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TPITAΓΩNIΣTHΣ: A Reconsideration

Published online by Cambridge University Press:  11 February 2009

O. J. Todd
O. J. Todd
Affiliation:
The University of British Columbia.
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Extract

When Demosthenes brought Aeschines to trial on a charge of malfeasance as an ambassador, he made what seems now the astonishing declaration in connection with Aeschines' acting of the part of Creon in Sophocles' Antigone: ⋯στε γ⋯ρ δ⋯που το⋯θ' ὅτι ⋯ν ἅπασι τοῖς δρ⋯μασι τοῖς τραγικοῖς ⋯ξα⋯ρετ⋯ν ⋯στιν ὥσπερ γ⋯ρας τοῖς τριταγωνισ ταῖς τὺ τοὺς τυρ⋯ννους κα⋯ τοὺς τ⋯ σκ⋯πτρ' ἔχοντας εἰσι⋯ναι. Until the last generation (and even later) this was taken at face value as indicating that of the three actors presenting a tragedy the third (and least important) was regularly assigned the part of royalty. But that the title rôle in such plays as Sophocles' Oedipus Tyrannus or an important character such as Creon in the Antigone should have been entrusted to the third ranking actor is incredible. How is the discrepancy to be explained?

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Research Article
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The Classical Quarterly , Volume 32 , Issue 1 , January 1938 , pp. 30 - 38
Copyright
Copyright © The Classical Association 1938

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References

page 30 note 1 xix, 247.

page 30 note 2 It was assumed that when Aristotle speaks of the increase in actors to three under Sophocles (A.P. 1449a 15–19: κα⋯ τ⋯ τε τ⋯ν ὑποκριτ⋯ν πλ⋯θος ⋯ξ ⋯νὺς εἰς δ⋯ο πρ⋯τος Αἰσχ⋯λος ἤγαγε κα⋯ τ⋯ το⋯ χορο⋯ ἢλ⋯ττωσε κα⋯ τὺν λ⋯γον πρωταγωνιστ⋯ν παρεσκε⋯ασεν· τρεῖς δ⋯ κα⋯ σκηνογραϕ⋯αν Σοϕοκλ⋯ς) he had in mind the number of performers at the disposal of the playwright.

page 30 note 3 E.g., Schaefer, , Demosthenes und seine Zeit i 2 (1885), 239 f.Google Scholar; Jebb, , Antigone 3 (1900), p. 7Google Scholar; Haigh, , The Attic Theatre 3 (1927), 233Google Scholar.

page 30 note 4 Cf. n. 2 above. Horace, , A.P. 192Google Scholar (nec quarta loqui persona laboret) ‘is but an echo of Aristotle's aesthetic law’ (Rees, , op. cit. p. 23Google Scholar).

page 30 note 5 Aesch, . Cho. 886–891Google Scholar; Eur, . Andr. 547–765Google Scholar; the Rhesus 642–667.

page 30 note 6 Ar. Ach. 98–125, 1068–1072; Nub. 1104 f.; Pax 1210–1240; Av. 1579–1693; Lys. 78–253, 431–613, 742–780, 1273–1321; Thes. 371–466; Ran. 549–578, 14II–1533; Ec. 1042–1065.

page 30 note 7 Soph. O.C. (Theseus).

page 30 note 8 Ar. Plut. (Plutus), Eq. (Servant B), Vesp. (Xanthias).

page 30 note 9 Aesch, . Cho. 887–891Google Scholar; Eur, . Or. 1353–1368Google Scholar.

page 30 note 10 Ar. Ach. 56–64, 126–135, 1077–1084; Thes. 927–929; Ran. 165–183; Ec. 1044–1049; Lys. 844 f.; Nub. 125–133, 220 f.; Av. 84–92, 1552–1565, 1693–1706; Vesp. 141–144, 1412–1417.

page 31 note 1 P. 65.

page 31 note 2 Cf. O'Connor, , Chapters in the History of Actors and Acting in Ancient Greece (09, 1908), pp. 31–36, 77Google Scholar; Allen, , Stage Antiquities of the Greeks and Romans and their Influence (1927), pp. 138 fGoogle Scholar.

page 31 note 3 A.P. 1449a 16 ff.: πρ⋯τος Aἰσχ⋯λος … τ⋯ το⋯ χορο⋯ ἢλ⋯ττωσε κα⋯ τὺν λ⋯γον πρωταγωνιστ⋯ν παρεσκε⋯ασεν.

Pol. 1338b 29 f.:ὥστε τὺ καλὺν ⋯λλ' οὐ τὺ θηρι⋯δες δεῖ πρωταγωνιστεῖν.

page 31 note 4 Apoll. Lex. Hom. s.v. ὑποκρ⋯ναιτο, [Plut, .] de Mus. 1141DGoogle Scholar; Plut, . Mor. 332DGoogle Scholar: Clearch. Athen. 257B; Suid. s.v. Xιων⋯δης.

page 31 note 5 τα⋯τα μηχαν⋯σθα⋯ ϕασι τ⋯ν Eὐριπ⋯δην ἵνα τ⋯ν πρωταγωνιστ⋯ν ⋯π⋯ το⋯ τ⋯ς Ἰοκ⋯στης προσώπου μετασκευ⋯σῃ.

page 31 note 6 Praec. Ger. Reip. 21 (816F–817A): ἄτοπον γ⋯ρ ⋯στι τ⋯ν μ⋯ν ⋯ν τραγῳδ⋯ᾳ πρωταγωνιστ⋯ν, Өε⋯δωρον ἢ Π⋯λον ⋯ντα, μισθωτῷ <τῷ> τ⋯ τρ⋯τα λ⋯γοντι πολλ⋯κις ἔπεσθαι κα⋯ προσδιαλ⋯γεσθαι ταπειν⋯ς ἂν ⋯κεῖνος ἔχῃ τ⋯ δι⋯δημα κα⋯ τ⋯ σκ⋯πτρον, ⋯ν δ⋯ πρ⋯ξεσιν ⋯ληθιναῖς κα⋯ πολιτε⋯ᾳ τ⋯ν πλο⋯σιον κα⋯ ἔνδοζον ⋯λιγωρεῖν κα⋯ καταϕρονεῖν ἄρχοντος ἰδιώτου κα⋯ π⋯νητος. …

Lysand. 23: … οἷον ⋯ν τραγῳδ⋯αις ⋯πιεικ⋯ς συμβα⋯νει περ⋯ τοὺς ὑποκριτ⋯ς τ⋯ν μ⋯ν ⋯γγ⋯λου τιν⋯ς ἥ θερ⋯ποντος ⋯πικε⋯μενον πρ⋯σωπον εὐδοκιμεῖν κα⋯ πρωταγωνιστεῖν, τ⋯ν δ⋯ δι⋯δημα κα⋯ σκ⋯πτρον ϕορο⋯ντα μηδ⋯ ⋯κο⋯εσθαι ϕθεγγ⋯μενον. …

page 31 note 7 iv, 124: τρι⋯ν δ⋯ τ⋯ν κατ⋯ τ⋯ν σκην⋯ν θυρ⋯ν ⋯ μ⋯ση μ⋯ν βασ⋯λειον ἢ οἶκος ἔνδοξος ἢ π⋯ν το⋯ πρωταγωνιστο⋯ντος το⋯ δρ⋯ματος, ⋯ δ⋯ δεξι⋯ το⋯ δευτεραγωνιστο⋯ντος καταγώγιον, ⋯ δ' ⋯ριστερ⋯ τ⋯ εὐτελ⋯στατον ἔχει πρ⋯σωπον ἢ ⋯ερ⋯ν ⋯ξηρημωμ⋯νον ἢ ἄοικ⋯ς ⋯στιν.

page 31 note 8 iii. 2, p. 484 Creuz.: ὥσπερ ⋯ν δρ⋯μασι τ⋯ μ⋯ν τ⋯ττει αὐτ⋯ς ⋯ ποιητ⋯ς, τοῖς δ⋯ χρ⋯ται οὖσιν ἤδη· οὐ γ⋯ρ αὐτ⋯ς πρωταγωνιστ⋯ν οὐδ⋯ δε⋯τερον οὐδ⋯ τρ⋯τον ποιεῖ, ⋯λλ⋯ διδο⋯ς ⋯κ⋯στῳ τοὺς προσ⋯κοντας λ⋯γους. …

page 32 note 1 El. Mag. s.v. ⋯αροι; Maccab. II, xv, 30; Greg. Nys. p. 137D; etc.

page 32 note 2 Schol. in Dem. xvii, 1 [p. 256, 27 Dind.]; xx, 1 [p. 455, 8]; xx, 18 [p. 467, 14].

page 32 note 3 xix, 10: … κα⋯ ἔχων Ἴσχανδρον τ⋯ν Νεοπτολ⋯μου δευτεραγωνιστ⋯ν προσιὼν μ⋯ν τῇ βουλῇ προσιὼν δ⋯ τῷ δ⋯μῳ περ⋯ το⋯των κα⋯ πε⋯σας ὑμ⋯ς πανταχοῖ πρ⋯σβεις π⋯μψαι. …

page 32 note 4 Peregr. 36: … κα⋯ μ⋯λιστα ⋯ γενν⋯δας ⋯ ⋯κ Hατρ⋯ν δᾷδα ἔχων οὐ ϕα⋯λος δευτεραγωνιστ⋯ς.

page 32 note 5 S.v. Ἀβρογ⋯στης· Ἀβρογ⋯στης Φρ⋯γγος, δς κατ⋯ ⋯λκ⋯ν σώματος κα⋯ θυμο⋯ τραχ⋯τητα ϕλογοειδ⋯ς ἦν, δευτεραγωνιστο⋯ [so Rees for ⋯ς] τυγχ⋯νων Bα⋯δωνος.

page 32 note 6 V, 6 [p. 162, 1 ff. Dind.]: ὑποκριτ⋯ς ⋯κ⋯λουν οἰ ⋯ρχαῖοι το⋯ς ν⋯ν τραγῳδο⋯ς λεγομ⋯νους, το⋯ς ποιητ⋯ς, οἶον τ⋯ν Εὐριπ⋯δην κα⋯ Ἀριστοϕ⋯νην, το⋯ς δ⋯ ν⋯ν ὑποκριτ⋯ς (οὗτοι δ⋯ ἦσαν δ⋯ο) τ⋯ν μ⋯ν δευτεραγωνιστ⋯ν τ⋯ν δ⋯ τριταγωνιστ⋯ν, αὐτο⋯ς δ⋯ το⋯ς ποιητ⋯ς τ⋯ν δραμ⋯των τραγῳδο⋯ς κα⋯ τραγῳδοδιδασκ⋯λους.

page 32 note 7 Cf. the passage cited in n 7, p 31. [Hesych. is not clear: δευτεραγωνιστ⋯ς· δε⋯τερος ⋯γωνιζ⋯μενος.]

page 32 note 8 ‘Except in the schol. Dem. De pace. …’

page 32 note 9 Rees (p. 34, nn. 3 and 6) cites the following: Schol. Dem. De pace (quoted above in n. 6). Vit. X. Orat. 840A: λαμπρ⋯ϕωνος δ' ὢν μετ⋯ τα⋯τα τραγῳδ⋯αν ἤσκησεν· ὡς δ⋯ δημοσθ⋯νης ϕησ⋯ν, ὑπογραμματε⋯ων κα⋯ τριταγωνιστ⋯ν Ἀριστοδ⋯μῳ ⋯ν τοῖσ <κατ⋯ δ⋯μους Blass> διονυσ⋯οις διετ⋯λει, ⋯ναλαμβ⋯νων ⋯π⋯ σχολ⋯ς τ⋯ς παλαι⋯ς τραγῳδ⋯ας.

Bekker, , Anecd. Graec. p. 309, 32Google Scholar: τριταγωνιστ⋯ς· ⋯ Αἰσχ⋯νης ὡς ⋯δοκιμώτατος τ⋯ν ⋯ν τ⋯ τρ⋯τη τ⋯ξει καταριθμο⋯μενος.

Suid. s.v. Σοϕοκλ⋯ς· οὗτος πρ⋯τος τρισ⋯ν ⋯χρ⋯σατο ὐποκριταῖς κα⋯ τῷ καλουμ⋯νῳ τριταγωνιστ⋯.]

Apollon, . Vit. Aeschin. (§ 3 Blass)Google Scholar: … ἔπειτα ⋯ποστ⋯ς το⋯του τριταγωνιστ⋯ς ⋯γ⋯νετο τραγῳδι⋯ν κα⋯ ⋯ν Kολλυτῷ ποτε Oἰν⋯μαον ὑποκριν⋯μενος κατ⋯πεσε.

Anon, . Vit. Aeschin. (§ 7 Blass)Google Scholar: Δημοχ⋯ρης δ⋯ ὁ ⋯δελϕιδο⋯ς Δημοσθ⋯νους, εἰ ἄρα πιστευτ⋯ον αὐτῷ λ⋯γοντι περ⋯ Aἰσχ⋯νου, ϕησ⋯ν Ἰσχ⋯νδρου το⋯ τραγῳδοποιο⋯ τριταγωνιστ⋯ν γεν⋯σθαι τ⋯ν Aἰσχ⋯νην κα⋯ ὑποκριν⋯μενον Oἰν⋯μαον διώκοντα Π⋯λοπα αἰσχρ⋯ς πεσεῖν κα⋯ ⋯ναστ⋯ναι ὑπ⋯ Σανν⋯ωνος το⋯ χοροδιδασκ⋯λου. …

Schol. in Dem. xix, 247 [p. 435, 28 ff., Dind.]: λ⋯γει δ⋯ ⋯ τ⋯ς θεατρικ⋯ς ἱστορ⋯ας συγγρ⋯ψας [probably Juda; cf. Athen. 175D: Ἰ⋯βας ⋯ν τετ⋯ρτῳ θεατρικ⋯ς ἱστορ⋯ας] δι⋯ το⋯το τοῖς τριαγωνισταῖς τ⋯ς ὑποκρ⋯σεις τ⋯ν δυναστευ⋯ντων παρ⋯χεσθαι ⋯πειδ⋯ ἧττ⋯ν ⋯στι παθητικ⋯ κα⋯ ὑπ⋯ρογκα.

‘Of Antiphanes' play Tritagonist we know nothing’.

[Aeschin, .] Epist. xii, 1Google Scholar: Ἐγώ προσ⋯λθον τῷ πολιτε⋯εσθαι γεγονὡς ἔτη τρ⋯α κα⋯ τρι⋯κοντα, μ⋯ Δ⋯' οὐ τριταγωνιστεῖν μαθώ, ὡς Δημοσθ⋯νης ἔλεγεν, ⋯λλ⋯ κα⋯ τραϕε⋯ς ⋯λευθερ⋯ως. …

[There might have been added Anon, . Vit. § 3Google Scholar (Blass): γεν⋯μενον δ⋯ μειρ⋯κιον ὑποκριθ⋯ναι [sc. ϕασ⋯ν αὐτ⋯ν] τραγῳδ⋯αν ὥστε τριταγωνιστεῖν …; Phot, . Bibl. § 12Google Scholar (Blass): τ⋯ μ⋯ν οὖν πρ⋯τον ⋯τριταγων⋯στει μεγαλ⋯ϕωνος ⋯ν, ἔπειτα ⋯γραμμ⋯τευε τῇ βουλῇ …; Suid. s.v. τριταγωνιστ⋯ς· Aἰσχ⋯νης ⋯ν πολλοῖς σκώπτεται ὑπ⋯ Δημοσθ⋯νους ὡς ὑποκριτ⋯ς τραγῳδι⋯ν· κα⋯ τριταγωνιστ⋯ν αὐτ⋯ν ϕησιν ὡς ⋯δοκιμώτατον τ⋯ν ὑποκριτ⋯ν, ⋯ν τρ⋯τῃ τ⋯ξει καταριθμ⋯ν. τριταγωνιστ⋯ς, ⋯π⋯ Σοϕοκλ⋯ους, ὃς πρ⋯τος ⋯χρ⋯σατο τρισ⋯ν ὑποκριταῖς κα⋯ τῷ καλουμ⋯νῳ τριταγωνιστῇ.]

page 33 note 1 Of his documentation I have not been in a position to check the citations from Apollonius' Lex. Hom., Bekker's Anecdota, Plotinus, and Gregory of Nyssa (nor the scholium on Aeschin. ii, 19 cited in n. 1, p. 36 from O'Connor, p. 83).

page 33 note 2 Pp. 39 f., 68–70.

page 33 note 3 P. 65.

page 33 note 4 As indicated below, his references to Aeschines as τριταγωνιστ⋯ς all come from orations xix (343 B.C.) and xviii (330 B.C.)

page 33 note 5 P. 34, n. 6.

page 33 note 6 See the passages quoted in n. 9, p. 32.

page 33 note 7 See n. 1, p. 36.

page 33 note 8 Rees, , p. 34 (‘apparently invented’)Google Scholar; O'Connor, , p. 77 (‘Demosthenes invented for his benefit the word “tritagonist”’)Google Scholar; Allen, pp. 138 f. (‘Again and again in the speeches of Demosthenes, by whom perhaps it was invented, this word is applied to his rival Aeschines and always as a term of ridicule and reproach with the meaning “a third-rate actor”. There is no evidence that it ever became a recognized title. Because of the uncertainty, therefore, that attaches to these two terms, deuteragomst and tritagonist, it would be better not to use them in discussing the theatrical conventions and practices of the ancients’).

page 33 note 9 So Capps, , Am. Jour. of Phil., 1900, pp. 54 ffGoogle Scholar.

page 33 note 10 So Clinton, according to Capps I.c.

page 33 note 11 Athen. 643D. And (although one would hesitate to press the point by itself) it must at least be noted that the scholiast on Dem. De pace (v. n. 6, p. 32) credits the terms δευτεραγωνιστ⋯ς and τριταγωνιστ⋯ς not to an individual but to ‘the ancients’.

page 33 note 12 τριταγωνιστ⋯ς and τριταγωνιστεῖν occur eight times in two speeches; ordinary expressions of depreciation but twice: … δν … κακ⋯ς ⋯π⋯τριϕας (xviii, 180) and τ⋯ς p'⋯σεις ἄς ⋯λυμα⋯νον (ib. 267).

page 34 note 1 xviii, 21.

page 34 note 2 v, 6.

page 34 note 3 lvii, 18.

page 34 note 4 xix, 193.

page 34 note 5 xix. 246.

page 34 note 6 xviii, 262.

page 34 note 7 v, 7; xxi, 59, 156. It might be noted that the usage in Aeschines parallels that in Demosthenes; cf. ὑποκριτ⋯ς in Aeschin. i, 115, 157; ii. 15. 52, 156 (all of men who, according to O'Connor, won in actors' contests); τραλῳδο⋯ of the festivals iii, 34, 36, 41, 45, 154, 176, 204; so κωμῳδο⋯ i, 157.

page 34 note 8 Pp. 35. n. 3; 36 f.

page 34 note 9 Rees cites on pp. 36 f. these pertinent passages:

Strattis frg. 1 (K):

Ἡγ⋯λοχον τ⋯ν Κυνν⋯ρου

μιθωσ⋯μενος τ⋯ πρ⋯τα τ⋯ν τ⋯ν ⋯π⋯ν λ⋯γειν

(‘… Strattis … alludes to the fact that the unfortunate Hegelochus played the title rôle. …’).

Men. Hytobol. frg. 484 (K):

τ⋯ δε⋯τερ' ⋯ε⋯ τ⋯ν γυναῖκα δεῖ λ⋯γειν,

τ⋯ν δ' ⋯γεμον⋯αν τ⋯ν ⋯λων τ⋯ν ἄνδρ' ἔχειν.

οἶκος δ' ⋯ν ᾧ τ⋯ π⋯ντα πρωτε⋯ει γυν⋯

οὐκ ἔστιν ⋯στις πώποτ' οὐκ ⋯πώλετο.

Id. Theophor. frg. 223 (K), 16 f.:

πρ⋯ττει δ' ⋯ κ⋯λαξ ἄριστα π⋯ντων, δε⋯τερα

⋯ συκοϕ⋯ντης, ⋯ κακο⋯θης τρ⋯τα λ⋯γει

(‘“plays the third rôle”, παρ⋯ προσδοκ⋯αν for τ⋯ τρ⋯τα ἔχει’).

Luc. Tyr. 22: μεμ⋯ρισται δ⋯ ⋯ς πολλο⋯ς τ⋯ ἔργον ὣσπερ ⋯ν δρ⋯ματι· κα⋯ τ⋯ μ⋯ν πρ⋯τα ⋯γὼ ὐπεκριν⋯μην, τ⋯ δε⋯τερα δ⋯ ⋯ παῖς, τ⋯ δ⋯ τρ⋯τα ⋯ τ⋯ραννος αὐτ⋯ς, τ⋯ ξ⋯ϕος δ⋯ π⋯διν ὑπηρ⋯τηδεν.

Plut. Mor. 816F (see n. 6, p. 31).

page 34 note 10 xix 246 f.: … Өε⋯δωρος … Ἀριστ⋯δημος … οἷς οὗτος τ⋯ τρ⋯τα λ⋯γων διετ⋯λεσεν. … Ἀντιγ⋯νην δ⋯ σοϕοκλ⋯ους πολλ⋯κις μ⋯ν Өε⋯δωρος, πολλ⋯κις δ' Ἀριστ⋯δημος ὑποκ⋯κριται, ⋯ν ᾗ πεποιημ⋯ν' ἰαμβεῖα καλ⋯ς κα⋯ συμϕερ⋯ντως ὑμῖν πολλ⋯κις αὐτ⋯ς εἰρηκὼς κα⋯ ⋯κριβ⋯ς ⋯ξεπιστ⋯μενος παρ⋯λιπεν· ἴστε γ⋯ρ δ⋯πον το⋯θ' ⋯τι ⋯ν ἄπασι τοῖς δρ⋯μασι τοῖς τραγικοῖς ⋯ξα⋯ρετ⋯ν ⋯στιν ⋯σπερ γ⋯ρας τοῖς τριταγωνισταῖς τ⋯ το⋯ς τυρ⋯ννους κα⋯ το⋯ς τ⋯ σκ⋯πτρ' ἔχοντας εἰσι⋯ναι. Here we have the phrase τ⋯ τρ⋯τα λ⋯γων replaced in the explanatory sentence by its synonym τοῖς τριταγωνισταῖς.

page 34 note 11 xix, 10. quoted in n. 3, p. 32.

page 34 note 12 cf. op. cit. p. 247: ‘Als des Neoptolemus Deuteragonist wird uns Ischandros genannt’.

page 34 note 13 See n. 3, p. 2.

page 34 note 14 Which, of course, is actually found used only of time.

page 35 note 1 P. 38.

page 36 note 1 That at least part of Aeschines' career was in the smaller outside theatres is implied in the plural θε⋯τρων (Dem. xix, 337 quoted above) and proved by the statements in Dem. xviii, 180: … σ⋯ δ⋯ … Κρεσϕ⋯ντην ἤ Κρ⋯οντα ἤ δν ⋯ν Κολλυτῷ ποτ' Οἰν⋯μαον κακ⋯ς ⋯π⋯τριϕας (cf. ib. 242: ⋯ρουραῖος Οἰν⋯μαος) and 262 (quoted above). There is no evidence that Aeschines performed on the Athenian stage at all (a fact which is denied in the passage cited by O'Connor (p. 76) from Bekker's, Anecdota Gr. p. 211, 32Google Scholar: ⋯ρουραῖος δ⋯ ⋯τι ⋯ν τοῖς δ⋯μοις ⋯πεδε⋯κνυτο ⋯ν⋯ξιος ὢν τ⋯ν ⋯ν ἄστει ⋯γώνων). O'Connor argues that he must have acted in Athens because of ‘his association with Aristodemus and Theodoras coupled with the fact that “old plays” were apparently given only at the City Dionysia’,—this in spite of the fact that Aeschines acted in an ‘old play’, Sophocles' Oenomaus, at Collytus at the Rural Dionysia (cf. Aeschin. i, 157: ⋯ν τοῖς ⋯γρο⋯ς διονυσ⋯οις κωμῳδ⋯ν ⋯ντων ⋯ν Κολλυτῷ). That Aristodemus, at least, acted at times outside of Athens is demonstrated from Aeschin. ii, 19: iv ⋯ν τῇ βουλῇ γρ⋯ϕει [sc. Δημοσθ⋯νης], ἳνα ⋯ζ⋯μιος ὢν ⋯μῖν ⋯' Αριστ⋯δημος συμπρεσβε⋯η, ⋯λ⋯σθαι πρ⋯σβεις ⋯π⋯ τ⋯ς π⋯λεις ⋯ν αἷς ἔδει τ⋯ν Ἀριστ⋯δημον ⋯γων⋯ζεσθαι οἵτινες ὑπ⋯ρ αὐτο⋯ παραιτ⋯σονται τ⋯ς ζημ⋯ας and the scholium: θ⋯λει δ⋯ εἰπεῖν ⋯τι ⋯ρραβ⋯νας ἦν δεξ⋯μενος ⋯ Ἀριστ⋯δημος ⋯π⋯ τινων π⋯λεων πρ⋯ς τ⋯ ⋯γων⋯σασθαι ⋯ν αὐταῖς· ἦν γ⋯ρ τραγῳδ⋯ς κα⋯ ἔδει αὐτ⋯ν ἢ ⋯γων⋯σασθαι ἢ διπλο⋯ν τ⋯ν ⋯ρραβ⋯να καταβαλεῖν. ἔδει οὖν πρ⋯σβεων τ⋯ν πεισ⋯ντων τ⋯ς π⋯λεις μ⋯ διπλοûν τ⋯ν ⋯ρραβ⋯να κομ⋯σασθαι ⋯λλ' ⋯πλο⋯ν· And Theodorus appears to have acted at least at Delphi (v. O'Connor, p. 101).

page 36 note 2 Christ, , Gr. Litt. i 6, p. 396Google Scholar states that of the the preserved titles of tragedies, 56 are known to have been handled by 2 authors, 16 by 3, 12 by 4, 5 by 5, 3 by 6, 2 by 7, and 1 (the story of Oedipus) by 12.

page 36 note 3 Cf., e.g., Socrates' vision of converse in the other world with Minos, Triptolemus, Orpheus, Hesiod, Homer, Palamedes, Sisyphus, and other men of olden times (Plat, . Apol. 40E–4ICGoogle Scholar); or Xenophon's dating Lycurgus in the time of the Heracleidae, (Resp. Lac. x, 8)Google Scholar; or the lines in Ar. Ran. 1052 f.:

ETP. π⋯τερον δ' οὐκ ⋯ντα λ⋯γον το⋯τον περ⋯ τ⋯ς

Φα⋯δρας ξυν⋯θηκα;

ΑΙσ. μ⋯ δ⋯' ⋯λλ' ⋯ντ. …

page 36 note 4 A.P. 1451b 23–26: ὢστ' οὐ π⋯ντως εἶναι ζητητ⋯ον τ⋯ν παραδεδομ⋯νων μ⋯θων, περ⋯ οὓς αἱ τραγῷδ⋯αι εἰσ⋯ν, ⋯ντ⋯χεσθαι· κα⋯ γ⋯ρ γελοῖον το⋯το ζητεῖν, ⋯πε⋯ κα⋯ τ⋯ γνώριμα ⋯λ⋯γοις γνώριμ⋯ ⋯στιν ⋯λλ' ⋯μως εὐøρ⋯νει π⋯ντασ. In view of Aristotle's scholarly temper one is entitled to regard as exaggerated the contrast drawn by Antiphanes (frg. 191 (Κ)) between the comic authors' hard work in fabricating new plots and the easy time enjoyed by the tragedians, whose ‘tales are known to the audience before you tell them. … Just mention Oedipus and they know all the rest’, etc.

page 36 note 5 Aeschin. ii, 168, 169.

page 36 note 6 Ib. 169.

page 36 note 7 Ib. 170.

page 36 note 8 xix, 113: … αὐτ⋯ς ὢν, ogr;ἶμα⋯, θαυμ⋯σιοσ στρατιώτης, ὦ Ζε⋯.

page 36 note 9 xix. 199–201, 237, 249, 281 (insinuations made more gross in xviii, 128–131, 258–361, 284).

page 36 note 10 ii, 78, 146–149.

page 37 note 1 Grudgingly recognized time after time by Demosthenes: xix, 126, 199, 206, 216, 255, 336, 337–340; xviii, 259, 280, 285, 308, 313.

page 37 note 2 Dem. xviii, 129: τ⋯ν καλ⋯ν ⋯νδρι⋯ντα.

page 37 note 3 How poorly, we cannot judge from the biassed testimony of Demosthenes and his inronephew Demochares. They give a definite and circumstantial tale of his contretemps in the part of Oenomaus (see Demochares' statement quoted in n. 9, p. 32, and Demosthenes' quoted in n. 1, p. 36); and Demosthenes (xix, 337 quoted above) clearly indicates his failure in the part of Thyestes and in some tragedy dealing with the ‘woes at Troy’, perhaps Euripides' Τρῳ⋯δες. One need not pay much attention to the fling in xviii, 267 (τ⋯ς ῥ⋯σεις ἄς ⋯λυμα⋯νον); and the statement in xviii, 265 (⋯ξ⋯πιπτες, ⋯γὼ δ' ⋯σ⋯ριττον) may well refer to the occasions mentioned in xix, 337.

page 37 note 4 Just as he taunts him with being a clerk (γραμματε⋯ς, γραμματε⋯ειν xix, 95, 249, 314; xviii, 261, 265), an under-clerk (ὑπογραμματε⋯ς, ὑπογραμματε⋯ειν xix, 70, 200, 237, 249), a ‘damn'd clerk’ (⋯λεθρος γραμματε⋯ς xviii, 127), or ‘you hunched-over clerk!’ (ὦ … γραμματοκ⋯ϕων xviii, 209). Here again it is not the quality of his secretarial work but his rank that is thrown in his face; note especially the passage in xviii, 265 quoted above.

page 37 note 5 As Rees points out pp. 35 f.

page 38 note 1 xix, 247 quoted in n. 10, p. 34.