iv. 97 σκεῦός τι ὑπότροχον ἐκτὸς τῆς σκηνῆς, οὗ στρεφομένου ἐδόκει τὰ

ἔσω τοῖς ἔξω φανερὰ γίνεσθαι. Reisch (Griech. Theater, p. 236) thinks the last four passages, in which the word στρέφειν is used, refer to a different kind of machine, by which the back-scene was rolled apart, and disclosed the interior. But this is to lay too much stress on the exact words of the grammarians. They are all obviously referring to the same device. See below, p. 206.

[622] Agam. 1379, 1404, 1440. Choeph. 973, 981.

[623] Ajax 346; Antig. 1293, 1301; Hipp. 808, 857; Soph. El. 1458-75; Hec. 1051, 1118; Herc. Fur. 1029-1402; Eur. El. 1177, 1243, 1276.

[624] Thesm. 95, 96 ΕΥ. σίγα. ΜΝ. τί δ’ έστιν; ΕΥ. Ἁγάθων ἐξέρχεται. | ΜΝ. καὶ ποῖός ἐστιν; ΕΥ. οὗτος οὑκκυκλούμενος, 238 ἐνεγκάτω τις ἔνδοθεν δᾷδ’ ἢ λύχνον, 265 εἴσω τις ὡς τάχιστά μ’ εἰσκυκλησάτω. Id. Acharn. 399 αὐτὸς δ’ ἔνδον ἀναβάδην ποιεῖ, 408, 409 ΔΙ. ἀλλ’ ἐκκυκλήθητ’. ΕΥ. ἀλλ’ ἀδύνατον. ΔΙ. ἀλλ’ ὅμως. | ΕΥ. ἀλλ’ ἐκκυκλήσομαι· καταβαίνειν δ’ οὐ σχολή. The word ἀναβάδην usually means ‘with one’s feet up’, and is so taken by many scholars in the present passage. But καταβαίνειν in l. 409 seems to prove that here at least it must mean ‘upstairs’.

[625] Nub. 181 ff., Equit. 1327.

[626] [Fossum, Am. J. Arch. 1898, p. 188; Dörpfeld, Ath. Mitth. 1903, p. 396. See above, p. 165 n.]

[627] [Exon, Hermathena, 1900, pp. 132 ff.; Navarre, Revue des Études Anciennes, 1901, p. 102. The words are περιστρεφόμενον, στραφέντα, and the variant ἐγκύκλημα (compared with ἐγκύκλιος, &c., of rotatory movement): see above, p. 201. Exon also doubts if ἀνοίγεται ἡ σκηνή could be used of opening a door for the ἐκκύκλημα to pass, and thinks that the portion of the back-scene which formed part of the ἐκκύκλημα on his theory was by the side of the door, and that there was a similar apparatus by each door. But this is pressing the meaning of ἀνοίγεται ἡ σκηνή too closely. The words of Pollux, however, do suggest that the ἐκκύκλημα could be adapted to any of the three doors.]

[628] Schol. Thesm. 284 παρεπιγραφή. ἐκκυκλεῖται ἐπὶ τὸ ἔξω τὸ θεσμοφόριον. The words ὠθεῖται τὸ ἱερόν are inserted in the text. These παρεπιγραφαί were stage-directions appended to the text of the plays; but when and by whom they were written is unknown.

[629] Schol. Eum. 64.

[630] When Apollo (l. 67) says καὶ νῦν ἁλούσας τάσδε τὰς μάργους ὁρᾷς, it is hardly conceivable that the Furies should not have been visible to the audience. Also l. 179 ἔξω, κελεύω, τῶνδε δωμάτων τάχος | χωρεῖτε implies that they were still inside the temple: but according to the theory in the text they had come out of the temple at l. 140.

[631] Reisch, Griech. Theater, pp. 234 ff.; Capps, The Stage in the Greek Theatre, pp. 237 ff. Neckel (Das Ekkyklema, pp. 7 ff.) thinks the ekkyklema was too rude a device for the taste of Aeschylus and Sophocles, and that it was first introduced in the time of Euripides. Bethe (Prolegomena, pp. 104 ff.) thinks it was used by Aeschylus and Sophocles, but gradually dropped by Euripides.

[632] Reisch (pp. 237 ff.) explains the two scenes in the Thesmophoriazusae and the Acharnians by supposing that Agathon and Euripides were rolled out on couches. But this theory destroys all the point and humour of the scenes.

[633] Herc. Fur. 1008, 1070.

[634] Nub. 184, 198.

[635] Additional proofs that the bodies were not _carried_ out are (1) Agam. 1379, where Clytaemnestra says she is standing on ‘the very spot where she struck the blow’, (2) Antig. 1301, where Eurydice is seen lying beside the altar at which she had stabbed herself. That the ekkyklema-scenes were _outside_ the building, and on the stage, is also proved by Eur. El. 1245, 1276, where the Dioscuri, though standing above the palace roof, can see the bodies of Clytaemnestra and Aegisthus.

[636] Poll. iv. 129 τὴν δὲ ἐξώστραν ταὐτὸν τῷ ἐκκυκλήματι νομίζουσιν. Hesych. s.v. ἐξώστρα· ἐπὶ τῆς σκηνῆς τὸ ἐκκύκλημα. Delian inscription of 274 B.C. (Bull. Corr. Hell. 1894, p. 162) τὰς ἐξώστρας ... ἐπισκευάσαι. Polyb. xi. 6. 8 τῆς τύχης ὥσπερ ἐπίτηδες ἐπὶ τὴν ἐξώστραν ἀναβιβαζούσης τὴν ὑμετέραν ἄγνοιαν. Cic. de Prov. Cons. § 14 iam in exostra helluatur, antea post siparium solebat.

[637] Poll. iv. 128 ἡ μηχανὴ δὲ θεοὺς δείκνυσι καὶ ἥρως τοὺς ἐν ἀέρι, Βελλεροφόντας ἢ Περσέας, καὶ κεῖται κατὰ τὴν ἀριστερὰν πάροδον, ὑπὲρ τὴν σκηνὴν τὸ ὕψος. Schol. Luc. Philops. vii. p. 375 (Lehmann) ἄνωθεν ὑπὲρ τὰς παρ’ ἑκάτερα τῆς μέσης τοῦ θεάτρου θύρας ... μηχανῶν δύο μετεωριζομένων ἡ ἐξ ἀριστερῶν θεοὺς καὶ ἥρωας ἐνεφάνιζε παρευθύ, ὥσπερ λύσιν φέροντας τῶν ἀμηχάνων. Aristoph. Daedal. fr. 9 (Meineke) ὁ μηχανοποιός, ὁπότε βούλει τὸν τροχὸν | ἐλᾶν ἀνεκάς, λέγε, χαῖρε φέγγος ἡλίου. The μηχανή was also called ἐώρημα, Suidas. s.v. [This should probably be αἰώρημα.] The ropes to which the actor was suspended were called αἰῶραι; Poll. iv. 131 αἰώρας δ’ ἂν εἴποις τοὺς κάλως οἳ κατήρτηνται ἐξ ὕψους ἀνέχειν τοὺς ἐπὶ τοῦ ἀέρος φέρεσθαι δοκοῦντας ἥρως ἢ θεούς. The hook by which he was fastened was ἅρπαξ or ἀγκυρίς; Bekk. Anecd. i. 232 (of the Crane) ἅρπαξ ... ἐξ οὗ ὁ ἐσκευασμένος ὑποκριτὴς τραγῳδεῖ. Plut. Prov. 116 (of the Fig-Branch) ἀγκυρίς, ἀφ’ ἧς οἱ ὑποκριταὶ ... ἐξαρτῶνται ... ζωστῆρσι καὶ ταινίαις κατειλημμένοι.

[638] Plut. Prov. 116 κράδης ῥαγείσης· νῦν οὐχ ὁ σύκινος κλάδος, ἀλλ’ ἡ ἀγκυρίς, ἀφ’ ἧς οἱ ὑποκριταὶ ἐν ταῖς τραγικαῖς σκηναῖς ἐξαρτῶνται θεοῦ μιμούμενοι ἐπιφάνειαν. So Hesych. s.v. κράδη. Pollux (iv. 128) makes the κράδη the comic counterpart of the μηχανή, which is utterly improbable. Crusius (Philologus, 1889, p. 698) suggests very plausibly that κράδης ῥαγείσης was the beginning of a line in some comic poet, who applied the name ‘fig-branch’ contemptuously to the hook of the μηχανή.

[639] Poll. iv. 130 ἡ δέ γέρανος μηχάνημά ἐστιν ἐκ μετεώρου καταφερόμενον ἐφ’ ἁρπαγῇ σώματος, ᾧ κέχρηται Ἠὼς ἁρπάζουσα τὸ σῶμα τὸ Μέμνονος. The scholiast on Lucian (quoted on p. 209) speaks of two μηχαναί, one at each end of the back-scene; and then proceeds to describe the ordinary μηχανή, but says nothing about the other one. Hence Oehmichen (Bühnenwesen, p. 247) conjectures that this other μηχανή was the γέρανος.

[640] Bekk. Anecd. i. 208 μηχανή ἐστι παρὰ τοῖς κωμικοῖς ἐκκυκλήματός τι εἶδος ... δείξεως χάριν θεοῦ ἢ ἄλλου τινὸς ἥρωος. Lucian, Philops. 29 θεὸν ἀπὸ μηχανῆς ἐπεισκυκληθῆναί μοι τοῦτον ᾤμην. Philostrat. vit. Apoll. vi. 11 ἐφ’ ὑψηλῆς καὶ θείας μηχανῆς ἐκκυκλοῦσιν.

[641] Prom. 284, 394. Pollux, iv. 130.

[642] Eum. 403-5.

[643] Prom. 135, 280.

[644] That the capacities of the μηχανή were not unlimited is proved by Pollux, iv. 126 θεοὺς θαλαττίους ἐπάγει, καὶ πάνθ’ ὅσα ἐπαχθέστερα ὄντα ἡ μηχανὴ φέρειν ἀδυνατεῖ.

[645] Androm. 1229, Eur. El. 1235, 1349, Med. 1317 ff.

[646] Herc. Fur. 817, 872, 880. Eur. frags. 124, 306, 307. Poll. iv. 128.

[647] Nub. 218, Av. 1199, Daedal. frag. 9, Pax 154 ff.

[648] A supposed representation of a theologeion on a medallion of the Roman period, found at Orange, is given in Baumeister, fig. 1832, and Griech. Theater, p. 335. Jupiter, Minerva, and Victoria are depicted as sitting on a tall and narrow stage, while Mars and Hercules confront one another underneath. But there is nothing to show that the scene represents a theatrical performance.

[649] See next note. See also p. 164.

[650] Poll. iv. 130 ἀπὸ δὲ τοῦ θεολογείου ὄντος ὑπὲρ τὴν σκηνὴν ἐν ὕψει ἐπιφαίνονται θεοί, ὡς Ζεὺς καὶ οἱ περὶ αὐτὸν ἐν Ψυχοστασίᾳ. Plut. Aud. Poet. 17 A.

[651] Niejahr, however (Quaest. Scaen. pp. 20 ff.), suggests that Trygaeus only rose a short distance upon the beetle, then descended to earth again, and that his own house then did duty as the house of Zeus. [Cp. Sharpley’s edition of the Peace, Introduction.]

[652] Wilamowitz, Herakles, i. p. 148.

[653] Reisch, Griech. Theater, pp. 227 ff. Bodensteiner, Scenische Fragen, pp. 665 ff. Bethe (Prolegomena, p. 133) thinks neither the mechane nor the theologeion were used before about 427, when he supposes there was a great reorganization of the scenic arrangements (see above, p. 172).

[654] Ion 1549, Rhesus 886, Orest. 1631.

[655] Hipp. 1282, Iph. Taur. 1435, Eur. Suppl. 1183, Hel. 1642, Phil. 1409, Bacch. 1331.

[656] Plat. Cratyl. 425 D οἱ τραγῳδοί, ἐπειδάν τι ἀπορῶσιν, ἐπὶ τὰς μηχανὰς καταφεύγουσι θεοὺς αἴροντες. Antiphanes (Meineke, iii. p. 106) ἔπειθ’ ὅταν μηδὲν δύνωντ’ εἰπεῖν ἔτι | ... αἴρουσιν ὥσπερ δάκτυλον τὴν μηχανήν, | καὶ τοῖς θεωμένοισιν ἀποχρώντως ἔχει. Aristot. Poet. c. 15. Demosth. p. 1025 ὥσπερ ἀπὸ μηχανῆς. Schol. Plat. Bekk. p. 381 ἀπὸ μηχανῆς θεὸς ἐπεφάνης· Μένανδρος Θεοφορουμένῃ.

[657] Rhesus 596 (cp. 627); Ajax 1-133.

[658] Cp. Hipp. 53 ἔξω τῶνδε βήσομαι τόπων. Ion 76 ἐς δαφνώδη γύαλα βήσομαι τάδε. In the Troades, though Hecuba is on the stage during the speech of Poseidon and his colloquy with Athene, she is lying prostrate on the ground, overcome with grief, and is unconscious of their presence.

[659] Aristot. Poet. c. 15 ἀλλὰ μηχανῇ χρηστέον ἐπὶ τὰ ἔξω τοῦ δράματος, ἢ ὅσα πρὸ τοῦ γέγονεν ἃ οὐχ οἷόν τε ἄνθρωπον εἰδέναι, ἢ ὅσα ὕστερον ἃ δεῖται προαγορεύσεως καὶ ἀγγελίας. Here ὅσα πρὸ τοῦ γέγονεν apparently refers to the prologue. For the practice of later times cp. Evanthius de Commedia, p. 6 Reif. (quoted by Bethe, Prolegom. p. 133) ‘deinde θεοὺς ἀπὸ μηχανῆς, id est, deos narrandis argumentis machinatos, ceteri Latini ad instar Graecorum habent’.

[660] Aristot. Poet. c. 15.

[661] See the Tragic Drama of the Greeks, p. 245.

[662] Poll. iv. 132 αἱ δὲ Χαρώνιοι κλίμακες, κατὰ τὰς ἐκ τῶν ἑδωλίων καθόδους κείμεναι, τὰ εἴδωλα ἀπ’ αὐτῶν ἀναπέμπουσιν. τὰ δὲ ἀναπιέσματα, τὸ μέν ἐστιν ἐν τῇ σκηνῇ ὡς ποταμὸν ἀνελθεῖν ἢ τοιοῦτόν τι πρόσωπον, τὸ δὲ περὶ τοὺς ἀναβαθμούς, ἀφ’ ὧν ἀνέβαινον Ἐρινύες.

[663] Pers. 659, Nauck, Trag. Graec. Frag. p. 246 προφαινομένου ὑπὲρ τοῦ τάφου.

[664] Schol. Nub. 292; Poll. iv. 130; Heron (in Thevenot, Mathematici Veteres, p. 263). See Weismann, Scen. Anweis. pp. 45 ff.

[665] Poll. iv. 130 κεραυνοσκοπεῖον ... περίακτος ὑψηλή. Heron, l.c. p. 265. Weismann (l.c. p. 48), who was the first to draw attention to the passage in Heron, supposes that there was a periaktos high up in the back-scene, and that an apparatus like that of Heron’s was fastened to all three sides of it, so that by revolving the periaktos three successive flashes might be exhibited.

[666] Poll. iv. 127, 131, 132.

[667] Ovid, Met. iii. 111; Hor. Ep. ii. 1. 189.

[668] The following passages are cited in proof of the existence of a drop-scene:—(1) Athen. 536 A γενομένων δὲ τῶν Δημητρίων Ἀθήνησιν ἐγράφετο ἐπὶ τοῦ προσκηνίου (ὁ Δημήτριος) ἐπὶ τῆς οἰκουμένης ὀχούμενος. Here προσκήνιον more probably denotes the scene at the back of the stage. (2) Suid. s.v. προσκήνιον· τὸ πρὸ τῆς σκηνῆς παραπέτασμα· ἡ δὲ τύχη παρελκομένη τὴν πρόφασιν καθάπερ ἐπὶ προσκήνιον παρεγύμνωσε τὰς ἀληθεῖς ἐπινοίας. Suidas has here mistaken the meaning of the passage he quotes, in which προσκήνιον = ‘the stage’. (3) Synesius (flor. about 400 A.D.) Aegypt. p. 128 C εἰ δέ τις ... κυνοφθαλμίζοιτο διὰ τοῦ προσκηνίου. Even if προσκήνιον means the drop-scene in this passage, it would be no proof of the existence of a drop-scene in classical times. (4) Poll. iv. 122 (speaking of the theatre) ἔξεστι δὲ καὶ τὸ παραπέτασμα αὐλαίαν καλεῖν, Ὑπερείδου εἰπόντος ἐν τῷ κατὰ Πατροκλέους· οἱ δὲ ἐννέα ἄρχοντες εἱστιῶντο ἐν τῇ στοᾷ, περιφραξάμενοί τι μέρος αὐτῆς αὐλαίᾳ. Suidas s.v. αὐλαία, and Bekk. Anecd. p. 463 αὐλαία τὸ τῆς σκηνῆς παραπέτασμα· κέχρηται δὲ αὐτῷ Ὑπερείδης ἐν τῷ κατὰ Πατροκλέους. Hesych. s.ν. αὐλαία ... τὸ τῆς σκηνῆς παραπέτασμα. Et. Mag. p. 170 λέγονται δὲ αὐλαῖαι καὶ τὰ παραπετάσματα τῆς σκηνῆς, ὡς παρὰ τῷ θεολόγῳ. It is obvious that the grammarians here cited were thinking of a drop-scene. But the passage they refer to in Hypereides has nothing to do with a drop-scene. It is doubtful, therefore, whether this testimony is of any value except for the practice of later times. It can hardly be considered decisive for the classical period.

[669] Bethe (Prolegomena, pp. 198 ff.) thinks the drop-scene was introduced into the Greek theatre about 427 B.C., at the same time as the raised stage. His reason is that none of the plays which begin with a tableau are previous to 427 in date. But the Agamemnon commences with the watchman reclining on the palace roof. The Heracleidae (probably anterior to 427) opens with a group of suppliants at an altar. The Oedipus Rex, which also begins with a tableau, is of unknown date, and there is nothing to show that it was later than 427.

[670] Poll. iv. 123 ἐλεὸς δ’ ἦν τράπεζα ἀρχαία, ἐφ’ ἣν πρὸ Θέσπιδος εἷς τις ἀναβὰς τοῖς χορευταῖς ἀπεκρίνατο. Arist. Poet. c. 4 καὶ ἡ μὲν (τραγῳδία ἐγένετο) ἀπὸ τῶν ἐξαρχόντων τὸν διθύραμβον, ἡ δὲ (κωμῳδία) ἀπὸ τῶν τὰ φαλλικά.

[671] Diog. Laërt. iii. 56 ὥσπερ δὲ τὸ παλαιὸν ἐν τῇ τραγῳδίᾳ πρότερον μὲν μόνος ὁ χορὸς διεδραμάτιζεν, ὕστερον δὲ Θέσπις ἕνα ὑποκριτὴν ἐξεῦρεν ὑπὲρ τοῦ διαναπαύεσθαι τὸν χορόν.

[672] Suidas s.v. Θέσπις.

[673] Aristot. Poet. c. 4 καὶ τό τε τῶν ὑποκριτῶν πλῆθος ἐξ ἑνὸς εἰς δύο πρῶτος Αἰσχύλος ἤγαγε καὶ τὰ τοῦ χοροῦ ἠλάττωσε καὶ τὸν λόγον πρωταγωνιστὴν παρεσκεύασεν.

[674] Viz. the Supplices, Persae, and Seven against Thebes. In the concluding scene of the Seven the part of Ismene would not be taken by a regular actor. Apparently the opening scene of the Prometheus requires three actors, unless we are to adopt the very improbable supposition that the person of Prometheus was represented by a wooden figure, which was nailed to the rock, and from behind which the protagonist spoke the part. [In favour of the lay figure, see Wecklein’s Edition of the Prometheus, Introd. p. 54; Navarre, Annales de la Faculté des Lettres de Bordeaux, Rev. des Études Anciennes, 1901; against it, Bodensteiner, Jahrb. für class. Philol., Suppl.-bd. xix. p. 674; Bethe, Proleg. p. 180, &c.]

[675] Aristot. Poet. c. 4; Diog. Laërt. iii. 56; vit. Soph.; Suidas s.v. Σοφοκλῆς. The Life of Aeschylus assigns the introduction of the third actor to Aeschylus, but adds that Dicaearchus ascribed it to Sophocles. The passage in Themistius (xxvi. p. 316 D) καὶ οὐ προσέχομεν Ἀριστοτέλει ὅτι τὸ μὲν πρῶτον ὁ χορὸς εἰσιὼν ᾖδεν εἰς τοὺς θεούς, Θέσπις δὲ πρόλογόν τε καὶ ῥῆσιν ἐξεῦρεν, Αἰσχύλος δὲ τρίτον ὑποκριτήν (a. l. τρίτον ὑποκριτάς) is doubtful, and cannot weigh against Aristotle’s definite statement in the Poetics. The balance of evidence is distinctly in favour of the conclusion that the third actor was first introduced by Sophocles.

[676] Baumeister, Denkmäler, No. 422; Eur. Cyclops 197 ff.

[677] Arist. Poet. cc. 4, 5; Anon. de Comoed. (Dindf. Prolegom. de Comoed. p. 27); Diomedes, p. 490 K.

[678] Soph. O. C. 1117 ff., 1249 ff., 1500 ff.

[679] Cp. Beer, Über die Zahl der Schauspieler bei Aristophanes, Leipz. 1844.

[680] Phot. s.v. ὑποκρίνεσθαι· τὸ ἀποκρίνεσθαι οἱ παλαιοί· καὶ ὁ ὑποκριτὴς ἐντεῦθεν, ὁ ἀποκρινόμενος τῷ χορῷ. So also Hesych. s.v. ὑποκρίνοιτο, and Poll. iv. 123. Apollon. Lex. Hom. s.v. ὑποκρίναιτο· πρωταγωνιστοῦντος γὰρ τοῦ χοροῦ τὸ παλαιὸν οὗτοι ὥσπερ ἀποκριταὶ ᾖσαν, ἀποκρινόμενοι πρὸς τὸν χορόν.

[681] Demosth. Fals. Leg. § 192 πάντας τοὺς τεχνίτας συνήγαγεν; Aristot. Prob. xxx. 10 οἱ περὶ τὸν Διόνυσον τεχνῖται; Polyb. xvi. 21.

[682] Plut. Solon p. 95 C; Aristot. Rhet. iii. 1 ὑπεκρίνοντο γὰρ αὐτοὶ τὰς τραγῳδίας οἱ ποιηταὶ τὸ πρῶτον.

[683] The words in the Life are ἐχρήσατο δ’ ὑποκριτῇ πρώτῳ μὲν Κλεάνδρῳ, ἔπειτα καὶ τὸν δεύτερον αὐτῷ προσῆψε Μυννίσκον τὸν Χαλκιδέα· τὸν δὲ τρίτον ὑποκριτὴν αὐτὸς ἐξεῦρεν, ὡς δὲ Δικαίαρχος ὁ Μεσσήνιος, Σοφοκλῆς. These words imply that he employed Mynniscus for the first time on the occasion of his introduction of a second actor; and that previously to this innovation, when only one actor was required, he had been accustomed to employ Cleander, instead of acting himself. He must, therefore, have given up acting before the production of the Supplices, and considerably before the first appearance of Sophocles. The statement that Sophocles was the _first_ dramatic poet to abandon acting in person can only be true to the extent that he was the first poet who never acted at all.

[684] Vit. Soph. πρῶτον μὲν καταλύσας τὴν ὑπόκρισιν τοῦ ποιητοῦ διὰ τὴν ἰδίαν μικροφωνίαν; Athen. p. 20 F; Eustath. Od. p. 1533.

[685] Müller (Griech. Bühnenalt. p. 184) states, on the authority of Zenob. Prov. v. 100, that Astydamas the Elder acted in his own tragedy, the Parthenopaeus. The words in Zenobius are εὐημερήσας ἐν τῇ ὑποκρίσει Παρθενοπαίου. But this is merely a carelessness of expression, on which no stress can be laid. In the account given by Suidas (s.v. σαυτὴν ἐπαινεῖς) of the same occurrence the expression is εὐημερήσαντι ἐπὶ τραγῳδίας διδασκαλίᾳ Παρθενοπαίου. The Parthenopaeus was really written by Astydamas the Younger. See the Tragic Drama of the Greeks, p. 430.

[686] Athen. p. 22 A; Schol. Aristoph. Equit. 534.

[687] Vit. Aristoph. p. 34 Dindf.; Arg. ii. Equit. The story arose from a misunderstanding of the phrase καθιέναι τὸ δρᾶμα δι’ ἑαυτοῦ. The Knights was the first play Aristophanes produced in his own name. See Meineke, Frag. Com. Gr. ii. 928 ff. Antiphanes is said (Müller, Die griech. Bühnen, p. 184) to have acted one of his own comedies, the evidence being the inscription in Corp. Ins. Att. ii. 972 [Ἀντιφάνη]ς πέμ(πτος) Ἀνασῳζο(μένοις)· [ὑπεκρίνετο Ἀντ]ιφάνης. But it is by no means certain that the name of the poet is rightly filled in as Antiphanes. Even if it is, it does not follow that the actor Antiphanes was the same person.

[688] See chap. i. p. 44.

[689] Aristot. Poet. c. 9 λέγω δ’ ἐπεισοδιώδη μῦθον ἐν ᾧ τὰ ἐπεισόδια μετ’ ἄλληλα οὔτ’ εἰκὸς οὔτ’ ἀνάγκη εἶναι. τοιαῦται δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι’ αὐτούς, ὑπὸ δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς: Rhet. iii. 1 μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί.

[690] Vit. Soph. p. 3 Dindf.

[691] See chap. ii. pp. 57 ff.

[692] Plut. Alex. p. 681 E.

[693] Plut. Rep. Ger. 817 A; Dem. Fals. Leg. § 10; Suidas s.v. Σοφοκλῆς.

[694] See chap. i. p. 42, ch. ii. p. 57.

[695] Cic. Div. in Caecil. § 48 ‘ut in actoribus Graecis fieri videmus, saepe illum, qui est secundarum aut tertiarum partium, cum possit aliquanto clarius dicere quam ipse primarum, multum summittere, ut ille princeps quam maxime excellat,’ &c.

[696] Aristot. Pol. vii. 17. The story about Theodorus has caused some difficulty. Does it mean that Theodorus, besides taking the principal character, also played the part of the person who made the first speech in the tragedy? If so, he would have been debarred from acting some of the most popular tragedies of the time. For instance, the actor who took the part of Electra in the play of Sophocles could not act the part of the paedagogus, since Electra comes on the stage as soon as the paedagogus leaves it. There would be the same difficulty about the Orestes, the Medea, and many other plays. It has been suggested that the reference is to some preliminary announcement of the title of the play, which Theodorus preferred to make himself, instead of leaving it to a subordinate. Such announcements were made in Greek theatres in later times (cp. Lucian, Pseudolog. 19; Heliod. Aethiop. viii. 17; Synesius, περὶ προνοίας, p. 128 D), and may have been customary in Athens, or in other parts of Greece, in the time of Theodorus. But it is extremely improbable that the reference is to any such practice. The audience would hardly pay much attention to the voice of the person who announced the name of the coming play. The meaning is probably that Theodorus used to take the part of the character which spoke first, whenever it was possible to do so. In such plays as the Electra it would be impossible.

[697] Alciphron, Epist. iii. 71.

[698] Schol. Eur. Phoen. 93.

[699] Schol. Aesch. Choeph. 900.

[700] Aul. Gell. vii. 5; Stob. Flor. 97. 28; Dem. Fals. Leg. § 246; Strattis ap. Kock, Frag. Com. Gr. i. p. 711.

[701] Hesych. s.v. ἀρουραῖος Οἰνόμαος; Dem. de Cor. § 180; Aelian, Var. Hist. xiv. 40.

[702] Plut. Lysand. p. 466 D.

[703] Dem. Fals. Leg. § 247.

[704] Dem. l.c., de Cor. §§ 180, 267. [Devrient, Das Kind auf der antiken Bühne, thinks that the words spoken by children in the Alcestis, Andromache, &c., were declaimed by the tritagonist from behind the stage, while a real child appeared on the stage and went through the gestures.]

[705] K. F. Hermann, De distributione personarum in trag. graec., 1842; Richter, Die Vertheilung der Rollen der griech. Tragödie, 1842; Croiset, Histoire de la Litt. grecq., iii. passim.

[706] As there is some doubt about the meaning of the word παραχορήγημα, it will be well to quote the passages where it occurs. They are (1) Schol. Aesch. Prom. 12 ἐν παραχορηγήματι αὐτῷ εἰδωλοποιηθεῖσα Βία. (2) Schol. Aesch. Eum. 573 ἐν παραχορηγήματι αὐτῷ εἰσιν οἱ Ἀρεοπαγῖται μηδαμοῦ διαλεγόμενοι. (3) Schol. Aristoph. Ran. 211 ταῦτα καλεῖται παραχορηγήματα, ἐπειδὴ οὐχ ὁρῶνται ἐν τῷ θεάτρῳ οἱ βάτραχοι, οὐδὲ ὁ χορός, ἀλλ’ ἔσωθεν μιμοῦνται τοὺς βατράχους· ὁ δὲ ἀληθῶς χορὸς ἐκ τῶν εὐσεβῶν νεκρῶν συνέστηκεν. (4) Schol. Aristoph. Pax 113 τὰ τοιαῦτα παραχορηγήματα καλοῦσιν, οἷα νῦν τὰ παιδία ποιεῖ καλοῦντα τὸν πατέρα· εἶτα πρὸς οὐδὲν ἔτι τούτοις χρήσεται. (5) Poll. iv. 109 ὁπότε μὴν ἀντὶ τετάρτου ὑποκριτοῦ δέοι τινὰ τῶν χορευτῶν εἰπεῖν ἐν ᾠδῇ, παρασκήνιον καλεῖται τὸ πρᾶγμα, ὡς ἐν Ἀγαμέμνονι Αἰσχύλου· εἰ δὲ τέταρτος ὑποκριτής τι παραφθέγξαιτο, τοῦτο παραχορήγημα ὀνομάζεται, καὶ πεπρᾶχθαί φασιν αὐτὸ ἐν Μέμνονι Αἰσχύλου. The first and second instances refer to mute personages, the third instance refers to an extra chorus, the fourth to extra performers who say only a few words upon the stage. It is therefore quite clear that the word παραχορήγημα included all classes of extra performers, as distinct from the actors and the chorus. There are no grounds for excluding the mute personages from the class of παραχορηγήματα, as Müller (Griech. Bühnenalt. p. 179) and others have done. Pollux appears to make the distinction between παρασκήνιον and παραχορήγημα lie in the fact that the former sang, the latter spoke. The distinction is a foolish one, and was probably due to Pollux’s habit of generalizing from one particular instance. The word παρασκήνιον, in its present sense, only occurs in the passage of Pollux. To judge from the etymology of the word, it may have denoted performers behind the scenes. The words ἐν Ἀγαμέμνονι Αἰσχύλου in the passage of Pollux are corrupt, the corruption arising from the words ἐν Μέμνονι Αἰσχύλου which follow. There is no παρασκήνιον in the Agamemnon. The reference cannot be to the speech of Pylades in the Choephori (vv. 900-902), because (1) the Choephori could not be called the Agamemnon, (2) the part of Pylades was taken by one of the regular actors, as the scholiast ad loc. informs us.

[707] Plut. Phocion, p. 750 C.

[708] See note 2 on the previous page.

[709] Aesch. Choeph. 713, Eum. 678 ff., Agam. 908.

[710] Soph. Aj. 544; Eur. Med. 1021, Herc. Fur. 454, Phoen. 834, Hecub. 978.

[711] Eur. Alc. 393, Androm. 504.

[712] Aristoph. Pax 114, Acharn. 43, 94, 729.

[713] Aesch. Eum. 1032; Aristoph. Vesp. 248; Schol. Eur. Hipp. 58.

[714] Aristoph. Ran. 209, Thesm. 104.

[715] Eur. Hipp. 61.

[716] Athen. p. 21 E; Hor. A. P. 278; Philostrat. vit. Apoll. vi. 11; Cramer, Anecd. Par. i. p. 19; Evanth. de trag. et com. (Gronov. Thesaur. viii. p. 1683); Suidas s.v. Αἰσχύλος.

[717] See Crusius, Philologus, 1889, p. 703.

[718] Schol. Aristoph. Nub. 296; Suidas s.v. θρίαμβος; Plut. Cupid. Divit. 527 D; Verg. Georg. ii. 387.

[719] Bethe (Prolegomena, pp. 35-46) finds an additional proof of this theory in the Bologna vase (cp. Dümmler, Rhein. Museum, 1888, p. 355). In this vase Dionysus is represented sitting in a boat-shaped car, with a satyr playing a flute on each side of him. The car is drawn by two satyrs, and two others are leading an ox. A boy and four women follow behind. Bethe thinks this scene was part of an old tragic performance; that the single actor of the period always played the part of Dionysus, and therefore naturally wore his costume. He also thinks the car was the prototype of the later stage, and is identical with the wagons in which Thespis is said to have carried about his tragedies (Hor. A. P. 276). Unfortunately for these theories there is nothing to show that the procession depicted on the vase had any connexion with a dramatic performance. Such processions with Dionysus in a boat-shaped car are known to have existed in other parts of Greece (Philostrat. vit. Soph. i. 25; cp. Crusius, Philologus, 1889, p. 209); and though interesting as illustrations of the Bacchic mythology, they throw no light on the early history of the drama.

[720] Athen. p. 21 E.

[721] See, on the subject of this relief, Robert, Athen. Mittheil. 1882, pp. 389 ff.

[722] See Bethe, Jahrb. des Archaeol. Instituts, 1896, pp. 292 ff., and pl. 2.

[723] See especially the Medea vase (Baumeister, Denkmäler, no. 980). Copies of many of these vases are given by Huddilston, in Greek Tragedy in the Light of Vase-Paintings, 1898.

[724] A list of them will be found in Müller, Griech. Bühnenalt. p. 226.

[725] From Monumenti Inediti, xi. 13.

[726] Suidas s.vv. Θέσπις, Χοιρίλος, Φρύνιχος.

[727] Suidas s.v. Αἰσχύλος; Hor. A. P. 278; Evanth. de trag. et com. (Gronov. Thesaur. viii. p. 1683).

[728] Aul. Gell. v. 7.

[729] Poll. x. 167; Isidor. Orig. x. 119; Suidas s.v. Θέσπις; Verg. Georg. ii. 387; Prudent. c. Symmach. ii. 646.

[730] Aul. Gell. v. 7.

[731] Schol. Dem. Fals. Leg. § 256. See fig. 23.

[732] Wieseler, Denkmäler, p. 42.

[733] Poll. iv. 133-5, 139.

[734] [Soph. El. 1296 ff. Other cases are Aesch. Eum. 968, 990, and Eur. Orest. 1317. Cf. Hense, Die Modificirung der Maske in der griech. Tragödie, ed. ii (1905), where the various cases in which a change of mask is certain or suspected are discussed.]

[735] Poll. iv. 133-41.

[736] Poll. iv. 141, 142. Special masks were called ἔκσκευα πρόσωπα.

[737] The masks in fig. 17 are copied from Wieseler, Denkmäler, v. 20, 24, 26. The first is a marble, the second and third are from wall-paintings at Herculaneum. The masks in fig. 18 are copied from the Archaeol. Zeitung for 1878. They are from wall-paintings at Pompeii. For a list of the various works of art illustrating the subject see Müller, Griech. Bühnenalt. p. 273.

[738] The name for the tragic boot in Greek was ἐμβάτης (Suid. s.v. Αἰσχύλος), ὀκρίβας (Lucian, Nero c. 9), or κόθορνος (vit. Aesch.). Cothurnus was the regular name in Latin. Pollux (iv. 115) appears to be mistaken in calling ἐμβάτης the comic boot, in opposition to the notices in other grammarians. The sole of the cothurnus was of wood, as appears from Schol. Lucian, Epist. Saturn. 19. Works of art show that it was painted: see Wieseler, Denkmäler, vii, viii; and cp. Ovid. Am. ii. 18. 15 ‘risit Amor pallamque meam pictosque cothurnos’.

[739] Suidas s.v. Αἰσχύλος; Aristot. apud Themist. or. xxvi. p. 316; Philostrat., vit. Apoll. vi. 11; Porphyr. on Hor. A. P. 278.

[740] Vit. Aesch. p. 7 Dindf.

[741] Lucian, Nero c. 9, Necyom. c. 16, Iupp. Trag. c. 41, de Salt. c. 27; Martial, viii. 3, 13, &c.

[742] The illustration is from Wieseler, Denkmäler, ix. 1. The original is a wall-painting from Pompeii.

[743] Vit. Soph. p. 2 Dindf.

[744] Lucian, Somnium vel Gallus 26; vit. Aeschin.

[745] Phot. s.v. σωμάτια; Lucian, de Salt. 27.

[746] For the general account of the χιτών or tunic see Pollux iv. 115-18. The epithet ποικίλον shows that it was brilliantly coloured. As to the length of the tunic see Lucian, Iupp. Trag. c. 41, Eustath. II. p. 954. 47, and the works of art referred to on pp. 240, 241. For the ornamentation and the girdle see the same works of art. The sleeves were called χειρίδες (vit. Aesch. p. 6 Dindf.; Lucian, Iupp. Trag. c. 41).

[747] Poll. iv. 116-18.

[748] Poll. iv. 116; Soph. O. C. 314; Eur. Bacch. 833.

[749] Poll. iv. 116, 117; Varro, Res Rust. ii. 11.

[750] Aesch. Eum. 181, 404; Poll. iv. 117.

[751] Poll. iv. 117. See fig. 18.

[752] Lucian, Somn. vel Gall. 26; Poll. iv. 116. The special tunic was called κόλπωμα.

[753] Aesch. Pers. 661.

[754] Poll. iv. 116, 117. The cloak was called ἐφαπτίς.

[755] Eur. Ion 743; Vit. Soph. p. 2 Dindf.

[756] Aesch. Agam. 493; Soph. O. R. 83; Eur. Alc. 759.

[757] Lucian, de Salt. 27, Anachar. 23.

[758] Philostrat. vit. Apoll. v. 9.

[759] The illustrations are taken from Monumenti Inediti, xi. 31, 32. The originals are wall-paintings at Pompeii.

[760] Baumeister, Denkmäler, nos. 422 (the Naples vase), 424, 1631; Wieseler, Denkmäler, vi. 1, 2 (the Naples vase), 3-10. See above, p. 240.

[761] Specimens of the first kind of dress are to be found in Wieseler, vi. 2 (= Baumeister, 422), 6, 7, 10; specimens of the second kind in vi. 8 (= Baum. 1631), 9. The tunic was called χιτὼν χορταῖος, μαλλωτός, ἀμφίμαλλος, and was apparently made of wool: cp. Poll. iv. 118; Hesych. and Suid. s.v. χορταῖος; Dion. Hal. A. R. vii. 72; Ael. Var. Hist. iii. 40.

[762] Poll. iv. 118. These articles are part of the dress of Silenus. The other actors were dressed quite differently. The dress of the chorus is described in the next chapter.

[763] There does not appear, however, to be any instance of an old Attic comedy being acted by the Phlyakes. The scene in Baumeister no. 904, where Hercules is knocking against a door, and a slave on a donkey follows behind, was formerly supposed to be the opening scene of the Frogs. But this is very doubtful. The character in the vase-painting is the real Hercules, and not Dionysus disguised.

[764] Körte, Studien zur Alten Komödie, Jahrbuch des archaeol. Instituts, 1893, pp. 61-93.

[765] The illustration is taken from Compte Rendu de la Commission Impériale Archéologique, 1870-1, plate iv. 1. The vase was found in the Crimea, but is now at St. Petersburg. In the original there are two other figures (not actors), one on each side of the group. These have been omitted from the copy.

[766] The two figures are from Körte, l.c. pp. 78 and 80. Both were found at Athens. For a complete list of these statuettes see Körte, pp. 77-86.

[767] Schol. Aristoph. Nub. 538.

[768] Aristoph. Nub. 538 οὐδὲν ἦλθε ῥαψαμένη σκύτινον καθειμένον κ.τ.λ. Possibly Aristophanes only means that he used the φαλλὸς ἀναδεδεμένος instead of the more indecent καθειμένος. Nub. 734 seems to show that the φαλλός was used even in the Clouds. For its employment in the other plays cp. Acharn. 156 ff., 1216 ff., Vesp. 1342, Pax 1349, Lysist. 928, 937, 987 ff., 1073 ff., Thesm. 59, 141, 239, 643, 1114. [Willems, Le Nu dans la Comédie Ancienne, tries to show that Aristophanes’ use of the phallus was exceptional, but without success. He also argues that in Vesp. 1342, Pax 886, Thesm. 1181, Ach. 1198, Ran. 1308 mute parts were played by ἑταῖραι absolutely nude; but the evidence is quite insufficient, and can be otherwise explained.]

[769] The padding was called σωμάτιον. Cp. Phot. σωμάτια, τὰ ἀναπλάσματα οἷς οἱ ὑποκριταὶ διασάττουσιν αὑτούς. Luc. Iupp. Trag. 41 προγαστρίδια καὶ σωμάτια. The name of the under-garment is uncertain. Müller (Bühnenalt. p. 230) thinks it too was called σωμάτιον, on the strength of Poll. iv. 115 καὶ σκευὴ μὲν ἡ τῶν ὑποκριτῶν στολὴ (ἡ δ’ αὐτὴ καὶ σωμάτιον ἐκαλεῖτο). But this is very doubtful.

[770] For the references see Müller, Bühnenalt. pp. 249 ff.

[771] Poll. iv. 143; Platon. de Comoed. (Dindf. p. 21); Aristoph. Equit. 230; Ael. Var. Hist. ii. 13.

[772] Poll. iv. 143 ἐπὶ τὸ γελοιότερον ἐσχημάτιστο.

[773] Schol. Aristoph. Acharn. 97; Aristoph. Av. 62, 94, 104, 1203 (with Schol. ad loc.), 1508, Acharn. 575 ff.

[774] Müller, Bühnenalt. p. 253.

[775] Jahrbuch des archaeol. Inst. 1893, pp. 89 ff.

[776] The vase with the names (Εὔνους, Ὀφέλανδρος, Ὄμβρικος) is given by Körte, p. 91. For another specimen see Baumeister, no. 2099.

[777] Körte, Athen. Mittheil. 1884, pp. 346 ff. See the specimen given by Cook in the Classical Review, 1895, p. 373.

[778] For a list of the works of art illustrating the subject see Müller, Bühnenalt. pp. 258, 273-6.

[779] Platon. ap. Dindf. Proll. de Com. p. 21 ἐν δὲ τῇ μέσῃ καὶ νέᾳ κωμῳδίᾳ ἐπίτηδες τὰ προσωπεῖα πρὸς τὸ γελοιότερον ἐδημιούργησαν ... ὁρῶμεν γοῦν τὰ προσωπεῖα τῆς Μενάνδρου κωμῳδίας τὰς ὀφρῦς ὁποίας ἔχει, καὶ ὅπως ἐξεστραμμένον τὸ στόμα καὶ οὐδὲ κατ’ ἀνθρώπων φύσιν. See Wieseler, Denkmäl. v. 27-52; Baumeister, nos. 905-8.

[780] Fig. 25 is taken from Archaeol. Zeitung, 1878, Taf. 4, and represents the masks of a girl and a slave. The original is a wall-painting at Pompeii. Fig. 26, which is taken from Monumenti Inediti, xi. 32, contains two copies of terra cottas found at Pompeii. It will be seen that the mask of the girl is not unlike a tragic mask in general character.

[781] Poll. iv. 143-54. Cp. Quint. Inst. xi. 3. 74.

[782] This shoe was called ἐμβάς in Greek, and soccus in Latin: see Ammon. de diff. vocab. p. 49; Aristoph. Nub. 858.

[783] Poll. iv. 119-20.

[784] The illustration is from Monumenti Inediti, xi. 32.

[785] Aristot. Poet. c. 6 τὸ δὲ χωρὶς τοῖς εἴδεσι τὸ διὰ μέτρων ἔνια μόνον περαίνεσθαι καὶ πάλιν ἕτερα διὰ μέλους, c. 4 λέξεως δὲ γενομένης αὐτὴ ἡ φύσις τὸ οἰκεῖον μέτρον εὗρε, μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἐστιν.

[786] The mark C (canticum) denotes the part which was sung, D V (diverbium) the part which was spoken. These marks are found in cod. vetus (B), and cod. decurtatus (C), and the plays in which they occur are the Trinummus, Poenulus, Pseudolus, Truculentus, and parts of others. See Christ, Metrik, pp. 677 ff.

[787] Lucian, de Salt. 27 ἐνίοτε καὶ περιᾴδων τὰ ἰαμβεῖα.

[788] Songs by the actors were called τὰ ἀπὸ τῆς σκηνῆς. The solos (in tragedy) were called μονῳδίαι, the duets and trios had no special name. Musical duets between actors and chorus were in tragedy called κόμμοι. Suidas s.vv. μονῳδεῖν, μονῳδία; Aristot. Poet. c. 12.

[789] Plut. Mus. p. 1140 F ἀλλὰ μὴν καὶ Ἀρχίλοχος τὴν τῶν τριμέτρων ῥυθμοποιΐαν προσεξεῦρε ... καὶ τὴν παρακαταλογήν, καὶ τὴν περὶ ταῦτα κροῦσιν ... ἔτι δὲ τῶν ἰαμβείων τὸ τὰ μὲν λέγεσθαι παρὰ τὴν κροῦσιν, τὰ δ’ ᾄδεσθαι, Ἀρχίλοχόν φασι καταδεῖξαι, εἶθ’ οὕτω χρήσασθαι τοὺς τραγικοὺς ποιητάς. Athen. p. 636 B ἐν οἷς γὰρ (φησὶ) τοὺς ἰάμβους ᾖδον, ἰαμβύκας ἐκάλουν· ἐν οἷς δὲ παρελογίζοντο τὰ ἐν τοῖς μέτροις, κλεψιάμβους. Hesych. s.v. καταλογή· τὸ τὰ ᾄσματα μὴ ὑπὸ μέλει λέγειν.

[790] Xen. Symp. vi. 3 ὥσπερ Νικόστρατος ὁ ὑποκριτὴς τετράμετρα πρὸς τὸν αὐλὸν κατέλεγεν.

[791] The two groups of trochaic tetrameters in the parabasis were called ἐπίρρημα and ἀντεπίρρημα. See Platon. in Dindf. Prolegom. de Comoed. p. 21.

[792] Aristoph. Pax 1171, 1172.

[793] Schol. Arist. Nub. 1355 οὕτως ἔλεγον πρὸς χορὸν λέγειν, ὅτε τοῦ ὑποκριτοῦ διατιθεμένου τὴν ῥῆσιν, ὁ χορὸς ὠρχεῖτο. διὸ καὶ ἐκλέγονται ὡς ἐπὶ τὸ πλεῖστον ἐν τοῖς τοιούτοις τὰ τετράμετρα, ἢ τὰ ἀναπαιστικά, ἢ τὰ ἰαμβικά, διὰ τὸ ῥᾳδίως ἐμπίπτειν ἐν τούτοις τὸν τοιοῦτον ῥυθμόν.

[794] Aristoph. Av. 682-4 ἀλλ’, ὦ καλλιβόαν κρέκουσ’ | αὐλὸν φθέγμασιν ἠρινοῖς, | ἄρχου τῶν ἀναπαίστων, and Schol. ad loc. πολλάκις πρὸς αὐλὸν λέγουσι τὰς παραβάσεις.

[795] The exodos, mostly consisting of anapaests, is described as ἅπερ ἐπὶ τῇ ἐξόδῳ τοῦ δράματος ᾄδεται in Schol. Arist. Vesp. 270, and as ὃ ἐξιόντες ᾖδον in Poll. iv. 108. But in Dindf. Proll. de Com. p. 37 it is called τὸ ἐπὶ τέλει λεγόμενον τοῦ χοροῦ. As far as the anapaestic tetrameters are concerned, the word ᾄδοντας in Aristoph. Plut. 1209, and Hesych.’s definition of ἀνάπαιστα as τὰ ἐν ταῖς παραβάσεσι τῶν χορῶν ᾄσματα, show that they were not merely spoken: the expression λέξοντας ἔπη in Aristoph. Equit. 508 proves that they were not sung. See Christ, Metrik, pp. 680 ff.

[796] Aristot. Probl. xix. 6 διὰ τί ἡ παρακαταλογὴ ἐν ταῖς ᾠδαῖς τραγικόν;

[797] Schol. Aristoph. Nub. 312, Vesp. 580; Aristoph. Eccles. 890-2.

[798] Sext. Empir. p. 751, 21; Aristot. Probl. xix. 43.

[799] Aristoph. Ran. 1286, 1304. Baumeister, Denkmäler, no. 422.

[800] Aristoph. Av. 226 ff., 659 ff.

[801] Lüders, Die dionysischen Künstler, pp. 187 ff. Schol. Aristoph. Vesp. 582 ἔθος δὲ ἦν ἐν ταῖς ἐξόδοις τῆς τραγῳδίας χορικῶν προσώπων προηγεῖσθαι αὐλητήν, ὥστε αὐλοῦντα προπέμπειν.

[802] See Baumeister, Denkmäler, nos. 422, 424; Journal of Hellenic Studies, xi. plate 11 (reproduced in Fig. 28).

[803] Schol. Aristoph. Vesp. 582.

[804] Diod. Sic. xvi. 92 Νεοπτόλεμος ὁ τραγῳδός, πρωτεύων τῇ μεγαλοφωνίᾳ καὶ τῇ δόξῃ.

[805] Alciph. iii. 48 τορῷ τινι καὶ γεγωνοτέρῳ φωνήματι χρησάμενος.

[806] Diod. Sic. xv. 7 ἐξαπέστειλε τοὺς εὐφωνοτάτους τῶν ὑποκριτῶν ... οὗτοι δὲ τὸ μὲν πρῶτον διὰ τὴν εὐφωνίαν ἐξέπληττον τοὺς ἀκούοντας.

[807] Lucian, Nero 9 ὁ δ’ Ἠπειρώτης ἄριστα φωνῆς ἔχων, εὐδοκιμῶν δ’ ἐπ’ αὐτῇ καὶ θαυμαζόμενος λαμπροτέρᾳ τοῦ εἰωθότος.

[808] Plut. X orat. p. 848 B τοὺς ὑποκριτὰς ἔφη δεῖν κρίνειν ἐκ τῆς φωνῆς. Diog. Laërt. vii. 20 τὴν μὲν φωνὴν καὶ τὴν δύναμιν μεγάλην ἔχειν. Aristot. Rhet. iii. 1. Lucian, de Salt. 27 μόνης τῆς φωνῆς ὑπεύθυνον παρέχων ἑαυτόν. Plat. Legg. 817 C καλλίφωνοι ὑποκριταί.

[809] Cic. div. in Caecil. § 48 ‘cum possit aliquanto clarius dicere ... multum summittere, ut ille princeps quam maxime excellat’.

[810] Cic. de Orat. i. § 251.

[811] Aristot. Probl. xi. 22; Athen. p. 343 E.

[812] Plut. Aud. Poet. 18 B.

[813] Aristot. Rhet. iii. 2 διὸ δεῖ λανθάνειν ποιοῦντας, καὶ μὴ δοκεῖν λέγειν πεπλασμένως ἀλλὰ πεφυκότως ... οἷον ἡ Θεοδώρου φωνὴ πέπονθε πρὸς τὴν τῶν ἄλλων ὑποκριτῶν· ἣ μὲν γὰρ τοῦ λέγοντος ἔοικεν εἶναι, αἳ δ’ ἀλλότριαι.

[814] Lucian, Anachar. c. 23 αὐτοὶ δὲ (οἱ τραγῳδοὶ) μεγάλα τε ἐκεκράγεσαν καὶ διέβαινον οὐκ οἶδ’ ὅπως ἀσφαλῶς ἐν τοῖς ὑποδήμασι ... οἱ δὲ κωμῳδοὶ βραχύτεροι μὲν ἐκείνων καὶ πεζοὶ καὶ ἀνθρωπινώτεροι καὶ ἧττον ἐβόων.

[815] Philostrat. vit. Apoll. v. 8 (p. 171 Kayser) ἐπεὶ δὲ ἐξάρας τὴν φωνὴν γεγωνὸν ἐφθέγξατο; Lucian, l.c. See also the passages quoted on p. 273.

[816] Pollux (iv. 114), speaking of tragic acting, says εἴποις δ’ ἂν βαρύστονος ὑποκριτής, βομβῶν, περιβομβῶν, ληκυθίζων, λαρυγγίζων, φαρυγγίζων. Dem. de Cor. § 262.

[817] Cic. Orat. §§ 25, 27.

[818] Cic. de Orat. iii. §§ 195, 196, Parad. § 26.

[819] Antig. 76, Hel. 543, Androm. 529, Orest. 382, Hec. 339, &c.

[820] Phil. 819, Heraclid. 75, Ajax 865, Eur. Suppl. 1070, Troad. 36, 462. Polymestor (Hec. 1058) and the Delphic priestess (Eum. 34) speak of themselves as crawling out on all fours. But it is unnecessary to suppose that they actually made their entrance from the back-scene in this way.

[821] Aristot. Poet c. 26 ἡ μὲν οὖν τραγῳδία τοιαύτη ἐστίν, ὡς καὶ οἱ πρότερον τοὺς ὑστέρους αὐτῶν ᾤοντο ὑποκριτάς, ὡς λίαν γὰρ ὑπερβάλλοντα πίθηκον ὁ Μυννίσκος τὸν Καλλιππίδην ἐκάλει, τοιαύτη δὲ δόξα καὶ περὶ Πινδάρου ἦν ... εἶτα οὐδὲ κίνησις ἅπασα ἀποδοκιμαστέα, εἴπερ μηδ’ ὄρχησις, ἀλλ’ ἡ φαύλων, ὅπερ καὶ Καλλιππίδῃ ἐπετιμᾶτο καὶ νῦν ἄλλοις ὡς οὐκ ἐλευθέρας γυναῖκας μιμουμένων.

[822] Vit. Soph. ταῖς δὲ Μούσαις θίασον ἐκ τῶν πεπαιδευμένων συναγαγεῖν. Aristot. Probl. xxx. 10 οἱ Διονυσιακοὶ τεχνῖται.

[823] Dem. Fals. Leg. § 315.

[824] Dem. Meid. §§ 15, 58-60.

[825] C. I. A. ii. 551.

[826] C. I. A. ii. 552.

[827] For a complete account of these guilds see Lüders, Die dionysischen Künstler; Foucart, Les Associations religieuses chez les Grecs.

[828] Corn. Nep. praef. 5 ‘in scaenam vero prodire et populo esse spectaculo nemini in iisdem gentibus fuit turpitudini’. Livy xxiv. 24 (of Ariston the tragic actor) ‘huic genus et fortuna honesta erant; nec ars, quia nihil tale apud Graecos pudori est, ea deformabat’.

[829] Aesch. Fals. Leg. §§ 15-19; Dem. de Cor. § 21.

[830] Dem. Fals. Leg. § 315, de Pace § 6; Diod. Sic. xvi. 92; Plut. Alex. 681 D.

[831] Plut. Alex. 669 D.

[832] Plut. X orat. p. 848 B. Gellius, N. A. xi. 9, gives the same story about Aristodemus.

[833] Aristot. Prob. xxx. 10.

[834] Vit. Aesch.; Schol. Aristoph. Ran. 803, Nub. 1267.

[835] Aristot. Poet. c. 26.

[836] Xen. Symp. iii. 11; Plut. Ages. p. 607 D ἀλλὰ οὐ σύγε ἐσσὶ Καλλιππίδας ὁ δεικηλίκτας;

[837] Macar. Cent. iii. 46; Prov. Coisl. 124.

[838] Rhet. Graec. vi. p. 35 (Walz).

[839] Plut. an sen. 785 C.

[840] Gell. N. A. vii. 5.

[841] Plut. de se laud. 545 F.

[842] Ael. Var. Hist. xiv. 40.

[843] Pausan. i. 37. 3.

[844] See above, p. 279.

[845] Diod. Sic. xvi. 92.

[846] Plut. Alex. 681 D.

[847] C. I. A. ii. 973.

[848] Plat. Rep. 395 B ἀλλ’ οὐδέ τοι ὑποκριταὶ κωμῳδοῖς τε καὶ τραγῳδοῖς οἱ αὐτοί.

[849] Schol. Aristoph. Nub. 542; Plut. Aud. Poet. 18 B. [For an account of all that is known of the celebrated Greek actors see Völker, Berühmte Schauspieler im griech. Alterthum, 1899.]

[850] Aristot. Poet. c. 18.

[851] For details see the Tragic Drama of the Greeks, pp. 452 ff.

[852] Vit. Aristoph. p. 36 Dindf. The places for the interludes are marked χοροῦ in the text (ll. 321, 626, 801, 958).

[853] Platon. de Comoed. p. 21 Dindf. οἱ δὲ τῆς μέσης κωμῳδίας ποιηταὶ ... τὰ χορικὰ μέλη παρέλιπον. Platon. p. 20 says the Aeolosicon of Aristophanes had no chorus; but frag. 8 seems to show that it had. Similarly the statement of Anon. de Comoed. p. 27 Dindf., that the Plutus χορῶν ἐστέρηται, is not entirely true.

[854] Aristot. Pol. iii. 3 ὥσπερ γε καὶ χορὸν ὁτὲ μὲν κωμικὸν ὁτὲ δὲ τραγικὸν ἕτερον εἶναί φαμεν, τῶν αὐτῶν πολλάκις ἀνθρώπων ὄντων. Eth. Nic. iv. 6 κωμῳδοῖς χορηγῶν ἐν τῇ παρόδῳ πορφύραν εἰσφέρων. Athen. Pol. c. 56, where the appointment of χορηγοὶ κωμῳδοῖς is described. This probably implies a chorus; though not necessarily, as a choregus would be required to meet the other expenses of a play. [Cp. Aeschin. in Tim. § 157 πρῴην ἐν τοῖς κατ’ ἀγροὺς Διονυσίοις κωμῳδῶν ὄντων ἐν Κολλυτῷ καὶ Παρμένωνος τοῦ ὑποκριτοῦ εἰπόντος τι πρὸς τὸν χορὸν ἀνάπαιστον (345 B.C.).] The substitution of an agonothetes for the choregi at the end of the fourth century may have been connected with the decline of the chorus. See above, p. 55.

[855] Vit. Aristoph. p. 36 Dindf. τὸν Πλοῦτον γράψας, εἰς τὸ διαναπαύεσθαι τὰ σκηνικὰ πρόσωπα καὶ μετεσκευάσθαι, ἐπιγράφει χοροῦ, φθεγγόμενος ἐν ἐκείνοις ἃ καὶ ὁρῶμεν τοὺς νέους (i.e. Menander and Philemon, cp. p. 35) ἐπιγράφοντας ζήλῳ Ἀριστοφάνους.

[856] Lüders, Die dionysischen Künstler, pp. 187 ff.

[857] Bull. Cor. Hell. xiv. p. 396; Körte, Neue Jahrb. 1900, pp. 83 ff.

[858] Anon. de Comoed. p. 27 Dindf.

[859] Poll. iv. 110. Pollux further states that the number continued to be fifty until the Eumenides of Aeschylus was produced; and that the people were so alarmed at the sight of the fifty Furies that they passed a law reducing the number of the tragic chorus. The story is of course a fiction, on a par with the statement in the Life, that Aeschylus was banished to Sicily as a punishment for terrifying the people with his Eumenides.

[860] Suid. s.v. Σοφοκλῆς; Vit. Soph. p. 2 Dindf.

[861] The decision of the question depends on the passage in the Agamemnon, s.vv. 1344-71. There is no doubt that the twelve iambic couplets, 1348-71, were delivered by twelve choreutae. The difficulty is to decide whether the three trochaic tetrameters, 1344, 1346, and 1347, were delivered by three additional choreutae, or by the coryphaeus. Either view is plausible, and it seems impossible to determine the matter without further evidence. The statement of Schol. Arist. Equit. 586, that the chorus in the Agamemnon was fifteen in number, is merely an inference from the passage just referred to. The statement of Schol. Aesch. Eum. 585, that the chorus in the Eumenides consisted of fifteen persons, is simply grounded on the assumption that the number was the same as in later times. In neither case is the evidence of any independent value.

[862] Fifteen is the number given in Poll. iv. 109; Suid. s.v. χορός; Schol. Arist. Av. 298, Equit. 586; Schol. Aesch. Eum. 585. The number is given as fourteen in Vit. Aesch.; Bekk. Anecd. p. 746; Tzetzes, Prolegom. ad Lycophr. p. 254 M. The explanation of the discrepancy lies in the fact that when the chorus is said to consist of fourteen members the coryphaeus is not included.

[863] Tzetzes, l.c., τὴν δὲ τραγῳδίαν καὶ τοὺς σατύρους ἐπίσης μὲν ἔχειν χορευτὰς ιαʹ (? ιδʹ). Id. apud Dübner, Prolegom. de Com. p. xxiv. ἑκκαίδεκα δὲ σατύρων, τραγῳδίας. Though the numbers are wrong in both passages, it is plain that the tragic and satyric choruses were of the same size.

[864] Poll. iv. 109; Schol. Arist Av. 298, Acharn. 219; Bekk. Anecd. p. 746, &c.

[865] Lüders, l.c. pp. 187 ff. Wieseler, Denkmäler, xiii. 2.

[866] Pausan. i. 28. 6; Schol. Arist. Nub. 343; Baumeister, Denkmäler, no. 422.

[867] Vit. Soph.

[868] Aesch. Agam. 75; Eur. Herc. Fur. 108.

[869] Eur. Suppl. 10, 97; Aesch. Choeph. 10, 11.

[870] Aesch. Suppl. 234-6 ἀνέλληνα στόλον | πέπλοισι βαρβάροισι καὶ πυκνώμασι | χλίοντα; Eur. Bacch. 58.

[871] Aesch. Eum. 52; vit. Aesch. p. 4 Dindf.; Poll. iv. 110; Pausan. i. 28. 6.

[872] See Fürtwängler, Annali dell’ Instituto, 1877, pp. 225 ff., 449 ff.

[873] Hymn to Aphrodite, l. 262.

[874] Strabo, x. p. 471.

[875] Herod. v. 67.

[876] Journal of Hellenic Studies, xi. plate xi, from which the present illustration is taken by permission of the Council of the Hellenic Society.

[877] Wieseler, Denkmäler, vi. 3. Baumeister, Denkmäler, no. 424. In the latter painting the tail and phallus are not visible; but this appears to be merely owing to the position of the two satyrs. It can hardly be taken as evidence that the tail and phallus had been discarded at this time.

[878] See Körte, in Bethe’s Prolegomena, pp. 339 ff.

[879] So Loeschcke, Athen. Mittheil. 1894, p. 522; Bethe, Prolegomena, p. 38.

[880] [Miss Harrison, Proleg. to the Study of Greek Religion, p. 421, derives τραγῳδία from τράγος in the sense of ‘spelt’; but the derivation is more than doubtful.]

[881] Frag. 207 (Nauck) τράγος γένειον ἆρα πενθήσεις σύ γε.

[882] Wieseler, Denkmäler, vi. 3.

[883] Cp. Hor. A. P. 221 ‘mox etiam agrestes Satyros _nudavit_’.

[884] Cyclops 80 σὺν τᾷδε τράγου χλαίνᾳ.

[885] See the list of titles of comedies in Meineke, Hist. Crit. Com. Graec. pp. 269 ff.

[886] Arist. Acharn. 627 ἀλλ’ ἀποδύντες τοῖς ἀναπαίστοις ἐπίωμεν; Thesm. 656 τῶν θ’ ἱματίων ἀποδύσας.

[887] Schol. Aristoph. Nub. 343.

[888] Schol. Aristoph. Nub. 289.

[889] Poppelreuter, De Comoed. Atticae Primordiis, 1893, p. 15. Loeschcke, Athen. Mittheil. 1894, p. 519. Cook, Journal of Hellenic Studies, 1894, pp. 165 ff.

[890] So Poppelreuter, l.c. pp. 9-11. A copy of the vase is given on p. 8.

[891] Bollettino Archeologico Napolitano, Nuova Serie, v. tav. 7.

[892] Journal of Hellenic Studies, ii. plate xiv A.

[893] The illustration is taken, by permission of the Council of the Hellenic Society, from the Journal of Hellenic Studies, ii. plate xiv B. See Mr. Cecil Smith’s interesting article on the subject.

[894] Tzetzes, Prolegom. ad Lycophr. p. 254 M, τραγικῶν δὲ καὶ σατυρικῶν καὶ κωμικῶν ποιητῶν κοινὸν μὲν τὸ τετραγώνως ἔχειν ἱστάμενον τὸν χορόν: Bekk. Anecd. p. 746; Et. Mag. s.v. τραγῳδία; vit. Aristoph. (Dindf. Prolegom. de Com. p. 36).

[895] Athen. p. 181 C.

[896] Poll. iv. 108, 109 καὶ τραγικοῦ μὲν χοροῦ ζυγὰ πέντε ἐκ τριῶν καὶ στοῖχοι τρεῖς ἐκ πέντε· πεντεκαίδεκα γὰρ ἦσαν ὁ χορός. καὶ κατὰ τρεῖς μὲν εἰσῄεσαν, εἰ κατὰ ζυγὰ γίνοιτο ἡ πάροδος· εἰ δὲ κατὰ στοίχους, ἀνὰ πέντε εἰσῄεσαν ... ὁ δὲ κωμικὸς χορὸς τέτταρες καὶ εἴκοσιν ἦσαν οἱ χορευταί, ζυγὰ ἕξ, ἕκαστον δὲ ζυγὸν ἐκ τεττάρων, στοῖχοι δὲ τέτταρες, ἓξ ἄνδρας ἔχων ἕκαστος στοῖχος.

[897] Athen. p. 628 F.

[898] Schol. Aristid. iii. p. 535 Dindf. ὅτε εἰσῄεσαν οἱ χοροὶ πλαγίως βαδίζοντες ἐποιοῦντο τοὺς ὕμνους καὶ εἶχον τοὺς θεατὰς ἐν ἀριστερᾷ αὐτῶν καὶ οἱ πρῶτοι τοῦ χοροῦ ἀριστερὸν στοῖχον, p. 536 τοὺς οὖν καλοὺς τῶν χορευτῶν ἔταττον εἰσιόντες ἐν τοῖς [τῶν] ἑαυτῶν ἀριστεροῖς, ἵνα εὑρεθῶσι πρὸς τὸν δῆμον ὁρῶντες.

[899] Poll. ii. 161 τάχα δὲ καὶ ὁ ἀριστεροστάτης ἐν χορῷ προσήκοι ἂν τῇ ἀριστερᾷ, ὡς ὁ δεξιοστάτης τῇ δεξιᾷ. Phot. s.v. λαυροστάται· μέσον τοῦ χοροῦ· οἱονεὶ γὰρ ἐν στενωπῷ εἰσιν· φαυλότεροι δὲ οὗτοι. Hesych. λαυροστάται· οἱ ἐν τοῖς μέσοις ζυγοὶ ... μὴ θεωρούμενοι. The ὑποκόλπιον τοῦ χοροῦ, defined by Hesych. as τῆς στάσεως χῶραι αἱ ἄτιμοι, probably included the whole file of laurostatae, though some scholars confine it to nos. 7, 8, and 9.

[900] Plut. Conv. p. 678 D ὥσπερ χοροῦ, τοῦ συμποσίου τὸν κρασπεδίτην τῷ κορυφαίῳ συνήκοον ἔχοντος. The κρασπεδῖται were also called ψιλεῖς; cp. Suid. s.v. ψιλεύς· ἐπ’ ἄκρου χοροῦ ἱστάμενος: Hesych. s.v. ψιλεῖς· οἱ ὕστατοι χορεύοντες.

[901] Hesych. s.v. ἀριστεροστάτης· ὁ πρωτοστάτης τοῦ χοροῦ. Poll. iv. 106 δεξιοστάτης, ἀριστεροστάτης, δευτεροστάτης, τριτοστάτης. [Cp. Menander fr. 165 (Kock) ὥσπερ τῶν χορῶν | οὐ πάντες ᾄδουσ’, ἀλλ’ ἄφωνοι δύο τινὲς | ἢ τρεῖς παρεστήκασι πάντων ἔσχατοι | εἰς τὸν ἀριθμόν, καὶ τοῦθ’ ὁμοίως πως ἔχει. This probably means that the mute members of the chorus were placed in the third file, the δεξιοστάται or τριτοστάται, whom Hesych. calls ἔσχατοι (s.v. λαυροστάται· οἱ ἐν τοῖς μέσοις ζυγοὶ ... οἱ δὲ ἐπιτεταγμένοι πρῶτοι καὶ ἔσχατοι).]

[902] Phot. s.v. τρίτος ἀριστεροῦ· ἐν τοῖς τραγικοῖς χοροῖς τριῶν ὄντων στοίχων καὶ πέντε ζυγῶν, ὁ μὲν ἀριστερὸς πρὸς τῷ θεάτρῳ ἦν, ὁ δὲ δεξιὸς πρὸς τῷ προσκηνίῳ. συνέβαινεν οὖν τὸν μέσον τοῦ ἀριστεροῦ στοίχου τὴν ἐντιμοτάτην καὶ τὴν οἷον τοῦ πρωτοστάτου χώραν ἐπέχειν καὶ στάσιν. The coryphaeus was also called χορηγός Athen. p. 633 A, χοραγός Plut. Apophth. Lac. p. 219 E, ἡγεμών and ἡγεμὼν κορυφαῖος Dem. Meid. § 60, χοροστάτης Hesych., χορολέκτης Ael. Hist. An. xi. 1, χοροποιός Xen. Ages. ii. 17.

[903] Dem. Meid. § 60.

[904] Aristot. Met. iv. 11 ταῦτα δ’ ἐστὶν ὅσα πρός τι ἓν ὡρισμένον διέστηκε κατὰ τὸν λόγον, οἷον παραστάτης τριτοστάτου πρότερον, καὶ παρανήτη νήτης· ἔνθα μὲν γὰρ ὁ κορυφαῖος, ἔνθα δὲ ἡ μέση ἀρχή.

[905] See above, p. 271.

[906] Poll. iv. 109; Vit. Aesch. p. 4 Dindf.

[907] Arist. Av. 268-96.

[908] Arist. Lysist. 254, 319. In the Ecclesiazusae the chorus probably entered together at l. 285. The extra women in the first scene were not members of the chorus, but παραχορηγήματα.

[909] Arg. Aesch. Pers. τῶν δὲ χορῶν τὰ μέν ἐστι παροδικά, ὡς ὅτε λέγει δι’ ἣν αἰτίαν πάρεστιν, ὡς τὸ “Τύριον οἶδμα λιποῦσα”. Schol. Eur. Phoen. πάροδος δέ ἐστιν ᾠδὴ χοροῦ βαδίζοντος ᾀδομένη ἅμα τῇ εἰσόδῳ, ὡς τὸ “Σῖγα σῖγα λεπτὸν ἴχνος ἀρβύλης τίθετε”. Aristot. Poet. c. 12 defines the parodos as ἡ πρώτη λέξις ὅλου χοροῦ. He thus extends the meaning of the word so as to include, not only entrance-songs in the proper sense, but also those cases where the chorus enter in silence, and sing their odes later on. [Masqueray, Théorie des formes lyriques de la tragédie grecque, c. ii, analyses in detail the parodoi of the extant plays.]

[910] Other examples are the Prom. Vinct. of Aeschylus; the Philoctetes of Sophocles; the Medea, Heracleidae, Troades, and Electra of Euripides.

[911] Müller (Die griech. Bühnenalt. p. 214), following Hermann (Opusc. vi. 2, p. 144) supposes the whole chorus to have wheeled completely round, so that the left file came to be nearest to the stage. He thinks it more natural for the coryphaeus to have been immediately in front of the stage, where he would be in a position to converse with the actors. But he could do so equally well from the centre of the back row. And it seems most improbable that care should have been taken, during the entrance into the orchestra, to place the coryphaeus and best choreutae in the line most conspicuous to the spectators, but that throughout the rest of the performance they should have been stationed in a position where the majority of the spectators would hardly have been able to see them.

[912] Anon. de Com. (Dindf. Prolegom. de Com. p. 29); Vit. Aristoph. (ibid. p. 36); Schol. Arist. Equit. 505.

[913] Schol. Arist. Equit. 505, Pax 733. As to the formation during the latter part of the parabasis, it is almost certain that the chorus was then divided into ἡμιχόρια. Two MSS. assign the strophe and antistrophe to ἡμιχόρια in Nubes 563, 595, Vespae 1060, 1091, Aves 737, 769, and the epirrhema and antepirrhema in Ranae 686, 717. See Arnoldt, Die Chorpartieen bei Aristoph. pp. 180 ff. That the half-choruses stood facing one another seems to be indicated by Hephaest. 14, p. 131, ἔστι δέ τις ἐν ταῖς κωμῳδίαις καὶ ἡ καλουμένη παράβασις, ἐπειδὰν εἰσελθόντες εἰς τὸ θέατρον καὶ ἀντιπρόσωπον ἀλλήλοις στάντες οἱ χορευταὶ παρέβαινον: Anon. de Comoed. (Dübner, Prolegom. de Com. p. xx) ἀπελθόντων δὲ τῶν ὑποκριτῶν πρὸς ἀμφότερα τὰ μέρη τοῦ δήμου ὁρῶν ἐκ τετραμέτρου δεκαὲξ στίχους ἀναπαίστους ἐφθέγγετο, καὶ τοῦτο ἐκαλεῖτο στροφή.

[914] Poll. iv. 108. The temporary departure was called μετάστασις, the return ἐπιπάροδος.

[915] Aesch. Eum. 235; Soph. Ajax 815.

[916] Eur. Hel. 327 ff.

[917] Eur. Alc. 746; Arist. Eccles. 310.

[918] Schol. Arist. Vesp. 580.

[919] See chap. v. pp. 270 ff.

[920] See especially Arnoldt, Die Chorpartieen bei Aristophanes (Leipzig, 1873), Die chorische Technik des Euripides (Halle, 1878), Der Chor im Agamemnon des Aeschylos (Halle, 1881); Christ, Theilung des Chors im attischen Drama (München, 1877); Muff, Die chorische Technik des Sophokles (Halle, 1877), De choro Persarum (Halle, 1878), Der Chor in den Sieben des Aeschylos (Halle, 1882); Hense, Der Chor des Sophokles (Berlin, 1877), Ueber die Vortragsweise Soph. Stasima (Rhein. Museum, xxxii); Zielinski, Die Gliederung der altattischen Komödie (Leipzig, 1885).

[921] In Poet. c. 12 he defines the πάροδος as ἡ πρώτη λέξις ὅλου χοροῦ, implying that other odes were also sung by the whole chorus. If so, the στάσιμα, which were far the most important of the other odes, must have been so sung. Whether the expression ὅλα χορικὰ μέλη, applied to the στάσιμα, means ‘sung by the whole chorus’, or merely ‘unbroken’, as opposed to the κόμμοι, is uncertain.

[922] Schol. Eur. Alc. 79 ἐκ γερόντων Φεραίων ὁ χορός, διαιρεῖται δὲ εἰς δύο ἡμιχόρια. That the anapaests in Ranae 354-71, which come in the middle of the parodos, were spoken by the coryphaeus is proved by the concluding lines (ὑμεῖς δ’ ἀνεγείρετε μολπὴν κ.τ.λ.), in which the rest of the chorus is commanded to begin.

[923] When these short odes were of a lively character, they were apparently called ὑπορχήματα by the grammarians, and regarded as a separate class. But even stasima might be composed in the hyporchematic style. It seems better, therefore, to regard ὑπόρχημα as a term applicable, not to short lyrics only, but to any lyrics of a lively and dance-like metre. See the Tragic Drama of the Greeks, pp. 357, 359.

[924] See the previous page.

[925] e.g. Arist. Ran. 382, Vesp. 1516, Thesmoph. 655, &c.

[926] Aesch. Agam. 1344 ff., Eum. 140 ff., Schol. ad loc. ἀναστήσει αὐτὰς οὐκ ἀθρόως, μιμούμενος ἐμφατικῶς τὴν ἀλήθειαν, ἀλλ’ ἐγείρεταί τις πρώτη, ὥστε μὴ ἀθρόως τὸν χορὸν φθέγξασθαι. Müller (Griech. Bühnenalt. p. 218) is mistaken in citing the passage in the Lysistrata, 727-80, as an example of the delivery of words by individual choreutae. The three women who take part in the dialogue are not members of the chorus, but performers upon the stage.

[927] Cp. the sensible remarks of the Schol. on Arist. Ran. 375 ἐντεῦθεν Ἀρίσταρχος ὑπενόησε μὴ ὅλου τοῦ χοροῦ εἶναι τὰ πρῶτα· τοῦτο δὲ οὐκ ἀξιόπιστον. πολλάκις γὰρ ἀλλήλοις οὕτω παρακελεύονται οἱ περὶ τὸν χορόν.

[928] Poll. iv. 107 καὶ ἡμιχόριον δὲ καὶ διχορία καὶ ἀντιχόρια. ἔοικε δὲ ταὐτὸν εἶναι ταυτὶ τὰ τρία ὀνόματα· ὁπόταν γὰρ ὁ χορὸς εἰς δύο μέρη τμηθῇ, τὸ μὲν πρᾶγμα καλεῖται διχορία, ἑκατέρα δὲ ἡ μοῖρα ἡμιχόριον, ἃ δ’ ἀντᾴδουσιν, ἀντιχόρια. The Schol. on Arist. Equit. 589 has a curious note to the effect that, when the chorus was divided into two halves of different sex or age, the older or stronger half was always slightly more numerous. In a comic chorus there would be 13 men to 11 women, 13 women to 11 boys, and so on.

[929] Soph. Ajax 866 ff.; Eur. Orest. 1258 ff.

[930] See Arnoldt, Die Chorpartieen bei Aristophanes, pp. 180 ff., where a list is given of the passages which are assigned to half-choruses by Rav. and Ven., e.g. Acharn. 1150, 1162, Nub. 563, 595. Vesp. 1060, 1091, Av. 737, 769, 1058, 1088, Eccles. 290, 301, Thesmoph. 659, Lysist. 321. [J. W. White, Harvard Stud, in Class. Phil. vol. xvii, assigns a more important part to the leader of the second semi-chorus in comedy than has usually been recognized, but the evidence is not conclusive.]

[931] Bergk’s notion (Griech. Lit. iii. p. 131) that in Arist. Poet. c. 12 (κοινὰ μὲν ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι) ἴδια = ‘sung by individuals or sections’ is clearly wrong. ἴδια = ‘not found in all plays’, and the word to be supplied with ἁπάντων is δραμάτων, not χορευτῶν.

[932] Athen. p. 628 E εἰ δέ τις ... ταῖς ᾠδαῖς ἐπιτυγχάνων μηδὲν λέγοι κατὰ τὴν ὄρχησιν, οὗτος δ’ ἦν ἀδόκιμος.

[933] Athen. p. 20 F.

[934] Plat. Legg. 816 A.

[935] Athen. p. 21 F ἄκρως ταῖς χερσὶ τὰ λεγόμενα δεικνυούσαις.

[936] Lucian, de Salt. 63 ταῖς χερσὶ λαλεῖν.

[937] Ovid, Ars Am. i. 595 ‘si vox est, canta; si mollia bracchia, salta’.

[938] Juv. v. 120 ‘structorem interea, ne qua indignatio desit, | saltantem spectes et chironomunta volanti | cultello’.

[939] Quint. Inst. xi. 3. 89 ‘abesse enim plurimum a saltatore debet orator, ut sit gestus ad sensus magis quam ad verba accommodatus’, &c.

[940] Arist. Poet. c. 1 καὶ γὰρ οὗτοι (οἱ ὀρχησταὶ) διὰ τῶν σχηματιζομένων ῥυθμῶν μιμοῦνται καὶ ἤθη καὶ πάθη καὶ πράξεις.

[941] Plut. Symp. 747 B fol. The three divisions of dancing are φοραί, σχήματα, δείξεις.

[942] Athen. p. 630 B πρώτη δὲ εὕρηται ἡ περὶ τοὺς πόδας κίνησις τῆς διὰ τῶν χειρῶν. οἱ γὰρ παλαιοὶ τοὺς πόδας μᾶλλον ἐγυμνάζοντο ἐν τοῖς ἀγῶσι.

[943] Athen. p. 22 A.

[944] Plut. Symp. 732 F σχήματα δ’ ὄρχησις τόσα μοι πόρεν ὅσσ’ ἐνὶ πόντῳ | κύματα ποιεῖται χείματι νὺξ ὀλοή.

[945] Arist. Vesp. 1474 ff.

[946] Athen. p. 21 E.

[947] Athen. p. 628 E ὥστ’ εἴ τις ὀρχοῖτ’ εὖ, θέαμ’ ἦν· νῦν δὲ δρῶσιν οὐδέν, | ἀλλ’ ὥσπερ ἀπόπληκτοι στάδην ἑστῶτες ὠρύονται.

[948] Aristoph. Acharn. 204 τῇδε πᾶς ἕπου, δίωκε, καὶ τὸν ἄνδρα πυνθάνου κ.τ.λ., Schol. ad loc. γέγραπται δὲ τὸ μέτρον τροχαϊκόν, πρόσφορον τῇ τῶν διωκόντων γερόντων σπουδῇ. ταῦτα δὲ ποιεῖν εἰώθασιν οἱ τῶν δραμάτων ποιηταὶ κωμικοὶ καὶ τραγικοί, ἐπειδὰν δρομαίως εἰσάγωσι τοὺς χορούς, ἵνα ὁ λόγος συντρέχῃ τῷ δράματι. Cp. Pax 301, 325, Plutus 257.

[949] Schol. Eur. Phoen. 202; Suidas s.v. στάσιμον, &c.

[950] On the use of ἔξοδος in this sense see the Tragic Drama of the Greeks, p. 352. The word was also applied to the whole of the concluding scene of a tragedy.

[951] Aesch. Eum. 307 ἄγε δὴ καὶ χορὸν ἅψωμεν. Eur. Herc. Fur. 761 πρὸς χοροὺς τραπώμεθα. Arist. Thesmoph. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα. Other passages of the same kind are not infrequent.

[952] Schol. Eur. Hec. 647 (p. 211 Dindf.).

[953] See above, p. 307, note 2.

[954] The liveliness of these dances, even in tragedy, is proved by such expressions as the following: Soph. Ajax 693 ἔφριξ’ ἔρωτι, περιχαρὴς δ’ ἀνεπτόμαν. Eur. Orest. 1353 ἰὼ ἰὼ φίλαι, κτύπον ἐγείρετε, κτύπον καὶ βοάν. El. 859 θὲς ἐς χορόν, ὦ φίλα, ἴχνος, | ὡς νεβρὸς οὐράνιον | πήδημα κουφίζουσα σὺν ἀγλαΐᾳ.

[955] Arist. Vesp. 1536 τοῦτο γὰρ οὐδείς πω πάρος δέδρακεν, | ὀρχούμενον ὅστις ἀπήλλαξεν χορὸν τρυγῳδῶν, Schol. ad loc. εἰσέρχεται γὰρ ὁ χορὸς ὀρχούμενος, οὐδαμῶς δὲ ἐξέρχεται. Eccles. 1179 αἴρεσθ’ ἄνω, ἰαί, εὐαί.

[956] Schol. Arist. Ran. 924 ἡ πρὸς τὰς ῥήσεις ὑπόρχησις.

[957] Schol. Arist. Nub. 1355 οὕτως ἔλεγον πρὸς χορὸν λέγειν, ὅτε τοῦ ὑποκριτοῦ διατιθεμένου τὴν ῥῆσιν ὁ χορὸς ὠρχεῖτο.

[958] Athen. p. 22 A Ἀριστοκλῆς γοῦν φησιν ὅτι Τελέστης, ὁ Αἰσχύλου ὀρχηστής, οὕτως ἦν τεχνίτης, ὥστε ἐν τῷ ὀρχεῖσθαι τοὺς Ἑπτὰ ἐπὶ Θήβας φανερὰ ποιῆσαι τὰ πράγματα δι’ ὀρχήσεως.

[959] Plat Legg. 816 A.

[960] Suid. s.v. ξιφισμός; Hesych. s.v. ξιφίζειν; Poll. iv. 105 καὶ μὴν τραγικῆς ὀρχήσεως σχήματα σιμὴ χείρ, καλαθίσκος, χεὶρ καταπρηνής, ξύλου παράληψις, διπλῆ, θερμαυστρίς, κυβίστησις, παραβῆναι τέτταρα.

[961] See above, p. 307, note 2.

[962] Aesch. Pers. 1038 ff.

[963] Schol. Arist. Nub. 542 κόρδαξ κωμική, ἥτις αἰσχρῶς κινεῖ τὴν ὀσφύν. Hesych. s.v. κόρδαξ; Plat. Legg. p. 816 A; Theoph. Char. 6.

[964] Arist. Nub. 540 οὐδὲ κόρδαχ’ εἵλκυσεν.

[965] Arist. Vesp. 1529 στρόβει, παράβαινε κύκλῳ καὶ γάστρισον σεαυτόν, | ῥῖπτε σκέλος οὐράνιον· βέμβικες ἐγγενέσθων. Thesm. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα.

[966] Poll. iv. 99, 103; Athen. p. 629 F-630 A; Dion. Hal. A. R. vii. 72; Phot. s.v. σκώπευμα.

[967] Plut. Symp. 713 C τὸ δὲ μέλος καὶ τὸν ῥυθμὸν ὥσπερ ὄψον ἐπὶ τῷ λόγῳ, καὶ μὴ καθ’ αὑτὰ προσφέρεσθαι.

[968] Pratinas apud Athen. p. 617 B τὰν ἀοιδὰν κατέστασε Πιερὶς βασίλειαν· ὁ δ’ αὐλὸς | ὕστερον χορευέτω· καὶ γάρ ἐσθ’ ὑπηρέτας.

[969] See, on the whole question, Monro’s Modes of Ancient Greek Music, Oxford, 1894, Macran’s Aristoxenus, 1902.

[970] Plut. Mus. 1136 D-F.

[971] Heracleid. ap. Athen., p. 625 B; Aesch. Suppl. 69 Ἰαονίοισι νόμοισι.

[972] Vit. Soph., p. 8 Dindf.

[973] Aristot. Prob. xix. 30, 48.

[974] Arist. Ran. 1286 ff.; Hesych. s.v. διαύλιον· ὁπόταν ἐν τοῖς μέλεσι μεταξὺ παραβάλλῃ μέλος τι ὁ ποιητὴς παρασιωπήσαντος τοῦ χοροῦ.

[975] Suid. s.v. Τιμόθεος. Plut. Mus. 1135 D.

[976] Suid. l.c. τὴν ἀρχαίαν μουσικὴν ἐπὶ τὸ μαλακώτερον μετήγαγεν.

[977] Pherecrat. Cheiron. frag. 145 (Kock) ᾄδων ἐκτραπέλους μυρμηκίας.

[978] Arist. Ran. 1301 ff., Thesm. 100 μύρμηκος ἀτραπούς, ἢ τί διαμινύρεται; Schol. ad loc. ὡς λεπτὰ καὶ ἀγκύλα ἀνακρουομένου μέλη τοῦ Ἀγάθωνος· τοιαῦται γὰρ αἱ τῶν μυρμήκων ὁδοί.

[979] Plut. An seni etc. 795 C.

[980] Dem. de Cor. § 28.

[981] Dem. Meid. § 74.

[982] Theophrast. Char. 9 καὶ ξένοις δὲ αὑτοῦ θέαν ἀγοράσας μὴ δοὺς τὸ μέρος θεωρεῖν.

[983] E.g. Böttiger, Kleine Schriften, i. pp. 295 ff.; Wachsmuth, Hellen. Alterthumskunde, ii. p. 391; Bergk, Griech. Literaturgesch. iii. p. 49.

[984] E.g. Bernhardy, Griech. Literaturgesch. ii. 2. p. 132; Böckh, Trag. Princip. p. 37; Meineke, Menand. et Philem. Reliq. p. 345.

[985] Plat. Gorg. 502 B-E, Legg. 817 A-C, 658 A-D.

[986] Aristoph. Nub. 537-9, Pax 765, 766, 962-7. Cp. also Eupolis, Προσπάλτιοι, fr. 244 (Kock) Ἡράκλεις, τοῦτ’ ἔστι σοι | τὸ σκῶμμ’ ἀσελγὲς καὶ Μεγαρικὸν καὶ σφόδρα | ψυχρόν. γελῶσιν, ὡς ὁρᾷς, τὰ παιδία. Arist. Pax 50-3 ἐγὼ δὲ τὸν λόγον γε τοῖσι παιδίοις | καὶ τοῖσιν ἀνδρίοισι καὶ τοῖς ἀνδράσι | καὶ τοῖς ὑπερτάτοισιν ἀνδράσιν φράσω | καὶ τοῖς ὑπερηνορέουσιν. [Rogers, Introd. to the Ecclesiazusae, takes this passage, in which women are not mentioned, to prove that they were not present. But the point of the jest is in the enumeration of men in an ascending scale of manliness, and to mention women, even if they were present, would have spoiled it. The other passages which he quotes, Eccles. 165 ff., 435 ff., 1144 ff., and the situation in the Thesmoph., are satisfied if we suppose a large preponderance of men; but they do not require us to assume the exclusion of women.]

[987] Alciphron, Epist. ii. 3. [Rogers, l.c. quotes a sentence of Glycera’s supposed reply, where she speaks of herself as standing in the wings and watching the performance, to prove that ὁρώσης καὶ καθημένης ἐν τῷ θεάτρῳ does not imply that women were in the audience. But καθημένης ἐν τῷ θεάτρῳ naturally and almost technically means this; and the two passages need not be taken to refer to the same point in Glycera’s supposed proceedings.]

[988] Lucian, Anachar. 22.

[989] Aristoph. Ran. 1050, 1051.

[990] Athen. p. 534 C.

[991] Theophrast. Char. 9 and 13.

[992] Schol. Aristoph. Eccles. 22.

[993] Vit. Aeschyli, p. 4 Dindf.

[994] C. I. A. iii. 282, 313, 315, 316, 321, 322, 324, 325, 333, 342, 343, 345, 350, 351, 354, 361, &c.

[995] Aristoph. Achar. 241-6; Menand. fr. 558 (Kock).

[996] E.g. Müller, Die griech. Bühnenalterthümer, p. 291.

[997] Aristoph. Av. 793-6 εἴ τε μοιχεύων τις ὑμῶν ἐστιν ὅστις τυγχάνει, | κᾆθ’ ὁρᾷ τὸν ἄνδρα τῆς γυναικὸς ἐν βουλευτικῷ, | οὗτος ἂν πάλιν παρ’ ὑμῶν πτερυγίσας ἀνέπτατο, | εἶτα βινήσας ἐκεῖθεν αὖθις αὖ καθέζετο. Thesm. 395-7 ὥστ’ εὐθὺς εἰσιόντες ἀπὸ τῶν ἰκρίων | ὑποβλέπουσ’ ἡμᾶς, σκοποῦνταί τ’ εὐθέως | μὴ μοιχὸς ἔνδον ᾖ τις ἀποκεκρυμμένος.

[998] Aristot. Pol. vii. 17 ἐπιμελὲς μὲν οὖν ἔστω τοῖς ἄρχουσι μηθὲν μήτε ἄγαλμα μήτε γραφὴν εἶναι τοιούτων πράξεων μίμησιν, εἰ μὴ παρά τισι θεοῖς τοιούτοις οἷς καὶ τὸν τωθασμὸν ἀποδίδωσιν ὁ νόμος· πρὸς δὲ τούτοις ἀφίησιν ὁ νόμος τοὺς ἔχοντας ἡλικίαν πλέον προσήκουσαν καὶ ὑπὲρ αὑτῶν καὶ τέκνων καὶ γυναικῶν τιμαλφεῖν τοὺς θεούς. τοὺς δὲ νεωτέρους οὔτ’ ἰάμβων οὔτε κωμῳδίας θεατὰς νομοθετητέον.

[999] [Navarre, Utrum mulieres Athenienses scenicos ludos spectaverint, 1900, discusses the evidence in detail, and comes to the same conclusions as those which are stated in the text.]

[1000] Plat. Gorg. 502 D.

[1001] Theophrast. Char. 9.

[1002] Schol. Lucian, Tim. 49; Suidas s.v. θεωρικόν.

[1003] Dem. de Cor. § 28 ἀλλ’ ἐν τοῖν δυοῖν ὀβολοῖν ἐθεώρουν ἄν. This passage shows that there cannot have been any alternative between the reserved seats for distinguished persons and the ordinary two-obol seats. Two obols is also the sum mentioned by Phot., Suid., and Etym. Mag. s. vv. θεωρικόν; Etym. Mag. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Schol. Aristoph. Vesp. 1184. The entrance fee is given as one obol by Ulpian on Dem. Olynth. i. § 1; and as three obols by Schol. Dem. de Cor. § 28. But both are no doubt mistaken. It is given as a drachma by Schol. Lucian, Tim. 49; Phot. and Suid. s. vv. θεωρικά; Philochorus apud Harp. s.v. θεωρικά. But the drachma probably denotes the aggregate fees for successive days at one festival. Plat. Apol. 26 D has most likely no reference to the theatre. See Appendix C.

[1004] Plut. Pericl. 157 A; Ulpian on Dem. Olynth. i. § 1.

[1005] Ath. Pol. c. 28 (see Kenyon’s and Sandys’s notes).

[1006] Dem. de Contrib. § 169; Phot., Suid., Etym. Mag. s. vv. θεωρικόν; Etym. Mag. s.v. θεωρικά; Liban. and Ulpian, ll. cc. It was called διωβολία (Aristot. Pol. ii. 7) or διωβελία (Ath. Pol. c. 28; Bekk. Anecd. 237, 15).

[1007] Four are mentioned in [Dem.] Prooem. 53; six in Schol. Lucian, Tim. 49; Lucian, Encom. Dem. 36; Suid. δραχμὴ χαλαζῶσα; Suid., Harp., and Phot. θεωρικά.

[1008] Dem. in Leoch. § 37.

[1009] Hyperid. in Dem. col. xxiv.

[1010] Harp. s.v. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Ammonius, de diff. vocab., s.v. θεωρός; Dem. Olynth. i. § 19, de Cor. § 118, Philipp. iv. § 38.

[1011] For a full account of these theatre-tickets see Benndorf, Zeitschrift für die österreichischen Gymnasien, 1875, pp. 579-95.

[1012] The illustration is taken from Baumeister, Denkmäler, no. 1833.

[1013] It is taken from Baumeister, no. 1835.

[1014] C. I. G. 5369; Tac. Ann. ii. 83.

[1015] Svoronos, περὶ τῶν Εἰσιτηρίων τῶν ἀρχαίων, in Journal International d’Archéologie Numismatique, 1898, vol. i, pt. 1, pp. 37-120. The illustration in the text (Fig. 34) is taken from this article.

[1016] The lessee was generally called ἀρχιτέκτων (Dem. de Cor. § 28), because part of his contract was to look after the buildings of the theatre. He was also called θεατροπώλης (Poll. vii. 199), from the fact of his selling seats; and θεατρώνης (Theophrast. Char. 11), from the fact of his having taken the theatre on lease. The nature of the arrangement with the lessee may be gathered from (1) C. I. A. ii. 573, in which the lessees of the theatre at the Peiraeeus engage to keep the fabric in good repair; (2) Dem. de Cor. § 28 ἢ θέαν μὴ κατανεῖμαι τὸν ἀρχιτέκτονα αὐτοῖς κελεῦσαι; (3) Ulpian on Dem. Olynth. i. § 1 ὥστε λαμβάνειν ... δύο ὀβολούς, ἵνα ... τὸν δ’ ἄλλον παρέχειν ἔχωσι τῷ ἀρχιτέκτονι τοῦ θεάτρου.

[1017] Theophrast. Char. 30.

[1018] Schol. Aristoph. Equit. 572. Pollux, iv. 121, states rather doubtfully that the προεδρία in the theatre might also be called πρῶτον ξύλον. If the expression was really used, it must have dated from the time when the theatre was still a wooden one.

[1019] C. I. A. iii. 240-384.

[1020] C. I. A. ii. 589 shows that in the Peiraeeus the demarch used to conduct the persons honoured with proedria to the theatre. A similar practice was no doubt observed at Athens.

[1021] C. I. A. ii. 589 καὶ εἰσαγέτω αὐτὸν ὁ δήμαρχος εἰς τὸ θέατρον καθάπερ ἱερεῖς καὶ τοὺς ἄλλους οἷς δέδοται ἡ προεδρία παρὰ Πειραιέων. Cp. also Hesych. s.v. νεμήσεις θέας· Ἀθηναῖοι τὰς ἐν τῷ θεάτρῳ καθέδρας, ψηφίσματι νενεμημένας προεδρίας ἱερεῦσιν.

[1022] C. I. A. iii. 240-384. Dörpfeld, Griech. Theater, p. 47.

[1023] The thrones of seven of the archons are still preserved (C. I. A. iii. 254-60). Those of two of the Thesmothetae are missing, but no doubt stood in the front row with the others.

[1024] Aristoph. Equit. 573-6; Theophrast. Char. 5.

[1025] Aeschin. Fals. Leg. § 111, Ctesiph. § 76; Dem. de Cor. § 28; C. I. A. ii. 164; Cic. de Senect. § 63; Val. Max. iii. 5.

[1026] See above, p. 33.

[1027] Aeschin. Ctesiph. § 154; Plut. X Orat., psephisms I and II, p. 851 A-F.

[1028] Schol. Aristoph. Av. 795; Poll. iv. 122 βουλευτικὸν μέρος τοῦ θεάτρου καὶ ἐφηβικόν.

[1029] Schol. Aristoph. Eccles. 22.

[1030] Aristoph. Pax 962-6 ΤΡ. καὶ τοῖς θεαταῖς ῥῖπτε τῶν κριθῶν. ΟΙ. ἰδού. | ΤΡ. ἔδωκας ἤδη; ΟΙ. νὴ τὸν Ἑρμῆν, ὥστε γε | ... οὐκ ἔστιν οὐδεὶς ὅστις οὐ κριθὴν ἔχει. | ΤΡ. οὐχ αἱ γυναῖκές γ’ ἔλαβον. Alexis, Γυναικοκρατία, fr. 1 (Meineke, Frag. Com. Gr. iii. p. 402) ἐνταῦθα περὶ τὴν ἐσχάτην δεῖ κερκίδα | ὑμᾶς καθιζούσας θεωρεῖν ὡς ξένας [this must mean that foreigners were in one of the extreme _side_ kerkides (see p. 98), not at the _back_ of the theatre].

[1031] [Willems, Le Nu dans la Comédie Ancienne, 1901, places the Council in the central block, the foreigners at one side of the auditorium, the Ephebi on the other, while the tribes occupied the other ten. A clay theatre ticket found at Megalopolis proves that blocks were assigned to special tribes in that theatre (Castrioles, Ἐφημ. Διέθνης τῆς Νομισμ. Ἀρχαιολ. 1900, p. 55). See also Svoronos, quoted p. 333 n.]

[1032] In the central block, on the third step, was a statue of Hadrian, of which the base is still preserved, erected in 112 A.D. by the Areopagus, the Council of Six Hundred, and the people of Athens (C. I. A. ii. 464). Besides this, the bases of three other statues of Hadrian, erected by different tribes, are still in existence. They are all on the second step. The first, erected by the tribe Erectheis, is in the first block from the eastern end; the second, erected by the tribe Acamantis, is in the sixth block from the eastern end; the third, erected by the tribe Oeneis, is in the sixth block from the western end (C. I. A. iii. 466-8). Thus the place of each statue in the series of blocks corresponded exactly with the place of the tribe in the official list of tribes. It is therefore a highly plausible conjecture that, in addition to the statue of Hadrian in the central block, there were twelve other statues erected by the twelve tribes in the remaining blocks; and that each tribe had a special block appropriated to itself. See Benndorf, Beiträge zur Kenntniss des att. Theaters, pp. 4 ff.

[1033] Fourteen of the thrones were out of place when the theatre was first excavated (see p. 95). The position of some of them is rather conjectural. In the list given in the text Dörpfeld’s arrangement has been followed (Griech. Theater, p. 47). For the inscriptions see C. I. A. iii. 240-302. There is a very full account of the inscriptions on the thrones in Wheeler’s article on the Theatre of Dionysus, in Papers of the American School of Classical Studies at Athens, vol. i. pp. 152 ff.

[1034] The illustration is taken from Zeitschrift für bildende Kunst, vol. xiii. p. 196. On the back of the chair are depicted two Satyrs, holding a bunch of grapes. In the front, underneath the seat, are two Oriental figures, engaged in a fight with winged lions. On the arms of the throne are figures of Cupids, setting cocks to fight. The appropriateness of the Satyrs, as a decoration in the theatre of Dionysus, is obvious. The cocks, no doubt, refer to the annual cock-fight held in the theatre (see above, chap. iii. p. 177). The significance of the Oriental figures has not yet been explained.

[1035] Aristoph. Ran. 297.

[1036] i.e. the representative of Athens at the Amphictyonic Council.

[1037] A Macedonian commander of the third century, who restored Athens to freedom after the death of Demetrius.

[1038] i.e. the priest who carried the Iacchus, or sacred statue of Dionysus, at the Eleusinian procession.

[1039] i.e. the priest who looked after the sacrificial fire in the temple of Athene on the Acropolis.

[1040] He was one of the three Exegetae, or Interpreters of sacred law, and was appointed by the Pythian oracle. A second was chosen by the people from the Eupatridae, and also had a seat in the front row.

[1041] They were the guardians of the βουλή, and their altars were in the βουλευτήριον.

[1042] This Antinous was a favourite of Hadrian’s, and was drowned in the Nile, and afterwards deified.

[1043] Unknown.

[1044] Probably an official who carried a sacred stone in some procession; but nothing is known about him.

[1045] Aeschin. Ctesiph. § 76 ἅμα τῇ ἡμέρᾳ ἡγεῖτο τοῖς πρέσβεσιν εἰς τὸ θέατρον. Dem. Meid. § 74 ἐγὼ δ’ ὑπ’ ἐχθροῦ νήφοντος, ἕωθεν, κ.τ.λ. Aristoph. Av. 786-9 αὐτίχ’ ὑμῶν τῶν θεατῶν εἴ τις ἦν ὑπόπτερος, | εἶτα πεινῶν τοῖς χοροῖσι τῶν τραγῳδῶν ἤχθετο, | ἐκπτόμενος ἂν οὗτος ἠρίστησεν ἐλθὼν οἴκαδε, | κᾆτ’ ἂν ἐμπλησθεὶς ἐφ’ ἡμᾶς αὖθις αὖ κατέπτατο.

[1046] Philochorus ap. Athen. p. 464 E Ἀθηναῖοι τοῖς Διονυσιακοῖς ἀγῶσι τὸ μὲν πρῶτον ἠριστηκότες καὶ πεπωκότες ἐβάδιζον ἐπὶ τὴν θέαν.

[1047] Philochor. ap. Athen. l.c. παρὰ δὲ τὸν ἀγῶνα πάντα οἶνος αὐτοῖς ᾠνοχοεῖτο καὶ τραγήματα παρεφέρετο. Aristot. Eth. Nic. x. 5 καὶ ἐν τοῖς θεάτροις οἱ τραγηματίζοντες, ὅταν φαῦλοι οἱ ἀγωνιζόμενοι ὦσι, τότε μάλιστ’ αὐτὸ δρῶσιν.

[1048] Philochor. ap. Athen, l.c. καὶ ἐστεφανωμένοι ἐθεώρουν. Dem. Meid. § 52.

[1049] Aeschin. Ctesiph. § 76, Fals. Leg. § 111; Theophrast. Char. 2.

[1050] Suidas s.v. Δράκων· ὑπὸ τῶν Αἰγινητῶν ἐν τῷ θεάτρῳ, ἐπιρριψάντων αὐτῷ ἐπὶ τὴν κεφαλὴν πετάσους πλείονας καὶ χιτῶνας καὶ ἱμάτια, ἀπεπνίγη.

[1051] The φοινικίδες mentioned by Aeschines (Ctesiph. § 76) were probably coverlets or carpets.

[1052] See above, p. 100.

[1053] Called ῥαβδοφόροι (Schol. Aristoph. Pax 734), and ῥαβδοῦχοι (Pax 734): cp. Dem. Meid. § 179.

[1054] Suid. ἐπιμεληταί ἐχειροτονοῦντο τῶν χορῶν, ὡς μὴ ἀτακτεῖν τοὺς χορευτὰς ἐν τοῖς θεάτροις.

[1055] Andocid. Alcibiad. § 20.

[1056] Dem. Meid. §§ 178, 179.

[1057] Plat. Legg. 700 C.

[1058] Dem. Meid. §§ 14, 226; Alciphron, Epist. iii. 71.

[1059] Poll. iv. 122 τὸ μέντοι τὰ ἑδώλια ταῖς πτέρναις κατακρούειν πτερνοκοπεῖν ἔλεγον· ἐποίουν δὲ τοῦτο ὁπότε τινὰ ἐκβάλοιεν.

[1060] Dem. Fals. Leg. § 337; Athen. p. 245 E.

[1061] Dem. de Cor. § 262.

[1062] Cic. Tusc. iv. § 63. Αὖθις seems to have been the word used; cp. Xen. Symp. ix. 4 ἅμα δὲ ἐβόων αὖθις.

[1063] Poll. iv. 88. The word for hissing an actor off the stage was ἐκβάλλειν; to be hissed off was ἐκπίπτειν. See Dem. de Cor. § 265, Poll. iv. 122.

[1064] Athen. p. 583 F.

[1065] Theophrast. Char. 11.

[1066] Theophrast. Char. l.c.

[1067] Alciphron, Epist. iii. 71 ἵνα, κἄν τι λάθωμεν ἀποσφαλέντες, μὴ λάβῃ χώραν τὰ ἀστικὰ μειράκια κλώζειν ἢ συρίττειν.

[1068] Aristot. Eth. Nic. x. 5.

[1069] Theophrast. Char. 14.

[1070] Alciphron, Epist. iii. 71; Aul. Gell. N. A. xvii. 4.

[1071] Aristot. Eth. Nic. iii. 2, and Eustath. ad loc.

[1072] Plut. Amator. 756 C; Nauck, Trag. Gk. Frag. p. 511.

[1073] Senec. Epist. 115; Nauck, Trag. Gr. Frag. p. 457.

[1074] Vit. Aristoph. (Dindf. Prolegom. de Com. p. 12); Arg. to Soph. Antiq.

[1075] Herod. vi. 21.

[1076] Justin. 17. 9. The passage was very likely from Theopompus.

[1077] Dem. Olynth. iii. § 15 καὶ γνῶναι πάντων ὑμεῖς ὀξύτατοι τὰ ῥηθέντα. Cic. de Fato § 7 ‘Athenis tenue caelum, ex quo acutiores etiam putantur Attici’.

[1078] Cic. Orat. § 25 ‘(Athenienses) quorum semper fuit prudens sincerumque iudicium, nihil ut possent nisi incorruptum audire et elegans’; § 27 ‘ad Atticorum igitur aures teretes et religiosas qui se accommodant, ii sunt existimandi Attice dicere’.

[1079] Plat. Legg. 659 B.C.

[1080] Aristot. Pol. viii. 7 ἐπεὶ δ’ ὁ θεατὴς διττός, ὃ μὲν ἐλεύθερος καὶ πεπαιδευμένος, ὃ δὲ φορτικὸς ἐκ βαναύσων καὶ θητῶν καὶ ἄλλων τοιούτων συγκείμενος. Ibid. 6 ὁ γὰρ θεατὴς φορτικὸς ὢν μεταβάλλειν εἴωθε τὴν μουσικήν, ὥστε καὶ τοὺς τεχνίτας τοὺς πρὸς αὐτὸν μελετῶντας αὐτούς τε ποιούς τινας ποιεῖ καὶ τὰ σώματα διὰ τὰς κινήσεις.

[1081] Aristot. Poet. c. 13 δευτέρα δ’ ἡ πρώτη λεγομένη ὑπὸ τινῶν ἐστι σύστασις, ἡ διπλῆν τε τὴν σύστασιν ἔχουσα καθάπερ ἡ Ὀδύσσεια καὶ τελευτῶσα ἐξ ἐναντίας τοῖς βελτίοσι καὶ χείροσιν. δοκεῖ δὲ εἶναι πρώτη διὰ τὴν τῶν θεάτρων ἀσθένειαν, ἀκολουθοῦσι γὰρ οἱ ποιηταὶ κατ’ εὐχὴν ποιοῦντες τοῖς θεαταῖς. Ibid. c. 9 (of the old legends) ἐπεὶ καὶ τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ’ ὅμως εὐφραίνει πάντας. Id. Rhet. iii. 1 ἐκεῖ μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί.

[1082] [Cp. Römer, Ueber den litterarisch-aesthetischen Bildungsstand des attischen Theaterpublikums, 1901.]

GREEK INDEX

Α

ἀγκυρίς, 209, 210.

ἀγορά, 377.

ἀγῶνες Χύτρινοι, 31.

αἰγείρου θέα, 83.

αἰῶραι, 209.

αἰώρημα, 209.

ἀναβάδην, 204.

ἀναβαθμοί, 217.

ἀναβαίνειν, 109, 148, 166, 167.

ἀναδιδάσκειν, 71.

ἀνάπαιστοι, 269, 270, 295.

ἀναπίεσμα, 217.

ἀναπλάσματα, 259.

ἀνδρῶν χορός, 9, 10.

Ἀνθεστήρια, 372.

ἀντεπίρρημα, 269.

ἀντιχόρια, 309.

ἀπαγγέλλειν, 68.

ἀπ’ αἰγείρου θέα, 83.

ἀπὸ μηχανῆς, 215.

ἀποκρίνεσθαι, 222, 227.

ἀποκριτής, 227.

ἀπολαχεῖν, 32.

ἀριστεροστάτης, 300.

ἅρπαξ, 209.

ἀρχιτέκτων, 334, 379.

ᾆσμα, 56.

αὖθις, 344.

αὐλαία, 219.

αὐληταὶ ἄνδρες, 9.

αὐλητής, 271.

αὐλητῶν χοροί, 9.

ἁψίς, 112, 194.

Β

βαθμοί, 379.

βαρύστονος, 275.

βῆμα, 88, 107, 142.

βομβῶν, 275.

βουλευτικόν, 328, 337.

βροντεῖον, 218.

βωμός, 80, 107, 108, 200.

βωμὸς Διονύσου, 142.

Γ

γέρανος, 210.

γεραραί, 375.

γλεῦκος, 371, 372.

γραμμαί, 107.

γραμματεῖον, 33, 34.

γραφαί, 200.

Δ

δεικηλίκτας, 282.

δείξεις, 313.

δεξιοστάτης, 300.

δευτεραγωνιστής, 234.

δευτεροστάτης, 300.

διαζώματα, 98, 381.

διασκευή, 71.

διαύλιον, 321.

διδασκαλεῖον, 60.

διδασκαλία, 13, 61.

διδασκαλία ἀστική, 7, 13.

διδασκαλία Ληναϊκή, 13.

διδασκαλία τραγική, 13.

Διδασκαλίαι, 13, 47, 48, 351.

διδασκαλίαν καθιέναι, 13, 32.

διδάσκαλος, 56, 61, 62.

διδάσκειν τραγῳδίαν, 25.

διθύραμβος, 10, 222.

δίοδος, 98, 380, 381.

Διονύσια, 6, 9, 378.

Διονύσια ἀρχαιότερα, 368-70, 374.

Διονύσια τὰ ἀστικά, 7.

Διονύσια τὰ ἐν ἄστει, 7, 9.

Διονύσια τὰ ἐπὶ Ληναίῳ, 6, 372.

Διονύσια τὰ ἐπιλήναια, 6, 370, 372.

Διονύσια τὰ κατ’ ἀγρούς, 5, 29, 288.

Διονύσια τὰ κατὰ κώμας, 29.

Διονύσια τὰ κατὰ πόλεις, 29.

Διονύσια τὰ μεγάλα, 7.

Διονυσιακοὶ ἀγῶνες, 377.

Διονυσιακοὶ τεχνῖται, 278.

Διονυσιακὸν θέατρον, 87, 377.

Διόνυσος Ἐλευθερεύς, 6, 7, 371.

Διόνυσος Λήναιος, 24, 372, 373, 377.

Διόνυσος Λιμναῖος, 372, 373.

Διόνυσος ὁ ἐν Λίμναις, 371.

διπλῆ, 317.

διστεγία, 186.

διχορία, 309.

διωβελία, 331.

Ε

ἐγκύκληθρον, 201.

ἐγκύκλημα, 201, 202, 205.

εἰς ἄστυ καθιέναι, 7.

εἰς ἄστυ καταλέγεσθαι, 31.

εἰσκυκλεῖν, 204.

εἰσκύκλημα, 201.

εἴσοδος, 112.

ἐκβάλλειν, 344.

ἐκκλησία ἐν Διονύσου, 7.

ἐκκυκλεῖν, 201, 204, 205, 211.

ἐκκύκλημα, 201, 211.

ἐκπίπτειν, 344.

ἔκσκευα πρόσωπα, 246.

ἐλεός, 80, 167, 222.

Ἐλευθερεύς, 7.

ἐμβάς, 266.

ἐμβάτης, 248.

ἐν ἀγροῖς, 29, 378.

ἐν ἄστει διδάσκειν, 7, 13.

ἐν τοῖν δυοῖν ὀβολοῖν, 330.

ἐξάρχειν, 222.

ἔξοδος, 270, 271, 315.

ἐξώστρα, 309, 379.

ἐπαναβαίνειν, 167.

ἐπεισκυκλεῖν, 211.

ἐπὶ Ληναίῳ, 24, 25, 372, 377, 378.

ἐπιθέατρον, 98, 380, 381.

ἐπιλήναια Διονύσια, 6, 370, 372.

ἐπιμεληταί, 343.

ἐπιμεληταὶ τῆς πομπῆς, 49.

ἐπιμεληταὶ τῶν μυστηρίων, 49.

ἐπιπάροδος, 305.

ἐπίρρημα, 269.

ἐπιστάται Ἐλευσινόθεν, 6, 370, 377.

εὐημερεῖν, 43, 228.

Εὔνους, 261.

εὐφωνία, 273.

ἐφαπτίς, 252.

ἐφηβικόν, 337.

ἐώρημα, 209.

Ζ

ζυγόν, 299, 301.

ζῶναι, 98.

ζωστῆρες, 209.

Η

ἡγεμών, 301.

ἡγεμὼν κορυφαῖος, 301.

ἡμικύκλιον, 101, 218.

ἡμιστρόφιον, 218.

ἡμιχόριον, 304, 307, 309.

Θ

θέα, 324, 341.

θέα παρ’ αἰγείρῳ, 81, 83.

θεᾶσθαι, 9.

θεατής, 102, 348.

θεατρίζειν, 107, 142.

θέατρον, 81, 83, 87, 326, 348, 371, 374, 377.

θεατροπώλης, 334.

θεατρώνης, 334.

θεολογεῖον, 126, 213.

θεὸς ἀπὸ μηχανῆς, 211, 215, 216.

θερμαυστρίς, 317.

θεωρικόν, 331.

θίασος, 278.

θυμέλη, 80, 107, 108, 109, 142.

θυμελικοί, 146, 172.

Ι

ἰαμβεῖον, 267, 269.

ἰαμβύκη, 269.

Ἰαόνιοι νόμοι, 321.

ἴδια ᾄσματα, 310.

ἴκρια, 81, 83, 87, 328, 377.

ἱματιομίσθαι, 64.

ἱματιομισθωταί, 64.

ἱμάτιον, 250, 295.

Κ

καθάρσιον, 68.

καθέζεσθαι, 32.

καθιέναι, 228.

καθίζειν, 32.

καινὸς ἀγών, 30.

καλαθίσκος, 317.

καλαμίτης ἥρως, 377.

κατὰ ζυγά, 299.

κατὰ στοίχους, 102, 299.

καταβαίνειν, 166.

καταβλήματα, 185, 186, 198.

καταλέγειν, 269.

καταληπτήρ, 380, 381.

καταλογή, 269.

κατατομή, 90.

κέραμος, 186.

κεραυνοσκοπεῖον, 218.

κερκίς, 98, 337.

κίνησις, 278, 314.

κλεψίαμβος, 269.

κλῖμαξ, 129, 148, 379, 381.

κλιμακτῆρες, 380, 381.

κόθορνος, 248.

κόλπωμα, 252.

κόμμος, 268.

κονίστρα, 101, 142.

κόρδαξ, 318.

κορυφαῖος, 300, 301.

κράδη, 210.

κρασπεδίτης, 300.

κρηπίς, 248.

κριτὴν ἐμβάλλειν, 32.

κριτής, 31, 32, 33, 34, 36.

κροῦσις, 269.

κυβίστησις, 317.

κύκλιος χορός, 10.

κῶμος, 9, 20, 352.

κωμῳδοί, 9, 20, 25, 108, 275.

Λ

λαρυγγίζειν, 275.

λαυροστάτης, 170, 300.

ληκυθίζειν, 275.

λῆναι, 24, 376.

Λήναια, 24, 372.

Ληναϊκὸν θέατρον, 83.

Λήναιον, 24, 368 ff.

ληνός, 24, 369, 373, 376.

Λίμναι, 24, 368 ff.

λογεῖον, 102, 107, 112, 118, 123, 126, 146, 148, 149, 379, 380.

Μ

μεγαλοφωνία, 273.

μετασκευάζεσθαι, 288.

μετάστασις, 305.

μηχανή, 197, 199, 209, 211, 212, 215, 216.

μηχανοποιός, 209.

μῖμοι, 107, 142.

μισθός, 39.

μονῳδία, 268.

μυρμηκία, 321.

μύρμηκος ἀτραπός, 321.

Ν

νέμειν, 51, 58.

νεμήσεις θέας, 2, 335.

νεμήσεις ὑποκριτῶν, 58.

Νῖκαι τραγικαὶ καὶ κωμικαί, 362.

νικᾶν, 40.

νικᾶν τὰ Λήναια, 364.

νικᾶν τραγῳδίᾳ, 26.

νίκη ἀστική, 7.

Ξ

ξιφίζειν, 317.

ξιφισμός, 317.

ξύλου παράληψις, 317.

Ο

ὄγκος, 244.

ὀκρίβας, 68, 118, 248.

ὁλκοί, 379, 381.

Ὄμβρικος, 261.

ὀρθοστάτης, 380, 381.

ὄρχησις, 311, 312, 314.

ὀρχηστής, 313.

ὀρχήστρα, 82, 90, 101, 102, 107, 142, 148, 166, 377.

Ὀφέλανδρος, 261.

Π

παίδων χορός, 9, 10.

παλαιὸν δρᾶμα, 19, 22.

Παναθήναια, 12.

παρ’ αἰγείρου θέα, 81, 83.

παραβαίνειν, 149, 305.

παράβασις, 149, 270, 305.

παραβῆναι τέτταρα, 317.

παραδιδάσκειν, 19, 22.

παρακαταλογή, 268, 270.

παραλογίζεσθαι, 269.

παραπέτασμα, 118, 185, 186, 219.

παρασκήνια, 117, 127, 139, 142, 191, 379.

παρασκήνια τὰ ἄνω, 139, 379-81.

παρασκήνια τὰ κάτω, 139, 379-81.

παρασκήνιον, 235, 380.

παραστάτης, 301.

παραχορήγημα, 234, 235, 301.

παρεπιγραφή, 206.

πάροδος, 112, 149, 194, 209, 288, 302, 306.

πεπλασμένως, 275.

περίακτοι, 185, 191, 197, 218.

περιβομβῶν, 275.

περιοικοδομία, 379, 381.

πίναξ, 45, 118, 123, 126, 186, 379, 380.

ποικίλον, 250.

πομπή, 9, 49.

προάγων, 67, 68.

προγαστρίδια, 259.

προεδρία, 335.

πρόλογος, 224.

πρὸς τὰς ῥήσεις ὑπόρχησις, 317.

πρὸς χορὸν λέγειν, 269, 317.

προσκήνιον, 118, 127, 129, 172, 186, 219, 379-81.

προσωπεῖον, 262.

πρωταγωνιστεῖν, 227.

πρωταγωνιστής, 223.

πρῶτον ξύλον, 335.

πρωτοστάτης, 301.

πτερνοκοπεῖν, 344.

πυρριχισταί, 10.

Ρ

ῥαβδοῦχοι, 343.

ῥαβδοφόροι, 343.

ῥῆσις, 224, 317.

Σ

σατυρικόν, 12.

σάτυροι, 289.

σαυτὴν ἐπαινεῖς, 176, 228.

σίγμα, 90, 101.

σιμὴ χείρ, 317.

σκευή, 259.

σκηναὶ αἱ ἐπάνω, 112, 126, 379-81.

σκηνή, 108, 112, 141, 142, 148, 149, 166, 186, 199, 268, 379-81.

σκηνὴ ἡ μέση, 112, 379-81.

σκηνικὰ πρόσωπα, 288.

σκηνικοί, 146, 172.

σκηνογραφία, 112, 181.

σκώπευμα, 318.

στάσιμον, 306, 315.

στοῖχος, 149, 299, 301.

στροφεῖον, 218.

στροφή, 305.

σύκινος κλάδος, 210.

σχήματα, 313.

σωμάτιον, 249, 259.

Τ

τὰ ἀπὸ τῆς ὀρχήστρας, 149.

τὰ ἀπὸ τῆς σκηνῆς, 149, 165, 166, 268.

τὰ ἐκ τῶν ἁμαξῶν σκώμματα, 25.

ταινία ξυλίνη, 44.

ταινίαι, 209.

τάφοι, 200.

τετραλογία, 12, 13, 17.

τετράμετρον, 269.

τεχνίτης, 227, 278, 317.

τὸ ἐπὶ τῆς σκηνῆς, 165, 166.

τράγος, 294.

τραγῳδοί, 9, 20, 25, 108, 275.

τραγῳδῶν χοροί, 24.

τράπεζα, 80, 222.

τριλογία, 13.

τρίμετρα, 269.

τρίπους, 10.

τρίτος ἀριστεροῦ, 301.

τριτοστάτης, 300, 301.

τροχός, 209.

τρυγῳδία, 372.

τρυγῳδοί, 310.

Υ

ὑδρίαι, 32.

ὑποδιδάσκαλος, 62.

ὑποκόλπιον, 300.

ὑποκρίνεσθαι, 227, 228.

ὑποκριτής, 58, 148, 165, 223, 224, 227, 229, 274, 284.

ὑπόρχημα, 307.

ὑπόρχησις, 317.

ὑποσκήνιον, 123, 148.

ὑφάσματα, 186, 198.

Φ

φαλλικά, 222.

φαλλός, 259.

φαρυγγίζειν, 275.

φαρυγγίνδην, 61.

φοινικίδες, 342.

φοραί, 313.

Χ

Χαρώνιοι κλίμακες, 217.

χεὶρ καταπρηνής, 317.

χειρίδες, 250.

χερσὶ λαλεῖν, 312.

χιτών, 250.

χιτὼν ἀμφίμαλλος, 256.

χιτὼν μαλλωτός, 256.

χιτὼν χορταῖος, 256.

Χόες, 370, 372.

χοραγός, 301.

χορευτής, 61, 80, 299.

χορηγεῖν, 55, 56, 63.

χορηγεῖν κωμῳδοῖς, 44, 288.

χορηγεῖν παισί, 90.

χορηγεῖν τῇ φυλῇ, 10.

χορηγεῖν τραγῳδοῖς, 10.

χορηγεῖον, 60.

χορηγία, 37.

χορηγός, 10, 32, 56, 63, 64, 66, 301.

χορικὰ μέλη, 287.

χοροκτόνος, 54.

χορολέκτης, 60, 301.

χορὸν αἰτεῖν, 50.

χορὸν διδόναι, 20, 50.

χορὸν εἰσάγειν, 69.

χοροποιός, 301.

χοροστάτης, 301.

χοροῦ τυγχάνειν, 50.

Χύτροι, 12, 31, 371.

Ψ

ψαλίς, 112.

ψιλεύς, 300.

Ω

ᾠδεῖον, 67, 68, 87, 177.

GENERAL INDEX

A

Acoustics, attention paid to, 174.

Acrae, theatre at, 93.

Acting, importance of the voice in, 272 ff. Musical training necessary for, 274. Style of enunciation used in, 275. Gestures used in, 276.

Actors, contests between, 40 ff. Importance of protagonists, 42. Reproduction of old plays by, 43 f. Originally chosen by the poets, afterwards by the state, 57 ff., 229, 230. How assigned to the poets, 58. Paid by the state, 64. Tamper with the text of old plays, 74. The first actor introduced by Thespis, 80. Enter and depart by orchestra, 168, 169, 192 f. Meaning of the term actor, 221. Gradual introduction of, 222 ff. Number of actors in tragedy, comedy, and satyric drama, 223. Effect of small number of, 225. The Greek names for an actor, 226 f. Rise of the actor’s profession, 227. Increase in the proportion of, 228, 229. Distribution of parts among, 230 ff. Changes of costume by, 232. Costume of tragic actors, 237 ff.; of satyric actors, 255 ff.; of comic actors, 257 ff. Importance of the voice in, 272 ff. Musical training of, 274. Style of Greek acting, 275 ff. The Actors’ Guild, 278 ff. Privileges of, 278. Social position of, 281. Salaries of, 281. General character of, 282. Celebrated Athenian actors, 282 ff. Comic, lists of, 365.

Aegis, the, worn by Athene, 251.

Aeschines, acted Oenomaus, 29. Hired by Socrates and Simylus, 30. As tritagonist, 33. His accident at Collytus, 249. Taunted by Demosthenes, 281.

Aeschylus, his first appearance as a dramatist, 11, 83. His Oedipodeia, 11, 15. His Oresteia, 12, 14, 15. Trilogies and tetralogies of, 13 ff. His Lycurgeia, 15, 17. His Promethean trilogy, 15. Number of his victories, 34. Records concerning his Oresteia, 48. Exhibits at an early age, 50. Actors of, 57. Trains his choruses, 61. Reproduction of his plays after his death, 73, 76. Text of his plays, 74, 76. Not popular in later times, 76. His stage, 150. His statue in the theatre, 176. Scenery in his plays, 180. Said to have invented scene-painting, 181. Invents stage decorations, 199. Introduces a second actor, 223. Ceases to act in person, 227. His improvements in the tragic costume, 238, 240, 242, 248. His choruses, 285 ff., 289 ff. Designs the dress of the Furies, 291. Improves the tragic dance, 314. His Eumenides, 327. Nearly killed for impiety, 346.

Agathon, his first victory, 28, 70. His treatment of the chorus, 286. Adopts the new style of music, 321.

Agonothetes, the, 54, 55.

Agyrrhius, commissioner of the treasury, 40.

Aixone, comedies at, 30.

Alcamenes, 131.

Alcibiades, admired for his beauty, 9, 327. Corrupts the judges, 35. Assaults Taureas, 66, 343.

Alexander the Great, wishes to make a stage of bronze, 174.

Altar, in the orchestra, 107. On the stage, 200.

Ambassadors, provided with front seats, 324, 336.

Anapaests, given in recitative, 269. Sometimes delivered by the coryphaeus, 308.

Anapiesma, the, 217.

Anaxandrides, never revises his comedies, 71.

Andronicus, victorious in the Epigoni, 43.

Anthesteria, the, distinct from the Lenaea, 6, 369 ff. Where celebrated, 368 ff. Dramatic performances at, 31, 44.

Anti-choregi, 66.

Antisthenes, his success as choregus, 37, 62.

Apaturius, 127.

Aphareus, engages in eight contests, 19. Exhibits at the Lenaea, 26. Entrusts his plays to others, 52. Rhetorician as well as poet, 62.

Apollonius, disregards tetralogies, 13.

Applause, mode of expressing, 344.

Araros, son of Aristophanes, 51.

Archilochus, invents recitative, 268.

Archinus, commissioner of the treasury, 40.

Archons, the, manage the festivals, 49. Their seats in the theatre, 336.

Arguments, of plays, 48, 349.

Aristarchus, disregards tetralogies, 13.

Aristerostatae, 300.

Aristias, competes with Aeschylus, 12.

Aristodemus, the actor, 278, 281, 283.

Aristophanes, the grammarian, 13. His Arguments, 47.

Aristophanes, the poet, competes at the City Dionysia, 21, 28; at the Lenaea, 25, 27, 28. Story about his Clouds, 38. Third in a certain contest, 40. Exhibits at an early age, 51. Entrusts his plays to others, 51, 52. His Ecclesiazusae, 69. His Frogs much admired, 71. Scenery in his plays, 183, 196. Parodies the ekkyklema, 204. Parodies the mechane, 212. Discards the phallus, 259. His choruses, 287. Discards the kordax, 318. Honoured with a chaplet from the sacred olive, 346.

Aristotle, his remark on the stories of plays, 30. His Didascaliae, 47. Censures extravagance in choregi, 64. His opinion concerning the deus ex machina, 216. His definition of acting, 273. His opinion about actors, 282. His definition of dancing, 313. His remarks about the admission of boys to comedies, 329. His description of Attic audiences, 348.

Arsis, 311.

Artists of Dionysus, 278.

Asia Minor, theatres in, 133 ff., 148, 163.

Aspendos, theatre at, passages in, 97. Back-wall at, 127, 134. Roof in, 135.

Assembly, the, meetings of, in the theatre, 70, 178.

Assos, theatre at, 94, 159. Orchestra in, 106. Gates, 110. Date of proscenium, 130.

Assteas, his vase-painting, 127.

Astydamas, his victories at the Lenaea, 26. Statue of, 87. Conceit of, 176.

Astydamas, protagonist, 42.

Athenodorus, the actor, 230, 281, 283, 284.

Audience, the, representative character of, 4. Enthusiasm for the drama, 4, 346. Overrules the judges, 37, 344. Closely packed, 97, 99. Number of, 100. At the Lenaea, 324. At the City Dionysia, 324. Includes women, boys, and slaves, 324 ff. Distribution of seats among, 334 ff. Price of admission, 331, 334. Tickets of admission, 332. The proedria, 332. Occupants of the front rows, 335 ff. Comfort of, 100, 342. Their mode of expressing pleasure and disapproval, 344. Characteristics of, 344. Their orthodoxy, 345. Their intelligence and taste, 347. Preservation of order among, 343.

Auditorium, the, originally of wood, 81, 84. In the theatre at Athens, 90 ff. Shape of, 92. Interior of, 93 ff. Passages in, 97 ff. Size of, 99, 100. Later history of, 100. Puchstein’s theory of, 131, 132.

Awnings, 95, 100. Not generally used in Greek theatres, 176, 342.

B

Back-wall, the, 126, 127. In theatres of the Roman period, 133. Doors in, 134, 154.

Balconies, on the stage, 187.

Banquets, in honour of victory, 70.

Basis (metrical term), 311.

Bethe, on uses of proscenium, 123. Theory of the stage, 172, 173. On the drop-scene, 220. On the tragic costume, 239.

Birds, chorus of, 297. Their mode of entrance, 302.

Boots, in tragedy, 248 ff. In the Old Comedy, 260. In the New Comedy, 266.

Boys, admitted to the theatre, 324 ff.

Bradfield, theatre at, 158.

Bronteion, the, 218.

C

Callicrates, promises to increase theoric distributions, 331.

Callimachus, the grammarian, 47, 48.

Callippides, the actor, 277, 282.

Callistratus, exhibits plays of Aristophanes, 51, 52. Not an actor, 59.

Carpets, in the theatre, 342.

Cavea, the, 90.

Cephisophon, 57.

Chaeremon, 19.

Changes, of scenery, 195 ff. Of costume, 231 ff.

Chariots, in the theatre, 201.

Charon’s Steps, 217.

Chionides, 20, 26, 27.

Chlamys, the, 250.

Choerilus, number of his plays, 11. Competes with Aeschylus, 11. His improvements in masks, 242.

Choes, 370, 372.

Choregi, first appointment of, 11, 20, 352. Importance of, 36. How appointed, 53. Age of, 53. Replaced by synchoregi, 54; by the agonothetes, 54. Reintroduced, 55. Assignation of poets to, 55 f. Duties of, 61. Expenditure of, 63 ff. Rivalry between, 66.

Choreutae, their appetite, 61. Delivery of words by single choreutae, 308. Decline in the excellence of, 314.

Chorus, the, granted by the archon, 50. Selection and training of, 60 ff. Paid by the choregus, 63. Its dresses supplied by the choregus, 64. Cost of different kinds of, 64. Decline of, 128. Position of during the performance, 140, 148. Supposed platform for, 141. Occasional inaction of, 168. Enters and departs by the back-scene, 168. Comes into contact with the actors, 169. Extra choruses, 237. Gradual decline of in tragedy, 285 ff.; in comedy, 287 ff. Its size in tragedy, comedy, and satyric drama, 288 ff. Its costume in tragedy, 290 ff.; in satyric drama, 292 ff.; in the Old Comedy, 295 ff. Rectangular arrangement of, 298. Its mode of entrance, 299, 301. Irregular entrance of, 302. The parodos, 302. Its formation when in the orchestra, 303. Manœuvres of, 304. Second entrance of, 305. Exit of, 305. Delivery of words by the whole chorus, 306; by the coryphaeus, 307; by single choreutae, 308; by half-choruses, 309. Decline of choral dancing, 314. Accompanies the actors’ speeches with mimetic dances, 316. Sings in unison, 319.

Chorus-trainers, 62. Paid by the choregus, 63.

Christ, theory of the stage, 173.

Chytri, the, dramatic contests at, 31, 44, 371.

Cinesias, said to have abolished the choregia, 54.

City Dionysia, the, compared with the Lenaea, 6, 7, 27, 28. Meaning of the name, 7. Date, 7. Character of the proceedings at, 7 ff. Procession at, 8, 9. Contests at, 9, 10. Tragedy at, 10 ff. Comedy at, 20 ff. Order of contests at, 23, 24. Actors’ contests at, 41. Managed by the archon eponymus, 49. Synchoregi at, 54. Proclamation of crowns at, 68. Tribute displayed at, 68. Orphans paraded at, 68. Where celebrated, 82, 84.

Clâque, the, 345.

Cleander, actor of Aeschylus, 57, 282.

Cleidemides, actor of Sophocles, 282.

Cleon, terror inspired by, 260.

Cleophon, invents theoric distributions, 331.

Clouds, chorus of, 295.

Cock-fight, the, in the theatre, 177.

Collytus, dramatic performances at, 29.

Comedy, first institution of contests in, 5, 20, 26, 27. Specially prominent at the Lenaea, 6. Choregia in, 20. At the City Dionysia, 20 ff., 358 ff. Number of poets and plays in the comic contests, 20. Reproduction of old comedies, 22. At the Lenaea, 26, 27, 355 ff. At the Anthesteria, 31. Number of actors in, 224. Costume of actors in, 257 ff. Decline of the chorus in, 287. Size of the chorus in, 289. Costume of the chorus in, 295 ff. Dances used in, 318. Its connexion with religion, 328.

Conjurors, in the theatre, 178.

Contests, the dramatic, confined to a few festivals, 1. Managed by the state, 3. Universal prevalence of, 3. First institution of, 5, 11, 20, 26. Tragic contests at the City Dionysia, 10 ff. Comic contests at the City Dionysia, 20 ff. Tragic contests at the Lenaea, 25. Comic contests at the Lenaea, 26. Comic contests at the Anthesteria, 31. The judges in, 31 ff. Prizes for, 38 ff. Between actors, 40 ff. Records of, 44 ff. Commence at daybreak, 68. Preceded by a sacrifice, 68. Order determined by lot, 69. Announced by a trumpet, 69.

Coryphaeus, the, in the early drama, 80. Position and importance of, 301. Delivers portions of the choral part alone, 308.

Costume, of the tragic actors, 237 ff. Origin of the tragic costume, 238 ff. Improved by Aeschylus, 240. Ancient representations of the tragic costume, 241, 243. Tragic masks, 244 ff. The cothurnus, 248 ff. The tragic tunic, 250. The tragic mantle, 250. Head-coverings in tragedy, 251. Special costumes in tragedy, 251, 252. General character of the tragic costume, 252 ff. Costume of satyric actors, 255 ff. Costume of actors in the Old Comedy, 257 ff. Origin of this costume, 261. Costume of actors in the New Comedy, 261 ff. Cumbersomeness of the tragic costume often exaggerated, 276. Costume of the tragic chorus, 290; of the satyric chorus, 292 ff.; of the comic chorus, 295 ff.

Cothurnus, the, 244 ff. Not worn in satyric dramas, 255.

Council, the, special seats for, 337.

Courtesans, special seats for, 337.

Crane, the, 210.

Crates, actor to Cratinus, 59, 228.

Cratinus, satirized by Aristophanes, 9. His victories, 28, 46. Refused a chorus by the archon, 50. Called a dancer, 61, 228, 314.

Crowns, proclaimed at the City Dionysia, 68. Bestowed on victors at the contests, 69. Worn by kings and messengers, 252. Worn by the spectators, 342.

Cunei, the, 98.

Curators, at the City Dionysia and Lenaea, 49.

Cushions, in the theatre, 96, 342.

D

Dancing, importance of in the Greek drama, 311. Its mimetic character, 312. History of, 314. How far employed in the drama, 315. Used as an accompaniment to speeches from the stage, 316. The tragic dance, 317. The comic dance, 318. The satyric dance, 318.

Delivery, different modes of, 266 ff. Louder in tragedy than in comedy, 275. More rhythmical than in modern times, 275. Delivery of the choral part, 305 ff.

Delos, theatre at, orchestra in, 106, 121 ff., 139, 157. The hyposkenion, 107, 121, 123, 124, 125, 157. The pinakes, 123, 130. Date of proscenium, 130. Shape of stage-buildings, 139. Erections in front of proscenium, 157. Dörpfeld’s view concerning, 162. Accounts in connexion with, 379 ff.

Demosthenes, his choregic dress, 8. His dream, 37. Supplies his chorus with golden crowns, 64. Complains of the amount spent upon choruses, 66. His remark about actors, 273. Assaulted by Meidias, 324.

Deus ex machina, 215.

Deuteragonist, 230, 234.

Deuterostatae, 300.

Dexiostatae, 300.

Diaulia, 321.

Dicaeogenes, his meanness, 37.

Didascalia, meaning of the word, 47. The tragic didascaliae, 13; cf. 352 ff.

Didaskalos, 61.

Diodorus, exhibits two comedies at one contest, 21.

Dionysia, _see_ City Dionysia, Rural Dionysia.

Dionysius, exhibits at the Lenaea, 26, 28.

Dionysus, Eleuthereus and Lenaeus, 6. His statue carried in procession, 8; placed in the theatre, 9. His temples, 88, 89, 175, 368 ff. His priest, 339.

Diphilus, ejected from the theatre, 345.

Distegia, the, 186.

Distribution, of the parts among the actors, 230 ff.

Dithyrambic contests, 6, 9, 24, 39, 53, 56, 65.

Doors, from stage to orchestra, 115, 124, 153. Into the parodoi, 125. In the back-wall, 125, 134, 189. In the back-scene, 188. From the side-wings, 189, 191. Regulations about the doors on to the stage, 190, 194.

Dorian Mode, the, 320.

Dörpfeld, on date of first stone theatre at Athens, 83, 87. On Lycurgus’s work, 87, 88, 114. On the oldest stage-buildings, 113, 114, 117. On date of first important reconstruction, 114, 119. On the character of this reconstruction, 119. On date of stone proscenium at Athens, 131. His theory of the Greek stage, 144 ff. Contradicted by Vitruvius, 145 ff.; by other ancient authorities, 148 ff. Inconsistent with the archaeological evidence, 150 ff., 171. Arguments in favour of, 158 ff. Early literary evidence against, 165 ff. Evidence of the extant dramas concerning, 166 ff. The reason for the stage, 170.

Drawers, worn by the satyrs, 294.

Drop-scene, the, 218.

Duets, between actors, 268.

E

Eisodoi, 112.

Ekkyklema, the, character of, 201 ff., 205. Instances of in the extant dramas, 203 ff., 206 ff. Recent theories about, 205, 208.

Eleusis, dramatic performances at, 29.

Eleutherae, statue of Dionysus at, 8.

Eleuthereus, title of Dionysus, 6, 8.

Emmeleia, the, 317.

Encores, 344.

Entrances. _See_ Doors (above).

Ephebi, receive their shields and spears in the theatre, 178. Their seats, 337.

Epicharmus, date of, 20.

Epidaurus, theatre at, its symmetry of shape, 92. Auditorium in, 93. Chief seats in, 95. Passages in, 97. Size of, 100. Date of, 104, 119. Orchestra in, 105, 143, 157. The gutter, 107. The altar, 108. Gates, 110. The hyposkenion, 123-5, 154. Side-wings, 125. Ramps, 125.

Epiparodos, the, 305.

Eretria, theatre at, 89. The orchestra, 107. Tunnel in, 109. Stage-buildings at, 119, 120, 121, 151, 165. Stage in, 122, 132. Side-wings, 125. Date of proscenium, 130.

Eubulus, entrusts his plays to Philippus, 52.

Eudemus, helps in construction of theatre, 87.

Eumenes, portico of, 175.

Euphorion, produces plays of Aeschylus, 73.

Eupolis, entrusts one of his plays to Demostratus, 52.

Euripides, his Alcestis, 12, 13. His Medea, Hippolytus, and Troades, 12. Defeated by Xenocles, 12, 35; by Nicomachus, 35. His Iphigeneia in Aulis and Bacchae, 12, 76. Reproduction of his tragedies in later times, 18, 76. Exhibits a new tragedy at the Peiraeeus, 29. Number of his victories, 34. Exhibits at an early age, 51. His relation with Cephisophon, 57. Trains his own choruses, 62. Text of his plays, 74. His popularity, 71. His statue in the theatre, 176. Scenery in his plays, 183, 184. His use of the deus ex machina, 216. Often introduces children on the stage, 237. Character of his tragedies, 254. His choruses, 285-7. Adopts the new style of music, 321. Predicts the speedy popularity of Timotheus, 322. Charged with writing immoral plays, 327. His Melanippe, 346; his Danaë, 346.

Eurycleides, his statue in the theatre, 176.

Evegorus, law of, 23.

Exodoi, not usually accompanied with dances, 316.

Exostra, the, 209.

Extra performers, 235 ff.

F

Fig-branch, the, 210.

Files, in choruses, 298.

Flute, the, regularly used in the Greek drama, 270.

Flute-players, how assigned, 56. Paid by the choregus, 63. Number of, 270. Costume of, 271. Position of during the performance, 271.

Foreigners, their seats, 337.

Furies, chorus of, 291. Its mode of entrance, 302.

G

Gates, leading to the orchestra, 110.

Generals, their seats in the theatre, 336.

Gerarae, the oath of, 371, 375.

Gestures, most important in the Greek drama, 276. Restrained in character, 277.

Ghosts, on the Greek stage, 168, 217.

Girdles, part of the tragic costume, 250.

Gladiatorial contests, in the theatre, 102, 178.

Gods, manner of their appearance on the ancient stage, 215 ff.

Graeco-Roman theatres, character of, 127, 133 ff. Use of orchestra in, 136. Inconsistent with Dörpfeld’s theory, 163.

Guild, the Actors’, 278 ff.

Gutters, in the orchestra, 102, 106, 107.

H

Hadrian, statues of in the Athenian theatre, 176.

Harp, the, occasionally employed in the Greek drama, 270.

Harp-players, their number, costume, and position during the performances, 270, 271.

Hats, worn by the spectators, 342.

Head-coverings, for the actors, 251.

Hemichoria, 307, 319, 320.

Hemikyklion, the, 218.

Hemistrophion, the, 218.

Hermon, the actor, 284, 344.

Himation, the, 250.

Horace, his reference to the Greek stage, 144, 150.

Horses, in the theatre, 201.

Hypodidaskalos, the, 62.

Hypokrites, use of the word, 220. Its derivation, 226.

Hypophrygian Mode, the, 321.

Hyporchemata, 307, 316, 317.

Hyposkenion, the, 123 ff.

I

Iambics, tetrameters, given in recitative, 269.

Iambic trimeters, spoken without musical accompaniment, 267. Rarely sung, 267.

Icaria, dramatic performances at, 29.

Ikria, the, 83, 84, 87.

Inscriptions bearing on the drama, 352 ff.

Iobaccheia, 375.

Ion of Chios, his remark about virtue, 13. His present to the Athenians, 70.

Ionic Mode, the, 321.

Iophon, exhibits plays of his father Sophocles, 51.

J

Judges, in the dramatic contests, their number, 31. Mode of selection, 32 ff. The process of voting, 33. Value of their verdicts, 34 ff. Sometimes corrupted and intimidated, 35. Afraid of the audience, 37. Their seats, 336.

K

Kataloge, 268.

Katatome, the, 90.

Keraunoskopeion, the, 218.

Kerkides, the, 98. Assigned to particular tribes, 337.

Klepsiambos, the, 269.

Knights, chorus of, 296.

Kolpoma, the, 252.

Kommos, the, 268. Accompanied by dances, 316. The kommos in the Persae, 318.

Konistra, the, 101.

Kordax, the, 318.

Kraspeditae, the, 300.

Krepis, the, 248.

L

Laurostatae, the, 170, 300.

Lenaea, the, not part of the Anthesteria, 5, 6, 372 ff. Compared with the City Dionysia, 6, 7, 27. Meaning of the name, 24, 376. Date of, 25. Where celebrated, 25, 83, 368 ff. General character of, 25, 26. Tragic contests at, 25, 26 ff. Comic contests at, 26, 27. Actors’ contests at, 41. Managed by the archon basileus, 49.

Lenaeum, the, 24, 25. Site of, 368 ff. Wooden theatre at, 83, 84.

Lenaeus, title of Dionysus, 24, 372, 376.

Lessee, the, 334.

Licymnius, the actor, victorious in the Propompi, 43. His voice, 273.

Limnaeus, title of Dionysus, 372, 373.

Logeion, the, 117, 163. Not the same as the theologeion, 164.

Lucian, ridicules the tragic actors, 254, 273.

Lycurgus, the orator, his law concerning the Anthesteria, 31. Institutes dithyrambic contests at the Peiraeeus, 39. His law for preserving the text of the great tragic poets, 74. Completes the theatre, 87. Puchstein’s theory of, 87, 88, 130 ff.

M

Maeniana, 187.

Magna Graecia, theatres of, 127, 133, 155 ff.

Magnesia, theatre at, its shape, 93. Tunnel in, 109.

Market-place, the, suggested site of the Lenaeon, 25, 377. Dramatic performances at, 83.

Marshes, the, temple in, 24, 368 ff. Site of, 368 ff.

Masks, invention of, 238, 242. Results of the use of, 242, 243. The tragic mask, 244, 245. The mask of Silenus, 256. The masks in the Old Comedy, 259, 260; in the New Comedy, 262 ff. The masks of the tragic chorus, 291; of the satyric chorus, 292; of the comic chorus, 295.

Mechane, the, character of, 209 ff. Instances of the use of, 211 ff. Relation to the theologeion, 213 ff.

Megalopolis, theatre at, chief seats in, 95. Size of, 100. The orchestra in, 105, 106. The gutter, 107. Date of, 119. Stage in, 121, 122, 125. No door in hyposkenion, 124, 154. Date of proscenium, 130. Stage-buildings in, 137. Skanotheka and scaena ductilis in, 160 ff.

Meidias, corrupts the judges, 35. Assaults Demosthenes, 324. Interferes with Demosthenes’ chorus, 117, 279.

Meletus, his Oedipodeia, 18.

Menander, reproduction of comedies of, 22. Defeated by Philemon, 36, 345. His statue in the theatre, 176. Retains the chorus, 288. His desire for distinction as a dramatist, 326.

Miltiades, his statue in the theatre, 176.

Mitra, the, 251.

Mixolydian Mode, the, 320.

Modes, the, 320, 321.

Monodies, 268.

Mummius, 175.

Music, in the Greek drama. The instruments employed, 269, 270. Number of musicians, 270. General character of, 319 ff. The Modes, 320, 321. Deterioration of Greek Music during the fifth century, 321.

Musical instruments, in the Greek drama, 269, 270.

Musicians, in the Greek drama, 270.

Mute characters, 63, 235, 236.

Mynniscus, actor of Aeschylus, 57, 227, 282. Calls Callippides an ape, 277.

N

Neoptolemus, the actor, 273, 279, 281, 283, 284.

Nero, competes in the tragic contests, 273.

Nicias, as choregus, 37, 66.

Nicostratus, the actor, 269.

O

Obelisks, on the stage, 200.

Odeion, the, used for the Proagon, 67. Of Pericles, 175. Formerly used for performances by rhapsodists and harp-players, 177.

Okribas, the, 118.

Onkos, the, 244.

Orange, theatre at, 135.

Orchesis, 312.

Orchestra, the, importance of, 80, 81. In Roman theatres, 82. In the market-place, 83. The old orchestra in the Athenian theatre, 84. Names of, 101. The orchestra in the stone theatre at Athens, 102. Comparison of Greek and Roman orchestras, 104. Not always a complete circle, 106. Passages round, 106. The gutter, 102, 106, 107. Floor of, 107. Altar in, 107. Subterranean passages in, 103, 109. Entrances into, 110 ff. Use of in Romanized Greek theatres, 135, 136. Hermann’s theory concerning, 141. Book-shops in old orchestra, 377.

Oropus, theatre at, chief seats in, 96. Proscenium at, 125, 130, 152, 153. Stage-buildings in, 151.

Orphans, paraded in the theatre, 68. Have the proedria, 336.

Ovid, his advice to lovers, 312.

P

Pantacles, the poet, 56.

Parabasis, delivered partly in recitative, 269. Disappearance of, 287. Position of the chorus during, 304.

Parachoregemata, 235 ff.

Parakataloge, 268.

Paraskenia, 117, 235, 379 ff.

Parastatae, the, 301.

Parmenon, the actor, 284.

Parodoi, 112, 194.

Parodos, or entrance song, 302. The second parodos, 305. Given by the whole chorus, 306. Generally accompanied with dancing, 315.

Passages, in the auditorium, 97, 98. Under the orchestra, 103, 109. Round the orchestra, 106. Into the orchestra, 110 ff., 194.

Patara, theatre at, 136.

Peiraeeus, the, dramatic performances at, 29. Shape of theatre at, 93. Passages in, 97, 98. The orchestra, 105, 106. The gutter, 107. Date of proscenium, 130.

Pergamon, theatre at, 137, 159.

Perge, theatre at, partially Romanized, 135.

Periaktoi, the, 197 ff.

Phaedrus, stage of, 88, 115.

Phallus, the, worn by comic actors, 257-9; by the satyrs, 294.

Pherecrates, censures the music of Timotheus, 321.

Philemon, reproduction of comedies of, 22. Defeats Menander, 36, 245. Retains the chorus, 288.

Philippus, son of Aristophanes, 52.

Philocles, writes a Pandionis, 17.

Philonides, exhibits plays of Aristophanes, 21, 52. Not an actor, 59.

Phlya, dramatic performances at, 30.

Phlyakes, their performances, 155 ff., 257.

Phrygian Mode, the, 320.

Phrynichus, called a dancer, 61, 314. His Capture of Miletus, 71. Introduces female masks, 242. Skilful in inventing new dances, 314.

Pinakes, 122, 123, 127, 130.

Pisistratus, 11.

Plato, the philosopher, writes a tetralogy, 18. His opinion of Attic audiences, 38, 344, 347. Would exclude actors from his ideal state, 274. Praises the tragic dance, 317. Disapproves of the kordax, 318. His remarks about the drama in connexion with boys and women, 326.

Plato, the poet, sells his comedies, 51. His remarks on the decline of choral dancing, 314.

Pleuron, date of proscenium, 130.

Plutarch, his description of Greek dancing, 313. His remark about music, 319.

Pnyx, the, disused as a meeting-place for popular assemblies, 178.

Poets, influence of, 4. Number of, at the different dramatic contests, 12, 19, 20, 25. Age of, 50, 51. Produce plays in other persons’ names, 51, 52. Originally also stage-managers, 51, 61. How assigned to the choregi, 55, 56. Act in their own plays, 227. Tragic, at the Dionysia, 362. Comic, at the Dionysia, 363; at the Lenaea, 364.

Police, in the theatre, 343.

Polus, the actor, his salary, 281. Stories about, 283.

Polycleitus, architect of the Epidaurian theatre, 104.

Polyphradmon, his Lycurgean tetralogy, 12.

Poplar, the, near the old theatre, 83.

Portico, in the auditorium, 99. At Delos, 139. In the fourth century at Athens, 175. Of Eumenes, 175.

Posidippus, reproduction of his plays, 22.

Praecinctiones, 98.

Pratinas, number of his plays, 11. Competes with Aeschylus, 11. Called a dancer, 61, 314. Complains of the flute-players, 320.

Price of admission, two obols, 330. Granted by the state to needy citizens, 330 ff.

Priene, theatre at, altar in the orchestra of, 108. Stage in, 121. Doors in hyposkenion, 124. Chief seats in, 96. Proscenium in, 125.

Priestesses, their seats, 335, 341.

Priests, their seats, 335, 338 ff.

Privileges, enjoyed by actors, 278 ff.

Prizes, for choregi, 39, 69. For poets, 39, 69.

Proagon, the, 67.

Probole, the, 70.

Production, of a play, 49 ff. Concealment of the poet’s name, 51 ff. Formerly managed by the poet himself, 51. Posthumous production of plays, 74.

Proedria, the, 335. Conferred on priests, 335; on archons and generals, 336; On various other persons, 336.

Prologue, the, 302.

Proskenion, the, 118, 122 ff.

Protagonist, his importance, 42, 230. Parts taken by him, 232, 233.

Protostatae, the, 301.

Ptolemy, the Third, a collector of manuscripts, 75.

Puchstein, on date of first stone theatre at Athens, 83, 87, 130 ff. On Lycurgus’s work, 87, 88, 130 ff. On the oldest stage-buildings, 113, 114, 117, 130 ff. On date of first reconstruction, 114, 119, 130 ff. On character of this reconstruction, 119, 130 ff. On pinakes, 123, 130. On date of stone proscenium, 130 ff. On date of stone auditorium, 131, 132. On stage in fifth century, 132.

Pulpitum, meaning of the word, 150.

Puppet shows, in the theatre, 178.

Q

Quintilian, his statement about Aeschylus, 73. His comparison of the orator and the dancer, 312.

R

Ramps, in the stage-buildings, 125.

Ranks, in choruses, 298.

Recitative, how far employed in the Greek drama, 268 ff., 305.

Records, of dramatic contests, 44 ff., 352 ff. Erected in or near the theatre, 176.

Refrains, 321.

Refreshments, in the theatre, 341.

Religion, its connexion with the drama, 1 ff., 328.

Reproduction, of old tragedies, 72 ff. Of old comedies, 22. Of plays at the Rural Dionysia, 29, 30. By the actors, 43, 74. Almost unknown during the fifth century, 74. Favourite tragedies in later times, 75, 76. On the Vitruvian stage, 129.

Revision, of plays, 71.

Robert, theory of the stage, 173.

Romanization, of Greek theatres, 133 ff. Often only partially carried out, 135. Dörpfeld’s theory concerning, 162 ff.

Roof, over the stage, 118, 135.

Rural Dionysia, the, 6, 29, 30. Old plays at, 43.

S

Sagalassos, theatre at, partially Romanized, 135. The stage, 135.

Salamis, dramatic performances at, 29.

Salaries of the actors, 281.

Sannio, the chorus-trainer, 62, 279.

Satyric drama, at the City Dionysia, 11. Its relation to tragedy, 16. Decline in the importance of, 18. Number of actors in, 224. Costume of actors in, 225. Size of the chorus in, 256. Origin of the satyric chorus, 289. Costume of the satyric chorus, 292 ff. The satyric dance, 318.

Satyrus, the actor, 76.

Scaena ductilis, supposed use of at Megalopolis, 161. Character of, 199.

Scene-painting, invention of, 181. Character of in ancient times, 183 ff.

Scenery, occasionally supplied by the choregus, 64. Simple in character, 179. Gradual introduction of, 179 ff. Inventor of, 181. Number of scenes not large, 182, 183. Character of ancient scene-painting, 183 ff. Mechanical arrangements for the scenery, 186 ff. Entrances to the stage, 188 ff. Regulations concerning the entrances, 190. Changes of scene, 195 ff. The periaktoi, 197 ff. Stage-properties, 199. The ekkyklema, 201 ff. The exostra, 209. The mechane and theologeion, 209 ff. Various contrivances, 217.

Sea-fights, in the orchestra, 103.

Seats, the, originally of wood, 81. In the Athenian theatre, 94 ff. For distinguished persons, 94, 100. Price of, 330. Distribution of, 334 ff.

Segesta, stage at, 132.

Shepherds, their costume on the stage, 251.

Sicyon, theatre at, the orchestra in, 106. The gutter, 107. Tunnel in, 108. The stage-buildings, 120, 151. The stage, 125. Ramps in, 125. The proscenium, 130.

Side entrances, on to the stage, 191 ff. To the orchestra, 110 ff., 194 ff.

Side-wings, in the Athenian theatre, 113, 114. Called paraskenia, 117. Various shapes of, 125. At Delos, 139. Entrances from, 191 ff.

Sigma, the, 101.

Sikinnis, the, 318.

Sileni, their relation to satyrs, 292 ff.

Silenus, his costume, 256. His relation to the satyrs and Sileni, 295.

Simylus, the actor, 30, 275.

Skanotheka, at Megalopolis, 160.

Skene, origin of the term, 80. Various meanings of, 141.

Slaves, admitted to the theatre, 325, 329.

Sleeves, in the tragic costume, 250.

Soccus, the, 266.

Socrates, the actor, 30, 275.

Socrates, his behaviour during the performance of the Clouds, 260.

Solos, by actors, 268.

Song, used in lyrical passages, 268, 305.

Soothsayers, their costume on the stage, 251.

Sophocles, competes with Euripides, 12. Abandons the practice of writing tetralogies, 17. Number of his victories, 28, 34, 46. Defeated by Philocles, 35, 40. Never third in a contest, 40. Refused a chorus by the archon, 50. Exhibits at an early age, 51. Entrusts plays to his son Iophon, 52. His actor Tlepolemus, 57. Writes for the actors, 57, 229. Appears occasionally upon the stage, 62, 227. His conduct at the death of Euripides, 67. The text of his plays, 74. Popular tragedies of, 76. His statue in the theatre, 176. Said to have invented scene-painting, 181. Scenery in his plays, 182. Introduces a third actor, 224. Prevented from acting by the weakness of his voice, 227. Invents the krepis, 248; and the curved staff, 252. His choruses, 285, 286. Increases the size of the chorus, 289. Appointed general, 346. His popularity, 347, 348.

Speech, used in the delivery of iambic trimeters, 267, 305.

Sphyromachus, his regulation about the seats, 327.

Staffbearers, 343.

Stage, the, original form of, 80. History of in the stone theatre at Athens, 113 ff. Names for, 118, 163. In early times, 118 ff. In the pre-Roman period, 130 ff. Puchstein’s theory of, 132 ff. In theatres of the Roman period, 133 ff. At Megalopolis, 137. At Delos, 138. Wieseler’s theory of, 140 ff. Gradual development of, 144. Dörpfeld’s theory of, 144 ff. Literary evidence for the later stage, 145 ff. Archaeological evidence for the later stage, 150 ff. Dörpfeld’s arguments against the later stage, 158 ff. Development of the Roman stage from the Greek, 162 ff. Literary evidence for the early stage, 165 ff. Evidence of the extant dramas concerning, 167 ff. The reason for the stage, 170. Varies in height at different periods, 171. Various theories concerning, 172 ff. Occasionally used by the chorus, 169.

Stage-buildings, the, origin of, 80. History of in the stone theatre at Athens, 112 ff. Puchstein’s view of, 113, 114, 117, 130 ff. In early times, 116 ff. In the pre-Roman period, 126. In theatres of the Roman period, 133 ff. At Pergamon, 137. At Megalopolis, 137. At Delos, 138. The space behind the proscenium, 151.

Stage-properties, 199 ff.

Stasima, movements of the chorus during, 303. Delivered by the whole chorus, 306. Accompanied with dancing, 315.

Statues, in the theatre, 176. On the stage, 200.

Statuettes, of comic actors, 258.

Steps, between orchestra and stage, 129, 148, 149, 156. Charon’s, 217.

Stropheion, the, 218.

Sword-swallowers, in the theatre, 178.

Synchoregia, the, 54.

Syracuse, theatre at, 89.

Syrtos, the, 250.

T

Tablets, erected by the choregi, 44.

Taureas, assaulted by Alcibiades, 66, 343.

Tauromenium, theatre at, 127.

Telestes, dancer employed by Aeschylus, 312. Dances the Seven Against Thebes, 317.

Temples, of Dionysus, 88, 89, 175, 368 ff.

Termessos, theatre at, 93. Partially Romanized, 135. The stage, 135. Door in the back-wall, 154.

Tetralogies, 12, 13 ff. Meaning of the term, 13. Invention of, 14. Character of, 14. Disuse of, 17.

Text, of old plays, officially preserved, 74.

Theatre, the Greek, general character of, 79. Originally of wood, 80. Importance of the orchestra in, 81. Compared with the Roman, 82. Site of the old wooden theatres, 82-4, App. Seldom faces the south, 89. Shape of the auditorium, 90. Passages in, 97. The orchestra, 101 ff. The eisodoi, 110 ff. The stage-buildings and stage in early times, 113 ff.; in pre-Roman times, 120 ff.; in Roman times, 133 ff. Reasons of changes in, 127. Use of orchestra in later times, 136. Exceptional stage-buildings, 137 ff. Wieseler’s theory of the stage in, 146 ff. Dörpfeld’s theory of the stage in, 144 ff. Other theories of the stage, 172 ff. Acoustic properties of, 174.

Theatre, of Dionysus at Athens, first permanent erection at, 83 ff. Remains of the fifth century theatre, 83, 84. Compared with that of later times, 85. Date of the stone theatre, 86, 87. Later history of, 87, 88. Site of, 88. The auditorium, 90 ff. The orchestra, 101 ff. The stage-buildings, 113 ff. Statues and monuments in, 176. Various uses of, 177, 178. Buildings near, 175.

Themistocles, victorious in a dramatic contest, 45. His statue in the theatre, 176.

Theodectes, engages in thirteen contests, 19. Victorious at the Lenaea, 26. Rhetorician as well as poet, 62.

Theodorus, the actor, always delivers the first speech in a tragedy, 231. Excellence of his voice, 274. Stories about him, 283.

Theognis, the tragic poet, 73.

Theologeion, the, character of, 213 ff. Its relation to the mechane, 213. Not identical with the logeion, 126, 164.

Theoric money, 330 ff.

Thersilion, the, at Megalopolis, 137, 160.

Thesis, 311.

Thespiae, theatre at, 124, 154.

Thespis, the inventor of tragedy, 5, 80. His first victory, 11. Called a dancer, 61, 314. Acts in his own plays, 227. His use of masks, 242.

Thessalus, the actor, 283, 284.

Thoricus, theatre at, 30, 85.

Thrasyllus, his dream, 43.

Thrones, in the Athenian theatre, 94. Throne of the priest of Dionysus, 336.

Thymele, in the early theatres, 80. In the stone theatres, 107. Various meanings of the word, 108, 142. Wieseler’s theory concerning, 142 ff.

Tickets, of admission to the theatre, 332 ff.

Timotheus, author of the new style of music, 321.

Tlepolemus, actor of Sophocles, 57, 282.

Tombs, on the stage, 200.

Tragedy, first institution of contests in, 5, 11, 25, 356. At the City Dionysia, 11 ff. Reproduction of old tragedies, 19, 72. At the Lenaea, 25, 26, 356. Number of actors in, 222 ff. Costume of actors in, 237 ff. Decline of the chorus in, 286 ff. Size of the chorus in, 288 ff. Costume of the chorus in, 290. The tragic dance, 316.

Training, of the chorus, 60 ff.

Tralles, theatre at, tunnel in, 110. Steps in, 167.

Tribes, the Attic, dithyrambic contests between, 10. Have no connexion with the dramatic contests, 10. Certain blocks in the theatre appropriated to them, 337.

Tribute, displayed at the City Dionysia, 68.

Trilogies, 13, 14.

Trios, between actors, 268.

Tripods, the prizes in the dithyrambic contests, 39.

Tritagonist, the, 233.

Tritostatae, the, 300.

Trochaic tetrameters, given in recitative, 269.

Tunic, of tragic actors, 250. Of satyric actors, 256.

Tunnels, under the orchestra, 103, 109, 110.

Turban, worn by Darius, 252.

Tyndaris, stage at, 132.

V

Vitruvius, his advice about sites of theatres, 89; about the shape of the auditorium, 93. Description of the Greek and Roman orchestra, 105; of the Greek and Roman stage, 146, 163, 164. Dörpfeld’s views about, 145 ff. On scene-painting, 181 ff.

Voice, importance of in the Greek drama, 272. Its strength more regarded than its quality, 273. Training of the voice, 274.

W

Wieseler, his theory of the Greek stage, 140 ff.

Windows, in the back-scene, 188.

Women, admitted to the theatre, 324 ff. Their seats, 337.

X

Xenocles, defeats Euripides, 12.

Z

Zeno, his remark about actors, 273.

ADDENDA ET CORRIGENDA

Transcriber’s Note: The footnote numbers in this e-text are given in [square brackets].

Page 21, note 1, _for_ C.I.G. _read_ the Roman inscription I.G. [72]

Page 26, l. 25, _for_ It was doubtless.... But they must _read_ It is therefore possible that it was at this festival that comic contests were first regularly organized. If so, they must

Page 27, note 1, _add_: Wilhelm, however (p. 123), does not believe that the first extant column of 977d was preceded by a lost column; and if he is right, the list of victorious poets at the Lenaea only takes us back at most to about 450 B.C. The question turns partly on the reconstruction of the original heading of this part of the inscription; it must, I think, be regarded as still an open one, and with it, the question of the date of the first comic contests at the Lenaea. [98]

Page 41, note 3, _for_ xx. _read_ iv. [168]

Page 48, note 4, _add_: According to Wilhelm, p. 257, Körte has proved that the Νῖκαι of Aristotle is the direct source, not of C. I. A. ii. 971, but only of C. I. A. ii. 977. I have not yet been able to obtain Körte’s paper: but I see no reason to doubt that 971 also has an Aristotelian basis, even if that basis be not the Νῖκαι. [192]

Page 51, note 2, _add_: Menander also ἐδίδαξε πρῶτον ἔφηβος ὤν (Anon. de Com.: Kaibel, Com. Fr. p. 9). [198]

Page 54, note 5, _add_: [Capps, however, points out (Amer. Journ. Arch. iv. p. 85) that Plutarch does not date precisely Nicanor’s acceptance of the office: and that C. I. A. iv. 2. 584 b mentions choregi in the year 317-316.] [218]

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