iv IG ii2 2325.68
v IG ii2 2325.129
vi Hephaestion Handbook 13.2
ἐπιτηδεύουσι δὲ ἔνιοι τῶν ποιητῶν τοὺς πρώτους καλουμένους παιῶνας παραλαμβάνειν πλὴν τῆς τελευταίας χώρας, εἰς ἣν τὸν κρητικὸν παραλαμβάνουσιν . . . ᾧ δὴ ἔφαμεν τρόπῳ συνεχῶς κεχρῆσθαι αὐτοὺς ἐπὶ τοῦ τετραμέτρου, ὥστε τοῖς τρισὶ παιῶσι τοῖς πρώτοις ἐπάγειν κρητικόν, τούτῳ καὶ ἐπὶ τοῦ πενταμέτρου Θεόπομπος ὁ κωμικὸς ἐχρήσατο ἐν Παισίν, ἀφ᾿ οὗ καὶ Θεοπόμπειον καλεῖται.Fragments ΑΔΜΗΤΟΣ
iv [From the list of victors at the Dionysia, from the late fifth century]
v [From the list of victors at the Lenaea, from the early fourth century]
vi Some of the poets manage to employ the so-called first paeonics, except for the last foot where they use a cretic . . . in the same manner in which we said that they employ continuously for the tetrameter (that is, three first paeonics followed by a cretic), Theopompus the comic poet uses this for the pentameter also, for which reason it is called the Theopompean [F 39 follows].Fragments Admetus
Aristomenes produced an Admetus in 388, and the reference to Peron, made fun of by the Middle Comic poet Antiphanes (F 37), suggests a late date for this comedy. Why a play called “Ademtus” and not “Alcestis,” the titles of plays by Phrynichus (tragedian) and Euripides, unless the comedy concerned another aspect of the myth of Admetus? We might consider his presence on the Argo, Apollo’s year of servitude to Admetus, the wooing of Alcestis, or possibly the account of Apollo’s romantic relationship with Admetus (Callimachus 2.47–49).