And lately baths too have been introduced; things which formerly men would not have permitted to exist inside a city. And Antiphanes points out their injurious character:Plague take the bath! just see the plightIn which the thing has left me;It seems t' have boil'd me up, and quiteOf strength and nerve bereft me.Don't touch me, curst was he who taught aMan to soak in boiling water.And Hermippus says,As to mischievous habits, if you ask my vote,I say there are two common kinds of self-slaughter,One, constantly pouring strong wine down your throat,T'other plunging in up to your throat in hot water.But now the refinements of cooks and perfumers have increased so much, that Alexis says that even if a man could bathe in a bath of perfume he would not be content. And all the manufactories of sweetmeats are in great vigour, and such plans are devised for intercourse between people, that some have proposed even to stuff the sofas and chairs with sponge, as on the idea that that will make the occupiers more amorous. And Theophrastus says that some contrivances are of wondrous efficacy in such matters; and Phylarchus confirms him, by reference to some of the presents which Sandrocottus, the king of the Indians, sent to Seleucus; which were to act like charms in producing a wonderful degree of affection, while some, on the contrary, were to banish love. Music, too, has been cultivated now, in a way which is a great perversion of its legitimate use: and extravagance has descended even to our clothes and shoes.
προσφάτως δὲ καὶ τὰ βαλανεῖα παρῆκται, τὴν ἀρχὴν οὐδὲ ἔνδον τῆς πόλεως ἐώντων εἶναι αὐτά, ὧν τὸ βλαπτικὸν Ἀντιφάνης δηλοῖ· εἰς μακαρίαν τὸ λουτρόν, ὡς διέθηκέ με. ἑφθὸν κομιδῇ πεποίηκεν ἀποκναίσειεν ἂν κἂν ὁστισοῦν μου λαβόμενος τοῦ δέρματος. οὕτω στερεόν τι πρᾶγμα θερμὸν ἐσθ’ ὕδωρ. Ἕρμιππος· μὰ τὸν Δί᾽, οὐ μέντοι μεθύειν τὸν ἄνδρα χρὴ τὸν ἀγαθὸν οὐδὲ θερμολουτεῖν, ἃ σὺ ποιεῖς. ηὔξηται δὲ καὶ ἡ τῶν ὀψοποιῶν περιεργία καὶ ἡ τῶν μυρεψῶν· ὥστ’ οὐδ’ ἂν κολυμβᾶν εἰς κολυμβήθραν μύρου ἀρκεῖσθαί τις ἂν δύναιτο, φησὶν Ἄλεξις. ἀνθοῦσι δὲ καὶ αἱ τῶν περὶ τὰ πέμματα δημιουργίαι καὶ αἱ περὶ τὰς συνουσίας περιεργίαι, ὥστ’ ἐπιτεχνᾶσθαι σπόγγους ὑποτίθεσθαι· ἐπακτικὸν γὰρ εἶναι τὸ τοιοῦτον πρὸς ἀφροδισίων πλῆθος. Θεόφραστος δ’ οὕτω φησί τινας ὀχευτικὰς δυνάμεις εἶναι ὡς καὶ μέχρι ἑβδομήκοντα συνουσιῶν ἐπιτελεῖν καὶ τὸ τελευταῖον αὐτοῖς αἷμα ἀποκρίνεσθαι. Φύλαρχος δὲ Σανδρόκοττόν φησι τὸν Ἰνδῶν βασιλέα Σελεύκῳ μεθ’ ὧν ἔπεμψε δώρων ἀποστεῖλαί τινας δυνάμεις στυτικὰς τοιαύτας ὡς ὑπὸ τοὺς πόδας τιθεμένας τῶν συνουσιαζόντων οἷς μὲν ὁρμὰς ἐμποιεῖν ὀρνίθων δίκην οὓς δὲ καταπαύειν. ηὔξηται δὲ νῦν καὶ ἡ τῆς μουσικῆς διαστροφή, καὶ ἡ περὶ τὰς ἐσθήσεις καὶ ὑποδέσεις ἐπήκμασε πολυτέλεια.
But Homer, though he was well acquainted with the nature of perfume, has never introduced any of his heroes as perfumed except Paris; when he says, “glittering with beauty,” as in another place he says that Venus—With every beauty every feature arms,Bids her cheeks glow, and lights up all her charms.Nor does he ever represent them as wearing crowns, although by some of his similes and metaphors he shows that he knew of garlands. At all events he speaks ofThat lovely isle crown'd by the foaming waves,And again he says—For all around the crown of battle swells.We must remark, too, that in the Odyssey he represents his characters as washing their hands before they partake of food. But in the Iliad there is no trace of such a custom. For the life described in the Odyssey is that of men living easily and luxuriously owing to the peace; on which account the men of that time indulged their bodies with baths and washings. And that is the reason why in that state of things they play at dice, and dance, and play ball. But Herodotus is mistaken when he says that those sports were invented in he time of Atys to amuse the people during the famine. For the heroic times are older than Atys. And the men living in the time of the Iliad are almost constantly crying out—Raise the battle cry so clear,Prelude to the warlike spear.
Ὅμηρος δὲ τὴν τοῦ μύρου φύσιν εἰδὼς οὐκ εἰσήγαγε μύροις ἀλειφομένους τοὺς ἥρωας πλὴν τὸν Πάριν ἐν οἷς φησὶ κάλλει στίλβων, ὡς καὶ Ἀφροδίτη κάλλει τὰ πρόσωπα καθαίρει. ἀλλ’ οὐδὲ στεφανουμένους εἰσάγει, καίτοι τῷ ἐκ τῆς μεταφορᾶς ὁμοιώματι σημαίνεται ὅτι ᾔδει τὸν στέφανον. φησὶ γοῦν νῆσος, ἣν πέρι πόντος ἀπείριτος ἐστεφάνωτο. καὶ πάντῃ γάρ σε περὶ στέφανος πολέμοιο δέδηε. παρατηρητέον δὲ καὶ ὅτι ἐν μὲν Ὀδυσσείᾳ ἀπονιζομένους τὰς χεῖρας ποιεῖ πρὶν μεταλαβεῖν τροφῆς, ἐν Ἰλιάδι. δὲ τοῦτο ποιοῦντας οὐκ ἔστιν εὑρεῖν. σχολαζόντων γὰρ βίος ὁ ἐν Ὀδυσσείᾳ καὶ διὰ τὴν εἰρήνην τρυφώντων διὸ οἱ ἐνταῦθα ἐθεράπευον τὸ σῶμα διὰ λουτρῶν καὶ κατανιμμάτων. διὰ τοῦτο καὶ ἀστραγαλίζουσιν ἐν ταύτῃ τῇ πολιτείᾳ καὶ ὀρχοῦνται καὶ σφαιρίζουσιν. Ἡρόδοτος δὲ οὐ καλῶς εἴρηκεν ἐπὶ Ἄτυος διὰ λιμὸν εὑρεθῆναι τὰς παιδιὰς· πρεσβεύει γὰρ τοῖς χρόνοις τὰ ἡρωικά. οἱ δ’ ἐν τῇ Ἰλιακῇ πολιτείᾳ μονονοὺ βοῶσι· κλῦθ’ Ἀλαλά, Πολέμου θύγατερ, ἐγχέων προοίμιον.
Now to go back to what we were saying before. The Athenians made Aristonicus the Carystian, who used to play at ball with Alexander the king, a freeman of their city on account of his skill, and they erected a statue to him. And even in later times the Greeks considered all handicraft trades of much less importance than inventions which had any reference to amusement. And the people of Histiæa, and of Oreum, erected in their theatre a brazen statue holding a die in its hand to Theodorus the juggler. And on the same principle the Milesians erected one to Archelaus the harp- player. But at Thebes there is no statue to Pindar, though there is one to Cleon the singer, on which there is the inscription—Stranger, thou seest Pytheas' tuneful son,While living oft with victory's garlands crown'd,Sweet singer, though on earth his race is run,E'en the high heavens with his name resound.Polemo relates that when Alexander razed Thebes to the ground, one man who escaped hid some gold in the garments of this statue, as they were hollow; and then when the city was restored he returned and recovered his money after a lapse of thirty years. But Herodotus, the logomime as he was called, and Archelaus the dancer, according! to Hegesander, were more honoured by Antiochus the king than any others of his friends. And Antiochus his father made the sons of Sostratus the flute-player his body guards.
ὅτι Ἀριστόνικον τὸν Καρύστιον, τὸν Ἀλεξάνδρου σφαιριστήν, Ἀθηναῖοι πολίτην ἐποιήσαντο διὰ τὴν τέχνην καὶ ἀνδριάντα ἀνέστησαν. τὰς γὰρ βαναύσους τέχνας Ἕλληνες ὕστερον περὶ πλείστου μᾶλλον ἐποιοῦντο ἢ τὰς κατὰ παιδείαν γινομένας ἐπινοίας. Ἑστιαιεῖς γοῦν καὶ Ὠρεῖται Θεοδώρου τοῦ ψηφοκλέπτου ἐν θεάτρῳ χαλκῆν εἰκόνα ἀνέθηκαν ψῆφον κρατοῦσαν· ὡς δ’ αὕτως Μιλήσιοι Ἀρχελάου τοῦ κιθαριστοῦ. ἐν δὲ Θήβαις Πινδάρου μὲν οὐκ ἔστιν εἰκών, Κλέωνος δὲ τοῦ ᾠδοῦ, ἐφ’ ἧς ἐπιγέγραπται· Πυθέα υἱὸς ὅδ’ ἐστὶ Κλέων Θηβαῖος ἀοιδός, ὃς πλείστους θνητῶν ἀμφέθετο στεφάνους κρατὸς ἐπὶ σφετέρου, καὶ οἱ κλέος οὐρανόμηκες. χαῖρε, Κλέων, Θήβας πατρίδ’ ἐπευκλεΐσας ὑπὸ. τούτου τὸν ἀνδριάντα, ὅτε Ἀλέξανδρος τὰς Θήβας κατασκάπτων …, φησὶ Πολέμων φεύγοντά τινα χρυσίον εἰς τὸ ἱμάτιον κοῖλον ὂν ἐνθέσθαι, καὶ ἀνοικιζομένης τῆς πόλεως ἐπανελθόντα εὑρεῖν τὸ χρυσίον μετὰ ἔτη τριάκοντα. Ἡρόδοτος δὲ ὁ λογόμιμος, ὥς φησιν Ἡγήσανδρος, καὶ Ἀρχέλαος ὁ ὀρχηστὴς παρὰ Ἀντιόχῳ τῷ βασιλεῖ μάλιστα ἐτιμῶντο τῶν φίλων. ὁ δὲ πατὴρ αὐτοῦ Ἀντίοχος τοὺς Σωστράτου τοῦ αὐλητοῦ υἱεῖς σωματοφύλακας ἐπεποίητο.
And Matreas, the strolling player of Alexandria, was admired by both Greeks and Romans; and he said that he was cherishing a beast which was eating itself. So that even now it is disputed what that beast of Matreas's was. He used to propose ridiculous questions in parody of the doubt raised by Aristotle, and then he read them in public; as “Why is the sun said to set, and not to dive?” “why are sponges said to suck up, and not to drink?” and “why do we say of a tetra-drachm that it καταλλάττεται, when we never speak of its getting in a passion?” And the Athenians gave Pothimos the puppet-master the use of the very stage on which Euripides had exhibited his noble dramas. And they also erected a statue of Euripides in the theatre next to the statue of Aeschylus. Xenophon the conjuror, too, was very popular among them, who left behind him a pupil of the name of Cratisthenes, a citizen of Phlias; a man who used to make fire spout up of its own accord, and who contrived many other extraordinary sights, so as almost to make men discredit the evidence of their own senses. And Nymphodorus the conjuror was another such; a man who having quarrelled with the people of Rhegium, as Duris relates, was the first man who turned them into ridicule as cowards. And Eudicus the buffoon gained great credit by imitating wrestlers and boxers, as Aristoxenus relates. Straton of Tarentum, also, had many admirers; he was a mimic of the dithyrambic poets; and so had Aenonas the Italian, who mimicked the harp-players; and who gave representations of the Cyclops trying to sing, and of Ulysses when shipwrecked, speaking in a clownish fashion. And Diopeithes the Locrian, according to the account of Phanodemus, when he came to Thebes, fastened round his waist bladders full of wine and milk, and then, squeezing them, pretended that he was drawing up those liquids out of his mouth. And Noëmon gained a great reputation for the same sort of tricks. There were also in Alexander's court the following jugglers, who had all a great name. Scymnus of Tarentum, and Philistides of Syracuse, and Heraclitus of Mitylene. And there were too some strolling players of high repute, such as Cephisodorus and Pantaleon. And Xenophon makes mention also of Philip the buffoon.
ἐθαυμάζετο δὲ παρ᾽ Ἕλλησι καὶ Ῥωμαίοις Ματρέας ὁ πλάνος ὁ Ἀλεξανδρεύς, ὃς ἔλεγε καὶ θηρίον τρέφειν ὃ αὐτὸ ἑαυτὸ κατεσθίει· ὡς καὶ ζητεῖσθαι μέχρι νῦν τὸ Ματρέου θηρίον τί ἐστιν. ἐποίησε δ’ οὗτος καὶ παρὰ τὰς Ἀριστοτέλους ἀπορίας καὶ ἀνεγίνωσκε δημοσίᾳ, διὰ τί ὁ ἥλιος δύνει μὲν κολυμβᾷ δ’ οὔ, καὶ διὰ τί οἱ σπόγγοι συμπίνουσι μὲν συγκωθωνίζονται δ’ οὔ, καὶ τὰ τετράδραχμα καταλλάττεται μὲν ὀργίζεται δ’ οὔ. Ἀθηναῖοι δὲ Ποθεινῷ τῷ νευροσπάστῃ τὴν σκηνὴν ἔδωκαν ἀφ’ ἧς ἐνεθουσίων οἱ περὶ Εὐριπίδην. Ἀθηναῖοι δὲ καὶ Εὐρυκλείδην ἐν τῷ θεάτρῳ ἀνέστησαν μετὰ τῶν περὶ Αἰσχύλον. ἐθαυμάζετο καὶ Ξενοφῶν ὁ θαυματοποιός, ὃς μαθητὴν κατέλιπε Κρατισθένη τὸν Φλιάσιον ὃς πῦρ τε αὐτόματον ἐποίει ἀναφύεσθαι καὶ ἄλλα πολλὰ φάσματα ἐτεχνᾶτο, ἀφ’ ὧν ἐξίστα τῶν ἀνθρώπων τὴν διάνοιαν. τοιοῦτος ἦν καὶ Νυμφόδωρος ὁ θαυματοποιός, ὃς προσκρούσας Ῥηγίνοις, ὥς φησι Δοῦρις, εἰς δειλίαν αὐτοὺς ἔσκωψε πρῶτος. Εὔδικος δὲ ὁ γελωτοποιὸς ηὐδοκίμει μιμούμενος παλαιστὰς καὶ πύκτας, ὥς φησιν Ἀριστόξενος. Στράτων δ᾽ ὁ Ταραντῖνος ἐθαυμάζετο τοὺς διθυράμβους μιμούμενος· τὰς δὲ κιθαρῳδίας οἱ περὶ τὸν ἐξ Ἰταλίας Οἰνώναν, ὃς καὶ Κύκλωπα εἰσήγαγε τερετίζοντα καὶ ναυαγὸν Ὀδυσσέα σολοικίζοντα, ὁ αὐτός φησι. Διοπείθης δὲ ὁ Λοκρός, ὥς φησι Φανόδημος, παραγενόμενος εἰς Θήβας καὶ ὑποζωννύμενος οἴνου κύστεις μεστὰς καὶ γάλακτος καὶ ταύτας ἀποθλίβων ἀνιμᾶν ἔλεγεν ἐκ τοῦ στόματος. τοιαῦτα ποιῶν ηὐδοκίμει καὶ Νοήμων ὁ ἠθολόγος. ἔνδοξοι δ’ ἦσαν καὶ παρ’ Ἀλεξάνδρῳ θαυματοποιοὶ Σκύμνος ὁ Ταραντῖνος, Φιλιστίδης ὁ Συρακούσιος, Ἡράκλειτος ὁ Μιτυληναῖος. γεγόνασι δὲ καὶ πλάνοι ἔνδοξοι, ὧν Κηφισόδωρος καὶ Πανταλέων, Φιλίππου δὲ τοῦ γελωτοποιοῦ Ξενοφῶν μνημονεύει.
Rome may fairly be called the nation of the world. And he will not be far out who pronounces the city of the Romans an epitome of the whole earth; for in it you may see every other city arranged collectively, and many also separately; for instance, there you may see the golden city of the Alex- andrians, the beautiful metropolis of Antioch, the surpassing beauty of Nicomedia; and besides all these that most glorious of all the cities which Jupiter has ever display d, I mean Athens. And not only one day, but all the days in an entire year, would be too short for a man who should attempt to enumerate all the cities which might be enumerated as discernible in that uranopolis of the Romans, the city of Rome; so numerous are they.—For indeed some entire nations are settled there, as the Cappadocians, the Scythians, the people of Pontus, and many others. And all these nations, being so to say the entire population of the world, called the dancer who was so famous in our time Memphis, comparing him, on account of the elegance of his movements, to the most royal and honourable of cities; a city of which Bacchylides sings—Memphis, which winter dares not to assail,And lotus-crowned Nile. As for the Pythagorean philosophy, Athenæus explains that to us, and shows us everything in silence more intelligibly than others who undertake to teach the arts which require talking.
ὅρος.. οἰκουμένης δῆμον τὴν Ῥώμην φησί, λέγει δὲ καὶ ὅτι οὐκ ἄν τις σκοποῦ πόρρω τοξεύων λέγοι τὴν Ῥώμην πόλιν ἐπιτομὴν τῆς οἰκουμένης· ἐν ᾗ συνιδεῖν ἔστιν οὕτως πάσας τὰς πόλεις ἱδρυμένας, καὶ κατ’ ἰδίαν δὲ τὰς πολλάς, ὡς Ἀλεξανδρέων μὲν τὴν χρυσῆν, Ἀντιοχέων δὲ τὴν καλήν, Νικομηδέων δὲ τὴν περικαλλῆ, προσέτι τε τὴν λαμπροτάτην πόλεων πασῶν ὁπόσας ὁ Ζεὺς ἀναφαίνει, τὰς Ἀθήνας λέγω. ἐπιλείποι δ’ ἄν με οὐχ ἡμέρα μία ἐξαριθμούμενον τὰς ἐν τῇ Ῥωμαίων οὐρανοπόλει Ῥώμῃ ἀριθμουμένας πόλεις, ἀλλὰ πᾶσαι αἱ κατὰ τὸν ἐνιαυτὸν ἀριθμούμεναι διὰ τὸ πλῆθος. καὶ γὰρ ὅλα ἔθνη ἀθρόως αὐτόθι συνῴκισται, ὡς τὸ Καππαδοκῶν καὶ Σκυθῶν καὶ Ποντίων καὶ ἄλλων πλειόνων. οὗτοι οὖν πάντες, ὁ σύμπας δῆμος τῆς οἰκουμένης, τὸν ἐφ’ ἡμῶν, φησί, φιλόσοφον ὀρχηστὴν Μέμφιν ἐκάλεσαν ἀπαρχαΐζοντες τὴν διὰ τοῦ σώματος αὐτοῦ κίνησιν τῇ τῶν πόλεων ἀρχαιοτάτῃ καὶ βασιλικωτάτῃ, περὶ ἧς Βακχυλίδης φησὶ τὴν ἀχείμαντόν τε Μέμφιν καὶ δονακώδεα Νεῖλον. οὗτος τὴν Πυθαγόρειον φιλοσοφίαν ἐπιδείκνυσιν ἥτις ἐστί, μετὰ σιωπῆς πάνθ’ ἡμῖν ἐμφανίζων σαφέστερον ἢ οἱ τὰς τῶν λόγων τέχνας ἐπαγγελλόμενοι διδάσκειν.
Now of tragic dancing, as it was called, such as it existed in his time, Bathyllus of Alexandria was the first introducer; whom Seleucus describes as having been a legitimate dancer. This Bathyllus, according to the account of Aristonicus, and Pylades too, who has written a treatise on dancing, composed the Italian dance from the comic one which was called κόρδαξ, and from the tragic dance which was called ἐμμέλεια, and from the Satyric dance which was called σίκιννις, (from which also the Satyrs were called σικιννισταί,) the inventor of which was a barbarian named Sicinnus, though some say that Sicinnus was a Cretan. Now, the dance invented by Pylades was stately, pathetic, and laborious; but that of Bathyllus was in a merrier style; for he added to his a kind of ode to Apollo. But Sophocles, in addition to being eminent for personal beauty, was very accomplished in music and dancing, having been instructed in those arts while a boy by Lamprus, and after the naval victory of Salamis, he having no clothes on, but only being anointed with oil, danced round the trophy erected on that occasion to the music of the lyre, but some say that he had his tunic on; and when he exhibited his Thamyris he himself played the harp; and he also played at ball with great skill when he exhibited his Nausicaa. And Socrates the Wise was very fond of the dance Memphis; and as he was often caught dancing, as Xenophon relates, he said to his friends that dancing was a gymnastic exercise for every limb; for the ancients used the word ὀρχέομαι for every sort of motion and agitation. Anacreon says—The fair-hair'd maids of mighty JoveDanced lightly in the mystic grove;and Ion has the expression—This strange occurrence makes my heart to dance.
τῆς δὲ κατὰ τοῦτον ὀρχήσεως τῆς τραγικῆς καλουμένης πρῶτος εἰσηγητὴς γέγονε Βάθυλλόν φησιν Ἀλεξανδρεύς, ὅν φησι παντομίμους ὀρχήσασθαι Σέλευκος. τοῦτον τὸν Βάθυλλόν φησιν Ἀριστόνικος καὶ Πυλάδην, οὗ ἐστι καὶ σύγγραμμα περὶ ὀρχήσεως, τὴν Ἰταλικὴν ὄρχησιν συστήσασθαι ἐκ τῆς κωμικῆς, ἣ ἐκαλεῖτο κόρδαξ, καὶ τῆς τραγικῆς, ἣ ἐκαλεῖτο ἐμμέλεια, καὶ τῆς σατυρικῆς ἣ ἐλέγετο σίκιννις διὸ καὶ οἱ σάτυροι σικιννισταί, ἧς εὑρετὴς Σίκιννός τις βάρβαρος. οἱ δέ φασιν ὅτι Κρὴς ἦν ὁ Σίκιννος. ἦν δὲ ἡ Πυλάδου ὄρχησις ὀγκώδης παθητική τε καὶ πολυπρόσωπος, ἡ δὲ Βαθύλλειος ἱλαρωτέρα καὶ γὰρ ὑπόρχημά τι τοῦτον διατίθεσθαι. Σοφοκλῆς δὲ πρὸς τῷ καλὸς γεγενῆσθαι τὴν ὥραν ἦν καὶ ὀρχηστικὴν δεδιδαγμένος καὶ μουσικὴν ἔτι παῖς ὢν παρὰ Λάμπρῳ. μετὰ γοῦν τὴν ἐν Σαλαμῖνι ναυμαχίαν περὶ λ τρόπαιον γυμνὸς ἀληλιμμένος ἐχόρευσε μετὰ λύρας· οἱ δὲ ἐν ἱματίῳ φασί. καὶ τὸν Θάμυριν διδάσκων αὐτὸς ἐκιθάρισεν ἄκρως δὲ ἐσφαίρισεν ὅτε τὴν Ναυσικάαν καθῆκε. τῆς δὲ Μέμφιδος ὀρχήσεως ἤρα καὶ Σωκράτης ὁ σοφὸς καὶ πολλάκις καταλαμβανόμενος ὀρχούμενος, ὥς φησι Ξενοφῶν, ἔλεγε τοῖς γνωρίμοις παντὸς εἶναι μέλους τὴν ὄρχησιν γυμνάσιον. ἔταττον γὰρ τὸ ὀρχεῖσθαι ἐπὶ τοῦ κινεῖσθαι καὶ ἐρεθίζεσθαι. Ἀνακρέων καλλίκομοι κοῦραι Διὸς ὠρχήσαντ’ ἐλαφρῶς. Ἴων· ἐκ τῶν ἀέλπτων μᾶλλον ὤρχησεν φρένας.
And Hermippus says, that Theophrastus used to come to the walks at a regular hour, carefully and beautifully dressed; and that then he would sit down and enter upon an argument, indulging in every sort of motion and gesture imaginable; so that once while imitating an epicure he even put out his tongue and licked his lips. Those men were very careful to put on their clothes neatly; and they ridiculed those who did not do so. Plato, in the Theætetus, speaks of “a man who has capacity to manage everything cleverly and perfectly, but who has no idea how to put on even proper clothes like a gentleman, and who has no notion of the propriety of language, so as to be able to celebrate the life of gods and men in a becoming manner.” And Sappho jests upon Andromeda:—Sure by some milkmaid you've been taughtTo dress, whose gown is all too shortTo reach her sturdy ancles.And Philetærus says—Don't let your gown fall down too low,Nor pull it up too high to showYour legs in clownish fashion.And Hermippus says, that Theocritus of Chios used to blame the way in which Anaximenes used to wrap his cloak round him as a boorish style of dressing. And Callistratus the pupil of Aristophanes, in one of his writings, attacked Aristarchus severely for not being neatly dressed, on the ground, that attention to those minute is no trifling indication of a man's abilities and good sense. On which account Alexis says—'Tis a sure sign of a degraded nature,To walk along the street in sloven's guise;Having the means of neatness: which costs nothing;Is subject to no tax; requires no change;And creditable is to him who uses it,And pleasant to all those who witness it.Who then would ever disregard this rule,That wishes to be thought a man of sense?
Ἕρμιππος δέ φησι Θεόφραστον παραγίνεσθαι εἰς τὸν περίπατον καθ’ ὥραν λαμπρὸν καὶ ἐξησκημένον, εἶτα καθίσαντα διατίθεσθαι τὸν λόγον οὐδεμιᾶς ἀπεχόμενον κινήσεως οὐδὲ σχήματος ἑνός. καί ποτε ὀψοφάγον μιμούμενον ἐξείραντα τὴν γλῶσσαν περιλείχειν τὰ χείλη. ἔμελε δὲ αὐτοῖς καὶ τοῦ κοσμίως ἀναλαμβάνειν τὴν ἐσθῆτα καὶ τοὺς μὴ τοῦτο ποιοῦντας ἔσκωπτον. Πλάτων ἐν Θεαιτήτῳ· πάντα δυναμένους ὀξέως τε καὶ τορῶς διακονεῖν, ἀναβάλλεσθαι δ’ οὐκ ἐπισταμένους ἐπιδέξι’ ἐλευθερίως οὐδ’ ἁρμονίαν λόγων λαβόντας ὀρθῶς ὑμνῆσαι θεῶν τε καὶ ἀνθρώπων εὐδαιμόνων βίον. Σαπφὼ περὶ Ἀνδρομέδας σκώπτει τίς δ’ ἀγροιῶτις θέλγει νόον οὐκ ἐπισταμένη τὰ βράκε’ ἕλκειν ἐπὶ τῶν σφυρῶν; Φιλέταιρος· ἀμφιβάλλου σφυροῖς· οὐ καθήσεις, τάλαν, μηδ’ ἀγροίκως ἄνω γόνατος ἀμφέξει; Ἕρμιππος δέ φησι Θεόκριτον τὸν Χῖον ὡς ἀπαίδευτον μέμφεσθαι τὴν Ἀναξιμένους περιβολὴν Καλλίστρατός τε ὁ Ἀριστοφάνειος Ἀρίσταρχον ἐν συγγράμματι κακῶς εἴρηκεν ἐπὶ τῷ μὴ εὐρύθμως ἀμπέχεσθαι, φέροντός τι καὶ τοῦ τοιούτου πρὸς παιδείας ἐξέτασιν. διὸ καὶ Ἄλεξίς φησιν ἓν γὰρ νομίζω τοῦτο τῶν ἀνελευθέρων εἶναι τὸ βαδίζειν ἀρρύθμως ἐν ταῖς ὁδοῖς, ἐξὸν καλῶς. οὗ μήτε πράττεται τέλος μηδεὶς … ἡμᾶς, μήτε τιμὴν δόντα δεῖ ἑτέρων λαβεῖν, φέρει δὲ τοῖς μὲν χρωμένοις δόξης τιν’ ὄγκον, τοῖς δ’ ὁρῶσιν ἡδονήν, κόσμον δὲ τῷ βίῳ τὸ τοιοῦτον γέρας τίς οὐκ ἂν αὑτῷ κτῷτο φάσκων νοῦν ἔχειν;
But Aeschylus was not only the inventor of becoming and dignified dress, which the hierophants and torch-bearers of the sacred festivals imitated; but he also invented many figures in dancing, and taught them to the dancers of the chorus. And Chamæleon states that he first arranged the choruses; not using the ordinary dancing-masters, but himself arranging the figures of the dancers for the chorus; and altogether that he took the whole arrangement of his tragedies on himself. And he himself acted in his own plays very fairly. And accord- ingly, Aristophanes (and we may well trust the comic writers in what they say of the tragedians) represents Aeschylus himself as saying—I myself taught those dances to the chorus,Which pleased so much when erst they danced before us.And again, he says, “I recollect that when I saw ' The Phrygians,' when the men came on who were uniting with Priam in his petition for the ransom of his son, some danced in this way, some in that, all at random.” Telesis, or Telestes, (whichever was his right name,) the dancing-master, invented many figures, and taught men to use the action of their hands, so as to give expression to what they said. Phillis the Delian, a musician, says, that the ancient harp-players moved their countenances but little, but their feet very much, imitating the march of troops or the dancing of a chorus. Accordingly Aristotle says, that Telestes the director of Aeschylus's choruses was so great a master of his art, that in managing the choruses of the Seven Generals against Thebes, he made all the transactions plain by dancing. They say, too, that the old poets, Thespis, Pratinas, Carcinus, and Phrynichus, were called dancing poets, because they not only made their dramas depend upon the dancing of the chorus, but because, besides directing the exhibition of their own plays, they also taught dancing to all who wished to learn. But Aeschylus was often drunk when he wrote his tragedies, if we may trust Chamæleon: and accordingly Sophocles reproached him, saying, that even when he did what was right he did not know that he was ding so.
καὶ Αἰσχύλος δὲ οὐ μόνον ἐξεῦρε τὴν τῆς στολῆς εὐπρέπειαν καὶ σεμνότητα, ἣν ζηλώσαντες οἱ ἱεροφάνται καὶ δᾳδοῦχοι ἀμφιέννυνται, ἀλλὰ καὶ πολλὰ σχήματα ὀρχηστικὰ αὐτὸς ἐξευρίσκων ἀνεδίδου τοῖς χορευταῖς. χαμαιλέων γοῦν πρῶτον αὐτόν φησι σχηματίσαι τοὺς χοροὺς ὀρχηστοδιδασκάλοις οὐ χρησάμενον, ἀλλὰ καὶ αὐτὸν τοῖς χοροῖς τὰ σχήματα ποιοῦντα τῶν ὀρχήσεων, καὶ ὅλως πᾶσαν τὴν τῆς τραγῳδίας οἰκονομίαν εἰς ἑαυτὸν περιιστάντα. ὑπεκρίνετο γοῦν μετὰ τοῦ εἰκότος τὰ δράματα. Ἀριστοφάνης γοῦν παρὰ δὲ τοῖς κωμικοῖς ἡ περὶ τῶν τραγικῶν ἀπόκειται πίστισ’ ποιεῖ αὐτὸν Αἰσχύλον λέγοντα· τοῖσι χοροῖς αὐτὸς τὰ σχήματ’ ἐποίουν. καὶ πάλιν· τοὺς Φρύγας οἶδα θεωρῶν, ὅτε τῷ Πριάμῳ συλλυσόμενοι τὸν παῖδ’ ἦλθον τεθνεῶτα, πολλὰ τοιαυτὶ καὶ τοιαυτὶ καὶ δεῦρο σχηματίσαντες. καὶ Τέλεσις δὲ ἢ Τελέστης ὁ ὀρχηστοδιδάσκαλος πολλὰ ἐξεύρηκε σχήματα, ἄκρως ταῖς χερσὶ τὰ λεγόμενα δεικνύς. Φίλλις ὁ Δήλιος μουσικὸς τοὺς ἀρχαίους φησὶ κιθαρῳδοὺς κινήσεις ἀπὸ μὲν τοῦ προσώπου μικρὰς φέρειν, ἀπὸ ποδῶν δὲ πλείους, ἐμβατηρίους καὶ χορευτικάς. Ἀριστοκλῆς οὖν φησιν ὅτι Τελέστης ὁ Αἰσχύλου ὀρχηστὴς οὕτως ἦν τεχνίτης ὥστε ἐν τῷ ὀρχεῖσθαι τοὺς Ἑπτὰ ἐπὶ Θήβας φανερὰ ποιῆσαι τὰ πράγματα δι’ ὀρχήσεως. φασὶ δὲ καὶ ὅτι οἱ ἀρχαῖοι ποιηταί, Θέσπις, Πρατίνας, Κρατῖνος, Φρύνιχος ὀρχησταὶ ἐκαλοῦντο διὰ τὸ μὴ μόνον τὰ ἑαυτῶν δράματα ἀναφέρειν εἰς ὄρχησιν τοῦ χοροῦ, ἀλλὰ καὶ ἔξω τῶν ἰδίων ποιημάτων διδάσκειν τοὺς βουλομένους ὀρχεῖσθαι Μεθύων. δὲ ἐποίει τὰς τραγῳδίας Αἰσχύλος, ὥς φησι Χαμαιλέων. Σοφοκλῆς γοῦν ὠνείδιζεν αὐτῷ ὅτι εἰ καὶ τὰ δέοντα ποιεῖ, ἀλλ’ οὐκ εἰδώς γε.
Now the national dances are the following:—the Lace- dæmonian, the Trœzenian, the Epizephyrian, the Cretan, the Ionian, the Mantinean, which Aristoxenus considers as the best of all, on account of its movement of the hands. And dancing was considered so creditable an employment, and one requiring so much talent, that Pindar calls Apollo a dancer:—Prince of dancers, prince of grace,Hail, Phœbus of the silver quiver.And Homer too, or one of the Homeridæ, in one of the hymns to Apollo, says—How deftly Phœbus strikes the golden lyre,While strength and grace each moving limb inspire!and Eumelus, or Arctinus, the Corinthian, somewhere or other introduces Jupiter himself as dancing, saying—And gracefully amid the dancing throng,The sire of gods and mortals moved along.But Theophrastus says that Andron of Catana, a flute-player, was the first person who invented motions of the body keeping time to music, while he played on the flute to the dancers; from whom dancing among the ancients was called Sicelizing. And that he was followed by Cleophantus of Thebes. Among the dancers of reputation there was Bulbus, mentioned by Cratinus and Callias; and Zeno the Cretan, who was in high favour with Artaxerxes, mentioned by Ctesias. Alexander also, in his letter to Philoxenus, mentions Theodorus and Chrysippus.
ὀρχήσεις δὲ ἐθνικαὶ αἵδε· Λακωνικαί, Τροιζήνιαι, Ἐπιζεφύριοι, Κρητικαί, Ἰωνικαί, Μαντινικαί, ἃς προκρίνει Ἀριστόξενος διὰ τὴν τῶν χειρῶν κίνησιν. οὕτως δ’ ἦν ἔνδοξον καὶ σοφὸν ἡ ὄρχησις ὥστε Πίνδαρος τὸν Ἀπόλλωνα ὀρχηστὴν καλεῖ· ὀρχήστ’ ἀγλαΐας ἀνάσσων, εὐρυφάρετρ’ Ἄπολλον, καὶ Ὅμηρος ἢ τῶν Ὁμηριδῶν τις ἐν τῷ εἰς Ἀπόλλωνα ὕμνῳ φησίν· Ἀπόλλων φόρμιγγ’ ἐν χείρεσσιν ἔχων χάριεν κιθάριζε, καλὰ καὶ ὕψι βιβάς. Εὔμηλος δὲ ὁ Κορίνθιος ἢ Ἀρκτῖνος τὸν Δία ὀρχούμενόν που παράγει λέγων· μέσσοισιν δ’ ὠρχεῖτο πατὴρ ἀνδρῶν τε θεῶν τε. Θεόφραστος δὲ πρῶτόν φησιν Ἄνδρωνα τὸν Καταναῖον αὐλητὴν κινήσεις καὶ ῥυθμοὺς ποιῆσαι τῷ σώματι αὐλοῦντα· ὅθεν σικελίζειν τὸ ὀρχεῖσθαι παρὰ τοῖς παλαιοῖς· μεθ’ ὃν Κλεόλαν τὸν Θηβαῖον. ὀρχησταὶ δὲ ἔνδοξοι Βολβὸς μὲν παρὰ Κρατίνῳ καὶ Καλλίᾳ, Ζήνων δὲ ὁ Κρὴς ὁ πάνυ Ἀρταξέρξῃ προσφιλέστατος παρὰ Κτησίᾳ. Ἀλέξανδρος δὲ ἐν τῇ πρὸς Φιλόξενον ἐπιστολῇ μέμνηται Θεοδώρου καὶ Χρυσίππου·
The Temple of the Muses is called by Timon the Phliasian, the satiric writer, the basket, by which term he means to ridicule the philosophers who frequent it, as if they were fattened up in a hen-coop, like valuable birds:—Aegypt has its mad recluses,Book-bewilder'd anchorites,In the hen-coop of the MusesKeeping up their endless fights..... till these table orators got cured of their diarrhea of words; a pack of men, who from their itch for talking appear to me to have forgotten the Pythian oracle, which Chameleon quotes—Three weeks ere Sirius burns up the wheat,And three weeks after, seek the cool retreatOf shady house, and better your conditionBy taking Bacchus for your sole physician.And so Mnesitheus the Athenian says that the Pythia enjoined the Athenians to honour Bacchus the physician. But Alcæus, the Mitylenæan poet, says—Steep your heart in rosy wine, for see, the dog star is in view;Lest by heat and thirst oppress'd you should the season's fury rue.And in another place he says—Fill me, boy, a sparkling cup;See, the dogstar's coming up.And Eupolis says that Callias was compelled to drink by Protagoras, in order that his lungs might not be melted away before the dogdays. But at such a time I not only feel my lungs dried up, but I may almost say my heart too. And Antiphanes says—A. Tell me, I pray you, how you life define.B. To drink full goblets of rich Chian wine.You see how tall and fine the forest growsThrough which a sacred river ceaseless flows;While on dry soils the stately beech and oakDie without waiting for the woodman's stroke.And so, says he, they, disputing about the dogstar, had plenty to drink. Thus the word βρέχω, to moisten or soak, is often applied to drinking. And so Antiphanes says—Eating much may bring on choking,Unless you take a turn at soaking.And Eubulus has—A. I Sicon come with duly moisten'd clay.B. What have you drunk then? A. That you well may say. Now the verb ἀναπίπτω, meaning to fall back, has properly reference to the mind, meaning to despair, to be out of heart. Thucydides says in his first book, “When they are defeated they are least of all people inclined to ἀναπίπτειν.” And Cratinus uses the same expression of rowers—Ply your oars and bend your backs.And Xenophon in his Œconomics says, “Why is it that rowers are not troublesome to one another, except because they sit in regular order, and bend forward in r gular order, and (ἀναπίπτουσιν) lean back in regular order?” —The word ἀνακεῖσθαι is properly applied to a statue, on which account they used to laugh at those who used the word of the guests at a feast, for whom the proper expression was κατακεῖμαι. Accordingly Diphilus puts into the mouth of a man at a feast—I for a while sat down (ἀνεκείμην):and his friend, not approving of such an expression, says, ἀνάκεισο. And Philippides has—I supped too ἀνακειμένος in his house.And then the other speaker rejoins—What, was he giving a dinner to a statue?But the word κατακεῖσθαι is used, and also κατακεκλῖσθαι, of reclining at meals: as Xenophon and Plato prove in their essays called the Banquet. Alexis too says—'Tis hard before one's supper to lie down,For if one does one cannot go to sleep;Nor give much heed to aught that may be said;One's thoughts being fix'd on what there 'll be to eat.Not but what the word ἀνακεῖσθαι is used in this sense, though rarely. The satyr in Sophocles says—If I catch fire I'll leap with a mightySpring upon Hercules, as ἀνακεῖται.And Aristotle says, when speaking of the laws of the Tyrrhenians, “But the Tyrrhenians sup, ἀνακειμένοι with the women under the same covering.” Theopompus also says—Then we the goblets fill'd with mighty wine,On delicate couches κατακειμένος,Singing in turn old songs of Telamon.And Philonides says—I have been here κατακειμένος a long time.And Euripides says in the Cyclops—Ἀνέπεσε (which is the same as ἀνέκειτοBreathing forth long and deep and heavy breath.p And Alexis says—After that I bade her ἀναπεσεῖν by my side.
ὅτι τὸ Μουσεῖον ὁ Φλιάσιος Τίμων ὁ σιλλοαγράφος τάλαρὸν πού φησιν ἐπισκώπτων τοὺς ἐν αὐτῷ τρεφομένους φιλοσόφους, ὅτι ὥσπερ ἐν πανάγρῳ τινὶ σιτοῦνται καθάπερ οἱ πολυτιμότατοι ὄρνιθες· πολλοὶ μὲν βόσκονται ἐν Αἰγύπτῳ πολυφύλῳ βιβλιακοὶ χαρακῖται ἀπείριτα δηριόωντες Μουσέων ἐν ταλάρῳ. … ἕως ἂν τῆς λογοδιαρροίας ἀπαλλαγῶσιν οὗτοι οἱ τραπεζορήτορες· οἳ ὑπὸ γλωσσαλγίας ἐπιλελῆσθαί μοι δοκοῦσι καὶ τοῦ Πυθικοῦ χρησμοῦ, ὃν ἀναγράφει Χαμαιλέων εἴκοσι τὰς πρὸ κυνὸς καὶ εἴκοσι τὰς μετέπειτα οἴκῳ ἐνὶ σκιερῷ Διονύσῳ χρῆσθαι ἰητρῷ. καὶ Μνησίθεος δ’ ὁ Ἀθηναῖος Διόνυσον ἰατρόν φησι τὴν Πυθίαν χρῆσαι τιμᾶν Ἀθηναίοις. φησὶ δὲ καὶ Ἀλκαῖος ὁ Μιτυληναῖος ποιητής· τέγγε πνεύμονα οἴνῳ· τὸ γὰρ ἄστρον περιτέλλεται· ἡ δ’ ὥρη χαλεπή· πάντα δὲ δίψαισ’ ὑπὸ καύματος. καὶ ἀλλαχοῦ· πίνωμεν, τὸ γὰρ ἄστρον περιτέλλεται. Εὔπολίς τε τὸν Καλλίαν φησὶν ἀναγκάζεσθαι ὑπὸ Πρωταγόρου πίνειν, ἵνα· πρὸ τοῦ κυνὸς τὸν πνεύμον’ ἔκλυτον φορῇ. ἡμῖν δ’ οὐ μόνον ὁ πνεύμων ἀπεξήρανται, κινδυνεύει δὲ καὶ ἡ καρδία. καίτοι Ἀντιφάνης λέγει· τὸ δὲ ζῆν, εἰπέ μοι, τί ἐστι; πίνειν φήμ’ ἐγώ. ὁρᾷς παρὰ ῥείθροισι χειμάρροις ὅσα δένδρων ἀεὶ τὴν νύκτα καὶ τὴν ἡμέραν βρέχεται, μέγεθος καὶ κάλλος οἷα γίνεται, τὰ δ’ ἀντιτείνοντ’ οἱονεὶ δίψαν τινὰ ἢ ξηρασίαν σχόντ’ αὐτόπρεμν’ ἀπόλλυται. οὕτω τούτοις, φησί, κυνολογήσασιν ἐδόθη πιεῖν. εἴρηται δὲ τὸ βρέχειν καὶ ἐπὶ τοῦ πίνειν. Ἀντιφάνης· δεῖ γὰρ φαγόντας δαψιλῶς βρέχειν. Εὔβουλος· Σίκων ἐγὼ βεβρεγμένος ἥκω καὶ κεκωθωνισμένος. β. πέπωκας οὗτος; ς. … πέπωκ’ ἐγώ, μὰ Δία τὸν Μενδαῖον ὅτι τὸ ἀναπίπτειν κυρίως ἐπὶ ψυχῆς ἐστιν, οἷον ἀθυμεῖν, ὀλιγοδρανεῖν. Θουκυδίδης α′· νικώμενοι ἐπ’ ἐλάχιστον ἀναπίπτουσι. Κρατῖνος δ’ ἐπὶ ἐρετῶν χρᾶται τῇ λέξει· ῥοθίαζε κἀνάπιπτε. καὶ Ξενοφῶν ἐν Οἰκονομικῷ· διὰ τί ἄλυποι ἀλλήλοις εἰσὶν οἱ ἐρέται; ἢ ὅτι ἐν τάξει μὲν κάθηνται, ἐν τάξει δὲ προνεύουσιν, ἐν τάξει δὲ ἀναπίπτουσιν; ἀνακεῖσθαι δέ φαμεν ἐπὶ ἀνδριάντος· ὅθεν τοὺς ἐπὶ κατακειμένων χρωμένους τῇ λέξει διέσυρον. Δίφιλος· ἐγὼ δ’ ἕως μέν τινος ἀνεκείμην. πρὸς ὃν δυσχεραίνων ὁ ἑταῖρός φησιν ἀνάκεισο. Φιλιππίδης· καὶ δειπνῶν ἀεὶ ι ἀνακείμενος παρ’ αὐτόν, καὶ ἐπάγει· πότερον ἀνδριάντας εἱστία; κατακεῖσθαι δὲ λέγεται καὶ κατακεκλίσθαι, ὡς ἐν Συμποσίοις Ξενοφῶν καὶ Πλάτων. Ἄλεξις· ὥς ἐστι κατακεῖσθαι πρὸ δείπνου συμφορά οὔτε γὰρ ὕπνος δήπουθεν οὐδέν’ ἂν λάβοι οὔτε ἃν λέγῃ τις οὐδαμῶς μάθοιμεν ἂν ὁ νοῦς γάρ ἐστι τῆς τραπέζης πλησίον. ἔστι δὲ εὑρεῖν καὶ ἐπὶ τῆς ἐννοίας ταύτης σπανίως τὸ ἀνακεῖσθαι. σάτυρος παρὰ Σοφοκλεῖ τοῦτό φησιν ἐπικαιόμενος τῷ Ἡρακλεῖ· ἀνακειμένῳ μέσον εἰς τὸν αὐχέν’ εἰσαλοίμην. Ἀριστοτέλης ἐν Τυρρηνῶν Νομίμοις· οἱ δὲ Τυρρηνοὶ δειπνοῦσι μετὰ τῶν γυναικῶν ἀνακείμενοι ὑπὸ τῷ αὐτῷ ἱματίῳ. Θεόπομπος ἐπίνομεν μετὰ ταῦτα … κατακείμενοι μαλακώτατ᾽· τρικλινίῳ, Τελαμῶνος οἰμώζοντες ἀλλήλοις μέλη. Φιλωνίδης· κατάκειμαι, ὡς ὁρᾶτε, δεκάπαλαι. Εὐριπίδης Κύκλωπι· ἀνέπεσε φάρυγος αἰθέρ’ ἐξανιεὶς βαρύν. Ἄλεξις· μετὰ ταῦτ’ ἀναπεσεῖν ἐκέλευον αὐτὴν παρ’ ἐμέ.
The ancients, too, used the word πάσασθαι for to taste. And so Phœnix says to Achilles, "You would not πάσασθαι anything in any one else's house. And in another place we find—When they ἐπάσαντο the entrails:for they only taste the entrails, so that a great multitude might have a taste of what exists in but a small quantity. And Priam says to Achilles—-Now I have tasted food, (πασάμην.)For it was natural for a man suffering under such calamities as his, only just to taste food, for his grief would not permit him to go so far as to satisfy his hunger. And therefore, he who did not touch food at all is called “fasting,” ἄπαστος. But the poet never uses the word πάσασθαι of those who eat their fill; but in their case he uses words which express satiety:—But when their minds were pleased (τάρφθεν) with wholesome food;and,When they had ceased to wish for meat and drink.But more modern writers use the word πάσασθαι for being satisfied. Callimachus says—I should like to satiate(πάσασθαι) myself with thyme;and Eratosthenes—They roasted their game in the ashes and ate it,(ἐπάσαντο) at least they all did who could get it.
ὅτι τὸ πάσασθαι ἐπὶ τοῦ ἀπογεύσασθαι τίθεται, φησὶ γοῦν Φοῖνιξ πρὸς Ἀχιλλέα· οὐκ ἤθελον ἅμ’ ἄλλῳ ἐν μεγάροισι πάσασθαι. καὶ ἀλλαχοῦ· εὖθ’ οἱ σπλάγχν’ ἐπάσαντο. τῶν γὰρ σπλάγχνων ἀπογεύσασθαι μόνον ὡς ἂν ὀλίγων πολὺς ὅμιλος, καὶ ὁ Πρίαμος δὲ πρὸς Ἀχιλλέα φησί· νῦν δὴ καὶ σίτου πασάμην. οἰκεῖον γὰρ τοῦ τηνικάδε ἀτυχήσαντος ἀπογεύσασθαι μόνον εἰς κόρον γὰρ ἐλθεῖν οὐκ εἴα τὸ πένθος, διὸ καὶ ὁ τὸ σύνολον οὐ γευσάμενος τροφῆς κεῖτ’ ἄσιτος, ἄπαστος. ἐπὶ δὲ τῶν ἀποπληρουμένων οὐδέποτε λέγει τὸ πάσασθαι, ἀλλ’ ὁπόσα δηλοῖ κόρον αὐτὰρ ἐπεὶ σίτου τάρφθεν καὶ ἐδητύος ἐξ ἔρον ἕντο. οἱ δὲ νεώτεροι καὶ ἐπὶ τοῦ πληρωθῆναι τιθέασι τὸ πάσασθαι. Καλλίμαχος· μύθου δὲ πασαίμην ἥδιον. Ἐρατοσθένης· ὀπταλέα κρέα ἐκ τέφρης ἐπάσαντο τὰ τ’ ἀγρώσσοντες ἕλοντο.
We find in the Theban bard the expression, “glueing them together as one would glue one piece of wood to another.” Seleucus says that the expression so common in Homer, δαῖτα θάλειαν, is the same as δίαιτα by a slight alteration of the arrangement of the letters; for he thinks that is too violent a change to consider it as derived from δαίσασθαι. Carystius of Pergamos relates that the Corcyrean women sing to this day when playing at ball. And in Homer, it is not only men who play, but women also. And they used to play at quoits also, and at throwing the javelin, with some grace:—They threw the quoit, and hurl'd the playful spear.For any amusement takes away the feeling of ennui. And young men prosecute hunting as a sort of practice against the dangers of war; and there is no sort of chase which they avoid; and the consequence is that they are more vigorous and healthy than they otherwise would be.As when they stand firm as unshaken towers,And face the foe, and pour forth darts in showers.The men of those times were acquainted with baths also of all sorts. as a relief from fatigue. Refreshing themselves after toil by bathing in the sea; which of all baths is the best for the sinews; and having relaxed the excessive strains of their muscles in the bath, they then anointed themselves with ointment, in order to prevent their bodies from becoming too rigid as the water evaporated. And so the men who returned from a reconnoissance,Wash'd off their heat in Neptune's briny tides,And bathed their heads, and legs, and brawny sides.And then—They to the polish'd marble baths repair,Anoint with fresh perfumes their flowing hair,And seek the banquet hall.There was another way, too, of refreshing themselves and getting rid of their fatigue, by pouring water over the head:—Then o'er their heads and necks the cooling streamThe handmaids pour'd:for baths, in which the whole body is immersed, as the water surrounds all the pores on every side, prevents the escape of the perspiration, just as if a sieve were thrown into the water. For then nothing goes through the sieve, unless you lift it up out of the water, and so allow its pores, if one may call them so, to open, and make a passage through; as Aristotle says in his problems of natural philosophy, when he asks, “Why do men in a perspiration, when they come into warm or cold water no longer perspire, until they leave the bath again?”
ποτίκολλον ἅτε ξύλον παρὰ ξύλῳ, φησὶν ὁ Θηβαῖος μελοποιός. ἔτι περὶ τοῦ Τῶν ἡρώων Βίου ὅτι Σέλευκός φησι τὴν παρ’ Ὁμήρῳ δαῖτα θάλειαν στοιχείων μεταθέσει δίαιταν εἶναι· τὸ δὲ ἀπὸ τοῦ δαίσασθαι λέγειν βιαιότερόν ἐστι. ὅτι Καρύστιος ὁ Περγαμηνὸς ἱστορεῖ τὰς Κερκυραίας γυναῖκας ἔτι καὶ νῦν σφαιριζούσας ᾄδειν. σφαιρίζουσι δὲ παρ᾽παρ’ Ὁμήρῳ οὐ μόνον ἄνδρες ἀλλὰ καὶ γυναῖκες, καὶ δίσκοις δὲ καὶ ἀκοντίοις μετά τινος συμμετρίας ἐχρῶντο δίσκοισιν τέρποντο καὶ αἰγανέῃσιν ἱέντες. τὸ γὰρ τερπνὸν τὴν κακοπάθειαν κουφίζει. καὶ ἐπὶ κυνηγέσια δὲ ἐξίασιν οἱ νέοι πρὸς μελέτην τῶν πολεμικῶν κινδύνων καὶ ἐπὶ θήρας παντοίας, ἀφ’ ὧν ῥωμαλεώτεροι καὶ ὑγιεινότεροι διετέλουν, ὡς ὅτε πυργηδὸν σφέας αὐτοὺς ἀρτύνουσι καὶ ἀντίον ἱστάμενοι ἀκοντίζουσιν. ᾽ἴσασι δὲ καὶ λουτρὰ ἄκη πόνων παντοῖα, κόπον μὲν θαλάττῃ λύοντες, ἣ μάλιστα τοῖς νεύροις ἐστὶ πρόσφορος, ἀναχαλῶντες δὲ ταῖς ἐμβάσεσι τὰς τῶν μυῶν συντάσεις, εἶτ’ ἐπαλείφοντες λίπα πρὸς τὸ μὴ ξηρανθέντος τοῦ ὕδατος ἀπεσκληρυμμένα γίνεσθαι τὰ σώματα, οἱ γοῦν ἀπὸ τῆς σκοπιῆς ἐπανελθόντες ἱδρῶ πολλὸν ἀπενίζοντο θαλάσσῃ κνήμας ἠδὲ λόφον ἀμφί τε μηρούς, καὶ οὕτως ἀναψύξαντες ἐς ἀσαμίνθους βάντες ἐυξέστας λούσαντο καὶ ἀλειψάμενοι λίπ’ ἐλαίῳ δείπνῳ ἐφιζανέτην. ἔστι καὶ τρόπος ἕτερος καμάτων λύσεως ἐκ τῶν κατὰ κεφαλῆς καταιονήσεων· θυμῆρες κεράσασα κατὰ κρατός τε καὶ ὤμων. αἱ γὰρ ἐμβάσεις περικεχυμένου πανταχόθεν τοῖς πόροις τοῦ ὕδατος φράττουσι τὴν τῶν ἱδρώτων ἔκκρισιν καθάπερ ἂν εἴ τις ἠθμὸς εἰς ὕδωρ βληθείς. διέξεισι γὰρ οὐθέν, εἰ μή τις αὐτὸν μετεωρίσας τοῖς πόροις ἀναψυχὴν καὶ διέξοδον εἰς τὸ ἔξω παράσχῃ, ὡς Ἀριστοτέλης εἴρηκεν ἐν τοῖς φυσικοῖς προβλήμασι ζητῶν διὰ τί οἱ ἱδροῦντες ἐπὰν ἔλθωσιν εἰς θερμὸν ἢ ψυχρὸν ὕδωρ οὐκ ἔτι ἱδροῦσιν, ἕως ἂν πάλιν ἐπανέλθωσιν ἀπὸ τῶν ἐμβάσεων.
Vegetables also were set before the ancient heroes when they supped. And that they were acquainted with the use of vegetables is plain from the expression,He went down to the furthest bedIn the well-order'd garden.And they used onions too, though they have a very disagreeable smell:—There was the onion, too, to season wine. Homer represents his heroes also as fond of the fruit of trees:—Figs after figs grow old, pears after pears.On which account also he calls those trees which bear fruit beauteous:—There many a beauteous tree appears—Pomegranates, apples, figs, and pears.And those which are adapted for being cut down for timber he calls tall, distinguishing the epithets which h applies to each by their respective uses:—There tall trees adorn the grove,The ash, and pine that towers above.And the use of these trees was older than the Trojan war. And Tantalus, even after he is dead, is not cured of his fancy for these fruits; as the god, to punish him, waves such before his eyes (just as men lead on irrational animals by holding branches in front of them), and then prevents him from enjoying them, the moment he begins to entertain a hope of doing so. And Ulysses reminds Laertes of what he gave him when he was a child: “You gave me thirteen pears” —and so on.
παρετίθετο δὲ τοῖς ἥρωσι δειπνοῦσι καὶ λάχανα, ὅτι δὲ οἴδασι τὰς λαχανείας δῆλον ἐκ τῶν παρὰ νείατον ὄρχον κοσμητῶν πρασιῶν. ἀλλὰ μὴν καὶ τοῖς κακοχυμοτάτοις κρομύοις ἐχρῶντο· ἐπὶ δὲ κρόμυον ποτοῦ ὄψον. ἐπιμελουμένους δὲ αὐτοὺς εἰσάγει καὶ τῶν ἀκροδρύων ὄγχνη γὰρ ἐπ’ ὄγχνῃ που γηράσκει, σῦκον δ’ ἐπὶ σύκῳ. διὸ καὶ τῶν δένδρων τὰ μὲν καρποφόρα καλὰ προσαγορεύει· ἔνθα δένδρεα καλὰ πεφύκει, ὄγχναι καὶ ῥοιαὶ καὶ μηλέαι. τὰ δ’ εἰς ξυλείαν εὔθετα μακρά, τοῖς ἐπιθέτοις τὰς χρήσεις διαστέλλων ἔνθα δένδρεα μακρὰ πεφύκει, κλήθρη τ’ αἴγειρὸς τ’ ἐλάτη τ’ ἦν οὐρανομήκης. ἀρχαιοτέρα δ’ ἦν καὶ τῶν Τρωικῶν ἡ τούτων χρῆσις. Τάνταλος γοῦν οὐδὲ θανὼν ἀπαλλάττεται τῆς τούτων ἐπιθυμίας· εἴπερ ὁ κολάζων αὐτὸν θεὸς προσείων, καθάπερ οἱ τὰ ἄλογα τῶν ζῴων τοῖς θαλλοῖς ἄγοντες, τοὺς τοιούτους καρποὺς ἀποκρούεται αὐτὸν τῆς ἀπολαύσεως, ὅτε τῆς ἐλπίδος ἐγγὺς ἔλθοι. καὶ Λαέρτην δ’ Ὀδυσσεὺς ἀναμιμνήσκει ὧν ἔδωκεν αὐτῷ παιδὶ ὄντι· ὄγχνας μοι δῶκας τρισκαίδεκα καὶ τὰ ἑξῆς.
And that they used to eat fish, Sarpedon proves plainly, when he compares the being taken prisoner to fish caught in a large net. Yet Eubulus, jesting in the way that the comic writers allow themselves, says—I pray you, where in Homer is the chiefWho e'er eat fish, or anything but beef?And, though so much of liberty they boasted,Their meat was never anything but roasted.Nor did those heroes allow the birds the free enjoyment of the air; setting traps and nets for thrushes and doves. And they practised the art of taking birds, and, suspending a dove by a small string to the mast of a ship, then shot arrows at it from a distance, as is shown in the book describing the funeral games. But Homer passed over the use of vegetables, and fish, and birds, lest to mention them should seem like praising gluttony, thinking besides there would be a want of decorum in dwelling on the preparation of such things, which he considered beneath the dignity of gods and heroes. But that they did in reality eat their meat boiled as well as roasted, he shows when he says—But as a caldron boils with melting fatOf well-fed pig;and the foot of the ox which was thrown at Ulysses proves it too, for no one ever roasts oxen's feet. And the line too-Then many a well-fill'd dish was duly setOn the full board, with every kind of meat;as this not only speaks of the variety of meats, such as birds, pigs, kids, and beef; but it also speaks of the way in which they were dressed as having varied, and not having been all of one kind, but carefully arranged. So that you may see here the origin of the Sicilian and Sybaritic and Italian ways of giving feasts, and the Chian fashion also. For the Chians are reported not to have been less studious than the other nations just mentioned in the art of dressing their meat. Timocles says—The ChiansAre splendid hands at dressing viands.And in Homer, not only the young men, but the old men too, such as Phœnix and Nestor, sleep with the women; and Menelaus is the only man who has no woman allotted to him, inasmuch as he had collected the whole expedition for the sake of his wife, who had been carried away from him.
ὅτι δὲ καὶ ἰχθῦς ἤσθιον Σαρπηδὼν δῆλον ποιεῖ, ὁμοιῶν τὴν ἅλωσιν πανάγρου δικτύου θήρᾳ. καίτοι Εὔβουλος κατὰ τὴν κωμικὴν χάριν φησὶ παίζων ἰχθὺν δ’ Ὅμηρος ἐσθίοντ’ εἴρηκε ποῦ τίνα τῶν Ἀχαιῶν; κρέα δὲ μόνον ὤπτων, ἐπεὶ ἕψοντά γ’ οὐ πεποίηκεν αὐτῶν οὐδένα. ἀλλ’ οὐδὲ μίαν ὅλως ἑταίραν εἶδέ τις αὐτῶν, ἑαυτοὺς δ’ ἔδεφον ἐνιαυτοὺς δέκα. πικρὰν στρατείαν δ’ εἶδον, οἵτινες πόλιν μίαν λαβόντες εὐρυπρωκτότεροι πολὺ τῆς πόλεος ἀπεχώρησαν ἧς εἷλον τότε. οὐδὲ τὸν ἀέρα δ’ οἱ ἥρωες τοῖς ὄρνισιν εἴων ἐλεύθερον, παγίδας καὶ νεφέλας ἐπὶ ταῖς κίχλαις καὶ πελειάσιν ἱστάντες. ἐγυμνάζοντο δὲ πρὸς ὀρνεοθηρευτικήν, καὶ τὴν πελειάδα τῇ μηρίνθῳ κρεμῶντες ἀπὸ νηὸς ἱστοῦ καὶ τοξεύοντες ἑκηβόλως εἰς αὐτήν, ὡς ἐν τῷ ἐπιταφίῳ δηλοῦται. παρέλιπε δὲ τὴν χρῆσιν τῶν λαχάνων καὶ ἰχθύων καὶ τῶν ὀρνίθων διά τε τὴν λιχνείαν καὶ προσέτι τὴν ἐν ταῖς σκευασίαις ἀπρέπειαν, ἐλάττω κεκρικὼς ἡρωικῶν καὶ θείων ἔργων. ὅτι δὲ καὶ ἑφθοῖς ἐχρῶντο κρέασιν ἐμφανίζει ἐν οἷς λέγει· ὡς δὲ λέβης ζεῖ … κνίσσῃ μελδόμενος ἁπαλοτρεφέος σιάλοιο. καὶ ὁ κατ’ ᾽ Ὀδυσσέως ἀφεθεὶς ποῦς βοὸς τούτου σημεῖον· πόδα γὰρ βόειον οὐδεὶς ὀπτᾷ. καὶ τὸ κρειῶν δὲ πίνακας παρέθηκεν ἀείρας παντοίων οὐ μόνον τὴν τῶν κρεῶν ἐξαλλαγὴν δηλοῖ, ὡς ὀρνίθεια, χοίρεια, ἐρίφεια, βόεια λέγων, ἀλλὰ τὴν σκευασίαν ὡς ποικίλην ἔχοντα καὶ οὐ μονοειδῆ ἀλλὰ περιττήν. ὡς ἀνακύπτειν τὰς Σικελικὰς καὶ Συβαριτικὰς τραπέζας, ἤδη δὲ καὶ Χίας. μαρτυροῦνται γὰρ καὶ Χῖοι οὐκ ἔλαττον τῶν προειρημένων ἐπὶ ὀψαρτυτικῇ. Τιμοκλῆς· Χῖοι πολὺ ἄριστ’ ἀνευρήκασιν ὀψαρτυτικήν. κοιμῶνται δὲ μετὰ γυναικῶν παρ’ Ὁμήρῳ οὐ μόνον οἱ νέοι, ἀλλὰ καὶ οἱ γέροντες Φοῖνιξ τε καὶ Νέστωρ, μόνῳ Μενελάῳ οὐ συνέζευκται γυνὴ διὰ γυναικῶν γαμετὴν ἡρπασμένην τὴν στρατείαν πεποιημένῳ.
Pindar praisesAncient wine and modern songs.And Eubulus says—Inconsistent it seems for a fair one to praiseOld wine, and to say that such never can cloy;But bring her a man who has seen his best days,And she'd rather put up with a whiskerless boy.And Alexis says very nearly the same thing word for word; only using the word little instead of never. Though in reality old wine is not only more pleasant, but also better for health; for it aids digestion more; and being thinner it is itself more digestible; it also invigorates the body; and makes the blood red and fluid, and produces untroubled sleep. But Homer praises that wine most which will admit of a copious admixture of water; as the Maronean. And old wine will allow of more water being added to it, because its very age has added heat to it. And some men say, that the flight of Bacchus to the sea is emblematic of the making of wine, as it was practised long ago; because wine is very sweet when sea-water is poured into it. And Homer praising dark-coloured wine, often calls it αἴθοψ. For the dark-coloured wine is the strongest, and it remains in the system of the drinkers of it longer than any other. But Theopompus says, that black wine was first made among the Chians; and, that the Chians were the first people who imparted the knowledge of planting and tending vines to the rest of mankind, having learnt it from Œnopion the son of Bacchus, who was the original colonizer of their island. But white wine is weak and thin; but yellow wine is very digestible, being of a more drying nature.
παλαιὸν μὲν οἶνον, ἄνθεα δ’ ὕμνων νεωτέρων Πίνδαρος ἐπαινεῖ. Εὔβουλος δέ φησιν ἄτοπον δὲ τὸν μὲν οἶνον εὐδοκιμεῖν ἀεὶ παρὰ ταῖς ἑταίραις τὸν παλαιόν, ἄνδρα δὲ μὴ τὸν παλαιόν, ἀλλὰ τὸν νεώτερον. τὸ αὐτὸ δὲ καὶ Ἄλεξις σχεδὸν ἀπαραλλάκτως, τοῦ σφόδρα μόνου κειμένου ἀντὶ τοῦ ἀεί. ὄντως δὲ ὁ παλαιὸς οἶνος οὐ πρὸς ἡδονὴν μόνον, ἀλλὰ καὶ πρὸς ὑγίειαν προσφορώτερος, πέσσει τε γὰρ μᾶλλον τὰ σῖτα καὶ λεπτομερὴς ὢν εὐανάδοτός ἐστι δύναμίν τε τοῖς σώμασιν ἐμποιεῖ τὸ αἷμά τε ἐνερευθὲς καὶ εὐανάδοτον κατασκευάζει καὶ τοὺς ὕπνους ἀταράχους παρέχει, ἐπαινεῖ δὲ Ὅμηρος τὸν ἐπιδεχόμενον ἱκανὴν κρᾶσιν, ὡς τὸν τοῦ Μάρωνος. ἐπιδέχεται δὲ πλείω κρᾶσιν ὁ παλαιὸς οἶνος διὰ τὸ μᾶλλον θερμὸς γίνεσθαι παλαιούμενος. ἔνιοι δὲ καὶ τὴν Διονύσου φυγὴν εἰς τὴν θάλασσαν οἰνοποιίαν σημαίνειν φασὶ πάλαι γνωριζομένην. ἡδὺν γὰρ εἶναι τὸν οἶνον παρεγχεομένης θαλάσσης, ἐπαινῶν δὲ Ὅμηρος τὸν μέλανα οἶνον πολλάκις αὐτὸν καὶ αἴθοπα καλεῖ. δυναμικώτατος γάρ ἐστι καὶ μένων ἐν ταῖς ἕξεσι τῶν πινόντων πλεῖστον χρόνον. Θεόπομπος δέ φησι παρὰ Χίοις πρώτοις γενέσθαι τὸν μέλανα οἶνον, καὶ τὸ φυτεύειν δὲ καὶ θεραπεύειν ἀμπέλους Χίους πρώτους μαθόντας παρ’ Οἰνοπίωνος τοῦ Διονύσου, ὃς καὶ συνῴκισε τὴν νῆσον, τοῖς ἄλλοις ἀνθρώποις μεταδοῦναι. ὁ δὲ λευκὸς οἶνος ἀσθενὴς καὶ λεπτός, ὁ δὲ κιρρὸς πέττει ῥᾷον ξηραντικὸς ὤν.
Respecting the Italian wines, Galen is represented by this sophist as saying, that the Falernian wine is fit to drink from the time that it is ten or fifteen years old, till it is twenty; but after that time it falls off, and is apt to give headaches, and affects the nervous system. There are two kinds of Falernian wine, the dry and the sweet. The sweet wine is made when the south wind blows through the vineyard; which also makes it darker in colour. But that which is not made at this time is dry and yellow. Of the Alban wine there are also two kinds, one sweet and one sour; and both are in their prime after they are fifteen years old. The wine of Surrentum begins to be drinkable when five-and-twenty years old; for as it has no oil of any sort in it, and is very thin, it is a long time ripening: and when it is old it is nearly the only wine that is wholesome to be drunk for a continuance. But the Rhegian wine, being richer than the Surrentine, may be used as soon as it is fifteen years old. The wine of Privernum too is very good, being thinner than the Rhegian wine, and one which does not take much effect on the head. And the Formian wine is like it; and is a wine which soon comes to its prime; it is, however, a richer wine than the other, But the Trifoline wine is slower ripening, and has a more earthy taste than the Surrentine. The Setine is a wine of the first class, like the Falernian wine, but lighter, and not so apt to make "a man drunk. The wine of Tibur is thin, and evaporates easily, being at its best as soon as it is ten years old. Still it is better as it gets older. The Labican wine is sweet and oily to the taste, being something between the Falerrian and the Alban: and you may drink that when it is ten years old. There is the Gauran wine too, a scarce and very fine wine, and likewise very powerful and oily; more so indeed than the wine of Præneste or of Tibur. The Marsic is a very dry wine; and very good for the stomach. Around Cumæ in Campania there is a wine made which is called Ulban, a light wine, fit to be drunk when five years old. The wine of Ancona is a fine wine, and rather oily. The Buxentine is like the Alban, as far as being rather sour; but it is a strong wine, and good for the stomach. The Veliternian wine is very sweet to drink and good for the stomach; but it has this peculiarity, that it does not taste like a pure wine, but always has an appearance as if some other was mixed with it. The Calenian wine is light, and better for the stomach than the Falernian. The Cæcuban is a noble wine, full of strength and easily affecting the head; but it does not come to its prime till after many years. The Fundan wine is strong, and nutritious, and affects the head and stomach, on which account it is not much used at banquets. But the Sabine wine is lighter than any of these, and is fit to be drunk from the time that it is seven years old till it is fifteen; and the Signine wine is available at six years old, but as it gets older it is far more valuable. The wine of Nomentum gets in season very early, and can be drunk as soon as it is five years old; it is not very sweet, and not very thin; but that of Spoletum is very sweet to the taste, and has a golden colour. The wine of Capua is in many respects like the Surrentine wine. The Barbine is very dry and continually improving. The Caucine too is a noble wine, and resembles the Falernian. The wine of Venafrum is good for the stomach, and light. The Trebellian wine, which is made round Naples, is of moderate strength, good for the stomach, and pleasant to the taste. The Erbulian wine is at first dark coloured, but in a few years it becomes white; and it is a very light and delicate wine. That of Marseilles is a fine wine, but it is scarce, and thick, with a good deal of body. The Tarentine, and all the other wines of that district, are delicate wines, without very much strength or body, sweet, and good for the stomach. The Mamertine is a foreign wine, made out of Italy. There is also another wine made in Sicily, and called Iotaline; it is a sweet wine and light, but there is some strength in it. Among the Indians a deity is worshipped, according to the account of Chares of Mitylene, who is called Soroadeus; which name, as interpreted in Greek, means Winemaker.
περὶ Ἰταλικῶν οἴνων φησὶν ὁ παρὰ τούτῳ τῷ σοφιστῇ Γαληνός· ὁ Φαλερῖνος οἶνος ἀπὸ ἐτῶν δέκα ἐστὶ πότιμος καὶ ἀπὸ πεντεκαίδεκα μέχρι εἴκοσιν· ὁ δ᾽· ὑπὲρ τοῦτον ἐκπίπτων τὸν χρόνον κεφαλαλγὴς καὶ τοῦ νευρώδους καθάπτεται. εἴδη δ’ αὐτοῦ δύο, ὁ αὐστηρὸς καὶ ὁ γλυκάζων οὗτος δὲ τοιοῦτος γίνεται ὅταν ὑπὸ τὸν τρυγητὸν νότοι πνεύσωσι, παρ’ ὃ καὶ μελάντερος γίνεται, ὁ δὲ μὴ οὕτω τρυγηθεὶς αὐστηρός τε καὶ τῷ χρώματι κιρρός. καὶ τοῦ Ἀλβανοῦ δὲ οἴνου εἴδη δύο, ὁ μὲν γλυκάζων, ὁ δ’ ὀμφακίας· ἀμφότεροι δὲ ἀπὸ πεντεκαίδεκα ἐτῶν ἀκμάζουσι. Συρεντῖνος δὲ ἀπὸ πέντε καὶ εἴκοσιν ἐτῶν ἄρχεται γίνεσθαι πότιμος· ὢν γὰρ ἀλιπὴς καὶ λίαν ψαφαρὸς μόλις πεπαίνεται καὶ παλαιούμενος σχεδὸν μόνοις ἐστὶν ἐπιτήδειος τοῖς χρωμένοις διηνεκῶς. ὁ δὲ Ῥηγῖνος τοῦ Συρεντίνου λιπαρώτερος ὢν χρήσιμος ἀπὸ ἐτῶν πεντεκαίδεκα. χρήσιμος καὶ ὁ Πριούερνος λεπτομερέστερος ὢν τοῦ Ῥηγίνου ἥκιστά τε καθαπτόμενος κεφαλῆς, τούτῳ ἐμφερὴς ὁ Φορμιανός, ταχὺ δὲ ἀκμάζει καὶ λιπαρώτερός ἐστιν αὐτοῦ. βράδιον δ’ ἀκμάζει ὁ Τριφολῖνος, ἐστὶ δὲ τοῦ Συρεντίνου γεωδέστερος. ὁ δὲ Στατανὸς τῶν πρώτων ἐστὶν οἴνων, ἐμφερὴς τῷ Φαλερίνῳ, κουφότερος, οὐ πληκτικός, ὁ Τιβουρτῖνος λεπτός, εὐδιάπνευστος, ἀκμάζων ἀπὸ ἐτῶν δέκα· κρείττων δὲ γίνεται παλαιούμενος. ὁ Λαβικανὸς ἡδὺς καὶ λιπαρὸς τῇ γεύσει, μεταξὺ Φαλερίνου καὶ ᾽ Ἀλβανοῦ· ὁ δὲ ἄρχεται τῆς πόσεως ἀπὸ ἐτῶν δέκα. ὁ Γαυρανὸς δὲ καὶ ὀλίγος καὶ κάλλιστος, προσέτι τε εὔτονος καὶ παχύς, Πραινεστίνου δὲ καὶ Τιβουρτίνου λιπαρώτερος. ὁ Μαρσικὸς δὲ πάνυ αὐστηρός, εὐστόμαχος δέ. γίνεται δὲ περὶ τὴν Καμπανίας Κύμην ὁ καλούμενος Οὐλβανός, κοῦφος, πότιμος ἀπὸ ἐτῶν πέντε, ὁ Ἀγκωνιτανὸς χρηστός, λιπαρός, πο … ὁ Βυξεντῖνος ἐμφερῶς ἔχει τῷ Ἀλβανῷ τῷ ὀμφακίᾳ· ἐστὶ δὲ δυνάμει καὶ εὐστόμαχος. ὁ Οὐελίτερνος δὲ ἡδὺς πινόμενος, εὐστόμαχος· ἴδιον δ’ αὐτοῦ τὸ μὴ δοκεῖν ἀπαρέγχυτος εἶναι· ἐμφαίνει γὰρ ὡς ἐμμεμιγμένου αὐτῷ ἑτέρου, ὁ Καληνὸς κοῦφος, τοῦ Φαλερίνου εὐστομαχώτερος. εὐγενὴς δὲ καὶ ὁ Καίκουβος, πληκτικός, εὔτονος· παλαιοῦται δὲ μετὰ ἱκανὰ ἔτη. ὁ Φουνδανὸς εὔτονος, πολύτροφος, κεφαλῆς καὶ στομάχου ἅπτεται· διὸ οὐ πολὺς ἐν συμποσίοις πίνεται. πάντων δὲ τούτων ὁ Σαβῖνος κουφότερος, ἀπὸ ἐτῶν ἑπτὰ ἐπιτήδειος πίνεσθαι μέχρι πεντεκαίδεκα. ὁ δὲ Σιγνῖνος μέχρις ἐτῶν ἓξ χρήσιμος, παλαιωθεὶς δὲ πολὺ χρησιμώτερος. ὁ Νουμεντανὸς ἀκμάζει ταχὺ καὶ ἀπὸ ἐτῶν πέντε πότιμός ἐστιν ἐστὶ οὔτε λίαν ἡδὺς οὔτε λεπτός, ὁ Σπωλητῖνος οἶνος … καὶ πινόμενος ἡδὺς καὶ τῷ χρώματι χρυσίζει. Αἰκουανὸς κατὰ πολλὰ τῷ Συρεντίνῳ παρεμφερής, ὁ Βαρῖνος λίαν αὐστηρὸς καὶ ἀεὶ ἑαυτοῦ κρείττων γίνεται, εὐγενὴς καὶ ὁ Καυκῖνος καὶ τῷ Φαλερίνῳ ἐμφερής. ὁ Βενεφρανὸς εὐστόμαχος καὶ κοῦφος, ὁ ἐν Νεαπόλει Τρεβιλλικὸς εὔκρατος τῇ δυνάμει, εὐστόμαχος, εὔστομος. ὁ Ἔρβουλος ἐν ἀρχῇ μέν ἐστι μέλας, μετ’ οὐ πολλὰ δὲ ἔτη λευκὸς γίνεται· ἐστὶ δὲ λίαν κοῦφος καὶ τρυφερός, ὁ Μασσαλιήτης καλός· ὀλίγος δὲ γίνεται, παχύς, σαρκώδης. Ταραντῖνος δὲ καὶ οἱ ἀπὸ τοῦ κλίματος τούτου πάντες ἁπαλοί, οὐ πλῆξιν, οὐ τόνον ἔχοντες, ἡδεῖς, εὐστόμαχοι. ὁ δὲ Μαμερτῖνος ἔξω μὲν τῆς Ἰταλίας γίνεται· καὶ γινόμενος ἐν Σικελίᾳ καλεῖται Ἰωτάλινος. ἡδὺς δ’ ἐστί, κοῦφος, εὔτονος ὅτι παρ’ Ἰνδοῖς τιμᾶται δαίμων, ὥς φησι Χάρης ὁ Μιτυληναῖος, ὃς καλεῖται Σοροάδειος· ἑρμηνεύεται δὲ Ἑλλάδι φωνῇ οἰνοποιός.