A few years ago, as part of an investigation of the authenticity of Prometheus Bound, I published figures for the occurrence of non-Aeschylean words in that play, as compared with two undisputedly Aeschylean plays and with one Sophoclean play The figures showed that Prom, contained a greater number of words not found elsewhere in the surviving plays of Aeschylus ; and also that, like Soph. Aj., but unlike the six undisputed plays of Aeschylus, it contained a relatively large number of (...) Eigenwörter that occur more than once in the play, some of them quite common and familiar words. The discrepancy between Prom, and the two Aeschylean plays chosen for comparison was quite marked; and the high rate of repeated Eigenwörter for Soph. Aj. seemed to confirm that this criterion might be a good one for distinguishing unAeschylean characteristics in a non-Aeschylean play. But the sample was very small, and I was conscious that the criterion was somewhat arbitrary; I was therefore not very confident of the value of my findings. (shrink)

As an example of Aristophanic literary criticism the portrayal of Agathon in the prologue of theThesmophoriazusaehas been rather overshadowed by the poetry contest of theFrogs. This is largely because more can be said about parody when something substantial of the author parodied has survived.1Before many of the specific difficulties of the Agathon scenes we have no alternative but to confess our ⋯πορ⋯α.On the other hand, we need not despair of understanding the general point of these scenes, and in this the (...) most helpful method is that of identifying those Aristophanic techniques which shaped them. This method has already taken us a good way forward, so that there is no need now to argue for the structural integrity of these scenes2or their thematic relevance to the play.3Accordingly, in this paper I will discuss the portrayal of Agathon in relation to typical Aristophanic techniques. My main concern, however, will be with the significance of the different conceptions of literature raised in the course of the parody, Agathon being satirized in turn as an inspired poet, a craftsman poet and an effeminate poet. I hope to show that, for Aristophanes, Agathon's effeminacy is as much a reflection of his art as of his personality. (shrink)

The poet Philitas was so thin, they say, that he had to wear lead weights on his shoes to avoid being blown away by a gust of wind. We have two versions of the anecdote. First Aelian, Varia Historia 9.14.

As an example of Aristophanic literary criticism the portrayal of Agathon in the prologue of theThesmophoriazusaehas been rather overshadowed by the poetry contest of theFrogs. This is largely because more can be said about parody when something substantial of the author parodied has survived.1Before many of the specific difficulties of the Agathon scenes we have no alternative but to confess our ⋯πορ⋯α.On the other hand, we need not despair of understanding the general point of these scenes, and in this the (...) most helpful method is that of identifying those Aristophanic techniques which shaped them. This method has already taken us a good way forward, so that there is no need now to argue for the structural integrity of these scenes2or their thematic relevance to the play.3Accordingly, in this paper I will discuss the portrayal of Agathon in relation to typical Aristophanic techniques. My main concern, however, will be with the significance of the different conceptions of literature raised in the course of the parody, Agathon being satirized in turn as an inspired poet, a craftsman poet and an effeminate poet. I hope to show that, for Aristophanes, Agathon's effeminacy is as much a reflection of his art as of his personality. (shrink)

This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics , and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an “anti-prize” mentality. The article argues that this “anti-prize” mentality is not, as is often thought, a product of (...) intellectual developments in the fourth century BC. It is suggested that the devaluation of prizes is actually a contemporary, integral feature of prize-awarding culture in general. This article draws on recent approaches from cultural sociology to offer some conclusions about the way in which prizes function in popular and critical discourse. (shrink)

The poet Philitas was so thin, they say, that he had to wear lead weights on his shoes to avoid being blown away by a gust of wind. We have two versions of the anecdote. First Aelian, Varia Historia 9.14.