Aristophanes and the Poetics of Competition by Zachary P. Biles

By Zachary P. Biles

Athenian comedian drama was once written for functionality at gala's honouring the god Dionysos. via dramatic motion and open discourse, poets sought to interact their opponents and provoke the viewers, all which will receive victory within the competitions. This ebook 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 generally. learning 5 person performs from the Aristophanic corpus in addition to fragments of different comedian poets, it finds the aggressive poetics specified to every. It additionally lines thematic connections with different poetic traditions, in particular epic, lyric, and tragedy, and thereby seeks to put aggressive poetics inside of broader traits in Greek literature

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147–8) allows the formal agon to stand as a partial replacement for military encounters. 30 Muellner (1976) 97. 31 Compare Hektor’s threats, as reported by Odysseus, to destroy the Greek ships and devastate the army (Il. 237–43). , φημί¸ ηὔδα), since in these cases euchomai provides new and additional force. 33 At Il. 100 the fact that Zeus is the speaker addressing the gods determines the secular meaning against the use of the identical formula in sacral contexts elsewhere; see Muellner (1976) 93–4.

56 On the problem of identifying the goddess, see Calame (1983) 343; Cyrino (2004). Allusion to competitive success in 87–9 is assumed by Pavese (1992) 88–9. For the sentiment as it may depend on agonistic considerations, compare the prayer for victory at Ar. Ra. 390–3. 57 In 96 it is unclear whether the chorus or their leader is the subject supplied by ἁ δὲ (see Pavese (1992) 92–3), or if this is a different subject altogether which would replace the negative adverb supplemented in 97 (see West (1967) 11).

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. Imperio (2004) 8. For differing judgments on what these passages can tell us about the significance of the term parabasis, see Händel (1963) 92–7; Sifakis (1971) 61–3; Gilula (1997).

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