Question 1 What can the Vursburg Vase tell us about comedy? - The nature of grotesque humour- jokes about infanticide associated w alcohol, taken as comedic point in play - Nature of crossdressing- man dressed as woman. - Mockery of religion- in today's society may be considered blasphemous- religious festival (Thesmophoria) infiltrated for the sake of alcohol. - Could be seen as completely devoted to Dionysus- worship of Dionysus- god of theatre wine - LIMITATION- the vase was painted and created in wider Greece, not Athens- the Schiller Painter may not have actually seen Women by Aristophanes and thus he may not know exactly how the play was meant to look, putting the accuracy and utility of the vase into question. Question 2 Can we take any characters in Greek Comedy seriously? - NO o They are purposefully degraded and humiliated for the sole purpose of comedy- "I've made a crapifice"; "you are the most cowardly of gods"; cannot oar. Helps to create link to audience and also converts tradition, making it an obvious comedy. - YES o Mistaken identities- "Xanthacles"- Xanthias and Dionysus as equals, further subverting stereotypes- depiction is so pathetic, and exchange of Hercales' costume (Heracles as true hero to contrast the false ones that frogs is centred around), solely for the reason of wanting girls or wanting not to get hurt by angry Aeceus shows them to be stereotypical comedic duo, with little to no intellect- link to vase o Interaction between Dionysus and Chorus of Frogs- "there, I knew I'd stop that co-ax in the end", use of co-ax as expletive "you're nothing but co-ax"- Dionysus stoops to level of childish argument of who can scream louder, with animals- presumably chorus of frogs was dressed in quite a humorous way, and Dionysus is covered in lionskin- the fact that lion is at equal with frogs- D as unheroic and childish, unlikely hero, who we are not meant to take seriously- link to vase of ill-toned humour o Continuous political commentary- Cleisthenes- man who was known to regularly have sex with other men of his own social status and age, which made him ostracised in Greek Society- the use of these famous figures, who a contemporary audience would've been well aware of, shows that at least our heroes are not on their level of pathetic emasculation, creating impression of some worth that they may hold. o Chorus of Initiates- completely centred around the worship of Demeter- "lacchus, friend of the chorus, be our companion"- make contemporary political comments "the magistrate who, when our city's storm tossed, lines his pockets and betrays a crew"- use of pastoral references throughout passage, and presumable use of synchronised choreography- designed to contrast Dionysus and Xanthias, seen as near-regal and put-together- at least one component is respectable, and we can take them seriously.