Anyone who picks up a collection of fragments of comic poetry is likely to be struck by the large number of references to eating fish. There are shopping-lists for fish, menus for fish and recipes for fish-dishes, with the ingredients and method of preparation graphically described. Aristophanes and others dwell in several places on the charms of eel wrapped in beet-leaves. Other writers describe preparations for a great fish-soup, or the dancing movements of fish as they are fried. Undoubtedly Athenaeus (...) is responsible for this preponderance among the fragments of Comedy of passages concerned primarily with food, especially fish, but some of the fragments are rather long in themselves and indicate, at the very least, that cooks were important characters in many plays, and that dinner-parties must have figured significantly in many plots. Outside Comedy, references to fish-consumption are somewhat fewer in number, but perhaps even more surprising when they do occur. It seems strange that Demosthenes, in discussing Philocrates' betrayal of his city, should think it at all relevant to state that he spent his ill-gotten gains on fish, or that Aeschines, attacking Timarchus on a capital charge, should dwell on his fondness for fish. Moreover, references to fish occur also in philosophy and the Hippocratic corpus. In fact, the frequency with which ancient authors seem to have written about fish reveals almost a preoccupation. The consumption offish clearly held a significance for the Athenians which needs to be uncovered and explained. (shrink)

Hailed by Horace and Quintilian as the greatest of Greek lyric poets, Pindar has always enjoyed a privileged position in the so-called classical tradition of the West. Given the intense difficulty of the poetry, however, Pindaric interpretation has forever grappled with the perplexing dilemma that one of the most influential poets of antiquity should prove to be so dark. In discussing both poets and scholars from a broad historical span, with special emphasis on the German legacy of genius, Soliciting Darkness (...) investigates how Pindar's obscurity has been perceived and confronted, extorted and exploited. As such, this study addresses a variety of pressing issues, including the recovery and appropriation of classical texts, problems of translation, representations of lyric authenticity, and the possibility or impossibility of a continuous literary tradition. The poetics of obscurity that emerges here suggests that taking Pindar to be an incomprehensible poet may not simply be the result of an insufficient or false reading, but rather may serve as a wholly adequate judgment. (shrink)