[225] A drachma contained six obols and was worth about eighteen cents without making allowance for the greater purchase value of money in antiquity. [226] Cf. Haigh, _The Attic Theatre_ (3d ed. by Pickard-Cambridge, 1907), p. 1. [227] The affirmative side of the question is presented by Haigh, _op. cit._, pp. 324 ff.; the negative by Rogers, Introduction to Aristophanes’ _Women in Council_ (1902), pp. xxix ff. [228] Cf. Frickenhaus, “Der Schiffskarren des Dionysos in Athen,” _Jahrbuch d. arch. Instituts_, XXVII (1912), 61 ff. Fig. 65 originally appeared as Beilage I, Fig. 3, in connection with this article. It is taken from a drawing by Signor G. Gatti, a photograph of which was furnished me through the courtesy of Professor Ghisardini, Director of the Museo Civico at Bologna. [229] Cf. Plautus’ _The Casket_, vss. 89 f.: per Dionysia mater pompam me spectatum duxit, and vss. 156 ff.: fuere Sicyoni iam diu Dionysia. mercator venit huc ad ludos Lemnius, isque hic compressit virginem, adulescentulus, <vi>, vinulentus, multa nocte, in via. For the differences between Old Comedy, Middle Comedy, and New Comedy, see p. 39, above. [230] Cf. his Preface to _Bajazet_. [231] Cf. Ribbeck, _Rheinisches Museum_, XXX (1875), 145. [232] Cf. Aristotle’s _Poetics_ 1456_a_6 and 1453_a_19. [233] Cf. _ibid._, 1451_b_25. [234] Cf. _Oxyrhynchus Papyri_, IX (1912), 30 ff. [235] For still further developments in the history of satyric drama see pp. 198 f., below. [236] Cf. Kock, _Comicorum Atticorum Fragmenta_, II, 90, fr. 191. [237] Cf. Freytag’s _Technique of the Drama²_, translated by MacEwan, p. 75, and Hense, _Die Modificirung der Maske in der griechischen Tragödie²_ (1905), pp. 2 f. [238] Cf. Lounsbury, _Shakespeare as a Dramatic Artist_ (1902), p. 175 (italics mine). [239] Cf. _ibid._, p. 204. The passages referred to are Sophocles’ _Philoctetes_, vss. 38 f., 649 f., and 696-99, and _Antigone_, vss. 1016-22 and 1080-83. The expressions employed in the Greek could be seriously objected to only by the most fastidious. [240] Cf. Haigh, _The Attic Theatre³_, p. 2. [241] Cf. argument, _Demosthenes’ Against Midias_, §§ 2 f. [242] In addition to the works mentioned on pp. xvii and xx f., above, cf. Decharme, _Euripides and the Spirit of His Dramas_ (1892), translated by Loeb (1906); Capps “The Chorus in the Later Greek Drama,” _American Journal of Archaeology_, X (1895), 287 ff.; Helmreich, _Der Chor bei Sophokles und Euripides_ (1905); A. Körte, “Das Fortleben des Chors im gr. Drama,” _N. Jahrb. f. d. kl. Altertum_, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’s _Heauton_, The Shifting of Choral Rôles in Menander, and Agathon’s ἘΜΒΟΛΙΜΑ,” _Classical Philology_, VII (1912), 24 ff.; Stephenson, _Some Aspects of the Dramatic Art of Aeschylus_ (1913); Fries, _De Conexu Chori Personae cum Fabulae Actione_ (1913); and Duckett, _Studies in Eunius_ (1915).