304

Eupolis

calls the prosodiakon (“processional (meter)”), which on his analysis con-
sists of a choriambic element (—^o—<,<>—) combined with an ionic element
—). The commentator seemingly analyzes fr. 250 as consisting of
an initial iambic element (—— —</) combined with an ionic element
(_^_^—), treating this as an addition and expansion of Hephaestion’s dis-
cussion, despite the fact that in the immediately preceding section (at XV.2, p.
47.18-20 Consbruch) Hephaestion cited Cratin. fr. 360, which is in the same
meter.
Text Dobree’s άν (i. e. ά άν) for the paradosis ά is a matter of metrical neces-
sity and converts λέγω from an indicative to a subjunctive.
Interpretation The words are most easily understood as the beginning of a
prayer, in which case καί τάδε νυν ... άν λέγω σοι serves as the pars epica,
reminding the god that other requests have been put to him by the same peti-
tioner in the past, sc. and granted, setting the current request in the context of
an enduring relationship between the two parties and putting the god’s honor
and implicitly also his self-interest (since thank-offerings are routinely made
by human beings when such petitions are granted) on the line. The request
presumably followed. If this is not a prayer but a remark addressed by a slave
to a human master—thus Storey; cf. the use of ώ δέσποτα at e.g. Ar. Eq. 960;
Pl. Com. fr. 182.1—the form of a prayer is nonetheless invoked.
Storey claims that archilochean meter “elsewhere in comedy belongs to the
chorus”, but the evidence is less straightforward than he makes it out to be.143
Invoking a god as δέσποτα stresses his power and thus the reason for ap-
proaching him; cf. Barrett 1964 on E. Hipp. 88-9. The title is generally accom-
panied by the deity’s personal name (e. g. Pherecr. fr. 92 ώ δέσποτ’ Αγυιευ; Ar.
Nu. 264 ώ δέσποτ’ άναξ, άμέτρητ’ Αήρ; V. 389 ώ Λύκε δέσποτα, 875 ώ δέσποτ’
άναξ γεΐτον Αγυιεΰ; Th. 988 κισσοφόρε Βακχείε / δέσποτ’ with Austin-Olson
2004 ad loc.) unless it is already obvious from context (e. g. Ar. Pax 398-9 ώ
δέσποτ’ addressed to Hermes, who is onstage)—as it must have been here.
Demands such as άκουσον (cf. κλΰθι at e.g. II. 1.37; 5.115; Od. 3.55; Thgn.
4; Pi. fr. 78.1; άκουσον at Bacch. 17.53; A. Ch. 500; έπάκουσον at Thgn. 1321; A.
Ch. 725) are a standard means of attracting the god’s attention, another being
to order him or her simply “Come!” (e.g. Cratin. fr. 118 (a parodic reference
to Pericles); Ar. Th. 319 with Austin-Olson 2004 ad loci). See Ausfeld 1903.
516-17; Pulleyn 1997. 134-44.

143 Cratin. fr. 360 and Ar. V. 1519, 1528-37 are certainly choral; Diph. fr. 12 (not noted
by Storey) is not. Who speaks Cratin. frr. 32; 62; Eup. frr. 148; 317 is unknown.