Formación profesional ocupacional en Castilla y León

The prologue, which has the form of dialogue between the two slaves, contains a number of significant names. The earliest example involves the name Theoros (42 – 5). We have encountered it also in Acharnians and will return to it later,³⁷⁴as it is mentioned a number of times in var-ious parts of Wasps.

Among the Athenians named by Xanthias for having noticed some of Philokleon’s faults, Deqj}kor (78) cannot be identified (despite the

371 J_lorwas the commonest with thirteen attestations (LGPN IIA); on this name (from the term for revel-band) see further Halliwell (2008: 105 – 6 n. 14), who notes that it occurs as a satyr’s name on vases. Note also the compoundsJ~laq -wor(nine attestations) and the fictitiousJylaqw_dgr(Peace 1142).

372 See further under Acharnians on Chares (604).

373 According to MacDowell (1971: 163), it may have been thought of as an old-fashioned name.

374 See below under ‘Personal satire’.

4.3 The opening scene 85

Scholia’s guesses);³⁷⁵ if not of a real Athenian, the name was a generic comic choice (the same may be true for the equally unidentifiableWai -q´ou uRºr, 687).³⁷⁶At 83 – 4 the personal name Philoxenos must be taken in its literal sense (vik|nemor‘hospitable’) in the context of a joke on the man’s effeminacy: Philokleon cannot be philoxenos as the real man Phil-oxenos (of the deme Diomeia) is a pathic homosexual (cf. Nu. 685 – 6).

At 97 – 9 the jury-obsessed Philokleon distorts the phrase D/lor jakºr(which must have been a popular motto) tojgl¹r jakºr‘beautiful jury-vote’. It seems that Demos (already discussed under Knights) was chosen for mention here both because of his good looks and his name’s similarity in sound tojgl|r in the following line.

4.4 Philokleon’s escape efforts and the relationship with his son

The clash between the two heroes, which is expressed in the names, is reminiscent of real-life clashes between sons and ageing fathers, who were sometimes prone to shameful behaviour as a result of senility.³⁷⁷ Philokleon’s efforts to escape his son’s supervision and return to jury-service, which occupy much of the early part of the play, satirise this reality.

One escape attempt produces a comic scene of Odyssean inspiration (183 – 9):

BD. tout· t¸ Gm.

t¸r eW pot(,§mhqyp(,1teºm.

VI. Owtir,mµ D¸a.

BD. Owtir s¼. podapºr.

VI. ]hajor )podqasipp¸dou.

BD. Owtir l± t¹m D¸( outi waiq¶sym ce s¼. vvekje h÷ttom aqtºm.§ liaq¾tator, Vm( rpod´dujem7 ¦st( 5loic( Qmd²kketai bloiºtator jkgt/qor eWmai pyk¸\.

375 Cf. MacDowell 1971: 140 (who however does not exclude the possibility that he is a real man who is sitting in the audience, possibly next to the also men-tioned Sosias) and Sommerstein 1985: 159.

376 On both names see under Acharnians (on Chares, 604 and Derketes, 1028).

377 See Lacey 1968: 117 – 8, 127 – 8. One such pair, Euktemon and Philoktemon, documented by Isaeus, is strongly reminiscent of our heroes: Euktemon’s pas-sion for a hetaera and the trouble it caused to his son (Isaeus 6.18 – 24) parallels Philokleon’s passion for trials and its consequences.

By introducing himself asOwtir‘Nobody’, Philokleon adopts Odysseus’

famous false identity by which the epic hero tricks the Kyklops and manages to escape from him (Od. 9.364 ff.). The comic hero likewise hopes to deceive his patronising son.³⁷⁸ But unlike Odysseus, the un-heroic Philokleon is unsuccessful: the ensuing word-play with outi (here as an adverb, ‘not at all’) shows that Bdelykleon has guessed the ruse – and is reminiscent of a similar word-play at Od. 9.460:oqtidam¹r

…Owtir.]hajorincreases the comic effect of the joke’s Homeric back-ground, as does Bdelykleon’s effort to conceal himself beneath a don-key, reminding us of Odysseus’ men hiding beneath the Kyklops’

sheep (cf.iduss´aat 181).³⁷⁹But the strange-sounding name)podqa -sipp¸dgr is Aristophanes’ own coinage and is comically suited to the notion of escape. It is modelled on existing names in –ipp_dgr (such as Jakkipp_dgr, Vikipp_dgr), and it may also draw on real names from didq\sjy: an example is the rather surprising name Dqap]tgr (from dqap]tgr, adjective and noun, ‘runaway’, ‘fugitive’) of which a single attestation is found at Athens around the time of the play.³⁸⁰ Philokleon’s confinement is expressed in the name of Diktynna (368), goddess of the mountains, which puns on d_jtuom ‘net’:

VI. diatqace?m to¸mum jq²tistºm 1st¸ loi t¹ d¸jtuom. B d´ loi D¸jtumma succm¾lgm 5woi toO dijt¼ou.

It seems that the name occurred to the poet after the first mention of d¸jtuom, and Diktynna, who was often identified with Artemis,³⁸¹is ap-propriately represented here as goddess of nets and hunting; the hero asks for her forgiveness for intending to disrespect her symbol by break-378 Interestingly, there is one attestation of Outis as a personal name, probably

Ho-merically inspired (Thespiai, Boiotia, second century AD, LGPN IIIB).

379 Cf. also the Inlaw’s equally unsuccessful attempt to assume a vague false identity (as the wife oft¹m de?ma …t¹m 1j Johyjid_m) in order to escape the women atTh. 620. Note that another escape plan inspired by Odysseus’ (this time non-Homeric) adventures is suggested to Bdelykleon by the chorus at 350 – 1.

380 LGPN IIA, a possible slave-name. Other names from this root include Dq\styq,Dq\ipporand the compounds Eqdq\ym,Eudqastorand -dqastor – there is none with !po- and all (with the exception of Adrastos) are rare (LGPN). See also Bechtel 1917: 141 – 2 and Chantraine 1999 s.v. didq\sjy. 381 A case of ‘internal syncretism’, cf. D.S. 5.76.3,D_jtumma-qtelir(Paus. 3.24.9), Dijtumma_a-qtelir(Paus. 10.36.5); see Parker 2005: 223. See also LIMC s.v.

Diktynna (Ch. Boulotis).

4.4 Philokleon’s escape efforts and the relationship with his son 87

ing free from his net. The connection between the goddess’ name and d_jtuom must be folk-etymological (the name probably derives from Dikte the Kretan mountain), but Aristophanes would have chosen the etymology that best suited his purpose.³⁸²

The clash between father and son finds expression in Jqom_dg (652), which is the regular Homeric way of addressing Zeus, and here becomes a sarcastic address to Philokleon by his son. This would be a fitting re-sponse to Philokleon’s arrogant claim, thirty lines earlier, that the power he has as a juror is not inferior to that of Zeus (620). His superficial de-fence of his erring political views, which he has just completed, provides further justification for Bdelykleon’s sarcasm, as Philokleon proves him-self to be very far from having divine wisdom, let alone that of Zeus. He then comically mistakes the sarcasm for flattery intended to win his fa-vour.³⁸³

Two instances of metonymy also relate to the father/son relationship : the chorus urges Philokleon at the crucial moment of his escape to fill his heart with Diope_hgr (380). This personal name, that of an often satirised oracle-monger,³⁸⁴ is used as an alternative term for ‘reli-gious piety’, owing to the man’s occupation but probably also to the name’s coincidental etymological relevance (‘faithful to Zeus’).Euboia (715) may stand in the place of ‘large amount of grain’, which the island was known for producing;³⁸⁵ the metonymy is used by Bdelykleon in his attempt to influence his father’s views on politics and juries, as an example of extravagant false offers made by unworthy politicians to the gullible people.

382 Even if he thought ofd_jtuomas a true etymology, there is no reason to suppose an unintentional pun, despite MacDowell (1971: 187 – 8); our poet is very con-scious of word-plays.

383 Cf. Sommerstein 1983: 196. For different (and weaker) interpretations (mainly of ^Jqom_dgas a literal address to Zeus) see MacDowell 1971: 219 – 20.

384 On him see further MacDowell 1971: 183.

385 Thus MacDowell 1971: 230, drawing attention to a fragment of the fourth cen-tury comic poet Euphanes (fr. 2), wheret¹m P²qmgh( fkom must mean ‘large quantity of timber’; he also offers an alternative and equally convincing inter-pretation of Euboia as the land where allotments were held by Athenian klerou-choi.