Professional Documents
Culture Documents
2008
IVIicrosoft
Corporation
http://www.archive.org/details/3rdattictheatred00haiguoft
(iy
^-oi
THE
ATTIC THEATRE
A DESCRIPTION OF THE STAGE AND THEATRE
OF THE ATHENIANS; AND OF THE DRAMATIC
PERFORMANCES AT ATHENS
BY
A. E.
HAIGH
THIRD EDITION
REVISED AND IN PART RE-WRITTEN
BY
A.
W. PICKARD-CAMBRIDGE,
M.A.
WITH ILLUSTRATIONS
OXFORD
AT THE CLARENDON PRESS
M CM VII
in Great
Br pain
i
in other
it is
this particular
is difficult
in
to
the national
management are
light
life,
the
various
most
details
connected with
its
because of the
which they throw upon the habits, feelings, and tastes of
incidentally
instructive,
It is
PREFACE
iv
to
merely given
my own
be sufficient in the
have been principally
It will
is
Albert
is
M Oiler's
treated as a
Lehrbuch
der
PREFACE
Das
Schneider's
is
especially valuable.
have
Thcaterwesen (Weimar,
AttiscJie
1835).
is
It
and although
which refer to performances in the theatre
Schneider's own views and inferences are now mostly antiQuellen requires to be supquated, and his collection of
;
'
'
the
work
will
always
ingly useful
and suggestive
ii.
pt.
2 of Bern-
list
festivals
Mommsen's
For the arrangements connected with the dramatic contests and the production of a play Rohde's article on the Proagon in RJieinMuseum, xxxviii. p. 251
Sauppe's paper, Ueber die IVohl
1816; A.
flf.
der
Richter,
Leipzig,
&c.,
in
Sachs.
Gesellschaft
der
IVissensch.
zu
1888
Museum,
Dionysos {Zeitschrift fur
Schweizerisches
1883
1881 and
in vol.
83
;
:;
PREFACE
vi
of Ersch and Gruber's Allgemetne Encyklopddie, 1866 ; Wieseler*s Theatergebdude und Denkmdler des Biihnenwesens bet Griechen
On
Potsdam, 1843.
gebdude,
scenery
question of the
the
Theater-
allgriecJnsche
De
Sommerbrodt's
Aeschyli
re
scenica
(in
Berlin,
Scenica,
Beer,
histriones in tragoediis graecis (Marburg, 1840)
Ueber die Zahl der Schauspieler bei Aristophanes (Leipzig, 1844)
Sommerbrodt's two articles De Histrionibus and De Arte
Histrionum, in his Scenica) Wieseler's Das Satyrspiel (Got-
inter
tingen, 1848)
num
der griechischen
(ArchaeoL Zeitung,
Rdmer
xliii)
G. Hermann's
De
Schauspieler in
;
on
histrio-
der
Komodie
alien
Christ's
On
(Leipzig, 1879).
M tiller's Dissertations
1853)
tragicorum
habitu scaenico
Costum
De
the
Eumenides (Engl,
De choro Eumenidum
London,
transl.,
(Opusc.
ii.
p.
129
ff.)
chort
In conclusion
Gardner
wish to express
my
obligations to Professor
connected with
Hellenic Society for their permission to reproduce the illustration of a chorus of birds
at
the
same time
to
me
Institute,
VII
first
edition
many
The
summary
third
of the
theatres
exposition of Dorpfeld*s
Some
will
other
further
be found
developments
two articles
in
PREFACE
viii
lately published
by Dorpfeld
following:
1896;
p.
Oehmichen,
Das
und
conclusions,
its
is full
of useful informa-
To
and
the
1893, p.
1889, p. 505
Philolog. Wochenschrift,
ff.);
die
Buhne
Curtius, Orchestra
und Bilhne
(Berliner
Prof. E. Gardner,
1893, p. 97 ff.)
Plea for Vitruvius (Supplementary Papers of the Hellenic
Journal, 1892, p. 92 ff.)
Lechat, Epidaure (Paris, 1895,
ff.)
Zacher,
Die
Bitlme hei Aristophanes (Philoerhohte
215
p.
;
ff.)
Chamonard,
1897,
Wochenschrift,
pp. 701-28),
1897, pp.
and by A. Muller
(Berl.
Special views,
PREFACE
ix
many new
many
As
facts,
and cleared up
difficulties.
p.
1892 (Megalopolis)
Journal,
Chamonard,
(Delos)
ff.
Bulletin
de Corr.
p.
404
ff.
(Tralles)
hitherto but
little
known)
schriff,
The
subject
article
Zu
Capps
in his
Dionysos-Festen (Rhein.
Museum,
As
Sachs.
Gesellschaft der
for the
Wissenschaften,
xviii.
pp.
1-56).
PREFACE
X
instructive of recent
Komodie
his
are
treatises
articles
in
A then.
Bethels Prolegomena,
^^^
and in
Mittheihmgen,
xlviii.
339
p. 696 ff. ; Poppelreuter, De Comoediae Atticae Primordits, Berlin,
1893; Loeschcke, A then. Miltheihmgen, 1894, p. 519 ff.; and
Bethels Prolegomena, p. 35 ff. Other articles on special points
from which I have taken various suggestions are Neckel,
Das Ekkyklema (Friedland, 1890) Cook, The Thymele in Greek
p.
ff.
Theatres (Classical
Review,
Oct.
1895)
Reisch,
Griechische
be seen that
many
rate in part,
thought
it
some
I
any
have
since there are few
worth consulting on
list,
still
in
at
I
point or another.
my
obligations
Oxford, July,
1898.
have derived
many valuable
xt
me
his
own
such indications as
new
I
I
edition.
have
tried
could find of
He
had
re-
I and II, and his review of PuchDie griechische Buhne showed sufficiently what view he
He
many papers
second edition,
from the manner in which
the portions of the book referred to were re-written that he intended to cut out many of the repetitions, both of matter and
expression, which had been allowed to remain in the second
edition.
I have therefore felt at liberty to follow him in this
in
respect
It is clear
it
all filled
own
notes, or in
by the
at the
consequence of important
as the time of
its
PREFACE
xii
many
work of
to,
the other
first-rate
importance
in
But though in
several points of detail Puchstein*s position seems to be open to
criticism, it is very difficult to beheve that Dr. Dorpfeld has
improved his case for his own theory and I have followed both
Mr. Haigh's view and my own conviction, in not modifying in
any essential point the opinions expressed in the last edition.
I
Lycurgean and
have, however, altered the expressions
Hellenistic in most cases where they were applied in the last
tentions (Athenische Mittheilungen, 1903, 383
ff.).
'
'
the
'
'
'
;
;
PREFACE
xiii
named
Journal of Archaeology, a.nd Chicago Decennial Publications, vol. vi; Miss Harrison,
Prolegomena to the Study of Greek Religion ; E. A. Gardner,
Ancient Athens Roberts and Gardner, Greek Epigraphy, vol. ii
Mazon, Sur le Proagon (Rev. de Philologie, 1903) A. Miiller,
Untersuchungen zu den Buhnenalterthiimern, and papers in PhiloNoack, Das Prologus and Berlin. Philolog. Wochenschrift
skenion in der Theaterfrage (Philologus, Iviii); Exon, A New
Theory of the Eccyclema (HQvmdXhQUdi, xxvi); Dorpfeld, papers
in Hermes and Athenische Mittheilungen ; Frei, De certammibus Thymelicis] Hampel, Was lehrt Aischylos* Orestie fur die
Theaterfrage ? ; Flickinger, The meaning of cVt -njs a-Krjvrj^i in the
Engelmann, Archdologische Studien zu den
Fourth Century B.C.
Tragikern) P. Gardner, The Scenery of the Greek Stage (J. Hell.
American Journal of
Philology, /imertcan
Stud.,
1899)
Devrient,
der antiken
Buhne
A.
W. PICKARD-CAMBRIDGE.
CONTENTS
PAGE
Chap.
I.
I.
2. Earliest
3.
The
4.
Tragedy
City Dionysia
6.
Dionysia
Comedy at the City Dionysia
Order of Contests at the City Dionysia
7.
The Lenaea
8.
5.
9.
j^
Chap.
......
23
24
29
31
38
40
12.
44
The
The Choregi
Poets
I.
2.
3. Selection
49
....
....
of the Actors
49
53
57
60
6.
7.
71
4.
5.
Chap.
20
II.
II.
1/
10
at the City
The Judges
10. The Prizes
l/-
4/^
III.
63
67
The Theatre
78
Introductory.
78
at
Athens
80
86
....
....
90
lOI
6.
112
7.
116
120
....
Exceptional Stage-buildings
12. Wieseler's Theory of the Greek Stage
13- DOrpfeld's Theory of the Greek Stage
11.
14.
Various Details
....,,,
130
133
137
140
144
174
CONTENTS
XV
PACE
The Scenery
Chap. IV.
179
2.
....
........
7.
The Ekkyklema
The Mechane and Theologeion
8.
6.
The Actors
Chap. V.
*^
The
Extra Performers .
4. Costume of the Tragic Actors
5. Costume of Satyric Actors
6. Costume of Comic Actors
the Actors
......
....
10.
II.
2.
Chap. VI.
The
1^
I.
(^
2.
3.
The Dancing
The Music
311
.
The Audience
3.
4.
$ 5.
The
323
329
334
Admission
Appendix A.
Ailments,
Appendix B.
Dramatic Inscriptions
Appendix C.
The
Appendix D.
Greek Index
General Index
3'9
323
285
290
298
305
Chap. VII.
230
234
237
255
257
266
27a
285
288
209
217
275
278
281
28a
Actors' Guild
The Chorus
6.
195
199
201
221
among
3.
188
221
I.
2.
179
t86
343
349
341
.....
352
368
379
,,,,,.,<
38a
3^6
LIST OF ILLUSTRATIONS
Fig.
I.
Frontispiece.
Gates
in the theatre at
10.
Epidaurus
page
.......
.......
.......
Tragic masks
19.
.....
....
....
....
32
Lead admission-coin
33-
Ivory admission-coin
......
......
.....
104
104
III
12a
124
134
138
155
156
Tragic masks
95
99
139
....
18.
,.
17.
91
to face p.
a.
9.
78
page
,y
to face p.
206
241
243
246
247
249
253
253
255
257
258
264
264
265
292
293
297
299
332
333
334
338
The
was
General Character of
the Contests.
art
and poetry,
It was
On
such occasions
their
The whole
were forbidden
even prisoners were
The
theatre, the
HAIGH
Dem. Androt.
68,
common
was
schol.
ad
loc.
Meid.
lo,
&c.
to
compensate for
Several days
periods.
in
their
[ch.
scarcity at other
drama.
who
them, were
all
drama its
These various
characteristics of the
and its
on the modern stage,
apart from isolated survivals like the performance at OberAmmergau. The modern theatre has long since been divorced
from ecclesiastical influence, and is unrestricted as to season.
But its original surroundings were not dissimilar. The Mysteries
and Miracle Plays from which it is descended, and which were
Attic
religious associations
Dem. Meid.
'
See below,
C.
I.
A.
have
no
51-3.
iii.
240-3S4.
Hesych.
Ibid. 180.
Ibid. 178.
'
p. 9!
parallel
I]
one another.
The
victory
was awarded
its
original
contests
poetry,
between
list
and
in
the
recitation
of competitions.
kinds
contests
of ancient epics
Greek
In this
respect a
festival
B2
[ch.
is
the State.
the present
day,
when
i]
in
good and evil which was exercised by the Greek tragic poets,
and there is probably no other instance in history of a drama
which was so thoroughly popular, and formed so essential a part
of the national
Earliest history of
2.
The
life.^
Dramatic Competitions,
management
The
dates, not
of which the
hymns
to Dionysus, out
at first by.
effort.
Athens.
Dionysus.^
festivals of
we have
seen,
were confined
to the
of four kinds.
'
Ran. 1008
Rep. 598 D, E.
Plut. Solon, p. 95 B. dp^o/itVo;!'
1054
"
tV.
esp. Aristoph.
11".,
Plat.
St
ar^ovTo'i
amiWav
'
ToiJ
irpa^^QToy,
ourro;
Arisiut. Poet.
c. V.
ht
fis
*
For dramatic exhibitions in other
parts of Greece, see The Tragic Drama
of the (Greeks, p. 436.
a part ol the
[ch.
The
much connexion
show
indications
that this
was the
case.
is
is
while in the
In the
list
of pro-
placed last of
list
all,
referring to the
The
the most famous and magnificent of all the Bacchic festivals, and
Anthesteria, and that the Anthesteria
was only the Athenian counterpart of
the Rural Dionysia. Gilbert was refuted
by SchOmann, Alterth. ii. 579-99.
WachsmuthjAbhandl.der Sachs. Gesell.
derWissensch. xviii. p. 33ff.,andK0rte,
Rhein. Mus., 1897,-p. 168 ff., show that
an inscription C. 1. A. ii. 834 b proves
that there must have been a considerable interval between the Lenaea and
Anthesteria.
It is an account of the
sums expended by the kmaraTai 'EAcuaiv69(v in b. c. 329-328. In col. ii. 46
weread
<7rt(7TOTaisTrtA.J7'ata6(sAtoj'i/'<Tta
Ovaai
AA
later,
ds
in
ii.
'S.oas
68,
twenty-two lines
Upuov kt\.
Stj/xoaiois
is
also found
kitiKrjvaiojv,
Arjvaiw).
^^
festivals.]
^
Dem. Meid.
See below,
10.
^^^
^x
p. 9.
in
Pauly-
Preller-
p. 549.
I]
epithet.'
It
first
The
spring was then just beginning, and the sea had again
become
navigable.^
visitors
from
all
parts of Greece.
spectacles provided,
the
religious
* Atoi'vcio ra
aarti C. I. A. ii. 341,
Aiovvaia to. LanKa. Thuc. v.
402, 404
20 AiQvvaia jo. fityaXa Athen. Pol. c.
56, C. I. A. ii. 312, 331 ; Aioi'iJcrio Athen.
;
Pol.
c.
56.
This
v'lKT]
Diog. Laert.
aoTiKT)
viii.
90.
(Is
ii.
ceremonial,
the
trains
of
Aeschin. Ctes. 68
Dem. Meld. 8.
^
Fals. Leg. 61
inter-
In the
fered with the proceedings.
time of Demetrius a snowfall prevented
Thcophr. Char. 3
the procession.
Plut. Demetr. p. 894 B.
Aeschin.
Ctes. 43 ; cf. Dem.
Meid.
^
23.
74.
Thuc.
v.
|^
8
I
[ch.
on
its
It
As
again, following
its first
entrance into
'*
population.^
The
Vit.
"
Pans.
Soph.
i.
29. s, 38. 8
Philoslrat.
p. 549.
'
C.
I.
'
C.
I.
A.
A.
ii.
ii.
527 K.
I]
Alcibiades on a similar
much admiration by
excited
and
occasion was dressed
his beauty.' From these few details, which happen to have been
specially for use at the procession.
in purple,
recorded,
of
the
as
On
leaving the
out through the city gates along the road to Eleutherae. When
it reached the Academy the statue of the god was placed on
The
men.*
contest of
first
'
Dem. Meid.
'
Xeii. Hippaich.
men
took place in
b. c.
509-508, in
534 C.
Soph. p. 549.
470, 471. Hence Aristophanes in the Frogs selects Dionysus
as the most experienced of dramatic
Kal ol av^pa
have obviously fallen out.) Cp. talso
C. I. A. ii. 553 i^list of victors iraioiy -q
22
Philo-itrat. Vit.
C.
critics.
I.
A.
Cf.
Athen.
iii.
p.
2.
ii.
also
c.
56
avSpay
fcal
Tpaya)5oi.
(The words
dvSpdnii').
lo
[ch.
was probably not introduced till a few years later.* Each chorus
was provided by one of the ten Attic tribes. Hence all ten tribes
took part in one or other of the two competitions.^ The contest
was essentially a tribal one. The members of each chorus,
together with the choregus, were selected exclusively from the
The victory of the chorus was
tribe which they represented.'
a victory for the tribe.
The
name of
the vic-
It is
by attributing
to
the
many
dramatic
kind
features which
belong
4.
Tragedy at
Plut.
KVK\i({>
x^PV
"^V
was
said
orat.
835
8.
[Marmor
archon
v.
Par.
Munro,
ep. 46.
For the
Class. Rev. xv. p.
vi.
*
Lysias xxi.
a; Dem. Meid.
T^i{{>vKfjsdbiKousonpaip(6(iai]$TdvTpivo5a.
The choregus
of a dithyrambic chorus
Aiovvcria
Tpay<f)fiois
x^PVt*^^ "^V
ix^P^Tl^^
Sidvpa/i^qf
fxiv <pv\^
th
TtrapTos (ytvero,
Se kqI wppixioraii varaTos.
x^RVtV*^^^
Ibid.
ii.
1234
fF.
TRAGEDY AT THE CITY DIONYSIA
I]
The
it
was here
The
in
ii
first
535,
won the
who was
exile,
prize of victory.^
tyranny.
last
It
was
his
recognized*
that
When we
complete.
chiefly to
turn to the
fifth
is fairly
records
It
results of the competitions.
be interesting to mention some of these records. The
earliest refers to the year 499, and tells us that three poets
Aeschylus, Choerilus, and Pratinas took part in the tragic
contest.*
From the next we learn that in 472 Aeschylus won
may
the
prize,
first
and
the
that
plays
noir}7ii%
[i<pavrf\f
atp"
irf.wTos
ov
first
Qiams
fSida(e
6s
The
date
is
muti-
between
542 and 520, the preceding and subsequcnt epochs.
Suidas s. v. Otamj
lated, but
must have
fallen
oAv/i-
drama Prometheus.^
grammarians.
* Suidas s. v. Tlparivai.
* Arg. Aesch. Persae.
12
contra Thebas,
and the
satyric
Sphinx
play
[ch.
was
Aristias
second with the Perseus, Tantalus, and the satyric play Palaestae,
The name
^'^difterent
and
In 428 Euripides
(the Hippolytus being one of his plays), lophon second.
Philoctetes, Dictys,
was
first
Among
Ion third. ^
415,
when
Euripides,
who produced
is
first
who produced
the
b. c.
The evidence
After
when compared
with one
arrangement of the
-ile
each
as to the
festival
fifth
as follows.
The
At
''
''
If the
number seems
aarvpiKCv ra
Aci'to
I'lat
were performed
TOvs
hiaXo'^ovSj
oluy
Ikuvoi
Ttrpaai
ii'^cjjvi^oi'To, ^iovv<jiui<i,h-qva'iois,
Havadiiiaiuii, XvTpois,
wv ru Ttrapiov ^v
Thrasylliis
was
hi
rtrpaXo'^ia.
973> 975*
surprising,
tlt-'
f'^ui*
pla3's
of
tetralogy
Ran.
67).
I]
13
On
one
partially
relaxed.
is
a satyric play.
It
was
custom of concluding the three tragedies with the licentious merriment of the satyrs which suggested to Ion of Chios
his well-known remark, that virtue, like a tragic poet's group of
plays, should always contain a satyric element.*
The four plays exhibited by each poet might be composed on
two different systems. They might form independent works of
art, and have no inner connexion with one another; or they
might deal with successive phases of the same legend, and be
this
The
general
name
for the
* ;
'
839
. koI
.
(Tfpas Svo ArjvaiKas; Anthol. Pal. vii. 37
(VI x^^'"
J7 5'
Kovpifios, (K iroirjs ^5e
5i5aaKa\iT]s ;
.
^ That
the word TfrpaXoyia was
applied only to a group of four plays
connected in subject is proved by the
statement of Suidas (s.v. :Eo<poK\rjs)
that Sophocles abandoned the practice
of exhibiting 'tetralogies', though
we know that he exhibited four plays
at a time
and also b}' the application
of the word by Greek writers to the
OresteiaofAeschylus (Schol. Aristoph.
Ran. 1155), the Pandionisof Philocles
(Schol. Aristoph. Av. 282), the Lycurgeia of Aeschylus (Schol. Aristoph.
;
Aristotle).
14
[ch.
tetralogy
connected
play.
In
'
in subject
earlier
mission
trilogy,
Sec, on these
titles,
I]
15
little
is
by Aeschylus. He is known to have composed a Lycurgeia, on the fate of Lycurgus, the Thracian king
and opponent of Bacchus and an Oedipodeia, on the fortunes
tetralogies written
It is
Danaus
uncertainty as to
the structure
of the lost
tetralogies.
It
Thrace by Dionysus,
and
much
invasion of
final victory,
the
i6
[ch.
more in
a point where
closed
It
events was
still
abruptly at
The
unfinished.
final
the chronicle
the course of
is
full
which proves that the Septem was the last play of the three,
all critics were agreed that it must have been followed by
another tragedy.^ This example shows us the necessity of
caution in dealing with the whole subject of tetralogies.
Since there
is
so
much
uncertainty as
to
the
number of
all
arranged
in tetralogic groups.
dithyramb.
it
personages, such
as
Silenus,
and heroes
in the
in the performance.
The
the poet.
It
had
to
lowered, and yet they must not seem too exalted for their
company.'^
In the case of a tetralogy the awkwardness of the
would be greatly
Here
drama
same legend as the preceding tragedies, but from
a humorous point of view. It often happened that the very
same hero whose disastrous fate had just been exhibited in the
situation
intensified.
the satyric
[Other
that the
some
however, suppose
scene was added in
critics,
final
I]
17
same or
similar
modern
taste.
grounds.
It
It
would be
difficult
much
originated not so
to defend
it
on
artistic
The
Euripides.
fifth
century
HAICU
chen
Wochenschr., 1887,
the reform of
Sophocles each poet exhibited one of
his plays on each successive day of
the competition, and that this is what
Suidas means, is rendered most improbable by the fact that tetralogies
were still occasionally written
and
that Sophocles would have no power,
as poet, to make such a change in the
arrangement of the festival,
p.
(Philol.
that
1058)
after
>
i8
[ch.
An
in
footsteps.
fifth
century
all
contained
much more
composed of dramas of
trilogy
this
had no advantages
of
sufficient to
compensate
its size.
It
ment of the
The
fourth century
is
of less importance.
of this type of
produced
at
drama, with
/
more
the
its
little
attraction for
it
to
be retained
it
was only
at all.
The
satyric play
PJat.
Schol.
Aelian
I]
practice
was
also a
new
departure.'
In the
fifth
century the
City Dionysia.
19
unknown^'
was
But the number of plays was
original plays.
The number
of poets
In
to year.
fifty
teen contests.'^
tragic
of the inscription.
cannot be determined.
With
to
an end.
who
flourished
at
napaxoprjyijua)
seems
to
show
that at
'
Suidas s. v. &eoSfKTT]s
Byz. s. v. ^dai]\is.
^ Plut.
Orat. 839 D.
* Aristot. Rhet. iii. 11.
C 2
Steph.
20
century a.
d.
the
[CH.
5.
Very
is
little
Comedy
known about
The
date of their
first institution
On
is
^ See
The Tragic Drama of the
Greeks, p. 444 ff. : and (for the City
Dionysia in the second century a. d.)
Philostr. Vit. Soph.
cp. C. I. A. iii. 78
Paus. i. 29, ii. 38, 8.
p. 549
yap
''
Aristot.
Poet.
ch.
v.
Koi
d\//(
of the
'
'
earlier.
columns are
lost.
Capps conjectures
(with some reason) that it originally
ran and (name of archon) (<(>' ov vpSnov
KUfioi
^aav
TOfu kv
aani
Aiovvaioiv olbt
But fcS/fioi
cannot
mean
'comedies ', as Kohlerand Wilamowitz
assumed when they dated the beginning of choregia in comedy by this
inscription.
Cf. Wilhelm, Urkunden
dramatischer AuffUhrungen in Athen,
(viKOiv.
pp. II
*
ff,
241
ff.]
I]
21
the
it
Lenaea.
manner of the
The
exhibition
tragic poets,
of groups of plays,
was unknown
in
after
the
the history of
Still,
in spite
of this
rule,
who had
marked
compete.
We
obtaining
* Arg.
Arisloph.
Plutus (festival
uncertain) ; Ath. Pol. c. 56 (City
Dionysia) ; C. I. A. ii. 972 (Lenaea),
975 (City Dionysia). [If C. I. G. xiv.
1097 is rightly restored and interpreted by Wilhelm, I.e., p. 195 ff., it
would seem as if there were five
competitors as early as b. c. 434 at
the Dionysia this is very difficult to
reconcile with the consistent mention
by the Arguments of three only.]
' Arg.
Aristoph. Vespae.
[The
passage, however, is almost certainly
corrupt, and most editors are now
agreed that in its existing form,
according to which Philonides brought
out both the Tlpon'^uv and the "ZipriKts,
it cannot stand
and that even if both
plays can have been the work of
Aristophanes, they cannot both have
been produced by Philonides.
For
;
Kannkomische Buhne,
century
b.
c]
C. I. A. ii. 972.
[The inscription
leaves no room for doubt here, except
for the remote possibility that there
may have been two poets of the name
Diodorus.
Capps, Amer. Journ.
Archacol., 1900, argues almost conclusively that the inscription is to be
dated 290-288, and not 353, the date
given by Mr. Haigh, and generally
accepted until recently.]
^
'
>-^ ^)^
22
to
A sure symptom
longer.
[CH.
of decline,
fall back
reproduce
old
plays,
instead
upon
of striking
In the case of tragedy this custom had
out new developments.
already begun to prevail as early as the middle of the fourth
But comedy was still at that time in the height of its
century.
the past,
and
to
poets.
fresh direction
new
all
ones.
of a later generation.
From
comedy
City Dionysia.
it
still
The
is
flourished as vigorously
festival
had sometimes
dating
B.^.
Appendix B.
iiaKcubv
vapfSiSa^av
(cp.
5pd/jia
irapaxopTfyijfxa),
oi
Kojpuvhoi
when compared
shows that
I]
23
come
this festival
of the
programme
to
down
much doubt
that they
We
may
were retained
to the first
therefore conclude
at the City
Dionysia
Order of Contests at
6.
gramme
century
it
consisted
of
five
choruses of boys,
five
choruses
much
is
not
information.'^
Further than
this,
there
is
a passage
Aristophanes which
^ C. I. G.
1585, 1587, 2759; Athen.
Mitth., 1894, pp. 96,97; 'E<pT]fi.*ApxaioX.,
884, pp. 120, 124, 126 ; Rangabe,
Antiq. Hellen., vol. ii. no. 965.
The fact that inscriptions (C. I. A.
971 a-e, iv. 971 f-h) and the law of
show
beingspokenofinorderofperformance,
rather than in order of relative importance.
afjtuuov
oi/b'
^5iov
rj
tpvaai irrfpa.
ti
tis
aiiTix*
^v vnonrtpos,
24
[ch
which was brought out at the City Dionysia, the chorus remark
that it would be a delightful thing to have wings.
They say
that if one of the spectators was tired with the tragic choruses,
he might fly away home, have his dinner, and fly back again
in time for the comic choruses.
It appears to follow from this
that the comedies were performed after the tragedies. As there
were three comedies during the fifth century, and three groups
of tragedies, the arrangement must have been that each tragi(i
group was performed in the morning of three successive days,
and was followed in the afternoon by a comedy. The festival
The first day was taken
as a whole lasted for five or six days.
up by the procession. Three more were taken up by the
tragedies and comedies. The remaining one or two days would
be devoted to the dithyrambs. Such was the system during
the life-time of Aeschylus and Sophocles. In the fourth century,
when the number of comedies had been raised to five, the
number of tragedies diminished, and a satyric drama and an
old tragedy placed at the head of the tragic contests, various
But there is nothing
rearrangements would be necessary.
to show how they were carried out.*
7.
The Lenaea.
any
celebrated,
at
rate,
'
have been
'
victorious
at
the
rwv rpaywStov
ij^LCLs
to
mean generally
'
to us in the theatre
'.
would be no
There is obvipoint in the sentence.
ously a contrast between v^fh, the
spectators, and ^ftfTsthe comic chorus.
The same contrast is emphasized in
the previous group of trochaics, vv.
Lipsius accepts the change
753-68.
But
in
Birds),
and
infers
that
all
the
The
Lenaeum \^
site
of the
Leipzig, philol.-histor.
Classe, 1885, p. 417). But the change
is quite gratuitous and makes the whole
passage feeble and obscure.
*
[See
p.
69.]
'
[See Appendix
and
for authorities
of Dionysus
*
'
At/ii'ats. J
[See Appendix
C]
THE LENAEA
I]
Lenaeum
25
much
and no
Except that it was in
certain conclusion has been arrived at.
or close to the market-place, the site of which is itself uncertain,
unfortunately a matter in
is
dispute,
it.
a winter gathering.
It
was held
in the
month
often stormy,
still
visitors
The
Athens.
was a domestic
festival
unpretentious,
as
The
sort
of
proceed-
Acharnians,
the
in
The
obscurity.
we
The
first
the
Lenaea
is
veiled
in
fifth
century.
It
Lenaea
for the years 419 and 418.^
In both these years the number
of poets who competed was two, and each of them exhibited
three tragedies.' There is no mention of a satyric play. Again,
consists of a record of the tragic performances at the
ii.
siis Atticis,
fiara.
*
'
C.
KcofxcuSoi.
trofiir^
teal
ol
Tpay<vbol
ital
01
in
'-,
jJ-^
26
we
These two
Lenaea.*
won
[ch.
notices comprise
all
that is
known about
They appear
cessation.
tragic
is
known about
the
were
still
is
quite uncertain.
I
\\
is not recorded.
But they must have been in existany rate as early as 463, since at that time they were
already included in the City Dionysia. There is also another
piece of evidence. Chionides, one of the early comic poets, is
said to have begun to exhibit plays in 487.
It is unlikely that
the exact year of his first appearance would have been remembered, unless it had referred to a regular public contest.
Hence we may probably assume that comic contests had been
ence
date
at
'^
presented.
trpwrrj
tt;
'
won
Athen.
217 A.
^ Diod. Sic. XV.
Orat.
74; Plut.
839 D ; C. I. A. ii. 977 b, c (see Appendix B).
*
p.
[C.I. A.
was
still
This
is
iv. p. 76.)]
A. iii. it6o.
See above, p. 20, note
C.
I.
2.
THE LENAEA
I]
27
Lenaea
at the
is
From this
Lenaea is much the same
his Acharnians.^
the
at
Dionysia.
During the
fifth
as
its
its later
course.
few remarks
may be made
of the Lenaea and the City Dionysia from the theatrical point
of view\ The City Dionysia was much the most splendid and
imposing gathering of the two. It was attended by larger
crowds of people, and was subjected to stricter regulations.
Aliens were not allowed to take part in the choruses; metics
were forbidden to serve as choregi.^ No such prohibitions
^
is
no reason
of
in
'
Arg. to Acharn.
Args. to Acharn. ,Equit.,Vesp., Ran.
I.
A.
ii.
975
between
very un-
A. ii.
972, col. i, which Capps, followed by
Wilhelna, dates soon after b. c. 290,
does not show any sign of the practice
it may have begun at the City
Dionysia, and have been afterwards
extended to the Lenaea but it is not
easy to believe this without confirmatory evidence
and the difficulty is
avoided if Capps' date for 975 f is not
accepted.]
* [C. L A. ii.
977 gives lists of tragic
and comic poets and actors. In the
case of the comic poets and actors,
some names (those of Agathocles and
Biottus) are known from 975 d to
belong to the middle of the second
century but it is not certain to what
certain
see
p. 22, note.
C.
I.
c.
30.
28
[ch.
It
was more
The
In tragedy this
at the Lenaea.^
inferior poets,
or for
youthful
authors
who had
still
their
reputation to make.
Thus in 418 one of the competitors was
an obscure poet called Callistratus.^ In 416 the victor was
Agathon, who had never yet obtained a tragic prize.' Foreign
poets may also have been generally confined to this festival.
It was here that Dionysius, the tyrant of Syracuse, won his
The circumstances were rather different in
solitary success.*
regard to comedy. The leading comic poets seem to have
made little distinction between the two festivals. Aristophanes
Still,
in spite of the
comedy a
more equal
festivals,
City victory
'
distribution of the
there can be
little
doubt
distinction.^
Greeks,
''
C.
I.
p. 128,
A.
Athen.
173 A.
'
ii.
p.
note
4.
972, col.
217
II.
;
Plat.
Symp.
I]
8.
29
Athens.
fifth
century,
in
the
all
and annual
theatrical exhibitions.
[Nilsson
(Studia
Atticis, p. 108)
shows
de
Dionysiis
was probably
demes
Plat.
at
Rep.
V.
diroficfuaOojKuTfs
Tcui'
iu>y
dnoKfiiTuiityoi.
Timarch.
C.
I.
A.
Ibid.
ii.
157.
iv.
574
b, c, g.
30
j;
[ch.
C.
"^
Ibid.
I.
A.
ii.
iv.
1282
b,
1285
585.
restoration be correct.
6 Dam. de Cor.
263.
b.
We
^ Isaeus viii.
also hear
15.
of such celebrations at Brauron (Ar.
Pax 874, with Schol. ; Schol. in Dem.
Conon. 35
Suidas s. v. Bpavpwv)
andatMyrrhinus (C. I. A. ii. 575,578),
;
p.
ii.
470
rpa-yaidMv
Aiovvaiojv
t[^
rSiv
Kaiv^
ev
dy^wyi,
SaAa/xt'Vt
if
the
of
the
I]
own local
many chances
their
gatherings.
31
of witnessing
the reproduction
of celebrated
plays.
The
Anthesteria had so
that
is
it
The
is
comedy by
but
during the
*
is
during the
latter part
contest
In
much
later times,
first
century
comic parabases
the notice
The
had
'
'
9.
The
The Judges,
festivals
has
now been
described in
As regards
detail.
points
still
and
actors,
to
the
be
mode of giving
remain
of the judges in the comic contests was five.* The number in'
the tragic contests was probably the same, but there is no
direct evidence
seems
to
^ [Vid.
J. E. Harrison, Proleg. to
the Study of Greek Religion, c. i.]
This seems to be the meaning of
Plut. X orat. 841 F ila'qvi'^Ki hi kou.
vofiovs (sc. Lycurgus), rov vtpi. twv
Kojfjuvbwu ufSjya rots Xvrpois (TrtT(\(tv
i<pafii\\ov ev rw 6(aTp<^^ koX tov viktjaavra fis darv KaToXiyfaOai, irponpov
ovK i^ov, dva\afi0av(uv tov dywua (kkfkoiiToTa.
The contest must be the
same as the dywva Xvrpivoi quoted
'^
fromPhilochorusbySchol.adAristoph.
Ran. 220. [See Nilsson, Studia de
Dionysiis Atticis, p. 57.I
^ Philostrat. ViL Apoll.
p. 158.
Schol. Aristoph. Aves, 445 ; Suidas
s.v. (v itivrf Kpirutv yovaai.
* There is no consecutive account in
any ancient writer of the mode of
selecting the judges and of voting.
Our knowledge of the subject has to be
32
commencement of
the
festival
[CH.
of judges.
list
certain
of Attica.
as
to get
the
was
natural,
list.
endeavoured
The names
of the
persons chosen were then inscribed upon tablets, and the tablets
were placed in ten urns, each urn containing the names
The urns were then carefully
belonging to a single tribe.
ing passages
(OfVTO
tls
S'
(i) Plut.
Cim.
Kpiaiv uvofjuxar^v
TpayQ)da>v
p.
483
fJLPiqfJiTjv
ytvofiimjv.
viov Ka9(VT09,
ovaiji
<pt\ov(iKias
Ofarwv,
dyufvo9,
'Atf/<fH(uv
Kai
ap\(uv,
napara^eoos latv
/epiTcis
els
cUprJKfv
i(f\6vTa TOVS vtto rrjs ^ovKrjs flafiKi]Oivras ; Kairoi oar is fiiKpwv tvfKa Kai
rov
nipt
KivSviffvoju
ffUfJiaTOs
ravras
rovTo
(V
5*
5'
itvo
rwv
Tafitwv,
(<pvXo.T-
(Ktivro
ei
5' &v
(3) Lysias iv. 3 efiovKofiTjv
dvoXaxttv avTov Kpir^v Aiovvaiois,
vfiiv ipavepos
Kpivas
eypaif/e
T^v
pikv
b'
ktK.
fiif
i'v'
dnjWayftevos,
vvv he
efi^v <pv\^v viKav.
ravra els rb ypannareiov,
eyevero
efioi
refers.
no reason to suppose
(.with
But there is
Oehmichen,
in
Isocrates.
judges
That a second
of
list
larger
each contest, and that this second list
consisted of ten persons, one from each
of the ten tribes, seems to be proved
by the words of Plutarch, Kpirds pikv
OVK (KKrjpwffe rov aySfvos
diro (pvXrjs
fuds eKaarov. That there was another
selection of judges by lot after the
contest, and that the number of judges
who actually decided the result was
smaller than the number of those who
sat through the performance and voted,
.
as a judge, but that after the performance was over his vote was not
drawn by lot.
The above conclusions are those
of
Petersen (Preisrichter der grossen Dionysien). Mommsen (Bursian's Jahresbericht, Hi. pp. 354-8) raises some
objections.
He suggests (i) that the
plural vbpiai is merely rhetorical, and
that there was only one urn for all the
names, (2) that the selection of a second
list
is
not
THE JUDGES
I]
deposited
in
in
to
33
the
The
the Acropolis.
preliminary
list
of judges
was kept a secret from every one except the Council and the
choregi, in order that no improper influence might be brought
The penalty for tampering with the urns
to bear upon them.
It is not known from what class the nominees
was death.
were selected, or whether any property qualification was necesObviously the judges in the dramatic and dithyrambic
sary.
If their verdict
contests had a very delicate office to perform.
should
be men
it
necessary
that
they
of
value,
was
be
was to
It is most likely therefore that
of culture and discernment.
there was some limitation upon the number of persons qualified
to act in this capacity.
remained sealed up
in
urns
in the Acropolis.
list
On
of citizens
the
first
day
34
[ch.
lists,
Whether
number of his
plays was seventy or ninety, the proportion of victories was very
Sophocles was equally fortunate. He won eighteen
large."
obtained the
first
prize.
and
the total
at least
two
at the
Lenaea.*
The number
iv.
8'
ypafifiarfiov,
'
/xfj
dniKaxe
Aristoph.
Se.
opivvfi
XO. d
itapa^airjv,
kvi
xpir^ vikov
fiovov.
THE JUDGES
I]
35
He
in
such as Philocles.
Verdicts of this indefensible character might be due to various
causes.
The spirit
men were
means by which
an instance in one of the
speeches of Lysias. The defendant is showing that the prosecutor had been on very friendly terms with him a short time
before.
The proof he brings forward is that when he was
choregus at the City Dionysia he got the prosecutor appointed
on the preliminary list of judges for the express purpose of
voting for his own chorus. The prosecutor was pledged to
vote for the chorus of the defendant, whether it was good or
bad.
He appears to have actually done so but unfortunately,
at the final drawing, his name was not selected, and his vote
was therefore of no value.* Another example of the use of
corruption is afforded by the case of Meidias, who is said to
have won the victory with his chorus of men at the City
Dionysia by bribing or intimidating the judges.* Similarly at
often not very particular as to the
There
is
some of
'
'
'
*
ViKoftaxos.
'
D 2
and others
36
[cH.
all
as the whole
tribe
No
doubt
in these
result, party
less
general
Andocid. Alcibiad.
KpiTwv
20
01 fitv (po0ovfi(voi oi S(
aWa
tSjv
xapi^ofifvoi
4.
THE JUDGES
I]
37
commanding
He was
man
the stage.^
manner in
Then there
talents.
There
speeches of Isaeus.
tragic contest,
and
On
the
first
was
last.*
* Plut. Demosth.
(VTjfifpuy 5f
859
tai KaTfxojf Tu diarpov (u8(iqjiapj.amvfj^
fcai
xoprjyiai KpaT(ia$ai.
^
*
524 D.
Xen. Mcmor. iii. 4.
Id. Nicias,
Isaeus
v.
36.
3.
38
[ch.
a jury chosen from the very audience which they had thwarted.*
judges,
is
their wishes
known most
of the Clouds.
The
story
a fable, but
is
is
interesting as an
they applauded the poet more than they had ever done before,
and insisted on the judges placing the name of Aristophanes
first
upon the
list.'^
In former
'hisses
and
But
at the
practically decided
well.
The
lies
in the continued
When
lo.
The
Pi'izes.
the contest
A-C.
[Cp. Butcher, Harvard Lectures,
173 ff.J
A. 659
p,
THE PRIZES
I]
spectators.
39
But
this
belonged really
in the
to the tribe,
a tribal monument.'^
The
to
serve as
As
to the
the earliest
for
comedy
After the
demands
his time and energy must have been very great, and the
Some idea of the
rewards would be correspondingly large.
scale on which the amounts were graduated, according to
the place of each poet in the competition, may be gathered
upon
tories
C.
LA.
cp.
1242, 1247.
^ Marmor Par. epp.
39, 43.
*
Schol. Aristoph. Ran. 367 rov
Eccles.
fU(j9uv Twv Ka}fi(f>5a>u (fxdojaav
102 t6v piaOuv tCjv jroirjTiov avvtrffie ;
Hesych. s.v. fuados' to tnaOkov twi'
i^iynaOoi h\ itivn -^aav. As
KWfUKwv
the competitors in comedy were five,
this last passage proves that all the
competing poets received a reward of
money,
p.
Aijvaiois
TovTov
Aristid. vol.
;
aTtcpavovv Koi
ii.
p.
2 (Dindf.)
dvayo-
rrpwrov
pfvfiv.
Dem. Meid.
Lysias xxi. 2 ;
Schol. Aeschin. Timarch. II ; Isaeus
2nd Arg. to Dem. Meid.
vii. 5 40
The monuments of Lysicrates
p. 510.
'^
vol.
ii.
ii.
p. 31),
were
i.
in
chap.
iv. pt. 3,
honour of vie-
40
[ch.
first
initiated.*
They were
no astonishment.
annual
festivals.
They were
To
be
There
a considerable distinction.
in being placed
No
was defeated
for
the
first
place
by
Philocles,
the
disgrace
by
II.
were
'
Plut.
Aristoph.
ad
842 A.
Ran. 367, and Schol.
orat.
loc.
'
Vit.
(Dindf.).
Soph.
Aristid. vol.
ii.
p.
344
At
first
Pax
fvinrjof 5
tw
Spd/jiaTi 6 Troij/rr^s
SevTfpos 'Apiaroipavrjs
'Elpn]vg.
CONTESTS BETWEEN ACTORS
I]
dramatic
the
in
Upon
their
contests
the success
efforts
41
poet.
lists.
As
may
first
time
far
b. c.,*
C.
C.
I.
A.
iv.
I.
A.
ii.
971 f.
971 a-e, iv. 971 f-h.
Hence Rose's ingenious emendation
of the conclusion to the first Arg.
to the Pax
to 5k dpdfia viKKpivaro
2
*AiroAAo5cu/)os,
i^viKa
tpfirjv
KoioKpurrji
Rose] must
975 a-e
84.
frag-
ii.
tion
1.
some
conjectural restoration of
The
of C.
ation
is
42
[ch.
each play.
The
them.
The
perform not only the principal part, but also several of the
subordinate ones. Besides this, the composition of most Greek
tragedies was designed with the express purpose of bringing
out into strong relief the character of the principal personage.
The
'
',
'
similar language.
says that
'
The only
is
Thus
in
one of the comic contests of the second century the prize for
acting was won by Onesimus.
But the play in which he acted,
the Shipwrecked Mariner, only won the second place. The
successful comedy, the Ephesians, was acted by Sophilus.
Similarly in the tragic contests of the year 418 the prize for
acting was won by Callippides
but the poet Callistratus, whose
three tragedies he performed, was only second. The tragedies
of the successful poet were acted by Lysicrates.^
The actors' contests which we have hitherto been describing
;
A.
C.
Dem.
'
C.
I.
I.
ii.
Fals.
A.
ii.
973.
Leg. 246.
975 b, 972.
I]
new
43
The
in competition.
before
the
battle
of Arginusae, Thrasyllus
is
For
instance,
said
to
have
rpa'^athias vTroKpirrfs.
o/s yap iviKa tovs
avrirexvuvs Kpiriav rbv KKtoivalov kuI
"lirnaaov ruv 'AfifipaKiuTijv tows Alaxv-
\oiTo
'
Kai
dipQJVOi
fiT]
AiKVfivios
u T^s
\ov
'
llpoirofiirovs k.t.X.
Athen.
tjvoj, (v
tovs ^F^Ttiyovovs
p.
air'
584 D
aywvo^
(vT]fj.fp-qKfty
avT^ kt\.
44
[ch.
Records of dramatic
12.
It is difficult in
modern times
contests.
keenness
regarded
The
greatest statesman
to
perpetuate
permanent form.
the state.
the
memory
Every
of their success
1)
as to the private
the individuals.
Thus
the
mean man
in
Theophrastus, when
to
'
See above,
p. 31.
I]
memorial,
the
in
case
of the
dramatic
45
consisted
contests,
structure, with
The
name of
the
actor.
As regards
public memorials,
that
from the
2)
were preserved
But in addition to these documentary
in the official archives.
registers, elaborate monuments of stone were erected by the
state
in
Considerable
fragments of these monuments have been discovered by recent
excavations.
They may be divided into three classes. The
first
some one
particular festival.
description,
Plut.
Themist. 114
viKijs dy(6T)Ke.
Aristot. Pol.
irivaxa ttjs
viii.
6 k
pi. 5'
' Reisch,
Griechische
Weihgeschenke, p. ii8ff.
* Plut. Themist.
114 C. Cp. C. I. A.
ii. 1280, 1285 (a metrical inscription),
1289, iv. 1280 b, 1282 b, 1285 b, &c.
2)
:
FASTI IG ii2 2318
46
at the
The
style is the
fifth
The
same throughout.
[ch.
mentioned
first,
names of the
victorious choregus
in the
and
dramatic
poet.
The
The second
2)
-
:
ii2
2319-2323
class of public
to the
festival.
name
the
of the actor
who won
If there
The
is
name of the
third class of
monument
consisted of
lists
actor.
of tragic^ and
comic actors, and tragic and comic poets, with numerals after
each of them, denoting the number of victories they had won
lists in all,
victories
represented as having
and
won
who
of Suidas,
gives
have been
Cratinus
is
This
to-
the
tallies
total
number
of
his
victories
as nine.*
C.
I.
A.
ii.
971 a-e,
iv.
971 f-h.
See Appendix B.
"
C.
I.
A.
Appendix B.
ii.
'
*
See
Kparivos.
s.v.
I]
None
47
or,
b. c.
300-
',
ancient writers,
it
',
'
sense that Aristotle used it as the title of his book. The work
would not be a mere compilation from existing records and
monuments. It must have required some care and research.
For instance, when a poet had his plays brought oiit vicariously,
we cannot doubt that the name of the nominal author was
entered in the public records, and not that of the real poet.
Aristophanes usually brought out his plays in this manner.
Then again a poet's plays were sometimes brought out after
his death in the name of his son.
In these and similar cases
it would be the duty of the compiler of a work like Aristotle's
to correct the mistakes of the public records, and to substitute
where necessary the name of the real author of the play.
Corrections of this kind were no doubt made by Aristotle and
his successors.
The
Didascaliae of Aristotle
is
the
ultimate
Diog.
plete
list
Laert. v. 1. 26.
comof the quotations ivom Aris-
totle's A(Sao'aA(a( is
given in Bekker's
48
It
that
Argument
to the
^
Suidas s.v. KaXXipiaxos
Aristoph. Nub. 552.
Agamemnon
Schol.
p.
3
*
foil.
C.
p. 20,
I.
A.
note
iv.
3.
971
[It is
f.
See above,
not at
record in C.
year
'
all
impro-
of Aeschylus.*
328
I.
A.
b. c.
ii.
scriptions.]
CHAPTER
II
Dramatic performances
The Poets.
at
in
'
Ath.
Pol.
cc.
56,
57.
The
ar-
lot,
After 352
one from
to
was
ad
loc.
50
[ch.
As
it
The archon
number of poets required by the parwas tragedy at the City Dionysia which he
If
it
was providing
for,
'
p,
1.
c.
^
'
Cratinus 1. c.
Schol. Aristoph. Nub. 510, 530.
THE POETS
II]
when he made
51
at twenty-eight,
Euripides at
must have been even younger when he brought out the Knights.^ 7t
It was not uncommon at Athens for a poet to have his plays
in
dramatic career.
his
him a successful
and Sopho-
cles is said to
of a play.
literary pursuit,
^P'
by Wilhelm,
Acharn.
Aristoph.
Aristoph. Ran. 73.
(VffiTjdjj.
Wilhblm shows
was natural
Athen,
uv
it
528-31.
' Arg.
*
that this
E 2
Suidas
Plutus
s. v. 'AfJKuSas
cf.
Nub.
Schol.
mnovnivot.
<yt.c
52
[ch.
They
hired stage-managers to
make
Aristophanes,
quite well
the
Aristophanes,
first.
in the
many
people
was
It is
name of the
is to
give the
due
to
Ran.
'
Athen.
^
*
p.
216 D;
Vit.
Aristoph.
orat. 839 D,
pi^t
Aristoph. Kquit. 512, 513.
Id. Vcsp. 1016-22.
THE CHOREGl
"]
2,
53
The Choregt.
is
contests,
Ibid.
C.
I.
VOflOS.
A.
ii.
971
d, iv.
971
h.
Lysias
1.
c.
54
[ch.
state.^
it
was repealed
years.'^
The
till
'
In the time of
Demosthenes the
"
festivals.
C.
I.
at City
in partnership at Icaria.
after
the
379-
C.
I.
A.
11.
death of Antipater
died in 319.
who
331,
THE CHOREGI
II]
55
occurs frequently in
After this date there
about the
first
inscriptions
is
century a.d.,
a sort of antiquarian
revival,
when
tunate.
If the
left
to the magistrate,
it
lot.
613,
alone).
56
[ch.
citizen
lots for
archon.
public,
first
whom
much the same manner as the fluteThe defendant in one of the speeches of Antiphon
that, when he was choregus to a chorus of boys at the
players.
says
Antiphon,
Xopvy^^
orat.
fCfiTfffTaOrjv
vi.
11 inuZ^
(h QapyqXia Kai
rwv rpayc^hiwv.
II]
3. Selection
of
57
the Actors.
The manner
in
To
lyrical into
in their
a dramatic form of
own
plays,
and the
art,
actor's profession
came
into exis-
For the next fifty years or so it does not appear that the
It left the
state took any part in the selection of the actors.
matter in the hands of the poets. Particular actors are found
to have been permanently connected with particular poetsJ
Aeschylus is said to have first employed Cleander as his actor,
and to have afterwards associated a second actor with him
in the person of Mynniscus.^
Tlepolemus acted continuously
for Sophocles.^
It is stated, on the authority of Ister, that
Sophocles was accustomed to write his plays with a view to
the capacities of his actors.*
This story, whether true or
not, shows that he chose his actors himself, at any rate during
the earlier part of his career.
But as the actors grew irTH
importance, their selection was no longer left to the choice of /
individual poets, but was undertaken by the state.
Henceforth
we cease to hear of particular poets and actors being permanently associated together. The statement of Thomas Magistery
that Cephisophon was the actor of Euripides, appears to be
a mere conjecture, as Cephisophon is nowhere else described
in that way.''
The change in the method of selection was~l
tence.
fifth
century,
when
its first
official
Aristot. Rhet.
Vita Aesch.
iii.
i.
Under
recognition.
first
of
all
the
new
selected
by|
58
[ch.
There
the archon.
is
The
choruses.
poets would
first
draw
lots for
order of choice,
and then each poet would choose his actor. The actor performed all the tragedies of the poet to whom he was allotted.
Thus in 418 the three tragedies of Callistratus were acted by
Callippides; the three tragedies of his rival were acted by
Lysicrates.' The actor who won the prize for acting was
permitted to compete as a matter of course at the next festival
without having to submit to the process of selection by the
archon. Such was the system adopted during the latter half
of the
^^^Ajut
fifth
How long
century.'
when we come
to the
alteration is found to
depended much more upon the actor than the poet.* It was
probably felt that under the old arrangement the poet who
obtained by lot the greatest actor had an unfair advantage over
his rivals.
A new system was therefore introduced, by which
the talents of the actors were divided with perfect equality
among the poets. Each tragedy was performed by a separate
All the actors appeared in turn in the service of each of
actor.
the poets.
^
Dem.
Fals.
Thus
in
Leg.
246; de
Cor. 262.
'
^
C. I. A. ii. 972.
Suidas s. v. vfn-qaus xnroKpiTwv
iroiTjTal
ol
vefiTjOetn-as,
fxiuovs:)
TO.
hpapLara'
Tovwidv
viously o viKrjffas denotes, not the vietorious poet, nor yet the actor who
acted for him, but the actor who won
loifmov apthe prize for acting,
parently means 'the next festival'.
The
II]
59
His Achilles was acted by Thessalus, his Athamas by Neoptolemus, his Antigone by Athenodorus.
The three tragedies of
each of his competitors were performed by the same three
actors.*
By this arrangement no poet had any advantage over
his rivals, but as far as the excellence of the actors was concerned all were on exactly the same level. The system just
described appears to have been retained without alteration
during the remaining period of Attic tragedy.
The mode
same as
that in tragedy.
'
p. 36).
C.
I.
A.
ii.
6o
The Training of
4.
the
[ch.
Chorus.
professionals
who served
in
13.
to
Xen. Hiero
The
ix.
4,
Resp. Athen.
training-room
was
vi.
two choregi
in the service of
i.
called
p. 72,
the
in
11),
17;
"^
Antiphon orat.
106.
iv.
vi.
11-13; Pollux
called x^P^'
XIkttjs.
^
Aristot. Pol.
Antiphon
1.
iii.
c.
at
3.
II]
the
same
time.
However,
to,
it
6i
diet of the
so that the
mentions
The
choruses
in
Plutarch
into a proverb.*
During the
'
is
also
fxlv
oarvpiKov
fiipoi iutfi^v.
'
*
Athen.
Athen.
p.
p.
22 A.
21
C;
Vit.
Aeschyli
62
[ch.
representation.
the
The term
men came
of
greater part of
now
into existence
regular business.
One
of
to
class
is
when
The
hiring of a
much
first
increased.
conditions
of success.
^
*
3
p.
536 A.
*
Thus the
trainer hired
by Demo-
Xen. Mem.
iii.
4. 3.
II]
The Expenses of
5.
now be
63
the Choregia.
will
possible to
of a wealthy choregus.
when
^
It is
i.
13 xoprjyovai
kcu opxavfievos
iva
avTus T (XV ''* o* Tt\ovaioi -mviCTfpoi yiyvojvTai.
First Arg. to Dem.
Meid., p. 509 x'^PTt^^
u rd dvaXwpiara -napixojv rd inpl rbv xopov.
Plut.
Glor. Athen. 349 B.
The statement
of the Scholiast on Dionysius Thrax
(Bekk. Anecd. p. 746), that every
comic and tragic poet was supplied
with a chorus * supported by the state ',
.
was
* received
sums of money for the support of the chorus '. But his authority
is of the weakest description.
He is
quite mistaken as to the Dionysiac
festivals, imagining that the Great
Dionysia was a triennial affair, as
opposed to the Small or annual cele-
appointed
^
Plut.
officially,
Phocion
p.
750 C.
64
[ch.
to
play,
would
The defendant
easily
one
be put to very considerable expense.
of the speeches of Lysias tells us that a tragic chorus cost
him thirty minae, a comic chorus sixteen, a chorus of boys
It follows that a comic chorus was only about half as
fifteen.
expensive as a tragic one, and cost about the same as a chorus
The
state
to
s. v. pffi-qatis tnroKpi-
'
Dem. Meid.
^
p.
103
i6.
Pollux vii.
iv. 6.
ras (a6r\ra<i anomadovvras
78 rovs
toi^
in
II]
of boys.
On
Dionysia cost
minae.
ment of Demosthenes,
These
fifty
men
City
at the
that a chorus of
of
65
together with the dresses and crowns which the choregi used
to provide them with, would easily account for the expense.
it
of twenty-four.
one
in
who
eightpence at the
present time.
If this
calculation
any-
is
where near the mark, then a choregus who spent thirty minae
on a tragic chorus would be spending a sum equivalent to
about 500 of our money. The sixteen minae paid for a comic
chorus would represent about 266. Comparisons of this kind
are very conjectural
but they enable one to form some idea
of the immense sums of money which must have been spent
at Athens in the course of a single year upon dramatic and
choral performances.
There were eight dramatic and ten
dithyrambic choruses at the City Dionysia. There were seven
;
Dem. Meid.
'^
Arisloph.
HAIGH
156.
Eccles.
307
BOckh,
at
i.
p.
the
157
66
[CH.
fore
bring pressure to
On
it
choregi was so keen, and their desire for victory so great, that
often led
ment
spirit
to lavish vast
a wealthy politician
With
contemporaries or predecessors.*
ambition and emulation at work,
it
was natural
that considerable
',
in blows.
anti-
When
Demosthenes, in his
speech against Meidias, cites many examples of the bitterness
and animosity with which choregi regarded one another. He
adds that there would have been some excuse for the assault
of Meidias upon himself if it had been caused by the jealousy of
a personal conflict in the orchestra.**
a rival choregus.^
^
ivhiws ri -noiovaiv.
^
Dem. Meid,
aOKa
'
p. 524 D.
Andocid. Alcibiad. 20.
Dem. Meid. 58-66.
Xopovs
ftiv
61.
Plutarch Nicias,
ii]
When
The Performances in
It
all
67
the Theatre.
Odeum, a
called
sort of smaller
theatre to the south of the Acropolis, not far from the theatre
of Dionysus.
a kind of
show or
spectacle,
^
Our knowledge of the Proagon is
derived from the following passages
Aeschin. Ctesiph. | 66, 67 6 yap fuaa-
ypd(f>(i
ry
dyctivi^fffdat iv
Xiwvoi /ij/i/os, /
^y rw 'AaKKrjviqf ^
Bvaia xal u vpodyuy.
Schol. Aeschin.
i//r)({>iafia.
-apodyoiv KaXtirai.
F 2
5i' 6 irvfioK
eiaiaai Si 5xa vpoa-
0tdTp<f>-
68
[cH.
The
of
tions
all
purified
by the
all
vast
was
Then
liba-
If the festival
the opportunity
upon
was taken
whom crowns
to proclaim
the
names of
citizens
The
proclamation
another striking
in
The
complete armour.
herald
made
a proclamation, recount-
ing what the state had done for them, and they were then
publicly discharged from state control to take their place as
lT(XfvTr)a(, avTov fxtv luariof <pat^ i^Toi
nop(pvp^ irpofKOfiv, rov hi -xopuv Kai tovs
vvoicpiTai aarftpavurrovi tiaayaytiv iv
T^
irpoaycuvi,
kcu
batcpvaai
Toy S^fxov.
<f8(iq)'
(iwOaai
tcL
voirjfiaTa
dirayyiWdv
irpiv
(ii
passage
in Plato's
\iinXrjanQiv pnvrdv
Symposium 194
tiijv, St
'AyaOav,
A
.
ISwv T^v a^v dyhpfiav xai ii(ya\o<ppoavvTjv dvafiaivovTos int rov oKpi^avra
fifrd Ttaiy vnoKpiTuiv Kai ^\(i//avT0i (vavria
c(
104
"^yfi'f'o
Suidas
;
toi's
npiafffaiv th
Demosth. Meid.
Plut.
s. v.
naOdpaiov
Cimon
p.
Oia-
48a
Pollux
viii.
Philo-
Apoll. p. 161.
Aeschin. Ctesiph. 48, 230.
strat. vit.
^
rii
74.
II]
ordinary citizens.'
6^
The
order
in
to
On one
Hermon had
the building,
left
late.
But as
was a
it
was
hitch in the
on
damage
the courtesans,
who
forget
all
except
'
'
the
(Dindf.
The
^it^XV^'V
avfintv, (laay,
ff.
70
[ch.
The members
is laid in
more
private gathering.*
Dionysia,
was regarded
as
victory, especially at
a splendid distinction.
first
the
City
On one
prize in both
same festival,
by making a present of a jar of
Chian wine to every Athenian citizen.^
The next day but one after the conclusion of the City
Dionysia a special assembly of the people was convened in
the theatre of Dionysus to discuss matters connected with
the festival.
No doubt a similar assembly was held after the
Lenaea, though the fact is nowhere actually stated. At this
assembly the conduct of the archon, who had had the management of the festival which was just over, was taken into consideration.
Any neglect of his duties, or any unfairness in the
choice of poets and actors, would be punished. At the same
time crowns and other distinctions were voted in honour of
officials who had performed their duties in connexion with the
festival satisfactorily.
It has been pointed out that the judges
in the dramatic and dithyrambic contests were liable to prosecution and punishment if they were suspected of dishonesty in
their verdicts.
Probably such charges were brought forward
assembly in the theatre. Then came the
decided
at
this
and
hearing of complaints as to any violation of the sanctity of the
festival.^
his joy
the defendant
much
Plat.
Athen.
Pax
835.
in his favour.*
'
Cf. ch.
i.
ii4307, 420-
i.
C.
I.
A.
ii.
II]
71
7.
drama
Conse-
lasted, the
tions necessary.
so that
first
it
again,
concerned, unless
'
of Phrynichus, caused so
much commotion
Athenians are said to have passed a law that 'for the future
no one should exhibit this drama *.^ But the law must have
referred to its reproduction at the Rural Dionysia.
At Athens then during the fifth century even successful plays
(
?)
fidaOrf
TO Spdfia 5ia
ri^v kv
h\ kOav-
avrw irapafiaaiv
(prjai
AiKaiap^os.
'
revised edition of a play
called haaicfvq, Athen, p. lio C.
*
Athen.
p.
374 A.
was
72
in
in ancient
[CH.
times in a double
of Euripides which
many
in
which
at
present possess
it.
is
a revised edition
it
Among
us.^
in
in a corrected
form.
uncommon among
New Comedy.
Sometimes the
original
in
title
Thus
we
notice.
felt
the
it
is
from the regular contests, but that any person might be allowed
to compete at the ordinary tragic contests with plays of Aeschylus
If any one offered to do so,
instead of m&w plays of his own.
He would then
the archon was bound to give him a chorus.
take his place as one of the three competing poets but while
his rivals exhibited new and original tragedies, he would confine
Probably the
himself to reproducing tragedies of Aeschylus.
men who undertook these revivals were in most cases celebrated
In this way the plays of Aeschylus were often brought
actors.
into competition with the plays of later writers, and appear
;
to
custom.^
^
Nauck, Frag. Trag.
215,441,627.
" Arg. Eur. Hipp.
3 Arg, Aristoph. Nub.
Grace,
pp.
< Arg.
Meineke,
Aristoph. Pax
Frag. Com. Graec. i. pp. 1074, 1130.
^ Meintke, iv.
116,377. Additional
instances of revision of plays arc to be
;
Philostrat.
vit.
Apoll. p.
1245.
II]
73
It is to
Aeschylus alludes
Frogs,
the
in
when he remarks
that his
868:
poetry has not died with him, like that of Euripides.^ QuThtilian
refers to the
He
accurate.
his language
not quite
is
unfinished
them
at the
way many
competitions in their
of them
won
amended form
and
in this
supported.*^
From
carefully
this
distinguished
Aeschylus had
for
the
first
instances
those
unpublished at his
time by his son Euphorion.
left
It
said
is
that
poet's
death.
And
after
death of
the
On
such occa-
to see the
''
known
Id.
Ran. 868.
Quint. Inst. x.
i.
66.
appeared
^8oo'Va.U/>/^-
74
,
IV :
,
:
( :
,
).
[ch.
He
and those occasions when a man asked for a chorus, not in his
own name, but in order to produce old plays of Aeschylus.
was not
It
till
plays developed
old
into
The
a regular custom.
practice
imitators
the tendency to
of
Euripides.
fall
latter
half of the
fourth century
it
is
found that
It
appears
were sometimes inclined to tamper with the text, and to introduce what they considered improvements, just as the plays
of Shakespeare were adapted for the stage by Garrick in the
last century.
A law was passed by the orator Lycurgus to put a
stop to this practice.
It was enacted that a public copy should
be made of the works of Aeschylus, Sophocles, and Euripides,
and deposited in the state archives
and that the actors, in
their performances, should not be allowed to deviate from the
;
It
is
26.
fe\(0V9,
rds
rpayaiSias
iv KoivS) ypaipanivovs
^vXamiv,
EvpiiriSov,
Kal
borrowed from
^ Plut.
oral. 841 F darjvcyKC 5c
Kai vofiovs . . , t6v 5e, ws xaA./fas finovas
dvaOfivat rwv voirjrwv, AiaxvAou, "Xoipo-
avTwv
He
aWas
vnoKpiviaOou,
Kpiveadai, Diibner.
Grysar
aAAcws vito-
II]
75
III
;
.
to
The
of great poets.
in
from
of characters
impersonations
their
out of the
great
great
exhibited,
it
is
possible
to
last
glean
We
interesting
facts
in
some
who were
iii.
607 Kiihn).
:
,
^6
in
most demand.
Aeschylus,
of tragedy,
Sophocles,
[ch
The
and
three great
Euripides,
Aeschylus.^
On
whom
poets
In the
Poetics of Aristotle
341-339
B.C.
show
Aeschines
is
Oenomaus and
the
Hecuba
The
are
in
Alciphron. Epist.
iii.
48.
^
C.
I.
A.
ii.
Piut.
973.
Demosth.
p.
849 A.
II]
77
which were being acted were the Phoenissae and the Supplices
As
fourth century.
to
it
said that
is
to
the
make
Lastly, the
is
^ Demosth.
de Cor. 180, 267;
Aelian Var. Hist. xiv. 40; Plut. Fort.
Alexand. 333 F; Diod. Sic. xiii. 97.
^ Aul. Gell. vii.
Stob. Flor. 97,
5
;
28
(ii.
p.
211
Meineke)
865
Athen.
p.
584 D.
Demosth.
Soph. Ajax
IV
CHAPTER
III
THE THEATRE
I.
The
Introductory.
is
buildings in
the world.^
It
Recent
shown
of
it
cannot
certainty.
reproduced
Still,
it
in a
characteristics
The
firstly,
to give
an account
its
original form
fifth
century.
It
viii.
INTRODUCTORY
be necessary
at the
to various other
Greek
will
same time
to
make
79
occasional references
The
flat
corresponding to the
and
pit in
This
fact
been
caused,
and
many unnecessary
all
Many
errors have
difficulties
have been
THE THEATRE
8o
2.
The
[ch.
into
It came
developed very gradually by the Athenians.
existence side by side with the growth of their drama. At
Attic tragedy grew
first there was no permanent theatre.
out of the dithyrambs performed by choruses in honour of
Dionysus.
orchestra, or
circular
that
all
dancing-place.
in
ring.
The
first
all
round the
Such
sacrificial tables
up
the victims, or for receiving various bloodless offerings such
as cakes and vegetables.'^ Both the table and the altar were
This table, on which
called by the same name, Thymele."
the coryphaeus took his stand, surrounded by the choristers,
was the prototype of the stage in the later Greek theatre.
The next step in the development of the drama and of
the theatre was the introduction of a single actor by Thespis.
This actor took the part in the dialogue previously played
by the coryphaeus. But the part was now much expanded
and developed. The actor, instead of remaining in the centre
of the orchestra throughout the performance, used to come and
go, and appear in man}^ roles in succession, using a different
costume on each occasion. A booth was erected just outside
the orchestra, for him to change his dress and mask in.
The
'
Pollux
apxaia,
(<p'
altars,
firjiru
Etym. Mag.
^s (aruirfs
ra^iv Ka^ovar)s
k<p'
DOrpfeld
(Griechische
Theater, pp. 34, 278) thinks the A*o?
was the altar step, which in some cases
was of great size. Cp. the specimen
he gives on p. 34. He quotes Pollux
iv. 123 0vni\ij, etT( ^Tjfia ri oSaa, fire
fiwfids.
But this passage does not
Tpa7y5ias.
for cutting
6vfie\i]
notes.
'
Suidas
s. v. aKr]VT]
Etym. Mag.
PoHux
s. v. OvfiiXi).
iv.
123
Ill]
8i
In front of
The audience
it
'
buildings.
their
name.
sat in
*,
The
was preserved
in
Even
tent.
?/fpm,
npoabfSfUfvas,
UAICH
THE THEATRE
82
the
The
chorus.
In
to
maintain
theatre
was
were
stage- buildings
theatres of purely
all
its
ception of a Greek
[ch.
it.
Greek origin
prominent position.
The
general con-
To
wooden
return to the
As
of
Dionysus Eleuthereus
at
the
foot
of the
first in this
festival.
No
doubt
in
the
Roman
in]
Lenaeum was
the
83
original site
'
dramatic
the old
at
spectators reached as
a certain poplar;
genuine
Till
but
it
may
represent a
tradition.
the
end
of the
century
sixth
the
Athenians were
year in which Aeschylus made his first appearance, there was an accident at one of their dramatic performThe wooden benches on which the spectators were
ances.
But
in 499, the
sitting collapsed.
tells us,
was generally supposed, until quite recent times, that the theatre
here mentioned was the great stone theatre still in existence.
But D5rpfeld has made it certain that at least a great part of
this building is not earlier
On
digging
present auditorium
tions consist
fourth
down
it
into
as
is
foundations of the
of two layers.
century,
the earth
shown
*
The term Oiarpov ATjya'iKov mentioned by Pollux (iv. 121) may refer
to the old wooden theatre in the
Lenaeum.
' See Appendix C for a discussion
of the site of the Lenaeum.
^ Suidas s.v. d7r^a(7ci/>oi;0ta. Hesych.
by the
to
the
fragments of pottery
ik/mo,
G 2
See below,
p. 130.
THE THEATRE
84
embedded
in it;
to
[ch.
is
fifth. ^
the
The new
previously rested.
theatre
still
theatre
of Eleuthereus,
From
forward
performances were
transferred to the same enclosure. The Lenaeum was abandoned
The contrary opinion,
as a place of dramatic entertainment.
held.
this time
all
theatrical
used for
most improbable.
The need
would
be felt just as much at the Lenaea as at the City Dionysia. But
there is no trace or record of a permanent theatre at the
Lenaeum. The recurrence of the expression 'contests at the
for a secure auditorium in place of the previous
ikria
'
'
nothing.^
Dionysia were
ances
'
distinguished from
still
in the city
*,
when
all
others as perform-
since disappeared.
Its
position
is
determined
^
DOrpfeld and Reisch, Griechische
Theater, p. 31.
'
Wilamowitz, Hermes,
Griech. Theater, p. 9.
' Aristoph. Acharn.
504
xxi. p. 622.
Plat. Prot.
of
B.C.),
*
by two fragments
ff.
Ill]
the border,
rock at
/.
orchestra.
fifth
marked q and
It
r,
One
centuries
is
in the
when
that,
it
was
85
and
originally constructed,
its
southern portion stood about six feet above the level of the
adjacent ground.
It
embankments
Three pieces of
of the
fifth
ancient masonry,
marked
k,
I,
and
in the plan,
may perhaps
these
Sophocles and
it
we have now
to
on
devoid of all architectural ornament.
The difference is no doubt a great one. Still, it is not perhaps
so great as might appear at first si^ht
The impressiveness
of the old Greek drama, regarded as a spectacle, depended
on other considerations than the magnificence of the building
picture
to
ourselves
'
building,
resting
N
^/^
/
THE THEATRE
86
[ch.
theatre
3.
The
by DOrpfeld
to about the
we have now to
describe, is ascribed
it
are as follows.*
In
all
His
the
and
We
Omega a
letter
letter
it
is
"
p. 415.
Ill]
into
built
inscription
inverted.*
As
the
inscription itself is
fifth
with the
the wall
87
a statue has been found in the theatre, inscribed with the first
half of the name 'Astydamas*. The basis is shown by its shape
have
to
on
fitted
auditorium.
As
is
known
These
it
archaeological
literary evidence.
Astydamas was
that a statue of
date.'^
indications
at
supported
are
that
by
and
notices,
referring
'.^
to
There
the
is
finance
administration of the
among
*
'
Cp. p. 132.
I. A. i. 499.
Tragic Drama of the Greeks, p. 430.
C. I. A. ii. 176.
Plut, X orat. 841 C koi rd iv
C.
B.C.
42a)
call
the
spectators'
seats
'
benches
See below,
'
p. 131.]
THE THEATRE
88
but at the same time
it
is
discuss
it
[ch.
and
will
it
be more convenient to
separately.*
In the so-called Hellenistic reconstruction of the stage-buildings which has been referred
to,
was the
and it is
Lycurgus.
In the first
century a.d. the stage-buildings were again reconstructed.
Part of the frieze still remains, with an inscription dedicating
the work to the Emperor Nero.'^
About. two centuries later
a certain Phaedrus erected a new stage, and commemorated
the fact by some verses on one of the steps.* At this point all
this
to
German
architect Strack,
arrangement of
The new
its
various parts.
theatre,
like
the
old
one,
was erected
in
the
by which it
Its southern boundary may possibly be identical with
side.
certain fragments of an old wall, marked x in the plan.
Within the enclosure were two temples of Dionysus, of which
The oldest,
the foundations have recently been discovered.
marked was the nearest to the Acropolis, and is assigned by
Dorpfeld to the sixth century. It contained the ancient image
of Dionysus Eleuthereus which was carried in the annual
foot of the Acropolis,
t,
*
'
C.
C.
The more
recent temple
^aiSpos ZuiKov
irfv^f
()
Ill]
89
In
it
stood a gold
disadvantages.
also
its
adopted
obvious
in
the
of the theatre
in succession.
parts, the
it
will be
Greek theatre
is
most
the
*
The
last.
See
Athens,
E.
A.
p. 435.
Gardner,
Ancient
' Paus,
pp. 10 ff.
i.
20
"
Griech. Theater,
Vitruv. v. 3, 2.
THE THEATRE
90
4.
The
The Auditorium.
was
name
Greek theatres
called the
for
it
in
'
cavea
'
Greek.
in Latin
but
In almost
all
',
place
is
artificial
means, and 34
ft.
319
in
In
B.C.
The plan
is
front
of the
I.
'*HaTp.s.v.KaTaTOftffl!n(p(i5r]S(VTqf
rdv
virlp
Avayvpaatos dviSTjKt
Ocarpov Tpinoha Karapyvpuaas,
A{(rx/>aros
'
grotto
stood
iru xopijySivnatoi,
inl
-y
^oSk 9f the Acropolis
n
.
taUtntes
Fig. 3.
THE THEATRE
92
victory of Thrasyllus.
[ch.
On
still
/ to
But the reason of the irregularity has not yet been explained,
owing to the scantiness of the remains in this part of the theatre.
The two wings of the auditorium are terminated on the south
by the walls marked a-a and g-g. These walls are of unequal
length, the eastern wall being about iii
88
ft.
They
same
ft.,
If
we compare
it
point of
all is
^ Paus. i. 21.
5; C. I. A. ii. 1247;
Stuart and Revett's Antiquities of
Athens, ii. 8. For a detailed descriplion of the Thrasyllus monument see
termination,
is
several
arrangement utterly
The theatre at Athens was
Its shape was determined
symmetry of design.
its
wing an
E.Gardner,AncientAthens,
p. 403.
THE AUDITORIUM
Ill]
93
its
historical associations, in
point of
in the plan.
It will
This was not the plan usually followed in Greek theatres. In most
of the later theatres the two ends of the semicircle were prolonged
in the same curve as before, so that the inside boundary of the
auditorium formed about two-thirds of a regular
effect
circle.
The
stage.
Nor
is this
surprising.
It
The
boundary
pp. 18
ff.
ff.
THE THEATRE
94
[ch.
front
As
to the south,
and receded
wider at the sides than in the centre, the width at the sides
being about eight feet, the width at the centre only four. The
same variety of curve is found in the theatre at the Peiraeeus
and Dorpfeld supposes that it was adopted in order to give
and
beautifully carved.
'
The illustration is copied, with
a few alterations, from Zeitschrift fiir
rest,
was
pro-
THE AUDITORIUM
Ill]
95
them
which
might be placed. The thrones were originally sixtyseven in number, but only sixty of them are now preserved.
Fourteen of these were no longer standing in their proper
in
footstools
Some of them
Roman times, when certain
Fig.
latest
to
be proved by the
inscrip-
tion in the front, recording the title of the priest or official for
whom
the seat
Hellenistic or
of older inscriptions,
century.
row
The
was reserved.
Roman
period
theatres.
At Megalopolis,
for
Athens.
it
first
Greek
bench was
in
into separate
THE THEATRE
96
[ch.
ment was
that adopted at
standing
intervals.^
line of
But
was taken away.
The object of the change, as Dorpfeld thinks, was to open out
a wide space for the reception of a row of wooden thrones,
a regular
later
in
tier
tier
The
was 33 inches
across,
and was divided into three distinct portions. The first part
was for sitting upon, and was 13 inches deep. The second
part was 2 inches lower, and was intended to receive the feet
It was 16 inches across.
of the persons upon the seat above.
The third part was merely a narrow edge, of the same level
The height of the tiers,
as the first part, and 4 inches deep.
as we have seen, was 13 inches.
If we add to this the 2 inches
of the depression in front,
seat to 15 inches.
for a
man
of average size.
Greek spectator
^
it
to
provide
it
Wochenschrift, April
^ Griech. Theater,
THE AUDITORIUM
Ill]
97
raise
together as
the surface to a
had been
back, the distance between the
possible.
from front to
successive tiers must have been
perfectly
flat
considerably increased, in
provided the
Along the
smaller interval.
The
height, while
requisite
tier
front of the
depression in the
allowing a
much
In the
first
too
narrow for this purpose, and can only have served as general
measures of distance.
For the purpose of giving access to the different parts of
the auditorium a series of passages ran
in
divergent lines;
the spokes of
outside boundary.
tained
additional
of the theatre
a wheel,
makes
to
it
THE THEATRE
98
[ch.
in
make
to
the ascent
more
The
easy.
*cunei* or
'wedges*
in
called
'
called
Latin,
kerkides
',
In
The
to
row
front
'
'
sixty-seven.
Greek theatres of
any size were also intersected by one or two longitudinal
praecinctiones
in Latin.
passages, called
These passages
In addition to the vertical passages
all
'
Greek
in
still
Its
technical terminology.^
'
belts
'
or
'
girdles
may
The
h "^nd /.
From
a road.
e,
it
was
about
15 feet
also intended to
at
is
serve as
Traces of
this
old
when
On
ordinary occasions,
used as a public
it would be
formed a conspicuous object in the midst
of the auditorium is shown by a coin in the British Museum
(Fig. 5), which contains on one side a rude representation
highway.'
'
Pollux
'
Zia^wyt.aTa,
iv.
That
it
123.
C.
I.
G. 4283;
^wvai,
Com
Griech. Theater,
p. 41.
THE AUDITORIUM
Ill]
On
99
rough-
Fig. 5.
The
some idea
The
distance
The copy
Vitruv. V. 6. 4.
is
H 2
i.
i,
THE THEATRE
lOO
[ch.
As
the theatre
was
in the
been
in a
open
much
less
covered building.
crowding of the
intolerable than it would have
situation
He
had
to
to lean against,
own
Plato,
referring
to
the
wooden
time, speaks of
*.'
the dramatic
people.
' Megalopolis
held about 17,000
(Gardner), or 18,700 (Schultz) ; Epidaurus about 17,000 (Gardner). These
calculations,however,should be slightly
Plat.
p. 69.
Symp. 175 E.
THE AUDITORIUM
[II]
the sun.
may
Three
lOI
marble thrones were also set up here and there in the rows
further back. Another change, which involved some disfigure-
ment of the
stone basis,
time.
building,
large
in front of the
was
similar basis
also erected,
probably for the same purpose, behind the seat of the priest
of Dionysus.
5.
The Orchestra.
the orchestra.
of the auditorium.
It
was
its
in the fourth
letter sigma.^
employed
of a wrestling-school.
for
is
It
Probably therefore
this
in
'^
'
Suidas
s.v. aKTjvrj
Tovriari to kcltu
355 B.
Cregor.
...
(6a<f>os
is
17
Koviarpa,
tov OeaTpov.
repeated in
THE THEATRE
102
[ch.
Among
Romans
the
the
Hence the
Greek commentators and grammarians often used the word
now become
signification
When
much
it is
Roman
This
later
confusion.
necessary
The only
its
been preserved
is
the gutter.
This
gutter,
to drain off the water from the tiers of seats, ran immediately
limestone, and
of the
auditorium.
was made of
At the western
It
in width.
it
then ran off in a south-easterly direction underneath the stageIt had no covering, except opposite the vertical
buildings.
passages, where
it
slabs of limestone.
Apart from this gutter the greater part of the present orchestra
belongs to the time of Nero. At this date considerable changes
were made. The stage was probably pushed forward as far
as the two corners of the auditorium. The orchestra, having
been thus largely reduced in size, was covered over with the
marble pavement which still remains. This pavement consists
for the
\6yov
obviously
Toi/
irotovvTat.
Here
Cp. Suidas
Xoyewv.
opxriarpa
s.v.
(TKtjvri
88
'.
THE ORCHESTRA
Ill]
103
when
the orchestra
was given up
to gladiatorial
new
stage.
It
unknown period
It
and too
Roman
stage, the rock was cut away in a straight line, and the
was continued as far as the stage-buildings, the interval
being filled up with earth. The purpose of both these works is
cutting
quite uncertain.^
THE THEATRE
I04
[CH.
is
here inserted,
7).^
The
Fig. 6.
many
When
the
made
ff. ;
ff.
vtrfprjpKf
rwv -navra^ov tw
KoapLc^),
dpfiovias d^
f]
all
various alterations in
pp. 129
Romans gave up
was
the
the performances
the arrangement
Tlo\vK\(iTa) yivoir' dv
d^ioxpfojs ; IloKvHKdTOS yap to Oiarpov
TovTO KOI oiKijfia TO nfpi(ppis 6 iroiTjffas
iroios (s a./.u\\av
rjv.
^ The view is copied from a photograph taken by Prof. Ernest Gardner,
and kindly lent for reproduction. The
plan is from Baumeister's Denkmaler,
iii.
P- 1735-
THE ORCHESTRA
Ill]
105
Vitruvius gives
some
further back.
In
The
distance between the central point of the front line of the stage
if
the circum-
would be found
None of the
laid down by
fact is instructive.
orchestra by the
to realize
Greek
theatres.
very clearly
'
orchestra
in
it
But we may
to the
actual
limit the
mean-
dancing-place,
in
Griech.
Theater,
THE THEATRE
io6
is
[ch.
wide, which
It
on
this principle
sufficiently
complete
The
circle.
out in stone, or
it
This, however,
it.*
might not
is an exaggeration.
;
'^
Here
intersected.
stage
the orchestra
was unusually
large,
and the
in order to
be
These examples
the Greeks had no pedantic feeling on the subject
show
that
In
many
cases, as
it
happened, they
left
room enough
was actually
circle.
full
marked out
to
make
in stone.
At Athens, as we
have
there was
an interval of
several feet between the front row of benches and the circuit
of the orchestra. The interval was filled by a broad sloping
A similar
step, which served as a passage to the auditorium.
passage is found at the Peiraeeus. But in most Greek theatres
there was no passage of this kind, and the line of seats bordered
immediately on the orchestra and the gutter by which it was
encircled.
^
The
gutter
seen,
was a regular
feature in
Greek
orchestras,
THE ORCHESTRA
Ill]
107
was
most
in
cases, as at Athens,
planks.
But this is an error, due
grammarians often used the word
stage.^
The evidence
at Eretria
which lay
'
used
orchestra
denote the
to
of earth beaten
to
It
It is
flat.
Suidas
3.V.
OKijvrj
fitTa
tj^i'
Hesych.
s.v. ypa/jifiai.
(TKr]v^v
rd vapaoK-qvia jj
(v6v9 Kal
avrrj Sc (ariv u roiros o ex
upXrjaTpa.
aaviSoiv Ixa"' to (da<{>os, dxpi' ov Ofarpi(ovaiv oi fiifjioi. Here the word upxrjarpa
clearly = Koyuov.
Cp. p. 102, note.
* Griech. Theater,
Bulletin
p. 116.
de Corr. Hell. 1894, p. 163 t^v opxhorpav Tov Ofdrpov Karaxpicrai (date 269
yeyuvacnv
^ Suidas s.v. CKt^vij
tTra fifrd t^v
opxQOTpav (i. e. the stage) /Scw^os rov
Poll. iv. 123 1) S^ opxh^^pa
Aiovvaov.
toO X'^P^^* ^^ V ''* ') OvfXfKr), the P^fid
For the sacrifices
ri ovaa the fiojpios.
in the theatre see p. 68.
B.
c).
THE THEATRE
io8
altar
have
been discovered.
first
[ch.
time in the
It is
is
still
found standing
first
The only
orchestra.
that they
It
is
of these holes
plausible explanation
were intended
is
it
as that of Priene,
it
of the chorus.
The
name
fragment of
in a
name
for
Thymele,
called by this
called the
It is
it.
Pratinas.'^
was
round about
an orchestra.^
it
and 'thymele
Later
still,
became a regular
when
Romans
the
sub-
become identical in
employed in similar fashion
*
Wochen-
',
to signify the
'
to dvfiv.
Etym. Mag. s.v.
Pratinas apud Athen. 517 B
(fJioKfv errl Aiovvaid5a iroXvnd-
'
stage '}
6vp.(Kr] irapd
p.(v Kwpaihol
Kal
6vfX(\r].
Xoytiov
ev9a de
Tts v/3pts
Taya dvfiiKaf
Phrynichus
p.
163 (Lob.)
OvfjL^Xrjv
rpaycpdul
ol
dyaiui^ovTai
avKTjTal koi ol
'*
kptis,
7)
Bekk. Anecd.
vvv Keyofxei
rj
p.
292
OvfAeki^.
Schol. Arist.
THE ORCHESTRA
in]
109
passages have
say where
any
it
still
it
it
remains,
it is
impossible
ended, or whether
The passage
it
had
Sicyon is rather
peculiar.
A small drain runs underground from the auditorium
to the centre of the orchestra, where it falls into a square tank.
From the tank onwards there is a regular vaulted passage,
which is continued as far as the back of the stago-buildings,
exit into the orchestra.^
at
is
Equit 149
a temple.
But Robert's
connexion of the word with Offxikiov
and riOevai instead of with Ovco is
more than doubtful. See also Mullcr,
Unters. zu den Biihnenalterth., pp. 93108]
in front of
n6.
Griech. Theater, p.
Ibid. p. 156.
1893, p. 404.
p.
281
THE THEATRE
no
[ch.
been substituted for the previous Greek one. But these Roman
passages had no exit into the orchestra, as the remains clearly
show. After running from the stage-buildings to the middle
of the orchestra, they branched off to right and left like the
The fact then that the Romans
letter T, and then stopped.^
built tunnels of this kind, which had no connexion with performances in the orchestra, is a strong reason for assuming
What the purpose of the
that the Greeks might do the same.
tunnels was, whether Greek or Roman, has not yet been
explained, and remains very mysterious.'^
In
all
was
stood side by side with other gates leading into the stage-
Sufficient
the orchestra;
buildings.^
that
to
the
left
leads
in
^ Athen,
Mittheil., 1893,
p. 407 ;
Griech. Theater, p. 157.
^ [Sharpley (Aristoph. Pax Introd.,
trifling with
p. 27) thinks that it is
words to say that the purpose has
not been explained.
He thinks it
certain that these tunnels were used
for the appearance of actors in the
orchestra, and constructs a theory of
the scenic arrangements of the Pax
on this hypothesis, assuming the
correctness of DOrpfeld's theory of
the stage.
But if Dorpfeld's theory of
the stage is to be rejected, owing to
a balance of considerations against it
(see below), then these tunnels do
'
'
The
8).
The
this
part,
it
into
the
to the
is
stage-
defective
impossible
to
We
THE ORCHESTRA
in]
III
Fig. 8.
public.
many
to the theatre
In
Athens there were two others at the upper end of the auditorium
but the main approaches in all theatres were those
between the auditorium and the stage-buildings. The spectators
came in by the orchestra, and then ascended the vertical
passages to their proper seats. In the second place, it was
by these passages that the chorus entered the orchestra at
;
the
commencement of each
play.
The
technical
name
for
THE THEATRE
112
[ch.
'
'
'
inaccurate.'*
6.
The
third
Ruins of
and
last
were
called.
This word
Originally
it
tent in
'
more important
was used
parts of them.
It
* ;
in front of
Poll.
iv.
126;
t(roSo in
Arist.
149
Nub. 326,
Comoed.
p. 36).
e. g.
TTJs
r^v
aKtjvrjv.
-fj
oktjv&s,
k.t.\.
B.C., in Bull.
Corn
Hell.
I.e.).
Hence
scene-painting (Aristot.
Poet. c. 4).
[Miiller, Unters. zu den
Buhnenalterth., pp. i ff., gives fully the
history of the various meanings of
OKT)voypa<pia
aKtjv-f].^
diaipu to 8pdfm.
Ill]
meanings
of the
word are
still
ATA THENS
retained
in
its
13
English
derivative.
The
a Greek theatre
is
intimate connexion
Unfortunately,
history.
many
it
because of its
points of dramatic
interest,
disputed
is
the in-
formation
casual
notices
in
the
old
grammarians.
In
treating
this
The
it
will
light.
The
The
are
marked by cross-shading
the letter n.
They
and denoted by
be seen, of along and
in the plan,
consisted, as will
T^^ THEATRE
114
that there
sufficiently clear to
stone.
[ch.
The
'
it
are to be
It
we know very
late fifth
little
its
upper
its
ground-plan.
stories,
and the
As to its
manner in
no certain evidence.
The history of the stage -buildings during the next two
hundred years or so is a blank. Nothing can be ascertained
on this subject from the ruins. The first great alteration of
which traces remain was carried out in the course of the
which
first
its
front
or second century
century according
to
is
in the
The front of
marked o in the plan.
consisted of a row of columns supporting an
It
is
height, as
*
may
Puchstein,
Die
Griech.
Bphne,
proscenium
entablature.
Its
p. 136.
^
this
made
lor them,
"
Ill]
15
was about 13
feet
its
width
at
different
periods from 4^ to 5^
feet,
but there
is
nothing to
later
The second
was considerably
altered at the
same
time.
The whole
Roman
fashion.
An
in the plan.
projected
much
In
Roman
theatres, as
we have
It
was
also
See above,
I
p. 88.
THE THEATRE
ii6
[ch.
adorned
in front with a bas-relief.
The bas-rehef has obviously been
constructed out of old materials, and has been much cut about,
and curtailed several inches in height, before being placed in its
present situation.
It seems clear that it was intended originally
for the Neronian stage, which must therefore have been about
five feet high.
The position of the front-wall in the Neronian
stage cannot be determined from the ruins, but was probably
much the same as in the stage of Phaedrus (h-h). One
peculiarity of the Neronian reconstruction is the fact that the
old Greek side -wings, with their rows of columns, were
allowed to remain. But how they harmonized with the new
Roman wings and columns it is difficult to conjecture.^
The last change of which we have any trace or record was that
effected by Phaedrus about two centuries later.
The stage was
then lowered several inches, and the front-wall erected in its
Half of it still remains, together with a flight
present position.
of steps leading down from stage to orchestra. Such steps were
common in Roman theatres,and had no doubt existed previously
in the Neronian theatre.
The bas-relief, which had formerly
been a continuous one, was cut into sections, and arranged with
A. D.
is
is
a kneeling
has
been preserved. As to
the purpose of this reconstruction by Phaedrus there is much
But Dorpfeld conjectures that it may have been
uncertainty.
due, partly to the ruinous condition of the old Neronian stage,
One
of these
partly to a desire to
Silenus
make
in
the
manner already
described.'^
7.
We
Ill]
The
'
117
and most
first
seem
light.
Still
there are a
fev\7
from the
if
It is
fifth
down
to the
middle
those of
must have been made of wood, and not of stone. If they had
been made of stone, it is difficult to believe that /they would
As regards tl/eir shape,
have left no traces behind them.
they probably resembled in general outline the earliest stone
structure, and consisted of an oblong building with projecting
side-wings. These side-wings were called 'paraskenia*, because
they lay on each side of the skene or stage, and are actually
mentioned by Demosthenes in his speech against Meidias as
But though the
forming a part of the theatre at that time.^
stage-buildings of the fifth century were constructed of wood
only, they must have been firm and substantial erections, and
The use of such contrivances
at least two stories in height.
by which gods were
as the 'mechane' and the theologeion
exhibited high up in air, would require buildings of not less
than two stories, and of considerable solidity. Hence we may
also conclude that they were permanent structures, and that
they were not put up and tal^en down at each festival. No
doubt, in the course of a century and a half, they were often
renewed, and often changed and modified in detail, as experience
suggested. During the first years of the fifth century, when there
'
',
(TKrjvia
TO.
tirapQi
Kai
to.
virGKaTw
orchestra
(Didymus
by the commentators as
trances to
the
irapaaicfivta.
THE THEATRE
ii8
[CH.
To
actor, they
The
stage
'
*,
As regards
or back-wall.*
'
ov
194
dvaficuvovTOS
fifTcL rS)v
rov OKpi^avra
stage re-
eirl
inroKpiTUfy.
The
ferred to in this latter passage was prothe Odeion. See above, p. 68,
and Mazon, Rev. de Philologie, 1903,
bably
...
P-=^5.
'
Dehan
inscription of
rb [Koytyov
rrjs cktjv^s
279
180
b. c.
els
B. c. rSfv
km
irivaKojv tSjv
Xoyuov (pds.
pp. 49-57, for the
history of this and similar words.
* Delian inscription of 290 b. c. t^v
aterjv^v ipyoXafirjaaai Kal to vpoa/criviov
rpay<f}Sol
dyojvi^ovTai,
Cp. MQlIer,
I.e.,
282
B. C. *s
to
irpoaKTjviov
1.
yparpavTi
c).
In-
npb
the
rfjs
(TKijvrj^ irapairfra&fjia.
Nannio
word.
Ill]
earliest stage-buildings
we
If
we
look
But
feet.
119
in the reconstruc-
when a stone
stage (o~o)
five feet
on each
was
side.
erected, the
It
follows
There
is
Here
too
we
find the
same
outline
and dimensions.
side.''
From
this
evidence
we
are justified
ever
show
it
was easy
for
orchestra
to
was ever
we
p. 112.
THE THEATRE
lao
[ch.
may have
The
drama.
rectangular structure,
stories high,
made
at
each end.
fifteen feet
Between the
similar way.
The
final results
The
we showed
made
in the
Ill]
121
are acquainted.
Eretria,
This, however,
is
From
it
^
Griech. Theater, pp. 100, 102,
Puch113, 120, 143, 147, 150, 156.
stein in many cases assigns an earlier
date, e.g at Megalopolis. (Die Griech.
Biihne, p. 90.)
* Griech. Theater, p. 118.
' Ibid., p. 115.
There is the foundation-wall of a wooden proscenium at
Megalopolis, apparently of the third
century, and running on the same line
But
as the later stone proscenium.
whether it was of the same height is
unknown.
See Excavations
at
Mega-
lopolis, p. 85.
schrift,
THE THEATRE
122
of wood.
wooden
[CH.
was replaced
first
centuries this
in
Roman
first
Greek theatre of
own time he
his
century B.C.
lays
architect,
who wrote
down
as a rule that
about ten
feet deep.^
few years
it
is
X:
<5
to
io
>;
.o v.ai.
5.
Fig. 8 a.
pinakes
',
reasons.^
filled
in
were provided with rims running down the centre of each side,
In others,
to hold the pinakes, as at Megalopolis and Eretria.
the place of the columns was taken by half-columns resting
'
'^
Vitruv. V.
'
7.
ff.
See below,
p.
130
iiij
against pillars, as
These
pillars
123
were
in
serve as a support to the stage, but would serve as a background for the choral performances in the orchestra so far
as one was needed.'' Dorpfeld, who believes that the dramatic
performances also took place entirely in the orchestra, supposes
that the pinakes were painted in scenic fashion so as to serve as
There is not a particle of evidence
a background to the actors.
to support this view.'
Not only would a back-scene interrupted
by columns be peculiar; but the accounts of the theatre of Delos
in the third century b. c. appear to demonstrate that the pinakes
were not used for this purpose. We find there that the joiner
who made a single pinax received 30 drachmae, while the painter
who painted two only received 3 drachmae i obol.* The smallness of the latter sum seems a clear proof that the painting was
not of the
artistic
a very simple
It is
kind
affair,
we should
folding-doors, or of
wood-work divided
in imitation of
into panels.
Puchstein
messos,
made
to
grave
'^
'
with
'
*,
See
Statues, however,
were not
(besides
Puchstein, 1. c.)
at Megalopolis, p. 87 ;
Griech. Theater, p. 116.
Cp. ibid.,
pp. 103, 150, for similar traces at Assos
and Oropus. The architrave of the
proscenium at Oropus bore the inscription ar^wvoOcTTiaasrbirpoaKiiviov KoxTovi
" [See
Bethe, Jahrb. Arch. Inst.
1900, p. 79. There is nothing absurd,
as DOrpfeld seems to think (ibid. 1901,
p. 22), in the proscenium thus serving
two purposes in the two different types
should it not ?]
of performance.
^ See Puchstein, I.e.,
p. 23.
(ibid., p, 102).
The Dalian
inscriptions of 282 b. c. and 180 b. c.
mention vivaKCs tls t6 irpoaicqvtov,
irivaKfs firl to \oyftov (Bull. Corr. Hell.
Excavations
itivaKas
1894, p. 162).
Why
'
Bull.
Com
THE THEATRE
124
[CK.
At Epidaurus,
was
filled
in at
some
late
Roman
may be referring to
may have been thinking of the
Possibly Pollux
or he
Fig. 9.
As
hyposkenion
stein,
'
570).
p.
*
Excavations at Megalopolis,
Chamonard,
p. 296.
Bull.
Corr.
Hell.
p. 86.
1896,
Ill]
125
denoted by the
The
by
b,
feet
Sometimes, as at Eretria, there was no projection, and the front of the wings was continuous with that of
the stage.
In many theatres, again, such as those of Megalopolis and Sicyon, there were no permanent side-wings, and the
In such
stage was terminated at each end by a mere wall.^
cases it is probable that during the dramatic performances
as at Athens.
those ramps
^
The
is
illustration
clearly
is
Baumeister's Denkmaler,
^ Griech. Theater, 103.
shown
taken
iii.
from
plate Ixv.
Bull. Corn
Hell. 1896, p. 595.
' Chamonard (Bull. Corn Hell.
1896,
p. 296), judging from the width of the
The
position of
Epidaurian
I
THE THEATRE
126
theatre (Fig.
6).
It
[ch.
is
first
But probably
floor of
who represented
distance.
The objection
'
would have
to
come up
the ramps and wait at the door of the side-wings in view of the
which
sight
assumes what
they justly
it
is
quite
When we
to
But
it is
owing
to the scanty
p.
425
'
58, &c.
of stone,
* The phrase at litavoi aKrjvai in the
Delian inscription of 274 b. c. appears
Ill]
the stage
nothing
known.
is
Roman
In the
later
Greek
127
theatres,
an
It usually consisted of two
elaborate architectural design.
or three rows of columns, rising one above the other, and
each surmounted with appropriate entablatures and pediments.
an
Its height was often as great at the top of the auditorium
arrangement which was found to improve the acoustic properties
Back-walls of this sumptuous character are still
of the theatre.
in part preserved in the Graeco- Roman theatres of Aspendos,
Tauromenium, and various other cities. But it is uncertain
how far they can be traced back into or beyond the Hellenistic
period.*
It is still keenly disputed whether the supporting
walls for the stage-buildings, found in the ruins of different
theatres, are really strong enough to bear the weight of two
stories.
As regards the doors which led from the back-wall
on to the stage there is no positive evidence to be obtained from
built
in the
was constructed
in
to
kind.]
^
[Vitruvius,
vii.
5. 5, says that
Apaturius of Alabanda, about the
middle of the first century b.c, treated
the architectural back-scene in a fan-
tastic
manner,
and
it
is
therefore
previously.
S.
Angelo
first
There is also a
Inst. 1900, p. 61).
vase-painting from Magna Graecia in
Madrid by Assteas, representing the
Mad
Heracles murdering
(Baumeister,
his
child
with an architectural
I.e.,
60),
THE THEATRE
128
fifth
[ch.
When we come
we
to the third
orchestra.
It
to about
At the
same time
its
the end of
was
The
it.
loss of depth
down
was of no importance
to
in the
Ill]
129
consideration.
It
is
generally
admitted that the Vitruvian stage was well adapted for the later
But from the fourth century down to Roman
kind ot' drama.
times the theatre was used quite as
plays as for the representation of
connexion between
could
not
possibly
chorus,
have
been exhibited on
and
actors
a stage which was raised twelve feet above the level of the
In answer to this objection it may be pointed out
orchestra.
that the only ancient plays which were ever revived during the
period with which we are now dealing were those of Sophocles
and Euripides. Aeschylus and Aristophanes had gone out of
The plays of Sophocles and Euripides could easily
fashion.
have been adapted for the Vitruvian stage by excisions and
If the chorus, as sometimes
modifications in the choral part.
important
share
in the dialogue, its part
happened, took an
on such occasions might be given to extra characters on the
That the old plays were revised and adapted in this
stage.
manner at a later period is proved by the express testimony of
Dion Chrysostomus,* and there is no improbability in assuming
that the same practice had begun to prevail as early as the third
It might, however, sometimes be necessary,
century b. c.
during the revival of the ancient dramas, to provide a means
In such cases
of communication between stage and orchestra.
'
Tragic
452.
S.)
pp. 49
as it
seems
THE THEATRE
I30
There
scenes.*
is
actor's
Herculaneum, which
of steps standing by itself, with an
also a wall-painting at
mask
[ch.
flights
at the top.^
From
these indications
we
see that,
9.
The theory of
to,
ascribes
stone columns and pinakes, and throws back to the end of the
thinks
it
still
The
The
to
theory
is at
it
is
not cer-
tain.
order,
is
common
The form
it
may be very
suggestive.
,**
pp. 322-324.
^
'
Ill]
It follows, in
131
The
fifth
or beginning of
Athens
is
certainly
suggests for
more probable on
According to
DOrpfeld's chronology, the earliest stqge-buildings at Athens
were apparently later than those at Eretria and other Greek
DSrpfeld has conceded that the old skene at Eretria
cities.
is of the fourth or fifth century, and may be older than the
Lycurgean.* But it is hard to believe that the city in which
the drama was first developed should not have been the first
also to provide itself with a permanent stage.
Professor E. A. Gardner also shows reasons of a technical
a priori grounds than that given by Ddrpfeld.
the chryselephantine
statue
The
foundations of
of Dionysus by Alcamenes
are
conglome-
about
b. c.
'
'
'
der
Puchstein,
I.e.,
p. 138.
THE THEATRE
132
it
in
one of his
plans.^
[ch.
is
the support-
Besides
for
l3ovXrj.
of Lycurgus.
The only
fifth
century.'
Tafel
I.e., p.
iii.
i,
139.
The
inscription
is
C.
I.
499.
'
*
1.
c, p. 136.
13.
A.
Ill]
133
10.
We
have
The Stage-buildings
now
in
Roman
Times.
fifth
solid
All
Roman
We
supremacy.
at
Roman
fashion
in the
however, was never carried out universally. It was confined mainly to the more outlying parts of the Hellenic world,
cess,
The
same
is
here inserted.-
Nero was of
the
'
Aristot. Poet.
The
c.
illustration
Lanckoronski,
18,
is
Stadte
ad
unci
fin.
taken
from
Pamphylicns
plate 27.
vol.
i.
THE THEATRE
134
wall of a theatre.
When
[CH.
for dramatic
artistic
On
and
political.
Fig. io.
STAGE-BUILDINGS IN
Ill]
as the regulation
number/
ROMAN TIMES
135
used during the dramatic representations. When the stage was prepared for the performance
of a play, the two doors on the outside may have been covered
up with scenery; or temporary side-wings may have been
all
Aspendos
is
the
early period.
the
'
'
The
was in the size of the stage, which was lengthened at each end,
and deepened by throwing the front of the stage-buildings
farther back.
The height of the stage was but slightly
'
Vitruv.
V.
"
THE THEATRE
136
Roman
In a
diminished.
at
to
[ch.
nine,
theatre
it
little
lower
In
up
Roman
theatres
all
per-
the Greeks,
adopted the
did not.
It is
constructed in Asia
unless this
performances.
The
fact that in
many of these
If the
was eight or nine feet high proves the same thing.
spectators had been placed immediately in front of it, their view
would have been very much obstructed. We know, too, that in
Roman
Hence
still
is
The
Romanizing
it
was
chief purpose of
deep
and capacious stage for spectacles of the Roman type, such as
pantomimes and pyrrhic ballets. The old Greek performances
the Greeks, in
their theatres,
in the orchestra.
As
to provide a
far as the
drama
lyrical
practically disappeared.
still
this
at
is
to the stage.
At Magnesia
feet.
where in other rcspects the theatres were more com'
at
Sagalassos 9
and
at
Tralles,
EXCEPTIONAL STAGE-BUILDINGS
Ill]
II.
The
137
Exceptional Stage-buihiwgs.
we have
stage-buildings which
been those of the normal type. But there are several places
in which peculiar and exceptional structures were erected, either
for reasons connected with the nature of the ground, or for
Some
The
theatre at
of these
may
be worth mentioning.
made
b. c.^
built
wooden
each
erections,
festival.
temple.
Its
26
feet high,
Greek
theatre.
Temporary
scenic decorations
feet
in
Studies,
front
of the council-
1892;
Puchstein,
Gricch.
THE THEATRE
138
chamber.
[CH.
when
this
was done,
wooden
But
one.
is
it
into
in front of
ruins.
it.
"""^T"
I
""
I
T" "T
{I
tmeHsiliiqInI
'
!
-a
o- -i
*^~
JI
O
>
>0
Fig. II.
From
Griech.
Theater,
p.
144.
53
ff.
ff.
Pucli-
EXCEPTIONAL STAGE-BUILDINGS
,n]
In front of
feet deep,
The
columns were
feature
is
filled,
that this
139
it
and eight or
The
in a
curious
modified
left
open,
Fig. 12.
instead of being
filled
up with boards.
is
from
altogether
occasion.^
c.
(Bull.
At
in
THE THEATRE
140
12.
[cH.
Dindorf,
29 Kal ore
lyrical
Prolegom. de Comoed.
rovs vnoitpiTas
5i\iy(T0 (o xo/Joy u koj/jukus^, npos ttjv
(T/crjvrjv acpiojpa, ure St dneXOuurajv ru)v
vnoKpiTwv Tovs dvairaiaTovs Sif^rjei, irpbs
p.
/xcv
irpbs
rov
element
performance
dneaTpiipfTo.
hfjixov
elaijfi (o
in the
x^P^s o
Ibid.,
koj^likos) kv
p.
36
T(Tpaywva)
Cp.
ibid. p. 21
Ill]
interlude.
still
141
con-
original importance
had assigned
to
it.
fifth
written for a theatre in which the actors were raised about twelve
was so arranged
The
This platform
for the
years ago.
Its
existence
To
take the
ancient
authorities
Hermann
first.
'
'
'
ff.
oktjvy]
in
and
Schol.
in a
more
Gregor.
THE THEATRE
142
[ch.
prove that the platform for the chorus was denoted by the
Now thymele *, as we have seen, was a
word thymele \
word which had a great many meanings in connexion with
It denoted, first, the altar of Dionysus ; secondly,
the theatre.
If the passages are carefully
the orchestra; thirdly, the stage.'
examined in which it is asserted that 'thymele* denotes a
platform for the chorus in front of the stage, it will be found
*
'
no case
is
standing
If such
much more
is
or the orchestra.
itself,
language used
different
naturally
In
apparently due to
meanings of the term. In
is
really
existed,
seems incredible
it
as ancient authorities
are concerned,
As
it.
far, then,
the theory as
the
to
On
the theory.
have
to
place, if
first
Nazianz. 355 b.
^Ta
follows
:
In the
Greeks
ddvs
Kal ra
tov fxeaoVj o
KakfTrai 6vfii\i]vapdTOv0v(iv. fifTcLTfju
0vfjL\r}v ^ Koviarpay Tovriari to kcltco
(baipos TOV Ofarpov.
It is clear that
This
vpx'h^Tpo. here means the stage.
appears not only from the context, but
also from the fact that it is said to have
been the place for the /xr/zoi. Wieseler
bases upon the above passage his
peculiar theory that the 'thymele' was
the platform for the chorus, and not an
He relies on the words
altar at all.
yaiai
Tcrpciyaivov
oiKobufiTjfjia
k(v6v.
It
is
But
is obscure.
proves one thing more than another, it proves that the 'thymele'
was the altar of Dionysus, and stood in
the orchestra.
See above,
p. 108.
In addition to the scholium quoted
in the preceding note, the following
passages are cited to prove tliat 9v/ji4\tj
^
'
we should
correct,
constructed an
all
irt
of
first
were
it
objections to
fatal
vii.
ai iroAAo/tts
Ins. Gr.
6750 Su^av
Ka^ovaav
fidfiois,
/3Aot-
Corp.
vavToirjs
(Ira xopoicri
dpfTtjs
iroWaKis Iv
kv
$vfJi4-
\ais.
<JTpafi
(MS.
fj)
123
17
(5) Isidor.
Origpf. xviii.
47
'
et
dicti
second passages
OvfjieKr)
obviously
'
'
Ill]
143
The
fifty
They must
the conclusion
that
this
6).
It
is
difficult
to
doubt that the platform for the chorus in front of the stage
must be regarded as a fiction of modern times.
All the difficulties which this platform was invented to explain
will disappear, if
we assume
that the
stage of the
fifth
cen-
^-//E
144
THEATRE
[ch.
upon a small
It
also
is
in
Horace,
account of the development of Greek tragedy, tells
Hence
Greek sources.
the
tradition favoured
it
it
was a low
later times.
13.
Dorpfdd^s Theory of
the
Greek Stage.
He
stage
in
hunc
if
we
uprights.
'
'^
Hfipken,
Bonn, 1884.
De
Theatro
Attico,
Ill]
period.
believes that
in
all
145
The
and the chorus performed together in the orchestra.
proscenium represented the palace or other building before
which the action took place. The front-wall of the stagebuildings immediately behind the proscenium represented merely
the sky. This theory has been the subject of much discussion
and controversy during the last twenty years. As it has been
accepted by several scholars, it will be necessary to consider
I propose in the present section to explain the
it in detail.
grounds on which, as it seems to me, it must be regarded as
untenable
and to discuss at length the evidence on which
In
the belief in the existence of a Greek stage is founded.
dealing with this subject it will be convenient to divide the
period covered by the Greek drama into two parts, and to
consider first the later part, from about 300 b. c. onwards
and then to return to the earlier period, that of the fourth
and fifth centuries. The evidence in the two cases is somewhat different, and will be more clearly understood if taken
;
separately.
I.
then,
as
to
the later or
'Hellenistic* period.
now
We
was
a narrow platform, usually about twelve feet high and ten feet
deep. This platform was called the proskenion \
In the third
*
century
it
century,
if
Puchstein
is
right, a stone
wooden ones
proscenium was
substi-
What
question
after
we
For an answer
to Vitruvius,
who wrote
first
to
this
a book
century
b.
c,
THE THEATRE
t4^
and
and
[CH.
the course of
Roman
theatres.
it
Vitruvius
called OvficXiKoi.^
2
Ibid. V. 6.
'
Ill]
147
make
could
if
we suppose
that
as
between
the
we have shown,
While
their
he speaks of the
is difficult to
it
'
Greek
theatre,
'
when
Why
quite different.
was
essentially a combination of
attributes ?
p. 386,
flf.
&c.
L 2
See above,
p. 135.
ff. ;
is
1903,
THE THEATRE
148
inconsistent with the
new
hypothesis.
[ch.
and depth
answer exactly to this description. But when we turn to the
Asia Minor theatres what do we find? The average height is
from eight to nine feet, the average depth from twelve to eighteen.
In the face of these measurements it is useless to contend that
Vitruvius is alluding to the Asia Minor theatres.
The type
which he describes is the ordinary Hellenistic type.^
The two facts already mentioned first, the fact that Vitruvius
tells us that every Greek theatre should possess a stage of
a certain height, and secondly, the fact that all Greek theatres
after about 300 b. c. are found to possess a stage corresponding
these two facts appear sufficient in themto his description
But there is no lack
selves to decide the whole question.
of further evidence. Various ancient writers may be cited as
Pollux, in his description of the Greek theatre,
witnesses.
find that in the great majority of cases the height
means of
steps'.^
Why
At
pected to be.]
^ Poll. iv. 123 ai (7/f77V^^(i'i'7ro*ptTwi/
ihiov, 17 hi bpxqorpa rov x^P^^'
DOrpfeld (p. 347, and Ath. Mitth. 1903,
the
p. 419) says that OKrjvij here =
But the mention
stage-buildings '.
of the Ko-^uov in the previous line of
Pollux, and the description of the
{moaK-qviov, almost immediately afterwards, as vvo rd hoy^Tov K(invov,
clearly show that the type of theatre
described by Pollux was one which
If so, this stage
possessed a stage.
must have been used by the actors,
^ Poll.
iv. 127 uaeXdovrfs be Karai
t^k 6pxv(^rpav knl r^v amivTiv ava*
fiaivovai
feld (p.
5ici
Ill]
149
dramas often speak of the performance in a Greek theatre as being partly in the orchestra and
The commentator on the Frogs asserts
partly on the stage.
that the scene with Charon and the ferry-boat must be 'either
upon the logeion, or in the orchestra*. Later on he says that
Dionysus here appears 'not on the logeion, but in the orThe scholiast on the Knights discusses the question
chestra
why the sausage-seller should 'ascend from the parodos on
There are other scholia to the same effect,
to the logeion
which it would be tedious to quote.^ In these passages from
the scholiasts and from Pollux the point to notice is the
They do not merely say that there was a stage
following.
in Greek theatres, but they describe the performance as one
DOrpfeld
partly on the stage, and partly in the orchestra.
The
'.
'.
all
mistaken
Nub, i486,
to the
roof.
But why should the actors have
used steps to mount the house only
when they entered the theatre by the
orchestra ?
They would need them
just as much if they entered by the
doors in the back-scene.
^
Schol. Ran. 183 TjWoiuxxOai XPI
7^v a icqv^v Kid ilvai Kird TTfV kxf povaiav
Xifivrjv Tuv ruTTov enl rov Koyeiov ^ cjrt
'
TTJi dpx;'jO'f'pas.
Ibid.
299
diropovai
Sc
1TCUS
diTu
506 \iynai
5^
irapd^acris
tirftS^
vp6aama.
THE THEATRE
I50
The
scholiasts
in
many
[ch.
They do indeed
or
earlier
authorities to
wrongly ;
when
confuse the
own
observations.
When
it
is
The testimony
same.
is
really
b. c.
It
may be
is
a stage.
To turn next to the archaeological evidence. Excavations
have brought to light several facts which bear closely upon
this
subject
of the stage.
The evidence
See above,
p. 144,
and note
i.
fatal to
^
the
Ill]
One
151
is
afforded
immediately
behind
the
We
find that
proscenium,- or
Now
in
other
what do we find
words,
Sicyon?
at
The
still
stranger manner.
But they
left
They
tpd
the whole
Consequently
Eretria the ground-floor of the stage-buildings was on a level,
at
not with the floor of the orchestra, but with the top of the proscenium. There could hardly be a more decisive proof that
at Eretria the actors appeared, not in front of the
proscenium,
Here
but on the top of it. Then there is the case of Oropus.
the stage-buildings were built upon the ground, and the rooms
behind the proscenium were jDriginally open from end to end.
on the Oropians proceeded to fill up the greater
part of the space with earth, and left only a narrow passage
But
later
1 18.
>
[Noack (Philologus,
Iviii.
p.
6)
away, it is much higlier, and the cutting and removal would be very expensive. But we know nothing of the
Such conduct
is
irrecon-
THE THEATRE
152
cilable with
supposition
the
that
[cH.
the
back'Scene.^
Another proof
The normal
is
we
What then
1 [Noack,
that the
I.e., contends
division of the skene and filling of
half the space with earth is later
scheme of the
light
is
Hellenistic
"^
on the
theatre.
This
would be
argument
in the text.]
^
Chamonard,
p.
1896,
296.
Ill]
153
that in
modern scene-paintings
much reduced
size as
originals.^
similar disproportion.
Again, there
scenium.
*
If
it
is
it
the pro-
^ Chamonard,
Griech. Theater, p. 381.
^ Griech. Theater, p. 381.
1.
c,
p. 294.
THE THEATRE
154
number
[cH.
many
in a
we
find
There
grammarians.
is
is
of considerable width.
At Termessos
it
tion.
would
not,
as
at
Megalopolis and
Thespiae,
have erected
The
'
"
of a
Ill]
the
space
behind
the
proscenium
was
155
of no
matter
importance.
^Ai^AAor
Fig. 13
some
solidity.
is
tall
^
On the subject of
paintings see especially
these
vase-
Heydemann,
THE THEATRE
156
we have been
leading down
discussing.^
Often there
[CH.
is
a flight of steps
to the orchestra."
is
One
steps
of the actors
to
is
the stage.^
century
b.
c,
theatres with a
tall
were employed
O0OOO<^'-^O
OO'-:
")-)>':> J
OCtJOJO0;iCC^:^g*
JOCOOOP*
^S|
w^
J C
steps.
L* "J >
*'
oo
iKaf
Fig. 14.
DCrpfeld
now
But he contends
^
Fig, 14.
Cp. also the specimen in
Griech. Theater, p. 318.
^ Fig. 13.
Cp. also Griech. Theater,
pp. 322-4 ; Baumeisler, figs. 902, 903.
Baiimeister,
fig.
Theater, p. 322.
* Griech. Theater,
903.
p. 327.
Griech.
Ill]
purest assumption.'
support
it.
It is
There
is
157
actors in
all
hardly doubt
can
that
the
in
so,
we
Greece
generally.
One
We
his
later
THE THEATRE
158
It
in
Dorpfeld,
[ch.
overwhelming evidence,
And
in
judging
this
To
turn
now
to Dorpfeld^s reasons.
He
'^
far
to
'
cornice.
stage.
' These facts and measurements have
been kindly supplied to me by Dr. Gray.
Ill]
latter properly.*
It is
159
were raised so as
a good view of
the actors, that he will allow that the actors appeared on the high
stage ; in such cases the height of the seats would make a ten-foot
to give
Romans
we
employed.
But
to thirteen feet
feet
feet
would be
far less of
The
The nearer
this point,
'
Wochenschr.
p. 260.
cf.
different
parts
of different theatres,
modern
theatres.]
THE THEATRE
i6o
[cH.
from some seats therefore less good but when the chorus ceased
to take a share in the dialogue, it became both possible and
natural to raise the height of the stage and so improve the view.
;
Another objection of Dorpfeld's is that in the existing proscenia there is no trace of any means of communication between
the stage and the orchestra.^ But we have shown that such
communication was seldom required at this time, owing to the
insignificance of the chorus ; and that, when it was wanted, it
Dorpfeld replies
was supplied by temporary wooden steps.
that, if the stage was thirteen feet high, the steps must have
been so large as to project a long way into the orchestra, and
produce an unsightly appearance. But this result could have
been avoided without difficulty. Where the stage was exceptionally lofty, the steps might have been placed in a parallel
line to it.
At Tralles, where there is a proscenium of the
Graeco-Roman type, and nearly ten feet high, such steps are
actually found, lying parallel to the stage, and on each side
of the door which leads out from the front wall of the stage
into the orchestra.^
A similar arrangernent might easily have
been adopted, when necessary, in the Hellenistic theatres.
In support of his theory Dorpfeld brings forward an argument based on the theatre at Megalopolis (Fig. ii). We have
already described the peculiar construction of this theatre, in
which the Thersilion took the place of the ordinary stageIn front of the Thersilion, and twenty-four feet
buildings.
distant from it, is the foundation-wall of a wooden proscenium.
This proscenium, however, appears to have been of later date
than the original theatre. Dorpfeld supposes that, before its
erection, the actors performed their parts immediately in front
of the Thersilion, and on the level of the orchestra. He bases
his belief on the following grounds.
The fafade of the Thersilion rested on a flight of five steps, each about thirteen inches
high.
To one side of the Thersilion was a building, apparently
called the Skanotheka, and probably used for storing the scenic
decorations.
In this building are the remains of a low wall,
running in the same straight line as the bottom of the flight of
steps, and about the same length as the stage must have been.
Dorpfeld supposes that this wall was used, in the original state
^
p. 410.
ml DORPFELD'S
He
i6i
supposes
be performed, a wooden scenepainting was pushed out along this wall immediately in front of
the lowest step of the Thersilion, and served as a background.
The actors in front of it must have been on the floor of the
But this arrangement appears to be impossible.
orchestra.^
If the back-scene had been placed in the position he supposes, immediately in front of the steep flight of steps, the
representation of dramas would have been little short of
The actor entering from the back-scene would
ridiculous.
have had to come down these steps to reach the threshold of
the door. At first little more than his legs would have been
that,
to
'
'
scaena ductilis*
(cf.
iii.
The
it
is
when
used,
p.
THE THEATRE
i62
[cH
We
a stage, as
it
would be absurd
to erect
a stage
round the
all
stage-buildings.*
The
erection in front
was
proscenium,
If the
it
Roman
must
stage;
it,
is
sequently divided
in two.
it
The
they dug out to a depth of five feet, and placed spectators there.
The other half they used for theatrical and other performances,
In this way they found
just as it had been used by the Greeks.
that they
and
'
for the future, instead of digging out the nearer half of the
See above,
p. 138,
'
Griech. TJieater,
p. 146,
'
Vitruv. y. 6.
in]
on the
The Roman
and
level,
163
a raised stage.
built
Greek proscenium, but the further half of the Greek orchestra; and
this fact proves that it was in the orchestra that the Greek
actors performed.* This theory is no doubt extremely ingenious.
stage therefore represents, not the
But unfortunately
If
of the case.
stage in
all
it
was
it
Roman
corresponding
in the normal
The Romans
to the
the back
front of the
Roman
theatre this
of the
Roman
stage
Greek proscenium.
is more or less the
Now
case.
by
But the Graeco- Roman theatres of Asia Minor, to
which we have already referred, fail entirely to correspond to
These theatres were among the earliest to be
his hypothesis.
built in the Roman fashion, and might therefore be expected,
more than any others, to exemplify the process of transition
find that the
which he describes. But what do we find ?
occupying
from
one
half
far
of
the
so
orchestra,
stage,
stands
in exactly the same position as the old Greek proscenium.
The orchestra in these theatres still forms nearly a complete
The stage is deepened by pushing the back-scene more
circle.
Further than this, the height of the stage is
into the rear.
not five feet, as it ought to be, but from eight to nine feet*
These examples seem to prove that Vitruvius is more correct
than DOrpfeld in his view of the matter ; and that the Roman
stage was really a modification of the Greek. When we find
in these Asia Minor theatres a Roman stage standing in exactly
the same position as the proscenium in the Greek theatres, and
differing only in being longer and deeper, and two or three
feet lower, we can hardly resist the conclusion that the Greek
proscenium was the prototype of the Roman, and that it was
and
D6rpfeld.
We
The proscenium
in a
called,
b. c,
"
so called by
Delian inscriptions
p. 118.
other
It is
in
This being
ff.
See above,
among
so,
ggg above,
we
p. 135,
are
THE THEATRE
i64
to ask
how
[ch.
naturally led
DOrpfeld's theory.
this
If the
'
'
But
this
The
for revealing
gods
in supernatural
usual device
an(^
employed, there
is
The
'distegia*.
employment are
its
rare.
In
the
therefore,
it
'
supposing that the place which had been the 'theologeion*, or,
the speaking-place of gods
retained
more shortly, Mogeion
its name by a natural conservatism when employed by actors.
This is ingenious but it is surely far more natural to suppose
*
that
it
was
called
speaking-place for
'
logeion
all
all actors,
*
Ath.
Griech. 'I'heater, p. 365.
Mitth. 1903, p. 395.
^ On these points see below, pp. 209Even if we suppose that the
15.
theologeion was used in the cases mentioned on p. 213 to exhibit the deus
ex machina, the text of the plays
shows that the god appeared above
Cp. Ion.
the roof, and not upon it.
1549 wirtprcA^j otituv, Orest. 1631 iu
aiOipos iTTvxais.
'
See below,
p. 186.
[It is also
logus,
1899,
Anz. 1903,418
along because
it
background
was decorated with
columns, while the proscenium was
not so decorated, it follows that when
the proscenium was so decorated, i. e.
in the earlier periods, it and not the
wall above and behind the logeion
must have been the actors' background,
and the actors must have played in
But this is
front of the proscenium.
no proof at all, unless it is assumed
that decorations were o/y employed
ml DORPFELD'S
165
We
We
now come
and
to the earlier
more important period, the period of the fifth century, when the
drama was still in reality a choral drama, and the fourth century,
during which the chorus was rapidly declining in importance, but
was still commonly employed.
For the fourth century we have the testimony of Aristotle.
many
Aristotle in
rrj^ (TK'ijvrjs,
in opposition tO the
word
(TKr)vrj
as the
background
',
'
',
to
make backgrounds
for actors,
and
confirmed by anything
itself,
nor
in the
evidence.
is it
903,
who
have been.
'
tcSt'xfo^^at
m<'/"7
koI
fi^fifioOat,
dfxa
dWa. rd
rwv viroKpnwv
/it
777
T^7y5ia
irpaTTvp.(va
voXXa
fxipoi
f.iuvoy.
Cp.
THE THEATRE
166
the Greek
But
concerned.
is
is
it
[ch.
very
difficult
to believe
of Aristotle.
was some
Aristotle's
essential
all
performed together
in the orchestra,
It is
true that
the actors might, for the most part, be rather nearer to the
For the
century
fifth
we have
is
nothing
in the
It
refer,
that
'at the
performance',
*
as part of a play', &c.,
dearpov later.
He succeeds in
interpreting the passages consistently
like
eirl
this,
writers the
to translate the
respectively.
T^s
"*
two words as
the
full history'
other passage.
* Bodensteiner, Scenische Fragen,
Capps, The Stage in
pp. 699. 700.
the Greek Theatre, pp. 67, 68.
Ill]
the terms
place
the
is
unknown
otherwise
scene
be impossible.
in the
Knights
in
167
Greek.
this
Here Demosthenes
Moreover, in one
translation is proved to
sausage-
seller,
'
It
Eqiiit.
169 a\K' ivava^ifOi Kam
TovXibv roh'i. The significance of this
hne. as regards the present question.
was first pointed out by Zadier. PhiloCp. Muller, I.e..
I05US, 1896, p. 181.
pp. I (T.
* Harzmann, Quaestiones Sccnicae,
White, The Stage in Aiistophanes, 1891. Capps, The Stage in the
Greek Theatre, 1891. Bodensteiner,
Scenische Fragen, 1893. Weissmann.
Die scenische AuflFflhrung der griechi'
'
that
in
visible ascent,
it
was any
THE THEATRE
i68
Then
\zvi.
cited
the earth.
which
made
it
was done.
But there
their appearance in
It w^ould
is
no certain proof
way during
this
the
that they
century.
fifth
these
when Medea's
fail
do
to
so.
For
instance,
But
it
is
by supposing
was any
that there
difficulty in
throw
light
reason
is
to
seem
fifth
to be established.
It
is
century.
The
following
common
Still,
It is
so
&c.
140.
III]
on.
for
169
which there
is
The
is this,
that
it
though the
many
last
certain examples.
we
find that
is
it
of these practices
exits,
But
and look
at
course of the action, for the chorus to come on the stage, or for
the actors to go into the orchestra.
The
instances in which,
apart from entrances and exits, the actors and the chorus can
We
may
mention, as examples,
Antigone, and the scene where the farmers mount the stage to
Opinions
well.
number of
may
instances of this
The
conclusion
this
differ
evidence
is
fifteen."
as follows.
What
On
fifth
then does
it
all
this
the greatest
^
See below,
Rhesus 681
p. 191.
The following
instances appear to
be certain Aesch. Suppl. 208, 832;
-'
Choeph. 22
ir.
ff.
Eur. Suppl.
1.
'
Pax 246
IT.
Many
other examples
THE THEATRE
I70
one place to the other. But, on the other hand, it does not in
any way exclude the possibility of there having been a stage
of some kind or another.
If we suppose that the fifth-century
stage was lower and deeper than that of later times, and that it
was connected with the orchestra by a long flight of steps, or
by a sloping ascent, all difficulties about the performance of the
extant dramas disappear. Actors and chorus could easily pass
from stage to orchestra, or vice versa. The fact that they so
seldom came into contact with one another, except when entering
or leaving the theatre, is a strong confirmation of the view that
there was a stage of some kind, and that it was reserved in most
cases for the actors, while the usual place for the chorus was in
the orchestra.
been
We
choristers (the
'
laurostatae
',
have been one row between these Maurostatae' and the audience.
If, then, the actors had been in the orchestra, with three rows
of choristers in front of them, the obstruction to the view would
obviously have been very much greater. And it is important
to remember that the spectators who would have suffered most
by this arrangement would have been the occupants of the
lowest tiers of seats.
Now
'
Hence,
if
officials
Dorpfeld's theory
ff.
is
and distinguished
Ill]
171
We
about twelve
drops to
feet,
feet,
five again.
Roman
period
says, is
it
it
rises to
suddenly
much
simpler.
There was no stage at all till the Roman period, and then a
stage of five feet was erected.'^ But the figures given by Dorpfeld
are quite fallacious. There was no sudden rise and fall of the
kind he describes. We have no means of determining the
exact height of the stage during the fifth century.
But when
we come to the later period we find that it was not fixed at
twelve feet, but varied from eight to thirteen. There was no
settled
Architects
rule.
naturally
new
tried
experiments.
Again,
early period.
do not
find
when we come
to the
many
Roman
period,
we
In
places
it
drama.
The
amounts to very
little.
The oldest stage-buildings, being made of wood, have
disappeared without leaving any trace behind them. However,
has already been discussed.'
Unfortunately
it
times.
The
There
is
'
[Seats of honour are not of course
necessarily the best for seeing or
hearing (see p. 159, note), but they
THE THEATRE
172
[ch.
stage at
The
last
new theories on
them may be regarded as
prolific
Most of
is
in
He
first
date there
is
'
[Frci. De ccrtaminibu.s thymelicis,
traces back to the second half of the
loiirth
distinction
century the
of
and
and
in black-figured vases,
such reference
is
where
all
we
ft".
iif
173
to question.
fifth
century actors
He
with Weissmann.
later
and
period,
also
it.
platform
for
the chorus
in
the
fifth
century.
larger and
chorus.'
He
for
is
Weissmann.
itself,
and
forth
new
is
Scenische
Auffuhrung,
p.
37.
THE THEATRE
174
But
[CH.
in the orchestra.*
it
is
To
Various Details.
in general.
It is
was intended
to
enormous scale
is
stage-buildings
very doubtful.
'
Vitruv. V. 6.
ff.
Plut.,
1096 B.
Non posse
suaviter,
&c.
II
VARIOUS DETAILS
Ill]
Italian
theatres;
and
Mummius,
that
175
after
his
capture
of
It is probable that
be found of the niches he describes.
an
experiment
adopted in a few
merely
was
plan
whole
the
As far as Athens was concerned, no such extraspecial cases.
to
shown
Experiments
at
and
this
of the stage-buildings,
in
He
adds that
at
for
this
purpose.
on the eastern side of the theatre, though its exact site has
not yet been determined with certainty.'
The temple of
Dionysus mentioned by Vitruvius is apparently the older of
the two temples, marked / in the plan, and lying to the
The
Portico of
Eumenes
marked
same date
5 in the plan.
Vitruv. V. 5.
14.
Id. V. 9.
Plut, Pericles,
'
i6q A.
Paqsan.
i.
I.
Same
references,
THE THEATRE
176
ICH.
Greek theatres
in
The
at a
interior of the
theatre at
some
distinguished, others
Pausanias
honour of Aeschylus, Sophocles, and Euripides.'^
mentions that in his time there were several statues of dramatic
poets in the theatre, but, with the exception
of Sophocles,
and Menander, they were all very obscure indiThe base of Menander's statue, with an inscription
viduals.^
recording his name and the name of the sculptor, has been
Euripides,
unknown.*
is
The
statue of
Astydamas
on the
side,
statement
is
probably a
fiction,
later
times,
it
stated,
is
in
the
statue
theatre.^
of Eurycleides
the
probable that
during the reign of Hadrian thirteen statues of him were
placed in the thirteen different blocks of the auditorium. The
inscriptions on the bases of four of these statues have been
^
Val.
X. prat. 841 F.
Pausan. i. 21. I.
Griech. Theater, p. 71.
^
Suidas s.v. aavr)\v ivaiv(X<i.
See above,
'
'
So
Max.
ii.
4. 6.
C. I.G. 4283.
Plut.
p. 87.
Schol. Aristid. iii. p. 535, Dindf.
Wilamowitz. Aristotcles und Alhen,
It
is
i.
Christ, however (Sitzungs.
p. 363.
bayer. Akad. der Wissen. 1894, p. 3),
thinks the statement about the statues
is true, though the scholiast was mistaken in applying it to the passage in
Aristides.
Athen., p. 19 E.
VARIOUS DETAILS
Ill]
found
the
in
existing remains
of the theatre.^
177
In addition
to
two side-entrances.
Many
when
still
in their
position
the theatre
*
'"
Hesych. s.
See ch. ii.
v. (^Ztiov.
ii.
a8.
On
the
THE THEATRE
178
It was in
assembly of the people was held in the theatre.'^
the theatre that the meeting was convened which condemned
Phocion and his friends to death in 317 b.c.^ In 295 Demetrius,
summoned
all
of a special character,
and
to religious
Dem. Meid.
artistic,
g.
Thuc.
'
viii.
purposes.
93, 94.
* Id. Demetr.
905 A. Muller(Biihnenalt. p. 74) is mistaken in stating, on
the authority of Diod, xvi. 84, that on
the
news
de Cor. 169.
Diodorus
using the language of his
when
the theatre
meeting-place.
^ Harpocrat. s. v.
*
Poll.
"^
Plut.
viii.
Alciphron
*
the
time,
regular
ir(piiro\os.
Lycurg. 51 E.
iii.
merely
132.
Athen. 19 E.
20.
Dion Chrysost.
(Dindf.).
was
is
own
CHAPTER
IV
THE SCENERY
I.
and jnoney were bestowed were the training of the chorus, the
payment of the actors, and the supply of suitable dresses. The
scenery was never made a prominent feature of the exhibition.
All that was required was an appropriate background to show
off to advantage the figures of the performers.
in the character of the ancient
The
simplicity
The
Attic stage,
though
from sixty to seventy feet long, was apparently never more than
about fifteen feet in depth, and was still further contracted in
after times.
On a long and narrow platform of this kind, any
representation of the interior of a building would be out of the
which are
rendered practicable by the great depth of the modern stage,
were impossible. Nothing more was required than to cover
question.
over the wall at the back with a suitable view. Again, not only
were the mechanical arrangements simple, but the number of
scenes in use upon the Attic stage was very limited.
Not only
N 3
its
THE SCENERY
i8o
original character.
It
[ch.
The notion of
merely as a retiring-place for the actors.
it over with
painted scenery, in such a way as to
make it represent the supposed scene of action in the play,
was a development of comparatively late times. The old drama
had no scenic background. The action was supposed to take
covering
place in
room.
an open
is an
district at some distance from the
Otheraltar of the gods, at which the suppliants take refuge.^
wise there is a total absence of local colouring. In the Persae,
hoarding.
In
the
the
next in order
of his plays,
In the centre
the action
The only
tomb of
in
laid
is
city.
also
is
object
laid
at
mentioned as
Darius.'^
some
when we come
It
significance.
But
still
had no scenic
noticeable.
is
The scene
first
is
entrance on a
Septem
IV]
now
laid in
front of a building
frequently referred
In the
to.
Agamemnon
i8r
first
at
appearance of Sophocles in 468, or later than the last appearance of Aeschylus in 458. Moreover Sophocles, if he really
invented it, is not likely to have done so immediately on
his first appearance.
The most probable date, therefore, is
some period not very long before the production of the
Oresteia, and subsequent to the production of the four early
plays of Aeschylus.
Agam.
3,
Choeph.
22,
Eum.
35,
242.
"^
200)
and that
it
first,
into a stage-building.
' Arislot.
Poet. c. 4
aKrjvoypaipiav ^o<poK\r]s.
rpfis
h\
Vitruv.
koI
vii.
to
THE SCENERY
i8a
By
fifth
century, then,
[ch.
we may
regard the
Taking
date
this
it
will
is
a palace or temple.''
In
all
these cases
as Vitruvius describes.
The prominent
feature would
be a
Of
the Ajax
is laid in
it
is
laid
In
of Euripides
*
is
Vitruv. V. 6.
Viz. Soph. O. R., Antig., Electr.,
scene laid
Rhesus.
IV]
On
of the extant
183
the
statement
of
Greek
In the great majority of instances the background would be an imposing pile of buildings, adorned with
tragic scenery.
is
As
to the satyric
drama,
The scene
there
corresponds exactly to the descriptions of Vitruvius, and consists of a country region, with the cave of Polyphemus in
The
in the
is laid
Pnyx.
Birds, in which
region,
filled
the background
The
exceptional character
consists of a wild
therefore, that
even
in the
It
is
the
country
appears,
As
regards the
degree of
stj'le
perfifection to
Viz. the
Landscape-painting was
still
Plutus.
in
its
i84
THE SCENERY
[ch.
architectural scenes
much
It is
true
ings, but in
shows
was
The
ivl
185
stage.'^
The
the scenic
artists.
But
its effect
upon the
would be an anachronism
it
among
work of
to attribute
contemporaries of Sophocles
and Euripides.
The
the
century.
fifth
Eur. Hel,
El. 4 ff.
Poll.
'^
r,
Troad. 1256
Soph.
iv.
131 Kara^XrifiaTa
aSov
yrjs Kal
ovpavov k.t.K.
THE SCENERY
i86
2.
[cH.
The scenery
to
As
the mechanical
So
Miiller,
Poll. iv.
^aWovai
28 Diibner)
aitu
aKtjvri neirotKiXp.ivrj
vapa-
pp.
118,
129
97
Biihnenalt.
142.
K(papi<t>'
iv
6k
axp'
ov
KojfJKvSia
oimvovcny ^ ypaSia
IV]
187
these cases
for
the actor
it
was provided
in
the
way described
that
the
We
instances.
It
that
an elaborate
struc-
ture of this kind should have been erected merely to meet these
occasional requirements.
Further than
this, if
upon
to
the extent
of two or three
likely
It
is
far
more
This
supposition
ancient
flat
feet.
is
which might be
encroaching upon the
introduced
when
without
required,
story,
75,
''
i88
THE SCENERY
decorated in such a
way
conform
as to
[ch.
to the rest
of the
scenery.
If the scene represented a dwelling-housC; there
were windows
young
Vitruvius,
in
For
woman and
need hardly
be remarked that the doors of the building represented by
the painted scenery would correspond more or less closely
with the permanent doors in the back-wall, so as to admit
In the same way,
of easy ingress and egress to the actors.
if the scene was a cavern in a country region, the entrance
to the cavern would be made to correspond with the central
door in the wall at the back. Concerning the manner in
which the scenery was finished off at the top nothing can
be laid down for certain.
It is not even known whether
the stage was covered with a roof or not.
But the analogy
the
girl are
It
Roman theatres, and the general convenience of the arrangement, are in favour of such a covering.^
of
3.
The
The Entrances
question as to the
to the Stage.
it
necessary
permanent doors
to
distinguish
in the walls
surrounding
Vitruv. V. 6.
Vesp. 379, Eccles. 924, 930, 961-3.
Sec above, p. 135.
IV]
189
such doors.
It
of wood.^
The next
In the
part of the
first
Ajax
would be no entrance at all, the background consisting merely of a solitary region by the sea-shore.
the second part there
at
the
back
not
is
Sec above,
p. 135.
'^
PoU.
iv.
124, 126
Vitruv.
v. 6.
THE SCENERY
I90
[ch.
When
the scene
was a
The
the guest-chambers.
led
to
a guest-chamber,
a slaves' prison.
In
much
It
is
wvov
fi
kv 5e rpay^Sla
kanv, dpKrij Sc
17
9vpa (fvwv
fitv Sc^ia
Xata.
to Sc KXiaiov
iv KMfJK^dia irapaKeiTox irapa t^v oixiav,
rrapaveTdcfuiai SrjKovfievov, kox (Cti fitv
rj
araQubs vno^vyiwv
kv 8e AvTKpdvovs
'
fpyaarqpiov
yeyovev.
kcu
Throughout this passage Pollux is
guilty of his usual fault of converting
'AKfarpiq,
IV]
191
heroine Antigone.
is
it
ridiculous to
some
building,
tent,
They
were provided.*
the stage
recent years.'^
to
Many
actors
who
entered or departed
Now
it
is
no doubt
true,
There are
scenes
'
8t/o
about
Poll.
iv.
dvpwv
five
126
tSjv
irap'
itfpl
in
number
TTiv
fttarjv
dWai
TTjv CKTjirjv.
vvv
iiTTtv i^fuxoptoy
dAXo
fjpuxopi.ov k^
dySpwv KaruBtv
irifp-
XPUfvuv.
'
ft*.
ft".
when
the
those
also
enter
actors
in
25
76.
Cf. Aesch.
ft".,
Suppl. ioi8
Pers.
Ale. 741.
Eur. Suppl. 1231
Aristoph. Acharn. 1231 ; Vesp. 1535 ;
Pax 1357 Ran. 1524. For other instances see Bodensteiner, p. 690. Only
one of these cases the funeral procession in the Alcestis occurs in the
middle of a play.
* Alcestis 861
Plutus 253. Capps
(pp. 20 ff.) gives some additional instances but for these there is no clear
evidence,
^
1076.
THE SCENERY
192
On
[ch.
these occasions
all
entirely conjectural.
It is
it
said that,
when
chorus were supposed to come from the same place, they must
always have used the same entrance. In the Philoctetes, for
But there is no
an assumption. It would be absurd to
demand this minute accuracy in the representation of a play.
Then there are cases where an actor on the stage sees another
from a distance
but about ten lines intervene before the
second actor comes near enough to enter into conversation with
the first.- It is argued that he must have had a long way to go,
and must therefore have come round by the parodos. But in
all these places there is nothing to show that the. person
approaching was seen by the audience as soon as he was
descried from the stage.
He may have received his cue
some time after his advent was announced. It is common
enough on the modern stage, when the scene is in the open air,
for an actor's approach to be announced some time before he
necessity for such
actually appears.
We can
value.
They
too,
it
is
said,
IV]
193
how
way
as to
come
to the
assume
Are we to
a distance,
were obvious
reasons for doing so. Still, the existence of the practice in late
times is a presumption in favour of its existence previously.
this later theatre, with its twelve-foot stage, there
pp. 7 16
Harzmann, pp. 45
ff.;
Bodensteiner.
-^
ff.
^^^ SCENERY
194
[ch.
why
the parodoi
On
when
there
was an
easier
all
round by
mode of entrance
close at
As regards
had a
it
5/a^^ the
audience.
ol di
d\kax60v n((6i
d<piKvovfi(voi
Kard
iripav
eiaiaaiv.
the actors:
in Pollux.
IV]
195
and would enable them to follow the action of the piece with
greater ease and intelligence than they could otherwise have
done. The custom originated in the topographical situation of
the Athenian theatre, but was afterwards adopted in all other
Greek theatres, and became a conventional rule of the Greek
The entrances to the right of the audience were used by
stage.
persons from the neighbourhood; the entrances to the left
by persons from a distance.
4.
Changes of Scene.
A change
the Aj ax of Sophocles.
Eumenides the
temple of Athene
at
Athens.^
to
(cf.
this
After Orestes
O 2
trial,
THE SCENERY
196
[ch.
stage.
In
all
sufficient.
For
instance, in the
Frogs
Hades
The background
The opening
Pnyx
is
carried on
Most
of Demeter.
It is
suppose any change in the scenery. The house and the Acropolis in the one case, and the house and temple in the other,
would be depicted as standing side by side. In the Knights
CHANGES OF SCENE
IV]
197
Demos
As
by a few benches.
concerned
far
then
the
as
Old Comedy
is
it
in the
is
in the course
New
In the
to.
Comedy,
to
by the ancient Greek writers are the periaktoi '} These were
huge triangular prisms, revolving on a socket at the base.
Each of the three sides of the prism consisted of a large flat
surface, shaped like an upright parallelogram.
One of these
prisms was placed at each end of the stage, in such a manner
as to fit in exactly with the scene at the back, and continue it
Each of the three sides was
in the direction of the side-wings.
painted to represent a different view, but care was taken that in
*
every case the painting should coincide exactly with the painting
As
in the back-scene."^
the periaktos
it
pre-
Accordingly it was
by revolving both the periaktoi, to make a change in
the character of the scenery at each end of the stage, while the
scene in the background remained the same as before. The
sented a different surface to the spectators.
possible,
Poll. iv.
Ovpwv
126
dv, fiia
ffvfinfnrjyaatv,
SrjXovaa,
rd (K
T^v
aWai
^vo (i(v
(narfpaiOfv, irpus as at nepiaKTOi
Toiv vfpi
j)
5'
tj
/jl^v
(Tf pa
Xifiiuos'
fjLtarjv
8(^ia
rd (K
7roX*a>J,
Kai Ofovi t(
paXiffra
OaXaTTwvs
j)
<t>(t(v
ai irtpiaKToi,
-q
tum
erat
cum
subito
tola
Scaen. pp.
wesen,
Hell.
passage
p.
17
fikvdt^id
d^ui/axfr refers,
THE SCENERY
198
[ch.
The
taking place.
remote country.
periaktos to
This
corresponds exactly with the regulation already referred to, that the entrances to the right of the
audience were reserved for people from the immediate neighbourhood, while people from a distance came in by the left.
The
fact
The
means of the
It
Besides their
p. 261.
ij
twv
5'
bpafinrojv irpoaipvpovs'
im rdy
OdKarrav
17
irfpiaKTovs
noTap.oi'
KartfiaWtTo
^
vpos SfiKvvvra
^ oAAo
ti toiovtov.']
'
CHANGES OF SCENE
IV]
199
The
is
times.
5.
fjirjxavTiv
aipfi
voitjtikus
dvTjp
oktjv^s
iTfpi<p(pofi(VT]i.
Aeschylus
efTectivc
said
is
an arrangement
is
to
have
quite in the
manner of the fifth century, and belongs to the same class as the ekkyklema and the mask, which were certainly Aeschylean.]
quae
nudabatur interior
'.
THE SCENERY
200
been the
first
to
in
[cH.
manner/
this
If the
or
temple,
it,
In the Hippolytus
of love.
When
remon-
a conspicuous
position.'^
common
Pnyx. Walls,
watch-towers, and beacon-towers are mentioned by Pollux
and the presence of other similar decorations and erections can
be inferred from the extant tragedies and comedies.''
the stage to serve as a rude imitation of the
Vit.
Aesch.
p.
K.T.K.
2
STAGE PROPERTIES,
IV]
ETC.
201
There was one piece of realism which the Greeks were not
to, and that was the presence of horses and chariots
averse
We
it
Agamemnon
In the
of Aeschylus,
in the chariot.
mnestra comes
to visit
her daughter
at the
when
Clytae-
6.
The Ekkyklema.
most
alien to all
ekkyklema.^
ff.
We
(cp. 607),
KXrj/jia,
(l(TKVK\rjfia uvo/Jia^fTat,
kui
xph
kKicvKk-rjuaros
Schol. Arist.
Thesm.
oktjv^
Kal
owixara.
96 km kKKVKk-qSchol.
Arist.
oparai
f/
T<i
yap <paiv(Tai.
Acharn. 408 kKKVKKrjfia 8k KkytTat firjxavqpa (v\tvov Tpoxovs X<^*'> o^^p vtpi<TTpf<p6pi(vov rdSoKOvvra (vbovdji ku oiKia
fxaros
THE SCENERY
202
always took place
in
the open
air,
before
[ch.
some temple or
dwelling-place.
inside
it
(Pivra
KarcL
TO
Reisch
refer to a diflerent
kind of machine, by which the backscene was rolled apart, and disclosed
aTpc<p(iv is used,
much
stress
below, p. 206.
THE EKKYKLEMA
IV]
203
abandoned.
But
this was a point on which the Greeks did not lay very much
In such matters custom is everything. To a modern
stress.
spectator, used to elaborate stage effects, the device would
But the Greeks, living at a time when
appear intolerable.
stage decoration was in its infancy, were less exacting in
And when they had once accepted the ekkytheir demands.
All
his
his hands,
body,
victim's
with the
instrument of death in
into
a most impressive
tableau.
fifth
when
used twice in
In the Agamemnon, after the murder has been
the Oresteia.
committed, the platform rolls out, and reveals the person of
Clytaemnestra, standing over the dead bodies of Agamemnon
In the Choephori there is a parallel scene.
and Cassandra.
Orestes is brought into view standing beside the bodies of
Aegisthus and Clytaemnestra, and pointing to the net in which his
father had been entangled and slaughtered many years ago. He
is seized with frenzy, descends from the ekkyklema, and hastens
away to the temple of Apollo at Delphi. The platform is then
withdrawn into the palace.* During the rest of the century
there are many instances of the use of the ekkyklema in
In the Ajax the interior of the tent is exposed to view
tragedy.
by this contrivance and at the end of the Antigone the body
of Eurydice is exhibited, lying beside the altar at which she has
stabbed herself. In the Hippolytus, after the suicide of Phaedra,
her dead body is displayed upon the ekkyklema, and Theseus
takes from it the letter in which she makes her charge against
In the Electra of Sophocles the door is thrown
Hippolytus.
first
It is
Agam.
THE SCENERY
204
to the stage,
[ch.
drawn back
is
again.
In the
the ekkyklema.
is
exhibited
lying prostrate between the bodies of his wife and children, with
when he
it
in
Comedy.
is
Aristo-
In
the
' Ajax
346; Antig. 1293, 1301
Hipp. 808, 857
Soph. El. 1458-75 ;
Hec. 1051, 1 1 18; Here. Fur. 10291402 Eur. El. 1177, 1243, 1276.
^ Thesm.
95, 96 ET. aiya. MN. ri S'
tariv
ET. 'AydOojv f^ipxerai. MN. koI
iroius iariv
ET. ouros ovKKVKKovfid'OS,
238 iviyKciroj Tis ivho6(v 5a5' ^ Avx''o',
26^ (icroj Tis wsTaxi-OTd n' ilcKvKkrjadTo}.
Id. Acharn. 399 avros S' (v5ov dvafidSTjv
;
ET.
ET.
must mean
'upstairs'.
THE EKKYKLEMA
IV]
205
about them.
open,
In the Acharnians,
uncertain.
found
at
It is practically
On
the other
hand
it
^
p.
ff/cT/i/iJ
THE SCENERY
2o6
[cH.
from the width of the rails at Eretria, the width of the ekkyklema may have been about ten feet, and the doors must
therefore have been rather larger. The suggested revolving
ekkyklema might afford more standing room, but there is not
sufficient
evidence of
its
existence.
Fig. 14 a.
that the
to
have
* Schol.
Thesm. 284 iraptmypacprj.
(KKvK\HTai eni to f^u to Oeafxotpopiov.
The words ojdtiTai to Upov are inserted
in the text.
These itapentypcupai were
THE EKKYKLEMA
IV]
207
by.
To
suppose, as
the scholiast
effect
it
suggest
is difficult to
has been suggested that the spectacle was not really exhibited to the audience ; that Apollo, Hermes, and Orestes
It
the difficulty
is
one
for
In
any
rate during the classical period.
They allow that it must have
been used in later times, as it is described in detail by Pollux
but they refuse to believe that it could have been tolerated by
the Athenians of the fifth century.^ The evidence, however,
that
to
deny
its
existence, at
Schol.
Eum.
When
Apollo
64.
(1.
67) says
kolI
vvv
1.
140.
ff.
THE SCENERY
2o8
passages in which
it
[ch.
of
It is difficult to
see
The
is
how
in
There are
which an interior
is
revealed.
ekkyklema.
Those who deny its
existence explain away these passages in various ways. They
say that in many cases the bodies might have been carried
such
contrivance as the
In the same
way
the scholars
it
outside
*.'
It is impossible, therefore, to
their
way
suggested.*
is
explained to
in the
open
air
by the ekkyklema.
As for the objection that the
ekkyklema was a device too clumsy for the refined taste of
effected
fifth
century,
struck
the
blow
',
(a)
Antig.
1301,
were
THE EKKYKLEMA
IV]
The
history of the
drama
many
in
islo^
greatest literary
If the
made any
is
it,
difficulty.
occasionally referred to
mentioned
in a
Delian inscription
The name
of the
third
century b.c.
'
in a
conspicuous manner.
It is
is
7.
Another
importance
than
the
stage,
Poll. iv.
'
129
to;
rSiv
Aristoph.
dfirjxdvajv.
Daedal, fr. 9 (Meineke) 6 ixtjx^voitoios
uvore fiovKfi tov rpox^v i\dv avfKa.^,
(pipovras
The
dva^i^a^ovaiji
Tr)v
was
also called
(oupTjfia,
litjxav^
Suidas.
s. v.
tovs koKws ot
KarTjpTTjvTai f (hpovs dvex*^v rovs int
rov dipos <pipta6ai SoKovvras rjpojs fj
131
alwpas
Otovs.
5'
&v
tiirois
fastened
Anecd.
i.
c^jto^
krjpinivoi.
THE SCENERY
2IO
[ch.
It
was placed
in the left or
could be
western corner
of the
4>d.v(tav.
So Hesych.
s.v. KpdSij.
Pollux
Poll. iv.
eariv
(k
130
17
panupov
5'
yipavos
firjxdvrjfid
Kara<f>(p6p.f:Vov
kip'
The scho-
IV]
211
',
*,
Both
<pnr]v.
Oehmichen (Buhnenwesen,
lAf/TjKijs
liast
p.
Bekk. Anecd.
i.
208
fJ-rjxav^
247)
ijpojos.
f^rjxo-'V^
was
((rn
P 2
dSos
8(i((0Js
ciT(i(TKVK\T]0rjvai
ftoi
tovtov
Eum. 403-5.
Pollux,
iv. 130.
THE SCENERY
212
[ch.
'
'
The
device
is
in other parts
also introduced
the palace.
of a play.
In
and
the
in
Andromeda Perseus
down through
flew
In a fragment
Daedalus
going
ascend
entreats the
to
of the
the actor who is
man in charge of the machinery to give him warning, before he
begins to haul up the rope, by exclaiming hail, light of the
sun '. The ascent of Trygaeus upon a beetle in the Peace was
intended as a parody upon the Bellerophon of Euripides. The
greatest difficulty in bringing her to a standstill.
ahvvarfi.
(fitpfiv
'
Androm.
Med. 1317 ff.
iv.
iravO'
'
Eur.
iv]
213
in use
required.
It
tion.
in his hands, in
It is
9,
Pax 154
ff.
supposed representation of a
on a medallion of the
Roman period, found at Orange, is
given in Baumei.ter, fig. 1832, and
^
theologeion
Griech.
Theater,
Jupiter,
335.
Minerva, and Victoria are depicted as
sitting on a tall and narrow stage,
p.
Poll. iv.
Cvtos vnlp
rai
Otoi,
See also
p.
164.
a-nu hi
toO Of.oKo'^tiov
Trfv (TKT]vr,v (u
vipfi kTH(l>alvov-
130
ws Ztvs
"^vxofJTaaia.
ical
Plut.
oi
irtpi
avrov ty
Aud. Poet. 17 A.
THE SCENERY
214
[ch.
Some
of
the
fifth
century, to
mechane as a
later
and
We
plot.
The
god's arrival
is
described
of play there
is
some uncertainty
was
^
Some
the back-scene ?
Wilamowitz, Herakles,
i.
p. 148.
great
reorganization
of
the
scenic
it>3i.
665
IV]
position
is
215
in
its
presence or
its
absence.
Also
it is clear that from the beginning of the fourth century the
mephane became the regular contrivance for introducing gods
at the close of a drama.
Plato remarks that the tragedians,
when in a difficulty, have recourse to the mechane, and susit.
pend
gods
in
mid-air.*
of the theologeion
is
in
Plat.
(TtfiSav
Ti
its
presence
Cratyl.
425
diTOficiaiv,
km
is
ol
tols
TpaywSoi,
fnr)\ayds
Demosth.
Aristot. Poet.
15.
&(o<popovfi(vy
p,
THE SCENERY
2l6
[CH.
made
at
in
the
the drama,
He
is
allows
end of a tragedy
He
says
^ oaa
p. 133) *
est, deos
Aristot. Poet.
c.
15.
IV]
217
But it will be
the author of the custom which he condemns.
few of them
very
his
plays,
that
there
are
examining
found, on
in
of the situation.
in
much
is
destiny which
There are
awaits
them.
to solve the
is
problems
introduced, not so
His
function
is
confined
to
8.
Several other devices in use upon the Attic stage are briefly
mentioned by Pollux, but his descriptions are so meagre and
obscure that
little
flight
It
'
See
Greeks,
the
Tragic
Drama
of the
p. 245.
aK-qv^ ws
ti npuaconoy,
d<p' Siv
dvifiaivov 'Epivvfs.
THE SCENERY
2i8
But there
[ch.
is
of the plays to show that this was the case, and an entrancein the ordinary manner would have satisfied all requirements.
'
'
Poll.
iv. 130;
Mathematici
Veteres, p. 263). See Weismann, Seen.
Anweis. pp. 45 ff.
2 Poll. iv. 130 KfpavvoaKOTiHov
Heron
(in
Thevenot,
vtpiaKTos
v\\ir)\T].
Weismann
first
to
(1. c.
Heron,
p. 48},
draw attention
1.
c. p.
who was
265.
the
to the passage in
In
Roman
theatres a drop-
Heron, supposes that there was a periaktos high up in the back-scene, and
that an apparatus like that of Heron's
was fastened to all three sides of it, so
that by revolving the periaktos three
successive flashes might be exhibited.
^
IV]
219
When
times.
down
a play
was going
narrow crevice
was
let
In the Greek
drama such
when
Hecuba
In the Troades,
Many
Ovid, Met.
iii.
Ill
Hor. Ep.
ii.
i.
189.
npu T^s
CTKTjvrjs iTapair(Ta(Tfxa'
220
THE SCENERY
mode
while the scenery was being altered between the different plays.
For these reasons it has been inferred that the Athenians cannot
have done without one. But, on the other hand, it has already
been pointed out that it is a great mistake to apply our modern
notions of propriety to an ancient dramatic performance.
The
before the eyes of the spectators before the action could begin.
Yet the audience of those days was not dissatisfied. The Athemay have been equally indifferent in the matter of the
drop-scene. At the same time there is no evidence to prove
that such was the case. And the drop-scene is a very convenient
On the
device, and one that would naturally suggest itself.
whole therefore it seems safest, until further evidence is forthcoming, to regard the question as an open one.*
nians
and there
was
CHAPTER V
THE ACTORS
Rise of
I.
Before proceeding
the
to give
Actors Profession.
an account of the actors
in the
ancient Greek drama, there are one or two points which ought
to
be made
clear, in
In
first place the actors and the chorus were entirely distinct
The chorus was chosen and paid by the
from one another.
The actors were
choregus, and performed in the orchestra.
hired by the state, and their proper place was upon the stage.
The term hypokrites*, or 'actor*, was never applied to the
members of the chorus. It was not even applied to all the
performers upon the stage, but only to such of them as took a
prominent part in the dialogue. The various mute characters,
such as the soldiers and attendants, and also the subordinate
characters who had only a few words to say, were not dignified
with the title of actor*. In the second place it should be remembered that the Greek actors invariably wore masks, and
were consequently able to appear in several parts in the course
the
'
'
When,
therefore,
it
is
said that in
All
it
implies
is
The number
that only
one
of actors in
latest period.
drama was
less
THE ACTORS
222
[ch.
same scene.
The
principal function
The
pauses
in the action.
principal
up the
Of course very frequently the chorus took
but, speaking in general terms, the dia-
filled
At
But
first
in
former
the whole
He
who
took
the part which had previously been taken by the leader of the
chorus, and
Poll.
apxaia,
fias
iv.
!</>*
filled
123 kXios
fiv irpd
rois x^P^^""^^^
S'
^v Tpdnf^a
&eamSos th
Tis dva-
dntHpivaTO.
Arist.
Poet. c. 4 Kai
fiiv (rpafcoUa (yivero)
dnb tSjv ((apxuVTOJU Toi' hidvpapi^ov, ij 5
^Kwfjuvbia) uvb tSjv to. <paK\iKa..
-f)
^ Diog.
Laert. iii. 56 wairep de rb
waKatbv (v ttj rpaywSia irpoTfpov fi(V
fiofos 6 x^pos SitSpaftaTi^ev, vartpov Sk
Qiams tva inroKpir^v f^evpiv xrnfp Tov
V]
was
essentially lyrical.
still
masks,
But as he
is
said to have
employed
it is
might be made
He
decisive
223
introduced a
number of
two personages
Hence
it
was impossible
for
more than
same time.
though essentially
dramatic in comparison with anything which preceded them,
are simple in plot and lyrical in tone when compared with the
the
earlier
plays
Descriptive
of Aeschylus,
The
plot.
dialogue.
Suidas
s.v.
Qiams.
napfaKfvacev.
' Viz.
the Supplices, Persae, and
Seven against Thebes. In the concluding scene of the Seven the part of
Ismene would not be taken by a regular
actor.
Apparently the opening scene
of the Prometheus requires three actors,
unless we are to adopt the very improbable supposition that the person
of Prometheus was represented by a
wooden figure, which was nailed to
the rock, and from behind which the
iii.
The
to Sophocles.
tius (xxvi. p.
fifv
224
T^ii^
ACTORS
[CH.
years,
in place
was performed
But the number in this case was probably due to the choice
of the poet, and not to any official regulation. In regard to
comedy, very little is known as to the steps by which it was
developed. The source of comedy lay in the phallic songs
performed at the festivals of Dionysus. The dramatic element
originated in the interludes by the leader of the chorus. The
process of development must have been much the same as in
tragedy; but the names of the persons who introduced actors
and dialogue into comedy were forgotten even in Aristotle's
The only
time.
piece of information
at three.^
first
introduced
by Sophocles.
^
4, 5; Anon, de
Comoed.(Dindf. Prolegom.de Comoed.
Diomedes, p. 490 K.
p. 27)
;
V]
but this
is
225
The
smallness of the
For
instance,
at the
end of the
beside him.
kill
Pylades, but Pylades says not a single word in reply, but leaves
Orestes to answer for him. His silence is very unnatural, and
is only to be accounted for by the fact that there was no actor
and therefore the poet could not put any words in his
Two of the actors were already employed in playing
the parts of Orestes and Menelaus, and the third was required
for Apollo, who comes on the scene immediately afterwards.
Consequently the part of Pylades had to be taken by a mute
personage. Again there is the scene at the end of the Electra
of Euripides. Orestes has heard his fate, and as he leaves the
stage he bids farewell to Pylades, and urges him to marry his
sister Electra.
Pylades maintains a stolid silence, and the
Dioscuri reply on his behalf.
Here again his silence is due to
to spare,
mouth.
THE ACTORS
5226
all
[ch.
and it
is
astonishing to find
how
successfully the
Jimits,
only.
in
the
smallness
of the
In
large
It is
The
effect
of the piece
is
who crowd
the stage.
In the Greek
drama, owing to the limitation upon the number of the performers, this difficulty was avoided, and a high standard of
excellence maintained throughout the play.
necessary,
among
was
all
the
more
the actor.
It
voice to
spectators.
combined
make himself
It
who
and
if a large number had been required, there would have been
great difficulty in meeting the demand.
The original Greek word for an actor was hypokrites *.
Etymologically the word seems to have meant *one who
histrionic talent with voices of sufficient power,
'
v]
answers \*
one actor,
was only
the dialogue was necessarily carried on between
when
227
there
It is
of the actor, and have given rise to his name, as the old grammarians assert. In the course of the fourth century the old
Attic word for an actor went out of use, and a new one was
substituted.
or
artists
'
As
far as
tragedy
have commenced
to
come
is
artists
may be
*,
said
wards.
was required,
actor
part
is
to
performance which excited the disBut when a second actor was introduced
by Aeschylus, then the actor's profession became of necessity
distinct from that of the poet.
For some time afterwards the
*,
at
that
approval of Solon.'
actors.
own
tragedies, side
century.
Phot.
VfaOai
s. V.
viroKpiv(ffdar rb dnoKpi-
TToXcuoi' koI 6
01 iTotrjTai
rb
irpSirov.
The words
8'
aicov
rbv XaXniSea'
/epir^v avrbs
rbv 5
t(h.tov vno-
f^evpev^ ws di AtKaiapxos
b Mfaa-qvtoi, 2o(/)oA^s.
imply that he employed
These words
Mynniscus for
Q 2
THE ACTORS
228
[CH.
)ajt
It
of the scholiast.*
it
was
in the
occupation.
actors
mere
who
It
beginning of the
came
in
fifth
century
importance.
At
first
the
subordinates,
*
Vit. Soph, vparrov /xiv KaraXvcas
T^v vwoKpiffiv Tov iroirjTOv Sia r^v ISiav
fUKpo<pan'tca' ; Athen. p. 20 F ; Eustath.
Odp-
1533.
' Athen.
; Schol.
Aristoph.
p. 2a
Equit. 534.
* Vit. Aristoph. p.
34 Dindf. ; Arg. ii.
Equit.
The story arose from a misunderstanding of the phrase KaOiivai rh
The Knights was the
Spcifta Si' lai/ToC.
first play Aristophanes produced in his
own name. See Meineke, Frag. Com.
Antiphanes is said
Gr. ii. 928 ff.
(Mailer, Die griech. Bahnen, p. 184) to
have acted one of his own comedies, the
evidence being the inscription in Corp.
Ins. Att.
'
ii.
972
l'A.vri<pavT}']s v4fi(irr05)
Apaaot^oi f*4vois)'
v?;;.
But
it is
[^vne/cfHVTO
'Avt]!^-
V]
229
succeeded
to
uncommon
not
An
dramatic writing.
\sJ
In
when
acting
was brought
To
its
the poet.
The
skill
writing
the evil effects are not very apparent in the extant tragedies^'
The
number of
dramatic performance was, except in very early times, undertaken by the state. The details in connexion with this arrange-
fifth
in
a previous chapter.*
here.
own
actors.
See chap.
i.
p.
44
Soph.
'
Vit.
See chap.
ol
p. 3 Dindt".
ii.
pp. 57
IT.
vnoKptTai,
THE ACTORS
230
[CH.
2.
It
The
distribution
of
Parts
the
among
the Actors.
The
Greek
was called
came the deuteragonist
principal actor
in a
the
the
The importance
The
if
the other
pointed by the state, but was allowed to choose the second and
third actors at his
for
own
discretion.
was confined
to
the protagonists.
figure.
The
Dem.
upon some
Fals.
'
10
Suidas
See chap.
i.
s. v. 'S,o<poKKrjs.
p. 42, ch.
ii.
p. 57.
V]
231
draw
This
the
forth
was
upon himself; otherwise the harmony and balance
Hence the subordinate
of the play would have been destroyed.
being so,
it
the interest
actors
were
strictly
Even
they were made
if
to
tagonist.
jealousy
of protagonists
a play always
who had
is
The
well
a theory
himself^
The
the play
'
Cic. Div. in Caecil. 48 ' ut in
actoribus Graecis fieri videmus, saepe
ilkim, qui est secundarum aut tertiarum
partium, cum possit aliquanto clarius
dicere quam ipse primarum, multum
summittere,
maxime
ut
excellat,'
ille
princeps
quam
&c.
Aristot.
Pol. vii.
leaving
it
a subordinate.
to
in
Such
Greek
theatres in
The story
about Theodorus has caused some difficulty.
Does it mean that Theodorus,
^
17.
of the
coming
play.
The meaning
is
Alciphron, Epist.
iii.
71.
THE ACTORS
232
new
[ch.
character.
liast
by making the
at first, and look about him to see that the coast is clear, while
he addresses a few words to Antigone, who is still inside the
palace.
When he sees that all is safe, he calls on Antigone to
follow after him, and she thereupon mounts the staircase, and
this
servant
of
mask
the
plays
of the
specially
'
V]
of the protagonist.'
name to the
In the Oenomaus
233
The
characters
when he could be
spared.
It
if
the necessities
of the play
demanded
in the part
it.
It
fact,
who bore
Aul. Gell.
vii.
Hesych.
Dem. de
s. v.
Cor. 180
dpovpaios Oii'unaos ;
Aelian, Var. Hist.
;
xiv. 40.
'
Plut.
Dem.
Lysand. p. 466 D.
Fals. Leg. 247.
THE ACTORS
234
The
[ch.
show
by three actors.
Otherwise they are not of very great value. There is generally
no difficulty in deciding which was the leading character. But
it is obvious that the subordinate parts might be distributed in
various ways and no doubt the arrangement differed at different
There are no traditions on the subject in addition to
periods.
those already mentioned. Any attempt, therefore, to reproduce
the exact arrangement adopted at a particular period must
existing plays could be perfectly well performed
depend more or
less
upon conjecture.
3.
Extra Performers.
In the
first
appeared upon the stage, and did nothing more. The second
minor characters with only a few words to
In these cases extra performers were required, either
say.
because the regular actors were already occupied, or because
the part was that of a boy or girl, which the regular actor would
be unable to take. Thirdly, in many cases a small subordinate
chorus was required, in addition to the ordinary one.
The
general name for the persons who undertook these parts was
parachoregemata
This word obviously means something
class consisted of
'.'^
'
K. F. Hermann, Dc distributione
Histoire de
la Litt. grecq.,
iii.
passim.
occurs.
12
Prom.
They
eV
TrapaxoprjyfjfxaTi
avrw
EXTRA PERFORMERS
V]
which
is
expenditure.
It follows,
he had
235
to
Plutarch's
supply them.
if
additional
men were
This conclusion
is
required,
confirmed by
to
and so on.
attendants.
in the
Eumenides requires
flda)\oiTOiT]6(iaa Bia.
Eum. 573
oi
'
(3) Schol.
Xop-qyrjpa
(paaiv
first
avTo
uvopid^irai,
iv
Kai
TTCtrpdxOai
Mipvovi AtcrxvAou.
to
The
mute
stance.
The word
vapaaicqviov, in its
THE ACTORS
236
[ch.
no
feet.*
special reference to
them
in the play.
the address of
is
Megara
to her children
in
the
Hercules
Agam. 908.
ff.,
* Soph. Aj.544
Here.
; Eur. Med. 1021,
Fur. 454, Phocn. 834, Hecub. 978.
EXTRA PERFORMERS
V]
for
237
grown-up
actors.
short ode.
Another example
little
is
son Molossus.^
In the
Old Comedy
on the
stage.
The Propompi
women
of
4.
The
Costume of
the
Tragic Actors.
'
248
43,
94, 729.
THE ACTORS
238
[ch.
came to be
most cases of ordinary citizens, and was dressed
But the actors represented from the first the gods
accordingly.
and heroes of the old mythology. For them a different costume
was required. The practice of the Greeks in regard to this
costume was totally opposed to all modern notions upon the
subject.
Historical accuracy and archaeological minuteness in
the mounting of a play were matters of complete indifference to
the half-human followers of Dionysus.
composed
it
in
the Greeks.
ters
Later on
when bringing these heroic characthey never made any attempt to produce an
Accordingly,
upon the
stage,
Homeric
period.
At
same time they were not content that the heroes and gods
of their tragedy should appear upon the scene in the garments
of ordinary life.
Such an arrangement would have been inconsistent with the ideal character of Greek tragedy.
A special
dress was therefore employed, similar to that of common life,
but more flowing and dignified. The garments were dyed
the
The
in
this
fashion,
The
is
known.
Athen.
p.
Philostrat. vit.
Anecd. Par.
i.
21
ApoU.
p.
19 j
Hor. A. P. 278;
vi. 11
Cramer,
Evanth. de trag.
;
et
com.
(Gronov. Thesaur.
1683); Suidas
s. v.
AfaxwAos.
viii,
p.
v]
this
direction.
239
They
was sometimes
The
latest times.
also
mask,
its
cothurnus, and
costume."
its
flowing robe,
century as a develop-
fifth
drama, appeared
in
While
later
times
Eleusinian
See
by the
hierophants
mysteries.*
Crusius,
Philologus,
Some
1889,
p. 703.
' Schol. Aristoph. Nub. 296 ; Suidas
s.y.Opian^os; Plut. Cupid. Divit. 527 D;
and
torch-bearers
have
scholars
He
^'S costume.
One
was copied
at
twisted
in
the
this
THE ACTORS
240
tradition round,
it
[ch.
and torch-bearers that the first notion of the tragic dress was'
But neither view can be regarded as probable.
borrowed.
That the two costumes were not dissimilar seems to be proved
by the existence of the tradition referred to. But it is unlikely
that the garb used at the performances in honour of one deity
should have been borrowed from the cultus of another. The
resemblance may be better explained by the supposition that
both costumes were ancient religious dresses, used in the
worship of Dionysus and Demeter respectively.
Whatever may have been the origin of the tragic costume,
there is no doubt that the form of it which eventually prevailed
upon the Greek stage dates from the time of Aeschylus. His
creative genius revolutionized every department of Greek
It was he who transformed it into an essentially
tragedy.
dramatic species of art, and gave it the characteristics of
grandeur and terror. It was necessary to make a corresponding improvement in the dresses of the actors, and this reform
The type of costume which
also was effected by Aeschylus.
so
was
well
adapted to its purpose, that
he gradually developed
it continued unchanged in its principal characteristics throughout the remaining history of Greek tragedy.
Subsequent
generations, while making various small additions and alterations, never altogether abandoned the original design.
Our
knowledge of the subject is derived partly from the descriptions
of Pollux and others, partly from works of art.
Few of these
works, unfortunately, are of early date. There is the Naples
vase, belonging to the end of the fifth century, and depicting
The two
who
take the
more or
There
actors
is also
a votive relief
(Fig. 15)
The Andromeda
vase, of the
same
date, exhibits
Andromeda
relief,
if.
V]
241
all
some
way
Hence
i^^m
^''^'
/<*
Fig. 15.
and
figures,
Greek
actors.
The accompanying
Copies of
HAICH
many
given by Huddilston,
in
Greek Tragedy
THE ACTORS
242
(Fig.
16) is copied
[ch.
hundred years,
it is
The
all
bear a strong
common
type.
This
fact
is
said at the
commencement
of
t-
Though
character.
some
specified.
from which
first
to give
it
as
that
never varied
After the time of Aeschylus there is no
except in detail.^
further mention of any radical alterations or improvements in
the manufacture of masks.
The use of masks is indissolubly connected with the style
and character of Greek tragedy. It is said to have added
distinctive character
was the
m ask,
in later times
it
From Monument!
Suidas
s.
w.
s.
V.
Qiams, XoipiKos,
4>/)t5-
vixos.
'
Suidas
AlaxvKos
Hor. A. P.
Aul, Gell, V.
7.
V]
Fig. 16.
R2
243
ij
THE ACTORS
244
masks
it
[ch.
for
one actor
play"
to
difficult, if
drawn shades of
individual character.
The masks
necessarily
was
little
The
Greek tragedy.
Masks were generally made of
^ Poll. X.
167 ; Isidor. Orig. X. 119:
Suidas s. v. etffirtj Verg. Georg. ii.
387 Prudent, c. Symmach. ii. 646.
2 Aul. Gell. V.
7.
;
See
Schol.
fig.
Dem.
Fals.
Leg.
Wieseler, Denkmaler,
23.
p. 42,
256.
v]
especially large;
character
The onkos
personage.
that of
women was
245
less than
that of men.
The
Of
the twenty-eight
men, eight
women. J
for
are discriminated from one another are the style of the hair,
the colour of the complexion, the height of the onkos, and the
To
(1905),
The
strong
is
in
certain or
Nl
^S^~^
THE ACTORS
246
[CH.
and powerful man, such as the tyrant, has thick black hair and
beard, a tall onkos, and a frown upon his brow. The man
wasted by disease has fair hair, a pale complexion, and a smaller
onkos. The handsome youth has fair ringlets, a light complexion, and bright eyes.
The lover is distinguished by black
hair and a pale complexion.
The maiden in misfortune has her
hair cut short in token of sorrow.
The aged lady has white
hair and a small onkos, and her complexion is rather pale.
Attendants and messengers are marked by special characteristics.
One of them wears a cap, another has a peaked beard,
a third has a snub nose and hair drawn back. One sees from
these examples how completely Greek tragedy was dominated
Fig. 17.
by conventional
and
As soon
position.
The
Argo with
^
a multitude of eyes.
Evippe
Special masks
were
V]
247
had the head of a mare. A special mask of this kind must have
been required to depict lo \vith the ox-horns in the Prometheus
needed
given
the
to
in
fifth
represent* allegorical
figs.
17,
that of a
The
18.
man
first
is
the
mask of a youth,
Fig. 18.
known
tragic
refers
Our information
THE ACTORS
248
Aeschylus
Aeschylus
/j
The
object of
[ch.
these innovations
in
the costume,
altogether;^
merely
consisted
in
of the actors."
The
This
latter
view
is
may very
their
social
In this
illustration
position.
between
Whether
very
is
the cothurnus
',
V]
249
Fig. 19.
and had
to
be
lifted
large proportions.'
1
vit.
Soph. p. 2 Dindf.
Lucian, Somnium vel Gallus 26
Aeschin.
Vit.
'
Phot.
Salt. 27.
s. V.
awfxaria
Lucian, de
THE ACTORS
250
The garments
[ch.
They
magnificent.
more
an over-garment or mantle.
The
name
syrto s
'
tunic
On
implies.
it
appears
effeminate by the
Asia.
is
same
in
was concerned
all
the tragic
Pollux gives a
list
of several
if
The
epithet iroiKiXov
brilliantly coloured.
that it was
to the length
shows
As
41,
worksof art
Dindf.
^
Poll. iv.
u6-i8.
c.
41).
V]
251
Coverings for the head were not usually worn by the Greeks
except when they were on a journey. The same practice was
observed upon the stage.
Thus in the Oedipus Coloneus,
Ismene arrives from Thebes wearing a Thessalian hat '.
*
is
the hair-band.*
Poll.
iv.
ii6,
Soph. O. C. 314;
Rust.
^
117;
Varro, Res
117.
ii.
ii.
Poll.
iv.
THE ACTORS
252
[ch.
more
See
n6.
iv.
The
fig.
special tunic
called
18.
was
Poll.
called
K6x-Kttpia.
'
83
The
cloak
was
i<pairr'K.
Eur.
Dindf.
'
Ion 743
Vit.
Soph.
p.
Soph. O. R.
V]
figures
in the
253
Fig. 20.
Fig. 21.
it
humorously made
was only right that the demigods of tragedy
is
THE ACTORS
254
[ch.
should wear finer clothes, and use longer words, than ordinary
mortals. The tragedy of Euripides was altogether more human in"
tone, and a
to
it.
in
The attempt to
and
simple
pure
upon
the Greek stage
exhibit human nature
was bound to appear somewhat incongruous. It often happened
The
result
was not
altogether satisfactory.
He
laughs at their
'
if
',
their
'
',
children.''
^
'^
Monumenti
V]
5.
255
Tragedy and the satyric drama were sister forms of art, descended from the same original. But while tragedy advanced in
dignity and magnificence, the satyric drama retained all the wild
licence and merriment which in early times had characterized
Its
the dithyrambic performances in honour of Dionysus.
chorus invariably consisted of satyrs. Of the characters upon
the stage, with which we are at present concerned, one was
always Silenus, the drunken old follower of Dionysus the rest
were mainly heroes out of mythology, or other legendary beings.
;
Fig. 22.
In the Cyclops
of Euripides,
the Cyclops.
Naples.^
From
this painting
we
Wiese-
ler,
were dressed
in
vase), 3-10,
THE ACTORS
^56
much
the same
way
CH.
same
features,
and
with
flowers
or
(Fig. 22),
to,
which
as in tragedy.
their
The
animals.'^
is
figures
in
the illustration
is
unknown hero
represents
His body
is
His tunic
Hercules.
The
first is
His
otherwise he
The second
shorter, and
of mythology.
;
The
is
still
Specimens of the
first
kind of dress
\iT(ijv
y^opraio^,
/xaWajTos,
wool
dfi-
(pifiaWos,
Suid.
vii.
^
7a
s. V. xt>^'''<"o?
;
Dion. Hal. A. R.
40.
articles are
iii.
These
V]
6.
257
We
Fig. 23.
same
which Attic
There are many points in common
between the two. In both the phallus was regularly worn. In
both a frequent source of ridicule was found in parodies of
tragic dramas, or of legendary fables.^
On these grounds it
was long since suspected that the costume of the Phlyakes
might resemble that of the old Attic comedy, and might be used
to illustrate it.
This opinion has been confirmed by recent
originated in the
investigations.^
An
gives
throws much
HAICH
light
THE ACTORS
258
Stage
costume,
and
holding their
masks
[CH.
in
their
hands.^
There are also a number of terra cotta statuettes, of Attic workmanship, and belonging to the end of the fifth and the beginning
of the fourth centuries, which apparently represent figures from
Copies of two of these statuettes (Fig. 24) are
the comic stage.
here inserted.^ The costume found on the vase and in the
statuettes is much the same as that depicted in the Phlyakes
It seems certain, therefore, that the dress of the
paintings.
Phlyakes was akin to that used in the old Athenian comedy
and it is now possible, from the sources just enumerated, to
determine the general character of this latter costume.
The Old Comedy was the direct descendant of the boisterous
Fig. 24.
Coarseness
and indecency were an essential part of it. The actors therefore regularly wore the phallus.^
This fact, which is expressly
^ The
illustration
Compte Rendu de
from
is
taken
la
Commission
'
v]
259
made of some
elastic
knitted material, so as to
fit
close
to.
the figure.
it
The masks
of the Old
Comedy
1308
^tpafxtvT]
Le Nu dans la Comedie
to show that Aristophanes' use of the phallus was ex^
[Willems,
Ancienne,
tries
886, Thesm.
1181, Ach.
He
Pax
1198, Ran.
fall
two
into
mute
parts
kraipai absolutely
classes,
those
were played by
nude
The name of
very doubtful.
' For
the references see
BQhnenalt. pp. 249 ff.
S 2
Muller,
THE ACTORS
260
[ch.
When
-^
* Poll. iv.
143 Platon. de Comoed.
(Dindf. p. 21) ; Aristoph. Equit. 230
Ael. Var. Hist. ii. 13.
2 Poll. iv.
143 km rb yeKot&rtpov
;
iOxty^o.TiaTo.
^ Schol.
Anstoph. Acharn. 97 ;
Arisloph. Av. 62, 94, 104, 1203 (with
Schpl. ad loc), 1508, Acharn. 575 ff.
^ Muller, Buhnenalt. p.
253.
v]
261
He points
has a very plausible conjecture on the subject.*
out that in the early Attic representations of Bacchic scenes
there are no traces of figures resembling those of the old comic
The
actors.
on) of satyrs.
On
is
two respects
in these
their
who resemble
the
the
on one of the vases, and show that they were not human
beings, but creatures of the goblin type.^
may very
well
to
that
of the
traditions;
and
much
pp. 89
"^
Inst. 1893,
ff.
'O<pe\av5pos, "OftppiKos)
KOrte, p. 91.
is
(Euvovs,
given
by
THE ACTORS
262
was transferred
to
Rome
[ch.
in the translations
of Plautus and
There
writers.
is
As
As
first
all
was
no lack of
In the
New Comedy
the
essentially a
masks
life,
and
human
character,
it
is
more appropriate
to
it.
all
the spectators.
to
/
I
in
the
although in
strange thing
that,
Comedy was
a faithful
New Comedy.
all
But
it
is
New
and
manners, the masks employed should have been of the most
The fact is expressly
ludicrous and grotesque character.
stated by Platonius, and is borne out by the evidence of
numerous works of art.^ There was a total disregard for
The exaggerated eyebrows
realism and fidelity to nature.
mouths
distorted
an
utterly
unnatural expression
gave
and
Such masks were perfectly in keeping with
to the features.
the tone of the Old Comedy, in which parody and caricature
predominated. But it is strange that they should have been
adopted in the New Comedy, which otherwise was praised
for holding the mirror up to nature.
The reason probably
The excellence and humour of
lay in the size of the theatres.
finely-drawn
mask
would
a
have been lost upon an audience
representation
For a
list
illustrating
p.
21
kv hi
TTJ
fjieari
vpbs rb 76X0*0x6-
of ordinary
pov kSrjfuovpyrjcav
irpoaojirfia
ttjs
b<ppvs oiroias
life
(X^h **
oircos
(^(aTpaixyii-
avOpwirocv
v.
27-
v]
Of
263
New
His
list
list
list
are included
all
New
man, the
prodigal son, the rustic youth, the heiress, the bully, the pimp,
the procuress, and the courtesan.
For
all
these
characters
New Comedy,
upon the
* Fig.
25 is taken from Archaeol.
Zeitung, 1878, Taf. 4, and represents
the masks of a girl and a slave. The
original is a wall-painting at Pompeii.
Fig. 26,
menti
which
Inediti,
is
xi.
". 3. 74.
THE ACTORS
264
[CH.
H^^^^^l
> I^V#^^^^^^^^^^^^^^
bi
^H\
Fig. 25.
Fig. 26.
V]
or
Red
ill-health.
rogues.
When
racteristic.
in
The hot-tempered
265
who
alternated between
fits
of^
passion and
fits
the other in
its
of his face to the audience which was best in keeping with his
temper
at the
moment.
straight
Fig, 27.
Greek type but old men and 'parasites' occasionally had hook
noses, and the country youth was provided with a snub nose.
Sometimes the ears showed signs of bruises, to denote that
the person had frequented the boxing-schooL
The modern
equivalent would be a broken nose, but among Greek boxers
the ear was the part principally aimed at. The above abstract
of the account in Pollux, together with the illustrations on the
;
mask employed
The costume
some
in the later
of
comedy.
New Comedy
was copied
-^
THE ACTORS
266
[ch.
The covering
same
life.
way.^
New Comedy,
The
7.
The
Speechy Song,
and
Recitative.
variety of accomplishments.
The words
spoken and partly sung, and it was necessary that the actor
should have a knowledge of music, and a carefully cultivated
voice.
He had to combine the qualities of a modern actor with
^hose of an operatic singer. In fact the Greek drama was not
* This
shoe was called l^t/Sas in
Greek, and soccus in Latin see Ammon. de diff. vocab. p. 49 Aristoph.
:
Nub. 858.
The
illustration is
from Monument!
AND RECITATIVE
SPEECH, SONG,
v]
unlike a
mode
267
The
it
question
in
Greek,
it
certainty that
the
It is
It is
second century a. d., when the chorus had either disappeared from tragedy, or been very much curtailed, some
in the
Aristot. Poet.
fiZtai
T(i
c.
ha niTpwv
6 rZ 5k x<^P^^ "^o^^
tvia fxovov iKpaive-
'inpa
St(i
ix\ov9,
c.
4
rd
oiKfTov fxerpov (vpf, fidXiaraydp \(KTiKdv
Tuv ixiTp(x}V rb iapi^tlov eariv.
2 The mark C (canticum) denotes the
part which was sung, D V (diverbium)
the part which was spoken.
These
Xf^fojs
dk
ffvofjievTjs
avTT}
17
(pvais
parts of others.
THE ACTORS
263
of the
sung or chanted as a
sort of equivalent.
self speaks
bad
and degeneracy.
can be little doubt
taste
there
[ch.
The
spoken.
But Lucian
disapproval,
as
hi
sign
I
of
that
sung.
was
also a third
parakataloge
',
It
was
mode
called
it
was
allied in character to
mation.
in
attb
(TKTjf^i.
The
called to.
solos (in tragedy)
Kufx/ioi.
fiovcuSuy, fxovwSia
Suidas
s.
in
vv.
SPEECH, SONG,
V]
AND RECITATIVE
269
was
originally
employed
for the
show
it
that
was used
and
and of regular anapaestic dimeters.
recorded of the actor Nicostratus that he
in the delivery of iambic, trochaic,
anapaestic tetrameters,
Thus
it
is
distinctly
accompamment
Then
flute.'^
again,, the
to lead
off the
'
iroitav irpocre^evpc
8(
rwv
ravra Kpovaiv
Trepi
T^v Kpovaiv, ra
5'
crt
KaraSfi^ai,
(W
Tovs
rpayiKovs
troir^Tas.
(V
oh yap
{(prjai)
Athen.
Toiis
p.
idfxPovs
rfSov, lapi^vKas
Xen. Symp.
vi.
3 wanfp "SiKoarpaTO^
asked
scholiast
theaccom-
KariXtyiv.
^ The two groups of trochaic tetrameters in the parabasis were called
knippijfia
in Dindf.
*
^ScaOcu, ^Apx^Xoxov
ovtco xP'7<^<*<^^'
(pact
636
the
to
is
i\(yov
Trpds xopoK Xiyeiv, ore rov vnoKpiTov SiaTiOffifvov rfjv ^^o'tj', 6 xo/w?
cjpxfiTO. 5i6 Kal iKkiyovrai us eirl to irAorov kv roTs toiovtois to. Tcrpafierpa, -q
to,
dvavaiariKo.,
rj
to.
pv9p6v.
SioL rb
tov toiovtov
lafx^iKO.,
THE ACTORS
270
paniment
of the
flute
This
'.^
[ch.
means
statement
that
the
were given
terms
in
Lastly, there
recitative.
and
is
song are both used of anapaests, implying that they occupied an intermediate position.'^
For these
and other similar reasons it appears probable that recitative
was employed in passages written in the metres already
specified, that is to say, in iambic, trochaic, and anapaestic
tetrameters and in regular anapaestic dimeters.
It seems
too that on certain rare occasions it was used in lyrical
^
speech
passages.^
may
It
The
instrument
flute.*
formerly been
[the
flute-player.*
Birds,
when
the
chorus makes
birds
is
instrument
which
Kifioav KpeKova
I
Bau-
SPEECH, SONG,
v]
when
has to be
AND RECITATIVE
the parabasis
is
271
As regards
the
we
at the Soteria,
one
flute-player
was
Birds Procne
has to come
down from
the
stage
In the
to
the
in
order to
of Dionysus.
Aristoph. Av. 226 ff., 659 ff.
Luders, DiedionysischenKQnstler,
pp. 187 ff. Schol. Aristoph. Vesp. 582
eOos S< ^v iv ToTs o5ots t^s Tpar/tp^as
XopiKwv irpoawirojv irporfyuaOai avXrjTTjv,
1
'^
THE ACTORS
272
8.
[ch.
make
it
stage,
In the
first
far
it
is at
present.
expressing
all
was
in the
open
air,
and was
v]
ancient author, he
273
which
is
emphasized,
is
And
plishments.
little
is
it
referred
to
in
much
not so
is commended.
The highest merit, on the
was
have
a
voice
that could fill the whole
Greek stage,
to
Numberless passages from ancient authors might be
theatre.
won
of Alciphron,
tyrant of Syracuse,
as
distinction
Dionysius, the
'."^
company of
As he wished
of his tragedies.
an
talents as
He
actor.
order
At this contest the actor Epeirotes
to display his powers.
'was in splendid voice, and as his tones were more magniThe above
ficent than ever, he won the greatest applause'."
instituted
passages
are
reference
in
particular
to
festival,
actors.
in
Remarks
Demosthenes
actors should be judged by
is reported to have said that
According to Zeno
their voices, politicians by their wisdom *.
powerful
voice and great
an actor was bound to have 'a
about acting
in
Aristotle
strength'.
defines
mode
the
actor
is
'responsible
Tpa'y<f)8J.s,
iTpujTvajv
rfi
/ifyoAo^cui'ja
Alciph.
iii.
48
8^ t^
his
h\v
ycfu-
it
to
Lucian remarks
only*.
voice
irpSiTov Zih,
Plato
968'
KOI T^ 5of]7.
2
for
of adapting
* Lucian,
Nero
'Hireipwrrji
apiaia <pojpr}s x*"'> fvSoKi/Miv S' lir*
0VT17 nai Oavfxa^uncvos Ka/jivpoTfpq. tov
uoiOoros.
^^^ ACTORS
274
would expel
ideal state.
from his
recorded by
[CH.
'
CicerO; that in
modern
times.
many
from
the highest to the lowest.^ They had to be careful and abstemious in their diet, as excess in eating and drinking was
found to be inconsistent with the possession of a good voice.*
The importance attached to this particular quality in the actor's
art was not always beneficial in its results.
Actors were sometimes inclined to violate good taste by intruding into their
performances mere exhibitions of skill in the manipulation of
the voice.
They were ready to catch the applause of the
populace by startling effects, such as imitations of the rushing
of streams, the roaring of seas, and the cries of animals.''
Moreover, it was a common fault among the ancient actors
that,
and unnatural.
forced
tone
of the
lences
of voice
exercise.
tragic
actor
natural
seemed
to
Legg. 817
''
Cic.
Unlike
thoroughly
other actors, he
^ Plut.
oral. p. 848 B rovs rnroKpiTa$ </)?; hiiv Kpivuv Ik rf^s (t>wvTJs. Diog.
Laert. vii. 20 t^v (liv <f><uv^v koI ttiv
<pojVTJs
their notes
artificial
the
all
Plat.
KoW'ufKuvoi vnoKpiTai.
in Caecil. 48
div.
'
possit
quam maxime
^
*
clarius
ut
excellat '.
ille
princeps
Athen.
p.
343 E.
*
cum
dicere
aliquanto
multum summittere,
V]
9.
275
tragic
in
distinct utterance
'
of this kind.^
be
found
modern
in
and a
theatre.
slovenly recitation
of
poetry,
failure to
fj
KoX
TtoiovvTa^,
iifiT\aafi(VOJS
@(o5(vpov
dWa
tpojvf]
uri
kffdv
hoKfiv
oiov
ntnovOe npos r^v rSjv
v((Pvk6tojs
dWajv vnoKpnwv ^
Tos ioiKiv uvai, at
p.tv
S'
dWin-piai.
^
Lucian, Anachar. c. 23 avrol Si (ol
Tpaywbol) ptyd\a re iKfKpdyioav nal
Sii^aivov ovK oiS' onoji datf>aXa)s (v tois
VTTodrjpxiai
p.iv
oi Si
KojfiwSot (ipax^rtpoi
Koi tfTTOV
Kayser)
kapvyyi^wv, tpapvyyiC^wv
Deni. de Cor.
262.
* Cic. Orat.
25, 27.
ffiuCtiV,
T 2
THE ACTORS
276
He
[cH.
if an actor should
by making a mistake
says that
common enough
claimed as
if it
was
is
be found in
to
modern
theatres.
No
It is
day to hear blank verse dewere prose. But among the ancient Greeks
correctness of rhythm in poetical recitations
at the present
just as instinctive as
among ordinary
is
If an
The
Of
course
it
is
make
ancient costume.
while trying
lolaus
to
overcome by
knocked down by the Argive
in a fainting-fit,
is
protect
the
children
Cic.
26.
de Orat.
iii.
of
Hercules.
flings herself
V]
277
Hecuba, at
from a rock on to the funeral pyre beneath.
the beginning of the Troades, lies stretched upon the earth
in an agony of grief; and later on, when she hears the doom
of Cassandra, she again falls prostrate.* But although, as we
see from these examples, the tragic actor was not debarred
from the ordinary use of his limbs, still the character of his
dress must have made violent and impetuous movements a
matter of great difficulty. Even if they had been easy, they
would have been inconsistent with the tone of the tragic stage.
The world of Greek tragedy was an ideal world of heroes
and demigods, whose nature was grander and nobler than
that
of
human
The
beings.
realistic
portrayal of ordinary
tableaux.
The
Eur.
Suppl.
1070,
Troad.
1058)
Ajax 865,
462.
Polymestor (Hec.
and the
Delphic priestess (Eum. 34) speak of
themselves as crawling out on ^11 fours.
36,
THE ACTORS
278
[ch.
and violent gesticulation. The statuesque style of acting continued on the whole to be characteristic of the tragic stage, and
was indeed the only proper style for Greek tragedy.
ID.
it is
mentioned.^
The
siderable.
among
the Greeks
8J
fijyS'
6pxr}(Ti5,
dW'
1)
tpavKcov, oirtp
kol
in
KaWimridri
^
Vit.
Soph.
aov (k twv
toTs
Sc
MoiJ<ra<f
ircircudcv^fvojv
6ia-
avvayayuv.
V]
279
A translation
as throwing light
Dem.
C.
'
I.
A.
ii.
Dem. Meid.
551.
15, 58-60.
THE ACTORS
a8o
[ch.
honour of the gods, and the actors and other professionals are
described as ministers consecrated to the service of religion.
The maintenance
of their privileges
is
celebrations discontinued.
The
inscription
is
a decree of the
From
the time of
the
fourth
made
familiar to the
most
C.
Kunstler ; Foucart,
Les Associations
V]
II.
281
archives,
and
in
As
was nothing
bat
'
'.
Dem.
de Cor. 21.
^
Dem.
Fals.
6 ; Diod.
681 D.
Plut. Alex.
'
Plut.
Leg.
Sic. xvi.
315, de Pace
Plut. Alex,
;
92
669 D.
848 B.
orat. p.
Gellius,
THE ACTORS
282
[ch.
manner of
seems
life
to
left
them no time
His remarks of
12.
may
more
little
Un-
One
interesting
he considered
He was
realistic.
especially
of the younger
representative
severe
upon
generation
Callippides,
of actors.^
the
This
But
it
was
in the
it
rightly.^
Xen. Symp.
26.
c.
iii.
11
124.
Plut.
Ages.
p.
607
cele-
Macar. Cent.
iii.
46
KaWivniSas
Prov. Coisl.
V]
Polus of Aegina,
who was
283
name
is
to
by
He was
about
told
is
him
to
the following
effect.
well-known story
Soon
after
the
ashes of his
act
to
forth
a lamentation
over his
produce
pours
the
greatest
was no
fiction,
but
reality.''
The
in the
time of Pausanias.^
Rhet. Grace,
an sen. 785 C.
Gell. N. A. vii. 5.
'
Plut,
vi. p.
35 (Walz).
de se laud. 545 F.
Plut.
'
Ael.
Pausan.
Van
i.
They
THE ACTORS
284
Neoptolemus
and advocates of Philip's interests.^
was the actor who, at the banquet held in Philip's palace
on the day before his assassination, recited a passage out
of a tragedy bearing upon the uncertainty of human fortune,
and the inexorable power of death. The fact was afterwards
remembered as an ominous coincidence.* Thessalus and
Athenodorus were often rivals. At Tyre, after the return of
Alexander from Egypt, they were the principal competitors
in the great tragic contest, in which the kings of Cyprus
were the choregi, and the chief generals of the army acted
as judges.
On this occasion Athenodorus won, to the great
grief of Alexander, who said he would have given a part of
his kingdom to have ensured the victory of Thessalus.'' The
same' two actors were also competitors at the City Dionysia
in the year 341, but both of them were then beaten by
country,
Neoptolemus.*
Among
and comic
poets.''
is
C.
Plat.
I.
vvoKptral
avToi.
Aud. Poet. 18 B.
Plut.
all
A. ii. 973.
Rep. 395
Greek
jeoj/ji(i>5ois
1899.]
[For an account of
CHAPTER
VI
THE CHORUS
I.
The
Greek drama
is
a history
of gradual decay.
place there
fifths
lus,
In the
first
is
Greek
It
tragedies,
the choral
part forms
no
half.
is
than three-
amounts on the
In the tragedies of Sophocles and
average to about a
Euripides the size
less
it
The
choral part
the Orestes.
It
fifth
century the
Then
again there
is
THE CHORUS
286
[ch.
This
of the plot
form
some of
of Aeschylus.
ject
the case in
is still
is
the chorus.
their
is
who
the
little
prominent
In
the
close one.
begins
to
take
much
the
same
as
position
it
occupies
this
was
It
in
at
highest perfection,
its
is
proceeding,
it
feres.
it
actively inter-
moralizes on the
Such
has been
removed from the stress and turmoil of the action into a calmer
and more remote region, though it still preserves its interest
is its
the events
in
upon the
stage.
But
in
the
It
later
plays
of
^"
the plot.
less
There
the
is
than
The
it
it
had done
much
old
itself
converses
hitherto.
and chorus are reduced both in size and number, and their
place is taken by solos and duets sung exclusively upon the
stage.
This tendency to exclude the chorus from the play
was carried still further by Agathon, who gave up all pretence
VI]
287
Whether
is not
that
the
doubt
tendency
already
stated.
But we can hardly
strongly marked in Euripides had been developed to its
natural results, and that the tragic chorus of the later fourth
century was practically excluded from all share in the conduct
the chorus
of the play.
still
little
is
known
its
history.
The
history of the
comic chorus
is
very similar.
we
If
we
nine,
It
it
in the
course
ot
it sang
During the rest of
unconnected with the plot.^
the century the comic chorus seems to have still lingered on
interludes
'
xopiKo.
to.
Drama
pi(\T}
vapiXiitov.
Platon.
karipriTai, is
^
Aristot. Pol.
xP^^
^"^^
iii.
Z^^" koihikov
3 wa-ntp yc Kal
otI hi rpayiKuv
THE CHORUS
288
the
in
New Comedy
the
earlier
[ch.
such as Menander'
poets,
disappeared.*
2.
The
descendant of the old dithyrambic choruses, originally consisted of fifty members.** After
all connexion between tragedy and the dithyramb had been
seVered, the
in a tragic chorus
was
reduced to twelve.
It
among
that
owing
to the scantiness of
trepov (Tvai
(pafxfv,
dvOpwnuv ovruv.
dots
\oprjywv ev
(icTipepajv.
Eth. Nic.
irapSSw tropcpvpav
Athen. Pol. c. 56, where the
rrj
xal fieTeaK(vda9ai,
a kox
Menander
and Philemon,
Cv^v
^ Liiders, DiedionysischenKiinstler,
pp. 187 ff.
' Bull. Cor. Hell. xiv.
p. 396 ; KOrte,
Neue Jahrb.
*
1900, pp. 83
ff.
VI]
The
history of tragedy.
289
remained
all
the earlier
Sophocles
the
raised
there
Attic
to
fifteen.*
The
fifteen persons.
supposition that
it is
tragic chorus
are
a chorus of fifteen.
all
based on the
It is
Suid.
'
p.-
s.v.
'S.o<poK\ris
Vit.
Soph.
a Dindf.
'
The
value,
^ Fifteen
is
the
number given
in Poll,
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.
The explanation of the disp. 254M.
crepancy lies in the fact that when
the chorus is said to consist of fourteen members the coryphaeus is not
included.
* Tzetzes, 1. c, t^v Sc TpayqjSiav koI
rovs aarvpovs Ittia-ns fitv Ix**" )(opVTas
iv.
109
iruid. s.v.
Id.
to' (? tS').
de Com.
x"pos
wrong
in
THE CHORUS
290
[CH
classical
period
of Greek literature.
to
show.
The
who
did duty
fifty.
is
it
3.
The costume
Costume of
of the chorus,
the
Chorus.
as
The
tragic, comic,
and
Laders,
Denkmaler,
1.
219
Bekk.
Anecd.
Pausan. i. 28, 6
Schol. Arist.
Baumeister, Denkmaler,
343
Nub.
c.
pp. 187 S.
xiii. 2.
Wieseler,
no. 422.
VI]
No
attempt was
291
made
to give
them
worn by the
tragic chorus.'
to
tomb of
In some cases
character,
The Bacchantes
in
the
and
As they rushed
and snaky locks are said to have inspired the spectators with terror.^
But this chorus was of a very unusual
kind.
In most cases the tragic chorus was composed of
ordinary men and women, and their dress was that of everyday life.
features,
Soph.
Aesch. Agam. 75
Vit.
'
108.
*
Aesch. Supp). 334-6 d.v(KKrjva
aroXov vivXoioi ^ap^dpoiai koI wkvwnaai x^*o>'''a Eur. Bacch. 58.
' Aesch. Eum. 52; vit. Aesch. p.
4
Dindf.
Poll. iv. no
Pausan. i, 28. 6.
\
10, II.
Aesch. Choeph.
U 2
THE CHORUS
292
The choruses
of goat-like satyrs
[CH.
who sang
the dithyrambs
unknown
is
Among
Homeric hymns
it
is
the Sileni
the primitive
beings
of a similar
Ihus
in the
who
is
In the earliest Attic vases satyrs are never depicted, but only
the horse-like
horns and
That the
Sileni.
tails,
satyrs,
is
proved by various
Fig. 28.
indications.
tioned
which
for
is
choruses
first
As
the
first
time,
the account
of their
We
genealogy
hear of 'goat
Pratinas, the
for the
Hymn
Strabo, x. p. 471.
Herod,
to Aphrodite,
v.
67.
1.
262.
In-
VI]
The
men and
portrayed as half
293
They have
half goats.
satyrs are
goat*s horns
upon
their heads,
Here there
vase (Fig. 29), which is about fifty years later.
The
of
the
satyrs.
make-up
change
in
the
considerable
is a
goatish element
is
The
less conspicuous.
tail
is
goat's
more
horns and
like that of a
Fig. 29.
approximate to that of
the old Ionic Sileni, or horse-deities. The only part which
resembles a goat is the shaggy skin round the loins. The
style of satyr here depicted is the one which eventually prevailed in the theatre.
Later representations of satyric choruses
portray them in much the same way as the Naples vase, with
horse.
In
fact
and horse's
This evidence shows us
goat's loins
Wieseler, Denkmaler,
vi. 3.
tails,
that
Bau-
to
satyr of the
fourth
and
'TtiE
294
CHORUS
[ch.
was a reaction
there
in
horse-deities.
The two types were mixed together, and so
produced the conventional satyr of the later theatre.^
Some
scholars maintain that the type was the same from the first,
and that the old dancers in the tragic and satyric drama
resembled Sileni more than satyrs.^
But this theory is
scarcely compatible with the evidence of the Pandora vase.
The fact, too, that tragedy was called the goat-song seems
to prove decisively that the oldest choruses were composed
of goat-like beings.''
There is also a fragment of a satyric
play by Aeschylus in which one of the chorus-singers is
With this evidence before us
actually addressed as a goat.*
we can hardly doubt that the Doric satyrs were the original
performers in Attic tragedy and satyric drama, and that the
Ionic element was introduced later on.
Some other points in connexion with the satyr's costume
have still to be mentioned. The phallus, the regular symbol
The goat-skin
of Dionysiac worship, was invariably worn.
round the loins was often replaced by a conventional substitute,
consisting of drawers of some woven material, to which the
tail and phallus were attached.
Drawers of this kind are worn
by all the satyrs in the Pandora vase, and by one satyr in the
Naples vase, and are also found in a later painting.^ Apart
from the drawers and the goat-skin, the satyrs are represented
in the works of art as perfectly naked.
But probably in the
theatre they had flesh-coloured tights, similar to those used by
the comic actors.
Slippers were no doubt also used, and may
in early times have been made in imitation of a hoof, as in the
Pandora vase. In addition to the regular satyric costume the
'
'
PP- 339
^
So
1894,
ff-
p.
p. 38.
'
[Miss
Harrison,
Proleg.
to
the
Study of Greek Religion, p. 421, derives rpayqiSia from rpdyos in the sense
of * spelt
but the derivation is more
than doubtful.]
* Frag.
207 (Nauck) rpdyos yivtiov
a/xi ^ivOrjans ov ye,
^ Wieseler, Denkmaler, vi. 3.
Cp. Hor. A. P. 221 *mox etiam
agrestes Satyros nudavit\
'
'^
VI]
295
Silenus, the
The chorus
Many
choruses consisted of
fanciful
Cyclops 80
(ri/v
titles
'
TOT'S
THE CHORUS
296
[ch.
and other
Clouds was in the
to
We
Attic poets,
the stage,
One
men
and
it
was represented
in
this way.'
Two
dolphins.*
others depict
men
riding on ostriches or on
pp. 165
Athen.
Journal
of
Hellenic
Studies,
Cook,
1894,
fF.
So Poppelreuter,
A copy of the
VI
is far
297
figures, with
tall
heads
In another vase
like those of
a cock,
is
much
and
which
is
The
best paint-
of birds,
is
Fig. 30.
of feathers.
the waist,
The arms
A row of upright
is
mask
feathers
is
made
From
this painting
manner
We
in
we may
in the
Old Comedy.
see that there was none of the realism one meets with in
a modern pantomime.
'
Journal of Hellenic
The
Studies,
imitation
ii.
plate xiv A.
' The illustration is taken, by permission of the Council of the Hellenic
far
THE CHORUS
29S
[ch.
body and
The
4.
Arrangement of
the Chorus.
number of ranks
'
*,
'
'
'
p.
Koi
voiijrojv
rerpayuvus X'
fxev rh
rbv xopov.
Koivov
Iffrdfitvov
Mag.
Bekk. Anecd.
p.
Tpayq/Sla
vit.
legom. de Com.
^
Athcn.
746
p. 36).
p. 181 C.
Et.
s.v.
VI]
comic chorus.
299
'
'
',
service.'^
AUDIENCE
5T!*
RANK
RANK
3?P
2tf?
RANK
RANK
RANK
(7)
fi
*>
1ST
FILE
"SNOCII F
c7.rlLt
'''SSiiSJJSiit^
j^^^
(n) 3?FILE
STAGE
Fig. 31.
Xopov
rpfis tK irtVTf'
6 Xopot.
ti
Kcu
Kard. ^vya
Kara
109
Aftt'
TpoTfiKov fxiv
irevT(KaiS(Ka 'yap
1)
^aav
(larjcaav,
irapo^os'
Se
ft
.
9j(Tav
'
Athcn.
p.
628
F.
iii.
p. 535 Dindf.
ore da^faav oi xo/^oi Tr\ayi<us fiaSi^ovrcs
kiroiovvro tovs vpvovs kox uxov tovs
Ofarcis iv dptarfpa avrwv koX oi npwToi
tov x^P^ apiartpuv aroixov, p. 536
TOVS OVV Ka\0VS xSjV X^P^^'"''*'^ eTUTTOV
'
Schol. Aristid.
(.iaiovr^s kv
toU
{tS)v']
kavrwv
dpiarfpoi'S,
THE CHORUS
30O
[cH.
'
'
*.
'
'
'
'
'
'
spectively.*
^
Poll.
ardrijs tv
ws
ii.
xopZ
Se^ioaTaTT}?
t/j
Sf^ia.
Phot.
s.v.
XavpoaTdrai'
yap
iv
ovToi.
Hesych. Xavpocrrdrai'
fiiaois C^yoi
(jltj
oi kv rois
OeojpovfjLevoi.
The
were
Sirai
also called
s.v. if/iKivs'
ovres.
'
Hesych. s.v.
dpiaTepotrTaTj;?' oTrpcoro-
rpiroardrrjs.
[Cp. Menander
fr.
165
of
rov
file
avfjiiToaiov
(paicv
(TvvrjKoov
rov KpaaneSirrjv
xo'tos.
The
T9) Kopv-
Kpaane-
vij
The
central
301
was occupied
The post of
by the coryphaeus, or leader of the chorus.^
the leader was an extremely arduous one. While the dialogue
was
in
upon the
actors
stage.
'
'
men
'.^
As
members of
the
left
file,
whom
Hesych.
Xavpoardrai'
calls
ol kv
roh
taxo-Toi
in
(s. v.
fi^oois (vyoi
Phot.
rpayiKois
/fat
S.V, rp'tTos
x"/'"'^^
apian pov'
rpicuv
ovtouv
ev rots
crroixoiv
irpoaKrjv'Kf).
ffvvifiatvfv ovv
ardaiv.
XoprjySs Athen. p.
633 A, xopc^foi
Plut.
Apophth. Lac.
^ye/xajv
Dem. Meid.
p.
KopvcpaTos
60,
xopoaraTj/s Hesych., x^/'oA^/fTi;? Ael.
Hist. An. xi. i, x^P^''^^'-^^ Xen. Ages.
ii.
17.
THE CHORUS
302
[ch.
Birds of Aristophanes.
appearance
The
flamingo comes
is criticized
The
birds
first,
and
The
stage.
come
fluttering in together,
so as to block up the
side-entrances.^
is
divided into
to
be found
in
Instances of this
Poll. iv.
109;
Vit.
Aesch.
p.
Dindf.
Av. 268-96.
Arist.
'
Arist. Lysist.
In the
254, 319.
Ecclesiazusae the chorus probably entered together at 1. 285.
The extra
women in the first scene were not
members of the chorus, but irapaXopriYqfiara.
*
rSiv hi
xopwv
toL
few
rie^Te'K
Aristot. Poet.
12 defines the parodos as ^ irpurrj
\(^is o\ov xopov.
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, Theorie
des formes lyriques de la tragedie
grecque, c. ii, analyses in detail the
parodoi of the extant plays.]
^ Other examples are the
Prom.
Vinct. of Aeschylus
the Philoctetes of
Sophocles ; the Medea, Heracleidae,
Troades, and Electra of Euripides.
^ixvos op^vX-ijs
c.
VI]
303
is
Aeschylus.
still
entirely
parodos
is
lyrical.
Then
again,
in
the
Eumenides
their arrival
at
Athens.
the
after
when
p.
THE CHORUS
304
[ch.
four abreast and six deep, would halt in front of the stage, go
While the
actors
stage,
One
thing
may be
'
As
Pax
733.
part of the parabasis, it is almost certain that the chorus was then divided
into ijfiixopia. Two MSS. assign the
strophe and antistrophe to ^fuxopia in
Nubes 563, 595, Vespae 1060, T091,
vi]
305
The Delivery of
5.
As
the
Choral Part
actors,
speech,
kom
rtpa to ntprj rov iiq/xov dpcjv l rerpafiirpov Sftak^ arixovi dvairaiarovs ((pdey76x0, kcu tovto kKaKuro arpocpr).
^
'
IIAICU
17
Ka\ovfiivr}
was
iirtirdpoSos.
irapd-
Kojfjicpdiais
ture
THE CHORUS
3o6
many
of the
[cH.
to settle
every one.
is
This
made
prevails.
is
It will
Aristophanes (Leipzig,
1873), jDic chorische Tcchnik des Euripides (Halle, 1878), Der Chor im Agamemnon des Aeschylos (Halle, 1881)
Christ, Theilung des Chors im attischen
Drama (Mtinchen, 1877) ; MulF, 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%
UeberdieVortragsweise Soph. Stasima
(Rhein, Museum, xxxii); Zielinski, Die
(Leipzig, 1885).
^ In Poet. c. 12 he defines the irapoZos
as fj irpwrrj kf^is o\ov x^P^^j ii^jplying
that other odes were also sung by
the whole chorus.
If so. the crTacrtfia,
which were far the most important of
the other odes, must have been so sung.
Whether the expression 6\a xop"f<
to the araaina, means
ftf'A?;, applied
'
sung by the whole chorus', or merely
' unbroken
', as opposed to the Kofifjioi,
is uncertain.
partieen
bei
vil
307
whole chorus.
is
chorus
is
dramatic choruses.
in
some of
the
no direct testimony
of doubt.
On
many
a great
of an ordinary actor.
In
all
such cases
it
It
is
^(paicDV u
79 yepuvTOJv
x^P^^7 SiaipeiTcu
8k
fls
dvo
manded
-
Greek drama.
They
in fact, a direct survival from the early period, when
was only a single actor upon the stage, and when the
to begin.
When
were of a
called
it-no pxrifj-ara
X 2
Drama
of the
THE CHORUS
3o8
[en.
dramatic element in a play was necessarily confined to conversations between the actor and the chorus.
In addition to
may be
fair
amount of
certainty.
comedy
all
Then
again,
it
is
probable
mencement of the
parabasis,
far
more
doubtful.
It
in the Persae,
Supplices,
If chanted
in
is
hardly a plausible
its
much
when the
It is
come
at the
end
The
best
e. g.
known
VI]
example
when
is in
the
Agamemnon, during
the
murder of the
309
king,
it
ought
to do,
It
is
it
was done
in all cases
among
The
evidence.
is
extent to
divisions, differing
Aesch.
Agam.
1344
ft'.,
Eum.
140
ft".,
in point
of age, sex, or
x<^pos
els
81/0
fiiprj
oiroTov yd,p
rfirjOrf,
to
Sixopia, eKarepa
vpay/ia KoXfiTOi
^Iv
8J
1)
5'
/xotpa ^fiix^piov,
THE CHORUS
3IO
position.
The chorus
[ch.
one body
In the second
is an example.
might be divided temporarily into halfchoruses, either because of the special requirements of the
play, or merely for purposes of singing and recitation.
There
In the Ajax of Soare several certain examples in tragedy.
phocles the sailors hasten off, some to the east and some to the
west, in search of Ajax. They return after a time from opposite
sides of the orchestra, bringing word that they have not found
him. In the Orestes, while Helen is being attacked within
the palace, Electra keeps watch outside, and posts the chorus
in two divisions at each end of the orchestra, to guard against
The examples in the Alcestis and the Seven against
surprise.'
Thebes have already been referred to. In comedy the practice
was not at all uncommon, if the testimony of certain manuscripts
Various choral passages in the comedies of
is to be accepted.
Aristophanes are distributed between half-choruses, including
the two odes at the end of the parabasis, and other lyrical
pieces of an antistrophic character.^
A suggestion has been made that the divisions into ranks and
files were utilized for musical purposes
that in tragedy, for
instance, successive passages were delivered in turns by ranks
of three men, or files of five men ; and that the ranks and files
of the comic chorus were used in the same manner. This is
pure conjecture. It may or may not have been the case but
there is no evidence one way or the other. As to the musical
duets it is impossible to speak with certainty. Whether they
were mostly given by the whole chorus, or by halves, or smaller
subdivisions, or by individual choreutae, or by the coryphaeus,
is a matter concerning which there is no trustworthy information.'
Such indications as are supplied by varieties in metre,
place
the
chorus
^r/fT/f^s
^at /fo^/xot)
?5m
Lit.
iii.
12 {KOiva
to anb t^s
c.
'sung by indi-
clearly wrong,
'not found in all plays', and
viduals or sections
ibia
the
word
to
is Spa/MTouv,
'
is
VI)
311
have
to
is
The Dancing.
6.
sister arts of
requisition.
The
For
'
foot
instance, the
'.
A verse
The words
'
basis \ or
'
stepping \
Athen.
p.
'
arsis
628
'
and
'
thesis
St tis
*,
Hard T^y
THE CHORUS
312
[CH.
if
'
'
',
',
the celebrated
Telestes,
fact.
'
him
he has a good
The flouHshes
to sing if
to dance
if his arms are
and gesticulations with which a professional carver cut out
a hare were called 'dancing' by the ancients.
Quintilian,
voice,
'
flexible \^
'
Athen. p. 20 F.
Plat. Legg. 816 A.
Athen. p. 21 F ajcpus
Lucian, de
Salt.
'
-'
\ty6fiva duKvvovcats.
*
63
toT?
x^P^^
et
chironomunta volanti
cultello'.
'
THE DANCING
VI]
313
with a dancer
is
The
means of
represent
gestures,
postures,
rhythmical movements
passions.
terminated.
in such a pos-
were not
Indications
all,
but consisted in merely pointing
such as the heaven, the earth, the bystanders.
Dancing might be defined as poetry without words.
The combination of poetry and dancing, of words and gestures,
mimetic at
out certain
objects,
Quint. Inst.
plurimum a
xi. 3.
89 abesse enim
*
debet orator, ut
sit gestus ad sensus magis quam ad
verba accommodatus ', &c.
2 Arist. Poet. c. i Kal yap ovroi (ol
sal ta to re
liSiv
ixifjiovvrai
koi
tjOt]
koI
irdOi)
xai
irpd^as.
5(i^fis.
THE CHORUS
314
important, therefore,
when speaking
[ch.
of dancing in connexion
difference
words.
Some
the
general decrease
in
its
at
chorus.
mimetic character.
the end of the
It
Plato, the
fifth
century,
Athen.
p.
22 A.
CIS
Plut.
Tuoa
iropev
F<Txi7AWiTa5' opxiyoffer'
(vl
irovrq)
\
Athen.
p.
21 E.
THE DANCING
vi^
a good dancer
was a
315
many
and bawl
out their songs, without any attempt at appropriate motions and
This deterioration was a necessary consequence
gestures.^
of the tendency to thrust the chorus more and more into the
the present day stand in a row, Hke so
cripples,
background.
general character of the dancing in the Greek drama has
The
is
As
far as
details are
to
when
concerned our
the parodoi
commenced with
It
is
probable that,
The
many
with an appearance of great haste.choral odes between the acts, are said
to
tradition has
been
It is
Athen.
(V, OfUfj.'
p.
^v
Tou.
Aristoph.Acharn.204T775eTray cfl-ot;,
rbv dvdpa trvvOdvov k.t.\.,
Schol. ad loc. yeypaTrrai Be to fierpov
'^
SiwKf, Kal
y(p6vT<uv
ffirovdrj.
ravra
rwv
diojKdvTOJV
5^ ttouiv eluOa-
Xopovs,
nTdai/xov,
&c.
On
953
opfiOf
x^P^*'
>tov<pa
noaiv, dy' Is
avva-nn X^^P^'
Other
passages of the same kind are not
kvkKov,
x^'P'
infrequent.
THE CHORUS
3i6
[ch.
moved
to the
been applied
right,
to the
drama by mistake.
manoeuvre of the
Also
As
it is
which occur
in the middle of the dialogue, many of those were written in
the lively hyporchematic style, to mark the joy of the ^horus
Some of the regular stasima
at an unexpected turn of fortune.
were of the same type." The dances by which these odes were
accompanied were extremely brisk and energetic, in tragedy as
epodes
in the stasima.
The
well as in comedy.^
the chorus, were not usually attended with dancing, but were
There
is
and
It
would be absurd
to
imagine
Schol.
Eur.
Hec.
647
'^p.
211
Dindf.).
2
^
in
See above,
xopov,
viov
p.
307, note
2.
<piXa, txvos,
tt-qh-q^a
d/s vifipds
ovpd-
irou
loc.
irdpos
ovSafiSis
atptaO^ avw,
lai,
fvai.
THE DANCING
VI]
317
and by-play. Occasionally the long descriptive speeches delivered from the stage were accompanied with a mimetic dance
on the part of the chorus.^ The events described by the actor
were represented in dumb show by the choreutae. In comedy
it was a regular practice to introduce descriptive speeches of
the metres used being iambic or anapaestic tetra-
this sort,
There
to.
Telestes,
Seven
the
Thebes
against
'
so
successfully
as
to
danced the
bring
dumb show
the
The
with which he
in that
play.^'
'
*.
Some
ideal republic*
One
of them
uncertain.
is
But
it
is
and
17
vpbs r^s
^Tjaui vvopxijffis.
' Schol.
Arist.
C*"'
d>px(iTO.
x'h<^^f>^
(Xtyov
irpds
Athen.
22
'Aptaro/cX^s yovv
<pr)(Tiv
oTi TeKiartjs, 6 Alax^^ov opX'/O'TT^s, ovTcjs ^v Ttxvirrjs, &aTf iu r^
^
p.
Legg. 816 A.
Hesych. s.v. ^t^tPoll. iv. 105 koi (x^v rpayiK^s 6p-
Plat.
'
Suid.
x**P
>
s.v.t<^t(r/ios;
axv/^^O"
0^'/*^
*<*'''''""/"7*''75>'5Xoi;
X**/'?
KaXaOiffKos,
irapaAi/^jy, StirA.^,
rapa.
THE CHORUS
3i8
lively
were only
motions,
show
occasions, to
kommos
at
the
adopted
[ch.
in
tragedy
special
^
The
conclusion of the
The
Xerxes on
Elders follow
on
his
way
to
At each fresh
fall
some new
into
Persian
bewailing
the palace,
posture,
first
make
and
manner
in this
their exit
was a dance for drunken people, and no one but a man withIt
out any sense of shame would dance it when he was sober.
was considered vulgar and disgraceful by Plato, and excluded
from his commonwealth.^
Aristophanes, in the Clouds, takes
credit to himself for having abandoned it in that play
but, as
the scholiast remarks, he frequently introduces it elsewhere/
In the comic dances the wildest movements were admissible.
The chorus, at the end of the Wasps, when encouraging the
sons of Carcinus to fresh exertions, bid them 'whirl round
like tops, and fling their legs up into the sky'.
Occasionally
the circular dance of the dithyrambic chorus was adopted in
It
comedy.^
The dance used in the satyric drama was called the 'sikinnis '.
It was mainly a parody and caricature of noble and graceful
dances, and was very violent and rapid in its movements.
One
of the postures used in the satyric dance was called the owl,
and is variously explained by the old grammarians as having
consisted in shading the eyes with the hands, or in turning
the head to and fro like an owl.
'
'
See above,
p. 307,
note
2.
fiiKTi,
rjris
alaxp(*>s
Kivei
Tr}v
koj-
da<pvv.
uvpdviov
aKtKo'i
fitfi^iKts
kyyevtaOajv.
Hesych.
p. 816 A
*
Kophat ;
Plat. Legg.
Theoph. Char. 6.
Arist. Nub. 540 ovU Kopbax ""A-
fcvafv.
s.v.
S.V. (TKujnevfjia,
THE MUSIC
VI]
7.
The music
319
The Music.
As
its
character,
and
Plutarch remarks,
it
the lyrical portions of the play often contained the finest poetry
^
fifj
km rw
\6ya),
koo.
THE CHORUS
3?o
[ch.
still
let
the
it is
the mistress
the poetry.
in various Modes, as they were
concerning the nature of which there has been much
conflict of opinion.
Modes were
modern major and
It is
like
the
of a certain well-defined
a given
in
that
the
in
Phrygian
Mode
the Lydian as
bore
the
same
between various
For example, an
sort
of relation
one
to
in
dotSdj/ /faTtaraae
vanpov
ai/Kbs
I
vtnjpiras.
rav
lively
See,
on
the
whole
question,
6'
yap kad'
UifpU ^aaiXnav
xop*''<'ro;* koX
1902.
THE MUSIC
VI]
321
Besides these two principal Modes, certain others were occaThe old Ionic Mode was severe and
sionally employed.
sober, before the degeneracy of the Ionic nation
its
character.
It
The music
to
had altered
tragedy, and
of the Phrygian
Mode
The
which recurs
in the parody of Aeschylus's lyrics in the Frogs, is an instance
of such a refrain, the instrument used being the harp. The
flute was also employed in the same way.
Such refrains were
songs, as a sort of refrain.
called
diaulia
'
phlattothrat
*,
*.'
Plut.
Mus.
136 D-F.
Arist.
Ran. ia86
flf.
Hesych.
P4ut.
Mus.
1135 D.
Suid. 1. c. t^v dpxalay /luvoncf^y ivl
to fioKaKojTtpov fttrqyaytv.
^ Pherecrat.
Cheiron. frag.
145
(Kock) <f6y kKYpaveXcvs fivp/ir^idas.
"^
s. v.
THE CHORUS
322
thon,
and
is
first
that the
new
Euripides'
style
would
feet.^
The
was
prediction
verified
by the
result.
^
Arist.
ftvpfirjKos
Ran. 1301
Schol. ad loc.
ff.,
Thesm. 100
^ ti diafxivvperai
us XtnTa koi ayKvXa dva-
arpatrovs,
Kpov:>filvov filkij
yap
^
al
tuu
Plut.
Tov'kyaCuvos'
fjLvpfiriKOtiv
An
uSoi.
Toiaxhat,
CHAPTER
VII
THE AUDIENCE
I.
The
theatre
the
made
their
way
to
the
southern
slopes
of the
Acropolis,
The tiers of
where the theatre of Dionysus was situated.
seats rising up the side of the hill were speedily filled with
a crowd of nearly twenty thousand persons. The sight ot
such a vast multitude of people, gathered together at daybreak in the huge open amphitheatre, and dressed for the
most part in white, or in red, brown, yellow, and other rich
colours, must have been exceedingly striking and picturesque.
The performances which brought them together were not unworthy of the occasion. The plays exhibited at the festivals
of Dionysus rank among the very noblest achievements of
Greek genius.
population of a
city
THE AUDIENCE
324
[ch.
exhibited.
all
The
and
subject.
At the Lenaea, which was held in the winter, when travelwas difficult, the audience consisted almost exclusively of
The City Dionysia came about two
natives of Athens.
months later, at the commencement of the spring, and attracted
great crowds of strangers from various parts of Greece.
Representatives from the allied states came to pay the annual
It was also a favourite time
tribute at this season of the year.
ambassadors
from
foreign cities
and it was
for the arrival of
considered a mere matter of politeness to provide them with
front seats in the theatre, if they happened to be in Athens
ling
And
comedy was
*
'
Dem. de Cor.
Dem. Meid.
28.
o-vroit
74.
$(a)p(Ttf.
'
VII]
325
at
comedy
As a matter
makes
it
con-
were no
if
The audience
at
was drawn
Men, women, boys, and
from every
slaves were
enough
In
slaves,
pp. 295
THE AUDIENCE
326
all
[ch.
ments, and the audience were called upon to state what they
were most pleased with, the little children would vote for the
the
more
refined sort of
three passages
women
for
drama was a
spectacle which
and
never allowed to witness.
In addition to the above evidence there are also several
places in Aristophanes where boys and women are referred
For instance, in the
to as forming part of the audience.
position
that
the
boys
women were
Plat.
Aristoph.
766, 962-7.
vakrtoi,
tffTi
fr.
aoi
I
if/vxp6v.
yeXwaiv,
a>s
avSpiai
qvopiovaiv.
Ecclesiazusae,
which
women
[Rogers,
Alciphron, Epist. ii. 3.
quotes a sentence of Glycera's
supposed reply, where she speaks of
herself as standing in the wings and
watching the performance, to prove
^
I.e.
But Ka$rjfiivrjs iv t^
the audience.
dfarpcf) 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.]
;
VII]
tells
Anacharsis
the Athenians
that
educate
327
sons by
their
tragedies
to
we
are
told
when
that
'
was admired 'not only by the men, but also by the women '.^
The shameless person in Theophrastus smuggles his sons
into the theatre with a ticket which belongs to some one else.
is
The
women, and courtesans should
when
free,*
apart from
sit
one another, can hardly have referred to any place but the
The
theatre.'^
to
resist.
It
cumulative effect of
is
these passages
all
all
is difficult
away by
far-
could hardly
period
regularly
at
a later
is
theatre
of Athenian
history.
But,
as
as
far
it
goes,
it
tends
to
No
doubt
at first sight
^
3
*
'
it
should have
been
spectators
fact that
of the
Old
Aeschyli, p. 4 Dindf.
A. iii. 282, 313, 315, 316, 321,
322, 3=4, 325. 333. 342, 343, 345, 350,
351, 354, 361, &c,
Vit.
'
C.
I.
THE A UDIENCE
328
[ch.
fr.
alterthumer, p. 291.
' Aristoph. Av.
793-6 et t( ploix^ikdv
Tis Vfmv kariv oaris rvyxdvei,
k^O' Spa
TQV dvSpa T^j ywaiKbi iv fiovXfvnit^,
\
VII]
But
it
is
329
Reformers
like Aristotle
were
woman visiting
the theatre.
in
men
should be allowed to be
homage
gods of
this character on behalf of themselves, their wives, and their
children ; but boys should not be permitted to be witnesses of
comedies and similar spectacles. This passage, in which Aristotle is combating the prevailing practice of the times, is an
additional proof that boys were present at the performance of
comedies, and shows clearly that when the worship of the gods
present.
the proper
to
Besides
women and
children
it
slaves as one of the classes before which the tragic poets will
The
shameless man described by Theophrastus takes the 'paedagogus' to the theatre, along with his sons, and crowds them
It is not,
all into seats which did not really belong to him.*
however, probable that the number of slaves among the audience
was ever very great. Their presence would depend upon the
kindness of their masters. But the two passages just quoted
prove that there was no law to prevent their attendance.
2.
Price of Admission.
The
Aristot. Pol.
ioru
fiTfTe
Tofy
n'lfiTjaiv, (I
oU
fjL^
impd
Tovi 81 vcarrtpovs
ovt*
Idfifiaiv
ovt
iiM/Jiq>Sias
OearoLs vofio-
OcTrjTiov.
^ [Navarre, Utrum raulieres Athenienses scenicos ludos spectaverint,
igoo, discusses the evidence in detail,
and comes to the same conclusions
as those which are stated in the text.
^ Plat. Gorg. 502 D.
* Theophrast. Char.
9.
THE AUDIENCE
330
[cH.
he could.
very
originally free,
first,
seats
People used to come and secure places the night before the performance began ; citizens complained that they were crowded
out of the theatre by foreigners
quent occurrence.
It
sell all
In this
way
secured for
reasonable hour.^
The
tinguished persons.'^
and other
dis-
goodness and badness of the seat, would probably not have been
tolerated by the democracy, as giving the rich too great an
advantage over the poor.
Until the close of the fifth century every man had to pay
for his place, although the charge was a small one.
But the
poorer classes began to complain that the expense was too
great for them, and that the rich citizens bought up all the
seats.
Accordingly, a measure was framed directing that every
who cared
citizen
to apply should
'
theoric
money.
'
It
The sum
way was
given in this
used formerly
be supposed, on
to
Schol. Lucian,Tim.49
Suidass.v.
BeupiKov.
'
Dem. de
28 dXX' iv rolv
av.
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. 6(a)Zvotv opoXoiv
piKdv
Cor.
iOiwpow
Liban.
Schol.
;
entrance
;
Plut.
Pericl.
Dem. Olynth.
i.
157
1.
to the theatre.
Ulpian on
PRICE OF ADMISSION
VII]
331
in
the
leader-
The year
which he introduced it
must have been in the interval between
the death of Cleon in 422 and his own death in 404.
The
amount of the payment was two obols, the price of a single
ship of the democracy^
is
not given
seat.
It
but
is
said
in
it
soon
that
demagogue, promised
to
afterwards
another
Callicrates,
But
this
The
festival.^
different townships.
theoric
Every man
grant unless he
made
his application
person.
in
certain
claim the
The
money
with quite as
military revenues
cc.
Pol.
ii.
Phot.
BfojpiKa.
Dem.
'
Hypcrid.
was
15).
supply
' Four
are mentioned in [Dem.]
Prooem. 53 six in Schol. Lucian, Tim.
49; Lucian, Encom. Dem. 36; Suid.
Suid., Harp., and
Zpaxt^ri xa^aC*'*^"
It
as the poor.
in order to
were impoverished
much eagerness
in
Leoch.
in
Dem.
37.
col.
xxiv.
THE AUDIENCE
332
now grown
it
money
a capital
[cH.
huge proportions.
offence even to propose
to
any other purpose. As a consequence the resources of the state were crippled, and the
people demoralized. The theoric question became one of the
chief difficulties which Demosthenes had to deal with, in
his efforts to rouse the Athenian people to action against
to divert this theoric
to
Philip.^
The
appear to have
Such
renewed
and stamped afresh for the different festivals. Many of them
have been discovered in modern times, both in Attica and
elsewhere, and date from the fifth century down to the Christian
era.
The specimen which is here given (Fig. 32) contains
theatrical
emblem.*
coins
could
easily
be
Fig. 3a.
name of
name of
the
the
Menander, underneath.^
made of
districts.
They are
on the one
side,
They
usually contain
figure or
^ Harp. s. V. BioipiKo.
; Liban. Hyp. to
Detn. Olynth. i ; Ammonias, de diff.
vocab., s. V. Qiupi)^ ; Dem. Olynth. i.
19, de Cor. 118, Philipp. iv. 38.
For a full account of these theatre'
some
emblem
in
Greek
PRICE OF ADMISSION
VII]
333
'
We
blems
Kronos
some
refer to
similar
method of
designation.
Fig. 33.
is
were
These coins
On the
obverse
'
It
1835C.
(Fig. 34).
is
'
Numismatique, 1898,
The illuspp. 37-120.
tration in the text (Fig. 34) is taken
d'Archeologie
vol.
from
i,
pt.
I,
this article.
T-Z/A'
334
AUDIENCE
[ch.
The
went
to the
lessee.
state,
Fig. 34.
there
if
to spare.'*
3.
When
The Distribution of
the theatre
twenty thousand
was
persons.
full
As
may be
numbered nearly
the audience
to
the Seats.
facts are
I.
A.
573, in
ii.
avrois KeXevaai
Olynth.
i.
ofioi^ovs,
tx*"^'
^
"^^^
i'va
rov
apxniKmvi
5*
dWov
Traptx^iv
rov Otarpov.
VII]
may be made but the information is not very comThe great distinction was between the dignitaries who
inferences
plete.
in the front,
The
nians.
was
335
unknown
called ^proedria',
state.^
From
the large
clear
and
this
theatre,
The
'proedria*.*
inscriptions
at
very clear
light.
They enable us
to
and
it
is
found that of t hese sixty persons no less than fifty were priests,
or ministers connected with religion.
Similarly, in the rows
immediately behind the front row, a large number of places were
set apart for the different priests
and
priestesses.'^
'
Schol. Aristoph. Equit. 572. Pollux, iv. 121, states rather doubtfully
that the irpofSpla in the theatre might
also be called irpwrov (v\ov.
If the
expression was really used, it must
the theatre.
vapd IlctpatcW.
theatre was
' C. I. A.
still
wooden
one.
iii. 240-384.
C. I. A. ii. 589 shows that in the
Peiraeeus the demarch used to conduct
the persons honoured with proediia to
'
Such was
similar practice
was
THE AUDIENCE
336
[ch.
doubt that
it
ere can be
little
during
Among
The
generals were in
is
always anxious to
in the theatre.
some prominent
The snob
not known.
sit
as near to
them as
Theophrastus was
in
possible.''
Ambassadors
on an occasion of
showed
this kind.
The
to
Philip's
ambassadors
lessee of the
theatre at
Peiraeeus, as appears
were
sitting in 'a
proedria
'.
The
privilege
* 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.
2 Aristoph.
Equit. 573-6; Theophrast. Char. 5.
iii.
5.
See above
'
Aeschin. Ctesiph.
p. 33.
Orat., psephisms
and
154; Plut.JC
851 A-F.
II, p.
VII]
337
'^
women
the thing
not improbable in
is
itself.'
The
tribal
divisions
and an arrangement by
tribes
f(f>T}^iK6v.
"
'
6eaTais
TP.
fiivTt
iScw/fos
ware 76
rwv KpiBwv.
rjhrj
OI. /Sou.
]
OI.
vt)
tov
'Epfi'qv,
x<*.
55)'
P*
P-
333
*
n.]
step,
was a
facilitated the
statue of
Hadrian, of
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,
Beitrage
zur
Kenntniss des att.
Theaters, pp. 4 ff.
is
still
THE AUDIENCE
338
[CH.
among
it
may be
useful to
Fig. 35.
give a complete
front
list
in later times.
officials for
whom
It is still possible,
the
as
already stated, to determine the occupants of sixty out of the
sixty-seven seats ; and the arrangement, with a few exceptions,
VII]
is
interest, as
The
list
of names
is
339
not without
it
was
and ceremonials.
best place
in
A repre-
for protection.^
priest of
Of
the
left
still
of the
known,
The Sacrificer.
The Torch -bearer.
Priest of Pythian Apollo.
The Hieromnemon/
Priest
King Archon.
Chief Archon.
Polemarch.
^
of place
when
was first
The position
the theatre
The
schrift
p. 196.
illustration is
fiir
Z 2
^^g
THE AUDIENCE
340
[CH.
The General.
The Herald.
Thesmothetes.
Thesmothetes.
Thesmothetes.
Thesmothetes.
The Sacred Herald.
and Apollo.
The
Eponymus.
lacchus-carrier.''
Rome.
Priest.
Interpreter appointed
Priest of
Hierophant.
Priest of Delian Apollo.
Priest of Poseidon the Nourisher.
Priest of the Graces, and of Fire-bearing Artemis of the Tower.
Interpreter chosen from the Eupatridae by the people for life.
Company
of Actors.*
Company
of Actors.
Priest of Glory
and Order.
Priest of Asclepius.
Priest of the Muses.
They were
j8oi;A>7,
and
their altars
Hadrian's, and
Nile,
was drowned
and afterwards
deified.
in the
VII]
341
Twelve Gods.
Lycean Apollo.
Priest of
Priest of Hephaestus.
Priest of Apollo the Laurel- wearer.
Priest of Dionysus of Aulon.
The
Stone-carrier.'^
Priest of Theseus.
Priest of
The
4.
The performance
continued
all
the subject,
it
is
number of
plays which had to be gone through in the time, any delay would
Unknown.
'
Probably an
who
carried a
Av. 786-9
vvowTepos,
?jv
official
avTi'x* vfJiSfv
Twv
OiarSiv tX tis
ura ntivwv
toTs
x^A**'"''*
(KVTufxfvos &v
ovros qpiaTrjcev eXOwu oiKaSt,
k3t' Ak
efivhTjaOds t^' jj/zas avOn av KorivTaTo.
\
hi^ov
kitl
p.
464
r^v d4ay.
ircnwKom
efid-
THE AUDIENCE
342
light
The
[cH.
of a play, but when one of the great actors came upon the
stage the provisions were laid aside, and the audience became
all attention.^
The
ance.
theatre
must have presented a bright and festive appearin honour of Dionysus by the express
command
The
of the oracle.^
At
the same time the comfort of the audience was not very much
The seats were of wood, or in later times of stone,
consulted.
and had no backs; the people had to sit there all day long,
packed together as closely as was possible. Many men brought
Aeschines draws a concushions and carpets with them.
temptuous picture of Demosthenes escorting Philip's ambassadors to the theatre in person, and arranging their cushions
and spreading their carpets with his own hands. The toady
in Theophrastus,
when he accompanies
a wealthy
man
to the
and
'
'
5a,
But
it
is
hi
*
tS/v
em
x^"^^^^^
The
avrw
i/MTia, ditcnv'f^r].
(poiviKides
mentioned by Ae-
VARIOUS ARRANGEMENTS
VII]
343
To keep
order
among
'
5.
cp.
'
Suid.
Dem. Meid.
178, 179,
x"/'*"'*'^*
T^^^
344
AUDIENCE
[ch.
It
was exceedingly difficult for the judges to resist such demonstrations, and to vote in accordance with their own private judgement.
of hands on the
other.''
also a peculiar
way
heels.
They were
able to do so with
for
call
In this
an
occurrence
in
in the
day;
There
is
an
naturally have
without
come on
late
hissed off the stage one after another, he was called upon
Legg. 700 C.
14, 226
Plat,
Dem. Meid.
*
;
Alciphron,
Epist.
'
iii. 71.
Poll. iv.
122 TO H6VT01
kdwKia
rats iTTfpvais KaraKpoveiv vTfpvoKoneTv
tKeyov ttroiovv 5( tovto unoTf Tivd
fK^dKoifv.
Dem.
Athen.
p.
245 E.
ToL
to
Dem. de
Cor. 262.
Av$is
Sympi
ix.
4 a/xo 5^
seems
Xen.
cp.
kfiooiv avOis.
VII]
true,
it
successful
345
was not
would seem that even the authors of very unplays were sometimes forcibly ejected from the
theatre.*
'
',
There was
the somnolent
individual
who
peacefully
slept
first
to
drown with
Philemon,
the audience.
a comic writer,
Menander by
is
in
spite
critical
part of
won
victories from
The
Although
The word
for hissing
'
Alciphron, Epist.
iii.
71
iva,
k&v
ti
71
Aul.
THE AUDIENCE
346
ribaldry
upon the
and
stage,
to
[cH.
sacred
were
at
the
Any
in
regard to the
religion.
atheistical sentiments,
sometimes resulted
of Euripides
is
were
liable to
The Dana^
in
On
the
other
great enthusiasm.
mercy
Sophocles
is
said to have
So
portrayed.
far
play.''
The enthusiasm of the Athenians for the drama was unNowhere was the theatre more crowded. In the
bounded.
Nic.
iii.
2,
and
2 Plut.
Amalor. 756 C
Nauck,
Trag. Gk. Frag. p. 511.
' Senec. Epist. 115;
Nauck, Trag.
;
the public
Herod,
vi.
21.
VII]
347
was
It
not,
however,
till
the middle of
the fourth century that the devotion to this and similar amuse-
ments grew
and
The Athenians of
to sap the military energies of the people.
the fifth century showed that enthusiasm for art and music
and the drama was not inconsistent with energy of character.
As
to
a matter of
fact
As
vice,
drama
supremacy of Athens.
de Fato
TO. ^rjOivra.
Cic.
Cic.
Orat.
25
'
Attici
'.
(Athenienses)
THE AUDIENCE
348
their
But
own
level.*
Aristotle,
He
is
like
He
his
modern
cared
his desire
little
was
counterpart,
'
happy terminations \
fond of
Then
at
of most tragedies.
At the same
must be remembered
of a people's taste is to be found in
it
proof of the
fact
fifty
victorious career
years,
is
a convincing
that,
more than
The
at
"^
ycip
6aT^^
<popTiKb^
uv fxera^aWfiv
tovs rt^vi-
fj
'OdvcTTfia koi
rois
fiikrioai
nXiVTwad
xal
\iipoaiv.
If kvavria^
SoKfi 8c
yeiav, aKoXovOovai
<vxV
yap
01
itoirjTal
iirei
Kar
9
Ibid. c.
dW'
Rhet.
aaOi-
oixojs eixppai-
(Kfi ^(T^ov
Svvavrai vvv ruv iroirjTWV ol vnoKpirai,
* [Cp.
ROmer, Ueber den litterarisch-aesthetischen Bildungsstand des
attischen Theaterpublikums, 190T.]
v(i
iravTas.
Id.
iii.
APPENDIX A
The
here appended
is
472
Arg. Aesch. Persae
Uepaais, r\avK<^j
*En\
B.C.
rpayadSn/
Mevaypos
fvUa
AiVj^uXop
4>ii/6t,
Upofxi^Bei.
467
Arg. Aesch. Septem
B.C.
(rarvpiKfj.
orj.
iviKa
rpiros Ildkvcl>pd8pa)V
AvKovpyfiq TfTpaKoyia.
458
Arg. Aesch.
Agamemnon
'ESiSn'x^i?
UpuTfl (rarvpiKa.
Evficviai,
B.C.
455
Vit. Eurip. p. 4 Dindf.
"Hp^aro
erct
B.C.
8f dibda-Keiv (6 Evpmidtjs) eVt KaXXt'ou
a, npatrov
S*
/cat
Tpiros iyiViTo.
450
Arg. Eur. Rhesus
Schol. RheS. 529
'Ei*
B.C. (?)
Vipdrris dyvotiv
<f)rj(ri
a)s
tov Kvpiiri8rjv
yprjtriou
dvayiypanrai.
rfjv irtpi
to ii(TCDpa
438
Arg. Eur. AlceStis
Tl^Xe^O), *AXKr;(JTl8t.
B.C.
EvpmidTjs
Kprjirtrais, *A\Kfiaia)vi
Ta
Tre'.
8id ^to^iSos,
APPENDIX A
350
431
Arg. Eur. Medea:
Koarqv
'EStSa;^^;;
npan-os
6\vfnndba.
e^86fiT]v
B.C.
'Ev(f)opioiV,
Aristid. vol.
Tov Olbinovv,
ii.
334 Dindf.
p.
Ztv Kai
a>
425
Arg. Arist. Acharnenses
Koi Trparus
B.C.
cret Terapro).
KaXXiaTparov'
rj-rraTO iv 'ABrjvainis
6iol.
428
Koarf)
(?)
2o^okX^s ^i\ok\(ovs
rpiros
ov (rcD^erai.
Qepiarais aarvpois.
43OB.C.
2o0oKX^f,
devTfpos
rpiTos''la>u.
'lo(f)a)V^
B.C.
'ESiSa;^^?; eVl
t]u.
oXvpniddi dy8oT)-
EvBvuov ap^ovros ev
Arjvaiois Sia
424
Arg. Arist. Equites
drffioaia
els
Arjvaia,
to
'Edibax^rj
aiiTuv tov
di
B.C.
dpap.a
'Api(TTO<f)dvovs.
npcoTos epiKa'
devrepos
423
Arg. Arist. NubeS
B.C.
422
Arg. Arist. NubeS
TptVof.
Kai.
At 5c SciVcpat
^EhibdxBrj
eviKa npSrros.
(See p. 21,
fifVTfpos
fp acrrei.
^pdropai.
Nc^Ant
eV)
^Apaviov apxovTOS.
iiii
rjv
^ikavidrjs Upodycopi,
iroirjTrfs
Eip^i/;/,
ipp-ijp
"KoioKporqs*
ii.
Kara
B.C.
oXvpnidba
(rarvpifid.
rpiros Acvkiop
2).
415
TOirrov devTfpos
(IS
Ilpca/Seat
B.C.
(See p. 41, n.
Acu/ctoi;
n. 2).
421
Arg. Arist. Pax
B.C.
r\P
....
^ePOKKr\s^
Evpimb0;^' AXe^dvhpm
APPENDIX A
414
Arg.
I.
bfVTfpos
rju
Aves
Arist.
Arg.
npS)Tos
8m
*Afi<l)uipaov ebida^f
'Ert
Ran. 53
Thesm. IOI2
Arist.
Schol. Arist.
*^
Lysistrata
KXfOKpiTOv ap^avTOS.
Sm
408
')
em
liavaiKpirrovs
(unknown, pro-
npcoros
deCrepos
biM tI 8e
fif}
(IXKo Tt
^oiuiaaatv, ^Avrionrjs
Y>//^i7ruXi;v,
B.C.
Ovna yap
fieTci
B.C.
Ka\ ai ^i^aaKoKlai (}>fpov<Ti, reXevrfj-
avrov b8i8a\eyai
6p.a)Vvp,ov
iv
atrrei
l(f}iy(Pfiav
AXKfiaioyva^ BoKxas.
401
Soph. O. C.
Tov
em
B.C.
388
Arg. Arist. PlutUS
'EStSa;^^;; e'm
rjv'
A rg.
fitra
B.C.
*Edi8a.)(dr]
tov
npSyros ^v So^ofcX^r.
cVi rXavKimrov.
B.C.(.?)
405
AvXidi,
apxVTO<i
B.C.
409-407
rffv iv
npoeia^XOtv,
ov aat^fTai.
fls Afjvaia.
KaWlov
cVi
frti
Trj 'EXcViy.
apxovros oXvpnidd
Evpinibr}s, TpiTOS
trarvp
yap
6yb6ai
KaXXtorparou,
bably
to
Afjvaia
els
B.C.
'F.biddxBrj
tlcrrJKTni 8c
Ap8pop.(8a
avi/SfSiSafcrat
409
^pvvi^os
rpiTOS
...
B.C.
^^
41
Arg. Arist.
Xa^piov
^i\a>vidov.
412
Schol.
A/i<i>/^tas
Aves
II. Arist.
B.C.
im Xa^piov
'EbihaxBt}
OpVKTi^
Totf
Movorp6ir<p.
351
*AXKaiov be
llaaicfxir).
em
apxpuros MLkcovos.
B.C.
Api(JTop.tvovi Be
'A8/x)Tft),
NiKo^wiror 8c 'A8a>-
APPENDIX B
352
APPENDIX
Atticarum,
this
dramatic con-
ii.
2.
394
pp.
ff.,
pp. 218
iv. 2.
The
ff.
them by Wilhelm,
in reference to
The
marked
letters
dates
conjectural
off
are
inserted
is
reasonably good
I.
The
I.
A.
ii.
971,
iv.
Columns
i, 2,
of the remainder.
lost,
nysia, p. 29).
The
Comedy
rest
first
in
in
c, p. 29)
0' ov TTpoirJoi'
[aTTo
KcifjLOi
Ill,
B. c.
473-2
exop^yc[i
Mjdyvrjs idibaaKev.
^(Tov
IV,
(971 a,/).
Col. IV.
Col. III.
Sjci/o/cXfiSi^y
each:
(Capps,
lines
We
971).
B. c.
Col. V.
460-59
naj/Stoi/trs dvbpa>v
KXeaiWrfos
rpayabatv
Kapabcov
nfpiK\^sXo\ap{yV5)Xopfj(yft)
0a^[
exoprjyei
)(opr)yei
B.C. 447-6
APPENDIX B
J
353
h.i<j\vko5 tbibao'Kfv.
[<Vt XdpT/Toy]
(b, c.
472-1)
rrpaycp8tfj/J
^AfopjiCr")
edida<TKev.
n\ ^iXjoKKtovs
Bta>[i/ ^opTJyfi
(b. c.
459-8)
Ka)p[adci)v
*Ai8[.
P
x]<'p'7y*
.
s (blh\i<rKiV.
ixpphy*^
KaXTXiuj fdidaa-Ki
Ar]fi6boKos (x^opj'iye^i
'lTrno0(i)VT\s dv8pa)v
Tpo\y<odu)v
EvKTrjfiCiV *E\fv{(rivios)
Qa[
^XP^ (?**)
e)(oprfyei
Ka^pKivos edibaaKCP
EvpvKkdorjs
X]"P'?>"
vn^oKpiTrfs
i)(ppr)ytij
Ev(f)p6pios fbi8aaK,
eVi Ilpa^upyojv
(b. C.
471-0)
A(f>i8ap(los) exPu{y^'^)
(b. C.
458-7)
*Ep)(6r(is 7raid(i)V,
^xJo/^'iyC"
[Kca/n^do}!/]
446-5)
ellidaaKfu.
cVi "A^pavos
<t)V
'
AlaxvXos
....
KaXXi/id;(ov
(B. C.
rpayabav,
StPOKXrjs
f^oWy"
ir[t
Xapias
AypvXrji^Bev)
exPRViY^^
AecoKTts dpbpSyv
Xop^]fi
Af ivoa-Tparos
)(o\pr)y(i
Ka)p<o8S>v
.... fx]"PVyb^'
Col. VII.
[Ka)/ia)8wi']
nai[i'tft'j' ixoptfyti.
*Ep;u7r7rJof ib^ihaa-Kf
Tpay<f\ba)V
.
<a\v
Tiaiavu^^
()(opr]\ycif
Mclyfitpdri;? bi\baaKtv
vn\oKpi.Ti]i yivvv\i<TKos.
<]7ri
'AXKatou
(B.C. 433-1)
limoBiovris itcuboiv
'>p}7>[*
HAICH
APPENDIX B
354
We
(fr.
[fX0P'77f
rpayadoov
KX]eo/ia;^of 'A;(n[pi'(fvy) e;^opi7yft,
*Ar(rJruSa^i[ajs e8\i8oaKev^
vliro^KpiTfjs 0[TTaK6s.
eJTrt f/itOTO/eXfoi's
(B.C. 347-6)
*Epe)(dr]is naidoiv.
Aiowa ....
The
position of
Wilhelm, 336-5
fr.
971 ^
b. c.
It
is
it
b.c.
344-3,
latter half
of the
fourth century.
Kf/cpoTrriy TraiScav
At6(f>av^T0S
\opTiy(t
KfKpovls ^av8pa>v
'OvfjTcop ^)(oprjyfi
Ka)fi(ob\S)V
AionftO^Tji
....
f)(opf)yei
npo/cXe.'[5i;ff fBidaa-Kfu
rpayoiBwv
We
XIV (971
e),
the years in the former being 343-1, and in the second 331-0.
Col. XIII.
Col.
1.126
XIV.
cJttI 'Apto-T^o^^Hi/ouy
(b. c.
331-0)
Olvrfis TTaib(t)\y
[rpayabSyvj
130
ro^
V Ax\apv[^{(EVi)
'iTnro^coirrlf
]xop'?(y")
1.
]5i8[a(r]
(B.C. 342-1)
A(yj;ts TTaibjtov
AtJo/if[(w ^xoplrfi^yfi)
1.
135
'Ir7ro^4)i/TiffJ
....
avhpS>v
cV KoiJXijs *XP^(7'*)
^Ka>pMhiv~\
avbp\S>p
OS [n][/>]atf[vy xoprj(yei)
VTTOKpiT^^ 'Aj6r}p6d(OpOS.
cVl 2(B(rty/rovf
ix^priiyd)
Tpayj(o^8S>p
APPENDIX B
^
1.
355
[hopijyfi
140 [TpayepSSv]
x]op[^*
* A(rTv8dixas
Finally,
e!iC\o[a(TiCv
XV
XIV
XIV.
XV.
Col.
.
includes a
jK[
Tp]ay(oba>v
^[xopiyyjfi
Qf6(f)iXog f8tS[tio-c6J/]
*AaTv8afxas 8i8nj<TK(U
Tpay(o8S>p
QTra]\6s
xmoKpiTfjs
QJrjpafievrjs Kr)(f)i(ri[fvs
'eJttI 0o<^pa(rTo[v
(b. c.
*'xp]'7[7f'
340-39)
....
[TraJXatoj/ dpafi^a
*A\vtiox\s nai[p(ov
K^Xrjs ebidaa^K^v
VTro^Kpirrii
....
'
AOi^vodcopos
fVi
Kr](j)i(ro(f)a)VTos,
(b. C.
329-8)
'iTTTTodoiVTis 7r(u[datp
II.
The
the
inscription of
first
which
this
Lenaea (C.
the
I.
A.
ii,
972, Col.
I).
The
first
column has been generally taken to be b.c. 354-2 but Capps (The
Dating of some Didascalic Inscriptions, Amer. Journ. of Archaeology,
1900, pp. 74 ff.) has shown almost conclusively that the true date is
B. c. 290-8 (it is possibly a year or two later, see Wilhelm, Urkunden
:
archonship
is
plan of this inscription, as the next column begins the records of tragic
contests.
It
this series
all
probability circ.
that C. I. A.
ii.
Tragedy
Comedy
at the
Lenaea.
The
A a
b.c 287.
Comedy
(i)
Tragedy
at the
Lenaea,
at
mark
APPENDIX B
356
and
The
(4).
original stone
is
now
lost,
and
latter
.JOTt'Si
Apiarofijaxos.
TrefiljrTosj 'Ava(r(o^o{fieuuis),
T)s
vne{KpivTo^ *AvT^i<f>dvqs.
^UpjoiWfios
vno\^KpiTr}s)
em
iv'iKa.
AijoTipov 2ifiv\os
.
(riq
(B. c.
\mf(^KpivTo)
289-8)
ApiaTOfiaxos.
vne{KpivTO^
III.
Record of Tragic
J;;y
at the
Contests
Lenaea (C.
I.
A.
ii.
972,
Col. U).
list
vne^KpivfTo)
xmo^KpiTtjs)
[.
eviKu
cVi [^A(rTv(f)ikov
(B.C. 420-19)
'Aya[fiefiuovi
V7T[f(^Kpip(To)
'Hpa^K
'70-[',
vir[f{icpivero)
v7ro(KpiTT)s)
evUa
eVi *Apx[iov
Tvpo'i,
(b.c 419-8)
vn((^KpivTo) AvaiKpaTirjs).
KaWioTpaTOs
l^iovi
*Afi(f>iK6)(a)y
vne(^KpivtTO^ KaX\i7nrl[Pr}S
v7r]o(tpiT^s)
in
KaXXnrmldrjs iviKa
*Ajia[t]<^[a>]in-os
(B.C.
418-7)
APPENDIX B
IV. Record of Tragic Contests at
the City
357
Dionysia (C.
I.
A.
ii.
973).
TToXata .1 Ne[o7rroXf/ioff
EurptTTtlSofu
'li^tycji/fta
7roi7(rai)'] 'Ao"Tv8n/xas
Adr)v6b<opos'
ufTrf^rptiTro) NeJoTrrdXf/ioy*
J,
T]pt(rof) [nJeXtao'tJ',
i>nf(^KplpTo^ Ncon^rloXf/ios*
*Op(rTT/[t, u7rf(fpti'To) 'A^jyJvJlddajpW
cVi
aari;pi(*co))*
Ntco/Lia;(Ou'
(B.C. 341-0)
Tt/xoAcX^? Avcovpya>'
TToXata"
NfOTTTjJXf/irof
'Opearrj Evpim8ov'
rrjoj]{Taiy *A(rTv8dfias
GfTTaXds"
GejrraXof m/ca.
eVi 0o](/)pd(rroi;*
aaTv[p(>cy)'
(B.C. 340-39)
^opKicrU.
rroKaiq.
....
d](rTp[^aTos
Eu]pnr[dou.
(festival uncertain).
the second
xmf{Kpiv(To) *Ao"/cXi;7rid8Jci>pory
MeVafSpof J
7r<fi(rrToy)
'Hvtd;^
APPENDIX B
358
KaXXijnnos
V7ro\^KpiTf)s)
veatfjepos) tviKla
312-11)
(B.C.
Qjijaavpa * Ava^av(dpi8ovS
TTorjirris)
^iKnr^ni8r]s Mvcrridi
vn{KpivTo) * AaK^\r]Tn68(i>pos
l^iKOCTTjpaTos Bcvlrfpos)
Joa/COTTO)
i>firj6tj
virfi^KplvfTo) *A(r/<lXi;7rioS(i)pos
0f<50iAo]y
rerapros nayKpartua(T^)
(?)
v7r(*cpti'6ro)
trrjTTOS
7r(pi{nTos) nJatSio)
...
[\m({^KpivfToj
.J
The
those
numbered a-e
The
190-160.
B.C.
him
deal
is
others, y^/,
308-260;
975).
ii.
The
number of fragments.
inscription consists of a
A.
I.
date of
from about
b.c.
who
good
much
a,
and
later.
also
The
dates g-t
first
part of
fragment/" is as follows:
Ep)(^i(vaiv
vne^KplvfTo)
rirt
.Jfioy
TrlaXata
1 ^(OKfvai, ^i\r}{jxovos)
norjiraC)
.] Kpdrrfs *A7r6
'
iKpdTTjs 'Aire-
v]Tr{KpiveTo) ^iKobrjpos
Wilhelm.)
*A^vf\lriois.
Fragments a-e
are
I.
A.) as follows
2nd
col. of
istcol.of^
Col. IV.
Col. V.
2nd
I
col.
St col.
five
Col. III.
Col. II.
I.
ist col. of
of ^
of
2nd
col.
of
APPENDIX B
Wilhelm arranges them as
Col.
Col.
I.
follows, op.
of a
2nd
col.
istcol.
of^
2nd
col.
istcol.
It is
cit.,
pp.
68
ff.
Col. IV.
Col. III.
II.
ist col.
359
oi a
of 3
of^
2nd
col.
of
The
two arrangements.
former
is
fragmentary to be
too
is
intelligible.
(It
includes
the
of a.)
Col. II (the
2nd
of
col.
^).
Tt/i]o<r[rparofJ
Ai;r[poi;fic'i'0)
Vtli^Kp'lViTO) AlOyeiTCiV'
epUa
vnoi^KpiTfjs) Kpdrrjs
eVi
'
(B.C. 188-7)
(B.C.
1 87-6)
{B.C.
86-5)
(Wilhelm makes
this
[naXma'
fVt Zanvpov'
AaiVF^y
V7re(>cpii/fTo)
Then
a
after
an interval the
ist
of d
col.
accordingly dates
it
l>(/bre
the
wr(cpti fto)
viTo{KpiTi)s)
f^vUa
ir\
ovJk (yevtTo
(tri
o]v'
TTokat^'
Mi(roy\vu(t;
norjirai)
v7Tf(KpiveTo)
Mfvdvipov*
.^uqs *Abf\<pais
.Jp
AaKTvXio)
vne(^Kpiv(To)
Jeoi'
*tX]<i^;2i'[a(&).
Col. lly
i.e.
// ;
v J7re(<piVTo)
2a)(/)tXos'
APPENDIX B
36o
Ilapdfiovos Naua-yw,
VT({Kpiv(To^ Ovfjai/ios
TifiocrrpaTOs $iXotKfio),
KaWiarpaTos'
virc(^Kpiv(To)
^(oyevTjs ^iXoSfO-TTtJro),
V7rf(cpiVfTo) ^EKaraios'
^ik^pav
va>(T(pos) Mikijaia,
vnf^KpiveToS KpaTrjs.
V7ro(KpiTr)s) *Ovf](Tipos fviK^a'
Vtti
fm
(b. C.
Tiprjaidu^aKTOS' Tr~^a\aia'
(B.C. 182-1)
^i\6aTpaTo\s
183-2)
\me{Kpiv(To)
a-\w
^vnt^KpivfTo) .,,.'.]
6kiabiK\a^opLVOiSy
[wrf(/epii'ro)
/xjevotr
[v7rf(fp6'fro)
J
vJ/Liei/G)
Then an
interval in
of fragment
e,
......
(vWpyerovvTi
\hn{KpivTo)
t^JaTraTwiTt,
[t'7rf(/cpipero)
.
ttlf
Svvr ....
\mi{KpivTo)
.....
Jijff
Yivvaytjivi
imf^Kptvero)
V7ro(KpiTf)s)
V*
Col.
IV
...
J]idT]s,
iraKaija
^]V0S Vl[Ka
Upo
7roT]{Ta\)
....
*Av^a(ToaCopf[poi5
[voitf v7re{Kpiv(To)
.]
c.
APPENDIX B
361
vfifva
V7r((KfnVTo)
.jos
*AyvoovvTi,
vntiKpivfTci) KpiTo8];/w)s
Ne]/ii<rfi,
viT({KpivtTO^ Sebji/tfcos*
napd]/xoi/of Xoprjyovvri,
v7rf(cpivfro)] M6vifios
f\m
(B.C. 169-8)
(B.C.* 168-7)
Movipos
Trorjiraiy
Uapdfiovos reBvrjKas
iff
v7re(^KpivfTo) Adfuov'
Kpirav AtrwXw,
vjr{Kpiv(To) Moii/iOff*
BiOTTOs norjTel,
vne^KpivcTo) Adfuav
AdfXTrvTos
....
Then
after
an
interval
2nd
col. of
eVi] Euc/i[y
elTTi
oi/K
tyeVero
Hovf^oiviov ovk
rTTt
e.
164-3)
(B. C.
163-2)
(B.C. 162-1)
eyevrro.
'Hpaie[X
(b. C.
(B. C.
161-0)
7ro[r]{Tai)
Col.
d.
v7r{KpivfTo) Kafifi^pixos'
*E7r]tyf[i/]jff
hvTpovpifVKo
\me{Kpiv(ro) Ka^dpixos'
v7ro((cptT^ff) Ni/e(JXaoff cVtKa*
KaWiarpaTov ovk
ey(ve[To.
m. Mvrjaidfov' nnXaia'
Adfiav
^iKa6rjvai<i^ *tXt7r7r[i'8oi;*
(soon after
B. C.
160)
APPENDIX B
362
no{r]TaC^'
<tCkoKKri5 Tpavfiaria,
VTTf{KpiVTo) KaXXiKpaTJ^y
Xaipicou
AvTov
Kara\/^6vSo/ieTi/cp.
vneucpivfTo) Adficov'
Bt'oTToy *AyuoovvTif
tmf(^Kpipero^ Adfioiv'
Tifio^evos ^vvKpvnTovlri,
\J7T\Kpiv(T0^ l^aWlKpuTT^S'
*AyaBoK\^s 'Opovoia,
VTifKpivfTO NtfcoX [aoff.
VII. Lists of tragic and comic poets and actors^ and the number 0/
their victories (C. I. A. ii. 977, iv. 977).
b.c.
names
is
poet or actor at the contest in question, and each column of the inscription contained seventeen
and
it
to the
is
The
fragments
is
Wilhelm, op.
I.
names.
cit.,
pp. 89
ff.
and on the
ff.
Fragment
a.
UolXvcfipaaploiv
Nd^JtTrrros
2o<^]o/cXi}?
Anil
TOS
I I
*Api(TTJlOS
Fragment
as
KapKi^vos
eo]S/crs
/>.
'AoTjuSa/Lias'
Tragic poets.
(a)
lists
thirty fragments,
fTriljl
nil
fuller
Amer.
study by
APPENDIX B
*A<Pap
fiis
363
II
Fragment
c.
1
as
Brjs
pdrris
AffTuS
fi/ias
II
2.
Comic
poets.
(a)
Fragments
by Wilhelm,
follows
and
/(',
c, p.
1.
o6,
first
in three
published
columns as
dariKoi
Tr)\(i^ei]8rjs
norjTU)}/
] J
K<OfHKci)V
Xiuividrji
Epfi
*Apl
Al
Ev
*A\KifjLe
...
.....>
Ev(f)p6v los
Mil
vi^os
'A^
fiyjriai
AVAC t?
AtoTT (iOrjs
Aeu
Ttjs
KaXXia]ff
The
new fragment
T}p,o)u
II
KO)u
TTI
Aa/i d|fi/of
^Olt/tK (dl/f
is
....
YiUapxos
*A TToX\6d<t>pos
$iX
...
II
afiblTTTTOS
2aTVpi(i)v
1 1 i
following
no
4>iX {ovidrjs
Kparijvos P\
Kpd
^pv
TO)!'
(TTOp,l/l]S
TToXtS
nXu
*EK<l>af Tibr}s
trrTTop
Ka Wiarparos
VI}
Qednofin os
Krj (Piao 80T05
4>fp eKpdrrjs
Mayvrj s
NiKo<^aJ u
III
f^iKofia^os
*
no
*0
1
ApiaTOKpdrrfs
AaivTjs
1 1
^iXi^^w V
APPENDIX B
364
At the Lenaea.
(b)
This
at present consists
list
the original,
lost
The
follows
(including
p. 123).
heading was
Arjvaija
7ro[/Tcoj/
'ApiOTOnevrjs
Kparipos
^epfKpdrrjs
^pvvixos
1 1
^i\ifr[nos
Ni^KO
cit.,
JtXvXXtoff
1 1
^iXoviKos
.....
^i
Ava^a^v8pij8r]s
"Ec^jTTTros
III.
A^VTi<f)duT]^s
TTIII
I.
os
K\a[p)(]os
TipoKXrjs
II
III.
UpoKKddqs
I..
M[ei']ai/dpoff
^[iXJ^/lkov
'ApJioTo[^ci>j/
.
*AX/t[^j/]a)p
"A^e^is II...
nyp[a)y]
'Aer]V0K\?js
1 1
Mji'J7o-t/xa[;(0ff]
Ev(f)dvr)^s
Navcr[i*fpaT]/v
1 1
.]
Ev^ovXos
S?fi/[o^]ca?'
MvpriXos
IV.
$iXra[jpo]y
'
(dprjs
EvjTroXts
'
'A/Li[ei>/rtas
II
MM
II
II
noX[i;C7Xo]f
NiKO(f)[a>v
Xopr}\y6s
'A7roX[Xo<^ai/]i;s
"Epfxiimos
10
Ho
0fo[7ro/i7r]oj
T]r]\K\i8r]i
op.
III.
Mc\TayJvr)s
S^(v6(f>i\os
Wilhelm,
cf.
i.
II.
KdfiiJKayv
5.
to p. 27, n.
I.
Ta
restorations
conjectural
See addendum
III.
*Airo\X6da)po[s
,
Ai(f)iKos
^i\iinri8r}s
Nt/coorparo?
KoXXtadt/f
*A/it/[ia]ff
KT)<f)i(T68a)~\pos
I.
(^Aiowaodapos OV
*
Ao-kXt; TT toSwpof
Wilhelm).
3.
Tragic actors.
(a)
e'.
VTTOKpiTOyV T\_payiK(ov
'HpaKKi[dris
Ni/cd/xa;(o[s
lSaa>v8ag
Mu[vJi't(r<coff
...
N
Gc
III.
APPENDIX B
A]<r
A.vb\jpciv II
X]at[p][o-]rpaTO
M<i/Ac]pan7S
Ar]Tti'[i;s
{b)
*A^i'[<J8<ii)p3ff
*Apt[|oTddi;/iioy
...
puts
0, z,
and
^',
all
vnoKpiTCiV rpayiKcav
Xapidrjfios
XaipfalrlpaTos
^iXmrroi ...
M]i'[f Kpa]T;;s
AimV]i;y
1 1
^vrios
Mvi/vtaKJof
E[
II
fijos
NwcooTpalros
Mtpav
IIo
Qeobapos
*Apivias
Xapias
Ilpa^ia.^5
NeojTrroXf/iios
Nt*c[_.
*Apt[.
Tofpy
II
Uvppixos
II
the
to
who dates
list
of poets
but see
ni
1
noXv[icX^f
Saxrt/cXr^f
nJoXucuKTOS
IIoXvfi;X[of
Mjoaxicov
/x
JlvOdpaTos
KaXXmr
II
AvKia^Kos
*Aj(rK\r]7ri6da>pos TT
nJvppoXeuff
6i;pa/iv[i;ff
KaXXiTTTTor
[.
assigned
*Api(rray6pas
*AyriTa>p
actors.
u,
Aptaropi^Kos
Ka]XX((rTpaT[or
Fragments
KXtlTOS
^i\\fjpa)V
Nt*ca)i'
*
1 1 1
I I
Sdrjvpos
*AH-t/i[i'7ff
Teta-iXa[s
*tX[.
(previously
Sevotv
*If/)o/ii'[i7^(i)iJ
doms
/
*AptoT\ia)V
cit.,
*Avjbpo<TBvr)s
]s
Fragment
'Ap;(tas
ecrraJXdy
Wilhelm, op.
2Tf/i0[vXtos
I
HI
"Jnnapx^os
js
Apj^torro^jaij/
II
KX]fo[8a/ia]?
Btuc;([.
II
]$
*E[
ApiaT68^T]p.osj
'Hpa*cXet]8?;r
Comic
p. 144.
Eu7roXf/ixo[y
cit.,
0pa<rv/3o[vXoyJ
4.
At the Lenaea.
Fragments
who
365
1 1
Mcveic[X^]f
APPENDIX B
366
'l^fptowfios
A[7/>u5TpJtos
1 1 1
'A]p(o-To;xa;(os
Ac'JpKfTOff
YlirOivs
Api(TTOKparr]s
I
AtiTpXvKOff
^(XcDZ/tSi^s
pos
I I
....
....
A^T}fioJKpdTrjs
<{>tX|^o]o-rc^aj/os
Sco/cpan^s
'[^-J
*tXoK[X^s
'EfifAfvldrji
'HpaxXetSj;?
'Epp6<f)aPTos
uncertain
is
VIII.
1.
C.
The
list
and
its
specimens.
will serve as
LA.
Journ. Arch.
iv.
(Wilhelm,
1289.
ii.
op. cit,
p.
76.)
p.
(b. C.
307-6)
inroKpiTTis
noirjTrjS
{moKpiTrjs K^apcodois
2.
Fragments (found
victories at
(see
each
I.
G.
in
xiv.
Rome)
of a
list
festival
^v 'Evavopibov KvbaOrfvaievs,
ff.).
1097.
ejTrt
*AvTtoxi8ov
Ki;[kXo)>//^ii' (?)
s Ka>padia.
434)
...
(b. c.
440)
....
(B. C.
437)
enl
(v a\a-Ti
(b.
em
...
won
.^ois.
cVl 'APTioxiBov
[.
...
(B.C. 431)
(b. C.
434)
TXavKinjirov )
or e.r,!;.>ov f
....
.]at*
^"^"Xl-""
K'
(b- c.
409 or 4.0)
APPENDIX B
....
y
8'
*
ejrrt Aio<f)avTov
367
Aiow^(r
MopvxtSou
cVi
a<TT~\i
[.
eVi
(B. C.
394)
(b. C.
390)
(B. C.
435)
(B. C.
439)
o]vs KoXfot/)opo(y
(3) All
but the
two
last
lines
I.
G.
xiv.
1098.
(b. C.
364)
(b. C.
361)
(B. C.
360)
'
(v [aarei
AfJLTrpaKioiTih'
(B.C. 382)
'
JXet, n\ Xapia-dv^p\ov
>cXi8ouj 'OSvo-o-f?
] fVt
'
Trjoto),
......
.
e'
b'
eVt K7;^t(ro8[a)/jou
AnoWo8d)pov
l^iTTTToi;'
Arjvaia
'A'y[potKotf (?)
i3'
Ayado kXc^ovs
Govbrjfiox) 'A[.
\nv ^AvrepciTi [
......
[.
cV a(rr]fi fTTt
(jviKa Arjvni\ji
^vj cV O0"T[t
(b, c.
375)
374, 370)
(b. C.
365)
(b. C.
349)
(B. C.
367)
f7r[_i
fVi NavcrtyeVov?
e'jTTi
(b. C.
...
...
...
(B.C. 364)
(b. C.
356)
(b. C.
352)
APPENDIX C
368
APPENDIX
For
Lenaeum;
included in the
of the temple
the
site
Lenaeum was
Lenaeum
is
identical
was
all
be noticed in the
It is to
I.
and thus
<V Aifivuis
of the Lenaeum.
Ai'^i/atr,
can be given.
final solution
it
site
no
com-
first
out (Primitive Athens, pp. 96-7), thgt, on the one hand, none of those
writers
any
it
who
as the
Lenaeum
fail
all later)
to connect
cV Aifipais
on
the
the
Lenaeum
is
eu Aifivais
it
while
on
the
And
it
year,
it,
though the
The
iv AifAvais,
cV Alfivais stood.
Lenaeum, are Thuc. ii. 15; Aristoph. Ran. 211 sqq. ; pseudo-Dem. in
Neaer. 76; and Phanodemus ap. Athen. xi. p. 465 a there can also be
:
little
it.
i.
Lenaeum and
cation of the
(A) Thuc.
TO xm
ovT^
Tjj
avTTjv
ii.
151
KCii
TO be irpo TovTov
Trjs Koi
fir)p\
rj
TtTpafipiepov'
TeKfirjptop 8e'
TO V Aip,vats AiovvaoVf
*Ap6faTT]pia>vt,
no ground
ra yap icpa iv
iv
these passages as
the fV Aifivan.
cLKponSKfi
though he
co
/cat
TroieiTai
APPENDIX C
This passage can only be used
with the
Lenaeum
369
prove the
to
if
identical
iv Aifxpais
we can
They argue
press, \t]u6s.)
Thucydides implies
that
The
by
later
earlier,
all
it
is
festival;
Lenaea must
was the
it
Atfii/aty,
Now
eV
it.
on the comparative
laid
is
unwarranted, (2) that there are other grounds for refusing to identify
the Anthesteria and the Lenaea.
(i)
the comparative of
Greek
in classical
&c., is
literature in
which
Gramm.
Kuhner-Gerth, Griech.
Lys. X. 5
yop Trpta-^vTcpos
349, p. 3).
d8'S(f)bs
*fa*
Lys.
xiii.
67
^a-av
toiwp
ovTOt,
S>
ap8ps biKaarai,
rerrapfs dS\(f)oi,
Xen. Cyr.
v. i.
ws
8'
rjpSip
6 yepairfpos fMre
Theocr.
XV.
139
The
reading
ovff "Eicrap,
Traiba>p,
ii.
]^
41).
is
that
is
APPENDIX C
370
separated off from the
On
group.
and the
rest,
rest treated as
this
will
a single combined
known
viz.
and
If npea^vrepos
why
to
and the
yepairepos
There
Assoc,
the
is,
further, a note
by
Prof.
Capps
summarizing a paper
vol. xxxii,
meaning of
in
apxatortpa
Amer. Phild.
in the Trans.
show
to
that
is
impossible.
Lenaeon
in
and the
festivals transferred
entirely (Nilsson,
1.
such explanation,
ration in time of
if
Again, in C.
made
the
two
it
were to be
The
identified.
sepa-
I.
A.
ii.
834 b
(pp.
516
ff.)
we have
the accounts of
certain officials called cVtorarat *E\evaiv6dU kqI rapiai Toiv Oeoiv in the
year
b.c.
329-8.
fKTTjs TrpvTavfias,
includes in
AA
1.
.^,
and
in
1.
68 ? X6as
46
iiavdiovidos
rijs
br}p.oalois
Upelov
A Ahh
This proves
h.
is
altered
by
editors,
clearly the
I.
A.
iii.
1160, date
c.
b.c.
xviii.
is
(vide Nilsson,
TTJ
1.
(i.e., p.
143), of which
Ka\ e\oi86povp.
to
6*
em
A later
ff.)
one
pp. 40
s. v.
*A6f]pqcri
ra <
yap
ip
((tkodtttop re
APPENDIX C
371
refe-
^vvavkov
^oav
v}iv(tiv
Koa^ Kod^y
^v
dficju.
l^vafjiop
Albs Aiovvtrov u
Aifxvai<rip tax^cra/xei',
6 KpainaKoKcofios
^i't;(*
The
Frogs
pas^,
Upa
rj
ifpoiis,
fj
Tov ^aaikias
ip
yvpf], e^apKutcre
tw Aiopvaco
3c
^e86dri
ypd^avTs
yvpfj.
fj
lo^aKx^eia ytpalpco
there
(D) Paus.
Upov'
bvo be
is
i.
(Icrip
7^
'^"'^
(Ttt]Kp, dpv^ipols
ovrau
tovtop
to
fl(Tp\frai,
top
pofiop
napa top
^(ofiop
ypappaatp
ravTa ev tw apx^aiordra
ttj
hint of the
20. 3
dvoiycTai,
*Attiko'is
Up^ tov
Aio-
tov ^ApOeaTijpioipos
dn dv8pQi avvovaias,
tw Aiovvaoi Kara
no
fj
pfj
opKos Y^P^P^*'*
(in the
*A6r]Pai(iiP TO(rovra>p
earrjarav, iva
Here
pvp
koi 8ia
fKacrjov
Koi uvtt]
irpoaTJicfP
p.r)v6s.
a ov
aXXos
Dionysus
to
festival.
73 sqq.:
dXX'
hymn
'
to
it is
apprjra
\aoi>v o)(\os.
possibly be used to
the
to.
Lenaeum
or
Lenaea
at all.
t dtdrpa to apxaioTOTOu
Aiopvaoi, o re 'EX(v6fpVS
(E) Athen.
xi. p.
465 a: ^avobnpos
be
npos rw iepa
B b 2
(j>rjai
rap mdatp
t)
tov cV Aifxvais
Be^ Kippapcu,
APPENDIX C
372
pvTOVs iy.
tlr
^i6waov, on
Now
it is
11.
fii)(6cv
iirodr)
KiKpapivov,
clear that
The
i-nX Arjpaico
dymp (Aristoph.
Ach, 504):
Plat. Prot.
assumed
that the
Lenaea and
has
literary evidence,
been
it
were identical ?
(i)
on
fj
fiPa>p
refer
to
The second
first
name
There
rp^ymbia.
is
ffyfTo.
but this
(3)
it
is
a conjectural explanation
way
yXevKos in both.
(2) HesychiuS!
\aia
drinking of the
of the
Anthesteria.
is
Xi/i't*
emend
The one
The
true reading
may be
Kf)Tja\
be
^AnoWoboapos
dyofievrjp,
eKeiPOV
*AdriPaiois
eoprri
epopiaOrj
eopTr]
Koi
ttjp
eoprfjp
(ba^eKaTj],
The
on
aZBis,
'Opearrjs
Uapbicop
This passage as
as instituted to
it
form part of
Dionysus Lenaeus.
els
Xdes.
ol
we
Aiji/ata,
a Schol. on
is
ol be *Ap6e(TTr]piS>pos
an
to
Kcu
onov ra
Aippoia.
im t^
same
story
make no
corresponding expression
in
allusion to
Schol.
ad
APPENDIX C
373
Plut.
QuaesL Symp.
1374; Suidas
r^v
613 b and
p.
s. v.
is KOTtkafftv
(Other versions
Xoer.)
p.
643 a;
It is at least
Atovv<rov Aijpaiov is
8e tofyrfj
mind
state of
sufficiently indicated
is
made
has
concerning the
Rutherford
on Aristophanes, and
of no value when compared with the weight of
passage
is
may
AHNAIOY and AIMNAIOY
are very
Aifivaiov.
Nilsson
festivals.
57)
mentioned
this single
p.
festivals
Arjvaiov
much
alike,
and the
name of Dionysus,
Phanodemus, mentions
festivals
by Gilbert
notice
because so far as
cation,
so use
II.
cited
is
in
is
c,
for
latter,
Athen.
Aiixvalos
in fact the
(1.
an error
is
as
But
needless so far as
I
do not
support of the
identifi-
concerned.
enough
to say that
seems
identified
it
v At/zw,
\T}v6i, this
(though
does not
this is
itself
prove that
not necessary);
it
is
quite
fallacious.
many
was
Xrjvoi,
but (i)
it
is
and
so,
even
if it
title
A^vaios
is
\i]p6s at all.
is
very probable
We
it
with these two points before discussing such positive evidence as there
is for
(i)
As
Lenaeum.
as to the site
is
and next
the passages of
^^^^
374
pseudo-Dem.
in
APPENDIX C
To
quoted above.
all
take
mean
to
south of
p. 144),
a case
It
'
it)
but, as Prof. E.
it
would be impossible
for
it
'
irpbs
Tw
p^pfi)
such
in
all.
On
most natural
the
was
inter-
to the south of
WNW.
Tw Bfarpa.
rrpos
often
means
several shrines
(I.e.)
{ifpou as
may be
that 'Fischbach
Carroll reminds us
Athens
so
much
These
benefit of a tradition
handed down by
interpreted
him
correctly.'
is
that
Now
his authority
that Pausanias
manifestly based on
he understood
in
and terms of
resemblances exclude
stylistic
tant sites.
in his description of
it
is
and when
of the tv
pseudo-Demosthenes
Aifivais as
(1.
admitted
and
ev Ai[j.vaiSf
it
is infinitely
more
was
npos
TO) Oeurpco,
and
Of
ev Aipvais
was not
within the
the
SW.
Now
seems
to
same
ifpov,
the
same sacred
it
may
same as
well have
the
been
it,
on
of the acropolis.
Miss Harrison
warn
us.
He
(1.
seems
'
Thucydides himself
you
all
APPENDIX C
know
year you
all
much
of,
375
there
Anthesterion, &c."
'
that Pausanias
oldest
he
is
two
hiera
'
was wrong
Trpos
at
such pains to
But
if
them)
this
in
tw O^aTpa.
may
just as well
have been because they were close to each other and might be con-
However, 50
fused.
far as this
it
The most
it
to
irrelevant
is
WNW.
it
seems
may
and Pausanias
or
simple
add anything
may
to his
argument,
and confusing.
words of Thucydides
theatre,
of the acropolis.
and
(In spite
mentioned by Thucy-
precinct
Ai/xvai?
with Dorpfeld's
The passage
the
by the
2th of Anthesterion.
celebrate,
though
the Theoinia
They swear
customary times.
and lobaccheia
in the
ceremony on
(or will
at the
and
and therefore
to
be the
iv Aifivais.
This
is
seqiiiitir.
municant,'
it
am
its
this there is
no doubt), there
it, is
is
the temple
i\ipvais,
it,
or any
APPENDIX C
376
is
the representative of
the far older 0-7^X7 by the altar eV Alfivats mentioned by the pseudo-
mentioned
c, p. 113) that
(1.
in the oath
is
among
'
(see Roberts
ii.
and
stelae
most that
proof at
was an old
it
all
1.
it
was
all,
it
it.
for
an
proves at
There
many
The
ff.).
and places
the eV Aifivus
pp. 236
one above
only, or celebrated at
is
the
festivals
list
rites
is
no
celebrated
Dorpfeld's precinct
BaKx^'ia
stelae
On
one found.
to allow of
is
some lime
distinct
'
The
nature
many
was
the v Mtivais, only open once a year and kept strictly secret, it would
be carefully enclosed, and would have only a small door, and would
contain no votive ofl"erings biit to argue the converse is simply bad
explanations besides the one Miss Harrison
offers.
Perhaps
if it
reasoning.
v Aiixvais,
gives us
it
no ground
for
contains a
X71/0S is quite
it
As regards
it
the
is
site
title
in
itself,
So
that the
throws no
light
of the Lenaeum.
A^j/mor, the
form of the
Xfjvr)
are as follows.
Hesychius gives us
this with
Odyssey
Xrjmi' ^aKxai'
230
xix.
is Xa/^,
'
6 ixh
tear,'
and
APPENDIX C
that the \rjvai were bacchants of the
their ecstasy.
probably at
377
included orgiastic
first
If this
and
rites,
it
is
is so,
may be added
it
that in C.
Lenaea appears
I.
Lenaea
the
significant in this
in
at
Myco-
in the
way;
give
in
is
it
me
from
It
and
others,
and
we have
Lenaeum
because
of the
0)
rites,
what
to ask,
was
viz. Xijuaiou'
nepi^oXos peyas
and
iKpia'
to.
ip
t?/
dyopa
d<l>
S>p
de Cor.
129 describes to
of the hero
and the
KKiaiop to npoi
is
at
rw
any
and
Plato,
(Plato, Apol.
left
S. V.
KaXapiTi]
jjpco'i
as eV
Whatever
in the
market-
Arjpaia,
tm
Again, Schol. ad
dyopd.
'Adrjvrjaiv
Hesych.
for the
is to
we
in the dyopd.
Dem.
they were
given by Nilsson
.?
was the
it
III. Finally,
(i) It
The arguments
festival.
must
site
Xrjpos
site
in uncertainty.
The
is still
so
much
dis-
Plat., op^rjarpa totto? em(f>dvT]s els irapqyvpip epOa *Appobiov Koi * ApioToyeiTOPos
eUopes,
disputed.
acropolis.
It
may
We
have been
at the
NE.
or the
NW.
is
itself
corner of the
wherever
wooden
theatre
was
this
the
APPENDIX C
378
took place
iv aypois.
tov erovs, to
irpwrov eapoi iv
fiiv
5chol.
id.
202
x^ipa>v
yap \onr6v ^v
'.
and
6 iiriXijvaios dyoiv TfXftrai tm Aiovvaco' Ar]vaiov yap iariv iv dypols Upov tov
Byz.
Ar)vai05'
c. 78),
rjv
rj
aycoj/,
So
Aiovvaia.
also Steph.
is
Dionysiac
festivals are
is
It is
enough to note
The
autumn.
taken altogether,
be placed in them.
to
is
Scholiasts' iv dypois
distinguishing the
no consistent
clear that
it is
to be found in
view
in
Tpayoidos
XpoviKa>v.
1.
MivavSpos'
is
aorei,
iv
properly so
Religious nomenclature
all the
but
is
it is still
afterwards
came
Arjvaiat dyotv)
to
be included
desc/lbes
M. Foucart (Le
festival
it
rrjs
jSovX^y iv
and he attempts
proof that napa
(I.e.,
TO.
(s. v. inl
aS iv r aoTft.
ftarfifs
Hesychius
in their circuit.
(rrfjkr)
p.
109) to
'
C.
L A. IV.
8e \/r^<pta/xa rdSe
\iBivr}
Upia means
site in
KaraBira iv rw
fix
the
by the
[site
p. 66, in
i.
of this Neleion.
Lenaean
part
dvaypd-^as 6 ypafi-
theatre
'
is
But
his
very weak.
APPENDIX D
'
379
APPENDIX D
The
These
priests
had
The
theatre.
HomoUe
given by
is
290
B.C.
Tois rqv
282
B.C.
'HpaKKeidrj
rrrr
bpaxficu
ftf
de Correspondance HelMnique,
(TKrjvfjV
HHHHA.
dvo
piaOos
....
to
fls
foSoToj TTivaKa
AAA'
it
in Bulletin
The most
ff.
of
is
ypdyjravTi
TrpocKrjviop
irivaKas
TO TrpoaKrjviov noirjaavTi
is
[jlktBos
dpaxpai
......
Koi oara
otto
(V
Tot dforpco.
281
Tovs nlvuKas
B.C.
279
to Bearpov dieueyKaai
us
;(aXco{}
\\\
B.C.
AiaiTOu
TjyyvT}TO
els
pepos
AnoWoboopov
TopvifTKov fls
ttjs
tov Oedrpov
ttjv
opxrjOTpav
KOI Tovs oXkovs dvaKoOdpavTi Koi tov xoOi/ f^fveyKavi purBfOTols^ dpxiTKrovos
(ybovTOS,
piaOos
Fhh
t^?
Ahh
"Epptovi
fls
TO [Xoyejiov
aKrjvrjs
Ttjs aKtjvrjs
276
B.C.
274
B.C.
\dyayov(Ti
avaTqcravTi
fls~\
ti)v
Teyos
dfVTtpav botJiv
Tuv aTotov
Tas
TO.
TroiTJa-ai
irapavKrjvia to
napa(TKr)vi(op
hh
tiju
(tktjvtjv
HHHHP A A A A f hhhh
dvo Ka\
pvau
mpi
<rai
fisj
to
ti)v
dnfaTrjadpfBa Kara
piTCl
fTTTCl
tw tovs
pvds TpidKOVTa
XP.
eyXa^dvTi
\anfvfyKavTi
KOTdKeiylravTi.
....
TrapaaKrjviov
to
to
(^uAov)
Tr}v
Trjv avyypa(f)r)P
fTTipfXrjTioU
pfarju Ka\
to.
napaaicijvia to.
*E7rtKXvTr]T<^fyXa^6vTi
tiva>
mva^i
Ta>v
^oBpovs
APPENDIX D
380
PAAAPhh
m<TK(vd<Tai
Tu napa(TKr)via
Kai
.
to.
....
eyXa^oi/Ti
r<u
tS deoTpa
to TrapaaKrjnov to iv
crai
HHHPAAAA
XXP'
bpa\}i(iiv
arv^iovj
....\lOY
Kara
Tr/v
bpaxfio)v
(tkyivtis
Tap
icai
fTTlfJiiKtJTWV.
269
B.C.
Tqv iv
Tr)P (TKrjvrjv
fivo
deoTpa dvaKaddpa(ri hi
r<S
Aiowaia eyXa^ovTi
Trjv
fdofifv
2(o<Tipiev(i
81680V
TTJs
KaTaaKcvdaaiTi hhhill
'AiTtKO)
fdofifp
8i,6da)
tJ}
ApitTTOKXel Koi
t^ ep
KaXXt/xeWi
ttjs
ttjv irpdyrrjv
rco
ttjs
^iXap8pi6ei Jlapia
rw
(?)
'Am/co)
Trjs
B.C.
TO Bearpop dvaKuBdpai'
Trjp
enayoayiba
dioKuBapavTi Toits ev
dioKocriovs,
noba
KXels Ka\
T171/
eVi top
JlappepopTi
'fl^eXiWi
Bedrpo)
Toiis
Trjs
els
to
Bearpov
Phh
e^edofxep
EuicXfi'Set
[^vXoj/
....
tov
epyoXa^rjaaPTi top
to
7r6das
epyaaias
Tijs
Kpov-
em
tieoyevei eniypd^avTi
XiCeias
8paxfia>p
;(fXa)i'toi/
aKrjprjv
ttj (tktjvIj
Trjs
t6/x
rw
ttjp ev
npoaKTjPiop
180
doaiv
us top Orjaavpov
dedTpco
T(o
KBofiiP
poi/s
iv
Trjs
250
hhhh
....
nipaKap Tap
enl TO Xoyeiop.
The
wooden
remains.
The erection
structure.
b.
c, and
by side-wings
(napaaKrjvia), but
com-
269
Hence
it
b.c.
is
open
at
is
later
work
not enclosed
But
els
t6
APPENDIX D
when
381
removed
The word
is
<TKr)vr)
denotes
It
T.7 (tkijvjj,
by which
that wall
was covered,
e. g.
t^v
(TKrjvfjv
ttjv
TO. napa<rKT]via.
to the napaa-K^via
on each
fie(n}v
side,
and
is
called
at i-ndvo)
story,
and
Apparently the
stories,
in opposition to
(TKrjvai
c, p. 165).
1.
as opposed
/leVi; aKrjUTj
17
^ pear) aKrjvfi
bottom
the
npoa-KTjviov.
stories
to.
vnoKorm),
it
Some
seems unlikely
The
of the auditorium.
(8tafa)/xa)
seems
The
is
The word
the diobos.
irtpunKohopia
in the slope
dug
seats.
The
The
6p6o(rraTr]s
and
KaroKritrn^p
are
may
is
was
finished
off.
The
idupxi^
and
KXtpaKTTjpes
not certain.
1.
c, pp. 163
ff.
but this
GREEK INDEX
ypafifMif 107.
ayopd, 377.
ayunffs Xvrpivoi, 31.
SfiKrjXiKTas, 282.
aluipai, 209.
5Y'5, 313.
309.
dyafidSrjv, 204.
&va&aB{ioi, 217.
di/aiSaiVeti', 109, 148, 166, 167.
&vaZihaaK(iv, 71.
dv6.iTcuaT0i, 269, 270, 295.
avait'uayui, 217.
OJ/airXatr/xaTa, 259.
5(^io(TTaTr]s,
aiupijfia,
300.
S(UTf/)a7(yi/rTi7S, 234.
ZiVTfpoararri'i, 300.
8tacr/f CVJ7,
StauXtoi',
321.
StSaff/faXcroi/, 60.
S^SaCtfaXt'a,
3,
61.
'AvOfffTripia, 372.
S(5a<7aA.ta aariK-q, 7, 1 3.
StSacricaAta Aqvaiicq, 1 3.
avTfnippTjfjia, 269.
dvTtxo/""* 309*
d7ra77\Ai', 68.
Si6vpan0oSylO, 222.
ivoKptrris, 227.
diroXaxi/, 32.
ApiaTfpoaTaTrjs, 300.
A(ovu<rta, 6, 9, 378,
Ajovuffta apxaiOTfpa,
apncL^, 209.
auAaia, 219.
auXT/Toi avdpfS, 9.
av\r]TT]S, 271.
avXrjTwv X^P^^t 9d^i's, 112, 194.
B
/3a0/xoi',
379.
fiapvarovos, 275.
j3^A^a, 88, 107, 142.
275.
fiovXcVTlKOV, 328, 337.
fipOVTflOV, 218.
/3(Ofios, 80, 107, 108, 200.
fioj fibs Aiovvffov, 142.
fioixfiojv,
368-70, 374.
Aiovvaia to, dcTiKa, *J.
Aiovvaia to. ev affrei, 7, 9.
Aiovvaia tcL kirl Arjvaicif, 6, 372Aiovvaia ra (mX-qvaia, 6, 370, 372.
Aiovvaia to, Kar dypovs, 5, 29, 288.
Aiovvaia rd /fard /fw/xas, 29.
Atoi'VO'ta TO. Kard moXeis, 29.
Atoi/i;(Tta TO jxfydXa, 7.
Atovycrta/foi d7a)i/?, 377AiovvaiaKol Tx'tVat, 278.
Siu^ekia, 331.
E
yipavos, 2lO.
eyKVK\rj6pov, 20I.
7/)o/)ai,
7A{;os,
375.
371,372-
ts
darw xadicvai,
7.
GREEK INDEX
aarv KaraXeffffOai, 31.
ilaKVK\(iv, 204.
(l<TKVK\TjHa, 201.
fiffohos, 112.
(IS
OfaTponuKrjSf 334.
OeaTpwvTji, 334.
^oAo7froi', 126, 213.
^05
(K0aW(iv, 344.
/CKKr)aia ^v Aiovvaov, *j.
(KKVKkeTv, 201, 204, 205,
(KKVK\rjHa, 201, 211.
383
an.
kKTiivrfiv, 344.
'
(V
laij,0vKT],
248.
a7pors, 29, 378.
daru
diSdffKeiv, 7, 13.
t^j
6irt/xeA.7;rai Ta)!/
K
KaOdpcrioVy 68.
KaOi^taOai, 32.
KaOifvai, 228.
KaOi^eiv, 32.
emfifKrjrai, 343.
7ri/iAj;Tai
267, 269.
269.
'laoj'tot vSfiOi, 321.
fSm aapLara, 310.
rp(o', 81, 83, 87, 328, 377.
IfiaTiofiiaOai, 64.
IfiaTiOfuaOoJTai, 64.
IfidTiov, 250, 295.
iafifffiov,
266.
(fifiaTTjS,
nofiinjs, 49.
fivaTrjpiwv, 49.
67rnrapo8o9, 305.
(vippTjfia, 269.
/fttTci
kmaraToi
cv(f>cuvia,
273.
((paTTTis, 252.
^77^z/foi/,
C"7"> 299.
KaraKoyij, 269.
337.
ewprjfm, 2 09.
Kararofjiri, 90.
KipapLOS, 186.
KpaVVO(TKOVflOVy 2l8.
f^/f/s,
Cip'(5i',
299, 301.
^cDi'at,
98.
((U(TTrjpi,
98, 337.
278, 314.
KXfJpiaixfios, 269.
Kiv-qats,
209.
H
^yffiojv, 301.
fjfuarpoipioVf 218.
ij/4tXo/)toi',
KkifJLaKTrjpes,
380, 381.
Kv6opvos, 248.
KoKvwpia, 252.
KOflfiOS, 268.
Koviarpa, loi, 142.
Kopda^, 318.
KOfnxpdios, 300, 30I.'
KpaSr), 210.
Kpaan(diTT]i, 300.
Kprjms, 248.
377-
KpiTrfv
H0dWiv,
32.
Kpovais, 269.
KV0i(TT1J(TlS,
317.
kvkKios x^P^^) IO"
"'/*05, 9> 20, 352.
KWfiqiSoi, 9, 20, 25, 108, 275.
GREEK INDEX
384
XapvyylCfiv, 275.
Xavpoardrijs, 170, 300.
7ra/xiS(5d<7Ar6(i',
\r)KveiC(iv, 275.
vapairfTafffjia, 1 1 8, 1 85,
\riv6s, 24,
vapaffK^via
tcL avoo,
napaaierjvia
rd
206.
irapfviypcup'fi,
306.
275.
fieroLffTaais,
305.
/i;Xa'^, 197, 199,209,211,212,215,216.
firjxo-voTtoids, 209.
/it>o<, 107, 142.
fuados, 39.
fwv<f)diay 268.
fivpfJiTjKOi
379-81.
ireirXafffifvus,
fieyaXoifxuvia, 273.
/jifTaffKfva^taOai, 288.
fwpfitjKia,
139, 379-81.
^dro;, J39,
irapaardTTii, 301.
irapoSos,
186, 2 1 9.
321.
arpavos, 321.
iTfpifioftfiwv,
275.
iroiXoy, 250.
TTO^iTTiy,
9, 49.
irpo&yoiv, 67, 68.
vpoyaarpiSia, 259.
irpo(Spia, 335.
vpoKoyos, 224.
Tr/3^s Tcts firjffeis
irpos
I'f/itl',
51, 58.
vn6pxf](Tis, 317.
TTpOfflcfjVlOV,
vfftfjafis eias, 2,
vcfi'fjaeis
Nfivaf
335.
vnoKpiTwv, 58.
rpafiKal koI
KotfiiKal,
379-8J.
irpoaotrrfiov, 262.
362.
viKav, 40.
I't/cai/ T(i
ATyvata, 364.
W/o; AffTixif, 7.
H
f/>tC',
^i<l>iaix6s,
(ii\ov
317317.
itapdkffif/is,
vpwjayuviaTfii, 223.
irpcDTOf fvAor, 335.
vpwTOffT&Trjs, 301.
irrepvoKoirfTv, 344.
itvppix^ffTai, 10.
^a/38oCxo, 343.
317.
O
OfKOSf 244.
oKpi^ai, 68, 118, 248.
i\o/, 379, 381.
"Ofifipmos, 261.
n
TratSo;;/ X^pos, 9, !
iraXcudv 5pa/xa, 19, 22.
Ilava^vcu'a, 12.
aiyelpov dia, 81, 83.
vapapaivfiv, 149, 305.
irapdfiaffi9, 149, 2 70, 305.
irap'
irporrayanfiffTfTv, 227.
^a05(Hf>6pot, 343.
/J^o-iy,
224, 317.
(TaTVpiKOV, 12.
adrvpoi, 289.
orauTT^i' 7ratfrs,
176, 228.
259.
aKTjvcu al eirduo},
1 1 2, 126, 379-81.
108, 112, 141, 143, 148, 149,
166, 186, 199, 268, 379-81.
o'/cj/i'^ 57 A'co'j;, 112, 379-81.
aKTjviKcL TrpSffoma, 288.
CKT]VlKol, 146, 172.
ffKTjvoypcupla, 112, 181.
afeamfvfia, 318.
ardoinovy 306, 315.
ffTorxos, 149, 299, 301.
arpwpuov, *i8.
<r/f77M7,
GREEK INDEX
(TVKlVOS /fXctSoS, 210.
(papvYiK^iv, 275.
<papityylvSrjv, 61.
axrif^ara, 3 1 3.
^oiviicibfs, 342.
^o/w*, 313.
(TTpo<pr],
30s.
385
Xapa>i/(Oi K\ifiaKS,
1
66, 268.
Xflp
fcaraTTprjvTjs,
217/
3l7'
Xpt5s, 250,
Xfp'yi XaXcrc, 312.
Taiviai, 209.
Xirojv, 250.
TCKpoif 200.
XtTOJj/
370, 372.
Xopa7os, 301.
XoptVTris, 61, 80, 299.
xopvy^iv, 55' 56; 63.
KOJfxqjfioTsy 44, 288.
Xoprjyfiv rraiai, 90.
XopijyfTv ry <pv\^^ 10.
Xoprjyciv rpayqtdois, lO,
XOpTjyfiov, 60.
XoprjyeTv
Tpdrrc^a, 80, 2 2 2.
TpiKoyia, 13.
TpipLfTpa, 269.
rpiirovSj lO.
Xoprjyia, 37.
xopvyos, 10, 32, 56, 63, 64, 66, 301.
XopiKcL fi(\r}, 287.
TpOXOS, 209.
rpvywbia, 372.
XOpOKTOVOS, 54.
T
/
vSpiai, 32.
viro8i5a<raXos, 62.
uTTO/foA.irtoj',
xopratos, 256.
XeJcs,
300.
XopoarcLTrjs, 301.
imSpxrjt^i 307.
vnopxv^^^i 317-
>?
IpdKlS, IT 2.
^tXeus, 300.
n
(paWiKOL, 222.
</)oAAo5, 259.
MAIUU
(^Setw,
c c
GENERAL INDEX
Records concerning his Oresteia)
Exhibits at an early age, 50.
Trains his choruses,
Actors of, 57.
61.
Reproduction of his plays after
his death, 73, 76.
Text of his plays,
Not popular in later times,
74, 76.
His stage, 150. His statue in
76.
the theatre, 176. Scenery in his
plays, 180.
Said to have invented
34.
48.
among,
Changes of costume by, 232.
Costume of tragic actors, 237 ft.; of
satyric actors, 255 ff.
of comic actors, 257 ff.
Importance of the voice
Distribution of parts
229.
230
fT.
Aeschylus, his
Taunted
first
logies
by
Demos-
appearance as a
His Oedipodeia,
and
trilogy, 15.
His
His Promethean
Number
of his victories,
Aixone, comedies
Alcamenes, 131.
at, 30.
On
the
Anapaests,
given
Sometimes
in
recitative,
delivered
269.
by the cory-
phaeus, 308.
Anapiesma,
the, 217.
Andronicus,victoriousintheEpigoni,43.
the, distinct
from the
Lenaea, 6, 369 ff. Where celebrated,
368 ff. Dramatic performances at,
Anthesteria,
31, 44-
Anti-choregi, 66.
Antisthenes, his success as choregus,
37, 62.
Apaturius, 127.
GENERAL INDEX
Audience,
of, 4.
40.
1 3.
52.
for the
drama,
4,
51.
Enthusiasm
346.
387
among, 343.
Auditorium, the, originally of wood,
8r, 84.
In the theatre at Athens,
90
93
ff.
Shape
of,
92.
Interior
of,
Not generally
95, 100.
used in Greek theatres, 176, 342.
Awnings,
much
282.
His definition of
His remarks about
dancing, 313.
the admission of boys to comedies,
His description of Attic au329,
diences, 348.
Arsis, 311.
Artists of Dionysus, 278.
Asia Minor, theatres in, 1 33 ff., 148, 163.
Aspendos, theatre at, passages in, 97.
Back-wallat, 127,134. Roof in, 135.
Assembly, the, meetings of, in the
theatre, 70, 178.
B
Back-wall, the, 126, 127.
In theatres
of the Roman period,. 133.
Doors
in, 134, 154Balconies, on the stage, 187.
Banquets, in honour of victory, 70.
Basis (metrical term), 311.
Bethe, on uses of proscenium, 123.
Theory of the stage, 172, 173. On
the drop-scene, 220. On the tragic
costume, 239.
Birds, chorus of, 297.
Their mode of
entrance, 302.
Boots, in tragedy, 248 ff.
In the Old
Comedy, 260. In the New Comedy,
266.
Boys, admitted to the theatre, 324 ff.
Bradfield, theatre at, 158.
Bronteion, the, 218.
Cephisophon, 57.
Chacremon, 19.
C C 2
GENERAL INDEX
388
Changes, of scenery, 195
231 fT.
ff.
Of costume,
Meaning of
7, 27, 28.
the name, 7. Date, 7.
Character of
the proceedings at, 7 ff.
Procession
at, 8, 9. Contests at, 9, 10. Tragedy
Comedy at, 20 ff. Order
at, 10 ff.
of contests at, 23, 24. Actors' contests at, 41.
Managed by the archon
Lenaea, 6,
82, 84.
Clouds, chorus
of, 295.
Cock-fight, the, in the theatre, 177.
Comedy,
314.
first
at, 29.
institution of contests in,
Specially prominent
26, 27.
Lenaea, 6. Choregia in, 20.
At the City Dionysia, 20 ff., 358 ff.
Number of poets and plays in the
comic contests, 20. Reproduction of
old comedies, 22.
At the Lenaea,
Chorus,
54.
68.
Reintroduced, 55.
agonothetes, 54.
Assignation of poets to, 55 f. Duties
61.
Expenditure
of,
of,
63 ff.
Rivalry between, 66.
Choreutae, their appetite, 61.
Delivery of words by single choreutae,
Decline in the excellence of,
308.
the, granted by the archon. 50.
Selection and training of, 60 ff. Paid
Its dresses
by the choregus, 63.
supplied by the choregus, 64. Cost
of different kinds of, 64.
Decline of,
128. Position of during the performance, T40, 1 4 8. Supposed platform
Occasional inaction of,
for, 141.
168.
Enters and departs by the
back-scene, 168. Comes into conExtra
tact with the actors, 169.
choruses, 237.
Gradual decline of
tragedy, 285 If.;
in
in
comedy,
287 ff. Its size in tragedy, comedy,
andsatyric drama, 288 ff. Its costume
in satyric drama,
in tragedy, 290 ff.
292 ff. ; in the Old Comedy, 295 ff.
Rectangular arrangement of, 298. Its
mode of entrance, 299, 301. Irregular
entrance of, 302. The parodos, 302.
Its formation when in the orchestra,
at,
at,
5, 20,
at the
26, 27,
355
Number
institution
of,
5,
11, 20,
26.
TENERAL INDEX
241,243.
cothurnus, 348
ff.
The
The
tragic tunic,
coverings in
the
in
flf.
His
victories,
28,
46.
Refused a
Called a
Dionysia
Lenaea, 49.
Cushions, in the theatre, 96, 342.
actors, 273.
56, 65.
and
D
Dancing, importance of in the Greek
drama, 311. Its mimetic character,
How far em312. History of, 314.
ployed in the drama, 315. Used as
an accompaniment to speeches from
the stage, 316.
The tragic dance,
The comic dance, 318.
The
317.
satyric dance, 318.
different modes
Delivery,
Louder
389
in tragedy
stage, 170.
GENERAL INDEX
390
Eisodoi, 112.
Ekkyklema,
205.
dramas,
203
206
flf.,
Recent
ff.
Eleutherens,
Emmeleia,
title
of Dionysus, 6,
8.
the, 317.
Encores, 344.
Entrances.
See Doors (above).
Ephebi, receive their shields and spears
in ^the theatre, 1 78.
Their seats,
337-
107.
The
The
hyposkenion,
Side-wings, 125.
The
gutter,
Gates,
123-5,
Ramps,
no.
1^54-
125.
Greek
drama, 270.
Flute-players, how assigned, 56. Paid
by the choregus, 63. Number of,
Costume of, 271. Position of
270.
during the performance, 271.
Foreigners, their seats, 337.
Furies, chorus of, 291.
Its mode of
entrance, 302.
of proscenium, 130.
Eubulus, entmsts his plays to Philippus,
52.
Eudemus, helps
in construction of thea-
tre, 87.
Eumenes, portico
of,
75.
Eupolis,
Demostralus, 52.
Euripides, his Alcestis,
12,
13.
His
Graeco-Roman
215
ff.
ff.
H
Hadrian, statues of
in
theatre, 176.
Harp, the, occasionally
the Athenian
employed
in the
Hermon, the
GENERAL INDEX
Himation, the, 350.
Horace, his reference to
the
Greek
Managed
Its
Lenaeum,
ff.
Propompi, 43.
Limnaeus, title
His
voice, 373.
of
Dionysus,
372,
373-
269.
trimeters, spoken without musiaccompaniment, 267.
Rarely
sung, 267.
Tcaria, dramatic performances at, 29.
Ikria, the, 83, 84, 87.
Ionic
contests at,
Lenaeus,
flf.
cal
Comic
ff.
Wooden
derivation, 226.
26
36, 27.
Iambic
391
Mode,
the, 321.
Sophocles, 51.
Maeniana, 187.
J
Judges, in the dramatic contests, their
number, 31. Mode of selection, 32 fF.
The process of voting, 33. Value
Someof their verdicts, 34 ff.
times corrupted and intimidated, 35.
Afraid of the audience, 37. Their
seats, 336.
Magna
Graecia, theatres
155 ff.
Magnesia, theatre
Tunnel
in,
at,
of,
its
137, 133,
shape,
93.
109.
site
of the
Masks, invention
Kataloge, 368.
of the use
of, 296.
Kolpoma,
the, 252.
Kommos,
the, 268.
The
dances, 316.
Persae, 318.
Konistra, the, loi.
Kordax, the, 318.
Kraspeditae, the, 300.
Krepis, the, 248.
of,
295.
Accompanied by
kommos
in the
Mechane,
saults
GENERAL INDEX
392
Mummius,
175.
320,
321.
N
Neoptolemus, the actor, 273, 279, 281,
283, 284.
Nero, competes
273.
Nicias, as choregus, 37, 66.
Nicostratus, the actor, 269.
in,
151.
Have
Parachoregemata, 235
ff.
Parakataloge, 2 68.
Paraskenia, 117, 235, 379
ff.
no
ff.,
194.
Timotheus, 321.
Philemon, reproduction of comedies of,
22.
Defeats Menander, 36, 245.
Retains the chorus, 288.
Philippus, son of Aristophanes, 52.
Philocles, writes a Pandionis, 17.
Philonides, exhibits plays of Aristophanes, 21, 52. Not an actor, 59.
Phlya, dramatic performances at, 30.
rhlyakes, their performances, 155 ff.,
257-
GENERAL INDEX
18.
His opinion of Attic audiences,
38, 344, 347. Would exclude actors
from his ideal state, 274. Praises the
Disapproves of
tragic dance, 317.
His remarks about
the kordax, 318.
the drama in connexion with boys
and women, 326.
Plato, the poet, sells his comedies, 51.
Plis remarks on the decline of choral
393
Posthumous production of
self, 51.
plays, 74.
Proedria, the, 335.
Conferred on priests,
335 on archons and generals, 336
6n various other persons, 336.
Prologue, the, 302.
;
dancing, 314.
Pleuron, date of proscenium, 130,
Plutarch, his description of Greek
dancing, 313.
His remnrk about
music, 319.
Pnyx, the, disused as a meeting-place
for ix)pnlar assemblies, 178.
Poets, influence of, 4,
Number of, at
the different dramatic contests, 12,
Age of, 50, 51. Pro19, 20, 25.
duce plays in other persons' names,
Originally
also
stage51, 52.
managers, 51, 6r. How assigned to
the choregi, 55, 56.
Act in their
own plays, 227. Tragic, at the
Dionysia, 362. Comic, at the Dionysia, 363
at the Lenaea, 364.
Police, in the theatre, 343.
Polus, the actor, his salary, 281. Stories
about, 283.
Polycleitus, architect of the Epidaurian
ff.
On
date of
first
recon-
On
130
ff.
date
On
On
132.
stage in
fifth
century, 132.
Polyphradmon,
his
theatre, 104.
Lycurgean tetralogy,
12.
330
in,
39. 69.
Ranks,
in choruses, 298.
Recitative, how far employed
ff.,
in
the
305.
ff.
Ramps,
43,
during the
74.
Almost unknown
at, 43.
GENERAL INDEX
394
Sagalassos, theatre
ized, 135.
at, partially
The
Roman-
stage, 135.
Stage-properties,
klema, 201
199.
The ekky-
The
exostra, 209,
theologeion, 209 ff.
Various contrivances, 217.
Sea-fights, in the orchestra, 103.
Seats, the, originally of wood, 8r.
In
the Athenian theatre, 94 ff.
For
distinguished persons, 94, 100. Price
Distribution of, 334 AT.
of, 330.
Segesta, stage at, 132.
Shepherds, their costume on the stage,
251.
Sicyon, theatre at, the orchestra in, 106.
The gutter, 107. Timnel in, 108.
The stage-buildings, 120, 151. The
Ramps in, 125. The
stage, 125.
ff.
proscenium, 130.
Side entrances, on to the stage, 191
ff.
no
To
ff., i94ff.
the orchestra,
Side- wings, in the Athenian theatre, 113,
114. Called paraskenia, 117. Various
Sigma,
Delos,
139.
the, loi.
to the satyrs
and
Sileni, 295.
251.
Sophocles, competes with Euripides, 1 2.
Abandons the practice of writing
tetralogies, 17.
Number of his victories,
Defeated by
28, 34, 46.
Philocles, 35, 40. Never third in a
contest, 40,
Refused a chorus by
the archon, 50. Exhibits at an early
Entnists plays to his son
^S^j 51
lophon, 52. His actor Tlepolemus,
Writes for the actors, 57, 229.
57.
his
voice, 227.
348.
Sphyromachus,
seats, 327.
Staff-bearers, 343.
Stage, the, original
140
ff.
Gradual development
of, 144.
GENERAL INDEX
165 ff. Evidence
of the extant dramas concerning,
The reason for the stage,
167 ff.
Varies in height at different
170,
Various theories conperiods, 171.
Occasionally used
cerning, 172 ff.
by the chorus, 169.
Stage-buildings, the, origin of, 80.
History of in the stone theatre at
Puchstein's view of,
Athens, 1 1 a ff.
In early
113, 114, 117, 130 ff.
In the pre-Roman
times, 116 ff.
period, 126.
In theatres of the Roman period, 133 ff. At Pergamon,
At
At Megalopolis, 137.
137.
Delos, 138.
The space behind the
proscenium, 151.
Stage- properties, 199 ff.
Stasima, movements of the chorus
during, 303. Delivered by the whole
Accompanied with
chorus,
306.
dancing, 315.
On the
Statues, in the theatre, 176.
for the early stage,
stage, 200.
Passages
101
ff.
in,
The
The
97.
eisodoi,
no
orchestra,
ff.
The
395
of, 174.
first
ments
in, 176.
ff.
Statues and
Various uses
monu-
of, 1 77,
336.
Thymele,
the
In
Various
stone
theatres,
107.
meanings
332 ff.
Timotheus, author of the new style of
music, 321.
Tlepolemus, actor of Sophocles, 57, 282.
GENERAL INDEX
396
Tombs, on
Tragedy,
first
316.
Training, of the chorus, 60 ff.
Tralles, theatre at. tunnel in, 110. Steps
in, 167.
Tribes, the Attic, dithyrambic contests
Have no connexion
between, 10.
with the dramatic contests, 10. Certain blocks in the theatre appropriated
to them, 337.
Tribute, displayed at the City Dionysia,
68,
no.
Turban, worn by Darius, 252.
Tyndaris, stage
Vitruvius,
theatres,
Description of the
drama, 272. Its strength more regarded than its quality, 373. Training of the voice, 274.
W
Wieseler, his theory of the Greek stage,
ff.
Windows,
auditorium, 93.
140
about sites of
about the shape of the
advice
his
89
at, 132.
Women,
Their
seats, 337.
X
in recitative,
1 2.
269.
Of
sa-
ADDENDA ET CORRIGENDA
nadihc Roman inscription I.G.
25, for It was doubtless . . . But they must read It is therefore
possible that it was at this festival that comic contests were first regularly
Page
Page
1.
Page
BlNDlNCi 5rwT.
JUIN
6^ P/0
/
DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
PLEASE
UNIVERSITY OF
PA
3201
H3
1907
TORONTO
LIBRARY
cop. 3
3f
'
-.^C;
'
u'
\<-L
->
'
iil:*