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   此页面介绍的是the song。关于the Eagles album of the same name，请见“Hotel California (Eagles album)”。关于other uses，请见“AmethystY98/沙盒 (消歧义)”。
Hotel California
Eagles的单曲
收录于专辑《Hotel California》
B面Pretty Maids All in a Row
发行日期February 1977
格式7-inch single
录制时间1976
类型Soft rock[1]
时长6:30
唱片公司Asylum
词曲Don Felder, Don Henley, Glenn Frey
制作人Bill Szymczyk
Eagles单曲年表
New Kid in Town
（1976年） 		Hotel California
（1977年） 		Life in the Fast Lane
（1977年）
音乐试听
noicon
noicon

"Hotel California" is the title track from the Eagles' album of the same name and was released as a single in February 1977.[2] Writing credits for the song are shared by Don Felder (music), Don Henley, and Glenn Frey (lyrics). The Eagles' original recording of the song features Henley singing the lead vocals and concludes with an extended section of electric guitar interplay between Felder and Joe Walsh.

The song is considered the most famous recording by the band, and its long guitar coda has been voted the best guitar solo of all time by readers of Guitarist in 1998.[3][4] The song was awarded the Grammy Award for Record of the Year in 1978.[5] The lyrics of the song have been given various interpretations by fans and critics alike, the Eagles themselves described the song as their "interpretation of the high life in Los Angeles".[6] In the 2013 documentary History of the Eagles, Henley said that the song was about "a journey from innocence to experience... that's all..."[7]

Since its release, "Hotel California" has been covered by a number of artists and has become a part of international popular culture. Julia Phillips proposed adapting the song into a film, but the members of the Eagles disliked the idea and it never came to fruition. Commercially, "Hotel California" reached the number one position on the Billboard Hot 100 and reached the top ten of several international charts.

History

Composition

 
Don Felder composed the melody for "Hotel California."
 
Glenn Frey provided the outline of "Hotel California."
 
Don Henley wrote the lyrics to "Hotel California" with Frey.

The melody of the song was composed by Don Felder in a rented house on Malibu Beach. He recorded the basic tracks with a Rhythm Ace drum machine and added a 12 string guitar on a four-track recording deck in his spare bedroom, then mixed in a bassline, and gave Don Henley and Glenn Frey each a copy of the recording.[8] Felder, who met the Eagles through his high school bandmate Bernie Leadon, said that Leadon advised him to make tapes of songs he wrote for the band so that other band members like Henley, whose forte is in writing lyrics, might work with him on finishing the songs they like.[9] The demos he made were always instrumental, and on every album project he would submit 15 or 16 ideas. The demo he made for "Hotel California" showed influences from Latin and reggae music, and it grabbed the attention of Henley who said he liked the song that "sounds like a Mexican reggae or Bolero",[9] which gave the song its first working title, "Mexican Reggae".[10]

Frey and Henley were both interested in the tune after hearing the demo, and discussed the concept for the lyrics. In 2008, Felder described the writing of the lyrics:

Don Henley and Glenn wrote most of the words. All of us kind of drove into L.A. at night. Nobody was from California, and if you drive into L.A. at night... you can just see this glow on the horizon of lights, and the images that start running through your head of Hollywood and all the dreams that you have, and so it was kind of about that... what we started writing the song about.[11]

Henley decided on the theme of "Hotel California", noting how The Beverly Hills Hotel had become a literal and symbolic focal point of their lives at that time.[12] Henley said of their personal and professional experience in LA: "We were getting an extensive education, in life, in love, in business. Beverly Hills was still a mythical place to us. In that sense it became something of a symbol, and the 'Hotel' the locus of all that LA had come to mean for us. In a sentence, I'd sum it up as the end of the innocence, round one."[13]

Frey came up with a cinematic scenario of a person who, tired from driving a long distance in a desert, saw a place for a rest and pulled in for the night, but entered "a weird world peopled by freaky characters", and became "quickly spooked by the claustrophobic feeling of being caught in a disturbing web from which he may never escape."[8] In an interview with Cameron Crowe, Frey said that he and Henley wanted the song "to open like an episode of the Twilight Zone", and added: "We take this guy and make him like a character in The Magus, where every time he walks through a door there’s a new version of reality. We wanted to write a song just like it was a movie."[12] Frey described the song in an interview with NBC's Bob Costas as a cinematic montage "just one shot to the next ... a picture of a guy on the highway, a picture of the hotel, the guy walks in, the door opens, strange people." Frey continued: "We decided to create something strange, just to see if we could do it."[3][14] Henley then wrote most of the lyrics based on Frey's idea, and sought inspiration for the writing by driving out into the desert as well as from films and theater.[12]

Part of the lyrics, such as "Her mind is Tiffany twisted, she got the Mercedes bends / She got a lot of pretty pretty boys she calls friends", are based on Henley's break-up with his girlfriend Loree Rodkin.[8][13] According to Glenn Frey's liner notes for The Very Best Of, the use of the word "steely" in the lyric, "They stab it with their steely knives, but they just can't kill the beast," was a playful nod to the band Steely Dan, who had included the lyric "Turn up the Eagles, the neighbors are listening" in their song "Everything You Did".[15] Frey had also said that the writing of the song was inspired by the boldness of Steely Dan's lyrics and its willingness to go "out there",[12] and thought that the song they wrote had "achieved perfect ambiguity."[14]

Recordings

The Eagles recorded the track with Don Henley on lead vocal three different times, twice at the Record Plant in Los Angeles and finally at the Criteria Studios in Miami.[3][16] They first recorded a riff, but when it came to recording the vocal, it was found to be in too high a key for Henley's voice, so Felder progressively lowered the key from E minor, eventually settling on B minor. The second recording however was judged too fast.[3] In Miami, the band fine-tuned the instrumentation and the lyrics and recorded numerous takes. Five or six best ones were selected, and the best parts were then spliced together to create the released version. According to the producer Bill Szymczyk, there were 33 edits on the two‑inch master.[16] The final section features a guitar battle between Joe Walsh (who had replaced Bernie Leadon after Leadon's departure from the band in 1975) and Felder, which took the two of them sitting together working for around three days to achieve the necessary precision.[8] Walsh and Felder initially started improvising but Henley insisted that the recording should follow the music as first recorded in Felder's demo.[9]

Henley decided that the song should be a single, although Felder had doubts and the record company was reluctant to release it because, at over six minutes, its duration far exceeded that of the songs generally played by radio stations.[9][17] The band took a stand and refused the label's request to shorten the song.[18] The song was released as the second single from the album after "New Kid in Town". The front cover art for some overseas editions of the 45rpm single released was a reworked version of the Hotel California LP cover art, which used a photograph of the Beverly Hills Hotel by David Alexander, with design and art direction by Kosh.[19]

 
The Eagles performing "Hotel California" in Australia during their Long Road Out of Eden Tour

As "Hotel California" became one of the group's most popular songs and a concert staple for the band,[20] live recordings of the song have therefore also been released. The first live recording of the song appeared on the Eagles' 1980 live album, and an acoustic version with an extended intro is a track in the 1994 Hell Freezes Over reunion concert CD and video release.[21] The Hell Freezes Over version is performed using eight guitars and has a decidedly Spanish sound, with Don Felder's flamenco-inspired arrangement and intro.[22]

Chart performance

"Hotel California" first entered the Billboard Hot 100 on chart dated February 26, 1977,[23] and topped the Hot 100 singles chart for one week in May 1977,[24] the band's fourth song to reach No. 1 on that chart.[5] It peaked at number 10 on the Easy Listening chart in April 1977.[25] Billboard ranked it number 19 on its 1977 Pop Singles year-end chart.[26] Three months after its first release, the single was certified Gold by the Recording Industry Association of America (RIAA), representing one million copies shipped. In 2009, the song was further certified Platinum (Digital Sales Award) by the RIAA for sales of one million digital downloads,[27] and has since sold over 3 million downloads.[28]

Accolades

The Eagles won the 1977 Grammy Award for Record of the Year for "Hotel California" at the 20th Grammy Awards in 1978.[29]

The song is rated highly in many rock music lists and polls; Rolling Stone magazine ranked it number 49 on its list of "The 500 Greatest Songs of All Time".[30] It was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[31] At the induction of the Eagles into the Rock and Roll Hall of Fame in 1998, all seven former and present members of the band reunited to perform "Hotel California".[32]

The song's guitar solo was voted the best solo of all time by readers of Guitarist magazine in 1998,[4] and was ranked 8th on Guitar Magazine's Top 100 Guitar Solos.[33] The song was also included in the music video game Guitar Hero World Tour. It was ranked the number 1 in the list of the best 12-string guitar songs of all times by Guitar World magazine in 2015.[34]

Themes and interpretations

Glenn Frey said that originally "We decided to create something strange, just to see if we could do it," and that the song was meant to mimic the imagery of the 1965 novel The Magus by John Fowles, about a man in an unfamiliar rural setting who is unsure about what he is experiencing.[35]

Don Henley has given a number of explanations about the song, ranging from "a journey from innocence to experience"[7] to "a sociopolitical statement".[36] In an interview with Rolling Stone, Henley said that the song was meant to be "more of a symbolic piece about America in general", and added: "Lyrically, the song deals with traditional or classical themes of conflict: darkness and light, good and evil, youth and age, the spiritual versus the secular. I guess you could say it's a song about loss of innocence."[8]

The song has been described as being "all about American decadence and burnout, too much money, corruption, drugs and arrogance; too little humility and heart."[8] It has also been interpreted as an allegory about hedonism, self-destruction, and greed in the music industry of the late 1970s.[37] Don Henley called it "our interpretation of the high life in Los Angeles",[38] and later said: "It's basically a song about the dark underbelly of the American dream and about excess in America, which is something we knew a lot about."[39] In the 2013 documentary, History of the Eagles, Henley reiterated:

On just about every album we made, there was some kind of commentary on the music business, and on American culture in general. The hotel itself could be taken as a metaphor not only for the myth-making of Southern California, but for the myth-making that is the American Dream, because it is a fine line between the American Dream, and the American nightmare.[40]

In a 2009 interview, The Plain Dealer music critic John Soeder asked Don Henley if he regretted writing the lines "So I called up the captain / 'Please bring me my wine' / He said, 'We haven't had that spirit here since 1969'" because wines are fermented while spirits are distilled. Henley responded:

Thanks for the tutorial and, no, you're not the first to bring this to my attention — and you're not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I've consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It's a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument about chemical processes.[36]

In his Encyclopedia of Great Popular Song Recordings, Volume 1, Steve Sullivan theorizes that the "spirit" that the Hotel California hasn't had since 1969 refers to the spirit of social activism of the 1960s, and how disco and the related pop music of the mid-1970s had turned away from it.[8]

Conjectures

The metaphorical character of the story related in the lyrics has inspired a number of conjectural interpretations by listeners. In the 1980s the Rev. Paul Risley of Cornerstone Church in Burlington, alleged that "Hotel California" referred to a San Francisco hotel that was purchased by Anton LaVey and converted into his Church of Satan.[41][42] Other rumors suggested that the Hotel California was the Camarillo State Mental Hospital.[43]

The term "colitas" in the first stanza ("warm smell of colitas, rising up through the air") has been interpreted as a sexual slang or a reference to marijuana.[44] "Colitas" means "little tails" in Spanish; in Mexican slang it refers to buds of the cannabis (marijuana) plant.[45][46] According to Glenn Frey, the "warm smell" is "colitas...it means little tails, the very top of the plant."[47] The Eagles' manager Irving Azoff appears to lend support to the marijuana hypothesis,[48] however, Felder said: "The colitas is a plant that grows in the desert that blooms at night, and it has this kind of pungent, almost funky smell. Don Henley came up with a lot of the lyrics for that song, and he came up with colitas."[44]

Other interpretations of the songs include heroin addiction and cannibalism.[3] On the various interpretations, Henley said: "Some of the wilder interpretations of that song have been amazing. It was really about the excesses of American culture and certain girls we knew. But it was also about the uneasy balance between art and commerce."[44]

Harmonic structure

The intro and verse's chord pattern counts eight measures, each one assigned to a single chord. Seven different chords are used in the eight measures. As the song opens, it is not until the eighth measure that a chord is repeated. The song is initially in the key of B-minor.[49] The presence of E major gives a hint of B Dorian.

The chords are played as follows:

Bm–F♯–A–E–G–D–Em–F♯
or
i–V–VII–IV–VI–III–iv–V

The eight measure sequence is repeated in the intro, for each verse and in the outro, providing the harmonic framework for the entire extended dual guitar solo at the end of the song.[49] One explanation of the progression is that it is a common flamenco chord progression called the "Spanish progression" (i–VII–VI–V in a phrygian context) that is interspersed with consecutive fifths.[49] With its descending ostinato pattern, it could be considered a fandango, a forerunner of the Baroque chaconne form.[50]

This chord sequence is not commonly used, and Ian Anderson of Jethro Tull has pointed out its similarity to his song "We Used to Know" from their 1969 album Stand Up, suggesting the Eagles heard it when they toured together.[51] While the Eagles did open for Jethro Tull in June 1972, Don Felder, who wrote the music, did not join the band until 1974 and would not have been in the audience or backstage.[52] Felder has said that he had never heard "We Used to Know", and that he was unfamiliar with Jethro Tull apart from the fact the frontman plays a flute.[53]

The chorus, or refrain, uses five of the song's seven chords, structured with the melody in a way that shifts the key from B-minor to its relative major of D:[49]

G–D–F♯–Bm–G–D–Em–F♯
or assuming a key of D:
IV–I–ii–vi–IV–I–ii–III

Cover versions

Al B. Sure! recorded his rendition for his album, Private Times...and the Whole 9! (1990).[54] Gipsy Kings recorded a flamenco version sung in Spanish.[55] The Orb, under the name of Jam On The Mutha produced a version which charted at No. 62 on the UK chart in 1990.[56][57] Mike Piranha recorded "Hotel Honolulu" in 1998, satirizing overdevelopment, crime, and other issues on Oahu, which became a local hit in Hawaii.[58] The Romanian band Vama Veche recorded its version with different lyrics entitled "Hotel Cişmigiu", sung in its native language.[59] Alabama 3 covered the song for the album, La Peste (2000).[60] Nancy Sinatra recorded a cover version for her 2002 album California Girl, an album of songs about California.[61] The Cat Empire recorded a version sung in French entitled "L'hotel de Californie" for Triple J's Like a Version segment, and is included in its 2005 compilation album as well as the band's 2003 live album On the Attack.[62] Vocal Sampling have performed an a cappella version, which is included in their 2008 album Akapelleando.[63] The Killers and Rhythms del Mundo collaborated their version with Afro-Cuban music for the 2009 Artists' Project Earth charity, and it appeared on the album Rhythms del Mundo Classics.[64]

Frank Ocean released a song that samples the entire instrumental track of "Hotel California" on his mixtape Nostalgia, Ultra (2011), entitled "American Wedding".[65] It led to a threatened lawsuit from Don Henley for copyright infringement.[66]

Cultural influence

"Hotel California" and its lyrics have become absorbed into the wider culture around the world, and have been used by various writers and commentators to reflect on issues ranging from politics to social media and welfare,[67][68][69] or as an observation on a particular situation.[70][71] The lines "We are programmed to receive / You can check out any time you like / But you can never leave!" were used by an economist to refer to how the appeal of an attractive "Hotel California"-type host country to foreign investors may be countered by the cost of exit on leaving the country.[72] A term "The Hotel California Effect" was then used to refer to the negative effect of financial regulations on investment,[73] and the problems foreign investors faced when getting their money out of China.[74][75] It has also applied to other ideas such as leaving a service provider or social media network.[76][77] The same analogy has been used by various commentators I considering scenarios for Brexit, with the term "Hotel California Brexit".[78][79][80]

A book titled Operation Hotel California: The Clandestine War Inside Iraq was written about the clandestine operation named after the song title by CIA–US Special Forces teams in Iraqi Kurdistan in the lead-up to the Iraq War.[81][82]

Although the Eagles were noted for their reluctance to license their songs for use in shows,[83] the song has been used in a number of films and television shows, such as The Big Lebowski (performed by the Gipsy Kings),[84] Absolutely Fabulous, and The Sopranos.[44] Most recently it was used during the final scenes of the premiere episode of American Horror Story: Hotel in October 2015.[85]

Proposed film adaptation

According to Rolling Stone, Julia Phillips, the producer of films like Taxi Driver and Close Encounters of the Third Kind, was interested in shooting a movie based on the song's story. The band members and Phillips met to discuss the project. In her memoir You'll Never Eat Lunch in This Town Again, Phillips wrote that the band members were difficult to deal with and arrogant. Henley said that Phillips offered the band members cocaine and was "nonplussed" when they turned it down. Tension between the two parties ended the pre-development deal for the film. Rolling Stone reported that the band was not upset at this development, as they were not particularly enamored with the idea of "Hotel California" being adapted into a film. This was because Henley feared that he would lack control over the project.[86]

Personnel

  • Don Felder – 12- and 6-string electric guitars, backing vocals
  • Don Henley – lead and backing vocals, drums, percussion
  • Glenn Frey – 12-string acoustic guitar, backing vocals
  • Joe Walsh – electric guitar, backing vocals
  • Randy Meisner – bass, backing vocals

Charts and certifications

References

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  86. ^ The Eagles' 'Hotel California': 10 Things You Didn't Know. Rolling Stone. [2016-12-11]. 
  87. ^ "Austriancharts.at – Eagles – Hotel California". Ö3 Austria Top 40. （德语）.
  88. ^ "Ultratop.be – Eagles – Hotel California". Ultratop 50. （荷兰语）.
  89. ^ "Top RPM Singles: Issue 5268a." RPM. Library and Archives Canada. （英语）.
  90. ^ "Top RPM Adult Contemporary: Issue 4362." RPM. Library and Archives Canada. （英语）.
  91. ^ "Lescharts.com – Eagles – Hotel California". Les classement single. （法语）.
  92. ^ "Dutchcharts.nl – Eagles – Hotel California". Single Top 100. （荷兰语）.
  93. ^ "Charts.nz – Eagles – Hotel California". Top 40 Singles. （英语）.
  94. ^ "Norwegiancharts.com – Eagles – Hotel California". VG-lista. （挪威语）.
  95. ^ Salaverri, Fernando. Sólo éxitos: año a año, 1959-2002 1st. Spain: Fundación Autor-SGAE. September 2005. ISBN 84-8048-639-2. 
  96. ^ "Swisscharts.com – Eagles – Hotel California". Swiss Singles Chart. （英语）.
  97. ^ "Eagles: Artist Chart History" Official Charts Company. （英语）.
  98. ^ "Eagles Chart History (Hot 100)". Billboard. （英语）.
  99. ^ "Eagles Chart History (Adult Contemporary)". Billboard. （英语）.
  100. ^ Top 200 Singles of '77. December 31, 1977. 
  101. ^ Italian single certifications – Eagles – Hotel California. Federazione Industria Musicale Italiana. [October 3, 2016] （意大利语）.  在“Anno”下拉菜单选择“2016”。 在“Filtra”字段选择“Hotel California”。 在“Sezione”下选择“Singoli”。
  102. ^ British single certifications – Eagles – Hotel California. British Phonographic Industry. [November 14, 2013] （英语）.  在“Format”字段选择“singles”。；在“Certification”字段选择“Silver”在“BPI Awards”字段输入“Hotel California”，并敲击回车检索。
  103. ^ British single certifications – Eagles – Hotel California. British Phonographic Industry. [September 5, 2018] （英语）.  在“Format”字段选择“singles”。；在“Certification”字段选择“Platinum”在“BPI Awards”字段输入“Hotel California”，并敲击回车检索。
  104. ^ 104.0 104.1 American single certifications – Eagles – Hotel California. Recording Industry Association of America. [May 2, 2013] （英语）. 

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蛙 (小说)

长江日报

蛙 (喜剧)

   关于与“User:AmethystY98/沙盒”标题相近或相同的用户沙盒，请见“Frog (disambiguation)”。
The Frogs
剧作家Aristophanes
合唱Frogs, Initiates, citizens of Hades
角色Dionysus
Xanthias, Dionysus' slave
Heracles
corpse
Charon
Aeacus, janitor of Hades
maid
hostess
Plathane, maid of the inn
Euripides
Aeschylus
Pluto
various extras
设定Outside Heracles' house; Lake Acheron; Hades

The Frogs (希腊语：Βάτραχοι Bátrachoi, "Frogs"; Latin: Ranae, often abbreviated Ran. or Ra.) is a comedy written by the Ancient Greek playwright Aristophanes. It was performed at the Lenaia, one of the Festivals of Dionysus in Athens, in 405 BC, and received first place.[1]

Plot

 
Red-figure vase painting showing an actor dressed as Xanthias in The Frogs, standing next to a statuette of Heracles

The Frogs tells the story of the god Dionysus, who, despairing of the state of Athens' tragedians, travels to Hades (the underworld) to bring the playwright Euripides back from the dead. (Euripides had died the year before, in 406 BC.) He brings along his slave Xanthias, who is smarter and braver than Dionysus. As the play opens, Xanthias and Dionysus argue over what kind of jokes Xanthias can use to open the play. For the first half of the play, Dionysus routinely makes critical errors, forcing Xanthias to improvise in order to protect his master and prevent Dionysus from looking incompetent—but this only allows Dionysus to continue to make mistakes with no consequence.

To find a reliable path to Hades, Dionysus seeks advice from his half-brother Heracles, who had been there before in order to retrieve the hell hound Cerberus. Dionysus shows up at his doorstep dressed in a lion-hide and carrying a club. Heracles, upon seeing the effeminate Dionysus dressed up like himself, can't help laughing. When Dionysus asks which road is the quickest to get to Hades, Heracles tells him that he can hang himself, drink poison, or jump off a tower. Dionysus opts for the longer journey, which Heracles himself had taken, across a lake (possibly Lake Acheron).

When Dionysus arrives at the lake, Charon ferries him across. Xanthias, being a slave, is not allowed in the boat, and has to walk around it, while Dionysus is made to help row the boat.

This is the point of the first choral interlude (parodos), sung by the eponymous chorus of frogs (the only scene in which frogs feature in the play). Their croaking refrain – Brekekekèx-koàx-koáx (Greek: Βρεκεκεκὲξ κοὰξ κοάξ) – greatly annoys Dionysus, who engages in a mocking debate (agon) with the frogs. When he arrives at the shore, Dionysus meets up with Xanthias, who teases him by claiming to see the frightening monster Empusa. A second chorus composed of spirits of Dionysian Mystics soon appear.

The next encounter is with Aeacus, who mistakes Dionysus for Heracles due to his attire. Still angry over Heracles' theft of Cerberus, Aeacus threatens to unleash several monsters on him in revenge. Frightened, Dionysus trades clothes with Xanthias. A maid then arrives and is happy to see Heracles. She invites him to a feast with virgin dancing girls, and Xanthias is more than happy to oblige. But Dionysus quickly wants to trade back the clothes. Dionysus, back in the Heracles lion-skin, encounters more people angry at Heracles, and so he makes Xanthias trade a third time.

When Aeacus returns to confront the alleged Heracles (i.e., Xanthias), Xanthias offers him his "slave" (Dionysus) for torturing, to obtain the truth as to whether or not he is really a thief. The terrified Dionysus tells the truth that he is a god. After each is whipped, Dionysus is brought before Aeacus' masters, and the truth is verified. The maid then catches Xanthias and chats him up, interrupted by preparations for the contest scene.

 
Bust of Aeschylus from the Capitoline Museum

The maid describes the Euripides-Aeschylus conflict. Euripides, who had only just recently died, is challenging the great Aeschylus for the seat of "Best Tragic Poet" at the dinner table of Pluto, the ruler of the underworld. A contest is held with Dionysus as judge. The two playwrights take turns quoting verses from their plays and making fun of the other. Euripides argues the characters in his plays are better because they are more true to life and logical, whereas Aeschylus believes his idealized characters are better as they are heroic and models for virtue. Aeschylus mocks Euripides' verse as predictable and formulaic by having Euripides quote lines from many of his prologues, each time interrupting the declamation with the same phrase "ληκύθιον ἀπώλεσεν" ("... lost his little flask of oil"). (The passage has given rise to the term lekythion for this type of rhythmic group in poetry.) Euripides counters by demonstrating the alleged monotony of Aeschylus' choral songs, parodying excerpts from his works and having each citation end in the same refrain ἰὴ κόπον οὐ πελάθεις ἐπ᾽ ἀρωγάν; ("oh, what a stroke, won't you come to the rescue?", from Aeschylus' lost play Myrmidons). Aeschylus retorts to this by mocking Euripides' choral meters and lyric monodies with castanets.

During the contest, Dionysus redeems himself for his earlier role as the butt of every joke. He now rules the stage, adjudicating the contestants' squabbles fairly, breaking up their prolonged rants, and applying a deep understanding of Greek tragedy.

To end the debate, a balance is brought in and each are told to tell a few lines into it. Whoever's lines have the most "weight" will cause the balance to tip in their favor. Euripides produces verses of his that mention, in turn, the ship Argo, Persuasion, and a mace. Aeschylus responds with the river Spercheios, Death, and two crashed chariots and two dead charioteers. Since the latter verses refer to "heavier" objects, Aeschylus wins, but Dionysus is still unable to decide whom he will revive. He finally decides to take the poet who gives the best advice about how to save the city. Euripides gives cleverly worded but essentially meaningless answers while Aeschylus provides more practical advice, and Dionysus decides to take Aeschylus back instead of Euripides. Pluto allows Aeschylus to return to life so that Athens may be succoured in her hour of need, and invites everyone to a round of farewell drinks. Before leaving, Aeschylus proclaims that Sophocles should have his chair while he is gone, not Euripides.

Critical analysis

The parodos contains a paradigmatic example of how in Greek culture obscenity could be included in celebrations related to the gods.[2]

Politics

Kenneth Dover claims that the underlying political theme of The Frogs is essentially "old ways good, new ways bad".[3] He points to the parabasis for proof of this: "The antepirrhema of the parabasis (718–37) urges the citizen-body to reject the leadership of those whom it now follows, upstarts of foreign parentage (730–2), and turn back to men of known integrity who were brought up in the style of noble and wealthy families" (Dover 33). Kleophon is mentioned in the ode of the parabasis (674–85), and is both "vilified as a foreigner" (680–2) and maligned at the end of the play (1504, 1532).

The Frogs deviates from the pattern of political standpoint offered in Aristophanes' earlier works, such as The Acharnians (425 BC), Peace (421 BC), and Lysistrata (411 BC), which have all been termed 'peace' plays. The Frogs is not often thus labeled, however – Dover points out that though Kleophon was adamantly opposed to any peace which did not come of victory, and the last lines of the play suggest Athens ought to look for a less stubborn end to the war, Aeschylus' advice (1463–5) lays out a plan to win and not a proposition of capitulation. Also, The Frogs contains solid, serious messages which represent significant differences from general critiques of policy and idealistic thoughts of good peace terms. During the parabasis Aristophanes presents advice to give the rights of citizens back to people who had participated in the oligarchic revolution in 411 BC, arguing they were misled by Phrynichus' 'tricks' (literally 'wrestlings'). Phrynichus was a leader of the oligarchic revolution who was assassinated, to general satisfaction, in 411. This proposal was simple enough to be instated by a single act of the assembly, and was actually put into effect by Patrokleides' decree after the loss of the fleet at Aegospotami. The anonymous Life states that this advice was the basis of Aristophanes' receipt of the olive wreath, and the author of the ancient Hypothesis says admiration of the parabasis was the major factor that led to the play's second production.[3]

 
Marble bust from the fourth century BC depicting Alcibiades, who is referenced throughout the play

J.T. Sheppard contends that the exiled general Alcibiades is a main focus of The Frogs. At the time the play was written and produced, Athens was in dire straits in the war with the Peloponnesian League, and the people, Sheppard claims, would logically have Alcibiades on their minds. Sheppard quotes a segment of text from near the beginning of the parabasis:

But remember these men also, your own kinsmen, sire and son,
Who have oftimes fought beside you, spilt their blood on many seas;
Grant for that one fault the pardon which they crave you on their knees.
You whom nature made for wisdom, let your vengeance fall to sleep;
Greet as kinsmen and Athenians, burghers true to win and keep,
Whosoe'er will brave the storms and fight for Athens at your side!

——Murray translation, from l. 697

He states that though this text ostensibly refers to citizens dispossessed of their rights, it will actually evoke memories of Alcibiades, the Athenians' exiled hero. Further support includes the presentation of the chorus, who recites these lines, as initiates of the mysteries. This, Sheppard says, will also prompt recollection of Alcibiades, whose initial exile was largely based on impiety regarding these religious institutions. Continuing this thought, the audience is provoked into remembering Alcibiades' return in 408 BC, when he made his peace with the goddesses. The reason Aristophanes hints so subtly at these points, according to Sheppard, is because Alcibiades still had many rivals in Athens, such as Kleophon and Adeimantus, who are both blasted in the play. Sheppard also cites Aeschylus during the prologue debate, when the poet quotes from The Oresteia:

Subterranean Hermes, guardian of my father's realms,
Become my savior and my ally, in answer to my prayer.
For I am come and do return to this my land.

——Dillon translation, from l. 1127

This choice of excerpt again relates to Alcibiades, still stirring his memory in the audience. Sheppard concludes by referencing the direct mention of Alcibiades' name, which occurs in the course of Dionysus' final test of the poets, seeking advice about Alcibiades himself and a strategy for victory. Though Euripides first blasts Alcibiades, Aeschylus responds with the advice to bring him back, bringing the subtle allusions to a clearly stated head and concluding Aristophanes' point.[4]

Structure

According to Kenneth Dover, the structure of The Frogs is as follows: In the first section Dionysus' has the goal of gaining admission to Pluto's palace, and he does so by line 673. The parabasis follows, (lines 674–737) and in the dialogue between the slaves a power struggle between Euripides and Aeschylus is revealed. Euripides is jealous of the other's place as the greatest tragic poet. Dionysus is asked by Pluto to mediate the contest or agon.[3]

Charles Paul Segal argues that The Frogs is unique in its structure, because it combines two forms of comic motifs, a journey motif and a contest or agon motif, with each motif being given equal weight in the play.[5]

Segal contends that Aristophanes transformed the Greek comedy structure when he downgraded the contest or agon which usually preceded the parabasis and expanded the parabasis into the agon. In Aristophanes' earlier plays, i.e., The Acharnians and The Birds, the protagonist is victorious prior to the parabasis and after the parabasis is usually shown implementing his reforms. Segal suggests that this deviation gave a tone of seriousness to the play. For more detail see Old Comedy.

Sophocles

Sophocles was a very influential and highly admired Athenian playwright who died after the play had already been written, during the first phase of its production. Aristophanes did not have enough time to rewrite the play with Sophocles in it, so he simply added in scattered references to Sophocles's recent death, referring to him as a worthy playwright.[6] When Aeschylus leaves the underworld at the end of the play, Sophocles takes his throne.

References to the play

In the Gilbert and Sullivan light opera The Pirates of Penzance, Major-General Stanley, in his introductory song, includes the fact that he "knows the croaking chorus from The Frogs of Aristophanes" in a list of all his scholarly achievements.

Stephen Sondheim and Burt Shevelove adapted The Frogs to a musical of the same name, using characters of George Bernard Shaw and William Shakespeare instead of the Greek playwrights.

Finnegans Wake references this play with the words "Brékkek Kékkek Kékkek Kékkek! Kóax Kóax Kóax! Ualu Ualu Ualu! Quaouauh!"[7]

The call of the Frog Chorus, "Brekekekéx-koáx-koáx" (Greek: Βρεκεκεκέξ κοάξ κοάξ), followed by a few of Charon's lines from the play formed part of the Yale "Long Cheer", which was first used in public in 1884, and was a feature of Yale sporting events from that time until the 1960s.[8][9][10] Lake Forest Academy's teams are known as the "Caxys," a name derived from a similar cheer.[11]

The Long Cheer was echoed in Yale graduate Cole Porter's song "I, Jupiter" in his musical Out of This World, in which Jupiter sings "I, Jupiter Rex, am positively teeming with sex," and is answered by the chorus "Brek-ek-ko-ex-ko-ex-SEX! Brek-ek-ko-ex-ko-ex-SEX!"[9] Other colleges imitated or parodied the long cheer, including Penn, which adopted the cry, "Brackey Corax Corix, Roree".[8] One of these parodies was the first Stanford Axe yell in 1899, when yell leaders used it during the decapitation of a straw effigy: "Give 'em the axe, the axe, the axe!" The Frog Chorus also figured in a later Axe Yell rendering the last two segments "croax croax", which was used by the University of California and Stanford University.

In his book Jesting Pilate, author Aldous Huxley describes listening to a performance of a poem on the subject of Sicily by the Panjabi poet Iqbal, recited by a Mohammedan of Arab descent at a party in Bombay. Huxley summarized the performance with the statement: "And in the suspended notes, in the shakes and warblings over a single long-drawn syllable, I seemed to recognize that distinguishing feature of the Euripidean chorus which Aristophanes derides and parodies in the "Frogs".[12]

References

  1. ^ Aristophanes, Frogs. Kenneth Dover (ed.) (Oxford: Clarendon Press, 1993), p. 2.
  2. ^ Amata, Biagio Cultura e lingue classiche 3, p79
  3. ^ 3.0 3.1 3.2 Dover, Kenneth. Aristophanes' Frogs. New York: Clarendon Press. 1997. ISBN 0-19-815071-7. 
  4. ^ Sheppard, J. T.; Verrall, A. W. Politics in the Frogs of Aristophanes. Journal of Hellenic Studies (The Society for the Promotion of Hellenic Studies). 1910, 30: 249–259. JSTOR 624304. doi:10.2307/624304. 
  5. ^ Segal, Charles Paul. The Character and Cults of Dionysus and the Unity of the Frogs. Harvard Studies in Classical Philology (Department of the Classics, Harvard University). 1961, 65: 207–242. JSTOR 310837. doi:10.2307/310837. 
  6. ^ Roche, Paul. Aristophanes: The Complete Plays: A New Translation by Paul Roche. New York: New American Library. 2005: 537–540. ISBN 978-0-451-21409-6. 
  7. ^ Joyce, James, Finnegans Wake, 1939 , page 4, paragraph 1
  8. ^ 8.0 8.1 Schiff, Judith Ann, The Greatest College Cheer, Yale Alumni Magazine, 1998 [20 October 2016] 
  9. ^ 9.0 9.1 Readers Remember the Long Cheer, Yale Alumni Magazine, 2008 [11 December 2014] 
  10. ^ Branch, Mark Alden, Greek Revival, Yale Alumni Magazine, 2008 [11 December 2014] 
  11. ^ Student Life. Lake Forest Academy. 
  12. ^ "Jesting Pilate" page 24 paragraph 1, Paragon House, First Paperback Edition, 1991

Further reading

 
维基文库中的相关原始文献：Frogs (Aristophanes)

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警告：默认排序键“Frogs”覆盖了之前的默认排序键“Hotel California (Song)”。

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