256
Eupolis
Citation context An isolated lexicographic entry, although cf.
- ZRV Ar. Pax 830 άναβολάςμν· τάςκ άρχάς των ασμάτων.RV "Ομηρος (Od.
1.155 ~ 8.266)· ήτοι ό φορμίζων άνεβάλλετο καλόν άείδειν (sic V :
ήτοι ό φορμίζων άνεβάλλετο φησίν Όμηρος R) (“anabolai:KV theR begin-
nings of the songs.RV Homer (Od. 1.155 ~ 8.266): ‘he in fact playing his
lyre struck up to sing a beautiful song’” (thus V: “Homer says: ‘he in fact
playing his lyre struck up’” R)
- ZRV Ar. Av. 1385 άναβολάς- προοίμια (“anabolai: preludes”)
- Suda a 1810 άναβολάς· τα προοίμια, καινάς άναβολάς θέλω λαβεΐν (~ Ar.
Αν. 1383-5). ή τάς άρχάς των ασμάτων. "Ομηρος (Od. 1.155 ~ 8.266)· ήτοι
ό φορμίζων άνεβάλλετο καλόν άείδειν. καί Αριστοφάνης (Ραχ 830—1)·
ξυνελέγοντ’ άναβολάς ποτώμεναι, περί ψυχών λέγων διθυραμβοδιδασκά-
λων (“anabolai: preludes. ‘I want to get new anabolai (~ Ar. Av. 1383-5).
Or the beginnings of the songs. Homer (Od. 1.155 ~ 8.266): ‘he in fact
playing his lyre struck up to sing a beautiful song’. Also Aristophanes (Pax
830-1): ‘they were flying around collecting anabolai’, discussing the souls
of dithyrambic poets”).
Text Photius’ αύτήν has been attracted into the case of άναβολήν, but makes
no sense with τινα. Reitzenstein’ αύτή (“for her”, i. e. presumably for a female
dancer or singer to perform to) would also do, but is both less pointed and
dramatically more complicated than Wilamowitz’ αϋτη.
Interpretation An order most easily understood as addressed to an αύλητρίς
(“pipe-girl”) of the sort who regularly provided entertainment at symposia
(e.g. Ar. Ach. 551 with Olson 2002 ad loc.; V. 1219 with Biles-Olson 2015
ad loc.·, Amphis fr. 9.4; Antiph. fr. 224.1-2; Nicostr. Com. fr. 27.4; Philem. fr.
45.1; cf. frr. 174.3 n.; 184 n.). Probably she is a mute, like Dardanis at Ar. V.
1341-81 (thus Taplin). Cf. Ar. Th. 1186 αϋλει σύ θάττον; Ec. 890-2 σύ δέ, /
φιλοττάριον αύλητά, τούς αύλούς λαβών / άζιον εμού καί σού προσαύλησον
μέλος; Amips. fr. 21.1 αϋλει μοι μέλος (with a second character ordered to sing
along to the music), 3 αϋλει σύ; Men. Theophor. fr. dub. 17 Sandbach = Men.
CGFPR fr. 145.17 αϋλει δή σύ μοι. For the pipe (αύλός), a reed instrument
with a cylindrical bore resembling a modern clarinet, cf. fr. 289 n.; West 1982.
81-107; Olson on Ar. Pax 531 (with further bibliography); Wilson 1999; Hagel
2010. 327-51; Psadoudakes 2013.
For the abrupt, peremptory form of address ούτος/αϋτη, see. fr. 192aa n.
αναβολή (“prelude”) is < άναβάλλομαι in the sense “strike up (a song)”
(Ar. Pax 1269; Od. 1.155 = 8.266; Pi. P. 1.4 άμβολάς; N. 7.77; Theoc. 6.20; 8.71;
10.22); see West 1981. 122-3; West 1992. 205; Egan 2006. 61-2. For such pre-
ludes as typical of κύκλιος (i. e. dithyrambic) poetry, cf. Ar. Pax 830 (Trygaios
Eupolis
Citation context An isolated lexicographic entry, although cf.
- ZRV Ar. Pax 830 άναβολάςμν· τάςκ άρχάς των ασμάτων.RV "Ομηρος (Od.
1.155 ~ 8.266)· ήτοι ό φορμίζων άνεβάλλετο καλόν άείδειν (sic V :
ήτοι ό φορμίζων άνεβάλλετο φησίν Όμηρος R) (“anabolai:KV theR begin-
nings of the songs.RV Homer (Od. 1.155 ~ 8.266): ‘he in fact playing his
lyre struck up to sing a beautiful song’” (thus V: “Homer says: ‘he in fact
playing his lyre struck up’” R)
- ZRV Ar. Av. 1385 άναβολάς- προοίμια (“anabolai: preludes”)
- Suda a 1810 άναβολάς· τα προοίμια, καινάς άναβολάς θέλω λαβεΐν (~ Ar.
Αν. 1383-5). ή τάς άρχάς των ασμάτων. "Ομηρος (Od. 1.155 ~ 8.266)· ήτοι
ό φορμίζων άνεβάλλετο καλόν άείδειν. καί Αριστοφάνης (Ραχ 830—1)·
ξυνελέγοντ’ άναβολάς ποτώμεναι, περί ψυχών λέγων διθυραμβοδιδασκά-
λων (“anabolai: preludes. ‘I want to get new anabolai (~ Ar. Av. 1383-5).
Or the beginnings of the songs. Homer (Od. 1.155 ~ 8.266): ‘he in fact
playing his lyre struck up to sing a beautiful song’. Also Aristophanes (Pax
830-1): ‘they were flying around collecting anabolai’, discussing the souls
of dithyrambic poets”).
Text Photius’ αύτήν has been attracted into the case of άναβολήν, but makes
no sense with τινα. Reitzenstein’ αύτή (“for her”, i. e. presumably for a female
dancer or singer to perform to) would also do, but is both less pointed and
dramatically more complicated than Wilamowitz’ αϋτη.
Interpretation An order most easily understood as addressed to an αύλητρίς
(“pipe-girl”) of the sort who regularly provided entertainment at symposia
(e.g. Ar. Ach. 551 with Olson 2002 ad loc.; V. 1219 with Biles-Olson 2015
ad loc.·, Amphis fr. 9.4; Antiph. fr. 224.1-2; Nicostr. Com. fr. 27.4; Philem. fr.
45.1; cf. frr. 174.3 n.; 184 n.). Probably she is a mute, like Dardanis at Ar. V.
1341-81 (thus Taplin). Cf. Ar. Th. 1186 αϋλει σύ θάττον; Ec. 890-2 σύ δέ, /
φιλοττάριον αύλητά, τούς αύλούς λαβών / άζιον εμού καί σού προσαύλησον
μέλος; Amips. fr. 21.1 αϋλει μοι μέλος (with a second character ordered to sing
along to the music), 3 αϋλει σύ; Men. Theophor. fr. dub. 17 Sandbach = Men.
CGFPR fr. 145.17 αϋλει δή σύ μοι. For the pipe (αύλός), a reed instrument
with a cylindrical bore resembling a modern clarinet, cf. fr. 289 n.; West 1982.
81-107; Olson on Ar. Pax 531 (with further bibliography); Wilson 1999; Hagel
2010. 327-51; Psadoudakes 2013.
For the abrupt, peremptory form of address ούτος/αϋτη, see. fr. 192aa n.
αναβολή (“prelude”) is < άναβάλλομαι in the sense “strike up (a song)”
(Ar. Pax 1269; Od. 1.155 = 8.266; Pi. P. 1.4 άμβολάς; N. 7.77; Theoc. 6.20; 8.71;
10.22); see West 1981. 122-3; West 1992. 205; Egan 2006. 61-2. For such pre-
ludes as typical of κύκλιος (i. e. dithyrambic) poetry, cf. Ar. Pax 830 (Trygaios