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THE FRAGMENTS of PHERECRATES by Eduardo Urios

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THE FRAGMENTS of PHERECRATES by Eduardo Urios THE FRAGMENTS OF PHERECRATES by Eduardo Urios-Aparisi Thesis presented for the Degree of the Doctor of Philosophy. GLASGOW 1992 © Eduardo Urios-Aparisi, 1992 ProQuest Number: 11007933 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007933 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 [ university iibrarX. A Adel a ACKNOWLEDGMENTS This thesis is the result of what I would call collective effort. I call it collective, because I do not think I would have been able to complete it without the support of so many people who in Glasgow and in Barcelona have been helping and encouraging me. I would like to thank especially my parents and family for their support, understanding and trust. They have inspired in me the confidence and determination to work and complete this thesis. In Barcelona I would like to mention Prof. J. Pdrtulas and Dr. F. Mestre who greatly supported and encouraged me to come to Glasgow, as well as the other members of the Classics Depeartment of the University of Barcelona. In the University of Glasgow I thank the members of the Classics Department for creating an atmosphere of work, but one of fellowship and open communication. Among my many friends in Glasgow, I am especially grateful to Dr. K. Kapparis for his help and his friendship. Above all, I want to thank my supervisor, Prof. D. M. MacDowell. He has been the person who has shaped, corrected and perfected the many faults and deficiencies in my research, naive and irregular at the beginning, with patience and understanding. The insight of his scholarly precision, experience and erudition is present throughout all this work and I should be blamed for any mistake therein. OUTLINE This thesis comprises a linguistic, metrical and literary commentary on the fragments of Pherecrates, as collected in the latest edition of R. Kassel and C. Austin Poetae Comici Graeci vol. VII pp. 102-220 Berlin/New York 1989, and a general introduction. The commentary of the 288 fragments is the main bulk of the work. Generally each play is treated according to the following scheme: first of all, I provide an 'introductory note' in which I discuss different questions regarding authorship, date, plot and contents; secondly, a commentary on each fragment. The individual fragments are handled in a similar fashion: I deal first with metre, contents and interpretations and then with the problems in specific lines and words. Perhaps the most remarkable passages in the commentary are from the play vAypioi, Kopiavvd> (above all fr. 73-76), KpandtxaXoi, MexaXXfjq (fr. 113), IlipaaL, XeCpav (fr. 155), and, from the "Incertarum fabularum fragmenta", fr. 193 and 197. In the introduction I synthesize the information from the commentary, in order to give a general view of Pherecrates' work and style of comedy. First, I consider the testimonies about his life and works, above all those related to the dates and the question of the number of plays. Through the references to later scholars given by the sources of these fragments, I suggest the view of Hellenistic scholars about this playwright. The historical view of Pherecrates is completed by a description of the textual tradition for the sources of the fragments. Secondly, I deal with the following subjects: metre (I include a list of the metrical schemes and the fragments where they are used); language (the words are grouped in three levels of language: colloquial, technical and poetical), style and humour (where special reference is made to the obscene humour). I also speak about the elements of dramatic structure and the passages which yield some parallels to Aristophanes' plays. Next, I outline the plots of the comedies and I attempt to establish different types of comedy either from external evidence or by means of speculation from the titles or the content of the fragments. Further, the topics and motives of the fragments are divided into food, music, moral decadence and xa>|juji5oi))Aevot. Finally, I compare Pherecrates with Crates and Aristophanes in order to provide a possible background for the style which I aim to describe. CONTENTS Page I. INTRODUCTION......................................... 1 1. - LIFE AND WORKS A) LIFE..............................................1 B) NUMBER OF PLAYS................................... 5 2. - PHERECRATES IN THE LATER STUDIES OF COMEDY A) LYCOPHRON AND ERATOSTHENES........................10 C> OTHER SCHOLARS. ARISTOPHANES OF BYZANTIUM......... 11 3. - THE SOURCES FOR THE TEXT A) SCHOLIA.......................................... 16 B) POLLUX, HESYCHIUS AND MINOR SOURCES OF THE II CENTURY A. D............................. 17 C) ATHENAEUS........................................ 18 D) PHOTIUS AND OTHER LEXICA......................... 20 4. - FORMAL FEATURES OF PHERECRATES' FRAGMENTS A) METRE............................................22 B) LANGUAGE.........................................25 Colloquial language (25), Technical language (28), Poetic language (29), Ctmic vords and 'hapax legoaena' (30), C) STYLE AND HUMOUR........................ 32 High Style (32), Foraal Style (33), Colloquial style (34), Huaour (35), 5. - ANALYSIS OF THE DRAMATIC STRUCTURE....................38 6. - CHORUS, CHARACTERS AND CHARACTERIZATION A) CHORUS...........................................41 B) CHARACTERS 43 Male characters (43), Feaale characters (45), SIaves (46), Mythological figures and personifications (46), C) CHARACTERIZATION................................. 47 7. - PLOTS. CLASSIFICATION OF COMEDIES A) PLOTS............................................ 50 B) CLASSIFICATION OF COMEDIES........................ 52 Coaedies of Manners (52), The Idler's Paradise (54), Fantastic and Mythological (55). 8.- COMIC THEMES A) FOOD............................................. 57 B> MUSIC AND POETRY................................. 60 C> MORAL DECADENCE.................................. 62 D> KQMQIAOYMENOI.................................... 64 9. - PHERECRATES AND OLD COMEDY........................... 66 II. COMMENTARY 'AyoiOo C. Introductory note........................... 72 Fr, 1 (74), 2 (77), 3 (80), 4 (81). "Aypioi. Introductory note........................... 82 Fr. 5 (91 ), 6 (95), 7 (97), 8 (98), 9 (99), 10 (101), 11 (105), 12 (108), 13 (112), 14 (114), 15 (119), 16 (123), 17 (125), 18 (126), 19 (127), 20 (128), 'Av6po<pT)paxXf[q. Introductory note....................129 Fr, 21 (129), AuxdpoXoi. Introductory note........................ 131 Fr. 22 (132), 23 (135), 24 (131), 25 (138), 26 (139), 27 (144), 28 (145), 29 (154), 30 (156), 31 (158), 32 (159), 33 (160), 34 (161), 35 (162), 36 (163), TpSeq. Introductory note............................ 164 Fr, 37 (165), 38 (168), 39 (169), 40 (170), 41 (171), 42 (172), AouXofiiSdaxoXoq. Introductory note.................. 173 Fr, 43 (177), 44 (180), 45 (181), 46 (183), 47 (185), 48 (187), 49 (188), 50 (189), 51 (193), 52 (196), 53 (197), 54 (198), 55 (198), ’EieiX^ojiqv fj O&Xaxxa. Introductory note............. 199 Fr, 56 (201 ), 57 (203), 58 (205), 59 (206), 60-61 (207), 62 (209), 63 (210), *Iirv6q fj Ilavvox^* Introductory note................ 211 Fr, 64 (214), 65 (215), 66 (216), 67 (216), 68 (217), 69 (220), 70 (221 ), 71 (230), 72 (231 ), Kopiavv&. Introductory note.........................232 Fr, 73 (235), 74 (239), 75 (242), 76 (46), 77-78 (249), 79 (250), 80 (252), 81 (253), 82-83 (254), 84 (256), KpandtxaXoi. Introductory note: A) Date................. 260 8) Title Coins in Hades,,,,,,,261 C) A conedy set in Hades 267 D) Other possible fragments,,,268 Fr, 85 (270), 86 (276), 87 (279), 88 (281), 89 (283), 90 (284), 91 (285), 92 (286), 93 (287), 94 (288), 95-96 (289), 97 (290), 98 (292), 99 (293), 100 (296), 101 (298), 102 (301), 103-104 (306), Af|poi. Introductory note........................... 307 Fr, 105 (309), 106 (311), 107 (313), 108-109 (314), 110 (316), 111 (310), 112 (319), MexaXXffc. Introductory note: A) Date............... 320 8) Authenticity......... 320 C) Title and content..... 322 D) A possible fragment.... 322 Fr, 113; a) Analysis of content (324); b) Analysis of style and vocabulary (326); c) Content; the tradition of the Idler's Paradise (327); d) Comnentary (332). 114 (356), 115-116 (362). M€t o i x o i ........................................... 364 MupfifixdrvOpomoi. Introductory note................... 366 Fr, 117 (369), 118 (370), 119 (371 ), 120 (372), 121 (373), 122 (374), 123 (375), 124-125 (376), 126 (377), 127 (382), 128 (383), 129-130 (384), 131 (385), II£pcrci. Introductory note: A) Date and authorship,386 6) Title and content,,,,,,388 Fr, 132 (390), 133 (391), 134 (392), 135 (393), 136 (394), 137 (395), 138 (403), 139-140 (408), 141 (409), nexdXi). Introductory note....................... 410 Fr, 142 (411), 143 (412), 144 (415), 145 (416), 146 (417), 147 (418), 148 (419) 149 (420), TopavvCq. Introductory note......................... 421 Fr, 150-151 (423), 152 (424), 153-154 (429), XeCpov. Introductory note........................... 430 Fr, 155 (433), 156 (458), 157 (463), 158
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