Deipnosophistae

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—

1. Stranger, thou seest Pytheas' tuneful son,
2. While living oft with victory's garlands crown'd,
3. Sweet singer, though on earth his race is run,
4. 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.

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

v.1.p.32

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, [*](This is a pun which cannot be rendered in English,καταλλάσσομαι meaning to be changed, of money; and to be reconciled, of enemies.) 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.

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—

1. Memphis, which winter dares not to assail,
2. 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.

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—

1. The fair-hair'd maids of mighty Jove
2. Danced lightly in the mystic grove;

and Ion has the expression—

1. This strange occurrence makes my heart to dance.

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:—

1. Sure by some milkmaid you've been taught
2. To dress, whose gown is all too short
3. To reach her sturdy ancles.

And Philetærus says—

1. Don't let your gown fall down too low,
2. Nor pull it up too high to show
3. Your 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—

1. 'Tis a sure sign of a degraded nature,
2. To walk along the street in sloven's guise;
3. Having the means of neatness: which costs nothing;
v.1.p.35
4. Is subject to no tax; requires no change;
5. And creditable is to him who uses it,
6. And pleasant to all those who witness it.
7. Who then would ever disregard this rule,
8. That wishes to be thought a man of sense?

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—

1. I myself taught those dances to the chorus,
2. 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.

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:—

1. Prince of dancers, prince of grace,
2. Hail, Phœbus of the silver quiver.

And Homer too, or one of the Homeridæ, in one of the hymns to Apollo, says—

1. How deftly Phœbus strikes the golden lyre,
2. While strength and grace each moving limb inspire!

and Eumelus, or Arctinus, the Corinthian, somewhere or other introduces Jupiter himself as dancing, saying—

1. And gracefully amid the dancing throng,
2. 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.

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:—

1. Aegypt has its mad recluses,
2. Book-bewilder'd anchorites,
3. In the hen-coop of the Muses
4. Keeping 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—

1. Three weeks ere Sirius burns up the wheat,
2. And three weeks after, seek the cool retreat
3. Of shady house, and better your condition
4. By 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—

1. Steep your heart in rosy wine, for see, the dog star is in view;
2. Lest by heat and thirst oppress'd you should the season's fury rue.

And in another place he says—

1. Fill me, boy, a sparkling cup;
2. 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—

1. A. Tell me, I pray you, how you life define.
2. B. To drink full goblets of rich Chian wine.
3. You see how tall and fine the forest grows
4. Through which a sacred river ceaseless flows;
5. While on dry soils the stately beech and oak
6. Die 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—

1. Eating much may bring on choking,
2. Unless you take a turn at soaking.

And Eubulus has—

1. A. I Sicon come with duly moisten'd clay.
2. 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—

1. 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—

1. I for a while sat down (ἀνεκείμην):

and his friend, not approving of such an expression, says, ʼἀνάκεισο. And Philippides has—

1. I supped too ἀνακειμένος in his house.

And then the other speaker rejoins—

1. 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—

1. 'Tis hard before one's supper to lie down,
2. For if one does one cannot go to sleep;
3. Nor give much heed to aught that may be said;
4. 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—

1. If I catch fire I'll leap with a mighty
2. Spring 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—

1. Then we the goblets fill'd with mighty wine,
2. On delicate couches κατακειμένος,
3. Singing in turn old songs of Telamon.

And Philonides says—

1. I have been here κατακειμένος a long time.

And Euripides says in the Cyclops—

1. ʼἀνέπεσε (which is the same as ἀνέκειτο
2. Breathing forth long and deep and heavy breath.

p And Alexis says—

1. After that I bade her ἀναπεσεῖν by my side.

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—

1. 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—-

1. 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:—

1. But when their minds were pleased (τάρφθεν) with wholesome food;

and,

1. When they had ceased to wish for meat and drink.

But more modern writers use the word πάσασθαι for being satisfied. Callimachus says—

1. I should like to satiate
2. (πάσασθαι) myself with thyme;

and Eratosthenes—

1. They roasted their game in the ashes and ate it,
2. (ἐπάσαντο) at least they all did who could get it.

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:—

1. 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.

1. As when they stand firm as unshaken towers,
2. 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,

1. Wash'd off their heat in Neptune's briny tides,
2. And bathed their heads, and legs, and brawny sides.[*](Iliad, x. 572.)

And then—

1. They to the polish'd marble baths repair,
2. Anoint with fresh perfumes their flowing hair,
3. 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:—

1. Then o'er their heads and necks the cooling stream
2. The handmaids pour'd:[*](Odyss. x. 362.)

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?

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,

1. He went down to the furthest bed
2. In the well-order'd garden.

And they used onions too, though they have a very disagreeable smell:—

1. There was the onion, too, to season wine.

Homer represents his heroes also as fond of the fruit of trees:—

1. Figs after figs grow old, pears after pears.

On which account also he calls those trees which bear fruit beauteous:—

1. There many a beauteous tree appears—
2. 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:—

1. There tall trees adorn the grove,
2. 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.

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—

1. I pray you, where in Homer is the chief
2. Who e'er eat fish, or anything but beef?
3. And, though so much of liberty they boasted,
4. 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—

1. But as a caldron boils with melting fat
2. Of 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-

1. Then many a well-fill'd dish was duly set
2. On 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—

1. The Chians
2. Are 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.

Pindar praises

1. Ancient wine and modern songs.

And Eubulus says—

1. Inconsistent it seems for a fair one to praise
2. Old wine, and to say that such never can cloy;
3. But bring her a man who has seen his best days,
4. 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.

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.

Antiphanes, that witty man, catalogues all the things which are peculiar to each city thus:—

1. Cooks come from Elis, pots from Argos,
2. Corinth blankets sends in barges,
3. Phlius wine, and Sicyon fish,
4. While cheese is a Sicilian dish.
5. Aegium sends flute-playing maids;
6. Perfumers ply their dainty trades
7. At Athens, under Pallas' eye;
8. Bœotia sends us eels to fry.

And Hermippus says,

1. Tell me, ye Muses, who th' Olympic height
2. Cheer with your holy songs and presence bright;
3. Tell me what blessings Bacchus gave to man,
4. Since first his vessel o'er the waters ran.
5. Ox-hides from Libya's coasts, and juicy kail:
6. The narrow sea, still vocal with the wail
7. Of lost Leander's bride, the tunny sends,
8. And our first meal with kipper'd salmon mends.
9. Groats come from Italy, and ribs of beef;
10. While Thrace sends many a lie and many a thief.
11. Still do the Spartans scratch their sides in vain,
12. Mad with the itching of th' Odrysian pain.
13. Then Syracuse gives cheese and well-fed pigs;
14. Fair Athens olives sends, and luscious figs.
15. Cursed of all islands let Corcyra be,
16. Where no especial excellence we see.
17. Sails come from Egypt, and this paper too;
18. Incense from Syria; Crete upholds to view
19. The cypress tall; and, dear to mighty Jove,
20. In Paphlagonia grows the almond grove.
21. The elephant sends its teeth from Afric's sands;
22. Pears and fat sheep grow on Eubœa's lands;
23. Rhodes sends us raisins, and beguiles the night
24. With figs that make our dreams and slumbers light
25. From Phrygia slaves, allies from Area's land;
26. The Pagas$ean ports their hirelings brand;
27. Phœnicia sends us dates across the billows,
28. ???nd Carthage, carpets rich, and well-stuft'd pillows.

Pindar too, in the Pythian ode addressed to Hiero, says,

1. Give me the noble Spartan hound
2. With whose deep voice Eurotas' banks resound;
3. While the dark rocks
4. Of Scyrus give the choicest flocks
v.1.p.46
5. Of milky goats; and, prompt at war's alarms,
6. Brave Argos burnishes the well-proved arms,
7. The Sicels build the rapid car,
8. And the fierce Thebans urge the chariot to the war.[*](This is no part of Pyth. 1 or 2, but a fragment of another ode.)

Critias tells us—

1. Know ye the land of the fair Proserpine,
2. Where the cottabus splashes the ominous wine;
3. Where the lightest and handsomest cars . . .

1. And what can for tired limbs compare
2. With the soft and yielding Thessalian chair?
3. But no town with Miletus vies
4. In the bridal bed's rich canopies.
5. But none the golden bowl can chase,
6. Or give to brass such varied grace,
7. As that renowned hardy race
8. That dwells by Arno's tide;
9. Phœnicia, mother of the arts,
10. Letters to learned men imparts;
11. Thebes scaled the mountain's side,
12. Bade the tough ash its trunk to yield,
13. And fill'd with cars the battle-field;
14. While Carians, masters of the seas,
15. First launch'd the boat to woo the breeze.
16. Offspring of clay and furnace bright,
17. The choicest porcelain clear and light
18. Boasts, as its birth-place, of the towers
19. Which Neptune's and Minerva's powers
20. From ills and dangers shield;
21. Which beat back war's barbaric wave
22. When Mede and Persian found a grave
23. In Marathon's undying field.

And indeed the pottery of Attica is deservedly praised. But Eubulus says,

Cnidian pots, Sicilian platters, and Megarian jars.

And Antiphanes enumerates

mustard, and also scammony juice from Cyprus; cardamums from Miletus; onions from Samothrace; cabbages, kail, and assafœtida from Carthage; thyme from Hymettus, and marjoram from Tenedos.

The Persian king used to drink no other wine but that called the Chalybonian, which Posidonius says is made in Damascus of Syria, from vines which were planted there by the Persians; and at Issa, which is an island in the Adriatic, Agatharchides says that wine is made which is superior to every other wine whatever. The Chian and Thasian wines

are mentioned by Epilycus; who says that

the Chian and the Thasian wine must be strained.

And also,—

1. For all the ills that men endure,
2. Thasian is a certain cure;
3. For any head or stomach ache,
4. Thasian wine I always take,
5. And think it, as I home am reeling,
6. A present from the God of healing.

Clearchus speaks of

Lesbian wine, which Maro himself appears to me to have been the maker of.

And Alexis says—

1. All wise men think
2. The Lesbian is the nicest wine to drink.

And again he says—

1. His whole thoughts every day incline
2. To drink what rich and rosy wine
3. From Thasos and from Lesbos comes,
4. And dainty cakes and sugarplums.

And again—

1. Hail, O Bacchus, ever dear,
2. You who from Lesbos drove dull care
3. With sparkling rosy wine;
4. He who would give one glass away,
5. Too vile on cheerful earth to stay,
6. Shall be no friend of mine.

And Ephippus sings—

1. Oh how luscious, oh how fine
2. Is the Pramnian Lesbian wine!
3. All who 're brave, and all who're wise,
4. Much the wine of Lesbos prize.

And Antiphanes—

1. There is good meat, and plenteous dainty cheer;
2. And Thasian wine, perfumes, and garlands here;
3. Venus loves comfort; but where folks are poor,
4. The merry goddess ever shuns their door.

And Eubulus—

1. In Thasian wine or Chian soak your throttle,
2. Or take of Lesbian an old cobwebb'd bottle.

He speaks too of Psithian wine—

1. Give me some Psithian nectar, rich and neat,
2. To cool my thirst, and quench the burning heat.

And Anaxandrides mentions

a jar full of Psithian wine.

Thesmophorius of Trœzene entitles the second θεσμοφοριάζουσαι of Aristophanes θεσμοφοριάσασαι.. In that play the poet speaks of Peparethian wine:—

1. Shun, my boy, the Pramnian cup,
2. Nor Thasian drink, nor Chian sup;
3. Nor let your glass with Peparethian brighten—
4. For bachelors that liquor's too exciting.

Elbulus says—

1. As sweet as
2. Wine from Leucas or Miletus.

Archestratus, the author of

The Art of giving a Banquet,

says,—

When a libation to the gods you make,

Let your wine worthy be, and ripe and old;

Whose hoary locks droop o'er his purple lake,

Such as in Lesbos' sea-girt isle is sold.

Phœnicia doth a generous liquor bear,

But still the Lesbian I would rather quaff;

For though through age the former rich appear,

You'll find its fragrance will with use go off.

But Lesbian is the true ambrosial juice,

And so the gods, whose home's Olympus, think it;

And if some rather the Phoenician choose,

Let them, as long as they don't make you drink it.

The Thasian isle, too, noble wine doth grow,

When passing years have made its flavour mellow,

And other places too; still all I know

Is that the Lesbian liquor has no fellow.

I need not stop to tell you all the names

Of towns which in the generous contest vie,

Each for itself the vict'ry hotly claims;

But still the Lesbian wine beats all, say I.

Ephippus, too, mentions the Phoenician wine, saying,

Nuts, pomegranates, dates, and other sweetmeats, and small casks of Phœnician wine.

And again,—

1. A cask of good Phœnician wine was tapp'd.

Xenophon, too, mentions it in his Anabasis. The Mendæan wine is mentioned by Cratinus:—

1. When a man tastes Mendæan wine,
2. How rich, says he, how sweet, how fine!
3. I wonder where it can be bought, or
4. What's the right quantity of water.

And Hermippus somewhere introduces Bacchus as mentioning several different kinds of wine:—

1. Mendæan wine such as the gods distil,
2. And sweet Magnesian, cures for every ill,
3. And Thasian, redolent of mild perfume;
4. But of them all the most inviting bloom
5. Mantles above old Homer's Chian glass;
6. That wine doth all its rivals far surpass.
7. There is a wine, which Saprian they call,
8. Soon as the seals from whose rich hogshead fall,
9. Violets and roses mix their lovely scent,
10. And hyacinths, in one rich fragrance blent;
11. You might believe Jove's nectar sparkled there,
12. With such ambrosial odour reeks the air.
13. This is the wine I'll to my friends disclose;
14. The Peparethian trash may suit my foes.

And Phanias the Eresian poet says that the Mendæans are in the habit of syringing the grapes with opening medicine, even while still on the vine; and that this makes the wine soft.