The Judgment of Animals in Classical Greece: Animal Sculpture and ...

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domestic cases. While Bdelycleon and some slaves set up a courtroom, another slave, Xanthias, complains about the behavior of the dog living in the house: XANTHIAS To hell with you! To think that we keep a dog like that! BDELYCLEON Tell me, what’s the matter? XANTHIAS If it isn’t that dog Labes! He just dashed through (para|&caj) into the kitchen, grabbed (a(rpa&saj) a long Sicilian cheese, and he’s eaten it all up. BDELYCLEON Then that must be the first crime I bring before my father. You be here to prosecute. XANTHIAS No, not me; actually the other dog says he’ll be prosecuting if a charge is brought into court. (Vesp. 835-843) [46] The words of Xanthias indicate that not one, as was the case in the house of Chremylus (Ar. Plut. 1105), but two dogs lived in the house of Bdelycleon. The name of one of them, Labes, which translates as “Grabber,” 265 even though, is fictitious, appears to be inspired by the dog’s grabbing the cheese. Unlike Augeas, Eupolis’ Molossian dog, who was named after his donor, the name of Labes indicates that dogs were assigned names on the basis of their behavior. This tendency is also seen in Xenophon, whose fourth- century treatise On Hunting suggests that Phonax, meaning “The Loud One,” is a good name for a hound (Cyn. 7.5.4). 266 The same tendency is also seen in the case of 265 A. H. Sommerstein, ed., tr., Wasps (The Comedies of Aristophanes 4; Warminster, 1983) 208, line 836. 266 For a comprehensive catalogue of names given to dogs in classical antiquity, see F. Mentz, “Die klassischen Hundenamen,” Philologus 88 (1933) 104-129, 181-202, 415-442. For a compilation of ancient texts referring to names of dogs, and modern scholarship on them, see J. Diggle, ed., tr., Theophrastus. Characters (Cambridge, 2004) 411-412. Regarding material evidence, the inscribed name of a female dog called FILOQERA, which translates as “Lover of Hunting” appears on a sixth-century (525-500 B.C.) Boeotian black-figured skyphos, which depicts women in the process of making bread. For a brief description of this vase, see M. Brouskari, The Paul and Alexandra Canellopoulos Museum (Athens, 1985) 178
mythological dogs, such as those of the huntsman Actaeon, whose names, to mention only two, are Harpalos (Ov., Met. 3.222; Hyg. Fab.181.11) and Harpyia (Hyg. Fab.181.9; Poll., Onom. 5. 47); they correspond respectively to the masculine and feminine versions of “Snatcher.” 267 As seen, the names of these dogs are attested in later authors, but their inclusion here is relevant in that their etymology complies with the behavior of Labes, who “snatched” (a(rpa&saj) the cheese from the kitchen. Commenting on the term, Douglas McDowell states that it denotes the snatching of food by dogs and other animals. 268 Douglas Olson clarifies that it refers to the snatching of 50, no. 384; also J.-J. Maffre, “Collection Paul Canellopoulos: Vases Béotiens,” BCH 99 (1975) 467-476, figs. 29a-b, and 30a-b. Although dating from a later period (A.D. III), the masculine version of the canine name “Lover of Hunting” appears in the inscription that accompanies the relief sculpture of a dog on a funerary stele from the grave of a dog found at Pergamon. The inscription reads: “My name is FILOKUNHGOS because I hunted ferocious prey with my swift feet”; M. Fränkel, Die Inschriften von Pergamon (Altertümer von Pergamon vol. 8. pt. 2; Berlin, 1895) 513, no. 3559. For an illustration of the stele, see S. Georgoudi, “Funeral Epigrams for Animals,” Αρχαιολογíα 11 (1984) 38, fig. 3. Also the inscribed names of two dogs, Methepon and Ormenos, translated respectively as “Pursuer” and “Rusher” appear in the depiction of the Calydonian boar hunt on the François Vase dated to ca. 570 B.C. For an illustration of this scene and additional discussion of the sixth- and fifth-century iconography of this subject primarily on pottery, see J. M. Barringer, The Hunt in Ancient Greece (Baltimore and London, 2001) 147- 161, fig. 82, 172-173. 267 As such, but in the plural form, translates also the name of Harpies, imaginary beings who appear in myth as wind-storms that snatch the daughters of Pandareus and give them as servants to the Erinyes (Il. 16.150; Od. 1.241, 14.371, 20.77), and also as winged women who continuously snatch the food and befoul the table of the blind, Thracian king Phineus (Hesiod frs. 150-156 in R. Merkelbach and M. L. West, eds., Fragmenta Hesiodea [London, 1967] 73-77; Apollonius of Rhodes [2.234-2.434]). For a thorough summary of ancient literary references to and artistic representations of Harpies, see L. Kahil and A. Jacquemin, “Harpyiai,” LIMC IV.1; IV.2 (Zurich and Munich, 1988) 445-450; 266-271. For a discussion of the sustained relation of Harpies with the realm of the dead and their equation to demons, see S. I. Johnston, Restless Dead. Encounters between the Living and the Dead in Ancient Greece (Berkeley, 1999) 180, n. 52. For a discussion of depictions of Harpies on ancient Greek pottery, with special reference to their wings springing from the front of their shoulders as being a visual clue of their otherworldliness, see B. Cohen, “Red-Figure Vases Take Wing,” in J. Oakley et al., eds., Athenian Potters and Painters. The Conference Proceedings (Oxbow Monograph 67; Oxford, 1997) 141-155. For the frequent tendency to confuse artistic representations of Harpies with those of Sirens, the most famous example being the socalled Harpy Tomb in Lycia, see D. Tsiafakis, ““PELWRA”: Fabulous Creatures and/or Demons of Death?,” in J. M. Padgett, ed., The Centaur’s Smile: The Human Animal in Early Greek Art (New Haven and London, 2004) 99, n. 36; also C. Smith, “Harpies in Greek Art,” JHS 13 (1892-93) 103-114. 268 D. M. McDowell, ed., Aristophanes. Wasps (Oxford, 1971) 243, line 837. A quick perusal of the comedies of Aristophanes provides us with two additional examples of dogs snatching food (a(rpa&sasa, Ach. 1160; u(farpa&sei, Nub. 490), 268 and one where the culprit is a kite (a(rpa&saj, Av. 892); three examples were also found where food is snatched by humans as well (a(rpa&somai, Hierocles, Pax 1118; an anonymous man, Eccl. 866; a(rpa&zein, poor people, Plut. 598). 179
Page 1 and 2:
The Judgment of Animals in Classica
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the meaning of the term zw|~on—us
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Table of Contents Acknowledgments .
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Section 2 a. Dogs Stealing and Gobb
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Acknowledgements First and foremost
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Introduction It is generally though
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of their art while maintaining awar
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connection between animals and life
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Chapter three, “The Classical Gre
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turn, shaped by contemporary ideas
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with the animal kingdom. 5 Regardin
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The examples just cited show that r
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studying freestanding statues of li
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particular, has dominated twentieth
Page 29 and 30:
Regarding classical antiquity, the
Page 31 and 32:
their grip, for a “tooth” on ea
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discussion of the sculpture to whic
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them. Consequently the Athenians wi
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subjects on the basis of which arti
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of the later (Hellenistic) developm
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The theory that naturalism played t
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we have seen or sensed in the past,
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valued criterion of judging works o
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more accurate observation and rende
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judged by the ancient Greeks? As su
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is still central to his argument, b
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wars, the symmetry of their tense p
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Archaic and Classical phases, follo
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the acquired skill of craftsmanship
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prevalence of naturalism in his vie
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The statement shows clearly that Bo
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of Kollytos in the Athenian Keramei
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Having expressed this idea, he pres
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5. Not Naturalism and Realism. The
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animals, but rather highlights thei
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instead of a message highlights the
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quality of Cleiton’s statues, or,
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valuable guide to the ancient inter
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importance of these notions in defi
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made of bronze, if Myron had worked
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first century A.D., the statue pres
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lifelikeness of the statue, in quit
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Wilt thou not lead me into the hous
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a real animal might act in the real
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The fourth epigram, an anonymous, a
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In the fourth epigram, also an anon
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mistaken a bronze cow for a real on
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The statue proclaims its lifelikene
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and the man leading it, and the wom
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orrowed voice, the boundary between
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oundary between lifeless art and re
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had made a success of that as well,
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eference to the error of the Pliny
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form of equine connoisseurship resp
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Chapter 2: Representations of Anima
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markers of both sexes.” 138 He ca
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little in the way of explanation. I
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een noted, a confluence of three di
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The Possibility of Influence from B
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“in the later fifth and fourth ce
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speaking of the style of Classical
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It is perhaps Xenophon’s use of t
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William Brown suggests that this pa
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the expense of realism, or to a com
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B.C. 178 Although not described in
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inconsistent style. That of Vermeul
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and degrees in which this combinati
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2. Two Cases Studies: The Lion and
Page 137 and 138: just as odd a man and the beast doe
Page 139 and 140: The Motif of the Lion Holding the H
Page 141 and 142: ehavior, the description of Hector
Page 143 and 144: Despite its unclear authorship and
Page 145 and 146: animals and have the softest hair;
Page 147 and 148: with it. He provides this descripti
Page 149 and 150: Further, Willemsen’s observation
Page 151 and 152: The body of the Kerameikos hound ap
Page 153 and 154: that the author of the Physiognomic
Page 155 and 156: Those [animals] who have thin lips
Page 157 and 158: knowledge of the dog mating with ot
Page 159 and 160: serve their arrangement in Classica
Page 161 and 162: Chapter 3: The Classical Greek Cont
Page 163 and 164: SECTION 1 a. Dogs Living in the Hou
Page 165 and 166: eferring first to the human family
Page 167 and 168: Aristotle’s Politics, so pervasiv
Page 169 and 170: that of a dog: his location on the
Page 171 and 172: In contrast to this suggestion, Joh
Page 173 and 174: Aeschylus’s intention to liken th
Page 175 and 176: thing is possible then,” said I,
Page 177 and 178: If anyone’s out of bread but has
Page 179 and 180: c. Molossian Dogs as Guardians of t
Page 181 and 182: incident, Aegeas was a ferocious Mo
Page 183 and 184: Aristotle indicates that Molossian
Page 185 and 186: untrustworthy animal. So pervasive
Page 187: the dog’s stealing of food within
Page 191 and 192: Cleon of embezzling money while cam
Page 193 and 194: Although not provoked by the act of
Page 195 and 196: Apart from labeling dogs as indiscr
Page 197 and 198: 190 B.C.), and cited in Athenaeus
Page 199 and 200: Detienne and Vernant that wisdom an
Page 201 and 202: egarding mh~tij, the canine behavio
Page 203 and 204: e. The Savage Nature of Dogs Histor
Page 205 and 206: The textual evidence discussed in t
Page 207 and 208: efers to some countries as consumer
Page 209 and 210: living together with humans brings
Page 211 and 212: example, states that “these lines
Page 213 and 214: and thus poor men. 317 On the basis
Page 215 and 216: with dog flesh. 322 Further, on the
Page 217 and 218: flesh as medicinal food notwithstan
Page 219 and 220: ordinary food, but is not connected
Page 221 and 222: 2. Disease of the Back Similar to t
Page 223 and 224: ensured only if one is willing to
Page 225 and 226: The literary evidence contained in
Page 227 and 228: practice of eating dog meat indicat
Page 229 and 230: product of an artistic process,”
Page 231 and 232: Georgopapadakos. 344 On the basis o
Page 233 and 234: that is Friendship. They made her k
Page 235 and 236: assume that they referred to images
Page 237 and 238: the meaning of zw|~on in the fifth
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tendency not to distinguish between
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zw|~a. Thus, they translate the fir
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econstructed as five consecutive fr
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To conclude the discussing of Herod
Page 247 and 248:
Turning to zw|~a, one sees that Her
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With regard to the modern definitio
Page 251 and 252:
Regarding modern translations of zw
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length of the causeway was 5 sta&di
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The fragment was initially assigned
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estates, whereas the middle part wo
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of sand and limestone chips. The po
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limestone mantle. 441 Its poor cond
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Undoubtedly, these zw|~a did show s
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statement accords well with the pro
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pyramid in Egypt. Tu&pon is the acc
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Herodotus provides further insight
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evidence should be also added an Ar
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g. The Zw|~a of Mandrocles’ Paint
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The passage is instructive for the
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the representations of enthroned Da
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Herodotus gives no details about th
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Grene, who says “little figures.
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theory has dominated scholarship. 5
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iders on horses that gallop to the
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inscription is in the form of a hea
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The existing blocks that form the b
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suggests a distinctive technique of
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The same type of information is rec
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addition, the inscriptions provide
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stone and zw~ia suggests a standard
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description for something, and ther
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Erechtheion, and also fragments of
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uilding, and also marked a technica
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Socrates likens the use of colors b
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on a surface produced by painting,
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outstanding allotment of happiness
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indicates that it was a term of gen
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government of the state. Four perso
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form a group of discussants on the
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prominently in Plato’s discussion
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“animals,” and Pangle, as “li
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general. Trevor Saunders attempts t
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And I do not think it is right that
Page 325 and 326:
contrasted to the representations o
Page 327 and 328:
Aristotle likens the formation of t
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paintings—also connected with zw&
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The third occurrence of the term in
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kaq' au(to_ ei]nai…qew&rhma), and
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temple.” Now the statue [a1galma]
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of real bodies. When this meaning i
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Conclusions Animals are fundamental
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animals—as essential elements of
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scholarly interpretations of the pr
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The literary, epigraphical, and scu
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APPENDIX: TESTIMONIA Note to the re
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Eu)po&lidi tw|~ th~j kwmw|di/aj poi
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with no seal broken in the length o
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ku&nej de\ e0cai/fnhj oi0kouroi\ pe
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17 Anonymous, Anthologia Palatina 9
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26 Anonymous, Anthologia Palatina 9
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33 Antipater of Sidon, Anthologia P
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watches, and when you happen to gap
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ou)de\n ga_r e1rgon h}n a1r' a)qliw
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835 ba&ll' e0j ko&rakaj. toioutoni\
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Prw~ton me\n ou}n to_ a1nw ku&toj a
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xai/rousin a)lla_ th|~ brw&sei, th_
Page 371 and 372:
In Phasis there is a breed of small
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Text and translation: D. M. Balme,
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ou)de\n de\ oi[on eu)nh_ malqakh_ k
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e1ti de\ kai\ eu)w&desi ta_j xei=ra
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μέν[a έν f]ρo[uρ ί k ]do[ς
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λίθος πρὸς ℎο̑ι τ
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the horse and the man appearing beh
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As for dogs, what can I say? In som
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Tou&twn te w}n ei3neken oi9 Lakedai
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Herodotus 2.148 oi9 ga_r e0pestew~t
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asile/a te Darei=on e0n proedri/h|
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110 Hippocrates, De affectionibus i
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Hippocrates, De morbis ii 44.16-44.
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Rub well silphium equal to one grai
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that on the peaks of a mountain fig
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Text and translation: W. R. Paton,
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a)festhko&j. e0ntau~qa e9kate/ra mo
Page 405 and 406:
Text and translation: W. R. Paton,
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The accounts given by all us must b
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a1frona gegone/nai nomoqe/thn, w3st
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The eyes, the most beautiful featur
Page 413 and 414:
153 Pliny 34.72 A.D. I Text and tra
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Another habit of his was when he ha
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for the earth-goddess Hecate, it ha
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dia_ pollw~n de\ o( Qeo&frastoj e0k
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The characteristics of the brave ma
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oi[j ta_ xei/lh lepta_ kai\ e0p' a1
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185 Sophocles, Antigone 198-206 V B
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the taste will make them less incli
Page 429 and 430:
“Cleiton, that your statues of ru
Page 431 and 432:
B. Arntsen, Dog On The Roof…No La
Page 433 and 434:
_____, Early Greek Vase Painting. 1
Page 435 and 436:
A. Campana, “The Origin of the Wo
Page 437 and 438:
_____, “The Greek Images of the G
Page 439 and 440:
E. Fudge, “A Left-Handed Blow: Wr
Page 441 and 442:
M. Haase, Eine Stätte für die Ewi
Page 443 and 444:
W. W. How and J. Wells, A Commentar
Page 445 and 446:
R. G. Kent, Old Persian. Grammar. T
Page 447 and 448:
A. Linzey and T. Regan, eds., Anima
Page 449 and 450:
H. W. Miller, “Aristophanes and M
Page 451 and 452:
_____, “Cario and the New World o
Page 453 and 454:
S. B. Pomeroy, Xenophon. Oeconomicu
Page 455 and 456:
C. Rolley, La tombe princière de V
Page 457 and 458:
W. Smith, ed., Dictionary of Greek
Page 459 and 460:
C. Thorne, “Feeding Behavior of D
Page 461 and 462:
S. Simpson, eds., Pictorial Narrati
Page 463 and 464:
Young, Archaic Marble Sculpture fro
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Fig. 1 Classical statue of a dog fr
Page 467 and 468:
Fig. 4 Classical Inscription from a
Page 469 and 470:
Fig. 7 Classical statue of a lion f
Page 471 and 472:
Fig. 10 The lion of Amphipolis (fou
Page 473 and 474:
Fig. 13 Late Geometric II stand fro
Page 475 and 476:
Fig. 16 Late Archaic Boeotian terra
Page 477 and 478:
Fig. 21 Reconstruction of part of a
Page 479 and 480:
Fig. 24 Capstone of the pyramid of
Page 481 and 482:
Fig. 26 Archaic bronze krater from
Page 483:
Fig. 29 Figure of a horrified femal
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