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

On Parasitic Dining by Diodorus of Sinope

"On Parasitic Dining" is a lost comedic work attributed to the poet Diodorus of Sinope, a figure associated with the period of Middle Comedy in ancient Greece. Known only by its title and a brief entry in the tenth-century Byzantine encyclopedia known as the Suda, the work is also referenced under the alternate title "Apospasmata," meaning "Extracts." This designation, along with a notation that it consisted of forty-eight verse passages, strongly suggests the text was not a complete play but rather a collection of excerpts compiled from a longer comedy. No direct quotations from the work survive in the extant literary record.

As a product of Middle Comedy, which flourished roughly between 400 and 323 BCE, the subject matter would have centred on the stock character of the parasite, a familiar comic type who secured meals and patronage through flattery and wit. The treatise-like title implies a humorous, perhaps even mock-scholarly, examination of this social role. Thematically, the work would have explored the parasite's strategies for survival, the dynamics of dependency and patronage in Athenian society, and the comedic potential of hunger and gluttony, while often offering a satirical critique of social hypocrisy and pretense. Diodorus of Sinope himself remains a shadowy figure; the Suda credits him with thirty comedies, though "On Parasitic Dining" is among only a few specific titles that have been preserved. While the work's direct influence cannot be traced, its thematic focus exemplifies the formalization of the parasite character during Middle Comedy, a type that would later be inherited and refined by Roman playwrights such as Plautus and Terence.

ΑΥΛΗΤΡΙΣ.
Ἐπὰν κυάθους πίνῃ 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 δυναστῶν 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 ἐπειδὴ προσερύγοι,
ῥαφανῖδας ἢ σαπρὸν σίλουρον καταφαγών,
ἴα καὶ ῥόδʼ ἔφασαν αὐτὸν ἠριστηκέναι.
ἐπεὶ δʼ ἀποπάρδοι μετά τινος κατακείμενος
τούτων, προσάγων τὴν ῥῖνʼ ἐδεῖτʼ αὐτοῦ φράσαι,
πόθεν τὸ θυμίαμα τοῦτο λαμβάνεις;
διὰ τοὺς τοιούτους τοὺς ἀσελγῶς χρωμένους
τὸ τίμιον καὶ τὸ καλὸν αἰσχρόν ἐστι νῦν.
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.