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Aristophanes and His Tragic Muse: Comedy, Tragedy and the by Stephanie Nelson

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By Stephanie Nelson

Regardless of the numerous stories of Greek comedy and tragedy individually, scholarship has usually ignored the relation of the 2. And but the genres constructed jointly, have been played jointly, and inspired one another to the level of turning into polar opposites. In Aristophanes and His Tragic Muse, Stephanie Nelson considers this competition via an research of ways the genres built, via taking a look at the tragic and comedian components in satyr drama, and by means of contrasting particular Aristophanes performs with tragedies on related topics, corresponding to the person, the polis, and the gods. The examine unearths that tragedy’s concentrate on necessity and a quest for which means enhances a missed yet serious point in Athenian comedy: its curiosity in freedom, and the ambivalence of its incompatible visions of fact.

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Additional info for Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens

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Rosen, 1988, and more recently in Bakola et al. for the link to the iambographic tradition, although Rosen’s sense of comedy as conforming to generic conventions may be exaggerated. E. Bowie in Willi, 2002 suggests, against Rosen, that the traditions, originally separate, grew together. See Willi also in Willi, 7–12 for a bibliography both of anthropological links and of terms of abuse. Bakola, 2010, 70–79 has an interesting study of the links of the iambographic and comic traditions in light of Cratinus’ Archilochuses.

See Halliwell, 2008, 171–172, 177–181, 228–229; Willi in Revermann, 175. Olson, 2007, 12. 26 Finally, the emergence of tragedy from dithyramb may also have had another, tangential influence on the relation of tragedy and comedy. By 508, around the same time as the introduction of satyr drama into the City Dionysia, tragedy and dithyramb were sufficiently distinct that dithyramb was introduced into the festival as a separate competition. Comedy took little notice. When it entered into the competition thirty years later, it seems to have gone directly for tragedy.

Comic fragments that make reference to tragedy include, for example, Pherecrates Krapataloi 100; Eupolis, Maricas 207, Prospaltians 260, Commanders (Taxiarchoi) 268; Phrynichus, Muses 32; Platon, Festivals 29, Poets 72; Theopompus, Odysseuses 35, Teisamenes 61; Archippus, Fish 28; Strattis, Anthroporestes 1, Phoenician Women 47, fr. 71; Sannyrion, Danae 8. For various discussions see, all in Harvey and Wilkins, Bowie, 317–339; Lowe, 259–262; Harvey, 91–134; Braund, 151– 158. It is also worth recalling that we often have only titles, and judging by the titles alone it would be difficult to ascertain that Acharnians, Women at the Thesmophoria, or Frogs had a thematic engagement with tragedy.

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