By S. Douglas Olson (ed.)
This assortment presents an outline of the reception historical past of a big literary style from Greco-Roman antiquity to the current day. taking a look first at Athenian comedian poets and comedy within the Roman Empire, the amount is going directly to talk about Greco-Roman comedy's reception in the course of the a while. It concludes with a glance on the glossy period, considering literary translations and level productions in addition to glossy media comparable to radio and movie.
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Additional resources for Ancient Comedy and Reception. Essays in Honor of Jeffrey Henderson
If we allowed ourselves to imagine an interior life for Thersites, we would likely find that he characterized his own speech as legitimate, and Odysseus’ as a perfect example of the arrogance he was railing against in the first place. Both Thersites and Bruce, however, exercised their free speech knowing full well that they would receive— and, it seems, even require—rebuke from an antagonistic party. This is certainly what happened on the other occasion that epic records when Thersites’ parrhêsia took an unexpected turn, in the fragmentary Aethiopis, a narrative of events that occur after the Iliad.
Trebatius offers a simple, rational bit of advice: if you feel oppressed, don’t write satire: quiescas. But Horace implies that what he really wants—since he proceeds to claim that he would be unable to sleep if he gave up satire—is to speak with impunity as Lucilius could. He knows he cannot have this, but he refuses to abandon the licentia he feels constitutionally compelled to adopt in his writing. 39–40): sed hic stilus haud petet ultro quemquam animantem et me ueluti custodiet ensis uagina tectus.
If someone shall have composed bad verses23 against another, there’s always the law and the lawcourts. The tone of this satire is lighthearted and ironic, and the issue of constraint and verbal libertas is deployed more as a trope than as a somber cri de coeur. But the trope derives from some of the paradoxes of suppression we have been considering, in which a person might feel an almost perverse thrill at the threat of constraint or censorship even as he complains about it, and at the peculiar co-dependent relationship that can develop with the censoring agent.