phenomenon if they have provided a name for it, playwrights sometimes act as if they had justified an incongruity if they mention it. An excellent modern illustration of this occurs in _Twelfth Night_, II, 5. In order to extract the full humor from the scene it is necessary that Malvolio read aloud the forged letter which he has just found. Therefore, Shakespeare makes Sir Toby say: “The spirit of humours intimate reading aloud to him!” Since these words are uttered in an aside, they can have no real effect. Nevertheless, the dramatist eased his conscience by inserting them. Sometimes the difficulty of finding motifs suitable for the rôle of the chorus caused the playwrights to introduce a second chorus of a different type. Phrynichus seems to have done this in 476 B.C., bringing on a chorus of elders as well as one of Phoenician women.[248] Likewise, in Euripides’ _Hippolytus_ that hero’s comrades in the chase appear and sing a short ode (vss. 61-72) before the arrival of the regular chorus. Several other instances are known of in Euripides’ lost plays. In Seneca’s _Agamemnon_ there is a chorus of Mycenaean women and another of Trojan captives. In the same writer’s _Hercules on Mt. Oeta_, Dr. Fries (_op. cit._, p. 49) maintains that three choruses are introduced, one of Oechalian captives at vs. 104, another of Deianira’s companions at vs. 583, and a third of Hercules’ comrades at vs. 1031. The same sort of thing occurs also in comedy. Thus, from Terence’s _Self-Tormentor_, which is a Latin translation of Menander’s play of the same name, it would appear that in the Greek original a chorus of banqueting companions performed at vs. 171 and another chorus of maidservants at vss. 409 and 748.[249] Occasionally, before making its appearance, the chorus sings, from behind the scenes, in a different character from that which it later assumes. Aristophanes’ _Frogs_, for example, derives its name from a chorus which never is seen. At vs. 209 the chorus, from behind the scenes, delivers a batrachian strain as an accompaniment to Dionysus and Charon when they row across the subterranean lake (see p. 90, above). It is not until after vs. 315 that this chorus actually appears and reveals its true character, that of men and women who had, when on earth, been initiated into the mysteries. This method of procedure gained one of two results—it obviated the necessity either of a lightning change of costume on the part of the chorus or that of hiring extra choreutae. As to the latter alternative, whatever may have been true of the tragic poets (see p. 134, above), there is no reason to suppose that the comic poets always had spare choreutae at their disposal.