ταὶ Διονύσου πόθεν ἐξέφανεν σὺν βοηλάτᾳ χάριτες διθυράμβῳ; Βοηλάτᾳ is usually explained by reference to the ox prize, cf. schol. Plato, _Republic_, 394C: εὑρεθῆναι μὲν τὸν διθύραμβον ἐν Κορίνθῳ ὑπὸ Ἀρίονός φασι. τῶν δὲ ποιητῶν τῷ μὲν πρώτῳ βοῦς ἔπαθλον ἦν, τῷ δὲ δευτέρῳ ἀμφορεύς, τῷ δὲ τρίτῳ τράγος, ὃν τρυγὶ κεχρισμένον ἀπῆγον. Kern, Crusius, and Ridgeway, however, refer it to the practice of an Arcadian community, the Cynaethaens, of whom Pausanias (viii. 19. 1) speaks as follows: “And as to the things most worthy of mention there is a shrine of Dionysus there, and in the winter season they celebrate a festival, in which men who have anointed themselves with oil lift up a bull from the herd, whatever one the god himself puts in their minds to lift, and carry it to the shrine. Such was their manner of sacrifice.” Cf. Pauly-Wissowa, V, 1041 and 1206, and _Origin of Tragedy_, p. 6. [23] Cf. Kaibel, _Comicorum Graecorum Fragmenta_, p. 115, fr. 132; οὐκ ἔστι διθύραμβος ὅκχ’ ὕδωρ πίῃς. [24] Published by Rabe in _Rheinisches Museum für Philologie_, LXIII (1908), 150. [25] Cf. Aristotle’s _Poetics_ 1448_b_1: καὶ τὸ ποιεῖν αὐτοὶ [sc. οἱ Δωριεῖς] μὲν δρᾶν, Ἀθηναίους δὲ πράττειν προσαγορεύειν. In referring to this passage von Wilamowitz says: “So viel wahr ist, dass δρᾶμα in der Tat ein Fremdwort ist; man redet im Kultus nur von δρώμενα”; cf. _op. cit._, p. 467, n. 3. [26] Cf. Haigh, _The Tragic Drama of the Greeks_ (1896), p. 17, n. 1, and Pickard-Cambridge in _Classical Review_, XXVI (1912), 54. It is also possible that Arion’s employment of a new generic term (δράματα) for his dithyrambs is alluded to. Herodotus may have taken it as a matter of course that everyone knew what this new name was and consequently failed to mention it, thus leaving the passage ambiguous. [27] Cf. Suidas, _s.v._ “Arion”: λέγεται καὶ τραγικοῦ τρόπου εὑρετὴς γενέσθαι καὶ πρῶτος χορὸν στῆσαι <κύκλιον> καὶ διθύραμβον ᾆσαι καὶ ὀνομάσαι τὸ ᾀδόμενον ὑπὸ τοῦ χοροῦ καὶ σατύρους εἰσενεγκεῖν ἔμμετρα λέγοντας. I cannot agree with Reisch, _op. cit._, p. 471, and Pickard-Cambridge, _op. cit._, p. 54, in thinking that this notice refers to three separate types of performances instead of one. [28] See p. 7, n. 4, above. [29] Cf. Pickard-Cambridge, _op. cit._, p. 55. [30] Cf. Suidas, _s.v._ “Thespis”: Θέσπις Ἰκαρίου πόλεως Ἀττικῆς, τραγικὸς ἑκκαιδέκατος ἀπὸ τοῦ πρώτου γενομένου τραγῳδιοποιοῦ Ἐπιγένους τοῦ Σικυωνίου τιθέμενος, ὡς δέ τινες, δεύτερος μετὰ Ἐπιγένην· ἄλλοι δὲ αὐτὸν πρῶτον τραγικὸν γενέσθαι φασί. [31] Cf. Suidas, _s.v._, Photius, _s.v._, and Apostolius xiii. 42: Ἐπιγένου τοῦ Σικυωνίου τραγῳδίαν εἰς τὸν Διόνυσον ποιήσαντος, ἐπεφώνησάν τινες τοῦτο· ὅθεν ἡ παροιμία. [32] Cf. _The Origin of Tragedy_, p. 58. [33] About a dozen explanations in addition to those discussed in the text are listed and criticized in _Classical Philology_, VIII (1913), 269 ff.