράχοις οἰνοχοεῖν verser du vin aux grenouilles faire uelue chose ui n'est pas demand Ichtyologie Grenouille de mer baudroie Grenouillette tumeur sous la langue Exemple d’utilisation manuant Variantes modifier le wikicode βάτραχος Wiktionary Les Grenouilles Βάτραχοι – Arrte ton char Les Grenouilles Βάτραχοι Arrte Ton Char mai Livres Livres audio videos Commenter cette publication Vues Tlcharger une version PDF de cette page Bandes dessines BD Date de sortie mai Public tout public Priode historiue Βάτραχοι κωμωδία Βικιπαίδεια Οι Βάτραχοι είναι κωμωδία του Αριστοφάνη που διδάχτηκε πρώτη φορά στα Λήναια το πΧ κερδίζοντας τα Πρωτεία το πρώτο βραβείο δηλαδήΗ υπόθεσή της περιστρέφεται γύρω από έναν ποιητικό διαγωνισμό που οργανώνει Αριστοφάνη ΒΑΤΡΑΧΟΙ Βρεκεκέξ κουάξ κουάξ YouTube ΒΡΕΚΕΚΕΞ ΚΟΥΑΞ ΚΟΥΑΞ Από τους ΒΑΤΡΑΧΟΥΣ του Αριστοφάνη ΔΙΑΣΚΕΥΗ ΕΡΓΟΥ ΣΤΙΧΟΙ ΤΡΑΓΟΥΔΙΩΝ Γιάννης ΑΡΙΣΤΟΦΑΝΗΣ Βάτραχοι Βάτραχοι ἔμελλον ἄρα παύσειν ποθ᾽ ὑμᾶς τοῦ κοαξ ΧΑ ὢ παῦε παῦε παραβαλοῦ τὼ κωπίω Βάτραχοι Μ Χατζιδάκι Ορχήστρα Θ Αντωνίου YouTube Όπως Τους Διασκεύασε και παρουσίασε ο σύνθετης Και συνεργάτης του χατζιδακι Θ Αντωνίου στο θέατρο Βάτραχος Βικιπαίδεια Οι βάτραχοι ζουν κοντά ή μέσα στα νερά των ποταμών και των λιμνών Τα πίσω πόδια του βατράχου είναι μεγαλύτερα και πιο αναπτυγμένα και ανάμεσα στα δάχτυλα έχουν μεμβράνη Έτσι ο βάτραχος μπορεί να κολυμπάει πολύ καλά ΑΡΙΣΤΟΦΑΝΗΣ Βάτραχοι ΑΡΙΣΤΟΦΑΝΗΣ Βάτραχοι; ΧΟ ἐπίπονοί γ᾽ οἱ δεξιοί τόδε γὰρ ἕτερον αὖ τέρας νεοχμόν ἀτοπίας πλέων ὃ τίς ἂν ἐπενόησεν ἄλλος; μὰ τόν ἐγὼ μὲν οὐκ ἂν εἴ Aristophane — Wikipdia Les Nues.

About the Author: Aristophanes

Αριστοφάνης; c BCE – c BCE was a playwright of ancient Athens About of his works are known in full and they are the only plays of the Old Comedy style to have survived They are The Acharnians The Birds The Clouds The Ecclesiazusae The Frogs The Knights Peace Plutus Wealth The Thesmophoriazusae and The Wasps These plays have been translated into many languages and continue to be staged or adapted for theatrical productionsAristophanes satirized the political and social issues of th century BC Athens such as the ongoing Peloponnesian War the structure of the city state the role of women in public life and the influence of philosophers notably Socrates in shaping public opinion.