of his lyrics. Some of the most memorable and haunting lyrics are dignified hymns set free of the comic action. In the example below, taken from The Wasps, the lyric is merely a comic interlude and the rhythm is steadily trochaic. The syntax in the original Greek is natural and unforced and it was probably accompanied by brisk and cheerful music, gliding to a concluding pun at the expense of Amynias, who is thought to have lost his fortune gambling. Though to myself I often seem A bright chap and not awkward, None comes close to Amynias, Son of Sellos of the Bigwig Clan, a man I once saw Dine with rich Leogorus. Now as poor as Antiphon, He lives on apples and pomegranates Yet he got himself appointed Ambassador to Pharsalus, Way up there in Thessaly, Home of the poor Penestes: Happy to be where everyone Is as penniless as he is! The pun here in English translation (Penestes–penniless) is a weak version of the Greek pun , Penéstaisi-penéstĕs, "destitute". Many of the puns in the plays are based on words that are similar rather than identical, and it has been observed that there could be more of them than scholars have yet been able to identify. Others are based on double meanings. Sometimes entire scenes are constructed on puns, as in The Acharnians with the Megarian farmer and his pigs: the Megarian farmer defies the Athenian embargo against Megarian trade, and tries to trade his daughters disguised as pigs, except "pig" was ancient slang for "vagina". Since the embargo against Megara was the pretext for the Peloponnesian War, Aristophanes naturally concludes that this whole mess happened because of "three cunts". It can be argued that the most important feature of the language of the plays is imagery, particularly the use of similes, metaphors and pictorial expressions. In The Knights, for example, the ears of a character with selective hearing are represented as parasols that open and close. In The Frogs, Aeschylus is said to compose verses in the manner of a horse rolling in a sandpit. Some plays feature revelations of human perfectibility that are poetic rather than religious in character, such as the marriage of the hero Pisthetairos to Zeus's paramour in The Birds and the "recreation" of old Athens, crowned with roses, at the end of The Knights. Rhetoric It is widely believed that Aristophanes condemned