By A. M. Bowie
This ebook examines the performs of the Greek comedian author Aristophanes and makes an attempt to reconstruct the responses of the unique audiences by utilizing anthropological ideas to match the performs with these Greek myths and rituals that proportion related tale styles or material. it's the first publication to use this sort of research systematically to all of the comedies, and likewise differs from past experiences 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
Mem. 1-14; PI. Legg. 88ID; D. L. 55 (a law of Solon); cf. Lacey 1968: n6f. and Rhodes 1981: 26 629. ). 28 Henderson 1975: 57-62. Dover 1978: 204. Edmunds 1980: 1 n. 2 translates 'he of the Just City' (cf. Eupolis, Neopolis, Agathopolis), but the name has perhaps a slightly more active sense: cf. Jebb on S. Ant. 37of. adducing Pi. Ol. 8 orthopolis of Theron 'raising up the city'. Given the ambivalent nature of Dicaeopolis and his relationship with the city, the ambiguity in his name is at least appropriate.
72 Ending the play with this festival sets the seal upon the ambiguities of its protagonist and his actions. The Anthesteria was a festival of ambiguities,73 in that it combined the celebration of the opening of the jars of new wine with the presence of ghostly figures in the city; it involved the competitive drinking of good quantities of wine with commemoration of the survival of the flood. Choes was an 'ill-omened (miara) day' on which doors were daubed with pitch and buckthorn leaves chewed; all temples were closed except that of Dionysus 'in the Marshes'; slaves were allowed a certain freedom and the city was full oiKares, foreigners or destructive spirits;74 business involving oaths was forbidden.
Apte 1985: 158. of always so defining comedy against tragedy. For this type of festival in Christian European societies, cf. g. U. P. Burke 1978: 178-204. Cf. Apte 1985: 159. 14 Introduction for the community at large' and 'the fundamental religious ideology underlying the ritual(s)'. There is too a difference between calendrical rituals and rites of passage: 'it appears that, in rituals of the latter type, humor-generating activities are generally undertaken by relatives or friends of the individuals going through the ritual or by people who are connected with the ceremony itself in some way';23 whereas in the former, the activities are performed by people professionally or officially endowed with responsibility for the festival, such as ritual clowns.
Aristophanes: Myth, Ritual and Comedy by A. M. Bowie