The typical plan of an Aristophanic comedy is very simple. The protagonist undertakes in all apparent seriousness to give a local habitation and a body to some ingenious fancy, airy speculation, or bold metaphor: as for example, the procuring of a private peace for a citizen who is weary of the privations of war; or the establishment of a city in Cloud-Cuckoo-Land where the birds shall regulate things better than the featherless biped, man; or the restoration of the eyesight of the proverbially blind god of Wealth. The attention of the audience is at once enlisted for the semblance of a plot by which the scheme is put into execution. The design once effected, the remainder of the play is given over to a series of loosely connected scenes, ascending to a climax of absurdity, in which the consequences of the original happy thought are followed out with a Swiftian verisimilitude of piquant detail and a Rabelaisian license of uproarious mirth. It rests with the audience to take the whole as pure extravaganza, or as a _reductio ad absurdum_ or playful defense of the conception underlying the original idea. In the intervals between the scenes, the chorus sing rollicking topical songs or bits of exquisite lyric, or in the name of the poet directly exhort and admonish the audience in the so-called Parabasis. Of Aristophanes's first two plays, the 'Banqueters of Hercules' (427), and the 'Babylonians' (426), only fragments remain. The impolitic representation in the latter of the Athenian allies as branded Babylonian slaves was the ground of Cleon's attack in the courts upon Aristophanes, or Callistratus in whose name the play was produced. The extant plays are the following:--