By Nancy Worman
This learn of the language of insult charts abuse in classical Athenian literature that centres at the mouth and its appetites, in particular conversing, consuming, ingesting, and sexual actions. Attic comedy, Platonic discussion, and fourth-century oratory usually set up insulting depictions of the mouth and its excesses so as to deride expert audio system as sophists, demagogues, and ladies. even though the styles of images explored are very favorite in historic invective and later western literary traditions, this is often the 1st e-book to debate this phenomenon in classical literature. It responds to a turning out to be curiosity in either abusive speech genres and the illustration of the physique, illuminating an iambic discourse that isolates the intemperate mouth as a visual brand of behaviours ridiculed within the democratic arenas of classical Athens.
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Additional info for Abusive Mouths in Classical Athens
Eum. ). See Redfield 1975: 184; Goldhill 1988: 9–19; Graver 1995. 200) at the outset of her piteous and grisly speech. 32 The most famous example occurs in book 1 of the Iliad, when Achilles deems Agamemnon “dog-faced” (kunäpa, 159; cf. kun¼v Àmmatì, 225) as he is about to kill him for stealing Briseis. 345) before telling him he would glut himself on his flesh if he could. 33 Achilles is more often depicted as a lion, but at this moment – as he strikes the deadly blow and utters his violent, blaming speech – he resembles more a snappish dog.
43 Irus likens him to a beast whose greedy mouth deserves violence, his words suggesting an intimate link between the scrounging animal and the begging wanderer. 28–29). 39 40 41 42 43 Cf. 394–97; and see Sa¨ıd 1979b: 31, who points out that Antinoos’ refus du don effectively brings war into the feast, and thus perpetrates the intermingling of the two settings most opposed in the Homeric world. 217–32). Cf. 299–301). 500, 546–47); cf. Hendrickson 1925: 108. Nagy 1979: 228–31, who compares the Margites, a mock-epic that Aristotle attributes to Homer (Poet.
Nagy 1979: 222–36; Steiner 2001b, 2002. Bowie 1986; also Bartol 1993: 51–74; Ford 2002: 25–39. Cf. Sa¨ıd 1979; Nagy 1979: 225–35; Steinr¨uck 2000; Steiner 2001b, 2002. Cf. Seaford 1994: 281–301. Introduction 21 its imagery and vocabulary turn up in fourth-century rhetorical settings, even though the more obscene plays that contributed important elements to the discourse were no longer being performed. This suggests that the lexical and imagistic schemes had entered the common idiom, since otherwise audiences would not respond to such schemes and writers have no use for them.