FOOTNOTES
[1] Dem. Androt. § 68, and schol. ad loc.; Meid. § 10, &c.
[2] Dem. Meid. §§ 51-3.
[4] C. I. A. iii. 240-384. Hesych. s.v. νεμήσεις θέας.
[5] Dem. Meid. §§ 8-10.
[6] Ibid. § 180.
[7] Ibid. § 178.
[8] See esp. Aristoph. Ran. 1008 ff., 1054 ff.; Plat. Rep. 598 D, E.
[9] Plut. Solon, p. 95 B. ἀρχομένων δὲ τῶν περὶ Θέσπιν ἤδη τὴν τραγῳδίαν κινεῖν, καὶ διὰ τὴν καινότητα τοὺς πολλοὺς ἄγοντος τοῦ πράγματος, οὔπω δὲ εἰς ἅμιλλαν ἐναγώνιον ἐξηγμένου κτλ.
[10] Aristot. Poet. c. v.
[11] For dramatic exhibitions in other parts of Greece, see The Tragic Drama of the Greeks, p. 436.
[12] Gilbert (Die Festzeiten der attischen Dionysien, 1872) and more recently Dörpfeld (Das griechische Theater, p. 9) have attempted to show that the Lenaea was only a part of the Anthesteria, and that the Anthesteria was only the Athenian counterpart of the Rural Dionysia. Gilbert was refuted by Schömann, Alterth. ii. 579-99. Wachsmuth, Abhandl. der Sächs. Gesell. der Wissensch. xviii. p. 33 ff., and Körte, Rhein. Mus., 1897, p. 168 ff., show that an inscription C. I. A. ii. 834 b proves that there must have been a considerable interval between the Lenaea and Anthesteria. It is an account of the sums expended by the ἐπιστάται Ἐλευσινόθεν in B.C. 329-328. In col. ii. 46 we read ἐπιστάταις ἐπιλήναια εἰς Διονύσια θῦσαι ΔΔ; in ii. 68, twenty-two lines later, εἰς Χοὰς δημοσίοις ἱερεῖον κτλ. (The adjective ἐπιλήναιος is also found in the papyrus of Ath. Pol. c. 57, and the inscription confirms the reading ἐπιληναίων, which editors alter to ἐπὶ Ληναίῳ). [The whole subject of the Dionysiac festivals has been investigated afresh by Nilsson (Studia de Dionysiis Atticis, 1900), who proves at length the separateness of the four festivals.]
[13] Dem. Meid. § 10.
[15] [See articles on Dionysus in Pauly-Wissowa, Real-Encycl., and Preller-Robert, Griech. Mythologie.]
[16] Paus. i. 29; Philostrat. Vit. Soph. p. 549.
[17] Διονύσια τὰ ἐν ἄστει C. I. A. ii. 341, 402, 404; Διονύσια τὰ ἀστικά Thuc. v. 20; Διονύσια τὰ μεγάλα Athen. Pol. c. 56, C. I. A. ii. 312, 331; Διονύσια Athen. Pol. c. 56.
[18] This is proved by the inscription on the chief seat at the theatre, Ἱερέως Διονύσου Ἐλευθερέως (C. I. A. iii. 240).
[19] νίκη ἀστική Diog. Laërt. viii. 90. To produce plays at the City Dionysia was ἐν ἄστει διδάσκειν Schol. Aristoph. Ran. 67, or εἰς ἄστυ καθιέναι Arg. ii. Aristoph. Aves: cf. διδασκαλία ἀστική Plut. X Orat. 839 D.
[20] The feast of Asclepius and the Proagon were on the 8th of Elaphebolion, Aeschin. Ctesiph. § 67; the Proagon took place ‘a few days’ before the City Dionysia, Schol. ibid.: the City Dionysia cannot therefore have begun before the 10th. The festival must have terminated on the 15th, since after it came the Pandia, the next day the ἐκκλησία ἐν Διονύσου, and the next day, when the first assembly mentioned by Aeschines and Demosthenes took place, was the 18th. See Aeschin. Ctes. § 68; Fals. Leg. § 61; Dem. Meid. § 8.
[21] Stormy weather sometimes interfered with the proceedings. In the time of Demetrius a snowfall prevented the procession. Theophr. Char. 3; Plut. Demetr. p. 894 B.
[22] Aeschin. Ctes. § 43; cf. Dem. Meid. § 74.
[23] Aristoph. Ach. 505, 506; Thuc. v. 23.
[24] The procession must have been on the first day, for (1) in Dem. Meid. § 10 it comes first in the list of proceedings, (2) it was not till after the procession was over that the statue was placed in the theatre to witness the dramatic and dithyrambic contests.
[25] Paus. i. 29. 2, 38. 8; Philostrat. Vit. Soph. p. 549.
[26] Menand. Fragm. 558 (Kock).
[27] Plut. Cupid. Divit. 527 E.
[28] C. I. A. ii. 420, 470, 471.
[29] C. I. A. ii. 471, 741.
[30] Dem. Meid. § 22; Athen. p. 534 C.
[31] Xen. Hipparch. iii. 2.
[32] Philostrat. Vit. Soph. p. 549.
[33] C. I. A. ii. 470, 471. Hence Aristophanes in the Frogs selects Dionysus as the most experienced of dramatic critics. Cf. also Aristoph. Eq. 536 θεᾶσθαι λιπαρὸν παρὰ τῷ Διονύσῳ. Late writers (Philostrat. Vit. Apoll. p. 161; Dio Chrys., orat. 31, p. 631 R) protest against shedding human blood in gladiatorial combats in the very orchestra visited by the god Dionysus.
[34] In the lists of victors at the City Dionysia (C. I. A. ii. 971 a-e, iv. 971 f-h) the contests enumerated are always the same, viz. παίδων, ἀνδρῶν, κωμῳδῶν, τραγῳδῶν. Cp. Athen. Pol. c. 56 χορηγοὺς τραγῳδοῖς καθίστησι τρεῖς ... ἔπειτα παραλαβὼν τοὺς χορηγοὺς τοὺς ἐνηνεγμένους ὑπὸ τῶν φυλῶν εἰς Διονύσια ἀνδράσιν καὶ παισὶν καὶ κωμῳδοῖς κτλ. Dem. Meid. § 10 καὶ τοῖς ἐν ἄστει Διονυσίοις ἡ πομπὴ καὶ οἱ παῖδες ⟨καὶ οἱ ἄνδρες⟩ καὶ ὁ κῶμος καὶ οἱ κωμῳδοὶ καὶ οἱ τραγῳδοί. (The words καὶ οἱ ἄνδρες have obviously fallen out.) Cp. also C. I. A. ii. 553 (list of victors παισὶν ἢ ἀνδράσιν).
[35] Dem. Meid. § 156 loosely calls the choruses of men αὐληταὶ ἄνδρες, and the author of the first Argument to the speech, misled by this, states that there were αὐλητῶν χοροί at the City Dionysia. But other passages in the speech, e.g. §§ 15, 17, show that the expression means not that the men were flute-players, but that they sang dithyrambs accompanied by the flute. See Wieseler, Das Satyrspiel, pp. 46-8.
[36] [Marmor Par. ep. 46. For the archon v. Munro, Class. Rev. xv. p. 357. For choregia v. Capps, Introduction of Comedy to the City Dionysia, p. 27 ff.]
[37] Schol. Aeschin. Timarch. § 11 ἐξ ἔθους Ἀθηναῖοι [κατέστησαν] κατὰ φυλὴν πεντήκοντα παίδων χορὸν ἢ ἀνδρῶν, ὥστε γενέσθαι δέκα χορούς, ἐπειδὴ καὶ δέκα φυλαί. λέγονται δὲ οἱ διθύραμβοι χοροὶ κύκλιοι, καὶ χορὸς κύκλιος.
[38] Dem. Meid. § 13; Antiphon orat. vi. §§ 12, 13.
[39] Lysias xxi. § 2; Dem. Meid. § 5 τῆς φυλῆς ἀδίκως ἀφαιρεθείσης τὸν τρίποδα. The choregus of a dithyrambic chorus was said χορηγεῖν τῇ φυλῇ. Plut. X orat. 835 B ἐχορήγησε κυκλίῳ χορῷ τῇ αὑτοῦ φυλῇ ἀγωνιζομένῃ διθυράμβῳ: Isaeus v. § 36 οὗτος γὰρ τῇ μὲν φυλῇ εἰς Διονύσια χορηγήσας τέταρτος ἐγένετο, τραγῳδοῖς δὲ καὶ πυρριχισταῖς ὕστατος. (Bentley’s emendation, τέταρτος ἐγένετο τραγῳδοῖς, καὶ πυρριχισταῖς ὕστατος makes Dicaeogenes fourth in the tragic contest, in which there were never more than three competitors.)
[40] In the time of Aristotle the choregi in comedy were appointed by the tribes. But this was a late innovation, and produced no change in the character of the contest. See chap. ii. § 2.
[41] C. I. A. ii. 971 (printed in Appendix B). Ibid. ii. 1234 ff.
[42] Marm. Par. ep. 43 ἀφ’ οὗ Θέσπις ὁ ποιητὴς [ἐφάνη], πρῶτος ὃς ἐδίδαξε [δρ]ᾶ[μα ἐν ἄ]στ[ει, καὶ ἐ]τέθη ὁ [τ]ράγος [ἆθλον], ἔτη.... The date is mutilated, but must have fallen between 542 and 520, the preceding and subsequent epochs. Suidas s.v. Θέσπις (ἐδίδαξε δὲ ἐπὶ τῆς πρώτης καὶ ξʹ ὀλυμπιάδος) doubtless refers to the same contest, which may therefore be assigned to B.C. 536-5.
[43] [Capps (The Introduction of Comedy into the City Dionysia) renders it highly probable that choregia was not introduced until about B.C. 502.]
[44] Suidas s.v. Χοιρίλος. The same lexicon, s.v. Πρατίνας, says that Pratinas composed fifty plays, of which thirty-two were satyric: but it is unsafe to draw inferences from this as to relative proportion of satyric plays and tragedies in these early days, since the numbers may refer merely to the plays which happened to be preserved in the time of the grammarians.
[45] Suidas s.v. Πρατίνας.
[46] Arg. Aesch. Persae.
[47] Arg. Aesch. Sept. c. Theb.
[48] Arg. Aesch. Agam.
[49] Args. Eur. Alcest., Med., Hippol.
[50] Aelian Var. Hist. ii. 8; Schol. Aristoph. Ran. 67.
[51] Athen. Pol. c. 56; C. I. A. ii. 972, 973, 975.
[52] Cp. Diog. Laërt. iii. 56. Θρασύλλος δέ φησι καὶ κατὰ τὴν τραγικὴν τετραλογίαν ἐκδοῦναι αὐτὸν (sc. τὸν Πλάτωνα) τοὺς διαλόγους, οἷον ἐκεῖνοι τέτρασι δράμασιν ἠγωνίζοντο, Διονυσίοις, Ληναίοις, Παναθηναίοις, Χύτροις, ὧν τὸ τέταρτον ἦν σατυρικόν· τὰ δὲ τέτταρα δράματα ἐκαλεῖτο τετραλογία. Thrasyllus was a philosopher of the time of Tiberius. The passage οἷον ... τετραλογία is probably an explanatory interpolation by Diogenes himself. The statement that the four plays of a tetralogy were performed at four different festivals is absurd in itself, and abundantly disproved by inscriptions and other evidence (e.g. Schol. Aristoph. Ran. 67).
[53] Plut. Pericl. p. 154 E.
[54] Plut. l.c.; Id. X orat. 839 D διδασκαλίας ἀστικὰς καθῆκεν ἓξ ... καὶ ἑτέρας δύο Ληναϊκάς; Anthol. Pal. vii. 37 ἡ δ’ ἐνὶ χερσὶν | κούριμος, ἐκ ποίης ἥδε διδασκαλίης;
[55] That the word τετραλογία was applied only to a group of four plays connected in subject is proved by the statement of Suidas (s.v. Σοφοκλῆς) that Sophocles abandoned the practice of exhibiting ‘tetralogies’, though we know that he exhibited four plays at a time; and also by the application of the word by Greek writers to the Oresteia of Aeschylus (Schol. Aristoph. Ran. 1155), the Pandionis of Philocles (Schol. Aristoph. Av. 282), the Lycurgeia of Aeschylus (Schol. Aristoph. Thesm. 135), and the Lycurgeia of Polyphradmon (Arg. Aesch. Sept. c. Theb.). All these were groups of plays on a single subject.
[56] Schol. Aristoph. Ran. 1155 τετραλογίαν φέρουσι τὴν Ὀρεστείαν αἱ Διδασκαλίαι (i.e. the Διδασκαλίαι of Aristotle). The other passages where τετραλογία occurs in a dramatic sense are Diog. Laërt. iii. 56, ix. 45; Schol. Plat. Apol. p. 330; Schol. Aristoph. Ran. 1155, where it is said that the grammarians Aristarchus and Apollonius disregarded the satyric plays and spoke only of trilogies; Schol. Av. 282, Thesm. 142; Arg. Aesch. Sept. c. Theb. τριλογία is found only in Schol. Aristoph. Ran. 1155; Diog. Laërt. iii. 61; Suidas s.v. Νικόμαχος.
[57] Aristoph. Thesm. 135, Ran. 1124. See, on these titles, The Tragic Drama of the Greeks, p. 114.
[58] [Donaldson, Theatre of the Greeks, p. 118, suggests possible connexions; but they are highly conjectural.]
[59] [Other critics, however, suppose that the final scene was added in some later revision of the play, after Sophocles’ Antigone had been written, or when it became customary to present single plays of Aeschylus (see below, p. 74), which would often be shorter than those of other poets, and might therefore be lengthened by the addition of a scene.]
[60] Cp. Hor. Ars Poet. 225 ff.
[61] Suidas s.v. Σοφοκλῆς· καὶ αὐτὸς ἦρξε τοῦ δρᾶμα πρὸς δρᾶμα ἀγωνίζεσθαι, ἀλλὰ μὴ τετραλογίαν. The words seem to imply that he exhibited only one play at each festival: but the didascalic records show that this cannot have been the case. Probably, therefore, Suidas has misunderstood and misquoted his authority, who meant to say that Sophocles exhibited not single plays but groups of plays unconnected in subject. The suggestion of Oehmichen (Philol. Wochenschr., 1887, p. 1058) that after the reform of Sophocles each poet exhibited one of his plays on each successive day of the competition, and that this is what Suidas means, is rendered most improbable by the fact that tetralogies were still occasionally written; and that Sophocles would have no power, as poet, to make such a change in the arrangement of the festival.
[62] Schol. Aristoph. Av. 282; Schol. Plat. Apol. p. 330 (Bekk.); Aelian Var. Hist. ii. 30.
[63] C. I. A., ii. 973 (quoted in Appendix B).
[64] [If the inscription C. I. A. ii. 971 c recorded by Pittakis, L’ancienne Athènes, p. 168, is reliable, an old tragedy was performed in B.C. 387-386. The phrase used is παλαιὸν δρᾶμα παρεδίδαξαν οἱ τραγῳδοί: but the interpretation of this fragment is full of difficulties, see Wilhelm, Urkunden dramat. Aufführungen in Athen, p. 22 ff. The use of the expression παρεδίδαξαν (cf. παραχορήγημα) seems to show that at this date the performance of an old tragedy was exceptional; while in the inscription recording the years 341, &c., it would seem to be treated as a regular part of the festival.]
[65] Suidas s.v. Θεοδέκτης; Steph. Byz. s.v. Φάσηλις.
[66] Plut. X Orat. 839 D.
[67] Aristot. Rhet. iii. 11.
[68] See The Tragic Drama of the Greeks, p. 444 ff.: and (for the City Dionysia in the second century A.D.) cp. C. I. A. iii. 78; Philostr. Vit. Soph. p. 549; Paus. i. 29, ii. 38, 8.
[69] Aristot. Poet. ch. v. καὶ γὰρ χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ’ ἐθελονταὶ ἦσαν.
[70] C. I. A. ii. 971 a (quoted, Appendix B) [B.C. 463 is the latest possible date of the events referred to in this part of this inscription. Capps (Introduction of Comedy into City Dionysia) with great probability dates them 473-472; he fixes the date of the granting of a comic chorus (whether at the Lenaea or City Dionysia is uncertain) by the archon at 487, when, according to Suidas s.v. Χιωνίδης, Chionides began to exhibit; and the date of the first choregia in tragedy at about 502. This would justify sufficiently Aristotle’s ὀψέ ποτε. Suidas’ date for Chionides’ first exhibition is not really inconsistent with the Dorian tradition recorded by Aristotle that Epicharmus was πολλῷ πρότερος Χιωνίδου καὶ Μάγνητος, since the generally recorded date of the former, B.C. 488 onwards, is most probably a ‘floruit’ date, based on the time of his first performances at Syracuse, not the date of the beginning of his career at Megara Hyblaea, which may have been a good deal earlier. Capps shows ground for believing that Aristotle and Suidas—the former directly, the latter perhaps indirectly—obtained their knowledge from the official records, and are therefore quite reliable. At the head of the inscription, C. I. A. ii. 971 a, are the words πρῶ]τον κῶμοι ἦσαν τ[ῶν ..., which must originally have formed part of the general heading of the whole inscription, whose earlier columns are lost. Capps conjectures (with some reason) that it originally ran ἀπὸ (name of archon) ἐφ’ οὗ πρῶτον κῶμοι ἦσαν τῶν ἐν ἄστει Διονυσίων οἵδε ἐνίκων. But κῶμοι cannot mean ‘comedies’, as Köhler and Wilamowitz assumed when they dated the beginning of choregia in comedy by this inscription. Cf. Wilhelm, Urkunden dramatischer Aufführungen in Athen, pp. 11 ff, 241 ff.]
[71] Args. Aristoph. Nubes, Pax, Aves.
[72] Arg. Aristoph. Plutus (festival uncertain); Ath. Pol. c. 56 (City Dionysia); C. I. A. ii. 972 (Lenaea), 975 (City Dionysia). [If C. I. G. xiv. 1097 is rightly restored and interpreted by Wilhelm, l.c., p. 195 ff., it would seem as if there were five competitors as early as B.C. 434 at the Dionysia; this is very difficult to reconcile with the consistent mention by the Arguments of three only.]
[73] Arg. Aristoph. Vespae. [The passage, however, is almost certainly corrupt, and most editors are now agreed that in its existing form, according to which Philonides brought out both the Προάγων and the Σφῆκες, it cannot stand; and that even if both plays can have been the work of Aristophanes, they cannot both have been produced by Philonides. For the various emendations, vide Kanngiesser, Über die alte komische Bühne, p. 270; Petersen, Fleck. Jahrb. lxxxv. p. 662; Leo, Rhein. Mus. xxxiii. p. 404; the introductions to Rogers and van Leeuwen’s editions of the Wasps; and a brief summary in Excursus I of Starkie’s edition. It is very doubtful whether there is good evidence for the practice alluded to, as regards the fifth century B.C.]
[74] C. I. A. ii. 972. [The inscription leaves no room for doubt here, except for the remote possibility that there may have been two poets of the name Diodorus. Capps, Amer. Journ. Archaeol., 1900, argues almost conclusively that the inscription is to be dated 290-288, and not 353, the date given by Mr. Haigh, and generally accepted until recently.]
[75] C. I. A. ii. 972. [Mr. Haigh wrote 353, but see note on previous page.]
[76] C. I. A. ii. 975 (quoted, Appendix B). [If Capps is right in dating the fragment 975 f between B.C. 308 and 290, the practice must have been begun by that date; see Amer. Journ. Arch., 1900, p. 89 ff., but Wilhelm, Urkunden dramat. Aufführungen in Athen, p. 68, disputes the date, and with some reason. See also Wilhelm, ibid., p. 149. The practice is proved for the early part of the second century by fragment a.]
[77] [The evidence for this is a fragment of an inscription published by Wilhelm, loc. cit., p. 27 ff., and connecting with C. I. A. ii. 971 h. See Appendix B. The expression used παλαιὸν δρᾶμα παρεδίδαξαν οἱ κωμῳδοί (cp. παραχορήγημα), when compared with the expressions used in 975 a, &c., shows that the performance was exceptional, and the play is not mentioned; cp. the parallel expressions in the case of tragedy, p. 19, supra, n. 1.]
[78] C. I. G. 1585, 1587, 2759; Athen. Mitth., 1894, pp. 96, 97; Ἐφημ. Ἀρχαιολ., 1884, pp. 120, 124, 126; Rangabé, Antiq. Hellén., vol. ii. no. 965.
[79] The fact that inscriptions (C. I. A. 971 a-e, iv. 971 f-h) and the law of Evegorus, quoted Dem. Meid. § 10, all mention first chorus of boys, then choruses of men, then comedy, then tragedy, proves nothing, as there is nothing to show that the contests are being spoken of in order of performance, rather than in order of relative importance.
[80] Arist. Poet. ch. xxiv. suggests that an epic poem should be shorter than the old epics, and about equal to that of the tragedies offered at one hearing (τὸ πλῆθος τῶν τραγῳδιῶν τῶν εἰς μίαν ἀκρόασιν τιθεμένων). A performance of four tragedies a day would give about 6,000 lines of tragedy (including satyric drama), while the Iliad contains about 15,000 lines, and the Odyssey about 12,000.
[81] Aristoph. Av. 785 ff. οὐδέν ἐστ’ ἄμεινον οὐδ’ ἥδιον ἢ φῦσαι πτερά. | 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 κατέπτετο. Müller (Griech. Bühn., p. 322) and others take ἐφ’ ἡμᾶς to mean generally ‘to us in the theatre’. But in that case there would be no point in the sentence. There is obviously a contrast between ὑμεῖς, the spectators, and ἡμεῖς the comic chorus. The same contrast is emphasized in the previous group of trochaics, vv. 753-68. Lipsius accepts the change of τραγῳδῶν to τρυγῳδῶν (‘the other comic choruses’ as opposed to ἡμεῖς, the Birds), and infers that all the comedies were performed in one day by themselves (Ber. der K. S. Ges. der Wiss. zu Leipzig, philol.-histor. Classe, 1885, p. 417). But the change is quite gratuitous and makes the whole passage feeble and obscure.
[83] [Either connected with ληνός ‘wine-press’ or λῆναι = βάκχαι, vid. Appendix C.]
[84] [See Appendix C for authorities and for a discussion of the site of the Lenaeum and its relation to the temple of Dionysus ἐν Λίμναις.]
[85] [See Appendix C.]
[86] Bekk. Anecd. p. 235, 6; C. I. A. ii. 834 b, col. 2, where the expenditure on the Lenaea is placed about the middle of the sixth prytany, i.e. in Gamelion. [Nilsson, Studia de Dionysiis Atticis, pp. 1-37, confirms the date here given, after a very full discussion.]
[87] Plat. Symp. 223 c; Theophrast. Char. 3.
[88] Aristoph. Ach. 501 ff.
[89] Dem. Meid. § 10 καὶ ἡ ἐπὶ Ληναίῳ πομπὴ καὶ οἱ τραγῳδοὶ καὶ οἱ κωμῳδοί. That there were no dithyrambs at the Lenaea is proved by this passage, and by C. I. A. ii. 553, which enumerates the festivals at which dithyrambic choruses competed, viz. City Dionysia, Thargelia, Prometheia, Hephaesteia. C. I. A. ii. 1367, recording a dithyrambic victory at the Lenaea, is of comparatively late date.
[90] Suidas s.v. τὰ ἐκ τῶν ἁμαξῶν σκώμματα.
[91] C. I. A. ii. 972 (see Appendix B).
[92] Hence in Diod. Sic. xv. 74 δεδιδαχότος Ληναίοις τραγῳδίαν (of Dionysius’ victory in 367), the expression διδάσκειν τραγῳδίαν probably means ‘to compete in the tragic contests’, and implies nothing as to the number of plays presented. Cf. Plat. Symp. 173 A ὅτε τῇ πρώτῃ τραγῳδίᾳ ἐνίκησεν Ἀγάθων, ‘won his first tragic victory’.
[93] Athen. p. 217 A.
[94] Diod. Sic. xv. 74; Plut. X Orat. 839 D; C. I. A. ii. 977 b, c (see Appendix B).
[95] [C. I. A. ii. 1289 shows that tragedy was still performed in B.C. 307-306. This is the last mention of it. (Capps, Amer. Journ. Arch., iv. p. 76.)]
[96] C. I. A. iii. 1160.
[97] See above, p. 20, note 2.
[98] [Capps (Introduction of Comedy into the City Dionysia, p. 25) shows that whether the victory of Chionides recorded by Suidas was won at the Dionysia or Lenaea, there is no reason for doubting the existence of contests in 487 B.C., on the evidence of inscriptions. C. I. A. ii. 977 d as it stands must have been preceded by another column of names of victors, which would almost certainly take us back as far; and there was room for the name of Chionides above that of Magnes in 977 i (Dionysian victors) in a position which would imply an early date for his first victory; cp. also Amer. Journ. Philol. xx. pp. 396, 397.]
[99] Arg. to Acharn.
[100] Args. to Acharn., Equit., Vesp., Ran.
[101] See p. 21, note.
[102] [If Capps is right, C. I. A. ii. 975 f proves that old comedies were acted at the City Dionysia at a date between 308 and 290, but this date is very uncertain; see p. 22, note. C. I. A. ii. 972, col. 1, which Capps, followed by Wilhelm, dates soon after B.C. 290, does not show any sign of the practice; it may have begun at the City Dionysia, and have been afterwards extended to the Lenaea; but it is not easy to believe this without confirmatory evidence; and the difficulty is avoided if Capps’ date for 975 f is not accepted.]
[103] [C. I. A. ii. 977 gives lists of tragic and comic poets and actors. In the case of the comic poets and actors, some names (those of Agathocles and Biottus) are known from 975 d to belong to the middle of the second century; but it is not certain to what festival the part of this inscription in which their names occur (fragm. m) belongs.]
[104] Schol. Aristoph. Plut 954; Plut. Phoc. c. 30.
[105] See The Tragic Drama of the Greeks, p. 128, note 4.
[106] C. I. A. ii. 972, col. II.
[107] Athen. p. 217 A; Plat. Symp. 173 A.
[108] Diod. Sic. xv. 74.
[109] The Acharnians, Equites, Vespae, and Ranae at the Lenaea; the Nubes, Pax, and Aves, at the City Dionysia.