Aristophanes and Cleon

Dorey, T. A.

doi:10.1017/s0017383500015151

Cited by 4 publications

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“…Finley (1962) argues that what is decisive for understanding the demagogue is the extent to which his policies undermine the common good. 10 See, for example, Aristophanes, Knights and Frogs, and Dorey (1956); Thucydides, History of the Peloponnesian War (1980: 212-17, 219-23, 277, 282-84, 287-89, 338, 348-51, 353-54); Plutarch (1975: 631, 723).…”

Section: Notesmentioning

confidence: 99%

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On Populists and Demagogues

Patapan

2019

Can J Pol Sci

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The article seeks to understand what is specifically modern about populists, why we have difficulty in agreeing on who and what they are, and—importantly—how we can address the formidable challenge they present to contemporary democratic politics. It does so by detailing the classical conception of the demagogue and by showing how modernity, in its liberal and counter-liberal aspects, sought to solve conclusively the problem of the demagogue. It argues that modern populists face significant obstacles to their ambitions in the form of modern constitutionalism, yet are also armed with new weapons, including new concepts or “ideologies” for manipulation (such as “the people,” nation, race and class) and new rhetorical techniques (such as propaganda that exploits modern technology and mass media).

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Section: Notesmentioning

confidence: 99%

“…10See, for example, Aristophanes, Knights and Frogs , and Dorey (1956); Thucydides, History of the Peloponnesian War (1980: 212–17, 219–23, 277, 282–84, 287–89, 338, 348–51, 353–54); Plutarch (1975: 631, 723).…”

Section: Notesmentioning

confidence: 99%

On Populists and Demagogues

Patapan

2019

Can J Pol Sci

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“…Cf. Dorey's (1956) and Benardete's (1991), 63, accounts of Cleon's role in Athenian politics and Aristophanes’ depiction thereof in the Knights .…”

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PLATO AND ARISTOPHANES ON (WANT OF) EDUCATION: SHAME AND EROS IN THEGORGIASAND IN THECLOUDS

Marren¹

2019

Ramus

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Plato's Gorgias might as well have been named On Shame. The word appears sixty-nine times in the course of the dialogue with a lion's share of references to shame being made by Socrates’ character. Callicles comes in second in his use of the term. Cairns notes that in the corpus of the lyric poet Theognis of Megara (sixth century BC) we have ‘the first instance of the noun aischunē.’ Cairns goes on to comment on Theognis’ use of αἰσχύνη and says that ‘[h]ere it appears in the objective sense, but later it will also be found in a subjective sense, as the reaction to or mental picture of disgrace and so as equivalent of aidōs.’ Although it is important to differentiate αἰσχύνη and αἰδώς, the terms, as Cairns suggests, are capable of expressing interchangeable meanings. Hence, in our comparative study of shame in the Gorgias and in the Clouds, we pay close attention to and examine the context in which a given term appears. The central role that shame plays in the Gorgias is the subject matter of analyses by Race, Bensen Cain, McKim, and Dodds. Race is confident that ‘of all the motifs running through the work, the most insistent is that of shame, for the word aischyne (along with verbal forms of aischynomai and the adjective aischros) occurs over 75 times.’ In line with the view that shame is central in the Gorgias, we offer a further contribution, which focuses on the affinity between the treatment of shame in that dialogue and in Aristophanes’ Clouds. We argue that either the ostensible subject of the Gorgias, which is usually identified as rhetoric, is not the dialogue's true concern or the explicit subject matter cannot be understood without its accompanying element, which is shame. To support this thesis, we undertake a comparative analysis of the thematic, heuristic, and conceptual use of shame in the Gorgias in view of Aristophanes’ play. We argue that the characters in the Clouds portray the same perennial attitudes to life as do the interlocutors in the Gorgias and, what is more, the characters in both works evoke with more than incidental clarity certain historical figures (Alcibiades and Pericles). Thus, both works, as we claim, are commenting on and, even though the Clouds is a comedy, serve as the ground for our philosophical reflection on the political, educational, and cultural ideals of ancient Greece. Moreover, the Clouds makes light of, instead of endorsing, such distinctions as shameful/laudable, natural/conventional, old/new, education/didacticism, and moral/prudish. We draw on the humor of the Clouds, which allows us to withhold immediate judgment about these dichotomies in order to then examine these same notions which are problematized in the Gorgias.

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‘Imprison Cleon, Kill the Dead!’

Karatzoglou

2019

Trends in Classics

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Cleon was killed in the battle of Amphipolis in 422 BCE, but he is referred to as alive in the first parabasis of the Clouds (591–594). This reference is customarily understood as simply a remnant of the first version of the play, which the author failed to integrate seamlessly into the surviving, revised version. Comparison with Pylaemenes, an Iliadic character of Paphlagonian origin, who is killed in Book 5 but reappears alive in Book 13, renders the reference to Cleon intelligible as an allusive joke.

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Aristophanes and Cleon

Cited by 4 publications

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On Populists and Demagogues

On Populists and Demagogues

PLATO AND ARISTOPHANES ON (WANT OF) EDUCATION: SHAME AND EROS IN THEGORGIASAND IN THECLOUDS

‘Imprison Cleon, Kill the Dead!’

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