The appointment of a systematic ὑποβολεὺς, or prompter, plainly indicates the existence of complete manuscripts. The direction of Solôn, that Homer should be rhapsodized under the security of a prompter with his manuscript, appears just the same as that of the orator Lykurgus in reference to Æschylus, Sophoklês, and Euripidês (Pseudo-Plutarch. Vit. x. Rhetor. Lycurgi Vit.)—εἰσήνεγκε δὲ καὶ νόμους—ὡς χαλκᾶς εἰκόνας ἀναθεῖναι τῶν ποιητῶν Αἰσχύλου, Σοφοκλέους, Εὐριπίδου, καὶ τὰς τραγῳδίας αὐτῶν ἐν κοινῷ γραψαμένους φυλάττειν, καὶ τὸν τῆς πόλεως γραμματέα παραναγιγνώσκειν τοῖς ὑποκρινομένοις· οὐ γὰρ ἐξῆν αὐτὰς (ἄλλως) ὑποκρίνεσθαι. The word ἄλλως, which occurs last but one, is introduced by the conjecture of Grysar, who has cited and explained the above passage of the Pseudo-Plutarch in a valuable dissertation—_De Græcorum Tragœdiâ, qualis fuit circa tempora Demosthenis_ (Cologne, 1830). All the critics admit the text as it now stands to be unintelligible, and various corrections have been proposed, among which that of Grysar seems the best. From his Dissertation, I transcribe the following passage, which illustrates the rhapsodizing of Homer ἐξ ὑποβολῆς:— “Quum histriones fabulis interpolandis ægre abstinerent, Lycurgus legem supra indicatam eo tulit consilio, ut recitationes histrionum cum publico illo exemplo omnino congruas redderet. Quod ut assequeretur, constituit, ut dum fabulæ in scenâ recitarentur, scriba publicus simul exemplum civitatis inspiceret, juxta sive in theatro sive in postscenio sedens. Hæc enim verbi παραναγιγνώσκειν est significatio, posita præcipue in præpositione παρὰ, ut idem sit, quod _contra_ sive _juxta_ legere; id quod faciunt ii, _qui lecta ab altero vel recitata cum suis conferre cupiunt_.” (Grysar, p. 7.) [265] That the Iliad or Odyssey were ever recited with all the parts entire, at any time anterior to Solôn, is a point which Ritschl denies (Die Alexandrin. Bibliothek, pp. 67-70). He thinks that before Solôn, they were always recited in parts, and without any fixed order among the parts. Nor did Solôn determine (as he thinks) the order of the parts: he only checked the license of the rhapsodes as to the recitation of the separate books: it was Pesistratus, who, with the help of Onomakritus and others, first settled the order of the parts and bound each poem into a whole, with some corrections and interpolations. Nevertheless, he admits that the parts were originally composed by the same poet, and adapted to form a whole amongst each other: but this primitive entireness (he asserts) was only maintained as a sort of traditional belief, never realized in recitation, and never reduced to an obvious, unequivocal, and permanent fact,—until the time of Peisistratus.