[90] The second is, of course, the personification of Increase; the first is not so obvious. Some connect it with Demeter; it has also been proposed to interpret it as the Cretan form of ζημία, “damage.” The one would therefore represent the productive and the other the destructive powers; cf. Macan’s edition _ad loc._ This would accord very neatly with Cornford’s positive and negative charms. [91] Cf. Jacoby, _Das Marmor Parium_, p. 13: ἀφ’ οὑ ἐν Ἀθ[ήν]αις κωμω[ιδῶν χο]ρ[ὸς ἐτ]έθη, [στη]σάν[των πρώ]των Ἰκαριέων, εὑροντος Σουσαρίωνος, καὶ ᾆθλον ἐτέθη πρῶτον ὶσχάδω[ν] ἄρσιχο[ς] καὶ οἴνου με[τ]ρητής, [ἔτη .... The exact date is not determinable but is limited to a period of twenty years by other entries just before and after this one. [92] Figs. 12 and 13 are taken, by permission of the Council of the Hellenic Society, from the _Journal of Hellenic Studies_, II (1881), Pl. XIV, A1 and B1; Fig. 14 from Poppelreuter, _op. cit._, p. 8; and Figs. 15 and 16 from Robinson, _Boston Museum Catalogue of Greek, Etruscan, and Roman Vases_ (1893), p. 136. [93] Cf. Capps, _University of Chicago Decennial Publications_, VI, 286, and _American Journal of Philology_, XXVIII (1907), 186 f. [94] The divisions of tragedy are discussed on pp. 192 f., below. Five of the terms applied to the divisions of comedy appear also in tragedy, viz., prologue, parodus, episode, stasimum, and exodus; several, if not all, of the five seem to have originated in tragedy. [95] From this second half of the parabasis comedy developed another epirrhematic division to which Zieliński also gave the name of syzygy. This was not exclusively choral, however, stood at no definite point in the play, and differed in still other respects from the epirrhematic syzygy of the parabasis. Three syzygies appear in Aristophanes’ _Acharnians_ and _Birds_, none in his _Lysistrata_, _Women in Council_, and _Plutus_. Cf. White, _op. cit._, § 677. Since it is apparent that such syzygies are not primary in origin, they have been ignored in the foregoing discussion. [96] Or at least reflect its influence; cf. the syzygies mentioned in the last note. [97] Cf. Cornford, _op. cit._, p. 46. [98] Cf. White, “An Unrecognized Actor in Greek Comedy,” _Harvard Studies_, XVII (1906), 124 f. [99] Cf. Zieliński, _op. cit._, p. 190. [100] Published by Usener in _Rheinisches Museum f. Philologie_, XXVIII (1873), 418. [101] Cf. Aristophanes’ _Clouds_, vss. 537 ff. (Rogers’ translation). The original of “filthy symbols” is σκύτινον καθειμένον. It has therefore been suggested, especially since there seems to be an allusion to a phallus even in the _Clouds_ (vs. 734), that Aristophanes is not to be understood as discontinuing the use of the phallus altogether in this play, but merely as abandoning the φαλλος καθειμένος in favor of the less indecent φαλλὸς ἀναδεδεμένος. Both types are seen in Fig. 17.