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Curbing the Comedians: Cleon Versus Aristophanes and Syracosius' Decree

Published online by Cambridge University Press:  11 February 2009

J. E. Atkinson
J. E. Atkinson
Affiliation:
University of Cape Town
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Extract

There is a tendency to prune the record of restrictions on the freedom of thought and expression in fifth-century Athens. K. J. Dover has demonstrated that many of the stories of attacks on intellectuals rest on little more than flimsy speculation. Similarly there has been a reluctance to accept the historicity of the several restrictions on comedy recorded by scholiasts. Thus, for example, H. B. Mattingly has expressed doubts about Morychides' decree, and S. Halliwell has rejected Antimachus' decree as a fiction and has adopted an agnostic attitude towards Syracosius' decree. But one cannot sweep all the references aside as fallacious inferences. This short paper looks first at the evidence that Cleon initiated a legal action against Aristophanes (or possibly Callistratus) after the production of the The Babylonians, in the light of what the Old Oligarch wrote about curbs on comedians. Secondly, the historicity of Syracosius' decree will be tested by an attempt to define its nature and purpose in its political context. This exercise will show that circumstantial evidence adduced against the historicity of the decree has no compelling force.

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Articles
Information
The Classical Quarterly , Volume 42 , Issue 1 , May 1992 , pp. 56 - 64
Copyright
Copyright © The Classical Association 1992

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References

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28 κωμῳδεῖν κα κακς λέγειν might be taken as a form of hendiadys, ‘to abuse in comedy’ (whether verbally or representationally): the scholiast on Ar. Ach. 378 uses the expressions interchangeably, and in what follows in 2.18 the writer uses only the verb κωμῳδεῖν; but E. Kalinka (n. 26, above), p. 244 is, in my view, right to differentiate the two.

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59 Pherecrates: Edmonds, FAC i.228–9 F 58; Kassel, R. and Austin, C., PCG, vii (Berlin, 1989), p. 132 F 64Google Scholar. Photius took ὑπώβολον, to be the equivalent of ὑπβολον, and thus to mean ‘mortgaged’, which is how the translators of this fragment generally take it (including Sommerstein (n. 43, above), pp. 105–6); but Fine, J. V., Horoi… (Baltimore, 1951), pp. 171–6Google Scholar plausibly argues that the reference in -ωβολον was to the tax imposed on the sale price of confiscated goods, and thus renders the adjective ‘sold for a song’ (p. 175).

60 Andocides 1.12 and 14; Plut. Alcib. 19.1–2; Paus. 1.2.5. It has been argued that the reference to a mortgage puts the play earlier than the confiscation (so A. H. Sommerstein (n. 43, above), pp. 105–6), but that is not a necessary conclusion, and depends on a questionable interpretation of the term ύπώβολον. The simple point is that Pulytion's house was marked as being no longer at his free disposal.

61 The Truth-tellers, in Edmonds, FAC i.192–3 F 41.

62 Andocides 1.36.

63 In A. W. Gomme, A. Andrewes and K. J. Dover (n. 58, above), p. 276.

64 Telecleides was not one of the three prize winners at the Dionysia in 414: Hypothesis, Ar. Birds. Telecleides was thus not a contestant, if the common view is correct that during the Peloponnesian War the number of comedies presented at this festival was limited to three, whereas before and after the war (e.g. Hypothesis IV Ar. Plutus) the number was five. Against the common view note Luppe, W., ‘Die Zahlder Konkurrenten…’, Philologus 116 (1972), 53–75Google Scholar, followed by Podlecki, A. J., Athenaeum 51 (1973), esp. p. 432Google Scholar. The victors in the Lenaia of 414 are not known.

65 Edmonds, FAC i.521 F 95 = Athen. 9.385d–e; Andocides 1.36.

66 Plato included a reference to t he Herms apparently in the Daedalus (FAC i.550–1 F 188). Edmonds puts it after 415, but concludes that the only vacant date for the Daedalus is 399. The list is so tentative that a date before 399 remains an option.

67 MacDowell, D. M., Andokides, On the Mysteries (Oxford, 1962), esp. p. 211Google Scholar. I gratefully acknowledge the helpful comments of Dr M. R. Mezzabotta on an earlier draft of this paper, and I am indebted to the anonymous referee, whose influence may now be traced in the line taken with regard to the dates of Cleon's term as bouleutes and of the composition of the ‘Old Oligarch's’ Athenaion Politeia.