The Rivals of Aristophanes: Studies in Athenian Old Comedy
Myfanwy Tristram, Kenneth Dover
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Author note: David Harvey (Editor), John Wilkins (Editor), Myfanwy Tristram (Illustrator), Kenneth Dover (Forward)
Due to the scarcity of surviving texts by other poets, it is easy to forget that Aristophanes wrote for competition and that rivalry was an important component in the rhetoric of his comedies, especially Clouds and Knights .
This important study, comprising 26 essays by leading international scholars presented at a conference held at the Institute of Classical Studies in London in 1996, aims to promote a better understanding of Aristophanes' work by assessing that of his many rivals, including Cratinus, Hermippus and Eupolis, who regularly triumphed over Aristophanes at major civic festivals.
The papers also consider the evidence for Aristophanes' rival poets in other sources, notably painted vases. The chapters are divided into five sections: editing comic fragments, poets of Old Comedy, the transition to Middle Comedy, literary themes and social themes.
Kenneth Dover, W Geoffrey Arnott, Wolfgang Luppe, Ralph M Rosen, James Davidson, S Douglas Olson, Dwora Gilula, David Harvey, Jeffrey Henderson, David Braund, Giorgos Kavvadias, Ian C Storey, Thomas Braun, Heinz-Guenther Nesselrath, Keith Sidwell, N J Lowe, Bernhard Zimmermann, Stephen Colvin, Michael Silk, Angus Bowie, John Wilkins, Nick Fisher, Andrew Dalby, Edith Hall, Christopher Carey, Alan H Sommerstein, Paola Ceccarelli, Ian Ruffell.
Comedy bears out Parker’s cautious claim (1996, 197) that ‘native or foreign, the unlicensed god is exposed to suspicion, hostility, contempt, and the threat of actual repressive action’. It is interesting that Bacchic cult (as opposed to the god Dionysus) was the subject of a relatively small number of plays. Lysippus’ Bacchae described someone as rushing about ‘with auloi and reed-case’ (fr. 5), possibly a Bacchic reveller, and, like Cratinus, mocked Lampon as an ἀγύρτης (‘magician’, fr. 6).51
‘Metronomoi’, Hesp. 37, 73–6 with pl. 9. Vatin F. & Salviat F. 1971 Inscriptions de Grece centrale, Paris. Venit M.S. 1998 ‘Women in their cups’, Class. World92, 117–28. Verdelis N., Jameson M. & Papachristodoulou J. 1975 ‘’ Aρχαικαι ἐπιγραϕαί ἐκ Tίρυνθος’, Archaiologikē Ephemeris, 150–205. Versnel H.S. 1973 ‘Philip II and Kynosarges’, Mnemos. 26, 273–9. Vickers M. 1990 ‘Attic symposia after the Persian wars’, in Murray (ed.) Sympotica, 105–21. Welsh D. 1983 ‘IG ii2 2343, Philonides
another Cratinus apparently says that he is dying for a drink (fr. 196). It would be good to know what visual means Cratinus used to characterize Comedy. There are fewer than a dozen images of Comedy listed in the Lexicon Iconographicum Mythologiae Classicae: they include Aëtion’s lost painting of Dionysus, Tragedy and Comedy from the middle of the fourth century (Pliny NH 35.78), and solemn relief-sculptures, a mosaic and a terracotta from later Hellenistic and Roman times. In the fifth century
more is this for them then? [B.]: Well now, each item 5 of furniture will approach when anyone calls, “Table! Set yourself up alongside; You! Get yourself ready. Bread-basket! Get kneading. Ladle! Get pouring. Where is the cup? Go and wash yourself out properly. Barley-cake! Get up. The pot should have poured out the beets. Fish! Get moving.” “But I’m not yet done on the other side.” 10 “Well, turn yourself over then, pour on oil and sprinkle yourself with salt!” (Thēria fr. 16.4–10)
the third (up to 3.73e in Casaubon’s pagination), occupying probably between 40 and 55 folios, are lost; there are gaps of a few folios after 214 (11.466de) and of one after 239 (11.502b); and the final three folios (15.699f–702c) are badly mutilated. The surviving text occupies folios 3 to 372; each page has two columns normally of 43 lines, each line taking 15 to 26 letters (mainly 20 to 24).6 The large minuscule hand is well described by Kaibel in his edition (1887, I viii) as ‘planissima et