Due Ateniesi, Pisetero ed Evelpide, disgustati dal comportamento dei loro concittadini, decidono di lasciare la città per cercarne un'altra dove poter vivere in pace. Si recano dunque da Úpupa, che è in realtà Tereo, in passato re di Tracia, poi trasformato in uccello dagli dei. Gli propongono di fondare insieme agli uccelli una città nel cielo chiamata Nubicuculìa. Gli uccelli sono inizialmente ostili all'idea, ma le loro diffidenze vengono superate. In breve la nuova comunità riuscirà a rubare la scena agli dei stessi e a divenire il nuovo oggetto di culto degli uomini. Questa commedia presenta una delle trame più immaginifiche e sapientemente strutturate di tutto il teatro di Aristofane, raccontata con uno stile elegante e con canti corali di grande afflato lirico.
Aristophanes (Greek: Αριστοφάνης; c. 446 – c. 386 BC) was an Ancient Greek comic playwright from Athens and a poet of Old Attic Comedy. He wrote in total forty plays, of which eleven survive virtually complete today. These provide the most valuable examples of a genre of comic drama known as Old Comedy and are used to define it, along with fragments from dozens of lost plays by Aristophanes and his contemporaries. Also known as "The Father of Comedy" and "the Prince of Ancient Comedy", Aristophanes has been said to recreate the life of ancient Athens more convincingly than any other author. His powers of ridicule were feared and acknowledged by influential contemporaries; Plato singled out Aristophanes' play The Clouds as slander that contributed to the trial and subsequent condemning to death of Socrates, although other satirical playwrights had also caricatured the philosopher. Aristophanes' second play, The Babylonians (now lost), was denounced by Cleon as a slander against the Athenian polis. It is possible that the case was argued in court, but details of the trial are not recorded and Aristophanes caricatured Cleon mercilessly in his subsequent plays, especially The Knights, the first of many plays that he directed himself. "In my opinion," he says through that play's Chorus, "the author-director of comedies has the hardest job of all."
When a play from the 5th century BC has themes that still speak to us, it proves it is thriving! That's a comic critique of society, laws, and living together.
Nephelococcygia, a metropolis in air, Zeus' cloudy nightmare, Unlikely a bedroom scare From a sparrow’s wild rare.
A respite between heaven and earth, “An avian heaven”, says Pisthetaerus, Flirting with the nightingale’s mirth Hoopoe consents ; what a fucking putz!
Sacred chants float over the lustral waters, The birds join the jubilant choir, The peacock dancing in a tutu simply backfires, It’s not an ass-whooping Le Ballet Noir!
The pelican, the spoon-bill, the horned-owl, the teal, the stormy petrel and the titmouse, Solemnized the laws of the land, Harboring the Olympians grouse, I rather be chained and canned.
Messiah to Bitch Dependency, “Birds over bitches!” proclaims a pimp called Slickback, Pleading for wings is a bitch tendency, Cloud-cuckoo town- a two-cent hustler.
Rainbows descent on womanly divinity, “That’s a bitch!” , yelps Slickback, Iris, messenger of Gods, heart of Zeus’ affinity, “That bitch’s gonna fuck y’all".
Perching on twigs, the birds laud the forgotten heroes, A choral interlude, a cry for pigeons, Howl the pigeons preening their Afros, “You came to the wrong neighborhood, motherfucking wigeons!”
A cry of an amateur, Verses may not rationally click Least an award clincher, I care a fuck ; I just blasted a stick!
Aslında Aristophanes'in Türkiye İş Bankası tarafından yayımlanan kitabını satın almak istemiştim; ancak en merak ettiğim oyun olan "Bulutlar"ı kitapta göremediğim için Mitos Boyut'u tercih ettim.
Kuşlar, aslında bir ütopya. http://www.bued.boun.edu.tr/turik.asp... linkinden okuduğum kadarıyla Sicilya seferi öncesinde Tanrıların heykellerinin tahrip edilmiş ve bunun da uğursuzluk getirdiği inancı yerleşmiş. Buna sebebiyet verdikleri gerekçesiyle pek çok düşünür öldürülmüş. Oyun da Atina'daki bu tür problemlerden kurtulmak için kuşların ülkesine, bir ütopyaya, göç eden iki arkadaşı anlatıyor.
Oyunda dönemin Atinasını, iktidarı, yargıyı eleştiren pek çok kısım var. Örneğin, "...yine de ülkemizden ayrılıyoruz. Ülkemizi sevmediğimizden mi? Yoo! Kim böylesine mutlu ve güzel bir kenti sevmez? İstediğin kadar para harca, bol bol vergi ve ceza öde. Ağustos böcekleri dallarda bir iki ay ötüp dururlar. Atinalılar ise insanı ömür boyu öttürürler. Nasıl mı? Mahkemelerle, tahkikatlarla... İşte bu yüzden yola çıktık" (s.8). İşte bu tür sebeplerden ötürü daha iyi bir ülke bulma amacıyla Pistetairos ve Euelpides yola çıkıyor ve buluyorlar da. Bu iki arkadaşın yerleştikleri kuşlar ülkesi ile Aristophanes özlem duyduğu ülkeyi anlatıyor olsa gerek. "Aranızda mutlu bir yaşam sürmek isteyen varsa bizimle gelsin. Bizim aramızda ayıp diye günah diye bir şey yoktur. Kuşlar yaptığınız her şeyi hoş görürler" (s.31). Bunun haricinde bu yeni ülkede kuşlar Tanrılara daha az adak adıyorlar, onlar için daha az şey kurban ediyorlar ve bu durum da Tanrıları çok rahatsız ediyor, iktidarlarını zedeliyor. Bu ülkede Tanrıların egemenliğinden ziyade ülkenin kuşlarının hüküm sürmesi isteniyor.
Bulutlar, Sokrates'i ölüme götüren oyun olarak zihnimde yer etmiş bir oyun. Sokrates'in bu oyun sonrasında ölüm cezasına mahkûm edildiği söylenir.
Gelenekçi bir yapıya sahip Aristophanes, Sokrates'i sofistlerle bir tutar ve onun birtakım ahlâk kurallarını, gelenekleri yıktığından, inançları sarstığından bahisle Sokrates'i yerden yere vurur. Bu oyun da tam anlamıyla bunun üzerine kurulu. Mahkemede borçlarını ödemekten kurtulmak isteyen Strepsiades kendisini mahkemede savunmak için oğlunun Sokrates'ten ders almasını ister. Başta oğlu kabul etmeyince kendi ders almaya gider; fakat pek başarılı olmaz. Bunun üzerine yeniden oğlunun Sokrates'ten eğitim almasına uğraşır ve bu sefer başarılır olur; ancak aldığı oğlunun eğitimin ne kadar "kötü ve yıkıcı" bir etkiye sahip olduğunu sonradan anlar. Bunun üzerine de Sokrates'in evini ateşe verir.
Oyun boyunca Sokrates, sofistlerle bir tutulur. Haklı çıkmak için, karşı tarafı ikna etmek için her türlü şeyi dener. Bu uğurda ahlâk kurallarını da yok sayar Tanrıları da. Hatta yağmuru Zeus'un yağdırmadığını, kasırga ile birlikte bulutların yağdırdığını bile iddia eder!
Özellikle felsefe meraklılarının okuması gereken bir oyun olduğunu düşünüyorum.
I liked this - a strange and nebulous atmosphere As two buffoon-clowns organise a biosphere, An Avian Kingdom high up in the stratosphere. Apparently this parodies the Sicilian sphere; I couldn’t see that myself, but if it’s true I fear That it proved to be prophetic in the coming year. For the war was lost for Athens in that fateful year, And the sharp decline of Hellas became über-clear.
+ از حرف تا بال خیلی فاصله است. نمیتوانی با وراجی به کسی بال بدهی. - همه از همینجا شروع میکنند. + چطور؟ - مگر در سلمانیها نشنیدهای که پدری به جوانترها میگوید:«عجیب است! نصایح زیوترِفیس باعث شد تا پسرم به سوی اسب سواری پَر بکشد!» یا دیگری میگوید:«پسر من هم، سوار بر بال تخیلاتش به سوی شعر تراژیک پر کشید!» + پس، واژهها بالِ پرواز میبخشند؟ ـ بیشک! کلمات به ذهن بال میبخشند و آدمیزاد تا عرش اوج میگیرد. امیدوارم سخنان خردمندانهام به تو بال بدهد تا به سوی حرفهای شرافتمندانه پرواز کنی. 3.5
فکر کنم من کمدی دوست ندارم :))) این نمایشنامه پر از اسم و رفرنس به چیزهایی بود که فقط یه یونانی باستانی بومی میفهمید. من باید هر دو خط یک بار میرفتم ته کتاب و یکی از صد و چندتا تهنوشت کتاب رو میخوندم که این چیزی که الان آریستوفان نوشت چی بود. و تازه همشو هم یادم رفت.
Pisetero ed Evèlpide sono due ateniesi che fuggono dalla città stufi di vivere da Atene:
..noi che siamo cittadini di diritto, membri di una famiglia e di una tribù, senza che nessuno ci butti fuori siamo scappati via con le ali ai piedi. Non odiamo la nostra città, non neghiamo che sia grande e felice, e uguale per tutti nel riscuotere multe. Ma le cicale cantano sui rami un mese o due; gli Ateniesi cantano per tutta la vita nei tribunali. Perciò noi percorriamo questo cammino e forniti di pentola, di canestro, di rami di mirto, cerchiamo un posto tranquillo dove stabilirci per vivere. Ora stiamo andando da Tereo per sapere se lui, nei suoi voli, ha mai visto una città del genere."
Tèreo era il re di Tracia che fu trasformato in un Upupa dagli dei così come raccontato da Sofocle in una tragedia andata persa.
"Mi ha conciato Sofocle così, nelle tragedie: sono Tèreo."
I due quindi lo interrogano per sapere dove possono stabilirsi. Cercano un posto tranquillo dove trasferirsi e dato che lui ora è un uccello che viaggia potrà dare loro qualche consiglio. Ma alla fine sono loro a consigliare di fondare una città solo di uccelli nel cielo così da dominare gli uomini.
”Pisetero Vale a dire il posto. [Siccome gira torno torno e coinvolge tutto, per questo si chiama «sfera».] Colonizzatela, fortificatela, e da «sfera» si chiamerà Città. Potrete regnare sugli uomini, come fossero cavallette: gli dei li farete morire di fame, neanche a Melo
Upupa quindi chiama in adunata tutti gli uccelli dicendo che dal paese degli uomini sono arrivati a fare una proposta interessante “O una grande coglionata”, dice Corifeo che poi aizza tutti gli uccelli contro gli uomini in quanto razza nemica.
Upupa cerca di calmare gli animi:
Upupa Chi è saggio, proprio dal nemico impara molto. La prudenza risolve tutto: non impari nulla da un amico. Sta’ sicuro: solo il nemico te la impone. Vedi le Città: è per i nemici, non per gli amici, che hanno imparato a costruirsi sudando mura gigantesche e a procurarsi navi da guerra. Una lezione simile ti garantisce figli, casa, sostanze.”
E' Pisetero a fare un discorso che motiva il popolo degli uccelli dicendo di riprendersi ciò che è loro da tempo fino a sostituire anche gli dei..
Rappresentata per la prima volta nel 414 a. C. alle Grandi Dionisie (una manifestazione teatrale che si svolgeva ad Atene), la commedia si classificò al secondo posto.
Si tratta di un'opera che ha diviso la critica nella sua interpretazione generale: da un lato, chi ne ha visto una metafora del momento storico in cui la città si trovava proprio in quei mesi (Atene era impegnata in una spedizione in Sicilia che ebbe esiti disastrosi), dall'altro, chi ne ha dato una lettura comica ed estranea a speculazioni politiche.
Personalmente fatico a credere a quest'ultima interpretazione sapendo che comunque Aristofane utilizzava la comicità per togliersi dei sassolini dalla scarpa e non semplicemente come intrattenimento.
Rispetto ad altre sue produzioni che ho apprezzato in passato non mi sono sentita molto a mio agio in questa lettura così intrisa di rimandi che neppure le note esplicative mi hanno reso pienamente l'idea di alcuni dialoghi.
A gdyby tak rzucić to wszystko i zamieszkać z ptakami (może być w Bieszczadach)?
"Ptaki" to kolejny utwór Arystofanesa, uchodzący za "arcydzieło komedii staroattyckiej", który (mea culpa) przeczytałam bez większego zainteresowania. Autor był gorliwym obrońcą pokoju i konserwatystą, czego wyraz chętnie dawał w swoich dziełach. W "Ptakach" znajdziemy jego wizję idealnego państwa, w którym nie znajdziemy żadnych wróżbitów, komisarzy ani sofistów z ich szkodliwymi naukami. Super, ja też marzę o państwie, w którym nie będzie niepasujących mi elementów politycznych. I to by było na tyle, bo to myślenie wyłącznie życzeniowe.
Masterful translation of a witty play. I'm not sure of the meaning of the play, but I can see where elements of low humor today were birthed in ancient times. I appreciated the translator's notes and glossary. They explained many obscure [to us] references--cultural and topical in Aristophanes' day. I read this to compare it with Braunfels' treatment of the story in his opera "Die Vögel" based on the same play.
Have you considered replacing your gods with birds? They're never far away - in some tree or bush - and while Zeus demands the sacrifice of a whole animal, you can appease birds with only a few grains of wheat. Also, they will give you wings (unless your reasons for wanting the wings are ridiculous. Then no. Obviously.) But what's really amazing is that many of Aristophanes' jokes are still funny over 2,400 years later.
من خصومت شخصيم با آريستوفان رفع نشده اما علت اينكه بسى لذت از اين كتاب بردم اينكه به شدت ياد مدينه فاضله عطار و منطق الطير نماد شخصيتى پرندگان و بالخصوص هدهد افتادم!!
très rigolo car un personnage s'appelle troudeballe mais sinon j'ai rien compris, qui peut m'expliquer svp j'ai ds dessus genre demain en culture antique
This play was occasionally amusing but overall feels a bit dated. Much of the humor seemed like it might have been more funny when it came out back in ‘14.
I mean 414. BC.
Of the Ancient Greek Plays That Are Important for Every Well-educated Person to Read, this would surely fall into the 2nd tier. Maybe the third. I did appreciate hearing the original use of the term “cloud-cuckoo-land” though.
"The Birds" was both witty and insightful about the nature of the Athenian dream: to live through play and not pay taxes. Though comical, it changes from a story of two men looking to escape their responsibilities, to their dream of a new world and overthrowing the gods, to the two men's domination. Ironically, much of their power was gained through a matter of others shrugging and doing their very best to avoid responsibility. I found that this play was both charmingly cheeky-- at a couple points faux-threatening the crowd to vote for the play in the competition it had been entered in-- and interesting for its complex view of human beings.
I've read this as a play concerning the innate human craving for something better, a craving which can never be fully satiated, which could be taken as a satire for the Athenian desire for conquering (which always leads to war and destruction) and for always inventing new forms of political expression (which often results in people feeling lost and overwhelmed). I've enjoyed the talk about Eros, the lust that is inherently present in all of the characters. Just as an example, after Peisthetaerus and his friend establish Cloud-cuckoo-land, a patricide appears and states the following: "I’m in love with the laws of the Birds. I’m batty about the birds and I’m all in a flutter of desire to live with you, and I want your nomoi!”. Similarly, Kinesias says: “Because of Eros I flutter heavenwards of light wings”. And the link between politics and eroticism/passion is brought to its paroxysm in the end of the play when Peisthetaerus marries Basileia and establishes himself as a tyrant deity who is not necessarily creating a utopia since the wedding feast includes some roasted jailbirds. However, in comparison to other plays such as Lysistrata or the Assembly of Women, I found this play less comical and less enjoyable overall. This might be a masterpiece of political satire, but for me it proved a little too allegorical and difficult to follow than other plays.
Πρώτο βιβλίο που τελείωσα τον Απρίλιο. Τον προηγούμενο μήνα.
Τότε (τον Απρίλιο) ξεκίνησα να ξαναγράφω κριτικές για τα βιβλία που διάβαζα από τότε που ξεκίνησα χημειοθεραπεία (Αύγουστο του ‘24). Για δυό μήνες (Απρίλιο Μάιο) έγραφα εντατικά κριτικές. Είμαι αισιόδοξος ότι ο επόμενος μήνας (Ιούνιος) θα είναι ο μήνας που θα γράφω κριτικές για βιβλία που διάβασα πριν λίγες μέρες και γιατί όχι και για βιβλία που διάβασα πριν λίγες ώρες.
Οι Όρνιθες αύριο κλείνουν διαβασμένες 2 μήνες ακριβώς. Βλέπω φως στο τούνελ!
Όρνιθες λέμε τις κότες στην Κύπρο. Για αυτό παλιότερα νόμιζα πρωταγωνιστές ήταν κότες 🐔 🐔😅
Άλλη μια απόδειξη ότι η κυπριακή διάλεκτος είναι πιο κοντά στην αρχαία παρά η νέα ελληνική.
Αφού διάβασα τους Βάτραχους που είδα σε θεατρική παράσταση όταν ήμουν στρατιώτης, τη Λυσιστράτη που είδα σε θέατρο πρόπερσι, και τις Εκκλησιάζουσες από περιέργεια να δω τυπωμένη σε αρχαίο και μετάφραση την μεγαλύτερη ελληνική λέξη είπα να συνεχίσω με τις Όρνιθες.
Το οποίο μου άρεσε λιγότερο από τα άλλα. οι Εκκλησιάζουσες κι η Λυσιστράτη είναι φεμινιστικά θεατρικά με την Λυσιστράτη να είναι και αντιπολεμικό. Οι Βάτραχοι σατιρίζουν τους δύο μεγάλους τραγικούς Αισχύλο και Ευρυπίδη που γνωρίζω καλά.
Οι Όρνιθες όμως σατιρίζουν την δικομανία των Αρχάιων Αθηναίων. Κι αν δεν ζεις στην αρχαία Αθήνα δεν μπορείς να «πιάσεις», να «καταλάβεις» τη σάτιρα. Όσες υποσημειώσεις και να βάλει ο επιμελητής, και να μάθεις ποιος είναι ο τάδε το μομέντουμ του αστείου έχει πια περάσει.
Τις θεατρικές παραστάσεις των Ορνίθων μάλλον τις προσαρμόζουν στα σύγχρονα δεδομένα οπότε πιστεύω αυτός είναι ένας Αριστοφάνης που απολαμβάνεται καλύτερα επί σκηνής κι όχι στο χαρτί.
This was just odd, and different. Instead of being set in Athens, this one is set in a fictional talking bird world to which two men escape to have a better life. We do get visits at the end from emissaries of Zeus, and learn there was another group of gods higher in the sky than the Olympians. I did get some laughs out of it, but for the most part it didn't work for me.
In this outstanding comedy, Aristophanes explores a timeless trope: the wannabe tevolutionary that ultimately ends up rebuilding the world he wanted to run away from, thus becoming a terrible tyrant himself. As Pasolini puts it, “these so-called democracies are filled with miserables that just want to replace their masters”.
A very entertaining comedy on how to build a kingdom and become a God. The people wanted to leave society and be among nature and came across the free birds and decided to be among them. They quickly became noticed and the greek gods also noticed and accepted them as leaders of the birds and were then gods.