The Greek theater and its drama

by Roy C. Flickinger

[283] Cf. Horace Ars Poetica, vs. 192; see also [p. 53, n. 1], above.

[284] Cf. Leo, Rheinisches Museum für Philologie, LII (1897), 513.

[285] Cf. Seneca’s Agamemnon, vss. 981 ff.

[286] Cf. Lounsbury, Shakespeare as a Dramatic Artist, pp. 111 f.

[287] Cf. U. von Wilamowitz-Möllendorff, Herakles², I, 119, note, and Euripides Alcestis, vss. 393 ff.

[288] Cf. Aristotle’s Rhetoric 1403b33, quoted as the motto of this chapter.

[289] Cf. Play-making, p. 129.

[290] Cf. The So-called Rule of Three Actors in the Classical Greek Drama, pp. 45-60.

[291] In addition to the works mentioned on pp. [xvii] and [xx f.], above, cf. A. T. Murray, On Parody and Paratragoedia in Aristophanes (1891); Mazon, “Sur le Proagôn,” Revue de Philologie, XXVII (1903), 263 ff.; Rees, “The Significance of the Parodoi in the Greek Theater,” American Journal of Philology, XXXII (1911), 377 ff.; Graeber, De Poetarum Atticorum Arte Scaenica (1911); Robert, Die Masken der neueren attischen Komödie (1911); and the bibliography listed on [p. 318], below.

[292] Cf. Acharnians, vss. 501 ff., Starkie’s edition, excursus V, and Croiset, Aristophanes and the Political Parties at Athens, pp. 42 ff. (Loeb’s translation).