Emmanuela Bakola
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199569359
- eISBN:
- 9780191722332
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199569359.003.0003
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Chapter 2 picks up on the theme of interaction with other genres and demonstrates how one of Cratinus' comedies, Dionysalexandros, operated throughout by cross‐generic play with satyr drama. Based ...
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Chapter 2 picks up on the theme of interaction with other genres and demonstrates how one of Cratinus' comedies, Dionysalexandros, operated throughout by cross‐generic play with satyr drama. Based on a fresh examination of the original papyrus POxy 663, and the satyr drama pattern of Dionysalexandros, it goes on to offer a reconstruction of the lost part of the papyrus hypothesis. By discussing material from fragmentary (Satyroi) and extant comedy (Peace, Birds), as well as vase‐paintings inspired by dramatic productions (the painting formerly known as ‘Getty Birds’, and the ‘Cleveland Dionysus’) it goes on to show that comic poets were actively exploring the possibilities of cross‐fertilization between comedy and satyr play to a far greater extent than current scholarship allows. With Dionysalexandros Cratinus offered one of the boldest cross‐generic experiments of fifth‐century drama.Less
Chapter 2 picks up on the theme of interaction with other genres and demonstrates how one of Cratinus' comedies, Dionysalexandros, operated throughout by cross‐generic play with satyr drama. Based on a fresh examination of the original papyrus POxy 663, and the satyr drama pattern of Dionysalexandros, it goes on to offer a reconstruction of the lost part of the papyrus hypothesis. By discussing material from fragmentary (Satyroi) and extant comedy (Peace, Birds), as well as vase‐paintings inspired by dramatic productions (the painting formerly known as ‘Getty Birds’, and the ‘Cleveland Dionysus’) it goes on to show that comic poets were actively exploring the possibilities of cross‐fertilization between comedy and satyr play to a far greater extent than current scholarship allows. With Dionysalexandros Cratinus offered one of the boldest cross‐generic experiments of fifth‐century drama.
Emmanuela Bakola
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199569359
- eISBN:
- 9780191722332
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199569359.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Cratinus, one of the great lost poets of fifth-century Athenian comedy and a canonical author of the classical world, had a formative influence on the comic genre, including Aristophanes himself. In ...
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Cratinus, one of the great lost poets of fifth-century Athenian comedy and a canonical author of the classical world, had a formative influence on the comic genre, including Aristophanes himself. In what is the first major monograph in the best part of a century devoted to this author, Emmanuela Bakola offers a modern, comprehensive overview of Cratinus and his position within the genre of Greek comedy using a methodologically innovative approach. Unlike traditional ways of addressing fragmentary drama, this book does not merely reconstruct plays or texts, but by drawing on a range of hermeneutic frameworks, it adopts a thematic approach which allows her to explore Cratinus' poetics. Major issues which this book addresses include the creation of a poetic persona within a performative tradition of vigorous interpoetic rivalry; comedy's interaction with lyric poetry, iambos, and the literary-critical debates reflected by these genres; the play with the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; the multiple levels of comic plot-construction and characterization; comedy's reflection on its immediate political, social, and intellectual context; stagecraft and dramaturgy; comedy and ritual. Whilst being firmly based on principles of rigorous textual analysis, philology, and papyrology, by taking a broad and diverse outlook this study offers not just an insight into Cratinus, but a way of opening up and enriching our understanding of fifth-century Athenian comedy in a dynamic evolving environment.Less
Cratinus, one of the great lost poets of fifth-century Athenian comedy and a canonical author of the classical world, had a formative influence on the comic genre, including Aristophanes himself. In what is the first major monograph in the best part of a century devoted to this author, Emmanuela Bakola offers a modern, comprehensive overview of Cratinus and his position within the genre of Greek comedy using a methodologically innovative approach. Unlike traditional ways of addressing fragmentary drama, this book does not merely reconstruct plays or texts, but by drawing on a range of hermeneutic frameworks, it adopts a thematic approach which allows her to explore Cratinus' poetics. Major issues which this book addresses include the creation of a poetic persona within a performative tradition of vigorous interpoetic rivalry; comedy's interaction with lyric poetry, iambos, and the literary-critical debates reflected by these genres; the play with the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; the multiple levels of comic plot-construction and characterization; comedy's reflection on its immediate political, social, and intellectual context; stagecraft and dramaturgy; comedy and ritual. Whilst being firmly based on principles of rigorous textual analysis, philology, and papyrology, by taking a broad and diverse outlook this study offers not just an insight into Cratinus, but a way of opening up and enriching our understanding of fifth-century Athenian comedy in a dynamic evolving environment.
I. A. Ruffell
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199587216
- eISBN:
- 9780191731297
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199587216.003.0008
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter uses Aristophanes' Peace as a basis for an investigation of the relationship between parody and the impossible worlds of Old Comedy. Trygaios' flight to heaven on a ...
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This chapter uses Aristophanes' Peace as a basis for an investigation of the relationship between parody and the impossible worlds of Old Comedy. Trygaios' flight to heaven on a dung-beetle, parodying Euripides' Bellerophontes, is analysed formally in terms analogous to those used for jokes and metatheatre. Other aspects of parody are also considered, including competition for cultural authority and the potential for comparison and satire. Incongruity and humour are shown to be central, and comparisons made with intertextuality with epic and satyr play. Through parody and explicit metaliterary comments, Peace is shown to be making an argument about the limitations and conventions of tragic realism and tragic authority and, conversely, celebrating the scope and potential of comic anti-realism. The tactics used in Peace place it in the middle of an ongoing argument with tragedy that can be seen in similar terms in Akharnians and Thesmophoriazousai.Less
This chapter uses Aristophanes' Peace as a basis for an investigation of the relationship between parody and the impossible worlds of Old Comedy. Trygaios' flight to heaven on a dung-beetle, parodying Euripides' Bellerophontes, is analysed formally in terms analogous to those used for jokes and metatheatre. Other aspects of parody are also considered, including competition for cultural authority and the potential for comparison and satire. Incongruity and humour are shown to be central, and comparisons made with intertextuality with epic and satyr play. Through parody and explicit metaliterary comments, Peace is shown to be making an argument about the limitations and conventions of tragic realism and tragic authority and, conversely, celebrating the scope and potential of comic anti-realism. The tactics used in Peace place it in the middle of an ongoing argument with tragedy that can be seen in similar terms in Akharnians and Thesmophoriazousai.
Carl Shaw
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199950942
- eISBN:
- 9780190222949
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950942.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, it argues that comedy and satyr plays influenced each other in ...
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Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, it argues that comedy and satyr plays influenced each other in nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. This study analyzes the details of this interplay diachronically, considering a wide range of literary and material evidence. Ancient critics and poets allude to comic-satyric associations in surprising ways, vases indicate a common connection to kômos (revelry) song, and the plays themselves often share titles, plots, modes of humor, and even on occasion a chorus of satyrs. Understanding the complex, shifting relationship between comedy and satyr drama offers insight not only to the development of these genres, but to the nuances of ancient genre theory, and the Greek theatrical experience as a whole.Less
Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, it argues that comedy and satyr plays influenced each other in nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. This study analyzes the details of this interplay diachronically, considering a wide range of literary and material evidence. Ancient critics and poets allude to comic-satyric associations in surprising ways, vases indicate a common connection to kômos (revelry) song, and the plays themselves often share titles, plots, modes of humor, and even on occasion a chorus of satyrs. Understanding the complex, shifting relationship between comedy and satyr drama offers insight not only to the development of these genres, but to the nuances of ancient genre theory, and the Greek theatrical experience as a whole.
Carl A. Shaw
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199950942
- eISBN:
- 9780190222949
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950942.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Prior to its formal introduction in Athens, comedy thrived in Sicily, but the fragmentary remains, specifically those of Epicharmus, resemble Middle Comedy more closely than Attic comedy of the fifth ...
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Prior to its formal introduction in Athens, comedy thrived in Sicily, but the fragmentary remains, specifically those of Epicharmus, resemble Middle Comedy more closely than Attic comedy of the fifth century. Scholars have tended to dismiss these generic similarities as coincidence, since the connections could not have been direct, but this chapter suggests that Athenian satyr drama bridges the gap between Doric and Middle Comedy. Epicharmean comic productions and Attic satyr play had a meaningful generic interrelationship, employing many of the same plots, themes, and characters (perhaps even a chorus of satyrs), as well as a similar comic style. Many comic poets of the early fourth century, adopting aspects from fifth-century satyr play, created a linear, though indirect, relationship to Sicilian comedy. Later biographers detect this relationship as well, establishing a vita for Epicharmus that includes a father named Tityrus, which in the Doric dialect means “satyr.”Less
Prior to its formal introduction in Athens, comedy thrived in Sicily, but the fragmentary remains, specifically those of Epicharmus, resemble Middle Comedy more closely than Attic comedy of the fifth century. Scholars have tended to dismiss these generic similarities as coincidence, since the connections could not have been direct, but this chapter suggests that Athenian satyr drama bridges the gap between Doric and Middle Comedy. Epicharmean comic productions and Attic satyr play had a meaningful generic interrelationship, employing many of the same plots, themes, and characters (perhaps even a chorus of satyrs), as well as a similar comic style. Many comic poets of the early fourth century, adopting aspects from fifth-century satyr play, created a linear, though indirect, relationship to Sicilian comedy. Later biographers detect this relationship as well, establishing a vita for Epicharmus that includes a father named Tityrus, which in the Doric dialect means “satyr.”
- Published in print:
- 2007
- Published Online:
- March 2013
- ISBN:
- 9780226477572
- eISBN:
- 9780226477565
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226477565.003.0002
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
The problem of the chorus (choros, choroi) is central to our contemporary understanding of the Greek tragedy, and it is deeply frustrating. On the one hand, we sense that here is something vital, ...
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The problem of the chorus (choros, choroi) is central to our contemporary understanding of the Greek tragedy, and it is deeply frustrating. On the one hand, we sense that here is something vital, perhaps almost mystical, operating powerfully and evocatively throughout the action and theatricality of the plays. On the other hand, our initial fascination and excitement can gradually dissolve into resignation. This chapter reviews the problem of the tragic choros by considering the choros as it first appears, in the narrative of the Greek epics, and tracing the diversity of choroi and composition for them. It then looks at music and dancing before turning to the theatrical choroi of the dithyramb, the satyr play, comedy, and tragedy. The chapter refers to Homer and other composers from a similar period who make use of or adapt epic diction.Less
The problem of the chorus (choros, choroi) is central to our contemporary understanding of the Greek tragedy, and it is deeply frustrating. On the one hand, we sense that here is something vital, perhaps almost mystical, operating powerfully and evocatively throughout the action and theatricality of the plays. On the other hand, our initial fascination and excitement can gradually dissolve into resignation. This chapter reviews the problem of the tragic choros by considering the choros as it first appears, in the narrative of the Greek epics, and tracing the diversity of choroi and composition for them. It then looks at music and dancing before turning to the theatrical choroi of the dithyramb, the satyr play, comedy, and tragedy. The chapter refers to Homer and other composers from a similar period who make use of or adapt epic diction.
T.P. Wiseman
- Published in print:
- 2008
- Published Online:
- January 2014
- ISBN:
- 9780859898225
- eISBN:
- 9781781385500
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780859898225.003.0013
- Subject:
- History, Ancient History / Archaeology
Ovid's use of stories performed on stage is attested at Fasti 4.326. Ciceronian evidence implies a wide variety of types of stage performance, including ‘mime’ with female stars like Dionysia and ...
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Ovid's use of stories performed on stage is attested at Fasti 4.326. Ciceronian evidence implies a wide variety of types of stage performance, including ‘mime’ with female stars like Dionysia and Cytheris. Various episodes of Ovid's Metamorphoses and Fasti have been thought to originate in theatrical performance, but interpretation has been hampered by the false assumption that mythological burlesque and Dionysiac satyr-play did not feature on the Roman stage. In fact they did, and the satyrs and nymphs of Ovid's stories might well have been played by male and female dancers. Four particular episodes are discussed: Circe, Picus and Canens (Met. 14.320-434), Peleus and Thetis (Met. 11.221-65), Liber and Silenus (Fasti 3.738-60) and Flora in Elysium (Fasti 5.191-260). It is likely that the various ludi featured plays about the divinities in whose honour the games were held.Less
Ovid's use of stories performed on stage is attested at Fasti 4.326. Ciceronian evidence implies a wide variety of types of stage performance, including ‘mime’ with female stars like Dionysia and Cytheris. Various episodes of Ovid's Metamorphoses and Fasti have been thought to originate in theatrical performance, but interpretation has been hampered by the false assumption that mythological burlesque and Dionysiac satyr-play did not feature on the Roman stage. In fact they did, and the satyrs and nymphs of Ovid's stories might well have been played by male and female dancers. Four particular episodes are discussed: Circe, Picus and Canens (Met. 14.320-434), Peleus and Thetis (Met. 11.221-65), Liber and Silenus (Fasti 3.738-60) and Flora in Elysium (Fasti 5.191-260). It is likely that the various ludi featured plays about the divinities in whose honour the games were held.
Patrick O'Sullivan and C. Collard (eds)
- Published in print:
- 2013
- Published Online:
- February 2021
- ISBN:
- 9781908343352
- eISBN:
- 9781800342682
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781908343352.001.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and, according to Aristotle, formative for tragedy. By the 5th century BC at Athens, it shared most of ...
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Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and, according to Aristotle, formative for tragedy. By the 5th century BC at Athens, it shared most of its compositional elements with tragedy, to which it became an adjunct; for at the annual great dramatic festivals, it was performed only together with, and after, the three tragedies which each poet was required to present in competition. It was in contrast with them. Euripides' Cyclops is the only satyr play which survives complete. Its title alone signals its content, Odysseus' escape from the one-eyed, man-eating monster, familiar from Book 9 of Homer's Odyssey. Because of its uniqueness, Cyclops could afford only a limited idea of satyric drama's range, which the many but brief quotations from other authors and plays barely coloured. Our knowledge and appreciation of the genre have been greatly enlarged, however, by recovery since the early 20th century of considerable fragments of Aeschylus, Euripides' predecessor, and of Sophocles, his contemporary — but not, so far, of Euripides himself. This book provides English readers for the first time with all the most important texts of satyric drama, with facing-page translation, substantial introduction and detailed commentary. It includes not only the major papyri, but very many shorter fragments of importance, both on papyrus and in quotation, from the 5th to the 3rd centuries; there are also one or two texts whose interest lies in their problematic ascription to the genre at all. The intention is to illustrate it as fully as practicable.Less
Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and, according to Aristotle, formative for tragedy. By the 5th century BC at Athens, it shared most of its compositional elements with tragedy, to which it became an adjunct; for at the annual great dramatic festivals, it was performed only together with, and after, the three tragedies which each poet was required to present in competition. It was in contrast with them. Euripides' Cyclops is the only satyr play which survives complete. Its title alone signals its content, Odysseus' escape from the one-eyed, man-eating monster, familiar from Book 9 of Homer's Odyssey. Because of its uniqueness, Cyclops could afford only a limited idea of satyric drama's range, which the many but brief quotations from other authors and plays barely coloured. Our knowledge and appreciation of the genre have been greatly enlarged, however, by recovery since the early 20th century of considerable fragments of Aeschylus, Euripides' predecessor, and of Sophocles, his contemporary — but not, so far, of Euripides himself. This book provides English readers for the first time with all the most important texts of satyric drama, with facing-page translation, substantial introduction and detailed commentary. It includes not only the major papyri, but very many shorter fragments of importance, both on papyrus and in quotation, from the 5th to the 3rd centuries; there are also one or two texts whose interest lies in their problematic ascription to the genre at all. The intention is to illustrate it as fully as practicable.
- Published in print:
- 2009
- Published Online:
- March 2013
- ISBN:
- 9780226069166
- eISBN:
- 9780226069180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226069180.003.0008
- Subject:
- Religion, Philosophy of Religion
Karl Wilhelm Friedrich Schlegel and Friedrich Nietzsche, it seems, first brought Plato's dialogues into what would be the Bakhtinian ken by identifying them as novels. This identification has found ...
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Karl Wilhelm Friedrich Schlegel and Friedrich Nietzsche, it seems, first brought Plato's dialogues into what would be the Bakhtinian ken by identifying them as novels. This identification has found some currency among literary scholars, including Kevin Corrigan and Elena Glazov-Corrigan. The speakers in the Symposium, however, are not at all presented as authentic voices. All of them are crammed rather into Plato's consciousness and its protreptic aims for philosophy. There hardly seems in the Symposium any intense interactions and struggle between the Platonic (or Socratic) word and the words of any other. The flat, not even quite parodic (although surely reductive) production and refutation of the other speakers is not then, in the Bakhtinian sense, dialogical; it is a classic instance of monological dialogue. Another writer who has described the Symposium in Mikhail Bakhtin's terms as a novel is Barbara Gold, whose argument also proceeds from the understanding of the different speakers in the main body of the Symposium as genuinely “other” voices. This chapter focuses on the “satyr play” with which the Symposium ends, Alcibiades' inburst and outburst.Less
Karl Wilhelm Friedrich Schlegel and Friedrich Nietzsche, it seems, first brought Plato's dialogues into what would be the Bakhtinian ken by identifying them as novels. This identification has found some currency among literary scholars, including Kevin Corrigan and Elena Glazov-Corrigan. The speakers in the Symposium, however, are not at all presented as authentic voices. All of them are crammed rather into Plato's consciousness and its protreptic aims for philosophy. There hardly seems in the Symposium any intense interactions and struggle between the Platonic (or Socratic) word and the words of any other. The flat, not even quite parodic (although surely reductive) production and refutation of the other speakers is not then, in the Bakhtinian sense, dialogical; it is a classic instance of monological dialogue. Another writer who has described the Symposium in Mikhail Bakhtin's terms as a novel is Barbara Gold, whose argument also proceeds from the understanding of the different speakers in the main body of the Symposium as genuinely “other” voices. This chapter focuses on the “satyr play” with which the Symposium ends, Alcibiades' inburst and outburst.
Michael Cade-Stewart
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780989082693
- eISBN:
- 9781781382417
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082693.003.0013
- Subject:
- Literature, 20th-century and Contemporary Literature
This essay examines the poetic forms of W. B. Yeats's “The Statues” and “News for the Delphic Oracle” as well as these poems' place in Yeats's Last Poems and Two Plays. “The Statues” is a tragic ...
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This essay examines the poetic forms of W. B. Yeats's “The Statues” and “News for the Delphic Oracle” as well as these poems' place in Yeats's Last Poems and Two Plays. “The Statues” is a tragic poem, whereas “News for the Delphic Oracle” may be regarded as performing the role of a satyr play in Classical Greek tragedy. The comedy of “News,” like the satyr plays, consists of poking fun at “The Statues,” thereby providing comic relief. This essay considers the shift from “stately ottava rima” and an expression of “Yeats's eugenic convictions” in “The Statues” to a modern imitation of a classical satyr play in “News.” It challenges the assumption of the latter poem's seeming disorder elsewhere in the critical literature and insists on the importance of a dialogue between the two poems.Less
This essay examines the poetic forms of W. B. Yeats's “The Statues” and “News for the Delphic Oracle” as well as these poems' place in Yeats's Last Poems and Two Plays. “The Statues” is a tragic poem, whereas “News for the Delphic Oracle” may be regarded as performing the role of a satyr play in Classical Greek tragedy. The comedy of “News,” like the satyr plays, consists of poking fun at “The Statues,” thereby providing comic relief. This essay considers the shift from “stately ottava rima” and an expression of “Yeats's eugenic convictions” in “The Statues” to a modern imitation of a classical satyr play in “News.” It challenges the assumption of the latter poem's seeming disorder elsewhere in the critical literature and insists on the importance of a dialogue between the two poems.
Christopher Collard
- Published in print:
- 2007
- Published Online:
- January 2014
- ISBN:
- 9781904675730
- eISBN:
- 9781781385364
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781904675730.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The paper reviews the still disputed nature and attribution of a fragmentary play about Pirithous’ descent into Hades to recover his intended bride Persephone after her abduction by the underworld ...
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The paper reviews the still disputed nature and attribution of a fragmentary play about Pirithous’ descent into Hades to recover his intended bride Persephone after her abduction by the underworld god. The few book-fragments (quotations in other ancient authors) have been considerably supplemented by two papyri. Tragedy or satyr-play± By Euripides (much the stronger ancient attribution) or his contemporary Critias, politician and occasional poet±Less
The paper reviews the still disputed nature and attribution of a fragmentary play about Pirithous’ descent into Hades to recover his intended bride Persephone after her abduction by the underworld god. The few book-fragments (quotations in other ancient authors) have been considerably supplemented by two papyri. Tragedy or satyr-play± By Euripides (much the stronger ancient attribution) or his contemporary Critias, politician and occasional poet±
Christopher Collard
- Published in print:
- 2007
- Published Online:
- January 2014
- ISBN:
- 9781904675730
- eISBN:
- 9781781385364
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781904675730.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The volume shows very high technical excellence and grear flair in conjecture, in a difficult task, the editing of fragmentary texts. As well as book-fragments (quotations in other ancient authors), ...
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The volume shows very high technical excellence and grear flair in conjecture, in a difficult task, the editing of fragmentary texts. As well as book-fragments (quotations in other ancient authors), a large proporton of those selected are papyri published since about 1900; they have greatly amplified our knowledge of ‘lost’ tragedies. More important, they have transformed our knowledge of satyric drama, with six otherwise largely ‘blank’ plays of Aeschylus and three by Sophocles represented in the volume. The review considers the original texts and scholarly publications upon them, and the editor's selection and methodology in presentation; the reviewer then offers detailed notes and suggestions upon many of the selected texts.Less
The volume shows very high technical excellence and grear flair in conjecture, in a difficult task, the editing of fragmentary texts. As well as book-fragments (quotations in other ancient authors), a large proporton of those selected are papyri published since about 1900; they have greatly amplified our knowledge of ‘lost’ tragedies. More important, they have transformed our knowledge of satyric drama, with six otherwise largely ‘blank’ plays of Aeschylus and three by Sophocles represented in the volume. The review considers the original texts and scholarly publications upon them, and the editor's selection and methodology in presentation; the reviewer then offers detailed notes and suggestions upon many of the selected texts.
