[669] Bethe (Prolegomena, pp. 198 ff.) thinks the drop-scene was introduced into the Greek theatre about 427 B.C., at the same time as the raised stage. His reason is that none of the plays which begin with a tableau are previous to 427 in date. But the Agamemnon commences with the watchman reclining on the palace roof. The Heracleidae (probably anterior to 427) opens with a group of suppliants at an altar. The Oedipus Rex, which also begins with a tableau, is of unknown date, and there is nothing to show that it was later than 427.
[670] Poll. iv. 123 ἐλεὸς δ’ ἦν τράπεζα ἀρχαία, ἐφ’ ἣν πρὸ Θέσπιδος εἷς τις ἀναβὰς τοῖς χορευταῖς ἀπεκρίνατο. Arist. Poet. c. 4 καὶ ἡ μὲν (τραγῳδία ἐγένετο) ἀπὸ τῶν ἐξαρχόντων τὸν διθύραμβον, ἡ δὲ (κωμῳδία) ἀπὸ τῶν τὰ φαλλικά.
[671] Diog. Laërt. iii. 56 ὥσπερ δὲ τὸ παλαιὸν ἐν τῇ τραγῳδίᾳ πρότερον μὲν μόνος ὁ χορὸς διεδραμάτιζεν, ὕστερον δὲ Θέσπις ἕνα ὑποκριτὴν ἐξεῦρεν ὑπὲρ τοῦ διαναπαύεσθαι τὸν χορόν.
[672] Suidas s.v. Θέσπις.
[673] Aristot. Poet. c. 4 καὶ τό τε τῶν ὑποκριτῶν πλῆθος ἐξ ἑνὸς εἰς δύο πρῶτος Αἰσχύλος ἤγαγε καὶ τὰ τοῦ χοροῦ ἠλάττωσε καὶ τὸν λόγον πρωταγωνιστὴν παρεσκεύασεν.
[674] Viz. the Supplices, Persae, and Seven against Thebes. In the concluding scene of the Seven the part of Ismene would not be taken by a regular actor. Apparently the opening scene of the Prometheus requires three actors, unless we are to adopt the very improbable supposition that the person of Prometheus was represented by a wooden figure, which was nailed to the rock, and from behind which the protagonist spoke the part. [In favour of the lay figure, see Wecklein’s Edition of the Prometheus, Introd. p. 54; Navarre, Annales de la Faculté des Lettres de Bordeaux, Rev. des Études Anciennes, 1901; against it, Bodensteiner, Jahrb. für class. Philol., Suppl.-bd. xix. p. 674; Bethe, Proleg. p. 180, &c.]
[675] Aristot. Poet. c. 4; Diog. Laërt. iii. 56; vit. Soph.; Suidas s.v. Σοφοκλῆς. The Life of Aeschylus assigns the introduction of the third actor to Aeschylus, but adds that Dicaearchus ascribed it to Sophocles. The passage in Themistius (xxvi. p. 316 D) καὶ οὐ προσέχομεν Ἀριστοτέλει ὅτι τὸ μὲν πρῶτον ὁ χορὸς εἰσιὼν ᾖδεν εἰς τοὺς θεούς, Θέσπις δὲ πρόλογόν τε καὶ ῥῆσιν ἐξεῦρεν, Αἰσχύλος δὲ τρίτον ὑποκριτήν (a. l. τρίτον ὑποκριτάς) is doubtful, and cannot weigh against Aristotle’s definite statement in the Poetics. The balance of evidence is distinctly in favour of the conclusion that the third actor was first introduced by Sophocles.
[676] Baumeister, Denkmäler, No. 422; Eur. Cyclops 197 ff.
[677] Arist. Poet. cc. 4, 5; Anon. de Comoed. (Dindf. Prolegom. de Comoed. p. 27); Diomedes, p. 490 K.
[678] Soph. O. C. 1117 ff., 1249 ff., 1500 ff.
[679] Cp. Beer, Über die Zahl der Schauspieler bei Aristophanes, Leipz. 1844.
[680] Phot. s.v. ὑποκρίνεσθαι· τὸ ἀποκρίνεσθαι οἱ παλαιοί· καὶ ὁ ὑποκριτὴς ἐντεῦθεν, ὁ ἀποκρινόμενος τῷ χορῷ. So also Hesych. s.v. ὑποκρίνοιτο, and Poll. iv. 123. Apollon. Lex. Hom. s.v. ὑποκρίναιτο· πρωταγωνιστοῦντος γὰρ τοῦ χοροῦ τὸ παλαιὸν οὗτοι ὥσπερ ἀποκριταὶ ᾖσαν, ἀποκρινόμενοι πρὸς τὸν χορόν.
[681] Demosth. Fals. Leg. § 192 πάντας τοὺς τεχνίτας συνήγαγεν; Aristot. Prob. xxx. 10 οἱ περὶ τὸν Διόνυσον τεχνῖται; Polyb. xvi. 21.
[682] Plut. Solon p. 95 C; Aristot. Rhet. iii. 1 ὑπεκρίνοντο γὰρ αὐτοὶ τὰς τραγῳδίας οἱ ποιηταὶ τὸ πρῶτον.
[683] The words in the Life are ἐχρήσατο δ’ ὑποκριτῇ πρώτῳ μὲν Κλεάνδρῳ, ἔπειτα καὶ τὸν δεύτερον αὐτῷ προσῆψε Μυννίσκον τὸν Χαλκιδέα· τὸν δὲ τρίτον ὑποκριτὴν αὐτὸς ἐξεῦρεν, ὡς δὲ Δικαίαρχος ὁ Μεσσήνιος, Σοφοκλῆς. These words imply that he employed Mynniscus for the first time on the occasion of his introduction of a second actor; and that previously to this innovation, when only one actor was required, he had been accustomed to employ Cleander, instead of acting himself. He must, therefore, have given up acting before the production of the Supplices, and considerably before the first appearance of Sophocles. The statement that Sophocles was the first dramatic poet to abandon acting in person can only be true to the extent that he was the first poet who never acted at all.
[684] Vit. Soph. πρῶτον μὲν καταλύσας τὴν ὑπόκρισιν τοῦ ποιητοῦ διὰ τὴν ἰδίαν μικροφωνίαν; Athen. p. 20 F; Eustath. Od. p. 1533.
[685] Müller (Griech. Bühnenalt. p. 184) states, on the authority of Zenob. Prov. v. 100, that Astydamas the Elder acted in his own tragedy, the Parthenopaeus. The words in Zenobius are εὐημερήσας ἐν τῇ ὑποκρίσει Παρθενοπαίου. But this is merely a carelessness of expression, on which no stress can be laid. In the account given by Suidas (s.v. σαυτὴν ἐπαινεῖς) of the same occurrence the expression is εὐημερήσαντι ἐπὶ τραγῳδίας διδασκαλίᾳ Παρθενοπαίου. The Parthenopaeus was really written by Astydamas the Younger. See the Tragic Drama of the Greeks, p. 430.
[686] Athen. p. 22 A; Schol. Aristoph. Equit. 534.
[687] Vit. Aristoph. p. 34 Dindf.; Arg. ii. Equit. The story arose from a misunderstanding of the phrase καθιέναι τὸ δρᾶμα δι’ ἑαυτοῦ. The Knights was the first play Aristophanes produced in his own name. See Meineke, Frag. Com. Gr. ii. 928 ff. Antiphanes is said (Müller, Die griech. Bühnen, p. 184) to have acted one of his own comedies, the evidence being the inscription in Corp. Ins. Att. ii. 972 [Ἀντιφάνη]ς πέμ(πτος) Ἀνασῳζο(μένοις)· [ὑπεκρίνετο Ἀντ]ιφάνης. But it is by no means certain that the name of the poet is rightly filled in as Antiphanes. Even if it is, it does not follow that the actor Antiphanes was the same person.
[688] See chap. i. p. 44.
[689] Aristot. Poet. c. 9 λέγω δ’ ἐπεισοδιώδη μῦθον ἐν ᾧ τὰ ἐπεισόδια μετ’ ἄλληλα οὔτ’ εἰκὸς οὔτ’ ἀνάγκη εἶναι. τοιαῦται δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι’ αὐτούς, ὑπὸ δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς: Rhet. iii. 1 μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί.
[690] Vit. Soph. p. 3 Dindf.
[692] Plut. Alex. p. 681 E.
[693] Plut. Rep. Ger. 817 A; Dem. Fals. Leg. § 10; Suidas s.v. Σοφοκλῆς.
[695] Cic. Div. in Caecil. § 48 ‘ut in actoribus Graecis fieri videmus, saepe illum, qui est secundarum aut tertiarum partium, cum possit aliquanto clarius dicere quam ipse primarum, multum summittere, ut ille princeps quam maxime excellat,’ &c.
[696] Aristot. Pol. vii. 17. The story about Theodorus has caused some difficulty. Does it mean that Theodorus, besides taking the principal character, also played the part of the person who made the first speech in the tragedy? If so, he would have been debarred from acting some of the most popular tragedies of the time. For instance, the actor who took the part of Electra in the play of Sophocles could not act the part of the paedagogus, since Electra comes on the stage as soon as the paedagogus leaves it. There would be the same difficulty about the Orestes, the Medea, and many other plays. It has been suggested that the reference is to some preliminary announcement of the title of the play, which Theodorus preferred to make himself, instead of leaving it to a subordinate. Such announcements were made in Greek theatres in later times (cp. Lucian, Pseudolog. 19; Heliod. Aethiop. viii. 17; Synesius, περὶ προνοίας, p. 128 D), and may have been customary in Athens, or in other parts of Greece, in the time of Theodorus. But it is extremely improbable that the reference is to any such practice. The audience would hardly pay much attention to the voice of the person who announced the name of the coming play. The meaning is probably that Theodorus used to take the part of the character which spoke first, whenever it was possible to do so. In such plays as the Electra it would be impossible.
[697] Alciphron, Epist. iii. 71.
[698] Schol. Eur. Phoen. 93.
[699] Schol. Aesch. Choeph. 900.
[700] Aul. Gell. vii. 5; Stob. Flor. 97. 28; Dem. Fals. Leg. § 246; Strattis ap. Kock, Frag. Com. Gr. i. p. 711.
[701] Hesych. s.v. ἀρουραῖος Οἰνόμαος; Dem. de Cor. § 180; Aelian, Var. Hist. xiv. 40.
[702] Plut. Lysand. p. 466 D.
[703] Dem. Fals. Leg. § 247.
[704] Dem. l.c., de Cor. §§ 180, 267. [Devrient, Das Kind auf der antiken Bühne, thinks that the words spoken by children in the Alcestis, Andromache, &c., were declaimed by the tritagonist from behind the stage, while a real child appeared on the stage and went through the gestures.]
[705] K. F. Hermann, De distributione personarum in trag. graec., 1842; Richter, Die Vertheilung der Rollen der griech. Tragödie, 1842; Croiset, Histoire de la Litt. grecq., iii. passim.
[706] As there is some doubt about the meaning of the word παραχορήγημα, it will be well to quote the passages where it occurs. They are (1) Schol. Aesch. Prom. 12 ἐν παραχορηγήματι αὐτῷ εἰδωλοποιηθεῖσα Βία. (2) Schol. Aesch. Eum. 573 ἐν παραχορηγήματι αὐτῷ εἰσιν οἱ Ἀρεοπαγῖται μηδαμοῦ διαλεγόμενοι. (3) Schol. Aristoph. Ran. 211 ταῦτα καλεῖται παραχορηγήματα, ἐπειδὴ οὐχ ὁρῶνται ἐν τῷ θεάτρῳ οἱ βάτραχοι, οὐδὲ ὁ χορός, ἀλλ’ ἔσωθεν μιμοῦνται τοὺς βατράχους· ὁ δὲ ἀληθῶς χορὸς ἐκ τῶν εὐσεβῶν νεκρῶν συνέστηκεν. (4) Schol. Aristoph. Pax 113 τὰ τοιαῦτα παραχορηγήματα καλοῦσιν, οἷα νῦν τὰ παιδία ποιεῖ καλοῦντα τὸν πατέρα· εἶτα πρὸς οὐδὲν ἔτι τούτοις χρήσεται. (5) Poll. iv. 109 ὁπότε μὴν ἀντὶ τετάρτου ὑποκριτοῦ δέοι τινὰ τῶν χορευτῶν εἰπεῖν ἐν ᾠδῇ, παρασκήνιον καλεῖται τὸ πρᾶγμα, ὡς ἐν Ἀγαμέμνονι Αἰσχύλου· εἰ δὲ τέταρτος ὑποκριτής τι παραφθέγξαιτο, τοῦτο παραχορήγημα ὀνομάζεται, καὶ πεπρᾶχθαί φασιν αὐτὸ ἐν Μέμνονι Αἰσχύλου. The first and second instances refer to mute personages, the third instance refers to an extra chorus, the fourth to extra performers who say only a few words upon the stage. It is therefore quite clear that the word παραχορήγημα included all classes of extra performers, as distinct from the actors and the chorus. There are no grounds for excluding the mute personages from the class of παραχορηγήματα, as Müller (Griech. Bühnenalt. p. 179) and others have done. Pollux appears to make the distinction between παρασκήνιον and παραχορήγημα lie in the fact that the former sang, the latter spoke. The distinction is a foolish one, and was probably due to Pollux’s habit of generalizing from one particular instance. The word παρασκήνιον, in its present sense, only occurs in the passage of Pollux. To judge from the etymology of the word, it may have denoted performers behind the scenes. The words ἐν Ἀγαμέμνονι Αἰσχύλου in the passage of Pollux are corrupt, the corruption arising from the words ἐν Μέμνονι Αἰσχύλου which follow. There is no παρασκήνιον in the Agamemnon. The reference cannot be to the speech of Pylades in the Choephori (vv. 900-902), because (1) the Choephori could not be called the Agamemnon, (2) the part of Pylades was taken by one of the regular actors, as the scholiast ad loc. informs us.
[707] Plut. Phocion, p. 750 C.
[709] Aesch. Choeph. 713, Eum. 678 ff., Agam. 908.
[710] Soph. Aj. 544; Eur. Med. 1021, Herc. Fur. 454, Phoen. 834, Hecub. 978.
[711] Eur. Alc. 393, Androm. 504.
[712] Aristoph. Pax 114, Acharn. 43, 94, 729.
[713] Aesch. Eum. 1032; Aristoph. Vesp. 248; Schol. Eur. Hipp. 58.
[714] Aristoph. Ran. 209, Thesm. 104.
[715] Eur. Hipp. 61.
[716] Athen. p. 21 E; Hor. A. P. 278; Philostrat. vit. Apoll. vi. 11; Cramer, Anecd. Par. i. p. 19; Evanth. de trag. et com. (Gronov. Thesaur. viii. p. 1683); Suidas s.v. Αἰσχύλος.
[717] See Crusius, Philologus, 1889, p. 703.
[718] Schol. Aristoph. Nub. 296; Suidas s.v. θρίαμβος; Plut. Cupid. Divit. 527 D; Verg. Georg. ii. 387.
[719] Bethe (Prolegomena, pp. 35-46) finds an additional proof of this theory in the Bologna vase (cp. Dümmler, Rhein. Museum, 1888, p. 355). In this vase Dionysus is represented sitting in a boat-shaped car, with a satyr playing a flute on each side of him. The car is drawn by two satyrs, and two others are leading an ox. A boy and four women follow behind. Bethe thinks this scene was part of an old tragic performance; that the single actor of the period always played the part of Dionysus, and therefore naturally wore his costume. He also thinks the car was the prototype of the later stage, and is identical with the wagons in which Thespis is said to have carried about his tragedies (Hor. A. P. 276). Unfortunately for these theories there is nothing to show that the procession depicted on the vase had any connexion with a dramatic performance. Such processions with Dionysus in a boat-shaped car are known to have existed in other parts of Greece (Philostrat. vit. Soph. i. 25; cp. Crusius, Philologus, 1889, p. 209); and though interesting as illustrations of the Bacchic mythology, they throw no light on the early history of the drama.
[720] Athen. p. 21 E.
[721] See, on the subject of this relief, Robert, Athen. Mittheil. 1882, pp. 389 ff.
[722] See Bethe, Jahrb. des Archaeol. Instituts, 1896, pp. 292 ff., and pl. 2.
[723] See especially the Medea vase (Baumeister, Denkmäler, no. 980). Copies of many of these vases are given by Huddilston, in Greek Tragedy in the Light of Vase-Paintings, 1898.
[724] A list of them will be found in Müller, Griech. Bühnenalt. p. 226.
[725] From Monumenti Inediti, xi. 13.
[726] Suidas s.vv. Θέσπις, Χοιρίλος, Φρύνιχος.
[727] Suidas s.v. Αἰσχύλος; Hor. A. P. 278; Evanth. de trag. et com. (Gronov. Thesaur. viii. p. 1683).
[728] Aul. Gell. v. 7.
[729] Poll. x. 167; Isidor. Orig. x. 119; Suidas s.v. Θέσπις; Verg. Georg. ii. 387; Prudent. c. Symmach. ii. 646.
[730] Aul. Gell. v. 7.
[732] Wieseler, Denkmäler, p. 42.
[733] Poll. iv. 133-5, 139.
[734] [Soph. El. 1296 ff. Other cases are Aesch. Eum. 968, 990, and Eur. Orest. 1317. Cf. Hense, Die Modificirung der Maske in der griech. Tragödie, ed. ii (1905), where the various cases in which a change of mask is certain or suspected are discussed.]
[735] Poll. iv. 133-41.
[736] Poll. iv. 141, 142. Special masks were called ἔκσκευα πρόσωπα.
[737] The masks in fig. 17 are copied from Wieseler, Denkmäler, v. 20, 24, 26. The first is a marble, the second and third are from wall-paintings at Herculaneum. The masks in fig. 18 are copied from the Archaeol. Zeitung for 1878. They are from wall-paintings at Pompeii. For a list of the various works of art illustrating the subject see Müller, Griech. Bühnenalt. p. 273.
[738] The name for the tragic boot in Greek was ἐμβάτης (Suid. s.v. Αἰσχύλος), ὀκρίβας (Lucian, Nero c. 9), or κόθορνος (vit. Aesch.). Cothurnus was the regular name in Latin. Pollux (iv. 115) appears to be mistaken in calling ἐμβάτης the comic boot, in opposition to the notices in other grammarians. The sole of the cothurnus was of wood, as appears from Schol. Lucian, Epist. Saturn. 19. Works of art show that it was painted: see Wieseler, Denkmäler, vii, viii; and cp. Ovid. Am. ii. 18. 15 ‘risit Amor pallamque meam pictosque cothurnos’.
[739] Suidas s.v. Αἰσχύλος; Aristot. apud Themist. or. xxvi. p. 316; Philostrat., vit. Apoll. vi. 11; Porphyr. on Hor. A. P. 278.
[740] Vit. Aesch. p. 7 Dindf.
[741] Lucian, Nero c. 9, Necyom. c. 16, Iupp. Trag. c. 41, de Salt. c. 27; Martial, viii. 3, 13, &c.
[742] The illustration is from Wieseler, Denkmäler, ix. 1. The original is a wall-painting from Pompeii.
[743] Vit. Soph. p. 2 Dindf.
[744] Lucian, Somnium vel Gallus 26; vit. Aeschin.
[745] Phot. s.v. σωμάτια; Lucian, de Salt. 27.
[746] For the general account of the χιτών or tunic see Pollux iv. 115-18. The epithet ποικίλον shows that it was brilliantly coloured. As to the length of the tunic see Lucian, Iupp. Trag. c. 41, Eustath. II. p. 954. 47, and the works of art referred to on pp. 240, 241. For the ornamentation and the girdle see the same works of art. The sleeves were called χειρίδες (vit. Aesch. p. 6 Dindf.; Lucian, Iupp. Trag. c. 41).
[747] Poll. iv. 116-18.
[748] Poll. iv. 116; Soph. O. C. 314; Eur. Bacch. 833.
[749] Poll. iv. 116, 117; Varro, Res Rust. ii. 11.
[750] Aesch. Eum. 181, 404; Poll. iv. 117.
[752] Lucian, Somn. vel Gall. 26; Poll. iv. 116. The special tunic was called κόλπωμα.
[753] Aesch. Pers. 661.
[754] Poll. iv. 116, 117. The cloak was called ἐφαπτίς.
[755] Eur. Ion 743; Vit. Soph. p. 2 Dindf.
[756] Aesch. Agam. 493; Soph. O. R. 83; Eur. Alc. 759.
[757] Lucian, de Salt. 27, Anachar. 23.
[758] Philostrat. vit. Apoll. v. 9.
[759] The illustrations are taken from Monumenti Inediti, xi. 31, 32. The originals are wall-paintings at Pompeii.
[760] Baumeister, Denkmäler, nos. 422 (the Naples vase), 424, 1631; Wieseler, Denkmäler, vi. 1, 2 (the Naples vase), 3-10. See above, p. 240.
[761] Specimens of the first kind of dress are to be found in Wieseler, vi. 2 (= Baumeister, 422), 6, 7, 10; specimens of the second kind in vi. 8 (= Baum. 1631), 9. The tunic was called χιτὼν χορταῖος, μαλλωτός, ἀμφίμαλλος, and was apparently made of wool: cp. Poll. iv. 118; Hesych. and Suid. s.v. χορταῖος; Dion. Hal. A. R. vii. 72; Ael. Var. Hist. iii. 40.
[762] Poll. iv. 118. These articles are part of the dress of Silenus. The other actors were dressed quite differently. The dress of the chorus is described in the next chapter.
[763] There does not appear, however, to be any instance of an old Attic comedy being acted by the Phlyakes. The scene in Baumeister no. 904, where Hercules is knocking against a door, and a slave on a donkey follows behind, was formerly supposed to be the opening scene of the Frogs. But this is very doubtful. The character in the vase-painting is the real Hercules, and not Dionysus disguised.
[764] Körte, Studien zur Alten Komödie, Jahrbuch des archaeol. Instituts, 1893, pp. 61-93.
[765] The illustration is taken from Compte Rendu de la Commission Impériale Archéologique, 1870-1, plate iv. 1. The vase was found in the Crimea, but is now at St. Petersburg. In the original there are two other figures (not actors), one on each side of the group. These have been omitted from the copy.
[766] The two figures are from Körte, l.c. pp. 78 and 80. Both were found at Athens. For a complete list of these statuettes see Körte, pp. 77-86.
[767] Schol. Aristoph. Nub. 538.
[768] Aristoph. Nub. 538 οὐδὲν ἦλθε ῥαψαμένη σκύτινον καθειμένον κ.τ.λ. Possibly Aristophanes only means that he used the φαλλὸς ἀναδεδεμένος instead of the more indecent καθειμένος. Nub. 734 seems to show that the φαλλός was used even in the Clouds. For its employment in the other plays cp. Acharn. 156 ff., 1216 ff., Vesp. 1342, Pax 1349, Lysist. 928, 937, 987 ff., 1073 ff., Thesm. 59, 141, 239, 643, 1114. [Willems, Le Nu dans la Comédie Ancienne, tries to show that Aristophanes’ use of the phallus was exceptional, but without success. He also argues that in Vesp. 1342, Pax 886, Thesm. 1181, Ach. 1198, Ran. 1308 mute parts were played by ἑταῖραι absolutely nude; but the evidence is quite insufficient, and can be otherwise explained.]
[769] The padding was called σωμάτιον. Cp. Phot. σωμάτια, τὰ ἀναπλάσματα οἷς οἱ ὑποκριταὶ διασάττουσιν αὑτούς. Luc. Iupp. Trag. 41 προγαστρίδια καὶ σωμάτια. The name of the under-garment is uncertain. Müller (Bühnenalt. p. 230) thinks it too was called σωμάτιον, on the strength of Poll. iv. 115 καὶ σκευὴ μὲν ἡ τῶν ὑποκριτῶν στολὴ (ἡ δ’ αὐτὴ καὶ σωμάτιον ἐκαλεῖτο). But this is very doubtful.
[770] For the references see Müller, Bühnenalt. pp. 249 ff.
[771] Poll. iv. 143; Platon. de Comoed. (Dindf. p. 21); Aristoph. Equit. 230; Ael. Var. Hist. ii. 13.
[772] Poll. iv. 143 ἐπὶ τὸ γελοιότερον ἐσχημάτιστο.
[773] Schol. Aristoph. Acharn. 97; Aristoph. Av. 62, 94, 104, 1203 (with Schol. ad loc.), 1508, Acharn. 575 ff.
[774] Müller, Bühnenalt. p. 253.
[775] Jahrbuch des archaeol. Inst. 1893, pp. 89 ff.
[776] The vase with the names (Εὔνους, Ὀφέλανδρος, Ὄμβρικος) is given by Körte, p. 91. For another specimen see Baumeister, no. 2099.
[777] Körte, Athen. Mittheil. 1884, pp. 346 ff. See the specimen given by Cook in the Classical Review, 1895, p. 373.
[778] For a list of the works of art illustrating the subject see Müller, Bühnenalt. pp. 258, 273-6.
[779] Platon. ap. Dindf. Proll. de Com. p. 21 ἐν δὲ τῇ μέσῃ καὶ νέᾳ κωμῳδίᾳ ἐπίτηδες τὰ προσωπεῖα πρὸς τὸ γελοιότερον ἐδημιούργησαν ... ὁρῶμεν γοῦν τὰ προσωπεῖα τῆς Μενάνδρου κωμῳδίας τὰς ὀφρῦς ὁποίας ἔχει, καὶ ὅπως ἐξεστραμμένον τὸ στόμα καὶ οὐδὲ κατ’ ἀνθρώπων φύσιν. See Wieseler, Denkmäl. v. 27-52; Baumeister, nos. 905-8.
[780] Fig. 25 is taken from Archaeol. Zeitung, 1878, Taf. 4, and represents the masks of a girl and a slave. The original is a wall-painting at Pompeii. Fig. 26, which is taken from Monumenti Inediti, xi. 32, contains two copies of terra cottas found at Pompeii. It will be seen that the mask of the girl is not unlike a tragic mask in general character.
[781] Poll. iv. 143-54. Cp. Quint. Inst. xi. 3. 74.
[782] This shoe was called ἐμβάς in Greek, and soccus in Latin: see Ammon. de diff. vocab. p. 49; Aristoph. Nub. 858.
[783] Poll. iv. 119-20.
[784] The illustration is from Monumenti Inediti, xi. 32.
[785] Aristot. Poet. c. 6 τὸ δὲ χωρὶς τοῖς εἴδεσι τὸ διὰ μέτρων ἔνια μόνον περαίνεσθαι καὶ πάλιν ἕτερα διὰ μέλους, c. 4 λέξεως δὲ γενομένης αὐτὴ ἡ φύσις τὸ οἰκεῖον μέτρον εὗρε, μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἐστιν.