By Aristophanes; S. Douglas Olson (ed.)
Aristophanes' Acharnians was once played on the Lenaia competition in Athens in 425 BCE. The play is the tale of an outdated peasant farmer, Dikaiopolis, who has grown so disgusted with the Peloponnesian struggle and the patent self-serving of the city's prime politicians (abetted via the stupidity of his fellow-citizens) that he concludes a separate peace with the enemy. accordingly, he profits entry to a huge provide of amazing issues, together with wine, eels, thrushes, and a couple of appealing and compliant girls. even if he's a traitor and a villain, or just the cleverest and such a lot bold guy within the urban, is an issue of in depth debate in the play. Acharnians itself, at any expense, took first position and is mostly considered as one in every of Aristophanes' or 3 such a lot impressive surviving comedies. Olson bargains the 1st entire new scholarly version of the play in virtually a century. The textual content and gear are according to a clean exam of the papyri and manuscripts, a lot of that have by no means been studied systematically, and are supported via a brand new manuscript stemma. The creation comprises sections at the poet himself; the ancient surroundings and political argument of the play; the mythological and literary history; department of elements, costumes, and props; staging; using dialects; and the historical past of the textual content. The observation covers a variety of literary, historic, and philological matters, with specific consciousness to staging and information of daily life. All Greek within the creation and observation no longer brought up for technical purposes is translated, making a lot of the variation obtainable to common scholarly readers.
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Additional info for Aristophanes: Acharnians (Text and Commentary)
712a Kannicht = ^4rA. 577a). Eventually the hero was found out, perhaps after news had been received that a Mysian spy had infiltrated the city and a systematic examination of everyone present had been instituted (fr. 727a fr. 1; cf. Th. 574-687). Why Orestes was on stage at this point is unknown, but it is clear that when Telephos was discovered—and presumably threatened with death (cf. fr. 700)—he seized the child and fled to an altar, threat ening to kill him there (cf. fr. 727; Ach. 325-51; Th.
Renders a bit of hypothetical Euripidean language (fr. 706) concrete by offering to speak with his head over a chopping-block. 2. When this offer is rejected, Dikaiopolis takes a charcoal-basket MYTHOLOGICAL AND LITERARY BACKGROUND lix hostage and threatens to kill it if he is not allowed to defend himself (325-32), just as Telephos does with the baby Orestes; before he appears on stage with the basket, the chorus speculate that he may have seized someone's child (329-30). 3. g. 447). 384 may be a quotation from Telephos (cf.
C above). Dikaiopolis, on the other hand, exits to the accompaniment of the cry τψίλλα καλλίνικος (1227-34), which echoes a song attributed to Archilochos in praise of Herakles' victory at Olympia (Archil, fr. spur. 324; cf. ). Herakles has already been referred to in Acharniam in the allusion to the raid on Geryon's cattle at 1082, where Dikaiopolis seems to be cast as the hero while Lamachos plays the monster (cf. n. ad loc). A much more significant use of the image occurs in the Boiotian scene in 860-958.
Aristophanes: Acharnians (Text and Commentary) by Aristophanes; S. Douglas Olson (ed.)