GENERAL INDEX

(References to ancient playwrights are supplementary to the Index of Passages; those to modern playwrights may be found by consulting “Parallels.” For theaters at various sites see “Theater.” All references are to the pages of this volume.)

Acceleration of time, 250-57

Actors, xi f., xiv, xix, 5, 35, 132 f., 162-95;

first actor, 16-19, 162, 165;

two actors, 163-71, 173-76, 183, 231 f.;

three actors, 166-71, 176-83, 185-88, 231;

number of, 129, 172-82, 182-84, 192;

poets as, 18, 168 f., 318;

coryphaeus as, 165, 169-71;

in satyr-plays, 26;

in comus, 43-46;

in comedy, 46-49, 54-56;

position in theater, 60, 77-79, 81 f., 86, 88-103, 117, 130, 149;

ignored, 91, 163, 169, 173, 209, 230, 232;

and chorus, 136-39, 149;

contests of, 169, 269;

guilds, 185-88;

female rôles, 4, 188 f.;

social position, 190 f.;

specialization, 191 f., 202 f.;

how introduced, 208-12;

how paid, 165, 183 f., 270;

how assigned, 273 f.

See Aesthetic Law, Children, Lay Figure, Masks, Motivation, Mute, Parachoregema, etc.

Acts, 148, 192-95, 265, 301, 307, 311

Adrastus, 11-15, 17, 35

Aeschylus:

first tragic poet, 2, 33;

introduced second actor, 166, 183;

indebted to Homer, 17;

imitated by Euripides, xviii;

contested with Pratinas and Choerilus, 23 f., 63;

originated tetralogies, 23, 133 f.;

brought knowledge of Epicharmus to Athens, 56;

historical themes, 124;

dialogue, 170 f.;

plays repeated, 203 f., 324;

murders, 229;

soliloquies, 305;

iambic resolutions, 171 f.;

victories, 272, 321, 324 f.

Aesthetic law of actors, 53, 186-88;

violence, 130 f., 229;

of supports for stage, 86;

effect of third actor, 167

Aetiology, 6, 15, 295

Agathon, 93, 124, 144-46, 148, 205 f.

Agon, 41, 43-46, 49, 55, 193, 275

Agonothete, 109, 271 f., 325

Alexis, 304

ἀναβαίνω, 91 f.

ἀναγνώρισις. See Recognition

Ancestor worship, 33 f.

Anthropology, 4 f.

Aparts (asides), 312

ἀποκρίνεσθαι, 16

Arion, 8-11, 13, 24, 32 f.

Aristias, 23

Aristomenes, 327 f.

Aristophanes:

productivity, 335;

sought prize, xviii, 213-16;

used coryphaei as actors, 44;

borrowed ἐξόδια, 45;

use of phallus, 46 f.;

of chorus, 146;

Frogs repeated, 204;

imitated Euripides, 302;

technique of dual entrance, 310;

iambic resolutions, 172;

position of name in records, 326-29

Aristotle, ix, xxi, 5 f., 21;

and spectacle, xi-xiii, xv f.;

on origin of comedy, 35 f., 50-52, 54 f.;

of tragedy, 6, 21 f., 28 f.

ἀταξία, ἀτάκτως, 52 f., 184

Audience, xiii, xvii, xix, 120 f., 132, 213, 215-20, 302 f., 305 f.

Back scene, 65 f., 226-29, 241

Bethe, 79

Blinding, 131, 159, 222

βοηλάτης, 7

Box set, xv, 229

Bulle, 31 f.

Burial, 282 f.

Butcher, 252

Bywater, 6, 51

Callistratus, 326, 328

Capps, 23, 35, 55 f., 88, 144

Castelvetro, xiii, 130

Charon’s steps, 106

Chauvinism, xvii f., 217-20

Children, 120 f., 179 f., 189

Chionides, 35, 51, 54

Choerilus, 23, 63

Choregus, 132, 182, 186, 205, 269-71, 273

ΧΟΡΟΥ, 145-48, 193 f., 254

Chorus (choreutae), 2, 5, 10 f., 132, 133-61;

size of in dithyramb, 11, 132, 197;

in satyr-play, 26;

in tragedy, 133 f.;

in comedy, 42, 134 f.;

of satyrs, 2, 10, 15, 24-32, 136, 154;

“goat” choruses at Sicyon, 11;

non-satyric at Sicyon, 13 f., 15;

likewise at Athens, 10 f.;

of sileni, 16, 21, 24, 26, 29, 32, 135;

transferred from Adrastus to Dionysus, 11-15;

in comus, 42-46, 134;

in comedy, 49, 51, 53 f., 135;

as actors, 18, 43-45, 184;

speaks through coryphaeus, 165;

history of, 92 f., 97, 116 f., 148 f., 168, 193;

position of, 77-79, 81, 88, 95, 99, 130, 149;

relation to actors, 136-39, 147, 149, 193;

relevancy of odes, 139-50;

second and third chorus, 141;

participation in plot, 88, 93, 117, 143 f.;

constantly present, 154-60, 226, 243, 247, 250, 253, 307, 312;

withdraws, 154, 247, 250 f., 306;

preferably feeble, 160;

introduces actors, 208-11;

songs a hindrance, 153 f.;

how paid, 165, 270 f.

See Embolima, Impersonation, Motivation, Odes, etc.

City Dionysia, 196 f., 273;

reorganized, 24, 203, 269;

procession, 20, 121-23, 132, 197, 224;

dithyrambs, 11, 23, 197;

satyr-plays, 23 f., 198 f., 204;

tragedy, 21, 119, 197;

old tragedies, 204, 324;

comus, 24, 38, 119 f., 319;

comedy, 51, 119, 197, 199 f.;

tetralogies, 23, 133 f., 198 f., 203 f., 322 f., 332;

contest of actors, 169, 183-85, 202;

records, 318-28.

See Prize, Proagon, etc.

Clisthenes, 11, 14 f.

Closet drama, xii, xiv

Coincidence, 277, 293

Comedy:

etymology, 36;

Old, Middle, and New, 39 f.;

divisions, 40-42, 193-95;

violence in, 132;

chorus, 134 f., 147, 149, 162.

See Origin of Comedy, Comus, etc.

Commus, 96

Comus, 24, 36-38, 42-46, 119 f., 127, 132, 162, 319

Contaminatio, 188, 194

Conventions, xvi, 66, 91, 129, 132, 152-54, 157 f., 165 f., 182, 208, 224-26, 228, 233 f., 236 f., 248, 254 f., 260 f., 266, 284, 287, 309 f.

Cook, 24, 26

Corinth, 4, 7-9, 11, 13, 15

Cornford, 36 f., 51, 149 f., 160, 224, 267

Coryphaeus, 10 f., 16, 18, 44, 49, 53, 134, 165, 168, 171, 187

Costumes, 271;

of satyrs, 2, 16, 24-32;

of sileni, 16, 24, 26, 29, 32;

in comus, 38, 43 f.;

in comedy, 46 f., 135;

in tragedy, 135 f., 162;

of tragia choreutae, 2, 16, 21 f., 24-32

Crane. See μηχανή

Crates, 35, 50-52, 54-56

Cratinus, 52-56, 327, 330, 335 f.

Criticism, xi, xiii-xvi

Curtain, 243-45, 247, 250, 311

Deckinger, x

De Prott, 26 f.

Deus ex machina, 59 f., 201 f., 258 f., 292-98, 303.

See μηχανή

Dialogue, 10, 18, 164 f., 169-71, 178-82, 186 f., 232, 239, 241 f., 252, 259 f., 299 f., 309-11

Didascalia (group of plays), 198, 318;

(record), 318, 321-26, 330

Didascalic numerals, 330-37

Didascalus, 318, 326-30

Dieterich, 6, 19

Dindorf, 330, 335, 337

Dionysus, 2, 6 f., 10-17, 20 f., 26, 33, 36, 104, 119, 121-24, 126 f., 142, 162 f., 198 f.

See “Nothing to do with Dionysus”

Dithyramb:

source of tragedy, 2, 4, 6, 16, 119, 123, 198;

source of satyric drama, 2, 4, 23 f., 123, 198;

nature of, 6-8, 10 f., 33, 123, 133, 162, 197;

broadened, 7, 10 f.;

improvisational, 6, 10, 23;

poetized, 8-11, 23;

given titles, 9 f.;

impersonation, 10, 16 f., 162 f.;

modified by Thespis, 16-21;

admitted to City Dionysia, 11, 23, 197;

prizes for, 7, 11, 14, 269

Dorians, 8 f., 15 f., 47 f., 56

Dörpfeld, 58 f., 61, 67, 72, 74-76, 80-86, 97 f., 100, 117, 130, 226

Drachma, 120, 269

Drama, xiv f., 8 f., 10, 16 f.

See Satyric Drama

Dramaturgy, x, xii

See Technique

δρώμενα, 6, 8, 17

Dryden, 202, 257, 265

Eccyclema, 107, 241, 284-89

ἐλεός, 18

Eleusis, 6, 17, 37

Eleutherae, 21, 63, 122

Embolima, 93, 144-49

England, 258 f.

Eniautos-Daimon, 6

Environment, ix, xvi

Epic, xi, 17, 95, 244, 257, 263.

See Homer

Epicharmus, 50 f., 56

Epigenes, 12 f., 15, 24, 32 f.

Epilogue, 258 f.

Episcenium, 59, 106-9, 111, 113, 289

Episode (ἐπεισόδιον), 41, 47, 49

Euripides:

career, xviii, 205, 334;

imitated Aeschylus, xviii;

and Thespis, 299 f.;

tags, xvii, 215;

melodramatic, xviii;

chauvinistic, xviii, 217-19;

sought prize, xvii f., 215, 217-19;

introduced sex problems, xviii;

chorus, 144-46;

deus ex machina, 201 f., 258 f., 294-96, 303;

prologue, 206, 258, 299-304;

eccyclema, 288;

μηχανή, 292;

soliloquies, 299-302, 305-9;

technique of simultaneous entrance, 310;

iambic resolutions, 172;

indicated scene of action, 206;

was criticized, 266 f., 293, 300, 302;

modified myths, 300 f.;

as skeptic, 96, 140;

productivity, 334;

popularity, xviii, 204, 272 f., 324 f.

ἐξάρχων, 6 f., 16, 36, 44

Exodus, 41 f., 45 f., 55

Exon, 286

Exostra, 288

Fasti, 319-21, 324, 330

Fear and pity, 128, 245, 317

Fiechter, 70, 79, 81-86

Flight, 289-92

Flute-player, 26, 30, 271

Frei, 96

Frickenhaus, 20, 121

Fries, 138

Furtwängler, 16, 67

γέρανος, 298

Ghosts, 106, 225 f., 248, 302

Gildersleeve, 94

Goat:

as prize, 7, 11, 13-16, 24, 268;

as sacrifice, 14 f., 269;

“goat” choruses, 11 f., 15;

goat-song, 13 f., 21;

goatskin, 26-28, 30 f.

See Satyrs and Choreutae

Gods, position of, 289-93

Gomperz, 22

Goodell, xvii f.

Guglielmino, xvii

Haigh, 10, 27, 79, 120 f.

Harrison, 6, 17

Heraclides, 20 f.

Hermann, 78 f.

Homer, 17, 244, 254 f., 266, 279 f., 282, 289, 300, 304-6.

See Epic

Hyposcenium, 61, 74, 84 f., 97, 100 f., 111, 113, 115

Hypothesis, 330

Iambic. See Meter

Icaria, 4, 16 f., 19, 21, 38

ἴκρια, 63, 66, 105, 108

Immediate effects, xvii

Impersonation (μίμησις), 10, 16-18, 43-45, 49, 53 f., 162 f.

Improvisation, 6, 10, 16, 36, 38

Interior scenes, xv, 68, 128, 229, 231, 237-43, 248, 278, 284 f.

Irony, 312-17

Jachmann, 329 f.

Judges, 214-16, 272 f.

Kaffenberger, 172, 187

Kaibel, 152

καταβαίνω, 91 f., 102 f.

Katharsis, 317

κῶμος. See Comus

κονίστρα, 72

Körte, 46 f., 324

κράδη, 298

Lay figure, 166 f., 174, 228, 244

Legrand, 277

Lenaea, 38, 56, 119 f., 183 f., 196, 202, 204 f., 269, 273, 318, 324-29

Leo, 187, 307

Lighting, 224-26, 233, 243, 253

Litigiousness, 274 f.

Logium (λογεῖον), 59 f., 76, 86, 97 f., 100, 102, 107, 111 f., 288, 291 f.

Lot, 272 f.

Lycurgus, 68-70, 191.

See Theater

Machina. See μηχανή

Magic, 17, 153, 155

Magnes, 35, 51, 54

Marrett, 34

Masks, 19, 26, 42, 49, 54, 130, 163 f., 173, 188, 212 f., 221-24, 266

μηχανή, 68, 109, 235, 287, 289, 292 f.

Megara, 47 f., 56

μελάναιγις, 21

Menander, 304, 332, 336 f.

Messenger, 128, 164, 191, 229, 241, 248, 251, 276, 294

Meter, 10, 16;

iambic, 22, 171 f.;

trochaic tetrameter, 22, 45

μίμησις. See Impersonation

Mina, 269

Mooney, 231, 243

Motivation:

for movements of actors, 93, 147, 173 f., 229-33, 238-43, 249, 261, 281 f., 300;

for movements of chorus, 150-52, 250 f.;

for choral odes, 140-43, 152-54, 217;

for unchanging features, 222 f.;

for lack of darkness, 225 f.;

for silence, 165, 176 f., 232;

for soliloquies, 304 f., 308

Murder. See Violence

Murray, A. T., 201, 210

Murray, G., xviii, 2, 6, 23, 158, 303

Music, xi

Mute, 174, 176 f., 179-81, 232, 244, 271

Mythology, xviii, 123-26, 217, 219.

See Themes

Navarre, 42, 146

Nemesis, 275 f.

Nilsson, 9

“Nothing to do with Dionysus,” 12 f., 21, 29

Numerals given plays, 330-37

Obol, 120

Odes (στάσιμα), xv, 23, 41, 139-50, 152-54, 162 f., 192 f., 217, 252.

See Embolima

Oratorio, 16

Orchestra, 57, 63, 65 f., 68 f., 72-79, 81-86, 88-91, 93, 95, 97-100, 102-8, 110-17, 130, 221, 223, 226, 228, 231, 233, 289, 292, 298

Origin of comedy, 1, 35-56;

obscurity of, 6, 35 f.;

improvisational, 36;

and comus, 36-38, 42-46, 127, 133;

impersonation, 43-45, 49, 53 f., 162 f.;

actors from Megara, 46-48, 53, 56;

influence of tragedy, 49 f., 53 f., 127, 146;

of mime, 50 f., 56, 127;

plot, 50-52, 54, 127

Origin of tragedy, 1-35;

no serious gaps, 6;

improvisational, 6;

from dithyramb, 2, 4, 6, 16, 133, 198;

Arion, 8-11;

Sicyon, 11-15;

occasion for name, 13-15, 268;

Icaria, 16 f.;

Thespis, 16-21;

impersonation, 16-18, 162 f.;

first actor, 16-19;

non-Dionysiac themes, 21, 23, 198 f.;

passed through “satyric” stage, 22 f., 28 f.

See Homer, Ridgeway, Satyrs, Sileni, Thespis, etc.

ὄψις. See Spectacle

Panels. See πίνακες

Parabasis, 41-43, 45 f., 49 f., 55, 193

Parachoregema, 182, 186, 271

Parallelism in comus and comedy, 42-46

Parallels from modern theory and modern and mediaeval drama:

Albright, 283;

Archer, 148, 190 f., 261, 302;

Brown, 263;

Corneille, 256, 264;

Cornford, 149, 224;

Craig, 223 f., 284;

Dennis, 152, 155, 221;

Dryden, 202, 265;

Elizabethan drama, 23, 188, 224, 244;

Galsworthy, xv f.;

Goethe, xiv, 12, 125, 140;

Gray, 155;

Greene, 145;

Hamilton, xiii, 201;

Ibsen, 242, 261, 266, 299, 311;

Jones, xix;

Kennedy, 264;

Lessing, 225, 246, 303;

Lounsbury, 130, 263 f., 279;

Lowell, 262;

Marlowe, 254;

Matthews, xiii f.;

Middleton, 313;

Molière, 230 f., 264, 297 f.;

Parker, 238;

Racine, 124, 147, 264;

Savage, 261;

Schlegel, 220;

Shakespeare, 123, 128, 141, 170, 188, 201 f., 208, 212, 225, 232, 243, 252, 256, 263, 283, 297, 303 f., 313;

Shaw, 229;

Sutro, 229;

Voltaire, 201, 225;

Walter, 263;

also x, 16, 120, 123-25, 129-31, 162 f., 170, 190, 201 f., 236, 238, 243 f., 246, 248, 302

Parascenium, 58, 66-70, 97 f., 104 f., 107 f., 111, 228, 235, 285, 287, 289

Parodus (of chorus), 40, 45 f., 49, 55, 209, 252, 287, 298 f., 304

Parodus (of theater), 59-61, 65 f., 70, 72, 75, 99, 102-4, 106, 108, 208, 226-28, 230 f., 233-35, 286

Parody, 39, 200 f., 207, 210, 288, 309

Patriotism, xvii f., 217-20

Periacti, 298

περιπέτεια. See Reversal of Situation

Phallic, 36 f., 43, 46 f.

Phlius, 4, 23 f.

Phrynichus, 4, 6, 124, 141

Pickard-Cambridge, 3, 10, 12, 14, 22

πίνακες, 68, 71, 86, 107-9, 235 f., 244

Pisistratus, 21, 63

Plautus, ix, xx, 188, 194 f., 234, 304, 307, 309-11

Playbill, 204-13, 254, 301

Plot, 50-52, 54, 127, 261-63

Plutarch. See Theater

Poets, xvi, 18, 26, 123-27, 220, 271, 273, 318, 326-30

Pollux. See Theater

Pompey, 80 f., 85

Porch, 68, 235 f., 238

Pratinas, 4, 23 f., 25, 63

Prescott, 174, 278

Prickard, 202

Prize, xvii f., 7, 11, 14 f., 16, 24, 213-20, 268 f.

Proagon, 204-6

Procession, 20, 121-23, 132, 197, 224

Prologue, 35, 40, 49, 55 f., 206, 208-10, 252, 298-304

Properties, 65, 106, 226, 228

Proscenium, 58-60, 66, 68-71, 76, 80-87, 91 f., 97-101, 103-9, 111-14, 228, 235-39, 241, 244, 285, 287 f., 291 f.

πρόθυρον. See Porch

Psychology, xiv, xviii, 4, 296

Puchstein, 79, 92

Ramps, 104

Recognition (ἀναγνώρισις), 17

Rees, 53, 172, 187, 192

Reisch, 3, 10, 14, 22, 30 f., 59, 319

Reversal of situation (περιπέτεια), 17

Richter, 150

Ridgeway, 6 f., 12, 18-21, 31, 33-35, 236

Robert, 101

Rogers, 121, 214 f.

Ruppel, 273

Satyric drama (satyr-play), 2, 9, 22-32, 33 f., 125-27, 136, 198, 203 f., 322

Satyrs, 2, 10 f., 13, 16, 22 f., 24-32, 126, 136, 154, 162

Scaena. See σκηνή

Scene-building. See σκηνή

Scene of action, 206-8, 226-31, 233-36, 258, 300;

changed, 206, 235, 247 f., 250 f.

Scenery, xii, 66, 236, 244, 247 f., 260.

See πίνακες

Schmid, 3

Scott, 254

Seneca, ix, xx, 141, 187

Sheppard, 276

Shorey, 30

Sicyon, 11-15, 21, 35, 80, 104, 108

σῖγμα, 72

Silence, 42, 91, 163, 165, 169, 173 f., 176 f., 186 f., 230, 232

Sileni, 16, 21 f., 24, 26, 29, 32, 121 f., 135, 162

Simonides, 11

σκηνή (scaena; scene-building), 57 f., 66-70, 72, 77 f., 87, 93-98, 102-9, 111, 113, 226, 228, 231, 233, 235-37, 244, 284 f., 287-89, 291;

ἐπὶ (ἀπὸ) σκηνῆς, 93-98;

in scaena, 77;

scaenae frons, 76, 83 f.

σκηνικός, 61, 77 f., 96 f.

Soliloquy, 240, 258, 286, 299-309, 311 f.

Solon, 9, 17-19

Sophocles:

third actor, 53, 167, 183;

ceased acting, 169;

use of chorus, 144;

was refused a chorus, 273;

scenery, 66, 236;

μηχανή, 296;

soliloquies, 305;

irony, 313;

imitated Euripides, 302;

iambic resolutions, 172;

productivity, 335;

victories, 272 f., 325

Spectacle (ὄψις), xi f., xvi

Spingarn, xi-xiii, xv

Stage, xx, 60, 72-88, 91-100, 102 f., 111 f., 114-17, 130, 149.

See σκηνή and Logium

Stasima. See Odes

Stephenson, 158

Suicide, 129-32, 159, 244

Susarion, 38, 47 f., 52 f.

Synchoregi, 271

Syzygy, 41, 43

Tanner, 336

Technique, ix f., xiv f., xvii, 10, 128 f., 173-76, 182, 191 f., 209 f., 229, 232, 239 f., 299 f., 310

Terence, xx, 194 f., 234, 304, 307, 309-11, 316, 331

Tetralogy (trilogy), 23 f., 133 f., 198 f., 203 f., 257 f., 265 f., 300, 322 f., 332, 334

Theater (as a structure), 1, 57-117

Technical terms, 57-61

Greek, 76 f., 80;

Roman, 75-77, 80;

Hellenistic, 70 f., 76, 80, 82-87, 97, 100, 110 f.;

Graeco-Roman, 80, 82-87, 110-14

Athens, 62-75;

site, 62 f., 208, 233 f.;

size, 121, 221, 224, 312;

in market-place, 63, 105;

orchestra of ca. 499 B.C., 63, 65 f., 104, 226-28, 230;

ca. 465 B.C., 66, 68, 228, 231 f., 285, 289;

ca. 430 B.C., 67 f., 70, 235, 287, 289;

Lycurgus, 68-70, 96, 103;

Hellenistic, 70 f.;

Nero, 72-74, 81, 98-101, 117;

Phaedrus, 72, 74 f., 98

Delos, 70 f., 80, 82 f., 107 f.;

Delphi, 108, 116;

Epidaurus, 70 f., 80, 104;

Ephesus, 82 f., 109, 111-13, 116;

Eretria, 70 f., 80, 82, 84, 104-7, 288;

Megalopolis, 80, 108;

Mitylene, 80 f., 85;

Oropus, 80, 82, 84, 108-11, 113;

Patara, 82-84;

Pergamum, 80, 110 f., 116;

Priene, 82 f., 86, 110 f., 113 f., 116;

Sicyon, 80, 104, 108;

Termessus, 82-85, 110 f.;

Thoricus, 69, 80, 103 f., 227

Vitruvius on, 75-87, 90, 92, 97;

Pollux on, 78, 94, 98-100, 106;

Plutarch, 101-3;

Pompey’s, 80 f., 85;

and fifth-century plays, 87-92;

ἀναβαίνω, καταβαίνω, 91 f., 102 f.;

and chorus, 92 f.;

ἐπὶ τῆς σκηνῆς, 93-98;

θυμελικός, σκηνικός, 95-97

θέατρον, 60

Themes, 7 f., 10, 13, 20 f., 123-27, 198 f., 279, 315

Theologium, 59 f., 111

Thespis:

not mentioned in Poetics, 6;

and Solon, 9, 17-19;

place as tragic poet, 9, 12, 33;

borrowings, 16;

innovations, 16, 19 f.;

first actor, 16-19, 163;

impersonation, 16-18;

his “grand step,” 19 f.;

his wagon, 19 f.;

non-Dionysiac themes, 20 f.;

genuineness of extant titles, 20 f.;

victor in first Athenian contest, 21;

dramas somewhat like satyr-plays, 23;

prologues, 55 f., 298-300

Thirlwall, 313, 316

Throop, 17

Thymele, 18, 57, 61, 73, 79, 95-97, 104

θυμελικός, 61, 77 f., 81, 95-97

θυρώματα, 107, 109, 111

Tomb ceremonies, 6, 12, 33-35

τραγικοὶ χοροί, 11 f., 15

τραγῳδία, 2, 8, 13-15, 21, 27 f.

τραγῳδοί, 11, 13, 15 f., 21

Tragedy:

wagons in, 19 f.;

at City Dionysia, 21;

influence on comedy, 49 f., 53 f., 127, 146;

influenced by epic, 17, 257, 263;

themes, 123-25;

chorus of, 135 f., 148-50, 162;

early form, 162 f.;

act divisions, 192 f.

Trochaic tetrameter. See Meter

Tyche, 277

Unities, 201 f., 246-67, 277, 279, 295, 300

Vases:

satyrs on, 16, 22-32;

sileni on, 22, 24, 26, 29, 32;

satyr-plays on, 25-27, 29-32;

comus on, 38, 46;

wagon-ship on, 20

Verrall, 5, 147, 151, 253

Vestibule. See Porch

Victories, 272 f., 324 f.

Victors’-Lists, 324-30

Violence, 127-32, 158-60, 229, 241, 247, 284 f.

Wagons, 19 f., 121 f.

Welcker, 1-3, 13

Wernicke, 31

Wieseler, 79 f.

Wilamowitz-Möllendorff, von, 8, 11, 19, 48, 88, 189

Wilhelm, 319, 328

Women, 4, 42, 121, 180 f., 191, 277-83

Year spirit, 6