166

Timokles

sign of effeminacy (Luc. Rh. Pr. 11 τώ δακτύλω άκρω τήν κεφαλήν κνώμενον; cf.
Plu. Caes. 4.9 ένι δακτύλω κνώμενον).
6 ψυχρόν With reference to rhetoric, strained metaphors are considered
to belong to the ‘frigid style’, which also includes the abuse of compound words,
odd vocabulary, and peculiar epithets; cf. Arist. Rh. 1406b 15-9, where, notably,
Philomela, Procne’s sister, is mentioned in a similar metaphorical way. For frigid
jokes cf. Eup. 261 Ήράκλεις, τοΰτ’ έστι σοι I τό σκώμμ’ ασελγές και Μεγαρικόν
και σφόδρα / ψυχρόν; Iheophil. fr. 4 (for the orator Callimedon, the so-called
κάραβος) πώς έχεις προς τον κάραβον; / «ψυχρός έστιν, άπαγε», φησί · ρητόρων
ού γεύομαι; Thphr. Char. 2.4, where it is said that σκώψαντι ψυχρώς έπιγελάσαι
is typical of a κόλαξ; Ath. 5.220d φορτικά σκώπτοντος και ψυχρά; Plaut. Poen.
759-60 os frigefactare, ‘you tell frigid things’. For ψυχρόν as literary term cf. the
mention of the emblematic ‘frigid’ poet Theognis in Aristophanes: Ar. Ach. 138—
140; 77i. 170 ό δ’ αύ Θέογνις ψυχρός ών ψυχρώς ποεϊ; Alex. fr. 184 ψυχρότερον
Άραρότος; Arist. Rh. 1405b; Demetr. Eloc. 2.114, [Longin.] 4; Gutzwiller 1969,18;
Wankel II (1976) 1119 (on D. 18.256); Arnott 1996, 549.
προς θεών This formula is common in comedy, usually at the end of a verse,
e. g. Ar. Pax 9; Av. 663; Ec. 1095; Stratt. fr. 63.1; Antiph. frr. 57.12; 226.1; Men.
Dysc. 201,411. It is less common than προς τών θεών (which, however, in trochaic
tetrameter occurs five times, compared to six προς θεών). It supports a request,
a demand or a question; cf. Barrett 1964, 202 (on E. Hipp. 219); Orth 2015, 277
(on Polioch. fr. 1).
έπίσχετε For the absolute use in the imperative cf. A. Ch. 896; S.OC. 856;
for a similar vague order, followed by a more specific one (cf. the next lemma), cf.
S. Ph. 539 έπίσχετον, μάθωμεν; E. Hipp. 567 έπισχετ’, αύδήν τών έσωθεν έκμάθω.
7 μηδέ συρίξητε συριττω is used here in the sense “disapprove”. It is proba-
bly metatheatrical, addressed both to the interlocutors and to the spectators. For
the verb in theatrical contexts, cf. Antiph. fr. 189 21-2 άν εν τι τούτων παραλίπη /
Χρέμης τις ή Φείδων τις, έκσυρίττεται “if he omits something like Chremes or
Pheidon, he’s hissed off the stage”; cf. X. Smp. 6.5 τω μεν έλεγχομένω οΐμαι άν,
έφη, πρέπειν συριγμόν “for the discomfited disputant, (Antisthenes) said, I think
the appropriate music would be a hissing”; D. 18.265; έξέπιπτες, έγώ δ’ έσύριττον
“you were hissed offstage, I was hissing”; Aeschin. 3.76 και άμα τή ήμέρα ήγεΐτο
τοΐς πρέσβεσιν εις τό θέατρον, ώστε και συριττεσθαι διά τήν άσχημοσύνην και
κολακείαν “and at daybreak he led the ambassadors into the theatre, with the result
that he was hissed for his disgraceful and fawning conduct”; Arist. Po. 1455a 28-9
έπ'ι δε τής σκηνής έξέπεσεν δυσχερανάντων τούτο τών θεατών “the audience was
annoyed at this and the work was hissed off stage”; Pl. Lg. 3.700c3 ού σύριγξ ήν
ούδέ τινες άμουσοι βοα'ι πλήθους “there was not a pipe nor the mob’s unmusical
shoutings”; Bain 1977,102, n. 1. Sometimes συρίττειν is accompanied by the ono-
matopoeic κλώζειν, e. g. D. 21.226Ύμών οί θεώμενοι τοΐς Διονυσίοις είσιόντ εις τό
θέατρον τούτον έσυρίττετε καί έκλώζετε “those of you who attended the Dionysia
hissed and crowed as he entered the theater”; Plu. Mor. 813e; Alciphro 3.35.3;