[24] Published by Rabe in Rheinisches Museum für Philologie, LXIII (1908), 150.
[25] Cf. Aristotle’s Poetics 1448b1: καὶ τὸ ποιεῖν αὐτοὶ [sc. οἱ Δωριεῖς] μὲν δρᾶν, Ἀθηναίους δὲ πράττειν προσαγορεύειν. In referring to this passage von Wilamowitz says: “So viel wahr ist, dass δρᾶμα in der Tat ein Fremdwort ist; man redet im Kultus nur von δρώμενα”; cf. op. cit., p. 467, n. 3.
[26] Cf. Haigh, The Tragic Drama of the Greeks (1896), p. 17, n. 1, and Pickard-Cambridge in Classical Review, XXVI (1912), 54. It is also possible that Arion’s employment of a new generic term (δράματα) for his dithyrambs is alluded to. Herodotus may have taken it as a matter of course that everyone knew what this new name was and consequently failed to mention it, thus leaving the passage ambiguous.
[27] Cf. Suidas, s.v. “Arion”: λέγεται καὶ τραγικοῦ τρόπου εὑρετὴς γενέσθαι καὶ πρῶτος χορὸν στῆσαι <κύκλιον> καὶ διθύραμβον ᾆσαι καὶ ὀνομάσαι τὸ ᾀδόμενον ὑπὸ τοῦ χοροῦ καὶ σατύρους εἰσενεγκεῖν ἔμμετρα λέγοντας. I cannot agree with Reisch, op. cit., p. 471, and Pickard-Cambridge, op. cit., p. 54, in thinking that this notice refers to three separate types of performances instead of one.
[28] See [p. 7, n. 4], above.
[29] Cf. Pickard-Cambridge, op. cit., p. 55.
[30] Cf. Suidas, s.v. “Thespis”: Θέσπις Ἰκαρίου πόλεως Ἀττικῆς, τραγικὸς ἑκκαιδέκατος ἀπὸ τοῦ πρώτου γενομένου τραγῳδιοποιοῦ Ἐπιγένους τοῦ Σικυωνίου τιθέμενος, ὡς δέ τινες, δεύτερος μετὰ Ἐπιγένην· ἄλλοι δὲ αὐτὸν πρῶτον τραγικὸν γενέσθαι φασί.
[31] Cf. Suidas, s.v., Photius, s.v., and Apostolius xiii. 42: Ἐπιγένου τοῦ Σικυωνίου τραγῳδίαν εἰς τὸν Διόνυσον ποιήσαντος, ἐπεφώνησάν τινες τοῦτο· ὅθεν ἡ παροιμία.
[32] Cf. The Origin of Tragedy, p. 58.
[33] About a dozen explanations in addition to those discussed in the text are listed and criticized in Classical Philology, VIII (1913), 269 ff.