[913]. Plat. Ion. t. ii. p. 183, seq. Wolf. Proleg. p. 95. Cf. S. F. Dresig. Comment. Lips. 1734. Gillies, Hist. of Greece, vol. i. c. 6.
[914]. Diod. Sic. xiv. 109. xv. 7.
[915]. Philost. Vit. Soph. ii. 16. Vit. Apoll. Tyan. v. 7. Vandale, Dissert. 380, seq.
[916]. Casaub. ad Theoph. Char. p. 121. Athen. v. 49. Animadv. t. viii. p. 196.
[917]. Vandale. Dissert, v. p. 383.
[918]. Plat. de Rep. viii. t. ii. p. 229, seq. Athen. xiii. 44. In Roman times we find an actor travelling from the capital to Seville in Spain, where with his lofty cothurni, strange dress, and gaping mask, he frightened the natives out of the theatre.—Philost. Vit. Apoll. Tyan. v. 9. Cf. Luc. de Saltat. § 27. A taste for the amusements of the Grecian stage was diffused far and wide through the ancient world, so that we find the princes of Persia and Armenia not only enjoying the representation of Greek tragedies, but themselves, likewise, in some instances, aspiring to rival the dramatic poets of Hellas. Thus Artavasdes, the Armenian prince, is said to have written tragedies, as well as histories and orations, some of which still existed in the age of Plutarch. The Parthian court was engaged in beholding the Bacchæ of Euripides, in which Jason of Tralles was the principal performer, when Sillaces brought in the head of Marcus Crassus, upon which both king and nobles delivered themselves up to immoderate joy, and the actor, seizing upon the Roman’s head, exchanged the part of Pentheus for that of his mother, who appears upon the stage bearing a bleeding head upon her thyrsus; for this he received a present of a talent from the king.—Plut. Crass. § 33. Polyæan. vii. 41. 1.
[919]. Plut. Cleom. § 12.
[920]. Plut. ubi supra.
[921]. Διονυσοκόλακες. Athen. vi. 56.
[922]. Plut. Alex. § 29.