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  1. The Aeschylean Sting in Wasps_’ Tale: Aristophanes’ Engagement with the _Oresteia.Rosie Wyles - 2020 - Classical Quarterly 70 (2):529-540.
    The sting to Aristophanes’ ‘little tale’ inWasps(λογίδιον,Vesp.64) materializes from the comedy's interplay with theOresteia. This article argues that Aristophanes alludes to bothAgamemnonandEumenidesin the scenes running up to (and including) the trial scene, and that he exploits this intertext in the cloak scene (Vesp.1122–264). While isolated allusions to theOresteiahave been identified inWasps, a systematic consideration of these references has not been undertaken: a surprising absence in discussions of the ongoing competition between the comic and the tragic genres permeatingWasps’ dramatic action. Moreover, (...)
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  • Poets and Poetry in Later Greek Comedy.Matthew Wright - 2013 - Classical Quarterly 63 (2):603-622.
    The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period (...)
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  • Literary Prizes and Literary Criticism in Antiquity.Matthew Wright - 2009 - Classical Antiquity 28 (1):138-177.
    This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics , and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an “anti-prize” mentality. The article argues that this “anti-prize” mentality is not, as is often thought, a product of (...)
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  • Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes.Mario Telò - 2010 - Classical Antiquity 29 (2):278-326.
    This paper examines the role of the generation gap in Aristophanes' construction of his persona throughout Wasps, Clouds, and Peace. It contends that in Wasps and Clouds Aristophanes defines the relationship with his audience and his rivals by presenting himself as the figure of a paternal son. The same stance shapes the comic poet's generic self-positioning in the initial scene of Peace, where the parody of Euripides' Aeolus and Bellerophon evinces a corrective attitude in relation not only to the troubled (...)
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  • Lysistrata and female song.R. B. Rutherford - 2015 - Classical Quarterly 65 (1):60-68.
    Among the many points of interest in N.G. Wilson's admirable new text of Aristophanes is his handling of the closing scene ofLysistrata, and in particular the question of the heroine's role in that scene. In the new OCT we find the short speech 1273–8 ascribed to Lysistrata, while the apparatus notes ‘legato tribuunt quidam’. The song which follows is also given to Lysistrata, but the apparatus comments ‘quis canat incertum est.’ Finally Lysistrata is presumed to speak the single line 1295 (...)
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  • Aristophanes' Adôniazousai.L. Reitzammer - 2008 - Classical Antiquity 27 (2):282-333.
    A scholiast's note on Lysistrata mentions that there was an alternative title to the play: Adôniazousai. A close reading of the play with this title in mind reveals that Lysistrata and her allies metaphorically hold an Adonis festival atop the Acropolis. The Adonia, a festival that is typically regarded as “marginal” and “private” by modern scholars, thus becomes symbolically central and public as the sex-strike held by the women halts the Peloponnesian war. The public space of the Acropolis becomes, notionally, (...)
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  • Achilles from Homer to the Masters of Late Archaic Poetry, or: From pathos to Splendour.Annamaria Peri - 2019 - Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 163 (1):1-15.
    Late archaic lyric poetry tends to obscure all pathetic and tragic elements of Achilles’ destiny present in the Iliad. The offence against his honour, his grief for Patroclus, his yearning for native Phthia, and a painful awareness of being ὠκύμορος – none of these themes play a role in the passages of Pindar, Bacchylides or Simonides where Achilles is mentioned. Yet each of these three poets operates differently with regard to the epic source, and it is worth investigating how they (...)
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  • Democracy and the politics of comedy.Dmitri Nikulin - 2019 - Constellations 26 (4):569-580.
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  • Who sings the hoopoe's song? Aristophanes, birds 202–8.Vayos J. Liapis - 2013 - Classical Quarterly 63 (1):413-417.
    At Aristophanes, Birds 172ff., Peisetaerus persuades the Hoopoe that the birds would be better off building a city in the clouds. The Hoopoe announces that he will go off to summon the other birds to an assembly, so that the proposal may be approved. ‘How will you summon them?’, asks Peisetaerus. ‘That's easy’, replies the Hoopoe: ΕΠΟΨδɛυρὶ γὰρ ἐμβὰς αὐτίκα μάλ' ɛἰς τὴν λόχμην,ἔπɛιτ' ἀνɛγɛίρας τὴν ἐμὴν ἀηδόνα,καλοῦμɛν αὐτούς· οἱ δὲ νῷν τοῦ ϕθέγματοςἐάνπɛρ ἐπακούσωσι θɛύσονται δρόμῳ. 205ΠΕΙΣΕΤΑΙΡΟΣὦ ϕίλτατ' ὀρνίθων σύ, (...)
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  • Den antikke komedie.Ole Thomsen - 2011 - In Ole Hã¸Iris & Birte Poulsen (eds.), Antikkens Verden. Aarhus Universitetsforlag. pp. 161.
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  • Emociones cómicas: El Tractatus Coislinianus a la luz de la poética aristofánica.Claudia N. Fernández - 2006 - Circe de Clásicos y Modernos 10:137-156.
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  • Sophía en las obras conservadas de Aristófanes.Juan Antonio López Férez - 2014 - Revista de Estudios Clásicos 41 (1).
    El propósito de este estudio es delimitar el sentido de sophía en las obras con- servadas de Aristófanes. Cada una de las catorce secuencias en que aparece el vocablo será estudiada con los recursos propios de la filología, donde entran aspectos lingüísticos y literarios. El trabajo mostrará que en el cómico el espectro semántico del término es bas- tante amplio y rico en matices, tal como se recoge en las conclusiones.
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  • El orden de aparición de los personajes en los prólogos Aristofánicos y su función argumentativa.Maria Jimena Schere - 2013 - Revista de Estudios Clásicos 40:13-32.
    Las comedias de Aristófanes del periodo cleoniano, que se centran en polémicas políticas, emplean una misma técnica de apertura: el primer personaje protagónico que sale a escena en el prólogo representa la posición política defendida en la pieza y actúa como su principal portavoz. La prioridad en el orden de aparición genera en el público una empatía por los personajes que inauguran la obra porque estos acceden a un contacto inicial, cómplice, con el público y pueden asentar su postura antes (...)
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