Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0007
Tom Sapsford
Juvenal’s second satire provides the most detailed literary description of cinaedi in antiquity. This chapter uses the poem’s central image of a double contagion—the mange spread among a herd and the blight passed between fruits—to execute a double reading of Juvenal’s text. It first explores the cinaedus’ legibility as a pervert, a significance which has been particularly generative for scholars of the history of sexuality, by exploring how the satire’s exhortation to seek out secret cinaedi resonates with the production of knowledge termed “the epistemology of the closet” by Eve Sedgwick, and by asking to what extent cinaedi constituted a clandestine subculture in early imperial Rome. It then mines the text for performative cues to argue that echoes of various forms of kinaidic speech can be found throughout the satire. Such echoes affirm that the cinaedus’ occupational and ontological significances are ultimately enmeshed and inseparable—a feature most clearly evidenced by the status category of infamia, a limitation of rights applicable to cinaedi whether they performed onstage, undertook sex work, or, as Roman men, allowed themselves to be penetrated.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0004
Tom Sapsford
This chapter explores the materiality of the kinaidos, i.e., whether any real-life individuals existed who were identified using, or themselves identified with, this term as a category marker. It centers this debate around evidence from Ptolemaic and Roman Egypt, where the word kinaidos appears on several papyri, two temple inscriptions, and one ostracon. By comparing these sources with literary evidence (Herodas’ second mimiamb), other papyri, inscriptions, as well as graffiti from around the Roman world, it demonstrates that actual people were given and took on this identity. Moreover, in several cases kinaidos designates an occupational category whose bearers undertook some form of performance accompanied by flute playing. However, it also points out some of the limits in analyzing this evidence—in particular, the problems which arise in interpreting the scant and often damaged papyri and the difficulties in determining precisely how these individuals might have performed.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0008
Tom Sapsford
This chapter compares the appearance of the kinaidos in Greek sources and the cinaedus in Roman ones to argue that this figure draws upon anxieties particular to each cultural context. In classical Greece, the kinaidos displays a level of luxury and elitism which is troublesome to a culture which values commonality; in the hierarchically structured society of Rome the cinaedus is of more lowly status. Whereas participation in theatrical performance at classical Athens is a civic duty, professional performers are societal outsiders at Rome, where the cinaedus’ lascivious dancing draws much notice and debars him from full civic status. The evidence from Ptolemaic and Roman Egypt, while offering some glimpses into the lived lives of individuals adopting this identity, in the end highlights the obstacles to reconstructing this figure completely. Yet across all contexts certain characteristics adhere to the kinaidos/cinaedus (and his verse form the Sotadean): plasticity, flexibility, and virtuosic performativity.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0003
Tom Sapsford
Using the speeches of Aeschines (1–3) and Demosthenes (19, 18) as a case study, this chapter explores the overlapping significances of the kinaidos in fourth-century BCE Athens, arguing that this figure is not solely legible in terms of sexuality and gender behavior but that other axes of difference such as sex, status, ethnicity, and performance style come equally into play. After exploring why Aeschines’ rival Timarchus, the “pornos,” can lose his citizen rights for allegedly being sexually penetrated by other men while Demosthenes, the “kinaidos,” does not, it uses an intersectional lens—drawn from the Black feminisms of Kimberlé Crenshaw and Patricia Hill Collins—to examine how other fields of significance play into Athenian understandings of the kinaidos. It then examines how in Aeschines’ and Demosthenes’ paired speeches each orator presents his rival as some form of bad performer: Aeschines as a booming tritagonist of the tragic stage; Demosthenes as Bat(t)alos, a foul-mouthed kinaidos who is described as telling off-color jokes with his shrill and unholy voice.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0002
Tom Sapsford
This chapter connects earlier portrayals of effeminate men mentioned in archaic lyric poetry and Attic Old Comedy to the first extant use of the word kinaidos in Plato’s Gorgias at the beginning of the fourth century BCE. By comparing Anacreon’s presentation of a certain Artemon (PMG 388), a lowlife hawker who feigns aristocratic luxury, with Aristophanes’ Agathon, who in the Thesmophoriazusae blurs distinctions between both sexual genders and textual genres, it argues that the principal significance of these effeminates is their ability to cross and confuse conceptual binaries. Artemon’s effeminacy becomes laughable for its counterfeit nature, revealing his former lowly background and now badly performed affluence; Agathon’s elite effeminacy, however, stands in opposition to the man of the demos in Athens and thus becomes non-normative. Lastly, it re-evaluates the significance of Plato’s brief mention of the “life of the kinaidoi” in the Gorgias (494e) to propose that, if viewed as an appetitive creature, the kinaidos can be read as an example not only of excessive living but also of foul speaking.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0006
Tom Sapsford
This chapter explores the significance of the cinaedus in Roman literature, where he is portrayed as both a type of deviant in terms of his gender and sexual behavior as well as a kind of performer, who is noted for his use of percussive instruments, signature verse-meter (the Sotadean), and a dance involving a shimmying of the buttocks. It uses the metaphor of beating—as a form of punishment for sexual transgressions, as a means of corporal tenderization, and as a mode of sonic agency—to analyze the overlapping and sometimes contradictory valences associated with this figure in various Latin sources (Plautus, Catullus, Petronius, and Martial among others) from the third century BCE to the second century CE.
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Pub Date : 2022-02-03DOI: 10.1093/oso/9780198854326.003.0005
Tom Sapsford
The Sotadean meter, a catalectic Ionic tetrameter, gets associated with the figure of the kinaidos throughout antiquity, yet the surviving Greek fragments in this meter are rather diverse in type and tone. This chapter presents the development of this verse beginning from its associations with two Hellenistic poets, Cleomachus (said to have adopted his poetic form from a kinaidos with whom he was in love) and Sotades the verse’s namesake (whose invective verse apparently cost him his life). It then explores how in a wide range of texts—Alexandrian poetry, verses from Stobaeus’ Anthology, theatrical parodies, a novel, and two dedicatory inscriptions from Egypt and the Nubian border—Sotadeans, although expressing several tones such as invective, didactic, quasi-religious, and solemn, in all cases share some sense of ludic wordplay or of hidden knowledge.
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