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Starting from the contest of Aeschylus and Euripides in Frogs, where the author exploits the divergence between the traditional citharodic code and the innovative poetic-musical trends of his time, in order to set forth his critique of tragic drama by throwing the chosen opposing models into high relief (vv. 1248 ff.), the analysis of Aristophanic songs modelled on Terpander's nomoi and specially on the orthios (Nu. 595; fr. 62 [= 590?] Kassel-Austin; and possibly three times in fr. 591 Kassel-Austin) consolidates the idea that the playwright developed a definite semantics of the lyrical hypotexts.