Ηρακλής (fr. 16)

97

referring to fierceness or perhaps piercing intellect; see e. g. Kock 1894b on Ar.
Av. 255. That seems not to be the case, however, at E. Cyc. 104 (cf. Odysseus’
reply, Cyc. 105 λοιδορεί δέ μή) or here (cf. on 1 above). The normal field of the
word is better defined by its use to describe a bitter or biting taste (Pl. Com.
fr. 169; Diph. fr. 18.4), the sting of smoke in the eyes (Ar. V. 146), or the sting
of a blow (Ar. Pax 257; cf. Taillardat 1965 §602); cf. Ar. Ra. 652 έβλεπεν ε’ίς με
δριμύ with Dover 1993 ad loc.·, Taillardat 1965 §§356-7. Ar. Byz. fr. 31 reports
that Euripides used δριμύ in the sense of συνετόν, which is regularly taken as
a reference to the occurrence in Cyc. The gloss may refer to a secondary sense,
as Seaford 1984 ad loc. suggests; more likely, it is based on a misunderstanding
due to mispunctuating of the line κρόταλον, δριμύ Σισύφου γένος (printed by
Prinz-Wecklein; apparently accepted by Nauck 1848 on Ar. Byz. fr. 31 [but not
in his third ed. of Euripides] and Kock).
j1 ενπαπαι f παπαϊ has a range of meanings (e. g. Ar. Ach. 1214; Lys. 215;
Pl. 220; Alex. fr. 15.16; Anaxipp. fr. 4.22), as do related words (e.g. Ar. V. 235,
309; Lys. 924; Ar. Th. 1191), generally dependent on the context. In general,
cf. Labiano Ilundain 2000. 275-86; Headlam-Knox 1922 on Herod. 3.79 for
ταταϊ (an expression of pain) and on the accentuation παπαϊ as opposed to
παπαί. If I understand the fragment correctly, here the word is an expression
of distress or discomfort, as the speaker recalls the playing of the student or
competitor mentioned in 1-3.
4-6 The speaker turns from narration of the past and directly addresses
his interlocutor, whose cithara playing has probably just been contrasted with
that of the person described in 1-3.
4-5 For a verbal resemblance, although of doubtful relevance, cf. Plu. Mor.
150c τού θεού μεστός γενόμενος μή άθαρσέστερον άγωνίσωμαι.
4 μεστός γενόμενος ‘Canticis plenus,’ Dalechamp; LSJ is misleading.
Aside from the occasional negative qualification (e.g. Alex. fr. 150.5 μεστήν
γυναικείας χολής; Diph. fr. 17.15 μεστοί λάπης), μεστός seems generally to
invoke a pleasing image.
προς τον Άργάν Argas (PAA 160525; Stephanis 1988 #292) was a mus-
ician of the first part of the fourth century (Edmonds’ assertion that he flour-
ished ca. 365 is based on no evidence); see Crusius 1896; Nesselrath 1990.
198 n. 48; Arnott 1996 on Alex. fr. 19. This fragment may imply that he was
a κιθαριστής, and fr. 42.16-18 states that he was a singer (αύλεϊν δ’ αύτοϊς
Αντιγενείδαν / Αργάν δ’ αδειν και κιθαρίζειν / Κηφισόδοτον); elsewhere he
seems known only as a poet.
The testimonia (with the possible exception of Anaxandrides) reflect
a uniformly negative opinion of him and his music; it is possible that an
additional exception occurs at Arist. Po. 1448al5 (cf. Vahlen 1885 ad loc.). He