Theater outside Athens: Drama in Greek Sicily and South Italy
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This volume brings together archeologists, art historians, philologists, literary scholars, political scientists and historians to articulate the ways in which western Greek theater was distinct from that of the Greek mainland and, at the same time, to investigate how the two traditions interacted. The papers intersect and build on each other in their pursuit of a number of shared questions and themes: the place of theater in the cultural life of Sicilian and South Italian 'colonial cities;' theater as a method of cultural self-identification; shared mythological themes in performance texts and theatrical vase-painting; and the reflection and analysis of Sicilian and South Italian theater in the work of Athenian philosophers and playwrights. Together, the essays explore central problems in the study of western Greek theater. By gathering a range of perspectives and methods, this volume offers the first wide-ranging examination of this hitherto neglected history.
encapsulates three important aspects of his production: his discursiveness and amplitude (we know, for example, that his Oresteia took up two books and that the Geryoneis was at least 1,300 lines long), his focus on epic material, and his role as an important citharode. A lively modern debate centers on whether we should think of his 23 25 24 Mancuso (1912) 81–2. For the role of the aulos, see Fileni (1987) 46. Treatments of date and birthplace: West (1971) 302–6; Willi (2008) 51–4. Downloaded
volume, on Aristoxenus as a forerunner of Epicharmus. Downloaded from Cambridge Books Online by IP 188.8.131.52 on Fri Nov 15 19:09:41 WET 2013. http://dx.doi.org/10.1017/CBO9781139032377.004 Cambridge Books Online © Cambridge University Press, 2013 47 48 kathryn a. morgan fortune, but the semi-legendary figure of Arion may indicate that the reverse was also the case. The dynamic interaction between epichoric performance and inter-polis exchange is constitutive of archaic song.
Challenging authority: Epicharmus, epic, rhetoric pnta diapepr cqai ‘I will pretend23 to have executed everything.’ In the original text we can therefore read lexoÓmì ¾päv24 çidinì emein taÓta kaª to±v dexiwtroiv meÓv ‘I will say that these things are easy even for those who are more able than I am.’ According to the scholion, the last phrase is to be understood as a little joke par prosdok©an, replacing something like ‘for those who are less able than I am’ (to±v . mo. Ó. ¤ttos(in)). In
t¼n dlfaka . . . tending one of the neighbours’ pigs for the Eleusinia I lost it by bad luck, against my will; and so he now said I was making a deal with the Achaeans and he claimed I was selling the pig . . . We know that Epich. fr. 99 followed shortly after the end of Epich. fr. 97 because it too is covered by the Oxyrhynchus commentary (Epich. fr. 98).45 This lucky coincidence is all the more important since Athenaeus names the title and thus confirms the ascription of Epich. fr. 97 to the
© Cambridge University Press, 2013 85 86 ´ luc´ı a rodr´ı guez-noriega guill en said by Cassandra at the peak of her despair in Ag. 1267, from the same trilogy, as Berk (1964) 138–9 has proposed. In the context of the comic fragment, the expression somehow seems excessive, which may point to a parodic intent.41 Apart from that, tragedy may have had some influence upon Epicharmus’ use of some metres.42 Epicharmus and the iambic poets Aristoxenus and Ananius More can be said about Epicharmus’