[932] Athen. p. 628 E εἰ δέ τις ... ταῖς_The Attic theatre

κατὰ τὴν ὄρχησιν, οὗτος δ’ ἦν ἀδόκιμος.

[933] Athen. p. 20 F.

[934] Plat. Legg. 816 A.

[935] Athen. p. 21 F ἄκρως ταῖς χερσὶ τὰ λεγόμενα δεικνυούσαις.

[936] Lucian, de Salt. 63 ταῖς χερσὶ λαλεῖν.

[937] Ovid, Ars Am. i. 595 ‘si vox est, canta; si mollia bracchia, salta’.

[938] Juv. v. 120 ‘structorem interea, ne qua indignatio desit, |

saltantem spectes et chironomunta volanti | cultello’.

[939] Quint. Inst. xi. 3. 89 ‘abesse enim plurimum a saltatore debet

orator, ut sit gestus ad sensus magis quam ad verba accommodatus’, &c.

[940] Arist. Poet. c. 1 καὶ γὰρ οὗτοι (οἱ ὀρχησταὶ) διὰ τῶν

σχηματιζομένων ῥυθμῶν μιμοῦνται καὶ ἤθη καὶ πάθη καὶ πράξεις.

[941] Plut. Symp. 747 B fol. The three divisions of dancing are φοραί,

σχήματα, δείξεις.

[942] Athen. p. 630 B πρώτη δὲ εὕρηται ἡ περὶ τοὺς πόδας κίνησις τῆς διὰ

τῶν χειρῶν. οἱ γὰρ παλαιοὶ τοὺς πόδας μᾶλλον ἐγυμνάζοντο ἐν τοῖς ἀγῶσι.

[943] Athen. p. 22 A.

[944] Plut. Symp. 732 F σχήματα δ’ ὄρχησις τόσα μοι πόρεν ὅσσ’ ἐνὶ πόντῳ

| κύματα ποιεῖται χείματι νὺξ ὀλοή.

[945] Arist. Vesp. 1474 ff.

[946] Athen. p. 21 E.

[947] Athen. p. 628 E ὥστ’ εἴ τις ὀρχοῖτ’ εὖ, θέαμ’ ἦν· νῦν δὲ δρῶσιν

οὐδέν, | ἀλλ’ ὥσπερ ἀπόπληκτοι στάδην ἑστῶτες ὠρύονται.

[948] Aristoph. Acharn. 204 τῇδε πᾶς ἕπου, δίωκε, καὶ τὸν ἄνδρα πυνθάνου

κ.τ.λ., Schol. ad loc. γέγραπται δὲ τὸ μέτρον τροχαϊκόν, πρόσφορον τῇ

τῶν διωκόντων γερόντων σπουδῇ. ταῦτα δὲ ποιεῖν εἰώθασιν οἱ τῶν δραμάτων

ποιηταὶ κωμικοὶ καὶ τραγικοί, ἐπειδὰν δρομαίως εἰσάγωσι τοὺς χορούς, ἵνα

ὁ λόγος συντρέχῃ τῷ δράματι. Cp. Pax 301, 325, Plutus 257.

[949] Schol. Eur. Phoen. 202; Suidas s.v. στάσιμον, &c.

[950] On the use of ἔξοδος in this sense see the Tragic Drama of the

Greeks, p. 352. The word was also applied to the whole of the concluding

scene of a tragedy.

[951] Aesch. Eum. 307 ἄγε δὴ καὶ χορὸν ἅψωμεν. Eur. Herc. Fur. 761 πρὸς

χοροὺς τραπώμεθα. Arist. Thesmoph. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς

κύκλον, | χειρὶ σύναπτε χεῖρα. Other passages of the same kind are not

infrequent.

[952] Schol. Eur. Hec. 647 (p. 211 Dindf.).

[953] See above, p. 307, note 2.

[954] The liveliness of these dances, even in tragedy, is proved by such

expressions as the following: Soph. Ajax 693 ἔφριξ’ ἔρωτι, περιχαρὴς δ’

ἀνεπτόμαν. Eur. Orest. 1353 ἰὼ ἰὼ φίλαι, κτύπον ἐγείρετε, κτύπον καὶ

βοάν. El. 859 θὲς ἐς χορόν, ὦ φίλα, ἴχνος, | ὡς νεβρὸς οὐράνιον | πήδημα

κουφίζουσα σὺν ἀγλαΐᾳ.

[955] Arist. Vesp. 1536 τοῦτο γὰρ οὐδείς πω πάρος δέδρακεν, | ὀρχούμενον

ὅστις ἀπήλλαξεν χορὸν τρυγῳδῶν, Schol. ad loc. εἰσέρχεται γὰρ ὁ χορὸς

ὀρχούμενος, οὐδαμῶς δὲ ἐξέρχεται. Eccles. 1179 αἴρεσθ’ ἄνω, ἰαί, εὐαί.

[956] Schol. Arist. Ran. 924 ἡ πρὸς τὰς ῥήσεις ὑπόρχησις.

[957] Schol. Arist. Nub. 1355 οὕτως ἔλεγον πρὸς χορὸν λέγειν, ὅτε τοῦ

ὑποκριτοῦ διατιθεμένου τὴν ῥῆσιν ὁ χορὸς ὠρχεῖτο.

[958] Athen. p. 22 A Ἀριστοκλῆς γοῦν φησιν ὅτι Τελέστης, ὁ Αἰσχύλου

ὀρχηστής, οὕτως ἦν τεχνίτης, ὥστε ἐν τῷ ὀρχεῖσθαι τοὺς Ἑπτὰ ἐπὶ Θήβας

φανερὰ ποιῆσαι τὰ πράγματα δι’ ὀρχήσεως.

[959] Plat Legg. 816 A.

[960] Suid. s.v. ξιφισμός; Hesych. s.v. ξιφίζειν; Poll. iv. 105 καὶ μὴν

τραγικῆς ὀρχήσεως σχήματα σιμὴ χείρ, καλαθίσκος, χεὶρ καταπρηνής, ξύλου

παράληψις, διπλῆ, θερμαυστρίς, κυβίστησις, παραβῆναι τέτταρα.

[961] See above, p. 307, note 2.

[962] Aesch. Pers. 1038 ff.

[963] Schol. Arist. Nub. 542 κόρδαξ κωμική, ἥτις αἰσχρῶς κινεῖ τὴν ὀσφύν.

Hesych. s.v. κόρδαξ; Plat. Legg. p. 816 A; Theoph. Char. 6.

[964] Arist. Nub. 540 οὐδὲ κόρδαχ’ εἵλκυσεν.

[965] Arist. Vesp. 1529 στρόβει, παράβαινε κύκλῳ καὶ γάστρισον σεαυτόν,

| ῥῖπτε σκέλος οὐράνιον· βέμβικες ἐγγενέσθων. Thesm. 953 ὅρμα, χώρει |

κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα.

[966] Poll. iv. 99, 103; Athen. p. 629 F-630 A; Dion. Hal. A. R. vii. 72;

Phot. s.v. σκώπευμα.

[967] Plut. Symp. 713 C τὸ δὲ μέλος καὶ τὸν ῥυθμὸν ὥσπερ ὄψον ἐπὶ τῷ

λόγῳ, καὶ μὴ καθ’ αὑτὰ προσφέρεσθαι.

[968] Pratinas apud Athen. p. 617 B τὰν ἀοιδὰν κατέστασε Πιερὶς

βασίλειαν· ὁ δ’ αὐλὸς | ὕστερον χορευέτω· καὶ γάρ ἐσθ’ ὑπηρέτας.

[969] See, on the whole question, Monro’s Modes of Ancient Greek Music,

Oxford, 1894, Macran’s Aristoxenus, 1902.

[970] Plut. Mus. 1136 D-F.

[971] Heracleid. ap. Athen., p. 625 B; Aesch. Suppl. 69 Ἰαονίοισι νόμοισι.

[972] Vit. Soph., p. 8 Dindf.

[973] Aristot. Prob. xix. 30, 48.

[974] Arist. Ran. 1286 ff.; Hesych. s.v. διαύλιον· ὁπόταν ἐν τοῖς μέλεσι

μεταξὺ παραβάλλῃ μέλος τι ὁ ποιητὴς παρασιωπήσαντος τοῦ χοροῦ.

[975] Suid. s.v. Τιμόθεος. Plut. Mus. 1135 D.

[976] Suid. l.c. τὴν ἀρχαίαν μουσικὴν ἐπὶ τὸ μαλακώτερον μετήγαγεν.

[977] Pherecrat. Cheiron. frag. 145 (Kock) ᾄδων ἐκτραπέλους μυρμηκίας.

[978] Arist. Ran. 1301 ff., Thesm. 100 μύρμηκος ἀτραπούς, ἢ τί

διαμινύρεται; Schol. ad loc. ὡς λεπτὰ καὶ ἀγκύλα ἀνακρουομένου μέλη τοῦ

Ἀγάθωνος· τοιαῦται γὰρ αἱ τῶν μυρμήκων ὁδοί.

[979] Plut. An seni etc. 795 C.

[980] Dem. de Cor. § 28.

[981] Dem. Meid. § 74.

[982] Theophrast. Char. 9 καὶ ξένοις δὲ αὑτοῦ θέαν ἀγοράσας μὴ δοὺς τὸ

μέρος θεωρεῖν.

[983] E.g. Böttiger, Kleine Schriften, i. pp. 295 ff.; Wachsmuth, Hellen.

Alterthumskunde, ii. p. 391; Bergk, Griech. Literaturgesch. iii. p. 49.

[984] E.g. Bernhardy, Griech. Literaturgesch. ii. 2. p. 132; Böckh, Trag.

Princip. p. 37; Meineke, Menand. et Philem. Reliq. p. 345.

[985] Plat. Gorg. 502 B-E, Legg. 817 A-C, 658 A-D.

[986] Aristoph. Nub. 537-9, Pax 765, 766, 962-7. Cp. also Eupolis,

Προσπάλτιοι, fr. 244 (Kock) Ἡράκλεις, τοῦτ’ ἔστι σοι | τὸ σκῶμμ’ ἀσελγὲς

καὶ Μεγαρικὸν καὶ σφόδρα | ψυχρόν. γελῶσιν, ὡς ὁρᾷς, τὰ παιδία. Arist.

Pax 50-3 ἐγὼ δὲ τὸν λόγον γε τοῖσι παιδίοις | καὶ τοῖσιν ἀνδρίοισι

καὶ τοῖς ἀνδράσι | καὶ τοῖς ὑπερτάτοισιν ἀνδράσιν φράσω | καὶ τοῖς

ὑπερηνορέουσιν. [Rogers, Introd. to the Ecclesiazusae, takes this

passage, in which women are not mentioned, to prove that they were not

present. But the point of the jest is in the enumeration of men in an

ascending scale of manliness, and to mention women, even if they were

present, would have spoiled it. The other passages which he quotes,

Eccles. 165 ff., 435 ff., 1144 ff., and the situation in the Thesmoph.,

are satisfied if we suppose a large preponderance of men; but they do not

require us to assume the exclusion of women.]

[987] Alciphron, Epist. ii. 3. [Rogers, l.c. quotes a sentence of

Glycera’s supposed reply, where she speaks of herself as standing in the

wings and watching the performance, to prove that ὁρώσης καὶ καθημένης ἐν

τῷ θεάτρῳ does not imply that women were in the audience. But καθημένης

ἐν τῷ θεάτρῳ naturally and almost technically means this; and the two

passages need not be taken to refer to the same point in Glycera’s

supposed proceedings.]

[988] Lucian, Anachar. 22.

[989] Aristoph. Ran. 1050, 1051.

[990] Athen. p. 534 C.

[991] Theophrast. Char. 9 and 13.

[992] Schol. Aristoph. Eccles. 22.

[993] Vit. Aeschyli, p. 4 Dindf.

[994] C. I. A. iii. 282, 313, 315, 316, 321, 322, 324, 325, 333, 342,

343, 345, 350, 351, 354, 361, &c.

[995] Aristoph. Achar. 241-6; Menand. fr. 558 (Kock).

[996] E.g. Müller, Die griech. Bühnenalterthümer, p. 291.

[997] Aristoph. Av. 793-6 εἴ τε μοιχεύων τις ὑμῶν ἐστιν ὅστις τυγχάνει, |

κᾆθ’ ὁρᾷ τὸν ἄνδρα τῆς γυναικὸς ἐν βουλευτικῷ, | οὗτος ἂν πάλιν παρ’ ὑμῶν

πτερυγίσας ἀνέπτατο, | εἶτα βινήσας ἐκεῖθεν αὖθις αὖ καθέζετο. Thesm.

395-7 ὥστ’ εὐθὺς εἰσιόντες ἀπὸ τῶν ἰκρίων | ὑποβλέπουσ’ ἡμᾶς, σκοποῦνταί

τ’ εὐθέως | μὴ μοιχὸς ἔνδον ᾖ τις ἀποκεκρυμμένος.

[998] Aristot. Pol. vii. 17 ἐπιμελὲς μὲν οὖν ἔστω τοῖς ἄρχουσι μηθὲν

μήτε ἄγαλμα μήτε γραφὴν εἶναι τοιούτων πράξεων μίμησιν, εἰ μὴ παρά τισι

θεοῖς τοιούτοις οἷς καὶ τὸν τωθασμὸν ἀποδίδωσιν ὁ νόμος· πρὸς δὲ τούτοις

ἀφίησιν ὁ νόμος τοὺς ἔχοντας ἡλικίαν πλέον προσήκουσαν καὶ ὑπὲρ αὑτῶν καὶ

τέκνων καὶ γυναικῶν τιμαλφεῖν τοὺς θεούς. τοὺς δὲ νεωτέρους οὔτ’ ἰάμβων

οὔτε κωμῳδίας θεατὰς νομοθετητέον.

[999] [Navarre, Utrum mulieres Athenienses scenicos ludos spectaverint,

1900, discusses the evidence in detail, and comes to the same conclusions

as those which are stated in the text.]

[1000] Plat. Gorg. 502 D.

[1001] Theophrast. Char. 9.

[1002] Schol. Lucian, Tim. 49; Suidas s.v. θεωρικόν.

[1003] Dem. de Cor. § 28 ἀλλ’ ἐν τοῖν δυοῖν ὀβολοῖν ἐθεώρουν ἄν. This

passage shows that there cannot have been any alternative between the

reserved seats for distinguished persons and the ordinary two-obol seats.

Two obols is also the sum mentioned by Phot., Suid., and Etym. Mag. s.

vv. θεωρικόν; Etym. Mag. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Schol.

Aristoph. Vesp. 1184. The entrance fee is given as one obol by Ulpian

on Dem. Olynth. i. § 1; and as three obols by Schol. Dem. de Cor. §

28. But both are no doubt mistaken. It is given as a drachma by Schol.

Lucian, Tim. 49; Phot. and Suid. s. vv. θεωρικά; Philochorus apud Harp.

s.v. θεωρικά. But the drachma probably denotes the aggregate fees for

successive days at one festival. Plat. Apol. 26 D has most likely no

reference to the theatre. See Appendix C.

[1004] Plut. Pericl. 157 A; Ulpian on Dem. Olynth. i. § 1.

[1005] Ath. Pol. c. 28 (see Kenyon’s and Sandys’s notes).

[1006] Dem. de Contrib. § 169; Phot., Suid., Etym. Mag. s. vv. θεωρικόν;

Etym. Mag. s.v. θεωρικά; Liban. and Ulpian, ll. cc. It was called

διωβολία (Aristot. Pol. ii. 7) or διωβελία (Ath. Pol. c. 28; Bekk. Anecd.

237, 15).

[1007] Four are mentioned in [Dem.] Prooem. 53; six in Schol. Lucian,

Tim. 49; Lucian, Encom. Dem. 36; Suid. δραχμὴ χαλαζῶσα; Suid., Harp., and

Phot. θεωρικά.

[1008] Dem. in Leoch. § 37.

[1009] Hyperid. in Dem. col. xxiv.

[1010] Harp. s.v. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Ammonius, de

diff. vocab., s.v. θεωρός; Dem. Olynth. i. § 19, de Cor. § 118, Philipp.

iv. § 38.

[1011] For a full account of these theatre-tickets see Benndorf,

Zeitschrift für die österreichischen Gymnasien, 1875, pp. 579-95.

[1012] The illustration is taken from Baumeister, Denkmäler, no. 1833.

[1013] It is taken from Baumeister, no. 1835.

[1014] C. I. G. 5369; Tac. Ann. ii. 83.

[1015] Svoronos, περὶ τῶν Εἰσιτηρίων τῶν ἀρχαίων, in Journal

International d’Archéologie Numismatique, 1898, vol. i, pt. 1, pp.

37-120. The illustration in the text (Fig. 34) is taken from this article.

[1016] The lessee was generally called ἀρχιτέκτων (Dem. de Cor. § 28),

because part of his contract was to look after the buildings of the

theatre. He was also called θεατροπώλης (Poll. vii. 199), from the fact

of his selling seats; and θεατρώνης (Theophrast. Char. 11), from the fact

of his having taken the theatre on lease. The nature of the arrangement

with the lessee may be gathered from (1) C. I. A. ii. 573, in which the

lessees of the theatre at the Peiraeeus engage to keep the fabric in

good repair; (2) Dem. de Cor. § 28 ἢ θέαν μὴ κατανεῖμαι τὸν ἀρχιτέκτονα

αὐτοῖς κελεῦσαι; (3) Ulpian on Dem. Olynth. i. § 1 ὥστε λαμβάνειν ... δύο

ὀβολούς, ἵνα ... τὸν δ’ ἄλλον παρέχειν ἔχωσι τῷ ἀρχιτέκτονι τοῦ θεάτρου.

[1017] Theophrast. Char. 30.

[1018] Schol. Aristoph. Equit. 572. Pollux, iv. 121, states rather

doubtfully that the προεδρία in the theatre might also be called πρῶτον

ξύλον. If the expression was really used, it must have dated from the

time when the theatre was still a wooden one.

[1019] C. I. A. iii. 240-384.

[1020] C. I. A. ii. 589 shows that in the Peiraeeus the demarch used to

conduct the persons honoured with proedria to the theatre. A similar

practice was no doubt observed at Athens.

[1021] C. I. A. ii. 589 καὶ εἰσαγέτω αὐτὸν ὁ δήμαρχος εἰς τὸ θέατρον

καθάπερ ἱερεῖς καὶ τοὺς ἄλλους οἷς δέδοται ἡ προεδρία παρὰ Πειραιέων.

Cp. also Hesych. s.v. νεμήσεις θέας· Ἀθηναῖοι τὰς ἐν τῷ θεάτρῳ καθέδρας,

ψηφίσματι νενεμημένας προεδρίας ἱερεῦσιν.

[1022] C. I. A. iii. 240-384. Dörpfeld, Griech. Theater, p. 47.

[1023] The thrones of seven of the archons are still preserved (C. I. A.

iii. 254-60). Those of two of the Thesmothetae are missing, but no doubt

stood in the front row with the others.

[1024] Aristoph. Equit. 573-6; Theophrast. Char. 5.

[1025] Aeschin. Fals. Leg. § 111, Ctesiph. § 76; Dem. de Cor. § 28; C. I.

A. ii. 164; Cic. de Senect. § 63; Val. Max. iii. 5.

[1026] See above, p. 33.

[1027] Aeschin. Ctesiph. § 154; Plut. X Orat., psephisms I and II, p. 851

A-F.

[1028] Schol. Aristoph. Av. 795; Poll. iv. 122 βουλευτικὸν μέρος τοῦ

θεάτρου καὶ ἐφηβικόν.

[1029] Schol. Aristoph. Eccles. 22.

[1030] Aristoph. Pax 962-6 ΤΡ. καὶ τοῖς θεαταῖς ῥῖπτε τῶν κριθῶν. ΟΙ.

ἰδού. | ΤΡ. ἔδωκας ἤδη; ΟΙ. νὴ τὸν Ἑρμῆν, ὥστε γε | ... οὐκ ἔστιν

οὐδεὶς ὅστις οὐ κριθὴν ἔχει. | ΤΡ. οὐχ αἱ γυναῖκές γ’ ἔλαβον. Alexis,

Γυναικοκρατία, fr. 1 (Meineke, Frag. Com. Gr. iii. p. 402) ἐνταῦθα περὶ

τὴν ἐσχάτην δεῖ κερκίδα | ὑμᾶς καθιζούσας θεωρεῖν ὡς ξένας [this must

mean that foreigners were in one of the extreme _side_ kerkides (see p.

98), not at the _back_ of the theatre].

[1031] [Willems, Le Nu dans la Comédie Ancienne, 1901, places the Council

in the central block, the foreigners at one side of the auditorium, the

Ephebi on the other, while the tribes occupied the other ten. A clay

theatre ticket found at Megalopolis proves that blocks were assigned to

special tribes in that theatre (Castrioles, Ἐφημ. Διέθνης τῆς Νομισμ.

Ἀρχαιολ. 1900, p. 55). See also Svoronos, quoted p. 333 n.]

[1032] In the central block, on the third step, was a statue of Hadrian,

of which the base is still preserved, erected in 112 A.D. by the

Areopagus, the Council of Six Hundred, and the people of Athens (C. I.

A. ii. 464). Besides this, the bases of three other statues of Hadrian,

erected by different tribes, are still in existence. They are all on

the second step. The first, erected by the tribe Erectheis, is in the

first block from the eastern end; the second, erected by the tribe

Acamantis, is in the sixth block from the eastern end; the third, erected

by the tribe Oeneis, is in the sixth block from the western end (C. I.

A. iii. 466-8). Thus the place of each statue in the series of blocks

corresponded exactly with the place of the tribe in the official list of

tribes. It is therefore a highly plausible conjecture that, in addition

to the statue of Hadrian in the central block, there were twelve other

statues erected by the twelve tribes in the remaining blocks; and that

each tribe had a special block appropriated to itself. See Benndorf,

Beiträge zur Kenntniss des att. Theaters, pp. 4 ff.

[1033] Fourteen of the thrones were out of place when the theatre was

first excavated (see p. 95). The position of some of them is rather

conjectural. In the list given in the text Dörpfeld’s arrangement has

been followed (Griech. Theater, p. 47). For the inscriptions see C. I.

A. iii. 240-302. There is a very full account of the inscriptions on the

thrones in Wheeler’s article on the Theatre of Dionysus, in Papers of the

American School of Classical Studies at Athens, vol. i. pp. 152 ff.

[1034] The illustration is taken from Zeitschrift für bildende Kunst,

vol. xiii. p. 196. On the back of the chair are depicted two Satyrs,

holding a bunch of grapes. In the front, underneath the seat, are

two Oriental figures, engaged in a fight with winged lions. On the

arms of the throne are figures of Cupids, setting cocks to fight.

The appropriateness of the Satyrs, as a decoration in the theatre of

Dionysus, is obvious. The cocks, no doubt, refer to the annual cock-fight

held in the theatre (see above, chap. iii. p. 177). The significance of

the Oriental figures has not yet been explained.

[1035] Aristoph. Ran. 297.

[1036] i.e. the representative of Athens at the Amphictyonic Council.

[1037] A Macedonian commander of the third century, who restored Athens

to freedom after the death of Demetrius.

[1038] i.e. the priest who carried the Iacchus, or sacred statue of

Dionysus, at the Eleusinian procession.

[1039] i.e. the priest who looked after the sacrificial fire in the

temple of Athene on the Acropolis.

[1040] He was one of the three Exegetae, or Interpreters of sacred law,

and was appointed by the Pythian oracle. A second was chosen by the

people from the Eupatridae, and also had a seat in the front row.

[1041] They were the guardians of the βουλή, and their altars were in the

βουλευτήριον.

[1042] This Antinous was a favourite of Hadrian’s, and was drowned in the

Nile, and afterwards deified.

[1043] Unknown.

[1044] Probably an official who carried a sacred stone in some

procession; but nothing is known about him.

[1045] Aeschin. Ctesiph. § 76 ἅμα τῇ ἡμέρᾳ ἡγεῖτο τοῖς πρέσβεσιν εἰς

τὸ θέατρον. Dem. Meid. § 74 ἐγὼ δ’ ὑπ’ ἐχθροῦ νήφοντος, ἕωθεν, κ.τ.λ.

Aristoph. Av. 786-9 αὐτίχ’ ὑμῶν τῶν θεατῶν εἴ τις ἦν ὑπόπτερος, | εἶτα

πεινῶν τοῖς χοροῖσι τῶν τραγῳδῶν ἤχθετο, | ἐκπτόμενος ἂν οὗτος ἠρίστησεν

ἐλθὼν οἴκαδε, | κᾆτ’ ἂν ἐμπλησθεὶς ἐφ’ ἡμᾶς αὖθις αὖ κατέπτατο.

[1046] Philochorus ap. Athen. p. 464 E Ἀθηναῖοι τοῖς Διονυσιακοῖς ἀγῶσι

τὸ μὲν πρῶτον ἠριστηκότες καὶ πεπωκότες ἐβάδιζον ἐπὶ τὴν θέαν.

[1047] Philochor. ap. Athen. l.c. παρὰ δὲ τὸν ἀγῶνα πάντα οἶνος αὐτοῖς

ᾠνοχοεῖτο καὶ τραγήματα παρεφέρετο. Aristot. Eth. Nic. x. 5 καὶ ἐν τοῖς

θεάτροις οἱ τραγηματίζοντες, ὅταν φαῦλοι οἱ ἀγωνιζόμενοι ὦσι, τότε

μάλιστ’ αὐτὸ δρῶσιν.

[1048] Philochor. ap. Athen, l.c. καὶ ἐστεφανωμένοι ἐθεώρουν. Dem. Meid.

§ 52.

[1049] Aeschin. Ctesiph. § 76, Fals. Leg. § 111; Theophrast. Char. 2.

[1050] Suidas s.v. Δράκων· ὑπὸ τῶν Αἰγινητῶν ἐν τῷ θεάτρῳ, ἐπιρριψάντων

αὐτῷ ἐπὶ τὴν κεφαλὴν πετάσους πλείονας καὶ χιτῶνας καὶ ἱμάτια, ἀπεπνίγη.

[1051] The φοινικίδες mentioned by Aeschines (Ctesiph. § 76) were

probably coverlets or carpets.

[1052] See above, p. 100.

[1053] Called ῥαβδοφόροι (Schol. Aristoph. Pax 734), and ῥαβδοῦχοι (Pax

734): cp. Dem. Meid. § 179.

[1054] Suid. ἐπιμεληταί ἐχειροτονοῦντο τῶν χορῶν, ὡς μὴ ἀτακτεῖν τοὺς

χορευτὰς ἐν τοῖς θεάτροις.

[1055] Andocid. Alcibiad. § 20.

[1056] Dem. Meid. §§ 178, 179.

[1057] Plat. Legg. 700 C.

[1058] Dem. Meid. §§ 14, 226; Alciphron, Epist. iii. 71.

[1059] Poll. iv. 122 τὸ μέντοι τὰ ἑδώλια ταῖς πτέρναις κατακρούειν

πτερνοκοπεῖν ἔλεγον· ἐποίουν δὲ τοῦτο ὁπότε τινὰ ἐκβάλοιεν.

[1060] Dem. Fals. Leg. § 337; Athen. p. 245 E.

[1061] Dem. de Cor. § 262.

[1062] Cic. Tusc. iv. § 63. Αὖθις seems to have been the word used; cp.

Xen. Symp. ix. 4 ἅμα δὲ ἐβόων αὖθις.

[1063] Poll. iv. 88. The word for hissing an actor off the stage was

ἐκβάλλειν; to be hissed off was ἐκπίπτειν. See Dem. de Cor. § 265, Poll.

iv. 122.

[1064] Athen. p. 583 F.

[1065] Theophrast. Char. 11.

[1066] Theophrast. Char. l.c.

[1067] Alciphron, Epist. iii. 71 ἵνα, κἄν τι λάθωμεν ἀποσφαλέντες, μὴ

λάβῃ χώραν τὰ ἀστικὰ μειράκια κλώζειν ἢ συρίττειν.

[1068] Aristot. Eth. Nic. x. 5.

[1069] Theophrast. Char. 14.

[1070] Alciphron, Epist. iii. 71; Aul. Gell. N. A. xvii. 4.

[1071] Aristot. Eth. Nic. iii. 2, and Eustath. ad loc.

[1072] Plut. Amator. 756 C; Nauck, Trag. Gk. Frag. p. 511.

[1073] Senec. Epist. 115; Nauck, Trag. Gr. Frag. p. 457.

[1074] Vit. Aristoph. (Dindf. Prolegom. de Com. p. 12); Arg. to Soph.

Antiq.

[1075] Herod. vi. 21.

[1076] Justin. 17. 9. The passage was very likely from Theopompus.

[1077] Dem. Olynth. iii. § 15 καὶ γνῶναι πάντων ὑμεῖς ὀξύτατοι τὰ

ῥηθέντα. Cic. de Fato § 7 ‘Athenis tenue caelum, ex quo acutiores etiam

putantur Attici’.

[1078] Cic. Orat. § 25 ‘(Athenienses) quorum semper fuit prudens

sincerumque iudicium, nihil ut possent nisi incorruptum audire et

elegans’; § 27 ‘ad Atticorum igitur aures teretes et religiosas qui se

accommodant, ii sunt existimandi Attice dicere’.

[1079] Plat. Legg. 659 B.C.

[1080] Aristot. Pol. viii. 7 ἐπεὶ δ’ ὁ θεατὴς διττός, ὃ μὲν ἐλεύθερος καὶ

πεπαιδευμένος, ὃ δὲ φορτικὸς ἐκ βαναύσων καὶ θητῶν καὶ ἄλλων τοιούτων

συγκείμενος. Ibid. 6 ὁ γὰρ θεατὴς φορτικὸς ὢν μεταβάλλειν εἴωθε τὴν

μουσικήν, ὥστε καὶ τοὺς τεχνίτας τοὺς πρὸς αὐτὸν μελετῶντας αὐτούς τε

ποιούς τινας ποιεῖ καὶ τὰ σώματα διὰ τὰς κινήσεις.

[1081] Aristot. Poet. c. 13 δευτέρα δ’ ἡ πρώτη λεγομένη ὑπὸ τινῶν

ἐστι σύστασις, ἡ διπλῆν τε τὴν σύστασιν ἔχουσα καθάπερ ἡ Ὀδύσσεια καὶ

τελευτῶσα ἐξ ἐναντίας τοῖς βελτίοσι καὶ χείροσιν. δοκεῖ δὲ εἶναι πρώτη

διὰ τὴν τῶν θεάτρων ἀσθένειαν, ἀκολουθοῦσι γὰρ οἱ ποιηταὶ κατ’ εὐχὴν

ποιοῦντες τοῖς θεαταῖς. Ibid. c. 9 (of the old legends) ἐπεὶ καὶ τὰ

γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ’ ὅμως εὐφραίνει πάντας. Id. Rhet. iii.

1 ἐκεῖ μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί.

[1082] [Cp. Römer, Ueber den litterarisch-aesthetischen Bildungsstand des

attischen Theaterpublikums, 1901.]

GREEK INDEX

ἀγκυρίς, 209, 210.

ἀγορά, 377.

ἀγῶνες Χύτρινοι, 31.

αἰγείρου θέα, 83.

αἰῶραι, 209.

αἰώρημα, 209.

ἀναβάδην, 204.

ἀναβαθμοί, 217.

ἀναβαίνειν, 109, 148, 166, 167.

ἀναδιδάσκειν, 71.

ἀνάπαιστοι, 269, 270, 295.

ἀναπίεσμα, 217.

ἀναπλάσματα, 259.

ἀνδρῶν χορός, 9, 10.

Ἀνθεστήρια, 372.

ἀντεπίρρημα, 269.

ἀντιχόρια, 309.

ἀπαγγέλλειν, 68.

ἀπ’ αἰγείρου θέα, 83.

ἀπὸ μηχανῆς, 215.

ἀποκρίνεσθαι, 222, 227.

ἀποκριτής, 227.

ἀπολαχεῖν, 32.

ἀριστεροστάτης, 300.

ἅρπαξ, 209.

ἀρχιτέκτων, 334, 379.

ᾆσμα, 56.

αὖθις, 344.

αὐλαία, 219.

αὐληταὶ ἄνδρες, 9.

αὐλητής, 271.

αὐλητῶν χοροί, 9.

ἁψίς, 112, 194.

βαθμοί, 379.

βαρύστονος, 275.

βῆμα, 88, 107, 142.

βομβῶν, 275.

βουλευτικόν, 328, 337.

βροντεῖον, 218.

βωμός, 80, 107, 108, 200.

βωμὸς Διονύσου, 142.

γέρανος, 210.

γεραραί, 375.

γλεῦκος, 371, 372.

γραμμαί, 107.

γραμματεῖον, 33, 34.

γραφαί, 200.

δεικηλίκτας, 282.

δείξεις, 313.

δεξιοστάτης, 300.

δευτεραγωνιστής, 234.

δευτεροστάτης, 300.

διαζώματα, 98, 381.

διασκευή, 71.

διαύλιον, 321.

διδασκαλεῖον, 60.

διδασκαλία, 13, 61.

διδασκαλία ἀστική, 7, 13.

διδασκαλία Ληναϊκή, 13.

διδασκαλία τραγική, 13.

Διδασκαλίαι, 13, 47, 48, 351.

διδασκαλίαν καθιέναι, 13, 32.

διδάσκαλος, 56, 61, 62.

διδάσκειν τραγῳδίαν, 25.

διθύραμβος, 10, 222.

δίοδος, 98, 380, 381.

Διονύσια, 6, 9, 378.

Διονύσια ἀρχαιότερα, 368-70, 374.

Διονύσια τὰ ἀστικά, 7.

Διονύσια τὰ ἐν ἄστει, 7, 9.

Διονύσια τὰ ἐπὶ Ληναίῳ, 6, 372.

Διονύσια τὰ ἐπιλήναια, 6, 370, 372.

Διονύσια τὰ κατ’ ἀγρούς, 5, 29, 288.

Διονύσια τὰ κατὰ κώμας, 29.

Διονύσια τὰ κατὰ πόλεις, 29.

Διονύσια τὰ μεγάλα, 7.

Διονυσιακοὶ ἀγῶνες, 377.

Διονυσιακοὶ τεχνῖται, 278.

Διονυσιακὸν θέατρον, 87, 377.

Διόνυσος Ἐλευθερεύς, 6, 7, 371.

Διόνυσος Λήναιος, 24, 372, 373, 377.

Διόνυσος Λιμναῖος, 372, 373.

Διόνυσος ὁ ἐν Λίμναις, 371.

διπλῆ, 317.

διστεγία, 186.

διχορία, 309.

διωβελία, 331.

ἐγκύκληθρον, 201.

ἐγκύκλημα, 201, 202, 205.

εἰς ἄστυ καθιέναι, 7.

εἰς ἄστυ καταλέγεσθαι, 31.

εἰσκυκλεῖν, 204.

εἰσκύκλημα, 201.

εἴσοδος, 112.

ἐκβάλλειν, 344.

ἐκκλησία ἐν Διονύσου, 7.

ἐκκυκλεῖν, 201, 204, 205, 211.

ἐκκύκλημα, 201, 211.

ἐκπίπτειν, 344.

ἔκσκευα πρόσωπα, 246.

ἐλεός, 80, 167, 222.

Ἐλευθερεύς, 7.

ἐμβάς, 266.

ἐμβάτης, 248.

ἐν ἀγροῖς, 29, 378.

ἐν ἄστει διδάσκειν, 7, 13.

ἐν τοῖν δυοῖν ὀβολοῖν, 330.

ἐξάρχειν, 222.

ἔξοδος, 270, 271, 315.

ἐξώστρα, 309, 379.

ἐπαναβαίνειν, 167.

ἐπεισκυκλεῖν, 211.

ἐπὶ Ληναίῳ, 24, 25, 372, 377, 378.

ἐπιθέατρον, 98, 380, 381.

ἐπιλήναια Διονύσια, 6, 370, 372.

ἐπιμεληταί, 343.

ἐπιμεληταὶ τῆς πομπῆς, 49.

ἐπιμεληταὶ τῶν μυστηρίων, 49.

ἐπιπάροδος, 305.

ἐπίρρημα, 269.

ἐπιστάται Ἐλευσινόθεν, 6, 370, 377.

εὐημερεῖν, 43, 228.

Εὔνους, 261.

εὐφωνία, 273.

ἐφαπτίς, 252.

ἐφηβικόν, 337.

ἐώρημα, 209.

ζυγόν, 299, 301.

ζῶναι, 98.

ζωστῆρες, 209.

ἡγεμών, 301.

ἡγεμὼν κορυφαῖος, 301.

ἡμικύκλιον, 101, 218.

ἡμιστρόφιον, 218.

ἡμιχόριον, 304, 307, 309.

θέα, 324, 341.

θέα παρ’ αἰγείρῳ, 81, 83.

θεᾶσθαι, 9.

θεατής, 102, 348.

θεατρίζειν, 107, 142.

θέατρον, 81, 83, 87, 326, 348, 371, 374, 377.

θεατροπώλης, 334.

θεατρώνης, 334.

θεολογεῖον, 126, 213.

θεὸς ἀπὸ μηχανῆς, 211, 215, 216.

θερμαυστρίς, 317.

θεωρικόν, 331.

θίασος, 278.

θυμέλη, 80, 107, 108, 109, 142.

θυμελικοί, 146, 172.

ἰαμβεῖον, 267, 269.

ἰαμβύκη, 269.

Ἰαόνιοι νόμοι, 321.

ἴδια ᾄσματα, 310.

ἴκρια, 81, 83, 87, 328, 377.

ἱματιομίσθαι, 64.

ἱματιομισθωταί, 64.

ἱμάτιον, 250, 295.

καθάρσιον, 68.

καθέζεσθαι, 32.

καθιέναι, 228.

καθίζειν, 32.

καινὸς ἀγών, 30.

καλαθίσκος, 317.

καλαμίτης ἥρως, 377.

κατὰ ζυγά, 299.

κατὰ στοίχους, 102, 299.

καταβαίνειν, 166.

καταβλήματα, 185, 186, 198.

καταλέγειν, 269.

καταληπτήρ, 380, 381.

καταλογή, 269.

κατατομή, 90.

κέραμος, 186.

κεραυνοσκοπεῖον, 218.

κερκίς, 98, 337.

κίνησις, 278, 314.

κλεψίαμβος, 269.

κλῖμαξ, 129, 148, 379, 381.

κλιμακτῆρες, 380, 381.

κόθορνος, 248.

κόλπωμα, 252.

κόμμος, 268.

κονίστρα, 101, 142.

κόρδαξ, 318.

κορυφαῖος, 300, 301.

κράδη, 210.

κρασπεδίτης, 300.

κρηπίς, 248.

κριτὴν ἐμβάλλειν, 32.

κριτής, 31, 32, 33, 34, 36.

κροῦσις, 269.

κυβίστησις, 317.

κύκλιος χορός, 10.

κῶμος, 9, 20, 352.

κωμῳδοί, 9, 20, 25, 108, 275.

λαρυγγίζειν, 275.

λαυροστάτης, 170, 300.

ληκυθίζειν, 275.

λῆναι, 24, 376.

Λήναια, 24, 372.

Ληναϊκὸν θέατρον, 83.

Λήναιον, 24, 368 ff.

ληνός, 24, 369, 373, 376.

Λίμναι, 24, 368 ff.

λογεῖον, 102, 107, 112, 118, 123, 126, 146, 148, 149, 379, 380.

μεγαλοφωνία, 273.

μετασκευάζεσθαι, 288.

μετάστασις, 305.

μηχανή, 197, 199, 209, 211, 212, 215, 216.

μηχανοποιός, 209.

μῖμοι, 107, 142.

μισθός, 39.

μονῳδία, 268.

μυρμηκία, 321.

μύρμηκος ἀτραπός, 321.

νέμειν, 51, 58.

νεμήσεις θέας, 2, 335.

νεμήσεις ὑποκριτῶν, 58.

Νῖκαι τραγικαὶ καὶ κωμικαί, 362.

νικᾶν, 40.

νικᾶν τὰ Λήναια, 364.

νικᾶν τραγῳδίᾳ, 26.

νίκη ἀστική, 7.

ξιφίζειν, 317.

ξιφισμός, 317.

ξύλου παράληψις, 317.

ὄγκος, 244.

ὀκρίβας, 68, 118, 248.

ὁλκοί, 379, 381.

Ὄμβρικος, 261.

ὀρθοστάτης, 380, 381.

ὄρχησις, 311, 312, 314.

ὀρχηστής, 313.

ὀρχήστρα, 82, 90, 101, 102, 107, 142, 148, 166, 377.

Ὀφέλανδρος, 261.

παίδων χορός, 9, 10.

παλαιὸν δρᾶμα, 19, 22.

Παναθήναια, 12.

παρ’ αἰγείρου θέα, 81, 83.

παραβαίνειν, 149, 305.

παράβασις, 149, 270, 305.

παραβῆναι τέτταρα, 317.

παραδιδάσκειν, 19, 22.

παρακαταλογή, 268, 270.

παραλογίζεσθαι, 269.

παραπέτασμα, 118, 185, 186, 219.

παρασκήνια, 117, 127, 139, 142, 191, 379.

παρασκήνια τὰ ἄνω, 139, 379-81.

παρασκήνια τὰ κάτω, 139, 379-81.

παρασκήνιον, 235, 380.

παραστάτης, 301.

παραχορήγημα, 234, 235, 301.

παρεπιγραφή, 206.

πάροδος, 112, 149, 194, 209, 288, 302, 306.

πεπλασμένως, 275.

περίακτοι, 185, 191, 197, 218.

περιβομβῶν, 275.

περιοικοδομία, 379, 381.

πίναξ, 45, 118, 123, 126, 186, 379, 380.

ποικίλον, 250.

πομπή, 9, 49.

προάγων, 67, 68.

προγαστρίδια, 259.

προεδρία, 335.

πρόλογος, 224.

πρὸς τὰς ῥήσεις ὑπόρχησις, 317.

πρὸς χορὸν λέγειν, 269, 317.

προσκήνιον, 118, 127, 129, 172, 186, 219, 379-81.

προσωπεῖον, 262.

πρωταγωνιστεῖν, 227.

πρωταγωνιστής, 223.

πρῶτον ξύλον, 335.

πρωτοστάτης, 301.

πτερνοκοπεῖν, 344.

πυρριχισταί, 10.

ῥαβδοῦχοι, 343.

ῥαβδοφόροι, 343.

ῥῆσις, 224, 317.

σατυρικόν, 12.

σάτυροι, 289.

σαυτὴν ἐπαινεῖς, 176, 228.

σίγμα, 90, 101.

σιμὴ χείρ, 317.

σκευή, 259.

σκηναὶ αἱ ἐπάνω, 112, 126, 379-81.

σκηνή, 108, 112, 141, 142, 148, 149, 166, 186, 199, 268, 379-81.

σκηνὴ ἡ μέση, 112, 379-81.

σκηνικὰ πρόσωπα, 288.

σκηνικοί, 146, 172.

σκηνογραφία, 112, 181.

σκώπευμα, 318.

στάσιμον, 306, 315.

στοῖχος, 149, 299, 301.

στροφεῖον, 218.

στροφή, 305.

σύκινος κλάδος, 210.

σχήματα, 313.

σωμάτιον, 249, 259.

τὰ ἀπὸ τῆς ὀρχήστρας, 149.

τὰ ἀπὸ τῆς σκηνῆς, 149, 165, 166, 268.

τὰ ἐκ τῶν ἁμαξῶν σκώμματα, 25.

ταινία ξυλίνη, 44.

ταινίαι, 209.

τάφοι, 200.

τετραλογία, 12, 13, 17.

τετράμετρον, 269.

τεχνίτης, 227, 278, 317.

τὸ ἐπὶ τῆς σκηνῆς, 165, 166.

τράγος, 294.

τραγῳδοί, 9, 20, 25, 108, 275.

τραγῳδῶν χοροί, 24.

τράπεζα, 80, 222.

τριλογία, 13.

τρίμετρα, 269.

τρίπους, 10.

τρίτος ἀριστεροῦ, 301.

τριτοστάτης, 300, 301.

τροχός, 209.

τρυγῳδία, 372.

τρυγῳδοί, 310.

ὑδρίαι, 32.

ὑποδιδάσκαλος, 62.

ὑποκόλπιον, 300.

ὑποκρίνεσθαι, 227, 228.

ὑποκριτής, 58, 148, 165, 223, 224, 227, 229, 274, 284.

ὑπόρχημα, 307.

ὑπόρχησις, 317.

ὑποσκήνιον, 123, 148.

ὑφάσματα, 186, 198.

φαλλικά, 222.

φαλλός, 259.

φαρυγγίζειν, 275.

φαρυγγίνδην, 61.

φοινικίδες, 342.

φοραί, 313.

Χαρώνιοι κλίμακες, 217.

χεὶρ καταπρηνής, 317.

χειρίδες, 250.

χερσὶ λαλεῖν, 312.

χιτών, 250.

χιτὼν ἀμφίμαλλος, 256.

χιτὼν μαλλωτός, 256.

χιτὼν χορταῖος, 256.

Χόες, 370, 372.

χοραγός, 301.

χορευτής, 61, 80, 299.

χορηγεῖν, 55, 56, 63.

χορηγεῖν κωμῳδοῖς, 44, 288.

χορηγεῖν παισί, 90.

χορηγεῖν τῇ φυλῇ, 10.

χορηγεῖν τραγῳδοῖς, 10.

χορηγεῖον, 60.

χορηγία, 37.

χορηγός, 10, 32, 56, 63, 64, 66, 301.

χορικὰ μέλη, 287.

χοροκτόνος, 54.

χορολέκτης, 60, 301.

χορὸν αἰτεῖν, 50.

χορὸν διδόναι, 20, 50.

χορὸν εἰσάγειν, 69.

χοροποιός, 301.

χοροστάτης, 301.

χοροῦ τυγχάνειν, 50.

Χύτροι, 12, 31, 371.

ψαλίς, 112.

ψιλεύς, 300.

ᾠδεῖον, 67, 68, 87, 177.

GENERAL INDEX

Acoustics, attention paid to, 174.

Acrae, theatre at, 93.

Acting, importance of the voice in, 272 ff.

Musical training necessary for, 274.

Style of enunciation used in, 275.

Gestures used in, 276.

Actors, contests between, 40 ff.

Importance of protagonists, 42.

Reproduction of old plays by, 43 f.

Originally chosen by the poets, afterwards by the state, 57 ff.,

229, 230.

How assigned to the poets, 58.

Paid by the state, 64.

Tamper with the text of old plays, 74.

The first actor introduced by Thespis, 80.

Enter and depart by orchestra, 168, 169, 192 f.

Meaning of the term actor, 221.

Gradual introduction of, 222 ff.

Number of actors in tragedy, comedy, and satyric drama, 223.

Effect of small number of, 225.

The Greek names for an actor, 226 f.

Rise of the actor’s profession, 227.

Increase in the proportion of, 228, 229.

Distribution of parts among, 230 ff.

Changes of costume by, 232.

Costume of tragic actors, 237 ff.;

of satyric actors, 255 ff.;

of comic actors, 257 ff.

Importance of the voice in, 272 ff.

Musical training of, 274.

Style of Greek acting, 275 ff.

The Actors’ Guild, 278 ff.

Privileges of, 278.

Social position of, 281.

Salaries of, 281.

General character of, 282.

Celebrated Athenian actors, 282 ff.

Comic, lists of, 365.

Aegis, the, worn by Athene, 251.

Aeschines, acted Oenomaus, 29.

Hired by Socrates and Simylus, 30.

As tritagonist, 33.

His accident at Collytus, 249.

Taunted by Demosthenes, 281.

Aeschylus, his first appearance as a dramatist, 11, 83.

His Oedipodeia, 11, 15.

His Oresteia, 12, 14, 15.

Trilogies and tetralogies of, 13 ff.

His Lycurgeia, 15, 17.

His Promethean trilogy, 15.

Number of his victories, 34.

Records concerning his Oresteia, 48.

Exhibits at an early age, 50.

Actors of, 57.

Trains his choruses, 61.

Reproduction of his plays after his death, 73, 76.

Text of his plays, 74, 76.

Not popular in later times, 76.

His stage, 150.

His statue in the theatre, 176.

Scenery in his plays, 180.

Said to have invented scene-painting, 181.

Invents stage decorations, 199.

Introduces a second actor, 223.

Ceases to act in person, 227.

His improvements in the tragic costume, 238, 240, 242, 248.

His choruses, 285 ff., 289 ff.

Designs the dress of the Furies, 291.

Improves the tragic dance, 314.

His Eumenides, 327.

Nearly killed for impiety, 346.

Agathon, his first victory, 28, 70.

His treatment of the chorus, 286.

Adopts the new style of music, 321.

Agonothetes, the, 54, 55.

Agyrrhius, commissioner of the treasury, 40.

Aixone, comedies at, 30.

Alcamenes, 131.

Alcibiades, admired for his beauty, 9, 327.

Corrupts the judges, 35.

Assaults Taureas, 66, 343.

Alexander the Great, wishes to make a stage of bronze, 174.

Altar, in the orchestra, 107.

On the stage, 200.

Ambassadors, provided with front seats, 324, 336.

Anapaests, given in recitative, 269.

Sometimes delivered by the coryphaeus, 308.

Anapiesma, the, 217.

Anaxandrides, never revises his comedies, 71.

Andronicus, victorious in the Epigoni, 43.

Anthesteria, the, distinct from the Lenaea, 6, 369 ff.

Where celebrated, 368 ff.

Dramatic performances at, 31, 44.

Anti-choregi, 66.

Antisthenes, his success as choregus, 37, 62.

Apaturius, 127.

Aphareus, engages in eight contests, 19.

Exhibits at the Lenaea, 26.

Entrusts his plays to others, 52.

Rhetorician as well as poet, 62.

Apollonius, disregards tetralogies, 13.

Applause, mode of expressing, 344.

Araros, son of Aristophanes, 51.

Archilochus, invents recitative, 268.

Archinus, commissioner of the treasury, 40.

Archons, the, manage the festivals, 49.

Their seats in the theatre, 336.

Arguments, of plays, 48, 349.

Aristarchus, disregards tetralogies, 13.

Aristerostatae, 300.

Aristias, competes with Aeschylus, 12.

Aristodemus, the actor, 278, 281, 283.

Aristophanes, the grammarian, 13.

His Arguments, 47.

Aristophanes, the poet, competes at the City Dionysia, 21, 28;

at the Lenaea, 25, 27, 28.

Story about his Clouds, 38.

Third in a certain contest, 40.

Exhibits at an early age, 51.

Entrusts his plays to others, 51, 52.

His Ecclesiazusae, 69.

His Frogs much admired, 71.

Scenery in his plays, 183, 196.

Parodies the ekkyklema, 204.

Parodies the mechane, 212.

Discards the phallus, 259.

His choruses, 287.

Discards the kordax, 318.

Honoured with a chaplet from the sacred olive, 346.

Aristotle, his remark on the stories of plays, 30.

His Didascaliae, 47.

Censures extravagance in choregi, 64.

His opinion concerning the deus ex machina, 216.

His definition of acting, 273.

His opinion about actors, 282.

His definition of dancing, 313.

His remarks about the admission of boys to comedies, 329.

His description of Attic audiences, 348.

Arsis, 311.

Artists of Dionysus, 278.

Asia Minor, theatres in, 133 ff., 148, 163.

Aspendos, theatre at, passages in, 97.

Back-wall at, 127, 134.

Roof in, 135.

Assembly, the, meetings of, in the theatre, 70, 178.

Assos, theatre at, 94, 159.

Orchestra in, 106.

Gates, 110.

Date of proscenium, 130.

Assteas, his vase-painting, 127.

Astydamas, his victories at the Lenaea, 26.

Statue of, 87.

Conceit of, 176.

Astydamas, protagonist, 42.

Athenodorus, the actor, 230, 281, 283, 284.

Audience, the, representative character of, 4.

Enthusiasm for the drama, 4, 346.

Overrules the judges, 37, 344.

Closely packed, 97, 99.

Number of, 100.

At the Lenaea, 324.

At the City Dionysia, 324.

Includes women, boys, and slaves, 324 ff.

Distribution of seats among, 334 ff.

Price of admission, 331, 334.

Tickets of admission, 332.

The proedria, 332.

Occupants of the front rows, 335 ff.

Comfort of, 100, 342.

Their mode of expressing pleasure and disapproval, 344.

Characteristics of, 344.

Their orthodoxy, 345.

Their intelligence and taste, 347.

Preservation of order among, 343.

Auditorium, the, originally of wood, 81, 84.

In the theatre at Athens, 90 ff.

Shape of, 92.

Interior of, 93 ff.

Passages in, 97 ff.

Size of, 99, 100.

Later history of, 100.

Puchstein’s theory of, 131, 132.

Awnings, 95, 100.

Not generally used in Greek theatres, 176, 342.

Back-wall, the, 126, 127.

In theatres of the Roman period, 133.

Doors in, 134, 154.

Balconies, on the stage, 187.

Banquets, in honour of victory, 70.

Basis (metrical term), 311.

Bethe, on uses of proscenium, 123.

Theory of the stage, 172, 173.

On the drop-scene, 220.

On the tragic costume, 239.

Birds, chorus of, 297.

Their mode of entrance, 302.

Boots, in tragedy, 248 ff.

In the Old Comedy, 260.

In the New Comedy, 266.

Boys, admitted to the theatre, 324 ff.

Bradfield, theatre at, 158.

Bronteion, the, 218.

Callicrates, promises to increase theoric distributions, 331.

Callimachus, the grammarian, 47, 48.

Callippides, the actor, 277, 282.

Callistratus, exhibits plays of Aristophanes, 51, 52.

Not an actor, 59.

Carpets, in the theatre, 342.

Cavea, the, 90.

Cephisophon, 57.

Chaeremon, 19.

Changes, of scenery, 195 ff.

Of costume, 231 ff.

Chariots, in the theatre, 201.

Charon’s Steps, 217.

Chionides, 20, 26, 27.

Chlamys, the, 250.

Choerilus, number of his plays, 11.

Competes with Aeschylus, 11.

His improvements in masks, 242.

Choes, 370, 372.

Choregi, first appointment of, 11, 20, 352.

Importance of, 36.

How appointed, 53.

Age of, 53.

Replaced by synchoregi, 54;

by the agonothetes, 54.

Reintroduced, 55.

Assignation of poets to, 55 f.

Duties of, 61.

Expenditure of, 63 ff.

Rivalry between, 66.

Choreutae, their appetite, 61.

Delivery of words by single choreutae, 308.

Decline in the excellence of, 314.

Chorus, the, granted by the archon, 50.

Selection and training of, 60 ff.

Paid by the choregus, 63.

Its dresses supplied by the choregus, 64.

Cost of different kinds of, 64.

Decline of, 128.

Position of during the performance, 140, 148.

Supposed platform for, 141.

Occasional inaction of, 168.

Enters and departs by the back-scene, 168.

Comes into contact with the actors, 169.

Extra choruses, 237.

Gradual decline of in tragedy, 285 ff.;

in comedy, 287 ff.

Its size in tragedy, comedy, and satyric drama, 288 ff.

Its costume in tragedy, 290 ff.;

in satyric drama, 292 ff.;

in the Old Comedy, 295 ff.

Rectangular arrangement of, 298.

Its mode of entrance, 299, 301.

Irregular entrance of, 302.

The parodos, 302.

Its formation when in the orchestra, 303.

Manœuvres of, 304.

Second entrance of, 305.

Exit of, 305.

Delivery of words by the whole chorus, 306;

by the coryphaeus, 307;

by single choreutae, 308;

by half-choruses, 309.

Decline of choral dancing, 314.

Accompanies the actors’ speeches with mimetic dances, 316.

Sings in unison, 319.

Chorus-trainers, 62.

Paid by the choregus, 63.

Christ, theory of the stage, 173.

Chytri, the, dramatic contests at, 31, 44, 371.

Cinesias, said to have abolished the choregia, 54.

City Dionysia, the, compared with the Lenaea, 6, 7, 27, 28.

Meaning of the name, 7.

Date, 7.

Character of the proceedings at, 7 ff.

Procession at, 8, 9.

Contests at, 9, 10.

Tragedy at, 10 ff.

Comedy at, 20 ff.

Order of contests at, 23, 24.

Actors’ contests at, 41.

Managed by the archon eponymus, 49.

Synchoregi at, 54.

Proclamation of crowns at, 68.

Tribute displayed at, 68.

Orphans paraded at, 68.

Where celebrated, 82, 84.

Clâque, the, 345.

Cleander, actor of Aeschylus, 57, 282.

Cleidemides, actor of Sophocles, 282.

Cleon, terror inspired by, 260.

Cleophon, invents theoric distributions, 331.

Clouds, chorus of, 295.

Cock-fight, the, in the theatre, 177.

Collytus, dramatic performances at, 29.

Comedy, first institution of contests in, 5, 20, 26, 27.

Specially prominent at the Lenaea, 6.

Choregia in, 20.

At the City Dionysia, 20 ff., 358 ff.

Number of poets and plays in the comic contests, 20.

Reproduction of old comedies, 22.

At the Lenaea, 26, 27, 355 ff.

At the Anthesteria, 31.

Number of actors in, 224.

Costume of actors in, 257 ff.

Decline of the chorus in, 287.

Size of the chorus in, 289.

Costume of the chorus in, 295 ff.

Dances used in, 318.

Its connexion with religion, 328.

Conjurors, in the theatre, 178.

Contests, the dramatic, confined to a few festivals, 1.

Managed by the state, 3.

Universal prevalence of, 3.

First institution of, 5, 11, 20, 26.

Tragic contests at the City Dionysia, 10 ff.

Comic contests at the City Dionysia, 20 ff.

Tragic contests at the Lenaea, 25.

Comic contests at the Lenaea, 26.

Comic contests at the Anthesteria, 31.

The judges in, 31 ff.

Prizes for, 38 ff.

Between actors, 40 ff.

Records of, 44 ff.

Commence at daybreak, 68.

Preceded by a sacrifice, 68.

Order determined by lot, 69.

Announced by a trumpet, 69.

Coryphaeus, the, in the early drama, 80.

Position and importance of, 301.

Delivers portions of the choral part alone, 308.

Costume, of the tragic actors, 237 ff.

Origin of the tragic costume, 238 ff.

Improved by Aeschylus, 240.

Ancient representations of the tragic costume, 241, 243.

Tragic masks, 244 ff.

The cothurnus, 248 ff.

The tragic tunic, 250.

The tragic mantle, 250.

Head-coverings in tragedy, 251.

Special costumes in tragedy, 251, 252.

General character of the tragic costume, 252 ff.

Costume of satyric actors, 255 ff.

Costume of actors in the Old Comedy, 257 ff.

Origin of this costume, 261.

Costume of actors in the New Comedy, 261 ff.

Cumbersomeness of the tragic costume often exaggerated, 276.

Costume of the tragic chorus, 290;

of the satyric chorus, 292 ff.;

of the comic chorus, 295 ff.

Cothurnus, the, 244 ff.

Not worn in satyric dramas, 255.

Council, the, special seats for, 337.

Courtesans, special seats for, 337.

Crane, the, 210.

Crates, actor to Cratinus, 59, 228.

Cratinus, satirized by Aristophanes, 9.

His victories, 28, 46.

Refused a chorus by the archon, 50.

Called a dancer, 61, 228, 314.

Crowns, proclaimed at the City Dionysia, 68.

Bestowed on victors at the contests, 69.

Worn by kings and messengers, 252.

Worn by the spectators, 342.

Cunei, the, 98.

Curators, at the City Dionysia and Lenaea, 49.

Cushions, in the theatre, 96, 342.

Dancing, importance of in the Greek drama, 311.

Its mimetic character, 312.

History of, 314.

How far employed in the drama, 315.

Used as an accompaniment to speeches from the stage, 316.

The tragic dance, 317.

The comic dance, 318.

The satyric dance, 318.

Delivery, different modes of, 266 ff.

Louder in tragedy than in comedy, 275.

More rhythmical than in modern times, 275.

Delivery of the choral part, 305 ff.

Delos, theatre at, orchestra in, 106, 121 ff., 139, 157.

The hyposkenion, 107, 121, 123, 124, 125, 157.

The pinakes, 123, 130.

Date of proscenium, 130.

Shape of stage-buildings, 139.

Erections in front of proscenium, 157.

Dörpfeld’s view concerning, 162.

Accounts in connexion with, 379 ff.

Demosthenes, his choregic dress, 8.

His dream, 37.

Supplies his chorus with golden crowns, 64.

Complains of the amount spent upon choruses, 66.

His remark about actors, 273.

Assaulted by Meidias, 324.

Deus ex machina, 215.

Deuteragonist, 230, 234.

Deuterostatae, 300.

Dexiostatae, 300.

Diaulia, 321.

Dicaeogenes, his meanness, 37.

Didascalia, meaning of the word, 47.

The tragic didascaliae, 13; cf. 352 ff.

Didaskalos, 61.

Diodorus, exhibits two comedies at one contest, 21.

Dionysia, _see_ City Dionysia, Rural Dionysia.

Dionysius, exhibits at the Lenaea, 26, 28.

Dionysus, Eleuthereus and Lenaeus, 6.

His statue carried in procession, 8;

placed in the theatre, 9.

His temples, 88, 89, 175, 368 ff.

His priest, 339.

Diphilus, ejected from the theatre, 345.

Distegia, the, 186.

Distribution, of the parts among the actors, 230 ff.

Dithyrambic contests, 6, 9, 24, 39, 53, 56, 65.

Doors, from stage to orchestra, 115, 124, 153.

Into the parodoi, 125.

In the back-wall, 125, 134, 189.

In the back-scene, 188.

From the side-wings, 189, 191.

Regulations about the doors on to the stage, 190, 194.

Dorian Mode, the, 320.

Dörpfeld, on date of first stone theatre at Athens, 83, 87.

On Lycurgus’s work, 87, 88, 114.

On the oldest stage-buildings, 113, 114, 117.

On date of first important reconstruction, 114, 119.

On the character of this reconstruction, 119.

On date of stone proscenium at Athens, 131.

His theory of the Greek stage, 144 ff.

Contradicted by Vitruvius, 145 ff.;

by other ancient authorities, 148 ff.

Inconsistent with the archaeological evidence, 150 ff., 171.

Arguments in favour of, 158 ff.

Early literary evidence against, 165 ff.

Evidence of the extant dramas concerning, 166 ff.

The reason for the stage, 170.

Drawers, worn by the satyrs, 294.

Drop-scene, the, 218.

Duets, between actors, 268.

Eisodoi, 112.

Ekkyklema, the, character of, 201 ff., 205.

Instances of in the extant dramas, 203 ff., 206 ff.

Recent theories about, 205, 208.

Eleusis, dramatic performances at, 29.

Eleutherae, statue of Dionysus at, 8.

Eleuthereus, title of Dionysus, 6, 8.

Emmeleia, the, 317.

Encores, 344.

Entrances. _See_ Doors (above).

Ephebi, receive their shields and spears in the theatre, 178.

Their seats, 337.

Epicharmus, date of, 20.

Epidaurus, theatre at, its symmetry of shape, 92.

Auditorium in, 93.

Chief seats in, 95.

Passages in, 97.

Size of, 100.

Date of, 104, 119.

Orchestra in, 105, 143, 157.

The gutter, 107.

The altar, 108.

Gates, 110.

The hyposkenion, 123-5, 154.

Side-wings, 125.

Ramps, 125.

Epiparodos, the, 305.

Eretria, theatre at, 89.

The orchestra, 107.

Tunnel in, 109.

Stage-buildings at, 119, 120, 121, 151, 165.

Stage in, 122, 132.

Side-wings, 125.

Date of proscenium, 130.

Eubulus, entrusts his plays to Philippus, 52.

Eudemus, helps in construction of theatre, 87.

Eumenes, portico of, 175.

Euphorion, produces plays of Aeschylus, 73.

Eupolis, entrusts one of his plays to Demostratus, 52.

Euripides, his Alcestis, 12, 13.

His Medea, Hippolytus, and Troades, 12.

Defeated by Xenocles, 12, 35;

by Nicomachus, 35.

His Iphigeneia in Aulis and Bacchae, 12, 76.

Reproduction of his tragedies in later times, 18, 76.

Exhibits a new tragedy at the Peiraeeus, 29.

Number of his victories, 34.

Exhibits at an early age, 51.

His relation with Cephisophon, 57.

Trains his own choruses, 62.

Text of his plays, 74.

His popularity, 71.

His statue in the theatre, 176.

Scenery in his plays, 183, 184.

His use of the deus ex machina, 216.

Often introduces children on the stage, 237.

Character of his tragedies, 254.

His choruses, 285-7.

Adopts the new style of music, 321.

Predicts the speedy popularity of Timotheus, 322.

Charged with writing immoral plays, 327.

His Melanippe, 346;

his Danaë, 346.

Eurycleides, his statue in the theatre, 176.

Evegorus, law of, 23.

Exodoi, not usually accompanied with dances, 316.

Exostra, the, 209.

Extra performers, 235 ff.

Fig-branch, the, 210.

Files, in choruses, 298.

Flute, the, regularly used in the Greek drama, 270.

Flute-players, how assigned, 56.

Paid by the choregus, 63.

Number of, 270.

Costume of, 271.

Position of during the performance, 271.

Foreigners, their seats, 337.

Furies, chorus of, 291.

Its mode of entrance, 302.

Gates, leading to the orchestra, 110.

Generals, their seats in the theatre, 336.

Gerarae, the oath of, 371, 375.

Gestures, most important in the Greek drama, 276.

Restrained in character, 277.

Ghosts, on the Greek stage, 168, 217.

Girdles, part of the tragic costume, 250.

Gladiatorial contests, in the theatre, 102, 178.

Gods, manner of their appearance on the ancient stage, 215 ff.

Graeco-Roman theatres, character of, 127, 133 ff.

Use of orchestra in, 136.

Inconsistent with Dörpfeld’s theory, 163.

Guild, the Actors’, 278 ff.

Gutters, in the orchestra, 102, 106, 107.

Hadrian, statues of in the Athenian theatre, 176.

Harp, the, occasionally employed in the Greek drama, 270.

Harp-players, their number, costume, and position during the

performances, 270, 271.

Hats, worn by the spectators, 342.

Head-coverings, for the actors, 251.

Hemichoria, 307, 319, 320.

Hemikyklion, the, 218.

Hemistrophion, the, 218.

Hermon, the actor, 284, 344.

Himation, the, 250.

Horace, his reference to the Greek stage, 144, 150.

Horses, in the theatre, 201.

Hypodidaskalos, the, 62.

Hypokrites, use of the word, 220.

Its derivation, 226.

Hypophrygian Mode, the, 321.

Hyporchemata, 307, 316, 317.

Hyposkenion, the, 123 ff.

Iambics, tetrameters, given in recitative, 269.

Iambic trimeters, spoken without musical accompaniment, 267.

Rarely sung, 267.

Icaria, dramatic performances at, 29.

Ikria, the, 83, 84, 87.

Inscriptions bearing on the drama, 352 ff.

Iobaccheia, 375.

Ion of Chios, his remark about virtue, 13.

His present to the Athenians, 70.

Ionic Mode, the, 321.

Iophon, exhibits plays of his father Sophocles, 51.

Judges, in the dramatic contests, their number, 31.

Mode of selection, 32 ff.

The process of voting, 33.

Value of their verdicts, 34 ff.

Sometimes corrupted and intimidated, 35.

Afraid of the audience, 37.

Their seats, 336.

Kataloge, 268.

Katatome, the, 90.

Keraunoskopeion, the, 218.

Kerkides, the, 98.

Assigned to particular tribes, 337.

Klepsiambos, the, 269.

Knights, chorus of, 296.

Kolpoma, the, 252.

Kommos, the, 268.

Accompanied by dances, 316.

The kommos in the Persae, 318.

Konistra, the, 101.

Kordax, the, 318.

Kraspeditae, the, 300.

Krepis, the, 248.

Laurostatae, the, 170, 300.

Lenaea, the, not part of the Anthesteria, 5, 6, 372 ff.

Compared with the City Dionysia, 6, 7, 27.

Meaning of the name, 24, 376.

Date of, 25.

Where celebrated, 25, 83, 368 ff.

General character of, 25, 26.

Tragic contests at, 25, 26 ff.

Comic contests at, 26, 27.

Actors’ contests at, 41.

Managed by the archon basileus, 49.

Lenaeum, the, 24, 25.

Site of, 368 ff.

Wooden theatre at, 83, 84.

Lenaeus, title of Dionysus, 24, 372, 376.

Lessee, the, 334.

Licymnius, the actor, victorious in the Propompi, 43.

His voice, 273.

Limnaeus, title of Dionysus, 372, 373.

Logeion, the, 117, 163.

Not the same as the theologeion, 164.

Lucian, ridicules the tragic actors, 254, 273.

Lycurgus, the orator, his law concerning the Anthesteria, 31.

Institutes dithyrambic contests at the Peiraeeus, 39.

His law for preserving the text of the great tragic poets, 74.

Completes the theatre, 87.

Puchstein’s theory of, 87, 88, 130 ff.

Maeniana, 187.

Magna Graecia, theatres of, 127, 133, 155 ff.

Magnesia, theatre at, its shape, 93.

Tunnel in, 109.

Market-place, the, suggested site of the Lenaeon, 25, 377.

Dramatic performances at, 83.

Marshes, the, temple in, 24, 368 ff.

Site of, 368 ff.

Masks, invention of, 238, 242.

Results of the use of, 242, 243.

The tragic mask, 244, 245.

The mask of Silenus, 256.

The masks in the Old Comedy, 259, 260;

in the New Comedy, 262 ff.

The masks of the tragic chorus, 291;

of the satyric chorus, 292;

of the comic chorus, 295.

Mechane, the, character of, 209 ff.

Instances of the use of, 211 ff.

Relation to the theologeion, 213 ff.

Megalopolis, theatre at, chief seats in, 95.

Size of, 100.

The orchestra in, 105, 106.

The gutter, 107.

Date of, 119.

Stage in, 121, 122, 125.

No door in hyposkenion, 124, 154.

Date of proscenium, 130.

Stage-buildings in, 137.

Skanotheka and scaena ductilis in, 160 ff.

Meidias, corrupts the judges, 35.

Assaults Demosthenes, 324.

Interferes with Demosthenes’ chorus, 117, 279.

Meletus, his Oedipodeia, 18.

Menander, reproduction of comedies of, 22.

Defeated by Philemon, 36, 345.

His statue in the theatre, 176.

Retains the chorus, 288.

His desire for distinction as a dramatist, 326.

Miltiades, his statue in the theatre, 176.

Mitra, the, 251.

Mixolydian Mode, the, 320.

Modes, the, 320, 321.

Monodies, 268.

Mummius, 175.

Music, in the Greek drama.

The instruments employed, 269, 270.

Number of musicians, 270.

General character of, 319 ff.

The Modes, 320, 321.

Deterioration of Greek Music during the fifth century, 321.

Musical instruments, in the Greek drama, 269, 270.

Musicians, in the Greek drama, 270.

Mute characters, 63, 235, 236.

Mynniscus, actor of Aeschylus, 57, 227, 282.

Calls Callippides an ape, 277.

Neoptolemus, the actor, 273, 279, 281, 283, 284.

Nero, competes in the tragic contests, 273.

Nicias, as choregus, 37, 66.

Nicostratus, the actor, 269.

Obelisks, on the stage, 200.

Odeion, the, used for the Proagon, 67.

Of Pericles, 175.

Formerly used for performances by rhapsodists and harp-players, 177.

Okribas, the, 118.

Onkos, the, 244.

Orange, theatre at, 135.

Orchesis, 312.

Orchestra, the, importance of, 80, 81.

In Roman theatres, 82.

In the market-place, 83.

The old orchestra in the Athenian theatre, 84.

Names of, 101.

The orchestra in the stone theatre at Athens, 102.

Comparison of Greek and Roman orchestras, 104.

Not always a complete circle, 106.

Passages round, 106.

The gutter, 102, 106, 107.

Floor of, 107.

Altar in, 107.

Subterranean passages in, 103, 109.

Entrances into, 110 ff.

Use of in Romanized Greek theatres, 135, 136.

Hermann’s theory concerning, 141.

Book-shops in old orchestra, 377.

Oropus, theatre at, chief seats in, 96.

Proscenium at, 125, 130, 152, 153.

Stage-buildings in, 151.

Orphans, paraded in the theatre, 68.

Have the proedria, 336.

Ovid, his advice to lovers, 312.

Pantacles, the poet, 56.

Parabasis, delivered partly in recitative, 269.

Disappearance of, 287.

Position of the chorus during, 304.

Parachoregemata, 235 ff.

Parakataloge, 268.

Paraskenia, 117, 235, 379 ff.

Parastatae, the, 301.

Parmenon, the actor, 284.

Parodoi, 112, 194.

Parodos, or entrance song, 302.

The second parodos, 305.

Given by the whole chorus, 306.

Generally accompanied with dancing, 315.

Passages, in the auditorium, 97, 98.

Under the orchestra, 103, 109.

Round the orchestra, 106.

Into the orchestra, 110 ff., 194.

Patara, theatre at, 136.

Peiraeeus, the, dramatic performances at, 29.

Shape of theatre at, 93.

Passages in, 97, 98.

The orchestra, 105, 106.

The gutter, 107.

Date of proscenium, 130.

Pergamon, theatre at, 137, 159.

Perge, theatre at, partially Romanized, 135.

Periaktoi, the, 197 ff.

Phaedrus, stage of, 88, 115.

Phallus, the, worn by comic actors, 257-9;

by the satyrs, 294.

Pherecrates, censures the music of Timotheus, 321.

Philemon, reproduction of comedies of, 22.

Defeats Menander, 36, 245.

Retains the chorus, 288.

Philippus, son of Aristophanes, 52.

Philocles, writes a Pandionis, 17.

Philonides, exhibits plays of Aristophanes, 21, 52.

Not an actor, 59.

Phlya, dramatic performances at, 30.

Phlyakes, their performances, 155 ff., 257.

Phrygian Mode, the, 320.

Phrynichus, called a dancer, 61, 314.

His Capture of Miletus, 71.

Introduces female masks, 242.

Skilful in inventing new dances, 314.

Pinakes, 122, 123, 127, 130.

Pisistratus, 11.

Plato, the philosopher, writes a tetralogy, 18.

His opinion of Attic audiences, 38, 344, 347.

Would exclude actors from his ideal state, 274.

Praises the tragic dance, 317.

Disapproves of the kordax, 318.

His remarks about the drama in connexion with boys and women, 326.

Plato, the poet, sells his comedies, 51.

His remarks on the decline of choral dancing, 314.

Pleuron, date of proscenium, 130.

Plutarch, his description of Greek dancing, 313.

His remark about music, 319.

Pnyx, the, disused as a meeting-place for popular assemblies, 178.

Poets, influence of, 4.

Number of, at the different dramatic contests, 12, 19, 20, 25.

Age of, 50, 51.

Produce plays in other persons’ names, 51, 52.

Originally also stage-managers, 51, 61.

How assigned to the choregi, 55, 56.

Act in their own plays, 227.

Tragic, at the Dionysia, 362.

Comic, at the Dionysia, 363;

at the Lenaea, 364.

Police, in the theatre, 343.

Polus, the actor, his salary, 281.

Stories about, 283.

Polycleitus, architect of the Epidaurian theatre, 104.

Polyphradmon, his Lycurgean tetralogy, 12.

Poplar, the, near the old theatre, 83.

Portico, in the auditorium, 99.

At Delos, 139.

In the fourth century at Athens, 175.

Of Eumenes, 175.

Posidippus, reproduction of his plays, 22.

Praecinctiones, 98.

Pratinas, number of his plays, 11.

Competes with Aeschylus, 11.

Called a dancer, 61, 314.

Complains of the flute-players, 320.

Price of admission, two obols, 330.

Granted by the state to needy citizens, 330 ff.

Priene, theatre at, altar in the orchestra of, 108.

Stage in, 121.

Doors in hyposkenion, 124.

Chief seats in, 96.

Proscenium in, 125.

Priestesses, their seats, 335, 341.

Priests, their seats, 335, 338 ff.

Privileges, enjoyed by actors, 278 ff.

Prizes, for choregi, 39, 69.

For poets, 39, 69.

Proagon, the, 67.

Probole, the, 70.

Production, of a play, 49 ff.

Concealment of the poet’s name, 51 ff.

Formerly managed by the poet himself, 51.

Posthumous production of plays, 74.

Proedria, the, 335.

Conferred on priests, 335;

on archons and generals, 336;

On various other persons, 336.

Prologue, the, 302.

Proskenion, the, 118, 122 ff.

Protagonist, his importance, 42, 230.

Parts taken by him, 232, 233.

Protostatae, the, 301.

Ptolemy, the Third, a collector of manuscripts, 75.

Puchstein, on date of first stone theatre at Athens, 83, 87, 130 ff.

On Lycurgus’s work, 87, 88, 130 ff.

On the oldest stage-buildings, 113, 114, 117, 130 ff.

On date of first reconstruction, 114, 119, 130 ff.

On character of this reconstruction, 119, 130 ff.

On pinakes, 123, 130.

On date of stone proscenium, 130 ff.

On date of stone auditorium, 131, 132.

On stage in fifth century, 132.

Pulpitum, meaning of the word, 150.

Puppet shows, in the theatre, 178.

Quintilian, his statement about Aeschylus, 73.

His comparison of the orator and the dancer, 312.

Ramps, in the stage-buildings, 125.

Ranks, in choruses, 298.

Recitative, how far employed in the Greek drama, 268 ff., 305.

Records, of dramatic contests, 44 ff., 352 ff.

Erected in or near the theatre, 176.

Refrains, 321.

Refreshments, in the theatre, 341.

Religion, its connexion with the drama, 1 ff., 328.

Reproduction, of old tragedies, 72 ff.

Of old comedies, 22.

Of plays at the Rural Dionysia, 29, 30.

By the actors, 43, 74.

Almost unknown during the fifth century, 74.

Favourite tragedies in later times, 75, 76.

On the Vitruvian stage, 129.

Revision, of plays, 71.

Robert, theory of the stage, 173.

Romanization, of Greek theatres, 133 ff.

Often only partially carried out, 135.

Dörpfeld’s theory concerning, 162 ff.

Roof, over the stage, 118, 135.

Rural Dionysia, the, 6, 29, 30.

Old plays at, 43.

Sagalassos, theatre at, partially Romanized, 135.

The stage, 135.

Salamis, dramatic performances at, 29.

Salaries of the actors, 281.

Sannio, the chorus-trainer, 62, 279.

Satyric drama, at the City Dionysia, 11.

Its relation to tragedy, 16.

Decline in the importance of, 18.

Number of actors in, 224.

Costume of actors in, 225.

Size of the chorus in, 256.

Origin of the satyric chorus, 289.

Costume of the satyric chorus, 292 ff.

The satyric dance, 318.

Satyrus, the actor, 76.

Scaena ductilis, supposed use of at Megalopolis, 161.

Character of, 199.

Scene-painting, invention of, 181.

Character of in ancient times, 183 ff.

Scenery, occasionally supplied by the choregus, 64.

Simple in character, 179.

Gradual introduction of, 179 ff.

Inventor of, 181.

Number of scenes not large, 182, 183.

Character of ancient scene-painting, 183 ff.

Mechanical arrangements for the scenery, 186 ff.

Entrances to the stage, 188 ff.

Regulations concerning the entrances, 190.

Changes of scene, 195 ff.

The periaktoi, 197 ff.

Stage-properties, 199.

The ekkyklema, 201 ff.

The exostra, 209.

The mechane and theologeion, 209 ff.

Various contrivances, 217.

Sea-fights, in the orchestra, 103.

Seats, the, originally of wood, 81.

In the Athenian theatre, 94 ff.

For distinguished persons, 94, 100.

Price of, 330.

Distribution of, 334 ff.

Segesta, stage at, 132.

Shepherds, their costume on the stage, 251.

Sicyon, theatre at, the orchestra in, 106.

The gutter, 107.

Tunnel in, 108.

The stage-buildings, 120, 151.

The stage, 125.

Ramps in, 125.

The proscenium, 130.

Side entrances, on to the stage, 191 ff.

To the orchestra, 110 ff., 194 ff.

Side-wings, in the Athenian theatre, 113, 114.

Called paraskenia, 117.

Various shapes of, 125.

At Delos, 139.

Entrances from, 191 ff.

Sigma, the, 101.

Sikinnis, the, 318.

Sileni, their relation to satyrs, 292 ff.

Silenus, his costume, 256.

His relation to the satyrs and Sileni, 295.

Simylus, the actor, 30, 275.

Skanotheka, at Megalopolis, 160.

Skene, origin of the term, 80.

Various meanings of, 141.

Slaves, admitted to the theatre, 325, 329.

Sleeves, in the tragic costume, 250.

Soccus, the, 266.

Socrates, the actor, 30, 275.

Socrates, his behaviour during the performance of the Clouds, 260.

Solos, by actors, 268.

Song, used in lyrical passages, 268, 305.

Soothsayers, their costume on the stage, 251.

Sophocles, competes with Euripides, 12.

Abandons the practice of writing tetralogies, 17.

Number of his victories, 28, 34, 46.

Defeated by Philocles, 35, 40.

Never third in a contest, 40.

Refused a chorus by the archon, 50.

Exhibits at an early age, 51.

Entrusts plays to his son Iophon, 52.

His actor Tlepolemus, 57.

Writes for the actors, 57, 229.

Appears occasionally upon the stage, 62, 227.

His conduct at the death of Euripides, 67.

The text of his plays, 74.

Popular tragedies of, 76.

His statue in the theatre, 176.

Said to have invented scene-painting, 181.

Scenery in his plays, 182.

Introduces a third actor, 224.

Prevented from acting by the weakness of his voice, 227.

Invents the krepis, 248;

and the curved staff, 252.

His choruses, 285, 286.

Increases the size of the chorus, 289.

Appointed general, 346.

His popularity, 347, 348.

Speech, used in the delivery of iambic trimeters, 267, 305.

Sphyromachus, his regulation about the seats, 327.

Staffbearers, 343.

Stage, the, original form of, 80.

History of in the stone theatre at Athens, 113 ff.

Names for, 118, 163.

In early times, 118 ff.

In the pre-Roman period, 130 ff.

Puchstein’s theory of, 132 ff.

In theatres of the Roman period, 133 ff.

At Megalopolis, 137.

At Delos, 138.

Wieseler’s theory of, 140 ff.

Gradual development of, 144.

Dörpfeld’s theory of, 144 ff.

Literary evidence for the later stage, 145 ff.

Archaeological evidence for the later stage, 150 ff.

Dörpfeld’s arguments against the later stage, 158 ff.

Development of the Roman stage from the Greek, 162 ff.

Literary evidence for the early stage, 165 ff.

Evidence of the extant dramas concerning, 167 ff.

The reason for the stage, 170.

Varies in height at different periods, 171.

Various theories concerning, 172 ff.

Occasionally used by the chorus, 169.

Stage-buildings, the, origin of, 80.

History of in the stone theatre at Athens, 112 ff.

Puchstein’s view of, 113, 114, 117, 130 ff.

In early times, 116 ff.

In the pre-Roman period, 126.

In theatres of the Roman period, 133 ff.

At Pergamon, 137.

At Megalopolis, 137.

At Delos, 138.

The space behind the proscenium, 151.

Stage-properties, 199 ff.

Stasima, movements of the chorus during, 303.

Delivered by the whole chorus, 306.

Accompanied with dancing, 315.

Statues, in the theatre, 176.

On the stage, 200.

Statuettes, of comic actors, 258.

Steps, between orchestra and stage, 129, 148, 149, 156.

Charon’s, 217.

Stropheion, the, 218.

Sword-swallowers, in the theatre, 178.

Synchoregia, the, 54.

Syracuse, theatre at, 89.

Syrtos, the, 250.

Tablets, erected by the choregi, 44.

Taureas, assaulted by Alcibiades, 66, 343.

Tauromenium, theatre at, 127.

Telestes, dancer employed by Aeschylus, 312.

Dances the Seven Against Thebes, 317.

Temples, of Dionysus, 88, 89, 175, 368 ff.

Termessos, theatre at, 93.

Partially Romanized, 135.

The stage, 135.

Door in the back-wall, 154.

Tetralogies, 12, 13 ff.

Meaning of the term, 13.

Invention of, 14.

Character of, 14.

Disuse of, 17.

Text, of old plays, officially preserved, 74.

Theatre, the Greek, general character of, 79.

Originally of wood, 80.

Importance of the orchestra in, 81.

Compared with the Roman, 82.

Site of the old wooden theatres, 82-4, App.

Seldom faces the south, 89.

Shape of the auditorium, 90.

Passages in, 97.

The orchestra, 101 ff.

The eisodoi, 110 ff.

The stage-buildings and stage in early times, 113 ff.;

in pre-Roman times, 120 ff.;

in Roman times, 133 ff.

Reasons of changes in, 127.

Use of orchestra in later times, 136.

Exceptional stage-buildings, 137 ff.

Wieseler’s theory of the stage in, 146 ff.

Dörpfeld’s theory of the stage in, 144 ff.

Other theories of the stage, 172 ff.

Acoustic properties of, 174.

Theatre, of Dionysus at Athens, first permanent erection at, 83 ff.

Remains of the fifth century theatre, 83, 84.

Compared with that of later times, 85.

Date of the stone theatre, 86, 87.

Later history of, 87, 88.

Site of, 88.

The auditorium, 90 ff.

The orchestra, 101 ff.

The stage-buildings, 113 ff.

Statues and monuments in, 176.

Various uses of, 177, 178.

Buildings near, 175.

Themistocles, victorious in a dramatic contest, 45.

His statue in the theatre, 176.

Theodectes, engages in thirteen contests, 19.

Victorious at the Lenaea, 26.

Rhetorician as well as poet, 62.

Theodorus, the actor, always delivers the first speech in a tragedy,

231.

Excellence of his voice, 274.

Stories about him, 283.

Theognis, the tragic poet, 73.

Theologeion, the, character of, 213 ff.

Its relation to the mechane, 213.

Not identical with the logeion, 126, 164.

Theoric money, 330 ff.

Thersilion, the, at Megalopolis, 137, 160.

Thesis, 311.

Thespiae, theatre at, 124, 154.

Thespis, the inventor of tragedy, 5, 80.

His first victory, 11.

Called a dancer, 61, 314.

Acts in his own plays, 227.

His use of masks, 242.

Thessalus, the actor, 283, 284.

Thoricus, theatre at, 30, 85.

Thrasyllus, his dream, 43.

Thrones, in the Athenian theatre, 94.

Throne of the priest of Dionysus, 336.

Thymele, in the early theatres, 80.

In the stone theatres, 107.

Various meanings of the word, 108, 142.

Wieseler’s theory concerning, 142 ff.

Tickets, of admission to the theatre, 332 ff.

Timotheus, author of the new style of music, 321.

Tlepolemus, actor of Sophocles, 57, 282.

Tombs, on the stage, 200.

Tragedy, first institution of contests in, 5, 11, 25, 356.

At the City Dionysia, 11 ff.

Reproduction of old tragedies, 19, 72.

At the Lenaea, 25, 26, 356.

Number of actors in, 222 ff.

Costume of actors in, 237 ff.

Decline of the chorus in, 286 ff.

Size of the chorus in, 288 ff.

Costume of the chorus in, 290.

The tragic dance, 316.

Training, of the chorus, 60 ff.

Tralles, theatre at, tunnel in, 110.

Steps in, 167.

Tribes, the Attic, dithyrambic contests between, 10.

Have no connexion with the dramatic contests, 10.

Certain blocks in the theatre appropriated to them, 337.

Tribute, displayed at the City Dionysia, 68.

Trilogies, 13, 14.

Trios, between actors, 268.

Tripods, the prizes in the dithyrambic contests, 39.

Tritagonist, the, 233.

Tritostatae, the, 300.

Trochaic tetrameters, given in recitative, 269.

Tunic, of tragic actors, 250.

Of satyric actors, 256.

Tunnels, under the orchestra, 103, 109, 110.

Turban, worn by Darius, 252.

Tyndaris, stage at, 132.

Vitruvius, his advice about sites of theatres, 89;

about the shape of the auditorium, 93.

Description of the Greek and Roman orchestra, 105;

of the Greek and Roman stage, 146, 163, 164.

Dörpfeld’s views about, 145 ff.

On scene-painting, 181 ff.

Voice, importance of in the Greek drama, 272.

Its strength more regarded than its quality, 273.

Training of the voice, 274.

Wieseler, his theory of the Greek stage, 140 ff.

Windows, in the back-scene, 188.

Women, admitted to the theatre, 324 ff.

Their seats, 337.

Xenocles, defeats Euripides, 12.

Zeno, his remark about actors, 273.

ADDENDA ET CORRIGENDA

Transcriber’s Note: The footnote numbers in this e-text are given in

[square brackets].

Page 21, note 1, _for_ C.I.G. _read_ the Roman inscription I.G. [72]

Page 26, l. 25, _for_ It was doubtless.... But they must _read_ It is

therefore possible that it was at this festival that comic contests were

first regularly organized. If so, they must

Page 27, note 1, _add_: Wilhelm, however (p. 123), does not believe that

the first extant column of 977d was preceded by a lost column; and if he

is right, the list of victorious poets at the Lenaea only takes us back

at most to about 450 B.C. The question turns partly on the reconstruction

of the original heading of this part of the inscription; it must, I

think, be regarded as still an open one, and with it, the question of the

date of the first comic contests at the Lenaea. [98]

Page 41, note 3, _for_ xx. _read_ iv. [168]

Page 48, note 4, _add_: According to Wilhelm, p. 257, Körte has proved

that the Νῖκαι of Aristotle is the direct source, not of C. I. A. ii.

971, but only of C. I. A. ii. 977. I have not yet been able to obtain

Körte’s paper: but I see no reason to doubt that 971 also has an

Aristotelian basis, even if that basis be not the Νῖκαι. [192]

Page 51, note 2, _add_: Menander also ἐδίδαξε πρῶτον ἔφηβος ὤν (Anon. de

Com.: Kaibel, Com. Fr. p. 9). [198]

Page 54, note 5, _add_: [Capps, however, points out (Amer. Journ. Arch.

iv. p. 85) that Plutarch does not date precisely Nicanor’s acceptance of

the office: and that C. I. A. iv. 2. 584 b mentions choregi in the year

317-316.] [218]

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[932] Athen. p. 628 E εἰ δέ τις ... ταῖς ᾠδαῖς ἐπιτυγχάνων μηδὲν λέγοι