LITMIR.BIZ

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mud-eating river-fish. If I had got hold of something more exceptional, a ‘little grey’ from Attica, say, or a boar-fish from [Amphilochian] Argos, or from dear old Sicyon the fish that Poseidon carries to the gods in heaven, a conger-eel, then everyone would have attained to a state of divinity. I have discovered the secret of eternal life; men already dead I make to walk again, once they but smell it in their nostrils.

      Outside comedy, references to fish-consumption are somewhat fewer in number, but often present even more direct and striking testimony to the citizens’ obsessions. Demosthenes notes in disgust that when Philocrates betrayed his city to the Macedonians for the price of a bribe he spent his ill-gotten gains on whores and fish. Aeschines attacking his opponent Timarchus with the aim of depriving him of his rights as a citizen recalls the many occasions he was seen hanging around the fish-stall with his ‘friend’ Hegesander.⁶

      The Greeks were not so blinded by love as to ignore the responsibilities of connoisseurship. Within the exalted ranks of the piscifauna, distinct hierarchies were recognized, if not always with universal agreement. The preserved fish or tarichos, for instance, was generally looked down on and the phrase ‘cheaper than salt-fish’ is used by Aristophanes to mean ‘ten a penny’. Certain varieties did have their supporters; tuna bottled at the right season in steaks or chunks received much praise, and Archestratus had some nice things to say about salted mackerel. Euthydemus, a writer on diet of the Hellenistic period, even wrote a treatise on the subject although the encomium of salt-fish, which he ascribed to Hesiod and quoted in support of his cause, was strongly suspected of being a forgery.⁷

      Among the fresh fish, the bottom rung was occupied by various small species and immature specimens, not always easily translatable into the taxonomies of modern biology. A fragment of Timocles’ comedy, Epichairekakos (He Who Enjoys Other Men’s Difficulties), follows the gate-crasher known as Lark in the, for him, rather novel exercise of shopping. He comes to the eels, the tuna, the electric rays, the crayfish, and asks the price of each in turn. They are all far beyond the range of the four bronze coins he is carrying. Finally realizing he is outclassed he scuttles off in the direction of the membradas, the anchovies or sprats. Another parasite in Alexis’ Principal Dancer complains of the hard work involved in cadging an invitation to a fancy dinner; he would prefer to share a plate of sprats with someone who can talk in plain Attic. Other passages confirm that in Athens, at least, these little fish were considered food fit only for beggars, freedmen, and peasants who didn’t know any better, attitudes that the sprats-seller in Aristophanes’ Wasps attacks vigorously, accusing those who disdain her wares of elitism.⁸

      At the other end of the scale we find the great delicacies, among them the tuna, the sea-perch or grouper, the conger-eel, grey mullet, red mullet, gilt-head, sea-bass, an unidentified creature known as the ‘grey-fish’, or glaukos, and the crustacean known as the karabos, a heavy-handed crayfish lying somewhere along the line between langouste and langoustine. Certain parts were especially prized: of the tuna, the belly and the ‘keys’ taken from the shoulder or neck area, and of sea bass, grey-fish and conger-eels, the head. Towering effortlessly above all challengers, however, the undisputed master of the fishmonger’s stall was the eel. Archestratus thought the best were those caught opposite the straits of Messina:

      There you have the advantage over all the rest of us mortals, citizen of Messina, as you put such fare to your lips. The eels of the Strymon river, on the other hand, and those of lake Copais have a formidable reputation for excellence thanks to their large size and wondrous girth. All in all I think the eel rules over everything else at the feast and commands the field of pleasure, despite being the only fish with no backbone.

      It was widely believed that the Egyptians offered the eel worship, handing more than one comic author the opportunity for resonant cultural comparisons: ‘I would never be able to make an alliance with you; there is no common ground for our manners and customs to share, and great differences to separate them. You bow down before the cow, I sacrifice her to the gods. The eel you consider the greatest divinity, and we the very greatest dish.’ Another thought the Egyptians had got it just about right: ‘They say the Egyptians are clever, not least because they recognize that the eel is equal to the gods; in fact she has a much higher value than gods, since to gain access to them we just have to pray, whereas to get within sniffing distance of eels we have to pay at least a dozen drachmas, maybe more, so absolutely sacred a creature is she.’⁹

      Reading these fragments we can get some idea of the extraordinary power their passion for fish exercised over the Athenians. Fish are treated as quite irresistible, lusted after with a desire that comes close to a sexual one. The strength of this Athenian appetite is demonstrated most graphically by passages in which fish are involved in a literal or metaphorical seduction. Anaxandrides’ play Odysseus, for instance, contains the following eulogy of the fisherman’s art:

      What other craft gets youthful lips burning, gets their fingers fumbling, has their lungs gasping for air, in their haste to swallow? And isn’t it only when it’s well-supplied with fish that the agora brings about liaisons? For what mortal gets a dinner-date if all he finds for sale when he gets to the counter are fish-fingers, crow-fish, or a picarel? And when it comes to seducing a real beauty, with what magic words, with what chat-up lines would you overcome his defences if you take away the fisherman’s art? For his is the craft that conquers with stargazy pie’s overwhelming eyes, that draws up lunch’s (arsenal?) to undermine the defences corporal(?), his, the expertise that gets the free-loader to recline, unable to decline to pay his way.

      The anecdotalist Lynceus of Samos even suggested, a little mischievously, that it was for the sake of a fish from Rhodes (the famous dogfish, of course) that the Athenian hero Theseus yielded his favours to Tlepolemus, the island’s mythical founding father. In a later period there is evidence that the influence exercised by fish in the processes of seduction was thought to reveal some occult power. Apuleius, author of the Golden Ass, had to defend himself from a charge of casting a love-spell over his rich and aged wife with the magical assistance of fish purchased in the market. There is little evidence for this supernatural connection in the classical period, although because of her triple-sounding name, the red-mullet, or trigle, was associated with the triple-faced patron of witches and guardian of road junctions, Hecate. On the other hand, fish are sometimes found used as love-gifts in Attic vase-painting. One depicts a young man and his attendant approaching a hetaera spinning wool, with gifts of an octopus and two birds. Another vase, once in Leningrad, now lost, had a boy seated and wrapped in a cloak being offered a hoop and a large fish by a winged Cupid.¹⁰

      It is not just their tastiness that connects fish to seduction, but also the way they look. The two sisters popularly known as the ‘anchovies’ mentioned in a speech of Hyperides were apparently so named because of their ‘pale complexions, slender figures and large eyes’. And so, by way of a startling metaphorical transition from appetizement to seduction, fish come to be represented themselves as coquettish flirts and paramours. The conflation of images is found fully developed in a fragment of Diphilus’ comedy The Merchant. The speaker complains about the high price asked for the fish: ‘nevertheless, if one of them ever smiled at me, I would pay, albeit with a groan, all that the fishmonger asked of me.’ This representation, which sounds so extraordinary to our ears, of fish as seductive bodies comparable in some way to the beautiful boys and hetaeras they helped to seduce, is what lies behind the common trope in which the eel, typically ‘appareled’ in beet (perhaps, most feasibly, beet-leaves), is compared to a nubile woman or a gorgeous goddess. When Dicaeopolis, the hero of Aristophanes’ Acharnians, learns that the Boeotian smuggler has fifty ‘Copaic maidens’ in his sack, he goes into raptures: ‘O my sweetest, my long-awaited desire.’ In the Peace, someone imagines the reaction of Melanthius, a certain fish-loving tragedian, arriving at the fish-stalls too late for the eels: ‘Woe is me, woe is me,’ he cries, launching into a spoof soliloquy excerpted from a climactic scene of his own Medea, ‘bereaved

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