Chapter VIII: Part 8

It is worth noticing that Daedalus, according to Diodorus, iv. 78, made a cave at Selinus, in which patients were treated by being subjected to a gradually-increasing temperature. (τρίτον δὲ σπήλαιον κατὰ τὴν Σελινουντίαν χώραν κατεσκεύασεν, ἐν ᾧ τὴν ἀτμίδα τοῦ κατ’ αὐτὴν πυρὸς οὕτως εὐστόχως ἐξέλαβεν ὥστε διὰ τὴν μαλακότητα τῆς θερμασίας ἐξιδροῦν λεληθότως, καὶ κατὰ μικρὸν τοὺς ἐνδιατρίβοντας μετὰ τέρψεως θεραπεύειν τὰ σώματα, μηδὲν παρενοχλουμένους ὑπὸ τῆς θερμότητος.) It is, perhaps, not impossible that Aristophanes may have described Minos’ death as occurring in this cave.

[235] By the word “plot” as here used, must of course be understood merely the erotic incident. That the action was not confined to one subject of this kind is obvious to every reader of Aristophanes. Whatever may have been the treatment of the erotic element, there can be practically no doubt that this element was only one, perhaps not the most important one, among the many that went to make up the play.

[236] _Fr._ 4 seems to suggest that there may have been a regular trial instituted, as in the _Vespae_ (cp. _Vesp._ 807 _seqq._ with _Cocal._ _Fr._ 12), at which Daedalus was accused of complicity in the murder, and his services to Cocalus as a builder (_Fr._ 5; cp. Diodorus, iv. 78) urged on his behalf. This trial may well have had features in common with the last scene in Euripides’ _Andromeda_.

[237] The fact that this play led to the abandonment of certain nocturnal orgies is, of course, no proof that such habits altogether ceased, even for a time; indeed, it is notorious that they did not.

[238] Even if it could be proved that the play ended with a wedding—such endings are, as we have seen, not uncommon in Aristophanes—and that this is what the grammarian means by his τἄλλα πάντα ἃ ἐζήλωσε Μένανδρος, this would not, in itself, be enough to make the play a romantic one after the manner of the later works. The marriage would have to be _an act of reparation inspired by love_, and it need hardly be remarked how utterly foreign any such feeling would be to the work of Aristophanes. Such a difference in spirit and motive, however, important and obvious as it seems to us, may very well have escaped the ancient critics, whose criticism of art was well-nigh exclusively concerned with its external and superficial qualities. Hence, if by any chance Aristophanes’ characters were despatched off the stage to the sounds of a wedding march, it is easy to see how clear a proof this would have seemed to them that the _Cocalus_ belonged to the same phase of art as the plays of Menander, when, in reality, it did nothing of the kind.

[239] Cp. _infra_, p. 189 _seqq._

[240] Thus, to quote one instance among many, the habit, common among the writers of the Empire, of describing Vergil as not only a supreme, but also a universal, genius, is sufficiently familiar. (Cp. Mart. viii. 18, &c.)

[241] τὸν μέντοι Κώκαλον, τὸν ποιηθέντα Ἀραρότι τῷ Ἀριστοφάνονς υἱεῖ, Φιλήμων ὁ κωμικὸς ὑπαλλάξας ἐν Ὑποβολιμαίῳ ἐκωμῴδησεν. (Clem. Alex. _Strom._ vi. p. 267 [628].)

[242] ἐπεπόλαζε γὰρ τότε ταῦτα, Ἡρακλῆς πεινῶν, καὶ Διόνυσος δειλός, καὶ μοιχὸς Ζεύς. Schol. _ad Aristoph. Pac._ 740. The _Zeus Cac._ of Plato is said to have borne a close resemblance to the _Daedalus_ of Aristophanes, which certainly contained matter of this kind. Cp. Aristoph. _Daed._ _Fr._ 3.

[243] It is interesting to observe the absence, as far as one can judge, of any reference to Sappho, the favourite butt of a somewhat later school of comedians. Could the fact of this absence be conclusively proved, it would afford valuable evidence for determining the date of the origin of the Phaon and Sappho legend. The earliest reference to it at present known is, perhaps, that in the _Leucadia_ of Menander.

[244] We may further observe the mention of Lais in _Fr._ 10 of this play.

[245] Cp. Ovid, _Met._ X. 686 _seqq._ The incident might be utilised in various ways.

[246] Cp. Alciphron i. 39, 7. καταπαννυχίσασαι δ’ οὖν καὶ τοὺς ἐραστὰς κακῶς εἰποῦσαι ... ᾠχόμεθα ἔξοινοι.

[247] _Vide_ Athen. xi. 470 F. σπινθήρ in l. 8 seems not to be the proper-name of a slave, but may simply be translated “spark.” The expression is as natural in Greek as in English, even if no other instance of this exact usage occurs.

[248] The “Hedychares” of the title seems to be Plato, so that it is rather tempting to imagine a scene something like the following. The hero, after dilating sufficiently on the virtues of “Platonic” love, is eventually discovered by one of the other characters, in company with a woman under circumstances which suggest the propriety of their getting married immediately—a fact which induces the intruder to exclaim:

φέρε σὺ τὰ καταχύσματα κ.τ.λ. (_Fr._ 3.)

The late date of this play (cp. _Fr._ 4) makes a plot of this kind by no means impossible, but, of course, _hariolandi est infinita libertas_.

[249] Great care must be taken not to misunderstand the causes of this prominence of the Hetaera in Middle Comedy. The fall of Athens, and the events immediately preceding it, resulted in a revolution of the Athenian social system, which was even more momentous than the political overthrow. From this time onwards, the individual appears at Athens as opposed to the state, in a manner that would not have been possible under the earlier _régime_. Hence in the Middle Comedy, which is perhaps the earliest individualistic poetry which Athens produced, ordinary habits and private life come to be treated with an interest and a realism which had never previously been attempted, and, as a consequence of this, the Hetaerae come to the fore in literature. This fact does not, therefore, imply that the position of these women in the thoughts of men was any higher than had previously been the case, or that there was a growing idea among the people that love for women was a worthy subject for artistic study and representation. It simply means, as will be abundantly clear later on, that the Hetaera was an important feature in private life, and that, therefore, when private life came to be represented on the stage, she was bound to appear there also, just in the same way and for the same reasons as the cook and the fishmonger, who are also such features of this literature.

[250] With the other distinctive features of Middle Comedy, though occasional reference may be made to them, we have less to do. It may not however be amiss, in passing, just to notice the spirit of the age, which, while it required personal attacks on men to be more or less veiled, allowed personal attacks of the fiercest description to be made on women openly by name. A remarkable instance of this is the _Antilais_ of Epicrates, but it is far from being the only one. As for those Middle Comedies which are called after public men (_e.g._ the _Theramenes_ of Cratinus junior), it would be easy to believe that these were all, as some of them certainly were, composed after the deaths of the persons whose names they bear, and that these names were simply used as types, in the way that Juvenal speaks of Tigellinus, &c.

[251] With regard to what we have described as the second feature of Middle Comedy, it may perhaps just be remarked that this constant habit of parodying and ridiculing love-stories would inevitably tend, in some sort, to bring the whole matter of love into contempt. And that the feelings of contempt so produced, and the similar feelings which originated them, would act and react on one another till both became even more accentuated, was equally inevitable. Nor must it be forgotten that the influence of tragedy, which might otherwise have served to counteract this tendency, was much less than it had been at an earlier period, for the revivals and imitations of Euripides, which held the tragic stage throughout the century, popular though some of them may have been, belonged in spirit to the previous generation, and were thus to a certain extent out of touch with contemporary feeling.

[252] Many plays of this class are called after real or imaginary Hetaerae, such as the _Chrysis_ of Antiphanes, &c., &c., but these are, of course, not the only ones that deal with the subject.

[253] Ἀντιφάνης ὁ κωμῳδοποιὸς ὡς ἀνεγίνωσκέ τινα τῷ βασιλεῖ Ἀλεξάνδρῳ τῶν ἑαυτοῦ κωμῳδιῶν, ὁ δὲ δῆλος ἦν οὐ πάνυ τι ἀποδεχόμενος· δεῖ γάρ, ἔφησεν, ὦ βασιλεῦ, τὸν ταῦτα ἀποδεχόμενον ἀπὸ συμβόλων τε πολλάκις δεδειπνηκέναι καὶ περὶ ἑταίρας πλεονάκις καὶ εἰληφέναι καὶ δεδωκέναι πληγάς. (Athen. xiii. 555A.)

[254] [_Supra_, p. 128.]

[255] No one who is familiar with the Middle Comedy is likely to wish to maintain that the words παρθένων φθοράς imply that the plays of Anaxandrides were similar in character to such plays as the _Andria_ or the _Adelphi_ of Menander. The exact nature of the παρθένων ἔρωτες of the Middle Comedy, which form, in fact, an infinitesimal part of the erotic element in that literature, will be fully discussed lower down. [pp. 159, 213.]

[256] Curious in this connection is the fact that, while the _Captivi_ of Plautus is the only extant play derived from Anaxandrides, it is, at the same time, the only extant play of Latin Comedy which is not concerned with erotic subjects.

[257] That τραγήματα was merely a polite word for drinking, seems clear from Alexis, _Polycleia_:—

ὁ πρῶτος εὑρὼν κομψὸς ἦν τραγήματα·
τοῦ συμποσίου γὰρ διατριβὴν ἔξευρέ πως
κἀργοὺς ἔχειν μηδέποτε τὰς σιαγόνας.

[258] σῦκα, are doubtless used here in the same sense as “mariscae” in Iuv. ii. 13, or “ficus” in Mart. vii. 71.

[259] Or, perhaps, the νεανίσκος tries the effect of the θηρίκλεια on the girl herself (cp. the epigram of Hedylus, _Anth. Pal._ v. 199); _sed haec omnia incerta_. In any case, the scene seems somewhat to suggest that in Petr. 85 _seqq._

[260]

ὅστις λέχη γὰρ σκότια νυμφεύει λάθρᾳ,
πῶς οὐχὶ πάντων ἐστὶν ἀθλιώτατος;
ἐξὸν θεωρήσαντι πρὸς τὸν ἥλιον,
γυμνὰς ἐφεξῆς ἐπὶ κέρως τεταγμένας,
ἐν λεπτοπήνοις ὕφεσιν ἑστώσας, οἵας
Ἠριδανὸς ἁγνοῖς ὕδασι κηπεύει κόρας,
μικροῦ πρίασθαι κέρματος τὴν ἡδονήν,
καὶ μὴ λαθραίαν κύπριν, αἰσχίστην νόσων
πασῶν, διώκειν, ὕβρεος οὐ πόθου χάριν.

[261] The one or two apparent exceptions to this rule, such as those in the _Marathonii_ of Timocles or the _Philaulus_ of Theophilus, are in reality no exceptions at all. This will be clear enough if we consider what is meant in these passages by a κόρη, and do not confuse the sentiment there expressed with a sentiment which does not occur till a later period. The κόρη in question (a κιθαρίστρια in the _Philaulus_) is merely an Hetaera _in posse_ instead of _in esse_, an Hetaera who has not yet entered into regular business, and herein consists her superiority from the point of view of those who do not share Diogenes’ view as to the parallel between women and houses. That her attractions do not differ in kind from those of the regular Hetaera will be plain enough to anyone who takes the trouble to turn to the passage in the _Marathonii_, and that the character of the “love” she inspires is also similar will be equally apparent from the same lines. That this was the character of the παρθένων ἔρωτες with which, according to Suidas, Anaxandrides dealt, seems beyond question.

[262] Alexis himself says this, in almost as many words, in the passage quoted below, p. 163.

[263] _Supra_, p. 85.

[264] The “Platonic” nature of Theseus’ admiration for the undeveloped charms of Helen is a well-known feature of the legend. A comparison with Aristoph. _Thesmoph. B_, _Fr._ 26, seems to suggest a further reason why Theseus should have been introduced as a mock “Platonic” lover. Cp. Phot. s.v. κυσολάκων. τὸ δὲ τοῖς παιδικοῖς χρῆσθαι λακωνίζειν ἔλεγον. Ἑλένῃ (so Ruhnken for Μελαίνῃ) γὰρ Θησεὺς οὕτως ἐχρήσατο.

[265] In this connection we may remark that the tendency of the mythological stories commonly parodied by Middle Comedy was also almost entirely in this direction. The Ζεὺς μοιχός with whom the Athenian audience of the day was so familiar, was hardly the type of character to inspire respect for married life. How different was the New Comedy treatment of the adulterer, we shall see further on.

[266] Another phase of the Middle Comedy treatment of women, the discussion of which here would lead us too far away from our immediate subject, will be considered in Excursus I.

[267] That the ψενδοκόρη, as the Athenian stage-managers rather quaintly called her—a class of character sufficiently common, it must be admitted—differs _toto caelo_ from the regular Hetaera, is almost too obvious to need mention.

[268] _Supra_, p. 109.

[269] Of the _Casina_, which would appear at first sight to belong to this class, we shall speak in another place. [The Excursus, dealing with this subject, seems not to have been written; comp. Excursus K.]

[270] It is hard for us, in our generation, to realise what the first dawn of pure love for women must have meant to the men who saw it. It needs a conscious effort of will to clean away from one’s eyes and one’s heart the dust of the centuries, and to look back clearly; but if once the effort be successfully made, it is no longer hard to understand why, at the end of the fourth century, the pure girl was a more inspiring ideal than “the woman with a past,” and why the παρθένος; could stir depths of passion that the ἑταίρα had left untouched.

[271] These last lines are very suggestive of Theocr. viii. 53. It is worth noticing that in this play (v. 2, 72) the girl is specially asked whether she is willing to marry.

[272]

“patrue mi, ita me di amabunt ut, ego si sim Iuppiter,
iam hercle ego illanc uxorem ducam, et Iunonem extrudam foras!” etc.

[273] Probably by Menander. At any rate, _Cistell._ i. 1, 90 _seqq._ is a translation of Menand. _Incert._ 32.

[274]

“Glycerium vitiat Pamphilus,
_gravidaque facta_ dat fidem, uxorem sibi
fore hanc,” etc.

[275] _e.g._ Ter. _And._ i. 5, 36 _seqq._, iv. 2, 11 _seqq._

[276] In the _Adelphi_ of Menander, this feature was, in all probability, even more prominent than it is in Terence’s contaminated version.

[277] Ter. _Adelph._ iii. 2, 34 _seqq._; cp. iii. 4, 23 _seqq._

[278] Plaut. _Aulul._ iv. 10.

[279] Cp. Ter. _Eun._ iv. 4, 26.

[280] Ter. _Adelph._ iv. 5, 62 _seqq._

[281] Cp. Plaut. _Aulul._ iv. 7 and 10; the conclusion of the play, in which the marriage of the hero was finally settled, is lost.

[282] Ter. _And._ iv. 2, 14.

[283] Here, too, there can be little doubt that in the original (the _Philadelphi_ of Menander), this erotic element was more prominent than it is in the Latin.

[284] Cp. Plaut. _Trin._ v. 1, 1 _seqq._; 2, 64.

[285] Some further interesting evidence on this subject will be discussed later. [Cp. p. 189; but the reference seems to be to a part of the work which was not written.]

[286] In Tragedy, of course, the faithful and loving wife was not so entirely unknown. The Athenian might accept an Alcestis, who lived in prehistoric and heroic times, though even here his natural tendency was to jeer (cp. Aristoph. _Equit._ 1251); but, imagine such a character in Comedy, which was taken from real contemporary life? The idea was preposterous.

[287] It is of course obvious that characters such as Clitipho in the _Heauton Timorumenus_, or Lesbonicus in the _Trinummus_, do not regard matrimony with much enthusiasm, but, in all these cases, the reasons for their objection are so apparent that no one would consider them as real exceptions to the general rule that the _young man_ of the New Comedy looks on marriage with favour.

[288] And here one may remark at once that the incontinence of women, which is one of the favourite subjects both of Aristophanes and of Euripides, is nowhere emphasised in New Comedy.

[289] Cp. _Fr._ 10.

[290] Cp. Ter. _Eun._ v. 4, 21 _seqq._

[291] Ter. _And._ ii. 1, 15 and 25. [The author is assuming that the words “quam vellem!” in the latter passage, are spoken by Charinus, not by Pamphilus: the editors differ on this point.] This curious passage furnishes a further instance, if further instances be needed, of the fact that what the Greek required of a woman for a love-match was not so much physical purity as constancy to a particular lover. Hence we find that by far the greater mass of Greek romantic love-poetry is addressed, not to virgins, but to women to whom the writer is, in one way or another, married. Thus, too, in the romance of Xenophon Ephesius, the adventures of the lovers all take place after marriage (the wedding occurs already in chapter viii of book I.), and in this the _Ephesiaca_ are at least as Greek as, if not more so than the _Pastoralia_ of Longus, or the novel of Eumathius, where the most ridiculous and desperate expedients have to be resorted to in order that the heroine may preserve her virginity till the end of the last chapter. But this whole matter will be more fully discussed when we come to consider the Callimachean ideal of woman. [The reference is to a part of the work which was not completed.]

[292] Ter. _Hec._ v. 1, 24 _seqq._; cp. i. 2, 82.

[293] The _Casina_ (of Diphilus) and the _Orge_ of Menander seem equally emphatic on the point, but as both these plays belong, strictly speaking, to Middle Comedy, which had other and less romantic reasons for decrying adultery, they need not be further noticed here.

[294] Cp. Ter. _Heaut. Tim._ ii. 4, 1 _seqq._

edepol te, mea Antiphila, laudo et fortunatam iudico,
id cum studuisti, isti formae ut mores consimiles forent, etc.

words which raise strange memories of a well-known passage in the _Dame aux Camélias_.

[295] Cp. _inter alia_, v. 1, 30; 3, 35.

[296] ἐμοὶ μὲν οὖν ἄειδε τοιαύτην, θεά, κ.τ.λ.

[297] “haec. (_sc._ Thais Menandri) primum iuvenum lascivos lusit amores;” where _lusit_ must almost certainly mean “parodied” or “ridiculed,” and _lascivos amores_ “Hetaera-loves” as opposed to the more orthodox amours of which the New Comedy proper treats.

[298] In any case, however, it is tempting to read in Prop. ii. 6, 3:

turba Menandreae fuerit nec Thaidos olim
tanta in qua _populum_ lusit _Erichthonium_.

[299] _E.g._ Plaut. _Cist._ i. 1, 66.

SL. at mihi cordolium est.

GY. quid id? unde est tibi cordolium, commemora, obsecro,
quod neque ego habeo neque quisquam alia mulier, ut perhibent viri?

[300] _E.g._ Plaut. _Trin._ ii. 1, 15 _seqq._ etc., etc.

[301]

παιδισκάριόν με καταδεδούλωκ’ εὐτελές,
ὃν οὐδὲ εἷς τῶν πολεμίων οὐπώποτε. (_Fr._ 3.)

Cp. Arrian, _Dissert. Epictet._ iv. 1.

[302] Cp. _Fr._ 10, 11.

[303]

παρ’ ἐμοὶ γάρ ἐστιν ἔνδον, ἔξεστιν δέ μοι
καὶ βούλομαι τοῦτ’, οὐ ποιῶ δέ. (_Fr._ 5.)

[304] _Vide_ Arrian, _loc. cit._ where the whole subject of Thrasonides is discussed.

[305] This is the view taken of the case by Diogenes Laertius (vii. 130), when he is discussing the Stoic doctrine of love.

εἶναι δὲ τὸν ἔρωτα ἐπιβολὴν φιλοποιΐας διὰ κάλλος ἐμφαινόμενον· καὶ μὴ εἶναι συνουσίας, ἀλλὰ φιλίας. τὸν γοῦν Θρασωνίδην, καίπερ ἐν ἐξονσίᾳ ἔχοντα τὴν ἐρωμένην, διὰ τὸ μισεῖσθαι ἀπέχειν αὐτῆς. εἶναι οὖν τὸν ἔρωτα φιλίας. κ.τ.λ.

[306] One need merely think of Thais, the ideal Hetaera, μηδενὸς ἐρῶσαν.

[307] That this is no mere coincidence is shown by the characters, of Stratophanes in Menander’s _Sicyonius_, and others, of whom we shall speak presently. [p. 182.]

[308] Plut. _de Cupid. Div._ 524 F.

[καίτοι πῶς οὐ μανικὸν οὐδὲ οἰκτρὸν τὸ πάθος, εἴ τις ἱματίῳ μὴ χρῆται διὰ τὸ ῥιγοῦν, μηδὲ ἄρτῳ διὰ τὸ πεινῇν, μηδὲ πλούτῳ διὰ τὸ φιλοπλουτεῖν; ἀλλ’ ἐν τοῖς Θρασωνίδου κακοῖς ἐστίν·

παρ’ ἐμοὶ γάρ ἐστιν ἔνδον, ἔξεστιν δέ μοι,
καὶ βούλομαι τοῦτ’ ...

ὡς οἱ ἐμμανέστατα ἐρῶντες,

... οὐ ποιῶ δε.... κ.τ.λ.]

[309] _Misumenus_, _Fr._ 6.

[310] Cp. Athen. xiii. 603 C, where not only is his continence emphasised, but also his treatment of his captives as if they were free. Cp. Menand. _Sicyon._ _Fr._ 3.

[311] Mimnermus, Anacreon, and Antimachus were all, of course, natives of Greek Asia, where the cult of women seems always, from the earliest times onwards, to have been more developed than in Greece itself. There is a certain grim irony in the tradition that would make Anaxandrides, too, a native of Colophon.

[312] _Vide_ _Fr._ 3.

[313] Plaut. _Epid._ i. 2, 7.

[314] Cp. v. 1, 45, where the lover’s regrets are promptly answered by the assertion that there is another woman ready who will do just as well or better:

stultus, tace!
tibi quidem quod ames domi praesto.

[315] That the character of the soldier belonged essentially to _erotic_ comedy is further shown by Plaut. _Capt._ prolog. 57:

hic neque periurus leno nec meretrix mala
neque miles gloriosus.

[316] This doubtless refers to some lines, now lost, which preceded the passage subsequently quoted.

[317] This is, of course, nothing but a versified version of the doctrine of the Stoic, Euclides. Cp. Diog. Laert. ii. 108.

[318] MI. etiamne (a me didicisti) ut ames eam, quam nusquam tetigeris? nihil illuc quidem est.

AG. deos quoque edepol et amo et metuo, quibus tamen abstineo manus. (i. 2, 69.) A remark in v. 4, 49, is similar in spirit.

[319] Plaut. _Curc._ i. 1, 50 _seqq._ Further moralisings on the power of a kiss (which almost suggest Daphnis in Longus’ _Pastoralia_, i. 18) occur in Menand. _Incert._ 7.

[320] Ter. _Hec._ i. 2, 60 _seqq._; 85 _seqq._

[321] _e.g._ the “Geta” in Menander’s _Misumenus_, Milphio in the _Poenulus_ of Plautus, &c.

[322] Such a passage as Alexis, _Incert._ 35, would belong to this date. It is very different to the ribald remarks in the _Philometor_ of Antiphanes.

[323] Cp. _supra_, p. 173.

[324] _Ibid._ p. 171.

[325] The “mater indulgens” is mentioned in Apuleius, _Florid._ 16, as one of the stock characters in Philemon.

[326] Menand. _Incert._ 109, 114, 115, are all equally to the point.

[327] _Vide_ Ter. _Hec._ iv. 2, 1 _seqq._, a passage of great interest.

[328] Some further remarks on the family relations in New Comedy will be found in Excursus K.

[Frequent reference is made in these pages to Plautus and Terence, as illustrating the New Comedy. The justification of such reference was to have been dealt with in an Excursus. The author was of opinion that the Latin comedians might be cited to illustrate plot and subject, though we could not be certain that the actual words or expressions in any given passage were due to Greek originals.]

[329] That there was no romantic element in Greek tragedy has already been shown at length. [See above, pp. 37-67.]

[330] The claims of Diphilus need not be considered. His leanings towards Middle Comedy are generally admitted; in his fragments there is no suggestion of any romantic treatment of women. In fact, the only real reason for assigning him to New Comedy at all is, perhaps, the story of the _Rudens_, which, Arcturus states in the Prologue, is derived from this writer. Of the _Casina_ we shall speak elsewhere. [See page 165, note 2.]

[331] Poeta fuit hic Philemon, _mediae comoediae scriptor_; fabulas cum Menandro in scenam dictavit, certavitque cum eo, fortasse impar, certe aemulus. namque eum etiam vicisse saepenumero, pudet dicere. reperias tamen apud ipsum multos sales, argumenta lepide inflexa, agnatos lucide explicatos, personas rebus competentes, sententias vitae congruentes, ioca non infra soccum, seria non usque ad cothurnum. _rarae apud illum corruptelae_, et, uti errores, concessi amores. nec eo minus et leno periurus et amator fervidus et servulus callidus et amica illudens et uxor inhibens et mater indulgens et patruus obiurgator et sodalis opitulator et miles proeliator; sed et parasiti edaces et parentes tenaces et meretrices procaces. Apul. _Flor._ 16.

[332] A curious instance of this feeling is his often-expressed opinion that animals are happier than men. Cp. _Incert._ 3, 4, 8, etc.

[333] Cp. _inter alia_ Apul. _Flor._ 16.

[334] Among many expressions to this effect, we need only mention that of Quintilian: atque ille quidem (_sc._ Menander) omnibus eiusdem operis auctoribus abstulit nomen et fulgore quodam suae claritatis tenebras obduxit. _Inst._ x. 1, 72.

[335] To take an instance from modern times. M. Daudet is said to have written his _Sappho_ with the expressed object of showing that he, too, could produce a work which could not be left lying about. Similarly, M. Zola may be imagined to have produced _La Rêve_, in order to prove that even he could be decent if he tried. But any attempt to judge of the general character of these authors by the two books mentioned would be obviously futile. In like manner, in the case of Philemon, one has to consider how much of the romantic element in his comedies is due to conviction, and how much to a desire to show that romantic love-stories were a game two could play at.

[336] Platon. _de Com._ p. 30. _ad fin._ The passage distinctly suggests that these ninety-seven plays were not all that Philemon actually wrote. σώζεται δὲ αὐτοῦ (Φιλήμονος) δράματα ἑπτὰ πρὸς ἐνενήκοντα. Μένανδρος ... γέγραφε δὲ πάντα δράματα ρη΄.

The view that the total number of his plays was greater than ninety-seven seems to acquire further probability from the fact that he lived well-nigh twice as long as Menander, and continued to write up to the day of his death. Cp. Apul. _Flor._ 16.—It need hardly be remarked that if plays of Philemon were already lost in the time of Platonius, such plays were, in all probability, Middle rather than New Comedies.

[337] I have reserved the detailed proof of this fact, and the similar one concerning Menander, for another place, in order that the sequence of the argument may not be disturbed. _Vide_ Excursus. [This Excursus does not appear to have been written.]

[338] It is hard to speak so positively of Philemon if, as is probable, he was merely the imitator and rival of Menander in this respect; but, of course, if it be granted that his romantic plays are subsequent to Menander’s introduction of the subject, it is a matter of indifference for the present argument whether he afterwards reverted to the older style or not.

[339] [_Supra_, p. 107 _seqq._]

[340] The Scholiast here, and others, go so far as to assert that Theocritus was a pupil of Asclepiades as well as of Philetas.

[341] Φιλητᾶς ... ὢν ἐπί τε Φιλίππου καὶ Ἀλεξάνδρου. Suidas _s.v._

[342] Cp. _Anth. Pal._ xii. 46.—The fact that Asclepiades was tired of life at twenty-one is, of course, no proof that he died early. Many people, especially poets, who were very anxious for death in their youth, have developed a wonderfully tenacious hold upon life as they grew older.

[343] Cp. _Anth. Pal._ ix. 63; _supra_, p. 113.

[344] The fact that Menander called one of his plays _Samia_, a title which had not been used since the time of Anaxandrides, is one of those interesting coincidences that prove nothing at all.

[345] Ὑσμίνῃ παρθένῳ τῇ θυγατρὶ Σωσθένης οἰνοχοεῖν ἐγκελεύεται· ἡ δὲ ἀνεζώσατο τόν χιτῶνα, ἐγύμνωσε τὼ χεῖρε μέχρις ἀγκῶνος κ.τ.λ. Eumath. i. 8.

[346] ἔπιε μὲν οὖν ὁ Σωσθένης· οὐκ ἔπειθε γάρ με αὐτοῦ προπιεῖν. εἶτα καὶ ἡ Πανθία (ἡ τῆς Ὑσμίνης μήτηρ) συνέπιεν· ἐμὲ δὲ τρίτον εἶχεν ἡ πόσις. id. _ibid._

[347] καὶ πίνων τὸν πόδα θλίβω τῆς κόρης, πόδα κατεπιθεὶς τὸν ἐμόν· ἡ δὲ σιγῶσα τῇ γλώττῃ, τῷ σχήματι λαλεῖ, καὶ λαλοῦσα σιγᾷ κ.τ.λ. id. iv. 1.

[348] “Und wie er (Euripides) in diesen alten Heroensagen die Liebe stark in den Vordergrund gerückt hatte, so wurde namentlich das alte Märchen von Perseus und Andromeda unter seinen Händen zu einem der glänzendsten Beispiele ritterlicher Liebe, &c.” Rohde, _Der griechische Roman_, p. 33.

[349] The dirtiness of his clothes, &c., is made a great point of. Cp. Hesych. περισχαδόν· τὸν ὑποκρινόμενον τόν Περσέα ὡς πτωχὸν καὶ φθισίμορφον. This too lends force to Lucian’s ὠχρῶν ἁπάντων καὶ λεπτῶν τῶν ἑβδομαίων ἐκείνων τραγῳδῶν. (_De Conscr. Hist._ 1, vol. 2, p. 2. _Vide_ Nauck, _Trag. Frag._ pp. 392-3.)

[350]

Ἔρως γὰρ ἀργὸν κἀπὶ τοῖς ἀργοῖς ἔφυ;
φιλεῖ κάτοπτρα καὶ κόμης ξανθίσματα,
φεύγει δὲ μόχθους. ἓν δέ μοι τεκμήριον;
οὐδεὶς προσαιτῶν βίοτον ἠράσθη βροτῶν,
ἐν τοῖς δ’ ἔχουσιν ἡβητὴς πέφυχ’ ὅδε.

Eur. _Fr._ 322 (_Danae_).

Cp. Athen. vi. 270 C. Similar passages are very common—in fact, the view may be said to be a universal one; it arises, of course, from that purely sensual manner of regarding love, on which so much has already been said. Indeed, those who have read the early Greek literature with any attention, need perhaps hardly be reminded of how utterly foreign to the Greek of Euripides’ day is the conception of the “galante Ritter” setting out in search of ladies that want rescuing.

At the same time, it may not be amiss to emphasise a fact which, though sufficiently obvious, is yet often ignored. The fact that the _Andromeda_ was looked upon as a romantic play some centuries later, even if it can be proved, is no proof that it was intended as such by its author, or so understood by its original audience. If Hermesianax could infer from the _Odyssey_ that Homer was in love with Penelope, one may excuse the contemporaries of Lucian if they inferred from Euripides that Perseus was in love with Andromeda, but one need not necessarily regard their inference as a true one.

[351] One naturally thinks of Odysseus and Nausicaa, of Menelaus in the _Helena_ (427 _seqq._), &c.

[352] _Fr._ 129. The fact that this line was afterwards quoted ἐρωτικῶς (vide Nauck, _ad loc._), is no proof that it had any such meaning in its original context.

[353] _Fr._ 132. There is no real objection to putting this fragment _after_ his encounter with the monster, as the words τὰ ἐχόμενα (_vide_ _Fr._ 129 Nauck) do not necessarily mean that it followed immediately after _Fr._ 129.

[354] _i.e._ πρὸς Ὄλυμπον, a very natural remark when one considers the manner of Perseus’ first arrival.

[355] _Fr._ 133. ἀλλ’ ἡδύ τοι σωθέντα μεμνῆσθαι πόνων.

[356] A very interesting parallel to this scene is furnished by the dream of Medea (Apoll. Rhod. iii. 625 _seqq._); the resemblance is almost too great to be merely accidental. There too, of course, it need hardly be remarked, the initiative is on the side of the woman.

[357] [The reading λείπεις has considerable MS. authority, and is adopted by the majority of editors; the author is contrasting it with λείποις, the text of Dindorf, Nauck, and some others.]

[358] The MS. gives ουτοςετουταδικων (Bergk). Various readings of this have been given. The present one is mine.

[359] ἀπιὼν rather than ἀπεὼν. Cp. Prop. iii. 25, 7: flebo ego discedens.

[360] Altogether the resemblance between these poems and the Παιδικά of Theocritus is very marked. Even in the interesting passage (1367 _seqq._), where the love of a boy is actually contrasted with that of a woman, the great charm of the former is said to lie not in κάλλος, but in χάρις, just as in Theocr. xxx. 4. Whether this resemblance is due to anything more than the similarity of subject is a difficult question, which need not be discussed here.

[361] Similarly, I may add, if anyone cares to regard the epigrams ascribed to Plato as genuine, he will find nothing in them but confirmation of what has already been gathered from works of less questionable authenticity.

[362] With comedy this is, of course, especially the case, for comedy appeals, in the main, to a lower intellectual class than tragedy, and is therefore compelled to be even more conservative.

[363] [Excursus G.: page 219.]

[364] Is it merely a coincidence that this pioneer of a love-element, of a sort, in comedy, was a native of Colophon?

[365] The view that this erotic element was in no respect romantic, but dealt purely with the sensual side of the matter, is supported by (1) its inherent probability; (2) the absence of any evidence to the contrary, not only in the fragments of this writer, but also in those of Antiphanes and Alexis, who are known to have imitated him; (3) the epithet παμμίαρος applied to Anaxandrides. (_Vide_ Meineke, _Com. Fr._ i. p. 369.) Though the general sense of Suidas’ words seems plain, their exact meaning is not so clear. Probably ἔρωτας refers to the introduction of ἑταῖραι and their admirers, whose mutual struggles _de nocte locanda_ would then provide the action of the play. The sense of παρθένων φθοράς is even less evident; but the fact that it is mentioned specially, and after the word ἔρωτας, certainly seems to imply that the φθορά formed the climax of the action. In other words, the motive of the plot was the same as in the previous case, with the exception that the woman in question was a παρθένος instead of an ἑταίρα. If this were so, then these stories would, of course, differ _toto caelo_ from those of the New Comedy, where the φθορά is an act of unpremeditated indiscretion which has taken place before the play begins, and is atoned for by the hero’s subsequent behaviour.

[366] Cp. Xenarchus, _Pentathl._ 1, where the same idea is developed. When one reads such lines as these, one is tempted to agree with Aristophon, that “love had been exiled from heaven.” (_Pythag._ _Fr._ 2.)

[367] There is, of course, plenty of grumbling at marriage in the New Comedy, but there the characters who give vent to it are the old men, who belong to the previous generation, and whose relations with their wives had consequently not come under the influence of romance.

[368] [This Excursus was originally written for the first Essay; the New Comedy is discussed in the second Essay. See above p. 163.]

[369] [The author is following Meineke i. 404: the name “Amphis” is a conjectural emendation in the latter passage.]

[370] Cp. _supra_, p. 227. This feeling is, of course, common enough; cp. Alexis, _Manteis_, γυναιξὶ δοῦλοι ζῶμεν ἀντ’ ἐλευθέρων, κ.τ.λ.

[371] Plaut. Asin. i. 1, 53 _seqq._ (patres ut consueverunt, ego mitto omnia haec, l. 64); _Bacch._ v. 2, 89 _seqq._ (hi senes, nisi fuissent nihil iam inde a adulescentia, non hodie hoc _tantum flagitium_ facerent canis capitibus, etc.) Of course, if anyone prefers to believe that these apologies are due to the _Latin_ author, no one can very well contradict him.

INDEX

A. OF AUTHORS AND SUBJECTS REFERRED TO.

[The references are to pages throughout. Where the discussion of a subject is continued over several pages, only the first page is here given. Plays are usually cited under their authors’ names.]

=Achilles=, and Briseis, 9;
and Patroclus, 40, 76;
and Iphigeneia, 63.

=Achilles Tatius=, 13, 78, 109.

=Actaeon=, 33.

=Admetus=, and Apollo, 13, 31, 90, 99.

=Aeschylus=, 41;
and Stesichorus, 42;
_Myrmidones_ of, 40, 82, 92.

=Ajax=, and Teucer, 76, 90, 99;
of Sophocles, compared to the _Antigone_, 99.

=Alcaeus=, the comic poet, 149.

=Alcaeus=, the lyric poet, 83.

=Alcestis=, 57, 99.

=Alciphron=, 146, 148.

=Alcman=, 22;
and Megalostrate, 23;
love-poems to boys, 24;
Parthenia, 24.

=Alexander= and the wife of Darius, 181.

=Alexandrian poetry=, distinctive feature of, 1, 69.

=Alexis=, _Agonis_ of, 156;
_Helene_ of, 161;
on marriage, 162;
on women, 224.

=Ameipsias=, 147.

=Amphis= on women, 227.

=Anacreon=, 26, 27, 86;
love-poems to women, 27;
importance for history of the romantic element, 28;
character of poems to boys, 86.

=Anaxandrides=, 154, 162;
on women, 213, 222.

=Andromache=, in the Iliad, 10;
as the ideal wife, 55, 64.

=Antiphanes= on women, 213, 219;
retort to Alexander, 152.

=Antimachus= 5, 107;
and Plato, 111;
and Catullus, 111;
influence on Asclepiades, 113, 197;
influence on Philetas, 113
(_vide s.v._ LYDE).

=Aphrodite=, and Anchises, 202;
as the rival of Artemis, 59;
treatment of Phaedra, 47.

=Apuleius=, 189.

=Archilochus=, 19, 82;
true motive of his satires, 21;
and Catullus, 22.

=Archippus=, _Ichthys_ of, 147.

=Ariadne=, 12, 14.

=Aristophanes=, 129;
weddings in, 132;
views on women, 134;
_Cocalus_ of, 135;
_Aeolosicon_ of, 143.

=Asclepiades=, 69;
Meleager’s criticism on, 73;
eulogy of Antimachus, 113;
probable influence on Menander, 196.

=Aspasia=, 127.

=Bacchylides=, 36.

=Battis=, 70.

=Boy-love=, in classical Greek literature, 74;
as an element of classical Greek society, 77;
as a military institution, 77;
as an emblem of liberty, 77;
purity of, 78;
development of, 79;
decay of, 79, 102;
permanent influence on literature, 80;
in the Anthology, 81;
in Archilochus, 82;
in Alcman, 24;
in Alcaeus, 83;
illustrated by Sappho, 85;
in Anacreon, 86;
in Theognis, 87, 207;
in the _Scolia_, 89;
in Attic tragedy, 91;
in Alexandrian poetry, 102;
in Meleager, 103.

=Brother= and sister, in Attic tragedy, 48, 101;
in the New Comedy, 245.

=Callias=, 147.

=Catullus=, 81.

=Chionides=, 122.

=Clytemnestra=, 42.

=Corinna=, 36.

=Crates=, 126, 128.

=Cratinus=, 126.

=Cratinus= junior, _Theramenes_ of, 151.

=Daphnis=, 14, 34.

=Deianira=, 43.

=Diphilus= on women, 241;
belongs really to Middle Comedy, 188.

=Diphilus= and Gnathaena, 128.

=Epicharmus=, 122.

=Epicrates=, _Antilais_ of, 73, 151.

=Eubulus=, on women, 214, 222;
_Campylion_ of, 155;
_Nannion_ of, 158.

=Eumathius=, 199.

=Euripides=, services to art, 50;
female characters, 50;
admiration for women, 51;
view of love, 52;
striking absence of love-element in, 52, 62, 63, 66;
why E. was not a “romantic” writer, 66;
E. and the Alexandrians, 53;
his misogyny, 51;
_Aeolus_ of, 38, 52;
_Andromeda_ of, 140, 203;
_Antigone_ of, 38;
_Chrysippus_ of, 93;
_Electra_ of, 65;
_Iphigeneia_ of, 63;
_Medea_ of, 66;
_Meleager_ of, 38;
_Phoenix_ of, 38;
_Protesilaus_ of, 57;
_Stheneboea_ of, 38.

=Ganymede=, 13.

=Goddesses=, preponderance of, in Greek Pantheon, 7;
in love with mortals, 13.

=Haemon=, motives for suicide, 44.

=Helen of Himera=, 33.

=Helen of Troy=, in the _Iliad_, 10;
in Stesichorus, 33;
and Theseus, 161.

=Hermesianax=, 14, 26, 110.

=Hesiod=, women in, 8;
Catalogus of, 12.

=Hetaera=, in early times, 19;
in Bacchylides, 36;
in Early Comedy, 128, 147, 148;
in Middle Comedy, 151, 215, 219;
treated as superior to a wife, 158;
in New Comedy, 175.

=Hippolytus=, defence of, 61.

=Ibycus=, 35.

=Iphigeneia=, 63.

=Jealousy=, Attic view as to, 43, 55.

=Lafaye=, _Catulle et ses modèles_, 20, 22.

=Lesbian Poets=, 83.

=Licymnius=, 36.

=Love=, early Greek views as to, 12, 17, 55, 64;
in Middle Comedy, 160;
in New Comedy, 169, 185;
in Menander, 184;
in Sophocles, 46;
in Euripides, 52.

=Love-element=, in the _Iliad_, 75;
in _Hymn. Hom._ iv., 201;
in Sappho, 85;
in choral poetry, 35;
in Attic Tragedy, 38, 91;
in Sophocles, 46;
in Euripides, 50;
in Eur. _Andromeda_, 203;
in classical Greek poetry in general, 67;
in Middle Comedy, 150;
in New Comedy, 163;
in Asclepiades, 70.

=Lyde of Antimachus=, 107;
importance of, 108;
characteristic tone of, 110.

=Lyric poetry=, subjective, 17;
choral, 31.

=Magnes=, 122.

=Mahaffy=, _Classical Greek Literature_, 20, 63.

=Marriage=, in Comedy, 109, 212, 216 (_vide s.v._ =Middle Comedy=,
=New Comedy=);
Sophocles’ view of, 43;
in Greek romance, 109;
in Menander, 170.

=Maximus Tyrius=, distinction between ancient and modern love, 54;
on Achilles and Patroclus, 76;
on Sappho and Socrates, 85;
on Anacreon, 87.

=Medea=, 12, 14, 66.

=Meleager=, criticism of Asclepiades, 73;
poem to Charidemus, 103.

=Menalcas=, 14.

=Menander=, 2;
great merit of, 164;
wrote plays belonging to Middle Comedy, 193;
introduced the romantic element into comedy, 188;
marriage characteristic of, 170;
view of love, 184;
father and children in, 185;
why elderly married men are treated by M. as unhappy, 173;
on women, 233;
_Leucadia_ of, 146;
_Misogynes_ of, 174;
_Misumenus_ of, 178;
_Sicyonius_ of, 180;
_Thais_ of, 177.

=Middle Comedy=, main features of, 150;
difference from Old Comedy, 125;
difference from New Comedy, 163;
women in, 210, 219;
women’s rights in, 243;
dislike of marriage, 158;
ridicules Platonic love, 160;
ridicules family life, 161;
parodies mythological erotic stories, 161.

=Miles Gloriosus= as the chivalrous lover, 180.

=Mimnermus=, 25;
and Nanno, 26;
mentioned by Roman poets, 27.

=Minos= and Zeus, 13.

=Morychis=, law of, 125.

=Myrtis=, 36.

=Nanno=, 26.

=Nausicaa=, 10.

=New Comedy=, 109;
ideal character of, 119;
difference from Middle Comedy, 163;
two common types of plot in, 165;
the married state described as a happy one, 171;
condemns adultery, 174;
only slaves ridicule Platonic love in, 185;
legal obligation to marry not urged in, 137;
women in, 233.

=Orestes and Pylades=, 101.

=Ovid=, 109.

=Pandora=, legend of, 8.

=Parthenius=, 15.

=Penelope=, 8;
and Odysseus, 10.

=Phaedra=, of Sophocles, 46;
illustrated from the Homeric Hymn to Aphrodite, 201;
of Euripides, 59.

=Pherecrates=, 125, 128.

=Philemon=, 142;
wrote plays belonging to Middle Comedy, 193;
more old-fashioned than Menander, 189;
on women, 240;
_Hypobolimaeus_ of, 144.

=Philetas=, 69;
influenced by Antimachus, 113.

=Philoxenus=, 36.

=Phocion= on marriage, 133.

=Phocylides=, 19.

=Pindar=, erotic legends in, 67.

=Plato=, 6;
in the _Hedychares_ of Theopompus, 149.

=Plato comicus=, 145.

=Plautus=, as imitating Middle Comedy, 157;
as illustrating New Comedy, 187;
and Menander, 234, 236;
_Captivi_ of, 155;
_Epidicus_ of, 183;
_Poenulus_ of, 185;
_Stichus_ of, 187.

=Poseidippus=, 26, 110.

=Reitzenstein=, _Epigramm und Skolion_, 25, 29, 34, 59.

=Rhadina=, 34.

=Rhianus=, poem to Dexionicus, 103.

=Rohde=, _der griechische Roman_, 75, 203.

=Romantic Element=, characteristic feature of, 4;
mistaken ideas as to, 2, 40, 106;
sudden appearance in literature, 69;
ditto, explained, 104;
origin among the Greeks, 105;
nature of in Greece, 108;
ditto, contrasted with mediaeval romance, 109;
in the Latin elegiac poets, 109.

=Sacred Band= of Epaminondas, 77.

=Sappho=, 85, 160;
and Phaon, 146;
and Sophocles, 45;
and Aeschylus, 45;
and Socrates, 85.

=Scolia=, 31, 89.

=Scylla=, legend of, 14.

=Simonides Amorginus=, 18;
and Hesiod, 18.

=Sophocles=, 43;
and Sappho, 45;
views on marriage, 45;
view of love, 46;
_Antigone_ of, 47;
_Colchides_ of, 38;
_Niobe_ of, 93;
_Oenomaus_ of, 38;
_Phaedra_ of, 38.

=Sparta=, 6, 24, 77.

=Stesichorus=, 33;
and Aeschylus, 42.

=Strato=, 81.

=Strattis=, 147.

=Susario=, 68.

=Telestes=, 37.

=Terence=, as illustrating New Comedy, 187;
and Menander, 233;
_Hecyra_ of, 170, 175.

=Theocritus=, poems to boys, 81, 83;
illustrative of Alcaeus, 83;
and Theognis, 208.

=Theognis=, 29, 87;
Book II., 207;
and Theocritus, 208.

=Theopompus=, 148;
_Hedychares_ of, 149.

=Theseus=, and Helen, 161.

=Wife=, Sophoclean ideal, 44;
Euripidean ideal, 55;
compared with Hetaera in Middle Comedy, 158;
ditto in New Comedy, 176;
tyranny of wives in Middle Comedy, 244.

=Women=, primitive position of, 7;
in the Homeric poems, 8;
in Hesiod, 8;
in the early legends, 11;
in the stories of Parthenius, 15;
early literary ideal of, 17;
in Simonides, 18;
in Phocylides, 19;
in Theognis, 29, 199;
in the _Scolia_, 31;
in Stesichorus, 33;
in Ibycus, 35;
in the later choral poets, 36;
in Attic tragedy, 40;
in Aeschylus, 41;
in Sophocles, 43;
in Euripides, 50;
in the early Alexandrians, 69;
in Asclepiades, 71;
in Greek comedy, 118;
in the Middle Comedy, 219;
in early New Comedy, 233;
better position in Asia, 182;
freemasonry among in Euripides, 58;
might be attacked openly by name, 151;
women’s rights in the Middle Comedy, 243.

B. OF PASSAGES EMENDED OR DISCUSSED.

Aeschylus, _Fr._ 135, 136 (92).

Alexis, _Graphe_ (225).

_Anth. Pal._ V. 164, 4 (73).

Antiphanes, _Acestria_, 3 (220).

Archilochus, _Fr._ 100 _seqq._ (20).

Aristophon, _Iatrus_, _Fr._ 2 (229).

Eubulus, _Campylion_ (155).

Euripides, _Hippol._ 1415, 1440 (206), _Fr._ 132 (205).

Hesiod, _Op._ 702 (19).

Martial XIV. 187 (177).

Mimnermus, _Fr._ 1 (25).

Philetaerus, _Atalanta_ (228).

Propertius II. 6, 3 (177).

Sophocles, _Ant._ 781 (46), 909 (49), _Fr._ 855, 13 (201).

Theognis, 261 _seqq._ (199), 1282, 1363 (208).

Theopompus, _Nemea_ 8 (148).

TABLE OF COMIC FRAGMENTS

In the text the fragments of the comedians are cited from Meineke’s _Fragmenta Comicorum Graecorum_ (5 vols., 1839-57). In the following table the corresponding numbers are given from Kock’s _Comicorum Atticorum Fragmenta_ (3 vols., 1880-88). The fragments referred to which do not appear in the table, can be found without difficulty in Kock’s edition from Meineke’s numbers.

Author. Meineke. Kock.
=Alexis.= _Agonis_ 1 3
2 2
3 4
4 5
_Incert._ 14 282
18 279
26 293
31 271
34 262
35 267
38 289
39 302
40 339
53 314
_Isostas._ 1 98
_Mandragor._ 2 142
5 144
_Olynthia_ 1 162
2 159
_Tarantini_ 5 223
_Traumatias_ 2 234
=Amphis.= _Dithyramb._ 2 15
=Anaxandrides.= _Incert._ 1 52
5 56
9 60
10 61
13 78
17 68
_Odysseus_ 1 33
_Tereus_ 2 47
3 46
=Anaxilas.= _Incert._ 2 34
3 36
4 35
5 37
6 38
_Neottis_ 1 22
2 21
=Antiphanes.= _Acestria_ 1 20
_Aeolus_ 1 18
_Agroecus_ 2 2
_Arcas_ 2 41
_Dyspratus_ 1 89
_Incert._ 12 235
13 300
51 324
52 292
53 329
54 251
55 252
57 253
71 239
95 320
_Mystis_ 3 165
_Neanisci_ 2 167
_Neottis_ 3 170
_Omphale_ 3 178
=Araros.= _Caeneus_ 4 5
=Aristophanes.= _Cocal._ 2 347
3 346
4 348
5 349
6 351
7 350
10 354
12 355
_Daed._ 3 187
_Geras_ 5 141
6 140
7 142
_Pelargi_ 1 438
_Polyid._ 2 453
_Scen. Cat._ 1 472
2 864
3 862
_Thesmoph. B._ 26 { 338
{ 907
=Aristophon.= _Iatrus_ 2 3
_Pythagor._ 2 11
=Crates.= _Incert._ 3 _Cratinus_ 302
4 40
=Cratinus.= _Seriph._ 12 216
=Diphilus.= _Incert._ 2 87
6 91
16 101
33 115
34 136
47 129
_Zographus_ 1 44
=Ephippus.= _Philyra_ 2 21
3 23
=Eriphus.= _Meliboea_ 1 2
2 7
=Eubulus.= _Cercopes_ 1 54
_Campyl._ 1 44
2 43
3 41
4 42
5 45
6 46
_Incert._ 3 125
9 127
20 133
25 148
_Sphingocar._ 2 108
3 106
_Stephanopol._ 1 98
2 104
3 105
4 99
=Eupolis.= _Autolycus_ 10 44
=Menander.= _Andria_ 1 48
_Androgynus_ 2 57
_Arrephorus_ 3 66
_Chalceia_ 3 509
_Eunuchus_ 7 190
_Georgus_ 6 100
_Halieis_ 6 18
10 16
_Hiereia_ 2 546
_Incert._ 1 654
3 532
6 535
7 536
8 547-8
14 541
16 599
27 564-5
32 558
36 566
54 582
55 585
57 583
58 584
59 586
73 608
99 645
100 646
101 647
102 648
103 649
104 650
105 651
106 652
107 653
108 662
109 603
112 657
113 659
114 658
115 660
117 661
133 610
154 702
155 703
156 704
185 720
196 798
197 745
198 746
199 739
241 727
256 800
258 802
259 803
294 879
346 955
469 687
499 754
_Leucadia_ 1 312
_Misogynes_ 1 325
2 332
3 333
4 601
5 326
9 329
_Misumenus_ 3 338
5 336
6 337
7 335
8 345
10 341
11 342
12 343
_Nauclerus_ 4 352
_Orge_ 5 366
_Plocion_ 1 402
2 403
3 } 404
4 }
_Sicyonius_ 3 438
_Synaristosae_ 1 450
2 451
4 449
_Thesaurus_ 1 235
2 237
3 236
=Nicostratus.= _Pandrosus_ 1 21
2 19
3 20
=Pherecrates.= _Thalatta_ 2 56
3 52
4 51
5 54
7 53
=Philemon.= _Incert._ 3 89
4 88
8 93
31 124
32 126
35 139
44 132
49 138
64 156
76 169
77 170
78 171
85 177
95 190
103 196
105 198
106 239
124 218
=Philetaerus.= _Cynagis_ 1 9
2 6, 7
3 8
=Plato.= _Phaon_ 2 174
3 175
4 178
10 179
=Strattis.= _Maced._ 5 26
=Theophilus.= _Philaul._ 1 12
2 11
=Theopompus.= _Capelid._ 3 26
4 28
5 27
_Hedychares_ 3 14
4 16
_Odysseus_ 1 35
_Medus_ 2 29
=Timocles.= _Epist._ 1 10
_Icarii_ 1 17
2 14
=Xenarchus.= _Scythae_ 1 12