A scholiast's note on Lysistrata mentions that there was an alternative title to the play: Adôniazousai. A close reading of the play with this title in mind reveals that Lysistrata and her allies metaphorically hold an Adonis festival atop the Acropolis. The Adonia, a festival that is typically regarded as “marginal” and “private” by modern scholars, thus becomes symbolically central and public as the sex-strike held by the women halts the Peloponnesian war. The public space of the Acropolis becomes, notionally, (...) a private rooftop, and Adonia-like activity proliferates; boars, myrrh, Aphrodite, “gardens of Adonis,” and lamentation all play important roles. The notion that the women of Lysistrata hold an unexpected Adonis festival on the Acropolis, at the very heart of the Athenian polis, provides a more nuanced reading of the play and forces us to rethink the place of the Adonia at Athens as well as, more generally, the distinction between public and private festivals. (shrink)

In 2005, an Egyptian dialogue’s editio princeps was published, named by its editors the ‘Book of Thoth’. While prior research on the relation between this dialogue and the Corpus Hermeticum could not identify far reaching parallels, another relation has not been taken into account yet: the relation to Plato’s critique of writing in the Phaedrus. The present article argues that very likely the Book of Thoth forms a source of the Platonic text, to which Plato responds with a diametrically opposed (...) criticism. To underline the argument, literal and thematic parallels are pointed out in a first step. Then, secondly, the focus is put on the order of the two texts. Finally, a systematic comparison between the Platonic and the Egyptian understanding of scripture underscores the argument. Thematic parallels and literal correspondences are numerous and therefore suggest excluding a similarity by accident: In the Book of Thoth we grasp a concrete Egyptian source of Plato for the first time. (shrink)