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Preface Chapter 1 Notes Preface 1. Indeed, Emmanuel Levinas will even claim that solipsism is the very structure of reason: E. Lévinas. Le temps et l'autre. Paris: PUF, 1983, p. 48: “le solipsisme n’est ni une aberration, ni un sophisme: c’est la structure même de la raison.” 2. As Hegel approvingly says, “Don Cesar in Schiller’s ‘Braut von Mesina’ can rightly exclaim: ‘There is no higher judge over me’, and when he is punished, he must pronounce judgement on himself and execute it.” G. W. F. Hegel. Aesthet- ics. Lectures on Fine Art. Vol. I–II. Trans. by T. M. Knox. Oxford: Clarendon, 1975, p. 192; G. W. F. Hegel. Vorlesungen über die Ästhetik. In Werke. Bd. 13–15. Frankfurt am Main: Suhrkamp, 1986, Bd. 13, p. 252. 3. Unlike in Epictetus’s admonishment: “Remember that you are an actor in a play, which is as the playwright wants it to be . What is yours is to play the assigned part well. But to choose it belongs to someone else.” (trans. N. White). Epictetus. Ench. 17. 4. Some of the ideas developed in the book are presented in D. Nikulin, “The Com- edy of Philosophy,” in Engaging Agnes Heller: A Critical Companion. Ed. by K. Terezakis. Lanham et al.: Lexington, 2009, pp. 167–192. 5. As Walter Benjamin observes, philosophy appears as ethics in tragedy and as logic in comedy, in which philosophy is “absolute” and “refined”: “Was nämlich für die Tragödie die Ethik, das ist für die Komödie die Logik, in beiden ist philoso- phische Substanz, aber in der Komödie die absolute, gereinigte.” W. Benjamin. “Molière: Der eingebildete Kranke.” Gesammelte Schriften, Bd. II.2. Ed. by Rolf Tiedemann and Hermann Schweppehäuser. Frankfurt am Main: Suhrkamp, 1972, p. 612. 6. Historically speaking, New Comedy emerges when ancient philosophy comes to its fruition after the death of Aristotle, when the Academy and the Lyceum are already well established and Stoicism is about to appear. Chapter 1 1. Narrative distinguishes the important from the nonimportant, forgets some- thing, and eventually finds it impossible to fit the fullness of a live event into a 138 ● Notes linear progression. Such incongruity at times gives rise to different, often compet- ing stories concerning the origins of the same thing. Yet we try to reach an origin (or the origin) again and again, often missing it, though doing so in interesting and philosophically fruitful ways. 2. Aristotle, Poet. 1448a35–36. 3. Cf. Plato, Theaet. 173d. Also see S .I. Radzig. History Ancient Greek Literature (Istoriya drevnegrecheskoy literatury). Moscow: Vysshaya shkola, 1982 (5th ed.; first publ. 1940), p. 275 sqq. 4. Dionysus was the god of wine, ritual madness, and ecstasy in Greek mythology. 5. Jesting and jeering were important parts of a popular ritual that can be under- stood as carnivalesque. Demosthenes 18.122; Athenaeus 14.621e–f. Cf. M. Bakhtin. Rabelais and His World. Trans. by Hélène Iswolsky. Cambridge (MA): MIT Press, 1984. However, such mockery also parodied the heroic battle. Here, myth was mocked, killing was substituted with verbal duels, and immortal glory in the word of the poet was replaced by a seemingly fleeting yet constantly self- reproducing communal fame. Battle was substituted with competition (agōn), where the purpose was to win a verbal struggle. Later, in Attica, this became a literary contest on the occasion of a communal celebration; the winners’ names and works survive even today. 6. Aristotle, Poet. 1448a32. M. Foucault. Fearless Speech. Ed. by Joseph Pearson. Los Angeles: Semiotext(e), 2001; D. Nikulin. “Richard Rorty, Cynic: Philosophy in the Conversation of Humankind.” Graduate Faculty Philosophy Journal 29:2 (2008), pp. 85–111. 7. Ian C. Storey. Eupolis: Poet of Old Comedy. Oxford: Oxford University Press, 2003, p. 41. 8. Aristotle directly associates kōmos with the inception of comedy (Aristotle, Poet. 1449a11–12; cf. Aristophanes, Nubes 538–39). 9. LSJ; cf. Plutarch. Moralia 355E, cf. 365C (De Iside et Osiride); Athenaeus 14.621b–622c. According to Aristotle, an important aspect of the phallika is that they were based on spontaneous improvisation (aytoskhediastikē). Aristotle, Poet. 1449a10–11. Improvisation also played an important role in the mime, as later in the commedia dell’arte, which influenced the German Stegreiftheater. Improvisa- tion means that the action is defined, on the one hand, by the spontaneity and appropriateness of the moment and, on the other hand, by a use of traditional formulaic language known to the singers and the participants. Milman Parry. “Studies in the Epic Technique of Oral Verse-Making.” In M. Parry. The Making of the Homeric Verse: The Collected Papers of Milman Parry. Oxford: Clarendon Press, 1971, pp. 266–364. 10. Cf. a parody in Plato, Symp. 212d sqq. 11. In ancient times, until Propertius, iambus was not a mournful song but a war hymn and, for this reason, is often identified with epic poetry. Iambus and elegy are both famously represented in the seventh-century BCE poet Archilochus and the sixth-century BCE poets Simonides and Hipponax. 12. Aristotle, Poet. 1448b27, 1448b31–1449a6, 1449b4–5. Aristotle designates Homer as the father of both kinds of drama: as from the sublime heroic spirit Notes ● 139 of the Iliad and the Odyssey comes tragedy, so from the down-to-earth iambic mockery of the Margites comes comedy. The now lost Margites, wrongly ascribed by Aristotle to Homer (Aristotle, Poet. 1448b30–1449a1), is also mentioned in the Platonic corpus. It is a mock-heroic poem, where the main character, Mar- gites, is to have appeared as a sort of fool and jester. [Plato]. Alc. II, 147c–d: “He knew many things (polla), but he knew them badly (kakōs).” Much-knowing (polymathia)—i.e., knowing a little bit of everything without the capacity to give an account of it and bring it into some kind of unity—is much worse for Plato than straight ignorance (Plato, Legg. 819a). Ignorance can be recognized, but the Socratic knowledge that one does not know, which is the beginning of an earnest self-investigation, is far from polymathia, which does not allow one to think criti- cally and judge for oneself. 13. Cf. Archilochus, fr. 41–44, 46 et al. West. Iambi et elegi Graeci ante Alexandrum cantati. Ed. by M. L. West. Vol. I. Oxford: Oxford University Press, 1989 (2nd ed.), pp. 18–20. See also M. L. West. Studies in Greek Elegy and Iambus. Berlin and New York: De Gruyter, 1974, pp. 22–39; Die griechische Literatur in Text und Darstellung. Bd. 1: Archaische Periode. Ed. by Joachim Latacz. Stuttgart: Philipp Reclam jun., 1991, pp. 240–47. 14. 2.184–205 West; approximately sixth century BCE. 15. Homeric Hymns: Homeric Apocrypha; Lives of Homer. Edited and translated by Martin L. West. Cambridge (MA): Harvard University Press, 2003, pp. 46–47 (2.200–5); cf. commentary on p. 8. 16. Aristotle, Poet. 1449a24–25. 17. Aristotle mentions both Megara and Sicily as making claims to the origins of comedy. Aristotle, Poet. 1448a31–3. In Megara, the sixth-century BCE poet Susarion was said to be the originator of Attic comedy. Mar. Par. 39. Der Kleine Pauly. Lexikon der Antike. München: Deutscher Taschenbuch Verlag, 1979. Bd. 5, col. 437. 18. Aristotle, Poet. 1449b6=fr. A2 DK. Epicharmus reconstructed comedy from its existing disjointed constituents and added much of his own. Epicharmus, fr. A5 DK=Anon. de com. 2.4 Kaibel. Aristotle also mentions the fifth-century BCE Sicilians Chionides and Magnes among the first comic writers. Aristotle. Poet. 1448a34. 19. Diog. Laert. 8.78; fr. A4 DK=Iamblichus. V.P. 266; fr. B23 DK. 20. Plato, Theaet. 152e; cf. Gorg. 505e. The later tradition says that Plato himself bor- rowed and even transcribed much from Epicharmus. Diog. Laert. 3.9. 21. Sophron’s son Xenarchus also wrote mimes. Cf. Aristotle, Poet. 1447b10–11. They were followed by the popular mimiambs of third-century Herodas (from whom we now have a number of fully preserved short comic scenes, mostly from ordinary life, written in Hipponax’s choliamb). 22. Anon Proleg. 1.3 Westerink. 23. Plato, Theaet. 174a. 24. Cf. Plato, Apol. 19c. 25. Fr. B42 DK. 26. Plato, RP 607c. 140 ● Notes 27. Plato, RP 606b sqq.; Legg. 934 e sqq. 28. Fragments in Fragmenta Comicorum Graecorum Meineke, vol. I, p. 160 sqq. and Comicorum Atticorum Fragmenta. Ed. by Theodorus Kock, vol. I–III. Leipzig: Teubner, 1880, 1884, 1887. Vol. I, pp. 601–67. See also Ralph M. Rosen. “Plato Comicus.” In Beyond Aristophanes: Transition and Diversity in Greek Comedy. Ed. by Gregory W. Dobrov. Atlanta: Scholars Press, 1995, pp. 119–37. 29. Plato, Phil. 31c, 48a, 50a–d. 30. Plato, RP 607a. 31. Plato, Legg. 658d, 817e. 32. Drawing on the famous Aristotelian definition of tragedy (Aristotle, Poet. 1449b24–28), the Tractatus Coislinianus defines comedy as “an imitation of an action that is absurd and lacking in magnitude [of grandeur], complete, <with embellished language,> the several kinds (of embellishment being found) in the (several) parts (of the play); (directly represented) by person <s> acting, and <not> by means of narration; through pleasure [hēdonē] and laughter [gelōs] achieving the purgation [katharsis] of the like emotions.” Tractatus Coislinianus, IV; emphasis added. Plato considers comedy similarly capable of purifying the passions (or emotions). Later Neoplatonists, including Iamblichus, Proclus, and Olympio- dorus, will agree with Plato. In Remp. I, 49.13 sqq. Kroll. See R. Janko. “From Catharsis to the Aristotelian Mean.” In Essays on Aristotle’s Poetics. Ed. by Amélie Oksenberg Rorty. Princeton: Princeton University Press, 1992, pp. 341–58, esp. pp. 347–51 and R. Janko. Aristotle on Comedy, pp. 143–49. Unlike tragic cathar- sis, which is achieved as a purification of (“conservative”) passions of fear and pity, comic catharsis is achieved through communal and “anarchic” passions.
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