Paris within the Twenties – dizzy and decadent. the place a tender guy could make a fortune along with his wits ... until he's led into temptation. Cocaine's dandified hero Tito Arnaudi invents lurid scandals and grotesque deaths, and sells those tales to the newspapers. yet his personal lifestyles turns into much more outrageous than his press stories while he acquires 3 challenging mistresses. dependent, witty and depraved, Pitigrilli's vintage novel was once first released in Italian in 1921 and charts the comedy and tragedy of a tender man's downfall and the entice of a bygone period. The novel's descriptions of intercourse and drug use brought on church specialists to put it on a listing of forbidden books, whereas attractive to filmmaker Rainer Werner Fassbinder who wrote a script according to the story. Cocaine keeps its venom even this day.
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The seriousness of the comedy is expressed dramatically in Socrates' quietly unrelenting opposition to any form of alazoneta, a stance that characterizes many of Lucian's own voices.
Laughable," "strange," "monstrous," "satyric" (geloion, xenon, phasma, saturikon: 34) are the terms that Dialogue uses to denounce the absurd condition to which the Syrian has reduced him from the grandeur of Plato's Phaedrus: narrative and dialogue, verse and prose, sublimity and burlesque are freely combined. There is in fact no definitive model for his condition, but there are important precedents, as we shall see. Thus in these two forensic fantasies Lucian defines and defends his relation to tradition in broad generic terms.
The comic narrative is made to apply directly to his literary strategies and their reception by a contemporary audience. Furthermore, the story does not instruct in addition to being comic, but by means of being comic. For the work to perform its rhetorical function, the audience must be made to envisage the maenads first as comic (geloios) and only afterward as something to be taken seriously, as effective warriors. Dionysus is thus a paradigm of Lucian's seriocomic practice and shows it to be thoroughly integrated: the relationship between the serious and comic elements is not to be conceived externally as one of message to decoration, as the Horatian dictum on mixing the utile with the dulce might suggest (Ars Poetica 341-344).
Cocaine by Pitigrilli