Perfumery is a dyer’s and witch’s art

For Walpurgisnacht. In the Gryllus (Bruta animalia ratione uti), Plutarch has Odysseus argue with a man-turned-pig (Gryllus) about whether it is better to be a human or an animal. Odysseus thinks there is nothing better than being Greek. Gryllus counters, giving considerations in favour of being a pig. For one thing, he says, they are naturally virtuous and don’t have to be taught to be good. Their sexes are equal, by which he means they share equally in traditional Greek male virtues. And, in what he takes to be a knock-down argument, he says animals have no interest in luxury, which he associates with un-virtue and the human feminine: animals can ignore gold and silver as they would any other stone, they prefer mud to finely dyed robes and tapestries, and they don’t mind smelling of dirt:

“And besides, smell does not trouble us as it does you. Incenses, cinnamons, nards, phyllas, Arabian calamuses—you are compelled to collect and combine them together using a terrible art of dyers and witches that goes by the name ‘perfumery.’ You pay a lot of money for a luxury that is unmanly, girlish and which has no real use at all.”

τἄλλα δ’ οὐκ ἐνοχλεῖ, καθάπερ ὑμῖν, τὰ θυμιάματα καὶ κινάμωμα καὶ νάρδους καὶ φύλλα καὶ καλάμους Ἀραβικοὺς μετὰ δεινῆς τινος δευσοποιοῦ καὶ* φαρμακίδος τέχνης, ᾗ μυρεψικῆς ὄνομα, συνάγειν εἰς ταὐτὸ καὶ συμφυρᾶν** ἀναγκάζουσα, χρημάτων πολλῶν ἡδυπάθειαν ἄνανδρον καὶ κορασιώδη καὶ πρὸς οὐδὲν οὐδαμῶς χρήσιμον ὠνουμένους.

*καὶ δευσοποιοῦ Bernardakis

** συμφυρᾶν Bernardakis: συμφαγεῖν Teub.

Plutarch, The use of reason by irrational animals 7 (Moralia 990B2–9 = 6.94,11–18 Bernardakis)

The Metamorphosis of Pamphile

Walpurgisnacht 2022. A mirror-story to Lucius’ metamorphosis.

“[Photis and I] spent a few nights in pleasure like this, until the day she ran to me, excited and trembling, to tell me that, because her mistress had not made any progress with her lovers by other means, she would turn herself into a bird at the first watch of the night and fly down to the object of her desire. I meanwhile was to get ready to observe such an event.

“After we had waited for the first watch of the night, Photis led me silent-footed to the upper bedchamber and suggested I look through the crack of the door to see what was happening.

“First, Pamphile completely undressed herself. Then, she opened a chest and took out a few small boxes. She removed the lid from one of them and poured out some perfume. She worked it for a while between her palms. Then she rubbed herself all over from the tips of her toes to the ends of her hair, and after whispering to her lamp a while in secret, her limbs began to tremble, quivering and shaking. As they began to swell, soft plumage and powerful wings burst out and took shape. Her nose hardened and curved, her toenails thickened into talons, and Pamphile became an owl. She let out screech, and after a few small attempts, she sprung from the ground and flew, her wings wide, out into sublime heights.”

Ad hunc modum transactis voluptarie paucis noctibus, quadam die percita Fotis ac satis trepida me accurrit indicatque dominam suam, quod nihil etiam tunc in suos amores ceteris artibus promoveret nocte proxima in avem sese plumaturam atque ad suum cupitum sic devolaturam; proin memet ad rei tantae speculam caute praepararem.

Iamque circa primam noctis vigiliam ad illud superius cubiculum suspenso et insono vestigio me perducit ipsa, perque rimam ostiorum quampiam iubet arbitrari quae sic gesta sunt.

Iam primum omnibus laciniis se devestit Pamphile et arcula quadam reclusa pyxides plusculas inde depromit, de quis unius operculo remoto atque indidem egesta unguedine diuque palmulis sui affricta ab imis unguibus sese totam adusque summos capillos perlinit, multumque cum lucerna secreto collocuta membra tremulo succussu quatit: quis leniter fluctuantibus promicant molles plumulae crescunt et fortes pinnulae, duratur nasus incurvus coguntur ungues adunci, fit bubo Pamphile. Sic edito stridore querulo, iam sui periclitabunda paulatini terra resultat, mox in altum sublimata forinsecus totis alis evolat.

Apuleius, Metamorphoses 3.21

Two Texts on Scent: Aristotle and Theophrastus

“Since there is an odd number of senses, and since an odd number always has a middle, it seems the sense of smell is itself in the middle between the haptic senses, i.e. touch and taste, and the mediated senses, i.e. sight and hearing. For this reason smell is also a certain affection both of things that are nourishing (for these are in the class of haptic things) and of things that are audible and visible, which is why [animals] smell in both air and water. Thus, the object of smell is something common to both of these classes, belonging to the haptic, and to the audible and transparent. That’s also why scent has reasonably been compared to a kind of dye-bath and a washing of the dry in the moist and liquid.”

ἔοικε δ' ἡ αἴσθησις ἡ τοῦ ὀσφραίνεσθαι, περιττῶν οὐσῶν τῶν αἰσθήσεων καὶ τοῦ ἀριθμοῦ ἔχοντος μέσον τοῦ περιττοῦ, καὶ αὐτὴ μέση εἶναι τῶν τε ἁπτικῶν, οἷον ἁφῆς καὶ γεύσεως, καὶ τῶν δι' ἄλλου αἰσθητικῶν, οἷον ὄψεως καὶ ἀκοῆς. διὸ καὶ τὸ ὀσφραντὸν τῶν θρεπτικῶν ἐστὶ πάθος τι (ταῦτα δ' ἐν τῷ ἁπτῷ γένει), καὶ τοῦ ἀκουστοῦ δὲ καὶ τοῦ ὁρατοῦ, διὸ καὶ ἐν ἀέρι καὶ ἐν ὕδατι ὀσμῶνται. ὥστ' ἐστὶ τὸ ὀσφραντὸν κοινόν τι τούτων ἀμφοτέρων, καὶ τῷ τε ἁπτῷ ὑπάρχει καὶ τῷ ἀκουστῷ καὶ τῷ διαφανεῖ· διὸ καὶ εὐλόγως παρείκασται ξηρότητος ἐν ὑγρῷ καὶ χυτῷ οἷον βαφή τις εἶναι καὶ πλύσις.

Aristotle, On Sense and Sensible Objects, 5.27–28, 445a4–445a14

“They use aromatics for all perfumes. With some they treat the oil as with a mordant [ἐπιστύφοντες], with others they impart the scent derived from them. For in all cases they treat the oil as with a mordant [ὑποστύφουσι] in order that the oil might become more receptive to the scent, just like wool into a dye-bath. They use the weaker of the aromatics as a mordant, then later they add the one whose scent they wish to preserve. For the last one added always dominates, even if it is not much in quantity. For example, if someone were to add a mna of myrrh into a kotyle of oil, and later add two drachmas of cinnamon, the two drachmas of cinnamon would dominate.'“

Χρῶνται δὲ πρὸς πάντα τοῖς ἀρώμασι, τοῖς μὲν ἐπιστύφοντες τὸ ἔλαιον τοῖς δὲ καὶ τὴν ὀσμὴν ἐκ τούτων ἐμποιοῦντες. Ὑποστύφουσι γὰρ πᾶν εἰς τὸ δέξασθαι μᾶλλον τὴν ὀσμὴν ὥσπερ τὰ ἔρια εἰς τὴν βαφήν. Ὑποστύφεται δὲ τοῖς ἀσθενεστέροις τῶν ἀρωμάτων, εἶθ' ὕστερον ἐμβάλλουσιν ἀφ' οὗ ἂν βούλωνται τὴν ὀσμὴν λαβεῖν· ἐπικρατεῖ γὰρ ἀεὶ τὸ ἔσχατον ἐμβαλλόμενον καὶ ἂν ἔλαττον ᾖ· οἷον ἐὰν εἰς κοτύλην σμύρνης ἐμβληθῇ μνᾶ καὶ ὕστερον ἐμβληθῶσι κιναμώμου δραχμαὶ δύο, κρατοῦσιν αἱ τοῦ κιναμώμου δύο δραχμαί.

Theophrastus, On Scents, 4.17

Herodian on the long peak of the Antonine Plague’s second wave

I’ve stayed away from posts about plague recently, but it’s been nearly a year since Berlin went into its first lockdown and I’ve found myself revisiting stories about the Antonine Plague—especially about how the city’s doctors, politicians and ordinary citizens responded to a crisis that seemed to go on for ages (it nearly led to civil war according to some sources). Here’s a little bit from the historian Herodian on doctor-recommended treatments for the rich (the emperor Commodus) and the rest (the ordinary inhabitants of the city). The narrative is familiar: lack of social distancing, travel, close quarters with animals, awareness of a need for face-protection; but also, while the treatments for both rich and poor were roughly the same (viz., aromatherapy), the outcomes were not.

“It so happened at this time that Italy was in the grip of the plague. The suffering was especially intense in the city of Rome, as it was naturally overcrowded and received people from all over the world. And there was great destruction of animals and people.

“At that point, on the advice of some doctors, Commodus retired to Laurentum. For the town, being cooler and shaded by large laurel groves (hence the town’s name), seemed to be a safe place; and he is said to have withstood the corrupting power of the air by means of the fragrant vapours from the laurels and the pleasant shade of the trees.

“Meanwhile, at their doctors’ urging, those in the city filled their nostrils and ears with the most fragrant perfumes and continually used incense and aromatics, since some of the doctors said the fragrance, entering first, filled the sensory passages and prevented the corrupting power of the air from getting in; and if any should get in, it would be overpowered by [the fragrance’s] stronger power.

“Only—it made no difference: the sickness continued to peak for a long time, with great destruction of people and of all sorts of domesticated animals.”

συνέβη δὲ κατ' ἐκεῖνο καιροῦ λοιμώδη νόσον κατασχεῖν τὴν Ἰταλίαν· μάλιστα δὲ τὸ πάθος <ἐν> τῇ Ῥωμαίων πόλει ἤκμασεν ἅτε πολυανθρώπῳ τε οὔσῃ φύσει καὶ τοὺς πανταχόθεν ὑποδεχομένῃ, πολλή τέ τις φθορὰ ἐγένετο ὑποζυγίων ἅμα καὶ ἀνθρώπων. τότε ὁ Κόμοδος συμβουλευσάντων αὐτῷ τινῶν ἰατρῶν ἐς τὴν Λαύρεντον ἀνεχώρησεν· εὐψυχέστερον γὰρ ὂν τὸ χωρίον καὶ μεγίστοις κατάσκιον δαφνηφόροις ἄλσεσιν (ὅθεν καὶ τὸ ὄνομα τῷ χωρίῳ) σωτήριον εἶναι ἐδόκει, καὶ πρὸς τὴν τοῦ ἀέρος φθορὰν ἀντέχειν ἐλέγετο εὐωδίᾳ τε τῆς τῶν δαφνῶν ἀποφορᾶς καὶ τῇ τῶν δένδρων ἡδείᾳ σκιᾷ. ἀλλὰ καὶ οἱ κατὰ τὴν πόλιν κελευόντων τῶν ἰατρῶν μύρου εὐωδεστάτου τάς τε ὀσφρήσεις καὶ τὰ ὦτα ἐνεπίμπλασαν, θυμιάμασί τε καὶ ἀρώμασι συνεχῶς ἐχρῶντο, φασκόντων τινῶν τὴν εὐωδίαν φθάσασαν ἐμπιπλάναι τοὺς πόρους τῶν αἰσθήσεων καὶ κωλύειν δέχεσθαι τὸ φθορῶδες τοῦ ἀέρος, ἢ εἰ καί τι προεμπέσοι, κατεργάζεσθαι δυνάμει κρείττονι. πλὴν οὐδὲν ἧττον ἡ νόσος ἐπὶ πλεῖστον ἤκμασε, πολλῆς ἀνθρώπων φθορᾶς γενομένης πάντων τε ζῴων <τῶν> τοῖς ἀνθρώπων συνοίκων.

Herodian, History Following the Death of the Divine Marcus Aurelius 1.12.1–2

A fragrant perfume from the Dynameron of Nikolaos Myrepsos (the Perfumer)

A perfume recipe from the Dynameron of Nikolaos Myrepsos (“the Perfumer”), who seems to have been a Byzantine physician and perfumer of the 13th century. The Dynameron is one of those recipe books that was added to over time, so it’s anyone’s guess where the recipe comes from or what it might have been used to treat. The first edition of the massive Dynameron—it has around 3000 recipes—was completed in 2019 by Ilias Valiakos and published open access with Propylaeum. It is available here.

Note on weights and volumes: one ὅλκή weighs the same as one δραχμή, about 3.4 grams. A ξέστης is about 550 ml. A κύαθος is about 45ml.

“Perfume recipe, the one called ‘fragrant’.

It contains:

• 28 holkai terebinth resin

• 14 holkai clean wax

• 3 holkai each of:

  • juice of hyssop

  • Attic honey

  • deer marrow

  • ammoniac incense

  • galbanum

  • foam of soda

• 0.5 sextarios of old oil

• 1.5 holke of castorion

• 1 kyathon of fine wine.

Grind all these together and prepare it well. Give when needed, use.”

Μύρου σκευασία, τοῦ εὐώδους λεγομένου· ἔχει: Τερμεντίνης, ὁλκὰς κηʹ· κηροῦ καθαροῦ· ὁλκὰς ιδʹ· ὑσσώπου ὑγροῦ· μέλιτος Ἀττικοῦ· μυελοῦ ἐλαφείου· ἀμμωνιακοῦ θυμιάματος· χαλβάνης· ἀφρονίτρου, ἀνὰ ὁλκὰς γʹ· ἐλαίου παλαιοῦ, ξεστίου ἥμισυ· καστόριον, ὁλκὴν αʹ καὶ ἥμισυ· οἴνου καλοῦ, κύαθον αʹ· τρίψας ταῦτα πάντα καὶ σκευάσας καλῶς, δίδου ἐπὶ τῆς χρείας χρῶ.

Nicolas Myrepsos, Dynameron 34.25, 827,1–5 Valiakos

Aromatherapy for Headaches and Heartache

Some late antique aromatherapies for after a New Year’s celebration.

The text below on perfume ingredients comes from a treatise found in an 18th century manuscript at Athens: ms. no. 1494 , fol. 46–52. The treatise is called “On the Capacities of Foods” (Περὶ τροφῶν δυνάμεως), a title it shares with a work by Galen, Symeon Seth, and with sections from the compilers Oribasius, Aetius of Amida and Paul of Aegina. The contents, however, as Delatte points out (Anecdota atheniensia, 466–467), have little in common with the work of Galen or anyone else from the Greek or Latin tradition. It must be fairly late, since many of the ingredients listed below—musk, ambergris, camphor and clove—do not show up in Greek medical texts until very late in antiquity or the early middle ages (Donkin 1999, 2).

On Perfumes

Musk is hot and dry in nature. It is suitable for those who have a moist and cold mixture. It disperses every headache produced from phlegm. It is also beneficial for weakness of the heart, heartache and frailty. It is not suitable for those who have a hot mixture.

Amber [i.e., ambergris*] is hot by nature and strengthens the head. It pleases the heart and the stomach.

Camphor is moist and cold. It is beneficial for hot ailments of the head and the rest of the body. If someone drinks of it more than one should it produces sleeplessness. And it cools the kidneys, diminishes semen and generates incurable ailments in the parts of the body.

Sandalwood is cold and dry. It is beneficial for hot ailments of the liver and strengthens it, and it cools its hot bad-mixture.

Aloewood is hot and dry. It is also beneficial for weakness of the head and the stomach, especially when it is quite cool, and for the blockage of the stomach, also when it is quite cool, and for blockage of the liver and the rest of the parts of the body when they occur because of coolness and moisture.

Saffron is cold and dry. It is not good for the stomach and causes pain and heaviness in the head and causes sleep; but, it pleases the heart.

Clove leaf is hot and dry. They strengthen the stomach and the heart.

Walnuts** are hot and dry. The have the capacity and activity of clove leaf.

Rose perfume is also moist. It stops headache from heat or from drinking too much wine, and both strengthens the heart and is good for frailty.

*ἄμπαρ (amber) is the name for the waxy substance found washed up on beaches, which we recognize to be a secretion from the bile duct of sperm whales. ἤλεκτρον (electron) is the name of the fossilized resin we call amber (also often found on beaches).

**The name “κάρυα βασιλικά” normally refers to walnuts, but this is probably not the correct identification in this case given: (1) the description of them as ‘hot and dry’ (neither walnuts, κάρυα βασιλικά, nor hazelnuts, κάρυα ποντικὰ ἢ λεπτοκάρυα, are normally listed as hot); and (2) the previous entry is καρυόφυλλον, which everyone I’ve consulted believes is “clove leaf.” My guess is it’s a confusion for κάρυα ἀρωματικά or κάρυα μυριστικά, which are likely some other aromatic nut or nut-like spice (e.g. nutmeg or clove).

Περὶ μύρων.

Μόσχος θερμὸς καὶ ξηρός ἐστι τὴν φύσιν· ἁρμόζει δὲ τοῖς ἔχουσι κρᾶσιν ὑγρὰν καὶ ψυχράν. διαλύει δὲ πᾶσαν ὀδύνην κεφαλῆς γινομένην ἀπὸ φλέγματος. ὠφελεῖ δὲ καὶ εἰς τὴν ἀδυναμίαν τῆς καρδίας καὶ τὸν καρδιωγμὸν καὶ ὀλιγωρίαν. οὐχ ἁρμόζει δὲ τοῖς ἔχουσι τὴν κρᾶσιν θερμήν.

ἄμπαρ ἐστὶ θερμὸν φύσει καὶ ἐνδυναμοῖ τὸν ἐγκέφαλον· τὴν καρδίαν καὶ τὸν στόμαχον εὐφραίνει.

καμφορὰ ὑγρὰ καὶ ψυχρά ἐστιν· ὠφελεῖ εἰς τὰ θερμὰ νοσήματα τῆς κεφαλῆς καὶ τοῦ λοιποῦ σώματος· εἰ δέ τις πίῃ ἐξ αὐτῆς πλέον τοῦ δέοντος ποιεῖ ἀγρυπνίαν. καὶ ψύχει τοὺς νεφροὺς ἐλαττοῖ τε τὴν γονὴν καὶ τίκτει εἰς τὰ μόρια νοσήματα ἀθεράπευτα.

σάνταλόν ἐστι ψυχρὸν καὶ ξηρόν· ὠφελεῖ εἰς τὰ θερμὰ νοσήματα τοῦ ἥπατος καὶ ἐνδυναμοῖ αὐτὸ καὶ ψύχει τὴν θερμὴν δυσκρασίαν αὐτοῦ.

ξυλαλόη ὑπάρχει θερμὴ καὶ ξηρά· καὶ ὠφελεῖ εἰς τὴν ἀδυναμίαν τῆς κεφαλῆς καὶ τοῦ στομάχου καὶ τὴν πολλὴν αὐτοῦ ψῦξιν εἴς τε τὴν ἔμφραξιν στομάχου καὶ τὴν πολλὴν αὐτοῦ ψῦξιν εἴς τε τὴν ἔμφραξιν τοῦ ἥπατος καὶ τῶν λοιπῶν μορίων τὴν ἐκ ψυχρότητος καὶ ὑγρότητος γινομένην.

κρόκος ὑπάρχει ψυχρὸς καὶ ξηρός· ἀδικεῖ τὸν στόμαχον καὶ ποιεῖ ὀδύνην καὶ βάρος εἰς τὴν κεφαλὴν καὶ ὕπνον· εὐφραίνει δὲ τὴν καρδίαν.

καρυόφυλλον ὑπάρχει θερμὸν καὶ ξηρόν· ἐνδυναμοῖ τὸν στόμαχον καὶ τὴν καρδίαν.

κάρυα βασιλικά εἰσι θερμὰ καὶ ξηρά· ἔχουσι δὲ δύναμιν καὶ ἐνέργειαν τὴν τοῦ καρυοφύλλου.

ῥοδόσταγμα ψυχρὸν ὑπάρχει καὶ ὑγρόν· παύει τὸν ἐκ θέρμης πόνον κεφαλῆς ἢ ἀπὸ πολυποσίας οἴνου ἐνδυναμοῖ τε τὴν καρδίαν καὶ ὠφελεῖ εἰς τὴν ὀλιγωρίαν.

Anonymous, On the Capacities of Foods printed in Delatte, Anecdota atheniensia, p. 475–476

Aromatherapy in Ancient Egypt and Greece

My friend Dora Goldsmith is an Egyptologist who works on the sense of smell in Ancient Egypt. Last year, we worked together on a project for the National Geographic Museum’s Queens of Egypt exhibition recreating an ancient Egyptian perfume known as the Mendesian (some articles about it here, here, and here). It was named after the city in Egypt where it was first produced, the town of Mendes, and we got involved when two archaeologists and historians, Robert Littman and Jay Silverstein, approached Dora with news that they had discovered a perfume factory in the ruins of the city (it’s now known as Tell Timai). Dora and I had been talking about a collaboration and this was the perfect chance: the perfume was emblematic of ancient Egyptian olfactory culture for hundreds of years, but descriptions and recipes only existed in Greek and Latin medical and scientific texts. So we had to figure out ways of working experimentally, testing different interpretations of recipes based on evidence from all kinds of sources, from archaeological studies of residues in perfume bottles to ancient Egyptian love poetry to ancient Greek medical recipes for hangovers (the Mendesian was apparently used to cure headaches).

A few weeks ago, Dora invited me to give a Zoom workshop with her on our process and on our approach to interdisciplinary collaboration. It was a great session and I learned lots from everyone there. Afterwards, she sent me one of her Ancient Egyptian Smell Kits. Before the pandemic, Dora would give hands-on workshops at Klara Ravat’s Smell Lab and the Neues Museum in Berlin where people could recreate Ancient Egyptian perfumes and even the scent of mummification. It’s nice that even when many of us cannot collaborate as we did, Dora’s managed to share this experience in new ways (my favourite is the liquid kypi). You can find out more about her educational kits and information about how to get your own here or email her if you want to place an order.

One of the workshops I went to with Dora was on making kyphi—a very complex perfume and incense used in ancient Egypt. As a thank you, I thought I’d offer a translation of what Plutarch had to say about kyphi and Egyptian aromatherapy from his book on Isis and Osiris. It is so nice to have these scents open on my desk as I am working through texts like these.

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Egypt, Aromatherapy and the Plague

“If I also need to discuss, as I promised, the incense burned as an offering each day, one should first keep in mind that these men (sc. the Egyptians) always take affairs related to health extremely seriously: especially in their sacred practices, in their observances of purity and in their way of life, matters of health are no less present than piety. For they did not think it is right to worship what is pure and in-every-way-uninjured and unpolluted with bodies or souls that are festering and diseased.

“Indeed, since the air which we use all the time and in which we live does not always have the same condition and mixture, but at night it becomes dense and stifles the body and draws the soul into depression and anxiety as if it had become shadowy and heavy, as soon as they wake up they make incense offerings of resin, caring for and purifying the air by breaking it up, and rekindling the body’s exhausted natural spirit, as the scent contains something powerful and stimulating.

“Again during midday, when they notice the sun is forcibly drawing a very great and heavy exhalation from the earth and mixing it into the air, they make incense offerings of myrrh. For heat dissolves and disperses the turbid and murky accumulations in the air around us.

“In fact, even physicians seem to treat the plague by making a great fire and rarefying the air, and it is better rarefied if they burn fragrant woods like cypress, juniper and pine. At any rate, they say a doctor named Akron became famous at the time of the Great Plague in Athens by ordering a fire to be lit next to the sick—he helped quite a few people.

“And Aristotle says the sweet smelling breezes from perfumes and blossoms and meadows are just as important for health as for pleasure, since with their warmth and lightness they gently relax the brain which is naturally cold and frigid. If myrrh is in fact called bal by the Egyptians, and if this is best translated as ‘breaking up of congestion’, then this is evidence in support of his explanation.”

εἰ δὲ δεῖ καὶ περὶ τῶν θυμιωμένων ἡμέρας ἑκάστης εἰπεῖν, ὥσπερ ὑπεσχόμην, ἐκεῖνο διανοηθείη τις <ἂν> πρότερον, ὡς ἀεὶ μὲν οἱ ἄνδρες ἐν σπουδῇ μεγίστῃ τίθενται τὰ πρὸς ὑγίειαν ἐπιτηδεύματα, μάλιστα δὲ ταῖς ἱερουργίαις καὶ ταῖς ἁγνείαις καὶ διαίταις οὐχ ἧττον ἔνεστι [τουτὶ] τοῦ ὁσίου τὸ ὑγιεινόν. οὐ γὰρ ᾤοντο καλῶς ἔχειν οὔτε σώμασιν οὔτε ψυχαῖς ὑπούλοις καὶ νοσώδεσι θεραπεύειν τὸ καθαρὸν καὶ ἀβλαβὲς πάντῃ καὶ ἀμίαντον.

ἐπεὶ τοίνυν ὁ ἀήρ, ᾧ πλεῖστα χρώμεθα καὶ σύνεσμεν, οὐκ ἀεὶ τὴν αὐτὴν ἔχει διάθεσιν καὶ κρᾶσιν, ἀλλὰ νύκτωρ πυκνοῦται καὶ πιέζει τὸ σῶμα καὶ συνάγει τὴν ψυχὴν εἰς τὸ δύσθυμον καὶ πεφροντικὸς οἷον ἀχλυώδη γινομένην καὶ βαρεῖαν, ἀναστάντες εὐθὺς ἐπιθυμιῶσι ῥητίνην θεραπεύοντες καὶ καθαίροντες τὸν ἀέρα τῇ διακρίσει καὶ τὸ σύμφυτον τῷ σώματι πνεῦμα μεμαρασμένον ἀναρριπίζοντες ἐχούσης τι τῆς ὀσμῆς σφοδρὸν καὶ καταπληκτικόν.

αὖθις δὲ μεσημβρίας αἰσθανόμενοι σφόδρα πολλὴν καὶ βαρεῖαν ἀναθυμίασιν ἀπὸ γῆς ἕλκοντα βίᾳ τὸν ἥλιον καὶ καταμιγνύοντα τῷ ἀέρι τὴν σμύρναν ἐπιθυμιῶσι· διαλύει γὰρ ἡ θερμότης καὶ σκίδνησι τὸ συνιστάμενον ἐν τῷ περιέχοντι θολερὸν καὶ ἰλυῶδες.

καὶ γὰρ οἱ ἰατροὶ πρὸς τὰ λοιμικὰ πάθη βοηθεῖν δοκοῦσι φλόγα πολλὴν ποιοῦντες ὡς λεπτύνουσαν τὸν ἀέρα· λεπτύνει δὲ βέλτιον, ἐὰν εὐώδη ξύλα καίωσιν, οἷα κυπαρίττου καὶ ἀρκεύθου καὶ πεύκης. Ἄκρωνα γοῦν τὸν ἰατρὸν ἐν Ἀθήναις ὑπὸ τὸν μέγαν λοιμὸν εὐδοκιμῆσαι λέγουσι πῦρ κελεύοντα παρακαίειν τοῖς νοσοῦσιν· ὤνησε γὰρ οὐκ ὀλίγους.

Ἀριστοτέλης δέ φησι καὶ μύρων καὶ ἀνθέων καὶ λειμώνων εὐώδεις ἀποπνοίας οὐκ ἔλαττον ἔχειν τοῦ πρὸς ἡδονὴν τὸ πρὸς ὑγίειαν, ψυχρὸν ὄντα φύσει καὶ παγετώδη τὸν ἐγκέφαλον ἠρέμα τῇ θερμότητι καὶ λειότητι διαχεούσας. εἰ δὲ καὶ τὴν σμύρναν παρ' Αἰγυπτίοις Βὰλ καλοῦσιν, ἐξερμηνευθὲν δὲ τοῦτο μάλιστα φράζει τῆς πληρώσεως ἐκσκορπισμόν, ἔστιν ἣν καὶ τοῦτο μαρτυρίαν τῷ λόγῳ τῆς αἰτίας δίδωσιν.

Plutarch, Isis and Osiris 79 (Moralia 383A–D)

A description of Kyphi from Ancient Greece

“Kyphi is a mixture composed of sixteen ingredients: honey, wine, raisins, cyperus , resin and myrrh, aspalathus and seseli; moreover, mastic and bitumen, rush, patience dock, and in addition to these both of the junipers (one of which they call larger, the other smaller), cardamom and calamus.* These are not, however, combined in just any way, but while the sacred writings are being read to the perfumers as they mix them.

“As for the number of ingredients, because it is a square of a square [i.e. 4 x 4] and the only even number whose perimeter is equal to its area, it is completely appropriate that it is an object of wonder; even so, it must be said that this fact contributes very little to the recipe. Rather, most of the ingredients have aromatic properties that give off a sweet and pleasant exhalation because of which the air is changed and the body, by being moved softly and gently by the stream of air, takes on a balance of elements that brings on sleep; and these aromatic properties also relax and loosen without wine the pain and stress of our everyday worries as if loosening a knot. And they brighten the imagination and the part of us that receives dreams as if polishing a mirror, and they are as purifying to it as the melodies of the lyre which the Pythagoreans used to play before going to sleep in order to charm the emotional and irrational feelings in the soul and in this way heal it.

“For scents often restore our consciousness when it is weakened; often again they smooth and calm it when there are material disturbances spread because of their smoothness throughout the body, as some doctors say sleep comes about when the exhalations from our food slip smoothly, as it were, around our vital organs, touching them and producing a sort of tickling sensation.

“They use kyphi as a potion and a perfumed oil, for when taken as a drink, it seems to purify the inside of the body; as a perfumed oil, it softens the skin. In addition to this, resin and myrrh are the work of the sun, when their plants exude their tears in response to its warmth; but the ingredients of kyphi delight more in the night, as do all those whose nature is nourished by cold winds and shadows and dew and moisture. Whereas the light of the daytime is unitary and simple and the sun shows itself, as Pindar says, ‘through a deserted aether,’ the nighttime air is a blend and mixture of many lights and forces, as if seeds from every star streamed down onto one place. And so it is fitting that they make incense offerings of the former [i.e. resin and myrrh] in the daytime, since they are simple and are born from the sun; while this one [i.e. kyphi], since it is a mixture of so many different qualities, they offer at nightfall.”

τὸ δὲ κῦφι μῖγμα μὲν ἑκκαίδεκα μερῶν συντιθεμένων ἐστί, μέλιτος καὶ οἴνου καὶ σταφίδος καὶ κυπέρου ῥητίνης τε καὶ σμύρνης καὶ ἀσπαλάθου καὶ σεσέλεως, ἔτι δὲ σχίνου τε καὶ ἀσφάλτου καὶ θρύου καὶ λαπάθου, πρὸς δὲ τούτοις ἀρκευθίδων ἀμφοῖν (ὧν τὴν μὲν μείζονα τὴν δ' ἐλάττονα καλοῦσι) καὶ καρδαμώμου καὶ καλάμου. συντίθενται δ' οὐχ ὅπως ἔτυχεν, ἀλλὰ γραμμάτων ἱερῶν τοῖς μυρεψοῖς, ὅταν ταῦτα μιγνύωσιν, ἀναγιγνωσκομένων.

τὸν δ' ἀριθμόν, εἰ καὶ πάνυ δοκεῖ τετράγωνος ἀπὸ τετραγώνου καὶ μόνος ἔχων τῶν ἴσων ἰσάκις ἀριθμῶν τῷ χωρίῳ τὴν περίμετρον ἴσην ἄγασθαι προσηκόντως, ἐλάχιστα ῥητέον εἴς γε τοῦτο συνεργεῖν, ἀλλὰ <τὰ> πλεῖστα τῶν συλλαμβανομένων ἀρωματικὰς ἔχοντα δυνάμεις γλυκὺ πνεῦμα καὶ χρηστὴν μεθίησιν ἀναθυμίασιν, ὑφ' ἧς ὅ τ' ἀὴρ τρεπόμενος καὶ τὸ σῶμα διὰ τῆς πνοῆς κινούμενον λείως καὶ προσηνῶς ὕπνου τε κρᾶσιν ἐπαγωγὸν ἴσχει καὶ τὰ λυπηρὰ καὶ σύντονα τῶν μεθημερινῶν φροντίδων ἄνευ μέθης οἷον ἅμματα χαλᾷ καὶ διαλύει· καὶ τὸ φανταστικὸν καὶ δεκτικὸν ὀνείρων μόριον ὥσπερ κάτοπτρον ἀπολεαίνει καὶ ποιεῖ καθαρώτερον οὐδὲν ἧττον ἢ τὰ κρούματα τῆς λύρας, οἷς ἐχρῶντο πρὸ τῶν ὕπνων οἱ Πυθαγόρειοι, τὸ ἐμπαθὲς καὶ ἄλογον τῆς ψυχῆς ἐξεπᾴδοντες οὕτω καὶ θεραπεύοντες.

τὰ γὰρ ὀσφραντὰ πολλάκις μὲν τὴν αἴσθησιν ἀπολείπουσαν ἀνακαλεῖται, πολλάκις δὲ πάλιν ἀμβλύνει καὶ κατηρεμίζει διαχεομένων ἐν τῷ σώματι τῶν ἀναλωμάτων ὑπὸ λειότητος· ὥσπερ ἔνιοι τῶν ἰατρῶν τὸν ὕπνον ἐγγίνεσθαι λέγουσιν, ὅταν ἡ τῆς τροφῆς ἀναθυμίασις οἷον ἕρπουσα λείως περὶ τὰ σπλάγχνα καὶ ψηλαφῶσα ποιῇ τινα γαργαλισμόν.

τῷ δὲ κῦφι χρῶνται καὶ πόματι καὶ χρίματι· πινόμενον γὰρ δοκεῖ τὰ ἐντὸς καθαίρει, [...] χρῖμα μαλακτικόν. ἄνευ δὲ τούτων ῥητίνη μέν ἐστιν ἔργον ἡλίου καὶ σμύρνα πρὸς τὴν εἵλην τῶν φυτῶν ἐκδακρυόντων, τῶν δὲ τὸ κῦφι συντιθέντων ἔστιν ἃ νυκτὶ χαίρει μᾶλλον, ὥσπερ ὅσα πνεύμασι ψυχροῖς καὶ σκιαῖς καὶ δρόσοις καὶ ὑγρότησι τρέφεσθαι πέφυκεν· ἐπεὶ τὸ τῆς ἡμέρας φῶς ἓν μέν ἐστι καὶ ἁπλοῦν καὶ τὸν ἥλιον ὁ Πίνδαρος ὁρᾶσθαί φησιν ‘ἐρήμης δι' αἰθέρος’, ὁ δὲ νυκτερινὸς ἀὴρ κρᾶμα καὶ σύμμιγμα πολλῶν γέγονε φώτων καὶ δυνάμεων οἷον σπερμάτων εἰς ἓν ἀπὸ παντὸς ἄστρου καταρρεόντων. εἰκότως οὖν ἐκεῖνα μὲν ὡς ἁπλᾶ καὶ ἀφ' ἡλίου τὴν γένεσιν ἔχοντα δι' ἡμέρας, ταῦτα δ' ὡς μικτὰ καὶ παντοδαπὰ ταῖς ποιότησιν ἀρχομένης νυκτὸς ἐπιθυμιῶσι.

Plutarch, Isis and Osiris 80 (Moralia 383E–384C)

*Plutarch’s list of kyphi ingredients

1. μέλι (meli): honey

2. οἶνος (oinos): wine

3. σταφίς (staphis): raisins

4. κύπερον (kyperon): cyperus, probably Cyperus rotundus L.

5. ῥητίνη (rhetine): resin, probably some kind of pine resin

6. σμύρνα (smyrna): myrrh, Commiphora myrrha Engl.

7. ἀσπάλαθος (aspalathos): possibly camelthorn, Alhagi maurorum L.; or thorny trefoil, Calycotome villosa Link; or Genista, Genista acanthoclada DC

8. σέσελι (seseli): hartwort, Tordylium officinale L.

9. σχῖνος (skhinos): mastic: Pistacia lentiscus L.

10. ἄσφαλτος (asphaltos): bitumen

11. θρύον (thryon): rush

12. λάπαθον (lapathon): patience dock, Rumex patientia L.

13. ἄρκευθος μείζων (arkeythos meizon): larger juniper, Juniperus macrocarpa L.

14. ἄρκευθος ἐλάττων (akreythos elatton): smaller juniper, Juniperus communis L.

15. καρδάμωμον (karadmomon): cardamom, Elettaria cardamomum Maton

16. κάλαμος (kalamos): calamus, Acorus calamus L.

Pedlars and Peddlers, Hucksters and Trash-talkers

(Ed 22 March 2019: I’ve since found an excellent book on shopping in Ancient Rome by Claire Holleran. Here’s the Google books view of the relevant chapter.)

I’ve been trying to sort out a term from Galen’s pharmacology: a group of people called ‘rhôpopôlai‘ who seem to deal with plants professionally. Not ‘professionally’ like doctor- or florist-professionally, but still in a way that everyone recognizes:

"Once I have added this further point, I will end the discussion of abrotanum. The incredible Pamphilus, although he describes this herb first and even tries to give a description of it from his own experience (so what if he doesn’t do this for any of the herbs that follow), nevertheless makes a terrible error: he thought that this plant is the one the Romans call, 'santonicum'. The fact is, abrotanum differs from santonicum, as Dioscorides very accurately described in book three of De materia medica. Everyone knows this, doctors and rhôpopôlai alike.

τοσόνδε μέντοι προσθεὶς ἔτι περὶ ἀβροτόνου καταπαύσω τὸν λόγον, ὡς ὁ θαυμασιώτατος Πάμφιλος, καίτοι ταύτην πρώτην πόαν γράφων καὶ τάχ' ἂν εἰ μηδενὸς τῶν ἐφεξῆς, ἀλλὰ ταύτης γοῦν ἐθελήσας αὐτόπτης γενέσθαι, ὅμως ἔσφαλται μέγιστα, νομίζων ὑπὸ Ῥωμαίων σαντόνικον ὀνομάζεσθαι τὴν βοτάνην.  διαφέρει γὰρ ἀβρότονον σαντονίκου, καθότι καὶ Διοσκουρίδης ἔγραψεν ἐν τῷ τρίτῳ περὶ ὕλης ἀκριβέστατα, καὶ πάντες ἴσασι τοῦτό γε ἰατροὶ καὶ ῥωποπῶλαι.

Galen, Simple Drugs, 6.pr. (11.804 K.)

Galen thinks doctors are expected to know the difference between one kind of artemisia and another (artemisia santonicum and artemisia abrotanum). His expectations for the rhôpopôlai, however, are more relaxed, and he doesn't think he's being controversial in saying this (he mentions this profession five times, he's not too big on them). At the same time he also seems confident that he and his audience are familiar with who these people are. The character of the rhôpopôlês is so well known, so utterly unremarkable, that it can slip in as the punchline of Galen’s trash-talk.

Of course, they aren’t unremarkable anymore. I have no idea what a 'rhôpopôlês' is, what he knows or doesn’t know, where one finds him in town, what he does. The rhôpopôlês is an alien to me. Even after putting together a bunch of texts that talk about him, I’m still not sure I really get the joke. 

A 'rhôpopôlês' is probably something like a huckster, hawker, costermonger, street-vendor. (to be honest, I don't know what these guys are either. I have an irrational fear of markets and my imagination is limited to the pedlars on summer sundays at Parc Mont Royal). Literally, it is someone who sells or deals in ῥῶπος. What this means is not totally clear: sometimes, it means a trinket, or small non-perishable good, i.e., something you don’t need a fixed shop to sell; other times it means something much more specific, namely pigments, oils, dyes, perfumes and drugs.

The specification we see in later sources led to some debate about whether this term (and terms like it) implies there was a profession of druggists or pharmacists in Roman antiquity. It probably doesn't; there were ‘root-cutters’, but that’s another story.

“'Rhôpopôlês': a person who sells 'rhôpos’, that is any dry, miscellaneous goods.”

ῥωποπώλης: ὁ τὸν ῥῶπον πωλῶν, ὅ ἐστι ξηρὸς φόρτος καὶ ποικίλος.

Phrynichus, Sophistic Preparations (epitome) Page 107, line 1

“Rhôpos and gelgê: Miscellaneous and small goods. Thus, 'rhôpopôlês' (‘rôpos-seller) and 'gelgopôlê' (gelge-seller).”

ῥῶπος καὶ γέλγη· ὁ ποικίλος καὶ λεπτὸς φόρτος, ὅθεν ῥωποπώλης καὶ γελγοπώλη

Aelius Dionysius, Attic Names, s.v. ῥῶπος (entry 14)

“The Attics say ‘gelgê ' and ' gelgê-seller'; Greeks say 'rhôpos ' and 'rhôpos-seller'.”

γέλγη καὶ γελγοπώλης Ἀττικοί, ῥῶπος καὶ ῥωποπώλης Ἕλληνες.

Moeris, Attic Lexicon, 194,4

“It is said that the first Phoenicians to sail to Tartessos, having brought oil and other nautical rhôpos, came back loaded with so much silver that there was nowhere to keep or put it, but when sailing away from the place they were forced to make everything else which they used out of silver, and even all the anchors, as well.”

Τοὺς πρώτους τῶν Φοινίκων ἐπὶ Ταρτησσὸν πλεύσαντας λέγεται τοσοῦτον ἀργύριον ἀντιφορτίσασθαι, ἔλαιον καὶ ἄλλον ναυτικὸν ῥῶπον εἰσαγαγόντας, ὥστε μηκέτι ἔχειν δύνασθαι μήτε ἐπιδέξασθαι τὸν ἄργυρον, ἀλλ' ἀναγκασθῆναι ἀποπλέοντας ἐκ τῶν τόπων τά τε ἄλλα πάντα ἀργυρᾶ οἷς ἐχρῶντο κατασκευάσασθαι, καὶ δὴ καὶ τὰς ἀγκύρας πάσας.

Pseudo-Aristotle, On Marvellous Things Heard, 844a17-23

“Nature is everywhere precise, artistic, lacking nothing and without excess – ‘having’, as Erasistratus says, ‘nothing rhôpikon.’” (=trashy? tracky? worthless?? superfluous?)

πανταχοῦ μὲν γὰρ ἡ φύσις ἀκριβὴς καὶ φιλότεχνος καὶ ἀνελλιπὴς καὶ ἀπέριττος, ‘οὐδέν’ ὡς ἔφησεν Ἐρασίστρατος ‘ἔχουσα ῥωπικόν’

Plutarch, Moralia 495C7-9 = Erasistratus Fr. 83

[[then there’s a semantic shift, at some point in the dark ages.]]

“'Rhôpos': compounds, pigments, all those things used by dyers, painters and perfumers. Whence, 'rhôpopôlês', 'perfume dealer' (?). Some people have also called miscellaneous goods, 'rhôpos'.”

Ῥῶπος: μίγμα· χρώματα, ὅσα βαφεῦσι, ζωγράφοις, μυρεψοῖς χρησιμεύει· ὅθεν ῥωποπώλης, ὁ μυροπώλης· τινὲς δὲ καὶ τὸν παντοδαπὸν φόρτον, ῥῶπον εἰρήκασιν.

Photius, Lexicon, s.v. Ῥῶπος (p.494)

“Rhôpos: compounds of colour, those which are used by dyers, painters and perfumers. Whence 'rhôpopôlês'. Some people have also called miscellaneous goods 'rhôpos'.”

Ῥῶπος: μίγμα χρώματος, ὅσα βαφεῦσι, ζωγράφοις, μυρεψοῖς χρησιμεύει. ὅθεν ῥωποπώλης. τινὲς δὲ καὶ τὸν παντοδαπὸν φόρτον ῥῶπον εἰρήκασι.

Suda, s.v. Ῥῶπος

“A rhôpos is a small, cheap, miscellaneous good, as Aelius Dionysius says, while gelgê, he says, is what the ancients called it. Whence, just as there are rhôpos-sellers, so too there are gelgê- sellers. The word, 'rhôpos', occurs in Demosthenes and others, and in Strabo. From this also comes rhopoperperethra, when someone calls out to someone they are mocking with vulgarity and silliness ('trash-talk'?), the inflection of which follows daktylethra ('finger sheath') and similar words. It also occurs in the verb, 'rhôpizein', which refers to making compounds and mixtures.

Ῥῶπος μέντοι λεππὸς καὶ εὐτελὴς φόρτος, ὡς δὲ Αἴλιος Διονύσιος λέγει, καὶ ποικίλος, γέλγην δέ, φησίν, αὐτὸν ἔλεγον οἱ παλαιοί. ὅθεν καθὰ ὁ ῥωποπώλης, οὕτω καὶ ὁ γελγοπώλης. ἡ δὲ λέξις τοῦ ῥώπου παρά τε Δημοσθένει καὶ ἑτέροις, κεῖται δὲ καὶ παρὰ τῷ Στράβωνι. ἐκ τούτου δὲ καὶ ῥωποπερπερήθρα τις προσερρήθη ἐπὶ χυδαιότητι καὶ φλυαρίᾳ σκωπτόμενος, οὗ ἡ παραγωγὴ κατὰ τὸ δακτυλήθρα καὶ τὰ ὅμοια. φέρεται δὲ καὶ ῥῆμα τὸ ῥωπίζειν, ὃ δηλοῖ τὸ σύμμικτα καὶ συμπεφυρμένα ποιεῖν.

Eustathius, Commentarii ad Homeri Iliadem, 3.459-360