Compton, Todd M. 2006. Victim of the Muses: Poet as Scapegoat, Warrior and Hero in Greco-Roman and Indo-European Myth and History. Hellenic Studies Series 11. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Compton.Victim_of_the_Muses.2006.
Chapter 4. Hipponax: Creating the Pharmakos
κἀν Σαλμυδ[ησσ]ῶι γυμνὸν εὐφρονε . [
λάβοιεν—ἔνθα πόλλ’ ἀναπλήσαι κακὰ
δούλιον ἄρτον ἔδων—
ῥίγει πεπηγότ’ αὐτόν· ἐκ δὲ τοῦ χνόου
φυκία πόλλ’ ἐπέχοι,
κροτέοι δ’ ὀδόντας, ὡς [κ]ύων ἐπὶ στόμα
ἄκρον παρὰ ῥηγμῖνα κυμα … . δου·
ταῦτ’ ἐθέλοιμ’ ἂν ἰδεῖν,
ὅς μ’ ἠδίκησε, λ[ὰ]ξ δ’ ἐπ’ ὁρκίοις ἔβη,
τὸ πρὶν ἑταῖρος [ἐ]ών.
… beaten by the waves.
In Salmydessus let “well-meaning”
seize his naked body (he can get his fill of evil
eating slavish bread)
rigid from cold! Let seaweed
rise from scum and bind him!
Let him grind his teeth, lying
spent and muzzle down,
dog-fashion in the surf … !
These things I long to see
because he wronged me [ēdikēse], walked upon his oaths [horkiois],
who was once my friend [hetairos].
πικρὸν ἐγείρητε σφῆκ’ ἀναπαυόμενον·
ἄρτι γὰρ Ἱππώνακτος ὁ καὶ τοκεῶνε βαΰξας,
ἄρτι κεκοίμηται θυμὸς ἐν ἡσυχίῃ.
ἀλλὰ προμηθήσασθε, τὰ γὰρ πεπυρωμένα κείνου
ῥήματα πημαίνειν οἶδε καὶ εἰν Ἀίδῃ.
Quietly pass by the tomb lest you rouse
the bitter wasp [pikron … sphēk’] that rests there.
For but lately has rest been found and quiet
for the soul of Hipponax that barked even at his parents. 
But beware: even in Hades
his fiery words can injure.
However, the view of Hipponax as dispenser of amoral, malevolent abuse should be rejected. Even in Hipponax’s colloquial satire, with all its idiosyncrasies and verbal aggression, there is an undercurrent of ethical judgment. According to Theocritus, if you are a scoundrel, you should avoid his tomb, but if you are honest, you need not fear it.  If this had not been the case, Hughes argues, Callimachus would not have taken Hipponax as a model. 
βάλλοντες ἐν χειμῶνι καὶ ῥαπίζοντες
κράδηισι καὶ σκίλληισιν ὥσπερ φαρμακόν.
δεῖ δ’ αὐτὸν ἐς φάρμακον ἐκποιήσασθαι.
κἀφῆι παρέξειν ἰσχάδας τε καὶ μᾶζαν
καὶ τυρόν, οἷον ἐσθίουσι φαρμακοί.
πάλαι γὰρ αὐτοὺς προσδέκονται χάσκοντες
κράδας ἔχοντες ὡς ἔχουσι φαρμακοῖς.
λιμῶι γένηται ξηρός· ἐν δὲ τῶι θύμωι
φαρμακὸς ἀχθεὶς ἑπτάκις ῥαπισθείη.
Must cleanse the city [polin kathairein], and with twigs pelted.
Pelting him in the meadow  and beating
With twigs and squills like a scapegoat [pharmakon].
He must be chosen from among you [ekpoiēsasthai] as a scapegoat.
And in his grip take barelycakes, dried figs
And cheese, such cheese as scapegoats may feed on.
For long have they awaited them gaping
armed with fig-branches like they have for scapegoats. 
That he be parched with famine and, led out
A scapegoat, seven times on his piece beaten. 
There is a persistent association of the blame poet, often himself exiled, with scapegoat phenomena. For instance, Ovid’s Ibis, with its scholia, is a central source for pharmakos data; it is a curse poem Ovid wrote in exile. Phaedrus, the Roman versifier of Aesop, himself punished by Sejanus for his satire, wrote an important fable on a military scapegoat. Aristophanes, with his scholia, is another central source for pharmakos references. He was possibly exiled, certainly subjected to legal persecution. 
τὴν ἑπτάφυλλον, ἣν θύεσκε Πανδώρηι
Ταργηλίοισιν ἔγκυθρον πρὸ φαρμακοῦ.
Slipping, he implored the seven-leafed cabbage
he used to offer potted  to Pandora
at the Thargelia, before the scapegoat.
West remarks on the difficulty of understanding the meaning of this fragment. However, we seem to have the context of blame (“The particular cabbage is specified in a parenthesis designed to stress the low-class character of the man concerned”) and clear reference to the pharmakos custom (Targēlioisin, pharmakou). West translates the last phrase, with some uncertainty, “before the pharmakos event.” 
τὴν ἐν γαστρὶ μάχαιραν, ὃς ἐσθίει οὐ κατὰ κόσμον,
ἔννεφ’, ὅπως ψηφῖδι <κακῆι> κακὸν οἶτον ὀλεῖται
βουλῆι δημοσίηι παρὰ θῖν’ ἁλὸς ἀτρυγέτοιο.
Eurymedontiades his wife with knife in her belly, 
Gulf of all food, sing Muse, and of all her disorderly eating:
Sing that by public vote at the side of the unharvested ocean
Pebbled with stones she may die, an evil death to the evil.
In this poem, the target for poetic attack, a woman, is assimilated to the pharmakos: she is stoned or mistreated by order of a public vote.  Her seaside punishment links her to the seaside death of 115W/194Dg;  both poems are curse poems.