¹ Ellendt, F., Lexicon Sophocleum (Berlin, 1931)Google Scholar, s.v.

² Pearson, A.C., The Fragments of Sophocles, vol. 2 (Cambridge, 1917), 93Google Scholar. Pearson (92, in his introduction to the play), none the less, maintains that the action in the play is unlikely to have involved a change of scene, sc. from the beach where Nausicaa and her slave-girls find the hero to the palace in the city. Hypotheses can be devised to deal with this problem, e.g. that Nausicaa merely describes the situation in the palace to her visitor. But if one's basic thesis is that Sophocles’ play adapted the action in Odyssey 6, it is inelegant to argue for an allusion to Odyssey 7, unless no other interpretation of the evidence is available.

³ Lloyd-Jones, H. (ed. and trans.), Sophocles: Fragments (Cambridge, MA and London, 1996), 226Google Scholar.

⁴ For weaving, spinning and the associated vocabulary, see Forbes, R.J., Studies in Ancient Technology, vol. 4 (Leiden, 1964 ²), 196–211 Google Scholar, esp. 203–5; Barber, E.J.W., Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean (Princeton, 1991), 39–78 Google Scholar.

⁵ For νέω (C) in contemporary Athenian literature, see e.g. Ar. Nub. 1203; Lys. 269. The Dindorf brothers, in their Thesaurus Linguae Graecae s.v. νέω, note in passing that the same suggestion was put forward by Gottfried Jungermann, the early seventeenth-century editor of Pollux, ‘etsi νεοπλυνής’—a now-discredited reading at Poll. 7.45, the source of the fragment—‘ostendit referri potius ad praecedens Νέω’, i.e. νέω (B).

⁶ Ath. 1.20F tells us that Sophocles himself performed a ball-dance in the play, presumably referring to a version of the action at Od. 6.100, 115–16 that leads to the encounter between Odysseus and Nausicaa. Nothing is known of the content of the plays entitled Washing-women or Nausicaa and Nausicaa by the comic poets Philyllius and Eubulus respectively, except that someone was very hungry in the latter (fr. 68 K.-A.).

⁷ Fr. 441 R. λαμπάνη (glossed by Pollux ‘a type of wagon on which they ride. Some [call it] an ἀπήνη’) can reasonably be taken as evidence that Nausicaa's wagon—referred to specifically as an ἀπήνη at e.g. Od. 6.57, 69, 75—was mentioned in the play.

⁸ The laundry is visible in two roughly contemporary vase-paintings (Munich 2322, an amphora and the name-vase of the Nausicaa Painter, c. 440 B.C.E.; Boston MFA 04.18a–b, a pyxis by Aison, c. 420 B.C.E.), but in both cases is being actively processed by the women or hung to dry. Thanks are due to Benjamin Millis, David Sansone and the anonymous reader for CQ.