[57] Eumenides.
[58] Antigone; Oedipus Rex.
[59] Anthos.
[60] Phrynichus, Capture of Miletus.
[61] Id., Phoenissae; Aeschylus, Persae (Persae-trilogy?).
[62] Moschion, Themistocles; Theodectes, Mausolus; Lycophron, Marathonii; Cassandrei; Socii; Philiscus, Themistocles.
[63] Aeschylus, Septem c. Thebas; Prometheus Vinctus; Danais-trilogy; Sophocles, Antigone; Oedipus Coloneus; Euripides, Medea.
[64] Quite distinct from this revision was the practice against which the law of Lycurgus was directed, of “cobbling and heeling” the dramas of the great masters by alterations of a kind familiar enough to the students of Shakespeare as improved by Colley Cibber and other experts. The later tragedians also appear to have occasionally transposed long speeches or episodes from one tragedy into another—a device largely followed by the Roman dramatists, and called contamination by Latin writers.
[65] Anthos (The Flower).
[66] One satyr-drama only is preserved to us, the Cyclops of Euripides, a dramatic version of the Homeric tale of the visit of Odysseus to Polyphemus. Lycophron, by using the satyr-drama (in his Menedemus) as a vehicle of personal ridicule applied it to a purpose resembling that of Old Attic Comedy.