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

Cook's Art by Nicomachus the Comic Poet

The Cook's Art is a lost Greek comedy by Nicomachus, preserved only in twenty-nine fragments quoted by later authors, most notably Athenaeus in his Deipnosophistae. The title, which translates to "Extracts," appears to be a later designation reflecting the play's fragmentary transmission rather than its original name. Based on its thematic focus on food, professional boasting, and social types, the play is generally classified within the tradition of Middle or New Comedy. The surviving passages centre on the technical art and elevated self-presentation of the cook, or mageiros, who is depicted not merely as a tradesman but as a practitioner of a sophisticated discipline. The fragments emphasize food preparation, luxury, and consumption as central plot elements, employing these themes for social satire through the cook's interactions with other stock characters in domestic or festive settings typical of later Greek comedy. As there is no independent manuscript tradition for the complete work, its survival depends entirely on such quotations, primarily those of Athenaeus, who valued the play for its culinary and linguistic details. These fragments are historically significant for tracing the evolution of the cook as a stock character in ancient theatre, a type that would later influence Roman comedy and European dramatic traditions. Furthermore, they provide valuable evidence for the study of ancient gastronomy, social history, and specialized professional vocabulary.

ΕΙΛΕΙΘΥΙΑ
ὑποδεικνύεις μὲν ἦθος ἀστεῖον πάνυ
καὶ πρᾷον, ὀλίγωρον δὲ πεποίηκάς τι. Β. πῶς;
Α. ἐν τῇ τέχνῃ τίνες ἐσμὲν οὐκ ἐξήτακας.
ἢ πρότερον ἐπύθου τῶν ἀκριβῶς εἰδότων
οὕτω τʼ ἐμισθώσω με; Β. μὰ Δίʼ ἐγὼ μὲν οὔ.
Α. καὶ μὴν ἴσως ὅσον μαγείρου διαφέρει
μάγειρος οὐκ οἶσθʼ. Β. εἴσομαι δέ γʼ, ἢν λέγῃς.
Α. τὸ γὰρ παραλαβόντʼ ὄψον ἠγορασμένον
πότερον ἀποδοῦναι σκευάσαντα μουσικῶς
διακόνου ʼστὶ τοῦ τυχόντος. Β. Ἡράκλεις.
Α. ὁ μάγειρός ἐσθʼ ὁ τέλεος ἑτέρα διάθεσις.
πολλὰς τέχνας λάβοις ἂν ἐνδόξους πάνυ,
ὧν τὸν μαθεῖν βουλόμενον ὀρθῶς οὐκ ἔνι
ταύταις προσελθεῖν εὐθύς· ἀλλʼ ἔμπροσθε δεῖ . . . . . . . . . . . .
ζωγραφίας ἧφθαι. ταὐτὰ καὶ μαγειρικῆς
πρότερον μαθεῖν δεῖ τῆς τέχνης ἑτέρας τέχνας,
ὧν εἰδέναι σοι κρεῖττον ἦν μοι πρὶν λαλεῖν,
ἀστρολογικήν, γεωμετρικήν, ἰατρικήν.
τῶν ἰχθύων γὰρ τὰς δυνάμεις καὶ τὰς τέχνας
ἐντεῦθεν εἴσει, παρακολουθήσας χρόνοις,
πότʼ ἄωρός ἐσθʼ ἕκαστος ἢ πόθʼ ὥριμος.
τῶν ἡδονῶν γὰρ μεγάλα τὰ διαστήματα·
ἐνίοτε κρείττων γίνεται θύννου βόαξ.
Β. ἔστω. γεωμετρικῇ δὲ καὶ σοὶ πρᾶγμα τί;
Α. τοὐπτάνιον ἡμεῖς σφαῖραν εἶναι τιθέμεθα.
τοῦτο διελέσθαι καὶ τόπον λαβόνθʼ ἕνα
μερίσαι κατʼ εἶδος τῆς τέχνης ἐπιδέξια,
ἐκεῖθεν ἐνταῦθʼ ἐστὶ μετενηνεγμένα.
Β. οὗτος, πέπεισμαι, κἂν τὰ λοιπὰ μὴ λαλῇς.
Α. περὶ τῆς ἰατρικῆς δέ· τῶν γὰρ βρωμάτων
πνευματικὰ καὶ δύσπεπτα καὶ τιμωρίαν
ἔχοντʼ ἔνιʼ ἐστὶν, οὐ τροφήν. δειπνῶν δὲ πᾶς
τἀλλότρια γίνετʼ ὀξύχειρ κοὐκ ἐγκρατής.
τοῖς δὴ τοιούτοις βρώμασιν τὰ φάρμακα
εὕρητʼ ἐκεῖθεν, μεταφορὰ δʼ ἐστὶν τέχνης.
ἤδη τὸ μετὰ νοῦ καὶ τὸ συμμέτρως ἐμόν . . . . . . . . . . . .
περὶ τακτικῆς, ἕκαστα ποῦ τεθήσεται·
ἀριθμῷ τὸ πλῆθος εἰδέναι μαγειρικῆς.
οὐδεὶς ἕτερός σοι πρὸς ἐμὲ καὶ γραφήσεται.
Β. μίκρʼ ἀντάκουσον ἐν μέρει κἀμοῦ. Α. λέγε.
Β. σὺ μηδὲν ἐνόχλει μήτε σαυτὸν μήτʼ ἐμέ,
ἀπραγμόνως δὲ διαγενοῦ τὴν ἡμέραν.
ΝΑΥΜΑΧΙΑ
ἐργῶδές ἐστιν ἐν βίῳ βεβιωκότα
τοὺς τῶν φθονούντων πάντας ὀφθαλμοὺς λαθεῖν.
ΑΔΗΛΩΝ ΔΡΑΜΑΤΩΝ
οὐσίδιόν μοι καταλιπόντος τοῦ πατρὸς
οὕτω συνεστρόγγυλα κἀξεκόκκισα
ἐν μησὶν ὀλίγοις ὥσπερ ᾠόν τις ῥοφῶν.
ὦ χαῖρε, χρυσοκλύστα καὶ χρυσοῦς ἐμῶν.