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253 253

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abbreviations abbreviations

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relativ

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Parola Parola

only only

that that

his his

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for for

than than

of of received received

their their

word word

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character character

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nam

presentation presentation

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y y

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stepson stepson

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old old

th

ask ask

anger anger

d d

festival festival

s' s'

ilokhos

mophoria mophoria

th

trag

usl

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enemy. enemy.

times times

style style

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an an

reveals reveals

character character

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to to

of of

es

Chirico Chirico

trag

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es

n n

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wife wife

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e e

cif cif

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own own

Akharnians Akharnians

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possible possible

tragedian tragedian

m

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younger younger 6

th

ea

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known known

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evio r r

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96-2o5. 96-2o5.

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gets gets

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m

AMBIGUITY AMBIGUITY

dian dian

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41 41

pr

h

new new

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th

at at

d d

to to the the

e

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for for

n n

then then

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late late

have have

Aristophane

in in

years years

did did at at

and and

e

margins margins

who who

993) 993)

Euripides Euripides

accompani

had had

father-in-law, father-in-law,

trag

1 1

shall shall

with with

buffoonish buffoonish

n n

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scene scene

Euripides

jealousy jealousy

( (

of of es es

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contests contests

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e e

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4I-55

festival festival

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wom

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that that

reason reason

b

anonymous anonymous

is is

law, law,

121 121

thirty thirty

the the

SEXUAL SEXUAL

love love said said

Women Women

-

the the

and and

Euripides Euripides

in in

first first

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kill kill

scholia, scholia,

Euripides Euripides

r-in-law.~ r-in-law.~

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in in

982) 982)

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play, play,

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over over

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the the

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and and

kedestes kedestes

audience audience

untrue untrue

discussions discussions

mbles mbles

or or

Aristophan

fath

enough enough

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32 32

e e

a a

in in

names names

Agathon Agathon

the the

her her

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shows shows

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appears appears

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psychology psychology

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house house

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speakers' speakers'

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s

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Strepsiades Strepsiades

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haracter haracter

Phaidra, Phaidra,

the the

woman woman

plotting plotting

Mnesilokho

marriage: marriage:

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play; play;

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female female the the

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Jason Jason

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43

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of of

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comic comic

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occurs occurs

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women women

around around

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41 41

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politi

women

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Aristophanes Aristophanes

women; women;

Aristophanes Aristophanes

conspirators; conspirators;

Aristophanes Aristophanes

repeats repeats

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Athena Athena

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tyranny tyranny

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write write

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play play

thought thought

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23 23

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conspirators; conspirators;

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43

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41 41

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368-9. 368-9.

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play. play.

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phrases phrases ditional ditional

goddess goddess

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parody parody

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women's women's

thought thought

or or

and and Thucydides Thucydides 254 Women at the Thesmophoria Women at the Thesmophoria 255

generation of tragedians, but the surviving evidence does not really frowned on, but the younger or passive partner tended to be make clear what was novel about his plays. 6 In Aristophanes his regarded with contempt, especially if already adult. 8 Aristophanes' music is mocked as 'soft' (fr. I 78) and is compared to 'the paths of jokes imply that Agathon has a naturally pretty and effeminate an ant' (Thesm. 10o), whatever that means; no doubt the point was appearance, with a high-pitched voice (I9I - 2); that he cultivates brought out in the music of the parodies of his songs ( 3 9-6 2, I o I- such an appearance deliberately (I 7 2), notably by shaving his beard, 2 9). The quotations which we have from his actual work are all very which was not the normal practice of Athenian men; 9 and that he short, but some of them display a fondness for symmetrical verbal enjoys passive homosexual intercourse (2oo, 2o6). In the play he is patterns (antithesis and chiasmus) such as: wearing woman's clothes, so that the Relative at first sight thinks he actually is a his Success attracts skill, skill attracts success. woman (97-8) but then comments on strange mixture of masculine and feminine garments and attributes (I 34- (Agathon fr. 6) 43). Agathon's answer, however, is not that he has a natural desire Now ifl speak the truth I shall not please, to look like a woman (as an instinctive transvestite), but that his And if I please I shall not speak the truth. attire has a practical purpose . ( Agathon fr. 1 2) AGATHON. The clothes I wear are suited to my thought. That this sort of thing was characteristic of Agathon is confirmed A man who is a poet must adapt by Plato's Symposium, in which he appears and delivers a speech His manners to the plays he needs to write. (I94e-I97e) containing many instances of parallel phrasing and So if the plays one writes are feminine, rhyme, in the manner of Gorgias the rhetorician. So we can safely Those are the ways the body must adopt. RE LATJVE. And ride on top, if you're composing Phaidra? 10 assume that in lines 1 9 8- 9 we have a parody of this feature of AGAT H oN . But if the plays are masculine, one has Agathon's style, or perhaps even an actual quotation from one of his That quality already in the body. tragedies, which Aristophanes then mocks by adding some vulgar 11 What we don't have, we chase and imitate. derision by the Relative. RELATIVE. Well, when you write a satyr-play, call me; AGATHON. It is not right by ingenuity I'll stand erect behind you to assist! To bear mischance, but by passivity. AGATHON. Besides, it isn't in good taste, to see RELATIvE. And so, you bugger, you've become wide-arsed A poet rough and hairy. Just consider Not just by speech, but by passivity! Anakreon ofTeos, Ibykos, Alkaios, who gave seasoning to music: (Women at the Thesmophoria 19 8- 2 o 1) They wore snoods in Ionian luxury. This conjunction of rhyme and sex confronts us with the question: And Phrynikhos"- you've heard him, I suppose­ is Aristophanes mocking Agathon's poetry or his personality? The Himself was lovely and wore lovely clothes, answer is complex. It is known from other sources that Agathon as a boy was loved by a man named Pausanias and that this erotic ' Cf. K. J. Dover Greek Homosexuality (London 1978) in general, and especially p. 144 on Agathon. relationship continued after he had grown up. 7 In classical Athens 9 Line 19 1 does refer to shaving of the beard, not of bodily hair, because it the active partner in a homosexual relationship was not particularly draws a contrast with the bearded Euripides ( 190) ; cf. also 33 . 0 ' Phaidra is regarded as the most notorious adulteress in tragedy; cf. Thesm. • The extant fragments and other evidence are in Tranicorum Graecorum Fran­ 497, 547- 5o, Frons 1043, 1o52. menta 1 (ed. B. Snell, 1971) 155-68. For extended discussion seeP. Leveque " 'Imitation' (!J-L!J-T)Gt>) refers to dress and behaviour (-rp67Tot). It does not Anathon (Paris 1955). On Aristophanes' parody of Agathon see Rau Paratranodia here have its Aristotelian sense of poetic representation. 98- 114. " The early tragic dramatist, not the comic dramatist contemporary with 7 Plato Protanoras 3 15e, Symposium 193c, Xenophon Symposium 8. 3 2. Aristophanes. Women at the Thesmophoria Women at the Thesmophoria 257

And so that's why his plays were lovely too. nacy, both in personality and in poeti~s~yle .Proba?ly there was One's compositions must be like one's nature. some factual basis for the satire, but It IS not possible for us to R E LA TI v E • So Philokles is foul and WTites foul plays, know just how effeminate the real Agathon and his poetry actually And Xenokles is bad and WTites bad plays; were. Theognis, too, is cold and writes cold plays! The true facts are even more uncertain concerning the other (Women at the Thesmophoria 148-7o) 'womanish' man who appears in this play. Kleisthenes is the butt of jokes in many of Aristophanes' plays, but it is only in this one ~at Here Agathon offers three different justifications for his feminine he appears on-stage, 15 as the women's friend and representative dress, sliding almost imperceptibly from one to another. First he among the men (574-6). From several of the jokes it is clear that claims that he needs it in order to write a female role in a play. He he looked like a woman because he had no beard: when the Relative must mean that adopting a woman's clothes and manners helps him is shaved and sees himself in a mirror, he thinks he sees Kleisthenes to know what a woman would do and say. This is virtually the same ( 2 3 5). But there is no suggestion that Klei~thenes,l~k~Ag~thon, idea as in Akharnians 41 o-1 3, where Euripides wears rags and lies shaved his beard deliberately, and it is more hkely that It JU~td1d n~t on a couch when writing roles of cripples and beggars. Probably grow naturally. Some of the jokes imply that ~sc~nduct IS effer~n­ Aristophanes is mocking a theory that someone had actually pro­ nate: he is engaged in weaving (Birds 8 3 1) and IS available as a passive pounded, arguing that a dramatist by physical imitation could feel sexual partner (Lysistrata 1 09 2, Frons 57). 'l!e cannot .tcl.l whether his way into a character's natural speech and behaviour; there is, these have any basis in fact. They may be simply cormc mferences however, no other evidence for this theory in Aristophanes' time. from his beardless face. '6 Secondly Agathon points out that he is following a poets' tradition, Besides the womanish characters of Agathon and Kleisthenes, the because Ionian poets of the previous century customarily wore dress Relative is dressed as a woman for much of the play, and so is which looked effeminate and luxurious. Vase-paintings prove that Euripides briefly at the end. Thus sexual ambi:'~lenceand disguise( Anakreon did wear clothes similar to those worn by Agathon in this 11 are an important element of the play. Some cnt1c~have looked for scene. It may be true that Agathon in real life affected this kind of 17 a wider significance in this, but its main purpose IS surely to make attire in emulation of his Ionian predecessors, and that Aristophanes the audience laugh at the characters' odd appearance. We have to is mocking this. 14 But thirdly, after linking beauty of person, beauty visualize what they look like in the theatre. In the modern th~~trea of clothes, and beauty of plays in the case of Phrynikhos, Agathon male actor playing a woman is generally funny. The traditional refers to 'nature' ( 167); the feminine dress reflects his own nature, pantomime dame is the most obvious case: 'she' looks and sounds which is what makes his style of composition effeminate, just as, comic because a deep voice, long strides, and other male charac­ the Relative rudely remarks, the foul, bad, and frigid compositions teristics are incongruous in a female character. Modern readers of other poets match their respective natures. In strict logic these sometimes assume that female characters in Aristophanes must have three explanations of Agathon 's attire are incompatible. If he is been funny likewise because they were played by male actor~,but trying to look like Anakreon, he is not trying to look like a woman; that is an error. In Athens men playing women were not exceptional, and if he is imitating feminine qualities which he does not pos­ like the pantomime dame, but normal, in tragedy as well as ~omedy. sess ( 155-6), it is not true that those qualities are in his own Antigone, Elektra, Phaidra, Iphigeneia-they all spoke WJth male nature ( 1 6 7). But Aristophanes blends the different explanations in such a way as to give a general impression of Agathon's effemi- •s Kleisthenes does not appear on-stage at Akharnians 1 18. The c?arac~er appearing there is a Persian eunuch, and the joke is that he looks JUSt hke '' Cf.J. M. Snyder Hermes 102 (1974) 244-6. Kleisthenes. 6 •• Compare W S. Gilbert's mockery in Patience of the effeminate dress of ' Cf. Dover Greek Homosexuality 144-5 . 7 'aesthetes' in the late nineteenth century, who claimed to bl: imitating medieval ' G. Paduano Qyaderni Urbinati di Cultura Classica 40 ( 1982) 103-27 , Taaffe predecessors. Ar. and Women 74- 102. Women at the Thesmophoria Women at the Thesmophoria 259

voices and had a male physique. So, when male actors appeared as THE THESMOPHORIA women in Lysistrata and Women at the Thesmophoria, that was not in itself funny; it was perfectly normal. But a male actor playing a man The Thesmophoria were an annual festival in honour of Demeter dressed as a woman was funny, as is clear from Agathon and the and her daughter (Kore or Pherephatta or Persephone), who on Relative in this play. He did not look the same as a male actor playing this occasion had the title thesmophoros. In antiquity this title was a woman. believed to mean 'bringing law', implying that the two goddesses The difference lay in the mask. An actor wore a white mask were givers of civilization; 20 there is no strong reason to reject to play a woman, a darker mask to play a man.' 8 This reflected, this interpretation, although modern scholars have proposed or rather exaggerated, the normal conditions of ancient life, in various others. The festival was held in the autumn, on 1 1, I 2, which men were generally sunburnt because they spent much and 13 Pyanopsion. The middle day was apparently the most time out-of-doors whereas women lived mainly indoors. Normally important, and that is the day on which the action of the play a male mask would also have a beard. In Women at the Thesmophoria takes place.'' Many women probably attended on that day only; the actor playing Kleisthenes must wear a mask with no beard; the Relative remarks on the crowd which can be seen going up but it is a dark mask, and he wears man's clothes, so that he is to the temple on that day ( 2 8 o- I). But huts or tents are also easily seen to be a man, and it is only the absence of a beard that mentioned (658, cf. 624), in which those attending the whole looks incongruous. The actor playing Agathon, besides having no festival may have stayed at night. beard, wears woman's clothes. Does he also wear a white mask? The place of celebration was called the Thesmophorion, but He is called 'white' (I 9 I, cf. 3 1- 2 ), but if he wore a white there is doubt about its location. There are two main views. One is female mask the audience would be left with no visible indication based on 6 57- 8, where the women say they must search the whole that the character is really a man. Thus it seems more likely that Pnyx to see if a man has got in. From this it is inferred that the his mask is simply pale, interm ediate in colour between normal Thesmophorion was situated on the Pnyx hill, close to the normal male and female masks. ' 9 When the Relative is dressed up as a meeting-place of the Assembly." However, since the women in the woman, the beard is removed from his mask by some stage play have been holding their own assembly, which Aristophanes has business ( 2 18-35), but he undoubt edly continues to wear the presented partly as a comic reflection of the real Assembly of men, dark mask, and the combination of a dark face and feminine it is possible that they are merely calling their meeting-place Pnyx clothes give him an absurd appearance for all the rest of the play, in imitation of the real Assembly. If so, there is no evidence that the becoming even more ludicrous when the feminine clothes are Thesmophorion was on the actual Pnyx, and Broneer has argued found to have a phallus underneath (643-8). At the end, when that it is more likely to have been in the precinct of the Eleusinion, Euripides appears disguised as an old woman, there is no mention which was the main centre for worship of Demeter and Kore in of shaving; perhaps he wears a cloth wrapped all round his head Athens, situated where the south-east corner of the Agora slopes and chin, concealing the beard but leaving the forehead, eyes, up towards the Akropolis; or it may even be simply an alternative and nose of the dark mask visible. Whatever the exact details, in name for the whole Eleusinion, used on the occasion of the Thes- all these characters it is the combination of male and female indicators which is grotesque and laughable. >o Kallimakhos Hymn to Demeter 1S, Virgil Aeneid 4.5 S with Servius ad loc. " Lines So and 3 7 5 call it the middle day; So also calls it the third day. A scholiast explains that the Thesmophoria were celebrated on 1 o Pyanopsion in the deme Halimous, so that the middle day of the celebration in Athens was the '' Cf. Stone Costume 2 2- 7. third day if the celebration at Halimous was counted in; cf. C. Austin Dodone 19 •• Masks of this colour were probably used also for other male characters (•990) •5· mocked for their pallor, such as the students in Clouds and Khairephon in Wasps " This, the more widely held view, is best expounded by H. A. Thompson 1412-14. Hesperia 5 (1936) 151- 2oo. l

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