[Author]<\/strong> Antiphanes Comicus (first half of the 4th cent. BC)<\/p>\n[Work] <\/strong>Poi\u0113sis<\/em>, fr. 189 K.-A.<\/p>\n[Place of work]<\/strong> Athens<\/p>\n[Source]<\/strong> Ath. VI 222c-223a: \u1f10\u03c0\u03b5\u03b9\u03b4\u1f74 \u1f00\u03c0\u03b1\u03b9\u03c4\u03b5\u1fd6\u03c2 \u03c3\u03c5\u03bd\u03b5\u03c7\u1ff6\u03c2 \u1f00\u03c0\u03b1\u03bd\u03c4\u1ff6\u03bd, \u1f11\u03c4\u03b1\u1fd6\u03c1\u03b5 \u03a4\u03b9\u03bc\u03cc\u03ba\u03c1\u03b1\u03c4\u03b5\u03c2, \u03c4\u1f70 \u03c0\u03b1\u03c1\u1f70 \u03c4\u03bf\u1fd6\u03c2 \u03b4\u03b5\u03b9\u03c0\u03bd\u03bf\u03c3\u03bf\u03c6\u03b9\u03c3\u03c4\u03b1\u1fd6\u03c2 \u03bb\u03b5\u03b3\u03cc\u03bc\u03b5\u03bd\u03b1, \u03ba\u03b1\u03b9\u03bd\u03ac \u03c4\u03b9\u03bd\u03b1 \u03bd\u03bf\u03bc\u03af\u03b6\u03c9\u03bd \u1f21\u03bc\u1fb6\u03c2 \u03b5\u1f51\u03c1\u03af\u03c3\u03ba\u03b5\u03b9\u03bd, \u1f51\u03c0\u03bf\u03bc\u03bd\u03ae\u03c3\u03bf\u03bc\u03ad\u03bd \u03c3\u03b5 \u03c4\u1f70 \u03c0\u03b1\u03c1\u1f70 \u1f08\u03bd\u03c4\u03b9\u03c6\u03ac\u03bd\u03b5\u03b9 \u03bb\u03b5\u03b3\u03cc\u03bc\u03b5\u03bd\u03b1 \u1f10\u03bd \u03a0\u03bf\u03b9\u03ae\u03c3\u03b5\u03b9 \u03c4\u03cc\u03bd\u03b4\u03b5 \u03c4\u1f78\u03bd \u03c4\u03c1\u03cc\u03c0\u03bf\u03bd\u00b7 [fr. 189 K.-A.].<\/p>\n[Typology]<\/strong> Comedy<\/p>\n[Period]<\/strong> 400\u2013350 BC<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Text]<\/strong><\/p><\/div>\u03bc\u03b1\u03ba\u03ac\u03c1\u03b9\u03cc\u03bd \u1f10\u03c3\u03c4\u03b9\u03bd \u1f21 \u03c4\u03c1\u03b1\u03b3\u1ff3\u03b4\u03af\u03b1
\n\u03c0\u03bf\u03af\u03b7\u03bc\u03b1 \u03ba\u03b1\u03c4\u1f70 \u03c0\u03ac\u03bd\u03c4\u2019, \u03b5\u1f34 \u03b3\u03b5 \u03c0\u03c1\u1ff6\u03c4\u03bf\u03bd \u03bf\u1f31 \u03bb\u03cc\u03b3\u03bf\u03b9
\n\u1f51\u03c0\u1f78 \u03c4\u1ff6\u03bd \u03b8\u03b5\u03b1\u03c4\u1ff6\u03bd \u03b5\u1f30\u03c3\u03b9\u03bd \u1f10\u03b3\u03bd\u03c9\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf\u03b9
\n\u03c0\u03c1\u1f76\u03bd \u03ba\u03b1\u03af \u03c4\u03b9\u03bd\u2019 \u03b5\u1f30\u03c0\u03b5\u1fd6\u03bd, \u1f65\u03c3\u03b8\u2019 \u1f51\u03c0\u03bf\u03bc\u03bd\u1fc6\u03c3\u03b1\u03b9 \u03bc\u03cc\u03bd\u03bf\u03bd
\n\u03b4\u03b5\u1fd6 \u03c4\u1f78\u03bd \u03c0\u03bf\u03b7\u03c4\u03ae\u03bd\u00b7 \u039f\u1f30\u03b4\u03af\u03c0\u03bf\u03c5\u03bd \u03b3\u03ac\u03c1 \u2020 \u03c6\u1ff6, (5)
\n\u03c4\u1f70 \u03b4 \u0313 \u1f04\u03bb\u03bb\u03b1 \u03c0\u03ac\u03bd\u03c4\u2019 \u1f34\u03c3\u03b1\u03c3\u03b9\u03bd\u00b7 \u1f41 \u03c0\u03b1\u03c4\u1f74\u03c1 \u039b\u03ac\u03b9\u03bf\u03c2,
\n\u03bc\u03ae\u03c4\u03b7\u03c1 \u1f38\u03bf\u03ba\u03ac\u03c3\u03c4\u03b7, \u03b8\u03c5\u03b3\u03b1\u03c4\u03ad\u03c1\u03b5\u03c2, \u03c0\u03b1\u1fd6\u03b4\u03b5\u03c2 \u03c4\u03af\u03bd\u03b5\u03c2,
\n\u03c4\u03af \u03c0\u03b5\u03af\u03c3\u03b5\u03b8\u2019 \u03bf\u1f57\u03c4\u03bf\u03c2, \u03c4\u03af \u03c0\u03b5\u03c0\u03cc\u03b7\u03ba\u03b5\u03bd. \u1f02\u03bd \u03c0\u03ac\u03bb\u03b9\u03bd
\n\u03b5\u1f34\u03c0\u1fc3 \u03c4\u03b9\u03c2 \u1f08\u03bb\u03ba\u03bc\u03ad\u03c9\u03bd\u03b1, \u03ba\u03b1\u1f76 \u03c4\u1f70 \u03c0\u03b1\u03b9\u03b4\u03af\u03b1
\n\u03c0\u03ac\u03bd\u03c4\u2019 \u03b5\u1f50\u03b8\u1f7a\u03c2 \u03b5\u1f34\u03c1\u03b7\u03c7\u2019, \u1f45\u03c4\u03b9 \u03bc\u03b1\u03bd\u03b5\u1f76\u03c2 \u1f00\u03c0\u03ad\u03ba\u03c4\u03bf\u03bd\u03b5 (10)
\n\u03c4\u1f74\u03bd \u03bc\u03b7\u03c4\u03ad\u03c1\u2019, \u1f00\u03b3\u03b1\u03bd\u03b1\u03ba\u03c4\u1ff6\u03bd \u03b4\u2019 \u1f0c\u03b4\u03c1\u03b1\u03c3\u03c4\u03bf\u03c2 \u03b5\u1f50\u03b8\u03ad\u03c9\u03c2
\n\u1f25\u03be\u03b5\u03b9 \u03c0\u03ac\u03bb\u03b9\u03bd \u03c4\u2019 \u1f04\u03c0\u03b5\u03b9\u03c3\u03b9 – x – \u23d1 –
\n\u27e8\u1f14\u03c0\u03b5\u03b9\u27e9\u03b8 \u0313 \u1f45\u03c4\u03b1\u03bd \u03bc\u03b7\u03b8\u1f72\u03bd \u03b4\u03cd\u03bd\u03c9\u03bd\u03c4\u2019 \u03b5\u1f30\u03c0\u03b5\u1fd6\u03bd \u1f14\u03c4\u03b9,
\n\u03ba\u03bf\u03bc\u03b9\u03b4\u1fc7 \u03b4\u2019 \u1f00\u03c0\u03b5\u03b9\u03c1\u03ae\u03ba\u03c9\u03c3\u03b9\u03bd \u1f10\u03bd \u03c4\u03bf\u1fd6\u03c2 \u03b4\u03c1\u03ac\u03bc\u03b1\u03c3\u03b9\u03bd,
\n\u03b1\u1f34\u03c1\u03bf\u03c5\u03c3\u03b9\u03bd \u1f65\u03c3\u03c0\u03b5\u03c1 \u03b4\u03ac\u03ba\u03c4\u03c5\u03bb\u03bf\u03bd \u03c4\u1f74\u03bd \u03bc\u03b7\u03c7\u03b1\u03bd\u03ae\u03bd, (15)
\n\u03ba\u03b1\u1f76 \u03c4\u03bf\u1fd6\u03c2 \u03b8\u03b5\u03c9\u03bc\u03ad\u03bd\u03bf\u03b9\u03c3\u03b9\u03bd \u1f00\u03c0\u03bf\u03c7\u03c1\u03ce\u03bd\u03c4\u03c9\u03c2 \u1f14\u03c7\u03b5\u03b9.
\n\u1f21\u03bc\u1fd6\u03bd \u03b4\u1f72 \u03c4\u03b1\u1fe6\u03c4\u2019 \u03bf\u1f50\u03ba \u1f14\u03c3\u03c4\u03b9\u03bd, \u1f00\u03bb\u03bb\u1f70 \u03c0\u03ac\u03bd\u03c4\u03b1 \u03b4\u03b5\u1fd6
\n\u03b5\u1f51\u03c1\u03b5\u1fd6\u03bd, \u1f40\u03bd\u03cc\u03bc\u03b1\u03c4\u03b1 \u03ba\u03b1\u03b9\u03bd\u03ac, – x – \u23d1 –
\nx – \u23d1 – \u03ba\u1f04\u03c0\u03b5\u03b9\u03c4\u03b1 \u03c4\u1f70 \u2020 \u03b4\u03b9\u1ff3\u03ba\u03b7\u03bc\u03ad\u03bd\u03b1
\n\u03c0\u03c1\u03cc\u03c4\u03b5\u03c1\u03bf\u03bd, \u03c4\u1f70 \u03bd\u1fe6\u03bd \u03c0\u03b1\u03c1\u03cc\u03bd\u03c4\u03b1, \u03c4\u1f74\u03bd \u03ba\u03b1\u03c4\u03b1\u03c3\u03c4\u03c1\u03bf\u03c6\u03ae\u03bd, (20)
\n\u03c4\u1f74\u03bd \u03b5\u1f30\u03c3\u03b2\u03bf\u03bb\u03ae\u03bd. \u1f02\u03bd \u1f15\u03bd \u03c4\u03b9 \u03c4\u03bf\u03cd\u03c4\u03c9\u03bd \u03c0\u03b1\u03c1\u03b1\u03bb\u03af\u03c0\u1fc3
\n\u03a7\u03c1\u03ad\u03bc\u03b7\u03c2 \u03c4\u03b9\u03c2 \u1f22 \u03a6\u03b5\u03af\u03b4\u03c9\u03bd \u03c4\u03b9\u03c2, \u1f10\u03ba\u03c3\u03c5\u03c1\u03af\u03c4\u03c4\u03b5\u03c4\u03b1\u03b9\u00b7
\n\u03a0\u03b7\u03bb\u03b5\u1fd6 \u03b4\u1f72 \u03c0\u03ac\u03bd\u03c4\u2019 \u1f14\u03be\u03b5\u03c3\u03c4\u03b9 \u03ba\u03b1\u1f76 \u03a4\u03b5\u03cd\u03ba\u03c1\u1ff3 \u03c0\u03bf\u03b5\u1fd6\u03bd<\/p>\n<\/div><\/div><\/div><\/div><\/div>
[Metrics]<\/strong><\/p><\/div>iambic trimeter<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Critical apparatus]<\/strong><\/p><\/div>1<\/strong> \u27e8\u03b5\u1f30\u0342\u03c4 \u0313 \u03bf\u03c5\u0313\u27e9 Reinhardt || 2<\/strong> \u03b5\u1f30\u0301 \u03b3\u03b5 Ath. ACE : \u1f21\u0342\u03c2 \u03b3\u03b5 Hirschig | \u03c0\u03c1\u03c9\u0342\u03c4\u03bf\u03bd Ath. ACE : \u03c0\u03c1\u03bf\u0301\u03c4\u03b5\u03c1\u03bf\u03bd Wilamowitz || 4<\/strong> \u1f61\u0301\u03c3\u03b8\u2019 Ath. CE : \u1f61\u0301\u03c2 Ath. A || 5<\/strong> \u03b3\u03b1\u0301\u03c1 \u03c6\u03c9\u0342 Ath. ACE : \u03b3 \u0313 \u1f00\u0300\u03bd \u03c6\u03c9\u0342 \u27e8\u03bc\u03bf\u0301\u03bd\u03bf\u03bd\u27e9 Kaibel (\u27e8\u03bc\u03bf\u0301\u03bd\u03bf\u03bd\u27e9 iam Dindorf) : \u03b3\u03b1\u0300\u03c1 \u03c6\u27e8\u03b7\u0301\u03bc \u0313 \u03b5\u0313\u03b3\u27e9\u03c9\u0301 Peppink : \u03b3 \u0313 \u1f00\u0300\u03bd \u03c6\u1fc6\u0345 \u27e8\u03bc\u03bf\u0301\u03bd\u03bf\u03bd\u27e9 Coulon (\u03c6\u1fc6\u0345 iam Richards) || 5-6<\/strong> \u03b3\u03b1\u0300\u03c1 \u27e8\u1f00\u0301\u03bd \u03b3\u03b5\u27e9 \u03c6\u03c9\u0342, \/ \u03ba\u03b1\u03b9\u0300 \u03c4\u1f00\u0301\u03bb\u03bb\u03b1 Meineke (\u03b3\u03b1\u0300\u03c1 \u27e8\u1f00\u0301\u03bd \u03b3\u03b5\u27e9 \u03c6\u03c9\u0342 iam Musurus) : \u03b3\u03b1\u0300\u03c1 \u27e8\u1f00\u0300\u03bd\u27e9 \u03c6\u27e8\u03c1\u03b1\u0301\u03c3\u27e9\u03c9, \/ \u03c4\u03b1\u0301 \u03b3 \u0313 \u1f00\u0301\u03bb\u03bb\u03b1 Kock || 9<\/strong> \u0391\u0313\u03bb\u03ba\u03bc\u03b5\u0301\u03c9\u03bd\u03b1 Dindorf : \u0391\u0313\u03bb\u03ba\u03bc\u03b1\u03b9\u0301\u03c9\u03bd\u03b1 Ath. ACE || 10<\/strong> \u03b5\u1f30\u0301\u03c1\u03b7\u03c7\u2019 Grotius : \u03b5\u1f30\u0301\u03c1\u03b7\u03ba(\u03b5\u03bd) Ath. ACE | \u03bc\u03b1\u03bd\u03b5\u03b9\u0300\u03c2 \u03b1\u0313\u03c0\u03b5\u0301\u03ba\u03c4\u03bf\u03bd\u03b5 Ath. ACE : \u03bc\u03b1\u03bd\u03b5\u03b9\u0342\u03c4 \u0313 \u03b1\u0313\u03c0\u03b5\u03ba\u03c4\u03bf\u03bd\u03c9\u0300\u03c2 Immisch || 11<\/strong> \u03b4\u03b5\u0300 \u1f08\u0301\u03b4\u03c1\u03b1\u03c3\u03c4\u03bf\u03c2 Ath. A : \u03b4\u03b5\u0300 \u03b4\u03c1\u03b1\u0301\u03c3\u03b1\u03c2 Kock || 12-13<\/strong> \u03c4\u03b1\u03c0\u03b5\u03b9\u03c3\u03b9\u03b8\u2019 \u1f41\u0301\u03c4\u03b1\u03bd Ath. A : suppl. Casaubon : \u03c4\u2019 \u1f00\u0301\u03c0\u03b5\u03b9\u03c3\u03b9\u03bd, \u27e8\u03b5\u1f30\u0342\u03b8 \u0313 \u1f21\u0301\u03be\u03b5\u03b9 \u03c0\u03b1\u0301\u03bb\u03b9\u03bd, \/ \u1f10\u0301\u03c0\u03b5\u03b9\u27e9\u03b8\u2019 \u1f41\u0301\u03c4\u03b1\u03bd Herwerden : \u03c4\u2019 \u1f00\u0301\u03c0\u03b5\u03b9\u03c3\u03b9\u03bd, \u27e8\u1f41\u0301\u03b8\u03b5\u03bd \u1f20\u0342\u03bb\u03b8\u03b5\u03bd \u03c0\u03b1\u0301\u03bb\u03b1\u03b9, \/ \u1f10\u0301\u03c0\u03b5\u03b9\u27e9 \u03b8\u2019 \u1f41\u0301\u03c4\u03b1\u03bd Naber || 14<\/strong> \u03b1\u0313\u03c0\u03b5\u03b9\u03c1\u03b7\u0301\u03ba\u03c9\u03c3\u03b9\u03bd Dindorf : \u03b1\u0313\u03c0\u03b5\u03b9\u03c1\u03b7\u03ba\u03bf\u0301\u03c3\u03b9\u03bd Ath. A || 18-19<\/strong> lac. indic. Kaibel, quam e.g. sic explevit \u27e8\u03ba\u03b1\u03b9\u03bd\u03b1\u0300 \u03c0\u03c1\u03b1\u0301\u03b3\u03bc\u03b1\u03c4\u03b1, \/ \u03ba\u03b1\u03b9\u03bd\u03bf\u03c5\u0300\u03c2 \u03bb\u03bf\u0301\u03b3\u03bf\u03c5\u03c2\u27e9 || 19<\/strong> \u03b4\u03b9\u03c9\u0345\u03c7\u03b7\u03bc\u03b5\u0301\u03bd\u03b1 Herwerden : \u03b4\u03b9\u03c9\u03ba\u03b7\u03bc\u03b5\u0301\u03bd\u03b1 Ath. ACE : \u03b4\u03b9\u03b1\u03ba\u03b5\u03b9\u0301\u03bc\u03b5\u03bd\u03b1 Richards : \u03c4\u1f60\u0345\u03ba\u03bf\u03bd\u03bf\u03bc\u03b7\u03bc\u03b5\u0301\u03bd\u03b1 Kock || 21<\/strong> \u1f00\u0300\u03bd Ath. ACE : \u03ba\u1f00\u0300\u03bd Wilamowitz | \u03c0\u03b1\u03c1\u03b1\u03bb\u03b9\u0301\u03c0\u03b7\u0345 Ath. CE : \u03c0\u03b1\u03c1\u03b1\u03bb\u03b5\u03b9\u0301\u03c0\u03b7\u0345 Ath. A || 22<\/strong> \u03a6\u03b5\u03b9\u0301\u03b4(\u03c9\u03bd) Ath. CE : \u03c6\u03b9\u03b4\u03c9\u03bd Ath. A || 23<\/strong> \u03c4\u03b1\u03c5\u0342\u03c4\u2019 Ath. A : \u03c0\u03b1\u0301\u03bd\u03c4\u2019 Ellebodius | \u1f10\u0301\u03be\u03b5\u03c3\u03c4\u03b9 Ath. BQMPMus : \u1f10\u0301\u03be\u03b5\u03c3\u03c4\u03b9\u03bd Ath. A<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Translation]<\/strong><\/p><\/div>Since, dear Timocrates, you continually ask for conversations among the learned banqueters, because you think we invent new things, we will remind you of what Antiphanes says in Poetry <\/em>along the lines of the following:<\/p>\nBlessed poetry is tragedy
\nin every way: first of all, the subjects
\nare well known to the audience
\nbefore anyone speaks, and the poet
\nhas only to remind them. For \u2020 I say Oedipus \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (5)
\nand they know everything else: the father is Laius,
\nthe mother Jocasta, who the daughters and sons are,
\nwhat he will suffer, what he has done. If someone
\nthen says Alcmeone, he immediately said
\nalso all the sons, that mad he killed \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (10)
\nhis mother, and that at once enraged Adrastus
\nwill come and again leave – x – \u23d1 –
\nthen they can say no more
\nand have absolutely nothing more to say in the dramas,
\nthey lift the machine like a finger \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (15)
\nand that is enough for the spectators.
\nBut we do not have these things, but have to
\ninvent everything: new names, – x – \u23d1 –
\nx – \u23d1 – and then what \u2020 happened before,
\nthe present situation, the ending, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (20)
\nthe proem. If a Chremes or a Pheidon neglects
\neven one of these points, he is whistled at,
\nbut Peleus and Teucer are allowed to do everything.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Comment]<\/strong><\/p><\/div>The fragment is handed down in the Deipnosophists <\/em>of Athenaeus of Naucratis (VI 222c-223a), within a short section in which Athenaeus compares his own narration to tragedy, as both only have to recount known material (the dialogues of the diners\/myths), rather than invent new stories. Fr. 189 K.-A. is the first in a list of three comic fragments from the 4th-3rd century BC (followed by Diphil. fr. 29 K.-A. and Timocl. fr. 6 K.-A.). The text in iambic trimeter can probably be traced back to the prologue, spoken perhaps by the personification of Comedy or Dramatic Poetry or by a character speaking on behalf of the comic poets in general (see now Olson 2022: 340, 341), and constitutes a \u2018lament\u2019 of the advantages tragedy has over comedy.
\nIn vv. 1-12, the speaker expresses the consideration that tragic poets are to be considered fortunate in that they have themes, motifs and characters from the mythical and epic tradition known to the audience; thus, the latter, as soon as they hear a name (e.g. Oedipus, Alcmeon, with reference to the sagas of the Labdacids and Epigones, cf. Po<\/em>. 1435a17-22), they understand how the plot will develop and end. For this reason, tragic poets have a decidedly greater advantage than their fellow comic playwrights.
\nIn vv. 13-16 mention is made of the m\u0113chan\u0113<\/em>, a favourite tool of tragic performances from the end of the 5th century BC, particularly in the theatre of Euripides: the flying machine allowed the quick resolution of complicated plots through the deus ex machina, i.e. the intervention of a character belonging to the divine dimension who appeared in a flashy twist to resolve the situation (cf. Arist. Po.<\/em> 1454a37-1454b5). Tragic poets, therefore, when they can no longer go on with the plot, give up and resort to easy solutions (cf. Pl. Crat.<\/em> 452d, adesp. com.<\/em> fr. 1089, 12-13 K.-A.). This is followed by a contemptuous remark to the audience, who only need this to be satisfied with the performance.
\nIn vv. 17-23, the speaker sets out the efforts that, in contrast, comic poets must make in creating their works; we move on to a defence of the originality necessary for comedy (Ar. Nu.<\/em> 534-562 is a clear example of this) in the face of the convenience of composing tragedy. Firstly, the playwrights have to invent everything from scratch (names, topics, themes and motifs); secondly, since they do not have the cultural background that tragedy has, they are pressed not only by the need to explain all the facts and background so that the audience can follow and understand the plot, but also by the need to take into account their tastes and expectations (cf. Pl. Lg.<\/em> 659b-c, 700e). All this is to prevent the staging of the comic play from being a resounding failure. The fragment of Antiphanes concludes with the bitter (or supposedly so) statement that, unlike heroes as well-known as Peleus and Teucer, who are allowed to neglect explanations and clarifications of all kinds (cf. Diph. fr. 29, 4-5 K.- A.), for comic heroes like Chremes and Pheidon (names that can be found in Aristophanes’ Clouds<\/em> and Ecclesiazuse<\/em> respectively) such a situation is practically an aporia, since they risk suffering the punishment of the dissatisfied audience.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Reference edition]<\/strong><\/p><\/div>R. KASSEL – C. AUSTIN (edd.), Poetae Comici Graeci<\/em>, II: Agathenor-Aristonymus<\/em>, Berolini-Novi Eboraci 1991, 418-419; S. D. OLSON, Antiphanes. Zakynthios-Progonoi. Translation and Commentary <\/em>, Fragmenta Comica<\/em> 19.2, G\u00f6ttingen 2022, 337-348.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Essential bibliography]<\/strong><\/p><\/div>A. ROSTAGNI, Da Aristofane e da Antifane ad Aristotele<\/em>, in\u00a0Studi in onore di Gino Funaioli,<\/em> Roma, Angelo Signorelli, 1955, 60-75; O. BIANCO,\u00a0Il frammento della <\/em>\u03a0\u03bf\u1f77\u03b7\u03c3\u03b9\u03c2\u00a0di Antifane ed un prologo anonimo<\/em>, \u00abRCCM\u00bb 3, 1961, 91-98; U. REINHARDT,\u00a0Mythologische Beispiele in der Neuen Kom\u00f6die (Menander, Plautus, Terenz)<\/em>, I, Diss. Mainz, 1974, 101-105; J.L. SANCHIS LLOPIS, Testimonios pol\u00e9micos de la tragedia postcl\u00e1sica en la comedia del s. IV a. C.<\/em>, in Primeras Jornadas<\/em> Internacionales de Teatro Griego<\/em>, Valencia, Nau Llibres, 1995, 75-90; I. AMOUROUX, Antiphane et les themes de la comedie moyenne<\/em>, Th\u00e8se de doctorat, Universit\u00e9 Paul-Val\u00e9ry-Montpellier, 1995, 149-166; D. DEL CORNO, Come si deve fare una commedia: programmi e polemiche nel teatro Ateniese<\/em>, in F. Conca (a c. di), Ricordando Raffaele Cantarella: miscellanea di studi,<\/em> \u00abQuaderni di Acme\u00bb 36, Bologna, Cisalpino, 1999, 119-133; I.M. KONSTANTAKOS, This Craft of Comic<\/em> Verse: Greek Comic Poets on Comedy<\/em>, \u00abArchaiognosia\u00bb 12, 2004, 11-53, in part. 21-30; S.D. OLSON, Broken Laughter: Select Fragments of Greek Comedy<\/em>, Edited with Introduction, Commentary, and Translation<\/em>, Oxford, Oxford University Press, 2007, 172-175 (D6); J. HANINK, Literary Evidence for New Tragic Production: The View from the Fourth Century<\/em>, in E. Csapo, H.R. Goette, J.R. Green, P. Wilson (eds.), Greek Theatre in the Fourth Century B.C.<\/em>, Berlin-Boston, De Gruyter, 2014, 197-199; V.L. NAVARRO MART\u00cdNEZ, Comedia vs. Tragedia: el fragmento 189 K.-A. de Ant\u00edfanes y la banalizaci\u00f3n del g\u00e9nero tr\u00e1gico<\/em>, in M.F. Silva, M.C. Fialho, J.L. Brand\u00e3o (edd.), O Livro do Tempo: Escritas e reescritas. Teatro Greco-Latino e a sua recep\u00e7\u00e3o<\/em>, I, Coimbra, Imprensa da Universidade de Coimbra, 2016, 245-256.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Keywords]<\/strong><\/p><\/div>comedy, mes\u0113<\/em>, Antiphanes, Poi\u0113sis<\/em>, Athenaeus of Naucratis, Deipnosophists<\/em>, tragedy, m\u0113chan\u0113<\/em>, iterary reflection, poetic rivalry.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div>
<\/div><\/div>
[Vivian Navarro]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[161],"tags":[],"class_list":["post-3844","post","type-post","status-publish","format-standard","hentry","category-theater"],"yoast_head":"\n
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