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The Frogs 2K4: Showdown in Hades
SCRIPT The Frogs 2K4: Showdown in Hades Directed by Kerri Rambow XANTHIAS: Man, do you think I should say one of those Martin Lawrence lines to entertain these bougie people? I could make them laugh just like the movies. DIONYSUS: Sure. Say anything you want, except of course, something like, "Oh these bags! Oh my back!" And don’t talk about my momma. XANTHIAS: But that’s funny! Don’t you want me to do my job? DIONYSUS: Whatever! Stop using my issues as your lines--"Dionysus’ mom is so old, she farts dust." That’s really not funny. XANTHIAS: Well it’s funny to the audience, and no one else is having any problems with it. DIONYSUS: Oh yeah, did I mention you also can’t say "My blisters! My blisters on my blisters! My blisters in places you don’t want to know. Oh! Oh! Oh! Can’t you at least wait until I’m dead and gone? XANTHIAS: But by then no one would think it was funny. Just this one last time, until I get new lines... DIONYSUS: How about "NO"? If I was there in the audience your jokes would make me grow old. XANTHIAS: Well, this play is supposed to be a comedy. What if I told the joke about the chicken, and the guy with the chicken, and...and he made a chicken with... DIONYSUS: (To audience) That joke is really old. Older than my mother. (To Xanthias) Go on! Tell them! Just don’t...don’t... XANTHIAS: Don’t do what? DIONYSUS: Don’t drop my shoes. -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
Interpretation: a Journal of Political Philosophy
Interpretation A JOURNAL A OF POLITICAL PHILOSOPHY Spring 1994 Volume 21 Number 3 Aristophanes' Mark Kremer Criticism of Egalitarianism: An Interpretation of The Assembly of Women Steven Forde The Comic Poet, the City, and the Gods: Dionysus' Katabasis in the Frogs of Aristophanes Tucker Landy Virtue, Art, and the Good Life in Plato's Protagoras Nalin Ranasinghe Deceit, Desire, and the Dialectic: Plato's Republic Revisited Olivia Delgado de Torres Reflections on Patriarchy and the Rebellion of Daughters in Shakespeare's Merchant of Venice and Othello Alfred Mollin On Hamlet's Mousetrap Joseph Alulis The Education of the Prince in Shakespeare's King Lear David Lowenthal King Lear Glenn W. Olsen John Rawls and the Flight from Authority: The Quest for Equality as an Exercise in Primitivism Book Reviews Will Morrisey The Roots of Political Philosophy: Ten Forgotten Socratic Dialogues, edited by Thomas L. Pangle John C. Koritansky Interpreting Tocqueville s "Democracy in America," edited by Ken Masugi Interpretation Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Executive Editor Leonard Grey General Editors Seth G. Benardete Charles E. Butterworth Hilail Gildin Robert Horwitz (d. 1987) Howard B. White (d. 1974) Consulting Editors Christopher Bruell Joseph Cropsey Ernest L. Fortin John Hallowell (d. 1992) Harry V. Jaffa David Lowenthal Muhsin Mahdi Harvey C. Mansfield, Jr. Arnaldo Momigliano (d. 1987) Michael Oakeshott (d. 1990) Ellis Sandoz Leo Strauss (d. 1973) Kenneth W. Thompson European Editors Terence E. Marshall Heinrich Meier Editors Wayne Ambler Maurice Auerbach Fred Baumann Michael Blaustein Patrick Coby Edward J. Erler Maureen Feder-Marcus Joseph E. Goldberg Stephen Harvey Pamela K. -
ARISTOPHANES' FROGS 172 F. by CW DEARDEN the Problem
WHAT HAPPENED TO THE DONKEY? ARISTOPHANES' FROGS 172 f. BY C. W. DEARDEN The problem of the production of Charon's boat 1) is one of the perennial chestnuts of Aristophanic study, yet one that theore- tically it ought to be fairly easy to solve, for, as Arnott has remark- ed 2), the movements of the characters in the early scenes of the Frogs can be plotted with considerable accuracy and this limits in certain respects the possibilities open to the producer. Dionysus and Xanthias open the play as with donkey and baggage they appear on their way to visit Heracles and then the Underworld. The conclusion that they enter through a parodos and journey across the orchestra seems unavoidable for no starting point is indicated for their journey and the donkey would pose problems elsewhere. At line 35 therefore, when Xanthias dismounts, the two climb onto the stage and approach Heracles' door. A conversation with Heracles occupies the next 130 lines before the two travellers bid him adieu and turn back to the orchestra to continue their journey. Xanthias bidden once more to pick up the baggage, pro- duces his customary complaint, suggests that Dionysus might consider hiring a corpse to take the luggage to Hades (167) and points out that one is being carried in. There is no indication of where the corpse comes from and again it seems reasonable to assume that it is simply carried in through one parodos across the orchestra and out through the other; Dionysus and Xanthias them- 1) For the purposes of this article the conclusions of T.B.L. -
The Frogs: a Modern Adaptation Comedy by Don Zolidis
The Frogs: A Modern Adaptation Comedy by Don Zolidis © Dramatic Publishing Company The Frogs: A Modern Adaptation Comedy by Don Zolidis. Cast: 6 to 25m., 6 to 25w., 8 to 40 either gender. Disgusted with the state of current entertainment, Dionysus, God of Wine and Poetry, decides that it’s time to retrieve Shakespeare from the underworld. Surely if the Bard were given a series on HBO, he’d be able to raise the level of discourse! Accompanied by his trusted servant, Xanthias (the brains of the operation), Dionysus seeks help from Hercules and Charon the Boatman. Unfortunately, his plan to rescue Shakespeare goes horribly awry, as he’s captured by a chorus of reality-television-loving demon frogs. The frogs put the god on trial and threaten him with never-ending torment unless he brings more reality shows into the world. It won’t be easy for Dionysus to survive, and, even if he does get past the frogs, Jane Austen isn’t ready to let Shakespeare escape without a fight. Adapted from Aristophanes’ classic satire, The Frogs is a hilarious and scathing look at highbrow and lowbrow art. Flexible staging. Approximate running time: 100 minutes. Code: FF5. Cover design: Molly Germanotta. ISBN: 978-1-61959-067-0 Dramatic Publishing Your Source for Plays and Musicals Since 1885 311 Washington Street Woodstock, IL 60098 www.dramaticpublishing.com 800-448-7469 © Dramatic Publishing Company The Frogs: A Modern Adaptation By DON ZOLIDIS Dramatic Publishing Company Woodstock, Illinois ● Australia ● New Zealand ● South Africa © Dramatic Publishing Company *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission in writing no performance of it may be given. -
Portraying Religious Themes in Aristophanes and Plautus
PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS Jacob Joel Crawford B.A., California State University, Sacramento, 2007 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in HISTORY (Humanities) at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS A Thesis by Jacob Joel Crawford Approved by: __________________________________, Committee Chair Jeffrey Brodd, Ph.D. __________________________________, Second Reader Nikolaos Lazaridis, Ph.D. ____________________________ Date ii Student: Jacob Joel Crawford I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Department Chair ___________________ Aaron Cohen, Ph.D. Date Department of History iii Abstract of PORTRAYING RELIGIOUS THEMES IN ARISTOPHANES AND PLAUTUS by Jacob Joel Crawford The influence of political, social, and religious customs on Aristophanes and Plautus is evident in their comedic works. This thesis establishes, through the analysis of religious themes, that the religious nature of festivals, the prevalence of religious worship, and the impact of politics in influenced Aristophanes‟ and Plautus‟ works. The focus and structure of this work is categorized into the themes of devotion, divination, diviners, the divine, divine communication, ritual, and offerings. The purpose of a thematic approach facilitates cross-cultural comparisons of religiously through similar beliefs and practices found in Greek and Roman culture. Despite the influence of Greek theater in Rome, Plautus‟ adaptations clearly reflect uniquely Roman perspectives under allusions of Greek settings. Aristophanes and Plautus portrayed elements of religion in their works, and despite the specific cultural influences of the playwrights both depicted them favorable to traditional beliefs and practices. -
Space in Aristophanes: Portraying the Civic and Domestic Worlds in Acharnians, Knights, and Wasps
Space in Aristophanes: Portraying the Civic and Domestic Worlds in Acharnians, Knights, and Wasps Nina Papathanasopoulou Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ©2013 Nina Papathanasopoulou All rights reserved ABSTRACT Space in Aristophanes: Portraying the Civic and Domestic Worlds in Acharnians, Knights, and Wasps Nina Papathanasopoulou This dissertation explores the treatment of the scenic and diegetic space in Aristophanes’ Acharnians, Knights, and Wasps, and the comedies’ attitude towards a variety of domestic and civic spaces, taking into consideration the cultural context in which the plays were composed. I argue that by using visual creativity and the available staging resources, Aristophanes calls attention to the consequences of the Peloponnesian war on the Athenians’ civic and domestic life. Acharnians, Knights, and Wasps all literalize in an imaginative way the impact of the dysfunction of the polis – the assembly, the agora, the boule, the lawcourts – on the oikos and the householder. The plays not only explore what happens to the oikos itself, but also the implications for a polis in which the oikos loses its place of prominence. Acharnians displays an example of the polis’ dysfunction in an assembly meeting at the Pnyx, and traces an individual’s frustration with this polis and his journey back to his oikos. We witness the reactions of Dikaiopolis and the Acharnians, both of whom have been forced out of their oikoi, have had their properties ravaged, and experience their estrangement with nostalgia or anger. I argue that through a private peace treaty Dikaiopolis is able to return to his oikos, and then expand his domestic space in order to be reintegrated into a functional community. -
Paul Epstein, Aristophanes on Tragedy
ARISTOPHANES ON TRAGEDY Paul Epstein Oklahoma State University [email protected] Fifty years before Aristotle wrote his Poetics, Aristophanes had devoted two comedies, Thesmophoriazusae (411) and Frogs (405), to the subject of tragedy. In both plays the plot shows the education of the main character in the nature of tragedy. Euripides learns in Thesmophoriazusae that he must present noble and not base women in his dramas. His depiction of perverse women in the theatre had moved real-life husbands to keep a narrow watch on their wives, and in order to be free of this tyranny, the women use their Thesmophoria1 to compel Euripides to change. Frogs shows the education of the god who presides over tragedy: Dionysus discovers that the telos of the tragedy-writer’s art is the education of the spectators to a heroic defence of their country. This discovery reverses the god’s earlier assumption that his own taste could judge the excellence of a poet. For both comedies, tragedy is a theoretical activity with direct practical results; what the spectators see in the theatre will determine their activity in the family or the State. 2 These ‘statements’ about tragedy occur through an argument whose general form 1 This is an Athenian festival which celebrated Demeter and Persephone as the Thesmophoroi, a term which B. B. Rogers understands as “the givers and guardians of Home.” [The Thesmophoriazusae of Aristophanes (London: G. Bell and Sons, 1920), pp. x, xi.] Certainly, the drama concentrates on this particular meaning of the Thesmophoroi, even though the festival also marks the annual cycle of death and rebirth that the story of the two goddesses celebrates. -
Phd Antonia Reinke Printing Copy UL
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Apollo CONCEPTS OF (UN)DRESSING IN GREEK DRAMA Antonia Marie Reinke (née Schrader) Murray Edwards College Faculty of Classics, University of CamBridge This dissertation is submitted for the degree of Doctor of Philosophy April 2019 PREFACE This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the word limit prescribed by the Faculty of Classics. iii iv ABSTRACT Concepts of (Un)dressing in Greek Drama Antonia Marie Reinke In recent years, dramatic props and costumes have become the focus of a renewed scholarly interest in the performance aspects of Greek drama. This has entailed, in particular, a shift away from enquiries into the ostensible realia of Greek staging to explorations of their complex con- structions, semiotics and agencies in the plays and their cultural contexts more widely. -
The Evolution of Aristophanic Stagecraft
Leeds International Classical Studies 4.03 (2005) ISSN 1477-3643 (http://www.leeds.ac.uk/classics/lics/) © Mary English The evolution of Aristophanic stagecraft MARY ENGLISH (MONTCLAIR STATE UNIVERSITY) Abstract: By the beginning of the fourth century, Aristophanes had moved away from the ‘object humor’ that so defined his early work. We see evidence of this shift as early as Frogs. In Ecclesiazusae and, even more dramatically, in Wealth, Aristophanes replaced ‘object humor’ with increased attention to physical humor, word play, and domestic farce. It is difficult to determine what prompted this shift in stagecraft. Whether it was the social attitudes of a newly defined polis, the intentional artistic choices of the playwright, or the changing demands of the audience, the later plays of Aristophanes displayed only an outline of the visual conventions of his earlier approach to comedy.* 1. Introduction to Aristophanic ‘object humor’ In his Poetics, Aristotle describes opsis as irrelevant to the poet’s task and equates it with ‘song-making’ (melopoiia); they are both ‘embellishments’ (hedusmata), but, whereas ‘song-making’ is the most important embellishment, opsis is, among other things, the ‘least artistic pursuit’ (atechnotaton) of the tragic poet (1450b15-20). Later, Aristotle reiterates that the visual elements of tragedy are not the responsibility of the poet but the task of the choregos and that the success of the play should not depend upon the visual displays of the production (1453b3-8).1 Despite Aristotle’s dismissals, it is obvious from surviving Old Comedy alone that fifth-century playwrights were greatly concerned with the visual elements of performance. -
Birds); and ‘Women on Top’ Plots (In the Thesmophoriazusae and Ecclesiazusae)
Defining the Comic Plot: Genre and Storytelling in Aristophanes Naomi Scott UCL Doctor of Philosophy in Classics 1 I, Naomi Scott, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This dissertation examines the relationship between inter-generic interaction and plot structure in the plays of Aristophanes. Scholars have long observed that Athenian comedy engages with other poetic forms as part of its self-definition; however, studies have largely treated this as a highly localised phenomenon. By contrast, this thesis will argue that comedy’s sustained reflection on its own generic status informs the construction of plot. The dissertation focuses primarily but not exclusively on the text; I also seek to integrate a consideration of staging, costume, and other visual aspects of Old Comedy into the discussion, and to examine the plays not only as poetic texts but as enacted drama. The dissertation aims to show firstly, that inter-generic interactions are deeply embedded in the plot structures of Aristophanes’ plays; secondly, that these interactions are not exclusively parodic, but rather operate along a spectrum from the overtly antagonistic, to the merely contrastive and even incorporative; and thirdly, that sustained intergeneric engagement is not limited in Aristophanes to ‘high’ genres, such as tragedy and epic, but also encompasses ‘low’ discourses such as Aesopic fable. The dissertation suggests that Aristophanes’ plays display a marked interest in not only the formal differences between genres, in the form of their poetics, aesthetics, or cultural status; but also in the kinds of narratives and modes of storytelling which belong to, and define, different genres. -
Aristophanes' Wasps. the Relevance of the Final Scenes
Aristophanes' "Wasps": the Relevance of the Final Scenes Vaio, John Greek, Roman and Byzantine Studies; Fall 1971; 12, 3; ProQuest pg. 335 Aristophanes' Wasps. The Relevance of the Final Scenes John Vaio VERSE CRITICISM of Aristophanes' Wasps generally centers on ~the scenes that follow the parabasis. 1 We are told, for example, that Bdelycleon's decision to take his father into polite society and the action that results from it are at best only loosely connected with the politics and law-courts of the first part of the play.2 Recent studies by Strauss and Whitman, defending the later scenes against this line of criticism, contain much that is salutary. Especially valuable is their discussion of the problem of education, a major unifying theme in both parts of the play.3 The aim of this paper is to consider again along somewhat different lines the relevance of the final scenes of Wasps. Inevitably much of importance to a complete understanding of the play will be omitted, nor will a general interpretation be offered. Attention will rather be focused on certain important motifs that link the several parts of the play and give it an overall coherence of thematic structure. Let us begin by examining the scene (1122-1264) that provides the transition from the law-courts of Part I to the symposia and drunken excesses of the later scenes. Here Bdelycleon persuades his father to change his clothes and instructs him in the ways of polite society. The social significance of Philocleon's change of costume is clear. The 1 For convenience Wasps 1-1008 will be referred to as Part I, 1122-1537 as Part II.