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Barbarians in Greek Comedy Timothy Long Southern Illinois University Press Carbondale and Edwardsville

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title	:	Barbarians in Greek Comedy
author	:	Long, Timothy.
publisher	:	Southern Illinois University Press
isbn10 | asin	:	0809312484
print isbn13	:	9780809312481
ebook isbn13	:	9780585030074
language	:	English
subject	Greek drama (Comedy)--History and criticism, Aliens in literature, Primitivism in literature, Ethnocentrism in literature, Visitors, Foreign, in literature.
publication date	:	1986
lcc	:	PA3166.L66 1986eb
ddc	:	882/.009/35203
subject	:	Greek drama (Comedy)--History and criticism, Aliens in literature, Primitivism in literature, Ethnocentrism in literature, Visitors, Foreign, in literature.

Copyright 1986 by the Board of Trustees, Southern Illinois University All rights reserved Printed in the United States of America Edited by Joyce Atwood Designed by Kathleen Giencke Production supervised by Kathleen Giencke Library of Congress Cataloging in Publication Data Long, Timothy, 1943 Barbarians in Greek comedy. Bibliography: p. Includes indexes. 1. Greek drama (Comedy)History and Criticism. 2. Aliens in literature. 3. Primitivism in literature. 4. Ethnocentrism in literature. 5. Visitors, Foreign, in literature. I. Title. PA3166.L66 1986 882'.099'35203 85-18363 ISBN 0-8093-1248-4

Contents Preface vii 1. Geography and Ethnography 1 2. Barbarian Religion in Greek Comedy 20 3. Barbarian Figures from Literature and Mythology 49 4. Barbarian Music, Food, Perfume, and Clothing 63 5. Travelers and Intruders 93 6. The Barbarian-Hellene Antithesis 129 7. Chronological Survey and Theoretical Conclusion 157 Abbreviations 171 Notes 173 Bibliography 193 Index of Passages 209 General Index 217

Page vii Preface The division of the world into "Hellene" and "barbarian" is an antithesis central to Greek history and culture. As such, it played its role in the drama of Athens, and for tragedy its importance has long been recognized. Three scholarsRudolf Hecht, Walter Kranz, and Helen Baconhave given a thorough treatment of the instances of barbarian vocabulary, character, history, and culture as they appear in Aeschylus, Sophocles, and Euripides. In these dramatists the barbarian character ranges from the dignity of Atossa in the Persians to the despicableness of the Phrygian eunuch of Euripides' Orestes. The lyrical passages of tragedy are strewn with orientalizing effects, and Aeschylus describes the besiegers of Thebes with a note of the foreign that sets them outside the pale of Greek culture. Moreover, this is not true simply of Euripides and Aeschylus, but, as Helen Bacon has pointed out, even Sophocles used numerous oriental or barbarian elements in his tragedies, added the touch of strangeness with a non-Greek word, and turned with relative frequency to mythological themes from outside the Greek world for his inspiration. It is somewhat surprising then, when we take into account this awareness of the importance of barbarian references in tragedy, that so little has been done with them in comedy. Rudolf Hecht had devoted only a few paragraphs in his essay to comedy, and Carl Holzinger, always a perceptive critic of scholarship on comedy, remarked in reviewing it that the reader would properly expect that such an analysis would concentrate

Page viii on tragedy rather than on comedy. Indeed, the only work that attempts a more or less complete treatment of the theme in comedy is Raymond Huntington Coon's 1920 dissertation, The Foreigner in Hellenistic Comedy. Coon collected many of the references to barbarians in his work, but gave little or no analysis of them because he was primarily interested in the figure of the foreigner in Roman Comedy. For this reason he confined his major discussion to the passages from the fragments of New Comedy, Plautus, and Terence. Aristophanes and Antiphanes were for him only an introduction to what he had taken as the actual theme of his work. On the other hand, his work was in another sense more extensive than this book. His topic, as his title tells us, is the "foreigner," a broader concept than the "barbarian." Coon included in his topic the Megarian and Spartan, Thessalian, Corinthian, and Boeotian, who are only peripheral to this study. He was interested in the xenos whereas this book confines itself to the barbaros in comedy, and mentions non-Athenian Greek figures only in passing.

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