By Ashley Clements
Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been famous among the performs of previous Comedy for its deconstruction of tragic theatricality. This e-book unearths that this deconstruction is grounded no longer easily in Aristophanes' wider engagement with tragic realism. relatively, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations touching on truth and phantasm, using Eleatic strictures and imagery to philosophize the theatrical state of affairs, criticize Aristophanes' poetic rival Euripides as promulgator of destructive deceptions, divulge the harmful complicity of Athenian theatre audiences in tragic phantasm, and articulate political suggestion to an viewers negotiating a interval of political turmoil characterised by means of deception and uncertainty (the months ahead of the oligarchic coup of 411 BC). The e-book thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized proof of Aristophanes' political use of Eleatic principles in the course of the overdue 5th century BC.
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Additional info for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)
Ion 431–2, Supp. 297–8. See p. ninety six n. 142, p. ninety eight n. 153. 109 a ri s t op h an e s ’ thesmophoriazusae not just does σίγα νῦν resound ostensibly, as ‘E. Be silent now [ . . . concerning the door]’ however it additionally says ‘E. Silence [it] now! (i. e. Make the door [be] silent . . .! ). ’178 (Hence the answer that follows: σιωπῶ τὸ θύριον, ‘K. I’m making the door silent’, 27b). equally, operating forwards (sc. from that answer; our σῆμα at 27b), our traveller’s subsequent phrases, at 28b, will now not look just to provide a good afﬁrmation of Euripides’ double demand recognition, σίγα . . . , ἄκουε (as these ἄκριτα φῦλα listen it: ‘E. hear! ok. I’m listening [to you] and being silent approximately . . . ’, 28a–b). 179 particularly, the composite of Euripidean (mortal) speech provided the following (sc. at 28b) is now printed to harbour an incipient contradiction: ‘K. I’m listening [to the door] and making it silent’180 (i. e . . . attempting to pay attention and to make silent an analogous item (! ), which, as we will almost immediately see, is to attempt to be either listening to (it) and not-hearing (it) even as . . . a brand new comedian dénouement that, i think, we're implicitly enjoined to listen to (cf. 28a, ἄκουε . . . )). 181 To κρῖναι λόγῳ (i. e. observe the artwork of creating differences) on the amphibolous phrases of the σῆμα at 27b, then, is to reason those traces to bare an implicit fact of mortal two-headedness elided by way of those that easily settle for what our tourist turns out to claim (‘I’m being silent . . . ’[sc. (not-)]). but so as totally to understand the deeper vein of irony that rewards those that (re-)read our σῆμα during this method, we needs to remember the sooner traces of our parody (1–24); for it truly is in gentle of the incorrect reasoning uncovered there, within the trials of the ἔλεγχος, that our particular viewers demonstrate the veiled comedy of the (mortal) phrases at 25–8. right here, it is going to pay brieﬂy to recapitulate the 2 levels of the trail of mortal confusion because it is 178 179 one hundred eighty 181 For comedian doorways as ‘speaking issues’ (φθεγγόμενα), an organization essentially important if the act of being silent, i. e. not-speaking, is to be attainable, see Wealth 1098–9, and my following dialogue at p. 111 n. 183. Strictly talking, to take ἄκουε as transitive with τὸ θύριον, as σίγα has been taken previous (i. e. ‘I’m listening [to the door] and being silent approximately it . . . ’), at this point of ostensible which means (as endorsed through Sommerstein (1994) and Austin and Olson (2004) either advert loc. ) is to confuse layers of which means which needs to stay separate (or, in Parmenidean phrases, to conﬂate what-is and what-is-not). See p. ninety seven n. one hundred forty five explaining this (mortal) blunders of interpretation. Now analyzing ἄκουε as transitive with τὸ θύριον, cf. p. ninety six n. 143. evaluate the less humorous dénouement loved by means of these ἄκριτα φῦλα who fail to acknowledge our σῆμα, see my dialogue, pp. 95–100. one hundred ten o n w h at - [ it ] -is comically discovered within the ﬁrst thirty or so traces that we've got mentioned. 182 First, para-Doxa because it used to be explicated in thought via our traveller’s ἔλεγχος (7–8): Mortal fallacy, the ἔλεγχος and the thought-world of para-Doxa .