[54] vv. 1211-6. [55] There is good reason to suppose that what we possess is a second version. The scholiast on Aristophanes mentions passages as parodies of lines in the _Medea_ which we no longer read there. [56] In his ὑπομνήματα, quoted by the Argument to the _Medea_. [57] πρῶτος εἰς τὸ νῦν μῆκος τὰ δράματα κατέστησεν. [58] Unless we except the _Rhesus_ (996 lines). [59] The original form of it seems to have been:— ὥστ’ οὐχ ὑπάρχων ἀλλὰ τιμωρούμενος ἀγωνιοῦμαι. [60] The name is not certain. The book is variously called ὑπομνήματα (“notes”), ἐπιδημίαι (“visits”), and συνεκδημητικός. The first is not a “name”—it merely describes the book. The second was explained by Bentley to mean “accounts of the visits to our island of Chios by distinguished strangers”. The third could mean something like “traveller’s companion”. [61] Plutarch (_De Profectu in Virtute_, 79 E), no doubt quoting from Ion, tells us that at a critical moment in a boxing match Æschylus nudged Ion and said: “You see what a difference training makes? The man who has received the blow is silent, while the spectators cry aloud.” [62] Plutarch, _Pericles_, Chap. V. [63] v. 835. To the scholium on this line we owe much of our information about Ion. [64] One of them bears the curious title “Great Play” (μέγα δρᾶμα), but nothing is known of it. [65] _Frogs_, 1425. [66] XXXIII, 5 (Prof. Rhys Roberts’ translation). [67] Diog. Laert. II, 133. [68] Croiset III, p. 400 (n.), thus explains the strange words of Suidas, ἐπεδείκνυτο δὲ κοινῇ σὺν καὶ Εὐριπίδῃ. [69] Haigh, _Tragic Drama of the Greeks_, p. 409. [70] Ath. X, 451 C. [71] Aristotle, _Poetic_, 1451_b_. [72] _Ibid._ 1456_a_ (Butcher’s translation). [73] Plutarch, _Symposiaca_, 645 E. [74] _Thesm._ 100: μύρμηκος ἀτραπούς. [75] Aristotle, _Poetic_, 1456_a_. [76] _Ibid._ [77] _Ibid._ [78] Such a sentence as that of M. Orgon in _Le jeu de l’amour et du hasard_ (I, ii.): “Va, dans ce monde, il faut être un peu trop bon pour l’être assez,” strikes one as thoroughly Agathonesque. [79] _Protagoras_, 315 E. [80] _Symposium_, 198 C. Socrates says of Agathon’s panegyric upon Eros: καὶ γάρ με Γοργίου ὁ λόγος ἀνεμίμνησκεν. The whole speech of Agathon is intended to show these characteristics. Cp., for example, 197 D: πρᾳότητα μὲν πορίζων, ἀγριότητα δ’ ἐξορίζων· φιλόδωρος εὐμενείας, ἄδωρος δυσμενείας κτἑ. [81] _Thesm._ 130 _sqq._ [82] _Ibid._ 54 _sqq._ [83] It is noteworthy that Socrates’ famous “prophecy of Shakespeare” (_Symposium_, 223 D), “one who can write comedy can write tragedy and _vice versa_,” is addressed to Agathon and Aristophanes jointly. [84] The attribution of this play to Critias is not certain, but probable; it is accepted by Wilamowitz. The new life of Euripides by Satyrus (see above, p. 18) attributes it to that poet. [85] _Eratosthenes_, II. [86] _Poetic_, 1453_b_. [87] _De Gloria Atheniensium_, 349 E. [88] _Poetic_, 1455_a_, _b_.