[284] Cf. Leo, _Rheinisches Museum für Philologie_, LII (1897), 513. [285] Cf. Seneca’s _Agamemnon_, vss. 981 ff. [286] Cf. Lounsbury, _Shakespeare as a Dramatic Artist_, pp. 111 f. [287] Cf. U. von Wilamowitz-Möllendorff, _Herakles²_, I, 119, note, and Euripides _Alcestis_, vss. 393 ff. [288] Cf. Aristotle’s _Rhetoric_ 1403_b_33, quoted as the motto of this chapter. [289] Cf. _Play-making_, p. 129. [290] Cf. _The So-called Rule of Three Actors in the Classical Greek Drama_, pp. 45-60. [291] In addition to the works mentioned on pp. xvii and xx f., above, cf. A. T. Murray, _On Parody and Paratragoedia in Aristophanes_ (1891); Mazon, “Sur le Proagôn,” _Revue de Philologie_, XXVII (1903), 263 ff.; Rees, “The Significance of the Parodoi in the Greek Theater,” _American Journal of Philology_, XXXII (1911), 377 ff.; Graeber, _De Poetarum Atticorum Arte Scaenica_ (1911); Robert, _Die Masken der neueren attischen Komödie_ (1911); and the bibliography listed on p. 318, below. [292] Cf. _Acharnians_, vss. 501 ff., Starkie’s edition, excursus V, and Croiset, _Aristophanes and the Political Parties at Athens_, pp. 42 ff. (Loeb’s translation). [293] Cf. Demosthenes’ _Against Midias_, § 74. [294] It probably began upon the tenth day of Elaphebolion (cf. Adams, _Transactions of American Philological Association_, XLI [1910], 60 ff.) and closed on the fifteenth. [295] Cf. the Introduction to Hayley’s edition, pp. xxiii ff. [296] Cf. Capps, in _Classical Philology_, I (1906), 219, note on l. 5, and Wilhelm, _Urkunden dramatischer Aufführungen in Athen_, pp. 195 ff. [297] Cf. _The Theory of the Theater_, p. 118. [298] Cf. his _Aristotle on the Art of Poetry_, pp. 48 f. [299] Cf. Dryden, _Dramatic Essays_ (Everyman’s Library edition), p. 20. [300] Cf. Philostratus, _Apollonius of Tyana_, p. 245. [301] Cf. note on vs. 38 in Tucker’s edition. [302] Cf. note on these lines in Starkie’s edition, and Murray, _op. cit._, p. 30. [303] Figs. 68 f. are taken from Robert, _op. cit._, Figs. 55 and 77, respectively. [304] Cf. _Laws_ 659A-C. [305] See pp. xvii f. above, and cf. Bartsch, _Entwickelung des Charakters der Medea in der Tragödie des Euripides_ (Breslau, 1852), p. 24. For the Boeotian version of the incident in Euripides’ _Suppliants_, cf. Pausanias i. 39. 2. [306] There is a tradition that this play was not produced in Athens, and some maintain that it was first played at Argos. In that case, in addition to appealing to the convictions of the pro-Athenian, anti-Spartan party in Argos, there must also have been the political motive of gaining converts for that party. [307] Cf. _Lectures on Dramatic Art and Literature_, translated by Black and Morrison, p. 38.