Ὀρφέα. For the legend of Orpheus and his
wife Eurydice, see Paus. IX. 30, Virg. Georg. IV. 454 ff., Ovid Met. X. 1 ff. Phaedrus modifies the
usual story (1) by making Eurydice a φάσμα, and
Orpheus consequently ἀτελής (cp. Stesichorus'
treatment of the Helen-legend, followed also by Euripides in his
Helena, and Phaedrus 243 B): (2) by making O.'s descent
an act of μαλακία rather than of τόλμα (as Hermesianax 2. 7,
Ov. Met. X. 13
“ad Styga Taenaria est ausus descendere porta”
): (3) by representing O.'s death to be a penalty for this cowardice rather than
for his irreverence to Dionysus (as Aeschylus Bassarai, etc.). For
Orpheus and Orphism in general, see Miss J. Harrison Proleg. pp. 455
ff.
ἅτε ὢν κιθαρῳδός. As if the
“soft Lydian airs” of the cithara conduced to effeminacy. For the
cithara, as distinguished from the λύρα, see
Rep. 399 D—E (with Adam's note). It
is worth noticing that Spenser (H. to Love) cites Orpheus as an
instance of ἔνθεος
τόλμα—“Orpheus daring to provoke the yre Of damned
fiends, to get his love retyre.”
τοιγάρτοι διὰ ταῦτα. Cp. Isocr. VII. 52,
Andoc. I. 108, Dem. XXIII. 203; an example of the rhetorical trick of amplitude.
Phaedrus, as Hug observes, is blind to the obvious corollary that Eros sometimes fails
to implant τόλμα.
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