Chapter 29

[327]Cf.Dramatic Essays(Everyman’s Library edition), p. 18.[328]Cf.Poetics1449b12-14.[329]Cf. England’s edition of Euripides’Iphigenia at Aulis, p. xxvii.[330]Cf.The Bookman, XXX (1909), 37.[331]Cf. Archer,Play-making, pp. 123 f.[332]Cf.Poetics1450a38 f.[333]Cf.Poetics1450b22-35.[334]Cf.The Old English Dramatists, III.[335]Cf.Poetics1451a15-22.[336]Cf.Technique of the Drama, MacEwan’s translation², pp. 30 ff.[337]Cf.Shakespeare as a Dramatic Artist(1902), pp. 150 f.[338]Cf.Poetics1459b22-28.[339]Cf.op. cit., p. 92.[340]Cf.Dramatic Essays(Everyman’s Library edition), pp. 12 f.[341]Cf.Poetics1454a31 ff.[342]Cf.Thucydides Mythistoricus(1907), p. 146.[343]In addition to the works mentioned on pp.xviiandxx f., above, cf. Petersen,Preisrichter der grossen Dionysien(1878); Hayley, “Social and Domestic Position of Women in Aristophanes,”Harvard Studies, I (1890), 159 ff.; Lounsbury,Shakespeare as a Dramatic Artist(1902); Goodwin’s edition of Demosthenes’Against Midias, Appendix IV (1906); Capps, “Epigraphical Problems in the History of Attic Comedy,”American Journal of Philology, XXVIII (1907), 179 ff.; Legrand,Daos; Tableau de la comédie grecque pendant la période dite nouvelle(1910), translated by Loeb in 1917 under the titleThe New Greek Comedy; Sheppard,Greek Tragedy(1911); and Ruppel,Konzeption und Ausarbeitung der aristophanischen Komödien(1913).[344]A mina was equivalent to one hundred drachmae and was worth about $18, though allowance must be made for the greater purchase value of money in those days.[345]Cf. Lysias xxi, §§ 1-5.[346]Cf. hisLife of Nicias, III.[347]Cf. Aristotle,Constitution of Athens, c. 56.[348]Cf. Kock,Comicorum Atticorum Fragmenta, I, 16, fr. 15 (Cratinus).[349]Cf. Sheppard,op. cit., p. 58.[350]Cf. Legrand,op. cit., pp. 312-15 and 455 f.[351]Cf. Prescott inClassical Philology, XI (1916), 132.[352]Cf. Hall,The Ancient History of the Near East²(1913), p. 48.[353]Cf. Albright,The Shakesperian Stage(1909), pp. 148 f.[354]In addition to the works mentioned on pp.xviiandxx f., above, cf. Thirlwall, “On the Irony of Sophocles,”Philological Museum, II (1833), 483 ff.; Neckel,Das Ekkyklema(1890); Trautwein,De Prologorum Plautinorum Indole atque Natura(1890); Dörpfeld-Reisch,Das griechische Theater(1896), pp. 234 ff.; Bethe,Prolegomena zur Geschichte des Theaters im Alterthum(1896), pp. 100 ff.; Exon, “A New Theory of the Eccyclema,”Hermathena, XI (1901), 132 ff.; Leo,Der Monolog im Drama, ein Beitrag zur griechisch-römischen Poetik(1908); Polczyk,De Unitatibus et Loci et Temporis in Nova Comoedia Observatis(1909); Flickinger, “Dramatic Irony in Terence,”Classical Weekly, III (1910), 202 ff.; Arnold,The Soliloquies of Shakespeare(1911); Fensterbusch,Die Bühne des Aristophanes(1912), pp. 51 ff.; Harms,De Introitu Personarum in Euripidis et Novae Comoediae Fabulis(1914); and Rees, “The Function of the Πρόθυροv in the Production of Greek Plays,”Classical Philology, X (1915), 134 ff.[355]Cf. scholia to Aeschylus’Eumenides, vs. 64, Aristophanes’Acharnians, vs. 408 andClouds, vs. 184, and Clemens Alexandrinus, p. 11 (Potter).[356]Fig. 74 is specially drawn, but owes several features to Figs. 93 f. in Dörpfeld-Reisch,Das griechische Theater. Since Exon’s discussion and drawing of the eccyclema presuppose a theater with a stage, it has been necessary to modify his conception so as to bring it into conformity with the Dörpfeld theory.[357]Seep. 244, n. 1, above.[358]Cf. scholia to Aristophanes’Acharnians, vs. 408 andWomen at the Thesmophoria, vs. 284; Pollux iv. 128, and Eustathius, p. 976, 15.[359]Theexostra(ἐξ, “out” + ὠθεῖν, to “push”) seems to have performed about the same function as the eccyclema; cf. Pollux iv. 129; perhaps it was only the more specific name for this later type.[360]On the basis of ἀναβάδην in vs. 399, for which the scholiasts preserve two interpretations, some writers would have us believe that Euripides was shown in the second story. Tracks for the wheels of an eccyclema have been reported on the logium level of the theater at Eretria (seep. 107, above).[361]Cf.Poetics1454b1 and 1461b21.[362]Cf.Euripides and the Spirit of His Dramas, pp. 263 ff., Loeb’s translation (1906).[363]According to late authorities Greek theaters were provided with revolving prisms (periacti) with a different view painted on each of their three sides. These could be turned to indicate a change of scene. There is no evidence, however, that this contrivance was employed during the classical period of Greek drama, although Dörpfeld thought that a place was provided for it in the earlier parascenia at Epidaurus (cf.Das griechische Theater, p. 126). Thegeranos(“crane”) and thekrade(“branch”) were probably only other names for the μηχανή.[364]Cf. ThemistiusOrationxxvi, 316 D.[365]Cf.Poetics1451b26.[366]Cf. Archer,Play-making, p. 119.[367]Cf.Hamburgische Dramaturgie, Zimmern’s translation, p. 377.[368]Cf.Euripides and His Age, p. 206.[369]Cf. Reitzenstein,Hermes, XXXV (1900), 622 ff.[370]Cf. Kock,Fragmenta Comicorum Atticorum, II, 500, fr. 79.[371]Aristotle’s theory of the purificatory effects of tragedy has not fallen within the scope of my text, but I cannot forbear citing Fairchild, “Aristotle’s Doctrine of Katharsis and the Positive or Constructive Activity Involved,”Classical JournalXII (1916), 44 ff.[372]Cf. Capps, “Dramatic Synchoregia at Athens,”American Journal of Philology, XVII (1896) 319 ff.; “Catalogues of Victors at the Dionysia and Lenaea,”ibid., XX (1899), 388 ff.; “The Dating of Some Didascalic Inscriptions,”American Journal of Archaeology, IV (1900), 74 ff.; “The Introduction of Comedy into the City Dionysia,”Decennial Publications of the University of Chicago, VI (1904), 259 ff.; and “Epigraphical Problems in the History of Attic Comedy,”American Journal of Philology, XXVIII (1907), 179 ff.; Wilhelm,Urkunden dramatischer Aufführungen in Athen(1906), and “Eine Inschrift aus Athen,”Anzeiger d. Akademie d. Wissenschaften in Wien, phil.-hist. Klasse, XLIII (1906), 77 ff.; Clark, “A Study of the Chronology of Menander’s Life,”Classical Philology, I (1906), 313 ff.;Oxyrhynchus Papyri, IV (1904), 69 ff., and X (1914), 81 ff.; O’Connor,Chapters in the History of Actors and Acting in Ancient Greece(1908); Jachmann,De Aristotelis Didascaliis(1909); and Flickinger, “Certain Numerals in the Greek Dramatic Hypotheses,”Classical Philology, V (1910), 1 ff.[373]Reisch, however, in his review of Wilhelm inZeitschrift f. östr. Gymnasien, LVIII (1907), 297 f. maintained that the original cutting went to the bottom of col. 14. This would postpone the preparation of the inscription until about 330B.C.and would make it a feature of the completion of the theater by Lycurgus at about that time. He suggests that the Fasti stood in the left parodus of the theater.[374]Fig. 75 is taken from Wilhelm,Urkunden dramatischer Aufführungen in Athen, p. 18, and represents fragmentsaandfofCorpus Inscriptionum Graecarum, II, 971.[375]Fig. 76ais taken from Wilhelm,op. cit., p. 40, and representsCorpus Inscriptionum Graecarum, II, 973.[376]Körte, “Aristoteles’ ΝΙΚΑΙ ΔΙΟΝΥΣΙΑΚΑΙ,”Classical Philology, I (1906), 391 ff., maintained that the Victors’-Lists were transferred to stone straight from another book of Aristotle’s entitled Νῖκαι Διονυσιακαὶ Ἀστικαὶ καὶ Ληναϊκαί (“Victories at the City Dionysia and the Lenaea”). Our knowledge of the nature of this work is confined to what can be inferred from its title and is too vague to justify dogmatic conclusions.[377]Figs. 77aandbare taken from Wilhelm,op. cit., 101, and representCorpus Inscriptionum Graecarum, II, 977aandabrespectively.[378]Fig. 78 is taken from Wilhelm,op. cit., p. 107 and representsCorpus Inscriptionum Graecarum, II, 977iandk, together with two previously unpublished fragments.[379]Fig. 79 is taken from Wilhelm,op. cit., p. 123, and representsCorpus Inscriptionum Graecarum, II, 977d,e,f,g, andh.[380]Fig. 80 is taken from Clarac,Musée de Sculpture, III, Pl. 294, Fig. 65. Note that the first play in the list on the background is the ΑΛΚΕΣ[ΤΙΣ].

[327]Cf.Dramatic Essays(Everyman’s Library edition), p. 18.

[328]Cf.Poetics1449b12-14.

[329]Cf. England’s edition of Euripides’Iphigenia at Aulis, p. xxvii.

[330]Cf.The Bookman, XXX (1909), 37.

[331]Cf. Archer,Play-making, pp. 123 f.

[332]Cf.Poetics1450a38 f.

[333]Cf.Poetics1450b22-35.

[334]Cf.The Old English Dramatists, III.

[335]Cf.Poetics1451a15-22.

[336]Cf.Technique of the Drama, MacEwan’s translation², pp. 30 ff.

[337]Cf.Shakespeare as a Dramatic Artist(1902), pp. 150 f.

[338]Cf.Poetics1459b22-28.

[339]Cf.op. cit., p. 92.

[340]Cf.Dramatic Essays(Everyman’s Library edition), pp. 12 f.

[341]Cf.Poetics1454a31 ff.

[342]Cf.Thucydides Mythistoricus(1907), p. 146.

[343]In addition to the works mentioned on pp.xviiandxx f., above, cf. Petersen,Preisrichter der grossen Dionysien(1878); Hayley, “Social and Domestic Position of Women in Aristophanes,”Harvard Studies, I (1890), 159 ff.; Lounsbury,Shakespeare as a Dramatic Artist(1902); Goodwin’s edition of Demosthenes’Against Midias, Appendix IV (1906); Capps, “Epigraphical Problems in the History of Attic Comedy,”American Journal of Philology, XXVIII (1907), 179 ff.; Legrand,Daos; Tableau de la comédie grecque pendant la période dite nouvelle(1910), translated by Loeb in 1917 under the titleThe New Greek Comedy; Sheppard,Greek Tragedy(1911); and Ruppel,Konzeption und Ausarbeitung der aristophanischen Komödien(1913).

[344]A mina was equivalent to one hundred drachmae and was worth about $18, though allowance must be made for the greater purchase value of money in those days.

[345]Cf. Lysias xxi, §§ 1-5.

[346]Cf. hisLife of Nicias, III.

[347]Cf. Aristotle,Constitution of Athens, c. 56.

[348]Cf. Kock,Comicorum Atticorum Fragmenta, I, 16, fr. 15 (Cratinus).

[349]Cf. Sheppard,op. cit., p. 58.

[350]Cf. Legrand,op. cit., pp. 312-15 and 455 f.

[351]Cf. Prescott inClassical Philology, XI (1916), 132.

[352]Cf. Hall,The Ancient History of the Near East²(1913), p. 48.

[353]Cf. Albright,The Shakesperian Stage(1909), pp. 148 f.

[354]In addition to the works mentioned on pp.xviiandxx f., above, cf. Thirlwall, “On the Irony of Sophocles,”Philological Museum, II (1833), 483 ff.; Neckel,Das Ekkyklema(1890); Trautwein,De Prologorum Plautinorum Indole atque Natura(1890); Dörpfeld-Reisch,Das griechische Theater(1896), pp. 234 ff.; Bethe,Prolegomena zur Geschichte des Theaters im Alterthum(1896), pp. 100 ff.; Exon, “A New Theory of the Eccyclema,”Hermathena, XI (1901), 132 ff.; Leo,Der Monolog im Drama, ein Beitrag zur griechisch-römischen Poetik(1908); Polczyk,De Unitatibus et Loci et Temporis in Nova Comoedia Observatis(1909); Flickinger, “Dramatic Irony in Terence,”Classical Weekly, III (1910), 202 ff.; Arnold,The Soliloquies of Shakespeare(1911); Fensterbusch,Die Bühne des Aristophanes(1912), pp. 51 ff.; Harms,De Introitu Personarum in Euripidis et Novae Comoediae Fabulis(1914); and Rees, “The Function of the Πρόθυροv in the Production of Greek Plays,”Classical Philology, X (1915), 134 ff.

[355]Cf. scholia to Aeschylus’Eumenides, vs. 64, Aristophanes’Acharnians, vs. 408 andClouds, vs. 184, and Clemens Alexandrinus, p. 11 (Potter).

[356]Fig. 74 is specially drawn, but owes several features to Figs. 93 f. in Dörpfeld-Reisch,Das griechische Theater. Since Exon’s discussion and drawing of the eccyclema presuppose a theater with a stage, it has been necessary to modify his conception so as to bring it into conformity with the Dörpfeld theory.

[357]Seep. 244, n. 1, above.

[358]Cf. scholia to Aristophanes’Acharnians, vs. 408 andWomen at the Thesmophoria, vs. 284; Pollux iv. 128, and Eustathius, p. 976, 15.

[359]Theexostra(ἐξ, “out” + ὠθεῖν, to “push”) seems to have performed about the same function as the eccyclema; cf. Pollux iv. 129; perhaps it was only the more specific name for this later type.

[360]On the basis of ἀναβάδην in vs. 399, for which the scholiasts preserve two interpretations, some writers would have us believe that Euripides was shown in the second story. Tracks for the wheels of an eccyclema have been reported on the logium level of the theater at Eretria (seep. 107, above).

[361]Cf.Poetics1454b1 and 1461b21.

[362]Cf.Euripides and the Spirit of His Dramas, pp. 263 ff., Loeb’s translation (1906).

[363]According to late authorities Greek theaters were provided with revolving prisms (periacti) with a different view painted on each of their three sides. These could be turned to indicate a change of scene. There is no evidence, however, that this contrivance was employed during the classical period of Greek drama, although Dörpfeld thought that a place was provided for it in the earlier parascenia at Epidaurus (cf.Das griechische Theater, p. 126). Thegeranos(“crane”) and thekrade(“branch”) were probably only other names for the μηχανή.

[364]Cf. ThemistiusOrationxxvi, 316 D.

[365]Cf.Poetics1451b26.

[366]Cf. Archer,Play-making, p. 119.

[367]Cf.Hamburgische Dramaturgie, Zimmern’s translation, p. 377.

[368]Cf.Euripides and His Age, p. 206.

[369]Cf. Reitzenstein,Hermes, XXXV (1900), 622 ff.

[370]Cf. Kock,Fragmenta Comicorum Atticorum, II, 500, fr. 79.

[371]Aristotle’s theory of the purificatory effects of tragedy has not fallen within the scope of my text, but I cannot forbear citing Fairchild, “Aristotle’s Doctrine of Katharsis and the Positive or Constructive Activity Involved,”Classical JournalXII (1916), 44 ff.

[372]Cf. Capps, “Dramatic Synchoregia at Athens,”American Journal of Philology, XVII (1896) 319 ff.; “Catalogues of Victors at the Dionysia and Lenaea,”ibid., XX (1899), 388 ff.; “The Dating of Some Didascalic Inscriptions,”American Journal of Archaeology, IV (1900), 74 ff.; “The Introduction of Comedy into the City Dionysia,”Decennial Publications of the University of Chicago, VI (1904), 259 ff.; and “Epigraphical Problems in the History of Attic Comedy,”American Journal of Philology, XXVIII (1907), 179 ff.; Wilhelm,Urkunden dramatischer Aufführungen in Athen(1906), and “Eine Inschrift aus Athen,”Anzeiger d. Akademie d. Wissenschaften in Wien, phil.-hist. Klasse, XLIII (1906), 77 ff.; Clark, “A Study of the Chronology of Menander’s Life,”Classical Philology, I (1906), 313 ff.;Oxyrhynchus Papyri, IV (1904), 69 ff., and X (1914), 81 ff.; O’Connor,Chapters in the History of Actors and Acting in Ancient Greece(1908); Jachmann,De Aristotelis Didascaliis(1909); and Flickinger, “Certain Numerals in the Greek Dramatic Hypotheses,”Classical Philology, V (1910), 1 ff.

[373]Reisch, however, in his review of Wilhelm inZeitschrift f. östr. Gymnasien, LVIII (1907), 297 f. maintained that the original cutting went to the bottom of col. 14. This would postpone the preparation of the inscription until about 330B.C.and would make it a feature of the completion of the theater by Lycurgus at about that time. He suggests that the Fasti stood in the left parodus of the theater.

[374]Fig. 75 is taken from Wilhelm,Urkunden dramatischer Aufführungen in Athen, p. 18, and represents fragmentsaandfofCorpus Inscriptionum Graecarum, II, 971.

[375]Fig. 76ais taken from Wilhelm,op. cit., p. 40, and representsCorpus Inscriptionum Graecarum, II, 973.

[376]Körte, “Aristoteles’ ΝΙΚΑΙ ΔΙΟΝΥΣΙΑΚΑΙ,”Classical Philology, I (1906), 391 ff., maintained that the Victors’-Lists were transferred to stone straight from another book of Aristotle’s entitled Νῖκαι Διονυσιακαὶ Ἀστικαὶ καὶ Ληναϊκαί (“Victories at the City Dionysia and the Lenaea”). Our knowledge of the nature of this work is confined to what can be inferred from its title and is too vague to justify dogmatic conclusions.

[377]Figs. 77aandbare taken from Wilhelm,op. cit., 101, and representCorpus Inscriptionum Graecarum, II, 977aandabrespectively.

[378]Fig. 78 is taken from Wilhelm,op. cit., p. 107 and representsCorpus Inscriptionum Graecarum, II, 977iandk, together with two previously unpublished fragments.

[379]Fig. 79 is taken from Wilhelm,op. cit., p. 123, and representsCorpus Inscriptionum Graecarum, II, 977d,e,f,g, andh.

[380]Fig. 80 is taken from Clarac,Musée de Sculpture, III, Pl. 294, Fig. 65. Note that the first play in the list on the background is the ΑΛΚΕΣ[ΤΙΣ].

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