Philosophy, Poetry, and Power in Aristophanes's Birds

Daniel Holmes

Aristophanes was clearly anxious about the role of the sophists and the “new” education in Athens. After the perceived failure of Clouds in 423 and its subsequent, unperformed revision, Aristophanes, this book argues, returned in 414 with Birds, a continuation and deepening of his critique found in Clouds. Peisetaerus or “persuader of his comrades,” the protagonist of Birds, though an old man, is clearly a student of Socrates’ phrontisterion. Unlike Socrates, however, he is political and ambitious and he understands the whole of human nature, both rational and irrational. Peisetaerus employs the various deconstructive techniques of Socrates and his allies (which is summed up on the comic sage in the image of “father-beating”) to overturn not just human society, but, with the help of his new allies, the divine and musical birds, the cosmos. After his new gods and bird city, Cloudcuckooland, are actually established, however, the hero re-introduces the “old” ways - justice, moderation, and obedience to law – but now under his personal authority, and thereby becomes “the highest of the gods.” Thus, the author postulates, in 414 Aristophanes has come to acknowledge the potency of the apparent civic-minded turn (or element) of the sophists, while aware of the self-aggrandizing nature of their ambition. Peisetaerus, unlike Socrates, is successful: he is establishing a just polis and cosmos and, therefore, must be victorious. But the consequence or cost of this success is illustrated through the Bird Chorus. After the polis is founded, the birds never again sing of their musical reciprocity with the Muses, the source of melodies for men. The birds are now political and the policemen of human beings. The sophist-run cosmos has lost its music. The new Zeus is an ugly bird-mutant. The gods and all nomoi have lost their beauty, honor, and reverential nature. Birds, in its finale, hilariously, but boldly illuminates the inherent tension between philosophy (reason) and poetry (divinely-inspired tradition). « less more »

Lexington Books

Pages: 246 • Trim: 6 1/4 x 9

978-1-4985-9076-1 • Hardback • November 2018 • $115.00 • (£75.00)

978-1-4985-9077-8 • eBook • November 2018 • $109.00 • (£70.00)

Subjects: Philosophy / History & Surveys / Ancient & Classical, Literary Criticism / Ancient & Classical, Literary Criticism / Humor, Performing Arts / Comedy

Philosophy, Poetry, and Power in Aristophanes's Birds

Hardback

eBook

Summary

Aristophanes was clearly anxious about the role of the sophists and the “new” education in Athens. After the perceived failure of Clouds in 423 and its subsequent, unperformed revision, Aristophanes, this book argues, returned in 414 with Birds, a continuation and deepening of his critique found in Clouds. Peisetaerus or “persuader of his comrades,” the protagonist of Birds, though an old man, is clearly a student of Socrates’ phrontisterion. Unlike Socrates, however, he is political and ambitious and he understands the whole of human nature, both rational and irrational. Peisetaerus employs the various deconstructive techniques of Socrates and his allies (which is summed up on the comic sage in the image of “father-beating”) to overturn not just human society, but, with the help of his new allies, the divine and musical birds, the cosmos. After his new gods and bird city, Cloudcuckooland, are actually established, however, the hero re-introduces the “old” ways - justice, moderation, and obedience to law – but now under his personal authority, and thereby becomes “the highest of the gods.” Thus, the author postulates, in 414 Aristophanes has come to acknowledge the potency of the apparent civic-minded turn (or element) of the sophists, while aware of the self-aggrandizing nature of their ambition. Peisetaerus, unlike Socrates, is successful: he is establishing a just polis and cosmos and, therefore, must be victorious. But the consequence or cost of this success is illustrated through the Bird Chorus. After the polis is founded, the birds never again sing of their musical reciprocity with the Muses, the source of melodies for men. The birds are now political and the policemen of human beings. The sophist-run cosmos has lost its music. The new Zeus is an ugly bird-mutant. The gods and all nomoi have lost their beauty, honor, and reverential nature. Birds, in its finale, hilariously, but boldly illuminates the inherent tension between philosophy (reason) and poetry (divinely-inspired tradition).

Details

Lexington Books

Pages: 246 • Trim: 6 1/4 x 9

978-1-4985-9076-1 • Hardback • November 2018 • $115.00 • (£75.00)

978-1-4985-9077-8 • eBook • November 2018 • $109.00 • (£70.00)

Subjects: Philosophy / History & Surveys / Ancient & Classical, Literary Criticism / Ancient & Classical, Literary Criticism / Humor, Performing Arts / Comedy

Author

Daniel Holmes is associate professor of classics at Sewanee: The University of the South.

Table of Contents

Chapter 1: Peisetaerus and Euelpides
Chapter 2: Persuading Tereus
Chapter 3: Persuading the Birds
Chapter 4: Persuading Human Beings
Chapter 5: Nephelokokkygia I: Before the City is Founded
Chapter 6: Nephelokokkygia II: After the City is Founded
Chapter 7: The Return of Nomos
Chapter 8: Persuading the Gods
Chapter 9: Peisetaerus Tyrannos
Conclusion
Appendix 1: Line Allocation of the Prologue (1–161)
Appendix 2: Pederasty in Aristophanes

Reviews

In this impressive and original study of Aristophanes’ longest and most spectacular comedy, Daniel Holmes shows convincingly how the protagonist, adept in the rhetoric of the sophists, exercises persuasion to bring about a new society – one that is functional but lacking in joy and beauty. Along the way, Holmes offers illuminating insights into the sophist movement, utopian theories, and popular attitudes toward politics in classical Athens.
— David Konstan, New York University

Philosophy, Poetry, and Power in Aristophanes's Birds

Daniel Holmes

Philosophy, Poetry, and Power in Aristophanes's Birds

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