Breaking Down The Stylistic Devices in The Acharnians: Means of Creating Rhetorical

Rhetoric has played a significant role throughout history, particularly during the Classical era, where it was revered in Ancient Greece as both a skill and an art form. Over time, rhetoric has evolved, adapting to various linguistic standards while maintaining certain fundamental similarities between ancient and modern literary styles. When translating ancient works, translators often make deliberate word choices to convey themes and preserve the flow of the original text. One notable example is Alan H. Sommerstein’s translation of Aristophanes’ play, “The Acharnians.”

The Significance of Rhetorical Devices in "The Acharnians"

“The Acharnians” stands as one of Aristophanes’ earliest surviving plays. It is believed that he collaborated with Callistratus to secure a first-place award in comedy, although Aristophanes is primarily credited as the author. Throughout his career, he garnered numerous accolades for his plays, often inciting the ire of influential figures like the politician Cleon, whose actions were frequently satirized in Aristophanes’ works. “The Acharnians” exemplifies this tendency, showcasing Sommerstein's use of rhetorical devices that not only reflect Aristophanes’ unique writing style but also effectively convey his sardonic perspectives on Athenian society.

Rhyme as a Rhetorical Device

Rhyme is a prominent literary device employed throughout the play, establishing a rhythmic quality that captivates the audience. Sommerstein introduces rhyme early in the text, particularly in Dikaiopolis’ monologue, where he crafts lines ending in “ic.” For instance, in lines five through ten, words such as “pleasurific,” “ecstatic,” “traumatic,” and “tragic” create a melodic flow. This rhythmic structure not only retains audience attention but also enhances the performative quality of the monologue, making it more engaging when read aloud.

Rhyme also manifests in the various chants and songs performed by characters. A clear example occurs when the leader of the Acharian mob urges his followers to pursue Dikaiopolis for seeking peace with the Spartans. His speech employs an AABB rhyme scheme, evident in lines 204 to 207, where the words “found,” “ground,” “man,” and “can” resonate together. Conversely, the chorus adopts a different pattern—ABCB DEFE—demonstrating a shift in rhythm and intelligence levels between the leader and the mob. This differentiation is further highlighted when Dikaiopolis responds with his own AABB pattern in lines 264 to 274, suggesting a greater intellectual capacity compared to the mob. By varying the rhyme schemes, Sommerstein accentuates the characters’ distinct traits, revealing their varying degrees of intelligence and corruption.

Polysyndeton: A Tool for Emphasizing Frustration

Another rhetorical device employed in the play is polysyndeton, which involves the deliberate use of multiple conjunctions. In the opening scene, Dikaiopolis expresses his boredom while waiting for Athenian officials, employing numerous “and’s” and “I’ll’s” to emphasize his frustration with their tardiness. For example, he states, “I sit down, and after a bit, when I find no one else is coming, I sigh and yawn and stretch and fart and then I don’t know what to do, and then doodle.... and all the time I’m gazing at the countryside...” (Lines 29-33). This repetitive structure underscores Dikaiopolis’ dissatisfaction and reflects the ineffectiveness of the government officials, effectively mirroring Aristophanes’ own sentiments.

Allusions and Cultural References

Dikaiopolis’ disdain for Athenian officials parallels Aristophanes’ critique of society. The play features several allusions that connect Dikaiopolis to Aristophanes, particularly in the ridicule of Cleon. Although Cleon is first mentioned in line six, he later accuses Dikaiopolis of slandering the city in front of foreigners (Lines 502-504). The audience likely recognizes this allusion, as Cleon had previously brought Aristophanes to court for similar reasons. By intertwining Dikaiopolis’ character with Aristophanes, the playwright effectively presents them as two sides of the same coin.

Additionally, references to Euripides, a contemporary tragic playwright, further anchor the play in its historical context. Dikaiopolis’ request for props to portray a beggar highlights the theatrical landscape of the time, establishing relevance to the audience. Such allusions serve to ground the narrative in the socio-political climate of the Peloponnesian Wars, enhancing the play’s immediacy and significance.

Metaphors and Similes: Illustrating Locations and Cultures

Sommerstein’s translation also employs similes and metaphors to convey the importance of different locations within the play. For instance, in line twenty-three, Dikaiopolis likens the mob’s thirst for violence to “black embers of your wrath,” comparing their anger to a smoldering fire. This metaphor holds particular significance given the Acharnians’ connection to coal, as their land was devastated by the Spartans. Dikaiopolis cleverly uses this connection to persuade the mob to listen to him rather than resorting to violence.

Moreover, Dikaiopolis employs similes to illustrate cultural nuances. For instance, in line 350, he compares temper to “sour grapes,” a reference that evokes the mythological associations tied to Dionysus, the god of wine. The interplay between similes and metaphors serves to emphasize the shared cultural heritage of the various locations represented in the play, while also highlighting the underlying tensions and conflicts between them.

Colloquial Language and Mythological References

The incorporation of colloquial language and mythological references further enriches the play’s cultural landscape. Dikaiopolis’ exclamation, “Holy Ecbatana!” (line 64), exemplifies the use of translated vernacular, as Ecbatana was a significant city in the ancient Persian Empire. Additionally, the repeated mentions of Heracles throughout the play illustrate the deep-rooted nature of mythology in everyday speech. For instance, Dikaiopolis exclaims, “Heracles and all the gods, man, you look…” (line 95), showcasing how mythological figures permeate the characters’ dialogues and interactions.

The Ironic Foil of Dikaiopolis and Lamachus

Ultimately, Aristophanes’ satirical style culminates in the ironic juxtaposition of Dikaiopolis and Lamachus, a general who epitomizes the corruption of Athenian leadership. Lamachus, who first appears in line 568, is initially positioned to confront Dikaiopolis for his peace treaty. However, he embodies the very corruption that Dikaiopolis seeks to escape. In a striking contrast, while Lamachus is called to war, Dikaiopolis revels in a celebratory feast, mocking Lamachus’ commands by rephrasing them with more favorable undertones. For instance, when Lamachus instructs his servant to “bring me out my ration-bag,” Dikaiopolis retorts with a request for his “dinner box.” This ironic inversion underscores the absurdity of the political landscape, where the virtuous character thrives while the corrupt one suffers.

Conclusion

In summary, “The Acharnians” serves as a powerful commentary on Aristophanes’ views of the Athenian government, masterfully translated by Sommerstein. Through the strategic use of rhetorical devices such as rhyme, polysyndeton, allusions, and metaphors, Sommerstein captures the essence of Aristophanes’ satirical style. The play’s exploration of character dynamics, cultural references, and rhythmic patterns not only enriches the narrative but also offers a timeless critique of political corruption and societal absurdities.

References:

• Aristophanes. “The Acharnians.” Translated by Alan H. Sommerstein.
• Hall, Edith. “The Return of Ulysses: A Cultural History of Homer’s Odyssey.” Oxford University Press, 2008.
• McLeish, Kenneth. “The Greek Theatre: A History.” Routledge, 1995.