By Landrum, Lisa
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Extra info for Architectural Acts: Architect-figures in Athenian drama and their prefigurations (Ph.D., McGill University)
Cf. Graves (1911), who also takes the metaphor to imply that Trygaeus has “engineered the whole scheme”. 46 Dramatic poets were commonly referred to as a “teacher” (didaskalos). Aristophanes is himself referred to as the “didaskalos of comic choruses” in the parabasis of his own play Acharnians (628). In the early stages of Athenian drama, dramatic poets had even performed the role of the protagonist. Aristophanes and the tragedian Aeschylus are both believed to have performed in this capacity.
Cf. Miles Gloriosus (901ff) and Poenulus (1110ff). Slater (2002), 121, comments (in passing) on the relation of this trope in Plautus to that found in Aristophanes’ Peace: “Trygaeus [as] master planner… will assume the role of director of the play’s actions, just as the architectus doli of later Roman comedy does”. Cf. Graves (1911), who also takes the metaphor to imply that Trygaeus has “engineered the whole scheme”. 46 Dramatic poets were commonly referred to as a “teacher” (didaskalos). Aristophanes is himself referred to as the “didaskalos of comic choruses” in the parabasis of his own play Acharnians (628).
47 Although the identity of the chorus throughout the drama is quite mercurial, being radically heterogeneous, inclusive and shifting, during the crucial work of hoisting and in the celebratory moments following Peace’s emergence, the group is repeatedly referred to as “farmers” by Trygaeus, by Hermes and by the chorus themselves (508, 511, 551, 556ff 603). Given that Peace—the goddess, the statue and the worldly condition—is to be drawn out gradually from the ground, farmers indeed stand as most qualified to retrieve her.