ABSURDITIES, how to be managed by the
poet, 35.

Accusativus de quo, 356, 357; rei vel
facti, 357.

Achæus Eretriensis, the tragedian,
[102].

Action, Unity of, 312-320.

Actors, one introduced by Thespis, [47];
another by Eschylus, [74]; a third
by Sophocles, [88], and Cratinus,
[164]; only three allowed to each
dramatist, [146]. [164]; their gains
and character, [167]; not paid by
the choragi, [146] ; neglected by-play
altogether, [165]; used bodily exer-
cises, [167].

Actresses, unknown to the Grecian stage,
174.

Adjectiva composita in og, 337.
Admission-money to the theatre, [165].
Adrastus, subject of lyrical tragedies at
Sicyon, [31]; passage of Herodotus
respecting him explained, 108. 113.
'Así, quantity of, 415.

Eschylus, his life, [71-74]; number of
his dramas, [74]; improvements in
tragedy, [75, 76]; his Agamemnon,
195; Chöephoro, 232; Eumenides,
198; his political aims therein, [73].
201; Suppliants, 202; Seven against
Thebes, 204; Persians, ibid. Pro-
metheus Bound, 205; Prometheus
Fire-bringing, [78], note 8; his
style 207; his diction, [79, 80];
his plays allowed to be acted after
his death, [75], note 4; a Pythago-
rean, [76], note 5; his ZKEλioμós,
[73], note 1; accused of plagiarism

from Phrynichus, [68], note 13;
relation between his tragedy and the
plastic arts, [78], note 6; his aris-
tocratical spirit, [73. 76]; his works
bear internal proof of his fondness
for the Dorians, [79]; and of his
military spirit, ibid.
Afranius, 304.

"Ayav, quantity of, 415.
Agatharchus, the inventor of stage
scenery, [154]. 128.

Agathon, the tragedian, [102]. 253; first
inserted choruses foreign to the play,
[103].

Αἴωραι, [155].

̓Ακούετε, λεώς, 51.

Alexis, the comedian, [130].
"Aλкηoтiç, no reason why Thespis never
wrote a play so named, [54]. 74.
Alphabet, Greek, not completed till after
Thespis's death, 75.

Ameipsias, the comedian, [114].
"Av, contingent, goes with the past tenses
only of the indicative, 343. 367.
with oo et similia, 344.

with indicative, subjunctive, and op-
tative, 344.

'Avayvopioic or Discovery, 16; dif-
ferent kinds of, 22.
Anapests, when they may form the first
foot in the senarius, 373, note.
Anapastic Tetrameter Catalectic, 386.
Anapæstic verses, 382; why mostly used
in opening choral song, [156]. [162].
Anaxandrides, the comedian, [130].
Ancient Mythology symbolical, not alle-
gorical, 200.

'Avía, 'Avýp, quantity of, 414.

Antiphanes, the comedian, [129].
Apollodorus, the comedian, [134].
Apsephion, or Aphepsion the Archon,
[82]. 105.

Araros, the son of Aristophanes, [126].
'Apẞúλai, [75], note 2. [157], note 1.
Archilochus, [38]; fragments of, 47;
imitated by Cratinus, [110].
Archilochian verse, 63-65.

Arion, the originator of the Tragic
Chorus, [26 seqq.]

Aristias, son of Pratinas, [70].
Aristophanes, [115], 160; place of his

birth, [116]; time of his birth, [117,
118]; his Banqueters, [117, 118].
Babylonians, [118]; Acharnians,
[119]. 268; Knights, [119, 266];
Clouds, [120-123]. 271; Wasps,
273; Peace, 267 ; Amphiaraus, [123];
Birds, [123], [124]. 273; Lysistrata,
269; Thesmophoriazusæ, 270; Frogs,
[125]. 271; Ecclesiazusæ, [124],
[125]. 262; Plutus, [124], [125].
274; Æolosicon, [125], note 4; Co-
calus, [125]. 294; number of his
plays, [126]; his patriotism, 262;
buffoonery and licentiousness, [126],
[127]. 262; excellencies, 264; pas-
sages of, corrected by Bentley,

92-95.

Aristotle, his Poetics, 313; Rhetoric,

313, 314; his assertion that the early
drama was extemporaneous, how ex-
plained, [29]; his etymology of кwμq-
día incorrect, [57],[58]; his definition
of Tragedy and Comedy, [60], [61].
Art and Idolatry, [4].

Articulus cum propriis nominibus, 360.
Arundel Marble, engraver of, falsely
charged with an omission, 80 seqq.
Asinius Pollio, 306.
Atellane Fables, 301.

̓Αθάνατον ὀργὴν μὴ φύλαττε, θνητὸς

wv, whence taken, 45. 58, 59.
'Alávaroc primam producit, 45, note.
Attic Crases, 331, 332.
Attius, 305, 306.

Audience, theatric, [165]; its number,

[141]. 155; talents, 264, 265; be-
haviour, [166], [167].
Augment, Attic, 334 seqq.

"Atog, its government, 357 seqq.

B.

Bacchic choruses three in number, 120,
121.

Bacchus, early worship of in Attica, [9].
[42].

Barthelemy's Anacharsis, 162.

Bentley's Dissertation upon Phalaris,
account of, 44.
Βουλευτικόν, [151].
Brauronia, [43].

Βροντεῖον, [155]. 170.

Bull, the prize of the Dithyramb, 120.
Buskin, introduced by Eschylus, [75].

C.

Cæsura in the Senarius, 374, note.
Calf, prize of the harpers, 121.
Canones Dawesiani, 343–359.
Carcinus, the tragedian, [103].
Catastrophe, 17.

Chæremon, [104]. 4. 33.

Characters, which best for tragedy, 17.
Charondas, age of, 134, 135; laws falsely
ascribed to him, 131–135.

Charonic ladder, [152]. 169.
Chionides, the comedian, [109].
Choerilus, the tragedian, [67].

Choragi, their office and how chosen,
[145]; their rivalry, [146]; success-
ful, honours of, [147].
Choragic expenses, [146]. 131-133.
Χορὸν διδόναι, [147], note 8.
Chorus, origin of, [11]; etymology of the

word, [11], note 1; properly limited
to a fixed dancing-place, and so dis-
tinguished from the comus [13];
nature and use of, 182; Dithyrambic
or Cyclian, 120; Tragic, Comic,
number of, [156]; one of the actors,
26; joined in the dialogue by means
of its coryphæus, 171.
Christus Patiens, [105].

Chronology of the Greek Drama, [136 —
140].

Cleisthenes of Sicyon, [31]. [45].
Cleon, [119].

Clepsydra, its use in scenic exhibitions,
[148]. 13.

Comoedia Togata, 304.

Palliata, 304.

Comedy, etymology of, [57], [58]; ori-
ginally mythological, [107]. 258, 259.
291; when established at Athens,
and why, [59]; Attic, aim of, 297.
Comedy, the Old, its origin, [57]; its
nature, [63-65]; prize, 56; pro-
gress, [5]; prohibited for a time,
[110]; extinction, 261; number of
its plays, 47; antithesis and parody
of Tragedy, 254, 255; its apparent
want of aim, 256; its political
meaning, 258.

Comedy, the Middle, its origin, 261;
how different from the Old, [64];
number of its pieces, 47; difficult to

distinguish between its writers. and
those of the Old Comedy, [64]. 277.
Comedy, the New, its origin, 278; its
nature, 279; a mixture of jest and
earnest, 278; its morality a system of
prudence, 279. 288; a copy of reality,
280; variety of its species, 282; com-
bines the Play of character and the
Play of intrigue, 283; its tone, 286;
structure of Theatre unfit for it, 292 ;
circle of its characters, 293-295; its
physiognomy expressed in the portrait-
statues of Menander and Posidippus,
298; number of its plays, 288, 289.
Comic trimeter, 376.

257.

ideal, the converse of tragic, 256,

Comus distinguished from the chorus,
[13].

Copula enclitica, 368.

Costume, [142]. [159].

Crane, theatric machine so called, [154].
170.

Crases Attic, 331, 332.

Crates, the comedian, [111]. 8.
Cratinus, the comedian, [110] ; his style,
274; introduced a third actor, [164].
Cretic termination, 396.
Critias, [105]. [125].

Critical objections, and answers to them,

35-41.

Cyclic chorus the same as the Dithy-
rambic, [26]. 119.

D.

Dactyls in Anapæstic verse, 387.
Dances-Gymnopædic, Pyrrhic, Hypor-
chematic, [17]; those of scenic poetry,
[19].

Dante, [79]. [97].
Demeter, [21].

Δέσις καὶ Λύσις, 25.
Διάκριοι, [44].

Diction, parts of, 26, 27; poetic, 29.
Didascaliæ, [148]. 46.

Dinolochus, the comedian, [109].
Dionysia, number of, [142]; account of,
[142] seqq.
Dionysius, [96]. [105].

Dioscorides, epigrams of, on Thespis
and Eschylus, quoted and corrected,
67, 68.

Diphilus, the comedian, [134].
Dithyramb, explanation of the word,

[25], note 1; nature of, [25]. 115;
chorus of, 120; prize of, 120, 121;
gave birth to Tragedy, 7.
Dolon, no comedian so named, 55 seqq.
Dorians adopted the religion of con-

quered countries, [20]; claimed the
invention of the drama, 5.
Dorica dialectus in anapæstis, 414.
Drama, origin of, [2]. 149; general his-
tory of, 149--151; important as a
vehicle of doctrines, 155, 156.
Drama, Greek, religious reference of,
[2 seqq.]; choral element of, [11
seqq.]; rhapsodical element of,
[37-41]; an union of the rhapsody
with the cyclic chorus, [42—51];
arose in the Dorian states, [11]; at
the beginning extemporaneous, ac-
cording to Aristotle, [29]. 48, 49; its
first metre trochaic, 8; essentially
different from the modern in its mode
of representation, [141], [142]; its
time of performance, [142-144]; its
means of performance, [145-148];
its place of performance, [149]; its
manner of performance, [155 seqq.]
Drama, Lyrical, [30], [31].
Dramatic, exposition of the idea, 147,
148.

Dramatic Art, schools of, 220, 221.
Contests, [142 — 144].
Unities, 312-328.
Dramatists their own actors, [47].
Duplicate divinities, [20].

Elisions, 332, 333.
"Eußarai, [75], note 2.

Emendations of Strabo, [4], note 4; of
Pausanias, [24], note 4; of Schol.
on Aristoph. [69], note 2; of Diphi-
lus, [80], note 8; of Euripides, [95],
note 1. [99], note 8; of Eschylus,
of Aristotle, 30, note 4.
Εμμέλεια, [19].
Ημιν et ἡμῖν, 415.
Ennius, 305.

"H où, prosody of, 416.
'ETE with optative, 347.
'Eonẞikóv, [151], note 3.
Epicharmus, inventor of Comedy, 5. 49;
life and account of, [107], [108].
Epic poetry compared with tragedy, 5,
6. 31-33.

to bas-relief, 187.