[303] Figs. 68 f. are taken from Robert, op. cit., Figs. 55 and 77, respectively.
[304] Cf. Laws 659A-C.
[305] See [pp. xvii f.] above, and cf. Bartsch, Entwickelung des Charakters der Medea in der Tragödie des Euripides (Breslau, 1852), p. 24. For the Boeotian version of the incident in Euripides’ Suppliants, cf. Pausanias i. 39. 2.
[306] There is a tradition that this play was not produced in Athens, and some maintain that it was first played at Argos. In that case, in addition to appealing to the convictions of the pro-Athenian, anti-Spartan party in Argos, there must also have been the political motive of gaining converts for that party.
[307] Cf. Lectures on Dramatic Art and Literature, translated by Black and Morrison, p. 38.
[308] In addition to the works mentioned on pp. [xvii] and [xx f.], above, and the bibliography listed on [pp. 57-59], above, cf. Hense, Die Modificirung der Maske in der griechischen Tragödie² (1905); Dignan, The Idle Actor in Aeschylus (1905); Flickinger, “Scaenica,” Transactions of the American Philological Association, XL (1909), 109 ff.; Robert, Die Masken der neueren attischen Komödie (1911); Rees, “The Significance of the Parodoi in the Greek Theater,” American Journal of Philology, XXXII (1911), 377 ff., and “The Function of the Πρόθυρον in the Production of Greek Plays,” Classical Philology, X (1915), 117 ff.; Harms, De Introitu Personarum in Euripidis et Novae Comoediae Fabulis (1914); Mooney, The House-Door on the Ancient Stage (1914); and Rambo, “The Wing-Entrances in Roman Comedy,” Classical Philology, X (1915), 411 ff.
[309] Cf. Craig, On the Art of the Theatre (1911), pp. 13 and 54 ff., and Cornford, Thucydides Mythistoricus (1907), p. 142, n. 2.
[310] Fig. 70 is taken from Dörpfeld-Reisch, Das griechische Theater, Fig. 43; Fig. 71 is from a photograph taken by Professor L. L. Forman and furnished by Dr. A. S. Cooley.
[311] Cf. Three Plays for Puritans, p. xxxvi.
[312] Fig. 72 is taken from Puchstein, Die griechische Bühne, Fig. 3.