Көне гректер мен этрускілердің коттабос ойыны

Target game played by ancient Greeks and Etruscans

Kottabos (κότταβος) was a game of skill played at Ancient Greek and Etruscan symposia (drinking parties), especially in the 6th and 5th centuries BC. It involved flinging wine lees (sediment) at a target in the middle of the room. The winner would receive a prize (κοττάβιον or "kottabion"), comprising cakes, sweetmeats, or kisses. Ancient writers, including Dionysius Chalcus, Alcaeus, Anacreon, Pindar, Bacchylides, Aeschylus, Sophocles, Euripides, Aristophanes, and Antiphanes, make frequent and familiar allusion to the practice; and it is depicted on contemporaneous red figure vases. References to the practice by the writers of the Roman and Alexandrian periods show that the fashion had died out. In Latin literature, it is almost entirely unknown. Dexterity was required to succeed in the game, and unusual ability was rated as highly as corresponding excellence in throwing the javelin. Kottabos was customary, and, at least in Sicily, special circular buildings were established, so the players might easily be arranged around the target, and follow each other in rapid succession. Like all games in which the element of chance found a place, it was regarded as more or less ominous of the future success of the players, especially in matters of love – and the excitement was sometimes further augmented by some object of value being staked on the event. The stake in the game was often a attending the symposium with the players.

As Antiphanes wrote in his play: "the kottabos player puts the index finger of the right hand through the handle of the drinking cup, palm upwards; and the remaining fingers are spread as playing a flute." Both the wine thrown, and the noise made, were called latax (λάταξ).

The plastinx (small saucer) was fixed on top of the rhabdus (pole), with the lecanis (large saucer) below. The players tried to fill the plastinx with enough wine to tip it over (with a crash) onto the lecanis.

Played exactly the same as method No. 1, except that the plastinx was supposed to hit the manes (figurine) on the way down to the lecanis.

Played exactly the same as method No. 1, except that the manes (instead of the plastinx) was fixed on top of the rhabdus, and it was at this that the wine was thrown.

Another variation of the kottabos involves a different kind of target. On a red figure cup by Apollodoros, it shows some symposiasts aiming at a target with a phallus headed bird balancing on top of a tripod which is placed on a flat pan. The pan is inscribed KOTABOS, so it is certain which game is played. This target is unique, and it emphasizes the erotic side of both the game and the symposium.

Before the kottabos player throws the wine lees, the turn is dedicated to a The player's words can be a sort of toast or dedication to the person of affection. The toast can serve as a question about the possibility of success in love, which would be answered by the outcome of the throw. It emphasizes the love nature of this game, and the core idea of bonding at the symposium. One of the most famous inscriptions is on the red figure psykter of the four hetairai by Euphronios. On this psykter, Smikra is dedicating her turn to Leagros. The inscription says: "Tin tande latasso leagre (I am throwing this for you, Leagros)." Leagros was a popular youth frequently named in kalos inscriptions on sympotic vases around this period. Sometimes painters would use gods as representations of a kottabos player when giving a kottabos toast. On a red figure stamnos by the Copenhagen painter, Dionysus is painted as one of these representations. The inscription beside his arm says: "tot tende (this is for you)." On the left, a satyr completes the sentence: "lykoi (for Lykos)", who was a youth popular at the time, and known from other inscriptions. Apparently, the god is used as a mouthpiece for a human to speak of his affection. On another red figure cup, the inscription, "ho pais kalos (the youth is beautiful)", seems to spring out from the player's cup, and follow the trajectory of the wine that is being thrown. Kottabos involves disruption of equilibrium when the plastinx falls, or the oxybapha are sunk. This break in equilibrium symbolizes the uncertainty a person may feel when a lover is present. So when balance is broken, the sound of the plastinx falling onto the manes, and the sunk of the oxybapha, serves as a good omen, indicating that the love of the player is assured. The successful play of the kottabos game would represent success when pursuing love or being loved by young men and women. Another interpretation of the four hetairai is that these female symposiasts are Spartans. This would account for the Doric dialect used on the inscription and also the absence of couches, which is consistent with the stereotypes about Sparta held by the Athenians. The use of female symposiasts as a humorous trope is consistent with several black figure vases with figures that are interpreted as Etruscan women. As with Spartan women, they were considered to be uncivilized.

Most of the cups being used to play the kottabos game were regular kylikes as shown on painted pots. But there is a unique kottabos cup in Oxford: instead of a regular foot, this cup has a conical shaped projection at the bottom. It is said to be a cup customized for playing the kottabos. Wear on the handles accords with the way a kottabos player would employ the cup. With its special foot, it would be conveniently carried as a personal kottabos cup to symposiums.