22

Introduction

degree of involvement with contemporary society, it is thus unsafe to conclude
that many or even most of these plays were straightforward mythological
parodies. Rather than having plots similar to Plautus’ Amphitryo, they may
have been more akin to Cratinus’ Dionysalexandros or Aristophanes’ Frogs.
A number of other titles are suggestive of aspects of Anaxandrides’ dra-
ma. One group of titles (Agroikoi, Eusebeis, Zdgraphoi (?), Kynegetai, lhettaloi,
Lokrides, and possibly Nereides) presumably refers to eponymous choruses;
the titles tell us little about the content of the plays, but they do suggest the
continued importance of the chorus in the fourth century.28 Both the title and
sole fragment of Poleis indicate a plot that exploited the relationship between
Athens and other cities and so perhaps looked back to the concerns of Old
Comedy. Didymoi, Hoplomachos, and Thesauros, on the other hand, indicate
affinities with New Comedy. Finally, Kdmdidotragdidia perhaps suggests a
metatheatrical interest or at least an interest in self-reflection.
Although the interests of individual poets of Middle Comedy naturally
vary somewhat (e.g. nearly half of Eubulus’ titles suggest a mythological
plot), in general they seem very similar, and Anaxandrides is no exception. His
predilection for titles based on mythology, professions (in the broadest sense)
or descriptive characteristics, names (normally not of recognizably famous
individuals), or titles suggestive of New Comedy is very much in keeping with
other poets of this period.

5. Komoidoumenoi
The testimonia show that Anaxandrides’ career extended from the 380s or 370s
to the 340s BCE and provide more exact dates (or ranges of dates) for a number
of individual comedies; see Section 2. The references to historical individuals
in the fragments do not contradict these dates but are of no assistance in
dating the plays more precisely.
The following individuals are referred to by name in the fragments:
- The Corinthian hetaira Anteia, a contemporary of Lais ‘the younger’ and
thus presumably active in the early 4th century BC, at fr. 9.3 (from the
undated Gerontomanid).
- Antigeneidas of Thebes the musician (Stephanis 1988 #196), active from at
least the mid-380s (Cotys’ wedding) to 353 BC, at fr. 42.16 (from Prdtesilaos,
mid to late 370s BC?).

28 See Rothwell 1995; cf. Webster 1970. 62.