C5 BCE; OCD(4) s.v. (pp.37-7); TrGF 39. See also under alpha 125.
[1] Aristophanes, Frogs 83-85 (web address 1), with scholion; dialogue between Herakles and Dionysos. The phrase "missed by his friends", which the lexicographer uses below, is from the same source.

[1] Herodotus 1.163 gives it as Arganthonios (text at web address 1). See also tau 137.
[2] In southern Spain; probably the Biblical Tarshish. See generally tau 137 and OCD(4) s.v. (p.1433).
[3] Zenobius 1.2. On Agathon (an Athenian poet of the late C5 BC) and his reputation for softness see alpha 124; and on his aulos music, M.L. West, Ancient Greek Music (Oxford 1992) 354-5.

That of two women in Greek mythology:
(i) A. the wife of Atreus, mother of Agamemnon and Menelaus [see further, OCD(4) s.v.];
(ii) A. the daughter of Cepheus, who was impregnated by Ares, and gave birth to Aeropus.
The name is also the title of plays by Agathon and Carcinus.

Same or very similar entry in Photius and elsewhere. Since the headword, a single (neuter) noun in the Greek, is quoted from Agathon (fr. 30 Nauck), the final word here, transmitted as a)gaqo/n or a)gaw=n, might actually be his name: thus the gloss would read 'what Agathon calls the opposite of joyfulness'.

[1] No equivalent entry in other lexica. For the prefix of this adjective cf. generally alphaiota 213.
[2] Greek Anthology 7.226 (attributed to Anacreon of Teos: alpha 1916). See also pi 2437.

The headword verb xia/zein, usually derived from the letter chi in the two meanings 'make a cross, use the rhetorical figure chiasmus', could also be derived from the island of Chios (chi 316) in the meaning 'play (music) in the Chian style', just as sifnia/zein (sigma 510) could mean 'play in the Siphnian style'. This observation is the import of this entry; it also occurs at Pollux, Onomasticon 4.65. The two sources attribute the origin of the Chian musical style to the musician Democritus of Chios (RE 5.140, a contemporary of the philosopher of the same name), and that of the Siphnian style to an otherwise unknown citizen of that island named Theoxenides (but Philoxenides or Hypertonides in Pollux).
The Suda entry names as its source the music theorist Praxidamas (RE 22.1751 'Praxidamas 2'), the subject of a lost work by Aristoxenus. It also adds that these two musicians were the first to set their own (musical or poetic?) compositions e)pi\ xrw/matos 'to color' (chi 538). This was apparently a feature, not well understood, of the 'new music' (beta 488, delta 1650, phi 761) and 'new' dithyramb (kappa 2647) beginning towards the end of the 5th. Century B.C. and lampooned by Aristophanes and other comic poets of the time (delta 1029). See note 2 below.
The enigmatic reference to Aristophanes has aroused much debate and led to countless emendations. It may possibly contain an unknown line from Clouds and is for this reason regularly edited and amended in collections of his fragments, most recently in the Kassel-Austin edition (PCG vol. 3.2, fr. 930, with copious notes in Latin and textual variants), but under Dubia. See note 4 below.
[1] The precise meaning of the verb ta/ssw here is open to question (see LSJ s.v., III: web address 1), probably for the arrangement of words to music but perhaps for the adaptation of songs already written to a different type of music.
[2] West (see Bibliography) makes a useful distinction between modern chromatism (196ff.), the insertion of exharmonic semitones and other intervals as colors extraneous to the key or scale in which a piece is written, and the chromatic scale introduced to Greek music during the 5th. century B.C. and quickly the scale of choice for the "new music" of the "new dithyramb" (West 162-71 with notes 1,12-14,19, 246ff.). It is far from clear which is intended here (as is also true in the entry on chroma, chi 538) and I have given both translations. See West's index for other discussions, and Hagel for a somewhat different view. Both the chromatic scale and the use of exharmonic colors were regarded as effeminate and unfit for the education of boys in manliness (West 165 note 14, 246ff.). They were introduced into the choral music of tragedy only in the time of Agathon and Euripides (West 351 note 111, 354, using Psellus, de Tragoedia). Hence the jokes about effeminacy in Clouds and elsewhere in comedy.
[3] This is an error for 'Socrates, Against Eidotheus', a work dubiously attributed to that historian (FGrH 310 F16; RE 5A.804-10 'Socrates 3: Grammatiker'). The work was apparently on music and is probably quoted here, although the punctuation in front of the two uses of w(s is uncertain.
[4] It is uncertain in which clause the word u(potei/nei should be read. In the Suda it comes after a colon and governs the infinitive in its sense 'he offers to' (LSJ II, web address 2). As a result the participle in the genitive case before the colon katatetagme/nou 'of an established…' has been deprived of its syntactic structure. Kassel and Austin, following others, take the two words together, the verb governing the genitive in the sense of tuning strings "under and away from" the established scale or melody. (The genitive is found in this sense after u(faire/w 'take something away from under', LSJ s.v. II 1-3, web address 3.) They place the colon after the verb and transform the following words into a citation from Clouds 969.
The whole entry makes more sense, however, as two quotations, one from Praxidamas, the other from the treatise on music Against Eidotheus attributed to Socrates. The latter must have cited in some context the debate in Aristophanes' Clouds (961ff.) between the Better Argument and the Worse on musical education. The Suda entry has only two sentences (but needs the correction of a misplaced de\):
Praxidamas (says that) "Democritus of Chios and Theoxenides of Siphnos were the first to arrange their personal composition (?poetry) with exharmonic colors."
As Socrates (says) in Against Eidotheus: "As in Aristophanes, one of them undermines established (harmony) after revealing that he is an altar-wit by playing the Chian or the Siphnian in harmonies."
See note 7 below on the untranslatable sexual innuendoes in the passage from Socrates.
[5] See beta 486, beta 487, beta 488, beta 489, beta 490.
[6] The lexicographers agree that the verb 'to play the Siphnian' (sigma 510) is a synonym of skimali/zw 'raise the middle finger' and refers to an act of anal intercourse associated with the Siphnians of antiquity or to the derisive gesture still in use today. The crude jest is not in Clouds. It may be an invention of Socrates attacking Eidotheus and his friends for effeminacy in their musical education. It was probably based on knowledge that there was no Siphnian school of music. In the passage it is introduced by sexual innuendo in the phrase katatetagme/nou u(potei/nei (LSJ s.v. ta/ssw III , web address 1, with the prefix kata- 'down upon').
[7] Harmony (alpha 3977) originally meant the stringing and fine-tuning of musical instruments to a predetermined system. From the first sections of Aristoxenus, Harmonics [OCD(4) pp.163-4], it is clear that the first writers recognized as harmony only the enharmonic genus in its various modes, e.g. Dorian, Phrygian. Thus the description of the chromatic genus as a twisting of harmony.

From delta 1547, q.v.
The unglossed quotation that comprises this entry is Aristophanes, Thesmophoriazusae 52-57 (web address 1), lampooning the style of the tragedian Agathon. The first verb picked out as the headword phrase should however be xoaneu/ei; the Suda's xianeu/ei is repeated from the earlier entry.

[1] From the scholia to Aristophanes, Thesmophorizusae 101, where Agathon (alpha 124) appears. For le/gei, Adler reports that ms F (= Laurentianus 55.1) has le/getai; this should probably be preferred as it is also the reading in mu 1445.

Aelian, Varia Historia 2.21 (on the 'differentness' between Agathon's two modes of behaviour towards his lover).
Same entry, according to Adler, in the Ambrosian Lexicon.

The headword -- which literally means oak-holders (because the keels of warships were traditionally made of oak: Theophrastus, Enquiry into Plants 5.7.2) -- is translated 'stocks' by Lionel Casson, Ships and Seamanship in the Ancient World (Baltimore 1995) 223 (cf. 392). He writes there: 'Homer describes the row of axes through which Odysseus made his celebrated shot as being set up "like stocks" (Od. 19.574; for a convincing reconstruction see A. Wace and F. Stubbings, A Companion to Homer (London 1962) 534-35. The expression e)c druo/xwn aut sim. "from the stocks", used literally in e.g. Polybius 1.38.5 [...], could also mean figuratively "from scratch" (e.g. Plato, Timaeus 81B)'.
[1] From the scholia to Aristophanes, Thesmophoriazusae 52, quoted below.
[2] Aristophanes, Thesmophoriazusae 52-57 (web address 1 below), where the mss have xoaneu/ei ("he is smelting") for the Suda's xianeu/ei. See also chi 297 which quotes this line. Aristophanes is ridiculing the style of Agathon, an Athenian poet of the late fifth century BC made famous by Plato’s Symposium. In this play Aristophanes represents him as affected and effeminate, as poet and as person, and brings him onto the stage in female dress. But note that four years later, in Frogs 85, Aristophanes defines Agathon as a)gaqo\s poihth\s kai= poqeino\s toi=s fi/lois, "a good poet and missed by friends" (see under alpha 124). On Agathon see also mu 1445, pi 1165, chi 403.
[3] Greek Anthology 6.16.5-6 (tr. H. Beckby). On this epigram, in which three brothers dedicate their different types of hunting nets to Pan, see Gow and Page (vol. I, 400-401), (vol. II, 436), and another excerpt from this epigram at sigma 659.
[4] From the scholia to Plato, Timaeus 81B (probably via Timaeus Sophista, Platonic Lexicon delta983b); see already above. Likewise in Photius, Lexicon delta767 (both the Suda and Photius use Timaeus Sophista as an additional source).
[5] Quotation (via the Excerpta Constantini Porphyrogeniti, in Adler's view) unidentifiable.

The headword -- neuter nominative/accusative singular of the adjective e)/gkuklos, used as a substantive -- applies specifically to a woman's upper garment (LSJ).
See also kappa 1809, kappa 2460.
[1] Same glossing in Pausanias the Atticist epsilon7; and cf. Photius, Lexicon epsilon63.
[2] An approximation of Aristophanes, Lysistrata 113-4 (web address 1), with scholion.
[4] Aristophanes, Thesmophoriasuzae 261 (web address 2: the first speaker is Euripides, the second Agathon), with scholion.
[4] Repeated at kappa 2461. The distinction being drawn is not self-evident as it stands, but perhaps there is enlightenment in the scholia to Ecclesiazusae 322: 'the krokotos is a Dionysiac garment'.

cf. epsilon 132, epsilon 1612.
[1] Same glossing in Hesychius and other lexica; evidently quoted from somewhere.
[2] From the scholia to Aristophanes, Ecclesiazusae 96, where Agathon is ou(kkuklou/menos.

[1] Aristophanes, Acharnians 79.
[2] Aristophanes, Thesmophoriazusae 53-57, abridged (the final two words -- the punchline -- are added by another speaker); cf. delta 1547. The opening phrase comes from carpentry, specifically the craft of the wheelwright. The passive homosexuality of Agathon was a comic standby: see alpha 124.
[3] A word also found in Aristophanes (e.g. Acharnians 529, 537), and elsewhere in Attic comedy, both Old and New.

Aristophanes, Thesmophoriazusae 100 (web address 1), with scholion; cf. chi 403.
[1] alpha 124.

From the scholia on Aristophanes, Thesmophoriazusae 129. (The old man in question is the character Mnesilochos.)
[In the Ravenna codex a phrase very like this lemma (o)lolu/zeis ge/rwn) actually appears in Aristophanes' text, but modern editors ignore it.]
On o)lolu/gein as characteristic of women, see omicron 191.

For this headword see already omicron 291. The present entry takes the equivalent one in Harpokration (cited for Demosthenes and Menander: see nn. 4 and 12 below) but enlarges it with other material.
[1] Aristophanes, Thesmophoriazusae 572-3 (web address 1).
[2] Menander fr. 906 Kock, 769 Koerte, now 648 Kassel-Austin.
[3] Sophocles, Ajax 767-9 (web address 2), with scholion.
[4] [Demosthenes] 25.51 (web address 3), cited from Harpok.
[5] Isaeus fr. 34 Sauppe.
[6] Isaeus fr. 75 Sauppe.
[7] Lysias fr. 256 Sauppe (now 454 Carey OCT).
[8] Homer, Iliad 23.83 (web address 4).
[9] Sophocles, Electra 580-581 (web address 5).
[10] Aelian fr. 67a Domingo-Forasté (64 Hercher); cf. mu 978. The identity of the Macedonian to whom Aelian refers is unclear. He either incorrectly attributes Sophocles' quotation to Euripides or Agathon, both of whom spent time in the Macedonian court, or refers to a theatrical performance of Alexander the Great, Philip of Macedon or another, unknown, Macedonian.
[11] Aelian fr. 299 Domingo-Forasté (302 Hercher).
[12] Menander fr. 851 Kock (640 K.-A.), cited from Harpok.

[1] A misquotation of Aristophanes, Thesmophoriazousai 257-8. The original has h(di/ ("this here") rather than h(di/on ("a sweeter thing"). The comments are from the scholia to the passage, but slightly garbled as well: the original reads, "so that he can go incognito at night and play the passive role as a woman" (kai\ w(s gunh/ rather than w(s gunh\ kai/).
[2] alpha 124.

The headword is the neuter diminutive of pi 2113 (q.v.).
[1] From the scholia to Aristophanes, Thesmophoriazusae 254 (quoted at the end of the entry).
[2] Aristophanes, Thesmophoriazusae 514-516, with scholion; cf. lambda 271.
[3] Aristophanes, Thesmophoriazusae 254, on the clothes of the pederast Agathon (alpha 124). (The noun is meant to come as a surprise, for 'perfume' or the like.)

Greek Anthology 7.226.1 (attributed to Anacreon of Teos); see already at alphaiota 227.

The headword, dative plural of the neuter noun texna/sma, is extracted from the quotation given. This noun is derived from the verb texna/zw (tau 439).
[1] Aristophanes, Thesmophoriazusae 198-201 (an exchange between Agathon [alpha 124] and Mnesilochus), with glosses from the scholia there. The word-play in the passage revolves around two kinds of 'endurance' (pa/qhma), one ethical, one (homo)sexual.

For Xenocrates see Simon Hornblower in OCD(4) s.v. Xenocrates(1), and again xi 43. The present material begins, as Adler notes, by echoing Diogenes Laertius 4.6 (and for the Alexander anecdote cf. 4.8) but then draws on other sources, including two orations by Themistius.
[1] Opposite Byzantium at the southern entrance to the Black Sea. See chi 38.
[2] Speusippus: see sigma 928 (and under pi 1707).
[3] sc. as Head of the Academy (339-314).
[4] Plato: see pi 1707, pi 1709, pi 1711.
[5] Polemo(n): see pi 1887.
[6] Krantor: no dedicated Suda entry, but see (e.g.) under pi 1707.
[7] Alexander (the Great): alpha 1121.