[1] e.g. _Mrichchhakat[=i]k[=a]_; _M[=a]lat[=i] and M[=a]dhava_.
[2] _Vikrama and Urv[=a]s[=i]._
[3] _Sarada-Tilaka._
[4] _S[=a]kuntal[=a]_; _Uttara-R[=a]ma-Charitra_.
[5] _Arichandra_, act iv.
[6] _N[=a]g[=a]nanda_, act i.
[7] Act iii.; cf. _N[=a]g[=a]nanda_, act iii.
[8] _Veni-Samh[=a]ra_; _Pracha[=n]da-Pa[=n]d[=a]va_.
[9] _Viddha-Salabhanjika_.
[10] _S[=a]kuntal[=a]_; _Uttara-R[=a]ma-Charitra_.
[11] Ib. act vii.
[12] _Vikrama and Urv[=a]s[=i]_, act iv.
[13] _Ratn[=a]val[=i]_.
[14] _Vikrama and Urv[=a]s[=i]_: _Arichandra_; _N[=a]g[=a]nanda_.
[15] _M[=r]ichchhakat[=i]k[=a]_.
[16] _M[=r]ichchhakat[=i]k[=a]_.
[17] _Mudr[=a]-Rakshasa_.
[18] _S[=a]kuntal[=a]_; _N[=a]g[=a]nanda_.
[19] _S[=a]kuntal[=a]_, acts vi. and vii; _M[=a]lat[=i] and
M[=a]dhava_, act v.
[20] Induction to _Anargha-R[=a]ghava_.
[21] _Viddha-Salabhanjika_.
[22] _Vikrama and Urv[=a]s[=i]_.
[23] _The Self-Sacrifice of Tchao-Li_.
[24] _Lai-Seng-Tchai_ (_The Debt to be Paid in the Next World_).
[25] _Lao-Seng-Eul_.
[26] _Pi-Pa-Ki_.
[27] _The Circle of Chalk_ (_Hoei-Lan-Ki_); _The Tunic Matched_; _The
Revenge of Teou-Ngo_.
[28] _Tchao-Mei-Hiang_ (_The Intrigues of a Chambermaid_).
[29] _Tchao-Mei-Hiang_; _Ho-Han-Chan_; _Pi-Pa-Ki_.
[30] _Hoei-Lan-Ki_, Prol. sc. i.
[31] _Tchao-Li_.
[32] _Han-Kong-Tseu_.
[33] _Pi-Pa-Ki_, sc. 2.
[34] _Tchao-Mei-Hiang_.
[35] _He-Lang-Tan_, act iv.; cf. _Hoei-Lan-Ki_, act iv.
[36] _Hoei-Lan-Ki_.
[37] _Pi-Pa-Ki_.
[38] _Pi-Pa-Ki_, sc. 15.
[39] _Ho-Han-Chan_, act ii.
[40] _Hoei-Lan-Ki_, act i.
[41] _Teou-Ngo-Yuen_, act iii.
[42] _Hoei-Lan-Ki_, act ii.
[43] _Teou-Ngo-Yuen_, act iii.
[44] _Pi-Pa-Ki_, sc. 18.
[45] _Teou-Ngo-Yuen_, act. iv.
[46] _Tchao-Mei-Hiang_; _Pi-Pa-Ki_.
[47] _Hoei-Lan-Ki_.
[48] _Ho-Han-Chan_.
[49] _Pi-Pa-Ki_, sc. 14.
[50] _Han-Kong-Tseu_.
[51] _Tchao-Mei-Hiang_, act ii.
[52] _Teou-Ngo-Yuen_, act ii.; cf. _Hoei-Lan-Ki_.
[53] _Pi-Pa-Ki_, sc. 5.
[54] Translated by Comte de Gobineau, in his _Religions et
philosophies dans l'Asie centrale_ (Paris, 1865).
[55] _Alcestis_; _Orestes_.
[56] _Persae_.
[57] _Eumenides_.
[58] _Antigone_; _Oedipus Rex_.
[59] _Anthos_.
[60] Phrynichus, _Capture of Miletus_.
[61] Id., _Phoenissae_; Aeschylus, _Persae_ (_Persae_-trilogy?).
[62] Moschion, _Themistocles_; Theodectes, _Mausolus_; Lycophron,
_Marathonii_; _Cassandrei_; _Socii_; Philiscus, _Themistocles_.
[63] Aeschylus, _Septem c. Thebas_; _Prometheus Vinctus_;
_Danais_-trilogy; Sophocles, _Antigone_; _Oedipus Coloneus_;
Euripides, _Medea_.
[64] Quite distinct from this revision was the practice against which
the law of Lycurgus was directed, of "cobbling and heeling" the
dramas of the great masters by alterations of a kind familiar enough
to the students of Shakespeare as improved by Colley Cibber and other
experts. The later tragedians also appear to have occasionally
transposed long speeches or episodes from one tragedy into another--a
device largely followed by the Roman dramatists, and called
_contamination_ by Latin writers.
[65] _Anthos_ (_The Flower_).
[66] One satyr-drama only is preserved to us, the _Cyclops_ of
Euripides, a dramatic version of the Homeric tale of the visit of
Odysseus to Polyphemus. Lycophron, by using the satyr-drama (in his
_Menedemus_) as a vehicle of personal ridicule applied it to a
purpose resembling that of Old Attic Comedy.
[67] _Ion_; _Supplices_; _Iphigenia in Tauris_; _Electra_; _Helena_;
_Hippolytus_; _Andromache_.
[68] _Philoctetes_.
[69] _Archilochi_; _Pytine_ (_The Bottle_).
[70] _Maricas_ (Cleon); _Baptae_ (Alcibiades); _Lacones_ (Cimon).
[71] _Knights_.
[72] _Clouds_.
[73] _Birds_.
[74] Strattis, _The Choricide_ (against Cinesias).
[75] Aristophanes, _Frogs_; Phrynichus, _Musae_; _Tragoedi_.
[76] Aristophanes, _Ecclesiazusae_.
[77] _Lysistrata_; _Thesmophoriazusae_; _Plutus II_.
[78] _Plutus_.
[79] _Aeolosicon_.
[80] Naevius, _Lupus_ (_The Wolf_); _Romulus_; Ennius, _Sabinae_
(_The Sabine Women_); Accius, _Brutus_.
[81] Naevius, _Clastidium_ (_Marcellus_?); Ennius, _Ambracia_;
Pacuvius, _Paulus_; Accius, _Aeneadae_ (_Decius_?).
[82] Balbus's _Iter_ (_The Mission_), an isolated play on an episode
of the Pharsalian campaign, seems to have been composed for the mere
private delectation of its author and hero. _Octavia_, a late
_praetexta_ ascribed to Seneca, was certainly not written by him.
[83] "Oderint dum metuant" (_Atreus_).
[84] _Augur_; _Cinerarius_ (_The Crimper_); _Fullonia_ (_The Fuller's
Trade_); _Libertus_ (_The Freedman_); _Tibicina_ (_The Flute-Girl_).
[85] _Brundisinae_; _Ferentinatis_; _Setina_.