UC-NRLF 
 
 B 4 D33 lis 
 
CHAPTERS IN THE HISTORY 
 
 OF ACTORS AND ACTING 
 
 IN ANCIENT GREECE 
 
 TOGETHER WITH A 
 
 PROSOPOGRAPHIA HISTRIONUM 
 GRAECORUM 
 
 Uf 
 
 A DISSERTATION PRESENTED TO THE FACULTY OF 
 
 Princeton University 
 
 IN CANDIDACY FOR THE DEGREE OF 
 
 doctor of philosophy 
 
 (department of classics) 
 
 BY 
 
 JOHN BARTHOLOMEW O'CONNOR 
 
 CHICAGO 
 
 THE UNIVERSITY OF CHICAGO PRESS 
 
 1908 
 
•^jA-> 
 
 Cdptrioht 1908 Bt 
 John Babtbulomew O'Connor 
 
 Published September 1908 
 
 < onipoM<l >i»l I'llnUd lly 
 
 Th« rnUvrtllj of <'hlc«<o PrvM 
 
 ChlOMO. Illlnott. U S A. 
 

 TO 
 
 FRANCIS EDWIN CUNNINGHAM 
 
 IN AFFECTIONATE REGARD 
 
 851835 
 
CONTENTS 
 
 PAGE 
 
 Preface vii 
 
 ChAPTEB I. TERMINOLOaY 1 
 
 1. viroKpiTrjs and VTTOKplvta-dai. 
 
 2. TpaywSos and Ka>/u,b)So9. 
 
 3. dywvtCTTr/s, dywvti^ea^ai, (rvvaycaviCTTTjs, 7rp(DTaya)vt(rT7;s, SeuTcpaycoi/i- 
 
 Crr^S, TpLTayOiVKTTTj^. 
 
 4. €7rtSei'/<vv(7^at. 
 
 5. Te;(vtT77S. 
 
 Chapter II. To What Extent Actors Kept to Their Particular 
 
 Specialties 39 
 
 Chapter III. The Actors' Contests in Athens 45 
 
 1. The Contests of Tragic Actors (a) at the Dionysia; (6) at 
 the Lenaea 46 
 
 2. The Contests of Comic Actors at the Lenaea and Dionysia . 47 
 
 3. The Lists of Victorious Actors, IG. II 977, Arranged and 
 Dated 60 
 
 Appendix. Prosopographia Histrionum Gbaecobdm .... 67 
 Restorations and Textual Emendations Proposed 144 
 
PREFACE 
 
 The c'liapters here presented on the history of acting and actors 
 in Greek antiquity form only an introduction to the larger work 
 originally planned, whose scope may be here briefly outlined: (1) 
 to trace the development of the actor's part in the production of 
 plays from the earliest time, when, by the gradual differentiation 
 of the actor from the chorus, dramatic action became possible, 
 down to the period when, by the spread of the guilds of Dionysiac 
 artists over the entire Greek and Graeco-Roman world, the tradi- 
 tions of the drama came to be wholly within the keeping of the 
 actors; (2) to follow as far as the available evidence should per- 
 mit the process by which the apprentice, whose first essay before 
 the public was in the role of mute or supernumerary, rose to the 
 position of speaking actor, and then, if possessed of more than 
 ordinary ability, gained the right to compete for the prize offered 
 to protagonists and was recognized as competent to supervise, as 
 actor-manager, the reproduction of "old plays" or classics; (3) 
 to determine the dates of the introduction of the four contests of 
 actors into the Athenian festivals of Dionysus, so far as this had 
 not already been done, and to ascertain if possible what the pro- 
 cedure was which the Athenian officials followed in different 
 periods in granting to qualified actors admission to these contests ; 
 (4) to study the personnel of the various Dionysiac guilds in 
 some detail, in the hope of obtaining more accurate information 
 concerning the degree of specialization prevalent from the third 
 century on, or, in other words, to find out how far the old distinc- 
 tion between tragic and comic actors, which Plato Rep. 395 h 
 speaks of as a matter of course, was maintained at a later time, 
 and to what extent the ranks of the poets were still recruited from 
 the body of actors; and finally (5) to present in alphabetical 
 order the names of all known Greek actors with all the essential 
 facts which we possess concerning them. 
 
 The materials collected for these studies have proved too ex- 
 tensive for publication in a doctor's thesis. It has seemed best. 
 
VI ii PREFACE 
 
 therefore, to withhold for the present the chapters that have no 
 direct hx'aring on the prosopographical list, and to print the list 
 itself with such chapters of the treatise as contribute directly to 
 the understanding of the material there collected. 
 
 It is hoped that the proso|)ographical list will prove of service to 
 Htudt-nts of the Greek drama; the researches in recent years of 
 Reisch, Capps, and Wilhelm have shown how largely we are 
 (>blig«'d to de[)end on the rec«jrds of actors for information on at 
 least the external history of the drama after the close of the clas- 
 sical period, while the serviceable treatise of Volker has con- 
 tributed not a little to our understanding of the classical drama. 
 In drawing up the list, accordingly, the writer has endeavored to 
 make it as complete as possible and practicable, both as to indi- 
 viduals and as to the ascertainable facts concerning them. A good 
 deal that is new will be found in the list, including some restora- 
 tions of iuscri[)tions. 
 
 The study of the technical terms employed to designate the 
 actor and his function was found to be necessary for the sake of 
 gaining a clear conception of the history and meaning of each 
 term, and partly in order that the confusion regarding some of 
 them that has arisen in recent years might be dissipated. The 
 publication of Wilhelm's important work and the discussions to 
 which it has given rise have rendered unnecessary a large part of 
 the chapter on the Athenian actors' contests as originally outlined. 
 We have accordingly confined ourselves here to a brief presenta- 
 tion of the facts which have been established by others, discussing 
 at length only the still uncertain date of the introduction of the 
 comic actors' contest into the City Dionysia. In the second 
 chapter souu' data are brought together which bear on the sub- 
 ject of tile specialization of actors after the fourth century. 
 
 Acknowledgments are due to all my predecessors in tliis tiekl 
 of study. espt»cially to Vftlkor, RtMsch, and Wilhelm; others are 
 mentioned in the notes anil references. it is ji pleasure to expre.'ss 
 my indebtedness to my various teachers, Professors Shorey and 
 Hah^ of tli«< Tniversity of Chicago; Professor Flendrickson of 
 Yale University, formerly of the I'niversity of Chicago; and. of 
 Princeto!! riiiversity, Professors Capps and Abbott, formerly of 
 
the University of Chicago, West and Westcott. During a year 
 in Athens it was my privilege to attend the lectures of Professors 
 Dorpfeld, Schrader, and Wilhelm. But my especial thanks are 
 due to Professor Capps, through whose teaching I became inter- 
 ested in this field of work and without whose constant sympathy, 
 inspiration, and aid this study would hardly have been successfiilly 
 prosecuted. In the third chapter especially and in establishing 
 the chronology of the persons mentioned in the Victors'-lists I 
 have found his intimate knowledge of the inscriptional documents 
 indispensable. 
 
 J. B. O'Connor 
 
 Adelphi College 
 Brooklyn, N. Y. 
 
CHAPTER 1 
 
 TERMINOLOGY 
 
 The terms which we shall discuss iu the present chapter are: 
 (1) viroKpirrjf; and VTroKpLveadai; (2) Tpayw86<i and KcofiaySofi ; 
 
 (3) ayiovi,aT^<i, aycoviXecrdai and their compounds, especially 
 avvayayvicTTT]^, TrpcorwyoovLO-T'i]';, hevrepaycovL(nrj<s^ and TpLTa'ywvLcmq'i; 
 
 (4) eTTL^eUvvadai; (5) TexviTr]<i. 
 
 1. vTTOKpiTr]<i and viroKpivea-dai. — The first formal exhibition of 
 tragedy at Athens as a recognized part of the festival of the City 
 Dionysia took place in 534 b. c. ;^ soon after the establishment of 
 the Cleisthenian democracy the state assumed charge of the tragic 
 exhibitions at this festival and provided for the expense of their 
 maintenance;" comedy was admitted into the same festival in 
 486;^ in 449 the contest of tragic actors was organized; and 
 similar contests for both the tragic and the comic actors who par- 
 ticipated at the Lenaea were soon after established. By this time 
 we may reasonably infer that the element of acting had become 
 distinct and separate from the choral element and that the con- 
 stituent parts of the companies of t pay who C and Koo/xmSoi had 
 come to be referred to by distinctive names. 
 
 But it is not until a generation after this epoch date in the 
 history of acting that we have contemporary documents in which 
 the name for "actor" and the verb for "acting" are found. But 
 the great Fasti of the victors at the City Dionysia, which were 
 compiled and put on stone after the middle of the fourth century,* 
 were undoubtedly based upon the contemporary records of the 
 eponymous archon both as regards the historical facts preserved 
 
 ^Marmor Parium, ed. Jacoby, p. 14. 
 
 2 Probably at the time of the introduction of the choregic system. That this was the 
 event which furnished the epoch-date of the great Fasti of victors, IG. II 971, as Capps con- 
 jectured in Introduction of Comedy into the City Dionysia (Chicago, 1903), is still the most 
 plausible hypothesis. 
 
 3 Capps, loc. cit., pp. 12, 28, and AJP. XXVIII (1907), p. 86. 
 
 *See now A. KOrte Classical Philology II (1906), pp. 391 f., and Reisch Zeitschr.f. Gster. 
 Gyrnn., 1907, pp. 289 f.; cf. Wilhelm Urkunden dramatischer Auffilhrungen in Allien, p. 13. 
 
 1 
 
2 niSTOBY OF ACTOBS AND ACTING IS ANCIENT GBEECE 
 
 in them nxid in rL8j)ect of the U'rminolo^y «'mj)loyed. In this 
 (rocument we find under the heading; rpayaySajv for the year 447 
 (AViHu-ln-i, j). 18), the entry v7r[oKpiTT)'i 6 Belva] (sc. ivixa). We 
 are justified, therefore, in assuminof that thf term inroKpnij'i, which 
 first ap|M'ar8 in Arist. Vesp. 1271>, 422 B.C. (Appendix, No. 41), 
 was in both official and popular use at the time of the first estab- 
 lishment of the actors' contest. From this time forth, as the 
 Attic literature becomes more extensive and varied, the specialized 
 UB«» of these words f(jr the actor and his work is illustrated by an 
 increasint^ number of instances, too numerous to catalogue.' 
 Throughout the fifth and fourth centuries these words have no 
 real rivals. The noun occurs either alone or qualified by the 
 adjectives rpayiKot and kw^ilko^ or by the corresponding nouns. 
 
 We may note at this point two facts that are to be observed: 
 ( 1 ) So far as we can determine, inroKpirrj<; is used indiscrimi- 
 nately for any actor in a play without regard to his relative rank 
 or importance, though in later times there was a tendency 
 (below, pp. off.) to use another term for the leading actor of a 
 trouj)e. leaving viroKpiTJ]^ for the subordinate actor. (2) As 
 vTTOKpiveaOai ilescribed more particularly the function of an actor 
 in a l>lay, so it could be used also to describe the function of the 
 chorus when the latter took part in the action.^ When Aristotle' 
 says that the chorus ought to take part in the action as an actor, 
 he is enal)led to em[)hasize the point which he wishes to make 
 through th«' very fact that inroKpiv€<Tdai had' come to describe 
 e8|H'cially the ordinary work of the actor as distiiiguislu'd from 
 the ordinary work of the chorus. 
 
 The terms inroKpiriyi and inroKpiueaOai, in the technical mean- 
 ing which we find current in the classical [H'riod, were obviously 
 
 •Tlio »'nrli<>.-t ii.~»« itt vitoKpiaa iit a ti-chuical nionuiiiK seems to bo in tho »>ssuy on th^ 
 SitfthmU of .\lcicinmnH of Klnrn, th" i>ii|>il of (ior»:ias (Hlnss Antiplum, p. 19S), wlioro he 
 illiiMtrnt<>!t tlip procisioii nml |H>lish of n spooch <ii'livi'ri>(l from mpiiiory by reforcnco to the 
 actor mill rhapMMlist. 
 
 'Aritttotlt' Poet, U.'iil b 2.*> : to ciri rqt aidirqc Kai rtuf viroitpiTiiif m<P<k MOt^f. whort> vtroxpirai 
 includes all tho participants in tho (irniiiutic nclion. as Flickint;or has shown in The Mean- 
 ing of «»i rijt irmijrii^, itc. (ChlonKO. tflOL'). who citos also Pll»t. Symi>. VMh ^icra twk urocpirvr, 
 wlnun |>riibal)ly all Ajtathon's prrforniors, chorus a>. woll as uctors, wor« incluiioii in the 
 pbraso, and tho Into acholiuni to Aosch. .l(/(im. 1347 (i>. :I1U iu Wockloin's tnUtion), wti-T.««.. 
 l<«a tiffif oi roil rpaytaou \opoi> ifvoxpirai. 
 
 * Poet, 14«'i6<> i6: «o« Tbi- x^P^" *« •••" '•' wiroAaStiV riif uwo*piri>r, «at .... avvayin^tatai. 
 
TERMINOLOGY 6 
 
 not invented to designate the actor and his work at a time 
 when the actor's function had just become sufficiently differenti- 
 ated to demand a specific terminology. On the contrary, the 
 Athenians took words which were already in use in an untechni- 
 cal meaning — words which seemed to them adequately to describe 
 the part which the actor took in the production of a tragedy. In 
 the course of time these terms become so closely associated with 
 the drama that they came to be less frequently employed in the 
 old literal and metaphorical meanings than in the meaning which 
 they had acquired through this association. In time the original 
 meaning disappeared altogether, except perhaps in some of the 
 dialects, and the derivative meanings which came into use were 
 based upon the dramatic and not upon the original signification. 
 
 The original meaning of viroKpiveaOai has been the subject of 
 much discussion and of widely divergent views. On the whole, 
 however, the stemma of meanings set up by G. Curtius' seems to 
 be as near the truth as it is possible to get with the evidence we 
 have. It has the further merit of being in accord with the unani- 
 mous testimony of the ancient scholars^ who discussed the origin 
 of the term as applied to dramatic action. 
 
 According to Curtius the two original meanings are (1) 
 "interpret" and (2), "follow immediately upon" in conversation 
 (m certando sirccedere). The former meaning, found in Homer, 
 always persisted but suffered no further development. The latter, 
 however, from the simple meaning (a) "answer," also found in 
 Homer, came to be applied (6) to the dramatic "answerer" who 
 took up the words of the chorus and responded to them {^airoKpi- 
 veardai tt/oo? tov x°P°^'> ^^ a group of ancient writers explain ) ; 
 thence (c) the technical meaning "act" or play a role, and then 
 the derived meanings (cZ) "dissemble," "play the hypocrite," and 
 (e) "recite" or "declaim" in a dramatic manner. vvoKpLvea-dai 
 
 1 Abh. d. k. sacks. Ges. d. Wiss. zu Leipzig, Phil.-hist. Kl. Ill, pp. 148 ff., and Rhein. Mus. 
 XXIII (1868), pp. 255 ff. His view was opposed by Summerbrodt Rhein. Mus. XX (1867), 
 p. 510= Scaejuca, pp. 259 ff. (cf. also ibid., pp. 285 ff.), who insisted on "interpret" as the origi- 
 nal meaning. For the literature in general see A. Muller Bilhnenalt., pp. 170 f., to which add 
 Heimsoeth De voce ujroKptTrjs, index, schol. Bonn., 1873. Heimsoeth's main thesis was that 
 in the scholia to the dramatic poets vTro/cpir^s occurs in the sense of " grammaticus; " but 
 his view is apparently not now accepted by anyone. 
 
 2 Collected by Curtius Abh., loc. cit., pp. 149 ff. 
 
4 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 in the meaning "answer"' is used by Herodotus and by Hi[)- 
 pocrates. It seems to have survived longer, before being dis- 
 placed by cnroKpiveadac when the former had become specialized, 
 in Ionia than in Attica, as one would ex|)ect, and though it is so 
 used a few times by Attic writers, yet it was probably felt by 
 them to have an archaic tiavor.' 
 
 As inroKpiri]<i is used by classical writers in the general sense of 
 "actor" without distinction of grade or rank, as noted above, so 
 the verb covers the whole work of the actor, whether it is conceived 
 of as dignified and artistic or as merely imitative. So Aristotle 
 Efli. Xic. 7. 1147 (I 2'6 uses ol inroKpivonevoi of those who merely 
 recite what they do not understand. The verb is used also of the 
 particular r6le assumed, ns when Aristotle Pol. S (5) 1314 a 40 
 says inroKpivonevov to ^aaiXiKov «aXa)<?. 
 
 inroKpiuecrdai with the name of the character or with p-epo^ or 
 TTpoaoyrrov Ti is a usage that extends from the classical writers tlown 
 to fhf latest, in both the literal and the metaphorical sense, e. g., 
 Luc. I)e xalt. S3, inroKpivaadat, fiaviav. It is to be noted, how- 
 ever, that when the object of the verb is the title of a play or its 
 equivalent, to Bpdp,a, ttjv rpaytpBiav or Tr/v K(op,o)hiav, the phrase 
 in no period of (rreek literature refers to the parlicij)ation of any 
 actcjr e.xci'pt the leading actor or protagonist (^see ApiK>ndix). 
 In Athens after the actors' contests were established the reference 
 is always to the one actor in each play who was competitor for the 
 prize, and outside of Athens, in the period of the guilds, to the rex 
 ({regis or the leading member of the troupe of actors who pre- 
 sented the play. So the Attic Didascaliae TO. II U73, 974, \)lo 
 regularly report, after the name of the play, vTre^Kpt'vero) 6 Belua; 
 and ill tlif last line of each year-list of the Fasti /(/. II •J71, inro- 
 KpiTi}<i 6 Bili^a, {nroKpiri)<i must also be taken in tlie sp»'cial sense of 
 
 ' Thuc. 7. 44. .'j, TO ffi'Ktijua <i 4' ainoi. firi viro«pii-oii'To, 4i«^*«ipofTo. Artst. Khet. 1444 618, ri 
 It roiavra tracra orrw iti vnofpiftaSai. Xoil. Mrm. 1. .'1. 1, i llvSia iiiro«pi»«Tai, is KtMli-rally Cor- 
 r«H:t«1<l !))• iMlitor-. In a»o«pii«Tai. Aristoph. Ach. 401, 69' o Aoi'Aot oi>Tw<ri <ro<^iu< vvoxptfcrat, the 
 
 word is uai'd hy ihf jmhH intmitiorinlly niul should not bo iiltcrod. If tho Slavo was really 
 Kurli>idi>'4' iictor, as lhi» xclioliusts nsnort, who idoiitify him with ('<<|ihi)u>|>hoii, tht* douhio 
 nuuiiiint; wns niniiifcsl ; if, however, this is inoroly the fancy t>f the ronimentators and the 
 •Slave wan neither Cephisoiihon nor anartor of Kuripides, the word iimoipinaSoi, which uavo 
 ri.io til thin interpretation, was used for jmratraKic elli-ci. Tho latter allernativo is tho moro 
 Iinibahle. .So in Aristoph. fratj. .'iJJS K., K.>ck rixhlly d. fendtxl i'ir««p«i»To Iwceuso of the 
 mniiifei.t pnrixiy of trntcic diction. 
 
TEEMINOLOGY 5 
 
 protagonist, as the corresponding entry in the Didascaliae shows, 
 v7roKpiTr)<; 6 Selva iviKa. 
 
 Through the establishment of the usage just described, the 
 leading actor in a play, or the actor who, by virtue of recognized 
 position, took part in a dramatic contest only as a competitor for 
 the actors' prize, easily came to be spoken of as the v7roKpiT^<i 
 par excellence of a play. Generally speaking, a person who is 
 referred to in Greek writers simply as viroKpLTrj'i (with the quali- 
 fication "tragic" or "comic") is assumed to be a prominent actor 
 or protagonist — though perhaps this is true because the writers 
 whom we possess usually have occasion to refer only to actors who, 
 as actors, have achieved some eminence. It does not follow, how- 
 ever, that a person who, like Aeschines, did not win a leading posi- 
 tion as an actor could not be referred to as Ala-')(ivr]<i 6 v7roKpLrT]<i, nor 
 that all protagonists of whom we hear were good actors (cf, the 
 case of Hegelochus). But we can readily understand how, in an 
 age in which the list of victorious protagonists could be drawn up 
 under the general heading vIkui viroKpircov rpayiKMv, the simple 
 vTrofcpiTijii could generally imply an actor of the first rank. At 
 any rate, as we shall immediately see the need was felt at a 
 later time for a word which would better carry the connotation of 
 "actor of the first rank." 
 
 2. Tpa<y(ph6<i and Kcop,Q}86<i. — The words rpa'ywho^ and KcofiQ)S6<;, 
 which from the beginning of the third century on when used in 
 the singular signified the leading actor, the head of a troupe and 
 more especially the leader of a troupe that brought out an old 
 tragedy or comedy, had not yet come to be employed in this sense. 
 They are found only in the plural in writers of the fifth and fourth 
 centuries (below, pp. 18 ff.). And yet the beginnings of the later 
 specialization in the use of these terms can be detected in three 
 instances. In the Fasti IG. II 971 the phrase TraXaiov Bpafia 
 irproTov irapehi^a^av ol TpwywhoC is found in the year 386 (frag, d, 
 p. 23 Wilhelm'), and the same expression with ol km^wSoi in that 
 of the year 339 (frag, g, p. 28 Wilhelm). These entries indicate 
 the introduction of the "old tragedy" and of the "old comedy" 
 
 iSee Wilhi'lm Wien. Jahreslieft (1907), p. 39, where the rediscovered fragment is pub- 
 lished. npu}Tov is accordingly restored in frag. y. 
 
6 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 respectively into the annual' programme of the City Dionysia. 
 Now we do not chance to have the corresponding Didascaliae for 
 either of these two dates, but for the year 341, IG. II 'J73, we find 
 iroKaia N€07rr6\efio<i. Here a single Tpay(p86<: is mentioned by 
 name whereas in the Fasti we have the plural without any name. 
 It is not to be assumed that the play was brought out in the latter 
 case by the several members of the tragic company together and 
 in the former by a single member of the comjiany. The explana- 
 tion is rather this: The record of the Fasti confines itself to 
 ayajvc^, except where a new event was for the first time introduced. 
 The old play was evidently not offered in a comjietition for a 
 prize; the rpay^So^ who superintended its production won no 
 victory, and therefore was not entitled to a place in the Fasti, 
 which is a list of the victors. The plural oi rpayu>hoi in the 
 Fasti, therefore, tells us clearly that old plays were brought out by 
 rpaywhoi and Kcop-cpSoi, while the Didascaliae show us that each 
 year a single Tpaywh6<; or K(op.a)86<i had charge of the reproduc- 
 tion. We have then, in the Fasti for 386, the first instance 
 of tin- meaning of Tpay(p86<i that afterward became the common 
 meaning. 
 
 The sanu- tendency toward the appropriation nf tiie word 
 rpaya)S(h in its specialized sense is seen in Demosthenes J>r pace 
 0, as C'apps^ has shown. The orator refers to the bad advice 
 on jM)litical matters, given by Neoptolemus 6 imoKpnrjfi, to which 
 the Atlu'nians had listened. He goes on to say that he could 
 blame no one but the Athenians for this, "for if you had been 
 witnessing tragic performances in the theater (Tpay(pho\s idiaadi) 
 instead of to a debate on matters of the high»'st innH»rt io the 
 state, you would not have listened to him with favor nor to me 
 with aversion."^ It is clear that Deuiostiieiies has in mind here, 
 not the dramatic spectacle as a wliolc, nor the tragic poets in 
 particular, when he uses rpay^how, but that lu' is contrasting 
 
 > Wi> hnvn no riKht to asDume, with Wilholm Vrk., pp. 28 f., that from these dnt«s on the 
 rcproiltictioii of old plnys was "oocnsionnl." All the evidence which we possess indicates 
 thiit ihix event, whi<n onre tntrodnce<l, wiis a regular part of the exhibition. Reiscb ZOO. 
 (IVHriK p. 294. i» ri«ht ab«>ut this. 
 
 ^AJI'. XXIX (190B). pp. 206 Cr. 
 
 i('f. the Hcholiu.HtM |iaraphraMt, " yoii liHt«'ueil to Net>ptoleiiui- with fuviT, rharnie<l l>y 
 his voice." 
 
TERMINOLOGY i 
 
 the rivalry of Neoptolemus and himself before the people as 
 pleaders in a political cause with their possible rivalry as actors 
 competing for the prize to be awarded to the best protagonist. 
 While Demosthenes lays claim to superior consideration as a 
 statesman, he readily concedes the pre-eminence of Neoptolemus 
 in his own sphere, the theater. In the entirely formal phrase of 
 Demosthenes, therefore, with its usual meaning "tragic perform- 
 ances," we see for the first time in literature the beginning of the 
 specialization in the meaning of rpajcp86<i and /cw/icoSo? which 
 afterward became common and which may have been, and probably 
 was, in official use as early as 386 b. c. 
 
 A very concise statement of the difference which ancient 
 scholars observed between the usage of the classical period and 
 that of post-classical writers is found in the scholium to Demos- 
 thenes De pace above referred to. The note has so generally 
 been regarded as hopelessly corrupt that it has received far less 
 consideration than it deserves. I give here the text as it stands 
 in the MSS, except for the displaced clause which Capps has 
 shown to constitute a second note. The main note is a commen- 
 tary on NeoTTToXe/xo? 6 vTroKpLrrj^, the second on TpaywSov'i ideaaOe. 
 For a full discussion of the scholium reference is made to Capps, 
 who has recently demonstrated both the soundness of the MSS 
 tradition and, in a measure, of the doctrine embodied in this bit 
 of ancient learning. ' 
 
 viroKpiTrjV. — ^vTroKpLTa<;^ iKoXovv ol dp^^aioi tovs vvv 'rpaywSovs' Xeyofxevov^, 
 Toy's 8e vvv ^VTroKpiTas' (ovtol 8k ycrav 8vo) tov fikv '' 8evT€paywvL(TT-^v,^ tov 8e 
 '' TpLTaywvKTTrjv,' avTOvs Se Tov<; 7rotr;Tas twv 8pap.dTu)v ' rpayajSoiis ' kol 'rpayw- 
 SoSiSacTKaAoDS-' " 
 
 Tpayio8ov<; : — Toi»s ttoitjtois olov tov EiipiTri'Sr^v koI 'ApicrTocfidvrjv. 
 
 The scholiast, observing that Neoptolemus, the famous protago- 
 nist, is simply called v7roKpcT^<i, rightly remarks that later writers 
 
 1 AJP. XXIX (1908), pp. 206 ff. 
 
 2 The MSS give after Keyovixivovi in the first line the words toO? wotr/Tas — EvpiniSrjv koI 
 'Api<TTo<j)dvr)v, which Lambinus in the edition of Novelli saw were out of place; but he 
 inserted them after TroiijTas twi/ SpaixaTMu, not repeating tous TroirjTds. But Capps saw that 
 ToOs TToiTjTas could be explained only as an attempted definition of rpayuSou? as used by 
 Demosthenes later on. The scholium is generally quoted in the version of Lambinus, who 
 boldly rewrote it, omitting tous 6e vvv i/TroKpiras, changing Svo to rpeis, inserting 6 nev irpoiTayui- 
 vLCTTrii, then reading 6 Se SeuTepayiorto-T^s, etc., and finally changing rpayiaSovi in the last 
 line to TpayiKoiis. 
 
8 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 would have preferred Tpay^B6<;. In the second statement he 
 wrongly, as we shall see (below, pp. 31 ff.), attributes to the 
 ancients, i.e., to the classical writers, a use of "deuteragonist" 
 and "tritagonist" which was certainly not classical. As regards 
 the third statement and that of the second note, they are not 
 wholly wrong nor wholly right, but only incomplete. While 
 Demosthenes in the phrase Tpaya}Bov<i ideaade was certainly not 
 thinking of the poets but rather of the competing protagonists, as 
 we have seen, yet rpayaySoi does sometimes in classical writers 
 signify "tragic j)oets" and seldom specifically "tragic actors." 
 Yet it would have been more correct to say that in the plural it is 
 used in the broader sense, "tragic company," and that the writer 
 who so uses it may have in mind either the company as a whole 
 or the spectacle which the company as a whole presents, i. e., 
 "tragic performance;" or, in the third place, the writer may have 
 uppermost in his mind either one of the three principal elements of 
 the tragic company: chorus, poets, or actors. The Demosthenes 
 passage is peculiar and important in that the word tends to be 
 narrowed in the direction of the later specialized usage, and to 
 mean, not the actors who produce a given l)lay, nor the actors 
 who together produce several plays, but the rival leading actors 
 in the several competing plays. And the scholium has value in 
 clearly pointing out the change in usage which had taken place 
 at the time of writing — a change which is at least foreshadowed 
 if not exem[)lified in the Demosthenes passage.' 
 
 At this point it is necessary to consider at length the conten- 
 tion advanced by Mr. Herbert Richards in his article "On the 
 Use of the Words TpaycpB6<; and ^to/iroSo'?," CUdSS. Rrr. XIV 
 (r.HK)), pp. 'J<»1 tV. He there challenges the traditional view (as 
 stated, e.g., in Liddell and Scott) as to the meaning of these 
 terms. He argues that TpayffiSo^; and Kcofi^So^ in cla.ssical Greek 
 meant "1. singers, in most ca.ses forming a chorus, acting and 
 spoken of t()g('tlu»r, '2. a pt>rformance, '3. tragedy or the tragii- 
 stage, comedy or tlu* <'omic stage." In conclusion, after present- 
 ing an exttMisivt* collection of material, he makes the following 
 
 I Thi« law of LycurKU.i (piiBsod beforo ;C5) o.stnbH.sliiiiK a contest at tlio Chytri is cmIWhI 
 by tlio nutlior of \'it. X. Drat. KM f & votioK irtpi rwf K-n^iiv, nud nuMyAot refers hero to pro- 
 tniriiiitsl*, US Kdhiin nlisorvi'il ; hoo b«»low, p. .V>. 
 
TERMINOLOGY 9 
 
 statements as suggestions: "1. that there is no evidence for the 
 sense of either actor or poet in good Attic of the fifth and fourth 
 centuries; 2. that outside Attica towards the end of that time 
 and onwards there is evidence for actor, but not of a quite clear 
 and conclusive kind, and that conclusive evidence does not appear 
 until the first century after Christ, though we need not doubt 
 that the sense existed earlier; 3. that the sense of poet is not 
 found till at any rate the second century of our era and perhaps 
 not so soon." As an inference from his main conclusions Richards 
 suggests that TpajoySof and KO}fjt,Q)86<i "may signify a performance 
 by one or two people in which singing was paramount" — thus 
 practically reviving the long-abandoned theory of Bockh touch- 
 ing "lyrical tragedy." 
 
 Richards arrives at the foregoing conclusions by the following 
 method. Starting from the original etymological meaning of the 
 words, "goat-singer" and "komos-singer," he takes up the actual 
 occurrences of rpaywSo'; and Ka)fXQ)86<; in the earlier extant litera- 
 ture and in inscriptions, and shows that in every case the words 
 can be assigned to one of the three meanings mentioned above. 
 He lays stress on the fact that there is no passage in Attic litera- 
 ture of the fifth and fourth centuries where Tpayq}S6<; and K(o/ji(p86<; 
 unequivocally bear the sense of poet or actor. He then traces 
 the use of the words in later Greek until he can find instances of 
 definite poets and definite actors who are called rpayaSoc and 
 
 KCOp,Q)S0L. 
 
 Apart from the question of the validity of his interpretation 
 of the words in classical writers, Mr. Richards' treatment of the 
 subject is open to several criticisms: (1) Because in the litera- 
 ture of a particular period he can find no passage where the words 
 must mean poet or actor, he infers that they were never so used. 
 But an argument e silentio is especially hazardous in this case, 
 for much of the literature of the most important period is lost and 
 what remains touches only incidentally and rarely upon dramatic 
 performers. If Richards were right in his interpretation of 
 Tpa<y(p86^ and /ccd/awSo? in the passages he has gathered, even so his 
 argument would not be conclusive. (2) He assumes that the 
 terms kept their original meaning of "singers" throughout Greek 
 
10 HISTORY OF ACTORS AND ACTING IN' ANCIENT GREECE 
 
 literature, and he seeks to make this meaning expLiin the occur- 
 rence of TpayoyBoi and KtofiayBoi in tlie Soteric lists of Delphi and 
 other inscriptions without first investigating the significance of 
 the entries in these documents or turning to account the special 
 researches of such writers as Reisch. (3) He fails to consider 
 the historical development of the personnel of the dramatic com- 
 panies and the change wrought thereby in the content of the words 
 in question. (4) He overlooks important inscriptional evidence 
 available at the time of writing.' Since then, it may be added, 
 important new inscriptions have come to light, especially the new 
 fragments of the Fasti above referred to (p. 5). It may be 
 added, further, that one who attempts to follow Mr. Richards is 
 needlessly embarrassed by his reference to inscriptions in publica- 
 tions long since antiquated. The texts, dates, and commentary 
 of scholars like Kohler, Dittenberger, Baunack, and others have 
 given many of these documents a new significance. We may 
 remark also that deductions are sometimes carelessly drawn, and 
 that too often the writer has employed the lexica and indices 
 without making sure of the context, so that the writer himself 
 has fallen into error and the reader is misled. 
 
 The conclusions of Mr. Richards have not been combated in 
 detail so far as the writer knows. They seem to have met with 
 the approval of von Holzinger (J< thresher., 1903, p. 170). Mr. 
 Capps TAPA. XXXI (lUOO). j.. 117. n. 3, expressed his dissent 
 from Richards' view and promi.setl at a later time to defend the 
 traditional view. This promise is now fulfilled vicariously by the 
 present writer." 
 
 Th«' words Tpay(i)S6<; and /c<u/li&)8o9 first occur freely in dociunents 
 which permit of a precise definition of the functions of the j)er- 
 Bons so designated. These documents are the agonistic inscrip- 
 ticMis 111' the third <'eiitinv and following. Among tliese the mo.-^t 
 important are (he lists ui tlu- performers at the Soteria at Delphi 
 and the lists of the leading contestants at tlie Dionysia at Delos. 
 The Soteric lists give the names of all the participants in the exhi- 
 
 '.Such as in. II SiTl. S"72, U7.3, «".'), »7". niul th» choroBic ci(tal«>t;uo!* of Dolos - this Broiip 
 OoiiHtittitiiiK thu nioHl iiiiiMirtiiiil iii8cri|>ti(>iiHl oviilc<iici< wo jhissoss. 
 
 •i.Sonii' iiiiKK'"*tii>ti'. Iinvo hooii dorivi'd from n |>ini«<r whirh Mr. I). I*. I^ockwooil. tlioii h 
 ■ tiiclorit in Hiirviir<l I'ni vr-ity, |>r<<|>ar<Hi for rr>«f.---iT i'ni>i>-. 
 
TERMINOLOGY 11 
 
 bitions under the general heading oJfSe rj'ycivlaavTo top a'ywva toov 
 '2(OTr]pi(ov. The tragic performers are mentioned by name, under 
 the sub-heading rpajcpSoi in groups of three, each group having its 
 flute-player and didascalus. Similarly for comedy — K(ofx,(p8oi in 
 groups of three with flute-player and teacher. After the KcofjLwSoL 
 follow the members of the comic chorus, seven in number, and 
 without teacher or flute-player. 
 
 It is certain that the rpajoySoi and KcofiwSoL mentioned in each 
 group are not actor-managers, but all the actors employed. This 
 is shown by the headings and by the character of the inscriptions 
 in detail.' Again, the unvarying number of three actors is signifi- 
 cant." In this respect the Delphic lists are unlike the Delian, 
 where the number of rpwycpSoi and Kco/iaySoi varies greatly ; in a later 
 Soteric inscription but one Kcop.wSo'i is recorded, Baunack 2569. 
 
 Richards, however, is of the opinion that the three rpaymSoi 
 and the three KcofxcpSoi are vocalists merely, rather than actors 
 proper. He argues thus in substance: The function of the didas- 
 calus was confined to teaching the chorus singing and dancing. 
 Now since there was no tragic chorus, as he assumes with Ltiders 
 and A. Mtiller, the didascalus mentioned each time with the 
 rpa<y(p8oL and KoofjumSoi taught these as he would have taught the 
 chorus had there been one, i. e., taught them singing and dan- 
 cing. The reasoning seems entirely false. A few years earlier at 
 Delos dramatic choruses took part with the actors.^ Here the 
 rpaycpBoi and «&)^&)8ot are always the actor-managers. If a chorus 
 
 1 E. g., the fact that the individual members of the comic chorus for each year are 
 named, and the costumer. 
 
 2 See Kelly Rees The So-called Rule of Three Actors in the Classical Greek Drama 
 (Chicago, 1908), p. 69. 
 
 3Cf. this entry in the accounts of the iepon-oioi for the year 279 B. c, BCH. XIV (1890), 
 
 p. 396, 1. 85 : xoptu t<P yeco^ei'a) TO19 KiofmoSols Kal Tw TpayioSui ApaKOCTi Tois einSeif a/u,eVois TiZ 0(m, SaSa^ 
 
 Ttapa 'EpyoTfAous .... pu/aol /cal fOAa ||||, and A. KOrte N. Jahrb. f. klass. Alt. Ill (1900), 
 p. 8.3. The notice clearly shows that certain things were provided for the chorus which was 
 furnished to the kcu/iawSoi, and apparently also to the tragic chorus furnished to Dracon. It 
 is entirely in line with this bit of evidence that we always find the comic choreutae at Delphi 
 just after the comic actors and without either flute-players or teachers. And yet flute- 
 players and teachers are absolutely essential to the training and the performance of the 
 chorus. Since the Delphic catalogues give all the performers, the conclusion is that the 
 comic choreutae were under the direction of the didascalus who trained each group of 
 actors, and that their part in the performance was an essential part. It is interesting to see 
 in the catalogue of ca. 140 B.C., Baunack, No. 2569, that the choreutae are designated as 
 xopeurai <cuj;oiai5o0. See Capps TAPA. XXX (190U), p. 138. Cf. Anth. Pal. xi. 11, <n> S' e'xwv xopoy 
 olKoBev iJKets, of one who gathered a chorus as if he were a TpaywSds or xopauAjjs. 
 
12 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 went with the ko)^(i)8oi at Delos, then the comic choreutae men- 
 tioned in the Delphic lists went with the KcofiqySoi, tiute-player, 
 and teacher there also, and we are obliged to assume that the per- 
 formances in both cases were of the same character as those which 
 are evidenced in the Athenian inscriptions of the same epoch, 
 viz., dramatic. As for the tragic chorus at Delphi, although the 
 lists give the names of no persons under the head of ;i^o/)€tTat 
 rpayiKoi, yet the rpaytpSoi here as at Delos may have been furn- 
 ished with choruses, either the comic choreutae assuming this 
 function, as in the day of Aristotle,' or else the dvSp€<; ^^opevrat' or 
 Xopol dvSpcov, as Jan and A. KOrte suppose.^ 
 
 We may add that, since no poets are mentioned in the Soteric 
 lists, old plays were probably brought out there. We chance to 
 know that the Heracles of Euripides, which surely demanded a 
 chorus, was jn-rformed at this festival during the third century 
 {BCH. XVII, 1893, p. 15). The correct understanding of these 
 lists, to which Richards appeals in support of his new theory, 
 seems to be, that there was a dramatic chorus, certainly for 
 comedy^ and in all probability for tragedy also; that the three 
 Tpa7Q)8ot' and the three /cw/iojSoi'were the actors of these tragedies 
 and comedies; and that the function of the didascalus was still, 
 as it ever had been, to train the chorus as well as tiie actors, i. e., 
 he was the manager of the jx>rformance. 
 
 The Delian inscriptions, unlike the four great Soteric cata- 
 logues, mention oidy the leaders of the dramatic troupes. The 
 Tpay^Boi find /ctoftwSot' mentioned in them are actor-managers. We 
 have seen that this was true in the case of Dracon. Again, in 
 some of till' years the number of rpaycpSot or Kcoficp8oi is less than 
 thre(>. In the I)(>lian list of 201 B.C., />V 7/. VII (l!SS8). p. 118. 
 Eudenius, the only Kcop.(p86<i mentioned, performed three times, 
 doubtless with the sanic trouju-. Further, three of the Delian 
 lists mention poets under the heading TrotT^rat /coj/i^/oii' (280 B.C., 
 
 ' I'ul. 3. H. 1276 h 4, iiawp y Koi x^P^" ori niv «w>i>«<>>'. ot« ii rpayixbr irtpov tlyai ^anfv, ritv 
 avritf iroAAa<i( afOputwuiv oyrutv. 
 
 iJnii Vrrh. d. XXXIX /)/iiJ. IVr/ramm/.. p. S7; cf. Prtiiiinor /)c/;.A. MVi/i./MrftrnA-. p. 7«; 
 Kftrto N. Jnhrh. /. kl. Alt. Ill (UW). p. 86. 
 
 • In till' rKOi'iitly «li8rovor««l coniir rrnumonts from Ghorftii and in Lofobvro's new Monnii- 
 rlnr pnpynis \opou is writtiMi sovernl timos hctwoon Kconos. For Ihecorri'Ct intcrprotatiou of 
 this fnct xni. A. Knrto Hrrv,r» XLIIl (IWIH), pp. 2W IT. 
 
TERMINOLOGY 13 
 
 Robinson AJP. XXV, 1904, p. 188) or Kcofio)8o7roc6^ (263 B.C. 
 and 259 B.C.). When poets appear new plays are produced and 
 the poets act as didascali according to the traditional Athenian 
 custom; but rpaycpSoi and KcofiwSoi bring out old plays.' It is 
 thus that we must interpret IG. VII 542, 543, which give the 
 victors at the Sarapieia at Tanagra, and IG. VII 2727, the list 
 for the Soteria at Acraephia, both of the early part of the first 
 century b.c.^ 
 
 We may consider the fact established that rpaycpSot and KonjKa- 
 Soi at Delos and Delphi mean "actor-managers" and "actors of 
 old plays" respectively. It is entirely consistent with this con- 
 clusion (viz., that these persons were actors and not singers) that 
 some of the very persons who are mentioned in these lists appear 
 in the Athenian records among the victorious inroKpLrai. Thus, 
 of the Delphic KcofiaSoi the following appear at Athens as vtto- 
 Kpiral kco/xlkol: Autolycus, Demeas, Cephisodorus, Lyciscus, 
 Philonides; of the Delian, Hieronymus, Menecles, Philonides, 
 Polycles; of the Delphic rpayaSoi: Alexandrus, Arcesilaus, Hera- 
 cleitus; of the Delian: Aristarchus, Cleodorus.^ But there are 
 cases that are even more specific: Cephisius, who is Kcoficp86<; at 
 Delos in 282 and 279, acted [vTreKpLvero) at Athens the Maino- 
 menos of Diodorus in 288 b. c. So Polyxenus, kco/jlwSo^ at Delos 
 a century later, 172 b. c, took the leading roles in comedies 
 at Athens ca. 185-170 b. c. Other instances of this complete 
 identification of the business of the rpaywSo^ with that of the 
 inroKpLTrj^ will be found in the Prosopographia at the end of this 
 treatise. And this result is exactly what we have found (above, 
 pp. 5 f . ) to be true in Athenian documents, where Neoptolemus the 
 vTTOKpLTrj'i is classed among the TpayaBoi who, from 386 down, 
 yearly brought out old plays at the Dionysia. There seems to be 
 no question that rpaywSo'i always meant, both in Athens and out- 
 side Attica in agonistic documents, "actor of an old play." The 
 main contention of Richards certainly is wrong. 
 
 1 Probably the prominent actors who were present on these occasions and brought out 
 old plays as rpayaiSoi and kiu/xwSoi served as iuroicpiTai for the production of the new plays, 
 just as in the Athenian Didascaliae Neoptolemus, for example, brings out an old play as 
 TpayoiSds and serves as uTroKpiTjjs in three new plays at the same festival. 
 
 - In 542 and 543 the headings are in the accusative, e. g., TpaywSovs, sc. tviKa. 
 
 3 For the details see under these names in the Appendix. 
 
H HISTORY OF ACTORS AXD ACTING IN ANCIENT GREECE 
 
 W»' have other records, some of them cited by Richards, which 
 point to the same conclusion. In the well-known Corey rean 
 ins(Tii)tion IG. IX 694, 11. 20 ff., provision is made for supplying 
 nt the local Dionysia in alternate years three tlute-[)layer6, three 
 Tpay(oBoi\ and thri-e KcofiwSot. Lflders and A. Mflller' understand 
 rpaywhoi and KooficpBoi to mean in this case protagonists who had 
 their troupes with them and who entered into competition with 
 one another. This is the only interpretation that permits of a 
 satisfactory explanation of the flute-players. The three TpaywBoi 
 and the three KcofKoSoi represent three tragic and three comic 
 companies. Each company has its flute-player, each of the three 
 flute-i)layers serving a tragic and a comic com})any. Were we to 
 ap[)ly the analogy of the Delphic lists of performers, there would 
 be one company of three rpayipSoi and one company of three 
 Ktofi^oi, and only two flute-players would be needed. 
 
 Again, we have an interesting decree respecting the inhabi- 
 tants of la.sos passed by the guild of Dionysiac artists which had 
 their headquarters at Teos. The guild resolves to send free of 
 (•harg<' to the lasians two avXj]Tai\ two rpaycpSoi, two KOifxcoSoi, one 
 KiOaptaTrjf, and one Ki6ap(p86<; to participate in the celebration of 
 llitir Dionysia. In this inscription also rpaywBoi and KcoficpSoi 
 must be understcjod to mean "actor-managers," each accompanied 
 by his troupe. Lflders (p. 125), anticipating the interpretation 
 which Richards brings forward, [)oints out that the sense of sing- 
 ers or declaimers is excluded by the fact that the artists assigned 
 had to bring with them their inr-qpeaia,^ which as singers or as 
 declaimers they would not need (oi'Se ivep-ed-qaav <tvv rat? irmjpe- 
 
 W(> may cite finally a (l(M-nM' of th(> Dionysiac guild of Ptole- 
 nuiis of the middle of the third century. It is an honorary decree 
 signed by the members of the guild. The names of the actor- 
 «'Ienient are arranginl as follows: 1 Tpay(t)B6<i, (> Kwufphoi, 4 avv- 
 ayoivia-Tal rpayiKoi (see btlow, j). 2U), 1 ')(opoSi8d<XKaXo(:, and then, 
 after a lacuna of seven lints, I ai)X;/T»/? TpayiK(k. We may con- 
 
 > LQdara Dion. KQiuit., p. 121. mxi Mnllor Hiilnttntilt.. |>. asK. 
 
 'Which <loubllpMS moans thoir avfoYwyKTrai, nnci not, ns LOdors thontrht, thoir ni>pn- 
 rnlUH. A. Mnllor, p. 2M, n. .'», nud p. 408, thinks of tho thoatro-scrvnntii rnthor than of tho 
 nub«*rdinato aoturs. 
 
TERMINOLOGY 15 
 
 elude that this chib was able to furnish one company of tragic 
 actors and six companies of comic actors. The lacuna of seven 
 lines is significant. A. Korte N. Jahrb.f. klass. Alt. Ill (1900), 
 p. 86, n. 5, thinks that the names of seven choreutae were written 
 here. In that case the number of the chorus would be the same 
 as that of the comic chorus at Delphi in the middle of the third 
 century, and the choreutae formed both the comic and the tragic 
 chorus. 
 
 Where the terms Tpay(j)86<;, Koo/jLO)S6<i, and vTroKptri]'? appear in 
 the same inscription, we can now have no doubt that the two 
 former are actors of old plays, while vTroKpir^'i unqualified means 
 actor of a new play. We have found this to be true in the 
 Athenian Fasti (entries of the years 386 and 339), in the Soteric 
 inscriptions of 272-269, and the Delian lists scattered over the 
 period 284 to 172, when compared with corresponding Athenian 
 documents, though in Athens and Delos only the actor-manager 
 of an old play, in Delphi all the actors in an old play, are so 
 designated.' Further, we nowhere find rpaywSo'i and kco/jlwSo^ 
 referring to actors of a new play. viroKpiTri^, on the other hand, 
 is used of the actor of a play, i. e., the protagonist, whether the 
 play is new or old. But whenever an old play is referred to and 
 the actor is designated as uTro/cptT?;?, the qualification 7raXacd<; 
 TpajQ)8ia<i or iraXaia^ KcofjLwSLa^ is employed." 
 
 1 The Delphic lists stand alone in designating all the actors as TpaywSoi and Kto^wSot. 
 The first person named in each group is not the actor-manager of the troupe, because a 
 didascalus is mentioned with each group. The companies consisted of protagonists — all. 
 star casts — and brought out old plays. Demeas, the second actor in his group in the year 
 270, appears as a protagonist in the Athenian Victors'-list as early as ca. 289 B. c. Cf. also 
 Heracleitus and Polycles. 
 
 2 For example, 10. VII 420 (Oropus) : Trott^Tr)? a-aTvpuiv | iiKo^eviSr)^ ^ikinnov 'JipcoTrios, | 
 TpaycoSias 7raAaia5 iiTTOKpiT^S' | <I>tAo(cpdTi)? @eo<f>dvTOV 0r)^a^os, | (CWfiwfitas vraAaca? iiTTO/cptTijs • | Zwt'Aos 
 Ziot'Aov SvpaKocrios, | TpayiaSia^ Kaii'ijs TrotrjT^? • | IIpuiTapxo! 'AvTi/j-evov^ 0r)Paio5, i UTroKpiT/js- | <I>tAo- 
 (cpaTT)? ©eoc/xii'Tou ©rj^aios, | KW/iACf)6ias Kaivri^ TTOirjTrjs- | Xioj'I'tjs Aio-yeiTaJi'5oii ©rj/Saios, | UTroicptTij? ■ | 
 
 noAvfei/os 'AvSpvTa 'Ottoiji'tios. One other agonistic inscription of this class, IG. VII 1760 
 (Thespiae) is formulated in this way. Usually instead of uiroKptTi)? n-aAaias TpayiaSia's (kw^ku- 
 &w) we have simply rpaywSds (/cio/otoiSds), e. g., IG. VII 3197 (Orchomenus) : KidapM^ ■ | Ar)p.ri. 
 Tpios Ilapfj.€VL<TKOV KaA;i(»)8di'i09, | rpaywSo^- ] 'l7r7roKpaTJ)s '\pi.crTop.ivov^ 'PdSios, | K(op.(<)5ds • | KaAAi- 
 (TTpaTos 'Efaice'crTov ©ij/Saios, | JrotTjTrjj aarvpiav • \ 'Ap.ivia; Arjp.OKKiov; ©TjiSaios, | UTro/cpiTTJ; • | AwpdSeos 
 Au)po9eou Tapavrlvo^, \ TrotrjTr)? TpayioStuiv ■ \ 2o(|)OkA^s 2o(i>OKAe'ovs 'A^rji/aios, | UTrOKptT^s • | Kapipi^os 
 ®eoSu)pov ©rj^aio?, | woiijTr)? kui/jluSluiv • \ 'AAe'f ai-Spos 'ApiffTiw^'OS 'Ad-qvalo^, | vnoKpLTrj^ ■ | 'AttoAos 
 
 'ArriAov 'Aerivalo^, In one inscription, IG. VII 1773 (Thespiae), we find in 1. 22 the pleonastic 
 expression rpayiuSd? n-aAoia? TpaycuSios. In 1. 20, on the other hand, Lolling reports -12 va. 
 Aaias /ciofxcuSi'as, which Dittenberger naturally restored [uTroKptrJr;?, etc. All previous editors 
 omit the line entirely, but BOckh conjecturally restored [/cw/acuSo? TraAata? Kw/ucoSi'a?]. If 
 Lolling is right, the inconsistency of usage is to be noted; but probably the scribe wrote 
 KujiiiaSoi as he did rpaiywSo'; in 1. 22. 
 
IG HISTORY OF ACTOBS AND ACTING IN ANCIENT GREECE 
 
 We uiay now consider the use of Tpa-ycohdv and KQ)fiQ)8a)v as 
 headings in the Athenian Fasti, IG. II 971. Under these head- 
 ings in each year-list we find recorded the choregus and poet (as 
 didascalus) and after the establishment of the actors' contest also 
 the protagonist. Similar genitives are used for the dithyrambic 
 victors, viz., the tribes, but here not as headings but as a part of 
 the entry, e. g., OlmjU iraiBou. But doubtless this is simply a 
 difference in the order of words, the purpose being to save space, 
 and does not signify a diflFerent construction of the genitive. 
 The simplest exi)lanati(m of these genitives is to regard them as 
 [)artitive. depending on the ol'Be vepiKr^Kaaiv oi the general heading 
 of the Fasti, so that the year-list of the year 421, for example, 
 would read:' 
 
 "Etti 'AAxat'ov (iviKUiv)- 7rut8<uv 'lirTro6(x)VTi<:, *Api(7Tup;^'09 AtKtlXeicis) 
 \opr)yCiv. avSp!i)v 'AuivTt'?, ^rjfiocrdiinf; )^opr]ywv. KWfiwSwv ■ u Stliu ^opijyitii', 
 EvTToAi? 8t8u<rKu;v. 
 
 Since the prize was awarded to the choregus, as well as to the 
 didascalus and actor and tribe,' we must understand the verbs 
 iSi'SaaKe iiiid exop^'nei as ('(juivalent to 8i8d(TK(ov eviKa aiul x'^PVJ^^ 
 
 Tiic (litliculty witli this cxpianHtion is tliat, if TpayroScov in 
 these headings means "of the tragic performers," the choregus 
 cannot be included in this category. As Bethe rightly asserts, 
 he was certainly not a member of the tragic company. But is 
 the objection really valid? I think not. In fact it was iK'cause 
 the chiirrgus W!is not, strictly S{)eakiiig. a nu-uiber of the i-oni- 
 
 I MoutioD should be mado of Betho's iiitorprotation of the phrnswilojry of tho Fasti, 
 De Mcaenicorum certantiuutn victorihua, p. 6. Ho would paraphrase thus: ««m<j>*«»»' (xopo^ 
 • fiKa, y) I EupvicA«i£>)f 'X°P'rt'^ I Kin^poi'iot iSiiaaKtv, \ rpayifSuiv (^opbt iviKa, i^) \ Bti-onA^t 'Ai^i- 
 iva{loi) ixopny^t I AiaxwAot i6i6a<rKfv. His comnioiit is: " tostatur Piiiin titulas ita supplotu», 
 in cortaminihuB scnonicis noc choroRos hoc poi'tus ccrtassp sod choros." Au obvious objoc- 
 tioii to this viow is tho furiiiuhio of tho cliorotjic inscriptions, nn examph' from which is 
 i(iv(M\ atxivo, and of, o. jf., /</. II l'2SV. Hero thoro aro no cllipsos, tlio dntivo Tpay<fioU 
 apiM^ars ami not tho Ki<nitivi>, and llio chorus is not niontionod at all. Fiirth<>r, iu tho 
 Victors'-lists tho liondiiiK of thi- socf ion for trawic ixx-ts is (i;«aO woirrii- Tpayi.wF. 
 
 iiothn mif4Uiidor->taiids Arist. A'</. -V-l and .If. 44.*i and 1UV2 whon ho contonds that tho 
 victory wont to tho chorus. It is truo that tho chorus was tho instrumout with which tho 
 |Mwt (but as ilidascalus, not as t>oot) comi>otod, as tho h»irsos woro tho moans by which tho 
 chariotoor c<>MHM>t«<d. Aristophunos is thiokinK of tho victory to lj«« awarded, not l«> his 
 chorUH as such, but to himsolf. 
 
 »A.s i.s priivi'd l)y thi- clioroKic inscrijitions, o. k., Hi. II r.'47, Hp«iriAAo« .... ai.Ci)*.!' 
 
TERMINOLOGY 17 
 
 pany, and yet was one of the competitors for the prize given to 
 the choregus of the company which should win the approval of 
 the judges, that, in my opinion, the peculiar phraseology which 
 we find in the Fasti was adopted. If the entry had been 6 Selva 
 XopriyMv, the choregus would have been included as one of the 
 TpajoySoi; as it is, he counted among the victors, but not as one 
 of the rpayaySoi. The didascalus, on the other hand, is properly 
 reckoned in the Fasti as one of the tragic or comic company. 
 Our conclusion would be, therefore, that the generic term Tpayw- 
 S&v, as it appears in probably the earliest Athenian document in 
 which it is used, means "tragic company," and that under this 
 term are embraced the chorus, the poet, and the actors. 
 
 Another explanation is, however, admissible and perhaps prefer- 
 able. It may be that the heading rpayaBwv goes back to the 
 time when the poet was an actor and before there was a choregus 
 outside of the tragic company. Before the choregic system was 
 established the tragic company consisted of chorus and actors; 
 the poet was not only a member of the company as one of the 
 actors or the only actor, but he was in the true sense the choregus 
 or "leader of the chorus." By the new system a citizen was 
 appointed as quasi "chorus-leader," though he did not actually 
 perform this function. But in the official records the didascalus and 
 the choregus were still treated as "members of the tragic company." 
 
 The same explanation holds good for IG. II 1289 as it stands 
 in the improved text now found in Wilhelm Urk., p. 210: Tronjrr)^ 
 rpaycoiSol^ evUa [<l>ayocrT/oaTo]9 'H/oa/cXeiSou ' A\iKapvaaaev<;, | viro- 
 Kptrr]<i rpaycoLSol^i evLK\^a '\epo|xvrj|xa)^^v ^vavopihov Kv8adr}vatev'i. 
 These are the victors at the Lenaea of 306 b. c. "As poet for 
 the tragic company" and "as actor for the tragic company" ex- 
 press the idea satisfactorily. As a "choregic" inscription (it is, 
 however, from the period of the "choregia of the demus") this 
 document stands halfway between the Fasti, which recognizes the 
 poet only as didascalus, and the Didascaliae, which recognizes 
 him as poet; cf. IG. II 974c, Wilhelm, p. 45 (311 B.C.), and 
 975 (of the third and second centuries) ; see below, p. 50. 
 
 Our study of the inscriptional evidence leads us to expect in 
 literary usage the following meanings of these words: (1) rpa-. 
 
18 HISTOBY OP ACTORS AND ACTING IN ANCIENT GREECE 
 
 y(p8oi, "tragic company" as a whole, (2) a rpaywho^ may be any 
 member of the company: poet, actor, or member of the chorus, 
 (3) in the course of difiFerentiation which the term underwent, 
 especially after old plays were excluded from the contests and were 
 given as extras, Tpay^B6<; came to mean the actor-manager of an 
 old play, and (4) finally passed into literature as an honorific 
 term for a tragic actor of the first rank, or protagonist. What is 
 true for TpayQ)S<k holds go(jd also f(jr /ceu/AwSck. 
 
 Let us first take up the passages where the words in question 
 mean "tragic company" and "'comic company." Aristophanes 
 frag. 1-40 Kock perhaps best illustrates this use: 
 
 A. Kul TtVes uv €Ltv: B. wpwra fikv ^avwpiajv 
 airo Twv TpxryuMiov, aTTo ok Tutv TfxiyiKwv )^opwv 
 MeAT/Tos, aTTo Si Toil' kvkKlojv KLvrjaia^. 
 
 A. had asked the question: "Who would dare go down to the 
 path of the shades and gates of darkness?" B. had answered: 
 "In [)ublic assembly we chose one from each profession, one whom 
 we know to be a frequenter of the lower world, etc." Then after 
 a few lines A. asks again, "Who might the envoys be?" The 
 answer is: "Sannyrion representing the comedians, Meletus the 
 tragedians, and C'inesins the dithyrnmbic poets." We must of 
 course regard 6 rpayiKo^ ■)(^op6<; and ol Tpayo)8oL as convertible terms; 
 Aristophanes might, had he chosen, have spoken of Meletus as 
 airo TOiv rpaywhoiv and Sannyrion as airo ro)v KoyfiiKtav ■^(opSiv. 
 Both were poets, as was Cinesias. Hence it is evident that ol 
 rpvytphoi (_i. e., ol K(op.Q)Boi) and ol Tpayq)8oi are both terms for the 
 c(Mnic and tragic companies as a whole, of whicli the jxiet was an 
 important member. 
 
 Arist. Ocean. 1. I. 1H4 1 <i 20: i) hk hia tT/'? KOcrp.t'](T€a><; ovSiv 
 Sia(f)epovad eari Tf/? Ttou TpaytfiSayv iv ttj (tk€vt) tt/jo? aXXr;\ow opuXia. 
 The ofjLiXia of "singers" in this instance seems pointless. The 
 phrase irpw aWrjXow o/xiXia does not admit of Richards' serviceable 
 evasion "the tragic stage."' The safe course is to interpret gen- 
 erally, "the tragic company." 
 
 ' It i* hnrd to •«© how nnynno oonld siispoct, with Hichnnis, |>. 'Mi, thni iho writer t«f 
 thia pansago wna uot " fully innHtor of tho dolicacies of Attic .simhioIi." 
 
TERMINOLOGY 19 
 
 In the well-known passage in Arist. Poet. 5 1449 h 1, ical yap 
 Xopov K(Ofia>8(OP o-yfre irore 6 ap')((ov eScoKev, aXV iOeXovral ^crav, the 
 iOeXovrai were the K(ofiq)8o{, i. e,, all who took part in the produc- 
 tion of a K(OfXQ)Bia. The archon granted the chorus to the didas- 
 calus; all who were trained by him were koo/xmBoL In the early 
 period the didascalus himself was included in the comic company. 
 Here Aristotle uses the traditional phrase, in which all the com 
 pany were conceived of as embraced under the chorus. 
 
 Similar are three passages in Aristophanes: Pax 806, rjviKa 
 TOiv rpaywhSiv tov X^P^^ ^^X°^ dS€\(j)6<; rt Kal avT6<i ; Av. 181, elra 
 ireLvoiv rol<i %0|00io-i tmv rpajayScbv iJxO^ro; and Vesj:). 1537, tovto 
 yap ov8eL<i tto) 7rdpo<i 8e8paK6v, op^ov^ievov 6aTt<; airrfkXa^ev X^P°^ 
 rpvya)8(bv. In these cases rpaywBcov and rpvycphwv have their gen- 
 eric meaning "tragic," "comic players." X^P^"^ rpaywhav means 
 "chorus composed of tragic performers." While every man of the 
 chorus in the stricter sense must be a rpaya}86<;, of course not 
 every TpayQ)86<i is necessarily a member of the chorus. The 
 expression cannot be used to prove that the rpaycpBoi comprised 
 the members of the chorus and no one else. 
 
 In Aesch. Ctes. 204 we find fxeWovrcov Tpayu)8o)v elaievai. The 
 generic and personal force is felt here also. It cannot be said 
 that the entrance of the chorus marked the beginning of the per- 
 formance, and, further, the verb elaievat, seems to preclude the 
 meanings "tragic performance" and "tragic stage." 
 
 Apparently of similar force is Xen. Oecon. 3. 9, Oea yap avrom 
 flTTep Tois Tpaya)8ov^ re Kal K(o/ji,a)8ov<;. 
 
 The instances cited are sufficient to show that in the literature 
 of the fifth and fourth centuries, as well as in the inscriptions, rpa- 
 y(p8oi and K(op,(p8oL were used of the company of players, tragic or 
 comic. This being so, we must expect that, on occasion, accord- 
 ing to the point of view of the writer, the word TpaywSoi may 
 mean "poets" rather than "actors" or "chorus;" that again it 
 may mean "actors" rather than "poets" or "members of the 
 chorus;" and finally that it may refer chiefly to the members of 
 the chorus. We give first the passages where "poets" lie upper- 
 most in the writer's mind. 
 
 Aristoph. Vesp. 1480, Kal roy? Tpayq)8ov<; <f>r}aiv cnroBei^eiv 
 
20 HISTOBY OF ACTOBS AND ACTING IS ANCIENT GBEECE 
 
 Kpouois TOin vvv Btop')(^T}crdfi€vo<i oXtyov varepov. Ihiil. 14:98, et n't 
 TpayQ>B6<; (f)T}(Tcv opj^elcrdai KaXa)<;, and ihitl. 1505, erepty; rpaycpSo^ 
 KaptciuiT7)<; epx^Tui. To interpret these passages correctly one 
 must understand the context thoroughly and must have 11. 1473- 
 1517 esf)ecially in mind. If Tpayatho^ here means singer or dan- 
 cer, then we must accept the strained conclusion (see schoU. ad 
 1479, 1502) that Thespis and Phrynichus here referred to are not 
 the famous tragic [)oets but obscure singers and dancers. As 
 regards the sons of Carcinus, we know that one of them, Xenocles, 
 was a tragic |)oet [T/wsin. 189, Ran. 86). To regard them as 
 simply dancers would be to miss the sense and the humor of the 
 passage. Philocleon's object was to show that the real dotards 
 are the moderns; they cannot compare with the old poets who 
 led their own chonises — Thespis and Phrynichus. The sons of 
 Carcinus are introduced as a parallel. The reference is clearly to 
 them as poets.' 
 
 In certain other [)assages the language of TpaywSoi and KO)p.a)Soi 
 is s|>oken of; the poets, as the ultimate source of the words of 
 actors and chorus, must be referred to. Crates, frag. 24 Kock, 
 Tol<i Sk rpay^SoU ere/Jo? aep-vo^ iracnv \6yo<; aX\o<; o8' eaTiv. Diphi- 
 lu.-^, frag. 80 Kock. co<; ol rpaycohoi <^acnv oh i^ovaia eariv Xeyeiv 
 airavra koX Troieli' p.6voi<i. Arist. Poet. 22 1458 6 3, \\pi<f>pd8T)<; 
 Toifi Tpay(pBou<: eKcofKoSn, oTi ovSeU av etiroi ev t^ SiaXexTM tov- 
 Tot? ■y^pwvrai. If one reads the context it will readily be admitted 
 that Aristcjtie is referring to poets. He has just shown how, by 
 the alteration of a single word in an iambic line which both had 
 com|K)sed alike, Euripides had improved upon Aeschylus, He 
 then goes on to say that Ariphrades ridiculed the *fo)/i^8ot because 
 they use phrases which do not occur in ordinary speech. If the 
 words in these passagi's be taken as not necessarily referring to 
 po«'ts but rather to the performers, in none of them can the j>er- 
 formers be restricted to the chorus. And in the last passage as 
 
 'S<i l<lay<l<'s itit l'e»i>. 1100: r<Mii aiitoin i>xtrn ooiitr()vt>r>iiim jxinoro vidtMitiir ista tt. 
 U;h 14.M (opxo''»»«»'o< .... rapjjai' ««».»•'. (»to.), viiiilo constat iioii loanvi nlicuius snltatoris, 
 iiihI iiirlyti illiiin Mallatnris traKici iiiiti<|iii a\n^^aTa i>x|«rini.ri« t<>m|M>ris acli laudatorom 
 Philoclooiiniii. .S.M. alsd Starkii-'s iioto (i(( hx-., aii>l cf. Atlioii. ~(i auti FrOhilo Techuikd. nit. 
 nil. Komiiilir, I). IW, u.: " .\ii oiuoiii Tal)Z«r Phrynichos ilarf man mit M<<in<>kn llarwardt. 
 I'rotfr. 10 un<t Loouwon ulxir uicht doukon. S. Halb)<rtsma S. 3." Kiclianis follows 
 Mriuoko. 
 
TERMINOLOGY 21 
 
 well as in the preceding the tone is so distinctly personal that 
 Richards' meaning "tragic stage" seems inadmissible. 
 
 Let us next consider a passage from the comic poet Timocles, 
 frag. 6 Kock: 
 
 Tovs yap TpaywSovs Trpwrov, et (3ovXei, (tkoku, 
 (1)9 dx^eAovcrt Travras- o fx\v wv yap tto't/s 
 TTTto^orepov avrov KaTa/juiOwv tov TrjXecfiov 
 yev6fJi€i'ov ^8r) Tr]V irevLav paov <{)epu. 
 
 Here again it is better to take Tpaya)8ov<; as referring to the poets 
 who present the characters to us and are the ultimate source of 
 the plot as well as of the language. 
 
 Aristoph. Vesj). 650, ^aXcTroi' /xev koI Seivr}^ yvoi/x-qf koI /xeil^ovo^ 
 ri Vi rpvycpSoL';. rpvywhol'^ in this passage clearly refers to the 
 poet as the one who is to cure the malady in the body politic. 
 Starkie well translates: "It is a hard task and one that requires 
 a judgment of portentous power and greater than is to be 
 expected in a comic poet, to cure the disease that has eaten into 
 the vitals of the state."' 
 
 Again, in Plat. Legg. 935 f/, rC 8e St); ttjv twv KWjxwhoiv trpo- 
 dvfiiav TOV yeXoLa ek tov<; avOpoiTTOis Xeyeiv rj 7rapaSe^(^(OfjL€6a; the 
 meaning of kco/xwSmv is clearly defined by the context. The next 
 sentence begins with the distribution of kco/jlcoSmv: Troirjrfj 8t) 
 K(Ofia}Bia<; rj tlvq^ ldfi/3a>v rj Mofcrwi/ /xeXwSia^ firj i^e'crrco .... 
 firjSeva rSiv ttoXitmv K(op,(i)heiv. Here the word means, not merely 
 poets of comedy, but comic writers in general." 
 
 Before leaving this topic, the use of the words rpayaSelv and 
 KQ)fxq)Selv to denote the function of the tragic and comic poet 
 respectively deserves a word (cf. Aristoph, Thesm. 85, Ntih. 1091, 
 Ach. 631, 655, Pax 751, and Arist. Poet. 22. 14586 31 for Kcoficp- 
 Beiv). It is hard to conceive how this use of the verb could have 
 originated unless Tpa<y<pS6<i and K<oix(ph6<i were terms applied to the 
 poets, or how it could have long existed without giving rise to the 
 connotation "poet" in the nouns rpaycoSo'i and K(o/j,Q)S6<i. 
 
 1 Richards, p. 206, writes: "In Ar. Venp. 650 TpvywSol'; is simple comedy." The whole 
 tone of the passage is against this, I think. It is distinctly personal. In fact, the word 
 yvioixri^ forces us to take rpvytaSoU in a personal sense. The "comic stage" can have no 
 
 yvtaixTj, 
 
 2 Jowett: "But then, do we admit into our state the comic writers who are so fond of 
 making mankind ridiculous? " " A comic poet or a maker of iambic or satirical verse shall 
 not be permitted to ridicule any of the citizens." 
 
si HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 Wliile the sjMr'cific term for actor was inroKpiTtpi (^TpayiK6<i or 
 K(OfiiK6<i), we should exj)ect that the actors, as well as the }X)ets, 
 could be referred to under the general title rpa'-fwhoi K\n\ KojfKoSoi, 
 "trat^edinns" and "comedians," ''members of the tragic and comic 
 companies." Plato Phacdr. 280 c seems to be the earliest certain 
 exam[)le of this usage, 'iva Be fir) to roiv KoofKpBayv <f)opTiKov irpdyfia 
 avajKa^ayfieda Troieiv dirroTToStSoWe? aXXT^Xot?. The reference is to 
 the logomachy which takes place between the actors, either in the 
 agon proper, as in Aristoph. Eq. 301 ff., or in the portion of the 
 play that leads up to the agon, as ihid. 380 ff. The chorus takes 
 no part in the ayraTro'Socrt? proper." 
 
 That Demosthenes Dc ptice 7, el yap ev Aiovvaov TpaywBois 
 ideaade, is thinking of the tragic actors and their contest more 
 particularly we have already shown (above, pp. Off,). The use of 
 the verb in De cor. 13 is a parallel case, where he says of Aeschi- 
 nes, rjjXiKa vvv cTpayajBei /cat Bie^ijei. The word implies not only 
 ponnK)sity but dissimulation, though far less of this than our 
 "hypocrite." Demosthenes virtually calls Aeschines a Tpay(i)86<: 
 and a inroKpm']^, in each case referring to his career as an actor. 
 Further, Demosthenes retains in the verbs the fundamental dis- 
 tinction of meaning which exists in the nouns, denoting a member 
 of the tragic troupe and emphasizing the general characteristics 
 <jf "tragedians," i.e., their pomposity; vTroKpiTt]^:, on the other 
 hand, denotes the actor and emphasizes the essential characteris- 
 tic of his trade, viz., deception and simulation." 
 
 We turn now to the use of these terms in application lo the 
 nu'nil)ers of the chorus. The specific term is xopevrai. But, just 
 as in the case of the poets and actors, the Attic writers of the tifth 
 and fourth centuries employed rpaycpBoi and KtonipSoi when they 
 had ill mind, not the whole company of tragedians and comedians, 
 but only or chiefly the members of the chorus. This usage is 
 best illustrated by th»> common phrase rpaywSoU ■)(opi]y(.lv, "to i)e 
 choregus for the rpayrpBoi."' We know that the duty of the 
 
 'Sw W. H. TliiMiipx'ns otiitiou of Iho I'haedrxu, p. ^3. The ptirt of tho choru.s iu llio 
 ntfon was probably limiUH) to tho <^ai and xtktvotiara, Ziolin.»ki Olied. d. altatt. Kom., pp. 
 117. .111. 
 
 ^(ioodwiii'ii iiot<< oil tho pns.Haito is: " irpayifiti <ai JK^'ifd tft forth in hi» tragic ftylr 
 (i.o., |H)miM>u.Hly), roforriOK to tlio thoatrirnl days of Aorliiiios, like viroxptfcTat 15. 4. of. XIX, 
 180, raCra r^yytti." Cf. on l.'>. 4 : " iooaptftrsi, hr jWtiyn ln$ fuirt." 
 
TERMINOLOGY 23 
 
 choregus was to defray the expenses of the chorus; and in this 
 phrase no doubt it was felt that the chorus was chiefly in the 
 mind of the writer.' We need cite only a few passages to illus- 
 trate this common usage. Lysias 19. 29, TpaywSoU BU ^(opriyrjaaL^ 
 and 21. 1, KaTaara'^ X'^PVyo^ TpayQ)8ot<i ; Arist. Eth. Nic. 1123a 23; 
 Ka)fjLa)8oi<i 'x^opi]'ycov; Dem. 21. 59, tovtov efiLadwcra'TO Ti<? ^Lk6vLK0<i 
 Xopvy^'> rpayoySayv. But one must not infer from this or similar 
 phrases that rpajwSoi and KcofKoSot meant only the members of the 
 chorus. 
 
 TpaywSoi and KcojxwhoC were often used for the dramatic per- 
 formance, e. g., Aesch. Ctes. 45, aireCTrrj /jlt) Kr}pvrTea6ai, roh rpaycp- 
 Sot9, ihid. 36, and 176. Similar is Aesch. Ctes. 41, yiyvopLevoiv 
 TOiv ev aarei rpaywBcov, and 34, rpaycphSiv ayayvi^ofievoov KaivMv, 
 "during the performance of new tragedies;" also ibid. 154 and 
 Tim. 157. Many other occurrences of these terms can best be 
 interpreted on the analogy of this usage. Plat. Rep. 395 a, a\X' 
 ovSe rot vTTOKpnal Ka)fio)Sol<i re Koi rpaycpBol^ ol avroi; Aristoph. 
 Av. 512, OTToV i^eXdoL Il/Jia/^o? Tt? e%ft)j/ opviv ev roicn rpaya)8ol<; ; 
 id. Pax 530, Aiovvaicov, avXeov, rpaywScov, 'S>0(f)OKX€OV<i fxeXotv., kl- 
 XXSiv. In a medley like this the meaning "tragic performance" 
 will fit the context as well as any. Xen, Oecon. 3. 7, eVt /ney 
 k(o/jlm8(ov Oeav; Andoc. 4. 42, veviKr]K(ii)<i evavBpia koL Xa/JLTrdBi Kal 
 XaixTrdhc fcal Tpayq)8oL<i ; Isaeus 5. 36, rrj fiev <f)vXrj et? Aiovvaia 
 ')(opr]yrjaa^ TeVapTO? eyevero rpaya>8oi<; koX 7rvppf)(^LcrTaL<; vcrTaTO<;. 
 The fact that in these expressions the performers are put for the 
 performance shows that rpaywBoi and KWfxashoC in actual usage, 
 irrespective of their etymology, comprised all the performers.^ 
 
 The following passages from the later literature show that the 
 words TpayQ)86<; and KwpL(ph6<i were unequivocally used in the sense 
 of actor, and more particularly of the protagonist who brought 
 out an old play. The fact is best illustrated by bringing together 
 the terms used in describing the famous actors of the fifth and 
 fourth centuries. Thus, Andronicus is spoken of by Lynceus, 
 quoted by Ath. 584 rl, as rpaycaSoq, by Machon ibid. 581 e as 
 
 1 Because of the etymology of x°PVy^^^ if for no other reason. But it seems that the 
 duties of the choregus extended to little else than providing for the chorus. 
 
 -In the new Menander, Epitrep. 108 van L., TeOiaa-ai TpaywSovi; = Tpo-yuSi'as, in Sam. 245, 
 
 oiiK a/crJKOa? Ae-yoi'Tuji' tmv Tpa-yuSuii' = v-noKpnuiv — both times cf old plays. 
 
24 HISTORY OP ACTORS AND ACTING IN ANCIENT GREECE 
 
 xnroKpnrj^. Aesopus, described by Pint. 17/. Cic. 5 as Tpay(p86<;, is 
 in the same context spoken of as irrroicpiv6nevo<i. Athenodorus is 
 TpayQ}B6<: in Plut. ^[or. 234 f/, Ath. 58></, but is vTroKpiTiyi in Pint. 
 17/. Alrx. 2U and in Idf. II 1>71 / and h, and the verb viroKpiveadai 
 is used of him by Ath, 538/, irrreKpiOTjaav Se rpayaySol p,kv BecrcraXo? 
 Koi 'Kdrjvohwpo^. So Callippides, Tpay(pB6<i in Ath. 535 </. is 
 vTTOKpiTifi in IG. II 972 col. ii and in Polyaenus 6. 10, is 6 tq)v 
 rpaya>Sia)v vrroKpniY; in Plut. 177. Aijt'S. 21, viroKpiTTjf: rpayLK&i in 
 IG. II 977 r.s- and Plut. Mor. 348/. Leonteus is referred to in 
 Ath. 343 r as T/)a7&)8o<? .... ore kukw TTjv'Typ-nrvXriv vTreKpi'varo. 
 Plutarch Moi'. 334 / speaks of Lycon as «a)/iQ>8oV, so also Ath. 
 538/; but in IG. II 977 x he is v7roKpiTTj<; KtofiiK&i and Ath. loc. 
 cit. uses of him the verb xnroKpiveadai. Diodorus 16. 92 speaks 
 of Neoptolemus as rpayotSo^, in Dem. 5. he is v7roKpiTji<i, in Stob. 
 Anth. 98. 70 (III, p. 233 Meineke) 6 t?)*? rpayuSia^ inroKpiT^, in 
 IG. II 973 xnreKpivero and irrroKpirr}<i are used, and in IG. II 977 
 he is vTroKpiTT)^ TpaytKOf. Polus is spoken of as rpaycohwi in Plut. 
 Mor. 785 h, but in 348 /and in Luc. Apol. 5 he is rpayiKo^; inro- 
 KpLTTj^, while in Plut. 816 / he is designated as iv rpaytphia trpco- 
 TayQ)vi(TTi]<;. Cf. also 177. X. Orat. 848 b ( uTro/cptTT;*? ) and Plut. 
 Kjnsf. <lr (imicitia, Bernadakis YII, p. 117 (IlGiXo? tov rvpavvov 
 OlSiTToSa vireKpiueroy Thet talus, t/307&)SoV in Ath. 538/and Plut. 
 Mor. 334 </, in Plut. 177. Alex. 10 is 6 tojv TpayoySiwu inroKpirrfi 
 and in IG. TI 971 r<]h, 973, and 977 pi is called inroKpnr)<iy 
 and vTTOKpivicrdai is used of him in Ath. 538 / and IG. II 973. 
 So finally Theodorus, referred to by Plut. Mor. 737 h as -rpaywho^;, 
 is called ibid. 'i\H f rpayiKo^ inroKpiTjjf:, by Aelian T7jr. hist. 14. 40 
 Tf/9 Tpay(pBia<i v7roKptTi]<i,h\ Arist. Pol. 1336 b 28 6 tt)? rpaycpSia^ 
 v7roKpiT^<;, in I(t. II 977 / he is inroKpLTry; rpayiKo^, and in a 
 Diijthic inscription BCH. XXVII, j). 13, he is desi«,niated simply 
 irrroKpiTii^, wliih' Plut. Mor. S16/ calls him "protagonist." and the 
 vrrb inroKpiv€(T$ai is used concerning him by Dem. 19. 24»), Pans. 
 I. 37. 3. Instances might 1h' multiplied, but the above will suffice 
 to show that Tpay(ph6<i and KQ)fi^S6^ have b(H*ome in latter writers 
 the Huitablr honoritic terms for the riniiinit actor of tragedy or 
 comedy where Attic writers of the c-Iassical {H'riotl preferred the 
 less pretentious term inroKpi.rrf'i; that in later writers the phrase 
 
TERMINOLOGY 25 
 
 which simply defines the function, v7roKpLT7)<; rpa'^LKO'i or KcofiiKo^, 
 is still in common use, and that in all periods the verb by which 
 is indicated the work of the actor is viroKpCveadaL. This result is 
 in accord with the observation made by the scholiast to Dem. De 
 pace 6 which we discussed above (pp. 6 if.). 
 
 It is rather unprofitable to discuss in detail the many passages 
 in later Greek literature in which Mr. Richards thinks he finds in 
 TpayQ)86<; the meaning "singer." In the first place he starts on 
 the wholly erroneous assumption, as we have seen, that the word 
 does not mean either "poet" or "actor" in the classical literature 
 and that in the Soteric inscriptions and similar documents the 
 function of the rpayoySo'i and KQ)fji,a)86<i was singing. Therefore in 
 miscellaneous passages in later writers he either demands positive 
 proof in each case that the word means "actor," or he endeavors 
 to find presumptive evidence that the real meaning is "singer." 
 Nowhere in his discussion are the faults of his method more 
 apparent. It is obvious that he has often used the lexica and 
 special indices without inspecting the context, drawing his deduc- 
 tions merely from the occurrence of the noun or verb in the brief 
 phrases quoted. An illustration or two will suffice. He writes, 
 p. 212: "And sometimes it is difficult to say how far plain acting 
 is meant as distinguished from the acting of a singer. See for 
 instances Dio Chrys. 33. 396 c, rpaymSov riva eTriSjjfJL'qaavTa rjv(i)- 
 ■)(\ovv eTTiSei^aadaL Ke\€vovr€<i, Lucian De hist, conscr. 1, *A/o%eXao? 
 6 TpayaiBo'; .... Tpay(p87](Ta<; rrjv 'AvSpo/xeSau, and two or three 
 passages in Dio Cassius in which Nero eKiOapwh-qcre koX irpaycphr^aev, 
 etc." The index to Sturz's edition of Dio Cassius has under Tpaym- 
 Beo): ^^iKtdapa)S7]a€ ical irpaywSrjae 1041. 55; 1042. 92; 1047. 42." 
 This phrase, however, occurs only in the first of the three pas- 
 sages cited by Sturz. In 1042. 92 we read: TjKova-a avrov TroWa/et? 
 a8ovTO<i, riKOvaa Kr)pvTrovTO<i, rjKOvaa rpayoySovvTO'i ; in 1047. 42: 
 roiovTOv yap Spd/xa Tore to SaL/xoviov avTw TrapecrKevacrev Xva firj/ceri 
 Toi)^ dWov<i ijLrirpo(f)6vov^ koX aX^Ta<; aXX' r/'S?;, Kal eavrov inroKpivq- 
 rai • Kal rore fieTcyivcocrKev i(f)^ oh ereToXfir^Kei • Kaddirep aTrpaKTOV 
 TL avrSiv iroLT^aat 8vvdfievo<i ^epcov p.kv hr) roiavra irpaycpSet. Here 
 the context shows that rpaycphelv is synonymous with vTroKpivecrdai. 
 In 1033. 85 Dio gives a list of the plays which Nero acted, 
 
26 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 " 0/V/j'y)o».s, Thycstfs, Hcrakl^s, Alcnidiox, and Oretitrs o><; irXridei 
 vTroKpivofievo';.'''' So too in Liician De hist. coJiscr. 1, where it is ex- 
 plained that Archelaus 6 Tpay(ph6<i ^&\e the Andromeda, and in Die 
 Chrys. 33. 3iJ6 c, aKOTnlre Stj fiij Tavro irda')(rire 'IXzeucrtf iK€ivoi<i 
 o'l TpaytpBov Tiva eTnhrjp.rjaairra jjvto^Xovu, iirihti^aadai KeKevome;. 
 
 Aj^ain, Richards writes (p. 213) : "Though I have not noticed 
 Comoedia in the cr,.nt.ric sense of "play," Kw^ioyBia seems to be 
 used in Plutarch's Moralid OfJo r, {ifiov hk irapaKeXevofxevov kuI 
 Xeyoirro^; Kaipov elvai) Kaddirep iv Ktofioahia firj^f^ud^ alpovra<i koI 
 ^popTa<; ifxffdWoirraf;, where the reference must be to "tragedy." 
 But Plutarch merely says, as we read in the very next words, irapa 
 trorov hiaXeyicrdai trepX Kepavvwv ^i\\?ii this sort of talk at a banquet 
 is as absurd and iuajtpropriate as to resort to the </?'»>■ r.r umrliind 
 in comedy. 
 
 As regards the use of Tpaywho^ as "poet." it is indeed rare in 
 later writers as it is uncommon in classical literature, but an une- 
 quivocal instance is found in Plut. Mov. 88 (/, ivhvov ttj •^vxii^ 
 irepiaKOTrei ra aadpd, fiij tjV aoi Trodev v7ro(l>0€yyr)Ta KUKia to tov rpa- 
 7^Sou ''dXXutu iarpcK eXxeai ^pixov.^ So too in Lucian Anach. 2'2, 
 Tol<{ Se ye K(Ofia)8ol<; kuI diroaKOiineiv koI Xoihopelcrdai i(f)iep,ev e? tois 
 7roXrra<?--a passage wliicii should be conipari'd with Plato Lcr/ij. 
 935 f/ — Luc. Hrnn. SO, Dion Chrys. '21. 72. Dion. Hal. Dr »v/. 
 script. 2. 11, T(ov Se KQ)p,(f)Sa)v ficfielrai Ta<; Xe/CTt/ca? apnouia<;. It 
 is not necessary, therefore, to suspect with Richards the integrity 
 of the reading Tpaya)86<; in the only two passages known to him. 
 ''which |M>int to the second century," viz., Bekk. Am-c. ~k '.VA. 
 Atheu. 3o d. The u.se of rpayoiBo'i and KQ)fia)B6<; in the si'use of poet 
 is indisputable in F/V. Acsrhi/li, p. 123. 10 Westermann. scholl. 
 Aristoph. lidii. SO, 3()7, scholl. Dion. Thrac. in Hekk. Ann: 
 p. 74.S. 2»», and Poll. 7. 201.' Homer is called Tpay(i>So<; Ka\ irarijp 
 TpaytfiBia^ by Anon. Hhct. ed. Rabe, Rlicin. Mus. LXIII (1908). 
 p. 1 1'^ I. 2; cf. K(on(f)boii, iraXaioU Kal TpaytpBoU ihiit. Eudoxu> 
 tlif poit is called a kw^koBo^; l)y Pollux, cf. below, p. oS; pcrhap^ 
 we should correct to KWfiiKwv. 
 
 I rpayi^JoO Mliiuihi h« rone) fur rpayviovotav in \'il. Actchiu., |). 2iU). LM WoiitiTiiiMiiii. 
 Mnllor Halinrnntt., p. I".t7, n. 4, ho rondn witliciiit, Iiowkvit, miiitioiiiiitf liin <li>|mrtiiri« fmrn 
 lli« t.<xt, .'vidoiitly i>ii the Ntroiiictli of liU kiu.wl.<lk'<' thut I>chnii<lrus was nii nrtor not a 
 juiot. Miiiuli All. Thrill., i>. 2J2, n. l'. i.-.v-s ,p.,-,^io. f..r r.,«-,u..^wT«.oi ii. Plat. Cnil. iZ'> li witli- 
 <iut •(Itch jii<<tiflcnti<in. 
 
TERMINOLOGY 27 
 
 As vTTOKpirri'i designates an "actor" with reference to his func- 
 tion in the production of a play, and as rpajofSo'i and KcofiaBo^ 
 respectively assign him to a company of performers of tragedy and 
 comedy, so other words came into use to detine him in his capacity 
 as "contestant" for a prize — ajcovc(TTi]<; and its compounds — or as 
 belonging to the tribe of "artists" — Texvirrj^;. Our task is simply 
 to determine when these words of general meaning came to be 
 applied to actors in particular, and to learn their range and con- 
 notation in this usage. The history of these words is obviously 
 entirely different from that of viroKpLrrj^ and Tpaya>S6<;; whereas 
 the latter were invented at an early period in the history of the 
 drama to designate a thing that had not previously existed, and 
 from general meanings gradually took on narrower special signifi- 
 cations, ay(t}vi(TT7]'i and re^i'tT?;?, on the other hand, were in use 
 long before and after and independently of the drama, and in 
 application to dramatic actors removed the latter from a narrower 
 to a broader class. The transferred meaning is always felt, and 
 neither word can by itself mean "actor," although when actors 
 are spoken of or implied, both terms could be freely applied to 
 them. Obviously, however, before an actor could be referred to 
 as a "contestant" or as an "artist," acting must have come to be 
 regularly associated with contests and the art of acting to be 
 regarded as a fine art or profession. 
 
 3. a<y(oviaTi]<i and compounds. — Not until 449 b. c. were the 
 leading actors in competing tragedies brought into organized 
 competition with one another at the City Dionysia. Another 
 aycov was thus added to the innumerable contests in which men 
 possessed of physical, intellectual, or artistic ability publicly 
 competed for a prize. The idea of public exhibitions of skill of 
 any kind, in which judges were appointed and an award pro- 
 nounced in favor of the most excellent, seems to have been 
 inherent in the Greek mind.' The words ayotv, ayojvL^eadaL, ayco- 
 VLa-TT}^, however, are not found in this connection until the classical 
 period of Greek literature. After the contest for actors had 
 been organized at Athens it followed as a matter of course that 
 the terms which had long been in use for contestants in other 
 
 1 Reisch in Pawly-Wissowa s. r. "Agones." 
 
28 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 fields should be a[)plied to contt'stants in this field also. a7&)- 
 VKTTrfiy avTayQ}maTT]<i, crvvayiovitTTT]'; and the corres{K)nding verbs 
 are not found freely in the extant Greek writers in application to 
 contestants in dramatic contests until about the middle of the 
 fourth century, though they are implied in the few allusions to 
 the victories or defeats of poets which occur in the Old Comedy.' 
 The earliest allusion in literature to the actor as contestant seems 
 to be Aristotle Eth. Xic. 3. 1111 h 24: vTroKprn'-jv riva vikuv; cf, 
 Pt'oh. 918 b 28: 6 /xei/ xnroKpLTrj^ aycovKTTJ]'; koI fiifij]TT]<;. 
 
 These words, and the underlying idea of a contest for a prize, 
 had long been in use for the parties to judicial or jx>litical con- 
 tests.' Since the rivalry of actors was felt to be not unlike that 
 of rival orators before the ecclesia or of defendants before the 
 courts,^ it is not always possible to say whether the figurative use 
 of these words in reference to dramatic contests was transferred 
 directly from the regular, organized contests like the athletic 
 contests, or indirectly through the medium of the judicial or po- 
 litical contests. At no time in the history of Greek literature, with 
 rare exceptions noted below, could any of these terms be employed 
 for actors without a qualifying word or some other external indi- 
 cation of the restricted sphere of application, in the meaning 
 "actor," "rival actor," "associate actor," etc. In a number of 
 late inscriptions, however, the words ayQ}vi<TTi]<i* and avvaycoviaTtj'i 
 have such a technical meaning. 
 
 <jvvay(ouicrT^<;. — The verb avvaywin'^eaffai and the noun avv- 
 aycoi>icrTi)<i are very frequently used of one who helps another in 
 any contest whatsoever. They are perhaps most frequently used 
 in connection with war and the courts.' But it is not until the 
 third century B.C. that we find avvaycDviar}]^ and (xvvaycoi'i^eaffai 
 a.s.suiuiiig a certain technical meaning in refi-rence to dramatic 
 
 I Tin) onrlioiit occurroiico aooms U> bo .\risU)ph. Ach. 140: i/n' avrov toi- xp^>'<»' <>''' «»^»i' 
 e<o>ri( l)y<un(tro. Cf. ihid. 419, wlioro tho " BtruRKl«s " of tho unhappy Oonous arc alluded to. 
 
 ■'Thuc. rt. Lni, ». »1H; Antiphou 5. .1, .'>. 4, 5. 74. and frjviiipntly in tho onUors. 
 
 'Cf. AriHtot. Hhtt. 1403 h 9, iy>yi<m*ii iJ i) i>»o«piT«>TaTij. 
 
 * I'lilitiid />r riilletjiii urti/irum himii/niticomm, p. zi, and Rvo» Stxallcd Rule of Three 
 Aetitrt, p. .Vi, II. 1, jfivM tln< n<f»<rniico.>4. 
 
 & E. K-i Thur. 1. 113: iin ry Kifjt'ii)> ovi«t< ky A«{aiTO .... •««ii'Oi< (vraywfi^'rtr^ai ; Pinto 
 Ale. I. 119<f ; av'^Aotc t>' Of >it Toix <iAi)#wv aiTaywfxrrat, aAA' ovx aiit viiv <>< Toi>v cvraywiota^; 
 and o^.■yll•f^^v^i^atal <7oi irpo« roi>< voAc^iovf. 
 
 |>i<iiiii^tlii'Mi->. IS l.^t ■nv'. that ho would niii linvi< nllnui'il olviniiiniloru.*) to act a.>i he did 
 
TERMINOLOGY 29 
 
 actors. In the great actors' contests at Athens in both tragedy 
 and comedy we know that the state recognized only the leading 
 actor in each play as a competitor. If, then, we find the term 
 "synagonist" applied to an actor, we are prepared, both by its 
 general meaning "helper" and by the conditions of the contests, 
 to understand the subordinate actor who does not himself compete 
 for the prize but helps the principal actor against his antagonists. 
 And so, as a matter of fact, the inscriptions which furnish us the 
 evidence of this technical meaning confirm this presumption. 
 The earliest epigraphical instance of synagonist is an honorary 
 decree passed by the technitae of Ptolemais in Egypt in the 
 reign of Ptolemy Philadelphus, BCH. IX (1885), p. 134. It is 
 signed by apparently the whole membership of the guild, includ- 
 ing one tragoedus, six comoedi, four tragic synagonists, etc. 
 The tragoedus and the four tragic synagonists together formed a 
 company of tragic actors. 
 
 But the documents which throw the clearest light on the 
 technical meaning of this term are three decrees of the town of 
 Delphi which were recently published in BCH. XXX (1906), 
 pp. 278 flP., of the latter part of the second century b. c. (below, 
 p. 71). No. 49, the most comprehensive of the three, after some 
 compliments to the Athenian technitae for having sent to Delphi 
 a splendid company of pythaists, goes on to mention them by 
 name. After the general officers and forty-one members of "the 
 great chorus" with their accompanists, come the participants in 
 the thymelic and scenic contests. The participants in the scenic 
 exhibitions are as follows: three auletae, four comoedi and oi 
 avvaycovL^dixevoL TovTot<;, six in number, five poets of satyri, two 
 tragoedi and ot tovtoi<; a-vvarycovL^dfMevoi, seven in number, and, 
 finally, two tragic poets. One hundred one names are re- 
 corded, but since a considerable number took part in both the 
 
 at the last trial, el iJ-rj fJ^era o-oO Koiffi a-uvriyu>Pt.i6iJirip. Dio Casslus xl. 54 also uses trvvayoivKrrrii 
 as the equivalent of crwriyopo'; : 6 MiAwi' xaiToi rhv KiKepiava <Tvvayix>vi<TTriv ix'^^- 
 
 Aristophanes Thes. 1061, referring to the production of the Andromeda, makes Echo 
 
 say : EvptrriSr} KavTT) ^vvriyuivi^oixriv. 
 
 Instances might be multiplied indefinitely to show the general meaning of the term in 
 application to all sorts of contests. The word is probably wrongly restored in the Delphic 
 inscription SGDI. II 2727, of a certain xopoi/faArpio : eireSu>Ke[v Koi (Tvvay]iavi[^]alTo . . . .] Koi 
 eir6o(ci';u.r)o-e iv T<p aywvt Toi^ Uv8iMv. Since she won the prize she was hardly a synagonist; 
 read rather [avTa^Jwi/ilaTo. 
 
^0 FIISTOKV OF ACTORS AND ACTING IN ANCIENT GBEECE 
 
 chorni and the thymelic or scenic exhibitions, the total number 
 of artists in the pythiad is about ei<jhty. We call attention to 
 the lar^e number of p-rsons who went from Athens to Delphi on 
 this occasion especially in order that it may be seen that the 
 decree mentions every participant by name and to show that 
 there was apparently no tendency to economize by taking the 
 smallest number of persons who could res{>ectably give the 
 tragedies and cometlies. 
 
 The scenic jwrtion of this decree presents some interesting 
 problems, for some of which no solution can at present be offered. 
 We can reasonably assume that the four comoedi and six comic 
 synagonists brought out four old comedies, and that one comoedus 
 and the six synagonists were available for each comedy; but it is 
 hard to see how the two tragoedi and their seven synagonists 
 managed to bring out two old tragedies, two new tragedies, and 
 live satyr-dramas. And yet it is obvious that this was the task 
 t<j which they were assigned and that they were amply competent 
 to {wrform it.' We may note also that there were only three 
 auleta«' for the tliirteeii plays, whereas at Delphi in tlie third 
 century and at ('orcyra in the second century we saw that there 
 was one aulete for each company, i. e., for each play.' 
 
 It is difHcult to see how the term ''synagonist" came to be 
 applied to athletes, yet such appears to be the case. Every ath- 
 lete is an antagonist to every other in a contest. There are, of 
 coursj', the solitary exceptions of the torch race and the boat race, 
 in which the contestants took part as teams and not as individuals. 
 ( )iif inscription, I(f. TTT 1'22, records fourteen men as winners in a 
 torch race, 'riic only athletic synagonists that we know of are 
 boxers, but the relation of the synagonist to the chief competitor 
 in a boxing niat(th is not made clear in the documents: Pajwrs 
 Am. School III, p. 107, No. 275. 11 (Pisidia): eav €vtvxv<tt) Bov- 
 
 I It iH t«i Im> iiolnil, liDwovnr, thnt amoiiK tho thoori nionlioiiod in tho onrly pnrtof the 
 di<rrfM< nrn iwti triiKic HynnKoiiiMt.x wlioso names dti not ri'a|i|MMir in the liHt tif scenic p«r- 
 forninrx in tho nocoml piirt of thn (li>crf>«; unii al.so throv mliiitionnl atilotao. Posnibly 
 these |Mtr<«(>ns woro nvnilahli< for tho sconic oxhibitions in addition to thn abuvo nunil><>r. 
 
 >In No. I.'^ thurn ari> oinht (or «-f-) ct»mi>odi and two trii»cor>di, hut thi> synaf;oni»t.>< are 
 not proservi'd ; in No. .'lO tliiTo ari' two (or "J t ) conio«Mli and .'i comic synoKonists and (onr 
 trnKo«»<li an<l niKht (or h-\-) trniric hynafr«)niitts. avfaytvivr^ iu it« technical meaning is 
 foiinil in a f"w olhor inscriptions; soe in the Apt>endix under Damocles. Nico«tratus (No. 
 .171 >, and Soti'lea, etc. 
 
TERMINOLOGY 31 
 
 Xo? vetKrjaa^j rov de/xaro'i to Teraprov ')((opelv et? TOv<i (rvvajcovLaTa': 
 avTov; A7ith. Pal. xi. 80. 1: ol crvvayoyvLaral tov 7rv'yfid')(^ov evah'' 
 edtjKev I 'ATTiv, ovSeva <yap irco'iror' irpavfjiciTiaev. 
 
 The Dionysiac synagonists had a guild of their own in the 
 period of the Empire, to kolvov tmv avvaytoviarwv. Ziebarth Griech. 
 Vereinswesen, p. 79, has shown that kolvov and avvo8o<i are con- 
 vertible terms, ^ thus correcting Poland, who thought that the 
 KOLVOV was a larger organization including the avvoBo<;. The vari- 
 ous theories regarding the meaning of kolvov are summed up by 
 Poland De coll. artif. Dion., p. 10. It is to be noted that in most 
 of the documents^ the synagonists are mentioned along with the 
 technitae, the inference of Reisch De mus. cert., p. 105, and A. 
 Miiller BilhnenaU., p. 395, that the term "synagonist" included 
 the deuteragonist and tritagonist, as opposed to the protagonist, is 
 on the whole a fair one, though it assumes a definite gradation of 
 the subordinate actors that is not vouched for by any document of 
 the Dionysiac guilds. The "technitae" were the tragoedi and 
 comoedi, the "synagonists" were the subordinate actors. 
 
 7rp(ora'ycovLa-T7]<i, SevTepaycovLart]';, and rpLraycovLaTr}^. — The his- 
 tory of these terms has recently been discussed by Rees in his 
 treatise The So-Called Rule of Three Actors in the Classical 
 Greek Drama, and need only be summarized here. The tradi- 
 tional view has been that throughout the whole classical period 
 " the principal actor was called the protagonist ; next in importance 
 came the deuteragonist; the tritagonist played the inferior charac- 
 ters" — to use the language of Haigh, Attic Theatre^, p. 230. But 
 this classification is based, in the first place, upon a theory, itself 
 due to a misconception, that in the classical period tragedies and 
 comedies were acted by just three actors and no more, and, sec- 
 ondly, upon the mistaken idea that the terms themselves, in their 
 application to actors were in current use in classical times and 
 
 1 As is now proved conclusively by this use in the Delphic decrees BCH. XXX (1906), No. 
 48 (ttotI to Koivhv T(i>i> Trepl rbv Alovvo-ov Tex>'''''ioi') and No. 49 (ttoti to.i' avvoSov tuiv rexvcTwc) . 
 
 2CIG. II 3068 B (near Teos) : eSo^ev tuJ (coikcG tuii- (rvvayMViaruiv. IG. XIV 2495: \ljri<l>(.<Tna 
 Tijs Upas 6ii/iieAiK^s 'ASptavijs <tvv6&ov riav rrepl tov avroKparopa Kaicrapa Tpaiavhv 'ASpiavov ^efiacrrov 
 veov Ai6vv<Tov (Twayiavia-Tiov. IQ. XIV 2496 (Nimes), of the reign of Nerva, is badly broken, 
 but seems to speak of a synod of ciyMv<.<TTai. Lebas 1619 (Caria) : decree of the synod riav avo 
 
 T^S oiKOU/aeV))? rrepl toi' Atovvaov Kai avTOKpajopa Tpai.avov, etc., Te^viTu);' [. . . . Kal <T]vi'ayuii'(.(TTu>i'. 
 BCH, VII, p. 17 (Ancyra) : oi, etc., Te^i'eiTal .... Kal oi toutwi* awayMvicTTai, BCH, IX, p. 124, 
 39 (Nysa) uses the same phrase. 
 
32 HISTORY OP ACTORS AND ACTING IN ANCIENT GREECE 
 
 aftiTwnrd. Both these misconceptions have been successfully dis- 
 |H-lIed, in the writer's opinion, in the above-mentioned treatise. 
 As rej^ards the history of the terms, Rees shows that "protago- 
 nist" is not found in either literature or inscriptions as applied to 
 an actor until the time of Plutarch; that "deuteragonist" occurs 
 in only two passages, both late, where the reference is certainly to 
 an actor; and finally that "tritagonist," with but one exception, 
 and that late, is always used with reference to Aeschines in pas- 
 sages that are merely reminiscences of Demosthenes. 
 
 "Deuteragonist'' occurs only once in classical literature, as we 
 have said, Dem. 19. 10, and here the meaning is "helper" in a 
 political sense, although the person so referred to seems to be an 
 actor as well as Aeschines to whom he sustained this relationship; 
 see Appendix, No. 204. The two instances of its use of an actor 
 ar«' the scholium to Dem. Dc pace t5 (quoted above, p. 7) and 
 Pollux. The scholium is also the one exception to the use of 
 "tritagonist" not in reference to Aeschines. As we have already 
 seen, the scholium wrongly attributes to "the ancients" the use of 
 deuteragonist and tritagonist for the second and third actor of a 
 troupe. He was doubtless influenced to make this classification 
 by the fact that Demosthenes, whom he was annotating, so often 
 em|)loyed the term "tritagonist" of Aeschines. It is iui{K)rtant 
 to note that the scholiast distinctly says that in his own time the 
 subordinate actors were called sim|)ly inroKpnai as distinguished 
 from the rpaycpho'i, and that the very distinction which he draws 
 between the usage of the ancients, and that of his own time implies 
 that the terms deuteragonist and tritagonist were not then in com- 
 mon use. In other worils. to him as to Hesychius these wt)rds as 
 used by Demosthenes were regarded as glosses. We next come 
 to I*ollux, wlu) defines the use of the three doors of the scaena as 
 follows: »; p-^cri) fikv /Sacri'Xeiov i) ajnjXaiov t) oIko^ evBoKo<; ij irau tov 
 7rp(i)Tay(ovi(TTov rov hpdp.aro'i, i} hk h^^ta tov htv7€pa'y(i)viGTovino<i 
 KaTciyuyytnv /; 8t apicrrapa to 6i)TeX.e'<TTaT0J' e;^€/ irpoacorroi'. There 
 is iio (jui'stion tlwit l*ollux confuses the conventional significance 
 nf tin- three doors in the scaena of his own day with the character 
 of the rAles assumed by the leading ai-tor and his subordinates. 
 For nothing i-ould bf more certain than that it was the practice of 
 
TERMINOLOGY 33 
 
 the leading actors of the ancient theater, as it is of the modern, to 
 select the rOles which they regarded as the most conspicuous or 
 most important, or as best suited to their own capacities. Rees 
 has conclusively demonstrated this fact, referring to the success of 
 Nicostratus in messengers' roles, of Satyrus in slaves' roles in 
 comedy, of Theodorus in female roles. Aeschines was assigned 
 by the leaders of the troupes in which he played to the roles of 
 kings and tyrants (see Appendix, No. 15). Plutarch Mor. 816/ 
 and Vit. Lys. 446 d makes it clear that the protagonist often played 
 the part of servant or messenger to the king of a subordinate actor. 
 The statement of Pollux therefore, as well as his use of the words 
 protagonist and deuteragonist, is entirely erroneous and would 
 lead, if strictly interpreted, to a wholly erroneous definition of 
 these terms. It should be compared with the sane and lucid state- 
 ment of Vitruvius v. 6. 3: uti mediae vulvae ornatus habeant 
 aulae regiae, dextra et sinistra hospitalia. 
 
 Our conclusion from these facts is therefore as follows: The 
 words protagonist, deuteragonist, and tritagonist were in existence 
 from the fourth century onward in the general meanings "leader 
 in a contest," "helper in a contest," and "third-rate contestant," 
 but, so far as our evidence permits us to judge, had not before 
 the Christian era assumed the technical meanings "first, second, 
 and third actor" in a troupe. The single exception to this gen- 
 eral statement is Demosthenes' use of "tritagonist" as a term of 
 reproach — a use that gave a special significance to this word in 
 all after time. It inevitably called to mind the object of Demos- 
 thenes' ridicule. This conclusion is entirely consistent with the 
 evidence which we have already adduced for the technical lan- 
 guage which the guilds of Dionysiac artists applied to the two 
 grades of the actors in their membership: rpajcpBoc and KOfiaSoi 
 for the leading actors in a troupe, who were alone entitled to 
 bring out old plays, and ol a-vvayoovLa-ral rpayLKol and KoofiiKOL for 
 the subordinate actors. At no period were these terms replaced, 
 in the usage of the guilds, by protagonist, deuteragonist, and 
 tritagonist. After the first century of the Empire, however, we 
 find that this latter terminology has been adopted by the gram- 
 marians and attributed by them to the classical period, evidently 
 
34 HISTOBY OF ACTOBS AND ACTING IN ANCIENT GBEECE 
 
 in their desire to make a harmonious scheme based upon (1) the 
 recoi^nized use of "protagonist" in reference to the leading per- 
 son in dramatic and other contests, (2) the isolated instance of 
 "deuteragonist" in Demosthenes, of a person who hap|)ened to be 
 an actor, and (3) the well-known application of "tritagonist" to 
 Aeschines. In this period protagonist sometimes assumes the 
 technical meaning of "leading actor," but the other two words 
 never are so restricted, apart from the two exceptions which we 
 have discussed. 
 
 It may be a mere chance that we do not find these terms 
 established in their technical meanings in the classical writers, 
 for we must remember that a large portion of the prose literature 
 of the fourth century and practically all that from the fourth to 
 the first is lost to us. It is probable, however, that if the evi- 
 dence were complete the conclusions which we have drawn would 
 not be materially altered. The increasing specialization in the 
 use of Tpay(pB6<; and K(ofi(phv; from the fourth century onward, as 
 the highest title that could be applied to a tragic or a comic 
 actor, tended no doubt to prevent the establishment of "protago- 
 nist" as a technical term by their side. 
 
 In order to arrive at the fundamental meaning t)f tiu-se three 
 terms in application t(j actors, it is ini{M)rtant to consider at the 
 same time the idirases to. Trpoira, Bevrepa, rpira Xeyeiv. The comic 
 |M)et Strattis early in the fourth century speaks of the actor He- 
 gelochus as p.icr6(M)crdp.evo<i ra Trpoira Totv iirtov Xeyeiv, frag. 1 K. 
 Cicero J)ir. <iil Cacc. 15 speaks of (ictore.'i prinKiniw, secunda- 
 viiw, and {crtitinnn, in the same senti'nce designating the leading 
 actor as priiirri)s. Lucian 7'»/r. 22 has the tyrant-slayer say: 
 TO, p.kv TTpwTa iyo) inr€Kpn>dp.i}Uy to. Bcvrepa 8e 6 Trait, to. 8e rpira 6 
 Tvpai'i>o<i auToT, to ^i(f)o<i 6k irdaiv trmjperjjaev. Menaniler frag. 
 484 K., speaking, not of actors, but of husband and wife, says: 
 ra Btvrep' del tjjv yvvatKU Sel Xeyctv, Tr;f 8' rjyep,ovi'av Tuiv oXtov rov 
 dvhp'' €-)(€iv. dlKo<i h" iv f/J rd irdirra irpcoTevei yvvij, etc. rd Tptra 
 Xeyeiv is found in Dem. 19. 240: oU ovTOf rd jpira Xeytov BicTe- 
 Xeo-e*', and in Men. frag. 224 K.: 6 KaKoi)6i]<; rpira Xeyei (or rd rpiV 
 eXei). All the.se phrasi'S, whether us«m1 literally or figuratively, 
 convey a nuwuiing which it is ditlicult to rentier into English 
 
TERMINOLOGY 35 
 
 except by the dramatic figure "play the leading (or second, or 
 third) part," and yet this translation is misleading, for it lays 
 emphasis upon the importance of the dramatic role rather than 
 upon the relative prominence of the person who is referred to. 
 When Menander says that the wife should be subordinate to the 
 husband he can use to, Bevrepa Xeyeiv, giving the 'q'yefiovia to the 
 husband, 'q^efiovia is here the equivalent of ra irpajra Xeyeiv, just 
 as Cicero makes the actor' primarum the princeps gregis. The 
 phrase to, rpha Xeyetv, on the other hand, indicates the greatest 
 possible inferiority of a person in relation to his associates. Com- 
 pare the definition of the gloss "tritagonist" in Bekk. Anec, 
 p. 309: o Alcr'x^iVTj'i ft)? a8oKiixcoTaTO<; rfav VTroKptrcov, iv Trj rpirr] 
 rd^€L KarapidfjLovfievo^ (also in Suidas, s. v.), and the phrase evre- 
 Xeararov irpoacoirov in Pollux, and fxicrOwTri'; in Plutarch. We are 
 reminded of the epigram on Euthias (Appendix No. 16-i) in 
 which he is described as Sevrepo^ wv rd^ei but Trpcoro? iv a-o^ia. 
 As actor (or poet) he had not yet reached the rank to which his 
 ability entitled him to aspire. That it was the person's Td^i<i in 
 relation to others which is primarily denoted both in these 
 phrases and in the compounds "protagonist," etc., is well illus- 
 trated by Plotinus iii. 2, p. 484, Creuz. (A. Miiller Biihnenalt, 
 p. 180, n. 4) : ov yap avrb^ (i. e., the poet) irpcDTa'ycovLaTrjv ovSe 
 Sevrepov ovSe Tpirov iroLel, dXXa StBois e/cao-ro) toO? TrpoarjKOvra'i 
 Xoyov;. 
 
 In view of these facts we are justified in setting up the equa- 
 tions: 6 7rpa)Ta'yQ}viaTi]<; = 6 ra Trpcora Xe'y(ov=6 wpSiro'i (ov rd^ei. 
 The definitions given by Hesychius for deuteragonist and tritago- 
 nist, 6 hevrepo'i dycovi^o/jievo'i and 6 t/oito? d'ycovL^6fMevo<;, probably 
 are not intended to imply anything but rank [rd^i,<;) as djcovia-rai. 
 It is from this general conception of the meaning of these com- 
 pounds that we must interpret the words of Suidas, who says of 
 Chionides, who has recently come to be recognized as the earliest 
 in time of the victorious comic poets of Athens, that he was the 
 TrpcoTajayvtcrTrjf; rr}^ apxaia<i Kwixwhiw^. The person to whom this 
 phrase is due was probably not clearly aware that Chionides was 
 eminent as the first in a great chronological series. Of his prom- 
 inent position in the history of "ancient comedy," however (note 
 
86 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 that he does not say TraXam? but ap)(aia<;), he was informed 
 throu«^li Aristotle. It must be admitted that the word is used in 
 a strained and unusual meaning, which is good evidence that the 
 expression is late; it is enough to recognize this fact and account 
 for it.' 
 
 4. eTTiSeiKwaOai. — This word need not detain us long, for it 
 never came to designate in a technical sense the work of the actor 
 as such. But it comes into the sphere of aycovil^eadai and is 
 equivalent to it in the choregic inscriptions of Delos, BCH. VII 
 (1883), pp. 103 ff. In eight of these inscriptions the heading 
 over the lists of performers is o'lhe eTreSei^airro ro) 0€u), but in one 
 we tind riytaviaamo. Hence A. Korte N. Jahrb. <l. f. kkiss. Alt. 
 V (1900), p. 83, properly concludes that the "exhibitions" at 
 Delos were contests, including the performance of the tragoedi 
 and comoedi, thus refuting the contention of Bethe Gott. GrJ. 
 Ans. (1897), p. 727, who urged that eTriBei^afievoi^ in the phrase 
 Toi<{ KcofiwBol^ — Tot9 €7ri8€i^afX€voi<; TO) 6eQ) in the accounts of the 
 hieropoioi had reference simply to the procession and not to the 
 production of a play. 
 
 5. T^xviT-q^. — Regarding this word no better statement can be 
 framed today than that of Aristotle Rhct. 1405 a 23: /cat 6 ^lev 
 ^ \iovvaoKokaK€<;,^ avroX 8' airroiK *^ Te-)(yiTa<i^ KaXovaiv ravra 5' 
 afi<f>Q) { i. «'., this and another illustration) u€Ta<f)opd. It is a term 
 which Hftors, as well as others of the tribe of "artists," were 
 fond of applying to themselves, and that, too. more or less indis- 
 criminatingly. The guilds of thymelic and scenic in^rformers 
 called themsi'lves by the name ol irepl tov Aiowaov Tc^viTai, and 
 it was possibly to the word as thus employed that Aristotle makes 
 referen<'e. We cannot be sure of an earlier occurrence of the 
 word as applied to actors, though actors were among the artists 
 whom Philip gathennl together, Dem. 19. 192: etV ttjv Trapt'jyupip 
 TraWa? rois Te;^viTa9 avviiyayev (i. e.. Philip), for Satyrus, the 
 
 1 Cf. WilimiMwilii (.7)//. del. Am. (1906), |>. ffJ), li., wli.i rik-litly in.sists tlint wi>»,Tay»>yi.<m,^ 
 = T« vpwra aYwfis'o^oat, iiri>|Mis«<l to cIlllllKtt tu »p<i»To« ayufiarix. nud Schonkl Hrrvtet XLII 
 (IWil, |>. .I'M, •<uKK"-'tn wpoaytiy^aTin if tint Hourco i.s nnrly, but is iuclincd to the view thnt thp 
 WKfil is liil«> nixl slioiiM not Imj altoriitl. Wo inny mid thnl Sclioiikl plausibly suKK»>»ts thnt 
 vpwroAoYix {mpmroXoyia, ntc. flml found in Ti>l««s npuil Stob. 3. 4 llouxo a» otiuivnlent to o Ta 
 wp^rm Anr-t-f wHit tikiMi int«> Judirinl lantfunKo from tlio uplirro of Iho drnmu and later t<>«>k 
 on n i)uri<ly f pornl mnaiiinK ns "tin' (Imt spi-nkor " In'foro llio ct-urt. 
 
TERMINOLOGY 37 
 
 great comic actor, is mentioned as one of the victors. One of 
 the Aristotelian Problems (956 h 11) is "Why are ol AiovvaiaKol 
 Texvlrat generally bad?" Actors, rather than the whole company 
 of thymelic performers, are designated by the phrase ol irepl rrjv 
 aKtjvriv^ as, for example, in Dio Cassius Ix. 23, for the tragic and 
 comic actors were the most important of the scaenici. The 
 height of Nero's ambition was to excel as a rpar/cpB6<;; therefore, 
 although he posed as an "artist" in several capacities, we should 
 interpret his dying words, «5 Zev, olo'i re'xyir-q'i irapairoWvfxat 
 (Dio Cassius Ixiii. 29, p. 1048 Sturz.) as a reference to his 
 fancied eminence as a tragedian. As we have said before, how- 
 ever (p. 27, above) , it is only when actors are spoken of or 
 implied in the context that Te^i/tr?;? means "actor;" as when, for 
 example, Diodorus xvi. 92 styles Neoptolemus 6 Texvirrj^; after he 
 has already called him 6 rpa<yQ)B6<;. We must therefore qualify 
 as entirely too sweeping the statement of Haigh Att Theat.^, 
 p, 227: "In the course of the fourth century the old Attic word 
 for actor (he means vTroKpiTij'i) went out of use, and a new one 
 was substituted. Henceforward actors were generally called 
 'artists,' or 'artists of Dionysus.'" v7roKpiTi]<; never went out of 
 use and TexvlTq<i was never used alone as a specific term for the 
 dramatic actor without some suggestion from the context. 
 
CHAPTER II 
 
 TO WHAT EXTENT ACTORS KEPT TO THEIR PARTICULAR 
 SPECIALTIES 
 
 The tendency seems to have grown in recent years, among 
 those who are engaged in the study of the documents which bear 
 upon the history of dramatic performances in Greece, to identify 
 persons who bear the same name even if they appear in different 
 documents in different capacities, and especially actors with poets. 
 Thus, for example, in Wilhelm's Urkunden a large number of 
 tragic and comic actors are assumed to be the same persons as 
 tragic and comic poets simply because the names are the same 
 and because they belong to the same general period.' And only 
 seldom is the personal name recorded in its three elements: name, 
 father's name, and ethnicon or demoticon, though it is only by 
 the coincidence of all three, together with date and function (in a 
 general sense) that really complete identification is to be reached. 
 It has therefore seemed appropriate, in view of the material col- 
 lected in the Appendix and the judgments sometimes passed there 
 regarding such proposed identifications, to set forth briefly the 
 basis of facts which we possess to justify the general assumption 
 on which these identifications, or the rejection of them, rest. 
 
 We may briefly dismiss from consideration the case of poets 
 who acted in their own plays. We are told that this was the 
 common practice in the early history of the drama, but aftei-the^ 
 rise of the profession of acting we hear no more of it. TTused to 
 
 1 Not to mention a large number of possible family relationships near and remote, Wil- 
 helm considers that the following actors are identical with poets. (The page refers to 
 Wilhelm, the number to the Appendix) : Tragic actors with tragic poets: Heracleides, No. 
 2U, p. 62; Menecrates, No. 329, p. 21; Sositheus, No. 451, pp. 142, 223. Comic actors with 
 comic poets: Antiphanes, No. 35 (with an hypothetical poet of the New Comedy), p. 55; 
 Asclepiodorus, No. 94, p. 128 (in this case the poet was victorious ca. 340, the actor began 
 his career ca. 315); Demetrius, No. 126, p. 154; Diodorus, No. 141, p. 59; Hipparchus, No. 
 256, p. 251; Nausicrates, No. 355, p. 151 ; Nicolaus, No. 365, p. 79; Philostephanus, No. 287, 
 p. 154; Theophilus, No. 236, p. 29; Timoxenus, No. 464 a, p. 156. Of these identifications only 
 those of Diodorus and Diomedes are based on any really substantial evidence; the rest 
 were suggested by simply the coincidence of name and period and some sort of connection 
 with the dramatic profession. And the names themselves are generally not uncommon. 
 
 39 
 
40 HISTORY OF ACTORS AKD ACTING IN ANCIENT GREECE 
 
 be thought that tht^ comic jx)et Aiitiphanes brought out his own 
 Anasozommos at Athens, but the correct dating of IG. II 'JT2 
 places the actor Antiphanes (No. 35) long after the death of the 
 poet. We should have an instance from the latter part of the 
 fourth century B.C. if Wilhelm's restoration of an Athenian decree 
 in honor of an actor, which he publishes on p. 221, were at all 
 certain: ISiBdaKcov re /cai] uTroKpii/6^fieuo<; ra avrov hpa^Lar^a. But 
 as it is, we are not justified in citing this document as evidence 
 on the point in question; the restoration is here wholly subjec- 
 tive in character. The actor Antiphon (No. 37), of the latter 
 part of the second century A. d., appears on one occasion as both 
 |X)et and actor of new comedy, as well as poet of the prosodion ; 
 ^he may have performed in his own play on this occasion. Apart 
 
 / from this one {)ossible instance we know of no |)oet after Sopho- 
 
 \ pies who acted in his own plays. 
 
 The comic poet Diodorus of Sinope, who l)ri)Uglit <jut plays at 
 Athens in the year 288, seems to have had .some experience as an 
 actor, for as K(i)fi<f}B6<: he brought out an old play at Delos in the 
 years 284 and 280. His name does not, however, appear among 
 the victorious protagonists at Athens, and it is probable that, hav- 
 ing had an early training in acting before he became a iK>et, lu- 
 now and then, in ft>stivals outside of Athens, took charge of the 
 production of an old play. The case of Diomedes son of Atheno- 
 dorus of PcrgaiiKni and Athens, the comic |)oet concerning wiiom 
 we have three docuuu'nts of the lattei^part o t the secon d century 
 It. c. oi l)eginning of the first, is not quite so clear. In a Delphic 
 decree recently published, of the year 100 B.C., a Diomedes 8<mi 
 of Athenodorus, Athenian, appears among the comic synagonists 
 who a.ssisted the KO}fi(p8oi in the production of old plays; see 
 No. 145. The ideiitilicatioM. pro|)o.>^ed by Wilhelm, p. 25(), is 
 plausible, l)iit we do not know wliether his i-areer as a |K)et was. 
 as we should expect. subse(|ueMt to his aj)j)t>arance at Delphi as a 
 niinttr prison in a comic troupe, or whetln'r he had already made 
 his (l<'^l)ut as a j)<)et. Ale.xandrus (No. 23). an actor of the time of 
 (^aracalla, was a (tragic) p<H't as well as a rpaycp^k. 
 
 In the early days of comedy we know of two jwrsons who 
 began their careers as actors and later turned their attention to 
 
ACTORS AND THEIR SPECIALTIES 41 
 
 poetical composition, viz., Crates and Pherecrates. We happen 
 to know of no other instances, though there is no reason to sup- 
 pose that this was an unusual occurrence. However, unless strong 
 external reasons exist for the identification of two persons of the 
 same name, one an actor and the other a poet in the same branch, 
 it is unwise to assume their identity. The overwhelming majority 
 of the actors known to us by name are men who won some emi- 
 nence in this profession, while it is unlikely that men who became 
 prominent as poets ever attained distinction as actors. Accordf 
 ingly the fact that, among the thirty -four names of comic actor^ 
 who won victories at the Athenian Lenaea in the^rst half of_the 
 third century, two names are found which are also"" borne by poets 
 of the New Comedy, furnishes no warrant whatever for the iden- 
 tification of these two as an assured certainty.' 
 
 The inscriptions give us information of about one person who 
 was at the same time a tragic poet and actor of old comedies. In 
 a decree of the Delphic Amphictyony of 138 b. c. one of the 
 ambassadors of the Athenian technitae mentioned is Thymoteles 
 s. Philocles, tragic poet (No. 245). He is twice so designated in 
 the same decree, of which we have two copies. The same person 
 is mentioned in a Delphic decree of the same period among the 
 K(OfjL(p8oi, representatives of the Athenian technitae, who partici- 
 pated in the scenic exhibition. The inscription is fragmentary at 
 this point, but there can be little doubt that the fragments are 
 rightly joined by the editor, M. Colin, and that Thymoteles was 
 entered under this heading. It is altogether probable that before 
 becoming an actor of old plays he had acted in new plays, and if 
 his name was erroneously included under the category of Kco/xmSoi 
 by the graver instead of under the rpwyoiBoL he may have acted in 
 his own tragedies. But as the facts stand the combination of V- 
 
 tragic poet and comic actor is altogether unexampled. 
 
 We know of several persons who were employed in different 
 
 1 Frag, yza, in which Wilhelm identifies Demetrius and Philostephanus. The victory 
 of Demetrius, the actor, must be dated ca. 258 B. c, while the only datable play of the poet 
 Demetrius was written soon after 295; see Wilhelm, p. 154, and Kaibel, 183, with Wilhelm's 
 note. Their identity is intrinsically improbable. We have no clue at all to the period of 
 the comic poet Philostephanus; only his name, which is sufficiently uncommon, suggests 
 the identity, which should be regarded as simply a possibility, not as a certainty, as it is by 
 Wilhelm, p. 154. 
 
42 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 capacities in the same branch of the drama. For example, Mos- 
 chion (No. 349), the comic actor of ca. 300 b. c. in the Victors'- 
 liflt, is probably the same person who appears in 270 as comic 
 didascalus at the Soteria at Delphi, and Menecrates (No. 330). 
 the comic didascalus at the Soteria in 272, may be the /coj/xcuSo? 
 who n[)p«'are(l at Delos thirteen years later. But neither of these 
 identifications can be counted as quite certain, in spite of the 
 close connection in function, in the lack of the father's name and 
 ethnicon. The case is clear, however, of Thyrsus (No. 24G), who 
 was comic choreute at Delphi in 271 and comic didascalus ibid. 
 two years later, and of Cephisodorus (No. 288), who was comic 
 didascalus at D»'l[»hi in 272 and 271 and the comic choreute in 
 207. Diooreiton's case (No. 13G) is uncertain, since the father's 
 name is missing in one instance and the name is a very common one. 
 A f:jood many instances will be found in the Appendix of tlif 
 employment of actors in capacities for which their histrionic train- 
 in*; or tiieir qualities of voice fitted them. We mention only a 
 few here for the sake of illustration. Hermophantus (No. 181) 
 and He<;esias (No. 209), comic actors, were enu^aijed to recite 
 Hesiod and Homer at a great celebration at Alexandria. In the 
 great choruses which sang the paean to Apollo which the Athen- 
 ian t»'ciinitat' sent to Dfl[)hi towanl the end of the second century, 
 a considerable number of tragic and comic actors, who took part 
 in the scenic exhibitions on the same occasions, participated. .V 
 number of times in the same j)eriod we find actors taking the part 
 of heralds in thi- I'xliibitiijns: and Alexandrus (No. 21), Euar- 
 chus (No. IM')), comic actors, and I'^pinicus (No. 173), Tpay({}B6<;, 
 ap|)ear as authors of the epinitia. 
 
 Tlu» data gathered in our Appendix do not bi-ar uiM>n the 
 
 y question whether tragic [toets were ever cuniic jH)ets also; but 
 now that we know for a certainty' that Tiniocles. the tragic |HH>t 
 of tlie lattei- part of tlie third ceiifury. is not lhi> same jM'rson as 
 
 \^ the comic poet of the same perind. we mav ieast>nably (loul>t 
 wlnither these two activities were ever united in tlie same person. 
 at least befon> the Roman Empire. 
 
 I Th« frntrmxiit i>f tlin Ikarioi Satyroi prnsorvo<l in tlu< now Diciymus comiuontnry shows 
 thnl thii i>lny wn<< n ruiiuxly, tml, an hud boon lurniiafHl, n sntyr-tiruma. Soo Wntcnrr Sym- 
 balnr ml rinitirnrum Criirciirum hitliiriinii crtticam, chnp. iv. 
 
ACTORS AND THEIR SPECIALTIES 43 
 
 For us the most important question in this connection is 
 whether the functions of tragic actor and comic actor were ever 
 united before the Roman period. As for the literary evidence, 
 we have at one end the explicit statement of Plato Rep. 895a: 
 ovhe fiTjv payjrwSoi ye Kul viro/cpiTal ajxa- ovSe tol vrroKpLral Kcofio)- 
 Boi<; T€ Koi rpaycpSok ol avroi, and at the other Cicero's remark, 
 Orat. 31, 109: histriones eos vidimus quibus nihil posset in suo 
 genere esse praestantius, qui non solum in dissimillimis personis 
 satisfaciebant, cum tamen in suis versarentur, sed et comoedum 
 in tragoediis et tragoedum in comoediis admodum placere vidi- 
 mus. The phrase "cum tamen in suis versarentur" shows that, 
 though certain great actors may have acted acceptably in both 
 tragedy and comedy, yet the old distinction between the tragic 
 and the comic actor was still felt and observed. To the unlearned 
 scholiast to Luc. lup. trag. 3 it seemed quite natural to assume 
 that Polus and Aristodemus in the classical period played the 
 r6le of gods in tragedies and in comedies; see under No. 62 sub 
 fin. Turning to the prosopographical evidence, we find no in- 
 stance of a tragic actor who can with any reasonable degree of 
 probability be identified with a comic actor before the first part 
 of the first century B.C.: Iranus (No. 261) is found twice as 
 Kco/jLwSo'i and once as rpaywho'i. To the same period belongs 
 Praxiteles (No. 415), who performed at Delphi in 136 B.C. as 
 comic synagonist and nine years later as rparymSo';. Finally, an 
 unknown person (No. 562) of the Imperial period won victories 
 both as Kwp,(t)h6<i and as TpaymSo'i, and also as KLdapa)S6<;.^ 
 
 In view of the fact, then, that among the five hundred odd 
 actors of whom we have knowledge only three are known who 
 engaged in both tragedy and comedy, and that two of these three 
 belonged to the period ca. 100-75 b. c. while the third is of the 
 late Empire, it will be acknowledged that we should exercise 
 
 1 In a metrical inscription from Hermione, Kaib. Ep. Gr. 926, a dedication of a Pantocles 
 to his brother Pythocles, a great prize-winner, the restoration of BOckh would maks 
 Pythocles both an avKtaSos and a KiufxwSos. We know both Pantocles and Pythocles as mem- 
 bers of the men's chorus at Delphi in the year 271 b. c, SGDI. 2564, 11. 29 f. The specialty of 
 Pythocles was in the thymelic events, as dancer in the choruses, as aulode, and very likely 
 also as rhapsode or lyrode. It is extremely unlikely that he was also a comode. We 
 accordingly have not included him in the Appendix. The text should read : [iAA' ottoo- 
 avAa)]56s TiVKal eyKVK\ioi.<Ti xopoitrn', [ocrcra re pai//<u]6o! (or Aiip(u]6os), ktc. 
 
44 HISTORY OF ACTOB8 AND ACTING IN ANCIENT GREECE 
 
 great caution in assuming the identity of a tragic actor with a 
 comic actor. The sharp distinction which was laid down by 
 Plato without qualification held gocxl, we may believe, without 
 qualification for two centuries after his day, and the rule even 
 thereafter was rarely departed from. 
 
CHAPTER III 
 THE ACTORS' CONTESTS AT ATHENS 
 
 The organization of the scenic contests at Ath^is were more 
 complete and more complex than anywhere else in the Greek 
 world, and higher honors were held out in these contests than in 
 similar contests at other festivals. But the right of the best actor 
 to the special distinction of a prize was only recognized gradually, 
 and contests for actors were organized at different times at the two 
 Athenian festivals and at different times for the tragic and the 
 comic actors. It is of some importance for the history of acting 
 in Greece, therefore, to attempt to trace in some detail the recog- 
 nition at Athens of the importance of the actors' contribution to 
 the dramatic exhibitions, by showing as nearly as possible at what 
 date each class of actors was granted the right to compete for a 
 prize at each festival. 
 
 Until about a quarter-century ago scholars were content to know, 
 through a few scattered allusions in Greek writers, mostly late,^ 
 that at some time and on some occasions actors competed for a 
 prize ; but E. Rohde was the first to treat the subject at all ex- 
 haustively, so far as the evidence then available permitted ( Rhein. 
 Mus. XXXVIII [ 1883] , pp. 269 ff. ) . Since then, however, there 
 have been important additions to our material in the inscriptions 
 which Wilhelm has last edited, with his new finds, and with these 
 additions has come a fuller knowledge of the several problems 
 involved. We now know with essential accuracy the outlines of 
 each of the actors' contests. The evidence furnished by these 
 documents, however, has not been exhausted, and in this chapter, 
 in addition to reviewing briefly the facts Which are already estab- 
 lished, we hope to come nearer a solution of some of the problems 
 still outstanding. 
 
 As regards the reproduction of old plays we learn from two 
 
 1 From the fourth century only Arist. Eth. Nic. 3. 1111 b 24 ; cf . Rhet. 3. 1403 6 32. But later 
 writers tell of victories by Aristodemus, Theodorus, and Andronicus, and frequently refer 
 to the rewards of actors ; see Schneider Att. Theater tvesen^ n. 165. 
 
 45 
 
^/ 
 
 ■40 HISTOBT OP ACTORS AND ACTIS'G IN ANCIENT GREECE 
 
 fragments of Kr. II 971 (alx>ve, p. o) that after 8^0 and 83H 
 respectively old tragedies and old comedies were removed from 
 comjM'tition with new plays and were brought out as "extras" by the 
 rpayoiSoi and KcofiaSoi; in each year only one old play of each class 
 was i)erformed after these dates. We can only infer that befor. 
 these dates old plays might be entered in competition with new 
 plays, as Capps has recently pointed out, but as Rohde saw must 
 be the case long l)t»fore these new documents had come to light.' 
 But the old plays were brought out then, not by actor-didascali. 
 but by poets who took the places of the original authors as didas- 
 cali, if not by the authors themselves. The actors who were pro- 
 tagonists in the old plays had therefore no different relation to 
 the production than the protagonists in the new plays; they were 
 competitors for the prize in all contests in which a prize was 
 awarded to the best protagonist. For our present purpose, accord- 
 ingly, it will suffice to determine the time of the introduction of 
 the actors' contests in the two festivals. 
 
 THE CONTE.^lTS OF TRAGIC ACTORS 
 
 It is now established with practically mathematical certainty 
 that the contest of tragic actors at the City Dionysia was intro- 
 duced in the year 450-4'J.^ We do not know how long this con- 
 test was maintained; the latest names that can be assigned with 
 certainty to the catalogue of tragic actors at the Dionysia belong 
 to at. 2H0 B. c. (below, p. 01). But there is no reason to 8up|x>se 
 that it was given up as long as the City Dionysia itself |H'rsisted. 
 
 The contest of tragic actors at the Lenaea was established soon 
 after. A compariscjii of iho beginnings of the two catalogues of 
 victors (below, pp. (51, tJ'i) shows that the tirst Lenaean victor, 
 Chaerestratus, was sixth in order in the City list — indicating an 
 interval of from 10 to 20 years. The sixth Lenaean victor, Cal- 
 lipides,' was victor in 4lH b. c, /(/. II. '•72, col. ii; this would 
 indicate a dat«« for the introduction of the contest ahmit midway 
 
 1 nhein. Mu:, l.rc. rit., pp. Z^l ff. ; ('a|.ps AJf. XXVIII (1907). p. M. 
 
 J AIkivo, p. '-T. KKisch Z/iO. 1907, p. 2W, n..|K>ints out thnt thnrois n i>osslblcorrorof ono 
 jronr In tli" cnlctilnlion, ninc« an oxtrn linn may havn Imvh uswI to riTord the innovation in 
 Momo jfonr-liiit of l<i. 1 1 Vll boforo Ut\ — tlio Hrst <iiil« at whirh wo find thi< nctor r«>cordo»l in 
 th«« oxtnnl frmfmotit-*. Hut lliis |>.>s-iibility i-* 1«mi nlifflit t<i li«« roifanlod. 
 
 J WlioMK imiiiii is rik'litly roslorrd liy Koisch, /or. cit.. p. ."«S. n. 1. 
 
THE actors' contests AT ATHENS 47 
 
 between 449 and 418, say 433. The same result has been reached ' 
 by Capps AJA. IV (1900), p. 86, and lately by Reisch ZoG. 
 1907, pp. 308 f., by an estimate of the number of years lost 
 from the Lenaean tragic Didascaliae IG. II. 972 before the first 
 item preserved, of the year 419. Capps makes the epoch date 
 "between 430 and 440," Reisch between 425 and 432, with a strong 
 preference for the latter. It is clear that the actors' contest at the 
 Lenaea dates from the establishment of the tragic contest at this 
 festival. The catalogue of victors (below, p. 63) shows that the 
 contest was continued down to the latter part of the third century .(ii-^" 
 B. c, perhaps later.' J 
 
 THE CONTESTS OF COMIC ACTORS 
 
 The question of the comic actors' contests at the Lenaea and at 
 the City Dionysia is involved in difficulties that up to the present 
 time have not been satisfactorily solved. The data which we pos- 
 sess that bear upon the question are as follows: 
 
 1. The Fasti of the City Dionysia IG. II. 971 regularly record 
 as the last item in each year-list the victorious tragic actor in every 
 fragment that is extant after the year 449 down to the last, which 
 belongs to the year 329. Although the heading of the Fasti, 
 which doubtless clearly defined the scope of the document, is lost, 
 it is now generally agreed that it contained the words ot'Se veviKrj- 
 /caacp. We must therefore assume that the document recorded all 
 the victors for each year in all the contests that were organized 
 under the City Dionysia. To accept any other hypothesis is to 
 impugn the complete documentary character of this most important 
 official record or copy of the ofiicial record. The absence of all 
 mention of a victorious comic actor must therefore be regarded as 
 conclusive evidence that down to at least 329 no contest of comic •--^' 
 actors had been organized at the City Dionysia. To refute this 
 conclusion only positive evidence of as high an order as this negative 
 evidence would be required.^ 
 
 1 We must dissent from the opinion of Eeisch, loc. cit., pp. 401, 309, that this was " long 
 after the poets' contest had been discontinued." He attributes the victories in the cata- 
 logue to the reproduction of old plays. For this hypothesis there is no evidence whatever ; 
 Eeisch permits himself to be guided too far by his theory of the structure of the building 
 in which these documents were inscribed ; see below, p. 56. 
 
 2 We now understand the character of the Fasti much better than Rohde did, who (loc, 
 cit,, p. 285), observing that the hypothesis to Arist. Pax records the victorious comic actor, 
 
48 HISTORY OF ACTOBS AND ACTING IN ANCIENT GREECE 
 
 2, The hypothesis to Aristcjphanes' P(ix, which wns brought 
 out at the City Dionysia in 421, names the j)rotagouist of the 
 play, Apollodorus, and, according to Rose's plausible emendation 
 of the text, records the victory in the contest of the actor Her- 
 mon: inriKpivaTO 'ATro\\6So)po<;, ivixa "Fipfuov 6 inroKpir-q'; {^fjvuca 
 epfiiju XoioKpoTrjf;, MSS). The notice as it stands seems to run 
 directly counter to the evidence of the Fasti, as Rohde, Wilhelm, 
 and others have thought; but A. KOrte Rhcin. Mns. LII (1897), 
 p. 172, has advanced an explanaticjn which in itself is entirely 
 jKjRsible, and, in view of the unimpeachable nature of the Fasti, 
 is the only |)ossible one, viz., that while indeed the notice about 
 A|x>llodorus and Hermon is derived from a good didascalic source, 
 yet it has to do with "the other Peace" of which the third 
 hypothesis, quoting the authority of Crates, informs us. and not 
 with the play we now possess; or, if erepa Elp^m] was the same 
 play reproduced, our notice refers to the occasion of its reproduc- 
 tion. And it must have been brought out at the Lenaea. The 
 author of the hypothesis simply got hold of the wrong didascalic 
 notice, misled by the identical title and author. 
 
 3. That there was a contest established for comic actors at one 
 of the festivals as early as ca. 375 B. C. is shown by the existence 
 of fragments of the Victors'-lists containing the names of well- 
 known comic actors conti'm{M>rary with Demosthenes and Aeschi- 
 nes, viz. fragg. i' and jr (below, p. (i4). Parmenon is mentioned 
 by Aeschines in 345 {Tim. 157) and by Aristotle (rrobl. 94^ ci 3), 
 Nausicrates by Aeschines in the same speech, while Phormion 
 and Lycon were associated with Alexander the Great. There is 
 no posHil)Ie doubt, therefore, about the identitication of frag, x, 
 which is dui' to Kohler. Satyrus and Philemon of frag. /' lx>long 
 to the sanu' period and are ecjuaily well known. Further, frag, j " 
 comes fioiii the top of the architrave and these thn't> naiiu's were 
 the first of a cohimn, which was prei-eded by at least omc colunin, 
 na Wilhrlni ( p. 2r)3) shows. Tliis carries us bark to the begin- 
 
 niicl tliiit thn yonr-li-il i>f 422 cltios Dot, wa.s incliniul t»» ilouht whotlior the Fasti gavp n mm- 
 I>lot« roconl. WiUiolm nlnti, I'rk., pp. 14tt f., .sons in tlio li>l»<>lh<",is a ilirccl coutradiction of 
 tho Katti, lhi«ii»{h (ji. 2.' 4 1 Iip r«>c<>»;iiitos in KOrlo'n «'xi>lniiiili<>ii a iHiHsiblo solution. Kaib«l 
 ill Willii'liii'ii (rk., i.|>. 1K7, n. 2. aii<l lirj, acci>pt- a»)Milut.«ly tlio I'viiloiico of llio Fasti, an also 
 Capps AJA. IV (IWWi. p. »4, uiiil A. KOrto Khan. Mut. Ml ayjT*. p. 172. 
 
THE actors' contests AT ATHENS 49 
 
 ning of the fourth century. Kaibel [Urk., p. 193) unhesitatingly 
 assigns these fragments to the Lenaean list on account of the 
 evidence of the Fasti against the existence of the comic actors' 
 contest at the other festival, and in this Reisch follows him. 
 This is undoubtedly the correct view. 
 
 4. The section yza of the same Victors' -list begins at the top 
 of a column with names of actors known to have been active 
 toward the end of the fourth century. The second, Callippus, 
 shown by Wilhelm to have been the younger of the name, was 
 victor in 312, and his successor, Asclepiodorus, in the year follow- 
 ing, according to Wilhelm' s restoration of the new didascalic 
 inscription, p. 45. The festival at which these victories were won 
 we may leave undetermined for the present. At least one column 
 preceded these names, i. e., at least 17 names before Callippus. 
 If the first victory of the first of these 17 names must be dated as 
 early as 329 B. c, then yza must be Lenaean. Now if we assign 
 the usual average of about two victories to each actor, the begin- 
 ning of the preceding column would go back into the forties. 
 The year 329 can be reached 'only by assuming: (1) that the 
 victory of Callippus won in 312 was at the same festival to which 
 yza relates, (2) that it was his first victory, (3) that each of 
 his 17 predecessors won only one victory each. Only by such a 
 series of hypotheses can yza' be assigned to the Dionysia, and the 
 third supposition is so highly improbable as entirely to exclude 
 the possibility of such assignment, in the writer's opinion. If, on 
 the other hand, yza'^ refers to the Lenaea, as Capps maintained 
 some years ago [AJA. IV, p. 85), we may place the beginning of 
 Callippus' career a little before 312, may give to his predecessors 
 in the preceding column the period ca. 315 to ca. 345, to frag- 
 ments i' and x the period ca. 345 to ca. 375, and so on to the 
 beginning of the list of victors, which would thus be brought 
 back to the date of the introduction of the comic contest into the .y" 
 Lenaea, which has been fixed at ca. 442.' 
 
 5. Fragments h'c of the Victors'-lists contain names which 
 
 1 Kaibel Urk., p. 169, and more precisely Capps AJP. XXVIII (1907), pp. 186 ff. Kaibel, 
 p. 193, assigns i' x and yza to different lists, on the basis of a faulty calculation. Wilhelm, 
 p. 150, leaves the matter undecided. For the view of Reisch, who also assigns i' x and yza to 
 different lists, see below. 
 
50 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 an' found also in yz(i and therefore are Diouysian. The first 
 name preserved, Aristomachus, is ninth in tfza\ i. e., h' c begins 
 at a point 15-25 years later than yza, or between 300 and 290. 
 b'c contains ten names; seven, or six and the heading, are lost. 
 The whole is written in the first hand, whereas Philonides, the 
 sixteenth name in yza (in h' c the sixth), is there written in the 
 second hand, or after 278 (see below, p. 05). The chances 
 are, therefore, that the lost six or seven names were near the top, 
 rather than at the bottom, of the column containing he. This 
 being the case, the beginning of the column would fall ca. 300. 
 If the heading stood at the top of this column, the comic actors' 
 contest at the Dionysia was introduced ca. 300; but it will l)e 
 seen below that the Didascaliae of 312, which records the victori- 
 ous actors, is Dionysian. I have therefore assumed (p. 66, 
 below) that one column preceded h' c . The date of the introduc- 
 tion of the comic actors' contest into the City Dionysia would 
 therefore bo in the twenties, somewhere between 328 and 320, 
 nearer the former than the latter. 
 
 6. The new fragment of the Didascaliae discovered ami pub- 
 lished by Wilhelm, p. 45, under the designation IG. II \)1\g 
 records the victorious actors for 312 and 311, viz. Cnllippus, Jr. 
 and Asclepiodorus. Since the comic actors' contest certainly 
 existed at this time at the Lenaea, and, as we have just seen, may 
 have already been established at the Dionysia, the assignment of 
 this document must depend upon other considerations. Wilhelm, 
 p. 55, is undoubtedly right in considering tliat if 072 is Lenaean 
 074c must be Dionysian. In the one no old play is recorded, in 
 the other it is. And tliat from 330 on an old play was regularly 
 brought out at the Dionysia by the Kio^iwhoi, while the practice at 
 the Lenaea is unknown, is sufficient justification for the assign- 
 ment, provisionally at least, of y74c and 075 to the City Dionysia 
 and 072 to tlie Lenaea. There is another difference in the con- 
 st ittit ion of llirse Didascaliae that is du«» to tlu> appearance of the 
 Ko)nfoB(k and tlic title of the old play in the first line of each year: 
 the compiling ports are ifitnuluced l)y the heading 7roi][Tai). 
 This heading naturally drops out in 072, where the re<-ord begins 
 directly with tlir coinpf'ting |)<)ets. We may therefore a»-c«"pt 
 
THE actors' contests AT ATHENS 51 
 
 974c as Dionysian, and may consider the fact of the establishment 
 of the comic actors' contest at this festival somewhere in the twen- 
 ties as assumed. 
 
 7. IG. II 1289, of the year 306 b. c, mentions the victorious 
 comic actor Callippus. This document has been recognized as 
 Lenaean by Capps and later by Wilhelm. 
 
 8. The Lenaean comic Didascaliae IG. II 972, of the years 290 
 and 289, mention the victorious comic actors. 
 
 9. In the Dionysian comic Didascaliae IG. II 975, extending 
 from the end of the third to the middle of the second century, the 
 victorious actor is regularly mentioned except in the earliest frag- 
 ment /. For this reason Capps was disposed to date this fragment 
 in the latter part of the fourth century, before the death of Me- 
 nander and before the introduction of this contest into the City 
 Dionysia. But not only is the lettering that of the latter part 
 of the third century, as Wilhelm (p, 68) shows, but the facts 
 above adduced exclude the possibility of a period during Menan- 
 der's activity in which a prize was not offered to the victorious 
 comic actor. How then are we to explain the fact that once^ in 
 the record, after 1. 2 of 975 /, the line is missing in which the 
 victorious actors should have been mentioned? To assume with 
 Wilhelm and Reisch that in this year there was no actors' contest 
 seems inadmissible, for after the actors' contest had once been 
 established it is hardly possible that, at a performance of comedies, 
 the judges should have failed to select the best of the competing 
 actors and award him the prize. And in this year the record 
 names the protagonists of each play in the usual fashion. This 
 in itself is an indication that there was an actors' contest, for 
 otherwise there was no object in mentioning the actors at all. 
 This being so, it is best to assume an error of omission on the 
 part of the stone-cutter. And such an error would have been 
 particularly easy to commit if, as I assume, the victor for the year 
 was the actor named in connection with the last play, i. e., Nico- 
 
 1 According to KOhler's restoration the victorious actor was not given the year following, 
 after 1. 15, but Wilhelm plausibly suggests that oou in 1. 16 may be a part of the title of a play, 
 e. g., 'AY>/]ooi[i'Ti, and that in this year as a few other times six comedies were presented. 
 The restoration of frag, a is too uncertain to warrant Reisch's assertion (ZOO. 1907, p. 309) 
 that the victorious actor is here also omitted. 
 
52 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 demu8 (accepting Wilhelm's restoration). The original copy of 
 the record which the scribe had before him was therefore pre- 
 sumably as follows: 
 
 xrrrt NixoSt;/xo? 
 
 VTTO Ni»cdSi;/xo9 iviKa 
 
 The cutter omitted the last line in inscribing it on the stone. 
 
 If the above statement of the facts regarding the actors' contest 
 in the two festivals is correct, this contest was introduced into the 
 Lenaea at the time the comic contest itself was admitted to this 
 festival, ra. 442 B. c, and was maintained, as the Victors'-list yzd' 
 shows, down to near the end of the third century. For some 
 reason which we can hardly hope to discover the contest was not 
 admitted to the City Dionysia until m. 325 B. c, and was con- 
 tinued until the middle of the second century or later, on the 
 evidence of the Didascaliae 975 ; there are no recognizable remains 
 of the Victors'-list for this festival after h'c. 
 
 This statement of the case seems to harmonize |>erfectly the 
 evidence of various kinds which we liave passed in review. But 
 Reisch has recently {ZOG. 1907, pp. 299 ff. ) announced a theory 
 regarding the construction of the building in which the Didascaliae 
 and the Victors'-lists were inscribed and of the arrangement of 
 these documt'uts within the building that runs counter to these 
 conclusions at some essential |X)ints. As the result of his theory 
 he introduces as a criterion for the classification of the fragments 
 of the Victors'-lists the condition of the under-surface of the pieces 
 that are extant from the bottom of the columns, and for this reason 
 is obliged to assign tjz(i to a different list from x: but since, as 
 he clearly sees, t/z<i cannot be Dionysian because its beginning 
 would go back beyond 829, he j)ro|x)ses an ingenious theory to 
 exphiin it as neither Lenaean nor Dionysian. Reisch's reconstruc- 
 tion of the building and liis tlieory concerning the arrangement 
 of the (jocuiiiciifs ill it are so attiactivt> and in many resjx'cts so 
 plausiblr tlial \V(> must pay niore than jtas.sing attention to liis 
 views. 
 
 The l)uil{|iiig wliich housed thes«> documents was a iiexagonal 
 structure, mcti'd in 27S as i\w iledication of an atronotlu'te. of 
 
THE actors' contests AT ATHENS 53 
 
 which three sides were open and three sides closed. On the 
 three walls of the closed sides were inscribed the Didascaliae, 
 and in this order: on the first wall the tragic Didascaliae of the 
 City Dionysia, of which 973 remains, on the second wall the comic 
 Didascaliae, Dionysia, of which 974 c, 975 and some smaller frag- 
 ments are preserved, and on the third wall the comic and then the 
 tragic Didascaliae of the Lenaea, represented by 972, which con- 
 tains a portion of the last column of the comic and the first of the 
 tragic. On the architrave over these walls and over the open sides 
 were inscribed the Victors' -lists, and in the same order, except 
 that here two sections, poets and actors, corresponded to each set 
 of Didascaliae; the lists of poets in general stood over the walls, 
 the actors over the doors, except in the case of the Lenaea, where 
 both the comic poets and the comic actors stood over the third 
 wall, the tragic poets and tragic actors over the third door. A 
 fragment of this architrave that happens to be smooth on the under- 
 side must therefore have stood over the doors, and must be either 
 tragic or comic actors, Dionysia, or tragic actors or tragic poets, 
 Lenaea; while fragments with unsmoothed under-surface stood over 
 the walls and must contain either tragic poets or comic poets, 
 Dionysia, or tragic actors or comic actors, Lenaea. 
 
 Now the vast majority of the fragments from this architrave 
 are broken away on all sides, and must be assigned on the basis of 
 their contents alone — unless they happen to join pieces that can be 
 assigned or through the condition of the upper surface or faults 
 in the marble can be placed with assignable pieces. But in gen- 
 eral, where Reisch's theory can be tested by this criterion, frag- 
 ments whose assignment is certain on internal evidence fall in 
 fairly well with the arrangement proposed. Thus, a and h, tragic 
 poets, Dionysia, and de and /<, comic poets, Dionysia, have un- 
 smoothed under-surfaces, and so have m and x, comic poets and 
 comic actors, Lenaea. But of the fragments with smooth under- 
 surfaces which could not be assigned by reason of their contents, 
 only /', tragic actors, Dionysia, and q, tragic actors, Lenaea, are 
 placed and classified with certainty by Reisch, and for /' the case 
 is certain because Reisch identified in it the name of a tragic 
 actor who appears in another list that is certainly Lenaean. 
 
54 HISTOBY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 Now jr, ftB we have stated, rested on the wall; yza' , however, 
 which we have assigned to the same category of comic actors 
 (Leuaea) as x, has a smooth under-surface, and Reisch accordingly 
 separates them. Before stating the argument against my view 
 based on the difference in their under-surfaces, let us consider 
 Reisch's explanation of yza', since, as he frankly. admits, it cannot 
 be regarded as the Dionysian Victors'-list. 
 
 To prove that there was a list of victorious comic actors that 
 was neither Lenaean nor Dionysian, Reisch a[)peals to the much- 
 discussed law of Lycurgus described in the following terms by 
 VUdc JC. Orat. 841 /; elarjveyKCP Se Kal vofiow, rov fikv irepl rdv 
 K(OfjL(pB(ov, aycbi'a TOi<? yyrpoi^ eVtTeXetr i<^dpnWov iv tCo deciTpa) Kal 
 Tov ui/ci'jcravTa ew aarv KaraXeyeadaiyTrpoTepov ovk e'^oV, ava\ap.^a.v(i}v 
 Tov ayuiva eKXeXonroTu. In spite of the fact, he argues 1 p. 810), 
 that the phrase eiV acrrv KaTaXeyeaOai is not wholly clear, yet it is 
 evident that the victors in the Chytri received through this law a 
 privilege that placed them on a parity with the victors at the 
 Dionysia, and that thus the contest at the Chytri compensated the 
 comic actors in a measure for the absence of a contest for them at 
 the Dionysia. This Chytri victors'-list, he conceives, was inscribed 
 on the architrave next to that which contained the comic poets 
 victorious at the Dionysia. This explains also the smooth under- 
 surface. What relation this Chytri list sustained to the genuine list 
 of act(jrs victorious at the Dionysia, after the contest for them was 
 established at that festival, Reisch is obliged, of course, to leave 
 undetermined. 
 
 The weak point in this liypothesis is the interprt'tatioii put 
 upon the phrase et? darv KaTaXe^/eaSai. Reisch ailmits that it is 
 "niclit vollig unbe.stritten," referring to the able discussion of the 
 law by Rohde {Rhcin. Miis. XXXVIII [1883], pp. 276 S. = KL 
 Sriir. II, p. 407). But Rohde in this very article has made one 
 fai-l tiitiirly clfKr, viz., that the victors at the Chytri cannot have 
 been entered in the catalogue of City victors. The phrase cannot 
 be equivalent to etV rois eu liarei v€i>iKi]K6Ta^ duaypii(f>€aOai, nor was 
 the list in which these victors wcic inscribed a KaTdXoyo<: rwr ev 
 d(TT€i uei'iKrjKOTCoi', l)ut a list of those wiio were rh't/ihlr to lx» ciutscn 
 to coinjM'tf at the City Dionysia, as Rolulr j)rovi'd, i. e., a Ka^dXoyo^^ 
 
THE actors' contests AT ATHENS 55 
 
 Tbiv KWixwhSsv TMv et9 ciaTV ve/jLeadrjvat a^LoydevTwv. The contest at the 
 Chytri was thus similar in one respect, as Rohde has also shown, 
 to the arrangement adopted for tragedy as described by the lexi- 
 cographers under vefiriaeu^ vTroKpiruiv. The archon had before him 
 a list of eligible actors, from which he assigned to the poets by 
 lot the number required for the exhibition. The two tragic actors, 
 i. e., protagonists, who had won a victory at the Lenaea and 
 Dionysia in any year were eligible for the coming year. There 
 probably was some test, or KpLo-a, of which we do not know, by 
 which other protagonists and actors who had not reached the grade 
 of protagonist could become eligible to be chosen for this honor 
 and could thus have an opportunity to compete for the prize. As 
 for the comic actors, since there was not an actors' contest at the 
 Dionysia, there was only one victor each year to be admitted to the 
 list of eligibles without a test. The contest at the Chytri, which 
 had existed before Lycurgus and was revived by him before his 
 death in 325, seems merely to have compensated in this way for the 
 lack of an actors' contest at the Dionysia, namely, in that the 
 victor at the Chytri was eligible at the coming Dionysia, as the 
 victor at the Lenaea was eligible at the Lenaea the coming year, 
 without further test. With so satisfactory an explanation of the 
 law of Lycurgus at hand we can hardly accept that offered by 
 Reisch, by which the highest honor within the reach of an actor 
 in the fourth century was given for a performance which could 
 have had only the slightest significance. 
 
 It may be added that, as Rohde again points out, the phrase 
 used by the Vitae X. Oral., v6/jL0<i irepl tmv KcofjumScov, shows that 
 only KcofimSoL were admitted to this contest at the Chytri, i. e., 
 according to the Attic usage to which we have referred above, 
 actors who were entitled to bring out old plays, or protagonists. 
 And it is probable that the contest consisted in the acting of por- 
 tions at least of old plays. 
 
 If, then, yza' must still be classified as Lenaean, what are we 
 to do with the criterion which Reisch applies — the condition of the 
 under-surface of the fragment, which is smooth, while that of x, 
 which we place in the second column before yza' , is unsmoothed ? 
 
 Reisch's reconstriiction of the monument as a whole is probably 
 
56 HISTORY OP ACTORS AND ACTING IN ANCIENT GREECE 
 
 right in the main; but are the details as to the construction of the 
 six sides sutficiently certain to justify the rigid classification of the 
 fragments which happen to have their under-surfaces preserved? 
 I think not. We observe that the architraves over each of the six 
 sides did not consist of a single block. For example, frag, d, con- 
 taining the first column of the City list of comic ix)ets and there- 
 fore, according to the hypothesis, resting on the wall of the third 
 side, was not the comer block, for its left edge is not cut at an 
 angle, but square: hence another block joined it at the left on that 
 side. Again, u niul in, comic poets, Lenaea, join each other as 
 ends of blocks; the juncture was in the middle of the architrave. 
 In both these cases the blocks rested on a wall. But c, tragic 
 poets, Lenaea, and vie, tragic actors, Lenaea, stood, by the hyi)oth- 
 esis, on the open entrance side, and yet c shows a straight join at 
 the h'ft and vir at the right, and vw was contiguous to d'o\ which 
 was the comer block of that side. It would seem from this that 
 the architrave on each side consisted of at least three blocks, and 
 if this is so there must have been some sort of support for them at 
 the point of juncture on the three open sides. In fact, Wilhelm, 
 p. 03, remarks that the lower surface of w is smooth "soweit 
 erhalten, muss aber woiterhin als Ecke LagertiAche gezeigt haben." 
 And, of course, there must have been supports under the outer 
 ends of the corner blocks. If we had the entire building before 
 us, therefore, we should be prepared to find jKDrtions of the blocks 
 of the architraves of the "oi)en" sides worked smooth on the 
 nnder-surfnce and portions dressed as Lagerthlche. 
 
 As to the pertinence of j- and yzd' to the same category in 
 spite of the difference between them in this regard, an explanation 
 is |x)HHible that is entirely consistent with Reisch's general theory 
 of tli»< arrangement of these lists. By his theory the architrave 
 of till- lifth side contained not only the comic poets, Lenaea, but 
 also th»' ««)rresj)on(liiig (U)mic actors. The former embraced at 
 least five coliMnns, th»' latter at least seven. Compared with the 
 architrave of the first four sides these two lists demanchfl a g(MKl 
 deal of space; the comic |KX»ts, Dionysia, for example, probably 
 filled only sevrn columns, and this was the only dtxniment on 
 the third nn-hitrav«« according to Reisch. It is entirely con- 
 
THE actors' contests AT ATHENS 57 
 
 ceivable that only three or four of the seven columns of Lenaean 
 comic actors were inscribed on the same architrave with the comic 
 poets, and that the rest ran over upon the next architrave. This 
 would account for the unsmoothed under-surface of x and for the 
 smooth surface of yzd . And any explanation which would reason- 
 ably account for this condition has as strong a claim to considera- 
 tion as has Reisch's hypothesis, with the added advantage that we 
 are not obliged to resort to a doubtful interpretation of the law of 
 Lycurgus. 
 
 The fundamental part of Reisch's theory, however, is his view 
 that the comic contest at the Lenaea came to an end shortly before 
 278. It is for this reason mainly that he rejects yza as Lenaean, 
 for the names carry us down toward the end of the third century. 
 The tragic contest at the Lenaea he also brings to a close at about 
 the same time, and explains the long list of victors in the Lenaean 
 catalogue, which also extends down to the end of the third century, 
 as a record of victories with old plays performed at the Lenaea. 
 This latter is purely conjectural, for we have no evidence whatever 
 to support it. In the fourth century, certainly, no victory was 
 awarded the rpa'^mhoC and KoofimSoL who brought out old plays at 
 the Dionysia, nor in the third and second centuries to the KcofioySoi 
 who appear in this capacity in IG. II 975. The one bit of inde- 
 pendent evidence which seems to point to the continuance of the 
 comic contests at the Lenaea in the third century, the report of 
 the five Lenaean victories of Eudoxus, Reisch casts aside by saying 
 (p. 301) that, just because of IG. II 972, he must be placed before 
 the year 285. What we know about the period of Eudoxus' activity 
 is slight, it is true, but tends strongly to show: (1) that he was 
 not a poet of the Middle Comedy, (2) that he was not a contem- 
 porary of Philemon, Menander, Diphilus, Poseidippus, and Apollo- 
 dorus and did not win his surprisingly large number of victories 
 against the greatest poets of the New Comedy, in other words, 
 that his activity did not lie between say 310 and 285, and (3) that 
 he probably flourished not a great while before the grammarian 
 Apollodorus who gives us the notice concerning him. In fact, 
 there is one bit of evidence that seems to prove that he was victo- 
 rious at the City Dionysia in the year 181 b. c. The whole question 
 
58 HISTORY OF ACTORS AND ACTIN(i IN ANCIENT GREECE 
 
 of the date of Eudoxus has recently been discussed anew by Capps' 
 with reference to the issue raised by Reisch and need only be re- 
 capitulated here. Pollux 7. 201 speaks of him as tU tmv vecov 
 Kw^Kfihuiv, citing his play Xdukleros. Diogenes Laertius 8. 90 
 (not Suidas, as Wilhelm, p. 37, says), quoting Apollodorus the 
 grammarian, says that there were three persons of the name, the 
 third being ^iKiKioyrq^ iral^ WyadoKXeoxn 7roiT]Tr]<; /cco/i&jSta?, i/t'/ca? 
 eXwp acrriKa^ fiep Tpel<;, Ar;rai/ta<> Be TreWe, Kudci (f)T)aLV ' A7ro\\6Ba)po<i 
 iv XpovifcoU. Jud<j:iug by the two titles preservt'd, HijjxthoUmnios 
 and Xdiiklrros, Diutze Dr Philcinonc comico, p. 80, plausibly sug- 
 gests that Eudoxus was an imitator of Menander, and conjectures 
 that, in view of the exceptionally large number of his victories, 
 he was one of the notable representatives of the New Comedy and 
 that his was the seventh name, now lost, in the list of a^ioXoyanaToi 
 given by Anon. Dc cow. Kaibel, p. Dl, 1. 05. Further, in the list 
 of Lennean victors which we ix)ssess almost complete down to c(i. 
 305 B. c, the name of Eudoxus does not appear, and it is hardly 
 conceivable that he was so successful against the great poets who 
 tloiiiislu'd between 305 and 385. Capps then restores his name 
 in Id. II 975/> as victor in the year 181 B. c, where the remains 
 both of the title and of tin- name point to him alone, TT[OH EY ]A[ 0- 
 ZO^NAYIKAHPQI. 
 
 Now Reisch disposes of 1*77 o. which Wiiiu'hn following KoliltT 
 had a.ssigned to the catalogue of comic poets, Lenaea, by giving 
 it to the list of comic actors, apparently only because it has n 
 smoc^th under-surface. This can scarcely be considered a sutficicut 
 warrant for giving up the classification based upon the identifica- 
 Ijnri of tlif uaiMts. Agathocles and Biottus (ij>|>tfir in 975 as jxjets 
 in the yrars ItiO and Lt)7 respectively, and Ariston is known as a 
 comii- poet from otiier inscriptions and his date has been established 
 as a contemporary of the other two by Preuner nml Kirelmer 
 (see Wilhelm, p. 135). 
 
 R<'iscir8 opinion that the lieimeaii eoniie contest was discoii- 
 tiiuied by ni. 2S5 is bas.-d ujion the peculiar fact in n-gartl to tlie 
 (lidMscalic inscription '.t7'J that the first coluinn contains comic Hi- 
 dascaliac, the second tragic. The comic record therefore stojiped 
 
 1 Herl. pHil. Woch. IWM, p. 037. 
 
THE actors' contests AT ATHENS 59 
 
 at the end of the column, and the date reached by the end of 
 the column was not far from 285. Two explanations suggest 
 themselves of the discontinuance of the record at this point: (1) 
 that the Lenaean comic contest was thereafter discontinued, or (2) 
 that the record was continued in another place. The latter 
 explanation was advanced by Capps AJA. IV (1900), p. 86, who 
 first observed what conclusions were to be drawn from the juxta- 
 position of the tragic by the side of the comic record. He says 
 that the comic Didascaliae "were continued, if at all, in another 
 place," adding that it seems unlikely that the Lenaean contest 
 was discontinued at this time. Wilhelm, p. 37, takes the same posi- 
 tion, insisting that, if the contest was for a time discontinued, it 
 was later revived, as the notice about Eudoxus and the list of 
 poets 977 o show. Here again we must acknowledge that we know 
 too little about the circumstances under which the inscription was 
 put on stone and the arrangement adopted and the space available 
 to warrant any hard-and-fast theory based upon the phenomenon 
 observed on this fragment. Too many simple explanations are 
 conceivable to make it advisable to adopt one that involves serious 
 consequences in the interpretation of a number of other documents 
 that themselves present no especial difficulty. 
 
 Our conclusion is, then, that we must for the present decline 
 to be guided in the assignment of fragments of the lists of victo- 
 rious actors by the material criterion set up by Reisch, at least 
 until more solid and convincing arguments are advanced by him 
 than he permitted himself in the preliminary article in which he 
 sets forth his views summarily. 
 
THK ATFIENIAN VICTORS' LISTS TRAGIC AND COMIC 
 ACTORS 
 
 For convenienc<* the assignable fragments of the Victors'-lists 
 are here given with an indication of the chronological deductions 
 to be drawn from them, and with some improvements in the 
 text. For explanations of departures from Wilhelm's text the 
 reader is referred to the catalogue of actors in the Appendix, 
 under the name concerned. If only the end of a name is pre- 
 srrvt'd on the stone and either no restoration is made or that 
 made is regarded as uncertain, the fragmentary name will be 
 found at the end of the A[)|)endix (pp. 139 fif.), listed alpha- 
 betically by the first extant letter. Of the fragments left 
 unassigned by Wilhelm, a numlxT have been correctly, in the 
 writer's opinion, assigned by Reisch, viz. (t (s), o (») to 
 Lenai'an tragic actors, f to Dionysian tragic actors, n' {i") to 
 Lenaean comic poets. Frag, m' (a ), which Reisch a.ssign8 to 
 the Lenaean comic actors, must still be considered doubtful; 
 but I have thought best to include the names in the Appendix. 
 If Reisch is right they belong to the latter half of the third 
 century. Frag. //' I have ventured to classify with the comic 
 actors, according to Capps's conjecture. Frag, o must certainly be 
 regarded with Wilhelm as a list of comic poets, Lenaea, rather 
 than, with Reisch, of actors. Fragg. /, h' {if), and k' T (q r] can- 
 not yet be safely assigned to any category. 
 
 60 
 
THE ATHENIAN VICTORS -LISTS 
 
 61 
 
 TRAGIC ACTORS -DIONYSI A 
 
 ca.448 
 
 to 
 
 ca. 430 
 ca. 430 
 
 'TTTo/cptTWJ' Tp[ayiKQv 
 449 'RpaK\€l[8vs - 
 NiK6/xaxo[s - 
 
 Mv[v]vl<TKOi - 
 
 SaiivSas [I] 
 ' Avdpuv 1 1 
 Xai[p]^<TTpaTos I ■ 
 
 MtV€K]pdTTIS III ' 
 
 A6rr]T/j'[ijs - 
 KX^OfSpoJs I 
 
 ca.400 
 
 Since the names of Callip- 
 pides and Lysicrates, who 
 were active ca. 420, do not 
 appear here, the first vic- 
 tory of Leptines must be 
 placed ca. 430. For Cle- 
 andrus see App. No. 293; 
 nothing is reported in 1. 10 
 by Wilhelm. 
 
 ca. 400, 
 
 to 
 
 ca.390' 
 ca. 390 
 
 to 
 
 ca. 380 
 ca.380, 
 
 II. p 
 
 Ni[Kavdpos - "I" 
 Qe[6dupos - *'\ 
 
 'A](7- 
 
 'A(?t;- 
 'Apt[(rT - 
 I 
 
 IV. /" 
 
 ca. 
 360 
 
 to 
 
 ca. 360' 
 
 The date of 11. 5-9 is too 
 early for Neoptolemus, 
 Thettalus, and Atheno- 
 dorus, and Aristodemus 
 seems not to have won a 
 City victory; but see No. 
 62. The position favors 
 Theodoras in 1. 6, and Ni- 
 candrus in 1. 5 is probable. 
 
 ca. 
 320 
 
 ca. 
 320/ 
 
 to< 
 
 ca.\ 
 
 285 
 ca. 
 285 
 to 
 ca. 
 278 
 
 Ai<Tx]i5X[os - 
 U\]ei<re^vni I 
 To]pyo<rd^vr]s \ \ 
 'E'ira]iJ.€lvuv || 
 
 Inthis col- 
 umn were 
 Thettalus, 
 Athenodo- 
 rus, Neop- 
 tolemus, 
 and Nicos- 
 tratus No. 
 
 These names are in the 
 first hand, but see the 
 Lenaean list, where Aes- 
 chylus and Epameinon are 
 just before the beginning 
 of the second hand. 
 Reisch identified the 
 fragment. The lower 
 margin is preserved. 
 
 t* Names marked by the asterisk (*) are found in the list for the other festival; those 
 marked by the obelus (t) are known to us from other sources. 
 
62 
 
 HISTORY OP ACTOBS AN'D ACTING IN ANCIENT GREECE 
 
 TRAGIC ACTORS -LENAEA 
 
 'tnoKpirCyv TpayiKUi' 
 ra. 432 / Xoip^(rT[/j]aTo» I * 
 I Mt)v[«<cp<£]T77i I * 
 .. ) V^\\\ 
 
 Ml/^WtTKjoi II *t 
 
 ca. 425 / Niic6<rTpo]T05 1 1| t 
 
 ca. 400 ^ 
 
 For the h«Kii>ninK of the 
 contest sno p. 46. In 1. 4 Wil- 
 helm rfstonis Loptines from 
 tho City list; but tho nnnio 
 doos nr»t fill tho spnco. CIo- 
 andrus, Lysicratos, <<tc., sUwid 
 in the lowor half of this 
 column. For Callippidos 
 (Keisch) instond of Hora- 
 cloidoB (Wilholni) Hoe Nos. 
 274, 214. 
 
 to 
 
 n. ^lu 
 
 ca. 400 / XaplSrjuos - 1 
 
 I <l>iXnrT0i - 
 
 ) *I>T10J 1 1 
 
 (Ei>ir6\eMo[{ - 
 Qpa<Tvpo[v\oi] I 
 ' ApiaT65[TjfjiOi] II I 
 ca.'M^i I yUpwv II 
 
 I KX]t6{5aAmv] | 
 ) ef65«poi 1 1 1 1 *t 
 'iTTTTopxoJ ni t 
 
 A^ciWaj I 
 ca.^'-iOy .Ki']bpo<jeiin)% I 
 Ca.:«JO/ NeolTrriXfMOJ I f 
 \ etTra]X6j 1 1 t 
 
 to HI 
 
 r kpiaT]lu,v \ 
 
 ca. 345 \ ii]ni I 
 
 Tho poriod of tho first jrroup 
 is furnished hy .\ristodomu8, 
 of the second by Hipparchus 
 and Thoodorus, of tho third 
 by Nooptolemus and Thotta- 
 lus. In 1. 17 Wilholm sUffROsts 
 
 |^lAuTa5 Jf)?, 
 
 m\ ' 
 
 ca. .345 
 
 to 
 
 A^rWwpJos I 
 
 HI 
 
 ) Eu? I 
 
 I ' Ap{i(rTo<(>]tI)v 
 l' IIo- 
 
 U)V I 
 
 CO.. 330 ' 
 
 ca.330/ N[i«6(rTpaToi- t 
 
 Apx^ai - t 
 
 IIpat/a[s 
 to {'Uponi{i/inw¥] III t 
 
 *iX - 
 
 Ni<c 
 ca. .320 \"Api(<rT6«tptT0j - t 
 
 The remains in 1. .3 seom to 
 favor a name in -pot rather 
 thanin-Mo«i\Vilholm).l OS II. 
 The date also favors .\thono- 
 dorns. Tho second jtroup is 
 datoti by Nicostratus (who 
 iniKht Iw restored in 1. 13 in- 
 stead of in 1. 8), .\rchias. 
 llieromnemon, and .■\risti>cri- 
 tus. The last three lines are 
 left blank. 
 
THE ATHENIAN VICTORS -LISTS 
 
 63 
 
 TRAGIC ACTORS — LENAE A 
 
 ca. 320 
 
 ca. 300 
 CO.. 300 
 
 CO. 290 1 
 
 IV. vto 
 
 E- 
 BaKx- 
 
 Si^VUV I 
 
 Capias - 
 
 'Al'Tl/U^[l'7JS - 
 
 T€i<Tl\a[s -] I 
 To[pyo<r9^i>r]s - 
 ^Ikww 1 1 - 
 
 ' ApiffT6vi[K0i ~ 
 
 Hvppix°s - 
 
 ' k.yy)Twp I 
 Q7]pap.iv[T}% - 
 KXciTos - 
 
 V. dq 
 
 CO. 290 
 
 to 
 
 CO.. 278 
 CO. 278 
 
 III 
 
 KXe6[5wpos — 
 A^(rXi^X[os - 
 
 Kplp.V7][(TT0S - 
 
 '^Siirane[^lvwv - 
 
 ' YipOT\lo}V - 
 
 K\plff\Tapxo's - 
 'Hp(£K[XetTos - 
 'AX^|aj'5[pos - 
 KaXXiKXT7s III 
 ^\vpriixu3v I 
 
 \<To\Kp<iTr\s I 
 .... vvos II 
 KXe6j'tK]os I 
 ' ApKeffi\a]os \ 
 
 CO. 260 
 
 CO. 260 
 
 VI. oq 
 •Exeros |||| 
 'E\irlviKos III! 
 
 CO. 235 
 CO. 235 
 
 CO. 225 
 
 nci|ii(/)iXo[s - 
 Swcrt^eos || 
 XIoXi/zcptTos 
 Nay(ra>v | 
 
 ' KpiffTUV I 
 
 The date of the first group The first group is written 
 is furnished by Aristocritus in the first hand, the second 
 in col. iii, and by Gorgosthe- in the second. The second 
 nes, a contemporary of the group is also dated by Hera- 
 painter Apelles toward the cleitus, Alexandrus, and 
 end of his career. Gorges- Cleonicus. 
 thenes' first Lenaean vic- 
 tory is notably earlier than 
 his first City victory. If 
 Polus competed at the Len- 
 aea, his name stood at the 
 head of this column. The 
 last two lines are left blank. 
 
 VII. o 
 CO. 225 iNI 
 
 Traces of 
 writing in 
 1. 1, not re- 
 ported by 
 Wilhelm, 
 show that 
 the record 
 was contin- 
 ued in this 
 column. 
 
(U 
 
 HISTOKY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 COMIC ACTORS - LEXAEA 
 
 II. III. I 
 
 [ TwOKpiTUtr KiJIUKUIlf] 
 
 c(i. 442 
 
 ra.410 
 
 to 
 
 ca. 375 
 
 Sfxj p. 49. Honnon, the 
 ua\s victor of thJH period 
 wliom wn know, wns ricto- 
 riouji (hurtly after 423; see 
 No. 1S3. 
 
 to J ♦iX]r)M«i' 1 1 
 CO, 365 {Ka]\\lffTpaT[o%- 
 co, 365 
 
 J55\ 
 
 ca. 355 
 
 ca. 355 / • • ■ xuf 1 1 1 1 
 
 I llapfi{y(i>r \ 
 
 \ 'S[a]vciK[pdTTii 
 I ' An]<pix[dpvi - 
 ca. 345 ' *o]p[ixlw)> - ^^ 3j- 
 
 For the positions of i and 
 X see p. 4«. The upper 
 niarffin of t and the lower 
 of X are preserved. 
 
THE ATHENIAN VICTORS -LISTS 
 
 65 
 
 COMIC ACTORS — LENAEA 
 
 ca. 315 
 to 
 
 ca. 300 
 ca. 300 
 
 ca. 290 
 ca. 290 
 
 to 
 
 ca. 278 
 ca. 277 
 ca. 275 
 
 V. yz 
 
 (' ApiaTaybpas \ 
 KdXXtTTiroy 1 1 1 1 
 \ ' AffKK-qiribSupot P 
 / \i\o\vevKTos I 
 \ n]i'p/3a\ei!is I 
 / M]o<Txiw^ 1 1 
 \ A77]m[o0w]j' I 
 \ 'l]epil}vvnos nil 
 I ' A]p(.(TT6fxaxos III 
 
 \ A^pKCTOS I - 
 
 4>tXoK[X')7S - 
 
 ' ApLffTOKpdTIJS I 
 
 ' 'E/xnevld7)$ I 
 A^t6Xdkos I 
 ^i\(i)vl5r]s I 
 SwKpdrijs I 
 
 ca. 275 
 
 ca. 258 
 ca. 258 
 
 VI. 2/za' 
 noX[i;KX^j - 
 AvKi<r[KOS - 
 2w£ri/cX[^s - 
 noXi/f'7jXo[s - 
 UvOdparos j 
 KaXXias 1 1 1 
 Mey€(c[X^]s | 
 A[t]H^tp]los I I 
 ULTdeiis I 
 "HpuKXeid-qs 1 1 
 
 ca. 248 
 ca.248 
 
 K7](pL(r68(i3]pos I 
 
 I 
 
 'H[77?<rOas || 
 
 to 1 A[l7MO?]'CpClT7JS I 
 
 ca. 240 \ "EpfxlxpavTos I 
 
 ca. 240 
 
 *e[/o- 
 
 ca. 215 \ A77[/;* 
 
 See p. 49. Callippus and Ascle- Polycles, Lyciscus, and Menecles Nothing was 
 piodorus date the first group, Hier- date the first group, Hegsias and written a fterATj/m-. 
 onymus and Aristomachus the Hermophantus the third. The la- The Lenaean corn- 
 second, PhUocles and Autolycus cuna in 1. 13 seems to me to be of ic contest may 
 the third. The second hand begins six letters ; Wilhelm gives five. have come to an 
 
 with Philonides. end toward the 
 
 close of the third 
 century. 
 
66 
 
 HISTORY OP ACTOBS AND ACTING IX AXCIENT GREECE 
 
 COMIC ACTORS -DIOXVSIA 
 
 I. 
 ['XroKpiTuiy kw^kQv] 
 
 CO. 325 
 
 en.. 118 \ . g' (uncertain) 
 
 ca. 318 I' Api<rTay6p]ai 
 
 o K<i\X.TTo)t MM *t 
 
 ca. 311 {' AffK\rrri6Su]pos nl-|*t 
 CO. 310, 
 
 ca. 300' 
 
 A'Apu 
 
 ca. 292 \ ' \purT6tia]x{ot 
 ca. 290 /Arj^aj I 
 
 'Exj^Kotoi M 
 
 A]^pKfTOJ I 
 
 ' Apiarluv II 
 
 ♦iXuv/Siji - 
 
 to ( *iXo«cX^[i 
 
 KoXX/<TTp[aToi - 
 
 IIoXi-^X^i - 
 
 ca. 274' 
 
 *t 
 
 See above, p. fiO. The victors for .312 and Sop above, p. .'lO, for the explanation of tha 
 311. Callippus, Jr. and .Vsclepiodorus. stood position of ^ c in tho column, 
 somowhom liern; and it has boon (ilausibly 
 suKKeBtc<l, AJP. XX (1899), p. 404, n. 3, that 
 fra»f. a slionld be restored with thuir names, 
 cf. the first three linoa of yz. 
 
 DOUBTFUL 
 
 Ap«r 
 Aio»]i 
 
 ^W^ntlM 
 i« I 
 c-P III 
 y I 
 
 ffMuipoi I 
 TOfJmii II 
 |i^u>t I 
 
 HI 
 
 A- 
 
 2- 
 
 A- 
 
 Bo- 
 
 A- 
 
 KX- 
 
 Ai- 
 
 2m- 
 
 A - 
 
APPENDIX 
 PROSOPOGRAPHIA HISTRIONUM GRAECORUM 
 
INTRODUCTION TO THE APPENDIX 
 
 The writer has eiuieavored to include in the following catalogue of 
 Greek actors all tragic and comic actors who are mentioned by the Greek 
 writers down to and including Atheuaeus and all who are found in the 
 inscriptions. Omissions will of course Ije found; but it is hoped that 
 they will not be numerous or serious. Under each name are given as 
 succinctly as possible all the essential facts in the life of the actor in his 
 professional capacity, so far .is they are reconletl. The quotations from 
 the sources, especially the literary sources, are made intentionally full, 
 that the collection may prove useful to students of this side of the 
 ancient drama. The full Greek name, with ethnicon or demotic-on where 
 recorded, is first given in lK)ld-face<l type; where the ethnicon is added 
 in tinglish, the sources which speak of the person as an actor do not 
 rt'conl it, but it is infen-ed from secondary sources. After the name the 
 function is given in which the person appears: e. g., v. t. (vTroKpLrrj^ rpa- 
 ytKos) or K. {KwfxLKos) UTo uscd for actors whose names are given in the 
 Athenian Victors'-lists and in other documents which so designate the 
 actor, Tpay(i»8ds and Ka)/x<i>8os for those who are so designated in the 
 soiu-ces. If the person is mentioned in diffen-nt sources under diCFerent 
 titles, the fact appears in the article. With names that are associate 
 with a festival the festival and the .seat of the festival are regularly 
 given; but "Lenaea" and "Dionysia"' alone refer to the Athenian festi- 
 vals. Whenever possible the date of the actor's activity as indicatetl by 
 the sources has Ix^en given, with such precision as the available informa- 
 tion permits; the dates which accompany references to the Athenian 
 Victors'-lists are those of the first victory. In the case of Athenians a 
 nference has l)een added to Kirchner's I'ro!<opoi/ra})hia Attica; when 
 the name (if before Augustus) is not found in KirchntT the fact is stated, 
 even tlunigh the nanie has come to light since the publication of that 
 invaluable work and this is more often the ca.se. References are not 
 usually mad(! to the articles in the Pauly-Wissowa Kncj/rloiKldir. *'W." 
 means " Wilhelm's I'rhufntcn." 
 
 The aim has Im-^mi to incluilc in the list all pt-rsoiis who are known to 
 have acte<l GrtM'k plays in the original down to al)out the third century 
 A. D. Since the pui-jMJse of the collection is to exhibit the history of 
 acting in Grerk countries so far as this history is ass4KMattHl with the 
 names of actors, persons who are Ix'tter known as jxK'ts have btH'U in- 
 cludeil if the notices which we have tell us .somt>thiiig definite or sig- 
 iiificant rfiranliiitr tlu-ir «;iri><Ts as actors. I'or ixample, the comic poet 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 69 
 
 Crates (No. 307) and the tragic poet Sophocles (No. 44:1a) are found in 
 the list, but not Thespis or Phrynichus or Aeschylus or the other early 
 tragic poets, all of whom are reported in a general way to have acted in 
 their own tragedies. Even the story about Aristophanes is included 
 (No. 70a), although it is not well authenticated. Roman actors of Greek 
 tragedies have, as a rule, not been included, nor Greeks who seem to have 
 confined themselves to the performance of Latin plays or Latinized 
 Greek plays, although the line was not always easy to draw. However, 
 some inconsistency may be detected in this regard. It must be remem- 
 bered that our information is not always sufficient to enable us to deter- 
 mine the facts upon which to base the distinction. Nero (No. 360 a), in 
 view of his aspiration to be an actor of Greek plays, and the interest of 
 the notices about him, has been taken into the list. 
 
 In dealing with the personnel of the dramatic companies of the third 
 century and later it was thought best to include those who are mentioned 
 in the capacity of didascali and hypodidascali — not that these persons 
 were in any sense actors when serving in the companies as teachers, but 
 because in some instances these persons are known to have been actors 
 as well as teachers. For a similar reason it was decided to include the 
 didascali of the earlier period who brought out plays for others, e. g., 
 Philonides and Callistratus, although we do not know that these persons 
 actually performed in the plays which they brought out for Aristophanes. 
 Their function, however, was certainly very similar to that of the KWfjuoSoC 
 and TpayujSoL who brought out old plays from the fom'th century on, and 
 it was felt that the purpose of this list would be better served by their 
 inclusion than by their omission, since the facts are clearly stated under 
 each. But it is possible that some inconsistencies will be found in the 
 dealing with this class of persons. 
 
 The more important inscriptional documents which contain the 
 names of actors have been dated by various scholars with a fair degree 
 of acciu-acy, and in assigning dates to the actors mentioned in these 
 documents no attempt has been made, generally speaking, to do more 
 than record the dates which seem to have found general acceptance, as, 
 for example, Homolle's dating of the Delian choregic inscriptions and 
 Kern's dating of the victors at Magnesia on the Maeander. In the case 
 of the Athenian Victor's-list, however, a closer approximation to the 
 exact date of the first victories has been attempted than ever before 
 (above, pp. 61 ff.), in order that, in addition to an indication of the 
 actor's general period, we might have a suggestion, represented in fig- 
 ures, as to his chronological relationship to his contemporaries. " Circa " 
 preceding these figures is an acknowledgment that only an approxima- 
 tion is attempted, although it is believed that the actual error is rarely 
 larger than a decade. 
 
 The following statements will be convenient as showing the position 
 
lO 
 
 HI.>^T()RV OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 which the writer has taken rej^diug the dates of a uuml>er of importaut 
 series of document."?: 
 
 Thf Soterir catalogues of Delphi.— lu assigning dates to the four 
 Soteric lists SGDI. 2563 66 I have follow<tl Pomtow Jahrb. f. klass 
 Phil. XLIII (1H97J, pp. 819 fiF., who gives the four years 272 1, 271. 270. 
 269. Bekx;h. however, has made an argximent in Clio II ( 19()2), pp. 210 ff., 
 in favor of the quadrennium 264-261. not excluding the possibility of 
 even the next qu;idrennium 260-257. My reason for still preferring 
 Pomtow's dating is, in the main, as follows: A whole group of {per- 
 formers who appear in the Soteric lists are found also in the Deliau 
 choregic inscriptions, which are datable to the year, and in the Athenian 
 Victors'-lists, for the names in which we can obtain approximate dates. 
 In stating his ca.se Beloch mentions l)ut one of the.se persons, Telestes. 
 Now it is conceiveable that a single person may have perfonned at 
 Delphi a genenition after his appearance elsewhere, but when we find 
 not one such instance, but nearly a score, the weight of imprt)l)iibility 
 against the assumption l)ecomes so great as to weaken seriously the 
 forc«' of any other argiunent in its favor. The following table will show 
 that it is advisable to assign the Soteric lists to as early a dat*' as pos- 
 sible. The Soteria were founded to commemorate the events of the year 
 279. We know too little of the external facts regarding the constituency 
 (jf the Amphictyonic Council in this period to accept the results of 
 BeliK-h's reasoning on this point against the following prosopographical 
 evidence: 
 
 No. 
 
 Performer at the Soteria 
 
 Pomtow's 
 Date 
 
 Athens 
 
 Delos 
 
 20 
 
 
 269 
 
 270 
 
 270, 2n 
 
 270 
 
 271 
 
 272. 200 
 
 272,271 
 
 272 
 
 271.269 
 
 272 
 
 270 
 
 272 
 
 272 
 
 270 
 
 272-269 
 
 272 
 
 272 
 
 en. 27G 
 
 •• 262(?) 
 •• 278 
 
 • 289 
 
 •• 278 
 •• 250(?) 
 
 • 270 
 
 • .TOO 
 
 •• 278.275 
 
 • 285.276 
 
 
 79 
 
 Arce.silHiis 
 
 
 101 
 
 
 
 124 
 
 1 )«IT)('HS 
 
 
 162 
 
 F )rac<)n 
 
 280. 279 
 
 218 
 
 Ht'rarU'itus 
 
 
 288 
 
 Cephisddorus 
 
 C'looxonus 
 
 268 
 
 :m 
 
 
 
 .fk) 
 
 Monocrates . . 
 
 259(?( 
 
 MU 
 
 
 
 .181 
 40»> 
 
 495 
 
 ( )t'ciH(l0H 
 
 PolycU'H 
 
 'IVlPStCS 
 
 Philoniiios 
 
 l)ioi)haiilus, Huli»tt» 
 
 OnepippuB. (iidHRCHlus aulete 
 
 208 
 280 
 2S4 
 203 
 280 
 261 
 
 The cataloijuen of Oropxis, Thenjtine, Orchomenus, Tanaffra, atid 
 Arrarphia. .lamot has shown in BCH. XIX ilS95). pp. .'^46 (T.. that the 
 agonistic lists from Thespiae fall into thr«>«' chmuological groups. To 
 
PROSOPOGRAPHIA HISTRIONUM GRAEOORUM 71 
 
 the first group, which he dates between 167 and 146 B.C., belongs No. 11, 
 p. 336; to the third. No. 15 (IG. VII 1773), which is a Httle before 161 A. d., 
 No. 17. between 161 and 169 a.d., and No. 18 (VII 1776), in the first half 
 of the third century a. d., after Caracalla. The second group, comprising 
 Nos. 13 (VII 1760) and 14 (VII 1761), belongs to the same general period 
 as the lists from Oropus, IG. VII 416, 417, 419, 420, with which it has a 
 number of names in common. Five of the artists mentioned in the 
 Thespian list No. 13 reciu* in the three lists from Orchomenus, IG. VII 
 3195, 3196. 3197, and in a similar way the lists from Tanagra, IG. VII 
 540, 542, 543, and Acraephia, IG. VII 2727, are bound together with 
 those from Thespiae, Oropus, and Orchomenus. It is clear, therefore, 
 that the second Thespian gi'oup is of the same general period as the lists 
 from the other Boeotian festivals. Now Keisch in De mus. cert., pp. Ill ff., 
 following Theodore Mommsen Herm. XX (18??), p. 274, n. 2, has shown 
 that the Oropian inscriptions were inscribed in 86 b. c. or soon afterward, 
 i. e., after the victory of Sulla, and Dittenberger assigns the Acraephian 
 list to the same time. Of the four lists from Oropus it is clear that Nos. 
 416 and 417 are earlier than No. 419 and that 420 is not far removed from 
 the other three (Dittenberger ad Zoc), and we must also agree with 
 Jamot that the three Thespian lists of the second group are not separated 
 from each other by any considerable interval, and that this is true also 
 of the three from Orchomenus (p. 356, n.). The lists from Thespiae, 
 Orchomenus, and Tanagra may be a little earlier or a little later than 
 those from Oropus and Acraephia, so far as the available evidence can 
 show their relationship. Accordingly in the Appendix I have thought it 
 wise to indicate the relations of these several series of lists simply by 
 assigning the lists from Oropus and Acraephia to a date "soon after 
 86 B. c," and all the rest to a larger period extending before and after 
 86, i.e.," ca. 100-75 b.c." 
 
 The Delphic decrees pertaining to the Athenian technitae. — Several 
 actors are mentioned in the two decrees of the Amphictyonic Council 
 which grant and confirm certain privileges to the Athenian technitae, 
 IG. II 551 (of which BCH. XXTV, 1900, p. 86, is the Athenian duplicate). 
 For the first of these decrees I accept the date of Pomtow 278/7 b. c, 
 for the second that of Ferguson Priests of Asklepios (Athenian archon 
 Demostratus), 130/29 b. c. 
 
 A very considerable addition to our list of actors is due to the three 
 decrees of Delphi which Colin has published in BCH. XXX (1906), 
 pp. 272 ff . They are in honor of the Athenian technitae, who, on three 
 occasions, sent to Delphi large delegations of theori, singers, and thy- 
 melic and scenic performers, whose names are all mentioned. The 
 decrees bear no dates, but Colin (pp. 284 ff.) has shown, from the five 
 names which recur in inscriptions of the dates 137/6, 131/0, and 130/29, 
 that No. 48 must belong either to the pythiad of Timarchus 138/7 
 
72 HISTOKY UF ACTUKS AND ACTING IN ANCIENT GREECE 
 
 (I follow FtT^'^usou's latest ilatinyjor to that of Dionysius (6 /xtra AvKiaKov) 
 128/7. He cUx;ides provisionally for the latter date l)ec'ause of the 
 character of the writing'. No. 50 he is inclined to assifrn to 106 5 in 
 spitti of the indications of the writing', and No. 49 to 97/6, thou;,'h he 
 acknowhtlfjres that his c;ilculations as to the two latter are not free from 
 doubt. 
 
 There can Ik- no doubt that Colin's three dates represent fairly 
 closely the period to which these dK'rees Ix'long and their relationship 
 to each other. No. 4S is clearly earlier than 49 and .^O, for none of the 
 names in it recurs in the other two, while the sons of two of the f)er- 
 ff)nners in 48 appear in 49 and one in 50, and four of the technitae of 48 
 can 1m- identifitxl as the fathers of persons who l)ecame ephebi l>et\veen 
 10<» and 100 B.C. But I should be inclinetl to Jissigu 48 rather to the 
 earlier of the two pythiads, that of Timarchus 138, 7 rather than with 
 Colin to the latt<'r, that of Dionysius 128 7; for five of the performers 
 mentionetl there appear in the lists of victors at Thespiae which Jamot 
 places in the period 167 to 146 B.C. Even if the Thespian lists are 
 placed as late as possible, the interval 146 to 128 seems somewhat too 
 f^reat. I have accordiuf^ly referred No. 48 to the pericKi 138-128 b.c. 
 
 Nos. 49 and 50 are not far apart, for five names appear in lx)th. 
 They clearly lielonf^ near the end of the second and lx^<,'innin^ of the 
 first century, for five of the performers in 49 and 50 are known fmm the 
 lists of victors at Thespiae (second j^roup), Oropus, Orchomenus, and 
 Tana^'ra, all of which are assignetl to the period 100-75 b. c. Colin's 
 jmlpmeiit in re^'ardin^' 50 as earlier than 49 is confirmetl by another 
 consideration: four of the performers in 49 were ephebi in 107-104 (one 
 as «'arly as 119/8). The date 97 6 which Colin assi<,'-ns (the pythiad of 
 Mwleius) therefore s»^ms intrinsically plausil)le; for it is hardly {x>ssible 
 that these persons t(X)k part (as citharists, traf^(Hie, and singers in the 
 paean) in the pythiad f)f Af^atluK-les 1(X5 5. There is no such obji-ctiou 
 to assii^ning No. 50 to that year, with Colin. 
 
 I have not hesitated to designate all the representativi^ of the 
 Athenian technitae mentionwl in these three d«»crees as Atheniiins, 
 although only the father's nam*' and not the ethnicon is given. This is 
 not done on the a.ssumption that all memlM-rs t)f the Athenian guild 
 were .\thenians; the Athenian Victors'-lists prov«' that this was not th»> 
 cn.se. liut it so hap|H«ns that, whenever any of the persons wh«i consti- 
 tuted these' tht'oriae is found in non-Attic inscriptions, he is always 
 designat<'<l as 'A&ijvouk (nine times), and a large luunln'r in addition (I 
 have ijote<l twelve) occur with their th-motica in Attic inscriptions. It 
 would appear, therefop-, that the guild selecte<l as inenilH'rs of these 
 splendid delegations to D.Iphi only thosr of its niemlvrs who were 
 Athenians. 
 
APPENDIX 
 
 1. A-, victor iu IG. II 977 m' {a') col. ii, 1. 2, W. p. 164, latter part of 
 the third century. Doubtful if actor. But see Reisch ZoG. 1907, p. 306. 
 
 2. at; victor in IG. II 977 m (a), col ii, 1. 6, W. p. 164, latter part of 
 the third century. Doubtful if actor. But see Reisch ZoG. 1907, p. 306. 
 
 3. 'A-ydOapxos, kw/awSo's, by the technitae of Asia and the Hellespont 
 V€fir]6a.<i avv rrj VTr-qpeaLo. iinTfXtifTaL tovs twv AiovrtrtcDV twv cv 'lacai dyoivas, ca. 
 151 B. c. Insc. lasos, Lebas-Wad. Ill, 281, Michel 1014. 
 
 4. A-ya6irj|j,cpos IIvOokX^ovs 'ABiivaios, as v. Kaivrjs TpaywSta? victor at the 
 Musaea at Thespiae shortly before 161 a. d., IG. VII 1773; BCH. XIX 
 (1895), No. 15, p. 341. 
 
 5. 'A-yaOoSwpos, KWju,aj8os, member of the gxiild of technitae at Ptole- 
 mais in the reign of Ptolemy Philadelphus. BCH. IX (1885), p. 132, 
 Michel 1017, Ditt. Orient. Gr. Inscr. 51. 
 
 6. 'A-yaeoKXfjs 'A^aeoKXclovs Mi\^o-ios, v. k., victor at the Romaea at Mag- 
 nesia, middle of the second centiu-y b. c, acting the Homoioi of Metro- 
 dorus in the contest of new plays. Kern Inschr. v. Magn. 88 a. 
 
 7. 'A^aeoKXris SwKpdrovs, Athenian, kw/xwSos, theorus of the Athenian 
 guild of technitae at Delphi ca. 97 b. c, participating in the paean and 
 in the scenic contests, BCH. XXX (1906), No. 49, p. 277, 11. 16, 22, 33. 
 Not in Kirchner. 
 
 8. 'A-yno-Co-TpaTos, rpaywSds at the Dionysia at Delos in 171 b. c, BCH. 
 IX (1885), p. 147. 
 
 9. *A-y^Ttop, II. T., once victor at the Lenaea ca. 294 b. c, IG. II 977 
 nib'), W. p. 145. 
 
 10. 'A-yi|A€'vns 4>iXo}ji«vovs Sikvwvios, TpaywSds at the Soteria at Delphi in 
 271 B. c, SGDI. 2564, 1. 57. 
 
 10a. ' Avp. ' A-yxdpt]vos 4>ai8pow 'E<j)Vjo-ios, kw/awSos Tre/atoSovetKr;? KaTrcTiuAio- 
 vetKr;s TrapaSo^os, archon of the technitae, time of Caracalla, CIG. IV 6829, 
 1. 21, unknown provenience, but probably a decree of the Teian guild 
 whose seat was at Lebedos. 
 
 11. *AeT)-, V. T., victor at the Dionysia ca. 385 b. c, IG. II 977 p{e), 
 W. p. 137. Cannot be restored 'A0T7[vdSojpo?] No. 13 on account of the date. 
 
 11 a. 'AOrivaios (?), TpaywSds, Perinthian decree of the second century 
 b. c. or earlier, see No. 520. 
 
 12. *A6tivCwv, apparently a tragic actor, teacher of Leonteus, first cen- 
 tury B. c, Amarantus apud Ath. 343 e, quoted under No. 313. See Vol- 
 ker, p. 151. 
 
 13. 'AeTiv68wpos, V. T., victor at the Dionysia in 342 and 329, IG. II 971 
 (e) and h, W. pp. 26, 28. In 341 acted the Antigone of Astydamas, the 
 
 73 
 
. \ HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 Tpukros of Eiiaretus, and th»- (3re.stes of Aphareus. Acconipauiecl Alex- 
 an<K'r to Asia. Conipet<><l with Thettalus at Tyrt' in 332 and wa.-^ awarded 
 th«' victory. Pint. Mor. 3S4«{ e : ■ytydwitTi Si kut' uitov rpaywSol fiiv oi irtpl 
 ©trruAov kuI 6 \$T}v6S<i}po^, wy ayrayttivi^ofitvwv oAAt/A<hs i^opijyoi'v fiiv ot 
 Kt'-Trptoi fiiicn\(i<: tKpivov 8' ol SoKifitoTaroi rwv (TTpaTrjyUiV. eVtt 8' iiiKrjcrtv 
 'A&r]v6^po^, ' cySouAoftTjv av^ «</»; (i. ••., Alrxaudfr) ' fiaWov anoXtjiXei-ai fiipo^ 
 TTJ'i l3uaiXiia<i ^ ©tTTuAov tViStu' rjTTrjuciov.' Fin«xl hv the Athenians for 
 failing to k«'ep his engag-t-nu-nt, the fine was paid hy Alexander, Pint. 
 Vit. Alex. 2i): ivtl Si ' A6y]v6So)po<: tiro rCiy 'A6r]\'uiujv ^T]pj.w6iLi, on Trpoi tov 
 dyoti^ Twv ^lowaiwv oi'»c airijiTrjaiv. -q^iov ypaxpaL irepi aiTOV Tor fSaatXta, tovto 
 puiv ovK «7roi'i7<r«, tt;v Si ^r)p.iav aTrt'trTtiAe Trap' iavTov. On such tines see under 
 Nos. r)2, 1"),'). Participated in the marriage festival at Susa in vi24. Chares 
 apud Athen. ^}3Sf: VTriKpidrjaav Si TpayiuSoi fxiv QtaaaXos kuI 'A6r]%oSwpo^ koI 
 'ApuTTUKpiTo^, KwfiwSoi Si \vKwv Kal 'Popfuwy Kal 'ApiaTwv. His name is not 
 to \h- n-stored in the Dionysian Victors'-list IG. II 077 y>(*''). \V. p. 137, 
 'A^. iMK'ause the pcxsition implies a date ca. 385 for the first victory there, 
 which would make him a ver}' old man at the time of his association with 
 Ah'xandt'r. Hut the re.storation in the Lenaean list IG. II 977 v(x), 
 W. p. 14"), col.iii, 1.3, I'Ad-qvoSwp] o? II, ca. ;^12 b. c, is very plausible, see 
 No. Txjr). 
 
 14. 'A9t]v68(»po; 'HpaKXctSov, >cu>/xw8o«, ca. ISO I'jO B.C. 'UpojiXiiToi <l>op- 
 fXiu)V(K \opifyii(Ta>; vpoTtpov f tTTtSwKtvt AdrjvtiOwpov Kwfj.wSov, nal trpfv ij Tropooo? 
 SpaxMy- T] Si 6 fa iyivtro SiDpedv. Four other piisons also furnishtxl him 
 for tlif exhibition this A'ear. Insc. lasos, Lebas-Wad. Ill, 255. In Lebas 
 No. 257 his father's name is given and provision was made for five perfor- 
 mances by five contributors. 
 
 14 f/. AljAos, comoedus apud Juv. 3. '.(7 (fpiote*! uniler No. 34), cf. id. fi. 
 198: dicas haec mollius Haemo quamcjuam et Carp<iphoro. 
 
 15. AUrxtviis 'ArpoiifiTov KoOwK^BTit, v. T., the or.itor. Horn ca. 390, diixl 
 323 n. c. On his political career see the manuals and Kirchner No. 354, 
 on his care«'r as an actor see esp. Scliftfer Dem. u. sein. Z»'it I", pp. 2.'^^ fT., 
 and Volker, pp. I'.x; (T. .\fter his clerkship and Ixfore taking up {x^litics 
 he was for a short time a tragic actor. Dem. 19. 200: p.era. Tuf-Tu Si rms 
 
 ip^ai^ i'lToypap.fjuiTtV'ovTa, kul SvoTv i) rpiwy Spa^fiwv rroiijpoy uyra; ra TtXixTala 
 6' tyuy)((y; iy ^opr/ytoi? oAAorptoi? <Vi tu> TpiTuywyiaTtly ayutnjTu)^ •rrapaTpi(f>u- 
 fityoy; and IS 2(5.5: iypupLfjuiTivi^, iyut S' ijKKXijfTia^oy. crptTuyon't'irrtt?, cy<i> 
 8' idtwpovy. €v*7rijrT«<;. iyio S' iavpirroy. iirip Twy i^Opwy irnroXiTtvirai irdiTu, 
 iyi) S' iwip TT7« 7ruTpi'6o?. C'w. De rep. 4. 11: et Aeschines Atheniensis vir 
 elcHjueiitissimus, (piom atlule.scens tnigo«Hlias actitavisset, rempublicam 
 wipessivit, et AristtHlenunn, tragicum item actorem, maximis de rebus 
 pncis et I)elli legatum ad Philippum .\thenienses saepe misi-nint a pas- 
 sage (juoted also by .\ugustine D«' civ. dei ii. 11 ; Quint, ii. 17. 12: (pio illud 
 fpKMpie exeliiditur, ijuikI dicunt, non esse art is id, *|U<k1 faciant qui non 
 didiceiint; dicere autein li(>inin«'> et qui non didicerint. ad cuius rei 
 
PROSOPOGRAPHIA HISTRIONUM GRAECOEUM 75 
 
 coufirmationem afferunt, Demaden remigem et Aeschinen hypocriten 
 oratores fuisse; Apollouius Vit. Aesch., p. 266. 18 West.: eTreira dTroo-ras 
 TovTov TpLTayo)VL(TTrj^ eyeVcTo TpaywBiSiv. All this aud everything else which 
 we know about him as an actor is derived from Demosthenes himself, 
 whose testimony is colored by extreme prejudice and ill-will. Yet even 
 from this source we can safely infer that he was of a good personal 
 appearance and possessed of a fine resonant voice: Dem. 18. 129: t6v 
 KaXov dvSpLOLVTa kol TpLTaywvi(JTr)v aKpov i^Wpexpe ere, 19. 337 (quoted below), 
 19. 126: 6 cro<^os Kal Setvos ovtos kol cik^wvos, 19. 199: avTCKa 8r] /u.aX' ipei 
 Xafjivpa Trj <f>oivrj, 19. 206: TtVa 8e (f)6eyyea6aL p.iyi(TTOV dirdvTMV kol cracfiiaTaT' 
 dv etTTCiv o TL /3ov\oiTO Trj (}i(DVr}; Pda)(tvr)v otS' on tovtovl, 19. 216: /ATjSe y' et 
 KaXov KoX jae'y' ovtos (^^ey^erat, 18. 259: p.7j yap o'UaO' avTov, cfjOiyyeaOai p.€v 
 ovTOi p-iya, 6\oXvt,uv 8' ov\ inrepXapiTr pov, 18. 280: Kat p.oi SoKcts e/c Tovraiv^ 
 Ala-^Lvrj, X6y<DV iirihu^iv rtva koI ^covacrKtas (3ovX6p.evo<; TroLrjcraa-OaL, 18. 285: kul- 
 Trep evfjiwvov ovra, 18. 291: iirdpas r-qv <f>u)vr]v yeyr^^ws Kat Xapvyyil^wv, 18. 313: 
 Xap.Trpo(fiwv6TaTO<;, p.vqp.oviKUiTaTO<;, viroKpLTr]^ dpiaTos, rpaytKos ©toKpivrj'i. He 
 must have been a young actor of exceptional promise, for he attracted the 
 attention of two of the greatest actors of the time, Theodoiiis and Aristo- 
 demus, was taken by them into their companies for important roles in 
 classic old plays, aud, to judge from the list of the roles which he played, 
 and the fact that Demosthenes was able to enumerate them, must have 
 made a good impression in them. Dem. 19. 246: Tavra p-kv yap to. lap./3ei' 
 CK $oiVt/cos i(TTiv ^vpiTTiSov TOVTO 8e TO SpS/x' oiiSeTrwTTOT' ovTC ©coStopos ovt' 
 ' ApLaT68r]p.o<i VTTtKpLvavTO, 015 ouTos TO, TpLTa Ae'ycov SureXcaev, dXXd MdXwv 
 r}y(x)VL^€TO Kal ei 8r; Tis aAAos twv TraAaiwv vwoKpLTwv. AvTLyovrjv 8k Soc^OKAeous 
 TToAAaKts pkv ©eoSojpos, TroAXaKts 8' 'Aptcrro'877;U,os viroK€KpLTai, iv fj TreTrotTj/xev' 
 la/xjSeta KaAws Kat avp.(f)ep6vTw<i vplv, TroAXaKts avros elpr]KO}<; Kal aKpt/Sws i^eTnard- 
 
 /xevos TrapeXnrev. The Tpaycp8ot who brought out old plays at the Dionysia 
 at Athens of course chose their own assistants or o-waytovto-rat; see above, 
 p. 13. On the role of Creon in Sophocles' Antigone see also 18. 180, 
 quoted below. He also played the role of Thyestes in Euripides' Kres- 
 sai, aud perhaps of Talthybius or Menelaus in the Troades, Dem. 19. 337: 
 ip.0L 8e SoKetr' aTOTrwrarov av Travrwv TroLrjcraL, el ore pxv to. ®v€aTOv Kat twv ctti 
 Tpota koik' rjywvL^ero, i^efSdXXer' avrov kol c^eo-vptTTer' eK roJv Oedrpojv Kal p.6vov 
 ov KareXeved' o^tws, ware reXevTwvTa tov TptraywvtCTTeTv aTTOO-T^rai, e7ret8^ 8' ovk 
 CTTt Tjys CTKrjvrj^, dAA' iv rots KotvoTs Kat ;u,eytoT0ts t^S ttoAccos Trpaypuai p.vpi' 
 etpyaorat KaKa, riqvLKavd'' ws KaXov (jiOeyyop^evo} Trpoo-e'xotTe, the title-role in 
 Em-ipides' Kresphontes, Dem. 18. 180 (below), that of Polymestor in 
 Euripides' Hekabe and a part in an unidentified play, ibid. 267 : Kat av 
 Ttts prj(Tti<i as iXvpxxivov, '^kw vcKpSiv KevOp.ix)va Kal aKOTOv TTvAas' Kat 'KaKay- 
 yeAetv pev 1(t6l p-rj OiXovrd /Ae,' Kat '' KaKov KaKws ere ' pAXiara pkv ol 6eot, cTrei^' 
 ovTot TrdvTcs aTToAeo-eiav, irovqpov ovra Kal iroXir-qv Kal rptraycovtcrTT^v, and finally 
 the title-role in Euripides' Oinomaos, Dem. 18. 180: ore 81 p.7]8' rjpo) tov 
 Tv^ovra, oAAa tovtmv Tivd roJv aTro r^s o'Krjvrjs, K.pea<j)6vTr)v rj Kpeovra, rj ov iv 
 
th HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 KoAAiToi itot' Olvofjuiov KaKws eiTiTpi\pu<:; rori TOtVaT 6 Flaiam'S «yw BaTToAos 
 OXvoyAov rov KodwKiSov trov Tr\ii'oio<: o^to? wv (<f>a.vr)v ttj TraTpt'Si- ax' fiiv y' 
 ovSiv ovdafiov xpv<Tifio<; ijcrda. Further details of the accident which Ijefell 
 him as he was actinff this part are funiishKl by Demochares apud Anon. 
 Vit At'sch., p. 269. 26 \\t*st.: el dpa TriaTivTiov auriZ Aeyovrt ircpl Aio^tVov, 
 j^jTatvli.e., Deinochan's)'Io^a»'8pov rov rpaycoSJ oTrot ]ov TptTaywvi<7T7;v yivicrBai 
 Tov Al<T^ivr]V Kill iiroKpivoficvov Oii'o/xaoi' Staj/coiTa lltXoira alcr^pd^ Trtativ koI 
 avacrnjvai viro ^vt'iujvck tov ^opoSi^aKoXov ( er^o'S oit 6 \i]fJXXT$(\Tj^ " Otvo- 
 puov^ avTov 6vopAZ,(.u Trpos ttSoru? to Trpaypju fTrKTKiLirrwv). kuI pjtTo. SoiKparois 
 Kai ^i/xi'Aor Toil' KUKtiiv VTTOKpiTUiv oXafrBoi KaT' aypois' (.ir) av ovv cvdevS' 
 ' dpoi'paios ' Atyofitvos. cf. Apolloiiiiis Vit. Aesch., p. 2^)6. 19 West.: koI iv 
 KoAAvTw TTOTe Olvofuiov i'lroKpn'ofievo^ KuTcVeo-ev. Deniochaivs* account is 
 given an air of phiusihilitv by the addition of the statement alxjut San- 
 nion, who is known from the oration aj,'ainst Meidias, but cannot Ix- 
 reganle<l as tnistworthy in details. The statement alx)ut the coimection 
 of Ae.schines with Ischandru.s is clearly a misinterj^retation of Dem. 19. 10: 
 Af-schines the "tritagonist " is fal.sely associated as *' tritagonist " with 
 Ischandrus his "deutenigonist." thou<^h Demosthenes simply nn-ans that 
 Ischandrus was the "aider and alx*ttor" of Aeschines; see under No. 264. 
 And Ischandrus was not a poet but an actor. Harp. s. 'laxu-vBpo^ is a 
 jumble of Demochares: BoKti 8' aiVw ax'viiroKpii'OfJXvos Ato■;^u^;? 6 pi'yrwp ev 
 KoWx'Tw KUTuTTto-tTv. Tile exj)laniition of the epithet which Dem. IS. 242 
 (alTOTfjtiytKo^ TTidrjKcyi, dponpaio? On d/iuo?. Trupao-rj/xo? pyjTwp) applies to 
 Aeschines is clearly that the accident happentnt at Collytus, i. e.. kot' 
 aypois. cf. Anon. Vit. al)Ove; anil not In'cause the actor was too poor an 
 actor for competitions iv ao-rti, Bekk. Auct'., ]>. 211. .'^2: npovpalo^ 8^. on iv 
 Toi? 8i//xots iirthtiKWTo, di'ti^io? o>v rii' <i' d<TTii ayiLvtuy. That he dill p«'rform 
 at the C'ity Dionysia is proved l)y his asstx-iation with Arist<Klemus and 
 The<Mlorus coupletl with the fact that "old plays" were apparently given 
 only at the City Dionysia. and there from ;i'^6n. c. on; see above, pp. .'if., 
 and cf. Vit. X. Oral. H40fl, ava\up.fidywv eVi a\o\yj<; ra? TroAcua? rpaywBia^. 
 Ae.schines sinMUs to have taken part in nunor exhibitions outside the city 
 as a member of the company of Simylus aiul ScK-rates. two indifferent 
 nctor-nianagers whose names do not api)ear in the* .\thenian Victors'-lists, 
 Dem. IS. 262: rlAAa /Mir^ujirus rruvTov Toi? '/3ap»'(rToro(? tViKuAoi'^icvots tKttVots 
 VJroKptTaTs ^(^vAui Kilt ^aixpdrd, eVpiTuyoimrTti?, (nun kuI fiorpx't Kal cAou; 
 (TvWiywv tiuTTTip uirwpu}ii]<: tV Toii' I'lXXoTpiwv )^iopiwy, rrXiiw Xiifi.fSa.ywv airo toitwi' 
 7) Tu)»' rty<i'ir<i>r, or? I'^tT? Trtpt t^? i/'i'XV': i)ytuvi^i(T6i. Cf. also Demochares apud 
 Vit. .\es<-h. ((piotiHl al)ove) and Philost. Vit. soph. 1. IS. 10: 6 p.iv Ala^^vr}^ 
 <^iAo7ror>;s re iSoKii kuI t;8is kuI avtififvo^ Kai vav To iiri'^api <k AtonVroi' ijpijmi}^, 
 Kal yap &i; xul toT? * /SfipitrToroi? ' iiroKpiTai^ tov iv fxiipuKiw )^p6vov iV<Tp«iyu>- 
 Sr/ffev. SchAfer Dem. u. s. Z<Mt I-, p. 249. calls attention to tlie fact that 
 Demosthenes refers to .\e.schin«>s' misfortuiH' in the n">le of Oiiumiaos 
 only in the sp«tvh On the Crown, and not in the earlier spet-ches. In the 
 
PROSOPOGRAPHIA HISTEIONUM GRAECORUM 77 
 
 oration On the Embassy he mocks at him as a subordinate of great 
 actors and as one who only recently had resorted to this business to eke 
 out a hving. To this Aeschines 2. 152 had merely resorted: rt TrwTroTe 
 aa-^-qixov eveKu ;(p77)U,aTa)v Trpa^as; Demosthenes had there attributed his 
 abandonment of the profession of acting to his failure to please his 
 audiences. But the bitter taunts of the oration On the Crown and the 
 references there to Aeschines' mihappy experiences at Collytus and in 
 the country exhibitions with "the ranters," though repeated and ampli- 
 fied by Demochares and Philostratus, are too excessive and too evidently 
 animated by hate to deserve full credence. Aeschines' career as an actor 
 was too brief for him to rise to the position of a r/DaywSds or protagonist. 
 The roles he played were of considerable importance and not to be 
 regarded as '"third parts." Demosthenes invented for his benefit the 
 word " tritagonist," which he employs with constant iteration as an oppro- 
 brious epithet. Cf., e. g., 18. 209: ifxk 8', w TpLTayMvta-Td, rov -rrepl tw wpw- 
 TUixiv (Tvfji^ovXov Trj iroXu Trapiovra, and the passages quoted above. The 
 word is applied to no other actor, and is used for the third actor in a 
 company of three, such as were sent out in the period of the guilds, very 
 rarely and in late writers. That it meant, not " actor of third roles," but 
 "third-rate actor" is shown by Bekk. Anec, p. 309. 31: TpiTaywvio-riJs : 6 
 Aia^Lvr]<;, ws dSoKtynwraTos twv viroKpLTW iv rrj TpiTrj ra^ei KaTapLdiJ.ovfxevo<i, and 
 is demonstrated at length by Rees The So-called Rule of Three Actors, 
 pp. 37 ff. (Chicago, 1908), which see for further references. Cf. the other 
 epithets applied to him by Demosthenes and 6 (Sda-Kavos ovtos lafx(io<f>a.yo<i, 
 18. 139. The statement of Juba apud schol. Dem. 19. 246, p. 418. 12 
 Dind. : Aeyet 8e 6 ras ^earptKas tcrropias avyypdil/as Sea tovto tois TptTaywvi- 
 crraTs ras UTroKptcrets tcov SwacrreuovTwv Trape^eor^at, iireiBrj tjttov icm TradrjTtKa 
 Koi vrrepoyKa, is a false generalization from the text of Demosthenes and 
 is not supported either by other authorities or by the analysis of the 
 extant tragedies. 
 
 16. Ato-xvXos, V. T., victor at the Lenaea ca. 285 b. c, IG. II 977 d' (s), 
 W. p. 157; restored by Capps AJP. XX (1899), p. 402, n. 2, ibid. h.f'{t), 
 W. p. 159, belonging to the corresponding Dionysian list, [Aio-xji^'A[os-]. 
 
 17. Ai:<rw7ros, V. T., assigned by schol. Arist. Vesp. 566 to the time of 
 Aeschylus: Alcruy-n-ov tl yeXoiov Aio-wttos TpaywStas iyevcTo VTro/cpir^s yeXoua- 
 8r)<;, .... AlaxvXov 8' ^v vTroKpLTrj'i. The allusion in Aristophanes is 
 clearly to the fabulist, and to this extent the scholiast is wrong. Whether 
 there was an actor Aesopus who brought out plays for Aeschylus may be 
 doubted; Volker, pp. 156 ff . There may be confusion due to the following: 
 
 18. Allo-wiros, rpaywSos, said to have given Cicero lessons in vTroKpicns, 
 Plut. Vit. Cic. 5: tovto p.kv Pwctkio) tw kw/awSw, tovto 8' AlawTrw tw rpaywSou 
 vpocrix^iv €7rip,eAais. Plutarch goes on to relate how he worked himself into 
 a passion in the part of Atreus planning vengeance on Thyestes. For his 
 life see P.-W. IV, col. 16, 
 
IH HISTORY OP ACTORS AND ACTING IN ANCIENT GREECE 
 
 1'.). 'Ak^o-ios 'P68ios, Tpay(f>S6<; at the Dioiiy.sia at Dekw in 279 b. c, 
 BCH. VII (lss;{), J, lOM. 
 
 20. 'AX«{av6pos AiijiiiTp£ou 'A0Tjwaios, rpuyw^tk at the Soteria at Delj^hi 
 in 269 B. ( ., S(i DI. 2:>r,r,. 1. .">(». M.iitifiecl with 'AAc^aj'S^ptK-j in IG. 11 977 
 q(cl'), ca. 27<; b. c, by Wilhelin, p. I iO; fr. q is ri^^htly assignetl to the 
 Lenaean cataloj^e by Keiscli Z^jG. liH»7, p. 306. He is mentioned first 
 in his company at Delphi. Kirchner No. 49'). 
 
 21. 'AX<|av8pos Mt]v( - MAyvtis] airo MaidvSpov, as v. TruAatas KWfWuSua? 
 
 victor at the Musaea at Thespiae lOU 75 b. c, IG. VII 1761, BCH. XIX 
 (1895), No. 14, p. 340; also in the epinicium. ibid. The headin;? is lost, 
 but may saft-ly b.- n-ston-d. 
 
 22. M. Avp, "AX^^avSpos, Tpayif}B6<:TrapdSo$o<:7repioSoveiKrjs^ iinjK'rial perioil. 
 Paton and Hicks. Ihnct. Tos, No. 129. p. 152. P.-\V. Suppl.. p. 5^1. 
 
 23. Tip. KXavS. 'AXf|av8pos Aao8iK<vs, TpaywS6<: Kal Trotr/TT/s TrupaSo^o?, 
 vo/jmSlkti]<: of a ^'■uild of technitae, time of Caracalla. CIG. IV 6M2*.). 1. 24 
 provenance tmcertain, but probably from Lebt^dos, headquarters of the 
 Teian truild. 
 
 21. 'AXK(^iax.os 'A9[T^vaios IlT^Alt'a '2.o<f)OK\(ov<; Kal 'OBv<T(Ti\a fituvoficvov 
 Klai'I^T/pu? Kul aaTvfjiK6vTi'iX€.\<f>ov v |7roKptvo/xcvo? • iv 'PoStoi 8ti{T«pos ^vT, IG. 
 XII i 125, 1. 7. as restored l)y Kaibel; see Wilhelm. pp. 206. 160. Appar- 
 entlv the record of a tra.i^ic actor. The date is uncertain. Bethe Prolep., 
 p. 246. sut^^ests that the poet may be Sophocles, a known poet of the 
 first century B. c; cf. Wilhelm, pp. 255 and 205. Kirchner No. 613. 
 
 25. 'A(i€iv(as, i\ T., once victor at the J_,fnaea ca. 365 b. c, IG. It 977 
 t{o), VV. p. 1 15. 
 
 26. 'A|i.vKXat .... v({>pa(ov 'lo-Tiaitvs, ^•<u/lw8o? at tlu' Soteria at Delphi 
 in 226 n. c. (<>r 225). SGDl. 256s. 
 
 27. 'Aji4)ix«ip^5. I- *<•' victor at the Lenaea ca. 347 b. c. 1(t. II 977 .|^p), 
 \V. J.. 15O|'A;i]0i^;apr,s 1, KOhler. 
 
 2W. 'AvA^iiriros or Aicijiiriros, comic didascalus, brou>,dit out a play for 
 Anaxandrides as didascalus shortly after 349 b. c. Ui. XIV lOJS," 1. 9, 
 C^ipps Classical Pliiloloi,'y I ( 190(5 )."p. 220. See Wilhelm Urk., p. 202. 
 
 2^». 'Av8p<SwiKo«, V. T.. a lover of GnathatMia, who was lx)rn ca. .'r>6-.3(>0, 
 Machon apud .\ti». 5SI nlr : ovKtri 6' crutptu' {Tro/xo'otVrT/s (Gnathaena) Sta 
 
 TO rrw<i Till' ' \y&p6viKov t/8c<o<: avrfj<: <x"*' ''"'•'•' ^'fOKptryv p,«Ta tuvt^ 
 
 AxoiVni? 'ArSpoi'tKO? to ytyovik. «V Trit KopivOov 7rpo<i-<^aru)? d^ty/xo-of .... 
 TttiT' «A<7t rfi rmftuft'w, etc. Lyiiceus ajJUil Ath. 5S4</.- ' AvSpovtKov 8i rov 
 Tptiyiu^^' I'lir' (iyuiii)<; tivo^, tV oi toi'<j 'KTrcyorois <^viroKpiy6p.(vo<: Meineke^ 
 (trn/x<pr/K(i, nivtir p</V.\o»Tos Trap' "'Vf; kui to? TnuSo-; kiXiik>vto<: t»;v r»aAmtiv 
 7rpoawiA<L<r«u. ' nXofxivt iraiSwv,' Itftij, ' noiov upifum Adyoi'.' The Kpii^'onoi wa.s 
 the play of either Aeschylus or Soplux-les, broULrht out by Andn)nicus as 
 iraXuia. Iteputed to have tautrht Demosthenes. \it. X. Orat. S45fi ; 
 a-vxTVXMV d' ui'tiu Ki'ropos o C-)pta«nos ■KptafivTij'i »;8»; uyv irpot.Tpf^'aTO tov .Irjiio- 
 (rOivt). fii'iXuTTa 6' o rjroKptT»/< '.\»Spoi'i»,o< t(Vti>»' lof ol (xir Atlyot ku\w<: !)^oui'. 
 
PROSOPOGRAPHIA HISTBIONUM GBAECOEUM 79 
 
 \uiTOL 8' avTiZ TO. T^s VTTOKptcreoJS, .... Kui 8c TTtOTcixravTa Tov Ai^fxoa6evr) rrapa- 
 SovvaL avTov T<2 'AvSpovLKw, Phot. Bib]., p. 493 6 4 Bekk.: koI rore ttAcW 
 'AvSpovtKos 6 viroKpLTr]<i, tov's /a€v A-oyous ev t^uv Kal d)s apiara <^a/xevo5, evSeiv 
 Sc avTOL<; TO. T^5 v'TTOKptcrecos, 6 8e Trapabiowai re cavrov tw 'AvSpoviKw, kol ttjv tt}? 
 vTTOKjOtb-ews Tc'xi'Tjv eKdOev iirjcTKrjcrt. Quiut. 11. 3. 7: ideoqiie ipse tarn dili- 
 genter apud Andronicum livpocriten studuit, ut admirautibus eius ora- 
 tionem Rhodiis non immerito Aeschiues dixisse videatur: "quid si ipsum 
 audissetis?" But Plut. Vit. Dem. 7 assigns to Satyrus about the same 
 relation to Demosthenes' training as these writers do to Andronicus. 
 From the relations of Andronicus with Demosthenes (suit against his 
 guardians in 363) and with Gnathaena, we may infer that he was born ca. 
 400-390, was 50-60 when Gnathaena's lover, and that his active career 
 extended from ca. 380-370 to at least 340. His name does not appear in 
 the Lenaean list of victors covering this period (st), but was probably in 
 the lacuna in col. ii, of the City list (p). For the chronology of Gnathaena 
 see Wagner Symb. ad com. Graec. hist. crit. (Leipzig, 1905), p. 22, Korte 
 B. ph. W. 1906, p. 900. and Capps Classical Philology II (1907), p. 479. 
 
 30. 'AvSpoo-eevqs, V. T., once victor at the Lenaea ca. 360 b. c, IG. II 
 977 /(o), W. p. 145. 
 
 31. "Av8pwv, V. T., twice victor at the Dionysia ca. 438 b. c, IG. II 977 
 p{e), W. p. 137. 
 
 32. 'Avt£\oxos, rpaywSds at the Dionysia at Delos ca. 171 b. c, BCH. 
 IX (1885), p. 147, i'AvTiX] oxos. 
 
 33. 'AvTiix^viis, V. T., victor at the Lenaea ca. 306 b. c, IG. II 977 v{x), 
 W. p. 145. 
 
 34. 'AvTioxos, comoedus apud Juvenal 3. 98: nee tamen Antiochus, 
 nee ei'it m.irabilis illic aut Stratocles aut cum molli Demetrius Haemo. 
 Nothing more is known of him, but for the others see Nos. 14a, 130, 444, 
 
 35. 'AvTi(j>dvTis, V. K., played the Anasozomenos of an unknown poet at 
 the Lenaea in 289 b. c, IG. II 972, W. p. 52 ['AvtIk^wt^s- 
 
 36. 'AvTi<j)wv, V. T., a Greek actor who brought out old plays at Rome in 
 54 B.C., Cic. ad Att. 4. 15. 6: redii Romam .... veni in spectaculum 
 .... deinde Antiphonti operam. is erat ante manu missus quam pro- 
 ductus. ne diutius pendeas, palmam tulit. sed nihil tam pusillum, nihil 
 tam sine voce, nihil tam .... in Andromacha tamen maior fuit quam 
 Astyanax; in ceteris parem habuit neminem. Cf. Tyrrell Ep., No. 143, 
 
 37. *AvTi<|)Mv 'AOrivaiosi as v. KaLvrj<; KC()yu,a)8tas victor at the Musaea at 
 Thespiae, shortly before 161 a. d., IG. VII 1773, BCH. XIX (1895), No. 15, 
 p. 341; also as ttoit^ttjs Kaiv^s Ku>fj.w8tas, and as ttoit^t^s Trpoa-ohtov on the same 
 occasion. 
 
 38. 'A-ireXXfis 'A(rKa\a)viTT]s, TpaywSds, first century a. d. An intimate of 
 the Emperor Gains, Cassius Dio 59. 5. 2 (III, p. 648 Sturz): eSorAeve 
 (i. e.. Gains) 8e . . . . koI rots oAAois rots irepl ttjv o-Krjvrjv t^ovcn. tov yovv 
 AttcAAj^v, tov €v8oKiix(j)TaTov TUiv TOTt TpaywSwv, Kal iv TW S-ijfJi.oaLw avvovTa ol 
 
80 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 iti. ilxt. Suetonius Calif^r. 33: mU-r varios ifK'os. cum assistens simulacro 
 lovis Ap«'Il»Mi trof^oeclum consuluisst't uter illi maior vitU'retur, eunctan- 
 U'ln ttaj^i'llis (lisci<lit eonlaudans subindf vocem deprecantis quasi etiain 
 in ;r«'niitu pnu'dulcftu. Plocainus leasts in Petron. Cena W: quid sal- 
 tan-? quid deverhia? quid tonstriuiun? quando part'Ui habui nisi 
 ununi Apflleteni? Philo lud. Lt'j,'. ad Gaiuni S(), p. HTfi, mentions him 
 anionic tll»' counselors of Gaius: koi 'AiriWij tivl, rpaywBw, os ax/x»; fjikv TTJ^ 
 irptiiTrp; t]Xj.kui<;, a»? <f>a<Tii\ «»cairT;A«ifr« rrjv wpav • i$<j}po<; Si yevd/Atj-os <Vi tijv 
 
 (TKTjvijv iruprjXdtv Sta Taira ets Trjv Tov (n'fi(^6\or To^ir 6 AttcAA^? 
 
 Trapri\6ti', Tru (Soi>\tv(Trp'ai Fcuo?. fud' ov p.€v, i? crKurrrrtov, p.tB' ov St, w^ ncrTtov 
 .... 6 'AttcAA^S 8i Toi' OTTO 'ActkoAuivo? (sc, lov tis 'lovSatois T^<f>uv). It is 
 probable that he livetl to the time of Vespasian, Suet. Vesp. 19: ludis 
 .... Vetera (jucKjue aeroamata revtK'averat. Ajx^llari trago-do quadrin- 
 ^'eiita .... (l''dit, where Biiclieler reads Apellae, Hohde in P.-\V. pro- 
 puses .-\p»'lli: biit probably Apelleti is to l)e restored. 
 
 3'.l. 'A-iroXXds «l>€v€dTTis, Kio/xa>8o5. accompauietl by a sinj^le synagonist 
 (No. tr)*;). at llie .S,,t.Ti;i at Delphi e,i. 140 ICK) B. c, SGDI. 25(i9. 15. Reisch 
 De mus. eerf., pp. lOl IT. 
 
 40. 'A-iro\Xo-y4vT)s 'OpeaYopa 'ApKcLs, rpaycuSos at the Soteria at Delphi 271 
 B.C.. S(iDI. 2r)<v4, 1..")!. Capps TAPA. .XXI (1900), pp. i:^> ff., conjec- 
 tures that h«' was the pugilist-actor who.se remarkable n-cord of victories 
 ha.s \nn-n found at Tegea in an inscription of the midtlle of the third 
 century (Dittenberger, which, however, Herzog places near 200), BCH. 
 XVII (1893), p. 15, Ditt. Syl.- 7(J0. of which Perdrizet gives an improved 
 text in BCH. XXIV (1900j, pp. 285 tT. Besides his victory as a Iwxer at 
 the Ptolemaea at Alexandria, this person won at the Athenian Dionysia 
 with I'^ur. Or«'stes; at the Argive Heraea with Eur. Herakles and Alex- 
 andros ( Herzog, Metleia P«'rdrizet); at the Delphic S<iteria with Eur. 
 Herakles and the Antaios (Dittenl)erger, Aristaios Perdrizet ) of Arche- 
 stratus; at the Dodoniau Nala with Eur. Archelaos and the Achilles of 
 Chaeremon; and 88 other victories at minor scenic contests. At the 
 Soteria in 271 Ajiollogenes was the seconil in his company; acconlingly, 
 if the identification is corn-ct the Soteric victories were won at a later 
 time. The peculiar significance of the roles cho.seii by this actor was first 
 point.«<l out l)y H.Tzog Philol. LX (liH)l), pp. 440 fT.; cf. K<'es Socall.il 
 Rule of Thr.-e Actors (Chicago, liK)8), p. 55. 
 
 41. 'Airo\X68«pos, v. k., acted the .second Pax of .Ari^topliaiie-.. Hyp. 
 I Pac.: inriKpii'nTo ' .\TroW6Sutpoi, iviKa'Kpp.tov o iiroKpiTi}^ ( Kos«', i]ytKa Ipp-^jv 
 \ouiKpoTifi .MS.S). Since the actors' contest had not Ikh'u establishiil at 
 th»< Dionysia at the pnxluction of tlu- first Pax in 42.3 n.c, this fragment 
 of a <li«la.scalic notic*- nuist refer to a performance of the .s«'iH)nil Pax at 
 the Lenaea of a later (hite, as A. Korte Hhein. .Mus. LII (1897), p. 172, 
 plausildy suggests. See al)ove. p. |S. and tuitler No. IS.3. Vtilker, 
 
 PP 
 
 17.3 IT. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 81 
 
 42. 'AwoWoScopos, KW|U.to8o?, ca. 180-150 b. c, Aewv 'lacrovo? ^oprjyrjaa^ 
 TTporepov (iTreSwKev) 'ATroXAoSwpov tov KWfxixiSov, kol rj TrapoSos evpe Spa^^fJLi^v, rj 
 8k Oea iyevcTo Swpedv, iusc. lasos, Lebas-Wad. Ill 256. The name is to be 
 restored, ibid., No. 257, ©eatVijTos MeAavtwvos x'^PVyW"-'* [ATroAAoSwpoJv 
 KWiX(i)86v rifxipav p.Lav Kol tvptv y} irapoSos, etc. See No. 532 a. 
 
 43. 'AiroXX68«pos NiKolvopos, Athenian, Kw/tojSos, participant in the 
 scenic contest at Delphi 138-128 b. c. as representative of the Athenian 
 guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 26. Not in 
 Kirchuer. 
 
 44. *Airo\\68«pos Xpvo-tirirov, Athenian, TpaywSos, participant in the 
 scenic contest at Delphi 138-128 b. c. as representative of the Athenian 
 guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 27. Not in 
 Kirchner. 
 
 45. 'AitoWwvCStis 'Apxwvos, tragic synagonist, member of the guild of 
 technitae at Ptoleniais in the reign of Ptolemy Philadelphus, BCH. IX 
 (1885), p. 134, Michel 1017, Ditt. Orient. Gr. Insc. 51. E. Miller, ibid., 
 reports "ApSwvos, corrected by Wilhelm, p. 252. 
 
 46. 'AiroWwvios, Kco/AwSos, member of the guild of technitae at Ptole- 
 mais in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
 Michel 1017, Ditt. Orient. Gr. Inscr. 51. 
 
 47. 'AitoWmvios, kw/xwSos, member of the guild of technitae at Ptole- 
 mais in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
 Michel 1017, Ditt. Orient. Gr. Inscr. 51. 
 
 48. A-iro\\«vios 'AiroXXwviov, v. t., victor at the Romaea at Magnesia 
 ca. middle second century b. c, acting the Hermione of Theodorus in the 
 contest of new plays. Kern Inschr. v. Magn. 88 a. 
 
 49. 'AiroWwvios 'AiroWtovCow *Ao-ir4v8ios, as TpaywSos iraAatas TpaywSittS 
 
 victor at the Musaea at Thespiae, shortly before 161 a. d., IG. VII 1773, 
 BCH. XIX (1895), No. 15, p. 341. Cf. above, p. 71. 
 
 50. T. Al\. Avp'ilX. 'AiroWwvios Tapo-eis Kal 'A6T)vaios, kw/xwSos koI Krjpvi 
 7repLo8oveiKrj<;, (tvv KaTrtTtoAt'ots vetKr/cra? tov dywva twv 'OAT;//,7retcov dviaTrjaa 
 TOV avSpiavTa, IG. Ill 120, found in the theater of Dionysus, time of 
 x\ntoninus Pius. Not in Kirchuer. 
 
 51. 'Apapws 'Apio-To<|)dvovs KvSaOiivauvs, comic didascalus for his father 
 in the production of the Kokalos and Aiolosikon, after 388 b. c, Hyp. 
 Plut.; perhaps also the Ploutos in 388, Vit. Arist. But it is probable that 
 he brought out the first two plays as his own. On this question see 
 Capps AJP. XXVIII (1907), pp. 192, 198. Kirchner No. 1575. 
 
 52. 'Api-, V. T., victor at the Lenaea ca. 318 b. c, IG. II 977 u(z). Wil- 
 helm, p. 145, plausibly suggests 'Api[o-TdKptTos], who acted in Susa before 
 Alexander in 324 b. c. 
 
 53. 'Ap£nvTjo-Tos, V. T., victor at the Lenaea ca. 284 b. c, IG. II 977 d(s), 
 W. p. 157. 
 
82 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 'A. 'Api(«rT-, V. T., victor at the Dionysia ca. 380 b. c, IG. II 977 pie'), 
 \V. p. 137. The date pn-chides *Ap4o'TOKpiTo<i — ] No. 65, susprestetl by 
 \Vilh( Im, p. 13S. On 'Aptlo-ToSrj/xo? - | .see under No. 62. 
 
 55. 'Apio-T-, V. T., victor at the Lenaea ca. 278 B.C., IG. II '.t77 «/'t.si, W. 
 p. 157. Kcstore [*A]pio-irap;^os — ], Xo. 57. 
 
 56. 'Apio-ra-yopos, v. k.. once victor at the Lenaea ca. 315 e. c, IG. II 977 
 2/( */ ), \V. p. 15.3. 'Apto-Taydpjas- is probably to \ie restored in the City list g, 
 W. p. 160 ca. 319 a. c, as suggested by Capps AJP. XX (1899), p. 404, n. 3. 
 
 57. 'ApUrrapxos, TpuywSos at the Dionysia at Delos in 280 B.C., BCH. 
 VII (lss;5), p. 107. To U; ideiitifi.-d with the Leuaeau victor of ca. 278 
 B. c.,|'Alpt'cr[Tap;(o«-l, No. 55. Kaibel Urk., p. 189, n., proposed to identify 
 
 with [6 Siiya . . 'Api(TT\dpxov tov ['Ap\i(TToSi')fxo[v tov . . . .]ov fui9rjT\i)i\ in 
 IG. XII i 125: l)iit sr.- Wilhclin. p. 2(M): "doch ist nicht einuial der 
 Name sicher." 
 
 58. 'Apio-rCas ITpaTivov *\uvs, tragic didascaliis as well as poet, brought 
 out the satyr-drama I'alaistai of his father with his own trilogy of trage- 
 dies in 167 H. I'., Hyp. Aesch. Sent. 
 
 59. 'Apio-Ti-mros KaXXiKparou MiXt|0-ioSi Tpayw^<; at the Soteria at Delphi 
 
 in 272 ami 271 n.c, SGDl. 2r,»;;}, 1. 41, 256^1, 1.' 47. 
 
 60. *Api<rT(«i>v, V. T., once victor at the Lenaea ca. 349 b. c, IG. II 977 
 
 to), W. p. 145 ['Api(TT\lU)V I. 
 
 61. 'ApuTTtwv, V. K., twice victor at the Dionysia ca. 286 h. c, IG. II 977 
 6'c' (/!<•), W. p. 156. 
 
 62. *Api«rT68Tj(Aos MtTaTTovTivos ( Kal 'AOrjvaios ? I, v. T., tloruit ca. middle of 
 the fourth century. From Mttapoiitum in Sicily, schol. Aesch. 2.15: 01T09 
 iirtKuXiiTO p.tv *2r£/x</)i'A.ios,' MtTUTrovTti'os 8' i)y to ye'i'o?, kuI iviKa Sj? <Vi \i)vuiw. 
 (ATjmtW MSS, corn-cted l)y Madvig Kl. Schr., p. 443, cf. A. KOrte Hh- in. 
 Mus. LI I, 1897, p. 169, n. 2), he was probably made an AtlnMiian citizen, 
 .since he was .sent on th«' eml)as,sy to Philip; .so Schflfer Dem. I", pp. 244 ff.. 
 Volker, p. 203, anil Judeich in P.-W. s. Aristoilemos (not iu Kirchner, 
 however). The statement concerning his victori«'s at the Lenaea must 
 have be«'n based 011 Ari^t()lIe's NTkui or on the tran.script of it Ut. II 977: 
 for in frag, sii, \V. p. 1 15, we find 'ApurroSI »/pos ) II. the jjosition im|)lying 
 ca. 385 for his first victory. Wiliielm, ]). 139. is inclined to infer from 
 .schol. Aesch. 2. 15 that Aristtxlemus was not vietoriiMis at the City Diony- 
 sia; l»ut (he possibility must 1m' consiileriHl that the notice is incomplete 
 ill its pre.sent form, ami tli;it it originally read kuI iviKu [-kU iv aaru Kul]&i<i 
 inl Aijyuiiu. I''urth(>r, in tlie Dionysian Victors'-list, IG. II 977 jH*'), W . 
 p. 1.37, in a position implying a dat»' ca. .3S() n. i-. for thefii-st victory, we finil 
 'Apt-, which Kaibel I'rk., p. 189, would n'store *,\pt|oToSi;pos |. following 
 Capps A.I P. XX (1899), p. 40.3. The date is not against this restoration. 
 The reptitation of Arist<HleinuH must have iH'en «'stablish»«<l b«'fore he 
 was invitinl to the court of Philip (after .'159 h. c), anil at the time of the 
 embjissv he iiri (1 not have l)ei n nuich over sixtv. The begiiming of his 
 
PEOSOPOGRAPHIA HISTRIONUM GRAECORUM 83 
 
 relations with Philip are given in Hyp. II Dem. 19. 2: 'Apt(7T68r]fxo<; Be koL 
 NeoTTToAe/ios viroKpiToi TpaywStas eTvyxavov • ovtol 8ia T7)v oIkciuv TC)(vrjv aSetav 
 el^ov OLTTievai ottoi av ftovXoivrai, dAAa 8rj Kal Trpos TroXefJLLOvs- d'7reX06vTe<; ovv 
 OVTOL CIS TTjv M^aKeSovLav CTreSei'^avTO rrjv oiKuav re^^vqv, Kal ovt<i> </>tXo<^povws 
 av'Tovs eSe'^cTO <t>(,'Ai7r7ros, wcrre tt/oos tois aAAots ^>;)Lux(n Kai oAAa €k tcov oIkclwv 
 
 wapeix^v avToh- Cic. De rep. 4. 9 (quoted under No. 15) speaks of the 
 influential political position of Aristodemus the actor. Cf. Dem. 5. 6 
 concerning Neoptolemus, The occasion of the first mission of Aristode- 
 mus to Philip is related by Aeschines 2. 15: After the capture of 
 Olynthus, in order to gain the release of the Athenian captives, TrifnrovaL 
 -nrpea/SevTTjv 'AptaToSrjixov tov viroKpiT-qv -rrpos ^iXnnrov, Slo. Tr)v yvoiaLV Kal 
 <f)iXavdpwTrtav Trj<; Texvq? ; succeeding in his mission, he angered the 
 Athenians by failing to report promptly, but when he was summoned 
 and retiu-ned, Demosthenes moved a crown for him, because he gave 
 assurances of the good will of Philip toward the Athenians. He had 
 evidently been sent in the hope of securing peace with Philip, Dem. 18. 
 21 : ovSev Ian BrfiTOv Tr/aos e/xe, dAA' 6 pkv Trpwros eiTrwv /cat p-vrjo-OeU virep t^s 
 elpyvr]^ 'ApiaroS-qixo's r]v 6 v7roKpLTrj<i. Soon after he was sent with nine 
 others, including Aeschines, to arrange the terms of peace, Hyp. Dem. ii. 
 19. 4. In order that Aristodemus might take part in the embassy with- 
 out financial loss through the breaking of professional engagements, 
 Demosthenes moved a special measure, Aesch. 2. 19: eV rrj /SovXfj ypa^ei, 
 Iva a^rjfxios wv r/fxiv 6 'ApLaT6Sr}fxo<i crvfXTrpealSevr], iXiaOat 7rpeo"/3ets ctti tols 
 TToAeis, iv ats tSei tov ' ApLaToSrjixov dycovt^ecr^at, oiTtves virep avrov irapaiTrj- 
 aovTUL ras ^■qp.La';. Cf. schol, ad loc: ^e'Aet Se etTreiv ort appaf3C)vas rjv Se^d- 
 /Acvos 6 'ApiaToSrjiJ.O'i oltto tivwv TrdAewv Trpos to dyiDviO'aaOat iv aiiTais • ^v yap 
 TpayoiSos, Kul eSet avTov rj aywvLaaadaL rj SlttXovv tov appafSdva KarafiaXeiv. 
 eSu ovv rrpecrjSiwv twv 7reto"ovTwv Tots TroAets p-r] 8nrXovv tov dppaj3ii>va Kop^uaaadai 
 dAA' dTrAow, and Pint. Vit. Alex. 29 (under No. 13); cf. also No. 155. 
 After the peace of Philocrates was concluded, Demosthenes accused 
 Aristodemus of having unduly favored Philip, Dem. 18. 21 and 19. 18: 
 
 Kal a.vr]pidp.r)adp.r]V oltto twv TrpwTwv iXirlSoJV CKet'vtov, wv 6 K.TrjaLcf>(ii)v Kal 6 'ApiaTo- 
 8rjp.o<; dTTi/yyetAav Trpos vp.a.s, 19. 12: €7r€La-$r]T€ vtt' 'AptaTo87]p,ov Kal NeoTTToAe- 
 p.ov Kal l^Trf(TL(fi(Ji)VTO<; Kal TOiv dAAwv tcov iKelOev dirayyeXXovTwv ov8' otiovv 
 vyte's. Cf. 19. 94: KTryo^K^wv Kal ApLaToSrjp.o'i ti]v TrpwT-qv €<f>epov tov <ficva- 
 Kt(Tp.ov, and 19. 315: tovs to. <j)LXdv9pMira AcyovTas eKaVous dTrecTTeiA' virep 
 avTov, TOV NeoTTToAe/Aov, tov ^ Apia-Toh-qp-ov, tov KTT^o-tc^oJvTa. The literary 
 notices about Aristodemus as an actor are confined almost wholly to 
 Demosthenes and notices dependent upon Demosthenes, and to Lucian, 
 who uses him as a typical actor of the classical period along with Polus. 
 Aeschines was taken into his company for the performance of old 
 plays, among which was Sophocles' Antigone, Dem. 19. 246 (quoted 
 under No. 15) and Vit. X. Orat. 840a.- TptTaywvio-Twv 'AptcrTo87yp,(u €v 
 ToTs Atowo-t'ots BuTiXei. Nothing fiu'ther about his roles is known; but 
 
84 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 that hi" was prominent in the prcxliiction of old plays may be inferred 
 fronj Lue. AjkjI. 5: oAA' oi fjiv toT? rpayiKois viroKpirai^ iiKacrovatv, (k eVi 
 fjLtv 7T/? (TKrjvrj<; Ayafxifivaiv CKaoTO^ avrCiy t; Kpeojv t; uito? Hpa>cA^? claiv, Ist" 
 Si IloiAof 1) 'ApicTTuSrjfuy; airodifxiyoi to. Trpocrutvuu. yiyvovTax iiroiMadoi rpayto- 
 Soi-iTts. (KTrnrTovTi<; kuI (TX'piTTofXfvoi, ivioTt Si tuxi pxxtTTiyovfJLtvoi Tivi<i aiTtJov, 
 is av Tw didrpw Sokij. Kls.-where Lucian mentions him with other famous 
 actors of the classieal peritKl, Jup. tnij^. .'J: e'<^' ot<{> IlaiAo? rj 'ApioroSry/ios 
 avrl Aio9 ^fuv Avuiri(f>r]va^, and 41: d»'ay#CT7 Si-ou- ^arepoi' i^rot FlaiAov koI 
 'ApuTTo&Tjfxov Kai SdrvpoF Tjyuadai at diois tlvfu Tort rj to. Trpoaunra tuiv ^<aiv 
 uiVa Kut Tois ip.fia.Ta^ Ka\ Tois 7rod»;p<is ;^tTtiJvas Kal ;(Xu/ii''Sas Kal ^(eipt'Sa; kol 
 irpoyacTTpLdui koI awpaTLa Kai roAAa. ois CKcTcot (r</i»'i'VOvai rr/i' Tpaya>&iiv. OTTCp 
 ytiVotoruToj' oifuu. Tlie statement of schol. ad loc., vVoKptVoiTo orv (i.e., 
 I'olus and Aristodemu.s) iv tuis rpayuiStais Kat rats KuifjiwSitu<: Kal dtois, is 
 worthless. Critolaus apud Aul. Gell. 11. 9. 2 tells a story which illu.s- 
 trates his professional reputation: cum interog^a.s.set (i. e., Demosthe- 
 nes) Arist(xlemum actorem fabularum. quantum mercedis uti Ji^eret 
 acce{)isset, et Aristotlemus "talentum" respondi.sset, '"at ego plu.s," 
 incjuit, "accepi ut tacerem." But the same story is told of Polus by 
 \'it. X. Urat. 84H b (under No. 421) and of Dematles ami an unknown 
 "(iraecu.s tragoedus" by C. Gracchus apuil Aul. Gell. 11. 10. H. Uf the 
 nickname "Stemphylius" no explanation has Ix-en offered; but Wilhelm, 
 p. 189, n. 3, su-«,'ests that the actor Stemphlylius] (No. 44:^). ca. 310 
 B. (1.. wa.s a descendant; very doubtful. On Aristcxlenius in jreneral .st-e 
 -Judeich in I'.-W., Schfifer Dem. u. seine Z«>it. I-', pj). 244 ff., and II^ 
 pp. 193 tr.; Volker. pp. 203 IT. 
 
 63. 'ApwTTOKpdTTis, V. K., once victor at the Lenaea ca. 285 b. c, Ui. II 
 977 z{r), \V. p. 1.^.3. 
 
 ♦>-l. 'ApMrTOKpai-qs ZwtCwvos 'AKapvdv, rpaywSo^ at the Sot»Tia at Delphi 
 in 270 B. c, SGDI. 2r>Hr), 1. 'y[; father or son of Hwritnv 'AKapvdv, rpaywSo^ 
 at D«>los in 2r)9 b. v. (No. 4r)7), Keisch De mus. cert., p. 97. 
 
 fif). 'ApicTT^KpiTos, Tpayu>8os, present with Alexander at Suwi in 324 b. c. 
 Chares apud Ath. r)38/ (quot(Kl under No. 13). Probably to l)e restore*!, 
 with Wiiiielm. in the Lenaean Victoi-s'-list IG. II 977 /(o), W. p. Ho: 
 'Api\(TTi'>KpiToi-\, ca. 320 B. c. See No. 52. VOlk«>r, p. 211, su«j;;ests, but 
 as doubtful, that he may U' the pers«)n whom PixtMlarus. satrap of Garia. 
 s«>nt as aml)assador to Philip ca. .'{.38 n. c. IMtit. \'it. .\le\. lOKpiot.tl 
 under No. 2.39); highly iini)robabl»'. 
 
 ()<). 'ApwrT^jioxos, i: k., thrice victt)r at the Lenaea c;i. 292 B. c, IG. II 
 977 //(»), \\ . p. i.").'?. \'ApiaT6fjLa\)^\os-] was restore<l by Kcihler in the cor- 
 responding: City list. ca. 292 b. c. IG. II 977 l>\f). \\. p. I.')«>. In Ri. II 
 972. \V. p. r>2, we have a record of his appeaninc«» at the Lenaea in 289 
 and 2H8 b.«-.: -frriSi (p<M't unknown). (t-Trt: "Apdrro/tlu^os (2^9 B. c.); ii/xi-Aos 
 l'K<^cI<rt'((», viri: *Api<rropi;(»K, Atfi&upo? S<v: NtKpw, itti: Apurro^i^o? (2S8 B.c). 
 For thr .latrs s.-«. Capps A.J A. IV (I'.HH)). p. 7 I. l'o>sil)ly th.- fath<-r of 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 85 
 
 Philonides s. Aristomachus of Zacynthiis, No. 495, cf. Capps AJA. IV, 
 p. 81, aud Wilhelm, p. 152. 
 
 67. 'Apio-TOfi^vTis, twice victorious, IG. II 977 m'(a'), W. p. 164, assigned 
 to the list of comic actors by Reisch ZoG (1907), p. 306, middle of the 
 third century b. c. Identification and date uncertain. 
 
 68. 'Apio-Topievt^s, V. K., second century a. d., Ath. 115 6.- v7roKpLTr]<; Sk rjv 
 dpxoLta<; KUifjLwSui^ dTreXcv9cpo<; tov fiovaiKoiTaTov /SacnXews 'ASptavov, KaAou/tevos 
 vir' avTov ''ATTtKOTrepStt-' 
 
 69. [ * Ap]i<rT0ftTJ8['tis 0iiP?]aios iv 'YoS^wl irpos KAea]v8/30v( ?) a.vTr)y(o\vt^- 
 
 t,CTO iv] 'F68wL v€fxr]6€L<; Ka/xeipt'Si cji[vXrJL /xcto. K]A€av8pou kol efTrtJ A-qvai- 
 
 [ojt? iviKa AlxiJui\\(x)T\^i8\a {i7ro/<piv]dju.€vos, 1. 12, 0p[ JkAtjctiv Mop- 
 
 p,o[£'s ivLKa {nre]KpLV€To 'Aptcr[ to/at/Stjs — ], IG. XII i 125 as restored by Kai- 
 bel and Hiller v. Gartringen. Apparently the record of the victories of a 
 tragic actor at Rhodes and at Athens. See Wilhelm, pp. 205, 160. Inter- 
 pretation and date uncertain. See No. 24. 
 
 70. 'Apio-ToviKos, V. T., victor at the Lenaea ca. 298 b. c, IG. II 977 tc{b'), 
 W. p. 145. 
 
 70a. *Api<rTo<j)aviis 4>iXCinrov Kw8a9r]vai€vs, the comic poet, is said by 
 schol. Eq. 230 to have played the part of Creon in the Knights; but this 
 is doubtless a false inference from the text. 
 
 71. 'Api(rTo<(>avtis SoXstis, kcu/xwSos at the Dionysia at Delos in 279 b. c, 
 BCH. VII (1883), p. 108. 
 
 72. 'Apio-To<j)«v, ir. T., once victor at the Lenaea ca. 335 b. c, IG. II 977 
 
 U{Z), W. p. 145, 'Ap[6(TT0<^ ]oil'. 
 
 73. "Apio-Tws *Apio-TO(i€v€os Al-yievs, actor (?) at the Soteria at Delphi ca. 
 155 B. c, BCH. XVIII (1894), p. 77, SGDI. 2725: iwei8r) "Apio-rvs 'Apio-ro- 
 p.rveos Aiyievs e7r€[8wKC Twt deihi dfiepav Kal] dyoiVL^aro Kal tiSoKi/jirja-e. So 
 Preuner Delph. Weihgeschenk, p. 70. Couve iiri[SwK€v avros airov kuI 
 (rvv]ayMVL$aTO, Baunack eir/^Sdfxr](T€ eis rdv ttoAiv kol crwJaywvi^aTO. 
 
 74. 'ApCo-Twv, V. K., one of the actors at Alexander's marriage festival 
 at Susa in 324 b. c. Chares apud Ath. 539a, quoted under No. 13. 
 
 75. *Ap£o-Twv 2\)paK6o-ios, v. t., latter part of third century b. c, Livy 
 xxiv. 24: Aristoni cuidam tragico actori .... huic et genus et fortuna 
 honesta erant, nee ars, quia nihil tale apud Graecos pudori est, ea deforma- 
 bat. Brought before the Syracusan authorities the proposals made to 
 him by Andranodorus and Themistius in 214 b. c. May have performed 
 at Athens; see No. 77. 
 
 76. 'ApCo-Twv Z-fivuvos, Athenian, tragic hypodidascalus, ambassador to 
 the Araphictyonic Council on behalf of the Dionysiac artists 130/29 b. c , 
 IG. II 551, 11. 48, 73, Michel 1009. Another copy BCH. XXIV (1900), 
 p. 82. For the date see Ferguson Priests of Asklepios. 
 
 77. "Aplo-Twv, V. T., once victor at the Lenaea ca. 225 b. c, IG. II 977 
 qid'), assigned to the Lenaean tragic actors by Reisch ZoG. (1907), p. 306. 
 
S»j msioia uF ACTORS A\L> ACTIM. I.N ANCIENT GREECE 
 
 Identiliftl by Wilhflm, p. 141, with the tnigic actor in. iitioneti bv Livy, 
 att* No. 75; very (l()ul>tfiil. 
 
 7M. 'ApUrTMv 'Ido-ovos, as v. Kutrr;? rpuyuySia^ victor at the Musaea at 
 Thespiar ca. l(K)-7r» b. c, IG. VII 17*;K BC'II. XIX (1895), Xo. 14, p. 340. 
 
 7'J. 'ApK«r(Xaos 'I^pwvos KopCvOtos, tra^'ic didasciilus at the Soteria at 
 Delphi ill 270 b. c, SGDI. 2.")^)."), I. 56. The name is probably to l)e re- 
 storeil in IG. II ^*77 <i'<l'\, W. p 111 ( Leua«'a, ca. '2i^i b. c.t. ['Apiceai'XuJcs I; 
 see No. 5.'UJ. 
 
 80. 'Apji.<S|«vos 0«oTijj.C8ov 'lo-Tiawvs, Tfxxywdoi at the Soteria at Delphi in 
 272 B. c, SGDI. 2'AV.]. 1. HI. Mr is mt-iitioii.*! first in his company. 
 
 81. 'ApT((i.(8wpos 'ApT«(ii8«pov ToO Aioo-KovpCSov, v. t., victor at the Romaea 
 at Ma^'nesia ca. lx'f.,nnnin^ of first century b. c, acting the Klytaimestra 
 of Polemaeus in the contest of new plays, Kern Inschr. v. Maj,'!). 88 c. 
 
 82. *ApT€HLC8<i>pos, Kwfji(o66^. probably second century a. d. ( S/xi-pmw ? ), 
 ridiculed by Strato of Sardis in Anth. Pal. 12. 193: ovS* Sftupmuw Ne/i£- 
 (Tti<i oTt aiya Xiyovaiv, , 'ApTtfiiSojpt, vocis, ' (xrjBiv i-irip to fxtrpov;' dAA' 
 ovTux; vTTipoTrra kua. aypiu Kovdk vptiroiTa KwpnuSw. <j>dtyyr]irayd' i'/roKpivofU.vo':. 
 fxvTjadjffTri Tovrtov, V7rtpij<f>av€, Kal <rv <f>L\i)crti.<;, kol KwfiwSijau^ T>/v ' Ajto- 
 K\uofj.cvr)v.' The play of Poseiilippus is probably referred to; cf. Xo. 490. 
 
 83. M. A«<j>£8ios 'ApT€jit8«pos Koplv6io$, as rpuyotSos victor at the Mu.siea 
 at Thespia.-, first half of third century a. d.. IG. VII 1776. BCH. XIX 
 (1895), Xo. IS, }j. 345. 
 
 84. 'ApT<|4«v, apparently v. t., mentioned in an Attic inscription pub- 
 lished by Wilhelm Urk., p. 230: v7r]o>cpiTai' — 'Ajprt/xwv — a^tMi- -- 
 Xpi»crtWw — eVtKu, and identified by him as l)elonj,'ing to IG. II 1356. 
 
 Tp]ay<ut8a)i' i7ro«pir|u)V. 
 
 85. "ApWfiwv Aio8«pov, Kwp.wS6<:, victor at the Soteria at Delphi end t>f 
 third cMiiiry b. i ., BCfl. XXVI (1W2). p. 267, Wilhelm L'rk.. p. 230. 
 
 86. 'Apx^aos, Tpaytf>66<:, phic^l by Lucian De conscrib. hist. 1. in the 
 reign of Lysiniachus (3<>6-28l): 6 rpayu^Sd?, o'Soki/aoii' rdrt .... Tpayo>8»)<To? 
 uiTots Ty]v 'AvSpo/if'Sav. The p^-ople of Alxlera were afTec-te<l by a strange 
 fever, which so tiu-ned their minds that they all took to shouting the lines 
 of trage<lies, especiallj' the Andromeda: koI fjnari] ^v tf rroAi« w^Cty aTrai'- 
 rwv Koi XtiTTutv Ttiiv ifiSofuiiiDi' iKtii'wi' TpiiywSwv. The cause of this afTection, 
 Lticiaii surmises, was Archelaus, for having in the heat of midsunnner 
 
 TpuyioSijiTw; urroK ti}V \vBpop.i8av. 
 
 S7. 'Apxtas ©owpios, V. T., the captor of Demosthenes in 322 B. e and 
 for iiis jiiul in llie prose<'ution of the Athenian patriots in the service of 
 Antipatrr called <Pi'Yu6o&i'jpu<:. Before his political activity he was for a time 
 a tragic actor; Vit. X. orat. 849/>." vjr' '\p)^iov tov <t*\'ya^$ijpov (■iriK\rjOa'ro<;. 
 ©oi'pe'oi' fx€v TO y«Vos ir-jroKpiTov 8« to. wpCira Ton Si t<i> AiTorarpw fiorjOux it o^. 
 iXi'l^ifhj i\.t'., Hypereiiles). The time of his iictivity ;is an actor is fixed 
 l)y the I.enaean Victors' list Kl. II 977 u{z), W.p 145, ca. 32'.> B.C., 'Apxi'us-, 
 whom Wilhelm rightly iih-ntifirs. Tli.- ;uT.niiit nf his raptun> ..f Dfinos. 
 
PROSOPOGKAPHIA HISTRIONUM GBAECOEUM 87 
 
 thenes is related by several: Vit. X. orat. 846/, Pint. Vit. Dem. 28: 
 wv T]y€fx.hiv rjv 'Ap^tas 6 KXr]6el<; ' (livya8o6rjpa<;.' tovtov 8k ®ovpLOv ovra tw yeVei 
 Xdyos t)(Ci T/oaywStus viroKpivtcrdaL irore, kol tov AlyivqTrjv IIwAov tov VTrep- 
 /SaAoira rrj rex^r] Travras eK€Lvov ycyovevai fjiadrjTr]v laropovaiv. 'Ep/AiTTTTOS 8e 
 TOV 'Ap^Lav iv Tois AuKptVov toC priTopo<; puaOr]Ta.'i<i a.vaypa.<f>w Ar][XT^TpLO<; 8k T^s 
 ' Ava^ L/xevovs 8iaTptftrj<; /xerecr^^T^KeVat (fi-qcrlv avTov. oStos ovv 6 'Ap^ui^ 'Yirepu8r]V 
 fjikv TOV prjTopa koI 'ApioroviKOV tov Mapa^wvtov koI tov ArjfJirjTpiov tov ^aXr]pioi<: 
 dSe\<^6v 'Ip.epu'tov iv Alyivrj Karac^vyovra? iwl to AlaKeiov airoa-irdaa^ tTre.fX\pev ets 
 KAeojvas Trpos 'AvTtVaTpov kolku 8u<^da.pr}(jav^ YTr€pei8ov 8k Koi ttjv yXoiTTOv 
 iKTfjL-qOrjvai Xiyovai. Ibid. 29: cSo'kci (i. e., to Demosthenes) yap avTaywvL^eaOaL 
 Tw 'Ap^ta TpaywStav VTrOKpivop.evo'i, evrjfJiepuyv 8k kol KaTe^wv to OiaTpov iv8eia 
 ■Kapa(TK€vrj<i Kul •^op-qyui.'i KpaTtiadai. 8i6 tov 'Ap^iov TroAAa (f)LXdv6pwTra StaAe^- 
 divT0<i dvafiXixjja'i ■rrpo'i avTov, (xxrirtp CTvy^ave Ka^r//X£vos, 'o) 'Ap^^ta,' fxirtv '' ovTf. 
 V7roKpLv6fJiev6<; p.t tTretVas TraJTroTC oiItc vvv izciawi iirayyeXX6fjievo<s ' . . . . kol 8ul- 
 ySAei/'as Trpos tof 'Api^tav ^ovkolv <f)Oa.voL^,^ clirev, 'ri8r] tov €k t^s TpaywStiis viroKpi- 
 v6iJievo<; Kpe'ovTa Kai to awfjux toCto ptTTTwv aracjiov, Strabo 8. 374, Paus. 1. 8. 3: 
 'Ap;(tas ouTos ©ouptos wv epyov ^paTo dvdcriov, etc. Luc. Enc. Dem. 28 ff . gives 
 an imaginary conversation between Arcliias and Antipater. On his rela- 
 tions with Polus see under No. 421. Schafer Dem. u. seine Zeit III, 
 pp. 392 ff. 
 
 88. 'Apx^as [ ] At7ivT|Tiis, TpayiuSo's at the Soteria at Delphi in 269 
 B. c, SGDI. 2566, 1. 56. 
 
 89. 'A[o--, V. T., victor at the Dionysia ca. 387 b. c, IG. II 977 p(e}, 
 W. p. 137. 
 
 90. 'A<rK\airi68«pos Hoviiao Tapavrivos, Tpayapv86<;, victor at the Chari- 
 
 tesia at Orchomenus 100-75 b. c, IG. VII 3195; for the date Reisch De 
 mus. cert., p. 115, n. 2. Cf. the spurious inscription from Corcyra Adp^Tpos 
 Uovd^ao Tpaya^vSw, Rhein. Mus. XVIII (1863), p. 549, and GIG. 1583. 
 
 91. 'A<rK\d7r«v 'AiroXXoStopow Miyaptvs, TpaywSds at the Soteria at Delphi 
 in 270 B. c, SGDI. 2565, 1. 50. 
 
 92. 'Ao-KXirn-idSt^s 'HpttKXcCSou XaXKiSevs, aaTvpoiv v., acted the satyr- 
 drama Persai of the poet Auaxion of Mytilene, insc. Teos, Lebas-Wad. 
 III. 91. Date uncertain. 
 
 93. 'Ao-KXtiTTioSwpos, V. K., victor at the Dionysia in 311 b.c, IG. II 974 c, 
 W. p. 45: [vTTo : 'Ao-KAr/Trio'SwpoJs ivLK[a}, restored by Wilhelm, acting the 
 Apoleipousa of Ameinias; competed also in 312 b.c, ibid. 1. 1: [iire: 
 'A(TKXr]Tn68]<j}po[<;. The victory of 311 was one of his earliest victories. 
 Five times victor at the Lenaea ca. 310 b.c, IG. II 911y(u), W. p. 153. 
 He won six (or seven) City victories if ['Ao-zcAiyTridSwjpos fl I" is to be restored 
 in gr, W. p. 160, as suggested by Capps, AJP. XX (1899), p. 404, n. 3. 
 
 94. 'Ao-KXcTTiiSwpos 'AttoXXcovIov, kw/awSos, member of the guild of tech- 
 nitae at Ptolemais in the reign of Ptolemy Philadelphus, BCH. IX (1885), 
 p. 132, Michel 1017, Ditt. Orient. Gr. Insc. 51. 
 
 95. 'A(rKXiT7ri68copos, actor, uncertain date. See p. 143. 
 
88 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 90. 'Ao-tIos 'AiroWoSwpov Bokwrios, KtufjouSos at the Soteria at Delphi in 
 269 B.C., SGDI. 2566. 1. 65. Ditt. Sjl.' 691. He is mentioned first in his 
 company. 
 
 97. 'AttoXos Att4Xow 'AfttivaCos, a.s v. tcujfiw&iuiv victor at the Charitesia 
 at Orchcintiius l(»(>-75 b.c, IG. VII 3197. Kirchuer No. 2684. 
 
 98. 'AttoXos, comic actor or comic poet, uncertain date, in.sc. Teos, 
 CIG. ^^08S: K(i>/xo>8tu<; 'At'itoAo?]. 
 
 10(). AvTOKpdrTu, TfMiyw&os at th<' Diouvsia at Df^los in 171 B.C., BCH. 
 IX (1HH5), p. 117. ' 
 
 101. AvTdXvKos'Ao-riuvos AItwX6s, kw/aju&k at the Soteria at Delphi in 
 271 ami 270 n.c. SGDI. 2r>*hl. 1. 66. 2565. 1. 68. identified by Capps AJA. 
 IV (1900), p. Ml, witii Antolycus, v. «., once victor at the Lenaea ca. 278 
 B.C., IG. II 977 2(ri, W. p. 15,3. He is Ixjth times mentionetl first in his 
 company ;it 1)»-Iplii. 
 
 102. 'A^ , K(j)nw66<: at the Dionysia at Delos in 280 B.C., 
 
 BCH. VII (1883), p. 106. accordin-,' to the reading' of Hobinson AJP. 
 XXV (1904), p. 186. 
 
 li».{. BttKx-, I'. T. victor at the Lenaea ca. 315 B.C., IG. II 977 n.ri. 
 \V. p. 115. 
 
 101. Bo-, Id. II 977 lit ut ), \V. p. 1»')-1, assi^mnl by Reisch ZoG. 
 1907, p. .306, to L-'tiaean list of comic actors. Doubtful. 
 
 105. Fa^iKis A{lav((Ti]$, k(j>ixu>S<'/;, i^ijcrtv ir-q u\ iiisc. M is-tiuiii. Ui. XIV 
 874, unct'itaiii <l;itr. 
 
 km;. rA.apxos, KwfjuuSik, member of the ;,MiiUl of technitae at Ptolcmais 
 in the rei-rn of l'tol.«iny Philadelphus, BCH. IX (1SS5). p. 132. where 
 TiXifuixiy: is report.-il. coi nx-t.-d by Wilh.-lm. p. 252. Mich.-l 1017. Ditt. 
 Oririit (tp. Tnscr. 51. 
 
 107. rXavKtas 'HpaKX((6ov, Athenian. Ko)/x«L)do?. thtH>nis and participant in 
 the paean and scenic contest at D«'lphi as repres«Mitativ«' of the Athenian 
 t^-chnitae ca. 97 B.C., BCH. XXX [1^)), No. 49, p. 277. 11. 16. ;«. His 
 fathtT. Herach'ides s. Glancias. ap\idiijjp6<: il)id. No. 48. p. 272. I. 7. \va> 
 son of '\\fMiK\iL8r}<: KpnD€tk I(i. II 984, 1. 15, and ^'randson of 'HpuKXet'Sj/s 
 
 y,nHTiKpa.Tov<i Kpiwivi, prifst in 1(4. II 952, 1. 22. rXai-Km? Kpiaxi's, Ky)p\<\ 
 at Delos in 102 n.<"., was prol)al)ly the K0)p.ioS6>;- Not in Kirchner. 
 
 IO.S. rXavK(at E«o-<tv8pou OT)Paio;, as v. Tp<iyu>6iQ)v victor at the Am 
 phiaraia at On.puH .s<K)n aft.-r St; n. c. IG. VII 119; il)id. 4lS and 11'.' h- 
 appears also as Ki/pv^. 
 
 10*<. ropYoo-e<vT„, I: T.. victor at the L. na.a ca. 3(X) n. c. IG. II 977 
 trh ), W. p. 115, Vo\pyo<rOiyi]^]\ twice victor at the Dionysia ca. 280 n. c. 
 ihiil. / (0, VV. p. 159. irojpyoo-^oT;^. The name is restonnl in lK>th places 
 by H.'isch Z«Ui. l'.<07, p. 'M)t\, cf. Pliny N. H. xxxv. iJ.3: mirantur eius 
 (sc. Apt'llis) llabronem Sami, Menandrum re^'em Carine Hhodi, item 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 89 
 
 Aucaeum, Alexandreae Gorgostheuen tragoedum, etc. The dates of the 
 name in the Victors'-lists show that he was in fact a contemporary of 
 Apelles. 
 
 110. A-, IG. II 977 m'{a'), col. ii, 1. 4, W. p. 164, assigned by Reisch 
 to the catalogue of Lenaeau comic actors. Doubtful. 
 
 111. A-, IG. II 977 m'(a'), col. ii, 1. 10, W. p. 164, assigned by Reisch 
 to the catalogue of Lenaean comic actors. Doubtful. 
 
 Ilia. Ai-, IG. II 977 m'{a), col. ii, 1. 8, W. p. 164, assigned by Reisch 
 to the catalogue of Lenaean comic actors. If this is right, restore 
 At[oyetTa)v-], No. 136. Doubtful. 
 
 112. Aa|i.6Ti,ji.os T£n,«vos 'AjAPpaKnoTiis, kw/awSos at the Soteria at Delphi 
 in 269 B. c, SGDI. 2566, 1. 62, Michel 895, Ditt. Syl.- 691. 
 
 113. Aduarpos nov0«ao Tpaya/rvSo5, spurious inscription from Corcyra, 
 GIG. 1583, Rhein Mus. XVIII, p. 549. 
 
 114. AaixoKXtis TijxoKpdT€os Al-yitvs, synagonist (tragic or comic?), 
 €v8a/x7/cras avvayMVL^aTO fxera 'AptcrTcos, inscr. Delph., ca. 155 B.C., SGDI. 
 2723. Cf. No. 73. 
 
 115. Ad|ia)v Ev8tj|iow Mtyaptvs, TpayaiSos at the Soteria at Delphi in 272 
 B. c, SGDI. 2563, 1. 34. 
 
 116. Adjtwv, 11. K., acted a play by Paramonus after the poet's death, 
 also the Poetes of Biottus, Dionysia, in 167 b. c, IG. II 975 c, W. p. 70, 
 and in 155 b. c. acted the Heautou Katapseudomenos of Chaerion and the 
 Agnooun of Biottus, and as kw/awSos brought out the Philathenaios of 
 Philippides as TraAaca, ibid. fr. d, W. p. 70. Wilhelm, p. 256, plausibly 
 identifies him with No. 117. 
 
 117. Adjiwv B£wvos, Athenian, kw/awSos, participant in the paean and 
 scenic contest at Delphi 138-128 b. c. as representative of the Athenian 
 guild of technitae, BCH. XXX (1906), No. 48, p. 272, 11. 10, 25. Same as 
 No. 116? Not in Kirchner. 
 
 118. Adjjiwv Ev7€(tovos, Athenian, comic synagonist, participant in the 
 paean and scenic contest at Delphi in 106 b.o. as representative of the 
 Athenian guild of technitae, BCH. XXX (1906), No. 50, p. 288, 11. 18, 31. 
 Possibly of the same family as Eugeiton, No. 187. Not in Kirchner. 
 
 119. A€|iKpdTTis, V. K., see No. 133. 
 
 120. AeliXaos, KO)[xio86^ at the Dionysia at Delos in 284 b. c, BCH. VII 
 (1883), p. 104. 
 
 121. At'pKCTos, V. K., victor at the Lenaea ca. 290 b. c, IG. II 977 y{u), 
 W. p. 153, and once at the Dionysia ca. 287 b. c, ibid. fr. b'{f'), W. 
 p. 156. 
 
 122. AepKvXos, V. K., fifth cent. b. c, schol. Arist. Vesp. 78: 6 AepKvAos, 
 
 KW/AIKOS VTTOKpLTrj^. 
 
 123. Ati|A-, V. K., victor at the Lenaea ca. 216 b. c, IG. II 977 a', 
 W. p. 153. 
 
90 HISTORY OF ACTORS AND ACTIN<; IN ANCIENT GREECE 
 
 124. AnijUas 'Avo^iKpAxou 'Aerjvaios, Kaj/x(i*3<k at the iSoteria at Delphi in 
 270 B. c, SGDI. 2^)*>'i, 1. ♦Vi, wheiicf the name was restore<l liy Capps AJA. 
 IV ( 19()0), p. 82, in IG. II 977 6 (/ ). W. p. 156: . . 1EA2 I, assigned to the 
 City list, (late ca. 290 b. c. Demeas is the second in the company at 
 Delphi; cf. Nos. 218, 406. Kirchner N(.. :«12. 
 
 12;'). ATjjif|Tpios, i: K., uncertain date, nicknamed IltXt^vs, Hesych. s. v.: 
 TfjaywSiwv i-TTOKpiTT/?. Kut i(Tw<; vTriKpiSi] Toy ' Ayu/itfivovcyi ddi-arov, TrtAcKti Kara 
 xoAAoi's ytvofjLii'oy. 
 
 126. AT)ji^Tpios, v. »(., twice victor at the Lenaea ca. 2r)S b. c, I(i. 11 
 977 //(«), \V. p ir)8. Without reason identifitnl by Wilhelm. p. l")!. 
 with the comic pcx't of the third century; alx>ve. p. 42, n. 
 
 126 a. AT)|i^Tpios NittaCov MiXV^o-ios, as v. TruAma; TfjaywSia<; victor at Samos 
 second century b. c, Gardner in JHS. VII (1886), p. 118, 1. 3, who f?ives 
 Ar/^j/Tpio9 'SiKapxov, corrected by Capps T.\PA. XXXI (1900), p. 136; 
 ibid., 1. 9, was victor as v. Kaiviuv rp. Michel 901. 
 
 127. Aiiii^Tpios 'ApwrTo8T||iov, Athenian, tragic synagonist. represented 
 the Athenian guild of tt-chnitae at Delphi ca. 97 b. c.. BCM. XXX i 1'.«h;i, 
 No. 49. p. 278, 1. .'{8. Not in Kirchner. 
 
 128. Aiip.T|Tpios ArifiTjTptov, Athenian, koj/hwSos at Delphi as representa- 
 tive of the Athenian -uild of technitae cii. 97 B.C.. DCH. XXX (19(^\ 
 No. 49, p. 278, 1. ;i-}. Son of n^'daLCTTi^^ ttuTs at Delphi in 138 b. c. ibid, 
 p. 198, 1.11? Identical with | jo? X-qti^Yrpiov 'A^mto? (No. r>41), koj/xw- 
 8« at the Sarapieia at Tanagra 100-75 b. c, IG. VII 540, and with 
 A>;/A7/T/jtos ^i]fjL7]Tptov TptKopi'xTio?, 6 cTTi TO. Itpd, CIG. 230>5, ca. 95-88 b. c, 
 Kirchner No. ;U47? 
 
 129. ATifif|Tpi.os 0«o8oo-(ov, .Vtlienian. *,(.)/:xw8«<; at Delphi as representative 
 of the Athenian guild of technitae c-a. 97 B.C. BCH. XXX (I'.KM;). 
 No. 49. p. 278, 1. ;^5. Not in Kirchner. 
 
 l.'M). Aiiji^Tpios, comofnlus a)»ud .luv. 3. 97, quot»ii inuler No. 'M. 
 Characterized by Quint. 11. 3. 178: maximos actores como^nliarum 
 Demetriuin et Stratoc-lea placere dive-rsis virtuti!)us viilimus. seti ilUul 
 minus mirum cjuod alter »leos et iuvenes et l)onos patres servosque et 
 matronas (>t graves aims optime, alter acres .senes, ca 11 id* )s servos, parasitoi, 
 leiiones et omnia agitatoria melius, fuit enim natura divei-sa, nam vox 
 (pi(K|iie Demetri iucundior, illius acriorend. annotandae memoriae magis 
 proprietates (juae transferri non poterant. manus iactare et dulces ex- 
 daniationes theatri causa i)roducere et ingredi«'ntlo ventum concipeiv 
 vest*' et non ninn(|uain dextro lat«'re fac«'re gestus, qu(Kl neminem 
 alium nisi Demelrium tlecuit, nam in Ikuh." omnia statuni et mira specie 
 adiuvabatur; ilium cursus et agilitas et vel parum conveniens personae 
 risus, (|uem non ignarus rationis po})ulo ilal)at et contracta etiam cer- 
 vicula. i|niii(iiii<i horum alti-r f«>ciss««t, fo«><lissiiun viderefur. 
 
 1.31. Atip.f|Tpios, «(.)/i<4j^ds- of the fust century a. i>., tit. s.p. Ivoine, JG. 
 
 .\ I \ l.i."!*"), 1( i Iviv. I 211: Ar;/ii/rp((y nuifjo^tSw o<j !l^i)<Tiy !tij ku . fiipii>i (f , i//itp«is 
 
PKOSOPOGRAPHIA HISTRIONUM GKAECORUM 91 
 
 iS'. ev{pv)(€i A77/A[7/]Tpte. ouSei? d^avaros- fxvyjixr]^ civeKcv. By Cagnat and La 
 Faye in IGRR. wrongly identified with the contemporary of Qiiintilian, 
 No' 130. 
 
 132. IloirXios 2€^Ti\ios IIoTrXfou vlos Aini'qTpios, TpaywSos dvtKTjTOS, insc. 
 
 Rome, IG. XIV 1099, IGRR. I 159. 
 
 133. AtiiioKpoiTTis, V. K. once victor at the Lenaea ca. 244 b. c, IG. II 
 977 za'ic), W. p. 143, A[?7/Ao]KpdTr;s or A[e^t]KpdT7?s, W. p. 155. 
 
 134. ArjiAocTTpaTos, comic didascalus, last quarter of the fifth century 
 B.C., brought out a play for Eupolis Ath. 216d; Ern-oAts t6v AvtoXvkov 
 StSd^a? Slol ArjiMoaTpdrov )(X.cvd^eL Tr]V vlkyjv tov AvtoXvkov. Nothing is known 
 of him as a poet. 
 
 135. Atj(xo<J)(ov, v. k., once victor at the Lenaea ca. 297 b. c, IG. II 
 977 y{u), W. p. 153, [AtjMoc^w]^, restored by Wilhelm. 
 
 136. Aio-ytiTwv [ ] BoiwTios, comic didascalus at the Soteria at 
 Delphi in 272 b. c, SGDI. 2563, 1. 66. Baunack ad loc. and Preuner 
 Delph. Weihgeschenk, p. 75, identify with AtoyetVwv EvxapiSov Boiwtios, 
 comic dancer in SGDI. 2564, 1. 74 and 2565, 1. 75. But see Capps TAPA. 
 XXI (1900), p. 127. 
 
 137. Aio-ytiTwv, V. K., acted the Lytroumenos of Timostratus at the 
 Dionysia of 188 b.c, IG. II 975 a, col. ii, W. p. 70. 
 
 138. Aio7€'vTis 'AvTi-ywvos ©iipaios, as v. TpaywStoii/ victor at the Sarapieia 
 at Tanagra 100-75 b. c, IG. VII 540. 
 
 139. Aio-ye'vT]?, v. r., imcertaiu date, Ael. De animal. 6. 1: Aioyei/r?s 8k 6 
 
 Trj<i Tpayw8ia<; VTroKpLTrj^ ttjv aKoXaaTOV koltiqv dirCLTraTO Trai/reAws Tzdaav. Also 
 
 in Var. hist. 3. 30. 
 
 140. AuoSwpos 'AOiivaios, /cw/u,wSds at the Dionysia at Delos in 284 b. c, 
 BCH. VII (1883), p. 104. See Wilhelm Urk., p. 245. Kirchner under 
 No. 3959. 
 
 141. AioSoapos Sivwirevs, Koijxwho'i at the Dionysia at Delos in 284 and 
 280 B.C., BCH. VII (1883), pp. 104, 106. The comic poet D. was from 
 Sinope, Ath. 431 c, but was admitted to Athenian citizenship, as was his 
 brother At'c^tAos 277/Aaxt8r?s, Auctor Lex. Hermann!, p. 324 (Meineke Hist, 
 crit., p. 446). Hence Capps identifies the actor with the poet and with 
 the AtoSwpos AiWos ST^fux^t'Sr;? whose father AtW AtoSojpou StvwTrcvs and 
 brother Al4>lXo<; Atwvos StvwTrtvs (the comic poet) are mentioned on the 
 same sepvdchral inscription IG. II 3343, dated by Wilhelm Urk., p. 60, 
 in the early part of the third century b. c; see Capps AJA. IV 
 (1900), p. 83, n. 1 and AJP. XXI (1900), p. 47, n. 2. As poet he brovight 
 out two plays at the Lenaea of 288 b. c, IG. II 972. On Diodorus of 
 Sinope see Robinson Ancient Sinope, Prosopographia, and Kirchner No. 
 3959. 
 
 142. AioSwpos, Ka)/i,a>8ds, member of the guild of technitae at Ptolemais 
 in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, Michel 
 1017, Ditt. Orient. Gr. Inscr. 51. 
 
'J2 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 14.'i. AiokXtJs AiokX^ows "AOiivaios, T/xiyw8<k at the Soteria at Delphi iu 
 269 b. c. S(4DI. 2;")^)*), 1. Hn, Micht-l SUf). Perhaps the cont'iiiiiordry of 
 Phil»Mn()ii iii»Miti(>iH-<l \)\ rhilostratiis Epist.. p. 48.'). 2S Hercher (<t>iXi]- 
 fjLOVi): Tof TpaywSov AioKAai <t fxiv ijhi] yiyvuHTKUi cVaxm; 8iij-rrov, ei 8' dyvocis, 
 eV Toit Ka\Q)<: tVuu'or/xtVoi? ypd4>i. He is mentioned first in his company at 
 Delphi. Kirehn.-r No. 'AWl. 
 
 144. AioKX'ns Al«rxivov, Atlu-iiian, tragic hypodidasciilus and didascalus 
 TO? fuydXov xopoi at Delphi representing? the Athenian guild of technitae 
 ca. UTr.c. BCH. XXX (19()6). No. 49. p. 277, 11. 15, 18. 48. Not in 
 Kirchiit r. 
 
 145. Aiop.T|8Tis 'A9iivo8wpov, .Vthenian. traj,'-ic syna^'onist. representative 
 of the Athenian f,niild of technita.- at D.-lphi in 106 B.C.. BCH. XXX 
 (1906), No. .50. p. 288, 1. 'M. Wilht-hu. p. 2.5(5. prohahly is right in identi- 
 fying with A. 'A. 'A&ijvaioi, ttoij/tt;? Kw^wStwf in a votive inscription of 
 Epidaunis. IG. IV 11.56, whose statue was set up in the Athenian theater 
 with the inscri{)tion Atofti/8»7s. IG. ITT 9.52, identified in turn by Cajjps 
 A.I P. XXI (1899). p. 47. n.2. with the comic poet A. 'A. nipyafir,v6^ in 
 Kern Tnschr. von Magnesia 88 6. A native of Pergamum. he was ad- 
 mitted to Athenian citizenship, and evidently befort^ the Pythiail of 
 106 B. V. in which he participated as an Athenian. See above, p. 72, and 
 Kirchner No. 4071 and Vol. II, p. 4.55. 
 
 146. Aiovv<rios, tragic didascalus for Aphareus between .368 and 
 .S41 B.C., Vit. X Orat. 839 r/.* &8u(rKuAtu; doriKa? KudyKev Iv. Kol Sis iviK-qai 
 Sta AtoKvai'ov Kadu<:, Kal 8i' Iripuiv Bvo A»;vai.;cd?. See Susemihl Rhein. Mus. 
 XLIX (IS'.M), p. 474, who wrongly argues that the practice of assigning 
 protagonists to all the competing pot^ts in rotation, which we sec exem- 
 plilied in Rl. II 973, hail not been introduced when Aphareus' victories 
 were won. Hut Dionysius was didascalus, not necessarily also pro- 
 tagonist. 
 
 147. Aiovvo-ios, T/>uy<{)8<i<j at the Dionysia at Delos in 2S0b.c.. IK'H. 
 VII (1883), p. 106. 
 
 148. Aiovv<rio« 2(jiov 'HpaKX«iwTiis, KiofxwSos at the Soteria at Delphi in 
 272 and 2(59 h. c, SCiDl. 2.56.3. 1. .5.3, 2.566, 1. m, Michel 895. Possil)ly 
 identical with | Aioi'liinos- 1 in Hi. II 977 m' ; see No. 1.50. 
 
 149. Aiovvo-ios +iXoKv6ou 'Ae^ivaios, comic ilidascalus at the Soteria at 
 Delphi ii» 271 and 270 h.c, SC'.DI. 2.5(;4. 1. 70. 25(55, 1. 71. .See Phihx-yiles, 
 No. 48(;. Kirchner, No. 4127. 
 
 1.50. Aiovvorios, Kt. II 977 »JU/'), \V. p. 1(>1, assigntKl by lieisch Zi)G. 
 (1907;. p. ."^Hi. to the Lenaean list t)f comic actors, midille of the thiixl 
 century. Doubtful. If comic actor, plausibly id(«ntifi«><l by Wilhelm 
 Urk.. p. 161, with No. 14S. 
 
 151. Aiovvo-iot Aio^ . . . paiot, rptiyw^o^ at the Soteria at Delplii in 
 226 (or 225) a. c, SCJDl. 2.5(58. Wilhelm Irk., p. 1(55. wrongly makes 
 him a comic actor. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 93 
 
 152. Aiovva-ios Nvv<})i8os, Athenian, tragic hypodidascalus, ambassador 
 to the Amphictyouic Council on behalf of the Dionysiac artists in 130/29 
 B. 0., TG. II 55L 11. 44, 70, Michel 1009. Another copy BCH. XXIV 
 (1900), p. 82, preserves the full name, which in the Athenian copy is 
 A. Nv/i,<^-. For the date see Ferguson Priests of Asklepios. Kirchner 
 No. 4123 wrongly restores Nv)U,<^[o8ajpov]. 
 
 154. Aiovvo-ios AafioKX^ovs, Athenian, tragic synagonist at Delphi in 
 106 B.C. as representative of the Athenian guild of technitae, BCH. XXX 
 (1906), No. 50, p. 288, 1. 33. Not in Kirchner. 
 
 155. Aiovvcrios Aiovuo-(o\» 'P68ios, KW/x,<o8ds, ca. 200 B. c, IG. IV 1508 c, 1. 6 
 (Epidaurus) : KaraSiKOt ol yevdyuevoi twv TexviTav Sia to fxr] ayuivi^acrdai k€ko- 
 fxiaixevoL tov fxicrOov'. .... /ca)/A(a))t86s Atoi/wios AiovvcriioD 'PdStos fx.va.v recrcrapcov. 
 Michel 1338, Insc. Jurid. I, p. 495. 
 
 156. Atovvo-oSwpos, T/3ayu)8ds at the Dionysia at Delos in 268 b. c, BCH. 
 VII (1883), p. 109. 
 
 157. Aiovvo-oSwpos 'Ao-KXirn-idSov Boiurios, Kco/xwSds at the Soteria at 
 Delphi in 271 and 269 b. c, SGDI. 2564, 1. 62, 2566, 1. 69. 
 
 158. Aioo-KovptSiis McvdvSpov Sv-rraXriTTios, Athenian, kw/awSo's at Delphi 
 as representative of the Athenian guild of technitae in 138 e.g., BCH. 
 XXX (1906), No. 48, p. 273, 1. 26; the name is restored from 1. 17, where 
 he is theonis, the demoticon by the identification of his son McVavSpos 
 Atoo-KOD/otSov 2v7raX>/r[Tios], who was ephebe in 101 b. c, IG. II 467, 1, 134. 
 See No. 508 b. Not in Kirchner. 
 
 158 a. Ai6tiho[s Auo]tC|aov Md-yvTjs [onro MaidvSpov], vTroKpLTr)<;, uncertain 
 date, insc. Teos, Lebas-Wad. III. 92, Brother of Hermotimus No. 180. 
 
 159. A£wv 0€v8(opou 'Axai6s, kco/awSos at the Soteria at Delphi in 272 b. c, 
 SGDI. 2563, 1. 52. He is mentioned first in his company. 
 
 160. ACwv A(«vos, Athenian, kw/awSos, participated in the paean and 
 scenic contest at Delphi as representative of the Athenian guild of tech- 
 nitae 138-128 B. c, BCH. XXX (1906), No. 48, p. 272, 11. 11, 25. Not in 
 Kirchner. 
 
 161. AKigiTTiros, see under 'Avdgiiriros, No. 28. 
 
 162. ApdKuv AvKwvos TapavTivos, TpaywSds at the Soteria at Delphi in 
 271 B.C., SGDI. 2564, 1. 50. Identified by A. Korte N. Jahrb. f. klass. 
 Alt. Ill (1900), p. 86, with ApaKwv rpaywSds in the accounts of the Delian 
 hieropoioi, BCH. XIV (1890), f. 396: x^P*? ''"*? y^ofxev(ii toTs kw/xwSoTs koI 
 Tw Tpayw8(2 ApaKovTi, rots errtSei^a/xei/ois tw 6e<3. At the Delian Dionysia he 
 
 performed in 280 b.c, BCH. VII (1883), p. 107, . aa , corrected by 
 
 Capps TAPA. XXXI (1900), p. 117, confirmed by Robinson AJP. XXV 
 (1904), p. 186, and in 279 b. c, ibid, p. 108, 'AaapaKwv, corrected by 
 Homolle BCH, XIV (1890), p. 502, to Apaxcov. He is mentioned first in 
 his company at Delphi. 
 
 163. A«p69£os AwpoO^ou Tapavrlvos, as ii, (raTvpoiv victor at the Charitesia 
 at Orchomenus 100-75 b.c, IG. VII 3197. 
 
94 HISTOKY OP ACTOBS AND ACTING IN ANCIENT GREECE 
 
 164. E-, V. T.. victorat the Leuiua ca. 318 b. c, IG. II 977 via-), W. p. 45. 
 
 165. £(*? s, u. T., once victor at the Lenaea ca. 337 b.c, IG. II 
 
 977 n(zK W. p. 145. 
 
 166. 'EKaratos, v. k., acted the IMiilocIesjK)tos of Sogeui's at the Dionysia 
 in 1H2 B. c, I(i. II 975 b, \V. p. 72. 
 
 167. 'EXirlviicos 'EiriKparov, Athenian, tragic hypodidascalus, ambas- 
 sador to the Aiiiphictyonic Council on Iwhalf of the Athenian Diouysiac 
 artists in \:W2\) u. c, IG. II 551, 11. 46, 72, Michel 10()«). Another copy 
 BCH. XXIV ( 19()0), p. 82. For the date see Fer^nison Priests of Askle- 
 pios. Sinitfer of the paean at D«-lphi representing,' tlie Athenian f^iild of 
 t.'chnitae ca l;i8 128 B. c. BCH. XXX (19()t;). No. 4S. p. 272. 1. 15. Not 
 in Kirchner. 
 
 1»)8. 'Efip4vC8i]s, V. K., once victor at the Lenaea ca. 282 b. c, IG. II 977 
 z{v), \V. }). 153; victor at the Dionysia ca. 280, ibid. r(ir,, W. p. 156. 
 
 169. "EirojMtvwv, V. T., victor at the Lenaea ca. 282 b. c, IG. II 977 rf'(s), 
 W. p. 157. yj-jrafi(\iywv-\; twice at the Dionysia a little Ix'fore 278 a. c, 
 ibid./V). W. p. 159. id.ntified by Reisch Z<3G. (1907^. p. 306. 
 
 170. 'E-iri-y^>^S .... SttTopvclvo 'HpaKXciw-rqs toO IldvTOv, nwfxwSo'i. iTisiv Ki\ 
 
 Xtttp«T«, tit. Sep. l.rslxis. Arch. Ztg. XII (1S54). p. 514. 
 
 171. 'E-irtviKos, i: T., four times victor at the Lenaea ca. 258 b. c. IG. 
 II 977 it\n). W. p. 166. assi;,'ne<l to cataloj,'-ue of Lenatan t ra^ic actors by 
 Rei.sch Z.)G. (1907). p. .".OC. 
 
 172. 'Eir(viKOS 'AX(^av8pov "AOrivaios, as r^^dycu^d? victor at the Alliphi- 
 araia at Oropus soon after 86 b.c., IG. \'I1 116. Hv also r«>cite<l the epi- 
 niciuni. Kircliner No. 4940. 
 
 173. 'EirfTifios [ ] "AiiPpaKitiTTis, K(i)/iai<)J« at the Soteria at Dtlphi in 
 272 b. c, StiDl. 2563, I. r.3. 
 
 174. 'Epdrwv <I>tXa»vos 0«TTaX6s, r/juywrto's- at the Soteria at Drlphi in 272 
 b. c, SGDI. 256;{, \.-AS. 
 
 175. 'EpdTwv, Kwfiitk&ui, broiif,dit out the Me<,'arikaof Simylus as ttuAuiu 
 at th(! Dionysia in 185 b. c, IG. II 975 «, col. ii, W. p. 70. 
 
 176. *Ep>tvos ZijivXou Ka<r<rov8p«vs, TfniytftSo^ at the Soteria at Delphi in 
 270 b. c, SGDI. 2565, 1. 4^. lie is mentioned first in his company. 
 
 177. 'Ep-y6<t>iXos, Ku)fHf>6v<i at the Dionysia at Delos in 268 and 2>Ki b. c, 
 I'.Cll. \ 11 ( lss;{), pp. lOiJ, 112 (on p. WJ {or'Kpy64>i\o<;'Up<Dyo<: reail 'Kpyii- 
 <^tAos. "Itpa>»\i'/A)>os; .see luider No. 254). 
 
 178. 'Ep^Tv^o*, KwntttSoi at the Dionysia at D. los in 263 a. c. lUll. \ 11 
 (1KS3). p. 112. 
 
 179. 'Epp,6SoTos, T/xtyu>^(»s- ( ?). iinccitain date, insc. Teos, Lekis Wad. 
 111. 92, .jiiolrd und.r No. ISO. 
 
 lS(l. 'Ep)i6Ti(iOt 'ApxikX«(ov tow Aiortfiov Mdyvris dtro Maidv8pou, iVoKpiW/? 
 (TitTvpioy, insc'.Tfos, uncertain datr, Lrbas Wad. 111,92: »(»c»/l<r(is ayi$r]Kiv to. 
 wpt'tiTunru Kul Toi\ <TTi<f>d.yoi'<i | ) iy ToTs AioKVO"«'ots. miTi^wi' iVoKptr*;?- 'Vlpfiu- 
 
 Ti/ios", KT^., TpaywSon • M?;rpo<5o)po« | | Kp/xoSoros. iTro»cptn/<;- Ai'ortpos. kt<. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 95 
 
 181. 'Ep(A6<j>avTos, V. K., once victor at the Lenaea ca. 240 b. c, IG. II 
 977 za(v), W. p. 153. Coujecturally restored by Capps TAPA XXXI 
 (1900), p. 134, by identification with the actor mentioned by Jason apud 
 Ath. 620 d in connection with a celebration probably in the reign of 
 Ptolemy Philadelphus: 'laorojv .... <^r?(7tv eV tu> |u,eyaA.w Scarpa) (in Alex- 
 andria) VTTOKpivaaOai 'Hyrjaiav tov KWfjiwSov to, 'HcrtdSor, 'Kp/xocjiavTov 8e to. 
 'Ofxripov. Probably not to be identified with No. 182, see Wilhelm pp. 155, 254. 
 
 182. 'EpiJi64>avTos, viroKpiTr]<i, victor in insc. Samos CIG. 3091, Brinck, 
 Inscr. Gr. ad choregiam pert., p. 207, now dated about the middle of the 
 second century b, c; cf. Wilhelm, p. 254. Hence not to be identified, 
 with Capps, with No. 181. 
 
 183. "EpiAwv, {,. /c., last quarter of the fifth century b. c. Won a victory 
 at the Lenaea some time after 423, when Aristophanes brought out the 
 second Pax in which Apollodorus was the leading actor; so A. Korte 
 Rhein. Mus. LII (1897), p. 168, and above, p. 48. Hyp. Arist. Pac, 
 evLKa "Ep/xwv 6 vjroKpLTrj'i, quoted under No. 41, is thus best explained. 
 According to the scholia Aristophanes Nub. 541 f . alludes to him in 
 the role of 7rpecr/8vnjs : ovSe irpea^vTr]^ 6 Ae'ywv raTrr; Tjj ^aKTrjpia. twtci tov 
 TTupovr'. acjiavL^wv irovrjpa aKwfifJiaTa, schol. ad loc: tovto €is''Ep/Acova(2ep/Atova 
 V) Aeyet rov VTroKpiTTJv. kol yap eKCtvos tov ycAav xdpiv tous cyyus ecrrtoTa? 
 cTirn-TC Tjj ^aKT-qpia. Schol. in Cod. Cant. 3: ovSe irp€afivTT]<;'- o "^ip-epficDV. 
 ^ijuLepjXMv Tts eT€po<; KcoyuiKos eV TLVL avTov SpdfjMTi, etc. An inferior scholium 
 (Brunck ) ad 542 speaks of him as an actor for Hermippus : Tv' 17 yeAws : tovto 
 4>rj(n Sia tov 'E/aittttov, Acat tov Si/Aep/xwj/a tov tovtov vTroKpLTiijv. oiSe Trpea(3vTr]<; : 
 
 WS EnTToAtS iv TOL^ XIpOCTTraATt'oi?, 7] WS CIS TOVTO TO fJiipO'i eV€Tr L(l>0p0V OVTa TOV 
 
 "Epfjinnrov {ol Se St/Aep/xojva tov viroKpiTrjv, Musurus). Pollux 4. 88 records 
 this incident in his career: "Epyncov rjv Kw/xojSt'as vTroKptTrj<;. Xd^wv 8k ficTo. 
 TToAAovs (sc. eiatevat), 6 fxkv dTrrjv tov dedTpov t^s </)<uv^s diroireLpo'yfxevo'i, Tutv 8e 
 Trpo avTov TrdvTwv eKireaovTwv 'Epjiiwva p,£v 6 Krjpvi dvcKaAei, 6 8' ov)(^ inraKov- 
 cas t,r}iJiia. TrA^jyeis elarjyrjaaTO tov Xolttov tt} (rdXTnyyt toiis dywvKTTas dvaKaAeiv. 
 Pollux 4. 143 also speaks of two comic masks, 'Ep/xwveios acjirjvoTrwyayv and 
 'Ep/xojveto? SevVepos, which according to Etym. Mag. 376. 48 derived their 
 name from a certain person of the name: Trpoo-wTreTa ovTio KaXov/xeva ttoim, 
 ttTTo "'Ep/ACDvos TOV TTpwTov €iKovL(TavTo<;. Sluce ouc of the objects mentioned 
 in Etym. Mag. (©rypcKAeios kvXi^) we know on the authority of Ath. 470e to 
 have been invented in the time of Aristophanes, it is not improbable that 
 the 'Ep/AwveTos had its name from the actor. On Hermon see Volker, pp. 
 170 ff., who discusses the various forms in which the name is written in 
 the codices, and rightly identifies the actor mentioned by Pollux with 
 the actor referred to in the scholia, and A. Mtiller B.-A., p. 188. 
 
 184. 'EporCwv, v. T., victor at the Lenaea ca. 280 b. c, IG. II 977 d'is), 
 W. p. 157. 
 
 185. Ev wv, TpayoiSds at the Dionysia at Delos in 171 b. c, 
 
 BCH. IX (1885), p. 147. 
 
90 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 \Hii(i. Evapx'ST]s *A(i,<^i<rTpdTou Boitinos, KU)fiwS6<i at the Soteria at Dtlphi 
 in 271 B.C., S(il)l. 2:>t;t. 1. »;:{. 
 
 IHfi. ECapxos 'Hpo8<5Tov Kop«v«us, as v. TroAma? K<u/«(>6ais victor at the 
 Musaea at Tlu-^pis KK) Tf) b. i., IG. VII 176<), Michel 892; as v. kcuv^ 
 K(u/x(((&as victor at the Amphiaraia at Uropus soon after WJ b.c. ibid. 417; 
 at th«' C'haiit«'sia at Orchoiuemis as jxTforiner of the iiriviKiov: to. tVuiKia 
 Ku,fuxf:vS6<:, Kl. KlfioS6Tov K.. ibid. 31%, Michel S9-1, ca. 100-7.') b. c. 
 
 LS7. EvYi(Twv Evfi,f|8<os AiVKovofvs, rpaywSos at Del;,^hi as representative 
 of the Athenian j^uild of t.'chnitae in 10»;'b. c, BCH. XXX (liK)«), No. 50. 
 p. 2HH, 1. ',V2. His fatlu-r Evfjn}^ Ei^ttVoi'os sau^ in the paean ibid. No. 48, 
 p. 272, 1. H>. Cf. EifjLy&q^: El-yuTovo<: Acvkovo«vs in a tit. .sep. third centviry 
 B. c, IG. II 2301, which furnishes the denioticon. Not in Kirchuer. 
 
 188. Ev8aC)ui>v 'Attikov Oi^^atos, as rpaywSov victor at tlie Musaea at 
 Thespiae HH W.) a. u. iU'll. XIX ( ISU.")), No. 17. p. 345. 
 
 189. EC8ii(to«. Kwfiwdo^ (rpi's) at the Dionysia at Delos in 201 b. c. BC'H. 
 
 VIKlss;',). p. lir,. 
 
 1*.H). EC81KOS 'AXk£(iou, Athenian, tni^^'ic synaj^onist at Delphi as repre- 
 sentative of tlie Athenian «<uild of technitae ca. 97 a. c, BCH. XXX 
 (H>0«), No. 49, p. 278, 1. 38. Not iu Kirchner. 
 
 191. Evfp-y-, V. K., victor at the Dionysia in 163 a. c, IG. II 975 <\ W. 
 p. 69, as restoretl l)y Reisch fvTro] El-tpy [ - tviKa]. Kdhler re.storeil [iirl] 
 Ev€p[y oi'K iycvtTo], retained l)y Wilhelni. Reisch is prokibly v'\}:;ht, for 
 no archon Euerg- is known and there is no other instance in 975 of the 
 failuie of the comic contest for three 55ucces.sive years. 
 
 192. EvSCas, comic actor for poet), uncertain date, IG. II ^SS, Kail)el 
 
 Epif^. Gr. .'58: ^jjAoi o-' 'EAAa? iraaa irodu 6' Itpoi^ iv ayCxriv, Ei'Oia, ovk 
 iSiKO}^ • 05 Tc;(rf I, o\)(l <^i'><T«i, (fji(SoTp\'o<TTt(f>dyw KtDfiwSia ij^iyiXwri ! SciVepo? 
 wv Tfi^ii npQiTO'i t(f>v<; <ro<^tu. .-Vu Unsuccessful deuteraj^onist, acconling to 
 Kaibel, conf. Callim. Ep. ix (7) Schneider: yj\6t WtuiVj^Tos; Kudapijv 6S6v. 
 et 8' iirl Kiaaov \ tov t«oi' ov\ aiTrj, Bax;^t, KtXtvOo*; uyti. cLVAair p.tv Ki/pvKts 
 <Vi /3p<ixvv ovyo/jM Kuipov ! (f>d(y^ovTui, Kttvov 8' 'E/\Aa? ail aro<f>a]y. Hut it is 
 more likely that lOuthias was a p(H>t (cf. cro4>i(f.) of natural ability who 
 diinl youn^ before h(> had won the prize; cf. No. .T2<i. 
 
 193. EvkX<)s, TpaywS6<: at the Dionysia at Delos in 268 b. i.. BCW. VIl 
 (1883), p. 109. 
 
 liM. EvkX<^« 'Idjipov, Kai/A<()8<k, insc. la.sos, ca. 180 150 b. c, Lebas-Wad. 
 
 Ill 284: Ki>&'u« MtUvtitJi' dywvodrrwv ilxVu) irriSiOKav KwfiifSor Ki'tcAj;!- '\ap./3ov 
 r)fiipa<: 8uo, kul tj Oia cyti'tTO 8u>ptdv. 
 
 195. EiKpArns, Tptiyi^i'x: at the Dionysia at Delo> in 171 n. r.. BCH. 
 IX (1885). p. 117. 
 
 I'.W). Evir6X«nos, i. r., vietor at the Lenaea ca. 3iHln.r., UJ. 11 977 .s. 
 W. p. llf). 
 
 197. Evpfijiwv, i. r., once vict<»i- at the Lenaea ca. 272 n. « .. IG. 11 977 
 
PROSOPOGRAPHTA HISTRIONUM GRAECORDM 97 
 
 q(d'\ W. p. 141, assigned to the Lenaeau list of tragic actors by Keiscb, 
 ZoG. 1907, p. 306. 
 
 198. Evpi-irtSrjs, tragic didascalus, son or nephew of the great poet, 
 brought out the Aulian Iphigeneia, etc., in 404 b. o., schol. ad Arist. 
 Ran. 67, Suidas s. EvptTrtSijs. 
 
 199. EvTVXTlS EvTvxovs, Ka)/u,(£)86s 'AcrtavetKr;? 'le/DaTroAetTT^s, insc. Aphl'O- 
 
 disias of 127 b. c, Lebas-Wad. Ill 1619, a decree of the sacred synod of 
 technitae of which he was eTrio-raTTjs. Cf. No. 238. 
 
 200. M. EvTvxiavos 'AOiivaios, as kw/xwSos victor at the Musaea at 
 Thespiae, first half of the third century a. d., IG. VII 1776, BCH. XIX 
 (1895), No. 18, p. 346. 
 
 201. EvTvxos, Ka)yu,(o8osi T. IIAeivt'a) Evrv^^w kw/xojSu) F. IIA,£tvtos Zwaifios 
 avvTp6(f)(o Koi aTreXf.v6f.pw Tet/xtcoTaro), insc. Rome, IG. XIV 1946, IGRR. 
 I 332. The dedicator Zosimus was identified by Borghesi with Zosimus 
 the freedman of Pliny Min., Ep. 5. 19: quod si essem natura asperior et 
 durior, frangeret me tamen infirmitas liberti mei Zosimi cui tanto maior 
 humanitas exhibeuda est, quanto nunc ilia magis eget. homo probus, 
 oflSciosus litteratus; et ars quidem eius et quasi inscriptio comoedus in qua 
 plurimum facit, nam pronuntiat acriter, sapienter, apte, decenter etiam 
 utitur et cithara perite ultra quam comoedo necesse est; idem tarn com- 
 mode orationes et historias et carmina legit ut hoc solum didicisse 
 videatur. Kaibel regards the identification as improbable; but see 
 Prosop. Imp. Rom. 
 
 202. EvxapC8T]s *Eirix<5pov 'Oirovvrios, rpaywSos at the Soteria at Delphi 
 in 272 B. c, SGDI. 2563, 1. 33. 
 
 204. 'Ext'viKos, V. K., once victor at the Dionysia ca. 288 b. c, IG. II 
 977 6 (/'), W. p. 156. Name restored by Wilhelm; Kohler [TeXjmKos, 
 for which the space is insufficient. 
 
 205. 'ExtTos, V. T., four times victor at the Lenaea ca. 260 b. c, IG. II 
 977 o{n), identified by Reisch ZoG. 1907, p. 306. 
 
 206. ^\dpios *AX^|avSpos ZetXas NeiKojAnScvs, /StoAoyos, uncertain date, 
 insc. Tralles, Lebas-^Yad. III 1652 b : rj ^ovXr) koI 6 SiJ/aos irccfxriafv ^Xa.fii.ov 
 AAegavOpov [Z]et[A]av NeiKO/ArjSca y8ioAo'y[o]v 'AcnoveiKrjv Sid re Tr)v tot) Ipyov 
 V'ne.p6\iqv koI to Kocrfjuov tov ^6ovs veiKrjaavTa Se iv 'Ao-ta dyaivas Irf, iv Avkm 
 0€ Kol Ilafji(f>v\La. Ks ■ (3ovXevTr]v 8e 'Avrto^eoji/ Ka, 'HpaKAewroiv yepovaiacTTrjv Se 
 MciAtjctiwv. 
 
 207. ZwtXos ZwtXov SvpdKoo-ios, as v. TraAatas Kw/AwStas victor at the 
 Amphiaraia at Oropus soon after 86 b. c, IG. VII 420. 
 
 208. 'Hy^oxos Kwrdpou, v. t., latter part fourth century b. c. What 
 we know of him is due almost entirely to his wretched performance of 
 Euripides' Orestes in 408 b. c, in which, as the passage fi'om Strattis 
 quoted below shows, he played the leading part, and especially to his 
 
98 HISTORY OF ACTORS AND ACTING IX ANCIENT GREECE 
 
 rPfitatUill of 1. 279, ck KX'fiaTiuv yap av$i<; av yaXijv' opui; cf. schol. ad loc. 
 KiKtufj^Si/jTat 6 <rTi)(0<; 8ta Hy£Ao;^ov tov iiroKpiTTjv. ov yap <f>6d(TavTa BuXtiv 
 Ti]v crvvuAoi<^j/v <7rtAet'(/'aKro9 tov Trvti'/wiTO? toi? axpo<i>^rvo(9 ttji- 'yoA^v' So^at 
 Acyetr TO ^wov, dAA' ov)(l to. * yaXrjvd.' iroAAoi piv oiv aiTo Sitirai^av Tui' 
 KojpxKwv, 'Api.(TTo<f>dvnrj<; Kal STpaTTi? (v ' AvdpurTroppaiCTTr] (I, p. 711, Kock) 
 .... ' Kvpiiridov 8* 6pdpa St^iwruTOi' dttxmicr" (i.f., the Archou) 'Opi(TTr]V, 
 'Hyf\o\ov TOV KviTcipov ( KiKvapou Bt'lltlt-V, Kvvrapoi' Dilldorf) pnadtocrdp^'os 
 TO. wpwTa TcLv tTrad/ \eytiv.' kuI iv tlAAoi? rrat^ajr <f)i]<TL { I. p. 72S. Kock ) 'yaXijv' 
 opui. B. TToI, Trpos diwv, TTOi TTOi yoAj/v; t'tc. Kal iuiii'ptoji' cv Aamj; (I, 
 p. 794 K.) . . . . ' tf>(p' it ytvoiprjv pryaXrj, dAA' Hyt'Ao;^©? oixTos pn prji'i'Cruiv 
 uv 6 TpayiKO? dvuKpdyoi t' ay ets (\6pois fJi-fya ■ * ck KvpdTwv.' etc. He was 
 iiKK'keil also by Aristopliaii«'s. Kan. IMXi: i^tcm 6' wcnrtp 'HyeAox©? rfplv 
 Af'ytif ' tK KVfuiToji', etc.," cf. schol. atl loc.: 'Hyt'Ao;^os 6 Tpaytxos iiroKpi-nj^ 
 oiv TOV EvpiTTt'oov OpicTTrjv iiroKpivopxvos oiToi -rrporjveyKaTo wan pij i'rro\ti>p^crai 
 (K Ti]': (rwu\oi<f>r]<: to 'yuAi7va,' oAAa 8ia)^wp^(Tai pdXXov, uxTTt. 66^ui rijy 'yoA^r* 
 ui-Tov etTTtiv. schol. Dion. Thiac. Gminni. Cir. Ill, p. 1K3. 22 (Hil^'anl): Kal 
 yap 'Hyt\o)(o<i 6 TTJi TpaywStus VTroKpiT?;? oik uv tocoitov w<f)\i]Kii Trap' 'A^Tjvat- 
 ot? TOV ytAwTu. «t T7/V «v T<jj Idpfiuj dir6aTpo(f)ov eyvwKu. Plato coillicus also 
 ridiculed his xoice, Suiil. s. 'Hyt'Ao;^©?: toitov 8< koI ws aTipirrj rijy <f>wy'i]v 
 IlAaTojv <7K<iJ7rT£i,cf. schol. Arist. Kau. 303: ws d7]8i}S Sk -rijv <l><ni'i]v KmptuSuTui. 
 Volker, p. U;7. 
 
 2(X<. 'HYn<T(as. KtDpwBo^ of alK)ut the middle of the third century b. i., 
 •Jason apud Ath. ♦)2() d, iiroKpivaadai 'Hy77<rtav tov KwptuBov to. 'HcridSov, at a 
 ceh'bration at Alexandria, time of Ptolemy Philadelphus. The date is 
 
 furnished by Hermopliantus, No. ISI. Pos.sibly the sou of 
 
 'Uyrjaiov 'Adrjyaloi, No. 558, Kw/i«i>8o< at the Soteria at Delphi in 272 B.C., 
 SCtDI. 25»»3, 1. 58. The name is probably to !)<• restoreil in the Lenaean 
 list U;. II 977 zn\ W. p. 153. ca. 21Sb.c.: 'HlyT^rm]? I I. The initial 
 letter Kohler reports as h. thou<,'h Wilhelm .ifives only I. 
 
 210. 'Hy^o-iititos, Tp<tyw8o« at the Dionysia at Delos in 2S() u.c., lU'H. 
 VII (1S83). p. 1(17. 
 
 211. 'Hir«ip«TTis, Tp<iy«u3os of the timeof Nero. I Luc] Nero9: 'larBpMydp 
 yopxiv Ktiptvov pyTi KwpwSiay dyo>yi^t(T6ai pijTt Tptiyw^tuv, cSoKti Ncpwvi Tpay*^* 
 Sovs vifcixv. Kat Trapj/\doy ei? W/v uycDVuiv ravrrjy irAtt'ois ficV, o 8' 'Mirtipwrr]^ 
 dpifTTa <f)ii)yTJ<: t^wy, irSoKipCiv 8' ctt' aiT»J Kai ftzf/iu^dptio? XapirpoTipo. To? ilu>- 
 doTo^, (vkdrTtTo Kal tov aTi<f>dyov (pdv Kal pr}S' aiijcruy TrpoTtpov i) SiKa ToAavTa 
 Soi'vat' ot Ncpjuvu iirtp tt/? yiK7j<;. o 8' rfypiaiyi t< kuI puvtKiii<; «?;(«• Kal yap 8»; 
 Kal yjKpoaTO inro Trj o'kt/vj; iir' aiTw 8»/ Tuyuivi. fSowyTwv 8< t«Iiv'EAA>/vujv iirl tw 
 'llirupwTi), iripiru Toy ypapp/iTta KtAtituv i<ftthxn uiT«{) toitov. uitov ok iiripai- 
 povTo? TO <f>$typa Kal Br]poTiKw<i e'pt'^ovTo^ utnripTrti N«p(uv ctt' 0Kpt/Sd»Tcuv Tois 
 iaxTov i-TTOKpiTav ofov TTpoa-i'iKoyrd^ Ti Tw npdypxiTi- kuI yap Si) Kal 8€Ato»s «'A<- 
 ^avTivo»>9 Kal oiBi'poxs irpofiifi\r)ptyoi aiTJit uHT-rrip iy\upi6ui kux tov Hjr<ip<i)T»/v 
 <ivu(TT»/<ravTc« wptx tov dyyiov kiovii KaTca^av cuVor Tip- (ftdpiyya Tra/oiTts opdals 
 Tal<i 8«ATot?. Was the actor's name Kpeirott's. or wa-. he men-ly an Kpin>te7 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 99 
 
 212. *HpaK\-, Kto/AtoSds, brought out an old play at the Dionysia in 
 180-170 B.C., IG. 11 975 e., col. i. Probably with Wilhelm/p. 75. 
 'H/3aKA[e6S77s], the comic actor of col. i, 1. 8 ['HpaKAcltS???, 180-170 b. c. 
 See No. 516. Wilhelm's further suggestions, p. 256, are improbable. 
 
 213. 'HpaK-, V. T., victor at the Lenaea ca. 278 b. c, IG. II 977 q(d'). 
 Wilhelm, p. 141, restores 'HpaK[AeiTos — ], No. 218. 
 
 214. 'HpaKXeiSiis, v. t., first in the catalogue of victors at the Dionysia, 
 hence won his first victory in 449 b. c, IG. II 977 p, W. p. 137 'HpaKXet- 
 [8r?s— ]; Capps Introd. of Comedy (Chicago, 1903), pp. 17, 22, n. 62, cf. 
 AJP. XX (1899), p. 402, Wilhelm, p. 138, and Kaibel, p. 171. Wrongly 
 restored by Wilhelm in the Lenaeau list, Reisch ZoG. 1907, p. 308, n. 1; 
 see under KaAAiTTTrt'S?;?, No. 274; and wrongly identified by Wilhelm, p. 62, 
 with the tragic poet Heracleides in IG. II 972, col. ii. 
 
 215. 'HpaKXeCSiis, V. k., twice victor at the Lenaea ca. 255 b. c, IG. II 
 977 ij{u), W. p. 153. 
 
 216. 'HpaKXtCSris, TpaywSos, ca. 180-150 B. c, insc. Teos, Lebas-Wad. Ill 
 
 258 : lepoKXrj<; <l>t'Aa>vos (eTrc'SwKe) rpaywSov 'UpaKXeiSrjv rjixepav /Atav, kol rj TrapoSos 
 
 evp€.v SpaxMv, rj Se Oea iyevcTo Swpeai/. Three others furnished him on the 
 same occasion. 
 
 216 a. 'HpaK\«C8Tis 0vaT«ipTiv6s, v. t., uncertain date, Artemid. 4. 33, 
 p. 223 Hercher: H. v. ®. /xeXXwv ayoivit,tadai iv 'Vtap-r] rov twv rpaywSw 
 aywva eSo^ev (i. e., iv virvw) tous ^earas aTroo-^arretv kol tous Kpiras. iXeicjidr) • 
 ov yap av Tis tous <f>LXov'i diroKTeivuv dAAa Tois i)(6pov<;- Tpoirov ovv riva eAcye 
 TO ivvTTViov ix^povs eo-eaOui rous ^earas kol tous Kptras. dAAws re kol ovk 
 ifxeXXov avTw dTroa(f)ayevTe<; oiaeiv i{/7](f>ovs. 
 
 217. 'HpciKXeiTos 'HpaKXeCSov 'HXjios, kw/awSo's at the Soteria at Delphi in 
 272 B. c, SGDI. 2563, 1. 50. 
 
 218. 'HpdK\€iTos ACwvos 'Ap-ytios, TpaywSos at the Soteria at Delphi in 
 272 B. c, SGDI. 2563, 1. 39, and in 269 b. c, 2566, 1. 51, where the text 
 gives 'HpctKAetTos AtWos 'AdrjvaZos. On the ethnicon see Preuner Delph. 
 Weihgeschenk, p. 76. Identified by Wilhelm, p. 140, with 'HpdK[A€tTos — ], 
 victor at the Lenaea ca. 278 b. c, IG. II 977 q(d'), (No. 213), assigned by 
 Reisch to the Lenaean list of tragic actors, ZoG. 1907, p. 306. Hera- 
 cleitus is third in the company at Delphi in 272 and second in 269; cf. 
 Nos, 124, 406. Kirchner No. 6492. 
 
 219. 'HpaKXeiTos MtivoSwpov MaXXtoriis, v. t., victor at the Romaea 
 at Magnesia Maeandr, middle of the second century b. c, acting in 
 a play of Glaucon in the contest of new tragedies. Kern Inschr. v. 
 Magn. 886. 
 
 220. 'HpdKXciTos 'HpaKXttrov, Athenian, rpaywSos at Delphi as represent- 
 ative of the Athenian guild of technitae in 106 b. c, BCH. XXX (1906), 
 No. 50, p. 288, 1. 32; identical with 'HpaKAeiros Hpa/cAetVou, Trv^ato-r^s Trats 
 in 138 B. c, ibid., p. 198, 1. 11? Not in Kirchner. 
 
lOO HISTORY OP ACTOBS AND ACTING IN ANCIENT GREECE 
 
 ■J22. 'HpoSoTot M«vdv8pov T[T)j4]v£-rT|s, as Tpaya*5os victor at the Honioloia 
 at ()rcli..m. nu> KM) Tf, i-.. c, I(i. VII M196. KeYsch EH- mus. cert., p. 117, 
 
 Rives Bota'jT?;?. 
 
 2"23. Hpdo-rpaTos, >co>//(j<dos at the Dionvsia at Delos in 171 b. c. BCH. 
 IXdMSr)), p. U7; probably also 172 B.C. ibid. VII (1883). p. 120. I'HpJo-Tpja- 
 [tw], Capps TAPA. XXXI (19(KM, p. 122. 
 
 224. 'Hp6<rTpaTos A«wv(Sa, Athenian. Ku/xw&k at Delphi as repres^-ntative 
 of thn Atl.riiiaii -uild of trchnitae in IfMJ B.C.. BCH. XXX (1906), No. ."A 
 p. 288, 1. :V). Not ill Kirciiii.T. 
 
 225. 6ap<rvvwv, KWfjni>S6<; at the Diouysia at Delos in 171 b. c, BCH. IX 
 (1885). p. 117; also in 172 b. c, ibid. VII (188;^|, p. 120. where ©A. 2VN. 
 is to be restor.d 0a!p!.ri''.{o.»'l with Capps TAPA. XXXI ( liXK)), p. 122. 
 Possibly tol)e restored in IG. II 1)75 /, 210-187 B.C., [©aptrvvjajv, see No. 552. 
 
 22r.. e*-, V. T., victor at the Dionysia ca. 398 b. c, IG. II 977 /KOi 
 W. p. 137. The date precludes the restoration 04TTaAd«-] but strong^ly 
 favors Qt[^>po<:], No. 2:^); cf. Wilhehn, p. 137, and Kail)el Urk., p. 188. 
 
 227. ©ifjiUrTwv ndpios, TpaywSo's at the Dionysia at Delos iu 282 b. c. and 
 280 B. c, BCH. VII (1883), pp. 105, lOti. In the former Hanvette-Besnault 
 reports on the ston«' 0c . . . Twvo<i Ilapio?, Robinson AJP. XXV (1'.K>1), 
 p. 180. @€fju(TTO)vo^ llapto^; the graver's error was corriK-ted by Wilheliii in 
 Michel, p. 9-19 (on No. 903), by reference to QifiuTTwv. rp<fya»8o'« in the list 
 for 280. 
 
 228. 0«68oTo« Bo<riX«£8ov, Athenian, comic synagonist, representing^ the 
 Athenian j-iiild of t.-ehiiitar at Delphi ca. 97 b. c, BCH. XXX (11H«), 
 No. 19. p. 278, 1. l\i. Cf. Basileides s. Poseiiloniiis, comic poet ibid., |). 272. 
 11. Ifi, 2*.). ca. 128 n. c. Not in Kirchner. 
 
 22'.>. 0(6SoTos IlveCuvoi 'AOtivaios, traj,''ic syuagouist repifscntiiig the 
 Athenian <:iiild of t.-chnilar af D.-lphi ca. 97 B.C., BCH. XXX (liHHJ), 
 No. 19, p. 278, 1. .37 (cthnicon not given); participattnl al.so in the paean, 
 ibid., 1. 2(5. As rhapscxle ©eoSoro? Ilv^tWo? '.'V^;mTo? was victor at tlu' 
 Mii.saea at Thespiae 100 75 b. • .. I(i. VII 17C.0, liClI. XIX (1895). No. 13. 
 p. .3.39. Kirchner No. 0782. 
 
 2.30. 0«(S8<opos 'AOtivatos, i. t.. one of the fanu)us actoi-s of the fourth 
 ci-ntury, couiitcd i)y i'lut. Mor. :^18/ among the glories of .Athens: 
 TpayiKol 8' uiToi? (i. e., the great pO«'ts) liroKpiTul kuI NiKotrrpuTot xal KjiA- 
 
 AtTTTrt&lt Kul yivWUTKOl KUI @luSo)pOl Kul IIuiXoi (TVVlTOiCTUy, UHTTTtp yi-JtllXO? TToAf- 
 
 TtAoPv Tti<i Tptiywouit Ko/x/xoiTui Kai oi<f>po(f>6poi, fiuXXov 6' i? ayaXfiaTwy tyKtiViTTui 
 »cul )^pv<Tu)Tai mil /iu^tis irapaKo\ov6ohTi%. His date is lixinl approximat«'ly 
 liy the Victors' list IG. II 977 /(»>). W. p. 1 1.5. where he is cn-ilit.-d with 
 four L.-iiaean victories of which thi> first was wt>n .380 75 b. i'. In the 
 City list frag. /<(/■'), W. p. 1.37. it has IxtMi propose<| (by Kaibel I'rk., p. ISS. 
 cf. Willielm, p. 1.3M), to n'stor«< his name ©tJo'&Dpos ], implying a first vic- 
 tory ca. .3'.>0; the ie«.(<»ratioii and ideiitiHcatioii with the gre;it Theodorus 
 
PROSOPOGRAPHIA HISTRIONUM GRAEOORU *I 101 
 
 seem very plausible. That he was an Athenian is shown by an entry in 
 the accounts of the Delphic hieropoioi of the year 363 b. c, BCH. XXVII 
 (1903), p. 13: ©eoSojpos 'A^r;mTos rTTOKptTots Spaxju-as lj88e/A7/K0VTa. Wilhelm, 
 p. 250, rightly identifies this actor with the great tragic actor, whose con- 
 tribution is notably large and shows that he was at the height of his career. 
 With these dates other facts of his life are in harmony; between 369 and 
 359 he appeared before Alexander at Pherae, playing the part of Merope 
 in Euripides' Kresphontes, Ael. Var. hist. 14. 40: ©eoSwpov 8k tov ttJs Tpayw- 
 Stas vTTOKptTov {TroLrjTOv MSS) VTTOKpLVOfxevov Tr]v MepoTTTjv acf)6Spa ip.Tra6(i)<i, 
 o Se es SaKpva c^eTrecrev, eira e^ave'crTrj tov Oedrpov. airoXoyovfj.evo'i 8e lAeye toJ 
 ©eoSwpw <L9 oi' KaTa<^povr)(Ta% ov8k aTtyaao-as avrov ^•)^€T0. oAA' aibovyaevos d to. 
 pXv tCjv viroKptTwv irddri oTos re rjv cAeeiv, to. 8c twv kavrov ttoXltwv ov)(l. 
 Wrongly called TrotTjr^s TpaywSia? also by Diog. Laert. 2. 104, probably 
 misled, as Volker, p. 193, conjectures, by rpaywSos- Cf. Hesych. s. TreAe- 
 Oo^dxp: ®e68<Dpos o TpaytKos VTroKptr^s o^tws iireKaXeiTO. rive'i Be 7roLr)T7]v avTOV 
 cfiaai yeydvevat. The origin of the epithet is unknown. The story about 
 Alexander of Pherae is related also by Pint. Mor. 334 a, but without the 
 actor's name and with the role of Hecabe or Polyxena in Euripides' 
 Hekabe: Oew/xevos rpaywSov ifiTraOecTTepov v<^' rjBovrj<; hiiTiOr) Trpos tov oIktov. 
 avairr]S-^aa<; ovv ck tov deaTpov 6olttov rj fidhiqv aTrrjei, Seivov elvat Xiywv, ei 
 ToaovTovi aTro(r<f)dTT(x)v TroXtVas 6<^6-q<T€Tai Tol^ 'EKd(3r]<; kol HoXv^evr)'; TrddtdLV 
 i-mSaKpvwv. oDros fJ.kv ovv fiiKpov kol Blktjv iirpdgaTO tov Tpaywoov, on Trjv 
 il/vxvv avTov KaOdirep aiSrjpov i/xdXaiev, and also in Vit. Pelopid. 29, where 
 the roles of Hecabe and Andromache are mentioned: rpaywSov 8e ttotc 
 6eo)fX€vo<; EvptTrt'Sou TpwaSas viroKpivo^evov . ... el [xrjSeva TrwTrore twv vtt' avTov 
 <l>ovevop.evo)v rjXer}Kio<; e-n-l rots 'EKayS?;? kol 'Av8po/iax»?s kukoTs 6(f)drj<TeTaL SaKpvtov. 
 Dem. 19. 246 (quoted under No. 62) states that while Aristodemus and 
 Theodorus, oU ovtos (i. e., Aeschines) ra TptVa Ae'ywv StereAeo-ev, did not play 
 Em-ipides' Phoinix, they often played Sophocles' Antigone. Since the 
 title-role in Eur. Oinomaos was taken by Aeschines and Aeschines was 
 constantly associated with Theodorus, Kees So-called Kule of Three 
 Actors, p. 54, u. 3, plausibly suggests that Theodorus took the part of 
 Hippodameia in this play. We know of no male parts which he sus- 
 tained. (Kees' reference ibid, to Aesch. 2. 52 is an error.) That he 
 played also the Elektra may possibly be inferred from Plut. Mor. 737 b : 
 ep^viqadr] re koI ttJs ©eoSwpov tov TpayuiSov yvvaiKos ov Trpocroegafjievr]<; avTov ev 
 Tw (TvyKadevheiv, viroyvov tov dywvos ovTO<i- eirex Se vtK^/cra? elaijXue Trpos avTrfv, 
 do-n-aa-afjievr]<; kol elirov(Ty}<; ' 'Ayap-ep-vovos irai, vvv eKelv' e^eaTC aoi' (Soph. 
 Elec. 2). Arist. Rhet. 3 1404 b 22 praises his voice: kol fxr) So/ceTv Xe'yeiv 
 ireTrXaafxevux; dAAa ireffyvKOTox; .... oTov rj ©eoSwpou (jiwvrj ireirovOe TTpo<i Trjv twv 
 dXXoiv vTTOKpiTuiv Tj fiev yap tov XeyovTo<i Ioikev elvau at 8' dAAorpiai. It is 
 probably the actor Theodorus whose skill in imitating the sound of a 
 windlass is commented upon by Plut. Mor. 18c.- wa-irep yap v6<; /3or]v koI 
 \j/6<f>ov Tpo^tAtias Kal TTvev/xdrMv polt,ov koI daXdTT-q^ ktvttov aKovovres evo)(Xovfieda 
 
1U2 HI'^^TOKV OF ACT )RS AND AlTIN(i IN ANCIENT GREECE 
 
 KOI 8v<r)^(paivofiiv. av Be Ti? TriBayw<; ravra fUftjJTui. KaOdvip llapfitvuiv tijv vv 
 Kal (')t66wpo<: Tas Tpo;(iAui9. Tj^fxida. Th»' coinic pot't Ephippiis set'ins to 
 refer to hhu in the play Homoioi ;i|)U(l Ath. iH'Id : Aioja-o-t'ov Si Spd/xaT 
 tKfMuBiiv St'oi, Kal AT;/xo</)anTO<;, utt' iiroiyjatv <ts Kotw, py]<Tii<; Tt Kara Seiirvov 
 &t6SMp6<: fjLot Afyoi. ef. Koc-k II. p. 'H'AK note. Aristotle reoord.s that Theo- 
 donis insisted on always appearing Ix-fon- the spectators liefore any of 
 the other aetors, Pol. 1(7) 17 13.'M)/> 2^: lams yap ov kukCx; tXtye to rotoiTov 
 OD<oo<upos o Tr/s Tpuywoui^ viroKpiTTfi' ovo(.v\ yap TrtuTrort irapijKey iavTov Trpoiicrdyiiy, 
 ovd€ TCiti> tirriXwy i-jroKpiTwv. ux; otKiiovfifvuiv riov didrptnv tuis TrptoTai? d/coai?" 
 The only rational explanation is that of Liiilers Dion. Kiinstler. p. 57, 
 Volk<r. p. 19.'), and others, that he took the role of th' character that 
 appeareil lirst u|H»n the scene. The other explanation, which has lieeu 
 favored by many and by Hees So-calltnl Kule of Thre«' Actors, p. H7, that 
 he so alt'Ted the text of his play that he shoidd appear first, seems 
 improbabh-. Pausanias 1. 37. 8 speaks of his tomb on the Sacred Way: 
 TTplv Si *) Siufiijvui Tuv Kr}<f>UT6y, &toS<s>pov fiv^fid iari rpaywSiav vTroKpivap.f\'OV 
 rdy Ku6' atTof dpurru. The remark of a The<Klorus quoted by Arist. I\het. 
 3. 1 1 1412(( '.H may Iw that of the actor: fjuTuaTpi<f>ti oio/ao, oIov to QioBwpov 
 <<? NtKiuwi Toy KidapwSov 'dpaTr' tr ' TrpoairoitiTui yap \iyuy to '^paTTtt' Kal 
 c^uTTuTa- oAAo yap At'yti. On ThecMloms ste Sehafer Drni. u. s. Z«'it. I', 
 p. 241. Not in Kirehner. 
 
 2.31. 0«68a)pos M«-yap«vs, TpaywB6<: at the Dionysia at Delos in 2S4 and 
 282 B. c, HCIi. \"li ( l.ss{), pp. im, 105. He appears also in the lists for 
 208 and 2ri3 h. c. ibid. pp. ]()*>, 112, but simply as &e68u>po<i. 
 
 2.32. 0««S8u)pos, Ku>p.w8(k, ca. ISO l.")0 b.c, insc. lasos, L«l);is-\Vad. 1 1 1 •I'A'v. 
 KKUTuto? .\driyoowpov ^rpuToyiKtis )(opr]yi'iaa<i irpoTipov (tVtdojKt) Wtooiopov 
 Ku>/x(udoi', Kal ivpiv 7/ Trapolxy; 8pu;(^»;i', 7/ Si Oia iyiyiTo Siopidy. AiroWwyiiK 
 ^avoKpiTox- ^opr;y7y<rus irpoTipoy ©toSojpoj' K(o/x«uS«»', etc. 
 
 2.33. 0«<58u.pos, Kujp.uiS<;s at the Dionysia at Delos in 172 b. i., BCll. VII 
 (IHH.3;, p. 120, where Paris reports -pwi kuI WtdS<i)po<;. corrected by Hrinck 
 Di.ss. Hal. VII. p. 2( VI. to Koi/xoiiSoi. 
 
 2.31. 6«68wpos 0«o8<ipou, Athmian. comic synaf^'onist at Delphi repre- 
 senting' thr Alli.niaii ^'uiid of technitae ca. i»7 n. i., BCH. XXX iP.HXj), 
 No. V.K p. 27S. I. 31. 
 
 2,'{i'). 0«<S'Tro^iros SwKpaTOvjs 'A^aios diro SiKviivos, Jl^^ r- TruAcna'f Kit>f.nu6ui<i 
 
 victor at the Musaea at Th.spiae 107 lit) it. ... lU'll. XIX ( l>si>r)). No. 11. 
 p. .'{,37, whf-re oidy thf ethnicon is preserved. The name is re.storeil by 
 .lainet by n-fi-rence to ibid.. No. 10. p. .'l"{»i, wlun- Theopompus i> prii-^t 
 of thr technitae. 
 
 2.'M». 0«6<^iXos, appan-ntly a comic actor in a play l)v Ileracleides. latter 
 half .)f thr fourth c. ntury B. c, Ui. II 1)7 J/>. \V. p. 12, a.ssij^Mi. d l)y Hcisch 
 7a\(\. I«H)7. p. 2«.n>. to th.- L.naea. Wilh.lm. j). 12. n.'eillessly s»jj,'p>sts 
 his identity with thr eoniie \hu-\ who was victor at the Dionysia in 3_".t 
 B. c, l(J. II. '.»7I //. 
 
PROSOPOGEAPHIA HISTEIONUM GRAECORUM 103 
 
 237. 0€64>iXos Awpofl^ow KpwTrCSTis, comic synagonist representing the 
 Atheniau guild of technitae at Delphi in 106 b. c, BCH. XXX (1906), 
 No. 50, p. 288, 1. 31. The name is restored from ibid. No. 49, p. 278, 1. 28 
 
 ( Acapodeov, singer of the paean), and the demoticon from A. ©. KpwmST^s, 
 
 ephebe in 105 b. c, IG. II 465, 1. 70; see No. 557. 
 
 238. 0£6<|>pa(rTos 6 Ev({>6pov Tpv<(>wv AaoSiKcvs, KoyfiwBos, mover of a decree 
 of the holy synod, consulship of M. Squilla Gallicanus and T. Atilius 
 Rufus Titiauus, 127 a. d., inscr. Aphrodisias, Lebas-Wad. Ill, 1619: 
 ei(Tr]yri(Tafxevov ©eofjipdaTov tov "Evcfiopov Tpi;<^wvos KwfjiwSov AaoSt/cews .... 
 d.ywvodeTovvTO<; ®€0(f)pd(rTov tov ¥dV(f)6pov Tpv<f}u)vos tov KaXovp-evov ®eo(fipa.(rTov 
 'npei'cDvos AaoStKews kw/jhoSov, etc. 
 
 239. 0£TTa\6s, V. T., victor at the Diouysia in 347 b. c, IG. II 971 e, W. 
 p. 25, and in 341, ibid, g h, W. p. 28, recorded also in the Didascaliae IG. 
 II. 973. Twice victor at the Lenaea ca. 356 b. c, IG. II 977 f(o), W. p. 145. 
 Since he was active as late as 324, his name is not to be restored in the 
 Dionysian Victors'-list IG. II 977 p(e'), W. p. 137, ©e- (No. 226); the posi- 
 tion implies a date ca. 390 for the first victory. In 341 b. c. he acted the 
 Achilles of Astydamas, the Achilles of Euaretus, and the Auge of 
 Aphareus; in 340 the Parthenopaios of Astydamas, to whose notable 
 success he doubtless contributed greatly, the Phryxos of (probably) 
 Philocles, and the Alkmeon of Euaretus, and was awarded the prize, IG. 
 II. 973. He stood high in the favor and confidence of Alexander. Ca. 
 338 B. c. he went as his emissary to Caria to arrange the marriage of 
 Cleopatra, daughter of the satrap Pixodarus, with himself instead of with 
 Arrhidaeus, Plut. Vit. Alex. 10: Siarapax^ets Tre/LCTrei ©eo-o-aAov els Kaptiav tov 
 ToJv TpaywSiwv v-rroKpLTrjv Ilt^oSapu) 8ia\e$6[xevov, ws ^prj tov voOov idaavTa Kal 
 ov (fypevrjpr} p-edapfxaaaaOat to kjJSos ets 'AAe'favSpov. Philip was incensed at 
 this act and visited his displeasure upon Thettalus, ibid.: tov Se ©eo-o-aAov 
 typaipe Koptv^i'ois ottcus dvaTre'/u.i/'OJO'tv €v ireSats SeSe/iievov. Thettalus was prob- 
 ably then acting at Corinth. He took part in the games at Tyre in 332 
 B. c, in which Athenodorus was victorious over him, to the great disap- 
 pointment of Alexander, Plut. Vit. Alex. 29 and Mor. 334 d e (quoted 
 under No. 13). He participated also in Alexander's marriage festival at 
 Susa in 324 b. c. Chares apvid Ath. 538 / (quoted under No. 13). 
 
 240. 0Tipa|x^v»is "A-yvcovos Srcipwvs, wrongly called an actor by schol. ad 
 Arist. Ran. 541: o-TpaTrjyo^ 8e koL vTroxpiTr^s £v/ACTa/8Ar;T09. The error is due, 
 as Volker, p. 163, suggests, to the epithet 'Cothurnus.' Kirchner No. 7234. 
 
 241. 0ripaji,€VTis, V. T., victor at the Lenaea ca. 292 b. c, IG. II 977 iv{b'), 
 W. p. 145. 
 
 242. 0das Nov(i,TivCov, Athenian, comic synagonist at Delphi represent- 
 ing the Athenian guild of technitae ca. 97 b. c, BCH. XXX (1906), No. 
 49, p. 278, 1. 35. Not in Kirchner. 
 
 243. 0pa<rvPo\)\os, V. t., once victor at the Lenaea ca. 388 b. c, IG. II 
 977s, W. p. 145. 
 
104 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 244. dpoo-vPovXos \i')vaia iviKa Eu[ — , - v}iroKpivufjixvo<:. appiirentlj the 
 H'cord of a tra<,'ic actor. I(i. XII i 125. sch^ Wilhelm, pp. 2(>j. 160. Uncer- 
 tain datf, hut probably lat«*. 
 
 245. 0vfiOTA.Tis 4>iXokX<os, Athi'iiian. tragic poet representing the Athe- 
 nian guild of t.'cluiitar at I).lphi in las b. c, IG. II 551 b, 11. 45, 72. Michel 
 l()()i>; another copy BCH. XXIV (1900). p. S6. The s;ime person in the 
 Delphic (hxTee BCH. XXX (liHKj), p. 27.'i. 1. 26. i.s apparently entered as 
 Kwfu^S6<:, l.SH 12H B.C.; hut the inscription is badly broken at this point. 
 
 246. 6vp<ros KptTwvos "E^j^o-ios, comic didascalus at the Soteria at Delphi 
 in 269 B.C.. SCI 1)1. jrw.r,. j. (M. I„ th«' year 271 he had appeared at the 
 Soteria as ^o/j«i'r//<j KtD^iKtk. il)i<l. 15(54. 1. 7M. 
 
 247. 'Ido-c-v TpaXXiov«S$, v. t.. floruit 58 b. c. Pint. Cra.ss. .38: t^s S< 
 »ce<^>uA^<j Tor Kpd(T(Tov KOfu(T$iicn]<; iirl ^I'pu?, amjpfin'ai fjitv ^aav al rpdirt^ai, 
 Tpayiu^dv St v'TTOKpiTT/? ld(Twv ovofjua. TptiAAuuos l)0€y EiptTTi'dov BaK;^^!^ to. irtpl 
 ■njv 'Ayainjv. ivBoKifjiovyTO<: 8' uvrov — lAAaxj;? eVto-ras tiZ avSpCivi kuI vpocrKX'- 
 t^(Ta<: Trpo\<l3aXiv ti? p.((TOv tov Kpdaaov tijv Kt<f)a\i]v. Kporov 8k rif lldpdwv 
 fitrd Kpax'yrj<i kul )^apd<; apa/X€V(uv. tov p.iv "^iWaKrjv KariKKivav ol iirrjptTai 
 fia(nX(ii]<: KtAei'-crurro? 6 8' 'lacrtDV Ta p.iv tov lltvdiux; arKtvoTroa'jpuiTa Trupt&ujcc 
 Tivi Tiitv ^^optirrOtv, TTJ^ Si TOV KpdacTOi' Ki<f>a\rj'; Aa^o/xtvo? Kal dv-a/SaK^^tiVras 
 itripaiviv iKilya to. fJ-fkr] fitr' ivdovauifTfxov Kal uIS^? • " <f>(pofjLev ($ op«o? tXiKa 
 vtoTop-ov tVi fi(\adpa, \ fuiKapiav &rjpav." Polyaenus 7. 41, relating this 
 anecdote, adds that the king g;ive Jason tuJ rpayi^Bw a talent. 
 
 24H. 'I«poKX»t8Tis 'Aetivatos, kw/xwSo? at the Dionysia at Delos in 259 r.c.. 
 BCH. VII (lss;<). p. li;{. 1. 19. 'So Capps TAPA. XXXI (P.KK)). p. 119. 
 for . . o9 'UpoKAfiovt] 'A^vaw. reijorted by Hauvette-Besnault ; the cor- 
 rection i.s confirmeil by Robinson AJP. XXV (P.K)4). p. IIM). who rejmrts 
 'UpoK\€t\ . . .]. The identification propostnl by Koussel BCH. XXXI ( li>07), 
 p. 'Ml \SiK6puux\o<; 'UpoKXcjoisl 'ABrjvtuo<: is therefore wrong. Not in 
 Kirchner. 
 
 249. 'I«poKXf|s N(ku»vos "AOTivaCos, tragic didascalus at the Sott'ria at 
 Delphi in 27 1 and 270 u. v., .SCi Dl. 2561. 1. :A. 256.5, 1. 51 . Kirchner No. 74SO. 
 
 250. 'IipoKXfjs 'IipoKX^ovs ^v<r«i 8i <I>iXutoxi TpaXXiav6s, as v. Kwp.wSiwv 
 victor at th«^ Uoniaea at Magnesia ca. begiiniiM-.: of the fust centiuy b.c. 
 Kern Inschr. v. Magn. HH<1. 
 
 251. 'I«po)jiW|(i<uv Evavop(8ov KvSa9i)vauv«, v. Tptiyw&x?, victor at the 
 Ijonaea in .■^06 a. c, Hi. II 12S9. lirst assign^l to the Lenaea by Capps 
 A.IA. IV (IIHH)), p. 76; restoration \'Upofnn'jnw]y by Wilhelm I'rk., p. 210. 
 who identifies with 'l<popv|>//xaj»'-|. thrice victor at the Lenaea ca. .'^25 b. < ., 
 Id. II 977 »(C). W. p. 115. The victory of :«H) was pn>bably his last. 
 Not in Kirchn.M-; l)ul cf. No. i")27.3. 
 
 252. 'Iip4Tip.o« "IipoicX^ovt TiY«ArTjt, Ku>p.w6<k at tin- .Sdteria at Delphi in 
 269 B.C.. .SltDl. 25»ir.. 1. r,(). .Michel S95. Ditt. Syl.' t)91. He is mentioned 
 first in hi> cotiiiiaiiy. 
 
PROSOPOGEAPHIA HISTRIONUM GRAECORUM 105 
 
 253. 'liptav 'Kpwvos, Athenian, rpaywSos at Delphi as representative of 
 the Athenian guild of technitae in 106 b. c, BCH. XXX (1906), No. 50, 
 p. 288, 1. 31. Not in Kirchner, but cf. No. 7544 'Icpwv 'lepwvos IlaAAT/vcus, 
 ephebe in 119 b.c, probably the same person. 
 
 254. 'Ifpwvvfios, V. K., four times victor at the Lenaea ca. 295 b. o., IG. 
 II 977 uUO, W. p. 153. Victor at the Lenaea in 289 b. c, IG. II 972, 1. 9, 
 W, p. 52, [vTTo: 'lep]u)vvfjLo<; iviKa. Restoration due to Capps AJA. IV 
 (1900), pp. 75 ff., who first gave the correct dating of this inscription and 
 ibid., p. 81, and AJP. XX (1899), p. 403, identified him with the actor in 
 911 y. As KwytAwSo's he appeared at the Dionysia at Delos in 280 b.c, 
 BCH. VII (1883), p. 106, and in 268 b. c, ibid., p. 109, where 'lepwos, 
 reported by Hauvette-Basuault is to be corrected to 'lepwvv/Aos, as seen 
 by Capps TAPA. XXXI (1900), p. 119, and later confirmed by Robinson 
 AJP. XXIV (1904), p. 189. Gravestone with garland of ivy and inscrip- 
 tion 'lepwvviJ.o<; plausibly referred to this actor by Wilhelm, p. 59. 
 
 255. rd'ios 'lovXios 'lovXiavos, rpaywSos, honored by his city in a decree 
 found near Sparta, CIG. I 1420: rj 7rdAi[s 17 2]/Avpvatwv (Lebas) 'lovXiov 
 lovXiavov Tov lSlov TroAetrr/v veiKT^cravra rpaywSous OvpavidSa (Lebas) y', koi 
 HvOia Koi "Aktul Koi kolvo. 'Acrtas HI (Lebas) koL tovs Xolttovs dywva? Trevra- 
 €Tr)pLKOv<; T€ Kal TpuTrjpLKOvs Tfx (Lebas), TToXuTivdiVTa St Iv oXrj rrj 'EAAaSt 
 Koi MaKcSovta Kal (deaaaXia .... Kal K.p7]Twv. Lebas II 179 (X. 
 
 256. "Iirirapxos, v. T., Athenian, six times victor at the Lenaea ca. 
 370 B.C., IG. II 977 t(o), identified by Dittenberger Syl.^ 723, n. 64, with 
 "Iinrapxo^ 'Adfjiovevs, the lover of Neaera, cf. [Dem.] lix 26: /xeTo. ravra tol- 
 vvv iv rrj K.opiv6<o avTrj<; e7ri<^ava)s epya^o/xeVr;? Kal ova-q'i Aap.7rpas, oAAoi re 
 ipaa-Tol yiyvovTUL Kal "Be.voKXe.iSrj'i 6 TroLrjTrj'S Kal "iTnrap^os 6 VTroKpt.Trj<;, Kal ci)(ov 
 
 avTj]v p.i.p.L(T6wp.€voL. Cf. Ath. 593/, Harp. s. ''linirap-)(o'i and Suidas s. 
 "iTTTap-^o';, all of whom draw from the oration against Neaera. Kirchner 
 No. 7599. 
 
 257. "Iir-irapxos 'ApKas, kw/awSos at the Dionysia at Delos in 263 b. o. 
 BCH. VII (1883), p. 112, . . .\ . apxos Hauvette-Besnault, II ITARXO^ 
 Robinson AJP. XXI (1904), p. 190. 
 
 258. "Iirirao-os *Aji,ppaKiMTTis, the name of a tragic actor in Alciphron 
 Ep. 3. 12 (Schepers 3. 48): /<aKos /caKoi? airoXoiro koi a.<f>(Dvo'i flrj Aikv/avios 6 
 ■7^? Tpaywotas V7roKptT>;s. ws yap ivLKa tovs avTire^vovs Kptrtav tov KXewvaiov 
 Kal iTTiracrov tov Ap.^paKLWTr]v Toy's Aicr^^uAou IIpoTro/ATrovs Topu> tlvl Kal yeyto- 
 voTepw <f>(DVTi]fx.aTL ;(p770-ap,evos, yavpos rjv Kal kittoo-tc^^s rjyc (TVfXTr6(TL0v. The 
 names are probably fictitious; certainly no prize was offered at Athens 
 for the TpaywSoL who brought out old plays. 
 
 259. 'IiriroKXfis KCXig, v. t. ov v. k., fourth century b. c, Alexis apud Ath. 
 12o 6 (Kock II. 312): 6 oe Kt'Atc o8' Itttto/cA^S, 6 ^wp-orapt^^os viroKpiTrj^. 
 
 260. 'IiriroicpdTiis 'Apio-rone'vovs T68ios, as TpaywSos victor at the Chari- 
 tesia at Orchomenus 100-75 b.c, IG. VII 3197, and at the Homoloia at 
 Orchomenus, ibid. 
 
100 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 261. 'Ipavof 4>pw(Sov TavaYpaios, as KwfjuuSo^ victor at the Ampbiaraia 
 at Oropiis s(K)n aftrr J^fi b. c. IG. VII 416; victor at the Sarapieia 
 at Tanapra KHJ-Tf), IG. VII 542 and 543, as TpaywSo^ in the latter: 
 Tpayu>Sois Etpuvo<: <t>pvviSov Tuwypcilos. Cf. Keisch De mus. cert., p. 12y. 
 
 262. 'lo-oKpdrns, V. T., once victor at the Lenaea ca. 270 B.C.. IG. II 
 {r,lq(u'K W. p. 141,as.sipneil to the Lenaea by Reisch ZoG. ( 1906). p.a)6. 
 \*lao\Kpa.Ti]^ is (luf to Wilh'liii. KohN'r [5w]>cpaT»7?. 
 
 2(>."}. 'IirvXos Xpvo-oXdov Bo<riropCrns, traf^'ic (lida.scalu.s at the Soteria 
 at Delphi in 272 b. c SGDI. 25()3. 1. 42, where Baunack g-ives 'A](n-\o? 
 or 'Ilo-vAos, but .see Preuner Dclph. Weih^'eschenk. p. 74, in favor of 
 Il<n<A.os. cf. the paean of Isvlhi.s Epid. 1. 62, o^' o xais ck Boa-jropov ^k6ev. 
 
 264. 'IcrxavSpos, v. t., appan-ntly tl»e son of Neoptolenuis of Skyros. 
 the famous tragic actor of the time of Demosthenes. Dem. li>. 10: kui 
 cj(«Dv (i. e., Aeschines) ^^^(avSpov tov NtoTTToAtfior SciTcpaywvicm/v, irpo(n!tiv 
 fiiv Trj /Soi'Xj, t'tc. The scholiast understands "deuteragonist" here in 
 the metaphorical sen.se: irape)^tTai fjiiv toIs Ala)^ivov Adyots 17 /uipTvpia- oik 
 d.ir-^\XaKTai 8i /cat (TKWfifUiTOi, VTrOKpiTr]v yap <;(«i tov (rwayun-i^ofjuvov, i. *'.. 
 Aeschines' political "synagonist " hapiH'ne<l to be, like Aeschines hinj- 
 self, an actor. The interpretation of Demosthenes is much disputetl, and 
 all we know of Ischandrus is derived from Demosthenes. Rees The So- 
 cjdh-il Rule of Three Actors (Chicago, 1908), pp. 33 ff. shows that 
 Ischandrus is the only person ever referred to as a "deuteragonist," that 
 nowhere in Greek literature does the won! bear the meaning of "actor of 
 second parts" or "second actor in a company," but always "helper" or 
 "a.ssistant." It is therefore Ix'st to inteipret it here as the scholiast does 
 and many mo<lern scholars; for the opposing view see Volker. p. 200. 
 The statement of Demochares apud Vit. .\e.sch., p. 2t59 West., is basetl 
 
 upon a misconstruction of Dem. 19. 10: ^rffioxa-prj^ 8' ei apa 
 
 iriOTOTfov atT(p Aryovrt vipl Ala-^axn'. <I>7)(tiv 'IcTj^dvBpov tov Tpaya>8[oxot|oi' rpi- 
 TaywvuTTifv ytviadai tuv Ala)^iyr]r, etc., i. e., since Ischandrus was "deuter- 
 agonist" to Ae.schines, the latter must have Ih'«'u "tritagouist " to hiuK 
 The narrative which DemiK-hares g(H's on to give (({Uote<i under No. 15) 
 of the accidi-nt which bi fell A»'.schines at a performance at CoUytus, 
 where Ischandnis was deutentgonist and Aeschines tritagonist, was not 
 CP-ilit'Hl by the anthor of tlie Vita and should not have Ihh'u accept^nl by 
 Schflfer D'm. u. s. Z«'it I-, p. 24S, and oth«M-s. Harjiocration s. 'I(T;^a»-Spo? 
 is nu'H'ly a jumlile of DenuK-hares: rpayixm iTroKpm;? 6 'lo^rSpds tWi • 
 SoKti 8' aiTw ax'vxrrroKpi.vop.ii'O^ .\itr;^aTf» o pijroip iv KoAAito) KaTairtaur, ica&a. 
 ^rjcn Arjfioxdpi]^ iy Tois AuiAoyois. I.scliandrus had frienils in Arcadia, 
 where no duiilit In- ha<l given iM'rformancfS. and was brought by 
 Aoschim-s iMfon- the Athmian senat*- and «-ccU>sia to pn»sent certain 
 jM)Iitical proposals from them, Dem. 19. IMX\. 
 
 2t>4fi. Ka-, tragic actor or j)0<'t, uncertain tlat*', C'lG. 30S^ (Teos), 
 Tpaytf£ia<; Ka-. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 107 
 
 265. Ka-, V. K., acted a play by Lampytus at the Dionysia in 167 b, c, 
 IG. II 975 c, 1. 24, W. p. 76. To be restored: either KafjSetptxos]* 
 
 Ka[AAt/cpaTT;sl, or Ka[AAt'o-TpaTos]. 
 
 266. KaPtCpixos. V. K., acted the Lytroumenos of Epigenes at the 
 Dionysia in 158 b.c, IG. II 975 d, W. p. 77; probably acted also in 167 
 B. c, ibid., frag, e, 1. 24, ine KafySet'/otxos]- See No. 265. 
 
 267. Kapipixos 0€o8upov 0r)Patos, as v. TpaywSiSiv acted a play by Soph- 
 ocles s. Sophocles at the Charitesia at Orchomenus 100-75 b. c, IG. 
 VIT 3197. Wrongly identified with preceding by Kohler Ath. Mitt. Ill 
 (1878), p. 122, as shown by Reisch De mus. cert., p. 119, n. 6; cf. Dit- 
 tenberger Syl.^ 698. 
 
 268. KaW-, V. K., acted a play by Alexis IG. II 9746, W. p. 41, 
 probably at the Lenaea, cf. Reisch ZoG. 1907, p. 299. Either KaAA[to-- 
 rparos] or KaAA[t7r7rosJ may be restored, see Nos. 280 and 275. 
 
 269. KaWias, v. k., thrice victor at the Lenaea ca. 262 b. c, IG. II 977 
 y(w), W. p. 15.3. Related to the family of Callippus, possibly the son of 
 CalHppus (2) and brother of Callippus (3); cf. Wilhelm, pp. 44, 153. Of 
 the same family Callias s. Callippus, tit. sep. IG. II 3819? 
 
 270. KaWiKXfis, V. T., thrice victor at the Lenaea ca. 275 b. c, IG. II 
 977 q(d'), which is assigned by Reisch to the Lenaea ZoG. 1907, p. 306. 
 Identified by Wilhelm, p. 140, with KaAXtKA^s NiKoo-Tparou Botwrtos, 
 probably a tragic actor, in a Delian inscription of 236 b. c. Doubtful. 
 
 271. KaXXiKXfis Sdwvos Boiwtios, comic didascalus at the Soteria at 
 Delphi in 270 b. c, SGDI. 2565, 1. 66. 
 
 272. KaXXiKpcLTTis, V. K., acted the Traumatia of Philocles and the 
 Synkrypton of Timoxenus at the Dionysia in 155 b. c, IG. II 975 d, 
 W. p. 77; may be also the Ka- of frag, c, 1. 24, 167 b.c. Wilhelm, 
 p. 256, identifies with Callicrates s. Aristocles, singer of the paean at 
 Delphi ca. 138-128 b.c. (BCH. XXX, 1906, No. 48, p. 272, 1. 10), whose 
 son, Callicrates s. Callicrates, was kw/awSos ca. 97 b. c, in which case he 
 was an Athenian; but this is very doubtful; see No. 273. 
 
 273. KaXXiKpdTTis KaXXiKpttTov, Athenian, kw/xwSos at Delphi represent- 
 ing the Athenian guild of technitae ca. 97 b. c', BCH. XXX (1906), No. 
 49, p. 278, 1. 33. Probably of the deme Krioa, cf. KaAAiKparr?? KaAAt- 
 KpaTov Kptwevs, ephebe in 119 b.c, IG. II 469, 1. 92, Kirchner No. 7971. 
 Wilhelm, p. 256, suggests that he is the son of Callicrates s. Aristocles, 
 singer of paean ibid., No. 48, p. 272, 1. 10, whom in turn he identifies 
 with the preceding comic actor. Very doubtful. 
 
 274. KaXXiirir(8iis, v. t., five times victor at the Lenaea ca. 427 b. c, 
 IG. II 977 r, W. p. 145, where [KaAAtTTTrt'JSr?? IT is to te read with Reisch 
 ZoG. 1907, p. 308, instead of Wilhelm's ['HpaKAeiJST??. In 418 he brought 
 out two plays of Callistratus at the Lenaea and was victor, IG. II 972, 
 W. p. 52: KaAAto-Tparos [8eu:] 'A/x,<^tXo;^<o 'I^t'oM, vjre: KaWnnriBrj'i. vtto: 
 KaAAt7r7rt[877S cvtKa]. Said by Duris to have taken part in the welcome to 
 
108 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 Alcibiadt's on his return from exile, though the story is not cretlited by 
 Plutarch. Vit. Ale. 32: u S< Aofpt; o ^a/xio9 .... TrpoaTidrjai toittcks, aiAtiv 
 /liv ilptfTuiv Tois (\avyox'<Ti Xpvaoyovoy rov llvOioviKrjv, KtXiif.iv 8< K.aWiTnri8r]v 
 To»' rdv TpayiuSiiiiv VTroxptrr/v, (ttutw koI $va-TiSa xal tov oAAov' ivaywviov 
 
 afJLTTtxofJiivov Koafxov oiTt 0to:ro^t7ro? oW 'E<f>opo<: oitc Xcvo<^i' 
 
 y(ypa<f>iv, ovt' eiKof ^v orroo? evTpv<f>^aai Toit 'A^iat'ots ^kto <^vy7ji', eto , Ath. 
 53.")*/ (Duris): KiiWnnri&rj^ S' 6 Tpayw&o<i (KtXivi tjjv aTro ttt^ aKT/i-i/s (TToAt/v 
 i]p.ff>u(Tfjiivo<:. The story at least illustrates the fame of Callippities in 
 after times. Istrus and Neanthes relate that Sophocles receiveti from 
 Callippides the grsipes which causetl his death, apud Vit. Soph. p. 129 
 West.: TtAeiT^tu 8' uitov 'laTpo<; Kal 'Sco.vOt]^ (fmal toitov tov rpovov 
 KaXXLTririSrjv {nroKpiTijv a-rr' (pyu<Tui<; ($ 'Ottovitos ;7>co»Ta Trapa rots X6a<i 
 
 TTC/xt/'ai uiToj aTa{f>v\iiv aTroTTnytWa TtXtvrrjaai. [Luc] Macrob. 24. 
 
 This and the story told by Polyaenus show in what demand outside 
 Athens the <,'reat actors were even in the v and iv centuries. Stnita«,'em. 
 6. 10: 'AAe'vui-Spos (f>povpap)^o<; twv iripl rijv AioAi'&i ^u)piwv fU(Tdw<Tdp.i\o<: rwv air' 
 'Iwrta; Tois dpurTois aywviaTd<;, avX.r]Td<: piv QipaavSpov xai <t'iAov«vo»\ iiro- 
 KpiTas Si. KuAAtTTTTiSj/v Kal NiKOCTpuTov. dtav (mjyy^iXc. Trpos pkv tijv Bo^av 
 TiLi' ayojyKTTiiiV crvviSpapov <V rutv tt\j](Tlov rroAttuv aTruiTt?. €7rfi 8< TrA^pts to 
 dttiTpov Tjv, 7rtpt<rT»/cras Toi"? orpaTitoTus Ktii TOis (3apl3dpo\s p^o' tor €<ppovpii to. 
 )^(i)pia, 7rdvTu<; TOi-s ^eura? orAAu/Sior .... toi-s /xtr dTrcAvtrti', uiTO'i Si ra 
 
 ;(wpui 0t'/8ptoi'i TTupaSois aTTT^AAdyr;. This event is to be datetl before 392 
 B.C. with Vcilker, p. 177, cf. Xen. Hell. 4. 8. 18. He is referred to iu a 
 role like that of Telephus by Aristoplianes in Skenas katalamb. I 474 
 KtK'k: wawipil KaXXiirni &rj<: inl tov Kopi'ipuTo^ Kadt^opat )(apbat, and the 
 '• Kallippides" of Strattis, Kock I, p. 714, seems to have been named 
 after him. Was criticized by his elder coutem|)orary Myunisciis for his 
 excessive action, Arist. Poet. 26. 14(51 b 34: rj piiv ovv TpaywSux Toiavrrj 
 eoTiV, <!>? Kal 01 irpoTtpov tovs v-crepois avTwv uxjvto {-TroKptrd?. <!>? \ua.v yap 
 vTripfSdWoiTa ' TTidrjKov' 6 Mvvi'iaKO<i Tor KaAAtTm-t'Sr;!' tKoiAei, touiiVt; 8< So^a 
 Mil irtpi Ihr&ipov »/v. Ibid. 1462 a 9, Aristotle nt-ords a criticism of him 
 for the vul^'arity of his femaU* r6les: elra ovSi KtxmjiTit (Ittuctu aTro^Kipacrriu, 
 (iTTCp prjS' op;^»;<rt?, ciAA' 17 </)avA(o»', ovtp Kal KuA/\i7r7ri Sy tVeTi^dTo Kal ini 
 oAAott, is ovK cAti'^f'pas yvixxixas pipovpfX'wV, cf. Kp. Soc, p. ti2(\ Hercher. 
 Couhl draw tears from his audience. Xt-n. Symp. 3. 11 : on'-yt ^»;r S^Aor. i<f>rj 
 u AvKwy irpo'i Toy <PiXiniroy, on «jri tuj ytAoiToTTottiv piya <f>poyu'i- 8t#cuioT<por 
 y', i(t>i]^ oto/itu 7) KuAAtTTTTiSr/s o i-TTOKpirt/s, os {•mpiTipyxniTai oTi 8i'»tiTut iroWoxs 
 kAuioitu? Kadi^uv. His arrof.ranc( is illustrattHl by th«' story of his met-ting 
 with Aj^esilaus, Pint. .Mor. 212/ ( ^ Vit. Aj,'es. 21): Kai iroT< KaAAtirjrtS»;s 
 o Twy Tp<iy«(»3iaii' t'iroKpiT»)s, ovopua Kal Sov^r i)^wy iy toIs *EAA»;<Tt Kal <rjror8a^d- 
 pxvo^ VTTo 7r(iiT<i>»', TrpoJTor piv diri/iTT^CTtr aiTtij ( .\>.f«*silaus) Kal wpoa-iiira'y 
 imiTa cro)3(ipaiv tk Tois <n'/x7repi7raTovrTas ipfiaXwy ia\<T6y cVtStiVn-To, i-o/u'^wr 
 (KCtror (Ipvcii' Tiro* <f>L\o<f)poin}(Ttti>^ • Tf'Aos &« (77rtr- 'oiV iwiyiyruHTKU<; pi. u> 
 /JucTiAtv. orS' T/Koinrus ihttis" t</xt.' 6 8' '.Ayr/atAiios dro/JAfi/'us tti aiVor c77rtv • 
 
PKOSOPOGRAPHIA HISTEIONUM GKAECORUM 109 
 
 'dAA.' ov TV iaai KaAAiTTTrtSas o SetKTjXtKTas ; ' ovtco Se AaKeSatfxovLoi tovs fii/xovi 
 KoXovcTL. Cf . Apost. 13. 66 : ov tv iaai, etc. Pint. Mor. 348 / speaks of him 
 with Nieostratus, Mynniscus, Theodorus, and Polus as one of the glories 
 of ancient Athens; see passage under Theodorus No. 230. Callippides 
 and Nieostratus in tragedy and Lycon in comedy were considered un- 
 approachable, cf. Philodemus De rhet. p. 197, 7 Sudhaus: KaAAtTTTri ( 8r;s 
 B]e Koi NetKocTTpaTos — eyco <^T70-[a)] — to ttSv ev TpaywSta, Avkwv S" iv Kw/xwSta. 
 The Callippides spoken of by Cic. ad Att. 13. 12 and Suet. Vit. Tib. 38 is 
 a mime and not the tragic actor; see Volker, p. 183. On Callippides in 
 general see Schneider ad Xen. Symp. 3. 11, and Volker, pp. 177 fif., who 
 shows, p. 181, that Grysar De Graec. trag. qualis fuerit circ. temp. 
 Demosth., p. 28, was wrong in assuming two tragic actors of the name. 
 
 275. KdXXi-iriros (1), v. k., acted the Heniochos of Menander at the 
 Dionysia in 312 b. c, IG. II 974 c as restored by Wilhelm, p. 45. This 
 Callippus is probably the Lenaean victor of 306 b. c, IG. II 1289: uTro/c/atT^s 
 K[<o/Aa)iSots iviKa KotA.At7r]7ros KaXXiov SoDVieus, Wilhelm, pp. 210, 44. In 
 this case he was probably the father of Callippus (2) and grandfather of 
 Callias, No. 269. The Lenaean victories of the elder Callippus were 
 recorded in the column preceding IG. II 977^, see p. 66. If with Wil- 
 helm, p. 43, KctA,A[i7r7ros] is to be restored in IG. II 974 b, which Reisch 
 considers Lenaean, as actor of a play of Alexis, it might be either the elder 
 or the younger Callippus; but see under No. 268. 
 
 276. KdXXiiriros (2), v. k., four times victor at the Lenaea ca. 313 b. o., 
 IG. II 911 y(u), W. p. 153, cf. 43. Victor at the Dionysia in 312 b.c, 
 IG. II 974 c, W. p. 45: [vtto: KoAAiJTTTros veio hiK as restored by Wilhelm. 
 
 Ibid. 311 B.C.: [NtKocrTjpaTos 8ev oo-kottwi [wttc: KJoAAittttos vewre. 
 
 He was victor four times at the Dionysia if gr', W. p. 160, is to be restored 
 [KaXAtTTTr] OS nil, as suggested by Capps AJP. XX (1899), p. 404, n. 3. 
 Probably the father of Callippus (3), and son of Callippus (1). Cf. also 
 No. 277. 
 
 277. KdXXiiriros KoXXCou Sovvievs, v. k., victor at the Lenaea in 306 b. c, 
 acting a play by Philemon, IG. II 1289: luTro/cpiT^s [kw/xwiSoTs €viKa 
 KaAAiTrJTTos KaXAtoi; 2owi€vs. Probably identical with Callippus (1), 
 though possibly with (2). Kirchner No. 8086. 
 
 278. KdXXiiriros (3), kw/awSos at the Dionysia at Delos in 268 b. c, 
 BCH. VII (1883), p. 109, wrongly identified by Capps AJP. XX (1899), 
 p. 403, and A J A. IV (1900), p. 80, and later by Wilhelm, p. 43, and 
 Kaibel, p. 192, with Callippus (2). On account of his date he is probably 
 the son of No. 276, and brother of Callias, No. 269. 
 
 279. KaXXio-Tparos, comic didascalus for Aristophanes in the produc- 
 tion of the Daitaleis 427, Babylonians 426, Acharnians 425, Birds 414, 
 and Lysistrata 411. Nothing is known of him as a poet. Falsely called 
 an actor by schol. Arist. Nub. 531: 4>iAwvtSj7s koX KaAAiVr/aaTos, ol vaTepov 
 yevo/Jicvoi VTroKptTol Toii Api.<TTO(f)dvov<i- 
 
110 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 28t). KoXXUrrpaTos, ii. <c., victor iit the Leuaea c<i. 365 b. c, IG. II 
 977 1(/), \V. pp. l»;i. 252. Probably to Ik? rt-stored in IG. II 974 ^. 
 \V. p. 11. KaAA[ t'o-Tparo? 1, actor of a play by Alexis, as Reisch ZdG. 19()7. 
 p. 299, thinks, at the Lenaeji; but see under Callippus (1). 
 
 2H1. KoXXla-Tparos, u. k., victor at the Dionysia ca. 282 B.C., IG. II 
 977 6V(jr), \V. p. 156. 
 
 2S2. KaXXCo-rpa-ros, v. k., acted the Philoikeio.s of Timostratus at the 
 Dionysia in ls.'{n.c.. IG. II 9756, W. p. 72, possibly also in 167 B.C.. 
 ibid.fraf;. '•, 1. 21, Ku[-\; s.h- No. 265. 
 
 2M.3. KaXXtffTpaTos 'E^aK^o-rov OTf^aios, as v. kid^mw^iw' victor at the 
 Amphiaraia at Dropus soon after 86 b. c, IG. VII 419; as K<i>/x<i>So? at the 
 Charitesia at Orchonienus and at the Homoloia at Orchomeuus ca. l(X>-75 
 B.C., ibid. 3197. Not to Ix' identified with the preceding,', cf. Keisch De 
 mus. cert., p. 119 n. 6. 
 
 2M4. KAXXuv KdXXuvos, Athenian, tra/jpc synas'onist, representative of 
 the Athenian ^'1lild of technitae at Delphi ca. 97 B.C., BCH. XXX 
 (190<>), No. 19. p. 278. 1. 37. Not in Kirchner. 
 
 285. Ka)ivaY6pas ZTpdruvos MaXXurtiSi as v. kcuvwv KotfjiwSiwv victor at thi' 
 Heraea at Samos sec-ond century u. c, .1 HS. VII (1886), p. 148, Michel 9()1. 
 
 286. KttvourCow, a Greek actor whom Brutus met at Naplas. Pint. Vit. 
 Bnit. 21: Kul Tiov ircpl Tov ^Lowaov Tt^virwv uvto? (i. e., Brutus) tts Ne'ai' 
 TToKiv K(iTu)8a? (v(TX')^f 7rAet(7Tots ■ Trepi St KavoxTiov th'6? ciTjutpovvro^ iv T6i<; 
 B(.a.Tpoi<i (yfxicfte Trpo? tov; 0iAoi'?. ottos Trtttruvrt? uitov tlfTaydyoxriv • EAAj/voj^ 
 yap oiStiti (SuitTBifyuL Trpom'jKeiv. 
 
 287. Kti^iCotios 'lo-Tiauvs, KiupioBo^ at the Dionysia at Delos in 282 and 
 279 B.C., BCH. VII (1883), pp.'l05, lOS. AcUxl the Trinminomenos of 
 Diodorus at the Lenaca in 288 b. c, IG. II 972; identification by C\ii)ps 
 AJA. IV (I'.MK).. J,. SK. cf. Willi.-hn, p. 61. 
 
 288. KY]<{>i<r(i8<>tpos KaXXCou Boiwrio;, comic dida.scalus at the Soteria at 
 Delphi in 272 ami 271 b.c, SGDl. 25t;.3, 1. 56, 25(54, 1. 65. In 269 b.c. 
 appears as xoptvTr]<: kw/xuco?, ibid. 2566, 1. 76. Possibly, as Wilhelm p. 154 
 sUK'Kests, [ Kjj«^tlo-o&iipo? is to be restore<l in the list of Lenaean victors 
 IG. II 977 (I, date ca. 250 b. c. (The second victory is erase<l on the 
 stone, see Wilhelm, p. 9<).) The same person probably appeared at Delos 
 as KU)p<i>S6<: in 259 n. c., | K»;</>i<ro8ojp jo?, see No. 5^i8. 
 
 2H9. KTi<}>i<roKXt^s, V. T. or v. k.. object of a witticism of the tragic poet 
 Sosipliaiit s (time of Ptolemy I'hilaih-lphus). Ath. 45.3(/.- Hal u 2<i><n<^arj/<; 
 o TroirjTij'i tU Kr](f>uT(}K\tu tov viroKptTifv ittriv Xoi&opwy aiVoi' oxj tvpixTTopov 
 ' <»'«7^(tAo»' yap ay itov,' (f>jj<Tiv, ' et? ra tV;^u» At'^ov. <i /it; KUTuppaiytiy ipiWov 
 
 TOIS irlpUirTlJKiiTlt'i.' 
 
 2*.K). KTi4>i<ro<|>wv. V. T.(?), fifth century. Thom. M.i^. apud \'it. Kurip.: 
 ff>uipaiTa<: hk Toy civrov irroKpiTijv K.i]<f>iiTo<(><l)iTu iiri Ttj yviviiKi. But no (^ne 
 •<lHe re|K)rtM that ('ephisoph(ui was an actor. On tin' contrary, the ancient 
 conunentators who identify the Otpdnioy Vlvpiwi^v Arist. Ach. .395 (T. with 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 111 
 
 Cephisophon do not think of him as an actor. Volker, p. 167, rightly 
 questions the statement of Thomas Magister and leaves the relationship 
 of Cephisophon to Euripides in doubt. 
 
 291. K\-, IG. II 977 m{a), W. p. 164, assigned by Reisch ZoG. (1907), 
 p. 306, to the Lenaean list of comic actors. Doubtful. 
 
 292. KX^avSpos (1), fifth century B.C., said to have been the first actor 
 employed by Aeschylus, Vit. Aesch., p. 121. 80 West.: i^rjaaTo 8' vno- 
 KpLTrj irpwToi fxev KAeavSpw, €7retTa kol Sevrepov avraJ irpoaijxpf. MwvtcTKOv tov 
 XaAKtSea, tov Se rptrov viroKpiTrjv a^Tos e^erpev, ws Sc At/cauxp^^os 6 MetrcTT^no?, 
 2o<jf)OK\^s. Of this actor we hear nothing more. If the statement of the 
 Vita is correct, this Cleandrus is to be distinguished with Volker, p. 152 
 (following Bursian), from Cleandrus (2), who was probably his son. 
 
 293. K\€av8pos (2), V. T., flourished in the last quarter of the fifth 
 century, Dem. Ivii. 18 (c. Eubulides): 8ta/?e/3X7;Kao-i yap p-ov tov Trarep', ws 
 i^evL^ev kol otl p.ev dAous vtto twv iroXep-tcDv vtto tov AtKcAetKov iroXep-ov kol 
 TTpa^ets £19 AeuKaSa, KAeavSpo) ireptTV)(^(av tw viroKpiTrj irpos TOiis oiKetbvs iawOri 
 Sei'po TToAAoo-Tw )(p6vw, irapaXeXoLTraaLv. Thucritus of Halimus was cap- 
 tured in 113 B, c. and restored through the efforts of Cleandrus about the 
 end of the Peloponnesian war, see Kirchner Prosop. No. 7259. Cleandrus 
 must have been an Athenian citizen, cf. Volker, p. 152, engaged at the 
 time in the practice of his profession iirl $£vr]<;, Vv'^estermann ad Dem. 
 Eub. 18, and Volker, p. 152. He cannot have been the actor of Aeschy- 
 lus, though probably his son. Cleandrus was victor at the Dionysia in 
 387 B.C., IG. II 971 d, Wilhelm Urk., p. 23, Wien. Jahresheft X (1907), 
 p. 39, Capps AJP. XXVIII (1907), p. 182. This was probably one of his 
 last victories. His name is not extant in the Victors'-lists, but is prob- 
 ably to be restored in col. i, 1. 10, of IG. II 977 p(e'), W. p. 137 (City 
 Dionysia). Wilhelm, p. 139. In 977 s, W. p. 145 (Lenaea), his name 
 probably stood in the lacuna in col. i, i.e., between ca. 425 and 400 b.c, 
 though it might be restored in 1. 5, where Wilhelm restores [MviTto-KJos 
 II, date ca. 426 b.c; but the former alternative is more probable. 
 
 294. K\^av8pos (3), apparently an actor, uncertain date, in IG. XII i 
 125, quoted under No. 69. Kaibel Urk., p. 188, makes him KwyawSo's, 
 but Wilhelm, ibid. n. 2, expresses doubt. 
 
 295. K\€i8Ti|i.C8tis, V. T. (?), fifth century, Arist. Ran. 791: vwl 8' tyaeAAcv 
 (2o(^o/cA^s), d)s ^<f)r] KA€tS77p.t'S77s, e</>e8pos KadSua-dau and schol. ad loc: 
 KaAXtcrrpaTos, ort icrws 2o<^OKAeovs vtos outos, AttoAAwvio? Se, otl So^okAcous 
 vTTOKpLTrj'i- That Cleidemides bore some relation to Sophocles is clear 
 from the passage in Aristophanes; but whether he was an actor asso- 
 ciated with Sophocles is doubtftd. On this question and on the punctu- 
 ation and interpretation of Ran. 791 see VOlker, pp. 150 ff. 
 
 296. KXeiTos, V. T., victor at the Lenaea ca. 290 b.c, IG. II 911 iv{b'}, 
 W. p. 145. Wilhelm, p. 146, suggests identity with following, but this 
 is doubtful. 
 
112 HISTORY OF ACTORS AND AfTING IN ANCIENT OBEECE 
 
 207. KXitTos, tragic synap^onist, niomljer of the ^lild of technitae of 
 Ptolrmais. n-i^'u of Ptolemy Philadelphus, BCH. IX (1HS5), p. 132. 
 Michel 1017, Ditt. Orient. Gr. iii.scr. 51. 
 
 29S. KX«<i8a>ia5, u. T., once victor at the Lenaea ca. 380 a. c IG. II 977 .s, 
 W. p. 1 If). I KA|tol8a/iu)?, due to Wilhelni. 
 
 299. KX«68«pos, TpaywSik Hi the Diouvsia at Delos in 279 u. ( ., BCH. 
 VII (1KS;{), p. lOH. KA<o|S-l in IG. II 'J" <r{s\, \V. p. 157, ca. 2W) b. c, 
 which Reisch ZoG. (19<)7j, p. 3()H, has rijj:htly assigned to the Lenaeau 
 list of traLric actors, is to l>e restore<l KA<o[8wpo9-]- 
 
 30(). KXidKpiTos, V. T. (?), fifth century b. c, Arist. Av. H77: StWoim 
 KvfitXr], (TTfjoi'Of, fi-yjTtfj KAtoKptVoi', and schol. at! loc.: (KwfxwStiro 8t as ievot 
 Kul Sv<Tytvi'j<:. ii'/x/iu;^o5 irpoiiprjKiy oTi $cvo<; Koi rd^a viroxpiT?/? ; cf . schol. ad 
 Kan. 14Si): Kiv/j-wStXrai kuI uj? itvot kuI is koXu^. 
 
 1^)1. KX«6jiaxos, V. T., beginning fourth century n. c, Arist. Ecd. 22: 
 KuToAa/itu' 8' 17/ias (8pti<; us <Pvp6fiju)(o<; ttot'' etTro', etc.; schol. ad Icx'.: ypa- 
 (fuTiu ' as K Ato/xu;(os ' Kut (fnial KXiofui^ov rpayixov iiroKpiTtjv. oiTOs <^iviTui 
 inroKpivop.fv6<: irun uprjKa'ai 'fSpus' «V SpdfJuiTi kul (aKw<f>6tii. Bia to KaKC/u^roi'. 
 
 8< i<^vpo/iu;(OS \fn')<f>t.<TiMi tlmjyi'nTaTO, axTTi Tas yi'itiiKus kuI tois avSpa<; xu>pl<: 
 Ku6(^crr6ui Kill Tas (Tuipw; ^^oipis tuji/ i\iv$ip<j)y. 
 
 'i()2. KX«6viKo$ KXiOKpdTov 'P6810S, TpaywS6<;, ca. niidillr of the third 
 century u.c, honored l)y the Oropians in a proxeny decree IG. VII 275. 
 The name is to be restorwl in the Athenian Victors'-list IG. II 977 (j{<ti 
 W. p. 150, once victor at the Lenaea ca. 2155, | KAcoukIos ; Wilhclm reports 
 K?|osI. See No. 525. 
 
 3U}. KX(6((vos "AxaioO XaXKi8<vs, kqj/xwSos at the Soteria at Delphi in 
 272 B. c, SGDI. 25»).'{, 1. f)2. Aj)i)eared as koj/hwSos at the Dionysia at 
 Delo.s in 2<)Hh.c., BCH. VII (ISMj, p. 109, cf. Capps TAPA. XXXI 
 (P,HK)). J). 115, and Wilhelm, p. 158. He is mentiou.nl first in his com- 
 pany at Delphi. 
 
 .^(M. KX<<i»v Kpdrwvos 0T|Paios, Ji-^ Tp<iyw8ds, victor at the Soteria at 
 .\craephia s»H>n after .stl a. i ., iCi. \'II 2727. His fatluT Kpdrwv KAttuios 
 (-h](3tuo<i was victor as rhapsodist at the .\mphiaraia at Oropus and at 
 the Gharitesia at Orchonienus, Hi. VII tlS. :U95; s<«e Keisch De mus. 
 cert., p. i;«). 
 
 .'{05. KXi<iwfios ( I 'Axai6s, Tpny<.o6(k at tin- Sott-ria at Delphi in 
 
 2t)9n. c. St;i)I. 25«;r). 1. 57, Michel S95. ' 
 
 .'WMi. KX^fiT^s Bv];dvTios, V. t., time of S«'ptimiiis Severns. Philost. \"it. 
 So[)h. 2. 27. 2: KA»/^t»;v yap «'» Hu^at'Tios Tp<iyu*^<as iVoKpiTi/s v*' M**' "'"^ or-Tru) 
 Tts Ti;r T^)^yr]l', itKui^ 8i Kara tois ;^poi'oi's. oV-s to liv^dvTioy tVoAtopKtiTo, d7r»;tt 
 dfuiprdywy rr/s rtXT/s, <i>s /xi/ Sokojt; St' cros diiSpos Kj}pvTTi(TOu.t rroAts oirAu iirl 
 Vwfuiiox's y/pfmi). dpuTTu oi niTov dyuivurdfiiyoy Kay toTs A/x<^tKTi'o»'iKOiS cWAots 
 
 01 piv 'A^^iKTi'oi'ts ivtiptftfuXoiTo TTJ<; vikij^ 8«ei t»}s TTpotipi)p.t\'7}<: uiVms. aJxiTrr;- 
 S»/fTus ^ iii' opMV " iTTToSpo^os, 'orTot pu,' iliriy, ' ipptttadwv tTriopKorrTts 
 T« Kill 7ru^j«tyiy»(ii«r»,oiTts Tor dixtiiov, iyw 6*. KA>;pt»'Ti Tip- vikuxtui 6iSwp.i.' <'<^cv- 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 113 
 
 Tos Sc Oarepov Totv viroKpLToyv (i. e., his rival protagonist) em rbv /SacriXia, 
 r]v8oKt/xr](T£ TToAtv rj tov 'iTnroSpofXOV i/o^^os, Kal yap 8r} kol inl Trj<; 'Pwp.rj'i iviKa 6 
 Bv^avTtos. 
 
 307. Kpdriis 'AOTivaios, v k., the comic poet, who is said to have been 
 an actor for Cratinvis before he turned to writing plays, schol. ad Arist. 
 Eq. 537: ovros Kw/AwStas rjv ■rroLr)Trj<i, os Tr/awTO? vireKptvaro ra KpartVou, kol 
 atiTos irotrjTr)'; varepov iyevero ; Anon. De com. Kaibel, p. 7, 1. 28: KpaTTjs 
 'A^T^vatos. TovTov viroKpiTrjv cf)aaL ycyovevai to Trpwrov, os eTrifie/SXrjKi KpartVo*, 
 ■n-dw yeAoios kol lAxipos yev6fX€vo<:. His career as an actor was before 450, 
 in which jeav he won his first prize as a poet at the City Dionysia, 
 Eusebius Vers. Armen. sub 01. 82: Crates comicus et Telesila cognosce- 
 bantur; Hieronymus: clarus habetur. This date is in accord with his 
 position as a poet in the Victors'-list, IG. II 977 d(i), W. p. 107 (Diony- 
 sia); cf. Capps Introduction of Comedy, p. 24, and AJP. XXVIIT (1907), 
 p. 195. Volker, p. 168, Kirchner No. 8739. 
 
 308. KpttTTis, V. K., victor at the Dionysia in 188 b. c, IG. II 975a, col. 
 ii, W. p. 70, and in 183 acted the Milesia of Philemon III, ibid. frag, b, 
 col. ii, W. p. 72. 
 
 309. Kp^wv Ev4>dvov 'Aerivalos, rpaytoSos at the Soteria at Delphi in 270 
 B. c, SGDI. 2565, 1. 53. He is mentioned first in his company. Kirchner 
 No. 8783. 
 
 310. Kpirfas KXtwvaios, fictitious name of a tragic actor in Ale. Ep. 3. 12 
 Schepers (3. 48), quoted under No. 258. 
 
 311. KpuToSriiios, V. K., acted the Agnooun of an unknown poet in 
 169 B. c, and in the same year won the victory, IG. II. 975c, W. p. 76, 
 
 [KptTo8]77)U,09. 
 
 312. KpCrwv NiKoSafiov, Athenian, tragic synagonist, representative of 
 the Athenian guild of technitae at Delphi in 106 b. c, BCH. XXX (1906), 
 No. 50, p. 288, 1. 34. Wilhelm, p. 256, suggests that he is the grandson 
 of the comic poet Criton, IG. II 9756, and son of the comic poet Nicode- 
 mus and greatgrandson of the comic actor Nicodemus, ibid. frag, f; 
 extremely doubtful. Not in Kirchner. 
 
 313. AeovTciis 'Ap-y€ios, rpaywSo's, first century B. c, Amarantus apud 
 Ath. 343e/." ot//o<^ayos 8' yjv Kal Aeovrevs 6 'Apyeios TpaywSds, 'AOrjVLwvos fxkv 
 fuidrjTri';, otKexTys Se yevoftevos 'Io/8a tov Mapoucrtcov /SacriAews, ws (f>rj(Tiv ^ Kixa.pavTO<i 
 ev Tots TTcpt (TKrjvrj'i, yeypac^eVat <j>d(TK(jDV eh avTov t68c to cTrtypa/x/jUx tov 'Id/Sav, 
 ore KaKciis rr/v Y\pLirv\r)v VTrf.Kpt.vaTO- ^ firj fxe AeovTT^os TpayiKov Kcvapr]<f>ayov 
 rjXO'i 1 Xevcrauyv 'YipLTrvkrj'i h kukov '^Top opa.' 
 
 314. AcittCvtis, v. t., victor at the Dionysia ca. 430 b. c, IG. II 977p(e'), 
 W. p. 137, [Ae7r]Tii{77s-], restored by Wilhelm, who also proposes [Ae7rrtV]r/s 
 III (ca. 430) in the corresponding Lenaean list, 977 r, W. p. 145; but 
 there is space in the lacuna for fully seven letters; see No. 511 a. 
 
114 HiSTiilO i»F ACTOBS AND ACTING IN' ANCIENT GREECE 
 
 31."). AiKvfivios, a fictitious nanu> of a tragic actor in Ale. Ep. 3. 12 
 Schepers (3. H). l)as«><l probably on the phrase Aixx'/xj'i'ots /Sd-Ws, Hesych 
 s. v., tlt'rivMl in turn from thf Likyinnios of Euripides. Tin- passafr*' i'* 
 quot«'tl unili-r No. 'I^tH. 
 
 31H. AvK(8as Qpatrv^ivov ZaKvvflios, Koj/i<i>8<jf at the Soteria at Delphi iu 
 
 272 B.C., S(;i)i. 2r)>;3. i. i'.». 
 
 317. AuKio-Kos AwKov K«<^aXXav, K(j)fxtit66<; at the Soteria at Delphi in 271 
 and 2fiy b. c, S(iDI. '2Tm, 1. H\, jrjMH. 1. HS; victor at the Lenaea ca. 272 
 B. «'., IG. II 977 i/(ii), W. p. 153. according to Capps's identification AJA. 
 IV (liMJO), p. HI. He is Ijoth times luentioned first in his company at 
 
 Delphi. 
 
 318. Avic6<^pwv, TpiiywSds, insc. lasos ca. 180-150 B. c, Lebas-Wad. Til 
 2r>(): KAtaKi^ f-)<oKAtto)'? )(^op7iYi'iau<: wporipov (eir<8<uK€) AvK6(f>poyu tov Tpayw?>6v 
 Koi ij Trdpo6o<; ivpi ^puxfJ-yv, r) 8« Ota iyivtro Swpcdv. 
 
 319. AvKwv 2Kap<}>«vs, V. K., twice victor at the Lenaea ca. 350 b. c, IG. II 
 977 J"(;>), VV. p. 150. Said by Phihxlemus to Im- to vav iv KwfxiuSia, se*- under 
 No. 274. He was admired by Alexander, whom he acconipanifni to Asia, 
 giving exhibitions at Tyre in 3.32, Plut. Vit. Alex. 29: Avkwvos Si tov 2Kap- 
 
 <f>(Oi^ eujj/wpovKTO? (V Tto 6(d.Tp<u Kol ari^ov u<; rijv KWfiwSiav ffi.fia\6vTo<: uIttjitiv 
 TT(.pii\ovTa Sc/ca ToAarrtoi'. ytAaaus t8o)K€, cf. Pint. Mor. 334/." kw/jhuSoI o' 
 rjirayol nipl XvKajva tov ^Ku/jt^eu- TOtVo* 8' ti? Ttva KOifK^Siav, etc. (ami tile same 
 
 story), and at Susa in 32-4, Chares apud Ath. 539 « (quotetl under No. 13). 
 VOlker, p. 21t5, thinks that the "Lykon" of Antiphanes was named after 
 the actor, and cites the epigram of Plialaecus, Anth. Pal. xiii. H: Tor-T" iyw 
 To iripuTiTov UKovKTfui, \ TOV K(DfiwSoy(\v>TO<; ei's dpt.ap.Pov, Kt(T(Tw Kai aTi<f>dvo(.cnv 
 ap-rrvKacrOiv, €<JTu(r', 6<f>pa AiAwrt aap." eVet'i/. [ oaaa yap KaT(Trpa$€ Xjapirpo^ 
 Ain^p, p.vafjji TOV ^uptfvTo<; €v re X<'«t^^ ' tv t' oTvw t6S€ k^ttJ toi? iirtiTa oyKtiTui, 
 7rup»i8<ty/x«i Ta<; oTrotTras. Breittnbach De gen. (pKxl. tit. com. Att.. p. 58. 
 
 320. AvKoiv ir\a«K]<Tov 'Aerivaios, tragic dida.scalus at the Soteria at 
 Delphi in 272 n. c. S(iDl. 25»).3, 1. 48. The father's nam*- was restore*! 
 by Premier Delph. Weihg.'schenk. p. 74, cf. IG. II S«5. I. 19. Possibly 
 KT;</>ifntiN, Larfeld llaiidl). gr. Kpigr. II i. p. 177. Not in Kireluur; but 
 cf. No. 92t59. 
 
 321. Av<riKpaTTis, v. t., actt-il the Tyro and another tragedy l)y an uii 
 Un.uvn p<H-t at tiie Lenaea in 418 n. c, IG. 11 972, col. ii. Tvpoi TI . I'rrt: 
 Av<TiKpdT\Tjs\. Wilhelm, p. 52. identities with the Lysicrat«'s oi .\rist. A v. 
 51.3, cf. schol. ad loc: ivioi 8< TpayiKov avToi' <^(rt kAc'ttttjv, kuI iT<f>66pa diTyjpov, 
 where we should read <(ujroKptT»;v>. KXiirrijy koi, ktA. Bergk Hermes XVIII 
 (1883), p. 50*), woidd n-ad in Hyp. Eur. PIkhmi. Sta AiwiKparov-; iirl 
 ap\oirro<i instead of tnl Nnx-aiKpaTov; dp'^orro^; se«> \\ ilht'lm, p. tV2. 
 
 322. Av<r(|iaxos EvKparou Boi.wti.os, KwfLw?H)<; at the Soteria at Dt'lphi in 
 270 ». c, SG Di. 25r,5. I. ("^3. lb' is mentioned lirst in his company. The 
 identitication pn.posed by Capi)s A.J A. 1 V ( I'.HX)). p. S7 with the following 
 is im|)oa.sible. 
 
PROSOPOGEAPHIA HISTRIONUM GRAECORUM 115 
 
 323. Avo-£|xaxosi V. K., acted at the Dionysia ca. 150 b. c, IG. II 975/«,, 
 which Keisch ZoG. 1907, p. 299, places at the top of the last column, fol- 
 lowing frag. d. Wilhelm, p. 81, recognizes his gravestone in IG. Ill 2083 
 
 (ivy leaves), [Av](Tt'/Aaxo[9 'A7r]oAAoSw[pov ^Arevs, y6[vo)i 8e ]ibu. 
 
 Kirchner No. 9531. Capps loc. cit. proposed to restore [Ai;cn']/Aa;)(os also ibid., 
 frag. / and to identify with this actor; but it now appears (Wilhelm, p. 80) 
 that the date of i is considerably earlier, 210-187. [Avaifjbax]o<i might be 
 restored in frag, c, 1. 6, 169 b. c; see No. 540. Wrongly identified by Capps 
 AJA. IV (1900), p. 88, with the comic poet Lysimachus in Luc. lud. voc. 7. 
 
 324. M-, Athenian, kw/awSos at Delphi representing the Athenian guild 
 of techuitae in 138 b. c, BCH. XXX (1906), p. 273, 1. 26. 
 
 325. MaCo-wv Me^apevs, v. k. ou the authority of Aristophanes of Byzan- 
 tium apud Ath. 659a b c: cKaAow ol TraXaiol t6v fxev TToXtTLKov fxdyeipov 
 '/Aaicrojva,' tov 8' tKroTriov 'TerTtya.' XpuatTTTros S' 6 <f}iX6(TO(j>o<; tov fuiicrwva 
 awo TOV fxaaaaOaL oUtul K€KXrja6ai, oiov tov afxaOrj Kal tt/dos yacrrepa vevcvKora, 
 dyvo(i)v oTi MatVaJv yeyovtv kw/jlwSui^ {iTTOKptr^s Meyapevs to yevo5, os kol to Trpo- 
 trtoTTCtov €vpe to utt' avTOv KoXovfitvov '/AatVwva,' ws ApL(TT0<f>dvr)<; <^r](jlv 6 Bv^av- 
 Tios €v Tw Trept TrpocrwTTwv, evpeiv avTov <f>a.(TKoiv koL to tov depdirovTO's Trpocwirov, 
 Kal TO TOV fiayeipov. kol cikotws ^at to. tovtols .irpiirovTa (TKoi^pxiTa KoXuTaL 
 ' /AaicrcovtKa. ' .... tov 8e Matitrwva IIoAe/Awv Iv Tot's Trpos TifjuiLOv €k twv iv 
 "XiKcXia cf>r]alv dvai Meyapcov /cat ovk ck tcov Nto-atW. Hesych, S. Maiaoiv and 
 TcVrt^. Eustath. ad Od. 14. 78, p. 1751. 53, are derived from the same 
 source as Athenaeus. On the comic mask Maiawv see Rankin Role of the 
 Mayetpot, etc. (Chicago, 1907), pp. 13 flF. 
 
 326. MaKapjvs AaKid8T]s, v. t., (or poet?) tit. sep. IG. II. 2263, fourth 
 century b. c: MaKapeiJS AaKtaS?7S" 'Ap^£/8tos. | et ere Tvxrj Trpovirefjul/e kol rjXt- 
 Kia<; €trifir)(Ti.v, \ IXttl8i. y' rjada /Acya? tw re SoKcip., MaKapev, j lyvtb^os T€)(yr]^ 
 TpaytKT^s 'EAAr^crtv eaeadaL, \ awcf>poavvr] 8' dptTrj re ovk aKXeq'i edav€<;. "Maca- 
 reus histrio fuit tragicus," Kaibel Epig. Gr. 39. Cf. No. 192 above. 
 Kirchner No. 9654. 
 
 327. Mtvc'SrijjLos, TpaywSos at the Dionysia at Delos in 171 b. c, BCH. 
 IX (1885), p. 147. 
 
 328. MtvtKXris, v. K., once victor at the Lenaea ca. 260 b. c, IG. II 977 
 y(u\ W. p. 153, identified by Capps AJP. XX (1899), p. 403, AJA. IV 
 (1900), p. 82, with the Menecles who appeared at the Dionysia at Delos 
 as KoyfjLwSos in 280 b. c, BCH. VII (1883), p. 107. The restoration [Mej/e]- 
 KXrjs AiokAcov? 'AOrjvalos, kw/awSos at the Soteria at Delphi in 272 b. c, 
 SGDI. 2563, 1. 59, is less probable than [IIoAvJkA^s, both proposed by 
 Capps TAPA. XXXI (1900), p. 126. See No. 406. 
 
 329. MtvcKpcxTTis, V. T., thrice victor at the Dionysia ca. 432 b. c, IG. II 
 977 p(e), W. p. 137, restored by Wilhelm [MeveKJpaT?;?, once victor at the 
 Lenaea ca. 431, 977 r, W. p. 145. Wrongly identified by Wilhelm, p. 21, 
 with the tragic poet of IG. II 972, col. ii. 
 
IV) HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 .'i'{(). MfviKpa-n^s IIoTiiSaiou MtYoptvs, coiiiic didascalus at the Soteria at 
 D»-Iplii ill 272 B. c. Si ) Dl. 2r)8.S. 1. Ml . Possibly the Ktu/iui&i? at the Dionysia 
 at D.-los ill 2r)'.< H. < ., s.f No. ;i^l. 
 
 .'ttl. M«v«Kp4TT)s, Kwfxut^ at th«- Dionysia at Delas in 259 b. c. BCH. 
 
 VII (iHHi^), p. 113. where MiviicfxiTrr; o? 2t'<^vtos is report«tl. But 
 
 th(! ethnicon does not Ix-loug to MotxparTT?, who was rather the Megarian 
 (No. ;^^) alxjve) or an Arrive (cf. ^{fuiKo^ MfvtKpdrov 'Apytt'o?, No. 435), 
 Capps TAPA. XXXI (U)f)()», p. lis. 
 
 3.32. M(v(Kp«LTr]$ 'Aa-a-upiov ZvXXivs, kw/xwSo<: trtpioSovtiKr]<; wupaSo^o?. time 
 of Caracalla. Ui. IV f.s-jH. 1.2.''>. probably a det-re*' of the Teian technitae 
 whose .seat was at Lfb.(los. 
 
 33.3. M^vTwp IIpwTo-yfvovs, Athenian, traffic synaj^onist representing 
 the Athenian guild of technitae at Delphi in lO! b. i .. BCH. XXX (1906), 
 No. 50, p. 2MM, 1. ;«. 
 
 33-1. Mt)v68otos 'Eo-riaCow E<})f|TTios, Koj/ituSd?, tit. sep.. middle second 
 century bc, I(i. II 257S. Kirchner No. 10113. 
 
 335. Mt]v6Sotos MTjTpoStopow nipYa^r^yds, as v. KwfiwSiwv victor at the 
 Romaea at Magnesia ca. middle second century a. c, acting a play of 
 Diomf<les in a contest of new plays. Kem lu.schr. v. Magu. 88 6, Cf. 
 'A&t'nxuo<; yiyjTpo6wpov Ilepya/xjjvo?, l(i. II 3261. 
 
 .'{.'^♦I. MiiTp<i8o»pos, TpaywSo?, member of the guild of technitae at 
 Ptolemais, r.-io-,, of Ptolemy Philadelphus, BCH. IX (1S85). p. 1.32, 
 Michel 1017. Ditt. Orient. Gr. In.scr. 51. 
 
 337. MT)Tp<i6upos T . . . , apparently a comic actor, uncertain date, 
 insc. LeUnlos. BCH. XVIII (1894), p. 21 H: M»;Tpd8ojpo? T under a aimic 
 
 mask. His son apparently is Mrj\TpoSwpov At(3i^o<;. subjt>ct of a 
 
 Teian (ht-nf' referring to Dionysiac exhibitions by him. CIG. .30S9. 
 
 .'5,3S. MT]Tp68«po$ 'H-, Athenian, tragic synagonist repre.senting the 
 Athenian giiil.l of technitae at Delphi in 106 b. c. BCH. XXX (U«06), 
 No. 50, p. 2SS, 1. :\:\. Not in Kirchner. 
 
 JiXrf. MtiTpiSwpos, TpuyojSik, uncertain date, in.sc. Teos, Lelxis-Wad. 
 Ill, 1^2,(^1.. t.d uiid.T No. ISO. 
 
 3.39. MiXtiAStis, Kw/jn^k of till- time of Hailrian, mover of a decre«> of 
 technitae, insc. Ancyra IGHH. Ill 210: {ii(T]irm<Tatitvov Mi(ATuil8ov Kw/ilf!- 
 Sov' (ii^Spo; <T(]^a(TTOvuKov. 
 
 'Mi). M(p«v, ;•. T.. twic«> victor at the Leiiaea ca. as.5 b. ( .. Ui. II 977 .•*. 
 W. p. 145. 
 
 .311. M|v7]<r(6(o« <jviKu?l - |T|a 6<VTipa \liroi(piv6fX€Vo<;^ IG. XII ii 
 
 125 h, dat«' Mini n-storatioiis uncertain; Wilhelm. p. 206. 
 
 .312. Mvifo-(Xoxot Evpiir(8ov 4>\v«vs, v. t-, stH'ouil son of Euripides, was 
 a tragic actor according tit \\t. Eur., p. 1.31. 2t» West.: koI vlois KartXixi 
 Tp€i<:, MvT)<Tap)^i&r]v fiiv irpwTov ip.vopo\\ htxTtpov hi. M tT/crtAo^^ov inroKpiTTijv. 
 cf. ibid., p. 1.39. 25. W.'lck.T Gr. Trag., p. S2. thought that he brought 
 out Ht)me of his father's plays, but tlnie is no cvidi-nce for this. \'olker, 
 p. 16.3. Kirchner No. 10330. 
 
PEOSOPOGRAPHIA HISTRIONUM GRAECORUM 117 
 
 343. MvTi<ri<}»wv E«4)pa"y6pou TpoijTjvtos, TpaywSo's at the Soteria at Delphi 
 iu 271 B. c, SGDI. 2561, 1. 52. 
 
 3-14. Moipa-y^vTjs 'Ava^CXov Kao-o-avSpcvs, rpaywSos at the Soteria at 
 Delphi iu 270 b. c. SGDI. 2565, 1. 55. 
 
 345. Moipttts, Kw/xa>8os, by the techuitae of Asia and the Hellespont 
 veiJ.T]6a.<i (Tvv Trj VTr-qpecria. linTiXuaaL tovs t5)v Aiovrcritov tS)V ev laatu dyoivas, 
 ca. 151 B. c, insc. Teos, Lebas-Wad. Ill 281, Michel 1014. 
 
 346. M6\wv, V. T., latter part fifth century. Dem. 19. 246: tovto 8e to 
 8pafx' (i. e., Euripides' Phoinissai) ovSeTrwTroT' ovre ©eoSwpo? out' 'Apio-To- 
 817/10? VTTCKptVavTO, .... dAAo. MoAwv rjycDVi^tTO Koi el Srj tis oAAos Ttov 
 TraAatwv viroKpiTw. From this it appears that Molon belonged to the 
 generation before Theodorus and Aristodemus, whose activity may be 
 placed from ca. 380 on; he may possibly have been a contemporary of 
 Euripides in his later years. So Volker, p. 163 ff. He was of large 
 bodily size, cf. Arist. Ran. 55: "tto^os; ttoo-o^ tis;" ''/At/cpos, 17X1x0$ 
 Mo'Awv," and schol. ad loc: iraL^eL- tcm yap /xeyaAo'o-w/ios 6 MoAwv. Since 
 he was alive in 405, it is possible that he acted the Phoinissai of Euri- 
 pides at its first performance in 408, and from Arist. Ran. 52 ff. it is 
 possible that he acted also the Andromeda, produced in 411. Didymus 
 and Timarchidas knew of a tragic actor of this period, but Didymus was 
 in doubt whether the allusion in Arist. Ran. 55 was to him or to another 
 person of the name, schol. ad loc: AiSv/aos (furjcnv oti hvo MoAwve's eio-tv, 
 6 VTroKpLTr)<; kol o AoDTroSirrTjs • nal fiaXXov tov AwttoSutt^v Aeyet, os ecTTi fUKp6<i 
 to atofjua. TtytAap;)(t8as 8k tov xnroKpLTrjv Xiyeadai vvvl MoAwva. Cf. Suidas 8. 
 MdAojv and /Ai/cpos tiXlkos MoAwv. The number of his victories is not 
 recorded, but his name probably stood in the lacuna in IG. II 977 p{e') 
 and r. Wilhelm, p. 143, suggests its restoration in r, 1. 4. 
 
 347. M6vi|ios, V. K., acted the Choregoun of Paramouus at the Dionysia 
 in 169 B. c, and as kw/aoiSos brought out the Phasma of Menander as 
 TraAata in 167, acting in the same year the Aitolos of Criton, IG. II 975 c, 
 W. p. 76. 
 
 348. Moo-xiav6s Sfiupvaios, kw/xwSos, insc. Frascati IG. XIV 1860, Kaibel 
 Epig. Gr. 604, IGRR. I 396: S/tupvaTos Moo-^iavo's, eirel 'Oavov, ivdd8e Kelfw-L, 
 \ Kco/AwSos KOL TOVTO 8tatKpiv€t yc TO arjfjjuL' I MapKtavos 8(. yu.' eOaif/e kol eK7;Sevo"ev, 
 oSeiTai, fJirJTe v€kvv rrpoXLTrwv, /at^t' iv ^wois €t' eovTa. [ vo(r(f>ia6€U (3wtov 8k Te'Aos 
 KOL fiolpav (.TX-qcra. 
 
 349. Moo-x'wv EvpovXou rapvaptvs, comic didascalus at the Soteria at 
 Delphi in 270 b. c, SGDI. 2565, 1. 61. Identified by Capps AJA. IV 
 (1900), p. 80, with Mjoo-xtwv, twice victor at the Lenaea as vTroKpLrr)<: 
 Ko/uKos ca. 300 B. c, IG. II 977 y(n), W. p. 153. 
 
 350. Mo<rxtcov 'Eiraiv^Tov 'ApKoLs, tragic didascalus at the Soteria at 
 Delphi in 271 b. c, SGDI. 2564, 1. 59. See under No. 398. 
 
 351. MvvvCo-Kos XaXKiScvs, v. t., flor. third quarter fifth century. Said 
 to have been an actor for Aeschylus, Vit. Aesch. p. 121. 80 West 
 
lis HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 i)^pj/<TuTo 8' litoKpiTij irpuiTiti fxiv KAcdi'Spw. (TriiTu kuI S^iTtpov avnu vpoayjxl/f 
 yi\yi'L(TKuv Toy XoAictSca • Tor 8< rplrov i-rroKpi.Ti]v uitos i^evptv, (l>s St Aixauip;^09 
 o Mto-crr/i'to?. io<^o»cA^s. A Mynniscus of Cbalcis was ridic-uk-d by Plato 
 romic-us (llor. LiO -4(X)), Ath. H44r/; MiwiaKos 6 rpaytxo? t-TroKpiW/s kw/^jj*- 
 SttTui iTTO lIAttTajvos €v }^vp<^Ki i? oi/zof^ciyos ovTo*? (I 642 Kot'k »• 68t fiiv 
 'Aruyvpatrio? 6p<f>ux; iari aoi. i o78 , «o <^t'Aos Mi'wi'«t»cos 6 XuAxiSci's- A MjU- 
 nisfiis appears in the City list of victors, lU. II *J77 p(e ). \\. p. 137, in a 
 position which implies ca. 445 for his first victory, ami is restored by 
 Wilhi'hn in the Lenaean list 977 r, \V. p. 145, ax. 427 b. c. This might, 
 however, Ih' [ KAtarSp [o^, or some other name, as well as [Mi-wutkIo^. 
 Finally, a Mynniscus was victor at the Dionysia in 422 b. c, IG. II 971 c, 
 \V. p. 21. It is a question whether we have to do with two tra«^ic actors 
 of the name or with only one. But sinc*^' it is undeniable that the actor 
 whom Aeschylus us«'(l toward the end of his life was in all probability 
 the victor of ca. 445, and may perf^ftly well have In^en the victor of 422 
 and the person ridiculed by Plato in one of his earliest plays, it is l)etter, 
 with Volker, i)p. 154 ff.. Wilhelm, p. 22. and others not to assume two 
 actors of the name; l)ut cf. Kaibel Urk., p. 188. Volker adds the argu- 
 ment that Aristotle seems to have known but one. Pcn-t. 20. 14H1 h IM: 
 u)? Kul ol irpoTtpov Toi'S wrTtpoi'9 aiToii' uJoiTO tTTOKptTcis, u)S Auiv yap virep/SoA- 
 X.OVTU 'iridrjKOv' 6 MvwiaKOS Tor KaWiinriSrjv fKoXti, touii'tt/ 8< So^a Koi ntpl 
 Uii6<ipov 7]v. Callippides, who was victor at the Lenaea in 418 b. c, wa.s 
 clearly of a later generation than Mynniscus. It is therefore doubtful 
 if thf latter's name is to be restoretl in the Lenaean Victor's-list with 
 Wilhelm for a first victory as late as 427 b. c, on*' line al)ove Qillippides. 
 Mynniscus is mentioned by Plut. Mor. 318/ among the glories of ancient 
 Athens; sec imder No. '2:^). 
 
 1^52 TiP^pios KXavSios Mupio-^6$ UpLvpvaios Kal MdYVT)Si insc. Magn. Kern 
 In.schr. v. .Ma-^'ii. U)5: i) fjoyXij kuI o 8r;^o? (Ttifxijaiy T. K. .M. i. Kal M. Tp«iyt»c7<; 
 ivpvBp.o\' Ktnn}(TOi)<; i-voKpiTijv kuI Sia t^v tov rfdoxx; KiXTp^ov livacTT po<f>i'iv. 
 
 ;i5.3. Mwpwv *tX«To(pov, Athenian, comic synagonist representing the 
 Athenian guild of technitae at Delphi in IW b. c, BCH. XXX (liMX)), 
 No. 5<). p. 288, 1. 31. Cf. Mvpojv AivKoyo€xk, 'o'Jpx^ at Delos UX) B. c. Ui. II 
 985 »• 41. KiicluKT No. 10505. 
 
 .'{51. N-, V. T., victor ;it thr Lenaea ca. 325 b. c, IG. II 977 «UJ. 
 W . |). 1 15. Possibly, as \\ illirlin suggests, Nti«tkrrpaTo?-J, No. 3(59. 
 
 .'^.55. Naiwiitpirnt, v. k., victor at the Lenaea ca. 'MS B.C., IG. II 
 977j-(;>t, \V. p. 150, as restoretl by Kohler. Aeschines i. 98 (345 b. c.l 
 refers to a l\av,TiKpdTrj tw icoj/mkw noirrTT), who is the p(H't nuMition«Hl in 
 IG. II 977 mn, s«'cond quarter of the fourtli century. The c«>rrection 
 propositi by Franke of irouinj to liroxpiTfi is therefore wrong. There is 
 hI.ho no reason t») identify the actor with the po«'t. with Wilhelm, p. 150. 
 If |NauH'<P«'''r: '^ <<' 'x' restor.-<l in IG. 11 971 /» (Lenat>an), W. p. 42. it 
 is probably tlu- port. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 119 
 
 356. Nav<rci)v, v. t., once victor at the Lenaea ca. 227 b. c, IG. II 
 977 q(d'\ W. p. 141, identified by Eeisch ZoG. 1907, p. 306, as belonging 
 to the Hst of Lenaean tragic actors. 
 
 357. NI (Ni- or Nt-), v. t., victor at the Dionysia ca. 400 b. c, IG. II 
 977p(e),W. p. 137. 
 
 358. NI- (Ni- or Ne-), v. t., victor at the Lenaea ca. 225 b. c, IG. II 977 
 o'(u), W. p. 166, identified by Reisch ZoG. 1907, p. 306, as belonging to 
 the Lenaean list of tragic actors. The traces of this name are not 
 reported by Wilhelm to the right of Echetus, but see Capps AJP. XX, 
 p. 399, n. 3. 
 
 358 a. N€okXt)s EvStjiiov 'Ap-y€ios, T/aaywSos at the Soteria at Delphi in 
 271 B. c, SGDI. 2.564, 1.56. 
 
 359. NeoTTToXejios SKvpios, v. t., floruit fourth century b. c. He was a 
 native of Scyros, schol. ad Dem. 5. 6: 6 NeoTrroAe/AOs SKvptos V '^'^'- rpaywSLws 
 vTTtKpivaro. For his date we have three main facts: (1) He won a single 
 victory at the Lenaea ca. 360 b. c, IG. II 977 t{o\ W. p. 145. He evi- 
 dently exhibited mainly at the Dionysia. (2) He became a confidant of 
 Philip of Macedon between his accession in 359 and 347, Hyp. Dem. 19. 2 
 (quoted under No. 62). His reputation as an actor must have been well 
 established before he was invited to give exhibitions at the court. (3) He 
 appeared at the Dionysia of 341 and 340, winning the prize in 341, IG. II 
 973, W. p. 40: in 341 he brought out the Iphigeneia of Euripides as 
 iraXajia. and acted the Athamas of Astydamas, the [ . . . elt of Euaretus, 
 and the Peliades of Aphareus ; in 340 he brought out Emipides' Orestes 
 as TraAata and acted the Lykaon of Astydamas, the Oidipous of (probably) 
 Philocles, and the [ . . . AJtji of Euaretus. After this time we hear 
 nothing more of him unless the story of Diod. Sic. 16. 92 is to be credited, 
 that he took part at Aegae in the wedding festivities of Cleopatra and 
 Alexander Epirotes in 336 b. c: ev yap tw /SamXiKS ttotu) NeoTrroAe/Aos 6 
 TpaywSos, TT/owreuoJV r^ ixeyaXocfxovLo. kol rrj 86ir], Trpoo-ra^avTOS avTw rov <i>iAtV- 
 TTOv TrpocveyKacrdai twv iTTLTerevyfJiivoiv TrotTj/xaTwv Kal //.oAtcrTa tSiv avrjKovTwv 
 Trpos TYjv Kara roiv Ilepo-aiv o-rparetav, 6 fiev Te)(yLTr]<i KptVas oiKeiov v'!roXr]<f>Or]a€- 
 
 aOai TO TTotrf/jM Tij 8ta/3acret rov (^lXlttttov, etc. The following story is related 
 of Neoptolemus after the murder of Philip, the day after the above epi- 
 sode, Stob. Flor. 98. 70, III, p. 233 Meiu.: NeoTTToAeiaov t6v t^<: rpayw- 
 8ta<s V7roKpiT7]v rjptTo tis Tt Oav/xd^oi tojv vtt' Alcr)(yXov Xe^^devrwv rj 2o(^okA€ovs 
 7) EuptTTtSou- b 8k ov8ev fxkv TovTOiv ctTrev, o 8' avros WedcraTO iirl iJ.u^ovos (TKrjvrj'i, 
 ^lXlttttov iv Tois TJ}; dvyarpos KAeoTrarpa? ya/AOts iroixTrevaavra kol TptaKai8eKa- 
 Tov dtov iinKXrjOevTa, rrj i$r)<; iirLcrcfiayevTa ev ro) BtaTpu) kul IppipLfxcvov. The 
 play that he was about to act at the time of the murder seems to have 
 been the Kinyras (Nauck frag, adesp., p. 838), Joseph. Antiq. lad. 19. 94: 
 Kol yap p.tp,os eio-ayerat . . . . , o t' opxrjarrjs 8paijui dcrayu Kivvpav, .... kol 
 ofxoXoyeiTaL 8(. Kal rrjv rj/jiepav iKuvqv yeveaOac iv 17 $i'At7r7rov rov 'Ap-vvTov Maxe- 
 86vu)v /SacnXai kt£lvu Ilav(TavLa<i els twv erat'pwv eis to diarpov eiatovTa. Cf . Suet. 
 
120 HISTOBY OF ACTORS AND ACTING IN ANCIENT GBEECE 
 
 Calif^. r»7: |)anto!niinu.s Miu»stor tiaf,''m*«liani saltavit quam oliiu Neoptole- 
 mus tni','(M'<ius ludis quibus rex MactKloiuun Philippus oceisus est egerat. 
 ThtTc is nothing' chroiiolo^ncally improbable in this account. But Ter- 
 tullian I)e anima 48: Neoptoleinus tra^'otxlus apud Rhoiteum Troiae 
 scpulcruin Aiacis nionitus in sonmis ab ips<j ruina liln-rat at cum lapidum 
 senia deponit, dives inde auro redit, seems to have confoundeii the actor 
 with the companion of Alexander of whom Arrian Anab. 2. 27. 9 speaks, 
 as Vttlker. p. 210. surmise<l. N»Hiptolemus seems not to have Ijeen one of 
 the lar^'e number of famous actors whom Alexander took to Asia; his 
 activity was probably endtnl Iwfore then. But it is hardly probable that 
 his uam<> is to be restored in the Dionysian Victors'-list. IG. II 977 pie'), 
 W. p. ia7. where Capps AJP. XX (181>*M, p. -103, reportwl NI. Wilhelm 
 N?I. The date of his first victory would then have Ix'eu ca. 390. v.hich 
 is far to<j early in view of the other chronological data. His name is restored 
 as victor in 341 b. c. in IG. II 971/, \V. p. 27, on the Ixisis of 973, 1. 15. 
 That he was made an Athenian citizen is probable in view of his influence 
 in brinf,'inf^ them to accept the jjeace with Philip, Hyp. Aesch. 2: 'A^valot 
 'PlXittitw ■7roKtfMy]CTavTi<;, v(TTtpoy iirtifrOricrav inro 'ApuTToSr^fiov Kal NtOTrroXe/iov 
 Kal Kttto-k/xLvtos eiprjv7)V Trpo? atToi' 7rotTJfra(7^ai, Dem. 5. iy. iraXiv TOiVrv, w 
 ay8pi<i ' AdrjyaiiH, kutiSIdv NtOTrToAt/xor Toy i'lroKpiTijv, Tcp fikv Trjs Tf^^VTf; irpo<T)(i] 
 fjuuTi Tiry;^ui'OKr' d8<uis. Kaxa 8' fpya^6p.e\'oy to, /it'-yicrTa rijv ttoKlv, Kal ra irap' 
 
 VfJiwy SioiKovyra 'pLXi'-mru) kol TrpvTayivoyru kul ovKtr' iv TOVTOts ulri- 
 
 darofuxi Toi»? virip Ntoirrokifiov KcyoyTw: (oi'St ei? yap tJv). dAA' aiTOis i'fia.<:- il 
 yap iy i^ioyixTOv Tpayw6ov<; (ucairacrdt, oAAa fiyj irtpi (TutTrjpui^ Kai KOiyu)y Kpay- 
 fxaroiy ^y 6 Aoyos. ovk ay ovTo><i oit' extiVov irpot xapw oxt' (px>v Trpo? an(\6tiav 
 ^KoiVruTt. For a full inter])retation of this pa.s.siiire, which implies a hi^h 
 compliment to Xtn^ptolemus as an actor (of old plays), see alMive. pp. ti f.. 
 at»d schol. ad 1(K'. fjuotini there. Thouj^h he actetl as a messenger from 
 I'hilip, Dem. 19. 315 ((pioted under No. «)2|, he s»>ems never to have l)een 
 appointed on an Athenian embassy. After the peace h»> was under suspi- 
 cion at Athens, sold his property there, and went to Mac«*donia, Dem. 5. S; 
 but this was either after .'MO or el.se his stay was not permanent, cf. Ui. 
 II 97.3alH)ve. Kxcept for the record of this inscription we are not infiMiiied 
 as to th«' riMes he play«><I. On Ischandrus the tnif.:ic actor and apparently 
 his son. s«<»' under No. 2<>4. It is reporttnl by Vit. X.Orat S44/ of Demos- 
 thenes: TO? Si 7rvtv^iaro<> uutoj (VScorro^. N<07rToX«/Li<iJ Tip iiroKpiTij fii'pia^ Soiviu, 
 ly' oAti? iripiu&ovi (iTTi'twTTtixj Ac'yj;. cf. Photius Bil>l.. p. 493(j. I. 21. Bekk.: 
 N<oirTt>A«p.<u Tw irroKpiTij /xvpui; iSiOKiy iva ui'toj crviYnrxT/trrj Toy Toyor Tov irvtv- 
 fjuiTos- W hether the cleiiication on the acrojH)lis, of which Polemon apud 
 .•\th. 472c spr;iks, was i»y the actor is uncertain: ra ■^pi-o-d 0T;pt#cAtm iiro^vXa 
 >itimT,'>\tfun I'u'tOijKiy. Schftfer Deiu. u. s. Z«'it I. 2, pp. 24H (T. Kirchner 
 No. 1(M;47. VnlUer. pp. 207 (T. 
 
 .'WO. N«oirr<iX«|io«, rpdywdos'. Athenian, ajnl»ass;idnr of tlie AtliiMiian 
 technitae to llir .\m|>hictyoni<' (\»iniril in 27S h. c„ IG. II i").")!, 1. 3S, 
 
PROSOPOGEAPHIA HISTRIONUM GEAECORUM 121 
 
 Michel 1009: fios rpaytoSos. Another copy of the same 
 
 decree BCH. XXIV (1900), p. 82, where the full name is preserved. 
 Kirchner No. 10647 fin. 
 
 360 a. Nero, the Roman Emperor Claudius Caesar, added to his passion 
 for celebrity as a singer and musician the ambition to be a great tragic actor. 
 He seems to have given performances at Rome, but his career as an actor 
 culminated at the time of his journey to Greece in 67 a. d. He introduced 
 a musical contest into the Isthmian and Olympian games against the 
 custom and seems to have caused the latter to be deferred for one year to 
 suit his convenience, Eusebius Vers. Arm, s. 01. 211, cf. Suet. Nero 22. 
 The fullest account is found in Cassius Dio 63. 9ff.: cSetTo ws BpaTr€Tr)<:, 
 f7roSr}y€LTO <l>s Tv<f)X6<>, iKvec, ertKTtv, ifjuaivero, tov T€ OtStVoSa Koi tov ©vearrjv, 
 Tov T€ UpaKXea kol tov 'AXKfxuiwva, tov re OpicrT-qv <i)s TrXrjOu viroKpLv6ixevo<i 
 Kal TO. ye Trpocrojird ttotc fxkv avTots CKetVois* Trore 8k Kal eauTo) UKaafxeva i(f>epe, ra 
 yap Toiv yvvaiKiDv iravTa irpos Tr)v 2a/3tVav iaKCxJaaTO. Gained the titles 
 TTvOioviKr]^, SXvixinovcKrjs, 7repLo8ovLKr]<;, TravTOVLKrjs, ibid. 10. On his acting 
 of the roles of Herakles and Kanake the following anecdote, ibid.: eh /xev 
 Tis CTTpaTLO)Tr)'i, iSoiv avTov SeSe/ieVov, rjyavdKTrjae kol TrpoaBpafxcov tXvaev. crepos 
 Se, ipofj-evov rtvos ' Tt ttoici 6 avTOKparwp; ' oLTTCKptvaTO otl ViKTet' • kol yap tyjv Kava- 
 K-qv vTreKpLvaTo. Suet. Nero 21 : tragoedias quoque cantavit personatus, 
 heroum deorumque, item heroidum ac dearum personis effectis ad simili- 
 tudinem oris sui, et feminae prout quamque diligeret. inter cetera 
 cantavit Canacam parturieutem, Oresten matricidam, Oedipodem excoe- 
 catum, Herculem insanum. Philost. Vit. Apoll. 4. 24 says: iviKa 8e mi 
 Tpayw8ov<: iv 'OXvfXTTLa, and alludes to the roles of Creon, Oedipus. Oenomaus, 
 and Cresphontes. Luc. Nero 8 (quoted under No. 211) tells how Nero's 
 jealousy of a rival tragic actor at the Isthmia caused the latter's death. 
 Philost. Vit. Apoll. 5. 7 relates the following anecdote in connection with 
 Nero's tour of Greece: iTrei8r] koL al HvOikol ^8r] dTrr/yye'AAovro, TpaywStas 
 VTTOKpT^? Twv ovK d^iovp-cvajv oLVTayMVL^ecrOaL t<Z Nepcovt, iirrjeL Tai; kcnrepiovi 
 TToAeis dyetpwv, koI ttJ T€)(yr] ^pwixevo<i 7]v8oKt/xet. irapd Tol'i tjttov /Jap^dpois, 
 Trpoirov pxv ot avTo to ^kuv Trap' dvdpoiTTOv<; ol ixyjiroi TpaywSt'u? rjKovtrav-, eiT 
 iTT€i6r] Tas Nepcovos //.eXcoStas aKpLJSovv e<f)aaKC. TrapeXOoiv Se es ra 'IttoAxi <f)oj3ep6'i 
 fx€v avTot? i^aivtTO Kal ov ecrtoiTra ^(povov i-rrl Trj<i (TKrjvrj'i, Kal opwvTes ot dvOpMirot 
 l3a8iXovTa fikv avTov /i.eya, Ke.')(r]voTa Se toctovtov^ ec^ecrrtora Se oKpifiaaLv ovtcos 
 vxl/rjXo'i'i TtpaTOihrj re to. irepl avTov iaOy/xaTa, ovk d(f)o(3oi rjaav tov ax^jMiTO'i, 
 iTTcl 8 i^dpa<; Trjv <f)(ovr]v yeycovov i(f)deyiaTO, 4>vyrj ol ttXucttol ^ypvTO, wairep vtto 
 Sat/Aovos ip.fior]6€VT€^. 
 
 361. Nik-, i. T., victor at the Lenaea ca. 322 b. c, IG. II 977 t{o\ W. 
 p. 145; might be Ni/<[ oo-Tparos-] No. 369 (Wilhelm); but the date is some- 
 what too late. 
 
 362. NCKavSpos, V. T. or k., uncertain date, Philodemus De mus. 4. 14, 
 p. 80 Kemke, as emended by Wilamowitz Hermes XXXVII (1902), p. 305: 
 after refuting a statement of Diogenes of Babylon about Agathon and 
 Democritus he continues: ouSe NtKavSpos 6 v[7r]oK[pLTr]s;] tovto TrapeaTrja-e 
 
122 inSTOBY OF ACTOBS AND ACTING IN ANCIENT GREECE 
 
 8ia TU}v[!pywy], a\X' (TrKdiTjatv tiirep apa. This reft'is back to i. 28, p. 16 K.: 
 NiKafSpo; 8< Tov [viroKpiTtfv] (Tri8t.LKvvfttv{^ov Tuvra Tocs] tpyoi<: SiBd^cu]. EitluT 
 the comic poets or Dioj^enes were responsible for his reputation for 
 lasciviousuess, of. \VilanK)\vitz, loc. cit. The association of his name with 
 those of Af^athon and D.-mocritiis su^'g'fsts an early date, and makes 
 probable the restoration Nt] xaj'Spos- 1 in IG. II 977 p [e ). W. p. 137, date 
 ca. 39() B. c. 
 
 '^'{. Nik68t))i,os, v. k., act«Hl the Erchieis of an unknown poet at the 
 Dionysia in ca. 212 b. c, and was victor the same year, IG. II 975/, 
 *Kp;(irt'o-i I virt Niko87;]^u><;, [vtto: NtKoSrj/xo? eVi/ca], st^ p. W2 alx)ve. Two years 
 later acted th»' 'Awi- of Aristocrates. ibid., 1. 7, as restonnl by Wilhelni. 
 
 p. 68: [ttot) 'ApioTo Ikpcitt;? 'Aire- v\ire NikoStj/xo?. Not to be 
 
 confoundetl with th*- comic poet of the .s«'Cond century in IG. II 977 o{m i, 
 W. p. I'M, which Keisch ZoG. 19()7, p. 30."), wronj^ly assigns to the Lenaean 
 list of comic actors. 
 
 3(>4. NiKdXaos 'Hir«ip«Tr)s, T/juyu>6o? (8is) at the Dionysia at Delos in 279 
 B.C., BC'H. VII (1SS3), p. lOS. 
 
 .'{65. NiKiSXaos, V. K., acted the Homouoia of Agathocles at the Dionysia 
 in 1.55 B. c, IG. 1 1 975 d, \V. p. 77. Victor in 1.58 b. c, ibid. Wilhelm, p. 256, 
 makes the iloul)tful suggestion that he is the fath«'rof Alexanders. Nico- 
 laus. an Athenian, singer at Delphi in 13S b. c, BCH. XXX ( liM^i), No. 4S, 
 p. 272, 1. 15. 
 
 .'{6r). NiKoVoxos, V. T., victor at the Dionysia ca. 148 b. c., Ki. II 977 ;>(*''), 
 W. p. l.'{7. IdentKieil with Nicomachus mentioneil in Arist. Kan. 1.5()6 
 (kuI So? TovTi KXtofftwvTi. (f>(pMi\ Kill ToiToval Tciicn Tropttrrai?, yivpfjLrjKi 6' ofiov 
 Kul NiKOfiux<i>} by Capps A.IP. XXVIII (liK)7), ]). '.H), cf. schol. ad \oc.: oi-Sc 
 yap 6 SiKopu^o*; (sc. tcoi' 7ropKTT(iiv r/il. aAAa 17 t<x 6 TpayiKty; l-iroKpiTjf<;, -q o 
 TroAtTT/s. 
 
 .'i67. NiKo'fiaxos noXvKX«(8ou Boninos, Kotfiw^'x; at the Sotcria at Delphi in 
 272 B.C., S(il)l. 25«;:{. 1. 51. 
 
 .368. Niit6«rTpaTos, u. t.. tluic«' victor at the Lrnaea ca. 425 ». ( .. U;. II 
 977«, restonnl by Wilhelm, p. 145 | NiKwrrpti jro? III. Hestore<i by Wilhelm 
 al.so as the victor at the Dionysia in ."$99 b. i'. in IG. II 971c, | i-7ro»«,ptr»'/« 
 NiKoo-TpluTo?, Wien.lahresheft X (liM)7), p. .■?9. Nicostratus was one of the 
 famous actors of the fifth century. Plutarch mentions him with Callip 
 pides, Mynniscus, TheiHlorus, and Polus jus c)ne of the glories of ancient 
 Athens, Mor. .'V18 /, (piote<l under No. '2i^). He and C^allippiiles were re- 
 ganhnl as having reached the pinnacle of perfection in tragic acting as 
 Lycon in comic, and his greatest success s«H'ms to have l)oen in me.ssenger- 
 roles. Cf. rhiltnlemus De rhet., p. 197, 1. 7. Sudhaus: KciAAt jptti'I S»;< S)i khI 
 N«iKo<rTp«iTf>«; iyu) <^j;(rl(i>] to wtiv iv Tpuyw?na, and the proverb iylu iroo/crco 
 ■ndvra Kara Sikwttihi.tov. .Sehneidewin- [..eiitsch P:iro<>m. Gr. I, p. .'^95: 
 o Ntx(j<TTpuTo<; TptiyiKiyi vnokp<.ri)>i 8oKwy KtiXXuTTu cip?;KfViu, and prt)V. Coislill. 
 124: <jri Twy opOuxi irayra iroiovtTwv. yv yiip o NtA(xrrp<iTOs viroKpiTif<i rpayiKos, 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 123 
 
 dpLaTO<; Kal fiiiXiCTTa iv rais ToJv dyye'Xwv CTrayyeXtai?. o6ev Kai Ttvcs fxirov " eyci 
 TOi (fipdao) navTa Kara NtKoo-rpaTov." Sllidas S. iyw Troirjao) falsely says: 
 
 Kwju.w8tas rjv vTroKpLTrjs. Polyaenus 6. 10 relates that Alexander, phrurarch 
 of Aetolia, hired tw dir' 'Iwvtias tovs dpLaTov<s dyconaras, avXrjTas p-ev ®ep- 
 aavSpov Kol ^iX6$evov, VTro/cpiTas 8e l^aXXLTnrtSrjv kol NtKoo-Tparov. See full 
 passage under No. 274. This was before 392 b. c, Volker, p. 177, cf. 
 Xeu. Hell. 4. 8. 18. His recitation of tetrameter lines to the accompani- 
 ment of the flute seems to have been especially pleasing. Xen. Symp. 
 6. 3: ^ ovv (SovXtaOe, £^17, wtrTrep NiKocT/aaTos 6 viroKpLTr]^ rtrpapLtTpa irpos tov 
 auAov Kare'Aeyev, ovt(i> kol vtto tov avXov vpXv StaAeyw/xat. Meineke I, p. 347. 
 
 369. NiKoo-Tparos, V. t., brought out a play of Euripides as TraAatd at 
 the Dionysia in 339 b. c, IG. II 973, 1. 32. Plausibly restored by Wilhelm, 
 p. 26, in IG. II 971/ as victor at the Dionysia in 331 b. c, [vTroKptr^s] 
 NtK[oo-TpaTos ?]. Probably to be restored with Wilhelm, p. 145, in the 
 Lenaean list of victors in IG. II 977 u{z) N[iKdo-TpaTos-], ca. 330 b. c; or 
 below N6K[oo-TpaTos-], ca. 322 b. c, which is somewhat too late. 
 
 370. NiKoo-Tparos Koo-o-avSptxis, rpaywSds at the Dionysia at Delos in 
 282 b. c. BCH. VII (1883), p. 105. 
 
 371. NiKoo-TpoTos, tragic synagonist, ambassador of the technitae of 
 Asia and the Hellespont to the people of lasos ca. 151 b. c, Lebas-Wad. 
 Ill 281, Michel 1014. 
 
 372. NiKoo-Tparos 4>i\o<rTpdTov 0i]Paios, as K<t>p,w86<i victor at the Charite- 
 sia at Orchomenus 100-75 b. c, IG. VII 3195, KwpxifvS6<i, N. 4>iAoo-rpdTft) 
 ©et/Seios; at the Charitesia and at the Homoloia, ibid. 3196. 
 
 373. NiKoreXiis Kdirwvos 0€<rxi€vs, as rpaywSds victor at the Charitesia at 
 Orchomenus 100-75 b. c, IG. VII 3196; also Kijpvi on the same occasion. 
 
 374. Ni,Ko<j>wv 0eoK\^ow *A0T]vatos, TpaywSds at the Soteria at Delphi in 
 270 B. c, SGDI. 2565, 1. 49. Kirchner, No. 11076. 
 
 375. NiKwv, V. T., twice (2+) victor at the Lenaea ca. 300 b. c, IG. II 
 911ic{b'), W. p. 145. Wilhelm, p. 146, suggests that he may be the 
 father of the tragic didascalus Hierocles s. Nicon of Athens who appeared 
 at the Soteria at Delphi in 271 and 270 b. c, SGDI. 2564, 1. 54, 2565, 1. 51. 
 
 376. NCkwv 'HpaKXtCrou 'H.ireip(S>rr\s, KW|U,u)8ds at the Soteria at Delphi in 
 270 B.C., SGDI. 2565, 1. 65. His name appears ibid. 2564, 1. 80, as 
 lpjaTiop.iadr)^, but this is probably a graver's error for NtKwv MeveKXeov^ 
 SoAevs, Ip-ariofxiaerj^ in 2563, 1. 76, cf. Capps TAPA. XXXI (1900), p. 127. 
 Preuner Delph. Weihgeschenk, p. 76, less probably assumes a change in 
 fimction. If IG. II 977 7n'{a') is to be assigned to Lenaean comic 
 actors, as Reisch ZoG. 1907, p. 306, thinks, [NikwJv II is to be restored 
 there, as Wilhelm, p. 165, proposes, and identified with this comic actor 
 or with the following. 
 
 377. NCkwv Eii|Aa9£8a AaKeSaijiovios, kco/awSo's at the Soteria at Delphi in 
 270 B. c, SGDI. 2565, 1. 59. Possibly, as Wilhelm suggests, p. 165, to be 
 restored in IG. II 977 m'(a'), NtKwjv II. 
 
124 HISTORY OF ACTORS AND ACTING IS ANCIEN'T GREECE 
 
 37H. N(ko>v NiKia Mi-yaXoiroXtTas, Tpaywd6<:, iiri^KC tiL ditZ afitpav kui 
 aywvL^aTo ku.1 ivSoKifj.i)<Tt. in ;i Di-lpiiic proxeiiy (U-cree, ca. IHI b. c, SGDI. 
 2799 an< I 'ioS 1 , 1 . »)M ( Slklov ). 
 
 379. NiKwv 'Apio-rUrtvos, Athenian, traj^jic svnagonist representing the 
 Athenian g-uild of technitae at Delphi ca. 97 B.C., BCH. XXX (l"KH)i, 
 No. 19, p. 278, 1. 37. Not in Kirchner. 
 
 380. Nov)if|vios 'EpfiwvaKTos 'Ap-yiios, Koj^cudo? at the Soteria at Delphi 
 in 2M9 B.C.. SdDI. 'i.'.tW,. j. CI. 
 
 381. H«v64>avTos Evjidxo*'. .Athenian, tra^c synagonist representing 
 the Athenian guild at Delphi ca. 97 b. c, BCH. XXX (1906). No. 49. 
 p. 278, 1. ,'W. Not in Kirchner. 
 
 381 (t. Qcvo^Mv 2|ivpvaio$, v. t., .see p. 143. 
 
 382. H^vuv, V. T.,once victor at the Lenaea ca. 310 b.c. Id. IT 977 '(.-i, 
 W. p. 11.^,. 
 
 3H3. Otaypos, V. t., liftli centiirv B.C., Ari.st. Vesp. 579: kvlv Oiaypo? 
 tlatX.Br) <t>ti'yii)y, ovk aTTO^ttvyti irplv uv rjfuv \ tK rrj^ Nio/St/? tiwt] f'trjiTiy Tijv 
 kilWicttjjv dTro\t$a<i, and .schol. ad loc: on rpayijco? VTroKpiTi]<; tlpijro -rrpoTtpov. 
 oj? 6avpi(i.l,wv u\t6v <f)r](Tii- .... Kal yap viriKpidr] tj;i' Nio/8»;r r] ^o<f>OK\(o\-<: »; 
 At(rj(v'A.ov. The reference tiprjro trpoTtpov is probably, as Vulker after 
 Hichter suggests, to schol. ad TjfU), on Aesopus, where the name of 
 Otjjigrus has fallen out (e. g.. i? kui Owypo?). The text of Aristophanes 
 gives sutKcient indication that he was a tragic actor, and of some stand- 
 ing. V()lker. p. 158. thinks that the Nioln' of Sophocles is referre<l to. 
 
 .'W-1. OtKidST^s NiKttvSpou Kao-(rav8p4vs, rpaytuSo? at tln' Sot«'ria at Delphi 
 in 272 B.C., SODl. 2r)»):{. I.;i2, when- the editors reston' (NtlxiaSj;?. The cor- 
 rect reading was found by Capps TAPA. XXXI ( UKK)), p. 125. comparing 
 BCH. VII (1883), p. 109, where OlKid^-q<i is among th»' Tpuyu>&>t' at th(> 
 Dionysia at Delos in 268 b. c. He is mentioned Hrst in his comjiany at 
 Delphi. Cf. Preuner Delph. Weihge.schenk, p. 75. 
 
 384'». AvXos Otv<vs, Tp^iywSo?, ollicer of a guild of technitae ca. the time 
 of Caracalla, CKi. IV r,829, 1. 19: kuX (eVI) vo/io5tK( t )oi' AiAov CVclw]? 
 Tpay<(<Sor -rrapuho^ov. Probably a decn-e of the Teian guilt! at Lelxilos. 
 
 3S5. 'OvV|(ri|ios, v. K., acted an unknown play at the Dionysia in 18.3 b. c. 
 and in the Nauagos of Paramonus, and was that year the victor. Ui. II 
 \)lTih, col. ii, \V. p. 72. 
 
 .38H. Ou\i48tis KeiXXiKpATOu MiXV|<rio$, rpaywSo^ at the Soteria at D«'Iplii 
 in 272 and 271 u. <•.. SC. DI. 2.")<',.3. 1. 42, 25i')-l, 1.45. He is l>oth tini.- 
 inentionMJ lirst in Ids company. 
 
 .-187. n-, I*. K.. act.Hl a play by TimotluMis ca. 197 u. ».. I(i. II 975/. col. 
 ii. \V. p. fW;. If with K.-isch Z«Ui. P.K)7. p. 2^»9. frag./ is to Ix- joine«l to 
 col. i of frag, h, tin- play was the Dactylion and the actor II ... . wy. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 125 
 
 388. n , Athenian, tragic sjnagouist representing the 
 
 Athenian guild of technitae at Delphi in 106 b. c, BCH. XXX (1906), 
 No. 50, p. 288, 1. 33. 
 
 389. n . . . . »v, u. /<., see No. 387. Probably n[oA.e/x]ajv. 
 
 389 a. HajiHi^vTis, v. t.. time of Hadrian, Fhilost. Vit. soph. 2. 7, p. 238: 
 Trj ye Ilv^or .... ore Tlafifievrf? iirl TpaywSt'o i0avixd(r6r}, kui fxoi e8o$av ol 
 (TO<f>OL 'EAAtjvc? ov ^py](rTov TTpayjJua. ipyd^caSai to, tCjv JleXoTTiBuiv koi tcuv Auj8- 
 SaKL8u)v KaKo. $vv rjSovij aKoi'ovTes, referring evidently to the performance of 
 old tragedies at Delphi. The Pammenes mentioned by Cass. Dio 63. 8, 
 whose flornit was under Gains, seems to have been a citharode. 
 
 390. nd|i<j>i\os, V. T., victor at the Lenaea ca. 235 b. c, IG. II 977 g(d'), 
 W. p. 141, assigned to Lenaean comic actors by Reisch ZoG. 1907, p. 306. 
 
 391. Ilapanovos XoXkiScvs, rpaywSos at the Diouysia at Delos in 259 b. c, 
 BCH. VII (1883), p. 113, where Hauvette-Besnault reports SwnW 'Axap- 
 
 v[av,'H]Ats UapdfjLovo [ ]8erk, corrected by Capps TAPA. XXXI 
 
 (1900j, p. 119 (confirmed by Eobinson AJP. XXV [1904], p. 190) to 
 2. 'AKapvav Si<s, Hapdfxovo'i XaAKcSevs. 
 
 392. napCwv, KojyLiojSos at the Diouysia at Delos in 263 b. c, BCH. VII 
 (1883), p. 112. 
 
 393. Jla.p\x(v(av, V. k., ouce victor at the Lenaea ca. 353 b. c, IG. II 977 
 x(j)), W. p. 150. Aeschines refers to him in 345 b. c, Tim. 157: irpw-qv iv 
 ToTs Kar' dypois Aiovucrtois Kw/xtpSoiv ovtwv iv KoAAvtw kol UapixevovTO? rov 
 
 KWfJ.LKOV VTTOKpLTOV eiTTOVTOS TL TTpOS TOV \Op6v d.VaTraL(TTOV, iv W ^V UVai TtraS TTOp- 
 
 VOU5 ' p.tydXov<; Tifjuipxi^SeL^.'' The scholiast ad loc. simply repeats the 
 statement (where read 6 kw/aikos <{i7roKptT7;s». His skill iu imitating a 
 pig's squeal became proverbial, Plut. Mor. 6746; iirel rt Tracrxovres ^ rtVos 
 eiwdev yevofxefov irdOovs Tr]v vv Tr]v Tiapfx^vovTO<i ovtws iOavfJUKrav, ware irapoL- 
 fjii(i)Sr] yev€(r6ai; KaiTOL cfyacrl tov TlapfxevovTO<i evSoKi/MOVvTO^ iwl rfj /u,t/A7;cret, 
 ^r/Aouvras iripov; avTeirtSeLKwaOaL • irpoKaTuX-qp.iJLh'oiv 8c twv dvOpoiiruiv koI 
 XeyovTwv 'ev ixev, dAA' ovScv tt/oos Trjv UapfxivovTo^ vv,' eva Xa/Sovra SeAc^aKtov 
 VTTo fjia\r)<; TrpoeXOeiv iirel Se kul t^s dXrjdLvrj^ cjjuivrj? aKOvovre^ virecfyOeyyovTO 
 ' Tt ow avrr; Trpos ttjv Ilap/xeVovTos vv;' dcfieivaL to 8eA<^aKtov eis to yaecrov, e^- 
 eXiy^ovra rrjs Kptcrews to Trpos 86$av ov Trpos dXyjdeLav. Cf. Mor. 18, quoted 
 under No. 230. Paroem. Gr. 1, p. 412, 87. Aristotle refers to his thirst 
 during a performance as characteristic of men laboring under great emo- 
 tions, Prob. 948 a 3: ovSa/xov yap ovtu) Sti/^wo-ii', KOL ol dycovtwvres Se acf>68pa, 8i6 
 Kal 8taKX.v^ovTai Kal iirLppotpova-t, KaOdirep JIapfj.€vwv 6 viroKpLTt]?, Volker 215. 
 
 393 a. IlavXos, Ka>p.u)8os, ca. 400 a. d., Anth. xi. 263 (Palladas): IlavXo) 
 K(Dfxw8w KaT' ovap ora; eiTrev MevavSpos ' ovSev eyw Kara crou Koi ai) Ka/cws p,e Ae'yets. 
 
 394. Ilavo-avias Avkwtkov, Athenian, comic synagonist representing the 
 Athenian guild of technitae at Delphi ca. 97 b. c, BCH. XXX (1906), 
 No. 49, p. 278, 1. 35. Not in Kirchner. 
 
 395. na({>iav6s nd4>t.os Tij [8'] inro yrj XeXvp-ai, \ kw/awSos, Ate^^ets tov (Slotov 
 
 o-Tc'c^avoi/, IG. XIV 411 (Messana), Kaibel Ep. Gr. 605, uncertain date. 
 
120 HISTORY OP ACTORS AND ACTIN'O IN ANCIENT GREECE 
 
 .'{*.M). n«-, an ack)r praiswl in an Athenian (lecrt-e of setond half of the 
 fourth century, IG. II 28(J^, restontl by Wilhehu, p. 219: i-niBij n[<? -] 
 o iTroKp\iTT]<; Tois TC Atoia-atot? tV<(cp laari o ) (fyiXorifxtu^, cf. IG. II 213, of about 
 the siune (late, restonnl by Wilhehn, p. 221 : vVoKptvol /xtvo? ra avroi' ^po/mTja 
 icat oi-St (TTOTt wufioXtiTrwvl tov\ dyd»va tLv S\ioyi<<Tiutv\, etc. 
 
 HOT. riiiedvwp I 1 2iKv«4vios, TpaywS6<i at the Soteria at Delphi in 271 
 
 B. c"., SGDl. 2r)C»-t. 1. :")."). He is rnentiomHl lirst in his company. 
 
 39n. n«i8tas 'Egaiv^Tou 'Apitas, traf,'ic tlidascalus at the Soteria at 
 Delphi in 2t)9 b. c, SGDI. 2:A\C», 1. 'A. Identical with UtiBCu^ 'E^mi'CTov 
 .MutTU'tis. tit. Sep. IG. II 3174. Liiders Dion. Kiin.st., p. 13'J, identities 
 ExiUMietus with Epaenetu^. father of the tra/^'ic didascalus Moschion, 
 No. 350. 
 
 399. IKvSopos, probably late tifth or early fourth century r. c, Ari.st. 
 Poet. 2;». 1401 /> 3;): d>? \uiv yap lirepfSdWoiTu 'iridrjKoi' 6 Mi-wktko? tov 
 KaWnnri&qv iKoXti, ToiavTrj Sk So^a Koi irtpl IlicSapoi' yjv. Nothing further is 
 known of him, but that he was a tra^nc actor and of a jx'Hml subse<juent 
 to Mynniscus (ca. -HV) 420) is clearly to be derive<l from the text of Aris- 
 totle, as \'()lker, p. IT);"), shows. Some of the inferior MSS j^'ive nvSapiov, 
 TTjv Sapeiov, whence Hermann TwBaptov, Kitter 0to8u>poii. VOlker suf^gesta 
 TinoBiov. A ;^rave-monument to an Athenian IltVSapos, end of fifth century, 
 IG. I 417, col. ii. 1.11. If the text is corrupt, there is no clue to its resto- 
 ration. 
 
 3V>9'^ riiTetvs, v.K-., once victor at the Leiiaea ca.2r)(un'.. Hi. 11 977 //(«), 
 
 vv. p. ir,.3. 
 
 4<K). nX«wr6<vTis, V. T., once victor at the Dionysia ca. 2^2 b. ( .. Ri. II 
 \inf{(), \\. p. ir)9. Wilhelm compares E. Miller M*'>lan^'es de litt. kt., 
 p. .3;');'): AJdiTtio? ytAo)? • fxifivrjrai TavTrj<; Mu-atSpos iy llipivOia Ttj irpwrt] • 
 KiyoxxTi 8< on llXiirrBtinf: 6 i-iroKpiTr]<: tov KapKivov AuiiTa i-ircKpnofifvo^ 
 ivKuipwi (yi\u(Ti. TOV yap OovatTiw<: eiVorros on ra &Kutu ^»; irotetv. p.iTa 
 iipwyua<; o Am? tuJ ycAioTi i\pi')craTo. I'leisthenes must have made his hit 
 when brinf^'in^ out the Aias of Ciircinus as an old play. 
 
 101. no- V. T., victor at the Lenaea ca. ;i32 b. c. IG. 11 977 mcl. \V. 
 ,. II.-,. 
 
 102. Ho- V. K., act«-<l at the Dionysia betw.-t-n IS.") and 170 B.C., IG. II 
 97."> (/. Probably IIoj Ai'-t'tvos) with Wilhelm, p. SO, a name restortnl by 
 CappsTAPA. XXXI (1900). p. 123, in fra^j. c, ISO ITOn.caml identifi»Hl 
 with the Delian comic actor. No. 410. Mif^'ht, howev.T, Ik- \\J^\ipn„v]. 
 No. .3S9. 
 
 403. IIoXudpaTos Ev8b{ou Kupt^vaCos, k.„/u;,<^<n ill the Soteria at U-lphi 
 in 272 B.C.. .S(i|)l. 2;'ii);{. 1. iu. He is inentiontHl lirst in his itnnpaiiy. 
 
 4(M. rioXvivKTot, V. K., oner victor at tlu'Leimea ca. 306 B.C., l(i. 11 977 
 //(»), \V. J). ir..3, 
 
 40.'). noXvi;»i\o«, I. K.. victor at tlie Lenaea ca. 2«»S b. i., IG. II 977 //(»/), 
 W. p. If):?. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 127 
 
 406. IIoXvkXtis, v. k., kw/*<j)8os ;it the Dionysia at Delos in 280 b. c, BCH. 
 VII (1883), p. 106, identified by Capps AJP. XXI (1899), p. 403, and AJA. 
 IV (1900). p. 81, with UoX- in IG. II 977 y(u), W. p. 153 (Lenaea, ca. 275 
 B. 0.), and with IIoAuk- ibid. frag. c'{w), W. p. 156 (Dionysia, ca. 278 b. c). 
 In SGDI. 2563, 1. 59 (272 e.g.), the kw/awSo? is probably to be restored [IloXv] 
 kA^s AiokAcovs 'A^aTos, ef. TAPA. XXXI (1900), p. 126. See No. 523. 
 He is third in the company at Delphi; cf. Nos. 124, 218. Not in Kirchner. 
 
 407. noXvKpiTos Ka(r<rav8pevis, KOj)U,a)Sos at the Dionysia at Delos in 259 
 B. 0., BCH. VII (1883), p. 113. 
 
 408. IIoXvKpiTos, V. T., once victor at the Lenaea ca. 230 b. c, IG. II 
 977 g(d'), W. p. 141, assigned to Lenaean list of tragic actors by Reisch 
 ZoG. 1907, p. 306. Wilhelm proposes to restore Polycritus in the Athenian 
 lists IG. II 911 y and c, ca. 275 and 278 b. c, but the date of his appear- 
 ance at Delos is against this, especially since another identification is 
 more suitable; see No. 406. 
 
 409. noXuv€[iK^s ]ov XaXKiSevs, kw/awSos at the Dionysia at Delos 
 
 in 259 B. c, BCH. VII (1883), p. 113; cf. TAPA. XXXI (1900), p. 119. 
 
 410. IloXv^evos, Kw/AwSos at the Dionysia at Delos in 171 b. c, BCH. 
 IX (1885), p. 147, identified by Capps TAPA. XXXI (1900), p. 123, with 
 [noAu^]evos. victor at the Dionysia at Athens ca. 180 b. c, IG. II 975e, 
 col. i, see No. 511; restored by Wilhelm, p. 80, also in 975 g no[Ai)^evos], 
 see No. 402. 
 
 411. no\v|€vos 'AvSpvra 'Oitovvtios, as v. Kaivr]<i KOj/AwStas victor at the 
 
 Amphiaraia at Oropus soon after 86 b. c, IG. VII 420. 
 
 412. noo-€i8(ovios, rpaywSos, by the technitae of Asia and the Hellespont 
 vefir)6el<; (tvv rrj virrjpecrLa eTrtTeAeicrat tovs TOiv Alovvctiwv tov<; iv Idaro) dycivas, 
 ca. 151 B.C., insc. lasos, Lebas-Wad. Ill 281, Michel 1014. 
 
 413. Ilpa^Cas or IIpagidSTjs, v. t., victor at the Lenaea ca. 326 b. c, IG. 
 II 977 t(z\ W. p. 145, Upa$L[ — ]. 
 
 414. Ilpa^Cos Kpareov Tc-yeaTiis, kco/awSos at the Soteria at Delphi in 
 269 b. c, SGDI. 2566, 1. 70. 
 
 415. XIpa^iTeXTis 0«o7€vov, Athenian, TpaywSos at Delphi representing 
 the Athenian guild of technitae ca. 97 b. c"., BCH. XXX (1906), No. 49, 
 p. 278, 1. 36; apparently comic synagonist, ibid.. No. 50, p. 288, 1. 31, 
 106 b. c. Related to IXpafireAr^s ©eoyevov 4>Av£iis, ephebe in 105 B. c, IG. II 
 465, 1. 82, and K^pv$ at the Sarapieia at Tanagra, 100-75 b. c, IG. VII 540. 
 Kirchner No. 12176. 
 
 416. npwTapx[os .... Tavp]op,£viTTis, v. Kw/nwSta?, uncertain date, inscr. 
 Cos, Baton and Hicks, p. 100. 
 
 417. nroXejiaios, tragic synagonist, member of the guild of technitae 
 at Ptolemais, reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
 Michel 1017, Ditt. Insc. Or. Gr. 51. 
 
 418. IIwedpaTos, V. K., once victor at the Lenaea ca. 264 b. c, IG. II 977 
 y(iv), W. p. 153. 
 
12S HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 41i). IlvppeJUvf, V. K.,<)ncc victor at the L»-iiaea ca. y)2 B.C.. IG. II9T7 
 y(u), \\.\K 15:1 
 
 420. IIvppixos, V. K.. victor at the Lenaea ca. 2*.)*) b. c, IG. II '.<77 nib'), 
 \V. p. 14;',. 
 
 421. IImXos Al-yiW|Tiis, V. T., one of the most famous of tragic actors. 
 We chauc*-, howivrr, to have no in.scriptional evidence for his date and 
 he is not meutioued by any of his contemporaries. We are accordingly 
 ()hlige<l to derive the facts of his life from the anecdotes and allusions 
 which <K'cur in the later literature. Now all these writers, Stralx). Plutarch, 
 Lucian, I'ausanias, Aelian, Gellius, etc., seem to know of hut one tragic 
 actor Polus, and thev refer to him as one of the most distinguish»>d. All 
 the notices can be consistently combined as referring to one and the 
 same actor, except, in the main, two: Whereas Plut. Vit. Dem. 28 calls 
 him an Aeginetan aiul a pupil of Archias of Thurii (No. 87 l, who hunted 
 Demosthenes to death in 322 B. c: koItov Atyim'iTrjvllwKov.Tuv iT-tpPuXovra 
 Tij Ttyx'Tj Trarra?, eVtiVou (i. e., WiiiXov) ytyoviwiL fJuudrjTijv la-Topoitrti' ((jUotcd in 
 full under No. 87), Luc. Necyom. 16sj)eaksof Polus as theson of C'harides 
 of Sunium: o7/iat 8c' a€ koI toiv ctti t^s (T/ctji^s tro\Xdxi.<i ((upaKevtu Tois Tpayucois 
 {-TTOKpiras TOiVois Trpo? Ta? ^pua<; Twi' BpufjuiTwv aprt fiiv KptoiTas, (vlotc oi. 
 llpitLfxovi yiyvofMivoxs rj ' Ayu/jLt/jLvovut;, Koi 6 aiTO?, ti Ti';^ot pxKpov tfiirpocrdev 
 p.(xAu o-t/xrdis TO Tor KtKpoTTOS yj 'Epc)^9iii><; (T^jpua pLp.ifrap.(.vo<i p-ir' uXiyov oUi- 
 Tyjs iTpoi]k6iy iiro tov noirjTov KiKtXivtrp.tvo'i • {)6t} Sk Trcpa? i^oiTos tov Spa/icTO? 
 iWo^vtTap.ivo<i (KuiTTo^ rxiVuiv T»;i' )^pi<a6iru(TToi' (KUinrjy iaQjJTa Kal to irpocrwiriiov 
 dTroHtp.ivo<; xal KUTa/3a<i utto Toir {p.fiaTu>y Trhnq^ Kui TUTTttros iripuuTiv ovKvr 
 
 ' AyufJL(iiv<i)r o Arptais oi'6( Kpton' 6 MevoiKto)?. rlAAa IlaiXos XupixAfois — orvici'9 
 i'>vtifuii^iifiii'o<i 1] ^('iTvpw; WtoytiVoi'o? Mupuf^oiiio?. and i*lutarch Kpist. de 
 amicitia vii, p. 117 Bernatlakis (Stol>. Flor. iii, p. 211 Mcin.) relates a 
 supposed convei-sation of Socrates with Archelaus, in which tlu- former 
 refers to the acting by Polus of the rOles of Oedipus the King and 
 Oj-ilipus ti»e Beggar: 17 ov\ opa«, otlovk ivffxuvoTipov ov8i :7810V 6 IlwAo? Tor 
 Tvpiivvov OlSiTTuSa xmiKpivtTO >/ TOf cVi KoAwi'uJ oAt/ttji' Kut TTTM-^ov', UTu ^upwv 
 llaiAoo o yivvmo<i tiinip <f>aviiTai., oj? p.i] irny to iripiTiBky t\ tov dtufioyiox^ irpo- 
 aiDTToy tiroKpiyuiTdtu kuAo*;; oi'8t yt tov 'OSvtrtTui /xt^i>;(TtTui, oaTis Kal iv Toiii 
 fxxKttnv oi'Siy piiiov 8tt7rpt7rt»' »; cV ti'i ovAj; )^\a>.yT] Ttj 7rop<^ipa ; From this it has 
 b«'<'n inferred that this P(»lus, a e4)ntemporary nf Socrates, played these 
 nMes at the original pnxluction of tlie two plays of Sophocles (ca. 4H() 
 and 101 ii.(.), and certainly the hrsl prtnluction of the Oetlipus ColoneuH 
 nuist have Iwen meant, for S(KTates di«Hl in liW. This P«»lus cannot have 
 U-en the pupil of .\rchias, who.se first victory at the Lena«'a was won ca. 
 .'128 i\.c. (•.>77 /. abovi', p. 82), nor can either the pupil of Archias or the 
 C(»ntemi>orary of ScHM-ates have l»een thet)ne who demonstrattnl to Demos- 
 thenes the value of delivery, cf. Anon. Khet. t). p. .'IT) Walz: ipwn)6il<; 
 yoiv woTt, Ti tiv ui] pTjToptny, ' i'Tro»tpi<rt? ' <<^t/. »)»■ mu TiXiwTipoy IluiAof o vtto- 
 KpiT»/« A«'y<Tai ur-To*- infii^Uai. Hut this story of Anon. Hhet. is not to Ih> 
 trusted; Plut. Vit. D«'m. 7 says that it was the tnigic actor Satyrus who 
 
PROSOPOGRAPHIA HISTRIONUM GRAEOORUM 129 
 
 gave this lesson to the orator (see passage under No. 430). Taking the 
 the above statements as authentic, we should have to assume, not two 
 actors Polus, with Schafer Dem. u. seine Zeit I-, p. 244, and Volker, 
 pp. 185 ff., but three: (1) the contemporary of Socrates, (2) the teacher of 
 Demosthenes, and (3) the pupil of Archias, the Aeginetan. Either (1) or 
 (2) would be the Sunian. This argument, however, while logical, is 
 uncritical. The anecdotes about Socrates and of the connection of 
 Demosthenes with actors are full of anachronisms. More weight should 
 be given to the following considerations in favor of a single Polus, of the 
 last quarter of the foiuth century: Demosthenes, Aristotle, and the other 
 fom-th-century writers mention no Polus, as they almost certainly would 
 have if he had been one of the famous actors of their time or before. 
 Further, all the late writers who mention Polus know of only one of the 
 name, and what they say would apply to an actor of the end of the fourth 
 century, if we except the anecdotal allusions in the stories about Socrates 
 and Demosthenes. Again the fragments of the Victors'-lists which we 
 possess cover fairly the period in which a tragic actor who first acted the 
 Oed. Rex would have been likely to win his first victory (i. e., from 449 to 
 ca. 430, Dionysia, and from ca. 432 to ca. 400, Lenaea, see above, pp. 61 ff .), 
 while the period of Demosthenes is entirely covered by the Lenaean list 
 (p. 62, col. ii above) and also the period of Archias down to ca. 318 b. c. 
 The name of Archias himself occurs in a position which implies a first 
 victory ca. 328. A pupil of his, if he won a Lenaean victory, would have 
 appeared in the Victors'-list a decade or so after; the name of Polus 
 could have stood in the lacuna at the top of col. iv, somewhere near 315 
 B. c, and in a corresponding position in the City list, now lost. The 
 positive and the negative evidence, taken as a whole, tends to discredit 
 the testimony of Plut. De amic, who was simply concerned with putting 
 illustration in the mouth of Socrates, regardless of the anachronism 
 involved. As for the statement of Lucian, who calls Polus a Sunian, it is 
 difficult to estimate its credibility. Kirchner No. 12536 says: "De patro- 
 nymica et demotico dubito." It is noteworthy that Lucian is our only 
 source for the full name of Satyrus as well as for Polus; he probably 
 invented the prosaic plain citizen-name for rhetorical contrast with the 
 heroic names "Agamemnon son of Atreus," and "Creon son of Menoeceus." 
 However, it is possible to accept his statement by assuming that Polus of 
 Aegina, like many other actors and poets, was admitted to Athenian 
 citizenship. 
 
 Concluding, then, that there was but one Polus, what we know of him 
 is as follows: An Aeginetan (Plut., 1. c), possibly the son of Charicles 
 and admitted into Athenian citizenship as a Sunian (Luc, 1. c). A pupil 
 of Archias of Thurii (Plut., 1. c), his first success in the contest was 
 achieved ca. 318-315 (IG. II 977 v, W. p. 145, above, p. 63). With Nicos 
 tratus, Callippides, Mynniscus, and Theodorus he was counted by Plut. 
 
130 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 Mor. 348/rqiiot»'d alxivf undHr No. 230) as among the glories of ancient 
 Athens. Mentiontxl with Aristodemus by Luc. Apol. fi, Jiip. trag. 3, and 
 with Aristodemus and Satynis by Luc. Jup. trag. 41 (all quoted under 
 No. 62). That he was especially famous for his acting of cla.ssic r6les 
 may Ix* inftrred from Plut. De amic, 1. c. (Oedipus Rex, (Xnlipus Colo- 
 neus). and Aul. Gel. H. 5, referring to Soph. Elec. 112fi: historia de Polo 
 histrione memoratu digna .... histrio in terra Grat-cia fuit fama celebri, 
 qui gestil)us et vocis claritudine et veniistate ceteris antistalxit; nomen 
 fiiis.se aiunt Polum; tragoedias poetarum nobilium .scite atque asseverate 
 actitavit. is Polus uniceamatiim filium morteamisit. eum luctum quoniam 
 satis visas est eluxisse. rt<liit ad quaestum artis. in eo tempore Athenis 
 Electram Sophoclis actunis gestare urnam quasi cum (^restii ossibus d« lie- 
 bat, ita compositum fabuhu- argumentum est, ut veluti fratris reliquias 
 frreiis Eh-ctra comjiloret commi.sereaturque interitum eiiLs, qui per vim 
 exstinctus existimatur. igitur Polus lugubri habitu Electrae indutus 
 (»pplevit urnam a sepulcro tulit filii, et quasi Oresti amplexus opplevit 
 omnia non simulacris neque imitamentis. sed luctu atque lamentis veris 
 et spirantibus. itaque (pium agi fabula videretur, dolor actus est. 
 Theodorus also acted this role (No. 230). The willingness of great actors 
 like Polus to play the servant to an inferior actor's king is illu.strateti 
 by Plut. Mor. H16/ (quoted under No. 2:^0). Plut. Mor. 785?) relates, on 
 the authority of Eratosthenes and Philochorus, that he Uvt-d to l)e 70 years 
 old and was active until the end: riwAoi' 8« to»' Tpayu>66v 'Eparoadcmf: 
 Kui ^iXoxopos i(TTopov(Tiv (/S^OfiijKovT' Itt] ytytVTjfxfvov oKTio TfxiywSia<; iv Tcrrap- 
 (Tiv TjfjLipfWi ^uiyun'ta-iurOai fUKpov tfiTrpotrdtv t»)? TeXtrriji. Atlian De animal. 
 7. 10 n-latt's: \ltu\u) piv tw t^5 Tpay<i>8ui? vwonpiTij o Kvcur o Tpd<^i/xo9 aiTov 
 TtdviutTi Kut Kaop.ii'w iavTov (rvvKaTiirprjn-t. Tij m'pn (pTriSi](Ta<:. Th»' an«H.'dote 
 in Vit. X Onit. S4S/».- IluiXov St ttotc tov vnoKpirov Trpos uiTov ilirovro-i, oTi 
 SvfTiV yfp.ipat<; aytt}virra.pitvo<: rdXaiToy \d(3oi ptaSov, ' iyw 6,' iiirt, ' TroTt rdXaiTa 
 p^v rjptpav (n«i>7r»)fm?,' is told by Aul. Gell. 11. 9. 2, on the authority <»f 
 (Vitolaus, of Arist(Hlemus(quot«'d under No. 230), and is p»it into the mouth 
 of C. Gracchus and referred to Demades inst.ad of to Demasthenes, the 
 actor not bring jnentioned, id. 11. 10. 3: quo in tfmpore (ira»>cus tragot^- 
 dus gloriae sibi (huvliat talentmn magnum ob imam fabulam datum esse, 
 homo el(KjU»«ntissiinus civitatis suae Demades v'\ n-spondisse dicitur. 
 "mirum tibi videtur si tu hxpicndo talentuiu (|ua»>-<isti ? f^o. ut tacm-m. 
 drcrm taleiita a r«'ge accepi." 
 
 122. *Pa8A(iaveus, Athenian, »<o)/xujS<k at Delphi nprcstMiting the 
 Athenian guild of technita.- in 138 128 h. c. HCM. XXX {l\m\. No. 48, 
 p. 273, 1. 2r> '\*aS(dpAiv&t'<:\. Probably related \o 'VaSapni-Oxs 'Attiiw, 
 vvdaiiTTi}<: -iraU in 138 n. c, ibid., p. I'.KS, 1. 1.'), an«l duoptk in 128 n. < ., 
 ibid., p. I'.m;. I. 12. Not in Kirchmr. 
 
 42.3. 'PoO^ot 'PiSiot, Kopoirtos. iMicrrtaiii <lat.', KliiMiian dtK-rrc. UJ. Xll 
 i 8-1: |al /foi'lXla 'For<^(oi' ) ■P(>«it'cu»' k<u^u>&')V ] AJiilfiTrpoK tV ] 7rup<i- 
 
PROSOPOGRAPHIA HISTRIONUM GKAECORUM 131 
 
 B6$ov aT€<f)dv[u)9iVTa] upovs dyoivas /u,e <i>[o-7rep ras] is t^v {ittok/oictiv dKpt)8[£iias ws 
 TasJ Tcuv ly^wv o"€/AvdT77T[o5 eVeKCv]. 
 
 424. 2-, V. K. (?), IG. II 977 m'(a'), W. p. 164. 
 
 425. 2-, i. K. (?), ca. end of third century, IG. II 976, W. p. 88, iire 2-. 
 
 426. Sa-, V. K. (?), ca. end of third century, IG. II 976, W. p. 88, iwe 2a-. 
 
 427. 2avv£«v, Kco/AwSos (St's) at the Dionysia at Delos in 284 b. c, BCH. 
 VII (1883), p. 104. 
 
 428. SapiTTjSwv 'Ak|xov£vs Kal 'E<t>c(rios, Trais KoifxwSo^, honored by the 
 Ephesiaus Trj<; ire.pl tt]v viroKpLcnv e/A7reipias (ei/eKa), VLKrjaa<i tov dyaiva twv fji.eyd- 
 Xwv UpCJv 'Apre/xto-tW. Insc. Brit. Mus. 606, uncertain date. 
 
 429. Sa-rvpos *OXvv9ios, v. k., six (or 6+) times victor at the Lenaea ca. 
 375 B. c, IG. II 977 i{l), W. p. 161, 252 (where the name is correctly 
 restored for Kohler's ([ZwTrJvpos). Contemporary of Theodoras, Plut. 
 Mor. 545/ .• olov 6 twv TpaywStoiv VTTOKpiTrj'i ®€68o)po<i eiireiv ttotc Trpos tov kw/jll- 
 Kov Aeyerat "^aTvpov, tos ov Oav/JucrTov cctti to yeASv Trotetv tous ^eaTas dXXa to 
 SaKpv€Lv Kal KXauLv. He exhibited before Philip in the games given in cele- 
 bration of the capture of Olynthus in 348 b. c, and asked as his prize the 
 release of the daughters of a friend, Dem. 19. 193 {%d.Tvpov tov kw/jcikov 
 woKptTT^v) and scholium; Diodorus 16. 55 C^aTvpov tov vTroKpLTrjv), Libanius 
 14, Harp., Phot., and Siiid. s. 6tl ^eVovs. Aesch. 2. 156 (SaTupov t6v km/xlkov 
 vTroKpiT-qv), mocking Demosthenes, adds ws Setvov, ei 6 /xev tovs Kaptwvas koL 
 'BavduL'i VTroKpLv6fJi€vo<i ouTtos €vy€vr}<i Kal fxeyaX.6i]/v)(0<; yevoiTO, iyio 8e, etc., allud- 
 ing to the success of Satyrus in slaves' roles. The act was attributed by 
 some to Phocion, Suid. s. (^wkiwv. Volker, p. 214. He was an Olynthian 
 according to Ath. 591 e, SaTupos 6 'OAuV^ios vTroxpiT^s (irapea-iTci) JIafj.(j)iXy, 
 but the epithet may have been due to the incident above referred to. 
 To be distinguished from the tragic actor. No. 430, with Schafer Dem. u. s. 
 Zeit I-, p. 246, Ltiders Dion. Kiinst., p. 65, n. 121, and Volker, p. 212, 
 cf. Kirchner No. 12604. But the distinction depends wholly upon 
 Lucian, and the name in him may be fictitious and due to the desire 
 for rhetorical effect. See No. 421, end, and No. 630. 
 
 430. Sarvpos 0€o-y€(Tovos Mapaflwvios, v. t., Luc. Necyom. 16, who alone 
 gives the full name, which may be fictitious; passage quoted in full 
 under No. 421. Mentioned with Aristodemus as a famous actor by Luc. 
 Jup. trag. 41 (quoted under No. 62). He was the friend and teacher of 
 Demosthenes according to Plut. Vit. Dem. 7: ttoXiv 8e TroTe <f>a(Tiv ckttco-ovtos 
 avTov .... Kal /3ap€cos <f>€povTO<;, inaKoXovOrjaaL SoiTvpov tov viroKptT-qv iinT-q- 
 ociov ovTa Kal crvveXOciv. oSvpofiivov 8k tov ArjfxocrOevovi irpos avTov, otl . . . . , 
 TrapopaTai. 8' avTos, ^ aXrjOrj Xe'yets, w Ar?p.oo-^£V£S,' <f>dvai tov SaTupov, 'dAA' cyw 
 TO aiTtov IdaofjuaL Ta^coj?, dv {xol twv EiiptTri'Sov Ttva prjaewv 17 Soc^o/cAeovs ideXrio-r]<: 
 etVctv dTTo CTTo/wxTOs.' eiTTovTos Be tov Arjfjioadevov^, p-CTa AaySovTa tov SaTvpov 
 ovToj TrAdcrai Kal SLe^eXOetv iv iqOeL irpeirovTL koI BvaOeaei Tr)v avT7)v prjaiv, w(t6^ 
 oAws hepav tw AiqpjoadeveL <f>avrjvaL. This passage may refer equally well, 
 
132 HISTORY OF ACTORS AND ACTING IS AN'CIENT GREECE 
 
 however, to the comic actor No. 430, in which case Lucian is the only 
 authority for a tn«g-ic actor of the uanie. It is noteworthy that no Saty- 
 riis appears in the Lenaean Hst of tra^c victors, p. 62. col. ii, above. 
 Kirchner No. 126(>4. 
 
 4;^1. Zarvpos ATj|iox«ipow "Aftrivaios, tragic dida.scalus at the Soteria at 
 Delphi in 271 B. < ., SGDI. 2r,r>4. 1. 49. Kirchner No. 12582. 
 
 432. ZeiTvpos SifiOLKou 'Ap-yiios, tragic dida.scalus at the Soteria at Delphi 
 in 272 B. c, SODI. 2r)t;:}. 1. ;i8. Se<> under 4.%. 
 
 43,S. Saropos, tragic synagonist, member of the guild of technitae of 
 Ptolemais, nign of Ptolemy Philadelphus, BCH. IX (1885), p. 132. where 
 (ZaifTTvpo? is reported, corrected by Wilhelm, p. 252. Michel 1017. Ditt. 
 Insc. Or. Gr. 51. 
 
 434. Za»v8a«, If. r., once victor at the Diouvsia ca. 440 a. c, IG. II 977 
 p{ry W. p. 137. 
 
 435. SCjiaKos M«v«KpQTou 'Apytioi, Ka>/iu>8os at the Soteria at Delphi in 271 
 and 270 b. c. S(U)1. 2564, 1. HH, 25«)5, 1. 70. His son may have been No. 
 331, ko)/x(jj3os at Delos in 259 b. v. 
 
 43»). 2iji<pfi,o>v, V. K., see under Hernion. No. 1S3. 
 
 437. Sifitas 'Aetivalos, koj/xu>^o<; at the Dionysia at DeUvs in 2S0 and 279 
 B. c, BCH. VII ( 1SS3), pp. im, lOS. Kirchner No. 12H66. 
 
 438. 2i|io«, V. T., fourth century B.C., Ath. ir>4(/, quoting the At'vtK 
 Alexis: 'Hp. St/txo; 8' co-ti ti's; ' Aiv. fuiX ev4>xn]<; a.y$pwiro<:. iirl rpayw- 
 oiav I wpfirjKe vvv, /cai rwv fiiv VTroKpiroJi' ttoAv ' Kparicrro? ioTiv oi/'Ottoios. ws 
 SoKti Toi? ;^u>/x€j'ocs, ToJi' 8' oipoiToiQiv i-TTOKpi-njs. The conjtH'ture of 
 Meinehe I. p. 125, that he is perhaps the same as Simyliis ( No. 440). is 
 unwarranted. 
 
 439. Sinvicas, an actor of the latter part of the fourth century b. o., 
 Theophrastus apud Ath. 348a.' <V tw irtpl yfXoiov \i)^&i}i-ai fia- <f>rj<Ti W/v 
 irnpoifxiuv viro Tov ZTparoviKov, dAA' «i? ^ifivKav Tov VTTOKpiTi'jv, Stt/VoiTO^ T^v 
 vapoifxiav '/xryas ov8ifi (ruTrpo? i\Bv<:.' The r«'ferenc»" of Kaibel ad ltX\ to 
 Deiii. IS. 2»;2(Simylns| is pointl.-ss. 
 
 lid. Si^ivXot, V. T., middle of the fourth (Niitury n. i., known only 
 through Dem. IH. 2t)2, who says of .Aeschines: fuadwcrwi aavTov tok '/Japf- 
 fTToi'ot? ' «ViKaAor/icv'oi<t <KtiVoi9 viroKptraU Si^vAo) kuI "^loKparii, iTpiTtiytovi'crrti':, 
 etc. ((juoted in full under No. 15). Dependent on this jjassage are 
 DenUK'hares apud Vit. .\esch., p. 2<)9: kuI p.iTa '^wKpdrois kuI ii/xi'Aov riv 
 Kaxwv iiroKpiTuiy AXacrBiii kut' Aypoi's, and Philost. \ it. sophist. 1. IS. 1 1 : kuI 
 yap St/ Kill ro(? (itipixmn'oi^ vwoxpirai^ tov iv fuipaxtw ^puyov virtTpayw&i](Tiv. 
 He was evidintly an infi-rior actor who t(K>k cinnpanies into the denies 
 for tragic exhil)itions. This was lH>for»' .Xt'schines enten-fl upon his jmiU- 
 tical career. 
 
 111. ZiXcaw lAXo.i'os, .\theiiian, c»>mic synaironist representing the Athe 
 niau gull. I ..f teehnit.ie nt Delphi ca. 97 b. c. HCH. XXX (li^Ofi), No. 49. 
 p. 278. 1, ;U. Not ill Kireliiier. 
 
PEOSOPOGRAPHIA HISTRIONUM GRAECORUM 133 
 
 Ilia. 2o«j>oK\fis So<|>C\\ov Ko\wv€vs, the tragic poet, is reported to have 
 taken part in the ball-playing scene, Eustath. ad. Od. p. 1553, and to 
 have played the harp in the Thamyras, Ath, 20/; t6v ®d/xvpLv SiSdaKwv 
 avTos iKiOdpLcrev, aK/ows 8e itK^aipLcrev on tyjv Navo'iKoav Ka6rJK€. These may 
 both have been mute roles. From Vit. Soph. 127. 23 West, it may be 
 inferred that he never attempted speaking parts: TrpaJrov fxh KaraXvo-as 
 
 T)]V VTTOKpLCnV TOV TrOLTJTOV StO. TT/V p.lKpOcf)(i}VLaV TTexAoi yap KOL 6 TTOtTJT^S 
 
 VTreKpivero <^acri 8' on kol KiOdpav dvaXajSw iv fxovw tw 0a/xvpt8t' ttotc 
 
 iKi6dpL(rcv. 
 
 442. 2o<j)OKXfis *Io<|)wvTos KoXwvfieev, tragic didascalus, grandson of the 
 great poet, brought out the Oidipous Koloneus in 401 b.c, Hyp. Oed. Col. 
 He was also active as a poet after 396 b. c, Diod. 14. 53. Kirchner No. 
 12833. 
 
 443. ST€(ji<t>v'\ios, V. T., victor at the Lenaea ca. 313 b. c, IG. II 977 r(a-), 
 W. p. 145. See under No. 62. 
 
 444. SrpaTOKXfjs, comoedus apud Juv. 3. 99 (quoted under No. 34). 
 Characterized by Quint. 11. 3. 178 (quoted under No. 130) as especially 
 good in the roles of gods, young men, good fathers and slaves, matrons, 
 old women, etc. 
 
 445. STpoiTwv 'lo-iSoTov 'AOrivaios, as V. Kaj/xwSias victor at the Amphiaraia 
 at Oropus soon after 86 b. c, IG. VII 416, and as v. Kati/^s KwyawStas, at the 
 Musaea at Thespiae 100-75 b.c. ibid. 1761, BCH. XIX (1895), No. 14, p. 340. 
 Kirchner No. 12970. A descendant SrpaTwv 'Io-iSotov KvBa6r]vai€v<; insc. tit. 
 sep. first century a. d., IG. Ill 1778; cf. Capps AJA. IV (1900), p. 78, 
 whose dating is corrected by Kirchner Prosop. II, p. 482. 
 
 446. SrpaTwv, Ka)|U,w8os, a contemporary of Plutarch, Plut. Mor. 673 c d : 
 TTcpi aiv lyevovTO Aoyoi kqI (tov 7rapovT05 €v 'A^r^vats Ty/^ttv, ore Sxparcov 6 KWfitx)- 
 8o? €vr)iJiep7](T€v {r]v yap avrov ttoAi)? Aoyos), ecrnw/Aevcov rjfiijjv irapa BorjOo} tw 
 'ETTt/covpeto)- crvveSeLtrvovv 8' ovk oAtyot twv ciTro Trj<; atpeVetos. cW^ olovei (f)i\o\6- 
 yots ir€pUaTr)(T€v rj rrj's Kw/AwStas p-vrip.-q tov Xoyov ets ^-^T-qaLV aiTtas, St' rjv opyt^o- 
 fjLevoJV rj XvTTOVfJievwv ^ StSLOToiv <^ojvas d/coi'ovres d)(dop.f.6a koi Sv(TKoXaivofX€v, ol 
 8' v-iroKpiv6fJi€voL TavTa to. irddr] Kol p.Lp.ovfX€voL ras t^wvas auToJv kol tois hva.decru% 
 tvcfipaLvovaLV rjp.a.<;. 
 
 446 a. KvivTos MdpKos SrpaTwv, Athenian of the deme Cholleidai, kw/aoj- 
 8os TreptoSovetKT/s, second centxiry a. d., honored by his admirers, probably 
 members of the same guild, with a tombstone, according to an epigram 
 found in Athens, Ath. Mitt. XVII (1892), p. 172: Trjhe Mcvav8p«'a)v cttcW 
 SeSaTjKora Tratras | rv^tas, evUpoL^ dyXaov iv OvfxeXaK, | eKTepicrav depdrrovres 
 dep(TL<f}povo^ Aiovucrou, i avTw Kio"cro</)opa) toSto xapi^ofxevoi. | Totydp oaoL Bpofxiw 
 IIa<f>Lrj T€ vioL ixe/xiXrjcrOe, \ Sevop-evov yepawv p.r} TrapavdaOe rdfjiov, | dXXa irapa- 
 (TTeL^ovTes 7} ovvopjx kXuvov opuaprrj \ ^(DcrecT', rj pa8tvas avp-TrXarayeLTe ^epas- 
 At the side: KrtvTos MapKos SxpaTcav kol Kmvros MapKos Ttnavos XoXAetSat 
 Kw/i,a)8ot 7r€pto8ovetKat, and below, by another hand: Trpoo-eweVoi STpartova 
 Kttt n/iw Kpcn-u). Straton was especially admired as an interpreter of the 
 
134 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 erotic plays of Mt-nander; Peruict' loc. cit. comparfs the fpignim on Me- 
 naiulrr, Kail)«'l Epigr. Gr. 1085. Possibly identical with the preceding. 
 
 447. 2«-, i. K. (?). IG. II 977 m'ia), W. p. 164. 
 
 44H. 2<i)»cpaTr)s, V. t., middle fourth century b. c. See unthr No. 440. 
 
 449. SwKpa-nis, V. K., once victor at the Lenaea ca. 275 b. c, IG. II 977 
 z(r), \V. p. 15;{. 
 
 450. Smwko«, v. k., acted the Nemrsis of an niiknown poet at the Dio- 
 nysia in 1H9 b. f., IG. II 975r, W. p. 78. 
 
 451. E<.Kr(0«os, V. T., twice victor at the Lenaea ca. 282 b. c, IG. II 977 
 q{il') \V. p. 141, assigneti to Lenaean tnigic actors by Reisch ZOG. 1907, 
 p. 306. Identified by Wilheltn with the rpayw^ in a dt'cree of the tech- 
 nitae of ca. end of the third century, publishe<l in Urk., p. 225; he also 
 suggests, p. 142, that the anecdote in Diog. L. 7. 173, in which he thinks 
 Sosithetis the tragic jioet is spoken of as if he were an actor, is due to a 
 confusion of the p(H't, who is of an earlier date, with the actor: Stixri^cov 
 Tov iroirjTov iv Ocdrpw etTTovros tt/jos aurov (i.e., Cleanthes) irapoyra, the spt-c- 
 tators applaudf<l (-leanthes, tov 8< lunridiov i^ifiaXov. WiUu-lm considers 
 that the language necessarily implies that Sositheus appeare<l as actor 
 and himself inserted the objectionable line. However, tlirovro^ and 
 fiiliuXov iti Diogenes may lx» u.sed perfectly well of the poet's lines as 
 sj)ok«'n by an actor and of the disapproval by the audience of the poet. 
 The language do<-s not imply that the poet was acting his own play. 
 F^or tintlv and (k/SoWhv of the poet see, e.g., schol. Eur. Me<l. 1346 -an 
 exact parallel of the passage in Diogenes: Soku tov otl^ov toCtov iliriov 
 Evpiiri8r}<: (KfitfiXrjcrdai. Cf. also schol. Eur. Orest. 554 and Arist. Poet. 
 1456 r/ is. The epigram to Sositheus the ptx't Anth. Pal. 7. 707 is falsely 
 referred to an actor in the heading: u<: Sajai^t'ov rtio? Td<f>ov vTroKpivofiivov 
 TO. iv Tolt Tp<iy(j)Suit« <f>tpuntvu. 
 
 452. 2«<riKXiH, V. K.. victor at the Lena«'a ca. 270 n. c.. IG. 977 //(«), 
 \V. p. 153. 
 
 453. 2w«-iKpdTT)s Mvoo-Iwvot ZiKvtivios, K(i)/xu>8os at tile S«^teria at Delphi 
 269 B.C.. S(il)I. 25t;6. 1. 67. 
 
 454. I««r(iraTpot, T/xiya>do«. by t lie I(i-huitae ( >f Asia and the llellesjMHit 
 vtpi]6u<i (Tvv Ti'i l-vrjpiiTi'a iiririXiitrai tois Twy ^loyvtnwv twv iv Idaw dyuiMis. ca. 
 151 H..-.. insc". lasos, L.-bas-Wad. Ill 281, Michel 1014. 
 
 45.5. ZttxrvXot, KwfjiwS6<:, ca. 180 170 B.C., in.sc. lasos, Lelms Wad. Ill 
 252 AywvoOiTrjs 'AjroAAo3ajpo<; Xdpfiov (ivi&<i»ci), iuxniAov to*- Kitsp.<f>Sov rfp.€pa<: 
 8i'«, Kui if ndpttSwi ivpiv Spu;^/i»;r, rj Si dia iytvtTO Stopidv. 'iBvptii AiTiTraTpof, 
 T^« ^n-id<><rt(ix; »;<: <7reV«i'(r«i' )^opy]ywv iv Tij* indyto iviuvTio, iiirtowKi) iuxriAoi'. 
 et<'. U\w)Twy lIv^t<i)»'(K, Ti]>i iwiSoatut^, etc., iiiriSwKi) iuxriAoj', etc. 
 
 456. 2»T<XTit 6<oKp(Tou, comic synagonist for the wiu/iu^ Ajielles (No. 
 39) at the Soteiia at Delphi 1 K) 1(K) ». c, SGDl. 2569. 1.17. 
 
 457. 2«.TUy 'AKopvdv, T^>ay«(.S<«iS»'«)at the Dionysia at Deh^s in 259 n.c. 
 
 urn. VII (1SS:{|. p. li;{: :i^Tiwy 'AKap^^a^, MIIAu. corrected to iio.Ti'u.i' 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 135 
 
 'AKapvhv 8ts by Capps TAPA. XXXI (1900), p. 119, confirmed by Robinson 
 AJP. XXIV (1904), p. 190. Identified by Reisch De mus. cert., p. 97, 
 with the father of Aristocrates s. Sotion Acharnanian, rpaywSds at Delphi 
 in 270 B. c, SGDI. 2565, 1. 54, No. 64. 
 
 458. SwTvXos *iXo|€vo\) AIt«X6s, rpaywSos at the Soteria at Delphi in 
 272 and 271 b. c, SGDI. 2563, 1. 43, 2564, 1. 46 (in the former the father's 
 name is omitted). 
 
 459. 2«<f)i\os, V. K., acted the Ephesioi of Criton at the Dionysia in 183 
 B. c, IG. 975 II b, col. ii, W. p. 72. 
 
 460. T-, i. T., victor at the Lenaea ca. 288 b. c, IG. II 977 d'(s\ W. p. 157, 
 assigned by Reisch Z5G. 1907, p. 306, to the Lenaean of tragic actors. 
 
 461. Teio-CXas, v. t., victor at the Lenaea ca. 302 b. c, IG. II 977 v{x), 
 W. p. 145. 
 
 462. T^\€<ris IIApios, Kw/xoiSds at the Dionysia at Delos in 280 b. c, BCH. 
 VII (1883), p. 106. 
 
 463. TtX^cTTTis 0€okX€£8ow 'AOrivaios, kw/iwSo? at the Soteria at Delphi in 
 270 b. c, SGDI. 2565, 1. 58. Identified by Reisch De mus. cert., p. 96, 
 with TeA,€crTr;s 'AOrfvaio?, Kwju,<i)8ds at the Dionysia at Delos in 284 b. c, 
 BCH. VII (1883), p. 104. He is mentioned first in his company at Delphi. 
 Kirchner Nos. 13544, 13545. 
 
 464. Ti\i<rwv Mtyapivs, kw/xwSo? at the Dionvsia at Delos in 279 b. c, 
 BCH. VII (1883), p. 108. 
 
 464 a. Ti(jid|€vos 'Apx€v£Kov, Athenian, KWfwpSds at Delphi 138-128 b. c. 
 if the name is rightly restored; cf. No. 518. 
 
 465. T£jiwv EvkXcCSov, Athenian, tragic synagonist representing the 
 Athenian guild of technitae at Delphi in 106 b. c, singing also in the 
 paean, BCH. XXX (1906), No. 50, p. 288, 11. 16, 33. Not in Kirchner. 
 
 466. KvivTos MapKos TiTiav6s, Athenian of the deme Cholleidai, kw/awSos 
 7reptoSov£6KT?s, second century a. d., honored by his admirers with a tomb- 
 stone, according to an epigram found in Athens, Ath. Mitt. XVII (1892), 
 p. 272, qvioted under No. 446 a. 
 
 467. TXtiiriXtjios, V. T. (?), fifth century b. c, Arist. Nub. 1266: ti Sat ere 
 T\r)Tr6X€fJi6<; ttot' dpyaarai KaKOV, aud schol. ad loc: oAAoi Se rpayiKov vtto- 
 Kpir-qv etvat tov TAr/TToAc/iov (rvve.y(ii<i vTroKpivofxevov Soc^okAci. Probaoly an 
 error, Volker, p. 162. 
 
 468. Tvpavvos Xpv<r€p«Tos, kw/awSos, e^rja-ev hrj It], T^s d<s ev (=simul) <f>i\Lr]S 
 Xpvo-epws Kal TraiSds dperrjii rrjvS' eirl t<5 fivij/xrjs cive/c' WrjKC napov. Insc. 
 Rome, IG. XIV 2050, IGRR. I 358. 
 
 469. *-, V. K., acted a play by lolaus at the Dionysia ca. 186-170 b. c, 
 IG. II 975 g, W. p. 80. 
 
 470. 4»ai8pos *A9t)vaios, kw/xwSos at the Dionysia at Delos in 282 b. o., 
 BCH. VII (1883), p. 105. Kirchner No. 13954. 
 
13f> HISTOBY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 471. «I>avvXos, KwfuoB6<: at th»' Dionjsia at Delos in 263 b. c BCH. VII 
 (1883), I). 11-2. 
 
 472. *€?-, V K., victor at the Lenaea ca. 218 b. c, IG II 977 a\ \\ . p. 153. 
 
 473. 4>€p«KpdTTjs 'Aftrivaios, thf comic poet, .seem.s to have been a comic 
 actor l)«fore he became a poet. Anon, De com., p. 8, 1. 1 Kaibel: -ytvd/Kvo? 
 8< VTOKpiW/s <C^t6 npwTOV, '(TTipov irotTTr;? iyivtro) • i^rjXwKt KpaTTjTa, etc., as 
 emended by Kaibel. His career a.s a p<x't be<,'an ca. 435 b. c, a.s indicated 
 by his position in the Victors'-list, IG. II 977 dii) and lYrf), \V. i)p. 107, 
 123, cf. A.TP. XXVIII (1907), pp. 188. 195. 
 
 474. *iX-, V. T., victor at the Leuaea ca. 324 b. c. I(t. II 977 ii{z\. W. 
 p. 145. 
 
 475. ♦iX-, V. K., victor at the Lena»'a ca. 220 b. c. IG. II 977 a\ W. 
 p. 15.3. Is this Philostratu.s, No. 490, who brought out the Apokleio- 
 men(\ of Post idippus at the Dionysia in l8l b. c, IG. II 975 6. W. p. 72T. 
 
 47fi. «i>cXd7ropos, the fictitious name of a comic actor in Ale. Ep. 3. ,35 
 
 Schejiers (3. 71 I. At^Kfxivr)^ 6 T^? K(Dfiw6ia<; TTOirjri)^ .... to? <f>wy7)fjuaTO<i w<i 
 
 €YtHfu Sta Ppay^iujv a.iT(nrtipad(X% Tw XopiZ twv KwfUKwv «rvAAxi/i/3ara <«€- 
 
 Xti'tv ovv (KfJuudoiTa Aiovao-tois TOis eVcovcri to tov oiK€Tov cr^fui d»tL,\ay3drru to 
 ULiofyi tKiivo TOV SpdftuTOS vTroKpivucrdai. «yt» 8< .... to Spapa i^tpaBoi; xui 
 pjiXtT-qv aiTKinTu pu)(Ta<i (Toipu<; tlpi tw \opw avvTiXtLV. 
 
 47()«j. 4»iX«tvos 'Eira<{>p(wvos 0<or-m€vs, as {'. KaivTJi; T/xiya>8ius vict<)r at the 
 Musa(>a at Thespiae 1»>1-1()9 a. d., BCH. XIX (1895), No. 17, p. ;W5. 
 
 477. ^iX'fiii.cuv, V. K., twice victor at the Lenaea ca. 370 b. c, IG. II 977 
 !(/), W. pp. 1H1,252. Arist. Khet. 1413 b 25, illustnitinj,' the effect of 
 uiTufioKi] ill delivery: olov nal ^iXyjfimv o i-TroKpiT?;? cVoui tv ti rfj 'Ava$avSpi- 
 Sou VtpoiTopMVia., oTt kiyu "'PaBupAvdv^ kuI IlaAa/x»)87/s.' Koi <V tJJ irpoXoyt^ twv 
 EiVtjSii' TO *€y*^.' Cf. Ath. (jl4r. Anaxandrides was active ca. 380 345. 
 .dentical with the person mentiom-d in Aesch. 1. 115 (.'U5 n.c): ilXrj<l>wi^ 
 ■nXcyx^V ^^^'- Timarchus) Trupa AivKwviSov. to? <l>iAa>Ta8ov k»;S<otov. &a 
 
 <I>lA»J/XO»'(X: tov VTTOKptTOV llKOdl /X» (J?. 
 
 478. *iXf|<j-ios KoXXiov BoiMTios, tra^nc didascaliis at the Soteiia at 
 Delphi in 2»V.l n. ... SJ i 1)1. 25()«i. 1. 59. 
 
 479. *CXiiTiTos, L. T.. victor at the Lenaoa ca. 398 h. i .. IG. II 977 .s. W. 
 p. 145. 
 
 480. 'I'tXiTTirot, i. K., ;u-t«Ml tlie rankratiast.s of an unknown jhW 
 (Tlu>ophihis?) at the Dionysia in 311 n. c, IG. 11 971 c. \V. p. 45: [{-Tt: 
 . . . ittItto?, res t on k I by Wilhelm; see No. 521. 
 
 481. +iXl<rKot Aaf)«(i«o»), xo.^o.&w at the Soteria at Delj)hi in 272 u.c, 
 SGDI. 25t;:{. 1. Cf. 
 
 4vS2. ♦iXUv +iXo>i^Xou, .\thenian, traf.:ic hypcHlidascahis. amkissador 
 to the Amphyitionic Council on behalf of the Athenian Dionysiac artists 
 in l.WJ*.' I' ' . IG. II 551, 11. 17. 72, Michel 1(X)9. Another copy BCH. 
 XXIV (1900). p. SJ. I'or the dat«« s«h' Ferguson Priests of Asklepios. 
 Not in KirrluuT. 
 
PROSOPOGRAPHIA HISTRIONUM GRAEGORUM 137 
 
 483. *iXokX€£8iis XoXkiScvs, T^aywSds at the Dionysia at Delos in 284 
 B. c, BCH. VII (1883), p. 104. 
 
 484. *i\oK\fis, V. K., victor at the Lenaea ea. 288 b. c, IG. II 977 z(v), 
 W. p. 153; victor at the Dionysia ca. 283, ibid. b'c'{fw), W. p. 156. 
 Might be restored in SGDI. 2563, 1. 59 (272 b. c), [^tAoJ/cA^s Ato/<Xeovs 
 'Aer)vaio^, Koyixw86^, cf. TAPA. XXXI (1900), p. 126, but the date (ca. 275 
 B.C.) of IIo\vK\rj<; in IG. II 977 y(u), W. p. 153, makes the identification 
 with the latter more probable; cf. No. 406. 
 
 485. ^'iXoKpdnis 6€0<J)dvTov ©tiPaios, as v. Katvrj<; TpaywBias victor at the 
 Amphiaraia at Oropus soon after 86 b. c, IG. VII 417, and ibid. 420 
 in both TraAata and Kauv^. As i. TraAxttas rpaywStas victor at the Musaea at 
 Thespiae 100-75 b. c, IG. VII 1760, BCH.' XIX (1895), No. 13, p. 340, 
 Michel 892. Cf. Reisch De mus. cert., p. 122. 
 
 486. ^iXokvStis <^iXd-ypov 'Aerivaios, K<x)fX(o86i at the Soteria at Delphi in 
 271 and 270 b. c, SGDI. 2564, 1. 67, 2565, L 69. Preuner Delph. Weihge- 
 schenk, p. 75, points out his relationship with Dionysius s. Philocydes 
 Athenian (No. 149), comic didascalus ibid. 2564, 1. 70, 2565, 1. 71, and with 
 Androcydes s. Philagrus Cydathenian IG. IV 2, p. 211, 871 6, col. ii, 1. 14 
 and IG. II 108, 1. 12 (latter half fourth century). Possibly to be identified, 
 with Wilhelm, p. 164, with [ . . . K]v'8r?s, IG. II 977 m'(a'), No. 526. 
 Kirchner No. 14645. 
 
 487. ^iXoviKos "Epjiwvos, Athenian, tragic synagonist representing the 
 Athenian guild of technitae at Delphi ca. 97 b. c, BCH. XXX (1906), No. 
 49, p. 278, 1. 37. Not in Kirchner. 
 
 488. *iX6|€vos ^iXotevov, Athenian, comic synagonist representing the 
 Athenian guild of technitae at Delphi ca. 97 b. c, BCH. XXX (1906), 
 No. 49, p. 278, 1. 34. Cf. Philoxenus s. Philoxenus Sowiers, priest of 
 Sarapis after 167 b. c, BCH. VII (1883), p. 280, Ku-chner No. 14710. 
 
 489. «l>iXo(rT€4>avos, v. k., once victor at the Lenaea ca. 242 b. c, IG. II 
 977 zci{v), W. p. 153. Wilhelm's identification with the comic poet is 
 a possibility; above, p. 41, n. 
 
 490. 4»iXo'<rTpaTos, as kw/awSos brought out the Apokleiomene of Posei- 
 dippus as TToAaia at the Dionysia in 181 b. c, IG. II 9756, col. ii, W. p. 72. 
 See No. 475. 
 
 491. <i>(X«v STpdTwvos 'AuPpaKicinis, k(o/xw8os at the Soteria at Delphi in 
 270 B. c, SGDI. 2565, 1. 60. Possibly, as Wilhelm, p. 165, suggests, to be 
 restored in IG. II 977 m, which Reisch Z5G. 1907, p. 306, assigns to the 
 Lenaean list of comic actors. 
 
 492. *tX«v, TpaywSds at the Dionysia at Delos in 171 b. c, BCH. IX 
 (1885), p. 147. 
 
 493. *CXwv, V. K., acted the ['ArJ^tSes of an unknown poet at the Dio- 
 nysia ca. 140 B. c, IG. II 975/1, W. p. 81. For the date of this fragment 
 see Reisch ZoG. 1907, p. 299. Capps's identification with No. 491 is 
 impossible on account of the date. 
 
138 HISTORY OF ACTORS AND ACTIN'd IN ANCIENT (JREECE 
 
 VM. ^i.\uviSy]s Kv8a&Tivai«vs, tlif* foiiiic jxH't. was (Udasciilus for Aristo- 
 phan«'.s in thu prtKluction of the Clouds 423. Wasps 422. Amphiaraus 414. 
 Frog's 405. Was also active as a {Kxt ilurii)^' this periotl. Falsely calletl 
 an actor by schr)l. Arist. Nuh. oHl (quoted under No. 279). Kirchner No. 
 14904. 
 
 49.'). <t>iXwvC8T]f 'Apio-TOfiaxov ZaKvv9ios, K(nfiwS6<: at the Soteria at Delj)hi 
 in 272 B. c, SCI 1)1. 2i)t^i, 1. 4S. and priest il)id. 2')H:i, 256-1, 2565. 2566. 
 Once victor at the Lenaea ca. 276 b. c, IG. II 977 z(r), W. p. 153. and 
 victor at the Dionysia «i. 2H4, ibid. 6' c' {f w), W. p. 156. Appeare<l at 
 the Dionysia at Delos as kw^wS6<: in 26;S e. r.. BCH. VII (1883). p. 112. 
 The identification is due to Capps A.IP. XX (189«<). p. 403. and AJA. IV 
 (19(X)). p. SI. He is mentioneil first in his company at Delphi. 
 
 4".>6. 4>iX<i>t(iSt)s, see No. 508. 
 
 497- *iX«iTas 4>iX<iTov, Athenian, comic syna^'onist representing,' the 
 Athenian technitae at Delphi in 106 b. c, BCH. XXX (1906). No. 50, 
 p. 288, 1. 31. -4>. <t>tAajTov. sinj^er at the paean ca. 97 B.C., ibid., No. 49, 
 p. 277, 1. 26. 
 
 498. 4>opnU*v, participated in Alexander's celebration at Susa in 324 
 B. c, Chares apud Ath. 5;^9 d (quoted under No. 13). Restortnl by 
 Krthler in the list of Lena.an victors ca. .'W) n. c, IG. II 977 .»(;.). W. 
 p. 150. . . p ; doubtful. 
 
 ■IW. 4>pa<r(Xaos Tiwrncpdrovs 'A9iivaioSi rpiiywSik at the S(Ueria at Delphi 
 in 269 K. c. S(il)l. 2.')66, 1. .Vi. Kirchner No. 14985. 
 
 500. «I>pvvixos XopoicX^ous, V. T.. lifth century B. c, .schol. Arist. Vesp. 
 1302: ivkoyiiiTuTov ay ilr] Tor TpuyiKov V'7ro>cpiT»/v. Schol. Arist. Av. 740 dis- 
 tin;.j^uishes four persons of the name: o crepo?, Xopo#cXc'ois mils. inroKpi-n'js. 
 
 r>01. +VTIOS, V. T., twice victor at the Lenaea ca. 392 b. c. IG. II 977 a, 
 W. p. 1 15. 
 
 502. Xaip^o-Tparos, v. r.. once victor at the Dionysia ca. 435 n. c. KJ. II 
 977 ;>(♦■'), W. p. 137. First in the list of Lenaoan victors ca. 432 b. c, 
 ibid. r.s. W. j>. 145. For the date .s»>«' al)ove, p. 46. 
 
 50.3. Xaip^o-Tparos *iXa-ypov, Athenian, tragic synapmist representing^ 
 the Athenian ^'uild of te<-hnita.« at Delphi ca. 97 b. c, HCH. XXX (liX)6), 
 No. 49, p 27H, 1. 17. Not in Kirchner. 
 
 5(M. XopCas, iV T.. victor at the Lenaea ca. ;W)S a. ( ., IG. II 977 r{j% 
 W. p. 145. 
 
 r)05. Xap(a$ XapCou "AO^vaios, as v. (»«m'v«> rpnyioSuK; victor at the 
 Amphiareia at Oropus soon after 86 b. c., UJ. VII 416. His father Charias 
 s. Charias Athenian XoAAt('S»7«f was ^ymnasiarch for the Ht>rmt>ia at Delos 
 ca. i:«> ».<•.. new. XV (l*K)h, pp. 255. 256. cf. Tauly Wissowa III 2i:?2 
 Kirchner No. I5.32M. rf. UuW). 
 
 50^). Xap(8Ti(ios, V. T., victor at the Lniaca ca. JOO n. e., IC. II '.(77 .s-. 
 W. p. 145. 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 139 
 
 507. X6piiYos, Kw/Aw8os at the Dionysia at Delos in 268 b. c, BCH. VII 
 (1883), p. 109. Brinck Diss. Hal. VII (1886), p. 197, restored as a proper 
 name; see also Robinson AJP. XXIV (1904), p. 189. 
 
 508 aSus, V. T., once victor at the Lenaea ca. 346 b. c, IG. II 
 
 977 t{o\ W. p. 145, perhaps [^LXwT]d8ri<;, Wilhelm. 
 
 508a. — -as-, IG. II 977 g\ W. p. 160, probably to be restored ['Apwr- 
 ayopjas-, according to Capps AJP. XX (1899), p. 404, n. 3; see No. 56, 
 
 5086. avBpow, Kw/xwSos at Delphi ca. 138-128 b. c, representing the 
 
 Athenian guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 36. 
 Restore: [Atoa-KovpL^v M.ev]a.vSpov, No. 158. 
 
 509 aros, V. T., victorious at the Dionysia in 399 b. c, IG. 
 
 II 971 d, Wilhelm Wiener Jahresheft X (1907), p. 39, cf, Urk., p. 22. 
 Wilhelm restores [un-oKpir^s NiKoo-TpJaros, see No. 368. 
 
 510 8ov SvpaKoo-ios, Tpay<i)8o9, victor at the 
 
 Soteria at Delphi end of third century b. c, BCH. XXVI (1902), p. 266, 
 and Wilhelm Urk., pp. 141, 251, suggests Ariston, No. 75, but see p. 257. 
 The dates are 100 years apart. 
 
 511 £vos, V. K., victor at the Dionysia ca. 180-170 b. c, IG. II 
 
 975 e, col. i, W. p. 75, restored [UoXvi]€vo^ by Capps TAPA. XXXI (1900), 
 p. 123, see No. 410. Wilhelm, p. 256, suggests [$iA.d^]evos, see No. 448; 
 but the date is against this. 
 
 511 a ■ns, V. T., thiice victor at the Dionysia ca. 430 b. c, 
 
 IG. II 977 r, W. p. 145. Wilhelm's [AeTTTtvJT^s does not fill the space, see 
 No. 314. 
 
 512 tis K«ios, /<a)p,<i)8ds at the Dionysia at Delos in 259 b. c, 
 
 BCH. VII (1883), p. 113. 
 
 513, IIS, acted the -opos of an unknown poet at the Dionysia 
 
 near end of third century b. c, IG. II 975/, 1. 13, W. p. 68; probably the 
 same actor in 1. 15, who acted in the -os of an unknown poet. 
 
 514 us, once victor, IG. II 977 ni'{a'), W. p. 164, assigned by 
 
 Reisch ZoG. 1907, p. 306, to the Lenaean list of comic actors, third cen- 
 tury B. c. Identification and date doubtful. 
 
 515 r\9, V. K., acted the Synt[r- of a poet -od]v at the Dio- 
 nysia ca. 180-170 B. c, IG. II 975 e, col. i, W. p. 75. Could be ['RpaK\etS]rii = 
 Nos. 212 and 516. 
 
 515 a r\s as 11. xaiv^s TpaywSta<; (or kw/aw.) victor at the 
 
 Musaea at Thespiae, uncertain date, BCH. XIX (1895), No. 21, p. 372. 
 
 516 LZr\s, V. K., acted the Synagon of an unknown poet at the 
 
 Dionysia ca. 180-170 b. c, IG. II 975 e, col. i. Wilhelm, p. 75, plausibly 
 suggests ['HpaKXeJtSTjs and identifies with the 'UpaKkletSr]^], kw/awSos in col. 
 ii, 1. 6, 160 B. 0. See No. 212. His further suggestion, p. 256, that this is 
 the apxi.0(-<op6i 'HpaKXec'ST/s TXavKLOv, father of the /<a>p,a)8ds TkavKia^ 'HpaKXet- 
 Sov, of ca. 114 B. c, is hazardous; see No. 107. 
 
140 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 517. uv$, as KwfiwSui iroAiiia? KiofjLwBia<; victor at tli<" Must'ia at 
 
 Thospiae, shortly l>efore 161 A. d , IG. VII 1778. See alx)ve, p. 71. Janiot 
 ill BCH. XIX (1H95), p. 341, reports 18 letters in the lacuna. 
 
 51H. Uov, Athenian, Ku>/n«i>8(k at Delphi 18.H-128 b. c. representing 
 
 the Athenian ^'iiikl of technitae, BCH. XXX (1906), No. 4H, p. 273, 1. 25. 
 Probably [Tifit^ivov 'Apx"'l«''<ov. No. 4t',4 </ .• cf. ibid. 1. 12. 
 
 519. . , . i)iot 'Apio-[o-TvX]Xovi?) 0[TjPaio$], as TpayutSai victor at the 
 Sarapieia at Taiia^'ra l(X)-75 h. c, IG. VII 542. 
 
 52<). . . ~ IN 'Aftrjvaiov ror rpaya^iSov TraptTr |i&T;/>tT/fravTa ti? ri [to. Aw>- 
 vwTui^ a]^i(i>dtvTa ri{y\<i}i\i<r$iu kuKux; k\ui <^tAoTi/ia)s, etc., Perinthian decree, 
 Hecond half of second century b. c. or earlier, restored by Wilhelni. p. 221. 
 Doubtful whether the name is -at? or -rts 'A6rivaio%, or *A^mio?. 
 
 521. . . . iir]iros, V. K., actetl the Pauknitiaste.s of (perhaps) ThiHuphilus 
 in 81 1 H. c, IG. II 97 1 r, \V. p. 45. On p. 49 Wilhehn sui,'{<ests [*iAi7r]7ro? 
 (No. 4>S0) or [KoAAtTrlTTos; the former is doubtless right. 
 
 522. - icios Topa«vs, K(D/«i)So? first century b. o., insc. Nimes, IG. XIV 
 
 21i>i<, KiHR. I 21 : . . . \wu [ ..... €|o)s KWfiwSov Tr{tipa8t'>$]ov ^opavXov 
 
 Trap OS Kai(Tapi(ii<: TfioWuivov [ [mos Tu^atis »:oft|u)dosl 
 
 ....... I €»' 'Foi/ij;, 'upa<; a-vi\uSov\ . . . | . . . ] ;^opui'Ar;s y'. KuTrtrloJAui 
 
 ^V Pto/xr;], etc. 
 
 528 .... tc(Xli)s AiokX^ous 'AOiivatos, K<j)fiwS/><; at the Soteria at Delphi 
 in 272 B. c, S(iDl. 2r>().{. 1. 59. uronf,'ly restortnl there [AioIkA^? the tragic 
 actor No. 148. Might l)e *iAo-, lloAv-, or Meve-. comic actors of the same 
 period and guild, see Nos. 484, 82S; but the date of tlu* first is too early, 
 of the last t(K> late. Hence the re.storation IFIoAvIkA^? (No. 4(M;) is prac- 
 tically certain, Capps TAPA. XXXI (P.KJ()), p. 126. 
 
 524 Kos, V. »c.,actcHl the Adelphai of the j)oet -n;s at the Diony- 
 
 sia ca. 2(H) n. c ., U;. II 975 />. col. i, W. p. 72. 
 
 525 Kjot, V. T., once victor at tin- Lt-iiaea c;i. 262 h. i .. IG. 11 
 
 977 //('/'i W. |i. 1 11, a.ssigiUHl to the Lt-nacjin list of tragic actors by Ktisih 
 ZA(i. l'.K)7. p. ;«h;. To Ix> restored ( KAeoriK lo?. No. ;-i02. 
 
 526 KJvSiif, three times vict«)r, IG. II 977 m'(<j'l. W. p. 164. 
 
 assi-iird by Heisch YjWi. UK)7, p. ;W«). to the Lenaean list of comic acti)rs. 
 third crntury h. e. Identilication and ilate tmccrtain. If corrt-ct, prob- 
 ai)ly to i)e restoH'd | <^tAoK 1i>8t;<;, No. IS*'). 
 
 527. , . . KMv, V. K.. four times victor at the Lniara ca. .■<55 n.c. 1(4. II 
 
 977 Jil>), W. p. 150. VKr^wyt 
 
 52H. -Xou, .\tliriiian, »(w/xwS<k at Delpiii as ni)resintativf of the 
 
 Athenian guild ..f tr.luiitae in 18S 12S ». c, IK'H. XXX (liRHi). Nt) 4M 
 1). 27.8. 1. 27. 
 
 529 Xu)u . . . , K(,);ia>rt,is TnipaSo^o?, inscr. Nlines lirst criitury A. P., 
 
 IG. \IV Jl'.t'.i, I(;i;b' 1 21 Ciuot.tl under No. 522). 
 
PROSOPOGRAPHIA HISTRIONUM GRAECORUM 141 
 
 530 jiaxos, V. K., acted the ParakatathekS of — Tr/occr/SuVepos red- 
 
 (vr)Km) ca. 210-187 b. c, IG. II 975 i. Capps's restoration [Auo-tjjuaxos is 
 possible but not his identification with No. 323. 
 
 531 V, V. K., twice victor, IG. II 977 m\a'), W. p. 164, assigned 
 
 by Reisch ZoG. 1907, p. 306, to the Lenaean list of comic actors, third 
 century b. c. Identification and date uncertain. Wilhelm, p. 165, sug- 
 gests 4>tAa)v or NcKwv, Nos. 491, 376 or 377. 
 
 532 v,v.K., once victor, IG. II 977 m'{a); cf. No. 532. 
 
 532 a I/, Kco^wSos at lasos ca. 180-150 b. c, Lebas- 
 
 Wad. Ill 257. To be restored ['Airo\\68<jjpo]v, No. 42. 
 
 533 V Iloo-tiSwvCow, Athenian, tragic synagonist repre- 
 senting the Athenian guild of technitae at Delphi ca. 97 b. c, BCH. 
 XXX (1906), p. 277, 1. 17. 
 
 534 OS, V. T., twice victor at the Lenaea ca. 422 b. c, IG. II 
 
 977 r, W. p. 145. Wilhelm's restoration [Mvj/rib-KJos, though not certain, 
 is acceptable. 
 
 535 ]os, V. T., twice victor at the Lenaea ca. 342 b. c, IG., 
 
 II. 977 v(x), W. p. 145. The remains are i 0^11, and the position of the 
 stroke before favors P rather than M (Wilhelm); hence ['A^r^voSwpjos; 
 see No. 13. 
 
 536 OS, V. T., once victor at the Lenaea ca. 263 b. c, IG. 
 
 II 977 q{d'), W. p. 151, assigned to the Lenaean list of tragic actors by 
 Reisch ZoG. 1907, p. 306. To be restored ['Ap/ceo-iAaJos; see No. 79. 
 
 537 OS Si<(>vios, Kwfx<i)86<; at the Dionysia at Delos in 259 b. o., 
 
 BCH. VII (1883), p. 113. This is not to be regarded as part of the name 
 of the preceding, McveKpdTr,^ No. 331, seeCapps TAPA. XXXI (1900), p. 118. 
 
 538 OS, Ko)/Aw8os at the Dionysia at Delos in 259 b. c, 
 
 BCH. VII (1883), p. 113. The following 'lepoKXe- is not the father's name; 
 see No. 248 and TAPA. XXXI (1900), p. 119. Probably [Kr,<^taoSa>p]os, 
 No. 288. 
 
 539 OS, V. K., acted the Anepsioi of an unknown poet at the 
 
 Dionysia toward end of third century b. c, IG. II 975/, VV. p. 68. 
 
 540 OS, V. K., acted in the -v/Ae'vo) of an unknown poet at the 
 
 Dionysia in 169 b. c, IG. II 975 c, W. p. 76. '[Avo-iVxl"?' ^o- ^23? 
 
 541. — OS Ati|jitit£ov 'AOrivaios, as v. KWfxwBiCiv victor at the Sarapieia at 
 Tanagra ca. 100-75 b. c, IG. VII 540. To be identified with No. 128, 
 Ar]fx.rJTpLo^ i\r}ixr]TpLov, 97 B. c? Kirchner No. 3349. 
 
 542 p[— , IG. II 977 7n'{a'), W. p. 164, assigned by Reisch 
 
 ZoG. 1907, p. 306, to the Lenaean list of comic actors, third century b. c. 
 Identification and date uncertain. Capps AJP. XX (1899), p. 400, 
 reports pt8a[sj. 
 
 542a. — ^pos ni — 5 IGr. II 977 g', W. p. 160, probably to be restored 
 ['Ao-kXtjttioSwJpos according to the suggestion of Capps AJP. XX (1899), 
 p. 404, n. 3; see No. 93. 
 
142 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 
 
 :Ali pot, tr. K., once (II corrwted to I) victor at the Lenaeii 
 
 ca 2r)() B. c, IG. II 977 ft, \\. p. 15;^. Probably with Wilhelni to be restored 
 
 I K7;<^io-o&ii ]po?. No. 2HH. 
 
 r)H s, V. T., once victor at the Dionysia ca. 430 b. c, 
 
 Ut. II 'J77 i>{e') col. i, 1. 10, directly under [A£7rlTt'»{»7s-l, but not re|Kirted 
 by Wilhelm, p. 137. 
 
 iAii s, V. T., twice victor at the Lenai-a ca. 353 b. c, IG. II 977 
 
 tip), 1. ir., w. p. 1 tr,. 
 
 546 s, V. T., twice victor at tht^ Lenaea ca. 'J.'?9 b. c, IG. II 
 
 977 r(j-). 1. 1. W. p. 1 15. 
 
 546a. s nil, IG. II 977 g , W. p. 160, probably to !>» rf-store<l [KciA- 
 XiTTTTol? according to the suggestion of Capps AJP. XX (1899), p. 404. n. 3; 
 .s«"«' No. 276. 
 
 547. . <ro . . . , TfxiywS^ at the Dionysia at Delos in 280 b. c, BCH. 
 VII (188^^), p. 107, restored Apdxwv by Capps, see No. 162. 
 
 548 s, V. K., twice victor at the Lenaea cii. 246 b.c, IG. II 977 
 
 za'{r), W. p. 153. To be rt'storcd 'H(y77<T(a]s 11. kiu)wn to hav»' been active 
 at this time; see No. 209. 
 
 549 0-6SMPOS, once victor, IG. II 977 ni'(a'), W. p. U'A, assigned 
 
 l)y HeiHch ZOG. HH)7, p. 306, to the Lenaean list of comic actors. Iden- 
 tification and (lat«' uncertain. If correct, to 1m> identifi«Hl possibly with 
 KT;<^i<r(i3oj/jo<; KoAAtow Botb>T(09. No. 288, Wilhelm. 
 
 .'')5() TTis, V. K., act«>d in the -rypa of an iniknown jHX't at tlic 
 
 Dionysia toward end of thin! century b. v. IG. II 975/, W. p ^}^^. 
 
 551 v|vos, V. T.. twice victor at the Lenaea ca. 2t>8 b. c, IG. II 
 
 977 </(<r). W. p. 111. assigned to the Lenaean li.stof tragic actors by Rei.sch 
 
 ZiKi. i*.>07. p. :<()♦;. 
 
 552 «v, V. K., aettnl the Progamoun of an unkni)wn ptx-t ca. 
 
 210 187 H. c, IG. II 975 i, \V. p. 79. ( ©apoaV Itov, No. 225? 
 
 553 u>v Aiowo-Cov 'AOrivaCos, as r. TraAuia? TpayajSuii victor at the 
 
 Mu.saea at Th.spia.- 167-116 ii. e.. BGH. XIX ( 1S'.»5).' No. 11. p. .'W. 
 The heading is l)i()kiii ofT. l)ut is nston-d with certainty. Kirchner 
 
 No. noH. 
 
 5M »p, thrice victor. IG. II 977 m'{n'), W. p. UU, assigiu-il by 
 
 Kei.sch ZaCi, liH)7, p. ."M)6, to the Lenaean list of comic actons, thin! century 
 B. c. Identification and date uncertain. Wilhelm (EtT/i'ltop. 
 
 554rt 1 III, Lenaean list (/'</, ca. 290 n.e. 
 
 555. Ai>ro\kivi)v%, Athenian (7), v. (tnigic or comic). Aiist. \'esp. 
 
 1279. w fuiKapi^ \irTt')fiivi<;, ui? (Ti fuiKupi^ofiiy, TruiSiif if^iTiiKrwi on )(^iipoTi)^yi- 
 KojTaroi-?- .... Tov h' iiroKpiTijv iripoy (i/iy(iA«ov «i><j (TO(f>ov. Schol. ad 1(K'.: 
 ovK lim fm</><? Tt? To>K iVoKptToit' .•\iTop€»()i'<; «(tto' vkW- His bmthcrs were 
 Arignotus and .Vripluadts, whom KircliiHT treats as Atliciiiaiis. Ntvs. 
 1612, 2201. 
 
PEOSOPOGRAPHIA HISTRIONUM GRAECORUM 143 
 
 556 Aiowo-oSwpov, tragic synagonist representing the Athe- 
 nian guild of technitae at Delphi in 106 b. c, BCH. XXX (1906), p. 288, 1. 33. 
 
 557 AwpoG^ov, Athenian, comic synagouist representing 
 
 the Athenian guild of technitae at Delphi in 106 b. c, BCH. XXX (1906), 
 No. 50, p. 288, 1. 31. Restore [0eo<^iAos], No. 237, cf. 0eo<^iAo? AwpoOeov, 
 one of the singers of the paean ibid. No. 49, p. 278, 1. 28, ca. 114 b. o. 
 His son [A]wpo^£[o]s ©e[o<^tAov Kp]w[wL8rjs] was ephebe in 105 b. c, IG. II 
 465, 1. 70, Kirchner No. 4615. 
 
 558. 'H-yT)<r£ou 'AOtivoios, kw/xojSo? at the Soteria at Delphi in 272 b.c, 
 
 SGDI. 2563, 1. 58. Kirchner No. 6315. His son identical with No. 209? 
 
 559. 'Ap7€ios, Tpayu)8os, fined for breaking his engagement at Epi- 
 
 daurus, IG. IV 1509, 1. 2, ca. 100 b. c; cf. No. 155. 
 
 560 'Axaios aiTo Sikvuvos, as v. TraXaias K<j)fjLw8ias victor at the 
 
 Musaea at Thespiae ca. 167-146 b.c, BCH. XIX (1895), No. 11, p. 337. 
 
 561 , Kw/Act)Sos, brought out the Phokeis of Philemon as 
 
 iroAaia ca. 210 B. c, IG. II 975/. 
 
 562. Anonymous K(i}fjLw86<; and rpaywSos, uncertain date, inscr. Rome 
 IG. XIV 1111, IGRR. I 160: as kw/awSos he was victor at Cyzicus, as 
 Tpay<i)8o9 at Cyzicus and Rome, and Kt^apwSos at Pergamum and Nicome- 
 deia, and 8ta Travrwv at Nicomedeia and Pergamum. 
 
 563. Anonymous kw/iawSo?, uncertain date, inscr. Rome IG. XIV 1114, 
 IGRR. I 163: was victor at Naples and Puteoli. 
 
 ADDENDA 
 
 P. 87, No. 95. Epigram for the tomb of Aeclepiodorus, Kaib. Ep. Gr. 
 606: T^pfjLa ^lov reX^ffas, iracs [7]aeios(?). ivddde Kel/j-ai, | dcTKricrai [Trda-rjs] elSos inroKpl- 
 <reajs • | (5/cTWKa/5e/c' errj fi7<J'as ' A<TK\rjTri6d(opos | yijs S)v npSoSe ySvoi /x-qrepa yoiav «X'>'' 
 He may have been a mime, as Kaibel thought. Messalinus in Kaib. 1050, on 
 the other hand, seems to have been a comic actor (cf. a-Krjvrjt iroXvyijdio^}. 
 
 P. 124, No. 381a. Epigram of an unknown poet to a statue of Xenophon, 
 Anth. Plan. IV. 289: airbv 'U^aKxov i86^afj.ev, r)vlKa \r)vois \ 6 irp4<r^vs veaprjs Tipx^ 
 XopoifjuivlTjs, I Kai K.dSp.ov to, TrdpTj^a xopeiz/xaTa, Kal rbv d0' vXtjs | iyyeKov emaKCov Ix^i- 
 \dTr\v didcrcov, \ Kal ttjv evd^ova^av 4v a'ifMTL waiBbs ' Ayavy)v | \v<rad5a. (pev del-qs avdpbi 
 vnoKpiffirisl Xenophon seems to have played the parts of Dionysus, Messenger 
 and Agave in Eur. Bacchai. 
 
Ill HISTORY OF ACTOBS AND ACTING IX ANCIENT GREECE 
 
 RESTORATIONS AND TP:XTL'AL KMKNDATIONS i'HDPOSED 
 
 BCH. VII (1883), p. 1 1 i. I. IH: \Krj<i>L<Ti^]poi, Xos. 288, B38. 
 BUH. XXX (1906), No. 48, 1. 25: '?a8,ifmvdwl No. 422; {lifi^tvov 'Apxe- 
 v\iKov, Nos. 464(1, 518; 1. 26; [Aioo-Koipi'Sjjv Mtv-ai-Spov. Nos. 158. 508 6. 
 BCH. XXX (1906), No. 50, 1. 81: <t>u\^Tav [*iAoiTovl, No. 497; [0<(^tAovl 
 
 \wpodiov, Nos. 2r^7, 557. 
 Id. II 977 />((•'), col. ii, 1. 5: Nt ( K^vSpo?- ), p. 61, col. ii, and No. 352. 
 
 u(j-), 1. 3: Y ke-qv^u>p\o^ II, p. 62, col. iii, aiul Nos. 13. 535. 
 
 dis), 1. 3: KAt(?,8wpos-|. p. m, col. v. and No. 299. 
 
 ct{8), 1. 8: [*A Ipio-'i Tap;(o?- 1. p. 63, col. V, and Nos. .55. 57. 
 
 gfcf), 1, 15: [KA«oi'ik1o? I, p. 63, col. v, and Nos. ;302, 525. 
 
 q[d'), 1. 16: l'ApK£o-i'Aa]os I, p. 63, col. v, and Nos. 79. 536. 
 
 zii'ir\ 1. 14: 'H[yr^ia\i II, p. 6.5, col. vi, and N... 209. 
 I(>. II 975 /, 1. 2: \(r)ap(T<n'\u>v, Nos. 225, 552. 
 
 '•, 1. 6: [AiW/xaxlos, Nos. 323. 540. 
 
 /, (••)!. i, after 1. 2: [xnro NiKo^ftos ivUa]. p. 52 and No. 363. 
 
 /, col. ii, 1. 4, with r, col. i, 1. 10: II|oX£>laj.'. 
 
 f/, 1. 2: IIolAt/iwv|?, No. 402. 
 
 ,■. <■.,]. i. 1. S: I'HpaKAci'Slr/s, Nos. 202, 515, 516. 
 /'/. \ II 510. I. 15: [ At;/x>/tpi1os Atz/xt/tpiov 'A^jjwio?, Nos. 12M, 541. 
 SUl)l. II 2727: | di-ray [wvi'^aro for [ormy-], p. 29, n. 
 Lfhas-Waddin^^ton 111 257 (la.sos): Y S.iToXX6&iiipo\v, Nos. 42 and 5,'i2 (j. 
 Schol. Ao.sch. 77/H. 157: llap/io'tov o KwiuKo<i (ynoKpi.Tri<i}^ No. 393. 
 Schol. Arist. Ar. u\'.\: rfxiyiKuv nirov (f>a(Ti <(iVoKptT)/v')>. »cAcVt>;v /cat, etc., 
 
 No. 4321. 
 Suft. Vespnti. 19: Aix'lh'ti for AjwUnri, No. .38. 
 Kaib. Epiy. (Jr. 926, 1. 10: read [pai/^w [Sos or ( Aip«i)]Sos instt-ail of [Mu/x«jj]6tk. 
 
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