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The comedies of Aristophanes are known not only for their boldly imaginative plots but for the ways in which they incorporate and orchestrate a wide variety of literary genres and speech styles. Unlike the writers of tragedy, who prefer a uniformly elevated tone, Aristophanes articulates his dramatic dialogue with striking literary and linguistic juxtapositions, producing a carnivalesque medley of genres that continually forces both audience and reader to readjust their perspectives. In this energetic and original study, Charles Platter interprets the complexities of Aristophanes' work through the lens of Mikhail Bakhtin's critical writing. This book charts a new course for Aristophanic comedy, taking its lead from the work of Bakhtin. Bakhtin describes the way multiple voices—vocabularies, tones, and styles of language originating in different social classes and contexts—appear and interact within literary texts. He argues that the dynamic quality of literature arises from the dialogic relations that exist among these voices. Although Bakhtin applied his theory primarily to the epic and the novel, Platter finds in his work profound implications for Aristophanic comedy, where stylistic heterogeneity is the genre's lifeblood.
The One about the Asses
Asses, asses, and more asses! This new edition of Plautus' rumbustious comedy provides the complete original Latin text, witty scholarly commentary, and an English translation that both complements and explicates Plautus' original style. John Henderson reveals this play as a key to Roman social relations centered on many kinds of slavery: to sex, money, and family structure; to masculinity and social standing; to senility and partying; and to jokes, lies, and idiocy. The translation remains faithful to Plautus' syllabic style for reading aloud, as well as to his humorous colloquialisms and wordplay, providing readers with a comfortable affinity to Plautus himself. An indispensable teaching and learning tool for the study of Roman New Comedy, this edition includes comprehensive commentary, useful indexes, and a pronunciation guide that will help readers of all levels understand and appreciate Plautus and his era.
Rhetoric and Athletics in Ancient Greece
The role of athletics in ancient Greece extended well beyond the realms of kinesiology, competition, and entertainment. In teaching and philosophy, athletic practices overlapped with rhetorical ones and formed a shared mode of knowledge production. Bodily Arts examines this intriguing intersection, offering an important context for understanding the attitudes of ancient Greeks toward themselves and their environment. In classical society, rhetoric was an activity, one that was in essence “performed.” Detailing how athletics came to be rhetoric’s “twin art” in the bodily aspects of learning and performance, Bodily Arts draws on diverse orators and philosophers such as Isocrates, Demosthenes, and Plato, as well as medical treatises and a wealth of artifacts from the time, including statues and vases. Debra Hawhee’s insightful study spotlights the notion of a classical gymnasium as the location for a habitual “mingling” of athletic and rhetorical performances, and the use of ancient athletic instruction to create rhetorical training based on rhythm, repetition, and response. Presenting her data against the backdrop of a broad cultural perspective rather than a narrow disciplinary one, Hawhee presents a pioneering interpretation of Greek civilization from the sixth, fifth, and fourth centuries BCE by observing its citizens in action.
The Academy and Beyond
The essays in this informative book explore the impact of British classics—the study of Greco-Roman antiquity, with an emphasis on the classical Latin and Greek languages—beyond the borders of England itself, during the nineteenth and twentieth centuries: inside the academy as specialized scholarship and teaching, outside the academy as a mode of social and cultural formation. Not only did British classics permeate England; they brought English values to Scotland, Wales, and America as well. Far into the twentieth century, to learn classics “the Oxbridge way” was to cloak oneself in the mantle of a gentleman—even when the “gentleman” was a woman.
War in Words
Anyone who has even a passing acquaintance with Latin knows “Gallia est omnis divisa in partes tres” (“All Gaul is divided into three parts”), the opening line of De Bello Gallico, Julius Caesar's famous commentary on his campaigns against the Gauls in the 50s BC. But what did Caesar intend to accomplish by writing and publishing his commentaries, how did he go about it, and what potentially unforeseen consequences did his writing have? These are the questions that Andrew Riggsby pursues in this fresh interpretation of one of the masterworks of Latin prose. Riggsby uses contemporary literary methods to examine the historical impact that the commentaries had on the Roman reading public. In the first part of his study, Riggsby considers how Caesar defined Roman identity and its relationship to non-Roman others. He shows how Caesar opens up a possible vision of the political future in which the distinction between Roman and non-Roman becomes less important because of their joint submission to a Caesar-like leader. In the second part, Riggsby analyzes Caesar's political self-fashioning and the potential effects of his writing and publishing the Gallic War. He reveals how Caesar presents himself as a subtly new kind of Roman general who deserves credit not only for his own virtues, but for those of his soldiers as well. Riggsby uses case studies of key topics (spatial representation, ethnography, virtus and technology, genre, and the just war), augmented by more synthetic discussions that bring in evidence from other Roman and Greek texts, to offer a broad picture of the themes of national identity and Caesar's self-presentation.
The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian. After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.
Style in Greek Literature
Well before Aristotle’s Rhetoric elucidated the elements of verbal style that give writing its persuasive power, Greek poets and prose authors understood the importance of style in creating compelling characters to engage an audience. And because their works were composed in predominantly oral settings, their sense of style included not only the characters’ manner of speaking, but also their appearance and deportment. From Homeric epic to classical tragedy and oratory, verbal and visual cues work hand-in-hand to create distinctive styles for literary characters. In this book, Nancy Worman investigates the development and evolution of ideas about style in archaic and classical literature through a study of representations of Odysseus and Helen. She demonstrates that, as liars and imitators, pleasing storytellers, and adept users of costume, these two figures are especially skillful manipulators of style. In tracing the way literary representations of them changed through time—from Homer’s positive portrayal of their subtle self-presentations to the sharply polarized portrayals of these same subtleties in classical tragedy and oratory—Worman also uncovers a nascent awareness among the Greek writers that style may be used not only to persuade but also to distract and deceive.
From Poetic Translation to Elite Transcription
In the past decade, classical scholarship has been polarized by questions concerning the establishment of a literary tradition in Latin in the late third century BCE. On one side of the divide, there are those scholars who insist on the primacy of literature as a hermeneutical category and who, consequently, maintain a focus on poetic texts and their relationship with Hellenistic precedents. On the other side are those who prefer to rely on a pool of Latin terms as pointers to larger sociohistorical dynamics, and who see the emergence of Latin literature as one expression of these dynamics. Through a methodologically innovative exploration of the interlacing of genre and form with practice, Enrica Sciarrinobridges the gap between these two scholarly camps and develops new areas of inquiry by rescuing from the margins of scholarship the earliest remnants of Latin prose associated with Cato the Censor—a “new man” and one of the most influential politicians of his day. By systematically analyzing poetic and prose texts in relation to one another and to diverse authorial subjectivities, Cato the Censor and the Beginnings of Latin Prose: From Poetic Translation to Elite Transcription offers an entirely new perspective on the formation of Latin literature, challenges current assumptions about Roman cultural hierarchies, and sheds light on the social value attributed to different types of writing practices in mid-Republican Rome.
The literary epic and critical theories about the epic tradition are traced from Aristotle and Callimachus through Apollonius, Virgil, and their successors such as Chaucer and Milton to Eisenstein, Tolstoy, and Thomas Mann. Newman's revisionist critique will challenge all scholars, students, and general readers of the classics, comparative literature, and western literary traditions.
New Views of an Old Subject
Many dogmas regarding Greek theatre were established by researchers who lacked experience in the mounting of theatrical productions. In his wide-ranging and provocative study, Clifford Ashby, a theatre historian trained in the practical processes of play production as well as the methods of historical research, takes advantage of his understanding of technical elements to approach his ancient subject from a new perspective. In doing so he challenges many long-held views.
Archaeological and written sources relating to Greek classical theatre are diverse, scattered, and disconnected. Ashby's own (and memorable) fieldwork led him to more than one hundred theatre sites in Greece, southern Italy, Sicily, and Albania and as far into modern Turkey as Hellenic civilization had penetrated. From this extensive research, he draws a number of novel revisionist conclusions on the nature of classical theatre architecture and production.
The original orchestra shape, for example, was a rectangle or trapezoid rather than a circle. The altar sat along the edge of the orchestra, not at its middle. The scene house was originally designed for a performance event that did not use an up center door. The crane and ekkyklema were simple devices, while the periaktoi probably did not exist before the Renaissance. Greek theatres were not built with attention to Vitruvius' injunction against a southern orientation and were probably sun-sited on the basis of seasonal touring. The Greeks arrived at the theatre around mid-morning, not in the cold light of dawn. Only the three-actor rule emerges from this eclectic examination somewhat intact, but with the division of roles reconsidered upon the basis of the actors' performance needs. Ashby also proposes methods that can be employed in future studies of Greek theatre. Final chapters examine the three-actor production of Ion, how one should not approach theatre history, and a shining example of how one should.
Ashby's lengthy hands-on training and his knowledge of theatre history provide a broad understanding of the ways that theatre has operated through the ages as well as an ability to extrapolate from production techniques of other times and places.