[327] Cf. Dramatic Essays (Everyman’s Library edition), p. 18.

[328] Cf. Poetics 1449b12-14.

[329] Cf. England’s edition of Euripides’ Iphigenia at Aulis, p. xxvii.

[330] Cf. The Bookman, XXX (1909), 37.

[331] Cf. Archer, Play-making, pp. 123 f.

[332] Cf. Poetics 1450a38 f.

[333] Cf. Poetics 1450b22-35.

[334] Cf. The Old English Dramatists, III.

[335] Cf. Poetics 1451a15-22.

[336] Cf. Technique of the Drama, MacEwan’s translation², pp. 30 ff.

[337] Cf. Shakespeare as a Dramatic Artist (1902), pp. 150 f.

[338] Cf. Poetics 1459b22-28.

[339] Cf. op. cit., p. 92.

[340] Cf. Dramatic Essays (Everyman’s Library edition), pp. 12 f.

[341] Cf. Poetics 1454a31 ff.

[342] Cf. Thucydides Mythistoricus (1907), p. 146.

[343] In addition to the works mentioned on pp. xvii and xx f., above, cf. Petersen, Preisrichter der grossen Dionysien (1878); Hayley, “Social and Domestic Position of Women in Aristophanes,” Harvard Studies, I (1890), 159 ff.; Lounsbury, Shakespeare as a Dramatic Artist (1902); Goodwin’s edition of Demosthenes’ Against Midias, Appendix IV (1906); Capps, “Epigraphical Problems in the History of Attic Comedy,” American Journal of Philology, XXVIII (1907), 179 ff.; Legrand, Daos; Tableau de la comédie grecque pendant la période dite nouvelle (1910), translated by Loeb in 1917 under the title The New Greek Comedy; Sheppard, Greek Tragedy (1911); and Ruppel, Konzeption und Ausarbeitung der aristophanischen Komödien (1913).

[344] A mina was equivalent to one hundred drachmae and was worth about $18, though allowance must be made for the greater purchase value of money in those days.

[345] Cf. Lysias xxi, §§ 1-5.

[346] Cf. his Life of Nicias, III.

[347] Cf. Aristotle, Constitution of Athens, c. 56.

[348] Cf. Kock, Comicorum Atticorum Fragmenta, I, 16, fr. 15 (Cratinus).

[349] Cf. Sheppard, op. cit., p. 58.

[350] Cf. Legrand, op. cit., pp. 312-15 and 455 f.

[351] Cf. Prescott in Classical Philology, XI (1916), 132.

[352] Cf. Hall, The Ancient History of the Near East² (1913), p. 48.

[353] Cf. Albright, The Shakesperian Stage (1909), pp. 148 f.

[354] In addition to the works mentioned on pp. xvii and xx f., above, cf. Thirlwall, “On the Irony of Sophocles,”Philological Museum, II (1833), 483 ff.; Neckel, Das Ekkyklema (1890); Trautwein, De Prologorum Plautinorum Indole atque Natura (1890); Dörpfeld-Reisch, Das griechische Theater (1896), pp. 234 ff.; Bethe, Prolegomena zur Geschichte des Theaters im Alterthum (1896), pp. 100 ff.; Exon, “A New Theory of the Eccyclema,” Hermathena, XI (1901), 132 ff.; Leo, Der Monolog im Drama, ein Beitrag zur griechisch-römischen Poetik (1908); Polczyk, De Unitatibus et Loci et Temporis in Nova Comoedia Observatis (1909); Flickinger, “Dramatic Irony in Terence,” Classical Weekly, III (1910), 202 ff.; Arnold, The Soliloquies of Shakespeare (1911); Fensterbusch, Die Bühne des Aristophanes (1912), pp. 51 ff.; Harms, De Introitu Personarum in Euripidis et Novae Comoediae Fabulis (1914); and Rees, “The Function of the Πρόθυροv in the Production of Greek Plays,” Classical Philology, X (1915), 134 ff.

[355] Cf. scholia to Aeschylus’ Eumenides, vs. 64, Aristophanes’ Acharnians, vs. 408 and Clouds, vs. 184, and Clemens Alexandrinus, p. 11 (Potter).

[356] Fig. 74 is specially drawn, but owes several features to Figs. 93 f. in Dörpfeld-Reisch, Das griechische Theater. Since Exon’s discussion and drawing of the eccyclema presuppose a theater with a stage, it has been necessary to modify his conception so as to bring it into conformity with the Dörpfeld theory.

[357] See p. 244, n. 1, above.

[358] Cf. scholia to Aristophanes’ Acharnians, vs. 408 and Women at the Thesmophoria, vs. 284; Pollux iv. 128, and Eustathius, p. 976, 15.

[359] The exostra (ἐξ, “out” + ὠθεῖν, to “push”) seems to have performed about the same function as the eccyclema; cf. Pollux iv. 129; perhaps it was only the more specific name for this later type.

[360] On the basis of ἀναβάδην in vs. 399, for which the scholiasts preserve two interpretations, some writers would have us believe that Euripides was shown in the second story. Tracks for the wheels of an eccyclema have been reported on the logium level of the theater at Eretria (see p. 107, above).

[361] Cf. Poetics 1454b1 and 1461b21.

[362] Cf. Euripides and the Spirit of His Dramas, pp. 263 ff., Loeb’s translation (1906).

[363] According to late authorities Greek theaters were provided with revolving prisms (periacti) with a different view painted on each of their three sides. These could be turned to indicate a change of scene. There is no evidence, however, that this contrivance was employed during the classical period of Greek drama, although Dörpfeld thought that a place was provided for it in the earlier parascenia at Epidaurus (cf. Das griechische Theater, p. 126). The geranos (“crane”) and the krade (“branch”) were probably only other names for the μηχανή.

[364] Cf. Themistius Oration xxvi, 316 D.

[365] Cf. Poetics 1451b26.

[366] Cf. Archer, Play-making, p. 119.

[367] Cf. Hamburgische Dramaturgie, Zimmern’s translation, p. 377.

[368] Cf. Euripides and His Age, p. 206.

[369] Cf. Reitzenstein, Hermes, XXXV (1900), 622 ff.

[370] Cf. Kock, Fragmenta Comicorum Atticorum, II, 500, fr. 79.

[371] Aristotle’s theory of the purificatory effects of tragedy has not fallen within the scope of my text, but I cannot forbear citing Fairchild, “Aristotle’s Doctrine of Katharsis and the Positive or Constructive Activity Involved,” Classical Journal XII (1916), 44 ff.

[372] Cf. Capps, “Dramatic Synchoregia at Athens,” American Journal of Philology, XVII (1896) 319 ff.; “Catalogues of Victors at the Dionysia and Lenaea,” ibid., XX (1899), 388 ff.; “The Dating of Some Didascalic Inscriptions,” American Journal of Archaeology, IV (1900), 74 ff.; “The Introduction of Comedy into the City Dionysia,” Decennial Publications of the University of Chicago, VI (1904), 259 ff.; and “Epigraphical Problems in the History of Attic Comedy,” American Journal of Philology, XXVIII (1907), 179 ff.; Wilhelm, Urkunden dramatischer Aufführungen in Athen (1906), and “Eine Inschrift aus Athen,” Anzeiger d. Akademie d. Wissenschaften in Wien, phil.-hist. Klasse, XLIII (1906), 77 ff.; Clark, “A Study of the Chronology of Menander’s Life,” Classical Philology, I (1906), 313 ff.; Oxyrhynchus Papyri, IV (1904), 69 ff., and X (1914), 81 ff.; O’Connor, Chapters in the History of Actors and Acting in Ancient Greece (1908); Jachmann, De Aristotelis Didascaliis (1909); and Flickinger, “Certain Numerals in the Greek Dramatic Hypotheses,” Classical Philology, V (1910), 1 ff.

[373] Reisch, however, in his review of Wilhelm in Zeitschrift f. östr. Gymnasien, LVIII (1907), 297 f. maintained that the original cutting went to the bottom of col. 14. This would postpone the preparation of the inscription until about 330 B.C. and would make it a feature of the completion of the theater by Lycurgus at about that time. He suggests that the Fasti stood in the left parodus of the theater.

[374] Fig. 75 is taken from Wilhelm, Urkunden dramatischer Aufführungen in Athen, p. 18, and represents fragments a and f of Corpus Inscriptionum Graecarum, II, 971.

[375] Fig. 76a is taken from Wilhelm, op. cit., p. 40, and represents Corpus Inscriptionum Graecarum, II, 973.

[376] Körte, “Aristoteles’ ΝΙΚΑΙ ΔΙΟΝΥΣΙΑΚΑΙ,” Classical Philology, I (1906), 391 ff., maintained that the Victors’-Lists were transferred to stone straight from another book of Aristotle’s entitled Νῖκαι Διονυσιακαὶ Ἀστικαὶ καὶ Ληναϊκαί (“Victories at the City Dionysia and the Lenaea”). Our knowledge of the nature of this work is confined to what can be inferred from its title and is too vague to justify dogmatic conclusions.

[377] Figs. 77a and b are taken from Wilhelm, op. cit., 101, and represent Corpus Inscriptionum Graecarum, II, 977a and ab respectively.

[378] Fig. 78 is taken from Wilhelm, op. cit., p. 107 and represents Corpus Inscriptionum Graecarum, II, 977i and k, together with two previously unpublished fragments.

[379] Fig. 79 is taken from Wilhelm, op. cit., p. 123, and represents Corpus Inscriptionum Graecarum, II, 977d, e, f, g, and h.

[380] Fig. 80 is taken from Clarac, Musée de Sculpture, III, Pl. 294, Fig. 65. Note that the first play in the list on the background is the ΑΛΚΕΣ[ΤΙΣ].