By S. Douglas Olson
A suite of over two hundred of the main attention-grabbing and significant fragments of Greek comedy, followed through a remark; an intensive advent discussing the heritage of comedian style; a sequence of appendixes at the person poets, the inscriptional proof, and so on; and a whole translation of the fragments. person sections illustrate the earliest Greek comedy from Syracuse; the attribute beneficial properties of Athenian `Old', `Middle', and `New Comedy'; the comedian presentation of politicians, philosophers, and ladies; the comedian reception of different poetry; and lots of features of lifestyle, together with eating and symposia.
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Extra info for Broken Laughter: Select Fragments of Greek Comedy
1). 41 Taplin 89–99, esp. 95. 42 Webster (1948) 25 observes that the obvious comparandum for the ‘Goose-Play’ scene discussed above is Women Celebrating the Thesmophoria after Inlaw has been captured and turned over to the Scythian archer for punishment, in which case the mysterious and seemingly oﬀ-stage Τραγοιδ is most naturally taken as a counterpart of the Aristophanic Euripides. 43 It is thus worth considering whether the apparent great success of Athenian ‘Middle Comedy’ in Sicily and Southern Italy was less the result of the gradual evolution of the genre than a cause of it, as poets began to write with an eye toward the interests of an audience broader than the one that ﬁlled the Theatre of Dionysus on local festival days.
Po. 1448a33–4 (on Chionides as a very early Athenian comic poet). For brief individual biographies of the poets included in this collection, see Appendix III. 44 45 Introduction 17 the remarks at Eq. 522–3 about his eagerness to entertain his audience by ‘plucking his lyre, ﬂapping his wings, playing the Lydian, acting like a gall-insect, and dyeing himself in frog-colours’ (all once again presumably references to the costumes and behaviour of his choruses); but we know from other sources that he wrote two plays entitled Dionysus and another entitled The Female Grass-cutter (Ποα´στρια).
23 His arguments too, however, fail to hold up to close examination; see A16–A17 n. Aeschylus probably met Epicharmus when he visited Sicily, and might easily have brought copies of the plays back to Athens; and the Athenians were in constant commercial, political, and intellectual contact with the West throughout the ﬁfth century. 24 The only other early ﬁfth-century Syracusan literary ﬁgure of whom we have substantial knowledge is Sophron, an author of mimes said by the Suda (σ 893 = test. 1) to have been a contemporary of Euripides (480s–407/6) and the Persian king Xerxes (reigned 486–465).
Broken Laughter: Select Fragments of Greek Comedy by S. Douglas Olson