Aristophanes (born c. 450 BCE—died c. 388 BCE) was the greatest representative of ancient Greek comedy and the one whose works have been preserved in greatest quantity. He is the only extant representative of the Old Comedy—that is, of the phase of comic dramaturgy (c. 5th century BCE) in which chorus, mime, and burlesque still played a considerable part and which was characterized by bold fantasy, merciless invective and outrageous satire, unabashedly licentious humour, and a marked freedom of political criticism. But Aristophanes belongs to the end of this phase, and, indeed, his last extant play, which has no choric element at all, may well be regarded as the only extant specimen of the short-lived Middle Comedy, which, before the end of the 4th century BCE, was to be superseded in turn by the milder and more-realistic social satire of the New Comedy. He is one of the major figures of Classical antiquity.

Little is known about the life of Aristophanes, and most of the known facts are derived from references in his own plays. He was an Athenian citizen belonging to the clan named Pandionis, but his actual birthplace is uncertain. (The fact that he or his father, Philippus, owned property on the island of Aegina may have been the cause of an accusation by his fellow citizens that he was not of Athenian birth.) He began his dramatic career in 427 BCE with a play, the Daitaleis (The Banqueters), which appears, from surviving fragments, to have been a satire on his contemporaries’ educational and moral theories. He is thought to have written about 40 plays in all. A large part of his work is concerned with the social, literary, and philosophical life of Athens itself and with themes provoked by the Peloponnesian War (431–404 BCE). That war was essentially a conflict between imperialist Athens and conservative Sparta and so was long the dominant issue in Athenian politics. Aristophanes was an opponent of the more or less bellicose statesmen who controlled the government of Athens throughout the better part of his maturity, and he lived to see the revival of Athens after its defeat by Sparta.

Aristophanes’ reputation has stood the test of time; his plays are still frequently published and produced in numerous translations, which manage with varying degrees of success to convey the flavour of Aristophanes’ puns, witticisms, and topical allusions. But it is not easy to say why his comedies still appeal to an audience more than two millennia after they were written. In the matter of plot construction, Aristophanes’ comedies are often loosely put together, are full of strangely inconsequential episodes, and often degenerate at their end into a series of disconnected and boisterous episodes. Aristophanes’ greatness lies in the wittiness of his dialogue; in his generally good-humoured though occasionally malevolent satire; in the brilliance of his parody, especially when he mocks the controversial tragedian Euripides; in the ingenuity and inventiveness, not to say the laughable absurdity, of his comic scenes born of imaginative fantasy; in the peculiar charm of his choric songs, whose freshness can still be conveyed in languages other than Greek; and in the licentious frankness of many scenes and allusions in his comedies.

This comedy, which is extant only in fragments, was produced at the festival of the Great Dionysia. The festival was attended by delegates of the city-states, which were theoretically “allies” but were in practice satellites of Athens. Because Babylonians (426 BCE; Greek Babylōnioi) not only virulently attacked Cleon, the demagogue then in power in Athens, but also showed the “allies” as the slaves of the Athenian Demos (a personification of the Athenian citizen electorate), Aristophanes was impeached by Cleon. Though the details are not known, he seems to have been let off lightly.