[969]. Sch. Aristoph. Acharn. 848.
[970]. Vit. Æschyl. p. vi.
[971]. Bœttiger, Furies, p. 2. Poll. iv. 110. Schol. Aristoph. Av. 298. Eq. 586.
[972]. According to Mr. Bœttiger, however, “chez[“chez] les anciens Atheniens les femmes n’ont jamais assisté aux représentations théatrales.”—Furies, p. 3, note. But, in addition to the proofs of the contrary, accumulated in the preceding book, the reader may consult the testimony of Aristides, who severely blames his countrymen for allowing their wives and children to frequent the theatres, t. i. p. 518, cf. p. 507.—Jebb. He speaks, indeed, more particularly of the Smyrniotes; but Smyrna was an Ionian colony.—Herod. i. 149.
[973]. Cf. Schol. Aristoph. Acharn. 209.
[974]. Cf. Scalig. Poet, i. 21. Leroy, Ruines des plus beaux Monumens de la Grèce, p. 14.
[975]. Cf. Hesych. v. νέμησις ὑποκριτῶν.
[976]. This, however, I merely conjecture from the practice of marking with lines the station of the chorus. Hesych. v. γραμμαί.
[977]. When making their exit, it is said they were preceded by a flute-player. Sch. Aristoph. Vesp. 582. These musicians wore, while playing, straps of leather called φορβείαι, bound over their mouth in order to regulate the quantity of air transmitted into the pipe. Id. ibid. See Burney, Hist. of Music, i. 279.
[978]. Cf. Torrent. in Suet. Domit. Com. p. 390. a. The best auletæ were those of Thebes. Dion Chrysost. i. 263.