Laughter in Ancient Rome (42 page)

We can never state with complete confidence that any particular cultural form or literary genre did not exist in either the Greek or the Roman world (in fact, some of the jokes in the
Philogelos
pointedly remind us how tricky it is to authenticate absence). The literary culture of classical and Hellenistic Greece certainly spawned collections of all sorts (including witty maxims, epigrams, riddles, and sayings), and we could debate endlessly where the boundary lay between one type and another, what their various functions were, and what might count as a book of “jokes.” But all the indications are that jokebooks, of the kind we have been exploring in this chapter, were not a significant part of the classical Greek landscape; they were much more commonly a Roman product (whether of the Latin world of Plautus or the wider, mixed culture of the Roman imperial Mediterranean). If so, our next, and final, question must be: what does that imply about the role, status, and function of the Roman joke? To put it another way, what difference does it make to the idea of joking that a joke could become a free-floating “collectible”?

THE ROMAN JOKE?

There could be no such thing as the world’s (or even the Western world’s) first joke. Any claim about where “the joke” began quickly collapses under questions of definition. What distinguishes jokes from all the other verbal ways of provoking laughter? Does a witty epigram, a fable, or a pun count as a joke? If laughter is as old as humanity, can we possibly imagine a time in the history of human communication when language was not used to raise a laugh?

Yet when Gelasimus comes onstage and threatens to sell his jokes and his jokebooks in exchange for a good dinner, we are in a distinctive and recognizable world of joking. Jokes here are commodities of a sort. Even though the scene is itself meant to be a joke, Gelasimus’ gags are deemed to have a value. They are objects that play a role in a system of exchange. They have an existence independent of the individual jokester; in Saturio’s case, they can even be bequeathed down the generations. They are also objects with their own history; in fact, we saw in Thraso’s joke about the young Rhodian in Terence’s
Eunuch
(pp. 13, 90–91) that a joke’s history could be part of its point and part of what prompted a laugh. For all its Roman comic coloring, there is something familiar to us about this. In the modern world also, jokes are often part of a system of exchange. We
swap
jokes. We tell them competitively. For us too, they can be commodities with a genealogy and a value. Some people even make their living by selling wisecracks to radio and television.

There is much less sign of that sort of commodification in the world of classical and Hellenistic Greece. Of course, there were all kinds of ways in which language and literature of that period raised a laugh; there were many sharp and funny sayings attributed to famous figures, from statesmen to philosophers; and there were various times when a joke was expected (the idea of a freeloader getting a dinner by playing the jester was not a Roman invention). There are also occasional hints of a more generalized, anonymized style of gag that is reminiscent of the
Philogelos.
The closest we come is in Aristophanes’ comedy
Wasps,
where, in the rumpus at the end of the play, old Philocleon tries unsuccessfully to calm things down in what he has been told is a gentlemanly and sophisticated way—by telling a “Sybarite story”: “A man from Sybaris fell out of his chariot and somehow smashed his head very badly. For in fact he wasn’t a skilled driver. Then a friend of his stood over him and said, ‘People should pursue whatever trade they know.’”
⁷⁹
Sybarite stories are a curious subgenre of ancient moralizing wit, focusing on the supposed stupidity of the inhabitants of the South Italian city of Sybaris, which proverbially—before its destruction in the late sixth century BCE—had been far too rich for its own good. The stories are known mainly from snatches of quotations in writers of Roman date and are usually grouped with fable—as they are by Aristophanes himself earlier in the play (“something funny from Aesop or a Sybarite story”). The anonymous stupid Sybarite cannot help but recall those dumb inhabitants of Abdera, Kyme, and Sidon in the
Philogelos.
⁸⁰

In classical and Hellenistic Greece, however, jokes do not seem to have been treated as collectible commodities in quite the way they were in Rome or in the Roman world. That difference is nicely captured in a story about King Philip of Macedon reported by Athenaeus in his extraordinary multivolume encyclopedia-cum-anthology of literature and culture,
The Philosophers’ Banquet.
Written in Greek by a man from the Roman province of Egypt around the turn of the second and third centuries CE, this pretends to be the script of a dinner party hosted by a wealthy Roman patron and featuring a number of learned discussants who exchanged quotations and a dazzling (and sometimes, let’s be honest, tedious) brand of academic chitchat. Jokes and joking were among Athenaeus’ themes, and I have already taken advantage of some of the offbeat material he preserves, including the curious story of Parmeniscus and his inability to laugh (see pp. 174–76). One character at this party—a Roman by the name of Ulpian—has a particularly revealing tale to tell about Philip attempting to buy some jokes.
⁸¹

Ulpian explains that in Athens in the fourth century BCE, there was a group of witty men who used to meet in a sanctuary just outside the city. Known as The Sixty, from their number, they had a particular skill (
sophia
) in raising a laugh. When Philip heard of the group, he offered a large amount of cash in exchange for their gags (
geloia
): “He sent them a talent of silver, so that they would write their jokes down and send them to him.”
⁸²
This story has often been used as another piece of evidence for the existence of joke collections in fourth-century Greece (this group of jokesters was just “the sort who might have transformed their oral repertory into written jokebooks,” as one critic has written).
⁸³
And so it might at first sight appear.

It is only in the course of writing this chapter that I have come to realize that the story—and its underlying moral—much more likely points in the opposite direction. Although the summary that Athenaeus offers is very brief, it is closely followed by anecdotes relating to the fondness for laughter of a couple of notoriously unpleasant autocrats (Demetrius Poliorcetes and Sulla). In the original Athenian context, the story of The Sixty was almost certainly seen not as a positive instance of an enterprising spirit of literary collecting but as a negative example of transgressive, autocratic commodification: Philip, the rich and powerful monarch, wrongly thought he could buy the wit of The Sixty in convenient, take-away, paper form (whether or not they sent the jokes to him we are not told
⁸⁴
).

The Roman world was different. To put it at its starkest, the commodification of joking (into jokes swapped, handed down, collected, or bought and sold) was not some sign of the transgressive will of an autocrat; it seems much more like a Roman cultural norm. That is the implication not just of the banter of Gelasimus and his fellow Roman comic parasites or of the idiom of the
Philogelos.
The striking disparity of vocabulary between Latin and Greek that I stressed in chapter 4 nudges us in the same direction. Latin has an extremely—almost needlessly—rich range of words for a joke, whereas the Greek language seems to prioritize the vocabulary of laughing and laughter, with
geloion
and
skōmma
(to which we might possibly add
chreia
) rather overstretched in doing their duty as the words for gags of various types.

It would be dangerously oversimplifying to draw sharp and fixed contrasts between the joking cultures of “Greece” and “Rome” from these telling hints. Yet it would also be irresponsibly unimaginative to remain blind to the different cultural coordinates of jokes and joking that they suggest: in particular, the idea that in the Roman world, the joke not only operated as a mode of interaction but existed as a cultural object or a commodity in its own right (or as a noun rather than a verb). The most risk-averse scholar might see this in terms of a difference in emphasis, complicated maybe by the patterns of evidence and its survival. The boldest would be tempted to make much more radical claims, locating the origins of “the joke,” as we now understand it, within Roman culture and seeing it—far outstripping bridge building and roads—as one of the most important bequests of the Romans to the history of the West. As I reach the end of this book, rather like a comic as the show comes to its close, I am inclined to boldness.

But whatever line we choose to take, the question of how exactly to account for the particular character of the joke in the Roman world remains puzzling. And it takes us back to all those issues of how we might write a history of laughter, including its changes over time (and place), that I raised in chapter 3. Various factors seem relevant here. We could point to the nature of Roman rhetorical theory and practice and the way it reified different forms of speech. We could focus on the social relations that Roman comedy represents between Gelasimus and his patrons (whether onstage or in the audience). How far was the idea of a joke as a commodity connected to the notoriously sharp-edged transactional relations in the Roman world between patron and client, rich and poor? Was it in that context that joking became defined as an object of exchange (as much as a mode of cultural interaction)? We might also, more cynically, reflect that it was one of the hallmarks of imperial Rome’s domination to commodify culture—whether that of the rest of the Mediterranean or its own. Everything in the Roman Empire had a price. Just as the imperial conquerors did in their purchase, confiscation, replication, exchange, classification, and valuation of works of art, so too they did with wit, jokes, and joking. No surprise, then, that “the King Philip model” became one powerful strand in the “laughterhood” of Rome.

All those factors may have a part to play. But as always, it is well worth paying careful attention to what the inhabitants of the Roman Empire themselves had to say—and, in this case, to return finally to Athenaeus. Just before he tells of Philip’s interest in The Sixty, Ulpian is already dealing with the subject of jokes, and he broaches the question (crazy as it may seem to us now) of who invented “the joke.” His main text is a few lines from a play (
The Madness of Old Men
) by a fourth-century BCE comic dramatist, Anaxandrides: “Rhadamanthys and Palamedes had the idea of making the person who comes to the dinner party without any contribution [
asymbolos
] tell jokes.” We know little or nothing about the context of this remark in the play, which does not survive beyond scattered quotations and references. But particularly revealing for the history of laughter is the way in which Ulpian introduces and constructively misinterprets the lines he quotes: “In
The Madness of Old Men,
” he says, “Anaxandrides claims that Rhadamanthys and Palamedes were the inventors [
heuretai
] of jokes.”
⁸⁵
That is not what Anaxandrides wrote at all: so far as we know, he merely said that these two mythic figures were the first to have the bright idea of getting freeloaders at dinner to pay for their food with laughter.

These few lines encapsulate a lot more about Greek and Roman laughter than it might appear. Athenaeus, writing in the late second century CE, has—unconsciously perhaps—reinterpreted Anaxandrides’ claims about a social practice (the role of a parasite at dinner) into claims about jokes themselves. Indeed, most modern writers have followed Athenaeus in suggesting that Anaxandrides attributed the invention of
geloia
(jokes) to Rhadamanthys and Palamedes, two well-known inventors and intellectuals in the Greek mythological tradition.
⁸⁶
Anaxandrides did nothing of the kind. In fact, this deceptively simple passage marks the shift I have been suggesting from the
practice of joking
to the commodified
joke
. The fourth-century Greek dramatist was talking about the former, but the Roman-period author assumes the latter—reflecting the status of the joke in his world, as an object of study and theorizing in its own right, as an object with its own value and history, as an object that could be invented or discovered.

That is the sense in which we might conclude that it was indeed “the Romans” who invented “the joke.”
⁸⁷

Afterword

Toward the end of my time at Berkeley, I had a long coffee break in the Free Speech Movement Café on campus with Erich Gruen, a renowned Berkeley ancient historian whose work I have read, debated, and sometimes disagreed with since I was an undergraduate in the 1970s.

We reflected on the themes of my Sather Lectures and on the distinctive features, sometimes strangeness, of Roman laughter. We talked about many of the topics that I have now written up in this book: the place of laughter on the boundary between human and animal, emperor and subject, gods and men; the absence of smiling as a cultural signifier; the range of (to us) weird Roman speculations on where the origins of laughter might lie. How could we imagine a world in which the lips, rather than the soles of the feet, might be thought the most ticklish zone of the human body? Could we ever see the funny side of a casual joke about crucifixion? Did we really believe that there were some chemical substances in the ancient world—or, for that matter, magical springs—that made people giggle? Besides, what would a history of ancient (or later) laughter look like, and how would Roman laughter fit into that?