“I Defecated Because of Fear”

See here for our ongoing skatokhasm and the sheer variety of excremental words in ancient Greek.

Suda, Epsilon 93 [referring to Aristophanes, Frogs 479]

“I shat myself”: I defecated because of some fear. I pooped. Aristophanes says this in the Frogs. He is calling the god to help.”

᾿Εγκέχοδα: ἀπεπάτησα διὰ φόβον τινά, ἔχεσον. ᾿Αριστοφάνης Βατράχοις. κάλει θεὸν εἰς βοήθειαν.

Principal parts: χέζω, χεσοῦμαι, ἔχεσα, κέχοδα, κέχεσμαι….

Strattis, fr. 1.3

“If he will not have the leisure to shit,
Nor to visit a profligate man’s home, nor if he meets
Anyone, to talk to them at all…”

Εἰ μηδὲ χέσαι γ’ αὐτῷ σχολὴ γενήσεται,
μηδ’ εἰς ἀσωτεῖον τραπέσθαι, μηδ’ ἐάν
αὐτῷ ξυναντᾷ τις, λαλῆσαι μηδενί.

Image result for medieval manuscript defecation
Add_ms_49622_f061r_detail

Aristophanes, Clouds, 391

“When I shit, it’s like thunder: pa-pa-pa-papp-AKS!

χὤταν χέζω, κομιδῇ βροντᾷ “παπαπαππάξ,”

 

 

 

Don’t Try to Make that Speech Too Perfect

Quintilian, 9.4 (112)

“This whole topic is handled here not merely to make oratory, which should move and flow, grow ancient because it must measure out each foot and weigh out each syllable. No, that is what miserable minds who are obsessed with minor things think about.

No one who throws himself into this concern completely will have any time for more important matters if, once the weight of the material is forgotten and polish itself is rejected, he constructs “mosaic work”, as Lucilius says, and works his words together in “vermiculate construction”. Won’t his fire cool down and his force diminish, the same way show-riders break the pace of their horses with a dancing gait?”

Totus vero hic locus non ideo tractatur a nobis ut oratio, quae ferri debet ac fluere, dimetiendis pedibus ac perpendendis syllabis consenescat: nam id cum miseri, tum in minimis occupati est: neque enim qui se totum in hac cura consumpserit potioribus vacabit, si quidem relicto rerum pondere ac nitore contempto ‘tesserulas’, ut ait Lucilius, struet et vermiculate inter se lexis committet. Nonne ergo refrigeretur sic calor et impetus pereat, ut equorum cursum delicati minutis passibus frangunt?

Image result for demosthenes
Demosthenes tried to be pretty perfect…

A Measure of Wine for Madness or Pain

Two fragments from Euenus

Anth. Pal. 11.49 Εὐήνου 

“The best measure of Bacchus is not too much
Nor too little
For this he is the cause of pain or madness.
He is happy to be mixed fourth with three Nymphs—
Then he is most prepared for the bedroom.
But if he puffs too much, he turns away from loves
And dips into sleep, the next-door neighbor of death.”

Βάκχου μέτρον ἄριστον ὃ μὴ πολὺ μηδ᾿
ἐλάχιστον·
ἔστι γὰρ ἢ λύπης αἴτιος ἢ μανίης.
χαίρει κιρνάμενος δὲ τρισὶν Νύμφαισι τέταρτος·
τῆμος καὶ θαλάμοις ἐστὶν ἑτοιμότατος.
εἰ δὲ πολὺς πνεύσειεν, ἀπέστραπται μὲν ἔρωτας,
βαπτίζει δ᾿ ὕπνῳ, γείτονι τοῦ θανάτου.

5 Stob. 3.20.2 Εὐήνου

“Anger often eclipses humans’ hidden mind.
This is much worse than madness.”

πολλάκις ἀνθρώπων ὀργὴ νόον ἐξεκάλυψεν
κρυπτόμενον· μανίης πουλὺ χερειότερον.

Nouvelle acquisition latine 1673, fol. 76v, Marchand de vin. Tacuinum sanitatis, Milano or Pavie (Italy), 1390-1400.

Dreaming of the Catalog of Ships?

Philostratus, Heroicus 6. 3-4

“I am sailing from Egypt and Phoenicia for twenty-five days at this point, somehow. As the ship was drawing up into Elaious, I dreamed I was reading the words of Homer when he describes the catalog of the Achaeans and that I was inviting all the Achaeans to get on to my ship as if it were large enough to hold them all!

When I was waking from the dream because some shiver had spread over me, I supposed that it prophesied a slow and long journey. For visions of the dead are bad signs for eager people.”

ΟΙΝ. Πλέω μὲν ἐξ Αἰγύπτου καὶ Φοινίκης πέμπτην καὶ τριακοστὴν ἤδη που ταύτην ἡμέραν. κατασχούσης δὲ τῆς νεὼς εἰς Ἐλεοῦντα τοῦτον ἔδοξα τὰ Ὁμήρου ἔπη ἀναγινώσκειν, ἐν οἷς τὸν κατάλογον τῶν Ἀχαιῶν φράζει, καὶ ξυνεκάλουν τοὺς Ἀχαιοὺς ἐμβῆναι τὴν ναῦν ὡς ἀποχρῶσαν ὁμοῦ πᾶσιν. 4ἐπεὶ δὲ ἐξέθορον τοῦ ἐνυπνίου (καὶ γάρ με καὶ φρίκης τι ὑπεληλύθει), ξυνεβαλόμην μὲν αὐτὸ ἐς βραδυτῆτα τοῦ πλοῦ καὶ μῆκος· αἱ γὰρ τῶν ἀποθανόντων ὄψεις ἀργοὶ τοῖς ἐσπουδακόσι.

Detail showing a painting of ships in a harbour from the illuminated border of the Treaty of Amiens between England and France, 18 August 1527. Catalogue reference E 30/1113. The full image is available through our Image Library.
From the UK National Archives

Drugs, the Homeric Scholia and the Lotus-Eaters

In Odysseus’ tale of his wanderings he recounts how he saved his men from the temptations of the land of the Lotus-Eaters

Odyssey 9.82-97

“From there for nine days I was carried by ruinous winds
over the fish-bearing sea. On the tenth we came to the land
of the Lotus-Eaters where they eat the florid food.
There we disembarked to the shore and we drew water;
soon my companions made dinner around the swift ships.
But after we had shared the food and drink
I sent out companions to go and discover
whatever men there were who ate the fruit of the earth.
I chose two men and sent a herald as a third.
They went and met the Lotus-eating men.
The Lotus-Eaters didn’t bring any harm to my companions,
but they gave them their lotus to share.
Whoever ate the honey-sweet fruit of the lotus
no longer wished to report back or return home,
but just longed to stay there among the Lotus-eating men
to wait and pluck the lotus, forgetting his homecoming.”

ἔνθεν δ’ ἐννῆμαρ φερόμην ὀλοοῖσ’ ἀνέμοισι
πόντον ἐπ’ ἰχθυόεντα• ἀτὰρ δεκάτῃ ἐπέβημεν
γαίης Λωτοφάγων, οἵ τ’ ἄνθινον εἶδαρ ἔδουσιν.
ἔνθα δ’ ἐπ’ ἠπείρου βῆμεν καὶ ἀφυσσάμεθ’ ὕδωρ,
αἶψα δὲ δεῖπνον ἕλοντο θοῇς παρὰ νηυσὶν ἑταῖροι.
αὐτὰρ ἐπεὶ σίτοιό τ’ ἐπασσάμεθ’ ἠδὲ ποτῆτος,
δὴ τότ’ ἐγὼν ἑτάρους προΐην πεύθεσθαι ἰόντας,
οἵ τινες ἀνέρες εἶεν ἐπὶ χθονὶ σῖτον ἔδοντες,
ἄνδρε δύω κρίνας, τρίτατον κήρυχ’ ἅμ’ ὀπάσσας.
οἱ δ’ αἶψ’ οἰχόμενοι μίγεν ἀνδράσι Λωτοφάγοισιν•
οὐδ’ ἄρα Λωτοφάγοι μήδονθ’ ἑτάροισιν ὄλεθρον
ἡμετέροισ’, ἀλλά σφι δόσαν λωτοῖο πάσασθαι.
τῶν δ’ ὅς τις λωτοῖο φάγοι μελιηδέα καρπόν,
οὐκέτ’ ἀπαγγεῖλαι πάλιν ἤθελεν οὐδὲ νέεσθαι,
ἀλλ’ αὐτοῦ βούλοντο μετ’ ἀνδράσι Λωτοφάγοισι
λωτὸν ἐρεπτόμενοι μενέμεν νόστου τε λαθέσθαι.

The scholia present reactions to this passage that are not altogether alien from some arguments in the debate about drug enforcement and addiction.

One scholiast quotes Heraclitus the Paradoxographer with approval, noting that this scene is about how the wise man can resist pleasure.

Schol. T ad. Od. 9 89

“From Herakleitos. If someone wishes to examine Odysseus’ wanderings precisely, he will find an allegorical tale. For he has set up Odysseus as something of a vehicle of every kind of virtue through which has philosophized: and then he resists the vices that corrupt human life: the land of the Lotus-eaters represents pleasure, a land of foreign corruption which Odysseus masterfully passes by, and then he settles the wild heart of each man with either chastisement or persuasion.”

ἐκ τοῦ ῾Ηρακλείτου. καθόλου δὲ τὴν ᾿Οδυσσέως πλάνην εἴ τις ἀκριβῶς ἐθέλει σκοπεῖν, ἠλληγορημένην εὑρήσει. πάσης γὰρ ἀρετῆς καθάπερ ὄργανόν τι τὸν ᾿Οδυσσέα παραστησάμενος ἑαυτῷ διὰ τοῦτο πεφιλοσόφηκεν, ἐπειδήπερ τὰς ἐκνεμομένας τὸν ἀνθρώπινον βίον ἤχθηρε κακίας, ἡδονὴν μέν γε τὸ Λωτοφάγων χωρίον, ξένης γεωργὸν ἀπολαύσεως, ἣν ᾿Οδυσσεὺς ἐγκρατῶς παρέπλευσε, τὸν δ’ ἄγριον ἑκάστου θυμὸν ὡσπερεὶ καυτηρίῳ τῇ παραινέσει τῶν λόγων ἐπήρωσε.

Another commentator actually speaks of the Lotus-eaters as just men. This author implies that Odysseus’ men choose to take the drugs. Therefore, the blame is on them.

Schol. Q ad Od. 9.92

“Because they are righteous men, the [Lotus-eaters] do not restrain anyone by force, but by persuasion. For in the word “they were devising” it is clear that the ruin which attends these men does not happen without their consent. For, because the Lotus-eaters are righteous men, they were detaining no one by force but they were bewitching them with words alone.”

οὐδ’ ἄρα Λωτοφάγοι] δίκαιοι ὄντες ἄνδρες βίᾳ τινι οὐ κατεῖχον, ἀλλὰ πειθοῖ. τὸ δὲ “μήδοντο” δηλοῖ ὅτι οὐχ ἑκούσιος ἦν ἐκείνων ὁ γενόμενος ὄλεθρος. καὶ γὰρ οἱ Λωτοφάγοι δίκαιοι ὄντες βίᾳ οὐδένα κατεῖχον, ἀλλὰ τῷ λόγῳ μόνῳ ἔθελγον. Q.

And another comment explains that the men who partake of the lotus don’t actually forget their homecoming, but they merely stop worrying about it. Because, you know, it is their fault.

Schol. HQ ad Od. 9.97

“They forgot their homecoming” This follows from their nature, as it happens with the irrational animals, that the Lotus brings them forgetfulness and because of pleasure they spurn their homecoming. The sentiment is similar to the Iliad’s “they forgot their rushing valor”—they did not really forget it, but they stopped fostering it.”

νόστου τε λαθέσθαι] ἀκολούθως τῇ φύσει, ὡς ἐπὶ ἀλόγων ζῴων, οὐχ ὡς μέντοι τοῦ λωτοῦ λήθην ἐμποιοῦντος, ἀλλὰ διὰ τὴν ἡδονὴν καταφρονούντων τοῦ νόστου. ὅμοιον δέ ἐστι τῷ “λάθοντο δὲ θούριδος ἀλκῆς” (Il. ο, 322.). οὐ γὰρ ἐπελάθοντο, ἀλλὰ κατημέλησαν.

In these three cases, drug addiction is treated as an individual responsibility and not as either a biological challenge [e.g. addiction as a disease] or a social problem [an act of oblivion in a society with no collective meaning or sense of belonging].

(Maybe they were all on drugs anyway)

Ancient Greek may not have had a word for the concept of addiction. And there is definitely a school of thought that sees drug use as being an issue of tolerance:

Apollonios the Paradoxographer

50 “In his work On Plants, in the last part of the material, Theophrastos says that Eunomos, the Khian and purveyor of drugs, did not [cleanse himself/die] while drinking many doses of hellebore. Once, even, when together with his fellow craftsmen he took over 22 drinks in one day as he sat in the agora and he did not return from his implements. Then he left to wash and eat, as he was accustomed, and did not vomit. He accomplished this after being in this custom for a long time, because he started from small amounts until he got to so many large ones. The powers of all drugs are less severe for those used to them and for some they are even useless.”

50 Θεόφραστος ἐν τῷ περὶ φυτῶν, ἐν τῇ ἐσχάτῃ τῆς πραγματείας· Εὔνομος, φησίν, ὁ Χῖος, ὁ φαρμακοπώλης, ἐλλεβόρου πίνων πλείονας πόσεις οὐκ ἐκαθαίρετο. καὶ ποτέ, ἔφη, ἐν μιᾷ ἡμέρᾳ συνθέμενος τοῖς ὁμοτέχνοις περὶ δύο καὶ εἴκοσι πόσεις ἔλαβεν ἐν τῇ ἀγορᾷ καθήμενος καὶ οὐκ ἐξανέστη ἀπὸ τῶν σκευῶν <μέχρι δείλης>. τότε δ’ ἀπῆλθεν λούσασθαι καὶ δειπνῆσαι, ὥσπερ εἰώθει, καὶ οὐκ ἐξήμεσεν.

“…One could imagine the poet deciding that drugs, too, are a part of experience, and maybe one could learn even from them. And, that being granted, given the poem’s frequent points of contact with a drug culture of some kind, it is not altogether implausible that in book 11 the poet conducts his hero on a hallucinogenic trip to the Underworld precisely when and where it will do him the most good. But only then, and for very special reasons, does it earn something like his grudging respect”

-Douglas J. Stewart. The Disguised Guest. 1976, 212.

A New Musical Papyrus

The discovery of a new and substantial musical papyrus lifts the heart even as it raises the eyebrows.  The papyrus under discussion first came to light in California in the 1930s but seems mirabile dictu to have attracted no notice since then; this brief editio princeps, it is hoped, will serve as a stimulus to the learned readership of Sententiae Antiquae in the elucidation of the papyrus’ history and its place in the fields of ancient religion and music.

The text, I claim, preserves the transcript of a magical ceremony, one that has few outright parallels but many mysterious connections to those attested in Greek Macaronical Papyri.  The ceremony seems to involve an officiant performing an unusual baptism upon a layman, whom the officiant addresses throughout (λῇς ‘you desire’ 4, 8, 19; λαικέ ‘layman’ 5, 6, πάσσ’ ‘sprinkle’ 13-16) with particularly hydrological phrasing (σεῖν ‘piss’ 2, τέγγ’ ‘drench’ 4, 8, 9, 19, βρέχομαι ‘I’m getting wet’ 12, ἅμας ‘water-buckets’ 14, 16).  Syncretism is of course to be expected in a magical document of this sort, but the combination of Egyptian proper nouns (Neith 3, Ailou 15) with Pythagoreanism (καλὰ δέκα ‘the beautiful ten’, 18) and cryptic references to the sacred chickens of Roman divination (5, 7) bespeaks a wider spectrum of cultural borrowing than usual.

Perhaps most mysterious of all is the single line of Latin text (17).  Bilingual papyri are “very rare”;[1] the present example, however, seems to be unique in preserving, via a second language, not a simple translation of another part of the text but a comment from the text’s author on the nature of the text itself.  (Peculiar as the ceremony seems, there is no easy way to include the material of this line within the narrative of the baptismal events.)   Here the anonymous author proudly proclaims to his readership the excellence of his text and, in coining a maxim on the topic of wasted effort (cf. γλαῦκ’ εἰς Ἀθήνας, “coals to Newcastle”, vendre des coquilles à ceux qui viennent de Saint-Michel), he defies anyone to improve upon it.

What to make of the brief notation in line 20?  Unless the digamma—in other words, two gammas—is some sort of code by which to identify the composer of the music (though I do not know of any such use of initials in ancient papyri), perhaps it is best, as the following translation assumes, simply to interpret it as a vocalized comment on the nature of the papyrus itself.

I suggest that the four brief lines preserved at the bottom edge of the papyrus are a sort of index, providing the incipits of other magical ceremonies, perhaps even ones with music written by the same unknown composer of the music under discussion.  But whether any papyri preserving these other ceremonies will ever be discovered, only time or more heuretic papyrologists can tell.[2]

I have said that this papyrus preserves musical notation throughout the text—and so it does; for certain technical reasons, however, I have been unable to reproduce the notation in this edition.  Even so, those who take the time to speak the Greek text out loud may find themselves uncannily able to reproduce the original music on their own.

P.Hollywood.inv.2019 H x W = 29 x 22 cm California, ca. 1937 CE

ἰούσῃ ίθ’ ἦρ, ἀν’ αἴσῃ αἰθήρ
ἰοὺ σεῖν ίθ’ ἦρ, ἀν’ αἴσῃ ναὶ θήρ
ίθ’ ἦρ, αἰθήρ, Νηὶθ ἦρ, ναὶ θήρ
λῇς καλὰ θεῷ τέγγ’ ὄφ
ἰοὺ λαικὲ ποτητὼ ἄναι λαικέ ποτ’ ἄτω                                               5
ἰοὺ λαικὲ τομὴ θῶ; ἄναι λαικὲ τομὰ θῶ;
ποτητώ ποτ’ ἄτω τομὴ θῶ; τομὰ θῶ;
λῇς καλὰ θεῷ τέγγ’ ὄφ
βάτω ἰφύι καλὰ θεῷ τέγγ’ ὀφθὲν
νοῦ ἱμάς τε πάρ τε                                                                                 10
ἀνδῶ ἰφύι ἐφ’ ἧπαρ τεθὲν
θάττομαί τε βρέχομαι ἄρτε
σὼ ἶφι ἰοὺ λαικὲ πάσσ’ ἡμᾶς
ἄναι λαικὲ πάσσ’ ἅμας
Αἴλου ἦρ πάσσ’ ἡμᾶς                                                                              15
ἦν γ’ ἔφα πάσσ’ ἅμας
FOR VI NOVI NIDIS ADDAS OVI
βῆτα καλὰ δέκα λίγγ’ ὂφ ὄφ
λῇς καλὰ θεῷ τέγγ’ ὄφ
Ϝ                                                                                                                  20
ἰδεῖν Νέσσος ᾖρ’· ἐλεήσω;
ἀλλά, Φύσι, τοὺς τῇ
ὦ αἶγά τε πλήν τι ἄνα τήν
ᾤμην ἔρριφα

Translation

Go, spring, for the lady who goes; heaven is upon destiny.
Whoopie! Piss! Go, spring! Yes, a wild animal is upon destiny!
Go, spring, heaven! Neith, spring, yes, a wild animal!
You desire beautiful things for the god; drench, ah!

Whoopie, layman! Two birds (fulfillments, layman!) were finally insatiate!
Whoopie, layman! Cutting; shall I set (it)? Fulfillments, layman! Shall I set sharp things?
Two birds were finally insatiate! Cutting; shall I set it? Shall I set sharp things?
You desire beautiful things for the god; drench, ah!

Let beautiful things go to the eyebrow; drench for the god what was seen;
both the mind-strap and together
Let me bind on the eyebrow what was put on the liver,
and I sit for myself; I’m getting wet, bread!

Your pair with strength: whoopie, layman! Besprinkle us!
Fulfillments, layman! Besprinkle the water-buckets!
The spring in Ailou; besprinkle us!
I said, he/she said, “Besprinkle the water-buckets.”
I speak via strength! I know! You would add some egg to the nests!
B, the beautiful ten, twang, ah, ah!

Wow.

Nessus denied that he had seen (it); shall I pity (him)?
But, Nature, those (in) the
Oh, both the goat, only something along the
I thought, I have thrown

[1] Idunno, Oracles, Curses, and Risk among the Ancient Greeks (2007) 45.

[2] See Zeitschrift für papyrologische Enttaüschungen 36 (1979) 75-76.

File:Organist and horn player, the gladiator mosaic at the Roman villa in Nennig, Germany (9291661708).jpg
Organist and horn player, the gladiator mosaic at the Roman villa in Nennig, Germany

N.B. The papyrus under discussion may not be real.  This post is brought to you by Christopher Brunelle (@BrunelleMN), who taught Classics for decades and prefers Ovid to Vergil. Don’t you?