摘要
本文爲依據亞里斯多芬尼斯存世劇作論列他的劇作中諧擬節慶與喜劇表演的意趣，從《阿卡尼人》中的「鄉村酒神節」說起，後文則兼及《蛙》之諧擬城市酒神節、《地母節女人》及《財神》則兼含豐饒祭之諧擬，最後《和平》則諧擬「泛雅典娜節」合《利西翠妲》爲針對婆羅奔尼撒戰爭辛辣反諷之作。 全文主體分五部分，先說明節在諧擬爲亞氏老喜劇的重要手法，次自鄉村酒神節之諧擬開始，分述老喜劇表演的喜慶空間、身段表演、唱腔表演乃至言詞表演，略考其間節慶儀式的空間樣式，柯達斯舞與陽真歇的關聯性，乃至指名嘲弄的語言機能。最後以反戰意態與對雅典價值淪落之慨嘆作結。
並列摘要
This text is on the parody of festivals and the representation in the Aristophanes' plays of Greek old comedy, parting from the discussion of Country Dionysus in Acharnians, and then the parody of City Dionysus in Frogs, Women at the Themophoria, and his attitude towards the Peloponese war. There are five mainparts in this paper: First, we point out that the parody of festivals is the very important espression and mean in the Aristophanes', plays of Greek old comedy, then we first discuss the parody of Country Dionysus in Acharnians, cite the phallic song in that play and then try to talk about its space and dance, speech; especially on the dianoia (speech functions) in nomination and valuation. At the end, we consider that Aristophanes take peace and Athenian value as his persona1 preference and focus of his comedy.