By Colin Austin, S. Douglas Olson
Thesmophoriazusae was once played in Athens in 411 BCE, probably on the urban Dionysia, and is likely one of the such a lot fabulous of Aristophanes' 11 surviving comedies. it's the tale of the an important second in a quarrelbetween the tragic playwright Euripides and Athens' girls, who accuse him of slandering them in his performs and are maintaining a gathering at one among their mystery gala's to set a penalty for his crimes. Thesmophoriazusae is a brilliantly artistic comedy, choked with wild slapstick humour and devastating literary parody, and is a easy resource for questions of gender and sexuality in past due 5th-century Athens and for the preferred reception of Euripidean tragedy. Austin and Olson provide a textual content in response to a clean exam of the papyri and manuscripts, and an in depth statement masking quite a lot of literary, old, and philological concerns. The advent comprises sections at the date and ancient surroundings of the play; the Thesmophoria pageant; Aristophanes' dealing with of Euripidean tragedy; staging; Thesmophoriazusae II; and the historical past of contemporary severe paintings at the textual content. All Greek within the advent and statement now not pointed out for technical purposes is translated.
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Additional resources for Aristophanes Thesmophoriazusae
Euripides' crime, as Mika and others present it, is that his unvarying depiction of-women as dangerous, deceitful, cunning, and sexually aggressive has made the city's men see the female members of their household in that light. Misogyny thus has an identifiable historical origin, and as a consequence, if Euripides can only be convinced to change his -ways and -write about 'good' female characters, the situation -will easily be corrected. But the chorus in the parabasis draw no such connection and describe a far more complex bundle of attitudes and anxieties than can easily be extracted from Euripidean tragedy (at least as Aristophanes' characters seem to understand it).
Protr. 17. i appears to contain some of the same material. Cer. 371—4, 393—413 •with Richardson on 372). Gr. iv. ; cf. 940, 943, 1013, 1022, 1032, 1035, 1108, 1125), although he is'released'in the end (1204—8). 's play) is possible, and EC. 43 In both places, however, this is more likely part of the fantasy. What the city's women did at their secret festivals was by and large a mystery to their sons, husbands, and brothers. But it must have made sense that they should use such occasions to plot trouble, and the imaginary political structure of their world was, not surprisingly, modelled on that of the real society with which the audience in the Theatre was familiar.
Th. 811—13 n -)> 1 9 but by Lenaia-time Peisandros must already 19 Andrewes, HCTv. 189 (cf. Woodhead, AfP 75 (1954) 138), rightly points out that the passage refers to the ordinary democratic scramble for office; note the use of aei in Lys. 491. 's name on a hit-list'. xlii INTRODUCTION have been in Athens for amonth or moremakingpreliminary arrangements for the oligarchic coup, and economic corruption seems a bland charge to bring against someone -who might instead have been pilloried for -working to overthrow the democracy.