Though sometimes written in prose, their natural medium was the iambic measure, invented by Archilochus, and they were meant both for a male and female audience. Iambus the jester, _Pierrot_, has his female counterpart in Iambë, _Pierrette_, who appears in the Homeric hymn to Demeter, and by her capers forces the sad goddess to smile once more. This is, perhaps, the one justification of the tales; in their more innocent form they were intended to purge away that feeling of melancholy of which, as the precursor of madness, the Greeks were so much afraid, by exciting the emotion of laughter; just as tragedy effects the same purpose by exciting the emotions of pity and fear. But this sort of humour in Athens and Ionia soon degenerated into coarseness, and Iambë, her name now changed to Baubo, as we see her in the ritual statuette, a woman sitting on a pig, played a prominent and a shameful part in the Eleusinian mysteries of Demeter. The worship of the sorrowing mother—Mater Dolorosa—was made the cloak for nameless obscenities, and the influence of religion was added to that of literature to degrade men’s conception of women. These were the sort of verses and images to which Aristotle alludes in the Seventh Book of the _Politics_; and this is one of the reasons for Plato’s objection to poetry; better no literature at all, he thinks, than literature degraded to these ends.
The worst type of Milesian or Sybaritic tale was definitely meant to stimulate the animal passions, and owed little to any qualities of humour or imagination. The sense of artistic fitness which the Athenians always possessed kept this kind of stories out of written literature during the great period, and confined them to the gossip of the perfumers’ and barbers’ shops. But as soon as the decadence began, these ‘Ionian poems,’ as Athenæus calls them, became a recognised branch of letters, and we hear of their chief practitioners, writers of ‘facetiæ,’ the ‘Hilarodoi,’ the ‘Simodoi,’ and the ‘Lysiodoi.’
Among the more notorious authors were Simus the Magnesian, Alexander the Ætolian, Pyres the Milesian, and Sotades of Maronea, who gives his name to that whole class of licentious writings which is represented in modern times by the sotadic satire of Nicholas Chorier. Sotades, however, did not confine himself to the comparatively safe pastime of libelling women. He ventured to write lampoons upon Ptolemy Philadelphus and his sister Arsinoe, was caught on the island where he had taken refuge, put into a jar with a leaden top, and drowned.