By REVERMANN, M. & WILSON, P. (ed.)
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19c; Plut. Quomodo adul. , the terseness of his mouth), but I make minds less pedestrian (αγορα ου , see Eur. frag. ) This last remark, coming from a comic poet, declares a remarkable stylistic warfare, since, generically speaking, comedy was more amenable to the agoraion than tragedy. 13 Above all in his parabases, but in Acharnians and Wasps also through his characters, Aristophanes constructs in his first five extant plays a poetic biography that apparently bears some relation to historical reality.
23 Rose (1979). 24 See especially Rose (1979), Hutcheon (1985), Goldhill (1991), and Ruffell (2002), 140. In this paper I shall with Pucci (1961) use paratragedy to refer to comic appropriation of plots, stage devices, and lines with noticeably tragic diction, and parody for caricature of tragic lines and style, even if this distinction does not correspond to ancient usage (for which, see the works cited above). 25 Hanoosh (1989). 26 Foley (1988), with earlier bibliography; see also, among others, Goldhill (1991).
Among others, Porter (1999–2000) and Sommerstein (1992) 14 discuss Menander’s use of Euripides. 8 Henderson (1995), 183, Csapo (2000), 118–19, Lowe (2000), 268 f. Csapo in particular stresses a gradual change in which themes and styles present from the fifth century gradually gave way to a different set of dominant styles by the end of the fourth. 9 On the other side, tragedy, satyr play, and when it became part of the dramatic festivals, comedy, apparently shared some plots and themes from the start that offered potential for intergeneric overlap.