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By Aristophanes

This new verse translation of Aristophanes' comedies bargains one of many world's nice comedian dramatists in a kind that's either traditionally trustworthy and theatrically lively. Aristophanes' performs have been produced for the pageant theater of classical Athens within the 5th century BC and surround the entire gamut of humor, from brilliantly creative myth to obscene vulgarity. This version features a significant normal advent and introductory essays for every of the performs, in addition to complete explanatory notes and an index of names.About the sequence: For over a hundred years Oxford World's Classics has made on hand the broadest spectrum of literature from world wide. every one cheap quantity displays Oxford's dedication to scholarship, offering the main actual textual content plus a wealth of alternative precious positive aspects, together with specialist introductions through prime experts, voluminous notes to elucidate the textual content, up to date bibliographies for extra research, and masses extra.

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Extra info for Birds and Other Plays (Oxford World's Classics)

Sample text

One objection to categorical formulations of Aristophanes’ putative values or beliefs is that they are inevitably based on, and tend to simplify, a mass of comically and dramatically variegated material which by its very nature might be thought to destabilize the possibility of a consistent reading. It is, therefore, right that some of the more specific issues raised by the sort of views I have mentioned should be addressed in my introductions to individual plays. What I shall attempt in the rest of this section is to offer some general reasons for caution about deducing Aristophanes’ personal allegiances from his comedies.

The ‘feebleness’ of the humour is best taken, I think, as tongue-in-cheek frivolity, presumably reinforced by the musico-choreographic style. 57 lii Introduction in my judgement, rhyme produces a jauntiness which is occasionally but not consistently apt for the song forms of the original. I referred at the start of this section to three main categories of difficulty facing any translator of Aristophanes. The problem of mixed and unexpectedly shifting stylistic registers—above all, the typical Aristophanic juxtapositioning of ‘high’ and ‘low’—is ubiquitous.

Formal structure of the Aristophanic parabasis SONG/RECITATIVE RECITATIVE SONG RECITATIVE SONG RECITATIVE Linking comment, usually addressed by the chorus to departing character(s) Parabasis proper (‘anapaests’), addressed by the chorus to the audience Strophe (typically a prayer/hymn) Declamation (‘epirrhema’), usually delivered in the chorus’s dramatic identity Antistrophe Matching declamation (‘antepirrhema’) ing song and recitative—which is parallel to that of an agon. The structure thus takes the form indicated in Table .

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