[45] Cf. Hiller, _Rheinisches Museum für Philologie_, XXXIX (1884), 329. [46] Cf. Horace _Ars Poetica_, vs. 276: dicitur et plaustris vexisse poemata Thespis. [47] Cf. _Kleine Schriften_, p. 422, and _Neue Jahrbücher für das klassische Altertum_, XXIX (1912), 474. [48] Cf. Suidas, _s.v._ “Thespis”: μνημονεύεται δὲ τῶν δραμάτων αὐτοῦ Ἆθλα Πελίου ἢ Φόρβας, Ἱερεῖς, Ἠίθεοι, Πενθεύς. [49] Cf. Diogenes Laertius v. 92. Both Aristoxenus and Heraclides were pupils of Aristotle. [50] Cf. Ridgeway, _op. cit._, p. 69. [51] Cf. Suidas, _s.v._ οὐδὲν πρὸς τὸν Διόνυσον (quoted on p. 29, n. 2, below). [52] The cognomen was due to the belief that the image and cult were derived from Eleutherae. At Eleutherae itself, however, his cognomen would naturally be different. There he was known as Διόνυσος Μελάναιγις, “Dionysus of the Black-Goat-Skin.” From this fact an abortive attempt has recently been made to derive a new explanation for tragic performances being denominated “goat-songs”; cf. _Classical Philology_, VIII (1913), 270. [53] Cf. _Marmor Parium_ (quoted on p. 14, n. 2, above). [54] Cf. _Poetics_ 1449_a_19 ff., Bywater’s translation. [55] Cf. _op. cit._, p. 472. This exegesis has now been commended by Pickard-Cambridge; cf. _Classical Review_, XXVI (1912), 53. Cornford has expressed the same view by means of a neat paraphrase: ἐκ σατυρικοῦ εἰς σεμνὸν μετέβαλεν, cf. _The Origin of Attic Comedy_ (1914), p. 214, n. 1. Gomperz’ translation (1897) reads as follows: “Was das Wachstum ihrer Grossartigkeit anlangt, so hat sich das Trauerspiel im Gegensatze zur ursprünglichen Kleinheit der Fabeln und der zum Possenhaften neigenden Artung der Diction ihres satyrspielartigen Ursprungs wegen erst spät zu höherer Würde erhoben.... Ursprünglich hatte man sich nämlich, da die Dichtung satyrhaft und mehr balletartig war, des trochäischen Tetrameters bedient.” [56] Cf. _Poetics_ 1449_a_22 f., Butcher’s translation. [57] In 467 B.C. Aristias concluded his tragedies with the _Palaestae_, “a satyric drama of his father Pratinas” (cf. arg. Aesch. _Seven against Thebes_). It is generally supposed that this was a posthumous piece. But Professor Capps suggests that Pratinas may frequently have provided a satyr-play for someone’s else trilogy, and thus explains the disproportionate number of satyric dramas in Pratinas’ list and of tragedies in other poets’ lists.