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Published online by Cambridge University Press: 23 December 2013
The Philoktetes is a play of singular interest and importance, on account of the light which it throws upon dramatic representation in the Athenian theatre of the fifth century B.C. I am not aware, however, that any consistent and intelligible interpretation of it from that point of view has yet been given. In Jebb's edition and translation spasmodic stage directions and obiter dicta on the scenic arrangements and action are to be found, but no coherent or complete exposition. I propose, therefore, to analyse the play so far as may be necessary in order to exhibit the apparatus of the drama, and its bearings upon the action. It is evident that the result of this examination must finally be brought into connexion with certain fundamental problems relating to the theatre of the Greeks and their methods of dramatic representation; but throughout this investigation at any rate those issues remain entirely in the background. The aim is not to support a thesis. Orchestra, Stage, Parodoi—we will for the nonce allow ourselves to forget that these ever existed; the problem for us is simply this—What can we infer from the bare text of the Philoktetes as to the mise en scène of that drama?
2 What is the object of the spring, which receives no further mention? (1) It is meant to suggest intimate knowledge of the locality on the part of Odysseus, and thus to eliminate all idea that he has to search for the spot; (2) to give a sufficient reason for the choice of this place by Philoktetes for his ten years' home. The words 
in 21 do not suggest that Odysseus is something of a geologist (see Jebb's note), but give us a perspective—even the face of Nature may have changed in some degree, so long is it since Philoktetes was marooned.
3 But of course it is not necessarily invisible to the actor standing on the level which represents the beach.
4 
(16). For the significance of 
see 467: 
The question is not as to the exact whereabouts of the cave, but whether it is tenanted at the moment.
5 Proof of the platform is given by 1003, where it is large enough for three men at least. Note there that the two Attendants of Odysseus who seize Philoktetes go up quietly at 981— which explains 
in 983. Odysseus of course gives them some sign at 980 or 981. They do not therefore have to rush up at breakneck speed at 1003. Hence at 985 Philoktetes can say quite naturally 
Probably the Attendants begin to ascend actually at about 977, and are at the top of the ascent at 982.
6 And here note that the surprise of the Chorus in 161: 
is meant to convince the audience that there is no deception—the cave really is empty. So that when Philoktetes comes out of it he must have previously got into it at the other end. The point is to deprive the subsequent entry of Philoktetes of all flavour of mystery; for on the face of it it is astonishing to see a man come out of a hole in a cliff—unless you have been warned that there is an alternative way into it.
7 Except perhaps at 485: 
—which, however, is hardly to be taken literally.
8 
Note that the motive of a farewell salutation is hardly strong enough even for Philoktetes himself. For at the end of the play this same idea of farewell greeting recurs (1408: 
), but it is not felt to be necessary to enter the cave in order to carry out the suggestion.
9 Jebb: ‘he is afraid that one or more of the arrows may have been accidentally left behind in the cave.’
10 Philoktetes had plenty of rags by him. Some were left with him at the first (274). These were indeed clothes, but he uses the word ῥάκη in contempt. Additional raiment he got from time to time (309). He thus has at any rate at least a change of dressing (38).
11 In his Appendix (note on 533) Jebb, in answer to Seyffert's remark potius 
dicenda erat, says— ‘But they are now at the entrance to the cave, not below it: see n. on 814.’ I cannot discover at what point Jebb imagined Neoptolemos to have gone up to the cave, or how he thought the interference of Odysseus in 1293 was effected. I think that while he is making his courteous reply to the pretended Merchant in 557 fol., Neoptolemos retraces his steps from the path. I suspect that the Merchant is really Odysseus himself, who is constitutionally a liar, but withal an experimenter daring to a pitch of foolhardiness; in addition, he is not quite sure of Neoptolemos— rightly, as the event proved. In 976 Philoktetes says 
because he had been warned that Odysseus was actually coming for him.
12 They reappear from the cave probably at 719—so Jebb, correctly, I think.
13 Note that, of these 50 lines, the last 26 (756–782) are unbroken by spasm or outery, and quite clearly mark an interval of calm between paroxysms.
14 Impulse, here the proper word. The final restoration of the bow is the outcome of deliberate resolve based upon conviction.
15 No one surely will insist that the phrase of Philoktetes, 
must signify that Neoptolemos is hard by the mouth of the cave.
16 Why just at this moment, and not at 1287: 
The reason is partly that Odysseus was not aware of Neoptolemos going up the path, for while he was ascending Philoktetes was cursing vigorously (1281 fol.), and so Odysseus did not dream that thus harshly rebuffed he was actually going up to restore the bow. The dramatist also wishes to heighten the interest—Odysseus had intervened at the corresponding moment on the previous occasion; will he do so now again? Besides this, Neoptolemos must be allowed at some time or other to get to Philoktetes: that is, the alertness of Odysseus must sulfer, that the action may proceed.
17 Notice how the phrase of 816 is repeated. This sort of responsion is frequent and designed.
18 I venture upon a more particular analysis. During 1402 
they advance to the head of the path. The next lines fall during the descent. With 1407 
they reach the foot of the path. At the words 
they are in the act of advancing from the foot of the path across the beach in final exit.
19 Four, if Neoptolemos accompanies the leader of the Chorus to view the cave at 146–160.
20 See Haigh, , Attic Theatre 3, p. 277Google Scholar.