Aristophanes' Wasps (422 B.C.) is an entertaining comedy that plunges us into the life of a family in classical Athens, while treating themes that readers of any time and place can appreciate. A father and son argue about politics, household servants try to please their master, a disruptive gang of the father's friends decide to intervene, a dog becomes a lightning-rod for his antics in the kitchen, attempts are made at reform and reconciliation, and it all ends with a drinking party that goes disastrously wrong. The father, Philocleon, and his friends, the chorus of wasp-like old men for whom the play is named, are some of the great creations of comic drama. The characters of the Wasps make constant references to the everyday world they are living in: its political demagogues, court system, religious rituals, social niceties, class distinctions, diseases, clothes, food, toilets, paychecks, geography, weather, household items, literary and mythological allusions, military experiences, and much more. These references give the play its immediacy, but their unfamiliarity to modern students can pose a challenge. This edition provides a full introduction devoted to the political, social, and literary background of the play, as well as notes to the text explaining historical details.

Wasps was first produced at the Lenaea festival of 422 BC. The play is at once a political satire and also, like Clouds and the lost Banqueters, a comedy on the theme of the conflict of generations. The play follows the efforts of a mischievous and mercurial old man to escape the control of a stern and heavy son.

Presents translations of three satirical plays along with information on staging, history, religious practice, myths, and issues raised by each play.

In 'The Wasps' an old-fashioned father and his loose-living son come to blows--and end up in court; elsewhere Aristophanes milks the clash of generations for all it is worth by sending up the purveyors of new ideas like Socrates and Euripides (the most controversial of the great tragedians). In 'The Poet and the Women' Euripides, accused of misogyny, gets a relative in drag to infiltrate an all-woman festival and find out what revenge is being plotted, with predictable bawdy results. In 'The Frogs, ' written in the darkest days of the Peloponnesian War, the god Dionysus descends to the Underworld to find a poet to bring back: does Athens in her hour of danger need the traditional wisdom of Aeschylus or the brilliant modern cleverness of Euripides? As the great debate proceeds, Aristophanes combines parody with slapstick and political discussion with pantomime high spirit, to produce a hilarious and unique masterpiece.

The Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.