[200] Cf. Pollux iv. 124: τὸ δὲ ὑποσκήνιον κίοσι καὶ ἀγαλματίοις κεκόσμηται πρὸς τὸ θέατρον τετραμμένοις, ὑπὸ τὸ λογεῖον κείμενον.
[201] Also, the front wall of this room, just as σκηνή is not only the scene-building as a whole but also its front wall; cf. Flickinger, Plutarch as a Source of Information on the Greek Theater, pp. 43 f.
[202] Cf. Athenische Mittheilungen, XXVIII (1903), 418 ff.
[203] Robert would emend the text so that the statement would explain the proscenium instead of the hyposcenium; cf. Hermes, XXXII (1897), 448. In that case ὑπό must mean “behind,” a possible meaning, and Pollux would be speaking of the proscenium in a theater with a stage. Pollux includes the proscenium in his catalogue of theater parts (see pp. 97 f., above), but does not define it.
[204] Cf. Plutarch Life of Lycurgus, c. vi, and Flickinger, Plutarch as a Source of Information on the Greek Theater (1904), p. 52.
[205] Cf. Plutarch Life of Demetrius, c. xxxiv.
[206] Cf. Plutarch Praecepta Gerendae Reipublicae 823B, and see p. 59, n. 1, above.
[207] Cf. Plutarch’s Life of Aratus, c. xxiii: ἐπιστήσας δὲ ταῖς παρόδοις τοὺς Ἀχαιοὺς αὐτὸς ἀπὸ τῆς σκηνῆς εἰς τὸ μέσον προῆλθε. For other interpretations, cf. Robert, Hermes, XXXII (1897), 448 ff.; Müller, Philologus, Supplementband, VII (1899), 52 f. and 90 f.; Dörpfeld, Athenische Mittheilungen, XXVIII (1903), 421 ff., etc.
[208] A convenient chronological table of the extant theaters is given by Fiechter, op. cit., pp. 24-27.
[209] Fig. 46 is taken from Dörpfeld-Reisch, Das griechische Theater, Fig. 50. Figs. 47-52 are from photographs by Dr. A. S. Cooley.
[210] Figs. 53-54 are redrawn from Dörpfeld-Reisch, Das griechische Theater, Figs. 44-45, respectively; Fig. 55 is from a photograph by Dr. A. S. Cooley.
[211] Cf. Pollux Onomasticon iv, § 132: αἱ Χαρώνιοι κλίμακες.
[212] Cf. Fossum in American Journal of Archaeology, II (1898), 187 ff. and Pl. IV; see p. 288, n. 2, below.
[213] A convenient series of excerpts from the Delian inscriptions is given by Haigh, The Attic Theatre³, pp. 379 ff.
[214] Fig. 56 is taken from Dörpfeld-Reisch, Das griechische Theater, Fig. 35; and Fig. 57 is from a photograph of the German Archaeological Institute at Athens.
[215] ... ἀγω] νοθετήσας τὸ προσκήνιον καὶ τοὺς πίν[ακας, and ... ἱερεὺ]ς γενόμενος — τὴν σκηνὴν καὶ τὰ θυρώμ[ατα τῷ Ἀμ]φιαράῳ. For the functions of an agonothete, see pp. 271 f., below. For the θυρώματα, cf. Dörpfeld in Athenische Mittheilungen, XXVIII (1903), 394, and Jahrbuch d. arch. Instituts, Anzeiger, XXX (1915), 102; wrongly interpreted in Das griechische Theater, p. 109.
[216] Fig. 58 is taken from Athenische Mittheilungen, XXII (1897), Pl. X.
[217] Cf. Dörpfeld in Athenische Mittheilungen, XXII (1897), 458, and XXVIII (1903), 429.
[218] Fig. 59 is taken from Niemann’s drawing in Forschungen in Ephesos, II, Pl. VIII; and Figs. 60-62 are from drawings by Wilberg, ibid., Figs. 5, 56, and 57, respectively. Cf. also Dörpfeld, “Das Theater von Ephesos,” Jahrbuch d. arch. Instituts, Anzeiger, XXVIII (1913), 37 ff.
[219] Fig. 63 is redrawn from Athenische Mittheilungen, XXIII (1898), Pl. XI; the cross-hatched walls belong to the Graeco-Roman rebuilding. Fig. 64 is from a photograph taken by Professor C. P. Bill and furnished by Dr. A. S. Cooley.
[220] Cf. Dörpfeld, in Athenische Mittheilungen, XXII (1897), 456 ff.
[221] Cf. Dörpfeld, ibid., XXII (1897), 458 f.; XXIII (1898), 337; and XXVIII (1903), 426.
[222] Cf. Duckett, Studies in Ennius (1915), p. 70.
[223] Cf. the works mentioned on pp. xvii and xx f., above. There is no special literature on this subject.
[225] A drachma contained six obols and was worth about eighteen cents without making allowance for the greater purchase value of money in antiquity.
[226] Cf. Haigh, The Attic Theatre (3d ed. by Pickard-Cambridge, 1907), p. 1.
[227] The affirmative side of the question is presented by Haigh, op. cit., pp. 324 ff.; the negative by Rogers, Introduction to Aristophanes’ Women in Council (1902), pp. xxix ff.
[228] Cf. Frickenhaus, “Der Schiffskarren des Dionysos in Athen,” Jahrbuch d. arch. Instituts, XXVII (1912), 61 ff. Fig. 65 originally appeared as Beilage I, Fig. 3, in connection with this article. It is taken from a drawing by Signor G. Gatti, a photograph of which was furnished me through the courtesy of Professor Ghisardini, Director of the Museo Civico at Bologna.
[229] Cf. Plautus’ The Casket, vss. 89 f.:
and vss. 156 ff.:
For the differences between Old Comedy, Middle Comedy, and New Comedy, see p. 39, above.
[230] Cf. his Preface to Bajazet.
[231] Cf. Ribbeck, Rheinisches Museum, XXX (1875), 145.
[232] Cf. Aristotle’s Poetics 1456a6 and 1453a19.
[233] Cf. ibid., 1451b25.
[234] Cf. Oxyrhynchus Papyri, IX (1912), 30 ff.
[235] For still further developments in the history of satyric drama see pp. 198 f., below.
[236] Cf. Kock, Comicorum Atticorum Fragmenta, II, 90, fr. 191.
[237] Cf. Freytag’s Technique of the Drama², translated by MacEwan, p. 75, and Hense, Die Modificirung der Maske in der griechischen Tragödie² (1905), pp. 2 f.
[238] Cf. Lounsbury, Shakespeare as a Dramatic Artist (1902), p. 175 (italics mine).
[239] Cf. ibid., p. 204. The passages referred to are Sophocles’ Philoctetes, vss. 38 f., 649 f., and 696-99, and Antigone, vss. 1016-22 and 1080-83. The expressions employed in the Greek could be seriously objected to only by the most fastidious.
[240] Cf. Haigh, The Attic Theatre³, p. 2.
[241] Cf. argument, Demosthenes’ Against Midias, §§ 2 f.
[242] In addition to the works mentioned on pp. xvii and xx f., above, cf. Decharme, Euripides and the Spirit of His Dramas (1892), translated by Loeb (1906); Capps “The Chorus in the Later Greek Drama,” American Journal of Archaeology, X (1895), 287 ff.; Helmreich, Der Chor bei Sophokles und Euripides (1905); A. Körte, “Das Fortleben des Chors im gr. Drama,” N. Jahrb. f. d. kl. Altertum, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’s Heauton, The Shifting of Choral Rôles in Menander, and Agathon’s ἘΜΒΟΛΙΜΑ,” Classical Philology, VII (1912), 24 ff.; Stephenson, Some Aspects of the Dramatic Art of Aeschylus (1913); Fries, De Conexu Chori Personae cum Fabulae Actione (1913); and Duckett, Studies in Eunius (1915).
[243] Nevertheless, it has been ignored by certain recent writers on the origin of tragedy, cf. Classical Philology, VIII (1913), 283.
[244] Whether the satyric chorus was increased at the same time is unknown. In Fig. 4, which represents a satyric drama of about 400 B.C., not more than twelve choreutae are represented.
[245] For the differences between sileni and satyrs and for their appearance on the stage, see pp. 24-32.
[246] Cf. the scholia to Sophocles’ Ajax, vs. 134, to Euripides’ Phoenician Maids, vs. 202, etc.
[247] Conversations with Eckermann, July 5, 1827 (Oxenford’s translation).
[248] Cf. Graeber, De Poetarum Atticorum Arte Scaenica (1911), pp. 56 ff.
[249] Cf. Flickinger, op. cit., pp. 28 ff.
[250] Cf. Aristotle’s Poetics, 1456a26 ff.
[251] Cf. Philologus, LXX (1911), 497 f.
[252] Cf. Revue des Études anciennes, XIII (1911), 273.
[253] In the Jernstedt fragment; cf. Capps, Four Plays of Menander, pp. 98 f.
[254] Cf. Kock, Comicorum Atticorum Fragmenta, II, 333 f., fr. 107.
[255] Cf. Verrall, Euripides the Rationalist, p. 219, note.
[256] Cf. Archer, Play-making, p. 142.
[257] Cf. The Origin of Attic Comedy, p. 107.
[258] Cf. Zur Dramaturgie des Äschylus (1892), p. 135.
[259] Cf. Euripides’ Helen, vs. 184, and Medea, vss. 131 ff.
[260] Cf. Euripides’ Hecabe, vs. 105, and Electra, vss. 168 ff.
[261] Cf. Sophocles’ Maidens of Trachis, vs. 103, and Ajax, vs. 143, Euripides’ Hippolytus, vss. 129 ff., etc.
[262] Cf. Sophocles’ Oedipus the King, vs. 144, and Antigone, vss. 164 f., Euripides’ Trojan Women, vss. 143-45, Aristophanes’ Clouds, vs. 269, Peace, vss. 296 ff., Birds, vss. 310 f., and Plutus, vs. 255, etc.
[263] Cf. Verrall’s edition of Euripides’ Ion (1890), p. lx.
[264] Cf. p. 89 of his edition (1896).
[265] Cf. John Dennis, The Impartial Critick (1693).
[266] Cf. Tovey, Letters of Thomas Gray, II, 293 f.
[267] Cf. Dennis, op. cit.
[268] Four Plays of Euripides (1905), pp. 125-30.
[269] Cf. Murray, Euripides and His Age (1913), p. 238.
[270] Thucydides Mythistoricus (1907), p. 147 (italics mine).
[271] In addition to the works mentioned on pp. xvii and xx f., above, cf. Detscheff, De Tragoediarum Graecarum Conformatione Scaenica ac Dramatica (1904); Rees, “The Meaning of Parachoregema,” Classical Philology, II (1907), 387 ff.; The So-called Rule of Three Actors in the Classical Greek Drama (1908); “The Number of the Dramatic Company in the Period of the Technitae,” American Journal of Philology, XXXI (1910), 43 ff., and “The Three Actor Rule in Menander,” Classical Philology, V (1910), 291 ff.; O’Connor, Chapters in the History of Actors and Acting in Ancient Greece (1908); Leo, Der Monolog im Drama (1908), and Plautinische Forschungen² (1912), pp. 226 ff.; Listmann, Die Technik des Dreigesprächs in der griechischen Tragödie (1910); Kaffenberger, Das Dreischauspielergesetz in der griechischen Tragödie (1911); Foster, The Divisions in the Plays of Plautus and Terence (1913); Stephenson, Some Aspects of the Dramatic Art of Aeschylus (1913); Graf, Szensiche Untersuchungen zu Menander (1914); and Conrad, The Technique of Continuous Action in Roman Comedy (1915), reviewed by Flickinger in Classical Weekly, X (1917), 147 ff.
Fig. 66 is taken from Baumeister’s Denkmäler, Fig. 1637. The apparent height of the tragic actors is said to have been increased by means of the ὄγκος projecting above the head and of thick-soled boots (κόθορνοι), both represented in Fig. 66. The employment of such paraphernalia rests upon late evidence, however, and has been disputed for fifth-century tragedy; cf. for example Smith, “The Use of the High-soled Shoe or Buskin in Greek Tragedy of the Fifth or Fourth Centuries B.C.,” Harvard Studies, XVI (1905), 123 ff. For the costumes of comic actors, see pp. 46 f., above.
[272] Cf. Capps, “The Introduction of Comedy into the City Dionysia,” University of Chicago Decennial Publications, VI, 269, n. 37.
[273] Cf. Tanner, Transactions of American Philological Association, XLVI (1915), 185-87. For Sophocles, cf. Jebb’s Electra, p. lvii.
[274] Cf. Rees, Classical Philology, V (1910), 291 ff., and Kaffenberger, op. cit., p. 10.
[275] Cf. C. F. Hermann, De Distributione Personarum inter Histriones in Tragoediis Graecis (1840), pp. 32-34.
[276] Cf. Prescott, “Three Puer-Scenes in Plautus and the Distribution of Rôles,” Harvard Studies, XXI (1910), 44. It ought to be added that some authorities deny that Prometheus was represented by a dummy, believing that this tragedy belonged to the three-actor period (see further, p. 228, below).
[277] Cf. Lewes, Life of Goethe², p. 424.
[278] Cf. Four Plays of Euripides (1905), pp. 1 ff.
[279] Cf. the scholium on vs. 93.
[280] Cf. Devrient, Das Kind auf der antiken Bühne (1904).
[281] Cf. Oxyrhynchus Papyri, VI (1908), 69.
[282] Cf. Rees, American Journal of Philology, XXXI (1910), 43 ff.
[283] Cf. Horace Ars Poetica, vs. 192; see also p. 53, n. 1, above.
[284] Cf. Leo, Rheinisches Museum für Philologie, LII (1897), 513.
[285] Cf. Seneca’s Agamemnon, vss. 981 ff.
[286] Cf. Lounsbury, Shakespeare as a Dramatic Artist, pp. 111 f.
[287] Cf. U. von Wilamowitz-Möllendorff, Herakles², I, 119, note, and Euripides Alcestis, vss. 393 ff.
[288] Cf. Aristotle’s Rhetoric 1403b33, quoted as the motto of this chapter.
[289] Cf. Play-making, p. 129.
[290] Cf. The So-called Rule of Three Actors in the Classical Greek Drama, pp. 45-60.
[291] In addition to the works mentioned on pp. xvii and xx f., above, cf. A. T. Murray, On Parody and Paratragoedia in Aristophanes (1891); Mazon, “Sur le Proagôn,” Revue de Philologie, XXVII (1903), 263 ff.; Rees, “The Significance of the Parodoi in the Greek Theater,” American Journal of Philology, XXXII (1911), 377 ff.; Graeber, De Poetarum Atticorum Arte Scaenica (1911); Robert, Die Masken der neueren attischen Komödie (1911); and the bibliography listed on p. 318, below.
[292] Cf. Acharnians, vss. 501 ff., Starkie’s edition, excursus V, and Croiset, Aristophanes and the Political Parties at Athens, pp. 42 ff. (Loeb’s translation).
[293] Cf. Demosthenes’ Against Midias, § 74.
[294] It probably began upon the tenth day of Elaphebolion (cf. Adams, Transactions of American Philological Association, XLI [1910], 60 ff.) and closed on the fifteenth.
[295] Cf. the Introduction to Hayley’s edition, pp. xxiii ff.
[296] Cf. Capps, in Classical Philology, I (1906), 219, note on l. 5, and Wilhelm, Urkunden dramatischer Aufführungen in Athen, pp. 195 ff.
[297] Cf. The Theory of the Theater, p. 118.
[298] Cf. his Aristotle on the Art of Poetry, pp. 48 f.
[299] Cf. Dryden, Dramatic Essays (Everyman’s Library edition), p. 20.
[300] Cf. Philostratus, Apollonius of Tyana, p. 245.
[301] Cf. note on vs. 38 in Tucker’s edition.
[302] Cf. note on these lines in Starkie’s edition, and Murray, op. cit., p. 30.
[303] Figs. 68 f. are taken from Robert, op. cit., Figs. 55 and 77, respectively.
[304] Cf. Laws 659A-C.
[305] See pp. xvii f. above, and cf. Bartsch, Entwickelung des Charakters der Medea in der Tragödie des Euripides (Breslau, 1852), p. 24. For the Boeotian version of the incident in Euripides’ Suppliants, cf. Pausanias i. 39. 2.
[306] There is a tradition that this play was not produced in Athens, and some maintain that it was first played at Argos. In that case, in addition to appealing to the convictions of the pro-Athenian, anti-Spartan party in Argos, there must also have been the political motive of gaining converts for that party.
[307] Cf. Lectures on Dramatic Art and Literature, translated by Black and Morrison, p. 38.
[308] In addition to the works mentioned on pp. xvii and xx f., above, and the bibliography listed on pp. 57-59, above, cf. Hense, Die Modificirung der Maske in der griechischen Tragödie² (1905); Dignan, The Idle Actor in Aeschylus (1905); Flickinger, “Scaenica,” Transactions of the American Philological Association, XL (1909), 109 ff.; Robert, Die Masken der neueren attischen Komödie (1911); Rees, “The Significance of the Parodoi in the Greek Theater,” American Journal of Philology, XXXII (1911), 377 ff., and “The Function of the Πρόθυρον in the Production of Greek Plays,” Classical Philology, X (1915), 117 ff.; Harms, De Introitu Personarum in Euripidis et Novae Comoediae Fabulis (1914); Mooney, The House-Door on the Ancient Stage (1914); and Rambo, “The Wing-Entrances in Roman Comedy,” Classical Philology, X (1915), 411 ff.
[309] Cf. Craig, On the Art of the Theatre (1911), pp. 13 and 54 ff., and Cornford, Thucydides Mythistoricus (1907), p. 142, n. 2.
[310] Fig. 70 is taken from Dörpfeld-Reisch, Das griechische Theater, Fig. 43; Fig. 71 is from a photograph taken by Professor L. L. Forman and furnished by Dr. A. S. Cooley.
[311] Cf. Three Plays for Puritans, p. xxxvi.
[312] Fig. 72 is taken from Puchstein, Die griechische Bühne, Fig. 3.
[313] Cf. Ridgeway, Dramas and Dramatic Dances of Non-European Races, p. 83.
[314] Fig. 73 is taken from Baumeister, Denkmäler, Fig. 980. Within the prothyron are the king of Corinth and his daughter, Jason’s second wife. The latter is being assisted by her brother. In front lies an opened box which contained the poisoned gifts. From the other side the queen comes rushing. In the foreground is Medea slaying one of her children, while a youth tries to rescue the other. In the center is Oistros, the demon of madness, mounted upon a dragon chariot. Further on Jason is hastening to aid his boys, and on the extreme right is the ghost of Aeetes, Medea’s father. The design is apparently not based upon Euripides’ Medea. Cf. Earle’s edition, pp. 60 f.
[315] Cf. Discours des trois unités, I, 119 (Regnier’s edition; 1862).
[316] Cf. Legrand, The New Greek Comedy, pp. 356 f., Loeb’s translation.
[317] For another interpretation cf. Mooney, op. cit., p. 19 and n. 13.
[318] The Ajax is one of the earliest among Sophocles’ extant plays, but its exact date is not known. I have assumed that it preceded the introduction of a proscenium about 430 B.C. (see p. 235, above). If it was written after that innovation, the statement in the text would have to be altered accordingly, but the general method of procedure remains the same in either case.
[319] Cf. Jebb, The Attic Orators, Vol. I, p. ciii.
[320] In addition to the works mentioned on pp. xvii and xx f. and the bibliography listed on pp. 57-59, above, cf. Campbell, Classical Review, IV (1890), 303 ff.; Verrall in his edition of Euripides’ Ion (1890), pp. xlviii ff.; Krause, Quaestiones Aristophaneae Scaenicae (1903); Kent, “The Time Element in the Greek Drama,” Transactions of the American Philological Association, XXXVII (1906), 39 ff.; Felsch, Quibus Artificiis Adhibitis Poetae Tragici Graeci Unitates Illas et Temporis et Loci Observaverint (1907); Polczyk, De Unitatibus et Loci et Temporis in Nova Comoedia Observatis (1909); Marek, De Temporis et Loci Unitatibus a Seneca Tragico Observatis (1909); Wolf, Die Bezeichnung von Ort und Zeit in der attischen Tragödie (1911); Butcher, Aristotle’s Theory of Poetry and Fine Art⁴ (1911), pp. 274 ff.; Brasse, Quatenus in Fabulis Plautinis et Loci et Temporis Unitatibus Species Veritatis Neglegatur (1914); and Manning, A Study of Archaism in Euripides (1916).
[321] ΧΟΡΟΥ is printed at this point in most editions but occurs in no manuscript (see p. 145, above); it has been inserted by the editors.
[322] Cf. Scott, Classical Philology, VIII (1913), 453 ff.
[323] Πάλαι in vs. 587 is entirely subjective; cf. Conrad, The Technique of Continuous Action in Roman Comedy (1915), pp. 22 ff.
[324] For example, the slips which occur in Aristophanes’ Lysistrata (vss. 725 and 881).
[325] Cf. Discours des trois unités, I, 113 f. (Regnier’s edition), quoted by Butcher, op. cit., pp. 294 f.
[326] Cf. the introduction to his edition of the Agamemnon, and Four Plays of Euripides, pp. 1-42.