By S. Douglas Olson (ed.)
This assortment offers an summary of the reception historical past of an important literary style from Greco-Roman antiquity to the current day. having a look first at Athenian comedian poets and comedy within the Roman Empire, the quantity is going directly to talk about Greco-Roman comedy's reception through the a long time. It concludes with a glance on the sleek period, taking into consideration literary translations and degree productions in addition to sleek media reminiscent of radio and movie.
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Additional resources for Ancient Comedy and Reception. Essays in Honor of Jeffrey Henderson
20 Ralph M. 16 Thersites was not composing poetry in his fictionalized life as a soldier at Troy, of course, so calling him a “blame poet” is not entirely accurate. He is certainly “satiri cal” in his attack on Agamemnon, but whether he can be considered a bona fide “satirist” as he is depicted in Homer, is a tricky question we cannot pursue here. As I have argued elsewhere,17 insofar as true satirists blame from a stance of self-righteousness, from Homer’s perspective Thersites is more the target of blame than the self-righteous blamer himself—a role assumed (again, from Homer’s point of view) more by Odysseus.
19 Like all good satirists, Thersites ridicules a conspicuous lapse of a prominent figure, pointing out that Achilles, smitten with an erotic attraction to the dead Penthesileia, came close to compromising his heroic stature, and so to jeopardizing the entire Greek mission. Nevertheless, like Bruce’s persecutors, Achilles failed to “get it,” and the consequences were the ultimate in suppression: homicide. A number of interesting details about this story lie beyond our scope, but it does indicate that some Greeks did view Thersites here as a true satirist, and his murder by Achilles as unjust.
Socr. Streps. Socr. Streps. Have you managed to get hold of anything? No, I really haven’t. Nothing at all? Nothing—except my cock (peos) in my right hand. μὰ Δί’ οὐ δῆτ’ ἔγωγ’. οὐδὲν πάνυ; οὐδέν γε, πλὴν ἢ τὸ πέος ἐν τῇ δεξιᾷ. Attack and deflation are not the only uses to which “obscenities out of nowhere” are put. They can also serve to emphasize a figure’s non-conformity with social conventions and/or lack of social sophistication. Indeed, Nu. ”26 The relative freedom with which Demos’ slaves use obscenity in the prologue of Knights no doubt contributes to their characterization as both lowly figures and would-be iconoclasts (δεφόμενος, 24, and δεφομένων 29, “wanking”; χέζομεν, “we shit,” 70; πρωκτός, “ass-hole,” 78; λαικάσεις, “you will suck cocks,” 167), whereas the Sausage-Seller’s obscenities underline his status as a crude aggressor and challenger of Paphlagon (ἐγὼ δὲ βυνήσω γέ σου τὸν πρωκτὸν ἀντὶ φύσκης, “I’ll stuff your ass like a sausage case,” Eq.