DUKE UNIVERSITY LIBRARY FRIENDS OF DUKE UNIVERSITY LIBRARY GIFT OF Digitized by the Internet Archive in 2015 https://archive.org/details/ongreekcomedy141 whit REPRINTED FROM HARVARD STUDIES IN CLASSICAL PHILOLOGY, VOL. II [Boston: Ginn & Company. 1891.] THE 'STAGE' IN ARISTOPHANES. By John Williams White. THAT famous architect and doubtless honest man, Vitmvius PolHo, says in his celebrated treatise On Architecture that the stage in a Greek theatre should be not less than ten nor more than twelve feet high. He says also that the actors performed on the stage, the chorus in the orchestra. Pollux repeats the last statement.^ Scholars have universally believed in the existence of a stage in the Greek theatre and in the consequent separation of actors and chorus by a difference of level, until within the last ten years. But with the excavation of the theatres at Epidaurus, Assos, Oropus, and elsewhere, in quick succession within the last decade, and the final excavation of the Theatre of Dionysus at Athens in 1886, the un- questioned belief of centuries has been rudely called in question. IMany a student of the Greek drama must have felt the inherent difficulties arising from the supposition of a stage. To ' set ' a play like the Birds or Lysistrata of Aristophanes on a stage of any height is difficult and awkward. The stairway that is needed in order to effect connexion between the orchestra on the lower level and the stage above ^ is fatally destructive of that perfect ease of action which is instinctively felt to be ever^^vhere characteristic of the comedies of the great playwright. The natural solution of the diffi- culty, the bold assumption that actors and chorus stood on a level and played their closely interwoven parts on the common floor of the orchestra, seems not even to have been conceived before the 1 Vitruv. V. 7. 2 : ita tribus centris hac descriptione ampliorem habent orches- tram Graeci et scaenam recessiorem minoreque latitudine pulpitum, quod Koyetov appellant, ideo quod eo tragici et comici actores in scaena peragunt, reliqui autem artifices suas per orchestram praestant actiones; itaque ex eo scaenici et thymelici graece separatim nominantur. eius logei altitudo non minus debet esse pedum X, non plus duodecim. Poll. IV. 123: Ka\ aKr]V7] p.\v vKOKpiTwv '(^lov, t] Se opxricTpa Tov xopoG, eV |7 Kal rj dvfx4\ri, efre ^riixa rt olaa efre ^ufiSs. ^ Cf. Poll. IV. 127: fi(re\66vT€S de Kara tV opx^CTpav iirl r^v ckt^v^v dvajSai- vovai 5to KKL/xaKuv • rijs Se KKi/xaKos ol ^ad/xol KXi/xaKrrjpes Ka\ovin-ai. i6o John Williams White. last decade. Such an assumption would have opposed a tradition which antedates the Christian era. The difficulty presented by the height of the Vitruvian stage has been dealt with variously. A second stage has been built up in front of it, for the use of the chorus, and its advocates have confidently believed that its existence could be proved on ancient authority.^ Again the suggestion has been made that the stage on which the plays of the four great dramatists were acted may not have been so high as the rule of Vitruvius demands. His stage of ten or twelve feet has been reduced to one of six or seven feet or even less.^ This is probably the resort to which most teachers have had recourse when brought face to face with the question in the lecture-room. If they have not ignored the question altogether, they have adopted a stage that was low, such as that of Phaedrus in the theatre at Athens and those found in other Romanized theatres. Such a stage is the least inconvenient to deal with, and tallies well in height with that to which we have become accustomed in the modern theatre. The theatre at Epidaurus presents a ' stage ' altogether different from that of the Romanized Greek theatre. In front of the stage- building, so-called, in this theatre was a proscenium, a handsome fagade which consisted of eighteen engaged Ionic columns supporting an entablature. The proscenium was slightly advanced at each end 1 See the citations in Miiller, Buhnenalterthumer, p, 129I. The passages cited are misapphed, so that there is not even the authority of late writers for this * stage for the chorus,' which is essentially a modern fiction. Much less is there the least suggestion of such a stage in the extant dramas. Oehmichen also, Das Biihnenzvesen der Griechen tiud Romer (in I. Miiller's Handbuch, V. 3, p. 242), beHeves in the supplementary stage. 2 See Haigh, Attic Theatre, p. 158. Mr. Verrall, in his review of Mr. Haigh's book in the Classical Review (Vol. IV. 1890, p. 226), while regarding it certain that Aeschylus and his immediate successors used a stage, seems to reduce the height of the stage in Aeschylus to something considerably less than " six or seven feet." He says : " That the back part of the scene should be somewhat higher in level than the front would be in the Eumenides, as always, practically necessary; but it is an equally plain condition that the whole scene should be one to the eye and one for the purpose of inter-action and intercommunication." — The exact determination of the date of the stage of the theatre at Megalopolis excavated by the British School at Athens is awaited with great interest. See Mr. Gardner's brief statement of the results of the excavations in the Athenaeum for August 23, 1890, repeated in American Journal of Archaeology, 1 890, p. 368 ff. TJie ^ Stage' iii Aristophmies. i6i in the form of a wing. At its centre and in the front of each of the wings was a door, the sill of which in each instance was on a level with the orchestra. The orchestra was a complete circle, whose periphery approached the proscenium closely. The height of the proscenium, including the entablature, was twelve feet. It stood eight feet from the front of the main building. The orchestra meas- ured sixty-SLX feet in diameter. Its outer circle was within three feet of the proscenium.^ The theatres of Assos, Oropus, and Thes- piae had similar proscenia. There was a permanent proscenium also in the great theatre of Dionysus at Athens. When the first of these facades was laid bare by excavation, the view Avas advanced that it was the front supporting wall of the stage. The Vitru\ian stage had at last been brought to hght. On the floor laid from the entablature to the wall of the main building behind the proscenium the actors had played their parts ; the chorus were in the orchestra, t^velve feet below. That the proscenium was the front supporting wall of the stage is the \-iew vigorously maintained in t^vo noteworthy books already mentioned, Albert ^Ililler's Lehrbuch dcr Griechischen Biihnenalterthuiner ( ioS6) and ]\Ir. Haigh"s The Attic Theatre (1890). Dr. r^Iiiller beheves in the existence of the above-mentioned supplementary stage for the chorjs, which would reduce the difference of level between chorus and actors : Mr. Haigh stoutly and successfully argues against it.- Dr. "Wilhelm Ddrpfeld, the well-known First Secretary of the Ger- man .-\rchaeological Institute at Athens, denies that the proscenium was the supporting wall of the stage. It was, he says, the support on which was displayed the scenery appropriate to the play. The actor stood in front of it, not over it. Actors and chorus were on the same level. In the time of the great dramatists, the ' stage ' had no existence.^ 1 An excellent plan of the theatre at Epidaurus is given in Baumeister's Denk- vialer des klassischen Altertians, p. 1 735. See also Tafel LXV. for a restored view of the proscenium. Representations also in Miiller, B.-A,,-^^. 5, 6; Haigh, A. T., pp. 130, 134, 147; and Oehmichen, BiVinen-Li'esen, Tafel I. For the excavations at Epidaurus as first reported, see ^AdrivaLOv, IX. p. 46411., X. p. 53 tt. ; Uapvaacros, VI. p. 864; UpaKTLKo. TTjS eV 'AOrjvais apxaioXoyiKTjs kraiplas, iSSi, with four plates, 1882, p. 75, 1883, p. 46 tf., with two plates. 2 Miiller, B.-A., pp. 129-136; Haigh, A. T., pp. 154-157. 2 In 18S4 Julius Hopken presented at the Universit}' of Bonn, as candidate for l62 John Williams White. This view is revolutionary. Dr. Dorpfeld, who is a trained archi- tect, apparently came to entertain it mainly through architectural considerations.^ His arguments in support of it, and of another view equally revolutionary, as to the date of the great theatre at Athens, will be presented in the winter of 1890-91 in a book already announced.^ Those who have engaged in the discussion of this vital question have found common ground on which to stand. It is generally agreed that, when we turn from the architectural to the Uterary evidence, the lexicographers and scholiasts must be practically aban- doned ; we must depend upon the evidence furnished by the extant the degree of doctor of philosophy, a thesis entitled De Theatro Attico Saeculi A. Chr. Quinti, in which he combats the generally accepted view transmitted by Vitruvius and Pollux that the chorus played their parts in the orchestra, the actors theirs on a high and narrow stage that stood behind it. According to Hopken "in proscaenio" (the 'stage') "apparatus scaenicus ponitur, quem ante ludorum initium spectatoribus proscaenii aulaeum obtegit." In front of this lies the 6pxh<^rpa, a low wooden platform occupying the greater part of the space en- closed by the seats. This ' orchestra ' is in form two thirds of a circle. About it, at a lower level, lies the Koviarpa. The ' orchestra ' was occupied in common by actors and chorus. In combating the tradition transmitted by Vitruvius and Pollux, Hopken depends mainly on late writers. He quotes also certain passages from Aris- tophanes to prove that the actors must have stood in the vicinity of the spectators. It does not appear from his thesis that he was aware of the excavations at Epi- daurus. Hopken has been treated with undeserved contempt by his critics. 1 It does not appear from any published statement that Dr. Dorpfeld, at the time when he first announced his view, was acquainted with Hdpken's argument. 2 " Das Dionysostheater in Athen, Studien zur Geschichte des antiken The- aters." Dr. Dorpfeld will have Dr. E. Reisch as collaborator in this work. Dr. Dorpfeld's theory was first announced in print in brief notices in the Aus- grabungsberichte in the Athenian " Mittheilungen " and in extracts from a letter in Miiller, B.-A., p. 415. It was next briefly presented, on information furnished by Dr. Dorpfeld, in G. Kawerau's article on Theatergebaude in Baumeister's Denkm'dler, p. 1730 ff. In a review of Mr. Haigh's Attic Theatre in the Berli7ter Philologische Wochenschrift for April 12, 1890, Dr. Dorpfeld himself states, but necessarily only briefly, his reasons for believing that actors and chorus played on the same level. Miss Harrison has published a translation of this part of Dr. Dorpfeld's review in the Classical Review for June, 1890, p. 274 fif. Mr. Haigh answers Dr. Dorpfeld's criticism in the same number, p. 277 ff. See also Dr. Dorpfeld's review of Oehmichen's BUhnemvesett in the Berliner Philol. Woch. for November 29, 1890. The ^ Stage' in AristopJianes. Greek dramas themselves.^ The most bewildering confusion of terms and conceptions pervades the writings of the lexicographers and scholiasts ; and yet through all this confusion may be traced the dominant behef in the existence of a stage. This last fact proves no more than that this behef arose and became fixed before the time of these later writers. The literary evidence, then, in support of or against the theor}- of the existence of a stage in the fifth century must be sought for in the plays that have come down to us. It would, indeed, be surprising if they left us uncertain as to the facts ; and it would be scarcely less surprising if, on a more careful examination than, with a single ex- ception,- has yet been given them, they should be found to confirm the testimony furnished by monumental remains, and should them- selves supply the evidence on which we should abandon our belief in the existence of a stage in the time of the great dramatists. The importance of such a thorough examination is manifest. r\Ir. Haigh feels justified in saying : " It appears, therefore, that the testimony of Aristophanes points decisively to the existence of a stage for the actors in the fifth century." And again : ^'And the passages in Aris- 1 " AYas spatere Schriftsteller, welche allerdings niclit selten auf das Theater- wesea Bezug nehmen, was Vitruv, die Scholiasten und Lexicographen, nament- lich Pollux Einschlagendes berichten, ist zwar zum Theil sehr werthvoll, darf aber fiir die Einrichtungen des flinften Jahrhunderts, dem die betreffenden Autoren bereits fern standen, nur mit Vorsicht benutzt werden, so dass wir fiir die clas- sische Zeit wesentlich auf die Durchforscliung der erhaltenen Dramen ange- wiesen sind, und dass diese Quelle, so bald man sicb bescheidet, nicht mehr wissen zu woUen, als was aus den Tragodien und Komodien mit Sicherheit ermit- telt werden kann, eine durchaus ergiebige ist, haben neuere Forschungen gezeigt, welche mit dem friiher iiblichen Verfahren, den Biihnenweisungen der Scholi- asten und den Xachrichten der Lexicographen bei den betrefienden Untersuch- ungen gleiche Beachtung zu schenken, gebrochen haben."' !Miiller, B.-A., pp. 107, 108. "Diese Frage kann auch nicht entschieden werden durch den Hinweis auf irgend eine Xachricht eines spateren Lexikographen oder Grammatikers. Xur die Xachrichten welche wir den Stiicken der grossen Tragiker und Komiker selbst entnehmen, und welche wir bei andern Schriftstellern des V. und IV. Jahr- hunderts finden, kdnnen als entscheidend anerkannt werden." Dorpfeld, Ber- liner Philol. Woch., 1S90, p. 46S. Haigh also attaches great value to the evidence supplied by the dramas, A. T., p. 144. 2 See Hermes, XXI, (1SS6), "Die Biihne des Aischylos," by U. v, Wilamo- witz-Mdllendorff. JoJm Williams White. tophanes appear to prove decisively that in the fifth century the actors stood on a considerably higher level than the chorus." And finally : " The other theory, that during the fifth century actors and chorus were both in the orchestra and on the same level, appears to be conclusively disproved by certain passages in Aristophanes."^ The present paper states the results of a careful inspection of the comedies of Aristophanes made with the intention of testing what may perhaps properly be called Dr. Dorpfeld's theory. The results of this investigation amount to an argument in favor of the proposi- tion, that the Comedies of Aristophanes could not have been performed on the stage of Vitruvius, This paper has, therefore, been cast in the argumentative form.^ Positive Testimony to the Existence of a Stage furnished by Aristophanes. There are certain passages in the great comedian in which the use of the terms avajSaiveiv and Kara/JatVeiv has been thought to prove the existence of a stage. Varying degrees of rehance, how- ever, have been placed upon these by the advocates of the old theory.^ These passages are five in number, as follows : I. MErAPEY2. d\)C CO TTOvrjpa icopia kclOXlo.) 7raT/0O9, aifx^are Trorrav fxaSdav, at )^ evp-qri ira. Ach. 731, 732. 1 A. T., pp. 144, 146, 15S. 2 The statement of the investigation is here strictly limited to Aristophanes, because it seemed desirable to keep the facts to be deduced from the plays of each dramatist distinct. The results here presented, however, are confirmed by those reached by an investigation of the tragedians. This paper will be followed by two similar papers, the first stating the results of an inspection of the plays of Euripides, the second, of the plays of Aeschylus and Sophocles. ^ Miiller, B.-A., p. no, for example, citing the last four passages quoted just below, thinks that Vesp. 15 14, 15 15, proves conclusively that the actor stood upon the stage, but says that ' elsewhere ' KaraffaiveLu signifies simply " abtreten," and correspondingly apuBaiueiv means " auftreten." On the other hand, Haigh, A. T., p. 144, cites the same passages as proof that " the actors had been accustomed to stand on an elevated platform." The only passage of the four that is doubtful, in Mr. Haigh's view, is Vesp, 15 14, 1515, but in this also he thinks that the literal meaning is much the more probable. TJie ^ Stage' i?i Aristophanes. 165 2. OIKETH^ A. oj fj.aKa.pLe dyWavTOTTLoXa, oevpo 8evp oj cjStArare avdSawe crojrijp T'ij ttoXzl Kal i'(£v ^ca'Ct's. Eq. 147-149- 3. t'lAOKAEP.X. dvafSawe hevpo y(pv(Top.-qXoX6vBLov. ri] X^'-P'- '^'■'-'8^ Xaf^op.ey-/] roi cr^ou'i,ov. |;voi' • 6v,\a7rov 6 . ojs dci-phv to (Txolvlov. Vesp. 1341-1343. 4. ^-lAOKAZnX. drap Ka.Ta(3areov y irr avTOv^ jxoi ' crv Se aXp.-i]v KVKa TovTOL(nr. vv iylo Kparoj. Vesp. 15 14, 15 15, 5. XOPOl. Ti' 8:77a 8ta7pi'5£t5 €;)(CLi;'. a,\y\' ovk ayet? Taadl Xaj3(Lv: h- oaco 6e Ka7a,5aa£ti. eyoj l—arrou.ai p.eAo? 7t p.e/\\o8e'.'7-TdKor. Eccl. 1151-1153. It \vill be observed that the reference m these passages is always to :in actor ;or mute j, and that the terms are used, either just after an entrance ( avalialvav) or just before an exit {KaTa^alveiv) . The terms have commonly been interpreted to mean respectively, come up upon the stage, and^^? or come doivn into the orchestra. The same words are often used in other passages in Aristophanes, but in dinerent application.' These occurrences, therefore, have no direct bearing on the present discussion. The text of all of the passages quoted is sound. If the ordinary interpretation of any one of them can be successfully maintained to the exclusion of any alternative view, the existence of a stage in the time of Aristophanes must be conceded. An interesting scholium on the second of the passages quoted (Eq. 149) reads as follows: dra;3atr£ croJTrjp tq TroAet : "Iva. cjirjcrlv. 777? Tapodov IttI 70 Xoyciov avaS-fj. [did tl ovx' t^s Trapohov ; 70170 yap OIK dvayKalov. XeKTeov ovi' otl dvalSaa-eiv iXiyzTO to e— I 7o Xoyetov 1 So dva/8aiVe:v Vesp. 39S. Ran. 130, Frg. 329 (Kock) ; KaTadaiveiv Ach. 409, Xub. 237, 508, Vesp. 347, 397, Pax 725. Lys. S64. S73, 874, 883, 8S4. Thes. 4S2, 483, Ran. 35. John Williams White. eiaUvai, o Koi Trpoo-Ketrat. Aeyerat yap Kara^atVeti/) to aTraWaTTCcrOai ivrevOev aTro rot; TraXaLov t6ova(.a?, as universally, and certainly would not have excluded herself. racrSt refers to the /xetpaKcs. Besides the chorus, the maid, and Blepyrus, then, the presence of others on the scene must be recognized, — of the dancing-girls whom Blepyrus is bringing to the dinner. Again, the language in 1153 should be noted. The chorus says i-rda-ofxaL, which means not simply " sing," but sing in accompani- ment." Cf. Eur. Elec. 864, Hdt. i. 132. On the old view the words would have the absurd and impossible meaning, "As you descend from the stage, I'll accompany you with a bit of a song" ! Just here an acute observation made by von V^elsen is pertinent. In account- ing for the omission of the chorus following iiii he says : "XOPOY adieci editores secutus, quamquam ipse magis in eam sententiam- inclino, ut omnibus illis locis non cantus, sed solas saltationes chori fuisse putem." The close of the play, which is exactly similar to the close of the Wasps, confirms this view. The poet furnishes, for the further delight of his audience, an elaborate dance performed by specialists. These are the ^uet/oaKc?. The last scene of the play, then, is as follows. The maid comes in (11 12) from the dinner to fetch her master. Her language shows that she is tipsy. In reply to her question where her master is, the chorus answer, with comic recognition of the situation, " No doubt he'll turn up sliortly." He does appear at once with the fxetpaKcs. The poet has a special purpose in producing them., but aside from this their presence with Blepyrus is perfectly motived. Such opxrj- (TTpLSe^ were among the commonest means of entertainment at an Athenian dinner. The maid addresses her master in lively and jovial language. He is in quite the same mood, cracks his joke, and says he is 'off.' With the words in 1149, 1150 the 'business' of the play is practically at an end. Only the ' exeunt omnes ' remains. It is at this point that the chorus say, " Why, then, don't you take these girls and go? And as you retire, I'll accompany you with song in anticipation of our dinner." Blepyrus brings forward the dancers, and after a word from the coryphaeus to the judges, the orchestic performance begins. The first semichorus joyously sing that dinner waits, and exhort the second semichorus to the dance ; they, with the words tovto Bpu) (1166), execute a movement simply to the I/O John Williams White. music of the flute ; then follows the special dance of the ixetpaKe^ (who certainly are referred to by rao-Se in 1 1 66), accompanied by the song of the first semichorus. In this song occurs that extraordinary compound in whose invention the rioting humour of the poet vies with his dancers for the favour of the audience. With the following song of the second semichorus, all finally leave the theatre at the right, dancing, led by Blepyrus. If this explanation of the five passages is correct, these are the re- sults. It is shown that the old interpretation of the terms {' ascend ' and ^descend') is impossible for the Vitruvian stage in the third and fifth passages ; moreover, in the fifth, that the sense ' retire ' is also impossible in the scholiast's application of the meaning, since actors and chorus are on a level. The last passage, therefore, is 'positive proof against the existence of a stage. The words avajSaiveLv and Karaj^aCvav (old-fashioned terms, come down from the fathers), when thus employed, are always used with a special touch of humour. By their use the speaker reminds the audience, in the good-natured way characteristic of comedy,^ that he and his fellows are ^ on the boards.' When there is no such inten- tion, the ordinary words to express ' approach ' and * departure ' are used, generally irpoaUvai and Trpoaip'^^eo-Bai, or ajnivaL? But many others occur. In no one of them, however, is there the least indica- tion of change of level. The plays are full of illustrations. The following, for example, occur in the Birds. The case, it will be re- 1 The humorous way in which the comic actor takes the spectators into his confidence in openly recognizing the theatre and its appurtenances has many illustrations in comedy. Thus, the jokes by direct reference to the iKKVKX-n/na, Ach. 408, 409, Thes. 96, 265, cf. Vesp. 1475; reference to the 'scenes/ Pax 731; to the €l(To5os, Nub. 326, Av. 296; to the statue of Hermes in front of the proscenium, Nub. 1478; to the seats, Eq. 163, 704, Nub. 1203; to the mask-makers, Eq. 232; to the scene-shifter, Pax 174; to the constables, Pax 774; to the chora- gus, Ach. 1 1 55, Pax 1022. The references to the poet, to individuals in the audi- ence, to the audience collectively, to the judges, are very numerous. Of the same general intent is the express recognition by the chorus at the close of the plays that they have been furnishing the spectators entertainment, as Nub. 15 10, Vesp. 1536, 1537. Pax I355-I357* Thes. 1227. 2 See E. Droysen, Quaestiones de Arisiophanis Re Scaenica, who has collected the instances, as also those where an actor enters or leaves by the main scene. The terms used in this case are generally da-teuai and f^ifvai. The * Stage ' in Aristophanes. 171 membered, is always that of an actor approaching or leaving by a side entrance (or more probably by the parodos). To express approach in the Birds, we have lyKcti/, 992, 1022, 1038, 1587; rpky^uv, 1121 ; 1(tOCiv, 1169 ; Trpoo-teVat, 1312 ; irpoa-ipx^^yOat, 1341, 1414, 1709- To express departure we find /^aSt^etv, 837 ; uVat, 846, 990; a-Kkp^ttrOai, 948 (bis) ; iKTpi^eLv, 991 ; VTraTroKLvelv, lOll ; virayeiv, 1017; airUvaL, 1020, 1026, 1029, 1636; airocrof^eLV, 1032; air or pi)(eiv, I162, 1549; aTTOTrirecrOaL, 1369.^ The foregoing interpretation of dvajSaivav and Kara^atVetv is pow- erfully supported by the negative consideration that t/iey are applied 07ily to actors, 7iever to the chorus. And yet, on the old view, we should expect the words to be used of the movements of the chorus rather than of those of the actor. For assuming for a moment the existence of a stage, for the sake of the argument, the case stands thus. There is only one place in Aristophanes (Plut. 253 ff.) where it is necessary to assume that an actor comes in through the parodos.^ He may come on through the wings. This is the view of the second scholiast on Eq. 149, who certainly thought that there was a stage. The actor, then, is on the ' stage ' from the first, and the word dm- jSatvetv in the sense of " come up from below " could not properly be applied to him. But the chorus are incontrovertibly on a lower level, in the case assumed, and as incontrovertibly in many instances they mount the ' stage,' that is, come to the main scene of the action. In- stances of this in seven of the eleven plays are cited below. Now it is 1 Those who believe that aua^alueiv and KaraBaivcLv signify * ascend ' and * descend ' may well be called upon to explain why the actor is brought in only a few times through the parodos, but in so many other instances through the ' wings.' WTiat discoverable reason is there for making the place of entrance of the Megarian and his girls in the Acharnians (729 ff.) different from that of the Boeotian and his servant (860 ff".) ? Or that of Xanthias in the Wasps (1292 ff.) different from that of Philocleon and Dardanis (1326 ff.) ? But Schonborn (^Die Skene der Hellenen), Droysen, and others invariably bring in the actor by the * wings ' unless they are forced to adopt the alternative. 2 Not that, on the assumption that there was no stage, this may not naturally have happened. If the stage is abandoned, the setting of all of the plays will be much simplified. This is not the place in which to illustrate the bearings of this important fact, but see Dr. Dorpfeld's brilliant picture of the scene and action of the Agamemnon, as given by Miss Harrison, Mythology and Monuments of Ancient Athe7zs, p. 292 f. 1/2 JoJin Williams White. extraordinary that the chorus should be exhorted or should exhort one another to mount the ' stage,' as it is said, or should be ordered off the ' stage ' down into the orchestra, and yet that the terms dva/3atVeiv and Kara/SatveLv should never be applied to them, although apphed to the actor in similar circumstances. The words used are very differ- ent. They are never terms i7nplying change of level. For example, in the Wasps, the old dicasts, when they make their attack upon Bdelycleon, who is directly in front of the main scene, that is, on the stage if there is a stage, say Tras i'7rL(rTpe(f>e Sevpo (422) and eiT ctt' avTov tWo (423). When they are driven off, the words are ovK aTTLTe ; (458) and ap' ifxiWofxev ttoO^ vixas aTroao/Si^creiv tw X/^wo) (460). So in the Birds the exhortation to attack is io> tw, e-n-ay einO' CTTtc^s/ae iroXifxiov 6p/xav (povtav (343 f-) ; and a little later iXeXe- Xev x^pet (364). The chorus fall back with the words amy' e? ra^tv (400). In the Peace, Hermes exhorts the chorus, eio-twres ws ra- Xto-ra Toi)9 XiOovq dc^eAKcre (427), and the word used to express their falling back is airuvai (550).^ Illustrations need not be multipHed. The poet's actual choice of words in these situations shows first that the exhortation or command cannot have been to mount a ' stage ' or go down from it, but to come forward between the wings and, again, retire ; and amounts secondly almost to a conclusive proof that the terms dvaySatVeiv and Kara^atVeiv cannot have had the signification in application to the actor that has generally been given them. Positive Testimony against the Existence of a Stage furnished BY Aristophanes. The facts will, for convenience, be presented under the following heads, although the divisions are not strictly coordinate, and the facts presented under the different heads are not mutually exclusive. I. The Argument from Mingling of Chorus and Actors. II. The Argument from the Close of the Plays. III. The Argument from Impossible Situations. IV. The Argument from the Over-crowded * Stage.' V. The Argument from Probability. 1 Miiller, B.-A., p. 109, declares that the language in Pax 564, 565, shows that the actors were on a higher level than the chorus ! That he should advance this seriously as an argument is past belief. The ^ Stage' in Aristophanes. 173 I. Argument front Mingling of Chorus and Actors. In twenty-five situations in the plays of Aristophanes the chorus and actors (or mutes associated with the actors, or — in one instance — a musician who comes from among the actors) are at a given moment on the same level. In eleven of them, on the old theory, the chorus are on the ' stage ' ; in fourteen, actors, mutes, or a musi- cian, are in the orchestra. The argument from these instances will stand thus. If the facts are as stated, the burden of proof rests on those who believe in the existence of a stage to show that the given situation is, so far as a common level is concerned, not the situation throughout the play. If nothing in the language or course of the action prior or subse- quent to these situations indicates that there has been a change of level', we have proof that the ' stage ' in Aristophanes is a fiction, unless we either deny in the first eleven instances that the chorus entered by the orchestra or assert for all of them that Aristophanes, generally so careful in furnishing motive for introits and exits, allowed these changes of level to occur without intimation. Choi'us on the same level with Actors. 1. HMIXOPION. o^TO? (TV TTOt ^ets ; ov /xei/ets ; oj? et ^evet? rov avSpa tovtov, avTos apOrjau Ta.\a. Ach. 564, 565. The first semichorus are about to strike Dicaeopolis, when the second violently interfere. Ouvclv signifies in Aristophanes and else- where to strike with some part of the person or with something in the hand.^ Before the great Euripidean scene, when the intention of the chorus was to stone Dicaeopolis, the words used were ySaAAw, Trato) (once), and /caraXeuo) (or an equivalent expression). 2. XOP02. €;j(e vvv, aXeLxpov rov Tpd)(r)Xov tovtcol, vvv, kireyKa^ov XajSiov raSi. Eq. 490 and 493. 1 Cf. Eq, 640, Vesp. 1384, Av. 54, 161 3, Lys. 364, 821, Ran. 855 (meta- phorical). 174 JoJm Williams White. These verses are assigned to the chorus in R V A P M T ©. The editors, following Enger, assign them to OiKkrri^ A, doubtless because of the extreme difficulty of the scenic situation on the supposition of a stage. This sort of error is wide-spread in the texts. Other in- stances will be noted below. The scholiast explains the action : oreap StSovcrtv avrco dAet^eo-^at, iva. €v;)(epcos oAio-^aiVetv Swryrat. And again : dKopoBov avrw 7rpo(Tay€Lv. 3. XOP02. a7rapv(TT€0v re Ttov aTretAwv TavTyi. Eq. 921, 922. All the codices give the words to the chorus ; Bergk, Kock, von Velsen to the dAAavroTrwAry?, doubtless for the reason mentioned above. The coryphaeus at this point jocosely hands Agoracritus a ^(x)iJi7jpv(n V kvk\(o Kevretre kol tovs SaKTvAovs. BAEAYKAEflN. ov)(L aovdO' ; ovk is KopaKas ; ovk amTe ; Trate tw iv\(o, Vesp. 431, 432, and 458. At the close of this spirited scene, Xanthias does as he is ordered, and clubs the chorus. 5. EPMH2. dAAoi rats a/xais €icrtoj/Tes (OS rdxLo-Ta tovs XlOovs d^eAKere. XOP02. VTTOTeive Br] 7ras kol Karaye toIctlv KaAw?. X0P02. dAA dyerov vvv eXKere kcll crcfxa. TPYPAIOS. ovKovv cAkco Ka^aprwfxaL KaTrefXTTLTTTUi KOL CTTrovBd^ix) ; Pax 426, 427; 458, and 469-471. The 'Stage' tJi /IristopJianes. The chorus, Hermes, and Trygaeus are all pulling at once on the ropes by which the great statue of Peace is finally brought to light. The chorus takes part in the hbation, 431-457.^ The servant has doused the chorus (rotcrSt, 969), who stand about those engaged in the sacrifice, and join in the prayers offered. The dousing scene is similar to that in Lys. 381 ff., where the semi- choruses are on the same level. See below, p. 185. See also the use of Kixra-yib^ in Plut. 790. Pax 1312. The kitchen scene begins at 119 1. Cf. 1197. Trygaeus is about to go within to the dinner that has been made ready. The chorus ^ I conceive that the second scene in the Peace was managed as follows : Try- gaeus mounts sk^'ward on his beetle. The girls and servants go within (149), — an important fact to note. In mid-air Trygaeus chants the verses that give the scene-shifter the time needed for the change of scene. Trygaeus actually ad- dresses him in appealing language (174). The new scene is suspended, as was the old one, on the wall of the proscenium. It represents the oikio. of Zeus (178), in front of which the scene-shifter and the attendants pile a heap of stones, unless in- deed these were already there, concealed during the first scene by the wall of the beetle-pen. The beetle gently descends to the lioor of the orchestra. Tr}'gaeus dismounts. He is now oupavd>. The scene thus conceived can be perfectly managed during the following action. Thus, Trygaeus announces the hour has come to haul Peace out of the pit in which War has immured her (292 ff.), and summons the chorus, who come followed by a great crowd. Hermes, finally won over, himself lends a hand (416, 417), and takes direction of the work. He bids the chorus and their followers come in (ela-iovr^s, that is, to the space between the wings) and shovel away the stones (427). This they do, and when the liba- tion has been made and the ropes have been adjusted, they all pull to the " Yo, heave hoi " of Hermes (459 ft'.). Finally the others are pushed aside and the chorus of farmers pull alone (508 ft"). And so the action continues in the sim- plest manner possible. — In one other play of Aristophanes the scene is changed with an actor present, namely, the Frogs, in which the poet had resort to a moving scene. 6. 0IKETH2. ov yap. otTive? Pax 970-972. 176 JoJm Williams White. are invited (cf. 1305-13 10) to fall to on whatever has been left in the kitchen of the dishes that have been prepared. 8. XOP02. eAeXeAev X^P^^ Ka^es to pajx<^o<; ' ov fxeXXetv e^p^v. eA.Ke TtAXc Traie Setpe, kotttc irpisiT-qv rrjv xvrpav. Av. 364, 365. The pots are on the old fellows' heads. 9. XOPO2 rEPONTON. Kav pfq KaXovvToiv rovq fjiO)(Xovs ;)(aXcL)(nv at ywaiKcs, ifXTTLfjiTrpdvaL ^P'Q ^ois OvpaLOv, (LvSpes. Pax 1 339-1 341. Trygaeus, Opora, and the chorus leave the theatre together. 18. Av. 665-684. The flute-player enters from the main scene, is engaged first with the actors present, and then passes to the chorus and plays the accompaniment to the parabasis. 19. Av. 1 706-1 765. Note especially 1721, 1722, and 1755. Peithetaerus, the Princess, the Messenger, and the chorus leave the theatre together. 20. AIONY202. lepev 8Lav\ai6v fx, Iv w aoi ivfX7r6Tr]<;. Ran. 297. Compare the passages quoted above in 13, 15, 16. The situation in these four places is practically the same, that of an actor or mute The * Stage ' i7t Aristophanes. 179 very near the spectators or actually among them. In discussing it, we must free ourselves, if possible, of a very natural prepossession in favour of a stage. This prepossession seems to have affected the views of commentators, who show a strong disposition not to take the poet literally, in the face of the utmost directness of language.^ Certainly a stage so far removed from the spectators interposes a great barrier to the action which the language of the poet seems naturally to demand. The scholiast on Ran. 297 felt the difficulty of the situation : kv TrpoeSpta KdOyrat 6 Tov A109 (sic) lepevs. aTTOpova-L 8e rives ttws oltto tov Xoyetov TrepuXOiov kol Kpvcf)0£La 7rdX\(x)v (1304), ttoBolv re TrdBrj (1317). In the two situations just described the height of the * stage ' is a matter of no special importance. The argument rests on its extreme shallowness, according to Vitruvius and according to the actual remains of proscenia found at Epidaurus, Assos, Oropus, and else- where. How extremely shallow it was is worthy of special attention. v8(i}p avTccv Karax^cccTtu ^vudev. rh 5e &Wo rj/jLix^piov avSpoiv Karwdeu iirepxo- fxivuv TOLS eV Txi aKpotrSKei eis iroMopKiav. The scholiast's imagination was caught by the dousing scene at 381 ff. He wished to get the effect of height when the women soused the men. The ' Stage ' in Aristophanes. 187 The ' stage ' in the theatre at Epidaurus was eight feet deep ; that is, this was the distance from the entablature of the proscenium to the wall of the main building.^ The later stone proscenium in the theatre at Athens, which was probably erected just where the earlier temporary wooden proscenium had stood, was no further than this from the main building. But there was not actually even this amount of space for the movements of the actors. How it was narrowed had better be explained in the language of those who believe that the pro- scenium was in fact the front wall of the ' stage ' on which the actors stood. Mr. Haigh says : The upper portion of the painted scene represented merely the sky, and v/as probably the same in all dramas. The lower portion was separable from the upper, and on it was de- lineated the building or landscape which the particular play required. This lower portion of the scene must have stood some small distance in front of the upper portion. It is impossible that the whole scene should have been in one piece, and have ascended in a straight line from the bottom to the top of the stage. If this had been the case, there would have been no room for the narrow ledge or platform, which Pollux calls the ' distegia.' ^ The distegia was a contrivance which enabled actors to take their stand upon the roof of a palace or private house. ... In the Acharnians, the wife of Dicaeopolis views the procession from the roof of the house. At the commence- ment of the Wasps Bdelycleon is seen sleeping upon the roof, and his father Philocleon tries to escape through the chimney. At the end of the Clouds Strepsiades climbs up by a ladder to the roof of the phrontisterion, in order to set it on fire. The distegia must also have been used in such scenes as that ... in which Lysistrata and Myrrina are seen upon the battlements of the Acropolis.'^ It fol- lows from these examples that there must have been room enough between the top of the palace or other building, and the surface of the scene behind it, to allow a narrow ledge or platform to be in- serted. . . . The upper portion [of the scene] must have been 1 See above, p. 161. 2 Poll. IV. 129, 130: 'q Se 5icrTe7ia Trore ix\v iv o^Kcp l3acri\eLcp dirjpes SaijuaTiov, oiov acp' ov iu ^oiviacraLs tj 'AvTLyour] /SXeVei rhu arparov, Trore 5e Kal Kepa/xos, acj) ov $dWova-i tw Kepdfxcv • eV 5e Kco^uoo^ia awh Trjs 5itav-cui/ crrparo^ (156, cf. 149-152) j it is said of them KaraTTeXraaovrai rrjv Botcortav oX-qv (160). In this part of the scene from thirty to fifty persons must have- been introduced, and benches must have been provided for half of them. It is worthy of note, further, that a row occurs betwen Dicae- opolis and the Odomanti (163-168). To ^ set ' such a scene as this on a ' stage ' so shallow would be extremely difficult. On the other hand, to reduce the number of the prytanes, ecclesiasts, poHcemen, and Odomanti to a handful is without justification. No good reason can be given for supposing that the Greeks relinquished the realistic effect of numbers in their dramatic representations. The general largeness of these representations would suggest the contrary. Our undoubted disposition to make the number of the ' dramatis personae ' small results from the necessity which belief in the existence of a ' stage ' has imposed. But in some scenes in Aristophanes the num- ber of persons introduced is very great and cannot be reduced arbi- trarily by any possible device. Two such scenes follow. 2. Pax 301-728. The scene describes the recovery of Peace from the avTpov in which she has been buried by War. The chorus are a part of the action. The passages which prove that all of the action takes place on the same level, contrary to the view of some of the commentators, are quoted on p. 174. The following are participants : Trygaeus (309 ff.) ; Hermes (362 ff.) ; the chorus of twenty-four Attic farmers (301 ff.) : repre- sentatives of other Greek states who come in with the chorus and John Williams White. assist in the recovery of Peace, as Boeotians (466), Argives (475, 493), Laconians (478), Megarians (481, 500). These all actively assist in hauling Peace from the avrpov (cf. page 175, note). Fur- ther, when the great wooden statue is brought to light, two ' mutae personae ' appear with it, Theoria and Opora. The Hst of dramatis personae is lacking in R, but is found in V. The chorus are there designated as Xopos yeopyuiv 'A^/ioveW (cf. 190.) That they are farmers can be proved on the internal evidence fur- nished by the play. They are so called in 508, 511, 589, 603. That the Boeotians, Argives, Laconians, and Megarians who take part in the action are not members of the chorus is equally clear. When Trygaeus invokes help (296-298), he calls upon others besides farmers : aX\' w yew/oyot KafXTropoL kol r€KT0V€ 455. 462) ; Lysistrata (430 ff.) ; the First AVoman (439 f.); the Second AVoman (443 f ) ; the Third Woman (447 f.) ; a crowd of women from the Acropolis (456 ff.). The proof that the chorus are on the ' stage ' at this point is given on p. 185 f. The ser\dces of four different policemen are called into requisition, but the number of policemen present was probably greater.^ These four struggle with individual women. ^ Scholiast on Plat. Apol. 19 c: Kas^uade^rai 5e, otl Kal rh tt}s eip'qvrjs ko\odvov<; KoifxaySiae [ recrcrape?, | Sophoclis tragedie quin I que Aristophanis co | medie quatuo | r.^ Fol. 78-191' contain four plays of Aristophanes, the Plutus, Ntibes, Ranae and Avcs, with prolegomena and hypotheses. Preceding the Plutus, the first in order of the four plays, is the statement : Tov aoffxDTOLTOv T^erlov i$rjyr}(TLv, and II, T7jr)opa<5 rdv opvewv kol to afxcfiolv ttoSo'lv €K Tcoi/ opviwv ' ajUiakaLas 8e rrjv -^vrpav ra? /xi^pptVa? Se Trpos d/xwav VR 44 aTT/oay/xom) drdpaxov 45 KaOiSpvOivTe) Kria-avTts 46 6 Se CTToXo'?) KoX T] 7rop€£a 52 opvea) aXX* elo-lv hi]Kov 59 TTOtT^creis Tt') 5€iv6v KOTrretv) els kotttuv) ev t« 63 oiilrw Vrt . . .) Trpayfxa' ol opviOoOrjpat V OLiSe KaAAtov Xeyetv) oti8e Xeyecv ae tovto kcxXXlov iarlv ort €(r//,ev opviBoOripaL PR 65 Ext. sig. sup. VTToSeSto)?] CTrAao-e ro ovofxa' XifSyKov 8e CTret ot \Ll3vev Trrepu, ttX^^v tt}? K€(^aA^9 FT? 108 o^ev) d4)ov 109 p-wv rjXLaaTa.) StKaaT-rjpLOV ev d^Tyvais [ext. sig.] outcu 8e iKXrjBrj 8ta to ev viralOpo} et Kat IIO aTrr^Atao-Tat ) <{>iX6Sikoi 74 John Williams White III okiyov • . • ) irapodov ol dypoLKLKol /xlo-oSlkol V R 113 ivyyeveaOai ) (rvvofXLXrja-aL R 123 Ext. post, v.] 8ia TO rpayy y] airo rtvo? ^acrtAetus K/aamov Fi? 124 7rpo(T(f)opy/xaya>yov9 126 Tov (T/ceXAtov) vtov • Siort cA-eyero dpiCTTOKparrfi VR 131 OTTWs) GeXrio-ov 132 co-Tiav) €VTpeir(^€iv 135 TaXaLTTwpwv ye irpaypidroiv) Tpv<}>T]\cov KaXwv Trpa-yfJidTwv 139 (0 aTtX/SoviSr]) w Xa/JLirpk oltto ^aXavcLOiv KeKaXX(D7n(rpj€ve YR 141 ov Trpoarjydyov) Trpos cavrov VR 142 oti/c ojp^L7ri.Sr)(Ta<;) ov roiv 6p')(€iDV -rjif/u) VR 143 (o SeiAaKpi'wv) KttT aKpav 8ei\e tCjv KaKwv) TpvT]X«v Fol. 176" (144-204) : — 146 dvaKvil/eraL) dvaKv^ci 147 Sup. sig. sup. cw^ev] ^yovv eh Kpiaiv Bvo rjaav v^e? Trapa rots dOrjvaLots V7rrjpeTLSe<; ' irdpaXos kol rj craAa/xivta * oiv rj aaXafiLVLa tovopdavovvTaL oi vvp.ev) OavfxaarTLKov VR 164 o, rt) els 166 ws) oTt 167 TOv4>€\T]0w 179 Ext. sig. sup. TToAos] TToAov ot TraAaiot, ov;;^ to? ot vewrepoL O Yjp.eiov rl kol Trepa? aAtovo? dAAo, to vepie^ov dirav V R 185 Ext. sig. sup. Tra/ovoTTWi/] ev^eLpiorot oi Trdpvoire^ cctti etSos aKpiSoiv rj KwvwTTcov 186, 189 Vid. fol. 177'. 193 Stac^opT/o-erat) StaTre/ai/^erat R 194 Vid. fol. 177'. Tzetzes's Notes on the Aves m Codex Urbinas i^i 75 Fol. 177' (205-258) : — 206 (0 cfiiXraT avOpwTTOiv) 'Ypd€Tai opviOtov 209 avvofie) o-v|xPi6 210 \vaov) acrov VR 212 ifJLOV KOL (TOV) XeCTVCL TToiSa VR 214 ycvvos ^ov0rj<5 ) XeirTfis diraXfis vypas ' Trupds * ^avGris ^copet) 217 eAeyot?) OprjvoL^ VR 224 olov) koX Trdis Gavo-riKov 186 Pag. sub V. 230] iv rots 7reXo7rovrjcnaKoiyAte(ov, CTret rocrovrov iTroXLopK-qaev atirovs, (oo-re Xtjuco SLa(f>OeipaL 8ta to aTroar^vat avroiv irpwrjv^ viroTcXYj ovaav V 189 Pag. sub schol. antec] iToXifxioi rfo-av 01 ^olwtol rot? aO-qvaLOLa(TL fxcra^v Tret^ov? Koi aTTLKrj^ etvat rrjv ^oiwriav • Ktti oii^^' otov re ctTreA-^etv dOrjvaLOv^ eh ttvOm, el fxr] irapeXOmcrL I^OKOTLav ' iraLt,eL 8e fxovov yap rdre StdSov IrjTOvcnv, orav (rTpdrevfjia Siayiy • orav oXtyoL kol elp-qviKol^ ovKen V R 194 Pag. sub schol. antec] ve<^eX-Y] eiSos StKrvov OrjpaTiKov' ovtm 8e ra 7r/ooo-ri;;)(ovra w/xvvov VR 237 Ext. post V. 237] /xi/xou/xevo? rr/v cfxovrfv to)v 6pveo)v TrpocTKaXeZ- rat avrd VR 240 KOTLVoTpdya^ ra eaOtovra kotlvov rjyovv rov Kdpirov Trj(apaSptov] CTrei at ^(apdSpat rpowov tlvo. 81a, rwy pevfJLOLTwv /xeXw8ia? TroLOvvTai ' rj 6 -^apa^pto^ ^Cjov fxeTafSaWofjievov eU ra TTpOKeifxeva ' CTrcu^ei/ ecrri to eTri rots wots KaOrjcrOat V 267 Toporlyi TopoTtyi) r] ^o)ov Tivos roti €7ro7ro? 270 euros) 6 eiroif/ Y 272 Ext. ante v.] -n-apa rrjv oiVLKOv V 281 £0-rt c^tXoKAeovs) tov Kai e-iroiros 286 at re OrjXuai • • •) 8taeXrj TOvricTTiv dXrjOrj Kal (Tcf)aXr]vaL fXY] Bvvdfxti/ov V 318 Ext. sig. sup. XcTTTu) aocf)L(TTd^ AcTTOt CIS TO XoytaaaOaL V 319 Ext. sig. sup. TTOi;] Staraparrovrat aKr^KOores irapeivai vttottt^v- ovcL yap avTovs 6pvL6o0y]pa<^ 1 321 Ext. sig. sup. riKeTov~\ aT€Xe)(o<; Kai pi^av Kal VTroOeaiv fxcydXrjv ^rpayp-aros ' o eo-rt -^prjcniJiov tl ei(T7;yovp,evos V Fol. 178' (329-378) : — 338 ^Lacf>opr}Orjvai) 8iao-7racr8Tivat 342 iKKOTrr}) kK^\y\^r\ 299 Pag. sub V. 342] 6 appovLfJnoTaTa yap 6 vlkm^ Kat At/>t(jo 7r€/Ji(i}vovv to iXeXev /xerd rtvos ijUi/xeXovs KLvrjcrcoxi V a e Y P 5' 369 (f>eL(T6fxc0a yap tl TwvSe fxaXXov Yifxcls rj Xvkwv 373 y') o^'^o'' 378 avTi^) TO atiTiKa ws ev irapaSei'yixaTt Fol. 178" (379-452) : — 381 Ext. ante v.] to iirj oToj iXrjXvOacTLv V 383 ei^aaiv) ioLKacnv V Ext. sig. sup. amy' ctti o-Ke'Aos] virava- X<^p€.i A^ 387 rco re Tpv^Xioi) aiv€Tai 418 OTO)) Kat wTivt 420 ex^''^) Sijvao-Gai 421 TtV oXfSiOv) evSaijAOviav 422 TrtcrTov) iriGavov a;?) on 424 TO TT^Se . . •) rjyovv 6 ovpav6ap/x6t,€L crv 11(^1^0.^,^1 427 dcf>aTov . . .) ar]ixL kol (f)povC)v ravra Aeyet F^i? 436 Pag. sub V. 424 et seq.] ittvos 17 KafXLVO<; Kara^-qa-TLKUi'^ 8e 17 ia)(dpa ' iTrKTTaTr} 8c 6r)\vKovp6vT0)V r] TO. /xa^as 7roioi)vrojv V 7rpo7re<^ijparat) lytirpeVto-rat 463 Pag. sub V. 461 et seq.] Trat^et wo-7rep imSeiTTvov XeyoiV Kairot Xoyw fxeXXwv avTYjv euw^etv j rots yap evo))(OvixevoL<; TrepteKetvro ot aT€ov V R Pag. sig. sup, Kvp/?acrtav] rots pkv yap dXXoL<; Wo<; kol lirrvy fxivrjv kol Trpo^dXXovcTav ch TO fxiTdiTTOV fx^^^ * '''^'•^ ^aa-iXevcFLV opOrjv V 489 Ext. sig. sup. VTTo Trjs pd)iJir]toXoyos Kal p.dvTL^ ' wpivve Kara ;)(7;vos ojs p^avTCKOv V R 523 /xavas ) 8ovA.ovs V R 527 7rayi8as pd/SSov^) et8o? Siktvov o ^P'-^'^'^'-^ ^^ov /^R 528 Trr^KTas ) elSo? StKTvov \ R 530 Ext. sig. sup. /SAt/xd^ovTes] KaXXc(TTpaTO<; dvrt rov xpiqXafjidv V\ Kvptcoq 8e /SXipd^CLv, TO Tov vwoyaaTpLov kol tov aTrjOov^ dTrTeaOai : 8t8t!/x,os 8e dvrt rov KpaTOvvre^ diTOTLXXovcn yap Kal KaTea-Ocovo-L V R 533 dAA' einKvoicn . . .) l-m^dXXovcn a-wTpLxj/avTcs Trapd ro KvaUiv TO hta^OupeLV V R 8o John Williams White 534 Inf. sig. sup. o-t'Ac^iov] to s rwv Ov-qaifxaioiv KpcCjv' wa-irep Kevef^piuiv ' 7roLKLXoTepa<; dprwews' VR]^ Keve/^pia eKaAot;v to, Ovqcnixala V 539 7roA'u;)(aAe7r(oTarot)? ) Xv7rr]pov<; ■)(aXi\paL hvvafxivovs VR 540 ws) Xiav 541 KaKYjv) TaXaiirwpiav 546 dva^ets yap) avaTLOrjfxi VR 547 rd re veoTTLa) ifxk koI ra rcKva p-ot» avaTL$r)}XL aoL wo-re 8toi- K€tV VR 549 Ext. post v.] KaTafSooifTL TO)v vaTep(ov d7roXv(rdvT(DV ty]v ySacrt- Aetdv 550 Ext. sig. sup. etvai] fXLav o^etXere ttoXlv €)^eiv\yrj<; kol ovpavov VR 552 Ext. post v.] Kol yj ^a^vXoiv 8e ttXlvOwv otttoiv eKTLaOr} kol dvTL Tov yvxpov da-cf)dXT0) crvveSeOr] ' rj (refXLpajXL'i avTrjv CKrtcrev VR 555 I^V ^V) o^'yKaTaTcGfj o-vyKaTavcva-i] yvcDO-l/jia^yar]) StaXe'^CTai Xo'YOTplP'<]0-T| 556 lepbv) fJt€-yav TrpoivSdv) irpoXc-yciv aTreiTretv) dira-yoptvo-a!, 559 Ext. post v.] dXoTTa KepKvovo7V 8td TOV TrXrjBvvTiKov V 562 TO AoiTTov) Trpo Twv ^£0)^ R 563 TTpoveL/xaaOai) irapacrxeiv 565 Ext. post v.] a-yiav tov i^paKXews tlire tov Xdpov 568 Ext. post v.] 8td Tas ixoLX^Lo.pvyava) eK TrapaXXr^Xov \ R 645 OprjrjOev) Srjfjios Trj<; otVT/t'So? A R 648 TO Setm) Xo-yiov Ext. sig. sup. e7ramKpou(Tat] eTravaXa/SovTa TOV Xoyov ' CTravaKa/xi/^at et? T0ii7rto-to * V R t] fxeratjiopd, diro tcov rds TjvCas dvaKpovo|X€va)v l—ava.Kpovai'^ Si icTTL Kvpttog to e7rto-;^€tv T^v iirep^o- p.iv'qv vavv /xe^' opp.rj'^ ets tov opp,ov Iva fXY) TrpocrcXOovaa OpavaOrj R. 652 tt^v dA.a)7re^ 653 <^A.avpco?) 4)iXik«s pa5ta>s Fol. 181" (659-703) : — 660 7ratcrcop,ev • • •) o-vy;)(opeTjo-(op,ev avrrj VR 661 oj) eirOTl/ TOiTo) eis 663 avTOv) roiriKov 667 cos KaXov • • •) eTtttpt^toi' TrpoaeLcrt KeKaXXcoTna-fxivov VR I 82 John Williams White 673 aTToXeij/avTa) TTicravTa V 677 ^tXraTr;) evfxopcfxnTaLTr] R 680 rj\Oe<; o}cf)Or}s) Tavra irpos laxrrov Xe'-yei 6 dpi(rTO<)>dvris ort rw capt iv acrreL reXov(TL to. 8'.ovi;o-ta VJ? 682 Ext. ante v. 686] rj)(ov(Ta XaXovaa KV/3t(o? 8c TO t^v KiOdpav | KpovcLV VR 685, aye 8^ . . .) irapdpao-is 687 raAaot) KaprcpiKol 692 to Aoittov) (Jtera ravra 694 yrj^ ov 696 7reptTeAA.o/u,evats) irepwpxoixe'vais 697 eiKcos . . .) €OLK0)<; Tat? tot) avefxov wKuais a-V(TTpocj)ai<; VR 717 Ext. ante v. 698] fxavTevcrd/xcvoL yap rrpo>Tov Ik Tii)v opvewv, ovTOis €7ri Ta €/oya ^wpetTe V R 699 eveoTTevo-e) e-yewtio-e 7 03 €piOTOrjTr]V VR 721 Ext. sig. sup. ^vp,/3oAov] TO. TrpwTa ^vvavTrjfxara IkolXovv ar)p.a,a : V j CTTCt TToAXaKt? eiwOafxev Ttvas roiv OepaTrovroiv KaK07ro8as Xeyeiv ' kol KaXXoL(i)VL/o-eTat K 724 c^ctc ')(^prj(rOai) hvvr\Qd-r\Ti 729 Ext. post v.] ve(f)eXr)y€peTr]<; yap V 732 TrXov^vytetav . • •) tovtov c/x^ao'iv £vSaLfXOVLa<; i[xcf)aLV€L VR 733 ye'AwTa) x^pav 734 Ext. sig. sup. yciXa] Trapot/xta iirl to)v Xiav cvSaLfxovovvTwv VR 738 fxovaa . • .) w8^ ^Tot aTpo^yj cos aTro Tot) iroLrjTOv VR 744 ^ovOria£v(i> Tzetzes s Xotes on the Aves i}i Codex Urbinas i^i 85 Fol. 182" (748-796) : — 749 Ext. ante v.J (^pvvty^os TpayooSo? TTOLrjry]^ J^R airo tu)v e/zcoi' TTOL-rjixarw \ R 753 d jxer . . .) eirLppTnia 754 StaTrAeKetv) Sid-yeiv 759 Pag. sub \".] irXrjKTpov ottXov afxvvTrjpLOv 7/ jxera(f)opa (XTro rcov dXeKTpvovoJV ■ KaKelvoL yap €)(OvaL TrXr/Krpa iv oi<; fJLa.-)(OVTaL A R 761 Ext. sig. sup. arraya?] opvis Kardo-TiKTOs -itolklXois irrepois 763 Ext. ante \'.] 5i.a(3dXXovTaL «s c^pv^es Kal SclXoi 765 (^Tjcrarco) Kal Sci^cltoj Ext. ante v.] — aTTTro? opveov tl — pos to ovojjia oi'V TraL^a ' on d ava/Sa^ tl^ Trpos r}p.as yevvyjaei —a— ttov? etet a.—o6cLKvvvaL cfipdropas 6 icmv avyyevels J R 766 o —LdLov) I'tos ^ R 768 e/<7rep8tKtcrat) irovi^p€ija-ao-0ai 769 TOtaySe . . . ) avrcoSr] 774 ejSpov) OpaKYjs TTora/xo? ev TroTa/atoi? yap ra opvea 781 avaAvXa| ro> ^avov/xev) ws ol dOirivatoi 828 TToAiaSa ) <|)vXdKTptav 831 KXeL(TOevr)<^) ovro<; to? yvvaLKv\d|£L Ext. post v.] eis ras d^?yvas Tet;^05 -n-eXa/D- yiKov €v rrj aKpoTroXet V R 835 w veoTTC . . .) Trat'^ei tt/do? riva TratSa yeorrov KaAou/xevov 836 Ext. sig. sup. otKeti/] Kol TovTO TTai^ci €7r€i Tpa)(y to ireXapyiKov 839 Int. ante v.] KvpLio<; Se opyao-at ro Tnaauyaai V R 839 ttTToSiJ?) Ik8v0€is opyaaov) paXa^ov V 842 Ext. post V .] ol TOV9 (f)vXaKa? yv(opip,ovs {»AaKTetv tovs 874 Sup. sig. sup. Kal (^pvytAoo] Kat (f>pvytXii) : — iralt^u irpo^i to 6vop,a ' iireL ol cfipvyes tov a-a(3d^Lov Tip-ijicnv ' eaTiv Se 6 Stovvo^os ' to yap evdt,tLV ac/3dt,€LV Xiyovat ol /5dp/?apot V 4 Tzetzes s Notes on the Aves iii Codex Urbinas i^i 85 875 Sup. sig. sup. Kol v 896 Sct /xc) \pda wdpx€i 897 -^ipvij^L) Tivt 899 €va TLva) dXXd 902 yeveiov • • .) CTTt Tcov tepetoov twv /x^ €;^dvTcov adpKas 0.776 irapoL- /XLas cos et tAeye Tpi;(as Kat Kepara V R 908 tet?) Tre'iiirwv 909 orprjpo'i) ra\\}S 911 Kd)p.r}V €;(et9) tojv ydp iXevOepoiv rjv to KOjxdv VR 915 OTprjpbv) T€Tpvin]|X€'vov XrjSdpLOv) l/JidTLOV VR 918 Ext. ante v.] Td Tr^v avrrjv VTroOecnv €)(^ovTa Vi?ji^ dvTt Tov Tratdvas * KaTdTe)(ya TVOLKiXa XXd fxvov<; V 923 6eixr]v) W-qKa [ext. sig.] ev tt; SeKdrr] yap eOvov Kal iTcOovv Kal TO. ovojxara Tots TraLcrlv I R 924 (^ctTts ) 4'''lH^'n 925 OLaTTcp) oiroia tTrTTOJv) tivwv afxapvyd) t] dfxapvyd) 929 Sub verb. Ket^aA?}] tt} Ke' d7raAAa;;(^7^creTat) €Xev0€pw0T|cr€TaL 942 dAdTttt) irXavdTai 943 ov TTCTraTat) ou KeKTTjTai ov Kal iroXvirdixiJLWv : KCKTTjTai 951 TpofJi€pdv Kpvepdv) Std to aarrjpLKTOv ' Slotl iv toj dSrj to TrAd- (Tfia Trj . . .) fMLfJidTaL TO dcrvvdpTTjTOv TWV XPWI^^^ 969 TL ovv TTpo(TrjK€.L) fi€TOV(ria virdpx€i 971 TTavhoipa) ttj 973 hoixcv) irapdcrxofiev 975 o-7rAay;(j/wv) Kpcdrtov 978 Ext. sig. sup. aieros] ou;(' aTrAw? rovro dAA' on XPV^H-^'^ W TOt? a.0r)vaLOLiXaLS Trpov^ei Ki? 984 cr7rAay;)(i/£veiv) cr7rAdy;)(V(ov /JLeTaXa/Selv Y J? 987 Ext. sig. sup. Kat <^€t8ov] /ar/re (f>r)(rLV iav avTos rj 6 Xa.p,iro)V tpetSov avrov idv Xiyiq on koI dero? yevrj(rri V R 988 XoLixTTOiv) ;(p7;o-/xoAoyos /^i? SLOTretOrj^) kol ovtos p(p>;(T/xoAo- yo? F 991 kripo(Tc) dXXaxoGi 992 t^kod) -qXGov 993 Spdcrcov) fi€X.\a)v irpd|ai 994 6 KO^opvo?) t| emvoia Fol. 184" (996-1063) : — 996 SteAetv) p.€pi(rai 997 Sup. sine sig.] dpL(TTo<; ycw/xeVpr;? 6 fiiroiv VR 999 Kavov aepo^) Siwv l^io-ovo-t lOOO Tr/v iSeav) Kara 1 00 1 Kara irviyia ) Kara 4>ovpvco 1005 6 KVKXoapvdKr]S ' dXa- ^OVLKO<; ovv O-KiOTTTCTaL KOLVMviaV e)(^LV fX€T eKCLVOV VR | TTat^Ct TTpOS TO prjOkv R 1029 d-KiOt AaySwv) ra^ra <^>^at ^ 1032 o^'k d7TO(Jo(irji] Fol. 185' (1064-II30) : — 1065 KciXvKO^ aviavofxevov) KaTa)(prjcrTLKu)<; ttolv /^AacrrT^/xa VJ^ 1067 ot) €Keivox)s 1069 SaKeO") 0T)pia 1072 Int. ante v.] eirLpp-qixa V eTramyopeijerat) KT]p\)K€i36Tai 1073 vjj.u)v) dc{)' Tov fxrjXiov) tov a0€ov 1074 Tt's Ttm) (TvyyeiA^ rovroiv' aSeXcfiov i$ dSeXcfiOv VR 1076 OLveiTrelv ravra ^' T^/xel?) Sevrepov o-x^Viv 8t|\oi 1077 Ext. sig. sup. cfaXoKpoLTrjv^ TpLa yap avTov^ Xvirei otl Orjpevet OTL TTwXeL' OTL eTTTOL TOV 6 (SoXoV COS eVTcXi^OJV avTov^ap(.Tcuv T€ . . . ) TO, Ke^^aptTco/xeVa av^r; 1 1 04 tocTTe KpcLTTO} • - - ) TOV TTctptSos tt eXa(3e rrapd d(ppoSLTr]^ VR 1 106 Ext. sig. sup. yAavKes] dvTt tov vofMLafxaTa' rj yap yXav^ opveov ecTTLV dOr]vda- Xaiav 1 1 1 8 TO. fxkv tepd . . . ) Ta Iv TOLLOv drro tov TrapapeovTOS V 1 123 ovTOcrtV) l-yw 88 John Williams White 1 1 24 €^epovTai ' kol el p.€v ctti daXaTTrjs re/xi/ovcrt TYjV oSov ' ei Se C7rt yrj<; avairavovTaL V -R Fol. 185" (II3I-II98) : — 1 1 3 1 w TTOcrei TOV fxaKpovs ) cIkotws tov iroo-eiSwva ofiwori 8id to ii'hkos Tfjs 6aXd€pOV 1 142 epwStoi) €7rai^e Bia to TrapdyeaOat Sltto Trj<; c/oas J^R 1 145 ot )(rjv€<; . . .) Sta to 7rXaTV7ro8a<; tu)v aXX(DV fxaXXov elvai avTOvs VR Tttls a/xats) tois tttvois 1 146 Ext. sig. sup. c? rds AcKctva?] XcKavrj kolvoV irapa. to Xd imTaTLKov p^opiov Kal tov Kaivo) : to Sk olttlkov Xe\dvy) V R 1 149 TOV UTrayfoyea) iiTraywyeus acS-qpovv tl tttvlSlov V I I 5 O KaTOTTtV ) Kal KOlTCoOsV 1 159 Kat ^c/SaXdvoiTai) KCKAetSwTai VR 1 1 60 €^o8ei!eTai) 8to8eveTat VR KtoSwi/oc^opetTat) 17 twv 4*vXdK(DV (jipovpd SoKLfid^eTat FR 1 161 Ext. sig. sup. ^pi^KTwptat] Trapa to (fypvKTos kol to cJpeueiv ' o S^Aov to (f)vXdTT£LV V I 1 63 S/Dtt) TTpaTTCL VR 1 169 eo-^et) Tpe^CL VR Int. sig. SUp. Trvppt^Tyv] Ii/ottAoi/ TroAe- fjLLKov TL evoVAios yoL/o op^-qcris rj irvppL-^r) V R 1 1 73 TOV depa) Beov CLTreiv e? ty]v ttoXiv VR 1 1 74 yfpepocTKOTTOvs) Tovs iv riiiepa (f>povpovvTaTat VR Vid. infra. Tzetzes s Notes on the Aves in Codex UrbiJias 1204 7rdpaXo(aves) TipnjipLa<5 R 1 225 7reLa-6p.ea-0^) iroiTjcrofwv 1227 (ZKoAao-TavelTe) aKoAao-Ta Kat uTaKTa Trpd^rjTe \ R 1228 TOJv KpetTTOVfov) ^^yow Ty/awj/ /^i? 1229 vavo'ToAets ) Trop€V€aXiol3€LV A' R 1246 Trepa) tov SeovTOs A 1247 80/xovs dpicf^LOv) rj-yovv xds d0T]vas 1248 7rvpySe Ttv' tepo^vTov dva SciTrcSov €Tt T^8e, /SpoTojv Oeolcrt TripiTUV Kairvov 1 2 6 7 di^d SaTreSov ) 8iepx€6povv) avri rov cAaKwn^ov * AaKwviKov to o-rvtciXt^? F ] pd^Bov<: V R 1284 opvtOofxavovcriv) Tr\tXvpa )^Xwp6v x^^P^^^ '^^^ ovtos /^-^ 1378 (fyiXvpLov) x^^P^^ VR 1385 vLcf>oP6Xov<;) v^r\\a.s dva/?oXas) Xe'^cis Tsetses s Notes on tJie Aves in Codex Urbinas i^i 91 1387 Ext. sig. sup. y] T€;(v>7] oiov v\r] iaTi rtiiv TroLrjixaLTuiv rjjxuiv rf 1392 ttTravra yap • • •) airavTa yap to. ttc/oi tov depo'S Sie^cp^o/xat * 6 vol's iXa.)^i(rTO<; to? Trapoifxia kol ruiv SiOvpafx/^wv vovv ^X^^^ cAar- Tova V R 1395 Ext. sig. sup. aXa] Tra/DaKeAeverat avrcu 7ravo-ao-^at tov aSetv (US ot lpi(T(T0VT(.<; /^R ov 1398 Tore /x€v . . •) ToivTO Aeycov a/xa iraLOiv avrw V R 1402 7rre/DoSdv?yTOS ) Trrepots 7rA7;x^€ts R 1403 KUKAioSiSao-KaAov) -^yovv tov 8i^i>oa/x/3o7roiov /^T? 1404 cfyvXals . . .) eKOLO-Tr) yap cf>v\r) €Tpe€ StOvpafx^owoLov VJ^ Fol. 187" (1405-1467) : — 1406 XewTpocpLSr)) ^LOvpaiX^OTTOLO^ KOV€povo-ai 142 1 yawv ev^v . . .) StoTt ^'^aTvat yivovTat iKel SiacfiipovcraL R 1425 KttAov/xevos) KoXwv auTovs 1426 vTral) fxeTO. VR VTrat TVTepvyoyv • • .) (TO(f)WTepov (firjal to fxeTo. TTTepvyoyv KaXelv YR 1427 tv') oirws 1429 Ext. sig. sup. dv^'] dvTL TOV XlOoV kizu al yipavoL iv Tw aTOfxaTL if/y](f>ovs c^ovo-tv 17 TroAAaKts crTT^/aiy/xaTOS €ve/r]<;) TriTLVOTrXoKOS wv 6 8uTpicf>r]vcre(i}s off) VR 1494 OTTO)? fJLT] . . .) <|)oPov}iai 1498 TrrjVLK) ^yovv Troia wpa VR 1502 (XTrat^iota^et) (TKopTTL^ei VR 15 13 to? (xkovoi/tos) ^H-^^ 15 19 Ext. post v.] v7]iXiovo-0€ Fol. 188" (1536-1604) : — 1538 TafJLLCvei) <|)vXdo-cr€i 1540 to, vew/ota) tovs Xifie'vas 1 54 1 TOV KOiXaKpeTyv) tov rajxiav twv iroXiTiKwv x.pTi|JidTwv 1544 6p€L • • • ) <^^pov eirdvw els tov Si(f>pov 1553 rots o-KtaTTOfTtv) dLXoaoT]4)icrfidTtov 1627 epo) €pT| 1628 6 TpL/3aW6s) oj A R oijxd}^€Lv) KoXciis Xe^eiv 1631 8oK€t ) dpe'o-Kei 1635 StaAAayoJv) o-irovSwv 1636 aTTt'oo/xei' ) do- 1639 /xtas) rr[s PocrtXeias 1640 8taAAar-o,a ) eip-qvevojiev 1641 oj t^t'p' ) TaXaiir«p€ aTraroj/xevos) on 1 646 olov) ttws 1648 Sta^aAAerai c') i^aTrard f^i? TTOvrjpe) d9\i€ 1649 aKaprj ) Iv (3pax€i 1652 cov y e ievr]^ ) diro 1653 livLKX-qpov ) KX-qpovofxov I^R 1 654 dSeAt^cuv) Seov eiTretv V R 1656 VO^OJ^ o.TTO^rTyo'Ktov) eTet ovK rots vo^ots KXrjpovfJielv 8t'Sov- rai J^R 1657 CTratpet) v\|/ot 1658 dvOe$eTaL aov) dyTiiroiiiGT] 94 John Williams White 1 66 1 dyKto'Tetav) fxerova-Lav rrj<; ov(Ttarjv(U eh ras <^aT/ota9, (tv/x^oXov U)(€. eiiyevetas Fol. 189" (1671-1737) : — 167 1 aiKtai/) jxacTTLya ^yovv eU to Tvif/at riva VR 1677 TTttv TO TTpayixa) irao-a vir69€(ris Kpejiarai 1678 KaAavi Kopavva) KaX-qv KOprjv VR peyaXa ^acnXivav) fX€- ydkrjv ^aa-iXLaa-av V R 1 68 1 d fxri (SaSileLv) dva;((op£tv V R Ext. ante v.] •^yow Svacjipd- (TTWS A.€yet • Koi ala^uXo^ to jSap/SapL^eLV VR waTrep al ^ekiBoves) ;j(eAt8ov6'^etv ^r^o-t V R 1682 OUKOVV) TO XOMTOV TtttS ;;(€At8oort) Tttt? CI? TYjV VCcfieXoKOKKV- ytav VR 1683 StakXaTTea-Oe) €lpT]V€ti€T€ ^vfx/^aiveTe) (rv\i^i^aX,iwLv) t>|xiv 1688 KaTeKOTrr/crav) €o-<})dYT]orav ovtou) ol 6pvL0er)(TLV ' Trat'^et SLacrvpwv twi/ dOrjvaLOiV avKOcfidvTa^ ' Tcapa to aiv€.iv V R 1699 (TVKd^ov(Tt Tc) (TVKdt,€LV TO (TVKa cKkiycLV KOL avKO(f)avTelv VR 1704 Pag. sig. sup. iravTa^ov^ ^ovkcTat Aeyetv oTt i^e/^krjOr) Ik twv (77rA.dy;!(V(ov 8ia tov? prjTopa<; rj ykCiTTa ' CTret Tai;T7; tov? dAAov? KaKO- TTOLOVCTL TTpoirjV ydp fxeTa tC)v anrkdy^voiv eTe/jiov Trjv ykcoTTav VR 1705 ;((ji>pts TejULveTai) koi Ki\7}(T\ Trapa.vvfx<^ot<^as rjyov VR Fol. 190' (1738-1765) : — 1738 evOvve) SittKupepva Ext. sig. Sup. TraXtvTOVov?] rds irdXiv Kal c(s rovirUroi T€ivo|i€'vas rjSero tovtSlv rot? ya.fX0LLTa 6 80 eapt] cap 680 reAovfrt] TeXovvrai 7^7 /^^~ Kpwi/] p,LKpoiv 831 Kcop,(o8ctTai] Sie^aXXeTO 882 8copiKov] 8a>piK(a>9 1410 8a v] 8* oGv 1614 ' The reading placed before the bracket is that in UV, the reading following it is that in R, unless a more exact designation is given. ^ I am indebted to Mr. Rutherford for permission to use the transcript of the Scholia in the Codex Ravennas published in his Scholia Aristophanica (1896). ^ The discrepancy in the notes on 65, where the readings are: Xl^vkov 8^ iirel ol Xc'iSiie? pdp^apoL /cat deiXol' t) iwel TroXvopvis i] Xt^v-q UV, cJs ev \L(3vr] iroWuip Kal iKTpairfKiiiv 6vTU3P opvewv R, is not here recorded since the note in R was probably an alternative note, which happens not to occur in V. Compare the cases cited in the second paragraph on page 72. Tzetzes' s Notes on the Aves hi Codex Urbinas 141 99 Ktt^' kavTov~\ KaOeavTov 1 666 t^? evyeveia^^ r-qv evyeveiav 1704 €r€/aov] €T€/xvov 1737 Trapa to 7rapo;)(et(r^at] irapa O)(eL(T0aL 1764 /Aero, Tov a^Aoi^] fJLeyiaTwv aOXinv 17^4 ai^^/xr^Tat U al^YjTa V al^fxrjrr]^ R 17^4 eavro)] eavTOv U inclines towards R :^ 12 T^v et? TO otyotot] CIS T^v ot/u.01 66 a7re7rdTrj(rev U aTrOTraTT^- (TovTOiv R eva^eiKw? V 156 ttoAAoG ;>^ovov] ttoA-coi/ ;>^povcov 185 KODvwTTWvJ K(j)VisiTres 462 TjVT p^TrL(TraL U ef^eVtcrrat R rjvTpeTTL^eTaL V 465 ot AtTrapot] ws AtTTtt/oot 501 KvAtVSoi'Tat] KvAtvSovvTat 527 t^ov] t^w 535 Ti'ttpa TO yieaOaL (^'^(tvecrBai R)* yAtiKU 8e /xeAtTt 8e- 8er)/x€Vov] Trapa^eveo'^at yAvKet 8e /xeAtTt SeScDp-eVo? 879 r]v^ovTO iavTOL<; rk kol toi? x'^ot? U rjv^ovTO KOivrj i-m twv Ovcntov iavTOL^ tc Koi ;j(toi? R ev;(ovTO Kotv^ €7rt twv Ovaiiov eavTOJv t€ Kat ^c'wi/ V 1 1 13 aTTo ToC o-wa^pot'^etv] ck toG irpoaOpoL^eiv 1204 Ta^vmvTov- trai] Ttt^j^v^ttvaTovcat 1360 TretVr;] TretVet? 1395 o-vtw] avrov 1566 KAv^pov/Aeti/] (TvyK\r]povofJLelv 1764 8uo] Svcu It appears from this evidence that the notes in U are in closer agree- ment with those in V than with those in R. The ratio estabhshed by these instances is that of about two to one. A different and less important question is whether the notes found in U occur in great number in V or in R. The ratio in III above is 37 in V to 20 in R; in IV it is 62 to 23. This preponderance of V over R is explained by the fact that the notes in V are more numerous than those in R, and that there is a gap of three unannotated folios in R, namely 56", 57', 57". What was Tzetzes's mode of procedure in dealing with the notes which he found in his copy of the archetype ? He generally omitted them outright ; furthermore, he usually omitted the greater part of those that he selected ; but sometimes he found a brief note that was ready to his hand. His procedure in making omis- sions has been indicated above in II (p. 96), and perhaps does not need further illustration. This method was followed in a// the notes recorded in the Transcript ' The reading placed before the bracket is that in U R, the reading following it is that in V, unless a more exact designation is given. 100 John Williams White which show relationship with the notes in V and R. His purpose is reasonabiy obvious ; he was making an edition of this play ' with brief notes.' But he secured brevity also by compression, and he did this with intelligence and skill, although occasionally be got befogged. In the following examples he substitutes a short sentence, or a phrase, or even a single word for a longer sentence which he found in his copy of the archetype : 290 pt'i/zacTTTts yap ^v] to? piif/aaTriv §e Sia/SdWeL tov KXewvvfjiov V 446 ravra 6 7T0Lr}Tr]s~\ lireS-q ircpi viKr)0a\fjLOeXo- KOKKvycav^ 8to Kat Ittolctu ovkovv irapaSovvaL Tat? ;(eAt8oo-tv Aeyet iirel KOL avTo? Trpo? auTOL? ^aSt^et ei? ve TOO avfJLTrapovTi avrC) ei? t?)v TrpeajSeiav 6 Troo^etSwv V R Cf. 958, 1199, 1759. A similar contrivance is used to indicate the order of words, compare 369 and 1264 with 381. In 652 and 1269 the editor takes a like short cut in enuntiating the doctrine of prolepsis. There is evidence on each page of these notes that they are not mere Hteral excerpts from the Old Scholia. Compare the following instances of the substitution, which is in most instances deliberate, of one word for another : 43 a/Avmv] TO dTToao^elv V R 68 8ta] Trapa V R Cf. Other shifts of the preposition in 276, 462, 877, 1354 aTro (bis), 1463 Trapct TO, 161 1. 69 opi/t?] opveov VR 69 Tepao-Ttov] repao-TLKov VR Tzetzes's Notes on the Aves in Codex Urbinas lOl 147 lp-yp[kkvovv] aTroXecravrcov V 552 eKTLOrOr]^ OLKoSofXrjOrjvai VR 598 (jjOLVLKOV TrAotapiOv] (fiOLVLKLKOV CTKCt- <^09 VR 601 d7roKpi)<^(uv] dyv(i)(TT(DV VR 606 (^^dcroocrt] rrpoKv- xbovai V TvpoKoij/ovcrLV R 627 p-era/^aAAo/xevo?] fxeTawLTTToiv V TrtTrTwv R 639 Ste^dSou?] e^d8ous VR 641 KaAtav] vocraLav V vocrtav R 712 VTroKptvd/xevos] 7rpoor7rotovp,evos VR 717 opveojv] opveofxavreoiv VR 721 KaKOTToSa?] KuAAoTraSa? VR 749 rpayooSo? TrotT^r-^^] rpaycoSoTTOtd? V rpaywSta? 7roLr]Tr}<; R 7^^ tepa]] tov tepea VR 842 roTJS <^i)AaKa?] ra? (^uAa/cag VR 842 ec^dpovv] et)(OV VR 874 (T€/3dt,eLV Aeyovcrt] Kaj^dl^eiv (f)r]cn V 1 014 dAAoTJs] dAATyAov? R 1028 dAa^ovtKo? CTKajTrrerai] dAa^covtKco? (rKT^TrTerat VR IO29 (/)77crt] Aeyet R 1065 ^XdaTrjfxa] aKpoSpva VR 1074 cruyyevT}] Trpoarj- KovTwv VR 1 1 12 d^tW (sic) 3 oicLav VR 1 1 13 otcro^dyo?] TrpoXo/Snv? VR 1 134 7rAtv^oc/)dpot] d^Ooc^opoL VR 1 137 Te- p,vov(Jt] dvvotio-t VR 131 7 8oi;Aov] fxavrjv V 13 7 ^ dcrvvdvTrjTOv^ dcrwdpixoaTOv VR 14 10 Trpea-jSvTOv^ Trpea-fSwepov VR 1493 ^vo-ecag] oi/^ecos VR 1564 SeSvKore?] KaraSeSoiKores R 1611 Seas] St^AoT VR 1678 )8ao-tAt(TO-av] (SaaiXecav VR 1713 e| eKarepov] e^avwrepov R 1737 vv/x<^tS60ts] vvfxc(>LOL- vo/xa 7rpo9 ov W^ei V (Tzetzes boldly rejects the doubt.) 1142 CTrat^e 8ia to TrapdyeadaL diro Trj<; epas] Trapd Tr]V epav iriiraLX^v ' eiru 6 TT^Aos eK T^? epas TOVTeaTL Ttj^ y^s VR 1272 ets to yevicrOaL o"ty^i/] otov eis aLWTv-qv Krjpv^ov V R 1 3 7 ^ do^wdi/Tr^Tov to kwAov Trpds 8iaySoAr/v] irrLTrjSa dSiavorjTeveTaL OiXoiv 8ia/?dAAetv to, KLvqacov TTOLifjixaTa cos dStavdr^Ta dcrvvapixoaTov to K(x)Xov tovto irpoaeppLTTTaL V R 142 1 StoTt x^o^''^'^'' ytVovTat iKEL 8La(j}epov(TaL^ oi 8e, OTt x^^''^^*^ Sid^o- pot €v TreXXrjvrjL iytvovTO R 1 5 70 SLaavpa Tovg dOrjvaLov? otl jSap- jSdpOVS fXeTCL d^LOTTLCTTOiV CIS SovAetClS (sic) €7r€p,7rOv] ifJLL$€V COS €7rt aOrjvaLwv iiru to-OTi/xtas ovVrys avfxfSaLveL Sry/xtoSets ct/xa TOts diL07riaT0L T404, 1479, 1569, 1737 (bis) ; perfect to pluperfect, as in 822; per- fect to aorist, as 299, 568. The Alexandrian commentators phrased their notes sometimes in the present, sometimes in the past. Do these instances of a re-phrasing of their presents by pasts show that, com- I Tzetzes's Notes 07i the Aves in Codex Urbinas i^i 105 ! sciously or unconsciously, Tzetzes felt himself to be far removed in time from the poet he was interpreting? Other changes occur: of form, as in 461, 765, 978 ; again of tense, as in 189 (bis), 465, 1028, 1106, 1463 : of mood, as in 301, 425.^ Many notes are of superior quality or manifest a personal judgment. To quote typical examples, ra tepa in 781, Terpvrrrjfxevov in 915, Trapa TO (f>pvKT6s in 1 161, and aryetov in 1764, are interpretations superior to those found in the older mss. and doubtless correctly report a better tradition. The note on 968 confirms Dindorf's conjecture. In 43 there is a definite alternation of explanations that is only implied in VR. In 363 the amplification in expression makes the thought clearer. In the note on 361 the editor shows at least that he has the courage of his convictions. The same authoritative tone is found in the note on 835, where the doubt expressed in VR is rejected. The same positive- ness leads to a statement about Theagenes in 822 that it would be difficult to establish. Finally, the note on 1284 is a clever imitation of the note to be found in VR on 1281, which reads: r^s rwv XaKiovw T^pwv TToXtretas. Cf. the note on 1455, which applies to the explanation of the processes employed in the first suit, the learning recorded by VR on 1459 in regard to the second. It is now apparent that the notes on the Az'es found in U depart from the traditional text preserved in V and R. They differ also from the text preserved in the other mss. of the Az'es, and hold a position, in the history of the ancient commentary on this play, that is unique. In order to illustrate this important point, I give in what follows the notes found in U on fol. 183' (see the facsimile of this page, prefixed to this article) and the variants in V, R, T, Es, and the Princeps.^ ^ See Mr. Rutherford's note on 426, I, p. 452. ^ The text of the notes in U is here printed in black-faced types. ^ In quoting, I give the spelling, accentuation, and punctuation of the first manu- script named, in each case, V taking precedence. io6 Jo Jill Williams White Text of the Notes in U on 795-858, with Variants 796^ ^Lvrj(Ta<;) et Slip, cruvovcridcras pivw, oruvovo-id^w Om. Mss. Pr. 798 TTVTLvala fxovov e)(wv Trrepa) Tf]s ttituvtis e'x"^ Kp£|id|i,€va lixardpia Tw Tpax_iiXa) I T) 8€ irirvvx] irXe-yfi-a lo-xl TO. Trapa (Trept Pr.) Tpa^tjXoi (rw Tpa;)(>;Aa) R F M Es Pr.) rrj^ vvtl- vr)€XoKOKKvyLa 6.7roK€LaOaL rj eh to (pXeypas ttcSlov MSS. Pr. ^ Verses 795, 796 occur, with notes, both at the bottom of fol. 182'' and at the top of fol. 183^ 2 See p. 69, note 2. Tzetzes's Notes on the Aves in Codex Urbinas i^i 107 824 TO (^Aeypag TreStov) eo-Ti '7r€5iov ttis 0pdKT|s Om. M Icrrt 8e r^s ^pa V ... rr^s OpdKrjvXa| Om. MSS. Pr. 827 rw iavovjxev) ws ol dGtivatoi Om. MSS. Pr. 828 TToXidSa) <|)vXdKTpi,av Om. MSS. Pr. 831 KXeia$ivr}<;^ ovtos ws ■yvvaiKwS'qs KWfxwSeiTat Om. Es Pr. cos yvvaKw8r)<; ouros K(o/>t(u8etrat V M ovtos Sie/SaX- Xero (u; yvvaiKwhrjs R 832 KaOeiei) c|)v\d|€i Om. MSS. Pr. 832 Ext. post v.] ds rds dOrivas T€txos TreXapYiKov Iv Tf{ dKpoiroXei a6r]vq(TL ro ireXapyiKov Tei)(Q^ (r/v add. M) kv rrj OLKpowoXeL (ev rrj oLKpoTToXei om. R) MSS. Pr. 835 oj vcoTT€. . . .) 'JraC^ei irpos riva iralSa veorrov Ka\oij(i€vov Om. R M lo-ws 8£ Tts (rtcrt r Es Pr.) -^^^ (om. P Es Pr.) KaXb? Trats veorros rovvopia Trpos oV vrat^et V P Es Pr. 836 Ext. sig. sup. oiKcIv] Kal TOVTO irai^ei lirel rpaxv to ireXapyiKov Kal ireTpwSes Om. R. TO yap (yap om. P Es Pr.) ireXapyiKov Kal avrb Tpa^v (to yap . . . rpa^v om. M) aAXa Sta Tt CTrtTT^Seto? iirl Trerpoiv OLKeiv (cttI 7rerpvXaKas "ydp irepicrKOirovvTes, KwSwvas lv\aKa<; KcoStovas el^ov Kai tovtov (tovt R rovTOiovv mss. Pr. 844 Ext. sig. sup. ere/oov] eirel |ji€Ta^v •yns Kal ovpavov ktrrXv 6 drip eVrtv om. r M Es Pr. 846 ollXU)t,e) dvTl TOV KOTTia Om. MSS. Pr. 846 ot) Kal oirov Om. V R M Es Pr. koI om. V 849 iepia . . •) iroixirevcrovTa tt|v 't](rQv(riav Om. V M Pr. t7]v Tja-Ovatav om. R P Es 850 alpeaOe) eiraipere Om. MSS. Pr. 851 ofJioppoOix)) o-v"YKaTav6V(r« Om. MSS. Pr. 852 crv/UTra/aatveVa? ^X*^) o~"vaivto (Tu-yKaTaTiGels Om. MSS. Pr. 853 Ext. sig. sup. 7r/oocro8ta] ovtw -ydp 'iktyov rds irpoo-a-yoiJtevas tois 0€Ois irojiTrds oi^Vco Se (8e om. R M) eXeyov ras Trpoayo/xeVas rots ^eois 7ro/x,7ras {Ova-ta^ V corr. Es Pr.) mss. Pr. 855 TrpOOreVl) (TVV Om. MSS. Pr. 857 T^vOtas ^oa) Tj-yovv avXr^TTis tivXouv -ydp Iv rats 0v(r(ais Om. M. )(oaL (ySoa 6 R) avXyTT]'^ dp-qTat Se Kat (? as G pro Se Kat habet on R on Kat FEsPr.) ctti rais Ov(riaLL\r) kol irayyXv Kepd. The verse is properly assigned to the ' chorus of women ' by the manu- scripts, just as they assign the two preceding verses to the ^chorus ^ The form of the parabasis in the Lysistrata is precisely that of the Frogs, except that it is double. See Westphal, Prolegomena zti Aeschylus Tragodien, pp. 36 and 38. ^ On the rendering of the epirrhema and antepirrhema of the parabasis in comedy, see p. 1 10 f. Afi Unrecognized Actor i7i Greek Comedy 105 len.' Nobody but the leader of the women could properly express the intiment that this verse (970) conveys. In the episode which begins t verse 1072, the chorus alone at first is present; then Lacedaemonian mbassadors appear, with whose leader a dialogue begins; Athenian nvoys enter and the dialogue is continued. The verses here taken by le chorus are assigned by the Ravenna manuscript to the chorus of len, except those just at the close. This is a natural assignment, — ot determined certainly by modest considerations of sex, since the omen of the chorus have 7iot fled from the scene, but by the fact that le other interlocutors are men. But while 11 06-1 107 are assigned to le chorus of men in this manuscript, it inserts the lineola before 11 08, lereby indicating a change of speaker. It is fair to assume that 1108- III, in which the rhythm changes, were recited by the leader of the horus of women. They are directly addressed to Lysistrata and express onfidence. Cf. 549-550 and 706-707. Both leaders speak in the xode.^ The servant enters from the Acropolis, the worse for his ■otations, and, when he sees the chorus, drunkenly threatens to set the 'omen's hair afire (12 17 f.), suggesting to the audience at the same ime that they may find the spectacle entertaining. The leader of the •omen, with genial appreciation of the situation, promptly adds that tie and the other women are ready to furnish their share of the fun 1221). This verse is assigned to the 'chorus' in the codex Ravennas. )eer saw that only a woman could properly express the sentiment ; no hort-haired man would serve. Presently, when an Athenian enters :om the banquet, the leader of the chorus of men, in a passage of leven trimeters (12 28-1 238), supports his view that good liquor pro- motes fellowship. These verses are assigned to the ' chorus ' in the odex Ravennas and the passage is one of the evidences against the revailing mischievous opinion that no declaimed part of more than few verses should be assigned to a coryphaeus. The manuscripts recognize half-choruses in this play, the one of Iderly men, the other of women,^ although both the Mss. and the early ^ I have discussed the assignment of parts in the exode in Harvard Studies in lassical Philology, II (1890), 196 f. * The phraseology in codex R is i]/j.ix(6piov) yvv^aLKuiw) before 321 and i]fXLxC6pLov') ^fore 326 (^sic), elsewhere xo(pos) 'yepbvr(^wv~) or x^Cpo^) oLvb^pdv) and xo(/3os) )v{at.KC}v), or in a few instances simply xo(/3oO- io6 John Williams White editions are in sad confusion in their assignment of many of the parts The scholiast^ and the modern editors hkewise assume that the choru; was divided. Furthermore, Enger, in his edition of the play,^ speakj of a ^ coryphaeus ' of the women f Muff, in his assignment of the parts, has a ^ Chorfiihrerin ' as well as a ' Koryphaus ' and finally van Leeu wen inserts ' Dux Mulierum ' as well as ' Kopv<^atos ' in his text alonj with other designations of dramatis personae.^ The half -choruses of the Lysi strata are not peculiar to this play ; oi the contrary, the division of the chorus of twenty-four members int( two half-choruses is, in my opinion, a characteristic feature of the olc Attic comedy. Half-choruses are designated in existing manuscripts o; Aristophanes and are entered in editions of that author for a period o: nearly three hundred years from the Princeps to the time of Brunck but the record in the manuscripts is scanty and confused,^ just as th(! ascription of parts to speakers in the manuscripts is incomplete anc inconsistent, chiefly in consequence of the use of compendia for th( names of the dramatis personae and of the lineoia and double dot t( indicate change of speaker. Editors of Aristophanes in the nineteentl century inclined to ignore the division into half-choruses, except when it was impossible to do this, and contented themselves with the simple entry x^po?? with no indication of the precise signification they attached ^ Cf. Schol. 321: TT^Tov ireTov vOv icrriv TjjXLxopiov rb X^yop eK yvvaiKusv eicrepxo- fx4v(ji}v &voj6€v, tva Koi rb vdcop avrdu Karax^^^ci-v dvojdev. rb &\\o Tj^ux^pi-ov i\ avbpQjv KOLTOjOev eTrepxoix^Piov rais ev aKpoirdXei eis irokLopKiav. 2 Published in 1844. I ^ See his notes on 706, 797, 821. Ueber den Vortrag der cJiorischen Partieen bei Aristophanes, p. 157 ff. ^ In his edition of the play (1903). ^ The facts are as follows for the two oldest manuscripts. I use Brunck's lining, Codex Ravennas : Ach. 557 xo 560 ij/^tx $62 tjimlx 564 — 566 — 572 Xa/^tax 57f; Xo Vesp. 415 /35e 416 xo 417 — 418 rj/xLX 420 ^avd 422 — Ibid. 441 tj/jllx 44^ 0iX 453 — 456 jSSeX 457 ^avd 458 — 459 otVer 460 — 46 1 — 463 rjfjLLX 466 — 471 jSScX 473 — 478 /35eX 480 7;/xtx Ibid. 1060 -qixix Pax 1332 97;xtxo 1333 aXX<: 1335 — Aves 1 720 77/xtX 1731 erepov Tj/XLX hys. 321 tj/jllx yw 326 -qixix Ran. 354 Tjixixop S72 rjfxixo 382 77/iix 'cpeus 384 i^/xix Ec. 1 163 77/xtx Il66bi7//tx Il67« 1 1 78 r)fj.LX Codex Venetus: Pax 1332 Vx 1333 ivi^i-X^ supra) 1335*: 1335^— 1336— 1337— 1338— 1339: 1340— 1343^— 1343^: 1344- 1347 — 1348 — 1349: Aves 1720 t7jUix 1726 — 1731 ere 17/xix Ran. 372 T7/itxo/ eo-Tiv — 382 ijfxlxp 384 dtXXo fxe XP 402 ixkoos XP 4^6 XP J^bid. 448 TifilxP \ A71 Unrecognized Actor in Greek Comedy 107 to the word. Furthermore, as appear in the course of this discus- sion, they sometimes curtailed the functions of the chorus in parts that were not lyri'^al. in consequence apparently of their belief in a high stage or of preconceptions in regard to what part a chorus ' might or might not have in dialogue.-^ Some editors, however, recognized the division into half-choruses in other plays than the Lysistrata- and in one of them at least all are compelled to recognize it.'^ I refer to the Acharnians, In one scene oi! this play the two halves of the chorus are brought into collision. The scene begins (496 iT.) with the long speech in which Dicaeopolis states the case for Sparta. At the close of his argument he is threatened by the leader of the first half-chorus ("557-559), who then angrily addresses the other leader (562-563). The latter, in turn, supports Dicaeopolis (560-561, 564- 565). Here the manuscripts mark the parts of the altercation with ly/^txoptov"^ and the editors follow : but the verses are trimeters and must have been declaimed by single speakers. The conclusion must be that these speakers, corresponding to the man leader and the woman ^ On half -choruses as a characteristic feature of Greek comedy, see R. Arnoldt, Die Chorpartien bei Aristophanes, p. 172 ff.; Th. Zielinsld, Die Gliederung der altattischen Komodie, p. 249 ff.; A. Couat, Division dii choeiir dans les comedies d\-lyistophane, in Melanges Henri Weil, p. 39 ff. See also Christ, Metrik-, p. 652 ff.: A, Miiller, Griechische BiVuienalterthinner,^. 219: Haigh, Attic Theatre-, p. 346. The three authorities last named all cite Amoldt's statistics (^Chorpartien, p. 180 f. ;, but it should be noted that these are not accurate. (See the preceding note.) Only once does codex R prefix rifuxopt-ov to ode or antode of the parabasis (Wasps 1060}, codex V not at all. Amoldt's inferences from Bekker's silence in the critical apparatus of his edition were not warranted; but the record of the manuscripts is nevertheless significant, and there is other evidence of the strongest character that in comedy the di%-ision of the chorus into half-choruses was the normal arrangement. As Bekker in his edition (1827), G. Hermann in his second edition of the Xubes (1830), and von Velsen in his editions of the Frogs, Ecclesiazusae, and Thesmopho- riazusae. ^ Even Muff. See his Chorpartiien, p. 98 ff. ^ 557 'Huix- ATE Vp3 C E2 M9 B Mdi Xop. R om. Vp2 H 560 'Hmx- RAT E Vp2 Vp3 H C M9 B Vbi om. E2 562 'Huix- R T Vp2 Vp3 H C B Vbi om. A E E2 M9 564 'Huix- r E Vp2 H E2 M9 B Vbi — R om. A \ik. Vp3 C 566 'Hmx- r Vp2 H B — R om. A E Vp3 C E2 M9 572 Aau. R T E Vp2 Vp3 H C E2 M9 B om. A 575 Xop. R A:,<. T E Vp2 Vp3 H C E2 M9 B Vbi om. A 576 Xop. lib. omn. 108 John Williams White leader in the Lysistrata^ were the coryphaei. The first leader, finally, calls for Lamachus and in his excitement breaks into dochmiacs.^ Lamachus appears. The second leader jeers him (575) in words presently imitated by Dicaeopolis, and the first charges Dicaeopolis with his offense (576-577). The facts seem to be unmistakable; but if the leaders appear as single speakers in this part of the play it is not unreasonable to assume that they have the same function els'ewhere. This assumption is confirmed by the symmetrical arrangement of the first parodos.^ My purpose in this paper is to present the evidence that the leader of the second half-chorus, whose existence in Aristophanic comedy is not to be denied, probably had a larger function than has yet been allowed him. I assume that the division into half-choruses was normal. It may be well, before proceeding with the consideration of the second leader's activity in declaimed and recitative parts of the plays, where he was essentially an actor, to note his lyric function. This was larger than that of any other member of the half-chorus to which he belonged, for he was not only leader in the antodes which the members of the second half-chorus sang, or danced and sang, together, but appeared also in the commatic antodes as a soloist, in lyric dialogue with one of the actors. Amoebaean odes and antodes abound in the comedies of Aristophanes. In some of these the correspondence in ode and antode is not between leader and leader, but between one of the leaders and an actor, as in Acharnians 929-939 = 940-951, where in the ode Dicaeopolis sings 936-939 and the second leader four of the corresponding verses, 948- 951. It is improbable that the whole half-chorus sang the verses last mentioned, twelve voices responding to one. The melody of the solo in the ode would not be adapted to choral rendering in the antode. We must assume, then, that the single voices of the two leaders here rendered, in ode and antode respectively, the parts assigned to the * chorus' in the manuscripts. Compare with this 403-429 = 461-487 in the Wasps, where the 'chorus' have 403-404 and 416a in the ode ^ Vv. 566-571 are not the metrical equivalent of 490-495 and do not, as antode, mark the beginning of the second half of a syzygy. ^ See below, p. 120 f. All Unrecognized Actor in Greek Comedy 109 and Bdelycleon 461-462 and 472a in the antode.^ Verses 406-433 of the Birds, although not antistrophic, afford an excellent example of a lyric duo. Here rhythm answers exactly to rhythm in the question and answer of chorus and actor until just at the close of the number.^ In many of these amoebaean odes and antodes the correspondence is exact. Here we may feel doubt whether the parts assigned to the ^chorus' were rendered by a single voice or by twelve voices, but the inference from analogy in favor of the dual rendering of ode and antode is con- firmed by considerations of meaning. The sentiment is often such that it seems somewhat absurd to assume choral rendering in answer to the solo of an actor. Compare Acharnians 1 008-1 01 7 = 103 7 -1046, Peace 856-867 = 909-921.^ I resume the consideration of those parts of comedy in which verses in declaimed or recitative rhythm assigned to the 'chorus' were rendered by a single voice and were probably taken, in due turn, by one or the other of the leaders of the two half-choruses. The leader of the second half-chorus certainly seems to take part individually in the paired or epirrhematic portions of comedy. In the debates and syzygies, in particular, the verses assigned to the chorus ' that immediately follow the antode naturally belong to him. These commonly express exhortation addressed to an actor and correspond in position and sentiment to an equal number of verses that follow the ode. The debate in the Birds begins with the customary ode (451- 459) rendered by the entire first half-chorus. On its conclusion, the leader of this half -chorus addresses Peithetaerus in words of encourage- ment (460-461). The epirrhema, in which Peithetaerus convinces the birds of their hereditary right to the sovereignty of the universe, and the macron follow. Then these four parts are repeated in antode, counter-exhortation, antepirrhema, and antimacron. i\fter the antode. ^ Cf. also Peace 459-472 = 486-499; Thesmophoriazusae 667-686 = 707-725; Wasps 291-302 = 303-316; Birds 1313-1322 = 1325-1334, where the manuscripts assign 131 5 to Peithetaerus, but 1327 to the ' chorus.' ^ For the distribution to the two leaders of the half-choruses of the verses here assigned to the ' chorus ' in the manuscripts, see below, p. 122. ^ For other examples, cf. Acharnians 284-302 = 335-346; Wasps 334-345 = 365-378, 526-545 = 631-647; Peace 939-955 = 1023-1038. For a discussion of this question, see Zielinski, Gliederung, p. 260 ff. no Jolm Williams White sung by the second half -chorus, the two verses of the counter-exhortation (54S-549) immediately follow. These are addressed to Peithetaerus in terms of confidence. They are in the same rhythm as 460-461 and were taken by a single voice. Surely the natural supposition is that they were recited by the leader of the second half-chorus who has just conducted the antode. Instances of this paired function of the leaders are not rare. Compare Knights 407-408 = 333-334, 841-842 =761- 762; Clouds 1034-1035 = 959-960, 1397-1398 z= 135 1-135 2 ; Wasps 648-649 = 546-547; Lysistrata 549-550 = 484-485. This paired relation of the leaders is sometimes found in epirrhematic syzygies. In the Thesmophoriazusae, after the ode (667-686), two trochaic tetra- meters (687-688) recited by the first leader introduce the following trimetrical epirrhema. Corresponding to these are two trochaic tetra- meters (726-727) that follow the antode and are taken by the second leader. Compare in the Acharnians 391-392 = 364-365, where the single voices of the leaders are heard in trimeters, following respectively the excited dochmiacs of the entire half-choruses, and Wasps 379-380 = 346-347 in the first parodic syzygy (333-402). Compare also, in the first debate in the Knights, 389-390 = 312-313. How the epirrhema and antepirrhema of the parabasis in comedy were rendered is a question about which scholars have held divergent views. G. Hermann thought they were recited by- the leaders of the two half-choruses who rendered the ode and antode.^ Enger suggested that they were taken respectively by four members of each half-chorus.^ Westphal held that ode and epirrhema constituted a single lyrical num- ber and were both rendered by the whole chorus with dance and song.^ In support of this view that ode and epirrhema were parts of a single whole, he laid weight on what he thought was the intimate logical ^ *' Et primae quidem tres partes a coryphaeo recitantur; eiripprj/xa et avr €irippy)(j.a autem a ducibus hemichoriorum." Epitome Doctrinae Metricae'^^ p. 240. See also bis review of Kolster's De parabasi in Jahn's yahrbiicher, XI (1829), p. 300. ^ Rheinisches Museum^ N. F. X (1854), p. 119. Enger assumed that, at the time he made this suggestion, the opinion prevailed generally that the * coryphaeus ' recited both epirrhema and antepirrhema. See also Christ, Melrik^^ p. 667 f. ^ ProlegoJiiena zu Aeschylus Tragodien (1869), p. 40 ff. See also AUgemeine Theorie der musischen Kunste^^ III, l i^AlIgemeine Theorie der griechischen Metrik) , p. 250. An Unrecognized Actor in Greek Comedy III connection between verses 1171 (end of the antode) and 1172 (begin- ning of the antepirrhema) in the second parabasis of the Peace. But it has been pointed out that this connection is fictitious.^ A complete sentence ends with 1 1 7 1 and a new theme — the hardships of war — is taken up in the following antepirrhema. When, furthermore, we consider the contents of the epirrhemata and antepirrhemata of the parabases, it is difficult to believe that they were rendered by twenty- four persons in song, with the accompaniment of the cordax. These were topical addresses to the audience, full of local hits. The first consideration must have been that they should be so rendered that the audience could take the jokes. It must frankly be confessed that this point, as countless other questions which the modern interpreter of Aristophanes must face when he attempts to determine the scenic presentation of a play, cannot be finally settled. Happily these were not questions at all for the audience that gathered in the ancient theatre to see the play as well as to hear it. If the simple solution that Hermann proposed is finally adopted, it is obvious that the second leader had a large and important function in the parabasis, although it was inferior to that of the first leader. So far as I am informed, Hermann did not employ this principle elsewhere than in the epirrhemata of the parabasis ; but he went farther, and applying the results of his studies in Aeschylus to Aristophanes affirmed the extreme view that all twenty-four members of the comic chorus might appear in succession as soloists, indifferently in lyric and recitative rhythms, in rendering a continuous passage. He exemphfied this view in a well-known article, published in 1843,^ in which he redis- tributed the parodos of the Wasps among the members of the chorus and the actors. Arnoldt, after a series of preliminary studies, applied Hermann's principle to eight comedies of Aristophanes in a book^ whose chief merit, in my opinion, is its acute argument in support of the theory of half-choruses in comedy. Finally, Zielinski in a remark- able investigation* rejected Arnoldt's conclusions for the eight plays ' Arnoldt, Ckorpartien, p. 142. ^ De choro Vesparu77i Aristophmtis, Opuscula VIII, p. 253 ff. ^ His Chorpartien^ cited above. ^ His Gliederung der altaitischen Ko77i6die^ cited above. 112 John Williams White and reverted to Hermann's theory of dual rendering, but applied it — and with serious limitations at that — only to the epirrhematic parts of comedy : parodos, debate, parabasis, and syzygy. A * coryphaeus,' how- ever, appears elsewhere in comedy, in single scenes, episodes, exodes, and even a prologue, and it is manifestly inconsistent to assume that only one leader has a function in these parts if two are active every- where else. The debate is now a recognized division of the old Attic comedy, thanks to the acute observations and investigations of Westphal,^ Zie- linski,^ and Humphreys.^ It is a regular feature of the epirrhemata of nearly all the complete debates that the two persons at odds appeal to a third, whom they try to convince of the justice of their respective claims, and that this third person with one exception has a speaking part, but relatively a limited part, in the discussion. In the first debate in the Knights (303-460) and in the Birds (451-637) this third person is the chorus, represented by its two leaders ; in the second debate of the Knights (756-942), it is Demus; in the Clouds (949-1104), Phei- dippides, who is present and appealed to, but does not speak ; in the Wasps (526-727), Philocleon, who ib at the same time the second party in the debate, but whom his :;on is struggling to convince of the error of his ways; in the Frogs (895-1098), Dionysus, who is so important a personage that some editors have assigned him the hortatory verses (905-906 and 1 004- 1 005),* following the ode and antode, that else- where are delivered by the two leaders.^ Another or even two other speakers, but with inferior parts, may be present, as Demosthenes in the first debate of the Knights, the chorus in the second, Euelpides and the Hoopoo in the debate of the Birds, and the First Woman and Second Woman in that of the Lysistrata. Zielinski misinterprets this characteristic feature of the epirrhemata in the debates and lays down the singular and untenable principle that ^ Theorie der musischen Kiinste^, III, ii {Specielle griechische Metrik)^ p. 133 ff. ^ Gliederimg, p. 9 ff. American Journal of Philology ^ VIII (1887), p. 179 ff. ^ The manuscripts give 905-906 to Dionysus, but — so far as they make an assign- ment — 1004-1005 to the chorus. ^ See above, p. 109 f. A7t Unrecognized Actor iji Greek Comedy 113 the chorus cannot appear in them as a speaker/ although the applica- tion of this principle forces him to deal with the traditional ascription of parts in the manuscripts in a very arbitrary manner. In the epir- rhemata the two debaters hold the floor, — in the Clouds without inter- ruption, although Pheidippides is the person to whom they address their arguments.^ Why the chorus takes no part here, nor in the second debate in the Knights and in those of the Wasps and Frogs is obvious : it is not the person addressed. In the Birds the situation is different. The debate in this play preserves the prescribed fixed form, but there is in reality a single debater, Peithetaerus. In the epirrhema he endeavors to convince the Birds, namely the chorus, that sovereignty is rightly theirs f in the antepirrhema he develops his plan for securing it. Euelpides is ^o)fjLo\6)(o^ throughout. It is doubtful whether the Hoopoo should be allowed to speak in the epirrhema at all ; if he appears in the antepirrhema, it is as supporter and ally of Peithetaerus.* The chorus is the important personage to whom Peithetaerus in both parts addresses himself, and as we should expect the manuscripts recognize its presence as a speaker, exactly as Demus and Dionysus are recognized and take part in the Knights and Frogs. It is the ' chorus ' who say at the beginning of the debate : 464b Sairvrja-ofjLev fxiXXofxev; rj tl; 467b ^/xels /3ao"tA€ts; TiVos; 470b kol yrj'; ; 47^^ tovtl fxa At* ovk €7re- TTva-fMrjv. Here, as elsewhere in many instances, the manuscripts report ^ Die Gliederting, p. 117 ff. ^ Clouds 990 Trpos ravT w fxeLpdKLOv ktc. iooo el ravr do /xeipaKiOp ktL 1002 dXX' odv \LirapQS ye Kre. IOO9 rjv Tavra Troirjs ktL 1071 (TKe\paL yap 03 jneLpoLKiov KTe, In the Knights Demus is addressed in like manner, and he answers, when occa- sion requires. Cf. 767 ff., 769 ff., 773 ff., 777 ff., 786 f. (Demus speaks), 790 ff., 820 f., 821b f. (Demus), 823 ff., 850 ff., 858 f. (Demus), 860 ff., 868 ff., 870b (Demus), 871 f., 873 f. (Demus), 875 ff., 883b, 884 ff. (Demus), 891b f. (Demus), 893 ff., 895b (Demus), 896 ff., 899 (Demus), 900, 901 (Demus), 904b f., 906 f., 908, 909, 910, 911a, 911b. ^ Note the phraseology in 462 : /cat TrpowecpvpaTaL \6yos els /j.01. This refers to his task in the epirrhema. eh is not to be ' emended.' So far is he from being the other debater, as Zielinski thinks (p. 16). The Hoopoo is thoroughly convinced of the wisdom of the plan even before the chorus appears. Cf. 194-197. Meineke and Kock exclude him altogether from both ant- epirrhema and epirrhema. 114 JoJm Williams White divergent traditions, but there seems to be no doubt that they agree in recognizing the presence of the chorus.^ The situation is the same in the first debate in the Knights (303- 460). After Cleon and his adversary, the most important person in the scene is the chorus, and the manuscripts record the fact.^ Demos- thenes is I3o)fxo\6xo^ and has an inferior role. Some editions make him unduly prominent. When now the ' chorus ' comes forward in the debates in other than lyric parts, it is reasonable to conclude that it is represented by the two leaders of the half-choruses ; the first leader appears in the first half of the debate, and the leader of the other half-chorus in the second. The same assignment of paired functions occurs in the syzygies, but in these, especially in the trimetrical syzygies, the chorus by the economy of the drama has relatively an unimportant part, except in ode and antode. Nevertheless both leaders appear. In the Knights the first leader addresses the Sausage-man (611-614) on his triumphant return from his bout with Cleon before the Senate. This is the leader of the half-chorus that immediately breaks into song and dance. The first leader also has the single verse in the Wasps (728) that introduces the following ode. The preceding anapaestic tetrameters (725-727) that end the debate have been recited by the second leader. In the Peace the first leader, who has just had an active part in the preceding commatic ode (459-472), participates (479-480) with Trygaeus and Hermes in the following trimetrical dialogue.^ In the Birds the first ^ The record in eleven manuscripts is as follows. Epirrhema: 464b Xop. R V T M Vp2 H C E2 M9 B om. A 467b Xop. RAT Vp2 H C E2 M9 B : V — M 470b Xop. R A Vp2 H C : V — M 'Ett. T E2 M9 B 470^ Xop. R A Vp2 H C — M 'Ett. V r E2 M9 B 476 Xop. A Vp2 H C om. R M —V 'Ett. T E2 M9 B 511 Xop. Vp2 H C Ev. Xop. r B Ey. A E2 M9 om. M — V 'Ett. R Antepirrhema : 553 Xop. A r B om. V M E2 — R 'Ett. Vp2 H C M9 555 Xop. Vp2 H C om. R V A T M E2 M9 B 587b Xop. V Vp2 H C B om. M — R V 'Ett. A E2 M9 592 Xop. Vp2 H C — R V A M 'Ett. r E2 M9 B 59Sb Xop. Vp2 H C om. M — R V A 'Ett. T E2 M9 B 603 Xop. H C om. Vp2 B — R V A 'Ett. T M E2 M9 606 Xop. Vp2 H C — R V A 'Ett. r M E2 M9 B 608b Xop. Vp2 H C om. V A — R M 'Ett. T E2 M9 B ^ See the report on the manuscripts in Zacher's edition (1897), v. 337 ff, ^ In the fourth syzygy of the Peace (922-1038) the early editions, including the Princeps and the first Juntine, and most modern editors make the chorus one of the speakers in the dialogue in verses 922-938. Cod. R and Cod. V assign 922 to the depd- An Unrecognized Actor in Greek Comedy 115 leader, when the messenger leaves the scene and Peithetaerus is lost in reflection, recalls him to the situation (1164-1165), and the second leader delivers the exhortation in trimeters that immediately follow the ode (1196-1198). In the Thesmophoriazusae the first leader prefaces the First Woman's speech with an appropriate remark in iambic tetra- meters (381-382). In the first syzygy of the Wasps (334-402), which is parodic, the first leader, when the commatic ode has been sungy continues the dialogue (346-347, 350-351, 354-355) in recitative with. Philocleon, with whom he has just been singing a duo. The second leader has verses that correspond, after the antode (379-380, 383-384, 387-388). In the following parodic syzygy (403-525) their respective parts are heavier (403-404, 416a, 417-419, 422-425, 428-429, 437,. 441-447, 453-455 ; 473-477, 480-483, 486-487). Omitting the consideration of the parodos for the present, I proceed to discuss the single or unpaired parts of Attic comedy. In these the fact of the appearance of the second leader as a speaker may seem less certain, since the indications furnished by ode and antode are lacking. The probability, however, that he comes forward actively in these parts in all the plays is supported by three considerations : first, granted that he speaks in the double or paired parts, it would be singular if he should be wholly silent elsewhere ; secondly, the evidence is complete and is generally accepted by the editors of Aristophanes that he does appear in two of the plays in unpaired parts ;^ thirdly, the recognition of his TTwi/, 923 to Trygaeus, and thereafter they mark the distribution of parts by the Hneola. The verses ordinarily assigned to the chorus should probably be given to the olKerris. The chief reason for this is not that R and V seem to make this assignment, but that slight participation of the chorus in the dialogue is characteristic of the trimetrical syzygies, that is of all except the two parodic syzygies in the Wasps. Dobree first assigned these verses to the oUeT-qs (Adversaria Critica^ IV, p. 212). The oiKerT]? has a correspondingly important part in the second half of the syzygy. In this some modem editors assign 973b and 978-986 to the chorus against the authority of R and V and the second Juntine edition. (The verses are omitted in the Princeps and first Juntine edition.) Similarly in the first syzygy of the Birds, Beer, t'^er die Zahl der Schauspieler bei Aristophanes^ p. 37, assigns 809a, 8iib-8i2, 8l4b-8l6, 8l7b-8l9a, 820, 826-827, 829-831 (?), 833-835^, to the chorus without manuscript authority. He is followed in the main by Muff; van Leeuwen also introduces the Coryphaeus into this scene, excluding the Hoopoo from the action of the play altogether after the parabasis. ^ Ach. 560-561, 564-565, 575 (see above, p. 107 f.); Lys. 706-707, 710, 712, 714, 716, 970, 1108-1111, 1221 (see above, p, 104 f.). John Williams White presence, to which there can be no inherent objection, often lends great vivacity to the action. Single scenes abound in the comedies of Aristophanes ; they are found in each play, but occur chiefly in the first half of it. With one excep- tion they are trimetrical. They rarely close with an anapaestic or lyric movement, but are so placed in the general scheme of the development of the action as commonly to be followed by verses in another rhythm, frequently by a lyric. The preceding part also generally ends in a different rhythm. The scene may include within its limits inserted lyrics, or parts written in long rhythms, or even passages in prose. The chorus appears in about one half of these scenes as a speaker, the lyri- cal parts not included. This ' chorus ' is sometimes addressed by the actors in the singular number, and is thus individualized. Assuming that * chorus' in this case signifies not a single coryphaeus but the leaders of the two half-choruses, the distribution of the parts in certain of the plays might be as follows. In the first scene of the Knights (461-497) the leaders are in agree- ment, as is generally true, and both support the hero of the play. The second leader has just bestowed words of hearty praise (457-460) on him, at the close of the preceding debate, for his gallant struggle against Cleon. In the following dialogue Cleon shows unexpected command of metaphor and the first leader is dismayed (464) ; when the Sausage- man rallies and answers in kind, the second leader breaks forth in joyous approval (470) . Towards the close of the scene, when Cleon makes off to lay his case before the Senate, the first leader exhorts the Sausage- man to follow (482-487) and hands him oil (490-491) with which to smear himself for the coming struggle, and the second leader primes him for the fight with garlic (493S 494^495^) and bids him God-speed (495C-497). The effect of the bustling action of this scene is much increased by assuming three participants. The important fact, which is by no means unique, should here be noted that the last of these verses (from 490) are assigned by all the manuscripts to the chorus, but to Dem.osthenes by the recent editors, who record that Enger made the 'correction.' The change is doubtless due to a belief in a high stage the editors thought the action impossible. But probably both See Harvard Stiidies in Classical Philology, II (1890), p. 173 f. A?i U7irecog7iized Actor in Greek Comedy 117 "old-stagers" (who are coming to be low-stagers) and '-no-stagers" will now agree that this is not sufficient reason for refusing to accept the assignment of parts made in the manuscripts. Similarly, in the last scene in this play (1151-1263) some editors refuse to give 1 254-1256 to the chorus, although to assign them to Demosthenes brings four actors on the scene at once. These verses, I think, were spoken by the first leader, and the preceding verse (1253) by the second.^ The representatives of the chorus acclaim Cleon's conqueror. In the first scene of the Peace (426-458), in which libations are made before the attempt to rescue Peace, actors played the roles of Trygaeus and Hermes. By the tradition of the manuscripts the chorus also took an important part. If we assume that both leaders spoke, their parts are easily determined. The first leader in serious tone urges Hermes to take direction of their attempt (428-430). He follows the three verses of the prayer offered by Trygaeus with three of similar import (444-446) j he forbids libation to Ares (457a) and finally gives command to all to lay hold on the ropes (458). The second leader speaks in lighter vein (439-440, 450-453, 455, 457c). There is hardly a scene in Aristophanes in which somebody does not play the part of ySto/xoXoxo?. In the second scene of this play (508-549), in which the final effort to restore Peace is successful, the first leader again has the superior part (508, 512, 517-519) ; the role of the second is subor- dinate (510, 514-515). The scene is in part lyrical. In the first scene of the Birds, which is short (434-450), probably the second leader alone takes part (442b-443a^ 444S 445-446a, 447). Both have been active in the close of the preceding parodos. Similarly in the scene that immediately precedes the parabasis the second leader probably makes the genial suggestion that Peirhetaerus and Euelpides shall be given a good breakfast and Procne be sent out to play with ' the chorus (658a, 6580-660). The first leader, at the close of the preceding debate, has just recited the anapaestic tetrameters (636-637) that foUow the lyric sung by the whole chorus and serve as an introduc- tion to the following scene. Both leaders have a part in the scene of the Thesmophoriazusae in which the sex of the unhappy !vInesilochus is revealed. At the approach Cod. A assigns 1253 to the chorus, 1254-1256 to Demosthenes. ii8 JoJm Williams White of Cleisthenes, the first leader stops the wrangling of Mnesilochus and Micca (571-573) and the second welcomes Cleisthenes with a jest (582-583)1 and speaks the appropriate verses that follow (589, 607). The first leader takes the situation more seriously (586, 597-602, 613- 614). That part of a comedy which in its form most nearly resembles the single scene which we have been considering has been named ' episode.' The name has been transferred from tragedy and is appropriate in so far as these episodes are always followed at least by an ode and antode (a 'stasimon '), and with a single exception are trimetrical. They do not, however, differ essentially from ' scenes ' : they are not paired, they are composed in the same rhythm, they may include within their limits lyric or anapaestic passages ; but, on the other hand, they are in general longer, they are always followed by a double lyric and they occur only in the second half of the play. In consequence of the fact last stated, the ' coryphaeus ' does not often appear in them as a speaker, since this is that part of a comedy in which, after the theme has been revealed and established, it is illustrated by the successive appearance of many characters, who would render active participation of the leaders of the half-choruses, except in lyric commoi, unnecessary or awkward. In the Birds only four of the twenty-one characters that speak appear before the parabasis ; nineteen appear after it. We observe, therefore, that the leaders' function is almost always confined to the beginning of the episodes. One of them may announce the coming of a new charac- ter, as in Acharnians 1069-10 70, or welcome him immediately on his appearance, as in Wasps 1 297-1 298, or briefly engage him in dialogue at the beginning of the episode when as yet only one actor has appeared, as in Lysistrata 706-707, 710, 712, 714, 716. Both leaders may take part, as in the first episode of the Plutus (627-770), where the first leader addresses an inquiry (631-632) to Carion when he enters from the house of Chremylus, and shouts with joy in dochmiacs (637) when he answers. Carion continues ^ Rejoice ye must, whether ye will (^ou- Xrja-de) or not,' and the second leader breaks forth (639-640), also in dochmiacs. The law thus established, that trimetrical participation of the leaders CO TToi he says to Cleisthenes, but the first leader (602) ci wpd^eve. An Unrecognized Actor in Greek Comedy 119 of the half-choruses is confined in episodes to the beginning enables us to deal confidently with two doubtful cases. In the first episode of the Knights (943-972), Enger assigned 970-97 la to the chorus and the editors have adopted his change. The manuscripts assign the verses to Demus^ or to Cleon;- no manuscript attributes them to the chorus. They are entirely appropriate to Demus, who is the person on the scene chiefly interested in the oracles. When he says Iv ovtor}fX€LTe — as he enters from his house with his family to celebrate the rural Dionysia, and again three trochaic tetram- eters (238-240), in which the speaker enjoins silence and withdrawal from view. The ode and antode were taken by the two half-choruses ; it seems probable that their two leaders respectively recited the verses indicated (204-207, 234-236, and 219-222, 238-240).^ The principle seems to prevail also at the beginning of the resumption of the parodos (Parodos II). When Dicaeopolis has finished the phallic song, the chorus emerges from concealment and the leaders urge an attack upon him, the first in two trochaic dimeters (280-281) : ^ Knights 247-302, immediately followed by the debate; Peace 301-345, immedi- ately followed by a trimetrical syzygy in the order of (i) ode, (2) epirrhema. ^ It is not without significance that some of the manuscripts insert 7jiJ.Lx6ptov before parts of this parodos, however confused the ascription may be. This assignment is made before 208 and before ot/xoi in the same verse in T E Vbi M9 E2 B; before ot^oL in 208 in Vp2 Vp3. A?i U^irecognized Actor in Greek Comedy 121 OTJTOs avro's ecrrtv, ovto? • (SdWe fSdWe (SdWe (SdWe. The second takes up the charge, with change of rhythm, in two cretic dimeters (282-283) : TraZe Trag tov fxtapov ' ov fSaXei^ ; ov /SaXets ; But parodoi composed in this symmeirical fashion throughout would have been monotonous and not well adapted to express the lively and vigorous action that characterizes this part of comedy. AVe find, there- fore, that exact correspondence ceases in many of the parodoi, when the members of the chorus are once securely in position on the floor of the orchestra, and passes into apparently irregular dialogue. As the chorus in the Knights enters, the nrst leader recites four trochaic tetrameters (247-250). The second leader, marching with him in the front rank, takes the four that follow (251-254).^ The chorus is hostile to Cleon, and he appeals to the heliasts for help. The first leader assails him in bitter language (25S-265) ; in a moment of weakness he endeavors to propitiate his adversaries, but is at once attacked by the second leader (269-272) and cries out. The first leader taunts him (274) and the Sausage-man comes into the action,- gallantly supported by the second leader (276-277). Cleon now faces three opponents. The scene gains in liveliness with numbers. The parodos of the Wasps formed the subject of G. Hermann's special investigation.^ He distributed the opening verses (230-247) among six members of the chorus, as Starkie later among four.* Never- theless only two persons seem here to be characterized, and the charac- terization is marked. One, who has not yet lost his \'igor although he is an elderly man, urges his comrades to make haste, addressing some of them and naming others (230-234). The second, whose mind ^ Note that his verses begin with dWa and cf. Arnoldt, Chorpartien^ p. 10 and 93; Muff, Die chorische Technik des Sophocles, p. 15 f. - The manuscripts assign 258-265, 269-272, 274, 276-277 to the chorus; 266- 268, 273 to Clean; and 275 to the Sausage-man. Cod. 9 assigns 2S2-283 also to the chorus. ^ See above, p. ill, ^ See his admirable edition of the Vespae (1897), pp. xxviii and 19. 122 John Williams White dwells on the past, recalls not without pleasure a youthful adventure in Byzantium (235-239). The first interrupts this strain of anecdote and again urges haste and gives a reason. His verses begin with dXX' iyKOV(x>fjLev avS/>€s and end aXXa (T7r€vSo)fxev tovSpe? lyXtKes trplv rjixipav yeviaOai (240-245). "Aye," says the second, ^'we must be going, but it is a deuce of a bad road" (246-247). The rhythm now changes, and it is the second leader who talks with the boy that carries the lamp to light the way of the second half-chorus. " 'Tis a bad lamp," the old man says with melancholy insistence, " and a bad boy, and foul v/eather." The other leader, still eager to be going, impatiently wonders why Philocleon fails to join them. He must be roused with a song. The Ravenna manuscript prefixes the lineola to verse 266. The parodos of the Birds is an excellent illustration of the poet's skill in devising a form suited to the theme. The chorus probably enter in regular formation,^ but break rank at the etVoSos and run chirping and calling in confusion about the orchestra. It seems not unlikely that verses 310-312 and 314-316 (dochmiacs) and 319 were taken by the united chorus. The Hoopoo, in 320-321, repeats his fatal announce- ment and the two leaders assail him with reproach (322-323a, 323c, 325a, 326a). The two half-choruses then rapidly reform for ode and antode ; the first half-chorus sings and the second dances, the second sings and the first dances. Presently they advance to the attack (364, 365). At this point the Hoopoo intervenes and the leaders reply (369-370, 373-374, 381-382, 385). In the lyric dialogue that ends the parodos, both leaders take part, the first leader, who has recited the introductory anapaests, beginning (406, 408, 410-411, 4i4b-4i5, 417- 420,^ 426, 428, 431-433). It can hardly be denied that this lively scene gains in vivacity by giving the second leader a part. The first parodos of the Peace is extremely vivacious. The chorus has been summoned to rescue the goddess and comes marching into the orchestra joyous and exulting. As in the Acharnians and Knights, each leader has four trochaic tetrameters (301-304, 305-308). The ^ Six birds are named in verses 297-301, the first file, and six each in verses 302, 303 » 304- ^ Here the number of the verb changes; the second leader is thinking especially of Peithetaerus and says bpa tl ktc. The first leader has previously used plural and dual forms, referring to both the strangers. All Unrecog7iized Actor in Greek Comedy 123 chorus forms in separate half-choruses, facing the audience and Tr}'gaeu3, who is the only other person on the scene. He deprecates their noisy entrance, in fear that they may rouse the demon of War within, and each leader answers, the second in his joy shouting aloud (31 1-3 12, 316-317). Trygaeus again remonstrates with them, whereupon each leader begins to dance, and the half-choruses imitate them in pantomime. The dancing continues through the dialogue, the leaders concerting their movements. Trygaeus {^addressing both leaders') ^Zounds I you'll surely be our ruin : stop your clamour, I entreat : He will by and bye come trampling everything beneath his feet.' First Leader {boih leaders begin to dance) *Let him stamp, and tramp, and trample, let him do whate'er he will, I am so immensely happy that I really can't be still.' Trygaeus {looking from o?ie to the other in despai?') *What the mischief ! What's the matter? do not, by the Gods, I pray, With your dancings and your prancings spoil our noble work today.' Second Leader * Really now I didn't mean to : no, I didn't, I declare : Quite without my will my ankles will perform this joyous air.' Trygaeus [addressing the second leader) 'Well, but don't go on at present; cease your dancing or you'll rue it.' Second Leader *Look, observe, Lve really ceased it.' Trygaeus ^ So you say, but still you do it.' Second Leader 'Only once I do beseech you ; only just a single hop.' Trygaeus 'Well then, one : make haste about it; only one and then you stop.' First Leader {both leaders dance vigorously) 'Stop? of course we stop \\'ith pleasure if 'twill your designs assist.' Trygaeus ' Well, but look : you're still proceeding.' Second Leader ' Just, by Zeus, one other t\^'ist. Let me fling my right leg upwards, and I'll really then refrain.' 124 John Williams White Trygaeus *This indulgence too I'll grant you, so you don't offend again.' First Leader 'Hah ! but here's my left leg also : it must have its turn, 'tis plain — I'm so happy, glad, delighted getting rid of arms at last. More than if, my youth renewing, I the slough of Age had cast.'^ If the theory of the active participation of both leaders in the dia- logue is accepted, it affords welcome relief in an unexpected quarter, the prologue of the Ecclesiazusae. The chorus gathers at the opening of this comedy before the house of Praxagora and departs thence, at that part of the play where ordinarily the parodos begins, to the meet- ing of the assembly. The manuscripts and earliest editions recognize that three women, besides Praxagora, are present and speak in the prologue. These they designate as ywi} rt?, kripa. ywrj^ and aXX-q. In the edition of Portus (1607) these three appear as five, ywrj €T€pa ywrj, aWr) yvvy, aWrj ywrj, aWrj yvvrj.^ Brunck (1783) made the number of women nine, besides Praxagora. Beer reduced these to two, giving verses 30-31, 41-42, 46-47^ 86-87, 213c, 245-249, 250b- 251a, 252a, 254, 256a, 258-259a, 261, to the " Chorfiihrerin." Bergk (1852) gave 30-31 and 43-45 to the ^chorus.' The assignment of verses to the chorus by Beer and Bergk is signi- ficant. Of the women who speak, whether three or nine, only one besides Praxagora appears from the scene (at 35^-40). The rest come into the orchestra through the etVoSo?, and are part of the body of women who subsequently form in two half-choruses (at 285 ff.). Two are needed besides Praxagora and her neighbor, the yw-j who appears at 35b, to carry forward the action of the prologue. It seems natural to assume that these two women, who were members of the chorus, were the two leaders, as in the Lysistrata. On this assumption the parts might be distributed as follows. Praxagora soon after the opening of the play sees a person approach at a distance with a lamp, and retires from view. This person is the first leader, who exhorts her women as they come trooping into the orchestra (30-31). Praxagora comes forth and chides them (she uses ^ I avail myself of the version of Mr. Rogers. ^ See his list of dramatis personae. An Unrecognized Actor in Greek Comedy 125 the plural v/xas) for being late, and then wakens her neighbor. Other women are seen to be approaching, and Praxagora distinguishes three of them while still at a distance. These other women are to constitute the second half-chorus,^ and their leader, while still in the eto-oSos, is heard to urge them to make haste (43-45). Others are recognized and named by the first leader (46-4^3.^ 49-50) and by the neighbor. By this time the women who are to constitute the second half-chorus have reached the other group of women, and their leader addresses Praxagora (54-56). Praxagora directs those assembled to sit down, and then asks whether they have made the preparations agreed upon. Both leaders answer in turn (60-64, 65-67). 'And have you your beards ready?' Both reply, one after the other (70, 71)- But in their eager- ness they have answered simply for themselves ; each woman has twice said eywye, although Lysistrata asked about all the women. She there- fore repeats her inquiry. The rest of the chorus nod assent and her neighbor assures her that they are ready. Then the dialogue continues. I have indicated at the appropriate place in the table that begins on the following page what verses may have been taken by the first and second leaders.^ ^ All the twenty-four women, then, who are to constitute the chorus gather in the orchestra at the beginning of the prologue. Presumably they all come from the town (cf. 53), but in furtherance of their deception they purpose to give themselves a rustic air. Praxagora especially advises this (cf. 276 ff.) when she marshals the two half- choruses at the end of the prologue. Her neighbor catches her spirit, and after suggesting that she and Praxagora shall precede the chorus whom Praxagora has now ranged in order {aurCov in 280) , she adds that other women besides themselves will be hurrying from the country to the place of meeting. Both ode and antode that follow are rustic in tone. When the second half -chorus sing in 300 of ' these fellows from the town,' they speak in their assumed character of countrymen, and are slyly gibing the citymen in the audience. They are not referring to the members of the other half-chorus. The two half-choruses leave the orchestra one after the other. * The neighbor also takes part in the dialogue (35b-4o, 51-53, 72b, 78, 88-89, 9ob-92, 279b-282a). Lysistrata has the verses not otherwise assigned. 126 John Williams White Assignment of Parts to the Leaders of the Half-choruses IN Ten^ Plays (The verses assigned to the second leader are in full faced type. Lyric solo parts are in parentheses.) Acharnians 204-207^ 219-222 234-236 238-240 280-281^ 282-283 (285* 287-292 294-295 297-302) 303-304 307-308 311-312 315-316 319-320 323a 324a 325a 328-330 333-334 (336 338-340 342 344-346) 364-365' 391-392 557-559' 560-561 562-563 564- 565 566-571 575 576-577 626-627 628-658 659-664 676-691"^ 703-718 (929-931 « 935 940-942 946 948-951) (ioo8-ioio» 1013 1015-1017 1037-1039 1042 1044-1046) 1069-1070^*^ 1143-1149 1228" 1230 Knights 247-250^^ 251-254 258-265 269-272 274 276-277 312-313^^ m-zW^ 337'' 341 359-360 366 389-390 407-408 421-422 427-428 436b-437 440-441 451a 453-456 457-460 15 464 470 482-487 490-491 493a 494-495^ 495^497 498-506 507-54^ 547-550 565-580^^ 595-610 611-614I' 761-76213 841-842 919- 922 941-942I8 1253 1254-1256 1274-1289^^ 1300-1315 1319- 1320^1 1322 1324 1329-1330 1333-1334 1381 * The Clouds is purposely omitted, for illustration only those parts of this 1 edition. 204-240: p. 120. ^ 280-283 : p. 120 f. ^ 284-346: p. 109, n. 3. ^ p. no. 676-691 = 703-718: p. no f. ^ 929-951 : p. 108. ^ 1008-1046: p. 109. ^« p. 118. p. 120. In the foregoing discussion I have used y which it is agreed belonged to the revised '2 247-277: p. 121. p. 1 10. 335-456: p. 114. 457-497: P- 116. 565-580 = 595-610: p. no f. '7 p. n4. For 943-972, see p. 119. '9 p. n7. 1274-1287= 1300-1315: p. iiof. An Unrecognized Actor in Greek Comedy 127 Wasps 230-234I 235-239 240-245 246-247 249 251-253 258-265 266-272 (293-2962 298 300-302 309-311 313) (334-335^ 342-345) 346-347^ 350-351 354-355 (365-366 369- 370 373-378) 379-380^ 383-384 387-388 (403-404^ 416a 417-419 422-425 428-429) 437 441-447 453-455 (473-477 480-483 486-487) (526-528^ 532-537 540-545) 546-547' (631-633 636-641 644-647) 648-649 725-7279 728 863-867 IO15-IO50 1051-1059 1071-1090^^ II02-II2I 1297-1298^^ 1516-1517 Peace 301-304 12 305-308 311-312 316-317 320-321 324-325 327a 328 330 33ib-332 ZZA-l^^i 428-4301^ 439-440 444-446 450- 453 455 457a 457c 458 (460I* 462 469 472) 479-480^5 (490 496 499) 508I6 510 (512 514-515 517-519) 556-559 601-602 617-618 630-631 729-733 734-764 765-774 (856-858^" 860- 862 864 909-911 913-915 917)'' (939-941'' 943-947 950-955 1023-1025 1027-1030 1034-1038) 1140-1158^° 1172-1190 1311 1316-1328 Birds 322-323a2i 323c 325a 326a 336-338a 352-353 364 365 369- 370 373-374 381-382 385 400-405 (4062- 408 410-41 I 414b- 415 417-420 426 428 431-433) 442^-443^'' 444^ 445-446a 447 460-461 2^ 464b 467b 470b 47od 476 500a 548-549 553 ^ 230-272: p. 121 f. ^ 291-316: p. 109, n. I. ^ 334-378: p. 109, n. 3. 4 346-347: P- no; 346-355: P- 115- ' 379-388: P- 115. ^ 403-487: p. 108 f., p. 115. ' 526-647: p. 109, n. 3. ^ p. IIO. 9 p. 114. 1071-1090= 1102-1121: p. no f. 1297-1298: p. 118. 12 301-336: p. 122 f. 428-458: p. 117. ^ 459-499: P- 109, n. I. p. 114. 508-519: p. 117. ^' 856-921 : p. 109. For 922-1038, see p. 114, n. 3. 19 939-1038: p. 109, n. 3. 1140-1158=1172-1190: p. iiof. 21 322-433: p. 122. 406-433: P- 109. 23 442b-447: p. 117. 2* 460-461 = 548-549: p. 109 f.; 460- 625: p. 113 f. 128 John Williams White 57i-572a 587b 592 595b 6o6-6o7a 608b 626-627 636-637 ^ 658a2 658C-660 685-722 723-736 753-768^ 785-800* 1072- 1087^ 1102-1117 1164-1165^ 1196-1198 (1313-1314^ 1316 1318-1322 1325-1326 1328 1330-1334) 1726-1730 Lysistrata 254-255^ 266-270 281-285 306-318 319-320 350-351 352- 353 354-355 356-357 35^-359 360-361 362-363 364 365 366 367 368-369 370 371 372 373 374 375^ 375^ 376 377 378^ 378b 379a 379b 380a 380b 381a 381b 382a 382b 383 384 385 386 399-402 467-470' 471-475 484-485'' 539-540 549-550 614-615 11 626-635 636-637 648-657 672-681 696-705 706- 7071^ 710 712 714 716 959-966^* 968-969 970 971 1014- 1015^^ 1016-1017 1018 1019-1021 1022-1023 1024-1026 1027- 1029 1030-1032 1033-1034 I035-I036a 1036b 1036c 1037-1039 1040-1042 1072-1075^^ 1078-1079 1082-1085 1088-1089 1093- 1094 1106-1107 1108-1111 1221^' 1228-1238 Thesmophoriazusae 381-3821^ 531-532 571-573'' 582-583 586 589 597-602 607 613-614 655-658 659-662 (667-686) 2« 687-688^1 699-703 705 (707-708 715-716 718-725) 726-727 785-813 814-829 830- 845^^ 947-952 1164^^ II7O-II7I I217 I2l8b-I219 I220b-I221 I223-I224 1226 636-637: p. 117. 706-716: p. 104, p. 118. ^ 658a-66o: p. 117. ^■^ 959-97°: p. 104. ^ 753-768= 785-800: p. no f. 1014-1042: p. 103. For 801-902, see p. 1 14, n. 3 (ad fin.). 1072-1111: p. 105. ^ 1072-1087= 1102-1117: p. iiof. 1221-1238: p. 105. ^ 1164-1198: p. 115. p. 115. ' 1313-1334: P- 109, n. I. ^3 571-614: P- 117 f- ^ 254-386: p. 103. ^" 667-686 = 707-725: p. 109, n. I. ^ 467-550: p. 103 f. p. no. ^0 p. no. *2 p_ J JO { 614-705: p. 104. '^^ p. 119 f. 626-635 = 648-657 and 672-681 = 696-705: p. no f. An Unrecognised Actor in Greek Comedy 129 Frogs 354-371 Z^^-Z^Z 394-397 440-443 6S6-705I i^'^iii'- ECCLESL^ZUSAE 30-31^ 43-45 46-47^ 49-50 54-56 60-64 65-67 70 71 76- 77 86-S7 102-104 IlO-IIia 115 120 124-125 126^-127 131a 132a 132c 133b 135b i36"^i43 145-140 I47'3 151-155 157 l6oa 163-165 167-168 1S9 192a 204a 213a 213b 241-242 245-249 2500-25 la 252a 254 256a 258-259a 261 262-265 285-288 478-479 480-482 48S-492 499-503 514-516 581-5S2 II27 II34 1151-1162 Plutus 257-25S 259-260 264 26S-269 271-272 275-276 279-282 286 288-289 328-331 4S7-4S8 631-632* 637 639-640 962- 963' ^ 6S6-705 = 71S-737: p. no f. ^ For 905-906 = IC04-1005, see p. 112. 3 3(^284: p. 124 f. ^ 631-640: p. iiS. ^ For 959-1096, see p. 119. CHAS. W- PEPPLER, EMORY COLLr.G£, OXFORD. GA. PRINTED FROM THE HARVARD STUDIES IN CLASSICAL PHILOLOGY, VOL. XVIII, 1907 'LOGAOEDIC METRE IN GREEK COMEDY By John Williams \Yhite CHORIAMBUS (-uu_) or "catalectic dactylic dipody" (-uu ' _^)? Pure choriambic cola (_uu_ _uu_ and _uu_ _uu_ _uu_) or ''syncopated dactyls" (_uu l_ _wu l_ and _uu l_ _uu l_ _uu l_ ) ? Choriambic dimeter (u_u_ or ''syncopated logaoedics " (u | _u | L_ _uvj L_ ) ? xA.ntispastic dimeter (Glyconic : u u u_u_) or"loga- oedic tetrapody " with 'dactyl' m the second place ('^ ; i_ _uu _u _^) ? Polyschematist dimeter (u u _uu_) or " logaoedic tetrapody" with 'dactyl' in the third place (uju _u _uu | _^) ? In a word, the metrical explanations of forms that abound in Greek poetry which are given by eminent Greek metricians, or a theory of the ' rhythmical * structure of these forms that has httle, if any, support in ancient tradition ? These questions are of importance sufficient to warrant a thorough reconsideration of the material to which they relate. Definitions of logaoedic metre are given by Hephaestion and Aristi- des Quintilianus. These, unhappily, are not complete. The reason of this, however, is apparent : the metre was relatively unimportant. Both authors add their statements about it to their general treatment of the larger subjects of dactylic and anapaestic metres. But the essential fact is made clear. Hephaestion briefly defines logaoedic metre to be the combination, within the same colon, of two or more dactyls with a trochaic syzygy, or, in ascending rhythm, of two or more anapaests with a catalectic iambic syzygy (bacchius). The most noted form, he adds, in the second category has four anapaests, the first of which may be a spondee or iambus.^ Logaoedic cola, thus defined, are comparatively rare in Greek comedy.^ 1 Heph. 25, 12 ff. and 29, 12 ff. (Westphal), and Schol. Heph. 163, 13 ff. Cf. Arist. Quintilianus 33, 30 ff, and 34, 5 ff. (Jahn) = 52 and 53 (M.), - For examples of this metre, see Thesm. 1136-1159, p. 20 below. This lyric is altogether singular in the great number of logaoedic cola it contains. 2 John Williams White Modern writers on Greek metre, G. Hermann (sparingly), Bockh, Rossbach and Westphal, and many others, have extended the applica- tion of the term ' logaoedic ' to include cola that contain a single Mactyl' (or single, but isolated, Mactyls'). This view of logaoedic metre, chiefly through the powerful exposition of Rossbach and West- phal, is now current. It has recently been strongly re-enforced by the acute reasoning of Goodell.^ But it is not the view of the Greek metricians, who, while they are not always in accord in the application of their theory, agree that the cola which are now under considera- tion are to be measured differently. According to HeHodorus and Hephaestion, the unit of measurement is here a ^foot' that in its normal form contains four syllables and six times {yjpovoi). The current ' logaoedic ' measurement of the metres in question has twice received fairly complete exposition in its application to Greek comedy, in Rossbach and Westphal's Specielle Griechische Metidk'^ and in J. H. H. Schmidt's Antike Conipositionslehre,^ But, so far as I am aware, the lyrics and stichic periods of comedy that have been classified as ' logaoedic ' have never been fully presented in any modern treatise in the forms demanded by ancient metrical theory. I purpose, there- fore, in what follows to analyze them in accordance with the doctrine of Hephaestion, with such aid as may be got from the Heliodorean metrical scholia on Aristophanes. Fair opportunity will thus be afforded for comparison. I exclude from present consideration the lyrics in Aristophanes written, in whole or in part, in the metre made famous by Telesilla. There are six of these lyrics, besides isolated occurrences of the line, in Aristophanes, and the form occurs also in Cratinus and Hermippus; but the Telesilleum, according to Hephaestion,* is a mixed Ionic colon, and the discussion of it belongs elsewhere. ^ Chapters on Greek Metric, pp. i\2.^, 2 Third edit., pp. 653-669. ^ See pp. CLXXxvi-cccLxxv. See Heph. 35, 19 ff. (W.). ^ Logaoedic' Metre in Greek Comedy 3 I Choriambic Cola The Choriambus, as such, disappears under the current modern analysis. It is no longer a fundamental foot (_uu_) used as consti- tuent element of a fxerpov TrpwroTvirov^ but a catalectic dactylic dipody (_uu I _^). Hephaestion, however, for whom this ttovs was as real an element in metre as the dactyl or iambus, devotes a chapter of his Manual to it. The chapter begins (30, 6 ff.) : to x'^P^^f^^'-'^^^ (pa)Ti'^erat 5 — u_ u_ Kat (TOcf)Lav CTracTKet. Anapaestic. _uu_ _uu. In order to secure greater ease in analysis, the cola are here printed separately, each in its own line, after the manner of the Alexandrines. Catalexis marks the close of a period or hypermetron. The combina- tion of choriambic cola in Aristophanes is generally hypermetrical. Hiatus and syllaba anceps in acaialectic cola are extremely rare \ they will be noted whenever they thus occur. The commation that has just been quoted (Nubes 510-517) begins with an anapaestic movement. Compare the beginning of the comma- tion that introduces the parabasis in the Vespae (1009 ff.), where the lyric movement that follows is trochaic. The remaining cola are all dimeters, rhythmic ttoScs of the normal measurement of eight syllables and twelve times, with catalexis in 2, 6, and the commonly allowed irrational element in the odd places of the 4 John Williams White iambic dimeter (5). The cola are pure choriambic (3), or mixed choriambic (i, 2, 4, 6), or iambic (5). The designation of i and 2 respectively as "first Glyconic " and "first Pherecratean " and of the union of the two as "first Priapean" is modern and highly objectionable. Nubes 700-706 = 804-813 804 a.p ala-OdvEL irXeidTa 8l rj- 1 u_ _uu_ /u,oms OeCiv; (09 tariv 08' crot/nos arrav- uuuG5£u_ 808 ra Spav os av KeXevr]<;. u_u_ u (TV 8' avSpos eKTreTrXrjyfxivov 5 u_uCmju_u_- 810 Kat ^avepcos iTrrjpfxivov _uu_ u_vj_ yvovs dTToAaj/^eis o rt 7rXeto-rov Svvaorat, _uu_ _uu_ _uu_ Ta;(e(jo§ * (faXel yap ttw? to, rot- u_u_ u_ avd* irepa TpeireaOai. .UU_ VJ. On the constitution of this lyric, cf. Schol. Ven. 804 : x^P^^I^P^^ BLfJLeTpoOrjfjiL/xepris. The Scholiast divides the text of 3, 4 : /xom? Oeiiiv; (OS I €ro6/xo? oS' (?) ecrrXv (XTrav | ra Spav os av KcXeujys. He overlooks 8. The proper disposition of 3, 4 is notoriously difficult.^ Order, how- ever, may be restored by certain simple transpositions and a single slight change of text : eo-rtv 08' crot/xos in 807 for the reading of the Mss., €TOLjUioavr]creraL. vvv yap aTras u_u^_uu_ ivOdSe KLvSvvo<; dvelrat cro(^ta?, -.uu_ _uu_ _uu_ 957 rjs Trepi rols e/AOt? <^lXol^ -uu- u_u_ eartv dyojv /xeytcrros. _uu_ u Bergk proposed Xiywv d/xetVwv Trorepos (5) to replace the reading of the MSS. brr6Tepo<^ avTolv Aeycuv d/xetVcov, in which the dual avTOLV is a gloss on an original Trorepo?. In the antode of 5, 6, read with R and V evSaLfjLOves S' •^crav ap' ot [ ^covres tot' evrt Toii' Trporipoiv. In 6 ^ojvTes tot' 67rt is the sole example of an iambic syzygy of this form ( uuu) in a choriambic dimeter in Aristophanes, but it has just been seen that both this form and u_uuu occur as the first syzygy in iambic cola that are constituent parts of these choriambic lyrics. Vespae 526-545 = 631-647 Xo. vvv 8e rov Ik OrjfxeTepov 1 _uu_ _uu_ yvfxvacTLOV Aeyetv Tt Set _uu_ ul£ Ktttvov, OTTcos ^aviycret — _uu 529 BS. iveyKaro) /jlol Sevpo Tr]v KLcrrif]v Tt5 cos Td;)(to-Ta. 530 oTap ^avei ttoios Tts cov, TttLiTa irapaKeXevY) ; 532 Xo. /x^ KaTo. Tov veavcav _uui£ u_u_ TOvSe Aeyetv. opas yap ws 5 u_u_ Iambic tetrameter. Iambic tetrameter. 6 John Williams White 535 KTOi /x,eyas ccrr aytov vvv Kttt Trepi Twv (xTravrwv etVep, o )U,^ yivoLTO^ OVT09 iOeXet KpaTrjaaL B8. Ktti /x^v ocr' av Ae^r^ y' (XTrXois IxvYjixocrvva ypaxpofxai yo). 539 i. Tt' yap ^a^' v/xet?, •^v oSt 540 yu,e Tco Aoyw Kparrjcrrj ; Xo. ovKeTL irpecr^vTCiv o^Xos Xpyjo'f'P'O'; £(tt' ou8' OLKaprj • aKWTTTOfxevoL 8' ev rats oSots 6aX.Xocf>6poL KaXovfieO* ^ dvr- OijJLoa-Lwv KeXvcfirj. .uu_ Iambic tetrameter. Iambic tetrameter. 10 _uu_ \j_ _uu_ u_- Bentley and Porson, demanding exact choriambic correspondence in choriambic cola (_uu_ with _uu_), proposed many changes of text in this lyric, the former tovSI (533) for rovSe R V, yevoiO' ov\to<; y iOiXoiv (536 f.) for yivoLTo vvv ouro? ISiXu R V, and the latter vvv Sr] (526) for vvv R V, 8et Tt Aeyeiv (527) for Aeyetv Tt 8et R V, a iOeXcL (537)> ^5 8' CTTC ttcivt' cAt^Av^cv (636) for ws Se Trdvr irre- XrjXvOev R V. In the last case Porson doubted the equivalence of choriambic dimeter and Glyconic. I know no exact parallel to this in comedy (Hermann proposed one in Thesm. 990 z= 995 — see p. 20 below), but this correspondence is not so difficult as that in Eq. 332 = 406, where the parody fixes the form and forbids emendation. In 534 Bentley added vi5v, transferring it from 536. Porson corrected (542 f.) 8' av €v Toiaiv oSoiaLV {oSois R) ctTrdo-at? . . . KaAot/xc^* R V tO the reading given above. The last syzygy of colon 13 of the antode is lacking in the Mss. Besides the four cases of correspondence of choriambus with iambic syzygy that are found in the lyric under consideration, the following also occur in cola that have not been emended : _uu_ Lys. 324 = 338, Lys. 326 = 340, -briu- Ach. 1151 = 1 163. Thus -Ou- occurs four times, biuu. twice, and _uuu_ once. I add, in order to afford means of comparison, the correspondences in lyric iambic syzygies, the text of which has not been emended, that occur among the lyrics discussed in this paper : u_vj_ Nub. 95 1 = 1026, ' Logaoedic' Metre m Greek Comedy 7 Lys. 321 = 335, etc., etc., u_uv7^ Nub. 705 = 809, Nub. 954 = 1028, Eccl. 969 = 972, uuuu_ Ach. 1157 = 1169, Vesp. 1455 = 1467. Lys. 325 = 339 and 328 = 342, uvjuu_ Ach. 1158 = 1170, uuuu4^ Ach. 1 156 = 1 168, i^Juuuu Vesp. 1454 = 1466, uuud^ (?) Lys. 324= 338, b^_V_ (?) Eccl. 911 {ovx rjKeL fxovTaipos) = gig (bis). Lysistrata 321-334 — 335-349 335 r]KOV(Ta yap TV(f)oyepov- 1 Ci_u_ ra? avSpas eppeiv, (TT€\e)(rj u_u_ — uu_ (fjepovTas (xxnrep /^aXavev crovTas u_u_ _uu_ is ttoXlv 0J9 TpLTaXavTOV /3dpos, Setvorar' OLTreLXovvTas i-n-oyv 5 uuuu_ _uu_ 340 ws TTvpl XPV ''■01? fxvaapas yvvacKas dvOpaKeveiv ' u 341 a5 (0 Oed fxrj ttot eytb TniXTTpap.ivas tSoi/xt, _uu_ 342 aAXa TToXifxov Kal p.avL(x)v 10 uuuu_ _uu_ pvcra/xeVa? 'EAAaSa Kat TToAtVas, _uu_ e^' olcnrep w ^^(pvcroAo^a _uu_ 345 7roAtov;)(€ o-a? e(T;)(Oi/ eSpa?. uu_u_ _uu_ Kttt (re KaAw iv(xp.a)(ov w _uu_ _uu_ TptroyeVet', et rt? exei'- 15 _uu_ _uu_ va? VTroTTifXTrprja-iv dvrjp^ _uu_ _uu_ cfjepeiv v8(Dp /x£(9' rfp-uiv. u The colon corresponding to 345 is lacking in the ode. Three forms are found in the first half of a choriambic dimeter in this lyric that have not previously occurred: (i) uuuu_ (4, 5, 10). Cf. Vesp. 1453 = 1465, 1455, 1456 = 1468, and the discussion of Aves 1372 ff. (p. II f.), a comic parody. The same form occurs as the first syzygy of an iambic dimeter in Ach. 1156, 1157. (2) _uuu_ (5, 10). Cf. Vesp. 1467. Also in an iambic dimeter in Ach. 1169. (3) (13). This anapaest is generally excluded by the commenta- tors, beginning with Bentley, who proposed o-as -koXiovx.') ^^^^ in itself a felicitous change of text. Another apparent instance of the anapaest in choriambic verse occurs in Eccles. 940 = 944, but this cannot be cited as evidence of the usage of Aristophanes, since in Eccles. 938 ff. 8 'Joh7i Williams White the poet is imitating the common form of the scolium, in which the metrical constitution of the last two verses is uncertain. To pass to iambics, raxecus in Nub. 812 is no doubt a dissyllable, and in Thesm. 355 the metre may be Ionic: uu_u_u (anaclasis). The anapaest does not occur, so far as I have observed, in any of the pure iambic lyrics of Aristophanes. On the other hand, it is found in two poly- schematist dimeters in both R and V, Vesp. 1461 ^ 1473. See p. 23. In Vesp. 1458, Kiister's change of uo-e(os (R, V) to <^vo-eos is probably right. Here the antode (1470) shows uuu. The natural inference from these facts is that the anapaest is faulty in all these places, espe- cially when one recalls to mind the assault that Aristophanes, in Ran. 1322 ff., makes upon its use by Euripides in Glyconics. See p. 29 ff. A form of iambic dimeter occurs in the antode of this lyric (4) that must be accounted defective (_uu_uu u_), but who shall say that Aristophanes did not compose it? Here also the commentators have essayed changes : w5 TptraAavrala ^dpota;^ov rov xj^uKaBo^ 1 _uu_ TOV ^vyypaf^Tj rov ixeXeojv TrotT^TTyv, 0J9 [xkv aTrXo) Aoyoj. KaKWS u_u_ e^-oAecretev 6 Zevfxa ireXd^oiV dXtfJievov aWepo'S avXaKa T€fxvo)v» ^ Logaoedic' Metre in Greek Comedy 13 Since Aristophanes himself never resolves either long of the choriam- bus nor contracts its shorts, his audience would be quick to appreciate the inimitable skill with which he genially brought the resources of metric into the service of his art as comic poet. II Antispastic Cola Since G. Hermann's assault upon the antispast and his celebrated invention of a ''basis," scholars have fought shy of this much abused foot and it has disappeared from the modern books. ^ Hermann, to be sure, could not completely abandon the choriamb, and in his hands Sappho's Kar^mtVxet, }LvOepr]\ a/3po? "ABojvls ' tl ke Oel/Jiev; (Heph. 34, 13) became a " choriambicum cum basi." The logaoedists go a long way farther and make it _> j _uu | l_ | _uu | l_ j _uu : Hephaestion, however, who had no premonition of the advanced investigations of the nineteenth century, and apparently found nothing in antecedent practice to give him pause, recognizes antispastic metre and devotes a chapter to it. This begins (32, 15 ft.) : to avTLa-n-ao-TL- Kov rrjv fJi€v Trpwrrjv (Tvt^vyCav e)(eL Tpeirojxivqv Kara rov irpoTepov TroSa €ts ra ricra-apa rov SicrcrvXXd/Sov o-^rjixaTa ' ra? 8e iv /xeVo), KaOj.pa<; dvTL(T7ra(TTLKd<; ' Tr)V 8e reXevTaiav ottotc ia-rlv aKardKrjKTOv^ lafxj^LKrjv' iav 8e dvafXLO-yqTaL rats iaixj3LKals^ ov ijlovov rqv irpijJTrjv (Tvt,vyiav t)(€.L rpeTTOfJiivrjv Kara, rov irporepov TroSa, dXXa /cat ti]V rats LafJi^LKalLKvoviJL€voLSj _u_vj vj_u_ rjv KAe'cov aTroAr/rat. _vj_u u_i£ Cf. the analysis of this lyric in the scholium in V : KopLKY) reTpd- KiuXo? ovcra (reTpaKcaXovs €)^ov(ra Thiemann) ras TreptoSous ex Tpilhv TXvKwveLiov KOL Tov ^epeKpaTciov ^ avvrjirTaL 8k rrj Xe^et Kat fxovov SiaKeKpLTaL to ^tp^Kpareiov^ irapdypcLcjiOL 8k drrXal (Diibner, aTrAot V) /xei/ €, 17 c;' Kat ^aeTa KopwviSo?. Hephaestion also designates this acatalectic dimeter as TkvKuiveLov (33, 9) and the catalectic form as ^epeKpareiov (33, 5). Cf. the definition of the pure Glyconic given by the scholiast on Hephaestion (213, 17 ff.). The antispastic dimeter (Glyconic), precisely as the choriambic dimeter and the iambic dimeter, normally consists of eight syllables and twelve times. Bentley proposed the reading of 975 for the unmetrical roicnv affuKvovfisvoLo-iv of the Mss., and in 981 Scaliger ^yeueO' for yivoL6\ Musaeus supplied the av that was lacking in 989. Ranae i 251-1260 TL TTore Trpay/xa yev^creraL; 1 uuu_uu_u_ vr]v fxeXavovpov — _u_u u — Cf. Cratinus 320, and Ran. 1257 f.. Nub. 573 f. = 605 f., Thesm. 1 141 f. Choriambic and antispastic cola may be combined in successive series, as follows : Equites 551-564 = 581-594 551 LTTTTL ava$ nO(7£tSoV, iO l_UO_U_U_ ■^aXKOKpOTOiV tTTTTOOV KTVTTOS _UU_ 1:I_U_- KOL ;)(,o£,a£Tto-/j,o5 dvSavet u„vj_- Kol KVavilx/3oXoL Ooal _uv_'_ u_vj_- 555 fjLLaOocfiopoL TpLyjpeL<;^ 5 _uu_ u — /xetpaKtwj/ 0^ afxiXXa Xafx- _uv-'_ \j_u_ 7rpvvojJi€VOiV iv apixaatv _uu_ u_u_ Kol ISapvSiip.orovvTwv^ „uu_ u__ Bevp" tXO^ es )(opov 0' ■^(pvcroTpLaLV a u u — u u„„ i6 John Williams White 10 ___vj u__u u—u _u_u u_u_- u u_u_- VJ Cf. the scholium in V : SittAt}, etra eTrayerat iTripprjixaTLKYj avt^vyia^ rj$rj- fXifiepovavov (jiayovTL. _VJU_ u_u_ _VJU_ _U\J_ Add 141 : CO Trpecr^vra, irorepa <^tActs 1 u uuuu. TOLS SpvTrerets eratpa? _\ju_ u — 17 (TV TOL? VTTOTrap^eVov?, _U_VJ U_VJ_ dA./xa8as eXdas , _UVJ_ w (TTLcfipa.'S ******* 5 * * * * * ifc For uuuu_ in i, see p. 15. Cf. also 695, where the cola are all catalectic : Ti)v Se'cTTrotvav cpet'Set?. u u — Cf. also Pherecrates 131 : a /u,aA.d;(as pxv iiepdv, 1 _uu_ u_u_ Kat /xeXtAwrtvov AaAwF _wu_ u_u_ Kal po8a 7rpo(Tae(TY)po)LXo)v p.€V dpdpaKOV^ 5 _u_u u_u_ 7rpo(TKivo)v 8e aiXiva, yeXCjv 8' tTTTTOO-eAtva Kat Kocr/xo(rdv8aAa (iaivixiv -u_u u ' Logaoedic' Metre in Greek Comedy 19 eyxct KaTTifSoa Tpirov u u_u- Tratojv', (OS vo/AOs icTTLV. 10 u u — Five tetrameters. The last three are Priapeans (p. 15). Iambic and antispastic cola may be combined in successive series, as in the following : Ecclesiazusae 91 1-9 17 = 918-923 911 atat Tt TTore ireLcrofxaL; 1 uuu._u_ ovx yK^t fJLovraipoL Se crot KrvTrelraL 1 _uu_ u fxeXdfxvX.\d r op-q u — u u_ hdcTKLa 7rerpaj8e/,s re vdirai jSpe/xovrat* uuuu_ _uu« u_« kvkAo) Trept ere Kiacro^ 5 u_uuu u_u CV7r€TaA.0S tXlKL OdXXu. -U\JU\J\JU^^ 20 John Williams White In 990, the reading of the Mss., voiov w Aiwvo-e, is doubly in fault. Neither here nor at the end of the ode can voiov be right, and Aiovuo-e (uu_u) fails to correspond with /crvTreiTat. It is to be noted that all the cola in the lyric are catalectic. Enger reads Evte, cS Atos crv, but the hiatus is objectionable. Hermann's evot, w Atovuo-e (_u_u u_u) involves the least change. For the correspondence in this case, cf. Vesp. 537 = 636 (p. 6). The third colon is a catalectic Phere- cratean. This is singular, but it is paralleled by the catalectic prosodiac (Telesilleum), which is common, and is more likely than an assumed acephalous choriambic dimeter (u_|«uu_). The ode determines the form of 4. In the antode the Mss. read in 998 f. koX mTrat TrcTpwSas. The correction is due to Enger. In 994 Hermann proposed cS cut', €vot €voZ, I w eut', ava^pvoixiv for the faulty evtov fvtov evot | . . • dmxo/aevwi/ of the Mss. With the preceding lyric, cf. the following. Aves 676-684 to (f)L\rj^ w ^ovOy^ drjSoi, vj u 680 ^A^£9 r}XOe0r)<5^ 5 ._u_ u rjSvv cf)06yyov cfiot (^ipovcr ' aX)C v' e^ovaa Se /xol fxoXoL? 10 _u_u u_u_ elpyvYjv (^iXioprov. u u_u rjKer evcf)pove6pix) TroXvTTOTVta, _uu_uu _u_ CI Kat TrpOTepov ttot' iTrrjKOo) t^A^ctov, vvv uu_ u\j_uu_ u. dcjiLKccrO* iKerevofxev ev^aS' ly/xtv. 20 This ode is altogether singular among the lyrics of Aristophanes in respect to the number of logaoedic cola that occur in it. On logaoedics in the ancient sense, see p. i. Here these are mainly catalectic tetra- podies (1-4, 13, 1 6-1 8) of the same value in time as the interspersed Pherecrateans and iambics. On the trochaic opening of cola 14, 17, see Arist. Quint., p. 32, 37 f. and 33, 30 ff. (Jahn). The logaoedic movement at the close of the lyric (19, 20) is ascending (anapaestic). In 1 150 Bothe corrected OefXLTov (R) ; in 11 58 Reisig dcf>LKeaOov (R). G. Hermann {Epitome, p. 171, cf. Elemcfita Doct. Met., p. 541) by numerous changes of the text attempted to establish correspondence of ode and antode between parts of this lyric. See also Reisig, Coniec- taneorum libri duo, pp. xxi ff. and 302 ff. Iambic, choriambic, antispastic, and logaoedic cola may be combined in the same lyric, as in the following : Thesmophoriazusae 352-371 ^weu^o/xecr^a reXea pkv 1 u_u_ uuuu« TToAet re'Aea Se ^Ty/xo) Ta8' evyixar^ iKyeviaOat, TO. 8' dpLcrO^ ocrats TrpocrrjKtL 356 vLKav XeyovaaLS ' OTrocrat 8' 5 — u_ _uu_ c^aTraTOJcrtv Trapa /SaLvovcrL re rovs _uu_ «ww_ _uu_ U_Ut(rfJLaTa kol vofxov u u_u_ ^rjTOva dvTifxeOLCTTdvaL^ 10 u \j_u_ Td-wopp-qra re Tot;8ov? iirdyovo-L yrj 366 KepSoiV OVVCK CTTt (Skd/Sj]^ 14 d(Te/3ov(r dBLKOxxxL re ri^v ttoAiv. dX\* uu_uu [w Tray/cparcs 369 Zei) raura Kvpwcreta?, wcr^' — u_ — u_ ^eovs irapacrTaTeiv — u_ u_u_ KULTrep yvvaL^lv or (rats. VJ u_u_ The ode begins with four and closes with three iambic cola. (On colon 4 see p. 8.) The transition is through choriambic cola (5, 6) to Glyconic, which are followed by a logaoedic hexapody. Bothe corrected ^vvevxofxeda (R) in l, Dindorf evy/xara yeveaOaL (R) in 3, Hermann c^aTrarwo-t (R) in 6 and da-e/Sova-Lv dSiKoCo-tv (R) in 15, and Bentley heK (R) in 8 (cf. 14). In 12 Xiyova is due to Suidas (\4yovoriv R), and in 14 KepSdv to Reiske (x<^pas R). Hiatus in 8, 14. This is extremely rare at the close of the acatalectic dimeter. Isolated antispastic dimeters occur in the extant comedies of Aristo- phanes, as Vesp. 319— 322 (Tfjpov/xaL ktL) in transition from prosodiacs to anapaests, and the refrain 'Y/x^v w 'Yfiivai w, Aves 1736 = 1742, 1743, following prosodiacs, and Aves 1754, at the close of a dactylic series. Ill Polyschematist Cola In all the cola thus far considered in this investigation the only other form that has occurred in combination with choriamb or antispast to constitute a colon has been the iambic syzygy. The choriambic colon, if not pure, is iTTLfiLKTov Trpos ras la/x^iKa? (Heph. 30, 7); the anti- spastic colon always combines at least one iambic syzygy, acatalectic or catalectic, with the antispast or antispasts (Heph. 32, 15 ff.). But there occurs also the combination of antispast with choriambus, in the order named (C;ii_u -vju,.), the antispast now admitting an addi- ' Logaoedic' Metre in Greek Co^nedy 23 tional variation of form. Hephaestion fully recognizes and adequately describes this form of the dimeter in his account of the polyschematist Priapean (57j 14 ff*) • "^o IIptaTretov, ov fxovov iafxjSLKr] Trj Sevrepa ■)(j){i)fxevov^ aXka. kol -^opLafxfSLKrj ' koI tov avTLcnracrTOv taO" ore, rov irpoiTOv TOV TravTo? [xirpov^ eh cnrovSdov TepaLOvcnv^ idv re oltto Idp-fSov ap-xrjrai^ idv re aTTO Tpoyaiov^ Kara, to hehojxivov^ idv re diro (T7rov6eLOV. Hephaestion here unequivocally designates the first syzygy as antispastic, notwithstanding its additional variation of form. It is, in truth, multi- form. The opening movement may be not only u_ and _u and , but also uuw ; the follo\\ing movement is _u or Hephaestion classifies these antispastic-choriambic dimeters, examples of which he found in Corinna, as 'polyschematist Glyconics ' (58, 3 ff.). The forms that particularly struck his attention were uuu_u _uu_ and _uvj_. Both frequently occur in comedy, especially the latter. This form of the St/xerpov (xlktov occurs in 1457-1461 = 1469- 1473 of the following lyric : 1462-1473 1 u_ _uu_ u_ u _uu_ UVJUU_ _uu_ uuuu_ _uu_ VJUUU_ _uu_ \JUU _VJU_ UW\J_U _uu_ 10 _uu_ VJ )i _uu_ The first seven cola are mixed choriambic (i, 3, 4, 6, 7) or iambic dimeters (2, 5). The last five are 'polyschematist' dimeters. The normal form of catalexis in the latter, the last member of the dimeter being a choriamb, is seen in 12. Hephaestion is perfectly clear on this point. In speaking of catalexis in choriambic metre he recognizes not only an lafx^LKrj KaTaKXeh but also a choriambic ; the choriambic colon, Vespae 1450-1461 = 1450 ^rjXu) ye TTys €.vTv^La<; TOV TrpiajSw ol ixeTeaTr] irjpiOV TpOTTiiiV Kol jSiOTrj^ • €T€pa Bk vvv dvTLfxaOojv rj /xe'ya Tt /xeraTreo-etrat CTTt TO TpVL/3pa)(0v^ ^aK^elov 8ta Tr)j/ dSta^opov. TTcpatovrat /x.€^' yap Kat eis ti)i/ tStav, rov SaKTvXov Kp-qriKOV. The reading /jLeTaTreadraL in 5 is due to Bentley. Here V has /xera- Treto-erai, and R /xeya Treto-erat. In 9 ^vcreca? is read in both R and V; Kiister corrected this to <^vcreos. In 12 both R and V have /xereySaAAovTo in the ode and KaTaKoa-fxyjaai in the antode. On this anapaest, see above p. 8. Pherecrates used this metre in the KpaTraraXot (96) : TOt9 vwt KpLvovai Xeyw, KpLVELV, rj VY] rov cfyiXiov p.vOov eh I'/xa? erepov 5 _u_ ^epcKpaTrjs Ae^et ttoAu tov- _6Spa, _uu wcTTrepet rov? 7rovXv7roSa<; _vj — _uu_ * * * vvKTOip Treptrpio- 5 * * * - -uu., yeiv avTUiv rovs SaKTvAovs. _vj_ Cf. Eupolis 362. This dimeter might be used in free combination with Glyconic cola, as in the ^oiWcrat of Aristophanes (561) : (rriX/Sr) 0* r/ Kara vvKTa fXOL (fiXoy* dva(7€ipd^eis cttI tw Av;(veta). u u_u. uuu uu. * * * — 4: * * * ^ Logaoedic' Metre in Greek Comedy 25 Cf. Philyllius 5 : Travra yap r]v 1 _uu_ fiear^ dvSpwv Kal /xetpaKi'wv . _uu_ TTtVOVTOJV, OfXOV 8' O/XCxScU U _UU_ ypaSt' fxeydXaLCTLv o'l- u_u_ voi> ^(aLpovTa AeTracrrat?. 5 u w It might be used also in combination with both Glyconic and chor- iambic cola, as in Pherecrates 109 : VTT a.vaSevSpdS(x)v aTraAa? 1 uuu_u_uu_ dcTraXdOov^ Trarovyre? _uu_ u.^ Kvirupov T€ SpGdwSrjj KavOpvcKOv fxaXaK(i)v t lcdv u _uu. VJ u u U VJ_U. XetfxaKa kol rpLcfjvXX ov. _vju_ u Three tetrameters, of which the second is a ' polyschematist ' Pria- pean (p. 23). Cf. also Aristophanes F^pas (142). Aristophanes employs it in a similar manner, in transition from a choriambic colon to Glyconics (a Priapean), in the tenth colon of the following lyric, which begins with six choriambic cola followed by two dactylic cola in logaoedic time : Nubes 563-574 = 595-606 563 vif/LixeSovTa fxkv Oeoiv 1 _uu_ u_u_ Zrjva Tvpavvov ;)(opov _uu_ u_u_ TTpwra fxeyav KLKXrjaKO) ' _uu_ u rov re fxeyaaOevrj rpia^vr^s ra/xtav, _uw_ u_u_ _uu_ yrjaX'qv 1 JdL-\j _u_u _u_ \J _uu. KO(TfxoaavS(x\oL Kapa TrvKa^ofxatif Kai yap KijTLaos atJTO/xaTOS 15 — \juw_u\j_ Trapa MeSovros ep^^erat. uuu_u_u_ * * _u_ ^"d uu_ ^ Dindorf, IV, i, p. 484; Diibner, p. 108 f.; Thiemann, p. 37 f. 2 See Zacher, Die Handschrifteti und Classen der Aristophanesscholien (1888), p. 634 f. ' Logaoedic' Metre in Greek Comedy 27 Cf. Cratinus 74, 31 8. Pherecrates also used the verse, as in 64 Kara ixvpoTzioXelv rt rraOovT 1 _uuu_ _uu Vij/rjXihs V770 (TKLadCL- ^ — uu_ , KarecTKevcKTixevov _w_ (TVVeBpLOV Tols fXeLpaKLOL^i 5 uu u ._VJ u_ _u_ avTLK ovSels ovbk /xayet- — u u_ paivav etSe ttoj— ore. _L/_U _uu ovre fXTji' oio Ly(6voTrui- Xaivav. 10 U _vj_ u _uu_ Cf. also Pherecrates 29, 47, 122, 132, 191, Eupolis 78, 120, Aristo- phanes 54, 55, Plato 92, 169, Alexis 206 and 237. The last reads : vxv S' Iva jXT) 1 _vju_ TrayreAcos Bouortot _u-. cjiaivrjcrO' elvai rol? btacrv- _uu-. petv vp-a^ eWLcrp.evoL^ s CO? aKLi'-qroi cbpeal koI (Soav Koi —LveLV (xovov Kol Set— l elv k-ni(Tra.p.€V0L hia riXov^ vvy^O' oXrjV u_ yvij.i'OvO'' arroi'b Oarrov arrav- re?. ^ * * >= * * 10 H.*^ The text of some of these fragments is uncertain. In colon 15 of Cratinus 98 the manuscripts of Athenaeus read Kal kvtlo-o?. Hermann proposed Kal yap, Porson Ka^aol. ]\Ieineke Kal 87). The resulting form ( uuu) is not found elsewhere. Likewise Kara pivpo-ojXeiv in the first colon of Pherecrates 64 is Casaubon's correction of Kara^vpo-co- Xelv. This gives _uuw_ (for _u — ), which cannot be paralleled in Eupolidean verse. The theory here advanced that the Eupolidean verse is a combination of the acatalectic and catalectic forms of the polyschematist dimeter seems to be established by the facts, and the verse, thus regarded, has its exact parallel in the pure Priapean, which combines Glyconic and catalectic Glyconic (Pherecratean) . See p. 15. The ordinary expla- nation of this period found in modern books, that it consists of a poly- 28 JoJin Williams White schematist dimeter and catalectic trochaic dimeter, is not borne out by the facts and probably arises from an incautious interpretation of the account of it given by Hephaestion, as follows (59, i ff.) : Kat to EvTroA-t'Setov to KaXov\x^vov kitiyppiaix^iKov 7roXv(T)(r]l^dLTL(Tr6v 1(ttlv^ iv w Tots Tpo;)(at/a(TK 'EK^avTtSvy?, _u _u_ ' Logaoedic ' Metre in Greek Comedy 29 _VJU_ VJ_U_ Trdvra (^op-qrd^ TrdvTa roA.- TfAr^V SeVt'oV VOfXOLCTL^ KOL 5 _UU_ VJ_VJ_ Cf. Cratinus 41, 327. Also Cratinus g, 146, 210, where the text is uncertain. A polyschematist form of the Cratineum was also in use by the comic poets, which Hephaestion (55, 15 ft.) describes as follows : iroXvcr'^ripid- TLCTTov Se avTo TreTTOirjKaaiv ol koj/jllkol. toijs yap crTrovSet'ons rou? ifXTTLTTTOVTag iv TOt? ia/x/3tKot? KOL Tot? T po)(aLKOLopei TropvwSi/cwv,-^ (TKoXLoiV MeXr/Tov, KapKtvwv avATy/xarcov, Bprjvwv^ yppuoiv, rdya Se ^-qXinO r) a er at. This lyric illustrates all the forms we have been considering — and some others ! — as follows : Ranae 1309-1328 AX(T. dAKVOves, at Trap' devdots OaXd(rar)LOi Kara ywvio,? 6 _u_uu _uu_u _ 1315 to-TOTTom 7r7]VLcrfxara, _vj\ju_ _uu KepKiSo? ololSov /xeAera?, _uvju_ _uu_ tv' 6 <^tAavXo9 eVaAAe SeA- uuu_u u_u_ c^ts TTpcopaLS Kuave/x/?oAois 10 u u_u_ fxavTela kol (TTaStovs^ u _uu_ 1320 olvdvOas . ydvo<; d/XTre'Aou, u u_u_ jSoTpvos eAtKtt Tracer tTTOi/ov. \juuuuu_uu_ TrepifSaXy co tckvov wAem?. uu u u_u_ O/DCt? TOV TToSa TOi)tOV,' At. 6p(S. 15 u VJ U_VJU_ Ala. TL Se; rourov 6|oas ; At. opo), uu_u u_u_ At. The Glyconic and Pherecratean, therefore, were a grea: :es: .:::e for any metrician who was endeavoring to prove that Greek metres were derived from the heroic hexameter. Accordingly we find, in the prolix pages ascribed to ^'ictorinus, all possible changes rung on his tiresome sic te diva potens Cypri ' and '•' grato Pyrrha sub antro." Xot that he regarded the metrical constitution of the Glyconic as dact}-lic ; three times in describing metres of Horace (and also elsewhere) he composes it of spondeus, choriambus, and pariambus ( trochaeus, spondeus ). But it was extremely useful to him in arguing for his fantastic and unhistorical theor}- of the derivation of metres. That is the purpose with which he rings the changes on the Glyconic, and one should be cautious in assum- ing that he has any other, namely that he believes and is endeavoring to show that the rhythm of this colon, as apart from its metre, is dactylic, a conception that in itself is not easy to grasp. There is a striking passage in the first chapter of his fourth book^ which seems ^ "Ad summam omnia me;:ra, er quae inter se congruunt, er quae temporom rarione contrarla s"j.nt, si pienius consideres, ab heroo traducta sunt, et mehercules siquis excurere penitus velit, inveniet, ut supra diximas, omnia genera ab hexametro hercxD et trimetro iam'oico derlvata, quamvis et iambicum heroi sit traducdvum, nec quicquam sine his per se posse subsistere. unde, ut niximus, haec duo metra ut elementa ceterorom ac semina habenda merito ac dicenda sunt, haec ita Arideri atque esse, ut diximus, si studiosa contemplatione exempla quae proponuntur adverteris, adprobabis. nam metrorum species, quamvis generis sui privilegio distinctae sint, tamen misceri inter se atque diversis communia efnci ea videKcet ratione, qua cuncta, ut dictum est, ex eadem origine atque uno fonle derivantur, sic comprehenditur. leglmus apud Horatium sic te diva potens C}"pri : hoc glyconium metrum dicitur, quod constat ex spondeo cboriambo et ultimo tr.ochaeo vel eodem spondeo. commune hoc esse cum heroo trimetro, quod constat ex spondeo et duobus dactylis, cunctis in promptu est,"' etc. (Keil \T, 146, 147.^ 34 John Williams White to show clearly what his sole purpose is in the prolonged argumentation of this chapter and of most of the third book. There is no hint here, or elsewhere, that he is rhythmizing. Whoever believes that he is must accept the consequence, and be prepared to find dactylic rhythm not only in antispastic and choriambic metre, but also in both the Ionic forms.^ Those who reject the doctrine of Heliodorus and Hephaestion some- times speak in a light-hearted and semi-contemptuous way of the cola and periods recorded in the Manual as "paper-schemes," and assert that Hephaestion's mode of procedure, in determining the constitution of a metrical series, was to ' chop off ' syllables four at a time, and, if at the end there was a remainder, to take refuge in brachycatalexis or hypercatalexis. This, of course, is pleasantry, as a glance at the metrical analyses of the lyrics discussed in this paper will show. Hephaestion was not ignorant of the allowed substitutions for normal forms in all these dimeters and trimeters, nor of the fact that, as the result of lawful substitutions, feet might contain five or even six syllables, and he had a singularly clear comprehension of the forms of catalexis. But this pleasantry recoils upon its projector, for it seems to be true that the lyrics of Aristophanes, at least, both here and elsewhere duly admit the measurement prescribed by the "schemes" of Hephaestion. Finally objection is taken to the great variety and apparent irregularity of form in these cola, and it is asserted with confidence that they are not rhythmical. The appHcation of the 'logaoedic' theory obliterates in many of these cola, for example in the choriambo-iambic and the antispastic, the metri- cal identity of iambic syzygies that are recognized as iambic by Helio- dorus and Hephaestion. But these iambic syzygies may, for the present, be dismissed. A sufficient number of unmixed iambic cola remain in the lyrics that have come under consideration above to point an important fact. These cola are free from admixture with choriambs or antispasts and are common ground both for those who adopt and for those who reject the ' logaoedic ' theory and must be dealt with by both in the same manner; whether Hermann's 'anacrusis' is recognized or not does not affect the rhythm of iambic cola. Now it is precisely these iambic cola which show the greatest variety, and for that matter ^ Marius Vict. VI, 127 and 128 (Keil). ^ Logaoedic' Metre in Greek Comedy 35 apparent irregularity of form. Nor must these particular iambics be regarded as singular in constitution because of their association with mixed metres. There are twenty odd lyrics in Aristophanes composed in pure iambic metre, and in these are found not only nearly all the forms of the dimeter that have been given above, but also many others^ such (omitting catalectic cola) as uuuu_ uvjul/_, u_uuu uuu VJ_, UUVJVJUU U_U_, U_ UUUU_, U_ UUU, U_ _ J ;^ J the Glyconic in its normal form becomes : i .f- J J / 1 J ;^ J This inversion of rhythmic stress may extend to both parts of the antispast. The first part of this foot allowed substitutions. In Aristo- phanes these are or _u or v>uu. Of the four possible forms, three {kjL, uou) are legitimate forms of the iambus in this place in the iambic syzygy. The fourth {Lyj) shows shift of rhythmic stress V V j (J ^ I J ^ i) , ^^^^ simple explanation of the Gly- conic was offered many years ago by M. Henri Weil in an article in the Revtie Critique, the importance of which has not, I think, been properly appreciated.^ been vigorously discussed, especially in America, in its application to both Greek and Latin poetry. See Bennett and Hendrickson in the A7nerican Journal of Philology, XIX (1898), pp. 361 ff., and XIX (1899), pp. 198 ff., 412 ff., and Goodell, Chapters on Greek Metric, pp. 155 ff. ^ Revue Critique, VI (1872), p. 49 ff. I quote from p. 52: " Je suis plus afiirmatif aujourd'hui : je crois qu'il faut tout simplement adopter un temoignage con- firme par tous les metriciens anciens de quelque autorite, et que la seule chose qui nous reste a faire, c'est de traduire les expressions antiques dans le langage des musiciens modemes. Disons que les glyconiques sont des mesures a douze-huit, qui admettent au commencement de chaque membre de phrase vocal une syncope faculta- tive et plus loin une syncope reguliere. Tov ap - yr) - Ttt Ko - Aw - vov evd', a At - yet - tt fkiv - v - pe - rat ^1 5 r r f 5 1 r p r r 5 r f ? | f f r On voit qu'il y a trois syncopes dans ces deux mesures : nous avons mis un point sous les notes qui ont une moitie de leur valeur dans un temps et I'autre moitie dans le temps suivant. Mais les anciens, nous I'avons dit, ne scindaient pas ainsi les valeurs concretes: aussi trouvaient-ils ici un assemblage de pieds contraires (dvTnradeis) , iambes et trochees, et ils battaient la mesure de maniere a faire sentir la marche a contre-temps : systeme compHque et qui derouterait singuUerement un chanteur moderne. La rhythmique est fort developpee chez les anciens, et on peut voir dans Aristide Quintilien combien ils etaient sensibles aux eff ets de rhythme : il ne faut done ' Logaoedic' Metre in Greek Comedy 37 The application of this principle to the other cola is simple, and clearly marks their differentiation from one another. The choriambic dimeter in its normal mixed and pure forms is^J J^j j J V J / J The poly- V I V schematist is „^ J J ^ \ J / J This view does not destroy the entity of the antispast and choriamb as fundamental feet. Both are in |- time and are in ascending rhythm. The former is a foot that usually occurs in combination with an iambic syzygy and is marked by shift of rhythmic stress always in the second half and sometimes also in the first. The choriamb, which is rarely used ' pure,' is always marked by shift of stress in the first half, never in the second. Syncopation m modern music, my colleague. Professor Spalding, informs me, always gives an enlivening effect ; whatever the sentiment may be that is conveyed by the verses to which the music is set, and it may greatly vary, inversion of stress animates the melody. It is precisely the device, therefore, that we should expect to find appHed in ' logaoedic ' verse, which, to characterize it briefly, is a vigorous metre of all work. That the Heliodorean and Hephaestionic doctrine of metres assumes a TTovs SoiSeKdarrjfxos or oKTcoKatSeKacTTy/xos as the unit of measurement in rhythms in |- time is obvious. The dimeter, in particular, prevails everywhere, not only in the metres considered in this paper, but also in lyric iambic and trochaic metres and in the iambic and trochaic tetra- meters of recitative verse. Among these the mixed cola of ' logaoedic ' metre, it may be conceded, are complex. As M. Weil has remarked in his luminous explanation of the Glyconic, Greek rhythmic was a highly developed art. The embarrassment and difficulty, however, which we pas s'etonner que les syncopes aient ete multipliees dans leurs compositions musicales." M. Weil has here inserted bars in such manner as to mark off one complete colon of twelve times, beginning as in modern music with the strong accent. See also his Atudes de litter ature et de rhyth?nique grecques (1902), pp. 181 ff. and 203 ff. — The * logaoedists ' have their own peculiar difficulties with this unruly variable element at the beginning of the Glyconic. Cf. the first and third editions of Rossbach and Westphal's Griechische Aletrik, ed. i, p. 479 ff. {Rhythnius^ ^ pp. 151 ff.), and ed. 35P-542 ff. 38 John Williams White modems, with little if any feeling for quantity, may experience in rendering these cola, without the music, is surely not sufficient ground on which to assert that a Greek, as he sang them, may not have felt them to be as rhythmical and melodious as pure dactylic or pure iambic series. Index of Passages cited from Greek Comedy (The numerals following the parentheses indicate the pages of this article.) Alexis, Frag. (206), 27; (237), 27. Aristophanes, Ach. (1150-1173), 9. Eq- (551-564=581-594), 15; (973- 996), 14. Nub. (510-517), 3; (518-562), 26; (563-574 = 595-606), 25; (700- 706 = 804-813), 4; (949-958 = 1024-1033), 5. Vesp. (319-322), 22; (526-545 = 631-647), 5; (1226 f.), 17; (1238), 17; (1245-1247), 17; (1248), 17; (1450-1473), 23. Pax (785-787 = 807-809), 10. ^7^. (676-684), 20; (1372 ff.), II f.; (1410 ff.), 17; (1415), 17; (1724 f.), 10; (1736 = 1742), 22; (1743), 22; (1754), 22. Lys. (319 f.), 11; (321-349), 7. Thesi7i. (352-371), 21; (990-1000), 19; (1136-1159), 20. Ran. (213), 10; (1251-1260), 14; (1309-1328), 29. Eccl. (902 = 908, 905 = 910), 10; (911-923), 19; (938-945). 17; (968-975), 8. Frag. (10), 10; (11), 10; (30), 10; (54), 27; (55), 27; (109), 18; (140), 15; (141), 18; (142), 25; (533), 10; (561), 24; (695), 18. Crates, Frag. (33), 15. Cratinus,7v'a^cr. (9), 29; (40,29; (74), 27; (98), 26; (146) 29; (172), 11; (210), 29; (221), 15; (318), 27; (320), 15; (321), 17; (324), 28; (327)* 29. Eupolis, Frag. (37), 29; (38), 10; (78), 27; (120), 27; (159), 10; (162), 15; (163), 10; (361), 10; (362), 24. Pherecrates, Frag. (13), 24; (29), 27; (47), 27; (64), 27; (79), 15; (95), 24; (96), 24; (109), 25; (122), 27; (131), 18; (132), 27; (191), 27. Philyllius, Frag. (5), 25. Plato, Frag. (92), 27; (169), 27. Date Due ! ■Mill b82 White W5B50 527614 / / on G-reek comedy ISSUED TO DATE b82 W5850 \ 527614