heroes, they made a step even beyond Arion towards the introduction of dramatic poetry properly so called; and it is very possible that Epigenes of Sicyon may have been the first of a series of sixteen lyrical dramatists ending with Thespis, to whom, as we shall shortly see, we owe the actor', the dramatic dialogue, the stage, and the epic elements of the Athenian Tragedy. APPENDIX TO CHAPTER II. ORCHOMENIAN INSCRIPTIONS. 1583. Μνασίνω ἀρχοντος, ἀγωνο θετίοντος τῶν Χαριτεισίων Εὐάριος τῷ Πάντωνος, τύδε ἐνίκωσαν τὰ Χαριτείσια· σαλπίγκτας Φιλῖνος Φιλίνω ̓Αθανεῖος, Εἰρώδας Σωκράτιος Θειβεῖος, Μήστωρ Μήστορος Φωκαιεύς, Κράτων Κλίωνος Θειβεῖος, αὐλειτὰς Περιγένεις 'Ηρακλίδαο Κουζικηνός, αὐλάξυδος Δαμήνετος Γλαύκω ̓Αργῖος, κιθαριστὰς ̓Αγέλοχος Ασκλαπιογένιος Αἰολεὺς ἀπὸ Μουρίνας, κιθαράξυδος Δαμάτριος Αμαλωίω Αἰολεὺς ἀπὸ Μουρίνας, τραγάξυδος ̓Ασκλαπιόδωρος Πουθέαο Ταραντῖνος, κωμάξυδος Νικόστρατος Φιλοστράτω Θειβεῖος, τὰ ἐπινίκια κωμάξυδος Εύαρχος Ε[ἱ]ροδότω Κορωνεύς. s Suidas in Θέσπις. * Athen. xiv. p. 630, c : συνέστηκε δὲ καὶ Σατυρικὴ πᾶσα ποίησις τὸ παλαιὸν ἐκ χορῶν, ὡς καὶ ἡ τότε τραγῳδία· διόπερ οὐδὲ ὑποκριτὰς εἶχον. 1584. Οἵδε ἐνίκων τὸν ἀγῶνα τῶν Χαριτησίων σαλπιστὴς Μῆνις ̓Απολλωνίου ̓Αντιοχεὺς ἀπὸ Μαιάνδρου, κήρυξ Ζωϊλος Ζωίλου Πάφιος, ῥαψῳδὸς Νουμήνιος Νουμηνίου 'Αθηναῖος, ποητὴς ἐπῶν Αμινίας Δημοκλέους Θηβαῖος, αὐλητής ̓Απολλόδοτος ̓Απολλοδότου Κρησαῖος, αὐλῳδὸς Ρόδιππος Ροδίππου ̓Αργεῖος, κιθαριστής Φανίας ̓Απολλοδώρου τοῦ Φανίου, Αἰολεὺς ἀπὸ Κύμης, κιθαρῳδὸς Δημήτριος Παρμενίσκου Καλχηδόνιος, τραγῳδὸς Ιπποκράτης ̓Αριστομένους ‘Ρόδιος, κωμῳδὸς Καλλίστρατος Εξακέστου Θηβαῖος, ποητὴς Σατύρων ̓Αμινίας Δημοκλέους Θηβαῖος, ὑποκριτὴς Δωρόθεος Δωροθέου Ταραντίνος, Σοφοκλῆς Σοφοκλέους ̓Αθηναῖος, Καβίριχος Θεοδώρου Θηβαῖος, ̓Αλέξανδρος ̓Αριστίωνος ̓Αθηναῖος, Ατταλος Αττάλου 'Αθηναῖος. Οἵδε ἐνίκων τὸν νεμητὸν ἀγῶνα τῶν ̔Ομολωΐων παῖδας αὐλητὰς Διοκλῆς Καλλιμήλου Θηβαῖος, παῖδας ἡγεμόνας Στρατῖνος Εὐνίκου Θηβαῖος, ἄνδρας αὐλητὰς Διοκλῆς Καλλιμήλου Θηβαῖος, ἄνδρας ἡγεμόνας Ρόδιππος Ροδίππου ̓Αργεῖος, τραγῳδὸς Ιπποκράτης ̓Αριστομένους Ρόδιος, κωμῳδὸς Καλλίστρατος Εξακέστου Θηβαῖος, d These two Inscriptions were formerly in a chapel of the Virgin at Orchomenus in Boeotia. The stones are now removed. The first Inscription is written in Boeotic, and is supposed by Böckh to be of older date than Olymp. 145 (B. c. 220). To the foregoing Inscriptions we will add a third; a Thespian Inscription, graved in the later age of the Roman emperors, which relates to the same subject; and then give the inferences which Böckh has drawn from these three interesting Agonistic monuments. 1585. ̓Αγαθῇ τύχη. Ενείκων ἐπὶ Φλαουΐῳ Παυλείνῳ ἀγωνοθετοῦντι Μουσῶν, ἐ[πι] ἄρχοντι Μητροδώρῳ τῷ Ον[η]σιφόρου ποιητὴς προσοδίου Εὐμάρων ̓Αλεξάνδρου Θεσπιεὺς καὶ ̓Αντιφῶν ̓Αθηναῖος, κήρυξ Πομπήϊος Ζωσίμου Θεσπιεύς, σαλπικτὰς Ζώσιμος Επίκτου Θηβαῖος, ἐγκωμιογράφος εἰς τὸν Αὐτοκράτορα Πούπλιος ̓Αντώνιος Μάξιμος Νε[ω]κορείτης, Πούπλιος ̓Αντώνιος Μάξιμος Νε[ω]κορείτης, ποιητὴς εἰς τὸν Αὐτοκράτορα Αἰμίλιος ̓Επίκτητος Κορίνθιος, ποίημα εἰς τὰς Μούσας Δαμόνεικος Δάμωνος Θεσπιεύς, ῥαψῳδὸς Ευτυχιανός Κορίνθιος, πυθαύλας Φάβιος ̓Αντιακός Κορίνθιος, κ[ι]θαριστὰς Θεόδωρος Θεοδότου Νεικομηδεύς [κωμῳδὸς παλαιᾶς κωμῳδίας] τραγῳδὸς παλαιᾶς τραγῳδίας ̓Απολλώνιος ̓Απολλωνίου 'Ασπένδιος, ποιητὴς καινῆς κωμῳδίας ̓Αντιφῶν ̓Αθηναῖος, ὑποκριτὴς καινῆς κωμῳδίας ̓Αντιφῶν ̓Αθηναῖος, ποιη[τή]ς καινῆς τραγωδίας ̓Αρτέμων ̓Αρτέμωνος ̓Αθηναῖος, ὑποκριτὴς καινῆς τραγῳδίας ̓Αγαθήμερος Πυθοκλέους ̓Αθηναῖος, ̔́Οσιος Περγαμηνός, νεαρῳδὸς Α. Κλώδιος ̓Αχιλλεὺς Κορίνθιος, σατυρογράφος Μ. Αἰμίλιος Ὑήττιος, * διὰ πάντων Εὐμάρων ̓Αλεξάνδρου Θεσπιεύς. These Inscriptions were first printed by Böckh at the end of his treatise on the Public Economy of Athens. We subjoin some of the remarks which he there makes upon them. (IIter Band, p. 361, fol.) “Before I leave these two Inscriptions, I may be permitted to make a few remarks on the games mentioned in them. We find in both, first of all, trumpeters and a herald, who began the games: their art was doubtless an object of contest in most sacred games, and the heralds in particular contended with one another in the gymnic games (Cicero, Fam. v. 12); which may perhaps have been the principal reason why the ancients had trumpeters and heralds, whom no one of the present day could have matched in strength of voice. Comp. Pollux, iv. 86-92; Athen. x. p. 415, F, seqq.; Ælian, V. H. i. 26. These are followed by the Epic poet, together with the Rhapsodist who recited his poem: then we have the flute-player and harper with the persons who sang to these instruments respectively. Next come, in both Inscriptions, Tragedians and Comedians. At the new Charitesia, however, three additional dramatic games are mentioned: ποιητὴς Σατύρων and ὑποκριτής, ποιητὴς τραγῳδιῶν and ὑποκριτής, ποιητὴς κωμφδιῶν and ὑποκριτής. At the Homoloia in the second Inscription, Tragedians and Comedians occur, and for the celebration of the victory (rà ¿πivikia) another Comedy, but without actors. It is sufficiently clear from this, that when merely Tragedians and Comedians are mentioned, without actors, as is so often the case in authors and Inscriptions, we are not to understand a play, but only a song: if, however, a Play is to be signified, this must first be determined by some particular addition. As soon as an actor (¿ñoкρɩǹç) is mentioned, we understand by Tragedy and Comedy a dramatic entertainment. For a long time Tragedians and Comedians alone appeared in the Charitesia at Orchomenus, and it is only in later times that we find there all the three kinds of dramatic representations, when the theatre of Athens had extended its influence on all sides; nevertheless, even then the tragic and comic poets are Athenians, and only the satyrical poet a Theban. But Tragedians and Comedians, as lyric bards, were to be found everywhere from the most ancient times. This has not been properly attended to, and many passages in ancient writers have consequently been considered as enigmatical or suspicious. In the list of Pindar's Works, given by Suidas, we have seventeen dpáμara Tpayikά. I have no doubt that Pindar wrote Tragedies, but they were lyric poems, and not Dramas. With this remark, we recognize at once what is true or false in this account. Simonides of Ceos is said by the Scholiast on Aristophanes, by Suidas and Eudocia, to have written Tragedies, which Van Goens (p. 51) doubts; but what objection can be raised to this statement, if we only understand in it lyrical and not dramatic Tragedies? Whether the Tragedies of the younger Empedocles (see Suidas in 'Eμπedorλñç, comp. Sturz, Empedocl. p. 86, seqq., where, however, there are all sorts of errors) were just such Dorian lyric Tragedies, or real dramatic exhibitions, I leave undecided. Arion seems to have been considered as the inventor of this lyric goat-song, since the introduction of the tragic "Haud dubie formulæ sententia est, hunc inter omnes rictores esse præstantissimum judicatum, victorem inter victores; unde ultimo loco scriptus est."-Böckh in loc. manner (7рayıkòç τρóñoç) is ascribed to this Dithyrambic poet, although he is said to have added satyrs to the chorus as acting persons. (Comp. Fabric. B. Gr. Vol. II. p. 286, Harles' edition.) It is admitted that the Drama grew out of a lyric entertainment, and was formed from the chorus; but it is not so generally known that among the Dorians and Æolians a lyric Tragedy and Comedy existed before, and along with the dramatic, as a distinct species, but people usually referred merely to the rude lyrical beginnings in the Festal games. Thus tragedies before the time of Thespis remained a thorn in the eyes of critics, which it was needful to have taken out; and Bentley's services (Opusc. p. 276) in this respect have been very highly estimated. But let not us be deceived by it. The Peloponnesians justly claimed Tragedy as their property (Aristot. Poet. 3): its invention and completion as a lyrical entertainment belongs undoubtedly to the Sicyonians, whose Tragedies are mentioned by Herodotus (v. 67. comp. Themist. xix. p. 487): on which account the invention of Comedy also is sometimes attributed to the Sicyonians (Orest. Anthol. part ii. p. 328. 326); and Thespis may very well have been the sixteenth from the lyric Tragedian, Epigenes. (Suidas in Oéσıç and οὐδὲν πρὸς Διόνυσον, comp. Phot. and Miel. Apostol. in οὐδὲν πρὸς Διόνυσον.) Aristocles, in his book about the choruses, said very well, (Athen. xiv. 630, c): Συνεστήκει δὲ καὶ σατυρικὴ πᾶσα ποίησις τοπαλαιὸν ἐκ χορῶν, ὡς καὶ ἡ τότε τραγῳδία· διόπερ οὐδὲ ὑποκριτὰς εἶχον. Just so Diogenes (iii. 56) relates, certainly not out of his own learning, that before Thespis the chorus alone played in Tragedy (dudpaμárile). This Tragedy, consisting of chorus only, was brought to perfection in very early times, and before the people of Attica, to whom alone the dramatic Tragedy belongs, had appropriated the Drama to themselves of course only romancers, like the author of the Minos, or dialogue of law, have placed the latter far above Thespis; a position against which I have expressed my opinion on a former occasion. (Gr. Trag. Princip. p. 254.). All that I have said is equally applicable to Comedy: in our Inscriptions, we find a lyrical Comedy before the dramatical at Orchomenus; and lower down, the dramatical Comedy is introduced, as from Attica, along with which an actor is mentioned: the former was the old peculiarity of the Dorians and Æolians, among whom lyric poetry for the most part obtained its completion. Even if we pass over Epicharmus, and the traces of a lyric Comedy in the religious usages of Epidaurus and Ægina, (Herod. v. 83.) the Dorians, and especially the Megarians, might still have had well-founded claims to the invention of Comedy, which, according to Aristotle, they made good. Besides, the view which we have taken of the lyrical Comedy sufficiently proves that the name is derived, not from koμŋ, but from the merry κ@poç: such a one took place at the celebration of the victory, and consequently we find in our Inscriptions τὰ ἐπινίκια κωμαξυδός, and τὰ ἐπινίκια κωμῳδιῶν ποιητής, who is certainly in this place a dramatic Comedian, Alexander of Athens. We cannot, however, call Pindar's songs of victory old Comedies: and the greater is the distinction between the lyric and the dramatic Comedy, the less entitled are we to draw, from this view, any conclusions in favour of the opinion that the Pindaric poems were represented with corresponding mimicry." Böckh has reprinted these Inscriptions in his Corpus Inscriptionum, tom. i. pp. 763-7, with some additional remarks in defence of his view from the objections of Lobeck and Hermann, |