216

Πρωτεσίλαος (fr. 42)

An additional possibility is that Cotys resumes as the subject and that the
references to Sparta and Thebes allude to his political maneuvering; but this
interpretation is difficult, since the names of musicians intrude between the
verb and the last mention of Cotys.
19 μέλπειν δ’ ώδαΐς Cf. E. Cyc. 69-70 with Seaford 1984 ad loc.·, Ar. Th.
988-9. μέλπω is normally confined to high poetry; the only other occurrences
in comedy are the four times it is used in a religious context during the same
choral ode in Ar. Th. (961, 970, 974, 989).
20-21 τοτέ μέν ... τοτέ δ’ αύ Cf. Ar. Αν. 1398-9; without αύ, e.g. S. OC
1745; Ar. Eq. 540.
Σπάρτην την εύρύχορον ... Θήβας τάς έπταπύλους The references to
Sparta and Thebes combine the names of the cities with traditional epithets
from epic and other elevated poetry. If these lines are not interpreted as a
political jibe against Cephisodotus, they serve to characterize more fully the
entertainment at the wedding feast and perhaps provide a humorous contrast
between the ethos associated with such poetry and Cotys’ evident ignorance
of the behavior or social conventions appropriate to such an occasion. The
first half of the fourth century, however, did witness the Spartan attempt at
hegemony, followed by that of Thebes, and the rebuilding of an Athenian
League, and these names likely evoke contemporary political relationships.
For the history of the period, see Cartledge 1987, esp. 274-313 for the relation
between the three states; Hamilton 1991; Buckler 1980.
Sparta is described as εύρύχορος only in a Delphic oracle at Hdt. 7.220.4
(Parke-Wormell 1956 11.44 #100), but the adjective is applied to Lacedaimon
twice in Homer (Od. 13.414; 15.1). έπτάπυλοι, on the other hand, is the
standard epithet of Thebes both in Homer (II. 4.406; Od. 11.263) and elsewhere
(e.g. P. P. 3.90-1; N. 9.18 with Braswell 1998 ad loc.·, B. 19.47;93 cf. A. Th. 165).
22 τάς <θ’> άρμονίας μεταβάλλειν αρμονία is the term for a musical
mode; for discussion generally and concerning the individual modes, see
West 1992. 177-89; Anderson 1994 passim. For changes of mode, cf. Phryn.
PSp. 25.2-9; Antiph. fr. 207.4 with Kassel-Austin ad loc. Although the meaning
of the word in its technical musical sense is foremost in this context, the notion
of joining inherent in the word could easily refer as well to alliances or pacts
between states, especially if the idea has already been suggested; alternatively,
the point may be that different modes are used for singing about Sparta and
about Thebes.
23 φερνάς τε λαβεΐν After describing various aspects of the wedding
feast, the poet turns to a description of the dowry, although it is quickly

93 LSJ’s citation of 18.47 uses the old numbering.