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Extra info for An Applications Guide for Op Amps - (Natl Semiconductor)
34 Helene P. ), Beyond Aristophanes: Transition and Diversity in Greek Comedy, Atlanta. Dover, K. (1993), Aristophanes Frogs, Oxford. Dunn, F. (1989), ‘Comic and Tragic License in Euripides’ Orestes’, ClAnt 8: 238–51. Dürrenmatt, F. (1954), ‘Problems of the Theater,’ tr. G. Nelhaus and adapted by S. H. Ray, in V. ) (1982), Plays and Essays, New York. Foley, H. P. (1980), ‘The Masque of Dionysus,’ TAPhA 110: 107–30. Revised in Foley (1985), Ritual Irony: Poetry and Sacriﬁce in Euripides (Ithaca), 205–58.
Protagoras’ and Prodicus’ approach to Simonides (an archaic poet in any case) suggests a rather limited level of analysis (338e–347a, the poem’s contradictions or its orthoepeia, deﬁnition) in contrast with Socrates’ more extensive and perhaps novel attack on its investigation of virtue. 43 Before Frogs, Euripides was apparently, as I shall note below, increasingly self-conscious about the role played by elements of tragic drama such as plots, messenger speeches, levels of decorum, or concluding divine appearances.
Every one of them has a book and understands intellectual ideas. This same play asserts with new authority (discussed below) comedy’s claim to include both the serious and the comic. Aristophanes explicitly and repeatedly aims, then, to expand the range of both his comedy and his audience, to defeat his rivals, and to establish the value of comedy to the city. Why did tragedy successfully facilitate, apparently more than anything else, this claim to growing conﬁdence in the sophistication of both the poet’s own work and his audience?