136

Tim okles

Antikensammlungen 2044). Dionysus’ connection with the island of Icaria is also
attested in another tradition, according to which the god was born at Drakanon
(Theoc. 24.33).148
A different tradition connects Dionysus with the hero Icarius, an Athenian who
received the god on his arrival in Attica. The god rewarded Icarius by teaching him
viniculture, and the hero distributed the gift to the people. Then some shepherds
killed him and his daughter Erigone hanged herself ([Apollod.] Bibl. 2. 191 - 192;
Paus. 1.2.5; Ael. NA 7. 28; Clem. Al. Strom, p. 366; [Plu.] Parall. min. 307e). If the
title of the play derives from the myth of Icarius, the plot probably takes place in
the homonymous deme, although the Satyrs of the title might not be associated
with that particular deme; cf. St. Byz. 329.9-12 (cited above); Orth HGL II (2014)
1046, n. 400. In this case, Ikarioi might just mean “Icarius and his followers”; see
below, under “Content”.
Finally, in the fifth century all plays containing the plural ‘Satyroi’ in the title
usually denote a chorus of Satyrs; these may also appear in other comedies with a
Dionysiac plot, e. g. Cratinus’ Dionysalexandros. In the course of the fourth century
the chorus is restricted but does not totally disappear.149 In Timocles, in particular,
titles in the plural such as Heroes, Aigyptioi, Demosatyroi, Dionysiazousai, Kaunioi,
Marathonioi, Pseudoleistai may denote a chorus.150 The existence of a chorus in
Ikarioi Satyroi is not supported by the surviving fragments, but is, nevertheless,
plausible. If there is a chorus, some open questions remain, e. g. concerning the
members and costumes (did they retain satyr costumes, or the adapted comic
ones; see Storey 2005, 208-9).
The genre debate The classification of the play as a comedy or a satyr play is a
very controversial issue and has given rise to a lengthy debate among scholars.151

148 For titles denoting Dionysus’ birth see Timocles’ Dionysos in this volume, under “Title”.
149 See Hunter 1979, 23-8; Rothwell 1995, 99-118; Konstantakos 2011, 175-82 with more
bibliography; see also my note on Heroes, under Content.
150 Cf. fr. 27 from Orestautokleides, where the eleven courtesans named in fr. 27 are prob-
ably part of a chorus (so Hunter 1979, 34).
151 a. Satyr play: Wilamowitz 1889, 23-5, who later (1937, 394) revised his theory
and accepted Wagner’s argumentation; Coppola 1927, 469-70; Sutton 1980, 83-5;
Xanthakis-Karamanos 1997, 135; Summa 2009, 135-49. b. Comedy: Wagner 1905,
62-5; Koertel936,1260-62; Constantinides 1969,49-61; PCG VII (1989) 766—9; Storey
2005, 201-218; Arnott 1996, 212, with n. 1. There were also compromises. Meineke III
(1840) 600 suspects that there are two plays: one entitledΊκάρtot and a second entitled
Ίκάριοι ή Σάτυροι; Bevilacqua 1939, 62 supposes that Timocles wrote two plays: one
entitled’lKdpioi (frr. 15,16,17) and a satyr play entitled Σάτυροι (frr. 18,19). Snell, TrGF
I 82 F 2, includes in his Dubia Satyrica only the fr. 18. Cipolla 2003, 326-31, includes
the Ikarioi Satyroi in his collection of the fragments of minor satyr poets, although he
admits that the aggressive tone and the obscenities are compatible with comedy rather
than satyr drama. Also Marchetti 2012, 129-30 thinks that in a period when satyr play
has adopted some characteristics of the fifth century comedy, Timocles might have