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).

An interesting distinction, but uncorroborated outside lexicography.

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.

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.

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.

[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).

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.

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).

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.

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.

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.

[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.

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."

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.

[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 (Euenus of Ascalon).
[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.

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.

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).

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.

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.

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.

C4 BC. The same Aeschines as alphaiota 347, q.v.
[1] Glaukothea, rather: see alphaiota 347.
[2] See kappa 1421.
[3] cf. kappa 2524.

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).

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.

[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.

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.