CHAPTER VI

Chapter 830,124 wordsPublic domain

METRE AND RHYTHM IN GREEK TRAGEDY

§ I. INTRODUCTION

Poetry is illuminating utterance consisting of words the successive sounds of which are arranged according to a recurrent pattern. The soul of poetry is this illumination, its body this recurrent pattern of sounds; and it is with the body that we are now to deal. At the outset we must distinguish carefully between rhythm and metre. Rhythm is the recurrence just mentioned—the structure; metre is the gathering together of sounds into masses upon which rhythm shall do its work. Metre, so to put it, makes the bricks, while rhythm makes the arch.

Greek metre is based, not upon stress-accent,[858] but upon quantity—the length of time needed for the pronunciation of a syllable. In English the line

My bosom’s lord sits lightly in his throne

is “scanned” (that is to say, marked off into “feet”—the metrical units) as a series of five iambi; the iambus being a foot which consists of an unaccented, followed by an accented, syllable. The word “bosoms” can stand where it does because the stress of the voice naturally falls upon the first syllable of “bosom”; to begin a line with “my seréne bosom” would clearly be wrong. The _length_ of the syllables has no effect on the scansion. That “sits” needs as long a time for its utterance as the first syllable of “lightly” does not alter the fact that “sits light-” is an accentual iambus.

Greek words, on the other hand, as metrical material, are considered only from the quantitative point of view, not the accentual. The voice-stress in the word λόγους rests upon the first syllable, but the word is an iambus, a “short” followed by a “long” (marked respectively thus ⏑–). Whereas an English blank verse consists of five accentual iambi, _e.g._

To ént|ertaín | divíne | Zenócr|até,

the corresponding verse of all the Greek dramatists is composed of six feet each of which is theoretically a quantitative iambus, and most of which actually are such. Thus _Andromache_, v. 241 is to be scanned

When is a syllable long and when short? A few rules will settle all but a minority. _All_ syllables are long—

(i) Which contain a necessarily long vowel (η or ω), _e.g._ μη̄ν, τω̄ν.

(ii) Which contain a diphthong or _iota_ subscript, _e.g._ ο̅ι̅νος, α̅ι̅νο̅υ̅μεν, ρᾳ̅διως; save that the first syllable of ποιῶ and τοιοῦτος (and their parts) is often short.

(iii) Which end with a double consonant (ζ, ξ, ψ), _e.g._ ο̄ζος, ε̄ξω, ε̄ψαυσα.

(iv) Which have the circumflex accent, _e.g._ υμῖ̅ν, μῦ̅ς.

_Most_ syllables are long the vowel of which is followed by two consonants. But there is some difficulty about this very frequent case. It can arise in three ways:—

(_a_) Both consonants may be in the same word as the vowel. Then the syllable is long, save when the consonants are (i) a voiced stop (β, γ, δ) followed by ρ; or (ii) a voiceless stop or spirant (κ, π, τ; θ, φ, χ) followed by a liquid or nasal (λ, ρ, μ, ν)—in both of which cases the syllable can be counted long or short at pleasure. Thus ε̄σμεν, μο̄ρφη, ᾱνδρος; but the first syllables of ιδρις, τεκνον, ποτμος are “doubtful”—they can be either long or short as suits the poet.

(_b_) One of the consonants may end its word and the other begin the next. Such syllables are _all_ long. Thus, τηκτο̄ς μολυβδος, ανδρε̄ς σοφοι, although both these long syllables are “short by nature” (see below).

(_c_) Both consonants may occur at the beginning of the second word. If the vowel is naturally short, the syllable is almost always short, though such scansions as σε̄ κτενω are occasionally found. But if the second word begins with a double consonant or σ followed by another consonant, the syllable is always long. Thus ο̄ ξενος, τῑ ζητεις, ταυτᾱ σκοπουμεν.

A vowel, naturally short, when thus lengthened is said to be “lengthened by position.”

The following types of syllable are _always_ short:—

(i) Those containing a naturally short vowel (ε or ο) not lengthened by position, _e.g._ ε̆κων, ο̆λος.

(ii) Final α of the third declension neuter singular (σωμᾰ), third declension accusative singular (ελπιδᾰ, δρασαντᾰ), and all neuters plural (τᾰ, σωματᾰ, τοιαυτᾰ).

(iii) Final ι (_e.g._ εστῐ, τῐ), save, of course, when it is part of a diphthong.

(iv) The accusative -ας of the third declension (ανδρᾰς, πονουντᾰς). But μουσᾱς (first declension). The quantity in both cases is that of the corresponding nominative.

Hiatus is practically unknown. That is, a word ending in a vowel is not to be followed by a word beginning with a vowel, unless one vowel or the other disappears. Almost always it is the first vowel which is thus cut off, the process being called “elision.” In verse one would not write πάντα εἶπε, but πάντ’ εἶπε; not ἔτι εἶναι, but ἔτ’ εἶναι. When the first vowel is long and the second short, the latter is cut off by “prodelision,” a much rarer occurrence. Thus τούτῳ ἀνεῖπε would become τούτῳ ’νεῖπε. Two long vowels, as in καλὴ ἡμέρα, are not used together at all. But the rule as to hiatus does not normally apply at the end of a verse; usually one can end a verse with an unelided vowel and begin the next with a vowel. If in any metrical scheme this liberty is not allowed, it is said that “synapheia[859] prevails.”

We are now in a position to discuss the various metres to be found in Greek Tragedy.

§ II. THE IAMBIC METRE

Practically all the dialogue and speeches are written in this metre. The student would do well to grow thoroughly accustomed to reading these aloud with correct quantities before he attempts the others.

The iambic line consists of six feet, any one of which may be an iambus. But a “pure” iambic line, one in which every foot is an iambus, as in _Andromache_, v. 241 (see above), is very rare. A speech written solely in such feet would be highly monotonous and far too rapid. Other feet are therefore allowed, under restrictions, to take the place of the iambus.

By far the commonest of these is the spondee, which consists of two long syllables (λο̄γχη̄, πᾱντω̄ν). This can occur in the first, third, or fifth places—one, two, or all three. Thus:—

Next, the lightness and variety is often greatly increased by the use of “resolved”[860] (or broken-up) feet. Each long syllable being regarded as equal to two “shorts,” it follows that the iambus can be “resolved” into ⏑⏑⏑, the spondee into –⏑⏑, ⏑⏑– (and ⏑⏑⏑⏑, but this last is not employed in iambics).

Of these three the tribrach (⏑⏑⏑) is much the most frequent. As it corresponds to the iambus, it can occur in any place, save the sixth; it is exceedingly rare in the fifth place:—

The dactyl (–⏑⏑) is allowed in those places to which the spondee is admitted, save the fifth (just as the tribrach is excluded from the sixth). Thus:—

It is rare in the first foot.

Least common of all is the anapæst (⏑⏑–), which appears only in the first foot, unless it is contained entirely in a proper name, when it can occur in any place save the sixth. This license is due to necessity: such a name as Ἀντῐγόνη could not otherwise be introduced into iambics at all. Examples:—

Occasionally a line is to be found with two or even three resolved feet:—

Two licenses should be noted. The last syllable of the line may be short; no doubt the pause[861] at the end was felt to help it out. Lines of this kind are innumerable, _e.g._:—

⏑⏑ Κρατος Βια τε σφῳν μεν εντολη | Διος (_Prom. Vinctus_, 12)

(which is followed by a vowel—ἔχει). It matters little whether such syllables are marked as short, as long, or with the sign of doubtful quantity ( ᷋). Next, synizesis (συνίζησις, “collapse”) occurs now and then—two syllables coalesce and are scanned as one, _e.g._ μ̅η̅ ̅ο̅υ̅, πολε̅ω̅ς:—

(Synizesis is specially common in the various cases of θεός and θεά.)

Finally, two important rules of rhythm remain to be stated.

First, there must be a “cæsura”[862] in either the third or the fourth foot. A cæsura is a gap between words in the middle of a foot. Either the third foot, then, or the fourth must consist partly of one word, partly of another. It is indicated in scansion by the sign ‖. Many verses have this necessary cæsura in the third foot only, _e.g._:—

Many show it in the fourth only:—

A still larger number have cæsura in both places:—

This usage is essential to rhythm. It is of course possible for every foot in the line to exhibit a cæsura, but one in the midst is necessary to prevent the line from falling into pieces. That coextension of word and foot which is naturally frequent must at one point be emphatically excluded, so that the whole line may be felt as a single rhythmical whole. Such “lines” as

– – ⏑ – ⏑ – ⏑ – – – ⏑ ⏑ ταυτην αναξ λεγει καλην ειναι πολιν,

⏑ – ⏑– – – ⏑ – ⏑ – ⏑ ⏑ Οδυσσεως δουλοι μαχουμενοι ταχα,

are utterly impossible.[863] The first falls into six scraps, and the second into two mere lumps, of equal length. If a breach of the rule ever occurs, it is for a special reason. When Sophocles (_Œd. Tyr._, 738) writes

ὦ Ζεῦ, τί μου δρᾶσαι βεβούλευσαι πέρι;

the dragging rhythm well represents the dawning dread of Œdipus. But the main cæsura may be dispensed with if the third foot ends with an elision, apparently because, if the word could be written in full, the fourth foot would be divided between two words. Thus:—

χαῖρ’· οὐ γὰρ ἐχθαίρω σ’· ἀπώλεσας δ’ ἐμέ (_Alcestis_, 179).

ζητοῦσι τὸν τεκόντ’· ἐγὼ δὲ διαφέρω (_Heracles_, 76).

The other rule is that generally called “the rule of the Final Cretic”.[864] It is most simply stated thus: if there is a cæsura in the fifth foot, that foot must be an iambus, _e.g._:—

⏑ – ⏑ – μη με̄ στυγησῃς· ουχ εκων | γαρ ‖ αγγ|ελω (_Troades_, 710).

⏑ – ⏑ – τον τουδε νεκρον ουκ αθαπτ|ον ‖ αν | λιποις (_Ibid._, 738).

This rule does not exclude from the first half of the foot long _monosyllables_ which are in meaning and syntax closely connected with the “cretic” word or words. Thus τῶν σωμάτων is a quite correct ending, but not τούτων σωμάτων.

Subjoined is a scheme of the iambic verse as written by the tragedians. The writers of comedy allowed themselves licenses with which we are not here concerned. Euripides is much fonder of resolved feet than Æschylus or Sophocles.

1 2 3 4 5 6 ⏑– ⏑– ⏑‖– ⏑‖– ⏑– ⏑– ⏑⏑⏑ ⏑⏑⏑ ⏑‖⏑⏑ ⏑‖⏑⏑ ⏑⏑⏑ ⏑⏑ – – [⏑⏑–] –‖– [⏑⏑–] – – –⏑⏑ –‖⏑⏑ [⏑⏑–] ⏑⏑– [⏑⏑–]

§ III. THE TROCHAIC TETRAMETER

Under this head we shall deal only with trochees as used in dialogue. Originally all dialogue was written in this metre,[865] and they sometimes appear in extant plays when the situation is too hurried or excited for iambics though not agitated enough for lyrical dialogue. These passages are not usually long, and it is interesting to note that the longest are found in the two most melodramatic plays, _Orestes_ and _Iphigenia at Aulis_.[866] The metre is always the trochaic tetrameter catalectic[867] (sometimes called the trochaic octonarius), that is, a line consisting of eight feet, mostly trochees, with “catalexis”. Catalexis occurs when the last foot of a line has not its full number of syllables, the remainder being filled by a pause in delivery.

Pure trochaic verses are occasionally to be found:—

The mark ꞈ means that there is a pause equivalent in length to a short syllable. It is often found in the scansion of lyrics, and there one also at times uses -̭ ⏗̭ ⏘̭, which mean pauses equivalent to two, three, and four short syllables respectively. As in iambics, the last syllable may be short by nature:—

This metre is plainly analogous to Tennyson’s

Dreary gleams about the moorland flying over Locksley Hall.

But such purely trochaic lines are rare. Other feet are usually admitted, especially the spondee:—

Spondees may occur only in the second, fourth, or sixth foot.

The tribrach also is often employed by Euripides:—

The fifth foot is the favourite place for the tribrach, and next to that the first:—

Euripides, late in his career, introduced a good deal of license, here as elsewhere. Firstly, tribrachs become far more frequent and occur in unusual places:—

To place a resolved foot practically at the end of the line is bold—the metre is shaken almost to pieces. Here, as in other respects, Euripides points forward to the conversational manner of the New Comedy. But he goes further, and allows feet hitherto not found in trochaics: the anapæst and the dactyl. The latter, however, is extremely rare[868] and employed only with proper names:—

The anapæst is commoner (there is a proper-name instance in the line just quoted):—

There is no rule as to cæsura. The end of the fourth foot regularly coincides with the end of a word; such an arrangement is named diæresis.[869] In all extant tragedy only one certain exception to this rule is found:—

Since diæresis is practically always found in so many hundreds of lines, being preserved even in the loosest writing of Euripides, why should we regard the recognized trochaic verse as an unity? Why not write, _e.g._:—

οὐ γὰρ ἂν ξυμβαῖμεν ἄλλως ἢ ’πὶ τοῖς εἰρημένοις, ὥστ’ ἐμὲ σκήπτρων κρατοῦντα τῆσδ’ ἄνακτ’ εἶναι χθονός (_Phœnissæ_, 590 _sq._).

If the line falls into two clearly marked halves, why not show this to the eye? There is no unanswerable objection to doing so—the passage above corresponds exactly in rhythmical form to much English verse, _e.g._:—

Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.

The practice in English is to break up the long trochaic “line” into two when the words at the diæresis rhyme (as in the above passage from Longfellow), but not to do so when the only rhymes occur at the catalectic foot. We print the opening of another poem by Longfellow thus:—

In the market-place of Bruges stands the belfry old and brown; Thrice consumed and thrice rebuilded, still it watches o’er the town.

In Greek there is, of course, no rhyme-scheme to settle this, but the regular catalexis is felt to mark off separate units. The entire question depends upon personal fancy,[870] though the instance from the _Philoctetes_ shows that Sophocles at any rate regarded the whole octonarius as the unit.

Subjoined is the scheme:—

1 2 3 4 5 6 7 8 –⏑ –⏑ –⏑ –⏑ –⏑ –⏑ –⏑ –ꞈ ⏑⏑⏑ – – ⏑⏑⏑ – – ⏑⏑⏑ – – ⏑⏑⏑ ⏑⏑⏑ [–⏑⏑] ⏑⏑⏑ ⏑⏑⏑ ⏑⏑– ⏑⏑– ⏑⏑– [–⏑⏑]

§ IV. THE ANAPÆSTIC METRE

Whereas iambics and trochaics were declaimed by the actors, anapæsts were used mostly by the chorus, and were chanted in recitative. They are found when the chorus move into the orchestra, or salute the entrance of a new character. Most tragedies end with a brief anapæstic system, executed by the singers as they depart.

The most usual line is a tetrapody—that is, a verse of four feet:—

⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – τι συ προς | μελαθροις | τι συ τῃδ|ε πολεις; (_Alcestis_, 29).

But lines consisting of anapæsts alone are very uncommon. The spondee is often found:—

– – ⏑ ⏑ – ⏑ ⏑ – – – ουκ ηρκ|εσε σοι | μορον Αδμ|ητου (_Alcestis_, 32).

Dactyls also are frequent:—

– – ⏑ ⏑ – – ⏑ ⏑ – – σφηλαντ|ι τεχνῃ | νυν δ επι | τῃδ αυ (_Ibid._, 34).

No other foot is admitted, but each of these three may occur at any place in the line.

Besides the tetrapody, we find now and then a dipody, or verse of two feet.

Anapæstic systems are invariably closed by a catalectic verse:—

– – ⏑ ⏑ – ⏑ ⏑– – αυτη | προθανειν | Πελιου | παιςꞈ̄ (_Ibid._, 37).

In systems of considerable length such lines occur at intervals. They are called “parœmiacs”.[871]

§ V. LYRICS

The metres of Greek songs form a difficult and complicated study. So long as we do not know the music composed for them, the scansion of lyrics must remain a more difficult and doubtful question than that of the iambics, episodic trochaics, and anapæsts.

The best preparation for their study is the habit of reading iambics and trochaics with correct quantities and natural emphasis. Let us, so prepared, address ourselves to the following passage[872] from the _Agamemnon_ (975 _sqq._):—

Τίπτε μοι τόδ’ ἔμπεδον δεῖμα προστατήριον καρδίας τερασκόπου ποτᾶται; μαντιπολεῖ δ’ ἀκέλευστος ἄμισθος ἀοιδά, οὐδ’ ἀποπτύσαι δίκαν δυσκρίτων ὀνειράτων θάρσος εὐπειθὲς ἵζει φρενὸς φίλον θρόνον; χρόνος δέ τοι πρυμνησίων ξυνεμβολαῖς ψαμμίας ἐξ ἀκτᾶς βέβηκεν, εὖθ’ ὑπ’ Ἴλιον ὦρτο ναυβάτας στρατός.

It soon becomes plain that the passage is, at any rate in the main, trochaic. The first two lines scan easily, ending with a catalectic foot. We note that the third seems to drag at the end:—

– ⏑ – ⏑ – ⏑ – ⏑ – – καρδι|ας τερ|ασκοπ|ου ποτ|αται,

for we remember that in the trochaic octonarius the last complete foot is never a spondee. But in the fourth line we are quite baffled:—

– ⏑ ⏑ – ⏑ ⏑ – μαντιπ|ολει δ | ακελευστ|ος...?

Anapæsts are very rare in trochaics, iambi unknown. That the iambus should never replace the trochee is quite natural. It would be hideous rhythm, in the first line of _Locksley Hall_, instead of “Cómrades, leave me here a little ...,” to write “Dragoóns, leave me ...”. The foot ο̆λεῑ cannot be right. The line seems hopeless; or rather, if we have any knowledge of Homeric and Virgilian metre, we recognize something like the dactylic hexameter:—

– ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – – μαντιπολ|ει δ ακελ|ευστος αμ|ισθος α|οιδα.

But is such a passage possible in a trochaic passage written for Greek music? It is known that in Greek music the notes corresponded closely to the syllables; music composed for trochees will certainly be in three-eighths time, for dactyls in four-eighths time. All these feet should have three beats, not four.

The next two lines are plainly similar to the first and second. In the seventh line we first wonder why, though we are in the midst of a grammatical sentence, the words should begin farther to the right than is usual, as if for a new paragraph. When we try to scan, we find once more the iambus-difficulty:—

– ⏑ – – ⏑ – θαρσος | ευπειθ|ες ιζ....

If we work backwards from the end, -ος φιλον θρονον gives the familiar trochaic-octonarius ending, –⏑|–⏑|–ꞈ. But the middle of the line has fallen to pieces, and for the present we leave it.

The eighth line seems at first more familiar. Is it not the ordinary iambic senarius of § II? But where is the cæsura? And can we suddenly insert an iambic line into a trochaic system? Is it then possible after all to scan it as some kind of trochaics? Begin at the end. ... ε̅μ̅βο̆λα̅ι̅ςꞈ suits excellently; and if we work backwards we soon find that the whole would fall readily into trochaics if only we could ignore the first syllable:—

But why should we ignore it? And why does the line begin farther to the left?

The ninth line again offers perplexity in the first half, clearness in the second:—

– ⏑ – ⏑ – ⏑ ᷋ ηκεν | ευθ υπ | Ιλι|ονꞈ.

Grown by this time bolder, we attack the first half in detail, working backwards. ᾱς βε̆ is easy. Then ἐξ ακτ ... may be either –⏑ or – –, both of which are admissible. We are left with ψ̅α̅μμῐᾱς. Reading the whole line over slowly, marking the trochees carefully, we find ourselves somehow dwelling on the last syllable of ψαμμίας. Why should we? If that syllable were only –⏑, all would be well; but it is not. Finally, the tenth and last line is quite easy:—

– ⏑ – ⏑ – ⏑ ⏑– ωρτο | ναυβατ|ας στρατ|οςꞈ.

The whole passage then is trochaic; but we have met four difficulties: (i) the necessity to dwell upon certain syllables, (ii) the irrational presence of dactyls, (iii) the temptation to ignore the first syllable of χρόνος, (iv) the insetting of θάρσος. Understanding of these four facts will carry us a long way. We take them in order.

Our first point indicates that we must revise that division of all syllables into “longs” of equal value and “shorts” of equal value (each “long” being exactly equivalent to two “shorts”) which obtains in iambics. The lyric metres recognize syllables of greater length than ⏑⏑. Most frequent is the length ⏗, equal to ⏑⏑⏑. A syllable of this length is therefore admitted in lyric trochaic systems as a whole foot, and investigations, such as we have practised above, will generally show where such a foot is to be postulated. We can now scan certain portions which we found troublesome:—

– ⏑ ⏗ – ⏑ ⏗ θαρσος | ευπ | ειθες | ιζ | ...

– ⏑ ⏗ – ⏑ – ψαμμι|ας | εξ ακτ | ας....

Moreover, as we were suspicious of the final spondee (replacing the expected trochee) in the third line, we obtain at any rate a quasi-trochee by scanning thus:—

This prolongation of a syllable is called τονή (“stretching”). Such a syllable may fill a foot, as in trochaics, and this rhythm is said to be syncopated.[873]

Next comes the dactylic fourth line, which introduces another vital rule. Trochaic systems admit, not genuine dactyls, but “cyclic” dactyls. To the “long” of each foot and to the first “short” is given less than their usual length: the rhythm is accelerated, so that –⏑ is equivalent to –, and the whole cyclic dactyl, marked ᷋⏑, is equivalent to a trochee.[874] Whenever we see a number of apparent dactyls, we must examine the whole passage to find whether it is trochaic or not. Trochaic systems which contain cyclic dactyls are called “logaoedic”.[875] The present line, then, being trochaic, we feel the same doubt of the final spondee (which would equal ⏑⏑⏑⏑, not ⏑⏑⏑, as it should) which we felt in the third line, and scan the whole:—

Our third question touched the first syllable of χρόνος in the sixth line. It is, as a fact, to be regarded as standing outside the metrical line—a kind of prelude, called “anacrusis”.[876] It is plain that neglect of anacrusis will often throw our scansion out completely. A useful rule can be given: in almost[877] any line, whatever comes before the first long syllable forms an anacrusis. The reason is that the first syllable of a foot must have an “ictus” (see below) or stress-accent, and the foot-ictus normally falls on long syllables. It becomes natural then to pronounce the first short or shorts (if any) quickly, and to give the first long the ictus; in this way the short is felt as a mere preliminary to the line. The anacrusis, however, can be of three forms, ⏑, ⏑⏑, –. Its length must be that of the second part of the characteristic foot, ⏑ for trochees, – or ⏑⏑ for dactyls, and so forth. It is marked off from the first foot by the sign ⁝.

The fourth point was the insetting of θάρσος. It happens in the middle of a grammatical sentence, so that there can be no question of an ordinary paragraph. But if it does not point to a break in sense, its only reference can be rhythmical. The whole passage must fall into two distinct rhythmical paragraphs. Let us scan them separately and endeavour to find a reason for this break. Take the first, scanning, marking, and numbering the feet:—

– ⏑ – ⏑ – ⏑ – τιπτε | μοι τοδ | εμπεδ|ονꞈ‖ 1 2 3 4

– ⏑ – ⏑ – ⏑ – δειμα | προστατ|ηρι|ονꞈ‖ 1 2 3 4

– ⏑ – ⏑ – ⏑ – ουδ απ|οπτυσ|αι δικ|ανꞈ‖ 1 2 3 4

– ⏑ – ⏑ – ⏑ – δυσκριτ|ων ον|ειρατ|ωνꞈ‖ 1 2 3 4

If we examine this to find structural unity, it soon appears. The first pair of lines answers to the last, and line three to line four, in the number of their feet 4 + 4, 6, 6, 4 + 4. The correspondence is indicated thus:—

⎰ 4 ⎛ ⎱ 4 ⎜ ⎛ 6 ⎜ ⎝ 6 ⎝ ⎰ 4 ⎱ 4

Each of these masses, it will be noticed, is marked off by the sign ‖. Such a mass is named a “sentence” or “colon” (κῶλον, “limb”), and such a balanced structure of cola is named a “period” (περίοδος, “circuit”). It happens that in the passage just examined the “sentence” division always occurs at the end of a word, but this is not invariably so. We proceed now with the second paragraph[878]—the second period as we shall now call it.

– ⏑ ⏗ – ⏑ – ⏑ – ⏑ – ⏑ – ⏑ – ψαμμι|ας | εξ ακτ|ας βεβ‖ηκεν | ευθ υπ | Ιλι|ονꞈ‖ 1 2 3 4 1 2 3 4

– ⏑ – ⏑ – ⏑ – ωρτο | ναυβατ|ας στρατ|οςꞈ‖ 1 2 3 4

That is: 4 + 4, 6, 4 + 4, 4. This would be an obviously well-balanced structure but for the last colon, to which nothing corresponds. Such an extra sentence is called a “postlude” (ἐπῳδικόν). Non-corresponding sentences like this are far from rare.[879] They may occur at the beginning of the period (“prelude,” προῳδικόν), in the middle (“mesode,” μεσωδικόν), or at the end. This very period supplies an example of a mesode as well as of a postlude. The scheme is:—

⎰ 4 ⎛ ⎱ 4 ⎜ 6—mesode. ⎝ ⎰ 4 ⎱ 4 4—postlude.

The whole passage, then, consists of two periods connected by meaning and grammar, but—for us—by no more intimate musical bond than the common use of trochees. But the dance and music which accompanied the whole would clearly demonstrate its unity. The end of a period is indicated by ‖.

It is necessary now to consider briefly the passage which immediately follows (vv. 988 _sqq._):—

Πεύθομαι δ’ ἀπ’ ὀμμάτων νόστον, αὐτόμαρτυς ὤν· τὸν δ’ ἄνευ λύρας ὅμως ὑμνῳδεῖ θρῆνον Ἐρινύος αὐτοδίδακτος ἔσωθεν θυμός, οὐ τὸ πᾶν ἔχων ἐλπίδος φίλον θράσος. σπλάγχνα δ’ οὔτοι ματάζει πρὸς ἐνδίκοις φρεσίν τελεσφόροις δίναις κυκλούμενον κέαρ. εὔχομαι δ’ ἐξ ἐμᾶς τοι[880] ἐλπίδος ψύθη πεσεῖν ἐς τὸ μὴ τελεσφόρον.

This is an exact counterpart in syllables, feet, cola, and periods, of the first passage. The first is called the “strophe” (στροφή, “turn”), the second the “antistrophe” (ἀντιστροφή, “counter-turn”). The chorus, while singing the one, performed various evolutions about the orchestra, and these were repeated exactly, but in reversed order, while they sang the antistrophe. All these lyrics are so constructed; the normal tragic “chorus” consists of one or more such pairs, though occasionally the antistrophe is followed by a passage called an “epode”.[881] The epodes correspond to each other, not to the strophes. This equivalence of strophe and antistrophe is often of value in determining the quantities or the text in one of them.

We have now gained some insight into the nature of a Greek choric song. But before proceeding further it will be well to deepen our impression by taking from the _Agamemnon_ (vv. 160 _sqq._) another, and a simpler, pair of strophes:—

Ζεύς, ὅστις ποτ’ ἐστίν, εἰ τόδ’ αὐτῷ φίλον κεκλημένῳ, τοῦτό νιν προσεννέπω. οὐχ ἔχω προσεικάσαι, πάντ’ ἐπισταθμώμενος, πλὴν Διός, εἰ τὸ μάταν ἀπὸ φροντίδος ἄχθος χρὴ βαλεῖν ἐτητύμως.

οὐδ’ ὅστις πάροιθεν ἦν μέγας, παμμάχῳ θράσει βρύων, οὐδὲ λέξεται πρὶν ὤν· ὃς δ’ ἔπειτ’ ἔφυ τριακτῆρος οἴχεται τυχών. Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζων τεύξεται φρενῶν τὸ πᾶν.

⏗|⏗|–⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖ –⏑|–⏑|–⏑|–ꞈ‖ –⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖ –⏑⏑|–⏑⏑|–⏑⏑|–⏑⏑|⏗|–ꞈ‖ –⏑|–⏑|–⏑|–ꞈ‖

⎰ 6 ⎛ ⎱ 4 ⎜ ⎛ 4 ⎜ ⎜ 4—mesode. ⎜ ⎝ 4 ⎝ ⎰ 6 ⎱ 4

The chief interest of this subject is the art wherewith the Greek masters accompanied variations of emotion and the like with variations of rhythm. This passage affords a simple and stately example. The heavy opening (⏗⏗) is followed by the more confident trochees till, at the last line but one, religious rapture (in the strophe) and the ardour of triumph (in the antistrophe) burst forth with the leaping cyclic dactyls.

We have now become acquainted with three rhythmical masses: the colon, the period, the strophe. Are there others? What is a “verse” in lyrics? There is no such thing.[882] One must, of course, distinguish between a “line” and a “verse”. Lines there must be—that is an affair of the scribe and the printer; verses are rhythmical units, and there is no rhythmical mass in Greek lyrics between the colon and the period. How then are we to arrange our periods, there being no verse-division? The most obvious way is to write each colon as a separate line. The difficulty is that we shall often be compelled to break words:—

θάρσος εὐπειθὲς ἵζ- ει φρενὸς φίλον θρόνον ... ψαμμίας ἐξ ἀκτᾶς βέβ- ηκεν....

Another method is to let each line run on until we reach a colon-ending which coincides with a word-ending. Here is no new rhythmical rule: it is purely a question of convenience for the eye. Next, shall we ever write lines of (say) two cola the first of which does close with a word-ending? It is natural so to do when to the two cola in question there correspond (whether periodically or strophically) two cola which _must_ on this system fill one line only. For instance, in Æsch., _Supplices_, 656, we shall write—

– ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ – ⏑– και γαρ υποσκιων ‖ νυν στοματων ποτασθ‖ω φιλοτιμος ευχα ‖,

though the first colon ends at the end of ὑποσκίων, because the corresponding passage of the antistrophe runs—

– ⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ – ᷋ και γεραροι δε πρεσβ‖υτοδοκοι γεμοντ‖ων θυμελαι φλεγοντων ‖,

where the first colon ends inside a word. It is purely a matter of taste whether we give a line to each colon, in which case the drawback is the breaking of words, or continue our line till breaking of words is excluded, the trouble about which method is the reader’s difficulty in seeing where some of the cola begin.

We must now consider the most vital and difficult portion of our subject. How are we to determine the cola? The colon is the very soul of the rhythm. The period is generally too long for the ear to receive it as one artistic impression. The foot is too short; moreover, the mere foot too often tends to play one false: irrational syllables and τονή are against us. But the colon is neither too long nor too short. The colon-division serves the same purpose as non-commissioned officers in a regiment, or the determination of watersheds in geography—it gives a sense both of grouping and of control.

What precisely _is_ a colon? It is as much of a strophe as can be uttered without making a new start. It is the embodiment of rhythm, as the foot is the embodiment of metre. In other words, it is a series of feet bound into a rhythmical unity by the presence of one main ictus. Three questions, then, arise. (i) What is an ictus? (ii) Which is the main ictus of a series? (iii) Can we with certainty determine the beginning and end of a colon when we have identified the main ictus?

(i) Ictus is stress-accent. The ictus of any single word is usually obvious. In the word “maritime” it falls upon the first syllable, in “dragoon” upon the second, in “cultivation” upon the third. In πάντων, λυσαμένοις, and κατάπαστος, it falls upon the first, second, and third respectively. Greek metre is based upon quantity, but Greek rhythm (like all other rhythm) is based upon ictus. A strophe can, and must, be scanned foot by foot on quantity alone; but when we go beyond the foot-division to exhibit the structure of the whole, we must refer to ictus and nothing but ictus—for structure is an affair of cola, and the colon is created by the main ictus.

(ii) Among the many word-ictuses of a considerable passage, a few will be found which are heavier than the rest. These are simply the ictuses of the most important words. Each of these prominent ictuses gathers the neighbouring minor ictuses into a group round itself. We should begin then by fixing some obvious example, one (that is) where the main ictus is unmistakable, and on this basis attempt, by the help of the correspondences which we expect, to determine other main ictuses. The strophe will thus gradually fall into cola. This leads us at once to our third question.

(iii) Can we with certainty determine the extent of each colon? Unfortunately no simple invariable rule can be given for the settlement of this vital point. But certain useful principles may be mentioned.

(_a_) A well-trained ear is the chief guide. Intelligent and careful reading aloud of an English prose-passage will show this. Take first (the best-known version of) a famous sentence of John Bright:—

The Angel of Death is abroad in the land: you may almost hear the beating of his wings.

It is plain that this falls into two rhythmical parts, though we shall not expect them to correspond, since this is prose, not verse. If we set a dash for each syllable and mark the ictuses by one or more dots according to their strength, we find this scheme:—

⁚ ⁝ ⁚ · - - - - - - - - - - - ‖ · ⁚ ⁝ ⁚ - - - - - - - - - - - ‖

(It will be noticed that in this superb passage the two periods do, as it happens, correspond in length.)

Who hath believed our report? And to whom is the arm of the Lord revealed? (_Isaiah_ liii. 1).

· ⁚ ⁝ · ⁚ ⁝ ⁚ - - - - - - - ‖ - - - - - - - - - - - ‖

So with longer passages, where, however, we shall find at times that our voice quite naturally makes a colon-ending in the midst of a grammatical sentence.

Therefore let us also, ‖ seeing we are compassed about ‖ with so great a cloud of witnesses, ‖ lay aside every weight, ‖ and the sin which doth so easily beset us, ‖ and let us run with patience ‖ the race that is set before us ‖ (_Hebrews_ xii. 1, R.V.).

· ⁚ · - - - - - - · ⁚ · - - - - - - - - · ⁚ ⁝ - - - - - - - - - · ⁚ ⁝ - - - - - - - ⁚ ⁝ ⁚ - - - - - - - - - - - - · ⁚ ⁝ - - - - - - - ⁝ ⁚ · - - - - - - - -

(Observe how, in the last two cola, first the mounting and then the declining emphasis provide a splendid close.)

Let us now attempt so to catch the rhythm of a passage from Sophocles (_Antigone_, 582 _sqq._) if set out as prose.

εὐδαίμονες οἷσι κακῶν ἄγευστος αἰών. οἷς γὰρ ἂν σεισθῇ θεόθεν δόμος, ἄτας οὐδὲν ἐλλείπει, γενεᾶς ἐπὶ πλῆθος ἕρπον· ὅμοιον ὥστε ποντίαις οἶδμα δυσπνόοις ὅταν θρῄσσαισιν ἔρεβος ὕφαλον ἐπιδράμῃ πνοαῖς, κυλίνδει βυσσόθεν κελαινὰν θῖνα, καὶ δυσάνεμοι στόνῳ βρέμουσιν ἀντιπλῆγες ἀκταί. ἀρχαῖα τὰ Λαβδακιδᾶν οἴκων ὁρῶμαι πήματα φθιτῶν ἐπὶ πήμασι πίπτοντ’, οὐδ’ ἀπαλλάσσει γενεὰν γένος, ἀλλ’ ἐρείπει θεῶν τις, οὐδ’ ἔχει λύσιν. νῦν γὰρ ἐσχάτας ὑπὲρ ῥίζας ὃ τέτατο φάος ἐν Οἰδίπου δόμοις, κατ’ αὖ νιν φοινία θεῶν τῶν νερτέρων ἀμᾷ κονίς, λόγου τ’ ἄνοια καὶ φρενῶν Ἐρινύς.

If we first mark the quantities (ignoring, as we must at first, the possibility of ⏗ and ⏘) and go over the whole carefully, we soon find that it falls into two corresponding portions: εὐδαίμονες ... ἀκταί is the strophe, ἀρχαῖα ... Ἐρινύς the antistrophe. Next we look for rhythmical units. On the one hand, there is the great difficulty that, since we must have both periodic and strophic equivalence, certain cola may take in words not belonging to the same sense-groups or grammatical clauses. On the other hand, the fact that we have two great masses which correspond exactly will help us. First, then, we note that εὐδαίμονες ... αἰών looks promising, and observing that this points to ἀρχαῖα ... ὁρῶμαι as a colon also, and that this is in itself likely, we mark off both these groups. Conversely, at the end of the antistrophe, λόγου ... Ἐρινύς attracts us, and this is supported by the naturalness of στόνῳ ... ἀκταί at the end of the strophe. Working backwards, and seeing a pause in the punctuation at precisely the same place in both halves, namely, after πνοαῖς and δόμοις, we assume that κυλίνδει ... δυσάνεμοι and κατ’ αὖ ... κονίς are correspondent masses. But each is too long—sixteen syllables—to be pronounced as a unit. We soon perceive that κυλίνδει ... κελαινάν, θῖνα ... δυσάνεμοι, κατ’ αὖ ... τῶν, νερτέρων ... κονίς, are all separate cola. Going backwards again, we find that ἐπιδράμῃ[883] πνοαῖς and Οἰδίπου δόμοις, ὕφαλον ... πνοαῖς and φάος ... δόμοις, Θρῄσσαισιν ... πνοαῖς and ῥίζας ... δόμοις, and indeed longer masses still, all give a metrical correspondence. Which pair are we to select? οἶδμα ... πνοαῖς (= νῦν ... δόμοις) is too long; ἐπιδράμῃ πνοαῖς (= Οἰδίπου δόμοις) is too short. For we seek the longest unit which is convenient. We therefore mark off οἶδμα ... ὅταν, νῦν ... ὑπέρ, Θρῄσσαισιν ... πνοαῖς, ῥίζας ... δόμοις as cola. The same method will give us ὅμοιον ... ποντίαις and θεῶν ... λύσιν. Then we find ourselves left with οἷς γάρ ... ἕρπον and πήματα ... ἐρείπει, which we divide after ἄτας and πίπτοντ’.

At last we can set out the passage according to its structure. The strophe runs thus:—

˃ – ⏑ ⏑ – ⏑ ⏑ – ⏑ – ⏑ ⏗ – ευ⁝δαιμονες | οισι κακ|ων α|γευστος | αι|ωνꞈ‖

⏑ – ⏑ – ⏑ – ⏑ – ο⁝μοιον | ωστε | ποντι|αιςꞈ‖

– ⏑ – ⏑ – ⏑ – οιδμα | δυσπνο|οις οτ|ανꞈ‖

⏑ – ˃ – ⏑ – ⏑ – ˃ κυ⁝λινδει | βυσσο|θεν κελ|αιναν ‖

– ⏑ – ⏑ – ⏑ – θινα | και δυσ|ανεμ|οιꞈ‖

There are two periods:—

I II ⎛ 6 ⎛ 6 ⎝ 6 ⎜ ⎰ 4 ⎜ ⎛ ⎱ 4 ⎜ ⎜ 6—mesode. ⎜ ⎜ ⎰ 4 ⎜ ⎝ ⎱ 4 ⎝ 6

To this the antistrophe of course corresponds, though here and there an irrational long corresponds to a short (e.g. -εῑπε͐ι to ε̄ρπο̆ν); the last syllable of πήματα is lengthened by the following φθ.

It should be noted that this scheme differs somewhat from that given in Jebb’s edition of the _Antigone_ (pp. lxi. _sq._). One reader’s ear differs from that of another: hence the frequent divergencies to be observed between editors in the arrangement of many lyrics.

(_b_) The ancient writer Aristoxenus gives certain rules as to the maximum length of cola. They may be stated as follows:—

(i) There are three types of colon, the equal, the unequal, and the quinquepartite. The equal cola are the dipody of 1 + 1 feet, the tetrapody of 2 + 2; the unequal are the tripody of 2 + 1, and the hexapody of 4 + 2; the quinquepartite is the pentapody of 3 + 2.

(ii) Equal cola must not be of greater length than sixteen “shorts”. Therefore we may have a dipody of any foot, and a tetrapody of any save those of more than four shorts in value; that is (_e.g._) a dipody of cretics (–⏑–) is allowed, but not a tetrapody of that foot, which would give 5 × 4 = 20 “shorts”.

(iii) Unequal cola may have the length of eighteen “shorts”. A tripody, therefore, of any foot is allowed, but a hexapody of trochees only: a hexapody of spondees would give 4 × 6 = 24 “shorts”.

(iv) Quinquepartite cola may extend to the value of twenty-five “shorts”. Pentapodies are therefore possible of trochees, dactyls, spondees and five-time feet.

(_c_) Certain detailed hints may be added:—

(i) The tetrapody is the most frequent length, the pentapody the rarest.

(ii) The end of a colon is often indicated in dactyls by a spondee, in trochees by a single long syllable (whether ⏗ or –ꞈ).

(iii) In any one period there is a tendency to conformity in length. If 6 + 5 + 4 and 6 + 6 + 4 are _prima facie_ equally possible, the latter is as a rule to be preferred. In spite of the difference in sum-total (6 + 6 + 4 = 16; 6 + 5 + 4 = 15), this question often arises, because of the possibility of τονή. It has to be decided[884] whether (_e.g._) παντός at the close of a colon is to be scanned as two feet or one:

⏗ – παντ|οςꞈ‖

– ⏑ | παντος ‖.

* * * * *

It is now time to offer an account of the various feet used in lyrics.

(_a_) _Trochees._—With these we are now familiar. This foot is often called a choree, chorees with anacrusis being iambi,[885] without anacrusis trochees. The trochee is the most frequent foot in lyrics. Such systems express ordinary strong interest. Whenever more definite emotion is to be conveyed, either cyclic dactyls are introduced, or a change is made to some other metre:—

Κολχίδος τε γᾶς ἔνοικοι παρθένοι, μάχας ἄτρεστοι (_Prom. Vinctus_, 415).

–⏑|–⏑|–⏑|–⏑‖ –⏑|–⏑|–⏑|–⏑‖.

So in English:—

Then, upon one knee uprising, Hiawatha aimed an arrow.—(Longfellow.)

Resolution into tribrachs is frequent:—

⏑ ⏑ ⏑ – ⏑ – ⏑ – ⏑ Αραβι|ας τ αρ|ειον | ανθος ‖ (_Prom. Vinctus_, 420).

Anacrusis is common.

(_b_) _Dactyls._—These are found pure, or mingled with spondees or quasi-trochees (⏗⏑). They are often employed to express excitement and awe:—

ὦ Διὸς ἁδυεπὲς φάτι, τίς ποτε τᾶς πολυχρύσου[886] Πυθῶνος ἀγλάας ἔβας; (_Œd. Tyr._, 151).

–⏑⏑|–⏑⏑|–⏑⏑‖–⏑⏑|–⏑⏑|– –‖ –⁝⏗⏑|⏗⏑|⏗⏑|–ꞈ̄‖

Anacrusis is found, as in the second line above and in _Medea_, 635:—

The tetrapody without spondees or catalexis gives an exquisite heaving effect in Soph. _Electra_, 147-9:—

ἀλλ’ ἐμέ γ’ ἁ στονόεσσ’ ἄραρεν φρένας, ἃ Ἴτυν αἰὲν Ἴτυν ὀλοφύρεται, ὄρνις ἀτυζομένα, Διὸς ἄγγελος.

Ariel’s lines in _The Tempest_ (V. i.):—

Merrily, merrily, shall I live now, Under the blossom that hangs on the bough,

are dactylic tetrapodies with catalexis.

(_c_) _Spondees._—It is not certain that these are used as a base, though as a variant in anapæstic and dactylic metre they are common. _Iph. Taur._, 123-5, may be taken as spondees:—

εὐφαμεῖτ’ ὦ πόντου δισσὰς συγχωρούσας πέτρας Ἀξείνου ναίοντες.

– –|– –| – –|– –|– –|– –| – –|– –|– –|– –|

But they may be quasi-anapæsts, the whole passage which they introduce being an anapæstic entrance-march, though heavily spondaic. _Ion_, 125-7:

ὦ Παιάν, ὦ Παιάν, εὐαίων, εὐαίων εἴης, ὦ Λατοῦς παῖ,

is scanned by Dr. J. H. H. Schmidt as molossi, a molossus being – – –.

Spondaic systems are scarcely to be found in English.[887]

(_d_) _Cretics._—This foot (–⏑–) is rare; it generally expresses piteous agitation:—

φρόντισον, καὶ γενοῦ πανδίκως εὐσεβὴς πρόξενος· τὰν φυγάδα μὴ προδῷς, τὰν ἕκαθεν ἐκβολαῖς δυσθέοις ὀρμέναν (Æsch., _Supplices_, 418 _sqq._).

–⏑–|–⏑–|–⏑–‖ –⏑–|–⏑–‖ –⏑⏑⏑|–⏑–‖ –⏑⏑⏑|–⏑–‖ –⏑–|–⏑–‖

Few cretics are found in English, though Tennyson’s brief poem _The Oak_ is written entirely in this metre, _e.g._:—

All his leaves Fall’n at length, Look, he stands, Trunk and bough, Naked strength.

Most English verse of cretic appearance is shown by the context to be trochaic with alternate τονή. So in _A Midsummer Nights Dream_, II. i.:—

Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire,

which is followed by

We are forbidden to view the Greek cretics given above in the same way, by the resolved feet. If we scan φρόντισον καὶ γενοῦ πανδίκως as –⏑|⏗|–⏑|⏗|–⏑|–ꞈ‖, this method will give us in the fourth line –⏑|⏑⏑|–⏑|–‖, where the second foot is impossible. ⏑⏑ can take the place of –, but never of ⏗.

(_e_) _Bacchiacs._—This curious foot consists of – –⏑, the system being invariably introduced by anacrusis. Bacchiacs are regularly associated with dochmiacs (see below). They express strong emotion, generally mingled with perplexity or vacillation; resolved feet are therefore often found:—

τίς ἀχώ, τίς ὀδμά προσέπτα μ’ ἀφεγγής; (_Prom. Vinctus_, 115).

⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|– –ꞈ‖.

στενάζω; τί ῥέξω; γελῶμαι πολίταις. ἔπαθον ὦ δύσοιστα (_Eumenides_, 788 _sq._).

⏑⁝– –⏑|– –⏑‖– –⏑|– –ꞈ‖ ⏑⁝⏑⏑–⏑|– –ꞈ‖.

Ye storm-winds of Autumn! Who rush by, who shake The window, and ruffle The gleam-lighted lake.—(M. Arnold.)

⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|–⏗̭‖ ⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|–⏗̭‖.

But it should be noted that, though bacchiac scansion seems soundest for the above—“storm-winds” for instance has two ictuses—the poet probably meant the lines for dactylic dipodies with anacrusis: “storm-winds of” thus would be an accentual dactyl. But that would slur “winds” unduly.

(_f_) _Ionics._—These are formed by – –⏑⏑. When anacrusis is found—the usual form—the foot is often called _Ionicus a minore_ (_i.e._ ⏑⏑– –); otherwise it is called _Ionicus a maiore_:—

κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντος πολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (_Persæ_, 81 _sq._).

⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|– –ꞈ̄‖.

A strange variant is ⏑–⏑–; the variation is called “anaclasis” (“breaking-up”). Thus the above passage proceeds—

ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη.

⏑⏑⁝– –⏑⏑|– –⏑⏑‖–⏑–⏑|–ꞈ̄‖.

Ionics are employed to express strong excitement governed by confident courage. The first lyric of the _Persæ_ begins with a splendid example. It is sung by the Persian counsellors in expectation of Xerxes’ triumph, and makes a strong contrast with the piteous rhythms of the close. This poem should be studied carefully in comparison with another in the same metre—the opening of the first chorus in the _Bacchæ_ (vv. 64 _sqq._):—

Ἀσίας ἀπὸ γαίας ἱερὸν Τμῶλον ἀμείψασα θοάζω Βρομίῳ πόνον ἡδύν κάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα. τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω, στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω· τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω.

⏑⏑⁝⏘⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝⏘⏑⏑|– –ꞈ̄〛 ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –⏑⏑|⏘ꞈ̄〛 ⏑⏑⁝⏘⏑⏑|– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|–⏑–˃|⏘ꞈ̄〛

⎛ 2 ⎜ 3—mesode. ⎝ 2

⎛ 2 ⎝ 2

III

⎰ 2 ⎛ ⎱ 2 ⎜ 3—mesode ⎝ ⎰ 2 ⎱ 2

This song of the Bacchantes, like that of the Persians, expresses both excitement and confidence; both are magnificent, and the _metre_ is the same. But the difference is unmistakable; it lies in the _rhythm_. In Æschylus the practically unvaried rhythm and the gorgeous language give to such a passage as πολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων an almost intolerable weight and austere pomp. Euripides, by use of the doubly-lengthened syllable, by varying the extent of his cola, and by the irrationality of the penultimate foot, has, within the limits of the same metre, produced a sense of exotic beauty and urgency, a thrill of wildness as well as of awe.

(_g_) _Choriambics._—These consist of –⏑⏑–. Anacrusis is not found:—

δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέτας οὔτε δοκοῦντ’ οὔτ’ ἀποφάσκονθ’· ὅτι λέξω δ’ ἀπορῶ (_Œd. Tyr._, 483 _sq._).

–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖ –⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖

This measure expresses great agitation and perplexity. In the passage just cited they pass into ionics, which indicate a gradual comparative calming of mind. For example, the antistrophe reads:—

ἀλλ’ ὁ μὲν οὖν Ζεὺς ὅ τ’ Ἀπόλλων συνετοὶ καὶ τὰ βροτῶν εἰδότες· ἀνδρῶν δ’ ὅτι μάντις πλέον ἢ ’γω φέρεται κρίσις οὐκ ἔστιν ἀληθής· σοφίᾳ δ’ ἂν σοφίαν παραμείψειεν ἀνήρ.

–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖ –⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|⏘ꞈ̄‖ ⏑⏑⁝– –⏑⏑|⏘ꞈ̄‖.

The late Rupert Brooke left some exquisite _Experiments_ in this metre, _e.g._:—

Ah! Not now, when desire burns, and the wind calls, and the suns of spring Light-foot dance in the woods, whisper of life, woo me to wayfaring.

That is—

⏗⏗|–⏑⏑–|–⏑⏑–‖–⏑⏑–|⏗⏗‖

(_h_) _Dochmiacs._—It is convenient to discuss these here, though the dochmius is not a foot, but a colon. The rule both of metre and music is that all feet or bars should have the same time-value; a trochaic colon may contain ⏗ or ᷋⏑ as well as –⏑, but not –⏑⏑. Dochmiacs are generally regarded as an exception to this rule. The dochmius is a colon of which the simplest form[888] is ⏑– –⏑–, to be divided ⏑⁝– –⏑|–ꞈ||, _e.g._ κακορρημόνων. The dochmius is always catalectic, but the anacrusis of one serves to complete the trochee of the preceding colon:—

φανήτω μόρων ὁ κάλλιστ’ ἐμῶν ἐμοὶ τερμίαν ἄγων ἁμέραν (_Antigone_, 1329 _sq._).

⏑⁝– –⏑|–⏑‖– –⏑|–ꞈ‖.

But this simplest form is not the most frequent, and a considerable sequence is rare. Resolution of one or more long syllables is very common. The favourite form is ⏑⁝⏑⏑–⏑|–ꞈ‖:—

περίβαλον γάρ οἱ πτεροφόρον δέμας (_Agamemnon_, 1147).

⏑⁝⏑⏑–⏑|–⏑‖⏑⏑–⏑|–ꞈ‖

This metre is frequent in passages of lamentation, and as these are extremely numerous the dochmiac measure is one of the most important. It is also perhaps the most difficult, because of the many varieties admitted. In all, twenty-two[889] forms are said to be found, though several of these are rare; this great number is due to resolution and irrational long syllables. Thus—

ἰὼ σκότου νέφος ἐμὸν ἀπότροπον, ἐπιπλόμενον ἄφατον ἀδάματόν τε καὶ δυσούριστον ὄν (_Œd. Tyr._, 1313).

⏑⁝⏘⏑|–ꞈ‖ ⏑⁝⏑⏑⏑⏑⏑|⏑⏑⏑‖⏑⏑⏑⏑⏑|⏑⏑ꞈ‖ ⏑⁝⏑⏑–⏑|–⏑‖– –⏑|–ꞈ‖.

The second line of course would by itself have no rhythm at all, being so completely broken to pieces, in order to express the extreme limit of agitation possible in articulate speech. But it gains rhythm from the clearer lines of the context. The antistrophe shows a further variety—an irrational syllable in the last line:—

ἰὼ φίλος, σὺ μὲν ἐμὸς ἐπίπολος ἔτι μόνιμος· ἔτι γάρ ὑπομένεις με τὸν τυφλὸν κηδεύων.

(κηδευ͐ων). Evidently it is important to accustom one’s ear thoroughly to the basic form ⏑– –⏑– and to ⏑⏑⏑–⏑–. Another instance may be of use:—

ἆρα πύλαι κλῄθροις χαλκόδετ’ ἔμβολά τε λαϊνέοισιν Ἀμφίονος ὀργάνοις τείχεος ἥρμοσται; (_Phœnissæ_, 114 _sqq._).

˃⁝⏑⏑–˃|–˃‖⏑⏑–⏑|⏑⏑ꞈ‖ ⏑⁝⏑⏑–⏑|–˃‖⏑⏑–⏑|–ꞈ‖ ˅⁝⏑⏑–˃|–ꞈ‖.

The last division of our subject is the different types of period, the various ways in which cola are combined and correspond. It should be noted that a colon with anacrusis can correspond to one without; so of catalexis and τονή.

(i) The simplest form is the _stichic_ (στίχος “a row”), in which the cola are of the same length. The scheme

⎧ _a_ ⎧ 2 ⎧ 4 ⎧ 6 ⎧ _a_ is ⎨ —that is ⎨ or ⎨ or ⎨ , etc.—or ⎨ _a_ and so forth: ⎩ _a_ ⎩ 2 ⎩ 4 ⎩ 6 ⎩ _a_

πᾶς γὰρ ἱππηλάτας καὶ πεδοστιβὴς λεώς (_Persæ_, 126 _sq._).

–⏑|⏗|–⏑|–ꞈ‖ –⏑|–⏑|–⏑|–ꞈ〛.

Where correspondence is indicated by

⎛ 4 ⎝ 4.

It makes no difference that ⏗ is answered by –⏑ in the second foot.

(ii) To the stichic corresponds the _palinodic_ period (παλινῳδία, “repetition”), in which not a single colon but a group of cola is repeated so far as length is concerned:—

μείξουσιν ἢ πρὸς Πυθίαις ἢ λαμπάσιν ἀκταῖς, οὗ πότνιαι σεμνὰ τιθηνοῦνται τέλη (_Œd. Col._, 1047 _sq._).

–⁝⏗⏑|– –|⏗⏑|– –‖–⏑⏑|– –‖ –⁝⏗⏑|⏘|–⏑⏑|– –‖⏗⏑|–ꞈ̄‖

⎰ 4 ⎞ ⎛ ⎱ 2 ⎟ ⎞ ⎝ ⎰ 4 ⎠ ⎟ ⎱ 2 ⎠

This type of period is frequent in English poetry, where the use of rhyme and the absence of τονή make the cola perfectly plain, _e.g._:—

Love still has something of the sea From whence his Mother rose; No time his slaves from care sets free, Or gives their hearts repose.—(Sedley.)

⎰ 4 ⎞ ⎛ ⎱ 3 ⎟ ⎞ ⎝ ⎰ 4 ⎠ ⎟ ⎱ 3 ⎠

(iii) _Antithetic_ periods are formed by the inverted repetition whether of different cola or of different groups of cola.

(_a_) The simplest type is that in which a series of ungrouped cola is repeated in inverse order:—

διανταίαν λέγεις δόμοισι καί σώμασιν πεπλαγμέναν ἀναυδάτῳ μένει ἀραίῳ τ’ ἐκ πατρὸς διχόφρονι πότμῳ (_Septem_, 895 _sqq._).

⏑⁝⏗|⏗|–⏑|–⏑|–⏑|–ꞈ‖ –⏑|–⏑|–⏑|–ꞈ‖ ⏑⁝⏗|⏗|–⏑|–ꞈ‖ ⏑⁝⏗|⏗|–⏑|–⏑|–⏑⏑|–˃〛.

6 ⎞ 4 ⎞ ⎟ 4 ⎠ ⎟ 6 ⎠

(_b_) In a similar manner groups may be repeated antithetically. Each group retains its internal order; hence such periods are called “palinodic-antithetic”:—

δι’ αἰῶνος μακροῦ πάνολβον· ἔνθεν πᾶσα βοᾷ χθών, “φυσιζόου γένος τόδε Ζηνός ἐστιν ἀληθῶς· τίς γὰρ ἂν κατέπαυσεν Ἥρας νόσους ἐπιβούλους;” Διὸς τόδ’ ἔργον καὶ τόδ’ ἂν γένος λέγων ἐξ Ἐπάφου κυρήσαις (Æsch., _Supplices_, 582 _sqq._).

⏑⁝⏗|⏗|–⏑|–⏑|⏗|–ꞈ‖ –˃|–⏑⏑|⏗|–ꞈ‖ ⏑⁝–⏑|–⏑|–⏑|⏗‖–⏑|–⏑⏑|⏗|–ꞈ‖ –⏑|–⏑⏑|–⏑|⏗‖–⏑|–⏑⏑|⏗|–ꞈ‖ ⏑⁝–⏑|–˃|–⏑|–⏑|–⏑|–ꞈ‖ –⏑⏑|–⏑|⏗|–ꞈ〛.

⎰ 6 ⎞ ⎛ ⎱ 4 ⎟ ⎞ ⎜ ⎰ 4 ⎞ ⎟ ⎟ ⎜ ⎛ ⎱ 4 ⎟ ⎞ ⎟ ⎟ ⎜ ⎝ ⎰ 4 ⎠ ⎟ ⎟ ⎟ ⎜ ⎱ 4 ⎠ ⎟ ⎟ ⎝ ⎰ 6 ⎠ ⎟ ⎱ 4 ⎠

(iv) Any of the three periods just described, the stichic, the palinodic, the antithetic (whether simple or palinodic-antithetic) may be “mesodic,” that is, it may be grouped round a central colon (the mesode), to which no colon corresponds, save of course the mesode of the other _strophe_. The schemes, then, are:—

(_a_) Stichic-mesodic.

_a_ ⎞ _x_ ⎟ _a_ ⎠

(_b_) Palinodic-mesodic.

⎰ _a_ ⎞ ⎛ ⎱ _b_ ⎟ ⎞ ⎜ _x_ ⎟ ⎟ ⎝ ⎰ _a_ ⎠ ⎟ ⎱ _b_ ⎠

(_c_) Antithetic-mesodic.

_a_ ⎞ _b_ ⎞ ⎟ _x_ ⎟ ⎟ _b_ ⎠ ⎟ _a_ ⎠

(_d_) Palinodic-antithetic-mesodic.

⎰ _a_ ⎞ ⎛ ⎱ _b_ ⎟ ⎞ ⎜ ⎰ _c_ ⎞ ⎟ ⎟ ⎜ ⎛ ⎱ _d_ ⎟ ⎞ ⎟ ⎟ ⎜ ⎜ _x_ ⎟ ⎟ ⎟ ⎟ ⎜ ⎝ ⎰ _c_ ⎠ ⎟ ⎟ ⎟ ⎜ ⎱ _d_ ⎠ ⎟ ⎟ ⎝ ⎰ _a_ ⎠ ⎟ ⎱ _b_ ⎠

(_a_) The stichic-mesodic:—

ἀμηχανῶ φροντίδος στερηθείς εὐπάλαμον μέριμναν ὅπα τράπωμαι, πίτνοντος οἴκου (_Agamemnon_, 1530 _sqq._).

⏑⁝–⏑|⏗|–⏑|–⏑|⏗|–ꞈ‖ –⏑⏑|–⏑|⏗|–ꞈ‖ ⏑⁝–⏑|⏗|–⏑|–⏑|⏗|–ꞈ‖.

6 ⎞ 4 ⎟ 6 ⎠

(_b_) The palinodic-mesodic:—

ἐμοὶ χρῆν συμφοράν, ἐμοὶ χρῆν πημονὰν γενέσθαι, Ἰδαίαν ὅτε πρῶτον ὕλαν Ἀλέξανδρος εἰλατίναν ἐτάμεθ’, ἅλιον ἐπ’ οἶδμα ναυστολήσων (_Hecuba_, 629 _sqq._).

⏑⁝⏗|⏗|–⏑|–ꞈ‖ ⏑⁝⏗|⏗|–⏑|–⏑|⏗|–ꞈ‖ –˃|–⏑⏑|–⏑|–˃‖ ⏑⁝⏗|–⏑|–⏑⏑|–ꞈ‖ ⏑⁝⏑⏑⏑|⏑⏑⏑|–⏑|–⏑|⏗|–ꞈ‖.

⎰ 4 ⎞ ⎛ ⎱ 6 ⎞ ⎟ ⎜ 4 ⎟ ⎟ ⎝ ⎰ 4 ⎟ ⎠ ⎱ 6 ⎠

(_c_) The antithetic-mesodic:—

σύ τοι σύ τοι κατηξίωσας, ὦ βαρύποτμε, κοὐκ ἄλλοθεν ἔχει τύχᾳ τᾶδ’ ἀπὸ μείζονος· εὖτέ γε παρὸν φρονῆσαι ... (_Philoctetes_, 1095 _sqq._).

⏑⁝–⏑|–⏑|–⏑|–⏑‖ –⏑|⏑⏑⏑|–ꞈ‖ ˃⁝⏑⏑⏑|–⏑|–ꞈ‖ –⏑⏑|–⏑|–ꞈ‖ ˃⁝⏑⏑⏑|–⏑|⏗|–ꞈ‖.

4 ⎞ 3 ⎞ ⎟ 3 ⎟ ⎟ 3 ⎠ ⎟ 4 ⎠

(_d_) The palinodic-antithetic-mesodic:—

μή μοι μὴ προδίδου· μόνος μόνῳ κόμιζε πορθμίδος σκάφος. χαιρέτω μὲν αὖλις ἥδε, χαιρέτω δὲ θυμάτων ἀποβώμιος[890] ἃν ἔχει θυσίαν Κύκλωψ Αἰτναῖος ξενικῶν κρέων κεχαρμένος βορᾷ. νηλής, ὦ τλᾶμον ὅστις δωμάτων ἐφεστίους ... (_Cyclops_, 351 _sqq._).[891]

–˃|–⏑⏑|–ꞈ‖ ⏑⁝–⏑|–⏑|–⏑|–⏑|–⏑|–ꞈ‖ –⏑|–⏑|–⏑|–⏑‖–⏑|–⏑|–⏑|–ꞈ‖ ω⁝–⏑⏑|–⏑|–⏑⏑|–ꞈ‖ –˃|–˃|–⏑⏑|–⏑‖–⏑|–⏑|–⏑|–ꞈ‖ –˃|–˃|–ꞈ‖ ⏗|⏗|–⏑|–⏑|–⏑|–ꞈ〛.

⎰ 3 ⎞ ⎛ ⎱ 6 ⎟ ⎞ ⎜ ⎛ ⎰ 4 ⎞ ⎟ ⎟ ⎜ ⎜ ⎱ 4 ⎟ ⎞ ⎟ ⎟ ⎜ ⎜ 4 ⎟ ⎟ ⎟ ⎟ ⎜ ⎜ ⎰ 4 ⎠ ⎟ ⎟ ⎟ ⎜ ⎝ ⎱ 4 ⎠ ⎟ ⎟ ⎜ ⎰ 3 ⎠ ⎟ ⎝ ⎱ 6 ⎠

Most of the periodic structures which have been described are by no means obvious to the ear. A trained sense of rhythm, attention to quantity, and careful practice, will reduce the difficulties. But in any case Greek periods are far less easy to grasp than English. Their variety and length, the frequent occurrence of prolongation, resolution, and irrational syllables, the possibility of preludes or postludes—all these are formidable to modern students, who lack the help of the music. We may perhaps work out the period with ease on paper, but our ear often cannot appreciate the balance and contour of the whole as it can in English lyrics, where we have the immense assistance of a rhyme-scheme. But it is no sound deduction that the study of Greek lyric metre and rhythm is therefore useless. We cannot always hear the period—that is a question of music; but we can always hear the colon—that is a question of language. To utter the cola correctly is easy after a little practice; and it is these “sentences” which, by their own internal rhythmical nature and by the identities or contrasts existing between them, reinforce and more pungently articulate the sense of the words wherefrom they are moulded.

FOOTNOTES

[1] See Haigh, _The Tragic Drama of the Greeks_, pp. 19 _sq._

[2] It arose in a similar fashion to tragedy, from the phallic songs to Dionysus at his winter festival.

[3] τί ταῦτα πρὸς τὸν Διόνυσον; (Plutarch, _Symposiaca_, 615 A).

[4] Pp. 39-41.

[5] These first paragraphs give a summary of the view almost universally held as to the origin of Greek tragedy. Of late, however, Professor Sir William Ridgeway (_The Origin of Tragedy, with Special Reference to the Greek Tragedians_, Cambridge, 1910) has combated current beliefs with great vigour. His belief is (p. 186) “that Tragedy arose in the worship of the dead, and that the only Dionysiac element in the Drama was the satyric play”. Aristotle’s evidence (see p. 4) he dismisses as mistaken, because “Aristotle was only interested in Tragedy as a fully developed art, and paid little heed to its early history” (p. 57). The present writer is bound to confess that, after following and estimating to the best of his ability the numerous and heterogeneous statements put forward in evidence, he cannot regard Professor Ridgeway’s contention as proved. It is undoubtedly true that many extant tragedies centre more or less vitally upon a tomb, but many do not. The mimetic ritual in honour of the slain Scephrus (p. 37) is real evidence, so far as it goes; but the utmost it proves is that Greek tragedy _could_ have arisen from such funeral performances—it does not show that it did. The most remarkable point in the book is the discussion of the well-known passage in Herodotus (V, 67): τά τε δὴ ἄλλα οἱ Σικυώνιοι ἐτίμων τὸν Ἄδρηστον καὶ δὴ πρὸς τὰ πάθεα αὐτοῦ τραγικοῖσι χοροῖσι ἐγέραιρον, τὸν μὴν Διόνυσον οὐ τιμέωντες, τὸν δὲ Ἄδρηστον. Κλεισθένης δὲ χοροὺς μὲν τῷ Διονύσῳ ἀπέδωκε, τὴν δὲ ἄλλην θυσίην Μελανίππῳ (see Ridgeway, p. 28): “The men of Sicyon paid honours to Adrastus, and in particular they revered him with tragic choruses because of his sufferings, herein honouring not Dionysus, but Adrastus. Cleisthenes gave the choruses to Dionysus, and the rest of the offering to Melanippus.” It may well be that Professor Ridgeway is right in asserting that ἀπέδωκε means not “restored” but “gave”—that is, these tragic choruses were originally of the funereal kind which he suggests for all primitive Greek tragedy. This is excellent evidence for his contention, so far as it goes, but it only proves one example. Herodotus’ words, on the other hand, imply that he believed tragedy to be normally Dionysiac. To sum up, we cannot regard Professor Ridgeway as having succeeded in damaging the traditional view.

[6] Aristotle, _Poetic_, 1448_a_: διὸ καὶ ἀντιποιοῦνται τῆς τε τραγῳδίας καὶ τῆς κωμῳδίας οἱ Δωριεῖς.

[7] _Ol._, XIII, 18 _sq._: ταὶ Διωνύσου πόθεν ἐξέφανεν σὺν βοηλάτᾳ χάριτες διθυράμβῳ; _i.e._ as the context shows, the dithyramb appeared first at Corinth.

[8] α for η, and sometimes -ᾶν as the inflexion of the feminine genitive plural.

[9] _Poetic_, 1449_a_: γενομένη δ’ οὖν ἀπ’ ἀρχῆς αὐτοσχεδιαστική ... ἀπὸ τῶν ἐξαρχόντων τὸν διθύραμβον ... κατὰ μικρὸν ηὐξήθη προαγόντων ὅσον ἐγίγνετο φανερὸν αὐτῆς, καὶ πολλὰς μεταβολὰς μεταβαλοῦσα ἡ τραγῳδία ἐπαύσατο, ἐπεὶ ἔσχε τὴν αὐτῆς φύσιν. καὶ τό τε τῶν ὑποκριτῶν πλῆθος ἐξ ἑνὸς εἰς δύο πρῶτος Αἰσχύλος ἤγαγε καὶ τὰ τοῦ χοροῦ ἠλάττωσε καὶ τὸν λόγον πρωταγωνιστὴν παρεσκεύασεν, τρεῖς δὲ καὶ σκηνογραφίαν Σοφοκλῆς. ἔτι δὲ τὰ μέγεθος ἐκ μικρῶν μύθων καὶ λέξεως γελοίας διὰ τὸ ἐκ σατυρικοῦ μεταβαλεῖν ὀψὲ ἀπεσεμνύνθη. τό τε μέτρον ἐκ τετραμέτρου ἰαμβεῖον ἐγένετο· τὸ μὲν γὰρ πρῶτον τετραμέτρῳ ἐχρῶντο διὰ τὸ σατυρικὴν καὶ ὀρχηστικωτέραν εἶναι τὴν ποίησιν ... ἔτι δὲ ἐπεισοδίων πλήθη. καὶ τὰ ἄλλ’ ὡς ἕκαστα κοσμηθῆναι λέγεται.... Here and elsewhere, in quoting from the _Poetic_, I borrow Butcher’s admirable translation.

[10] These narratives and conversations were naturally regarded as interruptions in the main business, and this feeling is marked by the name always given to the “acts” of a play, ἐπεισόδια (“episodia”), _i.e._ “interventions” or “interruptions”.

[11] The text of the treatise is, however, incomplete. The author of the pseudo-Platonic _Minos_ (321 A) speaks of the current belief that Thespis was the originator of tragedy.

[12] This is a mere name for a really anonymous collection of information on philosophical and other history.

[13] _Ars Poetica_, 275-7.

[14] _Poetic_, 1449_a_.

[15] βασιλεὺς ἦν Χοίριλος ἐν σατύροις (Plotius, _De Metris_, p. 2633, quoted by Haigh, _Tragic Drama_, p. 40).

[16] _Frogs_, 689: εἴ τις ἥμαρτε σφαλείς τι Φρυνίχου παλαίσμασιν. The allusion in the first instance points undoubtedly to the famous _general_ Phrynichus; but his political machinations are jokingly referred to as a “wrestling-bout” because of the celebrated description in his namesake the playwright.

[17] Herod. VI, 21.

[18] _Wasps_, 220 (μέλη ἀρχαιομελισιδωνοφρυνιχήρατα).

[19] _Birds_, 748-51, reading ὥσπερ ἡ μέλιττα.

[20] λάμπει δ’ ἐπὶ πορφυρέαις παρῇσι φῶς ἔρωτος. Notice the exquisite alliteration. Sophocles no doubt had this line in mind when he wrote _Antigone_ 782.

[21] The writer of the Argument to the _Persæ_ says: Γλαῦκος ἐν τοῖς περὶ Αἰσχύλου μύθων ἐκ τῶν Φοινίσσων Φρυνίχου φησὶ τοὺς Πέρσας παραπεποιῆσθαι. The late Dr. Verrall (_The Bacchantes of Euripides and Other Essays_, pp. 283-308) believed that not only is the _Persæ_ modelled on the _Phœnissæ_ but _Æschylus_ incorporated a large portion of Phrynichus’ play with little change (_Persæ_ vv. 480-514 especially).

[22] By M. Croiset, _Hist. de la Litt. grecque_, III, p. 49.

[23] This is asserted by his epitaph:—

Αἴσχυλον Εὐφορίωνος Ἀθηναῖον τόδε κεύθει μνῆμα καταφθίμενον πυροφόροιο Γέλας, ἀλκὴν δ’ εὐδόκιμον Μαραθώνιον ἄλσος ἂν εἴποι καὶ βαθυχαιτήεις Μῆδος ἐπιστάμενος.

These verses are said to come from the pen of Æschylus himself. For once such tradition appears to be true. No forger would have had the audacity to omit all reference to the plays.

[24] This, however, is certainly stated by Aristotle (_Nic. Ethics_, 1111_a_). On the other hand, Æschylus says in the _Frogs_ (886); Δήμητερ, ἡ θρέψασα τὴν ἐμὴν φρένα, εἶναί με τῶν σῶν ἄξιον μυστηρίων.

[25] Aristotle, Poetic, 1449_a_.

[26] The following plays were performed with two actors only: of Æschylus, _Supplices_, _Prometheus_, _Persæ_, _Seven against Thebes_; of Euripides, _Medea_, and perhaps _Alcestis_.

[27] By Plutarch, _Life of Cimon_, VIII. Haigh (_The Tragic Drama of the Greeks_, p. 128²) gives good reasons for rejecting the story.

[28] One of these occasions was that on which he presented the _Œdipus Tyrannus_.

[29] A fragment of Ion’s Ἐπιδημίαι remarks: τὰ μέντοι πολιτικὰ οὔτε σοφὸς οὔτε ῥεκτήριος ἦν, ἀλλ’ ὡς ἄν τις εἷς τῶν χρηστῶν Ἀθηναίων.

[30] Aristophanes, too, in the _Frogs_ (v. 82), bears witness to his charm: ὁ δ’ εὔκολος μὲν ἐνθάδ’, εὔκολος δ’ ἐκεῖ· “Sophocles, on the other hand, is gentle here (_i.e._ in Hades) as he was in life.”

[31] _Œd. Col_. 1225-8.

[32] _Poetic_, 1460_b_: Σοφοκλῆς ἔφη αὐτὸς μὲν οἵους δεῖ ποιεῖν, Εὐριπίδην δὲ οἷοι εἰσίν.

[33] Plutarch, _De Profectu in Virtute_, 79 B: ὁ Σοφοκλῆς ἔλεγε, τὸν Αἰσχύλου διαπεπαιχὼς ὄγκον, εἶτα τὸ πικρὸν καὶ κατάτεχνον τῆς αὐτοῦ κατασκευῆς, τρίτον ἤδη τὸ τῆς λέξεως μεταβάλλειν εἶδος ὅπερ ἐστὶν ἠθικώτατον καὶ βέλτιστον.

[34] See Haigh, _Tragic Drama_, p. 162.

[35] Aristotle, _Poetic_, 1449_a_.

[36] Suidas (_s.v._ Σοφοκλῆς): καὶ αὐτὸς ἦρξε τοῦ δρᾶμα πρὸς δρᾶμα ἀγωνίζεσθαι, ἀλλὰ μὴ τετραλογίαν.

[37] In the Anonymous _Life_.

[38] See Haigh, _Attic Tragedy_, pp. 139 _sq._, where this excellent point is made.

[39] The most celebrated is the description of the sun as a “clod” (_Orestes_, 983). _Alcestis_, 904 _sqq._, may very possibly refer to the death of Anaxagoras’ son.

[40] XV, 20.

[41] A passage in his _Life_ suggests that he was indifferent to the strictly “theatrical” side of his profession: οὐδεμίαν φιλοτιμίαν περὶ τὰ θέατρα ποιούμενος· διὸ τοσοῦτον αὐτὸν ἔβλαπτε τοῦτο ὅσον ὠφέλει τὸν Σοφοκλέα.

[42] _Oxyrhynchus Papyri_, Vol. IX, pp. 124-82.

[43] Pp. 29 _sq._

[44] ἀκριβῶς ὅλως περιείληφεν τὸν Ἀναξαγόρειον διάκοσμον ἐν τρισὶν περιόδοις.

[45] Aristotle, _Poetic_, 1452_b_.

[46] Not all. The elegance of his iambic style excited Aristophanes’ admiration: indeed he confessed to imitating it, and the great Cratinus invented a significant compound verb εὐριπιδαριστοφανίζειν. See Meineke, _Frag. Comicorum Græcorum_, II, 1142.

[47] _Frogs_, v. 1122: ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων.

[48] vv. 846-54.

[49] vv. 518-44.

[50] _Frogs_, 939 _sqq._

[51] _Ibid._ 948 _sqq._

[52] _Ibid._ 959: σύνεσμεν may recall Grant Allen’s famous sentence about taking Hedda Gabler down to dinner.

[53] Of these three points the first two come from Suidas (under the article Νεόφρων), the third from the argument to the extant _Medea_: τὸ δρᾶμα δοκεῖ ὑποβαλέσθαι τὰ Νεόφρονος διασκευάσας, ὡς Δικαίαρχός τε περὶ τοῦ Ἑλλάδος βίου καὶ Ἀριστοτέλης ἐν ὑπομνήμασι.

[54] vv. 1211-6.

[55] There is good reason to suppose that what we possess is a second version. The scholiast on Aristophanes mentions passages as parodies of lines in the _Medea_ which we no longer read there.

[56] In his ὑπομνήματα, quoted by the Argument to the _Medea_.

[57] πρῶτος εἰς τὸ νῦν μῆκος τὰ δράματα κατέστησεν.

[58] Unless we except the _Rhesus_ (996 lines).

[59] The original form of it seems to have been:—

ὥστ’ οὐχ ὑπάρχων ἀλλὰ τιμωρούμενος ἀγωνιοῦμαι.

[60] The name is not certain. The book is variously called ὑπομνήματα (“notes”), ἐπιδημίαι (“visits”), and συνεκδημητικός. The first is not a “name”—it merely describes the book. The second was explained by Bentley to mean “accounts of the visits to our island of Chios by distinguished strangers”. The third could mean something like “traveller’s companion”.

[61] Plutarch (_De Profectu in Virtute_, 79 E), no doubt quoting from Ion, tells us that at a critical moment in a boxing match Æschylus nudged Ion and said: “You see what a difference training makes? The man who has received the blow is silent, while the spectators cry aloud.”

[62] Plutarch, _Pericles_, Chap. V.

[63] v. 835. To the scholium on this line we owe much of our information about Ion.

[64] One of them bears the curious title “Great Play” (μέγα δρᾶμα), but nothing is known of it.

[65] _Frogs_, 1425.

[66] XXXIII, 5 (Prof. Rhys Roberts’ translation).

[67] Diog. Laert. II, 133.

[68] Croiset III, p. 400 (n.), thus explains the strange words of Suidas, ἐπεδείκνυτο δὲ κοινῇ σὺν καὶ Εὐριπίδῃ.

[69] Haigh, _Tragic Drama of the Greeks_, p. 409.

[70] Ath. X, 451 C.

[71] Aristotle, _Poetic_, 1451_b_.

[72] _Ibid._ 1456_a_ (Butcher’s translation).

[73] Plutarch, _Symposiaca_, 645 E.

[74] _Thesm._ 100: μύρμηκος ἀτραπούς.

[75] Aristotle, _Poetic_, 1456_a_.

[76] _Ibid._

[77] _Ibid._

[78] Such a sentence as that of M. Orgon in _Le jeu de l’amour et du hasard_ (I, ii.): “Va, dans ce monde, il faut être un peu trop bon pour l’être assez,” strikes one as thoroughly Agathonesque.

[79] _Protagoras_, 315 E.

[80] _Symposium_, 198 C. Socrates says of Agathon’s panegyric upon Eros: καὶ γάρ με Γοργίου ὁ λόγος ἀνεμίμνησκεν. The whole speech of Agathon is intended to show these characteristics. Cp., for example, 197 D: πρᾳότητα μὲν πορίζων, ἀγριότητα δ’ ἐξορίζων· φιλόδωρος εὐμενείας, ἄδωρος δυσμενείας κτἑ.

[81] _Thesm._ 130 _sqq._

[82] _Ibid._ 54 _sqq._

[83] It is noteworthy that Socrates’ famous “prophecy of Shakespeare” (_Symposium_, 223 D), “one who can write comedy can write tragedy and _vice versa_,” is addressed to Agathon and Aristophanes jointly.

[84] The attribution of this play to Critias is not certain, but probable; it is accepted by Wilamowitz. The new life of Euripides by Satyrus (see above, p. 18) attributes it to that poet.

[85] _Eratosthenes_, II.

[86] _Poetic_, 1453_b_.

[87] _De Gloria Atheniensium_, 349 E.

[88] _Poetic_, 1455_a_, _b_.

[89] Aristotle, _Rhetoric_, III, 12, 2: βαστάζονται δὲ οἱ ἀναγνωστικοί, οἷον Χαιρήμων· ἀκριβὴς γὰρ ὥσπερ λογογράφος.

[90] “You know how to feel contempt before you have learnt wisdom,” or, to reproduce (however badly) the play upon words, “You practise contempt before using contemplation”.

[91] Athenæus, fr. 10: δρᾶμα πολύμετρον.

[92] _Poetic_, 1447_b_.

[93] vv. 677-774.

[94] Symonds, _Studies in the Greek Poets_, II, p. 26.

[95] _Adversus Indoctos_, 15.

[96] Athenæus III, 98 D, reports, for example, that he called a javelin βαλλάντιον (properly “purse”), because “it is thrown in the face of the foe” (ἐναντίον βάλλεται).

[97] _Poetic_, 1454_b_.

[98] 1455_a_.

[99] _Rhetoric_, II, 1400_b_.

[100] _Ibid._ 1417_b_, but the passage is obscure.

[101] _Eth. Nic._ 1150_b_, 10.

[102] Ælian, V.H. XIV, 40.

[103] _Orator_, 51.

[104] _Poetic_, 1452_a_.

[105] _Ibid._ 1455_b_.

[106] “First there came a circle with a dot in the middle,” etc.

[107] θέλω τύχης σταλαγμὸν ἢ φρενῶν πίθον.

[108] That he belongs to the fourth century is not certain, though extremely probable.

[109] We have only one title (_Telephus_) which implies a legendary theme.

[110] Meineke suggests that the subject is an incident related by Xenophon, _Hellenica_, VI, iv. 33, 34.

[111] He might at least have written τοῖς ἀμείνοσιν.

[112] The meaning of this name is unknown.

[113] Athenæus XIII, 595 F.

[114] He uses the diminutive δραμάτιον.

[115] κατὰ ἰατρῶν (Stobæus, 102, 3). He was thus a precursor of Molière and Mr. Bernard Shaw.

[116] Diogenes Laertius, VII, 173.

[117] This point is made by Bernhardy, _Grundriss der Gr. Litteratur_ II, ii. p. 72.

[118] His date is not, however, certain, and there is some reason to assign his _floruit_ to the time of Alexander the Great.

[119] The most amazing example is that of the “Three Unities”—those of Action, Time, and Place—of which such a vast amount has been heard and which ruled tyrannically over French “classical” tragedy. It is difficult to believe that Aristotle never mentions the “Three Unities”. On the Unity of Action he has, of course, much to say; the Unity of Time is dismissed in one casual sentence. As to the Unity of Place there is not a word. (It is signally violated in the _Eumenides_ and the _Ajax_.)

[120] _Poetic_, 1454_a_.

[121] _Ibid._

[122] See Wilamowitz-Moellendorff’s magnificent _Einleitung in die griechische Tragödie_, pp. 48-51 (_e.g._ “nicht mehr Aristoteles der aesthetiker sondern Aristoteles der historiker ist der ausgangspunkt unserer betrachtung” and “unser fundament ist und bleibt was in der poetik steht”).

[123] _Poetic_, 1449_b_: ἔστιν οὖν τραγῳδία μίμησις πράξεως σπουδαίας καὶ τελείας μέγεθος ἐχούσης, ἡδυσμένῳ λόγῳ χωρὶς ἑκάστῳ τῶν εἰδῶν ἐν τοῖς μορίοις, δρώντων καὶ οὐ δι’ ἀπαγγελίας, δι’ ἐλέου καὶ φόβου περαίνουσα τὴν τῶν τοιούτων παθημάτων κάθαρσιν.

[124] 1448_a_.

[125] 1451_a_, _b_.

[126] 1462_a_.

[127] 1462_a_, _b_. (The phrasing in the summary above is borrowed from Butcher.) See further 1449_b_.

[128] 1450_b_.

[129] 1450_a_.

[130] 1451_a_.

[131] 1451_a_.

[132] 1451_b_.

[133] 1452_a_.

[134] 1452_a_.

[135] 1452_b_.

[136] οἱ ἐν τῷ φανερῷ θάνατοι.

[137] 1453_a_.

[138] 1453_b_.

[139] 1454_a_, _b_.

[140] pp. 163-5.

[141] pp. 313-5.

[142] 1454_b_, 1460_a_.

[143] 1452_b_: ἔστιν δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ παρόδου, ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν, ἔξοδος δὲ μέρος ὅλον τραγῳδίας μεθ’ ὃ οὐκ ἔστι χοροῦ μέλος, χορικοῦ δὲ πάροδος μὲν ἡ πρώτη λέξις ὅλη χοροῦ, στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου, κόμμος δὲ θρῆνος κοινὸς χοροῦ καὶ τῶν ἀπὸ σκηνῆς.

[144] p. 4.

[145] Chap. VI.

[146] 1455_b_.

[147] 1452_a_.

[148] 1450_b_.

[149] Plato (_Symposium_, 175 E) makes Socrates congratulate Agathon on his success in the presence of “more than 30,000 Greeks”. Modern archæologists, by statistics based on the seating-accommodation, would reduce this figure to 17,000.

[150] There are fourteen of these at Athens.

[151] This account is based on Dörpfeld (_Das griechische Theater_, Abschnitt VII) who believes there was no stage, and on Haigh (_Attic Theatre_³, edited by Mr. Pickard-Cambridge, Chap. III) who believes there was a stage.

[152] That is, shorter, viewed from left to right by the spectators. The depth of the Vitruvian stage was 10 feet.

[153] Vitruvius V, vii, 3-4.

[154] By Wieseler and others.

[155] Haigh³, pp. 165-74.

[156] ἀναβαίνω: _Knights_, 148; _Acharnians_, 732; _Wasps_, 1342.

[157] καταβαίνω: _Eccles._ 1151; _Wasps_, 1514.

[158] Euripides, _Ion_, 727, _Electra_, 4 _sq._, _Herc. Fur._ 119. As Haigh (3rd ed., p. 167) points out, “in the last passage it is the chorus which makes the complaint; so that in this case, if there was any visible ascent, it cannot have been the ascent to the stage”.

[159] This is a strong and favourite argument for the stage; when Haigh (3rd ed., p. 168) denies this because “a sufficient reason is ... the fact that, if they had gone into the palace, the scene of action would have been left empty for the time being,” he forgets that such a departure of the chorus is quite possible. It occurs in _Eumenides_, _Ajax_, _Alcestis_, and _Helena_, not to mention Comedy.

[160] Haigh³, p. 170 _sq._

[161] _Symposium_, 194 B.

[162] _Ars Poetica_, 278: Æschylus et modicis instravit pulpita tignis.

[163] _Das Gr. Theater_, p. 350.

[164] He wrote a lexicon to Plato in the third century after Christ.

[165] Dörpfeld gives various optical diagrams to exhibit the effects.

[166] We incessantly see this effect in modern theatres. But in Greece the presence of the chorus performing below would force spectators to regard the building as suspended.

[167] Save, of course, those on the new lowest seats, which went down to the new level of the excavated half. Dörpfeld has discovered evidence that the present lowest seats at Athens were added after the rest.

[168] _Das griechische Theater_, p. 364. After the publication of this view Dörpfeld altered his opinion, and suggested (_Bull. Corr. Hell._ 1896, p. 577 _sqq._) that V. means not the ordinary Greek Theatre, but the Græco-Roman type found in Asia Minor. But this seems worse than his first thought. See Haigh³, pp. 147 _sq._

[169] _Ibid._ pp. 146 _sq._

[170] In Plato’s time this was notably so (_Laws_, 659 A-C, 700 C, 701 A).

[171] Plutarch, _Nicias_, 524 D.

[172] Aristotle, _Rhetoric_, III, i.

[173] This is the usual term employed. See, however, Haigh³, p. 13, note 3: “the word τετραλογία was applied only to a group of four plays connected in subject,” etc.

[174] This was certainly the number for comedy; it is assumed for tragedy.

[175] τράγος. This was supposed to be the origin of the word “tragedy” (τραγῳδία “goat-song”).

[176] Vitruvius, V, vi., and Pollux, iv., 126.

[177] Professor Ridgeway makes much use of this custom in his theory that Greek drama originated in celebrations at the tombs of great persons. See his _Origin of Tragedy_, and pp. 2 _sq._ above.

[178] Haigh³, p. 187.

[179] _Clouds_, 225.

[180] Pollux (iv. 128), who gives the most definite description, adds: “one must understand it at each door, as it were in each house,” but his unsupported testimony on any subject is not trustworthy.

[181] In fact Pollux, who is fond of making a particular case into a general rule, may have had this instance in his head. He writes (iv. 128): “the eccyclema is a lofty stand raised upon timbers and carrying a chair” (ἐπὶ ξύλων ὑψηλὸν βάθρον ᾧ ἐπίκειται θρόνος).

[182] Ar. _Knights_, 1249.

[183] This story occurs in the anonymous _Life_ of Æschines.

[184] They are mutes, for the lines supposed to be uttered by one or both behind the scenes were probably delivered by one of the actors not needed “in front”.

[185] The _Œdipus Coloneus_ is an exception. See Jebb’s _Introduction_, 3rd ed., pp. 7, 8.

[186] Cp. the vigorous protest of Pratinas (p. 6).

[187] Pherecrates, _Cheiron_, frag. 1, cp. Arist. _Thesmoph._ 100.

[188] Ar. _Frogs_, 1314.

[189] We hear from the scholiast on _Choephorœ_, 900, that the same actor took the part of Pylades and of the servant who gives the alarm. The latter after arousing Clytæmnestra rushes within, and when the Queen has uttered five lines Pylades appears accompanying Orestes. This example is given by Haigh³, p. 232.

[190] Told by the scholiast on Aristophanes, _Frogs_, 303.

[191] The slovenliness in this regard of many modern actors is mostly due to “long runs”. After saying the same thing hundreds of times, an actor naturally tends to mechanical diction. The writer has heard a performer in an emotional crisis suddenly (as it appeared) call for champagne. Feeling sure that “Pommery” could not be right, he reflected, and discovered that the mysterious syllables meant “Poor Mary!” Even actors at the head of the profession are guilty of such things as “the lor of Venice”.

[192] See Haigh³, p. 279 _sq._, for some highly interesting extracts.

[193] _Poetic_ 1456_a_ (tr. Butcher).

[194] _Ibid._

[195] This was the normal mode of entry, but the plot sometimes demanded others. In the _Eumenides_ the Chorus rush in pell-mell; so probably in the _Bacchæ_; in the Euripidean _Supplices_ they are discovered grouped around the Queen.

[196] See pp. 344 _sq._

[197]

ὥστ’ εἴ τις ὀρχοῖτ’ εὖ, θέαμ’ ἦν· νῦν δὲ δρῶσιν οὐδέν, ἀλλ’ ὥσπερ ἀπόπληκτοι βάδην ἑστῶτες ὠρύονται.

[198] Haigh³, p. 318. Both the gestures described sound like a curious anticipation of the gestures favoured by the performers of “coon-songs”.

[199] This was not always an advantage when comedy held the scene. There is a delightfully impudent passage in the _Frogs_ (v. 297) where Dionysus to escape a hobgoblin appeals to his own priest for protection.

[200] For a detailed description of the seating see Haigh³, pp. 94-101.

[201] It is a fact familiar to students of comparative religion that obscenity is often a part of ritual. This is true of several Greek worships, including that of Dionysus. Hence even tragedy retained its satyric complement, though satyric drama regularly showed obscene features.

[202] Puchstein would date it earlier (end of the fifth century).

[203] Plutarch, _Liber Amatorius_, 756 B, C.

[204] ἐκσυρίττειν (“to hiss off”).

[205] Demosthenes, _De Falsa Legatione_, § 337.

[206] _Ethics_, X, 1175 B.

[207] _Date_: uncertain. Professor Tucker thinks the year 492-1 probable; Æschylus was then thirty-three years old. Historical considerations are here of doubtful value, but the technique of the play seems to prove beyond question that it is an early work.

_Arrangement_: protagonist, Danaus, Egyptian herald; deuteragonist, King of Argos.

[208] In the centre of the orchestra, as always.

[209] Danaus is necessarily dismissed so that the actor who impersonates him may appear as the Egyptian herald.

[210] vv. 991-2.

[211] vv. 994-1013.

[212] Ζεύς (or words derived therefrom) occurs about sixty times.

[213] vv. 91-5 (Professor Tucker’s translation).

[214] vv. 230-1.

[215] _Date_: 472 B.C. _Arrangement_: protagonist, Atossa and Xerxes; deuteragonist, Messenger and Darius.

[216] The actor who presents the queen has now to present the king.

[217] This was a satyric play, and must not be confused with the extant _Prometheus_.

[218] See Patin, _Eschyle_, p. 211.

[219] _Henry V_, IV, viii.

[220] vv. 361-2.

[221] _Arrangement_: protagonist: Eteocles and Antigone; deuteragonist, messenger, and herald. The part of Ismene was taken by a member of the chorus.

[222] _Frogs_, 1021.

[223] vv. 591-4.

[224] _Life of Aristides_, III.

[225] Dr. Verrall, however, in his Introduction (pp. xiv, xv) sees technical drama of the highest kind in the choosing of the champions. As the Theban warriors are told off one by one, the chorus (and audience) see with ever-increasing horror that Eteocles must be left as the opponent of Polynices.

[226] Müller-Heitz (_Griechische Litteraturgeschichte_, ii. p. 88) point out, also, that this play needs more elaborate machinery than any other extant drama. But it may well be doubted whether all the effects mentioned by the poet are realized.

[227] Bia (“Violence”), also present, is a mute.

[228] See H. Weil’s masterly _Note sur le Prométhée d’Eschyle_ (_Le drame antique_, pp. 86-92).

[229] Zeus had intended to wed Thetis. On hearing the secret, he married her to Peleus, who became the father of Achilles.

[230] It is fairly certain that it dealt with Menelaus’ visit to Egypt on his way back from Troy. He was shipwrecked on an island and the prophetic Proteus gave him advice, sending him first to Egypt. See _Odyssey_, IV, 351-586.

[231] _Arrangement_: protagonist, Clytæmnestra; deuteragonist, Herald, Cassandra; tritagonist, Sentinel, Agamemnon, Ægisthus.

[232] See especially his _Introduction_ (pp. xiii-xlvii of the 2nd edition).

[233] This is noted by an admirable touch. Almost always a tragedy ends with words of the chorus as the least impassioned parties. In the _Agamemnon_ the closing words are uttered by Clytæmnestra.

[234] _Choephorœ_, 889.

[235] _The Relapse_, V, iv. 135.

[236] _Arrangement_: protagonist, Orestes; deuteragonist, Electra, Clytæmnestra; tritagonist, Pylades, nurse, attendant, Ægisthus.

[237] This is of course a conventional _mise-en-scène_; we are to imagine the tomb as distant from the palace.

[238] On this and the other “tokens” see below, p. 258.

[239] The dead man is undoubtedly supposed to send aid in a mysterious way, but no ghost appears, as in the _Persæ_. This discrepancy points to a change in religious feeling. Clytæmnestra’s shade “appears” in the _Eumenides_, but as a dream (see v. 116).

[240] vv. 870-4. It seems most natural to suppose that they altogether quit the orchestra, returning before v. 930.

[241] Not quite, however. The poet is to depict a man, with whom we are to sympathize, almost in the act of slaying his mother. Not only Orestes, but the spectator also, needs as much spiritual fortification as can be provided.

[242] vv. 313: δράσαντι παθεῖν.

[243] _Arrangement._—Croiset gives: protagonist, Orestes; deuteragonist, Apollo; tritagonist, Athena, priestess, ghost of Clytæmnestra. This _grouping_ is certainly right, but it is not easy to suppose that the part of Athena was given to the tritagonist. It seems better to give Athena, etc., to the protagonist, Apollo to the second, and Orestes to the third actor.

[244] Probably the _eccyclema_ was used. See pp. 66-8.

[245] vv. 517-9:—

ἔσθ’ ὅπου τὸ δεινὸν εὖ καὶ φρενῶν ἐπίσκοπον δεῖ μένειν καθήμενον.

[246] The actual rule of the Areopagite Court was that if the votes were even the defendant was acquitted. This rule was explained as derived from the “Vote of Athena” in the trial of Orestes. It seems then that Athena’s vote here makes inequality, not equality. Therefore her pebble is not put into either urn, but laid between them.

[247] It is implied by the title of the drama that they assume the title Eumenides or “Gracious Ones,” but this title is not used in the play itself. Their most usual name was Σεμναί, “Awful Ones”.

[248] v. 644.

[249] In her great speech to the court she plainly adopts the language of the Furies. See below.

[250] v. 747: ἡμῖν γὰρ ἔρρειν, ἢ πρόσω τιμὰς νέμειν.

[251] Dr. Verrall (_Introduction_ to his edition, pp. xxxii, xxxiii) explains the reconciliation of the Furies as the result of a mystic revelation conveyed not in words but through a kind of spiritual magnetism exercised by Athena when she draws near to them at v. 886 (he notes the break in syntax at this point); such an influence could not be shown forth in words—it is too sacred and mysterious. But if a poet does undertake to dramatize the truths of religion, he must do so in dramatic form; he ought not suddenly to throw up his task. Several places in Æschylus can be found where he does put such ideas into words.

[252] This appears to me certain from Athena’s language to the court, but the reader should not suppose that the Furies say so definitely; they acquiesce.

[253] vv. 696-8.

[254] This vital point is admirably demonstrated by Dr. Verrall on v. 1046.

[255] This number is not certain. It is probably an under-statement.

[256] ποδαπὸς ὁ γύννις;

[257] ἐνθουσιᾷ δὴ δῶμα, βακχεύει στέγη.

[258] βρῦτον.

[259] _On the death of Kirk-White_: “’Twas thine own genius gave the fatal blow,” etc. The fiery verse, ὅπλων ὅπλων δεῖ· μὴ πύθῃ τὸ δεύτερον, recalls the famous line: “A horse, a horse! My kingdom for a horse!”

[260] _Frogs_, 911-3.

[261] Meineke, II, p. 1177.

[262]

οἱ θεῶν ἀγχίσποροι οἱ Ζηνὸς ἐγγύς ὧν κατ’ Ἰδαῖον πάγον Διὸς πατρῴου βωμός ἐστ’ ἐν αἰθέρι, κοὔπω σφιν ἐξίτηλον αἷμα δαιμόνων.

Cp. Plato, _Republic_, 391 E.

[263] _Oration_ 52.

[264] Only one has survived, that of Sophocles.

[265] _Titus Andronicus_, II, i. 5-7.

[266] _Frogs_, 924-5.

[267] _Ag._ 494-5. In spite of Dr. Verrall’s ingenious remarks, it seems best to take this phrase in the traditional way, as a mere extravagance.

[268] _P.V._ 170.

[269] _Septem_, 493-4.

[270] _Choeph._ 451-2.

[271] _Eum._ 137-8.

[272] _Frogs_, 1261-95.

[273] _Suppl._ 836-7. I see no reason for supposing that the Greek is defective.

[274] _Ibid._ 12.

[275] _Ibid._ 608.

[276] _Persæ_, 115.

[277] _Ibid._ 346.

[278] _Persæ_ 395.

[279] _Ibid._ 815.

[280] _Septem_, 593.

[281] _P.V._ 89-90.

[282] _Ibid._ 993.

[283] _Ag._ 1434.

[284] _Choeph._ 647.

[285] _Eum._ 694.

[286] Haigh, _Tragic Drama_, pp. 82 _sq._

[287] _Frogs_, 932.

[288] Professor Gilbert Murray, _Literature of Ancient Greece_, p. 217.

[289] vv. 908 _sqq._

[290] Frogs, 1119 _sqq._

[291] Dr. Verrall’s theory is still, I believe, accepted only by a minority.

[292] _P.V._ vv. 350-2.

[293] _Danaides._

[294] Cp. _Septem_, 592-4 (Aristides), _P.V._ 1068 (Themistocles), and the references to the Areopagus (vv. 681-710) and to the Athenian Empire (vv. 398-401) in the _Eumenides_.

[295] _Choeph._ 313 _sq._: δράσαντι παθεῖν, τριγέρων μῦθος τάδε φωνεῖ.

[296] _Ag._ 750-7.

[297] _Septem_, 689-91.

[298] _Choeph._ 1076.

[299] Æschylus never worked himself entirely free from this savage conception of sin as a material defilement. Orestes, among the proofs that he has expiated his offence, mentions the use of swine’s blood as a cleansing power (_Eum._ v. 283).

[300] See Dr. Verrall’s discussion of the prologue to the _Eumenides_, _Euripides the Rationalist_, pp. 220-4.

[301] _Eum._ vv. 640-51.

[302] _Arrangement_: protagonist, Ajax, Teucer (Ajax, when dead, is represented by a lay figure); deuteragonist, Odysseus, Tecmessa; tritagonist, Athena, messenger, Menelaus, Agamemnon.

[303] For the arguments see Jebb’s _Introduction_ (pp. li-liv) to the _Ajax_. He thinks _Antigone_ the earlier.

[304] vv. 520-1: “Nay, have thought even of me. A man should sure be mindful of any joy that hath been his.” But of course the quality spoken of evaporates in such a “translation”.

[305] In the address to his child he throws a half-line to the mother (v. 559) and at the beginning of his disguised farewell to the chorus he expresses pity for Tecmessa (vv. 650-3), but there is nothing to show that this is not feigned, like his implied renunciation of suicide.

[306] See Jebb’s _Introduction_ to the play (pp. xxviii-xxxii).

[307] The _arrangement_ is uncertain. Jebb gives, protagonist: Antigone, Tiresias, Eurydice; deuteragonist: Ismene, guard, Hæmon, the messengers; tritagonist: Creon. Croiset gives, protagonist: Antigone, Hæmon; deuteragonist: Ismene, guard, Tiresias, messengers; tritagonist: Creon, Eurydice.

[308] vv. 904-12. See Jebb’s discussion in his _Appendix_.

[309] vv. 450-70.

[310] _Rhetoric_, III, xvi. 9.

[311] Jebb’s _Introduction_, pp. xvii-xx.

[312] See pp. 8, 15.

[313] _Arrangement_ probably: protagonist, Electra; deuteragonist, Orestes and Clytæmnestra; tritagonist, Pædagogus, Chrysothemis, Ægisthus.

[314] Jebb, however, gives substantial reasons for putting it later. See his _Introduction_, pp. lvi-lviii.

[315] vv. 1424-5.

[316] _Choeph._ 1075-6 (Verrall’s translation).

[317] vv. 1508 _sqq._ (Jebb’s translation).

[318] vv. 616-21.

[319] This seems a fair deduction, not only from the whole situation, but from the pause after Αἴγισθον in v. 957; also perhaps from the emphatic ἐμοί of v. 974. Cp. also 582 _sqq._ and especially the comment of the chorus in v. 1080 (διδύμαν ἑλοῦσ’ Ἐρινύν).

[320] vv. 1331-3.

[321] _Arrangement_: protagonist, Œdipus; deuteragonist, Priest, Jocasta, servant of Laius; tritagonist, Creon, Tiresias, the two messengers.

[322] vv. 774 _sqq._

[323] It is true that when the prophet mentions the parents of Œdipus quite definitely (v. 436) the king is startled. But this is one point only. All the other remarks of Tiresias are ignored.

[324] See Aristotle, _Poetic_, 1454_b_.

[325] vv. 130-1.

[326] See pp. 127-8.

[327] vv. 124-5.

[328] The entry of Fortinbras at the end of _Hamlet_ is closely similar. Perhaps it is fear of anti-climax which causes producers nowadays to omit this finale.

[329] Note his preciosity, vv. 942, 959, 1028.

[330] He first (v. 1026) says that he found the infant Œdipus; only later (1038) does he admit that another man has been concerned.

[331] vv. 758-64.

[332] vv. 1117-8.

[333] v. 1141.

[334] _Arrangement_: protagonist, Deianira, Heracles; deuteragonist, Hyllus, Lichas; tritagonist, nurse, messenger, old man.

[335] See Jebb’s _Introduction_, pp. xxxviii _sq._

[336] vv. 575-7 (Jebb’s translation).

[337] vv. 547-9.

[338] These remarks are not vitiated by the fact (see Jebb on v. 1224) that legend wedded Iole to Hyllus. If the command of Heracles is as objectionable as Jebb appears to think, why did Sophocles go out of his way to cause the hero himself, instead of some other, to enjoin the marriage?

[339] vv. 719 _sq._

[340] This accounts also for the absurd behaviour of the nurse (vv. 927 _sq._) who instead of interfering hastens away to Hyllus, entirely unlike other such women in tragedy.

[341] See the speech of Lichas (vv. 248-86).

[342] Deianira’s plan, moreover, reads like a sort of dilution of Medea’s, and her last moments (vv. 900-22) recall the description in the _Alcestis_ (vv. 158-84).

[343] v. 427. Cp. Eur. _Helena_, 567: ποίας δάμαρτος;

[344] Jebb points out that _Trach._ 416 and _Supplices_ 567 are practically identical.

[345] v. 1140.

[346] 268.

[347] vv. 9-14.

[348] That even the equable Sophocles did on occasion embody criticism of other playwrights in his works is shown by such passages as _Electra_ 1288 _sqq._, _Œd Col._ 1148-9.

[349] _Arrangement_: protagonist, Philoctetes; deuteragonist, Neoptolemus; tritagonist, Odysseus, merchant, Heracles.

[350] vv. 1007-15.

[351] _E.g._ Mahaffy (_History of Gk. Lit., Poets_, pp. 309-12).

[352] Christ (_Geschichte der Gr. Lit._ p. 210) who compares Heracles here to the δαιμόνιον σημεῖον of Socrates.

[353] K. O. Müller (_Gr. Lit._, ii. p. 124) who is opposed by Bernhardy (II, ii. p. 370).

[354] vv. 1404 _sqq._

[355] When he threatens to shoot Odysseus (vv. 1299 _sqq._).

[356] v. 670: εὐεργετῶν γὰρ καὐτὸς αὔτ’ ἐκτησάμην.

[357] See Jebb’s 2nd edition (p. xxvii with footnote).

[358] _Or._ 52.

[359] vv. 936 _sqq._, 987 _sq._, etc.

[360] vv. 187-90 (Jebb’s reading and translation).

[361] v. 1455.

[362] vv. 282-4. Notice also the phrase ξὺν ᾗ (v. 268) used of his malady.

[363] Jebb (_Introd._ pp. xl, xli, 2nd ed.) seems unwilling to allow any direct allusions. But see vv. 385 _sqq._, 456 _sqq._, and particularly 1035 _sqq._; all three passages show a peculiar emphasis; vv. 1047-51 are quite in the tone of Thucydides’ “Melian dialogue”.

[364] The _arrangement_ of the parts is not certain. But the important fact seems clear that a fourth actor was here used not tentatively (as in other cases) but in a very remarkable degree. Jebb gives: protagonist, Œdipus; deuteragonist, Antigone; tritagonist, Ismene and Creon; fourth actor, “Stranger,” Theseus, Polynices, messenger. Croiset: protagonist, Œdipus; deuteragonist, Antigone; fourth actor, Theseus; all the other parts to the tritagonist.

[365] Creon, vv. 854 _sq._; Antigone, v. 1195.

[366] v. 106.

[367] vv. 1563 _sq._ The same word recurs in Antigone’s lament (v. 1682): ἄσκοποι δὲ πλάκες ἔμαρψαν.

[368] Note specially the word τοὐπιεικές (v. 1127) though the idea is of course expressed by the whole play.

[369] vv. 670-80 (Jebb’s version).

[370] See below, p. 185.

[371] σμικρὸς λόγος four times (vv. 569, 620, 1116, 1152), σμικρὸν ἔπος once (v. 443), and ἓν μόνον ἔπος once (v. 1615 _sqq._). Dr. Mackail (_Lectures on Greek Poetry_, p. 150) has indicated this point. See also _Electra_, 415.

[372] vv. 670 _sqq._: The parallel I owe to Jebb’s note.

[373] vv. 1503 _sq._

[374] _King Lear_, III, iv.

[375] vv. 1627 _sq._ Cp. 1 Sam. iii. 10.

[376] Deut. xxxiv. 6.

[377] Heb. xi. 22.

[378] vv. 62 _sq._: “Such ... are these haunts, not honoured in story, but rather in the life that loves them” (Jebb).

[379] v. 472.

[380] v. 506.

[381] vv. 964 _sq._

[382] vv. 1422-5.

[383] See Jebb, _Introduction_, pp. xxi _sq._

[384] See his splendid exculpatory speeches to the chorus (vv. 258-91) and to Creon (vv. 960-1013).

[385] See pp. 10, 12 _sq._

[386] _Ad Quintum Fratrem_, II, xv. 3.

[387] Fr. 344: πόνου μεταλλαχθέντος οἱ πόνοι γλυκεῖς, and fr. 345: μόχθου γὰρ οὐδεὶς τοῦ παρελθόντος λόγος; recall _Æneid_, I, 203: _forsan et haec olim meminisse iuuabit_.

[388] _De Subl._ XV, 7: ἄκρως πεφάντασται.

[389] For the Recognition-scene of this play, cp. Aristotle, _Poetic_, 1454_b_.

[390] _Birds_, vv. 100 _sqq._

[391] These have been published and annotated by Dr. A. S. Hunt (who, with Dr. B. P. Grenfell, discovered these and so many other precious remains) in Vol. IX of the _Oxyrhynchus Papyri_.

[392] Welcker thought that the wanderings of Europa formed the subject.

[393] The word ῥοῖβδος is inserted as a stage-direction (παρεπιγραφή). It no doubt means that the babe Hermes is playing his lyre “within”.

[394] The passage is amusing: χαίρει ἀλύων, “he is in a rapture of joy,” is an excellent phrase for this earliest of _maestri_; but, as Dr. Hunt remarks, his audience of one (Cyllene) seems not to share his ecstasy: παραψυκτήριον κείνῳ μόνον.

[395] The name is not certain. All that can be asserted is that the tragedy dealt with Eurypylus’ death, in defence of Troy, at the hands of Neoptolemus.

[396] See pp. 15-17.

[397] See _e.g._ the remarks in Creon’s opening speech (_Ant._ vv. 175-90).

[398] _O.T._ 587-8:

ἐγὼ μὲν οὖν οὔτ’ αὐτὸς ἱμείρων ἔφυν τύραννος εἶναι μᾶλλον ἢ τύραννα δρᾶν.

[399] _Electra_, vv. 328 _sqq._

[400] See p. 16.

[401] _Electra_, 303-16.

[402] For this and other metrical terms which follow see Chapter VI.

[403] There are no less than thirty iambic lines thus divided. The name for such division is ἀντιλαβή.

[404] _Phil._ vv. 287-92.

[405] _O.C._ 1697, translated by Jebb: “Ah, so care past can seem lost joy!”

[406] _Electra_, 1165 _sq._

[407] Dr. J. W. Mackail (_Lectures on Greek Poetry_, p. 150 _sq._) has described these lines with brilliant aptness. “The language is so simple, so apparently unconscious and artless, that its overwhelming effect makes one gasp: it is like hearing human language uttered, and raised to a new and incredible power, by the lips of some one more than human.”

[408] _O.C._ 607 _sqq._ The wonderful version of these first few fines is by Professor Gilbert Murray.

[409] _Ajax_, 815 _sqq._

[410] _O.C._ 1586 _sqq._

[411] This figure includes the _Rhesus_, the authenticity of which is not certain.

[412] It is almost certain that only two actors were employed, Alcestis being mute in the last scene (_i.e._ the character was apparently borne by a supernumerary, not the actor who had delivered her earlier speeches), and the few lines of the child Eumelos being sung by a chorister. Croiset suggests: protagonist, Apollo, Alcestis, Heracles, Pheres; deuteragonist, Thanatos, maidservant, Admetus, attendant.

[413] The true explanation, as Dr. Hayley points out, is that the two actors are already engaged (as A. and H.) so that the queen is presented by a mute. I cannot, however, agree that this is “a clumsy device”. Admetus deserved some modification of his delight; we may, moreover, feel that Alcestis would not wish to show precipitation in greeting the husband who had interred her with such strange promptitude.

[414] The celebrated “tag” beginning πολλαὶ μορφαὶ τῶν δαιμονίων (vv. 1159-63), which is found also at the close of _Medea_ (practically), _Helena_, _Andromache_, and _Bacchæ_.

[415] There are no satyrs and no indecency of language.

[416] _E.g._ v. 58: πῶς εἶπας; ἀλλ’ ἦ καὶ σοφὸς λέληθας ὤν; “What! _you_ among the philosophers!”

[417] The late Dr. A. W. Verrall’s brilliant theory of this play it will be better to discuss later (see pp. 190 _sq._).

[418] vv. 763 _sq._

[419] vv. 280-325.

[420] _Euripides the Rationalist_, pp. 1-128.

[421] The hurried obsequies probably do not fall into this category. We are almost certainly to assume that as Alcestis’ sacrifice is to be made on a certain day, that day must see her not only expire, but actually delivered up to the power of death. See Dr. H. W. Hayley’s _Introduction_ to the play (pp. xxxi _sq._) and my _Riddle of the Bacchæ_, pp. 143 _sq._

[422] I cannot write with decision about the _Alcestis_, because on the one hand universal testimony and opinion date it as only seven years anterior to the _Medea_, while my own instinct would put it quite twenty years earlier than that play. To me it reads essentially like the work of a young but highly-gifted playwright who has recently lost his wife.

[423] These celebrated lines (vv. 230-51) are not in character. They form a splendid and moving criticism of the attitude adopted by the poet’s own Athenian contemporaries towards women, but have only a very partial application to herself.

[424] (i) In vv. 1231-5, there is a very clear dittography. That is, either 1231-2, or 1233-5 would serve excellently as a speech of the chorus-leader; but it is unlikely that the poet meant both to be used; (ii) vv. 1236-50 read like another and far shorter version of the great soliloquy 1021-80; (iii) it seems odd that Medea, after finally gaining courage to slay her children, should before doing so, be seen again and join in conversations; (iv) vv. 1375-7 give the impression (as Dr. Verrall has pointed out) that the play is to end, not as it does, but with some kind of arrangement between Medea and Jason; (v) one or two ancient quotations purporting to come from this play are not to be found in our texts.

[425] See pp. 21 _sq._

[426] v. 389 _sqq._

[427] _Poetic_, 1454_b_.

[428] _Four Plays of Euripides_, pp. 125-30.

[429] vv. 1381-3.

[430] v. 472: ἀναίδεια.

[431] v. 364: κακῶς πέπρακται πανταχῇ· τίς ἀντερεῖ;

[432] vv. 801 _sq._

[433] v. 450.

[434] v. 1367.

[435] vv. 944 _sq._ Two MSS., however (followed by Murray), give the second line to Medea.

[436] v. 349: αἰδούμενος δὲ πολλὰ δὴ διέφθορα.

[437] vv. 309 _sq._

[438] v. 454.

[439] vv. 930 _sq._

[440] vv. 824-45.

[441] vv. 1081-1115.

[442] _Arrangement_: protagonist, Iolaus, Eurystheus; deuteragonist, Demophon, Alcmena; tritagonist, Copreus, Macaria, attendant, messenger. There were a great number of mutes: Acamas, the sons of Heracles, and probably some Athenian soldiers.

[443] It has only 1055 lines, but there are probably gaps in our text.

[444] This name is not mentioned by Euripides. The scholiasts have taken it from _Iliad_, XV, 639.

[445] In the Peloponnesian war. The Spartans were believed the descendants of Hyllus and his brothers.

[446] Professor Murray, however, supposes another lacuna here, and thinks there were two semi-choruses, one party supporting Alcmena, the other disagreeing.

[447] Even in ancient times it seems to have enjoyed little attention.

[448] v. 638.

[449] v. 625.

[450] vv. 9 _sq._, 540.

[451] vv. 869 _sqq._

[452] vv. 910 _sqq._

[453] Down to v. 847 his story contains nothing superhuman. Then “up to this point I saw with mine own eyes; the rest of my tale depends on hearsay,” τἀπὸ τοῦδ’ ἤδη κλύων λέγοιμ’ ἂν ἄλλων, δεῦρο δ’ αὐτὸς εἰσιδών· And when he mentions the identification of the miraculous lights with Hebe and Heracles, he attributes the theory to οἱ σοφώτεροι, “cleverer heads than mine,” as we may translate it.

[454] The oracle has demanded the daughter of “a well-born father,” and she of course mentions her own qualification in this respect, without proceeding to dilate (as one would think inevitable in Euripides—or anyone else) on the quite unrivalled “nobility” of her father.

[455] vv. 513, 563.

[456] _Hercules Furens_, vv. 151-64.

[457] vv. 997-9; v. 990, referring to the hostility of Hera, is too vague to stand as a warrant for the divine birth of Heracles.

[458] vv. 240 _sq._

[459] It has been thought that vv. 819-22 indicate the sacrifice of the maiden. They describe the soothsayers’ offering just before the battle: ἀφίεσαν λαιμῶν βροτείων εὐθὺς οὔριον φόνον. If βροτείων is right (though βοτείων, “of sheep,” is a tempting alteration) the reference to the girl’s heroism is brutally curt.

[460] vv. 597 _sqq._

[461] There is, however, in vv. 45-7 an isolated statement which vaguely contradicts this.

[462] Her remark on hearing the news (v. 665): τοῦδ’ οὐκέθ’ ἡμῖν τοῦ λόγου μέτεστι δή, sets the seal upon her utter feebleness of mind.

[463] vv. 1035-7.

[464] vv. 1049-52 and elsewhere in the last scene.

[465] vv. 1020-5.

[466] _Arrangement_ (according to Croiset): protagonist, Hippolytus; deuteragonist, Aphrodite, Phædra, Theseus (the body of Phædra being represented by a lay-figure); tritagonist, Artemis, servant (who announces the suicide), nurse, messenger.

[467] This additional name (_The Crowned H._) was given to distinguish the play from the earlier Ἱππόλυτος Καλυπτόμενος (now lost), or _Hippolytus Veiled_.

[468] vv. 73-87.

[469] vv. 121-5.

[470] vv. 208-31. Cp. vv. 219-21 with vv. 1375 _sq._

[471] vv. 732-51.

[472] vv. 828-9.

[473] vv. 1423-30.

[474] vv. 616-68. He seems to begin listening to the sound of his own voice at v. 654.

[475] vv. 728-31.

[476] vv. 831-3. Hippolytus agrees, vv. 1379-83.

[477] vv. 967-9, where note the emphatic ἐγώ. And the word νόθος is frequent in the play; see especially Hippolytus’ exclamation in vv. 1082-3, which, by a finely dramatic stroke, immediately turns Theseus’ anger to hot fury.

[478] vv. 337-41.

[479] Professor Murray.

[480] vv. 29-33.

[481] Cp. vv. 490 _sq._

[482] vv. 191-7 (Professor Murray’s translation).

[483] vv. 439-61.

[484] Cp. vv. 474 _sq._:—

λῆξον δ’ ὑβρίζουσ’· οὐ γὰρ ἄλλο πλὴν ὕβρις τάδ’ ἐστί, κρείσσω δαιμόνων εἶναι θέλειν.

[485] vv. 493-6.

[486] vv. 507 _sq._

[487] vv. 1034 _sq._

[488] vv. 415 _sqq._ Compare her whole attitude. Indeed the poet suggests, as at any rate a collateral reason for her destruction of Hippolytus, a fear that he will reveal her secret (vv. 689-92).

[489] vv. 373-430.

[490] _Agamemnon_, vv. 160-83.

[491] In the first edition of the play, to which it seems that most of the ancient strictures apply.

[492] vv. 135-40.

[493] v. 384: τερπνὸν κακόν.

[494] v. 281: ἔκδημος ὦν γὰρ τῆσδε τυγχάνει χθονός.

[495] v. 384: μακραί τε λέσχαι καὶ σχολή, τερπνὸν κακόν.

[496] vv. 337, _sqq._

[497] v. 328, etc.

[498] vv. 503-6.

[499] v. 512.

[500] See Professor Murray’s admirable remarks (p. 81 of his translation).

[501] In the trivial question, v. 516: πότερα δὲ χριστὸν ἢ ποτὸν τὸ φάρμακον; she is dangerously toying with the proposal. The nurse’s reply is a half-quaint, half-heartbreaking quotation from childish days when the little Phædra was querulous with her “medicine” as now: ὄνασθαι, μὴ μαθεῖν, βούλει, τέκνον.

[502] We notice incidentally the amazing dexterity shown by the line (565) in which she announces her discovery: σιγήσατ’, ὦ γυναῖκες, ἐξειργάσμεθα. It is a perfectly clear piece of Greek; it is also a series of gasps.

[503] v. 1035.

[504] See the Greek _Argument_.

[505] In our play the poet leaves his heroine silent on this topic, but hints it himself for us. See vv. 151-54, 967-70.

[506] _Frogs_, 1041; _Thesm._ 497, 547.

[507] _Frogs_, 101, 1467; _Thesm._ 275-6.

[508] _Hipp._ 612.

[509] vv. 960 _sq._, 1076 _sq._

[510] vv. 1060-3.

[511] Aristophanes in the _Clouds_ (v. 1165 _sq._) parodies vv. 174 _sq._ The _Clouds_ was produced in 423 B.C. In _Hecuba_, v. 462, reference seems to be made to the re-establishment of the Delian festival in 426 B.C.

[512] Its popularity in Byzantine times is no bar to this statement. Probably all the three plays, _Hecuba_, _Phœnissæ_, and _Orestes_, were chosen because the Greek was comparatively easy. Euripides was already sufficiently ancient to make this an important consideration.

Miss L. E. Matthaei’s essay should, however, be read (_Studies in Greek Tragedy_, pp. 118-57). With admirable insight and skill this scholar seeks to show that the _Hecuba_ is a study, first, of “conventional” justice, the claim of the community, shown in the sacrifice of Polyxena; and, secondly, of “natural” justice, seen in Hecuba’s revenge. Miss Matthaei’s treatment, however subjective, is trenchant and illuminating, especially as regards the psychology of Hecuba and Odysseus, the value of Polyxena’s surrender, and the _finale_. But concerning the vital point, lack of dramatic unity, she has little to say, apparently only the suggestion (p. 140) that “the cumulative effect of finding the body of Polydorus after having seen Polyxena taken away is the deciding factor; otherwise the end of the play would have been simply unbelievable”. The strength of this argument is very doubtful.

[513] See Mr. Hadley’s admirable _Introduction_ to the play (pp. ix-xii).

[514] vv. 779 _sq._

[515] vv. 428-30, 671, 894-7, 1287 _sq._

[516] v. 230.

[517] vv. 814-9, 1187-94.

[518] In 427 B.C.

[519] vv. 905 _sqq._

[520] vv. 342-78.

[521] vv. 518-82.

[522] vv. 953-67.

[523] vv. 796 _sq._ provide an example:—

ἔκτεινε, τύμβου δ’, εἰ κτανεῖν ἐβούλετο, οὐκ ἠξίωσεν, ἀλλ’ ἀφῆκε πόντιον.

[524] Note his absurd insistence (vv. 531-3) on his own trivial part in the sacrifice-scene.

[525] vv. 592-603 (the last line being an apology for the digression), 864-7.

[526] vv. 799 _sqq._

[527] vv. 585 _sqq._, 806-8.

[528] v. 421: ἡμεῖς δὲ πεντήκοντά γ’ ἄμμοροι τέκνων. Comment seems obvious: “Actually enough children to row a galley!” (πεντηκόντορος ναῦς).

[529] vv. 68 _sqq._

[530] vv. 702 _sqq._

[531] Probably it was composed during the early years of the Peloponnesian war, as the scholiast suggests in a note on v. 445.

[532] Schol. on v. 445.

[533] Her son, who is not given a name in the play, no doubt obtains it from this prophecy.

[534] Mention of such a conflict naturally occurs (vv. 588 _sq._) in the heat of their quarrel, but it comes to nothing. That the old king has no military following seems certain from the silence of both parties. See particularly vv. 752 _sqq._

[535] vv. 732 _sqq._ Note the stammering repetition of τις—he cannot even suggest a name.

[536] It may be answered that here, as elsewhere, the time consumed by the choric ode is conventionally supposed long enough to allow for the alleged synchronous action. But how much time is required? Orestes is to place Hermione in Menelaus’ care, journey to Delphi, and arrange his plot; then the slaves are to carry the body home. This certainly means three days; one would expect a week. Thus Peleus only hears of Hermione’s departure three days (perhaps a week) after it has occurred. Is this credible? See also the conversation between him and the chorus which implies that the news has reached him within an hour or two.

[537] _Four Plays of Euripides_, pp. 1-42.

[538] vv. 1239 _sqq._ (Δελφοῖς ὄνειδος).

[539] It is usually supposed to mean “one of the second-rate plays”.

[540] vv. 929-53.

[541] vv. 595-601.

[542] v. 964: ἦλθον δὲ σὰς μὲν οὐ σέβων ἐπιστολάς, κτἑ. There can be hardly a doubt that these words refer to their parting before her marriage, when she forbade him to see her again.

[543] vv. 639, 708 _sqq._ Cp. Verrall, p. 38.

[544] _Eg._ vv. 229 _sq._

[545] Cp. Verrall, pp. 29 _sq._

[546] v. 166. This is the type of drama at which Sophocles shook his head and which Aristophanes reviled. But it must have made many a slave-holding citizen in the theatre suddenly raise his brows and fall to thinking of words let drop an hour ago at home.

[547] vv. 1147 _sqq._: The some one of course might be anyone. The speaker elects to assume that the god is actually present.

[548] vv. 1002 _sqq._, especially 1004.

[549] vv. 464-94.

[550] vv. 147-80.

[551] vv. 164 _sqq._

[552] vv. 445-63.

[553] _Eg._ vv. 632 _sqq._

[554] _Arrangement_ (according to Croiset): protagonist, Amphitryon, Madness; deuteragonist, Megara, Iris, Theseus; tritagonist, Lycus, Heracles, messenger. Of course the dead bodies are lay figures. Other arrangements are possible.

[555] vv. 637-700.

[556] vv. 70-9, 460-89.

[557] vv. 1255-1310, 1340-93.

[558] vv. 140-235.

[559] _Four Plays of Euripides_, pp. 134-98.

[560] vv. 339 _sqq._, etc.

[561] vv. 798 _sqq._

[562] vv. 1340-6.

[563] Especially vv. 1269 _sqq._

[564] The appearance of Pallas (vv. 1002-6) is regarded by Verrall as “a chance blow received by the madman from the falling ruins of the chamber”.

[565] In vv. 562-82 he raves, however eloquently. One man cannot capture a whole fortress and punish a hostile population as Amphitryon (vv. 585-94) feels, though his caution and prosaic advice are painfully ludicrous considering the vast claims he has made for his son an hour ago.

[566] v. 1222.

[567] Compare the similar explanation of a wonderful feat actually offered by Lycus (vv. 153 _sq._).

[568] Cp. Verrall, pp. 147 _sq._

[569] _Ibid._ pp. 156, 162.

[570] vv. 65-6.

[571] vv. 485-9.

[572] _Probable Arrangement_: protagonist, Theseus, messenger; deuteragonist, Adrastus, Evadne; tritagonist, Æthra, herald, Iphis, Athena.

[573] The plot strongly recalls the incident after the battle of Delium (424 B.C.), when the victorious Bœotians at first refused to surrender the Athenian dead, and the alliance between Athens and Argos (420 B.C.).

[574] The Hypothesis says: τὸ δὲ δρᾶμα ἐγκώμιον Ἀθηναίων (altered by Dindorf with general approval to Ἀθηνῶν).

[575] vv. 195-218.

[576] vv. 403-56.

[577] vv. 297-331.

[578] She has arrayed herself, not in black but in festal robes (vv. 1054-6)—an interesting parallel with the fine ending of the second act of Mr. Shaw’s _Doctor’s Dilemma_.

[579] _Probable Arrangement_: protagonist, Ion, Pædagogus; deuteragonist, Hermes, Creusa; tritagonist, Xuthus, servant, prophetess, Athena.

[580] vv. 1537 _sq._

[581] ἀμαθής (v. 916, used by Creusa).

[582] ὁ κακός (v. 952, used by the Pædagogus).

[583] v. 1595.

[584] vv. 550 _sqq._ are probably significant (and Ion actually the son of Xuthus).

[585] Cp. v. 1324 and the rest of the short conversation between her and Ion, which is of course charming on any view of the play.

[586] vv. 859 _sqq._

[587] vv. 1029 _sqq._

[588] Cp. v. 1419: οὐ τέλεον, οἷον δ’ ἐκδίδαγμα κερκίδος, and Ion’s acknowledgment (v. 1424): ἰδού· τόδ’ ἐσθ’ ὕφασμα, θέσφαθ’ ὡς εὑρίσκομεν. This latter surely means that Ion is as satisfied as one can expect to be in tracing the fulfilment of oracles.

[589] Cp. v. 1565: μηχαναῖς ἐρρύσατο.

[590] v. 1550: πρόσωπον.

[591] οὐ πέδον τίκτει τέκνα says the elder man (v. 542), casually turning his back on the glory of his wife’s family (cp. vv. 265-8).

[592] vv. 585 _sqq._

[593] vv. 738-46.

[594] v. 768 _sqq._

[595] vv. 1215 _sqq._

[596] His very religion, when put to the test, is mostly intellectual. Apollo’s moral shortcomings only cause him to shake his head gravely; but when the god’s truthfulness is exploded, the whole fabric of his belief collapses.

[597] vv. 369-72.

[598] vv. 436-51. The above paraphrase is probably not too colloquial (cp. especially v. 437: τί πάσχει; and v. 439: μὴ σύ γε). In fact, as the speech is so very explicit and unadorned, and as Ion is probably uttering it while he performs his tasks (see 434-6, after which these reflections begin in the middle of a line), we perhaps overhear thoughts rather than words.

[599] vv. 589 _sqq._

[600] vv. 1312 _sqq._

[601] vv. 1546 _sqq._

[602] vv. 369 _sqq._

[603] vv. 308, etc.

[604] vv. 1397 _sqq._

[605] vv. 1468 _sq._

[606] _Arrangement_ (probable): protagonist, Hecuba; deuteragonist, Athena, Cassandra, Andromache, Helen; tritagonist, Poseidon, Talthybius, Menelaus.

[607] Ælian, _Var. Hist._ ii. 8.

[608] There are reminders of the western lands in vv. 220 _sqq._

[609] vv. 703 _sqq._

[610] vv. 1158 _sqq._

[611] v. 764: ὦ βάρβαρ’ ἐξευρόντες Ἕλληνες κακά (Andromache’s phrase).

[612] vv. 884 _sqq._ (The first line refers to air.) If we possess any evidence as to the theological belief of the poet himself it is probably contained in these lines.

[613] vv. 469 _sqq._, 841 _sqq._, 1060 _sqq._ (especially the poignant μέλει μέλει μοι), 1240 _sqq._

[614] vv. 1204 _sqq._:—

τοῖς τρόποις γὰρ αἱ τύχαι, ἔμπληκτος ὡς ἄνθρωπος, ἄλλοτ’ ἄλλοσε πηδῶσι.

The phrasing points back effectively to Poseidon’s description of Athena’s fickleness (vv. 67 _sq._: τί δ’ ὧδε πηδᾷς ἄλλοτ’ εἰς ἄλλους τρόπους;).

[615] The _arrangement_ is uncertain. Perhaps: protagonist, Iphigenia; deuteragonist, Orestes, messenger, Athena; tritagonist, herdsman, Pylades, Thoas.

[616] Murray and others place it about 414-2, Wilamowitz, 411-9.

[617] v. 1205: πιστὸν Ἑλλὰς οἶδεν οὐδέν.

[618] v. 626: πῦρ ἱερὸν ἔνδον, χάσμα δ’ εὐρωπὸν πέτρας—a marvellous line.

[619] vv. 823-6.

[620] v. 677: Φωκέων τ’ ἐν πολυπτύχῳ χθονί.

[621] See especially the lovely song, vv. 1089 _sqq._

[622] vv. 968 _sqq._

[623] One can hardly doubt that this is the intention of the scene on the Taurian beach (vv. 281-94).

[624] vv. 711 _sqq._ The feelings of the Delphian hierarchy, when Orestes after all actually returned, bringing with him the image—about which they cared not a farthing—may be imagined by the irreverent.

[625] v. 77.

[626] v. 275.

[627] vv. 380 _sqq._

[628] vv. 719 _sq._

[629] See Verrall, _Eur. the Rationalist_, pp. 217-30 (_Euripides in a Hymn_).

[630] Longinus, _de Subl._ xv. 3.

[631] vv. 970 _sqq._

[632] v. 73: ἐξ αἱμάτων γοῦν ξάνθ’ ἔχει τριχώματα, a grotesque thought which we have just heard (as Murray points out in his _apparatus_) from Iphigenia as part of her dream.

[633] vv. 281 _sqq._

[634] vv. 961 _sqq._

[635] θεᾶς βρέτας is now the prescription, as we may call it. Cp. vv. 980, 985-6, and 1038-40.

[636] vv. 939 _sqq._

[637] ψῆφος (v. 945). He means “assembly (which votes),” but he has ψῆφος on the brain, as well he might have (vv. 965 _sq._).

[638] vv. 739 _sq._ and 1046: Πυλάδης δ’ ὅδ’ ἡμῖν ποῦ τετάξεται φόνου—if this is a task set by Apollo there must be murder in it.

[639] v. 933.

[640] _Arrangement_: protagonist, Electra; deuteragonist, Orestes, Clytæmnestra; tritagonist, farmer, old man, messenger, Castor. Pylades and Polydeuces were represented by a mute actor.

[641] From vv. 1347-56 it is clear that the Sicilian expedition had already sailed, but that news of the disaster had not yet reached Athens.

[642] Bernhardy, _Geschichte der griechischen Poesie_ II, ii. p. 490.

[643] vv. 1041-3.

[644] vv. 9-10.

[645] 1142-6.

[646] vv. 652-60.

[647] v. 54.

[648] The peasant tells us that Electra’s banishment to the country is due to her mother’s efforts when Ægisthus wished to kill her (vv. 25 _sqq._). Electra puts the matter very differently (vv. 60 _sq._). The horrible story in vv. 326 _sqq._ is probably untrue; cp. ὡς λέγουσιν.

[649] vv. 77-8, 354 _sq._

[650] vv. 367 _sqq._

[651] vv. 255 _sqq._

[652] vv. 1294, 1296 _sq._, 1302.

[653] vv. 737-45.

[654] Expedit esse deos.

[655] “If God did not exist, it would be necessary to invent Him.”

[656] vv. 1245 _sq._

[657] vv. 1327 _sqq._

[658] vv. 1301-7. The first line, μοῖρά τ’ ἀνάγκης ἦγ’ ᾗ τὸ χρεών, is an exceptionally fine instance of misty verbiage.

[659] See Verrall’s discussion in his edition of the _Choephorœ_ (Introd. pp. xxxiii-lxx).

[660] _Probable Arrangement_: protagonist, Helen, the god (whether Castor or Pollux); deuteragonist, Teucer, Menelaus, Egyptian messenger; tritagonist, old woman, Greek messenger, Theonoe, Theoclymenus.

[661] v. 616: ὦ χαῖρε, Λήδας θύγατερ, ἐνθάδ’ ἦσθ’ ἄρα;

[662] v. 151.

[663] vv. 832, 1048, 491, 1050-2.

[664] vv. 183 _sqq._

[665] vv. 1107 _sqq._

[666] vv. 878 _sqq._

[667] vv. 1013-6:—

καὶ γὰρ τίσις τῶνδ’ ἐστὶ τοῖς τε νερτέροις καὶ τοῖς ἄνωθεν πᾶσιν ἀνθρώποις. ὁ νοῦς τῶν κατθανόντων ζῇ μὲν οὔ, γνώμην δ’ ἔχει ἀθάνατον, εἰς ἀθάνατον αἰθέρ’ ἐμπεσών.

The precision of the wording is remarkable.

[668] _Troades_, 884 _sqq._

[669] See _Four Plays of Euripides_, pp. 43-133 (_Euripides’ Apology_).

[670] vv. 1301 _sqq._

[671] The idea is taken from the famous recantation of Stesichorus, which asserted that Helen never went to Troy.

[672] In the inflated affectation of such things as vv. 355-6 and 629 parody of some contemporary lyrist is quite possible.

[673] vv. 20-1, 256-9 (rejected by Murray, after Badham).

[674] vv. 138 _sqq._, 205 _sqq._, 284-5.

[675] vv. 744-60.

[676] _Arrangement_ (according to Croiset): protagonist, Jocasta, Creon; deuteragonist, Antigone, Polynices, Menœceus; tritagonist, pædagogus, Eteocles, Tiresias, messengers, Œdipus.

[677] Perhaps one reason was the great sweep of story which it covers.

[678] See Mr. J. U. Powell’s careful and lucid account in his edition (pp. 7-32).

[679] Verrall, _Eur. the Rationalist_, pp. 236 _sq._

[680] Mr. J. U. Powell, whose edition should be consulted.

[681] vv. 1233 _sq._:—

ὑμεῖς δ’ ἀγῶν’ ἀφέντες, Ἀργεῖοι, χθόνα νίσεσθε, βίοτον μὴ λιπόντες ἐνθάδε,

are out of the question as work of Euripides. There are several other faults.

[682] vv. 1259 _sqq._

[683] Mr. Powell, however, rightly remarks that vv. 1265-6 are “strained”.

[684] vv. 1758 _sq._

[685] vv. 1524 _sq._

[686] So the scholiast: ὅ τε ἐπὶ πᾶσι μετ’ ᾠδῆς ἀδολέσχου φυγαδευόμενος Οἰδίπους προσέρραπται διὰ κενῆς.

[687] vv. 1090-1199 (the ῥῆσις containing the description of the Seven).

[688] vv. 1182 _sqq._

[689] Verrall (_Eur. the Rationalist_, pp. 231-60) believed that those parts which introduce Antigone are un-Euripidean. The terrace-scene has already been discussed. In the body of the play, as he argues with much point, wherever mention of Antigone occurs, it is obtrusive and embarrassing. Her lament with Œdipus at the close contains many inappropriate features. He concludes that Œdipus is an allegory of Euripides himself, leaving Athens in sorrow at the end of his life, and that Antigone represents his literary offspring, the plays. The Sphinx is “the spirit of mystery and darkness,” which the poet has fought and quelled. All this was composed by a poet of the Euripidean circle to commemorate the master; it includes a compliment—the quotation from the _Œdipus Tyrannus_—to Sophocles, who had shown public respect to his rival when the news of his death reached Athens.

[690] One notices the criticism (vv. 751 _sq._) of Æschylus, _Septem_ (vv. 375 _sqq._) when Eteocles declares that to give a list of his champions would be waste of time.

[691] The “popular” character of the _Phœnissæ_ is brought out by the relish with which the _Argument_ enumerates its murderous happenings.

[692] In this passage an allusion has by some been supposed to Alcibiades’ return to Athens (411 B.C.).

[693] Cp. vv. 302 _sq._ (γηραιὸν πόδ’ ἕλκω) with v. 316 (περιχορεύουσα).

[694] vv. 528 _sqq._

[695] Croiset gives the probable _arrangement_: protagonist, Orestes, messenger; deuteragonist, Electra, Menelaus, Phrygian; tritagonist, Helen, Tyndareus, Pylades, Hermione, Apollo.

[696] See Murray’s text.

[697] vv. 1167 _sqq._

[698] vv. 491-525.

[699] vv. 28 _sqq._

[700] vv. 285 _sqq._ Menelaus (v. 417) casually calls Apollo “stupid”.

[701] vv. 380 _sqq._

[702] v. 386.

[703] v. 388.

[704] v. 390.

[705] vv. 544 _sqq._ The flatness of the translation given above is not, I think, inappropriate, νῦν δὲ σὴν ταρβῶ τρίχα (v. 550), is merely hideous. μαστοῖς τὸν ἔλεον θηρώμεναι (v. 568), is even worse.

[706] v. 551.

[707] v. 634.

[708] v. 397.

[709] vv. 640 _sq._

[710] vv. 658-61.

[711] vv. 932 _sqq._

[712] v. 1576: ποτέρον ἐρωτᾶν ἢ κλύειν ἐμοῦ θέλεις;

[713] v. 396.

[714] His “progression, upward in strength and downward in reason, is visible throughout,” says Dr. Verrall (_Four Plays_, p. 245), whose eloquent and vivid essay on this drama should be carefully studied.

[715] vv. 1204 _sqq._: ὦ τὰς φρένας μὲν ἄρσενας κεκτημένη....

[716] vv. 615 _sqq._

[717] vv. 72-92. Compare the amusing little passage-of-arms, vv. 107-11 (see Verrall, _Four Plays_, pp. 219 _sq._).

[718] vv. 126 _sqq._

[719] vv. 1-3.

[720] vv. 78 _sq._

[721] v. 121.

[722] vv. 960 _sqq._

[723] At v. 1539 (very late in the day) they discuss whether it is their duty to inform the State of the murderous plot against Helen and Hermione. Even then they decide to do nothing.

[724] vv. 1547 _sqq._

[725] Note vv. 743, 745, 747, 749, and the excitement in the last two verses.

[726] vv. 481 _sqq._

[727] vv. 371 _sqq._

[728] v. 1323.

[729] vv. 37 _sqq._

[730] vv. 395 _sqq._

[731] Contrast v. 420: μέλλει· τὸ θεῖον δ’ ἐστὶ τοιοῦτον φύσει; with v. 423: ὡς ταχὺ μετῆλθόν σ’ αἷμα μητέρος θεαί.

[732] vv. 360 _sqq._

[733] v. 373.

[734] First Menelaus says that Glaucus spoke to him “from the waves” (v. 362), but from v. 365 (ἐμφανῶς κατασταθείς) it seems that the person is standing on the shore. Such inconsistencies are significant, and in Euripides common. They indicate how much accuracy the narrator commands.

[735] vv. 1493 _sqq._

[736] vv. 1662-3.

[737] Professor Gilbert Murray (_Euripides and his Age_, pp. 160 _sqq._) has some beautiful and striking observations on the epiphany of Apollo and its effect on the raving mortals below: a trance falls upon them from which they awake purged of hate and anger. But could Euripides, can we, attribute this to a god who has commanded matricide? And the effect is largely spoiled by Orestes (vv. 1666 _sqq._): “Prophetic Loxias, what oracles are thine! Thou art not, then, a lying prophet, but a true. Yet had I begun to dread lest, when I heard thy voice as I thought, it was that of a fiend.” ... These are not the tones of blissful faith.

[738] Paley says that this play is more frequently quoted by ancient writers than all the works of Æschylus and Sophocles together.

[739] vv. 174 _sqq._

[740] _Arrangement_: Protagonist, Pentheus, Agave; deuteragonist, Dionysus, Tiresias; tritagonist, Cadmus, guard, messengers.

[741] Before Cadmus’ speech, a passage has been lost in which the mourners adjusted the torn fragments.

[742] There is another gap at this point. A considerable number of Dionysus’ lines are missing, and no doubt also further conversation between Cadmus and Agave.

[743] See Professor Murray (_Euripides and his Age_, pp. 183 _sq._). I now think that what I wrote about the psychology of Dionysus and Pentheus (_The Riddle of the Bacchæ_, pp. 66 _sq._, 87-101) is over-elaborated.

[744] vv. 824-45.

[745] vv. 732-51.

[746] Professor Murray’s beautiful translation of these lyrics will be familiar to most readers.

[747] Murray, _Euripides and his Age_, p. 196. My quotation, of course, does not imply that Professor Murray is guilty of the confusion of thought in question.

[748] The view mentioned in this paragraph will be found worked out in the present writer’s _Riddle of the Bacchæ_. This theory has met with much scepticism, but received the honour of almost entire acceptance by the late Dr. Verrall in _The Bacchantes of Euripides_. Dr. Verrall improved the statement of the theory, in particular by rejecting the supposition of a plot between Tiresias and the Stranger. Mr. W. H. Salter, in his delightful _Essays on Two Moderns_, also accepts this view of the play in the main (pp. 50-68). Dr. R. Nihard, in _Le Problème des Bacchantes d’Euripide_ (Louvain, 1912), a useful study, rejects it.

[749] vv. 632 _sq._:—

πρὸς δὲ τοῖσδ’ αὐτῷ τάδ’ ἄλλα Βάκχιος λυμαίνεται· δώματ’ ἔρρηξεν χαμᾶζε. συντεθράνωται δ’ ἅπαν ...

συντεθράνωται, however, is elsewhere only known to us by the explanation of Hesychius, συμπέπτωκε, and Verrall points out that it ought to mean “it has all been put together again”.

[750] To this view no complete answer has yet been made. All that can possibly be said is what Professor Gilbert Murray (_Euripides and his Age_, pp. 186 _sq._) and (in a letter to the present writer) Professor U. von Wilamowitz-Moellendorff suggest, that the palace is in the main destroyed, but the façade is more or less undamaged. This does away with the testimony to Dionysus’ imposture which the audience receive from their own eyes, but it leaves untouched the incredible silence of Pentheus. Moreover, Dionysus’ words as they stand mean that the building is utterly destroyed. That they do not mean this is only suggested in despair, because, if they do mean this, they are absurdly and patently false.

[751] v. 233 _sq._: ξένος, γόης ἐπῳδός.

[752] The attachment between Artemis and Hippolytus is a remarkable exception. The stories concerning the “loves” of gods and goddesses for mortals are evidently beside the question.

[753] vv. 1325 _sq._

[754] _Bellerophon_, _fr._ 294, 7: εἰ θεοί τι δρῶσιν αἰσχρόν, οὐκ εἰσὶν θεοί.

[755] _Arrangement_: Croiset gives: protagonist, Agamemnon, Achilles; deuteragonist, Old Man, Iphigenia, messenger; tritagonist, Menelaus, Clytæmnestra.

[756] For these see Professor Murray’s text, especially his preface.

[757] It contains, for instance, unmetrical verses.

[758] vv. 1366 _sq._

[759] vv. 919-74.

[760] For what follows cp. Professor Murray, _Euripides and his Age_, pp. 173-5.

[761] v. 414.

[762] The elision of αι in v. 407.

[763] _Poetic_, 1454_a_.

[764] _Arrangement_: protagonist, Odysseus; deuteragonist, Silenus; tritagonist, Polyphemus.

[765] The _Detectives_ (Ἰχνευταί) of Sophocles is now known to us by extensive fragments, see pp. 175 _sq._

[766] Murray puts it “perhaps even before 438”.

[767] It attracted little attention from ancient scholars. There are no scholia, and the hypothesis is incomplete.

[768] _Odyssey IX._ 105-566.

[769] Cp. vv. 549, 672-5, with _Od. IX._ vv. 366, 408-12.

[770] Cp. vv. 460-3 with _Od. IX._ 384-8.

[771] See p. 2.

[772] Anapæsts in other feet than the first, and occasional violations of the rule of the final cretic (see Chapter VI).

[773] vv. 316-41.

[774] The _arrangement_ of the cast is not clear; perhaps: protagonist, Hector, Odysseus; deuteragonist, Æneas, Rhesus, Diomedes, charioteer; tritagonist, Dolon, herdsman, Athena, Muse. The brief part of Paris may have been taken by Diomedes or Odysseus, possibly by a fourth actor.

[775] ἀνθρωποδαίμων (v. 971).

[776] vv. 474-84.

[777] vv. 546-56.

[778] An excellent summary of the evidence (to which I am indebted) is to be found in the _Introduction_ to Professor Murray’s verse-translation.

[779] Its author, however, is by no means convinced by them. He gives also interesting information on other points.

[780] That is, the two prologues mentioned in the _Argument_ were added for later performances.

[781] Another argument on this side, which is perhaps new, lies in the fact that almost all the action takes place at night—an unique feature. The ancient theatre, of course, could not be darkened. It might be urged that the drama was meant for readers only, and so comes from one of the ἀναγνωστικοί of the fourth century (see p. 32).

[782] vv. 319-23.

[783] vv. 422-53.

[784] It suffices to mention Scaliger, Böckh, Hermann, Valckenaer, and Wilamowitz-Moellendorff.

[785] Upheld, _e.g._ by Christ and Murray.

[786] Schol. on v. 528.

[787] vv. 962-73.

[788] On the whole question see Mr. W. H. Porter’s excellent paper, “The Euripidean _Rhesus_ in the Light of Recent Criticism” (_Hermathena_, xvii. pp. 348-80), and his useful edition of the play.

[789] Cp. pp. 119 _sq._, 165 _sq._

[790] Euripides revises even the diction of his predecessor. Æschylus wrote φαγέδαινα δ’ ἥ μου σάρκας ἐσθίει ποδός; Euripides repeats the line with the verb altered to θοινᾶται (Aristotle, _Poetic_, 1458_b_).

[791] vv. 1520-7.

[792] _Quomodo historia conscribenda_, § 1.

[793] See Hartung’s masterly treatment in _Euripides Restitutus_, II, pp. 344-60.

[794] Ruskin, _Mornings in Florence_, I, 14.

[795] The statements in this sentence are taken from Hartung, who bases his conception here upon other authors; there are no Euripidean fragments to this effect.

[796] Eratosthenes (_Catast._ 15, quoted by Nauck) says: οὐχ εἵλετο τῷ πατρὶ συμμένειν οὐδὲ τῇ μητρί, ἀλλ’ αὐθαίρετος εἰς τὸ Ἄργος ἀπῆλθε μετ’ ἐκείνου εὐγενές τι φρονήσασα. The last three words suggest a scene of irresolution followed by a speech of high resolve, as in the _Iphigenia at Aulis_.

[797] I, 33.

[798] See Goethe’s enthusiastic and brilliant discussion, _Altgriechische Literatur_ (Works, Vol. V, p. 127, edition of 1837).

[799] Hartung’s brilliant sketch of Phaethon’s character (_Eur. Restitutus_, II, pp. 192 _sq._), however imaginary, will be read with interest.

[800] This is an acute suggestion of Goethe.

[801] ὡς πανταχοῦ γε πατρὶς ἡ βόσκουσα γῆ.

[802] δένδρεα φίλοισιν ὠλέναισι ψυκτήρια λέξεται.

[803] The chorus in their terror bid the queen seek refuge with her father Oceanus.

[804] See _Oxyrhynchus Papyri_, VI, pp. 19-106.

[805] The scholiast on _Frogs_, v. 53, which was performed in 405 B.C. (the year after Euripides’ death) mentions the _Hypsipyle_ among recent plays.

[806] The critic Didymus, for instance, knew the _Hypsipyle_ better than the _Bacchæ_. For “Achelous” as a synonym for “water” he quotes the former play rather than _Bacchæ_, 625. See Macrobius, V, xviii. 12.

[807] That is, “the beginning of doom”.

[808] Hartung, _Eur. Rest._ II, p. 442.

[809] Μελανίππη ἡ σοφή, so called to distinguish it from Μ. δέσμωτις, or _Melanippe in Prison_. The latter play seems to have been much less important. Unfortunately there is often a doubt, when authorities quote the “_Melanippe_,” from which of the two the quotation comes.

[810] See pp. 313-5.

[811] ἔχει δὲ διπλοῦν σχῆμα, τὸ μὲν τοῦ ποιητοῦ, τὸ δὲ τοῦ προσώπου τοῦ ἐν τῷ δράματι, τῆς Μελανίππης (quoted by Nauck).

[812] _Jupiter Tragœdus_, 41.

[813] Hartung assigns it to 448 B.C.

[814] Cp. Aristotle’s criticism, _Poetic_, 1454_a_: τοῦ δὲ ἀπρεποῦς καὶ μὴ ἁρμόττοντος (παράδειγμα) ... ἡ τῆς Μελανίππης ῥῆσις.

[815] _Moralia_, 110 D, 998 E.

[816] _Poetic_, 1454_a_.

[817]

κοίλοις ἐν ἄλυχνος ὥστε θὴρ μόνος (_fr._ 425).

[818]

τίς δ’ οἶδεν εἰ τὸ ζῆν μέν ἐστι κατθανεῖν, τὸ κατθανεῖν δὲ ζῆν κάτω νομίζεται;

[819] 1 Cor. xv. 33.

[820] _Fr._ 1034:—

ἅπας μὲν ἀὴρ ἀετῷ περάσιμος, ἅπασα δὲ χθὼν ἀνδρὶ γενναίῳ πατρίς.

[821] _Fr._ 475.

[822] Mr. F. Manning, _Scenes and Portraits_ (_Preface_, p. viii).

[823] Aristotle, _Poetic_, 1460_b_: Σοφοκλῆς ἔφη αὐτὸς μὲν οἵους δεῖ ποιεῖν, Εὐριπίδην δὲ οἷοί εἰσιν.

[824] _Frogs_, vv. 850, 1043 _sq._

[825] _Ibid._ 954-8.

[826] _Ibid._ 1304-8, 1314, 1348.

[827] _Ibid._ 1309-63.

[828] _Ibid._ 1378-1410.

[829] _Ibid._ 1198 _sqq._

[830] _Poetic_, 1454_a_.

[831] _Ibid._ 1461_b_.

[832] _Ibid._ 1453_a_. ὁ Εὐριπίδης εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ ἀλλὰ τραγικώτατός γε τῶν ποιητῶν φαίνεται.

[833] _Andromache_, _Electra_, _Bacchæ_, _Rhesus_, and the original text of the _Iphigenia at Aulis_ (see Murray’s _Apparatus_ at the end of the play). Aristotle naturally allows such as these (_Poetic_, 1454_b_): μηχανῇ χρηστέον ἐπὶ τὰ ἔξω τοῦ δράματος, κτἑ.

[834] In the extant plays. Of course there were others, which we cannot discuss with knowledge, _e.g._ the close of _Melanippe the Wise_.

[835] For the _Iphigenia_ carries the _Helena_ with it (see the discussion of the latter, pp. 260 _sqq._). As a matter of cold fact, to be sure, Theoclymenus could never have overtaken the Greeks.

[836] _Frogs_, 1198-1247.

[837] He seems in private conversation to have maintained the necessity of this; compare the criticism of Æschylus which he utters in the _Frogs_, 1122: ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων. φ.τ.π. is precisely “prologue” in the Euripidean sense.

[838] _Herc. Fur._, 601 _sqq._

[839] Mr. G. B. Shaw.

[840] _Troades_, vv. 1204-6. Cp. _Helena_, 1140-3.

[841] See Mr. W. H. S. Jones, _The Moral Standpoint of Euripides_, pp. 28 _sq._ This view is also set forth by Jebb, _The Growth and Influence of Classical Greek Poetry_, p. 218, and by Nestle, _Euripides der Dichter der Gr. Aufklärung_, p. 174.

[842] _Orestes_, vv. 982 _sqq._: μόλοιμι τὰν οὐρανοῦ κτἑ.

[843] See Mr. E. F. Carritt, _The Theory of Beauty_, p. 156.

[844] _Ibid._ p. 89.

[845] v. 618.

[846] _Helena_, vv. 489 _sqq._

[847] _Iph. Aul._, vv. 819 _sqq._

[848] _Ion_, v. 1039.

[849] _The Possessed_, Ch. I.

[850] v. 674: ὦ πατρὸς ὅμαιμε θεῖε.

[851] _Orestes_, vv. 71-111.

[852] M. Arnold, _The Scholar-Gipsy_. Cp. Mrs. Browning’s well-known lines on “Our Euripides the human”.

[853] _Fr._ 916:—

μή μοι λεπτῶν θίγγανε μύθων, ψυχή· τί περισσὰ φρονεῖς, εἰ μὴ μέλλεις σεμνύνεσθαι παρ’ ὁμοίοις;

[854] _Fr._ 894:—

σοφὸν γὰρ ἄνδρα, κἂν ἑκὰς ναίῃ χθονός, κἂν μήποτ’ ὄσσοις εἰσίδω, κρίνω φίλον.

And Nestle (p. 368) aptly quotes from Schiller’s _Don Carlos_ (III, 10):

Das Jahrhundert Ist meinem Ideal nicht reif. Ich lebe Ein bürger derer, welche kommen werden.

[855] See the celebrated sketch of progressive degradation in Thucydides (III, 82, 83).

[856] Dr. W. Nestle’s work is entitled _Euripides der Dichter der griechischen Aufklärung_.

[857] _Herc. Fur._, 673 _sqq._

[858] A totally different thing from the written Greek accents ΄, `, and ῀, which refer to pitch, not stress.

[859] συνάφεια, “connexion,” “continuity.”

[860] These cause almost all the difficulty of scanning iambics. Till one is quite familiar with them it is a good plan to begin at the end. Nearly all resolved feet occur in the third or fourth place.

[861] Sophocles sometimes neglects this pause. Not only does he occasionally end a line with a word (such as the definite article) which belongs closely to the first word of the next line; in a few places he elides a vowel at the end before a vowel in the following line. See, for instance, _Œd. Tyr._, 29.

[862] Latin, _cæsura_ “a cutting”.

[863] No such lines are extant in Greek, but an analogy can be found in Ennius’ hexameter:

Sparsis hastis longis campus splendet et horret.

In the _Peruigilium Veneris_, the trochee is much too often contained in a single word, _e.g._:

Hybla totos funde flores, quotquot annus adtulit.

[864] It is so called because the second half of the fifth foot _plus_ the sixth will obviously have the metrical form –⏑–, which sequence of syllables, when it forms a single foot (as, of course, it does not in iambics), is called a cretic. The rule is therefore often thus stated: “When the final cretic extends over a whole word or whole words, it must be preceded by a short syllable”.

[865] Iambics were adopted because nearer to the rhythm of everyday speech. It has been held, for instance by Dr. J. H. H. Schmidt, that iambics are nothing but trochaics with “anacrusis” (for this term see below, p. 342). So near is the iambic metre to ordinary talk that one now and again finds accidental “lines” in prose. Thus Demosthenes (_Olynth._, I, 5) writes δῆλον γάρ ἐστι τοῖς Ὀλυνθίοις ὅτι.... George Eliot, early in _Middlemarch_, actually produces two consecutive “lines”: “Obliged to get my coals by stratagem, and pray to heaven for my salad-oil”.

[866] Euripides is much fonder of this metre than the other two masters. Sophocles in particular is very sparing of it. That passage (_Philoctetes_, 1222 _sqq._), where Odysseus and Neoptolemus hurry upon the scene in violent (iambic) altercation, would infallibly have been put into trochaics by Euripides.

[867] From καταλήγω, “to stop short”.

[868] The two instances given are, in fact, all that I have found.

[869] διαίρεσις, “division”.

[870] For example, the splendid poem by Anacreon beginning πῶλε Θρῃκίη is printed by some in long lines, by others in short, even though the first, third, etc., long lines are not catalectic.

[871] The meaning of this term is uncertain.

[872] I have, here and later, printed the readings and arrangement best suited to my purpose.

[873] Greek συγκοπή, “coalescence”. But ⏗ need not fill a foot: for instance in a true _dactylic_ system we find (_Œd. Col._, 1082):—

Analogously to ⏗ as a trochee, dactyls admit ⏘ (= ⏑⏑⏑⏑) as a foot.

[874] Before condemning this statement as a mere evasion, the student should reflect that all such poetry is written for music, which would in performance make the rhythm “come right”.

[875] λογαοιδικός, “mingled of prose and verse”.

[876] ἀνάκρουσις, “striking up”.

[877] Not all, for the first short syllable may be part of a resolved foot.

[878] The first syllable of πρυμνησίων in the second line, though long, is musically equivalent to a short. Such syllables are marked with the sign ˃, and the foot τοῑ πρυ͐μν- may be called an “accelerated spondee”. Syllables which carry a musical length different from their metrical length are named “irrational”.

[879] The existence of these cola forms (to us who have not the music written for Greek lyrics) one of the greatest obstacles to a clear and easy perception of periodic structure.

[880] In lyrics a long syllable (if it does not end with a consonant) may be shortened—instead of disappearing by elision—before a vowel.

[881] ἡ ἐπῳδός. The masculine word, ὁ ἐπῳδός, has a different meaning, with which we are familiar from the _Epodes_ of Horace—a poem which repeats from beginning to end the same period, each period being usually two cola “which either have equal length, or the second of which is catalectic or ‘falling’ or is even shortened by an entire measure” (see Schmidt’s _Introduction_, Eng. tr. by Prof. J. W. White, pp. 93 _sqq._).

[882] Though my obligations to Dr. J. H. H. Schmidt’s volumes, especially _Die Eurhythmie in den Chorgesängen der Griechen_, are very great, I cannot see in his verse-pause—according to him (_Eurhythmie_, p. 89) the foundation of his system—anything but a delusion. Dr. Schmidt’s own appendices show a good minority of “verses” which end with no pause.

[883] The first two syllables (⏑⏑) correspond to the first (–) of Οἰδίπου.

[884] How? By examination of the whole period. If we look at the seventh line of the strophe from _Antigone_, scanned above, it may seem arbitrary to write

– ˃ | αιναν ‖

rather than

⏗ – | αιν|ανꞈ‖.

But the former method is suggested by the corresponding fourth line, which cannot possibly be scanned otherwise than as above, and which therefore has four feet; hence we scan -αιναν so as to give the seventh line also four, not five, feet altogether.

[885] It is therefore possible to scan the ordinary iambics of dialogue as trochees:—

This is the method followed by Dr. J. H. H. Schmidt, and of course changes altogether the rules given above (§ II), but will hardly perplex the student. It has the advantage of bringing “iambic” dialogue closer to lyric and to episodic trochees, but it has seemed more convenient to keep the traditional statement.

[886] Printed as one line, though containing a colon which ends with the end of a word, because the corresponding line of the antistrophe contains a colon which does not:—

πρῶτά σε κεκλόμενος, θύγατ‖ερ Διός, ἄμβροτ’ Ἀθάνα....

[887] Because spondaic _words_ are lacking. It is sometimes said that the only spondee in English is “amen”. The peculiar pronunciation of this word is due to the fact that it is so often sung to music where each syllable is given a whole bar. The name of Seaford in Sussex is undoubtedly pronounced by its inhabitants ∸∸; but one may perhaps therefore argue that it should be written “Sea Ford”.

[888] This important sequence may be conveniently memorized—if we substitute accent for quantity—by the sentence “Attack Rome at once”.

[889] I take this figure from Schmidt’s _Introduction_ (English Translation, p. 76).

[890] The first two syllables of this word form the anacrusis, though the metre is trochaic; that is, we find ⏑⏑ instead of ⏑. In such cases the two “shorts” are given the length of one only, and this is indicated by the sign ω.

[891] I have taken Schmidt’s readings and arrangement for the sake of an example. Murray’s arrangement is quite different.

INDICES

I. GREEK

Names of plays, etc., in capitals

ΑΘΛΑ, 5.

ΑΙΑΣ, 132-6.

— ΜΑΣΤΙΓΟΦΟΡΟΣ, 132-6.

ΑΙΤΝΑΙΑΙ, 119.

ΑΛΚΗΣΤΙΣ, 186-92.

ἀναβαίνω, 54 n.

ἀνάγκη, 38.

ἀναγνωστικοί, 32, 293 n.

ἀναίδεια, 325.

ἀνάκρουσις, 342 n.

ΑΝΔΡΟΜΑΧΗ, 219-28.

ἀνὴρ δίψυχος, 311.

ΑΝΤΙΓΟΝΗ, 136-41.

ἀντιλαβή, 181 n.

ἀντιστροφή, 344.

ἀπέδωκε, 3 n.

ἀπὸ σκηνῆς, 57.

ἄτη, 129.

αὖθις, 83.

ΑΧΑΙΩΝ ΣΥΛΛΟΓΟΣ, 174.

ΑΧΙΛΛΕΩΣ ΕΡΑΣΤΑΙ, 174.

ΒΑΚΧΑΙ, 277-85.

βαλλάντιον, 34 n.

ΒΑΣΣΑΡΑΙ, 117.

ΒΑΣΣΑΡΙΔΕΣ, 117.

βρῦτον, 118 n.

δαιμόνιον σημεῖον, 163 n.

διαίρεσις, 336 n.

ΔΙΔΑΣΚΑΛΙΑΙ, 62.

δράσαντι παθεῖν, 110 n., 129 and n.

ΕΚΑΒΗ, 215-9.

ἐκσυρίττειν, 83 n.

ΕΚΤΟΡΟΣ ΛΥΤΡΑ, 118.

ἐλελελεῦ, 25.

ΕΛΕΝΗ, 258-64.

ΕΛΕΥΣΙΝΙΟΙ, 119.

ἐπεισόδια, 4 n.

ΕΠΙΔΗΜΙΑΙ, 23 n.

ἐπὶ σκηνῆς, 57, 59.

ἐπὶ τῆς σκηνῆς, 54.

ἐπί τινος μετεώρου, 57.

ἐπῳδικόν, 344.

ἐπῳδός, 345 n.

ΕΥΜΕΝΙΔΕΣ, 111-7.

εὐριπιδαριστοφανίζειν, 19 n.

ΗΔΩΝΟΙ, 117.

ΗΛΕΚΤΡΑ, 141-5, 252-8.

ΗΛΙΑΔΕΣ, 119.

ἡμιχόρια, 78.

ΗΡΑΚΛΕΙΔΑΙ, 200-5.

ΗΡΑΚΛΗΣ ΜΑΙΝΟΜΕΝΟΣ, 228-34.

θεῖον, τὸ, 30.

θεός, 283.

ΘΕΡΙΣΤΑΙ, 192, 296.

θεωρικόν, τὸ, 82.

ΘΡΗΙΣΣΑΙ, 119.

θυμέλη, 51.

θυμός, 22, 198.

ΙΚΕΤΙΔΕΣ, 84-6, 234-6.

ἴκρια, 81.

ΙΠΠΟΛΥΤΟΣ ΚΑΛΥΠΤΟΜΕΝΟΣ, 205 n.

— ΣΤΕΦΑΝΗΦΟΡΟΣ, 205-15.

— ΣΤΕΦΑΝΙΑΣ, 205-15.

ΙΦΙΓΕΝΕΙΑ Η ΕΝ ΑΥΛΙΔΙ, 285-9.

— — — ΤΑΥΡΟΙΣ, 247-52.

ΙΧΝΕΥΤΑΙ, 175-6, 289 n.

ΙΩΝ, 236-43.

ΚΑΒΕΙΡΟΙ, 119.

καταβαίνω, 54 n.

καταλήγω, 334 n.

κερκίδες, 51.

κλίμακες, 51.

κόθορνος, 69.

κομμοί, 74.

κομμός, 107.

κορυφαῖος, 78.

κρηπίς, 68.

ΚΥΚΛΩΨ, 289-91.

κῶλον, 343.

λογαοιδικός, 341 n.

λογεῖον, 52.

ΛΥΚΟΥΡΓΕΙΑ, 117.

ΜΕΓΑ ΔΡΑΜΑ, 24 and n.

ΜΕΛΑΝΙΠΠΗ ΔΕΣΜΩΤΙΣ, 305 n.

— Η ΣΟΦΗ, 305 n.

μεσῳδικόν, 344.

ΜΗΔΕΙΑ, 192-9.

μηχανή, 65.

μύρμηκος ἀτραπούς, 26 n.

ΜΥΡΜΙΔΟΝΕΣ, 118.

ΝΕΑΝΙΣΚΟΙ, 117.

ΝΗΡΗΙΔΕΣ, 118.

ΝΙΟΒΗ, 119.

νόμοι, 72.

ὄγκος, 69.

ΟΙΔΙΠΟΥΣ ΕΠΙ ΚΟΛΩΝΩΙ, 167-73.

— ΤΥΡΑΝΝΟΣ, 145-54.

οἱ ἐν τῷ φανερῷ θάνατοι, 45 and n.

ΟΙ ΕΠΤΑ ΕΠΙ ΘΗΒΑΣ, 89.

οἰκεῖα πράγματα, 20.

ὀκρίβας, 56, 57.

ΟΡΕΣΤΗΣ, 268-77.

ὀρχήστρα, 50.

παλινῳδία, 360.

παραχορήγημα, 71.

παρασκήνια, 51.

παρεπιγραφή, 175.

πάροδοι, 51.

περίακτοι, 63.

περίοδος, 343.

ΠΕΡΣΑΙ, 86.

προεδρία, 81.

ΠΡΟΜΗΘΕΥΣ ΔΕΣΜΩΤΗΣ, 91-8.

— ΛΥΟΜΕΝΟΣ, 92-3.

— ΠΥΡΦΟΡΟΣ, 92-3.

προπομποί, 116.

προῳδικόν, 344.

πρωταγωνιστής, 72.

ῥαβδοφόροι, 82.

ΡΗΣΟΣ, 291-5.

ῥοῖβδος, 175 n.

σεμναί, 113 n.

σκηνή, 52, 54.

σμικρὸν ἔπος, 171 and n.

σμικρὸς λόγος, 171 and n.

Σπάρτην ἔλαχες, ταύτην κόσμει, 295.

στίχος, 359.

στροφή, 344.

συγκοπή, 341 n.

συνάφεια, 330 n.

ΣΥΝΔΕΙΠΝΟΙ, 174.

ΣΥΝΕΚΔΗΜΗΤΙΚΟΣ, 23 n.

συνίζησις, 332.

τὰ ἀπὸ τῆς σκηνῆς, 54.

τετραλογία, 61 n.

τί ταῦτα πρὸς τὸν Διόνυσον; 2 n.

τὸ δὲ δρᾶμα τῶν δευτέρων, 223 and n.

τὸ θεῖον, 30.

τὸ θεωρικόν, 82.

τονή, 341, 347, 352, 355, 360.

τράγος, 62 n.

τραγῳδία, 62 n.

ΤΡΑΧΙΝΙΑΙ, 154-60.

τριβή, 38.

ΤΡΩΙΑΔΕΣ, 243-6.

τύχη, 28, 32.

ὑποκριτής, 1.

ὑπομνήματα, 22, 23 n.

ὑπορχήματα, 78.

ΦΙΛΟΚΤΗΤΗΣ, 161.

ΦΟΙΝΙΣΣΑΙ, 264-8.

φράσις τῶν πραγμάτων, 316 n.

ΦΡΥΓΕΣ, 118.

φύσις, 318.

ΧΟΗΦΟΡΟΙ, 106-10.

ΧΡΙΣΤΟΣ ΠΑΣΧΩΝ, 41.

ΨΥΧΟΣΤΑΣΙΑ, 120.

II. PLACES, ETC.

A. = Aristophanes, Æ. = Æschylus, E. = Euripides, S. = Sophocles, Sh. = Shakespeare.

Abdera, 298.

Acharnæ, in _Acharnians_, 296.

Achelous, in _Trachiniæ_, 160.

— 304 n.

Acropolis, 14, 49, 239.

— in _Eumenides_, 113.

Ægospotami, 13, 182, 324.

Æthiopia, in _Andromeda_, 299.

Ætolia, in _Cresphontes_, 307-8.

Alexandria, Library of, 39.

— Pleiad of, 39.

— Theatrical activity in, 3rd century B.C., 39.

Amphipolis, 294.

Arachnæus, Mount, in _Agamemnon_, 101.

Arden, Forest of, 63.

Areopagus, in _Eumenides_, 112 ff., 128 n.

Argolid plain, in S.’s _Electra_, 63.

Argos, in _Agamemnon_, 99 ff.

— — _Choephorœ_, 106.

— — _Eumenides_, 112.

— — _Supplices_ of Æ., 84.

— — E.’s _Electra_, 253.

— — — _Heracleidæ_, 200 ff.

— — — _Orestes_, 268 ff.

— — — _Supplices_, 234 n., 235.

— — — _Telephus_, 295.

— 316, 321.

Asia Minor, Græco-Roman theatres in, 59 n.

Asopus, plain of, in _Agamemnon_, 124.

Athens, 228-9, 244, 252 n., 307, 312, 324-5.

— Agathon of, 21.

— and drama, 3, 5.

— — Euripides, 317 ff.

— Athena’s temple in, 63.

— in _Eumenides_, 111 ff.

— — _Œd. Coloneus_, 168 ff., 185.

— — E.’s _Erechtheus_, 297.

— — — _Hippolytus_, 205 ff., 213.

— — — _Ion_, 236 ff.

— — — _Supplices_, 234 n., 235.

— local cults of, in Æ., 128.

— Phrynichus of, 6.

— Sophocles of, 12.

Athens’ war with Eleusis, 119.

Athos, Mt., in _Agamemnon_, 101.

Attica, 4, 279.

— and Furies, 131.

— E.’s cenotaph in, 18.

— in _Eumenides_, 113.

— — _Heracleidæ_, 200.

— — _Medea_, 194.

Aulis, 247, 270.

— in _Iph. at A._, 285 ff.

Bradfield College, Gk. plays at, 55.

Byzantium, 313.

— Homer, the tragedian of? 40.

— Python of? 39.

Caria, Mausolus, k. of, 38.

Catana, Python of? 39.

Chæronea, battle of, 31.

Chapel, Sistine, 102.

Chios, Ion of, 21 ff.

— Sophocles in, 15.

Chryse, in S.’s _Philoctetes_, 161.

Cithæron, Mt., in _Œd. Tyr._, 147 ff.

— — — E.’s _Bacchæ_, 277 ff.

Colchis, Mt., in E.’s _Medea_, 192 ff.

Colonus, Eumenides at, 172.

— in _Œd. Coloneus_, 168 ff.

— Sophocles’ home, 172.

— — song, 71.

Congo, Upper, 248.

Corinth, 22.

— and drama, 3.

— in _Œd. Tyr._, 147.

— — _Medea_, 192 ff., 313.

Crete, in _Hippolytus_, 206 ff.

Cynthus, 249.

Cyzicus, 167.

Delium, 234 n.

Delphi, 257.

— in _Choephorœ_, 108, 110.

— — _Eumenides_, 111 ff., 63.

— — S.’s _Electra_, 142.

— — — _Œd. Tyr._, 147 ff.

— — E.’s _Andromache_, 220 ff.

— — — _Ion_, 236 ff., 314.

— — — _Iph. T._, 247 ff.

— — — _Medea_, 193.

— — — _Phœnissæ_, 264.

Dodona, in E.’s _Andromache_, 221.

Egypt, 184.

— in _Prom. V._, 94.

— — _Supplices_ of Æ., 84 ff.

— — _Helena_ of E., 259 ff., 322.

Eleusis, Æ. of, 10, 119.

— mysteries of, 10, 11, 173.

Eleutheræ, priest of Dionysus of, 80.

England and Education, 324.

Eretria, Achæus of, 21, 25.

— Menedemus of, 25.

Eridanus, R., in _Hippolytus_, 208.

Etna, Mt., in _Cyclops_, 289 f.

— — eruption of, in _Prom. V._, 91.

Eubœa, in _Agamemnon_, 101.

— — _Trachiniæ_, 154.

Forest of Arden, in Shakespeare, 63.

Gela, 11.

Great Britain, dramatic renaissance in, v.

Hades, 86, 95, 202-3.

— in Critias’ _Pirithous_, 29.

— — E.’s _Herc. Fur._, 228 ff.

— Sophocles in, 14 n.

Halicarnassus, Dionysius of, 306 n.

Helene, island of, 262.

Hellas, 89, 248.

Hull, 248.

Hydaspes R., 39.

Icaria, Thespis of, 4.

Ilium, 245.

Jhelum R., 39.

Lemnos, in Æ.’s _Philoctetes_, 120.

— — E.’s _Hypsipyle_, 304.

— — S.’s _Philoctetes_, 161 ff.

Lenæon, 49.

Lesbos, in Æ.’s _Bassarids_, 117.

Macedonia, Archelaus, k. of, 18.

— E.’s death in, 15, 277.

Macistus, Mt., in _Agamemnon_, 124.

Malea, 275.

Marathon, 122, 163, 325.

— Æ. at, 10.

— in _Heracleidæ_, 200.

Melos, sack of, 244.

— Venus of, 182.

Messenia, in E.’s _Cresphontes_, 307.

Miletus, capture of, 494 B.C., 7.

Molottia, in _Andromache_, 221.

Mount Arachnæus, _see_ Arachnæus.

— Athos, _see_ Athos.

— Cithæron, _see_ C.

— Etna, _see_ E.

— Œta, _see_ Œ.

— Parnassus, _see_ P.

Mysia, in E.’s _Telephus_, 295-6.

Nauplia, 275.

Nemea, in E.’s _Hypsipyle_, 304.

Nile, R., in E.’s _Helena_, 322.

Nine Ways, 294.

Odessa, 248.

Odeum at Athens, 56.

Œnophyta, 184.

Œta, Mt., in _Trachiniæ_, 155.

Omphalos at Delphi, in _Eumenides_, 111.

Othrys, Mt., in _Alcestis_, 188.

Oxyrhynchus, 18, 304.

Parnassus, Mt., in _Ion_, 237.

Parthenon, 14, 182.

Peiræus, 49, 245.

Peloponnese, 6, 304.

Persia, in _Persæ_, 123-4.

Phaselis, Theodectes of, 36.

Pheræ, Alexander of, 35.

— in _Alcestis_, 186.

Phlius, Pratinas of, 6.

Phocis, 249.

Phthia, in _Andromache_, 219 ff.

Platæa, battle of, in _Persæ_, 87.

Propylæa, 14.

Punjaub, 39.

Salamis, 7, 12, 14.

— Æ. at, 10.

— E. at, 17.

— E. born at, 17.

— in _Persæ_, 87.

Saronic gulf, in _Agamemnon_, 124.

Scyros, in S.’s _Philoctetes_, 162.

Scythia, in _Prom. V._, 93.

Seaford, Sussex, 354 n.

Shrine of Thetis, in _Andromache_, 219 ff.

Sicilian sea, in E.’s _Electra_, 253.

Sicily, 119, 313.

— Æ. in, 10.

Sicyon, 3 n., 22.

— Neophron of, 21.

Sistine Chapel, 102.

South Russia, 247-8.

Sparta, in E.’s _Telephus_, 295.

— — A.’s _Acharnians_, 296.

Susa, Xerxes’ palace at, in _Persæ_, 88.

Syracuse, E. in, 17.

— Hiero of, 10.

Tauri, in _Iph. T._, 321.

Tegea, Aristarchus of, 21-2.

Tent of Agamemnon, 52.

Thebes, in _Seven_.

— — _Antigone_, 137 ff.

— — _Œd. Col._, 168 ff., 185.

— — _Œd. Tyr._, 145 ff.

— — E.’s _Antiope_, 298.

— — — _Bacchæ_, 277 ff.

— — — _Herc. Fur._, 228 ff.

— — — _Hypsipyle_, 304-5.

— — — _Phœnissæ_, 264 ff.

— — — _Supplices_, 235.

The Marshes, Athens, 49.

Thessaly, in _Alcestis_, 186 ff.

— — _Andromache_, 219 ff.

Thibet, 248.

Thrace and Athens, 294-5.

— in _Hecuba_, 215 ff.

Tomb of Achilles, in _Hecuba_, 216.

— — Agamemnon, in E.’s _Electra_, 253.

— — Clytæmnestra, in E.’s _Orestes_, 269.

— — Darius, in Æ.’s _Persæ_, 64.

— — Proteus, in E.’s _Helena_, 259.

Trachis, in _Trachiniæ_, 154 ff.

Troad, 295.

Trœzen, in _Hippolytus_, 205 ff.

Troy, 118, 270.

— in _Agamemnon_, 99 ff.

— — Æ.’s _Philoctetes_, 120.

— — — _Weighing of the Souls_, 120.

— — S.’s _Ajax_, 132 ff.

— — — _Laocoon_, 174.

— — — _Philoctetes_, 161 ff.

— — E.’s _Electra_, 253.

— — — _Hecuba_, 215 ff.

— — — _Helena_, 259 ff.

— — — _I. A._, 285 ff.

— — — _Rhesus_, 291 ff.

— — — _Telephus_, 295.

— — — _Troades_, 243.

Upper Congo, 248.

Verona, its scenery, in Sh., 63.

Venusberg, 283.

Venice, its scenery, in Sh., 63.

III. PERSONS AND WORKS

A. = Aristophanes, Æ. = Æschylus, Ar. = Aristotle, E. = Euripides, S. = Sophocles, Sh. = Shakespeare. Names of authors in small capitals, of works in italics.

Acamas, in _Heracleidæ_, 200 ff.

ACHÆUS of Eretria, 21, 25.

— — — his _Philoctetes_, 25.

_Acharnians_, _see_ ARISTOPHANES.

Achilles, 176, 226, 319.

— in Æ., 20.

— — — _Myrmidons_, 118.

— — — _Nereids_, 118.

— — — _Phrygians_, 118.

— — — _Weighing of Souls_, 120.

— — E. _Andromache_, 220.

— — — _I. Aul._, 285 ff., 317, 322.

— — — _Telephus_, 295-6.

— — Homer’s _Iliad_, 119, 288.

— — S. _Philoctetes_, 162.

— — tomb of, in E. _Hecuba_, 216.

_Achilles_, of Aristarchus, 23.

Actor, in E. _Philoctetes_, 296.

Admetus, in E. _Alcestis_, 187 ff.

_A Doll’s House_, _see_ IBSEN.

_Ad Quintum Fratrem_, _see_ CICERO.

Adrastus, 3 n.

— k. of Argos, in Æ. _Septem_, 89.

— in E. _Hypsip._, 305.

— — _Suppl._, 234 ff.

_Adversus indoctos_, _see_ LUCIAN.

ÆANTIDES, 40.

Ægeus, k. of Athens, in E. _Medea_, 193, 312, 322-3.

— — — — — Neophron’s _M._, 21.

Ægisthus in Æ. _Agamemnon_, 79, 100 ff.

— — — _Choeph._, 106 ff.

— — E. _Electra_, 253.

— — E. _Orestes_, 268 ff.

— — S. _Electra_, 141 ff.

Ægyptus, in Æ. _Supplices_, 84.

ÆLIAN, his _Varia Historia_, xiv. 40, p. 35 n.; ii. 8, p. 243 n.

Æneas, in S. _Laocoon_, 174.

— — — _Rhesus_, 291 ff.

_Æneid_, _see_ VERGIL.

Æolus in E. _Melanippe_, 305.

_Ærope_, _see_ CARCINUS.

ÆSCHINES, 70 and n., 83.

ÆSCHYLUS, 4, 5, 6, 10-17, 19, 20, 23, 25, 38, 70, 75-6, 82, =84= ff., 173, 177, 179, 180, 182, 192, 249, 275, 276 n., 284, 293, 296, 297, 309, 311, 325, 357.

— a ballet-master, 78.

— and Até, 129.

— — Chthonian religion, 130.

— — Conscience, 130.

— — Euripides, 121, 315-7, etc.

— — Fate, 125, 130.

— — Homer, 118.

— — Olympians, 130.

— — Zeus, 213.

— as dramatist, 125 ff.

— — literary artist, 120-5.

— creator of tragic diction, 122.

— death, 11.

— desk, 34.

— epitaph, 10 n.

— general appreciation of, 120 ff.

— grandeur of language, 121.

— his interest in politics, 128 and n.

— in Horace _Ars Poet._, 56.

— invented dress of tragic actors, 69.

— metaphors, 123.

— metre, 334.

— picturesqueness in characterisation, language and structure, 123-8.

— religious views, 128.

— simplicity of structure and language, 122, 126.

— _Agamemnon_, vi, 16, 55, 62, 64, 71, 77, 86, =99-106=, 109, 110, 126, 213 and n., 245, 317, 338, 345.

— — beacon-speech in, 124.

— — chariots and horses in, 64.

— — chorus in, 79.

— — eccyclema in, 66.

— — herald in, 73.

— — watchman in, 124. [ll. partly or wholly quoted, 2, 160-83, 184-249, 494-5, 750-7, 975 _sqq._, 988 _sqq._, 1147, 1434, 1530 _sqq._]

— _Choephorœ_, 16, 20, 56, 64, 104, =106-10=, 126, 142, 253, 258, 270, 279.

— — chorus in, 79.

— — invocation of Ag.’s shade in, 74.

— — nurse in, 124.

— — tomb in, 64. [ll. 313 _sq._, 451-2, 647, 870-4, 889, 900, 930, 1075-6.]

— _Eumenides_, 42 n., 55 n., 56, 68, 110, =111-7=, 121, 128, 217, 249.

— — chorus in, 76.

— — dress of Furies in, 69.

— — eccyclema in, 67.

— — jury in, 70.

— — propompi in, 71.

— — scene changes in, 63.

— — shade of Clytæmnestra in, 107 n. [ll. 116, 137-8, 283, 398-401, 517-9, 640-51, 681-710, 747, 788 _sq._, 886.]

— _Niobe_, 119.

— _Persæ_, 8, 9, 10, 18, 38, 47, 64, =86-9=, 123, 125.

— — ghost in, 107 n.

— — metre in, 356.

— — only extant tragedy on non-mythological subject, 87.

— — and Phrynichus’ _Phœnissæ_, 8, 9. [ll. 81 _sq._, 115, 126 _sq._, 346, 361-2, 395, 480-514, 815.]

— _Prometheus Vinctus_, 57, 65, =91-8=, 109, 124, 125, 128, 244. [ll. 12, 15, 89-90, 115, 170, 350-2, 415-20, 993, 1068.]

— _Septem contra Thebas_, 20, =89-91=, 95, 123, 125, 267 n., 268 n. [ll. 375 _sqq._, 493-4, 591-4, 689-91, 895 _sqq._]

— _Supplices_, 7, 12, 76, 77, =84-6=, 95, 121, 123, 124, 126.

— — chorus in, 76. [ll. 12, 91-5, 230-1, 418 _sqq._, 582 _sqq._, 608, 656, 836-7, 991-4, 994-1013, 1068.]

— _Amymone_, 85; _Bassaræ or Bassarides_, 117; _Cabiri_, 119; _Danaides_, 85, 128; _Daughters of the Sun_, 119; _Edoni_, 117; _Egyptians_, 85; _Glaucus of Potniæ_, 87; _Laius_, 90; _Lycurgea_ (trilogy), 117; _Lycurgus_ (satyric play), 117; _Men of Eleusis_, 119; _Men of Persia_ (= _Persæ_), 86; _Myrmidons_, 118; _Nereides_, 118; _Niobe_, 119 [Fr. ap. Plato “_Rep._” qd.]; _Œdipus_, 90; _Oresteia_ (trilogy), 11, 85, 92, 95, =98= ff., 123, 126, 128, 134; _Philoctetes_, 119; _Phineus_, 87; _Phrygians_, 118; _Prometheus_ (satyric play), 87 and n.; _Prometheus the Fire-bringer_, 92-3; _Proteus_ (sat. pl.) 98 and n.; _P. Unbound_, 93; _Ransom of Hector_, 118; _Sphinx_ (satyric pl.), 90; _Thracian Women_, 119; _Weighing of Souls_, 120; _Women of Etna_, 10, 119; _Youths_, 117; _Women of the Fawn-skin_, 117.

_Æthiopica_, _see_ HELIODORUS.

Æthra, in E. _Supplices_, 234 ff.

Agamemnon, 76, 254.

— in Æ. _Agam._, 89 ff., 125.

— — — _Myrmidons_, 118.

— — E. _Hecuba_, 216 ff.

— — — _I. Aul._, 285 ff.

— — — _Orestes_, 270.

— — — _Telephus_, 295-6.

— — — _Troades_, 243 ff.

— — S. _Ajax_, 132 ff.

— palace of, in S. _Electra_, 141 ff.

— shade of, invoked in Æ. _Choeph._, 74, 107 and n. and 110.

— tent of, 52.

— tomb of, 64, 106 (_Choeph._), 253 (E. _El._).

_Agamemnon_, _see_ Æ.

AGATHON of Athens, 21, =25-9=, 50 n., 55, 72, 77, 315.

— _Antheus_, 26.

— _Anthos_, 26.

— _Fall of Troy_, 27.

— _Flower_, 26.

Agave, in E. _Bacchæ_, 277 ff.

_Agen_, satyric drama, 38-9.

Ajax, 62.

— death of, on stage, 46.

— in S. _Ajax_, 132 ff., 177-8, 180, 185.

_Ajax_, _see_ SOPHOCLES.

Alcestis, in E. _Alc._, 186 ff.

— death of, on stage, 46.

_Alcestis_, _see_ EURIPIDES and PHRYNICHUS.

Alcibiades, 82, 167, 236, 268 n.

Alcmæon, 46.

— in ASTYDAMAS, 31.

_Alcmæon_, etc., _see_ EURIPIDES.

Alcmena, 231; in E. _Heracleidæ_, 200 ff.

Alcon, 13.

Alexander the Great, 29, 36, 39, 163, 313.

— — tragedian, 39, 40.

— — tyrant of Pheræ, 35, 38.

_Alexander_, _see_ EURIPIDES.

_Alexandra_, _see_ LYCOPHRON.

_Alope_, _see_ CHŒRILUS.

_Altgriechische Literatur_, _see_ GOETHE.

Althæa, in Phrynichus’ _Pleuroniæ_, 7.

Amphiaraus, 235, in Æ. _Septem_, 91, 124.

— in Carcinus’ _Thyestes_, 35.

— — E. _Hypsipyle_, 304.

_Amphiaraus_, _see_ SOPHOCLES.

Amphion, in E. _Antiope_, 298.

Amphitryon, in E. _Herc. Fur._, 228 ff.

_Amymone_, _see_ ÆSCHYLUS.

ANACREON, 337 n.

ANATOLE FRANCE, vi, 326.

Anaxagoras, 17, 18, 307.

Andromache, 262; in E. _Andr._, 225 ff.; E. _Troades_, 243 ff.

_Andromache_, _see_ EURIPIDES.

Andromeda, in E. _Andromeda_, 8, 299 f.

_Andromeda_, _see_ EURIPIDES.

_Anonymous Life_ of Sophocles, 15 n.

Antæus, in Phrynichus’ _Antæus_, 7.

_Antæus_, _see_ PHRYNICHUS.

_Antheus_, _see_ AGATHON.

_Anthos_, _see_ AGATHON.

Antigone, 64; in Æ. _Septem_, 90-1; in E. _Phœn._, 264 ff.; in S. _Antigone_, 137 ff., 177-8; in _Œ. Col._, 168 ff., 182.

_Antigone_, _see_ SOPHOCLES.

Antilochus, in Æ. _Myrmidons_, 118.

Antiope, in E. _Antiope_, 298.

_Antiope_, _see_ EURIPIDES.

Aphrodite, 85; in Æ. _Danaides_, 128; in E. _Helena_, 259; in _Hippol._, 205 ff.; in _I. Aul._, 285.

Apollo, 67, 69.

— his temple at Delphi, 63.

— in Æ. _Bassarids_, 117; _Choeph._, 107-8; _Eumen._, 85, 111 ff., 129; in E. _Alcestis_, 186 ff.; _Androma._, 220 ff., 226-7; _El._, 252 ff.; _I. Taur._, 247; _Orestes_, 268 ff.; in S. _Ichneutæ_, 2, 175.

APULEIUS, 320.

Archelaus, actor, 298.

— k. of Macedonia, 18, 26.

Archemorus, in E. _Hypsip._, 304 and n.

Ares, 252; in E. _Phœn._, 264.

Ariel’s song, 354.

Arion, 1, 3, 4, 5.

ARISTARCHUS of Tegea, 21-3.

— _Achilles_, 23.

— _Asclepius_, 22.

ARISTEAS, 90.

Aristides, 91, 128 n.

_Aristides_, _see_ PLUTARCH.

ARISTOPHANES, 9, 14, 60, 226 n., 295, 322.

— and Æ., 118, 121-2.

— — E., 17 ff., 262, 312 ff., 318, 320.

— _Acharnians_, 54 n., 67, 296 [l. 732].

— _Birds_, 8 and n., 174 and n., 175 [ll. 100 _sqq._, 748-51].

— _Clouds_, 65, 67, 215 n. [ll. 225, 1165 _sq._]

— _Ecclesiazusæ_, 54 n. [l. 1151].

— _Fragments_ (Meineke, ii., p. 1177), 119 and n.

— _Frogs_, 7, 11 n., 19-20, 24 and n., 27, 72 and n., 74 and n., 80, 90, 118 n., 121, 122, 124, 126 and n., 215 and nn., 298, 304 n., 311-2 n. [ll. 53, 82, 84, 101, 297, 303, 689, 850, 886, 908 _sqq._, 911-3, 924-5, 932, 939 _sqq._, 948 _sqq._, 954-8, 959, 1021, 1041, 1043 _sq._, 1119 _sqq._, 1122, 1198-1247, 1261-95, 1304-8, 1309-63, 1314, 1348, 1378-1410, 1467.]

— _Knights_, 54 n., 67 [ll. 148, 1249].

— _Peace_, 24, 65, 83, 297 [l. 835].

— _Thesmophoriazusæ_, 26, 27, 28 and nn., 72 and n., 215 and nn., 262, 296, 298 [ll. 54 _sqq._, 100, 130 _sqq._, 275-6, 497, 547].

— _Wasps_, 8 and n., 54 n., 57 [ll. 220, 1342, 1514].

— _see_ Parody.

ARISTOTLE, vi, 3, 25, 54; analysis of Features of Tragedy, 44-8.

— and _Macbeth_, 42; and E. _Medea_, 322; and the Three Unities, 42 n.

— and catharsis, 43; definitions (of Tragedy, 43; of other things, 47); mentions Carcinus, 35; on Agathon’s Peripeteia, 27; on Eurip., 312 ff.; on origin of Tragedy, 2 n.; on S. _Œ. Tyr._, 46-8; standpoint of his criticism, 42; taught and quoted Theodectes, 36; value of his evidence, 42.

— _Didascaliæ_ or _Dramatic Productions_, 62.

— _Ethics_, 11 n. [1111_a_, 1150_b_, 10], 83 and n. [X, 1175 B].

— _Poetic_, 3 n., 5, 11 n., 15 and n., 26 and n., 27 n., 31 and n., 32, =41= ff., 77 and n., 148, 151 and n., 174 n., 196 and n., 289 and n., 297 n., 307 n., and 308 n., 312 and n. [1447 B-1462 B qd. _passim_].

— _Rhetoric_, 32 and n., 61 and n., 139 and n. [II, 1400_b_, 1417_b_; III, i., III, xii. 2, xvi. 9].

— (_Hypomnemata_), 22 and n.

ARISTOXENUS, on Cola, 351.

ARNOLD, MATTHEW, 355-6; _Merope_, 309; _Scholar-Gipsy_, 323-4, 326.

_Ars Poetica_, _see_ HORACE.

Artemis, in E. _Hippol._, 205, 284 n.; _I. Aul._, 285 ff.; _I. Taur._, 247 ff.

Asclepius, 13.

_Asclepius_, _see_ ARISTARCHUS.

Astyanax, in E. _Troades_, 243 ff.

ASTYDAMAS (father and son), 31, 59.

— _Hector_, 31; _Parthenopæus_, 31.

Astyoche, in S. _Eurypylus_, 176.

Athena, in Æ. _Eumen._, 111 ff., 317; E. _Andromeda_, 301; _Heracleidæ_, 201; _Ion_, 236 ff.; _I. Taur._, 247 ff.; _Philoct._, 297; _Rhesus_, 291 ff.; _Suppl._, 234 ff.; _Troad._, 243 ff.; in S. _Ajax_, 132 ff.

Athena’s temple, in _Eumen._, 63.

ATHENÆUS, 25 and n., 32 and n., 34 n., 39 n., 175 [III, 98 D; X, 451 C; XIII, 595 F; fragm. 10].

Atlas, in Æ. _Prom. V._, 128; in E. _Hippol._, 208.

Atossa, in Æ. _Persæ_, 86 n., 87.

Atreidæ, palace of, in _Agam._, 124; Atr. in S. _Ajax_, 136.

Atreus, house of, in S. _Electra_, 143; and 129.

_Attic Theatre_, _see_ HAIGH.

— _Tragedy_, _see_ HAIGH.

AULUS GELLIUS, on E., 17 and n. [XV, 20].

_Bacchæ_, _see_ EURIPIDES.

— _Riddle of the_, _see_ NORWOOD.

_Bacchantes_, _see_ EURIPIDES.

Bacchus, in _Bac._, 277 ff.

BACCHYLIDES, 24.

BADHAM on _Helena_, 263 n.

_Bassanios_, 73.

_Bassaræ_, -_rides_, _see_ ÆSCHYLUS.

Bellerophon, 65; in E. _Beller._, 297.

_Bellerophon_, _see_ EURIPIDES.

BENTLEY, 23 n.

BERNARD SHAW, _see_ SHAW.

BERNHARDY, _Grundriss der griech. Litteratur_, 40 n., 163 n. [II, ii. p. 72 and p. 370], 253 n. [II, ii., p. 490].

Bia, a mute in Æ. _Prom. V._, 92 n., 94.

BION, son of Æ., 11.

_Birds_, _see_ ARISTOPHANES.

BÖCKH, on _Rhesus_, 294 n.

Boreas, in S. _Orithyia_, 175.

Boucher, Fr. painter, 34.

BRIGHT, JOHN, 348.

BROOKE, RUPERT, 358.

BROWNING, Mrs., on E., 324 n.

BUNYAN, 23.

BUTCHER’S translation of Ar. _Poetic_, 4 n., 26 n., 44 n., 77.

BYRON, on d. of Kirk White, 118 and n.

_Cabiri_, _see_ ÆSCHYLUS.

Cadmus, in E. _Bacchæ_, 277 ff.

— — — _Phœn._, 264.

CALLIMACHUS, 40.

Capaneus, in E. _Supplices_, 235.

Captain Osborne, in _Vanity Fair_, 319.

_Capture of Miletus_, _see_ PHRYNICHUS.

CARCINUS, 34-6, 41; _Ærope_, 35; _Medea_, 35; _Œdipus_, 35; _Thyestes_, 35.

CARRITT, E. F., _The Theory of Beauty_ [p. 156], 320 and n.

Cassandra, 66; in Æ. _Agam._, 99 ff., 245; in E. _Troad._, 243 ff.

Cassiopeia, in E. _Andromeda_, 299.

Castor, in E. _Electra_, 252 n., etc.; in _Helena_, 258 n., 259 ff.

_Catasterismoi_, _see_ ERATOSTHENES.

_Celebrants of the Thesmophoria_, _see_ ARISTOPHANES _Thesmophoriazusæ_.

_Centaur_, _see_ CHÆREMON.

Cephalus, in _Hippol._, 212.

Cepheus, in _Andromeda_, 299 f.

Cerberus, in _Herc. Fur._, 228 ff.

Cercyon, in Carcinus’ _Alope_, 35.

CHÆREMON, 32 ff., 41; _Centaur_, 32; _Thyestes_, 32; _Œneus_, 33.

_Cheiron_, _see_ PHERECRATES.

_Cherry Orchard_, _see_ TCHEKOV.

_Children of Heracles_, _see_ EURIPIDES.

Chiron, the Centaur, 98.

_Choephorœ_, _see_ Æ.

CHŒRILUS, 5, 6; _Alope_, 6; Satyric drama, 5.

Christ and Prometheus, 97.

CHRIST, _Geschichte der griech. Litt._ [p. 210, etc.], 163 n., 294 n.

_Christus Patiens_, 41.

CHRYSOSTOM, DIO, _see_ D.C.

Chrysothemis, in S. _Electra_, 141 ff., 152, 178-9.

CIBBER, 9.

CICERO, _Ad Q. Fratrem_ [II, xv. 3], 174 and n.; _Orator_ [51], 36.

Cimon, 23; and _Cimon_, _see_ PLUTARCH.

Clarendon (Earl of), vi.

Cleanthes, the philosopher, 39.

Cleisthenes, 3 n.

Cleon, 325.

Clito, mother of E., 17.

_Clouds_, _see_ ARISTOPHANES.

Clymene, in E. _Phaethon_, 301 ff.

Clytæmnestra, 46, 66, 70; and Lady Macbeth, 104; C.’s ghost, in Æ. _Eumen._, 111 ff.; tomb, in E. _Orestes_, 269;

— in Æ. _Agam._, 73 and n., 99 ff.; _Choeph._, 73 and n., 106 ff., 126.

— — E. _Andromache_, 220; _El._, 252 ff.; _I. Aul._, 285 ff., 322; _Orest._, 268 ff.

— — in S. _El._, 141 ff.

CONGREVE, 36, 322.

Constance, in Sh. _K. J._, 234.

Copreus, in E. _Heracleidæ_ and Homer _Il._, xv. 639; 200 and n.

Cordelia, in Sh. _Lear_, 137.

Corporal Mulvaney, 319.

Correggio, 33.

CRATES, critic and philos., 37, 294.

CRATINUS, 19 n.

Cratos, in Æ. _Pr. V._, 92 ff.

Creon, in E. _Medea_, 192 ff., 317; _Phœn._, 264 ff.; _Suppl._, 235.

— — S. _Antigone_, 137 ff., 177 n.; _Œ. Col._, 168 ff., 217; _Œ. T._, 145 ff., 178.

Cresphontes, in E. _Cresph._, 307.

_Cresphontes_, _see_ EURIPIDES.

_Cretans_, _see_ EURIPIDES.

_Cretan Women_, _see_ EURIPIDES.

Cretan Zeus, 310.

Creusa, in E. _Ion_, 236 ff., 303, 318, 322.

CRITIAS, 29; his _Pirithous_, 29; _Sisyphus_, 29.

CROISET, _Histoire de la Littér. Grecque_ [iii. 49], 9 n., 25 n. [iii. 400 n.], 111 n.

— his arrangement of E. _Alc._, 186 n.; _H. Fur._, 228 n.; _Hippol._, 205 n.; _I. Aul._, 285 n.; _Or._, 268 n.; _Phœn._, 264 n.; of S. _Antig._, 136 n.; _Œ. Col._, 167 n.

_Cyclops_, _see_ EURIPIDES.

Cyllene, the nymph, in S. _Ichneutæ_, 176.

Cynegirus, bro. of Æ., 10.

Cypris, in E. _Helena_, 261.

Dædalus, 126.

_Danae_, _see_ EURIPIDES.

Danaidæ, 272.

_Danaides_, _see_ ÆSCHYLUS.

Danaids, 76.

Danaus, in Æ. _Suppl._, 84 ff.

— his daughters, 76.

_Daphnis_, _see_ SOSITHEUS.

Darius, 7; in Æ. _Persæ_, 87-9; Darius’s tomb, 64.

_Das griech. Theater_, _see_ DÖRPFELD.

_Daughters of Danaus_, _see_ PHRYNICHUS.

— — _the Sun_, _see_ ÆSCHYLUS.

DAVENANT, 9.

_De Falsa Legatione_, _see_ DEMOSTHENES.

_De Gloria Atheniensium_, _see_ PLUTARCH.

Deianira, in S. _Trachiniæ_, 154 ff., 178-9, 180.

DEKKER and MASSINGER, _The Virgin Martyr_, 137.

Demeter, in CARCINUS, 35.

— — E. _Helena_, 259-60.

— — S. _Triptolemus_, 173.

_De Metris_, _see_ PLOTIUS.

Demophon, in E. _Heracleidæ_, 200 ff.

DEMOSTHENES, 31, 82, 83 n., 182.

— _De Falsa Legatione_ [§ 337], 83 n.

— _In Meidiam_, 82; _Olynthiacs_ [I, 5], 334 n.

_De Profectu in Virtute_, _see_ PLUTARCH.

_De Sublimitate_, _see_ “LONGINUS”.

_Detectives_, _see_ SOPHOCLES.

Dexion, 13.

Dicæopolis, in A. _Acharn._, 67, 296.

_Dictys_, _see_ EURIPIDES.

_Didascaliæ_, _see_ ARISTOTLE.

DIDYMUS, the critic, 304 n.

_Die Eurhythmie in den Chorgesängen der Griechen_, _see_ SCHMIDT.

DINDORF, 235 n.

_Dinner-party_, _see_ SOPHOCLES.

DIO CHRYSOSTOM, _Oration_, 52, 120 and n., 165-6 and n., 296-7.

“DIOGENES LAERTIUS,” 5, 25, 39 n. [ii. 133, vii. 173].

DIOGENES, the philosopher, 37.

Diomedes, in E. _Alcestis_, 187; _Philoct._, 166, 296; _Rhesus_, 291 ff.

DIONYSIADES, 40.

DIONYSIUS of Halicarnassus, 306.

— the Elder, 34; his _Hector’s Ransom_, 34.

— — Younger, 35.

Dionysus, 1, 2 and n., 3 n., 4, 49.

— altar of, in theatre, 51.

— artists of, 75.

— Eleuthereus, 49.

— — priest of, 80.

— ivy sacred to, 61-2.

— Philiscus, priest of, at Alexandria, 40.

— ritual of, 81 n.

— theatre of, Athens, 49, 56.

— in _Frogs_, 80 n., 124, 298, 316.

— — _Bacchæ_, 73, 277 ff.

— — _Hypsip._, 304.

— — _Antigone_, 141.

— — _Œ. Col._, 170.

— — _Lycurgea_, 117.

Dioscuri, 257; in _Helena_, 260; E. _Antiope_, 298.

Doctor, _see_ Grenfell, Hayley, Hunt, Mackail, Stockman, Verrall.

_Doctor’s Dilemma_, _see_ SHAW.

Dogberry, 199.

Dolon, in _Rhesus_, 291 ff.

_Don Carlos_, _see_ SCHILLER.

Doris, w. of Dionysius the elder, 34.

Dorothea, in _Virgin Martyr_, 137.

DÖRPFELD, _Das griechische Theater_, 53 ff.

— in _Bull. Corr. Hell._ [1896, p. 577 _sqq._], 59 n.

DOSTOEVSKY, 319; _The Possessed_, ch. i., p. 322.

_Dramatic Productions_, _see_ ARISTOTLE.

_Ecclesiazusæ_, _see_ ARISTOPHANES.

Echo, in E. _Andromeda_, 299.

— nymph, S. _Philoct._, 166.

Edoni, of Thrace, 117.

_Edoni_, _see_ ÆSCHYLUS.

_Egyptians_, _see_ ÆSCHYLUS.

— _see_ PHRYNICHUS.

Eido, in E. _Helena_, 263.

_Einleitung_, etc., _see_ WILAMOWITZ-M.

Electra, in Æ. _Choeph._, 106 ff.

— — E. _El._, 252 ff.

— — — _Orest._, 73, 79, 268 ff., 319.

— — S. _El._, 141 ff., 177, 178, 181-2.

_Electra_, _see_ EURIP. and SOPH.

ELIOT, GEORGE, _Middlemarch_, 334 n.

Empedocles, 127.

ENNIUS, 23, 333 n.

“Entertainer,” 13.

Eos, in Æ. _W. of Souls_, 120.

Epaphus, in Æ. _Prom. V._, 94.

Ephialtes, 116.

_Epidemiai_, _see_ ION.

_Epodes_, _see_ HORACE.

ERATOSTHENES, _Catasterismoi_ [19], 301 n.

_Eratosthenes_, _see_ LYSIAS.

Erechtheus, in E. _Erech._, 297.

_Erechtheus_, _see_ EURIPIDES and SWINBURNE.

Erinys, 110.

Eriphyle, 46.

Eros, in E. _Andromeda_, 300.

— — Plato’s _Symposium_, 28 n.

_Eschyle_, _see_ PATIN.

_Essays on Two Moderns_, _see_ SALTER.

Eteocles, 76; in Æ. _Septem_, 89 ff., 129; in E. _Phœn._, 264 ff.

_Ethics_, _see_ ARISTOTLE.

EUBULUS, comedian, 34.

EUCLID, the geometer, 40.

Eumelos, in E. _Alcestis_, 71, 186 n.

Eumenides, at Colonus, 172.

_Eumenides_, _see_ ÆSCHYLUS.

EUPHORION, 10, 11, 18, 192, 296.

EUPHRONIUS, 40.

_Euripidean Rhesus_, etc., _see_ PORTER.

EURIPIDES, vi, 13-15, 17-23, 26-7, 31-2, 67, 72, 83, 128, 177, 180, 182, =186= ff., 357; and Agathon, 28; and legends, 314-5; and modern England, 324; and Shaw, 320-1; and Theodectes, 37; as schoolbook, 21, 215; blamed by Ar., 42; copied by Sosiphanes, 41; in later Gk. times, 21, 320; inventor of prose-drama, 323; relics of, 34; text of, 41.

Euripides’ criticism of Æ., 20, 121, 126 and n.; agnosticism, 318; death, 277; feeling for beauty, 320; genius and personality, 310 ff.; handling of traditional material, 46; heroes in rags, 69; library, 17; metre, 334-5; originality in portraiture, 319; prologos, 47; sophistry, 317; technique, 19-21.

— _and his Age_, _see_ MURRAY.

— _der Dichter, etc._, _see_ NESTLE.

— _Apology_, _see_ VERRALL.

— _in a Hymn_, _see_ VERRALL.

— _restitutus_, _see_ HARTUNG.

— _the Rationalist_, _see_ VERRALL.

— _Alcestis_, 7, 17 n., 21, 55 n., 71, 76, 159 n., =186-92=, and 294-5 [ll. 29, 32, 34, 37, 58, 158-84, 179, 280-325, 763-4, 904 _sqq._, 1159-63].

— _Alcmæon at Corinth_, 285-6.

— — — _Psophis_, 185, 295.

— _Alexander_, 243.

— _Andromache_, 21, 65, 77, 187 n., =219-28=, 313 n., 318, 328, 330 [ll. 147-80, 164, 166, 229 _sq._, 241, 260, 445-63, 464-94, 588-9, 595-601, 632 _sqq._, 639, 708 _sqq._, 732 _sqq._, 752 _sqq._, 804, 929-53, 964, 1002 _sqq._, 1147 _sqq._, 1239 _sqq._].

— _Andromeda_, =298-301=, 303, 321.

— _Antiope_, 298.

— _Bacchæ_, 17, 68-70, 73, 77 and n., 187 n., =277-87=, 304 n., 313 n., 321, 326, 356.

— [_Bacchantes_, _see_ last]. [ll. 12, 64 _sqq._, 233-4, 625, 632-3, 677-774, 703, 732-51, 1325 _sq._]

— _Bellerophon_, 284 n., 297 [Fragm., 294-7].

— [_Children of Heracles_, _see_ _Heracleidæ_].

— _Cresphontes_, 307-9.

— _Cretans_, 310.

— _Cretan Women_, 295.

— _Cyclops_ (sat.), 2, 191, =289-91=, 362 [ll. 316-41, 361 _sqq._, 460-3, 549, 672-5.]

— _Danae_, 309.

— _Dictys_, 192, 296.

— _Electra_, 20, 55 n., 64, 65, 77, 142-3, =252-8=, 313 n. [ll. 4 _sqq._, 9-10, 25 _sqq._, 54, 60-1, 77-8, 255 _sqq._, 362 _sqq._, 354-5, 367 _sqq._, 652-60, 737-45, 1041-3, 1142-6, 1245 _sq._, 1294, 1296-7, 1301-7, 1327 _sqq._, 1347-56].

— _Erechtheus_, 297-8.

— _Fragmenta Adespota_, 324 n. [nos. 894, 916].

— _Harvesters_ (sat.), 192, 296.

— _Hecuba_, 21, 76, =215-9=, 265, 268 [ll. 68 _sqq._, 174 _sq._, 230, 342-78, 421, 428-30, 462, 518-82, 531-3, 585 _sqq._, 592-603, 629 _sqq._, 671, 702 _sqq._, 779 _sq._, 796 _sq._, 799 _sqq._, 806-8, 814-9, 894-7, 905 _sqq._, 953-67, 1187-94, 1287 _sq._].

— _Helena_, 55 n., 76, 160 n., 187 n., =258-64=, 318 n., 322 [ll. 20-1, 138 _sqq._, 157, 183 _sqq._, 205 _sqq._, 256-9, 284-5, 355-6, 489 _sqq._, 491, 567, 616, 629, 744-60, 832, 878 _sqq._, 1013-6, 1048, 1050-2, 1107 _sqq._, 1140-3, 1301 _sqq._].

— _Heracleidæ_, 76, =200-5=, 288 [ll. 45-7, 240 _sq._, 513, 540, 563, 597 _sqq._, 625, 629 _sq._, 638, 665, 819-22, 847, 869 _sqq._, 910 _sqq._, 990, 997-9, 1020-5, 1035-7, 1049-52].

— _Hercules Furens_, 55 n., 65, 189, 203 n., =228-34=, 317, 326 [ll. 65-6, 76, 70-9, 119, 140-235, 151-64, 153 _sq._, 339 _sqq._, 460-89, 485-9, 562-82, 585-94, 798 _sqq._, 857, 601 _sqq._, 673 _sqq._, 1002-6, 1222, 1255-1310, 1269 _sqq._, 1340-93, 1340-6].

— _Hippolytus_, 16, 21, 56, 71, 77, =205-15=, 317-8, 320, 326 [ll. 29-33, 73-87, 121-5, 135-40, 151-4, 191-7, 208-31, 281, 328, 337 _sqq._, 384, 373-430, 415 _sqq._, 439-61, 474 _sq._, 493-6, 490 _sq._, 503-6, 507 _sq._, 512, 516, 565, 612, 616-68, 689-92, 728-31, 732-51, 828-9, 831-3, 960 _sq._, 967-70, 1034 _sq._, 1035, 1060-3, 1076 _sq._, 1082-3, 1375 _sq._, 1379-83, 1423-30].

— _Hippolytus Veiled_, 205 n.

— _Hypsipyle_, 304-5.

— _Ino_, 309.

— _Ion_, 21 and n., 55 n., 70, 76, 79, 191, =236-43=, 251, 276, 298, 318, 322 [ll. 125-7, 265-8, 308, 313, 369 _sqq._, 436-51, 542, 548, 550 _sqq._, 585 _sqq._, 589 _sqq._, 727, 768 _sqq._, 859 _sqq._, 916, 952, 1029 _sqq._, 1039, 1211-6, 1215 _sqq._, 1312 _sqq._, 1324, 1397 _sqq._, 1419, 1424, 1468 _sq._, 1520-7, 1537 _sq._, 1546 _sqq._, 1550, 1565, 1595].

— _Iphigenia among the Taurians_, _see_ _Iph. in Tauris._

— — _at Aulis_, 64, 70, 77, =285-9=, 304, 312, 313 n., 317, 322, 334 n. [ll. 320, 407, 414, 882, 919-74, 1366 _sq._].

— — _in Tauris_, 31, 45, 73, 76, =247-52=, 260, 321 [ll. 73, 77, 123-5, 275, 281 _sqq._, 380 _sqq._, 626, 677, 711 _sqq._, 719 _sq._, 739 _sq._, 823-6, 933, 939 _sqq._, 945, 961 _sqq._, 965 _sq._, 968 _sqq._, 976 _sqq._, 980, 985 _sq._, 1038-40, 1046, 1205, 1232, 1434].

— _Medea_, 18, 21 and n., 22 and n., 35, 46, 55, 77, 96, 187 n., 191, =192-9=, 201, 208, 279, 296-7, 317, 321-33 [ll. 1, 230-51, 309 _sq._, 349, 364, 389 _sqq._, 450, 454, 472, 635, 801 _sq._, 824-45, 930 _sq._, 944 _sq._, 1021-80, 1081-1115, 1231-5, 1236-50, 1367, 1375-7, 1381-3].

— _Melanippe_, 305 n.; _M. in Prison_, 305 n.

— — _the Wise_, 83, =305-7=, 313 n.

— _Orestes_, 17 n., 21, 64, 70, 72, 73, 74, 77, 79, 215-6 n., 251, 265, =268-77=, 288, 315, 318, 319 and n., 323, 334 [ll. 1-3, 28 _sqq._, 37 _sqq._, 72-92, 71-111, 78 _sq._, 101-11, 121, 126 _sqq._, 174 _sqq._, 285 _sqq._, 310, 360 _sqq._, 362, 365, 367, 371 _sqq._, 373, 380 _sqq._, 386, 388, 390, 395-8, 417, 420, 423, 481 _sqq._, 491-525, 502, 544 _sqq._, 550, 551, 568, 615 _sqq._, 634, 640 _sq._, 658-61, 674, 740, 743, 745, 747, 749, 756, 797, 872, 892, 894, 932 _sqq._, 960 _sqq._, 982 _sqq._, 983, 1204 _sqq._, 1323, 1493 _sqq._, 1535-9, 1547 _sqq._, 1576, 1662-3, 1666 _sqq._].

— _Palamedes_, 243.

— _Peliades_, 17.

— _Phaethon_, 56, 300, 321.

— _Philoctetes_, 192, =296-7=.

— _Phœnician Women_ or _Phœnissæ_, 21, 64, 77, 91, 215-6 n., =264-8= [ll. 88-201, 114 _sqq._, 302 _sq._, 316, 528 _sqq._, 590 _sq._, 609, 612, 751 _sq._, 1090-1099, 1104-40, 1182 _sq._, 1223-82, 1233 _sq._, 1259 _sqq._, 1265-6, 1524 _sq._, 1758 _sq._].

— _Polyidus_, 309.

— _Rhesus_, 21, 23 n., 76, 186 n., 191, =291-5=, 313 n., 321 [ll. 319-23, 422-53, 474-84, 528, 546-56, 618, 962-73, 971].

— _Sisyphus_ (satyric play), 243.

— _Suppliant Women_ or _Supplices_, 20, 65, 77 and n., 160 n., =234-6= [ll. 195-218, 297-331, 403-56, 518-44, 567, 846-54, 1054-6].

— _Telephus_, 185, =295-6=.

— _The Crowned Hippolytus_, 205 n., 214; _The Veiled H._, 214.

— _Troades_, or _Trojan Women_, 21, 76, =243-6=, 248, 262, 308, 318 and n., 321 [ll. 67 _sq._, 220 _sqq._, 469 _sqq._, 703 _sqq._, 710, 738, 764, 841 _sqq._, 884 _sqq._, 1060 _sqq._, 1158 _sqq._, 1204 _sqq._, 1240 _sqq._].

— _Women of Crete_, 186.

— son of E., 285-6.

Europa, 175 n.

Eurydice, in S. _Antigone_, 137 ff.

— — E. _Hypsipyle_, 304.

Eurypylus in S. _Eurypylus_, 176 and n.

_Eurypylus_, _see_ SOPHOCLES.

Eurysaces, in S. _Ajax_, 71.

Eurystheus, in E. _Heracleidæ_, 200 ff.

Eurytus, in S. _Trach._, 154 ff.

Evadne, 65; in E. _Suppl._, 234 ff.

_Fall of Troy_, _see_ AGATHON.

Faust, in MARLOWE, 185.

FLAUBERT, _La Tentation de S. Antoine_, 326.

FLETCHER, 317.

_Flower_, _see_ AGATHON.

Fortinbras, in _Hamlet_, 152 n.

_Founding of Chios_, _see_ ION.

_Four Plays of Euripides_, _see_ VERRALL.

_Fragmenta Comic. Græc._, _see_ MEINEKE.

FRANCE, ANATOLE, _see_ A. F.

Frederick the Great, 34.

Frenzy, in E. _Herc. Fur._, 229 ff.

Gabler, Hedda, _see_ H. G.

Galatea, statue of, 126.

GALSWORTHY, _Justice_, 37.

Garrick and _Macbeth_, 70.

GELLIUS, AULUS, _see_ A. G.

_Geschichte der griechischen Litteratur_, _see_ CHRIST.

GILBERT MURRAY, _see_ MURRAY.

Giotto, 33.

Glauce, in E. _Medea_, 192 ff.

Glaucus, 8 n.; in E. _Or._, 275 and n.

_Glaucus, etc._, _see_ ÆSCHYLUS.

GOETHE, _Altgriechische Literatur_ (Wks., V. 127, ed. 1837), 301 n., and 302 and n.

Gorgias, 28, 218.

GRANT ALLEN, 20 n.

_Great Play_, _see_ ION.

Gregers Werle, 317.

GREGORY OF NAZIANZUS, 41.

Grenfell, Dr., 18.

Greuze, 34.

_Griechische Litteraturgeschichte_, _see_ MÜLLER-HEITZ.

_Growth and Influence of Classical Greek Poetry_, _see_ JEBB.

_Grundriss der griechischen Litteratur_, _see_ BERNHARDY.

HADLEY, introdn. to _Hecuba_ [pp. ix.-xii.], 217 n.

Hadrian, 41.

Hæmon, in E. _Phœn._, 264; in S. _Antigone_, 137 ff.

HAGGARD, SIR H. RIDER, 248.

Hagnon, 295.

HAIGH, _Attic Tragedy_, 16, 53 ff., 55 nn., 59 n., 65 and n., 73 n., 75 n., 80, 81 n.

— _Tragic Drama of the Greeks_, 1 n., 6 n., 15, 25 n., 124 and n.

Hamlet, 72, 136, 217.

_Hamlet_, _see_ SHAKESPEARE.

HANKIN, ST. JOHN, 28.

Harpalus, 39.

HARTUNG, _Euripides Restitutus_, 299 n., 301 n., 305 n., 307.

_Harvesters_, _see_ E.

HAYLEY, Dr., on E. _Alcestis_, 187 n., 191 n.

Hebe, in E. _Heracleidæ_, 201-2.

_Hebrews_ [xii. 1], 349.

Hector, in Æ. _Myrmidons_, and _Phrygians_, 118; _Philoct._, 120; in E. _Rhesus_, 291 ff.

_Hector_, _see_ ASTYDAMAS.

_Hector’s Ransom_, _see_ DIONYSIUS THE ELDER and ÆSCHYLUS.

Hecuba, in E. _Hec._, 215 ff.; in _Troades_, 243, 262, 308, 318.

_Hecuba_, _see_ EURIPIDES.

Hedda Gabler, 317.

Hegel, 320.

Hegelochus, the actor, 74.

HEITZ-MÜLLER, _Griechische Litteraturgeschichte_ [ii. 88], 92 n.

Helen, 254; in Æ. _Agam._, 99; in E. _Androma._, 224; _Helena_, 258 n., 259 ff., 322; _Or._, 268 ff., 318, 323; in _Troad._, 243 n., 244.

_Helena_, _see_ E.

Helenus, in E. _Androma._, 221.

Heliodorus, novelist; _Æthiopica_, 299.

Helios, in E. _Phaethon_, 301 ff.

_Hellenica_, _see_ XENOPHON.

Helmer, Thorvald, in Ibsen’s _A Doll’s House_, 189.

_Henry VI_, _see_ SHAKESPEARE.

Hephæstus, in Æ. _Nereids_, 118.

— — — _Prom. V._, 92 ff.

Hera, 94, 231-2; in E. _Hel._, 259; _Heracleid._, 201, 203 n.

— Ludovisi, 182.

Heracleidæ, in E. _Hel._, 200 ff.

_Heracleidæ_, _see_ EURIPIDES.

Heracles, in PHRYNICHUS’ _Antæus_, 69, 88, 96 and 98; in E. _Alc._, 186 ff.; in _Heracleid._, 200 ff.; in _H. Fur._, 228 ff.; in S. _Philoct._, 120, 161 ff.; _Trachin._, 154 ff., 180.

— — Pirithous, 29.

_Hercules Furens_, _see_ EURIPIDES.

HERMANN on _Rhesus_, 294 n.

_Hermathena_ [xvii. 348-80], 295.

Hermes, 67; in Æ. _Eum._, 111 ff.; in _Prom. V._, 95, 124; in Homer, 119; in E. _Ion_, 236 ff.; in S. _Ichneutæ_, 175.

— _Hymn to_, _see_ Hymn.

Hermione, 79; in E. _Andromache_, 219 ff., 225 ff., 318; in _Orestes_, 268 ff.

HERODOTUS, 3 and n., 7 n., 15, 89 [v. 67, vi. 21].

HESYCHIUS, 281 n.

_Hiawatha_, _see_ LONGFELLOW.

Hiero of Syracuse, 10, 119.

Hippe, in E. _Melanippe_, 305 f.

Hippolytus, in E. _Hippol._, 46, 205 ff., 279-80, 284 n., 318.

_Hippolytus_, _see_ EURIPIDES; so _H. Crowned_, and _H. Veiled_.

_Histoire de la Littérature Grecque_, _see_ CROISET.

_History of Gk. Literature_, _see_ MAHAFFY.

HOMER, 21, 118, 123, 320; _Iliad_, 120, 288, 291; _Odyssey_ [iv. 351-86], 98 and n.; [ix. 105-566], 290 nn.

— the tragedian, 39.

Homeric _Hymn to Hermes_, 175.

HORACE, 21, 56; _Ars Poetica_, 5 n., 56 and n.; _Epodes_, 345 n. [_A.P._ 275-8].

HORACE WALPOLE, 311.

“Host,” 13.

HUNT, DR. A. S., 18, 175 n., 176 n.; and _see_ Oxyrhynchus and Papyri.

Hyllus, in E. _Heracleid._, 200 ff.; in S. _Trachiniæ_, 154 ff., 178.

_Hymn to Hermes_, 175.

Hypermnestra, 85; in Æ. _Danaides_, 128.

Hypsipyle, in E. _Hypsip._, 304.

_Hypsipyle_, _see_ EURIPIDES.

IBSEN, p. v, 28, 211, 317; _A Doll’s House_, 189, 224.

_Ichneutæ_, _see_ SOPHOCLES.

_Iliad_, _see_ HOMER.

_Ino_, _see_ E.

Io, in Æ. _Prom. V._, 94 ff., 105.

Iolaus, in E. _Heracleidæ_, 200 ff.

Iole, in S. _Trachiniæ_, 154 ff., 179.

ION of Chios, 21, 23-4; _Memoirs_ or _Epidemiai_, 13 n., 15; _Founding of Chios_, 23; _Great Play_, 24 and n.

— in E. _Ion_, 236 ff., 279, 303.

_Ion_, _see_ EURIPIDES.

Iophon, s. of SOPHOCLES, 13, 60.

Iphigenia, 42, 263, 270, 318, 321; in Æ. _Agam._, 99 ff.; in E. _Iph. A._, 285 ff., 322; _Iph. T._, 73, 247 ff.; in POLYIDUS _Iphig._, 32.

_Iphigenia_, _see_ POLYIDUS.

— _at Aulis_, _see_ EURIPIDES.

— _in Tauris_, _see_ EURIPIDES.

Iphis, in E. _Suppl._, 234 ff.

Iris, apparition of, in E. _H. Fur._, 65, 229 ff.

_Isaiah_ [liii. 1], 349.

Ismene, 178; in Æ. _Septem_, 90; in S. _Antig._, 137 ff.; _Œ. Col._, 168 ff.

ISOCRATES, 36.

Israel, 172; prophets of, and Æ., 121.

Jason, in E. _Medea_, 192 ff., 321.

— — — _Hypsip._, 304-5.

— — NEOPHRON’s _Medea_, 22.

JEBB, PROFESSOR SIR RICHARD, p. v, 160 n.; on S. _Ajax_, 132 n., 136 n.; _Antigone_, 136 n., 139, 141, 351; _Electra_, 141 n., 143 and n.; _Œ. Col._, 71, 167, 170 and n., 171, 172 n., 173 n., 182 n.; _Philoct._, 165 n., 166 and n., 167 n.; _Trach._, 156 and n.; _Growth and Influence of Classical Greek Poetry_, 318 n.

Jocasta, 16, 46; in E. _Phœn._, 264 ff.; in S. _Œ. Tyr._, 146 ff.

JOHN BRIGHT, 348.

JONES, W. H. S., _The Moral Standpoint of Euripides_, 28 _sq._

Joseph, 172.

Juliet’s nurse, 124.

Julius Cæsar, in Sh., 134.

_Jupiter Tragœdus_, _see_ LUCIAN.

_Justice_, _see_ GALSWORTHY.

Justice Shallow, 199.

KEATS, 33.

Kindly Ones, The, 111-7.

_King Lear_, _see_ SHAKESPEARE.

KIPLING, 319.

KIRK WHITE, 118 and n.

_Knights_, _see_ ARISTOPHANES.

KYD, 121; _Spanish Tragedy_, 268.

Lady Macbeth and Clytæmnestra, 104.

Laertes, 297.

LAERTIUS, DIOGENES, _see_ D. L.

Laius, in S. _Œ. Tyr._, 145 ff.

_Laius_, _see_ ÆSCHYLUS.

Lampros, 12.

_Laocoon_, _see_ SOPHOCLES.

_La Tentation de St. Antoine_, _see_ FLAUBERT.

_Laws_, _see_ PLATO.

Lear, King, 79, 136-7.

_Lear, King_, _see_ SHAKESPEARE.

_Lectures on Greek Poetry_, _see_ MACKAIL.

Leda, 260, 263.

_Le jeu de l’amour, etc._, _see_ MARIVAUX.

_Le problème des Bacchantes_, etc., _see_ NIHARD.

_Libation-Bearers_, _see_ _Choephorœ_, under Æ.

_Liber Amatorius_, _see_ PLUTARCH.

_Libyans_, _see_ PHRYNICHUS.

Lichas, in S. _Trachiniæ_, 154 ff.

_Life of Aristides_, _see_ PLUTARCH.

_Literature of Ancient Greece_, _see_ MURRAY.

_Lityerses_, _see_ SOSITHEUS.

_Locksley Hall_, _see_ TENNYSON.

LONGFELLOW, 337; _Hiawatha_, 353.

“LONGINUS,” _de Sublimitate_ [xv. 7. etc.], 174 and n., 251 n.

_Love in the Valley_, _see_ MEREDITH.

_Lovers of Achilles_, _see_ SOPHOCLES.

Loxias, in E. _Orestes_, 270.

LUCIAN, _Adversus indoctos_ [15], 34; _Jupiter Tragœdus_ [41], 306 n.; _Quomodo historia conscribenda_ [1], 298 and n.

LUCRETIUS, 319.

LYCOPHRON, 39, 40; _Alexandra_, 40; _Menedemus_, 39-40.

_Lycurgea_, trilogy, 117, and _see_ Æ.

Lycurgus, k. of Edoni, 117.

— orator, 31, 81.

— theatre of, 57.

_Lycurgus_ (satyric), 117 and _see_ Æ.

Lycus, in E. _Antiope_, 298; _H. Fur._, 203 and n., 228 ff., 317.

Lynceus, 85.

_Lynceus_, _see_ THEODECTES.

LYSIAS, _Eratosthenes_ [ii.], 30 and n.

Mab, Queen, in SH., _R. and Juliet_, 79.

Macaria, in E. _Heracleidæ_, 200 ff., 288, 317.

_Macbeth_, _see_ SHAKESPEARE.

Macbeth, 273; Lady, 104.

Macduffs, 73.

MACKAIL, _Lectures on Greek Poetry_, 171 n., 184 n.

MACROBIUS [V., xviii. 12], 304 n.

_Mad Heracles_, 228-34.

MAHAFFY, _History of Greek Literature, Poets_, 163 n.

MANNING, F., _Scenes and Portraits_, 311 and n.

MARIVAUX, _Le jeu de l’amour et du hasard_ [II., ii.], 28 and n.

Mark Antony, 134.

MARLOWE, 121, 183, 185, 317, 328.

MASSINGER and DEKKER, _The Virgin Martyr_, 137.

MATTHAEI, Miss L. E., _Studies in Greek Tragedy_, 216 n.

MATTHEW ARNOLD, _see_ A. M.

Mausolus, k. of Caria, 38.

_Mausolus_, _see_ THEODECTES.

_Measure for Measure_, _see_ SHAKESPEARE.

Medea, in E. _Medea_, 8, 72, 159 n., 190, 192 ff., 218, 279, 313.

— apparition of, 65; chariot of, 312-3; sons of, 71.

— in NEOPHRON’S _Medea_, 22.

_Medea_, _see_ CARCINUS, EURIPIDES, and NEOPHRON.

Megara, in _Herc. Fur._, 228 ff.

Meidias, Demosthenes’ speech against, 82.

MEINEKE, _Fragmenta Comicorum Græcorum_ [ii. 1142], 19, 38 n.

Melanippe, in E. _Melan._, 305 ff., 312.

_Melanippe_, etc., _see_ EURIPIDES.

Melanippus, 3 n.

Meleager, in PHRYNICHUS _Pleuroniæ_, 7.

Memnon, in Æ., _Weighing of Souls_, 120.

_Memoirs_, _see_ ION.

MENANDER, 29, 83, 289, 311.

Menedemus the philosopher, 25.

_Menedemus_, _see_ LYCOPHRON.

Menelaus, 254; in Æ. _Agam._, 99; in E. _Andromache_, 219 ff., 225 ff.; _Helena_, 258 n., 259 ff., 322; _I. Aul._, 285 ff.; _Orestes_, 268 ff., 312, 323; _Telephus_, 295-6; _Troades_, 243 n. and 244; in S. _Ajax_, 132 ff.

Menœceus, in E. _Phœnissæ_, 264 ff.

_Men of Eleusis_, _Men of Persia_, _see_ Æ.; _Men of Pheræ_, _see_ MOSCHION.

Menon, archonship of, 87.

_Merchant of Venice_, _see_ SHAKESPEARE.

Mercutio, 79.

MEREDITH, GEORGE, 287, 322; _Love in the Valley_, 33.

Merope, in E. _Cresphontes_, 307 f.; in S. _Œ. Tyr._, 147.

_Merope_, _see_ ARNOLD.

Merops, in E. _Phaethon_, 301 ff.

Michelangelo, 102.

_Middlemarch_, _see_ ELIOT, GEORGE.

MIDDLETON, _Witch_, 9.

_Midsummer Night’s Dream_, _see_ SHAKESPEARE.

_Miletus, Capture of_, _see_ PHRYNICHUS.

MILTON and Æ., 97, 122; and S. _Œ. Col._, 171; _Paradise Lost_, 95.

MIMNERMUS, 39 and n., 119.

_Minos_, [321 A], 5 n.

Mnesarchus, father of E., 17.

Mnesilochus, in A. _Thesmoph._, 296.

MOLIÈRE, 39 n.

Molottus, in E. _Androma._, 219 ff., 225 ff.

_Moralia_, _see_ PLUTARCH.

_Moral Standpoint of Euripides, The_, _see_ JONES.

_Mornings in Florence_, _see_ RUSKIN.

MOSCHION, 37, 38, 41, 315; _Men of Pheræ_, 38; _Telephus_, 38 n.; _Themistocles_, 38.

Moses, 172.

MÜLLER, K. O., _On Lit._, 163 n.

MÜLLER-HEITZ, _Griechische Litteraturgeschichte_ [ii. 88], 92 n.

MURRAY, PROFESSOR GILBERT, p. v; _Euripides and his Age_, 276 n., 279 n., 280 n., 282 n., 283 n.; _Literature of Ancient Greece_, 126 and n.; on _Cyclops_, 289 n., 362 n.; _Helen_, 263 n.; _Heracl._, 201 n.; _Hippol._, 210-11, 214; _Iph. A._, 286 n.; _I. Taur._, 247 n., 251 n.; _Medea_, 198 n.; _Orestes_, 268 n.; _Rhesus_, 294 n.; tr. of S. _Œ. Col._, 185.

_Mustering of the Greeks_ (satyric), _see_ SOPHOCLES.

_Myrmidons_, _see_ Æ.

Myrtilus, 274.

NAUCK, 301 n., 306 n.

_Nausicaa_, _see_ SOPHOCLES.

Nazianzus, GREGORY of, 41.

NEOPHRON, 21-2, 195-6; _Medea_, 21.

Neoptolemus, in E. _Andromache_, 219 ff., 225 ff.

— — — _Troades_, 243.

— — S. _Eurypylus_, 176 and n.

— — — _Philoctetes_, 120, 161 ff., 296, 334 n.

_Nereides_, _see_ Æ.

Nereus, 275; daughters of, 118.

Nessus, in S. _Trachin._, 154 ff.

NESTLE, DR. W., _Euripides der Dichter der griech. Aufklärung_, 318 n., 324 n., 325.

Nestor, 14.

Nicias, 13, 60, 163.

_Nicias_, _see_ PLUTARCH.

_Nicomachean Ethics_, _see_ ARISTOTLE.

NIHARD, DR. R., _Le Problème des Bacchantes d’Euripide_, 281 n.

Niobe, in Æ., 20.

_Niobe_, _see_ Æ.

“Noman,” in E. _Cyclops_, 289-90.

NORWOOD, PROFESSOR GILBERT, _Riddle of the Bacchæ_, 191 n., 279 n., 281 n.

_Note sur le Prométhée d’Eschyle_, _see_ WEIL.

Oceanus, in Æ. _Prom. V._, 65, 94.

— — E. _Phaethon_, 303 and n.

Odysseus, 319; in Æ. _Philoct._, 120; in E. _Cycl._, 2, 289 ff.; _Hecuba_, 216; _Philoct._, 296; _Rhesus_, 291 ff.; _Telephus_, 295-6; _Troades_, 243; in S. _Ajax_, 132 ff.; _Philoct._, 161 ff., 178, 179, 334 n.

_Odyssey_, _see_ HOMER.

Œdipus, 46, 72, 136; in E. _Phœn._, 264 ff.; in S. _Œ. Col._, 168 ff., 177, 185, 217; _Œ. Tyr._, 145 ff., 177-8; sons of, 89.

_Œdipus_, _see_ ÆSCHYLUS, CARCINUS, and SOPHOCLES.

— _Coloneus_, _see_ SOPHOCLES.

— _Rex_, _see_ SOPHOCLES.

— _Tyrannus_, _see_ SOPHOCLES.

_Œneus_, _see_ CHÆREMON.

Œnomaus, 70.

_Olympian Odes_, _see_ PINDAR.

_Olynthiacs_, _see_ DEMOSTHENES.

_On the Sublime_, _see_ “LONGINUS”.

Opheltes, in E. _Hypsipyle_, 304.

_Oration_, _see_ DIO CHRYSOSTOM.

_Orator_, _see_ CICERO.

_Oresteia_, _see_ ÆSCHYLUS.

Orestes, 46, 63-4, 67, 76, 129-30, 313; delirium of, 70; nurse of, 124; in Æ. _Agam._, 100; _Choeph._, 73 n., 104, 107 ff., 126; _Eum._, 111 ff., 128, 130 n.; E. _Androma._, 220 ff., 226; _Electra_, 252 ff.; _Iph. I._, 73, 247 ff.; _Or._, 268 ff., 323; _Telephus_, 296; in POLYIDUS _Iph._, 31; in S. _Electra_, 141 ff.

Orgon, M., in MARIVAUX, 28 n.

_Origin of Tragedy_, _see_ RIDGEWAY.

Orithyia, in S. _Orith._, 175.

_Orithyia_, _see_ SOPHOCLES.

Orpheus, in Æ. _Bassarides_, 117.

Ortheris, Private, 319.

Orthomenes, F. of Ion of Chios, 23.

Othello, 136.

Outis, in E. _Cyclops_, 289-90.

OVID, 257.

_Palamedes_, _see_ EURIPIDES.

PALEY, on E. _Orestes_, 276.

Pallas, in E. _H. Fur._, 233 n.

Panza, Sancho, 255.

_Paradise Lost_, _see_ MILTON.

Paris, in E. _Helena_, 259; _Iph. A._, 285; _Rhesus_, 291 n. ff.

_Parthenopæus_, _see_ ASTYDAMAS.

PATIN, _Eschyle_, 88 and n.

Patroclus, in Æ. _Myrmidons_, and _Nereids_, 118.

Patterne, Sir Willoughby, 287.

_Peace_, _see_ ARISTOPHANES.

Peel, Sir Robert, 325.

Pegasus, in E. _Bellerophon_, 297.

Peleus in E. _Andromache_, 220 ff., 225 ff.; _Iph. A._, 286.

_Peliades_, _see_ EURIPIDES.

Pentheus, _see_ EURIPIDES _Bacchæ_, 70, 73, 277 ff.

_Pentheus_, _see_ THESPIS.

Pericles, 13, 116, 177, 270, 313.

_Pericles_, _see_ PLUTARCH.

_Persæ_, _see_ Æ.

Persephone, in CARCINUS, 35; in E. _Helena_, 260; _Heracleidæ_, 200; in _Pirithous_, 29.

Perseus, in E. _Andromeda_, 298 ff.

Persian counsellors, 7.

_Peruigilium Veneris_, 333 n.

Phædra, 190, =205= ff., 218, 279, 317-8.

Phædrus, 52.

Phaethon, in Æ. _D. of Sun_, 119.

— — E. _Phaethon_, 300 ff.

— sisters of, in E. _Hippol._, 208.

_Phaethon_, _see_ EURIPIDES.

PHERECRATES _Cheiron_, 72 and n. [Fragm. i.].

Pheres, in E. _Alcestis_, 186 ff.

Phidias, 14.

PHILEMON, 83.

Philip of Macedon, 82, 163.

PHILISCUS, 39, 40.

Philoctetes, 62, 73; in Æ. _Phil._, 120; in S. _Phil._, 161 ff., 177-8, 181; in THEODECTES, 37.

_Philoctetes_, _see_ ACHÆUS, Æ., E., S., and THEODECTES.

Philomela, in S. _Tereus_, 174.

Phineus, in E. _Andromeda_, 299 ff.

_Phineus_, _see_ Æ.

Phœbus, in E. _Electra_, 257-8; _Ion_, 242; _Iph. I._, 250.

_Phœnician Women_, _see_ EURIPIDES, and PHRYNICHUS.

_Phœnissæ_, _see_ EURIPIDES, and PHRYNICHUS.

_Phorbas_, _see_ THESPIS.

_Phrygians_, _see_ Æ.

PHRYNICHUS, comic poet, 14.

— general, 7 n.

— tragedian, 2, 6-10, 12, 15, 22, 78, 86, 90, 141, 315; in _Frogs_, 126; _Alcestis_, 6-7; _Antæus_, 6-7; _Capture of Miletus_, 6-7, 38; _Danaides_ or _Daughters of Danaus_, 6-7; _Egyptians_, 6-7; _Libyans_, 6-7; _Phœnician Women_ or _Phœnissæ_, 6-10, 38; _Pleuroniæ_ or _Pleuronian Women_, 6-7; _Tantalus_, 6; _Troilus_, 7.

PICKARD-CAMBRIDGE, 53 n.

PINDAR, 9, 24; his tropes, 123; _Olympian Odes_ [xiii. 18 _sq._], 3 and n.

Pirithous, in _Pirithous_, 29.

_Pirithous_, 18, 29; and _see_ CRITIAS.

Pisistratus, 50.

PLATO, comic playwright, 78-9.

PLATO, philosopher, 21, 34, 36, 128, 182-3; _Laws_ [659 A-C, 700 C, 701 A], 60 n.; _Protagoras_ [315 E], 28 n.; _Republic_ [391 E], 119 and n.; _Symposium_, 27, 29, 50 n., 55 and n. [175 E, 194 B, 197 D, 198 C, 223 D]; [? _Minos_, 321 A], 5 n.

PLAUTUS, _Pœnulus_, 23.

_Pleuroniæ_ or _Pleuronian Women_, _see_ PHRYNICHUS.

PLOTIUS, _De Metris_ [p. 2633], 6 n.

PLUTARCH, 323; _Cimon_ [viii.], 12; _De Gloria Atheniensium_ [349 E], 31; _De Profectu in Virtute_ [79 B, E], 15, 23 n.; _Liber Amatorius_ [756 B, C], 83 n.; _Life of Aristides_ [III.], 91 and n.; _Moralia_, [998 E, 110 D], 308 and n.; _Nicias_ [524 D], 60 n.; _Pericles_ [V], 24 and n.; _Symposiaca_ [615 A, 645 E], 2 n., 26 and n.

Pluto, in _Pirithous_, 29.

_Pœnulus_, _see_ PLAUTUS.

_Poetic_, _see_ ARISTOTLE.

POLLUX [iv. 126, 128], 63 n., 64, 66 and n., 67 n., 70.

Pollux, in E. _Electra_, 253; _Helena_, 258 n., 259 ff.

Polonius, 297.

Polybus, in S. _Œ. Tyr._, 147 ff.

Polydeuces, _see_ Pollux; 252 n., etc.

Polydorus, ghost of, in E. _Hec._, 215 ff.

Polygnotus, 14.

POLYIDUS, 31-2; _Iphigenia_, 31.

_Polyidus_, _see_ EURIPIDES.

Polymestor, in E. _Hec._, 215 ff.

Polynices, 235; in Æ. _Septem_, 89 ff.; in E. _Phœn._, 264 ff.; in S. _Antig._, 137 ff.; _Œ. Col._, 168 ff.

Polyphemus, in E. _Cyclops_, 289 ff.

Polyphontes, in E. _Cresphontes_, 307 f.

POLYPHRADMON, 6, 90.

Polyphron, 38.

Polyxena, in E. _Hec._, 216 ff.; _Troad._, 243 ff.

_Polyxena_, _see_ SOPHOCLES.

PORTER, W. H., _The Euripidean Rhesus in the light of recent criticism_, 295 n.

Poseidon, 85; in E. _Hippol._, 206; _Ion_, 242; _Troad._, 243 ff.; _Melanippe_, 305 f.

_Possessed, The_, _see_ DOSTOEVSKY.

POWELL, J. U., ed. of E. _Phœnissæ_, 256 and n., 265 n.

PRATINAS, 2, 6, 71 n., 90.

Praxiteles, 126.

Praxithea, in E. _Erechtheus_, 297.

Priam, in Æ. _Agam._, 99; _Phrygians_, 118; in E. _Hec._, 215; in S. _Eurypylus_, 176.

_Priests, The_, _see_ THESPIS.

Private Ortheris, 319.

Procne, in S. _Tereus_, 174.

Prodicus, 28.

Professor, _see_ Jebb, Murray, Norwood, Ridgeway, Roberts, Tucker, Wilamowitz-Moellendorff.

Prometheus, 62, 72, 76, 88; in Æ., 121; in _Prom. V._, 92 ff.

— trilogy, 114.

_Prometheus_ (sat.), _see_ Æ.

— _Bound_, _see_ Æ.

— _The Fire-Bringer_, _see_ Æ.

— _Unbound_, _see_ Æ. and SHELLEY.

Protagoras, 17.

_Protagoras_, _see_ PLATO.

Proteus, tomb of, in E. _Helena_, 259.

_Proteus_, _see_ Æ.

Ptolemy II., 39-40.

PUCHSTEIN, 81 n.

Pylades, 64; in Æ. _Choeph._, 73 n., 108-9; in E. _El._, 252 ff.; _Iph. T._, 73, 247 ff.; _Orest._, 268 ff.; in S. _El._, 141 ff.

PYTHON of Catana or Byzantium, 39.

Queen Mab, in Sh., _Romeo and J._, 79.

_Quomodo Historia Conscribenda_, _see_ LUCIAN.

Raffaelle, 33, 102.

_Ransom of Hector_, _see_ Æ. and DIONYSIUS.

_Relapse, The_, _see_ VANBRUGH.

RENAN, 311.

_Republic_, _see_ PLATO.

Rhesus in _Rhesus_, 291 ff.

_Rhesus_, _see_ EURIPIDES.

_Rhetoric_, _see_ ARISTOTLE.

RHYS ROBERTS, PROFESSOR W., his tr. of _De Sublimitate_, 24 n.

_Richard III_, _see_ SHAKESPEARE.

_Riddle of the Bacchæ_, _see_ NORWOOD.

RIDGEWAY, PROFESSOR SIR WM., _The Origin of Tragedy_, 2-3, 64 n.

ROBERTS, RHYS, _see_ RHYS R.

Robespierre, 30.

RUPERT BROOKE, 358.

RUSKIN, _Mornings in Florence_ [I. 14], 299 and n.

Russell, Lord John, 325.

S. PAUL [1 _Cor._ xv. 33], 309.

ST. JOHN HANKIN, 28.

SALTER, W. H., _Essays on Two Moderns_, 281 n.

Samuel, 172, 237.

Sancho Panza, 255.

SAPPHO, 8.

Saranoff, Sergius, 288.

SATYRUS, _Life of Euripides_, 18, 29 n.

SCALIGER, on _Rhesus_, 294.

_Scenes and Portraits_, _see_ MANNING.

Scephrus, 3 n.

SCHILLER, _Don Carlos_ [III. 10], 324 n.

SCHMIDT, DR. J. H. H., 334 n., 346 n. (_Die Eurhythmie in den Chorgesängen der Griechen_, [p. 89, etc.]), 353 n. (_Introduction_, etc.), 358 n., 345, 362 n., 354.

_Scholar-Gipsy_, _see_ ARNOLD.

SEDLEY, 360.

Semele, in E. _Bacchæ_, 277 ff.; _Hippol._, 212.

SENECA, 44, 272.

_Septem_, _see_ Æ.

Sergius Saranoff, 288.

_Seven against Thebes_, _see_ Æ.

SHAKESPEARE, 9, 14, 29 n., 79, 104, 183, 219, 282, 325; and SHAW, 121; _As You_, 63; _Hamlet_, 152 n., 183; _Henry V_ [iv. 8], 88 and n.; _II Henry VI_ [iii. 1], 66; _John_, 234; _Jul. C._, 134; _Lear_, 16, 171-2, 183 [iij. 4]; _Macbeth_, 9, 16, 42, 70, 317; _M. for M._, 41; _Mcht. V._, 72-4 n.; _M. N. Dr._ [ii. 1], 355; _Much Ado_, 199; _Rd. III_, 282; _R. and J._, 79, 124; _Sonnets_, 174; _Tp._, [v. 1], 354; _Titus A._ [ii. 1. 5-7], 121 and n.

— Justice Shallow, 199.

SHAW, BERNARD, 39 n.; _Doctor’s Dilemma_, 236 n., 320-1 (and E.).

— Sergius Saranoff in, 288; and SH., 121.

SHELLEY, _Prom. Unbd._, 95.

Silenus, 69; in E. _Cyclops_, 289 ff.; in S. _Ichneutæ_, 175.

SIMONIDES, 9-10.

SIR H. RIDER HAGGARD, 248.

Sir Willoughby Patterne, in MEREDITH’s _Egoist_, 287.

Sisyphus, in AGATHON, 27.

_Sisyphus_, of CRITIAS, 29-30; and _see_ EURIPIDES.

Socrates, 17, 28 and n., 29 n., 50 n., 65, 67, 163 n., 318.

_Sonnets_, _see_ SHAKESPEARE.

Sophillus, f. of SOPHOCLES.

SOPHOCLES, v, vi, 4, 10, 12 ff., 17-20, 22-4, 26, 31, 37, 59, 60, 74, 77, 91-2, 95, 122, =132= ff., 186, 192, 195-6, 208-9, 223-4, 226 n., 275, 276 n., 281, 293, 295-6, 312, 333.

— as actor and citharist, or harpist, 71, 173-4.

— Attic spirit of, 182; criticism of other dramatists, 160 n.

— dramatic irony in, 179-80.

— influenced by E., in _Trach._, 159-60.

— influence on Æ., 126; introduced crēpis, 68; invented scene-painting, 52; Jebb’s ed. of, v; metre of, 180, 331 n., 334.

— mind and art of, 177 ff.; plots, 179; religion, 177; technical innovations, 15.

— _Ajax_, 42 n., 55 n., 63, 71, 119, =132-6=, 138, 155, 158-9, 184 [ll. 520-1, 559, 646, 650-3, 815 _sqq._].

— _Amphiaraus_ (satyric play), 174.

— _Antigone_, 8 n., 15, 132, =136-41=, 184, 266, 349 [ll. 95, 175-90, 450-70, 582 _sqq._, 782, 904-12, 1195, 1329-30].

— _Detectives_ (satyric), 175-6.

— _Dinner-Party_ (satyric), 174.

— _Electra_, 63, =141-5=, 152, 160 n., 171 n., 253 [ll. 147-9, 303-16, 328 _sqq._, 415, 582 _sqq._, 616-21, 957, 974, 1080, 1165 _sq._, 1288 _sqq._, 1331-3, 1424-5, 1508 _sqq._].

— _Eurypylus_, 176.

— _Ichneutæ_, 2, =175-6=.

— _Laocoon_, 174.

— _Lovers of Achilles_, 174.

— _Mustering of the Greeks_ (satyric), 174.

— _Nausicaa_, 12, 174.

— _Œdipus_, 24.

— _Œdipus at Colonus_, _Œdipus Coloneus_, 13, 14 and n., 16, 71 n., 160 n., =167-73=, 174, 185, 267 [ll. 62 _sq._, 106, 258-91, 443, 472, 506, 569, 607 _sqq._, 620, 670-80, 854-5, 960-1013, 964-5, 1047 _sq._, 1055, 1082, 1116, 1127, 1148-9, 1152, 1225-8, 1422-5, 1503 _sq._, 1563 _sq._, 1582 _sqq._, 1615 _sqq._, 1627 _sq._, 1682, 1697].

— _Œdipus Rex, the King_, or _Tyrannus_, 13 n., 16, 35, 37, 79, 96, =145-54=, 157, 169, 173, 179, 183, 266, 268 n., 331 n. (Aristotle’s remarks on _Œ. Tyr._, 46-8, 148) [ll. 1, 29, 124-5, 130-1, 151, 436, 483 _sq._, 587-8, 738, 758-64, 774 _sqq._, 942, 959, 1026, 1028, 1038, 1117-8, 1141, 1313, 1524-5].

— _Orithyia_, 175.

— _Philoctetes_, 16, 46, 76, 120, 145, =161-7=, 179; Deus ex. m. in, 315; metre of, 181, 334 n., 337 [ll. 187-90, 268, 282-4, 287-92, 385 _sqq._, 456 _sqq._, 670, 926 _sqq._, 981 _sq._, 1007-15, 1035 _sqq._, 1047-51, 1095 _sqq._, 1222 _sqq._, 1299 _sqq._, 1402, 1455].

— _Polyxena_, 174.

— _Tereus_, 174.

— _Thamyras_, 71.

— _Trachiniæ_, =154-60=, 164, 195 [ll. 9-14, 248-86, 268, 416, 427, 547-9, 575-7, 719 _sq._, 900-22, 927 _sq._, 1140].

— _Triptolemus_, 173.

— _Women Washing_, 174.

— _Fragmenta Adespota_ [344, 345], 173-5.

SOSIPHANES, 40-41.

SOSITHEUS, 39-40; _Daphnis_ (satyric), 40; _Lityerses_ (satyric), 40.

_Spanish Tragedy_, _see_ KYD.

_Sphinx_, _see_ Æ.

STESICHORUS, 262 n.

STEVENSON, R. L., 320.

Sthenebœa, in E., 318.

Stobæus, 37 [102-3], 39 n., 323.

Stockman, Dr., in IBSEN, 317.

STRABO [I. 33], 301 and n.

_Studies in Greek Tragedy_, _see_ MATTHAEI.

— — _the Greek Poets_, _see_ SYMONDS.

SUIDAS, 5, 15 n., 21 n., 22, 23, 25 n.

_Suppliant Women_, or _Supplices_, _see_ Æ. and E.

SWIFT, 248.

SWINBURNE, 174; _Erechtheus_, 297.

SYMONDS, J. A., _Studies in the Greek Poets_ [II. 26], 33 n.

_Symposiaca_, _see_ PLUTARCH.

_Symposium_, _see_ PLATO.

_Talking Oak_, _see_ TENNYSON.

Talthybius, in E. _Hec._, 216; _Troad._, 243 ff.

Tannhäuser, 283.

_Tantalus_, _see_ PHRYNICHUS.

TCHEKOV, _Cherry Orchard_, 319.

_Tauric Iphigenia_, _see_ EURIPIDES, 73.

Tecmessa, in S. _Ajax_, 132 ff., 159.

Telephus, in E. _Tel._, 295-6.

_Telephus_, _see_ EURIPIDES, and MOSCHION.

_Tempest_, _see_ SHAKESPEARE.

Teniers, 124.

TENNYSON, _Talking Oak_, 355; _Locksley Hall_, 335, 339.

TERENCE, 28, 36.

Tereus, in S. _Ter._, 174.

_Tereus_, _see_ SOPHOCLES.

_Tess of the D’Urbervilles_, _see_ THOMAS HARDY.

Teucer, in E. _Helena_, 258 n., 259 ff.; in S. _Ajax_, 132 ff., 158.

_Thamyras_, _see_ SOPHOCLES.

Thanatos, in E. _Alcestis_, 187 ff.

Themistocles, 7, 88-9, 128 n.

_Themistocles_, _see_ MOSCHION.

Theoclymenus, in E. _Helena_, 258 ff., 314 n.

THEOCRITUS, 40.

THEODECTES of Phaselis, 36-8; _Lynceus_, 37; _Mausolus_, 38.

Theodorus the actor, 35.

Theonoe, in E. _Helena_, 258 n., 259 ff.

Theseus, in E. _Herc. Fur._, 228 ff.; _Hippol._, 205 ff.; _Suppl._, 234 ff.; in S. _Œ. Col._, 168 ff., 178, 185; in _Pirithous_, 29.

_Thesmophoriazusæ_, _see_ ARISTOPHANES.

THESPIS, 2, 4-5 (his waggon, 50), 56, 58, 68; his supposed fragments, 5; _Pentheus_, _Phorbas_, _Priests_, _Trials of Pelias_, _Youths_, 5.

_The Theory of Beauty_, _see_ CARRITT.

Thetis, 65; in Æ. _Nereids_, 118; _W. of Souls_, 120; in E. _Andromache_, 220 ff.; _Iph. A._, 286.

Thoas, in E. _Hypsip._, 304; _Iph. T._, 247 ff.

THOMAS HARDY and E., 325; _Tess of the D’U._, 325-6.

Thorvald Helmer, in IBSEN’S _A Doll’s House_, 189.

_Thracian Women_, _see_ Æ.

THUCYDIDES, 14, 182-3, 325 n. [III. 82-3].

Thyestes, 257.

_Thyestes_, _see_ CARCINUS, and CHÆREMON.

TIMÆUS, 57.

Timotheus, 18, 72.

Tiresias, in E. _Bacchæ_, 277 ff.; _Phœn._, 264 ff.; in S. _Antig._, 137 ff.; _Œ. Tyr._, 146 ff.

Titans, 93 ff. (Oceanus, 94; Prometheus, 93 ff.).

_Titus Andronicus_, _see_ SHAKESPEARE.

_Trachiniæ_, _see_ SOPHOCLES.

_Tragic Drama_, etc., _see_ HAIGH.

_Trials of Pelias_, _see_ THESPIS.

Triptolemus, in CHŒRILUS’ _Alope_, 6; in S. _Tript._, 173.

_Triptolemus_, _see_ SOPHOCLES.

_Troades_, _see_ EURIPIDES.

_Troilus_, _see_ PHRYNICHUS.

_Trojan Women_, _see_ EURIPIDES.

Trygæus in A. _Peace_, 297.

TUCKER, PROFESSOR, tr. of Æ. _Suppl._, 86 and n.

Tyndareus, in E. _Or._, 268 ff.

Typhos, 232.

VALCKENAER, on _Rhesus_, 294 n.

VANBRUGH, _Relapse_ [V. iv. 135], 105 and n.

_Vanity Fair_, 319.

_Varia Historia_, _see_ ÆLIAN.

_Veiled Hippolytus_, _see_ EURIPIDES.

Venus of Melos, 182.

VERGIL, 20, 174; _Æneid_, 174 n. [I. 203].

VERRALL, DR. A. W., on Æ. _Agam._, 100 and n., ff., 122 and n., 126; _Choeph._, 143 and n., 258 n.; _Eum._, 115 n., 116 n., 130 n.; _Septem_, 91 and n.; on E. _Alc._, 188 n., 190 ff.; _Androma._, 222-3; _Bac._, 281 n.; _Hel._, 263; _H. Fur._, 230 ff.; _Ion_, 239-40; _Med._, 195-7; _Or._, 273 n.; his Dramatic Criticism, p. v; _Bacchæ of E. and other Essays_, 8 n.; _E. in a Hymn_, 250 n.; _E.’s Apology_, 262; _E. the Rationalist_, 130 n., 190 and n., 250 n., 265 n.; _Four Plays of E._, 196 n., 222-3, 228 and n., 262 n.

_Virgin Martyr_, _see_ DEKKER and MASSINGER.

VITRUVIUS, 53 ff., 58-9, 63 n. [V. vi., vii. 3-4].

VOLTAIRE, 248, 257.

WALPOLE, HORACE, 311.

_Wasps_, _see_ ARISTOPHANES.

_Weighing of Souls_, _see_ Æ.

WEIL, H., _Note sur le Prométhée d’Eschyle_, 93 n.

WELCKER, 175 n.

Werle, Gregers, 317.

WHITE, PROFESSOR J. W., 345 n.

WIESELER, 54 n.

WILAMOWITZ-MOELLENDORFF, PROFESSOR U. von, p. v, 29 n., 42 n., 247 n., 282, 294 n.; _Einleitung in die griechische Tragödie_, 42 n.

_Witch_, _see_ MIDDLETON.

_Women of Crete_, _see_ EURIP.; _of Etna_, _see_ Æ.; _of the Fawn-skin_, _see_ Æ. _of Trachis_, _see_ _Trachiniæ_ and SOPHOCLES; _Women Washing_, _see_ SOPHOCLES.

WORDSWORTH, 127, 172, 308.

XENOCLES, 243.

XENOPHON, _Hellenica_ [VI. iv. 33-4], 38 n.

Xerxes, 76, 228 ff.; in Æ. _Persæ_, 87-9, 356.

Xuthus, in E. _Ion_, 236 ff.

_Youths_, _see_ Æ., and THESPIS.

Zenocrate, in _Tamburlaine_, 328.

Zethus, in E. _Antiope_, 298.

Zeus, 176, 277, 284.

— Cretan, 310.

— in Æ., 84 ff., 127 ff., 213; in _Eum._, 112 ff.; in _W. Souls_, 120; in E. _Andromeda_, 300; _Antiope_, 298; _Bellero._, 297; _Helena_, 260, 322; _Heracleidæ_, 201; _H. Fur._, 229 ff.; _Hippol._, 208, 212; _Ion_, 242; _Melan._, 306; _Troad._, 246.

— temple of, at Marathon, in E. _Heracleidæ_, 200.

IV. METRE

Accelerated Spondee, 343 n.

Accentual Dactyl, 356.

— Iambi, 328.

Anaclasis, 356.

Anacrusis, 334 n., 342, etc.

Anapæsis used by chorus, 337.

— in recitative, 74.

Anapæst, ⏑⏑–, 290 n., 331, 338, etc.

Anapæstic metre, 337-8.

— system, 337.

Antistrophe, 78, 344 ff.

Antithetic-mesodic periods, 361-2.

Antithetic periods, 360.

Asclepiad, greater, 8.

Bacchiac, – –⏑, 355.

Blank verse, 328.

Cæsura, 332-3, 336.

Catalectic verse, 337, 339; catalectic foot, 334.

— — in anapæstic systems, 338.

Catalexis, 335, 337, 353-4, 359.

Choree, 352-3.

Choriambics, –⏑⏑–, 357.

Cola, three types of, 351.

Colon, 343 ff.

— definition of, 347.

Counter-turn, 344.

Cretic, –⏑–, 354.

— Final, 290 n., 333-4.

— in English, 355.

Cyclic Dactyls, 341.

Dactyl, –⏑⏑, 331, etc., 340.

Dactylic dipody, 356.

— hexameter, 339.

Dactyls, cyclic, 341.

Definition of a colon, 347.

— — ictus, 347-8.

— — metre, 327.

— — poetry, 327.

— — rhythm, 327.

Diæresis, 336-7.

Dialogue-metre, 74, 334 ff., 353.

Dipody, 338, 351-2.

Dochmiacs, 355, 358.

Dochmius, 358.

Elision, 329, etc., 344 n.

Emotional significance of metre, 353 ff.

Episodic trochaics, 338, 353.

Epode, 78, 345.

Equal cola, 351.

Final Cretic, 290 n., 333-4.

Foot-ictus, 342.

Greater asclepiad, 8.

Hexameter, Dactylic, 339.

Hexapody, 351-2.

Hiatus, 329-30.

Homeric metre, 339.

Iambic metre, 4, 327, 330 ff.

— senarius, 340.

Iambus, ⏑–, 74, 327 ff., 330, etc.

Ictus, 342, 347.

— definition of, 347.

Insetting, 342.

Ionic, – –⏑⏑, 356.

Ionicus a maiore, 356.

— — minore, ⏑⏑– –, 356.

Irrational syllables, 343 n., 347, 351, 362.

Licences, 331, 335.

Logaoedic systems, 341.

Long syllables, 328.

Lyrics, v, vi, 2, 338 ff.

Mesode, 344, 361.

Mesodic periods, 361-2.

Metre, vi, 327 ff.

— definition of, 327.

— in comedy, 334.

— of S. _Philoctetes_, 181; of E. _Orestes_, 315, 334.

Molossus, – – –, 354.

Music, Greek, 339, etc.

Octonarius, 335.

— trochaic, 339.

Palinodic-antithetic periods, 361.

— — -mesodic periods, 361-2.

Palinodic-mesodic periods, 361-2.

— periods, 360.

Parœmiacs, 338 and n.

Pentapody, 351.

Period, 343, 359 ff.

Pitch-accent, 327 n.

Poetry, definition of, 327.

Postlude, 344, 362.

Prelude, 342, 344, 362.

Prodelision, 329.

Quantity, 327 ff.

Quasi-anapæsts, 354.

Quasi-trochees, 341.

Quinquepartite cola, 351.

Recitative, 337.

Resolved feet, 330, 334, 336, 342 n., 353, 355, 358.

Rhythm, p. vi, 327 ff.

— definition of, 327.

— in _Philoctetes_, 181.

Rules of Quantity, 328-9.

Scansion, 327 ff.; of lyrics, v, vi, 338 ff.

Scheme of iambic verse, 334.

— — trochaic tetrameters, 337.

Senarius, iambic, 340.

Sentence, 343, etc.

Spondaic words lacking in English, 354.

Spondee, – –, 181, 330, etc., 341, 353.

Stichic period, 359-60.

— -mesodic period, 361.

Stress-accent, 327, 342, 347.

“Striking-up,” 342 n.

Strophe, 78, 344 ff.

Synapheia, 330.

Syncopated rhythm, 341.

Synizesis, 332.

Tetrameter, Trochaic, 334 ff.

Tetrapody, 337, 351-2.

Tribrach, ⏑⏑⏑, 181, 331, 335.

Tripody, 351-2.

Trochaic tetrameter, 4, 334 ff.

— octonarius, 339.

Trochee, –⏑, 334 ff., 352.

Turn, 344.

Types of cola, 351.

— — period, 359 ff.

Unequal cola, 351.

Verse in lyrics, 346.

Virgilian metre, 339.

Voice-stress, 328.

Word-ictus, 348.

LINES QUOTED IN CHAPTER VI

ÆSCHYLUS: _Agam._, 2, 160 _sqq._, 975 _sqq._, 988 _sqq._, 1530 _sqq._ _Eumen._, 788 _sq._ _Persæ_, 81 _sq._, 126 _sq._ _Prom. V._, 12, 15, 115, 415, 420. _Suppl._, 418 _sqq._, 582 _sqq._, 656.

EURIPIDES: _Alcestis_, 29, 32, 34, 37, 179. _Androma._, 241, 260, 804. _Bacchæ_, 12, 64 _sqq._, 703. _Cyclops_, 361 _sqq._ _Hecuba_, 629 _sqq._; _Herc. Fur._, 76, 857. _Ion_, 125-7, 313, 548; _I. Aul._, 320, 882; _I. T._, 123-5, 1232. _Medea_, 1, 635; _Orest._, 310, 367, 502, 740, 756, 797, 872, 892, 894. _Phœn._, 114 _sqq._, 590 _sq._, 609, 612; _Troades_, 710, 738.

SOPHOCLES: _Ajax_, 646, 652; _Antigone_, 95, 582 _sqq._, 1329 _sq._ _Electra_, 147-9; _Œ. Col._, 1047-8, 1055, 1082. _Œ. Tyr._, 1, 29, 151, 483-4, 738, 1313. _Philoct._, 895 _sqq._, 1095 _sqq._, 1222 _sqq._, 1402.

V. GENERAL

Actor, 1.

— Hegelochus, 74.

— Sophocles, 13.

— Theodorus, 35.

Actors, 4, 15, 72-5.

Actors’ Guild, 75.

— in Roman times, 59.

— privileges of, 75.

— travelling companies of, 49.

— under Æ., 11-12.

Admission to theatre, 81.

Agnosticism of E., 318.

Alexandrian Pleiad, 2, 39-41.

Allusions to landscape, 63.

— — contemporary events, 7-9.

Altar in orchestra, 50.

— of Dionysus, 51.

Ambassadors’ seats, 81.

Amphictyonic council, 75.

Anapiesma, 64.

Apparition of gods, etc., 65.

— of Dioscuri in E. _El._, 65; of Iris and Frenzy in _H. Fur._, 233; of Medea, 65; of Pallas in _H. Fur._, 233 n.

Architecton, 82.

Architectural remains, evidence of, in stage controversy, 57-8.

Archon and dramatic judges, 12.

— Basileus, 60.

— Eponymus, 60.

Archonship of Menon, 87.

Archons’ seats, 81.

Areopagite Court in _Eumenides_, 70, 112 ff., 317.

Argives in Æ. _Agam._, 79; _Suppl._, 84; in E. _El._, 252 ff.; _Or._, 269 ff.

— in E. _Phœn._, 264 ff.; in S. _Antig._, 137 ff.

Argo the ship, in E. _Hypsip._, 305.

Argument of E. _Hippol._, 215 n.; _Medea_, 22 n.; of Æ. _Persæ_, 8 n.

— against a stage, 56 ff.; for a stage, 53 ff.

— of plays, whence taken, 62.

Arrangement of Æ. _Agam._, 99 n.; _Choeph._, 106 n.; _Eum._, 111 n.; _Pers._, 86 n.; _P. V._, 92; _Septem_, 89 n.; _Suppl._, 84 n.

— of E., _Alc._, 186 n.; _Bac._, 277 n.; _Cycl._, 289 n.; _El._, 252 n.; _Hel._, 258 n.; _Heracleidæ_, 200 n.; _H. Fur._, 228 n.; _Hippol._, 205 n.; _Ion_, 236 n.; _I. A._, 285 n.; _I. T._, 247 n.; _Or._, 268 n.; _Phœn._, 264 n.; _Rhes._, 291 n.; _Suppl._, 234 n.; _Troad._, 243 n.

— of S. _Aj._, 132 n.; _Ant._, 136 n.; _El._, 141 n.; _Œ. C._, 167 n.; _Œ. T._, 145 n.; _Philoct._, 161 n.; _Trach._, 154 n.

Artists of Dionysus, 75.

? Ascent from orchestra to stage, 55.

Assyrian sculpture, 126.

Até, 129, 198.

Athenian art, 182-3.

— cynicism, 325.

— ecclesia, 270.

— empire, 14, 128 n., 325.

Atridean house, 127, 129.

Attic festivals, 49.

— hero Triptolemus, 6.

— spirit of S., 182.

— townships, 49.

Audience, 80.

Audiences, size of, 50.

Auditorium, 51.

Authorship of _Rhesus_, 293-5.

Bacchante, 237; Bacchantes in Æ. _Bassarids_, 117.

Basileus, Archon, 60.

Beacon-speech in Æ. _Agam._, 124.

Beauty and Truth in E., 326.

_Belletrist_, Ion a, 24.

Benefactors’ seats, 81.

Bent staff of actors, 16.

Bible and S. _Œ. Col._, 172 and n.

Board-game in Æ. _Suppl._, 123; in E. _Medea_, 208.

Board of generals, 12.

Bœotians, 234 n.

“Bowl of the Sun,” in Æ. and Mimnermus, 119.

Bronteion, 64.

Buildings of Greek theatre, 50 ff.

Burial-passages in Moschion, 38.

Burlesque, E. _Helena_ a, 262 ff.

Buskin, 69.

Butler in E. _Alc._, 73.

Byzantine appreciation and selection of E., 21, 215-6, 265, 268.

Catharsis, 43.

Cenotaph of E., in Attica, 18.

Centaurs: Chiron, 98; Nessus, 154.

Ceraunoscopeion, 64.

Cercis, -ides, 80-1.

Change of dress, 73.

— — scene in Æ. _Eum._, and S. _Aj._, 63.

Character in Tragedy, according to Aristotle, 44.

Charges in theatre, 81-2.

Charioteer in _Rhesus_, 291-2.

Chariots on stage, 64.

Charon’s steps, 64.

Chian wine, 24.

Choregus, 7, 60, 68, 82.

Choreutæ or choristers, 16, 75 ff.

Chorus, 4, 75-80.

— and chorus-leader, 1.

Chorus-dancing, 78-80.

— -entrances, 56.

— in satyric drama, 80.

— — Æ., E., and S., 76-7.

— — E., _Alc._, 79; _Or._, 79; S. _Œ. Tyr._, 79; _Philoct._, 166.

— of Argive elders in Æ. _Ag._, 79, 99.

— — — women in E. _El._, 252 ff.

— — — — — — _Or._, 79, 269.

— — Athenians in S. _Œ. Col._, 169.

— — attendants of Creusa in E. _Ion_, 236 ff.

— — — women in E. _Phaethon_, 302.

— — Colchian women in E. _Iph. A._, 285 ff.

— — captive Greek maidens in E. _Helena_, 259.

— — — — — — — _Iph. T._, 247 ff.

— — Corinthian women in E. _Medea_, 192 ff.

— — Danaids in Æ. _Suppl._, 76, 84.

— — Furies in Æ. _Eumen._, 76-7, 111.

— — Greek sailors in S. _Philoct._, 166.

— — Lemnians in Æ. and E. _Philoct._, 166, 296.

— — Libation-bearers in Æ. _Choeph._, 79, 106, 126.

— — Mothers of the Seven, in E. _Suppl._, 234 ff.

— — Nemean women in E. _Hypsip._, 304.

— — Old Athenians, in E. _Erech._, 297; _Heracleid._, 200.

— — — Pheræans in E. _Alc._, 79, 186.

— — Phœnician maidens in E. _Phœn._, 264 ff.

— — — — — Phrynichus’ _Phœn._, 9.

— — Phrygian Bacchantes in E. _Bac._, 277 ff.

— — Phrygians in Æ. _Hector’s Ransom_, 119.

— — Phthian women in E. _Andromache_, 220.

— — Salaminian sailors in S. _Ajax_, 132.

— — Satyrs in S. _Ichn._, 175, and E. _Cycl._, 289 ff.

— — Sea-Nymphs in Æ. _Prom. V._, 94.

— — Sentinels in _Rhesus_, 291 ff.

— — Thebans in E. _H. Fur._, 228 ff.

— — — — S. _Antig._, 137.

— — — — — _Œ. Tyr._, 148.

— — Trœzenian women in E. _Hippol._, 205 ff.

— — Trojan women in E. _Troades_, 243 ff.

— place of, in theatre, 50.

— under Æ., 11-12.

Chorus-leader, 60.

— -trainer, 70.

Chromatic style of Agathon, 26.

Chthonian religion in Æ., 130.

City Dionysia, 13, 49, 60.

Classicism and Romance, 320.

Comedy, 23.

— origin of, 1 n.

Commos, 74.

— Aristotle’s definition of, 47.

— in Æ. _Choeph._, 109 and n.

Complication, Ar.’s definition of, 47.

Conception of God in Critias, 30.

Confederacy, Delian, 13.

Conscience in Æ., 130.

Contents, p. vii.

Coon-songs, 80.

Corinthians, 16, 192 ff.

Coryphæus, 78-9.

— in _Œ. Tyr._, 146.

Cothurnus, 69.

Crēpis, 68.

Criticism, Verrall’s, etc., p. v.

Crown of ivy, 61.

Curetes, in E. _Cretans_, 310.

Curtain, none in classical age, 64.

Dancing-ground, 50.

Dancing of chorus, 78-80.

Date of _Hecuba_, 215 n.

Dea ex machina, in E. _Ion_, 240; _Melanippe_, 306. See also Deus.

Death on stage, according to Aristotle, 45; of Alcestis and Hippolytus, 46.

Defects in S. _Ajax_, 135-6.

Delian confederacy, 13.

— festival, 215 and n.

Delirium of Orestes, on stage, 70.

Delphic oracle, in E. _Erech._, 297; _Ion_, 237 ff.; _I. T._, 247 ff.; _Teleph._, 295-6.

Demos, 325.

Dénouement, Aristotle’s definition of, 47.

Destiny in E., 318.

Deus ex machina, acc. to Aristotle, 46; in S. _Philoct._, 163 ff., 312 ff., 315; in E. _Androma._, 312 ff.; _Bac._, _Hel._, _Hipp._, _Ion_, _Iph. A._, _Melan. W._, _Rhes._, _Suppl._, _ibid._, _Medea_, 46, 195-6.

Deuteragonist, 72.

Dialogue, 4, 11.

Difficulties in plot of _Andromache_, 221 ff.

Dionysia, City or Great, 13, 49, 60, 80.

— Rural, 49.

— 203.

— in Alexander’s Camp, 39.

Dionysiac festivals, 80.

— — at Alexandria, 39.

— legends, 2.

— worship, 68.

Distegia, 64-5.

Dithyrambic chorus, 82.

Dithyrambs, 1, 3, 23-4, 49.

— prize a tripod in, 62.

“Do and suffer,” 110.

Doge in Sh. _Merchant of Venice_, 72-3.

Doors in theatre, 52.

Dorian mode, 72.

Dorians and tragedy, 3.

Doric in lyrics, 3 and n.

Drama before Æ., 4 ff.

Dramatic art of Æ., 125 ff.

— criticism, Verrall’s, p. v.

— form, p. vi.

— irony in S., 179-80.

— performance, a State function, 50.

— renaissance in Great Britain, p. v.

— structure, pp. v, vi, etc.

— — of E. _Medea_, 196-7.

Dress, effect of, on acting, 70.

— of actors and chorus, 68-70.

— — satyric chorus, 69.

— — chorus in E. _Bac._, 68-9.

— — Furies in Æ. _Eum._, 69.

Dressing-room, 52.

Ecclesia of Athens, 270.

Eccyclema, 64, 66-8; in Æ. _Eum._, 67, 111 n.; in E. _H. Fur._, 229.

Editions of E. _Medea_, 22 and n., 195-6; of _Hippol._, 213-5.

Effect of dress and masks on acting, 70.

Egyptian herald in Æ. _Suppl._, 123-4, and Eg. messenger in E. _Hel._, 258 ff.

— sculpture, 126.

Elaphebolion, month (Mar.-Apr.), 49.

Elegies of Ion, 23.

Elements of tragedy, acc. to Aristotle, 44.

Eleusinian mysteries, 10-11.

Eleusinians in E. _Erech._, 297.

Elizabethan dramatists, 5.

— stage-directions, and eccyclema, 66-7.

Embassy to Syracuse, E. on, 17.

Encores, 83.

Epigrams of Ion, 23.

Episodes, 4 and n., 12.

— Ar.’s definition of, 47.

Episodic plot of _Hecuba_, 216.

— plots of E., 312 ff.

Epitaph of Æ., 10 n.

Eponymus, Archon, 60.

Eretrian philosophic school, 39.

Eruption of Etna, 91.

Etymology of “tragedy,” 62 n.

Eunuch in Phrynichus’ _Phœnissæ_, 7.

Euripidean influence in S. _Philoct._, 163.

— — — — _Trach._, 159-60.

— _Supplices_, 65.

— versification of Sosiphanes, 41.

Evidence of architectural remains, in stage controversy, 57-8.

— — extant dramas, in stage controversy, 56-7.

— — tradition, in stage controversy, 57.

Examining-boards and S. _Ajax_, p. vi.

Exodos, 78; Ar.’s definition of, 47.

“Expedit esse deos,” 257 n.

Fate in Æ., 130; in E., 318; in E. _Troades_, 246.

“Fates” in British Museum, 182.

Faults in _Œ. Tyr._, 150 ff.

Fixed proscenium, 58.

Flowers, Chæremon’s love of, 32-3.

Flute-players, 6, 60, 70-2.

Form, dramatic, p. v.

Fourth actor, 71.

Fragments of Aristophanes, 119 and n.

— — Æ., 117 ff.; of E., 295 ff.; of S., 173-6.

French Revolution, 30.

Frenzies in E. _Orestes_, 275; frenzy, 65.

Fundamental law in criticism of Greek tragedy, 155.

Furies, 67-8, 111 ff., 249; and Attica, 131; grove of, 168 ff.; in Æ. _Choeph._, 108; _Eum._, 77 n.; in S. _Œ. Col._, 169; in E. _Iph. T._, 247; _Orestes_, 269.

Gallery, 51.

— on Elizabethan stage, 65.

Gamelion, month (Jan.-Feb.), 49.

Gangways, 51.

General appreciation of Æ., 120 ff.; of S., 177 ff.; of E., 310 ff.

Generals, board of, 13.

Generals’ seats, 81.

Geography, in _Prometheus_-trilogy, and _Daughters of Sun_, of Æ., 119; and in S. _Triptolemus_, 173.

Ghost of Clytæmnestra, in Æ. _Eum._, 111 ff.

— — Polydorus, in E. _Hec._, 215 ff.

Ghosts in theatre, 55, 64.

Goat as tragic prize, 62.

“Goat-song,” 62 n.

“God” in E., 283 f.

Golden Fleece in E. _Medea_, 192 ff.

— — — — _Hypsip._, 305.

— Lamb, 257.

Gorgon, in E. _Andromeda_, 240.

Graces and Muses in E., 326.

“Gracious Ones,” 113 n.

Græco-Roman type of theatre, 59 n.

Grandeur of Æ.’s dramatic art, 125.

— — — language, 121.

Great Dionysia, 49, 80.

Greek Drama originated in Dionysiac worship, 1.

— — an act of worship, 49.

— enlightenment, 325.

— Messenger in E. _Helena_, 258 n.

— Statues, 182-3.

Guard in E. _Bacchæ_, 277 ff.; in S. _Antig._, 144.

Hades, 95; in Pirithous, 29.

Harpist, S. as, 71.

Hellenistic world, 20.

Hellenotamias, 13.

Hemicyclion, 64.

Herald in Æ. _Ag._, 73; _Suppl._, 123; of Thebes, in E. _Suppl._, 234 ff.

Herdsman in _Rhesus_, 291 n. and ff.

“Hero” in Greek sense, 136.

High stage, 53-4.

Hissing a play, 83.

Homeric question, 52.

Hoplite, Æ. as, 10.

Horses on stage, 64.

Huntsmen in E. _Hippol._, 71.

Hymns of Ion, 23.

Hypnotism in E. _Bacchæ_, 282.

Hyporchema, 6, 78.

Hypothesis of E. _Cycl._, 290 n.; of _Suppl._, 235 n.

Icria, 81.

Improvisation, 5.

Innovations of Agathon, 26 f.

Interpolations in E. _Phœnissæ_, 265 ff.

Invocation of Agamemnon’s shade, in Æ. _Choeph._, 74.

Ionian revolt, 7.

Irony, S.’s dramatic, 179-80.

Isthmian games, 23.

Ivy crown of poet and choregus, 61.

— sacred to Dionysus, 61-2.

Japanese theatre, 68.

Judges of dramas, 12-13, 61.

Judges’ seats in theatre, 81.

Lacedæmonian society in E. _Andromache_, 224.

Landscape, allusions to, in drama, 63.

Language of Homer, 123.

Later Greek view of E., 323.

Lead, theatre-ticket of, 82.

Lemnian chorus in Æ. and E. _Philoctetes_, 166.

Lenæa, 34, 49, 60.

Lessee of theatre, 82.

Library of Alexandria, 39.

— — Euripides, 17.

Libretto, 72, 312.

Lightning on stage, 64.

“Literature of escape,” 184.

“Liturgy” or public service, 60.

Logeion, 53, 57, 64.

Low stage, 54.

Ludovisi Hera, 182.

Lycians in _Rhesus_, 291 ff.

Lycurgean theatre, 58.

Lydian mode, 72.

Machinery, on stage, 64-5.

“Madonna of the Grand Duke,” by Raffaelle, 102.

“Marathon, men of,” 325.

Masks, 5, 58, 68-9; invented by Chœrilus? 6; effect on acting, 70.

“Melian dialogue” in Thucydides, 167 n.

Melodrama, 307.

“Men of Marathon,” 325.

Messenger or messengers: in E. _Bacch._, 277 ff.; _El._, 252-3; _Helena_, 258 ff.; _Iph. A._, 285 f.; _Phœn._, 264-5; _Suppl._, 234 n.; in S. _Œ. Col._, 185.

Metaphors, 123, etc.

Minor parts well played, 73.

Mixed, or “mixo-,” Lydian mode, 19, 72.

Model tragedy, in Ar. _Poetic_, the _Œ. Tyr._, 148.

Modes in music, 72.

Monastic spirit in Hellas, 310.

Monody, 74.

Mounting of plays, 60, 62 ff.

Muse in _Rhesus_, 291 n. and ff.; Muses in Æ. _Bassar._, 117; in E. _H. Fur._, 229.

Music, 26, 71-2; and Pratinas, 6.

Music-hall, or Odeum, 56.

Mutes, 70-1.

Mysteries of Eleusis, 10-11.

Naiad-lyric in E. _Hel._, 261.

Natural science in E., 319.

Nemean games, 304.

— women in E. _Hypsip._, 304.

New comedy, 19, 336.

Nightingale-lyric in E. _Hel._, 261; in _Rhes._, 292-3.

No word for stage in older literature, 57.

Number of actors, 5, 11-12, 15-16, 73.

Nurse in Æ. _Choeph._, 124; E. _Hippol._, 205 ff.; in S. _Trach._, 158 n.; in Sh. _Romeo and J._, 124.

Nymph Cyllene, in S. _Ichn._, 176; Echo, in S. _Philoct._, 166.

Objections of A. and Ar. to E., 312 ff.

Obol, 81.

Obscenity in ritual, 81.

Oceanids in Æ. _P. V._, 76, 124.

Ochlocracy, 30.

Odes in Tragedy, 77.

Odeum, or Music-hall, 56.

Old Comedy, 81.

— man, in E. _Iph. A._, 285 ff.

— woman, in E. _Helena_, 258 ff.

Olympian Gods, and Æ., 130; in S. _El._, 142; in E. _Hippol._, 209; _Ion_, 238 ff.; _Iph. T._, 249; _Or._, 276; _Troad._, 246.

Oncus, 69.

Optical relations of stage and auditorium, 58.

Oracle of Delphi; in _Ion_, 237; and _see_ DELPHIC ORACLE.

Orchestra, 50, 57-8, 64.

Order in theatre, 82.

Origin of comedy, 1 and n.; of tragedy, 1 ff.

Oxyrhynchus papyri, 18 and n., 175 ff., 304 and n., etc. [vi., 19-106; ix. 124-82].

Pæan on Salamis, 12; Pæans, 23.

Pædagogi, brought on stage by Neophron, 21.

Pædagogus, in S. _El._, 141 ff.; E. _Ion_, 236 ff.; _Med._, 192; _Phœn._, 264 ff.

Papyri, _see_ Oxyrhynchus.

Parachoregema, 71.

Parallel of sculpture and Æ.’s art, 125-6.

Parascenia, 53-4, 71.

Parian marble, the, 17.

Parodos, -oi, 77, 81; Ar.’s definition of, 47.

Parody: of Agathon, in A. _Thesmoph._, 27-8; of E. _Andromeda_, in A. _Thesm._, 298; _Belleroph._, in A. _Peace_, 297; of _Tel._ in A. _Acharn._ and _Thesm._, 296; of _Helena_ in A. _Thesm._, 262.

Parts of a theatre, 50 ff.

Passage-ways, 51.

Peace-lyric, in E. _Cresph._, 308-9.

Peasant in E. _Electra_, 252 ff.

“Pegs,” 51.

Pelasgians, 272.

Pelopid curse, in Æ. _Agam._, 106; family, 258.

Peloponnesian war, 163, 200, 201 n., 219 n., 325.

Performers and their work, 70 ff.

Periacti, 63, 65.

Peripeteia, definition and examples of, given by Aristotle, 37, 47-8; in Agathon, 27; in E., 18-19; in S. _Antig._, 140; in _Philoct._, 163.

Persian counsellors, 7, 356; invasions, 10.

Phallic songs, 1 n.

Pheræan elders’ chorus, in E. _Alc._, 186.

Philosophy in E., 319.

“Phœbus,” watchword in _Rhesus_, 291 ff.

Phœnician women, chorus of in E. and Phry. _Phœn._, 9, 264.

Phrygian in E. _Orestes_, 268 ff.

— mode, 16, 72.

— slave, his solo, in E. _Or._, 72.

Phrygians, 224.

Phrynichean treatment of theme, 108.

Picturesqueness of Æ.’s dramatic structure, 127-8; of his characterization, 124; language, 123-4.

_Plan of theatre_ (illustration), 51.

Platform, 56.

Plays with two actors only, 12 and n.

“Pleiad” at Alexandria, 39.

Pleiads in E. _Phaethon_, 302.

Plot in Tragedy, acc. to Aristotle, vi, 44; of _Agam._, Verrall’s theory, 100 ff.

Politics, Æ.’s interest in, 128 and n.; in E., 319.

Pommery, 74 n.

Popularity of E. _Phœn._, 265.

Poseideon, month (Dec.-Jan.), 49.

Priest of Dionysus, 80.

Privileges of actors, 75.

Prize for acting, 61, 75.

Probability in Agathon, 27.

Proedria, 81.

Producers of plays, 60.

Production of plays, 49 ff.

Prologos, Ar.’s definition of, 19, 47.

Prologue in E., 19 and n.

— of Phrynichus’ _Phœnissæ_, 7.

Pronunciation in Greek and English theatres, 74.

Propagandist plays of Diogenes and Crates, 37.

Properties, 64.

Property-rooms, 52.

Prophetess in E. _Ion_, 236 ff.

Prophets of Israel and Æ., 121.

Propompi in Æ. _Eum._, 71.

Proscenium, 53, 58.

Prose-drama of E., 323.

Protagonist, 60-1, 72 ff.

Psychological drama of E., 318.

_Pulpitum_, 56.

Puritans, 30.

Purpose and scope of the book, p. v.

Pythian priestess, in Æ. _Eum._, 111; in E. _Ion_, 237.

_Quo Vadis?_ legend, 165.

Rationalism in Critias’ _Sisyphus_, 30; in E., 315, etc.

Realism in E., 321.

Recitative, 74.

Recognition in tragedy, acc. to Aristotle, 45; in Æ. _Choeph._, 258; in Arnold’s _Merope_, 308-9; in E. _Cresph._, _ib._; _Hel._, 260; _Hypsip._, 305; _Ion_, 237 ff.; _Iph. T._, 31, 45, 73, 248; in Polyidus’ _Iph._, 31; in S. _El._, 142, 144; _Tereus_, 174 n.

Recoil in drama, Ar.’s definition of, 45, 47-8; in S. _Antig._, 140.

Religion in E., 319, etc.; in S., 177; in Æ. _Eum._, 114; of Æ., 128.

Remains of theatre buildings at Athens, 52.

Renaissance in Great Britain, Dramatic, p. v.

Reticence of Athenian art, 183.

Reversal of action in tragedy, acc. to Aristotle, 45, 47-8.

Rhapsody of Chæremon, 32.

“Rod-bearers,” 82.

Roman theatres, 52.

Romance and classicism, 320.

— in E., 320-1.

Rural Dionysia, 49.

Sack of Melos, 244.

Sacrificial Table, 1, 4.

Salaminian sailors, chorus of, in S. _Ajax_, 132.

Salamis, victory of, 7, 12, 14, 38.

“Salome” dances, 78.

_Salon_ of Sophocles, 14.

Satyric chorus, 80.

— drama, 1, 2, 6, 17, 23, 25, 61, 81 n., 175-6, 192, 289 ff., etc.

Satyrs, 1; chorus of, in _Cycl._, 289 ff.

Scænici, 53.

Scēnē, 52, 59.

Scene-painting, 4, 15, 16, 62.

Scenery, 62 ff.

Scholia: on Æ. _Choeph._ [900], 73 n.; _Pers._, 87; _Prom. V._ [128], 57; on _Aristoph._, 22 n.; _Frogs_ [303], 74 n.; _Frogs_ [53], 304 n.; _Wasps_ [1342], 57; on Eurip., 21; _Phœn._, 265; _Rhes._ [528], 294 and n.

Scolia, 23.

Sculpture of Assyria, Egypt, Greece, Praxiteles, 125-6.

Sea-Nymphs, in Æ. _P. V._, 94.

Seating accommodation in theatre, Athens, 50 and n.

Seats in theatre, 80 ff.

Selection of dramatic judges, 61.

Semi-choruses, 78.

Sentinels, chorus of, in _Rhesus_, 291 ff.

Servant, in E. _Ion_, 236 ff.

Seven against Thebes, in E. _Suppl._, 234 ff.

Shepherd, in E. _El._, 253.

Shrine of Thetis, in E. _Androma._, 219 ff.

Sicilian expedition, 244, 252 n.

Side-wings, 51, 54.

Sikinnis dance, 80.

Simplicity of Athenian art, 183; of Æ.’s dramatic structure, 126.

— — Æ.’s language, 122.

Sin, as material defilement, in Æ., 130 n.

— in Euripides, 318 ff.

Slave in _Iph. A._, 322.

Socratic novices in A. _Clouds_, 68.

Solo by Phrygian slave in E. _Or._, 72.

Songs of Phrynichus, 8.

Sophistry in E., 317.

(“Spartam nactus es, hanc exorna”), 295.

Spartans, 201 n., 204.

“Speaking-place,” 53; “for gods,” 65.

Sphinx, 265, 267-8 n.; in S. _Œ. Tyr._, 151.

Stage, 52 ff.

Stage-buildings, 50 ff.

— -direction in S. _Ichn._, 175 n.

— -machinery, 64 ff.

— -properties, 64.

— used after 300 B.C., 53.

Stasima, 77; -on, Ar.’s definition of, 47.

Statues in Greek plays, 62.

— of playwrights, 31.

Stewards in theatre, 82.

Stropheion, 64.

Structure, dramatic, v, vi, etc.

“Study-plays” of Diogenes and Crates, 37.

Sun-god, in E. _Medea_, 195; _Phaethon_, 301-3.

Supervision of dramatic displays, 60 ff.

Suttee, in E. _Suppl._, 235.

Table in orchestra, 50.

Table, sacrificial, 1, 4.

Tableaux in Greek theatre, 66.

Taurians in E. _Iph. T._, 247 ff.

Technical changes made by Æ., 11; by S., 15-6.

Temple of Athena, in _Eumen._, 63.

Tent, 52 (of Agamemnon).

Tetralogy, 15, 17, 24, 50, 61, 87.

Theatre, 80 ff.

— at Athens, remains of, 59 n.

— buildings, 50 ff.

— Græco-Roman type, in Asia Minor, 59 n.

— its parts and construction, 50 ff.

— not roofed, 50.

— of Dionysus, Athens, 49, 56.

— — Lycurgus, 57.

— ticket, 82.

Thebans, chorus of, in E. _H. Fur._, 228 ff.

Theologeion, 64-5.

Theoric fund, 82.

Thessalian, in E. _Andromache_, 226-7.

Thesmophoria, festival, 262.

Third actor, 16.

Thirty tyrants, 29-30.

Thought in tragedy, acc. to Aristotle, 44.

Thracian Edoni, 117.

Thracians in E. _Erech._, 297; _Rhes._, 291 ff.

“Three Unities,” 42 n.

Thunder-machine, 64.

Thymele, 57; -melici, 53.

Times of dramatic performances, 50.

“To give a chorus,” 60.

Tomb of Achilles, in _Hec._, 216; of Agamemnon, in Æ. _Choeph._, 106; in E. _El._, 253; of Clytæmnestra, in E. _Or._, 269; of Proteus, in E. _Hel._, 259; importance of tombs acc. to Prof. Ridgeway, 3, 64 and n.

“To receive a chorus,” 60.

Torturing of slaves, in drama, 21.

Tradition, evidence of, in stage controversy, 57.

Tragedy, origin of, 1 ff.

Tragic contest, begun by Pisistratus, 50.

— diction, created by Æ., 122.

— incident in tragedy, acc. to Aristotle, 45.

Tragicomedy in E., 19.

Trainers of actors and choruses, 60.

Travelling companies of actors, 49.

Treasury Board, 13.

Trilogy, 16.

Tripod, prize for dithyramb, 62.

Tritagonist, 72.

Trœzenian women, chorus of, in E. _Hippol._, 205 ff.

Trojans, in E. _Philoct._, 297; _Rhesus_, 291 ff.

— women, chorus of, in E. _Troades_, 243 ff.

Two actors only, in certain plays, 12 and n.

Tyrants, thirty, 29.

Unities, three, 42 n.

Unity of Place, 42 n.; violated in Æ. _Eum._, and in S. _Aj._, 42 n.

Unravelling in drama, Ar.’s definition of, 47.

Vase-paintings, 41.

Verse-translations of Professor Murray, v, 185, 211, 214, 280.

Versions of E. _Medea_, 22 and n., 195-6; of _Hippol._, 213-5.

Vitruvian stage, 53 ff.

Vote of Athena, in Æ. _Eumen._, 112 and n.

Waggon of Thespis, 5, 50.

Was there a stage in the Greek theatre? 52 ff.

— — ever a fourth actor? 71.

Watchmen in Æ. _Agam._, 64, 124.

What does Aristotle think of Peripeteia? 48.

White shoes of actors, 16.

Wine-lees, faces of Thespis’ actors smeared with, 5, 68.

“Wine-Press Festival,” 49, _see_ Lenæa.

Wit in E. _Orestes_, 323; in E. generally, 321-3.

Wooden horse, 243.

Wrestling in Phrynichus’ _Antæus_, 7 and n.

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