[200]Cf. Pollux iv. 124: τὸ δὲ ὑποσκήνιον κίοσι καὶ ἀγαλματίοις κεκόσμηται πρὸς τὸ
θέατρον τετραμμένοις, ὑπὸ τὸ λογεῖον κείμενον.[201]Also, the front wall of this room, just as σκηνή is not only the scene-building
as a whole but also its front wall; cf. Flickinger,Plutarch as a Source of Information
on the Greek Theater, pp. 43 f.[202]Cf.Athenische Mittheilungen, XXVIII (1903), 418 ff.[203]Robert would emend the text so that the statement would explain the
proscenium instead of the hyposcenium; cf.Hermes, XXXII (1897), 448. In
that case ὑπό must mean “behind,” a possible meaning, and Pollux would be
speaking of the proscenium in a theater with a stage. Pollux includes the proscenium
in his catalogue of theater parts (seepp. 97 f., above), but does not define it.[204]Cf. PlutarchLife of Lycurgus, c. vi, and Flickinger,Plutarch as a Source of
Information on the Greek Theater(1904), p. 52.[205]Cf. PlutarchLife of Demetrius, c. xxxiv.[206]Cf. PlutarchPraecepta Gerendae Reipublicae823B, and seep. 59, n. 1, above.[207]Cf. Plutarch’sLife of Aratus, c. xxiii: ἐπιστήσας δὲ ταῖς παρόδοις τοὺς
Ἀχαιοὺς αὐτὸς ἀπὸ τῆς σκηνῆς εἰς τὸ μέσον προῆλθε. For other interpretations, cf.
Robert,Hermes, XXXII (1897), 448 ff.; Müller,Philologus, Supplementband, VII
(1899), 52 f. and 90 f.; Dörpfeld,Athenische Mittheilungen, XXVIII (1903),
421 ff., etc.[208]A convenient chronological table of the extant theaters is given by Fiechter,op. cit., pp. 24-27.[209]Fig. 46 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 50.
Figs. 47-52 are from photographs by Dr. A. S. Cooley.[210]Figs. 53-54 are redrawn from Dörpfeld-Reisch,Das griechische Theater,
Figs. 44-45, respectively; Fig. 55 is from a photograph by Dr. A. S. Cooley.[211]Cf. PolluxOnomasticoniv, § 132: αἱ Χαρώνιοι κλίμακες.[212]Cf. Fossum inAmerican Journal of Archaeology, II (1898), 187 ff. and Pl. IV;
seep. 288, n. 2, below.[213]A convenient series of excerpts from the Delian inscriptions is given by
Haigh,The Attic Theatre³, pp. 379 ff.[214]Fig. 56 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 35; and
Fig. 57 is from a photograph of the German Archaeological Institute at Athens.[215]... ἀγω] νοθετήσας τὸ προσκήνιον καὶ τοὺς πίν[ακας, and ... ἱερεὺ]ς γενόμενος
⸺ τὴν σκηνὴν καὶ τὰ θυρώμ[ατα τῷ Ἀμ]φιαράῳ. For the functions of
an agonothete, seepp. 271 f., below. For the θυρώματα, cf. Dörpfeld inAthenische
Mittheilungen, XXVIII (1903), 394, andJahrbuch d. arch. Instituts, Anzeiger, XXX
(1915), 102; wrongly interpreted inDas griechische Theater, p. 109.[216]Fig. 58 is taken fromAthenische Mittheilungen, XXII (1897), Pl. X.[217]Cf. Dörpfeld inAthenische Mittheilungen, XXII (1897), 458, and XXVIII
(1903), 429.[218]Fig. 59 is taken from Niemann’s drawing inForschungen in Ephesos, II,
Pl. VIII; and Figs. 60-62 are from drawings by Wilberg,ibid., Figs. 5, 56, and
57, respectively. Cf. also Dörpfeld, “Das Theater von Ephesos,”Jahrbuch d. arch.
Instituts, Anzeiger, XXVIII (1913), 37 ff.[219]Fig. 63 is redrawn fromAthenische Mittheilungen, XXIII (1898), Pl. XI; the
cross-hatched walls belong to the Graeco-Roman rebuilding. Fig. 64 is from a
photograph taken by Professor C. P. Bill and furnished by Dr. A. S. Cooley.[220]Cf. Dörpfeld, inAthenische Mittheilungen, XXII (1897), 456 ff.[221]Cf. Dörpfeld,ibid., XXII (1897), 458 f.; XXIII (1898), 337; and XXVIII
(1903), 426.[222]Cf. Duckett,Studies in Ennius(1915), p. 70.[223]Cf. the works mentioned on pp.xviiandxx f., above. There is no special
literature on this subject.[224]Cf. chaps. iv and ix and the bibliographies onpp. 196and318, below.[225]A drachma contained six obols and was worth about eighteen cents without
making allowance for the greater purchase value of money in antiquity.[226]Cf. Haigh,The Attic Theatre(3d ed. by Pickard-Cambridge, 1907), p. 1.[227]The affirmative side of the question is presented by Haigh,op. cit., pp. 324 ff.;
the negative by Rogers, Introduction to Aristophanes’Women in Council(1902),
pp. xxix ff.[228]Cf. Frickenhaus, “Der Schiffskarren des Dionysos in Athen,”Jahrbuch d.
arch. Instituts, XXVII (1912), 61 ff. Fig. 65 originally appeared as Beilage I,
Fig. 3, in connection with this article. It is taken from a drawing by Signor G.
Gatti, a photograph of which was furnished me through the courtesy of Professor
Ghisardini, Director of the Museo Civico at Bologna.[229]Cf. Plautus’The Casket, vss. 89 f.:per Dionysiamater pompam me spectatum duxit,and vss. 156 ff.:fuere Sicyoni iam diu Dionysia.mercator venit huc ad ludos Lemnius,isque hic compressit virginem, adulescentulus,
[200]Cf. Pollux iv. 124: τὸ δὲ ὑποσκήνιον κίοσι καὶ ἀγαλματίοις κεκόσμηται πρὸς τὸ θέατρον τετραμμένοις, ὑπὸ τὸ λογεῖον κείμενον.
[200]Cf. Pollux iv. 124: τὸ δὲ ὑποσκήνιον κίοσι καὶ ἀγαλματίοις κεκόσμηται πρὸς τὸ θέατρον τετραμμένοις, ὑπὸ τὸ λογεῖον κείμενον.
[201]Also, the front wall of this room, just as σκηνή is not only the scene-building as a whole but also its front wall; cf. Flickinger,Plutarch as a Source of Information on the Greek Theater, pp. 43 f.
[201]Also, the front wall of this room, just as σκηνή is not only the scene-building as a whole but also its front wall; cf. Flickinger,Plutarch as a Source of Information on the Greek Theater, pp. 43 f.
[202]Cf.Athenische Mittheilungen, XXVIII (1903), 418 ff.
[202]Cf.Athenische Mittheilungen, XXVIII (1903), 418 ff.
[203]Robert would emend the text so that the statement would explain the proscenium instead of the hyposcenium; cf.Hermes, XXXII (1897), 448. In that case ὑπό must mean “behind,” a possible meaning, and Pollux would be speaking of the proscenium in a theater with a stage. Pollux includes the proscenium in his catalogue of theater parts (seepp. 97 f., above), but does not define it.
[203]Robert would emend the text so that the statement would explain the proscenium instead of the hyposcenium; cf.Hermes, XXXII (1897), 448. In that case ὑπό must mean “behind,” a possible meaning, and Pollux would be speaking of the proscenium in a theater with a stage. Pollux includes the proscenium in his catalogue of theater parts (seepp. 97 f., above), but does not define it.
[204]Cf. PlutarchLife of Lycurgus, c. vi, and Flickinger,Plutarch as a Source of Information on the Greek Theater(1904), p. 52.
[204]Cf. PlutarchLife of Lycurgus, c. vi, and Flickinger,Plutarch as a Source of Information on the Greek Theater(1904), p. 52.
[205]Cf. PlutarchLife of Demetrius, c. xxxiv.
[205]Cf. PlutarchLife of Demetrius, c. xxxiv.
[206]Cf. PlutarchPraecepta Gerendae Reipublicae823B, and seep. 59, n. 1, above.
[206]Cf. PlutarchPraecepta Gerendae Reipublicae823B, and seep. 59, n. 1, above.
[207]Cf. Plutarch’sLife of Aratus, c. xxiii: ἐπιστήσας δὲ ταῖς παρόδοις τοὺς Ἀχαιοὺς αὐτὸς ἀπὸ τῆς σκηνῆς εἰς τὸ μέσον προῆλθε. For other interpretations, cf. Robert,Hermes, XXXII (1897), 448 ff.; Müller,Philologus, Supplementband, VII (1899), 52 f. and 90 f.; Dörpfeld,Athenische Mittheilungen, XXVIII (1903), 421 ff., etc.
[207]Cf. Plutarch’sLife of Aratus, c. xxiii: ἐπιστήσας δὲ ταῖς παρόδοις τοὺς Ἀχαιοὺς αὐτὸς ἀπὸ τῆς σκηνῆς εἰς τὸ μέσον προῆλθε. For other interpretations, cf. Robert,Hermes, XXXII (1897), 448 ff.; Müller,Philologus, Supplementband, VII (1899), 52 f. and 90 f.; Dörpfeld,Athenische Mittheilungen, XXVIII (1903), 421 ff., etc.
[208]A convenient chronological table of the extant theaters is given by Fiechter,op. cit., pp. 24-27.
[208]A convenient chronological table of the extant theaters is given by Fiechter,op. cit., pp. 24-27.
[209]Fig. 46 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 50. Figs. 47-52 are from photographs by Dr. A. S. Cooley.
[209]Fig. 46 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 50. Figs. 47-52 are from photographs by Dr. A. S. Cooley.
[210]Figs. 53-54 are redrawn from Dörpfeld-Reisch,Das griechische Theater, Figs. 44-45, respectively; Fig. 55 is from a photograph by Dr. A. S. Cooley.
[210]Figs. 53-54 are redrawn from Dörpfeld-Reisch,Das griechische Theater, Figs. 44-45, respectively; Fig. 55 is from a photograph by Dr. A. S. Cooley.
[211]Cf. PolluxOnomasticoniv, § 132: αἱ Χαρώνιοι κλίμακες.
[211]Cf. PolluxOnomasticoniv, § 132: αἱ Χαρώνιοι κλίμακες.
[212]Cf. Fossum inAmerican Journal of Archaeology, II (1898), 187 ff. and Pl. IV; seep. 288, n. 2, below.
[212]Cf. Fossum inAmerican Journal of Archaeology, II (1898), 187 ff. and Pl. IV; seep. 288, n. 2, below.
[213]A convenient series of excerpts from the Delian inscriptions is given by Haigh,The Attic Theatre³, pp. 379 ff.
[213]A convenient series of excerpts from the Delian inscriptions is given by Haigh,The Attic Theatre³, pp. 379 ff.
[214]Fig. 56 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 35; and Fig. 57 is from a photograph of the German Archaeological Institute at Athens.
[214]Fig. 56 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 35; and Fig. 57 is from a photograph of the German Archaeological Institute at Athens.
[215]... ἀγω] νοθετήσας τὸ προσκήνιον καὶ τοὺς πίν[ακας, and ... ἱερεὺ]ς γενόμενος ⸺ τὴν σκηνὴν καὶ τὰ θυρώμ[ατα τῷ Ἀμ]φιαράῳ. For the functions of an agonothete, seepp. 271 f., below. For the θυρώματα, cf. Dörpfeld inAthenische Mittheilungen, XXVIII (1903), 394, andJahrbuch d. arch. Instituts, Anzeiger, XXX (1915), 102; wrongly interpreted inDas griechische Theater, p. 109.
[215]... ἀγω] νοθετήσας τὸ προσκήνιον καὶ τοὺς πίν[ακας, and ... ἱερεὺ]ς γενόμενος ⸺ τὴν σκηνὴν καὶ τὰ θυρώμ[ατα τῷ Ἀμ]φιαράῳ. For the functions of an agonothete, seepp. 271 f., below. For the θυρώματα, cf. Dörpfeld inAthenische Mittheilungen, XXVIII (1903), 394, andJahrbuch d. arch. Instituts, Anzeiger, XXX (1915), 102; wrongly interpreted inDas griechische Theater, p. 109.
[216]Fig. 58 is taken fromAthenische Mittheilungen, XXII (1897), Pl. X.
[216]Fig. 58 is taken fromAthenische Mittheilungen, XXII (1897), Pl. X.
[217]Cf. Dörpfeld inAthenische Mittheilungen, XXII (1897), 458, and XXVIII (1903), 429.
[217]Cf. Dörpfeld inAthenische Mittheilungen, XXII (1897), 458, and XXVIII (1903), 429.
[218]Fig. 59 is taken from Niemann’s drawing inForschungen in Ephesos, II, Pl. VIII; and Figs. 60-62 are from drawings by Wilberg,ibid., Figs. 5, 56, and 57, respectively. Cf. also Dörpfeld, “Das Theater von Ephesos,”Jahrbuch d. arch. Instituts, Anzeiger, XXVIII (1913), 37 ff.
[218]Fig. 59 is taken from Niemann’s drawing inForschungen in Ephesos, II, Pl. VIII; and Figs. 60-62 are from drawings by Wilberg,ibid., Figs. 5, 56, and 57, respectively. Cf. also Dörpfeld, “Das Theater von Ephesos,”Jahrbuch d. arch. Instituts, Anzeiger, XXVIII (1913), 37 ff.
[219]Fig. 63 is redrawn fromAthenische Mittheilungen, XXIII (1898), Pl. XI; the cross-hatched walls belong to the Graeco-Roman rebuilding. Fig. 64 is from a photograph taken by Professor C. P. Bill and furnished by Dr. A. S. Cooley.
[219]Fig. 63 is redrawn fromAthenische Mittheilungen, XXIII (1898), Pl. XI; the cross-hatched walls belong to the Graeco-Roman rebuilding. Fig. 64 is from a photograph taken by Professor C. P. Bill and furnished by Dr. A. S. Cooley.
[220]Cf. Dörpfeld, inAthenische Mittheilungen, XXII (1897), 456 ff.
[220]Cf. Dörpfeld, inAthenische Mittheilungen, XXII (1897), 456 ff.
[221]Cf. Dörpfeld,ibid., XXII (1897), 458 f.; XXIII (1898), 337; and XXVIII (1903), 426.
[221]Cf. Dörpfeld,ibid., XXII (1897), 458 f.; XXIII (1898), 337; and XXVIII (1903), 426.
[222]Cf. Duckett,Studies in Ennius(1915), p. 70.
[222]Cf. Duckett,Studies in Ennius(1915), p. 70.
[223]Cf. the works mentioned on pp.xviiandxx f., above. There is no special literature on this subject.
[223]Cf. the works mentioned on pp.xviiandxx f., above. There is no special literature on this subject.
[224]Cf. chaps. iv and ix and the bibliographies onpp. 196and318, below.
[224]Cf. chaps. iv and ix and the bibliographies onpp. 196and318, below.
[225]A drachma contained six obols and was worth about eighteen cents without making allowance for the greater purchase value of money in antiquity.
[225]A drachma contained six obols and was worth about eighteen cents without making allowance for the greater purchase value of money in antiquity.
[226]Cf. Haigh,The Attic Theatre(3d ed. by Pickard-Cambridge, 1907), p. 1.
[226]Cf. Haigh,The Attic Theatre(3d ed. by Pickard-Cambridge, 1907), p. 1.
[227]The affirmative side of the question is presented by Haigh,op. cit., pp. 324 ff.; the negative by Rogers, Introduction to Aristophanes’Women in Council(1902), pp. xxix ff.
[227]The affirmative side of the question is presented by Haigh,op. cit., pp. 324 ff.; the negative by Rogers, Introduction to Aristophanes’Women in Council(1902), pp. xxix ff.
[228]Cf. Frickenhaus, “Der Schiffskarren des Dionysos in Athen,”Jahrbuch d. arch. Instituts, XXVII (1912), 61 ff. Fig. 65 originally appeared as Beilage I, Fig. 3, in connection with this article. It is taken from a drawing by Signor G. Gatti, a photograph of which was furnished me through the courtesy of Professor Ghisardini, Director of the Museo Civico at Bologna.
[228]Cf. Frickenhaus, “Der Schiffskarren des Dionysos in Athen,”Jahrbuch d. arch. Instituts, XXVII (1912), 61 ff. Fig. 65 originally appeared as Beilage I, Fig. 3, in connection with this article. It is taken from a drawing by Signor G. Gatti, a photograph of which was furnished me through the courtesy of Professor Ghisardini, Director of the Museo Civico at Bologna.
[229]Cf. Plautus’The Casket, vss. 89 f.:per Dionysiamater pompam me spectatum duxit,and vss. 156 ff.:fuere Sicyoni iam diu Dionysia.mercator venit huc ad ludos Lemnius,isque hic compressit virginem, adulescentulus,
[229]Cf. Plautus’The Casket, vss. 89 f.:
per Dionysiamater pompam me spectatum duxit,
per Dionysiamater pompam me spectatum duxit,
per Dionysiamater pompam me spectatum duxit,
per Dionysia
mater pompam me spectatum duxit,
and vss. 156 ff.:
fuere Sicyoni iam diu Dionysia.mercator venit huc ad ludos Lemnius,isque hic compressit virginem, adulescentulus,
fuere Sicyoni iam diu Dionysia.mercator venit huc ad ludos Lemnius,isque hic compressit virginem, adulescentulus,
fuere Sicyoni iam diu Dionysia.mercator venit huc ad ludos Lemnius,isque hic compressit virginem, adulescentulus,
fuere Sicyoni iam diu Dionysia.
mercator venit huc ad ludos Lemnius,
isque hic compressit virginem, adulescentulus,
For the differences between Old Comedy, Middle Comedy, and New Comedy, seep. 39, above.
[230]Cf. his Preface toBajazet.
[230]Cf. his Preface toBajazet.
[231]Cf. Ribbeck,Rheinisches Museum, XXX (1875), 145.
[231]Cf. Ribbeck,Rheinisches Museum, XXX (1875), 145.
[232]Cf. Aristotle’sPoetics1456a6 and 1453a19.
[232]Cf. Aristotle’sPoetics1456a6 and 1453a19.
[233]Cf.ibid., 1451b25.
[233]Cf.ibid., 1451b25.
[234]Cf.Oxyrhynchus Papyri, IX (1912), 30 ff.
[234]Cf.Oxyrhynchus Papyri, IX (1912), 30 ff.
[235]For still further developments in the history of satyric drama seepp. 198 f., below.
[235]For still further developments in the history of satyric drama seepp. 198 f., below.
[236]Cf. Kock,Comicorum Atticorum Fragmenta, II, 90, fr. 191.
[236]Cf. Kock,Comicorum Atticorum Fragmenta, II, 90, fr. 191.
[237]Cf. Freytag’sTechnique of the Drama², translated by MacEwan, p. 75, and Hense,Die Modificirung der Maske in der griechischen Tragödie²(1905), pp. 2 f.
[237]Cf. Freytag’sTechnique of the Drama², translated by MacEwan, p. 75, and Hense,Die Modificirung der Maske in der griechischen Tragödie²(1905), pp. 2 f.
[238]Cf. Lounsbury,Shakespeare as a Dramatic Artist(1902), p. 175 (italics mine).
[238]Cf. Lounsbury,Shakespeare as a Dramatic Artist(1902), p. 175 (italics mine).
[239]Cf.ibid., p. 204. The passages referred to are Sophocles’Philoctetes, vss. 38 f., 649 f., and 696-99, andAntigone, vss. 1016-22 and 1080-83. The expressions employed in the Greek could be seriously objected to only by the most fastidious.
[239]Cf.ibid., p. 204. The passages referred to are Sophocles’Philoctetes, vss. 38 f., 649 f., and 696-99, andAntigone, vss. 1016-22 and 1080-83. The expressions employed in the Greek could be seriously objected to only by the most fastidious.
[240]Cf. Haigh,The Attic Theatre³, p. 2.
[240]Cf. Haigh,The Attic Theatre³, p. 2.
[241]Cf. argument,Demosthenes’ Against Midias, §§ 2 f.
[241]Cf. argument,Demosthenes’ Against Midias, §§ 2 f.
[242]In addition to the works mentioned on pp.xviiandxx f., above, cf. Decharme,Euripides and the Spirit of His Dramas(1892), translated by Loeb (1906); Capps “The Chorus in the Later Greek Drama,”American Journal of Archaeology, X (1895), 287 ff.; Helmreich,Der Chor bei Sophokles und Euripides(1905); A. Körte, “Das Fortleben des Chors im gr. Drama,”N. Jahrb. f. d. kl. Altertum, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’sHeauton, The Shifting of Choral Rôles in Menander, and Agathon’s ἘΜΒΟΛΙΜΑ,”Classical Philology, VII (1912), 24 ff.; Stephenson,Some Aspects of the Dramatic Art of Aeschylus(1913); Fries,De Conexu Chori Personae cum Fabulae Actione(1913); and Duckett,Studies in Eunius(1915).
[242]In addition to the works mentioned on pp.xviiandxx f., above, cf. Decharme,Euripides and the Spirit of His Dramas(1892), translated by Loeb (1906); Capps “The Chorus in the Later Greek Drama,”American Journal of Archaeology, X (1895), 287 ff.; Helmreich,Der Chor bei Sophokles und Euripides(1905); A. Körte, “Das Fortleben des Chors im gr. Drama,”N. Jahrb. f. d. kl. Altertum, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’sHeauton, The Shifting of Choral Rôles in Menander, and Agathon’s ἘΜΒΟΛΙΜΑ,”Classical Philology, VII (1912), 24 ff.; Stephenson,Some Aspects of the Dramatic Art of Aeschylus(1913); Fries,De Conexu Chori Personae cum Fabulae Actione(1913); and Duckett,Studies in Eunius(1915).
[243]Nevertheless, it has been ignored by certain recent writers on the origin of tragedy, cf.Classical Philology, VIII (1913), 283.
[243]Nevertheless, it has been ignored by certain recent writers on the origin of tragedy, cf.Classical Philology, VIII (1913), 283.
[244]Whether the satyric chorus was increased at the same time is unknown. In Fig. 4, which represents a satyric drama of about 400B.C., not more than twelve choreutae are represented.
[244]Whether the satyric chorus was increased at the same time is unknown. In Fig. 4, which represents a satyric drama of about 400B.C., not more than twelve choreutae are represented.
[245]For the differences between sileni and satyrs and for their appearance on the stage, seepp. 24-32.
[245]For the differences between sileni and satyrs and for their appearance on the stage, seepp. 24-32.
[246]Cf. the scholia to Sophocles’Ajax, vs. 134, to Euripides’Phoenician Maids, vs. 202, etc.
[246]Cf. the scholia to Sophocles’Ajax, vs. 134, to Euripides’Phoenician Maids, vs. 202, etc.
[247]Conversations with Eckermann, July 5, 1827 (Oxenford’s translation).
[247]Conversations with Eckermann, July 5, 1827 (Oxenford’s translation).
[248]Cf. Graeber,De Poetarum Atticorum Arte Scaenica(1911), pp. 56 ff.
[248]Cf. Graeber,De Poetarum Atticorum Arte Scaenica(1911), pp. 56 ff.
[249]Cf. Flickinger,op. cit., pp. 28 ff.
[249]Cf. Flickinger,op. cit., pp. 28 ff.
[250]Cf. Aristotle’sPoetics, 1456a26 ff.
[250]Cf. Aristotle’sPoetics, 1456a26 ff.
[251]Cf.Philologus, LXX (1911), 497 f.
[251]Cf.Philologus, LXX (1911), 497 f.
[252]Cf.Revue des Études anciennes, XIII (1911), 273.
[252]Cf.Revue des Études anciennes, XIII (1911), 273.
[253]In the Jernstedt fragment; cf. Capps,Four Plays of Menander, pp. 98 f.
[253]In the Jernstedt fragment; cf. Capps,Four Plays of Menander, pp. 98 f.
[254]Cf. Kock,Comicorum Atticorum Fragmenta, II, 333 f., fr. 107.
[254]Cf. Kock,Comicorum Atticorum Fragmenta, II, 333 f., fr. 107.
[255]Cf. Verrall,Euripides the Rationalist, p. 219, note.
[255]Cf. Verrall,Euripides the Rationalist, p. 219, note.
[256]Cf. Archer,Play-making, p. 142.
[256]Cf. Archer,Play-making, p. 142.
[257]Cf.The Origin of Attic Comedy, p. 107.
[257]Cf.The Origin of Attic Comedy, p. 107.
[258]Cf.Zur Dramaturgie des Äschylus(1892), p. 135.
[258]Cf.Zur Dramaturgie des Äschylus(1892), p. 135.
[259]Cf. Euripides’Helen, vs. 184, andMedea, vss. 131 ff.
[259]Cf. Euripides’Helen, vs. 184, andMedea, vss. 131 ff.
[260]Cf. Euripides’Hecabe, vs. 105, andElectra, vss. 168 ff.
[260]Cf. Euripides’Hecabe, vs. 105, andElectra, vss. 168 ff.
[261]Cf. Sophocles’Maidens of Trachis, vs. 103, andAjax, vs. 143, Euripides’Hippolytus, vss. 129 ff., etc.
[261]Cf. Sophocles’Maidens of Trachis, vs. 103, andAjax, vs. 143, Euripides’Hippolytus, vss. 129 ff., etc.
[262]Cf. Sophocles’Oedipus the King, vs. 144, andAntigone, vss. 164 f., Euripides’Trojan Women, vss. 143-45, Aristophanes’Clouds, vs. 269,Peace, vss. 296 ff.,Birds, vss. 310 f., andPlutus, vs. 255, etc.
[262]Cf. Sophocles’Oedipus the King, vs. 144, andAntigone, vss. 164 f., Euripides’Trojan Women, vss. 143-45, Aristophanes’Clouds, vs. 269,Peace, vss. 296 ff.,Birds, vss. 310 f., andPlutus, vs. 255, etc.
[263]Cf. Verrall’s edition of Euripides’Ion(1890), p. lx.
[263]Cf. Verrall’s edition of Euripides’Ion(1890), p. lx.
[264]Cf. p. 89 of his edition (1896).
[264]Cf. p. 89 of his edition (1896).
[265]Cf. John Dennis,The Impartial Critick(1693).
[265]Cf. John Dennis,The Impartial Critick(1693).
[266]Cf. Tovey,Letters of Thomas Gray, II, 293 f.
[266]Cf. Tovey,Letters of Thomas Gray, II, 293 f.
[267]Cf. Dennis,op. cit.
[267]Cf. Dennis,op. cit.
[268]Four Plays of Euripides(1905), pp. 125-30.
[268]Four Plays of Euripides(1905), pp. 125-30.
[269]Cf. Murray,Euripides and His Age(1913), p. 238.
[269]Cf. Murray,Euripides and His Age(1913), p. 238.
[270]Thucydides Mythistoricus(1907), p. 147 (italics mine).
[270]Thucydides Mythistoricus(1907), p. 147 (italics mine).
[271]In addition to the works mentioned on pp.xviiandxx f., above, cf. Detscheff,De Tragoediarum Graecarum Conformatione Scaenica ac Dramatica(1904); Rees, “The Meaning of Parachoregema,”Classical Philology, II (1907), 387 ff.;The So-called Rule of Three Actors in the Classical Greek Drama(1908); “The Number of the Dramatic Company in the Period of the Technitae,”American Journal of Philology, XXXI (1910), 43 ff., and “The Three Actor Rule in Menander,”Classical Philology, V (1910), 291 ff.; O’Connor,Chapters in the History of Actors and Acting in Ancient Greece(1908); Leo,Der Monolog im Drama(1908), andPlautinische Forschungen²(1912), pp. 226 ff.; Listmann,Die Technik des Dreigesprächs in der griechischen Tragödie(1910); Kaffenberger,Das Dreischauspielergesetz in der griechischen Tragödie(1911); Foster,The Divisions in the Plays of Plautus and Terence(1913); Stephenson,Some Aspects of the Dramatic Art of Aeschylus(1913); Graf,Szensiche Untersuchungen zu Menander(1914); and Conrad,The Technique of Continuous Action in Roman Comedy(1915), reviewed by Flickinger inClassical Weekly, X (1917), 147 ff.Fig. 66 is taken from Baumeister’sDenkmäler, Fig. 1637. The apparent height of the tragic actors is said to have been increased by means of the ὄγκος projecting above the head and of thick-soled boots (κόθορνοι), both represented in Fig. 66. The employment of such paraphernalia rests upon late evidence, however, and has been disputed for fifth-century tragedy; cf. for example Smith, “The Use of the High-soled Shoe or Buskin in Greek Tragedy of the Fifth or Fourth CenturiesB.C.,”Harvard Studies, XVI (1905), 123 ff. For the costumes of comic actors, seepp. 46 f., above.
[271]In addition to the works mentioned on pp.xviiandxx f., above, cf. Detscheff,De Tragoediarum Graecarum Conformatione Scaenica ac Dramatica(1904); Rees, “The Meaning of Parachoregema,”Classical Philology, II (1907), 387 ff.;The So-called Rule of Three Actors in the Classical Greek Drama(1908); “The Number of the Dramatic Company in the Period of the Technitae,”American Journal of Philology, XXXI (1910), 43 ff., and “The Three Actor Rule in Menander,”Classical Philology, V (1910), 291 ff.; O’Connor,Chapters in the History of Actors and Acting in Ancient Greece(1908); Leo,Der Monolog im Drama(1908), andPlautinische Forschungen²(1912), pp. 226 ff.; Listmann,Die Technik des Dreigesprächs in der griechischen Tragödie(1910); Kaffenberger,Das Dreischauspielergesetz in der griechischen Tragödie(1911); Foster,The Divisions in the Plays of Plautus and Terence(1913); Stephenson,Some Aspects of the Dramatic Art of Aeschylus(1913); Graf,Szensiche Untersuchungen zu Menander(1914); and Conrad,The Technique of Continuous Action in Roman Comedy(1915), reviewed by Flickinger inClassical Weekly, X (1917), 147 ff.
Fig. 66 is taken from Baumeister’sDenkmäler, Fig. 1637. The apparent height of the tragic actors is said to have been increased by means of the ὄγκος projecting above the head and of thick-soled boots (κόθορνοι), both represented in Fig. 66. The employment of such paraphernalia rests upon late evidence, however, and has been disputed for fifth-century tragedy; cf. for example Smith, “The Use of the High-soled Shoe or Buskin in Greek Tragedy of the Fifth or Fourth CenturiesB.C.,”Harvard Studies, XVI (1905), 123 ff. For the costumes of comic actors, seepp. 46 f., above.
[272]Cf. Capps, “The Introduction of Comedy into the City Dionysia,”University of Chicago Decennial Publications, VI, 269, n. 37.
[272]Cf. Capps, “The Introduction of Comedy into the City Dionysia,”University of Chicago Decennial Publications, VI, 269, n. 37.
[273]Cf. Tanner,Transactions of American Philological Association, XLVI (1915), 185-87. For Sophocles, cf. Jebb’sElectra, p. lvii.
[273]Cf. Tanner,Transactions of American Philological Association, XLVI (1915), 185-87. For Sophocles, cf. Jebb’sElectra, p. lvii.
[274]Cf. Rees,Classical Philology, V (1910), 291 ff., and Kaffenberger,op. cit., p. 10.
[274]Cf. Rees,Classical Philology, V (1910), 291 ff., and Kaffenberger,op. cit., p. 10.
[275]Cf. C. F. Hermann,De Distributione Personarum inter Histriones in Tragoediis Graecis(1840), pp. 32-34.
[275]Cf. C. F. Hermann,De Distributione Personarum inter Histriones in Tragoediis Graecis(1840), pp. 32-34.
[276]Cf. Prescott, “Three Puer-Scenes in Plautus and the Distribution of Rôles,”Harvard Studies, XXI (1910), 44. It ought to be added that some authorities deny that Prometheus was represented by a dummy, believing that this tragedy belonged to the three-actor period (see further,p. 228, below).
[276]Cf. Prescott, “Three Puer-Scenes in Plautus and the Distribution of Rôles,”Harvard Studies, XXI (1910), 44. It ought to be added that some authorities deny that Prometheus was represented by a dummy, believing that this tragedy belonged to the three-actor period (see further,p. 228, below).
[277]Cf. Lewes,Life of Goethe², p. 424.
[277]Cf. Lewes,Life of Goethe², p. 424.
[278]Cf.Four Plays of Euripides(1905), pp. 1 ff.
[278]Cf.Four Plays of Euripides(1905), pp. 1 ff.
[279]Cf. the scholium on vs. 93.
[279]Cf. the scholium on vs. 93.
[280]Cf. Devrient,Das Kind auf der antiken Bühne(1904).
[280]Cf. Devrient,Das Kind auf der antiken Bühne(1904).
[281]Cf.Oxyrhynchus Papyri, VI (1908), 69.
[281]Cf.Oxyrhynchus Papyri, VI (1908), 69.
[282]Cf. Rees,American Journal of Philology, XXXI (1910), 43 ff.
[282]Cf. Rees,American Journal of Philology, XXXI (1910), 43 ff.
[283]Cf. HoraceArs Poetica, vs. 192; see alsop. 53, n. 1, above.
[283]Cf. HoraceArs Poetica, vs. 192; see alsop. 53, n. 1, above.
[284]Cf. Leo,Rheinisches Museum für Philologie, LII (1897), 513.
[284]Cf. Leo,Rheinisches Museum für Philologie, LII (1897), 513.
[285]Cf. Seneca’sAgamemnon, vss. 981 ff.
[285]Cf. Seneca’sAgamemnon, vss. 981 ff.
[286]Cf. Lounsbury,Shakespeare as a Dramatic Artist, pp. 111 f.
[286]Cf. Lounsbury,Shakespeare as a Dramatic Artist, pp. 111 f.
[287]Cf. U. von Wilamowitz-Möllendorff,Herakles², I, 119, note, and EuripidesAlcestis, vss. 393 ff.
[287]Cf. U. von Wilamowitz-Möllendorff,Herakles², I, 119, note, and EuripidesAlcestis, vss. 393 ff.
[288]Cf. Aristotle’sRhetoric1403b33, quoted as the motto of this chapter.
[288]Cf. Aristotle’sRhetoric1403b33, quoted as the motto of this chapter.
[289]Cf.Play-making, p. 129.
[289]Cf.Play-making, p. 129.
[290]Cf.The So-called Rule of Three Actors in the Classical Greek Drama, pp. 45-60.
[290]Cf.The So-called Rule of Three Actors in the Classical Greek Drama, pp. 45-60.
[291]In addition to the works mentioned on pp.xviiandxx f., above, cf. A. T. Murray,On Parody and Paratragoedia in Aristophanes(1891); Mazon, “Sur le Proagôn,”Revue de Philologie, XXVII (1903), 263 ff.; Rees, “The Significance of the Parodoi in the Greek Theater,”American Journal of Philology, XXXII (1911), 377 ff.; Graeber,De Poetarum Atticorum Arte Scaenica(1911); Robert,Die Masken der neueren attischen Komödie(1911); and the bibliography listed onp. 318, below.
[291]In addition to the works mentioned on pp.xviiandxx f., above, cf. A. T. Murray,On Parody and Paratragoedia in Aristophanes(1891); Mazon, “Sur le Proagôn,”Revue de Philologie, XXVII (1903), 263 ff.; Rees, “The Significance of the Parodoi in the Greek Theater,”American Journal of Philology, XXXII (1911), 377 ff.; Graeber,De Poetarum Atticorum Arte Scaenica(1911); Robert,Die Masken der neueren attischen Komödie(1911); and the bibliography listed onp. 318, below.
[292]Cf.Acharnians, vss. 501 ff., Starkie’s edition, excursus V, and Croiset,Aristophanes and the Political Parties at Athens, pp. 42 ff. (Loeb’s translation).
[292]Cf.Acharnians, vss. 501 ff., Starkie’s edition, excursus V, and Croiset,Aristophanes and the Political Parties at Athens, pp. 42 ff. (Loeb’s translation).
[293]Cf. Demosthenes’Against Midias, § 74.
[293]Cf. Demosthenes’Against Midias, § 74.
[294]It probably began upon the tenth day of Elaphebolion (cf. Adams,Transactions of American Philological Association, XLI [1910], 60 ff.) and closed on the fifteenth.
[294]It probably began upon the tenth day of Elaphebolion (cf. Adams,Transactions of American Philological Association, XLI [1910], 60 ff.) and closed on the fifteenth.
[295]Cf. the Introduction to Hayley’s edition, pp. xxiii ff.
[295]Cf. the Introduction to Hayley’s edition, pp. xxiii ff.
[296]Cf. Capps, inClassical Philology, I (1906), 219, note on l. 5, and Wilhelm,Urkunden dramatischer Aufführungen in Athen, pp. 195 ff.
[296]Cf. Capps, inClassical Philology, I (1906), 219, note on l. 5, and Wilhelm,Urkunden dramatischer Aufführungen in Athen, pp. 195 ff.
[297]Cf.The Theory of the Theater, p. 118.
[297]Cf.The Theory of the Theater, p. 118.
[298]Cf. hisAristotle on the Art of Poetry, pp. 48 f.
[298]Cf. hisAristotle on the Art of Poetry, pp. 48 f.
[299]Cf. Dryden,Dramatic Essays(Everyman’s Library edition), p. 20.
[299]Cf. Dryden,Dramatic Essays(Everyman’s Library edition), p. 20.
[300]Cf. Philostratus,Apollonius of Tyana, p. 245.
[300]Cf. Philostratus,Apollonius of Tyana, p. 245.
[301]Cf. note on vs. 38 in Tucker’s edition.
[301]Cf. note on vs. 38 in Tucker’s edition.
[302]Cf. note on these lines in Starkie’s edition, and Murray,op. cit., p. 30.
[302]Cf. note on these lines in Starkie’s edition, and Murray,op. cit., p. 30.
[303]Figs. 68 f. are taken from Robert,op. cit., Figs. 55 and 77, respectively.
[303]Figs. 68 f. are taken from Robert,op. cit., Figs. 55 and 77, respectively.
[304]Cf.Laws659A-C.
[304]Cf.Laws659A-C.
[305]Seepp. xvii f.above, and cf. Bartsch,Entwickelung des Charakters der Medea in der Tragödie des Euripides(Breslau, 1852), p. 24. For the Boeotian version of the incident in Euripides’Suppliants, cf. Pausanias i. 39. 2.
[305]Seepp. xvii f.above, and cf. Bartsch,Entwickelung des Charakters der Medea in der Tragödie des Euripides(Breslau, 1852), p. 24. For the Boeotian version of the incident in Euripides’Suppliants, cf. Pausanias i. 39. 2.
[306]There is a tradition that this play was not produced in Athens, and some maintain that it was first played at Argos. In that case, in addition to appealing to the convictions of the pro-Athenian, anti-Spartan party in Argos, there must also have been the political motive of gaining converts for that party.
[306]There is a tradition that this play was not produced in Athens, and some maintain that it was first played at Argos. In that case, in addition to appealing to the convictions of the pro-Athenian, anti-Spartan party in Argos, there must also have been the political motive of gaining converts for that party.
[307]Cf.Lectures on Dramatic Art and Literature, translated by Black and Morrison, p. 38.
[307]Cf.Lectures on Dramatic Art and Literature, translated by Black and Morrison, p. 38.
[308]In addition to the works mentioned on pp.xviiandxx f., above, and the bibliography listed onpp. 57-59, above, cf. Hense,Die Modificirung der Maske in der griechischen Tragödie²(1905); Dignan,The Idle Actor in Aeschylus(1905); Flickinger, “Scaenica,”Transactions of the American Philological Association, XL (1909), 109 ff.; Robert,Die Masken der neueren attischen Komödie(1911); Rees, “The Significance of the Parodoi in the Greek Theater,”American Journal of Philology, XXXII (1911), 377 ff., and “The Function of the Πρόθυρον in the Production of Greek Plays,”Classical Philology, X (1915), 117 ff.; Harms,De Introitu Personarum in Euripidis et Novae Comoediae Fabulis(1914); Mooney,The House-Door on the Ancient Stage(1914); and Rambo, “The Wing-Entrances in Roman Comedy,”Classical Philology, X (1915), 411 ff.
[308]In addition to the works mentioned on pp.xviiandxx f., above, and the bibliography listed onpp. 57-59, above, cf. Hense,Die Modificirung der Maske in der griechischen Tragödie²(1905); Dignan,The Idle Actor in Aeschylus(1905); Flickinger, “Scaenica,”Transactions of the American Philological Association, XL (1909), 109 ff.; Robert,Die Masken der neueren attischen Komödie(1911); Rees, “The Significance of the Parodoi in the Greek Theater,”American Journal of Philology, XXXII (1911), 377 ff., and “The Function of the Πρόθυρον in the Production of Greek Plays,”Classical Philology, X (1915), 117 ff.; Harms,De Introitu Personarum in Euripidis et Novae Comoediae Fabulis(1914); Mooney,The House-Door on the Ancient Stage(1914); and Rambo, “The Wing-Entrances in Roman Comedy,”Classical Philology, X (1915), 411 ff.
[309]Cf. Craig,On the Art of the Theatre(1911), pp. 13 and 54 ff., and Cornford,Thucydides Mythistoricus(1907), p. 142, n. 2.
[309]Cf. Craig,On the Art of the Theatre(1911), pp. 13 and 54 ff., and Cornford,Thucydides Mythistoricus(1907), p. 142, n. 2.
[310]Fig. 70 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 43; Fig. 71 is from a photograph taken by Professor L. L. Forman and furnished by Dr. A. S. Cooley.
[310]Fig. 70 is taken from Dörpfeld-Reisch,Das griechische Theater, Fig. 43; Fig. 71 is from a photograph taken by Professor L. L. Forman and furnished by Dr. A. S. Cooley.
[311]Cf.Three Plays for Puritans, p. xxxvi.
[311]Cf.Three Plays for Puritans, p. xxxvi.
[312]Fig. 72 is taken from Puchstein,Die griechische Bühne, Fig. 3.
[312]Fig. 72 is taken from Puchstein,Die griechische Bühne, Fig. 3.
[313]Cf. Ridgeway,Dramas and Dramatic Dances of Non-European Races, p. 83.
[313]Cf. Ridgeway,Dramas and Dramatic Dances of Non-European Races, p. 83.
[314]Fig. 73 is taken from Baumeister,Denkmäler, Fig. 980. Within the prothyron are the king of Corinth and his daughter, Jason’s second wife. The latter is being assisted by her brother. In front lies an opened box which contained the poisoned gifts. From the other side the queen comes rushing. In the foreground is Medea slaying one of her children, while a youth tries to rescue the other. In the center is Oistros, the demon of madness, mounted upon a dragon chariot. Further on Jason is hastening to aid his boys, and on the extreme right is the ghost of Aeetes, Medea’s father. The design is apparently not based upon Euripides’Medea. Cf. Earle’s edition, pp. 60 f.
[314]Fig. 73 is taken from Baumeister,Denkmäler, Fig. 980. Within the prothyron are the king of Corinth and his daughter, Jason’s second wife. The latter is being assisted by her brother. In front lies an opened box which contained the poisoned gifts. From the other side the queen comes rushing. In the foreground is Medea slaying one of her children, while a youth tries to rescue the other. In the center is Oistros, the demon of madness, mounted upon a dragon chariot. Further on Jason is hastening to aid his boys, and on the extreme right is the ghost of Aeetes, Medea’s father. The design is apparently not based upon Euripides’Medea. Cf. Earle’s edition, pp. 60 f.
[315]Cf.Discours des trois unités, I, 119 (Regnier’s edition; 1862).
[315]Cf.Discours des trois unités, I, 119 (Regnier’s edition; 1862).
[316]Cf. Legrand,The New Greek Comedy, pp. 356 f., Loeb’s translation.
[316]Cf. Legrand,The New Greek Comedy, pp. 356 f., Loeb’s translation.
[317]For another interpretation cf. Mooney,op. cit., p. 19 and n. 13.
[317]For another interpretation cf. Mooney,op. cit., p. 19 and n. 13.
[318]TheAjaxis one of the earliest among Sophocles’ extant plays, but its exact date is not known. I have assumed that it preceded the introduction of a proscenium about 430B.C.(seep. 235, above). If it was written after that innovation, the statement in the text would have to be altered accordingly, but the general method of procedure remains the same in either case.
[318]TheAjaxis one of the earliest among Sophocles’ extant plays, but its exact date is not known. I have assumed that it preceded the introduction of a proscenium about 430B.C.(seep. 235, above). If it was written after that innovation, the statement in the text would have to be altered accordingly, but the general method of procedure remains the same in either case.
[319]Cf. Jebb,The Attic Orators, Vol. I, p. ciii.
[319]Cf. Jebb,The Attic Orators, Vol. I, p. ciii.
[320]In addition to the works mentioned on pp.xviiandxx f.and the bibliography listed onpp. 57-59, above, cf. Campbell,Classical Review, IV (1890), 303 ff.; Verrall in his edition of Euripides’Ion(1890), pp. xlviii ff.; Krause,Quaestiones Aristophaneae Scaenicae(1903); Kent, “The Time Element in the Greek Drama,”Transactions of the American Philological Association, XXXVII (1906), 39 ff.; Felsch,Quibus Artificiis Adhibitis Poetae Tragici Graeci Unitates Illas et Temporis et Loci Observaverint(1907); Polczyk,De Unitatibus et Loci et Temporis in Nova Comoedia Observatis(1909); Marek,De Temporis et Loci Unitatibus a Seneca Tragico Observatis(1909); Wolf,Die Bezeichnung von Ort und Zeit in der attischen Tragödie(1911); Butcher,Aristotle’s Theory of Poetry and Fine Art⁴(1911), pp. 274 ff.; Brasse,Quatenus in Fabulis Plautinis et Loci et Temporis Unitatibus Species Veritatis Neglegatur(1914); and Manning,A Study of Archaism in Euripides(1916).
[320]In addition to the works mentioned on pp.xviiandxx f.and the bibliography listed onpp. 57-59, above, cf. Campbell,Classical Review, IV (1890), 303 ff.; Verrall in his edition of Euripides’Ion(1890), pp. xlviii ff.; Krause,Quaestiones Aristophaneae Scaenicae(1903); Kent, “The Time Element in the Greek Drama,”Transactions of the American Philological Association, XXXVII (1906), 39 ff.; Felsch,Quibus Artificiis Adhibitis Poetae Tragici Graeci Unitates Illas et Temporis et Loci Observaverint(1907); Polczyk,De Unitatibus et Loci et Temporis in Nova Comoedia Observatis(1909); Marek,De Temporis et Loci Unitatibus a Seneca Tragico Observatis(1909); Wolf,Die Bezeichnung von Ort und Zeit in der attischen Tragödie(1911); Butcher,Aristotle’s Theory of Poetry and Fine Art⁴(1911), pp. 274 ff.; Brasse,Quatenus in Fabulis Plautinis et Loci et Temporis Unitatibus Species Veritatis Neglegatur(1914); and Manning,A Study of Archaism in Euripides(1916).
[321]ΧΟΡΟΥ is printed at this point in most editions but occurs in no manuscript (seep. 145, above); it has been inserted by the editors.
[321]ΧΟΡΟΥ is printed at this point in most editions but occurs in no manuscript (seep. 145, above); it has been inserted by the editors.
[322]Cf. Scott,Classical Philology, VIII (1913), 453 ff.
[322]Cf. Scott,Classical Philology, VIII (1913), 453 ff.
[323]Πάλαι in vs. 587 is entirely subjective; cf. Conrad,The Technique of Continuous Action in Roman Comedy(1915), pp. 22 ff.
[323]Πάλαι in vs. 587 is entirely subjective; cf. Conrad,The Technique of Continuous Action in Roman Comedy(1915), pp. 22 ff.
[324]For example, the slips which occur in Aristophanes’Lysistrata(vss. 725 and 881).
[324]For example, the slips which occur in Aristophanes’Lysistrata(vss. 725 and 881).
[325]Cf.Discours des trois unités, I, 113 f. (Regnier’s edition), quoted by Butcher,op. cit., pp. 294 f.
[325]Cf.Discours des trois unités, I, 113 f. (Regnier’s edition), quoted by Butcher,op. cit., pp. 294 f.
[326]Cf. the introduction to his edition of theAgamemnon, andFour Plays of Euripides, pp. 1-42.
[326]Cf. the introduction to his edition of theAgamemnon, andFour Plays of Euripides, pp. 1-42.