By Zachary P. Biles
Athenian comedian drama used to be written for functionality at gala's honouring the god Dionysos. via dramatic motion and open discourse, poets sought to have interaction their competitors and provoke the viewers, all that allows you to receive victory within the competitions. This ebook makes use of that aggressive functionality context as an interpretive framework in which to appreciate the thematic pursuits shaping the plots and poetic caliber of Aristophanes' performs particularly, and of previous Comedy regularly. learning 5 person performs from the Aristophanic corpus in addition to fragments of different comedian poets, it finds the aggressive poetics distinct to every. It additionally strains thematic connections with different poetic traditions, in particular epic, lyric, and tragedy, and thereby seeks to put aggressive poetics inside broader tendencies in Greek literature
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52 But Hesiod’s actions simultaneously reveal that one effect of agonistic pressures in poetic performance was to encourage poets to develop strategies for drawing attention to themselves, in increasing contrast with the veil of anonymity the Homeric songs envisage through the tradition of Muse-inspired poetry. 53 Alcman is more forthright in acknowledging the counterbalancing forces of agonistic pride and a sense of restraint in moments of poetic selfassertion. His Partheneion (PMG 1) opens with a mythological treatment, which gives way in the second half to the chorus’ presentation of themselves both as a unified group of girls and in relation to two of their individual members, Agido and the chorus-leader Hagesichora.
211; 251; Eup. frr. 89; 392; Pl. Com. frr. 106–7; Metag. fr. 15. A shift from first-person singular to third-person singular occurs in Pherecr. fr. 102. Ar. fr. 264 (anapestic tetrameter) discusses how choruses once danced with food in their arms; Athenaeus’ introduction (᾿Αριστοφάνης … γράφων καὶ αὐτὸς καὶ λέγων) might be taken to mean that Aristophanes both wrote and spoke (via the chorus) these verses. 92 To speculate further, the close connection between the poet and the defining action of the performance in a parabasis may represent a vestige from the early period of dramatic performance, when poets were not just composers but members of the chorus; cf.
94 Aristophanes’ ridicule of Cratinus in Acharnians (425) and Knights (424) prompted Cratinus to respond in his Pytine (fr. 213) of 423 by asserting that Aristophanes had pirated material from Eupolis. Cf. Cratin. fr. 342 and Ar. fr. 488, which are treated as a dialogue in Σ Pl. Ap. 19c (= Ar. test. 3); see O’Sullivan (2006). Aristophanes’ charge of plagiarism against Eupolis (Nu. 553–6) received a response from Eupolis (fr. 89), and in these cases the charges went beyond naming the poets to include the plays involved, Knights and Marikas; cf.