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Fragmenta Comica · Band 8.3 RZ Titelei Frc Band 8.3 Eupolis FrC 8.3 E u p o l i Fragmenta Comica s f r r . Eupolis frr. 326–497 3 2 6 Fragmenta incertarum fabularum – 4 9 Fragmenta dubia 7 Verla gAntike RZ_Titelei_FrC_Band_8.3_Eupolis_. 13.11.14 18:36 Seite 1 Fragmenta Comica · Band 8.3 RZ_Titelei_FrC_Band_8.3_Eupolis_. 13.11.14 18:36 Seite 2 Fragmenta Comica (FrC) Kommentierung der Fragmente der griechischen Komödie Projektleitung Bernhard Zimmermann Im Auftrag der Heidelberger Akademie der Wissenschaften herausgegeben von Glenn W. Most, Heinz-Günther Nesselrath, S. Douglas Olson, Antonios Rengakos, Alan H. Sommerstein und Bernhard Zimmermann Band 8.3 · Eupolis frr. 326–497 RZ_Titelei_FrC_Band_8.3_Eupolis_. 13.11.14 18:36 Seite 3 S. Douglas Olson Eupolis frr. 326–497 Translation and Commentary Verla gAntike RZ_Titelei_FrC_Band_8.3_Eupolis_. 13.11.14 18:36 Seite 4 Dieser Band wurde im Rahmen der gemeinsamen Forschungsförderung von Bund und Ländern im Akademienprogramm mit Mitteln des Bundesministeriums für Bildung und Forschung und des Ministeriums für Wissenschaft, Forschung und Kultur des Landes Baden-Württemberg erarbeitet. Die Bände der Reihe Fragmenta Comica sind aufgeführt unter: http://www.komfrag.uni-freiburg.de/baende_liste Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2014 Verlag Antike e.K., Heidelberg Satz Martin Janz, Freiburg Einbandgestaltung disegno visuelle kommunikation, Wuppertal Einbandmotiv Dionysos-Theater, mit freundlicher Genehmigung von Bernhard Zimmermann Druck und Bindung AZ Druck und Datentechnik GmbH, Kempten Gedruckt auf säurefreiem und alterungsbeständigem Papier Printed in Germany ISBN 978-3-938032-81-7 www.verlag-antike.de For Rachel Contents Preface . 9 frr. 326–489 K.-A. Fragments without play-title! . 11 frr. 326–97 K.-A. Fragments consisting of full lines or partial lines (frr. 326–83 iambic trimeter, ordered by length; frr. 384–97 other meters)! . 11 frr. 398–403 K.-A. Paraphrases, summaries and the like! . 163 frr. 404–18 K.-A. Fragments of two or three words (arranged alphabetically)! . 171 frr. 419–89 K.-A. Fragments consisting of a single word (arranged alphabetically)!. 186 frr. 490–4 Fragments probably not from Eupolis (dubia)! . 250 frr. 495–7 Additional fragments or potential fragments not printed by K.-A.!. 254 Bibliography! . 259 Indices . 275 9 Preface As the earliest readers of this volume will already be aware, I have begun my work on Eupolis with the smallest and in some ways most difcult fragments, those without play-title. I have done this for various practical and intellectual reasons, but above all else to familiarize myself with some of the complexities of the material itself before beginning to wrestle with larger issues having to do with plot and the like. Volumes I and II, including a general introduction to the poet, should follow within a year or two. Most of my text and commentary was read and discussed in Komfrag sessions in Freiburg during the 2013–2014 academic year. Above all others, I would like to thank Stelios Chronopoulos and Christian Orth for their care- ful, critical engagement with my work, and Bernhard Zimmermann for his leadership of the project as a whole. Te assistance of Benjamin Millis was invaluable with the smallest fragments in particular. Te entire commentary was also read at diferent stages by Teresa Chresand, Benjamin Millis, Pura Nieto and Fabian Zogg, all of whom saved me from numerous errors and ofered helpful suggestions. David Sansone commented on several shorter sections at a critical early stage in the project. Anneliese Kossatz-Deißmann was of enormous assistance in maters touching on visual evidence. Finally, the Heidelberg Academy and the College of Liberal Arts at the University of Minnesota provided fnancial support that made my work possible. Tis book is dedicated to my lovely wife Rachel, who has the good fortune to be siting in the sun on a balcony in Germany with two cats and a book, looking out at the Black Forest, as I type these words on a cold and foggy Minnesota morning. Minneapolis, 18 October 2014 11 frr. 326–489 K.-A. Fragments without play-title1 frr. 326–97 K.-A. Fragments consisting of full lines or partial lines (frr. 326–83 iambic trimeter, ordered by length; frr. 384–97 other meters) fr. 326 K.-A. (303 K.) (Α.) ἄγε δή, πότερα βούλεσθε τὴν <νῦν> διάθεσιν ᾠδῆς ἀκούειν ἢ τὸν ἀρχαῖον τρόπον; (Β.) ἀµφότερ’ ἐρεῖς, ἐγὼ δ’ ἀκούσας τοῖν τρόποιν ὃν ἂν δοκῇ µοι βαστάσας αἱρήσοµαι 1 τὴν <νῦν> Toup : τὴν Suda : καινὴν HemsterhuisOOO3 τοῖν τρόποιν (vel τῶν τρόπων) Gaisford : τὸν τρόπον Suda (A.) Come on! Do you want hear about the modern disposition of song or the old style? (B.) You’ll describe both, and afer I hear about them, I’ll consider which of the two styles appeals to me and I’ll choose Suda β 173 βαστάσας· ἀντὶ τοῦ δοκιµάσας. οὕτως Εὔπολις· ―― bastasas: in place of dokimasas (“considering”). Tus Eupolis: ―― Phot. β 88 βαστάσας· ἀντὶ τοῦ δοκιµάσας. οὕτως Εὔπολις· (v. 4) bastasas: in place of dokimasas (“considering”). Tus Eupolis: (v. 4) MeterOIambic trimeter rlkr llk|l <l>rkl llkl l|lk|l llkl lrkl | klkl llkl klkl l|lkl llkl 1 “For the most part these fragments languish in obscurity” (Storey 1995–6. 137). 12 Eupolis Discussion!Bergk 1838. 334–5; Meineke 1839 II.548–9; Kock 1880. 339; Edmonds 1957. 417 n. g; Storey 1995–6. 137–41; Storey 2003. 140, 174, 333, 347, 365; Telò 2007. 637–8; Storey 2011. 237 Assignment to known plays!Assigned to Aiges by Bergk (cf. frr. 17–18), to Chrysoun Genos by Meineke and to Dêmoi by Storey, and tentatively associated with Heilôtes by Telò. Citation Context!An Aticist gloss preserved in the common source of Photius and the Suda commonly designated Σ΄΄. Text!Te text of 1 is defective, and Toup’s <νῦν> efectively brings out the contrast with ἀρχαῖον in 2. In 3, the Suda’s τὸν τρόπον is fat but not impossible; of the proposed emendations, dual τοῖν τρόποιν rather than plural τῶν τρόπων more efec- tively picks up ἀµφότερ(α) at the beginning of the line. Early editors made unsuccessful atempts to convert the words that follow in the Suda (πᾶν τὸ συµβησόµενον ἐπὶ λόγον ἄγων καὶ βαστάζων) into additional verses of Eupolis. Interpretation!At least two characters are addressed (note pl. βούλεσθε in 1) by (A.), who ofers them a choice between two alternatives: they can learn about either modern music or the ancient style. (B.) proposes making the decision himself on the basis of his own preferences (note emphatic ἐγώ), and tells (A.) that in order to do so he will need to hear about both. Whether this is his right as leader of the group or hints at a confict to come is unclear; but ἄγε δή in 1 (n.) perhaps suggests that (A.) is growing weary of (B.)’s trouble-making or the like. In addition, (B.) rejects the choice (A.) has ofered and says that he will need to learn about both the old and the new music before he decides between them. ἐρεῖς (“say” not “sing”) in 3 makes it clear that (B.) does not imagine (A.) performing music (i._e. as part of a symposium-education or -preparation scene, as at Ar. V. 1174–1264, esp. 1224–49; Pl. Com. frr. 46–7; Antiph. fr. 57; Anaxandr. fr. 1), but instead expects (A.) to describe the two styles and presumably the diferences between them.2 ἀκούσας in 3 must accordingly mean “hear about” rather than “listen to”, with ἀµφότερ’ from the beginning of the line supplied as its object. (Te genitive τοῖν τρόποιν depends on what follows). Since 3 echoes 2, the easiest interpretation is that the same sense should be given to ἀκούειν there: it is not that (A.) proposes a performance and is rebufed, but that he is from the frst planning to ofer instruction on a topic to be determined. For (A.)’s intellectual pretensions, 2 Edmonds advocates instead for recitation, i._e. of epic poetry or the like. Incertarum fabularum fragmenta (fr. 326) 13 see 1 n. Te suggestion of Storey 1995–6. 139–40 that (A.) is the lyre-player Phrynis depicted on a mid-4th-century Paestan bell krater in the company of a man named Pyronides (also the name of a character in Dêmoi; cf. frr. 99.56, 68; 110) is thus overly bold even if it cannot be proven false;3 see in general the introductory discussion to Dêmoi. Kock identifed Ar. Nu. 935–1104, where Strepsiades and Pheidippides listen to the rival claims of the Just and the Unjust Arguments, as a parallel. Ar. Nu. 636–8 (quoted below), where Socrates asks Strepsiades what he would like to study in the Phrontisterion, is perhaps closer (and cf. 1 n. and 2 n. below on (A.)’s intellectual pretensions). Contrary to what (A.) expects, (B.) seems uterly ignorant of musical styles both old and new. It is thus a reasonable expectation that he will either be appalled by modern depravity when he learns more about it (cf. fr. 398 with n.; Strepsiades at Ar. Nu. 1369–74) or, if he is a diferent sort of character, unaccountably atracted to it (cf. Ar. Ra. 96–106). 1–2!Cf. Ar. Nu. 636–8 (Socrates to Strepsiades) ἄγε δή, τί βούλει πρῶτα νυνὶ µανθάνειν; … / πότερα περὶ µέτρων ἢ περὶ ἐπῶν ἢ ῥυθµῶν;; Pl. 56–7 ἄγε δὴ σὺ πότερον σαυτὸν ὅστις εἶ φράσεις, / ἢ τἀπὶ τούτοις δρῶ;. 1!ἄγε δή!introduces sharp questions also at Ar. Pax 263*, 922*; Av. 809*, 1574*; T. 652*; Ra. 277*; Cephisod. fr. 13*. For δή + imperative (used routinely in the singular without regard for the number of persons actually addressed), Denniston 1950.
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