By Shawn O'Bryhim, George Fredric Franko, Timothy J. Moore, S. Douglas Olson
A lot of what we all know of Greco-Roman comedy comes from the surviving works of simply 4 playwrights - the "Greeks Aristophanes" and "Menander" and the "Romans Plautus and Terence". To introduce those authors and their paintings to scholars and basic readers, this ebook deals a brand new, obtainable translation of a consultant play by way of every one playwright, observed by means of a basic advent to the author's lifestyles and instances, a scholarly article on a well-liked topic within the play, and a bibliography of chosen readings in regards to the play and playwright. This variety of fabric, infrequent in one quantity, offers a number of studying and instructing strategies, from the research of a unmarried writer to an summary of the total Classical comedic culture. The performs were translated for clarity and constancy to the unique textual content by means of proven Classics students. S. Douglas Olson presents the interpretation and observation for Aristophanes' "Acharnians", Shawn O'Bryhim for Menander's "Dyskolos", George Fredric Franko for Plautus' "Casina", and Timothy J. Moore for Terence's "Phormio". Shawn O'Bryhim is affiliate Professor of Classics and head of the Classics application at Southern Illinois collage in Carbondale.
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Additional info for Greek and Roman Comedy: Translations and Interpretations of Four Representative Plays
All the same, he argues that the Spartans’ behavior ought not to be the issue, for they merely responded in a reasonable fashion to a series of provocations from the Athenians themselves. Trouble began, Dikaiopolis says, when some marginal individuals “mixed in with the rest of us like counterfeit coins” began denouncing goods produced in Megara as enemy contraband and having them auctioned off, presumably pocketing a reward in return for these displays of allegedly good citizenship. 2 Unfortunately, this second set of whores belonged to Perikles’ mistress, Aspasia (a real historical person), and Perikles became so angry that he barred the Megarians from Athens’ ports and marketplaces, threatening them with starvation.
On the most likely reading of the scholia to Acharnians line 378, Kleon’s second prosecution of Aristophanes involved a claim that the poet was not a legitimate Athenian citizen, although this may be nothing more than an ancient scholar’s deduction from the allusion to the poet’s connections with Aigina at Acharnians lines 652–54. The history of Aristophanes’ conﬂict with Kleon has been traced most recently by I. C. Storey in “Wasps 1284– 91 and the Portrait of Kleon in Wasps,” Scholia 4 (1995): 7–11 (with extensive bibliography).
Hubbard, The Mask of Comedy: Aristophanes and the Intertextual Parabasis (Cornell, 1991), 41–59. 11. For attempts to reconstruct the action in Babylonians, see G. Norwood, “The Babylonians of Aristophanes,” Classical Philology 25 (1930): 1–10; D. Welsh, “The Chorus of Aristophanes’ Babylonians,” Greek, Roman, and Byzantine Studies 24 (1983): 137–50. The Politics of Comedy 27 visit made by Dionysos, god of wine, natural fertility, and theater, to Athens (see fr. 12 Aristophanic comedies with titles in the plural are inevitably named after the chorus (as Acharnians is), and the cult of Dionysos is elsewhere routinely associated with the exotic East; Norwood therefore argued that the god must have appeared in Athens accompanied by a band of Babylonian followers (see fr.