324 ih. ATHENS AS A CULTURAL CENTRE
fifth century, owes its origins to an assimilation of art forms first
developed in the Dorian Peloponnese. From the beginning, it never
closed its doors to foreigners wishing to compete in the tragic contests at
the City Dionysia. In fact, it was a foreigner, Pratinas of Phlius, who first
introduced satyr plays into the tragic contests at Athens, winning on one
occasion - probably between 499 and 496 - the first prize over the
Athenians Aeschylus and Choerilus. Some of his tragedies were posthu-
mously staged by his son Aristias, who not only won the second prize
with them after Aeschylus' Theban tetralogy in 467, but also wrote
victorious tragedies of his own.68 Another innovation, the precise nature
of which is not known but which was concerned with the length of the
plays produced, was introduced before the middle of the fifth century by
Aristarchus of Tegea, who produced seventy tragedies in the course of
his long life but won only two victories.69 Two foreign playwrights were
the only tragedians besides Aeschylus, Sophocles and Euripides to be
admitted into the Alexandrian canon of great tragedians. The lesser-
known of these is Archaeus of Eretria, who was renowned for his satyr
plays and competed with Sophocles and Euripides from the early 440s
on, but is credited with only one victory.70 His older contemporary, Ion
of Chios, has a special claim to fame, not only because he was one of the
most versatile writers of all Classical antiquity, but also because he knew
and wrote about his encounters with some of the most prominent
Athenians of his time. Moreover, his is one of the few cases in which we
have some firm dates.
Ion was born in Chios within the decade 490-480, and Aristophanes'
Peace (834-7), first performed in 421, refers to his recent death,
presumably in Athens. His first tragic victory in Athens fell within the
eighty-second Olympiad, that is, between 45 2 and 449, and he won the
third prize in 428 at the contest which Euripides won with his Hippolytus.
All in all ten tetralogies of his were known, and on one occasion of
unknown date he celebrated a double victory in the tragic and dithyram-
bic contests of the City Dionysia by treating every Athenian citizen to a
jar of Chian wine, a testimony of his wealth. Of his tragedies little more
than some titles have come down to us, but the elegance and smoothness
of his style are praised by as sensitive a critic as the author of On the
Sublime (33.5), although he regards it as inferior to the fiery genius of
Sophocles. This judgement is confirmed by his dithyrambs, elegies,
epigrams and solo lyrics, of which a larger number of sometimes
extensive fragments has survived. Nothing remains of his hymn to
Kairos (the decisive moment), whom he called the youngest child of
Zeus, and which will have prefigured the love of personification of
68
Lcsky 224 and 231—2; Schmid and Stahlin 1.2.82-3 and 178-82.
" Schmid and Stahlin 1.2.514.
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