333:
abusively drunk, he has insulted all his son's fashionable friends, and now he is assaulting anyone he meets on the way home. The slave departs as
Philocleon arrives, now with aggrieved victims on his heels and a pretty flute girl on his arm. Bdelycleon appears moments later and angrily remonstrates with his father for kidnapping the flute girl from the party. Philocleon pretends that she is in fact a torch. His son isn't fooled and he tries to take the girl back to the party by force but his father knocks him down. Other people with grievances against Philocleon continue to arrive, demanding compensation and threatening legal action. He makes an ironic attempt to talk his way out of trouble like a sophisticated man of the world, but it inflames the situation further. Finally, his alarmed son drags him indoors. The Chorus sings briefly about how difficult it is for men to change their habits and it commends the son for filial devotion, after which the entire cast returns to the stage for some spirited dancing by Philocleon in a contest with the sons of
329:, and bitterly deplores the gobbling up of imperial revenues by unworthy men. Father and son then return to the stage, now arguing with each other over the old man's choice of attire. He is addicted to his old juryman's cloak and his old shoes and he is suspicious of the fancy woollen garment and the fashionable Spartan footwear that Bdelycleon wants him to wear that evening to a sophisticated dinner party. The fancy clothes are forced upon him, and he is instructed in the kind of manners and conversation that the other guests will expect of him. At the party, Philocleon declares his reluctance to drink any wine—it causes trouble, he says—but Bdelycleon assures him that sophisticated men of the world can easily talk their way out of trouble, and so they depart optimistically for the evening's entertainment.
312:) of stealing a Sicilian cheese and not sharing it. Witnesses for the defense include a bowl, a pestle, a cheese-grater, a brazier and a pot. As these are unable to speak, Bdelycleon says a few words for them on behalf of the accused. A group of puppies (the children of the accused) is ushered in to soften the heart of the old juror with their plaintive cries. Philocleon is not softened, but his son easily fools him into putting his vote into the urn for acquittal. The old juror is deeply shocked by the outcome of the trial—he is used to convictions—but his son promises him a good time and they exit the stage to prepare for some entertainment.
300:
him back inside. Other attempts at escape are also barely defeated. The household settles down for some more sleep and then the Chorus arrives—old jurors who move warily through the muddy roads and are escorted by boys with lamps through the dark. Learning of their old comrade's imprisonment, they leap to his defense and swarm around
Bdelycleon and his slaves like wasps. At the end of this fray, Philocleon is still barely in his son's custody and both sides are willing to settle the issue peacefully through debate.
374:. For many jurors, this was their major source of income and it was virtually an old-age pension. There were no judges to provide juries with legal guidance, and there was no legal appeal against a jury's verdict. Jurors came under the sway of litigious politicians like Cleon who provided them with cases to try and who were influential in persuading the Assembly to keep up their pay. However it is not necessarily true that Cleon was exploiting the system for venal or corrupt reasons, as argued in
304:
law as he pleases since his decisions are not subject to review, and his juror's pay gives him independence and authority within his own household. Bdelycleon responds to these points with the argument that jurors are in fact subject to the demands of petty officials and they get paid less than they deserve—revenues from the empire go mostly into the private treasuries of men like Cleon. These arguments have a paralysing effect on
Philocleon. The chorus is won over.
498:
because he is struggling to overcome an addiction and it represents in allegorical form the theme expressed by the Chorus in the parabasis: the old customs are better and more manly than the new fashions. When the play opens, Philocleon is a prisoner of his son and, when the Chorus enters, the old jurors are found to be virtual prisoners of their sons too – they rely on the boys to help them through the dark, muddy streets. The
47:
274:
slaves wake and we learn from their banter that they are keeping guard over a "monster." The man asleep above them is their master and the monster is his father—he has an unusual disease. Xanthias and Sosias challenge the audience to guess the nature of the disease. Addictions to gambling, drink and good times are suggested but they are all wrong—the father is addicted to the law court: he is a
502:'s boy takes full advantage of the situation, threatening to abandon his elderly father if he won't buy him some figs. The debilitating effects of old age and the dehumanizing effects of an addiction (Philocleon is said to resemble a jackdaw, a mouse, a limpet, smoke, a donkey's foal, a cut of meat, Odysseus and Nobody) are somber themes that lift the action beyond the scope of a mere farce.
361:. Rightly or wrongly, most Athenians credited Cleon with this victory, and he was then at the height of his power. Constitutionally, supreme power lay with the People as voters in the assembly and as jurors in the courts, but they could be manipulated by demagogues skilled in oratory and supported by networks of satellites and informers. Cleon had succeeded
296:. The symptoms of the old man's addiction include irregular sleep, obsessional thinking, paranoia, poor hygiene and hoarding. Counselling, medical treatment and travel have all failed to solve the problem, and now his son has turned the house into a prison to keep the old man away from the law courts.
497:
Philocleon is a complex character whose actions have comic significance, psychological significance and allegorical significance. When, for example, he strikes his son for taking the dancing girl away, the violence is comic because it is unexpected of an old man yet it is psychologically appropriate
332:
There is then a second parabasis (see Note at end of this section), in which the Chorus touches briefly on a conflict between Cleon and the author, after which a household slave arrives with news for the audience about the old man's appalling behaviour at the dinner party: Philocleon has got himself
307:
Philocleon refuses to give up his old ways, so
Bdelycleon offers to turn the house into a courtroom and to pay him a juror's fee to judge domestic disputes. Philocleon agrees, and a case is soon brought before him—a dispute between the household dogs. One dog (who looks like Cleon) accuses the other
299:
Bdelycleon wakes and he shouts to the two slaves to be on their guard—his father is moving about. He tells them to watch the drains, for the old man can move like a mouse, but
Philocleon surprises them all by emerging instead from the chimney disguised as smoke. Bdelycleon is luckily on hand to push
369:
Jurors had to be citizens over the age of thirty and a corps of 6,000 was enrolled at the beginning of each year, forming a conspicuous presence about town in their short brown cloaks, with wooden staves in their hands. The work was voluntary but time-consuming and they were paid a small fee: three
303:
The debate between the
Philocleon and Bdelycleon focuses on the advantages that the old man personally derives from voluntary jury service. Philocleon says he enjoys the flattering attentions of rich and powerful men who appeal to him for a favourable verdict, he enjoys the freedom to interpret the
273:
The play begins with a strange scene—a large net has been spread over a house, the entry is barricaded and two slaves, Xanthias and Sosias, are sleeping in the street outside. A third man is positioned at the top of an exterior wall with a view into the inner courtyard but he too is asleep. The two
520:
at their best – structural elements that are common to most of
Aristophanes' plays are all found in this play in a complete and readily identifiable form. The table below is based on one scholar's interpretation of the play's structural elements and the poetic meters associated with them.
381:
Aristophanes' plays promote conservative values and support an honourable peace with Sparta, whereas Cleon was a radical democrat and a leader of the pro-war faction. Misunderstandings were inevitable. Cleon had previously attempted to prosecute
Aristophanes for slandering the
528:
Key: Brackets enclose metrons comprising long syllables (-), short syllables (.) and long/short syllables (o). The metrical scheme thus depicted is idealized and does not include substitutions such as a tribrach (...) for an iamb
402:
with yet further efforts to intimidate or prosecute
Aristophanes, and the poet may have publicly yielded to this pressure for a short time. Whatever agreement was reached with Cleon, Aristophanes gleefully reneged on it in
365:
as the dominant speaker in the assembly, and increasingly he could manipulate the courts for political and personal ends, especially in the prosecution of public officials for mismanagement of their duties.
390:, and though the legal result of these efforts is unknown, they appear to have sharpened the poet's satirical edge, as evidenced later in the unrelenting attack on Cleon in
340:
Note: Some editors (such as
Barrett) exchange the second parabasis (lines 1265–91) with the song (lines 1450–73) in which Bdelycleon is commended for filial devotion.
319:. It praises the author for standing up to monsters like Cleon and it chastises the audience for its failure to appreciate the merits of the author's previous play (
1511:
1635:
713:
each half beginning with trochaic tetrameter e.g. 334–45 and ending with anapestic tetrameter e.g. 346–57 but with 1 anapestic
261:. He also ridicules the law courts, one of the institutions that provided Cleon his power. The play has been thought to exemplify
1504:
1645:
1625:
1338:
1640:
1630:
1129:
31:
1497:
1245:
Amnon Kabatchnik, Blood on the Stage, 480 B.C. to 1600 A.D.: Milestone Plays of Murder, Mystery, and Mayhem, p. 55.
66:
in ancient comedy depends on interpretation of textual evidence. This list is based on David Barrett's translation.
222:
1045:
dialogue in iambic trimeter but with trochaic passages (1326–31, 1335–40) spoken by the drunken Philocleon
1142:
1121:
768:(631–47) with iambic and choriambic metra; spoken sections in anapestic tetrameter ending in anapestic
483:
as one of the greatest comedies in literature. Various factors contribute to its appeal, as for example:
438:
430:(now lost), and he was subsequently prosecuted by Cleon for being the author of slanders against the
358:
30:
This article is about the classical play by Aristophanes. For the incidental music to that play, see
407:, presenting Cleon as a treacherous dog manipulating a corrupted legal process for personal gain.
1379:
1371:
1151:
326:
896:
anapestic (1009–10), iambic (1011–12) and trochaic (1013–14) – an unusual lead into a parabasis
1582:
1334:
334:
251:
1146:
59:
in their behaviour (Painting: 'The Jury' by John Morgan 1861, Bucks County Museum, England).
1568:
1363:
1125:
309:
1166:
1023:(1284–91) featuring variation on trochaic tetrameter catalectic (paeonic tetrameter)
1188:
1155:
46:
1533:
1203:
1106:
1080:
1046:
1024:
984:
962:
925:
897:
257:
As in his other early plays, Aristophanes satirizes the Athenian general and demagogue
873:
851:
821:
799:
773:
740:
718:
687:
665:
643:
620:
601:
1619:
1603:
1596:
1383:
1181:
1160:
423:
567:
1561:
1521:
1102:
517:
315:
While the actors are offstage, the Chorus addresses the audience in a conventional
262:
239:
75:
1489:
1176:
1328:
1540:
1199:
450:
490:
The jurors have been considered the most vividly realized Chorus in Old Comedy;
1575:
1547:
1367:
499:
459:
357:, Athens had obtained a significant victory against its rival, Sparta, in the
321:
171:
1589:
1467:
D. MacDowell (ed), Oxford University Press 1971, p. 6 and Commentary section
316:
493:
The juror's son has been viewed as the most lifelike child in Greek drama.
17:
1076:
795:
362:
238:) is the fourth in chronological order of the eleven surviving plays by
1375:
457:
423: Athens and Sparta agreed to a one-year truce. Aristophanes' play
325:). It praises the older generation, evokes memories of the victory at
1305:
D. MacDowell (ed), Oxford University Press 1971, p. 299, note 1284–91
739:
trochaic tetrameters but with trochaic dimeters or 'runs' added.
686:
mainly choriamb to 323 then anapests , reflecting a change in mood.
445:
247:
243:
1479:
D. MacDowell (ed), Oxford University Press 1971, p. 179 note 334–402
1317:
D. Barrett and A. Sommerstein (ed), Penguin Classics 1978, pp. 32–33
1354:
MacDowell, Douglas M. (1973). "Review: The Wasps of Aristophanes".
487:
The central figure, Philocleon, is a 'triumph of characterization';
431:
289:
258:
794:
anapestic lines 725–28, 736–42, 750–59, other lines in iambs and
437:
425: Athens obtained a significant victory against Sparta in the
56:
1493:
279:
233:
1101:
dialogue in iambic trimeter ending in a dance (1518–37) in
850:(887–90) largely in iambs; anapests in 863–67 & 875–84
1079:
lines (1450–56, 1462–68), the second half more complex
1281:
D. MacDowell (ed), Oxford University Press 1971, pp. 1–2
921:
anapestic tetrameter catalectic ending in anapestic
1193:
The Atticist, 2018 – prose and verse with commentary:
1293:
D. MacDowell (ed), Oxford University Press 1971, p. 4
642:
pair based on ionic metron but with many variations
441:
and Cleon successfully claimed responsibility for it.
1222:
Aristophanes: Lysistrata, The Acharnians, The Clouds
1194:
292:), and his son's name is the very opposite of this—
206:
91:
81:
71:
39:
470:was performed at the Lenaia, winning second place.
398:implies that Cleon retaliated for his drubbing in
1431:D. MacDowell, Oxford University Press 1971, p. 10
1419:D. MacDowell, Oxford University Press 1971, p. 10
1403:D. MacDowell, Oxford University Press 1971, p. 7
961:(1102–21) in trochaic tetrameter catalectic
1224:Alan Sommerstein, Penguin Classics 1973, p. 37
983:dialogue between actors in iambic trimeter
842:iambic trimeter in 868-69 & 885–86; short
55:comprises elderly jurors who briefly resemble
1505:
707:trochaic and anapestic tetrameter catalectic
588:(trochees are more usual in early plays e.g.
288:(which suggests that he might be addicted to
8:
1397:More Essays in Greek History and Literature
1172:Alan H. Sommerstein, 1983 – prose and verse
1512:
1498:
1490:
1042:farcical consequences of the dinner party
755:songs and anapestic tetrameter catalectic
353:About two years before the performance of
45:
36:
1330:Aristophanes and the Definition of Comedy
710:angry dialogue between actors and chorus
444:424: Aristophanes won first prize at the
422:426: Aristophanes won first prize at the
1333:. Oxford University Press. p. 435.
523:
454:in which he lampooned Cleon mercilessly.
284:) or a "trialophile." The man's name is
1315:Aristophanes: The Birds and Other Plays
1269:D.Barrett, Penguin Classics 1964, p. 35
1267:Aristophanes: The Frogs and Other Plays
1234:Aristophanes: The Frogs and Other Plays
1214:
1362:. Cambridge University Press: 133–35.
1236:D.Barrett (ed.), Penguin Classics 1964
733:mainly trochaic tetrameter catalectic
516:has been thought to exemplify all the
419:431: The Peloponnesian War commenced.
7:
1064:Chorus congratulates father and son
664:, ionic but with fewer variations.
619:a quicker form of iambic rhythm
1187:George Theodoridis, 2007 – prose:
839:prayer consecrating the new court
349:Cleon and the Athenian jury system
25:
635:Chorus wonders about Philocleon
187:witnesses at trial of Second Dog
872:dialogue in iambic trimeter
820:dialogue in iambic trimeter
658:dialogue between juror and boy
616:dialogue between juror and boy
585:Chorus enters escorted by boys
525:Dramatic and Metrical Structure
250:' short-lived respite from the
1120:In 1909, the English composer
980:preparations for dinner party
788:anapests, iambs and dochmiacs
758:debate between father and son
1:
1413:Aristophanes' Traditionalisme
613:Euripidean 14 syllables/line
582:iambic tetrameter catalectic
370:obols per day at the time of
1175:Unknown translator – prose:
1130:The Wasps (Vaughan Williams)
411:Some events that influenced
234:
32:The Wasps (Vaughan Williams)
1636:Plays set in ancient Greece
1415:W.Kassies (1963), cited in
1399:A.W.Gomme (1962), cited in
1098:Philocleon in dancing mode
1061:mostly iambs and choriambs
817:setting up a court at home
736:denunciations and skirmish
563:dialogue setting the scene
246:festival in 422 BC, during
1662:
1204:available for digital loan
683:solo lament by Philocleon
550:
394:. The second parabasis in
280:
226:
29:
1528:
1368:10.1017/s0009840x0024016x
1011:(1265–74) but missing an
518:conventions of Old Comedy
242:. It was produced at the
210:before house of Anticleon
44:
1095:iambic and archilochean
772:(546–630 & 648–724)
566:conventional opening
1429:Aristophanes: The Wasps
1417:Aristophanes: The Wasps
1401:Aristophanes: The Wasps
1039:mostly iambic trimeter
463:came third (i.e. last).
117:another household slave
97:Anticleon (Bdelycleon)
1122:Ralph Vaughan Williams
791:reflections on debate
752:526–630 & 631–724
655:as before but simpler
426:with his second play,
200:Three sons of Carcinus
193:children to Second Dog
181:brought by the Citizen
103:Procleon (Philocleon)
27:Comedy by Aristophanes
1646:Fictional Hymenoptera
1626:Plays by Aristophanes
730:403–60 & 461–525
704:334–44 & 365–402
479:Some scholars regard
386:with his second play
344:Historical background
111:their household slave
1356:The Classical Review
1327:Silk, M. S. (2002).
1143:William James Hickie
439:Battle of Sphacteria
359:Battle of Sphacteria
308:dog (who looks like
1641:Plays set in Athens
1631:Plays about slavery
1520:Surviving plays by
1465:Aristophanes: Wasps
1303:Aristophanes: Wasps
1291:Aristophanes: Wasps
1279:Aristophanes: Wasps
1128:for the play – see
662:strophe/antistrophe
640:strophe/antistrophe
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1152:Benjamin B. Rogers
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1583:Thesmophoriazusae
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1003:symmetrical scene
941:symmetrical scene
726:symmetrical scene
695:symmetrical scene
252:Peloponnesian War
232:
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185:Cooking utensils
64:Dramatis Personae
16:(Redirected from
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913:parabasis proper
869:the dog's trial
866:iambic trimeter
836:mostly anapests
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1398:
1393:
1390:
1385:
1381:
1377:
1373:
1369:
1365:
1361:
1357:
1350:
1347:
1342:
1336:
1332:
1331:
1323:
1320:
1316:
1311:
1308:
1304:
1299:
1296:
1292:
1287:
1284:
1280:
1275:
1272:
1268:
1263:
1260:
1256:
1251:
1248:
1242:
1239:
1235:
1230:
1227:
1223:
1218:
1215:
1209:
1205:
1201:
1198:
1196:
1192:
1190:
1186:
1183:
1182:Peter Meineck
1180:
1178:
1174:
1171:
1168:
1165:
1162:
1161:Arthur S. Way
1159:
1157:
1153:
1150:
1148:
1144:
1141:
1140:
1136:
1131:
1127:
1123:
1119:
1118:
1115:Miscellaneous
1114:
1108:
1104:
1103:archilocheans
1100:
1097:
1094:
1091:
1089:
1086:
1085:
1082:
1078:
1074:
1070:
1066:
1063:
1060:
1057:
1055:
1052:
1051:
1048:
1044:
1041:
1038:
1035:
1033:
1030:
1029:
1026:
1022:
1018:
1014:
1010:
1006:
1004:
1001:
998:
995:
993:
990:
989:
986:
982:
979:
976:
973:
971:
968:
967:
964:
960:
956:
952:
948:
944:
942:
939:
936:
933:
931:
930:
927:
924:
920:
918:
914:
911:
908:
905:
903:
902:
899:
895:
893:
890:
887:
884:
882:
879:
878:
875:
871:
868:
865:
862:
860:
857:
856:
853:
849:
846:(870–74) and
845:
841:
838:
835:
832:
830:
827:
826:
823:
819:
816:
813:
810:
808:
805:
804:
801:
797:
793:
790:
787:
784:
782:
779:
778:
775:
771:
767:
764:(526–45) and
763:
760:
757:
754:
751:
749:
746:
745:
742:
738:
735:
732:
729:
727:
724:
723:
720:
716:
712:
709:
706:
703:
700:
697:(possibly an
696:
693:
692:
689:
685:
682:
679:
676:
674:
671:
670:
667:
663:
660:
657:
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631:
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587:
584:
581:
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573:
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569:
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559:
556:
554:
551:
546:
543:
540:
537:
534:
533:
530:
522:
519:
515:
508:
505:
503:
501:
500:Chorus leader
492:
489:
486:
485:
484:
482:
474:
469:
465:
462:
461:
456:
453:
452:
447:
443:
440:
436:
433:
429:
425:
424:City Dionysia
421:
418:
417:
414:
410:
408:
406:
401:
397:
393:
389:
385:
379:
377:
373:
367:
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356:
348:
343:
341:
338:
336:
330:
328:
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318:
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305:
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297:
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291:
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277:
268:
266:
264:
260:
255:
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241:
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224:
220:
219:
209:
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199:
196:
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170:
168:
164:
161:
157:
155:
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149:
145:
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139:
138:
137:
136:
129:
126:
123:
120:
118:
114:
112:
108:
106:
102:
100:
96:
95:
94:
90:
84:
80:
77:
74:
70:
65:
58:
54:
48:
43:
38:
33:
19:
1602:
1595:
1588:
1581:
1574:
1567:
1560:
1554:
1553:
1546:
1539:
1532:
1522:Aristophanes
1476:
1472:
1464:
1460:
1455:lines 105–95
1452:
1448:
1440:
1436:
1428:
1424:
1416:
1412:
1408:
1400:
1396:
1392:
1359:
1355:
1349:
1329:
1322:
1314:
1310:
1302:
1298:
1290:
1286:
1278:
1274:
1266:
1262:
1257:lines 83–135
1254:
1250:
1241:
1233:
1229:
1221:
1217:
1137:Translations
1087:
1072:
1068:
1053:
1031:
1021:antepirrhema
1020:
1016:
1012:
1008:
1002:
991:
969:
959:antepirrhema
958:
954:
953:(1091–101);
950:
946:
940:
922:
916:
912:
891:
880:
858:
847:
843:
828:
806:
780:
769:
765:
761:
747:
725:
714:
698:
694:
672:
661:
639:
597:
593:
589:
574:
552:
527:
513:
512:
506:
496:
480:
478:
467:
458:
449:
427:
412:
404:
399:
395:
391:
387:
383:
380:
375:
371:
368:
354:
352:
339:
331:
320:
314:
306:
302:
298:
293:
285:
276:phileliastes
275:
272:
256:
240:Aristophanes
217:
216:
215:
192:
186:
180:
174:
166:
159:
158:Second Dog (
153:
147:
141:
135:Silent Roles
134:
133:
116:
110:
104:
98:
76:Aristophanes
63:
52:
1541:The Knights
1200:Moses Hadas
1073:antistrophe
1013:antistrophe
951:antistrophe
848:antistrophe
766:antistrophe
451:The Knights
400:The Knights
392:The Knights
281:φιληλιαστής
1620:Categories
1576:Lysistrata
1548:The Clouds
1340:019925382X
1210:References
1077:choriambic
590:Acharnians
475:Discussion
460:The Clouds
322:The Clouds
294:Bdelycleon
286:Philocleon
263:Old Comedy
179:Witnesses
172:Chaerephon
167:flute girl
152:Masyntias
124:A reveller
105:his father
92:Characters
72:Written by
18:Philocleon
1590:The Frogs
1569:The Birds
1555:The Wasps
1453:The Wasps
1384:163587619
1255:The Wasps
1195:full text
1189:full text
1177:full text
1156:full text
1147:full text
1107:line 1470
1092:1474–537
1081:line 1450
1047:line 1292
1036:1292–449
1025:line 1265
1017:epirrhema
1007:trochaic
999:trochaic
985:line 1120
974:1122–264
963:line 1060
955:epirrhema
945:trochaic
937:trochees
934:1060–121
926:line 1015
909:anapests
898:line 1009
892:kommation
881:parabasis
863:891–1008
796:dochmiacs
547:Comments
535:Elements
514:The Wasps
507:The Wasps
481:The Wasps
468:The Wasps
413:The Wasps
405:The Wasps
396:The Wasps
376:The Wasps
372:The Wasps
355:The Wasps
317:parabasis
218:The Wasps
197:Revellers
165:Dardanis
130:A citizen
121:First Dog
115:Xanthias
53:The Wasps
40:The Wasps
1058:1450–73
996:1265–91
906:1015–59
885:1009–14
874:line 890
852:line 863
822:line 760
811:760–862
800:line 725
774:line 526
741:line 403
719:line 334
688:line 317
680:complex
666:line 290
652:290–316
644:line 273
621:line 248
602:line 230
553:prologue
544:Summary
363:Pericles
335:Carcinus
327:Marathon
191:Puppies
1069:strophe
1032:episode
1009:strophe
970:episode
947:strophe
859:episode
844:strophe
833:863–90
807:episode
785:725–59
762:strophe
677:317–33
629:273–89
610:248–72
594:Knights
579:230–47
575:parodos
541:Metres
235:Sphēkes
207:Setting
109:Sosias
1604:Plutus
1382:
1376:707813
1374:
1337:
1088:exodos
1075:iambo-
923:pnigos
917:pnigos
888:mixed
770:pnigoi
715:pnigos
568:line 1
557:1–229
538:Lines
446:Lenaia
310:Laches
248:Athens
244:Lenaia
227:Σφῆκες
146:Phryx
140:Midas
82:Chorus
1562:Peace
1477:Wasps
1441:Wasps
1380:S2CID
1372:JSTOR
915:with
598:Peace
529:(.-).
466:422:
448:with
432:polis
384:polis
290:Cleon
259:Cleon
160:Labes
57:wasps
1335:ISBN
1105:( )
1071:and
1054:song
829:song
798:or
781:song
748:agon
699:agon
673:song
269:Plot
87:Boys
62:The
1364:doi
1622::
1378:.
1370:.
1360:23
1358:.
1202::
1015:;
701:)
638:a
600:)
596:,
592:,
378:.
337:.
265:.
254:.
229:,
225::
1513:e
1506:t
1499:v
1386:.
1366::
1343:.
1132:.
434:.
278:(
221:(
162:)
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
