[Author] <\/strong>Timocles Comicus (second half of 4th cent. BC)<\/p>\n[Work] <\/strong>Dionysazousai<\/em>, fr. 6 K.-A.<\/p>\n[Place of work]<\/strong> Athens<\/p>\n[Source] <\/strong>Stob. IV 56, 19: \u03a4\u03b9\u03bc\u03bf\u03ba\u03bb\u03b5\u0301\u03bf\u03c5\u03c2\u2219 [fr. 6 K.-A., 1-19]<\/p>\nAth. VI 223b: \u03a4\u03b9\u03bc\u03bf\u03ba\u03bb\u03b7\u0342\u03c2 \u03bf\u0314 \u03ba\u03c9\u03bc\u03c9\u0345\u03b4\u03b9\u03bf\u03c0\u03bf\u03b9\u03bf\u0300\u03c2 \u03ba\u03b1\u03c4\u03b1\u0300 \u03c0\u03bf\u03bb\u03bb\u03b1\u0300 \u03c7\u03c1\u03b7\u03c3\u03af\u03bc\u03b7\u03bd \u03b5\u1f30\u0342\u03bd\u03b1\u03b9 \u03bb\u03ad\u03b3\u03c9\u03bd \u03c4\u1ff6\u0345 \u03b2\u03af\u03c9\u0345 \u03c4\u03b7\u0300\u03bd \u03c4\u03c1\u03b1\u03b3\u03c9\u0345\u03b4\u03af\u03b1\u03bd \u03c6\u03b7\u03c3\u03b9\u0300\u03bd \u03b5\u0313\u03bd \u0394\u03b9\u03bf\u03bd\u03c5\u03c3\u03b9\u03b1\u03b6\u03bf\u03cd\u03c3\u03b1\u03b9\u03c2\u2219 [fr. 6, 1-11 K.-A.]<\/p>\n
[Typology] <\/strong>Comedy<\/p>\n[Period]<\/strong> 350\u2013300 BC<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Text]<\/strong><\/p><\/div>\u1f66 \u03c4\u1fb6\u03bd, \u1f04\u03ba\u03bf\u03c5\u03c3\u03bf\u03bd \u1f24\u03bd \u03c4\u03af \u03c3\u03bf\u03b9 \u03b4\u03bf\u03ba\u1ff6 \u03bb\u03ad\u03b3\u03b5\u03b9\u03bd.
\n\u1f05\u03bd\u03b8\u03c1\u03c9\u03c0\u03cc\u03c2 \u1f10\u03c3\u03c4\u03b9 \u03b6\u1ff7\u03bf\u03bd \u1f10\u03c0\u03af\u03c0\u03bf\u03bd\u03bf\u03bd \u03c6\u03cd\u03c3\u03b5\u03b9,
\n\u03ba\u03b1\u1f76 \u03c0\u03bf\u03bb\u03bb\u1f70 \u03bb\u03c5\u03c0\u03ae\u03c1\u2019 \u1f41 \u03b2\u03af\u03bf\u03c2 \u1f10\u03bd \u1f11\u03b1\u03c5\u03c4\u1ff7 \u03c6\u03ad\u03c1\u03b5\u03b9.
\n\u03c0\u03b1\u03c1\u03b1\u03c8\u03c5\u03c7\u1f70\u03c2 \u03bf\u1f56\u03bd \u03c6\u03c1\u03bf\u03bd\u03c4\u03af\u03b4\u03c9\u03bd \u1f00\u03bd\u03b5\u03cd\u03c1\u03b5\u03c4\u03bf
\n\u03c4\u03b1\u03cd\u03c4\u03b1\u03c2\u00b7 \u1f41 \u03b3\u1f70\u03c1 \u03bd\u03bf\u1fe6\u03c2 \u03c4\u1ff6\u03bd \u1f30\u03b4\u03af\u03c9\u03bd \u03bb\u03ae\u03b8\u03b7\u03bd \u03bb\u03b1\u03b2\u1f7c\u03bd 5
\n\u03c0\u03c1\u1f78\u03c2 \u1f00\u03bb\u03bb\u03bf\u03c4\u03c1\u03af\u1ff3 \u03c4\u03b5 \u03c8\u03c5\u03c7\u03b1\u03b3\u03c9\u03b3\u03b7\u03b8\u03b5\u1f76\u03c2 \u03c0\u03ac\u03b8\u03b5\u03b9,
\n\u03bc\u03b5\u03b8\u2019 \u1f21\u03b4\u03bf\u03bd\u1fc6\u03c2 \u1f00\u03c0\u1fc6\u03bb\u03b8\u03b5 \u03c0\u03b1\u03b9\u03b4\u03b5\u03c5\u03b8\u03b5\u1f76\u03c2 \u1f05\u03bc\u03b1.
\n\u03c4\u03bf\u1f7a\u03c2 \u03b3\u1f70\u03c1 \u03c4\u03c1\u03b1\u03b3\u1ff3\u03b4\u03bf\u1f7a\u03c2 \u03c0\u03c1\u1ff6\u03c4\u03bf\u03bd, \u03b5\u1f30 \u03b2\u03bf\u03cd\u03bb\u03b5\u03b9, \u03c3\u03ba\u03cc\u03c0\u03b5\u03b9,
\n\u1f61\u03c2 \u1f60\u03c6\u03b5\u03bb\u03bf\u1fe6\u03c3\u03b9 \u03c0\u03ac\u03bd\u03c4\u03b1\u03c2. \u1f41 \u03bc\u1f72\u03bd \u1f62\u03bd \u03b3\u1f70\u03c1 \u03c0\u03ad\u03bd\u03b7\u03c2
\n\u03c0\u03c4\u03c9\u03c7\u03cc\u03c4\u03b5\u03c1\u03bf\u03bd \u03b1\u1f51\u03c4\u03bf\u1fe6 \u03ba\u03b1\u03c4\u03b1\u03bc\u03b1\u03b8\u1f7c\u03bd \u03c4\u1f78\u03bd \u03a4\u03ae\u03bb\u03b5\u03c6\u03bf\u03bd 10
\n\u03b3\u03b5\u03bd\u03cc\u03bc\u03b5\u03bd\u03bf\u03bd \u1f24\u03b4\u03b7 \u03c4\u1f74\u03bd \u03c0\u03b5\u03bd\u03af\u03b1\u03bd \u1fe5\u1fb7\u03bf\u03bd \u03c6\u03ad\u03c1\u03b5\u03b9.
\n\u1f41 \u03bd\u03bf\u03c3\u1ff6\u03bd \u03c4\u03b9 \u03bc\u03b1\u03bd\u03b9\u03ba\u1f78\u03bd \u1f08\u03bb\u03ba\u03bc\u03ad\u03c9\u03bd\u2019 \u1f10\u03c3\u03ba\u03ad\u03c8\u03b1\u03c4\u03bf.
\n\u1f40\u03c6\u03b8\u03b1\u03bb\u03bc\u03b9\u1fb7 \u03c4\u03b9\u03c2\u2219 \u03b5\u1f30\u03c3\u1f76 \u03a6\u03b9\u03bd\u03b5\u1fd6\u03b4\u03b1\u03b9 \u03c4\u03c5\u03c6\u03bb\u03bf\u03af.
\n\u03c4\u03ad\u03b8\u03bd\u03b7\u03ba\u03ad \u03c4\u1ff3 \u03c0\u03b1\u1fd6\u03c2 \u2219 \u1f21 \u039d\u03b9\u03cc\u03b2\u03b7 \u03ba\u03b5\u03ba\u03bf\u03cd\u03c6\u03b9\u03ba\u03b5.
\n\u03c7\u03c9\u03bb\u03cc\u03c2 \u03c4\u03b9\u03c2 \u1f10\u03c3\u03c4\u03af\u2219 \u03c4\u1f78\u03bd \u03a6\u03b9\u03bb\u03bf\u03ba\u03c4\u03ae\u03c4\u03b7\u03bd \u1f41\u03c1\u1fb7. 15
\n\u03b3\u03ad\u03c1\u03c9\u03bd \u03c4\u03b9\u03c2 \u1f00\u03c4\u03c5\u03c7\u03b5\u1fd6 \u2219 \u03ba\u03b1\u03c4\u03ad\u03bc\u03b1\u03b8\u03b5\u03bd \u03c4\u1f78\u03bd \u039f\u1f30\u03bd\u03ad\u03b1.
\n\u1f05\u03c0\u03b1\u03bd\u03c4\u03b1 \u03b3\u1f70\u03c1 \u03c4\u1f70 \u03bc\u03b5\u03af\u03b6\u03bf\u03bd\u2019 \u1f22 \u03c0\u03ad\u03c0\u03bf\u03bd\u03b8\u03ad \u03c4\u03b9\u03c2
\n\u1f00\u03c4\u03c5\u03c7\u03ae\u03bc\u03b1\u03c4\u2019 \u1f04\u03bb\u03bb\u03bf\u03b9\u03c2 \u03b3\u03b5\u03b3\u03bf\u03bd\u03cc\u03c4\u2019 \u1f10\u03bd\u03bd\u03bf\u03bf\u03cd\u03bc\u03b5\u03bd\u03bf\u03c2
\n\u03c4\u1f70\u03c2 \u03b1\u1f50\u03c4\u1f78\u03c2 \u03b1\u1f50\u03c4\u03bf\u1fe6 \u03c3\u03c5\u03bc\u03c6\u03bf\u03c1\u1f70\u03c2 \u1f27\u03c4\u03c4\u03bf\u03bd \u03c3\u03c4\u03ad\u03bd\u03b5\u03b9<\/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>versum om. Ath. CE | \u1f60\u0342 \u03c4\u03b1\u0342\u03bd Gesner: \u1f60\u0342 \u03c4\u03b1\u0301\u03bd Stob. | \u03b4\u03bf\u03ba\u03c9\u0342 Stob.: \u03bc\u03b5\u0301\u03bb\u03bb\u03c9 Ath. A || 2 <\/strong>\u1f01\u0301\u03bd\u03b8\u03c1\u03c9\u03c0\u03bf\u0301\u03c2 tacite Kaibel: \u1f00\u0301\u03bd- codd. || 3 <\/strong>\u03bb\u03c5\u03c0\u03b7\u0301\u03c1\u2019 Stob. A: -\u03c1\u03b1\u0301 Stob. SM, Ath.: \u03bb\u03c5\u03c0\u03c1\u03b1\u0300 Eust. || 4 <\/strong>\u03bf\u1f50\u0342\u03bd Stob. : \u03b3\u03bf\u03c5\u0342\u03bd Ath. | \u03b1\u0313\u03bd\u03b5\u03c5\u0301\u03c1\u03b5\u03c4\u03bf Walpole : -\u03b1\u03c4\u03bf codd. || 6 <\/strong>\u03c4\u03b5 codd. :\u03c4\u2019 \u1f60\u0300\u03bd Richards | \u03b1\u0313\u03bb\u03bb\u03bf\u0301\u03c4\u03c1\u03b9\u03b1 … \u03c0\u03b1\u0301\u03b8\u03b7 Headlam || 7<\/strong> \u1f05\u03bc\u03b1 codd. : \u03b8\u1fbd\u1f05\u03bc\u03b1 Stephanus || 9<\/strong> \u1f41 \u03bc\u1f72\u03bd \u1f62\u03bd Ath. CE : \u1f41 \u03bc\u03ad\u03bd\u03c9\u03bd Ath. A : \u1f64\u03bd \u03bc\u1f72\u03bd Stob. || 11<\/strong> \u1f24\u03b4\u03b7 Ath. : \u03bf\u1f55\u03c4\u03c9 Stob. || 12<\/strong> \u03c4\u03b9 \u03bc\u03b1\u03bd\u03b9\u03ba\u1f78\u03bd Stob. : \u03b4\u1f72 \u03bc\u03b1\u03bd\u03b9\u03ba\u1ff6\u03c2 Ath. || 15<\/strong> \u1f10\u03c3\u03c4\u03b9\u03bd Ath. A | \u1f45\u03c1\u03b1 Ath. C || 18 <\/strong>\u1f04\u03bb\u03bb\u03bf\u03b9\u03c2 Stob., Ath. CE : \u1f22 \u1f04\u03bb\u03bb\u03bf\u03b9\u03c2 Ath. A || 19 <\/strong>\u03b1\u03c5\u0313\u03c4\u03bf\u03c5\u0342 Ath. A ante corr., CE, Stob. MA : \u03b1\u03c5\u0314\u03c4- Ath. A post corr., Stob. S | \u1f21\u0342\u03c4\u03c4\u03bf\u03bd \u03c3\u03c4\u03b5\u0301\u03bd\u03b5\u03b9 Stob. : \u03c1\u0314\u1fb6\u0345\u03bf\u03bd \u03c6\u03b5\u0301\u03c1\u03b5\u03b9 Ath.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Translation]<\/strong><\/p><\/div>K. APOSTOLAKIS, Timocles. Introduction, Translation, Commentary, G\u00f6ttingen 2019, 52-53<\/p>\n
Timocles\u2019: [fr. 6, 1-19 K.-A.]<\/p>\n
The comic poet Timocles, claiming that tragedy is of great use to one\u2019s life, says in Women Celebrating the Dionysia<\/em>: [fr. 6, 1-11 K.-A.]<\/p>\nListen, my good sir, and see if what I say makes sense to you.
\nMan is by nature a creature born to suffer
\nand life brings many sorrows with in.
\nHe therefore invented these distractions form anxieties.
\nFor the mind, forgetting its own cares 5
\nand entertained at someone else suffering,
\ngoes away pleased and at the same time educated.
\nFirst consider, if you will, how the tragic poets
\nbenefit everyone. For someone who is poor,
\nonce he realizes that Telephus was poorer than he is, 10
\nthen endures his poverty more easily.
\nOne who suffers from madness thinks of Alcmeon.
\nSomeone has an eye disease? Phineus\u2019 sons are blind.
\nSomeone\u2019s child has died? Niobe can console him.
\nSomeone is a cripple? He looks at Philoctetes. 15
\nAnd old man falls in hard times? He learns about Oineus.
\nFor when a person understands that all the misfortunes
\nthat have happened to other people are worse than his own,
\nwill then groan less about his own calamities<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Comment]<\/strong><\/p><\/div>The fragment has been handed down by two different sources: 1) in its entirety in the section of Stobaeus\u2019s Anthologium <\/em>(IV 56, 19) dedicated to consolatory texts (\u03c0\u03b1\u03c1\u03b7\u03b3\u03bf\u03c1\u03b9\u03ba\u03ac); and 2) only the first eleven verses, as recorded by Athenaeus of Naucratis in Deipnosophistae<\/em> (VI 223b). Here, Timocles states that, like tragedy, he recounts familiar material (speeches he has heard at the dinners he describes) and does not need to invent anything. The literary content suggests that the text was part of a debate on the characteristics of tragedy and comedy, and that the persona loquens <\/em>could be a personification of Tragedy or Poetry (see in this regard Apostolakis 2019: 55).<\/p>\nIn verses 1-7, the speaker addresses someone directly, asking them to listen to what he is about to say. This is foreshadowed by the maxim that human life is suffering (cf. e.g<\/em>. Philem. fr. 92, 1-2 K.-A., Posidipp. fr. 32, 1-2 K.-A.). The central theme of the fragment is then introduced: tragedy has the power to fascinate and educate the audience, whose troubled soul can find peace and learn from what it has seen on stage. Therefore, tragedy is a therapeutic and didactic creation. In this sense, Timocles\u2019 reasoning departs from Plato\u2019s theory, which criticises tragedy as an imitation that only perceives appearances and is unable to arrive at the truth (Rp<\/em>. 601a-603b). Plato also argues that the pleasure derived from witnessing the misfortunes of others ultimately has depressing consequences for oneself (Rp<\/em>. 606b). Conversely, it aligns with Aristotle\u2019s view that mimesis and learning are interconnected (Po<\/em>. 1448b5-19). Evoking awe and pity through dramatic events fosters contemplation of one\u2019s own circumstances and offers valuable insights (cf. Po<\/em>. 1449b24-28). However, Aristotle argues that tragedy should evoke pleasure through imitation, inspiring compassion and fear (Po<\/em>. 1453b9-14). In contrast, the speaker of fr. 6 K.-A., on the other hand, seems to rely solely on the audience\u2019s confrontation with the suffering heroes. In any case, it is worth noting that the terminology used by Timocles fits well within the context of contemporary reflection on tragic poetry.<\/p>\nIn verses 8-16, the persona loquens<\/em> provides a list of tragic heroes, each exemplifying a different misfortune: Telephos (poverty), Alcmeon (madness), the Phineides (blindness), Niobe (loss of children), Philoctetes (disability) and Eneus (wretched old age). It is likely that these names do not refer to specific dramas, but rather to tragic archetypes. However, it should be noted that they are all protagonists of fifth-century BC tragedies (except the Phineids; cf. trag. adesp. fr. 10a Kn.-Sn., Phineidai<\/em>), which suggests that Timocles may have been inspired by footage of palaiai<\/em> in the fourth-century BC. Conversely, it is equally likely that the comic poet had contemporary tragic plays in mind; the references to Alcmeon in the tragedies of Timotheus (TrGF<\/em> I 2<\/sup> 56), Astydamas II (TrGF<\/em> I 2<\/sup> 60) and Theodectes (TrGF<\/em> I2<\/sup> 72), and to Eneus in the tragedy of Chaeremon (TrGF<\/em> I2<\/sup> 71) suggests as much.<\/p>\nFinally, in verses 17-19, the speaker reports that the audience compares their own misfortunes with those of the tragic heroes and realises that they should lament less than they would have done had they not witnessed such events on stage. This may be a parodic detorsio<\/em> of the assumptions of tragic katharsis<\/em>: here, the aim is not to purify the spectator\u2019s soul and uplift them, but to provide superficial consolation by observing others\u2019 misfortunes and taking comfort in the knowledge that someone else is suffering more.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Reference edition]<\/strong><\/p><\/div>R. KASSEL – C. AUSTIN (edd.), Poetae Comici Graeci<\/em>, VII: Menecrates-Xenophon<\/em>, Berolini-Novi Eboraci 1989, 758-759; K. APOSTOLAKIS, Timocles. <\/em>Introduction, Translation, Commentary<\/em>, Fragmenta Comica<\/em> 21, G\u00f6ttingen 2019, 52-67.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Essential bibliography]<\/strong><\/p><\/div>J. BERNAYS, \u2018Timokles und Lessing\u2019, RhM <\/em>34, 1879, 615-616; M. POHLENZ, \u2018Die Anfa\u0308nge der griechischen Poetik\u2019, NGG<\/em>, 1920, 142-178; R. KASSEL, Untersuchungen zur griechischen und ro\u0308mischen Konsolationsliteratur, <\/em>Mu\u0308nchen 1958, 8-9, 70-72; S. HALLIWELL, \u2018Learning from Suffering: Ancient Responses to Tragedy\u2019, in J. Gregory (ed.), A Companion to Greek Tragedy<\/em>, Malden (Mass.) 2005, 394-412; S.D. OLSON, Broken Laughter: Select Fragments of Greek Comedy, Edited with Introduction,<\/em> Commentary, and Translation<\/em>, Oxford 2007, 169-172; A.H. Sommerstein, Talking about Laughter and other studies in Greek comedy, <\/em>Oxford 2009, 116-117; R.M. ROSEN, \u2018Timocles\u2019 fr. 6 K-A and the Parody of Greek Literary Theory\u2019, in C.W. Marshall, G. Kovacs (edd.), No Laughing Matter: Studies in Athenian Comedy<\/em>, London 2012, 177-186; J. HANINK, \u2018Literary Evidence for New Tragic Production: The View from the Fourth Century\u2019, in E. CSAPO, H.R. GOETTE, J.R. GREEN, P. WILSON (edd.), Greek Theatre in the Fourth Century B.C.<\/em>, Berlin-Boston 2014, 191-200; M. ORNAGHI, \u2018Paradigmi condivisi o coincidenze tragiche?: Il fr. 6 K.-A. di Timocle e la Poetica <\/em>di Aristotele\u2019, GIF<\/em> 72, 2020, 87-110.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Keywords]<\/strong><\/p><\/div>comedy, mes\u0113<\/em>, Timocles, Dionysiazousai<\/em>, Atheneus, Deipnosofisti<\/em>, Stobaeus, tragedy, plot<\/em>, consolatio<\/em>, katharsis<\/em>, emotions.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div>
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[Vivian Navarro]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[161],"tags":[],"class_list":["post-4844","post","type-post","status-publish","format-standard","hentry","category-theater"],"yoast_head":"\n
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