By David Sansone
Content material:
Chapter 1 surroundings the level (pages 1–20):
Chapter 2 Seeing is Believing (pages 21–36):
Chapter three the foundation Takes a vacation (pages 37–56):
Chapter four “It's Counterpoint,” He Countered, and Pointed (pages 57–75):
Chapter five phantasm and Collusion (pages 76–103):
Chapter 6 response Time (pages 104–115):
Chapter 7 Paradigm Shift occurs (pages 117–146):
Chapter eight probably you'll item (pages 147–184):
Chapter nine placing the Accuser on Trial (pages 185–224):
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Extra info for Greek Drama and the Invention of Rhetoric
Sample text
Most of the earliest surviving evidence for this terminology comes from comedy, as that genre, unlike tragedy, allows itself to refer directly to the audience and to the circumstances of performance. And that evidence is both abundant and consistent. The word “spectator” (θεατής), for example, appears some two dozen times in Aristophanes and, interestingly, it is used even in contexts in which the visual aspect is of no consequence. There is a convention whereby a character asks himself or another character whether he should reveal something to the audience in words.
There is a particularly interesting passage in Frogs that underlines the significance of this terminology. Throughout the play the characters speak of the Athenian audiences before whom Aeschylus and Euripides exhibit their tragedies as “viewers” (909, 919, 926, 1475). 6 That is, he started giving the equivalent of sophistic displays to the lowlifes who constitute the majority of the population in his new place of residence. Naturally, lacking any wit or sophistication, they were mightily impressed by his novel linguistic contortions and sophistries.
Chaerephon is nonetheless confident that he can convince his friend to deliver another one if Socrates wishes to hear (ἀκοῦσαι, 447b) him. Plato presents another sophist, Prodicus, who is a recognized expert in the precise use of words, as referring to the audiences at sophistic performances as “listeners” (ἀκροατάς, Protagoras 337a). Elsewhere, this term is applied to the audience attending Socrates’ trial (Plato, Apology 24e) and, in a famous characterization of Pericles’ skill as a public speaker, the comic poet Eupolis claims that Pericles was unique in his ability to “leave behind his sting in his hearers” (τοῖς ἀκροωμένοις, frag.