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and
Word-order
and Demetrius,
in Sophron
'ekaoth
On Poems
2, cols.
55-60*
to poetry,1
the On
of Epicurean
mentioned
sometimes
approaches
together as examples
Although
are
both preserved only in papyrus copies from Herculaneum,
and Demetrius,
Poems
by Philodemus
most
The
Demetrius'
treatise.
contain
of
Three
different
works.
fragments
papyri may
really very
<Claudius>
Nero2 and
substantial of these, P. Here.
1014, contains a closing address to an unidentified
as
rest
a subscription
the
The
2
and
author.
of
the
roll
consists
of
it
Book
naming
largely
identifying
and discussion
of rhetorical figures. P. Here.
188 provides more
various material on poetic composition
to
1.
little
It
but references
from
continuous
Book
sense,
material,
supplies
probably
fragmentary
a Peripatetic
to the mid-third
theorist probably
century BC,
dating roughly
poetic
some of
at
and also criticized
in part by Theophrastus,
that
least
suggest
by Philodemus,3
over
more
to
that book may have been given
general accounts of poetic theory. A third papyrus, P.
the most recent editor of On Poems,
be
also
doubts the
Here.
relevant,
Romeo,
1113a, may
though
Andromenides,
influenced
to Demetrius
and suggests
instead that the author may be
(originally made by Cr?nert4),
has recently argued that the hand can hardly be later than the second
the Philodemus
papyri must obviously
belong to the first.
attribution
Philodemus.5
however,
Dorandi,
trius of Byzantium,
his On Poems comprised
to P. Here.
the closing
1014 looks very much
like the end of the work.7
633 AB), while
passage
now inclines to Demetrius
of Laconia, who probably taught inMiletus
but clearly had Roman
Opinion
are well
at Herculaneum,
attested
His works
there by Philodemus
connections.8
perhaps brought
an
and the address to Nero parallels
that found to
at the end of his
himself,
Quintus
again unidentified
On
the Gods.
Language
consistent
with
this Demetrius'
authorship.
Demetrius
Romeo (1988) refers to C. Romeo, Demetrio Lacone: La Poes?a, La Scuola di Epicuro, 9: Naples; Obbink (1995) to
D. Obbink (ed.), Philodemus and Poetry, Oxford; De Falco (1923) toV. De Falco, L'epicureo Demetrio Lacone, Naples.
I examined
supplements;
a new
cols.
publish
new
edition
in Naples
in June, 2002,
to confirm
and was
able
of Romeo's
several
to this discussion,
these are mentioned
in the text or footnotes.
1 plan to
16 in a forthcoming
book on Sophron's
to the staff of the
mimes.
I am grateful
1014
of P. Here.
55-60
I have
where
relevant
readings
as fr.
of all six columns
Officina dei Papiri and the Biblioteca Nazionale for their assistance, and to the Alexander von Humboldt Foundation, under
this work
auspices
who made
several
whose
Janko,
here
as Janko
(per
was
about
suggestions
financial
assistance.
provided
generously
at an early stage and then comments
the papyrus
that Varro
also
on
to Richard
indebted
the finished
cited
article,
litt.).
1On
Epicurean poetics in general, see E. Asmis
2 Romeo
I am also
and which
undertaken,
(1988),
wrote
66-7,
an On
the T. Claudius
suggests
Poems
(on which,
to whom
cf. E. Rawson,
Varro's
Intellectual
ad Neronem
Epistulam
Life
in the Late Roman
was
addressed,
Republic,
London
noting
and
2000,
143-54.
and
Janko
his
on euphony
his probable
date
theories
discusses
see
and word-selection,
status as a Peripatetic
and
now
R.
Janko,
Philodemus.
on pp.
151-2;
and C. Mangoni, Philodemo, il quinto libro della Po?tica, La Scuola di Epicuro, 14:Naples,
4W.
Cr?nert, Kolotes undMenedemus, Leipzig, 1906, 106.
On
Poems
(1988),
1,
50,
1993, 277-9.
5Romeo(1988),79f.
6T. Dorandi, ZPE 91, 1992, 33; cf. R. Janko inObbink (1995), 86, and Janko (n. 3), 16 n. 2.1 have had no opportunity
to examine
either
P. Here.
188 or
1113a.
7 Cr?nert
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J. Hordern
76
was
of Laconia
of Zeno
of Sidon,
the head of
to the early 70s BC. Demetrius
inP. Here.
him with affection
1012 (cols 44, 2 and 50, 6), though his name comes after
at Diogenes
Laertius
10. 25-6.9 Zeno also wrote on poetry;
in the list of prominent Epicureans
the Epicurean
twice mentions
Zeno's
P. Here.
col. x, which
1005,
contains
Book
1113a.
dating of P. Here.
In Book 2, Demetrius
himself
devotes
largely
to an account
of technical
of which
discussion
men's
and women's
mimes
yuvaiKEioi,
sex
to
the
character
reflect
the
main
of
own,13 appears
appear in either. An interest in character-drawing
evidently
sex could
opposite
in Diogenes
brief reference
coarseness
and p?poi
ccv?pe?oi
Sophron's
probably
of composition
In particular, he
short (we do not know
questions
eschews.11
Aristotle
the extant
but
Laertius,14
present
fragments
1. 1447a 28) had grouped
the mimes,
and those of
of Teos as prose mimesis,15
and
of Alexamenus
dialogues
statement
and Aristotle's
in his On Poets
73
(fr.
R.3) that
(Poet.
the Socratic
Sophron's
thus a form of
may be indicated by a
more
evidence
for simple
rather
euphony,
form. Philodemus,
importance
in the strict sense.17 Whether
7co(i)r|paxa
of the mime
extensive
discussion
suggests
argued
9 Cf. Romeo
(1988),
26-32.
Libri
scritture
10
G. Cavallo,
scribi
of form
a Ercolano,
Demetrius
not,
CErc
have accepted
this view
is unclear; his
to
his own general theory of poetry is difficult
would
though
Suppl.
views,
as
p?poi
1:Naples,
(n. 3), 5 n. 6.
Janko
1983;
11Cf.
esp. Phld. De poem. 5 col. 26, with D. Blank inObbink (1995), 185f.
12
are cited
of Sophron
Fragments
R. Kassel
after
and C. Austin,
Poetae
Comici
vol.
Graeci,
1, Berlin
and New
York,
2001.
13 It is not an obvious
14D.
cai
Kai
L. 3.
18 (test.
fiGoTcoifjcai
one
6 K.-A.)
rcp?c
?oke?
atrc?v
(cf.
??
to make.
?l^?xcov
J. M.
Kai
S. McDonald,
...
x? Cc?xppovoc
?i??ia
Character-Portraiture
r\?iEXr\^?va
in Epicharmus,
rcpcoxoc
eic
Sophron,
?iockou?
'A0r|vac
and Plato, Diss.
Columbia, 1931); but this statement may just be a development of the common but dubious tradition that Plato was
influenced by Sophron.
15Arist. fr. 72 R.3
(ap. Athen. 11. 505 C) and an Aristotelian papyrus from Oxyrhynchus (P. Oxy. 3219) make the
connection with Alexamenus (test. 2-4 K-A). Cf. M. W. Haslam, B/CS 19 (1972), 17-38.
16Fr. 10 Janko
(ap. Janko (n. 3), 158), quoted at Phld. De poem. 1, col. 199 pp. 428-9 Janko. On Heracleodorus
generally,
for
basis
Sophr.
proper
see
Janko
(n. 3),
the essentially
test.
19 K-A)
cola
17
Cf.
or clausulae
Phld.
De
5, col.
but does
not mention,
(rare in antiquity,
though
a form of 'rhythmical
wrote
find in later prose authors.
view
that Sophron
such as we
poem.
he cites,
155-65;
modern
Aristotle.
apparently
prose',
though
are also
the
probably
to Gregory
Nazianzus:
in the extant
suggests
fragments
statements
Aristotle's
influential
for a scholion
nothing
12, 20-4.
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and exXoyri
Word-order
in Sophron
On Poems
and Demetrius,
77
common
to
1. However,
it was certainly
of Book
practice
fragments
describe mimes as rcovnpccxa and Sophron himself as 7coir|xr|c.18
Reading On Poems can be difficult work. The script is often hard to decipher due to the carbonized
state of the papyrus, and both the tops and bottoms of columns tend to be particularly
poorly preserved;
and the scribe is prone to occasional
sections can normally be read with any confidence,
only the middle
reconstruct
from
the scattered
at least,
but Demetrius
characteristic
of Epicureans,
is, usually
slips. Sloppy writing was allegedly
covers
to
the
The
of
and
discussion
mime
six
concise
so)
(sometimes
surviving
confusingly
point.19
in col. 55, though the extremely
coherent
the end of Book 2. It first becomes
towards
columns
at 55, 6). The extant
the
dealt
with
54
col.
also
subject (cf. 7tpo?KK?ip?[voic
probably
fragmentary
section
of the discussion
14
Fr.
15 x?Amvoc Koik?cc,
'wretched Koikoa,
17
to a slave-girl
called Koikoa,
a name we
know
from
fragments:
Fr.
Fr.
a reference
with
begins
pecc?v
(though she was probably not the main one), rather than simply being named by one of other women;
indicate anything about the actual manner of performance.
but it does not necessarily,
of course,
The
no more
mime may have had some influence on Herodas
than the first few lines are
9, of which
but which
clearly depicted women
preserved,
together and included criticism of a maid
breakfasting
abuse of her slave-girl Eunoa at Theocr.
15. 27ff., a poem based on
servant.20 Similar is also Praxinoa's
is not attested elsewhere;
earlier scholars attempted
another of Sophron's mimes.21 The name Koikoa
to
animal sounds such as Ko?^ or koi (koi?eiv).22
representing
like Rhongka
names,
'speaking'
though they are usually more transparent,
or
Trello (fr. 126).23
(fr. 46),
(fr. 22), Cothonias
Demetrius'
discussion
supports an onomatopoetic
explanation:
derive
it from known
fondness
words
Sophron
for
has a
p. 120 R.).
55, 2-11,
t\ [cp]r|av Ka??[v24-(col.
1. 14; Tuse.
De fin.
20 See Headlam
Knox
2. 7; Dion.
on Herod.
Hal.
Comp.
24.
8. On
Philodemus'
style,
however,
see Janko
(n. 3),
192-3.
9 tit.
21Cf.
Sophron, fr. 171, and Theocritus 15,ZPE 140 (2002) 1-2.
22 E.
Hauler, Verhandlungen der 42. Versammlung deutscher Philologen und Schulm?nner inWien, Leipzig,
257;
Fuhr
ap. A. Olivieri,
Frammenti
della
Commedia
Greca
e del Mimo
nella
Sicilia
e nella Magna
Grecia,
1947,89.
23 The name Cothonias
probably derives from k<50cov,a type of goby, according to Athenaeus
following
Apollodorus;
24 R. Janko
(per
Trello
is cognate
litt.) suggests
with
e.g. Modern
Greek
but perhaps
xpeX?c
'insane'.
read KocXe?[v.
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vol.
1894,
2, Naples,
78
J. Hordern
with
is certainly
Romeo
translates
lines 8-11 as
possible.27
serva
la
she
Fuhr's
derivation
from
per onomatopea
straniera';
approves
name
a
and
that
the
evokes
to
Greek
suggests
foreigner's
Koi'(?eiv),
inability
speak
correctly, producing
sounds like those of a pig. Imitation or mimesis
is the subject in col. 52, where
nothing but grunting
Demetrius
discusses
the imitative pythikos
nomos, which depicted musically
Apollo's
victory over
course,
familiarity
chiarno
'(Sofrone)
Apollodorus'
work
Koikoa
at Delphi.28
Certainly Demetrius
implies
of course, should mean
^?Vi?[oucav],
suggests Koikoa's
foreign status: [xr|]v
not simply
'the foreign slave-girl',
but 'the slave girl,
[?]ou?r|v
or perhaps
because
she is foreign',
'because
she speaks a foreign
She
is perhaps
to be
language'.
as
a
an
a
ethnic
which
had
Sicel,
group
imagined
evidently
typically poor reputation among Sicilian
are a frequent
source of Greek
Greeks.29 Non-Greeks
and their attempts
to speak Greek
humour,
a
common
comic
in
A
Old
with
connection
situation, especially
provide
Comedy.30
linguistic barbarism
is also suggested
a Kax? x?v | x?nov
mentions
(xic) | ?r|xou[vxcov]
by col. 60, 4-6, where Demetrius
Pytho
alternative
koi]|ku[M,]?iv
name
is in fact
suggested
by
col.
60,
6-9:
xoiaux[a
not recur
does
name
of Koikoa's
explanation
in the surviving
sections
it seems
intervene,
likely, especially
treatment of the Koikoa mime.
Indeed,
Sophron's
four columns
to Demetrius'
given ?\|/i[p]a9?civ,
all the intervening material possibly
refers to the same work, and
at col. 59, 4.33 [koi]|k-?[Mi]?iv
is De Falco's
'mimes' are mentioned
attractive
(I could in
supplement
it refers to Euripides'
fact make out |ku?,[ ]?iv), otherwise
In-Law
852, where
hapax at Ar. Thesm.
as
an
was
he
and
that
searches
for
Demetrius
this
that
the
verb
way
gaping
escape-route.34
implies
see
we
a
and
should
here
direct
with
connection
KoiK?a.35 This sort
probably
actually used by Sophron,
of alliterative
alliteration
25 For
Apollodorus'
26Cr?nert
27 R.
and
interest
in etymology,
a similar
suit Sophron's
style, and at fr. 48 (A,oi;cov x?c ?,oyaSac)
a supposed
or
to suggest
about
Gaping
looking
etymology.36
see R. Pfeiffer,
that as a Laconian
(per litt.) notes
no need for a commentary.
28 See M.
of Classical
Scholarship,
Oxford,
1968,
259-61.
Janko
so have
A History
L. West,
Ancient
Greek
Music,
Oxford,
would
1992,
have
easily
Cr?nert
212-14;
able
been
(n. 4),
to read Sophron's
107, also
suggests
Doric
that
himself,
this discussion
Cf.
esp.Epich.fr.
30 See
e.g. my
The
207 K-A.
of Miletus,
of Timotheus
Fragments
Oxford,
2002,
with
204-6,
the references
collected
there.
31Romeo
(1988) takes Toi uxcxwith the following clause.
32D. L. 7.
44; cf. D. Schenkeveld, Mnem. 43 (1990), 86-108, R. Janko (n. 3), 180.
-
33 Kassel
34 Janko
Austin
(per
litt.)
(n.
12) print
suggests
only
cols.
that koucu??g)
55,
may
mean
'babble',
as Sophr.
in which
fr.
16.
case
rcpotpopcx?c
could
have
its usual
sense
pronunciation.
esp.
Et. mag.
p. 572,36
...
?xi
X?tpwiax
?v xcoi ?^erceiv
Kax?
x?c
?7ucxpoip?c.
Caxppcov
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?v OuvvoGripatc
of
Word-order
and ekXojt]
in Sophron
and Demetrius,
On Poems
79
is a typical characteristic
of dull and lazy servants,37 and rcpo(popa?c (col. 60, 7) may therefore
vacantly
could mean not simply 'expressions'
but 'rebukes' (cf. LSJ, s.v. IV), particularly
apt if we suppose that
the word was used in a speech to Koikoa.
Demetrius'
matter
for
Demetrius'
in
(though Romeo prints fragments of only four lines at the end of col. 55); Demetrius
a
had time to introduce a new subject, but Romeo's
reading of the text presents
will
certainly have
number of difficulties:
keive? ttc?cv
oio[co]uv (Romeo39)
[xou]|xo [?' ?c]x[u]pck (Gigante) ??i7t[cov], |cuv?rcxei ?' ocKota)u|0c?c,
o n?Xxv
IGaccov
[cuvek]|
?oxikcoc
x] v 7i[poei]7iop?v[cov]
?(p?[cxr|K81
'Vedendo
mente
p. 121 R.).
impl?cita
is probably wrong,
but I can see no
keivei
in line 7. The first problem
is
in the Demetrius
papyri (though it is not so
The
[ic]x[u]pcoc
?Xerctcov]
depends on the difficult
(Romeo's
xr|[yavicx?]v
supplement,
|5 [avxojvopac?av42
xo? p |?Ar o rcapf?Kxai
37 At Herod. 4. 4Iff.
At
38 But we
to be
fr. 7.
ad
with
40 Romeo
Philodemus,
should
which
of
further
[k]ivcov
at col.
(n. 4),
59,
recognises
101,
x?xo
(= xa?x?)
is very
I could
but
no attention
pays
13. 36 says
litt.) suggests
while
his wife
adulteries
freely
plans
kXnxcx X?p7t?u?0a,
Kotxpouc
x?ocovxec
ei for
traces
though
circular
oio[v
of both
than would
o]x>v; Janko
not
it does
be usual
(per
not unusual
the k and
it over
or enclitic
[tivoc]
oci]cxpoi)
i is of course
to recommend
little
fragment,
wrote
Lucignano
out
make
perhaps
and more
rounder
cautious,
this has
this as a new
common
75-6).
is more
who
fr.
(per
to be
(1988),
3, but
suggests
[ji?xo]vo|iaoiav,
again at col. 59,7-8.
rightly
to me
look
(cf. Romeo
76; Cr?nert
Janko
epyou
omicron
(1988),
see Janko
of a man
and Solon
when
he
hopes.
xo? aicxpo?
the second
is told off by her mistress, Cynno: o? col ?iyco, amr\, xfji coSe KcbSe
is used
references),
of empty
elongated
read
appears
43 Romeo
expect
110 kextjvotoc
and more
41 Romeo
42 Romeo
loc,
enjoyment
traces
thinner
Semon.
(see Lloyd-Jones
means
thoughtless
3^ The
correct):
certainly
121f.R.).
pp.
XacK?iScr|i;.
Sophron's
but almost
discusses
apparently
[ c . . . rca|p]eip?vov
[ov]?pa|[xi
xp]fic9oci xr|[yavicx]|?v
Xey?pevov
ano xcov | pcoA,uop?vcov
xa?xa
x?
| S' ?cxiv x? ?paSecoc
?|\|/?p[8]va#
Kai Kax?
?vxi
There Demetrius
the i under
in Kassel
litt.) suggests
in papyri
of
tends
oio[vo]\)v.
this date.
On
the microscope.
a word
[?cvxolvouixo?av,
Lucignano's
appear
[xo\)].
for o, which
recent
Austin's
edition.
xcoi, which I have confirmed as very likely under the microscope. The
in Demetrius.
second
person
dative
coi may
seem
at first
sight
a little unusual
for
Syracusan Doric (we should expect xiv as inAlem?n and Pindar), but uoi is found alongside ?u?v in the first person. The last
word
.]r|?vx.
of
line
15 is perhaps
]oix[ may
suggest
? (= f|), but
an optative.
the following
line provides
no
coherent
sense:
I read, with
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Romeo,
oc[.
. .]oix[.
80
J. Hordern
Demetrius'
that word-choice
is also under consideration
here. In
is not an error, perhaps for (?)K??vr|i
'in that way',
or for (?)Ke?vo, to be taken with rc?v ... ?.
of the discussion,
to be involved
there is no evidence
Romeo
makes
of alternative
poetic
theories.
But again,
the attractive
just a few
isolated
letters. The
text begins
ap0(p)a
|kivc?v ?? xcovpM?pcov4615d ?tj ano a[?]0?[Kacxco]v | [Jev ap0(p)a kivcov [.. .]tio (col. 59,
3-6,
liif.R.).
pp.
in line 3 as the object of line 4's kivcov,48 but this is unlikely given the position
verb in the extant section, and presumably
the first ap0(p)a
is the end of a first
it. If so, and assuming
clause which will have contained
that ap0(p)a
in line 6 is the object of the
that follows
in line 4 lacks an object. This could be taken over from the
it, then kivcov
participle
Romeo
takes ap0(p)a47
lack a main
of ??. We
lines 4-5
could
seems
no other word
providing
of Halicarnassus
by Dionysius
perhaps mean
'altering
44 Romeo
(1988), 284. Col. 58, 12 begins ?paO?[co]c, which Romeo refers back to col. 57.
- E.
45 C. D.
Buck, The Greek Dialects, Chicago and London, 1955, 80; A. Thumb
Kieckers,
griechischen Dialekte 1,Heidelberg, 1932, 212).
^
47
wrote
Romeo
prints
[u?i]ucov,
but
inspection
?vap6(p)a.
48 Romeo
prints
49 For the
sense,
Heracleodorus'
50 a
[k]ivcov,
but
0?[.]v
under
the microscope
reveals
clear
traces
of
the first m
and
the
i.
in line 6, but there is clearly no space for a lacuna between 0 and a; De Falco (1923)
see above,
suggested
under
Handbuch der
n. 41.
fr. 6 Janko,
op.
cit.,
the microscope,
164-5.
and
1, col.
193, 2-3
(cf.
ap. Phld. De poem.
?i ?r|.
The papyrus,
divides
however,
the traces
of
the second
letter
seem
Janko
to be compatible
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with
n.
1). For
Word-order
lacunae on either
kivcov,
phrase ap0(p)a
and Demetrius,
On Poems
2 81
the position
of articles is unlikely to have the stylistic effect which my interpretation implies; and it is interesting
that the scribe
twice made
two words
it was,
in writing
I suggest op0a.
term
The word op0oxr|c
to various
forms of
(semi-)technical
applied
at
correctness
the
end
the
fifth
least
of
familiar
to
be
in
used
by
linguistic
century,51
enough
passing by
xcov
when speaking of sophistic Euripidean
(Ra. 1181 xfjc op0?xr|xoc
Aristophanes'
Dionysus
prologues
in Phaedrus
Plato credits Protagoras with teaching
'correctness
of diction'
?7ccov). Thus,
(op0O?7i?ia),
the restoration
while
attractively
a common
had become
ap0(p)a,
in his book
probably
and elsewhere
'A^ri0?ia,
an interest
with
in linguistic
?p0oxr|c;52?p0O?7t?ia
a classification
for different
types of state
appears
and
ment,
interested
noun
a work
wrote
Plato
explanation'.53
of words';54 Plato's use of op0oxr|c
in both passages
suggests
derived from the theories of Protagoras.55 The simple
possibly
in Pausimachus'
context, but we find the phrase ?p0? ov?paxa
by Philodemus
reflects
the
accurately
quoted
in On
Poems
l.56 Pausimachus'
'correct
Prodicus'
is not as well
own,
again
in this
attested
of Homeric
words'
onomatopoeia,
those whose
sound
are
in this context
thus evokes
the onomatopoeic
thing they refer to; op0oc
dicussed
in Plato's Cratylus,
somewhat playfully
and those offered more seriously
in Stoic
etymologies
theories of language.57 Demetrius,
of course, will not have such a precise, philosophical
in
definition
to literature shows little in common with the linguistic
mind. His approach
of a Zeno or
fantasies
his 'correct words' will just be words
in common
use, and his point the simple one, so
Chrysippus;
common as scarcely to require illustration, that 'changing the correct words'
produces a change in style.
If this interpretation
is correct, then the discussion
in col. 59, 3-6 will look back to the treatment of
in the preceding
word-choice
and
fits
columns,
particularly well with the apparently
etymologizing
account
of xriyavicx?v
?cxi[v]
x?h "a[i]|rco?xo
51 See
ven
generally
Grammatik,
unlikely
to be
avxovo|pac?av
x?c fa[.]?r|C?i[.]"58
E. Siebenborn,
Amsterdam,
relevant
andpco^u
Die
1976.
x?
Lehre
von
?p6?
(priuocxa)
the following
der Sprachrichtigkeit
und ihren Kriterien:
are active,
as opposed
to passive
Studien
(x?
vnxi?),
is that
point
zur antiken
verbs,
normati
but
that
is
here.
52 Phaedr. 267 C
(DK 80 A 26); Crat. 391 B (DK 80 A 24); cf. R. Pfeiffer (n. 25), 37-8, 280.
53 Pfeiffer
(n. 25), 42.
54Crat. 384
B; Euthyd. 277 E (DK 84 A 11, 16).
55Cf. Pfeiffer
(n. 25), 39f.
56De
poem. 1, col. 180, 1 (pp. 318f. Janko). For Pausimachus' date (probably late third century BC), see Janko (n. 3),
165. Cr?nert
(n. 4),
106,
supplied
name
Pausimachus'
at Demetrius,
De
poem.
2, col.
7,
11-12
(ria\)ci]||iaxov);
Romeo
(1988) suggests instead 'Avxi]|uo:xov, probably rightly, since Demetrius has just mentioned Sappho and Alcaeus.
57 Cf.
e.g.
SVF
I 146,
148. Janko
(n. 3),
178ff.,
remarks
on connections
between
Pausimachus
and
Stoicism,
but notes
thatwe do not know which way the influence went. ?pO?c is not a usual Stoic word in this context, though the term ?p6?c
t?yoc,
not,
of course,
with
linguistic
connotations,
is common
enough,
and perhaps
had
an origin
language-theories.
58Romeo
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in fifth-century
and
later
82
J. Hordern
of
the expected
said ai7toA,co
x?cc59
saying ai7to?,co xo?c ??ecci, with
object,
Sophron
not only does he use a different word (metalepsis),
an adjective
or
but it is, probably,
ta[.]5r|C?i[.];
The
is
and
this
(antonomasia).
feminine,
object, perhaps significantly,
appellative
quotation may also
to the Koikoa mime. Further examples,
have belonged
all regrettably
in what follows.
lost, are adduced
instead
. .]ix?"
is particularly
x? ?? "[. ,]i[.]ko[.
tantalising:
7tap|??Xr|[7c]xai ?[v]xi
which appears in a question,
[^?]i[o]ko[v]ix?,
(lines 12-14). It is tempting to supplement
at Sophr. fr. 74 (kex ?cc?, A,?iOK?viX?;); the third lacuna is almost certainly
woman,60
the first
But
nu can sometimes
discussed
above
too
but we
large for a
(the iota is
be quite broad,
could easily read -ko[v?]ix?
be
her
mistress
said to Koikoa.
easily
something
a provisional
re-translation
based on the revised
of all six columns,
letter, though
obviously wrong). Fr. 74 could
single
I conclude
|"c7i[. . .]"
to a
addressed
xo?
by offering
and in the footnotes.
P. Here.
text
and it is easy to see the truth of what we have said if we consider what was said before
he brought
in. For he called the slave-girl Koikoa,
because
she was foreign, who
...
...
...
to call (?)
of
('or'?), he says,
(at least 10 lines missing)
(56) action (2 lines missing)
Euripides
... he says and
... of a shameful act.
the common
feature concerning
this
in
detail
provides
Considering
thing as when
agreeing with these
expressions
mimes
... the
subjects
Berlin
James Hordern
5^We
60
expect
Hesychius,
a dative
A 532,
after aircoAico,
glosses
taioK?vrcoc
and ought
asf]
perhaps
teXeicoc
to read ia(i)c.
eic koviv
8iaAeta)uivr|,
adding
the note
61 I read
]xic |?r|'co'6[vTa)]v;Romeo (1988) has ]axic |Ctito-uIvtcoIv.
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Aeicoc
y?p
tetaicoc.