By Ashley Clements
Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been well-known among the performs of previous Comedy for its deconstruction of tragic theatricality. This ebook finds that this deconstruction is grounded no longer easily in Aristophanes' wider engagement with tragic realism. relatively, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations pertaining to fact and phantasm, making use of Eleatic strictures and imagery to philosophize the theatrical state of affairs, criticize Aristophanes' poetic rival Euripides as promulgator of destructive deceptions, disclose the harmful complicity of Athenian theatre audiences in tragic phantasm, and articulate political suggestion to an viewers negotiating a interval of political turmoil characterised by way of deception and uncertainty (the months sooner than the oligarchic coup of 411 BC). The publication thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized proof of Aristophanes' political use of Eleatic principles throughout the overdue 5th century BC.
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Extra resources for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)
Xli–xliv; Sommerstein (1977); cf. Revermann (2006b) 166; Rogers (1904) and now Tsakmakis (2012) argue in support of a performance date for the Th. at the Lenaea of 410 bc. 5 Here they rapidly perfected their eristic 3 4 5 Nails (2002) 136–7, 317–18. , see Austin and Olson (2004) xxxvi–xxxvii. See Euthd. 272b9 for the brothers as γέροντε; for the comparably advanced age of Euripides and his interlocutor, and for κηδεστής as ‘brother-in-law’ see my pp. 8–9 nn. 17–18. Nails (2002) 317. Euthydemus and Dionysodorus themselves are obscure, but scholarly consensus is that certainly Euthydemus and probably Dionysodorus were historical personages, see Palmer (1999) 126, esp.
243–4 with Rothwell (1990) 85–7 for δεξιός of sophistic speech. For a sophistic analogue of Euripides’ statements at 7b and 8b, see Antipho Soph. 87b44 DK fr. a col. 1–15; Euripides as a ποιητὴς δεξιός see Frogs 66–71, 1009; for the term associated with tragedy more generally: 762, 1121, 1370. Cf. Silk (2000) 48–53. I borrow this phrase from Chance (1992) 106. Note that the distinction between seeing and hearing at the start of this dialogue is one drawn between present and future experiences of an implicit equivalency: 5–6, ἀλλ’ οὐκ ἀκούειν δεῖ σε πάνθ’ ὅσ’ αὐτίκα | ὄψει παρεστώς (extrapolated with μέλλω at 7).
E. . Not, at any rate, whatever you must hear. 8a 8b And then, a summary understanding – Κη. πῶς μοι παραινεῖς; δεξιῶς μέντοι λέγεις· οὐ φῂς σὺ χρῆναί μ’ οὔτ’ ἀκούειν οὔθ’ ὁρᾶν; K. How are you recommending this to me? Of course you’re speaking Sophisticatedly. You’re saying I should not either hear or see? 10 – and only then, realization for the audience. ’ On ἆρα as inferential, an unambiguous ‘so’ indicating a logical connection equivalent to ἄρα, see Dunbar (1995) ad Birds 91; cf.
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