[234] Cf. Oxyrhynchus Papyri, IX (1912), 30 ff.
[235] For still further developments in the history of satyric drama see [pp. 198 f.], below.
[236] Cf. Kock, Comicorum Atticorum Fragmenta, II, 90, fr. 191.
[237] Cf. Freytag’s Technique of the Drama², translated by MacEwan, p. 75, and Hense, Die Modificirung der Maske in der griechischen Tragödie² (1905), pp. 2 f.
[238] Cf. Lounsbury, Shakespeare as a Dramatic Artist (1902), p. 175 (italics mine).
[239] Cf. ibid., p. 204. The passages referred to are Sophocles’ Philoctetes, vss. 38 f., 649 f., and 696-99, and Antigone, vss. 1016-22 and 1080-83. The expressions employed in the Greek could be seriously objected to only by the most fastidious.
[240] Cf. Haigh, The Attic Theatre³, p. 2.
[241] Cf. argument, Demosthenes’ Against Midias, §§ 2 f.
[242] In addition to the works mentioned on pp. [xvii] and [xx f.], above, cf. Decharme, Euripides and the Spirit of His Dramas (1892), translated by Loeb (1906); Capps “The Chorus in the Later Greek Drama,” American Journal of Archaeology, X (1895), 287 ff.; Helmreich, Der Chor bei Sophokles und Euripides (1905); A. Körte, “Das Fortleben des Chors im gr. Drama,” N. Jahrb. f. d. kl. Altertum, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’s Heauton, The Shifting of Choral Rôles in Menander, and Agathon’s ἘΜΒΟΛΙΜΑ,” Classical Philology, VII (1912), 24 ff.; Stephenson, Some Aspects of the Dramatic Art of Aeschylus (1913); Fries, De Conexu Chori Personae cum Fabulae Actione (1913); and Duckett, Studies in Eunius (1915).
[243] Nevertheless, it has been ignored by certain recent writers on the origin of tragedy, cf. Classical Philology, VIII (1913), 283.