By A. M. Bowie
This booklet examines the performs of the Greek comedian author Aristophanes and makes an attempt to reconstruct the responses of the unique audiences through the use of anthropological thoughts to match the performs with these Greek myths and rituals that proportion comparable tale styles or material. it's the first e-book to use this sort of research systematically to all of the comedies, and likewise differs from previous reviews in that it doesn't impose a unmarried interpretative constitution at the performs. All Greek is translated.
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Additional resources for Aristophanes: Myth, Ritual and Comedy
She whispers]. What an amusing request the bride is keen to make of me! She wants me to see that her husband's cock is a stay-at-home' (1058—60). Amusing he may find it, but from the city's point of view the war-effort would not be much advanced if all young men behaved thus. 65 The phallus, which earlier stood for violence, now features as an instrument*of private indulgence, just as, when events are considered from the viewpoint of the community, it had at Dicaeopolis' Rural Dionysia and will again at the end of the play This act of sharing contrasts sharply with Dicaeopolis' treatment of the Chorus, who, since the parabasis, have all come over to his side and sing his praises.
Burkert 1983a: 256-64. The scene with the Boeotian is less morally problematic than that with the Megarian, though the stopping of the sycophant's mouth (926) and his manhandling are uncomfortably reminiscent of the similar treatment of Amphitheus. 34 Acharnians (47—51). Both of these agricultural figures make a reasonable request of the powers that be, and both are refused: where Dicaeopolis was earlier the victim of arbitrary justice, he is now handing it out. Here we can see the other side of the absence of legal activity which we noted above as an apparent benefit of Dicaeopolis' new world: it leaves those with a grievance against Dicaeopolis no method of redress.
Adesp. 3. if. (CA 76); Lycophr. 200-15 with scholia; Diet. Cret. 3. Starkie 1909: 229 notes that 'by a pathetic coincidence the real death-scene of Lamachus 48 resembled this; cp. Thuc. 101'. Cf. 269^, 566ff. and his name. It is worth noting that the Acharnians have Dionysus as ancestor through Oeneus, eponymous hero of their tribe Oeneis: cf. 30. 50 The scene is thus also a repetition of the Telephus, where the hero asks a cure of Achilles, who had earlier reacted to him with the same anger that Lamachus expressed to Dicaeopolis in disguise.