Bryn Mawr Classical Reviews

… more catching up:

  • 2014.02.41:  Mario Iozzo, Iacta stips: il deposito votivo della sorgente di Doccia della Testa a San Casciano dei Bagni (Siena).
  • 2014.02.40:  Paul Schubert, Pierre Ducrey, Pascale Derron, Les Grecs héritiers des Romains : huit exposés suivis de discussions. Entretiens sur l’Antiquité classique, 59.
  • 2014.02.39:  Bonnie Honig, Antigone, Interrupted. bmcr2
  • 2014.02.38:  Jean-Claude Cheynet, Turan Gökyildirim​, Vera Bulgurlu, Les sceaux byzantins du Musée archéologique d’Istanbul. İstanbul Araştırmaları Enstitüsü kitapları, 21​.
  • 2014.02.37:  Frank Feder, Angelika Lohwasser, Ägypten und sein Umfeld in der Spätantike: vom Regierungsantritt Diokletians 284/285 bis zur arabischen Eroberung des Vorderen Orients um 635-646: Akten der Tagung vom 7.-9.7.2011 in Münster. Philippika, 61.
  • 2014.02.36:  Gabriele Cifani, Tra Roma e l’Etruria: cultura, identità e territorio dei Falisci.
  • 2014.02.35:  Deborah Kamen, Status in Classical Athens.
  • 2014.02.34:  Johnny Christensen, An Essay on the Unity of Stoic Philosophy.
  • 2014.02.33:  Nikolaos Chr. Konomis, Από την ιστορία της λατινικής γλώσσας [From the History of the Latin Language]. 5η έκδοση αναθεωρημένη και επαυξημένη.
  • 2014.02.32:  Hélène Vial, Poètes et orateurs dans l’Antiquité: mises en scène réciproques. Collection Erga, 13.
  • 2014.02.31:  Victoria Emma Pagán​, A Companion to Tacitus. Blackwell companions to the ancient world.
  • 2014.02.30:  Audrey Becker, Les relations diplomatiques romano-barbares en Occident au Ve siècle: acteurs, fonctions, modalités. Collections de l’Université de Strasbourg. Études d’archéologie et d’histoire ancienne.
  • 2014.02.29:  Emma Buckley, Martin T. Dinter, A Companion to the Neronian Age. Blackwell companions to the ancient world.
  • 2014.02.28:  C. W. Marshall, George Kovacs, No Laughing Matter. Studies in Athenian Comedy.
  • 2014.02.27:  Peter Scholz, Uwe Walter, Fragmente Römischer Memoiren. Studien zur Alten Geschichte, 18.
  • 2014.02.26:  Sergio Castagnetti, Le leges libitinariae flegree: edizione e commento. Pubblicazioni del Dipartimento di diritto romano, storia e teoria del diritto F. De Martino dell’Università degli studi di Napoli Federico II, 34.
  • 2014.02.25:  Marie-Hélène Marganne, Bruno Rochette, Bilinguisme et digraphisme dans le monde gréco-romain: l’apport des papyrus latins. Actes de la Table Ronde internationale (Liège, 12-13 mai 2011). Collection Papyrologica Leodiensia, 2.
  • 2014.02.24:  Tracey E. Rihll, Technology and Society in the Ancient Greek and Roman Worlds. Historical perspectives on technology, society, and culture, 10.
  • 2014.02.23:  Kevin W. Wilkinson, New Epigrams of Palladas: A Fragmentary Papyrus Codex (P.CtYBR inv. 4000). American Studies in Papyrology, 52.
  • 2014.02.22:  Massimo Blasi, Strategie funerarie: onori funebri pubblici e lotta politica nella Roma medio e tardorepubblicana (230-27 a.C). Studi e ricerche, 1.

Bryn Mawr Classical Reviews

[n.b. I’ve missed a month and a half’s worth …]

  • 2014.01.48:  Christos Tsagalis, From Listeners to Viewers: Space in the Iliad. Hellenic studies, 53.
  • 2014.01.47:  Peter F. Bang, Walter Scheidel, The Oxford Handbook of the State in the Ancient Near East and Mediterranean. Oxford handbooks
  • 2014.01.46:  Response: Levene on Fronda on Levene, Livy on the Hannibalic War.
    Response by D.S. Levene.
  • 2014.01.45:  Christoph Sauer, Valerius Flaccus’ dramatische Erzähltechnik. Hypomnemata, Bd 187. bmcr2
  • 2014.01.44:  Dominique Kassab Tezgör​, Sinope: The Results of Fifteen Years of Research. Proceedings of the international symposium, 7-9 May 2009 / Sinope: un état de la question après quinze ans de travaux. Actes du symposium international, 7-9 May 2009​.
  • 2014.01.43:  Lloyd P. Gerson, Plotinus, Ennead V.5: That the Intelligibles Are Not External to the Intellect, and On the Good. The ‘Enneads’ of Plotinus with Philosophical Commentaries.
  • 2014.01.42:  Sara Brill, Plato on the Limits of Human Life
  • 2014.01.41:  John Miles Foley, Oral Tradition and the Internet: Pathways of the Mind.
  • 2014.01.40:  Egbert J. Bakker, The Meaning of Meat and the Structure of the Odyssey.
  • 2014.01.39:  Marja Vierros, Bilingual Notaries in Hellenistic Egypt: A Study of Greek as a Second Language. Collectanea hellenistica, 5.
  • 2014.01.38:  Livia Radici, Nicandro di Colofone nei secoli XVI-XVIII; edizioni, traduzioni, commenti. Biblioteca di Technai, 2.
  • 2014.01.37:  Richard Bouchon, Pascale Brillet-Dubois, Nadine Le Meur-Weissman, Hymnes de la grèce antique: approches littéraires et historiques. Collection de la Maison de l’Orient et de la Méditerranée, 50; Série littéraire et philosophique, 17.
  • 2014.01.36:  Salvatore Monda, Ainigma e griphos: Gli antichi e l’oscurità della parola. …et alia, 2​.
  • 2014.01.35:  Walter Scheidel, The Cambridge Companion to the Roman Economy. Cambridge companions to the ancient world.
  • 2014.01.34:  Francisco Marco Simón, Francisco Pina Polo, José Remesal Rodríguez, Vae Victis! Perdedores en el mundo antiguo. Collecció Instrumenta, 14.
  • 2014.01.33:  Christian Jacob, The Web of Athenaeus. Hellenic studies, 61.
  • 2014.01.32:  Theodore D. Papanghelis, Stephen J. Harrison, Stavros Frangoulidis, Generic Interfaces in Latin Literature: Encounters, Interactions and Transformations. Trends in Classics – Supplementary Volumes, 20.
  • 2014.01.31:  Shane Hawkins, Studies in the Language of Hipponax. Munich studies in historical linguistics, Bd 14.
  • 2014.01.30:  Umberto Laffi, In greco per i Greci: ricerche sul lessico greco del processo civile e criminale romano nelle attestazioni di fonti documentarie romane. Pubblicazioni del Cedant, 12.
  • 2014.01.29:  Véronique Boudon-Millot, Galien de Pergame: un médecin grec à Rome.

CJ~Online Review | Kagan and Viggiano, Men of Bronze

posted with permission:

Men of Bronze: Hoplite Warfare in Ancient Greece. Edited by Donald Kagan and Gregory F. Viggiano. Princeton and Oxford: Princeton University Press, 2013. Pp. xxv + 314. Hardcover, $35.00. ISBN 978-1-400-14301-6.

Reviewed by Robin Osborne, University of Cambridge

There are two questions about hoplite warfare about which scholars have proved unable to agree. One is what the circumstances and consequences of the invention of hoplite warfare were, and the other is how hoplites fought battles. Unless we know what was special about hoplite warfare we will not understand the implications of its invention; but most of the best evidence on the nature of hoplite warfare it comes from the classical period, and the most explicit ancient theorizing about it from Hellenistic historian Polybius. This raises a further issue: did the nature of hoplite warfare change over time?

If the scholarly slate were blank, then surely one would start by analyzing the theorizing of an intelligent historian personally acquainted with warfare. From this one would work back through the relatively rich, but never more than partial and particular, descriptions of classical hoplite battle. And only from there would one turn to what very fragmentary literary testimony, plus the evidence of material remains and representations in art, can suggest about the hoplite in the archaic Greek world.

But the scholarly slate is not blank, and Kagan and Viggiano start from the existing scholarship. The conference in April 2008 on which this book is based, summoned the scholars who have been most vocal on the issues, and the book starts by re-telling, not once but twice, in the Introduction and in the editors’ first chapter on "The hoplite debate," the story of scholarly views.

The point of this repeated telling of the story is to persuade the reader that understanding hoplite warfare involves a choice between "the traditional narrative" and the revisionists (see, most explicitly, xxi). The consummate statement of the traditional narrative is taken to be that by Victor Davis Hanson, not simply in the wonderful The Western Way of War, but in the highly problematic The Other Greeks. It is a reflection of this choice that the index entry for Hanson runs to 29 lines, that for Hans van Wees to 23 lines; by contrast the entry for Herodotus runs to 15 lines, that for Xenophon to 13 lines, and that for Polybius to just one line.

This way of framing the question proves unhelpful. Contributors concentrate on commenting on the scholarship rather than the evidence, and no one who does not already know the evidence will be in a position to judge their comments. The debate on whether the development of the hoplite effected a political revolution (Chapters 2 to 6) precedes the discussion of what hoplite warfare was like (Chapter 7 to 12), which makes sense chronologically but not analytically.

Several chapters are either narrow in their focus (e.g. exactly how heavy heavy armor was) or slight in their contribution-Lin Foxhall’s survey of what archaeological survey tells us about "the small farmer" is excellent, but relevant only to those who have believed Hanson’s The Other Greeks. John Hale’s insistence on the importance of mercenary service is well taken, but the substantive point adds little to Nino Luraghi’s 2006 Phoenix paper which inspired it ("Traders, pirates, warriors: the proto-history of Greek mercenary soldiers in the eastern Mediterranean", Phoenix 60: 21-47). Nor is the book rendered easy to use by the failure to consolidate the bibliography-or even to apply a uniform format.

The strongest essays here are by Peter Krentz and by Hanson himself. Krentz has a measured assessment of past views that notes that there was much less uniformity to the "traditional narrative" than the editors have claimed. Hanson, though avoiding comment on areas where his views have become untenable, usefully rubs the various claims made by recent scholars up against problematic items of ancient evidence. From both of these contributions the reader begins to get a clearer notion of what is really at stake in the modern debates for our understanding of the Greek city.

There is no doubt that the dust of battle significantly impeded the ability of ancient participants to see and understand exactly what happened to give victory or bring about defeat. A lot of dust of battle is kicked up by this book, but by the end of it neither the history of modern scholarship nor the significance of the Greek hoplite is any clearer. Ironically what all contributors agree on is that from the very beginning hoplite armor was mixed, so that "only about one in ten hoplites wore a bronze cuirass" even in the archaic period; whatever hoplites were, they were not "men of bronze."

CJ Online Review: Brodd and Reed, Rome and Religion

posted with permission:

Rome and Religion: A Cross-Disciplinary Dialogue on the Imperial Cult. Edited by Jeffrey Brodd and Jonathan L. Reed. Society of Biblical Literature Writings from the Greco-Roman World Supplement Series, Vol. 5. Atlanta: Society of Biblical Literature, 2011. Pp . xiv + 261. Paper, $37.95. ISBN 978-1-58983-612-9.

Reviewed by Roberta Stewart, Dartmouth College

The collection Rome and Religion: A Cross-Disciplinary Dialogue on the Imperial Cult promises a dialogue, a “wide-ranging treatment of issues and interrelated themes” that brings together “classicists, biblical and religious scholars, historians, and archaeologists.” Part One addresses the definition of “religion” as an analytical category. Part Two studies the variously successful penetration of imperial ideology in the Eastern Mediterranean. Part Three the intersection of Roman imperial religious practice and thinking with Jewish and Christian communities. Part Four offers final comments on the importance of cross-disciplinary research.

Collectively the papers illustrate the use of literary, numismatic, epigraphic, and archaeological evidence to consider questions of religious policy, practice, and belief. A religious institution emerges as sets of historical actions, situated in place and time, and the product of historically situated actors,

In the opening essay, Galinsky emphasizes the need to study imperial cult not as a single monolith but as a “paradigm”; to conceptualize imperial cult as a negotiated product of “religious pluralism”-rather than a polarity of religious accommodation or resistance-embedded within distinct communities possessing their own political, religious and social histories in a diverse Roman Empire; and to evaluate “the Jesus movement” similarly within the “religious pluralism” of the Empire. Galinsky highlights the value of language (e.g. theos ek theou and soter) to locate “imperial cults more precisely within the associative spectrum” (10) and to understand the Christian appropriation of Roman ideas.

In Part One, James Hanges (“To Complicate Encounters”) reframes Galinsky’s claims in terms of post-colonial discourse: the processes of identity formation of subordinated groups; the concept of identity as multivalent and the product of an ongoing, negotiated interrelationship, with a salutary awareness of negotiation implying the views and actions of the subordinated; and the appropriation by the subordinated of the symbols of domination. He claims that local quarrels influenced the evolving character of ancient cult (31 n. 15, where one misses a discussion of comparative material for understanding the local negotiation) and concludes provocatively with the transformative function of myth and ritual to conjure up the ideal reality within the imperfect, mundane existence (33, which lacks citation of ancient evidence and Vernant’s analysis of Hesiod’s Myth of Prometheus).

Jeffrey Brodd (“Religion, Roman Religion, Emperor Worship”) considers the definition of “religion” with three interlocking premises: the need for “conceptual clarity,” for distinguishing modern and ancient definitions of religion, and for confronting theoretical definition with data. He surveys anthropologists and their critics grappling with definitions of religion and concomitant terms, both to illustrate the debate and to identify what is at stake in defining the categories.

Given the claims, I missed-perhaps revealing my Classical, disciplinary perspective-the philological bibliography on the Roman terms, especially A. K. Michel’s study of the term “religio” and its historical evolution (“The Versatility of Religio” in The Mediterranean World: Papers Presented in Honour of Gilbert Bagnani (1976) 36-77) and more recent treatments (R. Muth ANRW 2.16.1 (1978) 290-354; J. Rüpke Les Études classiques 75 (2007): 67-78).

Eric Orlin (“Augustan Religion: From Locative to Utopian”) uses Galinsky’s claim about religious pluralism to explore the religious context of the development of imperial cult and Christianity. He divides ancient religious practice into categories of “locative religion” or “religion of place” by contrast with “utopian” religious experience and traces a change in “religion of place” during the Augustan principate. Augustan religious reforms broke the traditional identification of place and cult: Augustus relocated the Republican rituals of Roman militarism from the temple of Jupiter Optimus Maximus to the new temple of Mars Ultor and removed the Sibylline books from there to the new temple of Apollo on the Palatine, so that “the chief deity of the Roman Republic was dislodged from his position theologically, ritually, and physically.” The expanding political definition of the Empire transmuted the definition of locative religion, as Roman cults were adopted beyond Rome and peninsular Italy throughout Roman Mediterranean. Imperial cult emerges as another example of the extended locative religion.

In Part Two, Barbette Spaeth (“Imperial Cult in Roman Corinth”) illustrates the utility of Galinsky’s ideas of “religious pluralism” and the interpenetration of religious and political/social life, in order to think about imperial cult in Corinth. Coins pairing obverse portraits of Nero with reverse images of deity (the Genius of the colony, Fortuna) and inscriptions giving gods the adjective “Augustus/a” illustrate the “‘intertwining’ of the cult of the emperor with those of other gods in the city” (67). The particular configuration of imperial cult at Corinth emerges as stamped by the religious and political history of the Roman colony.

In “Embedding Rome in Athens,” Nancy Evans delineates an Athenian local history to appraise cult from the perspective of the Athenian, the Roman, and the non-Athenian tourist at Athens. Evans locates imperial cult at Athens on a religious continuum that included rare cult to the Hellenistic successors of Alexander and to the late Republican generals, and deliberate revocation of cult for those subsequently deemed unworthy, by contrast with the explosion of imperial cult locations (94 altars identified), whereby Athens demonstrated allegiance to “external authority” and garnered imperial benefaction.

For the Romans Augustus exploited the Athenian historical antagonism of Greeks v. Persians to formulate his own imperial policy v. Parthia, and Paul’s journey establishes a thinking man’s reactions to imperial cult at Athens in the first century. For this paper and the entire Part Two, Kantiréa’s book (Les dieux et les dieux Augustes. Le culte impérial en Grèce sous les Julio-claudiens et les Flaviens, 2007) and richly documented, comparative study of imperial cult at Pergamum, Athens, and Ephesus (“Étude comparative de l’introduction du culte imperial à Pergame, à Athènes et à Éphèse,” in More Than Men, Less than Gods. Studies on Royal Cult and Imperial Worship, 2011: 521-51) are useful and should be consulted.

Daniel Schowalter (“Honoring Trajan in Pergamum: Imperial Temples in the ‘Second City'”) illustrates Galinsky’s ideas of “religious pluralism” and a non-monolithic imperial cult with a discussion of the diverse honors given to Trajan at Pergamum. Pliny’s letters from Bithynia illustrate “how honors offered to the emperor (along with honors to the traditional gods) were a natural part” (100) of provincial existence. The enormous Trajaneum gave topographic and architectural emphasis to the emperor; the city’s second neokorate shows how a city and its wealthy elite affirmed their prominence through ostentatious civic deference to imperial power. Comparing the honors given to Augustus and Trajan reveals continuity and allowable change (Greek versus Roman temple architecture) in the imperial cult.

James McLaren (“Searching for Rome and Imperial Cult in Galilee”) follows Galinsky’s exhortation not to create a monolith of imperial cult or of local responses and provides a richly contextualized explanation of Galilean participation in the Jewish war of 66-70 ce. McLaren defines a maximalist approach to imperial cult that recognizes its ubiquity and assesses it as part of the broader Roman presence (administrative, military, and economic) in the region. Galilean participation in the Jewish war emerges within a context of minimal Roman intrusion in Galilean life, and so not as a direct result of Roman policy or action. Moreover, the diversity of perspective among different peoples in Galilee regarding relationship with Rome shows Galilean participation in the war, not as a product of zealotry but instead a recognized identity of interest among Jews and Galileans regarding the temple in Jerusalem, an action not a reaction (128).

Warren Carter (“Roman Imperial Power: A Perspective from the New Testament”) argues that Jesus’ followers “did not negotiate the empire and its cult in a monolithic manner” (142). He examines the characterization of “Jezebel” in Revelation: she engages in idolatry, eats sacrificial food, and, like Satan and Rome, deceives. The character and the critique represent the difficult negotiation of Christians in a Roman world, where “cultic activity was intertwined in socioeconomic activity” (144), required strategic decision-making, and produced a different theological point of view that “societal and cultic participation did not compromise faithfulness” (145).

The analysis and its development owes much to James Scott’s analysis of power relationships. Carter compares 1 Peter which similarly recommends accommodation to defuse criticism and conflict and shows that Jesus believers were deeply embedded culturally in a Roman world, although the logic of accommodation implied a simultaneous devaluation of imperial cult practice. Finally Carter considers scenes of worship described in John 4-5 to show the appropriation of Roman ceremonial and its reinscription as rightful worship of a Christian God.

Robin Jensen (“The Emperor as Christ and Christian Iconography”) examines the representation of the emperor and of Christ in fourth-century art. Analysis of the labarum, “chi rho,” crown, or seated captives in various media (sarcophagi, public architecture, coins) before and after Constantine suggests the multivalent meaning of iconography and a competitive appropriation and redefinition of Roman imperial symbols.

Michael White (“Capitalizing on the Imperial Cult”) looks at a series of inscriptions from Ostia, Cyrenaica, Lydia, and Phrygia that illustrate what he terms the “negotiated symbiosis” whereby Jews, despite their religious difference, appropriated and manipulated the Hellenistic and Roman systems of civic euergetism and patronage in order to attain and secure their status within their own hierarchical, local, Roman communities.

So Galinsky’s paper provides the focus for three distinct series of investigations about the nature of ancient religion, about the diversity of imperial cult at the local level, and about Christian and Jewish responses to imperial religious practices. The book emerges almost as a Festschrift that celebrates the work of Karl Galinsky.

CJ~Online Review | Hughes, Performing Greek Comedy

posted with permission:

Performing Greek Comedy. By Alan Hughes. Cambridge and New York: Cambridge University Press, 2012. Pp. xiv + 311. Hardcover, £55.00/$99.00. ISBN 978-1-107-00930-1.

Reviewed by G. M. Sifakis, University of Crete and New York University

This is an extraordinary work about the performance of Greek comedy placed in its historical and social context from the time it first “came to sight” (as Aristotle puts it) and down to Hellenistic times. Alan Hughes is an emeritus professor of theater arts (British Columbia) and formerly a theater artist himself. He was a specialist in Shakespeare and the English theater of the 19th century when he turned his attention to Greek drama and its archaeology, where he found a good number of images comparable to modern theatrical pictures. 

As Hughes suggests, such images of actors, costumes, sets etc., often are more revealing about the theater of their own time than texts. Moreover, as we have no description of “how the komodos sat, stood, walked, gestured, … our best resource [for his style of movement] is the static figurines and pictures on vases that show actors in characteristic action” (147). This is the reason he decided to spend many years of studying not photos, but the dramatic monuments themselves (mostly Athenian terracottas and South Italian “phlyax” vases) in no fewer than 75 museums and private collections all over the world. As he writes, “I have never examined a comedy vase without learning something new” (xiv). His “Catalogue of objects discussed” lists more than five hundred dramatic monuments.

Unlike Classical scholars and archaeologists-since the time of Webster, Trendall and their successors-who tried to learn from theatrology in order to understand ancient dramatic monuments, modern theater critics and artists have usually moved in the opposite direction: they have been using ancient plays and theaters as vehicles for their own creative ideas and ‘original’ performances. Exceptions are few and far between, although a famous exception that confirms the rule, Peter Hall’s Oresteia (1981), must be mentioned in this connection.

Another unprecedented exception is Hughes’ scholarly work that began appearing in academic journals in 1996-when his seminal paper on “Comic Stages in Magna Graecia” (Theatre Research International 21) was published-and eventually resulted in the publication of the comprehensive work under review.

The book includes chapters devoted to general subjects such as the origins of comedy, festivals, theaters, and comic poets, because the author apparently wants his work to be useful to theater arts students and scholars. But its most original parts are those devoted to actors and acting style, masks and costumes, gestures and body language, and women on the stage. All suggestions and conclusions are based on specific images perceptively interpreted with regard to dramatic action.

The author begins with the symbolic notion of the passage from poet to actor and from lyric to the “double consciousness” (the term is borrowed from the French actor François-Joseph Talma (1763-1826)) of the actor, who does not “build a character from within” but has to act various parts, sometimes in quick succession. Obviously, masks encouraged “doubling,” and by transferring expression from the face to the whole body also encouraged creativity in regard to an acting style that was not representational but presentational and metatheatrical. The appearance of the actors (masks with distorted features, padded costumes, artificial phalli) was emblematic of the social inferiority of comic characters as opposed to the socially superior tragic heroes and stories (spoudaioi and phauloi, respectively, as Aristotle has it) (170-1).

When discussing attitudes and gestures, Hughes uses the behaviorist term ’emblem’ to distinguish between “symbolic, culturally specific action that expresses an idea rather than an emotion” (154), and affective gestures which are more difficult to decode. However, because ancient comedy was highly conventional in terms of its characters and plot structures, and the author has a great power of observation, his analysis of images is impressive. This is true of general examinations of the evidence, say, for comic costumes and how they were donned or manipulated on stage, or for wooden stages which could be dismantled and reassembled, but could not be carried by traveling troupes from city to city, and which, therefore, it has to be assumed belonged to the cities themselves. Occasionally, a single image may be enough to support a valuable conclusion, e.g. the “Perseus dance” on a low wooden stage illustrated on an Attic oinochoe (Athens ΒΣ518, c. 420), which shows that such stages originated in Attica (the same picture also offers a unique indication of a theatron opposite the stage).

Character types are identifiable by mask and “the generalized style of body language” (147). “Low” types may have been perceived as such “simply because they kept their bodies close to the ground. Actors cultivated this impression by adopting an angular, knee-bending walk, or by stooping and crouching” (151). Yet “portraits from Taras show how, within the comic convention of inverted ideals, actors could set their individual stamp on old types.” A wonderful example is “an old fellow named Derkylos [who] dances a ‘soft shoe,’ gracefully pointing his toes. A charming figure with black mask and tights seems to shrug, looking over his shoulder as he sidles” (150: Apulian situla, 360-350, Getty Museum, 96.AE.118).

In general, while masks often divide women into “three broad categories” (maiden, wife and crone), depictions in vase scenes situate women in relation to men in terms of modesty (158). However, in the chapter on “Comedy and Women” the author discusses the introduction of leading female roles to comedy (Lysistrata, Praxagora), which were individual cases since there was no tradition behind them; and because such heroines inverted “custom and propriety by abandoning the woman’s realm (oikos) for the man’s (polis)” the author wonders whether their appearance was also inverted so as to make them appear attractive in order to be taken seriously by the audience (204).

Lysistrata and Praxagora were played by Aristophanes’ protagonist actors, but Hughes believes that real women were also used as performers in mute roles of dancers, musicians, and allegorical abstractions. He lists a dozen or so cases from Aristophanes, of which worthy of special note is the aulos player brought home by reveling Philokleon at Wasps 1326, because Bdelykleon recognizes her as person (not a character of the play) and mentions her name, “Dardanis.” Does a reference to a real (and perhaps renowned) aulêtris amount to cogent evidence for her presence on stage? 

I remain skeptical about the possibility of mixing real young women with the grotesque and sexually repulsive old men of comedy, inasmuch as such a practice seems to me incompatible with the style of comic performance. Indeed, as Hughes elsewhere says, “given the way female characters are defined, surprisingly few scenes express even muted sexuality” (158). On the other hand, I recognize his point that certain of the above figures have some rejuvenating effect on protagonists (add Ach. 1198, Eq. 1390). Besides, sexually explicit paratheatrical performances featuring dancers and tumblers in partial or total nudity have been documented by Xenophon (Symp. 2.1-2, 8, etc.) and by phlyax vases, and the author refers most of them to acrobatic and mime shows, although in a few cases some relationship to comedy is also possible. Regarding the unnecessarily vexed question of whether women were admitted to theater as spectators, Hughes reasonably sides with those who believe that they were admitted.

The value of this remarkable book lies in the close examination of a multitude of dramatic monuments interpreted, not as archaeological objects, but as pictorial evidence for the performance of Old and Middle comedy in Athens and South Italy and Sicily. This kind of approach–and achievement–was possible precisely because the author is a professional theater historian and self-taught–though by no means an amateur–archaeologist.

[©2013 by The Classical Association of the Middle West and South. All rights reserved.]