An Abstract of a Comparison Betwixt Aristophanes and Menander

An Abstract of a Comparison Betwixt Aristophanes

In "A Comparison Betwixt Aristophanes and Menander," Plutarch contrasts the comedic styles of the two playwrights, ultimately favoring Menander. Plutarch criticizes Aristophanes for being theatrical, vulgar, and inconsistent in his expression, appealing more to the unrefined audience. Aristophanes' language is described as a mix of tragic and comic, often lacking coherence and appropriateness for the characters he portrays. In contrast, Menander's style is praised for its harmony, adaptability, and elegance, fitting various characters and situations seamlessly. Menander's work is seen as universally appealing, engaging both the general public and intellectuals, and providing a refreshing diversion for scholars. Plutarch highlights Menander's ability to maintain a consistent tone while addressing different emotions and characters, making his plays a staple in theaters and social gatherings. Aristophanes, on the other hand, is criticized for his harshness and lack of sophistication, with his humor often perceived as crude and appealing to a less discerning audience.

By Plutarch · First published 1898 · Genre: Literary Criticism, Comedy, Drama Studies · 1,253 words

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1. To speak in sum and in general, he prefers Menander by far; and as to particulars, he adds what here ensues. Aristophanes, he saith, is importune, theatric, and sordid in his expression; but Menander not so at all. For the rude and vulgar person is taken with the things the former speaketh; but the well-bred man will be quite out of humor with them. I mean, his opposed terms, his words of one cadence, and his derivatives. For the one makes use of these with due observance and but seldom, and bestows care upon them; but the other frequently, unseasonably, and frigidly. "For he is much commended," said he, "for ducking the chamberlains, they being indeed not chamberlains (ταμίαι) but bugbears (Λαμίαι). " And again,-"This rascal breathes out nothing but roguery and affidavitry; " and "Beat him well in his belly with the entrails and the guts; " and, "I shall laugh till I go to Laughington (Γέλαν); " and, "Thou poor sharded ostracized pot, what shall I do with thee? " and, "To you women surely he is a mad plague, for he grew up himself among these mad worts; "-and, "Look here, how the moths have eaten away my crest; " and, "Bring me hither the gorgon-backed circle of my shield; " "Give me the round-backed circle of a cheese-cake; "-and much more of such like stuff.[5] There is then in the structure of his words something tragic and something comic, something blustering and something prosaic, an obscurity, a vulgarness, a turgidness, and a strutting, with a nauseous prattling and fooling. And as his style has so great varieties and dissonances in it, so neither doth he give to his persons what is fitting and proper to each,-as state (for instance) to a prince, force to an orator, innocence to a woman, meanness of language to a poor man, and sauciness to a tradesman,-but he deals out to every person, as it were by lot, such words as come next to his hand, and you would scarce discern whether he that is talking be a son, a father, a peasant, a God, an old woman, or a hero.

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ancient literature · classical drama · literary criticism · comedy analysis · theatrical studies · comparative literature · ancient Greek theater · cultural commentary · historical literature · philosophy of art · literary history · comedy genre

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