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From Aristophanes to Menander

At the beginning of 405 b.c., fourteen or fifteen months before the final catastrophe overtook Athens in the Peloponnesian War, Aristophanes produced the Frogs. It is the last extant play of Old Comedy proper. Its plot is at times discursive, its subject-matter is passionately tied to the city in which the play was conceived, and its structure is largely controlled by such traditional and formal Old Comedy elements as the agon and parabasis. The Frogs won first prize. In 316 b.c., just eighty-nine years later, if we accept a plausible emendation in the Bodmer papyrus, Menander in his turn won the first prize at the same festival with his Dyskolos. The Dyskolos is the first extant play of the New Comedy to which we can give a firm date. Its plot is tightly knit, its subject-matter is universal, and its structure is largely governed by a new set of formal elements. Aristophanes' Frogs had a chorus of initiates, who charmed the audience by their nostalgic evocation of the old annual procession to Eleusis, suspended at the time because of the Spartan occupation of Decelea. This chorus of initiates sang and danced between the dialogue scenes a series of specially composed, memorable lyrics which were relevant to the plot, to the city, and to the period; they and their leader also delivered the parabasis. This vivid, lively, functional chorus is replaced in Menander by only a dim shadow: a κ⋯μος of tipsy young men who have no function whatever in the plot, who serve merely to entertain the audience in the intervals between the five acts with a song-and-dance routine whose words are not preserved and possibly were not even specially composed for the play by its author.