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Headword: Agatharchos
Adler number: alpha,109
Translated headword: Agatharkhos, Agatharchos, Agatharchus
Vetting Status: high
Translation:
A proper name. He was an outstanding painter from nature, the son of Eudemos, of Samian stock.
Greek Original:
Agatharchos: onoma kurion. ên de zôgraphos epiphanês, Eudêmou huios, to de genos Samios.
Notes:
After the initial gloss, this entry derives from Harpokration s.v., commenting on Demosthenes 21.147 (web address 1).
The other primary sources on A. (translated in Pollitt, below) are Plutarch, Life of Pericles 13.2 (web address 2); Plutarch, Life of Alcibiades 16.4 (web address 3); Vitruvius, On Architecture 7, praef. 1l (web address 4).
According to tradition, A. was the first painter to make a theatrical skene (for Aeschylus).
References:
OCD(4) s.v. (p.35)
J.J. Pollitt, The Art of Ancient Greece (Cambridge 1990) 145-6 (with 188)
Associated internet addresses:
Web address 1,
Web address 2,
Web address 3,
Web address 4
Keywords: art history; biography; definition; geography; rhetoric; science and technology; stagecraft; tragedy
Translated by: Elizabeth Vandiver on 1 October 1999@23:24:55.
Vetted by:
David Whitehead (added headwords and note; augmented bibliography) on 9 February 2001@09:13:41.
David Whitehead (augmented notes and keywords; cosmetics) on 19 December 2003@08:05:39.
Elizabeth Vandiver (Added keyword) on 28 September 2005@20:10:00.
Jennifer Benedict (added links) on 26 March 2008@00:23:53.
David Whitehead (another keyword; cosmetics) on 19 July 2011@09:47:47.
Catharine Roth (upgraded links, other cosmetics) on 23 December 2011@18:47:22.
David Whitehead (updated a ref) on 29 July 2014@12:18:59.

Headword: Agônothetês
Adler number: alpha,338
Translated headword: agonothete
Vetting Status: high
Translation:
The man [engaged] in [organising] the theatrical [competitions]; but athlothete [is] the man [engaged] in [organising] the athletic [competitions].
Greek Original:
Agônothetês: ho en tois skênikois, Athlothetês de ho en tois gumnikois.
Note:
An interesting distinction, but uncorroborated outside lexicography.
Keywords: athletics; comedy; daily life; definition; stagecraft; tragedy
Translated by: Malcolm Heath on 7 July 1999@13:32:15.
Vetted by:
Elizabeth Vandiver on 14 December 1999@16:13:16.
David Whitehead (modified headword and translation; added note and keywords) on 11 July 2003@10:10:27.
Elizabeth Vandiver (Added keyword) on 28 September 2005@18:05:21.
David Whitehead on 6 January 2012@07:02:41.

Headword: Agriopoion
Adler number: alpha,358
Translated headword: wild-maker, wild-making
Vetting Status: high
Translation:
And a wild-making fellow.[1]
[sc. Meaning him who is] introducing savage heroes.[2] Aristophanes [says] about Aeschylus: "I know him and understand him well; I've watched him for a long time; a wild-making fellow, stubborn of speech, with an unbridled, ungoverned mouth with no door on it; can't be out-talked, blathers in big boastful bundles."[3]
Greek Original:
Agriopoion. kai anthrôpos agriopoios. agrious eisagonta tous hêrôas. Aristophanês peri Aischulou: egôida touton kaxepistamai kai dieskemmai palai, anthrôpon agriopoion, authadostomon, echont' achalinon akrates athurôton stoma, aperilalêton, kompophakelorrêmona.
Notes:
The headword is the accusative case, extracted from the quotation eventually given.
[1] A marginal addition in ms. A.
[2] That is, onto the stage. The gloss is that of the scholiast to the passage from Aristophanes about to be quoted.
[3] Aristophanes, Frogs 836-839; again, in part, at alpha 3044 and epsilon 150, and cf. also alpha 772. Spoken by Euripides, who is not an impartial witness.
Keywords: biography; comedy; definition; dialects, grammar, and etymology; imagery; rhetoric; stagecraft; tragedy
Translated by: Anne Mahoney on 28 August 1998@16:41:45.
Vetted by:
David Whitehead (augmented notes; added keyword; cosmetics) on 12 February 2001@09:10:31.
David Whitehead (augmented notes and keyworsds; tweaks and cosmetics) on 8 January 2012@08:28:27.
David Whitehead (another x-ref and keyword; tweaked tr) on 27 March 2012@06:23:48.

Headword: Aïdos kunê
Adler number: alpha,676
Translated headword: Hades' dog-skin [helmet]
Vetting Status: high
Translation:
Aristophanes [writes]: "take for my sake the shadow-shaggy Hades helmet from Hieronymos." The proverb[1] was [sc. originally] said about those who are invisible. But now about those who grow their hair exceedingly long. For this Hieronymos was a melic and tragic poet [who was] deviant and unkempt, because he wrote roles that were too sentimental and used fearful masks; he seemed to be (?)applauded.[2] He was mocked for growing his hair all long: wherefore comedically [Aristophanes] said he is Hades' dog-skin, since he has long hair.
Greek Original:
Aïdos kunê: Aristophanês: labe d' emou g' heneka par' Hierônumou skotodasupuknotricha tên Aïdos kunên. epi tôn aphanôn eirêtai hê paroimia. nun de epi tôn agan komôntôn. houtos gar ho Hierônumos melôn ên poiêtês kai tragôidos anômalos kai anoikonomêtos, dia to agan empatheis graphein hupotheseis kai phoberois prosôpeiois chrêsthai: edokei kroteisthai. ekômôideito de hôs panu komôn: dioper Aïdos kunên ephê auton kômôidikôs, hôs koureiônta.
Notes:
Aristophanes, Acharnians 388-390 (web address 1 below), with scholia. Modern editors prefer tin to the transmitted th\n, i.e. "a" rather than "the" helmet.)
On Hieronymos son of Xenophantes see also kappa 1768, where he is given similar attributes but, apparently in error, under the headword Kleitos (Clitus). He apparently also wrote comedies and dithyrambs.
[1] See under alpha 675.
[2] The sense of the multi-meaning verb krotei=sqai here is unclear.
Associated internet address:
Web address 1
Keywords: biography; clothing; comedy; daily life; ethics; gender and sexuality; imagery; military affairs; mythology; poetry; proverbs; stagecraft; trade and manufacture; tragedy
Translated by: Jennifer Benedict on 17 March 2001@23:54:36.
Vetted by:
David Whitehead (augmented notes and keywords; cosmetics) on 18 March 2001@03:57:02.
Robert Dyer (added cross reference, raised status) on 25 February 2002@10:16:17.
Elizabeth Vandiver (Added keyword) on 28 September 2005@18:13:50.
Jennifer Benedict (updated link) on 16 March 2008@16:01:31.
David Whitehead (more keywords; tweaks and cosmetics) on 17 March 2008@08:11:06.
David Whitehead (tweaks and cosmetics) on 13 January 2012@09:00:16.
Catharine Roth (upgraded link) on 17 January 2012@00:13:28.
David Whitehead (more keywords) on 1 May 2015@06:48:46.

Headword: Anerrichônto
Adler number: alpha,2313
Translated headword: they were clambering up, they were scrambling up
Vetting Status: high
Translation:
[Meaning] they were going up grasping with hands and feet.
Strictly speaking they used to say a)narrixa=sqai for climbing to a height gripping with hands and feet. Hellanicus [writes]: "he scrambled up to the treetops just like a monkey."[1] That is, he climbed up high, up trees and walls. It is derived from arrichoi ["wicker baskets"]. It is a type of basket, which they usually draw up by means of cords. Or from arachnai ["spiders' webs"], and is in effect a)raxna=sqai ["to weave a spider's web"]: for spiders spin along their aerial routes. Aristophanes [writes]: "[that] he might scramble up these to heaven"[2] - speaking about the dung-beetle.
Greek Original:
Anerrichônto: chersi kai posi peridrassomenoi anêrchonto. kuriôs to tois posi kai chersi biazomenon eis hupsos anabainein anarrichasthai elegon. Hellanikos: anarrichatai de hôsper pithêkos ep' akra ta dendra. toutesti pros hupsos anebaine, pros dendra kai toichous. eirêtai de apo tôn arrichôn. eidos de esti kophinôn, hous eiôthasi dia schoiniôn animan. ê apo tôn arachnôn, kai estin hoion arachnasthai: hai gar arachnai nêthousi kata tas enaerious hodous. Aristophanês: pros taut' anerrichat' an pros ton ouranon. peri tou kantharou legôn.
Notes:
The headword is reckoned to be an unattributable and context-less fragment of Attic Comedy (Comica adespota fr. 936 Kock, but not in K.-A.).
cf. alpha 2049, alpha 3942.
[1] Hellanicus FGrH 1 F197.
[2] Aristophanes, Peace 70 (web address 1). This line actually refers to Trygaios' attempt to use ladders to ascend to heaven; the dung-beetle on which he flies (via the mechane) is introduced in 72ff.
Associated internet address:
Web address 1
Keywords: comedy; daily life; definition; dialects, grammar, and etymology; historiography; stagecraft; zoology
Translated by: Jennifer Benedict on 3 November 2000@21:46:31.
Vetted by:
David Whitehead (modified translation; added keyword; cosmetics) on 5 November 2000@09:14:47.
David Whitehead (augmented notes and keywords; restorative cosmetics) on 6 August 2002@06:20:08.
Elizabeth Vandiver (Augmented note 2; added keyword) on 1 October 2005@14:52:57.
David Whitehead (augmented notes and keywords; betacode and other cosmetics) on 5 March 2012@05:55:32.
Catharine Roth (tweaked note and link) on 1 October 2013@23:59:45.
David Whitehead on 29 December 2014@04:49:46.
David Whitehead on 15 July 2015@03:19:56.

Headword: Aneipen
Adler number: alpha,2384
Translated headword: proclaimed
Vetting Status: high
Translation:
[Meaning he/she/it] announced, declared.[1]
Aristophanes [writes]: "he proclaimed, 'bring in, Theognis, your chorus!'"[2]
Greek Original:
Aneipen: anekêruxen, anêgoreusen. Aristophanês: ho d' aneip' eisag', ô Theogni, ton choron.
Notes:
[1] Same glossing in Photius and elsewhere, and in the scholia to the Aristophanic passage about to be quoted.
[2] Aristophanes, Acharnians 11 (web address 1).
Associated internet address:
Web address 1
Keywords: biography; comedy; definition; dialects, grammar, and etymology; poetry; stagecraft
Translated by: Jennifer Benedict on 2 November 2000@18:08:21.
Vetted by:
David Whitehead (added keyword; cosmetics) on 8 March 2001@10:46:29.
David Whitehead (another note; more keywords; tweaks and cosmetics) on 12 March 2012@07:59:38.
Catharine Roth (tweaked note, upgraded link) on 17 December 2013@21:30:42.
David Whitehead on 15 July 2015@08:25:09.

Headword: Antistoichountes
Adler number: alpha,2728
Translated headword: standing opposite in rows
Vetting Status: high
Translation:
"They stood in rows opposite each other just like choruses, all holding wicker shields of white ox [hide]." [1]
Greek Original:
Antistoichountes: estêsan hôsper malista choroi antistoichountes allêlois echontes gerra pantes boôn leukôn.
Notes:
The headword participle (from the rare verb a)ntistoixe/w) is evidently extracted from the quotation given.
[1] A close paraphrase of Xenophon, Anabasis 5.4.12 (web address 1); cf. pi 1386.
Associated internet address:
Web address 1
Keywords: definition; dialects, grammar, and etymology; historiography; imagery; military affairs; stagecraft; trade and manufacture
Translated by: Jennifer Benedict on 11 November 2000@02:48:07.
Vetted by:
William Hutton (Altered headword and translation, raised status.) on 12 November 2000@13:15:09.
David Whitehead (augmented note and keywords) on 15 August 2002@05:15:08.
Catharine Roth (tweaked link) on 30 March 2010@23:40:29.
Catharine Roth on 30 March 2010@23:41:47.
David Whitehead (another note; more keywords) on 31 March 2010@04:17:48.
Catharine Roth (expanded note, added keyword, raised status) on 31 March 2010@11:03:46.
Catharine Roth (tweaked link) on 3 November 2013@00:20:39.

Headword: Axestos
Adler number: alpha,2802
Translated headword: uncouth
Vetting Status: high
Translation:
Xenokles the son of Karkinos used to be mocked as an uncouth and allegorical poet.
Greek Original:
Axestos: Xenoklês ho Karkinou ekômôideito hôs axestos poiêtês kai allêgorikos.
Notes:
From the scholia to Aristophanes, Frogs 86, where he is mentioned.
For this Xenokles (an Athenian tragic poet of the late C5 BCE) see also kappa 396, and generally OCD(4) p.1580, s.v. Xenocles. The two attributes credited to him here do not make an obvious pairing, and only the first of them may be authentic (in respect of his reported fondness for mechanical devices).
Keywords: biography; comedy; ethics; poetry; science and technology; stagecraft; tragedy
Translated by: Jennifer Benedict on 15 November 2000@23:04:45.
Vetted by:
David Whitehead (modified headword, translation, keywords; added note) on 16 November 2000@05:18:26.
David Whitehead (added note and keyword) on 15 August 2002@09:35:08.
Elizabeth Vandiver (Added keyword) on 1 October 2005@17:24:12.
David Whitehead (more keywords; cosmetics) on 20 March 2012@10:46:46.
David Whitehead (updated a ref) on 30 July 2014@07:31:20.

Headword: Ap' aigeirou thea kai ep' aigeiron
Adler number: alpha,2952
Translated headword: view from the poplar and (view) at the poplar
Vetting Status: high
Translation:
[Meaning] the one from the outermost [parts]. For a poplar was on the upper part of the theatre, from which those who did not have a place watched.
Greek Original:
Ap' aigeirou thea kai ep' aigeiron: hê apo tôn eschatôn. aigeiros gar epanô ên tou theatrou, aph' hês hoi mê echontes topon etheôroun.
Note:
Same or similar entry in other lexica (and see again, albeit slightly differently, at alphaiota 35). The headword phrase itself goes back to C5-BCE Athens: Cratinus fr. 339 Kock, now 372 K.-A.
Keywords: botany; comedy; daily life; definition; proverbs; stagecraft
Translated by: Jennifer Benedict on 19 December 2000@13:28:12.
Vetted by:
David Whitehead (added note and keyword; cosmetics) on 20 December 2000@03:28:32.
David Whitehead (added keyword) on 18 August 2002@06:37:19.
Elizabeth Vandiver (Added keyword) on 13 October 2005@20:43:01.
David Whitehead (tweaked headword; another keyword) on 14 October 2005@03:27:05.
David Whitehead (expanded note) on 25 March 2012@08:18:29.
David Whitehead on 23 December 2014@04:58:17.

Headword: Apoduntes
Adler number: alpha,3305
Translated headword: stripping off [clothes]
Vetting Status: high
Translation:
Meaning [they] having stripped themselves off. From a metaphor of athletes, who strip off their outer clothing, so that they may do the choral dance vigorously. Aristophanes [writes]: "but let us, stripping off, follow [him] with the anapaests."[1]
Greek Original:
Apoduntes: anti tou apodusamenoi. apo metaphoras tôn athlêtôn, hoi apoduontai tên exôthen stolên, hina eutonôs choreusôsin. Aristophanês: all' apoduntes tois anapaistois epiômen.
Notes:
The headword -- aorist active participle, masculine nominative plural, of a)podu/w (here glossed with the corresponding middle participle) -- is extracted from the quotation given.
[1] Aristophanes, Acharnians 627 (web address 1 below), with scholion.
Associated internet address:
Web address 1
Keywords: athletics; clothing; comedy; definition; dialects, grammar, and etymology; imagery; meter and music; stagecraft
Translated by: Jennifer Benedict on 6 February 2001@07:12:13.
Vetted by:
David Whitehead (modified translation; augmented note; added keywords) on 18 March 2001@05:33:41.
David Whitehead (cosmetics) on 20 August 2002@08:53:14.
Elizabeth Vandiver (Added keywords) on 13 October 2005@20:53:27.
David Whitehead (another keyword) on 18 October 2005@05:51:30.
Catharine Roth (updated link) on 1 November 2011@01:36:17.
David Whitehead (augmented notes and keywords; tweaks and cosmetics) on 1 November 2011@04:38:41.

Headword: Apo mêchanês
Adler number: alpha,3438
Translated headword: from a machine
Vetting Status: high
Translation:
[sc. A proverbial phrase] in reference to unexpected and unbelievable things. For the tragic poets, when they brought onto the stage a bold move designed to make the spectators disturbed at the things that were said, and to lead them to take pity on those who seemed to have fallen afoul of fortune (since what they suffered was undeserved), or to hate the perpetrators [of injustice] and those who commit transgressions, were accustomed to bring on gods; not setting them out on the stage itself, but on high by means of some kind of machine. The spectators would see this machine beforehand, but at the appointed time he [the poet] would have it turned to reveal the mask of the god. And this was the climax of the play. It was called 'god from a machine.'[1]
Greek Original:
Apo mêchanês: epi tôn paradoxôn kai paralogôn. hoi gar tôn tragôidiôn poiêtai, hotan eisêgagon eis tên skênên ê tolman hôste sunchuthênai tous theatas pros ta eirêmena kai eleein tous êtuchêkenai doxantas, hôs anaxia peponthotas, ê misêsai tous pepoiêkotas ê paranomêsantas, eiôthasi theous eisagein, ouk ep' autês tês skênês hormômenous, all' ex hupsous hupo tinos mêchanês, hên eblepon men proteron hoi theatai, kat' ekeinên de tên hêmeran strephomenos edeiknue to tou theou prosôpon. kai touto katastolên einai tou dramatos. elegeto de theos apo mêchanês.
Notes:
cf. Diogenianus 2.84 and other paroemiographers; also the scholia to Plato, Clitophon 470A (and other scholia).
For the proverbiality of the phrase see also e.g. Demosthenes 40.59: "Timocrates alone, as if from a machine, testifies that..."
[1] cf. theta 181.
Keywords: architecture; biography; daily life; definition; ethics; philosophy; poetry; proverbs; religion; rhetoric; science and technology; stagecraft; tragedy
Translated by: William Hutton on 20 March 2002@18:17:36.
Vetted by:
David Whitehead (added note and keywords; cosmetics) on 21 March 2002@03:38:01.
William Hutton (added keyword) on 10 January 2007@11:03:35.
David Whitehead (augmented notes and keywords; cosmetics) on 4 April 2012@03:26:42.

Headword: Aposemnunei
Adler number: alpha,3517
Translated headword: glorifies
Vetting Status: high
Translation:
[Used] with an accusative. [Meaning he/she/it] honours.[1]
But [sc. also attested is the middle voice, future] a)posemnunei=tai ["will put on airs"] [meaning he/she/it] Is quietly mad, has delusions of grandeur. For on account of his dignity, Aeschylus was silent when entering the theatres; and at the beginnings of his plays he used to have impressive effects. And [so] Aristophanes in Frogs [says]: "first he will put on airs, just as he used to have impressive effects in his tragedies."[2]
Greek Original:
Aposemnunei: aitiatikêi. gerairei. Aposemnuneitai de aponoeitai siôpôn, huperêphanei. semnotêtos gar heneka epipolu esiôpa Aischulos en tois theatrois eisiôn: kai en tais archais tôn dramatôn eterateueto. kai Aristophanês Batrachois: aposemnuneitai prôton, haper hekastote en tais tragôidiais eterateueto.
Notes:
[1] Same or similar glossing in other lexica. The headword must be quoted from somewhere; there are numerous possibilities.
[2] Aristophanes, Frogs 833-4 (web address 1 below), with scholion.
Associated internet address:
Web address 1
Keywords: biography; comedy; daily life; definition; dialects, grammar, and etymology; ethics; stagecraft; tragedy
Translated by: Jennifer Benedict on 3 June 2001@18:25:12.
Vetted by:
David Whitehead (modified translation; cosmetics) on 4 June 2001@05:05:06.
Elizabeth Vandiver (Added keyword) on 13 October 2005@21:00:37.
David Whitehead (augmented notes and keywords; betacode and other cosmetics) on 5 April 2012@05:03:24.
David Whitehead on 29 August 2015@08:58:12.
Catharine Roth (tweaks) on 21 September 2015@01:27:50.

Headword: Ariôn
Adler number: alpha,3886
Translated headword: Arion
Vetting Status: high
Translation:
Of Methymna,[1] a lyric poet, son of Kykleus.[2] He was born in the 38th Olympiad.[3] Certain people recorded that he was even a pupil of Alkman.[4] He composed songs: [namely] preludes in 2000 verses.[5] It is claimed also that he was the inventor of the tragic style and that he was the first to establish a chorus,[6] to sing a dithyramb, to provide a name for what the chorus sang[7] and to introduce satyrs speaking in verse.
[The name] retains [omega] also in the genitive.[8]
Greek Original:
Ariôn, Mêthumnaios, lurikos, Kukleôs huios, gegone kata tên lê# Olumpiada. tines de kai mathêtên Alkmanos historêsan auton. egrapse de aismata: prooimia eis epê #22b#. legetai kai tragikou tropou heuretês genesthai kai prôtos choron stêsai kai dithurambon aisai kai onomasai to aidomenon hupo tou chorou kai Saturous eisenenkein emmetra legontas. phulattei de kai epi genikês
Notes:
See generally Richard Seaford in OCD(3) 158 [now OCD(4) 152], under Arion [Author, Myth](2).
[1] On the E. Aegean island of Lesbos; cf. mu 898.
[2] cf. kappa 2643.
[3] 628-625 BCE. The words have also been interpreted to mean that "he flourished in the 38th Olympiad."
[4] For whom see alpha 1289, alpha 1290.
[5] Adler's '2' verses is corrected in her addenda and corrigenda
[6] Literally, "to set up a chorus". Pickard-Cambridge [p.97] translates "first composed a stationary chorus" and he notes on p.11 that "in late authors it means to 'make a chorus sing a stasimon'."
[7] Compare Herodotus 1.23 [web address 1]: Arion "was the first man we know to have composed the dithyramb and given it a name." According to Pickard-Cambridge [p.12 cf. Campbell pp. 11-12] the implication is that Arion made the chorus sing "a regular poem, with a definite subject from which it took its name," and not that Arion invented the name "dithyramb".
[8] The object 'omega' is an early editorial supplement omitted by Adler but incorporated by Bekker. The Suda frequently uses fula/ttei by itself to mean "keeps omega in the oblique cases."
References:
D.A. Campbell, Greek Lyric [LCL] v.3, pp. 1-2, 16-25
O. Crusius , "Arion 5" in RE 2.1, cols.836-841
A.W. Pickard-Cambridge, Dithyramb, Tragedy and Comedy, 2nd ed. rev. T.B.L. Webster. Oxford, Clarendon Press, 1962, pp.10-12, 97-101
Associated internet address:
Web address 1
Keywords: biography; chronology; dialects, grammar, and etymology; epic; geography; meter and music; poetry; stagecraft; tragedy
Translated by: Tony Natoli on 7 December 2000@20:08:51.
Vetted by:
David Whitehead (augmented notes; cosmetics) on 13 June 2001@06:34:38.
Catharine Roth (cosmetics) on 20 December 2001@00:07:13.
Catharine Roth (added link) on 20 December 2001@00:09:42.
Tony Natoli (Corrected typo in notes.) on 20 December 2001@15:40:50.
Catharine Roth (simplified link) on 20 December 2001@16:23:02.
David Whitehead (added keyword) on 20 December 2002@05:15:38.
Elizabeth Vandiver (Added keyword; cosmetics) on 14 October 2005@17:33:44.
David Whitehead (another keyword; cosmetics; raised status) on 12 April 2012@03:37:27.
David Whitehead (my typo) on 24 January 2014@07:40:57.
David Whitehead (tweaked tr; another note) on 24 January 2014@07:49:31.
Catharine Roth (coding, deleted link) on 2 January 2015@00:17:42.
Catharine Roth (expanded note) on 26 October 2015@11:43:42.

Headword: Aristarchos
Adler number: alpha,3893
Translated headword: Aristarkhos, Aristarchos, Aristarchus
Vetting Status: high
Translation:
Of Tegea,[1] a composer of tragedies, who was sick with some disease; then Asclepius cured him and required him to give a thanksgiving dedication for his health. The poet allotted him the drama that bears his name. But gods of health would never request payment nor accept it. How could that be? - when with a good, philanthropic spirit they offer us the greatest things free of charge: to see the sun and to share in the all-sufficing beam of such a great god for free, and the use of water and the myriad advantages of the similar art of fire, and various and cooperative aids, and to breathe the air and from that to have breath, the sustenance of life. In these small things they want us to be neither ungrateful nor unmindful, and in such things they prove us better men.
This Aristarchus was a contemporary of Euripides; he was the first to establish the length of play which is still current.[2] And he produced 70 dramas, won with 2, and lived over 100 years.
Greek Original:
Aristarchos, Tegeatês, ho tôn tragôidiôn poiêtês, nosei tina noson: eita auton iatai ho Asklêpios kai prostassei charistêria tês hugeias. ho de poiêtês to drama to homônumon hoi nemei. theoi de hugeias men ouk an pote misthon aitêsaien oud' an laboien. ê pôs an; ei ge ta megista hêmin phreni philanthrôpôi kai agathêi parechousi proika, hêlion te horan kai tou theou tou tosoutou tês panarkous amisthi metalambanein aktinos, kai chrêsin hudatos kai puros suntechnou murias epigonas, kai poikilas hama kai sunergous epikourias, kai aeros span kai echein trophên zôês to ex autou pneuma. ethelousi de ara en toisde tois mikrois mête acharistous einai mête amnêmonas hêmas, kai en toutois ameinonas apophainontes. houtos de ho Aristarchos sunchronos ên Euripidêi: hos prôtos eis to nun autôn mêkos ta dramata katestêse. kai edidaxe men tragôidias o#, enikêse de b#, bious huper etê r#.
Notes:
C5 BCE; see generally OCD(4) p.154, under 'Aristarchus(3)'. The principal paragraph of the present entry derives from Aelian (fr. 104 Domingo-Forasté).
[1] In Arkadia (central Peloponnese).
[2] A.L. Brown in OCD s.v. notes that "no precise meaning can be attached" to this assertion.
Keywords: biography; chronology; economics; ethics; food; geography; medicine; religion; stagecraft; tragedy
Translated by: Jennifer Benedict on 21 November 2001@10:05:42.
Vetted by:
David Whitehead (modified translation; added notes and keyword; cosmetics) on 21 November 2001@10:51:29.
David Whitehead (more keywords; cosmetics) on 12 April 2012@04:04:25.
Catharine Roth (updated reference) on 4 July 2014@01:07:32.
David Whitehead (updated a ref) on 31 July 2014@03:17:57.
Catharine Roth (another keyword) on 27 December 2018@01:52:10.

Headword: Askos en pachnêi
Adler number: alpha,4177
Translated headword: a wineskin in a frost
Vetting Status: high
Translation:
David says: "I have become as a wineskin in a frost."[1] A wineskin when heated becomes porous and when inflated it swells, but in the frost it is hardened and frozen. Thus also the nature of the body becomes complacent with luxury and is swollen, but with ascetic training it is humbled and oppressed. And Paul is a witness to this, saying: "But I oppress my body and treat it as a slave, lest somehow I, having exhorted others should myself become disreputable."[2] For also the prophet [David], when he was pursued by Saul, was stronger than his sufferings, but after enjoying peace he was injured by the impulses [resulting] from luxury; he humbled his body and renewed his memory of the divine laws.
Also [sc. attested is the phrase] "Ktesiphon's wineskin;" Aristophanes [writes]: "according to our customs, at the trumpet signal drink your pitchers; whoever drains his first will win Ktesiphon's wineskin."[3] For in the Pitchers[4] there was a contest concerning who could drain his pitcher first, and the winner was crowned with a wreath of leaves and got a skin of wine. At a trumpet signal they would drink. Ktesiphon was ridiculed for being fat and paunchy. An inflated wineskin was set forth in the festival of the Pitchers, on which those drinking in the competition would stand. The first one to finish his drink won, and got a wineskin. They drank a certain measure, a choa, of wine.[5]
Also [sc. attested is the verb] "to bear a wineskin" [a)skoforei=n]. In the Dionysiac processions, some things were done by the townspeople, but others had been assigned to the metics to do by the lawgivers. Accordingly the metics would put on chitons which had a crimson color and carry troughs;[6] wherefore they were called tray-bearers [skafhfo/roi]. The townspeople wore whatever clothing they wanted and carried wineskins on their shoulders, wherefore they were called "wineskin-bearers" [a)skofo/roi].
And [there is] a proverb: "to be spooked by a little wineskin" [a)skw=| mormolu/ttesqai], in reference to those who are frightened absurdly and for no good reason.[7]
Also [sc. attested is the verb] a)skolia/zon ["they used to dance as at the Askolia"]; the Athenians had a festival, the Askolia[8], in which they would hop on wineskins to the honor of Dionysus.[9] The creature[10] appears to be a natural enemy of the vine. In any event an epigram appears addressed to a goat that goes like this: "devour me to the root, yet all the same I will bear fruit; enough to pour a libation for you, goat, as you are being sacrificed."[11] But "dance on a wineskin" means [dance] on the other [leg]; strictly a)skwlia/zein is what they used to call hopping on wineskins to make people laugh. In the middle of the theatre they placed wineskins which were inflated and oiled and when they hopped onto these they slipped; just as Eubulus says in Damalia[12]: "and in addition to these things, they put wineskins in the middle and hopped and guffawed at those who fell off the track."
Also [sc. attested is the participle] a)skwlia/zontes, [meaning] they who hop on one foot and who lag behind those [who move] according to nature.
"He, it seemed to me, came to his master in his rush from the [temple] of Asclepius hopping on one of his feet and when at daybreak the paean to Asclepius was sung, he showed up as one of the chorus dancers. He stood in the line as if he'd been given his stance by some chorus director, and as much as he was able he tried to sing along with the bird-like strain."[13]
Also [attested is] a)skwliasmo/s [used] likewise, [meaning] going on one foot.
Wineskins smeared with salt become better.[14]
Greek Original:
Askos en pachnêi: ho Dabid legei, hoti egenêthên hôs askos en pachnêi. ho askos thermainomenos chaunoutai kai phusômenos exonkoutai, en de têi pachnêi sklêrunetai kai pêgnutai. houtô kai tou sômatos hê phusis chaunoutai men têi truphêi kai exonkoutai, têi de askêtikêi agôgêi tapeinoutai kai piezetai. kai toutou martus ho Paulos boôn: all' hupopiezô mou to sôma kai doulagôgô, mê pôs allois kêruxas autos adokimos genômai. toigartoi kai ho prophêtês, epeidê diôkomenos hupo tou Saoul kreittôn ên tôn pathôn, eirênês de apolausas tois apo tês truphês eblabê skirtêmasi, tapeinôsas to sôma tôn theiôn nomôn tên mnêmên aneneôsato. kai Askos Ktêsiphôntos: Aristophanês: kata ta patria tous choas pinein hupo tês salpingos: hos d' an ekpiêi prôtistos, askon Ktêsiphôntos lêpsetai. en gar tais Choais agôn ên peri tou ekpiein prôton tina choa, kai ho nikôn estepheto phullinôi stephanôi kai askon oinou elambane. pros salpingas de epinon. ho de Ktêsiphôn hôs pachus kai progastôr eskôpteto. etitheto de askos pephusêmenos en têi tôn Choôn heortêi, eph' hou tous pinontas pros agônas hestanai, ton propionta de hôs nikêsanta lambanein askon. epinon de metron ti hoion choa. kai Askophorein. en tais Dionusiakais pompais, ta men hupo tôn astôn epratteto, ta de tois metoikois poiein hupo tôn nomothetêsantôn prosetetakto. hoi men oun metoikoi chitônas eneduonto chrôma echontas phoinikoun kai skaphos epheron: hothen skaphêphoroi prosêgoreuonto. hoi de astoi esthêta eichon, hên eboulonto, kai askous ep' ômôn epheron: hothen askophoroi ekalounto. kai paroimia: Askôi mormoluttesthai, epi tôn eikê kai diakenês dedittomenôn. kai Askôliazon: heortên hoi Athênaioi êgon ta Skôlia, en hêi hêllonto tois askois eis timên tou Dionusou. dokei de echthron einai têi ampelôi to zôion. amelei goun kai epigramma phainetai pros tên aiga houtôs echon: kên me phagêis epi rhizan, homôs d' eti karpophorêsô, hosson epileipsai soi, trage, thuomenôi. Askôliaze de anti tou hallou: kuriôs askôliazein elegon to epi tôn askôn hallesthai heneka tou gelôtopoiein. en mesôi de tou theatrou etithento askous pephusêmenous kai alêlimmenous, eis hous enallomenoi ôlisthainon: kathaper Euboulos en Damaliai phêsin houtôs: kai pros ge toutois askon es meson katathentes enallesthe kai kanchazete epi tois katarreousin apo keleusmatos. kai Askôliazontes, eph' henos podos ephallomenoi, husteroumenoi tôn kata phusin. ho de emoi dokein, hormêi têi para tou Asklêpiou es ton despotên askôliazôn thateron tôn podôn erchetai, kai orthrion aidomenou tou paianos tôi Asklêpiôi heauton apophainei tôn choreutôn, hena kai en taxei stas hôsper oun para tinos labôn chorodektou tên stasin, hôs hoios te ên sunaidein epeirato tôi ornitheiôi melei. kai Askôliasmos homoiôs, to eph' henos podos bainein. hoti hoi askoi halsi smêchomenoi beltiones ginontai.
Notes:
[1] Psalm 118.83 LXX. This first paragraph of the entry comes from Theodoret's commentary on it (PG 80, 1848bc).
[2] 1 Corinthians 9.27.
[3] Aristophanes, Acharnians 1000-2 (web address 1). What follows here derives from scholiastic comment on the line.
[4] The Khoes, the second day of the Anthesteria festival; see also chi 369.
[5] About three quarts, or 2.8 liters.
[6] *ska/fos here is in error for ska/fas, trays.
[7] cf. mu 1251.
[8] Scholia in three manuscripts provide the correction *)askw/lia for the erroneous *skw/lia.
[9] From the scholia to Aristophanes, Wealth [Plutus] 1129.
[10] Explained in the next sentence.
[11] Greek Anthology 9.75.
[12] Eubulus fr. 8 Kock, now 7 K.-A. -- from his Amaltheia, in fact.
[13] Aelian fr. 101b Domingo-Forasté, 98 Hercher (a man from Tanagra experiences a miracle cure); cf. sigma 1606, chi 407.
[14] From alpha 1409.
Associated internet address:
Web address 1
Keywords: biography; botany; Christianity; clothing; comedy; daily life; definition; ethics; food; imagery; law; medicine; meter and music; poetry; proverbs; religion; science and technology; stagecraft; zoology
Translated by: Jennifer Benedict on 30 March 2002@23:49:06.
Vetted by:
William Hutton (Modified translation, cosmetics, raised status) on 31 March 2002@13:19:27.
Catharine Roth (fixed typo) on 31 March 2002@14:07:03.
David Whitehead (modified translation; augmented notes and keywords; cosmetics) on 10 April 2002@07:30:46.
David Whitehead (betacoding and other cosmetics; augmented n.1) on 25 May 2004@08:58:32.
David Whitehead (another keyword) on 7 October 2005@08:21:58.
Elizabeth Vandiver (Added keyword) on 14 April 2007@23:36:07.
David Whitehead (tweaked tr) on 12 June 2009@03:45:52.
David Whitehead (more keywords; tweaks and cosmetics) on 24 April 2012@10:12:58.
Catharine Roth (upgraded link, updated reference, cosmetics) on 25 November 2012@12:14:47.
David Whitehead on 30 December 2014@07:56:32.
David Whitehead on 1 September 2015@08:52:40.
Catharine Roth (tweaks and cosmetics) on 17 December 2015@01:06:22.

Headword: Aigeirou thea
Adler number: alphaiota,35
Translated headword: poplar
Vetting Status: high
Translation:
The white [sc. variety].[1] A type of plant.
Poplar's view: there was a poplar in Athens near to the shrine; there they used to set up the benches before the theater existed.[2]
From this poplar those who did not have a place used to watch. But Aigiros [is] a name of a city.[3]
Greek Original:
Aigeiros: hê leukê. eidos phutou. Aigeirou thea: aigeiros ên Athênêsi plêsion tou hierou: entha prin genesthai theatron, ta ikria epêgnuon. aph' hês aigeirou hoi mê echontes topon etheôroun. Aigiros de onoma poleôs.
Notes:
NB: the online headword is incorrect; it should be ai)/geiros, not the subsidiary lemma ai)gei/rou qe/a.
[1] i.e. populus alba. Note, however, LSJ's belief that this term refers to the black variety, populus nigra.
[2] See already under alpha 2952. (For benches cf. iota 275.) The Suda's 'near to the shrine' looks incomplete or otherwise faulty, but it is already in Hesychius alpha1695. Modern scholarship would suggest that the hieron in question is that of Lenaean Dionysus; see Pickard-Cambridge/Gould/Lewis 37-38.
[3] See alphaiota 58.
Reference:
A.W. Pickard-Cambridge, The Dramatic Festivals of Athens, 2nd edition with new supplement, revised J. Gould & D.M. Lewis (Oxford: Clarendon Press 1988)
Keywords: architecture; botany; comedy; daily life; geography; history; proverbs; religion; stagecraft; tragedy
Translated by: William Hutton on 22 May 2003@21:51:11.
Vetted by:
David Whitehead (added note and keyword; cosmetics) on 23 May 2003@04:32:14.
Elizabeth Vandiver (Added keyword) on 17 October 2005@18:44:47.
David Whitehead (augmented notes; tweaks and cosmetics) on 10 May 2012@08:53:58.
David Whitehead (cosmetics) on 4 August 2015@03:19:47.
David Whitehead (expanded n.2) on 22 November 2015@06:33:36.

Headword: Ai ai
Adler number: alphaiota,91
Translated headword: ai ai!
Vetting Status: high
Translation:
"Ai ai! Who ever would have thought that my appellation would provide a name my sufferings this way?" Aias says [this].[1] "And now it is fitting even to cry 'aiai!' twice for me and thrice."[2] This is in the manner of the ancients, the producing of calamities in accordance with the namings [of characters]. If he were doing well he would not have mentioned his name, but only in the midst of calamity.
Greek Original:
Ai ai: ai ai, tis an pot' ôieth' hôd' epônumon toumon xunoisein onoma tois emois kakois; ho Aias phêsin. nun gar paresti kai dis aiazein emoi kai tris. touto archaiotropon esti, to pros tas onomasias ekpherein tas sumphoras. kalôs men oun prattôn ouk an emnêsthê tou onomatos, en sumphorai de ôn.
Notes:
cf. alphaiota 1.
[1] Sophocles, Ajax 430-431 (web address 1), with comment from the scholia there; cf. delta 1701.
[2] Sophocles, Ajax 432-433 (web address 1).
Associated internet address:
Web address 1
Keywords: aetiology; dialects, grammar, and etymology; ethics; mythology; poetry; stagecraft; tragedy
Translated by: William Hutton on 22 May 2003@11:02:40.
Vetted by:
David Whitehead (added x-ref; cosmetics) on 23 May 2003@03:39:29.
David Whitehead (cosmetics) on 11 May 2012@07:46:38.
Catharine Roth (tweaked link) on 12 May 2012@01:37:21.

Headword: Aiolan
Adler number: alphaiota,244
Translated headword: undulating; leaping in undulating circles; of intricate, dazzling, multicoloured design
Vetting Status: high
Translation:
[Meaning] leaping/hopping. "We croaked an undulating[1] dance-chorus brekekex."
Greek Original:
Aiolan: pêdêtikên. aiolan choreian ephthenxametha brekekex.
Notes:
For this headword, feminine accusative singular, see also alphaiota 245. The gloss, also in Aristophanic scholia (cf. below), is an adjective applied to the hopping, leaping motion of locusts, fleas, grasshoppers and satyrs advancing (LSJ), and here of a dance (choreia) of frogs.
The quotation -- from Aristophanes, Frogs 247-250 (web address 1) -- is here modified, for it begins with the chorus of frogs, reversing the positions of noun and adjective, omitting the octosyllabic word pomfolugopafla/smasin (line 249, nicely translated by J. Henderson in the 2002 Loeb edition as "with bubbly ploppification") and concludes with the (truncated) first word of the following speaker (Dionysus, to be taken both as a mockery of their cry and a fart to match the frogs' bubbles, perhaps with the chorus accompanying). It clearly contains an allusion to the choreography of the chorus in the play, but we are handicapped by our uncertainty over the precise sense of the headword; cf. alphaiota 253, alphaiota 246, alphaiota 251, alphaiota 249, alphaiota 247, kappa 2122. Perhaps the choreography of the human dancers had them on all fours in bright frog costumes leaping in one or more undulating circles, in the visual rise and fall common to a line of moving snakes, worms, frogs or fleas. Alternatively it was a lively, intricate, whirling, twisting dance in dazzling costumes; or any other combination of the word's meanings.
[1] Or: intricate, dazzling.
Associated internet address:
Web address 1
Keywords: botany; comedy; definition; dialects, grammar, and etymology; meter and music; stagecraft; zoology
Translated by: Robert Dyer on 24 February 2003@10:30:24.
Vetted by:
David Whitehead (added x-ref; cosmetics) on 25 February 2003@03:26:35.
Elizabeth Vandiver (Added keyword) on 17 October 2005@18:49:49.
David Whitehead (another keyword; tweaking) on 15 May 2012@07:41:20.
Catharine Roth (restored link) on 26 May 2012@01:03:46.
David Whitehead (cosmetics) on 29 November 2015@04:39:33.

Headword: Aiolos
Adler number: alphaiota,253
Translated headword: undulating, wavelike, advancing in a winding or rolling fashion, agile in turning side to side; multicoloured, discoloured, black or chestnut with white markings; easily moved, changeable, wily, quick-witted, liable to metamorphosis, disturbed in mind; whirling; self-generating in movement, ever-turning; lively, flashing, shimmering
Vetting Status: high
Translation:
[Meaning] easily-moved/agile, multicoloured [or: intricate, or: changeable].[1]
Or swift; [so called] from the whirlwind [hurricane or tornado],[2] which comes from ‘to blow’[3] and ‘to wind/roll up’.[4]
Greek Original:
Aiolos: eukinêtos, poikilos. ê tachus: para tên aellan, hêtis apo tou aein kai heilein.
Notes:
None of the etymologies advanced is adequate on its own to explain the many diverse uses and translations of this adjective (see LSJ entry at web address 1; cf. alphaiota 244, alphaiota 245, alphaiota 247), with its related verb ai)o/llw (alphaiota 246), its compounds (alphaiota 249, alphaiota 250, alphaiota 251, kappa 2122), and the related but differently accentuated proper name Aiolos (alphaiota 252, cf. alphaiota 248). We can distinguish two different words, corresponding to the first two definitions here. A poetic phenomenon, exploiting ambiguity, intervenes in Homer and other poetry and greatly confuses the issue of which translation to use at any given point.
The first two definitions are also found in Hesychius (alpha2034) and the Synagoge le/cewn xrhsi/mwn (Anecdota Graeca, ed. Bekker, 1.356.21; ed. L. Bachmann 45.1; Photius, Lexicon alpha614, 52.19 Reitzenstein), scholia to Homer, Iliad 7.222, and to Odyssey 22.300; cf. Apion (de glossis Hom., fr. 74.214.16, but with poluki/nhton), and, with taxu/s for eu)ki/nhtos, Hesychius alpha2020, Eustathius on Odyssey 10.2 and many Homeric scholia (see Mette under *sx). Modern dictionaries such as LSJ assign these as the two primary meanings of a single word 'mobile, nimble, agile; multicoloured' (cf. Page in bibliography).
In the third century AD, Porphyry [OCD(4) s.v., pp.1190-1; pi 2098] had advanced the third definition. He rejected the meaning 'multicoloured' (hence the Suda's "or"), and explained all instances in Homer from the base of 'whirlwind' (see note 2 below) as 'swift, whirling' (Zet. 284 col. 1 - 286 col. 1.9; Liber 1; on Odyssey 20.27; cf. Etymologicum Magnum 37.3 and the exceptional scholion B to Iliad 22.509, eu)/strofoi kai\ poiki/loi). He correctly took a)/ella from the same root of rolling or turning as ei(le/w. Modern etymologists question the presence of the root of blowing (although a "blow-twister" is a possible colloquial compound) in favour of alpha intensive.
At the same time Methodius [OCD(4) s.v., p.942; mu 432], as reported by Etymologicum Genuinum 15 and Etymologicum Magnum 37.4f., took the adjective, when used of motion or reflected light, to designate the "self-generating movement" (a)nupo/staton ki/nhsin) of a snake, and derived it from a verb ai)/ein (apparently hypothetical, probably from ai)ei/, a)ei/, 'always'), together with a)i+/ssein 'to dart, flash (of light)'. Thus ai)o/lh nu/c might be 'night in perpetual motion' (cf. alphaiota 247). In 1937 Émile Benveniste, perhaps independently, advanced a similar etymology and sense from the IE root for 'life-force', aiw-, seen in ai)w/n, ai)ei/, Latin aevum, Vedic ayu- 'lively, mobile'. Those who followed him saw in the use of the headword for inanimate objects such as bronze helmets (kappa 2122), shields and mitres (alphaiota 250) a sense of vital force, to translate as 'shimmering, flashing' (see Mette in LfgrE), exciting to translators but unacceptable to archaeologists (see Page, note 97) and to etymologists, as having no analogy or explanation for the ending ?olos, "which may seem embarrassing for the theory" (Chantraine).
In 1950 Ernst Fraenkel advanced the most persuasive etymology. The word, originally *vaivolos, is from the IE root uel-, seen in a)/ella, ei)le/w (as Porphyry saw), Latin volvo and English wheel, meaning 'roll, undulate, turn'. The reduplication in ai is intensifying and parallel to that in dai/dalos, daida/llein, paipa/lh, paipa/llein = sei/ein. Fraenkel explained the loss of initial digamma in Homeric verse as dissimilation. This history suits a snake (Iliad 12.208; Paean Delph. i in Apoll. 1.19 Powell, Coll. Alex.; Callimachus fr. 575.1 Pfeiffer; Nicander, Theriaca 155, alphaiota 246), the undulating body of Echidna (Hesiod, Theogony 300, cf. scholia, polue/likton), and a mass of flesh-eating worms (Iliad 22.509), and might apply visually to the shapes of a wasp (Iliad 12.167) and a Mycenaean figure-of-eight shield (alphaiota 250), both pinched at the "waist". This etymology did not, however, explain, any more than Porphyry, the uses glossed as poiki/los ('multicoloured, intricate') or skoteino/s ('dark, shadowy': alphaiota 245), or the use of the related verb (alphaiota 246) of ripening grapes and livid flesh.
These latter meanings are now explained as from a Mycenaean word, a3-wo-ro on a Linear B tablet from Cnossos, almost certainly for mingled colours (cf. alphaiota 252). The tablet lists two bulls or horses by name or colour; cf. the use of a colour word as the name of Achilles' horse Xanthus. One is "Black" from the adjective kelaino/s. Ours is then, almost certainly, either "Roan" (of patchwork colouring; cf. the word’s use for a tortoise shell at Homeric Hymn to Mercury 33) or "Piebald" (black and white). Now this name cannot come from the same root as *vaivolos, i.e. uel-, for Mycenaean does not lose initial digamma, as Geiss points out. It belongs to a distinct word.
Concerning Homer, the odd thing is that one can take any of these four or five interpretations of the basic meaning and, with a certain ingenuity, apply it to most or all of the instances in the two epics. An Homeric shield (Iliad 7.222, 16.107) may be imagined and explained as 'easy to turn or move, multicoloured, intricately worked, with its bronze or gold outer coating vibrantly shimmering or flashing in the sun, wave-like in its shape'. When Pandarus falls from his chariot dead (Iliad 5.294-96) and his gleaming armour clangs on top of him, is it also multicoloured, discoloured by blood, rolling, well-crafted or (unlike its owner) still flashing with life? Which of these does Homer mean? The answer is all, or at least some. The British poet William Empson has explained the ways in which poets exploit the various meanings and intertextual echoes of given words, giving them a resonant richness of reference (see bibliography; cf. Dyer). Who cares what colour Hector’s helmet may really have been, if it danced to and fro or its crest trailed undulating behind like a hoopoe's, if it was of bronze and flashed in the sun or contained the force of life (kappa 2122)? The poet wants the mind of each hearer to travel out into his own imaginary world in a sequence of images not necessarily related to some historical or religious truth. Of a yellow-jacket wasp (Iliad 12.167) we see simultaneously the motion in the air, the colours and the wasp waist. To most it does not matter what colour the feet of Achilles' horse Xanthos [Myth, Place] (Iliad 19.404) were; the description po/das ai)o/los interacts with a)/ella and suggests that the horse's feet went like a hurricane in speed, noise and rolling motion. Yet Homer probably expected a horseman to take the name as the colour chestnut, sorrel or bay and 'multicoloured' in the adjectival phrase to conjure up a handsome sorrel with white "socks".
The same technique of deliberate ambiguity is found in Athenian theatre and perhaps elsewhere: e.g. Aeschylus, Seven against Thebes 494 (of smoke, the sister accompanying fire and twisting in an intricate design of mingled colours, brilliant and sombre); Sophocles, Ajax 1025 (where the point of Ajax's two-edged sword is no longer flashing or whirling with life but multicoloured, stained with his drying blood), Trachiniae 94 (alphaiota 247, of the colours of night, but also night as ‘ever-turning’); Aristophanes, Frogs 248 (of the flashy choreography and colours of the frogs' dance, alphaiota 244), Thesmophoriazusae 1055 (a pastiche of Euripides on the dark journey to Hades, alphaiota 245).
Outside the Homeric tradition, the headword means primarily 'changeable' (see LSJ at web address 1; cf. eu)ki/nhtos in the definition here), of music of varied modes, of gods and heroes capable of metamorphosis, chiefly in the Orphic Hymns (alphaiota 249), or of unreliable people, whose words and opinions cannot be trusted; it may also 'wily, quick-witted' in a positive sense. The sense of Mycenaean 'multicoloured' is also enduring, e.g. of fine clothes at Callimachus, Aetia 7.11.
[1] The adjective poiki/los, used so often of the headword, has several distinct meanings (web address 2), all deriving ultimately from the craftsmanship of intricate weaving or objects, often inlaid; cf. pi 3082, tau 435, alphaiota 10, delta 106, delta 107, eta 386, etc. We should beware of thinking that it always means 'multicoloured', even if that appears to be the intention in the definitions here (but note Eustathius on Iliad 7.222, daidalqe/n, 'crafted'). The sense 'changing colour' is not documented, although a known sense of ai)o/los.
[2] See alpha 545, alpha 546, alpha 547; and the discussion in Porphyry.
[3] The verb a)/ein is very rarely used in the sense of a)h=nai (for a)vh=nai) 'to blow', required here; it means 'to sleep' (or other homonymous meanings: see LSJ).
[4] For the various homonyms of this verb see LSJ ei)/lw (web address 3). See "C" ei(le/w, used here, and "D". Our text of Porphyry sometimes uses the smooth breathing.
References:
É. Benveniste, 'L’expression indo-européenne de l’éternité,' in Bulletin de la Société Linguistique 38 (1937) 107f.
P. Chantraine, Dictionnaire étymologique de la langue grecque 1.37.
R.R. Dyer, 'On describing some Homeric glosses,' Glotta 42 (1964) 121-31, esp. 127-29, 125-27.
W. Empson, Seven Types of Ambiguity (London, 1930, often reprinted).
Ernst Fraenkel, Gnomon 22 (1950) 239.
H. Geiss, *ai)/olos in LfgrE = Lexikon des frühgriechischen Epos 1.330-31.
G. Markward, koruqai/olos in LfgrE 2.1490-92.
H.J. Mette, ai)o/los in LfgrE 1.329-30.
D.L. Page, History and the Homeric Iliad (Berkeley, 1959) 288-89, nn. 93, 97.
Porphyry, ad Od. = Porphyrii Quaestionum Homericarum ad Odysseam pertinentium reliquiae, ed. H. Schrader (Teubner, 1890).
Porphyry, Liber 1 = Porphyrii quaestionum Homericarum liber i, ed. A.R. Sodano (Naples 1970).
Porphyry, Zet. = 'Zetemata codicis Vaticani' in Porphyrii Quaestionum Homericarum ad Iliadem pertinentium reliquiae, ed. H. Schrader (fasc. 2, Teubner, 1882) 281-335.
Associated internet addresses:
Web address 1,
Web address 2,
Web address 3
Keywords: comedy; daily life; definition; dialects, grammar, and etymology; epic; military affairs; meter and music; mythology; poetry; stagecraft; tragedy; zoology
Translated by: Robert Dyer on 3 March 2003@07:37:26.
Vetted by:
David Whitehead (cosmetics) on 3 March 2003@08:47:54.
Elizabeth Vandiver (Added keyword) on 20 January 2006@18:00:31.
David Whitehead (cosmetics) on 15 May 2012@08:51:20.
Catharine Roth (cosmetics) on 26 May 2012@22:58:17.
David Whitehead (updated 2 refs) on 30 July 2014@09:10:13.
Catharine Roth (cosmetics) on 16 December 2014@23:42:41.
Catharine Roth (upgraded links) on 18 December 2014@22:45:12.
Catharine Roth (coding) on 20 March 2015@23:52:46.
David Whitehead (coding) on 29 November 2015@06:14:15.

Headword: Aiôrêma
Adler number: alphaiota,263
Translated headword: halter, hanging-cord, sling
Vetting Status: high
Translation:
[no gloss]
Greek Original:
Aiôrêma.
Notes:
cf. generally epsilon 1899; alphaiota 262, alphaiota 264, alphaiota 265. The present headword, a poetic neuter noun, is used by (e.g.) Euripides and Lycophron.
See also epsilon 1897.
Keywords: dialects, grammar, and etymology; poetry; science and technology; stagecraft; tragedy
Translated by: Catharine Roth on 3 February 2003@00:56:30.
Vetted by:
David Whitehead (augmented note; modified keywords) on 3 February 2003@03:05:51.
David Whitehead (x-ref; more keywords) on 1 March 2006@05:03:01.
David Whitehead (tweaked note; another keyword) on 16 May 2012@04:11:06.

Headword: Aischinês
Adler number: alphaiota,348
Translated headword: Aeschines, Aischines, Aiskhines
Vetting Status: high
Translation:
Of Athens; son of the elementary teacher Atrometus and Leucothea[1] the priestess. He himself was an actor, then a secretary, then an orator; he was a traitor, who betrayed Cersobleptes[2] and the Phocians. He indicted Ctesiphon for violating the constitution when he proposed that Demosthenes be crowned;[3] he lost the case, and went into exile in Rhodes, where he became a teacher.
Greek Original:
Aischinês, Athênaios, Atromêtou grammatodidaskalou kai Leukotheas tês telestrias, autos hupokritês, eita grammateus, eita rhêtôr, prodotês, ho Kersobleptên kai Phôkeas prodous. grapsamenos de paranomôn Ktêsiphônta, stephanoun grapsanta Dêmosthenên, hêttêthê kai ephugen eis Rhodon kai epaideusen ekei.
Notes:
C4 BC. The same Aeschines as alphaiota 347, q.v.
[1] Glaukothea, rather: see alphaiota 347.
[2] See kappa 1421.
[3] cf. kappa 2524.
Keywords: biography; constitution; daily life; dialects, grammar, and etymology; ethics; geography; history; law; politics; religion; rhetoric; stagecraft; women
Translated by: Malcolm Heath on 10 February 2001@13:29:53.
Vetted by:
David Whitehead (added notes; cosmetics) on 26 March 2001@06:31:40.
Catharine Roth (typo identified by Andrew Smith; cosmetics) on 10 October 2004@19:02:42.
David Whitehead (another keyword) on 10 October 2005@08:43:57.
David Whitehead (another keyword) on 18 November 2005@09:49:51.
Elizabeth Vandiver (Added keyword) on 20 January 2006@19:12:49.
David Whitehead (another note) on 14 June 2011@07:01:41.
David Whitehead (more keywords; cosmetics) on 17 May 2012@05:35:32.

Headword: Aischulos
Adler number: alphaiota,357
Translated headword: Aiskhylos, Aischylos, Aeschylus
Vetting Status: high
Translation:
Athenian, tragic poet, son of Euphorion and brother of Ame[i]nias, Euphorion, and Kynageiros, who [all] fought bravely at Marathon together with him.[1] He also had two sons who were tragedians, Euphorion[2] and Euaion. He competed in the 9th Olympiad[3] when he was 25 years old. This man was the first to invent the practice of actors having masks painted wondrously with colors and wearing felt half-boots known as embatai. He wrote both elegiac poetry and 90 tragedies. He won 28 times, though some say[4] 13. Exiled to Sicily following a collapse of the stage during a performance of his, a tortoise was dropped on his head by an eagle that had been carrying it, and he died at the age of 58.[5]
Greek Original:
Aischulos, Athênaios, tragikos, huios men Euphoriônos, adelphos de Ameniou, Euphoriônos kai Kunaigeirou, tôn eis Marathôna aristeusantôn hama autôi. esche de kai huious tragikous duo, Euphoriôna kai Euaiôna. êgônizeto de autos en têi th# Olumpiadi etôn ôn ke#. houtos prôtos heure prosôpeia deina chrômasi kechrismena echein tous tragikous kai tais arbulais tois kaloumenois embatais kechrêsthai. egrapse de kai elegeia kai tragôidias #4#: nikas de heilen ê# kai k#, hoi de triskaideka phasi. phugôn de eis Sikelian dia to pesein ta ikria epideiknumenou autou, chelônês epirripheisês autôi hupo aetou pherontos kata tês kephalês, apôleto etôn nê# genomenos.
Notes:
c.525/4-456/5. See generally OCD(4) s.v. (pp.26-28).
[1] In 490. Ameinias was probably not a relation, because he came from a different deme (Herodotus 8.84): see M.R. Lefkowitz, The Lives of the Greek Poets (London 1981) 69.
[2] See epsilon 3800.
[3] So the transmitted numeral, equating to 744-741 BCE; suggested emendations produce the 69th (504-501) or the 70th (500-497). For this first try at competition (actually in 499) cf. pi 2230.
[4] More correctly.
[5] Repeated at the end of chi 191. This age does not conform to the generally accepted dates for Aeschylus' life (see above).
Keywords: biography; chronology; clothing; ethics; geography; military affairs; poetry; proverbs; stagecraft; trade and manufacture; tragedy; zoology
Translated by: Ross Scaife ✝ on 22 March 2002@09:17:12.
Vetted by:
David Whitehead (added notes and keywords; cosmetics) on 10 April 2002@12:18:54.
Ross Scaife ✝ (corrected reference to Hdt following note from David Sansone) on 22 May 2002@14:26:46.
Elizabeth Vandiver (Added keyword; augmented note; added italics) on 20 January 2006@19:22:13.
David Whitehead (tweaks and cosmetics) on 17 May 2012@06:18:03.
David Whitehead (expanded n.3) on 31 March 2014@08:14:20.
David Whitehead (updated a ref) on 1 August 2014@04:49:19.
David Whitehead (more keywords) on 1 December 2015@04:30:48.

Headword: Babakatreu
Adler number: beta,2
Translated headword: babakatreu
Vetting Status: high
Translation:
It is a barbarian word; the barbarian god is agreeing. For the meaningless words stand for assent.
Greek Original:
Babakatreu: barbaros esti phônê: sunkatatithetai de ho barbaros theos. hai gar asêmoi phônai anti sunkatatheseôs eisin.
Note:
Variant reading for the enigmatic utterance of Triballos in Aristophanes, Birds 1615 (web address 1), with comments from the scholia thereto. Other variants include babai/ satreu=, mabaisatreu=, nabaisatreu=. Following L. Bayard, RPh 44 (1920) 30, Dunbar (below) prints na *baisatreu, which Bayard interprets as "yes, Peisetairos", but she notes (pp. 724-5) two other possibilities: that Baisatreu is the name of a barbarian god or that the whole phrase is deliberate gibberish.
Reference:
Aristophanes. Birds. Ed. Nan Dunbar (Oxford 1995)
Associated internet address:
Web address 1
Keywords: comedy; definition; dialects, grammar, and etymology; geography; religion; stagecraft
Translated by: Anne Mahoney on 6 September 1998@18:43:03.
Vetted by:
Catharine Roth (Augmented note, added link, raised status.) on 13 January 2001@16:46:54.
David Whitehead (modified translation and note; added bibliography) on 14 January 2001@09:13:19.
William Hutton (expanded notes, cosmetics, set status) on 29 August 2007@11:44:06.
David Whitehead (cosmetics) on 18 May 2012@03:34:03.
Catharine Roth (upgraded link) on 29 May 2012@23:45:34.
David Whitehead on 30 May 2012@03:31:57.

Headword: Batracheion
Adler number: beta,189
Translated headword: frog-green
Vetting Status: high
Translation:
A type of color. From this also [comes] the frog-green coat. They used to color their faces with frog-green before masks were invented.[1] Also [sc. attested is] 'frog-green [coat]', a type of brightly-colored clothing, similar to the name of the [frog?] that has this color.[2]
Also [sc attested is the phrase] 'frog-green fate'.[3]
Greek Original:
Batracheion: eidos chrômatos. apo toutou kai batrachis himation. echrionto de tôi batracheiôi ta prosôpa prin epinoêthênai ta prosôpeia. kai Batrachis, eidos esthêtos anthinês, homoion tôi onomati echousês to chrôma. kai Batracheios moira.
Notes:
[1] From the scholia to Aristophanes, Knights 522, where the headword occurs; cf. mu 20.
[2] From the scholia to Aristophanes, Knights 1406, where the word occurs.
[3] This (proverbial?) phrase is not otherwise attested.
Keywords: chronology; clothing; comedy; daily life; definition; imagery; proverbs; stagecraft; tragedy; zoology
Translated by: Craig Gibson on 20 June 2002@16:02:08.
Vetted by:
David Whitehead (added notes; cosmetics) on 24 June 2002@05:24:56.
Elizabeth Vandiver (Added keyword) on 25 January 2006@20:58:24.
David Whitehead (more keywords) on 26 January 2006@03:18:53.
David Whitehead (more keywords; cosmetics) on 23 May 2012@08:09:52.

Headword: Brontê
Adler number: beta,549
Translated headword: thunder
Vetting Status: high
Translation:
Noise of clouds [resulting] from friction or bursting.[1]
There is also a particular [stage-]device, which used to be called a thunderbox [bronteion]. Beneath the stage building was a pitcher full of small pebbles from the beach; and there was a bronze cauldron, into which the pebbles were poured and by their rolling around produced a sound like thunder.[2]
Greek Original:
Brontê: nephôn psophos ek paratripseôs ê rhêxeôs. esti de kai mêchanêma ti, ho ekaleito bronteion. hupo tên skênên de ên amphiphoreus psêphidas echôn thalattias: ên de lebês chalkous, eis hon hai psêphoi katêgonto kai kuliomenai êchon apeteloun eoikota brontêi.
Notes:
See also beta 550.
[1] A Stoic definition from Diogenes Laertius 7.153.
[2] From the scholia to Aristophanes, Clouds 294 (cf. 292), where thunder is mentioned; cf. Pollux 4.130.
Keywords: comedy; daily life; definition; history; philosophy; science and technology; stagecraft; trade and manufacture; tragedy
Translated by: Sean M. Redmond on 8 October 2001@11:58:59.
Vetted by:
David Whitehead (augmented notes and keywords; cosmetics) on 9 October 2001@03:36:12.
David Whitehead (more keywords) on 13 June 2011@09:32:48.
David Whitehead (tweaking) on 4 June 2012@03:45:16.
David Whitehead on 23 September 2015@11:05:17.

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