---

The conventional view of Aristophanes bristles with problems. Important testimony for Alcibiades´ paramount role in comedy is consistently disregarded, and the tradition that "masks were made to look like the komodoumenoi, so that before an actor spoke a word, the audience would recognize who was being attacked" is hardly ever invoked. If these testimonia are taken into account, a fascinating picture emerges, where the komodoumenoi are based on the Periclean household: older characters on Pericles himself, younger on Alcibiades. Aspasia, Pericles´ mistress, and Hipparete, Alcibiades´ wife, lie behind many female characters, and Alcibiades´ ambiguous sexuality also allows him to be shown on the stage as a woman, notably as Lysistrata. There is a substantial overlap between the anecdotal tradition relating to the historical figures and the plotting of Aristophanes´ plays. This extends to speech patterns, where Alcibiades´ speech defect is lampooned. Aristophanes is consistently critical of Alcibiades´ mercurial politics, and his works can also be seen to have served as an aide-mémoire for Thucydides and Xenophon. If the argument presented here is correct, then much current scholarship on Aristophanes can be set aside.

---

"Somit wird das Buch [...] vor allem Forschern von Nutzen sein, die sich mit der keltischen Uberlieferung für die Geschichte des Altertums, mit Fragestellungen zur Sprachentwicklung oder mit allgemeinen rezeptionsgeschichtlichen Untersuchungen befassen."Raphael Brendel in: Das Historisch-Politische Buch 65 (2017), 1, S. 40-41

---

Michael Vickers, Jesus College, Oxford, UK.

---