Chapter XV

.). But it is not likely that these plays were ever revived in Southern Italy, as were those of Euripides. They were essentially topical, and their political and social satire would have been lost on a later generation. On the other hand, we know that a kind of farce, known as the φλύαξ was especially popular with the people of Tarentum and other towns of Southern Italy in the fourth century, either dealing with subjects of daily life or burlesquing mythology and heroic legends. It was during the performance of one of these in the theatre at Tarentum that the spectators saw the Roman fleets entering their harbour in 302 B.C.[1462] The best-known writer of _phlyakes_ was Rhinthon, whose _Amphitruo_ was the original of Plautus’ play of that name; a scene from this may be portrayed in a vase in the Museo Gregoriano at Rome.[1463] His plays, to judge from the titles, were mainly burlesques; but all literary remains have perished, and we can only form an idea of them from the vases.

In many of these scenes the actual stage is represented; in others we have merely the figure of a comic actor, sometimes in a grotesque attitude. The figures almost invariably wear masks and padded stomachs, their dress consisting of a close-fitting leather garment with sleeves and tight trousers, over which is a short loose tunic (see Fig. 105); on their feet are the traditional _socci_ or low shoes of comedy, and there is one instance of an actor wearing gloves. The subjects of these vases have been dealt with elsewhere,[1464] and need not be recapitulated here; the example given in Fig. 105, a burlesque of Herakles and Auge,[1465] may serve as typical. They have a peculiar style of their own, and can hardly be classed with any of the known fabrics, though found all over Southern Italy. One is signed by the painter Assteas of Paestum, but we look in vain for evidence of his usual style thereon. They may all be regarded as belonging to the fourth century.

[Illustration:

From _Jahrbuch_, i. FIG. 105. BURLESQUE SCENE: HERAKLES AND AUGE. ]

Turning to the subjects in general on these vases, we note the systematic supplanting of the old heroic myths by new subjects of a dramatic and emotional nature. As in the case of the gods Zeus and Athena are replaced by Apollo, Aphrodite, and Dionysos, so instead of the labours of Herakles and Theseus we find themes drawn from the stories of Troy and Thebes, or the legends of Pelops, Hippolytos, Pentheus, and Lykourgos. The taking of Troy in particular is a popular subject on the large vases, as are single episodes, such as Ajax seizing Kassandra. Among entirely new subjects, introduced from the tragedies, are those relating to Alkmena, Pelops, Oedipus, and the later Theban heroes.

Cosmogonic myths such as the Gigantomachia and the Birth of Athena entirely disappear, as do many of the myths connected with the gods; on the other hand, such subjects as the contest of Apollo and Marsyas, the Judgment of Paris, Triptolemos, or Europa and the bull, retain their popularity. Herakles is conveyed to Olympos by Nike instead of Athena; but his labours and combats are seldom represented. The typically Attic subjects, Theseus, Eos and Kephalos, and the Birth of Erichthonios, disappear as might have been expected, as does the wrestling of Peleus and Thetis. Combats of Greeks with Centaurs and Amazons are favourite subjects, but often little more than decorative.

Dionysiac scenes are very frequent, but usually in the form of groups of figures without any particular meaning; Aphrodite, and even Apollo, similarly occur in the midst of Nymphs and attendants, without special characterising of the figures. A peculiar feature of the period is the almost universal presence of Eros. Whether the scene be mythological, Dionysiac, or from daily life, he is an almost invariable participant, and on the later Apulian vases frequently occurs as a single decorative figure.

Scenes from daily life are, if anything, more common than mythological subjects. Banquet-scenes and revels are very popular, and the kottabos is sometimes introduced (see