Old Persian Marika-, Eupolis Marikas And Aristophanes Knights

The little we know with certainty about Eupolis' Marikas can be summarised in a few lines. (1) The play was produced at the Lenaea of 421 b.c. (2) The demagogue Hyperbolus was satirised under the name of Marikas, and was represented as a man of little or no culture (Quint. 1.10.18 = Eup. fr. 193 K. Maricas, qui est Hyperbolus, nihil se ex musice scire nisi litteras confitetur). (3) Marikas/Hyperbolus was a slave. This has been denied in the past, but is now made clear by the commentary on the Marikas in P. Oxy. 2741 (no. 95, 145 f. Austin) πρ⋯ς[⋯ν] δεσπότην ⋯ Ὑπέρβολος. (4) Aristophanes complained in the Clouds we possess (i.e. in the revised edition of this play) that Eupolis had availed himself of the Knights for his Marikas (Nub. 553 ff.), and it is in fact possible that the idea of Marikas as a slave was borrowed from the Knights, because some of his traits seem to correspond to those of the Aristophanic Sausage-seller. (5) The play apparently had two semi-choruses, one of rich and one of poor people.The point of the name Marikas has long been debated. Ancient sources are at least agreed that it is ‘barbarian’. Herodianus 1.50,12 Lentz does not go beyond stating that Marikas is an ⋯νομα βάρβαρον παρ⋯ τῷ κωμικῷ (he refers to Ar. Nub. 553). Hesych. μ 283 Latte has more to offer: Μαρικ⋯ν· κίναιδον. οἱ δ⋯ ὑποκόρισμα παιδίου ἄρρενος βαρβαρικόν (so Meineke for βαρβαρικα⋯, rightly).