By Keith Sidwell
This ebook offers a brand new interpretation of the character of outdated Comedy and its position on the center of Athenian democratic politics. Professor Sidwell argues that Aristophanes and his competitors belonged to opposing political teams, each one with their very own political time table. via disguised sketch and parody in their opponents' paintings, the poets expressed and fuelled the political clash among their factions. Professor Sidwell rereads the relevant texts of Aristophanes and the fragmented continues to be of the paintings of his competitors within the gentle of those arguments for the political foundations of the style.
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Extra info for Aristophanes the Democrat: The Politics of Satirical Comedy during the Peloponnesian War
96 oËkkukloÅmenov ‘the man who’s being wheeled out now’). ) can be noticed: (a) Dicaeopolis goes for help to Euripides in respect of a lawsuit in which he could lose his life (as Euripides goes to Agathon for help with the women’s capital case against him); (b) the servant in both cases shares the style of his master; (c) both Euripides and Agathon appear on the ekkyklema (cf. Acharnians 408–9, 479); (d) both poets lend items despite being insulted. ) contains some verbal reminiscences of Dicaeopolis’ defence speech in Acharnians (cf.
We still need, therefore, to find a way in which Aristophanes could claim before his patrons that in revising Clouds he was not producing the same play. The key is in Dover’s already quoted observation. What we should note, however, is that ‘theme’ is not at the centre of Aristophanes’ complaint. It is quite specifically the individuals attacked by a play that he focuses on. ), he stresses that he only produced one play which centred around an attack on Cleon (an argumentative ploy which perhaps implies an established enmity between Eupolis and Cleon which had been expressed in multiple comic assaults upon the politician by Eupolis).
Clouds 543). Secondly, in the final one of those 6 See Sommerstein 1994, 1–3. See Prato and Del Corno 2001, xi–xvii for arguments locating the play at Lenaea 411. 36 Setting the stage appearances, the torch is brandished by an old woman, threatening Euripides, in a variation of the ‘old man beating with a stick’ routine reprehended at Clouds 541–2. Two further considerations link the play with other comedy. First, the scholion on line 215 tells us that it was lifted wholesale from Cratinus (fr.