By S. Douglas Olson
A suite of over 2 hundred of the main attention-grabbing and significant fragments of Greek comedy, followed by means of a observation; an in depth advent discussing the heritage of comedian style; a chain of appendixes at the person poets, the inscriptional proof, etc; and an entire translation of the fragments. person sections illustrate the earliest Greek comedy from Syracuse; the attribute positive aspects of Athenian `Old', `Middle', and `New Comedy'; the comedian presentation of politicians, philosophers, and ladies; the comedian reception of alternative poetry; and lots of facets of way of life, together with eating and symposia.
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Extra info for Broken Laughter: Select Fragments of Greek Comedy
Ath. 5. 214d–e; Plu. Sull. 26), on the other hand, oﬀers a long and circumstantial account of the history of Neleus’ books and in particular his copies of the works of Aristotle which, Strabo claims, were hidden for many years by Neleus’ heirs and ﬁnally sold to Apellicon of Teos in the 1st c. bc. That Theophrastus left his library to Neleus suggests that he expected him to become the next head of the Academy; and the stories in Athenaeus and Strabo can be reconciled on the assumption that, when Neleus was passed over for the position, he suppressed the master’s works as an act of revenge on his former colleagues, but sold the rest of the books to Ptolemy II, who doubtless paid well for them.
Indeed, the extent to which knowledge of and interest in Epicharmus, Sophron, and the phlyax-poet Rhinton of Taras (for whom, see below) is restricted before Apollodorus to other Western authors and to individuals who had themselves visited Magna Graecia (Plato and Polemon) is striking: Epicharmus is known to Archestratus of Gela, Alexis (originally from Thurii), Dionysius II of Syracuse (who produced a work entitled On the Poems of Epicharmus (Epich. test. 33)), Alcimus of Sicily, Aristoxenus of Tarentum, and the Roman writer Ennius; Sophron is known to Theocritus of Syracuse; and Rhinton is known to Nossis of Epizephyrian Locris.
But beginning around 450, the situation must have changed, as the city grew wealthy and powerful; high-level literacy, the book-trade,72 and the market for cultural exports expanded hand in hand, for copies of late ﬁfth-century plays seem to have been available to fourthcentury historians such as Theopompus, and large numbers of them survived into the Hellenistic period. Copies of complete plays by Cratinus, Aristophanes, and Eupolis, as well as of Menander and a few other ‘New Comic’ playwrights (whose work directly inﬂuenced the Roman comic poets; cf.