eul_wid: jdi-aa
DOI 10.5281/zenodo.20335421 PDFMarkdown

On Parasites and Drinking by Diodorus of Sinope

"On Parasites and Drinking," also known by the alternative title "Apospasmata" or "Extracts," is a fragmentary comic work attributed to the poet Diodorus of Sinope, a figure associated with the period of Middle Comedy. The play survives only in 49 brief passages, likely preserved through quotations in later lexicographical and scholarly works, such as the Byzantine encyclopedia known as the Suda and Athenaeus’s "Deipnosophistae." As its title suggests, the comedy centred on the stock character of the parasite and the social rituals of the symposium, or drinking party. The extant fragments depict the parasite justifying his lifestyle through a humorous, pseudo-philosophical discourse, even claiming divine precedent by asserting that the practice was invented by Zeus himself, who would enter hospitable homes, dine well, and depart without paying. This material engages with standard Middle Comedy themes, including the dynamics of flattery and social climbing, the excesses of convivial culture, and the satire of gluttony and deception. The work is a representative example of the Middle Comedy’s shift away from direct political satire toward comedies of manners built around established character types. Its treatment of the cunning, freeloading parasite contributed significantly to a comic tradition that was refined in New Comedy and later adapted by Roman dramatists, thereby helping to solidify a persistent archetype in European theatrical history.

ΑΥΛΗΤΡΙΣ
ἐπὰν κυάθους πίῃ τις, ὦ Κρίτων, δέκα,
ἀεὶ παρʼ ἕκαστον ἐνδελεχῶς τὸ ποτήριον
πίνει τὸ λοιπόν, τοὺς λογισμοὺς δʼ ἐξεμεῖ.
ταῦτα σκόπει πρὸς σαυτόν.
ΕΠΙΚΛΗΡΟΣ
βούλομαι δεῖξαι σαφῶς
ὡς σεμνόν ἐστι τοῦτο καὶ νενομισμένον
καὶ τῶν θεῶν εὕρημα, τὰς δʼ ἄλλας τέχνας
οὐδεὶς θεῶν κατέδειξεν, ἀλλʼ ἄνδρες σοφοί.
τὸ γὰρ παρασιτεῖν εὗρεν ὁ Ζεὺς ὁ φίλιος,
ὁ τῶν θεῶν μέγιστος ὁμολογουμένως.
οὗτος γὰρ εἰς τὰς οἰκίας εἰσέρχεται
οὐχὶ διακρίνας τὴν πενιχρὰν ἢ πλουσίαν,
οὗ δʼ ἂν καλῶς ἐστρωμένην κλίνην ἴδῃ
παρακειμένην τε τὴν τράπεζαν πάνθʼ ἃ δεῖ
ἔχουσαν, ἤδη συγκατακλιθεὶς κοσμίως
ἀριστίσας ἑαυτόν, ἐντραγών, πιών,
ἀπέρχετʼ οἴκαδʼ οὐ καταβαλὼν συμβολάς.
κἀγὼ ποιῶ νῦν τοῦτʼ· ἐπὰν κλίνας ἴδω
ἐστρωμένας καὶ τὰς τραπέζας εὐτρεπεῖς
καὶ τὴν θύραν ἀνεῳγμένην, εἰσέρχομαι
ἐνθάδε σιωπῇ, καὶ ποιήσας εὐσταλῆ
ἐμαυτόν, ὥστε μὴ ʼνοχλεῖν τὸν συμπότην,
πάντων ἀπολαύσας τῶν παρατεθέντων, πιών,
ἀπέρχομʼ οἴκαδʼ ὥσπερ ὁ Ζεὺς ὁ φίλιος.
ὅτι δʼ ἦν τὸ πρᾶγμʼ ἔνδοξον ἀεὶ καὶ καλόν,
ἐκεῖθεν ἂν γνοίη τις ἔτι σαφέστερον.
τὸν Ἡρακλέα τιμῶσα λαμπρῶς ἡ πόλις
ἐν ἅπασι τοῖς δήμοις θυσίας ποιουμένη,
εἰς τὰς θυσίας ταύτας παρασίτους τῷ θεῷ
οὐ πώποτʼ ἀπεκλήρωσεν, οὐδὲ παρέλαβεν
εἰς ταῦτα τοὺς τυχόντας, ἀλλὰ κατέλεγεν
ἐκ τῶν πολιτῶν δώδεκʼ ἄνδρας ἐπιμελῶς
ἐκλεξαμένη τοὺς ἐκ δύʼ ἀστῶν γεγονότας,
ἔχοντας οὐσίας, καλῶς βεβιωκότας.
εἶθʼ ὕστερον τὸν Ἡρακλέα μιμούμενοι
τῶν εὐπόρων τινὲς παρασίτους ἑλόμενοι
τρέφειν παρεκάλουν οὐχὶ τοὺς χαριεστάτους
ἐκλεγόμενοι, τοὺς δὲ κολακεύειν δυναμένους
καὶ πάντʼ ἐπαινεῖν· οἷς ἐπειδὰν προσερύγῃ,
ῥαφανῖδας ἢ σαπρὸν σίλουρον καταφαγών,
ἴα καὶ ῥόδα φασὶν αὐτὸν ἠριστηκέναι.
ἐπὰν δʼ ἀποπάρδῃ μετά τινος κατακείμενος
τούτων, προσάγων τὴν ῥῖνα δεῖθʼ αὑτῷ φράσαι,
πόθεν τὸ θυμίαμα τοῦτο λαμβάνει.
διὰ τοὺς τοιούτους τοὺς ἀσελγῶς χρωμένους
τὸ τίμιον καὶ τὸ καλὸν αἰσχρόν ἐστι νῦν.
ΜΑΙΝΟΜΕΝΟΣ ΝΕΚΡΟΣ
ΠΑΝΗΓΥΡΙΣΤΑΙ
ΑΔΗΛΟΥ ΔΡΑΜΑΤΟΣ
ἐγὼ μὲν οὖν τὸν νόμον ἐμαυτῷ τουτονὶ
τίθεμαι δοκιμάζων, ὥσπερ εἴρηται ποιεῖν·
κρεῖττον γάρ ἐστιν εὖ τεθραμμένην λαβεῖν
γυναῖκʼ ἄπροικον ἢ κακῶς μετὰ χρημάτων,
τὴν ἐσομένην καὶ ταῦτα μέτοχον τοῦ βίου.