The Knights: Analysis of Setting
"The Knights: Analysis of Setting" delves into the political landscape of ancient Athens, particularly during a tumultuous post-Periklean era. The play unfolds in an open, public space likely representing the agora, the center of Athenian civic life. Here, the character of "Demos" symbolizes the gullible and easily swayed citizenry, reflecting the complexities of Athenian democracy where public opinion dictated political power. The narrative critiques the political figures of the time, such as Nicias and Cleon, portraying them as subservient to the whims of Demos rather than as true leaders. This irony highlights the shortcomings of the democratic system, where the unscrupulous sausage-seller Agoracritus manages to outsmart the educated politicians, underscoring a satirical view of leadership in a flawed democracy. Additionally, the Areopagus, Athens's senate house, serves as a significant backdrop for the trial, reinforcing the play's examination of political dynamics and moral integrity within the state. This analysis offers insight into the interplay between power, public perception, and the role of rhetoric in Athenian society.
The Knights: Analysis of Setting
First produced:Hippēs, 424 b.c.e. (English translation, 1812)
Type of work: Drama
Type of plot: Satire
Time of work: Fifth century b.c.e.
Asterisk denotes entries on real places.
Places Discussed
*Athens
*Athens. Ancient Greek city-state, in which the action of the play is set in an open, public place—probably the agora, which was the heart of the political community. Though pseudonyms thinly veil the characters, the allegory of a gullible, shallow, and misled citizenry of Athens (personified as “Demos”) finally rejecting the aid and counsel of the scoundrel slave Cleon (also called “Paphlagonian”) directly reflected the politics of post-Periklean wartime Athens. The politicians Nicias, Cleon, and Demosthenes appear as slaves of Demos despite their powerful positions. Given the nature of the Athenian democracy, the leaders were essentially the slaves of public opinion, which Aristophanes pillories for being swayed by Cleon’s deceit and blandishments. The boorish, uneducated, and equally unscrupulous sausage-seller Agoracritus, rather than the men of education and character—Nicias and Demosthenes—successfully counters the rascally slave: Only a rogue and stupid fellow can successfully lead the Athenians.
*Areopagus
*Areopagus. Athens’s senate house. Paphlagonian is bested by the sausage-seller in the trial before this determinative body of the Athenian state, which is held offstage. Only following this vindication is Demos directly confronted by the sausage-seller and the slaves.
Bibliography
Aristophanes. Knights. Edited and translated by Alan H. Sommerstein. Warminster, Wiltshire, England: Aris & Phillips, 1981. Provides scholarly introduction, bibliography, Greek text, facing English translation, and commentary keyed to the translation. Sommerstein’s translation supersedes most earlier versions.
Dover, K. J. Aristophanic Comedy. Berkeley: University of California Press, 1972. Useful and authoritative study of the plays of Aristophanes. Chapter 7 provides a synopsis of the play, discussion of the use of allegory, notes on theatrical production, and important comments on political themes in the play. An absolutely essential starting point for study of the plays.
Murray, Gilbert. Aristophanes: A Study. Oxford, England: Oxford University Press, 1933. Contains valuable insights into the plays. Chapter 2 discusses the figure of Cleon as he is represented in The Knights and other plays of Aristophanes.
Spatz, Lois. Aristophanes. Boston: Twayne, 1978. A reliable introduction to Aristophanes for the general reader. Chapter 5 discusses the problems of the play and comments on characterization and the figure of Cleon.
Whitman, Cedric. Aristophanes and the Comic Hero. Cambridge, Mass.: Harvard University Press, 1964. A standard work on the Aristophanic protagonist. Chapter 3, “City and Individual,” offers a valuable study of the play.