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BErol 14208

COMEDY
Origins
pJgfrSlllg-of Qgmgdy- -are obscure,. A!-slotle in the Poefi'cs states that comedy
"q11g!-ngted ih the improvisations of the leaders of the3haiiic riie$ll. These rites
were the ceremgnies designed to assure the fertility of flgld, heaid and human
being. These rites connected with the mysleries of fertility and procreation
colrsisfed 9j cleerfuf mu?nffiing, "?iuatori" A'nd' nrg6t6ij";iiq even c_oltqned
elements of social and personal satire. These rites were Connected with -the
wgrship of lionysos,,-FloweVei, it'is not obvious how comedt devekbea fom
these rites. The two terms related to comedv are
al9
:' i': - tronn(pony/
\. . - \ t"r d-.(s*-CI
[Link]..+S { a.r - $omos: Ua}iH'6t revelers""\arxr^ror
(
' '

y*nlrrr.o Kotmdi?:song of the Kmos u.i;ta4ue-n st"<l,,G3r^uolr"t'Vy\ s€.t.,irr!*.) 4o L:. fu-kriid

y1',*:,e
.,s.5fao.f,al'ori
Sources - L.,,n.,i(ig;q,) /klro-.,; Cpl,) $r,3**'t
Old Comedy was the result of the putting together of various elements:
1. Atic elements: The chqrus was an Attic contribution to the form. The comic
chorus o1Z+ membdrs originated in Attica from the drunken revelers-komos
in conneCtion with the worihip of Dionysos.
2. D-o-ric elements: The actors were taken from the [Link] gf thp
Doric Greeks. The dramatic, narrative elements, the patrabaJis(the alniss 6f
tre crr6iui to the audience) and the rg""t"pnt",sit;E D.;ic etements.
3. Qicilian elements. Sicily was a colony of Db"ri5ri Greeks in the beginning of
the Sth century. Epicharmus, a comic poet, related or dramatisedamuiing
situations and sometimes his works contained debates.
l'r'il' L' i"
" t'J i''.,.1o'
Doric comedy had close connection with phallic worship and more phallic symbols. n',-.
''
The comedy of the 6th century was quite diffeient than the oi'tn"-S6 ,'.' ,,
,
'.,i,*,
century BC, which is called Old Comedy. Early comedies contained "o,i.,"Jv scenes of ,' ,. L
mythological burlesqUe.l ", ,.,;,. {,:" .l ' .-, '
I
Comedy was first recognised as a regular performance in the early 6th
century BC and jt was given a chorus. Simitar to tragedies, the__se plays *ere
plgsented
91,.fe{lvalq, Ery_n comig poet competed with one comedy.'Thby were
generally at the length of o-ne tragedy. Just as tragedy owed much to epic and
lyric, comgdy hgd close iambic ano latiric verse. Comedy founo
pgfurity later than tragedy"ffj*t)r,,.Wj[h
witfi'Alls-itlphanes. Comedy in general can be studied
i1-!!ree phases:
1. Old Comedy
2. Middle Comedy
3. New comedy

{. Old Come{y( Comedy of Caricature) 6i4"' \'.*-

Old Comedy honoured Dionysos in every fact. The characters are in a sense
dr:unk; they are inspired to say and do quite unreasonabie"inO'un"..orni"Ul"
things. At one moment tlr_e_y_$elight obscene jqkeiand knock -about fun and in the
lext lhey utter high moralsentiments. fhis isonlypdssible with Dionysos.
Old Comedy owgs lts freedom of satire and ridicuie to the democracy established
during the rule of Pericles. Tne qepre9enlaliyg poet of this phase
(the only poet yvhose works have survlveO tb oui time1.
ir_Atst"pf,;;;;

Aristotle defines comedy as:

 dka
BErol l42og ,l:''i''t,{xr-,t c"'l-,i

an jl_nllafpn of-mgilU--orq_e-lha! the..averag.e; worse however, ,/l<\s

y''"t'Yl ,- vrr{}w:
not as regards any and every sort of fault, but only as regards ,",:::.t::"^r/ ^ndrr^'Jrr:
tt' ovin'
one particular kind, the Ridi-c-ylous, which is a species'Jfir; :o"1utl*
[Link]. The RiQiculo,us may bs deJ-r4-e-fl-9s g miplgke s1 d-eforryrity "*ffi#,il;iilff,ff
t:qlppCg-cJiye ol p-a!1 q!:harm tp- olh*erg. -;lfr,i.:;lj ,.firv
!i.^r^r\r-"ii,i,', i:;,,-i.,.-',-+ry
Action
The action of Old Comedy is varied and vivid. There are scenes of beatinq and
lgllyins wfrlc-! lie 9! fhq he-art of fgpg,,]$g,gc{!ggjp franrV imiir6per,'inforririi and
fantastic ( imagination runs riotli rilhniilgr:j'[Link], rambling, beating, tiiCking,
xexua! [Link] p_q:sqreg, eallns ,diin[iii}And [Link] cgnggqlerqa*q_oi.digeStis"[!;*,'r;{)
qg d!sp-lay_e! on stagq,.,fhq, action is topical- ryg!"knqynTgures of Athens aie"
tttg-Ulgg-. The action intblVb3 {qebate q1 dispule in wnicn an importaht issue iS
discussed. There was democracy and tglergnge _fgr sqch pubtic ridicule, it tnei
iuent too far they wele f!n6d-, Aristophanes wai fineo uy cieaon.

Character
The move is from high to low. No heroic being of tegends but , dlSiAlfilb
man's own unheroiq sg![js-portrayed. The characters are=iuOidrttiY*
c-artqatu-!:e--oJ-
re?l'ilg giqlq(e-d -n ,q*KS- 'a{in "P3q&eH 6"1!!gs and bq(ocfp and f;ns-:artif,.rd
nlellUg The ggds- and. [e1oe-s_qIe treated casqatty-", ttEi"ii to say, a{-_oj..iinrfy
lllef,, The gods and divinity are handled a9 comiC'iii'h'af comic characters.

Language
As comedy deals with ordinary people it also employs ordinary daily language.
The language of comedy is more homely and flexible than tragedy.- lt is-fuliof
pllnq, c:qmis words c9in9{j9,t,,ln"e moment, that is to say, there is ine abJse of
W_ords-.lt isfull of frank obscenity_
There is variety of rhythm and meter, but generally the spoken parts are in
iambic trimeter which is the closest to Greek spoken atinat [Link] CjU ComeOy
there is a largely lyrical element.

Time sF$ind
tn con{6st td the_ time setting of tragedy, the time setting in Old Comedy it is not
the mythicalP#l.l,h" presept, therefore the tempol?[.,"_,.^o.,.0,*(,r,i.i(.q-
o
r?4r .1{ic
Plot
rf9 ,tUefte!,ploJ
gf old Comedy a.s__foilows: Tj-ere, h a probtem
pthich p-gltilqg a solution. The 9eLbe-,qutline_d
leading character conceives?n idei which is
ridiculous and*lmpradidal -'e!q meetJ nio6nf"-o'b_po'5irtii5n. The"'opporiiion iS
oJeiC*omd"in a [Link]- agon After the resorulioh-''taaeitea intna'[Link];
cnoruicomeqto-rwdidand=,ddiessestne-".ioE;*affiirm-iilik;I;;[Link]
tlre. iog^p.p41! into practice. then Comes the emotionat ctimax. r.r"ril-ali'it#Stirg
and w6hdhing-become the main concern of the character. At the eng!--d_the plai
g.e problep
that existed in the opening of ![re OlgV Lt ooJreO_anO.'tft-flai .jnqq
yvjth a r-e-solutioqrg!!-ected also in sociifpeaCe iho uiitv
iHat nayubeen achieved

itl"r:'?Ef 3io1f3ii?il3':Jr:i::f1lll',n" or rortune i, *o, n"o;;;;";

"n,,n"
from misery to happiness as stated by Aristofle in the poefics.
y'' Cr-yr\ i.v\.F( ' )L$(.( -ic.*,,{tr l-r.1 ),a: i shc€! rr-i*1-rc.o{ {;r1r*I L*;t{: LlcrS!.r),/
tt15 6^icsrl,"iXr'a r*q!.!s i-^ lrc';xJ'v
 BErol 14208

Structure
The parts of comedy are less clearly defined than those of tragedy. The structure
of comedy is ideally suited for polemics, an object of popular dislike is more
ludicr,eus
f,t) \L".! o4.\
I
on stage.
ln the first part of the play the debate of the question is presented and in
the second part the demonstration is given. The plot of a comedy is an idea which
is set forth in part by the dramatic action and in part by verbal appeal.

Opening lt is generally a monologue or a dialogue where the exposition is given.

larodos lt is the ent1an-cg- o.f thg _c-f,o1us where further exposition is carried out
and it is generally dramatised.
Ago-o- lt is a contest, jlgb-ate or dispute e-Jrding i;1 the {efqat,qf qne - oJ pa(r-g;. !t
has a very elaborate and balanced foifi. The antagonist pi6senG nis
case, th-e op!o11e_n! frgAuently inteqypls wi_tlr qlt-esti,oLs qnJgmUsjng
-c-omments.
The second speaker Bie5ents his cise- again inieiiupteO-bi
t'fie fiisf speaker. The chorus give their decision in favour of the second
speaker. Jhe idea i.s-acceplg,$ !o be put into practice.
Parabasis ln the middle of the play the chorus drops its cfiamatic role, turns to
the audience and oifers_advice, $enerally of a serious Uture. ffft
Chorus tdietthel-no-utnp-ies,e,
-oJ
i-rre praywright This part is elaborate
in form and structure. lt is choral and wholly undramatic.
Ejding KomoS revelrout a. dho..-l.."ri,. i'i,"r.'d o{ .1,ra1,lr
Gamos a mariage scene ending the co-medy- in sexual union
Exglog choralfinale
Chorus
Similar to tragedy, there were only three speaking parts for each play in comedy.
The leader of the chorus had a speaking part bui that did not count. The chorus
consisted of two grog.p_q,._A!l parts w.e!^e: qcted by [Link] actors. The Attic chorus
-fanlastic
v,iore eodtunrris-iepi<isenting' wnatever tne poet rl<eo eg. Wai[,l;l:;
olo ry1 f19gs,et9,. which geneiflli-gh-te lls name to ihe [Link] chorus is of
great importance'both for the a6iion ind the explanation of the poet's opinions.
The chorus leadermade a speech in which he was the mouthpiece of the poet, or
he talked on morality, poetry or politics.

Theatre-Staging
The skene was generally wooden, and the seats were made of stone. and there
was no elevated slagg. Scenery was used and a second storey was employed for
ebvffietimesastage"',n"*,"",ployedandawoodenrosrtum,1r,(.((.bq
was used to reveal the interior scenes. Another device for providing diftdient"""
scenery was the use: of wooden gr, cloth panels of p3i4ted scenery attached
.QetWeen Pil$gs^ Sometimes a wooden triangle on the iiOes or wfiiCh-sieries had
been painted was used. Similar to tragedy, masks were worn during performance
but in contrast to the sro-bgf, ones of tragedy the masks of comedy *eie comic and
glotggque, The costumei5 of comedy followed a similai iine.

z. !$_OaQ_ Qo*pedy- 404-340- BC (Comedy of criricism)

It can be defined in general as mythological and allegorical fantasies. After the
defeat and financial ruin of Athens in 404 BC there dweloped a type of comedy
 B Erol 14208

which was much leqq pgllt!9q.1_and poetical Subiects wefe gene_rally mylhological
[Link], of romantic and eftic adventure.
' r There
,oarDl4
is no clearcut line between Old and Middle Comedy. Old Comedy
had ended even before Aristophanes died. Most playwrights like Aristophanes are
included in both phases. Perhaps the distinguishing criteria between Old and
Middle Comedy may be listed as follows:
1. Middle Comedy has no chorus, it degenerates ( perhaps due to financial
clifficu-lties-of sUppoftiiiQ-one in"'years of defeat) and is no longer in the
position of an important character.
2. Middle Qomedy tras r1o p37aba--sis,-(.u-,.*-,r-4J;esor.;r Ji,,:.1{5"1t, tko ar''rlJ-r.r'r J
3. Obj€rdts of ridicule are general rather than personal; g,enerally_an idea is
criticise4po_t a person, the criticism is literary qatlel !ha1 politicat,

The style of Middtecomedy is more pitsb'iYi'tiili tn" characters ,r" .otfitb[llir,

parasites,' wanton reyellers, the self-coDgeited
(i:birli i cook etc.
'\J/a rtL!oA '1or,.par.[ cuUtqc,\:tn' h]sl't
alla-(o!o,.'.!.
- (e dte5E, )
[Link] Comedy 340-290 BC (Comedy of Manners)

New comedy {gqlt with c-ontemporary everyday life durings3cedg,nian rule, (e,rokc,{ r',!.,c:<-, t }srr
The subj""b *"re romantic or-bi6'tic
"o"r;-".nluie-nf*
tf:,E tvbrc"t"vorng Aihenian 8"")
gentlenrttn,
Setting is that of evgryQqy [i_feA1pong the_ uppe_r-mlddl-e*q_lass Athens,_
Plot. There are certain conventional plots in general use; the typica! plot of Middle
Qomedy may be summarised as follows:
A young man of a respectable Athenian family falls in love with a girl with whom
he wants as a wife or mistress, but she is [Link]"[Link];rffihtst6fofei not
i capable of being his wifepr she is simply pooi anO dowerless. Therefore, she is
unacceptable to the familf, in the lattbr, she is the property of a slave dealer who
wants a high price for her. By the help of a clever slave the necessary money is
obtained and the marriage brought about, the girl is recognised as the daughter of
I a prosperous citizen.
: Characters. There is not much characterisation, !hgf_e_gLe__g-opg slogk typgs:
f . ine on father: He objects to the young miili relation and is over serious.
a
2. fhe young man. He is in love with poor slave girl or a prostitute. He
requires money is somehow successfu! in obtaining it.
3. !h9 young girl, l&e g-eng_E"t!y*q_q nct- ge*e _he_1 on s_!qge; respectable women
would never go out into the streets but slaves and prostitutes could appear.
4. the cgnning_ -sla"-v_e, He is a very important character. He co_n(uqts the
$nggg He is clever, unprincipled. e4\iiv.' :'."-..':,, t

5. !hb. pafasite. Similar to the slave he [Link] il lhe intrlgue.

6. the shve dealer. He is a miserly person anO iJ fraiO hearted. Sometimes
the intrigue is directed at him.
7lil,?,.?ffifl
ttv?ftti'fi 5dl,?'?fr ;i,Te??fln'ffi1,131H'i,,T?[5]:ffi '"ffJ;
tongue, always boasting of their deeds. tgjg !l-_e_[iyat of 119-yo,u.n"9.m_an.

The most important aspect or these plays is the [Link][9u!:?!]d fyn,

The dramatic devices such agJliggurg3 and-lie-s Sccuf:Elf1g_g,!-gfiS"lpurF-ose,t"*'r"")
lrorJ
is
necessary {or the intrigue. Fiequently , identical figures such a5*trrtrins*ap'bear
which givefrise
- -'- -- to mistaken identity. Lcgt and found children are r@(iniied !J
11
 B Erol 14208 5

parents from birthmarks an_d srcarg- This was quite possible due to wars between
ihe states and shipwreck and kidnapping.
These types o{ plays represented the lax- morality of the age. The representative

It{:ena4-dgr (343?- 293 BC)

Latin playwrights
P]'a-utus, (255-184 BC) ) r.o r.r..ir ? ,.,-er*. (r-,sry\ i\a",lc.e;t p/crgs
Terenge (195- 159B,C)/

Aristotle Poetics
H.C. Baldry Ancient Greek Literature: Living Context
C.M. Bowra Ancient Greek Literature
J.W. Donaldson The Theatre of the Greeks
Edith Hamilton The Greek Way
P.W:Harsh A Handbook of Classical Drama
[Link] A Handbook of Greek Literature
[Link] A History of Glassr'cal Greek Literature
Alexis Solomos Living Aristophanes