By Zachary P. Biles

Athenian comedian drama was once written for functionality at fairs honouring the god Dionysos. via dramatic motion and open discourse, poets sought to interact their competitors and galvanize the viewers, all for you to receive victory within the competitions. This publication makes use of that aggressive functionality context as an interpretive framework during which to appreciate the thematic pursuits shaping the plots and poetic caliber of Aristophanes' performs specifically, and of previous Comedy quite often. learning 5 person performs from the Aristophanic corpus in addition to fragments of alternative comedian poets, it unearths the aggressive poetics designated to every. It additionally lines thematic connections with different poetic traditions, specifically epic, lyric, and tragedy, and thereby seeks to put aggressive poetics inside of broader tendencies in Greek literature

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544–50; Nu. 560–2; V. 1051–9; Pax 765–74. 67 See in general Dover (1974) 229–34; Poliakoff (2001); Barker (2009) esp. 1–28. 68 Cf. Hubbard (1991) 32–3, though his programmatic statements in this regard receive limited elaboration in his discussions of the plays. 64 The parabasis and the poetics of self-assertion 29 the performance of the poet’s identity had an acknowledged place in the events leading up to the competitions at the Athenian dramatic festivals. Given the parabasis’ engagement with biographical details, a general statement of my understanding of the poet’s personality as it emerges there is in order.

I declare that I am far superior to the others, as many mortals as now eat bread upon the earth. But I decline to compete with the men of old, with Herakles or Eurytos of Oichalia, who rivaled the very gods in their skill with the bow. Indeed, mighty Eurytos met a sudden end, nor did he reach old age in his halls; for in anger Apollo killed him, because he had challenged him to compete with the bow. The accounts share a point of direct contact:€Thamyris’ misfortune took place soon after he departed from the halls of the same Eurytos of Oichalia (Il.

The rod-bearers ought to beat any comic poet who comes before the audience and praises himself in the anapests. 4. Plato Comicus fr. 99: εἰ μὲν μὴ λίαν < ∪ ∪ — > ὦνδρες, ἠναγκαζóμην στρέψαι δεῦρ᾿, οὐκ ἂν παρέβην εἰς λέξιν τοιάνδ᾿ ἐπῶν. Gentlemen, if I had not been so compelled to come here, I’d never have come forward to deliver such a speech of words. 5. Thesmophoriazusae 785: ἡμεĩς τοίνυν ἡμᾶς αὐτὰς εὖ λέξωμεν παραβᾶσαι. Let us then come forward in order to praise ourselves. This assumes that discussions such as Σ VΓLh Pax 734b ultimately derive from Hellenistic scholars; cf.

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