THE THEATRICAL CAST OF ATHENS This page intentionally left blank THE THEATRICAL CAST OF ATHENS Interactions between Ancient Greek Drama and Society EDITH HALL 1 3 GreatClarendonStreet,Oxfordox26dp OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwidein OxfordNewYork Auckland CapeTown DaresSalaam HongKong Karachi KualaLumpur Madrid Melbourne MexicoCity Nairobi NewDelhi Shanghai Taipei Toronto WithoYcesin Argentina Austria Brazil Chile CzechRepublic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore SouthKorea Switzerland Thailand Turkey Ukraine Vietnam OxfordisaregisteredtrademarkofOxfordUniversityPress intheUKandincertainothercountries PublishedintheUnitedStates byOxfordUniversityPressInc.,NewYork (cid:1)EdithHall2006 Themoralrightsoftheauthorhavebeenasserted DatabaserightOxfordUniversityPress(maker) Firstpublished2006 Allrightsreserved.Nopartofthispublicationmaybereproduced, storedinaretrievalsystem,ortransmitted,inanyformorbyanymeans, withoutthepriorpermissioninwritingofOxfordUniversityPress, orasexpresslypermittedbylaw,orundertermsagreedwiththeappropriate reprographicsrightsorganization.Enquiriesconcerningreproduction outsidethescopeoftheaboveshouldbesenttotheRightsDepartment, OxfordUniversityPress,attheaddressabove Youmustnotcirculatethisbookinanyotherbindingorcover andyoumustimposethesameconditiononanyacquirer BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressCataloguinginPublicationData Dataavailable TypesetbySPIPublisherServices,Pondicherry,India PrintedinGreatBritain onacid-freepaperby BiddlesLtd.,King’sLynn ISBN0-19-929889-0 978-0-19-929889-1 1 3 5 7 9 10 8 6 4 2 Acknowledgements Sincesomeoftheessaysinthisbookhavebeengerminatingfortwo decades, the number of friends and colleagues to whom I am in- debted for intellectual, practical, or other help has grown uncontrollably. I have tried throughout to thank the individuals whohavehelpedmeonspecificdetails,withtheprovisionofinfor- mation and offprints, and by commenting on individual chapters. But there are several people who have earned special gratitude, and whose input has been all-pervasive. Robin Osborne and Froma Zeitlin, who provided the reports for OUP, were extraordinarily generousinthedispensationofwiseadviceanddetailedsuggestions. Ihavebeenmoreorlesscontinuouslyindialoguefor yearswithPat Easterling, Peter Brown, Helene Foley, Fiona Macintosh, Pantelis Michelakis, Christopher Rowe, and Oliver Taplin. Emma Bridges, AmandaWrigley,ChrisWeaver,LeanneHunnings,RanjaKno¨bland Rosie Wyles all helped by tracking down recalcitrant references and itemsofbibliography.PeterHeslincametotherescueonimagesand software.HilaryO’Sheasupportedtheprojectenthusiastically;Jenny Wagstaffe was a calm administrator; Tom Chandler was a superb copy-editor. Esther McGilvray and Christine Flowers tirelessly printed out the seemingly endless new drafts of all the chapters. Richard Poynder thought up the title and makesthe best cup of tea inBritain. ThisbookisdedicatedtothememoryofMargotHeinemann. This page intentionally left blank Contents ListofIllustrations viii Abbreviations x 1. Introduction 1 2. TheTheatricalRolesofAthens 16 3. ChildbearingWomen:BirthandFamily CrisisinAncientDrama 60 4. VisibleWomen:PaintedMasksandTragic Aesthetics 99 5. HornySatyrsandTragicTetralogies 142 6. FemalePersoniWcationsofPoetry inOldComedy 170 7. RecastingtheBarbarian 184 8. TheScythianArcherinAristophanes’ Thesmophoriazusae 225 9. DrowningAct:TheGreeks,Swimming, andTimotheus’Persians 255 10. SingingRolesinTragedy 288 11. CastingtheroleofTrygaeusin Aristophanes’Peace 321 12. LawcourtDramas:ActingandPerformance inLegalOratory 353 Afterword 393 Bibliography 400 Index 455 List of Illustrations Dust-Jacket: ‘LesCome´diens’byJeanLe´onGe´rome(1877). Imagereproducedcourtesyofakg-images 2.1 GravesteleinthePiraeusMuseum:imagereproduced courtesyofthePiraeusArchaeologicalMuseum. 35 2.2 Hellenisticmarblereliefsculpture:imagereproduced courtesyoftheIstanbulArchaeologicalMuseum. 41 2.3 Detailofthe‘Pronomosvase’,Atticvolute-kraterof c.400bcinNaplesArchaeologicalMuseum(Naples Inv.81673). 41 2.4 Mosaicfrom‘Houseofthetragicpoet’atPompeii, nowinNaplesArchaeologicalMuseum (NaplesInv.9986). 42 3.1 ScenedepictingAugeandHeraclesonaSicilian kalyx-krateroftheManfriaGroupinLentini, c.340–330bc(LentiniArchaeologicalMuseum). DrawingreproducedcourtesyofChrisUnwin. 72 3.2 Latefifth-centuryLucanianhydriafromCanosabythe Amykospainter,depictingthedeathofCanace,in BariArchaeologicalMuseum(Bari1535). DrawingreproducedcourtesyofChrisUnwin. 76 3.3 Terracottasatyrholdingawrappedbaby, fourth-centurybcBM(167891).Imagereproduced courtesyoftheBritishMuseum. 92 4.1 PhineusandaHarpyonanAtticred-figured neck-amphorabytheNikonpainter,470–450bc. ReproducedcourtesyoftheBritishMuseum. 117 5.1 Chorusmendressingassatyrs,onanApulian bell-kraterbytheTarporleypainter(Sydney47.05). PhotographbyRussellWorkman,reproduced courtesyoftheNicholsonMuseum,Sydney. 144 ListofIllustrations ix 5.2 SatyrandmaenadonalateWfth-centuryred-Wgured oinochoe(Oxford534).Imagereproducedcourtesy oftheAshmoleanMuseum. 145 5.3 ScenefromtheneckofanAtticred-figured volute-kraterinFerrara,c.450bc(Ferrara T.579).Imagereproducedcourtesyofthe ArchaeologicalMuseumofFerrara. 157