IV. METRE

• Accelerated Spondee, 343 n.
• Accentual Dactyl, 356.
• — Iambi, 328.
• Anaclasis, 356.
• Anacrusis, 334 n., 342, etc.
• Anapæsis used by chorus, 337.
• — in recitative, 74.
• Anapæst, ⏑⏑–, 290 n., 331, 338, etc.
• Anapæstic metre, 337-8.
• — system, 337.
• Antistrophe, 78, 344 ff.
• Antithetic-mesodic periods, 361-2.
• Antithetic periods, 360.
• Asclepiad, greater, 8.
• Bacchiac, – –⏑, 355.
• Blank verse, 328.
• Cæsura, 332-3, 336.
• Catalectic verse, 337, 339;
• catalectic foot, 334.
• — — in anapæstic systems, 338.
• Catalexis, 335, 337, 353-4, 359.
• Choree, 352-3.
• Choriambics, –⏑⏑–, 357.
• Cola, three types of, 351.
• Colon, 343 ff.
• — definition of, 347.
• Counter-turn, 344.
• Cretic, –⏑–, 354.
• — Final, 290 n., 333-4.
• — in English, 355.
• Cyclic Dactyls, 341.
• Dactyl, –⏑⏑, 331, etc., 340.
• Dactylic dipody, 356.
• — hexameter, 339.
• Dactyls, cyclic, 341.
• Definition of a colon, 347.
• — — ictus, 347-8.
• — — metre, 327.
• — — poetry, 327.
• — — rhythm, 327.
• Diæresis, 336-7.
• Dialogue-metre, 74, 334 ff., 353.
• Dipody, 338, 351-2.
• Dochmiacs, 355, 358.
• Dochmius, 358.
• Elision, 329, etc., 344 n.
• Emotional significance of metre, 353 ff.
• Episodic trochaics, 338, 353.
• Epode, 78, 345.
• Equal cola, 351.
• Final Cretic, 290 n., 333-4.
• Foot-ictus, 342.
• Greater asclepiad, 8.
• Hexameter, Dactylic, 339.
• Hexapody, 351-2.
• Hiatus, 329-30.
• Homeric metre, 339.
• Iambic metre, 4, 327, 330 ff.
• — senarius, 340.
• Iambus, ⏑–, 74, 327 ff., 330, etc.
• Ictus, 342, 347.
• — definition of, 347.
• Insetting, 342.
• Ionic, – –⏑⏑, 356.
• Ionicus a maiore, 356.
• — — minore, ⏑⏑– –, 356.
• Irrational syllables, 343 n., 347, 351, 362.
• Licences, 331, 335.
• Logaoedic systems, 341.
• Long syllables, 328.
• Lyrics, v, vi, 2, 338 ff.
• Mesode, 344, 361.
• Mesodic periods, 361-2.
• Metre, vi, 327 ff.
• — definition of, 327.
• — in comedy, 334.
• — of S. Philoctetes, 181;
• of E. Orestes, 315, 334.
• Molossus, – – –, 354.
• Music, Greek, 339, etc.
• Octonarius, 335.
• — trochaic, 339.
• Palinodic-antithetic periods, 361.
• — — -mesodic periods, 361-2.
• Palinodic-mesodic periods, 361-2.
• — periods, 360.
• Parœmiacs, 338 and n.
• Pentapody, 351.
• Period, 343, 359 ff.
• Pitch-accent, 327 n.
• Poetry, definition of, 327.
• Postlude, 344, 362.
• Prelude, 342, 344, 362.
• Prodelision, 329.
• Quantity, 327 ff.
• Quasi-anapæsts, 354.
• Quasi-trochees, 341.
• Quinquepartite cola, 351.
• Recitative, 337.
• Resolved feet, 330, 334, 336, 342 n., 353, 355, 358.
• Rhythm, p. vi, 327 ff.
• — definition of, 327.
• — in Philoctetes, 181.
• Rules of Quantity, 328-9.
• Scansion, 327 ff.;
• of lyrics, v, vi, 338 ff.
• Scheme of iambic verse, 334.
• — — trochaic tetrameters, 337.
• Senarius, iambic, 340.
• Sentence, 343, etc.
• Spondaic words lacking in English, 354.
• Spondee, – –, 181, 330, etc., 341, 353.
• Stichic period, 359-60.
• — -mesodic period, 361.
• Stress-accent, 327, 342, 347.
• “Striking-up,” 342 n.
• Strophe, 78, 344 ff.
• Synapheia, 330.
• Syncopated rhythm, 341.
• Synizesis, 332.
• Tetrameter, Trochaic, 334 ff.
• Tetrapody, 337, 351-2.
• Tribrach, ⏑⏑⏑, 181, 331, 335.
• Tripody, 351-2.
• Trochaic tetrameter, 4, 334 ff.
• — octonarius, 339.
• Trochee, –⏑, 334 ff., 352.
• Turn, 344.
• Types of cola, 351.
• — — period, 359 ff.
• Unequal cola, 351.
• Verse in lyrics, 346.
• Virgilian metre, 339.
• Voice-stress, 328.
• Word-ictus, 348.

LINES QUOTED IN CHAPTER VI

• Æschylus:
• Agam., 2, 160 sqq., 975 sqq., 988 sqq., 1530 sqq.
• Eumen., 788 sq.
• Persæ, 81 sq., 126 sq.
• Prom. V., 12, 15, 115, 415, 420.
• Suppl., 418 sqq., 582 sqq., 656.
• Euripides:
• Alcestis, 29, 32, 34, 37, 179.
• Androma., 241, 260, 804.
• Bacchæ, 12, 64 sqq., 703.
• Cyclops, 361 sqq.
• Hecuba, 629 sqq.;
• Herc. Fur., 76, 857.
• Ion, 125-7, 313, 548;
• I. Aul., 320, 882;
• I. T., 123-5, 1232.
• Medea, 1, 635;
• Orest., 310, 367, 502, 740, 756, 797, 872, 892, 894.
• Phœn., 114 sqq., 590 sq., 609, 612;
• Troades, 710, 738.
• Sophocles:
• Ajax, 646, 652;
• Antigone, 95, 582 sqq., 1329 sq.
• Electra, 147-9;
• Œ. Col., 1047-8, 1055, 1082.
• Œ. Tyr., 1, 29, 151, 483-4, 738, 1313.
• Philoct., 895 sqq., 1095 sqq., 1222 sqq., 1402.

V. GENERAL

• Actor, 1.
• — Hegelochus, 74.
• — Sophocles, 13.
• — Theodorus, 35.
• Actors, 4, 15, 72-5.
• Actors’ Guild, 75.
• — in Roman times, 59.
• — privileges of, 75.
• — travelling companies of, 49.
• — under Æ., 11-12.
• Admission to theatre, 81.
• Agnosticism of E., 318.
• Alexandrian Pleiad, 2, 39-41.
• Allusions to landscape, 63.
• — — contemporary events, 7-9.
• Altar in orchestra, 50.
• — of Dionysus, 51.
• Ambassadors’ seats, 81.
• Amphictyonic council, 75.
• Anapiesma, 64.
• Apparition of gods, etc., 65.
• — of Dioscuri in E. El., 65;
• of Iris and Frenzy in H. Fur., 233;
• of Medea, 65;
• of Pallas in H. Fur., 233 n.
• Architecton, 82.
• Architectural remains, evidence of, in stage controversy, 57-8.
• Archon and dramatic judges, 12.
• — Basileus, 60.
• — Eponymus, 60.
• Archonship of Menon, 87.
• Archons’ seats, 81.
• Areopagite Court in Eumenides, 70, 112 ff., 317.
• Argives in Æ. Agam., 79;
• Suppl., 84;
• in E. El., 252 ff.;
• Or., 269 ff.
• — in E. Phœn., 264 ff.;
• in S. Antig., 137 ff.
• Argo the ship, in E. Hypsip., 305.
• Argument of E. Hippol., 215 n.;
• Medea, 22 n.;
• of Æ. Persæ, 8 n.
• — against a stage, 56 ff.;
• for a stage, 53 ff.
• — of plays, whence taken, 62.
• Arrangement of Æ. Agam., 99 n.;
• Choeph., 106 n.;
• Eum., 111 n.;
• Pers., 86 n.;
• P. V., 92;
• Septem, 89 n.;
• Suppl., 84 n.
• — of E., Alc., 186 n.;
• Bac., 277 n.;
• Cycl., 289 n.;
• El., 252 n.;
• Hel., 258 n.;
• Heracleidæ, 200 n.;
• H. Fur., 228 n.;
• Hippol., 205 n.;
• Ion, 236 n.;
• I. A., 285 n.;
• I. T., 247 n.;
• Or., 268 n.;
• Phœn., 264 n.;
• Rhes., 291 n.;
• Suppl., 234 n.;
• Troad., 243 n.
• — of S. Aj., 132 n.;
• Ant., 136 n.;
• El., 141 n.;
• Œ. C., 167 n.;
• Œ. T., 145 n.;
• Philoct., 161 n.;
• Trach., 154 n.
• Artists of Dionysus, 75.
• ? Ascent from orchestra to stage, 55.
• Assyrian sculpture, 126.
• Até, 129, 198.
• Athenian art, 182-3.
• — cynicism, 325.
• — ecclesia, 270.
• — empire, 14, 128 n., 325.
• Atridean house, 127, 129.
• Attic festivals, 49.
• — hero Triptolemus, 6.
• — spirit of S., 182.
• — townships, 49.
• Audience, 80.
• Audiences, size of, 50.
• Auditorium, 51.
• Authorship of Rhesus, 293-5.
• Bacchante, 237;
• Bacchantes in Æ. Bassarids, 117.
• Basileus, Archon, 60.
• Beacon-speech in Æ. Agam., 124.
• Beauty and Truth in E., 326.
• Belletrist, Ion a, 24.
• Benefactors’ seats, 81.
• Bent staff of actors, 16.
• Bible and S. Œ. Col., 172 and n.
• Board-game in Æ. Suppl., 123;
• in E. Medea, 208.
• Board of generals, 12.
• Bœotians, 234 n.
• “Bowl of the Sun,” in Æ. and Mimnermus, 119.
• Bronteion, 64.
• Buildings of Greek theatre, 50 ff.
• Burial-passages in Moschion, 38.
• Burlesque, E. Helena a, 262 ff.
• Buskin, 69.
• Butler in E. Alc., 73.
• Byzantine appreciation and selection of E., 21, 215-6, 265, 268.
• Catharsis, 43.
• Cenotaph of E., in Attica, 18.
• Centaurs:
• Chiron, 98;
• Nessus, 154.
• Ceraunoscopeion, 64.
• Cercis, -ides, 80-1.
• Change of dress, 73.
• — — scene in Æ. Eum., and S. Aj., 63.
• Character in Tragedy, according to Aristotle, 44.
• Charges in theatre, 81-2.
• Charioteer in Rhesus, 291-2.
• Chariots on stage, 64.
• Charon’s steps, 64.
• Chian wine, 24.
• Choregus, 7, 60, 68, 82.
• Choreutæ or choristers, 16, 75 ff.
• Chorus, 4, 75-80.
• — and chorus-leader, 1.
• Chorus-dancing, 78-80.
• — -entrances, 56.
• — in satyric drama, 80.
• — — Æ., E., and S., 76-7.
• — — E., Alc., 79;
• Or., 79;
• S. Œ. Tyr., 79;
• Philoct., 166.
• — of Argive elders in Æ. Ag., 79, 99.
• — — — women in E. El., 252 ff.
• — — — — — — Or., 79, 269.
• — — Athenians in S. Œ. Col., 169.
• — — attendants of Creusa in E. Ion, 236 ff.
• — — — women in E. Phaethon, 302.
• — — Colchian women in E. Iph. A., 285 ff.
• — — captive Greek maidens in E. Helena, 259.
• — — — — — — — Iph. T., 247 ff.
• — — Corinthian women in E. Medea, 192 ff.
• — — Danaids in Æ. Suppl., 76, 84.
• — — Furies in Æ. Eumen., 76-7, 111.
• — — Greek sailors in S. Philoct., 166.
• — — Lemnians in Æ. and E. Philoct., 166, 296.
• — — Libation-bearers in Æ. Choeph., 79, 106, 126.
• — — Mothers of the Seven, in E. Suppl., 234 ff.
• — — Nemean women in E. Hypsip., 304.
• — — Old Athenians, in E. Erech., 297;
• Heracleid., 200.
• — — — Pheræans in E. Alc., 79, 186.
• — — Phœnician maidens in E. Phœn., 264 ff.
• — — — — — Phrynichus’ Phœn., 9.
• — — Phrygian Bacchantes in E. Bac., 277 ff.
• — — Phrygians in Æ. Hector’s Ransom, 119.
• — — Phthian women in E. Andromache, 220.
• — — Salaminian sailors in S. Ajax, 132.
• — — Satyrs in S. Ichn., 175, and E. Cycl., 289 ff.
• — — Sea-Nymphs in Æ. Prom. V., 94.
• — — Sentinels in Rhesus, 291 ff.
• — — Thebans in E. H. Fur., 228 ff.
• — — — — S. Antig., 137.
• — — — — — Œ. Tyr., 148.
• — — Trœzenian women in E. Hippol., 205 ff.
• — — Trojan women in E. Troades, 243 ff.
• — place of, in theatre, 50.
• — under Æ., 11-12.
• Chorus-leader, 60.
• — -trainer, 70.
• Chromatic style of Agathon, 26.
• Chthonian religion in Æ., 130.
• City Dionysia, 13, 49, 60.
• Classicism and Romance, 320.
• Comedy, 23.
• — origin of, 1 n.
• Commos, 74.
• — Aristotle’s definition of, 47.
• — in Æ. Choeph., 109 and n.
• Complication, Ar.’s definition of, 47.
• Conception of God in Critias, 30.
• Confederacy, Delian, 13.
• Conscience in Æ., 130.
• Contents, p. vii.
• Coon-songs, 80.
• Corinthians, 16, 192 ff.
• Coryphæus, 78-9.
• — in Œ. Tyr., 146.
• Cothurnus, 69.
• Crēpis, 68.
• Criticism, Verrall’s, etc., p. v.
• Crown of ivy, 61.
• Curetes, in E. Cretans, 310.
• Curtain, none in classical age, 64.
• Dancing-ground, 50.
• Dancing of chorus, 78-80.
• Date of Hecuba, 215 n.
• Dea ex machina, in E. Ion, 240;
• Melanippe, 306.
• See also Deus.
• Death on stage, according to Aristotle, 45;
• of Alcestis and Hippolytus, 46.
• Defects in S. Ajax, 135-6.
• Delian confederacy, 13.
• — festival, 215 and n.
• Delirium of Orestes, on stage, 70.
• Delphic oracle, in E. Erech., 297;
• Ion, 237 ff.;
• I. T., 247 ff.;
• Teleph., 295-6.
• Demos, 325.
• Dénouement, Aristotle’s definition of, 47.
• Destiny in E., 318.
• Deus ex machina, acc. to Aristotle, 46;
• in S. Philoct., 163 ff., 312 ff., 315;
• in E. Androma., 312 ff.;
• Bac., Hel., Hipp., Ion, Iph. A., Melan. W., Rhes., Suppl., ibid., Medea, 46, 195-6.
• Deuteragonist, 72.
• Dialogue, 4, 11.
• Difficulties in plot of Andromache, 221 ff.
• Dionysia, City or Great, 13, 49, 60, 80.
• — Rural, 49.
• — 203.
• — in Alexander’s Camp, 39.
• Dionysiac festivals, 80.
• — — at Alexandria, 39.
• — legends, 2.
• — worship, 68.
• Distegia, 64-5.
• Dithyrambic chorus, 82.
• Dithyrambs, 1, 3, 23-4, 49.
• — prize a tripod in, 62.
• “Do and suffer,” 110.
• Doge in Sh. Merchant of Venice, 72-3.
• Doors in theatre, 52.
• Dorian mode, 72.
• Dorians and tragedy, 3.
• Doric in lyrics, 3 and n.
• Drama before Æ., 4 ff.
• Dramatic art of Æ., 125 ff.
• — criticism, Verrall’s, p. v.
• — form, p. vi.
• — irony in S., 179-80.
• — performance, a State function, 50.
• — renaissance in Great Britain, p. v.
• — structure, pp. v, vi, etc.
• — — of E. Medea, 196-7.
• Dress, effect of, on acting, 70.
• — of actors and chorus, 68-70.
• — — satyric chorus, 69.
• — — chorus in E. Bac., 68-9.
• — — Furies in Æ. Eum., 69.
• Dressing-room, 52.
• Ecclesia of Athens, 270.
• Eccyclema, 64, 66-8;
• in Æ. Eum., 67, 111 n.;
• in E. H. Fur., 229.
• Editions of E. Medea, 22 and n., 195-6;
• of Hippol., 213-5.
• Effect of dress and masks on acting, 70.
• Egyptian herald in Æ. Suppl., 123-4, and Eg. messenger in E. Hel., 258 ff.
• — sculpture, 126.
• Elaphebolion, month (Mar.-Apr.), 49.
• Elegies of Ion, 23.
• Elements of tragedy, acc. to Aristotle, 44.
• Eleusinian mysteries, 10-11.
• Eleusinians in E. Erech., 297.
• Elizabethan dramatists, 5.
• — stage-directions, and eccyclema, 66-7.
• Embassy to Syracuse, E. on, 17.
• Encores, 83.
• Epigrams of Ion, 23.
• Episodes, 4 and n., 12.
• — Ar.’s definition of, 47.
• Episodic plot of Hecuba, 216.
• — plots of E., 312 ff.
• Epitaph of Æ., 10 n.
• Eponymus, Archon, 60.
• Eretrian philosophic school, 39.
• Eruption of Etna, 91.
• Etymology of “tragedy,” 62 n.
• Eunuch in Phrynichus’ Phœnissæ, 7.
• Euripidean influence in S. Philoct., 163.
• — — — — Trach., 159-60.
• — Supplices, 65.
• — versification of Sosiphanes, 41.
• Evidence of architectural remains, in stage controversy, 57-8.
• — — extant dramas, in stage controversy, 56-7.
• — — tradition, in stage controversy, 57.
• Examining-boards and S. Ajax, p. vi.
• Exodos, 78;
• Ar.’s definition of, 47.
• “Expedit esse deos,” 257 n.
• Fate in Æ., 130;
• in E., 318;
• in E. Troades, 246.
• “Fates” in British Museum, 182.
• Faults in Œ. Tyr., 150 ff.
• Fixed proscenium, 58.
• Flowers, Chæremon’s love of, 32-3.
• Flute-players, 6, 60, 70-2.
• Form, dramatic, p. v.
• Fourth actor, 71.
• Fragments of Aristophanes, 119 and n.
• — — Æ., 117 ff.;
• of E., 295 ff.;
• of S., 173-6.
• French Revolution, 30.
• Frenzies in E. Orestes, 275;
• frenzy, 65.
• Fundamental law in criticism of Greek tragedy, 155.
• Furies, 67-8, 111 ff., 249;
• and Attica, 131;
• grove of, 168 ff.;
• in Æ. Choeph., 108;
• Eum., 77 n.;
• in S. Œ. Col., 169;
• in E. Iph. T., 247;
• Orestes, 269.
• Gallery, 51.
• — on Elizabethan stage, 65.
• Gamelion, month (Jan.-Feb.), 49.
• Gangways, 51.
• General appreciation of Æ., 120 ff.;
• of S., 177 ff.;
• of E., 310 ff.
• Generals, board of, 13.
• Generals’ seats, 81.
• Geography, in Prometheus-trilogy, and Daughters of Sun, of Æ., 119;
• and in S. Triptolemus, 173.
• Ghost of Clytæmnestra, in Æ. Eum., 111 ff.
• — — Polydorus, in E. Hec., 215 ff.
• Ghosts in theatre, 55, 64.
• Goat as tragic prize, 62.
• “Goat-song,” 62 n.
• “God” in E., 283 f.
• Golden Fleece in E. Medea, 192 ff.
• — — — — Hypsip., 305.
• — Lamb, 257.
• Gorgon, in E. Andromeda, 240.
• Graces and Muses in E., 326.
• “Gracious Ones,” 113 n.
• Græco-Roman type of theatre, 59 n.
• Grandeur of Æ.’s dramatic art, 125.
• — — — language, 121.
• Great Dionysia, 49, 80.
• Greek Drama originated in Dionysiac worship, 1.
• — — an act of worship, 49.
• — enlightenment, 325.
• — Messenger in E. Helena, 258 n.
• — Statues, 182-3.
• Guard in E. Bacchæ, 277 ff.;
• in S. Antig., 144.
• Hades, 95;
• in Pirithous, 29.
• Harpist, S. as, 71.
• Hellenistic world, 20.
• Hellenotamias, 13.
• Hemicyclion, 64.
• Herald in Æ. Ag., 73;
• Suppl., 123;
• of Thebes, in E. Suppl., 234 ff.
• Herdsman in Rhesus, 291 n. and ff.
• “Hero” in Greek sense, 136.
• High stage, 53-4.
• Hissing a play, 83.
• Homeric question, 52.
• Hoplite, Æ. as, 10.
• Horses on stage, 64.
• Huntsmen in E. Hippol., 71.
• Hymns of Ion, 23.
• Hypnotism in E. Bacchæ, 282.
• Hyporchema, 6, 78.
• Hypothesis of E. Cycl., 290 n.;
• of Suppl., 235 n.
• Icria, 81.
• Improvisation, 5.
• Innovations of Agathon, 26 f.
• Interpolations in E. Phœnissæ, 265 ff.
• Invocation of Agamemnon’s shade, in Æ. Choeph., 74.
• Ionian revolt, 7.
• Irony, S.’s dramatic, 179-80.
• Isthmian games, 23.
• Ivy crown of poet and choregus, 61.
• — sacred to Dionysus, 61-2.
• Japanese theatre, 68.
• Judges of dramas, 12-13, 61.
• Judges’ seats in theatre, 81.
• Lacedæmonian society in E. Andromache, 224.
• Landscape, allusions to, in drama, 63.
• Language of Homer, 123.
• Later Greek view of E., 323.
• Lead, theatre-ticket of, 82.
• Lemnian chorus in Æ. and E. Philoctetes, 166.
• Lenæa, 34, 49, 60.
• Lessee of theatre, 82.
• Library of Alexandria, 39.
• — — Euripides, 17.
• Libretto, 72, 312.
• Lightning on stage, 64.
• “Literature of escape,” 184.
• “Liturgy” or public service, 60.
• Logeion, 53, 57, 64.
• Low stage, 54.
• Ludovisi Hera, 182.
• Lycians in Rhesus, 291 ff.
• Lycurgean theatre, 58.
• Lydian mode, 72.
• Machinery, on stage, 64-5.
• “Madonna of the Grand Duke,” by Raffaelle, 102.
• “Marathon, men of,” 325.
• Masks, 5, 58, 68-9;
• invented by Chœrilus? 6;
• effect on acting, 70.
• “Melian dialogue” in Thucydides, 167 n.
• Melodrama, 307.
• “Men of Marathon,” 325.
• Messenger or messengers: in E. Bacch., 277 ff.;
• El., 252-3;
• Helena, 258 ff.;
• Iph. A., 285 f.;
• Phœn., 264-5;
• Suppl., 234 n.;
• in S. Œ. Col., 185.
• Metaphors, 123, etc.
• Minor parts well played, 73.
• Mixed, or “mixo-,” Lydian mode, 19, 72.
• Model tragedy, in Ar. Poetic, the Œ. Tyr., 148.
• Modes in music, 72.
• Monastic spirit in Hellas, 310.
• Monody, 74.
• Mounting of plays, 60, 62 ff.
• Muse in Rhesus, 291 n. and ff.;
• Muses in Æ. Bassar., 117;
• in E. H. Fur., 229.
• Music, 26, 71-2;
• and Pratinas, 6.
• Music-hall, or Odeum, 56.
• Mutes, 70-1.
• Mysteries of Eleusis, 10-11.
• Naiad-lyric in E. Hel., 261.
• Natural science in E., 319.
• Nemean games, 304.
• — women in E. Hypsip., 304.
• New comedy, 19, 336.
• Nightingale-lyric in E. Hel., 261;
• in Rhes., 292-3.
• No word for stage in older literature, 57.
• Number of actors, 5, 11-12, 15-16, 73.
• Nurse in Æ. Choeph., 124;
• E. Hippol., 205 ff.;
• in S. Trach., 158 n.;
• in Sh. Romeo and J., 124.
• Nymph Cyllene, in S. Ichn., 176;
• Echo, in S. Philoct., 166.
• Objections of A. and Ar. to E., 312 ff.
• Obol, 81.
• Obscenity in ritual, 81.
• Oceanids in Æ. P. V., 76, 124.
• Ochlocracy, 30.
• Odes in Tragedy, 77.
• Odeum, or Music-hall, 56.
• Old Comedy, 81.
• — man, in E. Iph. A., 285 ff.
• — woman, in E. Helena, 258 ff.
• Olympian Gods, and Æ., 130;
• in S. El., 142;
• in E. Hippol., 209;
• Ion, 238 ff.;
• Iph. T., 249;
• Or., 276;
• Troad., 246.
• Oncus, 69.
• Optical relations of stage and auditorium, 58.
• Oracle of Delphi;
• in Ion, 237;
• and see Delphic Oracle.
• Orchestra, 50, 57-8, 64.
• Order in theatre, 82.
• Origin of comedy, 1 and n.;
• of tragedy, 1 ff.
• Oxyrhynchus papyri, 18 and n., 175 ff., 304 and n., etc. [vi., 19-106; ix. 124-82].
• Pæan on Salamis, 12;
• Pæans, 23.
• Pædagogi, brought on stage by Neophron, 21.
• Pædagogus, in S. El., 141 ff.;
• E. Ion, 236 ff.;
• Med., 192;
• Phœn., 264 ff.
• Papyri, see Oxyrhynchus.
• Parachoregema, 71.
• Parallel of sculpture and Æ.’s art, 125-6.
• Parascenia, 53-4, 71.
• Parian marble, the, 17.
• Parodos, -oi, 77, 81;
• Ar.’s definition of, 47.
• Parody: of Agathon, in A. Thesmoph., 27-8;
• of E. Andromeda, in A. Thesm., 298;
• Belleroph., in A. Peace, 297;
• of Tel. in A. Acharn. and Thesm., 296;
• of Helena in A. Thesm., 262.
• Parts of a theatre, 50 ff.
• Passage-ways, 51.
• Peace-lyric, in E. Cresph., 308-9.
• Peasant in E. Electra, 252 ff.
• “Pegs,” 51.
• Pelasgians, 272.
• Pelopid curse, in Æ. Agam., 106;
• family, 258.
• Peloponnesian war, 163, 200, 201 n., 219 n., 325.
• Performers and their work, 70 ff.
• Periacti, 63, 65.
• Peripeteia, definition and examples of, given by Aristotle, 37, 47-8;
• in Agathon, 27;
• in E., 18-19;
• in S. Antig., 140;
• in Philoct., 163.
• Persian counsellors, 7, 356;
• invasions, 10.
• Phallic songs, 1 n.
• Pheræan elders’ chorus, in E. Alc., 186.
• Philosophy in E., 319.
• “Phœbus,” watchword in Rhesus, 291 ff.
• Phœnician women, chorus of in E. and Phry. Phœn., 9, 264.
• Phrygian in E. Orestes, 268 ff.
• — mode, 16, 72.
• — slave, his solo, in E. Or., 72.
• Phrygians, 224.
• Phrynichean treatment of theme, 108.
• Picturesqueness of Æ.’s dramatic structure, 127-8;
• of his characterization, 124;
• language, 123-4.
• Plan of theatre (illustration), 51.
• Platform, 56.
• Plays with two actors only, 12 and n.
• “Pleiad” at Alexandria, 39.
• Pleiads in E. Phaethon, 302.
• Plot in Tragedy, acc. to Aristotle, vi, 44;
• of Agam., Verrall’s theory, 100 ff.
• Politics, Æ.’s interest in, 128 and n.;
• in E., 319.
• Pommery, 74 n.
• Popularity of E. Phœn., 265.
• Poseideon, month (Dec.-Jan.), 49.
• Priest of Dionysus, 80.
• Privileges of actors, 75.
• Prize for acting, 61, 75.
• Probability in Agathon, 27.
• Proedria, 81.
• Producers of plays, 60.
• Production of plays, 49 ff.
• Prologos, Ar.’s definition of, 19, 47.
• Prologue in E., 19 and n.
• — of Phrynichus’ Phœnissæ, 7.
• Pronunciation in Greek and English theatres, 74.
• Propagandist plays of Diogenes and Crates, 37.
• Properties, 64.
• Property-rooms, 52.
• Prophetess in E. Ion, 236 ff.
• Prophets of Israel and Æ., 121.
• Propompi in Æ. Eum., 71.
• Proscenium, 53, 58.
• Prose-drama of E., 323.
• Protagonist, 60-1, 72 ff.
• Psychological drama of E., 318.
• Pulpitum, 56.
• Puritans, 30.
• Purpose and scope of the book, p. v.
• Pythian priestess, in Æ. Eum., 111;
• in E. Ion, 237.
• Quo Vadis? legend, 165.
• Rationalism in Critias’ Sisyphus, 30;
• in E., 315, etc.
• Realism in E., 321.
• Recitative, 74.
• Recognition in tragedy, acc. to Aristotle, 45;
• in Æ. Choeph., 258;
• in Arnold’s Merope, 308-9;
• in E. Cresph., ib.;
• Hel., 260;
• Hypsip., 305;
• Ion, 237 ff.;
• Iph. T., 31, 45, 73, 248;
• in Polyidus’ Iph., 31;
• in S. El., 142, 144;
• Tereus, 174 n.
• Recoil in drama, Ar.’s definition of, 45, 47-8;
• in S. Antig., 140.
• Religion in E., 319, etc.;
• in S., 177;
• in Æ. Eum., 114;
• of Æ., 128.
• Remains of theatre buildings at Athens, 52.
• Renaissance in Great Britain, Dramatic, p. v.
• Reticence of Athenian art, 183.
• Reversal of action in tragedy, acc. to Aristotle, 45, 47-8.
• Rhapsody of Chæremon, 32.
• “Rod-bearers,” 82.
• Roman theatres, 52.
• Romance and classicism, 320.
• — in E., 320-1.
• Rural Dionysia, 49.
• Sack of Melos, 244.
• Sacrificial Table, 1, 4.
• Salaminian sailors, chorus of, in S. Ajax, 132.
• Salamis, victory of, 7, 12, 14, 38.
• “Salome” dances, 78.
• Salon of Sophocles, 14.
• Satyric chorus, 80.
• — drama, 1, 2, 6, 17, 23, 25, 61, 81 n., 175-6, 192, 289 ff., etc.
• Satyrs, 1;
• chorus of, in Cycl., 289 ff.
• Scænici, 53.
• Scēnē, 52, 59.
• Scene-painting, 4, 15, 16, 62.
• Scenery, 62 ff.
• Scholia: on Æ. Choeph. [900], 73 n.;
• Pers., 87;
• Prom. V. [128], 57;
• on Aristoph., 22 n.;
• Frogs [303], 74 n.;
• Frogs [53], 304 n.;
• Wasps [1342], 57;
• on Eurip., 21;
• Phœn., 265;
• Rhes. [528], 294 and n.
• Scolia, 23.
• Sculpture of Assyria, Egypt, Greece, Praxiteles, 125-6.
• Sea-Nymphs, in Æ. P. V., 94.
• Seating accommodation in theatre, Athens, 50 and n.
• Seats in theatre, 80 ff.
• Selection of dramatic judges, 61.
• Semi-choruses, 78.
• Sentinels, chorus of, in Rhesus, 291 ff.
• Servant, in E. Ion, 236 ff.
• Seven against Thebes, in E. Suppl., 234 ff.
• Shepherd, in E. El., 253.
• Shrine of Thetis, in E. Androma., 219 ff.
• Sicilian expedition, 244, 252 n.
• Side-wings, 51, 54.
• Sikinnis dance, 80.
• Simplicity of Athenian art, 183;
• of Æ.’s dramatic structure, 126.
• — — Æ.’s language, 122.
• Sin, as material defilement, in Æ., 130 n.
• — in Euripides, 318 ff.
• Slave in Iph. A., 322.
• Socratic novices in A. Clouds, 68.
• Solo by Phrygian slave in E. Or., 72.
• Songs of Phrynichus, 8.
• Sophistry in E., 317.
• (“Spartam nactus es, hanc exorna”), 295.
• Spartans, 201 n., 204.
• “Speaking-place,” 53;
• “for gods,” 65.
• Sphinx, 265, 267-8 n.;
• in S. Œ. Tyr., 151.
• Stage, 52 ff.
• Stage-buildings, 50 ff.
• — -direction in S. Ichn., 175 n.
• — -machinery, 64 ff.
• — -properties, 64.
• — used after 300 B.C., 53.
• Stasima, 77;
• -on, Ar.’s definition of, 47.
• Statues in Greek plays, 62.
• — of playwrights, 31.
• Stewards in theatre, 82.
• Stropheion, 64.
• Structure, dramatic, v, vi, etc.
• “Study-plays” of Diogenes and Crates, 37.
• Sun-god, in E. Medea, 195;
• Phaethon, 301-3.
• Supervision of dramatic displays, 60 ff.
• Suttee, in E. Suppl., 235.
• Table in orchestra, 50.
• Table, sacrificial, 1, 4.
• Tableaux in Greek theatre, 66.
• Taurians in E. Iph. T., 247 ff.
• Technical changes made by Æ., 11;
• by S., 15-6.
• Temple of Athena, in Eumen., 63.
• Tent, 52 (of Agamemnon).
• Tetralogy, 15, 17, 24, 50, 61, 87.
• Theatre, 80 ff.
• — at Athens, remains of, 59 n.
• — buildings, 50 ff.
• — Græco-Roman type, in Asia Minor, 59 n.
• — its parts and construction, 50 ff.
• — not roofed, 50.
• — of Dionysus, Athens, 49, 56.
• — — Lycurgus, 57.
• — ticket, 82.
• Thebans, chorus of, in E. H. Fur., 228 ff.
• Theologeion, 64-5.
• Theoric fund, 82.
• Thessalian, in E. Andromache, 226-7.
• Thesmophoria, festival, 262.
• Third actor, 16.
• Thirty tyrants, 29-30.
• Thought in tragedy, acc. to Aristotle, 44.
• Thracian Edoni, 117.
• Thracians in E. Erech., 297;
• Rhes., 291 ff.
• “Three Unities,” 42 n.
• Thunder-machine, 64.
• Thymele, 57;
• -melici, 53.
• Times of dramatic performances, 50.
• “To give a chorus,” 60.
• Tomb of Achilles, in Hec., 216;
• of Agamemnon, in Æ. Choeph., 106;
• in E. El., 253;
• of Clytæmnestra, in E. Or., 269;
• of Proteus, in E. Hel., 259;
• importance of tombs acc. to Prof. Ridgeway, 3, 64 and n.
• “To receive a chorus,” 60.
• Torturing of slaves, in drama, 21.
• Tradition, evidence of, in stage controversy, 57.
• Tragedy, origin of, 1 ff.
• Tragic contest, begun by Pisistratus, 50.
• — diction, created by Æ., 122.
• — incident in tragedy, acc. to Aristotle, 45.
• Tragicomedy in E., 19.
• Trainers of actors and choruses, 60.
• Travelling companies of actors, 49.
• Treasury Board, 13.
• Trilogy, 16.
• Tripod, prize for dithyramb, 62.
• Tritagonist, 72.
• Trœzenian women, chorus of, in E. Hippol., 205 ff.
• Trojans, in E. Philoct., 297;
• Rhesus, 291 ff.
• — women, chorus of, in E. Troades, 243 ff.
• Two actors only, in certain plays, 12 and n.
• Tyrants, thirty, 29.
• Unities, three, 42 n.
• Unity of Place, 42 n.;
• violated in Æ. Eum., and in S. Aj., 42 n.
• Unravelling in drama, Ar.’s definition of, 47.
• Vase-paintings, 41.
• Verse-translations of Professor Murray, v, 185, 211, 214, 280.
• Versions of E. Medea, 22 and n., 195-6;
• of Hippol., 213-5.
• Vitruvian stage, 53 ff.
• Vote of Athena, in Æ. Eumen., 112 and n.
• Waggon of Thespis, 5, 50.
• Was there a stage in the Greek theatre? 52 ff.
• — — ever a fourth actor? 71.
• Watchmen in Æ. Agam., 64, 124.
• What does Aristotle think of Peripeteia? 48.
• White shoes of actors, 16.
• Wine-lees, faces of Thespis’ actors smeared with, 5, 68.
• “Wine-Press Festival,” 49, see Lenæa.
• Wit in E. Orestes, 323;
• in E. generally, 321-3.
• Wooden horse, 243.
• Wrestling in Phrynichus’ Antæus, 7 and n.