By Keith Sidwell
This publication offers a brand new interpretation of the character of outdated Comedy and its position on the center of Athenian democratic politics. Professor Sidwell argues that Aristophanes and his competitors belonged to opposing political teams, every one with their very own political schedule. via disguised sketch and parody in their opponents' paintings, the poets expressed and fuelled the political clash among their factions. Professor Sidwell rereads the relevant texts of Aristophanes and the fragmented is still of the paintings of his opponents within the gentle of those arguments for the political foundations of the style.
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Additional info for Aristophanes the Democrat: The Politics of Satirical Comedy during the Peloponnesian War
See also Murray 1987, Hubbard 1991, 99–100, 146. Hubbard 1991, 91–2. There is no textual evidence to compel us to believe that the circumcised phallus (alluded to at 538–9) was worn by any character in Clouds, though it might, of course have been used as a merely visual device . The play may have represented Socrates as bald, but we do not know the state of his hairline in the 420s or 410s, and nothing verbal is made of this, if it was so, while the references to his head (cf. 146–7, 171–3) do not become obviously more hilarious if we envisage him thus.
Pytine fr. 213 and Eup. Baptai fr. 89. The fact that he will make this type of attack upon Eupolis at 553–5 tends to support this interpretation (see further below). ‘Relying upon its words’ can be related to Aristophanes’ claim in the parabasis of Peace (749–50) that he has built up a great art with, among other things, pesin megloiv ‘great words’. His use (presumably in relation to the ‘plots’, «dai, of his comedies) of the term soj©zomai (‘I play my tricks’ 547), as of the earlier wish to be considered soj»v (‘wise’ 520), also suggests a contrast between the subtlety of his own comedy and the rumbustious visual and vocal effects of that of his rivals (537–43).
G. Storey 1990, 22, 2003, 108. 22 Setting the stage following the thrust of Aristophanes’ argument here, infer that Hermippus’ Artopolides (named by the scholion on this line) and Plato’s Hyperbolus (of which six fragments remain, K-A frr. 182–7) also presented Hyperbolus on stage as their butt. This observation has wider ramifications, of course, some of which I shall pursue when I deal with the next section of the parabasis. Here, however, it can help us understand why Clouds II could be regarded as substantially different from Clouds I, even while substantially retaining the plot-line and language of the first version: the individuals targeted through the play’s characters had changed.
Aristophanes the Democrat: The Politics of Satirical Comedy during the Peloponnesian War by Keith Sidwell