By Carl Shaw
Satyric Play is the 1st ebook to supply an built-in research of Greek comedy and satyr drama. utilizing a literary-historical strategy, Carl A. Shaw argues that comedy and satyr performs motivated one another in approximately all levels in their improvement. even though satyr drama used to be written by way of tragedians and hired a couple of formal tragic parts, the funny refrain of half-man, half-horse satyrs inspired sustained interplay among poets of comedy and satyr play. From sixth-century proto-drama, via classical productions staged on the Athenian urban Dionysia, to bookish Alexandrian performs of the third-century, the is still of comedian and satyric performances exhibit various literary, aesthetic, old, spiritual, and geographical connections. Shaw analyzes the main points of this interaction diachronically, a variety of literary and fabric proof. He indicates that historic critics and poets allude to comic-satyric institutions in miraculous methods, vases depict interesting performative connections, and the performs themselves proportion titles, plots, modes of humor, and infrequently even a refrain of satyrs. Satyric Play uncovers and examines the complicated, transferring courting among comedy and satyr drama, delivering perception into the advance of those genres and the Greek theatrical event as an entire.
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Additional info for Satyric Play: The Evolution of Greek Comedy and Satyr Drama
1995 Aristotle suggests that when poetry initially developed, there were only two types of poet, the more serious (σεμνότεροι) and the more vulgar (εὐτελέστεροι), each of whom composed poetry that correlated to his personal character. 22 Despite Aristotle’s explicit assertion of a binary poetic theory, his oblique reference to satyric play contradicts the idea that a poet’s character must match his poetry: ἐκ μικρῶν μύθων καὶ λέξεως γελοίας διὰ τὸ ἐκ σατυρικοῦ μεταβαλεῖν ὀψὲ ἀπεσεμνύνθη. Aristotle, Poetics 1449a18–20 Cf.
You’re insulting and abusive, aren’t you? If you don’t admit this, I’ll provide witnesses. Trans. 13 Not only does Socrates have a snub-nose and a balding head, but he has the power to enchant mankind See, for example, Bacon (1959), Sider (1980, 47), Anderson (1993, 7–19), and Sheffield (2001). For a larger discussion of Plato as dramatist, see Puchner (2010). 12 On “Plato’s Symposium as Dionysian Festival,” see Sider 1980. 1) similarly likens Socrates to a silen. 11 Comedy and Satyr Drama in Pl ato and Aristotle | 17 (215c).
Cf. Anderson (2003, 178–84). 11 Early Kômos Songs | 31 Euegorus (ap. Demosthenes, Meid. . μὴ ἐξεῖναι μήτε ἐνεχυράσαι μήτε λαμβάνειν ἕτερον ἑτέρου Demosthenes, Meid. let it not be allowed to seize goods for debt or to take someone else’s property. The order of performances listed in this law corresponds to the order of performances at the City Dionysia found on the Fasti (the procession, the boy’s chorus, men’s dithyramb, comedy, and tragedy), but there is no explicit mention of the dithyramb in this document.
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