This article identifies an ostracism joke in Menander's Samia (364–6) during a climactic scene in which the Athenian Demeas ejects the titular Chrysis from his house. The joke, uttered by a cook who is reacting to Chrysis’ expulsion, plays on the usage of ὄστρακα—broken pieces of pottery—as ballots in the institution of ostracism. The article proposes that the joke references the final abolition of ostracism during Demetrius of Phalerum's reign and reveals Menander's support for the regime.

Greek comedy, especially New Comedy, contains many incidental descriptions of domestic interiors. This article argues that such descriptions constitute a valuable and overlooked source of evidence for historians of the classical Greek house; they are also of interest to literary critics in that they contribute to the thematic and conceptual meaning of the plays. The article presents and discusses all the surviving comic evidence for houses, including many previously neglected comic fragments, as well as a key scene from Menander's Samia which is more detailed than any other surviving literary depiction.

Our extant texts never give a fully comprehensive or representative impression of classical literature. Fragments are valuable because they tell—or hint at—a different story. They represent vestigial traces of a counterfactual alternative version of literary history, and they offer tantalizing glimpses of voices or varieties of human experience that were (accidentally or deliberately) excluded from the classical canon. To ‘think fragmentarily’ is to think beyond the canon and to question traditionally dominant modes of thought. This article uses a neglected fragment of Damoxenus (fr. 3 PCG) as a case study for ‘fragmentary thinking’. This extraordinary fragment reveals that Damoxenus’ comedy dramatized a homosexual love story, in sharp contrast to the familiar heteronormative marriage plots of Menander and other Greek and Roman comic playwrights. Careful examination of a single fragment can prompt us to re-examine conventional scholarly narratives of sexuality in New Comedy.

This article asks how the New Comedy of Menander might have influenced Paul's theological rhetoric in 1 Cor 5–15. An intertextual reading of Paul's letter against the backdrop of Menander's Samia reveals a number of shared topics, ethical concerns and dramatic characteristics. Paul's citation of Menander's Thais in 1 Cor 15.33 is part of this larger strategy to frame the struggles in Corinth within the ambit of Greek household ‘situation comedy’. Like Menander, Paul hybridises tragic and comic motifs throughout his epistle, inflecting the comedy of the Christ narrative with tragic examples of human misapprehension in this plea for ecclesial reconciliation.