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Slave Costume in New Comedy

Published online by Cambridge University Press:  11 February 2009

W. Beare
W. Beare
Affiliation:
Bristol University
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Extract

The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q. xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says (p. 20) that ‘the Greek original of Sceparnio in the Rudens (429) certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx (Rudens, ad loc.) thought sehr k's argument that ancient works of art, in particular Italian vases and terra-cottas, afford faithful representations of the costumes worn on the Attic stage. ‘It is certain’ (p. 26) ‘that the actors in Eubulus’ Auge looked like the figures on the vase' (in Leontini).

Information

Type
Research Article
Information
The Classical Quarterly , Volume 43 , Issue 1-2 , January 1949, pp. 30 - 31
Copyright
Copyright © The Classical Association 1949

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References

1 If, as all would agree in view of Cic. De Off. 1.129, the Roman Sceparnio must somehow have made the line intelligible without the help of a phallus, may not the same be true of his Greek prototype?

2 For example, when a character disguises himself to deceive someone who knows him already, he has to wear something over his face— e.g. patches over one or both eyes (Cure. 392 400, M.G. 1178). But Sagaristio is unknown to Dordalus (Pers. 22); it is enough for him to wear a turban, chlamys, and girdled tunic (155, 463). Later on Dordalus comes upon him in his ordinary dress (789 ff.) and half-suspects who he is (829).