[127] 1462_a_, _b_. (The phrasing in the summary above is borrowed from Butcher.) See further 1449_b_. [128] 1450_b_. [129] 1450_a_. [130] 1451_a_. [131] 1451_a_. [132] 1451_b_. [133] 1452_a_. [134] 1452_a_. [135] 1452_b_. [136] οἱ ἐν τῷ φανερῷ θάνατοι. [137] 1453_a_. [138] 1453_b_. [139] 1454_a_, _b_. [140] pp. 163-5. [141] pp. 313-5. [142] 1454_b_, 1460_a_. [143] 1452_b_: ἔστιν δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ παρόδου, ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν, ἔξοδος δὲ μέρος ὅλον τραγῳδίας μεθ’ ὃ οὐκ ἔστι χοροῦ μέλος, χορικοῦ δὲ πάροδος μὲν ἡ πρώτη λέξις ὅλη χοροῦ, στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου, κόμμος δὲ θρῆνος κοινὸς χοροῦ καὶ τῶν ἀπὸ σκηνῆς. [144] p. 4. [145] Chap. VI. [146] 1455_b_. [147] 1452_a_. [148] 1450_b_. [149] Plato (_Symposium_, 175 E) makes Socrates congratulate Agathon on his success in the presence of “more than 30,000 Greeks”. Modern archæologists, by statistics based on the seating-accommodation, would reduce this figure to 17,000. [150] There are fourteen of these at Athens. [151] This account is based on Dörpfeld (_Das griechische Theater_, Abschnitt VII) who believes there was no stage, and on Haigh (_Attic Theatre_³, edited by Mr. Pickard-Cambridge, Chap. III) who believes there was a stage. [152] That is, shorter, viewed from left to right by the spectators. The depth of the Vitruvian stage was 10 feet. [153] Vitruvius V, vii, 3-4. [154] By Wieseler and others. [155] Haigh³, pp. 165-74. [156] ἀναβαίνω: _Knights_, 148; _Acharnians_, 732; _Wasps_, 1342. [157] καταβαίνω: _Eccles._ 1151; _Wasps_, 1514. [158] Euripides, _Ion_, 727, _Electra_, 4 _sq._, _Herc. Fur._ 119. As Haigh (3rd ed., p. 167) points out, “in the last passage it is the chorus which makes the complaint; so that in this case, if there was any visible ascent, it cannot have been the ascent to the stage”. [159] This is a strong and favourite argument for the stage; when Haigh (3rd ed., p. 168) denies this because “a sufficient reason is ... the fact that, if they had gone into the palace, the scene of action would have been left empty for the time being,” he forgets that such a departure of the chorus is quite possible. It occurs in _Eumenides_, _Ajax_, _Alcestis_, and _Helena_, not to mention Comedy. [160] Haigh³, p. 170 _sq._ [161] _Symposium_, 194 B. [162] _Ars Poetica_, 278: Æschylus et modicis instravit pulpita tignis. [163] _Das Gr. Theater_, p. 350. [164] He wrote a lexicon to Plato in the third century after Christ. [165] Dörpfeld gives various optical diagrams to exhibit the effects. [166] We incessantly see this effect in modern theatres. But in Greece the presence of the chorus performing below would force spectators to regard the building as suspended.