Balladeer’s Blog has examined nearly three dozen ancient Greek comedies so far in terms of their continuing relevance over 2,400 years later. Here’s another post in which I will focus on one of the ancient Greek comedians whose entire corpus is very, very fragmentary, touching briefly on all of their known works. For background info on ancient Greek comedy plus my previous reviews click here: https://glitternight.com/ancient-greek-comedies/
LYSIPPUS – This writer of Attic Old Comedy redefines the expression “fragmentary” because even less is known about his life than about shadowy figures like Susarion and Epicharmus. Lysippus came in 1st place with an unknown comedy at a Dionysia around 440 BCE. Fragmentary evidence survives from just three of his comedies out of an unknown total body of work so this will be my shortest blog post on ancient Greek comedy.
We’ll start with my favorite random quote from Lysippus’ fragments. It displays his pride in Athens and reflects the city-state’s status as the combined New York, Rome and Tokyo of its era: “If you have never come to Athens you are a fool. If you have come to Athens and not been captivated by her charms you are ignorant. If you have been captivated by the charms of Athens and ever left her you are but a beast.”
I. BACCHAE – Not to be confused with the various tragedies of the same title or the comedy by Diocles. Too little survives to tell if the play presented a comedic version of the tragic events depicted in other works titled Bacchae. The parabasis included the type of segment that would later be frequently repeated in Attic Old Comedy as Lysippus took shots at his competitors.
That segment featured joking insults that break the fourth wall and promise the audience that the comedy wouldn’t just rework the same tired jokes like the works of Lysippus’ comic rivals supposedly did. An idiomatic expression the playwright used referred to the ancient practice of fumigating old and used clothing with sulphur and then passing it off as new.
As anniversary month continues at Balladeer’s Blog here’s my 2012 review of Cratinus’ ancient comedy Pytine.
PYTINE (423 B.C.) – Welcome to Balladeer’s Blog’s latest post on ancient Greek comedies. If Pytine was an episode of Friends it would be titled The One Where Cratinus Fires Back At Aristophanes. This play is also known under English language titles like Wine Flask, Flagon, The Bottle, and others along those lines.
Cratinus, galvanized by the tongue-in- cheek caricature that Aristophanes presented of a drunken, washed- up Cratinus in his previous year’s comedy The Knights, turned that caricature into the premise of his final comedy.
From the fragments of Pytine that remain it seems Cratinus had an actor portraying himself (Cratinus) as the booze-soaked Grand Old Man of Attic comedy at the time. I always picture the character as a cross between Dudley Moore in Arthur and Tom Conti in Reuben, Reuben. Anyway, in the play Cratinus is married either to Thalia, the Muse of Comedy or to simply a female personification of Comedy.
Comedy complains to Cratinus’ friends, who make up the chorus, that she wants to take her husband to court for abandonment. She states that he is neglecting their marital bed because he has been spending too much time sleeping around with Methe, in this comedy a personification of Drunkenness. Continue reading
It’s Anniversary Month here at Balladeer’s Blog! Here’s my second review of an Ancient Greek Comedy from back in the year 2011. FOR BACKGROUND INFORMATION IF YOU MISSED MY FIRST POST ON ANCIENT GREEK COMEDIES CLICK HERE: https://glitternight.com/2011/09/22/at-long-last-my-ancient-greek-comedy-posts-begin/
The Clouds was written by Aristophanes around 423 BCE and next to Lysistrata, which I examined last week, is the Big A’s most- discussed satire, mostly because of its lampooning of the philosopher Socrates, a contemporary of Aristophanes. Many modern readers, who have been programmed to sneeringly “deconstruct” old works of art rather than understand them, love to regard this comedy with hostility. They accuse Aristophanes of being “anti – intellectual” for subjecting Socrates in particular and the Sophist philosophers in general to the same satirical criticism that every other aspect of Athenian society was subjected to in comic plays.
There are many arguments I can use to refute this claim, and I’ll present them below following my synopsis of the play itself. To provide just a brief argument right now since you may be curious, let me remind everyone that Shakespeare is famous for the line about killing all the lawyers, but I’ve never met one rational person who thinks that line means Shakespeare was seriously proposing the execution of all lawyers or the elimination of the law and/or the judiciary system. By the same token I hardly think Aristophanes was railing against every form of education or intellectual inquiry. More on this controversy, including the trial of Socrates, below.
In the ancient Greek democracy Athenian citizens were expected to represent themselves in court in both criminal and civil proceedings.
Since juries are the same no matter what the time period a guilty person who was a good speaker could get acquitted while an innocent person who was an inept speaker could get found guilty.
Conversely, since there were no public prosecutors, citizens could charge their fellow Athenians with crimes and if they were skilled enough at speaking they could railroad an innocent person. Many Athenian citizens who faced a court date would pay some of the “streetcorner” Sophist philosophers to teach them rhetorical skills to make them better prepared for their appearance in court. Continue reading
Annoy your friends with your pretentiousness: refer to shows like I Love Lucy and Make Room for Daddy as “Parathespian Comedies.”
Balladeer’s Blog presents another examination of an ancient Greek comedy. Callippides was written by the comedian Strattis and falls into that comic poet’s specialized area: Parathespian Comedies.
Another fun element of our shared humanity with the ancient Athenians who flocked to attend these plays is the fact that even 2,400 years ago audiences were fascinated and entertained by the trappings of “showbiz”. “Parathespian Comedies” were just one of the many sub-genres of ancient Greek comedy but Strattis is the writer most associated with them … by me and the .000001 percent of the population who are into such things.
Yes, a few thousand years before I Love Lucy, The Dick Van Dyke Show, Seinfeld and other such sitcoms the spectators at the Theatre of Dionysus were laughing at comedies depicting what it was like to be one of the performing, writing and singing stars of the Athenian stage. The Parathespian Comedies sometimes featured fictional stars as the characters but would also depict real-life figures of the stage in stories that were either wholly fictional or based on backstage gossip of the time.
Callippides was based on the real-life actor and megastar of ancient Greek tragedies. In this particular case Strattis presented a very unflattering comedic poke at Callippides, making jokes that depicted him as a William Shatner-esque ham instead of the accomplished thespian he was often hailed as. Continue reading
Balladeer’s Blog presents another examination of an ancient Greek political satire. This comedy by Aristophanes was one that I was planning on covering very soon when I started posting my reviews of Attic Old Comedy years ago. For various reasons it kept falling by the wayside.
Where am I going with this? For Aristophanes’ line “In Cloud-Cuckooland things become what they are called rather than being called what they are” make it “In Ivory Towerland things become what they are called rather than being called what they are.” But I’m getting ahead of myself.
The Birds is Aristophanes’ lengthiest surviving comedy and also the most analyzed (some would say over-analyzed). So much has already been written about this particular work that I’ve decided to forego my usual intensive examination of every scene. Instead I’ll go with a brief synopsis followed by a way I feel The Birds could be adapted (as opposed to translated) for the present day.
More than 2,300 years before George Orwell’s Animal Farm and 1984, Aristophanes was dealing with some of the same political themes.
Pisthetaerus and Euelpides, Athenians feeling alienated by the increasingly restrictive laws and lawsuits of their home city have left Athens behind to start over with a new society. Part of the comedy centers around the ages-old theme of how those who seek to overthrow oppression often wind up becoming the new oppressors themselves. (Think of the 1960s generation of American leftists who became just as oppressive as they claimed previous generations had been)
Another Orwellian theme finds Aristophanes satirizing the way in which the ruling class in any society uses and corrupts language to strengthen the subjugation of the populace. The Birds even features the importance of religious and historical myths in any culture as the leaders of the new civilization conjure up an all-new cosmology with “the birds” at the center to justify their own rule. Continue reading
Balladeer’s Blog resumes its examination of ancient Greek comedies.
POLEIS – In this post I’m looking at Poleis (Cities), written by Eupolis, one of the Big Three of Ancient Greek Comedy along with Aristophanes and Cratinus. This satirical comedy is dated from approximately 422 B.C. to 419 B.C. Like so many other such comedies it has survived only in fragmentary form.
The title refers to the all-important Chorus in ancient Greek comedies. In this case the chorus consisted of actors costumed to represent some of the city-states which were under the influence of Athens at the time.
As for how people can be “costumed” as cities, picture how it would be done with American cities. The chorus member representing New York might be depicted as the Statue of Liberty, Saint Louis as the Arch, Pittsburgh as a steel worker, Los Angeles as a brain-dead movie star and so on.
Part of the political satire dealt with the love-hate relationship that many subject- states had with Athens. Being the combination Paris/ Tokyo/ New York City of its time, Athens had a lot to offer its allied polities, but a certain air of tension always existed because of what some of those locations felt were Athens’ high-handed ways of dealing with them.
Eupolis depicted the personified subject-states/ allied states as workers with a not altogether beloved “boss,” Athens. Continue reading
Balladeer’s Blog presents another examination of an ancient Greek comedy.
TAXIARCHOI (Tax Collectors) – By Eupolis. Tax Day – which April 15th USUALLY is – is the most appropriate day to examine this comedy because its premise serves as a pointed reminder of the inherent ugliness in all taxation – that the power to impose and collect taxes is, ultimately, backed up by the use of force. (If you doubt me go without paying your personal property taxes. Then we’ll discuss how much you truly “own” your home or your car.)
In Taxiarchoi the god Dionysus is depicted joining the title military unit. Those Taxiarchoi units would periodically collect the “taxes” or – in its most honest form – “tribute” from the various regions, not only of Athens proper but of the Athenian subject states. Military units were necessary for such tasks for the reasons you would expect – attempted resistance on the part of those being taxed and/or attempted robbery by bands of thieves after the taxes had been collected.
Sometimes a particular community might try to poor-mouth their circumstances and provide the taxiarchs with less money than had been assessed against them. In such cases the officer in charge was empowered to either seize portable property to make up the difference or to ransack the town and its vicinity to determine if the citizens were simply hiding their wealth. Continue reading
Balladeer’s Blog’s end of year retrospective concludes with this look at November’s best:
A NEW LIST OF HILARIOUSLY WRONG PREDICTIONS FROM PSYCHICS – Cannibalism in Pennsylvania? A Civil War in the 1980s?
All that and more. CLICK HERE
ANCIENT SCIENCE FICTION: The People of the Moon (1895) HERE , The Dominion in 1983 (1883) HERE , A Fantastical Excursion Into The Planets (1839) HERE
THE RUSTIC – My look at this ancient Greek Comedy by Epicharmus. CLICK HERE
ALLEGRO NON TROPPO – A review of the 1977 Italian film. CLICK HERE
IRON SIGHTS: TWO PSYCHOS – Comic book giant Richard C Meyer’s latest graphic novel featuring all-out action against the Mexican drug cartels. CLICK HERE
CONGRESSWOMAN TULSI GABBARD CALLS OUT HER PARTY – The heroic role model once again displays her courage. CLICK HERE
THE BLACK TULIP: SWASHBUCKLER – An action-filled adaptation of the Alexandre Dumas novel from 1850. CLICK HERE Continue reading
Balladeer’s Blog’s end of year retrospective continues with this look at September’s best:
POLEIS (CITIES) 422-419 B.C. – A look at the ancient Greek political comedy written by Eupolis. CLICK HERE
TRANSGRESS WITH ME: SEPTEMBER 23rd – Are you brave enough to share some more transgressive thoughts? CLICK HERE
ANCIENT SCIENCE FICTION – Messages From Mars (1892) HERE , The Queen of Appalachia (1901) HERE , Babylon Electrified (1888) HERE , Looking Forward (1899) HERE , The Automatic Maid (1893) HERE
HEROIC WOMEN FIGHTING OPPRESSION IN THE MUSLIM WORLD – The title says it all. CLICK HERE
WOI EPIC – A Liberian epic myth about gods and demons. CLICK HERE
ISAIAH WASHINGTON – And yet another Martin Luther King Person of Courage to profile – CLICK HERE Continue reading
Balladeer’s Blog examines yet another ancient Greek comedy which has survived only in fragmentary form.
The Ruins of the Theater of Dionysus in Athens.
COTTABUS PLAYERS (c 420s B.C.) – This comedy was written by Ameipsias, whose career as an Athenian comic poet ran from approximately the 420s B.C. to the 390s B.C. In the Dionysia Festival of 423 B.C. he won 2nd Place for his comedy Connus and in 414 B.C’s Dionysia he won 1st place for The Revelers. Ameipsias also won 1st place at a Lenaea Festival but the year and title of his entry are not known.
Regular readers of Balladeer’s Blog will remember that Cottabus was a party game in ancient Athens and had two variations. The “lesser” variation involved the hard-drinking guests (and virtually ALL guests at ancient Athenian parties were hard-drinking) throwing the wine-lees at the bottoms of their cups at a plate balanced on a pole, with the winner being the one who knocked the plate off the pole.
The “greater” variation, to the proud, sea-faring Athenians, who “ruled the waves” long before Britons came along, involved throwing their wine-lees at plates floating in a pool, with the winner being the one who sank each plate. This small-scale equivalent of naval warfare was, according to Athenaeus, the more prestigious version and was characteristic of a more “high-end” party.
The all-important Chorus of this comedy by Ameipsias was presumably a set of rowdy, drunken Cottabus players. Let’s take a look at what can be gleaned from the surviving fragments:
** The comedy’s characters were SO drunk (“How drunk were they?”) they were using their projectile vomiting instead of wine-lees to sink the floating plates. Continue reading