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The Cambridge Companion to Latin Love Elegy King’s Research Portal Document Version Version created as part of publication process; publisher's layout; not normally made publicly available Link to publication record in King's Research Portal Citation for published version (APA): Van Steen, G. A. H. (2014). Snapshots of Aristophanes and Menander: From Spontaneous Reception to Belated Reception Study. In M. Revermann (Ed.), The Cambridge Companion to Greek Comedy (pp. 433-450). (Cambridge Companions to Literature and Classics). Cambridge University Press, Cambridge. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. 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Download date: 25. Sep. 2021 Trim: 228mm × 152mm Top: 11.247mm Gutter: 16.871mm CUUK2572-23 CUUK2572/Revermann ISBN: 978 0 521 76028 7 January 27, 2014 14:1 23 GONDA VAN STEEN Snapshots of Aristophanes and Menander From spontaneous reception to belated reception study Reception of Plutarch’s reception The reception of Aristophanes and Menander may well be one of the old- est cases of ‘spontaneous’ reception.1 Imagine the Athenian who has just watched one of the comedies and who regales his neighbours and friends by replaying some of the jokes or scenes for them: ‘Stop me if you’ve heard this one already . ’. The reception of Aristophanes and Menander may well be one of the oldest cases of ‘studied’ or ‘directed’ reception, too. It was most likely Plutarch himself who subjected both playwrights to an (unfair) comparison, and who fiercely condemned Aristophanes in favour of I am very grateful to Philip Walsh, who researched the history of Aristophanes in the Anglo-American world, for sharing a copy of his 2008 dissertation with me and for reading an earlier version of this chapter. My gratitude also goes to Romain Piana, who kindly sent me a microfiche version of his dissertation, which covers two critical centuries of the playwright’s reception in France (from 1760 through 1962). I also gratefully acknowledge three important databases from which I was able to draw: first, the Classical Receptions in Late Twentieth Century Poetry and Drama in English Database, The Open University, www2.open.ac.uk/ClassicalStudies/GreekPlays; secondly, the database of the Archive of Performances of Greek and Roman Drama, University of Oxford, www.apgrd.ox.ac.uk/database.htm; and lastly, the European Network of Research and Documentation of Performances of Ancient Greek Drama based at the University of Athens, www.ancientdrama.net/home/?Database. All translations from foreign languages are my own, unless otherwise noted. 1 I use the now established term ‘reception’ despite the difficulties that have been associated with this term and its relations to performance history, performance criticism, and the study of the classical tradition. I concur that the critical terminology of reception studies needs reviewing and/or revisiting when theatre texts are concerned. Reception theory has made deplorably little impact on the historical study of the visual art forms and expressions that accompanied the classical and postclassical plays (with the exception of vase paintings). Studies of early modern through contemporary productions of Aristophanes and Menander have yet to engage in depth with the reception aspects of the costuming, stage and set design, dance, music etc. I regret that in this chapter, too, I can only scratch the surface of this tremendously interesting area of reception that allows us to reach far beyond the study of the ancient text and its ‘afterlife’. 433 Trim: 228mm × 152mm Top: 11.247mm Gutter: 16.871mm CUUK2572-23 CUUK2572/Revermann ISBN: 978 0 521 76028 7 January 27, 2014 14:1 gonda van steen Menander (Moralia 853a–854d).2 Plutarch set the stage for many centuries of history and criticism in the same vein.3 Aristophanes’ reputed knock- about comedy or his bomolochiaˆ (or aischrologia), his mixing of styles, and the perceived public role of his ridicule in Socrates’ conviction and death suffered under the weight of the comparison with his younger counterpart. However, Aristophanes suffered under the burden of the comparison with the grand and ‘consistent’ style of tragedy as well. In seventeenth-century France, for instance, Greek tragedy was honoured more than Greek comedy primarily for its influence on neoclassical drama – in particular on the plays of Racine, Corneille, and their followers. Early modern through nineteenth- century Western thinkers related to Socrates; their defence of the philosophe avant la lettre, or the patron of the Enlightenment, came at the expense of Aristophanes, in a reductionist treatment of his Clouds but also of the person of the dramatist himself.4 Voltaire, for instance, compared himself to Socrates, or was frequently compared to him, and his bias against Aristo- phanes took the undertow of a personal attack. Such an approach resonated with the agendas of early modern ethical, political and aesthetic criticism. But this thinking also led the West to rediscover Aristophanes: critics from various countries joined in the widespread debate about Clouds, the essence and ‘rules’ of the playwright’s comedic licence, as well as the purity of his Attic Greek and his lyrics versus the bawdiness of his verbal and visual expression of sexual or scatological matters. An early modern interest in Aristophanes’ Clouds strengthened a prior fascination with Wealth, and thus with the humanist inquiry into the play- wright’s potential as a moralist. Matthew Steggle aptly sets the time frame in which we need to (re)conceptualize the reception of his work – and life: [I]t is no longer possible to adhere to the traditional model of the reception of Aristophanes, according to which Greek Old Comedy is almost unknown until a nineteenth-century ‘rediscovery’ of Aristophanes.5 2 Richard Hunter, who studies the rhetorical and political dimensions of Plutarch’s Comparison of Aristophanes and Menander, believes that the fragmentary precis´ (or epitome) of a Comparison was likely derived from a lost essay written by Plutarch himself, see Hunter (2000) 267,(2009) 78–89 and Chapter 19. See also Lamberton (2001) 191, 192 and 207. On the role of tragedy in Plutarch’s influential comparative model see recently Hall (2007b) 252f. 3 For more information on the reception of Aristophanes from antiquity to (roughly) 1800,seeHall(2007a) and Walsh (2008) 14–24. See further Braden (2010)andTelo` (2010). See also the prior chapters on ‘Reception’, Chapters 19–22. 4 See further Macgregor Morris (2007) 209–21;Piana(2005)ch.1 and passim; Van Steen (2000)ch.1. 5 Steggle (2007) 52.Franc¸ois Pauw discusses most of the ingredients that make up ‘Old Comedy’ and that, according to him, hampered Aristophanes’ early modern reception 434 Trim: 228mm × 152mm Top: 11.247mm Gutter: 16.871mm CUUK2572-23 CUUK2572/Revermann ISBN: 978 0 521 76028 7 January 27, 2014 14:1 Snapshots of Aristophanes and Menander The ‘missing centuries’, from the Renaissance through the early nineteenth century, of the reception of both Aristophanes and Menander proved Plutarch wrong, and recent decades have further favoured the former over the latter. These centuries will be the first focus of this chapter but a few caveats are in order. The reception histories of both playwrights were never closely intertwined, not even in the rigid framework of comparison that Plutarch’s lingering terms might force upon us. It would be misconceived to think of their work and legacy as mirror-images of each other. It is impor- tant, therefore, to restore each author’s autonomy and uniqueness, and to reiterate that the popularity of either one hardly ever came ‘at the expense’ of the other. As much as Aristophanes was a source of controversy, he was also a source of productive tension from early modern times through the early twenty-first century. His corpus inspired modern literary criticism of comedy or the the- ory of the comic, and it lent itself to a rethinking of the reception study of the genre of Old Comedy. The same cannot be said of the tradition of Menander, whose direct (as opposed to Roman-mediated) reception suffered from hav- ing to rely on fragmentary texts with many variants. My aim in this chapter, then, is to outline some of the trends, movements and landmark versions that characterize those ‘lost’ centuries in which Aristophanes’ reception is hardest to trace, and to devote less attention to twentieth-century develop- ments, the study of which is greatly facilitated by the availability of online databases. Even for those ‘lost’ centuries, I will necessarily have to confine myself to ‘vignettes’ of reception and will refer to recent studies that paint a fuller picture, especially of the playwright’s reception in Britain, France, Germany and the United States.6 A brief chapter on the reception of Aristo- phanes cannot attempt to be exhaustive.
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