Menandro in scenam dictavit, certavitque cum eo, fortasse impar, certe
aemulus. namque eum etiam vicisse saepenumero, pudet dicere. reperias
tamen apud ipsum multos sales, argumenta lepide inflexa, agnatos lucide
explicatos, personas rebus competentes, sententias vitae congruentes,
ioca non infra soccum, seria non usque ad cothurnum. _rarae apud illum
corruptelae_, et, uti errores, concessi amores. nec eo minus et leno
periurus et amator fervidus et servulus callidus et amica illudens
et uxor inhibens et mater indulgens et patruus obiurgator et sodalis
opitulator et miles proeliator; sed et parasiti edaces et parentes
tenaces et meretrices procaces. Apul. _Flor._ 16.
[332] A curious instance of this feeling is his often-expressed opinion
that animals are happier than men. Cp. _Incert._ 3, 4, 8, etc.
[333] Cp. _inter alia_ Apul. _Flor._ 16.
[334] Among many expressions to this effect, we need only mention that
of Quintilian: atque ille quidem (_sc._ Menander) omnibus eiusdem operis
auctoribus abstulit nomen et fulgore quodam suae claritatis tenebras
obduxit. _Inst._ x. 1, 72.
[335] To take an instance from modern times. M. Daudet is said to have
written his _Sappho_ with the expressed object of showing that he, too,
could produce a work which could not be left lying about. Similarly,
M. Zola may be imagined to have produced _La Rêve_, in order to prove
that even he could be decent if he tried. But any attempt to judge of
the general character of these authors by the two books mentioned would
be obviously futile. In like manner, in the case of Philemon, one has
to consider how much of the romantic element in his comedies is due to
conviction, and how much to a desire to show that romantic love-stories
were a game two could play at.
[336] Platon. _de Com._ p. 30. _ad fin._ The passage distinctly suggests
that these ninety-seven plays were not all that Philemon actually wrote.
σώζεται δὲ αὐτοῦ (Φιλήμονος) δράματα ἑπτὰ πρὸς ἐνενήκοντα. Μένανδρος ...
γέγραφε δὲ πάντα δράματα ρη΄.
The view that the total number of his plays was greater than ninety-seven
seems to acquire further probability from the fact that he lived
well-nigh twice as long as Menander, and continued to write up to the day
of his death. Cp. Apul. _Flor._ 16.—It need hardly be remarked that if
plays of Philemon were already lost in the time of Platonius, such plays
were, in all probability, Middle rather than New Comedies.
[337] I have reserved the detailed proof of this fact, and the similar
one concerning Menander, for another place, in order that the sequence of
the argument may not be disturbed. _Vide_ Excursus. [This Excursus does
not appear to have been written.]
[338] It is hard to speak so positively of Philemon if, as is probable,
he was merely the imitator and rival of Menander in this respect; but,
of course, if it be granted that his romantic plays are subsequent to
Menander’s introduction of the subject, it is a matter of indifference
for the present argument whether he afterwards reverted to the older
style or not.
[339] [_Supra_, p. 107 _seqq._]
[340] The Scholiast here, and others, go so far as to assert that
Theocritus was a pupil of Asclepiades as well as of Philetas.
[341] Φιλητᾶς ... ὢν ἐπί τε Φιλίππου καὶ Ἀλεξάνδρου. Suidas _s.v._
[342] Cp. _Anth. Pal._ xii. 46.—The fact that Asclepiades was tired of
life at twenty-one is, of course, no proof that he died early. Many
people, especially poets, who were very anxious for death in their youth,
have developed a wonderfully tenacious hold upon life as they grew older.
[343] Cp. _Anth. Pal._ ix. 63; _supra_, p. 113.
[344] The fact that Menander called one of his plays _Samia_, a title
which had not been used since the time of Anaxandrides, is one of those
interesting coincidences that prove nothing at all.
[345] Ὑσμίνῃ παρθένῳ τῇ θυγατρὶ Σωσθένης οἰνοχοεῖν ἐγκελεύεται· ἡ δὲ
ἀνεζώσατο τόν χιτῶνα, ἐγύμνωσε τὼ χεῖρε μέχρις ἀγκῶνος κ.τ.λ. Eumath. i.
8.
[346] ἔπιε μὲν οὖν ὁ Σωσθένης· οὐκ ἔπειθε γάρ με αὐτοῦ προπιεῖν. εἶτα καὶ
ἡ Πανθία (ἡ τῆς Ὑσμίνης μήτηρ) συνέπιεν· ἐμὲ δὲ τρίτον εἶχεν ἡ πόσις. id.
_ibid._
[347] καὶ πίνων τὸν πόδα θλίβω τῆς κόρης, πόδα κατεπιθεὶς τὸν ἐμόν· ἡ δὲ
σιγῶσα τῇ γλώττῃ, τῷ σχήματι λαλεῖ, καὶ λαλοῦσα σιγᾷ κ.τ.λ. id. iv. 1.
[348] “Und wie er (Euripides) in diesen alten Heroensagen die Liebe stark
in den Vordergrund gerückt hatte, so wurde namentlich das alte Märchen
von Perseus und Andromeda unter seinen Händen zu einem der glänzendsten
Beispiele ritterlicher Liebe, &c.” Rohde, _Der griechische Roman_, p. 33.
[349] The dirtiness of his clothes, &c., is made a great point of.
Cp. Hesych. περισχαδόν· τὸν ὑποκρινόμενον τόν Περσέα ὡς πτωχὸν καὶ
φθισίμορφον. This too lends force to Lucian’s ὠχρῶν ἁπάντων καὶ λεπτῶν
τῶν ἑβδομαίων ἐκείνων τραγῳδῶν. (_De Conscr. Hist._ 1, vol. 2, p. 2.
_Vide_ Nauck, _Trag. Frag._ pp. 392-3.)
[350]
Ἔρως γὰρ ἀργὸν κἀπὶ τοῖς ἀργοῖς ἔφυ;
φιλεῖ κάτοπτρα καὶ κόμης ξανθίσματα,
φεύγει δὲ μόχθους. ἓν δέ μοι τεκμήριον;
οὐδεὶς προσαιτῶν βίοτον ἠράσθη βροτῶν,
ἐν τοῖς δ’ ἔχουσιν ἡβητὴς πέφυχ’ ὅδε.
Eur. _Fr._ 322 (_Danae_).
Cp. Athen. vi. 270 C. Similar passages are very common—in fact, the view
may be said to be a universal one; it arises, of course, from that purely
sensual manner of regarding love, on which so much has already been
said. Indeed, those who have read the early Greek literature with any
attention, need perhaps hardly be reminded of how utterly foreign to the
Greek of Euripides’ day is the conception of the “galante Ritter” setting
out in search of ladies that want rescuing.
At the same time, it may not be amiss to emphasise a fact which, though
sufficiently obvious, is yet often ignored. The fact that the _Andromeda_
was looked upon as a romantic play some centuries later, even if it can
be proved, is no proof that it was intended as such by its author, or
so understood by its original audience. If Hermesianax could infer from
the _Odyssey_ that Homer was in love with Penelope, one may excuse the
contemporaries of Lucian if they inferred from Euripides that Perseus
was in love with Andromeda, but one need not necessarily regard their
inference as a true one.
[351] One naturally thinks of Odysseus and Nausicaa, of Menelaus in the
_Helena_ (427 _seqq._), &c.
[352] _Fr._ 129. The fact that this line was afterwards quoted ἐρωτικῶς
(vide Nauck, _ad loc._), is no proof that it had any such meaning in its
original context.
[353] _Fr._ 132. There is no real objection to putting this fragment
_after_ his encounter with the monster, as the words τὰ ἐχόμενα (_vide_
_Fr._ 129 Nauck) do not necessarily mean that it followed immediately
after _Fr._ 129.
[354] _i.e._ πρὸς Ὄλυμπον, a very natural remark when one considers the
manner of Perseus’ first arrival.
[355] _Fr._ 133. ἀλλ’ ἡδύ τοι σωθέντα μεμνῆσθαι πόνων.
[356] A very interesting parallel to this scene is furnished by the dream
of Medea (Apoll. Rhod. iii. 625 _seqq._); the resemblance is almost too
great to be merely accidental. There too, of course, it need hardly be
remarked, the initiative is on the side of the woman.
[357] [The reading λείπεις has considerable MS. authority, and is adopted
by the majority of editors; the author is contrasting it with λείποις,
the text of Dindorf, Nauck, and some others.]
[358] The MS. gives ουτοςετουταδικων (Bergk). Various readings of this
have been given. The present one is mine.
[359] ἀπιὼν rather than ἀπεὼν. Cp. Prop. iii. 25, 7: flebo ego discedens.
[360] Altogether the resemblance between these poems and the Παιδικά
of Theocritus is very marked. Even in the interesting passage (1367
_seqq._), where the love of a boy is actually contrasted with that of a
woman, the great charm of the former is said to lie not in κάλλος, but
in χάρις, just as in Theocr. xxx. 4. Whether this resemblance is due to
anything more than the similarity of subject is a difficult question,
which need not be discussed here.
[361] Similarly, I may add, if anyone cares to regard the epigrams
ascribed to Plato as genuine, he will find nothing in them but
confirmation of what has already been gathered from works of less
questionable authenticity.
[362] With comedy this is, of course, especially the case, for comedy
appeals, in the main, to a lower intellectual class than tragedy, and is
therefore compelled to be even more conservative.
[363] [Excursus G.: page 219.]
[364] Is it merely a coincidence that this pioneer of a love-element, of
a sort, in comedy, was a native of Colophon?
[365] The view that this erotic element was in no respect romantic, but
dealt purely with the sensual side of the matter, is supported by (1) its
inherent probability; (2) the absence of any evidence to the contrary,
not only in the fragments of this writer, but also in those of Antiphanes
and Alexis, who are known to have imitated him; (3) the epithet παμμίαρος
applied to Anaxandrides. (_Vide_ Meineke, _Com. Fr._ i. p. 369.) Though
the general sense of Suidas’ words seems plain, their exact meaning is
not so clear. Probably ἔρωτας refers to the introduction of ἑταῖραι and
their admirers, whose mutual struggles _de nocte locanda_ would then
provide the action of the play. The sense of παρθένων φθοράς is even
less evident; but the fact that it is mentioned specially, and after the
word ἔρωτας, certainly seems to imply that the φθορά formed the climax
of the action. In other words, the motive of the plot was the same as
in the previous case, with the exception that the woman in question was
a παρθένος instead of an ἑταίρα. If this were so, then these stories
would, of course, differ _toto caelo_ from those of the New Comedy,
where the φθορά is an act of unpremeditated indiscretion which has taken
place before the play begins, and is atoned for by the hero’s subsequent
behaviour.
[366] Cp. Xenarchus, _Pentathl._ 1, where the same idea is developed.
When one reads such lines as these, one is tempted to agree with
Aristophon, that “love had been exiled from heaven.” (_Pythag._ _Fr._ 2.)
[367] There is, of course, plenty of grumbling at marriage in the New
Comedy, but there the characters who give vent to it are the old men, who
belong to the previous generation, and whose relations with their wives
had consequently not come under the influence of romance.
[368] [This Excursus was originally written for the first Essay; the New
Comedy is discussed in the second Essay. See above p. 163.]
[369] [The author is following Meineke i. 404: the name “Amphis” is a
conjectural emendation in the latter passage.]
[370] Cp. _supra_, p. 227. This feeling is, of course, common enough; cp.
Alexis, _Manteis_, γυναιξὶ δοῦλοι ζῶμεν ἀντ’ ἐλευθέρων, κ.τ.λ.
[371] Plaut. Asin. i. 1, 53 _seqq._ (patres ut consueverunt, ego mitto
omnia haec, l. 64); _Bacch._ v. 2, 89 _seqq._ (hi senes, nisi fuissent
nihil iam inde a adulescentia, non hodie hoc _tantum flagitium_ facerent
canis capitibus, etc.) Of course, if anyone prefers to believe that these
apologies are due to the _Latin_ author, no one can very well contradict
him.
INDEX
A. OF AUTHORS AND SUBJECTS REFERRED TO.
[The references are to pages throughout. Where the discussion of a
subject is continued over several pages, only the first page is here
given. Plays are usually cited under their authors’ names.]
=Achilles=, and Briseis, 9;
and Patroclus, 40, 76;
and Iphigeneia, 63.
=Achilles Tatius=, 13, 78, 109.
=Actaeon=, 33.
=Admetus=, and Apollo, 13, 31, 90, 99.
=Aeschylus=, 41;
and Stesichorus, 42;
_Myrmidones_ of, 40, 82, 92.
=Ajax=, and Teucer, 76, 90, 99;
of Sophocles, compared to the _Antigone_, 99.
=Alcaeus=, the comic poet, 149.
=Alcaeus=, the lyric poet, 83.
=Alcestis=, 57, 99.
=Alciphron=, 146, 148.
=Alcman=, 22;
and Megalostrate, 23;
love-poems to boys, 24;
Parthenia, 24.
=Alexander= and the wife of Darius, 181.
=Alexandrian poetry=, distinctive feature of, 1, 69.
=Alexis=, _Agonis_ of, 156;
_Helene_ of, 161;
on marriage, 162;
on women, 224.
=Ameipsias=, 147.
=Amphis= on women, 227.
=Anacreon=, 26, 27, 86;
love-poems to women, 27;
importance for history of the romantic element, 28;
character of poems to boys, 86.
=Anaxandrides=, 154, 162;
on women, 213, 222.
=Andromache=, in the Iliad, 10;
as the ideal wife, 55, 64.
=Antiphanes= on women, 213, 219;
retort to Alexander, 152.
=Antimachus= 5, 107;
and Plato, 111;
and Catullus, 111;
influence on Asclepiades, 113, 197;
influence on Philetas, 113
(_vide s.v._ LYDE).
=Aphrodite=, and Anchises, 202;
as the rival of Artemis, 59;
treatment of Phaedra, 47.
=Apuleius=, 189.
=Archilochus=, 19, 82;
true motive of his satires, 21;
and Catullus, 22.
=Archippus=, _Ichthys_ of, 147.
=Ariadne=, 12, 14.
=Aristophanes=, 129;
weddings in, 132;
views on women, 134;
_Cocalus_ of, 135;
_Aeolosicon_ of, 143.
=Asclepiades=, 69;
Meleager’s criticism on, 73;
eulogy of Antimachus, 113;
probable influence on Menander, 196.
=Aspasia=, 127.
=Bacchylides=, 36.
=Battis=, 70.
=Boy-love=, in classical Greek literature, 74;
as an element of classical Greek society, 77;
as a military institution, 77;
as an emblem of liberty, 77;
purity of, 78;
development of, 79;
decay of, 79, 102;
permanent influence on literature, 80;
in the Anthology, 81;
in Archilochus, 82;
in Alcman, 24;
in Alcaeus, 83;
illustrated by Sappho, 85;
in Anacreon, 86;
in Theognis, 87, 207;
in the _Scolia_, 89;
in Attic tragedy, 91;
in Alexandrian poetry, 102;
in Meleager, 103.
=Brother= and sister, in Attic tragedy, 48, 101;
in the New Comedy, 245.
=Callias=, 147.
=Catullus=, 81.
=Chionides=, 122.
=Clytemnestra=, 42.
=Corinna=, 36.
=Crates=, 126, 128.
=Cratinus=, 126.
=Cratinus= junior, _Theramenes_ of, 151.
=Daphnis=, 14, 34.
=Deianira=, 43.
=Diphilus= on women, 241;
belongs really to Middle Comedy, 188.
=Diphilus= and Gnathaena, 128.
=Epicharmus=, 122.
=Epicrates=, _Antilais_ of, 73, 151.
=Eubulus=, on women, 214, 222;
_Campylion_ of, 155;
_Nannion_ of, 158.
=Eumathius=, 199.
=Euripides=, services to art, 50;
female characters, 50;
admiration for women, 51;
view of love, 52;
striking absence of love-element in, 52, 62, 63, 66;
why E. was not a “romantic” writer, 66;
E. and the Alexandrians, 53;
his misogyny, 51;
_Aeolus_ of, 38, 52;
_Andromeda_ of, 140, 203;
_Antigone_ of, 38;
_Chrysippus_ of, 93;
_Electra_ of, 65;
_Iphigeneia_ of, 63;
_Medea_ of, 66;
_Meleager_ of, 38;
_Phoenix_ of, 38;
_Protesilaus_ of, 57;
_Stheneboea_ of, 38.
=Ganymede=, 13.
=Goddesses=, preponderance of, in Greek Pantheon, 7;
in love with mortals, 13.
=Haemon=, motives for suicide, 44.
=Helen of Himera=, 33.
=Helen of Troy=, in the _Iliad_, 10;
in Stesichorus, 33;
and Theseus, 161.
=Hermesianax=, 14, 26, 110.
=Hesiod=, women in, 8;
Catalogus of, 12.
=Hetaera=, in early times, 19;
in Bacchylides, 36;
in Early Comedy, 128, 147, 148;
in Middle Comedy, 151, 215, 219;
treated as superior to a wife, 158;
in New Comedy, 175.
=Hippolytus=, defence of, 61.
=Ibycus=, 35.
=Iphigeneia=, 63.
=Jealousy=, Attic view as to, 43, 55.
=Lafaye=, _Catulle et ses modèles_, 20, 22.
=Lesbian Poets=, 83.
=Licymnius=, 36.
=Love=, early Greek views as to, 12, 17, 55, 64;
in Middle Comedy, 160;
in New Comedy, 169, 185;
in Menander, 184;
in Sophocles, 46;
in Euripides, 52.
=Love-element=, in the _Iliad_, 75;
in _Hymn. Hom._ iv., 201;
in Sappho, 85;
in choral poetry, 35;
in Attic Tragedy, 38, 91;
in Sophocles, 46;
in Euripides, 50;
in Eur. _Andromeda_, 203;
in classical Greek poetry in general, 67;
in Middle Comedy, 150;
in New Comedy, 163;
in Asclepiades, 70.
=Lyde of Antimachus=, 107;
importance of, 108;
characteristic tone of, 110.
=Lyric poetry=, subjective, 17;
choral, 31.
=Magnes=, 122.
=Mahaffy=, _Classical Greek Literature_, 20, 63.
=Marriage=, in Comedy, 109, 212, 216 (_vide s.v._ =Middle Comedy=,
=New Comedy=);
Sophocles’ view of, 43;
in Greek romance, 109;
in Menander, 170.
=Maximus Tyrius=, distinction between ancient and modern love, 54;
on Achilles and Patroclus, 76;
on Sappho and Socrates, 85;
on Anacreon, 87.
=Medea=, 12, 14, 66.
=Meleager=, criticism of Asclepiades, 73;
poem to Charidemus, 103.
=Menalcas=, 14.
=Menander=, 2;
great merit of, 164;
wrote plays belonging to Middle Comedy, 193;
introduced the romantic element into comedy, 188;
marriage characteristic of, 170;
view of love, 184;
father and children in, 185;
why elderly married men are treated by M. as unhappy, 173;
on women, 233;
_Leucadia_ of, 146;
_Misogynes_ of, 174;
_Misumenus_ of, 178;
_Sicyonius_ of, 180;
_Thais_ of, 177.
=Middle Comedy=, main features of, 150;
difference from Old Comedy, 125;
difference from New Comedy, 163;
women in, 210, 219;
women’s rights in, 243;
dislike of marriage, 158;
ridicules Platonic love, 160;
ridicules family life, 161;
parodies mythological erotic stories, 161.
=Miles Gloriosus= as the chivalrous lover, 180.
=Mimnermus=, 25;
and Nanno, 26;
mentioned by Roman poets, 27.
=Minos= and Zeus, 13.
=Morychis=, law of, 125.
=Myrtis=, 36.
=Nanno=, 26.
=Nausicaa=, 10.
=New Comedy=, 109;
ideal character of, 119;
difference from Middle Comedy, 163;
two common types of plot in, 165;
the married state described as a happy one, 171;
condemns adultery, 174;
only slaves ridicule Platonic love in, 185;
legal obligation to marry not urged in, 137;
women in, 233.
=Orestes and Pylades=, 101.
=Ovid=, 109.
=Pandora=, legend of, 8.
=Parthenius=, 15.
=Penelope=, 8;
and Odysseus, 10.
=Phaedra=, of Sophocles, 46;
illustrated from the Homeric Hymn to Aphrodite, 201;
of Euripides, 59.
=Pherecrates=, 125, 128.
=Philemon=, 142;
wrote plays belonging to Middle Comedy, 193;
more old-fashioned than Menander, 189;
on women, 240;
_Hypobolimaeus_ of, 144.
=Philetas=, 69;
influenced by Antimachus, 113.
=Philoxenus=, 36.
=Phocion= on marriage, 133.
=Phocylides=, 19.
=Pindar=, erotic legends in, 67.
=Plato=, 6;
in the _Hedychares_ of Theopompus, 149.
=Plato comicus=, 145.
=Plautus=, as imitating Middle Comedy, 157;
as illustrating New Comedy, 187;
and Menander, 234, 236;
_Captivi_ of, 155;
_Epidicus_ of, 183;
_Poenulus_ of, 185;
_Stichus_ of, 187.
=Poseidippus=, 26, 110.
=Reitzenstein=, _Epigramm und Skolion_, 25, 29, 34, 59.
=Rhadina=, 34.
=Rhianus=, poem to Dexionicus, 103.
=Rohde=, _der griechische Roman_, 75, 203.
=Romantic Element=, characteristic feature of, 4;
mistaken ideas as to, 2, 40, 106;
sudden appearance in literature, 69;
ditto, explained, 104;
origin among the Greeks, 105;
nature of in Greece, 108;
ditto, contrasted with mediaeval romance, 109;
in the Latin elegiac poets, 109.
=Sacred Band= of Epaminondas, 77.
=Sappho=, 85, 160;
and Phaon, 146;
and Sophocles, 45;
and Aeschylus, 45;
and Socrates, 85.
=Scolia=, 31, 89.
=Scylla=, legend of, 14.
=Simonides Amorginus=, 18;
and Hesiod, 18.
=Sophocles=, 43;
and Sappho, 45;
views on marriage, 45;
view of love, 46;
_Antigone_ of, 47;
_Colchides_ of, 38;
_Niobe_ of, 93;
_Oenomaus_ of, 38;
_Phaedra_ of, 38.
=Sparta=, 6, 24, 77.
=Stesichorus=, 33;
and Aeschylus, 42.
=Strato=, 81.
=Strattis=, 147.
=Susario=, 68.
=Telestes=, 37.
=Terence=, as illustrating New Comedy, 187;
and Menander, 233;
_Hecyra_ of, 170, 175.
=Theocritus=, poems to boys, 81, 83;
illustrative of Alcaeus, 83;
and Theognis, 208.
=Theognis=, 29, 87;
Book II., 207;
and Theocritus, 208.
=Theopompus=, 148;
_Hedychares_ of, 149.
=Theseus=, and Helen, 161.
=Wife=, Sophoclean ideal, 44;
Euripidean ideal, 55;
compared with Hetaera in Middle Comedy, 158;
ditto in New Comedy, 176;
tyranny of wives in Middle Comedy, 244.
=Women=, primitive position of, 7;
in the Homeric poems, 8;
in Hesiod, 8;
in the early legends, 11;
in the stories of Parthenius, 15;
early literary ideal of, 17;
in Simonides, 18;
in Phocylides, 19;
in Theognis, 29, 199;
in the _Scolia_, 31;
in Stesichorus, 33;
in Ibycus, 35;
in the later choral poets, 36;
in Attic tragedy, 40;
in Aeschylus, 41;
in Sophocles, 43;
in Euripides, 50;
in the early Alexandrians, 69;
in Asclepiades, 71;
in Greek comedy, 118;
in the Middle Comedy, 219;
in early New Comedy, 233;
better position in Asia, 182;
freemasonry among in Euripides, 58;
might be attacked openly by name, 151;
women’s rights in the Middle Comedy, 243.
B. OF PASSAGES EMENDED OR DISCUSSED.
Aeschylus, _Fr._ 135, 136 (92).
Alexis, _Graphe_ (225).
_Anth. Pal._ V. 164, 4 (73).
Antiphanes, _Acestria_, 3 (220).
Archilochus, _Fr._ 100 _seqq._ (20).
Aristophon, _Iatrus_, _Fr._ 2 (229).
Eubulus, _Campylion_ (155).
Euripides, _Hippol._ 1415, 1440 (206), _Fr._ 132 (205).
Hesiod, _Op._ 702 (19).
Martial XIV. 187 (177).
Mimnermus, _Fr._ 1 (25).
Philetaerus, _Atalanta_ (228).
Propertius II. 6, 3 (177).
Sophocles, _Ant._ 781 (46), 909 (49), _Fr._ 855, 13 (201).
Theognis, 261 _seqq._ (199), 1282, 1363 (208).
Theopompus, _Nemea_ 8 (148).
TABLE OF COMIC FRAGMENTS
In the text the fragments of the comedians are cited from Meineke’s
_Fragmenta Comicorum Graecorum_ (5 vols., 1839-57). In the following
table the corresponding numbers are given from Kock’s _Comicorum
Atticorum Fragmenta_ (3 vols., 1880-88). The fragments referred to which
do not appear in the table, can be found without difficulty in Kock’s
edition from Meineke’s numbers.
Author. Meineke. Kock.
=Alexis.= _Agonis_ 1 3
2 2
3 4
4 5
_Incert._ 14 282
18 279
26 293
31 271
34 262
35 267
38 289
39 302
40 339
53 314
_Isostas._ 1 98
_Mandragor._ 2 142
5 144
_Olynthia_ 1 162
2 159
_Tarantini_ 5 223
_Traumatias_ 2 234
=Amphis.= _Dithyramb._ 2 15
=Anaxandrides.= _Incert._ 1 52
5 56
9 60
10 61
13 78
17 68
_Odysseus_ 1 33
_Tereus_ 2 47
3 46
=Anaxilas.= _Incert._ 2 34
3 36
4 35
5 37
6 38
_Neottis_ 1 22
2 21
=Antiphanes.= _Acestria_ 1 20
_Aeolus_ 1 18
_Agroecus_ 2 2
_Arcas_ 2 41
_Dyspratus_ 1 89
_Incert._ 12 235
13 300
51 324
52 292
53 329
54 251
55 252
57 253
71 239
95 320
_Mystis_ 3 165
_Neanisci_ 2 167
_Neottis_ 3 170
_Omphale_ 3 178
=Araros.= _Caeneus_ 4 5
=Aristophanes.= _Cocal._ 2 347
3 346
4 348
5 349
6 351
7 350
10 354
12 355
_Daed._ 3 187
_Geras_ 5 141
6 140
7 142
_Pelargi_ 1 438
_Polyid._ 2 453
_Scen. Cat._ 1 472
2 864
3 862
_Thesmoph. B._ 26 { 338
{ 907
=Aristophon.= _Iatrus_ 2 3
_Pythagor._ 2 11
=Crates.= _Incert._ 3 _Cratinus_ 302
4 40
=Cratinus.= _Seriph._ 12 216
=Diphilus.= _Incert._ 2 87
6 91
16 101
33 115
34 136
47 129
_Zographus_ 1 44
=Ephippus.= _Philyra_ 2 21
3 23
=Eriphus.= _Meliboea_ 1 2
2 7
=Eubulus.= _Cercopes_ 1 54
_Campyl._ 1 44
2 43
3 41
4 42
5 45
6 46
_Incert._ 3 125
9 127
20 133
25 148
_Sphingocar._ 2 108
3 106
_Stephanopol._ 1 98
2 104
3 105
4 99
=Eupolis.= _Autolycus_ 10 44
=Menander.= _Andria_ 1 48
_Androgynus_ 2 57
_Arrephorus_ 3 66
_Chalceia_ 3 509
_Eunuchus_ 7 190
_Georgus_ 6 100
_Halieis_ 6 18
10 16
_Hiereia_ 2 546
_Incert._ 1 654
3 532
6 535
7 536
8 547-8
14 541
16 599
27 564-5
32 558
36 566
54 582
55 585
57 583
58 584
59 586
73 608
99 645
100 646
101 647
102 648
103 649
104 650
105 651
106 652
107 653
108 662
109 603
112 657
113 659
114 658
115 660
117 661
133 610
154 702
155 703
156 704
185 720
196 798
197 745
198 746
199 739
241 727
256 800
258 802
259 803
294 879
346 955
469 687
499 754
_Leucadia_ 1 312
_Misogynes_ 1 325
2 332
3 333
4 601
5 326
9 329
_Misumenus_ 3 338
5 336
6 337
7 335
8 345
10 341
11 342
12 343
_Nauclerus_ 4 352
_Orge_ 5 366
_Plocion_ 1 402
2 403
3 } 404
4 }
_Sicyonius_ 3 438
_Synaristosae_ 1 450
2 451
4 449
_Thesaurus_ 1 235
2 237
3 236
=Nicostratus.= _Pandrosus_ 1 21
2 19
3 20
=Pherecrates.= _Thalatta_ 2 56
3 52
4 51
5 54
7 53
=Philemon.= _Incert._ 3 89
4 88
8 93
31 124
32 126
35 139
44 132
49 138
64 156
76 169
77 170
78 171
85 177
95 190
103 196
105 198
106 239
124 218
=Philetaerus.= _Cynagis_ 1 9
2 6, 7
3 8
=Plato.= _Phaon_ 2 174
3 175
4 178
10 179
=Strattis.= _Maced._ 5 26
=Theophilus.= _Philaul._ 1 12
2 11
=Theopompus.= _Capelid._ 3 26
4 28
5 27
_Hedychares_ 3 14
4 16
_Odysseus_ 1 35
_Medus_ 2 29
=Timocles.= _Epist._ 1 10
_Icarii_ 1 17
2 14
=Xenarchus.= _Scythae_ 1 12