鲁迅先生曾说:“讽刺家是危险的。”古往今来,凡从事讽刺艺术的作家和艺术家几乎多有不幸。他们的讽刺艺术虽然能使人们喜笑颜开,但自己的生活命运却往往令人悲伤落泪;他们在艺术舞台上塑造了众多的喜剧人物,而自己在现实生活中却经常被迫扮演悲剧角色。这一不幸现象的本身,便是对讽刺艺术家当时所处社会的巨大讽刺。古希腊的阿里斯托芬,被恩格斯誉为“喜剧之父”,公元前四二六年上演了他第二部讽刺喜剧《巴比伦人》,他在剧中嘲讽了雅典对待盟邦的专横,讥刺了盟邦及其使节的天真。当时雅典的当权人物克勒翁为此大发雷霆,控告作者侮辱了雅典国家 Mr. Lu Xun once said: “Satirical homes are dangerous.” Almost there has been misfortune among writers and artists engaged in satirical art since ancient times. Although their satirical art can make people smile, their own destiny is often sad and crying. They have created many comedies on the stage of the arts, and they are often forced to play a tragic role in real life. The unfortunate phenomenon itself is a huge irony of the society in which the satirical artist was at the time. Aristophanes of ancient Greece, Engels hailed as “the father of comedy”, in 4266 BC staged his second satirical comedy “Babylonians”, he in the play ridiculed Athens to treat alliances of the tyrannical, ridiculed The innocence of the allies and their ambassadors. At that time, Koel Weng, the power figure in Athens, was furious and accused the author of insulting the country of Athens