great value. There is generally no difficulty in deciding which was the leading character. But it is obvious that the subordinate parts might be distributed in various ways; and no doubt the arrangement differed at different periods. There are no traditions on the subject in addition to those already mentioned. Any attempt, therefore, to reproduce the exact arrangement adopted at a particular period must depend more or less upon conjecture. § 3. _Extra Performers._ For every Greek play a chorus was provided by the choregus, and three actors were supplied by the state. But in most plays a certain number of additional performers was required. The parts which these extra performers had to fill may be divided, roughly speaking, into three classes. In the first place there were the various mute personages, who simply appeared upon the stage, and did nothing more. The second class consisted of minor characters with only a few words to say. In these cases extra performers were required, either because the regular actors were already occupied, or because the part was that of a boy or girl, which the regular actor would be unable to take. Thirdly, in many cases a small subordinate chorus was required, in addition to the ordinary one. The general name for the persons who undertook these parts was ‘parachoregemata’.[706] This word obviously means something which is supplied by the choregus in addition to his ordinary expenditure. It follows, therefore, that the cost of the extra performers was borne by the choregus. Properly he was only responsible for the chorus; but if additional men were required, he had to supply them. This conclusion is confirmed by Plutarch’s story of a certain tragic actor who was going to appear as a queen, but refused to proceed with the part, unless the choregus provided him with a train of female attendants.[707] Extra performers were especially necessary in the Old Comedy, in which a great number of characters appear upon the stage.