1e.g.Mrichchhakatīkā;Mālatī and Mādhava.2Vikrama and Urvāsī.3Śaŕada-Tilaka.4Sākuntalā;Uttara-Rāma-Charitra.5Arichandra, act iv.6Nāgānanda, act i.7Act iii.; cf.Nāgānanda, act iii.8Veni-Samhāra;Prachaṅda-Paṅdāva.9Viddha-Salabhanjika.10Sākuntalā;Uttara-Rāma-Charitra.11Ib. act vii.12Vikrama and Urvāsī, act iv.13Ratnāvalī.14Vikrama and Urvāsī:Arichandra;Nāgānanda.15Mȓichchhakatīkā.16Mȓichchhakatīkā.17Mudrā-Rakshasa.18Sākuntalā;Nāgānanda.19Sākuntalā, acts vi. and vii;Mālatī and Mādhava, act v.20Induction toAnargha-Rāghava.21Viddha-Salabhanjika.22Vikrama and Urvāsī.23The Self-Sacrifice of Tchao-Li.24Lai-Seng-Tchai(The Debt to be Paid in the Next World).25Lao-Seng-Eul.26Pi-Pa-Ki.27The Circle of Chalk(Hoeï-Lan-Ki);The Tunic Matched;The Revenge of Teou-Ngo.28Tchao-Meï-Hiang(The Intrigues of a Chambermaid).29Tchao-Meï-Hiang;Ho-Han-Chan;Pi-Pa-Ki.30Hoei-Lan-Ki, Prol. sc. i.31Tchao-Li.32Han-Kong-Tseu.33Pi-Pa-Ki, sc. 2.34Tchao-Meï-Hiang.35He-Lang-Tan, act iv.; cf.Hoei-Lan-Ki, act iv.36Hoeï-Lan-Ki.37Pi-Pa-Ki.38Pi-Pa-Ki, sc. 15.39Ho-Han-Chan, act ii.40Hoeï-Lan-Ki, act i.41Teou-Ngo-Yuen, act iii.42Hoeï-Lan-Ki, act ii.43Teou-Ngo-Yuen, act iii.44Pi-Pa-Ki, sc. 18.45Teou-Ngo-Yuen, act. iv.46Tchao-Meï-Hiang;Pi-Pa-Ki.47Hoeï-Lan-Ki.48Ho-Han-Chan.49Pi-Pa-Ki, sc. 14.50Han-Kong-Tseu.51Tchao-Meï-Hiang, act ii.52Teou-Ngo-Yuen, act ii.; cf.Hoeï-Lan-Ki.53Pi-Pa-Ki, sc. 5.54Translated by Comte de Gobineau, in hisReligions et philosophies dans l’Asie centrale(Paris, 1865).55Alcestis;Orestes.56Persae.57Eumenides.58Antigone;Oedipus Rex.59Anthos.60Phrynichus,Capture of Miletus.61Id.,Phoenissae; Aeschylus,Persae(Persae-trilogy?).62Moschion,Themistocles; Theodectes,Mausolus; Lycophron,Marathonii;Cassandrei;Socii; Philiscus,Themistocles.63Aeschylus,Septem c. Thebas;Prometheus Vinctus;Danais-trilogy; Sophocles,Antigone;Oedipus Coloneus; Euripides,Medea.64Quite distinct from this revision was the practice against which the law of Lycurgus was directed, of “cobbling and heeling” the dramas of the great masters by alterations of a kind familiar enough to the students of Shakespeare as improved by Colley Cibber and other experts. The later tragedians also appear to have occasionally transposed long speeches or episodes from one tragedy into another—a device largely followed by the Roman dramatists, and calledcontaminationby Latin writers.65Anthos(The Flower).66One satyr-drama only is preserved to us, theCyclopsof Euripides, a dramatic version of the Homeric tale of the visit of Odysseus to Polyphemus. Lycophron, by using the satyr-drama (in hisMenedemus) as a vehicle of personal ridicule applied it to a purpose resembling that of Old Attic Comedy.67Ion;Supplices;Iphigenia in Tauris;Electra;Helena;Hippolytus;Andromache.68Philoctetes.69Archilochi;Pytine(The Bottle).70Maricas(Cleon);Baptae(Alcibiades);Lacones(Cimon).71Knights.72Clouds.73Birds.74Strattis,The Choricide(against Cinesias).75Aristophanes,Frogs; Phrynichus,Musae;Tragoedi.76Aristophanes,Ecclesiazusae.77Lysistrata;Thesmophoriazusae;Plutus II.78Plutus.79Aeolosicon.80Naevius,Lupus(The Wolf);Romulus; Ennius,Sabinae(The Sabine Women); Accius,Brutus.81Naevius,Clastidium(Marcellus?); Ennius,Ambracia; Pacuvius,Paulus; Accius,Aeneadae(Decius?).82Balbus’sIter(The Mission), an isolated play on an episode of the Pharsalian campaign, seems to have been composed for the mere private delectation of its author and hero.Octavia, a latepraetextaascribed to Seneca, was certainly not written by him.83“Oderint dum metuant” (Atreus).84Augur;Cinerarius(The Crimper);Fullonia(The Fuller’s Trade);Libertus(The Freedman);Tibicina(The Flute-Girl).85Brundisinae;Ferentinatis;Setina.
1e.g.Mrichchhakatīkā;Mālatī and Mādhava.
2Vikrama and Urvāsī.
3Śaŕada-Tilaka.
4Sākuntalā;Uttara-Rāma-Charitra.
5Arichandra, act iv.
6Nāgānanda, act i.
7Act iii.; cf.Nāgānanda, act iii.
8Veni-Samhāra;Prachaṅda-Paṅdāva.
9Viddha-Salabhanjika.
10Sākuntalā;Uttara-Rāma-Charitra.
11Ib. act vii.
12Vikrama and Urvāsī, act iv.
13Ratnāvalī.
14Vikrama and Urvāsī:Arichandra;Nāgānanda.
15Mȓichchhakatīkā.
16Mȓichchhakatīkā.
17Mudrā-Rakshasa.
18Sākuntalā;Nāgānanda.
19Sākuntalā, acts vi. and vii;Mālatī and Mādhava, act v.
20Induction toAnargha-Rāghava.
21Viddha-Salabhanjika.
22Vikrama and Urvāsī.
23The Self-Sacrifice of Tchao-Li.
24Lai-Seng-Tchai(The Debt to be Paid in the Next World).
25Lao-Seng-Eul.
26Pi-Pa-Ki.
27The Circle of Chalk(Hoeï-Lan-Ki);The Tunic Matched;The Revenge of Teou-Ngo.
28Tchao-Meï-Hiang(The Intrigues of a Chambermaid).
29Tchao-Meï-Hiang;Ho-Han-Chan;Pi-Pa-Ki.
30Hoei-Lan-Ki, Prol. sc. i.
31Tchao-Li.
32Han-Kong-Tseu.
33Pi-Pa-Ki, sc. 2.
34Tchao-Meï-Hiang.
35He-Lang-Tan, act iv.; cf.Hoei-Lan-Ki, act iv.
36Hoeï-Lan-Ki.
37Pi-Pa-Ki.
38Pi-Pa-Ki, sc. 15.
39Ho-Han-Chan, act ii.
40Hoeï-Lan-Ki, act i.
41Teou-Ngo-Yuen, act iii.
42Hoeï-Lan-Ki, act ii.
43Teou-Ngo-Yuen, act iii.
44Pi-Pa-Ki, sc. 18.
45Teou-Ngo-Yuen, act. iv.
46Tchao-Meï-Hiang;Pi-Pa-Ki.
47Hoeï-Lan-Ki.
48Ho-Han-Chan.
49Pi-Pa-Ki, sc. 14.
50Han-Kong-Tseu.
51Tchao-Meï-Hiang, act ii.
52Teou-Ngo-Yuen, act ii.; cf.Hoeï-Lan-Ki.
53Pi-Pa-Ki, sc. 5.
54Translated by Comte de Gobineau, in hisReligions et philosophies dans l’Asie centrale(Paris, 1865).
55Alcestis;Orestes.
56Persae.
57Eumenides.
58Antigone;Oedipus Rex.
59Anthos.
60Phrynichus,Capture of Miletus.
61Id.,Phoenissae; Aeschylus,Persae(Persae-trilogy?).
62Moschion,Themistocles; Theodectes,Mausolus; Lycophron,Marathonii;Cassandrei;Socii; Philiscus,Themistocles.
63Aeschylus,Septem c. Thebas;Prometheus Vinctus;Danais-trilogy; Sophocles,Antigone;Oedipus Coloneus; Euripides,Medea.
64Quite distinct from this revision was the practice against which the law of Lycurgus was directed, of “cobbling and heeling” the dramas of the great masters by alterations of a kind familiar enough to the students of Shakespeare as improved by Colley Cibber and other experts. The later tragedians also appear to have occasionally transposed long speeches or episodes from one tragedy into another—a device largely followed by the Roman dramatists, and calledcontaminationby Latin writers.
65Anthos(The Flower).
66One satyr-drama only is preserved to us, theCyclopsof Euripides, a dramatic version of the Homeric tale of the visit of Odysseus to Polyphemus. Lycophron, by using the satyr-drama (in hisMenedemus) as a vehicle of personal ridicule applied it to a purpose resembling that of Old Attic Comedy.
67Ion;Supplices;Iphigenia in Tauris;Electra;Helena;Hippolytus;Andromache.
68Philoctetes.
69Archilochi;Pytine(The Bottle).
70Maricas(Cleon);Baptae(Alcibiades);Lacones(Cimon).
71Knights.
72Clouds.
73Birds.
74Strattis,The Choricide(against Cinesias).
75Aristophanes,Frogs; Phrynichus,Musae;Tragoedi.
76Aristophanes,Ecclesiazusae.
77Lysistrata;Thesmophoriazusae;Plutus II.
78Plutus.
79Aeolosicon.
80Naevius,Lupus(The Wolf);Romulus; Ennius,Sabinae(The Sabine Women); Accius,Brutus.
81Naevius,Clastidium(Marcellus?); Ennius,Ambracia; Pacuvius,Paulus; Accius,Aeneadae(Decius?).
82Balbus’sIter(The Mission), an isolated play on an episode of the Pharsalian campaign, seems to have been composed for the mere private delectation of its author and hero.Octavia, a latepraetextaascribed to Seneca, was certainly not written by him.
83“Oderint dum metuant” (Atreus).
84Augur;Cinerarius(The Crimper);Fullonia(The Fuller’s Trade);Libertus(The Freedman);Tibicina(The Flute-Girl).
85Brundisinae;Ferentinatis;Setina.