By Stephanie Nelson
Regardless of the numerous experiences of Greek comedy and tragedy individually, scholarship has normally ignored the relation of the 2. And but the genres constructed jointly, have been played jointly, and motivated 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 the way the genres constructed, by means of the tragic and comedian parts in satyr drama, and by way of contrasting particular Aristophanes performs with tragedies on comparable topics, resembling the person, the polis, and the gods. The learn finds that tragedy’s specialize in necessity and a quest for that means enhances a overlooked yet severe point in Athenian comedy: its curiosity in freedom, and the ambivalence of its incompatible visions of truth.
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Additional resources for Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens
2). ” See also Biles, 2002, 2011; Bakola, 2010; Sidwell, 2009; and for a critique of Sidwell’s rather extreme position, Ruffell, 20 introduction other comic poets, such as Eupolis and Cratinus, the similarities between their work and that of Aristophanes become even clearer. 51 Wherever possible I have used fragments from other plays and playwrights, archaeological evidence, and information drawn from sources such as vase painting and inscriptions to supplement my arguments. Nonetheless, this work depends primarily upon the limited number of complete plays that have survived.
Comedy and tragedy in athens 35 the mythic for primarily prudential reasons. Rather, although the fine given Phrynichus for reminding Athens of Miletus’ destruction (Herod. 42 By the end of the fifth century, the idea that tragedy and comedy were not merely different forms of ritual performance, but opposed and complementary genres, appears to have become a commonplace. Plato, in fact, seems to have quite taken to the idea. 45 The Tarentine “Producer” vase, for example, depicts two comic impresarios, one examining a tragic Aegisthus and the other a padded, exaggerated, comic slave.
R. Rosen, 2007, 29 points to Frogs 368–376 as evidence of Aristophanes’ awareness of the link between literary and religious mockery. For the ongoing discussion of the extent and source of comedy’s freedom to abuse citizens see Henderson, 1991, 11–12, 33–34; Csapo and Slater, 165–171 and 415–416 for a bibliography. Such a release is, of course, the essence of humor for Freud, as 1960, 205–223; Halliwell in Revermann. See Ley, 2007, 173–174 and Kowalzig in Murray and Wilson, 60 for the focus on dramatic rather than lyric choral performances.
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