Aristophanes' Frogs And the Contest of Homer and Hesiod

Rosen, Ralph M.

doi:10.1353/apa.2004.0015

Cited by 45 publications

(14 citation statements)

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“…On the other hand, Aristophanes is self-consciously concerned to project his ownership of his plays as texts which are very much the product of his writing and crafting. For differing views on this see Rosen (1997) and Silk (2000) 3-13.…”

Section: Aristophanic Capping and An Ethnographic Comparisonmentioning

confidence: 99%

“…On the evidence for ritual invective at festivals such as the Haloa, the Stenia and the Thesmophoria see Fluck (1931). For the importance of ritual abuse, aischrologia and laughter and the traditional poetic dimension of iambic abuse for understanding Old Comedy see Rosen (1988) and (2007); Halliwell (1991) and. This is shown by Collins (2004) 225-30. overlooked; 2) an Aristophanic deployment of capping which illustrates his ambiguous engagement with it; 3) a type of capping or a context for capping which is relevant to my subsequent readings of combative capping in Knights, Clouds and Banqueters.…”

Section: Capping In Aristophanes and Athensmentioning

confidence: 99%

“…See West (1974) 14-18; Vetta (1983) 119-31; Stehle (1997) 6-7, 221;Collins (2004) 84-134. Rosen (2004). I have not been able to take much account of Rosen (2007) because it was only published in the final stages of revising this article for publication.…”

Section: Introduction and Summary Of The Argumentmentioning

confidence: 99%

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Combative capping in Aristophanic comedy

Hesk

2007

Camb. class. j.

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Beckett's verbal duel is reminiscent of Aristophanic routines between two characters in which the name of the game seems to be to cap the boast, threat or insult hurled by the opposing character. Several recent studies have pointed to the importance of capping to the character and meaning of Aristophanic comedy. Ian Ruffell shows that verbal routines in which a joke is elaborated and capped by another are integral to Aristophanes' comic mode. He has also argued that Old Comedy is partly constituted through a generic requirement that each play deploy an intertextual rhetoric of innovation in which the playwright parades the way in which he has ingeniously capped the plots, routines and conceits of a rival's previous offering. Derek Collins has demonstrated that some of the social and stylistic dynamics of Aristophanic stichomythic and antilabic capping routines have been misunderstood due to a lack of awareness that such routines are part-and-parcel of a wider, cross-generic tradition of performed verse capping. He also shows that this central mode of poetic competition in archaic, classical, Hellenistic and Roman imperial Greece can be usefully illuminated by ethnographic and anthropological comparisons.

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Section: Aristophanic Capping and An Ethnographic Comparisonmentioning

confidence: 99%

Section: Capping In Aristophanes and Athensmentioning

confidence: 99%

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Combative capping in Aristophanic comedy

Hesk

2007

Camb. class. j.

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“…Voir par ex. Cavalli 1999et Rosen 2004 15) Traduction adaptée d'un texte inédit du Groupe de Théâtre antique de l'Université de Neuchâtel. traditionnellement considéré comme supérieur aux Muses, déesses qu'invoque Comatas.…”

Section: Introductionunclassified

La fin de l'Idylle 5 de Théocrite: Une question de balance?

Trachsel¹

2006

Mnemosyne

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Mnemosyne, Vol. LIX, Fasc. 3 Also available online -www.brill.nl 1) Cet article a fait l'objet d'une présentation lors des Metageitnia organisés à Besançon en janvier 2004. J'aimerais remercier les personnes qui sont intervenues lors de ce colloque de même que le professeur P. Schubert (Genève), Dr. M. Steinrück (Fribourg) et Dr. P. Voelke (Lausanne) pour leurs remarques. Mais je tiens en particulier à remercier Mme A. Harder, professeure de l'Université de Groningen, pour avoir lu une version précédente de cet article. Ses nombreuses suggestions et encouragements m'ont fait progresser considérablement dans mes recherches. J'assume néanmoins l'entière responsabilité du contenu de cet article, et en particulier des erreurs qui pourraient subsister. AbstractThis article sheds some new light on the often discussed problem of the end of Theocritus' fifth Idyll. By comparing this poem to other poetical contests, it can be shown that Theocritus associates the idea of weight to the replies of the speakers, using a structure similar to that found in other poetical contests, as for instance in the debate between Aeschylus and Euripides in Aristophanes' Frogs. In the comic play, the process of weighing the verses on a scale is made explicit, whereas in Theocritus it is not mentioned as such. The similarity of the setting, two poets confronting their answers, allows us, however, to compare the Aristophanean contest with the Theocritean. This article aims at explaining the reader's surprise when confronted with Theocritus' Idyll, rather than at providing another explanation for the abrupt end of the contest. The fifth Idyll could thus be taken as a kind of dialogue between the author and his audience, the latter being aware of the references used by Theocritus and of the additions made by him. We suggest that this poem is an enactment of Theocritus' poetical ideas through the attribution of the victory to the protagonist with the so-called lighter answers.

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“…Richardson (1981) and, with far greater detail, O'Sullivan (1992) 63−105, who assess the place of the Contest in Alcidamas' thought as evidenced from surviving fragments. Rosen (2004) goes even further back: positing (with others) the existence of a Contest tradition on which Alcidamas' version was based, Rosen argues that the contest between Aeschylus and Euripides in Aristophanes' Frogs is a witty commentary on Homer and Hesiod's poetic competition. 6 West does not argue the point, so the basis for this assumption is unclear.…”

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confidence: 99%

TheContest of Homer and Hesiodand the ambitions of Hadrian

Uden

2010

J. Hell. Stud.

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This article examines the compilation known as theContest of Homer and Hesiod. More usually mined for the material it preserves from the sophist Alcidamas, here I advance a reading that seeks to make sense of the compilation as a whole and situates the work ideologically in its Imperial context. An anecdote early in the compilation depicts the emperor Hadrian enquiring about Homer's birthplace and parents from the Delphic Oracle; he is told that Telemachus was Homer's father and Ithaca his homeland. When the text says that we must believe this self-evidently absurd response on account of the status of the emperor, its author is satirizing Hadrian's ambitions to participate in the Greek intellectual world and the pressures on scholars to accept Hadrian's authority in their field. Moreover, the compiler has linked this anecdote to the long account of the poetic contest between Homer and Hesiod in order to draw an unflattering parallel between Hadrian and King Panedes, who, as writers such as Lucian and Dio Chrysostom suggested, exposed his ineptitude in choosing Hesiod over Homer as the victor of the contest.

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Aristophanes' Frogs And the Contest of Homer and Hesiod

Cited by 45 publications

References 24 publications

Combative capping in Aristophanic comedy

Combative capping in Aristophanic comedy

La fin de l'Idylle 5 de Théocrite: Une question de balance?

TheContest of Homer and Hesiodand the ambitions of Hadrian

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