[358] Cf. scholia to Aristophanes’ _Acharnians_, vs. 408 and _Women at the Thesmophoria_, vs. 284; Pollux iv. 128, and Eustathius, p. 976, 15. [359] The _exostra_ (ἐξ, “out” + ὠθεῖν, to “push”) seems to have performed about the same function as the eccyclema; cf. Pollux iv. 129; perhaps it was only the more specific name for this later type. [360] On the basis of ἀναβάδην in vs. 399, for which the scholiasts preserve two interpretations, some writers would have us believe that Euripides was shown in the second story. Tracks for the wheels of an eccyclema have been reported on the logium level of the theater at Eretria (see p. 107, above). [361] Cf. _Poetics_ 1454_b_1 and 1461_b_21. [362] Cf. _Euripides and the Spirit of His Dramas_, pp. 263 ff., Loeb’s translation (1906). [363] According to late authorities Greek theaters were provided with revolving prisms (_periacti_) with a different view painted on each of their three sides. These could be turned to indicate a change of scene. There is no evidence, however, that this contrivance was employed during the classical period of Greek drama, although Dörpfeld thought that a place was provided for it in the earlier parascenia at Epidaurus (cf. _Das griechische Theater_, p. 126). The _geranos_ (“crane”) and the _krade_ (“branch”) were probably only other names for the μηχανή. [364] Cf. Themistius _Oration_ xxvi, 316 D. [365] Cf. _Poetics_ 1451_b_26. [366] Cf. Archer, _Play-making_, p. 119. [367] Cf. _Hamburgische Dramaturgie_, Zimmern’s translation, p. 377. [368] Cf. _Euripides and His Age_, p. 206. [369] Cf. Reitzenstein, _Hermes_, XXXV (1900), 622 ff. [370] Cf. Kock, _Fragmenta Comicorum Atticorum_, II, 500, fr. 79. [371] Aristotle’s theory of the purificatory effects of tragedy has not fallen within the scope of my text, but I cannot forbear citing Fairchild, “Aristotle’s Doctrine of Katharsis and the Positive or Constructive Activity Involved,” _Classical Journal_ XII (1916), 44 ff.