After Irony: Aristophanes' Wealth and its Modern Interpreters

Abstract

After Irony: Aristophanes’ Wealth and its Modern Interpreters James McGlew The contest between Chremylus and Penia in Wealth (488–626) lies at the center of interpretations of Aristophanes’ final surviving play and of Old Comedy’s dramatic and receptive development in Aristophanes’ last years. In much of the work of scholars since Helmut Flashar’s 1967 article, 1 and including A. E. Bowie’s recent study (1993) on Aristophanes, that contest and the episodic portion of the play following it are seen as dominated by a tension between the play’s logical consequences and its dramatic outcomes; Penia, these scholars believe, gives the better argument, and when Chremylus nonetheless proceeds with his plan of restoring Plutus’ sight, his program is haunted by her warnings: for the insightful members of the audience, Chremylus’ plan proves to be a social and ethical catastrophe. This “ironic interpretation” of Wealth has troubled some recent commentators. But most of those who refuse to see a fundamental disengagement between the logic and drama imbedded in the play, find a similar tension between the play’s dramatic promise and its reception; for Konstan and Dillon (1981) and for Olson (1993), the play imagines universal wealth but serves a conservative, anti-revolutionary ideology: comic fantasy provides an escape for an increasingly impoverished and powerless dēmos. Thus, even if Wealth did not persuade poor Athenians that Penia was better than Plutus, it still helped keep them loyal to her. Recent interest in Wealth has had some effect in rescuing the play from literary death. Viewed as enervated and unimaginative by most scholars of recent generations, 2 Wealth has regained the moral weight [End Page 35] that once inspired the Italian Renaissance to honor it before any other work of Greek antiquity with a Latin translation, 3 and that invited the attention of Fielding (Aristophanes 1742) and other modern translators. Underlying this new interpretation of Wealth lies a reassessment of its dramatic qualities: the dramatic and narrative infelicities that troubled the last generation of Aristophanes scholars are now seen as keys to the subtlety of this last extant example of Old Comedy. But the revived interest and dramatic reassessment of Wealth have made it into a very different play. 4 What earlier scholars had read as a somewhat anemic flight into escapist fantasy is now taken as a demonstration that wealth and justice, good behavior and material happiness are inherently irreconcilable. Chremylus may dream of universal wealth, but the play itself hopes to offer its audience a superior moral wisdom. The new readings of Wealth constitute a relatively united front against which the few dissident voices—Sommerstein’s (1984) is the most important 5 —have had little effect. This paper examines the dramatic and political character of Aristophanes’ last comedy to argue that Wealth itself thematizes the relationship between comic fantasy and its audience’s private desires, a relationship at the heart of recent conservative interpretations of the play. I will suggest that Aristophanes has constructed Chremylus’ victory over Penia to restate—albeit his audience and comedy itself were changing—the political significance and integrity of comic fantasy. Accused by Penia at 557—and by her modern admirers—of doing nothing more than “trying to kō mō idein” her, Chremylus [End Page 36] invites his audience “to laugh at poverty” and dream of escaping it in a way that reaffirms Athenian democratic identity and celebrates the decision-making powers of the collective dē mos. 6 The ironic interpretation of Wealth, and even some critics of this interpretation, 7 assume that Aristophanes’ audience would have perceived, and held on to the perception, that Penia’s argument was stronger than Chremylus’; and that, moreover, the superiority of Penia’s argument shaped the audience’s view of the second half of Wealth, which presents a utopic vision of life without her (Olson 1993, 235–36). But the comic arguments of Aristophanes’ earlier agons—our best source for reconstructing the expectations of Wealth’s audience—do not offer much support for these assumptions. Arguments win in Aristophanes’ earlier plays by uniting the Chorus, the synecdochic audience, behind the protagonist; for this, verifiable fact is not necessarily the best tool. In Acharnians, Dicaeopolis’ argument...