Fragments of Old Comedy, Volume II


Book Description

The era of Old Comedy (ca. 485–ca. 380 BC), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes. But the work of many other poets, including Cratinus and Eupolis, the other members, with Aristophanes, of the canonical Old Comic Triad, survives in fragments.




Fragmentation in Ancient Greek Drama


Book Description

This volume examines whether dramatic fragments should be approached as parts of a greater whole or as self-contained entities. It comprises contributions by a broad spectrum of international scholars: by young researchers working on fragmentary drama as well as by well-known experts in this field. The volume explores another kind of fragmentation that seems already to have been embraced by the ancient dramatists: quotations extracted from their context and immersed in a new whole, in which they work both as cohesive unities and detachable entities. Sections of poetic works circulated in antiquity not only as parts of a whole, but also independently, i.e. as component fractions, rather like quotations on facebook today. Fragmentation can thus be seen operating on the level of dissociation, but also on the level of cohesion. The volume investigates interpretive possibilities, quotation contexts, production and reception stages of fragmentary texts, looking into the ways dramatic fragments can either increase the depth of fragmentation or strengthen the intensity of cohesion.




The Rivals of Aristophanes


Book Description

The work of the 'other' comic poets of classical Athens, those who competed with, and in some cases defeated, their (eventually) better-known fellow comedian, Aristophanes, has almost eluded the historical record. The poetry of Cratinus, Phrynichos, Eupolis and the rest has survived only in tantalising, often tiny, fragments and citations. Modern studies in this field have themselves often been difficult of access. Here an exceptional cast of scholars, including most of the leading international authorities, provides a set of 28 interpretative essays to cover every one of these 'other' poets of Athenian Old Comedy for whom significant evidence survives. The work includes a comprehensive bibliography, and is a landmark in the study of Old Comedy.




Broken Laughter


Book Description

A collection of over 200 of the most interesting and important fragments of Greek comedy, accompanied by a commentary; an extensive introduction discussing the history of comic genre; a series of appendixes on the individual poets, the inscriptional evidence, and the like; and a complete translation of the fragments. Individual sections illustrate the earliest Greek comedy from Syracuse; the characteristic features of Athenian `Old', `Middle', and `New Comedy'; the comic presentation of politicians, philosophers, and women; the comic reception of other poetry; and many aspects of daily life, including dining and symposia.




Fragments of Old Comedy, Volume III


Book Description

This text presents the work of 56 poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad. For each poet and play their is an introduction, brief notes and select bibliography.




Studies of the Greek Poets (Vol II of 2)


Book Description

Reproduction of the original: Studies of the Greek Poets (Vol II of 2) by John Addington Symonds




How to Say No


Book Description

An entertaining and enlightening collection of ancient writings about the philosophers who advocated simple living and rejected unthinking conformity The Cynics were ancient Greek philosophers who stood athwart the flood of society’s material excess, unexamined conventions, and even norms of politeness and thundered “No!” Diogenes, the most famous Cynic, wasn’t shy about literally extending his middle finger to the world, expressing mock surprise that “most people go crazy over a finger.” When asked why he was called Diogenes the Dog, he replied “because I fawn on those who give, I bark at those who don’t, and I bite scoundrels.” How to Say No is a delightful collection of brief ancient writings about Cynicism that captures all the outrageousness, wit, and wisdom of its remarkable cast of characters—from Diogenes in the fourth century BCE to the column-stander Symeon Stylites in late antiquity. With their “less is more” approach to life, the Cynics speak urgently to our world of climate change, economic uncertainty, and psychic malaise. Although the Cynics weren’t writers, their memorable utterances and behavior were recorded by their admirers and detractors, and M. D. Usher offers fresh new translations of appealing selections from this body of writing—ranging from street sermons and repartee to biography and snapshots of Cynics in action. Complete with introductions to the volume and each selection as well as the original Greek and Latin on facing pages, this lively book demonstrates why the Cynics still retain their power to surprise us and make us laugh—and to make us think and question how we live.




The Courts of Philip II and Alexander the Great


Book Description

Recent scholarship has recognized that Philip II and Alexander the Great adopted elements of their self-fashioning and court ceremonial from previous empires in the Ancient Near East, but it is generally assumed that the advent of the Macedonian court as a locus of politics and culture occurred only in the post-Alexander landscape of the Hellenistic Successors. This volume of ground-breaking essays by leading scholars on Ancient Macedonia goes beyond existing research questions to assess the profound impact of Philip and Alexander on court culture throughout the ages. The papers in this volume offer a thematic approach, focusing upon key institutional, cultural, social, ideological, and iconographical aspects of the reigns of Philip and Alexander. The authors treat the Macedonian court not only as a historical reality, but also as an object of fascination to contemporary Greeks that ultimately became a topos in later reflections on the lives and careers of Philip and Alexander. This collection of papers provides a paradigm-shifting recognition of the seminal roles of Philip and Alexander in the emergence of a new kind of Macedonian kingship and court culture that was spectacularly successful and transformative.




Demagogues, Power, and Friendship in Classical Athens


Book Description

What makes a demagogue? A much more friendly touch, or more importantly, a perception of a friendly touch, than has previously been explored. Demagogues, Power and Friendship in Classical Athens examines the ways in which a demagogic leadership style based on personal connection became ingrained in this period, drawing on close study of several genres of literature of the late 5th and early-to-mid 4th centuries BCE. Such connection was particularly effective with lower classes of Athenians, who had been accustomed to being excluded from politicians' friendship-based approaches to coalition-building. Comedies of Aristophanes (particularly Knights), tragedies of Euripides (particularly Iphigenia in Aulis), and historical biographies of Xenophon (particularly Anabasis and Cyropaedia) depict demagogues, or characters exhibiting demagogic characteristics, using a style of outreach to members of neglected classes that involved provoking feelings of friendship with individuals in these classes, whether the demagogues and individual supporters actually interacted closely or not. These leaders employed techniques, such as propinquity, homophily, and transitivity, that both contemporary sociologists (and, in some cases, Aristotle) recognize as effective for such purposes. Particular attention is paid to discrepancies in Aristophanes' Knights between how the demagogue Cleon is hyperbolically portrayed (as a pederastic lover of the Athenian people) and how his language and actions make him out – as a friend of theirs, as he likely portrayed himself.




Reconstructing Satyr Drama


Book Description

The origins of satyr drama, and particularly the reliability of the account in Aristotle, remains contested, and several of this volume’s contributions try to make sense of the early relationship of satyr drama to dithyramb and attempt to place satyr drama in the pre-Classical performance space and traditions. What is not contested is the relationship of satyr drama to tragedy as a required cap to the Attic trilogy. Here, however, how Aeschylus, Sophocles, and Euripides (to whom one complete play and the preponderance of the surviving fragments belong) envisioned the relationship of satyr drama to tragedy in plot, structure, setting, stage action and language is a complex subject tackled by several contributors. The playful satyr chorus and the drunken senility of Silenos have always suggested some links to comedy and later to Atellan farce and phlyax. Those links are best examined through language, passages in later Greek and Roman writers, and in art. The purpose of this volume is probe as many themes and connections of satyr drama with other literary genres, as well as other art forms, putting satyr drama on stage from the sixth century BC through the second century AD. The editors and contributors suggest solutions to some of the controversies, but the volume shows as much that the field of study is vibrant and deserves fuller attention.