THE VOICE BEHIND THE MASK: PROBLEMATIZING THE THEATRE METAPHOR FOR ECSTATIC PROPHECY IN PLUTARCH'S <i>DE PYTHIAE ORACVLIS</i>

Abstract Different translations of Plutarch's De Pythiae oraculis 404B reflect an interpretative difficulty not yet adequately thematized by exegetes. dialogues on the Delphic oracle describe two perspectives mantic inspiration: possession prophecy, where god takes over prophetess as a passive apparatus, and stimulation incites but delivers through her own faculties. Plutarch understands Pythia at Delphi to exhibit possession. One his metaphors for inspiration comes from theatre: ‘puts into Pythia's mouth, like actor speaking mask’ ( Pyth. or . [Russell]). Some translators take metaphor describing prophecy (Goodwin), while others it (Babbitt)—in other words, may view affirms he rejects. This article assesses alternatives, concluding that theatre describes prophecy.