The Maculate Muse: Obscene Language in Attic Comedy
The pervasive and unrestrained use of obscenity has lengthy been stated as a tremendous characteristic of fifth-century Attic Comedy; no different Western artwork shape is based so seriously at the sexual and scatological dimensions of language. This acclaimed booklet, now in a brand new variation, bargains either a entire dialogue of the dynamics of Greek obscenity and an in depth observation at the terminology itself.
After contrasting the bizarre features of the Greek concept of obscenity to modern day rules, Henderson discusses obscenity's function within the improvement of Attic Comedy, its old origins, kinds, and dramatic functionality. His research of obscene terminology sheds new gentle on Greek tradition, and his dialogue of Greek homosexuality deals a clean corrective to the idealized Platonic view. He additionally appears to be like intimately on the half obscenity performs in each one of Aristophanes' 11 surviving performs. The latter a part of the ebook identifies all of the obscene terminology present in the extant examples of Attic Comedy, either entire performs and fragments. even supposing those terminological entries are prepared in numbered paragraphs akin to a word list, they could even be learn as autonomous essays at the numerous points of comedian obscenity. phrases are defined as they take place in every one person context and with regards to typologically comparable terminology. With newly corrected and up to date philological fabric, this moment version of Maculate Muse will function a useful reference paintings for the learn of Greek drama.
Of the time, or listen it pointed out in the other connection (nor do we think one other context during which it will probably were employed), testifies to its distinct appropriateness to the phenomenon of previous Comedy. There are exceptions: the Ionian iambic poets and the cults of (above all) Dionysus and Demeter. those have a vital significance within the improvement of previous Comedy and the inclusion of obscenity therein as a vital approach to comedian degradation, abuse, and mock. it really is to those backgrounds.
the entire parts are there:62 own invective (Archilochus vs. Lycambes, Semonides vs. Oroecidas [Luc. Pseud. 2], Hipponax vs. Athenis and Bupalus, even A57. G. L. Hendrickson, "Aristophanes and the sufferers of His Iambics," AJP forty six (1925): a hundred and one ff.; Elliott (n. 34, above), pp. 1-15. fifty eight. Arist. Poet. 1448" 32; Apollodorus 1.5.1; Phot; EM; schol. Nic. Alexiph. 132; , and so on. The note iambos looks cognate with different sacral phrases like dithyrambos, thriambos, triumphus. See H. Frisk, Griechisches.
Is over: no lady might point out the : was once the permitted euphemism. the rest of the scene (to 654) is eager about the logical end to the unmasking of the Relation and the destruction of Euripides' scheme: the particular badge of his masculinity needs to be rooted out and uncovered to view. hence the Relation is stripped, and Cleisthenes, after operating from entrance to again a number of occasions, ultimately manages to isolate the and entire the anagnorisis. within the bare Relation's futile makes an attempt to conceal his.
[*pes-n-is] ) seems most often and seems the vulgar vox propria. obviously its usefulness lay in its surprise worth, accordingly its use essentially in surprises, violent oaths, smut, and coffee slapstick. Lysistrata, progressively saying her plan to convey domestic the boys through preventing the conflict, comes climactically to the vital sacrifice required of her troops: they need to hand over the (124); the note is intended to hit with blunt strength after the paratragic language which precedes (and follows, cf. 134).
The phallus and the testicles, and the vox ( ' ?) = , reason to be erect (Poll. 2.176), at CA 1057 is a pun glossed through Hsch. as which means , that's, excite oneself into having an erection. 89. The , bull, which the strapping Lampito may well simply throttle at L eighty one is the phallus (see Suda). there's yet another play in this that means in , unmarried/unmanned, at L 217: interfering with the commonly paratragic tone of this note (cf. A. Ag. 245) is the weird female finishing, the presence of a phallic.