Paracomedy in Euripides' Bacchae
Περίληψη
Κατ' αναλογίαν προς την «παρατραγωδία», ο όρος «παρακωμωδία», που εισήχθη το 1995, καθιερώθηκε ως δηλωτικός της εκμετάλλευσης ορισμένων κωμικών θεμάτων από την τραγωδία. Η παρατραγωδία μελετάται ασύγκριτα περισσότερο από ότι η παρακωμωδία εξαιτίας, ως ένα βαθμό, ορισμένων προκαταλήψεων αναφορικά με την δεύτερη (όπως ότι η κωμικότητα διαρρηγνύει το τραγικό αποτέλεσμα ή ότι, για να χαρακτηρίσουμε κάτι ως κωμικό, πρέπει να είναι και ξεκαρδιστικό). Στο παρόν άρθρο αναλύονται οι κύριες εκφάνσεις παρακωμωδίας στις Βάκχες του Ευριπίδη, ήτοι οι σκηνές/θέματα της ιδεατής επιστροφής στη νεότητα και της παρενδυσίας. Για να αποδείξω την ιδιότητά τους ως παρακωμικών, καταφεύγω σε προγενέστερες και μεταγενέστερες Αριστοφανικές κωμωδίες, εντοπίζοντας αναλογίες και/ή επιδράσεις. Εν συνεχεία, ιδιαίτερη έμφαση δίνεται στην κατανόηση του τρόπου με τον οποίο το προσληφθέν κωμικό υλικό υπηρετεί την τραγικότητα· για το σκοπό αυτό, συζητώ τη σύνδεση των δύο παρακωμικών σκηνών. Όπως ακριβώς αναγνωρίζουμε ότι η παρατραγωδία στην κωμωδία έχει χιουμοριστικό σκοπό, πρέπει επίσης να δεχθούμε ότι η παρακωμωδία στην τραγωδία είναι κάτι που εξυπηρετεί την τραγικότητα. Και στις δύο περιπτώσεις δηλαδή, το λογοτεχνικό είδος-αποδέκτης μεταγράφει το αδελφό είδος για τους δικούς του σκοπούς. Υποστηρίζω πως, όπως η παρατραγωδία είναι εξαιρετικά αστεία, έτσι και η παρακωμωδία στις πιο δουλευμένες εκδοχές της είναι εξαιρετικά τραγική: είναι η φρικτή κλιμάκωση που χαρακτηρίζει τις οριακές καταστάσεις και τις οριακές προσωπικότητες.
ABSTRACT
By analogy with paratragedy, the term paracomedy, introduced in 1995, was established to denote the appropriation of specific comic themes in tragedy. Paratragedy is studied incomparably more than paracomedy, partially due to misconceptions about the latter, such as that comicality destroys the tragic effect, or that to characterise something as comic, it must be hilarious. In the present paper, I discuss the basic manifestations of para-comedy in Euripides Bacchae, namely the themes/scenes of illusory youthfulness and transvestism. To establish their status as paracomic, I draw on earlier and later Aristophanic comedies, locating analogies and/or influences. Secondly, a special emphasis is placed on understanding how the received comic material supports the tragic effect; for this purpose, I discuss the connection of these two scenes. Just as in comedy we acknowledge that paratragedy is intended to be funny, we must also accept that paracomedy in tragedy is something facilitating the tragic effect; in both cases, the recipient-genre transcribes the counter-genre for its own purpose. I argue that as paratragedy is most funny, paracomedy in its finest versions is most tragic: it is a gruesome climax that characterises liminal moments (in terms of rites de passage) and borderline personalities (in psychiatric terms).
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