Menander

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Menander
Bust of Menander
Born 341/42 BC
Athens
Died c. 290 BC
Education Student of Theophrastus at the Lyceum
Information
Genre New Comedy
Notable work(s)

Menander (/məˈnændər/; Greek: Μένανδρος, Menandros; c. 341/42– c. 290 BC) was a Greek dramatist and the best-known representative of Athenian New Comedy.[1] He was the author of more than a hundred comedies, and took the prize at the Lenaia festival eight times.[2] His record at the City Dionysia is unknown but may well have been similarly spectacular.

One of the most popular writers of antiquity, his work was lost in the Middle Ages and is known in modernity in highly fragmentary form, much of which was discovered in the 20th century. Only one play, Dyskolos, has survived almost entirely.

Life and work[edit]

Menander was the son of well-to-do parents; his father Diopeithes is identified by some with the Athenian general and governor of the Thracian Chersonese known from the speech of Demosthenes De Chersoneso. He presumably derived his taste for comic drama from his uncle Alexis.[3]

He was the friend, associate, and perhaps pupil of Theophrastus, and was on intimate terms with the Athenian dictator Demetrius of Phalerum.[4] He also enjoyed the patronage of Ptolemy Soter, the son of Lagus, who invited him to his court. But Menander, preferring the independence of his villa in the Piraeus and the company of his mistress Glycera, refused.[5] According to the note of a scholiast on the Ibis of Ovid, he drowned while bathing,[6] and his countrymen honored him with a tomb on the road leading to Athens, where it was seen by Pausanias.[7] Numerous supposed busts of him survive, including a well-known statue in the Vatican, formerly thought to represent Gaius Marius.

His rival in dramatic art (and supposedly in the affections of Glycera) was Philemon, who appears to have been more popular. Menander, however, believed himself to be the better dramatist, and, according to Aulus Gellius,[8] used to ask Philemon: "Don't you feel ashamed whenever you gain a victory over me?" According to Caecilius of Calacte (Porphyry in Eusebius, Praeparatio evangelica[9]) Menander was accused of plagiarism, as his The Superstitious Man was taken from The Augur of Antiphanes, but reworkings and variations on a theme of this sort were commonplace and so the charge is a complicated one.

How long complete copies of his plays survived is unclear, although 23 of them, with commentary by Michael Psellus, were said to still have been available in Constantinople in the 11th century. He is praised by Plutarch (Comparison of Menander and Aristophanes)[10] and Quintilian (Institutio Oratoria), who accepted the tradition that he was the author of the speeches published under the name of the Attic orator Charisius.[11]

An admirer and imitator of Euripides, Menander resembles him in his keen observation of practical life, his analysis of the emotions, and his fondness for moral maxims, many of which became proverbial: "The property of friends is common," "Whom the gods love die young," "Evil communications corrupt good manners" (from the Thaïs, quoted in 1 Corinthians 15:33). These maxims (chiefly monostichs) were afterwards collected, and, with additions from other sources, were edited as Menander's One-Verse Maxims, a kind of moral textbook for the use of schools.

The single surviving speech from his early play Drunkenness is an attack on the politician Callimedon, in the manner of Aristophanes, whose bawdy style was adopted in many of his plays.

Menander found many Roman imitators. Eunuchus, Andria, Heauton Timorumenos and Adelphi of Terence (called by Caesar "dimidiatus Menander") were avowedly taken from Menander, but some of them appear to be adaptations and combinations of more than one play. Thus in the Andria were combined Menander's The Woman from Andros and The Woman from Perinthos, in the Eunuchus, The Eunuch and The Flatterer, while the Adelphi was compiled partly from Menander and partly from Diphilus. The original of Terence's Hecyra (as of the Phormio) is generally supposed to be, not by Menander, but Apollodorus of Carystus. The Bacchides and Stichus of Plautus were probably based upon Menander's The Double Deceiver and Brotherly-Loving Men, but the Poenulus does not seem to be from The Carthaginian, nor the Mostellaria from The Apparition, in spite of the similarity of titles. Caecilius Statius, Luscius Lavinius, Turpilius and Atilius also imitated Menander. He was further credited with the authorship of some epigrams of doubtful authenticity; the letters addressed to Ptolemy Soter and the discourses in prose on various subjects mentioned by the Suda[12] are probably spurious.

Loss of his work[edit]

Most of Menander's work did not survive the Middle Ages, except as short fragments. Michael Psellos might be the last writer who may have known more than we do today.[13][not in citation given] Federico da Montefeltro's library at Urbino reputedly had "tutte le opere", a complete works, but its existence has been questioned and there are no traces after Cesare Borgia's capture of the city and the transfer of the library to the Vatican.[14]

Until the end of the 19th century, all that was known of Menander were fragments quoted by other authors and collected by Augustus Meineke (1855) and Theodor Kock, Comicorum Atticorum Fragmenta (1888). These consist of some 1650 verses or parts of verses, in addition to a considerable number of words quoted from Menander by ancient lexicographers.

20th-century discoveries[edit]

A papyrus fragment of the Perikeiromene 976–1008 (P. Oxy. 211 II 211, 1st or 2nd century CE).

This situation changed abruptly in 1907, with the discovery of the Cairo Codex, which contained large parts of the Samia; the Perikeiromene; the Epitrepontes; a section of the Heros; and another fragment from an unidentified play. A fragment of 115 lines of the Sikyonioi had been found in the papier mache of a mummy case in 1906.

In 1959, the Bodmer papyrus was published containing Dyskolos, more of the Samia, and half the Aspis. In the late 1960s, more of the Sikyonioi was found as filling for two more mummy cases; this proved to be drawn from the same manuscript as the discovery in 1906, which had clearly been thoroughly recycled.[15]

Other papyrus fragments continue to be discovered and published.

Another bust, from the Hermitage Museum.

In 2003, a palimpsest manuscript, in Syriac writing of the 9th century, was found where the reused parchment comes from a very expensive 4th-century Greek manuscript of works by Menander. The surviving leaves contain parts of the Dyskolos and 200 lines of another, so far unidentified, piece by Menander.[13][16]

Famous quotations[edit]

The apostle Paul in 1 Corinthians 15:33 quotes Menander in the text "Bad company corrupts good character" (NIV) who probably derived this from Euripides (Socrates, Ecclesiastical History, 3.16).

"He who labors diligently need never despair, for all things are accomplished by diligence and labor." — Menander

«Ἀνερρίφθω κύβος» (anerriphtho kybos), best-known in English as "the die is cast" or "the die has been cast", from the mis-translated Latin "iacta alea est" (itself better-known in the order "Alea iacta est"); a correct translation is "let the die be cast" (meaning "let the game be ventured"). The Greek form was famously quoted by Julius Caesar upon committing his army to civil war by crossing the River Rubicon.[17] The popular form "the die is cast" is from the Latin iacta alea est, a mistranslation by Suetonius, 121 CE. According to Plutarch, the actual phrase used by Julius Caesar at the crossing of the Rubicon was a quote in Greek from Menander's play Arrhephoros, with the different meaning "Let the die be cast!".[18] See discussion at "the die is cast" and "Alea iacta est".

He [Caesar] declared in Greek with loud voice to those who were present 'Let the die be cast' and led the army across. (Plutarch, Life of Pompey, 60.2.9)[19]

Lewis and Short,[20] citing Casaubon and Ruhnk, suggest that the text of Suetonius should read Jacta alea esto, which they translate as "Let the die be cast!", or "Let the game be ventured!". This matches Plutarch's third-person aorist imperative ἀνερρίφθω κύβος (anerrhiphtho kybos).

Comedies[edit]

More complete plays[edit]

Only fragments available[edit]

  • Adelphoi ("The Brothers")
  • Anatithemene, or Messenia ("The Woman From Messene")
  • Andria ("The Woman From Andros")
  • Androgynos ("Hermaphrodite"), or Kres ("The Cretan")
  • Anepsioi ("Cousins")
  • Aphrodisia ("The Erotic Arts"), or Aphrodisios
  • Apistos ("Unfaithful", or "Unbelieving")
  • Arrhephoros, or Auletris ("The Female Flute-Player")
  • Auton Penthon ("Grieving For Him")
  • Boiotis ("The Woman From Boeotia")
  • Chalkeia (or Chalkis)
  • Chera ("The Widow")
  • Daktylios ("The Ring")
  • Dardanos ("Dardanus")
  • Deisidaimon ("The Superstitious Man")
  • Demiourgos ("The Demiurge")
  • Didymai ("Twin Sisters")
  • Dis Exapaton ("Double Deceiver")
  • Empimpramene ("Woman On Fire")
  • Encheiridion ("Handbook")
  • Epangellomenos ("The Man Making Promises")
  • Ephesios ("The Man From Ephesus")
  • Epikleros ("The Heiress")
  • Eunouchos ("The Eunuch")
  • Georgos ("The Farmer")
  • Halieis ("The Fishermen")
  • Heauton Timoroumenos ("Torturing Himself")
  • Heniochos ("The Charioteer")
  • Heros ("The Hero")
  • Hiereia ("The Priestess")
  • Hippokomos ("The Horse-Groom")
  • Homopatrioi ("People Having The Same Father")
  • Hydria ("The Water-Pot")
  • Hymnis ("Hymnis")
  • Hypobolimaios ("The Changeling"), or Agroikos ("The Country-Dweller")
  • Imbrioi ("People From Imbros")
  • Kanephoros ("The Ritual-Basket Bearer")
  • Karchedonios ("The Carthaginian Man")
  • Karine ("The Woman From Caria")
  • Katapseudomenos ("The False Accuser")
  • Kekryphalos ("The Hair-Net")
  • Kitharistes ("The Harp-Player")
  • Knidia ("The Woman From Cnidos")
  • Kolax ("The Flatterer" or "The Toady")
  • Koneiazomenai ("Women Drinking Hemlock")
  • Kybernetai ("The Helmsmen")
  • Leukadia ("The Girl from Leukas")
  • Lokroi ("Men From Locris")
  • Menagyrtes ("Beggar-Priest of Rhea")
  • Methe ("Drunkenness")
  • Misogynes ("The Woman-Hater")
  • Misoumenos ("The Hated Man")
  • Naukleros ("The Ship's Captain")
  • Nomothetes ("The Lawgiver" or "Legislator")
  • Olynthia ("The Woman From Olynthos")
  • Orge ("Anger")
  • Paidion ("Little Child")
  • Pallake ("The Concubine")
  • Parakatatheke ("The Deposit")
  • Perinthia ("The Woman from Perinthos")
  • Phanion ("Phanion")
  • Phasma ("The Phantom, or Apparition")
  • Philadelphoi ("Brotherly-Loving Men")
  • Plokion ("The Necklace")
  • Poloumenoi ("Men Being Sold", or "Men For Sale")
  • Proenkalon
  • Progamoi ("People About to Get Married")
  • Pseudherakles ("The Fake Hercules")
  • Psophodees ("Frightened By Noise")
  • Rhapizomene ("Woman Getting Her Face Slapped")
  • Stratiotai ("The Soldiers")
  • Synaristosai ("Women Who Eat Together At Noon"; "The Ladies Who Lunch")
  • Synepheboi ("Fellow Adolescents")
  • Synerosa ("Woman In Love")
  • Thais ("Thais")
  • Theophoroumene ("The Girl Possessed by a God")
  • Thesaurus ("The Treasure")
  • Thettale ("The Woman From Thessaly")
  • Thrasyleon ("Thrasyleon")
  • Thyroros ("The Doorkeeper")
  • Titthe ("The Wet-Nurse")
  • Trophonios ("Trophonius")
  • Xenologos ("Enlisting Foreign Mercenaries")

Standard editions[edit]

The standard edition of the least-well-preserved plays of Menander is Kassel-Austin, Poetarum Comicorum Graecorum vol. VI.2. For the better-preserved plays, the standard edition is now Arnott's 3-volume Loeb; a complete text of these plays is now being prepared by Colin Austin of Trinity Hall, Cambridge, for the Oxford Classical Texts series.

See also[edit]

References[edit]

  1. ^ Konstan, David (2010). Menander of Athens. Oxford: Oxford University Press. pp. 3–6. ISBN 0199805199. 
  2. ^ Apollodorus: Chronicle, fr.43
  3. ^ 'A Short History of Comedy', Prolegomena De Comoedia, 3
  4. ^ Phaedrus: Fables, 5.1
  5. ^ Alciphron: Letters, 2.3–4
  6. ^ Scholiast on Ibis.591
  7. ^ Pausanias, Description of Greece, 1.2.2
  8. ^ Gellius: Noctes Attica, 17.4
  9. ^ Eusebius: Praeparatio Evangelica, Book 10, Chapter 3
  10. ^ Plutarch: Moralia, 853–854
  11. ^ Quintilian: Institutio Oratoria, 10.1.69
  12. ^ Suda, M.589
  13. ^ a b Dieter Harlfinger, Warten auf Menander im Vatikan. 400 griechische Komödienverse in einer syrischen Palimpsest-Handschrift entdeckt, in: Forum Classicum, 2004. See here for an English translation.
  14. ^ Jacob Burckhadt The Civilization of the Renaissance in Italy, 1860. Paragraph 8 of this subchapter, but see print editions (such as Irene Gordon's (Mentor 1960) p. 158) for Burckhadt's footnote speculating on future rediscoveries.
  15. ^ Menander: Plays and Fragments, tr. Norma Miller. Penguin 1987, p.15
  16. ^ F. D’Aiuto: Graeca in codici orientali della Biblioteca Vaticana (con i resti di un manoscritto tardoantico delle commedie di Menandro), in: Tra Oriente e Occidente. Scritture e libri greci fra le regioni orientali di Bisanzio e l’Italia, a cura di Lidia Perria, Rom 2003 (= Testi e studi bizantino-neoellenici XIV), S. 227–296 (esp. 266–283 and plates 13–14)
  17. ^ Alea iacta est
  18. ^ Perseus Digital Library Plut. Pomp. 60.2
  19. ^ See also Plutarch's Life of Caesar 32.8.4 and Sayings of Kings & Emperors 206c.
  20. ^ Online Dictionary: alea, Lewis and Short at the Perseus Project. See bottom of section I.

External links[edit]