By Keith Sidwell
This publication presents a brand new interpretation of the character of previous Comedy and its position on the middle of Athenian democratic politics. Professor Sidwell argues that Aristophanes and his competitors belonged to opposing political teams, every one with their very own political schedule. via disguised comic strip and parody in their competitors' paintings, the poets expressed and fuelled the political clash among their factions. Professor Sidwell rereads the crucial texts of Aristophanes and the fragmented is still of the paintings of his opponents within the gentle of those arguments for the political foundations of the style.
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Additional resources for Aristophanes the Democrat: The Politics of Satirical Comedy during the Peloponnesian War
Horai fr. , cf. Cratin. Horai fr. 273). Moreover, the use of the nickname oËlÅmpiov ‘the Olympian’ for Pericles at 530 and the theme of a critical stance on a Periclean-inspired war both bring to mind Cratinus (cf. frr. 73, 118, 258 for Pericles as Zeus and Dionysalexandros PCG Ti 44f. for Pericles and war). Cratinus is mentioned twice by name (848 and 1173). The parabasis focuses on comic poetry, mostly defence of the author’s political position as misrepresented by other poets in the theatre of Dionysus (Ach.
Clouds 540). The following features also connect it with other comedy. It has a parabasis which deals directly with the contrast between Aristophanes’ own comedy and that of his rivals (729–74). The figure called Trygaeus has a name the root of which is not only pertinent to his claimed expertise as a vine-grower (190), but also to comedy (cf. the use of the trug- root at Ach. 499–500). Clouds The text we have is a revision of the play which came third at Dionysia 423. , the play itself contravenes several.
The explicit contrast with the vulgar techniques listed at 537–43 is with a comedy ‘reliant only upon herself and her words’ (aËt kaª to±v pesin pisteÅousa 544). ‘Relying upon herself ’ seems to suggest an implicit rebuttal of claims that he had copied from – or collaborated with – another poet, such as those made in reference to Knights at Cratin. Pytine fr. 213 and Eup. Baptai fr. 89. The fact that he will make this type of attack upon Eupolis at 553–5 tends to support this interpretation (see further below).
Aristophanes the Democrat: The Politics of Satirical Comedy during the Peloponnesian War by Keith Sidwell