translation).
[248] Cf. Graeber, _De Poetarum Atticorum Arte Scaenica_ (1911), pp. 56
ff.
[249] Cf. Flickinger, _op. cit._, pp. 28 ff.
[250] Cf. Aristotle’s _Poetics_, 1456_a_26 ff.
[251] Cf. _Philologus_, LXX (1911), 497 f.
[252] Cf. _Revue des Études anciennes_, XIII (1911), 273.
[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.
[255] Cf. Verrall, _Euripides the Rationalist_, p. 219, note.
[256] Cf. Archer, _Play-making_, p. 142.
[257] Cf. _The Origin of Attic Comedy_, p. 107.
[258] Cf. _Zur Dramaturgie des Äschylus_ (1892), p. 135.
[259] Cf. Euripides’ _Helen_, vs. 184, and _Medea_, vss. 131 ff.
[260] Cf. Euripides’ _Hecabe_, vs. 105, and _Electra_, vss. 168 ff.
[261] Cf. Sophocles’ _Maidens of Trachis_, vs. 103, and _Ajax_, vs. 143,
Euripides’ _Hippolytus_, vss. 129 ff., etc.
[262] Cf. Sophocles’ _Oedipus the King_, vs. 144, and _Antigone_, vss.
164 f., Euripides’ _Trojan Women_, vss. 143-45, Aristophanes’ _Clouds_,
vs. 269, _Peace_, vss. 296 ff., _Birds_, vss. 310 f., and _Plutus_, vs.
255, etc.
[263] Cf. Verrall’s edition of Euripides’ _Ion_ (1890), p. lx.
[264] Cf. p. 89 of his edition (1896).
[265] Cf. John Dennis, _The Impartial Critick_ (1693).
[266] Cf. Tovey, _Letters of Thomas Gray_, II, 293 f.
[267] Cf. Dennis, _op. cit._
[268] _Four Plays of Euripides_ (1905), pp. 125-30.
[269] Cf. Murray, _Euripides and His Age_ (1913), p. 238.
[270] _Thucydides Mythistoricus_ (1907), p. 147 (italics mine).
[271] In addition to the works mentioned on pp. xvii and xx 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), and _Plautinische 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 in _Classical Weekly_, X (1917), 147 ff.
Fig. 66 is taken from Baumeister’s _Denkmäler_, 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 Centuries B.C.,” _Harvard
Studies_, XVI (1905), 123 ff. For the costumes of comic actors, see pp.
46 f., above.
[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’s _Electra_, p. lvii.
[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.
[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.
[278] Cf. _Four Plays of Euripides_ (1905), pp. 1 ff.
[279] Cf. the scholium on vs. 93.
[280] Cf. Devrient, _Das Kind auf der antiken Bühne_ (1904).
[281] Cf. _Oxyrhynchus Papyri_, VI (1908), 69.
[282] Cf. Rees, _American Journal of Philology_, XXXI (1910), 43 ff.
[283] Cf. Horace _Ars Poetica_, vs. 192; see also p. 53, n. 1, above.
[284] Cf. Leo, _Rheinisches Museum für Philologie_, LII (1897), 513.
[285] Cf. Seneca’s _Agamemnon_, vss. 981 ff.
[286] Cf. Lounsbury, _Shakespeare as a Dramatic Artist_, pp. 111 f.
[287] Cf. U. von Wilamowitz-Möllendorff, _Herakles²_, I, 119, note, and
Euripides _Alcestis_, vss. 393 ff.
[288] Cf. Aristotle’s _Rhetoric_ 1403_b_33, quoted as the motto of this
chapter.
[289] Cf. _Play-making_, p. 129.
[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. xvii and xx 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 on p. 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).
[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.
[295] Cf. the Introduction to Hayley’s edition, pp. xxiii ff.
[296] Cf. Capps, in _Classical 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.
[298] Cf. his _Aristotle on the Art of Poetry_, pp. 48 f.
[299] Cf. Dryden, _Dramatic Essays_ (Everyman’s Library edition), p. 20.
[300] Cf. Philostratus, _Apollonius of Tyana_, p. 245.
[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.
[303] Figs. 68 f. are taken from Robert, _op. cit._, Figs. 55 and 77,
respectively.
[304] Cf. _Laws_ 659A-C.
[305] See pp. 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.
[307] Cf. _Lectures on Dramatic Art and Literature_, translated by Black
and Morrison, p. 38.
[308] In addition to the works mentioned on pp. xvii and xx f.,
above, and the bibliography listed on pp. 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.
[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.
[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.
[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).
[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.
[318] The _Ajax_ is 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 430 B.C. (see p. 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.
[320] In addition to the works mentioned on pp. xvii and xx f. and
the bibliography listed on pp. 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 (see p. 145, above); it has been inserted by the editors.
[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.
[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.
[326] Cf. the introduction to his edition of the _Agamemnon_, and _Four
Plays of Euripides_, pp. 1-42.
[327] Cf. _Dramatic Essays_ (Everyman’s Library edition), p. 18.
[328] Cf. _Poetics_ 1449_b_12-14.
[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. _Poetics_ 1450_a_38 f.
[333] Cf. _Poetics_ 1450_b_22-35.
[334] Cf. _The Old English Dramatists_, III.
[335] Cf. _Poetics_ 1451_a_15-22.
[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. _Poetics_ 1459_b_22-28.
[339] Cf. _op. cit._, p. 92.
[340] Cf. _Dramatic Essays_ (Everyman’s Library edition), pp. 12 f.
[341] Cf. _Poetics_ 1454_a_31 ff.
[342] Cf. _Thucydides Mythistoricus_ (1907), p. 146.
[343] In addition to the works mentioned on pp. xvii and xx 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 title _The 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. his _Life 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 in _Classical 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. xvii and xx 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 and _Clouds_, 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] See p. 244, n. 1, above.
[358] Cf. scholia to Aristophanes’ _Acharnians_, vs. 408 and _Women at
the Thesmophoria_, vs. 284; Pollux iv. 128, and Eustathius, p. 976, 15.
[359] The _exostra_ (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 (see p. 107, above).
[361] Cf. _Poetics_ 1454_b_1 and 1461_b_21.
[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). The _geranos_ (“crane”) and the
_krade_ (“branch”) were probably only other names for the μηχανή.
[364] Cf. Themistius _Oration_ xxvi, 316 D.
[365] Cf. _Poetics_ 1451_b_26.
[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 Journal_ XII (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 in _Zeitschrift 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 330 B.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 fragments _a_ and _f_ of _Corpus
Inscriptionum Graecarum_, II, 971.
[375] Fig. 76_a_ is taken from Wilhelm, _op. cit._, p. 40, and represents
_Corpus 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. 77_a_ and _b_ are taken from Wilhelm, _op. cit._, 101,
and represent _Corpus Inscriptionum Graecarum_, II, 977_a_ and _ab_
respectively.
[378] Fig. 78 is taken from Wilhelm, _op. cit._, p. 107 and represents
_Corpus Inscriptionum Graecarum_, II, 977_i_ and _k_, together with two
previously unpublished fragments.
[379] Fig. 79 is taken from Wilhelm, _op. cit._, p. 123, and represents
_Corpus Inscriptionum Graecarum_, II, 977_d_, _e_, _f_, _g_, and _h_.
[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].
INDICES
INDEX OF PASSAGES
(=Boldface= figures refer to the pages of this volume. Works which
are known to us only by title or short fragments are indicated by an
asterisk.)
Aeschylus (525-456 B.C.)
_Agamemnon_ (City Dionysia, 458 B.C.): vss. 1 ff., =225=, =285=,
=291=, =305=; 40 ff., =298 f.=; 589, =255=; 810, =255 f.=;
855 ff., =155=, =166=; 905-57, =276=; 1343-45, =128=, =229=;
1344-71, =134=, =158-60=; 1348-71, =44=; 1372, =128=; also
=137=, =198=, =256=, =258 f.=
_Eumenides_ (City Dionysia, 458 B.C.): vss. 1 ff., =305=; 33-64,
=286=; 64 (schol.), =285=; 79, =206=; 93, =286 f.=; 94, =287=;
140-79, =151=, =287=; 234, =247=, =250=; 244, =151=; 306-96,
=153 f.=; 744, =232=; 746-53, =171=; also =136 f.=, =198=,
=232=, =247=, =258 f.=, =274=
_Libation-Bearers_ (City Dionysia, 458 B.C.): vss. 10-16, =210 f.=;
22 f., =150=; 766 ff., =166=; 886-902, 892 (schol.), =178=;
900-903, =170=; 904, =128=; also =125=, =137-39=, =198=, =248=,
=258 f.=
_Niobe_,* =230=
_Persians_ (City Dionysia, 472 B.C.): arg., =299=; vss. 1 ff.,
=150=, =208=, =299=; 155 f., =208 f.=; 231-44, =219 f.=;
249-90, =165=; 302-526, =128=; 348, 474 f., =220=; 681, =106=,
=225 f.=; 761, =206=; 849 ff., =175=; also =56=, =124=, =134=,
=136=, =139=, =166 f.=, =192=, =226=, =248 f.=, =276=, =298=,
=305=
_Prometheus Bound_ (_ca._ 470 B.C.): vss. 3, 12, =210 f.=; 81-88,
=174=, =228=; 85, =210 f.=, =88 ff.=, =305=; 124-29, =290=; 133
f., =150=; 136-40, =210=; 272-82, =290=; 284-87, 397 ff., =289
f.=; 1067, =137=; 1093, =228=; also =20=, =134=, =137=, =139=,
=166-68=, =174=; =192=, =226-28=, =258=
_Prometheus the Fire-Kindler_,* frag. 207 (Nauck), =30=
_Prometheus Unbound_* (_ca._ 470 B.C.), =227 f.=, =258=
_Proteus_* (City Dionysia, 458 B.C.), =198=
_Seven against Thebes_ (City Dionysia, 467 B.C.): arg., =23=; vss.
1, =206=; 4-7, =210=; 78-180, =230=; 214, 240, =150=; 235,
=206=; 375-676, =275 f.=; 800-821, =128=; 961-1005, =175=,
=179=, =283=; also =134=, =136-38=, =166 f.=, =205=, =226=
_Suppliants_ (_ca._ 490 B.C.): vss. 1 ff., =150=; 1-175, =230=; 12,
176, =209=; 234-480, =165=, =230=; 234-503, =163 f.=, =166=,
=169=; 247 ff., =209=; 524-99, =252=; 775-980, =173=; 776-836,
=174=; 907-53, =164=, =166=; 953-80, =174=; also =56=, =133
f.=, =136-38=, =163 f.=, =167-69=, =192=, =205=, =226=, =234=,
=265=, =298=, =304 f.=
_Weighing of Souls_,* =292=
Agathon (first tragic victory, Lenaea, 416 B.C.)
_Antheus_,* =124=
Alexis (Middle Comedy), frag. 107 (Kock), =147=
Antiphanes (Middle Comedy), frag. 191 (Kock), =127=, =316=
Apostolius (born _ca._ 1420 A.D.), xiii. 42, =12 f.=, =21=, =29=
Archilochus (_ca._ 680-640 B.C.), frag. 77 (Bergk), =7=
Aristophanes (_ca._ 444-386 B.C.; Old Comedy)
_Acharnians_ (Lenaea, 425 B.C.): vss. 20, =207=; 100-104, =171=,
=173=, =187=; 133-74, =254=; 237-79, =36=; 262, =42=; 280-83,
=37=, =151=; 347-92, =41= note, =42= note; 399 and (schol.),
=288=; 408, =288=; 408 (schol.), =285=, =287=; 479, =288=;
490-625, =41= note, =42= note; 501-7, =196 f.=; 640, =218=;
719-835, =41=; 732, =91 f.=; 860-970, =41=; 1000-1068, =41= note,
=42= note; 1003-7, =242=; 1069 f., =210=; 1069-1142, =41=; also
=327=
_Babylonians_* (City Dionysia, 426 B.C.), =196=, =327=
_Banqueters_* (Lenaea, 427 B.C.), =326=
_Birds_ (City Dionysia, 414 B.C.): arg., =330 f.=, =335=, =337=;
310 f., =151=; 644 f., =212=; 786 ff., =197=; 801-902, =41=
note, =42= note; 1101 f., =214=; 1118-1268, 1494-1705, =41=
note, =42= note; 1615-79, =171=, =173=, =187=; 1763-66, =214=;
also =234=
_Clouds_ (City Dionysia, 423 B.C.): vss. 1, =238=, =243=; 126-32,
=311=; 184 (schol.), =285=; 218 ff., =292=; 269, =151=; 537-39,
=46=; 734, =46=; 1486 ff., =98=; also =135=, =138=, =207=, =213=,
=235=
_Frogs_ (Lenaea, 405 B.C.): vss. 1-460, =88-91=, =207=, =248=;
154 f., =225=; 209 ff., =142=; 299 (schol.), =91=; 315, =142=;
416-30, =51-53=; 454 f., =225=; 555, =171=, =173=, =187=;
644-66, =132=; 674-737, =204=; 810 f., =122=; 830, =310=;
866-69, =203 f.=; 1411 ff., =171=, =173=, =187=; also =127=,
=135=, =138=
_Knights_ (Lenaea, 424 B.C.): vss. 149, =91=; 230-32, =213=;
461-97, =50=; 512-14, =327=; 522 f., =54=; 544-50, =216=; also
=138 f.=, =327=
_Lysistrata_ (Lenaea, 411 B.C.): vss. 1-6, =309=; 78-246, =171=,
=173=, =187=; 385, =207=; 725, 881, =256=; also =41=, =278=
_Peace_ (City Dionysia, 421 B.C.): vss. 80 ff., =292=; 296 ff.,
=151=; 765-68, =214=; 962-65, =216=; 1039-1126, =50=
_Plutus_ (388 B.C.): vss. 255, =151=; 322-486, =49=; 626, =254=,
=257=; 770, =146=; 789-99, =216=; 821 f., =240=; also =41=,
=43=, =92=
_Proagon_* (422 B.C.), =205=
_Wasps_ (Lenaea, 422 B.C.): vss. 57, =48=; 58 f., =216=; 1342, 1514,
=91=; also =274=
_Women at the Thesmophoria_ (_ca._ 411 B.C.): vss. 67 f., =240=;
96, 265, =288=; 284 (schol.), =287=; also =188=, =207=, =278=
_Women in Council_ (Lenaea, 392 B.C.): vss. 46-265, =44=; 311-478,
=251=; 729, =146=; 871-1160, =138=; 876, =146=; 1152, =91=;
1154-58, =214=; 1158-62, =200=; 1179-83, =214 f.=; also =41=,
=43=, =92=, =135=, =188=, =278=
_Aristophanis Vita_, § 11, =145=
Aristotle (384-322 B.C.)
_Constitution of Athens_, c. 56, =273=
_Didascaliae_,* =319-21=, =324=, =329 f.=, =337=
_Dionysian Victories_,* =324= note 1
_Poetics_: 1448_a_31 f., =47=; _a_32-34, =51=; _b_1, =8=; 1449_a_8,
=xi=; _a_9-13, =6 f.=, =16=, =36=, =44=; _a_18, =66=, =236=;
_a_19 ff., =21-23=, =29=; _a_22 f., =22=; _a_37-_b_9, =35=;
_a_38, =54 f.=; _b_3, =55=; _b_5-9, =50 f.=; _b_12-14, =257=;
_b_33, =xi=; 1450_a_10, =xi=; _a_38 f., =261=; _b_17-21, =xi=;
_b_22-35, =261 f.=; 1451_a_15-22, =262=; _b_25, =125=; _b_26,
=301=; 1452_b_18, =93=; _b_24 f., =93=, =96=; 1453_a_19,
=125=; _a_27, =93=; _b_1-3, =xi=; 1454_a_31-33, =267=; _b_1,
=293=; 1455_a_28, =93=; 1456_a_6, =125=; _a_26-32, =144-49=;
1459_b_22-28, =263=; _b_25, =93=; 1460_a_11-17, =93=, =95 f.=;
1461_b_21, =293=; 1462_a_12, _a_14-17, =xi=; also =xxi=, =6=
note 1, =17=, =246=, =317=
_Politics_, 1336_b_28 f., =190=
_Problems_, 918_b_26, 920_a_9, 922_b_17, =93=
_Rhetoric_, 1403_b_33, =xii=, =162=, =190=
Athenaeus (_ca._ 230 A.D.): p. 211B, =94=; p. 347E, =17=
Bacchylides (_ca._ 468 B.C.)
_Theseus_, =10=, =16=
Clemens Alexandrinus (_ca._ 200 A.D.): p. 11 (schol.), =285=; p. 688,
=96=
_Corpus Inscriptionum._ _See_ Inscriptions
Cratinus (Old Comedy; first victory at City Dionysia, 452 B.C.),
frag. 15 (Kock), =273=
_Dionysalexandros_* (_ca._ 430 B.C.), arg., =330=, =332-36=
Demosthenes (_ca._ 384-322 B.C.): xviii. 180, xix. 337, =93=; xxi,
arg. 2 f., =132=; xxi. 74, =197=; 178-80, =132=
Diodorus Siculus (_ca._ 48 B.C.), xi. 10, =94=
Diogenes Laertius (_ca._ 200 A.D.): iii. 56, =18 f.=; v. 92, =20=
Ecphantides (Old Comedy; first victory _ca._ 455 B.C.), frag. 2
(Kock), =48=
Epicharmus (_ca._ 485 B.C.), frag. 132 (Kaibel), =8=
_Etymologicum Magnum_ (tenth century, A.D.), _s.v._ θυμέλη, =18=;
_s.v._ τραγῳδία, =27-29=
Eupolis (Old Comedy), frag. 244 (Kock), =48=
Αἶγες, =30=
Euripides (485-406 B.C.)
_Alcestis_ (City Dionysia, 438 B.C.): arg., =330-32=; vss. 1 ff.,
=206=, =300=, =305=; 22 f., =240=, =300=; 24-26, =211=; 77,
=252=; 206, =240=; 243 ff., =306=; 391, =129=; 393 ff., =179=,
=189=; 423 f., 435-76, =152=; 452, =218=; 476, 506, =239 f.=;
747-861, =234 f.=, =250 f.=, =306=; 837 ff., =306=, =311=; 861
ff., 934-61, =307=; 1102, =315=; 1144-46, =232=; also =199=,
=201=, =205=, =265=
_Andromache_ (_ca._ 430 B.C.): vss. 1, 16, =206=, =306=; 445-49,
=219=; 547, =179=; 547-766, =170=; 732 ff., 881, =176=; 815-25,
=159=, =240=; 877-79, =281=; 1231 ff., =259=, =295=; also
=219=, =257=
_Andromeda_,* =292=
_Bacchanals_ (City Dionysia, posthumous): vss. 1, =206=, =291=;
170-79, 210-12, =212=; 526, =7=; 1024-1152, =128=; 1212 ff.,
=98=; also =124=, =154=, =291=, =314=
_Bellerophon_,* 292
_Children of Heracles_ (_ca._ 430 B.C.): vss. 120 ff., =166=; 309-15,
=218=; 642 f., =242 f.=; 1026-29, =218=; 1052, =128=; also =218=
_Cyclops_ (_ca._ 440 B.C.): vss. 11 ff., =126=; 79 f., =31=; 445
f., =240=; 479-82, =241=; 507 f., =240=; 601 ff., =153 f.=;
608-27, 648, =154=; 653, =153 f.=; 655-62, =154=; 668, =222=;
694 f., =241=; also =22=, =29=, =126=, =167=, =199=, =224=,
=241=, =253=
_Electra_ (_ca._ 413 B.C.): vss. 1-53, =259=; 168 ff., =151=; 341
ff., =281=; 434-78, =139-41=, =143=; 1165-67, =128=; 1238,
=259=; also =125=, =260=
_Hecabe_ (_ca._ 425 B.C.): vss. 1-58, =226=, =302=; 68 f., =226=;
105, =151=; 736-51, =312=; 1034-55, =131=, =159=; 1056, =222=;
1132-1237, 275
_Helen_ (412 B.C.): vss. 1-67, =301=; 184, =151=; 306, 317, =143=;
385, 515, =251=; 1165-68, =248=; 1186-1300, =170=; 1301-68,
=142=; 1387 ff., =156=, =160=, =294=; 1629 ff., =143=; 1662,
=249=
_Hippolytus_ (428 B.C.): vss. 42 f., =302=; 61-72, =141=; 129 ff.,
=151=; 178-81, =240=; 565-600, =241 f.=; 710-14, =156=; 776-87,
=159=; 1060-63, =312=; 1102-19, =140=; 1342, =222=; 1423-30,
=295=; also =235=
_Hypsipyle_,* vss. 1579 ff., =179 f.=
_Ion_ (_ca._ 412 B.C.): vss. 72 f., =302 f.=; 183-228, =160=; 234
f., =151=; 666 f., =157=; 675, =177=; 760, =157=; 1130 ff.,
=177=; 1520 ff., =312=; 1553 ff., =302 f.=
_Iphigenia at Aulis_ (City Dionysia, posthumous): vss. 1, =225=;
164 ff., 187 f., =151=; 303, 307, =310=; 794-800, =140=; 1211
ff., =267=; 1532 f., =242 f.=; also =205=, =302=
_Iphigenia among the Taurians_ (_ca._ 414 B.C.): vss. 42 f., =308=;
66, =252=; 1061-68, =156=, =160=; 1068-70, =88=; 1234-83, =142
f.=; 1392, =294=; 1435 ff., =201 f.=, =294 f.=; 1446-61, =295=;
1447, 1462, =249=; 1467 f., =160 f.=; 1497 ff., xvii, =215=;
also =205=
_Madness of Heracles_ (_ca._ 421 B.C.): vss. 158-205, =275=;
749-54, =128=; 822 ff., =260=, =310=; 1029 ff., =128=, =288 f.=
_Medea_ (431 B.C.): arg., =266 f.=; vss. 1 ff., =307 f.=; 49-52,
=307=; 56-58, =240=, =308 f.=; 131 ff., =151=; 230-66, =156
f.=; 465-575, =275=; 663 ff., =293=; 824 ff., =xviii=, =217=;
1053 f., =159=; 1271 ff., =179=; 1279 ff., =160=; 1312 ff.,
=159=; 1321 ff., =292=; also =237=, =266 f.=
_Orestes_ (408 B.C.): vss. 1, =238=, =243=; 26 f., =306=; 131-211,
=153=; 1103 f., =156=; 1245, =177=; 1251, =143 f.=; 1313-20,
=222 f.=; 1353 ff., =143 f.=; 1554, 1591, =177=; 1625-32, =292
f.=, =295 f.=; 1691 (schol.), =215=; 1691 ff., =xvii=, =215=;
also =303=
_Phaethon_,* frag. 773 (Nauck), =93=
_Phoenician Maids_ (_ca._ 410 B.C.): vss. 88-102, =178=, =191=,
=281=, =291=; 93 (schol.), =178=; 192 ff., =93=, =282=; 202
ff., =151=; 202 (schol.), =139=; 261-73, 357 f., =249=; 638-75,
=140=; 801-27, =140 f.=; 1019-67, =140=; 1264-82, =178=, =181=;
1308, =222=; 1764 ff., =xvii=, =215=; also =136=, =138=, =205=
[_Rhesus_] (possibly a fourth-century production): vss. 1 ff.,
=299=; 10, =209=; 565-674, =251=; 627 f., 885 f., =291=; also
=92=, =148=, =224=, =253=
_Suppliants_ (_ca._ 421 B.C.): vss. 403-8, =219=; 510-13, =171=;
598-634, =257=; 1071, =129=; 1183, =294=; also =137 f.=, =205=,
=218=, =231 f.=
_Trojan Women_ (415 B.C.): vss. 1 f., =305=; 143-45, =151=; 208 f.,
=218=; also =274=
Eusebius (_ca._ 300 A.D.)
_Chronica_, Ol. 47, 2, =14=
Eustathius (twelfth century A.D.), p. 976, 15, =287=
Hegemon (Old Comedy), =217=
Herodotus (_ca._ 484-428 B.C.): i. 23, =9 f.=; v. 63, =11-15=; v. 82
f., =37=
Homer (_ca._ 875 B.C.)
_Iliad_ iii, =255=; xxii. 205 f., =95=
_Odyssey_ iv, =280=; iv. 121 f., vi. 102 ff., =255=; xi. 185 f. and
445, =254 f.=; xxiv. 417, =282=
Also =245=, =266=, =277=, =279 f.=, =282=, =289=, =301=, =304-6=
Horace (65-68 B.C.)
_Ars Poetica_: vss. 119 ff., =266=; 189 f., =193=; 192, =186=; 220
f., =28 f.=; 276, =19=
Inscriptions
From Athens, =72=, =74=, =90=, =319-30=
From Delos, =59= note, =107 f.=
From Delphi, =185=
From Oropus, =108 f.=
From Paros, =14=, =21=, =38=
Jerome (Hieronymus; _ca._ 400 A.D.)
_Chr._, Ol. 47, 2, =14=
_Liber Glossarum_, =46=
Lucian (_ca._ 150 A.D.)
_Lucius sive Asinus_, § 47, =94=
Lysias (458-378 B.C.), xxi. 1-5, =271=
Magnes (Old Comedy), =54=
_Marmor Parium_ (264 B.C.): p. 13 (Jacoby), =38=; p. 14, =14=, =21=
_Medea_* (unknown author; fourth century B.C.), =146=, =148=
Menander (New Comedy; 342-291 B.C.)
_Girl with Shorn Locks_, =147=, =304=
_Hero_,* =304=
_Imbrians_* (_ca._ 301 B.C.), arg., =331 f.=, =336 f.=
Jernstedt frag., =147=
_Parian Chronicle._ _See_ _Marmor Parium_
Pausanias (second century A.D.), viii. 9. 1, =7=
Philemon (New Comedy; died _ca._ 262 B.C.), frag. 79 (Kock), =309=
Philostratus (_ca._ 200 A.D.)
_Apollonius of Tyana_, p. 245, =203=
Photius (died 891 A.D.)
_Lexicon_, _s.v._ ἴκρια, _s.v._ ληναῖον, _s.v._ ὀρχήστρα, =63=;
_s.v._ οὐδὲν πρὸς τὸν Διόνυσον, =12 f.=, =21=, =29=
Phrynichus (first tragic victory, 511 B.C.)
_Capture of Miletus_ (_ca._ 490 B.C.), =124=
_Phoenician Women_ (City Dionysia, 476 B.C.), =56=, =124=, =141=,
=192=, =205=, =210=, =276=, =298=, =305=
Pindar (522-442 B.C.)
_Olym._ xiii, =7=, =9=
Plato (428-347 B.C.)
_Laws_, p. 659A-C, =216=; 700B, =7=
_Minos_, p. 321A, =16=
_Republic_, p. 394C (schol.), =7=, =11=
_Symposium_, p. 194B, =205 f.=
Plautus (died 184 B.C.)
_Amphitruo_, vss. 1 ff., 463 ff., =304=; also =208=
_Braggart Captain_: vss. 79 ff., =304=; 88, =208=; 145 ff., =303
f.=; 523 ff., =243=
_Captives_: vss. 69, =256=; 460-768, =255 f.=; 897, =256=
_Carthaginian_, vss. 94, 372, =207=
_Casket_: vss. 89 f., =123=; 149 ff., =304=; 156-59, =123=
_Churl_: vss. 1-3, =207=; 448, =238=
_Fisherman’s Rope_: vs. 32, =208=; also =236=
_Haunted House_, vss. 1, =240=; 248, =238 f.=
_Menaechmi_: vss. 8 f., =207=; 956, =249=
_Merchant_, vss. 3-5, =309=
_Persian_, =278=
_Pseudolus_ (191 B.C.), vss. 720 f., =233=
Plutarch (_ca._ 90 A.D.)
_Aratus_ xxiii, =103=
_Brutus_ xlv, =94=
_Demetrius_ xxxii, =94=; xxxiv, =101-3=
_Lycurgus_ vi, =101=
_Nicias_ iii, =271=
_Pompey_ xlii, =81=
_Solon_ xxix, =17-19=
_Praecepta Ger. Reip._, p. 823B, =102=
[_X Oratorum Vitae_], p. 841D, 852C, =69=
Also =60= note
Pollux (second century A.D.)
_Onomasticon_: iv. 123, =18 f.=, =78 f.=, =97-99=; 124, =100 f.=;
127, =60=, =78 f.=; 128, =287=; 132, =106=; also =94=, =213=
Pratinas (_ca._ 499 B.C.), frag. 1 (Bergk), =7=
Seneca (died 65 A.D.)
_Agamemnon_, vss. 981 ff., =188=; also =141=
_Hercules on Mt. Oeta_, vss. 104 ff., 583 ff., 1031 ff., =141=
_Medea_, vss. 973, 995, =60=
Simonides (556-467 B.C.)
_Memnon_,* =11=
Solon (639-559 B.C.)
_Elegies_,* =8 f.=, =11=
Sophocles (497-406/5 B.C.)
_Ajax_ (_ca._ 440 B.C.): vss. 1 ff., =291=; 134 (schol.), =139=;
143, =151=; 344, =287=; 372 ff., =306=; 593, =287=; 814, =247=,
=250=; 865, =129=, =282=; 892, 915, =244=; also =244=
_Antigone_ (_ca._ 441 B.C.): arg., =330 f.=, =335=; vss. 18 f.,
=240=; 101, =206=; 164 f., =151=; 334-75, =142=; 639-723,
=275=; 806 ff., =306=; 1016-22, 1080-83, =131=; 1115-52, =142=;
1293, =128=; also =139=, =192 f.=, =282=
_Electra_ (_ca._ 420-414 B.C.): vss. 4, =206=; 15, 32 ff., =259
f.=, =310=; 129 f., =151 f.=; 310 ff., 516 ff., =152=; 660 ff.,
=168=; 1202-4, =155 f.=; 1296-1313, =222=; 1404, =128=; also
=125=
_Maidens of Trachis_ (_ca._ 420-410 B.C.): vss. =1-48=, =302=;
103, =151=; 167 f., =314=; 307-27, =176 f.=; 983-1263, =129=;
1170-73, =314=; also =139=
_Nausicaa_,* =169=
_Oedipus at Colonus_ (402 B.C.; posthumous): vss. 1 ff., 38, =212=;
117, =151=; 494-506, =171=; 1099-1555, 1457-99, =182=, =187=;
1611 ff., =187=; also =180-82=, =205=, =218=, =227=, =231=,
=236=
_Oedipus the King_ (_ca._ 430 B.C.): vss. 6 f., =240=; 91-95,
=155=; 144, =151=; 264, =313=; 924 ff., =167 f.=; 1014 ff.,
=314=; 1268-79, =131=; 1307, =222=; also =205=, =273=
_Philoctetes_ (409 B.C.): vss. 38 f., =131=; 135 ff., =150=; 649
f., 696-99, =131=; 825-62, =153=; 1070-95, =158=; 1408, =296=
_Thamyris_,* =169=
_Trackers_ (_Ichneutae_; _ca._ 445 B.C.): =22=, =29-31=, =126=,
=199=
Suidas (_ca._ 970 A.D.), _s.v._ Aeschylus, =325=; _s.v._ Arion, =10=;
_s.v._ οὐδὲν πρὸς τὸν Διόνυσον, =12 f.=, =15=, =21=, =29=;
_s.v._ Phrynichus, =4=; _s.v._ Pratinas, =23=, =63=; _s.v._
Sophocles, =325=; _s.v._ Thespis, =12=, =20=
Terence (died 159 B.C.)
_Andrian girl_ (166 B.C.): vss. 236 ff., =314=; 247, 301 ff., =315
f.=; 420 ff., =315=; 489-94, =242=; 581-96, 625 ff., =315=; 820
f., =310=; 957 ff., =315=; also =279=, =304=
_Brothers_ (160 B.C.), vs. 517, =310=
_Phormio_ (161 B.C.), vss. 862-69, =241=
_Self-Tormentor_ (163 B.C.): vss. 171, 409, =141 f.=; 410, =253=,
=257=; 748, =141 f.=
Themistius (died _ca._ 388 A.D.), p. 316D, =298=
Thespis (sixth century B.C.), =20 f.=
Tzetzes (twelfth century A.D.), p. 18 (Kaibel _Com. Gr. Frag._), =52
f.=
Vitruvius (_ca._ 15 B.C.): v. 6 f., =75-77=, =87=, =97=; v. 8, 2,
=80=;
vii. praefatio, 11, =66=, =236=;
viii, praefatio, 1, =96=; also =79-87=, =90 f.=, =92=
GENERAL INDEX
(References to ancient playwrights are supplementary to the Index
of Passages; those to modern playwrights may be found by consulting
“Parallels.” For theaters at various sites see “Theater.” All references
are to the pages of this volume.)
Acceleration of time, 250-57
Actors, xi f., xiv, xix, 5, 35, 132 f., 162-95;
first actor, 16-19, 162, 165;
two actors, 163-71, 173-76, 183, 231 f.;
three actors, 166-71, 176-83, 185-88, 231;
number of, 129, 172-82, 182-84, 192;
poets as, 18, 168 f., 318;
coryphaeus as, 165, 169-71;
in satyr-plays, 26;
in comus, 43-46;
in comedy, 46-49, 54-56;
position in theater, 60, 77-79, 81 f., 86, 88-103, 117, 130, 149;
ignored, 91, 163, 169, 173, 209, 230, 232;
and chorus, 136-39, 149;
contests of, 169, 269;
guilds, 185-88;
female rôles, 4, 188 f.;
social position, 190 f.;
specialization, 191 f., 202 f.;
how introduced, 208-12;
how paid, 165, 183 f., 270;
how assigned, 273 f.
_See_ Aesthetic Law, Children, Lay Figure, Masks, Motivation, Mute,
Parachoregema, etc.
Acts, 148, 192-95, 265, 301, 307, 311
Adrastus, 11-15, 17, 35
Aeschylus:
first tragic poet, 2, 33;
introduced second actor, 166, 183;
indebted to Homer, 17;
imitated by Euripides, xviii;
contested with Pratinas and Choerilus, 23 f., 63;
originated tetralogies, 23, 133 f.;
brought knowledge of Epicharmus to Athens, 56;
historical themes, 124;
dialogue, 170 f.;
plays repeated, 203 f., 324;
murders, 229;
soliloquies, 305;
iambic resolutions, 171 f.;
victories, 272, 321, 324 f.
Aesthetic law of actors, 53, 186-88;
violence, 130 f., 229;
of supports for stage, 86;
effect of third actor, 167
Aetiology, 6, 15, 295
Agathon, 93, 124, 144-46, 148, 205 f.
Agon, 41, 43-46, 49, 55, 193, 275
Agonothete, 109, 271 f., 325
Alexis, 304
ἀναβαίνω, 91 f.
ἀναγνώρισις. _See_ Recognition
Ancestor worship, 33 f.
Anthropology, 4 f.
Aparts (asides), 312
ἀποκρίνεσθαι, 16
Arion, 8-11, 13, 24, 32 f.
Aristias, 23
Aristomenes, 327 f.
Aristophanes:
productivity, 335;
sought prize, xviii, 213-16;
used coryphaei as actors, 44;
borrowed ἐξόδια, 45;
use of phallus, 46 f.;
of chorus, 146;
_Frogs_ repeated, 204;
imitated Euripides, 302;
technique of dual entrance, 310;
iambic resolutions, 172;
position of name in records, 326-29
Aristotle, ix, xxi, 5 f., 21;
and spectacle, xi-xiii, xv f.;
on origin of comedy, 35 f., 50-52, 54 f.;
of tragedy, 6, 21 f., 28 f.
ἀταξία, ἀτάκτως, 52 f., 184
Audience, xiii, xvii, xix, 120 f., 132, 213, 215-20, 302 f., 305 f.
Back scene, 65 f., 226-29, 241
Bethe, 79
Blinding, 131, 159, 222
βοηλάτης, 7
Box set, xv, 229
Bulle, 31 f.
Burial, 282 f.
Butcher, 252
Bywater, 6, 51
Callistratus, 326, 328
Capps, 23, 35, 55 f., 88, 144
Castelvetro, xiii, 130
Charon’s steps, 106
Chauvinism, xvii f., 217-20
Children, 120 f., 179 f., 189
Chionides, 35, 51, 54
Choerilus, 23, 63
Choregus, 132, 182, 186, 205, 269-71, 273
ΧΟΡΟΥ, 145-48, 193 f., 254
Chorus (choreutae), 2, 5, 10 f., 132, 133-61;
size of in dithyramb, 11, 132, 197;
in satyr-play, 26;
in tragedy, 133 f.;
in comedy, 42, 134 f.;
of satyrs, 2, 10, 15, 24-32, 136, 154;
“goat” choruses at Sicyon, 11;
non-satyric at Sicyon, 13 f., 15;
likewise at Athens, 10 f.;
of sileni, 16, 21, 24, 26, 29, 32, 135;
transferred from Adrastus to Dionysus, 11-15;
in comus, 42-46, 134;
in comedy, 49, 51, 53 f., 135;
as actors, 18, 43-45, 184;
speaks through coryphaeus, 165;
history of, 92 f., 97, 116 f., 148 f., 168, 193;
position of, 77-79, 81, 88, 95, 99, 130, 149;
relation to actors, 136-39, 147, 149, 193;
relevancy of odes, 139-50;
second and third chorus, 141;
participation in plot, 88, 93, 117, 143 f.;
constantly present, 154-60, 226, 243, 247, 250, 253, 307, 312;
withdraws, 154, 247, 250 f., 306;
preferably feeble, 160;
introduces actors, 208-11;
songs a hindrance, 153 f.;
how paid, 165, 270 f.
_See_ Embolima, Impersonation, Motivation, Odes, etc.
City Dionysia, 196 f., 273;
reorganized, 24, 203, 269;
procession, 20, 121-23, 132, 197, 224;
dithyrambs, 11, 23, 197;
satyr-plays, 23 f., 198 f., 204;
tragedy, 21, 119, 197;
old tragedies, 204, 324;
comus, 24, 38, 119 f., 319;
comedy, 51, 119, 197, 199 f.;
tetralogies, 23, 133 f., 198 f., 203 f., 322 f., 332;
contest of actors, 169, 183-85, 202;
records, 318-28.
_See_ Prize, Proagon, etc.
Clisthenes, 11, 14 f.
Closet drama, xii, xiv
Coincidence, 277, 293
Comedy:
etymology, 36;
Old, Middle, and New, 39 f.;
divisions, 40-42, 193-95;
violence in, 132;
chorus, 134 f., 147, 149, 162.
_See_ Origin of Comedy, Comus, etc.
Commus, 96
Comus, 24, 36-38, 42-46, 119 f., 127, 132, 162, 319
_Contaminatio_, 188, 194
Conventions, xvi, 66, 91, 129, 132, 152-54, 157 f., 165 f., 182, 208,
224-26, 228, 233 f., 236 f., 248, 254 f., 260 f., 266, 284,
287, 309 f.
Cook, 24, 26
Corinth, 4, 7-9, 11, 13, 15
Cornford, 36 f., 51, 149 f., 160, 224, 267
Coryphaeus, 10 f., 16, 18, 44, 49, 53, 134, 165, 168, 171, 187
Costumes, 271;
of satyrs, 2, 16, 24-32;
of sileni, 16, 24, 26, 29, 32;
in comus, 38, 43 f.;
in comedy, 46 f., 135;
in tragedy, 135 f., 162;
of tragia choreutae, 2, 16, 21 f., 24-32
Crane. _See_ μηχανή
Crates, 35, 50-52, 54-56
Cratinus, 52-56, 327, 330, 335 f.
Criticism, xi, xiii-xvi
Curtain, 243-45, 247, 250, 311
Deckinger, x
De Prott, 26 f.
Deus ex machina, 59 f., 201 f., 258 f., 292-98, 303.
_See_ μηχανή
Dialogue, 10, 18, 164 f., 169-71, 178-82, 186 f., 232, 239, 241 f.,
252, 259 f., 299 f., 309-11
Didascalia (group of plays), 198, 318;
(record), 318, 321-26, 330
Didascalic numerals, 330-37
Didascalus, 318, 326-30
Dieterich, 6, 19
Dindorf, 330, 335, 337
Dionysus, 2, 6 f., 10-17, 20 f., 26, 33, 36, 104, 119, 121-24, 126
f., 142, 162 f., 198 f.
_See_ “Nothing to do with Dionysus”
Dithyramb:
source of tragedy, 2, 4, 6, 16, 119, 123, 198;
source of satyric drama, 2, 4, 23 f., 123, 198;
nature of, 6-8, 10 f., 33, 123, 133, 162, 197;
broadened, 7, 10 f.;
improvisational, 6, 10, 23;
poetized, 8-11, 23;
given titles, 9 f.;
impersonation, 10, 16 f., 162 f.;
modified by Thespis, 16-21;
admitted to City Dionysia, 11, 23, 197;
prizes for, 7, 11, 14, 269
Dorians, 8 f., 15 f., 47 f., 56
Dörpfeld, 58 f., 61, 67, 72, 74-76, 80-86, 97 f., 100, 117, 130, 226
Drachma, 120, 269
Drama, xiv f., 8 f., 10, 16 f.
_See_ Satyric Drama
Dramaturgy, x, xii
_See_ Technique
δρώμενα, 6, 8, 17
Dryden, 202, 257, 265
Eccyclema, 107, 241, 284-89
ἐλεός, 18
Eleusis, 6, 17, 37
Eleutherae, 21, 63, 122
Embolima, 93, 144-49
England, 258 f.
Eniautos-Daimon, 6
Environment, ix, xvi
Epic, xi, 17, 95, 244, 257, 263.
_See_ Homer
Epicharmus, 50 f., 56
Epigenes, 12 f., 15, 24, 32 f.
Epilogue, 258 f.
Episcenium, 59, 106-9, 111, 113, 289
Episode (ἐπεισόδιον), 41, 47, 49
Euripides:
career, xviii, 205, 334;
imitated Aeschylus, xviii;
and Thespis, 299 f.;
tags, xvii, 215;
melodramatic, xviii;
chauvinistic, xviii, 217-19;
sought prize, xvii f., 215, 217-19;
introduced sex problems, xviii;
chorus, 144-46;
deus ex machina, 201 f., 258 f., 294-96, 303;
prologue, 206, 258, 299-304;
eccyclema, 288;
μηχανή, 292;
soliloquies, 299-302, 305-9;
technique of simultaneous entrance, 310;
iambic resolutions, 172;
indicated scene of action, 206;
was criticized, 266 f., 293, 300, 302;
modified myths, 300 f.;
as skeptic, 96, 140;
productivity, 334;
popularity, xviii, 204, 272 f., 324 f.
ἐξάρχων, 6 f., 16, 36, 44
Exodus, 41 f., 45 f., 55
Exon, 286
Exostra, 288
Fasti, 319-21, 324, 330
Fear and pity, 128, 245, 317
Fiechter, 70, 79, 81-86
Flight, 289-92
Flute-player, 26, 30, 271
Frei, 96
Frickenhaus, 20, 121
Fries, 138
Furtwängler, 16, 67
γέρανος, 298
Ghosts, 106, 225 f., 248, 302
Gildersleeve, 94
Goat:
as prize, 7, 11, 13-16, 24, 268;
as sacrifice, 14 f., 269;
“goat” choruses, 11 f., 15;
goat-song, 13 f., 21;
goatskin, 26-28, 30 f.
_See_ Satyrs and Choreutae
Gods, position of, 289-93
Gomperz, 22
Goodell, xvii f.
Guglielmino, xvii
Haigh, 10, 27, 79, 120 f.
Harrison, 6, 17
Heraclides, 20 f.
Hermann, 78 f.
Homer, 17, 244, 254 f., 266, 279 f., 282, 289, 300, 304-6.
_See_ Epic
Hyposcenium, 61, 74, 84 f., 97, 100 f., 111, 113, 115
Hypothesis, 330
Iambic. _See_ Meter
Icaria, 4, 16 f., 19, 21, 38
ἴκρια, 63, 66, 105, 108
Immediate effects, xvii
Impersonation (μίμησις), 10, 16-18, 43-45, 49, 53 f., 162 f.
Improvisation, 6, 10, 16, 36, 38
Interior scenes, xv, 68, 128, 229, 231, 237-43, 248, 278, 284 f.
Irony, 312-17
Jachmann, 329 f.
Judges, 214-16, 272 f.
Kaffenberger, 172, 187
Kaibel, 152
καταβαίνω, 91 f., 102 f.
Katharsis, 317
κῶμος. _See_ Comus
κονίστρα, 72
Körte, 46 f., 324
κράδη, 298
Lay figure, 166 f., 174, 228, 244
Legrand, 277
Lenaea, 38, 56, 119 f., 183 f., 196, 202, 204 f., 269, 273, 318,
324-29
Leo, 187, 307
Lighting, 224-26, 233, 243, 253
Litigiousness, 274 f.
Logium (λογεῖον), 59 f., 76, 86, 97 f., 100, 102, 107, 111 f., 288,
291 f.
Lot, 272 f.
Lycurgus, 68-70, 191.
_See_ Theater
_Machina._ _See_ μηχανή
Magic, 17, 153, 155
Magnes, 35, 51, 54
Marrett, 34
Masks, 19, 26, 42, 49, 54, 130, 163 f., 173, 188, 212 f., 221-24, 266
μηχανή, 68, 109, 235, 287, 289, 292 f.
Megara, 47 f., 56
μελάναιγις, 21
Menander, 304, 332, 336 f.
Messenger, 128, 164, 191, 229, 241, 248, 251, 276, 294
Meter, 10, 16;
iambic, 22, 171 f.;
trochaic tetrameter, 22, 45
μίμησις. _See_ Impersonation
Mina, 269
Mooney, 231, 243
Motivation:
for movements of actors, 93, 147, 173 f., 229-33, 238-43, 249, 261,
281 f., 300;
for movements of chorus, 150-52, 250 f.;
for choral odes, 140-43, 152-54, 217;
for unchanging features, 222 f.;
for lack of darkness, 225 f.;
for silence, 165, 176 f., 232;
for soliloquies, 304 f., 308
Murder. _See_ Violence
Murray, A. T., 201, 210
Murray, G., xviii, 2, 6, 23, 158, 303
Music, xi
Mute, 174, 176 f., 179-81, 232, 244, 271
Mythology, xviii, 123-26, 217, 219.
_See_ Themes
Navarre, 42, 146
Nemesis, 275 f.
Nilsson, 9
“Nothing to do with Dionysus,” 12 f., 21, 29
Numerals given plays, 330-37
Obol, 120
Odes (στάσιμα), xv, 23, 41, 139-50, 152-54, 162 f., 192 f., 217, 252.
_See_ Embolima
Oratorio, 16
Orchestra, 57, 63, 65 f., 68 f., 72-79, 81-86, 88-91, 93, 95, 97-100,
102-8, 110-17, 130, 221, 223, 226, 228, 231, 233, 289, 292, 298
Origin of comedy, 1, 35-56;
obscurity of, 6, 35 f.;
improvisational, 36;
and comus, 36-38, 42-46, 127, 133;
impersonation, 43-45, 49, 53 f., 162 f.;
actors from Megara, 46-48, 53, 56;
influence of tragedy, 49 f., 53 f., 127, 146;
of mime, 50 f., 56, 127;
plot, 50-52, 54, 127
Origin of tragedy, 1-35;
no serious gaps, 6;
improvisational, 6;
from dithyramb, 2, 4, 6, 16, 133, 198;
Arion, 8-11;
Sicyon, 11-15;
occasion for name, 13-15, 268;
Icaria, 16 f.;
Thespis, 16-21;
impersonation, 16-18, 162 f.;
first actor, 16-19;
non-Dionysiac themes, 21, 23, 198 f.;
passed through “satyric” stage, 22 f., 28 f.
_See_ Homer, Ridgeway, Satyrs, Sileni, Thespis, etc.
ὄψις. _See_ Spectacle
Panels. _See_ πίνακες
Parabasis, 41-43, 45 f., 49 f., 55, 193
Parachoregema, 182, 186, 271
Parallelism in comus and comedy, 42-46
Parallels from modern theory and modern and mediaeval drama:
Albright, 283;
Archer, 148, 190 f., 261, 302;
Brown, 263;
Corneille, 256, 264;
Cornford, 149, 224;
Craig, 223 f., 284;
Dennis, 152, 155, 221;
Dryden, 202, 265;
Elizabethan drama, 23, 188, 224, 244;
Galsworthy, xv f.;
Goethe, xiv, 12, 125, 140;
Gray, 155;
Greene, 145;
Hamilton, xiii, 201;
Ibsen, 242, 261, 266, 299, 311;
Jones, xix;
Kennedy, 264;
Lessing, 225, 246, 303;
Lounsbury, 130, 263 f., 279;
Lowell, 262;
Marlowe, 254;
Matthews, xiii f.;
Middleton, 313;
Molière, 230 f., 264, 297 f.;
Parker, 238;
Racine, 124, 147, 264;
Savage, 261;
Schlegel, 220;
Shakespeare, 123, 128, 141, 170, 188, 201 f., 208, 212, 225, 232,
243, 252, 256, 263, 283, 297, 303 f., 313;
Shaw, 229;
Sutro, 229;
Voltaire, 201, 225;
Walter, 263;
also x, 16, 120, 123-25, 129-31, 162 f., 170, 190, 201 f., 236,
238, 243 f., 246, 248, 302
Parascenium, 58, 66-70, 97 f., 104 f., 107 f., 111, 228, 235, 285,
287, 289
Parodus (of chorus), 40, 45 f., 49, 55, 209, 252, 287, 298 f., 304
Parodus (of theater), 59-61, 65 f., 70, 72, 75, 99, 102-4, 106, 108,
208, 226-28, 230 f., 233-35, 286
Parody, 39, 200 f., 207, 210, 288, 309
Patriotism, xvii f., 217-20
Periacti, 298
περιπέτεια. _See_ Reversal of Situation
Phallic, 36 f., 43, 46 f.
Phlius, 4, 23 f.
Phrynichus, 4, 6, 124, 141
Pickard-Cambridge, 3, 10, 12, 14, 22
πίνακες, 68, 71, 86, 107-9, 235 f., 244
Pisistratus, 21, 63
Plautus, ix, xx, 188, 194 f., 234, 304, 307, 309-11
Playbill, 204-13, 254, 301
Plot, 50-52, 54, 127, 261-63
Plutarch. _See_ Theater
Poets, xvi, 18, 26, 123-27, 220, 271, 273, 318, 326-30
Pollux. _See_ Theater
Pompey, 80 f., 85
Porch, 68, 235 f., 238
Pratinas, 4, 23 f., 25, 63
Prescott, 174, 278
Prickard, 202
Prize, xvii f., 7, 11, 14 f., 16, 24, 213-20, 268 f.
Proagon, 204-6
Procession, 20, 121-23, 132, 197, 224
Prologue, 35, 40, 49, 55 f., 206, 208-10, 252, 298-304
Properties, 65, 106, 226, 228
Proscenium, 58-60, 66, 68-71, 76, 80-87, 91 f., 97-101, 103-9,
111-14, 228, 235-39, 241, 244, 285, 287 f., 291 f.
πρόθυρον. _See_ Porch
Psychology, xiv, xviii, 4, 296
Puchstein, 79, 92
Ramps, 104
Recognition (ἀναγνώρισις), 17
Rees, 53, 172, 187, 192
Reisch, 3, 10, 14, 22, 30 f., 59, 319
Reversal of situation (περιπέτεια), 17
Richter, 150
Ridgeway, 6 f., 12, 18-21, 31, 33-35, 236
Robert, 101
Rogers, 121, 214 f.
Ruppel, 273
Satyric drama (satyr-play), 2, 9, 22-32, 33 f., 125-27, 136, 198, 203
f., 322
Satyrs, 2, 10 f., 13, 16, 22 f., 24-32, 126, 136, 154, 162
_Scaena._ _See_ σκηνή
Scene-building. _See_ σκηνή
Scene of action, 206-8, 226-31, 233-36, 258, 300;
changed, 206, 235, 247 f., 250 f.
Scenery, xii, 66, 236, 244, 247 f., 260.
_See_ πίνακες
Schmid, 3
Scott, 254
Seneca, ix, xx, 141, 187
Sheppard, 276
Shorey, 30
Sicyon, 11-15, 21, 35, 80, 104, 108
σῖγμα, 72
Silence, 42, 91, 163, 165, 169, 173 f., 176 f., 186 f., 230, 232
Sileni, 16, 21 f., 24, 26, 29, 32, 121 f., 135, 162
Simonides, 11
σκηνή (_scaena_; scene-building), 57 f., 66-70, 72, 77 f., 87, 93-98,
102-9, 111, 113, 226, 228, 231, 233, 235-37, 244, 284 f.,
287-89, 291;
ἐπὶ (ἀπὸ) σκηνῆς, 93-98;
_in scaena_, 77;
_scaenae frons_, 76, 83 f.
σκηνικός, 61, 77 f., 96 f.
Soliloquy, 240, 258, 286, 299-309, 311 f.
Solon, 9, 17-19
Sophocles:
third actor, 53, 167, 183;
ceased acting, 169;
use of chorus, 144;
was refused a chorus, 273;
scenery, 66, 236;
μηχανή, 296;
soliloquies, 305;
irony, 313;
imitated Euripides, 302;
iambic resolutions, 172;
productivity, 335;
victories, 272 f., 325
Spectacle (ὄψις), xi f., xvi
Spingarn, xi-xiii, xv
Stage, xx, 60, 72-88, 91-100, 102 f., 111 f., 114-17, 130, 149.
_See_ σκηνή and Logium
Stasima. _See_ Odes
Stephenson, 158
Suicide, 129-32, 159, 244
Susarion, 38, 47 f., 52 f.
Synchoregi, 271
Syzygy, 41, 43
Tanner, 336
Technique, ix f., xiv f., xvii, 10, 128 f., 173-76, 182, 191 f., 209
f., 229, 232, 239 f., 299 f., 310
Terence, xx, 194 f., 234, 304, 307, 309-11, 316, 331
Tetralogy (trilogy), 23 f., 133 f., 198 f., 203 f., 257 f., 265 f.,
300, 322 f., 332, 334
Theater (as a structure), 1, 57-117
Technical terms, 57-61
Greek, 76 f., 80;
Roman, 75-77, 80;
Hellenistic, 70 f., 76, 80, 82-87, 97, 100, 110 f.;
Graeco-Roman, 80, 82-87, 110-14
Athens, 62-75;
site, 62 f., 208, 233 f.;
size, 121, 221, 224, 312;
in market-place, 63, 105;
orchestra of _ca._ 499 B.C., 63, 65 f., 104, 226-28, 230;
_ca._ 465 B.C., 66, 68, 228, 231 f., 285, 289;
_ca._ 430 B.C., 67 f., 70, 235, 287, 289;
Lycurgus, 68-70, 96, 103;
Hellenistic, 70 f.;
Nero, 72-74, 81, 98-101, 117;
Phaedrus, 72, 74 f., 98
Delos, 70 f., 80, 82 f., 107 f.;
Delphi, 108, 116;
Epidaurus, 70 f., 80, 104;
Ephesus, 82 f., 109, 111-13, 116;
Eretria, 70 f., 80, 82, 84, 104-7, 288;
Megalopolis, 80, 108;
Mitylene, 80 f., 85;
Oropus, 80, 82, 84, 108-11, 113;
Patara, 82-84;
Pergamum, 80, 110 f., 116;
Priene, 82 f., 86, 110 f., 113 f., 116;
Sicyon, 80, 104, 108;
Termessus, 82-85, 110 f.;
Thoricus, 69, 80, 103 f., 227
Vitruvius on, 75-87, 90, 92, 97;
Pollux on, 78, 94, 98-100, 106;
Plutarch, 101-3;
Pompey’s, 80 f., 85;
and fifth-century plays, 87-92;
ἀναβαίνω, καταβαίνω, 91 f., 102 f.;
and chorus, 92 f.;
ἐπὶ τῆς σκηνῆς, 93-98;
θυμελικός, σκηνικός, 95-97
θέατρον, 60
Themes, 7 f., 10, 13, 20 f., 123-27, 198 f., 279, 315
Theologium, 59 f., 111
Thespis:
not mentioned in _Poetics_, 6;
and Solon, 9, 17-19;
place as tragic poet, 9, 12, 33;
borrowings, 16;
innovations, 16, 19 f.;
first actor, 16-19, 163;
impersonation, 16-18;
his “grand step,” 19 f.;
his wagon, 19 f.;
non-Dionysiac themes, 20 f.;
genuineness of extant titles, 20 f.;
victor in first Athenian contest, 21;
dramas somewhat like satyr-plays, 23;
prologues, 55 f., 298-300
Thirlwall, 313, 316
Throop, 17
Thymele, 18, 57, 61, 73, 79, 95-97, 104
θυμελικός, 61, 77 f., 81, 95-97
θυρώματα, 107, 109, 111
Tomb ceremonies, 6, 12, 33-35
τραγικοὶ χοροί, 11 f., 15
τραγῳδία, 2, 8, 13-15, 21, 27 f.
τραγῳδοί, 11, 13, 15 f., 21
Tragedy:
wagons in, 19 f.;
at City Dionysia, 21;
influence on comedy, 49 f., 53 f., 127, 146;
influenced by epic, 17, 257, 263;
themes, 123-25;
chorus of, 135 f., 148-50, 162;
early form, 162 f.;
act divisions, 192 f.
Trochaic tetrameter. _See_ Meter
Tyche, 277
Unities, 201 f., 246-67, 277, 279, 295, 300
Vases:
satyrs on, 16, 22-32;
sileni on, 22, 24, 26, 29, 32;
satyr-plays on, 25-27, 29-32;
comus on, 38, 46;
wagon-ship on, 20
Verrall, 5, 147, 151, 253
Vestibule. _See_ Porch
Victories, 272 f., 324 f.
Victors’-Lists, 324-30
Violence, 127-32, 158-60, 229, 241, 247, 284 f.
Wagons, 19 f., 121 f.
Welcker, 1-3, 13
Wernicke, 31
Wieseler, 79 f.
Wilamowitz-Möllendorff, von, 8, 11, 19, 48, 88, 189
Wilhelm, 319, 328
Women, 4, 42, 121, 180 f., 191, 277-83
Year spirit, 6