[15] Not that there were never lapses of time or shifts of place (see Matthews, _A Study of the Drama_, Chapter xiii, and Goodell, page 82), but that Greek tragedies move habitually without time-break and in a single stage-setting. [16] Murray, _op. cit._, page 212. [17] See above, pages 147, 149, 150, 161. [18] The plays ascribed to L. Annæus Seneca (distinguished as “the younger” or “the philosopher,” circ. 4 B.C.-65 A.D.) are _Œdipus_, _Phœnissæ_, _Medea_, _Hercules Furens_, _Hippolytus_ (or _Phædra_), _Hercules Œtæus_, _Thyestes_, _Troades_, _Agamemnon_. Their authorship is discussed by E. C. Chickering in _An introduction to Octavia Prætexta_, New York, 1910 (Columbia dissertation), which also contains a brief account of Roman tragedy, reviews the question of the stage production of Seneca, and discusses his rank as tragedian. Ella I. Harris’s _Two tragedies of Seneca, Medea and the Daughters of Troy, rendered into English verse_, Boston, 1898 (all ten, New York, 1904), summarizes Senecan influence on English drama. See further J. W. Cunliffe’s _The influence of Seneca on Elizabethan tragedy_, New York, 1893. All the Senecan tragedies are included in _The tragedies of Seneca translated into English verse, to which have been appended comparative analyses of the corresponding Greek and Roman plays_ ... by F. J. Miller, introduced by an essay on the influence of the tragedies of Seneca upon early English drama by J. M. Manly, Chicago, 1907. Miller’s translation is published also in the Loeb Classical Library. [19] Chickering suggests (page 45) a resemblance to grand opera. [20] It is reviewed by Chickering. [21] “Ce sont des exercices de déclamation, des recueils factices de morceaux de bravoure écrits pour la lecture.” G. Michaud, _Le génie latin_, Paris, 1900, page 116. [22] See above, pages 71-2 and foot-note 8. “Quant aux caractères c’est du stoicisme découpé en personnages.” E. Nageotte, _Histoire de la littérature latine_, page 469. [23] Seneca “the elder,” or the rhetorician, in his collection of _Controversiæ_, is the chief source of our knowledge of _declamatio_. See Chapter IV. II. [24] See Legrand, P. E., _Tableau de la comédie grecque pendant la période dite nouvelle_—κωμῳδία νέα; translated as _The New Greek Comedy_ by James Loeb, with introduction by John Williams White, London and New York, 1917. An earlier study quoted below is Lallier, R., _La comédie nouvelle, introduction à l’étude du théâtre de Térence_ (leçon d’ouverture), Toulouse, 1876.