[184] They are mutes, for the lines supposed to be uttered by one or both behind the scenes were probably delivered by one of the actors not needed “in front”.
[185] The Œdipus Coloneus is an exception. See Jebb’s Introduction, 3rd ed., pp. 7, 8.
[186] Cp. the vigorous protest of Pratinas (p. 6).
[187] Pherecrates, Cheiron, frag. 1, cp. Arist. Thesmoph. 100.
[188] Ar. Frogs, 1314.
[189] We hear from the scholiast on Choephorœ, 900, that the same actor took the part of Pylades and of the servant who gives the alarm. The latter after arousing Clytæmnestra rushes within, and when the Queen has uttered five lines Pylades appears accompanying Orestes. This example is given by Haigh³, p. 232.
[190] Told by the scholiast on Aristophanes, Frogs, 303.
[191] The slovenliness in this regard of many modern actors is mostly due to “long runs”. After saying the same thing hundreds of times, an actor naturally tends to mechanical diction. The writer has heard a performer in an emotional crisis suddenly (as it appeared) call for champagne. Feeling sure that “Pommery” could not be right, he reflected, and discovered that the mysterious syllables meant “Poor Mary!” Even actors at the head of the profession are guilty of such things as “the lor of Venice”.
[192] See Haigh³, p. 279 sq., for some highly interesting extracts.
[193] Poetic 1456a (tr. Butcher).