17 ([return])
[ That is, when three actors became admitted on the stage.
18 ([return])
[ For it is sufficiently clear that women were admitted to the tragic performances, though the arguments against their presence in comic plays preponderate. This admitted, the manners of the Greeks may be sufficient to prove that, as in the arena of the Roman games, they were divided from the men; as, indeed, is indirectly intimated in a passage of the Gorgias of Plato.
19 ([return])
[ Schlegel says truly and eloquently of the chorus—“that it was the idealized spectator”—“reverberating to the actual spectator a musical and lyrical expression of his own emotions.”
20 ([return])
[ In this speech he enumerates, among other benefits, that of Numbers, “the prince of wise inventions”—one of the passages in which Aeschylus is supposed to betray his Pythagorean doctrines.
21 ([return])
[ It is greatly disputed whether Io was represented on the stage as transformed into the actual shape of a heifer, or merely accursed with a visionary phrensy, in which she believes in the transformation. It is with great reluctance that I own it seems to me not possible to explain away certain expressions without supposing that Io appeared on the stage at least partially transformed.