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• Callidus and Comedy: a New Argument for an Old Etymology

  341-349

  Benjamin Adam Jerue

  Views:

  128

  In the corpora of republican authors and the glosses of late antique grammarians, the lexemes callidus and calliditas are used to describe a certain variety of intelligence, which is often translated into English as “cleverness” or “cunning.” This paper looks more closely at these lexemes in order to explain how the root call- (“hard”) came to be associated with mental capacity and acuity. In short, I argue that the type of intelligence that callidus originally denoted ought to be linked to the brutal treatment of slaves and the coping mechanisms that they had to develop in light of their condition as chattel. Not only is this violent form of education depicted in Plautus’ comedies, but its implications and logic can also be found in later authors such as Cicero.

• The Comoedia Togata, a ‘Roman’ Literary Genre?

  227-245

  Guiseppe Eugenio Rallo

  Views:

  160

  This paper aims to shed fresh light on the Togata. By analysing the extant fragments, I will investigate if and in what sense it may be defined as a ‘Roman’ literary genre. I will focus on its ‘Roman-ness’, and I will highlight that it is a complex concept, without the ‘nationalistic’ connotations that one normally gives to the notion. I will demonstrate that the Togata is ‘Roman’ because it betrayed an attempt at creating a genre distinguished from the Palliata, and it had a widespread ‘Roman’ patina, with settings, names, and stereotypes which one would not find in other contemporary genres, in particular the Palliata. At the same time, I will also reflect on the fact that the Togata was a multifarious genre, with Latin, Italic, and Greek elements, and I will show that this was, paradoxically, another aspect of its ‘Roman-ness’.

• Tilting Scripts: Incongruence as a Source of Humour in the Parodos of the Frogs

  15–28

  Etelka Szabó

  Views:

  44

  The purpose of the following study is to decode the semantic layers of ancient Greek texts and scripts introducing the well-defined “General Theory of Verbal Humour”. Classical tragedies, the parodoi of the texts used by Aristophanes and the dialogues following them, are all formed according to a (more or less standardised) script. Via putting frogs on the stage, Aristophanes parodies the patterns of the chorus songs and agons in Greek tragedies. Although the setting – the River Styx – could not be more sublime, and the winner of the debate is Dionysus himself, his adversaries are “only” frogs. The Frog Song reveals that the unity of content and form is not to be broken up without serious damage to the effect, as their separation from each other results in the reverse of the original catharsis. This parody, however, does not only refer to the emptiness and anachronistic quality of certain forms, that is, it does not only ridicule the genre, but can also function as the continual self-correction of Aristotelian mimesis. Aristophanes’ parody of a parodos is a meticulously constructed text, a faithful image of the prototypical scripts functioning as source texts, and abundant in humorous effects. Parody is enjoyable in itself, however as any good parody works with the mechanisms creating the parent text; it can only appear comic if it really reveals the patterns underlying the original, and it can only reach its aim if these patterns really bring the original work of art to the recipient’s mind.