By Zachary P. Biles
Athenian comedian drama used to be written for functionality at fairs honouring the god Dionysos. via dramatic motion and open discourse, poets sought to interact their opponents and provoke the viewers, all so one can receive victory within the competitions. This e-book 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 particularly, and of previous Comedy usually. learning 5 person performs from the Aristophanic corpus in addition to fragments of different comedian poets, it finds the aggressive poetics exact to every. It additionally strains thematic connections with different poetic traditions, particularly epic, lyric, and tragedy, and thereby seeks to put aggressive poetics inside of broader traits in Greek literature
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Extra resources for Aristophanes and the Poetics of Competition
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. 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).
For prayer-openings, see Race (1992) 28–32; for the kletic prayer opening Hesiod’s Works and Days, see Clay (2003) 76–7, with bibliography. 2 West2 makes the association explicit:Â€Μοῦσαι Πιερίδες¸ κλῦτέ μοι εὐχομένῳ; so too Simon. fr. 20–2 West 2, Pi. N. 53–5, frr. 70a. 13–15, 70b. 25–6. Thus, according to Aristotle (Po. 1456b15–18), Protagoras criticized Homer for beginning the Iliad with an imperatival command to the Muses when he should have been praying. 36 On the contest structure, see Nagy (2002) 53–69.
68 To this end, I first examine the way a parabasis activates the personality, or better put, a personality of the poet to make him a participant in the play’s performance and declare his interests in the competitive stakes of the festival program. I then argue that an understanding of how these objectives are reached can be shaped further by recognizing the formal implications of the term parabainein in the formula for introducing the poet’s appearance in the parabasis, and compare the evidence for the tragic proagon to show that In addition to the parabasis of the revised Clouds (in eupolideans), the comic fragments show that poets used many different meters; cf.
Aristophanes and the Poetics of Competition by Zachary P. Biles