As an example of Aristophanic literary criticism the portrayal of Agathon in the prologue of theThesmophoriazusaehas been rather overshadowed by the poetry contest of theFrogs. This is largely because more can be said about parody when something substantial of the author parodied has survived.1Before many of the specific difficulties of the Agathon scenes we have no alternative but to confess our ⋯πορ⋯α.On the other hand, we need not despair of understanding the general point of these scenes, and in this the (...) most helpful method is that of identifying those Aristophanic techniques which shaped them. This method has already taken us a good way forward, so that there is no need now to argue for the structural integrity of these scenes2or their thematic relevance to the play.3Accordingly, in this paper I will discuss the portrayal of Agathon in relation to typical Aristophanic techniques. My main concern, however, will be with the significance of the different conceptions of literature raised in the course of the parody, Agathon being satirized in turn as an inspired poet, a craftsman poet and an effeminate poet. I hope to show that, for Aristophanes, Agathon's effeminacy is as much a reflection of his art as of his personality. (shrink)

Of all the explanations of this line the most sensible seems to be that first proposed by Beroaldus: ‘Conqueritur Cynthia sibi defunctae tegulam fractam mutilatamque sub capite fuisse suppositam, quum debuerit amator puluinos molles delicatosque subiicere.’ That Cynthia is talking about the performance of funeral rites is confirmed by Shackleton Bailey's discussion of 1.25 , 28 f.). In default of ancient parallels, I offer a modern one. In the last wishes of the Princess Teresa Uzeda in the novel I viceré (...) by Federico De Roberto, first published in 1894, is included the provision. (shrink)