The Origin of Attic ComedyCUP Archive |
Contents
INTRODUCTORY 1 The Data for Inquiry 123 | 1 |
The Structure of an Aristophanic Play | 2 |
Some current Theories of the Origin of Comedy | 3 |
II | 5 |
Marriage and Kômos | 8 |
The Exodoi of the Plays | 9 |
The Problem of the final Marriage | 16 |
The Sacred Marriage | 18 |
The Frogs and the Peace | 85 |
VIII | 86 |
The Rejuvenation of Demos in the Knights | 87 |
Rejuvenation in other plays | 90 |
The Sacrifice and the Feast | 93 |
Sacrifice and Feast in the Plays | 94 |
The Significance of the Sacrifice and Feast | 99 |
The scattering of sweetmeats to the spectators | 100 |
The New God and the New King | 20 |
The New Zeus in the Birds | 21 |
The Sacred Marriage of Dionysus and the Queen at Athens 0 | 24 |
The New Zeus in the Plutus | 25 |
124 | 26 |
Trygaeus as Bellerophon in the Peace | 27 |
The New Zeus in the Clouds | 28 |
The Death and Resurrection type | 29 |
Survivals of these rites in folk plays | 30 |
The New King in the Knights and the Frogs | 31 |
The Festival Plays in Northern Greece | 32 |
The Women Plays | 33 |
The Fight of Xanthus and Melanthus | 34 |
THE PHALLIC SONGS 16 Aristotles Statements about the Origin of Comedy | 35 |
The Characters in the Agon | 36 |
The Phallic Song in the Acharnians | 37 |
The form and content of the Phallic Song | 38 |
The Agônes in the Plays | 39 |
Summary and conclusions | 40 |
The Phallophori Ithyphalli Autokabdali | 41 |
The Frogs and the Peace | 42 |
The Rejuvenation of Demos in the Knights | 43 |
Rejuvenation in other plays | 44 |
The same elements in the Parabasis | 45 |
The incompleteness of Aristotles statement | 46 |
The Significance of the Sacrifice and Feast | 47 |
The essential content of phallic rites | 48 |
Conclusion | 49 |
The transition to ritual drama | 51 |
SOME TYPES OF DRAMATIC FERTILITY RITUAL 25 Classification of types 26 The Carrying out of Death | 53 |
VI | 54 |
PAGE | 55 |
The Fight of Summer and Winter | 56 |
The Young and the Old King | 57 |
The Death and Resurrection type | 58 |
The Anapaests | 59 |
Survivals of these rites in folk plays | 60 |
Description of the English Mummers Play | 61 |
The Festival Plays in Northern Greece | 62 |
The Second Parabasis 6 | 63 |
Epirrhematic and Episodic composition | 64 |
The ancient Armed Dance | 65 |
The Fight of Xanthus and Melanthus V | 66 |
The Eiron and the Alazon | 67 |
The Minor Buffoon | 68 |
Who is the Impostor? THE IMPOSTOR | 69 |
AGON SACRIFICE AND FEAST 35 The Agon contrasted with the struggle of the romantic plot | 70 |
The Characters in the Agon | 71 |
The Form of the Agon | 72 |
Adramatised debate | 73 |
The Agônes in the Plays | 75 |
Summary and conclusions | 83 |
The Resurrection Motive | 84 |
132 | 102 |
Conclusion | 103 |
THE CHORUS IN AGON AND PARABASIS 50 The part of the Chorus in the Agon | 105 |
The Function of the comic Chorus | 107 |
Antichoria and Epirrhematic structure | 109 |
Choral matches in abuse aioxpoλoyiai | 110 |
Choral matches in abuse aioxpoλoyiai 54 Ritual Combats for fertility | 111 |
The Sophistic Antilogy | 114 |
The mediaeval Débat PAGE 53 | 117 |
57 | 120 |
58 | 121 |
60 | 124 |
61 | 125 |
65 | 132 |
66 | 133 |
70 | 141 |
71 | 142 |
72 | 144 |
73 | 148 |
The Impostor in the Dragonslaying myths | 152 |
75 | 154 |
Lamachus | 155 |
Socrates | 156 |
Euripides | 162 |
Aeschylus | 163 |
the Sausageseller Agoracritus | 164 |
Cleon | 166 |
The absence of individual characterisation | 168 |
83 | 171 |
84 | 174 |
85 | 175 |
87 | 177 |
The Peloponnesian Mime and its derivatives | 179 |
The Stock Masks in Vulgar Comedy | 181 |
6 | 182 |
90 | 183 |
The Affinities of these forms of drama | 185 |
How does such a set of stock masks originate? | 187 |
93 | 190 |
94 | 192 |
The primacy of Character in Comedy | 197 |
99 | 200 |
100 | 201 |
Why Tragedy represents exalted persons | 204 |
Tie pone of Trupcy | 207 |
103 | 212 |
Synopsis of the extant Plays | 221 |
| 244 | |
| 247 | |
| 248 | |
| 249 | |
| 250 | |
Common terms and phrases
Acharnians adversaries Aeschylus Agon Agônes Alazon Anapaests Antagonist Antepirrheme Antode Aristophanes Aristotle Athenian Athens audience Birds bride Buffoon called ceremony character CHORIKON Chorus Clouds comic Cook dance death Demos Dikaiopolis Dionysiac Dionysus divine drama eiron Epicharmus epirrhematic Epirrheme Euripides Exodos F. M. Cornford feast fertility festival frag Frogs Heracles hero Impostor J. E. Harrison King Kinsman Knights Kômos Kratinus Lamachus Lenaea Lysistrata Old Comedy original Paphlagonian Parabasis PARODOS Peace performance Phallic Phallic Song Pharmakos Pheidippides Philocleon philosopher Pisthetairos play plot Plutus poet prologue Punch resurrection ritual rôle sacrifice satire Sausage-seller says scene Schol Sicilian Mime singing slave Socrates sophists stage stock masks Strepsiades Summer Thesmophoriazusae tradition Tragedy Trygaeus Wasps Woman women Xanthias young Zeus ἀλλ ἂν γὰρ δὲ εἰ ἐν ἐπὶ καὶ κτλ μὲν μὴ οἱ οὐ οὐκ τὰ τε τὴν τῆς τὸ τοῖς τὸν τοῦ τοὺς τῷ τῶν ὡς
Popular passages
Page xii - We shall argue that. Attic Comedy, as we know it from Aristophanes, is constructed in the framework of what was already a drama, a folk play ; and that behind this folk play lay a still earlier phase, in which its action was dramatically presented in religious ritual.