Ancient Greek: Ἀχαρνεῖς (Akharneîs;Attic: Ἀχαρνῆς)
First performed at the Lenaia festival in 425 BC. Aristophanes won first prize in the competition with this play. The Acharnians was an anti-war play. The Acharnians or Acharnians was Aristophanes' third play. It is the earliest of the eleven surviving plays by Aristophanes. It was produced by an associate, Callistratus of behalf of Aristophanes who was too young at the time.
The central theme in this play is peace with Sparta, an end to the Peloponnesian War. Aristophanes tells the story of a simple country farmer from Acharnae named Dicaeopolis, who is tired of the war and its effect on his life. He concludes a separate peace with Sparta on behalf of himself and his family. Through the play's principal character Aristophanes mocks the politicians and military leaders of Athens, whom he sees as only wanting to prolong the war for their own benefit. Dicaeopolis is able to enjoy the benefits of peace, such as food, wine, and the ability to trade with Sparta, which was prohibited during the war.
The play also features a number of comedic scenes, such as a parody of a court case and a dance-off between two groups of men representing Athens and Sparta.
Acharnae, according to Thucydides, was the largest deme in Attica. In the fourth century BCE, 22 of the 500 members of the Athenian council came from Acharnae, more than from any other deme.
Dramatis Personae
Dicaeopolis[/Dikaiopolis] (meaning a just citizen)
Herald
Ampitheus (a demigod: half human half god - an immortal)
Ambassadors
Pseudartabus
Theorus
Wife of Dicaeopolis
Daughter of Dicaeopolis
Euripides
Cephisophon Euripides' Servant
Lamachos
Attendant to Lamachos
A Megarian
Two Girls (Daughters of the Megarian)
A Theban from Boeotia
Nicarchus (a Sycophant)
Dercetes, a poor farmer
A Paranymph
A Bridesmaid
An Informer (a Sycophant)
Messengers
Chorus of Elderly Acharnian Charcoal Burners
Skene: The Pnyx of Athens where the Athenian Ekklesia assembled, later Dicaeopolis' country house (which D could see from his place in the Pnyx).
Structure of Play
Prologue 1-203
Dicaepolis (alone): What matters have not eaten away my heart and how few have been the pleasures of my life! Four to be exact, whilst my troubles have been countless as the grains of sand on the seashore. Let me see what pleasures have been of real value to me, all those of which have been of delight to me. I remember when Kleon was made to part with 5 talents of silver and I was in an ecstatic frenzy when this happened. And I love the knights who did this. They brought honour to Greece. But that day when I was patiently waiting to hear a piece by Aeschylus what a tragedy it was to hear the Herald announce "Theognis nominate your Chorus". Imagine just how much a blow this struck at my heart. On the other hand, consider just how much joy Dexithusgus gave me at the music competition when he played a Boeotian melody on his lyre. This year in contrast, O what deadly torture it was to have to listen to Chæris play the prelude in the Orthian mode!
[An Ancient Greek musical mode which like the Harmatian was distinguished by the quickness of the time in which its movements were performed Its notes by their rapidity inflamed and hurried forward the impatient soldiers and partook so much of the fiery character of the Harmatian mode as to induce some to confound one with the other.]
Never, however, since I began to bathe, has the dust hurt my eyes so much as it does today. Yet today is the day when the Ecclesia is set to meet on the Pnyx. The session is supposed to start at daybreak, yet the place is deserted. They are all still chit-chattering in the Agora slipping in and out to avoid the vermilion rope.
[Several means were used to force citizens to attend the assemblies; the shops were closed; circulation was only permitted in those streets which led to the Pnyx; finally, a rope covered with vermilion (red ochre) was drawn round those who dallied in the Agora (the marketplace), and the late-comers, marked with the imprint of the rope, were fined.]
Even the Prytaneis haven't arrived yet.
[Magistrates who, with the Archons and the Epistatæ, shared the care of holding and directing the assemblies of the people; they were fifty in number.]
They will be too late. When they do come they will have to push and shove each other for a seat in the front row. Peace will not be of concern to them. O Athens, O Athens!
As for me I never fail to come to the meeting before all the others. Now I find myself all alone. I groan, yawn, fart and know not what to do with myself -I draw pictures in the sand and pull out the loose hairs from my head, muse, think of my fields, long for peace, curse town life and regret the occupation of my dear home in the countryside by the enemy. [Pericles had ordered all Athenians living in the country to move to the city inside its walls for their safety. Meanwhile the Spartans had occupied the regions of Attica around Athens.]
That house never told me to 'buy fuel, vinegar or oil'; there the word 'buy,' which cuts me in two when I hear it here, was unknown; I farmed for everything I needed at will. Therefore I have come to the assembly today fully prepared to bawl, interrupt and abuse any of the speakers if they talk of anything else but peace.
[Enter a Herald, the Prytaneis, and Archers and a large Group of Citizens]
But here come the Prytaneis, and high time too, for it is already noon! Just as I predicted, hah! is it not so? They are pushing and shoving one another fighting for the front seats.
Herald: Move along there. Find your way into the sacred precinct.
[Sacred precinct because all meetings of the Ecclesia began with the sacrifice of piglets to the goddess Demeter before they commenced their proceeding with their blood of the piglets being sprinkled on the seats of the Prytaneis.]
Ampitheus (to Dicaepolis): Has anyone spoken yet?
Herald: Who wishes to speak?
Ampitheus: I do.
Herald: And who are you?
Ampitheus: Ampitheus.
Herald: You're not even a human being!
Ampitheus: No, I'm an immortal. The first and original Amphitheus was son of Demeter and Triptolemus; of them was born Celeos; Celeos married Phenaretes, my grandmother, who had for son Lycinus; and by the latter, I am an immortal. The gods have charged me to make a peace deal with the Spartans, I alone. But, though I am an immortal, gentlemen, I have no provision for my travelling expenses and neither will the Prytaneis give me anything.
The Herald: Archers! Seize him!
[Two Scythian archers seize Amphitheos.]
Ampitheos: O Triptolemos and Celeos, have you abandoned me?
Dicaeopolis (standing up): Gentlemen of the Prytanes, you outrage the Assembly's dignity by having this man arrested, who only for the sake of our good wanted to make peace and suspend the war.
Herald: Dicaeopolis: Sit down and be silent!
Dicaopolis: Ah no, by Apollo, I refuse to, if you do not consent to put the question of peace under deliberation.
The Herald (making an announcement): "The ambassadors have returned from the Great King's court!"
[There is a silent pause. The Ambassasors then file in.]
Dicaeopolis: Indeed they have come from the Great King himself! They bore me these ambassadors, with their peacocks and charlataneries!
The Herald (to Dicaeopolis) Be silent!
Dicaeopopis (on seeing the ambassadors making their entrance dressed in fancy Medean fashion): O damn! by Ecbatana, what outfits!
The Chief Ambassador (advancing before the Prytaneis speaking pompously): You sent us to the Great King [The King of Kings of Persia], with a pay of two drachmas a day, during the archonship of Euthymenes [437-6 BC].
Dicaeopolis (aside): Alas! So this is what has become of all our poor drachmas.
The Ambassador: In truth how hard it was it was for us to make this journey across the Caystrian plains, over which we traveled in carriages well sheltered by awnings, in comfortable litters where we lay all-snugged dying of boredom from the journey.
Dicaeopolis (aside): On that account, I must have done pretty well for myself, me stretched out along the ramparts here in the dirt.
The Ambassador: Our hosts forced us to drink pure sweet wine out of crystal and gold goblets!
Dicaeopolis (aside): City of Cranaos [second king of Athens, successor of Cecrops]! You do understand that your ambassadors are laughing at you!
The Ambassador: It's because the barbarians only consider as men the big eaters and the big drinkers.
Dicaeopolis (aside): Just like us here in Athens, we only esteem the prostitutes and the drunken debauchees.
The Ambassador: During the fourth year we arrived at the Great King's court. But the latter had left in the saddle, to accompany his army. For a whole eight months he exercised them in the Golden Mountains [a non-existent land].
Dicaeopolis (aside): And how long did he take to replace his dress? When the moon was full?
The Ambassador: Only then did he return home. Then he gave us a treat: he served us whole oxen baked in an oven.
Dicaeopolis (aside): And who ever has heard of beef being baked in an oven? Good riddance to such lies!
The Ambassador: Yes, and, by Zeus, one day he served us a bird three times bigger than Cleonymos; they called it the Deceiver.
Dicaeopolia (aside): So that's how you were deceiving us, whilst receiving your two drachmas a day.
The Ambassador: And today here we have brought with us Pseudartabas, the King's Eye.
[Some officials at the Persian court were so named. The Eye of the King or the King's Eye was an official, an overseer appointed by the King to ensure that the tribute paid by subject peoples in the empire was received. These officials were the Eyes and Ears of the King. They had privileged access to the royal presence.]
[The Landmark Herodotus : the histories : Herodotus - Internet Archive]
[Eye of the King - Livius]
[Balcer, J. M. (1977). The Athenian Episkopos and the Achaemenid “King’s Eye.” The American Journal of Philology, 98(3), 252–263. https://doi.org/10.2307/293776 https://www.jstor.org/stable/293776]
[The satraps themselves underwent regular inspections by other officials, called “the king’s eyes” or “the king’s ears” who travelled all over the empire (accompanied by troops sufficient for immediate action), paid unexpected visits for examination of the satraps’ conduct or other representatives’ administration (e.g., at the immense royal estates), and reported directly back to the king. These royal inspectors or controllers, confidants to the king (to avoid saying his spies) normally stood in strained relations to satraps and local authorities. Unfortunately the Iranian form of such title(s) is not attested; in Iranian sources we find neither “the king’s eyes,” “the king’s ears,” or anything similar. Greek sources vary between “the king’s eye” (Herodotus 1.114.2; Xenophon, Cyropaedia 8.2.10-12, 6.16, etc.) and “the king’s ears” (ibid., 8.2.10-12; cf. Herodotus 1.100.2 on the Median Deioces’ “watchers and listeners”); an Aramaic papyrus from Elephantine does preserve gwškyʾ, the plural form of *gōšak, which reflects (as does Armenian gušak “informer”) an OPers. *gaušaka- “listener.” Encyclopaedia Iranica]
Dicaeopolis (aside): May his eye be pecked out by a crow, and the Ambassador's eye too!
The Herald (making an announcement): "The King's Eye!"
[Enter Psedartabas, a Persian, dressed in Medean costume and mask bearing in the middle of his forehead an enormous eye. He is accompanied by two mute figures dressed as eunuchs]
Dicaeopolis: By Lord Heracles! you look like a warship! Are you in need of safe harbour? And I suppose that hole which surrounds your eye is meant for an oar.
The Ambassador: Come Pseudartabas, explain the purpose of the mission which the King of Persian has entrusted you with to bring to the Athenians.
Pseudartabas: Iartaman exarxan apiaona satra.
The Ambassador (to Dicaeopolis): Did you understand that?
Dicaeopolis: No, by Apollo, not me. What did he say?
The Ambassador (to the Prytaneis): He says the King will send you gold! (To Pseudartabas.) You, speak of the "gold" out loud and clearly.
Pseudabartas: Born to receive gold; bugger off loniangs. You'll get no goldie from me!
[Ionians: what all the Greeks were called by the Persians.]
Dicaeopolis: O misfortune! How clearly spoken!
The Ambassador: What has he said then?
Dicaeopolis: What he says? That the Ionians are bloody fools if they expect to receive any gold from the barbarians.
The Ambassador: But no! you are wrong. On the contrary, what he has said is that there are "cartloads of gold."
Dicaeopolis: Cartyloads? What are you singing there? You are a big impostor. Go away. I will question this man myself, alone. (To Pseudartabas.) Come on, explain yourself clearly to me, in front of this one (he shows him his staff), so that I don't have to dye you in Sardis purple. Will the Great King send us gold? (Pseudartabas raises his head back in a sign of denial.) But then, were we unworthily deceived by our ambassadors? (Pseudartabas tilts his head forward in a sign of affirmation; the eunuchs imitate him.) This is the Greek manner that we say "Yes". these people. I'm sure are from right here. And among the eunuchs, there is one, this one, that I recognise [tearing the mask off his face]; Yes, this is Clesthenes, the son of Sibyrtios! O the brazen design of a head shaved behind its ears! It is with that beard, "O you Big Baboon", that you came here to play the eunuch in disguise? And this one [to the other eunuch and tearing the mask off his face too] - "Who can you possibly be? You're Straton, aren't you?"
The Herald:. Silence and sit down! The King's Eye is invited by the Council to come to the Prytaneum.
[Prytaneion where foreign ambassadors and dignitaries were wined and dined by the Athenians.]
[Dicaeopolis gives eight drachmas to Ampitheos who leaves the Arena.]
[Sitalces - Wikipedia]
Dicaeopolis (aside): I won't believe that till I see them. As for a swarm of locusts I'll expect that.
Theoros: So he has sent you the most warlike tribe from Thrace
Theoros: I give you the Odomantes!
[Odomantes were a people found in Thrace. Odomanti - Wikipedia]
Parodos 204-279
Parodos Proper 204-241
Enter The Chorus of Elderly Acharnian Charcoal Burners led by their Chorus Leader.
The Chorus Leader: This way everyone; follow the trail. Let's hunt this man down, ask all passers-by whether they have seen him. It is important to the well-being of the polis of Athens that we arrest this man. (Addressing the audience) Just like when we went to war please give us a sign if anyone knows where in the world the bearer of these peace deals may have passed.
The Chorus: He has escaped us, he's disappeared! Damn old age! When we were young, we easily kept up our pace behind Phayllus, even running with a full sack of charcoals on our backs. This wretch would not have eluded our pursuit then. Let him, this accursed bearer of these truces, be as swift as he will; he would not have so easily escaped us despite his agility.
[Phayllos of Croton - Olympic champion, reputed to be the fastest runner of antiquity and equally good in the Pentathlon.]
The Chorus Leader: But today, when my limbs feel stiff and old Lacratides senses that his legs are heavy, the traitor has disappeared. No matter, let's continue to pursue him; never let him taunt us again, old as we are, for having escaped us, for we are Acharnians!
[Lacratides had been Archon at the time of the battle of Marathon.]
The Chorus: This man, O Zeus and by all the gods, has concluded a peace deal with our odious enemies, against whom our bellicose ardour has grown unceasingly with our hatred for them and against whom we would continue the war; we want vengeance for their having devastated our fields! We won't have respite until we have returned to our lands. Let there be no mercy for our foes until we have pierced their hearts with sharp reeds, so that they never again dare to ravage our vineyards.
The Chorus Leader: Come on, let us look for this man, and let us look in the direction of Ballene, and there pursue to him to the ends of the world, until we eventually find him. And let us gather up enough rocks which to stone him with.
[Play on words: Pallene was a town in Attica; the substitution of a B for a P introduces the idea and concept of a stoning.]
Dicaeopolis (from inside his house ): Peace! profane men!
[The formula pronounced by a priest at the commencement of a sacrifice.]
The Chorus Leader: Quiet everyone! Shut up! You heard it, didn't you, the call to prayer? This is the one we are looking for. It is he, himself. Over here, all come away over here. It is time for us to offer a sacrifice, it seems, that our man is preparing to leave this house.
Phallic Procession 242-279
Dicaeopolis (he comes out of the house carrying a stewing-pot: behind him are his Wife, his Daughter, and two Slaves carrying a phallos): Gather round. Gather round and keep holy silence. Come forward a few steps our Kanephore to the front of the procession [the Kanephore is his Daughter, carrying a basket on her head]. Xanthias keep the phallos standing upright. Put the basket down, dear Daughter; and let us offer up its first fruits in sacrifice.
The Daughter (she puts the basket down and lifts the sacred flat-cake out of it): Mother, please pass the gravy-ladle to me, so that I can pour the gravy over this cake.
Dicaeopolis: And now everything is fine. O Dionysos, my master, may this procession that I lead and the sacrifice that I offer to you together with the whole of my household be pleasing to you. Allow me to celebrate the Dionysia of the Fields [Rural Dionysia] happily, rid of all military service, and may the peace with Sparta bring me happiness, the deal that I have privately made with them to last for thirty years. Come on, my daughter, make sure that you carry the basket on your head reverently, with your eyes lowered, as if eating salad. Happy is he who will marry you and make you little kitties [baby weasels] who will be as happy as you were to belch wind at daybreak. Proceed amongst the audience, but do take care that unbeknownst to you, that your gold jewels which you are wearing are not filched from you. (To his slaves) Xanthias, both of you take care to hold the phallos upright behind the Kanephoros [The Basket Bearer, Dicaeopolis' Daughter]. I will walk behind you singing the phallic hymn. As for you, my wife, you may watch us from the uppermost terrace of our house. Everyone forward proceed!
[The Kanephores were virgin girls who carried on their heads baskets in a phallic procession containing the items intended for sacrifice.
Kanephoros]
[Kitties: young girls, whom we might call them colloquially, kittens. The text actually refers to weasels: the ancient Greeks domesticated weasels, as we do cats, and for the same purpose, keeping one's home free of vermin.The young of weasels are called kits]
Phales, companion of Dionysos in his phallic processions, night reveller, adulterer, lover of young boys, after five years at last I am able to welcome you back in my village with joy in my heart, after having concluded a truce with the Spartans for myself alone, a truce which frees me from worries, from fighting and the Lamachoses [Lamachos was an Athenian general]. How much sweeter it is, O Phales, Phales, to surprise, poaching for firewood, the pretty woodcutter, Strymodorus' slave, Thratta, returning from the woods on Mount Phelleus, to seize her round her waist, and throw her down on the ground to lay with her! O Phales, Phales, if you want to drink with us, when you have come out of your drunken state by dawn, you will share a good meal with us to celebrate the peace, and I will hang up my shield in the hearth.
[The Demi-God Phales]
Battle Scene 280-357
The Chorus-Leader (in a low voice): There he is, it's him, there he is! Spear him, spear, spear, spear . (Louder and more vigorously) strike at him, strike him down that infamous traitor! Throw your stones at him, pelt him with them!
Dicaeopolis (making a shield from the lid of his pot): Heracles! what is this? You are going to break my pot. (The Kanephore [D's Daughter] and the two slaves carrying the phallus come running back.)
The Chorus: We will kill you, you heinous, most despicable man.
Dicaeopolis: And what for, Acharnians?
The Chorus: You have asked for it, you impudent villain.You are a traitor to our country, who has alone of all of us made a truce with the enemy and now dares to look at us in the face after that!
Dicaeopolis: But why ? Haven't you understood why I made the deal ? Well, listen.
The Chorus: Let us listen to him? Rather he should die. We will bury you under a pile of stones that we have brought with us.
Dicaeopolis: No! Don't do anything until you have listened to me at least. Allow me to explain myself. Have patience my good people.
The Chorus: No, we will not suffer it. We will not be patient. Don't make speeches to us. Know that we hate you even more than Kleon, whose skin we will carve up to make soles for the shoes of Knights!
The Chorus-Leader. As for you, I am not going to listen to your speeches, you who have dealt with the Spartans; I am going to punish you.
Dicaeopolis: My brave comrades, leave the Spartans where they are and just listen to the terms of my truce and see if I did well to conclude it.
The Chorus-Leader: "Well done?" How can you still talk like this, when you have once dealt with people for whom altars, good faith, covenants, and for whom no oath is sacred!
Dicaeopolis: I also know that the Spartans, from whom we expect too much, are not the cause of all our troubles.
The Chorus-Leader: Not all of them? you arrogant rascal! And you dare to tell us openly, face to face! And as for me, after that you expect me to save you!
Dicaeopolis: Not all, not all. I who speak to you here, I could demonstrate to you that many things that our enemies see we that we have faults to reproach us with.
The Chorus-Leader: These words are too strong for me now! My heart is overwhelmed! You dare, when speaking to us, to defend our enemies?
Dicaeopolis: And even if my reasons are not right, if the people here are not of my opinion, I agree to speak to you with my head on a butcher's block.
The Chorus-Leader: Please tell me fellow citizens of my deme why are we sparing with our stones when we could make a scarlet coat of this fellow here.
Dicaeopolis: What fury! What black ember has suddenly set you ablaze! You don't want to listen to me? Do you really want to do that, noble Acharnians?
The Chorus-Leader: No! a thousand times no!
Dicaeopolis: This is hateful injustice, see what you make me do.
The Chorus-Leader: May I die, if I listen.
Dicaeopolis: No, please, have mercy, relentless Acharnians!
The Chorus-Leader: You are going to die. Know it this instant.
Dicaeopolis: Well, let there be blood for blood. In my turn, I will kill the dearest of those who are dear to you. Know that I have hostages from Acharnes here, I will cut their throats.
The Chorus-Leader: Acharnians what does this threat mean to us people of Acharnes? Would he keep the child of one of us locked up in his house? If not, what gives him so much confidence?
Dicaeopolis (goes inside and returns with a basket loaded with charcoal and a sword): Throw your stones if you like; I will destroy this one. I shall soon know which of you has any affection for charcoal.
The Chorus-Leader: So that's it for us. This basket is from my deme. Do not complete the blow you are about to strike; no, please, no!
Dicaeopolis: I will kill him, you know, despite your cries. I don't want to hear a thing.
The Chorus: You are going to kill this basket, a fellow-citizens of our life, this dear friend of the charcoal burners?
Dicaeopolis: Me neither, just now, you just didn't want to listen to me.
The Chorus: Well, speak up now and tell us what you think right now. Why the Spartans?
Dicaeopolis: First, put down your stones!
The Chorus: There 'tis done! Now you put your sword away.
Dicaeopolis: I need to check that you have no stones hidden amongst your cloaks.
The Chorus (shaking their clothes as they dance) : Look we are shaking our clothes. They have all fallen to the ground. Don't haggle with us. Lay down your sword.
[Dicaeopolis puts down his sword]
Dicaeopolis: You were bound to stop your shouting in the end, but some charcoals from Mount Parnes very nearly died because of the intransigence of some of their fellow deme citizens.
[He puts down the basket he is holding].
And this basket because it was so shaken in fear for its life has covered my clothes in coal dust, the same that a cuttlefish would do [with its ink] when frightened. It's dreadful that men in their passion shout and throw stones, and can't be bothered to listen to both sides and try to block me when I have something to say about the Spartans in their favour, even if I have my head on the butcher's block clinging onto my life whilst doing so, for I do love life.
Proagon 358-489
The Chorus: Well, go inside and bring that block out, and put it down in front of your door. Let us hear what you have to say. We are curious to listen to the argument you can put forward in your defence. Say what you have to say, but do put your head on the block when you speak.
[Dicaeopolis goes inside the house and brings out a butcher's block.
Dicaeopolis: Here it is [the butcher's block]. and here I am, little me, without my shield ready to speak freely in defence of the Spartans. I am afraid, but I do know the ways of our simple country folk. They're mighty pleased when some quack of an orator comes to their polis and heaps praise and flattery upon their township and them. That's how they are bought and sold. They do not see how such deceivers are really traitors ready to sell them out for personal gain. As for the older men, I know their weakness as jurors; they only seek to overwhelm the accused with their votes. Nor have I forgotten how Kleon maltreated me last year because of my comedy [The Babylonians]. He dragged me before the Senate-Council [Bouleuterion].
[https://en.wikipedia.org/wiki/Bouleuterion]
[Kleon had denounced Aristophanes to the Senate for having mocked Athens in his play The Babylonians before strangers, many of whom were present at the performance.]
[Norwood, G. (1930). The Babylonians of Aristophanes. Classical Philology, 25(1), 1–10. http://www.jstor.org/stable/263373]
There he made several attempts to denounce me for having slandered the City. What insults and lies his tongue threw at me. He roared at me like a Kykloboros, flooding me with abuse. I almost perished in a latrine pit of troubles, but before I make my speech let me dress up in miserable clothes.
The Chorus: Why all this scheming for delays? Wait! Hades lends you his Helmet of Darkness. He lends it to you to send you into an invisible oblivion.
[Cap of invisibility - Wikipedia]
The Chorus-Leader: Make your case; demonstrate your Sisyphaean wiles. Tell yourself that the debate once started will not allow for any further delay or evasion.
[Sisyphus - Wikipedia]
Euripides Scene 393 - 479
Dicaeopolis: It is time I well see, to procure for myself someone who speaks with a strong soul. I must go and find Euripides. (Knocking on Euripides' door - the central door of the stage building) Slave, slave!
Euripides' Slave: Who's there?
Dicaeopolis: Is Euripides at home?
Euripides' Slave: He is both not here and here, if you have the nous to understand what I mean.
Dicaeopolis: How can that be? him being both here and yet he is not here?
Euripides' Slave: Exactly, old man, his mind is outside busy collecting verses; he is therefore not at home; but he himself is here, lying with his feet in the air for he is writing a tragedy.
Dicaeopolis: O thrice lucky Euripides to have a slave who is so smart in his responses! (To the Slave) Bring him to me.
[Quite contrary to the general notion of slavery: slaves should be seen and not heard, and should not have minds of their own and ought to keep their opinions to themselves. But Euripides himself had much to comment on the state of slavery.]
[Euripides slave - Google Search]
Euripides' Slave: But that's not possible.
[The Slave shuts the door]
Dicaeopolis: Call him anyway. I will not leave, and will knock on the door. (He knocks) Euripides, my little Euripides! lend me your ear, if you ever did so to a man. It's Dicaeopolis calling you, Diceaopolis from Deme of Cholleidae; it's me.
Euripides (from inside): I don't have the time.
Dicaeopolis: Oh very well, have yourself wheeled out on the ekkylema.
[Ancient Greek Theatre: Stage Machinery]
Euripides: Impossible.
Dicaeopolis: Come down anyway.
Euripides: Well then, let them roll me out. As for coming down, I don't have the time.
[The ekkyklema turns revealing the interior of Euripides' house. Euripides himself is wheeled out on the upper storey of his house lying on a couch, and, beside him is his slave. On the back wall one can see several rows of theatrical costumes hanging and, on the floor, a load of stage props.]
Dicaeopolis: Euripides, what rags are these?
Euripides: What words strike my ear?
Dicaeopolis: You compose with your feet in the air, when you could put them on the ground! I understand that you are trying to create cripples. But why wear these tragic rags, such a pitiful costume? I understand it when you are creating beggars. But please, begging you on my knees, lend me one of your rags from an old play of yours. I have to deliver a long speech in my defence before the Chorus, and it's death for me if I deliver it badly.
Euripides: Which rags would you prefer? Those in which I dressed Oeneus, that unhappy, miserable old man?
[Oeneus was king of Calydon and after having been deposed by his nephew was sent into exile as a beggar]
Dicaeopolis: No, not Oeneus'. I need those of some hero even more pathetic.
Euripides: Poor blind old Phoenix's?
[Phoenix was blinded after being falsely accused of eyeing his father's mistress.]
Dicaeopolis: No, not Phoenix. There was one other, more miserable than Phoenix.
Euripides: What shreds of coat can he claim? Unless you mean those of Philoctetes the beggar?
[All the mentioned characters were all protagonists in plays by Euripides]
[Oeneus - Wikipedia]
Dicaeopolis: Yep, that's the chap I mean.
Euripides (to his Slave): Go fetch and give him Telephus' costume.
[Euripides' Slave goes inside the house and comes out of the front door with Telephus' rags]
Quasi-Agon 490-625
Part I 490 - 556
[Xenophon, Memorabilia, Book 2, chapter 7 section 6]
[Simaitha — Wikipédia]
[Les courtisanes dans la Grèce classique : entre réalité et représentation. Approche prosopographique, philologique et rhétorique. ». by Cécilia Landau - Academia.edu]
[Thucydides, The Peloponnesian War, Book 1, chapter 139, section 1]
[Timocreon - Wikipedia]
[Aegis - Wikipedia]
Iambic Scenes and Lyric Interludes Lines 719 - 999
The piglet and the Eleusinian Mysteries
The Megaran: Not sacrificed to Aphrodite? but that's what they are meant for. The flesh of these piglets will taste just fine when skewered on a spit.
[Ancient Greek units of measurement - Wikipedia]
Lines 836-859
Lines 860-
[A Boeotian [from Thebes] enters, followed by his Slave, Ismenias, who is carrying a large assortment of items of food. They are followed by a troop of pipers.]
Dicaeopolis: Well look who's coming now, if it isn't Nicarchus [a sycophant/informer] himself coming to denounce you.
Nicarchus: Who's goods are these?
The Theban: They're mine, from Thebes, which, by Zeus, I bore on my back all the way from there.
Nicarchus: Then I hereby denounce and declare them to be enemy contraband.
The Theban: How about that? Are you making war on the wee birdies?
The Theban: How have I done you wrong?
Nicarchus: That will I announce for the benefit of our bystanders - you have brought lantern wicks from the enemy. With those you can set fire to our docks.
Dicaeopolis: Burn the docks down with a lantern wick? How?
Nicarchus: The Boeotian could stick it lighted on the back of a beetle and float it down the water channel straight from the docks. And if Boreas [the god of the north wind] stirred up the slightest stiff breeze all the ships would blaze up in an instant.
Dicaeopolis: Go to blazes yourself, you troublemaker. All that with a lantern wick and a beetle?
[Dicaeopolis strikes Nicarchus with the leather straps]
Nicarchus: Bear witness as to how he is abusing me.
Dicaeopolis (to his Slaves): Go and fetch me some wrapping and straw, to pack him up in a bundle like some fragile crockery ready to be transported out of here.
[Dicaeopolis' Slaves go inside and bring out some packing materials and wrapping tape. Dicaeopolis and his Slaves set about wrapping up Nicarchus like an Egyptian mummy]
The Chorus (singing): Take great care when you wrap up this dwarf, so that our friend, The Theban, can take it back home unbroken.
Dicaeopolis: This I will do, for sure indeed, for it already creaks as if it were already cracked and discarded by the gods.
The Chorus: What will he do with it?
Dicaeopolis: Every use possible - a cupful of ills, for squeezing oil out of lawsuits, like a lamp shining on the audit of accounts, an informer is like a poisoned chalice filled with all kinds of malice.
The Chorus: But who can safely use a thing like this in the house day after day when it is already a thing which creaks and clatters?
Dicaeopolis (to the Theban): It is strong and sturdy, made for rough usage, but when you hang it up hook it with its heels above with its head hanging down.
The Chorus: Boeotian, you've got a lovely package there. Things are looking good for you.
The Theban: Well, I am certainly going to reap a fine harvest with it.
Chorus Leader: Farewell, our fine friend, take this sycophant away with you. Put him to use wherever you will. And pile him up with all your other sycophants.
Dicaeopolis: Preparing this troublemaker for transport was a lot of hard work; so here, load him up and take him away.
[Dicaeopolis hands the bound-up and packaged Nicarchus over to The Theban who loads it up onto the back of his Slave, Ismenias]
The Theban: Ismenias bend down and take this package on your back, and carry it like this. Be sure to carry the right way up. it
Dicaeopolis: Take care when carrying him home. You've got a bundle of trouble there, but still, if you succeed in making a harvest out of him, you'll be in fortune's way, as regards informers.
[Exit the Thebans]
[The Slave of Lamachos enters]
The Slave: Dicaeopolis!
Dicaeopolis: Who's yelling out my name?
The Slave: Dicaeopolis. Lamachos has commanded you to attend to him at the Pitcher Feast [Choes, 2nd day of the Anthesteria]. Bring for this drachma here, some thrushes and also for a further three drachmas bring him a Copaic eel.
[In Greek mythology, Aegis is the shield or protective cloak worn by Zeus, the king of the gods. It was often depicted as a goatskin shield adorned with the head of Medusa, the Gorgon with snakes for hair.]
[The Pitcher Festival or Choes/Χοαί was the 2nd day of the Anthesteria Festival. This festival was so-named after the choes, which were the large earthenware 3-quart pitchers used to store and pour wine from. During the festival, the Athenians would deck the streets with flowers and greenery and hold a procession to the temple of Dionysus. On the same day, the wife of King Archon would undergo a secret marriage to Dionysos in the Lenaeum]
[Everyone Was Drinking! Inside an Ancient 3-Day Festival of Wine - Getty Iris]
[Sanctuary of Dionysus, Athens]
[The Dramatic Festivals Of Athens - The Anthesteria: Pickard-Cambridge, Arthur - Internet Archive]
Dicaeopolis: Who is this Lamachos that wants an eel?
The Slave: Lamachos the Terrible, the dreaded one, the Tough, the one who wields a shield bearing the aegis of a Gorgon, and sports a helm with three cocked plumes like egrets, which shade his head.
Dicaeopolis: No way by Zeus, he will have nothing until he gives me his shield and that only for salted fish if he “waves his egrets” at me. If he shouts too much, I will summon the market inspectors. (He grabs the leather thongs and Lamachos' Slave leaves.) Me, I will take all of these goods for myself alone (He gathers up the food and birds under his arms.) and I will now go home (singing) 🎵To the sound of wings so soft with thrushes and blackbirds🎵.
[Dicaeopolis leaves with his goods into his house]
[Enter on high (Deus ex Machina) a female apparition, bearing the symbols of Peace (Eirene)]
Chorus: O you, you who were reared together with the beautiful Cypris [Aphrodite] and the Charites [Charites], O Peace! How beautiful your face is as if we didn't already know this before! O if only Eros could unite us with you, an Eros like the one who is in the painting with the crown of flowers! We are very quaint perhaps in your eyes? But, if we had you, we could still, we think, carry out a triple task: we could first plant a long row of young vines, and then next to it, plant young fig cuttings, thirdly we could tie the shoot of a cultivated vine, old as we are, around the whole enclosure, in a circle, round the olive trees, the oil from which could serve to anoint both you and us at the festival of Neomenia [νεομηνία, festival of the new moon].
Enter a Herald
it began thus - 🎵“Beloved Harmodios, ah no! you are not dead”🎵.
Fathers celebrate the festivities by drinking to the sound of the trumpet. Whoever empties his wineskin first will receive a wreathe and a wineskin, the belly of Ctesiphon.
Chorus: How like trumpets his orders sound.
Dicaeopolis: Be sure the pieces of eel are browned.
Chorus:
The words you speak, your savoury rites,
Do sharpen our appetites
Dicaeopolis: Now grill all these other things, browning them nicely.
Dicaeopolis: Who are you and what do you want?
Patanymph: I am the Paranymph from a wedding feast. The Groom has sent you this meat.
Dicaeopolis: How kind of him, whoever he is.
Paranymph: In exchange for the meat he begs that you pour him out one drachm of Peace unction into this flask to keep him and his new bride safe in their home.
Paranymph: The Bridesmaid has a secret message from the Bride for you.
Dicaeopolis (to the Bridesmaid): Well then, what do you have to tell me?
[The Bridesmaid whispers the message in Diaeopolis' ear]
Dicaeopolis: Oh how laughable the bride's request is! She is so insistent in her demand. The Bride has begged me to make it possible for her husband's penis to remain at home Hey! bring my treaty with the Spartans here, so that I can give it only to her, for she is a woman and is not guilty of the war. (A slave brings out a wineskin) Come here, woman, and hold the flask for the unction under here. Do you know how to use it? Explain it to the bride — when they need to recruit the soldier, let them anoint the husband's dick with this at night.
[The Paranymph and Bridesmaid exit]
[Enter a First Messenger]
The Second Messenger: Get you to the banquet as quickly as possible together with your basket of provisions and your pitcher. The Priest of Dionysos has invited you. But hurry up - you are already late for it. Everything is ready - tables, couches, cushions, rugs, garlands, fragrances, sweets, and the whores have already come, pancakes, cakes, sesame rolls, pies, and the dancing girls are there singing 🎵Beloved Harmodios🎵. But do hurry to it as soon as possible.
Lamachos: Oh how unfortunate I am!
Lamachos (to Dicaeopolis): Hey man! Have you done with mocking my armour?
Dicaeopolis (to Lamachos): Hey man! Please refrain from ogling my thrushes?
Lamachos (to his slave): Bring me the case of my triple plume.
Diceopolis (to his slave): Bring me a little dish of hare stew.
Lamachos. Oh, how the moths have eaten my egrets?
Diceopolis: Oh, will I get to eat my stew before dinner?
Lamachos (to Diceopolis): Hey man! Would you mind not speaking to me?
Dicaeopolis. (To Lamachos): But I am not speaking to you; but to his Boy with whom I have been conversing for quite a while. (To his slave.) Do you want to have a bet and have Lamachos as your arbiter? He will tell us whether locusts or thrushes are better.
Lamachos: O the insolence!
Dicaeopolis (to his slave): Look he judges locusts to be greatly superior.
Lamachos: Boy, boy, pick up my spear and bring it to me.
Dicaeopolis: Kid, kid, take the sausage off the grill and bring it to me.
Lamachos: Come, let me draw my spear from its scabbard. (Giving one end of the scabbard to his slave.) Hold on, (each grabbing one end they pull on each other, each on their end), hold on tight, little one.
Dicaeopolis (handing his slave the end of a huge sausage, and tugging on it): You too, boy, hold on tight.
Lamachos. Go kid and get me the tripod supports for my shield.
Dicaeopolis. Boy, bring me the oven-baked loaves to support (caressing his stomach) mine (a large round one).
Lamachos. Bring my shield with the Gorgon on it here.
Dicaeopolis. And bring me a round cake with cheese on it.
Lamachos. Isn't this a mockery that we call tasteless?
Dicaeopolis. Isn't there a cake that we name delicious?
Lamachos: Pour, boy, oil on the shield. On its bronze surface I see reflected an old man who will be charged with cowardice.
Dicaeopolis: Boy, pour the honey on the cake. Inside it is an old man who will send Lamachos, the son of a Gorgon, on his way.
Lamachos: Bring me here, boy, the cask containing my breastplate.
Dicaeopolis: Bring me here boy, the flask that warms the inner man.
Lamachos (putting on the breastplate): With this I will armour myself against our foe.
Dicaeopolis (raising the flask): With this, I will arm myself against those who feast with me.
Lamachos (to his slave): Boy, tie up my bedding to the shield.
Dicaeopolis (to his slave): Boy, tie up the food for the feast in the chest.
Lamachos (to his slave): I, myself, will carry my own knapsack. Let's be off.
Dicaeopolis (to his slave): I, myself, will put on my own clothes. Let's be off.
Lamachos (to his slave): Boy, pick up my shield and bring it with you. O gosh! it's snowing; winter faces me.
[Lamachos and his slave boy exit via the Parodos said to lead to the countryside (stage right) ]
Dicaeopolis (to his slave): Boy, pick up the chest for the feast, a supper faces me.
[Dicaeopolis and his slave boy exit via the opposite Parodos said to lead to the town (stage left)]
The Chorus-Leader:
Each of you off to your duties, our heroes bold,
Different are the paths you each face:
One to drink with a wreath on his head,
The other to watch and shiver in the cold
Lonely, whilst the other passes hours
Sweet in the company of the loveliest of maidens.
I pray Zeus brings to destruction utterly and emphatically
The meanest of poets and of men, Antimachos, son of Sputter;
That Choregos who sent me packing without any supper
During the time of Lenaea. I pray that two mishaps befall that Choregos.
[The Chorus Leader inflicts two curses on the Choregos]
May he beg for a dish of the finest cuttlefish to be brought to him;
May he see it sail across the sea and into the oil of a frying pan.
And be served to him on a small table at anchor next to him still sizzling and hot from cooking;
This meal the gods have graciously given him. But when he reaches out for it with his hand a dog close by grabs it with its teeth carrying it off.
May a dog come and carry it off in its teeth and so let the first mishap happen.
For the second mishap, listen it's night-time. Our Choregos, after a ride, is returning home on foot.
He is sick with a fever and shivering.
He is feeling really ill when out of the blue, Orestes' club comes crashing down on his head,
'Tis that selfsame Orestes we all know, that drunk and mad hero.
Our Choregos crawling around on all fours in the dark gropes around in an attempt to find some brickbat to fling at Orestes.
But instead of a brickbat, he finds a pile of dung.
He picks up a fistful and rushes to throw it at Orestes,
But instead of hitting his foe, he misses and
Young Cratinus gets it in the face;
Young Cratinus gets it in the face
Exodos 1174-1233
[Enter a Third Messenger who knocks on Lamachos' door]
3rd Messenger: Slaves and Servants of Lamachos' household hurry.
Your master has been badly injured.
Bring hot water heated in a small pan, prepare bandages, bring a waxen salve,
Bring some wool dipped in grease. for his ankle.
He was leaping over a trench but a stake in it caught his ankle.
Pulling it backwards and out of joint.
Falling over his head struck a stone, cracking it.
This awakened the sleeping Gorgon on his shield.
And this caused his helmet to shed the largest of its plumes and fall onto the rocks.
When he saw this he let out a shrill cry.
"My treasured glory I look upon you for the last time for I am no more!"
This is what he uttered as he fell back into the ditch.
When he awoke he found his men fleeing from the enemy.
So he gave chase to the foe with his spear repelling them.
[Enter Lamachos supported by two of his soldiers]
3rd Messenger: Here he is. Open the door.
Lamachos: Oh woe is me. How lamentable are my gory wounds.
I am done for having been struck by an enemy's lance.
But worse than lance or wounds it would be more lamentable if Dicaeopolis were to see me in this state.
And mock and mock my misfortunes.
[Enter Dicaeopolis drunk and supported by two bare-breasted dancing girls]
Dicaeopolis: O my O my. What glorious titties, so firm just like quinces.
Kiss me, my two golden misses!
With your softest and sweetest kisses.
It was I who drained the flask first!
Lamachos: How dire are my sufferings.
How painful are my wounds.
Dicaeopolis: Why hello, it's my little Lamachippos!
[In parody of Euripides' Hippolytus]
Lamachos: How hateful and loathsome is my lot!
Dicaeopolis (to one of the girls who is fornicating with him): Hey! Hey! hello, my little 'rider'
Lamachos: O my odious sufferings!
Dicaeopolis (to the girl screwing him, with a shudder of pleasure) Why are you fucking me?
Lamachos: My cruel sufferings.
Dicaeopolis (to the other dancing girl): Why are you biting me?
Lamachos: So unfortunate am I! In this fight what a high price I paid!
Dicaeopolis:. Oh? Did we charge a fee for the festival party?
Lamachos (appealing to Apollo). Ho! Ho! Paean! Paean!
Dicaeopolis:. But it's not Péan's festival today!
Lamoachos (to those who are carrying him): Carry me, carry my leg; Ouch! Ouch! Pick it up again, my friends.
Dicaeopolis: (to the dancing): And as for me, both of you grab my penis by its middle; take it in your hands again, my darlings.
Lamachos:. My head is spinning, from a stone which struck it. I can't see anymore; I'm dizzy!
Dicaeopolis:. And I want to go to sleep; I have an erection. I can't see anymore; I am full of desire!
Lamachos: Carry me outside to Master Pittalos and place me in his caring hands.
[Lamachos and his attendant soldier prepare to leave]
Dicaeopolis: And as for me, take me to the judges. Where is the king [Archon Basileus]? Bring me a wineskin. (A wineskin is brought to him)
Lamachos (whilst being carried.): A spear has pierced my bones; O what a miserable fate!
Dicaeopolis (showing the spectators his empty flask): Look, this one. it's empty. (To the Chorus.) “Hurrah for the glorious victor! ".
The Chorus: Well yes," Hurrah!” since you have invited us, O venerable man. “Hurrah for the glorious victor! "
Dicaeopolis:. And moreover, I filled it with pure wine and drank it all in one go!.
The Chorus: Hurrah for our noble hero! Pick up your flask and move on!
Dicaeopolis: So follow me, my fellow citizens, and sing, “Hurrah for you, glorious conqueror!"
The Chorus: Well, we will follow you to please you, whilst singing: “Hurrah! O glorious conqueror!” for you and your wineskin!
[Everyone leaves in song. Exeunt.]
References
The Acharnians - Wikipedia
Acharnae - Wikipedia
Pnyx - Wikipedia
ἐκκλησία - Wiktionary
Acharnae - Hellenicaworld.com
A Guide to Ancient Greek Drama: Synopsis of Aristophanes' Acharnians
Crowell's handbook of classical drama : Hathorn, Richmond Y. pp.2- - Internet Archive
The Acharnians – Aristophanes – Ancient Greece – Classical Literature
Aristophanes Acharnians - Course Hero
The Acharnians by Aristophanes - GreekMythology.com
Aristophanes: The Acharnians - Tom's Learning Notes
Google Scholar Search = Aristophanes Acharnians
JStor Search = Aristophanes Acharnians
Core UK Search = Aristophanes+Acharnians
Library of Congress Search = Aristophanes+Acharnians
Dithyramb, Tragedy and Comedy by A.W. Pickard-Cambridge pp 312-313 Internet Archive
Analysis of Play: Acharnians
Aristophanes Acharnians by S,D. Olson
BEARE, JOHN I. “ELLIOTT’S ‘ACHARNIANS.’” Hermathena, vol. 18, no. 40, Trinity College Dublin, 1914, pp. 73–90, http://www.jstor.org/stable/23036918.
Helene P. Foley. “Tragedy and Politics in Aristophanes’ Acharnians.” The Journal of Hellenic Studies, vol. 108, [Society for the Promotion of Hellenic Studies, Cambridge University Press], 1988, pp. 33–47, https://doi.org/10.2307/632629.
Forrest, W. G. “Aristophanes’ ‘Acharnians.’” Phoenix, vol. 17, no. 1, Classical Association of Canada, 1963, pp. 1–12, https://doi.org/10.2307/1085842.
Carey, Christopher. “THE PURPOSE OF ARISTOPHANES’ ‘ACHARNIANS.’” Rheinisches Museum Für Philologie, vol. 136, no. 3/4, J.D. Sauerländers Verlag, 1993, pp. 245–63, http://www.jstor.org/stable/41233912.
Sommerstein, Alan H. “Notes on Aristophanes’ Acharnians.” The Classical Quarterly, vol. 28, no. 2, Cambridge University Press, 1978, pp. 383–95, http://www.jstor.org/stable/638689.
Bowie, A. M. “The Parabasis in Aristophanes: Prolegomena, Acharnians.” The Classical Quarterly, vol. 32, no. 1, Cambridge University Press, 1982, pp. 27–40, http://www.jstor.org/stable/638735.
S. Douglas Olson. “Dicaeopolis’ Motivations in Aristophanes’ Acharnians.” The Journal of Hellenic Studies, vol. 111, [The Society for the Promotion of Hellenic Studies, Cambridge University Press], 1991, pp. 200–03, https://doi.org/10.2307/631902.
Borthwick, E. K. “Three Notes on the ‘Acharnians.’” Mnemosyne, vol. 20, no. 4, Brill, 1967, pp. 409–13, http://www.jstor.org/stable/4429504.
Habash, Martha. “Two Complementary Festivals in Aristophanes’ Acharnians.” The American Journal of Philology, vol. 116, no. 4, Johns Hopkins University Press, 1995, pp. 559–77, https://doi.org/10.2307/295404.
Whitehorne, John. “O City of Kranaos! Athenian Identity in Aristophanes’ ‘Acharnians.’” Greece & Rome, vol. 52, no. 1, Cambridge University Press, 2005, pp. 34–44, http://www.jstor.org/stable/3567856.
Van Steen, Gonda A. H. “Aspects of «Public Performance» in Aristophanes’ Acharnians.” L’Antiquité Classique, vol. 63, L’Antiquité Classique, 1994, pp. 211–24, http://www.jstor.org/stable/41654242.
Compton-Engle, Gwendolyn. “From Country to City: The Persona of Dicaeopolis in Aristophanes’ ‘Acharnians.’” The Classical Journal, vol. 94, no. 4, The Classical Association of the Middle West and South, 1999, pp. 359–73, http://www.jstor.org/stable/3298223.
Harriott, R. M. “The Function of the Euripides Scene in Aristophanes’ ‘Acharnians.’” Greece & Rome, vol. 29, no. 1, Cambridge University Press, 1982, pp. 35–41, http://www.jstor.org/stable/642928.
Jones, Gregory S. “Revisiting the Harmodios Song in Aristophanes’ ‘Acharnians.’” Mnemosyne, vol. 69, no. 6, Brill, 2016, pp. 1034–39, http://www.jstor.org/stable/44505018.
OLSON, S. DOUGLAS. “Manuscript Indications of Change of Speaker in Aristophanes’ ‘Acharnians.’” Illinois Classical Studies, vol. 26, University of Illinois Press, 2001, pp. 1–36, http://www.jstor.org/stable/23064527.
Gerard Verbaarschot. “Dialect Passages and Text Constitution in Aristophanes’ ‘Acharnians.’” Mnemosyne, vol. 41, no. 3/4, Brill, 1988, pp. 269–75, http://www.jstor.org/stable/4431733.
Compton-Engle, Gwendolyn. “Mock-Tragic Priamels in Aristophanes’ ‘Acharnians’ and Euripides’ Cyclops.” Hermes, vol. 129, no. 4, Franz Steiner Verlag, 2001, pp. 558–61, http://www.jstor.org/stable/4477468.
Christenson, David. “Concocting Justice: Dicaeopolis the Cook-Comedian.” Illinois Classical Studies, vol. 45, no. 2, University of Illinois Press, 2020, pp. 265–86, https://www.jstor.org/stable/10.5406/illiclasstud.45.2.0265.
Larsen, J. A. O. “The Acharnians and the Pay of Taxiarchs.” Classical Philology, vol. 41, no. 2, University of Chicago Press, 1946, pp. 91–98, http://www.jstor.org/stable/267358.
Rennie, W. “Notes on the Acharnians of Aristophanes.” The Classical Quarterly, vol. 3, no. 1, Cambridge University Press, 1909, pp. 22–25, http://www.jstor.org/stable/636062.
Fisher, N. R. E. “Multiple Personalities and Dionysiac Festivals: Dicaeopolis in Aristophanes’ ‘Acharnians.’” Greece & Rome, vol. 40, no. 1, Cambridge University Press, 1993, pp. 31–47, http://www.jstor.org/stable/643216.
English, Mary C. “Reconstructing Aristophanic Performance: Stage Properties in ‘Acharnians.’” The Classical World, vol. 100, no. 3, [Johns Hopkins University Press, Classical Association of the Atlantic States], 2007, pp. 199–227, http://www.jstor.org/stable/25434022.
Michelini, Ann N. “Isocrates’ Civic Invective: Acharnians and On the Peace.” Transactions of the American Philological Association (1974-), vol. 128, [Johns Hopkins University Press, American Philological Association], 1998, pp. 115–33, https://doi.org/10.2307/284409.
Austin, Colin. “Seven Cruces in Aristophanes (‘Acharnians’ and ‘Thesmophoriazusae’).” Quaderni Urbinati Di Cultura Classica, vol. 72, no. 3, Fabrizio Serra editore, 2002, pp. 73–76, https://doi.org/10.2307/20546745.
Ludwig, Paul W. “A Portrait of the Artist in Politics: Justice and Self-Interest in Aristophanes’ Acharnians.” The American Political Science Review, vol. 101, no. 3, [American Political Science Association, Cambridge University Press], 2007, pp. 479–92, http://www.jstor.org/stable/27644461.
Compton-Engle, Gwendolyn. “Control of Costume in Three Plays of Aristophanes.” The American Journal of Philology, vol. 124, no. 4, Johns Hopkins University Press, 2003, pp. 507–35, http://www.jstor.org/stable/1561789.
Dow, Sterling. “Thucydides and the Number of Acharnian Hoplitai.” Transactions and Proceedings of the American Philological Association, vol. 92, [Johns Hopkins University Press, American Philological Association], 1961, pp. 66–80, https://doi.org/10.2307/283803.
Thompson, Wesley E. “Three Thousand Acharnian Hoplites.” Historia: Zeitschrift Für Alte Geschichte, vol. 13, no. 4, Franz Steiner Verlag, 1964, pp. 400–13, http://www.jstor.org/stable/4434853.
The Acharnians and the Paradox of the City in: Aristophanes and His Tragic Muse
Aristophanes and His Tragic Muse - Google Books
Fake Ambassadors and Pseudabartas
Acharnians fake ambassador - Google Scholar
Pseudabartas - Google Scholar
Euripides Scene
acharnians euripides scene - Google Scholar
Euripides’ Telephus - CORE Reader
Greek Versions
Aristophanous komoidiai. Aristophanes Comedies. Volume I Acharnians and Knights - Internet Archive
Acharnians - Perseus Digital Library
W.W. Merry Aristophanes Acharnians
The Acharnians - Google Books
The Acharnenses of Aristophanes - Internet Archive T. Mitchell
Aristophanes : The Acharnians, The Knights
Edited by W,C, Green
https://archive.org/details/cu31924026465702/page/n6/mode/1up
Aristophanes: The Knights
In Volume 1: The Acharnians ; The Knights
Edited and Translated by Benjamin Bickley Rogers
https://archive.org/details/ComediesOfAristophanesV.1/page/n308/mode/1up
Comedies of Aristophanes v.1 : Aristophanes - Internet Archive
Archarnians : Aristophanes - Internet Archive edited by C.E. Graves
Loeb Edition L 178
Aristophanes I : Acharnians, Knights Clouds Wasps
Edited and Translated by Benjamin Bickley Rogers
https://archive.org/details/L178AristophanesIAcharniansKnightsCloudsWasps/page/n6/mode/1up?view=theater
Edited and Translated by W.J.M. Starkie
https://archive.org/details/theacharniansofa0000aris/page/n6/mode/1up
The Acharnians of Aristophanes : with introduction, critical notes and commentary Edited by W. Rennie
https://archive.org/details/acharniansofaris00renn/page/n6/mode/1up
Acharnians: Aristophanes - Internet Archive
Acharnians - Internet Archive ed. Alan H. Sommerstein pub. Aris and Phillips
Collection Budé - Aristophane Tome I - Internet Archive ed. Victor Coulon
Biblioteca Clasica Gredos - Internet Archive
Comedies of Aristophanes v.1: - Internet Archive ed. B.B. Rogers
Vol 1 Acharnians, Knights - LCL 178 ISBN: 0674995678 ed. Jeffrey Henderson
https://archive.org/details/acharniansknight0000aris/page/n6/mode/1up?q=%22The+original+Loeb+Aristophanes%2C+first%22&view=theater
Translations
Acharnians : Aristophanes - Internet Archive
The Acharnians by Aristophanes - Free Ebook Project Gutenberg
Acharnians - Perseus Digital Library
Aristofanes (1886). The Acharnians. Library of Alexandria. ISBN 978-1-4655-0400-5.
Delphi Complete Works Of Aristophanes: The Acharnians
The Acharnians; The Clouds; Lysistrata : Aristophanes - Internet Archive
The Comedies of Aristophanes
Translated by W.J.Hickie
Volume 1 The Archanians, Knights, Clouds, Wasps, Peace, and Birds.
https://oll.libertyfund.org/title/the-comedies-of-aristophanes-vol-1
Aristophanes; tr. Alan H. Sommerstein (1980) Archarnians. Volume 1 of Comedies of Aristophanes. Aris & Phillips. ISBN 978-0-85668-172-1.
The Acharnians; The Clouds; Lysistrata; [1973]
by Aristophanes; Translated by Alan H. Sommerstein
ISBN 0140442871 9780140442878
https://archive.org/details/acharniansand00aris/mode/1up
The Acharnians of Aristophanes, tr. into Engl. verse by C.J. Billson : Aristophanes - Internet Archive
The Acharnians of Aristophanes - Internet Archive tr by C.J. Billson
The Acharnians (SCIT translation) : Stanford Classics in Theater - Internet Archive
The Acharnians : Aristophanes - Internet Archive
Aristophanes' Acharnians - Internet Archive translated by Jeffrey Henderson
The Acharnians and three other plays - Internet Archive translated by J. Hookham Frere
Aristophanes : a metrical version of The Acharnians, The Knights and The Birds - Internet Archive
The Acharnians ; The Clouds ; Lysistrata : Aristophanes - Internet Archive
Aristophanes I - Internet Archive
Acharnians - johnstoniatexts
The Acharnians of Aristophanes by Gilbert Norwood - Internet Archive [Greek and English]
Audio/Visual
Acharnians Aristophanes, Delphi, theater, comedy - YouTube
The Acharnians clips : Stanford Classics in Theater -Internet Archive
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