Chapter XXV: Appendix: D (4)

[807] Lucian, Nero 9 ὁ δ’ Ἠπειρώτης ἄριστα φωνῆς ἔχων, εὐδοκιμῶν δ’ ἐπ’ αὐτῇ καὶ θαυμαζόμενος λαμπροτέρᾳ τοῦ εἰωθότος.

[808] Plut. X orat. p. 848 B τοὺς ὑποκριτὰς ἔφη δεῖν κρίνειν ἐκ τῆς φωνῆς. Diog. Laërt. vii. 20 τὴν μὲν φωνὴν καὶ τὴν δύναμιν μεγάλην ἔχειν. Aristot. Rhet. iii. 1. Lucian, de Salt. 27 μόνης τῆς φωνῆς ὑπεύθυνον παρέχων ἑαυτόν. Plat. Legg. 817 C καλλίφωνοι ὑποκριταί.

[809] Cic. div. in Caecil. § 48 ‘cum possit aliquanto clarius dicere ... multum summittere, ut ille princeps quam maxime excellat’.

[810] Cic. de Orat. i. § 251.

[811] Aristot. Probl. xi. 22; Athen. p. 343 E.

[812] Plut. Aud. Poet. 18 B.

[813] Aristot. Rhet. iii. 2 διὸ δεῖ λανθάνειν ποιοῦντας, καὶ μὴ δοκεῖν λέγειν πεπλασμένως ἀλλὰ πεφυκότως ... οἷον ἡ Θεοδώρου φωνὴ πέπονθε πρὸς τὴν τῶν ἄλλων ὑποκριτῶν· ἣ μὲν γὰρ τοῦ λέγοντος ἔοικεν εἶναι, αἳ δ’ ἀλλότριαι.

[814] Lucian, Anachar. c. 23 αὐτοὶ δὲ (οἱ τραγῳδοὶ) μεγάλα τε ἐκεκράγεσαν καὶ διέβαινον οὐκ οἶδ’ ὅπως ἀσφαλῶς ἐν τοῖς ὑποδήμασι ... οἱ δὲ κωμῳδοὶ βραχύτεροι μὲν ἐκείνων καὶ πεζοὶ καὶ ἀνθρωπινώτεροι καὶ ἧττον ἐβόων.

[815] Philostrat. vit. Apoll. v. 8 (p. 171 Kayser) ἐπεὶ δὲ ἐξάρας τὴν φωνὴν γεγωνὸν ἐφθέγξατο; Lucian, l.c. See also the passages quoted on p. 273.

[816] Pollux (iv. 114), speaking of tragic acting, says εἴποις δ’ ἂν βαρύστονος ὑποκριτής, βομβῶν, περιβομβῶν, ληκυθίζων, λαρυγγίζων, φαρυγγίζων. Dem. de Cor. § 262.

[817] Cic. Orat. §§ 25, 27.

[818] Cic. de Orat. iii. §§ 195, 196, Parad. § 26.

[819] Antig. 76, Hel. 543, Androm. 529, Orest. 382, Hec. 339, &c.

[820] Phil. 819, Heraclid. 75, Ajax 865, Eur. Suppl. 1070, Troad. 36, 462. Polymestor (Hec. 1058) and the Delphic priestess (Eum. 34) speak of themselves as crawling out on all fours. But it is unnecessary to suppose that they actually made their entrance from the back-scene in this way.

[821] Aristot. Poet c. 26 ἡ μὲν οὖν τραγῳδία τοιαύτη ἐστίν, ὡς καὶ οἱ πρότερον τοὺς ὑστέρους αὐτῶν ᾤοντο ὑποκριτάς, ὡς λίαν γὰρ ὑπερβάλλοντα πίθηκον ὁ Μυννίσκος τὸν Καλλιππίδην ἐκάλει, τοιαύτη δὲ δόξα καὶ περὶ Πινδάρου ἦν ... εἶτα οὐδὲ κίνησις ἅπασα ἀποδοκιμαστέα, εἴπερ μηδ’ ὄρχησις, ἀλλ’ ἡ φαύλων, ὅπερ καὶ Καλλιππίδῃ ἐπετιμᾶτο καὶ νῦν ἄλλοις ὡς οὐκ ἐλευθέρας γυναῖκας μιμουμένων.

[822] Vit. Soph. ταῖς δὲ Μούσαις θίασον ἐκ τῶν πεπαιδευμένων συναγαγεῖν. Aristot. Probl. xxx. 10 οἱ Διονυσιακοὶ τεχνῖται.

[823] Dem. Fals. Leg. § 315.

[824] Dem. Meid. §§ 15, 58-60.

[825] C. I. A. ii. 551.

[826] C. I. A. ii. 552.

[827] For a complete account of these guilds see Lüders, Die dionysischen Künstler; Foucart, Les Associations religieuses chez les Grecs.

[828] Corn. Nep. praef. 5 ‘in scaenam vero prodire et populo esse spectaculo nemini in iisdem gentibus fuit turpitudini’. Livy xxiv. 24 (of Ariston the tragic actor) ‘huic genus et fortuna honesta erant; nec ars, quia nihil tale apud Graecos pudori est, ea deformabat’.

[829] Aesch. Fals. Leg. §§ 15-19; Dem. de Cor. § 21.

[830] Dem. Fals. Leg. § 315, de Pace § 6; Diod. Sic. xvi. 92; Plut. Alex. 681 D.

[831] Plut. Alex. 669 D.

[832] Plut. X orat. p. 848 B. Gellius, N. A. xi. 9, gives the same story about Aristodemus.

[833] Aristot. Prob. xxx. 10.

[834] Vit. Aesch.; Schol. Aristoph. Ran. 803, Nub. 1267.

[835] Aristot. Poet. c. 26.

[836] Xen. Symp. iii. 11; Plut. Ages. p. 607 D ἀλλὰ οὐ σύγε ἐσσὶ Καλλιππίδας ὁ δεικηλίκτας;

[837] Macar. Cent. iii. 46; Prov. Coisl. 124.

[838] Rhet. Graec. vi. p. 35 (Walz).

[839] Plut. an sen. 785 C.

[840] Gell. N. A. vii. 5.

[841] Plut. de se laud. 545 F.

[842] Ael. Var. Hist. xiv. 40.

[843] Pausan. i. 37. 3.

[844] See above, p. 279.

[845] Diod. Sic. xvi. 92.

[846] Plut. Alex. 681 D.

[847] C. I. A. ii. 973.

[848] Plat. Rep. 395 B ἀλλ’ οὐδέ τοι ὑποκριταὶ κωμῳδοῖς τε καὶ τραγῳδοῖς οἱ αὐτοί.

[849] Schol. Aristoph. Nub. 542; Plut. Aud. Poet. 18 B. [For an account of all that is known of the celebrated Greek actors see Völker, Berühmte Schauspieler im griech. Alterthum, 1899.]

[850] Aristot. Poet. c. 18.

[851] For details see the Tragic Drama of the Greeks, pp. 452 ff.

[852] Vit. Aristoph. p. 36 Dindf. The places for the interludes are marked χοροῦ in the text (ll. 321, 626, 801, 958).

[853] Platon. de Comoed. p. 21 Dindf. οἱ δὲ τῆς μέσης κωμῳδίας ποιηταὶ ... τὰ χορικὰ μέλη παρέλιπον. Platon. p. 20 says the Aeolosicon of Aristophanes had no chorus; but frag. 8 seems to show that it had. Similarly the statement of Anon. de Comoed. p. 27 Dindf., that the Plutus χορῶν ἐστέρηται, is not entirely true.

[854] Aristot. Pol. iii. 3 ὥσπερ γε καὶ χορὸν ὁτὲ μὲν κωμικὸν ὁτὲ δὲ τραγικὸν ἕτερον εἶναί φαμεν, τῶν αὐτῶν πολλάκις ἀνθρώπων ὄντων. Eth. Nic. iv. 6 κωμῳδοῖς χορηγῶν ἐν τῇ παρόδῳ πορφύραν εἰσφέρων. Athen. Pol. c. 56, where the appointment of χορηγοὶ κωμῳδοῖς is described. This probably implies a chorus; though not necessarily, as a choregus would be required to meet the other expenses of a play. [Cp. Aeschin. in Tim. § 157 πρῴην ἐν τοῖς κατ’ ἀγροὺς Διονυσίοις κωμῳδῶν ὄντων ἐν Κολλυτῷ καὶ Παρμένωνος τοῦ ὑποκριτοῦ εἰπόντος τι πρὸς τὸν χορὸν ἀνάπαιστον (345 B.C.).] The substitution of an agonothetes for the choregi at the end of the fourth century may have been connected with the decline of the chorus. See above, p. 55.

[855] Vit. Aristoph. p. 36 Dindf. τὸν Πλοῦτον γράψας, εἰς τὸ διαναπαύεσθαι τὰ σκηνικὰ πρόσωπα καὶ μετεσκευάσθαι, ἐπιγράφει χοροῦ, φθεγγόμενος ἐν ἐκείνοις ἃ καὶ ὁρῶμεν τοὺς νέους (i.e. Menander and Philemon, cp. p. 35) ἐπιγράφοντας ζήλῳ Ἀριστοφάνους.

[856] Lüders, Die dionysischen Künstler, pp. 187 ff.

[857] Bull. Cor. Hell. xiv. p. 396; Körte, Neue Jahrb. 1900, pp. 83 ff.

[858] Anon. de Comoed. p. 27 Dindf.

[859] Poll. iv. 110. Pollux further states that the number continued to be fifty until the Eumenides of Aeschylus was produced; and that the people were so alarmed at the sight of the fifty Furies that they passed a law reducing the number of the tragic chorus. The story is of course a fiction, on a par with the statement in the Life, that Aeschylus was banished to Sicily as a punishment for terrifying the people with his Eumenides.

[860] Suid. s.v. Σοφοκλῆς; Vit. Soph. p. 2 Dindf.

[861] The decision of the question depends on the passage in the Agamemnon, s.vv. 1344-71. There is no doubt that the twelve iambic couplets, 1348-71, were delivered by twelve choreutae. The difficulty is to decide whether the three trochaic tetrameters, 1344, 1346, and 1347, were delivered by three additional choreutae, or by the coryphaeus. Either view is plausible, and it seems impossible to determine the matter without further evidence. The statement of Schol. Arist. Equit. 586, that the chorus in the Agamemnon was fifteen in number, is merely an inference from the passage just referred to. The statement of Schol. Aesch. Eum. 585, that the chorus in the Eumenides consisted of fifteen persons, is simply grounded on the assumption that the number was the same as in later times. In neither case is the evidence of any independent value.

[862] Fifteen is the number given in Poll. iv. 109; Suid. s.v. χορός; Schol. Arist. Av. 298, Equit. 586; Schol. Aesch. Eum. 585. The number is given as fourteen in Vit. Aesch.; Bekk. Anecd. p. 746; Tzetzes, Prolegom. ad Lycophr. p. 254 M. The explanation of the discrepancy lies in the fact that when the chorus is said to consist of fourteen members the coryphaeus is not included.

[863] Tzetzes, l.c., τὴν δὲ τραγῳδίαν καὶ τοὺς σατύρους ἐπίσης μὲν ἔχειν χορευτὰς ιαʹ (? ιδʹ). Id. apud Dübner, Prolegom. de Com. p. xxiv. ἑκκαίδεκα δὲ σατύρων, τραγῳδίας. Though the numbers are wrong in both passages, it is plain that the tragic and satyric choruses were of the same size.

[864] Poll. iv. 109; Schol. Arist Av. 298, Acharn. 219; Bekk. Anecd. p. 746, &c.

[865] Lüders, l.c. pp. 187 ff. Wieseler, Denkmäler, xiii. 2.

[866] Pausan. i. 28. 6; Schol. Arist. Nub. 343; Baumeister, Denkmäler, no. 422.

[867] Vit. Soph.

[868] Aesch. Agam. 75; Eur. Herc. Fur. 108.

[869] Eur. Suppl. 10, 97; Aesch. Choeph. 10, 11.

[870] Aesch. Suppl. 234-6 ἀνέλληνα στόλον | πέπλοισι βαρβάροισι καὶ πυκνώμασι | χλίοντα; Eur. Bacch. 58.

[871] Aesch. Eum. 52; vit. Aesch. p. 4 Dindf.; Poll. iv. 110; Pausan. i. 28. 6.

[872] See Fürtwängler, Annali dell’ Instituto, 1877, pp. 225 ff., 449 ff.

[873] Hymn to Aphrodite, l. 262.

[874] Strabo, x. p. 471.

[875] Herod. v. 67.

[876] Journal of Hellenic Studies, xi. plate xi, from which the present illustration is taken by permission of the Council of the Hellenic Society.

[877] Wieseler, Denkmäler, vi. 3. Baumeister, Denkmäler, no. 424. In the latter painting the tail and phallus are not visible; but this appears to be merely owing to the position of the two satyrs. It can hardly be taken as evidence that the tail and phallus had been discarded at this time.

[878] See Körte, in Bethe’s Prolegomena, pp. 339 ff.

[879] So Loeschcke, Athen. Mittheil. 1894, p. 522; Bethe, Prolegomena, p. 38.

[880] [Miss Harrison, Proleg. to the Study of Greek Religion, p. 421, derives τραγῳδία from τράγος in the sense of ‘spelt’; but the derivation is more than doubtful.]

[881] Frag. 207 (Nauck) τράγος γένειον ἆρα πενθήσεις σύ γε.

[882] Wieseler, Denkmäler, vi. 3.

[883] Cp. Hor. A. P. 221 ‘mox etiam agrestes Satyros _nudavit_’.

[884] Cyclops 80 σὺν τᾷδε τράγου χλαίνᾳ.

[885] See the list of titles of comedies in Meineke, Hist. Crit. Com. Graec. pp. 269 ff.

[886] Arist. Acharn. 627 ἀλλ’ ἀποδύντες τοῖς ἀναπαίστοις ἐπίωμεν; Thesm. 656 τῶν θ’ ἱματίων ἀποδύσας.

[887] Schol. Aristoph. Nub. 343.

[888] Schol. Aristoph. Nub. 289.

[889] Poppelreuter, De Comoed. Atticae Primordiis, 1893, p. 15. Loeschcke, Athen. Mittheil. 1894, p. 519. Cook, Journal of Hellenic Studies, 1894, pp. 165 ff.

[890] So Poppelreuter, l.c. pp. 9-11. A copy of the vase is given on p. 8.

[891] Bollettino Archeologico Napolitano, Nuova Serie, v. tav. 7.

[892] Journal of Hellenic Studies, ii. plate xiv A.

[893] The illustration is taken, by permission of the Council of the Hellenic Society, from the Journal of Hellenic Studies, ii. plate xiv B. See Mr. Cecil Smith’s interesting article on the subject.

[894] Tzetzes, Prolegom. ad Lycophr. p. 254 M, τραγικῶν δὲ καὶ σατυρικῶν καὶ κωμικῶν ποιητῶν κοινὸν μὲν τὸ τετραγώνως ἔχειν ἱστάμενον τὸν χορόν: Bekk. Anecd. p. 746; Et. Mag. s.v. τραγῳδία; vit. Aristoph. (Dindf. Prolegom. de Com. p. 36).

[895] Athen. p. 181 C.

[896] Poll. iv. 108, 109 καὶ τραγικοῦ μὲν χοροῦ ζυγὰ πέντε ἐκ τριῶν καὶ στοῖχοι τρεῖς ἐκ πέντε· πεντεκαίδεκα γὰρ ἦσαν ὁ χορός. καὶ κατὰ τρεῖς μὲν εἰσῄεσαν, εἰ κατὰ ζυγὰ γίνοιτο ἡ πάροδος· εἰ δὲ κατὰ στοίχους, ἀνὰ πέντε εἰσῄεσαν ... ὁ δὲ κωμικὸς χορὸς τέτταρες καὶ εἴκοσιν ἦσαν οἱ χορευταί, ζυγὰ ἕξ, ἕκαστον δὲ ζυγὸν ἐκ τεττάρων, στοῖχοι δὲ τέτταρες, ἓξ ἄνδρας ἔχων ἕκαστος στοῖχος.

[897] Athen. p. 628 F.

[898] Schol. Aristid. iii. p. 535 Dindf. ὅτε εἰσῄεσαν οἱ χοροὶ πλαγίως βαδίζοντες ἐποιοῦντο τοὺς ὕμνους καὶ εἶχον τοὺς θεατὰς ἐν ἀριστερᾷ αὐτῶν καὶ οἱ πρῶτοι τοῦ χοροῦ ἀριστερὸν στοῖχον, p. 536 τοὺς οὖν καλοὺς τῶν χορευτῶν ἔταττον εἰσιόντες ἐν τοῖς [τῶν] ἑαυτῶν ἀριστεροῖς, ἵνα εὑρεθῶσι πρὸς τὸν δῆμον ὁρῶντες.

[899] Poll. ii. 161 τάχα δὲ καὶ ὁ ἀριστεροστάτης ἐν χορῷ προσήκοι ἂν τῇ ἀριστερᾷ, ὡς ὁ δεξιοστάτης τῇ δεξιᾷ. Phot. s.v. λαυροστάται· μέσον τοῦ χοροῦ· οἱονεὶ γὰρ ἐν στενωπῷ εἰσιν· φαυλότεροι δὲ οὗτοι. Hesych. λαυροστάται· οἱ ἐν τοῖς μέσοις ζυγοὶ ... μὴ θεωρούμενοι. The ὑποκόλπιον τοῦ χοροῦ, defined by Hesych. as τῆς στάσεως χῶραι αἱ ἄτιμοι, probably included the whole file of laurostatae, though some scholars confine it to nos. 7, 8, and 9.

[900] Plut. Conv. p. 678 D ὥσπερ χοροῦ, τοῦ συμποσίου τὸν κρασπεδίτην τῷ κορυφαίῳ συνήκοον ἔχοντος. The κρασπεδῖται were also called ψιλεῖς; cp. Suid. s.v. ψιλεύς· ἐπ’ ἄκρου χοροῦ ἱστάμενος: Hesych. s.v. ψιλεῖς· οἱ ὕστατοι χορεύοντες.

[901] Hesych. s.v. ἀριστεροστάτης· ὁ πρωτοστάτης τοῦ χοροῦ. Poll. iv. 106 δεξιοστάτης, ἀριστεροστάτης, δευτεροστάτης, τριτοστάτης. [Cp. Menander fr. 165 (Kock) ὥσπερ τῶν χορῶν | οὐ πάντες ᾄδουσ’, ἀλλ’ ἄφωνοι δύο τινὲς | ἢ τρεῖς παρεστήκασι πάντων ἔσχατοι | εἰς τὸν ἀριθμόν, καὶ τοῦθ’ ὁμοίως πως ἔχει. This probably means that the mute members of the chorus were placed in the third file, the δεξιοστάται or τριτοστάται, whom Hesych. calls ἔσχατοι (s.v. λαυροστάται· οἱ ἐν τοῖς μέσοις ζυγοὶ ... οἱ δὲ ἐπιτεταγμένοι πρῶτοι καὶ ἔσχατοι).]

[902] Phot. s.v. τρίτος ἀριστεροῦ· ἐν τοῖς τραγικοῖς χοροῖς τριῶν ὄντων στοίχων καὶ πέντε ζυγῶν, ὁ μὲν ἀριστερὸς πρὸς τῷ θεάτρῳ ἦν, ὁ δὲ δεξιὸς πρὸς τῷ προσκηνίῳ. συνέβαινεν οὖν τὸν μέσον τοῦ ἀριστεροῦ στοίχου τὴν ἐντιμοτάτην καὶ τὴν οἷον τοῦ πρωτοστάτου χώραν ἐπέχειν καὶ στάσιν. The coryphaeus was also called χορηγός Athen. p. 633 A, χοραγός Plut. Apophth. Lac. p. 219 E, ἡγεμών and ἡγεμὼν κορυφαῖος Dem. Meid. § 60, χοροστάτης Hesych., χορολέκτης Ael. Hist. An. xi. 1, χοροποιός Xen. Ages. ii. 17.

[903] Dem. Meid. § 60.

[904] Aristot. Met. iv. 11 ταῦτα δ’ ἐστὶν ὅσα πρός τι ἓν ὡρισμένον διέστηκε κατὰ τὸν λόγον, οἷον παραστάτης τριτοστάτου πρότερον, καὶ παρανήτη νήτης· ἔνθα μὲν γὰρ ὁ κορυφαῖος, ἔνθα δὲ ἡ μέση ἀρχή.

[905] See above, p. 271.

[906] Poll. iv. 109; Vit. Aesch. p. 4 Dindf.

[907] Arist. Av. 268-96.

[908] Arist. Lysist. 254, 319. In the Ecclesiazusae the chorus probably entered together at l. 285. The extra women in the first scene were not members of the chorus, but παραχορηγήματα.

[909] Arg. Aesch. Pers. τῶν δὲ χορῶν τὰ μέν ἐστι παροδικά, ὡς ὅτε λέγει δι’ ἣν αἰτίαν πάρεστιν, ὡς τὸ “Τύριον οἶδμα λιποῦσα”. Schol. Eur. Phoen. πάροδος δέ ἐστιν ᾠδὴ χοροῦ βαδίζοντος ᾀδομένη ἅμα τῇ εἰσόδῳ, ὡς τὸ “Σῖγα σῖγα λεπτὸν ἴχνος ἀρβύλης τίθετε”. Aristot. Poet. c. 12 defines the parodos as ἡ πρώτη λέξις ὅλου χοροῦ. He thus extends the meaning of the word so as to include, not only entrance-songs in the proper sense, but also those cases where the chorus enter in silence, and sing their odes later on. [Masqueray, Théorie des formes lyriques de la tragédie grecque, c. ii, analyses in detail the parodoi of the extant plays.]

[910] Other examples are the Prom. Vinct. of Aeschylus; the Philoctetes of Sophocles; the Medea, Heracleidae, Troades, and Electra of Euripides.

[911] Müller (Die griech. Bühnenalt. p. 214), following Hermann (Opusc. vi. 2, p. 144) supposes the whole chorus to have wheeled completely round, so that the left file came to be nearest to the stage. He thinks it more natural for the coryphaeus to have been immediately in front of the stage, where he would be in a position to converse with the actors. But he could do so equally well from the centre of the back row. And it seems most improbable that care should have been taken, during the entrance into the orchestra, to place the coryphaeus and best choreutae in the line most conspicuous to the spectators, but that throughout the rest of the performance they should have been stationed in a position where the majority of the spectators would hardly have been able to see them.

[912] Anon. de Com. (Dindf. Prolegom. de Com. p. 29); Vit. Aristoph. (ibid. p. 36); Schol. Arist. Equit. 505.

[913] Schol. Arist. Equit. 505, Pax 733. As to the formation during the latter part of the parabasis, it is almost certain that the chorus was then divided into ἡμιχόρια. Two MSS. assign the strophe and antistrophe to ἡμιχόρια in Nubes 563, 595, Vespae 1060, 1091, Aves 737, 769, and the epirrhema and antepirrhema in Ranae 686, 717. See Arnoldt, Die Chorpartieen bei Aristoph. pp. 180 ff. That the half-choruses stood facing one another seems to be indicated by Hephaest. 14, p. 131, ἔστι δέ τις ἐν ταῖς κωμῳδίαις καὶ ἡ καλουμένη παράβασις, ἐπειδὰν εἰσελθόντες εἰς τὸ θέατρον καὶ ἀντιπρόσωπον ἀλλήλοις στάντες οἱ χορευταὶ παρέβαινον: Anon. de Comoed. (Dübner, Prolegom. de Com. p. xx) ἀπελθόντων δὲ τῶν ὑποκριτῶν πρὸς ἀμφότερα τὰ μέρη τοῦ δήμου ὁρῶν ἐκ τετραμέτρου δεκαὲξ στίχους ἀναπαίστους ἐφθέγγετο, καὶ τοῦτο ἐκαλεῖτο στροφή.

[914] Poll. iv. 108. The temporary departure was called μετάστασις, the return ἐπιπάροδος.

[915] Aesch. Eum. 235; Soph. Ajax 815.

[916] Eur. Hel. 327 ff.

[917] Eur. Alc. 746; Arist. Eccles. 310.

[918] Schol. Arist. Vesp. 580.

[919] See chap. v. pp. 270 ff.

[920] See especially Arnoldt, Die Chorpartieen bei Aristophanes (Leipzig, 1873), Die chorische Technik des Euripides (Halle, 1878), Der Chor im Agamemnon des Aeschylos (Halle, 1881); Christ, Theilung des Chors im attischen Drama (München, 1877); Muff, Die chorische Technik des Sophokles (Halle, 1877), De choro Persarum (Halle, 1878), Der Chor in den Sieben des Aeschylos (Halle, 1882); Hense, Der Chor des Sophokles (Berlin, 1877), Ueber die Vortragsweise Soph. Stasima (Rhein. Museum, xxxii); Zielinski, Die Gliederung der altattischen Komödie (Leipzig, 1885).

[921] In Poet. c. 12 he defines the πάροδος as ἡ πρώτη λέξις ὅλου χοροῦ, implying that other odes were also sung by the whole chorus. If so, the στάσιμα, which were far the most important of the other odes, must have been so sung. Whether the expression ὅλα χορικὰ μέλη, applied to the στάσιμα, means ‘sung by the whole chorus’, or merely ‘unbroken’, as opposed to the κόμμοι, is uncertain.

[922] Schol. Eur. Alc. 79 ἐκ γερόντων Φεραίων ὁ χορός, διαιρεῖται δὲ εἰς δύο ἡμιχόρια. That the anapaests in Ranae 354-71, which come in the middle of the parodos, were spoken by the coryphaeus is proved by the concluding lines (ὑμεῖς δ’ ἀνεγείρετε μολπὴν κ.τ.λ.), in which the rest of the chorus is commanded to begin.

[923] When these short odes were of a lively character, they were apparently called ὑπορχήματα by the grammarians, and regarded as a separate class. But even stasima might be composed in the hyporchematic style. It seems better, therefore, to regard ὑπόρχημα as a term applicable, not to short lyrics only, but to any lyrics of a lively and dance-like metre. See the Tragic Drama of the Greeks, pp. 357, 359.

[924] See the previous page.

[925] e.g. Arist. Ran. 382, Vesp. 1516, Thesmoph. 655, &c.

[926] Aesch. Agam. 1344 ff., Eum. 140 ff., Schol. ad loc. ἀναστήσει αὐτὰς οὐκ ἀθρόως, μιμούμενος ἐμφατικῶς τὴν ἀλήθειαν, ἀλλ’ ἐγείρεταί τις πρώτη, ὥστε μὴ ἀθρόως τὸν χορὸν φθέγξασθαι. Müller (Griech. Bühnenalt. p. 218) is mistaken in citing the passage in the Lysistrata, 727-80, as an example of the delivery of words by individual choreutae. The three women who take part in the dialogue are not members of the chorus, but performers upon the stage.

[927] Cp. the sensible remarks of the Schol. on Arist. Ran. 375 ἐντεῦθεν Ἀρίσταρχος ὑπενόησε μὴ ὅλου τοῦ χοροῦ εἶναι τὰ πρῶτα· τοῦτο δὲ οὐκ ἀξιόπιστον. πολλάκις γὰρ ἀλλήλοις οὕτω παρακελεύονται οἱ περὶ τὸν χορόν.

[928] Poll. iv. 107 καὶ ἡμιχόριον δὲ καὶ διχορία καὶ ἀντιχόρια. ἔοικε δὲ ταὐτὸν εἶναι ταυτὶ τὰ τρία ὀνόματα· ὁπόταν γὰρ ὁ χορὸς εἰς δύο μέρη τμηθῇ, τὸ μὲν πρᾶγμα καλεῖται διχορία, ἑκατέρα δὲ ἡ μοῖρα ἡμιχόριον, ἃ δ’ ἀντᾴδουσιν, ἀντιχόρια. The Schol. on Arist. Equit. 589 has a curious note to the effect that, when the chorus was divided into two halves of different sex or age, the older or stronger half was always slightly more numerous. In a comic chorus there would be 13 men to 11 women, 13 women to 11 boys, and so on.

[929] Soph. Ajax 866 ff.; Eur. Orest. 1258 ff.

[930] See Arnoldt, Die Chorpartieen bei Aristophanes, pp. 180 ff., where a list is given of the passages which are assigned to half-choruses by Rav. and Ven., e.g. Acharn. 1150, 1162, Nub. 563, 595. Vesp. 1060, 1091, Av. 737, 769, 1058, 1088, Eccles. 290, 301, Thesmoph. 659, Lysist. 321. [J. W. White, Harvard Stud, in Class. Phil. vol. xvii, assigns a more important part to the leader of the second semi-chorus in comedy than has usually been recognized, but the evidence is not conclusive.]

[931] Bergk’s notion (Griech. Lit. iii. p. 131) that in Arist. Poet. c. 12 (κοινὰ μὲν ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι) ἴδια = ‘sung by individuals or sections’ is clearly wrong. ἴδια = ‘not found in all plays’, and the word to be supplied with ἁπάντων is δραμάτων, not χορευτῶν.

[932] Athen. p. 628 E εἰ δέ τις ... ταῖς ᾠδαῖς ἐπιτυγχάνων μηδὲν λέγοι κατὰ τὴν ὄρχησιν, οὗτος δ’ ἦν ἀδόκιμος.

[933] Athen. p. 20 F.

[934] Plat. Legg. 816 A.

[935] Athen. p. 21 F ἄκρως ταῖς χερσὶ τὰ λεγόμενα δεικνυούσαις.

[936] Lucian, de Salt. 63 ταῖς χερσὶ λαλεῖν.

[937] Ovid, Ars Am. i. 595 ‘si vox est, canta; si mollia bracchia, salta’.

[938] Juv. v. 120 ‘structorem interea, ne qua indignatio desit, | saltantem spectes et chironomunta volanti | cultello’.

[939] Quint. Inst. xi. 3. 89 ‘abesse enim plurimum a saltatore debet orator, ut sit gestus ad sensus magis quam ad verba accommodatus’, &c.

[940] Arist. Poet. c. 1 καὶ γὰρ οὗτοι (οἱ ὀρχησταὶ) διὰ τῶν σχηματιζομένων ῥυθμῶν μιμοῦνται καὶ ἤθη καὶ πάθη καὶ πράξεις.

[941] Plut. Symp. 747 B fol. The three divisions of dancing are φοραί, σχήματα, δείξεις.

[942] Athen. p. 630 B πρώτη δὲ εὕρηται ἡ περὶ τοὺς πόδας κίνησις τῆς διὰ τῶν χειρῶν. οἱ γὰρ παλαιοὶ τοὺς πόδας μᾶλλον ἐγυμνάζοντο ἐν τοῖς ἀγῶσι.

[943] Athen. p. 22 A.

[944] Plut. Symp. 732 F σχήματα δ’ ὄρχησις τόσα μοι πόρεν ὅσσ’ ἐνὶ πόντῳ | κύματα ποιεῖται χείματι νὺξ ὀλοή.

[945] Arist. Vesp. 1474 ff.

[946] Athen. p. 21 E.

[947] Athen. p. 628 E ὥστ’ εἴ τις ὀρχοῖτ’ εὖ, θέαμ’ ἦν· νῦν δὲ δρῶσιν οὐδέν, | ἀλλ’ ὥσπερ ἀπόπληκτοι στάδην ἑστῶτες ὠρύονται.

[948] Aristoph. Acharn. 204 τῇδε πᾶς ἕπου, δίωκε, καὶ τὸν ἄνδρα πυνθάνου κ.τ.λ., Schol. ad loc. γέγραπται δὲ τὸ μέτρον τροχαϊκόν, πρόσφορον τῇ τῶν διωκόντων γερόντων σπουδῇ. ταῦτα δὲ ποιεῖν εἰώθασιν οἱ τῶν δραμάτων ποιηταὶ κωμικοὶ καὶ τραγικοί, ἐπειδὰν δρομαίως εἰσάγωσι τοὺς χορούς, ἵνα ὁ λόγος συντρέχῃ τῷ δράματι. Cp. Pax 301, 325, Plutus 257.

[949] Schol. Eur. Phoen. 202; Suidas s.v. στάσιμον, &c.

[950] On the use of ἔξοδος in this sense see the Tragic Drama of the Greeks, p. 352. The word was also applied to the whole of the concluding scene of a tragedy.

[951] Aesch. Eum. 307 ἄγε δὴ καὶ χορὸν ἅψωμεν. Eur. Herc. Fur. 761 πρὸς χοροὺς τραπώμεθα. Arist. Thesmoph. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα. Other passages of the same kind are not infrequent.

[952] Schol. Eur. Hec. 647 (p. 211 Dindf.).

[953] See above, p. 307, note 2.

[954] The liveliness of these dances, even in tragedy, is proved by such expressions as the following: Soph. Ajax 693 ἔφριξ’ ἔρωτι, περιχαρὴς δ’ ἀνεπτόμαν. Eur. Orest. 1353 ἰὼ ἰὼ φίλαι, κτύπον ἐγείρετε, κτύπον καὶ βοάν. El. 859 θὲς ἐς χορόν, ὦ φίλα, ἴχνος, | ὡς νεβρὸς οὐράνιον | πήδημα κουφίζουσα σὺν ἀγλαΐᾳ.

[955] Arist. Vesp. 1536 τοῦτο γὰρ οὐδείς πω πάρος δέδρακεν, | ὀρχούμενον ὅστις ἀπήλλαξεν χορὸν τρυγῳδῶν, Schol. ad loc. εἰσέρχεται γὰρ ὁ χορὸς ὀρχούμενος, οὐδαμῶς δὲ ἐξέρχεται. Eccles. 1179 αἴρεσθ’ ἄνω, ἰαί, εὐαί.

[956] Schol. Arist. Ran. 924 ἡ πρὸς τὰς ῥήσεις ὑπόρχησις.

[957] Schol. Arist. Nub. 1355 οὕτως ἔλεγον πρὸς χορὸν λέγειν, ὅτε τοῦ ὑποκριτοῦ διατιθεμένου τὴν ῥῆσιν ὁ χορὸς ὠρχεῖτο.

[958] Athen. p. 22 A Ἀριστοκλῆς γοῦν φησιν ὅτι Τελέστης, ὁ Αἰσχύλου ὀρχηστής, οὕτως ἦν τεχνίτης, ὥστε ἐν τῷ ὀρχεῖσθαι τοὺς Ἑπτὰ ἐπὶ Θήβας φανερὰ ποιῆσαι τὰ πράγματα δι’ ὀρχήσεως.

[959] Plat Legg. 816 A.

[960] Suid. s.v. ξιφισμός; Hesych. s.v. ξιφίζειν; Poll. iv. 105 καὶ μὴν τραγικῆς ὀρχήσεως σχήματα σιμὴ χείρ, καλαθίσκος, χεὶρ καταπρηνής, ξύλου παράληψις, διπλῆ, θερμαυστρίς, κυβίστησις, παραβῆναι τέτταρα.

[961] See above, p. 307, note 2.

[962] Aesch. Pers. 1038 ff.

[963] Schol. Arist. Nub. 542 κόρδαξ κωμική, ἥτις αἰσχρῶς κινεῖ τὴν ὀσφύν. Hesych. s.v. κόρδαξ; Plat. Legg. p. 816 A; Theoph. Char. 6.

[964] Arist. Nub. 540 οὐδὲ κόρδαχ’ εἵλκυσεν.

[965] Arist. Vesp. 1529 στρόβει, παράβαινε κύκλῳ καὶ γάστρισον σεαυτόν, | ῥῖπτε σκέλος οὐράνιον· βέμβικες ἐγγενέσθων. Thesm. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα.

[966] Poll. iv. 99, 103; Athen. p. 629 F-630 A; Dion. Hal. A. R. vii. 72; Phot. s.v. σκώπευμα.

[967] Plut. Symp. 713 C τὸ δὲ μέλος καὶ τὸν ῥυθμὸν ὥσπερ ὄψον ἐπὶ τῷ λόγῳ, καὶ μὴ καθ’ αὑτὰ προσφέρεσθαι.

[968] Pratinas apud Athen. p. 617 B τὰν ἀοιδὰν κατέστασε Πιερὶς βασίλειαν· ὁ δ’ αὐλὸς | ὕστερον χορευέτω· καὶ γάρ ἐσθ’ ὑπηρέτας.

[969] See, on the whole question, Monro’s Modes of Ancient Greek Music, Oxford, 1894, Macran’s Aristoxenus, 1902.

[970] Plut. Mus. 1136 D-F.

[971] Heracleid. ap. Athen., p. 625 B; Aesch. Suppl. 69 Ἰαονίοισι νόμοισι.

[972] Vit. Soph., p. 8 Dindf.

[973] Aristot. Prob. xix. 30, 48.

[974] Arist. Ran. 1286 ff.; Hesych. s.v. διαύλιον· ὁπόταν ἐν τοῖς μέλεσι μεταξὺ παραβάλλῃ μέλος τι ὁ ποιητὴς παρασιωπήσαντος τοῦ χοροῦ.

[975] Suid. s.v. Τιμόθεος. Plut. Mus. 1135 D.

[976] Suid. l.c. τὴν ἀρχαίαν μουσικὴν ἐπὶ τὸ μαλακώτερον μετήγαγεν.

[977] Pherecrat. Cheiron. frag. 145 (Kock) ᾄδων ἐκτραπέλους μυρμηκίας.

[978] Arist. Ran. 1301 ff., Thesm. 100 μύρμηκος ἀτραπούς, ἢ τί διαμινύρεται; Schol. ad loc. ὡς λεπτὰ καὶ ἀγκύλα ἀνακρουομένου μέλη τοῦ Ἀγάθωνος· τοιαῦται γὰρ αἱ τῶν μυρμήκων ὁδοί.

[979] Plut. An seni etc. 795 C.

[980] Dem. de Cor. § 28.

[981] Dem. Meid. § 74.

[982] Theophrast. Char. 9 καὶ ξένοις δὲ αὑτοῦ θέαν ἀγοράσας μὴ δοὺς τὸ μέρος θεωρεῖν.

[983] E.g. Böttiger, Kleine Schriften, i. pp. 295 ff.; Wachsmuth, Hellen. Alterthumskunde, ii. p. 391; Bergk, Griech. Literaturgesch. iii. p. 49.

[984] E.g. Bernhardy, Griech. Literaturgesch. ii. 2. p. 132; Böckh, Trag. Princip. p. 37; Meineke, Menand. et Philem. Reliq. p. 345.

[985] Plat. Gorg. 502 B-E, Legg. 817 A-C, 658 A-D.

[986] Aristoph. Nub. 537-9, Pax 765, 766, 962-7. Cp. also Eupolis, Προσπάλτιοι, fr. 244 (Kock) Ἡράκλεις, τοῦτ’ ἔστι σοι | τὸ σκῶμμ’ ἀσελγὲς καὶ Μεγαρικὸν καὶ σφόδρα | ψυχρόν. γελῶσιν, ὡς ὁρᾷς, τὰ παιδία. Arist. Pax 50-3 ἐγὼ δὲ τὸν λόγον γε τοῖσι παιδίοις | καὶ τοῖσιν ἀνδρίοισι καὶ τοῖς ἀνδράσι | καὶ τοῖς ὑπερτάτοισιν ἀνδράσιν φράσω | καὶ τοῖς ὑπερηνορέουσιν. [Rogers, Introd. to the Ecclesiazusae, takes this passage, in which women are not mentioned, to prove that they were not present. But the point of the jest is in the enumeration of men in an ascending scale of manliness, and to mention women, even if they were present, would have spoiled it. The other passages which he quotes, Eccles. 165 ff., 435 ff., 1144 ff., and the situation in the Thesmoph., are satisfied if we suppose a large preponderance of men; but they do not require us to assume the exclusion of women.]

[987] Alciphron, Epist. ii. 3. [Rogers, l.c. quotes a sentence of Glycera’s supposed reply, where she speaks of herself as standing in the wings and watching the performance, to prove that ὁρώσης καὶ καθημένης ἐν τῷ θεάτρῳ does not imply that women were in the audience. But καθημένης ἐν τῷ θεάτρῳ naturally and almost technically means this; and the two passages need not be taken to refer to the same point in Glycera’s supposed proceedings.]

[988] Lucian, Anachar. 22.

[989] Aristoph. Ran. 1050, 1051.

[990] Athen. p. 534 C.

[991] Theophrast. Char. 9 and 13.

[992] Schol. Aristoph. Eccles. 22.

[993] Vit. Aeschyli, p. 4 Dindf.

[994] C. I. A. iii. 282, 313, 315, 316, 321, 322, 324, 325, 333, 342, 343, 345, 350, 351, 354, 361, &c.

[995] Aristoph. Achar. 241-6; Menand. fr. 558 (Kock).

[996] E.g. Müller, Die griech. Bühnenalterthümer, p. 291.

[997] Aristoph. Av. 793-6 εἴ τε μοιχεύων τις ὑμῶν ἐστιν ὅστις τυγχάνει, | κᾆθ’ ὁρᾷ τὸν ἄνδρα τῆς γυναικὸς ἐν βουλευτικῷ, | οὗτος ἂν πάλιν παρ’ ὑμῶν πτερυγίσας ἀνέπτατο, | εἶτα βινήσας ἐκεῖθεν αὖθις αὖ καθέζετο. Thesm. 395-7 ὥστ’ εὐθὺς εἰσιόντες ἀπὸ τῶν ἰκρίων | ὑποβλέπουσ’ ἡμᾶς, σκοποῦνταί τ’ εὐθέως | μὴ μοιχὸς ἔνδον ᾖ τις ἀποκεκρυμμένος.

[998] Aristot. Pol. vii. 17 ἐπιμελὲς μὲν οὖν ἔστω τοῖς ἄρχουσι μηθὲν μήτε ἄγαλμα μήτε γραφὴν εἶναι τοιούτων πράξεων μίμησιν, εἰ μὴ παρά τισι θεοῖς τοιούτοις οἷς καὶ τὸν τωθασμὸν ἀποδίδωσιν ὁ νόμος· πρὸς δὲ τούτοις ἀφίησιν ὁ νόμος τοὺς ἔχοντας ἡλικίαν πλέον προσήκουσαν καὶ ὑπὲρ αὑτῶν καὶ τέκνων καὶ γυναικῶν τιμαλφεῖν τοὺς θεούς. τοὺς δὲ νεωτέρους οὔτ’ ἰάμβων οὔτε κωμῳδίας θεατὰς νομοθετητέον.

[999] [Navarre, Utrum mulieres Athenienses scenicos ludos spectaverint, 1900, discusses the evidence in detail, and comes to the same conclusions as those which are stated in the text.]

[1000] Plat. Gorg. 502 D.

[1001] Theophrast. Char. 9.

[1002] Schol. Lucian, Tim. 49; Suidas s.v. θεωρικόν.

[1003] Dem. de Cor. § 28 ἀλλ’ ἐν τοῖν δυοῖν ὀβολοῖν ἐθεώρουν ἄν. This passage shows that there cannot have been any alternative between the reserved seats for distinguished persons and the ordinary two-obol seats. Two obols is also the sum mentioned by Phot., Suid., and Etym. Mag. s. vv. θεωρικόν; Etym. Mag. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Schol. Aristoph. Vesp. 1184. The entrance fee is given as one obol by Ulpian on Dem. Olynth. i. § 1; and as three obols by Schol. Dem. de Cor. § 28. But both are no doubt mistaken. It is given as a drachma by Schol. Lucian, Tim. 49; Phot. and Suid. s. vv. θεωρικά; Philochorus apud Harp. s.v. θεωρικά. But the drachma probably denotes the aggregate fees for successive days at one festival. Plat. Apol. 26 D has most likely no reference to the theatre. See Appendix C.

[1004] Plut. Pericl. 157 A; Ulpian on Dem. Olynth. i. § 1.

[1005] Ath. Pol. c. 28 (see Kenyon’s and Sandys’s notes).

[1006] Dem. de Contrib. § 169; Phot., Suid., Etym. Mag. s. vv. θεωρικόν; Etym. Mag. s.v. θεωρικά; Liban. and Ulpian, ll. cc. It was called διωβολία (Aristot. Pol. ii. 7) or διωβελία (Ath. Pol. c. 28; Bekk. Anecd. 237, 15).

[1007] Four are mentioned in [Dem.] Prooem. 53; six in Schol. Lucian, Tim. 49; Lucian, Encom. Dem. 36; Suid. δραχμὴ χαλαζῶσα; Suid., Harp., and Phot. θεωρικά.

[1008] Dem. in Leoch. § 37.

[1009] Hyperid. in Dem. col. xxiv.

[1010] Harp. s.v. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Ammonius, de diff. vocab., s.v. θεωρός; Dem. Olynth. i. § 19, de Cor. § 118, Philipp. iv. § 38.

[1011] For a full account of these theatre-tickets see Benndorf, Zeitschrift für die österreichischen Gymnasien, 1875, pp. 579-95.

[1012] The illustration is taken from Baumeister, Denkmäler, no. 1833.

[1013] It is taken from Baumeister, no. 1835.

[1014] C. I. G. 5369; Tac. Ann. ii. 83.

[1015] Svoronos, περὶ τῶν Εἰσιτηρίων τῶν ἀρχαίων, in Journal International d’Archéologie Numismatique, 1898, vol. i, pt. 1, pp. 37-120. The illustration in the text (Fig. 34) is taken from this article.

[1016] The lessee was generally called ἀρχιτέκτων (Dem. de Cor. § 28), because part of his contract was to look after the buildings of the theatre. He was also called θεατροπώλης (Poll. vii. 199), from the fact of his selling seats; and θεατρώνης (Theophrast. Char. 11), from the fact of his having taken the theatre on lease. The nature of the arrangement with the lessee may be gathered from (1) C. I. A. ii. 573, in which the lessees of the theatre at the Peiraeeus engage to keep the fabric in good repair; (2) Dem. de Cor. § 28 ἢ θέαν μὴ κατανεῖμαι τὸν ἀρχιτέκτονα αὐτοῖς κελεῦσαι; (3) Ulpian on Dem. Olynth. i. § 1 ὥστε λαμβάνειν ... δύο ὀβολούς, ἵνα ... τὸν δ’ ἄλλον παρέχειν ἔχωσι τῷ ἀρχιτέκτονι τοῦ θεάτρου.

[1017] Theophrast. Char. 30.

[1018] Schol. Aristoph. Equit. 572. Pollux, iv. 121, states rather doubtfully that the προεδρία in the theatre might also be called πρῶτον ξύλον. If the expression was really used, it must have dated from the time when the theatre was still a wooden one.

[1019] C. I. A. iii. 240-384.

[1020] C. I. A. ii. 589 shows that in the Peiraeeus the demarch used to conduct the persons honoured with proedria to the theatre. A similar practice was no doubt observed at Athens.

[1021] C. I. A. ii. 589 καὶ εἰσαγέτω αὐτὸν ὁ δήμαρχος εἰς τὸ θέατρον καθάπερ ἱερεῖς καὶ τοὺς ἄλλους οἷς δέδοται ἡ προεδρία παρὰ Πειραιέων. Cp. also Hesych. s.v. νεμήσεις θέας· Ἀθηναῖοι τὰς ἐν τῷ θεάτρῳ καθέδρας, ψηφίσματι νενεμημένας προεδρίας ἱερεῦσιν.

[1022] C. I. A. iii. 240-384. Dörpfeld, Griech. Theater, p. 47.

[1023] The thrones of seven of the archons are still preserved (C. I. A. iii. 254-60). Those of two of the Thesmothetae are missing, but no doubt stood in the front row with the others.

[1024] Aristoph. Equit. 573-6; Theophrast. Char. 5.

[1025] Aeschin. Fals. Leg. § 111, Ctesiph. § 76; Dem. de Cor. § 28; C. I. A. ii. 164; Cic. de Senect. § 63; Val. Max. iii. 5.

[1026] See above, p. 33.

[1027] Aeschin. Ctesiph. § 154; Plut. X Orat., psephisms I and II, p. 851 A-F.

[1028] Schol. Aristoph. Av. 795; Poll. iv. 122 βουλευτικὸν μέρος τοῦ θεάτρου καὶ ἐφηβικόν.

[1029] Schol. Aristoph. Eccles. 22.

[1030] Aristoph. Pax 962-6 ΤΡ. καὶ τοῖς θεαταῖς ῥῖπτε τῶν κριθῶν. ΟΙ. ἰδού. | ΤΡ. ἔδωκας ἤδη; ΟΙ. νὴ τὸν Ἑρμῆν, ὥστε γε | ... οὐκ ἔστιν οὐδεὶς ὅστις οὐ κριθὴν ἔχει. | ΤΡ. οὐχ αἱ γυναῖκές γ’ ἔλαβον. Alexis, Γυναικοκρατία, fr. 1 (Meineke, Frag. Com. Gr. iii. p. 402) ἐνταῦθα περὶ τὴν ἐσχάτην δεῖ κερκίδα | ὑμᾶς καθιζούσας θεωρεῖν ὡς ξένας [this must mean that foreigners were in one of the extreme _side_ kerkides (see p. 98), not at the _back_ of the theatre].

[1031] [Willems, Le Nu dans la Comédie Ancienne, 1901, places the Council in the central block, the foreigners at one side of the auditorium, the Ephebi on the other, while the tribes occupied the other ten. A clay theatre ticket found at Megalopolis proves that blocks were assigned to special tribes in that theatre (Castrioles, Ἐφημ. Διέθνης τῆς Νομισμ. Ἀρχαιολ. 1900, p. 55). See also Svoronos, quoted p. 333 n.]

[1032] In the central block, on the third step, was a statue of Hadrian, of which the base is still preserved, erected in 112 A.D. by the Areopagus, the Council of Six Hundred, and the people of Athens (C. I. A. ii. 464). Besides this, the bases of three other statues of Hadrian, erected by different tribes, are still in existence. They are all on the second step. The first, erected by the tribe Erectheis, is in the first block from the eastern end; the second, erected by the tribe Acamantis, is in the sixth block from the eastern end; the third, erected by the tribe Oeneis, is in the sixth block from the western end (C. I. A. iii. 466-8). Thus the place of each statue in the series of blocks corresponded exactly with the place of the tribe in the official list of tribes. It is therefore a highly plausible conjecture that, in addition to the statue of Hadrian in the central block, there were twelve other statues erected by the twelve tribes in the remaining blocks; and that each tribe had a special block appropriated to itself. See Benndorf, Beiträge zur Kenntniss des att. Theaters, pp. 4 ff.

[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.

[1052] See above, p. 100.

[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.]

GREEK INDEX

Α

ἀγκυρίς, 209, 210.

ἀγορά, 377.

ἀγῶνες Χύτρινοι, 31.

αἰγείρου θέα, 83.

αἰῶραι, 209.

αἰώρημα, 209.

ἀναβάδην, 204.

ἀναβαθμοί, 217.

ἀναβαίνειν, 109, 148, 166, 167.

ἀναδιδάσκειν, 71.

ἀνάπαιστοι, 269, 270, 295.

ἀναπίεσμα, 217.

ἀναπλάσματα, 259.

ἀνδρῶν χορός, 9, 10.

Ἀνθεστήρια, 372.

ἀντεπίρρημα, 269.

ἀντιχόρια, 309.

ἀπαγγέλλειν, 68.

ἀπ’ αἰγείρου θέα, 83.

ἀπὸ μηχανῆς, 215.

ἀποκρίνεσθαι, 222, 227.

ἀποκριτής, 227.

ἀπολαχεῖν, 32.

ἀριστεροστάτης, 300.

ἅρπαξ, 209.

ἀρχιτέκτων, 334, 379.

ᾆσμα, 56.

αὖθις, 344.

αὐλαία, 219.

αὐληταὶ ἄνδρες, 9.

αὐλητής, 271.

αὐλητῶν χοροί, 9.

ἁψίς, 112, 194.

Β

βαθμοί, 379.

βαρύστονος, 275.

βῆμα, 88, 107, 142.

βομβῶν, 275.

βουλευτικόν, 328, 337.

βροντεῖον, 218.

βωμός, 80, 107, 108, 200.

βωμὸς Διονύσου, 142.

Γ

γέρανος, 210.

γεραραί, 375.

γλεῦκος, 371, 372.

γραμμαί, 107.

γραμματεῖον, 33, 34.

γραφαί, 200.

Δ

δεικηλίκτας, 282.

δείξεις, 313.

δεξιοστάτης, 300.

δευτεραγωνιστής, 234.

δευτεροστάτης, 300.

διαζώματα, 98, 381.

διασκευή, 71.

διαύλιον, 321.

διδασκαλεῖον, 60.

διδασκαλία, 13, 61.

διδασκαλία ἀστική, 7, 13.

διδασκαλία Ληναϊκή, 13.

διδασκαλία τραγική, 13.

Διδασκαλίαι, 13, 47, 48, 351.

διδασκαλίαν καθιέναι, 13, 32.

διδάσκαλος, 56, 61, 62.

διδάσκειν τραγῳδίαν, 25.

διθύραμβος, 10, 222.

δίοδος, 98, 380, 381.

Διονύσια, 6, 9, 378.

Διονύσια ἀρχαιότερα, 368-70, 374.

Διονύσια τὰ ἀστικά, 7.

Διονύσια τὰ ἐν ἄστει, 7, 9.

Διονύσια τὰ ἐπὶ Ληναίῳ, 6, 372.

Διονύσια τὰ ἐπιλήναια, 6, 370, 372.

Διονύσια τὰ κατ’ ἀγρούς, 5, 29, 288.

Διονύσια τὰ κατὰ κώμας, 29.

Διονύσια τὰ κατὰ πόλεις, 29.

Διονύσια τὰ μεγάλα, 7.

Διονυσιακοὶ ἀγῶνες, 377.

Διονυσιακοὶ τεχνῖται, 278.

Διονυσιακὸν θέατρον, 87, 377.

Διόνυσος Ἐλευθερεύς, 6, 7, 371.

Διόνυσος Λήναιος, 24, 372, 373, 377.

Διόνυσος Λιμναῖος, 372, 373.

Διόνυσος ὁ ἐν Λίμναις, 371.

διπλῆ, 317.

διστεγία, 186.

διχορία, 309.

διωβελία, 331.

Ε

ἐγκύκληθρον, 201.

ἐγκύκλημα, 201, 202, 205.

εἰς ἄστυ καθιέναι, 7.

εἰς ἄστυ καταλέγεσθαι, 31.

εἰσκυκλεῖν, 204.

εἰσκύκλημα, 201.

εἴσοδος, 112.

ἐκβάλλειν, 344.

ἐκκλησία ἐν Διονύσου, 7.

ἐκκυκλεῖν, 201, 204, 205, 211.

ἐκκύκλημα, 201, 211.

ἐκπίπτειν, 344.

ἔκσκευα πρόσωπα, 246.

ἐλεός, 80, 167, 222.

Ἐλευθερεύς, 7.

ἐμβάς, 266.

ἐμβάτης, 248.

ἐν ἀγροῖς, 29, 378.

ἐν ἄστει διδάσκειν, 7, 13.

ἐν τοῖν δυοῖν ὀβολοῖν, 330.

ἐξάρχειν, 222.

ἔξοδος, 270, 271, 315.

ἐξώστρα, 309, 379.

ἐπαναβαίνειν, 167.

ἐπεισκυκλεῖν, 211.

ἐπὶ Ληναίῳ, 24, 25, 372, 377, 378.

ἐπιθέατρον, 98, 380, 381.

ἐπιλήναια Διονύσια, 6, 370, 372.

ἐπιμεληταί, 343.

ἐπιμεληταὶ τῆς πομπῆς, 49.

ἐπιμεληταὶ τῶν μυστηρίων, 49.

ἐπιπάροδος, 305.

ἐπίρρημα, 269.

ἐπιστάται Ἐλευσινόθεν, 6, 370, 377.

εὐημερεῖν, 43, 228.

Εὔνους, 261.

εὐφωνία, 273.

ἐφαπτίς, 252.

ἐφηβικόν, 337.

ἐώρημα, 209.

Ζ

ζυγόν, 299, 301.

ζῶναι, 98.

ζωστῆρες, 209.

Η

ἡγεμών, 301.

ἡγεμὼν κορυφαῖος, 301.

ἡμικύκλιον, 101, 218.

ἡμιστρόφιον, 218.

ἡμιχόριον, 304, 307, 309.

Θ

θέα, 324, 341.

θέα παρ’ αἰγείρῳ, 81, 83.

θεᾶσθαι, 9.

θεατής, 102, 348.

θεατρίζειν, 107, 142.

θέατρον, 81, 83, 87, 326, 348, 371, 374, 377.

θεατροπώλης, 334.

θεατρώνης, 334.

θεολογεῖον, 126, 213.

θεὸς ἀπὸ μηχανῆς, 211, 215, 216.

θερμαυστρίς, 317.

θεωρικόν, 331.

θίασος, 278.

θυμέλη, 80, 107, 108, 109, 142.

θυμελικοί, 146, 172.

Ι

ἰαμβεῖον, 267, 269.

ἰαμβύκη, 269.

Ἰαόνιοι νόμοι, 321.

ἴδια ᾄσματα, 310.

ἴκρια, 81, 83, 87, 328, 377.

ἱματιομίσθαι, 64.

ἱματιομισθωταί, 64.

ἱμάτιον, 250, 295.

Κ

καθάρσιον, 68.

καθέζεσθαι, 32.

καθιέναι, 228.

καθίζειν, 32.

καινὸς ἀγών, 30.

καλαθίσκος, 317.

καλαμίτης ἥρως, 377.

κατὰ ζυγά, 299.

κατὰ στοίχους, 102, 299.

καταβαίνειν, 166.

καταβλήματα, 185, 186, 198.

καταλέγειν, 269.

καταληπτήρ, 380, 381.

καταλογή, 269.

κατατομή, 90.

κέραμος, 186.

κεραυνοσκοπεῖον, 218.

κερκίς, 98, 337.

κίνησις, 278, 314.

κλεψίαμβος, 269.

κλῖμαξ, 129, 148, 379, 381.

κλιμακτῆρες, 380, 381.

κόθορνος, 248.

κόλπωμα, 252.

κόμμος, 268.

κονίστρα, 101, 142.

κόρδαξ, 318.

κορυφαῖος, 300, 301.

κράδη, 210.

κρασπεδίτης, 300.

κρηπίς, 248.

κριτὴν ἐμβάλλειν, 32.

κριτής, 31, 32, 33, 34, 36.

κροῦσις, 269.

κυβίστησις, 317.

κύκλιος χορός, 10.

κῶμος, 9, 20, 352.

κωμῳδοί, 9, 20, 25, 108, 275.

Λ

λαρυγγίζειν, 275.

λαυροστάτης, 170, 300.

ληκυθίζειν, 275.

λῆναι, 24, 376.

Λήναια, 24, 372.

Ληναϊκὸν θέατρον, 83.

Λήναιον, 24, 368 ff.

ληνός, 24, 369, 373, 376.

Λίμναι, 24, 368 ff.

λογεῖον, 102, 107, 112, 118, 123, 126, 146, 148, 149, 379, 380.

Μ

μεγαλοφωνία, 273.

μετασκευάζεσθαι, 288.

μετάστασις, 305.

μηχανή, 197, 199, 209, 211, 212, 215, 216.

μηχανοποιός, 209.

μῖμοι, 107, 142.

μισθός, 39.

μονῳδία, 268.

μυρμηκία, 321.

μύρμηκος ἀτραπός, 321.

Ν

νέμειν, 51, 58.

νεμήσεις θέας, 2, 335.

νεμήσεις ὑποκριτῶν, 58.

Νῖκαι τραγικαὶ καὶ κωμικαί, 362.

νικᾶν, 40.

νικᾶν τὰ Λήναια, 364.

νικᾶν τραγῳδίᾳ, 26.

νίκη ἀστική, 7.

Ξ

ξιφίζειν, 317.

ξιφισμός, 317.

ξύλου παράληψις, 317.

Ο

ὄγκος, 244.

ὀκρίβας, 68, 118, 248.

ὁλκοί, 379, 381.

Ὄμβρικος, 261.

ὀρθοστάτης, 380, 381.

ὄρχησις, 311, 312, 314.

ὀρχηστής, 313.

ὀρχήστρα, 82, 90, 101, 102, 107, 142, 148, 166, 377.

Ὀφέλανδρος, 261.

Π

παίδων χορός, 9, 10.

παλαιὸν δρᾶμα, 19, 22.

Παναθήναια, 12.

παρ’ αἰγείρου θέα, 81, 83.

παραβαίνειν, 149, 305.

παράβασις, 149, 270, 305.

παραβῆναι τέτταρα, 317.

παραδιδάσκειν, 19, 22.

παρακαταλογή, 268, 270.

παραλογίζεσθαι, 269.

παραπέτασμα, 118, 185, 186, 219.

παρασκήνια, 117, 127, 139, 142, 191, 379.

παρασκήνια τὰ ἄνω, 139, 379-81.

παρασκήνια τὰ κάτω, 139, 379-81.

παρασκήνιον, 235, 380.

παραστάτης, 301.

παραχορήγημα, 234, 235, 301.

παρεπιγραφή, 206.

πάροδος, 112, 149, 194, 209, 288, 302, 306.

πεπλασμένως, 275.

περίακτοι, 185, 191, 197, 218.

περιβομβῶν, 275.

περιοικοδομία, 379, 381.

πίναξ, 45, 118, 123, 126, 186, 379, 380.

ποικίλον, 250.

πομπή, 9, 49.

προάγων, 67, 68.

προγαστρίδια, 259.

προεδρία, 335.

πρόλογος, 224.

πρὸς τὰς ῥήσεις ὑπόρχησις, 317.

πρὸς χορὸν λέγειν, 269, 317.

προσκήνιον, 118, 127, 129, 172, 186, 219, 379-81.

προσωπεῖον, 262.

πρωταγωνιστεῖν, 227.

πρωταγωνιστής, 223.

πρῶτον ξύλον, 335.

πρωτοστάτης, 301.

πτερνοκοπεῖν, 344.

πυρριχισταί, 10.

Ρ

ῥαβδοῦχοι, 343.

ῥαβδοφόροι, 343.

ῥῆσις, 224, 317.

Σ

σατυρικόν, 12.

σάτυροι, 289.

σαυτὴν ἐπαινεῖς, 176, 228.

σίγμα, 90, 101.

σιμὴ χείρ, 317.

σκευή, 259.

σκηναὶ αἱ ἐπάνω, 112, 126, 379-81.

σκηνή, 108, 112, 141, 142, 148, 149, 166, 186, 199, 268, 379-81.

σκηνὴ ἡ μέση, 112, 379-81.

σκηνικὰ πρόσωπα, 288.

σκηνικοί, 146, 172.

σκηνογραφία, 112, 181.

σκώπευμα, 318.

στάσιμον, 306, 315.

στοῖχος, 149, 299, 301.

στροφεῖον, 218.

στροφή, 305.

σύκινος κλάδος, 210.

σχήματα, 313.

σωμάτιον, 249, 259.

Τ

τὰ ἀπὸ τῆς ὀρχήστρας, 149.

τὰ ἀπὸ τῆς σκηνῆς, 149, 165, 166, 268.

τὰ ἐκ τῶν ἁμαξῶν σκώμματα, 25.

ταινία ξυλίνη, 44.

ταινίαι, 209.

τάφοι, 200.

τετραλογία, 12, 13, 17.

τετράμετρον, 269.

τεχνίτης, 227, 278, 317.

τὸ ἐπὶ τῆς σκηνῆς, 165, 166.

τράγος, 294.

τραγῳδοί, 9, 20, 25, 108, 275.

τραγῳδῶν χοροί, 24.

τράπεζα, 80, 222.

τριλογία, 13.

τρίμετρα, 269.

τρίπους, 10.

τρίτος ἀριστεροῦ, 301.

τριτοστάτης, 300, 301.

τροχός, 209.

τρυγῳδία, 372.

τρυγῳδοί, 310.

Υ

ὑδρίαι, 32.

ὑποδιδάσκαλος, 62.

ὑποκόλπιον, 300.

ὑποκρίνεσθαι, 227, 228.

ὑποκριτής, 58, 148, 165, 223, 224, 227, 229, 274, 284.

ὑπόρχημα, 307.

ὑπόρχησις, 317.

ὑποσκήνιον, 123, 148.

ὑφάσματα, 186, 198.

Φ

φαλλικά, 222.

φαλλός, 259.

φαρυγγίζειν, 275.

φαρυγγίνδην, 61.

φοινικίδες, 342.

φοραί, 313.

Χ

Χαρώνιοι κλίμακες, 217.

χεὶρ καταπρηνής, 317.

χειρίδες, 250.

χερσὶ λαλεῖν, 312.

χιτών, 250.

χιτὼν ἀμφίμαλλος, 256.

χιτὼν μαλλωτός, 256.

χιτὼν χορταῖος, 256.

Χόες, 370, 372.

χοραγός, 301.

χορευτής, 61, 80, 299.

χορηγεῖν, 55, 56, 63.

χορηγεῖν κωμῳδοῖς, 44, 288.

χορηγεῖν παισί, 90.

χορηγεῖν τῇ φυλῇ, 10.

χορηγεῖν τραγῳδοῖς, 10.

χορηγεῖον, 60.

χορηγία, 37.

χορηγός, 10, 32, 56, 63, 64, 66, 301.

χορικὰ μέλη, 287.

χοροκτόνος, 54.

χορολέκτης, 60, 301.

χορὸν αἰτεῖν, 50.

χορὸν διδόναι, 20, 50.

χορὸν εἰσάγειν, 69.

χοροποιός, 301.

χοροστάτης, 301.

χοροῦ τυγχάνειν, 50.

Χύτροι, 12, 31, 371.

Ψ

ψαλίς, 112.

ψιλεύς, 300.

Ω

ᾠδεῖον, 67, 68, 87, 177.

GENERAL INDEX

A

Acoustics, attention paid to, 174.

Acrae, theatre at, 93.

Acting, importance of the voice in, 272 ff.
Musical training necessary for, 274.
Style of enunciation used in, 275.
Gestures used in, 276.

Actors, contests between, 40 ff.
Importance of protagonists, 42.
Reproduction of old plays by, 43 f.
Originally chosen by the poets, afterwards by the state, 57 ff.,
229, 230.
How assigned to the poets, 58.
Paid by the state, 64.
Tamper with the text of old plays, 74.
The first actor introduced by Thespis, 80.
Enter and depart by orchestra, 168, 169, 192 f.
Meaning of the term actor, 221.
Gradual introduction of, 222 ff.
Number of actors in tragedy, comedy, and satyric drama, 223.
Effect of small number of, 225.
The Greek names for an actor, 226 f.
Rise of the actor’s profession, 227.
Increase in the proportion of, 228, 229.
Distribution of parts among, 230 ff.
Changes of costume by, 232.
Costume of tragic actors, 237 ff.;
of satyric actors, 255 ff.;
of comic actors, 257 ff.
Importance of the voice in, 272 ff.
Musical training of, 274.
Style of Greek acting, 275 ff.
The Actors’ Guild, 278 ff.
Privileges of, 278.
Social position of, 281.
Salaries of, 281.
General character of, 282.
Celebrated Athenian actors, 282 ff.
Comic, lists of, 365.

Aegis, the, worn by Athene, 251.

Aeschines, acted Oenomaus, 29.
Hired by Socrates and Simylus, 30.
As tritagonist, 33.
His accident at Collytus, 249.
Taunted by Demosthenes, 281.

Aeschylus, his first appearance as a dramatist, 11, 83.
His Oedipodeia, 11, 15.
His Oresteia, 12, 14, 15.
Trilogies and tetralogies of, 13 ff.
His Lycurgeia, 15, 17.
His Promethean trilogy, 15.
Number of his victories, 34.
Records concerning his Oresteia, 48.
Exhibits at an early age, 50.
Actors of, 57.
Trains his choruses, 61.
Reproduction of his plays after his death, 73, 76.
Text of his plays, 74, 76.
Not popular in later times, 76.
His stage, 150.
His statue in the theatre, 176.
Scenery in his plays, 180.
Said to have invented scene-painting, 181.
Invents stage decorations, 199.
Introduces a second actor, 223.
Ceases to act in person, 227.
His improvements in the tragic costume, 238, 240, 242, 248.
His choruses, 285 ff., 289 ff.
Designs the dress of the Furies, 291.
Improves the tragic dance, 314.
His Eumenides, 327.
Nearly killed for impiety, 346.

Agathon, his first victory, 28, 70.
His treatment of the chorus, 286.
Adopts the new style of music, 321.

Agonothetes, the, 54, 55.

Agyrrhius, commissioner of the treasury, 40.

Aixone, comedies at, 30.

Alcamenes, 131.

Alcibiades, admired for his beauty, 9, 327.
Corrupts the judges, 35.
Assaults Taureas, 66, 343.

Alexander the Great, wishes to make a stage of bronze, 174.

Altar, in the orchestra, 107.
On the stage, 200.

Ambassadors, provided with front seats, 324, 336.

Anapaests, given in recitative, 269.
Sometimes delivered by the coryphaeus, 308.

Anapiesma, the, 217.

Anaxandrides, never revises his comedies, 71.

Andronicus, victorious in the Epigoni, 43.

Anthesteria, the, distinct from the Lenaea, 6, 369 ff.
Where celebrated, 368 ff.
Dramatic performances at, 31, 44.

Anti-choregi, 66.

Antisthenes, his success as choregus, 37, 62.

Apaturius, 127.

Aphareus, engages in eight contests, 19.
Exhibits at the Lenaea, 26.
Entrusts his plays to others, 52.
Rhetorician as well as poet, 62.

Apollonius, disregards tetralogies, 13.

Applause, mode of expressing, 344.

Araros, son of Aristophanes, 51.

Archilochus, invents recitative, 268.

Archinus, commissioner of the treasury, 40.

Archons, the, manage the festivals, 49.
Their seats in the theatre, 336.

Arguments, of plays, 48, 349.

Aristarchus, disregards tetralogies, 13.

Aristerostatae, 300.

Aristias, competes with Aeschylus, 12.

Aristodemus, the actor, 278, 281, 283.

Aristophanes, the grammarian, 13.
His Arguments, 47.

Aristophanes, the poet, competes at the City Dionysia, 21, 28;
at the Lenaea, 25, 27, 28.
Story about his Clouds, 38.
Third in a certain contest, 40.
Exhibits at an early age, 51.
Entrusts his plays to others, 51, 52.
His Ecclesiazusae, 69.
His Frogs much admired, 71.
Scenery in his plays, 183, 196.
Parodies the ekkyklema, 204.
Parodies the mechane, 212.
Discards the phallus, 259.
His choruses, 287.
Discards the kordax, 318.
Honoured with a chaplet from the sacred olive, 346.

Aristotle, his remark on the stories of plays, 30.
His Didascaliae, 47.
Censures extravagance in choregi, 64.
His opinion concerning the deus ex machina, 216.
His definition of acting, 273.
His opinion about actors, 282.
His definition of dancing, 313.
His remarks about the admission of boys to comedies, 329.
His description of Attic audiences, 348.

Arsis, 311.

Artists of Dionysus, 278.

Asia Minor, theatres in, 133 ff., 148, 163.

Aspendos, theatre at, passages in, 97.
Back-wall at, 127, 134.
Roof in, 135.

Assembly, the, meetings of, in the theatre, 70, 178.

Assos, theatre at, 94, 159.
Orchestra in, 106.
Gates, 110.
Date of proscenium, 130.

Assteas, his vase-painting, 127.

Astydamas, his victories at the Lenaea, 26.
Statue of, 87.
Conceit of, 176.

Astydamas, protagonist, 42.

Athenodorus, the actor, 230, 281, 283, 284.

Audience, the, representative character of, 4.
Enthusiasm for the drama, 4, 346.
Overrules the judges, 37, 344.
Closely packed, 97, 99.
Number of, 100.
At the Lenaea, 324.
At the City Dionysia, 324.
Includes women, boys, and slaves, 324 ff.
Distribution of seats among, 334 ff.
Price of admission, 331, 334.
Tickets of admission, 332.
The proedria, 332.
Occupants of the front rows, 335 ff.
Comfort of, 100, 342.
Their mode of expressing pleasure and disapproval, 344.
Characteristics of, 344.
Their orthodoxy, 345.
Their intelligence and taste, 347.
Preservation of order among, 343.

Auditorium, the, originally of wood, 81, 84.
In the theatre at Athens, 90 ff.
Shape of, 92.
Interior of, 93 ff.
Passages in, 97 ff.
Size of, 99, 100.
Later history of, 100.
Puchstein’s theory of, 131, 132.

Awnings, 95, 100.
Not generally used in Greek theatres, 176, 342.

B

Back-wall, the, 126, 127.
In theatres of the Roman period, 133.
Doors in, 134, 154.

Balconies, on the stage, 187.