By Gonda A.H. Van Steen
Aristophanes has loved a conspicuous revival in 19th- and twentieth-century Greece. right here, Gonda Van Steen offers the 1st serious research of the position of the classical Athenian playwright in glossy Greek tradition, explaining how the sociopolitical "venom" of Aristophanes' verses continues to be appropriate and attractive to trendy Greek audiences. Deriding or not easy recognized figures and conservative values, Aristophanes' comedies transgress authority and proceed to talk to many social teams in Greece who've present in him a witty, pointed, and available champion from their "native" culture.
The publication addresses the wider concerns mirrored within the poet's revival: political and linguistic nationalism, literary and cultural authenticity as opposed to creativity, censorship, and social strife. Van Steen's dialogue levels from attitudes towards Aristophanes prior to and through Greece's battle of Independence within the 1820s to these in the course of the chilly conflict, from feminist debates to the importance of the preferred track built-in into comedian revival productions, from the havoc transvestite variations wreaked on gender roles to the political protest symbolized through Karolos Koun's directorial offerings.
Crossing limitations of classical philology, serious conception, and function reviews, the booklet encourages us to re-evaluate Aristophanes' comedies as either play-acts and smooth equipment of communique. Van Steen makes use of fabric by no means prior to obtainable in English as she proves that Aristophanes is still Greece's immortal comedian genius and political voice.
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Aristophanes has loved a conspicuous revival in 19th- and twentieth-century Greece. the following, Gonda Van Steen offers the 1st severe research of the position of the classical Athenian playwright in sleek Greek tradition, explaining how the sociopolitical "venom" of Aristophanes' verses continues to be proper and attractive to trendy Greek audiences.
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Extra resources for Venom in Verse
This misfortune, however, is common to all [ancient authors]. E. Athenian democracy. Tempering his own and French criticisms via judicious references to Aristophanes’ redeeming qualities, Koraes hoped to save him from total rejection or oblivion. He justified the private act of reading the poet’s plays by claiming that the overall charm of his comic art neutralized the vulgar jokes. Moreover, the playwright’s jeers were directed only against the “corrupted” among the Athenian citizenry. Here, Koraes overlooked for a moment Aristophanes’ contested role in “preparing the poison” for Socrates.
The scholar’s linguistic interest in the Athenian playwright, based on his painstakingly close readings of the extant works and fragments, generated throughout his philological studies a great many detailed references to Aristophanic words and phrasings. Koraes’ usual practice was to register the poet’s usage of a word or expression next to several other alternative occurrences, all distilled from ancient Greek literature. E. Atticistic lexicographers and their Byzantine successors. The undoubted wealth of Aristophanes’ Attic diction, however, should not be considered Koraes’ exclusive discovery.
Many features of comedy discussed here are paralleled in the learned and vernacular, literary and theatrical traditions of other peoples. The argument of continuity is only relevant insofar as it promoted the conscious revival of classical dramaturgy, not its organic perpetuation or survival. Revivals of ancient tragedies (often in modern adaptations) first emerged in the seventeenth- and eighteenth-century communities of the Greek diaspora, whose members, unlike the Greeks in Ottoman-occupied native lands, shared in Western European Enlightenment thinking.