A. Of Authors and Subjects Referred to.

[The references are to pages throughout. Where the discussion of a subject is continued over several pages, only the first page is here given. Plays are usually cited under their authors’ names.]

Achilles, and Briseis, [9];
and Patroclus, [40], [76];
and Iphigeneia, [63].
Achilles Tatius, [13], [78], [109].
Actaeon, [33].
Admetus, and Apollo, [13], [31], [90], [99].
Aeschylus, [41];
and Stesichorus, [42];
Myrmidones of, [40], [82], [92].
Ajax, and Teucer, [76], [90], [99];
of Sophocles, compared to the Antigone, [99].
Alcaeus, the comic poet, [149].
Alcaeus, the lyric poet, [83].
Alcestis, [57], [99].
Alciphron, [146], [148].
Alcman, [22];
and Megalostrate, [23];
love-poems to boys, [24];
Parthenia, [24].
Alexander and the wife of Darius, [181].
Alexandrian poetry, distinctive feature of, [1], [69].
Alexis, Agonis of, [156];
Helene of, [161];
on marriage, [162];
on women, [224].
Ameipsias, [147].
Amphis on women, [227].
Anacreon, [26], [27], [86];
love-poems to women, [27];
importance for history of the romantic element, [28];
character of poems to boys, [86].
Anaxandrides, [154], [162];
on women, [213], [222].
Andromache, in the Iliad, [10];
as the ideal wife, [55], [64].
Antiphanes on women, [213], [219];
retort to Alexander, [152].
Antimachus 5, [107];
and Plato, [111];
and Catullus, [111];
influence on Asclepiades, [113], [197];
influence on Philetas, [113]
(vide s.v. [Lyde]).
Aphrodite, and Anchises, [202];
as the rival of Artemis, [59];
treatment of Phaedra, [47].
Apuleius, [189].
Archilochus, [19], [82];
true motive of his satires, [21];
and Catullus, [22].
Archippus, Ichthys of, [147].
Ariadne, [12], [14].
Aristophanes, [129];
weddings in, [132];
views on women, [134];
Cocalus of, [135];
Aeolosicon of, [143].
Asclepiades, [69];
Meleager’s criticism on, [73];
eulogy of Antimachus, [113];
probable influence on Menander, [196].
Aspasia, [127].
Bacchylides, [36].
Battis, [70].
Boy-love, in classical Greek literature, [74];
as an element of classical Greek society, [77];
as a military institution, [77];
as an emblem of liberty, [77];
purity of, [78];
development of, [79];
decay of, [79], [102];
permanent influence on literature, [80];
in the Anthology, [81];
in Archilochus, [82];
in Alcman, [24];
in Alcaeus, [83];
illustrated by Sappho, [85];
in Anacreon, [86];
in Theognis, [87], [207];
in the Scolia, [89];
in Attic tragedy, [91];
in Alexandrian poetry, [102];
in Meleager, [103].
Brother and sister, in Attic tragedy, [48], [101];
in the New Comedy, [245].
Callias, [147].
Catullus, [81].
Chionides, [122].
Clytemnestra, [42].
Corinna, [36].
Crates, [126], [128].
Cratinus, [126].
Cratinus junior, Theramenes of, [151].
Daphnis, [14], [34].
Deianira, [43].
Diphilus on women, [241];
belongs really to Middle Comedy, [188].
Diphilus and Gnathaena, [128].
Epicharmus, [122].
Epicrates, Antilais of, [73], [151].
Eubulus, on women, [214], [222];
Campylion of, [155];
Nannion of, [158].
Eumathius, [199].
Euripides, services to art, [50];
female characters, [50];
admiration for women, [51];
view of love, [52];
striking absence of love-element in, [52], [62], [63], [66];
why E. was not a “romantic” writer, [66];
E. and the Alexandrians, [53];
his misogyny, [51];
Aeolus of, [38], [52];
Andromeda of, [140], [203];
Antigone of, [38];
Chrysippus of, [93];
Electra of, [65];
Iphigeneia of, [63];
Medea of, [66];
Meleager of, [38];
Phoenix of, [38];
Protesilaus of, [57];
Stheneboea of, [38].
Ganymede, [13].
Goddesses, preponderance of, in Greek Pantheon, [7];
in love with mortals, [13].
Haemon, motives for suicide, [44].
Helen of Himera, [33].
Helen of Troy, in the Iliad, [10];
in Stesichorus, [33];
and Theseus, [161].
Hermesianax, [14], [26], [110].
Hesiod, women in, [8];
Catalogus of, [12].
Hetaera, in early times, [19];
in Bacchylides, [36];
in Early Comedy, [128], [147], [148];
in Middle Comedy, [151], [215], [219];
treated as superior to a wife, [158];
in New Comedy, [175].
Hippolytus, defence of, [61].
Ibycus, [35].
Iphigeneia, [63].
Jealousy, Attic view as to, [43], [55].
Lafaye, Catulle et ses modèles, [20], [22].
Lesbian Poets, [83].
Licymnius, [36].
Love, early Greek views as to, [12], [17], [55], [64];
in Middle Comedy, [160];
in New Comedy, [169], [185];
in Menander, [184];
in Sophocles, [46];
in Euripides, [52].
Love-element, in the Iliad, [75];
in Hymn. Hom. iv., [201];
in Sappho, [85];
in choral poetry, [35];
in Attic Tragedy, [38], [91];
in Sophocles, [46];
in Euripides, [50];
in Eur. Andromeda, [203];
in classical Greek poetry in general, [67];
in Middle Comedy, [150];
in New Comedy, [163];
in Asclepiades, [70].
Lyde of Antimachus, [107];
importance of, [108];
characteristic tone of, [110].
Lyric poetry, subjective, [17];
choral, [31].
Magnes, [122].
Mahaffy, Classical Greek Literature, [20], [63].
Marriage, in Comedy, [109], [212], [216] (vide s.v. [Middle Comedy], [New Comedy]);
Sophocles’ view of, [43];
in Greek romance, [109];
in Menander, [170].
Maximus Tyrius, distinction between ancient and modern love, [54];
on Achilles and Patroclus, [76];
on Sappho and Socrates, [85];
on Anacreon, [87].
Medea, [12], [14], [66].
Meleager, criticism of Asclepiades, [73];
poem to Charidemus, [103].
Menalcas, [14].
Menander, [2];
great merit of, [164];
wrote plays belonging to Middle Comedy, [193];
introduced the romantic element into comedy, [188];
marriage characteristic of, [170];
view of love, [184];
father and children in, [185];
why elderly married men are treated by M. as unhappy, [173];
on women, [233];
Leucadia of, [146];
Misogynes of, [174];
Misumenus of, [178];
Sicyonius of, [180];
Thais of, [177].
Middle Comedy, main features of, [150];
difference from Old Comedy, [125];
difference from New Comedy, [163];
women in, [210], [219];
women’s rights in, [243];
dislike of marriage, [158];
ridicules Platonic love, [160];
ridicules family life, [161];
parodies mythological erotic stories, [161].
Miles Gloriosus as the chivalrous lover, [180].
Mimnermus, [25];
and Nanno, [26];
mentioned by Roman poets, [27].
Minos and Zeus, [13].
Morychis, law of, [125].
Myrtis, [36].
Nanno, [26].
Nausicaa, [10].
New Comedy, [109];
ideal character of, [119];
difference from Middle Comedy, [163];
two common types of plot in, [165];
the married state described as a happy one, [171];
condemns adultery, [174];
only slaves ridicule Platonic love in, [185];
legal obligation to marry not urged in, [137];
women in, [233].
Orestes and Pylades, [101].
Ovid, [109].
Pandora, legend of, [8].
Parthenius, [15].
Penelope, [8];
and Odysseus, [10].
Phaedra, of Sophocles, [46];
illustrated from the Homeric Hymn to Aphrodite, [201];
of Euripides, [59].
Pherecrates, [125], [128].
Philemon, [142];
wrote plays belonging to Middle Comedy, [193];
more old-fashioned than Menander, [189];
on women, [240];
Hypobolimaeus of, [144].
Philetas, [69];
influenced by Antimachus, [113].
Philoxenus, [36].
Phocion on marriage, [133].
Phocylides, [19].
Pindar, erotic legends in, [67].
Plato, [6];
in the Hedychares of Theopompus, [149].
Plato comicus, [145].
Plautus, as imitating Middle Comedy, [157];
as illustrating New Comedy, [187];
and Menander, [234], [236];
Captivi of, [155];
Epidicus of, [183];
Poenulus of, [185];
Stichus of, [187].
Poseidippus, [26], [110].
Reitzenstein, Epigramm und Skolion, [25], [29], [34], [59].
Rhadina, [34].
Rhianus, poem to Dexionicus, [103].
Rohde, der griechische Roman, [75], [203].
Romantic Element, characteristic feature of, [4];
mistaken ideas as to, [2], [40], [106];
sudden appearance in literature, [69];
ditto, explained, [104];
origin among the Greeks, [105];
nature of in Greece, [108];
ditto, contrasted with mediaeval romance, [109];
in the Latin elegiac poets, [109].
Sacred Band of Epaminondas, [77].
Sappho, [85], [160];
and Phaon, [146];
and Sophocles, [45];
and Aeschylus, [45];
and Socrates, [85].
Scolia, [31], [89].
Scylla, legend of, [14].
Simonides Amorginus, [18];
and Hesiod, [18].
Sophocles, [43];
and Sappho, [45];
views on marriage, [45];
view of love, [46];
Antigone of, [47];
Colchides of, [38];
Niobe of, [93];
Oenomaus of, [38];
Phaedra of, [38].
Sparta, [6], [24], [77].
Stesichorus, [33];
and Aeschylus, [42].
Strato, [81].
Strattis, [147].
Susario, [68].
Telestes, [37].
Terence, as illustrating New Comedy, [187];
and Menander, [233];
Hecyra of, [170], [175].
Theocritus, poems to boys, [81], [83];
illustrative of Alcaeus, [83];
and Theognis, [208].
Theognis, [29], [87];
Book II., [207];
and Theocritus, [208].
Theopompus, [148];
Hedychares of, [149].
Theseus, and Helen, [161].
Wife, Sophoclean ideal, [44];
Euripidean ideal, [55];
compared with Hetaera in Middle Comedy, [158];
ditto in New Comedy, [176];
tyranny of wives in Middle Comedy, [244].
Women, primitive position of, [7];
in the Homeric poems, [8];
in Hesiod, [8];
in the early legends, [11];
in the stories of Parthenius, [15];
early literary ideal of, [17];
in Simonides, [18];
in Phocylides, [19];
in Theognis, [29], [199];
in the Scolia, [31];
in Stesichorus, [33];
in Ibycus, [35];
in the later choral poets, [36];
in Attic tragedy, [40];
in Aeschylus, [41];
in Sophocles, [43];
in Euripides, [50];
in the early Alexandrians, [69];
in Asclepiades, [71];
in Greek comedy, [118];
in the Middle Comedy, [219];
in early New Comedy, [233];
better position in Asia, [182];
freemasonry among in Euripides, [58];
might be attacked openly by name, [151];
women’s rights in the Middle Comedy, [243].