Wasps

University of Arkansas. CLST 1003; Introduction to Classical Studies, Greece. Professor Daniel B. Levine

ARISTOPHANES’ WASPS

(Translation by Peter Meineck)

“The Wasps” of Aristophanes at King’s College, London.  Illustration for The Graphic, 28 December 1895.

Due Monday, April 26, 2021.

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0. Why is this play called WASPS?

1. What is the significance of the names PROCLEON and CONTRACLEON? (235, 129)

2. What new word does Xanthias coin to describe the malady affecting PROCLEON, and what does it mean? (p. 139)

3. Why did PROCLEON come home with a lot of wax under his fingernails, and what does it show us about his character? (p. 140)

4. What four ‘cures’ did CONTRACLEON attempt on his father before resolving to lock the old man in the house? What kind of luck did he have with these attempts? (141)

5. Why does CONTRACLEON mention Odysseus, and why does PROCLEON say that his name is ‘no one’? (p. 145-46)

6. Why does the CHORUS say that PROCLEON remarked “You’ll have more luck getting blood out of a stone!”? (p. 152)

7. Where does PROCLEON want to be buried, if he dies attempting to escape from his own house? What does this tell us about his character? (p. 157)

8. When CONTRACLEON insists on keeping his father at home, what political charge does the CHORUS make against him? Why do they say this? (p. 163-65)

9. Who is to be the judge in the Agon between PROCLEON and CONTRACLEON? Why is this an appropriate or inappropriate choice? (p. 166)

10. Give three arguments which PROCLEON uses in the Agon to prove that he is not a servant. (p. 168-73)

11. What is the argument which CONTRACLEON uses in the Agon to prove that his father is a victim, and not a master? (p. 174-79)

12. What physical indication does PROCLEON give that he has been defeated in argument? (p. 178, and note on page 248)

13. Why is LABES the dog put on trial, and what are two important implications of his name? (p. 186)

14. What is used as a water clock in the dog’s trial? What kind of tone does this set for the scene? (p. 188)

15. How does the prosecutor CLEONHOUND show his own greediness and self- interest in his prosecution speech against the dog LABES? (p. 192) How might CLEONHOUND have been costumed? (line 903, and note page 251-252)

16. What makes PROCLEON begin to cry in the trial of LABES? (p. 196)

17. Why does PROCLEON faint when his juryman’s ballot is counted? What does this tell us about his character? (p. 198)

18. What is the message of the Parabasis to the Athenians? (lines 1009-1121, pp. 199-204)

19. What is the CHORUS Leader’s explanation of the Wasp costumes? (p. 202- 04)

20. Why can a portion of the play (example: p. 205-215) be described by the common expression “You can dress him up, but you can’t take him out?” What does this tell us about this character?

21. What is PROCLEON’S first reaction to the notion of going out to drink at a symposium, and how does CONTRACLEON react in defense of the symposium? What is the literal meaning (and etymology) of “symposium”? (p. 215-16)

 22. What is the basic message of the second Parabasis? Give one quotation to support your answer.(p. 217-18)

 23. How does PROCLEON attempt to hide the dancing girl from CONTRACLEON? Why does he want to do so? (p.221-223)

 24. How does PROCLEON react to the Baking woman’s complaint about him? How does this reaction emphasize his character? (p. 224-225)

 25. Whom does PROCLEON challenge to a dancing match, and who answers his challenge? Why does the play end this way? (p. 231-32)

26. What is the significance of the goddess Hekate in relation to this play at line 804 (see the note at the end of the play, on page 250)

27. What does Meineck say in regard to the Chorus of Wasps’ “stingers” and their costumes? (note, page 243)

28. Procleon tries to escape from his own house under a donkey, in imitation of Odysseus’ escape from the Cyclops’ cave under a ram lines 176ff). What does Meineck say about the staging of such a scene? (note, page 238)

29. What does Meineck say about the role of Cleon in the Wasps? (Introduction, pp. 126-130, especially pp. 129-130)