Fragments ΑΙΓΥΠΤΙΟΣ ΑΤΑΛΑΝΤΑΙ
—————’Υπ]έροις Σιδηροῖς· ἐπὶ Πυ[θοδώρου—— ——Βατράχ]οις. Ε΄ ἐπὶ Ἀντιοχίδου [——
Atalanta was a popular subject for both tragedy and comedy (the Sicilians Epicharmus and Phormus), but the details of her story are not easy to unravel. Gantz postulates two women of that name in early Greek myth: (1) the daughter of Schoineus of Boeotia, who in order to avoid marriage for his daughter set up a fatal footrace, which was won by Hippomenes, and (2) an Arcadian huntress who was ultimately wooed and won by Milanion “through labours.” We cannot tell which details of her story pro-
. . . with . . . ] of Iron; in the archonship of Py[thodorus (432/1) . . .
. . . with Frog]s. 5th place: in the archonship of Antiochides (435/4) . . .Fragments The Egyptian
Plural titles (Egyptians) are known for Aeschylus (from his trilogy Daughters of Danaus), for Phrynichus, and for later poets of Middle Comedy. Foreign ethnic titles are not rare in fifth-century drama: Phoenician Women by Phrynichus and Euripides; Trojan Women, Cretan Women, and Cretans by Euripides; Persians by Aeschylus and by Pherecrates. A singular title might suggest a parody of the myth of Aegyptus, brother of Danaus, or of some other myth with Egyptian connections.Atalantas
vided tragedy or comedy with their material. Aeschylus and Aristias each wrote a tragedy about Atalanta, but whether these in any way affected Callias’ comedy is uncertain.
The exact title and authorship present some difficulties. Of the four fragments in K.-A., one (F 1) is cited as “in Atalanta,” another (F 2) as “in Atalantas,” and two others (F 3–4) as by “the author of the Atalantas.” A chorus of Arcadian huntresses would not be out of place in an Old Comedy.