Σαπφώ

227

hetaera.223 Apart from the surviving comic fragments, further evidence that Sappho
may have been treated as an hetaera in fourth-century comedy is the phlyax-vase
Trendall 1967, no. 19, on which Alcaeus is depicted approaching Sappho with a
full purse, apparently in a context of hired sexual services; cf. Konstantakos 2000,
161-4.
A possible representation of Sappho on stage as a comic hetaera and the relevant
tradition which was created later (e. g. Did. ap. Sen. Ep. 88.37; Tatianus Apol. Or. ad
Gr. 33.2 και ή μέν Σαπφώ γύναιον πορνικόν έρωτομανές, και τήν έαυτής ασέλγειαν
αδει “and Sappho is an erotomanic prostitute, who sings her licentiousness”) may
explain the attempts of later authors (Ael. VH 12.19, Nymphodoros FGrHist 572
F6=Ath. 13. 596e, Sud. σ 108) to defend her reputation by contradistinguishing
the poetess Sappho from a synonymous hetaera; cf. Konstantakos 2000, 160-63.
It is interesting that Sappho and Misgolas might appear on stage as contem-
poraries, though the historical Sappho was over two centuries older than Misgolas;
cf. Ath. 13.599d (cited above), where Sappho is represented as having as lovers
Archilochus, who was at least one generation older, and Hipponax, who was two
generations younger.224
It has been suggested that all Sappho-plays share many characteristics of my-
thological comedies, since over the course of time the poetess from Lesbos was
shrouded in almost mythical mists (cf. Konstantakos 2000, 160-1). She could
coexist on stage both with other mythological or historical figures regardless of age
(e. g. Archilochus and Hipponax), as well as everyday Athenians, such as Misgolas
in our fragment. However, we cannot know whether the whole plot had a mytho-
logical construction or if it just included quasi-mythical figures such as Sappho
associating with known fourth-century Athenians.
Date Despite scholars’ attempts to associate the play with the trial in which
Aeschines’ Against Timarchus was delivered, and accordingly to date it around
345 BC or immediately afterwards, along with Alexis’ Agonis (e. g. Meineke I
(1839) 386; Wagner 1905, 60; Bevilacqua 1939, 38-9, Webster 1952, 21), it seems
much wiser to reserve opinion, with Fisher 2001, 172: “ Unfortunately we cannot
date any of these plays precisely, and cannot decide therefore whether Misgolas’
predilections were well known to theatre audiences and hence to many jurymen
before the trial, or whether the comic poets fed off famous trials and accompanying
gossip about them for their next topical jokes”.

223 Pace Yatromanolakis 2007, 299, who argues that the surviving comic fragments do not
support the view that Sappho was ever depicted as a courtesan in Attic Comedy.
224 Cf. also Hermesian. fr. 7.47-56 Powell, where a supposed love affair between Sappho
and Anacreon is mentioned.