But the idea we should form of this kind of song from the very comic passage in the “Wasps” differs materially from the theoretic view of Ilgen, since Philocleon constantly interrupts his son, terminating each sentence for him in a manner wholly unexpected, and of course calculated to excite laughter.
But though musical, the Greeks would not imitate the grasshoppers,[[847]] who are said to sing till they starve; but, having accomplished the circle above-mentioned, proceeded to other amusements which, though too numerous to be described at length, must not be altogether passed over. In the heroic ages the discovery had not been made that rest after meals is necessary to digestion, which in later times was a received maxim, and accordingly we find from the practice of the Phæacians,[[848]] who, if an after-dinner nap had been customary, would certainly have taken it, that the men of those times, instead of indulging in indolent repose out of compliment to their stomachs, sallied forth to leap, to run, to wrestle, and engage in other athletic sports, which by no means appear to have impaired their health or their prowess. As civilisation advances, however, excuses are found for laying aside the habits of violent exercise. Science, in too many cases, fosters indolence and pronounces what is fashionable to be wise. But to the race-course and the wrestling-ring, sedentary, or at least indoor, pastimes succeed, and, instead of overthrowing their antagonists on the palæstra-floor or the greensward, men seek to subdue them at Kottabos, or on the chess-board, or to ruin them at the card-table or in the billiard-room.
The play of Kottabos,[[849]] invented in Sicily, soon propagated itself, as such inventions do, throughout the whole of Greece, and got into great vogue at Athens, where the lively temperament of the people inclined them to indulge immoderately in whatever was convivial and gay. The most usual form of the game was this,—a piece of wood like the upright of a balance having been fixed in the floor or upon a stable basis, a small cross-beam was placed on the top of it with a shallow vessel like the basin of a pair of scales, at either end.
Under each of these vessels stood a broad-mouthed vase, filled with water, with a gilt bronze statue, called Manes, fixed upright in its centre. The persons who played at the game, standing at some little distance, cast, in turn, their wine, from a drinking-cup into one of the pensile basins, which descending with the weight, struck against the head of the statue, which resounded with the blow. The victor was he who spilled least wine during the throw, and elicited most noise from the brazen head. It was, in fact, in its origin a species of divination, the object being to discover by the greater or less success obtained, the place occupied by the player in his mistress’s affections. By an onomatopœa the sound created by the wine in its projection was called latax, and the wine itself latagè. Both the act of throwing and the cup used were called ankula, from the word which expresses the dexterous turn of the hand with which the skilful player cast his wine into the scales.[[850]]
Our learned Archbishop Potter, who has not unskilfully abridged the account of Athenæus, confounds the above with the kottabos katactos, another form of the game described both by Pollux and Athenæus.[[851]] In this the apparatus was suspended like a chandelier from the roof. It was formed of brass, and a brazen vessel, called the skiff, was placed beneath it. The player, standing at a little distance, with a long wand, struck one end of the kottabos, which descending came in contact with the skiff, or rather the manes within, and produced a hollow sound. Occasionally the small vessels at the extremity of the kottabos were brought down, as in the former game, by having wine cast into them. Another variety required the skiff to be filled with water, upon which floated a ball, an instrument like the tongue of a balance, a manes, three myrtle boughs, and as many phials. In this the great art consisted in striking some one of these with the kottabos, and whoever could sink most of them won the game. The prize, on these occasions, was usually one of those cakes called pyramos[[852]] or something similar; but instead of these it was sometimes agreed, when women were present, that the prize should be a kiss, as in our game of forfeits. Another kind of kottabos, chiefly practised on those occasions which resembled our christenings, when on the tenth day the child received its name, was a contention of wakefulness, when the person who longest resisted sleep, won the prize. Properly, however, kottabos was the amusement first described; and so fashionable did it become, that persons erected circular rooms expressly for the purpose, in order that the players might take their stand at equal distances from the apparatus which stood in the centre.[[853]]
It might, without any authority, be presumed that when people met together for enjoyment they would derive the greater portion of it from conversation, which would, of course, vary and slide
“From grave to gay, from lively to severe,”
according to the character or fluctuating humour of the company. The Spartans, like all military people, were grievously addicted to jokes, which among them supplied the place of that elegant badinage, alternating with profound or impassioned discourse, familiar to the more intellectual Athenians. The latter, however, though free from the coarseness, possessed more than the mirthfulness of the Dorians, and in the midst of their habits of business and application to philosophy, knew better than any people how, amidst wine and good-eating, to unbend and enjoy the luxury of careless trifling and an unwrinkled brow. While some therefore retired to the kottabos-room, which occupied the place of our billiard-room, others still sat clustered round the table, extracting amusement from each other. Among these of course would be found all such as excelled in the art of small talk, who could tell a good story or anecdote, scatter around showers of witticisms, or give birth to a pun. Some, like the Spartans, had a Welsh passion for genealogies, and loved to run back over the history of the “Landed Gentry” of old Hellas, to the time of Deucalion or higher; others coined their wisdom and experience into fables, for which they exhibited an almost Oriental fondness; while the greater number, like the princes in the Arabian Nights, exercised their wits in propounding and resolving difficult questions, enigmas, charades, anagrams, and conundrums.
But the principal classes into which these contrivances were divided were two: enigmas and griphoi,[[854]] the former comprehending all those terminating in mere pleasure, the latter such questions and riddles as involved within themselves the kernel of wisdom or knowledge,[[855]] supposed to have been a dull and serious affair. Casaubon,[[856]] however, vindicates it stoutly from this charge, affirming that in the griphos the utile was mingled with the dulce in due proportion; so that it must, according to Horace’s opinion, have borne away the palm from most literary inventions. In point of antiquity, too, the riddle may justly boast; for, if to be old is to be noble, it has “more of birth and better blood” even than the hungry Dorians of the Peloponnesos, whom Mr. Mitchell prefers, on this account, before all nations of Ionic race. Like everything good also it comes from the East. The earliest mention of the riddle occurs in the book of Judges,[[857]] where Samson, during his marriage-feast at Timnath, perplexes his guests with the following riddle:
“Out of the eater came forth meat, and out of the strong came forth sweetness;”