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The Birds is a comic play by the Greek playwright Aristophanes. It garnered awards in 141 BC when it was first performed, and continues to be critically received today. A middle-aged Athenian convinces the world's birds to build a new city between the heavens and the earth. This position fortuitously allows them to intercept all communication of gods and men. The Athenian is transformed into a bird-like figure and with the help of his winged friends - and others - he replaces Zeus as the master of heaven and earth.
Two movie moguls abandon an increasingly vain and shallow society, making their way into the desert to live among the birds. Seeking the freedom and tranquility that come with bird-living, they must make a case for why they deserve an avian transformation, but all they have to offer are the pieces of civilization they’ve tried to leave behind. THE BIRDS begs the question: Can human beings truly go against their nature? Originally performed in 414 B.C. and written chockablock full of pop culture references of the time, Reno and Weissman have dusted off Aristophanes’ Attic Comedy and provided opportunities for theatremakers to tailor the play to their particular place and time. ARISTOPHANES’ THE BIRDS is a hilarious examination of humanity’s desperate need for control, privilege, and conspicuous consumption.
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Capturing the antic outrageousness and lyrical brilliance of antiquity’s greatest comedies, Aaron Poochigian’s Aristophanes: Four Plays brings these classic dramas to vivid life for a twenty-first century audience. The citizens of ancient Athens enjoyed a freedom of speech as broad as our own. This freedom, parrhesia, the right to say what one pleased, how and when one pleased, and to whom, had no more fervent champion than the brilliant fifth-century comic playwright Aristophanes. His plays, immensely popular with the Athenian public, were frequently crude, even obscene. He ridiculed the great and the good of the city, showing up their hypocrisy and arrogance in ways that went far beyond the standards of good taste, securing the ire (and sometimes the retaliation) of his powerful targets. He showed his contemporaries, and he teaches us now, that when those in power act obscenely, patriotic obscenity is a fitting response. Aristophanes’s satirical masterpieces were also surpassingly virtuosic works of poetry. The metrical variety of his plays has always thrilled readers who can access the original Greek, but until now, English translations have failed to capture their lyrical genius. Aaron Poochigian, the first poet-classicist to tackle these plays in a generation, brings back to life four of Aristophanes’s most entertaining, wickedly crude, and frequently beautiful lyric comedies—the pinnacle of his comic art: · Clouds, a play famous for its caricature of antiquity’s greatest philosopher, Socrates; · Lysistrata, in which a woman convinces her female compatriots to withhold sex from their warmongering lovers unless they negotiate peace; · Birds, in which feathered creatures build a great city and become like gods; · and Women of the Assembly, Aristophones’s most revolutionary play, which inverts the norms of gender and power. Poochigian’s new rendering of these comic masterpieces finally gives contemporary readers a sense of the subversive pleasure Aristophones’s original audiences felt when they were first performed on the Athenian stage.
A contemporary translation of one of Aristophanes' comedies with scholarly notes and introduction.
"The Birds" (414 B.C.) was Aristophanes' first Utopian play. In this instance, he has his "comedy team" leave Athens, fed up with frauds and bores of that society, in an effort to found a better society among the birds. To do so, they must first locate Epops, King of the Birds, who was once a man like themselves and who might be expected to know both sides of the problem. How they find him and what they persuade him to do is the body of the play.
A pair of Athenians unite with the birds to found a utopia in this comic masterpiece of antiquity. Aristophanes' finest work, this imaginative farce abounds in wit and vitality.
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 boldlyilluminates the inherent tension between philosophy (reason) and poetry (divinely-inspired tradition).