Balladeer’s Blog presents another look at an ancient Greek Comedy. This time around it’s one written by Eupolis who – along with Aristophanes and Cratinus – was one of the Big Three of Attic Old Comedy.
MARIKAS (c 421 B.C.) – This was the second comedy to emerge in the new subgenre of Attic Old Comedy called “the Demagogue Comedy”. Aristophanes led the way a few years earlier with The Knights, his comedy attacking the politician Cleon. The play Marikas finds Eupolis attacking the demagogue Hyperbolus, whose reputation for character assassination by way of overstatement lives on in our language by way of the word “hyperbole”.
As with most ancient Greek comedies Marikas has survived only in fragmentary form. Those fragments, along with contemporary references in surviving works, provide what is known about the play. Marikas, the title character, was used by Eupolis to represent the politician Hyperbolus the same way Aristophanes had used the Paphlagonian to represent Cleon in The Knights.
The ancient Greek comedies made a point of breaking the fourth wall on a regular basis (despite the way so many people have convinced themselves that that is a “postmodern” development) and Marikas opened up with a character assuring the audience that the play they were about to see was NOT just a rehashing of The Knights. Continue reading
CRATES – Crates’ career spanned from approximately the 450s B.C. to the 430s B.C. We have fragments from nine or ten comedies from an unknown total output. From other sources we know that comedies as stage productions began sometime around 500 B.C. or earlier so Crates came fairly early to the artform. 
NEIGHBORS – We do not have even a hypothetical year for this work, unfortunately. Since titles sometimes referred to the all-important Chorus of a Greek comedy there is speculation that the chorus members were “Neighbors” of some sort (Duh!) but nothing is known about the plot.
Balladeer’s Blog takes another look at an ancient Greek comedy. Most of my previous examinations of these verse plays dealt with Attic Old Comedy or on what little is known about Susarion, a revered pioneer of stage comedy.
The chorus, so important to Attic Old Comedy, was not yet present on stage in Epicharmus’ time, but musical accompaniment was. Like so many other ancient Greek comedies, the plays of Epicharmus have survived only in very fragmentary form. 
Once again, Balladeer’s Blog looks at the fragmentary remains of one of the lesser-known ancient Greek comedy playwrights, in this case Philyllius. This comic poet’s career seems to have spanned approximately from the 410s BC to 390 BC. One of his comedies won 1st prize at a Lenaea festival in the 390s and he won 1st prize at an unknown Dionysia. His fellow comedian Strattis credited him with being the first Attic Old Comic to use real torches on stage.
For this installment of my examinations of Greek comedies I will focus on one of the ancient Greek comedians whose entire corpus is very, very, VERY fragmentary, touching briefly on all of their known works. For background info on ancient Greek comedy plus my previous reviews click here: 
1. TRAGI-COMEDY – This play gave comedic treatment to the traditional rivalry between comedy and tragedy on the ancient Athenian stage. The comedy had fun with the inherent tensions between the two dramatic forms, including the fact that tragedy took pains to preserve the audience’s suspension of disbelief while comedy reveled in bursting the dramatic illusion via constant meta-theatrical breaking of the fourth wall.
By 411 BC the Peloponnesian War between Athens (and its allied city-states) and Sparta (and its allied city-states) had been raging for roughly 20 years. The war provides the backdrop for many of Aristophanes’ surviving comedies and is especially relevant where Lysistrata is concerned. Weary of the long, drawn-out conflict the women of Athens, led by the title character Lysistrata (supposedly based on Lysimache, the Priestess of Athena in Athens at the time), join forces with the women of Sparta and decide to withhold sex from the men until they agree to bring an end to the war. 
THE PAGEANT OF LETTERS (c 402 B.C.) – Here is another examination of an ancient Greek comedy. This one deals with a subject that still affects a very large part of the world to this very day – our alphabet. 
The addition of the four new letters (eta, xi, psi and omega) was causing a certain amount of confusion, as could be expected. Imagine if we suddenly added four new letters to the alphabet now, say, possibly single characters to express sounds formerly covered by two letters together, like “th” or “ph”.
The title Baptae came from the fact that the worshippers of Cotyto would immerse or “baptize” their garments in blue, green or purple dye, an expensive and very ostentatious indulgence for the time period. And yes, Baptae and baptizing are from the same root word, since it originally referred to immersion in any liquid, not just water.
THE KNIGHTS – In The Knights Aristophanes pioneered a new sub-genre of Attic Old Comedy: the Demagogue Comedy. The villain of this masterpiece of political satire was a figure called the Paphlagonian, who was patterned on Cleon, a notorious Athenian politician of the time period. 
The Clouds was written by Aristophanes around 423 BC and next to Lysistrata is the Big A’s most- discussed satire, mostly because of its lampooning of the philosopher Socrates, a contemporary of Aristophanes. 
In the ancient Greek democracy Athenian citizens were expected to represent themselves in court in both criminal and civil proceedings. 
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