[102] Figs. 17-19 are taken from Körte, _op. cit._, p. 69 (Fig. 1), p. 78 (Fig. 3), and p. 80 (Fig. 5), respectively. In Fig. 17 there are only three actors; the end figures are flute-players. Körte believes this scene to be taken from Middle Comedy. In Fig. 19 the phallus has been omitted. [103] Figs. 20 and 21 are taken from Körte, _op. cit._, p. 91 (Fig. 8), and Baumeister’s _Denkmäler_, Fig. 2099, respectively. The phallus has been omitted from some of the actors. [104] Cf. Aristotle’s _Poetics_ 1448_a_31 f. [105] Those who admit this claim rest under the necessity of placing the introduction of actors at this early date. This would mean that comedy had actors before tragedy did! On the other hand, the reader needs to be warned that I place the introduction of comic actors later than most writers. [106] Cf. Aristophanes’ _Wasps_, vs. 57, and Kock, _Comicorum Graecorum Fragmenta_, I, 9 f., fr. 2 (Ecphantides), and I, 323, fr. 244 (Eupolis). [107] Von Wilamowitz’ skepticism with regard to Megarian comedy, however, has not gained many converts; cf. “Die megarische Komödie,” _Hermes_, IX (1875), 319 ff. [108] Cf. Navarre, _op. cit._, p. 268. The same fact is brought out more graphically in the lithographic table at the close of Zieliński’s book. [109] The episodes referred to in this sentence are more properly termed “mediating scenes” in contradistinction to the true episodes (5) which follow the parabasis (cf. White, _The Verse of Greek Comedy_, §§ 679 f.). Twenty-six connecting links of this sort occur in Aristophanes, twenty of them just before an agon or parabasis. Syzygies are also employed to extend the length of the play, especially in the first half (cf. p. 41, n. 1, above). [110] Cf. Aristotle’s _Poetics_ 1448_a_32-4. [111] Cf. Aristophanes’ _Frogs_, vss. 416-30, Rogers’ translation. The original is more vulgar than would be tolerable in an English translation. [112] Cf. Kaibel, _Comicorum Graecorum Fragmenta_, p. 18.