Courtesans and Fishcakes: The Consuming Passions of Classical Athens
400
Courtesans and Fishcakes: The Consuming Passions of Classical Athens
400eBook
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Overview
The lifestyle of the classical Greeks often seems disappointingly modest when compared to those of other legendary civilizations. Where are the marble floors, the pillared halls, the gilden rooms? Even the Athenians, the richest and most poweful of the Greeks, were said by one contemporary to dress no better than slaves.
Athenians, however, were as skilled at spending as their playwrights were at devising tragedies. Vast estates vanished overnight, squandered not on material luxury but on eating, drinking, and sex--ephemeral pleasures that left no monuments but are recounted in numerous ancient texts.
Much of what they describe seems familiar--the pleasures of wine, the dangers of seduction, a mouthwatering plate of squid--but some stories are more puzzling: savages on the shores of the Persian Gulf who live off bread made of fish-flour; Alexander the Great drinks a toast that kills him; Socrates interrogates a beautiful woman who lives in luxury with no obvious means of support.
James Davidson masterfully unravels these strange anecdotes, casting new light not only on ancient pleasures but on the Ancient World as a whole. Full of intriguing detail and perspicacious insight, Courtesans and Fishcakes takes swipe at the old scholarship (Freud, Nietzsche, Foucault) and lays the groundwork for the new, delivering a fascinating and engagingly written study of the hedonism that ruled Athens.
Product Details
| ISBN-13: | 9781466891593 |
|---|---|
| Publisher: | St. Martin's Publishing Group |
| Publication date: | 03/26/2024 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 400 |
| File size: | 1 MB |
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Read an Excerpt
Courtesans & Fishcakes
The Consuming Passions of Classical Athens
By James N. Davidson
St. Martin's Press
Copyright © 1997 James N. DavidsonAll rights reserved.
ISBN: 978-1-4668-9159-3
CHAPTER 1
EATING
THERE WAS A BANQUET and people were talking and, as so often in accounts of banquets at this period, Socrates was there. The topic was language: the origin of words and their true meanings, their relationships with other words. In particular, according to Xenophon, who describes the scene in his Memoirs of Socrates, they were talking about the labels applied to people according to their behaviour. This was not in itself an uninteresting subject, but failed nevertheless to absorb Socrates' complete attention. What distracted him was the table-manners of another guest, a young man who was taking no part in the discussion, too much engrossed in the food in front of him. Something about the way the boy was eating fascinated Socrates. He decided to shift the debate in a new direction: 'And can we say, my friends,' he began, 'for what kind of behaviour a man is called an opsophagos?'
FISH
If Plutarch had been present (and Plutarch would have given anything to be present had five centuries not intervened) the question might have been a non-starter. For Plutarch is quite categorical: 'and in fact, we don't say that those, like Hercules, who love beef are opsophagoi ... nor those who, like Plato, love figs, or, like Arcesilaus, grapes, but those who peel back their ears for the market-bell and spring up on each occasion around the fish-mongers.' An opsophagos, according to this ancient authority at any rate, was someone with a distinct predilection for fish.
'But if you go to the prosperous land of Ambracia and happen to see the boar-fish, buy it! Even if it costs its weight in gold, don't leave without it, lest the dread vengeance of the deathless ones breathe down on you; for this fish is the flower of nectar.' The Greeks were fond of fish. Fondness, on second thoughts, is rather too moderate a word for such a passion. What the literature of pleasure manifests, time and time again, is something rather more intense, a craving, a maddening addiction, an indecent obsession. The flavour of this yearning is easily sampled in the work of Archestratus of Gela in Sicily, from whom the eulogy of the boar-fish is taken. Another passage from the same work advises readers on what to do if they come across a Rhodian dog-fish (émissole?): 'It could mean your death, but if they won't sell it to you, take it by force ... afterwards you can submit patiently to your fate.' Archestratus acquired a certain amount of notoriety for his mock-heroic hexameters rhapsodizing food, but his work, variously known as Gastronomy, Dinnerology or The Life of Luxury, was by no means untypical of the discourse of gourmandise. What should be noted is not so much the extravagance of the language used to describe the fish, as the fact that in a work about the pleasures of eating in general, reference is made to almost nothing else. The Greeks, to be sure, recognized as delicacies some foods which had nothing to do with the sea: some birds and other game (especially thrushes and hares), various sausages and offal (sow's womb was particularly revered), some Lydian meat stews and various kinds of cake, but these were exceptions. The edible creatures of the sea seem to have established a dominance over the realm of fine food in classical Greece that scarcely fell short of a monopoly.
It is hard to say who it was who first put the marine into cuisine. The invention of the sumptuous 'modern' style of cookery was usually traced back to the Sicilians or their neighbours across the straits, the people of Sybaris on the instep of Southern Italy. The latter were defeated by their neighbours in 510 and their city was razed to the ground, but stories of their fabulous riches were still being told at Athenian dinner-parties one hundred years later. One historian recorded a Sybaritic law that gave inventors of new dishes a year's copyright (perhaps, says one modern commentator, the earliest patent known). Moreover, he claimed there was a special dispensation that eel-sellers and eel-fishers should pay no tax. In about 572, Smindyrides, distinguished even among the Sybarites for his decadence, had made a great impression when he came over to mainland Greece to seek the hand of the daughter of Cleisthenes the ruler of Sicyon near Corinth. Fearing that the motherland might not be up to his standards, he brought with him one thousand attendants, consisting of fishermen, cooks and fowlers.
Fish also seems to have been very prominent in the culinary culture of Sicily. According to one source they called the sea itself 'sweet' because they so enjoyed the food that came out of it. Athenaeus tells us of a fish-loving painter from Cyzicus, Androcydes, who painted the sweet fare of these sweet waters in enthusiastic and luxurious detail when depicting a scene of the multiheaded monster Scylla in the early fourth century; we should, perhaps, view the numerous ancient mosaics of marine life with the same perspective we now bring to Dutch flower-paintings, not as cerebral studies in realism, but as loving reproductions of desirable and expensive commodities. The comic poet Epicharmus, who worked in Syracuse, the island's greatest and richest city, at the beginning of the fifth century, seems to have been preoccupied with sea-food, judging from the surviving fragments, although later writers were not always sure what he was referring to: 'According to Nicander another kind of crab, the colybdaena, is mentioned by Epicharmus ... under the name "sea-phallus". Heracleides of Syracuse, however, in his Art of Cookery claims that what Epicharmus is referring to is, in fact, a shrimp.' In one play, Earth and Sea, Epicharmus seems to have included a debate between farmers and fishermen, arguing over which element produced the best fare.
Sicily also produced the first cookbooks. Among the earliest of these treatises was one by Mithaecus of Sicily, a famous chef mentioned by Plato and described by one writer as the Pheidias of the kitchen. His fragments are very few, but do nothing to contradict the impression that fish already predominated by this time: 'Mithaecus mentions wrasse'; Mithaecus advises, 'Cut off the head of the ribbon fish. Wash it and cut into slices. Pour cheese and oil over it' – one of the earliest surviving published recipes.
No cookery books or treatises on gastronomy survive from Athens, and the Athenians' own contribution to the history of gourmandize was confined to their cakes, but Attic comedy, especially the so-called Middle and New Comedy of the fourth and early third centuries, provides plenty of evidence that the preoccupations of the gourmands of Sicily and Southern Italy were fully shared by the citizens of this, the largest and richest classical city. Anyone who picks up a collection of fragments of fourth-century comedy is likely to be struck immediately by the large number of references to the consumption of fish. Characters regularly turn aside to enunciate long and metrically elaborate shopping-lists for fish, menus of fish and recipes for fish-dishes, with the ingredients and method of preparation graphically described. One comic chef, for example, in Philemon's Soldier, describes a simple recipe in the following rodomontade:
For a yearning stole up on me to go forth and tell the world, and not only the world but the heavens too, how I prepared the dish – By Athena, how sweet it is to get it right every time – What a fish it was I had tender before me! What a dish I made of it! Not drugged senseless with cheeses, nor window-boxed with dandifying herbs, it emerged from the oven as naked as the day it was born. So tender, so soft was the fire I invested in the cooking of it. You wouldn't believe the result. It was just like when a chicken gets hold of something bigger than she can swallow and runs around in a circle, unable to let it out of her sight, determined to get it down, while the other chickens chase after her. It was just the same: the first man among them to discover the delights of the dish leapt up and fled taking the platter with him for a lap of the circuit, the others hot on his heels. I allowed myself a shriek of joy, as some snatched at something, some snatched at everything and others snatched at nothing at all. And yet I had merely taken into my care some mud-eating river-fish. If I had got hold of something more exceptional, a 'little grey' from Attica, say, or a boar-fish from [Amphilochian] Argos, or from dear old Sicyon the fish that Poseidon carries to the gods in heaven, a conger-eel, then everyone would have attained to a state of divinity. I have discovered the secret of eternal life; men already dead I make to walk again, once they but smell it in their nostrils.
Outside comedy, references to fish-consumption are somewhat fewer in number, but often present even more direct and striking testimony to the citizens' obsessions. Demosthenes notes in disgust that when Philocrates betrayed his city to the Macedonians for the price of a bribe he spent his illgotten gains on whores and fish. Aeschines attacking his opponent Timarchus with the aim of depriving him of his rights as a citizen recalls the many occasions he was seen hanging around the fish-stall with his 'friend' Hegesander.
The Greeks were not so blinded by love as to ignore the responsibilities of connoisseurship. Within the exalted ranks of the piscifauna, distinct hierarchies were recognized, if not always with universal agreement. The preserved fish or tarichos, for instance, was generally looked down on and the phrase 'cheaper than salt-fish' is used by Aristophanes to mean 'ten a penny'. Certain varieties did have their supporters; tuna bottled at the right season in steaks or chunks received much praise, and Archestratus had some nice things to say about salted mackerel. Euthydemus, a writer on diet of the Hellenistic period, even wrote a treatise on the subject although the encomium of salt-fish, which he ascribed to Hesiod and quoted in support of his cause, was strongly suspected of being a forgery.
Among the fresh fish, the bottom rung was occupied by various small species and immature specimens, not always easily translatable into the taxonomies of modern biology. A fragment of Timocles' comedy, Epichairekakos (He Who Enjoys Other Men's Difficulties), follows the gate-crasher known as Lark in the, for him, rather novel exercise of shopping. He comes to the eels, the tuna, the electric rays, the crayfish, and asks the price of each in turn. They are all far beyond the range of the four bronze coins he is carrying. Finally realizing he is outclassed he scuttles off in the direction of the membradas, the anchovies or sprats. Another parasite in Alexis' Principal Dancer complains of the hard work involved in cadging an invitation to a fancy dinner; he would prefer to share a plate of sprats with someone who can talk in plain Attic. Other passages confirm that in Athens, at least, these little fish were considered food fit only for beggars, freedmen, and peasants who didn't know any better, attitudes that the sprats-seller in Aristophanes' Wasps attacks vigorously, accusing those who disdain her wares of elitism.
At the other end of the scale we find the great delicacies, among them the tuna, the sea-perch or grouper, the conger-eel, grey mullet, red mullet, gilt-head, sea-bass, an unidentified creature known as the 'grey-fish', or glaukos, and the crustacean known as the karabos, a heavy-handed crayfish lying somewhere along the line between langouste and langoustine. Certain parts were especially prized: of the tuna, the belly and the 'keys' taken from the shoulder or neck area, and of sea bass, grey-fish and conger-eels, the head. Towering effortlessly above all challengers, however, the undisputed master of the fishmonger's stall was the eel. Archestratus thought the best were those caught opposite the straits of Messina:
There you have the advantage over all the rest of us mortals, citizen of Messina, as you put such fare to your lips. The eels of the Strymon river, on the other hand, and those of lake Copais have a formidable reputation for excellence thanks to their large size and wondrous girth. All in all I think the eel rules over everything else at the feast and commands the field of pleasure, despite being the only fish with no backbone.
It was widely believed that the Egyptians offered the eel worship, handing more than one comic author the opportunity for resonant cultural comparisons: 'I would never be able to make an alliance with you; there is no common ground for our manners and customs to share, and great differences to separate them. You bow down before the cow, I sacrifice her to the gods. The eel you consider the greatest divinity, and we the very greatest dish.' Another thought the Egyptians had got it just about right: 'They say the Egyptians are clever, not least because they recognize that the eel is equal to the gods; in fact she has a much higher value than gods, since to gain access to them we just have to pray, whereas to get within sniffing distance of eels we have to pay at least a dozen drachmas, maybe more, so absolutely sacred a creature is she.'
Reading these fragments we can get some idea of the extraordinary power their passion for fish exercised over the Athenians. Fish are treated as quite irresistible, lusted after with a desire that comes close to a sexual one. The strength of this Athenian appetite is demonstrated most graphically by passages in which fish are involved in a literal or metaphorical seduction. Anaxandrides' play Odysseus, for instance, contains the following eulogy of the fisherman's art:
What other craft gets youthful lips burning, gets their fingers fumbling, has their lungs gasping for air, in their haste to swallow? And isn't it only when it's well-supplied with fish that the agora brings about liaisons? For what mortal gets a dinner-date if all he finds for sale when he gets to the counter are fish-fingers, crow-fish, or a picarel? And when it comes to seducing a real beauty, with what magic words, with what chat-up lines would you overcome his defences if you take away the fisherman's art? For his is the craft that conquers with stargazy pie's overwhelming eyes, that draws up lunch's (arsenal?) to undermine the defences corporal(?), his, the expertise that gets the freeloader to recline, unable to decline to pay his way.
The anecdotalist Lynceus of Samos even suggested, a little mischievously, that it was for the sake of a fish from Rhodes (the famous dogfish, of course) that the Athenian hero Theseus yielded his favours to Tlepolemus, the island's mythical founding father. In a later period there is evidence that the influence exercised by fish in the processes of seduction was thought to reveal some occult power. Apuleius, author of the Golden Ass, had to defend himself from a charge of casting a love-spell over his rich and aged wife with the magical assistance of fish purchased in the market. There is little evidence for this supernatural connection in the classical period, although because of her triple-sounding name, the red-mullet, or trigle, was associated with the triple-faced patron of witches and guardian of road junctions, Hecate. On the other hand, fish are sometimes found used as love-gifts in Attic vase-painting. One depicts a young man and his attendant approaching a hetaera spinning wool, with gifts of an octopus and two birds. Another vase, once in Leningrad, now lost, had a boy seated and wrapped in a cloak being offered a hoop and a large fish by a winged Cupid.
It is not just their tastiness that connects fish to seduction, but also the way they look. The two sisters popularly known as the 'anchovies' mentioned in a speech of Hyperides were apparently so named because of their 'pale complexions, slender figures and large eyes'. And so, by way of a startling metaphorical transition from appetizement to seduction, fish come to be represented themselves as coquettish flirts and paramours. The conflation of images is found fully developed in a fragment of Diphilus' comedy The Merchant. The speaker complains about the high price asked for the fish: 'nevertheless, if one of them ever smiled at me, I would pay, albeit with a groan, all that the fishmonger asked of me.' This representation, which sounds so extraordinary to our ears, of fish as seductive bodies comparable in some way to the beautiful boys and hetaeras they helped to seduce, is what lies behind the common trope in which the eel, typically 'appareled' in beet (perhaps, most feasibly, beet-leaves), is compared to a nubile woman or a gorgeous goddess. When Dicaeopolis, the hero of Aristophanes' Acharnians, learns that the Boeotian smuggler has fifty 'Copaic maidens' in his sack, he goes into raptures: 'O my sweetest, my long-awaited desire.' In the Peace, someone imagines the reaction of Melanthius, a certain fish-loving tragedian, arriving at the fish- stalls too late for the eels: 'Woe is me, woe is me,' he cries, launching into a spoof soliloquy excerpted from a climactic scene of his own Medea, 'bereaved of my darling in beet-bed confined.' It could be suggested that such extraordinary metaphors are only to be expected in comic discourse, with its fondness for startling and jarring images, but the practice of comparing women to mouth-watering fish and fish to women seems to have been rather more general in Athenian society. Apart from the anchovy sisters mentioned above, we find flute-girls and hetaeras given nicknames like 'Sand-smelt', 'Red Mullet' and 'Cuttlefish', a practice exploited to full comic effect by the poet Antiphanes in his play She Goes Fishing, where he plays on this double-meaning of the names of fish, so that it is hard to know at any one time whether he is satirizing his victims for their love of fish or for their excessive devotion to hetaeras and boys.
(Continues...)
Excerpted from Courtesans & Fishcakes by James N. Davidson. Copyright © 1997 James N. Davidson. Excerpted by permission of St. Martin's Press.
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Table of Contents
Contents
TITLE PAGE,COPYRIGHT NOTICE,
DEDICATION,
ACKNOWLEDGEMENTS,
MAP,
INTRODUCTION,
PART I · FEASTS,
I. Eating,
II. Drinking,
PART II · DESIRE,
III. Women and Boys,
IV. A Purchase on the Hetaera,
PART III · THE CITIZEN,
V. Bodies,
VI. Economies,
PART IV · THE CITY,
VII. Politics and Society,
VIII. Politics and Politicians,
IX. Tyranny and Revolution,
Conclusion,
NOTES,
SELECT BIBLIOGRAPHY,
INDEX,
COPYRIGHT,