By Ashley Clements
Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been famous among the performs of previous Comedy for its deconstruction of tragic theatricality. This booklet finds that this deconstruction is grounded no longer easily in Aristophanes' wider engagement with tragic realism. particularly, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations bearing on truth and phantasm, making use of Eleatic strictures and imagery to philosophize the theatrical state of affairs, criticize Aristophanes' poetic rival Euripides as promulgator of damaging deceptions, divulge the damaging complicity of Athenian theatre audiences in tragic phantasm, and articulate political suggestion to an viewers negotiating a interval of political turmoil characterised through deception and uncertainty (the months prior to the oligarchic coup of 411 BC). The e-book thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized proof of Aristophanes' political use of Eleatic principles throughout the past due 5th century BC.
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Extra info for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)
E. . . . that with which one needs to see, it crafted ﬁrst, the attention, ‘in imitation of the sunlight disc’,31 and for listening to, bored the ear as a funnel. okay. Aha! So, due to this funnel I’m neither to listen to nor to work out? I’m beside myself to have learnt that! highbrow conversations32 are rather whatever! 30 31 32 20 20 182a (Kannicht). yet see my p. forty seven n. eleven and pp. 77–87 for the real factor at stake in Ar. ’s parodic cosmology right here, and p. eighty three n. 107 for extra dialogue of the actual signiﬁcance of E. frs. 839, 484 (Kannicht) as attainable Euripidean antecedents. See p. 21 n. 21. Line 17, ἀντίμιμον ἡλίου τροχῷ, could allude to a Euripidean verse: Blaydes (1880) and Sommerstein (1994) advert loc. either indicate that Eratosth. Cat. thirteen makes use of comparable language whilst retelling the Athenian fantasy of Erichthonius, a personality acknowledged to have invented the chariot ‘in imitation of the sun’, and cites Euripides as his authority for the tale (E. fr. 925 (Kannicht)). yet for the philosophical forex of such comparisons of the attention to the sunlight or similar gentle resource, see Sansone (1996) 343 and Rashed (2007) on Empedoclean imagery, and for prior appearances of the visible ray in Pythagoras and Parmenides, see additionally Aët. iv thirteen. 9–10 (= 28a48 DK). See additionally Pl. R. 508b, the place the attention is expounded to be: ἡλιοειδέστατον . . . τῶν περὶ τὰς αῖσθήσεις ὀργάνων. See Austin and Olson (2004) advert loc. for ΣR’s comparability of S. fr. 14 (σοφοὶ τύραννοι τῶν σοφῶν ξυνουσίᾳ), a line he alleges Ar. attributed to Euripides (at fr. 323 KA) (as do fourthcentury writers). yet (as Austin and Olson suggest) the allusion is maybe extra normal; for the sophists’ supplanting of the normal establishment of συνουσία through the overdue ﬁfth century, see, e. g. , Pl. Prt. 316c–d, with Robb (1993). 26 r e re a di ng t he pr o lo g u e – until eventually, for his interlocutor, it really is easily a question of mopping up this Euripides, nonetheless probably oblivious to half what has come ahead of, with one ﬁnal aid to absurdity, Ευ. πόλλ’ ἂν μάθοις τοιαῦτα παρ’ ἐμοῦ. πρὸς τοῖς ἀγαθοῖς τούτοισιν ἐξεύροιμ’ ὅπως ἔτι προσμάθοιμι χωλὸς εἶναι τὼ σκέλει; Κη. πῶς ἂν οὖν E. Many such belongings you may well examine from me. okay. So how, as well as those ﬁne issues, may well I notice how i'd but discover ways to be lame in my legs? 24 24 and with it, a final comedian plea from this exasperated follower of the poet, for respite . . . 27 3 S O P H I S T I C M O D E L S : E R I S T I C A N D Α Ν Τ Ι ΛΟ Γ Ι Α The sophistic suggestions paraded and parodied in those ﬁrst strains ﬁnd outstanding parallels within the eristic strategies ascribed to 2 overdue ﬁfthcentury sophists in one other philosophical satire, Plato’s Euthydemus. The shedding of contextual qualiﬁers to get to the phrases on the center of a proposition (5–8); the reshaping of these phrases into antinomies utilizing verbal ambiguity (5–8); and the relegation of the unique statement to self-contradiction and absurdity (10, 12, 19): exactly the kind of argument that arguably marks the interlocutor of our beginning traces additionally characterizes the ἀντιλογικὴ τέχνη of the sophist brother-pair portrayed by means of Plato.