Photius’ lexicon contains an entry on the rare adjective ἀναλφάβητος (‘illiterate, ignorant’) that cites Phrynichus Atticista. Based on this testimony, the whole passage has been edited as fr. 19 of Phrynichus’ Praeparatio sophistica. This article demonstrates that in this lemma Photius conflates material which comes from Phrynichus and one other source, hypothetically identified with the anonymous Antiatticist lexicon, which preserves an abridged entry on ἀναλφάβητος and which Photius employed in the compilation of his lexicon. The article also explores the possibility (...) that the work in which Phrynichus dealt with ἀναλφάβητος was not the Praeparatio sophistica but the Eclogue. This hypothesis requires challenging some assumptions concerning the transmission of Atticist lexicography in the Byzantine era, chiefly the assumption that material from the Eclogue did not circulate at Byzantium before the fourteenth century. (shrink)

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)

Klaus Alpers has recently recovered from the obscurity of Byzantine lexica the fragments of what appears to be a novel dating from c. A.D. 100, and notable to us, as it was for the Byzantine excerptor, for the elegant verbal borrowings from ancient comedy, always a favourite source of good Attic Greek for the atticists of imperial times. One of these glosses gives occasion to look again at fishing metaphors for erotic business, a subject discussed often enough by scholars, but (...) still perhaps capable of revealing new nuances. These hunting and fishing metaphors are used as one would expect in many non-amatory contexts, but in both love poetry and its allied genres they occur throughout antiquity in such quantity that the metaphorical complexity reaches into very allusive language. Long ago Preston had already pointed out that ‘Figures from hunting, fowling and fishing as parallel to the arts of the meretrix, are very frequent, and are developed at unusual length.’ There was undoubtedly a realistic side to all of this metaphorical hunting. ‘The lover is a fish to be baked, as long he has juice in him’, says the bawd at Plautus, Asinaria 177, and one needs little imagination to realize what plays can be made on such a theme, and indeed were made at all levels throughout antiquity. (shrink)

The epitome of Athenaeus does not retain all the details of how these comic fragments were embedded in the conversation which Athenaeus originally presented, though the extract's first sentence shows that one purpose was to exemplify the application of βρέχω to drinking. Editors of both Athenaeus and Eubulus have left the connection of the latter's fragment to its conversational context at that. I submit that what follows in the epitome, as well as what precedes, casts light both on that connection (...) and on how we should restore the text. (shrink)