[26] Menand. Fragm. 558 (Kock). [27] Plut. Cupid. Divit. 527 E. [28] C. I. A. ii. 420, 470, 471. [29] C. I. A. ii. 471, 741. [30] Dem. Meid. § 22; Athen. p. 534 C. [31] Xen. Hipparch. iii. 2. [32] Philostrat. Vit. Soph. p. 549. [33] C. I. A. ii. 470, 471. Hence Aristophanes in the Frogs selects Dionysus as the most experienced of dramatic critics. Cf. also Aristoph. Eq. 536 θεᾶσθαι λιπαρὸν παρὰ τῷ Διονύσῳ. Late writers (Philostrat. Vit. Apoll. p. 161; Dio Chrys., orat. 31, p. 631 R) protest against shedding human blood in gladiatorial combats in the very orchestra visited by the god Dionysus. [34] In the lists of victors at the City Dionysia (C. I. A. ii. 971 a-e, iv. 971 f-h) the contests enumerated are always the same, viz. παίδων, ἀνδρῶν, κωμῳδῶν, τραγῳδῶν. Cp. Athen. Pol. c. 56 χορηγοὺς τραγῳδοῖς καθίστησι τρεῖς ... ἔπειτα παραλαβὼν τοὺς χορηγοὺς τοὺς ἐνηνεγμένους ὑπὸ τῶν φυλῶν εἰς Διονύσια ἀνδράσιν καὶ παισὶν καὶ κωμῳδοῖς κτλ. Dem. Meid. § 10 καὶ τοῖς ἐν ἄστει Διονυσίοις ἡ πομπὴ καὶ οἱ παῖδες ⟨καὶ οἱ ἄνδρες⟩ καὶ ὁ κῶμος καὶ οἱ κωμῳδοὶ καὶ οἱ τραγῳδοί. (The words καὶ οἱ ἄνδρες have obviously fallen out.) Cp. also C. I. A. ii. 553 (list of victors παισὶν ἢ ἀνδράσιν). [35] Dem. Meid. § 156 loosely calls the choruses of men αὐληταὶ ἄνδρες, and the author of the first Argument to the speech, misled by this, states that there were αὐλητῶν χοροί at the City Dionysia. But other passages in the speech, e.g. §§ 15, 17, show that the expression means not that the men were flute-players, but that they sang dithyrambs accompanied by the flute. See Wieseler, Das Satyrspiel, pp. 46-8. [36] [Marmor Par. ep. 46. For the archon v. Munro, Class. Rev. xv. p. 357. For choregia v. Capps, Introduction of Comedy to the City Dionysia, p. 27 ff.] [37] Schol. Aeschin. Timarch. § 11 ἐξ ἔθους Ἀθηναῖοι [κατέστησαν] κατὰ φυλὴν πεντήκοντα παίδων χορὸν ἢ ἀνδρῶν, ὥστε γενέσθαι δέκα χορούς, ἐπειδὴ καὶ δέκα φυλαί. λέγονται δὲ οἱ διθύραμβοι χοροὶ κύκλιοι, καὶ χορὸς κύκλιος. [38] Dem. Meid. § 13; Antiphon orat. vi. §§ 12, 13. [39] Lysias xxi. § 2; Dem. Meid. § 5 τῆς φυλῆς ἀδίκως ἀφαιρεθείσης τὸν τρίποδα. The choregus of a dithyrambic chorus was said χορηγεῖν τῇ φυλῇ. Plut. X orat. 835 B ἐχορήγησε κυκλίῳ χορῷ τῇ αὑτοῦ φυλῇ ἀγωνιζομένῃ διθυράμβῳ: Isaeus v. § 36 οὗτος γὰρ τῇ μὲν φυλῇ εἰς Διονύσια χορηγήσας τέταρτος ἐγένετο, τραγῳδοῖς δὲ καὶ πυρριχισταῖς ὕστατος. (Bentley’s emendation, τέταρτος ἐγένετο τραγῳδοῖς, καὶ πυρριχισταῖς ὕστατος makes Dicaeogenes fourth in the tragic contest, in which there were never more than three competitors.) [40] In the time of Aristotle the choregi in comedy were appointed by the tribes. But this was a late innovation, and produced no change in the character of the contest. See chap. ii. § 2. [41] C. I. A. ii. 971 (printed in Appendix B). Ibid. ii. 1234 ff.