The “Wasps” is a comedy directed against this frailty of the Athenians. The old Philocleon (demagogue-lover), on account of his inordinate passion for sitting on juries, is forcibly detained at home by his son who, to console his father, arranges a trial of the dog Labes (Snap) who has rushed into the kitchen and devoured a Sicilian cheese. The trial is conducted with detailed and rigorous conventionality. The defendant is finally acquitted, thanks to the puppies, who are brought into court and “whining beg him off, entreat and weep!”—a parody on the common but illegal method of influencing a jury, which Socrates scorned to adopt when on trial for his life.
With the exception of the Acropolis itself, the great Dionysiac Theatre perhaps offers most to allure the visitor. Although in its present state, with the later disfigurements of Roman times, we can only with difficulty form a detailed picture of its structure even in the fourth century, yet the slight traces of the circular orchestra, now identified beneath it, entitle the visitor to associate with this site the classic drama and to give free play to not unnatural sentiment. It is an epitome of the Athenian drama. It interprets, and is interpreted by, a wide range of literature. Here, too, in later times were gathered popular assemblies. Here, looking over plain and sea, sat generations of citizens and guests to be moved to laughter or to tears. Here the “Shameless Man” of Theophrastus managed to get himself and his children in for nothing by manipulating the places which he had purchased for his foreign visitors.
And not only could the philosopher Theophrastus find subjects for his character sketches among the theatre-goers, and turn the critics into material for his critique, but his friend, the playwright Menander, could in his comedy use the dramatic troupe as matter for his sententious characterization. Already in the time of Aristophanes the chorus was unequally constituted: some members trained as star performers to take a more active part, others to move as mutes in the background. Menander utilizes this custom to illustrate, in a fragment preserved to us, the workers and the drones of life:—
“Just as in choruses not every one doth sing,
But certain two or three mere speechless dummies stand
Filling the rows, so here ’tis somehow similar:
These fill a space, while these, to whom God grants it, live!”
The precinct of the Asclepieum, adjoining the Theatre, was a Sanatorium where religion and faith-cures were combined with actual medical skill. In the “Plutus” of Aristophanes the blind god, Wealth, is restored to discriminating vision. His head was covered by “Panacea” with a purple cloth, and two expert snakes operated upon his eyes.[[10]] This comic scene is not, it may easily be credited, too much of a burlesque upon some of the practices at such places. Magic miracles, including the “absent treatment” of recalcitrant lovers, are not unknown in other ages. But a visit to the famous health-resort of the great school of Hippocrates, on the island of Cos, will tend to inspire a respect for Greek therapeutics. The “open-air” treatment on the mountain terrace overlooking the sea may have been modern enough, and, along with the use of the sulphur spring, suggests both technical knowledge and common sense.
Close by the Theatre to the east, hemmed in by modern houses, the beautiful little circular shrine, the Choragic Monument of Lysicrates, reminds us of the cost and rivalry attendant upon bringing out the dramas. The weathered sculpture around the top speaks once again of the inseparable connection of Athenian life and literature. It carries us back to the Homeric Hymn to Dionysus. The pirates who kidnapped the god are here undergoing punishment; some, already half changed into dolphins, are diving into the sea. In the hymn the pirates, who have carried off the youth in his purple robe, deem him a rich prize for ransom. But the vine with clustering grapes that presently entwines sail and yards proclaims the god. He transformed himself into a bear, then a lion, and they at the sight,—
“All of them shunning the doom that was on them, together out-springing,