BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of P.Koln VI 242A=TrGF II F646a Anton Bierl ~EW DRAMATIC PAPYRUS1 confronts interpreters with many puzzling questions. In this paper I shall try to solve some of these by applying a new perspective to the text. I believe that this fragment is connected with a specific literary feature of drama especially prominent in the bnal decades of the bfth century B.C., viz. theatrical self-consciousness and the use of Dionysus, the god of Athenian drama, as a basic symbol for this tendency. 2 The History of the Papyrus Among the most important papyri brought to light by Anton Fackelmann is an anthology of Greek prose and poetry, which includes 19 verses of a dramatic text in catalectic anapestic tetrameters. Dr Fackelmann entrusted the publication of this papyrus to Barbel Kramer of the University of Cologne. Her editio princeps appeared in 1979 as P. Fackelmann 5.3 Two years later the verses were edited a second time by Richard Kannicht and Bruno Snell and integrated into the Fragmenta Adespota in 1 This papyrus has already been treated by the author in Dionysos und die griechische Trag odie. Politische und 'metatheatralische' Aspekte im Text (Tiibingen 1991: hereafter 'Bieri') 248-53. The interpretation offered here is an expansion of my earlier provisional comments in the Appendix, presenting fragments of tragedy dealing with Dionysus. 2 See C. Segal, Dionysiac Poetics and Euripides' Bacchae (Princeton 1982) 215-71 (ch. 7, "Metatragedy"), who demonstrates this self-referential aspect of Dionysus by the example of Bacchae. 3 B. KRAMER, "Zwei literarische Papyrusfragmente aus der Sammlung Fackel­ mann," 2PE 34 (1979: hereafter 'Kramer') 1-14 and Tafel 1. 353 BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 354 DIONYSUS, WINE, AND TRAGIC POETRY the second volume of TrGE as fr.646a.4 Then by chance another series of fragments from an anthology of Greek verse was found in another Cologne papyrus. Fr. a of the first column of this text was found to preserve the ends of the same anapests with six additional lines at the top and two at the bottom of the column. Both ancient copies were brought together and definitively edited by Klaus Maresch in 1987 as P.Koln VI 242A. 5 The Cologne copy provides several new readings, and the two additional lines at the bottom in particular, though fragmentary, contain further evidence for the metatheatrical dimension of the text (PLATES 1-2). Text E]ie; oH>Jl' altOAlo8o[ l hop· . le;· [ . ]~aoE· .. lale; 4 ]OEJl£~~~r ] [ ]e; UJlVOV f ~i~[ f· [. ]e£o~' AplCae; ]OKElttOJlEVC . f' ~ooOOOle; alCOLlllOjtOv 12 uu-uu- uu ] ·ltalOEUOae; roplOv i1~j11V £q>uAa~a uu-uu- lCaplto]v ()1twpae; ~pa ~·aj8dae; £1tt A11VLOUe;j uu-uu- uu]v de; 8V11tOUe; aVEjq>l1vu ltOtOV 61OV L:Ujoou uu-uu- - ]ooe; 0 JlUO't11C; OU1tOj'tE A11Ywv £1tt BalCxwl 16 uu-uu- U~-]OE 8EOU 1tProt11j 1tAOlCaJlOle; aVE0110Ev uu-uu- uu ]~v A11811 xapljlVOC; (4), probably for Dio­ nysus. Someone, probably the eEOC; 'APKcXC; (5) "handed over" something (1tapE()WK£V, 7). This might refer to the myth of Hermes giving the infant Dionysus to the nymphs in the cave on mount Nysa. (b) 8-14: The speaker tells about his childhood with the Nymphs and his achievement in bringing wine to humanity. (c) 15-18: These lines conclude a brief praise of wine and Dio­ nysus. They discuss the great effects of Dionysus' sacred gift to mankind, which leads to the establishment of the Dionysiac cult. (B) 19-27 Dionysus as the God of Theater. Metatheatrical Discussion (a) 19-22: A "rhapsode from Salamis," probably Euripides, is mentioned as a person who believes himself to be "great" (19). But the speaker, probably incorporating the idea of comedy, does not want to adhere to the model given by the famous tragic poet. He criticizes the poet for being weak (?) in respect to theatrical illusion. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 357 (b) 23-28: The tragic style (with hymn) is in the opinion of the speaker inadequate (23). The diction is manifestly too lofty. Comedy has a different way. Dionysus after all prefers that beautiful art which is not spoiled by heaviness (24). Moreover, Euripides was not as great as he said (25). Therefore, Dionysus (in comedy) made the right decision when he functioned once as an arbitrator in a theatrical contest (agon). The text exhibits two main features: first, the god of wine and of Attic drama is mentioned several times (4, 14, 15, 26), and his myth and cult are major themes in the first part (1-18);6 second, there is a concern with poetry and theater (which in the follow­ ing discussion I designate" metatheater").7 The speaker men­ tions a hymn (4) and complains about "the present labor of tragic hymns" (23). There are references to an aOlOoc; LUAU­ ~tvo<; (19), to the issue of theatrical illusion ( U1ta:tll and 'VEUOOC;, 20f), and to a literary verdict in an agon (25-27). Dionysus thus serves as a leitmotif in the entire passage; as god of wine and Athenian theater he encompasses both parts of our text. Therefore before entering into more specific discus­ sion of the fragment, I should like first to review Dionysus' role in fifth-century Athenian drama. Dionysus in Drama While there seems to be no doubt that tragedy and comedy are in one way or another connected with the cult of the god Dionysus, the vexed problem of their origins can never be solved with any certainty on the extant evidence. s With 6 See infra ad v. 14 on the use of Dionysus as a metaphor for wine. 7 This term was presumably coined by L. Abel, Metatheatre. A New View of Dramatic Form (New York 1963). 8 The Dionysiac origin of tragedy is the communis opinio in classical scholarship. See e.g. H. Patzer, Die Anfange der griechischen Tragodie (=Schriften der wissenschaftlichen Gesellschaft 3 [Wiesbaden 1962]); A. Lesky, Geschichte der griechischen Literatur3 (Bern/Munich 1971) 260-270. As far as I know only G. F. Else, "The Origin of TPAH2I.1.IA," Hermes 85 (1957) 43-46, and H. D. F. Kitto, "Greek Tragedy and Dionysus," in J. Gassner and R. G. Allen, edd., Theatre and Drama in the Making (Boston 1964) 6-20, doubt this theory. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 358 DIONYSUS, WINE, AND TRAGIC POETRY reference to the proverbial OUOEV 1tpo<; 'tOY ~t6vu(Jov, however, it is also a common opinion among classicists that Athenian drama had nothing to do with Dionysus. 9 In my recent study I have tried to show that the connection between drama and Dionysus was never really lost. By tracing the actual occur­ rences of the god's name in the surviving tragic texts and fragments, I have attempted to demonstrate that in the second half of the fifth century B.C. Dionysus became more and more a symbol for the polis and especially for theater itself. More than any other tragic poet, Euripides used the god and his cult as a signal for reflection on the condition of society and the nature and possibilities of his art. The tragedians tend to exploit Dionysus' immanent metatheatrical significance 10 in order to emphasize the dramatic effect of specific theatrical devices and situations. The ambivalence in Dionysus' nature between ecstatic joy and terrible cruelty allowed the poet to intensify the emotional involvement of the public through the sharp contrast between joyful expectation before and catastrophe after the peripeteia. The figure of Dionysus provided an opportunity for meditation upon the conditions of theater and the mechanisms by which it works. In these passages one can in fact identify traces of a pre-Aristotelian poetics. I assume that these self-conscious features are valid not only for tragedy. By its very nature comedy is a literary genre even more self-reflective than tragedy. During the comic perfor­ mance, the poet can deal with theatrical problems in a much more direct and obvious way. Not only by breaking the dramatic illusion completely, as in most of the parabaseis, but also more subtly, comedy refers continuously to its own constitution as a dramatic text. 11 Literary reflection is a common 9 See e.g. Lesky (supra n.8) 264 and o. Taplin, Greek Tragedy in Action (London 1978) 162. For the entire question see BierI 4-8. 10 See Segal (supra n.2). o. Taplin, -Fifth-Century Tragedy and Comedy: A Synkrisis," ] HS 106 (1986) 166, has serious reservations. For further discussion of metatheater and a possible answer to the controversy between Taplin and Segal see Bieri 111-19. 11 Cf Taplin (supra n.lO) 164: -Old Comedy is ubiquitously self-referential: Aristophanes is probably the most meta theatrical playwright before Pirandello." (This judgment should perhaps be qualified by reference to the BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 359 theme in comedy itself: besides references to Homer, 12 Hesiod,13 and the lyric poets,14 comedy pays particular attention to tragedy. Paratragedy is a special element in comedy; entire plots may depend on the discourse about tragedy, as in Thesmo­ phoriazusae. Of special significance is Frogs, where Dionysus plays such an important role. Euripides is a frequent target of the comic poets. 1S Our papyrus also contains criticism of a poet, and it is probably Euripides who is meant. Problems: Genre, Speaker, Date, "Hymn," and "Deception" Among the many still unsolved problems connected with this fragment is the fundamental question of its literary genre. I will offer new evidence for Kramer's suggestion (S) that it is from Old Comedy. The attribution to comedy is basically shared by intense concern with the nature of the medium in early German Romantic drama, especially Kleist's 2erbino.) For recent studies see D. Bain, Actors and Audience. A Study of Asides and Related Conventions (Oxford 1977) 208ff; F. Muecke, "Playing with the Theatrical Self-Consciousness in Aristophanes," Antichthon 11 (1977) 52-67; G. A. H. Chapman, "Some Notes on Dramatic Illusion in Aristophanes," AJP 104 (1983) 1-23 (cf Taplin 164 n.10); L. K. Taaffe, Gender, Deception, and Metatheatre in Aristophanes' Ecclesiazusae (diss. Cornell 1987); and N. W. Slater, "Aristophanes' Apprenticeship Again," GRBS 30 (1989) 67-82. At a conference organized by Professor Slater on Per­ formance Criticism of Greek Comedy (April 1991 at Emory University), O. Taplin spoke about "Metatheatricals in Greek Comedy." 12 Cf Metagenes' Homeros (PCG VII 8-10) and generally W. Scherans, De poetarum comicorum Atticorum studiis Homericis (diss.Konigsberg 1893). 13 E.g. Teleclides' Hesiodoi (PCG VII 674-77 [frr.15-24]). 14 E.g. Cratinus' Archilochoi (PCG IV 121-30); Ameipsias' Sappho (CAF I 674). 15 Note how Euripides is treated in Ach., Nub., and Ran. Cf. also the comedies dealing with specific Euripidean plots, such as the Th e s­ mophoriazousae, Polyidus, Lemniae, Phoenissae. For paratragedy see esp. H. Rau, Parat rag odia. Untersuchungen einer komischen Form des Aristophanes (=2etemata 45 [Munich 1967]); R. L. Hunter, "P. Lit. Lond. 77 and Tragic Burlesque in Attic Comedy," 2PE 41 (1981) 19-24; M. G. Bonanno, "napa'tpaycpbia in Aristofane," Dioniso 61 (1987) 135-67. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 360 DIONYSUS, WINE, AND TRAGIC POETRY M. Gronewald, H. Lloyd-Jones, P. Parsons, and M. L. West. 16 TrGE II, on the other hand, includes the fragment as a satyr play.17 Maresch reaches no clear decision, although he seems to imply the satyr play hypothesis by defining the speaker as Silenus and comparing our text to the prologue of the Euripidean Cyclops.1s The issue of dramatic genre is closely connected with the identity of the speaker(s). But even if the lines are assigned to satyrs or Silenus, the text need not be a satyr play. Satyrs also appear in Old Comedy19 as well as in Middle Comedy, when satyr play and contemporary comedy resembled each other more closelyJo Although one of the general motives attributed to satyr play by Anne Burnett is «consciousness of genre," 21 I cannot find any example of a satyr play where the plot is 16 See Maresch 29. Most of these scholars have stated their opinions in letters to Kramer and Maresch. 17 But it has to be stressed that Kannicht and Snell do this only reluctantly and still consider it very likely that the fragment might have belonged to a comedy: "quare fragmentum aliquando aptiorem fortasse locum habebit inter adespota comica" (217). 18 Maresch 28. W. Luppe, 2PE 72 (1988) 36, suggests that the text might come from the epilogue of a satyr play. 19 Old Comedies with the title ru-cupm: Cratinus PCG IV 232, Ecphantides V 127, Phrynichus VII 414-16, and Ophelio VII 97 (test. 1 [=Suda (0 272]). Satyrs also must have appeared in Cratinus' Dionysalexandros (see the hypothesis in PCG IV 140f). M. Gronewald considers attributing the passage to this play; he argues from the satyrs and the expression in line 27, which could allude to Dionysus' arbitration in the beauty contest; see Maresch 29 and infra ad vv. 2M. 20 See D. F. SurrON, The Greek Satyr Play (=BeitrKlassPhil90 [Meisenheim am Glan 1980: hereafter 'Sutton']) 83-85. For titles that require a satyr-chorus see supra n.19 and Timocles' Ikarioi Satyroi (PCG VII 766-69 [frr.15-19]); for the literary genre of this play see Sutton 83-85. 21 Catastrophe Survived (Oxford 1971) 232. At 92 n.10 she states that the Cyclops of Euripides opens with a quick reference to several other satyr plays; see also P. Waltz, "Le drame satyrique et Ie prologue du Cyclope d'Euripide," L'Acropole 6 (1931) 278-95. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 361 interrupted in order to discuss literary problems or even to cri ticize a poet, as happens in our text. 22 Any assertion about literary genre should be based mainly on such strictly philological aspects of the text as meter and vocabulary. The meter especially speaks almost certainly in favor of Old Comedy. The catalect~c anapest~c tetrameter ~s clearly, almost uniquely, associated with it.23 There are two possible alternatives to consider. On the one hand it is the verse par excellence of the Aristophanic parabasis; on the other, it is used in the comic aymv. 24 The discussion is linked with the question whether we have to assume a single speaker or a 22 Tragedy and satyr play could express some metatheatrical reflections, but never allowed a complete break of the dramatic illusion. There are very rare cases of a direct address to the audience in tragedy, as e.g. in the prologues of Aesch. Sept., Soph. OT, and Eur. Or. (at 128 Electra says dOE'tE, although the chorus has not yet entered). See W. M. Calder III, "The Staging of the Prologue of Oedipus Tyrannus ," Phoenix 13 (1959) 125-27, who justly ob­ serves: "It would be a misnomer to call such a practice as this the breaking of the dramatic illusion. If anything, it is rather a strengthening of the illusion; for the audience becomes part of it." Generally for tragedy see Bierl 115f; for the satyr play see Sutton 163, who stresses that it was never a comedy of ideas nor could it provide explicit criticism of specific political persons or cultural in­ stitutions. Satyr play is more "the comedy of incongruity" (Sutton 159), or even better, "tragedy at play" ('tpu'Ycr~Huv 1tU it;ououv), as Demetrius put it (Eloc. 3.169); see also Sutton 159-79. 23 See U. von Wilamowitz-Moellendorff, Griechische Verskunst (Berlin 1921) 367: "Der Tetrameter, d. h. die Verbindung des vollen und des katalektischen Dimeters, herrscht in der alten Komodie, ist aber auf sie be­ schrankt." In Middle Comedy it is to be found only in Anaxandrides' rEpOv'toll JlTt U1ta­ titcravto<; Kat 0 u1tat1l8d~ croq>wn:po~ tot> JlTt U1tat1l8EvtO~ ).45 It has been shown recently that this definition is based on the archaic concept of Otl(Tl as a relationship of equilibrium between action and reaction. In this purely theoretical sense u1tatTl means not only fraud, trick, or deceit, but also theatrical illusion (vuv 2)') as a contrast between an idealized past and a less happy present. See also Maresch 45 with his remark that 20 cannot have a positive meaning for 'joy' here as sometimes in Koine. H. Lloyd-Jones, "The Anapaestic Tetrameters from the Fackelmann Collection," ZPE 36 (1979) 22, regards it as a • strange expression" and makes the emendation EC; U1t<; taA,amoopou<; ~pOt01><; A,U1tll<;, otav 1tA,llcr8&crlV aJ.l1tEAOU poTic;, 59 Ar. Ach. 627; Eq. 504; Pax 735; Av. 684. For the use of meters other than anapests see Korte (supra n.55) 1243. 60 This is valid for Aristophanes' early comedies from Ach. to Pax: Ach. 628-58; Eq. 507-46; Nub. 518-62 (here in Eupolideans); Vesp. 1015-50; Pax 734-64. In Av. 685-722 and Thesm. 785-813 the poet does not speak about himself, but the chorus retain his dramatic character and talk about arguments more closely related to it. Themes normally found in the epirrhematic syzygy penetrated the anapests. Finally in Ran. the anapests are omitted: in the epirrhematic syzygy (686-705) the poet gives strictly political advice in trochees, whereas the famous agon deals with metatheatrical questions. For the interpretation of Frogs see Bierl 27-44. For 1tapa~acr£lC; in anapestic catalectic tetrameters see: Ar. frr.264f, 431, 590.A. col. I 5ff K.-A.; Callias frr.20f; Cratinus frr.76, 251, 342, 346; Eupolis frr.13, 205; Lysippus fr.4; Metagenes fr.15; Pherecrates fr.199; Philonides fr.5; Teleclides fr.2. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 372 DIONYSUS, WINE, AND TRAGIC POETRY U1tVOV 'tE AftSTlV 'trov 1(X.S' TtJ..lEp(X.V 1(X.1(OOV OtOc.oOlV, ouO' EO't' aAA.o cpapJ..l(X.1(OV 1tOVOOV. Then the comic poet who composed the anapests turns to the problem of dramatic illusion (20). For this purpose he prefers the comic Dionysus of wine to the tragic Dionysus, because tragedy as embodied in the most famous playwright of these days is too burdensome. The link between the first part (1-18) and the second (19-27) might thus be the comic point of the argument: the humor lies in the trivialized conception of Bacchus. The god of myth, who is praised in highly stylized song, is contrasted with the god of ordinary cult, whom the average Athenian would associate with drinking wine. It is characteristic of the cult of Dionysus to free men from pain, to make them forget the evils, toil, and sorrows of everyday life. 61 A major means to reach this goal is wine, which the god gave to mankind (8-14). The effect on his followers is shown in 16-18. In the Dionysiac ecstasy the thiasos will be free of burdens. This cultic dimension is made to resemble the comic freedom to create a light and fanciful plot which is opposed to the heavy burden of tragedy. In other words, the comic poet equates his poetics with Dionysus' main cultic function. On this point I would recall Cratinus' notorious obsession with wine,62 for the poet of the anapests might have picked up Cratinus' preoc­ cupation with wine and transformed this theme for his metatheatrical argument in the parabasis. Moreover, all comic poets seem to have put more emphasis on the Athenian cultic dimension than on the cruel, more ambivalent aspect of the god that prevails in tragic texts. There are admittedly several considerations that might tell against this scenario. The poet, for example, refers to a lesser (,1 This function of drinking wine to forget is first attested in Alcaeus (wine is Aaet1caOll~, fr.346 L.-P.), whereas in the epic world one gathers to drink wine in joy and happiness. See H. Maehler, Die Auffassung des Dichterherufs im fruhen Griechentum his zur Zeit Pindars (=Hypomnemata 3 [Gottingen 1963]) 54: "Pointiert konnte man sagen: die homerischen Menschen greifen zum Becher, weil es ihnen Freude macht; Alkaios, weil es ihm bitterschlecht geht." (,2 See Ar. Eq. 526-36; Pax 700-03 with I 702d, on tAEUptxtbT\e;68 (frA K.-A.), where in a Euripidean monody a cook reflects upon the preparation of food; and in fr.3 there are two more euripidomaniacs rather similar to Dionysus (015tw yap Ext tOte; JlEAECH tOte; EuptxtboU liJ.1C; 'APKU<; can be either Pan or Hermes. In Anth.Pal.5.139 (Mel eager) Pan is called 'APKUC;, in 11.150 (Ammianus) Hermes. Silenus and Hermes are closely connected. Hermes appeared in Cratinus' Dionysalexandros (PCG IV 140.5 test. i [Po Oxy. IV 663]). Hermes brought the baby Dionysus to Silenus and the Nymphs of Nysa. See infra ad 7. For the association of Dio­ nysus, Hermes, and Pan, see P. Borgeaud, The Cult of Pan in Ancient Greece, tr. K. Atlass and J. Redfield (Chicago 1988) 178f. For Pan in the Dionysiac landscape see Eur. Bacch. 952. In Nonnus Dion. 27 Pan is an ally of Dionysus in his conquest of India. 6: Perhaps crKE1t'tOJlEV [oc; (referring to Hermes). 7: 1tapEo(t)KEV: sc. 0 'EpJlftC; tOV L1tovucrov 'tatC; vUJlcpatc; Austin, with reference to Diod. 4.2.3. 8: "R pac; 'tE XOAOV -u] 1tECPEUYWC; Merkelbach; 'tou 0' £K ~a8£rov Kpu~oa] 1tECPEUYW<; ... av'tprov Austin. In P.Koln VI 242A av'tpa<; seems to be corrected to avtprov; P.Fackelmann 5 reads av'tpot[c;. Snell supplemented £v 'totc; Ot8upotC; in the next line, after Porph. De Antr. Nymph. pp.56.11, 57.4, 70.15, 76.13, 77.11 Nauck (ad. 13.103-12) and LAp. Rhod. 4.1131 (de antro MaKptOoc;), £v 'tOUtql 'tip av'tpql 'tOY L1tovucrov E8pE\VEV' oUl 'tou'to "L1t8upaJl~0c;" £KAit81l, Ou'x 'to ouo 8upac; EXEtV 'to av'tpov. Maresch £1tt trov Ot8uprov. The story of Dionysus' childhood is a frequent theme: Hymn.Hom. 26.5f; Diod. 4.2.3f, and 3.70.1. See Eur. Ion 53f v£OC; JlEv 01)V ... l)Aa't' ci8upffiv. For aeil pro 'to play' and its close connection with Dionysus see Nonnus Dion. 10.325, 384; esp. 25.184 BUKX0<; aeuprov and BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 378 DIONYSUS, WINE, AND TRAGIC POETRY 10.391 ~lOVUOO<; ueupoov (see Kramer 8). The verb can also designate the musical aspect of Dionysus (Ka'ta 1tllK'tl3rov Anacreont. 41.11 and Jlouoav ueupoov Hom.Hymn. 19.15) and would thus prepare for the metatheatrical discussion in 19-27. 9: U1tClv]ouPYo<; "guileless" (Gronewald) will not do. The sup­ plement is evidently inspired by a questionable interpretation of u1ta'tat (20); the word itself is attested only in late prose: e.g. Pollux 3.133; Pluto Mor. 966B; Lampe, Patristic Greek Lexicon 173. In the following lines the speaker describes his achieve­ ment of growing the vine. The context thus suggests q>u't]oup­ yo<; "tending plants or trees" or as a noun "planter" (Syll. J 22.20); at Nonnus Dion. 47.58, 70, 125, Icarius, one of the possible speakers, is called cpu'to£ pyo<; (Kramer 8); the word is used metaphorically in tragedy as 'begetting, generating'; cf Aesch. Supp. 592, Soph. OT 1482, Eur. Tro. 481. Another possibility is au't]oupyo<; (i.e. vini sator) Kannicht (TrGE II 219), 'self work­ ing' Soph. Ant. 52, or 'one who works his land himself' Eur. Or. 920. Lloyd-Jones, ZPE 36 (1979) 22, restores Jlouo]ouPYo<;, attested also in comedy Com.Adesp. 15.18 Demianczuk. This solution would provide a link to the musical and metatheatrical dimension of Dionysus expressed by ileupov in the preceding verse. A reference to the Mouoat would also go well with the emphasis on simplicity (U1tAOU<;) and purity (UJllav'to<;). To be pure and undefiled was an important aspect of Dionysiac mystery cults. For purity in the Dionysiac context see A. J. Festugiere, "~a signification religieuse de la parodos des Bacchantes," Etudes de religion grecque et hellenistique (Paris 1972) 66-80 (= Eranos 54 [1956] 72-86);]. Roux, Euripide. Les Bacchantes I (Paris 1970) 270f. In 15 a Jluo'tll<; actually appears. The initiate has to be pure as the god himself. For the simple and pure life of the initiates see Eur. fr.472 N.2 9-19. For the Jluo'tll<; in connection with Dionysus see ibid. 10; Ar. Ran. 354ff; Heraclitus 22 B 14 D.-K.; and the golden lamella of Hipponium, G. Pugliese Carratelli, ParPass 29 (1974) 110f, v. 16, and S. G. Cole, "New Evidence for the Mysteries of Diony­ sus," G R B S 21 (1980) 223-38. See in general W. Burkert, Ancient Mystery Cults (Cambridge [Mass.] 1987). BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 379 The expression KUKlUe; UJllUV'tOe; is unusual. A man normally becomes polluted through deeds like murder. He is ritually impure and a danger to society; he can be freed by a Ku9uPJloe;, a special ritual purification. See R. Parker, Miasma. Pollution and Purification in Early Greek Religion (Oxford 1983) esp.3f. The notion of moral badness inherent in KaKla is alien to the archaic concept of miasma. The comic poet perhaps does not make a clear distinction between KUKlU and KUKU (cf Eur. Hipp. 946-49 btttb1) y' re; JllUaJl' rA1)A:uSu ... au awq>pwv KUt KUKroV uKTtPu'toe;;). Similarly Menander fr.540 Kock MttPUKtOV, ou !lOt KU'tUVO£tV bOK£te; Ott U7tO 'tile; {blUe; EKua'tu KUKlW; (1)7t£'tUt KUt 7tUV 'to AUJlUtVOJl£VOV rattv Evbo9£v. U!llUV'tOe;: Aesch. Pers. 578 (not referring to moral purity, but to the sea); Philodamus 120 uyr,pwv u!llav'tov ... vao[v (ColI. Alex. 168); and a close parallel at PI. Leg. 777£ UJllUV'tOe; 'tou 't£ uvoalou 7tEpt KUt UblKOU. UJllUV'tOe; repeats asyndetically the notion of a7tAOUe;. The speaker wants to say that he is just a simple wine­ ~easant; the concept of purity is thus made banal along comic lines. 10-13: This section describes Dionysus' major accomplish­ ment in giving wine to mankind: 10-12 are about its cultivation, 13 is about its production. Kannicht and Snell interpret WptOv 1\1311v (12) as the young Dionysus. The subject behind 7tUtb£UOUe; must then logically be one of the mythological figures who brought up Dionysus. If the speaker is masculine, as the ending of the participle suggests, he must be Silenus (Eur. eye. Hf). Hence the assumption that the literary genre could be a satyr play. But a reference to the upbringing of Dionysus would interrupt the train of thought, which has to do with viticulture. I agree with Maresch that 1\1311 must mean 'vine' (Hsch. H 14 1\1311' ... KUt aJl7tEAOe;). So: "I have grown the young vine and protected it." The adjective WplOV speaks in favor of this meaning; it is commonly used in connection with plants or fruits as 'produced in season' (Hom. Od. 9.131; Hes. Op. 394) or 'youthful, fresh' (Euphorion fr.11 [CoIl. Alex. 32J). Thus, "the young vine" would fit perfectly, but the meaning "in due season" (LSJ S.v. II) cannot be ruled out. WplOe; is not used of persons, and to "educate the youthful youth" would be a pleonasm. Rather, the cultivation of the vine is compared to the BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 380 DIONYSUS, WINE, AND TRAGIC POETRY education of a child (Kramer 10: wa1CEp b] 1CalSEuaa<; roPLOV i1~llv EcpuAa~a). This comparison reflects the metaphor of the educator as gardener, which has its origins in the late fifth century (A. Henrichs, ZP E 1 [1967] 50f, with reference to Antiphon 87 B 60 D.-K. and PI. Euthphr. 2D, Resp. 491D-E, Ph dr. 276B). If we understand i1 f3Tlv as "wine" rather than "youth," the metaphor is comically reversed. The poet might even play with the double meaning of the noun for the sake of comic effect. 10: For the concept that fruits grow wild on the mountains (opnov) see Ar. fr.698 K.-A., EV 'tOl<; 0pEalv (b') au'toJ.1a't' au'to'i<; 'tcx IltllailruA' ECPUE'tO 1COAAa (in this case the fruits of the strawberry tree). 11: K]at 'to e.g. Kramer or 0<; y' au'toqn),fl<; 1CEcpu't]at Kramer. aKOJ.1ta·'tov "unattended" cf. Nonnus Dion. i2.296f EV OK01t£AOtC; S£ au'tocpuilc; aKOllto'tOC; a£~a'to Kap1tOC; ()1tOOPTlC; (Kramer 9). See also Soph. Ichneutae TrGF IV F 314.149. Kannicht and Snell think of "secure," with reference to eTl p&v E~&>t<; and leoJ.1i~ro, 'rapio', LSJ S.v. II. For E<; eEO\><; 9vTl'to'i<; Ka'tabEl~at). In the simplistic exposition of comedy, the divine gift of wine is the starting point of all cultic activities, for the male lluo'tTlC; (15) as well as the female maenad (16). For avabo<; presumably do not mean here 'deceit' or 'error' but, as argued above, dramatic illusion by mimesis. The new papyrus fragment (P.Koln VI 242A) now makes it certain that the speaker himself and not another figure (as had been assumed before) had recourse to a1tu'tcxc;. The speaker could mean: "Now I have been rolled into illusion,'" i.e. "now we have to use illusion consistently." Dionysus is the god of both 73 Suggested orally by David Sansone. 74 'tpu~ is the new wine (e.g. Ar. Nub. 50). For 'tpu'Y~oia see Korte (supra n.55) 121M. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 385 tragedy and comedy.75 The ambivalent figure of Dionysus uni­ fies in himself aAi)8nu and \jf£UOO<;,76 i.e. illusion, which as the precondition of art can also bring forward beauty (ef KUAU 24). The expression de; a1tu'tue; K£KUAtOJlUt seems to reflect a specific comic idiom. Kramer points to the close parallel in Ar. Thesm. 651: Mnesilochus says in desperation lCUlC08ulJlffiV £yw, de; at' EJlUU'tOV EiO£KUAtOU 1tpuYJlu'tu ("oh miserable me, what trouble I've rolled myself into!"). The phrase could thus express the transition to the a1tu'tue; in a drastic, colloquial way, standing in sharp contrast to the high level of speech just before. In both instances it is a specific metatheatrical term, clearly hinting at the tragic device of the E"(KUKATlJlU. In Thesm. 651 Mnesilochus "rolled himself into trouble" by using Euripides' tragic discourse. In our text the comic poet, or the speaker representing comedy, notes in the first person that he has been rolled or has rolled himself into illusion, i.e. the tragic form of Euripides. He may be saying that with the new comic style there is scarcely any distinction between tragedy and comedy. In the following lines he wants to express his opposition to this kind of comic composition. 77 Albert Henrichs has suggested to me that he could mean "Now I've gotten mixed up in deceit. "78 But then we would have again the problem of what these deceits are, and how this notion is related to the context. The speaker might have "entangled 75 See Ar. Nub. 518f, where at the beginning of the parabasis the choral leader as mouthpiece of Aristophanes also mentions Dionysus: ~ e£w~£VOt lCunpw 1tpO~ uJla~ o .. £uetpro~ 'taAlleil vTj 'tOy ~t6vucrov 'tOy tK8pt",uv'tu ~£. This expression implies a special relationship with Dionysus like that of a father to a son, of a teacher to a pupil, or of the master to his apprentice. In Thesmophoriazusae Aristophanes shows that very tricky plots like Helen's intrigue do not work in comedy. Euripides has to learn that his tragic discourse is bound to fail in comedy; he can only save himself and his friend Mnesilochus by adapting to the comic discourse (Bieri 172-76). 76 The antonyms AAH8EIA \IlEY~OL occur on an Orphic bone tablet (SEC XXVIII 660; M. L. West, "The Orphics of Olbia," ZPE 45 [1982] 22f). 77 lowe much of this thought to John Vaio. 78 For the metaphorical use of K. £v 'ttVl 'to wallow in something': Theog. 619 tv a~l1xavin(n 1C\)Aiv()o~at; PI. Phd. 82 E tv a~a8i<;t 1(. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 386 DIONYSUS, WINE, AND TRAGIC POETRY himself in deceits" by reporting Euripides' untrue assertion that he was a great poet. The comic point might then be that Euripides was notorious for his deceits and intrigues. Therefore it is natural that he lies also when he has to judge his own dramatic quality. Charles Segal suggests that the verb 'to roll (down)' implies a development toward the worse. He believes that Dionysus is the speaker and compares the good past, when he was widely esteemed, with the desperate situation of todayJ9 In former times he was a great god; nowadays, he complains, he is put down by poets like Euripides, who question myth as the valid basis of society. He lost his sovereignty-already in Bacchae he had to contend with human deceit in order to reach his goaL In the new sort of comedy, which is built entirely on the deconstruction of myth (e.g. Ar. Plut.), Dionysus became more and more the target of humor. 21: Perhaps 0. 'A 'A , d 'talll]a<; naupo<; unoupywv 'ta'i<; '¥CU()O­ Ilfva[ t<;]' Entv[oiat<; (Maresch 46): "But you (Euripides) are an insignificant' dispenser. "80 These words would provide a strong criticism of Euripides. naupo<; 'small, little, insignificant' would stand in opposition to IlEya<; (19). See Pind. O/. 13.98 naupcp EnEt; Hes. Op. 538 cr'tllllovl 8' EV naupCf>; Eur. M ed. 1087 naupov ()E yEVO<;. If one adopts the alternative that 'tallia<; in 20 refers to Dionysus, one might read OU()' d Moucr ]a<; naupo<;: "You (Dionysus) are not even small in regard to the Muses, when you help in the notions of dramatic illusion.» The speaker might even play with the double meaning of o.nu'ta t and 'I'cU()o<;; o.nu'tal (20) could mean simply "deceit," whereas 'I'cU()OIlE'va[t<;l'.Enlv[oial<; presumably must be interpreted in a more technical' way as "the concepts of dramatic illusion.» Conceivably the line might even refer again to the speaker, who would be addressing himself in a monologue (o.'A'A' d Moucr]a<; naupo<;)-he complains that he loses his power whenever he complies with the concept of dramatic illusion. Or pursuing the 79 Thus Segal comes close to Maresch 28f: see supra nA1. 80 I am inclined to adopt the common view that 'tUlllUC; (20) stands in appo­ sition to aOtOOC; (i.e. Euripides). BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 387 thought of Segal (see supra ad 20), Dionysus is angry because he lost his sovereignty as a god (aAA' d 'taJli]ac; 1taupoc;), since he has to act now in plots where he must deceive. 22: As an alternative to Kramer's (14) a:y£ vuv, 'tiC; £1taiv(J)t 1t]a,pa,1t£f.HVEt I suggest liYE VUV, 8opu!3o)l 'tiC; 1t]a,pa,1t£I-HVEt. In comedy TCapaTC£JlTC(J) 66puB6v nVl can mean "waft applause" to somebody (esp. a poet), cf Ar. Eq. 546-48 (see LSJ). This hints again at the metatheatrical aspect of the text. It is still disputed whether 'tOY a1t' 68vdac; refers to the poet (Kramer) or to Dionysus (Maresch 46). In myth Dionysus is commonly said to have come from abroad: see e.g. the prologue of Bacch., 13-20. But I believe Kramer is right. Euripides has just been designated as "the bard from Salamis" (19). Line 22 obviously continues the attack against the "foreigner" Euripides. The comical point might lie in the fact that Salamis had an in-between constitution­ al status. Since Solon's time it belonged to the territory of Athens, but it did not form a deme, and was therefore politically not a real part of Attica; it was only considered a colony of citizens. See W. Judeich, "Attika," RE 2 (1896) 2223, and E. Oberhummer, "Salamis," RE lA (1920) 1828. Euripides was always considered an Athenian. His parents were both Athenians and emigrated only for business reasons: Vita Eur. 1 (Schwartz I 1), Eupl7tibT)C; 6 1tOlT)'tllC; ... , 'A8T)vu'loc;; SUM E 3693, 3695; Wilamowitz, Herakles 2 I (Berlin 1895) Sf. For a pejorative (and sexual) use of a person from Salamis see Ar. Ecc!. 38-40. For 68vEloC; see Eur. Ale. 532, 646, 810; Supp!. Hellenist. fr.626.6 a1t' 68vda,C; (sc. yilC;). £m:ydprov can simply mean to awaken from sleep 81 (implying that the poet was very lazy), or even from death; this could indicate a terminus post quem implying that the poet was already dead and would have been brought back from the underworld; so this would be an internal allusion to Aristophanes' Frogs;82 see also infra ad 27. So: "Now, who will wake up this man from abroad and grant him applause?" The answer in 23 must be negative. 81 See Ar. Nub. 79. For tydpc.o see Soph. TrGF IV F 890, Eupolis fr.41 K.-A. 82 I have not found an exact parallel for this metaphorical meaning. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 388 DIONYSUS, WINE, AND TRAGIC POETRY 23-24: Maybe 1tW~ yap, or better ouod~· llaAAov crUy]yvcotE,83 SEaL The goddesses are thought to be the Muses, perhaps already mentioned in 21. As followers of Dionysus in his tragic dimension they are invoked for forgiveness, if the speaker rejects the great tragic poet Euripides in favor of his comic discourse. For the Muses connected with the (tragic) Dionysus see Solon fr.26 West; Aesch. TrGE III F 60; Soph. Ant. 965; Eur. Bacch. 410ff, 563ff; Paian of Philodamus 53-62; PI. Leg. 672D. The explanation for the excuse is the next sentence with the probable supplement ~apu~ (24). ~apu~ 'burdensome, grievous, oppressive' is quite common in tragedy: see Aesch. Pers. 1044, Sept. 332, 767; Soph. DC 1204. P.K6In VI 242A now gives the unambiguous reading 6 1tUpWV 1t6vo~ UIlVWV. 1t6vo~ is in close connection to 1l6XSWl (24) and cp6ptou (25). These terms express the strict antinomy to the Dionysiac ideology of a complete lack of any burden. So: "The present toil of tragic hymns is heavy." "Tragic hymns" are a kind of pars pro toto for the entire literary genre of tragedy. Hymns aim at a very lofty level of language, and their subject matter is limited to the praise of a deity. In tragedy we have two famous hymns to Dionysus, Soph. Ant. 1115-54 and Eur Bacch. 71 ff. 84 The word UIlVO~ already appeared in 4. If the speaker is Dionysus, he might be saying that he does not like these bombastic hymns about himself and prefers a different level of expression. There might be another point against Euripides, who stressed secular themes. He was notorious for his anapestic hymns with philosophical-physical coloring. 85 Furthermore, Old Comedy integrated many hymns into its plots which are closely 83 ouy]yvCO'tE: so already West, Austin, and Maresch 46. 84 Also Eur. Hypsipyle frr.57-59; see Euripides, Hypsipyle, ed. G. W. Bond (Oxford 1963) 18: "Frs. 57-59 appear to come from a stasimon in praise of Dio­ nysus." For the fifth stasimon in Antigone see A. Bierl, "Was hat die Tragodie mit Dionysos zu tun? Rolle und Funktion des Dionysos am Beispiel der 'Antigone' des Sophokles," WurzJbb 15 (1989) 50-55, and Bierl 127-32. 85 N2 frr.593, 594, 912. See R. Wunsch, "Hymnos," RE 9 (1914) 163. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 389 connected to the old cultic function of these songs. 86 For UJ.lVo~ in comedy: citation of Cratinus (fr.70 K.-A.) in Ar. Eq. 530 'tEK'tOV£e; EtmaAUJlrov UJlvrov; Av. 210, 679, 905 KAncrov (b Moucra tEate; £V UJlVWV uOl8a'i<; (a poet in N ephelokokkygia); Ran. 212,382; Thesm. 993. 24-25: Perhaps Bupu<;' fl.')...)..' 0 EJ.lO<; BO:Kho<;. Lloyd-Jones and Snell read 8Ecr]JlO<; (see Kannicht-Snelf 220).87 For the missing infinitive in '25 after 6pi~Et I suggest e.g. <; SEOW VOJlou<;; cf Ar. Av. 1067f Ktcivw 8' 0Y. Klt1tou<; Euw8El<; <; 1tpOAO"(OU<; ()lupUVt<; ... KclJl1t'tWV JlE Kat cr'tPEaA:Tl~); Eq. 551-64 (Poseidon); Vesp. 868-74 (Apollo); Ran. 875-84 (the Muses); Ran. 324ff (Iacchus). 87 Basically the result of 8£a~6~ would be the same. Mary line Parca suggests that 1t6vo~ (23) might be the subject of apiSn. 88 ATI]cp9tv'ta Merkelbach, Luppe, and Maresch. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 390 DIONYSUS, WINE, AND TRAGIC POETRY negative imperative or a tva-clause. Therefore it is also possible to read: q>8dpnv, tva Jlll or tva vuv. The question whether the sentence is negative or positive depends on one's interpretation of q>op'to<;. Is it simply another synonym for 'burden' (cf Eur. Supp. 20 or IT 1306), or does it have the specifically comic connotation of 'vulgar stuff, rubbish, balderdash'?89 q>op'tou rrap­ ep'You is to be taken with 8ftn:. 90 Thus: "to consider something as a negligible burden" or "negligible rubbish." A,1lq>9£v'ta is best taken as a neuter accusative with 'tpita. 'tpita A,a~dv, 'to win the third prize', 91 seems to be a reference to the dramatic agon of the City Dionysia. Thus the whole sentence: "If someone scarcely wins a third prize, do not consider it a negligible burden!" This could be an allusion to the relatively poor success of Euripides. In his career he won only five first prizes (with one posthumous victory included).92 The speaker means that he absolutely does not need Euripides, who is unsuccessful and whose tragedies are quite "heavy stuff"; that is absolutely against what Dionysus wants. Or with the tva construction: "Bacchus ordains not to spoil the justly beautiful by toil, in order that you (do not) consider it a negligible rubbish (burden), if somebody scarcely wins a third prize." 26: One might conjecture: uu-uu- 0{)0£ 9£a'ta'\.<; dl]ao£v (Merkel bach). Op9ftl ~lOVU(JO<;. "The public did not like him either." The form £,\5]ao£v, however, is epic, but uvouvw is com­ mon in tragedy: e.g. Eur. fr.93.3 N.2, TrGF II F 130. In comedy see e.g. Ar. Eq. 553. 26-27: With the stop after ]aO£v we would have another asyn­ deton. The main verb of the 'next sentence is missing. Perhaps 89 See LSJ S.'U. cpop'tO~ I and II. For the second meaning in comedy see Pax 748 (also in anapests) cpop·tov Kat ~(J)J.lOA.oXEUJ.la't· aYEvvil, and Pluto 796. 90 For this construction see LSJ S.'U. 'ti~J.lt B.llA. 91 Compare Hom. IL 23.275 'to. 1tp(;na Aa~WV KAtO"illVOE cpEpoiJ.lllV. See also Eur. Epigr. ) Bergk, 1tpiffm OpaJ.lEtV Kat OEU'tEpa Kat 'tpi'ta. 92 See Schwartz I 8.2)ff. Three victories are attested in a more detailed way: (a) in 441 B.C. with a unknown tragedy (TrGF I DID D 1), (b) in 428 with Hippolytus (C 13), (c) the posthumous victory with Iphigeneia in Aulis, Akmaeon, and Bacchae (C 22). In 455 and 431 (C 9, 12) it is attested that Euripides won the third prize, as is claimed in our fragment. BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 ANTON BIERL 391 the speaker wants to suggest that Dionysus is on his side because he made the right decision as an arbitrator in an agon once before. But it is not certain that Op8ftl really is dependent on ~]pa~Eucra<;. CfAxiopistus (?) or Pseudoepicharmea 2.7 (CoIl. Alex. 221) op8w<; ~pa~Eucral. This could be an allusion to Aristophanes' Frogs, where Dionysus decided against Euripides. There is another instance where Dionysus functions as an arbitrator: in Cratinus' Dionysalexandros he is judge of a beauty-contest (see the hypothesis, PCG IV pp.140f). 93 This is only a brief outline of the possibilities for an inter­ pretation of this papyrus. I am well aware that my suggestions cannot be conclusive, but I hope that this new approach sheds further light on a difficult fragment. 94 UNIVERSITAT LEIPZIG September, 1991 93 Gronewald made the suggestion that our fragment might even come from the Dionysalexandros; see Maresch 29 and supra n.19. 94 During a stay at the University of Illinois (Urbana-Champaign) I worked on the papyrus again and presented the results in a lecture on 22 February 1991; I thank William M. Calder III for this invitation. lowe special thanks to John Vaio (Chicago) and particularly to Albert Henrichs (Cambridge, Mass.), who discussed the paper with me at length. A revised version was presented at a seminar of the Center for Literary Studies, Harvard University (26 April 1991); I am very grateful to Albert Henrichs, Gregory Nagy, and Richard Thomas for this opportunity. My thanks also to Helene Foley and Dirk Obbink (New York), who invited me to repeat the presentation at Columbia University (7 May 1991). I am grateful for the many suggestions and comments of all participants in the lively discussions that followed these lectures, and to William M. Calder III, David Sansone, and Douglas Olson (Urbana), who kindly read and corrected earlier drafts of this paper. I am indebted to Cornelia Romer and Klaus Maresch for providing photographs of the papyri and for giving me permission to publish them again here. After completing my manuscript, I received the collection of essays, Musa Tragica. Die griechische Tragodie 'Von Thespis bis Ezechiel, edd. B. Gauly et al. (Gottingen 1991), where our fragment is reedited with a brief introduction and translation (250-53, 302) by Richard Kannicht and his students, who attribute the text to satyr-play (with reference to Luppe's suggestion, supra n.18). I thank Professor Kannicht for sending me the new publication so promptly.