This paper examines the role of the generation gap in Aristophanes' construction of his persona throughout Wasps, Clouds, and Peace. It contends that in Wasps and Clouds Aristophanes defines the relationship with his audience and his rivals by presenting himself as the figure of a paternal son. The same stance shapes the comic poet's generic self-positioning in the initial scene of Peace, where the parody of Euripides' Aeolus and Bellerophon evinces a corrective attitude in relation not only to the troubled images of fatherhood offered in the two tragic plays, but also to Aristophanes' unsuccessful performances as a paternal son in his earlier comedies. Euripidean intertextuality thus serves as a discursive medium through which Aristophanes dramatizes the turning points of his poetic autobiography.
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