By A. M. Bowie
This ebook examines the performs of the Greek comedian author Aristophanes and makes an attempt to reconstruct the responses of the unique audiences through the use of anthropological recommendations to check the performs with these Greek myths and rituals that percentage comparable tale styles or material. it's the first publication to use this kind of research systematically to all of the comedies, and in addition differs from previous reviews in that it doesn't impose a unmarried interpretative constitution at the performs. All Greek is translated.
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Additional info for Aristophanes: Myth, Ritual and Comedy
In his long apologia pro pace sua, Dicaeopolis lays his emphasis on the extreme reactions of the Athenians in the war. ; cf. 5302). A bravura coda of nine lines of genitives vividly depicts the citywide mobilisation that the slightest instance of Spartan sanctionsbreaking would bring (546—54). ), to have Dicaeopolis suppressed and beaten. He too, after a violent reaction and a characteristic refusal to listen to a beggar (593), exits unrepentantly vowing to maintain hostilities against the Peloponnesians for ever (620—2).
378A; Plut. Phoc. ; Burkert 1983a: 256-64. The scene with the Boeotian is less morally problematic than that with the Megarian, though the stopping of the sycophant's mouth (926) and his manhandling are uncomfortably reminiscent of the similar treatment of Amphitheus. 34 Acharnians (47—51). Both of these agricultural figures make a reasonable request of the powers that be, and both are refused: where Dicaeopolis was earlier the victim of arbitrary justice, he is now handing it out. Here we can see the other side of the absence of legal activity which we noted above as an apparent benefit of Dicaeopolis' new world: it leaves those with a grievance against Dicaeopolis no method of redress.
Frontisi-Ducroux 1989: 156. On the functions and meanings of satyrs see Seaford 1984: 1-48. Introduction 17 unchecked; like wine, they offer the possibility of altered perception, of seeing oneself in another guise, as beast, woman, godlike hero, foolish old man, sophist etc. Summing up her discussion of the use of the full-frontal mask for sympotic satyrs, gorgons and fluteplayers, Frontisi-Ducroux writes as follows:30 through masks whose stares force the drinker to face supernatural powers, and human faces in which he sees reflected various possible versions of himself, the frontal representation of the vases suggests a visual exploration of the frontiers of the human condition, of the maximum difference of the divine, of bestiality or of the beyond, of certain forms of an otherness internal to humanity.