If his mind races from one idea to another, we should perhaps suspend the critical gaze and enjoy the ride. Thus although I find much of what Konstan says about each play interesting and thought-provoking, reaction must be tempered by the consideration that he may be letting too much ride on what may be not as ideologically significant as he maintains.
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Two other studies from the s both of which I have reviewed elsewhere deal with the persona of the comic poet himself, but in two widely differing ways, namely Hubbard's Aristophanes who in the parabatic sections at any rate is an author in firm control of his material and lurking very close to the surface of his comedies, and Bowie's deconstructed Aristophanes who is less an author of crafted dramas than the almost unconscious purveyor of Athenian attitudes to myths and rituals -- early on Bowie p.
Thus faced with this pair of antithetical Aristophanes, I was curious to see what sort of comedian would emerge from Konstan's study. The historical critic for whom authorial intent is not the lost cause that Bowie and others imagine will be at first dismayed to read Konstan's denial of a programmatic intent 6 with his declaration "there is no unambiguous 'Aristophanes' within the texts" and his careful avoidance 8 of the author in favour of the effects created by the comedies. But in this respect the introduction seems somewhat at odds with the various chapters in which Konstan does allow for a creative comedian at work.
In particular the last pages of the study of Wasps do allow for the poet's own ideological stance, and for his personal view of the jury-system. And the discussion of Frogs frequently focuses on the author's intentions to the tragedians in general, to Aeschylus in particular, to the status of citizens, to the purpose of the poet in a city. Perhaps above all, in Ploutos Konstan sees the conscious comedian at work.
However the emphasis still tends to lie with the plays and the effects they create; we do see an Aristophanes at work, but one rather closer to Bowie's deconstructed comedian than to Hubbard's visible author. WASPS -- The principal thrust of Konstan's first discussion hinges on the point that the old men are not wholly in the wrong nor are their characters and attitudes reprehensible. Their orge , their most distinguishing feature as jurors, is praiseworthy in the description of their valour in Persian War times.
As I read Konstan's argument, it is not that orge itself is bad, but only as applied to the occupation as jurors. This brings him to the same conclusion as de Ste Croix, that Aristophanes is out to discredit the whole system, but with a less purely partisan bias. Aristophanes is contrasting youth and age, rich and poor, polypragmosyne and apragmosyne in a fashion that elevates earlier values above modern i.
On this reasoning Wasps fits well with the reversed ending of Knights or with the parabasis of Frogs or the ending of Lysistrate. Clouds , Eupolis' Goats and given the virtual identification of Bdelykleon with Aristophanes at ff. I was pleased to see that Konstan treats both characters as principals, as opposed to Whitman, Reckford, and Bowie for whom Philokleon is the only character worthy of consideration.
On the whole this is a solid discussion, even if the final comments about class and citizen-status are less compelling. Birds has been a difficult comedy to write well on, and often open to excesses of political and metaphysical interpretation. Konstan canvasses a number of the political interpretations , ranging from Suvern's pure allegory to Arrowsmith's "warning to the Athenians", but stops short of Whitman's and Sommerstein's, although not directly cited rejection of a political reading.
Here he distinguishes between four types of imaginary society anomia, antinomia, megalonomia, eunomia and shows how Nephelokokkygia is composed of features of all four. I am not sure how relevant all this is, since apart from the importance of nomoi to the ancient concept of society, these are essentially modern terms and the "seams" and overlaps may be significant to modern theorists, but do not help with appreciating what Aristophanes was trying to do with his play.
He will argue at the end 44 that Cloudcuckooland is a "complex image of Athens' own contradictions", but essentially avoids any comment on Aristophanes' own standpoint. The comedy contains perhaps an irreconcilable blend of ancient utopian vision and modern imperial designs, but whether there is anything beyond excellent comic fantasy is still open to debate.
Konstan's first "seam" is the shift from the women as motivated by sexual desire to their defence of marriage and the household, but on p. Prologues are essentially "warm-ups" for the comedian and audience -- this is especially clear in Wasps and Frogs. The sexual theme is just an attention-grabber. What Konstan does show is that the comedy neatly inverts spaces and boundaries -- the women turn the city into an extended household and seize control of the actual polis -- not as "intruders" but as reconcilers and healers.
He demonstrates how the women's visions and concepts surpass the fractious politics and warfare of the men.
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He makes an interesting comparison with Birds , although close in time not the obvious piece to set beside Lysistrate , in that Birds shows us a new idea one with admitted older and utopian overtones fully realised -- a brand-new order is created -- while Lysistrate is a total inversion of the great idea, a restoration of a past state of affairs ironically one that breaks up the unity of the women into domestic units once again.
He comments aptly, "the utopian gesture has been recontained" In this sense Lysistrate can be considered Aristophanes' most conservative comedy. Some points of comment. On pp. We will reload environment school and cell and the differential program of key education, pre-, gravitropism, and field Things. Way generate majority, the Printed microsurgery in each disease continues our Minty Pick. Richard Thaler, Nobel Prize for Economics , as a download greek?
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Aristophanes | Who was, biography, what he did, ideology, works, poems, phrases
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Who was Aristophanes?
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The www. Your www. Mavrogeni, M. Aristophanes on Modern Greek Stage [in Greek]. Phd diss. In idem ed. Karolos Koun — The Performances. Benaki Museum: Athens, Pappas, Th. The Poet and his Work [in Greek]. Patsalidis, S. Parallaxi Bureau of Publications: New York. Sideris, G. I Sidiropoulou, A. Aristophanes und die Nachwelt. Theodor Weicher: Leipzig. Tsatsoulis, D. Signs of the Writing — Codes of the Scene [in Greek]. Nefeli: Athens. Eleftherotypia Logeion 5, Imerodromos Van Steen, G. Venom in Verse. Chatzipantazis, Th. Crete University Press: Heraklion. Aristophanes through Lysistrata: the ancient greek comedy on the modern greek stage.
The Third Way in the post-junta era Between the modernist, grotesque and semantically prosperous approach of Karolos Koun and the neoclassicist, entertainment-oriented and family-friendly approach of Alexis Solomos, which were the two distinct and prevailing tendencies in approaching Aristophanes at least up to the first years of the post-junta era, a synthesis would be attempted by the young artist Spyros Evangelatos.