Main Text

In the Spring of 410 BC, The Women at the Thesmophoria by Aristophanes was produced in Athens at the literary festival named the City Dionysia. The play imagined how Aristophanes’s notoriously misogynist fellow-playwright Euripides might get on at the autumn Thesmophoria, a religious celebration exclusively for women — and the Chorus of Women certainly found his attitude towards them baffling.

Freely translated. The first six stanzas are chiefly the work of William Lucas Collins.

They’re always abusing the women⁠
As a terrible plague to men:
They say we’re the root of all evil,
And repeat it again and again;
Of war, and quarrels, and bloodshed,
All mischief, be what it may!
And pray, then, why do you marry us,
If we’re all the Plagues you say?
And why do you take such care of us,
And keep us so safe at home,
And are never easy a moment
If ever we chance to roam?
When you ought to be thanking heaven
That your Plague is out of the way,
You all keep fussing and fretting —
“Where is my Plague today?”
If a Plague should dine with strangers,
And wear herself out having fun,
You’ll prowl through all of the bedrooms
Just to check who’s asleep in each one.
If a Plague peeps out of the window,
Up go the eyes of men;
If she blushingly hides, they keep staring
Until she looks out again.
Now, it’s clear to anyone watching⁠
That women are better than men,
And putting them up for comparison
Will prove it again and again.
Charminus challenged Miss Sea-Fight⁠
And suffered a humbling defeat;
For the Spartans trounced him at Syme,⁠
Which cost him command of the fleet.
Miss Land-Battle’s⁠ got you all beaten.
For years now you’ve raised up no Prince
Like the heroes that triumphed at Marathon,⁠ —
You men haven’t troubled her since.
Cleophan’s⁠ war-talk was pretty,
But he quailed before Sparta’s ships
And brought less joy to our City
Than Salabaccho⁠ brought with her lips.
And what about last year’s Senators
Who gave up their seats in a rout?⁠
Do you honestly think that Miss Prudence⁠
Would have sold our democracy out?
Your pockets are heavy with money
Drained from the taxpayer’s purse,
Which you spend on luxury carriages;
Can’t you see your sex is the worse?
For we women take from our husbands
At most a handful of corn:
And we serve on your plates in the evening
Whatever we stole in the morn.

Footnotes

Footnote

Abusing the women

This first part of this paraphrase-translation is basically the work of William Lucas Collins (1815-1887), with some alterations to make it match more closely to the original. For Collins’s unadulterated version, see ‘Ancient Classics for English Readers’ (1872). Sadly, Collins did not translate any more of this chorus. The second half was made for Clay Lane.

Footnote

Anyone watching

Collins did not translate any more of this chorus than was given in the first six stanzas; a pity, because it would have been instructive to watch him handle Aristophanes’s sudden change of tone as he turns to skewering Athenian politics. What follows here is my own attempt to finish the song in the same spirit and metre.

Footnote

Miss Sea-Fight

This is the first of a series of symbolic names, each in the feminine gender, for military success: in this case it is Ναυσιμάχη, literally ‘ship-fighter’. Aristophanes’s point was that the men commanding the Athenian forces in the Second Peloponnesian War against Sparta (431-404 BC) were doing a very poor job of it.

Footnote

Charminus at Syme

Charminus was an Athenian general who in 411 BC (the year before the play was first produced) had been defeated in a key naval battle near the island of Syme in the Aegean Sea. Alcibiades would subsequently take charge of the Athenian fleet, based in Samos, and lead it to victory at the Battle of Cyzicus in 410, ultimately restoring Athenian democracy.

Footnote

Miss Land-Battle

Aristophanes actually uses two feminine names here, Ἀριστομάχη meaning ‘best-battler’ and Στρατονίκη meaning ‘conqueror of armies’.

Footnote

Marathon

A reference to the famous victory at Marathon in 490 BC against the Achaemenid (Persian) Empire, an example from long before of a time when Greek generals won something. The famous road race takes its name from the journey of the wing-footed herald who brought news of the victory home to Athens. Evidently, the Chorus of Women thought their menfolk had had their feet up ever since.

Footnote

Cleophon

Cleophon, who appeared in Aristophanes’s play The Frogs, was a general and demagogue who talked very grandly about war, but like the Duke of Plaza Toro in Gilbert and Sullivan’s light opera The Gondoliers:

In enterprise of martial kind
When there was any fighting,
He led his regiment from behind — 
He found it less exciting.

Footnote

Salabaccho

Salabaccho was a famous Athenian courtesan. She is mentioned in The Knights along with Cynna as having done as much for Athens as Lysicles (d. 428 BC), a leading figure in Athenian politics after the death of his friend Pericles.

Footnote

In a rout

In June 411 BC, there was a coup in Athens, with a new oligarchy taking over from the democratic government of the day. If we accept that Aristophanes is referring to this event, and if we assume that Thesmophoriasuzae was first produced at the City Dionysia, it must have been in the following Spring, in 410 BC. It should be said that some modern scholars date the play to the previous year, 411 BC, in which case the yielding of office mentioned here must refer to some event in the run-up to the coup.

Footnote

Prudence

Prudence here stands for a Greek name meaning ‘good counsel’.

Author Details

Aristophanes
William Lucas Collins
Source
Based on
Aristophanes: Comedies (1872) with a translation by Benjamin Bickley Rogers (1815-1887). The first part of the passage below is modified from a free translation in Ancient Classics for English Readers (1872) by William Lucas Collins (1815-1887). The second part is freely translated with the help of the verse translation by Rogers and a prose translation by Eugene O’Neill in Aristophanes Comedies: Now for the First Time Literally and Completely Translated From the Greek Tongue Into English (1931).

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