[1033] Fourteen of the thrones were out of place when the theatre was first excavated (see p. 95). The position of some of them is rather conjectural. In the list given in the text Dörpfeld’s arrangement has been followed (Griech. Theater, p. 47). For the inscriptions see C. I. A. iii. 240-302. There is a very full account of the inscriptions on the thrones in Wheeler’s article on the Theatre of Dionysus, in Papers of the American School of Classical Studies at Athens, vol. i. pp. 152 ff.
[1034] The illustration is taken from Zeitschrift für bildende Kunst, vol. xiii. p. 196. On the back of the chair are depicted two Satyrs, holding a bunch of grapes. In the front, underneath the seat, are two Oriental figures, engaged in a fight with winged lions. On the arms of the throne are figures of Cupids, setting cocks to fight. The appropriateness of the Satyrs, as a decoration in the theatre of Dionysus, is obvious. The cocks, no doubt, refer to the annual cock-fight held in the theatre (see above, chap. iii. p. 177). The significance of the Oriental figures has not yet been explained.
[1035] Aristoph. Ran. 297.
[1036] i.e. the representative of Athens at the Amphictyonic Council.
[1037] A Macedonian commander of the third century, who restored Athens to freedom after the death of Demetrius.
[1038] i.e. the priest who carried the Iacchus, or sacred statue of Dionysus, at the Eleusinian procession.
[1039] i.e. the priest who looked after the sacrificial fire in the temple of Athene on the Acropolis.
[1040] He was one of the three Exegetae, or Interpreters of sacred law, and was appointed by the Pythian oracle. A second was chosen by the people from the Eupatridae, and also had a seat in the front row.
[1041] They were the guardians of the βουλή, and their altars were in the βουλευτήριον.
[1042] This Antinous was a favourite of Hadrian’s, and was drowned in the Nile, and afterwards deified.
[1043] Unknown.
[1044] Probably an official who carried a sacred stone in some procession; but nothing is known about him.
[1045] Aeschin. Ctesiph. § 76 ἅμα τῇ ἡμέρᾳ ἡγεῖτο τοῖς πρέσβεσιν εἰς τὸ θέατρον. Dem. Meid. § 74 ἐγὼ δ’ ὑπ’ ἐχθροῦ νήφοντος, ἕωθεν, κ.τ.λ. Aristoph. Av. 786-9 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 κατέπτατο.
[1046] Philochorus ap. Athen. p. 464 E Ἀθηναῖοι τοῖς Διονυσιακοῖς ἀγῶσι τὸ μὲν πρῶτον ἠριστηκότες καὶ πεπωκότες ἐβάδιζον ἐπὶ τὴν θέαν.
[1047] Philochor. ap. Athen. l.c. παρὰ δὲ τὸν ἀγῶνα πάντα οἶνος αὐτοῖς ᾠνοχοεῖτο καὶ τραγήματα παρεφέρετο. Aristot. Eth. Nic. x. 5 καὶ ἐν τοῖς θεάτροις οἱ τραγηματίζοντες, ὅταν φαῦλοι οἱ ἀγωνιζόμενοι ὦσι, τότε μάλιστ’ αὐτὸ δρῶσιν.
[1048] Philochor. ap. Athen, l.c. καὶ ἐστεφανωμένοι ἐθεώρουν. Dem. Meid. § 52.
[1049] Aeschin. Ctesiph. § 76, Fals. Leg. § 111; Theophrast. Char. 2.
[1050] Suidas s.v. Δράκων· ὑπὸ τῶν Αἰγινητῶν ἐν τῷ θεάτρῳ, ἐπιρριψάντων αὐτῷ ἐπὶ τὴν κεφαλὴν πετάσους πλείονας καὶ χιτῶνας καὶ ἱμάτια, ἀπεπνίγη.
[1051] The φοινικίδες mentioned by Aeschines (Ctesiph. § 76) were probably coverlets or carpets.
[1053] Called ῥαβδοφόροι (Schol. Aristoph. Pax 734), and ῥαβδοῦχοι (Pax 734): cp. Dem. Meid. § 179.
[1054] Suid. ἐπιμεληταί ἐχειροτονοῦντο τῶν χορῶν, ὡς μὴ ἀτακτεῖν τοὺς χορευτὰς ἐν τοῖς θεάτροις.
[1055] Andocid. Alcibiad. § 20.
[1056] Dem. Meid. §§ 178, 179.
[1057] Plat. Legg. 700 C.
[1058] Dem. Meid. §§ 14, 226; Alciphron, Epist. iii. 71.
[1059] Poll. iv. 122 τὸ μέντοι τὰ ἑδώλια ταῖς πτέρναις κατακρούειν πτερνοκοπεῖν ἔλεγον· ἐποίουν δὲ τοῦτο ὁπότε τινὰ ἐκβάλοιεν.
[1060] Dem. Fals. Leg. § 337; Athen. p. 245 E.
[1061] Dem. de Cor. § 262.
[1062] Cic. Tusc. iv. § 63. Αὖθις seems to have been the word used; cp. Xen. Symp. ix. 4 ἅμα δὲ ἐβόων αὖθις.
[1063] Poll. iv. 88. The word for hissing an actor off the stage was ἐκβάλλειν; to be hissed off was ἐκπίπτειν. See Dem. de Cor. § 265, Poll. iv. 122.
[1064] Athen. p. 583 F.
[1065] Theophrast. Char. 11.
[1066] Theophrast. Char. l.c.
[1067] Alciphron, Epist. iii. 71 ἵνα, κἄν τι λάθωμεν ἀποσφαλέντες, μὴ λάβῃ χώραν τὰ ἀστικὰ μειράκια κλώζειν ἢ συρίττειν.
[1068] Aristot. Eth. Nic. x. 5.
[1069] Theophrast. Char. 14.
[1070] Alciphron, Epist. iii. 71; Aul. Gell. N. A. xvii. 4.
[1071] Aristot. Eth. Nic. iii. 2, and Eustath. ad loc.
[1072] Plut. Amator. 756 C; Nauck, Trag. Gk. Frag. p. 511.
[1073] Senec. Epist. 115; Nauck, Trag. Gr. Frag. p. 457.
[1074] Vit. Aristoph. (Dindf. Prolegom. de Com. p. 12); Arg. to Soph. Antiq.
[1075] Herod. vi. 21.
[1076] Justin. 17. 9. The passage was very likely from Theopompus.
[1077] Dem. Olynth. iii. § 15 καὶ γνῶναι πάντων ὑμεῖς ὀξύτατοι τὰ ῥηθέντα. Cic. de Fato § 7 ‘Athenis tenue caelum, ex quo acutiores etiam putantur Attici’.
[1078] Cic. Orat. § 25 ‘(Athenienses) quorum semper fuit prudens sincerumque iudicium, nihil ut possent nisi incorruptum audire et elegans’; § 27 ‘ad Atticorum igitur aures teretes et religiosas qui se accommodant, ii sunt existimandi Attice dicere’.
[1079] Plat. Legg. 659 B.C.
[1080] Aristot. Pol. viii. 7 ἐπεὶ δ’ ὁ θεατὴς διττός, ὃ μὲν ἐλεύθερος καὶ πεπαιδευμένος, ὃ δὲ φορτικὸς ἐκ βαναύσων καὶ θητῶν καὶ ἄλλων τοιούτων συγκείμενος. Ibid. 6 ὁ γὰρ θεατὴς φορτικὸς ὢν μεταβάλλειν εἴωθε τὴν μουσικήν, ὥστε καὶ τοὺς τεχνίτας τοὺς πρὸς αὐτὸν μελετῶντας αὐτούς τε ποιούς τινας ποιεῖ καὶ τὰ σώματα διὰ τὰς κινήσεις.
[1081] Aristot. Poet. c. 13 δευτέρα δ’ ἡ πρώτη λεγομένη ὑπὸ τινῶν ἐστι σύστασις, ἡ διπλῆν τε τὴν σύστασιν ἔχουσα καθάπερ ἡ Ὀδύσσεια καὶ τελευτῶσα ἐξ ἐναντίας τοῖς βελτίοσι καὶ χείροσιν. δοκεῖ δὲ εἶναι πρώτη διὰ τὴν τῶν θεάτρων ἀσθένειαν, ἀκολουθοῦσι γὰρ οἱ ποιηταὶ κατ’ εὐχὴν ποιοῦντες τοῖς θεαταῖς. Ibid. c. 9 (of the old legends) ἐπεὶ καὶ τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ’ ὅμως εὐφραίνει πάντας. Id. Rhet. iii. 1 ἐκεῖ μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί.
[1082] [Cp. Römer, Ueber den litterarisch-aesthetischen Bildungsstand des attischen Theaterpublikums, 1901.]