‘Named Satyrs in Sophocles’ Ichneutai’, Philologus 58 (2014), 53-64

Philologus 2014; 58(1): 53–64 Andreas P. Antonopoulos Named Satyrs in Sophocles’ Ichneutai Abstract: In Sophocles’ Ichneutai 176–202 someone (most likely Silenos) is calling by name several Satyrs of the Chorus. This is the only passage in surviving Satyr Play that provides names of individual Satyrs-Choreuts, but the practice of naming Satyrs is common in vase-paintings. The article describes and contextualizes this practice, and goes on to investigate each of the Satyric names that occur in the Ichneutai. The scene in question is a parody of ancient hunting, in which the Satyrs assume the role of tracking hounds. For this reason the names of the Satyrs have been merged with names of hounds. The article, as well as including a thorough introduction and up-to-date bibliography, elucidates the etymology of problematic cases, offers new insight into the reference of some names, contributes important details on all of them, gives a rough translation of each name, and generally displays the links that these names have with both the Satyric and the canine nomenclatures. Keywords: names, Satyrs, choreuts, Ichneutai, Satyr Play, hounds DOI 10.1515/phil-2014-0004 Dedication: For my parents, Panagiotis and Vasiliki. In Sophocles’ Ichneutai the second phase1 of the Satyrs’ tracking of the stolen cows begins with twenty-seven lyric lines (vv. 176–202), during which they progressively advance towards the cave of the nymph Kyllene. The papyrus assigns the entire passage to the Chorus only. Nevertheless, it seems most probable that here we have a lyric dialogue between the Chorus and Silenos, with the greater part actually belonging to him, as was suggested by Robert2. The lyric passage is full of exhorta- 1 The first phase was suddenly interrupted (I believe after v. 123) when the Satyrs heard a strange sound (apparently coming from the newly-invented lyre), and were terrified by it. 2 Robert (1912) 547–549. He has been followed by Masqueray (1924) 241; Lange (1965) 344–345; et al., while Pearson (1917) vol. 1, 249 has recognised a high degree of probability in this view, and Andreas P. Antonopoulos: Carathéodory Postdoctoral Researcher, Department of Philology, University of Patras, University Campus, Rio, Patras, 26504 Greece, E ˗ Mail: [email protected] Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 54 Andreas P. Antonopoulos tions and instructions to the Satyrs for the tracking; these probably came from the lips of Silenos, in accordance with his earlier promise to the Satyrs. In the preceding trimeters, which prepare the audience for this song, the Satyrs have requested their father to stay with them and guide them in their search (169 πάτερ, παρὼν αὐτός με συμποδηγέτε[ι), and in response Silenos has assured them that he will do so, using his words and also a ‘hound-inciting’ whistling (172–175 ἐγὼ πα[ρ]ὼν αὐτός σε προσβιβῶ λόγῳ, / κυνο̣ρ̣τικὸν σύριγμα διακαλούμεν[ος… ἐγὼ δ’ ἐν [ἔ]ργοις παρμένων σ’ ἀπευθυνῶ). What follows is an impressive vivid stage-representation (and parody) of hunting with dogs3, in which apparently Silenos assumes the role of the hunter, while the Satyrs assume that of the tracking-hounds4: ΧΟ. <& ΣΙ.>5 ὗ ὗ ὗ. ψ ψ. ἆ ἆ. λέγ’ ὅ τι πονεῖς. τί μάτην ὑπέκλαγες, ὑπέκριγες, ὑπό μ’ ἴδες; ἔχεται. ἐν πρώτῳ τίς ὅδε τρόπ[ος; ἔχει. ἐλήλυθεν ἐλήλ[υθεν (..)] ἐμὸς εἶ, ἀνάγου. δευτέρῳ τίς ὅδε .[.....].της 180 also Diggle (1998) 52 (in the app. cr.) has considered it possible. For a detailed discussion of this issue see Antonopoulos (2014) 248–250. 3 The correlation of this passage with ancient hunting manuals, chiefly Xenophon’s Cynegeticus and Arrian’s homonymous work, has shown important echoes in this scene of ancient hunting with dogs. For details see Antonopoulos (2014) 250–252. 4 Note that, as in the first phase of the tracking (vv. 100–122), the Chorus again splits up. At first the Satyrs are probably divided into three groups, each searching for the cows on one of three converging paths (ultimately leading to the cave; see 174 ἀλλ εἷ’ [ἐ]φίστω τριζύγης οἵμου βάσιν, with Antonopoulos 2010, 279 ad loc.). However, as the hunting evolves and the Satyrs are completely transformed into tracking hounds, it seems that any regimented movement collapses and the Chorus splits up entirely into its single members. So also Chourmouziadis (1984) 94–95, and Seidensticker (2003) 117–118. 5 Unfortunately, the failure of the scribe to provide paragraphoi on the one hand, and the fragmentary state of the song on the other, do not allow a complete and safe distribution of these lines between the Satyrs and Silenos. Nevertheless, a great portion of them can be assigned with a certain degree of probability to one or the other speaker, with the bulk of them belonging, as mentioned above, to Silenos (for a discussion of all relevant indications offered by the text see Antonopoulos 2014, 250–253). As far as the metre is concerned, we mainly have anapaests, which are often resolved into proceleusmatics, and cretics, some of which are likewise resolved into paeons; as a result, the greater part of the song is occupied by sequences of short syllables (for a full metrical analysis see Antonopoulos 2014, 253–254). Two things are worth noting as to the relation between the rhythm and the content of the song: (a) that the frequent employment of proceleusmatics is very appropriate in a song full of Silenos’ exhortations (κελεύσματα) towards the Satyrs, and (b) that the fast rhythm, achieved by runs of short syllables throughout the song, presumably reflects ‘the frenzied course of the hunt’ (so Maltese 1982, 81). Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM Named Satyrs in Sophocles’ Ichneutai ὁ Δρά̣ ̣ κις, ὁ Γράπις, [n. p. 6] Ο]ὐρίας, Οὐρίας, .δ[......]κεις παρέβης· Μεθυ[ n. p. 11 ] ὅτι ποτεφερε[c. 11 ].ι ̣[.]ν ἔποχον ἔχει τι[ n. p. 13 ] στίβος ὁδενε.[ n. p. 12 ] Στράτιο̣ς,̣ Στράτ̣[ιος .......].[(..)] δεῦρ’ ἕπου· τ[.]δρ[ n. p. 16 ] ἔνι β[ο]ῦς, ἔνι πονο̣[ μὴ μεθῇ Kρ[o]κία̣[ς .υτ̣ι καλὸν ἐ̣π̣ιδ[ ὅδε γ’ ἀγαθὸς ὁ Τρε[ κατὰ νόμον ἕπετα[ι ἐφέπου, ἐφέπου μ.[ ὀπποποῖ· ἆ μιαρὲ γε̣[ ἦ τάχ’ ὁπόταν ἀπίη[ις ἀπελεύθερος ὢν ολ.[ ἀλλὰ μὴ παραπλακ.[ ἔπ[ι]θ’ [ἔ]πεχ’ εἴσιθ’ ἴθι ̣[ τ[.]δε πλάγιον ἔχομ[εν ̣ 55 185 190 195 200 178 υπομιδες Π2m: υπεμειδες Π: υπεμ’ ιδες Π2 179 τρόπ[ος; Robert 185 Μέθυ[σος vel Μεθύ[ων Robert: μεθύ[εις Rossbach 186 ποτε φερε[ Hunt: ποτ’ ἐφερε[? Snell/ νόμος νόμον Theon teste Π2m, unde νό]μι̣ ̣[ο]ν Hunt 188 ὅδε νέο̣[ς Rossbach: ὅδ’ ἔνεσ[τι? Terzaghi: ὅδ’ ἔνεσ[τιν ἰδεῖν? Κöttgen 189 Στράτιος Robert: Στρατίος Lloyd-Jones 190 τ[ί] δρ̣[ᾷς; Robert 191 πόνο̣[ς Diehl, Terzaghi 192 μεθηι Π2: δεθηι Π/ Κρ[ο]κία̣[ς Robert 193 σ̣ὺ τ̣ί Hunt: ο̣ὔτ̣ι? Radt 194 Τρέ[χις Robert 198 η Π2s: ει Π/ ἀπίη[ις Hunt 200 παρὰ πλακ.[ Diggle (παρὰ πλάκ’ [ iam Walker) 202 τ[ὸ] δὲ Hunt Silenos (most likely) is adjusting his incitement to the Satyrs according to their performance in the tracking6, and what is more interesting, he is addressing by name individual Satyrs of the Chorus. At least five choreuts are mentioned (183 ὁ Δρά̣ ̣ κις, ib. ὁ Γράπις, 184 Οὐρίας (bis), 189 Στράτιο̣ς ̣ (bis), 194 ὁ Τρε[), most probably seven (with 185 Μεθυ[, and 192 Kρ[o]κία̣[ς), with the possibility of more names lying in the lost portion of the text. This makes our passage unique, as it is the only certain case of naming of individual choreuts that has survived from Satyr Play7. 6 He praises a Satyr for his good job (194–195), he urges one other to persist in the task (192), tries to restrain others who probably have gone off the trail with the traces, or are confused, or similar (185, 190–191 [possibly], 197, 200). Cf. Xenophon’s advice to the hunter at Cyn. 6. 25: (δεῖ τὸν κυνηγέτην τὸν λαγῶ… ζητεῖν…) τὰς κύνας ἐπαγόμενον, ἐγκελεύοντα, παραμυθούμενον τὴν φιλάνθρωπον πολλά, τὴν αὐθάδη ὀλίγα, τὴν μέσην μέτρια. 7 Lobel (1941) 12; Sutton (1985) 109; et al. consider Aesch. Dikt. fr. 47a. 802 ὦ φίντων to be a Satyr’s name. But in that passage the speaker (apparently Silenos) is addressing little Perseus who Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 56 Andreas P. Antonopoulos Nevertheless, such practice was probably common in the genre, like in Comedy8, as is suggested by the practice of naming Satyrs on vase-paintings9, some of which were possibly inspired by Satyr Plays. In the 6th cent. BC the Attic vase-painters begin to identify the followers of Dionysos with inscriptions on their paintings. At first they use the generic name Σιληνοί (ABV 76. 1, volute krater from Chiusi, Italy, 570–565 BC) or Σιληνός (ABV 79, cup from Aegina, around 560 BC). Individual names of Satyrs are first attested arround 550 BC (Ἄγριος, Αἴθων/ Λίθων, Ἐλασίστρατος, Λάμπων, Λ]άσιος, and Σφολέας, on an Attic (Tyrrhenian) black-figure amphora, Cerveteri Mus. Naz. Cer. 796810), while this practice reaches a peak in the 5th century. Along with the Satyrs, also the female companions of Dionysos, the Maenads, are given individual names11. As far as the Satyric names are concerned, one can distinguish several groups in them: Dionysiac names (e.g. Βάβακχος, Βρίακχος, Ἴακχος, Κισσός), names related to playing music, singing, and dancing (Τέρπαυλος, Ἡδυμελής, Σίκκινος, Χόριλλος), drinking wine (Ἡδύοινος, Οἰνόβιος, Οἰνοπίων), sex (Πέων, Πόσθων, Στύων), names linking the animalistic Satyrs to other animals (Aἰετός, Ἵππαιος, Πόρις), to the mountains (a natural habitat for the Satyrs; Ὀροχαρής, Ὀρείμαχος), names describing their character (Ἄγριος, Βρίκων, Ἐράτων), their external appearance (Λάσιος, ὈFατίης) etc.12. Now, of those vase-paintings that possibly depicted scenes from Satyr Plays, I would like to adduce here as an example the case of ARV 2 370. 13. This is a cup from Capua (490–480 BC), painted by the Brygos Painter, and was probably inspired by a play on Iris. On one side it depicts three named Satyrs (Δρόμις, ʾΈχων, and Λῆψις) assailing Iris in the presence of Dionysos, and on the other is crying (the text continues ἴθι δε[ῦρο·/ θάρσει δή· τί κινύρη̣[<ι>;), and the vocative is most likely Doric for φίλτων, meaning ‘beloved-one, darling’ (cf. ib. 807 ὦ φίλος). See Werre-De Haas (1961) 63, and Wessels/Krumeich (1999) 117 n. 32. For the form in –ων, cf. esp. Ar. Eccl. 985 ὦ γλύκων (‘sweet-one’). 8 Cf. (a) Ar. Lys. 254–256 Δράκης… ὦ Στρυμόδωρ’… ὦ Φιλοῦργε, 303 ὦ Λάχης, 356 ὦ Φαιδρία (semichorus of Old Men); 321 Νικοδίκη, 365 Στρατυλλίδος, 370 ὦ Ῥοδίππη (semichorus of Old Women), (b) Vesp. 230–234 ὦ Κωμία… Χαρινάδης… ὦ Στρυμόδωρε Κονθυλεῦ… Εὐεργίδης… Χάβης ὁ Φλυεύς, (c) Ach. 609–612 ὦ Μαριλάδη… Δράκυλλος… (vel Ἀνθράκυλλος; on this see Olson 2002, 230) Εὐφορίδης… Πρινίδης, (d) Eccl. 293–294 ὦ Χαριτιμίδη καὶ Σμίκυθε καὶ Δράκης, (e) Eq. 242–243 ὦ Σίμων, ὦ Παναίτι’; (f) Pax 1142 ὦ Κωμαρχίδη. Compare also the case of the Aves, where each of the twenty-four members of the Chorus is named with a different bird-species. 9 Similarly Sutton (1985) 109. 10 On this see Kossatz-Deissmann (1991) 132–134, pl. a-c. 11 The names of Satyrs and Maenads on vase-paintings have been collected by Fränkel (1912), her work being revised by Kossatz-Deissmann (1991). 12 For each of these names see Kossatz-Deissmann (1991) s.v. Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM Named Satyrs in Sophocles’ Ichneutai 57 four named Satyrs (Τέρπων, Βάβακχος, Ὕδρις, and Στύων) pestering Hera, with Herakles coming to her aid13. Although common in Comedy, and possibly also in Satyr Play, the practice of naming individual choreuts is not found in Tragedy. I suspect, this could be due to the fact that the tragic Chorus is usually a quite unified body in comparison to its satyric and comic counterparts, which much more often split up into different groups, and even into their single members14. With regard to the satyric Chorus in particular, one should also note, with Seidensticker15, that “like their kinsmen on vase-paintings, the Satyrs of Satyr Play are childish, naive and full of pranks, clumsy and good for nothing; thoughtless and unreliable, thievish, dipsomaniac and lewd, curious but jittery, impudent but submissive… etc. The Chorus of Satyr Play thus… has a more diversified persona [than the usual tragic Chorus], and it is this persona that is central for the meaning, comic effect and function of the genre”. Returning to the Ichn., calling the Satyrs by name in this passage was motivated by the imitation and parody of hunting. Silenos behaves here like a hunter, who calls his hounds by name so as to encourage and direct them in the tracking; cf. Xen. Cyn. 6. 20 (sc. δεῖ τὸν κυνηγέτην) προσστάντα ἐγκελεύειν, τοὔνομα μεταβάλλοντα ἑκάστης τῆς κυνός etc., ib. 6. 14 ὀνομαστί ἑκάστην προσαγορεύοντα, and Αrr. Cyn. 18. 1 ὀνομαστὶ ἐπιλέγειν «εὖ γε ὦ Κιρρά, εὖ γε ὦ Βόννα, καλῶς γε ὦ Ὁρμή» etc. So, while some have considered the names16 used here to be Satyric17, others have thought that they are names of hounds18. It actually seems that we have a combination and merging of the two. As it will be shown, some names are more likely to call to mind a Satyr (Οὐρίας, Μεθυ[, Στράτιο̣ς), ̣ while others a hound (Δρά̣ κ ις, Γράπις, Kρ[o]κία̣ [ ς), but most of them combine ̣ features of both the Satyric and the canine nomenclatures19. Note especially that 13 For a detailed presentation see Simon (1982) 125–129, with pl. 30. 14 The main example for complete dissolution of the Chorus in Tragedy is Aesch. Ag. 1346–1371. But what is also unique about this passage is the big gap between the need for action and the ineffectiveness of the Chorus; in other words, this non-customary dissolution of the tragic Chorus into individuals expresses its ineffectiveness. 15 Seidensticker (2003) 120. 16 The view that the terms in question do not constitute proper names (Terzaghi 1913, 100–103 et 138–139, and Ferrante 1958, 54–57) is completely groundless, and for long now superseded. 17 So Robert (1912) 547–549; Münscher (1914) 183; Vollgraff (1914) 165; Pearson (1917) vol. 1, 249; et. al. 18 So Masqueray (1924) 241 n. 2, and Perrotta (1935) 281 (the latter mistakenly ascribes this view to Robert). 19 For a list of Satyr names (on vase-paintings) see Kossatz-Deissmann (1991). For a list of ancient hound names see Baecker (1884) (a concise list, but easier to access, is provided by Orth, 1913, Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 58 Andreas P. Antonopoulos most names (and potentially all of them)20 are short, and thus meet the basic requirement for ancient names of hounds (see Xen. Cyn. 7. 5 τὰ δ’ ὀνόματα αὐταῖς τίθεσθαι βραχέα, ἵνα εὐανάκλητα ᾖ, ‘…so that they are easy to call out’21)22. Why such fusion in these names? The answer is simple. It humourously reflects the dual capacity of the Satyrs in this parodic scene: they are Satyrs, and at the same time they have assumed the role of tracking-hounds23. Remarkable as these names may be, so far most scholars have confined themselves to some general comments, or brief remarks on a name or two. The only person to have made a detailed – yet incomplete – discussion of all names in this passage is Maltese24. The present article, apart from including a thorough introduction and up-to-date bibliography, elucidates the etymology of problematic cases (Δρά̣ ̣ κις and Οὐρίας), offers new insight to the reference of some names (esp. Δρά̣ ̣ κις, Γράπις, and Κρ[ο]κία̣[ς), contributes important details on all of them, gives a rough translation of each name, and generally displays more clearly the links that these names have with both Satyric and hound names. At this point let us examine closely each of the names used (or probably used) in this scene: (a) Δρά̣ ̣ κις (183): this is a hapax legomenon. Note, nevertheless, that the ending –ις is common for Satyr names: cf. e.g. Γράπις in the same line (see below), and other names attested on vase-paintings, Δόρκις, Δρόμις, Λῆψις, Μύρις, Πόρις, Σῖμις, Ὕδρις, etc.25 Δρά̣ ̣ κις has been compared to various names, including Δράκης26 (name of a choreut at Ar. Lys. 254, and Eccl. 293), Δράκυλλος27 (name of a 2571–2572); note that our principal sources for these names are Xen. Cyn. 7. 5, Ov. Met. 3. 206–225, and Hyg. Fab. 181 (all names quoted by the last two are Greek). 20 Provided that the supplements proposed are sound. 21 Similarly Arr. Cyn. 31. 2 τὰ ὀνόματα… βραχέα καὶ εὐανάκλητα θετέον ταῖς κυσί, Opp. Cyn. 1. 444–5 ἐπ’ οὐνόματα σκυλάκεσι / βαιὰ τίθει, θοὰ πάντα, θοὴν ἵνα βάξιν ἀκούῃ (‘so that the hounds may hear a command swiftly’), and also Colum. Rust. 7. 12. 13 nominibus autem non longissimis appellandi sunt, quo celerius quisque vocatus exaudiat (‘so that the hounds may listen to you faster when you call them with these’), nec tamen brevioribus quam quae duabus syllabis enuntiantur. 22 Cf. Maltese (1982) 85, who suggests that the names are primarily Satyric, but at the same time present points of contact with the canine nomenclature. He too underlines the feature of shortness. 23 This is also reflected in their ambiguous collective name (Ἰχνευταί), which gave the title of the play. For the noun ἰχνευτής can denote both a ‘human tracker’ and a ‘tracking-hound’; see e.g. Poll. 5. 10 ἰχνευτὴς ἀνὴρ καὶ κύων. 24 Maltese (1982) 83–85. 25 On these see Kossatz-Deissmann (1991) s. vv. 26 First compared by Tudeer (1916) 26–27. Also by Wilamowitz (1927) 138, and Sommerstein (1990) 167. 27 Sommerstein (1990) 167. Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM Named Satyrs in Sophocles’ Ichneutai 59 choreut at Ar. Ach. 612), Δρακίος28 (name of a hero at Il. 13. 692), Δράκων29 (a common personal name30, also attested for a hound31), but the only case for which argumentation has been provided is Δόρκις32, name of a Satyr on some vasepaintings33. Maltese34 has maintained that Δρά̣ ̣ κις is from the same root with this name, i.e. the verb δέρκεσθαι, and that ‘through Δόρκις, Δρά̣ ̣ κις is undoubtedly reconnected with the notion of visual sharpness’. He adduces Fränkel’s35 observation (with reference to Δόρκις) that the type of the ἀποσκοπεύων Satyr, who holds his hand over his eyes so as to see better, is widespread in ancient art36. In turn he links this posture with the movements of the sikinnis, and more particularly with the Satyric dances of σκoπός37 and σκώπευμα38.39 However, it is not certain that Δόρκις as a Satyr name comes from δέρκεσθαι. A derivation from δόρξ (-κός) or δορκάς (‘deer’) is also possible40, and in fact more likely, especially as in one of the vases on which Δόρκις occurs (Brussels, Mus. Roy. A135) it is found together with other Satyr names referring to animals, Ἵππος (‘horse’), and Πόρις (‘heifer’); cf. also the fem. personal name Δορκίς41. It is much likelier, I think, that Δρ̣ά̣κις comes from δράξ, -κός (‘grasp’) or δράττεσθαι (‘to grasp, to seize’, aorist stem δρακ-), and calls to mind a hound grasping the prey with its paws. Cf. the information given by Colum. Rust. 7. 12. 4 that among other things a good watch-dog should have vestigiorum articulis et unguibus amplissimis (‘very ample toes and claws’), qui Graece δράκες appellantur, and also Claud. Ptol. Alm. 1,2. 100–101 who similarly uses the word δράκες for a lion’s paws, ἐπὶ τῶν ὀπισθίων δρακῶν (sc. τοῦ Λέοντος). In this case Δρά̣ ̣ κις would mean ‘the one with good grasp’, or ‘the one who seizes’, or similar. Such a name would be quite appropriate for a Satyr of the Chorus seeking to catch the 28 Tudeer (1916) 26–27. 29 Tudeer (1916) 26–27. 30 Only for Attica the LGPN (vol. 2) lists fourteen occurrences. 31 At Hyg. Fab. 181 (transliterated as Draco). 32 First compared by Wilamowitz in Hunt (1912) 75. 33 On Leiden, Rijksmus. 1626, Brussels, Mus. Roy. A135, and probably also on ARV 2 65. 108 ([ΔOΡ]ΚΙΣ, as restored by Heydemann, 1880, 26). Note that Δόρκις occurs also as a personal name: Thuc. 1. 95. 6, IG vol. i3. 178, and IG vol. iv2. 1. 185. 34 Maltese (1982) 83. 35 Fränkel (1912) 11–12. 36 Cf. e. g. a Satyr with such posture on ARV 2 1186. 30, who bears the characteristic name Σκόπας. 37 See Phot. σ 524. 11 (= Eup. fr. 482), and Hsch. υ 739. 38 See Ath. 14. 629 f (= Aesch. Isthm. fr. 79); Hsch. σ 1218, and Phot. σ 527. 7. 39 Note that there is also a hound name referring to visual sharpness, Δορκεύς (Ov. Met. 3. 210, and Hyg. Fab. 181). 40 See Kossatz-Deissmann (1991) 152 s. v. 41 This name is also attested as a title of play by Alexis (Δορκίς ἡ Ποππύζουσα, frr. 57–59). Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 60 Andreas P. Antonopoulos cows and their thief, and perhaps could be compared to the names Ἔχων and Λῆψις, found on the above mentioned cup from Capua (ARV 2 370. 13) for two Satyrs who have seized Iris42. For a name from the same root cf. perhaps Δράκας43. (b) Γράπις (183): this is not found elsewhere as a proper name44; cf. Etym. Magn. 239. 31 γράπις˙ ὁ ἐρρυτιδωμένος˙ ἀπὸ τοῦ καταγεγράφθαι ταῖς ῥυτίσι, and Hsch. γ 901 γράπιν˙ γῆρας τέττιγος, ἢ ὄφεως, καὶ τῶν ἐκδυομένων. καὶ εἶδος ὀρνέου. καὶ ῥυσσὸν, ἀπὸ τοῦ γραμμὰς ἔχειν τὰς ῥυτίδας45. The meaning used here is apparently ‘the wrinkled’46, or ‘the striped’. I suggest that the name probably recalls the wrinkled skin (esp. on the face), or striped hair of a hound. For a similar hound name cf. perhaps Στικτή (Ov. Met. 3. 217), denoting a hound with spotted hair. Less likely, the name could indicate a Satyr with a wrinkled mask, as proposed by Maltese47. For this type of mask Maltese compares e.g. the masks on the Pronomos Vase (ARV 2 1336. 1), which all have wrinkled foreheads48. (c) Ο]ὐρίας, Οὐρίας (184): this should mean ‘the one of/ from the mountains’. There have been attempts to link this name with the Homeric οὖρος (‘guardian, watcher’, e.g. Od. 15. 89)49, with οὐρά (‘tail’)50, with oὖρον (‘urine’)51, et al. But in all likelihood it comes from ὄρος (‘mountain’)52, and is comparable to the Satyric names Ὀρείμαχος and Ὀροχάρης (both on ARV 2 196. 1)53. Note that mountains are a natural habitat for the Satyrs54, and the action of this play is set on a mountain (Mt Kyllene), which makes this a very suitable name for a Satyr of the Chorus. There are also similar names attested for hounds: cf. the fem. Ὀρειάς (Hyg. Fab. 42 Note that these names are similarly suspected as designed to evoke a hound; see Simon (1982) 127, n. 24. 43 For examples of this see LGPN vols 3a and 4, s. v. 44 Nevertheless, the ending –ις is common for Satyr names (see above on Δρ̣ά̣κις). 45 Α similar definition is given by Eust. Il. 6. 169 for γράπτης (ὁ ῥυσσὸς καὶ ὡσανεὶ καταγεγραμμένος, ἤγουν γραμμάς τινας ἔχων ἐκ τῶν ρυτίδων), which may be another variant. Chantraine (1980–3) vol. 1, 235 (s. v. γράπις) has actually argued that γράπις could be a diminutive of this word. 46 So Pearson (1917) vol. 1, 250. 47 Maltese (1982) 83. 48 See Webster (1967) 11. 49 So Münscher (1914) 183. 50 So Tudeer (1916) 54–55, and Maltese (1982) 84. 51 Also Tudeer (1916) 54–55. 52 So Maltese (1982) 83–84, who nevertheless thought that a derivation from the Homeric οὖρος or from οὐρά is equally possible, and maintained that the interpretation of this name is problematic. 53 Cf. also Ὀρειάς (ARV 2 1184. 1) and Ὠρείθυια (ARV 2 54. 5), names of Maenads depicted together with Satyrs. 54 On this see Antonopoulos (2010) 94, n. 184. Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM Named Satyrs in Sophocles’ Ichneutai 61 181), and also Ὀρείβασος (Ov. Met. 3. 210). There is no need to assume with Maltese55 that Οὐρίας is crasis for ὁ Ὀρίας, in an analogy with the preceding ὁ Δρ̣ά̣κις, ὁ Γράπις. Since Οὐρίας here occurs in a lyric passage, it could well be Epic for Ὀρίας. Cf. in the lyrics of tragedy the forms οὔρειος, –α (e.g. Soph. Ant. 352, Eur. Phoen. 232, 806, IT. 127, 162, 1126, et al.), and also compounds of ὄρος spelled with οὐ- (Soph. Phil. 1148, Εur. El. 170, Hec. 205, and Phaeth. fr. 773. 27). Moreover, a name Οὐρίας is attested for an eponymous archon on an Attic inscription56, and this may come from the same root. As for the repetition, cf. Ichn. 189 Στράτιο̣ς,̣ Στράτ̣[ιος, 190 ἐφέπου, ἐφέπου, and 201 ἔπ[ι]θ’ [ἔ]πεχ’ εἴσιθ’ ἴθι ̣. I think that Silenos here is using repetive expressions, as a hunter would do with his hounds in order to attract their attention and to make them focus on their task. Cf. the hunter’s cries recommended by Xenophon: Cyn. 6. 17 ἰὼ κύνες, ἰώ, ib. παισάτω παῖς˙ παῖ δή, παῖ δή, 6. 19 εὖ γε, εὖ γε ὦ κύνες, and 6. 20 οὐ πάλιν, οὐ πάλιν ὦ κύνες. (d) Μεθυ[ (185): Rossbach57 has proposed to read μεθύ[εις, but more likely one should read with Robert58 another Satyr’s name related to drinking wine, like Μεθύ[ων or Μέθυ[σος (‘the drunken’); cf. Ἡδύοινος, Οἰναρεύς, Οἰνόβιος, Οἰνοπίων, Οἶνος, and the name of a Maenad Μεθύση (three occurrences)59. Note that a similar name Οἰνάς is included in Xenophon’s list of suggested hound names (Cyn. 7. 5). (e) Στράτιο̣ς,̣ Στράτ̣[ιος60 (189): ‘the one of the army/the soldierly’. This is a common personal name61, and also occurs as an epithet of several gods, Ares (e.g. Plut. Amat. 757d), Zeus (Hdt. 5. 119), Athena (Στρατία, Lucian. Dial. meret. 9. 1), and Isis (P. Oxy. 1380. 102). For its use here for a Satyr, cf. the Satyric names Ἐλασίστρατος (on a black-figure amphora, Cerveteri Mus. Naz. Cer. 79–68)62, and Ὀρείμαχος (ARV 2 196. 1). Note that the Satyrs are often depicted as warriors on vase-paintings, some of which may have been inspired from a Satyr Play(s) on the Γιγαντομαχία63, while Silenos boasts of martial exploits at Eur. Cycl. 5–9 (his 55 Maltese (1982) 84. 56 IG vol. ii2. 660 B (281–280 BC). 57 Rossbach (1912) 1460. 58 Robert (1912) 548. 59 Other relevant Maenad names are Boτρυοχάρις, Κραιπάλη, Oἴνα, Οἰνάνθη, Οἰνοτρόφος, Φιλοποσ[. On the above names see Kossatz-Deissmann (1991) s. vv. 60 Perhaps one should accentuate on the penult (Στρατίος) with Lloyd-Jones (1981) 177; cf. also Fraenkel (1950) vol. 2, 396 on Aesch. Ag. 881, and Chandler (1881) 68–70. 61 E. g. for Attica the LGPN (vol. 2) lists twenty-three certain examples. 62 See Kossatz-Deissmann (1991) 152 s. v. Ἐλασίστρατος, with pl.1b. 63 Cf. esp. ARV 2 121. 23, and Malibu Getty Mus. 86. AE. 1190. 6 + 575, in which Theatre-Satyrs are depicted as warriors, equipped, among other things, with panther-skin. Ιn the first case this is Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 62 Andreas P. Antonopoulos words may likewise allude to a play on the Γιγαντομαχία)64, and possibly at Ιchn. 154–15965. There are also similar names attested for hounds: cf. Μάχιμος and Δεινομάχη (Hyg. Fab. 181). For the repetition, cf. above on Ο]ὐρίας, Οὐρίας. (f) Κρ[ο]κία̣[ς (192): ‘the saffron-coloured/the yellow-one’. The supplement, proposed by Robert66, is almost certain. As I can see in the papyrus, the trace after the I is compatible with the bottom left tip of a letter like A, Λ, or Δ. κροκίας is the only word which could fit here and make sense, and that only as a name for a Satyr. The word, which derives from κρόκος (‘saffron’) is also found at Plut. De Is. et Os. 375e as an epithet for a cock (ἀλετρύονα … κροκίαν). As a name, Κρ[ο]κία̣[ς probably alludes to the colour of a hound’s coat. Cf.: (a) with Robert, κνηκίας67, used as a name for the wolf at Babr. 2. 122 (τὸν κνηκίην … φεῦγει)68, and also found as a horse’s proper name at Paus. 6. 10 (Κνακίας), (b) with Maltese69, the description at Xen. Cyn. 4. 7, where πυρρόν, ‘yellowish-red’, combined with white on the forehead, is listed among the ideal colours for a hound’s coat, and (c) other hound names related to colours, such as Λεύκων (Ov. Met. 3. 218, Hyg. Fab. 181), Μελάμπους (Οv. ib. 206, Hyg. ib.), and Μελανεύς (Οv. ib. 222, Hyg. ib.). (g) Τρε[ (194): a name like Τρέ[χις70 (‘the runner’) proposed by Robert71, would be quite conceivable in this context (ὅδε γ’ ἀγαθὸς ὁ Τρε[ / κατὰ νόμον ἕπετα[ι72). Speed is an essential quality of a good hound, and it is quite common for hound names to refer to it: cf. Δρομάς (Οv. Met. 3. 27, Hyg. Fab. 181), Δρόμιος (Hyg. ib.), Εὔδρομος (Hyg. ib.), Θέων (Ael. NA. 11. 13), Θoός (Ov. ib. 220, Hyg. ib.), Ὁρμή (Xen. Cyn. 7. 5), Σπουδή (Xen. ib., Colum. Rust. 7. 12. 13), Ὠκύδρoμος (Hyg. ib.), used as a shield, and in the latter as a shield apron. For more details see Krumeich (1999) 58 (with figs. 3a/3b), and Simon (1997) 1122–1123. 64 See Seaford (1984) 94–95 ad loc. 65 See Antonopoulos (2010) 257–259 ad loc. Alternatively in this passage Silenos could refer to hunting exploits. 66 Robert (1912) 548. 67 From κνῆκος/κνήκη, likewise used for various yellowish flowers (see LSJ s. v.) 68 Also recorded by Suda κ 1863, κνηκίας: ὁ λύκος. Βάβριος ἐν τοῖς μυθικοῖς… (he goes on quoting the passage). 69 Maltese (1982) 84. 70 Is not attested itself, but cf. from the same root τρόχις, used twice as an epithet for Hermes ([Aesch]. PV. 941, and Soph. Inach. fr. 269c. 21), and also the names Τροχίς (see LGPN vol. 3b s. v.), Τρoχᾶς (op. cit. vol. 4), Τροχίλος (op. cit. vols 2 and 3b), et al. For Satyric names ending in –ις see above on Δρ̣ά̣κις. 71 Robert (1912) 548. 72 Apparently Silenos here praises the Satyr named Τρε[ for conducting the pursuit properly. To praise one’s hounds while they are running after prey, is part of the strategy for a successful hunting: cf. Xen. Cyn. 6. 19 ἐὰν πάλιν ἀπαντῶσι διώκουσαι αὐτόν (sc. τὸν λαγῶ), ἀναβοᾶν (δεῖ τὸν κυνηγέτην) «εὖ γε, εὖ γε ὦ κύνες, ἕπεσθε ὦ κύνες». Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM Named Satyrs in Sophocles’ Ichneutai 63 Ὠκυδρόμη (Hyg. ib.), Ὠκύθοος (Hyg. ib.), Ὠκυπέτη (Hyg. ib.), and the Latin Celer (Colum. ib.). Note that a name Δρόμις is also found for a Satyr on a vase-painting (ARV 2 370. 13)73. To sum up, in this scene Silenos is apparently calling by name the following Satyrs-hounds of the Chorus: (a) ‘the one with good grasp/the one who seizes’, (b) ‘the wrinkled/the striped’, (c) ‘the one of/from the mountains’, (d) ‘the drunken’, (e) ‘the one of the army/the soldierly’, (f) ‘the saffron-coloured/the yellow-one’, (g) ‘the runner’, and possibly others, whose names have not survived in the text. Acknowledgement: The present article is based on my Doctoral Thesis (Antonopoulos, 2010), from which I have used the Ichn. text cited (cf. Radt, 1999, fr. 314). Its preparation has been made possible with funding from a fellowship awarded to me by the University of Patras, Greece (C. Carathéodory Programme for Postdoctoral Research), in order to complete my edition and full-scale commentary of Sophocles’ Ichneutai. I would like to thank the University of Patras for their kind support. Bibliography A. P. Antonopoulos, Sophocles’ Ichneutai 1–220, Edited with Introduction & Commentary (diss.), Exeter 2010. –, Sophocles’ Ichneutai 176–202: A Lyric Dialogue (?) Featuring an Impressive Mimetic Scene, Hermes 142, 2014, 246–254. E. Baecker, De canum nominibus Graecis (diss.), Königsberg 1884. H. W. Chandler, A Practical Introduction to Greek Accentuation, Oxford 21881. P. Chantraine, Dictionnaire étymologique de la langue grecque: histoire des mots, 2 vols., Paris 1980–1983. N. Ch. Chourmouziadis, Σατυρικά, Aϑήνα 21984. J. Diggle, Tragicorum Graecorum Fragmenta Selecta, Oxford 1998. D. Ferrante, Sophocle: I braccatori, Napoli 1958. Ch. Fränkel, Satyr- und Bakchennamen auf Vasenbildern, Halle 1912. E. Fraenkel, Aeschylus, Agamemnon, 3 vols., Oxford 1950. H. Heydemann, Satyr- und Bakchennamen, Halle 1880. A. S. Hunt, The Oxyrhynchus Papyri 9, n. 1174, London 1912, 30–87. A. Kossatz-Deissmann, Satyr- und Mänadennamen auf Vasenbildern des Getty-Museums und der Sammlung Cahn (Basel), mit Addenda zu Ch. Fränkel, Satyr- und Bakchennamen auf Vasenbildern (Halle, 1912), Getty Vases 5, 1991, 131–199. 73 Comparing the above hound names, it is possible that (potentially like Τρέ[χις here) the name Δρόμις was intended so as to evoke a hound. Similarly Simon (1982) 127, n. 24. Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM 64 Andreas P. Antonopoulos R. Krumeich, Archäologische Einleitung, in: ders./N. Pechstein/B. Seidensticker (Hgg.), Das Griechische Satyrspiel, Darmstadt 1999, 41–73. W. Lange, Zu den Ichneutai des Sophokles, RhM 108, 1965, 341–345. H. Lloyd-Jones, Fragmenta Sophoclea, CR 31, 1981, 175–178. E. Lobel, The Oxyrhynchus Papyri 18, n. 2161, London 1941, 9–13. E. V. Maltese, Sofocle: Ichneutai (= Papyrologica Florentina 10), Firenze 1982. P. Masqueray, Sophocles, vol. 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Sutton, Named Choreuts in Satyr Plays, AJPh 106, 1985, 107–110. N. Terzaghi, Sofocle: I cercatori di traccie, Firenze 1913. L. O. Th. Tudeer, De vocabulis quibus Sophocles in Ichneutis fabula satyrica usus est (= Annales Academiae Scientiarum Fennicae B. 14. 4), Helsinki 1916. P. Voelke, Un Théâtre de la Marge, Bari 2001. W. Vollgraff, Ad Sophoclis Indagatores, Mnemosyne 42, 1914, 81–90 et 165–177. T. B. L. Webster, Monuments Illustrating Tragedy & Satyr Play (= BICS Suppl. 20), London 21967. M. Werre-De Haas, Aeschylus’ Dictyoulcoi (= Papyrologica Lugduno-Batava 10), Leiden 1961. A. Wessels/R. Krumeich, Aischylos: Diktyulkoi, in: R. Krumeich/N. Pechstein/B. Seidensticker (Hgg.), Das Griechische Satyrspiel, Darmstadt 1999, 41–73. U. von Wilamowitz-Moellendorff, Aristophanes: Lysistrate, Berlin 1927. Authenticated | [email protected] author's copy Download Date | 8/21/14 4:58 AM