Come Niobe, così Achille: la riflessione performativa e metaperformativa di Aristofane sull’arte di Eschilo

This paper examines Aristophanes’ reflection, as a theatre (and literary) critic, on Aeschylus’ dramatic art in The Frogs. The central focus of the research is Euripides’ polemical tirade against Aeschylus’ compositional strategy, specifically exemplified by his characterization of Achilles and Niobe. The study intersects the textual analysis of Aristophanes’ comedy with the study of frag- ments and testimonies from Aeschylus’ lost tragedies, notably Niobe and the Achilleid trilogy (Myrmidons, Nereids, and Phrygians). By examining the ‘anti-characters’ of Niobe and Achilles – constructed through the media of silence and immobility – the analysis highlights how Aristophanes identifies the protagonists’ stubborn silence and their overall characterization as a fundamental feature of Aeschylus’ dramaturgical strategy. Aristophanes’ critique is articulat- ed through two distinct dramaturgical devices. The former involves strategic quotations and refer- ences to Achilles (especially the one from the Myrmidons) and Niobe at pivotal narrative junctures. The latter consists of the representation of the character of Aeschylus based on the eth- ical and behavioural traits of ‘his own’ character Achilles. In some parts of the action, not only is the set of values attributed to Aeschylus comparable to that of Achilles, but Aeschylus actually overlaps with Achilles – or rather, Aeschylus overlaps with the Achilles-character as he himself portrayed him on stage, in a skilful interweaving of performance and metaperformance. Ulti- mately, Aristophanes’ reflection transcends mere parody, offering a profound analysis of Aeschy- lus’ compositional strategies conducted through the medium of theatre itself.