But though Wagner with Mathilde Wesendonck in his arms was Tristan in the arms of Isolde, he did not find a melody instead of a kiss on his lips; he did not find a progression of harmonies melting through the contours of a warm beauty with a blur of desperate ecstasies, semitones of desire, he found only the anxious happiness of any other lover. Nevertheless, he was gathering the substance of the second act of _Tristan und Isolde_. And it is this that Plato means when he says that fornication is something immortal in mortality. He does not mean that the act itself is a godlike thing, a claim which any bedroom mirror would quickly deride. He means that it is a symbol, an essential condition, and a part of something that goes deeper into life than any geometry of earth's absurd, passionate, futile, and very necessary antics would suggest.
It is a universal fallacy that because works like the comedies of Aristophanes discuss certain social or ethical problems, they are inspired by them. Aristophanes wrote to express his vision on life, his delight in life itself seen behind the warping screen of contemporary event; and for his purposes anything from Euripides to Cleon served as ground work. Not that he would think in those terms, naturally: but the rationalizing process that goes on in consciousness during the creation of a work of art, for all its appearance of directing matters, is the merest weathercock in the wind of the subconscious intention. As an example of how utterly it is possible to misunderstand the springs of inspiration in a poem, we may take the following remark of B. B. Rogers: _It is much to be regretted that the phallus element should be so conspicuous in this play.... (This) coarseness, so repulsive to ourselves, was introduced, it is impossible to doubt, for the express purpose of counter-balancing the extreme earnestness and gravity of the play_. It seems so logical, so irrefutable; and so completely misinterprets every creative force of Aristophanes' Psyche that it certainly deserves a little admiration. It is in the best academic tradition, and everyone respects a man for writing so mendaciously. The effort of these castrators is always to show that the parts considered offensive are not the natural expression of the poet, that they are dictated externally. They argue that Shakespeare's coarseness is the result of the age and not personal predilection, completely ignoring the work of men like Sir Philip Sidney and Spenser, indeed practically all the pre-Shakespearean writers, in whom none of this so-called grossness exists. Shakespeare wrote sculduddery because he liked it, and for no other reason; his sensuality is the measure of his vitality. These liars pretend similarly that because Rabelais had a humanistic reason for much of his work--the destructior Mediaevalism, and the Church, which purpose they construe of course as an effort to purify, etc.--therefore he only put the lewdery to make the rest palatable, when it should be obvious even to an academic how he glories in his wild humour.
What the academic cannot understand is that in such works, while attacking certain conditions, the creative power of the vigorous spirits is so great that it overflows and saturates the intellectual conception with their own passionate sense of life. It is for this reason that these works have an eternal significance. If Rabelais were merely a social reformer, then the value of his work would not have outlived his generation. If _Lysistrata_ were but a wise political tract, it would have merely an historical interest, and it would have ceased spiritually at 404 B.C.
But Panurge is as fantastic and fascinating a character now as he was 300 years ago, Lysistrata and her girls as freshly bodied as any girl kissed to-day. Therefore the serious part of the play is that which deals with them, the frivolous part that in which Rogers detects gravity and earnestness.
Aristophanes is the lord of all who take life as a gay adventure, who defy all efforts to turn life into a social, economic, or moral abstraction. Is it therefore just that the critics who, by some dark instinct, unerringly pick out the exact opposite of any creator's real virtues as his chief characteristics, should praise him as an idealistic reformer? An "ideal" state of society was the last thing Aristophanes desired. He wished, certainly, to eliminate inhumanities and baseness; but only that there might be free play for laughter, for individual happiness.
Consequently the critics lay the emphasis on the effort to cleanse society, not the method of laughter. Aristophanes wished to destroy Cleon because that demagogue failed to realize the poet's conception of dignified government and tended to upset the stability of Hellas. But it was the stability of life, the vindication of all individual freedoms, in which he was ultimately interested.
JACK LINDSAY.
* * * * *
LYSISTRATA
The Persons of the drama.
LYSISTRATA CALONICE MYRRHINE LAMPITO Stratyllis, etc. Chorus of Women. MAGISTRATE CINESIAS SPARTAN HERALD ENVOYS ATHENIANS Porter, Market Idlers, etc. Chorus of old Men.
LYSISTRATA _stands alone with the Propylaea at her back._
LYSISTRATA
If they were trysting for a Bacchanal, A feast of Pan or Colias or Genetyllis, The tambourines would block the rowdy streets, But now there's not a woman to be seen Except--ah, yes--this neighbour of mine yonder.
_Enter_ CALONICE.
Good day Calonice.
CALONICE
Good day Lysistrata. But what has vexed you so? Tell me, child. What are these black looks for? It doesn't suit you To knit your eyebrows up glumly like that.
LYSISTRATA
Calonice, it's more than I can bear, I am hot all over with blushes for our sex. Men say we're slippery rogues--
CALONICE
And aren't they right?
LYSISTRATA
Yet summoned on the most tremendous business For deliberation, still they snuggle in bed.
CALONICE
My dear, they'll come. It's hard for women, you know, To get away. There's so much to do; Husbands to be patted and put in good tempers: Servants to be poked out: children washed Or soothed with lullays or fed with mouthfuls of pap.
LYSISTRATA
But I tell you, here's a far more weighty object.
CALONICE
What is it all about, dear Lysistrata, That you've called the women hither in a troop? What kind of an object is it?
LYSISTRATA
A tremendous thing!
CALONICE
And long?
LYSISTRATA
Indeed, it may be very lengthy.
CALONICE
Then why aren't they here?
LYSISTRATA
No man's connected with it; If that was the case, they'd soon come fluttering along. No, no. It concerns an object I've felt over And turned this way and that for sleepless nights.
CALONICE
It must be fine to stand such long attention.
LYSISTRATA
So fine it comes to this--Greece saved by Woman!
CALONICE
By Woman? Wretched thing, I'm sorry for it.
LYSISTRATA
Our country's fate is henceforth in our hands: To destroy the Peloponnesians root and branch--
CALONICE
What could be nobler!
LYSISTRATA
Wipe out the Boeotians--
CALONICE
Not utterly. Have mercy on the eels! [Footnote: The Boeotian eels were highly esteemed delicacies in Athens.]
LYSISTRATA
But with regard to Athens, note I'm careful Not to say any of these nasty things; Still, thought is free.... But if the women join us From Peloponnesus and Boeotia, then Hand in hand we'll rescue Greece.
CALONICE
How could we do Such a big wise deed? We women who dwell Quietly adorning ourselves in a back-room With gowns of lucid gold and gawdy toilets Of stately silk and dainty little slippers....
LYSISTRATA
These are the very armaments of the rescue. These crocus-gowns, this outlay of the best myrrh, Slippers, cosmetics dusting beauty, and robes With rippling creases of light.
CALONICE
Yes, but how?
LYSISTRATA
No man will lift a lance against another--
CALONICE
I'll run to have my tunic dyed crocus.
LYSISTRATA
Or take a shield--
CALONICE
I'll get a stately gown.
LYSISTRATA
Or unscabbard a sword--
CALONICE
Let me buy a pair of slipper.
LYSISTRATA
Now, tell me, are the women right to lag?
CALONICE
They should have turned birds, they should have grown wings and flown.
LYSISTRATA
My friend, you'll see that they are true Athenians: Always too late. Why, there's not a woman From the shoreward demes arrived, not one from Salamis.
CALONICE
I know for certain they awoke at dawn, And got their husbands up if not their boat sails.
LYSISTRATA
And I'd have staked my life the Acharnian dames Would be here first, yet they haven't come either!
CALONICE
Well anyhow there is Theagenes' wife We can expect--she consulted Hecate. But look, here are some at last, and more behind them. See ... where are they from?
CALONICE
From Anagyra they come.
LYSISTRATA
Yes, they generally manage to come first.
_Enter_ MYRRHINE.
MYRRHINE
Are we late, Lysistrata? ... What is that? Nothing to say?
LYSISTRATA
I've not much to say for you, Myrrhine, dawdling on so vast an affair.
MYRRHINE
I couldn't find my girdle in the dark. But if the affair's so wonderful, tell us, what is it?
LYSISTRATA
No, let us stay a little longer till The Peloponnesian girls and the girls of Bocotia Are here to listen.