In Python's comic satyr play Agen Harpalus, Alexander's errant treasurer, is mocked for erecting costly buildings left and right to honour his dead lover, the notorious prostitute Pythionice:ἔστιν δ’ ὅπου μὲν ὁ κάλαμος πέϕυχ’ ὅδε†ϕέτωμ’ ἄορνον, οὑξ ἀριστερᾶς δ’ ὅδεπόρνης ὁ κλεινὸς ναός, ὃν δὴ Παλλίδηςτεύξας κατέγνω διὰ τὸ πρᾶγμ’ αὑτοῦ ϕυγήν.1–2 πέϕυκε· ὁ δ’ εϕετωμα ορνον Athenaei cod. A: ὅδε scr. Dindorf, ἄορνον Fiorillo †ϕέτωμ’ vox desperata: ϕάτνωμ’ Fiorillo, ἕλωμ’ Meineke, πέτρωμ’ Pezopulus, ϕλέωμ’ A. von Blumenthal, στόμωμ’ Erbse, ϕηγὼν (...) Friebel. (shrink)

The emergence of local alphabets in archaic Greece, different from one another in the shapes of only few letters, is usually seen as accidental. Observing the use of local alphabets outside their area of origin especially, this article argues that they were consciously created so as to be recognizable from one another and closely associated with perceived ethnic boundaries within the Greek world. The use of the local alphabets should be observed in conjunction with the use of dialects, which appear (...) to have functioned in a similar way. (shrink)

This paper examines the importance of artist names and artistic identity, especially as expressed in artist signatures, to the interpretation of ancient Greek pottery. Attention is focused on a calyx krater signed ΣϒPIΣKOΣ EΓPΦΣEN [sic], and it is argued that the non-Greek ethnikon used as artist name encourages a non-Athenian reading of the iconography. The painted labels for all six figures on this vase, together with parallels from other Athenian red-figure vases—including others from the Syriskos workshop—all suggest the presentation of (...) an alternative, un-Athenian world view. Okeanos, Dionysos, and Epaphos are read as representing faraway lands at the edges of the Ge Panteleia, or “entire earth,” while the central figure of Themis, Greek personification of divine right, is depicted pouring a libation to Balos, the Hellenized form of the Syrian supreme god Baal, thereby recognizing his status as a supreme deity. Other overtly political messages have been read elsewhere in the oeuvre of the Syriskos Workshop, where it seems that at least two distinct artistic identities were at play—the explicitly foreign “little Syrian,” and the more conventional Pistoxenos, or “trustworthy foreigner.” When explicitly signed on vessels, these artistic identities necessarily sway interpretation, whereas on the many unsigned pieces, the viewer is left to consider which identity is at play. (shrink)

There existed in Greek a multitude of words denoting or connoting sexual congress. The list of verbs given by Pollux only skims the surface. In what follows I discuss words which with one exception are absent from this list and belong, as will be seen from their distribution, to the lower register of the Greek language. They are all demonstrably direct expressions, blunt and non-euphemistic. Only one of them, κιν, is at all common in non-sexual contexts. As for the rest, (...) if they originated through metaphor like many more respectable verbs of intercourse, this had long since been forgotten by native speakers. They rarely undergo any significant weakening, retaining their basic sexual denotation. (shrink)