Cratinus’ Διονυσαλέξανδρος and the head of Pericles

Journal of Hellenic Studies

Volumn 117, Issue , 1997, Pages 197-200

  Revermann, Martin ^a  

^a UNIVERSITY OF OXFORD   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249194435     PISSN: 00754269     EISSN: 20414099     Source Type: Journal    
DOI: 10.2307/632559     Document Type: Article

References (27)

1. To the literature mentioned in Austin CGFP p. 35
2. Kassel-Austin vol. IV p. 141
3. add W. Ameling, ‘Kömodie und Politik zwischen Kratinos und Aristophanes: Das Beispiel des Perikles’, QC iii (1981) 383–424
4. P. Lerza, ‘Alcune proposte per il Dionysalexandros di Cratino’, SIFC liv (1982) 186–93
5. A. Tatti, ‘Le Dionysalexandros de Cratinos’, MHTI$ i (1986) 325–32
6. G. Bona, ‘Per un’ interpretazione di Cratino’, in: E. Corsini (ed.), La polis e il suo teatro ii (Padova 1988) 181–211, esp. 187–94
7. M. Vickers, Pericles on stage: political comedy in Aristophanes' early plays (Austin 1997) 193–5.
8. Published by A.D. Trendall in: A passion for antiquities. Ancient art from the collection of Barbara and Lawrence Fleischman (Malibu 1994)
9. (The J. Paul Getty Museum in association with the Cleveland Museum of Art) no. 57, p. 129 f.
10. Hardly the last word, but important on disguise in fifth-century drama, particularly tragedy, is F. Muecke, ‘I know you by your rags. Costume and disguise in fifth-century drama’, Antichthon xvi (1982) 17–34.
11. Apulian bell-crater ca. 370
12. also attributed to the Rainone Painter (A.D. Trendall, Phlyax Vases (London 21967)
13. (BICS suppl. no. 19) [= PhV2 in the following] no. 59 and p1. IVa, O. Taplin, Comic angels and other approaches to Greek drama through vase-painting (Oxford 1993) fig. 21.22 and line-drawing on p. 84.
14. Taplin (n.4) fig. 11.4 and p. 36–40.
15. The best discussions of $ are to be found in the still invaluable book by R. Volkmann, Die Rhetorik der Griechen und Römer in systematischer Übersicht (Leipzig 21885) (reprint Hildesheim/Zürich/NY 1987) 445 f.
16. in R. Janko, Aristotle on comedy: towards a reconstruction of Poetics II (London 1984) 202 f. The LSJ-entry on $ is poor in this respect, with the 1996-supplement being no improvement.
17. A. Koerte, ‘Die Hypothesis zu Kratinos’ Dionysalexandros’, Hermes xxxix (1904) 481–98 who aptly adduces (490 with n.1) $ Aristophanes V: 248a ($): $
18. Hyp. Ran. Ia 25–7 Dover: $.
19. Plut. Quaest. conv. IX 15 (747B): $.
20. See also $ Ar. Pax 849.
21. On the problem see Kassel-Austin on the passage, W. Luppe, ‘$EPI ‘Y$N $OIH$E$?’, ZPE lxxii (1988) 37 f.
22. Kassel-Austin vol. VIII p. 435 on fr. adesp. 1109. Koerte's (n.8) suggestion (p. 484) to read $, endorsed by Luppe, is the most plausible one.
23. A. Pickard-Cambridge, The dramatic festivals of Athens (Oxford 21988) (reissued with supplement and corrections by J. Gould and D.M. Lewis) [= DFA2 in the following] figs. 34, 49, 54a, 78, 85 and 88.
24. DFA2 191
25. Laura M Stone, Costume in Aristophanic comedy (New York 1981) (reprint Salem/New Hampshire 1984) 21f. Plato comicus (fr. 151) used the expression $ (‘face (or mask) made of fine linen’).
26. DFA2 fig. 54a, Margarete Bieber, The history of the Greek and Roman theater (Princeton 21961) 45, fig. 184, PhV2 no. 6.
27. It is at least possible that in his $, Cratinus resorted to the same stratagem of combining political comedy with mythological burlesque by visual double-identity. If so, the double-identity would have been Zeus-Pericles (fr. 118). The play may well have been produced in 431, only one year before the $, (see Kassel-Austin vol. IV p. 179).