ANALYSIS

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The underlying theme of "The Frogs" is essentially "old ways good, new ways bad", and that Athens should turn back to men of known integrity who were brought up in the style of noble and wealthy families, a common refrain in Aristophanes' plays.

In terms of politics, "The Frogs" is not usually considered one of Aristophanes' "peace plays" (several of his earlier plays call for an end to the Peloponnesian War, almost at any cost), and indeed the advice of Aeschylus' character towards the end of the play lays out a plan to win and not a proposition of capitulation. The parabasis to the play also advises returning the rights of citizenship back to those who had participated in the oligarchic revolution in 411 BCE, arguing they were misled by Phrynichos' tricks (Phrynichos was a leader of the oligarchic revolution, assassinated to general satisfaction in 411 BCE), an idea which was actually later put into effect by the Athenian government. Certain passages in the play also seem to stir memories of the returned Athenian general Alcibiades after his earlier defection.

However, despite Aristophanes' concerns for the delicate state of Athenian politics at that time (which do surface from time to time), the play is not strongly political in nature, and its main theme is essentially literary, namely the poor state of contemporary tragedic drama in Athens.

Aristophanes began composing "The Frogs" not long after Euripides' death, around 406 BCE, at which time Sophocles was still alive, which is probably the main reason why Sophocles was not involved in the competition of poets which comprises the agon or main debate of the play. As it happens, however, Sophocles also died during that year, and that may have forced Aristophanes to revise and adjust some details of the play (which was probably already in the late stages of development), and this may well account for the mention of Sophocles late in the surviving version of the work.

Aristophanes does not scruple to attack and mock Dionysus, the guardian god of his own art and in honour of whom the play itself was exhibited, secure in the belief that the gods understood fun as well, if not better, than men. Thus, Dionysus is portrayed as a cowardly, effeminate dilettante, farcically dressed up in a hero's lion-skin and club, and reduced to rowing himself over the lake to Hades. His half-brother, the hero Heracles, is likewise treated somewhat irreverently, depicted as a boorish brute. Xanthias, Dionysus' slave, is depicted as smarter and more reasonable than either of them.

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