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DOI 10.5281/zenodo.20335421 PDFMarkdown

Fragments on Cooking by Sotades of Maroneia Elder

Fragments on Cooking is a lost verse work attributed to the poet Sotades of Maroneia, known as the Elder. The composition is recorded only by its title and described in source material as consisting of thirty-six passages. No specific content from these culinary fragments survives in the extant record, and the work is known solely through later attestations. All of Sotades’s poetry exists in fragmentary form, preserved exclusively in quotations by subsequent ancient authors.

Given Sotades’s established literary reputation, the character of the work can be reasonably inferred. He was the inventor of the Sotadean metre and was notorious for composing scurrilous, satirical, and often obscene verse. His known themes consistently involve biting satire, personal invective, scandalous content, and political criticism. Consequently, Fragments on Cooking was almost certainly not a serious culinary manual but rather a humorous or satirical treatment of its gastronomic subject matter. Sotades’s primary significance rests on his metrical innovation and his enduring persona in antiquity as a martyred satirist. While the direct influence of this particular work is unrecorded, its presumed comedic approach to an everyday topic aligns perfectly with his broader literary legacy.

ΕΓΚΛΗΙΟΜΕΝΑΙ
καρῖδας ἔλαβον πρῶτον, ἀπεταγήνισα
ταύτας ἁπάσας. γαλεὸς εἴληπται μέγας,
ὤπτησα τὰ μέσα, τὴν δὲ λοιπὴν γρυμέαν
ἕψω ποιήσας τρῖμμα συκαμίνινον.
γλαύκου φέρω κεφάλαια παμμεγέθη δύο,
ἐν λοπάδι μεγάλῃ ταῦτα, λιτῶς προσαγαγὼν
χλόην, κύμινον, ἅλας, ὕδωρ, ἐλάδιον.
λάβρακα μετὰ ταῦτʼ ἐπριάμην καλὸν σφόδρα,
ἔσται διʼ ἅλμης λιπαρὸς ἑφθὸς ἐν χλόῃ,
ἀποδοὺς ὅσʼ ἐστὶν ἀπʼ ὀβελίσκων ὀπτανά.
τρίγλας καλὰς ἠγόρασα καὶ κίχλας καλάς,
ἔρριψα ταύτας ἐπὶ τὸν ἄνθραχʼ ὡς ἔχει,
ἅλμῃ τε λιπαρᾷ παρατίθημʼ ὀρίγανον.
ταύταις προσέλαβον σηπίας καὶ τευθίδας·
ἀστεῖον ἑφθὴ τευθὶς ὠνθυλευμένη
καὶ πτερύγιʼ ἁπαλῶς σηπίας ὠπτημένα.
τριμμάτιον ᾠκείωσα τούτοις ἀνθινὸν
παντοδαπόν. ἑψητὸν δὲ μετὰ ταύτας τινά,
ὀξυλίπαρον τούτοις ἔδωκα χυμίον.
γόγγρον ἐπὶ τούτοις ἐπριάμην παχὺν σφόδρα,
κατέπνιξʼ ἐν ἅλμῃ τοῦτον εὐανθεστέρᾳ.
κωβίδιʼ ἄττα καὶ πετραῖα δή τινα
ἰχθύδια, τούτων ἀποκνίσας τὰ κρανία
ἐμόλυνʼ ἀλεύρῳ . . τοιούτῳ τινί,
πέμπω τε ταῖς καρῖσι τὴν αὐτὴν ὁδόν.
ἀμίαν τε χήραν, θηρίον καλὸν σφόδρα,
θρίοισι ταύτην ἅλις ἐλαδίῳ διεὶς
ἐσπαργάνωσα περιπάσας ὀρίγανον,
ἐνέκρυψά θʼ ὥσπερ δαλὸν εἰς πολλὴν τέφραν.
ἀφύαν θʼ ἅμʼ αὐτῇ παρέλαβον Φαληρικήν,
εἷς κύαθος ἐνταῦθʼ ὕδατος ἐπιχυθεὶς πολύ·
τεμὼν δὲ λεπτὴν τῆς χλόης καὶ πλείονα,
κἂν ᾖ δικότυλος λήκυθος, καταστρέφω.
τί λοιπόν; οὐδέν· ἀλλὰ τοῦτʼ ἔσθʼ ἡ τέχνη,
οὐκ ἐξ ἀπογραφῆς οὐδὲ διʼ ὑπομνημάτων.
κλέπτρια
ΠΑΡΑΛΥΤΡΟΥΜΕΝΟΣ
παροψὶς εἶναι φαίνομαι τῷ Κρωβύλῳ·
τοῦτον μασᾶται, παρακατεσθίει δʼ ἐμέ.