Πρωτεσίλαος (fr. 42)
215
14 γευόμενον των κρατήρων γεύομαι is normally found with a gen-
itive of the thing tasted (e. g. Ar. fr. 478; Axionic. fr. 4.18; Phoenicid. fr. 2.3).
The construction here is probably similar, with the verb having the sense
‘experience’ or ‘have a go at’ (the translation of Ar. Ra. 462 by Sommerstein
1996); less likely, των κρατήρων may be a genitive of source.
16 αύλεΐν For the aulos, see on fr. 19.2.
Αντιγενείδαν Αντιγενείδας Σατύρου (or Διονυσίου) Θηβαίος (Stephanis
1988 #196; Koumanoudes 1979 #138; Berve 1926 II.8 [p. 415]), one of the fore-
most musicians of the first half of the fourth century, popularized a new style
of auZos-playing known as πλάσις or μετά πλάσματος (Thphr. HP 4.11.4-5);
in general, see Dinse 1856. For the orthography of his name (-είδας vs. -ίδας),
cf. Kuhner-Blass 1890-1892 11.283; Lobeck 1837. 4-6.
17 Αργάν δ’ αδειν For Argas, see on fr. 16.4. On the basis of this passage
(in contrast to fr. 16.4, where he seems to be a kitharistes), Stephanis 1988
#292 suggested that he was an aulode; for αδειν meaning ‘sing with musical
accompaniment’, cf. Ar. Ra. 1304-7; Amips. fr. 21.1-2; Cratin. fr. 254.
18 Κηφισόδοτον τον Άχαρνήθεν The kitharistes Cephisodotus
(Stephanis 1988 #1393; PA 8326; PAA 567705; LGPNII s. v. #20) is otherwise un-
known; see on 19-22 for possible identification with another Cephisodotus.
19-22 Scholars have disagreed about whether the subject of these lines
is all three musicians (thus Meineke and Edmonds) or only Cephisodotus
(thus Bothe). Bergk 1883 11.544, advocating the latter, suggested that ‘dieser
Kephisodotos ist wohl ein Politiker, der damals bald zu Sparta, bald zu Theben
hinneigte, den der witzige Komiker als Kitharoden einfuhrt’. Bergk’s inter-
pretation lends point to the references to Sparta and Thebes, explains the
presence of an otherwise unknown musician in the company of two of the
most famous, as well as the poet’s furnishing him with a demotic, and adds
a political tone that coincides with what can be suggested about the general
content of the play (on the final point, see the Introduction to the play and the
general Introduction). The main objection to Bergk’s suggestion is the lack of
a known, politically important Cephisodotus of Acharnae. Bergk proposed an
identification with the general Cephisodotus (PA 8313; PAA 567530), although
Kassel-Austin are rightly critical of this; a second possibility is a relative
(grandfather?) of Cephisodotus son of Euarchides of Acharnae (PA 8327; PAA
567730), who seems to have been politically active in the latter part of the
fourth century and the early years of the third.92
92
Kirchner (on PA 8326) hints at kinship between the two men.
215
14 γευόμενον των κρατήρων γεύομαι is normally found with a gen-
itive of the thing tasted (e. g. Ar. fr. 478; Axionic. fr. 4.18; Phoenicid. fr. 2.3).
The construction here is probably similar, with the verb having the sense
‘experience’ or ‘have a go at’ (the translation of Ar. Ra. 462 by Sommerstein
1996); less likely, των κρατήρων may be a genitive of source.
16 αύλεΐν For the aulos, see on fr. 19.2.
Αντιγενείδαν Αντιγενείδας Σατύρου (or Διονυσίου) Θηβαίος (Stephanis
1988 #196; Koumanoudes 1979 #138; Berve 1926 II.8 [p. 415]), one of the fore-
most musicians of the first half of the fourth century, popularized a new style
of auZos-playing known as πλάσις or μετά πλάσματος (Thphr. HP 4.11.4-5);
in general, see Dinse 1856. For the orthography of his name (-είδας vs. -ίδας),
cf. Kuhner-Blass 1890-1892 11.283; Lobeck 1837. 4-6.
17 Αργάν δ’ αδειν For Argas, see on fr. 16.4. On the basis of this passage
(in contrast to fr. 16.4, where he seems to be a kitharistes), Stephanis 1988
#292 suggested that he was an aulode; for αδειν meaning ‘sing with musical
accompaniment’, cf. Ar. Ra. 1304-7; Amips. fr. 21.1-2; Cratin. fr. 254.
18 Κηφισόδοτον τον Άχαρνήθεν The kitharistes Cephisodotus
(Stephanis 1988 #1393; PA 8326; PAA 567705; LGPNII s. v. #20) is otherwise un-
known; see on 19-22 for possible identification with another Cephisodotus.
19-22 Scholars have disagreed about whether the subject of these lines
is all three musicians (thus Meineke and Edmonds) or only Cephisodotus
(thus Bothe). Bergk 1883 11.544, advocating the latter, suggested that ‘dieser
Kephisodotos ist wohl ein Politiker, der damals bald zu Sparta, bald zu Theben
hinneigte, den der witzige Komiker als Kitharoden einfuhrt’. Bergk’s inter-
pretation lends point to the references to Sparta and Thebes, explains the
presence of an otherwise unknown musician in the company of two of the
most famous, as well as the poet’s furnishing him with a demotic, and adds
a political tone that coincides with what can be suggested about the general
content of the play (on the final point, see the Introduction to the play and the
general Introduction). The main objection to Bergk’s suggestion is the lack of
a known, politically important Cephisodotus of Acharnae. Bergk proposed an
identification with the general Cephisodotus (PA 8313; PAA 567530), although
Kassel-Austin are rightly critical of this; a second possibility is a relative
(grandfather?) of Cephisodotus son of Euarchides of Acharnae (PA 8327; PAA
567730), who seems to have been politically active in the latter part of the
fourth century and the early years of the third.92
92
Kirchner (on PA 8326) hints at kinship between the two men.