98

Ηρακλής (fr. 16)

is called a poet μοχθήρων νόμων vel sim. (Phainias of Eresus fr. 10; Plu. Dem.
4.8; Hsch. a 7013), his name is used as a mocking nickname for Demosthenes
(Aeschin. 2.99 with Σ ad loc. [221 Dilts]; Plu. Dem. 4.8), and he is mocked at
Alex. fr. 19. Arnott 1996 ad loc. asserts that the opinion expressed by Phainias,
and possibly hence by Plutarch and Hesychius, was based on a comic or hostile
philosophical source; his evidence is that Argas would not have performed
at the wedding between Iphicrates and the daughter of Cotys, king of Thrace
(cf. fr. 42), if he had a poor reputation as a musician. The description of the
wedding is not necessarily straightforward and the appearance of Argas there
may be part of its outlandishness (cf. ad loc.), and Argas’ apparent inclusion
among the sophists here is hardly meant as a compliment. Arnott’s point is
nonetheless well taken and is most likely correct. In addition to the mockery
often directed by comic poets toward musicians and other performers, Neil
1901 on Ar. Eq. 534 connects the termination -ας in terms of abuse and
men’s names, suggesting that such names were originally derogatory, so the
formation of Argas’ name may have made him an especially easy target.
4-5 βούλομαι ... πέμψαι For the force of the aorist infinitive, cf.
Goodwin 1890 §96.
κωδωνίσας From κώδων (‘bell’), the word meant to test the authenticity
of coins on the basis of the sound produced by striking them on a hard sur-
face (presumably derived from the actual testing of bells), although its sense
became more generalized; cf. van Eeeuwen 1896 and Stanford 1963b on Ar.
Ra. 79; Σ Ar. Ra. 79 έκ μεταφοράς των νομισμάτων; Blumner 1891. 148; Pease
1904. 56. Here the notion of testing by sound is particularly appropriate.
άγωνιούμενον Regularly used of dramatic competition (e. g. Ar. Ach. 140;
V. 1479; cf. Th. 1061), the verb can also be used of actors (D. 19.246; Teles p. 5.3),
rhapsodes (Hdt. 5.67) and choruses (Syll? 617 [Delos, 189 BC]). The usage is
thus not remarkable, even if the word does not refer to musicians elsewhere.
For musical contests both in Athens and elsewhere in Greece in general, see
Shapiro 1992; Kotsidu 1991; Reisch 1885. For a set of rules for musical contests
(second/third AD?), see Pearl 1978.
6 καί σύ The use of καί here strongly implies that the addressee is being
sent to defeat the sophists, just as a previous person defeated them; see above
on introduction to this play.
τούς σοφιστάς In reference to poets, the word occurs first at Pi. I. 5.28
(cf. Σ ad loc. ); cf. O. 1.8-9 ύμνος ... σοφών with Gerber 1982 ad loc. It is
commonly used of musicians as well, especially in the latter part of the fifth
century, e. g. Cratin. fr. 2 with Kassel-Austin ad loc.·, Eup. fr. 483; Pl. Com. fr.
149; S. fr. 906; cf. Phryn. Com. fr. 74; ΣΤ Η. II. 15.412b1; such references are gen-
erally not complimentary (cf. Pearson on S. fr. 101 [adesp. trag. TGrFE lb(a)]).