By Stephanie Nelson
Regardless of the numerous reviews of Greek comedy and tragedy individually, scholarship has typically overlooked the relation of the 2. And but the genres constructed jointly, have been played jointly, and motivated one another to the level of changing 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 taking a look at the tragic and comedian parts in satyr drama, and via contrasting particular Aristophanes performs with tragedies on related topics, corresponding to the person, the polis, and the gods. The examine finds that tragedy’s specialize in necessity and a quest for which means enhances a overlooked yet serious aspect in Athenian comedy: its curiosity in freedom, and the ambivalence of its incompatible visions of fact.
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Extra info for Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens
In the case of drama, the reason was largely historical. Tragedy is thought to have been introduced in the City Dionysia in 534. Satyr drama followed sometime toward the end of the century. Around 486, as the festival became established as the major occasion of drama, comedy joined the scene. 2 1 On the rural theaters, see Csapo, 2010, 83–116; Makres, 81–83 in Fontaine and Scafuro; and, for restagings, Mastromarco, 137–191, in Medda et al. See Biles, 2011, 62 and Whitehead, 1986, 215– 216 for a decree from Ikarion from the second half of the fifth century mentioning tragedy.
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.
50 Nor does 50 Winnington-Ingram in Mossman, 215: “It is by tragedy that we understand the conditions that are imposed upon human life and the limitations under which we live”; Gredley in Silk, 210, sees inevitability defining tragedy (in contrast to comedy) as in the recurrent motif of the tragic chorus’s inability to act, and see Knox, 1964, 40–42 on the Sophoclean hero and Conacher, 1967, 3–23 for Euripides. For tragedy as depicting the constraints placed on us as moral agents see Williams, 1993 and Nussbaum, 1986.
Aristophanes and His Tragic Muse: Comedy, Tragedy and the Polis in 5th Century Athens by Stephanie Nelson