Notes on Thesmophoriazusae 26-28: Doors, Metatheatre, and Intellectual Comedy
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Aristophanes’s Thesmophoriazusae 26-28 contain a metatheatrical moment that is overshadowed in the critical commentaries by the scenes that bookend it, namely Euripides’s pseudo-philosophising and the introduction of Agathon. But in just a few lines Aristophanes makes an authorial aside and suggests to the audience his authorial persona and characteristic poetics. Mnesilochus’s acknowledgement of the stage door has been understood as a continuation of the joke about Euripides’s obscure philosophising, but this paper suggests that it is also a pointed reference to the ubiquity of the door routine in comedy. Mnesilochus adopts the authorial voice to ironise the door (and the door-scene) as a tired comic device, and this agonistic condescension of popular comic devices is typically Aristophanic, especially in the opening scenes of plays. The actors go on to enact the door-scene and the humour of the hypocrisy is also typical: on several occasions in Aristophanes’s works, a character expresses trope-fatigue or reluctance to resort to a tired formula and then makes use of it. The variation on the door routine that follows is usually read as a grammatical joke, but this paper argues that it also demonstrates agonistically how Aristophanes transforms a generic device according to his characteristic poetics. And Aristophanes distinguishes his style of comedy by alluding to an intellectual problem widely discussed in sophistic, philosophical, and tragic thought – the problem of sense perception. Aristophanes thereby presents his work as intellectual comedy. This paper presents and analyses a compressed instance of agonistic poetics that exemplifies attitudes found in the rest of Aristophanes’s œuvre.
Abstract
Aristophanes’s Thesmophoriazusae 26-28 contain a metatheatrical moment that is overshadowed in the critical commentaries by the scenes that bookend it, namely Euripides’s pseudo-philosophising and the introduction of Agathon. But in just a few lines Aristophanes makes an authorial aside and suggests to the audience his authorial persona and characteristic poetics. Mnesilochus’s acknowledgement of the stage door has been understood as a continuation of the joke about Euripides’s obscure philosophising, but this paper suggests that it is also a pointed reference to the ubiquity of the door routine in comedy. Mnesilochus adopts the authorial voice to ironise the door (and the door-scene) as a tired comic device, and this agonistic condescension of popular comic devices is typically Aristophanic, especially in the opening scenes of plays. The actors go on to enact the door-scene and the humour of the hypocrisy is also typical: on several occasions in Aristophanes’s works, a character expresses trope-fatigue or reluctance to resort to a tired formula and then makes use of it. The variation on the door routine that follows is usually read as a grammatical joke, but this paper argues that it also demonstrates agonistically how Aristophanes transforms a generic device according to his characteristic poetics. And Aristophanes distinguishes his style of comedy by alluding to an intellectual problem widely discussed in sophistic, philosophical, and tragic thought – the problem of sense perception. Aristophanes thereby presents his work as intellectual comedy. This paper presents and analyses a compressed instance of agonistic poetics that exemplifies attitudes found in the rest of Aristophanes’s œuvre.
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