Frogs Key Quotes

Examples of visual humour

-Xanthias on donkey, carrying bags

-Costumes (Dionysus dressed in Heracles’ costumes, silly aspects of the chorus of frogs, instance of Xanthias and Dionysus swapping costumes continuously)

Examples of farcical humour/slapstick

-Dionysus’ rowing competition against the frogs

-Bartering with the corpse to carry luggage

-Whipping scene w/ Aeacus

Examples of verbal humour/puns

-Heracles’ listing of ways of death (‘a bit of hanging around’)

-Dionysus comparing his desire for Euripides to ‘lentil soup’ (bathos of ‘cravings’)

-Repeated sounds by the frogs (usage of nonsense words)

Examples of bodily humour (scatalogical, phallic)

-Dionysus’ continual references to shitting himself (poo, fart, puke)

-Charon calling Dionysus, a god, ‘fatty’.

-’shift your pole around and say you need a dump’ (Dionysus)

Breaking of the fourth wall (metatheatre)

-Reference to other comedy plays (Aristophanes’ rivals) → allusions to ‘Phrynichus’ plays’

-Dionysus offers to buy the Priest of Dionysus a drink after the show

-Dionysus refers to the audience as ‘father killers and oath breakers’

Name of sea battle referenced

-Battle of Arginusae: key element of Pelopennesian War- Xanthias wishes he had fought in it, as slaves were granted freedom if they joined the navy

Name of the war referenced

-The Pelopennesian War (happened before Aristophanes’ wrote Frogs, leading to a decline of Athens)

Societal context of ‘Frogs’ (Parabasis, politicians)

-Corpse charging two drachmas reflected inflation of costs after the events of the war

-PARABASIS: preaches for equality of all citizens, including slaves and those who may have made mistakes (‘slate should be wiped clean’). Uses symbolism of coinage to differentiate between the ‘first class’, ‘vintage’ coins (representing older politicians), with the ‘new gold’ of the newer politicians, who are downgraded versions. Emphasis to ‘go for gold again’ (and stick to what you know).

-Inclusion of politicians as humour: multiple references to the homosexual tendencies of ‘Cleisthenes’, and condemning ‘Cleophon’ as an active enemy against peace.

Significance of the chorus

-Ancient audience would enjoy the inclusion of the Chorus of Initiates, who would draw allusions to the Eleusinian Mysteries and create nostalgia (their annual procession was disrupted due to the events of the war, and would be welcomed by the audience).

Conveying of audience’s fears

-Interaction between Xanthias and another slave reflected many Athenian’s fears of ‘slave talk’ (in order to get back at their masters): ‘having a grumble’, ‘a bit of snooping!’

Growth of Dionysus

-1st Half: presented as cowardly, almost inferior to Xanthias (a slave!), able to be tricked that Empusa is in front of him, and to the point that Aeacus is unable to differentiate between the two of them (also shows Xanthias’ virtue): ‘I can’t find out yet which one of you is the god’. Ridiculous competition he has with the frogs, mimicking their sounds and bringing himself to their level. → Yet, humorous presentation would be seen as worship for him.

-2nd Half: Grows into a more mature character as the judge of the agon, satisfies the model of a god the audience expects him to be. Acts as a mediator, resolving conflict instead of starting it: ‘don’t get cross or all high and mighty’. Opts to prioritise the needs of the city above his own personal favours: ‘whoever seems most likely to give useful advice to the exam’.

→ Yet, could represent the naivety of the easily-convinced politicians of Athens: ‘that’s good, by Apollo’.

Significance of Agon

-Represents the conflict between traditional values/new ideals (Aeschylus as the old, Euripides as the new).

-Aeschylus’ victory reflects the nature of the Parabasis (to favour tradition for the good of the city). Criticism of actual texts utilised, but also placed in a societal framework: fate of Alcibiades used as a question that would be on many Athenians’ minds. (Aeschylus’ views for Athens to work together echoes views of Parabasis, and solidifies his victory in the eyes of the audience- Euripides is incoherent).

Depiction of Euripides

-Represents the younger, more liberal generation: instead of invocating the gods, he prays to the senses: ‘air, which sustains me, hinge of my tongue’ (atheism was a bad move.

Speech echoes the principles of sophistry= he attacks the structure of Aeschylus’ plays in a manner often defying common sense (Argument described as ‘nonsense’ by Aeschylus- Dionysus presents E as speaking ‘cleverly’, but not ‘clearly’ like A.

Becomes somewhat incoherent by the final question (allows A to achieve victory), with the chorus rendering him ‘pompous’ and ‘deranged’ (has lost all support by then).

Depiction of Aeschylus

-Represents the traditional aspects of playwrights= Chorus of initiates refer to him as ‘The Thunderer’ (due to poetic prowess?), and his calling to ‘Demeter’ would satisfy the chorus more than Euripides’ answers. Yet, Euripides notes the challenging aspects of Aeschylus’ works that may be difficult for the reader to understand.

-Challenges Euripides’ work as somewhat immoral= presenting ‘kings in rags’ opens up the possibility of hypocrites and subordination (that post-war Athens would be weary of). Chorus refers to him as ‘the Bacchic King’, foreshadowing his victory, and later note that he is a ‘good thing’ who ‘understands’ what Athens need

-Achieves dominant victory due to final comment on what to do about Alcibiades= unlike Euripides, appears to share similar opinions to Aristophanes in Parabasis- uses imagery of treating a lion cub well after growing it in a city (previous misgivings should not be dwelled on, Athens should move forward)= declared WINNER.